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Mandala 3
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The third Mandala of the Rigveda has 62 hymns, mainly to Agni and Indra. It is one of the "family books" (mandalas 2-7), the oldest core of the Rigveda, which were composed in early Vedic period (1500 – 1000 BCE).[1] Most hymns in this book are attributed to Viśvāmitra Gāthinaḥ.

The verse 3.62.10 gained great importance in Hinduism as the Gayatri Mantra.

List of incipits

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The dedication as given by Griffith is in square brackets:

3.1 (235) [ Agni.] sómasya mā tavásaṃ vákṣi agne
3.2 (236) [Agni.] vaiśvānarâya dhiṣáṇām ṛtāvŕdhe
3.3 (237) [Agni.] vaiśvānarâya pṛthupâjase vípo
3.4 (238) [ Apris.] samít-samit sumánā bodhi asmé
3.5 (239) [Agni.] práti agnír uṣásaś cékitāno
3.6 (240) [Agni.] prá kāravo mananâ vacyámānā
3.7 (241) [Agni.] prá yá ārúḥ śitipṛṣṭhásya dhāsér
3.8 (242) [Sacrificial Post.] añjánti tvâm adhvaré devayánto
3.9 (243) [Agni.] sákhāyas tvā vavṛmahe
3.10 (244) [Agni.] tuvâm agne manīṣíṇaḥ
3.11 (245) [Agni.] agnír hótā puróhito
3.12 (246) [ Indra-Agni.] índrāgnī â gataṃ sutáṃ
3.13 (247) [Agni.] prá vo devâya agnáye
3.14 (248) [Agni.] â hótā mandró vidáthāni asthāt
3.15 (249) [Agni.] ví pâjasā pṛthúnā śóśucāno
3.16 (250) [Agni.] ayám agníḥ suvîryasya
3.17 (251) [Agni.] samidhyámānaḥ prathamânu dhármā
3.18 (252) [Agni.] bhávā no agne sumánā úpetau
3.19 (253) [Agni.] agníṃ hótāram prá vṛṇe miyédhe
3.20 (254) [Agni.] agním uṣásam aśvínā dadhikrâṃ
3.21 (255) [Agni.] imáṃ no yajñám amŕteṣu dhehi
3.22 (256) [Agni.] ayáṃ só agnír yásmin sómam índraḥ
3.23 (257) [Agni.] nírmathitaḥ súdhita â sadhásthe
3.24 (258) [Agni.] ágne sáhasva pŕtanā
3.25 (259) [Agni.] ágne diváḥ sūnúr asi prácetās
3.26 (260) [Agni.] vaiśvānarám mánasāgníṃ nicâyiyā
3.27 (261) [Agni.] prá vo vâjā abhídyavo
3.28 (262) [Agni.] ágne juṣásva no havíḥ
3.29 (263) [Agni.] ástīdám adhimánthanam
3.30 (264) [Indra.] ichánti tvā somiyâsaḥ sákhāyaḥ
3.31 (265) [Indra.] śâsad váhnir duhitúr naptíyaṃ gād
3.32 (266) [Indra.] índra sómaṃ somapate píbemám
3.33 (267) [Indra.] prá párvatānām uśatî upásthād
3.34 (268) [Indra.] índraḥ pūrbhíd âtirad dâsam arkaír
3.35 (269) [Indra.] tíṣṭhā hárī rátha â yujyámānā
3.36 (270) [Indra.] imâm ū ṣú prábhṛtiṃ sātáye dhāḥ
3.37 (271) [Indra.] vârtrahatyāya śávase
3.38 (272) [Indra.] abhí táṣṭeva dīdhayā manīṣâm
3.39 (273) [Indra.] índram matír hṛdá â vacyámānā
3.40 (274) [Indra.] índra tvā vṛṣabháṃ vayáṃ
3.41 (275) [Indra.] â tû na indra madríag
3.42 (276) [Indra.] úpa naḥ sutám â gahi
3.43 (277) [Indra.] â yāhi arvâṅ úpa vandhureṣṭhâs
3.44 (278) [Indra.] ayáṃ te astu haryatáḥ
3.45 (279) [Indra.] â mandraír indra háribhir
3.46 (280) [Indra.] yudhmásya te vṛṣabhásya svarâja
3.47 (281) [Indra.] marútvāṁ indra vṛṣabhó ráṇāya
3.48 (282) [Indra.] sadyó ha jātó vṛṣabháḥ kanînaḥ
3.49 (283) [Indra.] śáṃsā mahâm índaraṃ yásmi * víśvā
3.50 (284) [Indra.] índraḥ svâhā pibatu yásya sóma
3.51 (285) [Indra.] carṣaṇīdhŕtam maghávānam ukthíyam
3.52 (286) [Indra.] dhānâvantaṃ karambhíṇam
3.53 (287) [Indra, Parvata, Etc.] índrāparvatā bṛhatâ ráthena
3.54 (288) [ Visvedevas.] imám mahé vidathíyāya śūṣáṃ
3.55 (289) [Visvedevas.] uṣásaḥ pûrvā ádha yád viūṣúr
3.56 (290) [Visvedevas.] ná tâ minanti māyíno ná dhîrā
3.57 (291) [Visvedevas.] prá me vivikvâṁ avidan manīṣâṃ
3.58 (292) [ Asvins.] dhenúḥ pratnásya kâmiyaṃ dúhānā
3.59 (293) [ Mitra.] mitró jánān yātayati bruvāṇó
3.60 (294) [ Rbhus.] ihéha vo mánasā bandhútā nara
3.61 (295) [ Uṣas.] úṣo vâjena vājini prácetā
3.62 (296) [Indra and Others.] imâ u vām bhṛmáyo mányamānā

