1 Introduction
Rigveda 10.67 centres on the god BrÌ¥haspati and his role in the Vala-myth. This is a cattle-raid narrative, the details of which are attested in several Rigvedic hymns.1 The Paá¹is, Indraâs enemies, possess huge cattle herds. They keep them concealed in a rocky cavern named Vala, which is situated in a remote region of the world. Some hymns specify that Indra sends off his dog, SaramÄ, to find the cows (RV 1.62.3, 10.108). SaramÄ locates the Paá¹isâ hiding place. The Paá¹is deride SaramÄ, so, she returns to Indra, who decides to head to Vala himself. The god splits open the cavern and steals the Paá¹isâ cows.
In a number of passages, Indra destroys Vala thanks to the help of BrÌ¥haspati, the god of sacrifice,2 and a group of singing priests,3 identified as the Aá¹ girasas or the UÅijas.4 Indra and BrÌ¥haspati are associated in several texts.5 For instance, the expressions âwith BrÌ¥haspati as yokemateâ (bÅÌ¥haspátinÄ yujÄÌ, RV 8.96.15d) and âwith Indra as a yokemateâ (Ãndreá¹a yujÄÌ, RV 2.23.18c)6 apply to Indra and BrÌ¥haspati respectively. Moreover, even though Indra is often identified as the protagonist of the Vala-myth, some poems, like RV 10.67, ascribe this heroic deed directly to BrÌ¥haspati. As shown by Hans-Peter Schmidt in his 1968 seminal study,
Indra was the original hero of the Vala-myth, in his role as priest-king and with his priestly weaponsâsongs and correctly formulated true speechâwith the Aá¹ giras singers as his helpers. In this role he received the epithet âbrÌ¥haspatiâ. But in time the epithet was split off into a separately conceived divine figure BrÌ¥haspati, first as an alloform of Indra and then detached from Indra as an independent divinity who served as Indraâs priestâtaking with him Indraâs priestly role, while Indra retained the roles of king and warrior.
JamisonâBrereton 2014:633
Our hymn was composed in triá¹£á¹ubh-meter by AyÄsya Äá¹ girasa. It consists of twelve stanzas, which display a set of lexical and semantic repetitions (see below, sections 2 and 4).7 The poem opens with a reference to BrÌ¥haspati and the Aá¹ girasas (1â3) and moves on to the description of Valaâs opening and BrÌ¥haspatiâs accomplishment (4â5): by destroying the Vala cave, BrÌ¥haspati found âthe dawn, the cow, the sun and the chantâ (5). The second part of the hymn starts by recalling the Vala-endeavour (6â8), celebrates BrÌ¥haspati (9â10), and concludes with a final invocation of BrÌ¥haspati (11) and of Indra (12), who is identified as the smasher of VrÌ¥tra, as well as the crusher of Arbudaâs head and the liberator of the waters.
2 Repetitions and Rings in Rigveda 10.67
The following lexical repetitions can be identified within the poem:
Table 7
Rigveda 10.67, lexical repetitions
|
[poetic thought] |
dhÃyam (1a) |
:: |
dÄ«ÌdhyÄnÄ (2a) |
:: |
dhÄ«bhÃḥ (8b) |
||||
|
[correctness] |
r̥tá° (1b) |
:: |
r̥tám (2a) |
||||||
|
[to generate] |
rÌ¥tápra°jÄtÄm (1b) |
:: |
janayad viÅvá°janyaḥ (1c) |
||||||
|
[to find/invent] |
avindat (1b) |
:: |
viveda (5d) |
||||||
|
[Indra] |
ÃndrÄya (1d) |
:: |
Ãndraḥ (6a) |
:: |
Ãndraḥ (12a) |
||||
|
[solemn speech] |
Åáá¹san (1d) |
:: |
Åáá¹santa (2a) |
||||||
|
[think/thought] |
mananta (2d) |
:: |
mánasÄ (8a) |
:: |
matÃbhiḥ (9a) |
||||
|
[comrade] |
sákhibhiḥ (3a) |
:: |
sákhibhiḥ (7a) |
||||||
|
[Br̥haspati] |
bÅÌ¥haspátiḥ (3c) |
:: |
bÅÌ¥haspátiḥ (4c) |
:: |
bÅÌ¥haspátiḥ (5c) |
:: |
bráhmaá¹as pátiḥ (7c) |
:: |
bÅÌ¥haspátiḥ (8c) |
|
bÅÌ¥haspátim (9c) |
:: |
bÅÌ¥haspátim (10c) |
|||||||
|
[cow] |
gÄÌ (3c) |
:: |
gÄÌ (4a) :: gÄÌm (5c) :: gÄÌ (6c) |
:: |
gódhÄyasam (7c) |
:: |
gópatiá¹gÄÌ (8a) |
||
|
[light] |
jyótiḥ (4c) |
:: |
jyótiḥ (10c) |
||||||
|
[to search] |
ichánn (4c) |
:: |
ichámÄnáḥ (6c) |
||||||
|
[up + dawn-cows] |
úd usrÄÌ (4d) |
:: |
úd usrÃyÄ (8d) |
||||||
|
[to split apart] |
vibhÃdyÄ (5a) |
:: |
và ⦠abhinat (12b) |
||||||
|
[authentic(ity)] |
satyébhiḥ (7a) |
:: |
satyéna (8a) |
:: |
satyÄÌm (11a) |
||||
|
[to increase] |
vardháyantaḥ (9a) |
:: |
vardháyantaḥ (10c) |
||||||
|
[seat] |
sadhásthe (9b) |
:: |
sádma (10b) |
||||||
|
[bull] |
vḀ̊ṣaá¹am (9c) |
:: |
vḀ̊ṣaá¹am (10c) |
||||||
Further semantic repetitions and parallelisms can be detected:
Table 8
Rigveda 10.67, semantic repetitions
|
[head] |
saptáÅÄ«rá¹£á¹Ä«m (1a) |
:: |
mÅ«rdhÄÌnam (12b) |
||||
|
[like loud animal] |
haá¹saÃr iva vÄÌvadadbhiḥ (3a) |
:: |
siá¹hám iva nÄÌnadatam (9b) |
||||
|
[to open/crush apart] |
và ⦠ÄÌvaḥ (4d) |
:: |
và cakartÄ (6b) |
:: |
và ⦠adardaḥ (7b) |
:: |
vÃy ÄÌnaá¹ (7d) |
The entire set of repetitions is hereunder schematically presented:
The reiteration of terms for âheadâ (1a, 12b) encompasses the hymn and thus frames further internal circles. Two internal rings (ring 2.a and 2.b), interlocking in 5, divide the poem into two parts. They emphasise the main events of the myth: the invention/finding of the poetic thought âof seven headsâ (cf. the repetition of ved: avindat [1b], viveda [5d], ring 2.a) within the base collocation [godâinventâ¯sâsong/poetic thoughtacc.] and the smashing of Vala (cf. the reiteration of âto split/open apartâ: vibhÃdyÄ [5a] : và ⦠abhinat [12b]; và ⦠ÄÌvaḥ [4d], và cakartÄ [6b] : và ⦠adardaḥ [7b] : vÃy ÄÌnaá¹ [7d]).
