Upabrmhana and Rgveda Interpretation

Author(s): T G Manikar
Publisher: L D Indology Ahmedabad

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The Hymn of Agastya and Lopamudra (I. 179)
realistic geographical setting are absent. Natural phenomenon or a historical happening evoking wonder and admiration are given in a symbolical language, in a poetical mode and in a mythological garb. Human characters have a certain faintness about them. In its second phase the matter became a 'ritualistic tale' narrated by a priest with the ritualistic jargon. The Purūravas Urvaśı tale is set in the Gandharva Agni Lore and the Saramā Pani story is set in the Abhiplava ceremony. Ritualistic, historical, geographical additions can be easily marked out in this phase. The Brāhmaṇa literature is seen representing this phase. The third phase is the 'religio-moralistic phase and is presented in the Itibāsa and the Purana literature where an attempt to rationalize and an attempt to deduce morals is evident. The Indra Ahalya episode as narrated in this literature is an illustration and many more could be cited. The last and the fourth phase is that of 'romance' to be seen in the Classical literature where artistic element play a dominant part. One may in this context refer to the Purüravas Urvasi story in the Vikramorvasiyam of Kalidāsa. The Vedic material usually passes through these four phases.
But in spite of these additions and accretions, the bare essential thread and some important details, often interesting missing links are preserved in the secular tradition, the Suta tradition, elements not preserved in the Rşi tradition. It is this element that is useful in the process of iu pabríhana' that I have been speaking of and arguing here. I need not add, I believe before I close, that caution and critical acumen would be of utmost importance in this process of the 'upabộrhana'. In the absence of these two very vital qualities the ‘upabțmhana' is likely to degenerate into a mere blind traditionalism, a danger to be avoided at all costs in the interpretation of the Rgveda. No real success in the task of the interpretation can be achieved either by a blind traditionalism or by letting fancy loose on its wings. Here, as elsewhere, 'golden mean' is the best rule.