०७७

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सायण-भाष्यम्

‘ उपो रुरुचे ’ इति षडृचं सप्तमं सूक्तं वसिष्ठस्यार्षमुषस्यम् । तथा चानुक्रान्तम् - उपो रुरुचे षट् ’ इति । प्रातरनुवाकाश्विनशस्त्रयोरुक्तो विनियोगः ॥

Jamison Brereton

77 (593)
Dawn
Vasiṣṭha Maitrāvaruṇi
6 verses: triṣṭubh
Renou (EVP III: 95) calls this hymn a “pièce banale,” a designation that seems hardly fair. Although it lacks the intricate patterning of the immediately pre ceding hymn, its simpler structure gives it a forward-moving urgency encoded in its deployment of verb forms. The first half of the hymn (vss. 1–3) opens with a perfect (ruruce “she has shone”) but thereafter consists entirely of aug mented aorists (like vss. 1–2 of VII.76), with aroci of 2d almost forming a ring with the opening perfect form, built to the same root (√ruc). There is an abrupt change of verbal mood in verse 4, with a cascade of imperatives in the next two verses (4–5). The grammatical person also changes: the constant 3rd person of verses 1–3 is succeeded by 2nd person in the rest of the hymn. Thus the first half of the hymn describes the immediate arrival of Dawn, and in the second the poet addresses a series of eager commands to Dawn, who has just appeared in front of him. Two features tie the hymn together grammati cally: (1) the abundance of present participles modifying Dawn in both halves, though more common in the first; and (2) the constant use of Dawn as subject. Except for 1c and the first half of the final verse (6ab) Dawn is always the grammatical subject. A glance at other Dawn hymns in this series shows that this uniformity is unusual.
No doubt Renou’s remark concerned the “content” of the hymn, and it is cer tainly true that there are no remarkable images or elaborate conceits. However, the

familiar depiction of Dawn as a lovely and ardent maiden is pleasing here, as it is elsewhere.

Jamison Brereton Notes

Dawn On the structure of this hymn, as signaled by its verb forms and personal reference, see published introduction. The first three vss. contain a series of sg. augmented aorists (started with a perfect), all but ábhūt with Dawn as 3rd ps. subj.: úpa ruruce, ábhūt, ákar, úd asthāt, áśvait, aroci (which last almost forms a ring with the opening pf.), adarśi, into which fem. sg. pres. participles have been interspersed: prasuvántī, bā́dhamānā, bíbhratī, váhantī, náyantī. Following that we get in vss. 4-5a an equally insistent series of imperatives: ucha, kr̥dhi, yāvaya, ā́bhara, codáya, ví bhāhi, with Dawn as 2nd ps. subject. In 5b the fem. pres. parts return: pratirántī, dádhatī. In the last vs. the pattern is broken again: a pl. present vardháyanti with the Vasiṣṭhas as subject, found in the only subordinate cl. in the hymn, and in the last pāda before the clan refrain an aor. injunctive in imperatival usage, dhāḥ.

01 उपो रुरुचे - त्रिष्टुप्

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उपो॑ रुरुचे युव॒तिर्न योषा॒ विश्वं॑ जी॒वं प्र॑सु॒वन्ती॑ च॒रायै॑ ।
अभू॑द॒ग्निः स॒मिधे॒ मानु॑षाणा॒मक॒र्ज्योति॒र्बाध॑माना॒ तमां॑सि ॥

02 विश्वं प्रतीची - त्रिष्टुप्

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विश्वं॑ प्रती॒ची स॒प्रथा॒ उद॑स्था॒द्रुश॒द्वासो॒ बिभ्र॑ती शु॒क्रम॑श्वैत् ।
हिर॑ण्यवर्णा सु॒दृशी॑कसन्दृ॒ग्गवां॑ मा॒ता ने॒त्र्यह्ना॑मरोचि ॥

03 देवानां चक्षुः - त्रिष्टुप्

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दे॒वानां॒ चक्षुः॑ सु॒भगा॒ वह॑न्ती श्वे॒तं नय॑न्ती सु॒दृशी॑क॒मश्व॑म् ।
उ॒षा अ॑दर्शि र॒श्मिभि॒र्व्य॑क्ता चि॒त्राम॑घा॒ विश्व॒मनु॒ प्रभू॑ता ॥

04 अन्तिवामा दूरे - त्रिष्टुप्

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अन्ति॑वामा दू॒रे अ॒मित्र॑मुच्छो॒र्वीं गव्यू॑ति॒मभ॑यं कृधी नः ।
या॒वय॒ द्वेष॒ आ भ॑रा॒ वसू॑नि चो॒दय॒ राधो॑ गृण॒ते म॑घोनि ॥

05 अस्मे श्रेष्टेभिर्भानुभिर्वि - त्रिष्टुप्

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अ॒स्मे श्रेष्ठे॑भिर्भा॒नुभि॒र्वि भा॒ह्युषो॑ देवि प्रति॒रन्ती॑ न॒ आयुः॑ ।
इषं॑ च नो॒ दध॑ती विश्ववारे॒ गोम॒दश्वा॑व॒द्रथ॑वच्च॒ राधः॑ ॥

06 यां त्वा - त्रिष्टुप्

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यां त्वा॑ दिवो दुहितर्व॒र्धय॒न्त्युषः॑ सुजाते म॒तिभि॒र्वसि॑ष्ठाः ।
सास्मासु॑ धा र॒यिमृ॒ष्वं बृ॒हन्तं॑ यू॒यं पा॑त स्व॒स्तिभिः॒ सदा॑ नः ॥