Kṣāttra Rites - 4

This article is part 4 of 10 in the series Kṣāttra Rites in Sanātana-dharma

(3) Jaya, Abhyātāna, and Rāṣṭrabhṛt

The Jaya, Abhyātāna, and Rāṣṭrabhṛt offerings are offerings given in Somayāgas. They are optional in the Vājapēya, Rājasūya, and Aśvamēdha. Kumārila-bhaṭṭa, however, opines that the above three homas are to be performed as a subsidiary to Darśapūrṇamāsa and similar śrauta rites[1].

They are also performed as an obligatory rite by the Yajurvēdins during the marriage ceremony, as mentioned by both Baudhāyana[2] and Āpastamba[3]. According to the sage Pāraskara, it is an optional rite. These three homas, along with their meanings, are probably one of the best regarding kṣāttra spirit.

The injunctions for these homas are found in Taittirīya-samhitā 3.4.6 along with the arthavādas – यद्रा᳚ष्ट्र॒भृद्भी॑ रा॒ष्ट्रमाऽद॑दत॒ तद्रा᳚ष्ट्र॒भृताꣳ॑ राष्ट्रभृ॒त्त्वं ते दे॒वा अ॑भ्याता॒नैरसु॑रान॒भ्यात॑न्वत॒ जयै॑रजयन्राष्ट्र॒भृद्भी॑ रा॒ष्ट्रमाऽद॑दत॒ यद्दे॒वा अ॑भ्याता॒नैरसु॑रान॒भ्यात॑न्वत॒ तद॑भ्याता॒नाना॑मभ्यातान॒त्वं यज्जयै॒रज॑यं॒ तज्जया॑नां जय॒त्वं यद्रा᳚ष्ट्र॒भृद्भी॑ रा॒ष्ट्रमाऽद॑दत॒ तद्रा᳚ष्ट्र॒भृताꣳ॑ राष्ट्रभृ॒त्त्वं ततो॑ दे॒वा अभ॑व॒न्पराऽसु॑रा॒ यो भ्रातृ॑व्यवा॒न्थ्स्याथ्स ए॒तान् जु॑हुयादभ्याता॒नैरे॒व भ्रातृ॑व्यान॒भ्यात॑नुते॒ जयै᳚र्जयति राष्ट्र॒भृद्भी॑ रा॒ष्ट्रमा द॑त्ते॒ भव॑त्या॒त्मना॒ परा᳚ऽस्य॒ भ्रातृ॑व्यो भवति ॥[4]

Jaya-homa

The Jaya-homa, as stated in the injunction, is named so because it brought victory to the Devas when they performed the homa against the Asuras. The Vedas themselves give the derivation of the word Jaya - यज्जयै॒रज॑यं॒ तज्जया॑नां जय॒त्वम् i.e. by performing the Jaya-homa, the Dēvas conquered the Asuras, that is why the Jayas have their name. Therefore, the Jaya-homa is performed to secure victory against the enemy. The mantras for the Jaya-homa are found in the Taittirīya-samhitā 3.4.4. In the mantras, it is stated that Indra himself approached Prajāpati Brahmā and obtained the Jaya-mantras to obtain victory against his adversaries[5].

Abhyātāna-homa

Sāyaṇācāraya, while explaining the word Abhyātāna, says ‘The Devas overpowered the Asuras[6], rendering the meaning of Abhyātāna as overpowering or subduing. The Vedas also derive the word Abhyātāna as यद्दे॒वा अ॑भ्याता॒नैरसु॑रान॒भ्यात॑न्वत॒ तद॑भ्याता॒नाना॑मभ्यातान॒त्वम् i.e. The Devas overpowered the Asuras with the Abhyātānas, that is why the Abhyātānas have their name. The Abhyātāna mantras are devotional verses seeking protection from various Devas and manes. Gaining protection from them, one gains the strength to overpower his opponents. The Abhyātāna-mantras are – अ॒ग्निर्भू॒ताना॒मधि॑पतिः॒ स मा॑ऽव॒त्विन्द्रो᳚ ज्ये॒ष्ठानां᳚ यँ॒मः पृ॑थि॒व्या वा॒युर॒न्तरि॑क्षस्य॒ सूर्यो॑दि॒वश्च॒न्द्रमा॒ नक्ष॑त्राणां॒ बृह॒स्पति॒र्ब्रह्म॑णो मि॒त्रः स॒त्यानां॒ वरु॑णो॒ऽपाꣳ स॑मु॒द्रः स्रो॒त्याना॒मन्न॒ꣳ॒ साम्रा᳚ज्याना॒मधि॑पति॒ तन्मा॑ऽवतु॒ सोम॒ ओष॑धीनाꣳ सवि॒ता प्र॑स॒वानाꣳ॑ रु॒द्रः प॑शू॒नां त्वष्टा॑ रू॒पाणां॒ विष्णुः॒ पर्व॑तानां म॒रुतो॑ ग॒णाना॒मधि॑पतय॒स्ते मा॑वन्तु॒ पित॑रः पितामहाः परेऽवरे॒ तता᳚स्ततामहा इ॒ह मा॑ऽवत । अ॒स्मिन्ब्रह्म॑न्न॒स्मिन् क्ष॒त्रे᳚ऽस्यामा॒शिष्य॒स्यां पु॑रो॒धाया॑म॒स्मिन् कर्म॑न्न॒स्यां दे॒वहू᳚त्याम् ॥[7]

