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Line 249: − + − + − + + − 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" />+ + + + + + + + + + + + + + + + + + + + − + − + − + − # Brahmavadini Apala (8.91) + − # Trivikrama (1.154) + − − # Shyavashva sukta (5.61) − # Aksha Sukta (10.34) − − # Battle between [[Indra and Vrtrasura (इन्द्रः वृत्रासुरः च)|Indra and Vrtrasura]] (1.80 and 2.12) − === Prominent Samvada Suktas ===+ − A few important Samvada suktas are given as below<ref name=":6" /> − # Urvashi Pururava Samvada (10.85)+ − # Yama Yami Samvada (10.10) − # Sarama Pani Samvada (10.130) − # Agastya Lopamudra Samvada (1.179) − # Vashishta Sudasa Samvada (7.83) − # Indra Indrani and Vrshakapi Samvada (10.86)
no edit summary
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.
The tenth mandala includes mantras of miscellaneous character that covers a wide range of topics from cosmology, philosophical speculations, burial rites, samvada suktas, weddings to spells and incantations.
The tenth mandala includes mantras of miscellaneous character that covers a wide range of topics from cosmology, philosophical speculations, burial rites, samvada suktas, weddings to spells and incantations.
Thus, we have many topics discussed in the Rgveda, however, some are debated in the recent centuries. One such topic is the geographical point concerning Bharatavarsha that is surrounded by four oceans or very large water bodies. The other being the existence of river Sarasvati. The presence of four seas has been clearly mentioned only in the Bharatiya vaidika sahitya and rarely discussed in other ancient world literatures. Many scholars, both western and the traditional scholars have given their perspectives interpreting those Rgvedic mantras relating them to the "Aryan settlements" along the banks of the rivers in the northwestern region of India. With the myth of the Aryan Invasion debunked, we see new research evolving lately regarding the [[Geographical Aspects in Rigveda (ऋग्वेदोक्त भौगोलिकविषयाः)|geographic aspects given in the Rgveda]].<ref name=":7">Das, A. C. (1920) ''Rgvedic India, Cultural History of India as depicted in the Rgveda.'' New Delhi: Cosmo Publications (Page 10 - )</ref>
Thus, we have many topics discussed in the Rgveda, however, some are debated in the recent centuries. One such topic is the geographical point concerning Bharatavarsha that is surrounded by four oceans or very large water bodies. The other being the existence of river Sarasvati. The presence of four seas has been clearly mentioned only in the Bharatiya vaidika sahitya and rarely discussed in other ancient world literatures. Many scholars, both western and the traditional scholars have given their perspectives interpreting those Rgvedic mantras relating them to the "Aryan settlements" along the banks of the rivers in the northwestern region of India. With the myth of the Aryan Invasion debunked, we see new research evolving lately regarding the [[Geographical Aspects in Rigveda (ऋग्वेदोक्त भौगोलिकविषयाः)|geographic aspects given in the Rigveda]].<ref name=":7">Das, A. C. (1920) ''Rgvedic India, Cultural History of India as depicted in the Rgveda.'' New Delhi: Cosmo Publications (Page 10 - )</ref>
Thus we find interesting discussions about the astronomical, geographical, and geological aspects of importance along with description of nature, [[Socio-economic Aspects of Rg Veda (ऋग्वेदे सामाजिक-आर्थिक-विषयाश्च)|socio-economic aspects]] and darshanik aspects that are valid in the present day society.
Thus we find interesting discussions about the astronomical, [[Geographical Aspects in Rigveda (ऋग्वेदोक्त भौगोलिकविषयाः)|geographical]], and geological aspects of importance along with description of nature, [[Socio-economic Aspects of Rg Veda (ऋग्वेदे सामाजिक-आर्थिक-विषयाश्च)|socio-economic aspects]] and darshanik aspects that are valid in the present day society.
