०५३

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सायण-भाष्यम्

‘उत्ते’ इति चतुर्ऋचमेकोनत्रिंशं सूक्तं काश्यपस्यावत्सारस्यार्षं गायत्रं पवमानसोमदेवताकम् । तथा चानुकान्तम्– उत्ते चतुष्कमवत्सारः’ इति । उक्तो विनियोगः ॥

Jamison Brereton

53 (765)
Soma Pavamāna
Avatsāra Kāśyapa
4 verse: gāyatrī
The next eight hymns (IX.53–60) are attributed to the same poet as V.44, a hymn to the All Gods often declared to be the hardest hymn in the R̥gveda. Although these brief soma hymns have some interesting features, they lack the mind-boggling verbal pyrotechnics of that hymn.
On the other hand, the organizing principle of V.44 is the double application of each verse to two different divinities, Agni and Soma, with a lexicon ambiguous enough to allow both interpretations. Something of the same thing is visible in this hymn, in which each verse but the last (4) invites the audience to supply a refer
ent different from the one meant. The first verse deploys clear Indraic vocabulary, particularly the vocative “possessor of the stone,” though Soma can, and should, be its subject. The first two-thirds of the second verse (2ab) suggest either Indra or Soma as referent, until the 1st singular verb form “I will praise” that opens the last pāda establishes the 1st-person speaker as the referent. Again, the third verse opens like a verse to Varuṇa or another Āditya, and only the “self-purifying” that begins the second pāda ties it to Soma. It is only the last verse that contains unmistakable somian vocabulary and which, in its final pāda, clarifies the roles of the drop (índu) and Indra.

Jamison Brereton Notes

On the rhetorical indirection in this hymn, see published introduction. as well as more detailed comments below.

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Jamison Brereton Notes

The next 8 hymns, the last ones before the lengthy hymns assembled from tṛcas (IX.61-68) that end the dimeter collection, are attributed to Avatsāra Kāśyapa. All of them contain four vss., and a number of them are structured such that the first three vss. form a unity, with the last vs. stylistically or thematically contrastive or completive. See esp.

IX.53-57. Oldenberg tends to analyze them as a tṛca with Schlussvers, which is strictly accurate, but I think the point is the interplay of 3+1.

01 उत्ते शुष्मासो - गायत्री

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उ᳓त् ते शु᳓ष्मासो अस्थू
र᳓क्षो भिन्द᳓न्तो अद्रिवः
नुद᳓स्व याः᳓ परिस्पृ᳓धः

02 अया निजघ्निरोजसा - गायत्री

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अया᳓ निजघ्नि᳓र् ओ᳓जसा
रथसंगे᳓ ध᳓ने हिते᳓
स्त᳓वा अ᳓बिभ्युषा हृदा᳓

03 अस्य व्रतानि - गायत्री

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अ᳓स्य व्रता᳓नि ना᳓धृ᳓षे
प᳓वमानस्य दूढि᳓या
रुज᳓ य᳓स् त्वा पृतन्य᳓ति

04 तं हिन्वन्ति - गायत्री

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तं᳓ हिन्वन्ति मदच्यु᳓तं
ह᳓रिं नदी᳓षु वाजि᳓नम्
इ᳓न्दुम् इ᳓न्द्राय मत्सर᳓म्