००६

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सायण-भाष्यम्

‘सुरूप’ इत्यादिषु षट्सूक्तेषु तृतीयस्य ‘युञ्जन्ति’ इति सूक्तस्य मन्त्रसंख्या ऋषिच्छन्दोदैवतानि विनियोगश्चेत्येते पूर्ववद्वगन्तव्याः । दशर्चे तस्मिन् सूक्ते आद्यास्तिस्रोऽन्तिमा चेत्येताश्चतस्र ऐन्द्र्यः।। ‘ आदह’ इत्येतां चतुर्थीमारभ्य षडृचो मारुत्यः । तासु मध्ये ‘वीळु चित्’, ‘इन्द्रेण’ इत्येते हे ऋचौ मारुत्यौ सत्यावैन्द्र्यावपि भवतः । तदेतत् सर्वमनुक्रमणिकायामुक्तं–’ सुरूपकृत्नुं दशैन्द्रमा तु युञ्जन्त्याहेत्येताः षण्मारुत्यो वीळु चिदिन्द्रेणेत्यैन्द्र्यौ च ’ इति । एतस्मिन् सूक्ते ‘युञ्जन्ति’ इत्यसौ तृचस्तृतीये रात्रिपर्याये ब्राह्मणाच्छंसिनोऽनुरूपः । तथा च ‘अतिरात्रे पर्यायाणाम् ’ इति खण्डे ‘ योगे योगे तवस्तरं युञ्जन्ति ब्रध्नमरुषम्’ (आश्व. श्रौ. ६. ४ ) इति सूत्रितम् ।।

Jamison Brereton

6
Indra (1–3, 10), Maruts (4, 6, 8–9), Indra and Maruts (5, 7)
Madhuchandas Vaiśvāmitra
10 verses: gāyatrī
A disjointed and episodic hymn. The Anukramaṇī ascription of the verses to a combination of Indra and the Maruts is reproduced in the above heading, but it is almost certainly wrong—though the confusion generated by the hymn makes the error pardonable. The Maruts do not appear to figure in the hymn at all, and, though Indra does, there are other divine figures in some of the verses assigned to him. As often, the hymn jumps back and forth from 2nd- to 3rd-person reference and from past to present time, but in this case the jumps are particularly disorient
ing and the overall structure hard to discern.
Modern attempts at interpretation generally begin with the Vala myth and the main divine personages therein, Indra and the Aṅgirases, his singer-assistants in this myth. The myth is most clearly alluded to in verse 5, the central verse (espe cially if vs. 10 is considered to be a mere variant of parallel vs. 9), and we may see here an interesting structural contrast to the omphalos hymn: instead of embedding the mystery in the middle verse and leading up to and away from it with clearer material, the poet here may have designed the middle verse as the key to the many questions posed by the diffuse fragments surrounding it and a motif in which to integrate them.
In any case verse 5 presents us with Indra finding the hidden cows within a stronghold with the help of an unnamed group, who must be the Aṅgirases. In our view this myth does provide the thematic backdrop for the whole hymn and is alluded to directly (or as directly as it gets) also in verses 6 and 8. But most of the rest of the hymn treats the ritual re-creation of Indra’s releasing the dawns from the Vala cave—namely the rising of the sun, the kindling of the ritual fire, and Indra’s journey to the early-morning sacrifice, and the most enigmatic verses refer, in our view, to Agni—not, as in other interpretations, to the sun or to Indra.
A brief and tentative synopsis: the first two verses, parallel in structure, depict the simultaneous hitching up of the sun (vs. 1) and Indra’s chariot (vs. 2) for their

respectively daily journeys. These verses are set in the present moment. Verse 3 is structurally paired with verse 7 in the architecture of the hymn; both are addressed to an unidentified 2nd sg. referent—in our view Agni, who is kindled at dawn (vs. 3) at the same time as Indra arrives at the sacrifice (vs. 7). Verse 3 is set in the mythic past, perhaps at Agni’s first kindling by the Aṅgirases, an event also presented in verse 4, while verse 7 returns us to the present. (Verse 3 also contains an absolutely baffling 2nd plural vocative, “o young men,” embedded within a verse with entirely 2nd singular reference. Short of emendation, there is little to be done with it, though it may refer to the plural subjects of verse 4, the fire-priests, who kindled the embry onic Agni.) Verse 5 provides the Vala-myth clue, and the remainder of the verses meld a mythic account of the rituals of dawn with reference to the ritual of the present moment.

Jamison Brereton Notes

Indra and the Maruts (per Anukr.) As noted in the introduction. the Anukramaṇī’s identification of the divinities as Indra (1-3, 10), Maruts (4, 6, 8-9), and Indra and Maruts (5, 7) does not conform to the content of the hymn, which is quite disjointed, but appears to concern, at least in part, the Vala myth. The Maruts do not seem to figure at all in the hymn; the plural entities with Indra are probably the Aṅgirases. For my view of the structure (which is informed by the discussions of Geldner and Oldenberg), see published introduction.

