Brief outline of the Brāhmaṇa literature

The Brāhmaṇas in the history of Indian civilization and culture hold the most important position, deserve an analytical and detail discussion. But, before that, we have to face the most important question: what is Brāhmaṇa? The term ‘Brāhmaṇa’ has been explained in different ways. The word ‘Brāhmaṇa’ has originated from the word ‘Brahman’. Ācārya Jaiminī while describing the nature of Brāhmaṇa says—‘Śeṣe Brāhmaṇa śabdaḥ’^[1], which means besides the mantras the remaining portion of the Veda is called Brāhmaṇa. Sāyanācārya also supports this view and says ‘Mantra’ and ‘Brāhmaṇa’ are the two parts of Vedic literature. So, the portion excluding Mantra is called Brāhmaṇa. Jaiminī also in his Pūrvamimāṃsā also says that, whatever in the Veda is not Mantra is Brāhmaṇa^[2].

Etymologically the word (Brāhmaṇa) is derived from √Brahman which properly signifies the Brāhmaṇ priest who must know all the Vedas, and understands the whole course and meaning of the sacrifice. He is supposed to be a perfect master of divinity and has the capacity to direct and superintend the sacrificial ceremonies. The Brāhmaṇas are the second great class of works that belong to the Veda. One of the meanings of ‘Brāhmaṇa’ is Veda or Veda Mantra. As all the sacrificial works are done by Priest, so, the books where we get the detail accounts of all the sacrificial works and the various performances of the priest are called Brāhmaṇa. There is no doubt regarding the meaning of the term ‘Brāhmaṇa’ as ‘priestly class’. As the famous Śatapatha Brāhmaṇa of the Śukla Yajurveda quotes ‘Brahma vai Brāhmaṇa’^[3] which means ‘Brahman’ is ‘Brāhmaṇa’ i.e. the priestly class.

Patañjali, the author of the Mahābhāsya, while commenting on Pānini gives the same opinion—“

Samānartha vetau Brahmaṇ sabdo Brāhmaṇa sabdo cha”^[4].

It signifies that ‘Brahman’ and ‘Brāhmaṇ’ convey the same meaning.

The Brāhmaṇa literature is entirely in prose. Brāhmaṇas treat very minutely all the trifling details of all the sacrificial ceremony. Āpastamba defines the Brāhmaṇa as–‘Karmacodonā brāhmaṇāni’^[5] i.e. the injunctions of the rites are Brāhmaṇas. Āpastamba explains the term ‘Karmacodanā’ by giving detail characteristic features of the Brāhmaṇas.

According to him, Brāhmaṇas are broadly divided in to two groups–

1. Vīdhi (percepts)
2. Arthavāda (supplementary passages).

Āpastamba further gives fourfold classification of the Arthavāda as–

1. Nindā (cencure)
2. Prasaṃsā (eulogy)
3. Purākalpa (myths and legends)
4. Parakṛti (achievement of others).

Vidhī—

Vidhī means commands or order for the performance of particular rites. In the Brāhmaṇas all the sentences are expressed in potencial mood, example–‘yayet’ means ‘he should sacrifice’, ‘saṃset’ means ‘he ought to recite’ etc come under the purview of Vidhi.

Arthavāda—

Arthavāda contains the explanatory comments on the meaning of the mantras and numerous rites of the Brāhmaṇas. These explanations forms the speculative part of the Brāhmaṇas in which the Philosophical, grammatical and philological discussions are traced. With an example the subject matter will become clear and easy. As for instance–it is frequently stated in the Brāhmaṇas that one who performs the sacrifice like Agnihotra or Gavāmayaṇa attains ‘Sājujya’, ‘Sārupya’, ‘Sālokya’, but the through discussions of these three terms are not found in the Brāhmaṇa literature. Later on these three terms came to signify three different stages of Mokṣa or Kaivolya in Indian Philosophy and religion.

Nindā—

Nindā or censure consists in criticism, refutation and denunciation of the opponents view. The portion of the Brāhmaṇas which contains controversial passages, establishment of own opinions are called Nindā. Regarding the procedure of certain rites or the choice of particular hymns and the proper import of mantras there existed the difference of opinion among the priests and it was natural. One school criticised the practise and preaching of another school. We may come across various citations like that. As for example-‘it should not be done in that way’ (tat tathā na kartavyaṃ), ‘it should not be recited in that manner’ (tat tathā na paṭhitavyaṃ) and so on. Passages of the Brāhmaṇas are called Nindā or Censure. For example, in the Śatapatha Brāhmaṇa we find numerous remarks censuring particular injunctions of the Taittirīya Brāhmaṇa.

Prasaṃsā—

Prasaṃsā means recommendation of any action by means of eulogy. That which is praised is enjoined and what is censured is to be avoided (yat stuyate tat vidhiyate, yannindyate tanniṣidhyate). Thus Prasaṃsā mainly comprises those phrases which declare that the performance of particular rites, with the proper knowledge, produces the desired effect. In such type of Brāhmaṇa passages this portion of passage, such as ‘ya evaṃ veda’ (one who knows it) is often found.

Purākalpa—

Purākalpa refers to the performance of sacrificial rites in former times in the mists of antiquity. The stories and legends in the Brāhmaṇas which describe the performance of the sacrifices by the Gods come under the purview of Purākalpa. Under this head also comes the various stories of fights between the Devas and Asuras. This interesting element of the Brāhmaṇa text forms the legendary background of the whole sacrificial ritual. Many times before the commencement of the sacrifice by human beings, the deities performed the sacrifices and those sacrifices subsequently became the model for the performance of such types of sacrifice for the human beings. The Primeval being or Prajāpati at time of creation performed the sacrifice first and from that sacrifice Virāt, four Vedas, four classes of people, rural birds and beasts, five primary elements, Sun, Moon, atmosphere, mundane mobile and immobile creations were originated. The descriptions of the war between Gods and demons are also included within the purview of Purākalpa.

Parakṛti—

The last characteristics feature of the Brāhmaṇa is Parakṛti (parasya kṛti Parakṛti) means the achievement of others. The stories of the Brāhmaṇas which comprise the particular performance of renowned srotriyas or priests, sacrifices performed by the great king, Dakṣinā or gifts presented by the king to the Brāhmaṇas etc. come under Parakṛti. In addition to these it also contains stories of success achieved by sacrifice due to their sacrifice and gifts. The last pañcikā of the Aitareya Brāhmaṇa (V/39) is completely filled with this class of stories and anecdotes.

Priest Udamaya ceremonially installed the king named Aṅga in the kingdom. That king Aṅga offered 88 (eighty eight) white coloured horses, ten thousand elephants wealthy damsels decorated with golden ornaments as sacrificial fees. Such type of Parakṛti is mentioned in the Aitareya Brāhmaṇa.

The difference between the ‘Purākalpa’ and ‘Parakṛti’ is very slender. According to orthodox school of Indian Philosophy the difference between ‘Purākalpa’ and ‘Parakṛti’ is only in quantity not in quality. Purākalpa comprises various legends and stories of heroic deeds and other deeds of many persons, where as Parakṛti refers to the various achievements of one person. ‘Parakṛti’ is also termed as ‘Parakriya’.

Footnotes and references:

[1]:

Pūrvamimāṃsā-sūtra-II/1/33

[2]:

Ibid-II/1/32-33.

[3]:

Śatapatha-brāhmaṇa-XIII/1/5/3

[4]:

Pāninī Vyākaraṇa-V/1/1

[5]:

Āpastamba-yajña-paribhāsā-sūtra-I/32