References

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Mandala 3

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Mandala 3 of the is the third book in the ancient collection of hymns, comprising 62 suktas (hymns) totaling 617 verses, primarily composed by the seer Viśvāmitra Gāthina and members of his family. It forms one of the "family books" (2–7) that constitute the oldest core of the , characterized by hymns dedicated mainly to the deities (the fire god) and (the warrior god), alongside invocations to the Viśvedevas (all gods) and other figures like the rivers Sarasvatī and Vipāś. This mandala is notable for its geographical references, marking the eastern extent of the Rigveda's known world by mentioning the Kīkaṭa region in Bihar and rivers such as the Śutudrī and Jahnāvī (an early name for the Ganges). Among its hymns, Sukta 62 stands out for containing the Gayatri Mantra (RV 3.62.10), a revered invocation to Savitr (the sun deity) attributed to Viśvāmitra, which emphasizes enlightenment and cosmic order and has become central to Hindu rituals. Thematically, the hymns blend praise for divine powers, ritual sacrifices, and natural elements, reflecting the socio-religious life of early Vedic society around the 2nd millennium BCE. Scholars classify most of Mandala 3 as part of the "Old ," with 48 hymns considered core compositions and 14 showing later redactions, possibly interpolated during the text's compilation. Key suktas invoke protection in battles, prosperity through fire rituals, and harmony with the , underscoring Viśvāmitra's legendary role as a who rose from to status in Vedic lore. The mandala's structure follows the 's overall pattern, divided into anuvakas (sections) for recitation, and it contributes to the text's emphasis on , Rita (cosmic order), and devotion.

Overview

Introduction

Mandala 3 constitutes the third book of the , the ancient corpus of hymns recognized as the oldest extant Indo-European religious text. This encompasses 62 hymns, known as suktas, comprising a total of 617 verses, or riks, dedicated to various ritual and cosmological themes. As part of the foundational structure, Mandala 3 exemplifies the text's poetic and devotional depth, forming a key segment of the , the core hymn collection that underpins later Vedic literature. Within the Rigveda's family-based arrangement, where each is largely attributed to specific lineages of seers, Mandala 3 is primarily linked to the clan, reflecting contributions from this prominent group of rishis, with minor joint elements involving the Bhrigus. The verses employ a range of Vedic meters, predominantly and Tristubh, which lend rhythmic precision and mnemonic utility to the oral recitations. These metrical forms, characteristic of early Vedic poetry, facilitate both liturgical performance and . Composed during the early , circa 1500–1200 BCE, the hymns of Mandala 3 were transmitted exclusively through by generations of priests and scholars, preserving their phonetic integrity without reliance on written scripts until much later. This mode of transmission underscores the Rigveda's role as a living liturgical resource in ancient Indo-Aryan society, influencing subsequent religious and cultural developments in the .

