Rigveda (ऋग्वेदः) - Revision history

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	The Rigveda is the oldest of the Vedas. All the other Vedas are based upon it and consist to a large degree of various mantras from it. It consists of about a thousand richas (name of the Rigvedic mantras) of different seers, arranged in suktas having an average of around ten mantras. That the Rig Veda is the oldest book in Sanskrit or any language is widely accepted by the followers of Sanatana Dharma. Its date of composition is not definite and the Vedic time period is a topic of debate among many scholars. As such it is not in the scope of this article.		The Rigveda is the oldest of the Vedas. All the other Vedas are based upon it and consist to a large degree of various mantras from it. It consists of about a thousand richas (name of the Rigvedic mantras) of different seers, arranged in suktas having an average of around ten mantras. That the Rig Veda is the oldest book in Sanskrit or any language is widely accepted by the followers of Sanatana Dharma. Its date of composition is not definite and the Vedic time period is a topic of debate among many scholars. As such it is not in the scope of this article.

@@ Line 253: / Line 253: @@
 #[[Nasadiya Sukta (नासदीयसूक्तम्)]] - 10.129
-# Purusha Sukta (पुरुषसूक्तम्) - 10.10
+# [[Purusha Sukta (पुरुषसूक्तम्)]] - 10.10
-# Hiranyagarbha Sukta (हिरण्यगर्भसूक्तम्) - 1.121
+# [[Hiranyagarbha Sukta (हिरण्यगर्भसूक्तम्)]] - 1.121
 # Vak Sukta (वाक् सूक्तम्) - 10.125
 # Asya-vamiya Sukta - 1.164

@@ Line 284: / Line 284: @@
 The Akhyana and Samvada suktas in the Rigveda are said to be the seed material of the later day Itihasa, Kavyas, Mahakavyas (poetics), and natakas (drama). The information found in seed form in the Rigveda is supported and elaborated, similar to a fruit-bearing tree, in the Brahmana and Aranyaka literature. In this way the Akhyana and Samvada suktas have  significant role in defining the Bharatiya Laukika Sahitya. The concepts found ground and developed further in the Itihasa and Purana literature. According to the traditional views, it is said that dramaturgy (the art of dramas) originated from the Vedas. Mahamuni Bharata the author of Natyashastra, describes that Brahma composed the "Natyaveda or Panchamaveda" as the essence of the four vedas upon request of the devatas. For this purpose, the essence of Pathya (including the Samvadas and anecdotes) was taken from the Rigveda, that of Sangeeta (music) from Samaveda, Abhinaya (action) from Yajurveda, and Rasa (aesthetics) from Atharvaveda.<ref name=":6" />
-== मंत्रार्थ प्रस्तुति शैली ॥ Style of presentation of the meaning of Mantras ==
+== मंत्रार्थ प्रस्तुति शैली ॥ Presentation style of Mantra meaning ==
 There are many akhyanas or anecdotes in Rgveda. A few are famous and are found in Brahmana and other texts such as Brhaddevata.<ref name=":2" /><ref name=":6" /> However, Akhyana style of explaining the purport of the mantras is one way of presenting the meaning of a mantra. Nirukta indicates that there are at least three ways of giving out the meaning of Rigveda mantras as follows<ref>Shastri, Jwalanth Kumar. (2009) ''Ved aur vedarth'' Rajasthan: Sri Ghudhmal Prahladkumar Arya Dharmarth Nyasa. (Pages 58-59)</ref>
-# आख्यान शैली ॥ Akhyana style of presentation - In the reference 10.10 of Nirukta, Yaska explains "ऋषेर्दृष्टार्थस्य प्रीतिर्भवत्याख्यानसंयुक्ता" which means that the rshis who are tattvadrashtas in a few instances express the meaning of their mantras in the Akhyana style. The meaning of the mantra is presented by embedding it in a creative story. While the mantras in the veda contain a part or section of the whole legend, Brahmanas, Brhaddevata or Sarvanukramanika usually contain the complete story. Indra sukta (Rigveda. 2.12) is one such example.
