०८६

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विश्वास-टिप्पनी
  • वृषाकपिर् इति खे मृगशीर्षम् (तदेवं धीमान् तिलक-बालगङ्गाधरः)।
  • प्रजापतितुल्यो देवः। thracian-प्रभावेण यावनेष्व् अपि प्रसिद्धः (Erikepaius)।
  • प्रायेण विषुवस्थानं यदा तत्रावर्तत, तदा केषुचित् प्रधानो ऽवर्तत (4500 BCE)। ततः पश्चाद् विषुवस्थानं रोहिण्याम् अवर्तत (3000 BCE)। तदानीन्तनम् इदं सूक्तम् इति भाति।
सायण-भाष्यम्

॥ श्रीगणेशाय नमः ॥

> यस्य निःश्वसितं वेदा यो वेदेभ्योऽखिलं जगत् ।
निर्ममे तमहं वन्दे विद्यातीर्थमहेश्वरम् ॥

अष्टमाष्टकस्य चतुर्थोऽध्याय आरभ्यते । तत्र ‘वि हि ’ इति त्रयोविंशत्यृचं द्वितीयं सूक्तम् । वृषाकपिर्नामेन्द्रस्य पुत्रः । स चेन्द्राणीन्द्रश्चैते त्रयः संहताः संविवादं कृतवन्तः । तत्र ‘वि हि सोतोरसृक्षत ‘: किं सुबाहो स्वङ्गुरे ’ ‘ इन्द्राणीमासु नारिषु ’ इति द्वे ‘ उक्ष्णो हि मे ’ ’ अयमेमि’ इति चतस्र इत्येता नवर्च इन्द्रवाक्यानि । अतस्तासामिन्द्र ऋषिः । ‘ परा हीन्द्र ’ इति पञ्च ‘ अवीराम् ’ इति द्वे ’ वृषभो न तिग्मशृङ्गः’ इत्याद्याश्चतस्र इत्येकादशर्चं इन्द्राण्या वाक्यानि । अतस्तासामिन्द्राण्यृषिः । ‘ उवे अम्ब ’ ‘ वृषाकपायि रेवति ’ • पशुर्ह नाम ’ इति तिस्रो वृषाकपेर्वाक्यानि । अतस्तासां वृषाकपिर्ऋषिः । सर्वं सूक्तमैन्द्रं पञ्चपदापङ्क्तिच्छन्दस्कम् । तथा चानुक्रान्तं – वि हि त्र्यधिकैन्द्रो वृषाकपिरिन्द्राणीन्द्रश्च समूदिरे पाङ्त्ुम् ’ इति । षष्ठेऽहनि ब्राह्मणाच्छंसिन उक्थ्यशस्त्र एतत्सूक्तम् । सूत्रितं च —- ‘ अथ वृषाकपिं शंसेद्यथा होताज्याद्यां चतुर्थे ’ ( आश्व. श्रौ. ८. ३) इति । यदि षष्ठे:हन्युक्थ्यस्तोत्राणि द्विपदासु न स्तुवीरन् सामगा यदि वेदमहरग्निष्टोमः स्यात्तदानीं ब्राह्मणाच्छंसी माध्यंदिने सवन आरम्भणीयाभ्यः ऊर्ध्वमेतत्सूक्तं शंसेद्विश्वजित्यपि । तथा च सूत्रितं – सुकीर्तिं ब्राह्मणाच्छंसी वृषाकपिं च पङ्क्तिशंसम् ’ (आश्व. श्रौ. ८. ४) इति ।।

Jamison Brereton

86 (912)
Vr̥ṣākapi (Conversation of Vr̥ṣākapi Aindra, Indrāṇı, ̄ and Indra)
Indra (1, 8, 11–12, 14, 19–22), Indrāṇī (2–6, 9–10, 15–18), Vrṣḁ̄ kapi Aindra (7, 13, 23) [per the Anukramaṇī]
23 verses: paṅkti

This dialogue hymn was called by Renou “the strangest poem in the R̥gveda” (“le poème le plus étrange du RV,” 1956: 246). The three participants in the dialogue are Indra, his wife Indrāṇī, and his raffish monkey pal Vr̥ṣākapi, who is making sexual advances to Indrāṇī. The hymn contains startlingly explicit sexual discourse, as well as a dazzling array of apparent non-sequiturs, all embedded in an exaltation of Indra, signaled by its consistent refrain.

