०४५

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सायण-भाष्यम्

अथ चतुर्थेऽनुवाके द्वादश सूक्तानि । तत्र ‘ विदा दिवः ’ इत्येकादशर्चं प्रथमं सूक्तम् । सदापृणो नामात्रेय ऋषिः । त्रिष्टुप् छन्दः । ’ वै तत् ’ इत्युक्तत्वादिदमपि वैश्वदेवम् । विदा एकादश सदापृणः । इत्यनुक्रमणिका । विनियोगो लैङ्गिकः ॥

Jamison Brereton

45 (399)
All Gods
Sadāpr̥ṇa Ātreya
11 verses: triṣṭubh
A lovely hymn, both narrating the opening of the Vala cave by the power of the Aṅgirases’ poetic speech and welcoming the dawn of a new day and the sunrise on that mythic model. The hymn begins (vss. 1–3) with a description of sunrise, with no overt mention of the myth, though it clearly lurks in the background. The poet is concerned to apply the mythic model to the current sacrificial situation. He initiates the ritual in verse 4, and then in the two, paired, middle verses in the hymn (5–6), an omphalos, he exhorts his priestly comrades to achieve the poetic vision (dhī́) that has served others well in the past. The particular past he has in mind becomes clear in the following two verses (7–8), which depict the opening of the Vala cave and the Aṅgirases’ role in it. The next two verses first pray that the Sun will come up (9) and then announce that he has arisen (10). The exhortations in verses 5–6 have worked! In the last verse (11) the poet (addressing himself, as well as his priestly colleagues) exults over this success: “the poetic vision that wins the sun,” the same one that the Aṅgirases possessed, has now been acquired, and it will bring welfare to the community. It is noteworthy that Indra, the usual hero of the Vala myth, is not mentioned in connection with it (though he does make an appearance in vs. 4); presumably the poet wishes to identify himself and his priestly comrades with the chorus of Indra’s associates, the Aṅgirases, rather than with the god.
A brief grammatical digression is necessary here in order to show the particular artfulness of this hymn. As noted, the first three verses already describe, in some detail, the dawn and the sunrise, and so it might be thought that the sunrise in verse 10 is an anticlimax. But a remarkable fact about the first three verses is that the description of the sunrise there is couched almost entirely in the verb form known as the injunctive, which has no overt marker of tense. Although its default interpretation is past tense, it can be used also to depict “timeless” events. (Since English lacks such a verbal category, we have used the present tense here.) The sun rise in verses 1–3 is both the mythic model of the Vala-Aṅgiras narrative and, more important, the ideal sunrise to which the poet aspires. In contrast to the insistent injunctives in these verses, when today’s sunrise, the successful result of the sacri ficers’ and poet’s efforts, is depicted in verse 10, all four verb forms have the overt marker of past tense, the so-called augment, making it clear that the sunrise there has indeed (just) occurred. Another example of R̥gvedic poets’ sensitivity to gram matical categories and their ingenious deployment of them.

Jamison Brereton Notes

All Gods On the structure of the hymn and the grammatical patterning that supports that structure, see published introduction. Note that this patterning imposes presential renderings of the injunctives in the first three vss.

01 विदा दिवो - त्रिष्टुप्

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वि॒दा दि॒वो वि॒ष्यन्नद्रि॑मु॒क्थैरा॑य॒त्या उ॒षसो॑ अ॒र्चिनो॑ गुः ।
अपा॑वृत व्र॒जिनी॒रुत्स्व॑र्गा॒द्वि दुरो॒ मानु॑षीर्दे॒व आ॑वः ॥

02 वि सूर्यो - त्रिष्टुप्

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वि सूर्यो॑ अ॒मतिं॒ न श्रियं॑ सा॒दोर्वाद्गवां॑ मा॒ता जा॑न॒ती गा॑त् ।
धन्व॑र्णसो न॒द्य१॑ः॒ खादो॑अर्णाः॒ स्थूणे॑व॒ सुमि॑ता दृंहत॒ द्यौः ॥

