The Samaveda (सामवेद from Saman means “song” and Veda means “knowledge”), is the Veda of melodies and chants. It is an ancient Vedic Sanskrit text, and part of the scriptures of Hinduism. One of the four Vedas is a liturgical text which consists of 1,875 verses. All but 75 verses have been taken from the Rigveda. Three recensions of the Samaveda have survived, and variant manuscripts of the Veda have been found in various parts of India. Embedded inside the Samaveda are the widely studied Chandogya Upanishad and Kena Upanishad, considered primary Upanishads and influential on the six schools of Hindu philosophy, particularly the Vedanta school. The Samaveda set important foundations for the subsequent Indian music. It is also referred to as Sama Veda.
What is Samaveda?
Samaveda is the Veda of melodies and chants. It is believed that the Samaveda was compiled during 1200 or 1000 BCE. It holds a divine status in the Hindu tradition. In fact, in the Bhagavad Geeta, Lord Krishna has described the Samaveda as the most important of all the Vedas.
Samaveda Dating
Michael Witzel states that there is no absolute dating for Samaveda and other Vedic texts. He estimates the composition of the Samhita layer of the text chronologically after the Rigveda, and in the likely range of 1200 to 1000 BCE, roughly contemporary with the Atharvaveda and the Yajurveda.
There were about a dozen styles of Samavedic chanting. Of the three surviving versions, the Jaiminiya preserves the oldest surviving tradition of Samavedic chanting.
Samaveda Text
The Samaveda is the Veda of Chants, or “storehouse of knowledge of chants”. According to Frits Staal, it is “the Rigveda set to music”. It is a fusion of older melodies (saman) and the Rig verses. It has far fewer verses than Rigveda, but Samaveda is textually larger because it lists all the chant- and ritual-related score modifications of the verses.
The Samaveda text contains notated melodies, and these are probably the world’s oldest surviving ones. The musical notation is written usually immediately above, sometimes within, the line of Samaveda text, either in syllabic or a numerical form depending on the Samavedic Sakha (school).
Recensions
R. T. H. Griffith says that there are three recensions of the text of the Samaveda Samhita:
- Kauthuma recension is current in Gujarat, Uttar Pradesh, Odisha, West Bengal, and for a few decades in Darbhanga, Bihar,
- Rāṇāyanīya in Maharashtra, Karnataka, Gokarna, Odisha, Andhra Pradesh, and
- Jaiminiya in the Carnatic, Tamil Nadu, and Kerala.
Samaveda Organization
The Samaveda comprises two major parts:
- The first part includes four melody collections (gāna, गान) and
- The second part is three verses of “books” (ārcika, आर्चिक).
Gana and Arcika collection
A melody in the song books corresponds to a verse in the arcika books. The Gana collection is subdivided into Gramageya and Aranyageya, while the Arcika portion is subdivided into Purvarcika and Uttararcika portions. The Purvarcika portion of the text has 585 single-stanza verses and is organized in order of deities, while the Uttararcika text is ordered by rituals.
The Gramageya melodies are those for public recitations, while Aranyageya melodies are for personal meditative use such as in the solitude of a forest. Typically, the Purvarcika collection was sung to melodies described in the Gramageya-Gānas index, and the rules of how the verses mapped to verses are described in the Sanskrit texts such as the Puspasutra.
Early sections of Samaveda
Just like Rigveda, the early sections of Samaveda typically begin with Agni and Indra hymns but shift to abstract speculations and philosophy, and their meters shift in descending order. The later sections of the Samaveda, states Witzel, have the least deviation from the substance of hymns they derive from Rigveda into songs. The purpose of Samaveda was liturgical, and they were the repertoire of the udgātṛ or “singer” priests.
The Samaveda, like other Vedas, contains several layers of text, with Samhita being the oldest and the Upanishads the youngest layer:
| Vedic School | Brahmana | Upanishads | Shrauta Sutras |
|---|---|---|---|
| Kauthuma-Ranayaniya | Pancavimsa Sadvimsa | Chandogya Upanishad | Latyayana Drahyayana |
| Jaiminiya or Talavakara | Jaiminiya | Kena Upanishad Jaiminiya Upanishad |
Jaiminiya |
Analytics
The Samaveda consists of 1,549 unique verses, taken almost entirely from Rigveda, except for 75 verses. The largest number of verses come from Books 9 and 8 of the Rig Veda. Some of the Rigvedic verses are repeated more than once. Including these repetitions, there are a total of 1,875 verses numbered in the Samaveda recension translated by Griffith.
Samaveda Contents
Samaveda Samhita is not meant to be read as a text, it is like a musical score sheet that must be heard.
Rigveda verses mapped
Staal states that the melodies likely existed before the verses in ancient India, and the words of the Rigveda verses were mapped into those pre-existing melodies, because some early words fit and flow, while later words do not quite fit the melody in the same verse. The text uses creative structures, called Stobha, to help embellish, transform or play with the words so that they better fit into a desired musical harmony.
