Hymns

"I sing the hymn of the conquered, who fell in the battle of life, The hymn of the wounded, the beaten who died overwhelmed in the strife; Not the jubilant song of the victors for whom the resounding acclaim Of nations was lifted in chorus whose brows wore the chaplet of fame, But the hymn of the low and the humble, the weary, the broken in heart, Who strove and who failed, acting bravely a silent and desperate part."

"We sang "Onward, Christian Soldiers" indeed, and I felt that this was no vain presumption, but that we had the right to feel that we were serving a cause for the sake of which a trumpet has sounded from on high. When I looked upon that densely packed congregation of fighting men of the same language, of the same faith, of the same fundamental laws, of the same ideals ... it swept across me that here was the only hope, but also the sure hope, of saving the world from measureless degradation."

"Onward, Christian soldiers, Marching as to war. With the cross of Jesus, Going on before!"

"A thousand heads hath Puruṣa, a thousand eyes, a thousand feet. On every side pervading earth he fills a space ten fingers wide. This Puruṣa is all that yet hath been and all that is to be."

"We need not agree with the Śāstrakāra-s that the varnāśramadharma is truly “Vedic”, for we do not find it in the first nine books of the Rg-Veda. Even in the tenth book, the last and youngest one, we find it mentioned only once, and there only in the vaguest use, viz. the Purusa Sūkta’s recognition of the existence of four functions in society, without any details of how their personnel is recruited nor of how they should conduct themselves vis-à-vis one another, the very stuff that is the main focus of the Śāstra-s. Like medieval and contemporary Hindus, the Śāstra composers may have considered as ”Vedic” everything they held sacred, regardless of whether a particular norm or custom is indeed traceable to the Veda-s."

"“ That remarkable hymn (the Purusha Sukta) is in language, metre, and style, very different from the rest of the prayers with which it is associated. It has a decidedly more modern tone ; and must have been composed after the Sanskrit language had been refined, and its grammar and rhythm perfected. The internal evidence which it furnishes serves to demonstrate the important fact that the compilation of the Vedas, in their present arrangement, took place after the Sanskrit tongue had advanced from the rustic and irregular dialect in which the multitude of hymns and prayers of the Veda was composed, to the polished and sonorous language in which the mythological poems, sacred and profane (puranas and kavyas), have been written.”"

"“ There can be little doubt, for instance, that the 90th hymn of the 10th book ... is modem both in its character and in its diction. It is full of allusions to the sacrificial ceremonials, it uses technically philosophical terms, it mentions the three seasons in the order of Vasanta, spring, Grishina, summer and Sharad, autumn; it contains the only passage in the Rig Veda where the four castes are enumerated. The evidence of language for the modern date of this composition is equally strong. Grishma, for instance, the name for the hot season, does not occur in any other hymn of the Rig Veda ; and Vasanta also, the name of spring does not belong to the earliest vocabulary of the Vcdic poets. It occurs but once more in the Rig Veda (x . 101 . 4), in a passage where the three seasons are mentioned in the order of Sharad, autumn ; Hemanta, winter ; and Vasanta, spring.”"

"“ That the Purusha Sukta, considered as a hymn of the Rig Veda, is among the latest portions of that collection, is clearly perceptible from its contents. The fact that the Sanaa Samhita has not adopted any verse from it, is not without importance (compare what I have remarked in my Academical Prelections). The Naigeya school, indeed, appears (although it is not quite certain) to have extracted the first five verses in the seventh prapathaka of the first Archika, which is peculiar to it.”"