Rig Veda 7.2.8: Mandala 7, Sukta 2, Mantra 8
Sukta 7.2
आ भारती भारतीभिः सजोषा इळा देवैर्मनुष्येभिरग्निः । सरस्वती सारस्वतेभिरर्वाक्तिस्रो देवीर्बर्हिरेदं सदन्तु ॥
ā́ bhā́ratī bhā́ratībhiḥ sa-jóṣā íḷā deváir manuṣyébhiḥ agníḥ | sárasvatī sārasvatébhiḥ arvā́k tisró devī́r bárhir édáṃ sadantu ||
பாரதி, பாரதிகளுடன் ஒருமனதாக வருக; இளா தேவர்களுடனும் மனிதர்களுடனும் வருக, அவர்களுடன் அக்னியும் வருக. சரஸ்வதி, சாரஸ்வதர்களுடன் இங்கே நோக்கித் திரும்பி வருக; இந்த மூன்று தேவியரும் இந்த பர்ஹிஸ்—இந்தப் புனித ஆசனத்தில்—அமரட்டும்.
Classic ‘devīḥ’ invocation in iṣṭi/soma sequences, inviting the speech/inspiration powers to take the barhis; psychologically, establishing the triune support of inspired word, revelatory nourishment, and illumined flow.
vā́c (inspired speech), integration of divine and human orders, harmonized assent (sa-joṣā)
The ‘sajoṣā’ harmony reflects ṛta: right relation among faculties and divine powers.
Seating the goddesses signifies truth becoming established (satya as steadiness, not mere insight).
The Word and Waters as creative principles: inspired speech and luminous flow build the inner world.
Proto-Vedāntic/Integral (Aurobindonian) reading: ascent–descent through Word (Vāc) and Fire (Agni).
dawn or early rite-opening (symbolically)
unspecified
Fire = will; Waters = flowing consciousness/illumination; Seat = prepared mind-heart field receptive to higher descent.
- What is the primary Vedic 'mythologem' present in this verse?
- The seating of the ‘three goddesses’ on the barhis: mythically, the powers of inspired speech and flowing revelation are invited to take their place in the rite, enabling effective communion between gods and humans.
- How does the linguistic structure reflect Proto-Indo-European roots?
- The prominence of personified speech/inspiration continues an Indo-European poetic inheritance where word and song are efficacious forces. While names are Indo-Aryan, the structural role of the poet’s invocation as performative power parallels IE traditions of ‘truth-speech’ and ‘song as action’.
- What is the relationship between the Rishi and the Devata here?
- The rishi calls not only a single deity but a coordinated set of powers to ‘sit’ within the ritual field; this expresses a collaborative inner yoga: speech (Bhāratī), nourishing revelation (Iḷā), and luminous flow (Sarasvatī) must all consent together for the sacrifice to become effective.
Invoke and unify the three movements: inspired word (bhāratī), intuitive order (iḷā), luminous flow (sarasvatī), held by steady will (agni).
Viśuddha (speech/clarity) with support from Ājñā (intuition)
Gentle nāḍī-śodhana 6–6 before chanting; then natural breath with elongated vowels in the mantra
Quietly luminous receptivity; ‘seated’ inspiration rather than excited thought
Sit upright; feel an inner ‘seat’ in the heart-mind. On each goddess-name, allow a distinct quality to descend; end with a pause after ‘sadantu’ to let the presence settle.
Follow Rigvedic udātta/anudātta/svarita as per śākhā recitation; key lifts typically occur on invocatory names (bhāratī, iḷā, sarasvatī) with settling cadence at ‘sadantu’.
Keep clear word-boundaries: ā | bhāratī | bhāratībhiḥ | sajoṣāḥ ...; do not swallow visarga/aspirates; let the cadence relax at the final pāda.
Differentiate ḷ in iḻā (retroflex lateral) if your tradition preserves it; otherwise a clear ‘iḍā/ilā’ without over-vocalizing, Hold long vowels: ā, ī in bhāratī; sarasvatī, Retroflex ṭ in sārasvatebhir; dental t in tisraḥ, barhir: light ‘r’, do not turn into ‘barhi’
Clear, inviting, steady; soften at the end to suggest ‘seating’ and stability.
3
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