33 - Characteristics of Sages and of Mantras

Suta said: 

1. The sons of Rushikas should be known as the sons of the sages. They are the expounders of the Brahmanas. (Scriptural texts). Understand them by names. 

2-4. The Shrutarshis (sages distinguished by knowledge of the Vedas)-the most important among them-are mentioned briefly.1 They are Bahvrucha, Bhargava, Paila, Sankrutya, Jajali, Sandhyasti, Mathara, Yajnavalkya, Parashara, Upamanyu, Indrapramati, Manduki, Shakali, Bashkali, Shokapani, Naila, Paila, Alaka, Pannaga, Pakshaganta (and others). The Shrutarshis are eighty-six in number.

1. This is a confused statement of the traditional leamers of Bahvruchan epithet of the RV as it consists of the biggest number of Ruks. Bh. P. XII. 6-54-60 gives a somewhat different genealogy of the Teachers of RV. In this Purana the genealogy of Vedic Teachers from Paila is given infra-Ch.34.24-33. Mahidasa's Comments on CVS accepts the academic genealogy of Sage of the Rugveda though many names in our text are not included here. Our text states that there are 86 Shrutarshis out of whom selected Rugveda Scholars are mentioned in VV.2-6 here.

5-6. These Brahmanas are the most important among Bahvruchas who are distinguished for their knowledge of Vedas.2 Vaishampayana, Lauhitya, Kanthakala, Avashavadha(?) Shyamapati, Palandu, Alambi and Kamalapati. Their disciples and the disciples of their disciples constitute the eighty-six Shrutarshis.

2. The lines in the printed text appeared to be mixed up. Bh.P.XII.6 quoted in the Com. of Mahidasa on Shaunaka's CVS, states that Vaishampayana was taught Yajur Veda by Vyasa. That the Yajur Veda had 86 branches (bhedas) is accepted in our text as 86 Shrutarshis. And a few selected sages have been named in the Yajur Veda group.

7-8. O Brahmanas, these Brahmanical sages are called Adhvaryus of the Charaka Branch of Black Yajurveda1: — Jaimini, Bharadvaja, Kavya, Paushyanji, Hiranyanabha, Kaushilya. Laugakshi, Kusumi, Langali, Shalihotra, Shaktiraja and Bhargava.

1. The list of the 12 Charakas in the CVS is totally different from that given in this Purana. Thus, CVS states the 12 classifications of Charaka, as follows: Charaka, Ahvaraka, Katha, Prachya-Katha, Kapishthala-Katha, Charayaniya, Varayaniya, Vartantaveya, Shvetashvatara, Aupamanyava, Patandaniya and Maitrayaniya.

9-11. The preceptor of those who sing Saman Mantras is King Pururavas, the son of Ila.2 Forty-six other sages, together with their disciples are also Shrutarshis.

2. This is not known to CVS.

Kaushiti, Kankamudga, Kundaka, Parashara. Lobhalobha the pious-souled, Brahmabala, Kranthala, Madagala and Markandeya who is conversant with Dharma-these ninety should be as Hotravad Brahmacharins (? i.e., religious students performing Homas).

12-14a. After the expounders of Mantras and Brahmanas, the Adhvaryus of the Charaka branch of Black Yajurveda (are to be understood).3 Chalubhi, Sumati, Deva-vara, Anukrishna, Ayus, Anubhumi, Prita, Krushashva, Sumuli and Bashkali—these are prominent Adhvaryus of Charakadhvaryakas. They are Brahmacharins (celibate ones) worthy of being paid obeisance.

3. VV. 12-170 give a list of prominent Adhvaryus of Charaka Branch of Black Yajurveda.

14b-17a. Shuka the learned son of Vyasa, Lauki, Bhurishravas, Somavi, Atunantakya (?), Dhaumya and Kashyapa. The forest-dwellers viz. Ilaka, Upamanyu, Vida, Bhargava, Madhuku, Pinga, Shvetaketu, Prajadarpa, Kahoda, Yajnavalkya, Shaunaka, Ananga and Niratala—these are Madhyama Adhvaryus.

