१६०

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सायण-भाष्यम्

‘ ते हि ’ इति पञ्चर्चं चतुर्थं सूक्तं दैर्घतमसं जागतं द्यावापृथिव्यम् । ‘ते हि ’ इत्यनुक्रान्तम् ॥ चतुर्विंशेऽहनि वैश्वदेवशस्त्रे द्यावापृथिव्यनिविद्धानमेतत्सूक्तं - ‘ते हि द्यावापृथिवी यज्ञस्य वो रथ्यमिति वैश्वदेवम् ’ ( आश्व. श्रौ. ७. ४ ) इति सूत्रितत्वात् । तथा पृष्ठ्याभिप्लवषडहयोर्द्वितीयेऽहनि वैश्वदेवे द्यावापृथिव्यं निविद्धानीयं, चातुर्विंशिकं तृतीयसवनम् ( आश्व. श्रौ. ७. ६) इति आभिप्लविके द्वितीयेऽहनि अतिदिष्टत्वात्। आभिप्लविकात् द्वितीयादह्नः पृष्ठ्यस्य द्वितीयेऽहनि एतत्सूक्तमतिदेशतः प्राप्तं, ‘पृष्ठ्यस्याभिप्लवेनोक्ते अहनी आद्ये आद्याभ्याम् ’ ( आश्व. श्रौ. ७. १०) इति सूत्रितत्वात् । प्रथमा आश्विनशस्त्रे विनियुक्ता । ‘ संस्थितेष्वाश्विनाय’ इत्यत्र सूत्रितं - ते हि द्यावापृथिवी विश्वशंभुवा विश्वस्य देवीमृचयस्य ’ ( आश्व. श्रौ. ६. ५) इति ।

Jamison Brereton

160
Heaven and Earth
Dīrghatamas Aucathya
5 verses: jagatī
Like I.159 this hymn is dedicated to Heaven and Earth and consists of five verses in jagatī meter, but the similarities are stronger than those bare facts suggest: I.160 is structurally identical to 159, and they share phraseological and thematic patterns. Like 159, 160 names Heaven and Earth only in its first and last verses, with the references in between conveyed by kinship terms and adjectival duals, patterning in much the same way as in 159—first separate designations for father and mother (159.2ab, 160.2b), then duals identifying the pair with one gender or another (“two fathers” 159.2c, “two mothers” 159.3b versus “two world-halves/rodasī” [fem., depicted as girls] 160.2c, “two fathers” 160.3a).
One of the notable features of 159 is the relationship between Heaven and Earth and their sons, the gods. The same parental relationship is depicted in 160, but with a single son, the Sun. As in 159, this son is first introduced in verse 1, but also as in 159 the theme is developed primarily in verses 3–4, where the same paradox of the child begetting his parents is employed (esp. in 160.4, but note the child milking out his own milk from his parents in vs. 3). Similar or identical words are used: the son in 160.4a is “the best artisan of the artisans (apás) of the gods,” while the sons in 159.3a are “good artisans” (svápas); the two fathers of 159.2c “possess good semen” (surétas), just as the bull representing Heaven does in 160.3c. Two verbs are used to express the sons’/son’s begetting of the parents: the literal √jan “beget” (jajñuḥ 159.3b, jajā́na 160.4b) and the metaphorical √mā “measure out” (mamire 159.4a, ví…mamé 160.4c); both the sons of 159 and the son of 160 possess magical power (māyínaḥ 159.4a, māyáyā 160.3b).
Once seen, the pervasive underlying identity of these two hymns cannot be denied, but it is an index of the art of Dīrghatamas that the poems strike the audience as com pletely distinct and that, as far as we are aware, their patterned similarity has not previ ously been recognized—unlike other such pairs, like the Vālakhilya hymns VIII.49–50, 51–52, or IV.13–14, IX.104–105, as discussed by Bloomfield (1916: 13–14).

Jamison Brereton Notes

Heaven and Earth

01 ते हि - जगती

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ते᳓ हि᳓ द्या᳓वापृथिवी᳓ विश्व᳓शम्भुव
ऋता᳓वरी र᳓जसो धारय᳓त्कवी
सुज᳓न्मनी धिष᳓णे अन्त᳓र् ईयते
देवो᳓ देवी᳓ ध᳓र्मणा सू᳓रियः शु᳓चिः

02 उरुव्यचसा महिनी - जगती

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उरुव्य᳓चसा महि᳓नी असश्च᳓ता
पिता᳓ माता᳓ च भु᳓वनानि रक्षतः
सुधृ᳓ष्टमे वपुषि᳓ये न᳓ रो᳓दसी
पिता᳓ य᳓त् सीम् अभि᳓ रूपइ᳓र् अ᳓वासयत्

03 स वह्निः - जगती

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स᳓ व᳓ह्निः पुत्रः᳓ पितरोः᳓+ पवि᳓त्रवान्
पुना᳓ति धी᳓रो भु᳓वनानि माय᳓या
धेनुं᳓ च पृ᳓श्निं वृषभं᳓ सुरे᳓तसं
विश्वा᳓हा शुक्र᳓म् प᳓यो अस्य दुक्षत

04 अयं देवानामपसामपस्तमो - जगती

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अयं᳓ देवा᳓नाम् अप᳓साम् अप᳓स्तमो
यो᳓ जजा᳓न रो᳓दसी विश्व᳓शम्भुवा
वि᳓ यो᳓ ममे᳓ र᳓जसी सुक्रतूय᳓या
अज᳓रेभि स्क᳓म्भनेभिः स᳓म् आनृचे

05 ते नो - जगती

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ते᳓ नो गृणाने᳓ महिनी म᳓हि श्र᳓वः
क्षत्रं᳓ द्यावापृथिवी धासथो बृह᳓त्
ये᳓नाभि᳓ कृष्टी᳓स् तत᳓नाम विश्व᳓हा
पना᳓यियम् ओ᳓जो अस्मे᳓ स᳓म् इन्वतम्