१३९

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सायण-भाष्यम्

’ अस्तु श्रौषट् ’ इति एकादशर्चं षष्ठं सूक्तम् । अत्रानुक्रमणिका- ‘अस्तु श्रौषळेकादश वैश्वदेवी मैत्रावरुण्याश्विन्यस्तिस्र। ऐन्द्र्याग्नेयो मारत्यैन्द्राग्नी बार्हस्पत्या वैश्वदेव्यन्त्या त्रिष्टुप्पञ्चमी बृहती वैश्वदेवमेतदेवमन्यासामपि सूक्तप्रयोगे वैश्वदेवत्वं सूक्तभेदप्रयोगे यल्लिङ्गं सा देवता ’ इति । परुच्छेप ऋषिः । अन्त्या त्रिष्टुप् पञ्चमी बृहती । अन्या अत्यष्टयो विशेषाभावात् । कृत्स्नं सूक्तं वैश्वदेवम् । तत्र आद्याया विश्वे देवा देवता । द्वितीयाया मित्रावरुणौ । अथ तिस्रोऽश्विदेवताकाः । ऐन्द्री षष्ठी । सप्तम्याग्नेयी । अष्टमी मारुती । नवम्यैन्द्राग्नी । दशमी बार्हस्पत्या । एकादशी वैश्वदेवी । सूक्तविनियोगो लैङ्गिकः । दशरात्रस्य षष्ठेऽहनि प्रउगशस्त्रे आद्या वैश्वदेवतृचे प्रथमा । ’ षष्ठस्य ’ इति खण्डे सूत्रितम्-’ अस्तु श्रौषळो षु णो अग्ने ’ ( आश्व. श्रौ. ८.१.१२) इति ।।

Jamison Brereton

139
All Gods
Paruchepa Daivodāsi
11 verses: atyaṣṭi, except br̥hatī 5, triṣṭubh 11
This complex hymn presents many interpretational difficulties, though it roughly follows the model of the Praügaśastra, a recitation at the Morning Pressing found also in R̥gveda I.2–3, I.23, and II.41. The order of divinities in the Praügaśastra is Vāyu, Indra and Vāyu, Mitra and Varuṇa, the Aśvins, Indra, the All Gods, and Sarasvatī; this hymn follows this order through verse 6: Indra and Vāyu (vs. 1), Mitra and Varuṇa (vs. 2), the Aśvins (vss. 3–5), Indra (vs. 6), but ends with Agni (vs. 7), the Maruts (vs. 8), Indra and Agni (vs. 9), and Br̥haspati (vs. 10), with verse 11 in a different meter and addressed to all the gods collectively.
The ritual situation is established at the very beginning, with the quotation of a familiar sacrificial formula ástu śrauṣaṭ, found all over middle Vedic ritual texts. This ritual-internal quotation is matched, in ring-compositional style, by the quotation of a praiṣa, or ritual command to the Hotar, in verse 10, the last real verse of the hymn. It is also clear that the time is early morning (see esp. vs. 4, though there are also more oblique indications in the first two verses), and that the sound of the pressing stones is calling the gods to the sacrifice (see vs. 3, and its ring-compositional echo in vs. 10).
As so often, the difficulties in the hymn may stem in part from the fact that the poet is reflecting on his poetic lineage and calling. The obscure reference to the “umbilical tie” or “navel” in verse 1 is made somewhat clearer by verse 9, in which the poet asserts that his “umbilical ties” are with a series of earlier seers and sacri
ficers, including Manu—whose own ties are to the gods. He thus provides himself with a poetic pedigree and in following their track, or model, produces his own hymns that have some chance of reaching the gods, since his predecessors’ did. In verse 1 he mentions only one such predecessor: Vivasvant (lit., “possessing the shining forth”), who in later Vedic and even in late R̥gveda (Vālakh., VIII.52.1) is considered the father of Manu and who is often associated, as a proto-priest, with the pressing of soma. (His Avestan correspondent Vīvaŋuuaṇt is the first man who pressed haoma [Y 9.4].) So in verse 1 our poet proclaims that he is beginning a new hymn, by newly attaching himself to a legendary seer-sacrificer. But there is another likely meaning there as well: Vivasvant is identified as the sun in later Vedic, and quite possibly in some passages in the R̥gveda as well, and therefore the poet may also be making reference to the time of “shining forth,” namely early morning.
The double reference to ritual poetry and to dawn continues in verse 2. Mitra and Varuṇa take “untruth away from truth,” thus enabling the poet and his peers to see the gods’ golden throne. On the one hand, the untruth can be darkness, and the removal of this darkness reveals the sun. On the other hand, the priests see this vision with their insights and their mind, and though they also see with their eyes, these are the “eyes of soma,” presumably the vision arising from drinking the soma. So on another level of interpretation what they see is a poetic vision.
The three Aśvins verses (3–5) are fairly clear descriptions of the journey of those gods to the dawn sacrifice, and the invitation to Indra (vs. 6) is also straightforward, as is the praise of the Maruts (vs. 8). This clarity is unfortunately obscured in verse 7, whose translation is only provisional, though the direct speech of Agni is quite intriguing. He seems to be chiding the gods for having given the Aṅgirases a cow they (or in most interpretations, Aryaman and unspecified others) have milked out. From the mythological point of view, the cow should represent the cows imprisoned in the Vala cave that the Aṅgirases helped to liberate. In a ritual context this could be the cow that provides the milk to mix with soma; in a poetic context the poetic insight or vision that provided the Aṅgirases with songs. The role of Aryaman here is entirely unclear.
As noted above, in verse 9 the poet situates himself in the poetic and sacrificial tradition, and in verse 10, another obscure verse (Geldner calls it “unintelligible” [unverständlich]), the ritual and poetic ring is closed.