Here ‘अधि॑पतिः स मा॑ऽवतु॒ स्वाहा᳚’ should be added at the end of each yajus, for example ‘रु॒द्रः प॑शू॒नामधि॑पतिः स मा॑ऽवतु॒ स्वाहा᳚’. Hence a total of sixteen oblations are offered in the Abhyātāna-homa.

Rāṣṭrabhṛt-homa

Among the three homas, the Rāṣṭrabhṛt-homa is widely used on both śrauta and gṛhya rituals. The Rāṣṭrabhṛt is an obligatory oblation performed during the Agnicayana rite[8]. It is also an obligatory rite performed in Udaksaśānti, a ritual performed by all Kṛṣṇa-yajurvēdins before the performance of the sixteen saṁskāras.

The Veda derive it as यद्रा᳚ष्ट्र॒भृद्भी॑ रा॒ष्ट्रमाऽद॑दत॒ तद्रा᳚ष्ट्र॒भृताꣳ॑ राष्ट्रभृ॒त्त्वम् i.e. The Devas won the kingdom of the Asuras with the Rāṣṭrabhṛts, that is why the Rāṣṭrabhṛts have their name. Similarly, Sāyaṇācārya also derives Rāṣṭrabhṛt as राष्ट्रं भ्रियते स्वीक्रियत एभिरिति राष्ट्रभृत्त्वम्.

The mantras of the Rāṣṭrabhṛt-homa are present in the Taittirīya-samhitā 3.4.7. There are twenty-two libations offered in eleven rounds in the Rāṣṭrabhṛt-homa. Each round consists of two libations.[9] The mantras mainly seek blessings and protection from various Devatās. The Rāṣṭrabhṛt mantras also need to be recited with ‘इ॒दं ब्रह्म॑क्ष॒त्रं पा॑तु तस्मै॒ स्वाहा᳚’[10] while each libation is poured. For example, a single round consisting of two libations – ऋ॒ता॒षाडृ॒तधा॑मा॒ग्निर्ग॑न्ध॒र्वः स इ॒दं ब्रह्म॑क्ष॒त्रं पा॑तु तस्मै॒ स्वाहा᳚ । तस्यौष॑धयोऽप्स॒रस॒ ऊर्जो॒ नाम॒ ता इ॒दं ब्रह्म॑क्ष॒त्रं पा᳚न्तु ताभ्यः॒ स्वाहा᳚ ।

A profound concept of Rāṣṭrabhṛt is found in the Taittirīya-saṁhitā (3.4.8), which declares: "Verily the Rāṣṭrabhṛts are the nation, people are the nation, animals are the nation"[11] This verse beautifully conveys that both the citizens and even the animals within a kingdom are integral parts of the nation. When a king ascends to power, it becomes his sacred duty to protect and care for all beings—human and non-human—within his realm. The idea of Rāṣṭrabhṛt is thus not merely poetic, but an essential principle for true leadership.