+# '''आख्यान शैली ॥ Akhyana style of presentation''' - In the reference 10.10 of Nirukta, Yaska explains "ऋषेर्दृष्टार्थस्य प्रीतिर्भवत्याख्यानसंयुक्ता" which means that the rshis who are tattvadrashtas in a few instances express the meaning of their mantras in the Akhyana style. The meaning of the mantra is presented by embedding it in a creative story. While the mantras in the veda contain a part or section of the whole legend, Brahmanas, Brhaddevata or Sarvanukramanika usually contain the complete story. Indra sukta (Rigveda. 2.12) is one such example.
-# ऐतिहासिक शैली ॥ Aitihasika style of presentation -
+# '''ऐतिहासिक शैली ॥ Aitihasika style of presentation''' - Yaska further uses the term "इत्यैतिहासिकाः" at the end his commentary for many mantras. It indicates that the meaning of the mantra is conveyed by the Aitihasika style of writing. For example, तत्को वृत्रः मेघ इति नैरुक्ताः, त्वष्ट्रोऽसुर इत्यैतिहासिकाः etc, meaning "Who is Vrtra, he is Megha as said by Nairuktakaras, he is Tvatshtra (son of Tvashta) an asura as said by the Aitihasikas (one who expound Itihasa)." Here we see that by the aitihasika style of presentation Vrtra is described as an asura and son of Tvashta.
-# निरुक्त शैली ॥ Nairukta style of presentation
+# '''नैरुक्त शैली ॥ Nairukta style of presentation''' - Here the meaning of the mantras are presented as per the directions of Niruktakaras, where words have to be interpreted grammatically, thus they become derived meanings. So according to Nairuktakaras, Vrtra does not refer to an asura and son of Tvashta but to वृणोतेर्वर्धतेवा where 'one that circles and grows' applies to Megha or clouds. Thus Vrtra also refers to a Cloud. The sense in which the root or dhatus (without the prakrti and pratyaya) are expressed is used to drive the derived meanings. In the same way, Vishvamitra refers to "Sarvamitra". In such style of presentation, no particular person is referred to but the person or things associated to a meaning so derived bear importance.
 Niruktakara, Acharya Yaska alludes to Akhyanasamya (आख्यानसमयः), Aitihasika (ऐतिहासिकाः) and Naidanaa (नैदानाः) styles of presentation of a context. All the three styles only differ slightly. Acharya Vararuchi in his commentary on Nirukta clarifies as follows <ref name=":022322222">Shastri, Jwalanth Kumar. (2009) ''Ved aur vedarth'' Rajasthan: Sri Ghudhmal Prahladkumar Arya Dharmarth Nyasa. (Pages 257-258)</ref><blockquote>औपचारिको मन्त्रेष्वाख्यानसमय इति नैरुक्तानां सिद्धान्तः ।</blockquote>Meaning: Akhyanas (legends) and Itihasa (accounts of former events) described in the mantras are usually figurative or metaphorical according to Nairukta siddhanta.
-On an in-depth exploration one finds that the description is of three types - extraordinary (असम्भव), probable (सम्भवासम्भव) and possible (सम्भव). In the Vedic literature mostly we find extraordinary (चमत्कारकवाचक) and generic (जातिवाचक) usages for describing events. Here a person, river, city or place in particular (व्यक्तिवाचक) are used metaphorically and are used to convey an underlying natural, social, spiritual, or a philosophical message. However, in the Brahmana and Puranic literature we find descriptions which appear probable and possible, which is very rare in the Vedas. For example, the akhyana of Vishvamitra and Menaka is described in an extraordinary way in the Vedas. Elsewhere we find that Dushyanta and Shakuntala are described as having normal human personalities but their progeny, Bharata is associated with Indra both, extraordinary characters. In this state, calling Vishvamitra and Menaka (of the Vedas) as the ancestors of Dushyanta and Bharata (of the Puranas) creates a confusion. In the Vedic mantras, one does not find human-like description (मानुषीवर्णन) of Vishvamitra and Menaka, nor does vaidik Bharata (who approaches Indra) appear to have any relation with the laukika Bharata. Many misinterpretations arise as the storyline borrowed from the earlier literature gets digested with their new modifications in modern laukika sahitya. Thus a careful consideration of vaidika akhyanas is required to discern between the historical and poetic parts of the literature.<ref name=":022322222" />
