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Mandala 2
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The second Mandala of the Rigveda has 43 hymns, mainly to Agni and Indra chiefly attributed to the Rishi gṛtsamada śaunohotra. It is one of the "family books" (mandalas 2-7), the oldest core of the Rigveda, which were composed in early vedic period (1500-1000 BCE).[1]
Witzel (1995) on the basis of internal evidence suggested that the second Mandala contains the oldest hymns of the Rigveda.[2]
List of incipits
[edit]The dedication as given by Griffith is in square brackets
2.1 (192) [ Agni.] tvám agne dyúbhis tuvám āśuśukṣáṇis.
2.2 (193) [Agni.] yajñéna ? vardhata jātávedasam
2.3 (194) [ Apris.] sámiddho agnír níhitaḥ pṛthivyâm
2.4 (195) [Agni.] huvé vaḥ sudiyótmānaṃ suvṛktíṃ
2.5 (196) [Agni.] hótājaniṣṭa cétanaḥ
2.6 (197) [Agni.] imâm me agne samídham
2.7 (198) [Agni.] śréṣṭhaṃ yaviṣṭha bhārata
2.8 (199) [Agni.] vājayánn iva nû ráthān
2.9 (200) [Agni.] ní hótā hotṛṣádane vídānas
2.10 (201) [Agni.] johûtro agníḥ prathamáḥ pitéva
2.11 (202) [ Indra.] śrudhî hávam indra mâ riṣaṇyaḥ
2.12 (203) [Indra.] yó jātá evá prathamó mánasvān
2.13 (204) [Indra.] ṛtúr jánitrī tásyā apás pári
2.14 (205) [Indra.] ádhvaryavo bháraténdrāya sómam
2.15 (206) [Indra.] prá ghā nú asya maható mahâni
2.16 (207) [Indra.] prá vaḥ satâṃ jyéṣṭhatamāya suṣṭutím
2.17 (208) [Indra.] tád asmai návyam aṅgirasvád arcata
2.18 (209) [Indra.] prātâ rátho ? návo yoji sásniś
2.19 (210) [Indra.] ápāyi asya ándhaso mádāya
2.20 (211) [ Asvins.] vayáṃ te váya indra viddhí ṣú ṇaḥ
2.21 (212) viśvajíte dhanajíte suvarjíte
2.22 (213) [Indra.] tríkadrukeṣu mahiṣó yávāśiraṃ
2.23 (214) [ Brahmanaspati.] gaṇânāṃ tvā gaṇápatiṃ havāmahe
2.24 (215) [Brahmanaspati.] sémâm aviḍḍhi prábhṛtiṃ yá îśiṣe
2.25 (216) [Brahmanaspati.] índhāno agníṃ vanavad vanuṣyatáḥ
2.26 (217) [Brahmanaspati.] ṛjúr íc cháṃso vanavad vanuṣyató
2.27 (218) [ Adityas.] imâ gíra ādityébhyo ghṛtásnūḥ
2.28 (219) [ Varuna.] idáṃ kavér ādityásya svarâjo
2.29 (220) [ Visvedevas.] dhŕtavratā âditiyā íṣirā
2.30 (221) [Indra and Others.] ṛtáṃ devâya kṛṇvaté savitrá
2.31 (222) [Visvedevas.] asmâkam mitrāvaruṇāvataṃ rátham
2.32 (223) [Various Deities.] asyá me dyāvāpṛthivī ṛtāyató
2.33 (224) [ Rudra.] â te pitar marutāṃ sumnám etu
2.34 (225) [ Maruts.] dhārāvarâ marúto dhṛṣṇúojaso
2.35 (226) [ Son of Waters.] úpem asṛkṣi vājayúr vacasyâṃ
2.36 (227) [Various Gods.] túbhyaṃ hinvānó vasiṣṭa gâ apó
2.37 (228) [Various Gods.] mándasva hotrâd ánu jóṣam ándhaso
2.38 (229) [ Savitar.] úd u ṣyá deváḥ savitâ savâya
2.39 (230) grâvāṇeva tád íd árthaṃ jarethe
2.40 (231) [ Soma and Pusan.] sómāpūṣaṇā jánanā rayīṇâṃ
2.41 (232) [Various Deities.] vâyo yé te sahasríṇo
2.42 (233) [ Kapinjala.] kánikradaj janúṣam prabruvāṇá
2.43 (234) [Kapinjala.] pradakṣiníd abhí gṛṇanti kārávo
References
[edit]- ^ Dahiya, Poonam Dalal (2017-09-15). ANCIENT AND MEDIEVAL INDIA EBOOK. McGraw-Hill Education. p. 95. ISBN 978-93-5260-673-3.