Structure and Composition

Mandala 3 of the consists of 62 hymns, totaling 617 verses. These hymns vary in length, with Hymn 1 containing 23 verses dedicated to and Hymn 62 featuring 18 verses, including the renowned in verse 10. The verses are composed predominantly in the Gayatri meter, alongside significant use of Trishthubh, with occasional Ushnik, Anushtubh, and Jagati meters contributing to the rhythmic structure. The mandala is organized around family authorship, primarily attributed to the gotra, with 60 hymns composed by members of this family (encompassing 588 verses) and two joint hymns (36 and 62) involving collaborations with the Angirases and Bhrgus. This family-centric division reflects the "family books" (mandalas 2–7), where hymns are grouped by lineages rather than thematic or metrical criteria alone, emphasizing continuity in priestly traditions. Compositional techniques in Mandala 3 include stanza groupings that build invocations progressively and repetitive refrains, particularly in hymns addressed to , to reinforce ritual efficacy and memorability. Anushtubh verses occasionally serve as interludes, providing rhythmic transitions within longer Trishthubh-based hymns. Linguistically, Mandala 3 exhibits archaic features, including family-specific vocabulary tied to the tradition, such as terms for rituals and geography, alongside phonetic patterns like consistent applications and dialectal elements that align it closely with other early family mandalas. These elements, including preserved Indo-European roots without later innovations, distinguish its style from the more varied non-family mandalas.

Content and Themes

Major Deities and Hymns

Mandala 3 of the features 62 hymns dedicated predominantly to a select group of Vedic deities, with and receiving the majority of invocations. , the warrior god associated with thunder and victory, is the focus of many hymns, including sequences like 3.45–3.53, which extol his exploits in cosmic battles against demonic forces. , the fire deity central to sacrificial rites, is similarly prominent, often emphasizing his purifying and mediatory functions in rituals. Other prominent deities include the , twin healers and rescuers invoked in several hymns, as well as the , storm gods who appear in joint praises alongside or . receives dedication in hymn 3.54, underscoring his role as a supporter of cosmic order. Several hymns stand out for their thematic focus on key mythological events or natural elements. Hymn 3.53 narrates 's slaying of the dragon , depicting the god's release of captive waters through heroic combat with his weapon, thereby ensuring fertility and order. In 3.33, the rivers are lauded in a geographical enumeration, naming sacred streams such as the Vipāś, Śutudrī, Paruṣṇī, and Sarasvatī, portraying them as life-giving mothers flowing from the mountains. Hymn 3.30 praises Agni's powers and presence in the sacrifice, composed by the seer Viśvāmitra. Hymn 3.62, dedicated to and other deities, contains the (3.62.10), a revered to emphasizing enlightenment and cosmic order. Joint dedications highlight synergies among deities, such as 3.12 to and , invoking their combined might for protection and prosperity in rituals. These hymns collectively illustrate the mandala's emphasis on divine aid in warfare, sacrifice, and natural abundance, without delving into extended symbolic exegesis.

Poetic and Ritual Elements

The hymns of Mandala 3 of the showcase a rich array of that enhance their expressive power and ritual efficacy. Metaphors abound, often drawing from natural and animal imagery to embody divine attributes; for instance, is portrayed as a in hymn 3.46.1, evoking his ferocity, virility, and dominance as a warrior god who overpowers foes like Vṛtra. Similarly, wields the as a symbol of irresistible force, shattering barriers and releasing waters in hymns such as 3.45, where his actions are likened to a soaring over vast terrains before unleashing destructive might. and parallelism structure the verses, creating rhythmic echoes—such as repeated sounds in praises of Agni's flames—that reinforce thematic unity and facilitate memorization in . Personification and riddles further animate the , attributing human qualities to cosmic elements to convey deeper mysteries. Rivers, for example, are depicted as maternal figures nurturing life and , embodying the life-giving essence of the in the Vedic worldview, as reflected in the familial and protective tones of related hymns. These devices not only heighten aesthetic appeal but also encode esoteric knowledge, inviting priests and listeners to unravel layers of meaning during . In ritual context, the hymns are intricately tied to Vedic sacrifices, serving as invocations for specific ceremonies. Hymns 3.26–29, addressed to , accompany the pressing and purification of Soma in sacrificial rites, where the god's fiery presence ensures the oblations reach the deities; verse 3.26.8, for instance, alludes to threefold cleansing processes essential to Soma preparation. Agni-focused hymns, like those opening the , underpin fire ceremonies (homā), kindling the sacred flame to maintain cosmic harmony during yajña. hymns, such as 3.45 and 3.46, function as warrior invocations, chanted before battles or to invoke protection and victory, aligning human endeavors with divine prowess. Symbolic themes in Mandala 3 emphasize , the principle of cosmic order, woven through natural imagery like flowing rivers, radiant dawns, and storm-driven winds, which illustrate the interconnectedness of human, natural, and divine realms. Dualities of light and darkness permeate Agni-Maruts hymns, such as 3.26, where Agni's illuminating fire contrasts with chaotic obscurity, symbolizing the triumph of order over disorder in both ritual and cosmology. Performative aspects are central, with the hymns' gāyatrī and triṣṭubh meters, coupled with recurring refrains (anuvāka structures), designed for antiphonal chanting by priests during yajña, fostering communal participation and rhythmic entrainment to invoke . This chantable form influences broader Vedic practices, ensuring the verses' enduring role in sacrificial .