The recurrence of divine names creates further internal rings (rings 3 and 4), which give prominence to the protagonists of the myth (cf. section 4 on st. 6, below). The main circular structures are additionally interlaced through several other lexical and semantic repetitions, in which the terms are placed at close distance from one another (cf. section 4, on st. 10).
3 Text and Translation
|
1 |
imÄÌá¹ dhÃyaá¹ saptáÅÄ«rá¹£á¹Ä«m pitÄÌ na rÌ¥táprajÄtÄm brÌ¥hatÄ«Ìm avindat turÄ«Ìyaá¹ svij janayad viÅvájanyo aâyÄÌsiya ukthám ÃndrÄya Åáá¹san |
1. This seven-headed poetic thought here,8 born of truth and lofty, did our father find. The fourth one indeed did the irrepressible one, belonging to all men, generate as he was pronouncing a solemn speech for Indra. |
|
2 |
rÌ¥táṠÅáá¹santa rÌ¥jú dÄ«ÌdhyÄnÄ divás putrÄÌso ásurasya vÄ«rÄÌḥ vÃpram padám áṠgiraso dádhÄnÄ yajñásya dhÄÌma prathamám mananta |
2. Pronouncing the truth, thinking straight, the sons of heaven, the heroes of the lord, the Aá¹ girases, establishing their inspired word [/laying their inspired track], pondered the first foundation of the sacrifice. |
|
3 |
haá¹saÃr iva sákhibhir vÄÌvadadbhir aÅmanmáyÄni náhanÄ viyásyan bÅÌ¥haspátir abhikánikradad gÄÌ utá prÄÌstaud úc ca vidvÄÌmÌ agÄyat |
3. Along with his comrades, who were constantly gabbling like geese, while he was throwing open the fastenings made of stone, while he kept roaring to the cows, Br̥haspati both started the praise song and struck up the melody, as knowing one. |
|
4 |
avó dvÄÌbhyÄm pará ékayÄ gÄÌ gúhÄ tÃá¹£á¹hantÄ«r ánrÌ¥tasya sétau bÅÌ¥haspátis támasi jyótir ichánn úd usrÄÌ ÄÌkar và hà tisrá ÄÌvaḥ |
4. With two (gates) below, with one above, the cows standing hidden in the fetter of untruthâBrÌ¥haspati, seeking light in the darkness, brought up the ruddy ones, for he opened up the three (gates). |
|
5 |
vibhÃdyÄ púraá¹ Åayáthem ápÄcÄ«á¹ nÃs trÄ«Ìá¹i sÄkám udadhér akrÌ¥ntat bÅÌ¥haspátir uṣásaá¹ sÅ«Ìryaá¹ gÄÌm arkáṠviveda stanáyann iva dyaúḥ |
5. Having split apart the stronghold (from front) to back, (having split apart) the lairs, at one blow he cut out the three [= dawn, sun, cow] from the reservoir. Br̥haspati found the dawn, the sun, the cow, (found) the chant while he was thundering like heaven. |
|
6 |
Ãndro valáṠraká¹£itÄÌraá¹ dúghÄnÄá¹ karéá¹eva và cakartÄ ráveá¹a svédÄñjibhir ÄÅÃram ichámÄnó aârodayat paá¹Ãm ÄÌ gÄÌ amuá¹£á¹Ät |
6. Indra cut apart Vala, the guard over the milkers, with a roar like a tool. Seeking the milk-mixture with (his comrades) anointed with sweat, he made the niggard wail: he stole the cows. |
|
7 |
sá Ä«á¹ satyébhiḥ sákhibhiḥ Åucádbhir gódhÄyasaá¹ và dhanasaÃr adardaḥ bráhmaá¹as pátir vḀ̊ṣabhir varÄÌhair gharmásvedebhir dráviá¹aá¹ vÃy ÄÌnaá¹ |
7. With his trusty comrades blazing, with the winners of spoils, he cleaved apart the cow-nurturer. The Lord of the Sacred Formulation reached through to the treasure with his bulls, his boars, with their hot sweat [/sweating over the gharma pot]. |
|
8 |
té satyéna mánasÄ gópatiá¹ gÄÌ iyÄnÄÌsa iá¹£aá¹ayanta dhÄ«bhÃḥ bÅÌ¥haspátir mithóavadyapebhir úd usrÃyÄ asrÌ¥jata svayúgbhiḥ |
8. With trusty mind begging the cowherd for the cows, they compelled him with their poetic thoughts.9 Br̥haspati loosed the ruddy ones upward, with his own yokemates who protect each other from fault. |
|
9 |
táṠvardháyanto matÃbhiḥ ÅivÄÌbhiḥ siá¹hám iva nÄÌnadataá¹ sadhásthe bÅÌ¥haspátiá¹ vḀ̊ṣaá¹aá¹ ÅÅ«ÌrasÄtau bháre-bhare ánu madema jiá¹£á¹Ãºm |
9. With our propitious thoughts strengthening him, ever roaring in his seat like a lion, we would celebrate Br̥haspati the bull, victorious at the contest of champions, victorious in every raid, |
|
10 |
yadÄÌ vÄÌjam ásanad viÅvárÅ«pam ÄÌ dyÄÌm áruká¹£ad úttarÄá¹i sádma bÅÌ¥haspátiá¹ vḀ̊ṣaá¹aá¹ vardháyanto nÄÌnÄ sánto bÃbhrato jyótir ÄsÄÌ |
10. When he won the prize of all forms and mounted to heaven, to the higher seats. BrÌ¥haspati the bull (would we celebrate), strengthening himâthough each (of us) brings light with our mouth in our own way. |
|
11 |
satyÄÌm ÄÅÃá¹£aá¹ krÌ¥á¹utÄ vayodhaà kÄ«rÃá¹ cid dhiy ávatha svébhir évaiḥ paÅcÄÌ mÅÌ¥dho ápa bhavantu vÃÅvÄs tád rodasÄ« ÅrÌ¥á¹utaá¹ viÅvaminvé |
11. Make our hope come true, our hope for the conferring of vigor. For you help even the weakling in your own ways. Let all slighters be off, be behind (us). You two world-halves, who set all in motion, hear this. |
|
12 |
Ãndro mahnÄÌ maható ará¹avásya và mÅ«rdhÄÌnam abhinad arbudásya áhann áhim áriá¹Ät saptá sÃndhÅ«n devaÃr dyÄvÄprÌ¥thivÄ« prÄÌvataá¹ naḥ |
12. Indra with his greatness split apart the head of the great flood, of Arbuda. He smashed the serpent. He let flow the seven streams. O Heaven and Earth, along with the gods, further us. |
4 Commentary
1  BrÌ¥haspatiâs discovery is described as a âpoetic thought/visionâ, Ved. dhÄ«Ì- (cf. Ved. dhay âto look, perceive, conceive, thinkâ), âinsightful thoughtâ (JamisonâBrereton 2014), âDichtungâ (Geldner 1951â1957). Since Ved. dhÄ«Ì- sometimes means âpoem, i.e. the result of an insightful thought/visionâ, AyÄsya Äá¹ girasa may be referring to RV 10.67 itself. In this case, analogously to what Phillips (2013) proposes for Pythian Twelve, our hymn would be meta-aetiologic in nature.
