Whence was it produced? Whence is this creation?
The gods came afterwards, with the creation of this universe.
Who then knows whence it has arisen?"
RV 10.129.6 (trans. O'Flaherty 1981)
The Nasadiya Sukta (after the incipit ná ásat, or "not the non-existent"), also known as the Hymn of Creation, is the 129th hymn of the 10th mandala of the Rigveda (10:129). It is concerned with cosmology and the origin of the universe.
The hymn has attracted a large body of literature of commentaries both in Indian darsanas and in Western philology. The hymn, as Mandala 10 in general, is late within the Rigveda Samhita, and expresses thought more typical of later Indian philosophy. Even though untypical of the content of the Vedic hymns, it is one of the most widely received portions of the Rigveda. An atheist interpretation sees the Creation Hymn as one of the earliest accounts of skeptical inquiry and agnosticism. Astronomer Carl Sagan quoted it in discussing India's "tradition of skeptical questioning and unselfconscious humility before the great cosmic mysteries."
The text begins by paradoxically stating "not the non-existent existed, nor did the existent exist then" (ná ásat āsīt ná u sát āsīt tadânīm), paralleled in verse 2 by "then not death existed, nor the immortal" (ná mṛtyúḥ āsīt amŕtam ná tárhi). But already in verse 2 mention is made that there was "breathing without breath, of its own nature, that one" ânīt avātám svadháyā tát ékam). In verse 3, being unfolds, "from heat (tapas) was born that one" (tápasaḥ tát mahinâ ajāyata ékam). Verse 4 mentions desire (kāma) as the primal seed, and the first poet-seers (kavayas) who "found the bond of being within non-being with their heart's thought".
Karel Werner describes the author's source for the material as one not derived from reasoning, but a "visionary, mystical or Yogic experience put into words." Werner writes that prior to creation, the Creation Hymn does not describe a state of "nothingness" but rather "That One (tad ekam)" which is, "Spaceless, timeless, yet in its own way dynamic and the Sole Force, this Absolute..."
Brereton (1999) argues that the reference to the sages searching for being in their spirit is central, and that the hymn's gradual procession from non-being to being in fact re-enacts creation within the listener (see sphoṭa), equating poetic utterance and creation (see śabda).
Nasadiya Sukta consists of seven trishtubhs, although pada 7b is defective, being two syllables short,
- yádi vā dadhé yádi vā ná
- "if he has created it; or if not [...]"
Brereton (1999) argues that the defect is a conscious device employed by the rishi to express puzzlement at the possibility that the world may not be created, parallel to the syntactic defect of pada 7d, which ends in a subordinate clause without a governing clause:
- só aṅgá veda yádi vā ná véda
- "he verily knows; or if he does not know [...]"
Text and translationEdit
|Devanagari||Transliteration||Translation (Basham 1954)|
नासदासीन्नो सदासीत्तदानीं नासीद्रजो नो व्योमा परो यत् |
1. nā́sad āsīn nó sád āsīt tadā́nīṃ
1. Then even nothingness was not, nor existence,
- Wendy Doniger O'Flaherty , The Rig Veda (1981).
- Swami Ranganathananda (1991). Human Being in Depth: A Scientific Approach to Religion. SUNY Press. p. 21. ISBN 0-7914-0679-2.
- "As the subject of the hymn is creation typified and originated by the mysterious primeval sacrifice (cp. X.90), Prajāpati the Creator is said by Sāyana to be the deity. The Rṣi is Yajña (Sacrifice), Prajāpati's son." Ralph T. H. Griffith. The Hymns of the Ŗgveda. (Motilal Banarsidass: Delhi: 1973 New Revised Edition, Reprint 1995) p. 634, note. ISBN 812080046X. The questions in verse 3, "What were the rule, the order and the model? What were the wooden fender and the butter?" refer back to the questions in 10.129 (5b "what was above it then, and what below it?" etc.)
- Wendy Doniger says of this hymn (10.129) "This short hymn, though linguistically simple... is conceptually extremely provocative and has, indeed, provoked hundreds of complex commentaries among Indian theologians and Western scholars. In many ways, it is meant to puzzle and challenge, to raise unanswerable questions, to pile up paradoxes." The Rig Veda. (Penguin Books: 1981) p. 25. ISBN 0-14-044989-2.
- "Although, no doubt, of high antiquity, the hymn appears to be less of a primary than of a secondary origin, being in fact a controversial composition levelled especially against the Sāṃkhya theory." Ravi Prakash Arya and K. L. Joshi. Ṛgveda Saṃhitā: Sanskrit Text, English Translation, Notes & Index of Verses. (Parimal Publications: Delhi, 2001) ISBN 81-7110-138-7 (Set of four volumes). Parimal Sanskrit Series No. 45; 2003 reprint: 81-7020-070-9, Volume 4, p. 519.
- Patri, Umesh and Prativa Devi. "Progress of Atheism in India: A Historical Perspective Archived 2014-06-29 at WebCite". Atheist Centre 1940-1990 Golden Jubilee. Vijayawada, February 1990. Retrieved 2007-04-02.
- Carl Sagan, Cosmos: A Personal Voyage Part 10 - The Edge of Forever 44:08
- Werner, Karel (1977). "Symbolism in the Vedas and Its Conceptualisation". Numen. 24 (3): 223–240. doi:10.2307/3269600.
- Brereton, Joel (1999). "Edifying Puzzlement: Ṛgveda and the Uses of Enigma". Journal of the American Oriental Society. 10 (129).
- Karen Thomson and Jonathan Slocum, Rig Veda: a Metrically Restored Text (1994), utexas.edu.
- A.L. Basham, The Wonder That Was India (1954).
- Joel P. Brereton, Edifying Puzzlement: Ṛgveda 10. 129 and the Uses of Enigma, Journal of the American Oriental Society (1999)
- P. T. Raju, The Development of Indian Thought, Journal of the History of Ideas (1952)
- Karel Werner, Symbolism in the Vedas and Its Conceptualisation, Numen (1977)
- Upinder Singh (2008). A History of Ancient and Early Medieval India: From the Stone Age to the 12th Century. Pearson Education India. pp. 206–. ISBN 978-81-317-1120-0.