+On an in-depth exploration one finds that the description of an event is of three types - extraordinary (असम्भव), probable (सम्भवासम्भव) and possible (सम्भव). In the Vedic literature mostly we find extraordinary (चमत्कारकवाचक) and generic (जातिवाचक) usages for describing events. Here a person, river, city or place in particular (व्यक्तिवाचक) are used metaphorically and are used to convey an underlying natural, social, spiritual, or a philosophical message. However, in the Brahmana and Puranic literature we find descriptions which appear probable and possible, which is very rare in the Vedas. For example, the akhyana of Vishvamitra and Menaka is described in an extraordinary way in the Vedas. Elsewhere we find that Dushyanta and Shakuntala are described as normal human personalities but their progeny, Bharata is associated with Indra; both of them being extraordinary characters. In this state, calling Vishvamitra and Menaka (of the Vedas) as the ancestors of Dushyanta and Bharata (of the Puranas) creates a confusion in the minds of the reader. In the Vedic mantras, one does not find human-like description (मानुषीवर्णन) of Vishvamitra and Menaka, nor does vaidik Bharata (who approaches Indra) appear to have any relation with the laukika Bharata. Many misinterpretations arise as the storyline borrowed from the earlier literature gets digested with their new modifications in modern laukika sahitya. Thus a careful consideration of vaidika akhyanas is required to discern between the historical and poetic parts of the literature.<ref name=":022322222" />
 == Pravachanakaras of Rgveda ==

@@ Line 284: / Line 284: @@
 The Akhyana and Samvada suktas in the Rigveda are said to be the seed material of the later day Itihasa, Kavyas, Mahakavyas (poetics), and natakas (drama). The information found in seed form in the Rigveda is supported and elaborated, similar to a fruit-bearing tree, in the Brahmana and Aranyaka literature. In this way the Akhyana and Samvada suktas have  significant role in defining the Bharatiya Laukika Sahitya. The concepts found ground and developed further in the Itihasa and Purana literature. According to the traditional views, it is said that dramaturgy (the art of dramas) originated from the Vedas. Mahamuni Bharata the author of Natyashastra, describes that Brahma composed the "Natyaveda or Panchamaveda" as the essence of the four vedas upon request of the devatas. For this purpose, the essence of Pathya (including the Samvadas and anecdotes) was taken from the Rigveda, that of Sangeeta (music) from Samaveda, Abhinaya (action) from Yajurveda, and Rasa (aesthetics) from Atharvaveda.<ref name=":6" />
-=== आख्यान । Akhyanas ===
+== मंत्रार्थ प्रस्तुति शैली ॥ Style of presentation of the meaning of Mantras ==
-There are many akhyanas or anecdotes in Rgveda. A few are famous and are found in Brahmana and other texts such as Brhaddevata.<ref name=":2" /><ref name=":6" /> Niruktakara, Acharya Yaska alludes to Akhyanasamya (आख्यानसमयः), Aitihasika (ऐतिहासिकाः) and Naidanaa (नैदानाः) styles of presentation of a context. All the three styles only differ slightly. Acharya Vararuchi in his commentary on Nirukta clarifies as follows <ref name=":022322222">Shastri, Jwalanth Kumar. (2009) ''Ved aur vedarth'' Rajasthan: Sri Ghudhmal Prahladkumar Arya Dharmarth Nyasa. (Pages 257-258)</ref><blockquote>औपचारिको मन्त्रेष्वाख्यानसमय इति नैरुक्तानां सिद्धान्तः ।</blockquote>Meaning: Akhyanas (legends) and Itihasa (accounts of former events) described in the mantras are usually figurative or metaphorical according to Nairukta siddhanta.
