Rigveda Pdf Sanskrit

RIG VEDA – Download the free English PDF ebook of the complete Rig Veda here. The Rig Veda is the oldest of them and it consists of 1,028 Vedic Sanskrit.

1. Vedas Pdf Sanskrit

The Rigveda (or Rig Veda) is a collection of over 1000 Vedic Sanskrit hymns to the Hindu gods.The oldest of the Hindu scriptures, which some have claimed date to to 7000–4000 BC, philological analysis indicates that it was probably composed in the north-western region of the Indian subcontinent, roughly between 1700–1100 BC; it has been noted that it shares some linguistic and cultural similarities with the Zend Avesta of Zoroastrianism, which has also been dated to similar time periods.

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• 1Quotes
  • 1.3Mandala 10

Quotes[edit]

• God is one and the sole ruler of the Universe. God is one but the learned call him by many names.
  • Rig Veda, in A Garden of Deeds: Ramacharitmanas, a Message of Human Ethics, p.56

Mandala 1[edit]

• I laud Agni the priest, the divine minister of sacrifice, who invokes the gods, and is most rich in gems.
  May Agni, the invoker, the sage, the true, the most renowned, a god, come hither with the gods!
  • Start of Hymn 1, as quoted in Transactions of the Royal Society of Edinburgh Vol. 23 (1864), p. 267
  • Variant translations:
  • Agni I laud, the high priest, god, minister of sacrifice, The invoker, lavishest of wealth.
    • Mandala 1, Hymn 1, verse 1

• The wise speak of what is One in many ways.
  • Rig Veda 1.164.46

Mandala 5-6[edit]

• O ye who wish to gain realization of the Supreme Truth, utter the name of 'Vishnu' at least once in the steadfast faith that it will lead you to such realization.
  • V.I.15b.3

• Just as the sun's rays in the sky are extended to the mundane vision, so in the same way the wise and learned devotees always see the abode of Lord Vishnu.
  • V.I.22.20

• Let me now sing the heroic deeds of Viṣṇu who has measured apart the realms of the earth, who propped up the upper dwelling-place, striding far as he stepped forth three times.
  They praise for his heroic deeds Viṣṇu who lurks in the mountains, wandering like a ferocious wild beast, in whose three wide strides all creatures dwell.
  • V.1.154.1–2, as translated by Wendy Doniger O'Flaherty in The Rig Veda : An Anthology (1981), p. 226

• Alone, he supports threefold the earth and the sky — all creatures.
  Would that I might reach his dear place of refuge, where men who love the gods rejoice. For their one draws close to the wide-striding Viṣṇu; there, in his highest footstep, is the fountain of honey.
  • V.1.154.4–5, as translated by Wendy Doniger O'Flaherty in The Rig Veda : An Anthology (1981), p. 226

Mandala 10[edit]

• Play not with dice, [but] cultivate your corn-land. Enjoy the gain, and deem that wealth sufficient.
  • X.34.13; translation by Ralph T.H. Griffith

• In the earliest age of the gods, existence was born from non-existence.
  • Rig Veda 10.72.2

• His, through his might, are these snow-covered mountains, and men call sea and Rasā his possession: His arms are these, his are these heavenly regions. What God shall we adore with our oblation?
  • Rigveda 10.121.4

Creation Hymn[edit]

• Then was not non-existent nor existent: there was no realm of air, no sky beyond it.
  What covered in, and where? and what gave shelter? Was water there, unfathomed depth of water?
  Death was not then, nor was there aught immortal: no sign was there, the day's and night's divider.
  That One Thing, breathless, breathed by its own nature: apart from it was nothing whatsoever.
  Darkness there was: at first concealed in darkness this All was indiscriminated chaos.
  All that existed then was void and form less: by the great power of Warmth was born that Unit.
  Thereafter rose Desire in the beginning, Desire, the primal seed and germ of Spirit.
  Sages who searched with their heart's thought discovered the existent's kinship in the non-existent.
  Transversely was their severing line extended: what was above it then, and what below it?
  There were begetters, there were mighty forces, free action here and energy up yonder
  Who verily knows and who can here declare it, whence it was born and whence comes this creation?
  The Gods are later than this world's production. Who knows then whence it first came into being?
  He, the first origin of this creation, whether he formed it all or did not form it,
  Whose eye controls this world in highest heaven, he verily knows it, or perhaps he knows not.
  • Mandala 10, Hymn 129 : Creation, as translated by Ralph T. H. Griffith (1896).

