Hymns of the Atharva-Veda — SBE Vol. 42 page scans

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| Volume 42 HYMNS OF THE ATHARVA-VEDA

Extracts from the Ritual Books. and The Commentaries

Edited & Translated by F. MAX MULLER

Translated by MAURICE BLOOMFIELD —

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HYMNS OF THE ATHARVA-VEDA

Together with EXTRACTS FROM THE RITUAL BOOKS AND THE COMMENTARIES

Translated by MAURICE BLOOMFIELD

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CONTENTS.

INTRODUCTION :— _ I. The names of the Atharva-veda and their meanings II. The position of the Atharva-veda in Hindu Litera-

ture in general . ;

III. The Atharva-veda in the view ‘Of its ; Ritualistic Literature . ‘ >

Prefatory remarks . - ‘

Hymns, TRANSLATION AND COMMENTARY :—

I. Charms to cure diseases and possession by demons of disease (bhaishagy4ani). Book v, 22. Charm against takman (fever) and related diseases. : vi, 20. Charm against takman (ae i, 25. Charm against takman (fever) vii, 116. Charm against takman (fever) v, 4. Prayer to the kush/Aa-plant to Sas takman (fever) xix, 39. Prayer to the crahibe plank to ie stroy takman (fever) and other ailments . i, 12. Prayer to lightning, conceived as the cause of fever, headache, and cough i, 22. Charm against jaundice and related diseases ; ‘ , 14. Charm against ‘the disease baldsa ‘ vi, ree Charm against cough i, 2. Charm against excessive ae from the body ; ii, 3. Charm against excessive discharges from the body, undertaken with spring- water ;

PAGES XVii

XXVili

lvii Ixxi

9, 277

Vill

Charm against ‘the disease baldsa ‘ vi, ree Charm against cough i, 2. Charm against excessive ae from the body ; ii, 3. Charm against excessive discharges from the body, undertaken with spring- water ;

PAGES XVii

XXVili

lvii Ixxi

9, 277

Vill

CONTENTS.

BOOK vi, 44. Charm against excessive discharges from the body ‘ : i i, 3.°"Charm against COnmzaOe He retention of urine . ’ vi, 90. Charm against statis pain cokes hte to the missiles of Rudra . i, 10. Charm against dropsy vii, 83. Charm against dropsy vi, 24. Dropsy, heart-disease, and Gaia oadaities cured by flowing water ; vi, 80. An oblation to the sun, coneeied as one 7 the two heavenly dogs, as a cure for paralysis ii, 8. Charm against kshetriya, hereditary disease . iil, 10. Charm against kshetriya, hereditary disease . iii, 7. Charm against kshetriya, hereditary disease . i, 23. Leprosy cured by a dark plant i, 24. Leprosy cured by a dark plant vi, 83. Charm for curing scrofulous. sores called apakit vii, 76. A. Charm for curing pores ees sores cules apakit B. Charm for curing tumours canes gayanya C. Stanza sung at the mid-day pressure of the soma . vii, 74. A. Charm for curing een rary sores ‘dalled apafit . ; B. Charm to appease jean : C. Prayer to Agni, the lord of vows . vi, 25. Charm against scrofulous sores upon neck and shoulders vi, 57. Urine (galasha) as a cure fo} eiilons sores . iv, 12. Charm with the nee ainadint (laksha) nis the cure of fractures v, 5. Charm with the plant silaAt (laksha, srundhatt for the cure of wounds vi, 109. The pepper-corn as a cure for Sutls i, 17. Charm to stop the flow of blood . il, 31. Charm against worms : ii, 32. Charm against worms in cattle .

PAGES

10, 481 10, 235

II, 506 II, 241 12, 562

12, 471

13, 500 13, 286 14, 292 15, 336 16, 266 16, 268

17, 503

17, 559 17, 560

18, 562

18, 557 18, 559 18, 559

19, 472 19, 488 19, 384 20, 419 21, 516 22, 257

22, 313 23) 317

CONTENTS.

Charm against worms in cattle .

PAGES

10, 481 10, 235

II, 506 II, 241 12, 562

12, 471

13, 500 13, 286 14, 292 15, 336 16, 266 16, 268

17, 503

17, 559 17, 560

18, 562

18, 557 18, 559 18, 559

19, 472 19, 488 19, 384 20, 419 21, 516 22, 257

22, 313 23) 317

CONTENTS.

BOOK v, 23. Charm against worms in children iv, 6. Charm against poison iv, 7. Charm against poison : vi, roo. Ants as an antidote against poison . v, 13. Charm against snake-poison vi, 12. Charm against snake-poison ; vii, 56. Charm against the poison of serpents, scor- pions, and insects vi, 16. Charm against dpbitclenia vi, 21. Charm to promote the growth of bike vi, 136. Charm with the plant nitatnf to promote the growth of hair vi, 137. Charm to promote the aronth a bak iv, 4. Charm to promote virility vi, 111. Charm against mania iv, 37. Charm with the plant agasrzngt to aitve out Rakshas, Apsaras, and Gandharvas ; ii, 9. Possession by demons of disease, cured by an amulet of ten kinds of wood. iv, 36. Charm against demons (pisafa) Pease as the cause of disease . ’ ii, 25. Charm with the plant przsniparnt against the demon of disease called kanva vi, 32. Charm for driving away demons (Rakshas and Pisakas) : ii, 4. Charm with an amulet dseaeen fiiden the gangida-tree, against diseases and demons xix, 34. Charm with an amulet derived from the gangida-tree, against diseases and demons xix, 35- Charm with an amulet derived from the gangida-tree, against diseases and demons vi, 85. Exorcism of disease by means of an amulet from the varama-tree ; vi, 127. The Aipudru-tree as a panacea xix, 38. The healing properties of bdellium . vi, 91. Barley and water as universal remedies viii, 7. Hymn to all magic and medicinal plants, used as a universal remedy vi, 96. Plants as a panacea . ii, 33. Charm to secure perfect health .

PAGES 23, 452 25, 373 26, 376 27, 5II 27, 425 28, 461

29, 552 30, 464 30, 470 31, 536 31, 537

31, 369 32, 518

33, 408 34; 290 35, 497 36, 302 36, 475 37, 280 38, 669 39, 674 39; 5°5 49, §3° 40, 675 4°, 507 41, 578

44, 5°9 44, 321

CONTENTS.

BOOK ix, 8. Charm to procure immunity from all diseases

ii, 29. Charm for obtaining long life and prosperity by transmission of disease © :

II. Prayers for long life and health (4yushyavi).

III.

iii, 11. Prayer for health and long life .

ii, 28. Prayer for long life pronounced over a boy .

iii, 31. Prayer for health and long life .

vii, 53. Prayer for long life . : : °

vill, 1. Prayer for sine ie from the dangers of death .

viii, 2. Prayer for Erarrital eae the ‘adele x death .

v, 30. Prayer for exemption bai aistase and iealti

iv, 9. Salve (4#gana) as a protector of life and limb

iv, 10. The pearl and its shell as an amulet bestow- ing long life and prosperity .

The pearl and its shell as an amulet bestow- ing long life and prosperity .

xix, 26. Gold as an amulet for long life

Imprecations against demons, sorcerers, and ene- mies (abhifarikami and krztyapratiharam4ni).

i, 7. Against sorcerers and demons

i, 8. Against sorcerers and demons :

i, 16. Charm with lead, against demons pee sor- cerers . *

vi, 2. The soma-oblation dicected nitive eri (rakshas) . . ; .

li, 14. Charm against a ae of Say demons, conceived as hostile to men, cattle, and home

iii, 9. Against vishkandha and kabava (hostile demons)

iv, 20. Charm with a Shake a ialasoniials which exposes demons and enemies

iv, 17. Charm with the apaméarga-plant, against sorcery, demons, and enemies

iv, 18. Charm with the apamarga-plant, again sorcery, demons, and enemies

iv, 19. Mystic power of the apam4rga-plant, cusiens demons and sorcerers . :

PAGES

45, 600

47, 308

49, 341 50, 306

51, 364 52, 551 53s 569

55» 573 59, 455 61, 381

62, 383 63, 668

64, 237 65, 239

65, 256 66, 458 66, 298 67, 339 68, 398 69, 393 7°, 396

71, 397

LV.

CONTENTS.

BOOK

vii, 65. Charm with the apamarga-plant, against curses, and the consequence of sinful deeds

x, 1. Charm to repel sorceries or spells

v, 31. Charm to repel sorceries or spells

v, 14. Charm to repel sorceries or spells

viii, 5. Prayer for protection addressed to a talis- man made from the wood of the sraktya-tree .

x, 3. Praise of the virtues of an amulet derived

from the varava-tree . >

x, 6. Praise of the virtues of an pele of eadliens wood in the shape of a ploughshare

iv, 16. Prayer to Varuvza for protection against treacherous designs

ii, 12. Imprecation against enemies thwarting holy work .

vii, 70. Frustration of the satya of an enemy

ii, 7. Charm against curses and hostile plots, under- taken with a certain plant . ;

iii, 6. The asvattha-tree as a destroyer of enemies.

vi, 75- Oblation for the suppression of enemies (nairbadhyam havi)

vi, 37. Curse against one that practises hostile charms .

vii, 13. Charm to sini enemies or. their arenih

Charms pertaining to women (strikarmazi).

ii, 36. Charm to obtain a husband

vi, 60. Charm to obtain a husband

vi, 82. Charm for obtaining a wife

vi, 78. Blessing for a married couple

vii, 36. Love-charm spoken by a bridal couple

vii, 37. Charm pronounced by the bride over the bridegroom . ‘

vi, 81. A bracelet as an ameblet to ensure concep- tion ; : ;

iii, 23. Charm for obtaining a son 1 (pussavanam) .

