
Sukta 10.13
Dual devatā (vām), broadly addressed to a paired divine power; also invokes the Viśve Devāḥ (‘all gods’) as amṛtasya putrāḥ.
Triṣṭubh (probable; requires verification).
这首短歌将“古老的圣言”(pūrvyaṃ brahma)与一对神圣之力(vām)相系,祈愿那经净炼的颂唱如同可靠的道路,为受灵感启迪的先见者引行。继而诗意转向内观,以象征性的、近乎韵律—祭仪的方式剖析言语与形制:五重步伐、四足之量度,以及不坏的音节(akṣara),使歌者与ṛta——真理之序——相契。末尾以七道奔流之水与辉耀的二元并现为象,呈现一种和解而受滋养的圆满:互补的力量共同扶持真理之业。
Mantra 1
युजे वां ब्रह्म पूर्व्यं नमोभिर्वि श्लोक एतु पथ्येव सूरेः । शृण्वन्तु विश्वे अमृतस्य पुत्रा आ ये धामानि दिव्यानि तस्थुः ॥
我以礼敬之行,为你们二位系上那古老的梵言(brahman);愿清朗的颂歌如先见之士的导路般发出。愿一切不死之子都来聆听——那些立于天界光明居所者。
Mantra 2
यमे इव यतमाने यदैतं प्र वां भरन्मानुषा देवयन्तः । आ सीदतं स्वमु लोकं विदाने स्वासस्थे भवतमिन्दवे नः ॥
如同在阎摩(Yama)的境域中,当那敬神求进的人类把此奉献呈于你们二位时——请坐入你们自知的本有世界。为我们的苏摩(Soma),愿你们安住于正当之座,稳固而不动,使喜悦在我们之内、于其真实的归处得以领受。
Mantra 3
पञ्च पदानि रुपो अन्वरोहं चतुष्पदीमन्वेमि व्रतेन । अक्षरेण प्रति मिम एतामृतस्य नाभावधि सं पुनामि ॥
我循形相(rūpa)而登,历其五步;我依正行之律(vrata)而追随那四足之度。以不坏之音节(akṣara),我反复量定它;在ṛta之脐(nābhi)上,我净化并汇聚它。
Mantra 4
देवेभ्यः कमवृणीत मृत्युं प्रजायै कममृतं नावृणीत । बृहस्पतिं यज्ञमकृण्वत ऋषिं प्रियां यमस्तन्वं प्रारिरेचीत् ॥
在诸天之中,他为死亡拣选了谁?又为后裔,他未曾拣选谁得不死?他们使布里哈斯帕提(Bṛhaspati)成为祭祀(yajña),那可亲的仙圣(ṛṣi);阎摩(Yama)将其身躯向前伸展——由此确立了必死之形体,使之成为圣业得以成就并得以超越的场域。
Mantra 5
सप्त क्षरन्ति शिशवे मरुत्वते पित्रे पुत्रासो अप्यवीवतन्नृतम् । उभे इदस्योभयस्य राजत उभे यतेते उभयस्य पुष्यतः ॥
七道洪流为那“生成之子”而奔注,为那具玛鲁特(Marut)之力的父而流;诸子亦使真理之序(ṛta)得以前行而显效。其二重本性之两端同辉;两者同奋进,两者同被养育而臻圆满。
The hymn addresses a paired divine power (“you two,” vām) without clearly naming the pair in the excerpt, and it also calls on the Viśve Devāḥ (all gods) as “children of immortality.” Much of the hymn points to the guiding principle of ṛta (truth-order) and the akṣara (imperishable syllable) behind effective sacred speech.
“Ṛtasya nābhi” means the “navel” or central hub of ṛta—the truth-order. In context it suggests a truth-center where speech and action are purified and gathered so the hymn becomes accurate, aligned, and effective.
These images link the hymn to Vedic ‘measure’—both the structure of metre and the disciplined steps of right performance. The idea is that inspired speech must be correctly formed and ‘measured’ (with akṣara as the stable reference) to harmonize the singer with ṛta.
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