17b-20. The following are the ladies capable of expounding the Brahman: Aditi the mother of the Devas, Jalapa, Manavi, the two splendid celestial damsels viz. Urvashi and Vishvayosha, Mudgala, Anujiva, Tara of great fame, Pratimedhi, Marga, Sujata, Mahatapa (of great penance), Lopamudra who is conversant with Dharma and Kaushitika. The celestial damsels are of approved beauty.

Thus, the important children of the ages have been mentioned by me. 

21-22. They are the founders of the branches of Vedic Schools. Therefore, they are regarded as sages. They are known by these names also-Ishvaras (Masters), expounders of the Mantras, Rushis and Rushikas. The sons of the sages are the expounders of Kalpas (Ritualistic texts) and of Brahmanas, along with the sons of Ishvaras, Rushis and Rushikas.

23-32. Similarly, understand the statements as to their visions of the Mantras.1

1. VV.23-32 explain many technical terms such as Mantra, Nirukta, Nipata, Hetu, Drushtanta and others. The statement of Rushis is in Vedic, those of Rushikas are great, clear or emphatic while those of Rushiputras are dubious.

The Mantra, which is that which is equipped with command (? authoritative) is advaita (non-dualistic), that has deep resonant sound is Dipta. The Mantra named Linga (Symbol) is perfectly direct perception. What is called Paridana (Devotion) is that which has become the soul of all living beings. 

They know that the statement which indicates the meaning mentioned in the Nirukta (semantics, one of the ancillary subjects of the Vedas) as Svayambhuva. Whatever is associated with some Mantra is along with the case endings of substantives (?) 

That which is directly spoken is considered to be the statement of Rushis. It mostly consists of different words from the Nigamas (Vedas) and Nipatas (Particles, indeclinables, exceptional forms of words). 

That which is a great statement is remembered as the statement of Rushikas. 

That in which the words are not very clear, that in which there are many doubts is the statement of Rushiputras. All of them are lamentations (or all lamentations also are such). 

That which mainly consists of Hetu (Reason) and Drushtanta (example) is (called) Chitrashabda (one with diverse words).

That which has no sense, that which is not praised by anyone and that which is feeble—this statement is Manusha (human).

(Persons) well-known as Mishras attained the status of the sages on account of their prowess. For the sake of prosperity, they are born of different castes (?) by means of drawing and attraction (?) They have the knowledge of the past, present and future. They cure the misery of birth. 

Those statement of Mishras is capable of activising the strength of the preceptor. 

The who are composers of scriptural texts, those who go every-where, due to their greatness, and those who possess the intensity of very great penance are considered as sages. They are Bruhaspati, Shukra, Vyasa and Sarasvata. 

33-35. Vyasas are those who compose scriptural texts. They are remembered as Vedavyasas. Since, although they are born later (i.e., younger in age), they are superior to the earlier ones in their intellect; since they are richly endowed with prosperity, they are, therefore, remembered as Rushis (sages). 

In the matter of the conception of a sage neither the period nor the age is the authoritative criterion. 

A (younger) person is sometimes seen superior-most in intellect, since even a boy who is elderly (i.e., mature) in intellect is a learned sage.1

1. This Subhashita glorifying wisdom and intelligence as superior to the age is found in Pali and Prakrits also. The word 'bala' here is a misprint for 'bala'.

36. They call this Ruk Mantra: viz, the same foot in the middle is used with the full complement of words and their end is properly distributed. 

37. They call this Yajus Mantra: viz. the Mantra is not measured by means of syllables in the foot but by means of Karana (Rhythmical pause) and its end possesses syllables in excess.2

2. This applies to Yajur-mantras in prose and not to metrical ones.

38-39. The following seven adjuncts of a Saman Mantra are called Sapta Vindhyas3 viz. (1) Hrimkara (2) Prastava (beginning) (3) Pranava (Omkara) (4) Gita (Song) is the fourth one (5) the fifth one is Prati-Hotra. (6) They call the sixth one Upadrava (7) Nidhana (? end). Without Hrimkara and Pranava it is called Panchavindhya.