Some verses add in meaningless sounds of a lullaby, for probably the same reason, remarks Staal. Thus the contents of the Samaveda represent a tradition and a creative synthesis of music, sounds, meaning, and spirituality, the text was not entirely a sudden inspiration.
The first song of Samaveda
The portion of the first song of Samaveda illustrates the link and mapping of Rigvedic verses into a melodic chant:
अग्न आ याहि वीतये – Rigveda 6.16.10
Agna ā yāhi vītayeSamaveda transformation (Jaiminiya manuscript):
o gnā i / ā yā hi vā i / tā yā i tā yā i /Translation:
O Agni, come to the feast. — Samaveda 1.1.1, Translated by Frits Staal
Multiple melodies were created by clans of sages from a Yonimantra, which is a base Mantra for Sama Chanting. Gautama’s Parka was one such example cited by Dr. Damodar Satwalekar in his book Samveda.
Primary Upanishads
Two primary Upanishads of Hinduism are embedded inside the Samaveda – the Chandogya Upanishad and the Kena Upanishad. Both are notable for the lifting metric melodic structure, but it is Chandogya that has played a historic role in the evolution of various schools of Hindu philosophy.
The embedded philosophical premises in Chandogya Upanishad have, for example, served as a foundation for the Vedanta school of Hinduism. It is one of the most cited texts in later Bhasyas (reviews and commentaries) by scholars from the diverse schools of Hinduism. Adi Shankara, for example, cited Chandogya Upanishad 810 times in his Vedanta Sutra Bhasya, more than any other ancient text.
Chandogya Upanishad
The Chandogya Upanishad belongs to the Tandya school of the Samaveda. Like Brhadaranyaka Upanishad, the Chandogya Upanishad is an anthology of texts that must have pre-existed as separate texts, and were edited into a larger text by one or more ancient Indian scholars. The precise chronology of Chandogya Upanishad is uncertain, but it is the youngest layer of text in the Samaveda, and it is variously dated to have been composed by the 8th to 6th century BCE in India.
The Chandogya text combines a metric, melodic structure with a wide range of speculations and philosophical topics. The text in the eighth and ninth volumes of the first chapter, for example, describes the debate between three men proficient in Udgitha, about the origins and support of Udgitha and all of empirical existence. The text summarizes their discussion as,
What is the origin of this world?
Space, said he. Verily, all things here arise out of space. They disappear back into space, for space alone is greater than these, space is the final goal.
This is the most excellent Udgitha. This is endless. The most excellent is his, the most excellent worlds does he win, who, knowing it thus, reveres the most excellent Udgitha (Om, ॐ). — Chandogya Upanishad 1.9.1-1.9.2
Kena Upanishad
The Kena Upanishad is embedded inside the last section of the Talavakara Brahmanam recension of the Samaveda. It is much shorter, but it too delves into philosophical and spiritual questions like the Chandogya Upanishad.
In the fourth chapter, Kena Upanishad states, for example, that all beings have an innate longing for spiritual knowledge, for self-awareness. This knowledge of Atman-Brahman is Tadvanam (transcendental happiness, blissfulness). In the final paragraphs, Kena Upanishad asserts ethical life as the foundation of self-knowledge and of Atman-Brahman.
Tapas, Damah, Work – these are the foundations, the Vedas are the limbs of the same, the Truth is its fulcrum. — Kena Upanishad, 4.8 (paragraph 33)
Samaveda Manuscripts
The Kauthuma recension has been published (Samhita, Brahmana, Shrautasutra, and ancillary Sutras, mainly by B.R. Sharma), but parts of the Jaiminiya tradition remain unpublished. There is an edition of the first part of the Samhita by W. Caland and of the Brahmana by Raghu Vira and Lokesh Chandra, as well as the neglected Upanishad, but only parts of the Shrautasutra. The songbooks remain unpublished.
A German edition of Samaveda was published in 1848 by Theodor Benfey, and Satyavrata Samashrami published an edited Sanskrit version in 1873. A Russian translation was published by Filipp Fortunatov in 1875. An English translation was published by Ralph Griffith in 1893. A translation in Hindi by Mridul Kirti called “Samveda Ka Hindi Padyanuvad” has also been published recently.
Samaveda Cultural influence
The Indian classical music and dance, states Guy Beck, is rooted in the sonic and musical dimensions of the Sama Veda, along with the Upanishads and Agamas. The Samaveda, in addition to singing and chanting, mentions instruments.
The rules and suggestions for playing various instruments form a separate compilation called the Gandharva-Veda, and this Upaveda is attached to the Samaveda. The structure and theory of chants in the Samaveda have inspired the organizing principle for Indian classical arts and performances, and this root has been widely acknowledged by musicologists dealing with the history of Indian music.