+There are many akhyanas or anecdotes in Rgveda. A few are famous and are found in Brahmana and other texts such as Brhaddevata.<ref name=":2" /><ref name=":6" /> However, Akhyana style of explaining the purport of the mantras is one way of presenting the meaning of a mantra. Nirukta indicates that there are at least three ways of giving out the meaning of Rigveda mantras as follows<ref>Shastri, Jwalanth Kumar. (2009) ''Ved aur vedarth'' Rajasthan: Sri Ghudhmal Prahladkumar Arya Dharmarth Nyasa. (Pages 58-59)</ref>
 On an in-depth exploration one finds that the description is of three types - extraordinary (असम्भव), probable (सम्भवासम्भव) and possible (सम्भव). In the Vedic literature mostly we find extraordinary (चमत्कारकवाचक) and generic (जातिवाचक) usages for describing events. Here a person, river, city or place in particular (व्यक्तिवाचक) are used metaphorically and are used to convey an underlying natural, social, spiritual, or a philosophical message. However, in the Brahmana and Puranic literature we find descriptions which appear probable and possible, which is very rare in the Vedas. For example, the akhyana of Vishvamitra and Menaka is described in an extraordinary way in the Vedas. Elsewhere we find that Dushyanta and Shakuntala are described as having normal human personalities but their progeny, Bharata is associated with Indra both, extraordinary characters. In this state, calling Vishvamitra and Menaka (of the Vedas) as the ancestors of Dushyanta and Bharata (of the Puranas) creates a confusion. In the Vedic mantras, one does not find human-like description (मानुषीवर्णन) of Vishvamitra and Menaka, nor does vaidik Bharata (who approaches Indra) appear to have any relation with the laukika Bharata. Many misinterpretations arise as the storyline borrowed from the earlier literature gets digested with their new modifications in modern laukika sahitya. Thus a careful consideration of vaidika akhyanas is required to discern between the historical and poetic parts of the literature.<ref name=":022322222" />

@@ Line 252: / Line 252: @@
 (5) आख्यान सूक्त - Suktas which narrate a legend, example - Shyavashva Sukta
-Important suktas found in the Rigveda include<ref name=":6" />
+Important darshanika suktas found in the Rigveda include<ref name=":6" />
 #[[Nasadiya Sukta (नासदीयसूक्तम्)]] - 10.129
@@ Line 260: / Line 260: @@
 # Asya-vamiya Sukta - 1.164
 # Shraddha Sukta - 10.151
 # Sajnana Sukta - 10.191
 # Danastuti Sukta - 10.107 and 117
 # Aksha Sukta - 10.34
 # Vivaha Sukta - 10.85
-Apart from these we find a good number of Akhyana and Samvada suktas in the Rigveda. They are said to be the seed material of the later day Itihasa, Kavyas, Mahakavyas (poetics), and natakas (drama). The information found in seed form in the Rigveda is supported and elaborated, similar to a fruit-bearing tree, in the Brahmana and Aranyaka literature. In this way the Akhyana and Samvada suktas have  significant role in defining the Bharatiya Laukika Sahitya. The concepts found ground and developed further in the Itihasa and Purana literature. According to the traditional views, it is said that dramaturgy (the art of dramas) originated from the Vedas. Mahamuni Bharata the author of Natyashastra, describes that Brahma composed the "Natyaveda or Panchamaveda" as the essence of the four vedas upon request of the devatas. For this purpose, the essence of Pathya (including the Samvadas and anecdotes) was taken from the Rigveda, that of Sangeeta (music) from Samaveda, Abhinaya (action) from Yajurveda, and Rasa (aesthetics) from Atharva veda.<ref name=":6" />
+Important Akhyana suktas found in Rigveda include
-=== प्रख्यात आख्यान । Prominent Akhyanas ===
+# Vishnu Sukta (Trivikrama) - 1.154
