Studies of the RIG VEDA: Hymns to Mitra and Varuna

--Viśve Devāḥ are 3339 skymap metaphors of divine Time --dvādaśāha: द्वादशम्) a collection of twelve, ˚आदित्याः Twelve Ādityas:- विवस्वान्, अर्यमा, पूषन्, त्वष्टा, सविता, भग, धाता, विधाता, वरुण, मित्र, रुद्र, विष्णु.(Apte); dvādaśāha mfn. lasting 12 days; a period or ceremony of 12 days, AV. ; ŚBr. ; Mn. ; MBh. See: This is an addendum to: Viśvedevā विश्वेदेवा count of 3339 divinities (Rgveda 3.9.9) is a celestial eclipse measure, a Vedic metaphor of identical-eclipse-sequence 3067&3031 BCE https://tinyurl.com/55h8c5fu ऋग्वेदः - मण्डल ८ सूक्तं ८.२ १-४० मेधातिथिः काण्वः, आङ्गिरसः प्रियमेधश्च, ४१-४२ मेधातिथिः काण्वः।दे. इन्द्रः, ४१-४२ विभिन्दुः। गायत्री, २८ अनुष्टुप् रेवाँ इद्रेवत स्तोता स्यात्त्वावतो मघोनः । प्रेदु हरिवः श्रुतस्य ॥१३॥ RV 8.2.13 सायणभाष्यम्--हे “हरिवः हरिवन् । मतुवसो रुः' इति नकारस्य रुत्वम् । हरी अश्वौ । तद्वन्निन्द्र “रेवतः रयिमतो बहुधनोपेतस्य तव “स्तोता “रेवान् “स्यात् रयिमान् भवेत् । इच्छब्दोऽवधारणे । धनवान् भवेदेव न तु दारिद्र्यं प्राप्नोति । उक्तमेवार्थं कैमुतिकन्यायेन द्रढयति । “त्वावतः त्वत्सदृशस्य । ‘ युष्मदस्मद्यां । छन्दसि सादृश्य उपसंख्यानम् ' इति वतुप् । “मघोनः मघवतो धनाढ्यस्य “श्रुतस्य विश्रुतस्य सर्वत्र प्रख्यातस्यान्यस्यापि स्तोता “प्रेदु । स्यात् इत्यनुषज्यते । प्रस्यात् । प्रभवेदेव न तु निहीयते । किमु वक्तव्यं तव स्तोता धनवान् भवेदेवेति ॥ Griffith: Rich be the praiser of one rich, munificent and famed like thee: High rank be his, O Lord of Bays. Wilson: 8.002.13 May the eulogist of you, who are opulent, be opulent; may he even, lord of steeds, surpass one who is wealthy and renowned, like you. [Surpass one: the praiser of any one wealthy and renowned like you would assuredly prosper (much more, than of you)]. Eggeling: 'Let him be rich, let him be foremost, the bard of the rich, of so illustrious a Maghavan as thou, O lord of the bay steeds!' Note: “Maghavan, the mighty or bountiful, is a designation both of Indra and the wealthy patron of priests. Here it is evidently intended to refer to both.”- [Translation of Satapatha-brahmana by Julius Eggeling | 1882 | Introduction to volume 1 (kāṇḍa 1-2)] “It is well known that the majority of the single collections of which the first seven Maṇḍalas (and to some extent those of the tenth) are made up, begin with hymns addressed to Agni, which, as a rule, are followed by hymns addressed to Indra. These, again, are in many cases followed by hymns to the Viśve Devāḥ (and Maruts). Now, in the later dogmatic literature we find the three Āryan castes, the Brahman, the Kṣatra, and the Viś, identified with Agni, Indra, and the Viśve Devāḥ (all the gods, or, as a special class, the All-Gods) respectively. ” (Note: See especially Taitt. S. VII, 1, 1, 4. 5; Weber, Ind. Stud. X, pp. 8, 26. III Śat. Br. II, 4, 3, 6. 7, Indra and Agni are identified with the Kṣatra (? power in general) and the Viśve Devāḥ with the Viś. Sometimes Bṛhaspati or Brahmaṇaspati, the lord of prayer or worship, takes the place of Agni, as the representative of the priestly dignity (especially Taitt. S. IV, 3, 10, 1-3; Vāj. S. 14, 28-30); and in several passages of the Ṛk this god appears to be identical with, or at least kindred to, Agni, the purohita and priest (see Max Müller, Translation of Rig-veda, I, 77; J. Muir, Original Sanskrit Texts, V, p. 272 seq.) In Rig-veda X, 68, 9, where Bṛhaspati is said to have found (avindat) the dawn, the sky, and the fire (agni), and to have chased away darkness with his light (arka, sun), he seems rather to represent the element of light and fire generally (das Ur-licht, cf. Vāj. S. IX, 10-12). In the second p. xvii Maṇḍala the hymns to Bṛhaspati are placed immediately after those to Agni and Indra. Though the abstract conception represented by this deity may seem a comparatively modern one, it will by no means be easy to prove from the text of the hymns addressed to him, that these are modern. It would almost seem as if two different tendencies of adoration had existed side by side from olden times; the one, a more popular and sensuous one, which, in Vedic times, found its chief expression in Indra and his circle of deities; and the other, a more spiritual one, represented originally by Varuṇa (Mitra, &c.; cf., however, Śat. Br. IV, 1, 4, 1-4), and in Vedic times, when the sacerdotal element more and more asserted itself, by Bṛhaspati, and especially by Agni. The identification of this god with the priestly office was as happy as it was natural; for Agni, the genial inmate of every household, is indeed vaiśvanara, the friend of all men. Shadowy conceptions, such as Bṛhaspati and Brahman, on the other hand, could evoke no feelings of sympathy in the hearts of the people generally. Of peculiar interest, in this respect, are the hymns in which Agni is associated with Indra (see Max Müller's Science of Language, Second Series, p. 495 J. Muir, Original Sanskrit Texts, V, pp. 219, 220), and the passages in which Agni has ascribed to him functions