It was natural, therefore, that the literary works of such a nation, when first discovered in Sanskrit MSS. by Wilkins, Sir W. Jones, and others, should have attracted the attention of all interested in the history of the human race. A new page in man's biography was laid open, and a literature as large as that of Greece or Rome was to be studied. The Laws of Manu, the two epic poems, the Râmâyana and Mahâbhârata, the six complete systems of philosophy, works on astronomy and medicine, plays, stories, fables, elegies, and lyrical effusions, were read with intense interest, on account of their age not less than their novelty.
Still this interest was confined to a small number of students, and in a few cases only could Indian literature attract the eyes of men who, from the summit of universal history, survey the highest peaks of human excellence. Herder, Schlegel, Humboldt, and Goethe, discovered what was really important in Sanskrit literature. They saw what was genuine and original, in spite of much that seemed artificial. For the artificial, no doubt, has a wide place in Sanskrit literature. Everywhere we find systems, rules and models, castes and schools, but nowhere individuality, no natural growth, and but few signs of strong originality and genius.
There is, however, one period of Sanskrit literature which forms an exception, and which will maintain its place in the history of mankind, when the name of Kalidâsa and Sakuntalâ will have been long forgotten. It is the most ancient period, the period of the Veda. There is, perhaps, a higher degree of interest attaching to works of higher antiquity; but in the Veda we have more than mere antiquity. We have ancient thought expressed in ancient language. Without insisting on the fact that even chronologically the Veda is the first book of the Aryan nations, we have in it, at all events, a period in the intellectual life of man to which there is no parallel in any other part of the world. In the hymns of the Veda we see man left to himself to solve the riddle of this world. We see him crawling on like a creature of the earth with all the desires and weaknesses of his animal nature. Food, wealth, and power, a large family and a long life, are the theme of his daily prayers. But he begins to lift up his eyes. He stares at the tent of heaven, and asks who supports it? He opens his ears to the winds, and asks them whence and whither? He is awakened from darkness and slumber by the light of the sun, and him whom his eyes cannot behold, and who seems to grant him the daily pittance of his existence, he calls 'his life, his breath, his brilliant Lord and Protector.' He gives names to all the powers of nature, and after he has called the fire Agni, the sun-light Indra, the storms Maruts, and the dawn Ushas, they all seem to grow naturally into beings like himself, nay, greater than himself. He invokes them, he praises them, he worships them. But still with all these gods around him, beneath him, and above him, the early poet seems ill at rest within himself. There too, in his own breast, he has discovered a power that wants a name, a power nearer to him than all the gods of nature, a power that is never mute when he prays, never absent when he fears and trembles. It seems to inspire his prayers, and yet to listen to them; it seems to live in him, and yet to support him and all around him. The only name he can find for this mysterious power is Bráhman; for bráhman meant originally force, will, wish, and the propulsive power of creation. But this impersonal bráhman, too, as soon as it is named, grows into something strange and divine. It ends by being one of many gods, one of the great triad, worshipped to the present day. And still the thought within him has no real name; that power which is nothing but itself, which supports the gods, the heavens, and every living being, floats before his mind, conceived but not expressed. At last he calls it Âtman; for âtman, originally breath or spirit, comes to mean Self and Self aloneSelf whether divine or human, Self whether creating or suffering, Self whether one or all, but always Self, independent and free. 'Who has seen the first-born,' says the poet, 'when he who has no bones (i. e. form) bore him that had bones? Where was the life, the blood, the Self of the world? Who went to ask this from any that knew it?' (Rv.I. 164, 4). This idea of a divine Self once expressed, everything else must acknowledge its supremacy, 'Self is the Lord of all things, Self is the King of all things. As all the spokes of a wheel are contained in the nave and the circumference, all things are contained in this Self; all selves are contained in this Self.33 Bráhman itself is but Self.'34
This Âtman also grew; but it grew, as it were, without attributes. The sun is called the Self of all that moves and rests (Rv. I. 115, 1), and still more frequently self becomes a mere pronoun. But Âtman remained always free from mythe and worship, differing in this from the Bráhman (neuter), who has his temples in India even now, and is worshipped as Bráhman (masculine), together with Vishnu and Siva, and other popular gods. The idea of the Âtman or Self, like a pure crystal, was too transparent for poetry, and therefore was handed over to philosophy, which afterwards polished, and turned, and watched it as the medium through which all is seen, and in which all is reflected and known. But philosophy is later than the Veda, and it is of the Vaidik period only I have here to speak.35
