Mimamsasutra 42.2.9-2
Jaiminīyanyāyamālā 42.2.9-2
- Language
- Sanskrit
42.2.9-2
(bṛhatīvistārapaṅktyoḥ pragrathanena raurava- yaudhājayasāmnorgānasādhakaṃ)
dvitīyavarṇakamāracayati-
yaudhājaye raurave ca bṛhatyorāgamo'thavā |
grathanaṃ pūrvavatpakṣau ṣaṣṭiliṅgamihocyate ||
He composes the second formulation (demonstrating that the Raurava and Yaudhājaya chants are sung by intertwining a bṛhatī and a viṣṭārapaṅkti):
In the Yaudhājaya and Raurava [chants], is there the introduction of two bṛhatīs, or / intertwining as before? These are the two positions; the indicatory mark of sixty is stated here.
42.2.9-2.p1
idamāmnāyate- ’raurava- yaudhājaye bārhate tṛce bhavataḥ’ iti| ayamarthaḥ- ’rauravanāmakaṃ kiṃcitsāma, tathā- yaudhājayanāmakamaparam| tayordvayoḥ sāmnorbṛhatīchandaskastṛca āśrayaḥ’ iti| uttarāgranthe tu- tasya sāmadvayasyā''śrava ekaḥ pragātha āmnātaḥ| tasmiṃśca pragāthe-’ punānaḥ soma’- ityasāvṛkprathamā| sā ca bṛhatī| ’duhāna ūdhardivyam’- ityasāvṛgdvitīyā| sā tu viṣṭārapaṅktiḥ| tāmenāṃ viṣṭārapaṅktimapanīya tasyāḥ sthāna utpattibṛhatyau dve ṛcāvānetavye| iti pūrvaḥ pakṣaḥ|
This is handed down: ‘The Raurava and Yaudhājaya chants are on a triplet in the bṛhatī meter.’ The meaning is: ‘A certain chant is called Raurava, and another is called Yaudhājaya. The support of those two chants is a triplet of bṛhatī meter.’ But in the Uttarāgrantha, a single pragātha is handed down as the support of those two chants. And in that pragātha, the verse ‘punānaḥ soma’ is the first; and that is a bṛhatī. The verse ‘duhāna ūdhardivyam’ is the second; that, however, is a viṣṭārapaṅkti. Having set aside that viṣṭārapaṅkti, two verses that are original bṛhatīs should be introduced in its place. Such is the prima facie view.
42.2.9-2.p2
bṛhatīviṣṭārapaṅkyoḥ pragrathanaviśeṣeṇa dve bṛhatyāvuttare saṃpādanīye iti rāḍhḍhaṃntaḥ| tatrobhayatra yuktiḥ pūrvanyāyena draṣṭavyā| liṅgaṃ tvevamāmnāyate- ’ṣaṣṭistriṣṭubhomādhyaṃdinaṃ savanam’ iti| ayamarthaḥ- ’raurava- yaudhājayanāmake sāmanī mādhyaṃdinasavane gīyete| tasmiṃśca savane triṣṭupchandaskā ṛcaḥ ṣaṣṭirbhavanti’ iti| seyaṃ ṣaṣṭisaṃkhyā pragrathanapakṣa upapadyate| tathā hi- mādhyaṃdinasavane- pavamāna ekaḥ| pṛṣṭhastotrāṇi catvāri| pavamāne- trīṇi sūktāni| ’uccā te jātam’- ityekaṃ sūktam| tatra- gāyatryastistra ṛcaḥ| ’punānaḥ soma’- iti dvitīyaṃ sūktam| tacca pragātharūpam| tatra- pūrvā bṛhatī, uttarā viṣṭārapaṅktiḥ| ’pra tu drava parikośam’-
The established conclusion is that by a particular intertwining of the bṛhatī and viṣṭārapaṅkti, two subsequent bṛhatīs are to be produced. The reasoning in both respects is to be seen from the previous exegetical principle. As for the indicatory mark, it is handed down thus: ‘Sixty triṣṭubhs are the midday pressing.’ The meaning is: ‘The two chants called Raurava and Yaudhājaya are sung in the midday pressing. And in that pressing there are sixty verses of triṣṭubh meter.’ This
number sixty is logically possible under the position of intertwining. For instance: in the midday pressing, there is one pavamāna; there are four pṛṣṭhastotras. In the pavamāna, there are three hymns. ‘uccā te jātam’ is one hymn; there, there are three gāyatrī verses. ‘punānaḥ soma’ is the second hymn, and that is in the form of a pragātha; there, the former is a bṛhatī, the latter a viṣṭārapaṅkti. ‘pra tu drava parikośam’—
Translations (1)
- English (machine translation) — English, machine translation