- ^ Michael Witzel, Rgvedic history: poets, chieftains and politics, in: Language, Material Culture and Ethnicity. The Indo-Aryans of Ancient South Asia, ed. G. Erdosy, Berlin/New York (de Gruyter) 1995, 307-352; Witzel, "Westward Ho"
External links
[edit]
Sanskrit Wikisource has original text related to this article:
Works related to The Hymns of the Rigveda/Book 2 at Wikisource – English translation by Ralph T. H. Griffith
Mandala 2
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Introduction
Overview
Mandala 2 constitutes the second book among the ten mandalas of the Rigveda, the oldest of the Vedic texts composed in Vedic Sanskrit. This mandala encompasses 43 hymns, known as suktas, totaling 429 verses referred to as riks. As the shortest mandala in the Rigvedic corpus by number of hymns, it forms a compact yet integral segment of the ancient hymnal tradition.[3][4] The hymns are primarily attributed to the rishi Gṛtsamada of the Bhṛgu family. The hymns of Mandala 2 predominantly extol the deities Agni, the fire god, and Indra, the warrior deity associated with thunder and victory. These compositions invoke divine presence to aid in ceremonial proceedings, underscoring Agni's role in kindling sacrificial fires and Indra's in granting protection from foes. Such invocations highlight the mandala's function within Vedic sacrificial rites, where the verses accompany offerings to ensure ritual efficacy and communal safeguarding.[3] Poetically, Mandala 2 exemplifies the early Vedic style, characterized by rhythmic meters like the gayatri and trishtubh, and vivid imagery drawn from natural and cosmic phenomena. As part of the Rigveda's foundational layer, its language reflects the archaic Indo-Aryan dialect of Vedic Sanskrit, prioritizing oral recitation and mnemonic precision in preserving sacred knowledge.[4]Significance in Vedic Literature
Mandala 2 holds a central place in Vedic ritual practice, particularly in soma sacrifices and fire rituals, where its hymns are invoked to secure divine favor for prosperity and victory. The mandala's Aprī-sūkta (2.3) serves as a preparatory invocation in animal sacrifices accompanying soma rites, calling upon deities like Sarasvatī, Ila, and Bhāratī to ensure the ritual's efficacy, while broader hymns to Agni emphasize the fire god's role as mediator in offerings that sustain cosmic harmony and earthly abundance.[5] These compositions reflect the emphasis on Agni as the conduit for soma libations that empower Indra's heroic deeds against chaos, such as the demon Vṛtra.[6] The mandala's hymns exert significant influence on post-Vedic texts, notably the Brāhmaṇas, where they are referenced in commentaries on sacrificial procedures to elucidate the symbolism of offerings and divine invocations. For instance, elements from Mandala 2 appear in the Taittirīya Saṃhitā and associated Brāhmaṇa explanations of soma pressing and fire kindling, reinforcing the rituals' role in upholding ṛta, the principle of cosmic order.[5] This integration underscores Mandala 2's enduring authority in shaping exegetical traditions that bridge the Saṃhitā and ritual manuals. Scholars regard the mandala's archaic language as a key preserve of early Indo-Aryan cosmology, capturing concepts like ṛta through vivid depictions of natural forces and divine interventions that maintain universal equilibrium. Its Vedic Sanskrit retains pristine Indo-European forms, evident in terms evoking solar and atmospheric phenomena, which illustrate the interplay of fire (Agni) and thunder (Indra) in enforcing ṛta against disorderly forces like Vṛtra.[5] In modern interpretations, Mandala 2 informs yoga and meditation practices by reinterpreting the Agni-Indra dualism as an inner psychological process, where Agni symbolizes the awakening of spiritual fire and Indra the illumined mind overcoming ignorance. Sri Aurobindo's esoteric reading frames these hymns as guides for meditative ascent, transforming ritual invocations into tools for divine realization and self-purification.[7]Historical and Textual Context
Dating and Chronology
