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सायण-भाष्यम्

‘ अस्य वामस्य’ इति द्विपञ्चाशदृचमष्टमं सूक्तं दैर्घतमसम् । अत्रेयमनुक्रमणिका – अस्य द्विपञ्चाशदल्पस्तवं त्वेतत्संशयोत्थापनप्रश्नप्रतिवाक्यान्यत्र प्रायेण ज्ञानमोक्षाक्षरप्रशंसा च पञ्चपादं साकंजानां यद्गायत्रेऽयं स शिङ्क्ते सप्तार्धगर्भा गौरीरिति जगत्यः । एतदन्तं तु वैश्वदेवं तस्याः समुद्रा इति वाचः समुद्रा आपोऽक्षरं सा प्रस्तारपङ्तिःतव शकमयमिति शकधूम उक्षाणं पृश्निमिति सोमः। त्रयः केशिन इत्यग्निः सूर्यो वायुश्च केशिनश्चत्वारि वाग्वाच इन्द्रं मित्रं सौर्यों द्वादशेति संवत्सरसंस्थं कालचक्रवर्णनं यस्ते सरस्वत्यै यज्ञेन साध्येभ्यः परानुष्टुप् सौरी पर्जन्याग्निदेवता वान्त्या सरस्वते सूर्याय वा ’ इति । अत्र स्तुत्याबहुत्वेन स्तुतिभागस्याल्पीयस्त्वादिदं सूक्तमल्पस्तवनम्। न सूक्तान्तरवत् बहुस्तवम्। इदमेव वैलक्षण्यं तुशब्देन द्योत्यते । अस्मिन् सूक्ते प्रायेण संशयोत्थापनादयो बहवोऽर्थाः प्रतिपाद्यन्ते । ‘अचिकित्वाञ्चिकितुषः’ इत्यनया संशयः उत्थाप्यते । ‘ पृच्छामि त्वा’ इत्यत्र प्रश्नः प्रतीयते । इयं वेदिः’ इत्यत्र प्रतिवचनम्। ‘ य ईं चकार’ इत्यादिना ज्ञानप्रशंसा प्रतिपाद्यते । ‘ अपश्यं गोपाम् ’ इत्यादिना ब्रह्मसाक्षात्काररूपस्य प्रशंसा । न क्षरति इत्यक्षरं ब्रह्म। ‘ द्वा सुपर्णा ’ इत्यादिना तस्य प्रशंसा । ‘ पञ्चपादं पितरं ‘, ‘साकंजानां सप्तथं ‘, ’ यद्गायत्रे अधि’, ‘अयं स शिङ्क्ते’, ’ सप्तार्धगर्भाः’, ‘ गौरीर्मियाय ’ इति षड्जगत्यः । समानमेतत्’ इत्यनुष्टुप् । तस्याः समुद्राः’ इति प्रस्तारपङ्क्तिः । तल्लक्षणं छन्दोग्रन्थे सूत्रितं - ‘ प्रस्तारपङ्क्तिः पुरतः ’ ( पि. ३. ४. १ ) इति । पुरतः पूर्वार्धे द्वादशाक्षरौ जागतौ पादौ ततो द्वावष्टाक्षरौ गायत्रौ सा प्रस्तारपङक्तिः इति सूत्रार्थः । अनुक्रमण्यामप्युक्तम्- आद्यौ चेत्प्रस्तारपङ्क्तिः ’ (अनु. ८. ६) इति । शिष्टा अनादेशपरिभाषया त्रिष्टुभः । ‘गौरीर्मिमाय’ इत्येतदन्तानां विश्वे देवा देवता । तस्याः समुद्राः’ इत्यस्याः पूर्वार्धस्य वाग्देवता । उत्तरार्धस्य आपः। ‘ शकमयम् ’ इत्यस्याः पूर्वार्धस्य शकधूमः । “उक्षाणं पृश्निम् । इत्युत्तरार्धस्य सोमो देवता । त्रयः केशिनः’ इत्यस्या अग्निसूर्यवायवः । चत्वारि वाक्’ इत्येषा वाग्देवताका । ‘इन्द्रं मित्रं वरुणं’, ‘कृष्णं नियानम्’ इत्येते सूर्यदेवत्ये। द्वादश प्रधयः इत्यस्याः संवत्सरात्मा कालो देवता । यस्ते स्तनः’ इत्यस्याः सरस्वती । यज्ञेन’ इत्यस्याः साध्या देवता । ‘ समानमेतत्’ इत्यस्याः सूर्यः पर्जन्यो वाग्नयो वा देवता । ‘दिव्यं सुपर्णम्’ इत्यस्याः सरस्वान् सूर्यो वा देवता । कृत्स्नसूक्तस्य विनियोगं शौनक आह — स्तेयं कृत्वा द्विजो मोहात् त्रिरात्रोपोषितः शुचिः । सूक्तं जप्त्वास्यवामीयं क्षिप्रं मुच्येत किल्बिषात्’ (ऋग्वि. १. १४४) इति ॥ महाव्रते वैश्वदेवशस्त्रे वैश्वदेवं निविद्धानं द्विप्रतीकम् । तत्र ‘अस्य वामस्य ’ इत्यादिकमेकचत्वारिंशदृचं प्रथमं प्रतीकम् । पञ्चमारण्यके सूत्रितम् - अस्य वामस्य पलितस्य होतुरिति सलिलस्य दैर्घतमस एकचत्वारिंशतम् .(ऐ. आ. ५. ३. २) इति ॥