• There was neither non-existence nor existence then; there was neither the realm of space nor the sky which is beyond. What stirred? Where? In whose protection? Was there water, bottomlessly deep? There was neither death nor immortality then. There was no distinguishing sign of night nor of day. That one breathed, windless, by its own impulse. Other than that there was nothing beyond.
  • Mandala 10, hymn 129, verses 1-2, as translated by Wendy Doniger O'Flaherty, in The Rig Veda : An Anthology (1981).

• Whence this creation has arisen – perhaps it formed itself, or perhaps it did not – the one who looks down on it, in the highest heaven, only he knows – or perhaps he does not know.
  • Mandala 10, hymn 129, verse 7, as translated by Wendy Doniger O'Flaherty, in The Rig Veda : An Anthology (1981).

About the Rigveda[edit]

• Of the Vedic poetic art Watkins writes: “The language of India from its earliest documentation in the Rigveda has raised the art of the phonetic figure to what many would consider its highest form”.
  • Nicholas Kazanas, 'Indo-European Deities and the Rigveda,' JIES 29 (2001), p. 257. quoting Watkins

External links[edit]

Vedas Pdf Sanskrit

Rig Veda as Archaic Tamil

1.

Some PreliminaryNotes

Against the background of what the Western Indologistsand along with them a number of Indian scholars particularly the Brahminshave been saying , what I am about to say in this series may sound preposterousand rather offensive both to the Dravidianists and IndoAryanists.But truth is truth and it has to be stated no matter how unpalatable theseideas may be to the present day scholars. However as a preliminary remark let me mention that the Dravidian-Aryan antagonism and along with it theBrahmin- Nonbrahmin disputes that was generalized to the Sanskrit - Tamillanguage rivalries and political movements of various kinds that these elementsof group dynamics gave rise to is rather new and began only with theWestern Indologists like Max Muller who claimed for example that Rig Veda isthe FIRST VOICE of the Aryanman. This appropriation of Sanskrit as the languageof a race of people called Aryans and hence also Hinduism isbehind all these painful political struggles which are still ongoing. However astudy of Tamil literature shows that right from the beginning of Tolkaappiyamsuch a dichotomy and rivalry did not exist. While there were Brahmins (paarppaans) right from the beginnings but they never thought ofthemselves as a different race of people but rather the same as the rest thoughgiven over to the recitations of the Vedas and so forth. The grouping of someof these Brahmins as those fond of Sanskrit, VadmoziyaaLar, thosewho were fond of Sanskrit, is something we note only from the period ofMaNimekalai and perhaps because of Buddhism and Jainism. However wefind the practice of Veelvi and Yajna or Yakam as integral parts of Tamilreligious practices and without any antagonism towards them. Theyexist till today as integral part of temple activities as it was in Sumeriantimes. Furthermore almost all scholars were bilingual , mastered both Tamil andSanskrit, and while some wrote in both languages some others only in Tamil or Sanskrit.They also saw BOTH as DIVINE languages and perhaps understood thatSanskrit was some kind of ancient heritage of Tamils as much as other somany things.

These studies may explain all these and show thatVedas were composed by some ancient Dravidian priests who were verywell patronized by the Kings and more as specialized rituals formaintaining the king in good shape, sometimes a magical form ofritual for the selfish needs of Kings to maintain themselves in continued Kingship. The supremacist feelings of the Vedic Brahmins and the immensesecrecy with which they guarded Vedic recitations may be related to thesemagical elements whereby they believed that by the practice of such Velviesthey can invoke the Grace of BEING to maintain themselves the King andtheir country thorugh that in abundance and prosperity. Of coursealong with such laudable motivations there was also the craze for POWERespecially the politically ambitious individuals that they hoped to gainby the practice of these rituals as if by magic and which becamesomething questioned very early and because of which arose Jainism and Buddhismas reformist movements also by Kings.