which legitimately belong to Indra; viz. the slaying of Vṛtra and destruction of the enemies' cities. The mutual relation of Indra and Varuṇa has been well discussed in Dr. Hillebrandt's treatise 'Varuṇa and Mitra,' p. 97 seq. It is most concisely expressed by Vasiṣṭha, Rig-veda VII, 83, 9, 'The one (Indra) slays the enemies in battles; the other (Varuṇa) ever defends the ordinances…This identification is a very natural one. Agni, the sacrificial fire, the bearer of oblations and caller of the gods, is, like the priest, the legitimate mediator between God and man. Penetrating brilliance (tejas) and holy lustre (varcas) are the common attributes of the Brahman. Again, Indra, the valiant hero, for ever battling with the dark powers of the sky, is a not less appropriate representative of the knightly order. According to Professor Roth, this truly national deity of the Vedic Āryans would seem to have superseded the older Indo-Iranian god Trita[14], and to have gradually encroached on the province of Varuṇa, who perhaps was originally one of the highest deities of the Āryan (Indo-Germanic) pantheon. The warlike chiefs and clansmen evidently saw in Indra a more congenial object of their adoration. It can scarcely be without significance that of all the Vedic Ṛṣis, Vasiṣṭha, the priest par excellence, has ascribed to him by far the greatest number of hymns addressed to Varuṇa (and Mitra-Varuṇa), while there is not a single hymn to Varuṇa in the family collection of the royal Ṛṣi Viśvāmitra, whose religious enthusiasm is divided almost exclusively between Agni, Indra, and the Viśve Devāḥ. Lastly, the identification of the common people with a whole class of comparatively inferior deities would naturally suggest itself. Hence we also find the Maruts, the constant companions and helpmates of Indra, the divine ruler, employed in a similar sense. The identification of the Viś with the Viśve Devāḥ, which ultimately obtained, was probably determined chiefly by etymological considerations….(The same triad of divinities, Agni, Indra, Viśve Devāḥ) …This identification finds its most complete expression in the well-known passages of the Taittirīya-saṃhitā (VII, 1, 1, 4-5) and the Tāṇḍya-brāhmaṇa (VI, 1, 6-11). According to these authorities, Prajāpati, the lord of creatures, created from his mouth the Brāhmaṇa, together with Agni, the trivṛt stoma, the gāyatrī metre (and the rathantara sāman and he-goat, according to the first source; or the spring, according to the other). From his breast and arms he created the Rājanya, together with Indra, the pañcadaśa stoma, the triṣṭubh metre (and the bṛhat sāman, and the ram; or the summer respectively). From the middle part of his body he created the Vaiśya, together with the Viśve Devāḥ, the saptadaśa stoma, the jagatī metre (and the vairūpa sāman, and the kine; or the rainy season respectively). Finally, from his feet he created the Sūdra, together with the ekaviṃśa stoma and the anuṣṭubh metre (and the vairāja sāman and the horse, according to the Taitt. S.), but no deity, and no season. In accordance with these speculations, single objects of those here enumerated are frequently found elsewhere identified with their respective deities and castes. On the same principle, the three savanas, or morning, mid-day, and evening libations at the Soma-sacrifice, as well as the first three days of the Dvādaśāha, are generally assigned to Agni, Indra, and the Viśve Devāḥ respectively. If in the ekādaśinī, or traditional order of eleven victims that have to be immolated at the Soma-sacrifice, the victim sacred to Agni is placed first, while those to the Viśve Devāḥ and to Indra only come sixth and seventh respectively, we have probably to assume that this order was too firmly established (just as the so-called āprī-hymns are) by long usage to have been easily altered; the more so as the privileged position of the sacerdotal class was not thereby affected.Note: The Maruts are identified with the viśaḥ, or clans, in Śat. Br. II, 5, 1, 12; 2, 24; 27; 35, etc. In Śāṅkh. 16, 17, 2-4 the heaven of the Maruts is assigned to the Vaiśya (Ind. Stud. X, p. 26).' (Eggeling, ibid.) Note on three savanas: In Ath.-veda IX, 1, 11, the three savanas are assigned to the Aśvins, Indra-Agni, and the Ṛbhus (cf. Ait. Br. VI, 12) respectively; and in another passage of the same collection, VI, 47, 1, to a. Agni; b. the Viśve Devāḥ, Maruts and Indra; and c. the Bards (kavi). In Vāj. S. XIX, 26, also, the morning libation is assigned to the Aśvins (? as the two Adhvaryus of the gods, cf. Sat. I, 1, 2, 17; IV, 1, 5, 15; Ait. Br. I, 18); but in Taitt. S. II, 2, 3, 1; Ait. Br. III, 13; Śat. Br. II. 4, 4, 12; IV, 2, 4, 4-5 they are referred to Agni, Indra, and the Viśve Devāḥ respectively. See, also, Śat. Br. IV, 3, 5, 1, where the Vasus (related to Agni III, 4, 2, 1; VI, 1, 2, 10), Rudras, and Ādityas (cf. VI, 1, 2, 10, and Ait. Br. III, 13) are connected with the three libations.