=== Astronomical aspects ===
=== Astronomical aspects ===
In the Aitareya Brahmana (3.44) we find the concept that Sun (Surya) never raises or sets but it only flips at the end of daylight and returns with the bright side up on the next day. On reaching the end of the day, the sun flips such that the dark night side faces us. This concept was agreeable in the Rgveda suktas also (1.115.4 and 5.81.4). And that the earth was circular like a discus was known to the people in those times.<ref name=":1" />
In the Aitareya Brahmana (3.44) we find the concept that Sun (Surya) never raises or sets but it only flips at the end of daylight and returns with the bright side up on the next day. On reaching the end of the day, the sun flips such that the dark night side faces us. This concept was agreeable in the Rgveda suktas also (1.115.4 and 5.81.4). And that the earth was circular like a discus was known to the people in those times.<ref name=":1" />
The main part of Rigveda belongs to suktas related to nature and natural forces. The Vedic deities are explained in different ways by the scholars of India and West, but speaking generally, the suktas addressed to deities (Devata) are under the influence of the most impressive phenomenon of nature and its aspects. The word Devata means divine, divinity which is bright, strong, donor, and powerful. In these suktas we find prayers for certain natural elements such as air, water, earth, sun, rain, dawn etc. The glorious brightness of the sun, the blaze of the sacrificial fire, the sweep of the rain-storm across the skies, the recurrence of the dawn, the steady currents of the winds, the violence of the tropical storm and other such natural energies, fundamental activities or aspects are glorified and personified as divinities (Devata).
The main part of Rigveda belongs to suktas related to nature and natural forces. The Vedic deities are explained in different ways by the scholars of India and West, but speaking generally, the suktas addressed to deities (Devata) are under the influence of the most impressive phenomenon of nature and its aspects. The word Devata means divine, divinity which is bright, strong, donor, and powerful. In these suktas we find prayers for certain natural elements such as air, water, earth, sun, rain, dawn etc. The glorious brightness of the sun, the blaze of the sacrificial fire, the sweep of the rain-storm across the skies, the recurrence of the dawn, the steady currents of the winds, the violence of the tropical storm and other such natural energies, fundamental activities or aspects are glorified and personified as divinities (Devata).
The interaction with nature resulted in appreciation and prayer but, indeed, after a good deal of observation. Attributes assigned to deities fit in their natural forms and activities, as Soma is green, fire is bright, air is fast moving and sun is dispenser of darkness. The characteristics of these forces described in the mantras prove that Vedic seers were masters of natural science. All powers, aspects or activities of nature are generally regarded as deities because they are helpful, beneficial and essential for our life. Rivers, mountains, earth, air, water, plants, trees, forest, fire, rain, cloud, Sun, Moon etc, all are deities in Vedic mythology. In Rigveda the names of major deities are, such as Agni, Indra, Vayu, Earth, Soma, Varuna, Vishnu, Aditya, Usha, Aditi, Parjanya, etc. They are indeed the natural instruments of wealth - the inner earth crust, Surya and the other grahas, medicinal plants, oceans and rivers, water bodies such as waterfalls and forests.<blockquote>इन्द्राय द्याव ओषधीरुतापो रियं रक्षन्ति जीरयो वनानि ॥ (Rg. Veda. 3.51.5)</blockquote>