Rig Veda as Eri Ombal

First of all a few words about thephrase Rig Veda itself. The 'rig' exist in Su. as '- ri 'and Ta. eri: fire . We have an instance of it in the followinglines of Instructions of Suruppak dated towards the close ofthe 4 th millennium (perhaps the oldest written text in the world) butwritten copies dated around 2600 B.C.

1. u-ri-a sud-ra ri-a ( In those days ,in those far remote days)

Here 'u-ri' is actually the archaic form of 'uu-eri' , the light burning and hence the uuzi, the burst of the radiance,the Big Bang that set the cosmic movements on the march. From the meaningof eri, the burst of light , it has also come to mean 'day' as inMalay hari: day.

Veetaa can be derived from ' sid' : torecite etc. , sid> vid> Ta. vittai, Sk vidhya, veda etc.

Thus we can see that 'Rig Veda' means : thehymns recited in front of Fire but metaphysically towards the Power thatbursts forth as LIGHT and hence that which sets going the whole of theCosmos, and hence close to 'eri oombal ' of Sambantar or'erikku veetam' the kind of ritual that would drive away thedisasters and miseries -- kali vaaraamee. Here the contrast between'eri' (fire, light) and 'kali= kari' (darkness , povertymiseries etc.) should be noted. Thus we can see that Rig Veda is aspecialized set of hymns that were composed for the special purpose ofFire Worship and which appears to have been something special for theKings in the Sumerian times itself and also for the general purpose of lettingthere be the metaphysical LIGHT as opposed to the metaphysical darkness.

I shall point out that there is an abundanceof evidences for this kind of metaphysical sophistication in Rig Veda andwhich are CONTINUATION of the Sumerian and hence certainly NOT hymns composedby nomadic tribes who set up camfires in their nomadic wanderingsto kill the cold but rather by a priesthood long in the making, verysophisticated metaphysical thinkers and who served the temples as much asthe Royal palaces.

Fire Worship in the Temple and thePaarppaans (Brahmanas)

From the Sirbiyam of En Hudu Anna, we can get someinteresting evidences not only for the Fire Worship but also its relation tothe worship of Ati Paarppaan, or Piramma called also Veetan , Ayan and so forthin Tamil literature and is said to emerge from the belly of Tirumaal,the Se-ir maal or Enlil of the Sumerians.

The following lines are to the point.

84. as-im-babbar- (re) na-an (an-na)-kus-u-de-(en) ( I cannot appease Ashimbabbar)

*Ta. aatim paarppaaree naa aavannakoocitteeen

85. su-luh-an-ku-ga-ke ni-nam-ma-niin-kur ( (Lugalanne) has altered the lustrations of holy An and all his(other rites)

*Ta. cuulai aaN kookakee nanammaneei(va)n kuuRu

The 'babbar' is also used to describe themetal silver , ku-babbar and hence it means brightness , brilliance etc. The complex 'as-im-babbar' then can be taken as Ta. aatimpaarppaar, theprimordial brilliant deity, where the term 'paarppaan' is also used fordescribing Sivam,, the Luminous Being. Here we can see that aaN isconsidered the same as as-im-babbar and hence aatipaarppar also as anarchetypal presence of BEING as aaN, the Supreme Being, the Ruler of All. Theverbal complex 'kus-u-de-en ' can be taken as 'koocitteen 'where it means reciting loudly as Ta. koocam means loud noise. Thus we can seethat Enhudu Anna was in the habit of reciting verses in praise of AtiPaarppaan, a ritual practice which she claims here she could not practicebecause the rules were changed by his opponent, Lugalanne who arrested and put her in jail , perhaps as an expression of denying equal rights to womenin temple rituals.

In conjunction with this we should also notethat Piramma sits on White Lotus and his vehicle is the White Swan andwhich are perhaps translations of WHITENESS ( babbar, paarppaar) intomythological motifs. I have not found the Tamil equivalent for'babbar' other than 'paarppaan' unless we can link it upTa.paruppu: the (white) inside kernel of coconuts. A person may be calledpaarppaan in view of being possessed by this Deity , the deity Itself distinguishedas the Atipaarppaan and understood asan archetypal variant of aaN, the Supreme Being.