i, 11. Charm for easy parturition

xi PAGES

72, 556 72, 602

76, 456 77; 429 79, 575 81, 605 84, 608

88, 389

89, 294: 9°, 557

gi, 285 QI, 334

92, 495

93, 475 93, 544

94, 322 95, 491 95, 502 96, 498

96, 546

96, 501 97, 356 97, 460 98, 545 98, 467 99, 242

xii

CONTENTS.

eon Charm with pehacets to secure the love of a woman . . ii, 30. Charm to secure ‘ itie sive of a woman vi, 8. Charm to secure the love of a woman. vi, 9. Charm to secure the love of a woman . vi, 102. Charm to secure the love of a woman iii, 25. Charm to arouse the passionate love of a woman f vi, 139. Charm to arouse the pasionat thie of a woman : vii, 38. Charm to secure the love of aman . vi, 130. Charm to arouse the er. love of a man vi, 131. Charm to arouse the pasionat love ae a man ‘ vi, 132. Charm to arouse the cavcannnis Live of a man : iv, 5. Charm at an acne vi, 77. Charm to cause the return of a truant woman vi, 18. Charm to allay sda vii, 45. Charm to allay jealousy . i, 14. A woman’s incantation against her sval ili, 18. Charm of a woman against a rival or co-wife vi, 138. Charm for depriving a man of his virility . i, 18. Charm to remove evil bodily characteristics from a woman vi, 110. Expiatory charm for a child bier mies an unlucky star : ; vi, 140. Expiation for the sbierular nipkarcube er the first pair of teeth . } : :

V. Charms pertaining to royalty (ragakarm4zi).

iv, 8. Prayer at the consecration of a king

lii, 3. Charm for the restoration of an exiled king .

lii, 4. Prayer at the election of a king . ‘

lil, 5. Praise of an amulet derived from the parna- tree, designed to strengthen royal power

iv, 22. Charm to secure the superiority of a king .

i, 9. Prayer for earthly and heavenly success

PAGES

99, 274 100, 311

100, 459

IOI, 459 101, 512

102, 358

102, 539 103, 546

104, 534 104, 535

104, 435 105, 371

106, 496 106, 467 107, 547 107, 252 107, 354 108, 537

109, 260 109, 517 I10, 540

It, 378 E12, 437

II3, 33°

114, 331 115, 404 116, 239

CONTENTS.

BOOK vi, 38. Prayer for lustre and power

vi, 39. Prayer for glory (yasas)

viii, 8. Battle-charm F ;

i, 19. Battle-charm against arrow-wounds

iii, 1. Battle-charm for confusing the enemy.

iii, 2. Battle-charm for confusing the enemy.

vi, 97- Battle-charm of a king upon the eve of battle . ;

vi, 99. Battle-charm of a eaege upon the eve of battle .

xi, 9. Prayer to Arbudi and Neariuidi for a in battle . ‘

xi, 10. Prayer to Trishamdhi for sy in battle

v, 20. Hymn to the battle-drum .

Charm to allay discord

vi, 74. Charm to allay discord ,

vii, 52. Charm against strife and Siaitatiad

vi, 64. Charm to allay discord

vi, 42. Charm to appease anger .

vi, 43- Charm to appease anger . :

ii, 27. Charm against opponents in debate, der. taken with the pa/i-plant

vii, 12. Charm to procure influence in the assembly

vi, 94. Charm to bring about submission to one’s will

VII. Charms to secure prosperity in house, field, cattle,

business, gambling, and kindred matters.

iii, 12. Prayer at the building of a house

vi, 142. Blessing during the sowing of seed .

vi, 79. Charm for procuring increase of grain

vi, 50. Exorcism of vermin ae grain in the field

vii, 11. Charm to protect grain from lightning

PAGES

116, 477 117, 478 117, 582 120, 262 121, 325 tat,-327

122, 510 123, 510

123, 631 126, 637 130, 436

T31, 439

134, 361 135, 494 135, 495 136, 550 136, 492 136, 479 137, 480

137, 304 138, 543

138, 508

140, 343 141, 541 141, 499

142, 485 142, 543

X1V CONTENTS.

BOOK

ii, 26. Charm for the prosperity of cattle

iii, 14. Charm for the prosperity of cattle . ;

vi, 59. Prayer to the plant arundhati for epee: to cattle

vi, 70. Charm to secure the steatitet of a cow to her calf . :

iii, 28. Formula in expiation of the birth r twin- calves . : °

vi, 92. Charm to aie a horse with ttihen

iii, 13. Charm for conducting a river into a new channel ; :

vi, 106. Charm to ward off ene cen fire.

iv, 3. Shepherd’s charm against wild beasts and robbers :

iii, 15. A merchant’s prayer :

iv, 38. A. Prayer for success in gambling

B. Prayer to secure the return of calves that have strayed to a distance

vli, 50. Prayer for success at dice ; ‘

vi, 56. Exorcism of serpents from the premises

x, 4. Charm against serpents, invoking the horse of Pedu that slays serpents . ;

xi, 2. Prayer to Bhava and Sarva for protection from dangers

iv, 28. Prayer to Bhava sai Suan tbe vtpetiia from dangers.

vii, 9. Charm for finding lost Bipdeey?

vi, 128. Propitiation of the weather-prophet .

xi, 6. Prayer for deliverance from calamity, ad- dressed to the entire pantheon

VIII. Charms in expiation of sin and defilement.

vi, vi, Vi,

45. Prayer against mental delinquency . :

26. Charm to avert evil .

114. Expiatory formula for imperfections in the sacrifice

115. Expiatory formulas is sins :

BOOK vi, 120. Prayer for heaven after remission of sins .

vi, 27. Charm against pigeons sage as ominous birds . ‘ ‘ : P

vi, 29. Charm against ominous aia and keiths

vii, 64. Expiation when one is defiled by a black bird of omen :

vi, 46. Exorcism of evil iene ; ,

vii, 115. Charm for the removal of evil Pea istics, and the acquisition of auspicious ones .

IX. Prayers and imprecations in the interest of the

Brahmans.

v, 18. Imprecation against the sees of Brah- mans . ;

v, 19. Imprecation aginst the eee of Brake mans . : 3

v, 7. Prayer to appease 2 Ardti the “iene of grudge and avarice ‘ ‘

xii, 4. The necessity of giving away sterile cows to the Brahmans :

xi, 1. The preparation of the bealinidadain, the porridge given as a fee to the Brahmans

xii, 3. The preparation of the brahmaudana, the porridge given as a fee to the Brahmans

ix, 3. Removal of a house that has been presented to a priest as sacrificial reward . ‘

vi, 71. Brahmanical prayer at the receipt of gifts .

xx, 127. A kuntapa-hymn .

X. Cosmogonic and theosophic hymns.

xii, 1. Hymn to goddess Earth . ‘ ‘ ;

xiii, 1. Prayer for sovereign power addressed to the god Rohita and his female Rohint

xi, 5- Glorification of the sun, or the rege prin- ciple, as a Brahman disciple

xi, 4. Prana, life or breath, personified as ve supreme spirit ; ;

ix, 2. Prayer to Kama (love), personified as a pri- mordial power .

PAGES

165, 529

166, 474 166, 475

167, 555 167, 485

168, 564

169, 430 T71, 433 172, 423 174, 656 179, 610 185, 645 193, 595

196, 494 197, 688

199, 639 207, 661 214, 626 218, 622

220, 591

XVI CONTENTS.

BOOK xix, 53. Prayer to Kala (time), personified as a ey

mordial principle . ;

xix, 54. Prayer to Kala (time), Bertonined as a pri- mordial principle .

xi, 7. Apotheosis of the u&s/ishéa, the ‘edu of the sacrifice

ix, 1. Hymn to the Siucanen of the soho

INDEXES :— I. Index of Subjects IJ. Index of Hymns in the order of the Athi iae Sods

Additions and Corrections .

Transliteration of Oriental Alphabets adopted for the Translations of the Sacred Books of the East

713

INTRODUCTION.

I. THE NAMES OF THE ATHARVA-VEDA AND THEIR MEANINGS.

THE fourth Veda is known in Hindu literature by an Thecom. Unusually large number of appellations. Of pound stem these the dvandva plural atharvangirasaz is old, © atharvangiras. : eT occurring AV. X, 7,20; it is the name found at the head of the Atharvan MSS. themselves. The appear- ance of this name in a given text has not unfrequently been made the basis—partly or entirely—for estimating the rela- tive chronology of that text. But this criterion can claim only negative value, since the designation occurs in a text as late as the Ausanasa-smrzti, III, 441. It is found in a great variety of texts of the Vedic literature, as may be seen in the subsequent account of the attitude of Hindu literature towards the fourth Veda (p. xxviii ff.), but at no period does it positively exclude other designations.

It is found in a great variety of texts of the Vedic literature, as may be seen in the subsequent account of the attitude of Hindu literature towards the fourth Veda (p. xxviii ff.), but at no period does it positively exclude other designations.

The locative singular of this same compound occurs in a passage not altogether textually certain, Mahabh. III, 305, 20=17066, where the Bombay edition has atharvangi- rasi srutam, but the Calcutta, atharvasirasi srutam. The locative singular (apparently neuter) of the stem atharvangi- rasa occurs rarely, Yagvav. I, 312 (kusalam atharvangirase). A specimen of a derivative adjective from the compound may be seen at Manu XI, 33, atharvangirasifZ srutiz; cf. Mahabh. VIII, 40, 33=1848, krity4m atharvangirasim.

' See Civananda’s DharmasAstrasamgraha, vol. i, p. 514.

[42] b

XVIll HYMNS OF THE ATHARVA-VEDA. Oe Se fe EE es ee

The name atharvan, with a great variety of derivatives,

! is employed growingly as the designation of eRe the Veda; the name dngiras by itself is so pare ar ay rare as to arrest attention when it is met.

