११३

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सायण-भाष्यम्

‘शर्यणावति’ इत्येकादशर्चं दशमं सूक्तं मारीचस्य कश्यपस्यार्षम् । पूर्वत्र ‘हि’ इत्युक्तत्वादिदमुत्तरं च पाङ्क्तम् । पवमानसोमदेवताकम् । तथा चानुक्रम्यते- शर्यणावत्येकादश कश्यपः’ इति । गतो विनियोगः ॥

Jamison Brereton

113 (825)
Soma Pavamāna
Kaśyapa Mārīca
11 verses: paṅkti
The special interest of this hymn rests in the vision of heaven in its second half. Most strikingly, the imagery that describes this heaven—its freedom, joy, and sat isfaction of all desires—occurs again in the Upaniṣads to characterize the mysti cal realization of the self. The hymn begins more or less as a conventional soma hymn, however. In verse 1 Indra is urged to drink the soma to strengthen himself for action, and in verse 2 Soma is commanded to purify himself, with the signature imperative pavasva. Verse 2 also introduces the theme of true ritual speech, which is taken up again in verses 4–6. Verse 3 seems to contain an interlude about the rain, which provides the sap to the soma plant, though the mythological sequence involv ing the Daughter of the Sun and the Gandharvas is obscure.
Verses 6 and 7 are the omphalos verses and provide a dramatic transition from the poet’s description of the preparation of soma in the first half of the hymn to a vision of heaven (vss. 7–11), where immortality and the fulfillment of all desires are attained. Verse 6 is still set on the ritual ground and is in some ways the climax of the hymn, for it anticipates the drinking of the soma. Since soma is the drink of deathlessness, the ceremony becomes the place of immortality. Verse 6 is also gram
matically incomplete, consisting only of a dependent clause and producing tension awaiting resolution in a main clause that will answer the implicit question: “what will happen in this ‘where’?” The first half of verse 7 is responsive to 6 and thus builds the tension, but the locus of the “where” has changed: the poet has trans
formed the ritual space into the heavenly realm. The tension finds its release in the second half of verse 7, with the long-postponed main clause. The remaining verses reproduce the structure of verse 7, enlarging and embellishing the vision of the immortal world.
What links the first half of the hymn to the second, besides the transforma tive responsion of verses 6–7? The answer is not entirely clear, but it seems that the true speech that accompanies the preparation of the soma (vs. 2), perhaps the natural speech of the thunder (vs. 3), the true speech Soma himself speaks (vs. 4), the sacred formulation with which he is purified (vs. 5), and the verbal behavior of the formulator of that formulation (vs. 6) provide Soma with the power to bestow immortality. He does so by placing the poet in the immortal realms, and placing is also a recurrent theme in the first half of the hymn: Indra places soma’s strength in himself in verse 1; the rain is placed in soma as his juice in verse 3; soma is pre
pared by the Placer in verse 4; the sun was placed in the heavenly world in 7b, and finally the poet implores Soma to place him in the same world in 7c. The first two of these placings also involve clear transformation of substance: soma becomes Indra’s strength; the rain becomes soma’s sap. We can also see transformation in the Placer’s preparation of soma in verse 4, as this preparation makes a physical substance into a drink of immortality, and ultimately in Soma’s placing of the poet in the immortal world, which will make the poet himself immortal. The command of the second half of verse 7 “place me in that immortal, imperishable world” is fol lowed by the command refrain of the remaining four verses (8–11), “there make me immortal,” a sequence that appears to support the notion that the “placing” both precedes and causes the poet’s transformation.

Jamison Brereton Notes

On the structure and thematics of the hymn see published introduction.