Jamison Brereton

164
All Gods (Riddle Hymn)
Dīrghatamas Aucathya
52 verses: triṣṭubh, except jagatī 12, 15, 23, 29, 36, 41; prastārapaṅkti 42; anuṣṭubh 51
The Anukramaṇī assigns this hymn to a variety of gods: All the Gods (1–41), Speech (42a, 45), the Waters (42b), Dung-smoke (43a), Soma (43b), Agni, Sūrya, Vāyu (44), Sūrya (46, 47), the Wheel of the Seasons (48), Sarasvatī (49), the Sādhyas (50), Sūrya or Parjanya or Agni (51), Sarasvant or Sūrya (52). Such diversity creates the impression that this hymn is a fairly loose assemblage, although its thematic and structural programs indicate that the hymn, or the bulk of it, constitutes a coherent composition. Among the more recent and significant studies of the hymn are those of Brown (1968) and Houben (2000), which also discuss older interpretations and upon which we have drawn extensively and gratefully.
The hymn has continued to attract scholarly attention in part because it has continued to escape satisfying interpretation. One reason is that the hymn was com posed to be enigmatic, to be never fully decipherable. But even if we will never be able to solve all its puzzles, we can appreciate how it functions as an enigma and perhaps why. Since the hymn makes both implicit and explicit reference to Vedic rit ual, including rites other than the soma ritual, one way into the hymn is through its connections to ritual. Even though the later ritual application of R̥gvedic hymns is not always a reliable guide to their original ritual contexts, it offers a place to start. According to Aitareya Āraṇyaka V.3.2, verses 1–41 are part of the Vaiśvadevaśastra, a recitation at the midday offerings of the Mahāvrata ceremony, and Śāṅkhāyana Āraṇyaka II.18 places the whole of the hymn in the Mahāvrata rite. This Mahāvrata rite is a variation of the Agniṣṭoma soma ritual that was performed on the next to last day of the year-long Gavāmayana rite. It may well be that the application of the hymn in the Mahāvrata rite is secondary (Houben 2000: 502), since there is no explicit reference to the Mahāvrata in the hymn and, for such a long hymn, little even to the soma sacrifice more generally. But there is a thematic connection between this hymn and the Mahāvrata. According to Kauṣītakī Brāhmaṇa XIX.3, the Mahāvrata fell on the winter solstice. Whatever else I.164 may be about, much of it concerns the sun in one way or another (e.g., vss. 2, 7, 8, 10, 11, 14, 25, 33, 44, 46, 48). The winter solstice, when the sun has halted its southward movement and is about to turn northward, would be a natural time to consider the sun and its appearance and therefore may provide the seasonal context for the hymn.
A second ritual context for the hymn is the Pravargya rite, which is an offering of heated milk and ghee to the Aśvins. In the classical Agniṣṭoma soma ritual, the Pravargya was performed twice daily on the three days leading up the soma-pressing day; originally, however, it may have been a rite independent of the soma ritual. The śrautasūtras (cf. van Buitenen 1968: 93, 96–98) prescribe the recitation of verses 26–28, 31 (=X.177.3), and 49 in the Pravargya, and at least verses 26–29 refer

