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38
The Hymn of Mudgala Bhārmyaśva (X., 102)
bim forth, though accompanied by a weakling companion.
(The last verse is the expression of gratitude by Mudgala, as well as a clever resume of Indra's exploit here. This success was won because Indra protected the chariot (1), Indra kept away the deadly weapon of the enemy (3), Indra gave excellent protection to the bull (7) and Indra inspired Mudgala to accomplish something Indralike (8). There are three pairs participating here where in each case there is one who is strong vṛşa while the other is a weak person, 'vadhri,' Thus in the first place there is Indra who is a vṛşa and Mudgala who is a vad hri. Secondly there is Mudgala who is a vṛşa and Mudgalani who is a vadhri. Thirdly there is the bull who is a vṛşa and the drughana which is the vadhri. Thus 'vrşana vadhrina yuja' has a triple application, Mudgala refers to himself as a 'vadhri in a spirit of devotion and submission. The word has certainly not that significance which Geldner reads into it, the one of impotence of Mudgala. The first line describes in the usual Vedic manner the greatness of Indra, here in particular as the eye of the world, for Indra saw with his eye the dire need of his weak friend Mudgala and helped him.)
Griffith declared that
interpret it full and mime (Mysterium und Geldner without pay
The hymn has been a dispair of the scholars. the hymn is fragmentary, and it seems impossible to satisfactorily. Schroeder regards the hymn to be a Mimus im Ṛgveda) and in interpretation accepts ing any attention to Bloomfield's criticism. Keith regards the views of Bloomfield to be weighty and no satisfactory interpretation being possible unless these views are effectively refuted. Dange is of the view that no satisfactory explanation of the hymn as a whole which will hold good in respect of each of the verses in it has been accomplished. Bloomfield asserts that this hymn will figure in the final irresolvable remnant of the Veda, unless a new accession of materials should enrich our present apparatus for its reconstruction. These remarks are in themselves a justification for a fresh attempt at the reconstruction of the hymn in question.
The hymn is a war ballad and seems to utilise motifs that are to be seen in the later epic poetry. Thus cattle-lifting forms the very centre of the Viratparvan of the Mahabharata. Again a queen driving a chariot hour of need and then receiving favours in or helping the King in his return is to be seen in the Kaikeyi-Dasaratha episode in the Rāmāyaṇa. In the task of interpreting hymn the principle enunciated by Roth of interpreting Rgveda in terms of Rgveda does not help us for we get crucial words like kakardu, dudhi for the first and only time here. Nor is Sayana every time helpful for there are places where he obviously besides the point. But with all that in mind, his value cannot be overestimated. Indian tradition when it exists, is not sufficiently uniform and harmonious
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