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सायण-भाष्यम्

‘प्रप्र वः’ इत्यष्टादशर्चं दशमं सूक्तं प्रियमेधस्याङ्गिरसस्यार्षम् । द्वितीया ‘नदं वः’ इत्येषा चतुःसप्तकोष्णिक् चतुर्थ्याद्यास्तिस्रो गायत्र्य एकादशीषोडश्यौ पङ्क्ती शिष्टा दशानुष्टुभः ।‘अपादिन्द्रः इत्यर्धर्चो वैश्वदेवो ‘वरुण इदिह’ इत्याद्यास्त्रयोऽर्धर्चा वरुणदेवताकाः शिष्टा ऐन्द्र्यः । तथा चानुक्रान्तं—‘प्रप्र द्व्यूनानुष्टुभं द्विबृहत्यन्तं द्वितीयोष्णिक् चतुर्थ्याद्यास्तिस्रो गायत्र्यः षोळश्येकादश्यौ पङ्क्ती अपाद्वैश्वदेवोऽर्धर्चस्त्रयो वारुणाः’ इति । आद्यस्तृचः षोडशिशस्त्र आनुष्टुभः । सूत्रितं ‘च- ‘ प्रप्र वस्त्रिष्टुभमिषमर्चत प्रार्चत ’ (आश्व. श्रौ. ६. २) इति ॥

Jamison Brereton

69 (678)
Indra (1–10, 13–18), All Gods (11ab), Varuṇa
(11cd–12)
Priyamedha Āṅgirasa
18 verses: anuṣṭubh, except gāyatrī 4–6, paṅkti 11, 16, br̥hatī 17–18 [2 wrongly identi fied as uṣṇih by Anukramaṇī]
This often baffling hymn is metrically complex, as the above summary shows, and its metrical patterns do not always coincide with its intricate structure. Although many details remains obscure, the thematic outline of the hymn becomes clearer when that structure has been discerned. In our view, the hymn falls into two halves (vss. 1–9, 10–18), which are exactly parallel. Each consists of two tr̥cas (1–6, 10–15), followed by a single verse celebrating the partnership between Indra and the poet (7, 16), and ending with two verses concerning the Priyamedhas’ ritual offering to Indra (8–9, 17–18). The parallelism is especially clear in the final three verses of each half: both 7 and 16 contain the dual optative sacevahi “might we two become comrades” and concern a journey of a certain number of steps. In both 8–9 and 17–18 the Priyamedhas are explicitly mentioned. They are exhorted to ritual per formance in verses 8–9, while in 17–18, as is suitable in hymn-final verses, their per
formance is summarized. The parallelism between the opening tr̥cas of both halves is much freer, though there are rough correspondences.
The relationship between the two tr̥cas of the first half is noteworthy. The first tr̥ca (vss. 1–3) is quite puzzling, with opaque phraseology and uncertain references; the second tr̥ca (vss. 4–6) seems a double of the first, paraphrasing and explaining it, in a sort of global example of “poetic repair” (Jamison 2006). The second tr̥ca exhorts the poet to “chant forth” to Indra (vs. 4), and the next two verses describe the preparation of soma for Indra, with the soma drops racing to the milk (con
ceptualized, as so often, as cows). With this in mind we can approach the first tr̥ca. In verse 1 the opening phrase “forth, forth” recalls the similar phrase in verse 4 and allows the verb “chant” to be supplied (see also vs. 8). In verse 1 the recipient of what is chanted, the poem, identified as “triṣṭubh refreshment,” is clearly Soma (“the drop”), not Indra as in verse 4, but the constructions are parallel. The poem is