The term Su. suluh , obviously related Ta. cuulai,cuul cuur etc. is the fire pit where cuulai exists still today as thefire pit for heating the clay pots and so forth. Thus praying in front ofCuulai, considered very sacred to aaN was a practice that was well institutedduring the time of Enhudu Anna ( ~2200 B.C.) but interfered with perhaps by wayof denying such rights to women priests round about that time.

The relevance of these lines is that : there was worship of Fire in fire pits as a homage to aaN but under the immediatesupervision of Atipaarppaan and hence probably later an institution orritual practice allotted to a group of priests called paarppaans, those whofollow the way of Atipaarppaan, also the Veetan. Thus it may be possiblethat Rig Veda was a collection of hymns sung by such paarppaans as a ritualpractice towards the worship of aaN, later also called Brahman and so forth.

The Priestesses Displaced by theBrahmanahs

There is another rite that's mentioned assomething Sulgi himself performed within the temple and perhaps related to thisas well as to the displacement of priestesses from the Temple.

Hymn B:

133. gir-gin-na-ka UZU-ga KA (d)Nin-tu-bi ga-me-en ( In the series of oracles , I am the nintu of theirword(ing)

*Ta. kiir kaNNaka UZU-ngaan KA (d)Nintubi ngaan man ( In the collection of hymns I was productive like theGoddess Nintu)

134. su-luh-ha nam-isib-a su-de-de ( Atthe performance of the purification rites of the isib-craft)

*Ta. culookam icaippunam cuudiiteen ( Iattained the rights to sing the slokas)

135. en-ra za-mi-ga gi-par-se dab-e ( Ienter(?) the giparu in to the en-priest(ess) with my song

* Ta. eeNRa caamingaan karuvaRaiseetabbee ( I entered the sanctum sanctorium (of the temple) with the priestesspraising the Lord

136. lu-mah nin-dinger sa-ku-ge pad-da ((as ) lu-mah that the nin-dingir has chosen for the holy heart)

*Ta. aaLu maa Nin TingkaL saay kookapaddee ( as the Great man who was worn of the sacred womb of Mother Goddessherself)

Here we have another meaning for Su. suluh-ha i. e.slookam that is better retained in Sk than Tamil. Perhaps both words areinterrelated , slokas as those concerned with cuulai worship, hymns that wouldkindle the Fire of brilliance within and because of which a person would risegreat and mighty. However what is clear is the presence of the INSTITUTIONof singing such hymns , nam-isib-a, the icaippunam and perhaps thekus-u , Ta, koosam of Enhudu Anna, a kind group singing perhaps.

However we can see the presence of SpecialPrivileges here -- only Sulgi can enter the sanctum sanctorium, thegi-par-ru, the karu-vaRai and that one has to be chosen by Nin-dinger to bethus honored and as indicated by the Head priestess, the eeN ( > veeNmaaL).We see here the remnants of very ancient practices where it was Mother Goddessand through her Priestess who would indicate who is the ' lu-mah', the Great Man for the occasion and hence would enjoy the rights to enter theinnermost chamber of the temple singing the slokas.

We can see that in later times this privilege of womenpriestess was usurped by men and such priests became most probablythe Brahmanahs, priestly individuals who can legitimatize who can be theking and so forth and that Rig Veda has a function in this changeof priestly rights from women to men, and along with it thesuppression and marginalisation of Mother Goddess worship

Now I shall attend to another TWO importantissues because they are quite prominent in the Rig Veda viz. the worship ofSoma and Intiran (Indra) where while the Intira worship was quite a prominentfeature in Cangam times but became marginalized during the Bakti period. TheSoma worship can be linked with the notion of Kundalini and Kundalini Yoga asdescribed and developed by Tamil Siddhas and which exists till today but moreas specialized disciplines and concealed from the average person.

Soma worship was linked with the worship of NannaSu'en , the Moon God also just Su'en in such texts as EnhuduAnna's Siirbiyam.Siva wearing the Crescent Moon on His tuft along with Ganga may be a retentionof this ancient notion.

I shall confine myself here only Siirbiyam

Su. Su'en and Soma

40 nin ur i-sa nin sa i-hul ( Lady (who)soothes the reins , lady (who) gladdens the heart)

41. ib-ba nu-te-te-en dumu-gal (d)su'en-na ( Whose rage is not tempered Oh eldest daughter of Suen!)

