Vedas For Dummies — Structure
This blog post is second in the series “Vedas For Dummies” describing the structure of the Vedas. Before reading this post get an overview of the Vedas by reading my earlier post: Vedas For Dummies — Introduction
There is a multi-layered structure to the Vedas. I start with explaining the terminology and a summary is provided in the Table towards the end of the post.
Schools
The chief subdivisions of the Vedas are the schools or branches (sakha). The concept of schools was created by Yajurvedins and the other three Vedas followed it, not by creating compositions (as mentioned in earlier post Rig and Sama Veda existed before Yajur Veda) but by assigning them a place.
Samhita
It refers to the continuous recitation of the initial and main part of each of the Vedas. Metaphorically, it is considered as the ratha (driving vehicle) of the system. This is different from the first column of the table listed below, as the first column includes all the accretions as enumerated in the other columns.
Brahmana
They are the ‘prose’ sections but were originally composed orally. They are particularly relevant for the development of Yajurveda. As was discussed in the earlier post, White Yajurveda separates its Brahmanas from the mantras unlike Black Yajurveda where they are mixed.
Aranyaka
They are the ‘forest’ or ‘wilderness’ sections which form the final parts of Brahmanas. It does not mean that they are for ascetics only. Forests are places where powerful mantras or ideas may originate. In Yajur Veda, the Aranyakas are attached to the Brahmanas while in Rig Veda they are transmitted as separate compositions.
Upanishad
Upa-ni-shad means ‘sit down close’. They are called secret teachings as they were transmitted through a one-to-one relationship with the guru (teacher). The Upanishads are full of stories of students looking for teachers. Paradoxically though, Upanishads became the most famous part of the Vedas
Srauta Sutras
Srauta Sutras are the structural descriptions of the Srauta ritual. These sutras were orally composed, but their transmission was not confined to recitation and chant but were practised by application (prayoga) in the rituals.