Jamison Brereton Notes

All Gods

01 अस्तु श्रौषथ् - अत्यष्टिः

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अ᳓स्तु श्रउ᳓षट् पुरो᳓ अग्निं᳓ धिया᳓ दध
आ᳓ नु᳓ त᳓च् छ᳓र्धो दिवियं᳓ वृणीमह
इन्द्रवायू᳓ वृणीमहे
य᳓द् ध क्राणा᳓ विव᳓स्वति
ना᳓भा संदा᳓यि न᳓व्यसी
अ᳓ध प्र᳓ सू᳓ न उ᳓प यन्तु धीत᳓यो
देवाँ᳓ अ᳓छा न᳓ धीत᳓यः

02 यद्ध त्यन्मित्रावरुणावृतादध्याददाथे - अत्यष्टिः

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य᳓द् ध त्य᳓न् मित्रावरुणाव् ऋता᳓द् अ᳓धि
आददा᳓थे अ᳓नृतं स्वे᳓न मन्यु᳓ना
द᳓क्षस्य स्वे᳓न मन्यु᳓ना
युवो᳓र् इत्था᳓धि स᳓द्मसु
अ᳓पश्याम हिरण्य᳓यम्
धीभि᳓श् चन᳓ म᳓नसा स्वे᳓भिर् अक्ष᳓भिः
सो᳓मस्य स्वे᳓भिर् अक्ष᳓भिः

03 युवां स्तोमेभिर्देवयन्तो - अत्यष्टिः

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युवां᳓ स्तो᳓मेभिर् देवय᳓न्तो अश्विना
आश्राव᳓यन्त इव श्लो᳓कम् आय᳓वो
युवां᳓ हव्या᳓भि᳓ आय᳓वः
युवो᳓र् वि᳓श्वा अ᳓धि श्रि᳓यः
पृ᳓क्षश् च विश्ववेदसा
प्रुषाय᳓न्ते वाम् पव᳓यो हिरण्य᳓ये
र᳓थे दस्रा हिरण्य᳓ये

04 अचेति दस्रा - अत्यष्टिः

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अ᳓चेति दस्रा वि᳓ उ ना᳓कम् ऋण्वथो
युञ्ज᳓ते वां रथयु᳓जो दि᳓विष्टिषु
अध्वस्मा᳓नो दि᳓विष्टिषु
अ᳓धि वां स्था᳓म वन्धु᳓रे
र᳓थे दस्रा हिरण्य᳓ये
पथे᳓व य᳓न्ताव् अनुशा᳓सता र᳓जो
अ᳓ञ्जसा शा᳓सता र᳓जः