The adj. saptáÅÄ«rá¹£an- âhaving seven headsâ (1a) is usually interpreted as an allusion to the seven Aá¹ girasas, the singing priests who escort (Indra/)BrÌ¥haspati in his endeavour (Schmidt 1968:228). In fact, one passage might allow us to recover a link between the number âsevenâ and the Aá¹ girasas in the Vala-myth, cf. RV 4.2.15 ádhÄ mÄtúr uṣásaḥ saptá vÃprÄ , jÄÌyemahi prathamÄÌ vedháso nÅÌÌ¥n / divás putrÄÌ Ã¡á¹ giraso bhavema , ádriá¹ rujema dhanÃnaá¹ Åucántaḥ âthen as the seven inspired poets might we be born from mother Dawn, as the foremost ritual adepts for men. Might we become sons of heaven, Aá¹ girasas. Might we break the rock that holds the prize, as we blazeâ. The association between BrÌ¥haspati and number seven is not an isolated trait of RV 10.67: the god is said to possess âseven mouthsâ and âseven reinsâ, which are in turn identified with his priestly escort, cf. RV 4.50.4cd saptÄÌsiyas tuvijÄtó ráveá¹a , và saptáraÅmir adhamat támÄmÌsi âhe, possessing seven mouths [= Aá¹ girasas] and seven reins [= seers?], being powerfully born, blew apart the dark shades with his roarâ.
The expression pitÄÌ naḥ, âour fatherâ (1a), addressed to BrÌ¥haspati (cf. RV 6.73.1c, tautometric), is reminiscent of â(our) fathersâ (Ved. pitáro naḥ), a common designation of the Aá¹ girasas (RV 1.71.2a, 10.62.2a, cf. also 10.62.5). Elsewhere BrÌ¥haspati is called âfather to all the godsâ, Ved. pitré viÅvádevÄya (dat., RV 4.50.6a). Significantly, the apostrophe to âour fatherâ (1a) is followed by three occurrences of the root jani âto generateâ (IE *Äenh1-, cf. liv2 163â165, iew 373â375), cf. rÌ¥táprajÄta- âborn of truthâ (1b), janayat âhe generatedâ, viÅvájanyaḥ âbelonging to all men (°janya-)â (1c). The use of jani in (1c) turÄ«Ìyaá¹ svij janayat is also reminiscent of passages in which BrÌ¥haspati is identified as the âbegetter of sacred formulationsâ, cf. RV 2.23.2d janitÄÌ bráhmaá¹Äm. At the same time, the compound rÌ¥táprajÄta- âborn of truthâ (1b), together with the expression rÌ¥táṠÅáá¹santa rÌ¥jú dÄ«ÌdhyÄnÄḥ âpronouncing the truth, thinking straightâ (2a) stresses that BrÌ¥haspatiâs and the Aá¹ girasasâ invention is in conformity with the truth/cosmic order (Ved. rÌ¥tá-).
According to JamisonâBrereton 2014:1488, âthe fourth oneâ, Ved. turÄ«Ìyam (1c), ârefers to the fourth, inaudible portion of speech, or the fourth formulation, which figures prominently in Vedic speculations on the nature and power of speech (see Jamison 1991:251â257)â. This explanation is well suited to the context since BrÌ¥haspati is said to pronounce a Åáá¹sa- âsolemn speechâ for Indra (1d).10
The verb ved âto findâ (see below, [5cd]) is often used in connection with the priest-god, cf. the epithets vasuvÃd- âfinding richesâ (RV 1.18.2b), svarvÃd- âfinding the sunâ (BrÌ¥haspatiâs chariot in RV 2.23.3d), and two verses from RV 10.68: 9ab sóṣÄÌm avindat sá súvà ḥ só agnÃá¹ âhe found the dawn, found the sun, found the fireâ; 11d bÅÌ¥haspátir bhinád ádriá¹ vidád gÄÌḥ âBrÌ¥haspati split the rock and found the cowsâ.
2  The stanza introduces (Indra/)BrÌ¥haspatiâs helpers by their name: the Aá¹ girasas (2c) are the âsons of Heavenâ (divás putrÄÌsaḥ [2b], cf. RV 3.53.7b) who are distinguished by rectitude (rÌ¥tám ⦠rÌ¥jú)11 in speaking (Åáá¹santaḥ, vÃpram padám ⦠dádhÄnÄḥ âpronouncing ⦠establishing their inspired wordâ) and thinking (dÄ«ÌdhyÄnÄḥ ⦠mananta âthinking ⦠they ponderedâ). The two participles Åáá¹santaḥ ⦠dÄ«ÌdhyÄnÄḥ âpronouncing ⦠thinkingâ (2a) recall Åáá¹sa- âsolemn speechâ (1d) and dhÄ«Ì- âpoetic thoughtâ (1a), while rÌ¥tám âtruthâ (2a) reprises rÌ¥táprajÄtÄm âborn in truthâ (1b).
The term padá- (2c) is ambiguous, since it may refer both to âwordâ and âtrackâ (cf. Thompson 1995). In turn, padá- âtrackâ often applies to poetic creation, since the creative process, just like in Greek Archaic poetry (cf. chapter 5, section 2, 7), is metaphorically represented as the search for a physical place, cf. e.g. RV 7.87.4cd, 10.53.10cd. At 2d the poet stresses the role of the Aá¹ girasas in connection with the creation of the sacrifice. While vÃpram padám ⦠dádhÄnÄḥ âestablishing their inspired wordâ (2c) emphasizes the sphere of speech, the verb mananta âthey ponderedâ (2d), semantically paralleling dÄ«ÌdhyÄnÄḥ âthinkingâ (2a), highlights the sphere of mental activity.