-There are many akhyanas or anecdotes in Rgveda. A few are famous and are found in Brahmana and other texts such as Brhaddevata.<ref name=":2" /><ref name=":6" />
+# Soma Suryaa vivaha Sukta - 10.85
-# Shunahshepa (1.24 and 30)
+# Pururava Urvashi Samvada - 10.95
-# Brahmavadini Apala (8.91)
+# Yama Yami Samvada - 10.10
-# Trivikrama (1.154)
+# [[Sarama Pani Samvada (सरमापणिसंवादः)|Sarama Pani Samvada]] - 10.108
-# Marriage of Soma-Suryaa (10.85)
+# Vishvamitra Nadi Samvada - 3.33
-# Shyavashva sukta (5.61)
+# Indra Marut Samvada - 1.165
-# Aksha Sukta (10.34)
+# Agasthya Lopamudra Samvada - 1.179
-# Manduka Sukta (7.103)
+# Vasishta Sudas Samvada - 7.83
-# Battle between [[Indra and Vrtrasura (इन्द्रः वृत्रासुरः च)|Indra and Vrtrasura]] (1.80 and 2.12)
+# Indra Indrani Vrshakapi Samvada - 10.86
-=== Prominent Samvada Suktas ===
+The Akhyana and Samvada suktas in the Rigveda are said to be the seed material of the later day Itihasa, Kavyas, Mahakavyas (poetics), and natakas (drama). The information found in seed form in the Rigveda is supported and elaborated, similar to a fruit-bearing tree, in the Brahmana and Aranyaka literature. In this way the Akhyana and Samvada suktas have  significant role in defining the Bharatiya Laukika Sahitya. The concepts found ground and developed further in the Itihasa and Purana literature. According to the traditional views, it is said that dramaturgy (the art of dramas) originated from the Vedas. Mahamuni Bharata the author of Natyashastra, describes that Brahma composed the "Natyaveda or Panchamaveda" as the essence of the four vedas upon request of the devatas. For this purpose, the essence of Pathya (including the Samvadas and anecdotes) was taken from the Rigveda, that of Sangeeta (music) from Samaveda, Abhinaya (action) from Yajurveda, and Rasa (aesthetics) from Atharva veda.<ref name=":6" />
-# Urvashi Pururava Samvada (10.85)
+=== प्रख्यात आख्यान । Prominent Akhyanas ===
-# Yama Yami Samvada (10.10)
+There are many akhyanas or anecdotes in Rgveda. A few are famous and are found in Brahmana and other texts such as Brhaddevata.<ref name=":2" /><ref name=":6" />
 == Pravachanakaras of Rgveda ==

@@ Line 240: / Line 240: @@
 == Important Suktas of Different Kinds ==
-In the Rigveda we find Suktas of different kinds based on the subject matter. They include topics such as manovijnana (science of the mind or psychology) and bhashavijnana (science of language) along with srsthi-utpatti (the origin of creation), ayurveda (science of health), darshanika tattva (philosophy), adhyatmika tattva (spirituality) etc. Apart from topic based suktas, we have samvada suktas based on conversation between two characters (deities, rshis etc).<ref name=":6" />
+In the Rigveda we find Suktas of different kinds based on the subject matter. They include topics such as manovijnana (science of the mind or psychology) and bhashavijnana (science of language) along with srsthi-utpatti (the origin of creation), ayurveda (science of health), darshanika tattva (philosophy), adhyatmika tattva (spirituality) etc. Apart from topic based suktas, we have samvada suktas based on conversation between two characters (deities, rshis etc).<ref name=":6" /> The suktas are placed under the following heads.
 Important suktas found in the Rigveda include<ref name=":6" />

@@ Line 14: / Line 14: @@
 == ऋचां क्रमविन्यासः ॥ Arrangement of Rks (Mantras) ==
 {{Main|Veda Vargeekarana (वेदवर्गीकरणम्)}}
 There are many versions about the total number of richa-s and suktas in the Rgveda. Both ancient and modern scholars have put forth explanations about the differences in shakas of Rgveda. These differences are primarily due to the variations of the same richa-s during usage (प्रयोगकाल) and study times (अध्ययन-काल). Some richa-s have 4 padas during study but only two padas (द्विपदाः) during usage of the mantra.
