०६८

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सायण-भाष्यम्

चतुर्थेऽनुवाकेऽष्टादश सूक्तानि । तत्र ‘प्र देवम्’ इति दशर्चं प्रथमं सूक्तं भलन्दनपुत्रस्य वत्सप्रेरार्षं पवमानसोमदेवताकम् । दशमी त्रिष्टुप् शिष्टा जगत्यः । तथा चानुक्रम्यते- प्र देवं दश वत्सप्रिर्भालन्दनस्त्रिष्टुबन्तं ह’ इति । गतो विनियोगः ॥

Jamison Brereton

68 (780)
Soma Pavamāna
Vatsaprī Bhālandana
10 verses: jagatī, except triṣṭubh 10
The first of the Soma hymns in jagatī meter (IX.68–86), this poem well dem onstrates the increased possibilities for verbal and conceptual richness that the longer meter affords, in contrast to the concision and constriction of gāyatrī. The hymn has an omphalos structure: since verse 10 is a summary verse and in a different meter (triṣṭubh), verse 5 is the middle verse and encodes the esoteric knowledge that is the hymn’s message. This verse is framed by a number of verbal and semantic responsions (though not as tightly arranged as in some omphalos hymns): for instance, the fingers of verses 4 and 7, as well as the same phrase “held by men” in both verses; the forms of the root vid “find, discover” in verses 3 and 6 (and 9).
More important is the conceptual architecture: the hymn leads up to the ompha los and away from it, returning to its conceptual starting point. It begins with the ritual soma and the familiar details of its preparation (vss. 1–2): the journey across the filter and the mixing with milk, complete with details about the actual filtering process, as the juice leaves its detritus in the filter. But toward the end of verse 2, the journey gains a larger resonance, however vague: soma circles “the wide expanse,” an area that sounds more ample than a mere sheep’s fleece. In verses 3 and 4 the journey has turned cosmic: heaven and earth are now the domain for Soma’s travel and for his fecundating activity, and in our view the contrast between Soma’s swell
ing footprint in 4b and his head in 4d expresses his cosmic reach, from his feet on earth, swelling with rain, to his distant head in heaven.
Verse 5, the omphalos, provides an explanation, albeit a mystical one, for the difference between the ritual soma of the first two verses and the cosmic one of verses 3–4. He really had two births, one in secret even beyond the two worlds and one made evident to all. And as a consequence there are actually two Somas, a fact first recognized by Heaven and Earth. (Such is our reading of this verse, which has generally been interpreted quite differently: one influential opinion identifies the Aśvins as the twins mentioned, a solution of desperation in our opinion.)
The second form of Soma, the physical and visible one, is brought to earth in verse 6, and the poets and ritualists transform him into the ritual soma now familiar to us. The remaining verses before the summary (7–9) bring us back to the current ritual soma with which we began, but with a clearer awareness of the powers his dual nature has bestowed on him. For example, in verse 1 the drops are simply “pro
vided with speech,” but in verses 8–9 Soma “rouses speech” all the way to heaven. Similarly, in verse 2 he simply “circles around” the wide expanse, whereas in 9d, the last pāda of the hymn proper, he “finds” wide space, a feat much desired and much celebrated by the Vedic Āryas.

Jamison Brereton Notes

On the architecture and thematics of this hymn, see published introduction.

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Jamison Brereton Notes

The trimeter portion of the IXth Maṇḍala begins with IX.68, and the Jagatī section goes through IX.86.

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Jamison Brereton Notes

The theme of these three hymns, particularly insistent in the first and last, is the difference between and ultimate unity of earthly and heavenly Soma.