At TS. VII, 5, 11, 2 = Kathaka Asvamedha- grantha, V, 2, occurs the formula angirobhyad svaha, pre- ceded by rigbhyah, &c. svaha: it is, as far as is known, - the solitary occurrence of this designation of the Atharva- veda in a Vedic text}. Quite frequently, however, the members of the compound atharvangirasak are separated so that each is mentioned by itself, but always in more or less close conjunction with one another. This shows that the compound is not a congealed formula, but that the texts are conscious of the fact that each has a distinct individuality, and a right to separate existence. In other words, the AV. actually consists of atharvan and angiras matter, and the question arises what elements in the make- up of this Veda these terms refer to. The answer, I believe, may now be given with a considerable degree of certainty : the term atharvan refers to the auspicious practices of the Veda, the bheshagaéni (AV. XI, 6, 14), those parts of the Veda which are recognised by the Atharvan ritual and the orthodox Brahmanical writings, as sAnta, ‘holy,’ and paush/ika, ‘conferring prosperity ;’ the term angiras refers to the hostile sorcery practices of the Veda, the yatu (Sat. Br. X, 5, 2, 20), or abhifara?, which is terrible (ghora).

In an article entitled, ‘On the position of the Vaitana- sitra in the literature of the Atharva-veda, Journ. Amer. Or. Soc. XI, 387 ff., I pointed out that the above-mentioned distinction is clearly made at Vait. Sd. 5,10, where two lists of plants are differentiated, one as atharvazya, the other as angirasyak. The same distinction is maintained at Gop. Br. I, 2,18. The former refers to the list of plants

* Jn texts not Vedic the term angirasah occurs occasionally as an abbreviated form of atharvangirasaz, Thus in the first superscription of the AV. Prati- sakhya, the Saunakiya Xaturadhyayika, and in Pawini V, 2, 37. Cf. also Gop. Br. I, 1, 8.

Br. I, 2,18. The former refers to the list of plants

* For the distinction between santa and 4bhifarika see Kaus. 3, 19, and note 5 on p. 11 of our edition.

INTRODUCTION. XIX

catalogued at Kaus. 8, 16, and there distinctly described as santa, ‘holy ;’ the second list is stated at Vait. Sd. 5, 10 itself to be angirasa, in the obscure terms, kapurviparva- rodakavrzkkavatinadanirdahantibhir AngirasibhiZ. These names are in general unknown, the text is not quite certain, but the designation of the last, nirdahanti, shows that the list is designed for unholy sorcery practices (abhizarika) ?. The adjective a4ngirasa is in general in the ritualist texts of the AV. equivalent to abhifarika. Thus saszbhara 4ngi- rasak, Kaus. 47, 2, means ‘utensils for sorcery” ;’ dazda angirasa#, Kaus. 47, 12, means ‘staff for sorcery ;’ agnir angirasak, Kaus. 14, 30, means ‘sorcery-fire*.’ The fifth kalpa of the AV., usually known as Angirasa-kalpa, bears also the names Abhif#ara-kalpa, and Vidhana-kalpa, ‘ text- book of sorcery ;’ see ibid. XI, 376 ff. It is worth while to follow out this specific use of the = A term Angirasa in non-Atharvan texts, lest it be afigiras in Suspected of being an Atharvanic refinement. non-Atharvan The Rig-vidhana IV, 6, 4, has the following texts. sloka: ‘He against whom those that are skilled in the Angirasakalpas practice sorcery repels them all with the Pratyangirasakalpa*.’ The term praty4ngirasa is the exact equivalent of pratyabhizarama, ‘ counter-witch- craft®’ (AV. II, 11, 2), and the krityapratiharavani, Ath. Paris. 32, 2 (cf. Kaus. 39, 7, note). The texts of the sort called Atharvavapratyangirdkalpam (! see Ind. Stud. I, 469) deal with the same theme, as does the Yagur-vidhana (Agni-purdva, 259, 10) in the expression pratyangireshu (sc.karmasu). Cf. also the titles of works, pratyangiratatva, pratyangirapa#anga, and pratyangiradsikta, mentioned in Bohtlingk’s Lexicon, as probably dealing with the same theme. We may connect with this pejorative use of the

1 Cf. AV. Ill, 2, 5; VII, 108, 2; IX, 2, 4; 5, 31; XIV, 2, 48.

2 Darila, ghoradravy4mi.

* Kesava, 4igirasos gnih Aandalagnih.

* yam 4fgirasakalpais tu tadvido s bhifaranti sa pratyahgirasakalpena sarvams tan pratibadhate. Cf also the following slokas, and IV, 8, 3; Ath. Paris. 3, 1; and see Rudolf Meyer’s preface to his edition of the Rig-vidhana, p. xxxi.

* Sayana, nivaryate parakritabhifaraganita kritya anena iti pratyabhika- ranah. b2

XX HYMNS OF THE ATHARVA-VEDA.

Cf also the following slokas, and IV, 8, 3; Ath. Paris. 3, 1; and see Rudolf Meyer’s preface to his edition of the Rig-vidhana, p. xxxi.

* Sayana, nivaryate parakritabhifaraganita kritya anena iti pratyabhika- ranah. b2

XX HYMNS OF THE ATHARVA-VEDA.

word angirasa the fact that the Vishvzu-puraza (Wilson's translation, V, 383) and the Bhavishya-puravza count the Angirasa as one of the four Vedas of the Parsis (Maga), the other three, Vada, Visvavada, and Vidut, also conveying thinly veiled disparagement of the religious books of an exotic religion; cf. Wilson in Reinaud’s Mémoire sur I’'Inde, p. 394; Ind. Stud. I, 292, note; Weber, Ind. Lit.’, p. 164, note.

We may then regard it as certain that the words angiras and angirasa are reflected by the ceremonial literature in the sense of abhifadra and abhifarika. Far more important is the evidence of certain texts of greater antiquity, and higher dignity, which have occasion to mention the Atharvan inci- dentally, and enunciate clearly this twofold character of the Veda. They make the very same distinction between atharvan and angiras that appeared above in the ritualistic passage, Vait. Sf. 5,10 (Gop. Br. I, 2, 18). At Sankh. Sr. XVI, 2, 1 ff., on the occasion of the horse-sacrifice, recita- tions are made from the ordinary Vedic classes of literature, the rzkak, yagdmshi, simani, and also the remoter literary categories which the Brahmavas and Sitras report, with great unanimity and considerable variety, as having been in existence in their time: the itihdsa (akhyana), puraza, sarpavidya, &c.! The Atharvan figures immediately after the Azk and Saman, and that too twice, in its double character as Atharvan and Angiras, and, what is more im- portant, bheshagam, i.e. remedial charms, are recited from the Atharvan; ghoram, i.e. sorcery, Abhifarikam, from the Angiras*. The commentator regards bheshagam and ghoram as distinct works, bheshagagranthasy4 stharvazi- kanam ...ghoram atharvavo granthaz. The same subject is treated in almost identical terms in Asv. Sr. X, 7, 1 ff.: again atharvavo veda and angiraso veda“ are treated indi- vidually, and again the former is correlated with bheshagam, the latter with ghoram *. Once more this theme is handled

' Cf. Max Miiller, History of Ancient Sanskrit Literature, p. 40 ff.

* atharvavedo vedah sosyam iti bheshagam nigadet . . . dagiraso vedo vedahk sosyam iti ghoram nigadet.

’ Scholiast, ghoram iti abhi#aradipratipadakam ity arthaz. Cf. RV. X, 34, 14, m&# no ghoréwa Aaraté s bhi dhrzshau,

INTRODUCTION. Xx1

by the Sat. Br. XIII, 4, 3, 3 ff.: here also atharvan and angiras are recognised individually; the correlation with bheshagam and ghoram is wanting, but the individuality of the two categories is clearly implied in the behest to recite on the third and fourth days respectively one section each of the Atharvans and the Angiras, each of which are distinctly said to be a Veda’.

Indirect, yet significant testimony that this double character of the AV. was clearly established in Brahman- ical times may be derived from the formation of the names of two apocryphal teachers. One is Bhishag Atharvama, Kazh. S. XVI, 3 (Ind. Stud. III, 459); the other is Ghora Angirasa, Kaush. Br. XX X,6; Asv. Sr. XII, 13,1; KAand. Up. III, 17, 6 (cf. Ind. Stud. I, 190, 293). The formation Bhishag Atharvava is illustrated further by Pa#é. Br. XII, 9, 10, bheshagas va atharvavani; and XVI, 10, 10, bhesha- gam vai devanam atharvavo bheshagydyaisvasrishtyai?; cf. also the expressions samyu atharvava, personified as a sage, Gop. Br. I, 2,18, and atharvabhiz santa, Kaus. 125, 2°. These names never, as far as is known, occur in inverted order : there is no Bhishag Angirasa, and no Ghora Atharvava; they reflect perfectly the individual character and the individual function of the two members of the compound atharvangirasah.

It seems now, further, that the texts of the Atharva-

SS Rad samhita mark this same distinction with no

aigiras in uncertain touch. At AV. XI, 6, 14, four

woot aoe Vedic mantra-categories are indicated by the

' expressions, r#kah, simani, bheshaga(ni), and yagimshi. The choice of the word bheshaga is certainly eclectic and one-sided. The passage appeals to the auspi-

! atharvazo vedahk ... atharvaszim ekam parva vyasakshanah; angiraso vedahk ... ahgirasim ekam parva vyazakshamah. Elsewhere, aside from the Atharvan texts, the component parts of the dvandva atharvangiras are drawn asunder, but without accessory statements; thus Tait. Br. III, 12, 9, 1; Nrisigthapiirvatapani Up. 5, 9.

2 A converse statement like bheshagam v4 4igirasini, is, if we judge the matter aright, a counter-sense, and unheard of anywhere in Hindu literature.

* So also Santi, as the wife of Atharvan; see Wilson's translation of the Vishwa-purana, 1, 110, 200; Bhagavata-purava III, 24, 24.

XX HYMNS OF THE ATHARVA-VEDA.

