Upabrmhana and Rgveda Interpretation

Author(s): T G Manikar
Publisher: L D Indology Ahmedabad

Page 31

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The Hymn of Mudgala Bhārmyaśva (X. 102)
the yoke, 'nāsmai trnam nodakam abharantyuttaro dhuro vahati pradediśat'(10). Indra has protected the chariot (1) given protection to the bull and given victory to a weak friend. (7, 12).
It really needs no argument to prove that all this is war imagery and therefore it is a war that appears to be the central event. In spite of this, one may justifiably say, overwhelming clear internal evidence, Dange observes that it can be said with certainty that there is no indication of a race or a battle in it, though the words like aji' and 'abhimati' are apt to lead one to this hypothesis'. He is of the view that the words 'bhare kstam'which obviously support the battle or the face-theory are not to be taken in too literal sense. To him it appears that the words are agha ko nu ittha dadarśa' (10) are difficult to be understood in the context of a battle. In 'yam yuñjanti tamya stha payanti,' according to him, the race or the battle is belpless. It is amusing to see him observe again - after having denied with certainty the existence of any indication of a race or battle 'we have in tbis hymn a figurative use of the race or the battle' and further in all probability, we have here a traditional ritual cuched in the terminology of battle'. On the strength of the word 'mithūkȚtam' in the context of 'ratham' (1) he takes the chariot to be a mock one, a procedure in which he is supported by Velaokar and Geldner, and further takes the enemies, the jigamsat abhidasa, aryasya va dasasya vadha(3) abhimoti(4) as 'imagi. nary opponents and in spite of the clear past tense in 'ajayat sahasram',
jigaya sahasram (2, 5, 9), he observes that this fight is a mock one, not for anything lost, but for avoiding a possible loss. To him the words dhanabhakşa'(1) and 'gavişti' (2) indicate an agricultural or a pastoral ritual.
Now what are the details or indications of this ‘agricultural or pastoral ritual' in the hymn itself ? Io the innocent description of the fair driver 'uta sma vato vahati väso asyaḥ' Dange sees a suggestion of her being 'naked' obviously because for a rain ritual a naked woman plays some part amongst the Kocha women or in South India and the Behirs. Mudgalāoi who is Indrasena, the same as Indrāni and represents the Earth and is symbolically the wife of lodra that would bring rain. So Mudgalani is the field-wife of Indra. Next, the 'kūta' refers to the plough-share that digs in the ground and in the process removes the barrenness abhimati' connected with the soil. The aji' is not a battlefield but is the ordinary field and the thundering and the urinating of the bull (5) is a «fertility-charm based on sympathetic action to cause rain. To him it appears that the 'gah paspasanah are at the other end of the field waiting to be 'touched' by the bull for their fecundation. The drughana' is cast at the other end is 'an unholy thing.' Mudgala and Mudgalāni are not be taken as individuals with proper nouns but are the village-head and his wife who might first plough the