Shloka 23
Yuddha-yajña-vyākhyāna (The Battle as Sacrifice): Ambarīṣa–Indra Saṃvāda
सामानि सामगास्तस्य गायन्ति यमसादने । हविर्धान॑ तु तस्याहुः परेषां वाहिनीमुखम्,सेनाके मुहानेपर जो “काट डालो', फाड़ डालो' आदिका भयंकर शब्द सुना जाता है, वही सामगान है। सैनिकरूपी सामगायक शत्रुओंको यमलोकमें भेजनेके लिये मानो सामगान करते हैं। शत्रुओंकी सेनाका प्रमुख भाग उस वीर यजमानके लिये हविर्धान (हविष्य रखनेका पात्र) बताया गया है
sāmāni sāmagās tasya gāyanti yamasādane | havirdhānaṁ tu tasyāhuḥ pareṣāṁ vāhinīmukham ||
Ambarīṣa berkata: “Bagi dirinya, nyanyian ‘Sāman’ seakan-akan dilagukan di kediaman Yama sendiri—ertinya, di medan perang, jeritan menggerunkan ‘Tebas mereka!’ dan ‘Koyakkan mereka!’ berfungsi seperti liturgi yang kelam. Para askar itu, seolah-olah penyanyi Sāman, tampak ‘menyanyi’ hanya untuk menghantar musuh ke alam Maut. Dan bahagian terdepan—‘mulut’ bala tentera lawan—digambarkan bagi penaung yang gagah itu sebagai havirdhāna, bejana tempat persembahan diletakkan.”
अम्बरीष उवाच
Educational Q&A
The verse uses Vedic-sacrificial imagery to interpret warfare: the battlefield’s violent commands become a dark ‘Sāman’ chant, and the enemy’s vanguard becomes the ‘havirdhāna’ (offering-vessel). Ethically, it highlights how kṣatriya action can be framed as a ritualized duty, while also underscoring the grim proximity of war to death.
Ambarīṣa describes a heroic warrior (implicitly the subject under discussion) through an extended metaphor: soldiers are likened to Sāmaveda chanters, the cries of battle to sacred song, and the enemy army’s leading formation to the container that receives an offering—suggesting that enemies are being ‘offered’ to Yama through combat.