* So also Santi, as the wife of Atharvan; see Wilson's translation of the Vishwa-purana, 1, 110, 200; Bhagavata-purava III, 24, 24.

XX HYMNS OF THE ATHARVA-VEDA.

cious side of the holy texts, and naturally chooses the auspicious. aspect of the Atharvan also. Its: precise com- plement is Sat. Br. X, 5, 2, 20. Here, after correlating the adhvaryu-priests with the. yagu%, the £Aandoga-priests with the sdman, the bahvvzkas with the uktha (rzk), the author presents yatu, ‘sorcery, and the yatuvidad, ‘ those skilled in sorcery, as representatives of the fourth Veda. The bheshaga of the Atharvan passage,and the yatu of the present passage, make up together what is embraced in the name atharvangirasaz (AV. X, 7,20). Moreover, the Sam- hita exhibits a decided predilection, bordering on rigorous distinction, for associating the term Angirasa with aggressive witchcraft, or the practice of spells (kvztya). Thus VIII, 5, 9, kritya angirasiz; X, 1, 6, prati#ina angirasa# . .. pra- ttkiz kritya Akrityasm(in krityakrv7to gahi; XII, 5, 52, Adaddanam Angirasi brahmagyam upa dasaya; cf. also VI, 45, 32 RV. X, 164-4. Ine XI, 4,16 (cf, also. VIUL7, 29) the distinction between Atharvanic and Angirasic plants appears again, not, however, in any connection which con- veys of necessity the contrast between ‘holy’ and ‘ witch- craft’ plants. But it may do so. This, it will be remem- bered, is made in Vait. Si. 5,10; it formed the starting point for the present enquiry, and the chain of evidence extending through the Atharvanic and Brahmanical litera- ture seems thus to be linked. We may add finally that the late Parisishta hymns, AV. XIX, 22 and 23, which are repeated in the tract entitled Vedavratasya=desanavidhi, Ath. Paris. 46, 9 and 10, deal with and state subdivisions of angirasa and atharvava-texts, each separately!. The statements are but faintly applicable to the existing redac- tions of the Atharvan, the Saunakiya, and Paippalada- sakhas *, but we should be slow to condemn them as wholly apocryphal. The Gop. Br. I, 1, 5 and 8 also narrates in its own style of unbridled Brahmanical fancy the separate creation by Brahman of the Azshis Atharvan and Angiras,

* angirasdndm Adyaih pa#kanuvakaih svaha (XIX, 22, 1); sarvebhyo shgirobhyo vidagazébhyah sydha (XIX, 22, 18) ; AtharvaaXnasn katurrzkébhyak svdha (XIX, 23, 1).

2 Cf. Weber, Ind. Stud. IV, 433 ff.

INTRODUCTION. XXill

the subsequent emanation from these two of twenty Athar- vanic and Angirasic descendant sages !, and finally, the pro- duction by the Atharvans of the atharvaza veda, by the Angiras of angirasa veda.

In another passage, I, 3, 4, the Gop. Br. also asserts the separate character of the Angiras and Atharvans; the latter are again associated with bheshagam, the former is made the base of a foolish etymology, to wit: bhiyishtZam brahma yad bhrzgvangirasah#, yesngiraso yesngiraso sa rasak, yestharvazo yestharvazas tad bheshagam.

As regards the chronology and cause of this differentia-

tion of atharvan and angiras the texts are Cause of the : Seriya differentiation apparently wholly silent. The association of of atharvan both names (and later of the name bhvzgu and angiras. 3 ; also) with the texts and practices of the fourth Veda may be sought in the character of these mythic beings. They are fire-priests, fire-churners*, and the Atharvanic rites, as well as the house-ceremonies in general, centre about the fire, the oblations are into the fire. Fire-priests, in distinction from soma-priests, may have had in their keeping these homelier practices of common life. But whence the terrible aspect of the An- giras in contrast to the auspicious Atharvans? In the hymn about Sarama and the Pamis, RV. X, 108, 10, Sarama threatens the Pais with the terrible Angiras, angirasas ka ghorak. This statement, wholly incidental as it seems to be, is, of course, not to be entirely discarded. More im- portant is the fact that Brzhaspati, the divine purodha (purohita), is distinctly angirasa. In Kaus. 135, 9, Brzhas- pati Angirasa appears distinctly as the representative, or the divinity of witchcraft performances. In the Mahabha- rata he is frequently called angirasam sreshthah. In his function of body-priest of the gods it behoves him to

* Doubtless by way of allusion to the twenty books in the existing redaction of the Saunakiya-sakha. The expression vimsinoxhgirasah is repeated Pan. V, 2, 37, as a designation of the twenty books of the Saunakiya-sakha in its present redaction.

* Avestan Atar-, athra-van and Vedic athar-van may be derivatives from the root manth, math (mth) ‘churn.’ But the absence of the aspiration in Atar- makes the doubtful derivation still more doubtful.

XXIV HYMNS OF THE ATHARVA-VEDA.

exercise against hostile powers those fierce qualities which are later in a broader sense regarded as Angirasic. Thus RV. X, 164, 4 = AV. VI, 45, 3}, certainly exhibits this function of the divine purohita, and the composer of AV. X, i, 6, when he exclaims, ‘ Prati#ina (“ Back-hurler’’) the descendant of Angiras, is our overseer and officiator (puro- hita): do thou drive back again (prati#iz) the spells, and slay yonder fashioners of the spells,’ has also in mind the divine purohita*. The stanza foreshadows the later forma- tion pratyangiras, discussed above. We look in vain, how- ever, for statements of the reason why the word atharvan should be especially associated with santa and bheshaga, and must assume that this was accomplished by secondarily contrasting it with angiras after the sense of ghora, abhifdara had incrustated itself over it®. The uncertainty of all this does not endanger the result that at a comparatively early time the terms atharvavah, in the sense of ‘holy charms, and angirasa#, in the sense of ‘witchcraft charms, joined the more distinctively hieratic terms ~zkak, yagtmshi, and samani, as characteristic types of Brahmanical literary performances. But this distinction was at a later period again abandoned; in the end the name atharvan and its derivatives prevail as designations of the practices and charms of the fourth Veda without reference to their strongly diversified character.

The stem atharvan is modulated in a considerable variety of ways by derivative processes, the simple stem itself, or forms in the singular from it, being decidedly rare, and not at all early. I have noted Nvrzsimhapirvatapani Up. I, 4, rigyagudsamatharvartipaz siryaz. Plural forms are less rare: atharvazo veda, Sat. Br. XIII, 4, 3, 7; atharvavam,

} yad indra braltmasas patesbhidroham karamasi, praketé na Angirasd dvishat&m patv amhasah.

? RV. IV, 50, 7-9 prescribes that kings shall keep in honour (subhzztam) a brihaspati, i. e. a Brahman purohita, in archaic language whose sense coincides completely with the later Atharvanic notions. Barring the diction the passage might stand in any Atharva-Parisish/a; cf. below, p. lxviii, note.

* A dash of popular etymology may have helped the process: a-tharvan, ‘not injuring ;” cf. thurv in the sense of ‘injure,’ Dhatupa¢ka XV, 62, and perhaps Maitr. S. 1I, 10,1; also the roots tfirv and dhfiry with similar meanings.

INTRODUCTION, XXV

below, p. lxviii, note.

INTRODUCTION, XXV

TB. III, 12, 9, 1; atharvazah, Paz. Br. XVI, 10,10. The derivative neuter plural atharvavani (sc. siktani) is common, from AV. XIX, 23,1; Pa#zk. Br. XII, 9, 10 to Vriddhaha- rita-samhita III, 45 (Givananda, vol. i, p. 213), and later. The same stem, atharvava, is used in the masculine singular, atharvawas (sc. vedaz) katurthaz, K/and. Up. VII, 1, 2. 4; 2,1; 7,1; in the plural, mantra atharvava, Ram. II, 26, 21. The stem atharvava (without vriddhi of derivation) is found Nrisimhapirvatapani Up. II, 1, atharvavair mantrais; Mahabh. III, 189, 14 = 12963, atharvawak (sc. vedah). Still another derivative is atharvava, in atharvavza-vid, Mahabh. XII, 342, 100=13259. The name atharva-veda appears about as early as the corresponding names of the other Vedic categories (r7gveda, &c.), Sankh. Sr. XVI, 2, 10; Par. Grzh. II, 1, 7; Hir. Gvzh. II, 19,6; Baudh. Gvzh. IV, 5,1. The form employed in the Gainist Siddhanta is a(t)havvava-veda (see below, p. lvi); that of the Buddhist scriptures is 4thabbava-veda (ibid.). In addition to the designations of the Atharvan discussed above there are still others, based upon different modes of Pikes viewing this heterogeneous collection of Mantras. designations A single passage, Sat. Br. XIV, 8, 14, 1-4= ofthe AV. Byzh. Ar. Up. V, 13, 1-4, seems to hint at the fourth Veda with the word kshatram. The passage is engaged in pointing out the merits of Vedic compositions, stated in the series uktham (=7zk; cf. Sat. Br. X, 5, 2, 20), yagu/, sima, kshatram. Inasmuch as the first three ob- viously represent the trayi vidya, it is possible to view kshatram as epitomising the Atharvan!. If so, the passage is of considerable interest, as it seems to view the fourth Veda as the Veda of the Kshatriyas. More precisely the passage substitutes the act of kshatra, i.e. the characteristic performances of the Kshatriya (through, or with the aid of

* Cf. also Prasna Up. 11, 6, where brahma and kshatra figure. Both together represent in the epics the best outcome of the life of a kshatriya, ‘ piety ’ and ‘prowess.’ It is possible to conceive the appearance of kshatra alone as an eiliptic version of both brahma and kshatra, the two together being the ont- come ofthe tray! preceding, rather than a supplementary statement of additional Verlic types of composition ; cf. Prasna Up. II,6, For brahma alone, see below, p. xxxi, note.

