life and strength; Mitra and Varuna, prosper the mediations of your worshippers....As the sun rises to-day do I salute Mitra and Varuna, and glorious Aryaman.... The blessings of heaven are our desire....
In Babylonian mythology the sun is the offspring of the moon. The Semitic name of the sun god is Samas (Shamash), the Sumerian name is Utu; among other non-Semitic names was Mitra, “apparently the Persian Mithra”. The bright deity also “bears the names of his attendants ‘Truth’ and ‘Righteousness’, who guided him upon his path as judge of the earth”.84
It may be that the Indian Mitra was originally a sun god; the religion of the sun god Mithra spread into Europe. “Dedications to Mithra the Unconquered Sun have been found in abundance.”85 Vedic references suggest that Mitra had become a complex god in the pre-Vedic Age, being probably associated with a group of abstract deities—his attributes symbolized—who are represented by the Adityas. The Mitra-Varuna group of Celestials were the source of all heavenly gifts; they regulated sun and moon, the winds and waters and the seasons. If we assume that they were of Babylonian or Sumerian origin—deities imported by a branch of Aryan settlers who had been in contact with Babylonian civilization—their rivalry with the older Aryan gods, Indra and Agni, can be understood. Ultimately they were superseded, but the influence exercised by their cult remained and left its impress upon later Aryan religious thought.
The Assyrian word “metru” signifies rain.86 The quickening rain which caused the growth of vegetation was, of course, one of the gifts of the Celestials of the firmament. It is of interest to note, therefore, in this connection that Professor Frazer includes the western Mithra among the “corn gods”. Dealing with Mithraic sculptures, which apparently depict Mithra as the sacrificer of the harvest bull offering, he says: “On certain of these monuments the tail of the bull ends in three stalks of corn, and in one of them cornstalks instead of blood are seen issuing from the wound inflicted by the knife”.87
Commenting on the Assyrian “metru” Professor Moulton says: “If this is his (Mithra's) origin, we get a reasonable basis for the Avestan (Early Persian and Aryan) use of the word to denote a ‘contract’, as also for the fact that the deity is in the Avesta patron of Truth and in the Veda of Friendship. He is ‘the Mediator’ between Heaven and Earth, as the firmament was by its position, both in nature and mythology: an easy corollary is his function of regulating the relations of man and man.”
The character of an imported deity is always influenced by localization and tribal habits. Pastoral nomads would therefore have emphasized the friendliness of Mithra, who sent rain to cause the growth of grass on sun-parched steppes. Both Mithra and Varuna had their dwelling-place in the sea of heaven, the waters “above the firmament” from which the rain descended. Ultimately the Indian Mitra vanished, being completely merged in Varuna, who became the god of ocean after the Aryans reached the sea coast. In post-Vedic sacred literature the priestly theorists, in the process of systematizing their religious beliefs, taught that a great conflict took place between the gods and demons. When order was restored, the various deities were redistributed. Indra remained the atmospheric god of battle, and Varuna became the god of ocean, where, as the stern judge and lawgiver and the punisher of wrongdoers, he kept watch over the demons. In the “Nala and Damayanti” epic narrative, the four “world guardians” are: Indra, king of the gods; Agni, god of fire; Varuna, god of waters; and Yama, judge of the dead.
It may be that the displacement of Varuna as supreme deity was due to the influence of the fire-worshipping cult of Agni, who was imported by certain unidentified Aryan tribes that entered India. Agni did not receive recognition, apparently, from the other Aryan “folk-wave”, which established a military aristocracy at Mitanni in Mesopotamia, and held sway for a period over the Assyrians and some of the Hittite tribes. An important inscription, which is dated about 1400 B.C., has been deciphered at Boghaz-Köi in Asia Minor by Professor Hugo Winckler, who gives the names of the following deities:
“Mi-it-ra, Uru-w-na, In-da-ra, and Na-sa-at-ti-ia”—
Mitra, Varuna, Indra, Nasatya. The latter is Nasatyau, the Vedic Aswins, twin gods of morning, who have been compared to the Greek Dioskouri (Castor and Pollux), sons of Zeus.
A Vedic triad, which suggests a rival cult to that of the worshippers of Varuna and other Adityas, is formed by Vayu (wind), Agni (fire), and Surya (the sun).
The Indian sun god Surya, like the Egyptian Ra, had three forms. The rising sun was Vivasvat; the setting sun was Savitri.
Vivasvat was the son-in-law of Twashtri, the artisan of Nature; he was an abstract deity, and apparently owed his origin to the group of Adityas.
Savitri, who had yellow hair, was of pre-Vedic origin. He was the “Stimulator”. When he commanded Night to approach, men ceased their labours, birds sought their nests, and cattle their sheds.88
During the long centuries covered by the Vedic period many “schools of thought” must have struggled for supremacy. The Vivasvat myth belongs, it would appear, to the time before the elephant was tamed by the Aryans. Aditi, the mother of the Adityas, who is believed to be of later origin than her children, had eight sons. She cherished seven of them; the eighth, which was a shapeless lump, was thrown away, but was afterwards moulded into Vivasvat, the sun; the pieces of the lump which were cast away by the divine artisan fell upon the earth and gave origin to the elephant, therefore elephants should not be caught, because they partake of divine nature.
9
SURYA IN HIS CHARIOT
From the Kailâsa Temple, Ellora
Surya is an Aryanized sun god. He drives a golden chariot drawn by seven mares, or a mare with seven heads; he has golden hair and golden arms and hands. As he is alluded to as “the eye of Varuna and Mitra”, and a son of Aditi, it is evident that if he did not originally belong to the group of Adityas, he was strongly influenced by them. In his Savitri character, which he possesses at morning as well as at evening, he stimulates all life and the mind of man. One of the most sacred and oldest mantras (texts) in the Vedas is still addressed by Brahmans to the rising sun. It runs:—
Let us meditate on that excellent glory of the divine Vivifier,
May he enlighten (or stimulate) our understandings.89
The feeling for Nature pervades the ancient religion and literature of India. Priests were poets and singers in early Vedic times. A Rishi was a composer of hymns to the gods, and several are named in the collections. Every great family appears to have had its bardic priest, and its special poetic anthology which was handed down from generation to generation. Old poems might be rewritten and added to, but the ambition of the sacred poet was to sing a new song to the gods. The oldest Vedic hymns are referred to as “new songs”, which suggests that others were already in existence.
These Rishis looked upon Nature with the poet's eye. They symbolized everything, but they revelled also in the gorgeous beauty of dawn and evening, the luxuriance of Indian trees and flowers, the serene majesty of Himalayan mountains, the cascades, the rivers, and the shining lakes. The wonder and mystery of the world inspired their hymns and their religion. Even the gods took delight in the songs of birds, the harping of forest winds, the humming of bees, the blossoming trees, and the flower-decked sward. Heaven has its eternal summer and soft scented winds, its lotus-gemmed lakes and never-fading blooms.
The
Frazer's “Golden Bough” (
Professor H. W. Hogg, in Professor Moulton's
“The Golden Bough” (