01 शर्यणावति सोममिन्द्रः - पङ्क्तिः

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श॒र्य॒णाव॑ति॒ सोम॒मिन्द्रः॑ पिबतु वृत्र॒हा ।
बलं॒ दधा॑न आ॒त्मनि॑ करि॒ष्यन्वी॒र्यं॑ म॒हदिन्द्रा॑येन्दो॒ परि॑ स्रव ॥

02 आ पवस्व - पङ्क्तिः

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आ प॑वस्व दिशां पत आर्जी॒कात्सो॑म मीढ्वः ।
ऋ॒त॒वा॒केन॑ स॒त्येन॑ श्र॒द्धया॒ तप॑सा सु॒त इन्द्रा॑येन्दो॒ परि॑ स्रव ॥

03 पर्जन्यवृद्धं महिषम् - पङ्क्तिः

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प॒र्जन्य॑वृद्धं महि॒षं तं सूर्य॑स्य दुहि॒ताभ॑रत् ।
तं ग॑न्ध॒र्वाः प्रत्य॑गृभ्ण॒न्तं सोमे॒ रस॒माद॑धु॒रिन्द्रा॑येन्दो॒ परि॑ स्रव ॥

04 ऋतं वदन्नृतद्युम्न - पङ्क्तिः

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ऋ॒तं वद॑न्नृतद्युम्न स॒त्यं वद॑न्त्सत्यकर्मन् ।
श्र॒द्धां वद॑न्त्सोम राजन्धा॒त्रा सो॑म॒ परि॑ष्कृत॒ इन्द्रा॑येन्दो॒ परि॑ स्रव ॥

05 सत्यमुग्रस्य बृहतः - पङ्क्तिः

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स॒त्यमु॑ग्रस्य बृह॒तः सं स्र॑वन्ति संस्र॒वाः ।
सं य॑न्ति र॒सिनो॒ रसाः॑ पुना॒नो ब्रह्म॑णा हर॒ इन्द्रा॑येन्दो॒ परि॑ स्रव ॥

06 यत्र ब्रह्मा - पङ्क्तिः

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यत्र॑ ब्र॒ह्मा प॑वमान छन्द॒स्यां॒३॒॑ वाचं॒ वद॑न् ।
ग्राव्णा॒ सोमे॑ मही॒यते॒ सोमे॑नान॒न्दं ज॒नय॒न्निन्द्रा॑येन्दो॒ परि॑ स्रव ॥

07 यत्र ज्योतिरजस्रम् - पङ्क्तिः

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यत्र॒ ज्योति॒रज॑स्रं॒ यस्मिँ॑ल्लो॒के स्व॑र्हि॒तम् ।
तस्मि॒न्मां धे॑हि पवमाना॒मृते॑ लो॒के अक्षि॑त॒ इन्द्रा॑येन्दो॒ परि॑ स्रव ॥

08 यत्र राजा - पङ्क्तिः

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यत्र॒ राजा॑ वैवस्व॒तो यत्रा॑व॒रोध॑नं दि॒वः ।
यत्रा॒मूर्य॒ह्वती॒राप॒स्तत्र॒ माम॒मृतं॑ कृ॒धीन्द्रा॑येन्दो॒ परि॑ स्रव ॥

09 यत्रानुकामं चरणम् - पङ्क्तिः

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यत्रा॑नुका॒मं चर॑णं त्रिना॒के त्रि॑दि॒वे दि॒वः ।
लो॒का यत्र॒ ज्योति॑ष्मन्त॒स्तत्र॒ माम॒मृतं॑ कृ॒धीन्द्रा॑येन्दो॒ परि॑ स्रव ॥

10 यत्र कामा - पङ्क्तिः

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यत्र॒ कामा॑ निका॒माश्च॒ यत्र॑ ब्र॒ध्नस्य॑ वि॒ष्टप॑म् ।
स्व॒धा च॒ यत्र॒ तृप्ति॑श्च॒ तत्र॒ माम॒मृतं॑ कृ॒धीन्द्रा॑येन्दो॒ परि॑ स्रव ॥

11 यत्रानन्दाश्च मोदाश्च - पङ्क्तिः

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यत्रा॑न॒न्दाश्च॒ मोदा॑श्च॒ मुदः॑ प्र॒मुद॒ आस॑ते ।
काम॑स्य॒ यत्रा॒प्ताः कामा॒स्तत्र॒ माम॒मृतं॑ कृ॒धीन्द्रा॑येन्दो॒ परि॑ स्रव ॥