०६०

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सायण-भाष्यम्

‘वह्निम्’ इति पञ्चर्चं तृतीयं सूक्तं नोधस आर्षं त्रैष्टुभमाग्नेयम् । अनुक्रान्तं च-’वह्निं पञ्च’ इति । प्रातरनुवाकस्याग्नये क्रतौ त्रैष्टुभे छन्दसीदं सूक्तमाश्विने शस्त्रे च । तथा च सूत्रितं - वह्निं यशसमुप प्र जिन्वन्निति त्रीणि ’ ( आश्व. श्रौ. ४. १३ ) इति ॥

Jamison Brereton

60
Agni
Nodhas Gautama
5 verses: triṣṭubh
Two double aspects of Agni, touched on in the two previous Agni hymns by Nodhas Gautama, are united in this brief hymn. On the one hand, Agni’s primal installation in the sacrifice by the ancestors of humankind is contrasted with his regular re-instal lation by the current sacrificers (see esp. vs. 2ab, but also throughout). In fact, the orig inal theft of fire from heaven by Mātariśvan, who bestowed it on the legendary Bhr̥gu, ends the first verse. In several places (2c, 3d, 4b, 4d) it is not possible to determine from the verb form whether the poet is referring to the distant and legendary past or the recent past of the current ritual, though unfortunately English imposes the choice. The aorist forms in question often refer to the immediate past, and so we have trans lated them (“has been set down,” etc.), but an unmarked past (“was set down,” etc.) is far from excluded. It is quite likely that the poet wished to leave the question open.
The other double aspect treated is Agni’s dual role in the sacrifice: he both acts as priest and is the object of ritual activity by human priests. See especially verse 2b, where the Uśij (“fire-priests”) present oblations to him, and 4a, where Agni is identified as an Uśij (as well as a Hotar, in 4b).

Jamison Brereton Notes

Agni Taking off from my comment below on vs. 5, Jesse Lundquist has further articulated the structure of this hymn. What follows is mostly verbatim from his comments, with some additions and light editing of my own: I think this little hymn might have a slightly more elegant structure than has been appreciated (I thought of this following your mention ad vs. 5 of the “faint ring”). It seems to me that the 5 verses are nicely balanced rings within rings revolving around vs. 3, the omphalos-like jā́yamānam… jījananta, harking back to Agni’s double birth in 1c. The outer rings would be, as mentioned ad vs. 5, vss. 1c rayím iva praśastám = 5 pátim … rayīnā́m, prá śaṃsāmaḥ. Vss. 2 and 4 contain the same word vikṣú; note esp. the alliterative and partly etymological figure in 2d viśpátir vikṣú vedhā́ḥ. The hymn has not only a ring structure, but also forward momentum provided by the movement from the larger social organization of the vís-, in the full expression viśpátir vikṣú (2d), to the more intimate setting of the home, emphatically presented in 4c dámūnā gṛ́hapatir dáme. The momentum can also be tracked in the expressions of lordship involving páti-: viśpáti- (2d) to gṛhapáti- (4c) and finally the solemnly pleonastic+++(=redundant)+++ rayipátī rayīṇā́m (4d). Agni, celebrated (√śaṃs) “like wealth” in 1c (rayím iva), is transformed into the lord of wealth in 4d. This final title is repeated in 5a pátim agne rayīṇā́m, with his name interposed between the two elements, and again the object of √śaṃs. The use of these three -páti- compounds may convey the message that Agni will deploy his wealth in the arenas of clan and house.

01 वह्निं यशसम् - त्रिष्टुप्

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व᳓ह्निं यश᳓सं विद᳓थस्य केतुं᳓
सुप्रावि᳓यं · दूतं᳓ सद्यो᳓अर्थम्
द्विज᳓न्मानं रयि᳓म् इव प्रशस्तं᳓
राति᳓म् भरद् भृ᳓गवे मातरि᳓श्वा

02 अस्य शासुरुभयासः - त्रिष्टुप्

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अस्य᳓ शा᳓सुर् उभ᳓यासः सचन्ते
हवि᳓ष्मन्त उशि᳓जो ये᳓ च म᳓र्ताः
दिव᳓श् चित् पू᳓र्वो नि᳓ असादि हो᳓ता
आपृ᳓छियो विश्प᳓तिर् विक्षु᳓ वेधाः᳓

03 तं नव्यसी - त्रिष्टुप्

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तं᳓ न᳓व्यसी हृद᳓ आ᳓ जा᳓यमानम्
अस्म᳓त् सुकीर्ति᳓र् म᳓धुजिह्वम् अश्याः
य᳓म् ऋत्वि᳓जो वृज᳓ने मा᳓नुषासः
प्र᳓यस्वन्त आय᳓वो जी᳓जनन्त

04 उशिक्पावको वसुर्मानुषेषु - त्रिष्टुप्

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उशि᳓क् पवाको᳓+ व᳓सुर् मा᳓नुषेषु
व᳓रेणियो हो᳓ता अधायि विक्षु᳓
द᳓मूना · गृह᳓पतिर् द᳓म आँ᳓
अग्नि᳓र् भुवद् रयिप᳓ती रयीणा᳓म्

05 तं त्वा - त्रिष्टुप्

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तं᳓ त्वा वय᳓म् प᳓तिम् अग्ने रयीणा᳓म्
प्र᳓ शंसामो मति᳓भिर् गो᳓तमासः
आशुं᳓ न᳓ वाजम्भर᳓म् मर्ज᳓यन्तः
प्रात᳓र् मक्षू᳓ धिया᳓वसुर् जगम्यात्