The composition of Mandala 2 is estimated to have taken place between approximately 1500 and 1000 BCE, positioning it within the early Rigvedic period and aligning with the broader timeline of Indo-Aryan linguistic and cultural developments in the northwestern Indian subcontinent. This dating draws from a combination of linguistic analysis, comparative philology with other Indo-European languages, and archaeological correlations, such as the absence of iron references and the presence of Bronze Age material culture indicators. Scholars like Michael Witzel classify Mandala 2 as part of the "family books" (Mandalas 2–7), which form the oldest core of the Rigveda, composed over several generations in a relatively compact timeframe during the initial phases of Indo-Aryan settlement.[8] Internal evidence supporting this chronology includes the mandala's archaic vocabulary and grammatical structures, such as conservative Indo-European roots and early Vedic Sanskrit forms that prefigure later developments in the language. Ritual references in the hymns, emphasizing sacrificial practices and invocations tied to pastoral and warrior societies, further correspond to the Bronze Age context of Indo-Aryan migrations, evidenced by geographical allusions to rivers and regions in the Punjab area that match paleoclimatic and settlement patterns from around 1500 BCE. These features indicate a text rooted in the migratory and formative stages of Vedic culture, distinct from the more urbanized or philosophically evolved elements in later compositions.[9] Relative to other mandalas, Mandala 2 is older than Mandalas 1 and 10, which show linguistic innovations, expanded ritual complexity, and speculative themes indicative of a subsequent phase around 1200–900 BCE. Scholarly analysis places it in the mid-chronological layer of the family books, following earlier mandalas like 6, 3, and 7, and preceding later ones such as 5, 8, 1, and 10, based on linguistic, thematic, and deity clustering patterns. It is contemporaneous in a broad sense with the other family books (2–7), reflecting a shared poetic tradition among related clans during the core Rigvedic era. The mandala's content was preserved through rigorous oral transmission mechanisms, including mnemonic techniques and recitation schools, ensuring fidelity across generations until the Rigveda's overall oral fixation around 1200–1000 BCE in the emerging Kuru polity. Scholarly debates center on the precise boundaries of this transmission period, with some emphasizing the role of clan-based memorization in maintaining archaic elements like those in Mandala 2 against later interpolations.[8][9]Place Among Family Books
The family books of the Rigveda, designated as Mandalas 2 through 7, represent a core segment of the text where hymns are predominantly attributed to poets from distinct rishi families, forming cohesive units that highlight lineage-specific compositions. This organizational principle contrasts with the mixed mandalas—namely Mandalas 1, 8, 9, and 10—which incorporate hymns from a variety of authors across different clans, reflecting a more eclectic compilation process.[10][11] Mandala 2 initiates this sequence of family books and is devoted to the Bhrigu-Gṛtsamada lineage, comprising 43 hymns that constitute a unified priestly corpus centered on ritual and devotional themes associated with this tradition. Attributed chiefly to the rishi Gṛtsamada, it exemplifies the familial attribution pattern, where the majority of suktas trace back to a single prominent seer and his descendants.[10][12] In terms of scale, Mandala 2 holds the distinction of being the shortest among the family books, with its 43 hymns underscoring a compact yet integral contribution compared to the expanded structure of subsequent family mandalas, such as Mandala 3, which contains 62 hymns.[10][13] The placement of Mandala 2 within the family books underscores the Rigveda's purpose in safeguarding hereditary hymn collections, enabling specific clans to preserve and deploy their poetic heritage in Vedic rituals and sacrifices. This structure facilitated the transmission of clan-specific priestly knowledge, ensuring the continuity of familial roles in religious practice.[10]Authorship
Gṛtsamada and the Bhrigu Clan
