Upabrmhana and Rgveda Interpretation

SR No.: 001582
Original Sutra Author: N/A
Author: T G Manikar
Publisher: L D Indology Ahmedabad
Publication Year: 1975
Total Pages: 74
Language: English
Classification: Book_English, Literature, & Story
File Size: 5 MB

Page 19

10
The Upabyrhana and the Rgveda Interpretation
Thus Sāyaṇācārya's view that the name of the lady was Juhū is not supported here by a source which obviously has a greater authenticity. The Tāņdyn Brāhmaṇa speaks of a "Saumāyana Budha' and this would suggest that from Soma, Tārakā had a son who was named as Budha.
The later ages unable to accept the violence implied in the story wove a myth round the names of Bșhaspati, Tärakā, Soma and Budha and distorted it completely. Astronomical interpretations were available and thus the story was lifted from its social plane to the mythological plane and given a garb of an allegory. But it is refreshing to find the Purānas throwing a welcome light on the episode. In the Bhāgavata Purana (9.14) we are told that King Soma had performed the Rajasüya sacrifice and was a powerful lord of the three worlds. Infatuated and drunk with power, he carried away Tārā, the wife of Brhaspati. A fierce struggle followed and she was restored to her husband. From Soma was born to her Budha who was the father of Purūravas. It is to be furthur remembered that the Śrīmadbbāgavata Purāņa narrates this account in a historical context when It is speaking of the Lunar Dynasty. From this confirmation of the broad elements of the episode it would appear that the Rgvedic hymn is a narra. tion of a historical event and the language of the hymn is indicative of the attitude of the contemporary society towards this royal crime. It is in this manner that the Purāņa helps us in understanding in some measure the unintelligible portions of the Rgveda, historical elements being a common field of activity of the Rși tradition and also of the Süla tradition.
What is true of historical material is also true of mythological material available in the two traditions wbich I am discussing here. In the Rgvedic songs on account of the metaphors and the symbols used the half-formed myths become all the more unintelligible. They appear in an exceedingly confused form and often without proper motivation with many vital links missing. At such places, the Itibāsa and the Puranas on account of their supplementary and confirmatory nature in respect of the ancient Vedic tales and myths come to our help and often render the material somewhat intelligible. In this context I may refer to a few illustrations.
The Rgvedic hymn of Nābhänediştha (X.6l) is regarded by many scholars as unintelligible. Ludwig describes the hymn as most difficult almost one of the hopeless portions of the Rgveda, Griffith is not able to see any intelligible connection between the various parts of the hymn. The hymn, on the basis of its material, divides itself into different parts as Ludwig bas shown : 1-4;5-9;10-13; and the last being from 14 onwards. I here refer to the second part of the hymn, verses 5-9 which deal with the episode of Brahma and his Daughter. The father, we are told conceived a passion for his daughter. It is clear that here we have the germ of the later story of Prajapati and his daughter, which perhaps are to be taken