3  The focus shifts progressively from the Aá¹ girasas to BrÌ¥haspati, in an accumulation of acoustic elements: the Aá¹ girasas are compared to âgeeseâ, cf. haá¹saÃḥ iva ⦠ÄÌvadadbhiḥ âconstantly gabbling like geeseâ (3a), while the acoustic dimension of BrÌ¥haspati is emphasized by Ved. abhikánikradat âroaring to the cowsâ (3c), prÄÌstaut âstarted the praise songâ út ⦠agÄyat âstruck up the melodyâ (3d). This sequence of lexemes apparently marks a climax from âunarticulated/animal-like soundâ (haá¹saÃr iva ⦠ÄÌvadadbhiḥ, abhikánikradat gÄÌḥ âconstantly gabbling like geese ⦠roaring to the cowsâ, [3a], [3c]) to âmusical soundâ (prÄÌstaut ⦠út ⦠agÄyat âhe started the praise song ⦠struck up the melodyâ, [3d]), which is produced by BrÌ¥haspati, the âknowing oneâ (Ved. vidvÄÌmÌs- [3d]).
The comparison between the Aá¹ girasas and the birds in (3a) is similar to the metaphor found in RV 10.68, in which BrÌ¥haspatiâs chants are compared to water birds, cf. RV 10.68.1ab udaprúto ná váyo ráká¹£amÄá¹Ä , vÄÌvadato abhrÃyasyeva ghóṣÄḥ âconstantly gabbling like water birds watching out for each other, like the sounds of booming (thunder) emanating from a cloudâ.12 The god is often associated with loud utterances of a distinctly different in nature, namely: non-articulated cries and correctly pronounced formulations. His âroaring and bellowingâ is emphasized in RV 1.190.1, 4.50.1ab, 6.73.1d. Elsewhere, his call is directly compared to a âterrible beastâ (mrÌ¥gáḥ ná bhÄ«máḥ, RV 1.190.3d, mrÌ¥gÄÌá¹Äm ná, RV 1.190.4c). Other passages stress the leading role of the priest god, identifying him as the âguide of the songâ (gÄthÄnÃyà ḥ, RV 1.190.1c, asyá yantÄÌ sÅ«ktásya, RV 2.23.19ab, 2.24.16ab).13 In a way analogous to the poet in Ancient Greece (cf. Massetti 2019:169â174), the god is also compared to the point in which all songs converge in streams (RV 1.190.7).
In (3b) the expression aÅmanmáyÄni náhanÄ âthe fastenings made of stoneââVed. nah, nadh usually applies to âbindingâ of chariots and yokes, cf. GrassmannâKozianka 1996 s.v. nadh-, nahâhints at the Vala cave. A thematic derivative from IE *u̯el- âto enclose, envelopâ (cf. liv2 678, iew 674), Ved. valá- is the enclosure par excellence, cf. chapter 9, section 1.4.
4  Vala is again compared to a fetter (ánrÌ¥tasya sétau âin the fetter of untruthâ [4b]), a place where the cows are hidden (gÄÌ , gúhÄ tÃá¹£á¹hantīḥ [4ab]), and to a sort of stable, the doors of which are opened by (Indra/)BrÌ¥haspati. The same accomplishment is ascribed to Agni (RV 7.9.2) or, more often, to Indra, cf. RV 6.17.6cd aúrá¹or dúra usrÃyÄbhyo và dr̥ḷhÄÌ , úd Å«rvÄÌd gÄÌ asrÌ¥jo áṠgirasvÄn âYou (: Indra) opened the doors, opened up the strongholds for the dawn-red ones. Accompanied by the Aá¹ girasas, you sent the cows surging up from the enclosureâ (cf. also RV 6.18.5, 6.31.5). In RV 10.67, the result of (Indra/)BrÌ¥haspatiâs heroic deed is described as both the liberation of the cows (úd usrÄÌ ÄÌkar âhe brought up the ruddy [cows]â [4d]; úd usrÃyÄ asrÌ¥jata âhe loosed the ruddy ones upwardâ [8d]) and a cattle theft (ÄÌ gÄÌ amuá¹£á¹Ät âhe stole the cowsâ [6d]). Elsewhere the base collocation [heroâleadâ¯s/driveâ¯s ([sam-]/[ud-]aj)âgoods] summarizes the final achievement of the Vala-myth, cf. RV 2.24.3c úd gÄÌ Äjat âhe drove up the cattleâ (cf. RV 4.50.5cd, 10.68.7d), RV 6.73.3a bÅÌ¥haspátiḥ sám ajayad vásÅ«ni âBrÌ¥haspati entirely conquered [= carried off together] goodsâ (cf. chapter 9, sections 3.3â4).14
The combination of different images (the cows, the gate-opening, Vala) creates a series of metaphors, namely: (i) [cows] : [poetic speech/poetic inspiration], (ii) [cows] : [light/light-beams], (iii) [cows] : [waters].15
(i) âCowsâ are a metaphoric designation of âspeech/verbal artâ (e.g. RV 10.64.12), cf. the expression âhidden track(s) of the cowâ, a common poetic designation for the cryptic meanings of the verbal art.16 At the same time, like cows in a stable, inspired thoughts are imagined to pass through âpoetic doorsâ, cf. RV 9.10.6 ápa dvÄÌrÄ matÄ«nÄám , pratnÄÌ rÌ¥á¹vanti kÄrávaḥ / vḀ̊ṣá¹o hárasa Äyávaḥ âthe ancient bards thrust open the doors of poetic thoughtsâthe Äyus for the raging of the bullâ. Elsewhere, BrÌ¥haspati is said to have pierced a cistern âcontaining streams of honeyâ. It is possible that this image too hints at poetic art, since âpoetryâ is often associated with the notion of âsweetnessâ,17 cf. RV 2.24.4ab áÅmÄsiyam avatám bráhmaá¹as pátir , mádhudhÄram abhà yám ójasÄÌtrÌ¥á¹at âthe cistern with its mouth of stone, containing streams of honey, which the Lord of the Sacred Formulation drilled out by his powerâ.18 In RV 10.68, BrÌ¥haspati is explicitly said to have âbrought to mindâ the âhidden name of the milk-cowâ, another common kenning for âpoetic speechâ,19 cf. RV 10.68.7ab bÅÌ¥haspátir ámata hà tyád ÄsÄá¹ , nÄÌma svarÄ«Ìá¹Äá¹ sádane gúhÄ yát âfor BrÌ¥haspati brought to mind this very name of these who were resounding (with)in the seatâ(the name) that was hiddenâ. The mission to find the cows thus configures as the mission for âthe art of the wordâ, âpoetryâ and âpoetic inspirationâ, cf.
RV 4.1.15â16ab15. té gavyatÄÌ mánasÄ drÌ¥dhrám ubdháá¹gÄá yemÄnám pári ṣántam ádrimdr̥ḷháṠnáro vácasÄ daÃviyenavrajáṠgómantam uÅÃjo và vavruḥ16. té manvata prathamáṠnÄÌma dhenóstrÃḥ saptá mÄtúḥ paramÄÌá¹i vindan
Those with their mind set on cattle (opened up) the solid, knotted-up, enclosing stone that held the cows. The firmly fixed pen full of cows did the men, the fire-priests, open up with divine speech. They brought to mind the first name of the milk-cow; thrice seven highest (names) of the mother they found.