05 शचीभिर्नः शचीवसू - बृहती

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श᳓चीभिर् नः शचीवसू
दि᳓वा न᳓क्तं दशस्यतम्
मा᳓ वां राति᳓र् उ᳓प दसत् क᳓दा चन᳓
अस्म᳓द् रातिः᳓ क᳓दा चन᳓

06 वृषन्निन्द्र वृषपाणास - अत्यष्टिः

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वृ᳓षन्न् इन्द्र वृषपा᳓णास इ᳓न्दव
इमे᳓ सुता᳓ अ᳓द्रिषुतास उद्भि᳓दस्
तु᳓भ्यं सुता᳓स उद्भि᳓दः
ते᳓ त्वा मन्दन्तु दाव᳓ने
महे᳓ चित्रा᳓य रा᳓धसे
गीर्भि᳓र् गिर्वाह स्त᳓वमान आ᳓ गहि
सुमॄळीको᳓+ न आ᳓ गहि

07 ओ षू - अत्यष्टिः

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ओ᳓ षू᳓ णो अग्ने शृणुहि त्व᳓म् ईळितो᳓
देवे᳓भियो ब्रवसि यज्ञि᳓येभियो
रा᳓जभ्यो यज्ञि᳓येभियः
य᳓द् ध त्या᳓म् अ᳓ङ्गिरोभियो
धेनुं᳓ देवा अ᳓दत्तन
वि᳓ तां᳓ दुह्रे अर्यमा᳓ कर्त᳓री स᳓चाँ
एष᳓ तां᳓ वेद मे स᳓चा

08 मो षु - अत्यष्टिः

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मो᳓ षु᳓ वो अस्म᳓द् अभि᳓ ता᳓नि पउं᳓सिया
स᳓ना भूवन् द्युम्ना᳓नि मो᳓त᳓ जारिषुर्
अस्म᳓त् पुरो᳓त᳓ जारिषुः
य᳓द् वश् चित्रं᳓ युगे᳓-युगे
न᳓व्यं घो᳓षाद् अ᳓मर्तियम्
अस्मा᳓सु त᳓न् मरुतो य᳓च् च दुष्ट᳓रं
दिधृता᳓ य᳓च् च दुष्ट᳓रम्

09 दध्यङ्ह मे - अत्यष्टिः

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दध्य᳓ङ् ह मे जनु᳓षम् पू᳓र्वो अ᳓ङ्गिराः
प्रिय᳓मेधः क᳓ण्वो अ᳓त्रिर् म᳓नुर् विदुस्
ते᳓ मे पू᳓र्वे म᳓नुर् विदुः
ते᳓षां देवे᳓षु आ᳓यतिर्
अस्मा᳓कं ते᳓षु ना᳓भयः
ते᳓षाम् पदे᳓न म᳓हि आ᳓ नमे गिरा᳓
इन्द्राग्नी᳓ आ᳓ नमे गिरा᳓

10 होता यक्षद्वनिनो - अत्यष्टिः

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हो᳓ता यक्षद् वनि᳓नो वन्त वा᳓रियम्
बृ᳓हस्प᳓तिर् यजति वेन᳓ उक्ष᳓भिः
पुरुवा᳓रेभिर् उक्ष᳓भिः
जगृभ्मा᳓ दूर᳓आदिशं
श्लो᳓कम् अ᳓द्रेर् अ᳓ध त्म᳓ना
अ᳓धारयद् अररि᳓न्दानि सुक्र᳓तुः
पुरू᳓ स᳓द्मानि सुक्र᳓तुः

11 ये देवासो - त्रिष्टुप्

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ये᳓ देवासो दिवि᳓ ए᳓कादश स्थ᳓
पृथिविया᳓म् अ᳓धि ए᳓कादश स्थ᳓
अप्सुक्षि᳓तो महिनइ᳓कादश स्थ᳓
ते᳓ देवासो यज्ञ᳓म् इमं᳓ जुषध्वम्