Not surprisingly its meaning and web of references have been the subject of much controversy; we cannot discuss the many conflicting interpretations here. However, in our opinion many of the puzzles can be solved if it is interpreted as an oblique treatment of the Aśvamedha (Horse Sacrifice) ritual, a royal ritual in which, according to the middle Vedic ritual texts, the chief queen copulates with the sacrificed horse to increase and magnify the power of the king, her husband. In this reading, the monkey represents the horse, with whom Indrāṇī must have sexual relations. She both indignantly rejects and also encourages Vr̥ṣākapi’s advances in the course of the hymn, and after their ritual copulation she is called “wife of Vr̥ṣākapi” (vs. 13). The power of her husband Indra, the king, is extended by the performance of this ritual, though he has been, in effect, cuckolded. Hence the paradoxical announcement in verse 17, which proclaims the sexual “loser” the real master. For a detailed discussion of the hymn in the context of the Aśvamedha, see Jamison (1996a: 74–88).

The hymn begins with Indra’s complaint that he is no longer receiving honor or soma, a statement echoed by his wife (vss. 1–2). The falling off of ritual obser vance sets the stage for the performance of an Aśvamedha, for Indra to regain his position. The topic then shifts to Vr̥ṣākapi (vss. 3–6), whose friendship with Indra is clearly a bone of contention between the married couple. Indrāṇī reveals in annoyance that he has made advances to her, but then, in a startling descent into vulgar speech, boasts of her own sexual prowess (vs. 6). Vulgarity is matched by vulgarity in Vr̥ṣākapi’s first entry into the conversation (vs. 7), where he responds to her implicit invitation. These two verses may well verbally signal the sexual activity between them, the climactic moment of interspecies pairing that mimics the Aśvamedha. The next two verses (8–9), presumably spoken by Indra and Indrāṇī, may well be a humorous reflection of this intercourse, which may appear to Indra as spectator more like vexation than pleasure.

In our view, the next two verses (10–11) are spoken by the narrator, proclaiming Indrāṇī’s important new ritual status, as the queen ensuring the life and prosper ity of her husband Indra. (The Anukramaṇī assigns them to Indra.) Indra then laments the loss of his friend (vs. 12), who is going to the gods as sacrificial offer ing, but rejoices in the renewed sacrificial offerings he himself is receiving (vss. 13–14). In these verses he addresses his wife both as Indrāṇī (“wife of Indra,” vs. 12) and Vr̥ṣākapāyī (“wife of Vr̥ṣākapi,” vs. 13), for by her copulation with the monkey she became his temporary ritual wife. The narrator affirms the renewal of soma offering to Indra in verse 15, rectifying the lapse in ritual attentions noted in verse 1.

The two responsive verses that follow (16–17) are the heart of the hymn and the best support for and justification of the Aśvamedha. The first contains what would be a universally accepted truism: the sexually successful male is the master and has the power. But this is trumped by the paradoxical reversal: the sexually successful male does not have the power; it’s the unsuccessful one who is master. This state
ment is beautifully applicable to the Aśvamedha: the king is cuckolded by a horse (or, in this case, a monkey) and is witness to this humiliating act, but the king also receives all the benefit from the ritual, which increases his power, while the sexual partner of the queen is sacrificed.

With this pair of verses the hymn has reached its high point and conveyed its message. The remaining verses are something of a letdown. The next five (vss. 18–22) are an extended pun, relating the yearlong journey of the horse/monkey before the sacrifice with its journey to the gods after its sacrifice. The final puzzling verse (23) superficially has nothing to do with the rest of the hymn, but relates a miraculous birth from the daughter of Manu, who has the speaking name “Rib.” The deeper connection must be the explosive fertility that the performance of the Aśvamedha should confer on its participants. For discussion of this verse in an Indo-European context, see Watkins (2004).

