Nasadiya Sukta

Nasadiya Sukta

"Who really knows?
Who will here proclaim it?
Whence was it produced? Whence is this creation?
The gods came afterwards, with the creation of this universe.
Who then knows whence it has arisen?"

RV, 10:129-6

The Nasadiya Sukta (after the incipit ná ásat, or "not the non-existent"), also known as the Hymn of Creation, is the 129th hymn of the 10th mandala of the Rigveda (10:129). It is concerned with cosmology and the origin of the universe.

Interpretations

The hymn has attracted a large body of literature of commentaries both in Indian darshan and in Western philology.

The Creation Hymn begins by paradoxically stating "not the non-existent existed, nor did the existent exist then" (ná ásat āsīt ná u sát āsīt tadânīm), paralleled in verse 2 by "then not death existed, nor the immortal" (ná mṛtyúḥ āsīt amŕtam ná tárhi). But already in verse 2 mention is made that there was "breathing without breath, of its own nature, that one" ânīt avātám svadháyā tát ékam). In verse 3, being unfolds, "from heat (tapas) was born that one" (tápasaḥ tát mahinâ ajāyata ékam). Verse 4 mentions desire (kāma) as the primal seed, and the first poet-seers (kavayas) who "found the bond of being within non-being with their heart's thought".

Karel Werner describes the author's source for the material as one not derived from reasoning, but a "visionary, mystical or Yogic experience put into words." Werner writes that prior to creation, the Creation Hymn does not describe a state of "nothingness" but rather "That One (tad ekam)" which is, "Spaceless, timeless, yet in its own way dynamic and the Sole Force, this Absolute..."

Brereton (1999) argues that the reference to the sages searching for being in their spirit is central, and that the hymn's gradual procession from non-being to being in fact re-enacts creation within the listener (see sphoṭa), equating poetic utterance and creation (see śabda).

According to one source, the hymn is undoubtedly late within the Rigveda, and expresses thought more typical of later Indian philosophy.

An atheist interpretation sees the Creation Hymn as one of the earliest accounts of skeptical inquiry and agnosticism. Astronomer Carl Sagan quoted it in discussing India's "tradition of skeptical questioning and unselfconscious humility before the great cosmic mysteries."

Metre

Nasadiya Sukta consists of seven trishtubhs, although pada 7b is defective, being two syllables short,

yádi vā dadhé yádi vā ná

"if he has created it; or if not [...]"

Brereton (1999) argues that the defect is a conscious device employed by the rishi to express puzzlement at the possibility that the world may not be created, parallel to the syntactic defect of pada 7d, which ends in a subordinate clause without a governing clause:

só aṅgá veda yádi vā ná véda

"he verily knows; or if he does not know [...]"

It should be noted that Brereton's interpretation might be guided by the grammar rules applicable to the English language. The Sanskrit language does not follow the same rules.

Nasadiya Sukta with English translation

नासदासीन्नो सदासीत्तदानीं नासीद्रजो नो व्योमा परो यत् |
किमावरीवः कुह कस्य शर्मन्नम्भः किमासीद्गहनं गभीरम् ॥ १॥

न मृत्युरासीदमृतं न तर्हि न रात्र्या अह्न आसीत्प्रकेतः |
आनीदवातं स्वधया तदेकं तस्माद्धान्यन्न परः किञ्चनास ॥२॥

तम आसीत्तमसा गूहळमग्रे प्रकेतं सलिलं सर्वाऽइदम् |
तुच्छ्येनाभ्वपिहितं यदासीत्तपसस्तन्महिनाजायतैकम् ॥३॥

कामस्तदग्रे समवर्तताधि मनसो रेतः प्रथमं यदासीत् |
सतो बन्धुमसति निरविन्दन्हृदि प्रतीष्या कवयो मनीषा ॥४॥

तिरश्चीनो विततो रश्मिरेषामधः स्विदासीदुपरि स्विदासीत् |
रेतोधा आसन्महिमान आसन्त्स्वधा अवस्तात्प्रयतिः परस्तात् ॥५॥

को अद्धा वेद क इह प्र वोचत्कुत आजाता कुत इयं विसृष्टिः |
अर्वाग्देवा अस्य विसर्जनेनाथा को वेद यत आबभूव ॥६॥

इयं विसृष्टिर्यत आबभूव यदि वा दधे यदि वा न |
यो अस्याध्यक्षः परमे व्योमन्त्सो अङ्ग वेद यदि वा न वेद ॥७॥

Then even nothingness was not, nor existence,
There was no air then, nor the heavens beyond it.
What covered it? Where was it? In whose keeping?
Was there then cosmic water, in depths unfathomed?

Then there was neither death nor immortality
nor was there then the torch of night and day.
The One breathed windlessly and self-sustaining.
There was that One then, and there was no other.

At first there was only darkness wrapped in darkness.
All this was only unillumined cosmic water.
That One which came to be, enclosed in nothing,
arose at last, born of the power of heat.

In the beginning desire descended on it -
that was the primal seed, born of the mind.
The sages who have searched their hearts with wisdom
know that which is kin to that which is not.

And they have stretched their cord across the void,
and know what was above, and what below.
Seminal powers made fertile mighty forces.
Below was strength, and over it was impulse.

But, after all, who knows, and who can say
Whence it all came, and how creation happened?
the devas (gods) themselves are later than creation,
so who knows truly whence it has arisen?

Whence all creation had its origin,
the creator, whether she/he fashioned it or whether she/he did not,
the creator, who surveys it all from highest heaven,
she/he knows - or maybe even she/he does not know.

—Translated by A. L. Basham

In popular culture

• In Cosmos: A Personal Voyage, Carl Sagan quotes the poem in episode 10, 'The Edge of Forever'.
• The title track of the popular Indian documentary series Bharat Ek Khoj features a rendering of part the Nasadiya Sukta, both in the original Sanskrit, and in Hindi translation.
• Verse 1 is quoted verbatim in Ace Combat Zero: The Belkan War during the loading screen prior to the missions in the game's second act.

See also

• Creation myth
• Ex nihilo
• God in Hinduism
• Hindu cosmology
• Hiranyagarbha
• Indian logic
• List of suktas and stutis
• Narayana sukta
• Neti neti
• Purusha Sukta

Further reading

• Joel P. Brereton, Edifying Puzzlement: Ṛgveda 10. 129 and the Uses of Enigma, Journal of the American Oriental Society (1999)
• P. T. Raju, The Development of Indian Thought, Journal of the History of Ideas (1952)
• Karel Werner, Symbolism in the Vedas and Its Conceptualisation, Numen (1977)