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Hinduism Vak Ambhrini and Her Song of the Soul by Satya Chaitanya Vak Ambhrini – Vak, the daughter of the Rishi Ambhrina. Or Vagambhrini, as her name is pronounced when the two names are combined. A rishika, female seer and author of mantras, in her own right. Was she the first woman poet of the world? We will never know. What we know for sure, though, is that she is among the oldest poets of the world. Her song appears in the Rig Veda. It is the hundred and twenty-fifth sookta of the tenth mandala [book] of the Rig Veda. The most common name for it is Vak Sookta, though it is known by other names too, such as Atma Sookta, Song of the Soul, and Devi Sookta, Song of the Goddess. The majestic beauty of the Vak Sookta makes us wonder if poetry has ever reached greater heights! The Vedas themselves describe their poetry as joyous streams bursting forth from the mountains. The Vak Sookta is that – a joyous stream bursting forth from the mountains. But it is much more than that too. It comes to us with the power of a thundershower. The sookta is not just powerful, but power itself. It has at the same time the ephemeral loveliness of a rare winter blossom and the awesome majesty of the eternal Himalayas. The earth singing the song of its soul – that is what we feel when we go through the song, or, better still, when we let the song go through us. To experience the Sookta on a fine morning when the world is just awakening after a night’s serene slumber is to have a bath in the most sacred of teerthas – like a dip in the Manas Sarovar itself. And you feel the presence the Lord of Kailasa in the sookta, as at the Sarovar. He is there, sanctifying every syllable of the timeless sookta. And with him is the Mother Goddess, sanctifying each word of Vagambhrini’s sookta, and in the silences between the words. Like other sooktas in the Vedas, the Vak Sookta too is a spontaneous outpouring of the poet-seer’s soul. An outpouring not from the ordinary dimension of human experience, but from the highest possible reaches of it. It is what we call revealed poetry. It is not a deliberate composition, wherein the poet sits down and thinks of each word that will go into the making of the poem. No, there is nothing like that here. The rishika has had a powerful experience – the most powerful experience possible, a hundred times, maybe a thousand times, more powerful than the most powerful experience we can imagine. The experience of herself, of her own self, an experience in which the experiencer, the experienced and the act of experiencing all merge and become one. An experience that is really no experience at all, since these distinctions have disappeared. The experience of her self as the soul of the universe, its very being. And she allows the ecstasy of her experience to pour out in words – that is the Vak Sookta. The Vak Sookta is pure splendor – a celebration of the splendor that what we truly are. As we read it, listen to it, we feel poetry has never climbed to greater heights, nor reached more profound depths. For what Vak experiences is that she is the mother of the universe, with all its gods and humans and every created thing. Hers is the ultimate spiritual experience, which the Upanishads speak of as ‘aham brahmasmi’. English is a beautiful language. But it is not Sanskrit. All poetry translated into another language, and another culture, loses much of its beauty. And this is particularly true when you translate from ancient Sanskrit to modern English. The very consciousnesses of the two languages are different. In one of my classes an MBA student recently asked me how much we lose when we translate Sanskrit poetry into English. And I told him it is not how much I lose, but what we lose. Frequently, we lose the very soul of the poem. In spite of that we have no real choice but to translate. So here is the original sookta in Sanskrit and an English rendering of it: Aham rudrebhir vasubhiś charāmyaham ādityair uta viśvadevaih Aham mitrā varunobhā bibharmyaham indrāgnee aham aśvinobhā. [1] I move with the Rudras and also with the Vasus, I wander with the Adityas and the Vishwadevas. I hold aloft both Mitra and Varuna, and also Indra and Agni and the twin Ashvins. Aham somam āhanasam bibharmi aham tvashtāram uta pūshanam bhagam Aham dadhāmi dravinam havishmate suprāvye yajamānāya sunvate. [2]
I uphold Soma the exuberant; I uphold Tvasta, Pushan, and Bhaga. I endow
with wealth the offerer of oblation, the worshipper and the pious
presser of the Soma.
I give birth to the creator in the heavens atop the world and my own
origin is deep in the ocean, in the cosmic waters. From there I permeate
all existing worlds, and even touch yonder heavens with my forehead.
What power, what grandeur, what splendor! And what superb poetry! That
is Vagambhrini, the seer who has realized her oneness with the essence
of the universe and declares it in proud words that send thrills through
our hearts.
Beautiful, isn’t it! Perhaps this is how, in their own way, the Vedic people understood Rudra and Vasu, Adityas and Vishvadevas, and Mitra and Varuna and so on! ~*~ Incidentally, the Rig Veda has an amazing thirty rishikas – women seer poets – whose works have come down to us from that ancient world! I know of no other major scripture, anywhere in the world, from any culture, that contains mystic poetry revealed to women. Except in the Vedas, nowhere else were women considered fit for such revelations. How sad, when you think of it! For it is far easier for women to experience the divine than to man and throughout history there must have existed countless women who have had such experiences. What an irreparable loss for us, their children! ~*~ Note: In rendering the Vak Sookta into English, I have borrowed heavily from Griffith’s translation and from another old translation whose author I do not know. I was also aided in my work by a brief commentary on the Sookta by Swami Akhandananda Saraswati and the Hindi translation of the Rig Veda by Dr Ganga Sahay Sharma. May 11, 2008 |
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