०४५

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सायण-भाष्यम्

‘एष स्य भानुः’ इति सप्तर्चं त्रयोदशं सूक्तम् । आदितः षट् जगत्यः सप्तमी त्रिष्टुप् । मण्डलद्रष्टा वामदेव ऋषिः । अश्विनौ देवता । एष स्य त्रिष्टुबन्तम् ’ इति ह्यनुक्रान्तम् । प्रातरनुवाकाश्विनशस्त्रयोर्जागते छन्दसीदं शस्यम् । तथा च सूत्रितम्- अबोध्यग्निर्ज्म एष स्य भानुः’ ( आश्व. श्रौ. ४. १५) इति ॥

Jamison Brereton

45 (341)
Aśvins
Vāmadeva Gautama
7 verses: jagatī, except triṣṭubh 7
This hymn represents the culmination of the chariot-journey sequence in the three Aśvin hymns of Maṇḍala IV. In IV.43 the poet began by asking who among the gods will listen to his prayers and come to him with aid. Having identified the Aśvins as his target, he briefly describes their chariot and its journey and announces its arrival. In IV.44 the poet once again calls the chariot and the Aśvins to his sacrifice and urges them to avoid the sacrifices of others.
Here in this hymn (IV.45), the Aśvins’ chariot journey is depicted as happening simultaneously with the performance of the sacrifice, and in fact the two realms are to some extent conflated. Their chariot(s) and horses behave in the same way and are described with the same verb (vs. 2ab) as the beam of the kindled ritual fire (vs. 1a), and the Aśvins both come bringing honey and come for the honey offered them. (Honey is a leitmotif throughout the hymn, occurring at least once in each of the first five verses.) The ritual is also depicted in more detail than in the last two hymns: see the actions of the priest in verses 5ab and 7d. Moreover, the exact time at which the journey and the sacrifice are happening, namely dawn, is repeatedly mentioned (vss. 2, 4, 5), and the other light sources associated with the break of day have their place in the hymn: the ritual fires (1a, 5ab) and the sun (vss. 2, 6).
As in the other two Aśvin hymns in this series, Sūryā, the daughter of the Sun, is present not merely in mythological memory but in the present, ritual time—but in this hymn she is not mentioned by name. Instead, an ingenious turn of phrase “three …are on (the chariot) as a pair” in verse 1 must refer to the pairing of the two Aśvins with Sūryā, especially since the word for “pair” mithuná is regularly used for a sexual pairing. Her anonymous appearance in the first verse of the hymn suggests the fertile fruitfulness that the overflowing honey in the rest of the hymn also represents.
The final verse of the hymn formulaically celebrates the Aśvins’ chariot, and this verse sums up not merely this hymn but the triad of Aśvin hymns that it closes.

Jamison Brereton Notes

Aśvins

01 एष स्य - जगती

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ए॒ष स्य भा॒नुरुदि॑यर्ति यु॒ज्यते॒ रथः॒ परि॑ज्मा दि॒वो अ॒स्य सान॑वि ।
पृ॒क्षासो॑ अस्मिन्मिथु॒ना अधि॒ त्रयो॒ दृति॑स्तु॒रीयो॒ मधु॑नो॒ वि र॑प्शते ॥

02 उद्वां पृक्षासो - जगती

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उद्वां॑ पृ॒क्षासो॒ मधु॑मन्त ईरते॒ रथा॒ अश्वा॑स उ॒षसो॒ व्यु॑ष्टिषु ।
अ॒पो॒र्णु॒वन्त॒स्तम॒ आ परी॑वृतं॒ स्व१॒॑र्ण शु॒क्रं त॒न्वन्त॒ आ रजः॑ ॥

03 मध्वः पिबतम् - जगती

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मध्वः॑ पिबतं मधु॒पेभि॑रा॒सभि॑रु॒त प्रि॒यं मधु॑ने युञ्जाथां॒ रथ॑म् ।
आ व॑र्त॒निं मधु॑ना जिन्वथस्प॒थो दृतिं॑ वहेथे॒ मधु॑मन्तमश्विना ॥

04 हंसासो ये - जगती

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हं॒सासो॒ ये वां॒ मधु॑मन्तो अ॒स्रिधो॒ हिर॑ण्यपर्णा उ॒हुव॑ उष॒र्बुधः॑ ।
उ॒द॒प्रुतो॑ म॒न्दिनो॑ मन्दिनि॒स्पृशो॒ मध्वो॒ न मक्षः॒ सव॑नानि गच्छथः ॥

05 स्वध्वरासो मधुमन्तो - जगती

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स्व॒ध्व॒रासो॒ मधु॑मन्तो अ॒ग्नय॑ उ॒स्रा ज॑रन्ते॒ प्रति॒ वस्तो॑र॒श्विना॑ ।
यन्नि॒क्तह॑स्तस्त॒रणि॑र्विचक्ष॒णः सोमं॑ सु॒षाव॒ मधु॑मन्त॒मद्रि॑भिः ॥

06 आकेनिपासो अहभिर्दविध्वतः - जगती

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आ॒के॒नि॒पासो॒ अह॑भि॒र्दवि॑ध्वतः॒ स्व१॒॑र्ण शु॒क्रं त॒न्वन्त॒ आ रजः॑ ।
सूर॑श्चि॒दश्वा॑न्युयुजा॒न ई॑यते॒ विश्वाँ॒ अनु॑ स्व॒धया॑ चेतथस्प॒थः ॥

07 प्र वामवोचमश्विना - त्रिष्टुप्

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प्र वा॑मवोचमश्विना धियं॒धा रथः॒ स्वश्वो॑ अ॒जरो॒ यो अस्ति॑ ।
येन॑ स॒द्यः परि॒ रजां॑सि या॒थो ह॒विष्म॑न्तं त॒रणिं॑ भो॒जमच्छ॑ ॥