The Aśvamedha is treated more directly in two hymns in Maṇḍala I, I.162 and 163.

मानसतरङ्गिणीकृत् - टिप्पनी

This Erikepaius is a likely ortholog of none other than our Vṛṣākapi, who is celebrated in RV 10.86. He is described as a friend of Indra and was later identified with Viṣṇu (we do not know if that identification already existed in the RV). The great patriot Tilak identified him with the Orion region of the sky that is more commonly associated with the Hindu protogonic deity Prajāpati. We agree that this is a valid identification, and it suggests a link between the two in the ancient past. We believe that Vṛṣākapi is a rare surviving memory of a protogonic entity linked to Indra in the RV and incorporated into Zeus in the Greek world.

Tilak - Commentary

In the hymn itself, Vr̥ṣākapi is said to have assumed the form of a yellow antelope whose head Indrāṇī is described to have cut off. This circumstance serves to guide us in at once fixing the position of Vr̥ṣākapi in the heavens. It is the same antelope’s head that has given rise to to many myths. When the position of Vr̥ṣākapi is thus fixed, it would not be difficult to understand the various incidents described in the hymn. But without further anticipating what I have to say in the explanation of the hymn, I now proceed to examine the hymn itself. We shall then see whether the assumption which we have made regarding the character and attributes of Vr̥ishākapi gives us a simple, natural, and above all, intelligible explanation of the story given in the hymn, which, as explained at present, is nothing but a bundle of disconnected, if not mutually inconsistent, statements.

There are twenty-three verses in the hymn; and of these 3, 4, 5 and 20, 21 and 22 have a direct bearing on the question we are discussing. But to understand these verses properly, it is necessary to discuss most of the other verses in the hymn, and I shall therefore examine the hymn verse by verse. I have already remarked that the hymn is one of those which have not yet been properly understood. Some of the verses have been explained by Yāska, but he has nowhere tried to give us the bearing of the whole story described in the hymn, Sāyaṇa’s commentary is very often simply verbal, and in many places he too is not certain about the meaning, while the Anukramaṇī has been several times disregarded by Sāyaṇa himself.

On the other hand, Ludwig, Grassmann, and several other European scholars have tried in their own way to explain the legend or the story embodied in the hymn, and the latest attempt of the kind is that of Piscel and Geldner in their Vedic studies, Vol. VII., Part 1. +++(I am indebted for this information to Dr. R. G, Bhāṇḍārkar, who kindly undertook to explain to me the views of German scholars on this point.)+++ These scholars hold that the hymn narrates a legend current in old days. In other words, they take it, and I think rightly, to be a historic hymn. But the question, what does the legend signify, or how did it originate, still remains unsolved. Piscel and Geldoer understand the hymn to mean that Vr̥ṣākapi went down to the south and again returned to the house of Indra. But even then the bearing of the legend is but imperfectly explained.

The occurrence of such words as dāsa, arya and parshu in the hymn have led some to suppose that the hymn records the story of a struggle between the Aryan and the non-Aryan races. But the hypothesis hardly explains the various incidents in the story, and the legend may therefore be said to be but still imperfectly understood. Under such circumstances any suggestion which explains the hymn better is at least entitled to a hearing. It is admitted that the hymn is a dialogue between Indra, Indrāṇī, and Vriṣākapi, a son of Indra as they call him.1 But there is a great divergence of opinion in assigning different verses to their deities. I shall examine these points while discussing the verses.

Piscel and Geldner introduce Vr̥ṣākapayī in the dialogue and distribute the verses somewhat differently thus, indra, 1, 3, 8, 12, 14, 19, 20; Indrāṇī 2, 4, 8, 8, 9, 16, 21 ; Vr̥ṣākapi 7, 10 13 ; and Vr̥ṣākapayī, 11, 15, 17, 18, Verses 23 und 39 are supposed to be addressed by a stranger, the narrator.

