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54
The Hymn of Agastya ond Lopamudra (1. 179)
spoken by Agastya and is therefore seen interpreting 'risati' and 'dhayati' as 'rinatu' and 'upabhunktām' respectively.
It is interesting to note that Durga while commenting on the Nirukta 'Tșih nado bhavati' etc. (V. 2) which refers to the present verse ascribes to Lopāmudrā, 'lopamudrāyā iyumşşam, sābravidagastyam bhartāramabhi pretya'. Nada according to Durga would mean Agastya and Lopamudrā wonders whether the desire has been in her aroused, in her own person or with reference to Agastya. It is also interesting to note that Durga observes about Lopāmudra, 'evam vila pamānā komartā jopamudrā rājarşi putrika' thus making Lopamudra a princess, rājarșikanyaka after the Mababharata account. Durga renders 'dhiram' as 'brahmacarye sthirabudinim' and 'adhirä' as 'samkşubdhasarvendriyagrāmā.' This will only indicate as to how the hymn has been a problem).
imam nu somamantito hrtsu pitamupa bruve / yat simagascakrma tat su mrlalu pulukāmo hi martyah !| 5
I pray this Soma, nearest to us, drunk in our hearts. May he kindly forgive completely whatever sin we have committed. Of various desires is the mortal.
(Tradition is fairly unanimous in ascribing this įk to the student of Agastya who has overheard the conversation of the the couple. He has a sense of guilt and therefore wants an atonement for the same. According to Sayana this and the next verse is spoken by the disciple. He introduces ‘atha anayoh dampatyoḥ sambhogasamlapam śrütvii tat prayaścīttam cikirşuḥ uttarabhyāmāha'. Saunka in the Rgvidbana (1.147) recommends these two yks for silent meditation and recitation for freedom from sins. In some manuscripts Durga while commeating on the word 'pulukama' and the present verse is seen observing gastya-lopamudrāsañade antevosi brahmacāri imam saumim brhatim apasyar'. Sayana adds that the verse could be interpreted with reference to the Moon ayam mantraḥ candrapurah vyukhyeyaḥ manasaḥ abhimanitvät ca tasya papasya api manasyeva sambhavitatvät.'
All these dicussion really seems unnecessary since there is as a matter of fact no place for the 'antevasi' to appear in this dialogue. This seems to be an early ritualistic taking over of the couple!. Otherwise it would be difficult to explain the almost uniform tradition about the 'anteväsin' and his atonement. To Thieme this fact appears to be the kernal of the song, which to me is an overstatement. We need cot look upon the entire hymn as having any magical chaiacter in it. This present verse can very well be spoken by Agastya himself - and I take it as that - and so it must have been in the beginning, in any case, before the priestiy craft seized it for its own purposes. Agastya has been all these days an ascetic leading a life of restrain and chastity and had controlled his desires. He has now decided to
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