०४४

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सायण-भाष्यम्

‘तं प्रत्नथा’ इति पञ्चदशर्चं द्वादशं सूक्तम् ।

अवत्सारो नाम ऋषिः, स च कश्यपगोत्रः।
यासु ऋक्षु सदा-प्रणबाहु-वृक्तादयः श्रुतास् - तासु तेऽपि समुच्चीयन्ते ।

चतुर्दशी-पञ्चदश्यौ त्रिष्टुभौ शिष्टास् त्रिष्टुब्-अन्त-परिभाषया जगत्यः ।

विश्वेदेवा देवता ।

अनुक्रान्तं च —-

> तं प्रत्नथा पञ्चोना काश्यपोऽवत्सारो ऽन्ये च ऋषयोऽत्र दृष्टलिङ्गा
> द्वि-त्रिष्टुबन्तम्'

इति ॥

वाजपेये अतिरिक्तोक्थे आदितस्त्रयोदशर्चः शंसनीयाः । सूत्रितं च—
’तं प्रत्नथेति त्रयोदशानामेको शिष्ट्वाहूय दूरोहणं रोहेत्’ (आश्व. श्रौ. ९. ९) इति ॥

Jamison Brereton

44 (398)
All Gods
Avatsāra Kāśyapa, etc.
15 verses: jagatī, except triṣṭubh 14–15

As noted above, Geldner considers this the hardest hymn in the R̥gveda (“das schwierigste Lied des R̥V”), and a judgment very like this is shared by other scholars (e.g., Oldenberg, who deems most of it “uncertain or hopeless” [“meist fraglich oder hoffnungslos”]). Although in our opinion there are numerous contenders for “hardest hymn” in the R̥gveda (X.106, for example, some of which appears to be written in unbreakable code), this one is certainly near the top of any such list.

The difficulties are found in every aspect of the hymn, beginning with the fact that the divine subject(s) of the various verses of the heart of the hymn are never identified.

Then there are lexical problems: a number of rare words or hapaxes; morphological problems, including unusual inflectional and derivational morphology; syntactic problems such as frequent lack of verbs, unclear referents, unclear syntactic roles, and so on—not to mention a general lack of superficial coherence, both between verses and within verses. For all these reasons, the translation given is provisional in general and in many details.

Nonetheless, it is possible to form a hypothesis about what the hymn is “about,” and this hypothesis allows one to interpret many of the ambiguities within this framework. Our translation reflects this hypothesis, and in a number of places bracketed identifications have been inserted to guide readers—though we have tried to keep these to a minimum, to avoid too much clutter in the poetry itself, which despite its frequent lack of clarity possesses, in our opinion, both power and beauty, and to allow readers to produce their own interpretations of the hymn.

To be brief, the hypothesis with which we operate is that each verse is applicable to both Agni and Soma, the two crucial deified ritual substances, and therefore many of the verbal contortions are the result of attempting to produce phraseology that is meaningful for each god simultaneously.

(This hypothesis is adumbrated by Geldner in his introduction to the hymn, where he suggests that some verses can be read with intentional double reference to Agni and Soma, though he clearly does not consider the whole hymn in this light.)

The final two verses (14–15), in a different meter and almost mechanically responsive to each other, mention both Soma and Agni, and may be intended as an implicit answer to the riddle posed by the rest of the hymn. In any case, if our hypothesis is correct, the poem is the forerunner of the much later kāvya tours de force in which, for example, the plots of the Mahābhārata and the Rāmāyaṇa are narrated at the same time.

The Soma/Agni simultaneity is especially prominent in the first part of the hymn. Toward the middle of the hymn (starting around vs. 8) another theme emerges, that of the poet learning his craft, seeking true speech. What unites the two themes is the sense that poetic inspiration comes from the ritual itself and from the mysteries of the identification of the two most important ritual substances, so that the poet gains his verbal mastery as the sacrifice progresses. But it is also the case that the sacrifice needs his poetry in order to be properly carried through, and so the poetic skill the poet gains from his contemplation of the mysteries of the sacrifice is put to use immediately in the next verses (9–11), and the result always desired by R̥gvedic sacrificers, the epiphany of Indra on the sacrificial ground, is achieved in verse 12. Because of his contribution to the success of the sacrifice, the poet is lauded in the last verse (13) before the responsive solution to the riddle as the foundation of the whole sacrifice. Thus, the hymn is both a static meditation on a central sacrificial mystery and a roughly chronological progression through the sacrifice.