In the Veda, then, we can study a theogony of which that of Hesiod is but the last chapter. We can study man's natural growth, and the results to which it may lead under the most favourable conditions. All was given him that nature can bestow. We see him blest with the choicest gifts of the earth, under a glowing and transparent sky, surrounded by all the grandeur and all the riches of nature, with a language 'capable of giving soul to the objects of sense, and body to the abstractions of metaphysics.' We have a right to expect much from him, only we must not expect in his youthful poems the philosophy of the nineteenth century, or the beauties of Pindar, or, with some again, the truths of Christianity. Few understand children, still fewer understand antiquity. If we look in the Veda for high poetical diction, for striking comparisons, for bold combinations, we shall be disappointed. These early poets thought more for themselves than for others. They sought rather, in their language, to be true to their own thought than to please the imagination of their hearers. With them it was a great work achieved for the first time to bind thoughts and words together, to find expressions or to form new names. As to similes, we must look to the words themselves, which, if we compare their radical and their nominal meaning, will be found full of bold metaphors. No translation in any modern language can do them justice. As to beauty, we must discover it in the absence of all effort, and in the simplicity of their hearts. Prose was, at that time, unknown, as well as the distinction between prose and poetry. It was the attempted imitation of those ancient natural strains of thought which in later times gave rise to poetry in our sense of the word, that is to say, to poetry as an art, with its counted syllables, its numerous epithets, its rhyme and rhythm, and all the conventional attributes of 'measured thought.'
In the Veda itself, howevereven if by Veda we mean the Rig-veda only (the other three, the Sâman, Yagush, and Âtharvana, having solely a liturgical interest, and belonging to an entirely different sphere)in the Rig-veda also, we find much that is artificial, imitated, and therefore modern, if compared with other hymns. It is true that all the 1017 hymns of the Rig-veda were comprised in a collection which existed as such before one of those elaborate theological commentaries, known under the name of Brâhmana, was written, that is to say, about 800 b.c. But before the date of their collection these must have existed for centuries. In different songs the names of different kings occur, and we see several generations of royal families pass away before us with different generations of poets. Old songs are mentioned, and new songs. Poets whose compositions we possess are spoken of as the seers of olden times; their names in other hymns are surrounded by a legendary halo. In some cases, whole books or chapters may be pointed out as more modern and secondary, in thought and language. But on the whole the Rig-veda is a genuine document, even in its most modern portions not later than the time of Lycurgus; and it exhibits one of the earliest and rudest phases in the history of mankind; disclosing in its full reality a period of which in Greece we have but traditions and names, such as Orpheus and Linus, and bringing us as near the beginnings in language, thought, and mythology as literary documents can ever bring us in the Aryan world.
In the Veda itself, howevereven if by Veda we mean the Rig-veda only (the other three, the Sâman, Yagush, and Âtharvana, having solely a liturgical interest, and belonging to an entirely different sphere)in the Rig-veda also, we find much that is artificial, imitated, and therefore modern, if compared with other hymns. It is true that all the 1017 hymns of the Rig-veda were comprised in a collection which existed as such before one of those elaborate theological commentaries, known under the name of Brâhmana, was written, that is to say, about 800 b.c. But before the date of their collection these must have existed for centuries. In different songs the names of different kings occur, and we see several generations of royal families pass away before us with different generations of poets. Old songs are mentioned, and new songs. Poets whose compositions we possess are spoken of as the seers of olden times; their names in other hymns are surrounded by a legendary halo. In some cases, whole books or chapters may be pointed out as more modern and secondary, in thought and language. But on the whole the Rig-veda is a genuine document, even in its most modern portions not later than the time of Lycurgus; and it exhibits one of the earliest and rudest phases in the history of mankind; disclosing in its full reality a period of which in Greece we have but traditions and names, such as Orpheus and Linus, and bringing us as near the beginnings in language, thought, and mythology as literary documents can ever bring us in the Aryan world.