directly to the Pravargya rite. Thus, as Houben (2000) has demonstrated, significant parts of this hymn are concerned with the Pravargya.
These two rituals, the Mahāvrata and the Pravargya, have one thing in com mon: they are the principal subjects of Āraṇyaka texts. The Āraṇyakas or “for est” books are later Vedic works that explored rituals and the interpretations of rituals thought to be too dangerous to be taught within the village. The R̥gvedic Āraṇyakas concern especially the Mahāvrata rite, and the Yajurvedic Āraṇyakas, the Pravargya. In our view this hymn was not primarily composed for recitation in a particular rite, although to be sure some of its mantras were ritually employed. Rather, this poem is an early example of Āraṇyaka-like interpretation. Its function is to disclose the meaning of the rites, particularly the Mahāvrata and Pravargya rites. It might seem odd that a R̥gvedic hymn could anticipate the later Āraṇyaka literature. However, according to the Śāṅkhāyana Gṛhya Sūtra II.11.13, once a stu dent has learned the saṃhitā, his teacher may guide him though the rahasya, the secret teaching, which the sūtra defines as the Āraṇyaka (cf. Oldenberg 1888: 291). Even if, as Oldenberg (293) argues, study of the rahasya meant the recitation of the mantras of the Mahāvrata, not study of the interpretation of the rite, the sūtra still points toward a direct pathway between the R̥gveda and the study that eventually came to constitute the R̥gvedic Āraṇyakas.
Key to grasping the meaning of the ritual is understanding the links between ritual acts and both the cosmos and the person. The complexity of the hymn derives especially from the multiplicity of reference of its verses, which connect ritual, cosmos, and person. Thus, the verses frequently refer simultaneously to the ritual (adhiyajñam) and to the world (adhidevatam), especially to the sun, and sometimes also to the human body or the human being (adhyātmam). There is no unproblematic verse in this hymn, but as an example, consider the possibilities of the first verse. Lines abc of that verse describe three brothers: the gray Hotar, the ravenous middle brother, and the brother with ghee-smeared back. Scholars have offered a variety of identifications for the brothers: the sun, wind, and fire (Sāyaṇa); the Āhavanīya or offering fire, the Dakṣiṇa or southern fire, and the Gārhapatya or household fire (Geldner); the original form of Agni, lightning, and the terres trial Agni (Brown); and the sun, lightning, and the fire heating the Pravargya pot (Houben). It is likely that ancient hearers of the hymn made not one but several of these sets of identifications. In our view the verse has both a ritual (adhiyajñam) and a cosmic (adhidevatam) meaning. On the one hand, the three brothers can be a triad of ritual fires—either the three that Geldner sees or perhaps three phases of the sacrificial fire (gray embers, flaming fire, and fire flaring as it receives ghee). But they can also be a triad of cosmic fires (perhaps the sun, moon, and earthly fire, which correspond to the three ritual fires, or another of the identifications proposed above). In 1d the clanlord and his seven sons refer primarily to the sacrificer and the seven priests (cf. II.1.2). But the sacrificer might also be embodied in the Sun and the seven priests in Agni, or the clanlord might be the Sun and his seven sons, the stars of the constellation of the Seven Seers, Ursa Major. We will never know which of these or what other interpretations the poet intended, but it is likely that the verse operates on several levels that connect ritual and cosmos.
The brief exegetical possibilities we have provided in the translation at best sug gest primary referents, even though other secondary identifications may also be implied. So, for example, verses 2 and 3 move back and forth between adhiyajñam and adhidevatam meanings. The “seven” in 2a appear to be the “seven” of 1d, who are primarily priests (an adhiyajñam interpretation). However, the “single wheel” in 2a suggests the sun (adhidevatam) more than the ritual fire. This interpretation is supported by verse 48, since there the single wheel is the disk of the sun, which is drawn by the “single horse,” Etaśa, the horse that pulls the Sun’s chariot. In verse 3 the poet foregrounds ritual referents: the seven may again be priests, and, as is often the case, the chariot has now become a symbol of the sacrifice itself.
Another characteristic of this hymn, and another reason for its obscurity, is its fre quent use of word play. The poet favors words that are not etymologically or semanti cally related but that sound as if they ought to be. For example, in verse 13d sanā́d “from of old” is echoed by sánābhiḥ “along with its nave” and in 14a sánemi “along
with its felly.” Or again, in 14a ví vāvr̥ta “has turned away” anticipates 14c ā́vr̥tam “covered over.” In verse 5 ajá “unborn” can also mean “goat,” and therefore can sug gest Aja Ekapad, the “One-Footed Goat,” a symbol of the Sun. According to Thieme (1987: 338), the poet even uses an implied homophone in verse 16. The stars of the constellation called “the Kr̥ttikās” are envisioned as women. The word for “women” in pāda a is stríyaḥ from the stem strī́. There is also a closely homophonous mascu line stem stŕ̥ “star,” which does not occur in the verse but which would have been known to its hearers. The poet is saying that although the Kr̥ttikās are strī́ “women,” people call its constituents stŕ̥ “stars,” and therefore they speak of those Kr̥ttikās, even though they are women, as masculine “stars.” As the verse concludes, only a poet who a master of words would understand this, and a poet who does understand
it becomes even greater than his father, who would likely have been his teacher. Thematic continuities and repeated use of similar poetic devices help unify the hymn. The hymn is also unified by its recursive structure created by parallelisms in its beginning and conclusion. For example, the poet speaks of the One (éka) in verse 6 and again toward the end of the hymn, in verse 46. In verse 6 that which is the “One” assumes the form of the Sun. At the other end of the poem, in verse 46, the One reappears and, through speech, takes the form not only of the Sun, but also of Agni, of Mātariśvan (the fire-bringer), and of other deities as well. Verses 7cd and 47 (as well as verse 51) describe the course of the waters upward by means of the rays of the sun and then downward as rain. Verses 2–3 and verse 48 describe the Sun’s chariot and especially its single wheel. The final verses, 49–52, form an independent recursive unit. Verses 49 and 52 concern respectively the femi nine Sarasvatī, the river goddess, and the masculine Sarasvant, who is Agni and the Sun according to 52ab. The linkage of fire and water or sun and rain is a constant throughout the hymn. It is reasserted in the verses fitted between those to Sarasvatī and Sarasvant. Verse 51 describes the cycle of the water to heaven and then back