Ancient and Accepted Scottish Rite of Freemasonry, Occultism, Secret hidden Esoteric Literature and the Southern Jurisdiction of the United States of America. It. is quite uncertain, now that I have this book finished, whether I shall ever care to publish it. It was not commenced for that purpose and it may always remain a monotype, in manuscript. For it has been written as a study, and not as a teaching for myself and not for others. It is not at all the fruit of a meditated purpose, and was not commenced as a diagnosis of the Deities of the Veda, an attempt to discover the distinctive personality and individuality of each, which it afterwards became, and the fruits of itself to myself have been sufficient to reward me abundantly for the labour it has cost. Nothing has ever so much interested me, as this endeavour to penetrate into the adyta of the ancient Aryan thought, to discover what things, principles or phenomena our remote ancestors worshipped as Gods, what Indra, Varuna, Mitra, Aryaman, the Agvins, Vayu, Vishnu, SavitJfi and the others really were, in the conception of the composers of the Vedic hymns. It has had a singular charm for me, this inquiry into the true mean ing of the epithets and phrases, often, in appearance, indiscriminately applied to different Deities, often seemingly inappropriate, and the expres sions of a wild and riotous imagination into the true meaning of names and epithets and phrases that became, literally accepted and misunderstood, the sources, seeds or germs of the legendary myths and many of the Deities of the Grecian mythology and theBrahmanic fables and pantheon. And I have felt the most intense satisfaction in deciphering, as it seemed to me I did, these hieroglyphs of ancient Aryan thought in bringing myself into relation en rapport with these old Poets and Philosophers, under standing them in part, and thinking with them in deciphering their hiero glyphics, infinitely better worth the labour than all that are engraved on the monuments of Egypt and Assyria, and in solving one by one the enigmas contained in their figurative and seemingly extravagant language, whose meaning was only to be discovered by beginning with their simplest notions and conceptions, and making the curious processes of their thought my own trying as it were, to be them, intellectually, and to think their thoughts. Thus I satisfied myself that every one of their Deities had for them a perfectly distinct and dear personality and individuality that their ideas were not in the least vague, incoherent or confused that their imagination was perfectly - ell-regulated, and that every epithet and phrase was logically appropriate and correct. So also, upon a partial examination, I found it to be in the ancient Zarathustrian G tMs, which are, I do not doubt, even older than the Vedic hymns. I found in both, the most profound philosophic or metaphysical ideas, which those of every philosophy and religion have merely developed and that, so far from being Barbarians or Savages, the old Aryan herdsmen and husbandmen, in the Indus country under the Himalayan Mountains, on the rivers of Bactria, and, long before, on the Scythic Steppes where they originated, were men of singularly clear and acute intellects, profound thought and an infinite reverence of thebeings whom they worshipped. The inquiry has opened to me an entirely new chapter of the history of human thought, and given me an infinitely higher conception of the Aryan intellectual Mindset! ( BELOW IS STILL UN TheVedais certainly the secondoldestbookintheworld,and itcon-tainsthe religioushymns ofour ancestors;forwe,ofwhatevermixtureof Europeanblood,arewhollyoftheAryanrace. Germans,Gauls,Franks, Latins,Saxons,Kelts,Sclaves,allareofonebloodandfamily;andthe Englishand allother European languages, andtheSanskrit,Zendand Persianarebutvarietiesofoneandthesame originallanguage,produced byintermixtureswithvariousothers. WearebynatureAryan, Indo-European,notSemitic. ThereisnomixtureofSemiticintheEuropean languages. The indigenouspeopleswhom the Aryansconquered, and withwhom theymixed,were ofaraceorracestotallydifferentfromthe Semites. Our spiritual kithandkinaretobefoundin India,Persia, Sclavonia, Greece, ItalyandGermany;not in Mesopotamia,Egypt or Palestine. No literaryreliccarriesusbacktosochild-likeastateinthehistoryof man, astheVeda. TheHebrewbookswhich compose thePentateuch representtheancestorsofthatpeopleashavingfromthebeginningattained tothecomprehensionofasinglecreativeDeity,abovethepowersofNature, andasnot regarding these powers asinanysense Deities,butmerely forcesofNature. BeforetheFlood,itassuresus,therewereperformerson theharpandorgan,andartificersinbrassandiron,andmenweregathered togetherintocities. TheexodusfromEgypt,accordingtotheapprovedchronology,occurred 1,648years beforeChrist. TheVedaswerecompiled 1,400years before Christ,whenthelanguageinwhichthehymnswerewrittenhadbecomea deadlanguage,andkingdomshadbeenfoundedandgrowngreywithage, sincetheyweresunginthecountryoftheFiveRivers. ThebookofGenesisrecordstheancienttraditionsoftheSemiticrace, andmakesknowntoustheancientthought,theancientfeelings,joys, hopesandfearsofthosewhoweretheancestors oftheChaldaeans,Phoeni-cians,Kenanim,andHebrewsand ofthegrandArabianrace. TheVedas bringusfaceto facewithourancestors, in theirtentsandpastures,adoring thefire,thelightandtheluminariesofheaven. Nowhereelseistherea sign,ajestoraglimpse oftheoldAsiatichumanity. Vedameant"knowing,"or"knowledge." Itisthesamewordasthe Greek oI6a, "Iknew,"and appears in theGothicvait,theAnglo-Saxon wdt, theGermanweiss,andtheEnglish"wise,wisdom,"and"towit." 