The interaction with nature resulted in appreciation and prayer but, indeed, after a good deal of observation. Attributes assigned to deities fit in their natural forms and activities, as Soma is green, fire is bright, air is fast moving and sun is dispenser of darkness. The characteristics of these forces described in the mantras prove that Vedic seers were masters of natural science. All powers, aspects or activities of nature are generally regarded as deities because they are helpful, beneficial and essential for our life. Rivers, mountains, earth, air, water, plants, trees, forest, fire, rain, cloud, Sun, Moon etc, all are deities in Vedic mythology. In Rigveda the names of major deities are, such as Agni, Indra, Vayu, Earth, Soma, Varuna, Vishnu, Aditya, Usha, Aditi, Parjanya, etc. They are indeed the natural instruments of wealth - the inner earth crust, Surya and the other grahas, medicinal plants, oceans and rivers, water bodies such as waterfalls and forests.<blockquote>इन्द्राय द्याव ओषधीरुतापो रियं रक्षन्ति जीरयो वनानि ॥ (Rig. Veda. 3.51.5)</blockquote>
=== Darshanika Tattva ===
=== Darshanika Tattva ===
In the 10th mandala of Rgveda we find many suktas portraying darshanika aspects of Bharatiya tattvajnana. In fact they are seen as the precursor to the siddhantas laid out in the [[Shad Darshanas (षड्दर्शनानि)|Shad Darshanas]]. The darshanika aspect, according to some scholars, also supports the fact that the 10th mandala is a more recent addition to the Rgveda as it is very contrary to the stuti-presentation given in the rest of the mandalas. The two most important references are the [[Nasadiya Sukta (नासदीयसूक्तम्)|Nasadiya Sukta]] and Purusha Sukta. Purusha sukta propounds Sarveshvara-vada (the all-pervading characteristic) which is considered as a modern thought process, a concept which discusses an all-permeating image or form (Saakara, aakruti) of the Supreme Self in the universe. According to some western scholars, spiritual development has the following course - Bahudevata-vada, Ekadevata-vada and Sarveshvara-vada. The oldest times witness worship of many deities, which later led to worship of one deity (Prajapati or Hiranyagarbha). This further led to development of faith in all-pervading deity, a more recent concept.<ref name=":2" /><blockquote>अयँ लोक ऋग्वेदः। (Shad. Brah. 1.5)<ref>Shadvimsha Brahmana ([https://sa.wikisource.org/wiki/%E0%A4%B8%E0%A4%BE%E0%A4%AE%E0%A4%B5%E0%A5%87%E0%A4%A6%E0%A4%83/%E0%A4%95%E0%A5%8C%E0%A4%A5%E0%A5%81%E0%A4%AE%E0%A5%80%E0%A4%AF%E0%A4%BE/%E0%A4%B7%E0%A4%A1%E0%A5%8D%E0%A4%B5%E0%A4%BF%E0%A4%82%E0%A4%B6%E0%A4%AC%E0%A5%8D%E0%A4 Adhyaya 1])</ref></blockquote>According to Shadvimsha Brahmana, Rgveda is said to be the bhuloka and Agni is the important devata. In the same Brahmana, Yajurveda is said to have Vayu as the important devata (of the Antariksha loka) while Surya is the important deity of Samaveda (of Dyuloka).<ref name=":6" /> Manusmrti reinforces this point as mentioned below. <blockquote>अग्निवायुरविभ्यस्तु त्र्यं ब्रह्म सनातनम। दुदोह यज्ञसिध्यर्थमृग्यजुः सामलक्षणम्॥ (Manu. Smrt. 1.13)<ref>Manu Smriti ([https://sa.wikisource.org/wiki/%E0%A4%AE%E0%A4%A8%E0%A5%81%E0%A4%B8%E0%A5%8D%E0%A4%AE%E0%A5%83%E0%A4%A4%E0%A4%BF%E0%A4%83/%E0%A4%AA%E0%A5%8D%E0%A4%B0%E0%A4%A5%E0%A4%AE%E0%A5%8B%E0%A4%A7%E0%A5%8D%E0%A4%AF%E0%A4%BE%E0%A4%AF%E0%A4%83 Adhyaya 1])</ref></blockquote>Meaning: From Agni, Vayu and Surya, was milked the eternal Rigveda, Yajurveda and Samaveda respectively for the performance of yajnas.
