Rigvedic rivers

"The rivers invoked are . . . the real rivers of the Punjāb, and the poem shows a much wider geographical horizon than we should expect from a mere village bard."

"Apart from its silence on a former homeland, or immigration, the RV contains positive indications about the Áryas’ very long presence in Saptasindhu. Hymn X, 75 gives a list of names of rivers not in the order west-to-east, as we would expect from invaders advancing in that direction, but from east- to-west, as of a people long settled and having the east as a starting point of reference. Then there are passages expressing the Aryans’ strong sense of being rooted in their lands when they recall their ancestors taking their place in the sacrifice “here”, like the Angiras family (IV, 1, 3) or the Vasis†has (VII, 76, 4), etc."

"...in the RV we find references only to the Seven Rivers saptá síndhavaḥ (and different oblique cases of the plural). Now Avestan has the name Haptahǝndu as a place, like Airyana Vaējah, Raŋhā, Haetumant, etc, from which the Iranians had passed before settling down in eastern Iran, then spreading west and north. But what is this name? Yes, hapta- is the numeral ‘seven’ but what of hǝndhu? It is a fairly obvious Avestan correspondence to the Sanskrit síndhu. Now hǝndu is an isolated occurrence. The stem does not otherwise exist in Avestan. Hindu appears in Old Persian indicating the Indian province under the Achaemenids, and that is all. The interpretation ‘seven rivers’ comes from the Sanskrit collocation. But the Avestan for river is usually θraotah- (=S srotas) and raodah-. In Sanskrit síndhu ‘river, sea’ comes either from √syand ‘flowing’ or from √sidh ‘reaching, succeeding’, both of which generate several derivatives, while síndhu itself appears in compounds like sindhuja, sindhupati ‘riverborn, riverlord’ etc, and has cognates like saindhava ‘marine, salt, horse’ etc. Surely nobody would be so foolhardy as to suggest that the IAs took this otherwise unattested stem from Iranian and used it so commonly and productively."

"Clearly, the Avestan and Vedic names are connected. Since the Vedic name cannot reasonably be said to come from the Avestan, then the Avestan must come from the Vedic. Moreover, the Vedic collocation saptá síndhu- does not occur at all in the very early Books of the RV (i.e. 3, 6, 7) but once only in Bk2 (12.3,12) and Bk4 (28.1), then twice in Bk1 (32.12; 35.8), Bk8 (54.4; 69.12) and Bk10 (43.3; 67.12) and once in Bk9 (66.6). Now in the earliest Maṇḍalas 3,6,7 (as well as later ones) we find collocations like saptá srótas-, srávat-, yahvī- or nadí- but not síndhu-. This then suggests that the Iranians left the Saptasindhu only after the collocation saptá síndhu- had been established by the late Maṇḍalas."

"The hymn, which seeks to glorify Indus as the greatest of all rivers, enumerates two types of rivers – First, those which flow into the Indus, directly or through a tributary Second, those which do not flow into the Indus and reach the ocean or a desert lake independently. My hypothesis is that the hymn mentions each and every river in the first category, because of which even the smallest tributaries and sub-tributaries of Indus are mentioned."

"It is worth noting that Haraxvaiti is one of the 16 places the Iranians had passed through before settling down. In Indo-Iranian linguistics the sound shift is from s to h (Vsu, soma/ Av hu, haoma etc); so Sarasvati/Haraxvaiti would indicate a movement out of Saptasindhu (as also Haptahendu) rather than the reverse. This suggests to me a movement of IAs north-westward and eventually into Iran. It could have been a large contingent, and the areas sparsely (or not) populated so that the immigrants could give new names reminiscent of their homeland."

"May the rivers overflowing grant us their grace (VI.52.4)."

"The powerful bull with seven rays, who releases the seven rivers to flow; he, oh men, is Indra. - Rig Veda 11.15.12"

"From the lap of the mountains, happy, smiling, like two running mares, like two bright Mother cows licking their calf, Vipas and Shutudri run with fluid. Directed by Indra, seeking power, as chariots they travel to the sea."

"Your ancient home, your auspicious friendship, O Heroes, your wealth is on the banks of the Jahnavi."

"Brbu hath set himself above the Panis, o'er their highest head, Like the wide bush on Ganga's bank."

"Sarasvati, pure in her course from the mountains to the sea."

"Maruts, what medicine of yours is in the Indus and in the Asikni rivers, what is in the oceans or what is in the mountains."

"The seven {priests} milk the one (cow {= some plant?}, and the two {= hands?} send the five {fingers?} nearby, at the ford of the river, at its sound."

"Favour ye this my laud, O Gangā, Yamunā, O Sutudri, Paruṣṇī and Sarasvatī: With Asikni, Vitasta, O Marudvrdha, O Ārjīkīya with Susoma hear my call. First with Trstama thou art eager to flow forth, with Rasā, and Susartu, and with Svetya here, With Kubha; and with these, Sindhu and Mehatnu, thou seekest in thy course Krumu and Gomati."

"1. Oh Waters let the singer, in the seat of the creative Sun (Vivaswan), declare that supreme greatness of yours. Threefold, seven by seven, they flow. Of the streams, the river is the fastest with power. 2. For you, Varuna made a path to flow, oh River, when you ran to victory. You descend through the summits of the Earth, when as the first of the moving ones, you rule. 3. His roar extends above the Earth to Heaven; he raises an endless vigor with the light. Like a cloud the rains give forth their thunder, when the River flows roaring like a bull. 4. Oh River, like mothers to their child, the milch cows flow to you with milk. As a king to battle you lead their sides, when you go forth as the first of the torrents. 5. Oh Ganga, Yamuna, Saraswati, follow my hymn, Shutudri with the Parushni. Listen to me, with Asikni, Marudvridha with Vitasta, Arjikiya with Sushoma. 6. With Trishtama you are first to flow, together with Susartu, Rasa and Shweta, Oh Sindhu with such as the Kubha and Mehatnu, you seek the Gomati and Krumu. 7. Straight, shining, white, she encompasses the regions in greatness. The inviolable River, the most artful of the artful, like a dappled mare, has a beautiful form. 8. Like a good horse, like a good chariot, like a good garment, the River is golden, well made and full of power, young, dressed in wool, rich in plants, auspicious you wear a growth of honey. 9. The River yokes her chariot moved by horses, by which she will win the prize in the race. Great, her glory is lauded, of her inviolable, self-effulgent and rapturous."