2 INDO-ARYANDEITIESANDWORSHIP Therearefourcollectionsofthehymns,theRig-Veda, Yojur-Veda,,Sdma-VedaandAtharva-Veda;butfor tracing theearliest growth of religious ideasinIndia,theonlyrealVedaistheRig-Veda. Rig-Veda meanstheVedaof "Hymns of Praise, Rich,"whichbefore theinitialsoftletterofVedaischangedtoRig,beingderivedfromaroot whichinSanskritmeanstocelebrate. TheSanhit^,acollectionofitcon-sistsoftenbooks,containingaltogether1,028hymns. Mullerascribesthecompositionof theVaidichymnstoalaterperiod thanBunsendoes;andinhisfearofshockingEnglishprejudices,isexceed-inglyvague and unsatisfactoryupon that point. EvenBunseniscareful nottosaythattheVedaisolderthantheHebrewbooks. TheBiblical chronology,thenecessityofconsideringmeremythsandlegendsashistorical, andthesupposedinexorablenecessityofadmittingthatallmankindhas descendedfrom.onemanandwoman,aresadlyinthewayofexhaustive inquiry astothe origines ofhumanracesandhuman languages. These sagacious andastute inquirersthoroughlysatisfyand convinceusthatall theEuropeanlanguagesarefromthesameancientsourceastheIndian andPersian,buttheirattemptstoshowarelationshipbetweentheseand theSemitictonguesarelamentablefailures. AstotheTuranian languages, thatis, thethousandlanguagesofAsia,AfricaandAmericathathave nothing incommonwitheachother, theyveryfaintlysuggest acommon originwith theAryanandSemitictongues;andarenotquiteboldenough toclaimthattheyalsoarethedescendantsofancestorsofourrace,and emigrantsfromAiryanaVaj&. Mullerwellsaysthat therealhistoryofmanisthehistoryofreligion,thewaysbywhichthedifferent familiesofthehumanraceadvancedtowardsatruerknowledgeandadeeperlove ofGod:thatthisisthelight,thesoulandthelifeofhistory. ThereisnothingofitinthehistoryoftheearlySemiticraces. Whenthe Hebrews werecarriedawaytoBabylon,theyhadmadenosuchadvance; for they had no truer knowledge of the Deity than Abraham the Chaldaean

The semantics of Samskr̥tam words are essential to understand the frontier knowledge system of Consciousness. There are no equivalents in English or any other language to express the multi-variate dimensions of Consciousness studies presented by a number of technical expressions discussed in this monograph. These technical expressions related to ātmavidyā or science of consciousness are best elucidated by looking at the meanings conveyed in Samskr̥tam expressions from Vedic times. āsana आसन sitting in peculiar posture according to the custom of devotees , (five or , in other places , even eighty-four postures are enumerated ; » पद्मा*सन, भद्रा*सन , वज्रा*सन , वीरा*सन , स्वस्तिका*सन: the manner of sitting forming part of the eightfold observances of ascetics) ātman आत्मन् principle of life and sensation ākāśa आ-काश m. (Ved.) or (later) n. (ifc. f(आ).) a free or open space , vacuity; n. (in philos.) the subtle and ethereal fluid (supposed to fill and pervade the universe and to be the peculiar vehicle of life and of sound); आ-काश--भाषित n. (in theatrical language) speaking off the stage (to one out of sight) brahman ब्रह्मन् n. (lit. " growth " , " expansion " , " evolution " , " development "swelling of आत्मन्" , fr. √2. बृह्) pious effusion or utterance , outpouring of the heart in worshipping the gods , prayer; the sacred syllable Om citta चित्त mfn. " noticed " » अ-च्/इत्त; n. attending , observing (तिर्/अश् चित्त्/आनि , " so as to remain unnoticed ") , RV vii , 59 , 8; n. thinking , reflecting , imagining , thought; intention dharma धर्म m. (rarely n. g. अर्धर्चा*दि ; the older form of the RV. is ध्/अर्मन् q.v.) that which is established or firm , steadfast decree , statute , ordinance , law; usage , practice , customary observance or prescribed conduct , duty; right , justice (often as a synonym of punishment); virtue , morality , religion , religious merit , good works ( ध्/अर्मेण ind. or °मात् ind. according to right or rule , rightly , justly , according to the nature of anything ; cf. below ; °मेस्थित mfn. holding to the law , doing one's duty); Law or Justice personified (as इन्द्र S3Br. &c ; as यम MBh. ; as born from the right breast of यम and father of शम , काम and हर्ष ib. ; as विष्णु Hariv. ; as प्रजा-पतिand son-in-law of दक्ष Hariv. Mn. &c ; as one of the attendants of the Sun L. ; as a Bull Mn. viii , 16 ; as a Dove Katha1s. vii , 89 , &c ) dhyāna ध्यान n. meditation , thought , reflection , (esp.) profound and abstract religious meditation , (°नम् आपद् , आ- √स्था or °नं- √गम् , to indulge in religious meditation) ChUp. Mn. MBh. Ka1v. &c (with Buddhists divided into 4 stages MWB. 209 Dharmas. lxxii ; but also into 3 ib. cix); mental representation of the personal attributes of a deity guṇa गुण m. ( √ ग्रह् Un2. ) a single thread or strand of a cord or twine (e.g. त्रि-ग्° q.v.) , string or thread , rope TS. vii Mr2icch. Kum. Ragh.; (in सांख्य phil.) an ingredient or constituent of प्रकृति , chief quality of all existing beings (viz. सत्त्व , रजस् , and तमस् i.e. goodness , passion , and darkness , or virtue , foulness , and ignorance ; cf. RTL. pp. 31 ; 36 ; 163) Mn. i ; iii , 40 ; xii , 24 ff. Sa1m2khyak. Bhag. xiii f.; a property or characteristic of all created things (in न्याय phil. twenty-four गुणs are enumerated , viz. 1. रूप , shape , colour ; 2. रस , savour ; 3. गन्ध , odour ; 4. स्पर्श , tangibility ; 5. संख्या , number ; 6. परिमाण , dimension ; 7. पृथक्त्व , severalty ; 8. संयोग , conjunction ; 9. विभाग , disjunction ; 10. परत्व , remoteness ; 11. अपरत्व , proximity ; 12. गुरुत्व , weight ; 13. द्रवत्व , fluidity ; 14. स्नेह , viscidity ; 15. शब्द , sound ; 16. बुद्धि or ज्ञान , understanding or knowledge ; 17. सुख , pleasure ; 18. दुःख , pain ; 19. इच्छा , desire ; 20. द्वेष , aversion ; 21. प्रयत्न , effort ; 22. धर्म , merit or virtue ; 23. अधर्म , demerit ; 24. संस्कार , the self-reproductive quality) īśvara ईश्वर mfn. able to do , capable of (with gen. of Vedic inf. , or with common inf.) , liable , exposed to AV. TS. S3Br. AitBr. Kum. Hit. &c; m. the Supreme आत्मन् Mn. Sus3r. Ya1jn5. &c karman कर्मन् n. (आ m. L. ) , ( √कृ Un2. iv , 144), act , action , performance , business RV. AV. S3Br. MBh. &c; office , special duty , occupation , obligation (frequently ifc. , the first member of the compound being either the person who performs the action [e.g.