Gṛtsamada Śaunahotra serves as the principal seer (ṛṣi) of Mandala 2 in the Rigveda, with the majority of its 43 hymns attributed to him as the chief composer within the Bhrigu priestly lineage. He is described as the son of Śaunahotra (also spelled Suhotra), a figure connected to the ancient Bhrigu gotra, and father to Śunaka or Kucetā, extending the family's Vedic contributions across generations.[14] The Bhrigu clan, tracing its origins to the legendary patriarch Bhrigu, one of the mind-born sons of Brahma, held a pivotal role as ancient fire priests in Vedic tradition, particularly in the propagation of Agni worship. This clan's intimate association with Agni—the god of fire and mediator of sacrifices—is reflected in Mandala 2's emphasis on hymns praising Agni as the divine priest and purifier, underscoring the Bhrigus' historical function in carrying and enshrining sacred fire among human tribes. According to the Viṣṇu Purāṇa, Gṛtsamada's genealogy integrates him into this lineage through his descent from Śunahotra, while traditional commentaries like Sāyaṇa describe his adoption into the Bhṛgu family following divine intervention by Indra.[14] Puranic legends portray Gṛtsamada's life as intertwined with themes of devotion and redemption, influencing the spiritual depth of his compositions. In one account from the Mahābhārata (Anuśāsana Parva) and related texts, Gṛtsamada, upon discovering his mother Mukundā's liaison with Indra, cursed her to transform into the thorny Kaṇṭaka tree.[15] Enraged, Mukundā retaliated by cursing him to father a demon son, temporarily tarnishing his Brahmin purity. To counteract this, Gṛtsamada undertook rigorous penance to appease Gaṇapati, the elephant-headed son of Śiva, thereby regaining his sacred status and imbuing his hymns with profound devotional fervor toward divine protectors like Indra and Agni. Textual evidence from the Rigveda's Anukramaṇī further reveals the collaborative nature of the mandala's authorship within the Bhrigu clan, with not all hymns solely credited to Gṛtsamada. For instance, hymns 4 through 7 are ascribed to Somāhuti Bhārgava, a fellow clan member, while hymns 27 to 30 are attributed to Kūrma Gṛtsamada, identified as his son, highlighting the familial transmission of poetic and ritual knowledge in this family book. Overall, only two additional seers beyond Gṛtsamada are noted, affirming the mandala's core attribution to him and his immediate kin.[14]Composition Style
The composition style of Mandala 2 exemplifies the archaic Vedic Sanskrit characteristic of the Rigveda's family books, featuring a ritualistic language designed for oral recitation in sacrificial contexts. Hymns in this mandala preserve early linguistic traits, including the frequent use of dual forms to address paired deities such as the Ashvins, reflecting the grammatical dual prevalent in Vedic morphology for denoting natural pairs or companions.[14] This archaic quality is evident in the mandala's placement as the first family book, marking an early phase of Vedic composition with complex etymologies and vivid imagery in invocations to Agni and Indra.[14] Poetic techniques emphasize direct address and praise, with many stanzas employing invocation formulas beginning with tvam ("you") to engage deities personally, underscoring the stotra (praise hymn) genre central to ritual efficacy. Kennings, or compound epithets, enrich the imagery, such as descriptions of Indra as the "bull of the Maruts," symbolizing his leadership over the storm gods and evoking strength and virility in battle contexts. These devices, alongside alliteration and parallelism, serve as mnemonic aids for oral transmission, facilitating memorization during priestly training by repeating phonetic patterns and symmetrical structures across verses.[16][17] The mandala's metres predominantly feature Gāyatrī (24 syllables per verse) for concise Agni praises and Triṣṭubh (44 syllables) for expansive Indra hymns, comprising the bulk of the 43 sūktas and suiting the rhythmic demands of ritual chanting. Repetitive refrains, known as anukaṃpa, appear in select hymns to reinforce themes during performance, enhancing the auditory flow and communal recitation in yajña ceremonies. This metrical and repetitive framework, tied to the broader use of metres in the Rigveda, prioritizes sonic resonance over narrative complexity, aligning with the oral-poetic tradition.[18]Structure
Organization into Anuvakas and Suktas