Conclusion

Now let us see what are the leading features of the story of Vr̥ṣākapi and what they signify. We have seen that scholars differ in assigning the verses of the hymn to the different speakers, and here and there we meet with expressions and words which cannot be said to be yet satisfactorily explained. Some of the interpretations I have proposed may not again be acceptable to all. But these difficulties do not prevent us from determining the leading incidents in the legend, which may therefore be summarised somewhat as follows.

Vr̥ṣākapi is a Mr̥ga, and sacrifices are stopped where he revels. He is, however, a favourite of Indra, and consequently the latter, instead of punishing, follows him. Indrāṇī, who has herself been offended by the Kapi, now reproaches Indra for his over fondness for the animal and threatens to punish the beast by cutting off his head and letting loose a dog at his ear. Indra intercedes and Indrāṇī assures him that the punishment has not been inflicted on his favorite beast, but on someone else. Vr̥ṣākapi is now going down to his house and Indra, in bidding farewell to his friend, asks him to come up again to his (Indra’s) house, so that the sacrifices may be recommenced ; and, strange to say, that when Vriṣākapi returns, in his upward march to the house of Indra, the impertinent Mr̥ga is no longer to be seen! Vr̥ṣākapi, Indra and Indrāṇī thus finally meet in the same house, without the offensive beast, and the hymn therefore concludes with a benedictory verse.

There can be little doubt that the hymn gives a legend current in old Vedic days. But no explanation has yet been suggested, which accounts for all the incidents in the story or explains how it originated. Vriṣākapi is a Mr̥ga, and his appearance and disappearance mark the cessation and the recommencement of the sacrifices. The Indian tradition identifies him with the sun in one form or another and comparison with Greek Erikapacos point to the same conclusion. Our Vr̥ṣākapi or Mr̥ga must again be such as is liable to be conceived in the form of a head cut off from the body, and closely followed by a dog at its ear, unless we are prepared to treat the very specific threat of Indrāṇī as meaningless except a general threat. All these incidents are plainly and intelligibly explained by taking Vr̥ṣākapi to represent the sun at the autumnal equinox, when the Dog-star or Orion commenced the equinoctial year; and, above all, we can now well understand why Vr̥ṣākapi’s house is said to be low in the south and how his Mr̥ga disappears when he goes to the house of Indra - a point which has been a hard knot for the commentators to solve.

I, therefore, conclude that the hymn gives us not only a description of the constellation of Orion and Canis (verses 4 and 5), but clearly and expressly defines the position of the sun when he passed to the north of the equator in old times (verse 22); and joined with the legend of the r̥bhus we have here unmistakeable and reliable internal evidence of the hymns of the R̥gveda to ascertain the period when the traditions incorporated in these hymns were first framed and conceived. In the face of these facts it is impossible to hold that the passages in the Taittirīya saṁhitā and the Brāhmaṇas do not record a real tradition about the older beginning of the year.

Geldner

Indra’s Frau:

01 वि हि - पङ्क्तिः

विश्वास-प्रस्तुतिः ...{Loading}...

+++(इन्द्रः - )+++
वि हि सोतो॒र्+++(=सोमयागात्)+++ +++(वि-)+++असृ॑क्षत॒
नेन्द्रं॑ दे॒वम् अ॑मंसत ।
यत्राम॑दद् वृ॒षाक॑पिर् +++(रात्रिखे)+++
अ॒र्यः पु॒ष्टेषु॒ मत्स॑खा॒
विश्व॑स्मा॒द् इन्द्र॒ उत्त॑रः +++(नक्षत्रचक्रे देवनक्षत्राणाम् उत्तरवर्तित्वात्)+++ ॥ १०.०८६.०१

02 परा हीन्द्र - पङ्क्तिः

विश्वास-प्रस्तुतिः ...{Loading}...