down to earth and the correspondence between the sacrificial fire that invigorates the gods in heaven and the rain that invigorates the earth. Verse 50, which is quoted from X.90.16, refers to the cycle of the sacrifice, which like the water cycle oper ates between heaven and earth. The sacrifice has its origins in heaven, but it is now performed on earth and directed back toward heaven. Such formal devices help maintain a sense of coherence in a hymn that covers substantial ritual and thematic territory.
We do not propose to discuss the verses of the hymn in detail, but we do want to provide some additional information and to illustrate especially the movement in this hymn between different levels of meaning. Verse 8 refers to the story of Dawn’s incest with her father, who is sometimes the Sun and sometimes Heaven. Depending on which of the two is her father—and either is possible in this verse—Dawn’s child might be the Sun or Agni, the ritual fire. Verse 14 describes the movement of the Sun, but here it is its movement at night, when its bright side is turned away from earth and it moves from the west to the east. Verse 15 continues the description of the night (cf. Thieme 1987). The seven who are born at the same time might be the seven stars of the constellation of the Seven Seers. Of these stars six are paired (15b) and one is single (η Ursae Majoris).
In verses 20–22 is the famous riddle of the tree that has continued to remain a puzzle. The two birds have been interpreted as the waxing and waning moon (Thieme 1949: 55–73) the moon and the sun (Kuiper 1970: 127–28), the sun and the gharma pot (Houben 2000: 520–22), and two seekers of knowledge (Geldner). Whatever the birds may be, the verse ultimately concerns the acquisition of knowl
edge or inspiration, the “sweet fig” (vs. 22) at the top of the tree. Given the enig matic character of this hymn, it is not surprising that this knowledge remains out of reach. Following the riddle of the two birds are three verses (23–25) that present the development of ritual speech that perhaps embodies the knowledge represented in the “sweet fig.” According to verse 23 gāyatrī, triṣṭubh, and jagatī lines are extracted from hymns composed in the gāyatrī, triṣṭubh, and jagatī meters. That is to say, the shorter constituent, the poetic line, is drawn from the larger, the whole poem. But then verse 24 begins with the gāyatrī line, which is the basis for the “chant” (arká), the hymn that is sung, and the chant is the basis of the “melody” (sā́man) on which many verses may be sung. If so, then this verse begins with the shortest constituent, the line, from which develop the longer songs and chants. Similarly, the triṣṭubh line is the basis for longer recitations, śastras in the later tradition. The reason that the verse divides the chant and the recitation between the gāyatrī and triṣṭubh lines is that the eight-syllable gāyatrī line could be used as the basis for chants in the R̥gvedic tradition, while the eleven-syllable triṣṭubh line was used in recitations. Thus in lines ab, reversing verse 23, the shorter (the chanted or recited line) is the basis for the longer (the chant or recitation). This order is continued in c, which moves from individual lines to the complete recitation. In d the shortest con stituent of all, the syllable, is the basis for the largest constituent, everything that is chanted or recited by the seven priests. This movement from long (the composed hymn) to short (the poetic line) to long (chants and recitations), and finally from shortest (the syllable) to longest (everything chanted or recited) knits together the entirety of ritual speech and ultimately concentrates it in the syllable. As such, these two verses anticipate verse 46, in which the “One” is the basis for many names. Verse 25 also presents the smallest constituent as the basis for the larger. According to it the gāyatrī stanza is the foundation for the longer jagatī stanza and the rathantara chant. The gāyatrī verse is the basis of the jagatī, because the jagatī verse has twice the number of syllables as a gāyatrī (48 and 24 respectively). It is the basis of the rathantara chant because the rathantara melody is set to VII.32.22–23, verses in br̥hatī and satobr̥hatī meters. Verses in these two meters are combinations of jagatī
and gāyatrī lines. The gāyatrī is thus the foundation of both the jagatī and rathan tara and as such surpasses both of them.
The theme of inspired Speech (Vāc) is taken up again in verses 36–42. It is intro duced in verses 36 and 37, in which the poet shifts attention to ancient ŕ̥ṣis “seers,” whose “insights” and “thought” are brought into the present by poet. However, the poet does not understand his own inspiration (vs. 37), which is finally a gift of the gods or, more specifically, a gift of Agni. According to verses 39–42, this inspired Speech descends to the human realm like water in order to sustain life on earth. While the emphasis in these verses is on Speech as a cosmic principle and human possession, a specific ritual reference is also not far away. As Geldner observes, verse 40 accompanies I.164.26–27 in Atharvaveda Śaunaka 7.73, a hymn to the gharma drink of the Pravargya rite.
In verses 26–29 the hymn focuses on the Pravargya rite. Verse 26 begins with the cow, whose milk will be the offering, and then describes the heating of the gharma pot, into which milk will be poured. In 27a the gharma pot makes a sound hiṅ as it is heated, and because it contains milk, the pot now becomes the cow. Her calf is probably Agni, an identification supported by 28ab, which can describe a pot placed on the fire. In verse 29 the meaning of the cow has shifted again, and she is now the milk “enclosed” within the gharma pot. When milk is poured into the heated pot, a pillar of flame erupts in what is the most dramatic visual moment in the entire soma rite as now performed. In 29cd the milk or the cow thus becomes lightning, exploding upward from the pot. Although the reference to the Pravargya rite is less obvious in verse 30, the verse may refer to the boiling ghee in the gharma pot to which the milk is added (Houben 2000: 510) and therefore to an earlier stage of the ritual than does verse 29. Houben’s interpretation of verse 30 is partly based on the observation that verse 31 is the mantra prescribed by the śrautasūtras for the rite of heating and gazing at the gharma pot, which also belongs to an earlier stage of the ritual. Houben may be correct in seeing a reference to the Pravargya rite, but both verses 30 and 31 are also open to additional interpretations. For example, the “herdsman” in 31a could be the breath (cf. Geldner; also Houben 2000: 508–9) or the Sun (Sāyaṇa) or both.
Similarly, Houben (2000: 523) also explains verse 43 as reflecting the Pravargya rite. He understands the “dung-smoke” to be smoke from the fire fueled by horse354 I.164
dung that is used to fumigate the gharma pot. The “dappled bullock” could then be the mixture of milk and ghee that is heated in the gharma pot. But again, this verse can be more than a description of the Pravargya. The “first foundations” (pāda d) should refer not just to the beginning of a particular ritual performance, but to the institution of the sacrifice (cf. X.90), and therefore point to an addi
tional interpretation that locates the form and origin of the sacrifice in the cosmos. The “midpoint” (viṣūvánt) can refer to the Viṣūvant day (as in I.84.10), the sum mer solstice, which is the ritual midpoint of a year-long sattra ceremony. This sug gests that the fire beyond the earthly fire is the sun, perhaps wrapped in cloud, the “dung-smoke,” since the solstice should occur around the beginning of the rainy season. The sun can also be the “bullock,” which is “dappled” because of clouds or sunspots. The “heroes” can be priests, but they may also be gods, who are gathered around the sun. All these ritual and macrocosmic interpretations are not exclusive since, according to the Āraṇyakas and Brāhmaṇas, the heated gharma pot can rep resent the sun (e.g., KauB VIII.3, TĀ V.8–9).
In verse 33 the Sun is the likely speaker, although Geldner’s idea that the speaker is the Wind and Breath would maintain the dual reference to cosmos and person. The imagery of these verses appears again in verse 38, in which the subject of lines ab may be the breath (Geldner) or the Sun. The image of the birth of an embryo in verse 33 leads to verses 34–35, which speak of “the navel of the living world” and the “seed” or semen of the horse. These two verses form a brahmodya, a ritual exchange of question and answer, in the Horse Sacrifice (ĀśvŚS X.1–3, ŚāṅkhŚS XVI.6.5–6). The verses are appropriate to the Horse Sacrifice and may have been adopted into this hymn from that sacrifice. Here the verses continue the reference to heaven and earth and to the sacrifice, which becomes the image of the world.