वणिक्-क्°] or the person or thing for or towards whom the action is performed [e.g. राज-क्° , पशु-क्°] or a specification of the action [e.g. शौर्य-क्° , प्रीति-क्°]) S3Br. Mn. Bhartr2. &c; action consisting in motion (as the third among the seven categories of the न्याय philosophy ; of these motions there are five , viz. उत्-क्षेपण , अव-क्षेपण , आ-कुञ्चन , प्रसारण , and गमन , qq. vv.) Bha1sha1p. Tarkas.; organ of sense S3Br. xiv (or of action » कर्मे*न्द्रिय); (in Gr.) the object (it stands either in the acc. [in active construction] , or in the nom. [in passive construction] , or in the gen. [in connection with a noun of action] ; opposed to कर्तृ the subject) Pa1n2. 1-4 , 49 ff. (it is of four kinds , viz. a. निर्वर्त्य , when anything new is produced e.g. कटं करोति , " he makes a mat " ; पुत्रं प्रसूते , " she bears a son " ; b. विकार्य , when change is implied either of the substance and form e.g. काष्ठं भस्म करोति , " he reduces fuel to ashes " ; or of the form only e.g. सुवर्णं कुण्डलं करोति , " he fashions gold into an ear-ring " ; c. प्राप्य , when any desired object is attained e.g. ग्रामं गच्छति , " he goes to the village " ; चन्द्रं पश्यति , " he sees the moon " ; d. अनीप्सित , when an undesired object is abandoned e.g. पापं त्यजति , " he leaves the wicked ") mantra मन्त्र m. (rarely n. ; ifc. f(आ).) , " instrument of thought " , speech , sacred text or speech , a prayer or song of praise RV. AV. TS; a mystical verse or magical formula (sometimes personified) , incantation , charm , spell (esp. in modern times employed by the शाक्तs to acquire superhuman powers ; the primary मन्त्रs being held to be 70 millions in number and the secondary innumerable RTL. 197-202) RV. (i , 147 , 4) A1s3vS3r. Mn. Katha1s. Sus3r. māyā माया f. art , wisdom , extraordinary or supernatural power (only in the earlier language); (with शैवs) one of the 4 पाशs or snares which entangle the आत्मन् ; (with वैष्णवs) one of the 9 शक्तिs or energies of विष्णु mokṣa मोक्ष m. (ifc. f(आ).) emancipation , liberation , release from (abl. , rarely gen. or comp.) MBh. Ka1v. &c; release from worldly existence or transmigration , final or eternal emancipation Up. Mn. MBh. &c ( IW. 39) maṇḍala मण्डल mf(आ)n. circular , round VarBr2S.; n. a partic. oblation or sacrifice nirvāṇa निर्-° वाण mfn. blown or put out , extinguished (as a lamp or fire) , set (as the sun) , calmed , quieted , tamed (cf. अ-निर्व्°) , dead , deceased (lit.having the fire of life extinguished) , lost , disappeared MBh. Ka1v. &c; n. (with Buddhists and जैनs) absolute extinction or annihilation (= शून्य L. ) of individual existence or of all desires and passions ojas ओजस् n. ( √वज् , or उज् ; cf. उग्र) , bodily strength , vigour , energy , ability , power RV. AV. TS. AitBr. MBh. &c; vitality (the principle of vital warmth and action throughout the body) Sus3r. &c; m. N. of a यक्ष BhP. ; ([cf. Zd. avjan3h , " power " ; Lat. vige1re , augere , augur , augus-tus , auxilium ; Goth. aukan , Eng. eke.])

-- Tablets of destiny brought by Śyena are Indus Script Corpora Soma, amśu wealth accounting metalwork ledgers -- Inthe prayers of R̥gveda IV.27.1-4 the devatā is Śyena; it is the rock from which the eagle brought Soma (RV 4.26, 27) -- Śyena citi is a Veda altar shape which is caturaśra, 'quadrangular' to bring home and purify Soma, amśu -- Soma purification is metallurgical process in Agni,'fire' in a citi, 'fire-altar' -- Offspring of Viśvakarman are artisans working with Soma, amśu to create the shared wealth of a Rāṣṭrram -- Saēna in Avestan, Simorg in Persian is cognate śyēna mr̥ga (Samskr̥tam) -- Tablets of Destiny, vajra 'thunderbolt' are Indus Script hypertexts brought home by Śyena, amśu, Anzu to create the wealth of a Rāṣṭrram --Śyena brings Soma from heaven (RV IV.38.5), parallel narratives of saena or simorg --Metalwork using Agni, consecrated, sacred fire constituted a revolutionary phenomenon of the Bronze Age in a way men and women related to and worked with products of nature, mineral ores, in particular, which created a new meaning for Soma, ayas, 'alloy metal' or wealth or treasure of a nation -- Zoomorphic means 'of or relating to a deity or other being conceived of as having the form of an animal'. -- Tablets of destiny brought by Anzu (zoomorph of Veda amśu)= Śyena are Indus Script Corpora tablets, seals and inscriptions documented by kāyastha, 'scribes' of Soma = amśu wealth accounting metalwork ledgers; this is exemplified by the anthropomorphs of Nandi or bull-man in Citragupta mandiram of Khajuraho. -- Anzu (Sumer)(cognate amśu (RV), ancu 'iron' (Tocharian) or thunderbolt is biting into a bulll-man or bull-anthropomorph, a brilliant narrative of the desire of the artisan to attain heaven, to acquire wealth, Soma. Bas relief of Anzud attacking a man-headed bull. For more information on Imdugud/Anzud, see Beijing World Art Museum for an article by Richard Zettler.(embedded). See: Venerated नन्दिन् < nandu 'increase, prosperity', Gaṇeśvara. पोळ poḷa 'zebu' is Indus Script hieroglyph signifies 'magnetite, ferrite ore' treasure https://tinyurl.com/y5wxnszv One of the Aṣṭa Vasus, holding triśūla, lotus stalk (stylus) and Kamaṇḍalu, with fire by his side, Chitragupta Temple, Khajuraho. The monograph is organized in the following sections: Section A. Śyena brings Soma from heaven Section B. Anzu steals the Tablets of Destiny Section C. Saēna, simorg (Persian), Sēnmurw (Pahlavi), Sīna-Mrū (Pāzand) are cognate with Śyena Section D. Soma amśu, products; śyēna, Anzu metaphors; Indus Script hypertexts of metals foundries Section E. Thunderbolt, vajra Bhāratīya traditions of veneration, objective of Soma Yajña, is heaven; work as worship is kailāsa heaven Soma is amśu, anzu of the jangama, the itinerant artisan, seafaring merchant. Soma is the product of the strong work, profession, trade of the Meluhha artisan who is also a seafaring merchant immersed in Veda, i.e., acquiring knowledge about properties of matter and enable creation of shared wealth of a nation. Soma is quintessential sacred process of R̥gveda. Significance of the falcon-shape for the Citi, 'fire-altar' to process Soma, is emphatically declared in YV V.4.1.11.1: "He should pile in hawk shape who desires the sky; the hawk is the best flier among birds; verily becoming a hawk he flies to the world of heaven...by the offspring to Viśvakarman he was set free from evil; in that he offers a libation to Agni of the front, Agni of the front, delighted with his own portion, burns away his evil, and he is set free from his evil by the offering to Visvakarman." The hawk-shape or quadrangular-body shape of the falcon, in the expression Caturaśra Śyena Citi is elaborated in Veda texts. This shape yields sacred space. The bird will return the tablets of destiny, the Indus Script Corpora to the offspring of Viśvakarman, artisan par-excellence, the divinity. Artisans, maruts, Rudra, Vasu are divine and are venerated. The intensity of human endeavours to accomplish the desires gets enshrined in the famous dictum succinctly stated by Basava in the exhortaion: kāyakave kailāsa, 'work is worship'. కాయకము or కులకాయకము kāyakamu. [Tel.] n. Profession, trade, art. జీవనము. See కాయికము. కాయకము (among the Jangams) signifies a prayer or vow. ప్రార్థన, వ్రతము.కాయికము kāyikamu. [Skt.] n. Daily interest నానాటివడ్డి. కాయికములమారి a rogue or cheat. adj. Lit. pertaining to the body. దేహసంబంధమైన. Slight, not strong, జబ్బు. కాయికపుపని not strong work. జింగమము jangamamu. [Skt.] adj. Moveable, not stationary. తిరుగునది.జంగమ కట్టుబడి a temporary bailiff. జంగమనగము, (Vasu. iii. 249.) జంగమగ్రావము, or జంగమాద్రి rolling rock, a moving hill. P. i. 202; iii. 62. n. A moveable or chattel; property, personalty. Cattle, cows, sheep, &c. జంగముడు jangamuḍu. n. Jangam, or worshipper of Basava. L. XIV. 210. జంగమత్వము jangamatvamu. n. Moveableness, locomotion. G. ix. 121జంగము ḍzangamu. [Tel.] n. (Lit. a sojourner) A Jangam. Name of a Saivite sect, the members of which wear the lingam. Sign1 of Indus Script Corpora (ASI 1977 sign list of Mahadevan). This hieroglyph signifies kāyaka 'body' rebus: kāyaka 'work, profession' PLUS meḍ 'body' rebus: meḍ, med 'iron, copper'.; thus, metal worker or metal artisan or metalsmith. This is the highest tribute paid to the artisans of the civilization, the offspring of.Viśvakarman. Three flying birds are abiding metaphors in R̥gveda. The glosses are: śyēna, patanga, mākṣikā. The three glosses are rebus-metonymy renderings of sena 'thunderbolt'; patanga 'mercury'; mākṣikā 'pyrites' -- three references to metalwork catalogs of Bhāratam Janam, 'lit. metalcaster folk'. A variant phonetic form of mākṣikā is makha 'fly, bee, swarm of bees' (Sindhi). The rebus-metonymy for this gloss is: makha 'the sun'. Mahavira pot is a symbol of Makha, the Sun (S'Br. 14.1.1.10). In Vedic texts, weapon of Divinity Indra is vajra, thunderbolt lightning. The name "thunderbolt" or "thunderstone" -- vajrāśani (Ramayana) --has also been traditionally applied to the fossilised rostra of belemnoids. The origin of these bullet-shaped stones was not understood, and thus a mythological explanation of stones created where a lightning struck has arisen. (Vendetti, Jan (2006). "The Cephalopoda: Squids, octopuses, nautilus, and ammonites", UC Berkeley) In Malay and Sumatra they are used to sharpen the kris, are considered very lucky objects, and are credited with being touchstones for gold. Caturaśra Śyena Citi, the shape of the Vedic fire-altar becomes the recurrent hieroglyph used on Indus Script Corpora and in the architectural designs of sacred places of worship called mandiram or temples. Shape of Caturaśra Śyena in Mānava Śulbasūtra, Harappa seal h166 narrative Caturaśra Śyena rebus آهن ګر āhan gar 'thunderbolt makersmith' https://tinyurl.com/y3s9tomm It appears that the body of the syena is quadrangular Caturaśra Śyena, or "four-sided falcon." (Mānava Śulbasūtra): After Patrick A. George ([email protected]) http://ccat.sas.upenn.edu/george/vedi.html Śyena as sacred space is defined by the shape of the body of the falcon which is called Caturaśra Śyena. The expression is documented in ancient texts. शब्दकल्पद्रुमः and वाचस्पत्यम् चतुरश्रः, त्रि, (चतस्रोऽश्रयोऽस्य । “सुप्रातसुश्व-सुदिवेति ।” ५ । ४ । १२० । इति अच्प्रत्ययेननिपातितः ।) चतुष्कोणः । यथा, --“चतुरश्रं त्रिकोणं वा वर्त्तुलं चार्द्धचन्द्रकम् ।कर्त्तव्यमानुपूर्ब्बेण ब्राह्मणादिषु मण्डलम् ॥”इत्याह्रिकतत्त्वे बौधायनः ॥लग्नाच्चतुर्थाष्टमलग्नम् । इति दीपिका ॥ https://sa.wikisource.org/wiki/शब्दकल्पद्रुमः चतुरश्र त्रि० चतस्रोऽश्रयः कोणा अस्य नि० अच् । १चतुष्कोणे पा० तालव्यमध्यस्यैव निपातनम् । दन्तमध्यत्वेचतुरस्रिरित्येव स्यात् । अस्य दन्त्यमध्यत्वं शब्दकल्पद्रु-मोक्तं चिन्त्यम् सुप्रातसुश्वेति” पा० ५ । ४ । १ सू०तालमध्यस्यैव ग्रहणात् “चतुरश्रं त्रिकोणं वा वर्त्तुलंचार्द्धचन्द्रकम् । कर्त्तव्यमानुपूर्ब्बेण ब्राह्मणादिषु मण्ड-लम्” वौधा० । २ ब्रह्मसन्ताने केतुभेदे पु० “चतुरश्रा,ब्रह्मसन्तानाः” वृ० सं० ११ अ० । केतुशब्दे दृश्यम् । ३ अन्यूनानतिरिक्ते त्रि० ।“बभूव तस्याश्चतुरश्रशोभि” कुमा० ।“चतस्रोऽश्रयोऽस्य तच्चतुरश्रमन्यूनानतिरिक्तम्” मल्लि० । https://sa.wikisource.org/wiki/वाचस्पत्यम् This Harappa seal h166 shows how a चतुरश्र citi or Caturaśra Śyena are comparable architectural forms. Archiecture of Ellora Kailāsa mandiram is also Caturaśra, consistent with Veda tradition. Objective of śyena citi is heaven. The Veda metaphor is that worshipper and his wife mount the caṣāla to attain heaven. Yajña, मेधा , intelligence , knowledge , understanding is also = धन Naigh. ii , 10 in the context of Indus Script metaphorical rebus renderings. The evidence is emphatic that Indus Script is a Veda cultural continuum. Here are two seals which are representative; they seal the Veda foundations of Indus Script narratives in over 8000 inscriptions. The thunderbolt maker is آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith (Pashto). Hence, gaṇḍabheruṇḍa idiom of the historical tradition continuum from Veda metaphors. GonurTepe settlement layout architecture is Caturaśra 'quadrangular'. Caturaśra Śyena Citi is a foundational framework for the processing of Soma to create the wealth of a nation by the shared wealth created by artisans and seafaring Meluhha merchants.