42. nin kur-ra diri-ga a-ba ki-zaba-an-tum ( Lady supreme over the land, who has (ever) denied (you) homage?

*Ta. nin uuru ii-caay nin caay iiuval ( Lady who pacifies the thighs, lady who gives pleasures)

*Ta. evvam naa-taNitaNi tamukaLcooyenna ( ' )

*Ta. Nin kunRa tiriga yaaba kiizsaapaN(Nu) tuuvum? ( Lady roaming the hills, who would move away from your place)

Here we have an obvious reference to In-anna as theeldest daughter of Su'en, the Moon God but as the giver of sexual pleasures tomen and because of which they would never abandon her. Suen as the Mood God isseen as the god of the NIGHT times and hence the giver of sexualpleasures to human beings and all creatures. The Soma Paanam, the Soma Juice isthe same as Kaama Paanam, the KuNdalini that affords the enjoyment of sexualpleasures.

This is more obvious from the followinglines where In-anna is seen as Kamatci, she who controls the enjoyment ofsexual pleasures and hence the attainment of Libido, the Kundalini.

54. sa-tur-bi-ta giri he-eb-ta-an-ze-er ( (From the cities that have refused homage toyou) Have verily removed your foot from of its byre)

55. mi-be dam-ani-ta sa-ga na-an-da-ab-be ( Its women no longer speaks love with her husband)

56. gi-u-na ad na-an -di-ni-ib-gi-gi (At night they no have intercourse)

57 ni-ku-sa-ga-na nam-mu-da-an-bur-re ( She no longer reveals to him her inmost treasures)

58 u-sun-zi-zi-i dumu-gal-(d)su-'en-na (Impetuous wild cow , the eldest daughter of Su'en)

59. nin an-ra diri-ga a-ba ki-zaba-an-tum ( Lady Supreme over An, who has (ever) denied (you) homage?

*Ta. caay toRubitta kiri eybitaan ceeyer((from the cities that have refused homage to you) who have distanced your feetfar aay from the depressions ( caay) where creatures are born ( toRu, toonRu) )

* Ta. maibiyee tamanitua cangkam naaa(v)nida abaiyee ( ' )

*Ta. mai uunna adu naa a(v)daneemiilmiil ibbu ( ' )

*Ta. nii koo canganna naam moo udan piri( ')

* Ta. uu cuun jii-jiiyi tamugaL (d)Cooyenna ( ')

*Ta. nin vaanRa tirigua yaaba kiiz-saapaN(NU) tuuvum ( Lady roaming the heavens , who would deny homage to you?)

In line 59 the phrase 'an-ra' is better taken as'in the heavens' as in other lines Inanna is said to be obedient to aaN, the Supreme BEING whose spouse she is.

These lines make it abundantly clear that In-anna, thePower of regeneration was also the Power of Sexuality, SHE who controls thesexual libido and hence the regeneration of the species. She distances herself from the creatrix ( sa-tur-bi) probably the sexual centers in man andwoman and because of which both become disinterested in sexual matters. Thewomen do not speak of love and have sexual intercourse with men at night.

Thus we can see that Freudian principles were wellunderstood in those times itself however with Cooyen, the Moon Godespecially His eldest daughter In-anna understood as the Deity who controls thelibido and hence sexual pleasures and species regeneration. She castrates thosepeople who refuse to acknowledge this Power of hers and people knowing it wouldNOT refuse to pay homage to her ( but something however was done inJainism and Buddhism of later times. Also the Semitic faiths appear to havedenied more vigorously homage to the FEMALE. Saivismhas avoided this throughout its history))

We may note here that the 'su' in Su'en is Ta. cuu,cuur, cudar etc. meaning radiance and perhaps the root of cubam, coobai etc. aswell as cuun ( wild cow) curam ( desert place ) etc. The 'en' is the maleindicating suffix as in 'vant-een' , 'vantu-aaN' etc. The Nanna may berelated Ta. nalla, the Good and hence Nanna Su'en may be the Full Moonpersonified as a deity but actually the Inner Moon , the metaphysical moon thatprovides the kuNdalini that takes many shapes as (inner) gangawaters, amuthu, vazalai, amuri etc. and shows itself also as the Snakealso a form of Inanna. Perhaps it is semantically the same as the presentVeNNila : the White Moon.

