One hymn of the Rigveda which concerned with cosmology and the origin of the universe
The Nāsadīya Sūkta (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.[1] The Nāsadīya Sūkta has been the subject of extensive scholarly attention.
There are numerous translations and interpretations of the text.[2] Nasadiya Sukta begins with the statement: "Then, there was neither existence, nor non-existence." It ponders when, why, and through whom the universe came into being in a contemplative tone, and provides no definite answers. Rather, it concludes that the gods too may not know, as they came after creation, and that even the surveyor of that which has been created, in the highest heaven may or may not know.[3] To this extent, the conventional English title Hymn of Creation is perhaps misleading, since the verse does not itself present a cosmogony or creation myth akin to those found in other religious texts, instead provoking the listener to question whether one can ever know all the details of origins of the universe.
Nasadiya Sukta (Hymn of non-Eternity, origin of universe):
There was neither non-existence nor existence then;
Neither the realm of space, nor the sky which is beyond;
What stirred? Where? In whose protection?
There was neither death nor immortality then;
No distinguishing sign of night nor of day;
That One breathed, windless, by its own impulse;
Other than that there was nothing beyond.
Darkness there was at first, by darkness hidden;
Without distinctive marks, this all was water;
That which, becoming, by the void was covered;
That One by force of heat came into being;
Who really knows? Who will here proclaim it?
Whence was it produced? Whence is this creation?
Gods came afterwards, with the creation of this universe.
Who then knows whence it has arisen?
Whether God's will created it, or whether He was mute;
Perhaps it formed itself, or perhaps it did not;
The Supreme Brahman of the world, all pervasive and all knowing
He indeed knows, if not, no one knows
The hymn has attracted a large body of literature of commentaries both in Indian darsanas and in Western philology.[5] The hymn, as Mandala 10 in general, is late within the Rigveda Samhita, and expresses thought more typical of later Vedantic philosophy.[6] 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.[7] Astronomer Carl Sagan quoted it in discussing India's "tradition of skeptical questioning and unselfconscious humility before the great cosmic mysteries."[8]
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), which is paralleled in verse 2 by "then not death existed, nor the immortal" (ná mṛtyúḥ āsīt amŕtam ná tárhi). However verse 2 already mentions 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".[citation needed]
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."[9]
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).[10]
Metre
Nasadiya Sukta consists of seven trishtubhs, although para 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 maybe he does not know [...]"[10]
6. kó addhā́ veda ká ihá prá vocat
kúta ā́jātā kúta iyáṃ vísr̥ṣṭiḥ
arvā́g devā́ asyá visárjanena
áthā kó veda yáta ābabhū́va
7. iyáṃ vísr̥ṣṭir yáta ābabhū́va
yádi vā dadhé yádi vā ná
yó asyā́dhyakṣaḥ paramé vyoman
só aṅgá veda yádi vā ná véda
1. Then even non-existence was not there, nor existence,
There was no air then, nor the space beyond it.
What covered it? Where was it? In whose keeping?
Was there then cosmic fluid, in depths unfathomed?
2. Then there was neither death nor immortality
nor was there then the torch of night and day.
The One breathed windlessly and self-sustaining.
There was that One then, and there was no other.
3. At first there was only darkness wrapped in darkness.
All this was only unillumined cosmic water.
That One which came to be, enclosed in nothing,
arose at last, born of the power of knowledge.
4. In the beginning desire descended on it -
that was the primal seed, born of the mind.
The sages who have searched their hearts with wisdom
know that which is, is kin to that which is not.
5. And they have stretched their cord across the void,
and know what was above, and what below.
Seminal powers made fertile mighty forces.
Below was strength, and over it was impulse.
6. But, after all, who knows, and who can say
Whence it all came, and how creation happened?
the gods themselves are later than creation,
so who knows truly whence it has arisen?
7. Whence all creation had its origin,
the creator, whether he fashioned it or whether he did not,
the creator, who surveys it all from highest heaven,
he knows — or maybe even he does not know.
^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. ISBN0-14-044989-2.
^"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) ISBN81-7110-138-7 (Set of four volumes). Parimal Sanskrit Series No. 45; 2003 reprint: 81-7020-070-9, Volume 4, p. 519.
