१०३

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सायण-भाष्यम्

‘प्र पुनानाय’ इति षडृचं सप्तमं सूक्तमाप्त्यस्य द्वितस्यार्षम्। पूर्ववच्छन्दोदेवते । तथा चानुक्रम्यते-‘प्र पुनानाय षड् द्वित आप्त्यः’ इति । गतो विनियोगः ॥

Jamison Brereton

103 (815)
Soma Pavamāna
Dvita Āptya
6 verses: uṣṇih
The most salient stylistic feature of the hymn is the preverb that begins each verse— pári “around” in all but the first verse—with the preverb increasingly less integrated syntactically with the rest of the verse. The focus on pári arises from the description of the motion of the soma as it is poured in circles into the filter.
Like the last hymn, this one follows the journey of Soma and also focuses on his ritual role and his participation in reciprocal ritual speech. Not only do we find the technical term vedhás “ritual adept’ (vs. 1), as in IX.102.4 and 101.15, but also the likewise technical vāghát “cantor” (vs. 5) in its only appearance in the IXth Maṇḍala. The poet’s presentation of his speech and poetic thoughts in verse 1 and the voices of the seers in verse 3 are met by Soma as himself “leader of thoughts” in verse 4.
The hymn shares some lexical and thematic material with the immediately pre ceding IX.102. In addition to the aforementioned vedhás, note, for example, the cleverly variant pādas 102.5b and 103.4b, which both contain “all the gods” and lack of deceit. But in 103 all the gods are embedded in a compound modifying Soma, whereas in 102 they are syntactically independent; moreover, the “deceit” theme is carried by two different roots (dabh, druh) in two different valences: the gods of 102 do not deceive, while Soma in 103 cannot be deceived. It is difficult not to consider 102 and 103 as composed in conversation with each other, and the Anukramaṇī’s ascription of 103 to Dvita Āptya (“the second Āptya”) clearly plays off 102’s Trita Āptya (“the third Āptya”—but also the original Āptya from a myth
ological perspective, since he is a commonly mentioned figure and has an Avestan correspondent, whereas Dvita Āptya is essentially found only here).

Jamison Brereton Notes

On the structure of this hymn and its relationship to the previous hymn IX.102, see published introduction. Unlike IX.102, the variant of Uṣṇih employed here seems to be 8 8 / 12: in two of the six vss. the configuration of words makes a separable 4- syllable final pāda impossible (2c: … kṛṇute háriḥ#; 3c … saptá nūṣata#), and though the other four vss. end with a 4-syllable word, only in vs. 1 does this show the syntactic distancing found throughout IX.102.

As was noted in the published introduction, IX.102 and 103 share thematic and lexical material. A list of the most obvious includes vs. 1: vedhás- / 102.4 jújoṣate / juṣánta 102.5 vs. 2: “three seats” reminiscent of trī́ṇi in 102.3, not to mention the two tritá’s in 102.2, 3.

vs. 3: vā́ṇīr ṛ́ṣīṇām saptá / 102.4 saptá mātáraḥ vs. 4b: viśvádevo ádābhyaḥ / 102.5b víśve devā́so adrúhaḥ This pattern breaks down in the latter part of the hymn. Moreover, IX.103 is considerably more straightforward than 102, and it also possesses a different, quite salient structuring device, the fronted preverb that opens each vs.: prá (1), pári (2-6).

As was also noted in the published introduction, pári has less and less integral connection to the rest of the vs. as the hymn goes on.

01 प्र पुनानाय - उष्णिक्

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प्र᳓ पुनाना᳓य वेध᳓से
सो᳓माय व᳓च उ᳓द्यतम्
भृतिं᳓ न᳓ भरा मति᳓भिर् जु᳓जोषते

02 परि वाराण्यव्यया - उष्णिक्

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प᳓रि वा᳓राणि अव्य᳓या
गो᳓भिर् अञ्जानो᳓ अर्षति
त्री᳓ षध᳓स्था पुनानः᳓ कृणुते ह᳓रिः

03 परि कोशम् - उष्णिक्

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प᳓रि को᳓शम् मधुश्चु᳓तम्
अव्य᳓ये वा᳓रे अर्षति
अभि᳓ वा᳓णीर् ऋ᳓षीणां सप्त᳓ नूषत

04 परि णेता - उष्णिक्

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प᳓रि णेता᳓ मतीनां᳐᳓
विश्व᳓देवो अ᳓दाभियः
सो᳓मः पुनान᳓श् चमु᳓वोर् विशद् ध᳓रिः

05 परि दैवीरनु - उष्णिक्

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प᳓रि दइ᳓वीर् अ᳓नु स्वधा᳓
इ᳓न्द्रेण याहि सर᳓थम्
पुनानो᳓ वाघ᳓द् वाघ᳓द्भिर् अ᳓मर्तियः

06 परि सप्तिर्न - उष्णिक्

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प᳓रि स᳓प्तिर् न᳓ वाजयु᳓र्
देवो᳓ देवे᳓भियः सुतः᳓
विआनशिः᳓ प᳓वमानो वि᳓ धावति