01 अस्य वामस्य - त्रिष्टुप्

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अ॒स्य वा॒मस्य॑ पलि॒तस्य॒ होतु॒स्तस्य॒ भ्राता॑ मध्य॒मो अ॒स्त्यश्नः॑ ।
तृ॒तीयो॒ भ्राता॑ घृ॒तपृ॑ष्ठो अ॒स्यात्रा॑पश्यं वि॒श्पतिं॑ स॒प्तपु॑त्रम् ॥

02 सप्त युञ्जन्ति - त्रिष्टुप्

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स॒प्त यु॑ञ्जन्ति॒ रथ॒मेक॑चक्र॒मेको॒ अश्वो॑ वहति स॒प्तना॑मा ।
त्रि॒नाभि॑ च॒क्रम॒जर॑मन॒र्वं यत्रे॒मा विश्वा॒ भुव॒नाधि॑ त॒स्थुः ॥

03 इमं रथमधि - त्रिष्टुप्

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इ॒मं रथ॒मधि॒ ये स॒प्त त॒स्थुः स॒प्तच॑क्रं स॒प्त व॑ह॒न्त्यश्वाः॑ ।
स॒प्त स्वसा॑रो अ॒भि सं न॑वन्ते॒ यत्र॒ गवां॒ निहि॑ता स॒प्त नाम॑ ॥

04 को ददर्श - त्रिष्टुप्

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को द॑दर्श प्रथ॒मं जाय॑मानमस्थ॒न्वन्तं॒ यद॑न॒स्था बिभ॑र्ति ।
भूम्या॒ असु॒रसृ॑गा॒त्मा क्व॑ स्वि॒त्को वि॒द्वांस॒मुप॑ गा॒त्प्रष्टु॑मे॒तत् ॥

05 पाकः पृच्छामि - त्रिष्टुप्

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पाकः॑ पृच्छामि॒ मन॒सावि॑जानन्दे॒वाना॑मे॒ना निहि॑ता प॒दानि॑ ।
व॒त्से ब॒ष्कयेऽधि॑ स॒प्त तन्तू॒न्वि त॑त्निरे क॒वय॒ ओत॒वा उ॑ ॥

06 अचिकित्वाञ्चिकितुषश्चिदत्र कवीन्पृच्छामि - त्रिष्टुप्

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अचि॑कित्वाञ्चिकि॒तुष॑श्चि॒दत्र॑ क॒वीन्पृ॑च्छामि वि॒द्मने॒ न वि॒द्वान् ।
वि यस्त॒स्तम्भ॒ षळि॒मा रजां॑स्य॒जस्य॑ रू॒पे किमपि॑ स्वि॒देक॑म् ॥

07 इह ब्रवीतु - त्रिष्टुप्

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इ॒ह ब्र॑वीतु॒ य ई॑म॒ङ्ग वेदा॒स्य वा॒मस्य॒ निहि॑तं प॒दं वेः ।
शी॒र्ष्णः क्षी॒रं दु॑ह्रते॒ गावो॑ अस्य व॒व्रिं वसा॑ना उद॒कं प॒दापुः॑ ॥

08 माता पितरमृत - त्रिष्टुप्

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मा॒ता पि॒तर॑मृ॒त आ ब॑भाज धी॒त्यग्रे॒ मन॑सा॒ सं हि ज॒ग्मे ।
सा बी॑भ॒त्सुर्गर्भ॑रसा॒ निवि॑द्धा॒ नम॑स्वन्त॒ इदु॑पवा॒कमी॑युः ॥

09 युक्ता मातासीद्धुरि - त्रिष्टुप्

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यु॒क्ता मा॒तासी॑द्धु॒रि दक्षि॑णाया॒ अति॑ष्ठ॒द्गर्भो॑ वृज॒नीष्व॒न्तः ।
अमी॑मेद्व॒त्सो अनु॒ गाम॑पश्यद्विश्वरू॒प्यं॑ त्रि॒षु योज॑नेषु ॥

10 तिस्रो मातछर्’थ६श्स्त्रीन्पितछर्’थ६श्न्बिभ्रदेक - त्रिष्टुप्

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ति॒स्रो मा॒तॄस्त्रीन्पि॒तॄन्बिभ्र॒देक॑ ऊ॒र्ध्वस्त॑स्थौ॒ नेमव॑ ग्लापयन्ति ।
म॒न्त्रय॑न्ते दि॒वो अ॒मुष्य॑ पृ॒ष्ठे वि॑श्व॒विदं॒ वाच॒मवि॑श्वमिन्वाम् ॥

11 द्वादशारं नहि - त्रिष्टुप्

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द्वाद॑शारं न॒हि तज्जरा॑य॒ वर्व॑र्ति च॒क्रं परि॒ द्यामृ॒तस्य॑ ।
आ पु॒त्रा अ॑ग्ने मिथु॒नासो॒ अत्र॑ स॒प्त श॒तानि॑ विंश॒तिश्च॑ तस्थुः ॥

12 पञ्चपादं पितरम् - जगती

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पञ्च॑पादं पि॒तरं॒ द्वाद॑शाकृतिं दि॒व आ॑हुः॒ परे॒ अर्धे॑ पुरी॒षिण॑म् ।
अथे॒मे अ॒न्य उप॑रे विचक्ष॒णं स॒प्तच॑क्रे॒ षळ॑र आहु॒रर्पि॑तम् ॥