XXVI HYMNS OF THE ATHARVA-VEDA.

his purohita) as Atharvanic by distinction. Recently Pro- fessor Weber! has emphasised the marked relation of the Atharvan to the royal caste.

Prasna Up. II,6, For brahma alone, see below, p. xxxi, note.

XXVI HYMNS OF THE ATHARVA-VEDA.

his purohita) as Atharvanic by distinction. Recently Pro- fessor Weber! has emphasised the marked relation of the Atharvan to the royal caste.

The text of the Samhita abounds in ragakarmazi, ‘ royal practices,’ and Weber thinks that the name of Kausika, the author of the great Atharvan Stra, points to a Kshatriya connection, since Kusika is identical with Visvamitra, and the latter, as is well known, stands forth among the ancient Vedic heroes as the representative of royalty. None of these points can be regarded as more than possibilities ”.

Two other designations of the AV. differ from all the preceding in that they are the product of a later Athar- vanic literary age, neither of them being found in the Samhita, and both being almost wholly restricted to the ritual text of the Atharvan itself. They are the terms bhvzgvangirasaZ and brahma-veda.

The term bhrigvangirasak is, as far as the evidence of the accessible literature goes, found only in Atharvan texts. Though bhvzgu takes in this compound the place of atharvan, the terms bhyzgava or bhviguveda do not occur. The term bhvzgvangirasah, however, is the favourite designation of the Veda in the Atharvan ritual texts?: it makes a show, in fact, of crowding out the other designations. Thus the Kausika does not directly mention the Atharvan composi- tions by any other name (see 63, 3; 94, 2-4; cf. 137, 25; 139, 6), although vaguer allusions to this Veda and its adherents are made with the stem atharvan (59,253; 73,123

* Episches im vedischen Ritual, Proc. of the Royal Academy at Berlin, July 23, 1891; nr. xxxviii, p. 785 ff. (especially 787, top); Ragastiya, pp. 4, 23, note.

* We may note also the prominence allowed in the AV. to the kind of performance called sava. These are elaborate and rather pompous bestowals of dakshiwa, rising as high as the presentation of a house (salasava, IX, 3); or a goat with five messes of porridge, five cows, five pieces of gold, and five garments (agaudana, IX, 4). There are twenty-two kinds of these sava, and the eighth book of the Kausika is devoted to their exposition (Kesava 64-66 presents a brief catalogue of them). Revenues of this kind are not likely to have been derived from lesser personages than rich Kshatriyas, or kings.

* In the Samhita the stem bhv7gvangiras is never employed as the name of the Atharvan writings ; in AV. V, 19, 1. 2 the terms bh7zgu and Aagirasa occur as the names of typical Brahman priests.

INTRODUCTION, XXVIl 125, 2.) The term also occurs in Vait. Su. 1, 5; Gop. Br. I, 1, 39; 2, 18 (end); 3, 1. 2. 4, and it is common in the Parisish¢as (see Weber, Omina und Portenta, p. 346 ff. ; Verzeichniss der Sanskrit und Prakrit Handschriften, I], 89 ff.), and the Anukramazi. No valid reason appears why the term bhvzgu has succeeded in encroaching so far upon the term atharvan. The following may, however, be remarked. The three words atharvan, angiras, and bhvzgu are in general equivalent, or closely related mythic names in connection with the production or the service of fire. Occasionally in the mantras (RV. X, 14, 6) they are found all together +, or bhyzgu is found in company with atharvan (RV. X, 92, 10), or with angiras (RV. VIII, 43, 13). This interrelation of the three names continues in the Yagus and Brahmava-texts, but in such a way that the juxtaposition of bhvzgu and angiras becomes exceedingly frequent ?, broaching in fact on complete synonymy. The latter is reached in Sat. Br. IV, 1, 5, 1, where the sage A yavana is designated either as a Bhargava or as an Angirasa*. It is conceivable that the frequency of this collocation sug- gested to the Atharvavedins a mode of freshening up the more trite combination atharvangirasah ; of any reason for a conscious preference of the word bhvigu the texts show no trace *.

The term brahma-veda whose origin is discussed below (p. lxv) likewise belongs to the sphere of the Atharvan ritual. Outside of the Atharvan there is to be noted only a single, but indubitable occurrence, Sankh. Gvzh. I, 16, 3.

' Cf, Weber, Verzeichniss, II, 46.

? E. g. Tait. S. 1, 1, 7, 2; Maitr.S.1,1,8; Vag. S.1,18; Tait. Br.I, 1, 4,8; Ill, 2, 7,6; Sat. Br. I, 2,1, 13; Katy. Sr. II, 4, 38; Apast. Sr.I, 12, 3; 23,6; YVaska's Nigh.V, 5; Nir. XI, 18. The juxtaposition of bhy7gu and atharvan is decidedly rarer in this class of texts (e. g. Apast. Sr. IV, 12, 10); that of bhvigu and afigiras continues in the Mahabharata, and later; see Pet. Lex. s.v. (col. 364, top). ;

? Cf. similarly Dadhya#é Atharvama, Tait. S. V,1, 4, 4, with Dadhyaas Aagirasa, Pavtk. Br. X11, 8, 6.

* A statement like that of the late AUlik4 Upanishad to, that the Bhrzgu are foremost among the Atharvans (atharvamo bhrigiittama’), if it is taken seriously at all, reflects rather the result than the cause of the substitution of the name bhrigu for atharvan.

XXVIil HYMNS OF THE ATHARVA-VEDA..

Even in the Atharvan Upanishads the term is wanting’. The earliest occurrences of the word, aside from Sankh. Grth., are Vait. Sd. 1, 1; Gop. Br. I, 2,16. The word is common in the ParisishZas.

XXVIil HYMNS OF THE ATHARVA-VEDA..

Even in the Atharvan Upanishads the term is wanting’. The earliest occurrences of the word, aside from Sankh. Grth., are Vait. Sd. 1, 1; Gop. Br. I, 2,16. The word is common in the ParisishZas.

We may note finally the terms pav#kakalpa and pa#ka- kalpin. They do not refer directly to the Samhitas of the AV., but are both bahuvrihi-compounds designating ‘one who practises with the five kalpas of the AV.,’ i.e. Atharvan priests. Thus the words were first explained by the author, Journ. Amer. Or. Soc. XI, 378; Kausika, Introduction, p. lvii. Cf. also Magoun, The Asuri-kalpa, Amer. Journ. Phil. X,169. They are very late: they do not occur in the Siatras or Brahmavza of the AV., nor, as far as is known, in the literature proper of that Veda. They appear as the titles of scribes of Atharvan texts, see Kausika, Introduc- tion, p. ix; Weber, Verzeichniss der Sanskrit und Prakrit Handschriften, II, 96. But they are sufficiently attested outside of the Atharvan, in the expression, pazkakalpam atharvazam, Mahdbh. XII, 342, 99 = 13258, and in the Mahabhashya (Ind. Stud. XIII, 455).

II. THE POSITION OF THE ATHARVA-VEDA IN Hinpu LITERATURE IN GENERAL.

In addressing oneself to the task of characterising the estimate which the Hindus placed upon the Atharvan Statement texts and practices, it is especially needful to of the take a broad, if possible a universal view, of problem. the statements of the Vedic and mediaeval texts bearing upon the question. The Atharvan is

' The word occurs in certain doubtful variants of the text of the Musdaka Up.; see Ind. Stud. I, 301, note. In Ram I, 65, 22 brahmaveda is contrasted with kshatraveda, just as at Mahabh. VII, 23, 39=988 brahma veda with dhanurveda. In such cases the word brahma is not to be referred pregnantly to the fourth Veda, but to Brahmanic religion in general represented by the first caste, the science of war being in the hands of the second, or warrior-caste. Cf. below, p. xlii,. The word brahmavid, Mahabh. III, 2625 (Nala 14, 18, brahmarshi),

however, seems to mean ‘skilled in sorcery,’ and may contain an allusion to the AV. -

INTRODUCTION. XXIX

Cf. below, p. xlii,. The word brahmavid, Mahabh. III, 2625 (Nala 14, 18, brahmarshi),

however, seems to mean ‘skilled in sorcery,’ and may contain an allusion to the AV. -

INTRODUCTION. XXIX

a sacred text in more than one respect: aside from the materials which it shares with the Azg- and Yagur- vedas, many of its hymns and practices are benevolent (bheshaga) and are in general well regarded, though even these, as we shall see, do not altogether escape the blight of contempt. Many hymns of the AV. are theosophic in character: on whatsoever ground they found shelter in the Atharvan collections they cannot have been otherwise than highly esteemed. The class of charms designed to establish harmony in family and village life and reconciliation of enemies (the so-called sdsmanasy4ni, p. 134 ff.), and the royal ceremonies (ragakarmavi), are obviously auspicious in their nature. Even the sorceries of the Atharvan neces- sarily show a double face: they are useful to oneself, harmful to others. According as they are employed objectively and aggressively, they are a valuable and forceful instrument for the benefit and aggrandisement of him that employs them ; according as one suffers from them subjectively and passively, they are dreadful and contemptible. This con- flict of emotions lasts throughout the history of the recorded Hindu thought ; the colaur of the Atharvan remains change- able to the end, and is so described in the final orthodox and stereotyped view that it is used ‘to appease, to bless, and to curse?.’ The fact, however, is that there must have arisen in the long run a strong wave of popular aversion against the Veda, whose most salient teaching is sorcery. This appears from the discussions of the Hindus themselves as to the orthodoxy of that Veda*; from the conscious efforts of the later Atharvan writings to vindicate its char- acter and value; from the allegorical presentation of the Atharvan as ‘a lean black man, sharp, irascible, and amorous *;’ and many occasional statements of the Vedic and classical texts. The history of the relation of the Atharvan to the remaining Hindu literature is, however,

* santikapaush/ikabhi4aradipratipadaka, Madhusiidanasarasvati (Ind. Stud. I, 16); Kesava to Kaus. 1,1 ; Deva to Katy. Sr. XV, 7, 11, and elsewhere.