01 प्र देवमच्छा - जगती

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प्र᳓ देव᳓म् अ᳓छा म᳓धुमन्त इ᳓न्दवो
अ᳓सिष्यदन्त गा᳓व आ᳓ न᳓ धेन᳓वः
बर्हिष᳓दो वचना᳓वन्त ऊ᳓धभिः
परिस्रु᳓तम् उस्रि᳓या निर्णि᳓जं धिरे

02 स रोरुवदभि - जगती

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स᳓ रो᳓रुवद् अभि᳓ पू᳓र्वा अचिक्रदद्
उपारु᳓हः श्रथ᳓यन् स्वादते ह᳓रिः
तिरः᳓ पवि᳓त्रम् परिय᳓न्न् उरु᳓ ज्र᳓यो
नि᳓ श᳓र्याणि दधते देव᳓ आ᳓ व᳓रम्

03 वि यो - जगती

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वि᳓ यो᳓ ममे᳓ यमि᳓या संयती᳓ म᳓दः
साकंवृ᳓धा प᳓यसा पिन्वद् अ᳓क्षिता
मही᳓ अपारे᳓ र᳓जसी विवे᳓विदद्
अभिव्र᳓जन्न् अ᳓क्षितम् पा᳓ज आ᳓ ददे

04 स मातरा - जगती

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स᳓ मात᳓रा विच᳓रन् वाज᳓यन्न् अपः᳓
प्र᳓ मे᳓धिरः स्वध᳓या पिन्वते पद᳓म्
अंशु᳓र् य᳓वेन पिपिशे यतो᳓ नृ᳓भिः
सं᳓ जामि᳓भिर् न᳓सते र᳓क्षते शि᳓रः

05 सं दक्षेण - जगती

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सं᳓ द᳓क्षेण म᳓नसा जायते कवि᳓र्
ऋत᳓स्य ग᳓र्भो नि᳓हितो यमा᳓ परः᳓
यू᳓ना ह स᳓न्ता प्रथमं᳓ वि᳓ जज्ञतुर्
गु᳓हा हितं᳓ ज᳓निम ने᳓मम् उ᳓द्यतम्

06 मन्द्रस्य रूपम् - जगती

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मन्द्र᳓स्य रूपं᳓ विविदुर् मनीषि᳓णः
श्येनो᳓ य᳓द् अ᳓न्धो अ᳓भरत् पराव᳓तः
त᳓म् मर्जयन्त सुवृ᳓धं नदी᳓षु आँ᳓
उश᳓न्तम् अंशु᳓म् परिय᳓न्तम् ऋग्मि᳓यम्

07 त्वां मृजन्ति - जगती

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तुवा᳓म् मृजन्ति द᳓श यो᳓षणः सुतं᳓
सो᳓म ऋ᳓षिभिर् मति᳓भिर् धीति᳓भिर् हित᳓म्
अ᳓व्यो वा᳓रेभिर् उत᳓ देव᳓हूतिभिर्
नृ᳓भिर् यतो᳓ वा᳓जम् आ᳓ दर्षि सात᳓ये

08 परिप्रयन्तं वय्यम् - जगती

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परिप्रय᳓न्तं वयि᳓यं सुषंस᳓दं
सो᳓मम् मनीषा᳓ अभ्य् अ᳡नूषत स्तु᳓भः
यो᳓ धा᳓रया म᳓धुमाँ ऊर्मि᳓णा दिव᳓
इ᳓यर्ति वा᳓चं रयिषा᳓ळ् अ᳓मर्तियः

09 अयं दिव - जगती

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अयं᳓ दिव᳓ इयर्ति वि᳓श्वम् आ᳓ र᳓जः
सो᳓मः पुनानः᳓ कल᳓शेषु सीदति
अद्भि᳓र् गो᳓भिर् मृज्यते अ᳓द्रिभिः सुतः᳓
पुनान᳓ इ᳓न्दुर् व᳓रिवो विदत् प्रिय᳓म्

10 एवा नः - त्रिष्टुप्

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एवा᳓ नः सोम परिषिच्य᳓मानो
व᳓यो द᳓धच् चित्र᳓तमम् पवस्व
अद्वेषे᳓ द्या᳓वापृथिवी᳓ हुवेम
दे᳓वा धत्त᳓ रयि᳓म् अस्मे᳓ सुवी᳓रम्