Mandala 2 of the Rigveda is divided into nine anuvakas, which serve to group its 43 suktas into manageable sections for recitation during Vedic rituals.[18] These anuvakas facilitate the oral transmission and liturgical use of the text, with each containing a varying number of suktas—typically five or six in the earlier sections, tapering to three in the final anuvaka—to align with the rhythmic and mnemonic demands of performance.[19] Each sukta in Mandala 2 comprises a sequence of 3 to 20 verses, known as ṛks, structured as poetic units addressed to specific devatās or deities, often with the rishi (seer) indicated at the conclusion.[18] This organization allows for focused praise within individual hymns, enabling priests to select appropriate suktas for rituals based on the presiding deity. The verses within suktas vary in length to suit the metrical patterns, but the overall hymn length influences the grouping.[20] The suktas are arranged primarily by devatā and secondarily by metre, beginning with a series dedicated to Agni in Anuvaka 1, followed by hymns to Indra and other deities in subsequent sections.[21] This logical progression reflects the thematic priorities of the Bhrigu clan's compositions, prioritizing fire and thunder gods while incorporating cosmological elements later. Within deity groups, ordering often follows decreasing hymn length to optimize recitation flow. In terms of textual transmission, Mandala 2 is preserved in the Shakala shakha, the predominant recension of the Rigveda, which standardizes the divisions and ensures fidelity across oral and manuscript traditions.[19] The Shakala version, comprising the core 1,017 suktas plus supplementary Valakhilya hymns, maintains these anuvaka and sukta demarcations as essential for pedagogical and ritual accuracy, with no significant variants affecting Mandala 2's structure in surviving manuscripts.[22]Use of Metres
Mandala 2 of the Rigveda predominantly utilizes the Gāyatrī metre, consisting of three pādas each with eight syllables, in more than 20 hymns, especially those comprising shorter invocations to Agni and other deities. This metre's concise structure facilitates rhythmic recitation in ritual contexts, emphasizing invocation and praise.[23] The Triṣṭubh metre, featuring four pādas of eleven syllables each, appears frequently in hymns dedicated to Indra, where its steady, emphatic rhythm underscores themes of heroic action and cosmic power.[24] Agni hymns in this mandala often favor the Jagatī metre, with four pādas of twelve syllables, which allows for greater syllabic flexibility to mirror the deity's dynamic and variable nature as the sacrificial fire. Overall, approximately 70% of the verses in Mandala 2 adhere to these common Vedic metres—Gāyatrī, Triṣṭubh, and Jagatī—reflecting the standardized poetic forms typical of the family books (Mandalas 2–7).[23][24] In ritual performance during yajña, the choice of metre influences chanting speed and auditory impact; for instance, the longer Jagatī and Triṣṭubh metres support slower, more deliberate recitations suited to soma-related rites, enhancing the hymns' sonic resonance in sacrificial assemblies.[25] Rare variations, such as the Uṣṇik metre (typically 8+8+12 syllables), occur in transitional or mixed hymns, demonstrating the composers' flexibility within the established metrical framework of the family books.[24]Themes and Deities
Worship of Agni and Indra
In Mandala 2 of the Rigveda, Agni is prominently featured in ten hymns, where he is depicted as the divine priest (hotṛ) who serves as the mediator between humans and the gods, conveying sacrificial offerings to the divine realm. These hymns emphasize Agni's role in facilitating rituals, often portraying him as the bearer of oblations who ensures their acceptance by higher deities, thereby maintaining the efficacy of the sacrifice. Themes of purification are recurrent, with Agni invoked as the cleanser who removes impurities through his fiery essence, symbolizing both literal fire and spiritual renewal. Additionally, his association with light underscores his function as an illuminator of truth and wisdom, dispelling darkness and guiding devotees toward enlightenment.[26][1] Indra receives invocation in approximately a dozen hymns within this mandala, celebrated primarily as the protector and warrior god who slays the demon Vṛtra to release waters and ensure fertility. These compositions highlight Indra's immense strength, his control over rain and storms, and his role in granting victory in battles against adversaries, often linking his exploits to the prosperity of the Aryan tribes. The Vṛtra-slaying motif, as seen in hymns like 2.12, symbolizes the triumph of order over chaos, with Indra wielding his vajra to liberate cosmic waters, thereby fostering agricultural abundance and communal security.