* According to Burnell, Vamsabrahmama of the Samaveda, p. xxi, the most influential scholars of Southern India still deny the genuineness of the Atharvan.

* Kagendralalamitra in the Introduction to the Gopatha-brahmawa, p. 4.

XXX HYMNS OF THE ATHAKVA-VEDA.

Sr. XV, 7, 11, and elsewhere.

* According to Burnell, Vamsabrahmama of the Samaveda, p. xxi, the most influential scholars of Southern India still deny the genuineness of the Atharvan.

* Kagendralalamitra in the Introduction to the Gopatha-brahmawa, p. 4.

XXX HYMNS OF THE ATHAKVA-VEDA.

still unwritten, and the following pages aim to supply the necessary data. In the hymn to the Purusha; the primaeval cosmic man (RV. X, 90, 9), the three Vedic categories, x7kak samani a! ... yaguh, are mentioned; a fourth term, an ‘e khandamsi, is generic, embodying the metrical the Rig- canons, or the metrical compositions as a whole, but the opportunity to mention the Atharvan is neglected’. The names atharvan, angiras, and bhvigu, which occur frequently elsewhere in the RV., designate mythic personages, intimately connected with the production of the fire, and the soma-sacrifice ; nowhere do they seem to refer to any kind of literary composition. Even the expression brahmavzi, used in connection with atharvan, RV. I, 80, 16, can claim no special interest, be- cause, as will appear later (p. Ixvi), the word brahma is never used as a specific designation of Atharvan charms. No great importance is to be attached to this silence; the praises to the gods in connection with the great soma- sacrifices, with their prevailing mythical colouring, darkened very often by priestly mysticism, offer but scant occasion for the mention of sorcery, or the plainer practices of every- day life. Yet sorcery and house-practices there were in India at all times?. The failure of the Rig-veda to mention any systematic redaction of charms by a collective name like atharvangirasak must be gauged by the slenderness of its opportunities to mention the Veda as a generic name (cf. VIII, 19, 5), or Vedic collections or redactions in par- ticular (X, 90, 9)°. There is no proof that even the oldest

* Kor RV. X, 71, £1, which also hints at the three Vedic types, and the brahma that embraces them all, see the full discussion below, p. xiv ff.

? Cf. e. g., RV. I, 191 ; VII, 50, and especially VII, 104, 16.

* The familiar mention of compositions called ri#, siman, uktha, stotra, sastra, &c., does not, it is important to note, refer to collections at all, but to types of poetic productivity; they are moreover all of them such as were dis- tinctly connected with the soma-sacrifice. Their presence simply accentuates the preoccupation of the body of the Rig-vedic collection with the great priestly sacrifices, and the consequent absence of the more general terms for Vedic classes of writings. The stem yaguA/, in the sense of collection of formulas of the Yagur-veda, occurs only in the above-mentioned passage, X, 90, 9.

INTRODUCTION. XXX1

The stem yaguA/, in the sense of collection of formulas of the Yagur-veda, occurs only in the above-mentioned passage, X, 90, 9.

INTRODUCTION. XXX1

parts of the RV., or the most ancient Hindu tradition accessible historically, exclude the existence of the class of writings entitled to any of the names given to the Atharvan charms; there is no evidence that these writings ever differed in form (metre) or style from those in the existing Atharvan redactions; and, finally, there is no positive evidence—barring the argumentum ex silentio— that the names current in other texts as designations of Atharvan hymns (bheshagani, atharvazak, angirasak, &c.) were unknown at the earliest period of literary activity. On the other hand, the existing redactions of the AV. betray themselves as later than the RV. redaction by the character of the variants in those mantras which they share with the RV. As regards the AV., the stanza X, 7, 20 presents the four Vedic categories, rzkah, yaguh, samani, and atharvan- Position of girasa#, the last the traditional name of the the AV.in Saunakiya-version. The same tetrad is intended we i. ©at XI, 6, 14, where the narrower term bhesha- Saunakiya- gA(ni) takes the place of atharvangirasaz. At samhita. ‘

XIX, 54, 5 the mention of atharvan and angiras, though not directly referable to the AV., certainly suggests it, because stanza 3 speaks in the same strain of the rzkak and yaguh; and in XIX, 22,1; 23, 1 (parisishfa in character; cf. above, p. xxii), the angirasani and Athar- vazani (sc. siktani) are mentioned separately. Otherwise this text also fails to present a fixed name for the type of literature known later as Atharvanic'. The Atharvan is very much in the same position as we shall find the Yagus- texts: the three Vedas are mentioned, often in connection with other more specific forms and designations of prayer and sacerdotal acts, but the Atharvan is omitted. The impression left in both cases is by no means that of con- scious neglect or contempt, but rather of esoteric restriction to the sphere of the great Vedic ritual (srauta)*. Thus

* The word brahma which is catalogued with the trayf at XI, 8, 23; XV. 6,3 (cf. also XV, 3, 7) does not refer to the Atharvan, but is the broader and higher term for religious activity in general. Cf. RV. X, 71, 11, and see below, p. Ixvi.

* E. g. in the very same hymn (X, 7, 14) in which the Atharvafgirasa/ are

XXXIl HYMNS OF THE ATHARVA-VEDA.

6,3 (cf. also XV, 3, 7) does not refer to the Atharvan, but is the broader and higher term for religious activity in general. Cf. RV. X, 71, 11, and see below, p. Ixvi.

* E. g. in the very same hymn (X, 7, 14) in which the Atharvafgirasa/ are

XXXIl HYMNS OF THE ATHARVA-VEDA.

it augurs no contempt or neglect of the Atharvan, if in a charm constructed for the purpose of obtaining a know- ledge of the Vedas, AV. VII, 54 (Kaus. 42, 9), only 7zk, saman, yagu, veda, and oblation (haviZ) are mentioned: the person who here desires Vedic learning is not in training for Atharvan priesthood, and therefore does not take care to include this specialistic learning’. And similarly a con- siderable number of additional Atharvan passages, IX, 6, Teas XT, 7w5e 24988529 y XI B83 ANE O- OO which the Atharvan is not mentioned with the other Vedic compositions, betray no sign of conscious exclusion or con- tempt of the Atharvan. On the other hand, this very omission ensures the interesting result that the Saszhita of the AV., unlike its ritualistic adjuncts (see p. Ivii ff.), is in no wise engaged either in self-glorification, or in ‘polemics against the other Vedas. It seems altogether evident that the Atharvan diaskeuasts were totally uncon- scious of any disadvantages inherent in their text, or any contemptuous treatment on the part of the adherents of the other Vedas.

In addition to the explicit designation of the Atharvan compositions as atharvangirasa/, bheshagani, atharvavzani, &c., there is to be noted in the Saunakiya-text of the hymns a decided advance in the association of the names Atharvan, Angiras, and Bhvzgu with the practices and conditions which these hymns are aimed at. The older, broader, and vaguer mythic personality of all three which appears, eg. in RV. VILL 495-193" X14, OAV T, 58); X, 92, 10, is still continued in the Atharvan (VI, 1,1; XI, 6,13; XVI, 8, 11-14): Atharvan, Angiras, and Bhvzgu are at times simply semi-divine, or wholly divine

mentioned as the fourth Veda the poet lapses into the more familiar traividya, in a stanza which, like st. 20, aims to state that the Vedas are derived from Skambha (Brahma), a monctheistic personification ; cf. Muir, Original Sanskrit Texts, V,378.

1 A similar passage in a Siitra of the RV. (Asy Gvzh. IIT, 3, 1-3), on the same occasion, namely, the study of the Veda, does not hesitate to include the Atharvan along with many other Vedic texts. This does not argue conscious preference, any more than the Atharvan passage indicates-conscious exclusion ; cf. below, p. xliv.

INTRODUCTION. XXXIil

IIT, 3, 1-3), on the same occasion, namely, the study of the Veda, does not hesitate to include the Atharvan along with many other Vedic texts. This does not argue conscious preference, any more than the Atharvan passage indicates-conscious exclusion ; cf. below, p. xliv.

INTRODUCTION. XXXIil

beings, whose office is entirely non-Atharvanic. But on the other hand the Atharvans appear at IV, 37,1 as slayers of the Rakshas (similarly IV, 3, 7); the Atharvans and Angiras fasten amulets, and consequently slay the Dasyus, at X, 6,20; and the name Bhyvgu appears at V, 19, 1 (cf. . TS. I, 8, 18,1; TB. I, 8, 2, 5) as the typical designation of a Brahmama, i.e. here, of an Atharvan priest. Such specialisations of these names are unknown in the RV. Especially noteworthy is the evident beginning of the asso- ciation of the name angirasa with aggressive witchcraft or spells, and the somewhat less clear corresponding correla- tion of the stem Atharvava with auspicious charms (see above, p. xviii ff.). Altogether the impression arises that the names Atharvan, Angiras, and Bhzzgu, connected with the redaction of the AV., have in the text of that Veda assumed, or commenced to assume, the office which the diaskeuast and the ritualistic texts of the Atharvan have definitely and permanently bestowed upon them. In the domain of the sruti, exclusive of the Rig-veda, i.e. in the Yagus-sawhitas, and the Brahmamzas, the position Se of the Atharvan is on the whole defined with the AV.in Sufficient clearness. It depends altogether on prchpech the practical character of these texts as ex- ponents of the great Vedic sacrifices, the srauta-performances : these, by their very nature, exclude any very direct interest in the systematic charms of the bheshagani and abhifarikazi. Such sorcery as is inter- woven with the srauta-performances has acquired inde- pendent expression in the metrical and prose formulas the Yagus-sashitas; it figures in the form and by the name of sacrificial formulas (yagtmshi) as part of the threefold Veda (trayi vidya). Thus the subject-matter of formulas like the following: ‘I dig (pits) that slay the Rakshas, destroy the spells that belong to Vishzu; that spell here which my equal or unequal has dug into (the ground) do I cast out ; I make subject here my equal or my unequal that plans hostile schemes against me’ (Tait. S. ee Ve, oii, 1.2; Maitr. 5. I, 2, 10. 11; Vag. S. V, 23 ff.; Sat. Br. Ill, 5, 4, 8 ff.), is by its very terms [42] c

XXXIV HYMNS OF THE ATHARVA-VEDA.