The root of Indian classical music and dance
The Samaveda traces its roots to way back in 1200-800 BCE. This Veda is essentially concerned with public worship. Samaveda has a total of 1549 verses out of which 75 of them have been taken from the Rigveda.
Kena Upanishad and Chandogya Upanishad are attached to the Samaveda. It is considered to be the root of Indian classical music and dance, as it is considered to be a depository of melodious hymns and chants. The Samaveda has three distinct recensions- Kauthuma, Ranayaniya, and Jaimaniya. Samaveda is not necessarily meant to be read; it is more of a musical score that needs to hear.
What does Sama Veda teach?
The hymns of Samaveda, when sung in the appropriate manner, enable you to understand universal truths. In fact, the musical patterns in Samaveda have been derived from the vibrations of the cosmos.
- So, Samaveda helps you to attain spiritual evolution through music. It represents the force of spiritual knowledge.
- Moreover, the Samaveda was used in the Soma sacrifice. In fact, Samaveda has been described as the Veda of Bhakti. Its hymns were used in religious ceremonies.
- In Bhagavad Gita, Lord Krishna says, “Of the Vedas, I am Sama.”
- Samaveda is the source of Indian Classical Music.
“Richas” (shlokas) form the basis of Samaveda. The incantations of Sama Veda can bless you with divine peace. It praises Agni (fire) to destroy the demons and bless us with wealth. Agni is the giver of happiness. It is described as the lord of good fortune.
Some other teachings
- Through cleanliness, you can keep away diseases.
- One who does not keep “Vrata” can never accomplish anything.
- A scholar of knowledge can defeat all his enemies.
- Perform virtuous deeds to become great.
- One who wears gems possesses wealth.
- People who have double standards never experience happiness.
- “Fire of Tapa” helps you to achieve great heights.
- Knowledge of scholars can help the ignorant to attain supremacy.
- Salvation can be achieved through the path of progress.
- The night is the provider of rest and relaxation.
- Agni (fire) is pure and benedictory.
- A man with self-control becomes the master.
- Yagya enlightens the flames of consciousness in the human mind.
- Soma ignites in us the enthusiasm to win.
- Deities bless the diligent.
- A truthful person’s speech is like honey.
- Never be in the company of those who hate knowledge.
- Never listen to whatever is evil.
- Engage yourself in auspicious activities.
- You fight a battle every day.
- Agni helps all to settle well.
- Tread on the path of truthfulness.
- One can accomplish great deeds with the help of truth.
- Adorn your speech.
- There are ten characteristics of “Dharma” – Stability of mind, Purity, Forgiveness, Abstinence, Benevolence, Control of Senses, Intellect, Truth, Knowledge, and Abstinence from anger.
- Indra and Agni are the embodiments of joy.
- Protect your children using your own efforts.
- The great “Surya” illuminates heaven.
- Never fall prey to your pride.
- May the brilliant men of capabilities inspire us.
- Look at the divine deeds of Vishnu, contemplate and then follow them.
- O, men! Move ahead and be a winner.
- Moreover, many more.
Who wrote the Sama Veda?
The Vedas (including the Samaveda) are considered to be “Apauruseya,” meaning “not of a man, superhuman” and “impersonal, authorless.”
The Hindu Epic Mahabharata credits the creation of the Vedas to Brahma. According to tradition, Vyasa is supposed to be the compiler of Vedas in the form of Rigveda, Yajur Veda, Samaveda, and Atharvaveda.
Conclusion
Because of the above, I am confident that you have learned in-depth about Samaveda, dating, parts of Samaveda, contents, manuscripts, significance, etc. Now, that you have become self-sufficient to practice and achieve the goal, hence it’s the right time to use your acquired knowledge for gaining numerous benefits for well-being.
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Frequently asked questions
Before posting your query, kindly go through the:
| What is the Samaveda?
It is the Veda of melodies and chants. However, it is believed that it was compiled during 1200 or 1000 BCE. It holds a divine status in the Hindu tradition. In fact, in the Bhagavad Geeta, Lord Krishna has described the Samaveda as the most important of all the Vedas. |
| Which is the root of music and dance?
The Samaveda traces its roots to way back in 1200-800 BCE. This Veda is essentially concerned with public worship. Samaveda has a total of 1549 verses out of which 75 of them have been taken from the Rigveda. Kena Upanishad and Chandogya Upanishad are attached to the Samaveda. It is considered to be the root of Indian classical music and dance, as it is considered to be a depository of melodious hymns and chants. It has three distinct recensions- Kauthuma, Ranayaniya, and Jaimaniya. Samaveda is not necessarily meant to be read; it is more of a musical score that needs to hear. |
| What is the dating of Samaveda?
Michael Witzel states that there is no absolute dating and other Vedic texts. He estimates the composition of the Samhita layer of the text chronologically after the Rigveda, and in the likely range of 1200 to 1000 BCE, roughly contemporary with the Atharvaveda and the Yajurveda. |