@@ Line 34: / Line 36: @@
 # मन्त्रस्तुत्या च। which means that one who is praised (invoked) by using mantras is a devata. This definition as per Nirukta is widely used to explain the term devata.<ref name=":32" />
-Thus, in general, a devata in the Vedic terms is defined as one to whom a stuti is performed, be it animate or inanimate. According to mantra-padadyanukramanika, 272 devatas are listed. In this list we have stutis for dana, for condemnation of gambling, and for social activities like marriage; all such materialistic matters are also treated as devatas. It should be noted that Yaska and others have determined the devata in such situations based on certain criteria. A devata is not defined simply on the stuti being performed, they should have the capability to fulfil the wish of one who performed the stuti. This aspect is discussed in Nirukta as <ref name=":32" /><blockquote>यत्काम ऋषिर्यस्यां देवतायामार्थपत्यमिच्छन् स्तुतिं प्रयुङ्क्ते तदैवतः स मन्त्रो भवति' (निरुक्त ७।१।१)।</blockquote>To summarize this, it can be said that when a rshi utters a mantra with an intent to please a devata who can grant him a particular wish, that mantra will have that deity as the mantra-devata. That devata has an unparalleled power to fulfil the mentioned wish. In this way, the definition of devata is<blockquote>अभीष्टसिद्धिहेतुदिव्यशक्तिसम्पन्नत्वे सति मन्त्रस्तुत्यत्वम्। </blockquote>Yaska, the author of Nirukta has divided all devatas or deities based on three regions, namely<ref>Dvivedi, Kapil Dev. (2000) ''Vaidika Sahitya evam Samskrti (Vedic Literature and Culture).'' Varanasi: Vishvavidyalaya Prakashan. (Pages 294-308)</ref>
+Thus, in general, a devata in the Vedic terms is defined as one to whom a stuti is performed, be it animate or inanimate. According to mantra-padadyanukramanika, 272 devatas are listed. In this list we have stutis for dana, for condemnation of gambling, and for social activities like marriage; all such materialistic matters are also treated as devatas. It should be noted that Yaska and others have determined the devata in such situations based on certain criteria. A devata is not defined simply based on fact that stuti is performed for them, they should have the capability to fulfil the wish of one who performed the stuti. This aspect is discussed in Nirukta as <ref name=":32" /><blockquote>यत्काम ऋषिर्यस्यां देवतायामार्थपत्यमिच्छन् स्तुतिं प्रयुङ्क्ते तदैवतः स मन्त्रो भवति' (निरुक्त ७।१।१)।</blockquote>To summarize this, it can be said that when a rshi utters a mantra with an intent to please a devata who can grant him a particular wish, that mantra will have that deity as the mantra-devata. That devata has an unparalleled power to fulfil the mentioned wish. In this way, the definition of devata is<blockquote>अभीष्टसिद्धिहेतुदिव्यशक्तिसम्पन्नत्वे सति मन्त्रस्तुत्यत्वम्। </blockquote>There is ample discussion about the number of deities given in Rigveda.
 === मण्डलक्रमः ॥ Mandala krama ===

@@ Line 13: / Line 13: @@
 == ऋचां क्रमविन्यासः ॥ Arrangement of Rks (Mantras) ==
 There are many versions about the total number of richa-s and suktas in the Rgveda. Both ancient and modern scholars have put forth explanations about the differences in shakas of Rgveda. These differences are primarily due to the variations of the same richa-s during usage (प्रयोगकाल) and study times (अध्ययन-काल). Some richa-s have 4 padas during study but only two padas (द्विपदाः) during usage of the mantra.
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 Each mantra of the Rgveda is associated with a Rshi, a Chandas, and a Devata.<blockquote>अथ ऋषयः ॥१॥ यस्य वाक्यं स ऋषिः ॥४॥ या तेनोच्यते सा देवता ॥५॥ यदक्षरपरिमाणं तच्छंदः ॥६॥ तिस्त्र एव देवता: क्षित्यंतरिक्षद्युस्थाना, अग्निर्वायुः सूर्य इति ॥८॥ (Rig. Ved. Katy. Sarv. 2.3)<ref>''Rgveda Samhita, Katyayana Sarvanukramanika'' (2011 Reprint edition) Varanasi: Choukhambha Samskrit Pratisthan (Page 809)</ref></blockquote>Mantras were revealed by mantra-drstha rshis. The subject matter of a mantra is the devata. The number of aksharas (syllables) in a mantra is given by the chandas. It has a definite number of syllables. There are three types of devatas belonging to kshiti (earth), antariksha, and dyu places of Agni, Vayu and Surya respectively. The list of rshis who revealed the mantras are given below in the Mandala krama table.  Apart from them twenty-four mantra-drashta rshikas are also mentioned in the Rgveda. <blockquote>गोधा धोषा विश्ववाराऽपालोपनिषन्निषत् ॥ ब्रह्मजाया जुहूर्नामागस्त्यस्य स्वसादितिः ॥ इद्राणी चंद्रमाता च सरमा रोमशोर्वशी ॥ लोपामुद्रा च नद्यश्च यमी नारी च शश्वती। श्रीर्लाक्षा सार्पराज्ञी वाक् श्रद्धा मेधा च दक्षिणा ॥ रात्री सूर्या च सावित्री ब्रह्मवादिभ्य ईरिताः॥ (Rig. Ved. Shau. Anuk)<ref name=":5" /></blockquote>Godha (गोधा), Ghosha (धोषा), Vishvavaara (विश्ववारा), Apaala (अपाला), Juhu (जुहू), Agastyasvasaa (अगस्त्यस्वसा), Aditi (अदिति), Indrani (इद्राणी), Sarama (सरमा), Romashaa (रोमशा), Urvashi (ऊर्वशी), Lopamudra (लोपामुद्रा), Nadi (नदी), Yami (यमी), Shashvati (शश्वती), Saarparaajni (सार्पराज्ञी), Vaak (वाक्), Shraddha (श्रद्धा), Dakshina (दक्षिणा), Savitri (सावित्री) are the brahmavadinis who contributed towards the mantras of the Rigveda.