13 पञ्चारे चक्रे - त्रिष्टुप्

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पञ्चा॑रे च॒क्रे प॑रि॒वर्त॑माने॒ तस्मि॒न्ना त॑स्थु॒र्भुव॑नानि॒ विश्वा॑ ।
तस्य॒ नाक्ष॑स्तप्यते॒ भूरि॑भारः स॒नादे॒व न शी॑र्यते॒ सना॑भिः ॥

14 सनेमि चक्रमजरम् - त्रिष्टुप्

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सने॑मि च॒क्रम॒जरं॒ वि वा॑वृत उत्ता॒नायां॒ दश॑ यु॒क्ता व॑हन्ति ।
सूर्य॑स्य॒ चक्षू॒ रज॑सै॒त्यावृ॑तं॒ तस्मि॒न्नार्पि॑ता॒ भुव॑नानि॒ विश्वा॑ ॥

15 साकञ्जानां सप्तथमाहुरेकजम् - जगती

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सा॒कं॒जानां॑ स॒प्तथ॑माहुरेक॒जं षळिद्य॒मा ऋष॑यो देव॒जा इति॑ ।
तेषा॑मि॒ष्टानि॒ विहि॑तानि धाम॒शः स्था॒त्रे रे॑जन्ते॒ विकृ॑तानि रूप॒शः ॥

16 स्त्रियः सतीस्ताँ - त्रिष्टुप्

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स्त्रियः॑ स॒तीस्ताँ उ॑ मे पुं॒स आ॑हुः॒ पश्य॑दक्ष॒ण्वान्न वि चे॑तद॒न्धः ।
क॒विर्यः पु॒त्रः स ई॒मा चि॑केत॒ यस्ता वि॑जा॒नात्स पि॒तुष्पि॒तास॑त् ॥

17 अवः परेण - त्रिष्टुप्

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अ॒वः परे॑ण प॒र ए॒नाव॑रेण प॒दा व॒त्सं बिभ्र॑ती॒ गौरुद॑स्थात् ।
सा क॒द्रीची॒ कं स्वि॒दर्धं॒ परा॑गा॒त्क्व॑ स्वित्सूते न॒हि यू॒थे अ॒न्तः ॥

18 अवः परेण - त्रिष्टुप्

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अ॒वः परे॑ण पि॒तरं॒ यो अ॑स्यानु॒वेद॑ प॒र ए॒नाव॑रेण ।
क॒वी॒यमा॑नः॒ क इ॒ह प्र वो॑चद्दे॒वं मनः॒ कुतो॒ अधि॒ प्रजा॑तम् ॥

19 ये अर्वाञ्चस्ताँ - त्रिष्टुप्

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ये अ॒र्वाञ्च॒स्ताँ उ॒ परा॑च आहु॒र्ये परा॑ञ्च॒स्ताँ उ॑ अ॒र्वाच॑ आहुः ।
इन्द्र॑श्च॒ या च॒क्रथुः॑ सोम॒ तानि॑ धु॒रा न यु॒क्ता रज॑सो वहन्ति ॥

20 द्वा सुपर्णा - त्रिष्टुप्

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द्वा सु॑प॒र्णा स॒युजा॒ सखा॑या समा॒नं वृ॒क्षं परि॑ षस्वजाते ।
तयो॑र॒न्यः पिप्प॑लं स्वा॒द्वत्त्यन॑श्नन्न॒न्यो अ॒भि चा॑कशीति ॥

21 यत्रा सुपर्णा - त्रिष्टुप्

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यत्रा॑ सुप॒र्णा अ॒मृत॑स्य भा॒गमनि॑मेषं वि॒दथा॑भि॒स्वर॑न्ति ।
इ॒नो विश्व॑स्य॒ भुव॑नस्य गो॒पाः स मा॒ धीरः॒ पाक॒मत्रा वि॑वेश ॥

22 यस्मिन्वृक्षे मध्वदः - त्रिष्टुप्

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यस्मि॑न्वृ॒क्षे म॒ध्वदः॑ सुप॒र्णा नि॑वि॒शन्ते॒ सुव॑ते॒ चाधि॒ विश्वे॑ ।
तस्येदा॑हुः॒ पिप्प॑लं स्वा॒द्वग्रे॒ तन्नोन्न॑श॒द्यः पि॒तरं॒ न वेद॑ ॥

23 यद्गायत्रे अधि - जगती

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यद्गा॑य॒त्रे अधि॑ गाय॒त्रमाहि॑तं॒ त्रैष्टु॑भाद्वा॒ त्रैष्टु॑भं नि॒रत॑क्षत ।
यद्वा॒ जग॒ज्जग॒त्याहि॑तं प॒दं य इत्तद्वि॒दुस्ते अ॑मृत॒त्वमा॑नशुः ॥

24 गायत्रेण प्रति - त्रिष्टुप्

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गा॒य॒त्रेण॒ प्रति॑ मिमीते अ॒र्कम॒र्केण॒ साम॒ त्रैष्टु॑भेन वा॒कम् ।
वा॒केन॑ वा॒कं द्वि॒पदा॒ चतु॑ष्पदा॒क्षरे॑ण मिमते स॒प्त वाणीः॑ ॥

25 जगता सिन्धुम् - त्रिष्टुप्

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जग॑ता॒ सिन्धुं॑ दि॒व्य॑स्तभायद्रथन्त॒रे सूर्यं॒ पर्य॑पश्यत् ।
गा॒य॒त्रस्य॑ स॒मिध॑स्ति॒स्र आ॑हु॒स्ततो॑ म॒ह्ना प्र रि॑रिचे महि॒त्वा ॥