Since the correlation between the act of âsearching for the cowsâ and that of âdiscovering of the cowâs name(s)â poetically describes the dynamics of the creative process,20 the Vala-myth configures as a myth which is ultimately about the discovery of artistic inspiration.
At the same time, since the image of âopening the gatesâ combines with that of âseeking the lightâ (Ved. jyótir ichán) in RV 10.67.4c, (ii) the passage may be hinting at sun-rising and the sacrifice, which is performed daily at dawn.21 Agni, Uá¹£as, and the Sun are commonly imagined as the gods who âopen the doors of darknessâ or âthe stony doors of heavenâ, cf. e.g. RV 3.5.1d ápa dvÄÌrÄ támaso váhnir Ävaḥ âas the draft-horse ⦠[Agni] has opened the doors of darknessâ; RV 4.51.2cd vÃy Å«Ì vrajásya támaso dvÄÌrÄ , uchántÄ«r avrañ chúcayaḥ pÄvakÄÌḥ âthey [: the Dawns] have unclosed the doors of the enclosure of darkness as they dawn, blazing and pureâ, RV 5.45.1 vidÄÌ divó viá¹£yánn ádrim ukthaÃr , ÄyatiyÄÌ uṣáso arcÃno guḥ / ápÄvrÌ¥ta vrajÃnÄ«r út súvà r gÄd , và dúro mÄÌnuṣīr devá Ävaḥ âthrough knowledge unloosing the stone of heaven with hymnsâthe shining (beacons) of the approaching dawn come (out of it) he uncloses (the doors) to the enclosures: the Sun comes up. The god has opened up the doors belonging to the sons of Manuâ. In connection with the metaphor [cows] : [rays of light] the use of the Ved. adj. usrá- âruddyâ in (4d) (a thematic delocatival derivative of uṣás- âdawnâ) should be highlighted. As the term is homophone of usrá- âcalfâ, it is not always possible to distinguish between usrá-1 âdawny, ruddyâ and usrá-2 âcalfâ (EWAia I 239), especially because usrá-1 often applies to dawnâs cows, i.e. Uá¹£asâ light-beams (Campanile 1986). The metaphorical overlap [cows] : [light beams] may also be confirmed by texts which connect BrÌ¥haspati with the creation of light (the sun, the dawn, the fire). Since sacrifices are performed every day at dawn, BrÌ¥haspati, the inventor of the first sacrifice, is said to have hidden darkness and have made the sun visible, cf. RV 2.24.3d ágÅ«hat támo vÃy à caká¹£ayat súvà ḥ âhe hid the darkness and made the sun visibleâ, to have pressed away darkness and mounted on âthe chariot of rÌ¥ta, which is light-bearing and sun-findingâ (RV 2.23.3bd jyótiá¹£mantam rátham rÌ¥tásya [â¦] suvarvÃdam), to have blown darkness apart or driven it away, cf. RV 4.50.4cd ráveá¹a ⦠và ⦠adhamat támÄmÌsi â(sc. BrÌ¥haspati) blew apart the dark shades with his roarâ, RV 10.68.5ab ápa jyótiá¹£Ä támo antáriká¹£Äd , udnáḥ ÅÄ«ÌpÄlam iva vÄÌta Äjat âwith his light he drove away the darkness from the midspace as the wind drives the ÅÄ«pÄla-plant from the waterâ.22
Finally, (iii) âcowsâ are often compared to âwatersâ. This metaphor creates an overlap between the Vala-myth and the VrÌ¥tra-myth, in which Indra kills âthe encloserâ (VrÌ¥tra, a further derivative of IE *u̯el- âto enclose, envelopâ) and frees the waters (cf. chapter 9, sections 3.3â4). Such a mythological correspondence is particularly evident in passages like RV 2.23.18cd Ãndreá¹a yujÄÌ támasÄ párÄ«vrÌ¥tam , bÅÌ¥haspate nÃr apÄÌm aubjo ará¹avám âwith Indra as your yokemate, BrÌ¥haspati, you forced out the flood of waters, enclosed by darknessâ. In the framework of the same association of images, BrÌ¥haspati is said to search for the sun and the waters, cf. RV 6.73.3c apáḥ sÃá¹£Äsan súvà r ápratÄ«taḥ âwhen he sets out to win the waters and the sun, (BrÌ¥haspati) is unopposableâ.
5  This stanza recalls the main achievements of BrÌ¥haspati: the god split Vala and found the most precious cosmic treasures. The collocation vibhÃdyÄ púram âhaving split apart the strongholdâ, (5a), in which Ved. púr- âstrongholdâ hints at Vala as the âenclosureâ, may be recognized as a varied version of the mythâs base collocation [heroâ(vi-)bhedâvalá-/ádri-acc.], cf. e.g. RV 2.11.20d bhinád valám Ãndro áṠgirasvÄn âtogether with the Aá¹ girasas, Indra split the Vala caveâ, RV 6.73.1ab adribhÃt ⦠bÅÌ¥haspátiḥ âhe who is splitter of the stone ⦠BrÌ¥haspatiâ.23 In 5b trÄ«Ìá¹i âthe threeâ may allude to the dawn, the sun, and the cow (Geldner 1951â1957, JamisonâBrereton 2014), i.e. the three elements which BrÌ¥haspati extracts from Vala (see above [4], metaphor [ii]).
Hence, 5c could be taken as a clarification of trÄ«Ìá¹i, cf. bÅÌ¥haspátir uṣásaá¹ sÅ«Ìryaá¹ gÄÌm [viveda (d)] âBrÌ¥haspati [found] the dawn, the sun, the cowâ. As already anticipated, Ved. ved in 5d (arkáṠviveda stanáyann iva dyaúḥ âhe [found] the chant while he was thundering like heavenâ) builds a lexical repetition with pÄda 1ab (cf. section 2 above).