In the 10th mandala of Rigveda we find many suktas portraying darshanika aspects of Bharatiya tattvajnana. In fact they are seen as the precursor to the siddhantas laid out in the [[Shad Darshanas (षड्दर्शनानि)|Shad Darshanas]]. The darshanika aspect, according to some scholars, also supports the fact that the 10th mandala is a more recent addition to the Rgveda as it is very contrary to the stuti-presentation given in the rest of the mandalas. The two most important references are the [[Nasadiya Sukta (नासदीयसूक्तम्)|Nasadiya Sukta]] and Purusha Sukta. Purusha sukta propounds Sarveshvara-vada (the all-pervading characteristic) which is considered as a modern thought process, a concept which discusses an all-permeating image or form (Saakara, aakruti) of the Supreme Self in the universe. According to some western scholars, spiritual development has the following course - Bahudevata-vada, Ekadevata-vada and Sarveshvara-vada. The oldest times witness worship of many deities, which later led to worship of one deity (Prajapati or Hiranyagarbha). This further led to development of faith in all-pervading deity, a more recent concept.<ref name=":2" /><blockquote>अयँ लोक ऋग्वेदः। (Shad. Brah. 1.5)<ref>Shadvimsha Brahmana ([https://sa.wikisource.org/wiki/%E0%A4%B8%E0%A4%BE%E0%A4%AE%E0%A4%B5%E0%A5%87%E0%A4%A6%E0%A4%83/%E0%A4%95%E0%A5%8C%E0%A4%A5%E0%A5%81%E0%A4%AE%E0%A5%80%E0%A4%AF%E0%A4%BE/%E0%A4%B7%E0%A4%A1%E0%A5%8D%E0%A4%B5%E0%A4%BF%E0%A4%82%E0%A4%B6%E0%A4%AC%E0%A5%8D%E0%A4 Adhyaya 1])</ref></blockquote>According to Shadvimsha Brahmana, Rgveda is said to be the bhuloka and Agni is the important devata. In the same Brahmana, Yajurveda is said to have Vayu as the important devata (of the Antariksha loka) while Surya is the important deity of Samaveda (of Dyuloka).<ref name=":6" /> Manusmrti reinforces this point as mentioned below. <blockquote>अग्निवायुरविभ्यस्तु त्र्यं ब्रह्म सनातनम। दुदोह यज्ञसिध्यर्थमृग्यजुः सामलक्षणम्॥ (Manu. Smrt. 1.13)<ref>Manu Smriti ([https://sa.wikisource.org/wiki/%E0%A4%AE%E0%A4%A8%E0%A5%81%E0%A4%B8%E0%A5%8D%E0%A4%AE%E0%A5%83%E0%A4%A4%E0%A4%BF%E0%A4%83/%E0%A4%AA%E0%A5%8D%E0%A4%B0%E0%A4%A5%E0%A4%AE%E0%A5%8B%E0%A4%A7%E0%A5%8D%E0%A4%AF%E0%A4%BE%E0%A4%AF%E0%A4%83 Adhyaya 1])</ref></blockquote>Meaning: From Agni, Vayu and Surya, was milked the eternal Rigveda, Yajurveda and Samaveda respectively for the performance of yajnas. Rigveda involves the Vaktattva or speech aspects (including knowledge and contemplation), Yajurveda involves Manastattva or psychological aspects (personality, action, nature), and Samaveda includes Pranatattava or energy balance aspects (strength, cooperation). A coordination of the three tattavatas leads a person to attain Brahman. <blockquote>ब्रह्म वा ऋक् । अमृतं वा ऋक् । (Kous. Brah. 7.10) प्राणो वा ऋक्। (Jaim. Brah. 1.112)</blockquote>Above such references in various brahmanas portray the darshanik aspects (philosophical) of Rigveda. We find information about [[Brahman (ब्रह्मन्)|Brahman]], [[Vak (वाक्)|Vak (Speech)]], Prana (energy), Amruta (eternity), Veerya (propagation) etc. Thus, we find the description about attaining Brahman, the shabda Brahman (vaktattva), Prana or the energy, means to attain Amaratva (eternity), and magnificence by practicing Brahmacharya.<ref name=":6" />
