०५९

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सायण-भाष्यम्

‘प्र नु वोचा ’ इति दशर्चं दशमं सूक्तं भरद्वाजस्यार्षमिन्द्राग्निदेवताकम् । सप्तम्याद्याश्चतस्रोऽनुष्टुभः शिष्टाः षट् बृहत्यः । तथा चानुकान्तं - प्र नु दशैन्द्राग्नं तु बार्हतं चतुरनुष्टुबन्तम् ’ इति । गतो विनियोगः ॥

Jamison Brereton

59 (500)
Indra and Agni
Bharadvāja Bārhaspatya
10 verses: br̥hatī 1–6, anuṣṭubh 7–10
As has been discussed elsewhere, despite the major roles each of these gods plays in the R̥gveda, Indra and Agni have little in common ritually or mythologically. Nonetheless, eleven hymns are dedicated jointly to them. In this particular hymn, the pairing is insisted upon: every verse has a form of the dual dvandva compound “Indra-Agni.” Moreover, their kinship and joint birth is the subject of the first two verses, which, as many scholars have claimed, may be conceptually connected to the murky hymn X.124, possibly concerning the defeat of the Asuras (the Fathers of vs. 1 in this hymn?) by the Devas or gods. Elsewhere in the R̥gveda there is no evidence for a family connection between Indra and Agni.
As in some other Indra-Agni hymns, Agni is assimilated to Indra at least in the early verses, since Indra has the more dynamic mythology. The standard promise to Indra to “proclaim (his) manly deeds” is made to Indra and Agni in verse 1; soma is offered to them in verses 1, 3 and 4, though it is really Indra’s drink; and they are both said to possess the mace, Indra’s weapon, in verse 3. The balance changes somewhat in verses 5–6. The two gods are separated and, though not named, are identified by their characteristics. The second hemistich of 5 refers to Agni alone, and in verse 6, after a reference to Dawn and her cows, probably alluding to the Morning Pressing where Agni is kindled and Indra appears, the second half-verse contrasts Agni (pāda c) and Indra (pāda d). This brings to an end the first division of the hymn as defined metrically, and this portion forms a satisfactory unit celebrating the gods and offering them praise and soma. The last four verses, also metrically unified, make the singer’s requests, for aid against enemies (vss. 7–8) and for wealth (vs. 9), and again invite them with praise and soma (vs. 10). Despite the metrical division, which corresponds to a functional and thematic difference, there is no reason to consider this a composite hymn, pace Oldenberg (1888: 200). It conforms to a common pattern: praise and then requests, and the shorter dimeter meter of the last four verses is appropriate to the specific requests, in contrast to the rhetorically more formal praise section in the lyric br̥hatī.

Jamison Brereton Notes

Indra and Agni On the structure of this hymn and the relationship between the two gods, see published introduction.

01 प्र नु - बृहती

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प्र᳓ नु᳓ वोचा सुते᳓षु वां
वीरि᳓या या᳓नि चक्र᳓थुः
हता᳓सो वाम् पित᳓रो देव᳓शत्रव
इ᳓न्द्राग्नी जी᳓वथो युव᳓म्

02 बळित्था महिमा - बृहती

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ब᳓ळ् इत्था᳓ महिमा᳓ वा᳐म्
इ᳓न्द्रअग्नी प᳓निष्ठ आ᳓
समानो᳓ वां जनिता᳓ भ्रा᳓तरा युवं᳓
यमा᳓व् इहे᳓हमातरा

03 ओकिवांसा सुते - बृहती

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ओकिवां᳓सा सुते᳓ स᳓चाँ
अ᳓श्वा स᳓प्ती इवा᳓दने
इ᳓न्द्रा नु᳓ अग्नी᳓ अ᳓वसेह᳓ वज्रि᳓णा
वयं᳓ देवा᳓ हवामहे

04 य इन्द्राग्नी - बृहती

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य᳓ इन्द्राग्नी सुते᳓षु वां
स्त᳓वत् ते᳓षु ऋतावृधा
जोषवाकं᳓ व᳓दतः पज्रहोषिणा
न᳓ देवा भस᳓थश् चन᳓

05 इन्द्राग्नी को - बृहती

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इ᳓न्द्रअग्नी को᳓ अस्य᳓ वां
दे᳓वौ म᳓र्तश् चिकेतति
वि᳓षूचो अ᳓श्वान् युयुजान᳓ ईयत
ए᳓कः समान᳓ आ᳓ र᳓थे

06 इन्द्राग्नी अपादियम् - बृहती

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इ᳓न्द्रअग्नी अपा᳓द् इय᳓म्
पू᳓र्वा᳓गात् पद्व᳓तीभियः
हित्वी᳓ शि᳓रो जिह्व᳓या वा᳓वदच् च᳓रत्
त्रिंश᳓त् पदा᳓ नि᳓ अक्रमीत्

07 इन्द्राग्नी आ - अनुष्टुप्

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इ᳓न्द्राग्नी आ᳓ हि᳓ तन्वते᳓
न᳓रो ध᳓न्वानि बाहुवोः᳓
मा᳓ नो अस्मि᳓न् महाधने᳓
प᳓रा वर्क्तं ग᳓विष्टिषु

08 इन्द्राग्नी तपन्ति - अनुष्टुप्

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इ᳓न्द्रअग्नी त᳓पन्ति मा
अघा᳓ अर्यो᳓ अ᳓रातयः
अ᳓प द्वे᳓षांसि आ᳓ कृतं
युयुतं᳓ सू᳓रियाद् अ᳓धि

09 इन्द्राग्नी युवोरपि - अनुष्टुप्

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इ᳓न्द्रअग्नी युवो᳓र् अ᳓पि
व᳓सु दिव्या᳓नि पा᳓र्थिवा
आ᳓ न इह᳓ प्र᳓ यछतं
रयिं᳓ विश्वा᳓युपोषसम्

10 इन्द्राग्नी उक्थवाहसा - अनुष्टुप्

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इ᳓न्द्राग्नी उक्थवाहसा
स्तो᳓मेभिर् हवनश्रुता
वि᳓श्वाभिर् गीर्भि᳓र् आ᳓ गतम्
अस्य᳓ सो᳓मस्य पीत᳓ये