०१४

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सायण-भाष्यम्

‘ प्रत्यग्निरुषसः’ इति पञ्चर्चं चतुर्थं सूक्तं वामदेवस्यार्षं त्रैष्टुभमाग्नेयं मान्त्रवर्णिकदैवतं वा । तथा चानुक्रान्तं - ’ प्रत्यग्निः’ इति । लिङ्गोकदैवतं तु ’ इति तुशब्दादस्यापि सूक्तस्य लिङ्गोक्तदैवतत्वम् । विनियोगो लैङ्गिकः ॥

Jamison Brereton

14 (310)
Agni
Vāmadeva Gautama
5 verses: triṣṭubh
Like IV.13 this is a dawn hymn, and, as was noted there, it is closely paired with that hymn. The chief divinities are the same, mentioned in more or less the same order: Agni, Dawn, the Aśvins, Savitar, and the Sun; the final verses are identical; and the first two verses are stylistic variants of each other. In verse 1 of both hymns Agni looks toward the Dawns, and the Aśvins [/Nāsatyas] are urged to come to the sacrifice; in verse 2 Savitar braces his beacon, and the Sun rises.
The other two verses (3–4) deviate somewhat. In IV.13 these were devoted to the Sun, conveyed by seven mares, confronting darkness. Here verse 3 concerns Dawn as the horse conveying the Sun: the equine theme of IV.13.3 is thus matched, but with a different focus. In both hymns verse 4 also concerns driving, with horses that are “the best conveyors” (váhiṣṭha), but in IV.13 it is the Sun who is being conveyed, whereas in IV.14 it is the two Aśvins (unnamed).
These paired hymns give us valuable insight into the R̥gvedic poets’ composi tional techniques, showing how the poets could produce variety even from a tem plate of fairly specific themes (here vss. 1–2), and where the template allowed more freedom in developing those themes (here vss. 3–4).

Jamison Brereton Notes

Agni or various divinities

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Jamison Brereton Notes

As is generally recognized, these two hymns form a pair, and though nominally dedicated to Agni, they are really dawn hymns, with mention of the various divinities appropriate to the dawn sacrifice: Agni, Uṣas, Aśvins, Savitar, Sūrya. The patterning between the hymns gives us one of our rare opportunities to observe how Rigvedic variation-on-a-theme worked in practice, similar to the first few pairs of Vālakhilya hymns.. See the brief remarks in Bloomfield, Rig-Veda Repetitions, p. 13. For a more detailed account of the parallelisms see published introduction. to IV.14 and comments on individual vss. in 14 below. The hymns are most alike at the beginning and end with the middle a fairly free zone. This pattern is similar to what is found in the paired Vālakhilya hymns. See comm. thereon and esp. on VIII.50.

01 प्रत्यग्निरुषसो जातवेदा - त्रिष्टुप्

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प्र᳓ति अग्नि᳓र् उष᳓सो जात᳓वेदा
अ᳓ख्यद् देवो᳓ रो᳓चमाना म᳓होभिः
आ᳓ नासत्या उरुगाया᳓ र᳓थेन
इमं᳓ यज्ञ᳓म् उ᳓प नो यातम् अ᳓छ

02 ऊर्ध्वं केतुम् - त्रिष्टुप्

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ऊर्ध्वं᳓ केतुं᳓ सविता᳓ देवो᳓ अश्रेज्
ज्यो᳓तिर् वि᳓श्वस्मै भु᳓वनाय कृण्व᳓न्
आ᳓प्रा द्या᳓वापृथिवी᳓ अन्त᳓रिक्षं
वि᳓ सू᳓रियो रश्मि᳓भिश् चे᳓कितानः

03 आवहन्त्यरुणीर्ज्योतिषागान्मही चित्रा - त्रिष्टुप्

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आव᳓हन्ति अरुणी᳓र् ज्यो᳓तिषा᳓गान्
मही᳓ चित्रा᳓ रश्मि᳓भिश् चे᳓किताना
प्रबोध᳓यन्ती सुविता᳓य देवी᳓
उषा᳓ ईयते सुयु᳓जा र᳓थेन

04 आ वाम् - त्रिष्टुप्

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आ᳓ वां व᳓हिष्ठा इह᳓ ते᳓ वहन्तु
र᳓था अ᳓श्वास उष᳓सो वि᳓उष्टौ
इमे᳓ हि᳓ वाम् मधुपे᳓याय सो᳓मा
अस्मि᳓न् यज्ञे᳓ वृषणा मादयेथाम्

05 अनायतो अनिबद्धः - त्रिष्टुप्

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अ᳓नायतो अ᳓निबद्धः कथा᳓यं᳓
नि᳓अङ्ङ् उत्तानो᳓ अ᳓व पद्यते न᳓
क᳓या याति स्वध᳓या को᳓ ददर्श
दिव᳓ स्कम्भः᳓ स᳓मृतः पाति ना᳓कम्