One of the enigmatic features of the hymn found throughout the hymn is the regular presence of unidentified feminine plurals (vss. 1, 2, 4, 5, 7, 8, 9, 11), especially intriguing in verse 7. Identifying the likely referent(s) for these feminines as the hymn unfolds shows the developing complexity of the hymnic universe of dis course. In the earlier part of the hymn the feminines most probably refer, in the realm of Agni, to the streams of ghee offered into Agni (and also perhaps to the plants he burns)—while, in the realm of Soma, to the waters that swell the soma stalks and to the cows’ milk mixed with the pressed soma.

As the figure of the poet joins the hymn, the feminines can have a third set of referents, the insights that provide him with poetic inspiration and the words/songs that result from them. (All of the underlying nouns in all three referential systems are feminine in gender and con ceptually female.) This complex web of reference is beautifully (or dauntingly) on display in verse 11. In our reading of this verse all three sets of feminines are not bound, that is, not in use, when the soma is being brought to the ritual and the sacrifice has not yet started. But when soma the plant is made into soma the exhilarating drink, all three sets of feminines are hitched up: the poet’s words are recited, the streams of milk approach the pressed soma, and the streams of ghee are poured into the fire. The priests direct the various females to their appropriate goals, and at the end of the ritual they are “unhitched.”

As an aside, we might mention what appears to be a sly joke, located in almost the middle of the hymn (minus the final riddle-solving verses): in 6a, after five verses of exhausting enigmas with many more to come, the poet says, “Just as he appears, so is he said (to be)”—an assertion about the transparent clarity of the subject that the frustrated audience may view with bitter irony. However, it is of course not merely a joke, for the poet’s task is to find the hidden mystical truths of the universe and express them in true words, in bráhman. No matter how superficially baffling, the bráhman captures how “it really is,” and so the poet asserts here.

Although numerous puzzles remain in the hymn, we hope to have shown that it is far from “hopeless.” It can be read as a consistent unity (though the unity we see may not be the only possible one), and, as so often with complex hymns in the R̥gveda, it is a meditation not only on the ritual but also on poetic craft.

Jamison Brereton Notes

All Gods On the manifold difficulties of this hymn and a possible framework in which to interpret them (as a hymn simultaneously applicable to Agni and Soma), see published introduction.

01 तं प्रत्नथा - जगती

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(मन्थिग्रहावसरे प्रयुज्यते तैत्तिरीये।)
(शनैश्चरं) तं प्र॒त्न-था॑(=वत्) पू॒र्व-था॑ वि॒श्व-था+इम(=इमे)-था॑
(मन्थर-त्वाज्) ज्ये॒ष्ठ-ता॑तिं बर्हि॒-षदं॑(←पृषोदरादित्वात् सकारलोपः) स्व॒र्-विद॑म् ।
(शनैश्चर-सहजं) प्र॒ती॒ची॒नं वृ॒जनं॑(=कुटिलं) दोहसे गि॒रा,
(गुरुं) ऽऽशुं(←अश् व्याप्तौ) जय॑न्त॒म् अनु॒ यासु॒ (अग्रिमायां वक्ष्यमाणासु) वर्ध॑से

02 श्रिये सुदृशीरुपरस्य - जगती

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(तव) श्रि॒ये सु॒दृशी॒र् (तारादयः) उप॑रस्य॒(←उपरि) याः स्व॑र्,
वि॒रोच॑मानः क॒कुभा॑म् अ-चो॒दते॑ (श्रिये)
सु॒गो॒पा अ॑सि॒ न दभा॑य(=दम्भनाय) सुक्रतो
प॒रो मा॒याभि॑र् ऋ॒त आ॑स॒ नाम॑ ते ॥

03 अत्यं हविः - जगती

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अत्यं॑(←अत् शीघ्रगमने) ह॒विः स॑चते॒(=सेवते) सच् च॒ धातु॒
चारि॑ष्ट-गातुः॒++(=मार्गः) स होता॑ सहो॒-भरिः॑ ।
प्र॒-सर्-स्रा॑णो॒
(←सृ) अनु॑ ब॒र्हिर् वृषा॒
शिशु॒र् मध्ये॒ युवा॒ जरो॑ वि॒स्रुहा॑
(←विसृह् = ओषधम्) हि॒तः (अग्निः)

04 प्र व - जगती

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प्र व॑ ए॒ते सु॒युजो॒ याम॑न्नि॒ष्टये॒ नीची॑र॒मुष्मै॑ य॒म्य॑ ऋता॒वृधः॑ ।
सु॒यन्तु॑भिः सर्वशा॒सैर॒भीशु॑भिः॒ क्रिवि॒र्नामा॑नि प्रव॒णे मु॑षायति ॥