I.6.1-2: These verses begin identically (yuñjánti ‘they yoke’), inviting the audience to equate the action of the two verses.

1b: The referent of the apparent acc. plural tasthúṣaḥ ‘(those) standing still’ is not given. Geldner (/Witzel Gotō) thinks it refers to stable things on the earth, but if the sun is referred to in the first pāda, it is more likely to “move around” celestial features than earthly ones, and the stars or other luminous heavenly bodies are referred to in the next pāda. Renou’s interpretation (flg. Ludwig) of tasthúṣaḥ as an abl. sg. (“from the one standing still” - “à partir de (l’espace) immobile”) is ingenious and would match the minor syntactic idiom ‘yoke from ABL’ (e.g., I.115.4 yadéd áyukta harítaḥ sadhásthāt), so it cannot be dismissed. The ablatives in the final verses (9-10) might lend weak support for Renou’s view.

2b: The hapax compound vípakṣasā is difficult and has been variously interpreted. The second member, pákṣas- (and related and more common pakṣá-), can mean either ‘wing’ or ‘side’; the first member, ví-, is most likely the preverb ví, but in compounds this element has a number of possible meanings: ‘without’, distant’, ‘wide’,‘alternating/opposite/different’, ‘dispersed’. It could also possibly represent ví- ‘bird’, which has been claimed as the first member of some other compounds (see EWA s.v. váy-, KEWA III.266). The possible combinations of these two ambiguous elements allow for a number of interpretations. I more or less follow the Sāyaṇa/Grassmann interpretation, ‘auf beiden Seiten des Wagens gehend’, though I take it as an adverbial instrumental, not a dual. (The presence of a number of duals in -ā in the verse does not favor an adverbial interpretation, however.) Renou’s “aux ailes d’oiseau” obviously takes the first member as the ‘bird’ word, while Witzel Gotō “die mit weiten Flügeln” takes ví as the preverb, but with the second member meaning ‘wing’ as in Renou’s interpretation. Geldner’s ‘auseinanderstrebenden(?)’ treats the second member quite loosely.

01 युञ्जन्ति ब्रध्नमरुषम् - गायत्री

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यु॒ञ्जन्ति॑ ब्र॒द्ध्नम्(=महान्तम्) अ॑रु॒षञ्(=गन्तारं)
चर॑न्त॒म् परि॑ त॒स्थुषः॑ ।
(यावद्) रोच॑न्ते रोच॒ना दि॒वि ।(र५)

02 युञ्जन्त्यस्य काम्या - गायत्री

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यु॒ञ्जन्त्य॑स्य॒ काम्या॒ हरी॒ विप॑क्षसा॒ रथे॑ ।
शोणा॑ धृ॒ष्णू नृ॒वाह॑सा ॥

03 केतुं कृण्वन्नकेतवे - गायत्री

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के॒तुं कृ॒ण्वन्न॑के॒तवे॒ पेशो॑ मर्या अपे॒शसे॑ ।
समु॒षद्भि॑रजायथाः ॥

04 आदह स्वधामनु - गायत्री

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आदह॑ स्व॒धामनु॒ पुन॑र्गर्भ॒त्वमे॑रि॒रे ।
दधा॑ना॒ नाम॑ य॒ज्ञिय॑म् ॥

05 वीळु चिदारुजत्नुभिर्गुहा - गायत्री

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वी॒ळु चि॑दारुज॒त्नुभि॒र्गुहा॑ चिदिन्द्र॒ वह्नि॑भिः ।
अवि॑न्द उ॒स्रिया॒ अनु॑ ॥

06 देवयन्तो यथा - गायत्री

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दे॒व॒यन्तो॒ यथा॑ म॒तिमच्छा॑ वि॒दद्व॑सुं॒ गिरः॑ ।
म॒हाम॑नूषत श्रु॒तम् ॥

07 इन्द्रेण सम् - गायत्री

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इन्द्रे॑ण॒ सं हि दृक्ष॑से संजग्मा॒नो अबि॑भ्युषा ।
म॒न्दू स॑मा॒नव॑र्चसा ॥

08 अनवद्यैरभिद्युभिर्मखः सहस्वदर्चति - गायत्री

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अ॒न॒व॒द्यैर॒भिद्यु॑भिर्म॒खः सह॑स्वदर्चति ।
ग॒णैरिन्द्र॑स्य॒ काम्यैः॑ ॥

09 अतः परिज्मन्ना - गायत्री

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अतः॑ परिज्म॒न्ना ग॑हि दि॒वो वा॑ रोच॒नादधि॑ ।
सम॑स्मिन्नृञ्जते॒ गिरः॑ ॥

10 इतो वा - गायत्री

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इ॒तो वा॑ सा॒तिमीम॑हे दि॒वो वा॒ पार्थि॑वा॒दधि॑ ।
इन्द्रं॑ म॒हो वा॒ रज॑सः ॥