[26] Several hymns integrate the worship of Agni and Indra, reflecting interconnected motifs where fire (Agni) fuels the thunderbolt (Indra's weapon), portraying them as complementary forces in the cosmic framework. Joint praises, such as in 2.8, underscore this synergy, with devotees seeking boons for wealth—particularly cattle (go), symbolizing material prosperity—and progeny to ensure lineage continuity. These requests align with the mandala's priestly orientation, where ritual invocation of the duo promises both earthly gains and familial perpetuation.[26][27] Philosophically, Agni and Indra emerge as upholders of ṛta, the cosmic order that governs natural and moral laws, unique to Mandala 2's emphasis on priestly mediation and heroic protection. Agni embodies ṛta through his ritual purity and illuminating power, while Indra enforces it via his victorious actions against disruptive forces like Vṛtra, collectively ensuring harmony between the human, natural, and divine spheres. This thematic depth distinguishes the mandala's devotional focus, blending ritualistic devotion with cosmological principles.[1][28]Other Deities and Concepts
In Mandala 2 of the Rigveda, secondary deities beyond the primary focus on Agni and Indra appear predominantly in the latter half of the collection, from hymns 20 to 43, expanding the thematic scope to include a broader pantheon and cosmic principles. This shift broadens the ritual invocations from core fire and thunder worship to encompass healing, cosmic order, and collective divine benevolence, reflecting the interconnectedness of Vedic cosmology.[29] Brahmanaspati, the lord of prayer and a figure of ritual authority, is invoked in hymns 2.23–2.26, emphasizing his wisdom in guiding sacrifices, providing divine inspiration, and evolving from Brhaspati as a priestly mediator.[26] The Aśvins, twin deities associated with healing, dawn, and swift aid to mortals, are invoked in at least one dedicated hymn (2.39), where they are praised as rescuers bearing remedies and guiding chariots across the skies; another reference appears in hymns addressing various deities that include their protective roles. Varuṇa, the sovereign of cosmic law (ṛta) and overseer of moral order, receives a single hymn (2.28), emphasizing his unyielding statutes and role in upholding truth against deceit. Rudra, depicted as a fierce storm god and father of the Maruts, is honored in the rare hymn 2.33, which seeks his mercy as a healer and protector rather than destroyer, portraying him with attributes like braided hair and a thousand remedies that foreshadow later developments in Shaivite traditions.[30][31] Soma, the deified plant and ritual elixir granting immortality and inspiration, features in two hymns: one paired with Pūṣan (2.40) and another in invocations to various gods where its purifying flow is celebrated as a bridge to divine realms. The Viśvedevas, representing the collective "all gods," are addressed in hymns 2.29 and 2.31, invoking the full assembly for prosperity, protection, and harmony among the pantheon. Additionally, the Ādityas, a group of solar deities including Varuṇa, Mitra, and Aryaman, are praised in 2.27 as ethical guardians enforcing dharma and warding off moral transgressions. Conceptual themes in these hymns extend to natural and abstract forces, with indirect praise of Uṣas (dawn) emerging in references to luminous beginnings and renewal within Viśvedevas invocations, symbolizing the cyclical awakening of light and life. Rivers are portrayed as life-givers in hymns to waters (2.35) and Varuṇa, where they nourish the earth and carry divine essences, underscoring their role in fertility and purification. Pūṣan embodies abstract benevolence as the pathfinder and nourisher, invoked in 2.40 for guiding travelers, prospering herds, and ensuring safe journeys, highlighting themes of providence and cosmic guidance.Hymns
Summary of Contents