[1] See Tantra-vārttika 3.4.9.27

[2] अथ तथोपविश्यान्वारब्धायां जयानभ्यातानात्रात इति हुत्वा अथामात्यहोमाञ्जुहोति ॥ (Baudhāyana-Gṛhyasūtra 1.4.32)

[3] यथोपदेशं प्रधानाहुतीर्हुत्वा जयाभ्यातानान्राष्ट्रभृतः प्राजापत्यां व्याहतीर्विहृ ताः सौविष्टकृतीमित्युपजहोति ॥ (Āpastamba-Gṛhyasūtra 1.2.7)

[4] In that the Devas won the kingdom by the Rāṣṭrabhṛts, that is why the Rāṣṭrabhṛts have their name. The Devas overpowered the Asuras with the Abhyātānas, conquered them with the Jayas, and won the kingdom with the Rāṣṭrabhṛts; in that the Devas overpowered the Asuras with the Abhyātānas, that is why the Abhyātānas have their name; in that they conquered them with the Jayas, that is why the Jayas have their name; in that they won the kingdom with the Rāṣṭrabhṛts, that is why the Rāṣṭrabhṛts have their name. Then the Devas prospered, the Asuras were defeated. He who has foes should offer these offerings; verily by the Abhyātānas he overpowers his foes, by the Jayas he conquers them, by the Rāṣṭrabhṛts he wins the kingdom; he prospers himself, his foe is defeated.

[5] इन्द्रः॑ प्र॒जाप॑ति॒मुपा॑धाव॒त्तस्मा॑ ए॒ताञ्जया॒न्प्राय॑च्छ॒त्तान॑जुहो॒त्ततो॒ वै दे॒वा असु॑रानजयन् (Taittirīya-samhitā 3.4.4.1)

[6] देवास्तु प्रथमम् अभ्यातानैरसुरान्वरीकृत्य

[7] Agni overlord of creatures, may he help me; Indra of powers, Yama of earth, Vāyu of the atmosphere, Sūrya of the sky, Candramas of nakṣatras, Bṛhaspati of brāhmaṇas, Mitra of truths, Varuṇa of waters, Samudra of streams, Anna, the overlord of lordships, may it help me; Sōma of plants, Savitā of instigations, Rudra of animals, Tvastā of forms, Viṣṇu of mountains, the Maruts of troops overlords, may they help me. O ye fathers, ye grandfathers, ye further, ye nearer, ye dadas, ye granddadas, do ye here help me. In this holy power, this worldly power, this prayer, this house priest, this homa, this invocation of the Devas.

[8] Āpastamba-Śrautasūtra 17.20

[9] See Āpastamba-Śrautasūtra 17.20.1-5

[10] See Udakaśānti-pāṭhaḥ published by Vadhyar and Sons

[11] रा॒ष्ट्रं वै रा᳚ष्ट्र॒भृतो॑ रा॒ष्ट्रं प्र॒जा रा॒ष्ट्रं प॒शवः॑

To be continued.

 

Author(s)

Soorya S A
About:

Soorya is student at Central Sanskrit University, Sringeri, studying BA Śāstrī in Mīmāṁsā. He is passionate about the Vedas, Mahābhārata, Advaita, Śivādvaita, and archery.

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Prekṣaṇīyam is an anthology of essays on Indian classical dance and theatre authored by multifaceted scholar and creative genius, Śatāvadhānī Dr. R Ganesh. As a master of śāstra, a performing artiste (of the ancient art of Avadhānam), and a cultured rasika, he brings a unique, holistic perspective to every discussion. These essays deal with the philosophy, history, aesthetics, and practice of...

Yaugandharam

इदं किञ्चिद्यामलं काव्यं द्वयोः खण्डकाव्ययोः सङ्कलनरूपम्। रामानुरागानलं हि सीतापरित्यागाल्लक्ष्मणवियोगाच्च श्रीरामेणानुभूतं हृदयसङ्क्षोभं वर्णयति । वात्सल्यगोपालकं तु कदाचिद्भानूपरागसमये घटितं यशोदाश्रीकृष्णयोर्मेलनं वर्णयति । इदम्प्रथमतया संस्कृतसाहित्ये सम्पूर्णं काव्यं चम्पकमालोत...