Ved. arká- (5d) is the âblazing chantâ (cf. IE *h1erku̯- âto shine, singâ, liv2 240â241, iew 340, cf. Ved. arc âto singâ, Hitt. arku- âid.â [as per Melchert 1998], ta yärksÄt âhe worshippedâ) and probably alludes to the chant performed at the fire-ritual. In RV 10.68.4, BrÌ¥haspati is compared to the âfirebrand of heavenâ, cf. RV 10.68.4 Äpruá¹£Äyán mádhunÄ rÌ¥tásya yónim , avaká¹£ipánn arká ulkÄÌm iva dyóḥ / bÅÌ¥haspátir uddhárann áÅmano gÄÌ , bhÅ«ÌmyÄ udnéva và tvácam bibheda âspraying the womb of truth with honey, flinging (it = honey?) down like a firebrand from heaven when the chant (sounded), BrÌ¥haspati, when he brought the cows up out of the stone, split asunder the skin of the earth as if (just) with waterâ, while the godâs chant is said to be âfire-hotâ in RV 10.68.6ab yadÄÌ valásya pÄ«Ìyato jásum bhéd , bÅÌ¥haspátir agnitápobhir arkaÃḥ âwhen BrÌ¥haspati split the feebleness of taunting Vala with his fire-hot chants â¦â
6  In this stanza Indra is said to have cut apart Vala, which is here personified, cf. raká¹£itÄÌraá¹ dúghÄnÄá¹ âthe guard over the milkersâ (6a). Indra smashes Vala using the same means as BrÌ¥haspati, i.e. the roar (karéá¹eva ⦠ráveá¹a âwith the roar as a toolâ [6b]). While 6c alludes to the search for the cows (cf. Ved. ichámÄnaḥ âseekingâ [6c]), in 6d Indra is said to have made his enemy lament for the loss of his cows (cf. arodayat paá¹Ãm âhe made the niggard lamentâ [6d]). A similar motif occurs in RV 10.68.10ab himéva pará¹ÄÌ muá¹£itÄÌ vánÄni , bÅÌ¥haspátinÄkrÌ¥payad való gÄÌḥ âas the woods (lament) their leaves stolen by cold, Vala lamented for the cows (stolen) by BrÌ¥haspatiâ.
As pointed out by JamisonâBrereton 2014:1488, the position of Indraâs name at 6a suggests that the figures of Indra and BrÌ¥haspati overlap: Ved. Ãndraḥ is the first word of 6a and 12a. BrÌ¥haspatiâs name too occupies a fixed position throughout the hymn, i.e. it occurs in the initial position of the second part of the first half of 3, 4, and 5 ([3b], [4b], [5b]), and in the initial position of the first part of the second half of 8, 9, and 10 ([8c], [9c], [10c]). The collocation bráhmaá¹as páti- âLord of the Sacred Formulationâ, which is the synchronic etymology of BrÌ¥haspati, takes the same place (initial word of the second part of the first half) in stanza 7. The distribution of divine names is almost perfectly symmetrical throughout the hymn and gives emphasis to the overlap Indra : Brahmanas pati : BrÌ¥haspati, as illustrated in table 9, above.
Table 9
Rigveda 10.67, distribution of divine names
|
1â2: |
no name |
: |
introduction + focus on the Aá¹ girasas |
|
3bâ4bâ5b: |
Br̥haspati |
: |
focus on Br̥haspati |
|
6a: |
Indra |
: |
focus on Indra |
|
7b: |
Brahmanas pati |
: |
focus on Indra-Brahmanas pati |
|
8bâ9bâ10b: |
Br̥haspati |
: |
focus on Br̥haspati |
|
11: |
no name |
: |
invocation |
|
12: |
Indra |
: |
focus on Indra |
7  satyéhiḥ sákhibhiḥ Åucádbhiḥ âwith his trusty comrades blazingâ (7a) vaguely recalls haá¹saÃr iva sákhibhir vÄÌvadadbhiḥ âalong with his comrades, who were constantly gabblingâ (3a). The poet seems to play with the poetic image of the âblazing chantâ: the Aá¹ girasas are âconstantly gabblingâ (3a) and thus they âblazeâ (Åucádbhiḥ, [7a]). In this strophe Vala is again personified and defined âcow-nurturerâ (gódhÄyasam, [7b]).
The verb (vÃ-)dar, cf. và ⦠adardaḥ âhe cleaved apartâ (7b), also applies to Vala in RV 1.62.4d valáṠráveá¹a darayo dáÅagvaiḥ âwith a roar you cleft Vala with the DaÅagvasâ.24 As already anticipated (see above, [6]) 7c contains the synchronic etymology of the name BrÌ¥haspati (bráhmaá¹as pátiḥ [7c]), while the roaring of the god and/or his utterances are portrayed as bulls (vḀ̊ṣabhiḥ, [7c]) and boars (varÄÌhaiḥ, [7c]), i.e. as bellowing (RV 4.56.1+)25 and snorting animals (RV 6.61.2+).
8  If, in the incipit of the hymn, BrÌ¥haspati and the Aá¹ girasas are associated with the notion of âtruthâ as âcorrectnessâ (rÌ¥tá-, cf. 1b, 2a), here they are connected with the idea of âtruthâ as âauthenticityââsatyéna mánasÄ âwith trusty mindâ [8a] includes the adj. satyá-, which reflects *h1s-nÌ¥ti̯o-, cf. IE *h1es- âto beâ (liv2 241â242, iew 340â341).
In 8a Vala is again personified as a gópati- âcowherdâ. Ved. dhÄ«bhÃḥ âwith insightful thoughtsâ (JamisonâBrereton 2014)/âwith poetic thoughtsâ (my translation) (8b) recalls dhÃyam (1a) and dÄ«ÌdhyÄnÄḥ (2a), while in 8d the expression úd usrÃyÄ asrÌ¥jata âhe loosed the ruddy ones upwardâ is reminiscent of (4d) úd usrÄÌ ÄÌkar âhe brought up the ruddy onesâ.
9  The focus shifts on the officiants (madema âwe would celebrateâ, in [9d]) who are singing BrÌ¥haspati, the god âwho roars like a lionâ (siá¹hám iva nÄÌnadatam [9b], cf. above [3], [5d]). The stanza creates a partial overlap between the role of the Aá¹ girasas, who honour (Indra/)BrÌ¥haspati because he split Vala, and that of the priests honouring the god in the present. In this connection, note the use of (9a) táṠvardháyanto matÃbhiḥ ÅivÄÌbhiḥ âstrengthening him with propitious thoughtsâ, with matÃ- being related to mananta ([2d], cf. IE *men- âto thinkâ, liv2 435â436, iew 746â748) and belonging to the same semantic sphere of dhÄ«Ì- (1a), dÄ«ÌdhyÄnÄḥ (2a), and dhÄ«bhÃḥ (8b).
The last pÄda defines (Indra/)BrÌ¥haspati bháre-bhare ⦠jiá¹£á¹Ãºm âvictorious in every rideâ (9d) and may be compared to RV 2.23.13ab bháreá¹£u hávyo námasopasádyo , gántÄ vÄÌjeá¹£u sánitÄ dhánaá¹-dhanam âwho is to be invoked in raids and to be approached with reverence, who goes among the prizes of victory and wins every stakeâ (cf. also RV 6.73.2d).
For táṠvardháyanto matÃbhiḥ ÅivÄÌbhiḥ ⦠bÅÌ¥haspátiá¹ vḀ̊ṣaá¹am âwith our propitious thoughts strengthening him, ever roaring like a lionâ (9a), (9c), cf. the next stanza and RV 1.190.1ab anarvÄÌá¹aá¹ vr̥ṣabhám mandrájihvam , bÅÌ¥haspátiá¹ vardhayÄ návyam arkaÃḥ âwith chants I will strengthen anew the unassailable bull of gladdening tongue, BrÌ¥haspatiâ.
