०५९

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सायण-भाष्यम्

’ इमानि वाम्’ इति सप्तर्चमेकादशं सूक्तं काण्वस्य सुपर्णस्यार्षमैन्द्रावरुणं जागतम् । ’ इमानि वां सप्त सुपर्ण ऐन्द्रावरुणं जागतम्’ इत्यनुक्रान्तत्वात् । विनियोगः सूत्रादवगन्तव्यः ।।

Jamison Brereton

59 (1028)
Indra and Varuṇa
Suparṇa Kāṇva
7 verses: jagatī
This last Vālakhilya hymn presents a number of uncertainties in transmission, and so it is difficult to know whether its sometimes awkward phrasing belonged to the original poem or is the result of flawed transmission. In contrast, the hymn has a rather tight structure, with an apparent omphalos: verses 3 and 5 have a number of lexical correspondences, and in particular they both announce a truth (satyám). These correspondences form a ring that defines verse 4, the central verse of the hymn, as the omphalos, as well as containing the “truth” proclaimed in the adja
cent verses. All three verses refer to a group, or groups, of seven in riddling fashion. At least the female “seven” in verses 3 and 4—seven voices, seven sisters—can be

identified as the soma-purifying waters, conceived of as the “seven rivers” of Vedic mythology. (They are called “voices” because of the noise they make, just as one of the words for “river,” nadī́, is derived from the root nad “roar,” an etymology explicitly recognized by Vedic speakers.) The three heptads of verse 5 may refer to the same streams, multiplied, or may evoke the number of gifts Indra and Varuṇa should bestow in response.
The omphalos verse is left incomplete: the poet urges the two gods to “estab lish…” (dhattam [if this is the correct reading, as we think]) but does not specify the object desired. This truncated wish returns at the end of the hymn, however. The final verse contains two occurrences of this same verb, with a plethora of objects. This completion of the unfinished expression of verse 4 may be seen as another example of “poetic repair” (Jamison 2006).
Indra and Varuṇa do not form a natural pair, and it is not surprising that very few hymns are dedicated to the two alone (I.17, IV.41–42, VI.68, VII.82–85, and a tr̥ca in III.62 [1–3]). In the more prominent hymns to both divinities, especially the justly celebrated IV.42, their contrastive qualities, especially their different types of kingship, are highlighted. Here by contrast the two gods are essentially featureless (the possible exception is 2cd), their only activities being to accept the soma offer
ing and give prosperity to the sacrificers in return. In fact, vocabulary appropriate to a more standard pair of gods, the Aśvins, is adapted here, especially the vocative “you two lords of beauty” (śubhas patī), a common epithet otherwise confined to the Aśvins.

Jamison Brereton Notes

Indra and Varuṇa

01 इमानि वाम् - जगती

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इमा᳓नि वाम् भागधे᳓यानि सिस्रत
इ᳓न्द्रावरुणा प्र᳓ महे᳓ सुते᳓षु वाम्
यज्ञे᳓-यज्ञे ह स᳓वना भुरण्य᳓थो
य᳓त् सुन्वते᳓ य᳓जमानाय शि᳓क्षथः

02 निष्षिध्वरीरोषधीराप आस्तामिन्द्रावरुणा - जगती

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निष्षि᳓ध्वरीर् ओ᳓षधीर् आ᳓प आस्ताम्
इ᳓न्द्रावरुणा महिमा᳓नम् आ᳓शत
या᳓ सि᳓स्रतू र᳓जसः पारे᳓ अ᳓ध्वनो
य᳓योः श᳓त्रुर् न᳓किर् आ᳓देव ओ᳓हते

03 सत्यं तदिन्द्रावरुणा - जगती

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सत्यं᳓ त᳓द् इन्द्रावरुणा कृश᳓स्य वाम्
म᳓ध्व ऊर्मिं᳓ दुहते सप्त᳓ वा᳓णीः
ता᳓भिर् दाश्वां᳓सम् अवतं शुभस् पती
यो᳓ वाम् अ᳓दब्धो अभि᳓ पा᳓ति चि᳓त्तिभिः

04 घृतप्रुषः सौम्या - जगती

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घृतप्रु᳓षः सउ᳓मिया जीर᳓दानवः
सप्त᳓ स्व᳓सारः स᳓दन ऋत᳓स्य
या᳓ ह वाम् इन्द्रावरुणा घृतश्चु᳓तस्
ता᳓भिर् धत्तं य᳓जमानाय शिक्षतम्

05 अवोचाम महते - जगती

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अ᳓वोचाम महते᳓ सउ᳓भगाय सत्यं᳓
त्वेषा᳓भियाम् महिमा᳓नम् इन्द्रिय᳓म्
अस्मा᳓न् सु᳓ इन्द्रावरुणा घृतश्चु᳓तस्
त्रि᳓भिः साप्ते᳓भिर् अवतं शुभस् पती

06 इन्द्रावरुणा यदृषिभ्यो - जगती

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इ᳓न्द्रावरुणा य᳓द् ऋषि᳓भ्यो मनीषां᳓
वाचो᳓ मतिं᳓ श्रुत᳓म् अदत्तम् अ᳓ग्रे
या᳓नि स्था᳓नानि असृजन्त धी᳓रा
यज्ञं᳓ तन्वाना᳓स् त᳓पसाभ्य् अ᳡पश्यम्

07 इन्द्रावरुणा सौमनसमदृप्तम् - जगती

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इ᳓न्द्रावरुणा सौमनस᳓म् अ᳓दृप्तं
राय᳓स् पो᳓षं य᳓जमानेषु धत्तम्
प्रजा᳓म् पुष्टि᳓म् भूतिम् अस्मा᳓सु धत्तं
दीर्घायुत्वा᳓य प्र᳓ तिरतं न आ᳓युः