Rigveda involves the Vaktattva or speech aspects (including knowledge and contemplation), Yajurveda involves Manastattva or psychological aspects (personality, action, nature), and Samaveda includes Pranatattava or energy balance aspects (strength, cooperation). A coordination of the three tattavatas leads a person to attain Brahman. <blockquote>ब्रह्म वा ऋक् । अमृतं वा ऋक् । (Kous. Brah. 7.10) प्राणो वा ऋक्। (Jaim. Brah. 1.112)</blockquote>Above such references in various brahmanas portray the darshanik aspects (philosophical) of Rigveda. We find information about [[Brahman (ब्रह्मन्)|Brahman]], [[Vak (वाक्)|Vak (Speech)]], Prana (energy), Amruta (eternity), Veerya (propagation) etc. Thus, we find the description about attaining Brahman, the shabda Brahman (vaktattva), Prana or the energy, means to attain Amaratva (eternity), and magnificence by practicing Brahmacharya.<ref name=":6" />
== Important Suktas of Different Kinds ==
== Important Suktas of Different Kinds ==
(2) दार्शनिक सूक्त - Suktas describing the philosophical tattvas, example - Purusha Sukta
(2) दार्शनिक सूक्त - Suktas describing the philosophical tattvas, example - Purusha Sukta
(3) लौकिक सूक्त - Suktas describing the worldy affairs, example - Vivaha Sukta
(3) लौकिक सूक्त - Suktas describing the worldly affairs, example - Vivaha Sukta
(4) संवाद सूक्त - Suktas where there is a conversation between two beings may or may not have an associated legend, example - Sarama Pani Samvada Sukta
(4) संवाद सूक्त - Suktas where there is a conversation between two beings may or may not have an associated legend, example - Sarama Pani Samvada Sukta
(5) आख्यान सूक्त - Suktas which narrate a legend, example - Shyavashva Sukta
(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
#[[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
# Vak Sukta (वाक् सूक्तम्) - 10.125
# Asya-vamiya Sukta - 1.164
# Asya-vamiya Sukta - 1.164
# Shraddha Sukta - 10.151
# Shraddha Sukta - 10.151
Important laukika Suktas found in Rigveda include<ref name=":6" />
# Sajnana Sukta - 10.191
# Sajnana Sukta - 10.191
# Danastuti Sukta - 10.107 and 117
# Danastuti Sukta - 10.107 and 117
# Aksha Sukta - 10.34
# Aksha Sukta - 10.34
# Vivaha Sukta - 10.85
# Vivaha Sukta - 10.85
Important Akhyana suktas found in Rigveda include<ref name=":6" />
# Vishnu Sukta (Trivikrama) - 1.154
# Soma Suryaa vivaha Sukta - 10.85
# Shyavashva Sukta - 5.61
# Manduka Sukta - 7.103
# [[Indra and Vrtrasura (इन्द्रः वृत्रासुरः च)|Indra Vrtra Yuddha]] Sukta - 1.80 and 2.12
Important Samvada suktas found in Rigveda include<ref name=":6" />
# [[Pururava Urvashi Samvada (पुरुरवा-ऊर्वशी संवादः)]] - 10.95
# [[Yama Yami Samvada (यम यमि सम्वादः)|Yama Yami Samvada]] - 10.10
# [[Sarama Pani Samvada (सरमापणिसंवादः)|Sarama Pani Samvada]] - 10.108
# Vishvamitra Nadi Samvada - 3.33
# Indra Marut Samvada - 1.165
# Agasthya Lopamudra Samvada - 1.179
# Vasishta Sudas Samvada - 7.83
# Indra Indrani Vrshakapi Samvada - 10.86
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" />
=== प्रख्यात आख्यान । Prominent Akhyanas ===
== 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" />
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>
# Shunahshepa (1.24 and 30)
# '''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''' - 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.
# '''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.
# Marriage of Soma-Suryaa (10.85)
# Manduka Sukta (7.103)
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 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 ==
== Pravachanakaras of Rgveda ==