10  This stanza mirrors the preceding one: it begins with a mention of (Indra/)BrÌ¥haspatiâs omniform prize (vÄÌjam ⦠viÅvárÅ«pam âthe prize of all formsâ [10a]) and moves to BrÌ¥haspatiâs ascent to heaven (ÄÌ dyÄÌm áruká¹£at âhe mounted to heavenâ [10b]). Significantly, the god is associated with the cow viÅvárÅ«pa- in RV 1.161.6b (bÅÌ¥haspátir viÅvárÅ«pÄm úpÄjata âBrÌ¥haspati drove near [the cow] of all formsâ). Moreover, he is identified as a âbull of all formsâ in RV 3.62.6 (vr̥ṣabháṠcará¹£aá¹Ä«nÄáṠ, viÅvárÅ«pam ádÄbhiyam / bÅÌ¥haspátiá¹ váreá¹iyam âto the bull of the settled domains, having all forms, undeceivable, BrÌ¥haspati worthy to be chosen â¦â).
The stanza closes with the poets âstrengtheningâ BrÌ¥haspati through their words (vardháyantaḥ [10c]) (Indra/)BrÌ¥haspati (with bÅÌ¥haspátiá¹ vḀ̊ṣaá¹am [10c] identical to bÅÌ¥haspátiá¹ vḀ̊ṣaá¹am [9c]). The final part of the stanza focuses on the priests âwho carry the light in their mouthsâ (bÃbhrato jyótir ÄsÄÌ [10d]). According to JamisonâBrereton 2014, âthe final pÄda of verse 10 alludes to the different poetic skills and styles of the mortal celebrantsâ. One may note that the fire-mouthed priests performing the Vedic ritual overlap with âblazingâ Aá¹ girasas (cf. Åucádbhiḥ [7a]). As table 10 makes evident, stanzas 9 and 10 display a set of lexical and semantic repetitions, which are disposed in an almost perfectly symmetrical way.
Table 10
Rigveda 10.67, stanzas 9 and 10
|
9a |
vardháyantaḥ |
:: |
10c |
vardháyantaḥ |
|
9a |
matÃbhiḥ ÅivÄÌbhiḥ |
:: |
10c |
bÃbhrato jyótir ÄsÄÌ |
|
9b |
sadhásthe |
:: |
10b |
sádma |
|
9c |
bÅÌ¥haspátiá¹ vḀ̊ṣaá¹am |
:: |
10c |
bÅÌ¥haspátiá¹ vḀ̊ṣaá¹am |
|
9d |
bháre-bhare ⦠jiá¹£á¹Ãºm |
:: |
10a |
vÄÌjam ásanad viÅvárÅ«pam |
11  AyÄsya Äá¹ girasa expresses the wish for vigour (11a) and help (11b) as well as his hope of avoiding troubles (11c). In d, the poet addresses the ródasÄ« âtwo world-halvesâ, i.e. heaven and earth, for hearing. These two cosmic entities are addressed again in (12d).
12  The name of Indra occurs in the same initial position as in 6a. Two heroic deeds of the god are mentioned, namely: the splitting apart of Arbudaâs head (và mÅ«rdhÄÌnam abhinad arbudásya âsplit apart the head of Arbudaâ [12b]) and the victory over VrÌ¥tra, which culminates with the liberation of the waters (áhann áhim áriá¹Ät saptá sÃndhÅ«n âhe let flow the seven streamsâ [12c]).
Ved. áhann áhim âhe smashed the serpentâ (12c) is the base collocation of Indraâs combat against VrÌ¥tra (cf. e.g. RV 1.32, in which this myth is treated in extenso). As first pointed out by Renou (1934:110â111), in the base collocation of this myth, [heroâkillâ¯sâserpent], Ved. han mostly expresses âto killâ. However, Ved. bhed substitutes the root han in a number of cases (see chapter 9, section 2.3.3). In an analogous way, (vÃ-)bhed is regularly employed in connection with the heroic deed at Vala, but han is sporadically associated with (Indra/)BrÌ¥haspatiâs accomplishments, cf. amÄ«vahán- âwho smashing afflictionsâ (BrÌ¥haspati in RV 1.18.2a), ghnán vrÌ¥trÄÌá¹i âsmashing obstacles (= VrÌ¥tras)â (RV 6.73.2c), bÅÌ¥haspátir hántiy amÃtram arkaÃḥ âBrÌ¥haspati smites the foe with his chantsâ (RV 6.73.3d).
The name of Arbuda, here probably identified with a flood, cf. (12ab) maható ará¹avásya ⦠arbudásya âof the great flood ⦠of Arbudaâ, occurs seven times in the Rigveda applying to an enemy defeated by Indra. The details of the heroic deed, however, are not easily reconstructable: Indra is said to have laid Arbuda low (RV 2.11.20ab), to have trampled him underfoot (RV 1.51.6c), and to have pressed him down to the depths (RV 2.14.4c). Elsewhere, however, Indra drives away Arbudaâs cows (RV 8.3.19cd árbudasya ⦠gÄÌ Äjaḥ âyou [: Indra] drove the cows of Arbudaâ). Finally, in RV 8.32, Indra is first invoked to undermine the topside of Arbuda (RV 8.32.3ab nÃy árbudasya viá¹£á¹Ã¡pam ⦠tira âundermine the topside of Arbudaâ) and then said to have pierced his enemy with snow (RV 8.32.26c himénÄvidhyad árbudam âwith snow he pierced Arbudaâ). In 12b, và mÅ«rdhÄÌnam abhinad arbudásya, the reference to the enemyâs head as being split by Indra is reminiscent of the splitting of Vala (cf. Ved. [vÃ-]bhed, on which see above [5]). At the same time, the image of Ardubaâs head builds a semantic repetition with that of the seven-headed poetic thought (dhÃyaá¹ saptáÅÄ«rá¹£á¹Ä«m [1a], cf. section 2 above). The poem finally concludes with an invocation to Heaven and Earth (devaÃr dyÄvÄprÌ¥thivÄ« prÄÌvataá¹ naḥ âO Heaven and Earth, along with the gods, further usâ [12d]).
On BrÌ¥haspati cf. Shende 1947; on the myth cf. Oberlies 2012:200â207.
As the god of ritual speech, BrÌ¥haspati is invoked for protection (cf. RV 1.18.3, 2.23.4â17, 2.30.4, 2.30.9, 7.97.2â4, 10.103.4, 10.155.2â3), for help with the ritual speech (RV 1.40.4â6, 7.97.1, 7.97.9) and the sacrifice (RV 2.25, 2.26) as well as to punish from all forms of evil speech (RV 10.182).