S. ee Ve, oii, 1.2; Maitr. 5. I, 2, 10. 11; Vag. S. V, 23 ff.; Sat. Br. Ill, 5, 4, 8 ff.), is by its very terms [42] c

XXXIV HYMNS OF THE ATHARVA-VEDA.

Atharvanic, and the practices by which its recitation is supplemented might be described in the Kausika-sitra. The formula yd asm4n dvéshti yas ka vaydm dvishmah, ‘he that hates us and whom we hate’ (shall perish, or the like), occurs countless times in the Yagus-texts, as well as in the Atharvan charms. The aims and the acts of the Atharvan are present at the Vedic sacrifice, as well as at the practices of private life ; the difference lies in the degree of applicability, and the degree of prominence: in the sruti-literature the sphere of the Atharvan is restricted to matters that are incidental and subsidiary, intended merely to pave the way for the main issue, the successful dispatching of the sacrifice to the gods, and the undis- turbed gratification of the priests (the ishfam and the pur- tam). Under these circumstances and at such a time pronounced hostility against the Atharvan would be a paradox, too silly even for the Yagus-texts and the Brah- mazas; no such hostility or repugnance is in evidence: that is reserved for a later and more reflective age.

In the first place then, the mythic personages Atharvan, Angiras, and Bhrzgu, whose proper names in the course of time are growingly restricted to the sphere of the Atharvan, continue in their pristine position of demi-gods. At Maitr. S. I, 6, 1 the Angiras are still gods, angirasds tva devanasz vratena»dadhe; similarly Tait. Br. I, 1, 4, 8, bhrzgtivam tvasngirasaa vratapate vratendsdadhami ; cf. also: Tait. Br, IU, 2;,7,°6 ; Maitr> Sc, 128 sjpNapeeemes 18 (SateBu J, 2,13 194, Katya Sn i538 Apast. Tei s 11,7, For Atharvan, see: LaiteS, Va 194957600, sen Br. I, 1, 10,4; Vag. S. VITI, 56; XI, 32. -And so innu- merable other instances. Needless to say, the descendants of the three divinities, conceived eponymically as the founders of families of A/shis, the Atharvaza, Angirasa, and Bhargava, enjoy the same rights, and hold the same position of honour as the other families of Réshis, it being reserved for the later Atharvan writings to extol them beyond measure, and to establish them as the typical teachers'. Thus Atharvan Daiva is the name of an ancient

* Cf. Weber, Omina und Portenta, Pp. 347.

INTRODUCTION, XXXV

Thus Atharvan Daiva is the name of an ancient

* Cf. Weber, Omina und Portenta, Pp. 347.

INTRODUCTION, XXXV

Seacher, -Sat.) Bro, XIV, -5,° 5;).22:5 695933528 ;. Dadhyare Atharvama, Tait. S. Va kh a. 6, os Sa pSet. ins IV, 1, 5, 18; VI, 4, 2, 3; the countless Angirasa, of which the RV. Piniletetnae counts no less than 45', e.g. Sat. Br. IV, 1. Boteernousin Gr XXX, 6; Ait. Bro .VIH,27, 135 Apast. Sr. V, 11,73; and the equally frequent Bhargava, Tait. S. waeie, 28. fissate rib, yp Ait. Bro Vil, 1. 5:5 Kaus?.Br. XXII, 4. Occasionally, doubtless, even the sruti feels the connection that has been established between these names and the sphere of Atharvanic literary activity, as when' the Kazh. S. XVI, 13 mentions a Rishi Bhishag Atharvana? (see Weber, Ind. Stud. III, 459); the Kaush. Br. XXX, 6, a Rishi Ghora Angirasa ; or when the Pazz. Br. XII, 8, 6 states that Dadhyaw#& Angirasa was the chaplain (puro- dhaniya) of the gods.

The manner in which the hymns of the Atharvan are alluded to in the srauta-texts is as follows. Ordinarily the texts are preoccupied with the sacrificial literature in the narrower sense, and hence devote themselves to the men- tion and laudation of the tray? vidya, either without recount- ing its specific literary varieties, or by fuller citation of the terms 7zk, siman, yagud. For these are substituted not infrequently other terms like stoma, uktha, sastra, udgitha. &c., special liturgical varieties, also derived directly from the sphere of the srauta-performances, and, in fact, strictly dependent upon these performances for their existence. On the other hand, whenever the srauta-texts mention, or make draughts upon other literary forms like itihasa, puraza, gatha, sditra, upanishad, and many others, the Atharvan literature is almost unfailingly included, and that too almost invariably in the following order: the traividya is mentioned first, the Atharvan holds the fourth place, and next follow in somewhat variable arrangement the types itihasa, &c.

1 Cf..Weber, Episches im vedischen Ritual, Sitzungsberichte der Koniglich- Prenssischen Akademie d. Wissenschaften zu Berlin, 1891, p. 812 (46 of the reprint).

# The same apocryphal Rishi is reported by the Anukramamis as the author of the oshadhistuti, ‘the hymn to the plants,’ RV. X, 97; Vag. S. XII, 75-89.

Cc 2

XXXVI HYMNS OF THE ATHARVA-VEDA.

Thus the Taittirtya-samhité mentions 7zk, sdman, and yaguk alone at IT, 4,°12) 73°5- 7, 13 V1, see Vee 1,43 12,1; the same categories are alluded to

The AV. in ; , A

X, 97; Vag. S. XII, 75-89.

Cc 2

XXXVI HYMNS OF THE ATHARVA-VEDA.

Thus the Taittirtya-samhité mentions 7zk, sdman, and yaguk alone at IT, 4,°12) 73°5- 7, 13 V1, see Vee 1,43 12,1; the same categories are alluded to

The AV. in ; , A

fhe at II, 4, 11,6,in the expressions samnaz, yagu- pee sham, and ukthamadanam ; at III, 2, 9, 5. 6 ' in the expressions udgatrzv4m (with udgitha), ukthasamsinadm (with rikak), and adhvarytizam ; cf. also ish¢ayagushaZ, stutastomasya, sastokthasya at I, 4, 28, I. The only mention of Atharvan literature is at VII, 5, 11, 2, under the designation angirasak (without atharvazaz '), and here the text is as follows: rigbhyad svaha, yagurbhyah svaha, sdmabhya’ svaha, angirobhyak svaha, vedebhyak svaha, gathabhyad svaha, narasamsibhya# svaha, raibhi- bhyad svaha.

This also, in the main, is the nature of the references to the AV. in the Satapatha-brahmava. Either the term trayi vidya is used, or rzk, siman, and yagu

the are mentioned explicitly: I, 1; 4, 2. Cress arte tncoeal 6,)°45°929 2 IV 6) ROIS OPEN, BER SOS

t,t, 8379, 1, YO. 1120 °F" 11,4, eo ee 2, 45 FAS 2, 123 XS 4, 295 8o eo, 2 OE ee ee 8, 3-7; XIE, 9, 9323 49. XIV, aes s Oa, Gi” te these cases there is no mention of the Atharvan; but neither is there any mention of any other literary type that has a distinctive standing outside of the trayi vidya. On the other hand, the Atharvan is mentioned in a number of cases, every one of which presents also a lengthy list of addi- tional literary forms. Thus XI, 5, 6, 4-8, rikah, yagtimshi, — samani, atharvangirasaz, anusdsanani, vidya, vakovakyam, itihdsapurdvzam, gatha ndrasamsyah; XIII, 4, 3, 3 ff., rzko vedah, yagtimshi vedak, atharvazo vedad, angiraso veda, sarpavidya vedak, devaganavidyA vedahk, maya vedah, itihdso veda, purdvam vedak, simani vedak ; XIV, 8. a, 10; 6,10, G3" 9, Ste -[eiares Ar. It. 4 107 PUise 5, 11), rigvedo yagurvedak sdmavedostharvangirasa iti- hasad purdvam vidya upanishadah slokak sdtrazy anuvya- khyanani vyakhyanani; X, 5, 2, 20, adhvaryavas (yaguf),

1 Ct, above, p. xviii.

INTRODUCTION. XXXVII

a, 10; 6,10, G3" 9, Ste -[eiares Ar. It. 4 107 PUise 5, 11), rigvedo yagurvedak sdmavedostharvangirasa iti- hasad purdvam vidya upanishadah slokak sdtrazy anuvya- khyanani vyakhyanani; X, 5, 2, 20, adhvaryavas (yaguf),

1 Ct, above, p. xviii.

INTRODUCTION. XXXVII

khandogah (siman), bahvrikahk (uktham), yatuvidad (yatu). sarpavidak . . . devaganavida#. Only a single Upanishad passage, XIV, 8, 14, 1-4 (=Brzh. Ar. Up. V, 13, 1-4). seems to mention, or rather hint at, the Atharvan in con- nection with representatives of the trayi vidya, without mentioning other texts’. The series is uktham, yagué. sAdma, kshatram; the passage possibly views the fourth Veda as the Veda of the Kshatriyas, or, more precisely, substitutes the act of kshatra, i.e. the performances of the kshatriya as Atharvanic by distinction. See, for this, p. xxv, above. | The Taittiriya-brahmavza mentions the Atharvan twice. once in accordance with the method described above, at _ III, 12, 8, 2, rzko yagtimshi sAmani atharva- Teeavem ia * this ngirasaz ... itihdsapurdazam. In the other Me abebey passage, TH, 12, 9, 1, the Atharvan is men-. tioned without the customary adjuncts, and that too before the Sadma-veda, to wit, rzkam praki mahati dig ufyate, dakshivam ahur yagusham apdrdm. atharvavam angirasa7z pratif#i, samnam udif#i mahati dig usyate. But it is of interest to note that in the sequel, where sundry symbolic and mystic correlations of the Vedas with the sun, &c., are established, the Atharvan is wanting, and the operations take place with vedais tribhiz. Thus, vzgbhiz pirvahne divi deva iyate, yagurvede tishZ/ati madhye ahna#, samavedenasstamaye mahiyate, vedair asinyas tribhir eti sirya#z. We shall not err in judging that the fourth Veda is mentioned in a purely formulaic manner, only because it is needed to fill out the scheme of the four principal directions of space; the real theme at the heart of the author is the traividya, as, e. g. in III, 10, 11, 5.6. Onthe other hand, it would be altogether erro- neous to assume either hostility, or conscious discrimina- tion against the Atharvan The Taittiriya-adrazyaka again falls into line in two passages, II, 9 and 10, presenting the texts in their most expansive form, rikah, yagtimshi.