05 सञ्जर्भुराणस्तरुभिः सुतेगृभम् - जगती

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सं॒जर्भु॑राण॒स्तरु॑भिः सुते॒गृभं॑ वया॒किनं॑ चि॒त्तग॑र्भासु सु॒स्वरुः॑ ।
धा॒र॒वा॒केष्वृ॑जुगाथ शोभसे॒ वर्ध॑स्व॒ पत्नी॑र॒भि जी॒वो अ॑ध्व॒रे ॥

06 यादृगेव ददृशे - जगती

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या॒दृगे॒व ददृ॑शे ता॒दृगु॑च्यते॒ सं छा॒यया॑ दधिरे सि॒ध्रया॒प्स्वा ।
म॒हीम॒स्मभ्य॑मुरु॒षामु॒रु ज्रयो॑ बृ॒हत्सु॒वीर॒मन॑पच्युतं॒ सहः॑ ॥

07 वेत्यग्रुर्जनिवान्वा अति - जगती

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वेत्यग्रु॒र्जनि॑वा॒न्वा अति॒ स्पृधः॑ समर्य॒ता मन॑सा॒ सूर्यः॑ क॒विः ।
घ्रं॒सं रक्ष॑न्तं॒ परि॑ वि॒श्वतो॒ गय॑म॒स्माकं॒ शर्म॑ वनव॒त्स्वाव॑सुः ॥

08 ज्यायांसमस्य यतुनस्य - जगती

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ज्यायां॑सम॒स्य य॒तुन॑स्य के॒तुन॑ ऋषिस्व॒रं च॑रति॒ यासु॒ नाम॑ ते ।
या॒दृश्मि॒न्धायि॒ तम॑प॒स्यया॑ विद॒द्य उ॑ स्व॒यं वह॑ते॒ सो अरं॑ करत् ॥

09 समुद्रमासामव तस्थे - जगती

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स॒मु॒द्रमा॑सा॒मव॑ तस्थे अग्रि॒मा न रि॑ष्यति॒ सव॑नं॒ यस्मि॒न्नाय॑ता ।
अत्रा॒ न हार्दि॑ क्रव॒णस्य॑ रेजते॒ यत्रा॑ म॒तिर्वि॒द्यते॑ पूत॒बन्ध॑नी ॥

10 स हि - जगती

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स हि क्ष॒त्रस्य॑ मन॒सस्य॒ चित्ति॑भिरेवाव॒दस्य॑ यज॒तस्य॒ सध्रेः॑ ।
अ॒व॒त्सा॒रस्य॑ स्पृणवाम॒ रण्व॑भिः॒ शवि॑ष्ठं॒ वाजं॑ वि॒दुषा॑ चि॒दर्ध्य॑म् ॥

11 श्येन आसामदितिः - जगती

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श्ये॒न आ॑सा॒मदि॑तिः क॒क्ष्यो॒३॒॑ मदो॑ वि॒श्ववा॑रस्य यज॒तस्य॑ मा॒यिनः॑ ।
सम॒न्यम॑न्यमर्थय॒न्त्येत॑वे वि॒दुर्वि॒षाणं॑ परि॒पान॒मन्ति॒ ते ॥

12 सदापृणो यजतो - जगती

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स॒दा॒पृ॒णो य॑ज॒तो वि द्विषो॑ वधीद्बाहुवृ॒क्तः श्रु॑त॒वित्तर्यो॑ वः॒ सचा॑ ।
उ॒भा स वरा॒ प्रत्ये॑ति॒ भाति॑ च॒ यदीं॑ ग॒णं भज॑ते सुप्र॒याव॑भिः ॥

13 सुतम्भरो यजमानस्य - जगती

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सु॒त॒म्भ॒रो यज॑मानस्य॒ सत्प॑ति॒र्विश्वा॑सा॒मूधः॒ स धि॒यामु॒दञ्च॑नः ।
भर॑द्धे॒नू रस॑वच्छिश्रिये॒ पयो॑ऽनुब्रुवा॒णो अध्ये॑ति॒ न स्व॒पन् ॥

14 यो जागार - त्रिष्टुप्

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यो जा॒गार॒ तमृचः॑ कामयन्ते॒ यो जा॒गार॒ तमु॒ सामा॑नि यन्ति ।
यो जा॒गार॒ तम॒यं सोम॑ आह॒ तवा॒हम॑स्मि स॒ख्ये न्यो॑काः ॥

15 अग्निर्जागार तमृचः - त्रिष्टुप्

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अ॒ग्निर्जा॑गार॒ तमृचः॑ कामयन्ते॒ऽग्निर्जा॑गार॒ तमु॒ सामा॑नि यन्ति ।
अ॒ग्निर्जा॑गार॒ तम॒यं सोम॑ आह॒ तवा॒हम॑स्मि स॒ख्ये न्यो॑काः ॥