26 उप ह्वये - त्रिष्टुप्

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उप॑ ह्वये सु॒दुघां॑ धे॒नुमे॒तां सु॒हस्तो॑ गो॒धुगु॒त दो॑हदेनाम् ।
श्रेष्ठं॑ स॒वं स॑वि॒ता सा॑विषन्नो॒ऽभी॑द्धो घ॒र्मस्तदु॒ षु प्र वो॑चम् ॥

27 हिङ्कृण्वती वसुपत्नी - त्रिष्टुप्

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हि॒ङ्कृ॒ण्व॒ती व॑सु॒पत्नी॒ वसू॑नां व॒त्समि॒च्छन्ती॒ मन॑सा॒भ्यागा॑त् ।
दु॒हाम॒श्विभ्यां॒ पयो॑ अ॒घ्न्येयं सा व॑र्धतां मह॒ते सौभ॑गाय ॥

28 गौरमीमेदनु वत्सम् - त्रिष्टुप्

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गौर॑मीमे॒दनु॑ व॒त्सं मि॒षन्तं॑ मू॒र्धानं॒ हिङ्ङ॑कृणो॒न्मात॒वा उ॑ ।
सृक्वा॑णं घ॒र्मम॒भि वा॑वशा॒ना मिमा॑ति मा॒युं पय॑ते॒ पयो॑भिः ॥

29 अयं स - जगती

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अ॒यं स शि॑ङ्क्ते॒ येन॒ गौर॒भीवृ॑ता॒ मिमा॑ति मा॒युं ध्व॒सना॒वधि॑ श्रि॒ता ।
सा चि॒त्तिभि॒र्नि हि च॒कार॒ मर्त्यं॑ वि॒द्युद्भव॑न्ती॒ प्रति॑ व॒व्रिमौ॑हत ॥

30 अनच्छये तुरगातु - त्रिष्टुप्

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अ॒नच्छ॑ये तु॒रगा॑तु जी॒वमेज॑द्ध्रु॒वं मध्य॒ आ प॒स्त्या॑नाम् ।
जी॒वो मृ॒तस्य॑ चरति स्व॒धाभि॒रम॑र्त्यो॒ मर्त्ये॑ना॒ सयो॑निः ॥

31 अपश्यं गोपामनिपद्यमानमा - त्रिष्टुप्

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अप॑श्यं गो॒पामनि॑पद्यमान॒मा च॒ परा॑ च प॒थिभि॒श्चर॑न्तम् ।
स स॒ध्रीचीः॒ स विषू॑ची॒र्वसा॑न॒ आ व॑रीवर्ति॒ भुव॑नेष्व॒न्तः ॥

32 य ईम् - त्रिष्टुप्

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य ईं॑ च॒कार॒ न सो अ॒स्य वे॑द॒ य ईं॑ द॒दर्श॒ हिरु॒गिन्नु तस्मा॑त् ।
स मा॒तुर्योना॒ परि॑वीतो अ॒न्तर्ब॑हुप्र॒जा निरृ॑ति॒मा वि॑वेश ॥

33 द्यौर्मे पिता - त्रिष्टुप्

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द्यौर्मे॑ पि॒ता ज॑नि॒ता नाभि॒रत्र॒ बन्धु॑र्मे मा॒ता पृ॑थि॒वी म॒हीयम् ।
उ॒त्ता॒नयो॑श्च॒म्वो॒३॒॑र्योनि॑र॒न्तरत्रा॑ पि॒ता दु॑हि॒तुर्गर्भ॒माधा॑त् ॥

34 पृच्छामि त्वा - त्रिष्टुप्

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पृ॒च्छामि॑ त्वा॒ पर॒मन्तं॑ पृथि॒व्याः पृ॒च्छामि॒ यत्र॒ भुव॑नस्य॒ नाभिः॑ ।
पृ॒च्छामि॑ त्वा॒ वृष्णो॒ अश्व॑स्य॒ रेतः॑ पृ॒च्छामि॑ वा॒चः प॑र॒मं व्यो॑म ॥

35 इयं वेदिः - त्रिष्टुप्

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इ॒यं वेदिः॒ परो॒ अन्तः॑ पृथि॒व्या अ॒यं य॒ज्ञो भुव॑नस्य॒ नाभिः॑ ।
अ॒यं सोमो॒ वृष्णो॒ अश्व॑स्य॒ रेतो॑ ब्र॒ह्मायं वा॒चः प॑र॒मं व्यो॑म ॥

36 सप्तार्धगर्भा भुवनस्य - जगती

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स॒प्तार्ध॑ग॒र्भा भुव॑नस्य॒ रेतो॒ विष्णो॑स्तिष्ठन्ति प्र॒दिशा॒ विध॑र्मणि ।
ते धी॒तिभि॒र्मन॑सा॒ ते वि॑प॒श्चितः॑ परि॒भुवः॒ परि॑ भवन्ति वि॒श्वतः॑ ॥

37 न वि - त्रिष्टुप्

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न वि जा॑नामि॒ यदि॑वे॒दमस्मि॑ नि॒ण्यः सन्न॑द्धो॒ मन॑सा चरामि ।
य॒दा माग॑न्प्रथम॒जा ऋ॒तस्यादिद्वा॒चो अ॑श्नुवे भा॒गम॒स्याः ॥

38 अपाङ्प्राङेति स्वधया - त्रिष्टुप्

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अपा॒ङ्प्राङे॑ति स्व॒धया॑ गृभी॒तोऽम॑र्त्यो॒ मर्त्ये॑ना॒ सयो॑निः ।
ता शश्व॑न्ता विषू॒चीना॑ वि॒यन्ता॒ न्य१॒॑न्यं चि॒क्युर्न नि चि॑क्युर॒न्यम् ॥

