०८४

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सायण-भाष्यम्

‘ आ वाम्’ इति पञ्चर्चं चतुर्दशं सूक्तं वासिष्ठं त्रैष्टुभमैन्द्रावरुणम् । अनुक्रान्तं च — ‘आ वां पञ्च’ इति । उक्थ्ये तृतीयसवने मैत्रावरुणशस्त्र इदं सूक्तम् । सूत्रितं च - ‘ आ वां राजानाविन्द्रावरुणा मधुमत्तमस्येति याज्या ’ (आश्व. श्रौ. ६. १) इति ॥

Jamison Brereton

84 (600)
Indra and Varuṇa
Vasiṣṭha Maitrāvaruṇi
5 verses: triṣṭubh
The theme of rapid and forward movement dominates this hymn. This movement is marked by the repetition of prá “forth” or “forward” in verses 1c, 3d, 4c, and 5b and by verbal forms such as invati “speeds” in 2a and -jūtaḥ “hastened” in 3c. The various kinds of movement involve the proffering of hymns and oblations and the answering progress of the sacrificers by means of the wealth and offspring they receive from the gods. There is also movement implied in the “speed” of the rule of Indra and Varuṇa (2a), which extends high and wide. In verse 2, verbally enclosed within this description of the extent of their rule (2a, 2d), are the “bonds” of the two gods (2b) and the anger of Varuṇa (2c), which show the menacing power of the gods to enforce their rule.
Another characteristic of this hymn is verbal sleight of hand in verses 1 and 4. In verse 1 the “ghee-rich one” (ghr̥tā́cī) would normally described the sacrificial ladle, but, as Renou (EVP VII: 85) notes, it can also characterize the dhī́, the “insight” embodied in the hymn (I.2.7) or the “songs” (gíraḥ, VII.5.5). Because this “ghee-rich one” is held in the arms of the priests, hearers would think first of the ladle. But in 1d the “ghee-rich one” goes “by itself” and “in its varying appearance.” These descriptions would fit the hymn, which flies to the gods with its varied sounds and words. The final line, therefore, creates for hearers an unexpected redefinition of the “ghee-rich one” and produces a double image of it as both ladle and hymn. As such, the “ghee-rich one” represents the “oblations and reverence” offered to the gods in 1b.
Neither the translation nor the interpretation of verse 4cd is secure. The rela tive clause in 4c surely describes Varuṇa, but śū́ra “champion” in 4d is more likely a description of Indra. So the normal relation between relative and main clauses suggests that the subject in 4d is Varuṇa (as Sāyaṇa understands it to be), but the content of 4d suggests that it is Indra. Moreover, there is a word play between minā́ti “confounds,” which ends 4c, and ámitā “immeasurable,” which opens 4d. They are not from the same root, although they sound as though they could be. The words thus create a verbal icon of simultaneous similarity and dif ference. These ambiguities accord with the representation of Varuṇa and Indra as embodying different sides of kingship, which are nonetheless complementary and necessary to one other. As we read the lines, therefore, the two gods are separately characterized, but their separation is undermined by formal features that efface it.

Jamison Brereton Notes

Indra and Varuṇa

01 आ वाम् - त्रिष्टुप्

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आ᳓ वां राजानाव् अध्वरे᳓ ववृत्यां
हव्ये᳓भिर् इन्द्रावरुणा न᳓मोभिः
प्र᳓ वां घृता᳓ची बाहुवो᳓र् द᳓धाना
प᳓रि त्म᳓ना वि᳓षुरूपा जिगाति

02 युवो राष्थ्रम् - त्रिष्टुप्

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युवो᳓ राष्टर᳓म् बृह᳓द् इन्वति द्यउ᳓र्
यउ᳓ सेतृ᳓भिर् अरज्जु᳓भिः सिनीथः᳓
प᳓रि नो हे᳓ळो व᳓रुणस्य वृज्या
उरुं᳓ न इ᳓न्द्रः कृणवद् उलोक᳓म्†

03 कृतं नो - त्रिष्टुप्

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कृतं᳓ नो यज्ञं᳓ विद᳓थेषु चा᳓रुं
कृत᳓म् ब्र᳓ह्माणि सूरि᳓षु प्रशस्ता᳓
उ᳓पो रयि᳓र् देव᳓जूतो न एतु
प्र᳓ ण स्पार्हा᳓भिर् ऊति᳓भिस् तिरेतम्

04 अस्मे इन्द्रावरुणा - त्रिष्टुप्

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अस्मे᳓ इन्द्रावरुणा विश्व᳓वारं
रयिं᳓ धत्तं व᳓सुमन्तम् पुरुक्षु᳓म्
प्र᳓ य᳓ आदित्यो᳓ अ᳓नृता मिना᳓ति
अ᳓मिता शू᳓रो दयते व᳓सूनि

05 इयमिन्द्रं वरुणमष्थ - त्रिष्टुप्

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इय᳓म् इ᳓न्द्रं व᳓रुणम् अष्ट मे गीः᳓
प्रा᳓वत् तोके᳓ त᳓नये तू᳓तुजाना
सुर᳓त्नासो देव᳓वीतिं गमेम
यूय᳓म् पात सुअस्ति᳓भिः स᳓दा नः