智山学報（Journal of Chisan Studies）, 2002

The Volatile World of Sovereignty, 2015

In the author’s opinion, although solar images are used in the hymns to depict the three well-known ancient Vedic ascetic figures of the Brahmacārin, Keśin and vrātya, any interpretation that considers these compositions as mere solar hymns actually betrays their sense. This also seems to hold true for AVŚ 13.4. Thus, by focusing on the structural affinity between hymn 13.4 and the Ekavrātya hymn (AVŚ 15.1), the author shows that these figures of ascetics share the same goal of reaching the status, power and knowledge of a God and that the system of reciprocal cross-references supposed to be crucially involved in the Brahmacārin and the Ekavrātya AV hymns has to be extended to hymn 13.4.

In Sanatana Dharma traditions, divinity is seen in every phenomenon. This is exemplified by the performance of Yajna or Puja offering prayers to both animate and inanimate objects deifing them as Āprī divinities. Same principle applies to the performance of Puja which is more than a mere prayer. It is a communion with the metaphors of divinity by treating the manifestations of the divine as atithi-s, guests invited, invoked and offered respectful आतिथ्य ātithya 'hospitality' in the sacred place of a temple or a puja room or precinct in a home. ātithya आतिथ्य a particular rite, the reception of Soma when it is brought to the sacrificial place (also called आतिथ्येष्टिः) -Comp. -रूप a. being in the place of the आतिथ्य Yajna; आतिथ्यरूपं मासरम् Vāj.19.14. This tradition becomes the doctrine for Pujavidhi, rules for performance of ātithya आतिथ्य when venerating Rudra-Siva and other divinities. The place of work is the place of worship. The smithy, kole.l is a temple, kole.l (Kota language. Mleccha/Meluhha Indian sprachbund). Sivalinga, as a pillar of light. Lingam, grey sandstone in situ, Harappa, Trench Ai, Mound F, Pl. X (c) (After Vats). "In an earthenware jar, No. 12414, recovered from Mound F, Trench IV, Square I... in this jar, six lingams were found along with some tiny pieces of shell, a unicorn seal, an oblong grey sandstone block with polished surface, five stone pestles, a stone palette, and a block of chalcedony..." (Vats, MS, 1940, Excavations at Harappa, Vol. II, Calcutta, p. 370) "In the adjoining Trench Ai, 5 ft. 6 in. below the surface, was found a stone lingam [Since then I have found two stone lingams of a larger size from Trenches III and IV in this mound. Both of them are smoothed all over]. It measures 11 in. high and 7 3/8 in. diameter at the base and is rough all over.’ (Vol. I, pp. 51-52)." See: http://bharatkalyan97.blogspot.in/2015/04/sivalinga-in-dholavira-depicted-as.html Sivalinga in Dholavira depicted as mēḍhī 'pillar, part of a stupa' (Pali. Marathi) Rebus:meḍ 'iron, metalwork, metal castings' Relief with Ekamukha linga. Mathura. 1st cent. CE (Fig. 6.2). This is the most emphatic representation of linga as a pillar of fire. The pillar is embedded within a brick-kiln with an angular roof and is ligatured to a tree. Hieroglyph: kuTi 'tree' rebus: kuThi 'smelter'. In this composition, the artists is depicting the smelter used for smelting to create mũh 'face' (Hindi) rebus: mũhe 'ingot' (Santali) of mēḍha 'stake' rebus: meḍ 'iron, metal' (Ho. Munda). मेड (p. 662) [ mēḍa ] f (Usually मेढ q. v.) मेडका m A stake, esp. as bifurcated. Āprī divinities are personified objects belonging to the fire-sacrifice, objects such as firewood , sacred grass , enclosure, all regarded as different forms of अग्नि. Budha with consort Ilā (Ila as a woman). Ilā is praised as Idā (Sanskrit: इडा) in the Rigveda; signifies food and refreshment, personified as the goddess of speech and described as mother of Pururavas. She presides over the Earth. She is described as the Mānavi (daughter of Manu) and Ghṛtapadī (with the ghee-dripping foot) and she is represented by a cow. In RV 1.31.11 she is instructress of Manu: 1.031.11 The gods formerly made you, Agni, the living general of the mortal Nahus.a; they made Il.a_, the instructress of Manu, when the son of my father was born. [Nahus.a was the son of A_yus, son of Puru_ravas, who was elevated to heaven as an Indra. Il.a_ institues the first rules of performing sacrifices, hence she is S'a_sani_ = dharmopades'akartri_, the giver of instruction in duty]. She lays down the rules, doctrine śāsana शासन of a yajna and for dharma. Ilā is considered the chief progenitor of the Lunar Dynasty. Ailas are "descendants of Ilā". iḍā f. (metaphorically see id - ), stream or flow of praise and worship (personified as the goddess of sacred speech and action, invoked together with aditi - and other deities, but especially in the āprī - hymns together with sarasvatī - and mahī- or bhāratī http://sanskritdictionary.com/?q=i%E1%B8%8D%C4%81 Ilā is an Āprī divinity. Tiruvengadu Budha temple. http://www.southindiatoursandtravels.com/?Budhan Many animate and inanimate participants in the creation and sustenance of Agni are Āprī deities. The object is the winning of wealth, of Soma (aṁśú). See: http://bharatkalyan97.blogspot.com/2015/05/soma-and-amsu-in-rigveda-as-apri.html Soma and amśu in Rigveda as āprī deified objects of