००९

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सायण-भाष्यम्

‘अबोधि जारः’ इति षड़ृचं नवमं सूक्तं वसिष्ठस्यार्षं त्रैष्टुभमाग्नेयम् । “अबोधि षट् ’ इत्यनुक्रान्तम् । प्रातरनुवाकाश्विनशस्त्रयोर्दशसूक्तमध्ये उक्तो विनियोगः ॥

Jamison Brereton

9 (525)
Agni
Vasiṣṭha Maitrāvaruṇi
6 verses: triṣṭubh
The appearance of Agni as the fire of the morning sacrifice and also as the sun marks the beginning of the sacrifice, and it is he who establishes the two signs of the sacrifice: the oblations given to the gods and the wealth received in return by humans (vs. 1). The exchange between sacrificers and gods is reasserted at the end of the penultimate verse (vs. 5cd), which urges Agni to sacrifice to the gods in order that they will benefit humans. The theme of exchange is continued in verse 2a, since894 VII.9
Agni’s “strong resolve” is to sacrifice, and as a result of this resolve he opens the pens of the Paṇis and, as in the Vala story, lets loose cattle, symbols of both wealth and the dawns. In the latter part of this verse the function of Agni in promoting the exchange between gods and sacrificers is suggested by word play that turns on the ambiguity of arká, which can mean either “chant” or “flame,” and of the com
pound purubhójas, either “bringing sustenance” or “consuming sustenance.” That is, Agni purifies either the chant that creates food for humans or the flames that consume it on behalf of the gods.
In 3ab, in a different kind of word play, Agni bears the names of three gods, all of whom, like Agni, have roles in carrying out the ritual: Aditi is the embodiment of the “Guiltlessness” of one who performs the rite correctly, Vivasvant is the first sac rificer (as Geldner notes), and Mitra is the deity of the sacrificial alliance between gods and humans. The name Vivasvant may also carry its appellative significance “shining forth,” which would also fit the fire. In 3cd Agni is brought into connection with two groups of goddesses, who are complicit in the birth of Agni: the Dawns, with whom he appears in the early morning, and the Waters, who give birth to Agni and place him in the “fruitful” plants, from which the fire emerges. There is a final word play in verse 6c, where puruṇīthā́…jarasva can mean that, as a god, Agni should awaken to the musical modes of the ritual chants or, as a priest, should sing musical modes through the sounds of the fire. There is even battle imagery in the latter part of the hymn: in verse 4 Agni enters the “melee” and in verse 5 with Agni’s help Vasiṣṭha destroys the Jarūtha, probably a demonized enemy who is part of the Vasiṣṭha family lore. In that context, puruṇīthā́ could also have a secondary refer ence to warriors’ strategems by which wealth is won.

01 अबोधि जार - त्रिष्टुप्

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अ᳓बोधि जार᳓ उष᳓साम् उप᳓स्थाद्
धो᳓ता मन्द्रः᳓ कवि᳓तमः पवाकः᳓+
द᳓धाति केतु᳓म् उभ᳓यस्य जन्तो᳓र्
हव्या᳓ देवे᳓षु द्र᳓विणं सुकृ᳓त्सु

02 स सुक्रतुर्यो - त्रिष्टुप्

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स᳓ सुक्र᳓तुर् यो᳓ वि᳓ दु᳓रः पणीना᳓म्
पुनानो᳓ अर्क᳓म् पुरुभो᳓जसं नः
हो᳓ता मन्दरो᳓° विशां᳐᳓ द᳓मूनास्
तिर᳓स् त᳓मो ददृशे रामिया᳓णाम्

03 अमूरः कविरदितिर्विवस्वान्त्सुसंसन्मित्रो - त्रिष्टुप्

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अ᳓मूरः कवि᳓र् अ᳓दितिर् विव᳓स्वान्
सुसंस᳓न् मित्रो᳓ अ᳓तिथिः शिवो᳓ नः
चित्र᳓भानुर् उष᳓साम् भाति अ᳓ग्रे
अपां᳓ ग᳓र्भः प्रसु᳓व आ᳓ विवेश

04 ईळेन्यो वो - त्रिष्टुप्

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ईळे᳓नियो वो म᳓नुषो युगे᳓षु
समनगा᳓ अशुचज् जात᳓वेदाः
सुसंदृ᳓शा भानु᳓ना यो᳓ विभा᳓ति
प्र᳓ति गा᳓वः समिधान᳓म् बुधन्त

05 अग्ने याहि - त्रिष्टुप्

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अ᳓ग्ने याहि᳓ दूति᳓यम् मा᳓ रिषण्यो
देवाँ᳓ अ᳓छा ब्रह्मकृ᳓ता गणे᳓न
स᳓रस्वतीम् मरु᳓तो अश्वि᳓नापो᳓
य᳓क्षि देवा᳓न् रत्नधे᳓याय वि᳓श्वान्

06 त्वामग्ने समिधानो - त्रिष्टुप्

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तुवा᳓म् अग्ने समिधानो᳓ व᳓सिष्ठो
ज᳓रूथं हन् य᳓क्षि राये᳓ पु᳓रंधिम्
पुरुणीथा᳓ जातवेदो जरस्व
यूय᳓म् पात सुअस्ति᳓भिः स᳓दा नः