then the subject of the second half of the verse, as it seeks to win something unspec ified. In our opinion the subject of verse 2 is this same poem, taking aim at Soma (the “roaring bull”) among the cows, who represent the milk-mixture. In verse 3 the
soma mixture is prepared for Indra, and, it seems, for the rest of the gods. This matched pair of triplets is followed by the remarkable verse 7, in which the poet proposes a partnership between himself and Indra, a partnership to be sealed by the symbolic seven steps that in the later marriage ceremony make a marriage legal after the bride and groom have taken them, and that already in the R̥gveda (X.8.4) are the symbolic act creating a contract or alliance. The phrase “the seven(th) step of the comrade” seems to refer to this ceremonial institution. In order to make this alliance the poet and Indra go to Indra’s own home and drink the soma together, having made the journey over the surface of the sea of soma (in our view, though others consider this to be a reference to the sun). The relationship between poet and god is thus a surprisingly intimate one, remi niscent of that between the poet Vasiṣṭha and Varuṇa in VII.86–89, especially the verses describing their former comradeship with grammatical constructions and lexicon very similar to those here (VII.88.3–5). It is also similar to nearby VIII.62.11, where the poet again proposes that he and Indra yoke themselves together. The first half of the hymn is then brought to a close by the aforemen tioned exhortation to the Priyamedhas to chant to Indra (vs. 8), with a tantaliz ing glimpse of what appear to be three musical instruments accompanying them (vs. 9).
The two tr̥cas opening the second half of the hymn (vss. 10–15) reverse the order of obscurity. The first (vss. 10–12) is relatively straightforward and, at least to begin with, matches material in the first half: the speckled cows giving milk for the soma mixture in verse 10 remind us of the dappled cows and their milk in verse 3 (also 5–6), and Indra and other gods partake of the soma in verse 11, though the pres
ence and role of Varuṇa in verses 11–12 are somewhat puzzling. However, it is the next tr̥ca (vss. 13–15) that almost defeats the interpreter, especially verse 13. There is no agreement even on what god (or gods) the verse concerns, much less on what the actions in question are and whether the verse is a self-contained syntactic unit. We are inclined to take the verse as a suite of relative clauses referring to Indra, who is triumphantly proclaimed in verse 14. The second half of verse 14 alludes to the Emuṣa myth (also treated in VIII.77, etc.), in which, it seems, Indra as a boy slew a boar named Emuṣa by shooting through a mountain, and brought (or Viṣṇu brought him) a rice porridge and some buffalo (which had been protected by the boar?) from the mountain. The next verse (15) most likely also concerns this myth, or it may refer to another of Indra’s boyhood deeds. There are numerous difficulties in these three verses, and our translation is only provisional.
The following verse (16) brings us back to the present, with the poet’s second proposition of fellowship to Indra, again in the course of a journey. And the final two verses (17–18) summarize the Priyamedhas’ ritual efforts and pronounces them even better than before. We cannot claim to have settled the many issues of this hymn, but the structure outlined above does give a context in which to evaluate the difficulties that remain.

Jamison Brereton Notes

Indra

01 प्रप्र वस्त्रिष्थुभमिषम् - अनुष्टुप्

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प्र᳓-प्र वस् त्रिष्टु᳓भम् इ᳓षम्
मन्द᳓द्वीराय इ᳓न्दवे
धिया᳓ वो मेध᳓सातये
पु᳓रंधिया᳓ विवासति

02 नदं वओदतीनाम् - उष्णिक्

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नदं᳓ व ओ᳓दतीनां᳐
नदं᳓ यो᳓युवतीना᳐म्
प᳓तिं वो अ᳓घ्नियानां᳐
धेनूना᳐᳓म् इषुध्यसि

03 ता अस्य - अनुष्टुप्

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ता᳓ अस्य सू᳓ददोहसः
सो᳓मं श्रीणन्ति पृ᳓श्नयः
ज᳓न्मन् देवा᳓नां᳐ वि᳓शस्
त्रिषु᳓ आ᳓ रोचने᳓ दिवः᳓

04 अभि प्र - गायत्री

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अभि᳓ प्र᳓ गो᳓पतिं गिरा᳓
इ᳓न्द्रम् अर्च य᳓था विदे᳓
सूनुं᳓ सत्य᳓स्य स᳓त्पतिम्

05 आ हरयः - गायत्री

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आ᳓ ह᳓रयः ससृज्रिरे
अ᳓रुषीर् अ᳓धि बर्हि᳓षि
य᳓त्राभि᳓ संन᳓वामहे

06 इन्द्राय गाव - गायत्री

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इ᳓न्द्राय गा᳓व आशि᳓रं
दुदुह्रे᳓ वज्रि᳓णे म᳓धु
य᳓त् सीम् उपह्वरे᳓ विद᳓त्