metalwork, transmutation in Vedic texts, metalwork catalogues of Indus Script Corpora One Āprī divinity, a different form of Agni is Indra. Indras is also a rainbow, a divinity of rain: índra m. ʻ the god Indra ʼ RV. Pa. inda -- m., Pk. iṁda -- m.; Kt. ī˜dr ʻ name of a god ʼ, Pr. indr, Kal. in, gen. indras; S. ĩḍra -- laṭhi f. ʻ rainbow ʼ; OMarw. ī˜da, Si. in̆du. WPah.poet. indra m. ʻ god of rain ʼ (← Sk.?). (CDIAL 1572) A cognate gloss indhan points to the relationship with Agni by a play of words creating a metaphor: indhana n. ʻ lighting, kindling, fuel ʼ MBh. [√indh] Pa. indhana -- n. ʻ fuel ʼ, Pk. iṁdhaṇa -- n., P. innhaṇ m., B. indhan (← Sk.?), Aw. lakh. ī˜dhanu, H. ī˜dhan m., G. ĩdhaṇ, ĩdhṇũ n., (North Gujarat) e_dhṇã̄ n. pl. -- Kal. idhōn ʻ tripod to put over the fire ʼ semant. difficult, poss. *indhanakuṭaka ʻ fuel -- store ʼ [indhana -- , kuṭī -- ] H. ĩdhauṛā m. ʻ room for storing wood ʼ. (CDIAL 1584, 1585). Indra is invoked in RV 1.4.2 as a drinker of Soma: RV 1.4: r.s.i: madhucchanda_ vais'va_mitra; devata_: indra; chanda: ga_yatri_ Anuva_ka II 1.004.02 Drinker of the Soma juice, come to our (daily) rites, and drink of the libation; the satisfaction of (you who are) the bestower of riches, is verily (the cause of) the gift of cattle. This provides the lead for identifying participating resources in the Soma yajna deified as Āprī deities. The objects and resources deified are both animate and inanimate. Animate resources include: Narāśaṁsa and Tanūnapāt. Inanimate resources include objects such as samidhā and barhis which are kindled to augment fire in the yajna; in one semantic stream barhis becomes fire itself: बर्हिः Fire. -n. The Kuśa grass. -Comp. -न्यायः a rule of interpretation according to which an expression must be understood in its primary sense rathar than in its secondary sense. This is discussed and established by Jaimini and Śabara at MS.3.2.1 and 2. samidha: sáminddhē ʻ sets fire to, takes fire, sámiddha -- ʻ ignited ʼ RV. [Cf. samídh -- f. ʻ fuel ʼ RV., Pa. samidhā -- f., Pk. samihā -- f. -- √indh] P. sũdhkaṇā ʻ to be kindled ʼ, sũdhkāuṇā ʻ to kindle ʼ. (CDIAL 13225); barhis, Kuśa grass: barhis बर्हिस् m., n. [बर्ह् कर्मणि इसि] 1 Kuśa grass; प्राक् कूले बर्हिष्यासीनो गङ्गाकुल उदङ्मुखः Bhāg.12.6.1; नियमविधिजलानां बर्हिषां चोपनेत्री Ku.1.6. -2 A bed or layer of Kuśa grass. -3 A sacrifice, oblation; ये बर्हिषो भागभाजं परादुः Bhāg.4.6.5. -m. 1 Fire. -2 Light, splendour. -n. 1 Water. -2 Sacrifice. -3 Ether. ¬--4 A kind of perfume. -Comp. -उत्थः, -केशः, -ज्योतिस्m. an epithet of fire. -मुखः (बर्हिर्मुखः) 1 an epithet of fire. -2 a god (whose mouth is fire). -शुष्मन् m. an epithet of fire. -सद् (बर्हिषद्) a. seated on a layer of Kuśa grass. (-m.) 1 the manes (pl.); Ms.3.199. -2 a Pitṛi or deified progenitor. (Samskritam. Apte) Of the ten Aprisuktas mentioned in Gargya Narayana's commentary, I.13 and I.142 both invoke the Narāśaṁsa and Tanūnapāt manifestations of Agni, I.188, III.4, IX.5 and X.110 invoke only the Tanūnapāt manifestation and II.3, V.5, VII.2 and X.70 invoke only the Narāśaṁsa manifestation. Āprīsūkta Ṛṣi Gotra 1.13 Medhātithi Kāṇva Kāṇva 1.142 Dīrghatamā Aucathya Āngirasa 1.188 Agastya MaitrāvaruṇI Agastya 2.3 Gṛtsamada Śaunahotra Śaunaka 3.4 Viśvāmitra Gāthina Kauśika 5.5 Vasuśruta Ātreya Ātreya 7.2 Vasiṣṭha MaitrāvaruṇI Vāsiṣṭha 9.5 Asita or Devala Kāśypa Kāśypa 10.70 Sumitra Vādhryaśva Bharata 10.110 Rāma Jāmadagnya or Jamadagni Bhārgava The āprī ricas 3.4.8-11 = 7.2.8-11 are ascribed in the third book to ViSvAmitra GAthina, in the seventh book to VasiSTha MaitrAvaruNI. Apri devatas include Sarasvatī Nadi, a metaphoric transformation of a river as a divinity invoked in prayer and yajna. It is posited that the veneration of Soma as a divinity in Rigveda is comparable to this metaphoric transformation achieved in chandas prosody tradition. Soma, an object, electrum is deified in a supreme āprī आप्री as propitiatory diction, presenting the entire Rigveda in nuce, in a nutshell related to processing of Soma, aṁśú. Comparable to the metalwork as deified objects, the Indus Script Corpora consisting of metalwork catalogues are also a celebration of the innovations achievd during the Bronze Age with metalcastings, cire perdue techniques of casting and creation of alloys for hardened tools, pots and pans, metalware and weapons. āprī आप्री f. [आप्रीणात्यनया आ-प्री-ड-गौरा˚ ङीष्] Ved. 1 Conciliation, propitiation, gaining one's favour. -2 (pl.) 'Propitiatory verses', a name given to certain invocations addressed to several deified objects in con- secutive order, and said to be introductory to the animal sacrifice; some take the Apris to represent the objects themselves, the verses being consequently called Apri verses. The objects invoked are 12:- Susamiddha, Tanūnapāt, Narāśaṁsa, the divine being bearing invocations to the gods, Barhis, the doors of the sacrificial chamber, night and dawn the two divine beings protecting the sacrifice, the three goddesses Ilā, Sarasvatī, and Mahī, Tvaṣṭṛi, Vanaspati and Svāhā, (all these being regarded by Sāyaṇa to be different forms of Agni); स एता आप्रीरपश्यत्ताभिर्वै स मुखत आत्मानमा- प्रीणीत; cf. also Max Muller's Hist. Anc. Lit. pp. 463-466.(Samskritam. Apte)