०६४

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सायण-भाष्यम्

‘ वरुणं वः’ इति सप्तर्चमष्टमं सूक्तमर्चनानस आर्षं मैत्रावरुणम् । पङ्क्त्यन्तपरिभाषयानुष्टुभम् । अन्त्या पङ्क्तिः । ‘वरुणं पङ्क्त्यन्तं तु ’ इत्यनुक्रमणिका । विनियोगो लैङ्गिकः ॥

Jamison Brereton

64 (418)
Mitra and Varuṇa
Arcanānas Ātreya
7 verses: anuṣṭubh, except paṅkti 7
As often, the central verse of the hymn is its most enigmatic. The poet condenses this verse so that a number of interpretations are possible, all of them applicable to

the situation. The word upamá, here translated “closest,” might also mean “best.” Indeed, most translators choose the latter interpretation, but in the verses lead ing up to this one, the poet constantly emphasizes the intimacy of Mitra and Varuṇa: In their arms they gather “the realm of solar glory” (vs. 1), which is likely both the celestial realm and the realm of the sacrifice. They stretch forth their arms to the sacrificers, who call on their affection (vs. 2). The sacrificers are accompanied by the protection of Mitra, “who never does injury” (vs. 3). In verse 4 the poet brings something close to the gods, although he does not state clearly what it is. In the more obvious reading it might be the sacrificial offerings and the sacrificial recitations. But it might also be gifts to the priests, or the inhabitants in the patrons’ dwellings, or the talent and learning that the priests bring to the ritual performance. In short, it might be everything that is part of the sacrifice or even part of the lives of the patrons and priests.
In the final verses this theme of the closeness of Mitra and Varuṇa to the sac rificers is expressed through a number of different strategies. The simile in 7cd is particularly striking. It turns on two homophonous present stems dhāva, one of which means “run” and the other “rinse, cleanse,” with the shift from one to the other signaled by the change from “feet” to “hands.” This word play maintains the sense of closeness of the sacrificers and the gods, since “cleanse” refers to a typical priestly action, while “run” is the desired action of the gods. That theme continues in verses 4 and 5, in which the poet invites Varuṇa and Mitra to the dwelling of generous patrons, which is also the gods’ “seat” or “abode” (vs. 5). And verse 6a begins yuváṃ naḥ “you two for us,” setting the 2nd- and 1st-person pronouns next to one another.

01 वरुणं वो - अनुष्टुप्

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व᳓रुणं वो रिशा᳓दसम्
ऋचा᳓ मित्रं᳓ हवामहे
प᳓रि व्रजे᳓व बाहुवो᳓र्
जगन्वां᳓सा सु᳓वर्णरम्

02 ता बाहवा - अनुष्टुप्

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ता᳓ बाह᳓वा सुचेतु᳓ना
प्र᳓ यन्तम् अस्मा अ᳓र्चते
शे᳓वं हि᳓ जारि᳓यं वां᳐
वि᳓श्वासु क्षा᳓सु जो᳓गुवे

03 यन्नूनमश्यां गतिम् - अनुष्टुप्

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य᳓न् नून᳓म् अशियां᳓ ग᳓तिम्
मित्र᳓स्य या᳐याम् पथा᳓
अ᳓स्य प्रिय᳓स्य श᳓र्मणि
अ᳓हिंसानस्य सश्चिरे

04 युवाभ्यां मित्रावरुणोपमम् - अनुष्टुप्

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युवा᳓भ्याम् मित्रावरुणा
उपमं᳓ धे᳐याम् ऋचा᳓
य᳓द् ध क्ष᳓ये मघो᳓नां᳐
स्तोतॄणां᳐᳓ च स्पूर्ध᳓से

05 आ नो - अनुष्टुप्

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आ᳓ नो मित्र सुदीति᳓भिर्
व᳓रुणश् च सध᳓स्थ आ᳓
सुवे᳓ क्ष᳓ये मघो᳓नां᳐
स᳓खीनां᳐ च वृध᳓से

06 युवं नो - अनुष्टुप्

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युवं᳓ नो ये᳓षु वरुण
क्षत्र᳓म् बृह᳓च् च बिभृथः᳓
उरु᳓ णो वा᳓जसातये
कृतं᳓ राये᳓ सुअस्त᳓ये

07 उच्छन्त्यां मे - पङ्क्तिः

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उछ᳓न्तियाम् मे यजता᳓
देव᳓क्षत्रे रु᳓शद्गवि
सुतं᳓ सो᳓मं न᳓ हस्ति᳓भिर्
आ᳓ पड्भि᳓र् धावतं नरा
बि᳓भ्रताव् अर्चना᳓नसम्