+++(इन्द्राणी -)+++
परा॒ ही॑न्द्र॒ धाव॑सि,
+++(खचक्रे देवभागे भवस्य)+++ वृ॒षाक॑पे॒र् अति॒ व्यथिः॑+++(=चलितः)+++ ।
नो अह॒! प्र वि॑न्दस्य्
अ॒न्यत्र॒ सोम॑-पीतये॒
विश्व॑स्मा॒द् इन्द्र॒ उत्त॑रः ॥ १०.०८६.०२

03 किमयं त्वाम् - पङ्क्तिः

विश्वास-प्रस्तुतिः ...{Loading}...

+++(इन्द्रः - )+++
किम् अ॒यं त्वां वृ॒षाक॑पिश्
च॒कार॒ +++(सूर्यसंसर्गाद् इन्द्रप्रीत्या च)+++ हरि॑तो+++(=सुवर्णो)+++ मृ॒गः ।
यस्मा॑ +++(ईर्ष्याम्)+++ इर॒स्यसि॑+++(=यच्छसि)+++ +इद् उ॒ न्व्,
अ१॒॑र्यो+++(←अरि)+++ वा॑ पुष्टि॒मद् वसु॒?
विश्व॑स्मा॒द् इन्द्र॒ उत्त॑रः ॥ १०.०८६.०३

04 यमिमं त्वम् - पङ्क्तिः

विश्वास-प्रस्तुतिः ...{Loading}...

+++(इन्द्राणी -)+++
यम् इ॒मं त्वं वृ॒षाक॑पिं
प्रि॒यम् इ॑न्द्राभि॒रक्ष॑सि ।
श्वा+++(=canis major)+++ न्व् अ॑स्य जम्भिष॒द्
अपि॒ कर्णे॑ वराह॒युर्
विश्व॑स्मा॒द् इन्द्र॒ उत्त॑रः ॥ १०.०८६.०४

05 प्रिया तष्थानि - पङ्क्तिः

विश्वास-प्रस्तुतिः ...{Loading}...

प्रि॒या त॒ष्टानि॑+++(=कल्पितानि [यजमानैः])+++ मे क॒पिर्
+++(इन्द्रप्रीति꣡म्, उक्षपाकं꣡ स्व꣡स्या वक्ष्य꣡माणं)+++
व्य॑क्ता॒ व्य॑दूदुषत् ।
शिरो॒ न्व् अ॑स्य राविषं॒ +++(यथा मृगशीर्षे दृश्यते)+++
न सु॒गं दु॒ष्कृते॑ भुवं॒
विश्व॑स्मा॒द् इन्द्र॒ उत्त॑रः ॥ १०.०८६.०५

06 न मत्स्त्री - पङ्क्तिः

विश्वास-प्रस्तुतिः ...{Loading}...

न मत् स्त्री सु॑भ॒सत्+++(=सुजघन)+++-त॑रा॒
न सु॒याशु॑+++(=स्वालिङ्गन)+++तरा भुवत् ।
न मत् +++(सम्भोगे)+++ प्रति॑-च्यवीयसी॒
न सक्थ्+++(=ऊरु)+++-उद्य॑मीयसी॒
विश्व॑स्मा॒द् इन्द्र॒ उत्त॑रः ॥ १०.०८६.०६

07 उवे अम्ब - पङ्क्तिः

विश्वास-प्रस्तुतिः ...{Loading}...

+++(इन्द्रः - )+++
उ॒वे+++(=हे)+++ अ॑म्ब सुलाभिके॒
+++(उक्तं)+++ यथे॑वा॒ङ्ग+++(=क्षिप्रं)+++ भ॑वि॒ष्यति॑ ।
भ॒सन्+++(=जघनम्)+++ मे॑ अम्ब॒ सक्थि॑+++(=ऊरु)+++ मे॒
शिरो॑ मे॒ वी॑व हृष्यति॒
विश्व॑स्मा॒द् इन्द्र॒ उत्त॑रः ॥ १०.०८६.०७

08 किं सुबाहो - पङ्क्तिः

विश्वास-प्रस्तुतिः ...{Loading}...