Su. inda, iti and Ta. intiran

We should mention here , still as the preliminary, theemergence of a special kind of rituals for the kings only and its linkage withthe deity Indra, just as ancient and integral to Tamil religious practices asSiva Tirumaal Ambal Murukan and so forth that became obsolete only duringthe post bakti phase.

Sulgi's Hymn B that I have renamed asMutariibiyam, one of the names he gives himself, is turning out tobe encyclopedic with respect to the wealth of information it contains aboutSumerian culture.

I came across an interesting term'in-di' in one of these lines which can be linked with Intira worshipof the Tamils and the Vedas. The word occurs in line below:

164. gis.al-gar gis. sa-bi-tum in-dilugal-la /MIR su si mi-ni-zu

The algar, the sabitum(which) are of the king's rite, I taught the herald their fingering

Some tablets seem to have the variant'in-a' for 'in-di' which is translated here as a noun'rite'. Going along with the above translation it follows that it isNOT a verb such as idin, iduyin etc. Now once we allow for the meaningof 'rite' especially that pertaining to the kings , some kindof rites where the use of al-gar (yaazkaram, yaazkaal? ) and sabitum (>samittum and hence related to Sama ?) then we can see that 'indi-ra' becomesthe Deity of these rites and the God special to the Kings and hence probably aGod who would establish a person in his kingly life. kingly luxury . And of course his consort would be Indrani.

There is also the word Su. iti meaning the moonthat exists in Ta. and Sk as intu . In the word 'intumati'where 'mati ' also means 'moon' we can see 'intu' exists as'beautiful' etc the same as Malay: indah . In Su. iti also means themonth perhaps indicating that they calculated the month on the basis of themoon.

The Indiran of the Tamils we shouldremember, is the Veentan, the KING of the countless number of Gods, theKing of the world of gods, and who is always associated with politicalpower, wealth , worldly prosperity and happiness, something thatgoes to make up what a king is. Thus it may be that Nanna Su'en was also knownas Intiran all because He provides the KuNdalini , the libido that wouldenable a person to exert himself vigorously and rise up to the position ofpolitical leadeship.

Indira in Tolkaappiyam

We must recall here that the socalled Vedic godsIndira and VaruNa also occur as Dravidian gods in Tolkaappiyam. We have thefollowing Sutra where Indira, is addressed as VEntan, .i.e. King a meaning thatwell suits the Sumerian occurrence as well.

sut. 951

maayoon meeya kaaduRai ulakamum
ceeyoon meeya maivarai ulakamum
veentam meeya tiimpunal ulakamum
varuNam meeya perumaNal ulakamum
mullai kuRinjsi marutam neytalenas
colliya muRaiyaaR collavum padumee.

The commentators are agreed upon that by VEntan ismeant Indra who is said to pervade (meeya) as the DIVINITY of the wateredworld of fertile fields which in those days was the primary source ofwealth. The notion of fertility associated with water relates also In-anna ,source of sexual libido in the form of In-anna

Intiriyam and Indra

Related to this term are 'intiriyam' meaning thesenses and 'intirapookam' meaning the enjoyment of the pleasures of life.It may be possible that this term for the senses as distinct from 'pulan'poRi' etc. is derived from the notion 'sensual enjoyment' andderivatively that which allows the enjoyment of sensual pleasures. Inmythologies we have the depiction of Indira as one with unsatiable sexualdesires and hence cursed with a thousand vagina all over his body.

Aintiram

This may also help to unravel the real meaing of'aintiram' which occurs in the preface to Tol, the meaning of whichhas been a matter of dispute among scholars, some claiming that it is anearlier grammatical text etc.

....

aRangkarai naavin naanmaRai muRRiya
atangkooddu aasaaRku aritabat terintu
mayangaa marabin ezuttumuRai kaaddi
malkuniir varaippin aintiram niRainta
tolkaappiayan enat tan peyar tooRRip
palpukaz niRutta padimai yoonee.