Vanitakavitotsavah

इदं खण्डकाव्यमान्तं मालिनीछन्दसोपनिबद्धं विलसति। मेनकाविश्वामित्रयोः समागमः, तत्फलतया शकुन्तलाया जननम्, मातापितृभ्यां त्यक्तस्य शिशोः कण्वमहर्षिणा परिपालनं चेति काव्यस्यास्येतिवृत्तसङ्क्षेपः।

Vaiphalyaphalam

इदं खण्डकाव्यमान्तं मालिनीछन्दसोपनिबद्धं विलसति। मेनकाविश्वामित्रयोः समागमः, तत्फलतया शकुन्तलाया जननम्, मातापितृभ्यां त्यक्तस्य शिशोः कण्वमहर्षिणा परिपालनं चेति काव्यस्यास्येतिवृत्तसङ्क्षेपः।

Nipunapraghunakam

इयं रचना दशसु रूपकेष्वन्यतमस्य भाणस्य निदर्शनतामुपैति। एकाङ्करूपकेऽस्मिन् शेखरकनामा चित्रोद्यमलेखकः केनापि हेतुना वियोगम् अनुभवतोश्चित्रलेखामिलिन्दकयोः समागमं सिसाधयिषुः कथामाकाशभाषणरूपेण निर्वहति।

Bharavatarastavah

अस्मिन् स्तोत्रकाव्ये भगवन्तं शिवं कविरभिष्टौति। वसन्ततिलकयोपनिबद्धस्य काव्यस्यास्य कविकृतम् उल्लाघनाभिधं व्याख्यानं च वर्तते।

Karnataka’s celebrated polymath, D V Gundappa brings together in the third volume, some character sketches of great literary savants responsible for Kannada renaissance during the first half of the twentieth century. These remarkable...

Karnataka’s celebrated polymath, D V Gundappa brings together in the second volume, episodes from the lives of remarkable exponents of classical music and dance, traditional storytellers, thespians, and connoisseurs; as well as his...

Karnataka’s celebrated polymath, D V Gundappa brings together in the first volume, episodes from the lives of great writers, poets, literary aficionados, exemplars of public life, literary scholars, noble-hearted common folk, advocates...

Evolution of Mahabharata and Other Writings on the Epic is the English translation of S R Ramaswamy's 1972 Kannada classic 'Mahabharatada Belavanige' along with seven of his essays on the great epic. It tells the riveting...

Shiva-Rama-Krishna is an English adaptation of Śatāvadhāni Dr. R Ganesh's popular lecture series on the three great...

Bharatilochana

ಮಹಾಮಾಹೇಶ್ವರ ಅಭಿನವಗುಪ್ತ ಜಗತ್ತಿನ ವಿದ್ಯಾವಲಯದಲ್ಲಿ ಮರೆಯಲಾಗದ ಹೆಸರು. ಮುಖ್ಯವಾಗಿ ಶೈವದರ್ಶನ ಮತ್ತು ಸೌಂದರ್ಯಮೀಮಾಂಸೆಗಳ ಪರಮಾಚಾರ್ಯನಾಗಿ  ಸಾವಿರ ವರ್ಷಗಳಿಂದ ಇವನು ಜ್ಞಾನಪ್ರಪಂಚವನ್ನು ಪ್ರಭಾವಿಸುತ್ತಲೇ ಇದ್ದಾನೆ. ಭರತಮುನಿಯ ನಾಟ್ಯಶಾಸ್ತ್ರವನ್ನು ಅರ್ಥಮಾಡಿಕೊಳ್ಳಲು ಇವನೊಬ್ಬನೇ ನಮಗಿರುವ ಆಲಂಬನ. ಇದೇ ರೀತಿ ರಸಧ್ವನಿಸಿದ್ಧಾಂತವನ್ನು...

Vagarthavismayasvadah

“वागर्थविस्मयास्वादः” प्रमुखतया साहित्यशास्त्रतत्त्वानि विमृशति । अत्र सौन्दर्यर्यशास्त्रीयमूलतत्त्वानि यथा रस-ध्वनि-वक्रता-औचित्यादीनि सुनिपुणं परामृष्टानि प्रतिनवे चिकित्सकप्रज्ञाप्रकाशे। तदन्तर एव संस्कृतवाङ्मयस्य सामर्थ्यसमाविष्कारोऽपि विहितः। क्वचिदिव च्छन्दोमीमांसा च प्रकल्पित...

The Best of Hiriyanna

The Best of Hiriyanna is a collection of forty-eight essays by Prof. M. Hiriyanna that sheds new light on Sanskrit Literature, Indian...

Stories Behind Verses

Stories Behind Verses is a remarkable collection of over a hundred anecdotes, each of which captures a story behind the composition of a Sanskrit verse. Collected over several years from...