किं सु॑बाहो स्वङ्गुरे॒+++(=स्वङ्गुलि)+++
पृथु॑ष्टो॒ पृथु॑जाघने ।
किं शू॑र-पत्नि न॒स् त्वम्
अ॒भ्य॑मीषि+++(=अभिक्रुध्यसि)+++ वृ॒षाक॑पिं॒
विश्व॑स्मा॒द् इन्द्र॒ उत्त॑रः ॥ १०.०८६.०८

09 अवीरामिव मामयम् - पङ्क्तिः

विश्वास-प्रस्तुतिः ...{Loading}...

+++(इन्द्राणी -)+++
अ॒वीरा॑म् इव॒ माम् अ॒यं
श॒रारु॑र्+++(=व्यग्रताकार्य्)+++ अ॒भि म॑न्यते ।
उ॒ताहम् अ॑स्मि वी॒रिणी-
-न्द्र॑पत्नी म॒रुत्स॑खा॒
विश्व॑स्मा॒द् इन्द्र॒ उत्त॑रः ॥ १०.०८६.०९

10 संहोत्रं स्म - पङ्क्तिः

विश्वास-प्रस्तुतिः ...{Loading}...

+++(इन्द्रः प्रशंसाम् अनुवर्तयति सान्त्वनाय - )+++
सं॒हो॒त्रं+++(=संयज्ञं)+++ स्म॑ पु॒रा नारी॒
सम॑नं॒+++(=संग्रामं)+++ वाव॑ गच्छति ।
वे॒धा+++(=विधात्री)+++ ऋ॒तस्य॑ वी॒रिणी-
-न्द्र॑पत्नी महीयते॒
विश्व॑स्मा॒द् इन्द्र॒ उत्त॑रः ॥ १०.०८६.१०

11 इन्द्राणीमासु नारिषु - पङ्क्तिः

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इ॒न्द्रा॒णीम् आ॒सु नारि॑षु
सु॒भगा॑म् अ॒हम् अ॑श्रवम् ।
न॒ ह्य् अ॑स्या अप॒रं च॒न
ज॒रसा॒ मर॑ते॒ पति॒र्
विश्व॑स्मा॒द् इन्द्र॒ उत्त॑रः ॥ १०.०८६.११

12 नाहमिन्द्राणि रारण - पङ्क्तिः

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नाहम् इ॑न्द्राणि रारण॒
सख्यु॑र् वृ॒षाक॑पेर् ऋ॒ते ।
यस्ये॒दम् अप्यं॑+++(=[द्युगङ्गा]ऽप्सु भवं)+++ ह॒विः
प्रि॒यं दे॒वेषु॒ गच्छ॑ति॒
विश्व॑स्मा॒द् इन्द्र॒ उत्त॑रः ॥ १०.०८६.१२

13 वृषाकपायि रेवति - पङ्क्तिः

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वृषा॑कपायि॒+++(=वृषाकपितुये)+++ रेव॑ति॒+++(=धनवति /ताराविशेषे!)+++
सुपु॑त्र॒ आद्+++(=ततः)+++ उ॒ सुस्नु॑षे ।
+++(सूर्यस्य देवयाने यज्ञेषु)+++ घस॑त्+++(=खादतु)+++ त॒ इन्द्र॑ उ॒क्षणः॑+++(=वृषभान् / तारमण्डलविशेषस्थान्)+++
प्रि॒यं का॑चित् क॒रं+++(→कुरु)+++ ह॒विर्
विश्व॑स्मा॒द् इन्द्र॒ उत्त॑रः ॥ १०.०८६.१३

14 उक्ष्णो हि - पङ्क्तिः

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उ॒क्ष्णो+++(=वृषभान् / तारमण्डलविशेषस्थान्)+++ हि मे॒ पञ्च॑दश
सा॒कं पच॑न्ति विंश॒तिम् +++(तारागणनया)+++ ।
उ॒ताहम् अ॑द्मि॒ पीव॒ इद्
उ॒भा कु॒क्षी पृ॑णन्ति मे॒
विश्व॑स्मा॒द् इन्द्र॒ उत्त॑रः ॥ १०.०८६.१४