3. Vindhya is a technical term indicating a part of a Sama Stanza. The parts are enumerated in VV 38-39. Prastava is beginning of the hymn, Prati-Hotru is the response or supporting tune by the assistant Hotru, Upadrava is the fourth of the five parts of a Saman Stanza. (Sayana on Shadavimsha Br.). According to that Brahmana, a Saman Stanza has five parts. Hrimkara and Omkara appear subsequent additions.

40-41. (Defective text) On saying "Brahmane Dharma" (Dharma is for the sake of the Brahman), that which is implied and indicated then is considered Ashasti (Blessing). Paridevana is lamentation. Narration of a question out of anger or hatred this is laid down as the characteristic sign of the Mantra among all Vidyas. 

42-43. Mantras characterised as Ruk, Yajus and Saman are said to be nine types: -Murti (form), Ninda (censure), Prashamsa, (praise), Akrosha (scolding), Tosha (contentedness), Prashna (question), Anujna (permission) and Akhyana (narrative and modes of blessing). 

I shall mention the different types of Mantras falling into twenty-four classes. 

44-46. The following are the twenty-four types of Mantras: 

(1) Prashamsa (Praise) (2) Stuti (Eulogy) (3) Akrosha (Rebuking) (4) Ninda (Censure) (5) Paridevana (Lamentation) (6) Abhishapa (Curse) (7) Vishapa (Revocation of a curse) (8) Prashna (Question) (9) Prativachas (Reply) (10) Ashis (Blessing) (11) Yajna (Sacrifice) (12) Akshepa (Reviling) (13) Arthakhyana (Narration of the meaning) (14) Samkatha (Conversation) (15) Viyoga (Separation) (16) Abhiyoga (Attack) (17) Katha (Story) (18) Samstha (Situation) (19) Vara (Boon) (20) Pratishedha (Denial) (21) Upadesha (Advice) (22) Namaskara (Obeisance) (23) Spruha (Desire) and (24) Vilapa (Lamentation). 

Thus, the twenty-four types of Mantras are mentioned. 

47-48. Ten modes or formations of the Brahmanas, which had been laid down formerly by the sages conversant with the principles of Yajna, are as follows-Hetu (Reason) Nirvachana (Specific explanation) Ninda (Censure) Prashasti, (Praise) Samshaya (Doubt), Nidhi (Deposit) Purakruti (Previous action), Purakalpa (Previous Kalpa), Vyavadharana-Kalpana (Conception of ascertainment), Upama (Comparison).

49. This is the characteristic feature of a “Brahmana" in regard to persons of all (Vedic) branches. 

Hetu is derived from the root Hati (han-). It kills what is spoken (argued) by others. 

50. Or it can be derived from the root Hinoti meaning "to go" when the meaning has been arrived at. Nirvachana means determination of the meaning of a statement. 

51. Preceptors call it ninda where there are words of censure in finding fault. 

Prashasti is derived from the root (shams-) Shamsati with the preposition Pra. Prashasti or Prashamsa means praise on account of good qualities. 

52. “This is this. This is not this”. Where there is in-decision like this, there is Samshaya (Doubt). "This should be done like this". This is called Vidhi (Rule, Mode). 

53. "This is the utterance of so and so (Lit. of others and others)". This is mentioned by learned men as Purakruti (? Precedent). This object that is completely out of view (in distant past) is called Purakalpa (A story of the past). 

54-56. The word 'Pura' indicates what has gone by. If due to its being over in the days of yore the story of the past is decisively fixed by means of Mantras, Brahmanas, Kalpas (Ritualistic texts) and Nigamas (Vedas) of pure expanse it is called Vyavadharana Kalpana (conception of ascertainment). "Just as this, so also that", "This is like that" this is called Upama (comparison). This is the tenth characteristic feature of the Brahmana. 

Thus, at the outset, the characteristic feature of the Brahmana has been laid down by learned men. 

57-58. The commentary of that Mantra as pointed out by the Brahmanas who know it, has been mentioned word by word. The application of Mantras is duly laid down in the holy rites. The word Mantra is derived from the root Mantrayati and Brahmana (scriptural text) is derived from the word Brahmana (Brmhana?) 

Those who know Sutra (aphorism) say that it must be brief with very few words, unambiguous, full of meaning and comprehensive. It must not contain any unwanted interpolation. It must be free from blame.