Atharva Veda 6.39.3: Kanda 6, Anuvaka 4, Sukta 39, Mantra 3
Sukta 39
य॒शा इन्द्रो॑ य॒शा अ॒ग्निर्य॒शाः सोमो॑ अजायत । य॒शा विश्व॑स्य भू॒तस्या॒हम॑स्मि य॒शस्त॑मः
yaśā́ índro yaśā́ agnír yaśā́ḥ sómo ajāyata | yaśā́ víśvasya bhūtásyā́ham asmi yaśástamaḥ ||
Glorious is Indra, glorious Agni; glorious Soma hath been born. Glorious, of all that is, am I—most glorious.
Glorioso es Indra, glorioso Agni; glorioso ha nacido Soma. Glorioso, entre todo lo que existe, soy yo — el más glorioso.
The meaning
What it says
Indra is glorious, Agni is glorious; glorious Soma is born. Glorious among all that exists am I—most glorious.
The inner meaning
A deliberate appropriation of yaśas: by naming divine exemplars of splendor, the speaker installs that radiance as self-identity—an Atharvanic ‘status charm.’
The truth in it
Identity is shaped by what one repeatedly affirms and embodies; when one aligns with archetypes of strength, clarity, and vitality, one’s presence becomes influential.
What it is for
- Kind of hymn
- Paustika (Prosperity) / Yaśas-kāma (Desire for fame)
Its aim
To appropriate divine fame as personal/public charisma, surpassing competitors in status and recognition.
Word by Word
Pada patha
यशाः । इन्द्रः । यशाः । अग्निः । यशाः । सोमः । अजायत । यशाः । विश्वस्य । भूतस्य । अहम् । अस्मि । यशस्तमः ।
- यशा
- glory, fameNounनपुंसकलिङ्ग, प्रथमा/द्वितीया, एकवचन (अव्यक्त-विभक्तिः; ‘यशस्’ का नपुंसक एकवचन रूप)Role कर्म (यशः = ‘यशसा/यशः’—प्राप्तव्य/उत्पन्न वस्तु)Root यशस् (प्रातिपदिक)
- इन्द्रः
- IndraNounपुंलिङ्ग, प्रथमा, एकवचनRole कर्तृRoot इन्द्र (प्रातिपदिक)
- यशा
- gloryNounनपुंसकलिङ्ग, प्रथमा/द्वितीया, एकवचनRole कर्मRoot यशस् (प्रातिपदिक)
- अग्निः
- AgniNounपुंलिङ्ग, प्रथमा, एकवचनRole कर्तृRoot अग्नि (प्रातिपदिक)
- यशाः
- glories, fame(s)glorious; endowed with fame-power (yaśas as operative splendor)Nounनपुंसकलिङ्ग, प्रथमा/द्वितीया, बहुवचन (यशांसि > यशाः वैदिक-संक्षेप)Role कर्मRoot यशस् (प्रातिपदिक)
- सोमः
- SomaNounपुंलिङ्ग, प्रथमा, एकवचनRole कर्तृRoot सोम (प्रातिपदिक)
- अजायत
- was born, came into beingwas born; came into manifestation (cosmic emergence of fame)Verbलुङ् (अङ्ग-आगमयुक्तः), आत्मनेपद, प्रथमपुरुष, एकवचनRole (अकर्मक) — कर्तृ-प्रधान; ‘सोमः’ कर्ताRoot √जन् (जायते) / √जन्
- यशा
- gloryNounनपुंसकलिङ्ग, प्रथमा/द्वितीया, एकवचनRole कर्मRoot यशस् (प्रातिपदिक)
- विश्वस्य
- of all, of the entireof all; of the whole (totality claim)Adjectiveपुं/नपुंसक, षष्ठी, एकवचन (सम्बन्धः)Role सम्बन्ध (षष्ठी)Root विश्व (प्रातिपदिक)
- भूतस्य
- of what has become; of beings/that existsof what exists; of beings (social and cosmic domain)Adjectiveपुं/नपुंसक, षष्ठी, एकवचनRole सम्बन्ध (षष्ठी)Root भूत (√भू क्त-प्रत्ययान्त; प्रातिपदिक)
- अहम्
- IPronounउत्तमपुरुष-सर्वनाम, प्रथमा, एकवचनRole कर्तृRoot अहम् (सर्वनाम-प्रातिपदिक)
- अस्मि
- amVerbलट्, परस्मैपद, उत्तमपुरुष, एकवचनRole (सम्बन्ध/अस्ति-क्रिया) — कर्तृ ‘अहम्’Root √अस्
- यशस्तमः
- most glorious, most famedmost glorious (superlative: competitive social potency)Adjectiveपुंलिङ्ग, प्रथमा, एकवचन (अहम्-विशेषणम्)Role कर्तृ-विशेषण (अहम् का विशेषण)Root यशस् + तमप् (तम) प्रत्यय; प्रातिपदिक
Sandhi Notes
- यशा इन्द्रः | यशा अग्निः | यशाः सोमः अजायत | यशा विश्वस्य भूतस्य अहम् अस्मि यशस्तमः ||
- 1) अग्निर्यशाः = अग्निः + यशाः (विसर्ग-लोपः/रकारादेशः: ः + य → र् + य).
- 2) अहम॑स्मि = अहम् + अस्मि (म् + अ → मऽ/म + अ; संधौ ‘अहमस्मि’).
