१३०

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सायण-भाष्यम्

’ यो यज्ञः ’ इति सप्तर्चं द्वितीयं सूक्तं प्रजापतिपुत्रस्य यज्ञाख्यस्यार्षम् । आद्या जगती शिष्टास्त्रिष्टुभः । अत्रापि यज्ञादीनां केषांचिद्भावानां सृष्टिः प्रतिपाद्यते । अतः स्रष्टव्यत्वेन प्रधानभूतो योऽर्थः सैव देवता । तत्कर्ता प्रजापतिरेव देवता । तथा चानुक्रान्तं -’ यो यज्ञो यज्ञः प्राजापत्यो जगत्याद्या ’ इति । गतो विनियोगः ।।

Jamison Brereton

130 (956)
Creation of the Sacrifice
Yajña Prājāpatya
7 verses: triṣṭubh, except jagatī 1
In its first three verses the hymn depicts the creation of the acts of the sacrifice through the image of weaving. The form of the sacrifice was instituted by the gods (vss. 1, 3) and first carried out by the “fathers,” the ancient seers who were the ancestors of the current priests (vs. 6). Indeed, these fathers are at the present rite as well (1cd). In verse 2 it becomes complicated because it is difficult to know who the actors are. In 2ab the subject may not be “a man,” but “the Man,” a figure similar to the Puruṣa of X.90. That is how Sāyaṇa and others have understood it. But it might also refer simply to “a man” in the sense of “a human” and imply that humans have taken up the weaving of the gods and ancestors, and in doing so their activity reaches to heaven. Again in 2cd it is not clear who “they” are who have sat down to weave the sacrifice. They might be the fathers after 1cd, the human priests in continuation of 2ab, or the gods in anticipation of verse 3. Since any of these could have been so described, the ambiguity may be intentional.
Verse 3ab completes the weaving image, although the terminology reflects the ritual as much as it does weaving. The “model” and “image” could be for a woven cloth or a ritual performance. The nidā́na, a “connection” or a “rope,” might fit weaving but does not fit the ritual very well. Since according to X.114.2 poets are

able to see the hidden “connection,” in a ritual context it may describe knowledge that a priest has. On the other hand “melted butter” and a “frame” could find a place in either weaving or ritual. In 3cd the imagery is all from the sacrifice. In 3c the poet mentions the Praügaśastra, which is the second recitation of the Morning Pressing in the classical Agniṣṭoma. The recitation comprises I.2–3, which names the deities who receive soma in the three pressings in an Agniṣṭoma, and may have been singled out because of that. The last line could also be translated “when all the gods sacrificed to the god,” but we have understood it as an echo of 6d and X.90.16a (=I.164.50a) yajñéna yajñám ayajanta devā́ḥ “with the sacrifice the gods offered the sacrifice.”
The ritual frame described in verses 1–3 is then filled with gods in verses 4–5, verses that link the various meters of Vedic poetry with the major gods of the sacri ficial day. There are various associations between a particular meter and a particu lar god: The sacrificial fire, Agni, begins the sacrificial day, and the gāyatrī meter is associated with the morning soma-pressing. The name of the br̥hatī-meter is similar to the name of Br̥haspati, and Indra hymns are characteristically composed in the triṣṭubh meter. And, balancing Agni and the gāyatrī, the All Gods and the jagatī meter are associated with the evening soma-pressing.
The last two verses recall the ancient sages who ordered the sacrifice and affirm that the priests today follow the path that has been set for them. As Geldner notes, the “courses (of the ritual)” refer to the actions of the ritual to which the recitations are attached.

01 यो यज्ञो - जगती

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यो य॒ज्ञो वि॒श्वत॒स्तन्तु॑भिस्त॒त एक॑शतं देवक॒र्मेभि॒राय॑तः ।
इ॒मे व॑यन्ति पि॒तरो॒ य आ॑य॒युः प्र व॒याप॑ व॒येत्या॑सते त॒ते ॥

02 पुमाँ एनम् - त्रिष्टुप्

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पुमाँ॑ एनं तनुत॒ उत्कृ॑णत्ति॒ पुमा॒न्वि त॑त्ने॒ अधि॒ नाके॑ अ॒स्मिन् ।
इ॒मे म॒यूखा॒ उप॑ सेदुरू॒ सदः॒ सामा॑नि चक्रु॒स्तस॑रा॒ण्योत॑वे ॥

03 कासीत्प्रमा प्रतिमा - त्रिष्टुप्

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कासी॑त्प्र॒मा प्र॑ति॒मा किं नि॒दान॒माज्यं॒ किमा॑सीत्परि॒धिः क आ॑सीत् ।
छन्दः॒ किमा॑सी॒त्प्रउ॑गं॒ किमु॒क्थं यद्दे॒वा दे॒वमय॑जन्त॒ विश्वे॑ ॥

04 अग्नेर्गायत्र्यभवत्सयुग्वोष्णिहया सविता - त्रिष्टुप्

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अ॒ग्नेर्गा॑य॒त्र्य॑भवत्स॒युग्वो॒ष्णिह॑या सवि॒ता सं ब॑भूव ।
अ॒नु॒ष्टुभा॒ सोम॑ उ॒क्थैर्मह॑स्वा॒न्बृह॒स्पते॑र्बृह॒ती वाच॑मावत् ॥

05 विराण्मित्रावरुणयोरभिश्रीरिन्द्रस्य त्रिष्थुबिह - त्रिष्टुप्

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वि॒राण्मि॒त्रावरु॑णयोरभि॒श्रीरिन्द्र॑स्य त्रि॒ष्टुबि॒ह भा॒गो अह्नः॑ ।
विश्वा॑न्दे॒वाञ्जग॒त्या वि॑वेश॒ तेन॑ चाकॢप्र॒ ऋष॑यो मनु॒ष्याः॑ ॥

06 चाक्ळ्^इप्रे तेन - त्रिष्टुप्

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चा॒कॢ॒प्रे तेन॒ ऋष॑यो मनु॒ष्या॑ य॒ज्ञे जा॒ते पि॒तरो॑ नः पुरा॒णे ।
पश्य॑न्मन्ये॒ मन॑सा॒ चक्ष॑सा॒ तान्य इ॒मं य॒ज्ञमय॑जन्त॒ पूर्वे॑ ॥

07 सहस्तोमाः सहछन्दस - त्रिष्टुप्

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स॒हस्तो॑माः स॒हछ॑न्दस आ॒वृतः॑ स॒हप्र॑मा॒ ऋष॑यः स॒प्त दैव्याः॑ ।
पूर्वे॑षां॒ पन्था॑मनु॒दृश्य॒ धीरा॑ अ॒न्वाले॑भिरे र॒थ्यो॒३॒॑ न र॒श्मीन् ॥