०८२

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सायण-भाष्यम्

उपोष्विति षळ्ऋचं नवमं सूक्तम् गोतमस्यार्षमैन्द्रं अन्त्या जगती आद्याः पङ्क्तयः अनुक्रान्तं च- उपोषु षड्जगत्यन्तमिति । सूक्तविनियोगो लैङ्गिकः षोडशिशस्त्रे आद्यासुसदृशमित्यादिके द्वे ऋचौ च विनियुज्यन्ते अथ षोडशीति खण्डे सूत्रितम्-उपोषु शृणुही गिरः सुसंदृशं त्वा वयं मघवन्नित्येका द्वे च पङ्क्ती इति । तत्र प्रथमामृचमाह-

Jamison Brereton

82
Indra
Gotama Rāhūgaṇa
6 verses: paṅkti, except jagatī 6
Like the three Indra hymns (I.61–63) of our poet’s descendant, Nodhas Gautama, this hymn was composed to accompany the “Fallow-bay-yoking” oblation at the end of the soma sacrifice, at which the two horses of Indra are hitched up for the return journey to heaven. The first five verses are in paṅkti meter, with the fifth pāda a refrain announcing the sacrificer’s intention to per
form this yoking. In the body of those verses the poet announces that the goal of the sacrifice has been achieved (vss. 1–2): both Indra and his companions the Maruts have received praise and oblations, and they have provided presents in return. He offers Indra a last bit of praise and a last oblation to send him on his way (vss. 3–4), and then turns to the actual yoking of the pair of horses (vs. 5).
The final verse is in a different meter and expresses the act of yoking in a different tense and mood. The subtle distinction in wording between the refrain of verses 1–5 and its variant in the first pāda of the final verse (6a) is signifi cant: the refrain contains the 1st sg. root aorist subjunctive yójā in the prospec tive/volitional sense “I will yoke,” while the version in the final verse transposes the formula into the present indicative with yunájmi, and adds the instrumen tal bráhmaṇā “with a sacred formulation.” These changes make the statement into a “performative” in the technical linguistic sense; that is, the utterance by itself performs the action it expresses: “I (hereby) yoke your two shaggy fallow bays with a solemn formulation.” The bráhman refers to the entire hymn that

precedes, and it is the very recitation of the hymn, identified as a bráhman, that performs the ritual act of yoking.
A particularly appealing part of the hymn is the mention of Indra’s wife in verses 5–6: the poet is concerned to send the god directly back home to his “dear wife” and further exhilaration. See also III.53.4–6.

Jamison Brereton Notes

Indra

01 उपो षु - पङ्क्तिः

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उ᳓पो षु᳓ शृणुही᳓ गि᳓रो
म᳓घवन् मा᳓तथा इव
यदा᳓ नः सूनृ᳓तावतः
क᳓र आ᳓द् अर्थ᳓यास इ᳓द्
यो᳓जा नु᳓ इन्द्र ते ह᳓री

02 अक्षन्नमीमदन्त ह्यव - पङ्क्तिः

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अ᳓क्षन्न्+++(=भुक्तवन्तः)+++, अ᳓मीमदन्त ह्य् अ᳓व प्रिया᳓ अधूषत+++(=अकम्पयन् [=वक्तुम् अशक्नुवन्])+++ ।
अ᳓स्तोषत+++(=अस्तुवन्)+++ स्व᳓भानवो वि᳓प्रा
न᳓विष्ठया मती᳓+++(त्या)+++, +++(अतो रथे)+++ यो᳓जा+++(=योजय)+++ न्वि्᳓ इन्द्र ते ह᳓री ॥

03 सुसन्दृशं त्वा - पङ्क्तिः

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सुसंदृ᳓शं तुवा वय᳓म्
म᳓घवन् वन्दिषीम᳓हि
प्र᳓ नून᳓म् पूर्ण᳓वन्धुर
स्तुतो᳓ याहि व᳓शाँ अ᳓नु
यो᳓जा नु᳓ इन्द्र ते ह᳓री

04 स घा - पङ्क्तिः

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स᳓ घा तं᳓ वृ᳓षणं र᳓थम्
अ᳓धि तिष्ठाति गोवि᳓दम्
यः᳓ पा᳓त्रं हारियोजन᳓म्
पूर्ण᳓म् इन्द्र चि᳓केतति
यो᳓जा नु᳓ इन्द्र ते ह᳓री

05 युक्तस्ते अस्तु - पङ्क्तिः

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युक्त᳓स् ते अस्तु द᳓क्षिण
उत᳓ सव्यः᳓ शतक्रतो
ते᳓न जाया᳓म् उ᳓प प्रिया᳓म्
मन्दानो᳓ याहि अ᳓न्धसो
यो᳓जा नु᳓ इन्द्र ते ह᳓री

06 युनज्मि ते - जगती

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युन᳓ज्मि ते ब्र᳓ह्मणा केशि᳓ना ह᳓री
उ᳓प प्र᳓ याहि दधिषे᳓ ग᳓भस्तियोः
उ᳓त् त्वा सुता᳓सो रभसा᳓ अमन्दिषुः
पूषण्वा᳓न् वज्रिन् स᳓म् उ प᳓त्नियामदः