15 वृषभो न - पङ्क्तिः

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+++(इन्द्राणी -)+++
वृ॒ष॒भो न ति॒ग्म-शृ॑ङ्गो॒
ऽन्तर् यू॒थेषु॒ रोरु॑वत् +++(खे)+++ ।
म॒न्थस् त॑ इन्द्र॒ शं हृ॒दे
यं ते॑ सु॒नोति॑+++(→साधयति)+++ भाव॒युर् +++(इन्द्राणी)+++
विश्व॑स्मा॒द् इन्द्र॒ उत्त॑रः ॥ १०.०८६.१५

16 न सेशे - पङ्क्तिः

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न स+ई॒शे॒ यस्य॒ र+++(ल)+++म्ब॑ते
ऽन्त॒रा स॒क्थ्या॒३॒॑+++(=ऊर्वा)+++ कपृ॑त्+++(=शेफः)+++ ।
सेद् ई॑शे॒ यस्य॑ रोम॒शं+++(→उपस्थं)+++
नि॑षे॒दुषो॑ +++(मयि मग्नस्य)+++ वि॒जृम्भ॑ते॒
+++(अतो मय्य् अवधेहि, न मृगे।)+++
विश्व॑स्मा॒द् इन्द्र॒ उत्त॑रः ॥ १०.०८६.१६

17 न सेशे - पङ्क्तिः

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+++(इन्द्रः - )+++
न स+ई॒शे॒ यस्य॑ रोम॒शं
नि॑षे॒दुषो॑ वि॒जृम्भ॑ते ।
सेदी॑शे॒ यस्य॒ र+++(ल)+++म्ब॑ते
ऽन्त॒रा स॒क्थ्या॒३॒॑ कपृ॒द्+++(=शेफः)+++
+++(त्वत्प्रभावस् तादृशः!)+++
विश्व॑स्मा॒द् इन्द्र॒ उत्त॑रः ॥ १०.०८६.१७

18 अयमिन्द्र वृषाकपिः - पङ्क्तिः

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+++(इन्द्राणी -)+++
अ॒यम् इ॑न्द्र वृ॒षाक॑पिः॒
पर॑स्वन्तं+++(=परस्वं)+++ ह॒तं वि॑दत् ।
अ॒सिं सू॒नां नवं॑ च॒रुम्+++(=भाण्डम्)+++
आद्+++(=ततः)+++ एध॑स्य॒+++(=काष्ठस्य)+++ +अन॒+++(=शकटं)+++ आचि॑तं॒+++(=पूर्णम्)+++
+++(प्रजापतेः शकट इत्यपि प्रसिद्धः वृषराशिः!)+++
विश्व॑स्मा॒द् इन्द्र॒ उत्त॑रः ॥ १०.०८६.१८

19 अयमेमि विचाकशद्विचिन्वन्दासमार्यम् - पङ्क्तिः

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+++(इन्द्रः - )+++
अ॒यम् ए॑मि वि॒चाक॑शद्
विचि॒न्वन् दास॒म् आर्य॑म् ।
पिबा॑मि पाक॒+++(मानस)+++-सुत्व॑नो॒
ऽभि धीर॑म् अचाकशं॒
विश्व॑स्मा॒द् इन्द्र॒ उत्त॑रः ॥ १०.०८६.१९

20 धन्व च - पङ्क्तिः

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धन्व॑+++(=खं)+++ च॒ यत् कृ॒न्तत्रं॑+++(=कर्तनीयं →खगोलम्)+++ च॒
कति॑ स्वि॒त् ता वि योज॑ना ।
नेदी॑यसो+++(=अन्तिकाद्)+++ वृषाक॒पे
ऽस्त॒म् एहि॑ गृ॒हाँ उप॒
+++(इतः परं वृषराशौ खलु विषुवयागः, त्वत्पात्रं समाप्तम्।)+++
विश्व॑स्मा॒द् इन्द्र॒ उत्त॑रः ॥ १०.०८६.२०