Historical Context

Authorship and Rishis

Mandala 3 of the is primarily attributed to the Gāthina and his descendants, who composed the bulk of its 62 hymns. According to traditional indices known as Anukramanis, Gāthina is credited with hymns 3.1–3.37 and 3.60–3.62, encompassing a significant portion of the mandala's content focused on deities like and . Descendants such as Gāthino contributed to these compositions, reflecting a familial lineage within the Vishvamitra clan. Contributions remain largely within the Vishvamitra family, such as Prajāpati Vaiśvāmitra for hymns 3.38–3.40, highlighting the clan's dominant role in the mandala's authorship. The family belongs to the Kuśika or Kaushika , part of a broader - dynamic marked by historical rivalry and eventual alliance. This tension is evident in the mandala's hymns, which reference interactions between the Vishvamitras and Bhrigu-affiliated groups, such as joint compositions in hymn 3.62 involving Bhrigu contributions from Bhārgava (verses 3.62.16–18). In later Vedic and epic texts, is depicted as originating from status before attaining Brahminhood through , a legendary transformation underscoring the clan's priestly evolution. For instance, hymn 3.53 is solely attributed to Gāthina in the Anukramanis, illustrating individual credit within the family framework. The Anukramanis serve as the primary method for linking rishis to specific hymns, cataloging composers, deities, and meters for each sukta in the . These indices, compiled in the post-Vedic period but drawing on ancient oral records, assign authorship to and kin for the core of Mandala 3, with exceptions like the Angirasa contributions in hymn 3.36. This system preserves the traditional view of rishis as revealers rather than sole inventors, emphasizing visionary insight (drashtas) in the composition process. Authorship in Mandala 3 reflects broader oral traditions of collective family composition spanning generations, where hymns evolved through recitation and refinement within the lineage. Rishis acted as seers who "saw" or perceived the mantras during rituals, contributing to a shared poetic heritage rather than individual creation. This generational approach is evident in the mandala's internal references to clan events and priestly roles, such as 's service to the Bharata king Sudās.

Chronology and Dating

Mandala 3 is classified as part of the Rigveda's middle chronological layer, encompassing the books (Mandalas II–IV and VI–VII), which were composed after the earliest book (Mandala VI) but prior to later books like Mandala II and the additions in . Within the family books, it follows Mandala VI and precedes Mandala VII in the proposed relative order (VI, III, VII, IV, II, V), based on poetic genealogies, intertextual references, and linguistic analyses that reveal a core of older material with subsequent interpolations. Linguistic markers further support this stratification, as exhibits archaic Indo-Aryan forms alongside transitional elements—such as evolving vowel gradations and nominal declensions—that bridge Old Indo-Aryan and emerging Middle Indo-Aryan features, distinguishing it from the more innovative syntax in the outer . Absolute dating places the composition of Mandala 3 around 1400–1200 BCE, aligned with the broader Rigvedic timeframe derived from linguistic evolution and cultural correlations. Astronomical allusions, including the positioning of the (Krittikās) in 3.54, align with celestial configurations observable during this era, providing a key for the text's antiquity. Archaeological ties link this period to the post-decline phase of the late Harappan/Indus Valley civilization, around 1900–1300 BCE, when Indo-Aryan speakers are posited to have integrated into the . Comparatively, Mandala 3 predates references in the (c. 1000–700 BCE), which cites Rigvedic hymns in ritual contexts, indicating the mandala's established status by the late . It temporally overlaps with the Mitanni treaties of c. 1380 BCE, where Indo-Aryan deities like , , and the Nasatyas—prominent in Mandala 3—are invoked, suggesting the shared religious framework was contemporaneous with the Rigveda's oral transmission. Scholarly debates on its dating contrast Indologist frameworks, such as Max Müller's "wave theory," which situates in the second compositional period of the based on progressive linguistic and mythological maturation, with indigenous Hindu traditions that regard the text as apaurusheya (authorless divine revelation) outside historical chronology. Müller's model emphasizes layered accretion over centuries, while traditional views prioritize timeless sanctity over empirical timelines.