39 ऋचो अक्षरे - त्रिष्टुप्

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ऋ॒चो अ॒क्षरे॑ पर॒मे व्यो॑म॒न्॒
यस्मि॑न्दे॒वा अधि॒ विश्वे॑ निषे॒दुः।
यस्तन्न वेद॒ किमृ॒चा क॑रिष्यति॒
य इत्तद्वि॒दुस् त इ॒मे समा॑सते॥

40 सूयवसाद्भगवती हि - त्रिष्टुप्

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सू॒य॒व॒साद्भग॑वती॒ हि भू॒या अथो॑ व॒यं भग॑वन्तः स्याम ।
अ॒द्धि तृण॑मघ्न्ये विश्व॒दानीं॒ पिब॑ शु॒द्धमु॑द॒कमा॒चर॑न्ती ॥

41 गौरीर्मिमाय सलिलानि - जगती

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गौ॒रीर्मि॑माय सलि॒लानि॒ तक्ष॒त्येक॑पदी द्वि॒पदी॒ सा चतु॑ष्पदी ।
अ॒ष्टाप॑दी॒ नव॑पदी बभू॒वुषी॑ स॒हस्रा॑क्षरा पर॒मे व्यो॑मन् ॥

42 तस्याः समुद्रा - प्रस्तारपङ्क्तिः

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तस्याः॑ समु॒द्रा अधि॒ वि क्ष॑रन्ति॒ तेन॑ जीवन्ति प्र॒दिश॒श्चत॑स्रः ।
ततः॑ क्षरत्य॒क्षरं॒ तद्विश्व॒मुप॑ जीवति ॥

43 शकमयं धूममारादपश्यम् - त्रिष्टुप्

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श॒क॒मयं॑ धू॒ममा॒राद॑पश्यं विषू॒वता॑ प॒र ए॒नाव॑रेण ।
उ॒क्षाणं॒ पृश्नि॑मपचन्त वी॒रास्तानि॒ धर्मा॑णि प्रथ॒मान्या॑सन् ॥

44 त्रयः केशिन - त्रिष्टुप्

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त्रयः॑ के॒शिन॑ ऋतु॒था वि च॑क्षते संवत्स॒रे व॑पत॒ एक॑ एषाम् ।
विश्व॒मेको॑ अ॒भि च॑ष्टे॒ शची॑भि॒र्ध्राजि॒रेक॑स्य ददृशे॒ न रू॒पम् ॥

45 चत्वारि वाक्परिमिता - त्रिष्टुप्

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च॒त्वारि॒ वाक्परि॑मिता प॒दानि॒ तानि॑ विदुर्ब्राह्म॒णा ये म॑नी॒षिणः॑ ।
गुहा॒ त्रीणि॒ निहि॑ता॒ नेङ्ग॑यन्ति तु॒रीयं॑ वा॒चो म॑नु॒ष्या॑ वदन्ति ॥

46 इन्द्रं मित्रम् - त्रिष्टुप्

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इन्द्रं॑ मि॒त्रं वरु॑णम॒ग्निमा॑हु॒रथो॑ दि॒व्यः स सु॑प॒र्णो ग॒रुत्मा॑न् ।
एकं॒ सद्विप्रा॑ बहु॒धा व॑दन्त्य॒ग्निं य॒मं मा॑त॒रिश्वा॑नमाहुः ॥

47 कृष्णं नियानम् - त्रिष्टुप्

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कृ॒ष्णं नि॒यानं॒ हर॑यः सुप॒र्णा अ॒पो वसा॑ना॒ दिव॒मुत्प॑तन्ति ।
त आव॑वृत्र॒न्त्सद॑नादृ॒तस्यादिद्घृ॒तेन॑ पृथि॒वी व्यु॑द्यते ॥

48 द्वादश प्रधयश्चक्रमेकम् - त्रिष्टुप्

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द्वाद॑श प्र॒धय॑श्च॒क्रमेकं॒ त्रीणि॒ नभ्या॑नि॒ क उ॒ तच्चि॑केत ।
तस्मि॑न्त्सा॒कं त्रि॑श॒ता न श॒ङ्कवो॑ऽर्पि॒ताः ष॒ष्टिर्न च॑लाच॒लासः॑ ॥

49 यस्ते स्तनः - त्रिष्टुप्

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यस्ते॒ स्तनः॑ शश॒यो यो म॑यो॒भूर्येन॒ विश्वा॒ पुष्य॑सि॒ वार्या॑णि ।
यो र॑त्न॒धा व॑सु॒विद्यः सु॒दत्रः॒ सर॑स्वति॒ तमि॒ह धात॑वे कः ॥

50 यज्ञेन यज्ञमयजन्त - त्रिष्टुप्

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य॒ज्ञेन॑ य॒ज्ञम॑यजन्त दे॒वास्तानि॒ धर्मा॑णि प्रथ॒मान्या॑सन् ।
ते ह॒ नाकं॑ महि॒मानः॑ सचन्त॒ यत्र॒ पूर्वे॑ सा॒ध्याः सन्ति॑ दे॒वाः ॥

51 समानमेतदुदकमुच्चैत्यव चाहभिः - अनुष्टुप्

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स॒मा॒नमे॒तदु॑द॒कमुच्चैत्यव॒ चाह॑भिः ।
भूमिं॑ प॒र्जन्या॒ जिन्व॑न्ति॒ दिवं॑ जिन्वन्त्य॒ग्नयः॑ ॥

52 दिव्यं सुपर्णम् - त्रिष्टुप्

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दि॒व्यं सु॑प॒र्णं वा॑य॒सं बृ॒हन्त॑म॒पां गर्भं॑ दर्श॒तमोष॑धीनाम् ।
अ॒भी॒प॒तो वृ॒ष्टिभि॑स्त॒र्पय॑न्तं॒ सर॑स्वन्त॒मव॑से जोहवीमि ॥