Mandala 2 of the Rigveda comprises 43 hymns organized into nine anuvākas, presenting a structured progression from invocations centered on ritual fire to broader appeals for cosmic harmony and prosperity.[29] The opening anuvākas (1–2, hymns 2.1–2.10) focus predominantly on Agni, with hymns invoking the fire god as the divine priest and mediator for household sacrifices, emphasizing his role in purifying offerings and bestowing wealth upon the sacrificer.[32] These hymns portray Agni as the hotṛ (invoker) who carries oblations to the gods, ensuring ritual efficacy and familial protection. Anuvākas 3–4 (hymns 2.11–2.21) shift to Indra-centric praises, detailing the thunder god's heroic exploits such as slaying the dragon Vṛtra to release the rivers and defeat adversaries, thereby securing victory and abundance for the Aryan communities. Indra is depicted as the wielder of the vajra (thunderbolt), a protector against demonic forces, with invocations seeking his aid in battles and libations. The mid-section (hymns 2.22–2.32) introduces a mixed array of deities, including praises to Br̥haspati (2.23–2.26) for priestly wisdom and ritual authority, the Ādityas (2.27) and Varuṇa (2.28) as upholders of cosmic order, Viśvedevas (2.29, 2.31), and Indra with Maruts (2.32) promoting communal prosperity through rains and strength. These hymns blend calls to various figures for wisdom and ritual success, fostering themes of collective well-being and seasonal renewal. The latter hymns (2.33–2.43) expand to Rudra (2.33) for his dual fierce and protective aspects, Maruts (2.34) as storm gods, Apām Napāt (2.35), Rbhus (2.37), Savitṛ (2.38), Aśvins (2.39) for healing, Soma with Pūṣan (2.40) for nourishment, Viśvedevas (2.41), and closing praises to the Kapiñjala bird (2.42–2.43) symbolizing auspicious calls for divine favor. This culminates in invocations envisioning universal protection, abundance, and harmony.[29] Overall, the mandala progresses from specific priestly invocations of Agni for domestic rites to Indra's martial triumphs, then diverse communal appeals, and finally universal benedictions encompassing protection and cosmic abundance across the Vedic pantheon.List of Incipits
The list of incipits for the 43 hymns of Mandala 2 provides a catalog of their opening verses in transliterated Sanskrit from the Shakala recension, along with the primary deity as indicated in the anukramani indices. These serve as key identifiers for textual analysis, recitation, and cross-recension comparisons in Vedic studies.[29]| Hymn | Incipit | Primary Deity |
|---|---|---|
| 2.1 | agnír hótāram atanū́ṣe viśvā́ amīṣā́m janímā | Agni |
| 2.2 | agním īḷe puróhitaṃ yajñásya devám ṛtvíjam | Agni |
| 2.3 | agníḥ pūrvyaḥ ṣaḍyajuḥ puróhitaṃ sūryasya | Agni |
| 2.4 | agníṃ dūtaṃ vrṇīmahe hotāraṃ viśvavédasam | Agni |
| 2.5 | agníṃ naro duṣúṣe várcasā yajñe | Agni |
| 2.6 | tvam agne mahi rājan jāta ṛtásya mā́tari | Agni |
| 2.7 | hotā́ram agníṃ tvam uṣáso yā́ti | Agni |
| 2.8 | agníṃ ghṛtápratīkaṃ viśvavedasam | Agni |
| 2.9 | agníṃ nāma víśvasya jātavedasaḥ | Agni |
| 2.10 | agníṃ sūnúṃ rohitáṃ vasupatim | Agni |
| 2.11 | índraṃ naréṣu prathamajā́ ṛṣīṇaṃ | Indra |
| 2.12 | índraṃ vardhántu dhīyáḥ | Indra |
| 2.13 | índraṃ vo viṣṇuḥ stotṛbhyaḥ | Indra |
| 2.14 | índro aśvínā yuvam | Indra |
| 2.15 | ā́ tvā viśantu dhīyáḥ | Indra |
| 2.16 | yáḥ sakhā sahó dadhāte | Indra |
| 2.17 | índraṃ víśvasya jātavedasaḥ | Indra |
| 2.18 | stotṛ́bhyo índraḥ śravasyàtī | Indra |
| 2.19 | índraṃ śruṇótu viśvavedāḥ | Indra |
| 2.20 | gā́vo bhavantu dhenavaḥ | Indra |
| 2.21 | índraṃ ví vo viṣṇuḥ | Indra |
| 2.22 | yá ojiṣṭho rájāmāṇam | Indra |
| 2.23 | br̥h́aspate ati yavasthā́naḥ | Br̥haspati |
| 2.24 | mánasaspátiḥ sumánā indraḥ | Br̥haspati |
| 2.25 | br̥h́aspate ati yavasthā́naḥ sacā riṣyasi | Br̥haspati |
| 2.26 | br̥h́aspatíḥ sumatím | Br̥haspati |
| 2.27 | yáḥ śukrám ādityaíḥ | Ādityāḥ |
| 2.28 | ímṃ me varuṇa praśastím | Varuṇa |
| 2.29 | ā́ no agne áditeḥ putrāso | Viśvedevāḥ |
| 2.30 | índraṃ viṣṇuṃ havāmahe | Indra-Viṣṇu |
| 2.31 | ā́ yāḥ śúcīr viśvedevā́s | Viśvedevāḥ |
| 2.32 | eṣá te marutām | Indra-Mārutaḥ |
| 2.33 | ā́ te pitā marutām | Rudra |
| 2.34 | stotāraṃ rudrā́so araranta | Mārutaḥ |
| 2.35 | apaṃ napād amīmrucat | Āpaḥ Napāt |
| 2.36 | viśvedevā́s o rathíbhiḥ | Viśvedevāḥ |
| 2.37 | ṛbhukṣā́n ā́ vavṛtṣata | Ṛbhuḥ |
| 2.38 | ud u tváḥ savitar | Savitṛ |
| 2.39 | yád aśvinā narī́ṣu | Aśvinā |
| 2.40 | eṣá sómo gírbhiḥ | Soma-Pūṣan |
| 2.41 | gandharvó dadhire ratháṃ | Viśvedevāḥ |
| 2.42 | śákuntaṃ kapiñjalaṃ | Kapiñjala |
| 2.43 | yáḥ śávasā viśvam ánu prábabhuva | Kapiñjala |