The Aá¹ girasas are BrÌ¥haspatiâs troops, cf. RV 4.50.5ab sá suá¹£á¹ÃºbhÄ sá ÅÌ¥kvatÄ gaá¹Ã©na , valáṠruroja phaligáṠráveá¹a âhe with his flock possessing good rhythm, the flock possessing chantâhe broke Vala, broke its bolt with his roarâ. Consequently, the god is addressed as âtroop-lord of troopsâ, cf. RV 2.23.1ac gaá¹ÄÌnÄá¹ tvÄ gaá¹Ã¡patiá¹ havÄmahe , kavÃá¹ kavÄ«nÄÌm upamáÅravastamam / jyeá¹£á¹harÄÌjam bráhmaá¹Äm brahmaá¹as pate âwe call upon you, the troop-lord of troops, the most famous poet of poets, the preeminent king of sacred formulations, O Lord of the sacred formulationâ.
Ved. uÅÃj- (: OAv. usij-) designates both âpoetâ and âpriestâ. In the Rigveda, the term also occurs as an epithet of Agni. The etymology of the word is unknown. It may reflect a compound uÅ°Ãj- with a fcm reflecting a zero-grade of the same root underlying Ved. vaÅ âto wantâ (IE *u̯eÆ-, cf. liv2 672â673, iew 1135) and a scm based on the root IE *h1aÄ- âto lead, conveyâ (reconstructed as *h2eÄ- in liv2 255â256, iew 4â5) or *Hi̯aÄ- âto sacrificeâ (cf. liv2 224â225, iew 501). However, Scarlata 1999:398 criticizes these reconstructions.
Cf. RV 1.40.1â2, where BrÌ¥haspati is associated with Indra and the Marutas. RV 4.49 reflects a further overlap between the two gods. This short hymn to Indra and BrÌ¥haspati is likely to be based on hymns to Indra and VÄyu (cf. JamisonâBrereton 2020). Furthermore, in RV 4.50.10â11, BrÌ¥haspati and Indra are invited together to drink the soma. From the phraseological point of view, cf. also the overlap between Indra acyutacyút- âshaker of the unshakableâ (RV 2.12.9d, 6.18.5c) and RV 2.24.2c prÄÌcyÄvayad ácyutÄ bráhmaá¹as pátiḥ âthe Lord of the Sacred Formulation moved the immovable forwardâ (cf. Scarlata 1999:125â126).
RV 2.24.12cd ácha indrÄbrahmaá¹aspatÄ« havÃr nóâ , ánnaá¹ yújeva vÄjÃnÄ jigÄtam âO Indra, O Lord of the Sacred Formulation, do you two come here to our offering, like two prize-winning yokemates to their foodâ. BrÌ¥haspatiâs call accompanies Indra in RV 7.97.3.
For a distinction between lexical and semantic repetitions cf. chapter 2, section 3.
I change âinsightful thoughtâ (JamisonâBrereton 2014) to âpoetic thoughtâ.
I change âwith their insightful thoughtsâ (JamisonâBrereton 2014) to âwith their poetic thoughtsâ.
On this term, phraseology and etymology cf. GarcÃa Ramón 1992.
Cf. RV 2.24.7a, 4.50.3ab (where the Aá¹ girasas are called rÌ¥taspÅÌ¥Åaḥ âtouching the truthâ). In RV 2.24.8a BrÌ¥haspati is said to possess a âbow whose string is truthâ (Ved. rÌ¥tájya-).
Cf. also RV 4.50.2a, where the Aá¹ girasas are called dhunétayaḥ âthose of noisy treadâ.
The same metaphor may underlie RV 1.18.7d sá dhÄ«nÄÌá¹ yógam invati âhe drives the team of insightful thoughtsâ; RV 1.190.4ab asyá Ålóko divÄ«Ìyate prÌ¥thivyÄÌm , átyo ná yaá¹sad yaká¹£abhÅÌ¥d vÃcetÄḥ âwhen his signal-call speeds in heaven and on earth like a steed, the discriminating one [= BrÌ¥haspati?], bringing wondrous apparitions, will control it, *like a steedââ. The imaginary of âchariotâ and ârideâ in connection with speech and the poetic is well developed in Vedic as well as in Greek, where it underlies a variety of metaphors (cf. Massetti 2019:194â199).
Vala is also imagined as a âmountain filled with goodsâ, cf. RV 2.24.2d ÄÌ cÄÌviÅad vásumantaá¹ và párvatam âhe entered into and throughout the mountain filled with goodsâ. For BrÌ¥haspati as carrying away the stakes cf. RV 2.24.9, 13. In RV 10.68 the collection of the cows is imagined as a sort of extraction and described through a set of articulated metaphors: strewing (3), blowing of the wind (5), eating (6), carving (8), healing (9).
Additionally, in RV 10.68.2 the action of Br̥haspati reuniting the AṠgirasas with their cows is compared to a wedding, cf. chapter 9, section 3.4.
Geldner 1951â1957 ad loc., Watkins 1995:72.
Poetic art is associated with the idea of âsweetnessâ and âhoneyâ (the sweet substance par excellence) in several IE traditions, cf. e.g. RV 1.78.5 ávocÄma ráhÅ«gaá¹Ä , agnáye mádhumad vácaḥ / dyumnaÃr abhà prá á¹onumaḥ âwe RahÅ«gaá¹as have spoken a honeyed speech to Agni.â We keep bellowing to (him), with éclatâ. For IE parallels, with special attention to the choral lyric phraseology, cf. Massetti 2019:3â7, 78â79. The image of RV 2.24 might vaguely recall Ba. fr. 29.12â14.
Cf. also RV 4.50.3cd túbhyaá¹ khÄtÄÌ avatÄÌ Ã¡dridugdhÄ , mádhva Åcotantiy abhÃto virapÅám âfor you do the deep-dug springs, milked by the stone, drip an abundance of honey all aboutâ, RV 10.68.8ab áÅnÄÌpinaddham mádhu páry apaÅyan , mátsyaá¹ ná dÄ«náudáni ká¹£iyántam âhe caught sight of the honey enclosed by the stone, like a fish living in shallow waterâ.
Jackson [Rova] 2006:127.
The correlation between musical/poetic invention and quest for the cows is similar to the plot of the Homeric Hymn to Hermes: Hermes goes after Apolloâs cows but he invents the lyre, which he will later exchange for the cows, cf. HHÂ 4.22â25
Cf. RVÂ 2.24.5, with reference to the creation of the sacrifice and its cosmologic consequences.
Cf. also RVÂ 10.68.9.
Cf. also RV 2.24.3c ábhinad bráhmaá¹Ä valám âhe split the cave by the sacred formulationâ, RV 10.68.6, 10.68.7cd.
Cf. also RVÂ 2.24.2b, 6.73.2c. Ved. roj is found in RVÂ 4.18.6d and 4.50.5b.
Cf. RV 6.73.1d ÄÌ ródasÄ« vr̥ṣabhó roravÄ«ti âthe bull [:BrÌ¥haspati] keeps bellowing to the two world-halvesâ.