07 उद्यद्ब्रध्नस्य विष्थपम् - अनुष्टुप्

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उ᳓द् य᳓द् ब्रध्न᳓स्य विष्ट᳓पं
गृह᳓म् इ᳓न्द्रश् च ग᳓न्वहि
म᳓ध्वः पीत्वा᳓ सचेवहि
त्रिः᳓ सप्त᳓ स᳓खियुः पदे᳓

08 अर्चत प्रार्चत - अनुष्टुप्

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अ᳓र्चत प्रा᳓र्चत᳓ +++(नराः)+++
प्रि᳓यमेधासो +++(=प्रियमेध-सम्बद्धाः)+++ अ᳓र्चत ।
अ᳓र्चन्तु पुत्रका᳓ उत᳓
पु᳓रं᳓ न᳓ धृष्णु᳓ +++(=धर्षणशीलः)+++ +अर्चत ।।

09 अव स्वराति - अनुष्टुप्

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अ᳓व स्वराति ग᳓र्गरो
गोधा᳓ प᳓रि सनिष्वणत्
पि᳓ङ्गा प᳓रि चनिष्कदद्
इ᳓न्द्राय ब्र᳓ह्म उ᳓द्यतम्

10 आ यत्पतन्त्येन्यः - अनुष्टुप्

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आ᳓ य᳓त् प᳓तन्ति एनि᳓यः
सुदु᳓घा अ᳓नपस्फुरः
अपस्फु᳓रं गृभायत
सो᳓मम् इ᳓न्द्राय पा᳓तवे

11 अपादिन्द्रो अपादग्निर्विश्वे - पङ्क्तिः

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अ᳓पाद् इ᳓न्द्रो अ᳓पाद् अग्नि᳓र्
वि᳓श्वे देवा᳓ अमत्सत
व᳓रुण इ᳓द् इह᳓ क्षयत्
त᳓म् आ᳓पो अभ्य् अ᳡नूषत
वत्सं᳓ संशि᳓श्वरीर् इव

12 सुदेवो असि - अनुष्टुप्

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सुदेवो᳓ असि वरुण
य᳓स्य ते सप्त᳓ सि᳓न्धवः ।
अनुक्ष᳓रन्ति काकु᳓दं+++(=कण्ठं)+++
सूर्म्यं᳙+++(=नाल्यम्)+++ +++(कृष्यर्थं)+++ सुषिरा᳓म् इव ॥

13 यो व्यतीँरफाणयत्सुयुक्ताँ - अनुष्टुप्

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यो᳓ व्य᳓तीँर् अ᳓फाणयत्
सु᳓युक्ताँ उ᳓प दाशु᳓षे
तक्वो᳓ नेता᳓ त᳓द् इ᳓द् व᳓पुर्
उपमा᳓ यो᳓ अ᳓मुच्यत

14 अतीदु शक्र - अनुष्टुप्

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अ᳓ती᳓द् उ शक्र᳓ ओहत
इ᳓न्द्रो वि᳓श्वा अ᳓ति द्वि᳓षः
भिन᳓त् कनी᳓न ओदन᳓म्
पच्य᳓मानम् परो᳓ गिरा᳓

15 अर्भको न - अनुष्टुप्

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अर्भको᳓ न᳓ कुमारको᳓
अ᳓धि तिष्ठन् न᳓वं र᳓थम्
स᳓ पक्षन् महिष᳓म् मृग᳓म्
पित्रे᳓ मात्रे᳓ विभुक्र᳓तुम्

16 आ तू - पङ्क्तिः

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आ᳓ तू᳓ सुशिप्र दम्पते
र᳓थं तिष्ठा हिरण्य᳓यम्
अ᳓ध द्युक्षं᳓ सचेवहि
सह᳓स्रपादम् अरुषं᳓
सुअस्तिगा᳓म् अनेह᳓सम्

17 तं घेमित्था - बृहती

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तं᳓ घेम् इत्था᳓ नमस्वि᳓न
उ᳓प स्वरा᳓जम् आसते
अ᳓र्थं चिद् अस्य सु᳓धितं य᳓द् ए᳓तव
आवर्त᳓यन्ति दाव᳓ने

18 अनु प्रत्नस्यौकसः - बृहती

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अ᳓नु प्रत्न᳓स्य ओ᳓कसः
प्रिय᳓मेधास एषा᳐म्
पू᳓र्वाम् अ᳓नु प्र᳓यतिं वृक्त᳓बर्हिषो
हित᳓प्रयस आशत