03 अस्मा उक्थाय - त्रिष्टुप्

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अ॒स्मा उ॒क्थाय॒ पर्व॑तस्य॒ गर्भो॑ म॒हीनां॑ ज॒नुषे॑ पू॒र्व्याय॑ ।
वि पर्व॑तो॒ जिही॑त॒ साध॑त॒ द्यौरा॒विवा॑सन्तो दसयन्त॒ भूम॑ ॥

04 सूक्तेभिर्वो वचोभिर्देवजुष्थैरिन्द्रा - त्रिष्टुप्

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सू॒क्तेभि॑र्वो॒ वचो॑भिर्दे॒वजु॑ष्टै॒रिन्द्रा॒ न्व१॒॑ग्नी अव॑से हु॒वध्यै॑ ।
उ॒क्थेभि॒र्हि ष्मा॑ क॒वयः॑ सुय॒ज्ञा आ॒विवा॑सन्तो म॒रुतो॒ यज॑न्ति ॥

05 एतो न्वट्द्य - त्रिष्टुप्

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एतो॒ न्व१॒॑द्य सु॒ध्यो॒३॒॑ भवा॑म॒ प्र दु॒च्छुना॑ मिनवामा॒ वरी॑यः ।
आ॒रे द्वेषां॑सि सनु॒तर्द॑धा॒माया॑म॒ प्राञ्चो॒ यज॑मान॒मच्छ॑ ॥

06 एता धियम् - त्रिष्टुप्

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एता॒ धियं॑ कृ॒णवा॑मा सखा॒योऽप॒ या मा॒ताँ ऋ॑णु॒त व्र॒जं गोः ।
यया॒ मनु॑र्विशिशि॒प्रं जि॒गाय॒ यया॑ व॒णिग्व॒ङ्कुरापा॒ पुरी॑षम् ॥

07 अनूनोदत्र हस्तयतो - त्रिष्टुप्

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अनू॑नो॒दत्र॒ हस्त॑यतो॒ अद्रि॒रार्च॒न्येन॒ दश॑ मा॒सो नव॑ग्वाः ।
ऋ॒तं य॒ती स॒रमा॒ गा अ॑विन्द॒द्विश्वा॑नि स॒त्याङ्गि॑राश्चकार ॥

08 विश्वे अस्या - त्रिष्टुप्

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विश्वे॑ अ॒स्या व्युषि॒ माहि॑नायाः॒ सं यद्गोभि॒रङ्गि॑रसो॒ नव॑न्त ।
उत्स॑ आसां पर॒मे स॒धस्थ॑ ऋ॒तस्य॑ प॒था स॒रमा॑ विद॒द्गाः ॥

09 आ सूर्यो - पुरस्ताज्ज्योतिः

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आ सूर्यो॑ यातु स॒प्ताश्वः॒ क्षेत्रं॒ यद॑स्योर्वि॒या दी॑र्घया॒थे ।
र॒घुः श्ये॒नः प॑तय॒दन्धो॒ अच्छा॒ युवा॑ क॒विर्दी॑दय॒द्गोषु॒ गच्छ॑न् ॥

10 आ सूर्यो - त्रिष्टुप्

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आ सूर्यो॑ अरुहच्छु॒क्रमर्णोऽयु॑क्त॒ यद्ध॒रितो॑ वी॒तपृ॑ष्ठाः ।
उ॒द्ना न नाव॑मनयन्त॒ धीरा॑ आशृण्व॒तीरापो॑ अ॒र्वाग॑तिष्ठन् ॥

11 धियं वो - त्रिष्टुप्

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धियं॑ वो अ॒प्सु द॑धिषे स्व॒र्षां ययात॑र॒न्दश॑ मा॒सो नव॑ग्वाः ।
अ॒या धि॒या स्या॑म दे॒वगो॑पा अ॒या धि॒या तु॑तुर्या॒मात्यंहः॑ ॥