०५४

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सायण-भाष्यम्

‘ तां सु ते’ इति षडृचं द्वादशं सूक्तं वामदेवगोत्रस्य बृहदुक्थस्यार्षं त्रैष्टुभमैन्द्रम् । तथा चानुक्रान्तं – तां सु षड् बृहदुक्थो वामदेव्यः’ इति । समूळ्हस्य दशरात्रस्य द्वितीये छन्दोम एतत्सूक्तम् । सूत्रितं च - ‘ अपूर्व्या पुरुतमानि तां सु ते कीर्तिं त्वं महाँ इन्द्र’ (आश्व. श्रौ. ८, ७) इति । महाव्रते निष्केवल्य एतत्सूक्तम् । सूत्रितं च – तां सु ते कीर्तिं मघवन्महित्वा भूय इद्वावृधे वीर्याय’ (ऐ. आ. ५. १. ६ ) इति ॥

Jamison Brereton

54 (880)
Indra
Brhaduktha V ̥ āmadevya
6 verses: triṣṭubh
This short hymn begins by announcing (somewhat cryptically) that Indra’s fame or reputation is what prompted a frantic call on him from Heaven and Earth (vs. 1cd), and it ends (6cd) with the poet’s summation of his own praise hymn. In between there is both standard praise of Indra’s well-known deeds (e.g., vss. 1cd, 3) and more ambiguously phrased assessment of his accomplishments. In verse 2bc, for example, Indra’s victories seem almost dismissively characterized as a magic trick (māyā́, the word later famously used of the “illusion” of reality) produced by his own boasts. The four names of Indra in verse 4 are presumably his famous epi
thets, such as vr̥trahán “Vr̥tra-smasher,” but the poet also seems to be slyly implying that Indra’s deeds are reducible to words. These deprecatory hints are slight and could be otherwise interpreted, but in any case the poet has avoided a conventional recital of Indra’s exploits. Instead he seems to be saying that Indra’s great deeds and the words that express them are essentially the same: his reputation is equiva
lent to himself (vs. 1ab); his own proclamation of his powers is taken by the world as identical to “battles” (vs. 2); his epithets are the power that produces his deeds (vs. 4). Although this poetic ploy is, in one sense, the usual message that mortals’ praises strengthen Indra for his deeds, the poet here seems to be claiming something more: that the poet’s formulations are Indra’s essence.
In the very last pāda of the hymn the poet seems to be doing something simi lar with his own name Br̥haduktha (“having/producing lofty speech”), as Jesse Lundquist has suggested to me (personal communication). The pāda (6d) reads brahmakŕ̥to br̥hádukthād avāci (“…has been spoken…from Br̥haduktha, the crafter of sacred formulations”), with his name positioned between the other two words in the line. The first half of his name, br̥hát, is a close phonological match to the first half of the first word, brahma “sacred formulation”; the last half of his name, uktha “(solemn) speech,” is etymologically related to the verb avāci. Thus his very name can be, as it were, transformed into the verbal products that are his reason for being.

01 तां सु - त्रिष्टुप्

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तां᳓ सु᳓ ते कीर्ति᳓म् मघवन् महित्वा᳓
य᳓त् त्वा भीते᳓ रो᳓दसी अ᳓ह्वयेताम्
प्रा᳓वो देवाँ᳓ आ᳓तिरो दा᳓सम् ओ᳓जः
प्रजा᳓यै त्वस्यै य᳓द् अ᳓शिक्ष इन्द्र

02 यदचरस्तन्वा वावृधानो - त्रिष्टुप्

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य᳓द् अ᳓चरस् तनु᳓वा वावृधानो᳓
ब᳓लानीन्द्र प्रब्रुवाणो᳓ ज᳓नेषु
माये᳓त् सा᳓ ते या᳓नि युद्धा᳓नि आहु᳓र्
ना᳓द्य᳓ श᳓त्रुं ननु᳓ पुरा᳓ विवित्से

03 क उ - त्रिष्टुप्

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क᳓ उ नु᳓ ते महिम᳓नः समस्य
अस्म᳓त् पू᳓र्व ऋ᳓षयो अ᳓न्तम् आपुः
य᳓न् मात᳓रं च पित᳓रं च साक᳓म्
अ᳓जनयथास् तनु᳓वः सुआ᳓याः

04 चत्वारि ते - त्रिष्टुप्

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चत्वा᳓रि ते असुरि᳓याणि ना᳓म
अ᳓दाभियानि महिष᳓स्य सन्ति
तुव᳓म् अङ्ग᳓ ता᳓नि वि᳓श्वानि वित्से
ये᳓भिः क᳓र्माणि मघवञ् चक᳓र्थ

05 त्वं विश्वा - त्रिष्टुप्

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तुवं᳓ वि᳓श्वा दधिषे के᳓वलानि
या᳓नि आवि᳓र् या᳓ च गु᳓हा व᳓सूनि
का᳓मम् इ᳓न् मे मघवन् मा᳓ वि᳓ तारीस्
त्व᳓म् आज्ञाता᳓ तुव᳓म् इन्द्रासि दाता᳓

06 यो अदधाज्ज्योतिषि - त्रिष्टुप्

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यो᳓ अ᳓दधाज् ज्यो᳓तिषि ज्यो᳓तिर् अन्त᳓र्
यो᳓ अ᳓सृजन् म᳓धुना स᳓म् म᳓धूनि
अ᳓ध प्रियं᳓ शूष᳓म् इ᳓न्द्राय म᳓न्म
ब्रह्मकृ᳓तो बृह᳓दुक्थाद् अवाचि