21 पुनरेहि वृषाकपे - पङ्क्तिः

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पुन॒र् एहि॑ वृषाकपे
सुवि॒ता क॑ल्पयावहै +++(विषुवाद् ऊर्ध्वमं यदा सूर्यस् त्वाम् प्राप्स्यति)+++।
य ए॒ष +++(सूर्यः)+++ स्व॑प्न॒-नंश॒नो+++(=नाशनः)+++
+++(तस्य)+++ ऽस्त॒म् एषि॑ प॒था पुन॒र्
विश्व॑स्मा॒द् इन्द्र॒ उत्त॑रः ॥ १०.०८६.२१

22 यदुदञ्चो वृषाकपे - पङ्क्तिः

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यद् उद॑ञ्चो वृषाकपे
+++(तव)+++ गृ॒हम् इ॒न्द्राज॑गन्तन ।
क्व१॒॑ स्य+++(=स)+++ पु॑ल्व॒घो+++(=बहुभक्षो)+++ मृ॒गः +++(सूर्येण सहोदयेनास्तं गतो विषुवाद् ऊर्ध्वम्)+++
कम् +++(देशम्)+++ अ॑गञ्+++(=अगच्छत्)+++ जन॒-योप॑नो॒+++(=मोदनः)+++
विश्व॑स्मा॒द् इन्द्र॒ उत्त॑रः ॥ १०.०८६.२२

23 पर्शुर्ह नाम - पङ्क्तिः

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पर्शु॑र् ह॒ नाम॑ मान॒वी+++(→मनोः कालात् विषुवारम्भत्वात् पूज्यमाना)+++
+++(मृगेण)+++ सा॒कं स॑सूव विंश॒तिम् +++(तारमण्डलीभूतान् १४तमय् उक्तान्)+++।
भ॒द्रं भ॑ल॒+++(=भेदक +असे)+++ त्यस्या॑+++(=तस्या [इन्द्राण्या])+++ अभू॒द्
यस्या॑ उ॒दर॒म् आम॑य॒द् +++(भोजनेन)+++
विश्व॑स्मा॒द् इन्द्र॒ उत्त॑रः ॥ १०.०८६.२३


  1. Kātyāyana in bis Sarvānukramaṇī says-“विहि”-त्र्यधिकैन्द्रो वृषाकपिर् इन्द्राणीन्द्रश्च समूदिरे। Upon this the vedārtha dīpikā by ṣaḍguruśiṣya has- वृषाकपिर् नामेन्द्रस्य पुत्रः शचीसपन्त्यां जातः। इन्द्राणीन्द्रपत्नीन्द्रश्च स्वयमिति समूदिरे सहत्योदिरे - विवादं कृतवन्तः। 1 The verses of the hymn are theo distributed amongst the speakers as follows: indra, 1, 8, 11, 12, 14, 19, 20 21, 22 ; Indrāṇī, 2, 3, 4, 5, 6, 9, 10, 15, 16, 17, 18; and Vr̥ṣākapi, 7, 13, 33. The same distribution is given in the Br̥had-devatā by Shaunaka. ↩︎

  2. The word in the original is taṣṭāni, which literally means made, shaped, &c. Mādhava Bhaṭṭa understands it to mean oblations offered to Indraṇī. I translate it by things generally. Whatever meaning we may adopt, it is quite evident that the Kapi’s interfering with them has offended lndrāṇī. ↩︎

  3. Pischel and Geldner suppose that the verse is addressed by a third person to Vrisakapi and Indra, probably because both these names occur in the vocative case and the verb is in plural. ln that case the verse would mean, “When Indra and Vr̥ahkkapi would both be in the house, where would the sinning Mr̥ga be, &c. ? " This interpretation does not, however, make any change in the part of the verse material for our purpose. For whichsoever construction we adopt the question still remains - Why is the Mr̥ga invisible when both Indra sod Vr̥aṣākapi are together? ↩︎