-=== छन्दः ॥ Chandas ===
+=== छन्दस् ॥ Chandas ===
 As mentioned in the previous sections, Rks are those mantras which are set in a shloka format (Padyatmaka) having a definite number of syllables in each pada of the mantra. Thus, they are said to be bound by the rules of Chandas. In the Rgveda although 20 different metres have been used, seven of them were used extensively. They are Gayatri (24 aksharas) Ushnik (28 aksharas) Anushtup (32 aksharas) Brhati (36 aksharas) Pankti (40 aksharas) Trishtup (44 aksharas) and Jagati (48 aksharas).
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 === देवता ॥ Deity ===
 According to Riksarvanukramani, a devata is defined as 'या स्तूयते सा देवता, येन स्तूयते स ऋषिः।' It means one who performs a stuti is a Rshi and to whom it is intended is a devata.<ref name=":32">Vedom mein devata tattva. Ved-katha Kalyan Ank, Gorakhpur: Gita Press (Pages 317-323)</ref>
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 Mantras devatas are determined by four characteristics, viz., name, relationship, activity, and physical appearance. For example, in the mantras where Indra, Agni etc are mentioned by their name, physical appearance or referenced by their relationship with other deities, or praised for their activities, those deities are determined to be the  devata for that particular mantra. However, in certain mantras, none of the four characteristics are used to describe a devata. In such cases the devata for that mantra is determined by the [[Yajna (यज्ञः)|Yajna]] mentioned. Yaska clarifies<ref name=":32" /> <blockquote>यद्देवतः स यज्ञो वा यज्ञाङ्गं वा, तद्देवता भवति।
-तद् येऽनादिष्टदेवता मन्त्रास्तेषु देवतोपपरीक्षा (Nirukta 7.1.4)  </blockquote>The yajna-devata becomes the devata for those mantras where the devata is not indicated (अनादिष्ट-देवताक मन्त्र). For example, in Agnistoma Yajna, Agni is the primary deity. The deity for the अनादिष्ट-देवताक मन्त्र used in this yajna is determined as Agni. Based on the context the deity is determined. <blockquote>प्रकरणाद्धि संदिग्धदेवतेषु देवता नियमः (Explanation of Nirukta 7.1.4) </blockquote>Based on the timing (kala namely pratah, madhyana, sayam) of the yajna (Yajna-anga) the deity is said to be Agni, Indra and Aditya respectively. In some scholarly opinions the deity for the अनादिष्ट-देवताक मन्त्र is '''Prajapati''' as per प्राजापत्या इति याज्ञिका: (Nirukta 7.1.4). Some others opine that it is '''Vishnu''' or '''Agni''' based on the reference यज्ञो वै विष्णुः। Agni is said to represent all devatas, all devas reside in him. Yaska further mentions, अपि वा सा कामदेवता स्यात्। as an other option, where the deity can be decided as per the wish of the yajmana.<ref name=":32" />
+तद् येऽनादिष्टदेवता मन्त्रास्तेषु देवतोपपरीक्षा (Nirukta 7.1.4)  </blockquote>
 === मण्डलक्रमः ॥ Mandala krama ===