- 3) यशाः: ‘यशांसि’ (नपुंसक बहुवचन) का वैदिक संक्षिप्त/प्रयोगात्मक रूप
- अर्थतः ‘यशांसि’ (glories)
Seer, deity and metre
- Rishi
- Atharvanic tradition (attribution uncertain in isolation)
- Devata
- Yaśas (Fame) with Indra/Agni/Soma as exemplars
- Chandas
- Anuṣṭubh (short, charm-like cadence)
- Rasa
- Vira and Shringara
Sayana reads the repeated ‘yaśāḥ’ as an abhiṣeka-like ‘installation’ of fame: divine exemplars are named so that the same quality is transferred to the sacrificer by identification (‘aham asmi’). The superlative ‘yaśastamaḥ’ is not mere boast but a charm-formula to outshine rivals in assembly and contest.
Atharvanic tradition (attribution uncertain)
Paustika ‘yaśas’ charms—verbal acquisition of fame/charisma for social competition and recognition.
Classic Atharvan performative speech: not only praising gods but transferring a quality (yaśas) into the speaker through identification.
Yaśas (Fame) embodied through Indra–Agni–Soma
A transferable brilliance that adheres to gods, kings, and successful persons; stabilizes social order by marking excellence.
Protects reputation; wards off disgrace and social diminishment.
8+8+8+8 (compact charm-style)
Nominal sentences and repetition produce a mantra-like beat; AVŚ anuṣṭubh often used for quick-installation charms.
Incantatory and cumulative through anaphora (yaśā…yaśā…yaśā…).
Builds self-assurance; creates a ‘mantle’ of prestige through repetition.
The patron touches head/heart while the priest recites the triad ‘Indra–Agni–Soma’ to ‘seat’ fame in body and speech.
At ‘aham asmi’, the patron repeats or is prompted to assent, making the identification performative.
Optionally, the priest ties a simple thread/amulet as a ‘carrier’ of yaśas, then dismisses with a concluding sprinkling.
Kauśika Sūtra: yaśas-prayoga (fame-charm) contexts (general application; exact sūtra numbering varies by edition)
Atharvan as installer of social charisma: he orchestrates self-identification formulas and bodily ‘seating’ gestures.
Recite before public appearances, examinations, competitions; can be spoken softly while applying a tilaka as a ‘mark of yaśas.’
Morning before work/school; before audience-facing events.
Self-recitation is typical for paustika charms; priest may integrate into prosperity rites.
Paustika/yaśas rites likely in Kauśika (status, success); exact citation uncertain.
Used as a brief pre-performance mantra for interviews, presentations, artistic performances.
Agni (named) as symbolic substance of brilliance
Though no physical items are prescribed, Agni and Soma function as ‘subtle substances’: brilliance (tejas) and vital delight (soma) combine to generate yaśas.
Confidence/esteem priming; performance psychology and self-efficacy affirmations.
Self (speaker) and their public standing.
Acquire and intensify fame/charisma; outshine competitors.
Identification spell: naming divine ‘yaśas’ and concluding with aham asmi yaśastamaḥ (self-installation).
Disgrace, marginalization, loss of reputation.
Status, recognition, success in competition.
- यशाः (yaśāḥ)
- charismatic potency; social radiance; recognition
- इन्द्रः (indraḥ)
- victory, confidence, leadership-force
- अग्निः (agniḥ)
- clarity, purity, persuasive brilliance
- सोमः (somaḥ)
- vitality, delight, inspiration, legitimacy through consecration
- अजायत (ajāyata)
- renewal of prestige; fame as something that can ‘arise’ anew
- अहम् अस्मि (aham asmi)
- performative self-installation; mantra as identity technology
- यशस्तमः (yaśastamaḥ)
- competitive surpassing; apex status
Contemplate yaśas as sattvic radiance: be seen because you are clear, truthful, and beneficial.
Viśuddha (voice/renown)
Inhale ‘yaśā indraḥ’; exhale ‘aham asmi yaśastamaḥ’ softly, without strain.
Confident presence; upright dignity.
Chant 9 times, then speak one truthful intention for the day; treat yaśas as responsibility, not entitlement.
Keep the repeated yaśā as a consistent refrain; slight lift in pitch on each yaśā helps the cumulative effect.
Do not swallow final visarga in yaśastamaḥ; keep aham asmi clearly separated for performative force.
Bright, smiling resonance; confident but controlled.
This is a classic ‘self-installation’ charm; best done after a brief act of purification (wash face/hands) to align outer and inner ‘radiance.’
9 times
Seeking recognition, confidence, success in competitive environments, or recovery from public setback.
Before interviews/exams/auditions; after criticism to restore composure; at the start of a new role.
Greater confidence, improved presence, steadier voice and social ease; symbolic strengthening of reputation.
Avoid arrogance; do not use to demean others—yaśas is strongest when paired with integrity.
Again, no herb is named; the ‘substance’ is Soma as paradigmatic vitality and prestige-fluid. The verse uses Soma’s ‘birth’ as a model for fame’s emergence, enabling a non-botanical but quasi-material transfer of prestige.
It encodes competitive status culture: fame is a scarce good, ritually acquired. The speaker’s claim ‘most glorious’ presupposes public arenas (sabha, contests, patronage) where ritual speech can legitimate superiority.
The style is RV-formulaic (yaśas predicates of gods), but the Atharvanic innovation is the explicit first-person appropriation (‘aham asmi yaśastamaḥ’) as a charm, more direct than typical RV praise.
Gopatha tends to treat such identifications as effective because speech (brahman) can ‘make so’ when properly uttered. The first-person superlative functions as a sanctioned performative, not impious self-praise.
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