Significance and Interpretations

Cultural and Religious Impact

Mandala 3's hymns continue to hold a central place in contemporary Hindu rituals, particularly those invoking deities for prosperity and protection. Invocations to Sarasvati, such as in 3.54, are recited during Sarasvati Puja to seek blessings for wisdom and eloquence, forming an essential part of the worship that emphasizes intellectual and creative faculties. Similarly, the numerous invocations to in this mandala, such as those praising the fire god as the conduit of offerings, are integral to yajnas (sacrificial rites) and vivaha samskaras (wedding ceremonies), where they facilitate the transmission of oblations to the divine and symbolize purification. In , the hymns attributed to in Mandala 3 have profoundly shaped epic narratives, most notably in the , where the sage's rivalry with Vashistha—stemming from conflicts over power and —serves as a foundational motif illustrating the triumph of spiritual austerity over worldly authority. This interpersonal drama, echoed in Vishvamitra's compositions extolling Indra's valor, underscores themes of transformation and divine favor. Additionally, the Indra-Vritra myths depicted in several hymns of this mandala, portraying Indra's slaying of the drought demon to release cosmic waters, establish an enduring of the battle between , influencing later Puranic tales of heroic struggles against malevolent forces. The mandala's emphasis on , the principle of cosmic and moral order, contributed significantly to the solidification of Brahmanical orthodoxy by providing a theological framework for ritual efficacy and ethical conduct in Vedic society. This concept resonates in the , particularly the , where evolves into discussions of universal harmony and the interplay of truth with ritual action, bridging early Vedic cosmology to philosophical inquiry. Regionally, Mandala 3 maintains vitality through oral traditions, with Brahmins in reciting its hymns as part of their Rigvedic rituals, preserving the text's phonetic integrity via specialized chanting modes like the system. In North Indian gurukuls, such as those in , the mandala's verses are taught to students, ensuring their transmission in daily sandhya vandana and educational rites that reinforce Vedic continuity.

Modern Scholarship and Translations

Modern scholarship on Mandala 3 of the has advanced through key translations and analytical studies that illuminate its linguistic, ritual, and comparative dimensions. One of the earliest comprehensive English translations was Ralph T.H. Griffith's 1896 rendition of the , which adopts a literal approach to preserve the archaic phrasing while providing accessible commentary on the hymns, including those in Mandala 3. More recently, Stephanie W. Jamison and Joel P. Brereton's three-volume 2014 translation offers a philologically rigorous English version of the entire , accompanied by extensive notes; for instance, their commentary on hymn 3.33 explores geographical references to rivers and landscapes, linking them to broader Vedic cosmology. A subsequent multi-volume word-for-word translation by Prasanna Chandra Gautam et al., published starting in 2015, provides detailed interpretations of Mandala 3's mantras, enhancing accessibility for modern readers. Interpretive debates have drawn parallels between Mandala 3's depictions of and traditions, particularly identifying Indra's role as a dragon-slayer with the deity , who embodies victorious strength against obstacles, suggesting shared Indo-Iranian mythological roots. Feminist and eco-feminist readings have also emerged, interpreting river hymns such as 3.33—where the sage Viśvāmitra invokes the rivers to halt their flow—as texts affirming ecological interdependence and the feminine agency of natural forces in Vedic narratives. Seminal studies include Hermann Oldenberg's 1888 analysis in Die Hymnen des , which dissects the ritual layers embedded in the mandala's hymns, distinguishing poetic origins from later sacrificial interpolations to reveal their performative context. Louis Renou's 1955 work on Vedic and hymns, part of his broader Études védiques et pâninéennes series, examines linguistic archaisms in Mandala 3, such as irregular forms and nominal compounds that preserve early Indo-European features amid evolving . Digital resources like the database further support textual scholarship by offering synoptic editions of the , including variant readings from multiple manuscripts that highlight textual stability and minor divergences in Mandala 3's transmission. Despite these contributions, gaps persist in Mandala 3 scholarship; it receives less attention than , whose philosophical hymns have dominated interpretive focus, leaving aspects like its geographical allusions and family-specific poetics underexplored. Emerging postcolonial critiques of Western question colonial-era philological methods applied to the , arguing they often prioritize etymological dissection over indigenous ritual contexts and impose Eurocentric timelines on texts like Mandala 3.

References

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