Though much time and labour have been spent on the Veda, in England and in Germany, the time is not yet come for translating it as a whole. It is possible and interesting to translate it literally, or in accordance with scholastic commentaries, such as we find in India from Yâska in the fifth century b.c. down to Sâyana in the fourteenth century of the Christian era. This is what Professor Wilson has done in his translation of the first book of the Rig-veda; and by strictly adhering to this principle and excluding conjectural renderings even where they offered themselves most naturally, he has imparted to his work a definite character and a lasting value. The grammar of the Veda, though irregular, and still in a rather floating state, has almost been mastered; the etymology and the meaning of many words, unknown in the later Sanskrit, have been discovered. Many hymns, which are mere prayers for food, for cattle, or for a long life, have been translated, and can leave no doubt as to their real intention. But with the exception of these simple petitions, the whole world of Vedic ideas is so entirely beyond our own intellectual horizon, that instead of translating we can as yet only guess and combine. Here it is no longer a mere question of skilful deciphering. We may collect all the passages where an obscure word occurs, we may compare them and look for a meaning which would be appropriate to all; but the difficulty lies in finding a sense which we can appropriate, and transfer by analogy into our own language and thought. We must be able to translate our feelings and ideas into their language at the same time that we translate their poems and prayers into our language. We must not despair even where their words seem meaningless and their ideas barren or wild. What seems at first childish may at a happier moment disclose a sublime simplicity, and even in helpless expressions we may recognise aspirations after some high and noble idea. When the scholar has done his work, the poet and philosopher must take it up and finish it. Let the scholar collect, collate, sift, and rejectlet him say what is possible or not according to the laws of the Vaidik languagelet him study the commentaries, the Sûtras, the Brâhmanas, and even later works, in order to exhaust all the sources from which information can be derived. He must not despise the tradition of the Brahmans, even where their misconceptions and the causes of their misconceptions are palpable. To know what a passage cannot mean is frequently the key to its real meaning; and whatever reasons may be pleaded for declining a careful perusal of the traditional interpretations of Yâska or Sâyana, they can all be traced back to an ill-concealed argumentum paupertatis. Not a corner in the Brâhmanas, the Sûtras, Yâska, and Sâyana should be left unexplored before we venture to propose a rendering of our own. Sâyana, though the most modern, is on the whole the most sober interpreter. Most of his etymological absurdities must be placed to Yâska's account, and the optional renderings which he allows for metaphysical, theological, or ceremonial purposes, are mostly due to his regard for the Brâhmanas. The Brâhmanas, though nearest in time to the hymns of the Rig-veda, indulge in the most frivolous and ill-judged interpretations. When the ancient Rishi exclaims with a troubled heart, 'Who is the greatest of the gods? Who shall first be praised by our songs?'the author of the Brahmana sees in the interrogative pronoun 'Who' some divine name, a place is allotted in the sacrificial invocations to a god 'Who,' and hymns addressed to him are called 'Whoish' hymns. To make such misunderstandings possible, we must assume a considerable interval between the composition of the hymns and the Brâhmanas. As the authors of the Brâhmanas were blinded by theology, the authors of the still later Niruktas were deceived by etymological fictions, and both conspired to mislead by their authority later and more sensible commentators, such as Sâyana. Where Sâyana has no authority to mislead him, his commentary is at all events rational; but still his scholastic notions would never allow him to accept the free interpretation which a comparative study of these venerable documents forces upon the unprejudiced scholar. We must therefore discover ourselves the real vestiges of these ancient poets; and if we follow them cautiously, we shall find that with some effort we are still able to walk in their footsteps. We shall feel that we are brought face to face and mind to mind with men yet intelligible to us, after we have freed ourselves from our modern conceits. We shall not succeed always: words, verses, nay, whole hymns in the Rig-veda, will and must remain to us a dead letter. But where we can inspire those early relics of thought and devotion with new life, we shall have before us more real antiquity than in all the inscriptions of Egypt or Nineveh; not only old names and dates, and kingdoms and battles, but old thoughts, old hopes, old faith, and old errors, the old Man altogetherold now, but then young and fresh, and simple and real in his prayers and in his praises.
The thoughtful bent of the Hindu mind is visible in the Veda also, but his mystic tendencies are not yet so fully developed. Of philosophy we find but little, and what we find is still in its germ. The active side of life is more prominent, and we meet occasionally with wars of kings, with rivalries of ministers, with triumphs and defeats, with war-songs and imprecations. Moral sentiments and worldly wisdom are not yet absorbed by phantastic intuitions. Still the child betrays the passions of the man, and there are hymns, though few in number, in the Veda, so full of thought and speculation that at this early period no poet in any other nation could have conceived them. I give but one specimen, the 129th hymn of the tenth book of the Rig-veda. It is a hymn which long ago attracted the attention of that eminent scholar H. T. Colebrooke, and of which, by the kind assistance of a friend, I am enabled to offer a metrical translation. In judging it we should bear in mind that it was not written by a gnostic or by a pantheistic philosopher, but by a poet who felt all these doubts and problems as his own, without any wish to convince or to startle, only uttering what had been weighing on his mind, just as later poets would sing the doubts and sorrows of their heart.