? Conversely the trayi is catalogued with other texts (vakovakyam itiha- sapurazam), but without the Atharvan, at XJ, 5, 7, 6 ff.; cf. the same list Sankh. Grih. 1, 24, 8.

XXXVIii HYMNS OF THE ATHARVA-VEDA. sAmani, atharvangirasaz, brahmavzdni, itihdasdn, purdasani, kalpan, gathaz, narasamsih. The only mention of the Atharvan as a literary type in Sankhayana’s Srauta-sitra is at XVI, 2, 2 ff., again in the _. series, riko vedah, yagurvedak, atharvavedah Awe ae (in connection with bheshagam), angiraso vedak se arse (in connection with ghoram), sarpavidya, ra- kshovidya, asuravidya, itihasavedaZ, puraza- vedak, samavedak. Very similarly in Asvalayana’s Srauta- sitra X, 7, 1 ff., vio vedak yagurvedah, atharvazah vedak (with bheshagam), angiraso vedad (with ghoram), vishavidya, pisdkavidya, asuravidya, purazavidya, itihaso vedak, simavedak. These passages are essentially iden- tical with Sat. Br. XIII, 4, 3, 3 ff, above; their chief interest lies in the differentiation of atharvan and angiras, respectively as representatives of the auspicious (bheshagam) and terrible (ghoram =dabhikarikam) activities of this Veda ; cf. above, p. xviii ff. In the Paskavimsa-brahmamza, XII, 9, 10; XVI, 10, 10, the Atharvan charms are mentioned favourably: bheshagam va atharvavani, and bheshagam vai devaném atharvazo bheshagydyaisvasrishtyai. Cf. also XXIII, 16,7; Kak. S. XI, 5 (cf. Ind. Stud. ITI, 463). The Vagasaneyi-samhita mentions the traividya (or rzk and saman without yaguZ) frequently, IV, 1.9; VIII, 12; ANU, 9/292 OFF DOK, TION MMTV SY GX KML, Ontene Atharvan is nowhere mentioned in connection with the other three.’ Oncé*at XXX t5=Tait) Bre TB 4 Aeris Women that miscarries (avatoka) is devoted to the Atharvans ; the ‘reference, in the light of AV. VI, 17; Kaus. 35, 12 (a charm to prevent miscarriage), seems to be to Atharvan hymns or Atharvanic practices. Otherwise the word athar- van occurs in connections that admit of no special, or at any rate obvious, reference to the fourth Veda, VIII, 56 ; XI, 32. Neither is there, as far as is known, any mention of the Atharvan in the Maitrayawi-samhita, the Aitareya and Kaushitaki-brahmavzas, or Katydyana’s and Léatya- yana’s Srauta-sttras. | The position of the Atharvan in the srauta-literature according to this evidence is what might be naturally

INTRODUCTION. XXXIX expected: there is no evidence of repugnance or exclu- siveness. Witchcraft is blended with every sphere of

| The position of the Atharvan in the srauta-literature according to this evidence is what might be naturally

INTRODUCTION. XXXIX expected: there is no evidence of repugnance or exclu- siveness. Witchcraft is blended with every sphere of

Steal pie religious thought and activity, and the only the srauta- Sane attitude on the part of these texts must Sie ar be the recognition of the literary products | which are by distinction the repositories of witchcraft. No one will expect rigid consistency: witchcraft blows hot and cold from the same mouth; according as it is turned towards the inimical forces, human and demoniac, or is turned by others against one-_ self, it is regarded as useful, or noxious. The AV. itself takes the same view by implication: the hymn, II, 12, hurls the bitterest invective against enemies that endeavour to thwart one’s holy work; this does not prevent one’s own endeavour to frustrate the sacrifice of an enemy (VII, 70); the hymn, II, 7, ensures protection against curses and hostile plots, but does not prevent the existence of fierce imprecations and curses issued forth subjectively for the ruin of another (VI, 13 and 37). It is a question throughout of my sorcery, or thy sorcery. The flavour of holiness and virginal innocency is necessarily absent, and this want crops out in connection with the performances of yatu even in the RV. (VII, 104, 15. 16), where the writer exclaims: ‘may I die to-day if I am a sorcerer,’ and com- plains against his enemy who calls him, though he is pure, a sorcerer, and against the real sorcerer who pretends that he is pure. Though yatu (sorcery) is regarded here as devilish (cf. e.g. AV. I, 7 and 8), the writer at Sat. Br. X, 5, 2, 20 is not prevented from placing the yatuvida%, ‘ those that are skilled in sorcery, in solemn array with the repre- sentatives of the holiest forms of literature, immediately after the bahvrzkaz, as the characteristic exponent of Atharvanic activity. And on the other hand even bhe- shagam, ‘cure, medicine, the altruistic province of the Atharvan, though well regarded in general, does not come off without a sneer. The Tait. S. VI, 4, 9, 3 (cf. Maitr. S. IV, 6,2; Sat. Br. IV, 1, 5,14) says, brahmavena bhesha- gam na karyam, ‘a Brahman shall not practise medicine,’ the reason that is assigned being that the physician is

x] HYMNS OF THE ATHARVA-VEDA.

The Tait. S. VI, 4, 9, 3 (cf. Maitr. S. IV, 6,2; Sat. Br. IV, 1, 5,14) says, brahmavena bhesha- gam na karyam, ‘a Brahman shall not practise medicine,’ the reason that is assigned being that the physician is

x] HYMNS OF THE ATHARVA-VEDA.

impure, that the practice entails promiscuous, unaristocratic mingling with men: ‘men run to the physician’ (MS. IV, 6, 2, p- 80, 1. 1). And we may trust that the canons of social standing and literary appreciation of a people that had produced the best that is to be found in Vedic litera- ture could not fail altogether, when in the proper mood, to estimate at its right value the wretched hocus-pocus of the bheshagani themselves, though these were the best that the Vedic period had produced for the relief of bodily ailment. Yet the Veda without witchcraft would not be the Veda, and the srauta-texts are not in the position to throw stones against the Atharvan. Moreover it must not be forgotten that the Atharvan contains in its cosmo- gonic and theosophic sections more material that undertakes to present the highest brahmavidya than any other Vedic Samhita (cf. below, p. lxvi); by whatever literary evo- lution this was associated with this sphere of literature and incorporated into the redaction, it doubtless contributed to the floating of the more compact body of sorcery-charms, and its higher valuation among the more enlightened of the people. At any rate, a sober survey of the position of the Atharvan in the traividya yields the result that this Veda, while not within the proper sphere of the greater concerns of Vedic religious life, is considered within its own sphere as a Veda in perfectly good standing; the question of its relative importance, its authority, and its canonicity is not discussed, nor even suggested. The position of the Atharvan in the Upanishads does not appear to differ from that in the sruti in general. Aside The AV in ‘om the Atharvan Upanishads, which are the Upani- naturally somewhat freer in their reference shad; to the AV., and in the mention of more or less apocryphal Atharvan teachers, it is introduced but rarely, and usually in the manner prevalent elsewhere in the srauta-literature, i.e. preceded by the trayi, and

Cf. the contempt for the piigayag#iyah, ye ptigin yagayanti, ‘those who sacrifice for a crowd,’ Manu III, 151; Mahabh. I, 2883, and the gramayagin, Manu IV, 205, and gramaydgaka, Mahabh. III, 13355. See also Vishzu LXX XII, 12; Gaut. XV, 16,

INTRODUCTION. xli

preceded by the trayi, and

INTRODUCTION. xli

followed by a variable list of other literary types. Thus the passages quoted above from Sat. Br. XIV, 5, 4, 10; 6, Boy: 3). 9 tos: Brth. Ar. Ghiile abort, Qe°5, 11, and the Tait. Ar. II, g and 10, are of Upanishad character, and the Maitr. Up. VI, 32 repeats the list of texts stated at Sat. Br. = Brzh. Ar. Up., just cited, in precisely the same order. The same text, Maitr. Up. VI, 33 (= Maha Up. 2; Atharvasiras 4), has the list rigyagudsamatharvangirasa itihasak puravzam. The Afand. Up. III, 1-4 deals with vik, yaguh, saman, atharvangirasaz, and itihdsapuravani ; the same text at VII, 1, 2.4; 2,1; 7,1, has the same list, ...datharvavas aturthaz itihasapurazak pazkamah, to which are added a lengthy series of additional sciences (vidya). The Tait. Up.=Tait. Ar. VIII, 3, again, presents the Atharvan in a formulaic connection, tasya (sc. 4tmanah) yagur eva sirak, rig dakshivak pakshak, samosttarah pa-. ksha#, adesa Atma, atharvangirasak pukkham'. There is, as far as is known, no additional mention of the Atharvan in the non-Atharvanic Upanishads, and it is evident that there is no marked change in the manner in which the fourth Veda is handled. Very much more numerous are the instances in which the trayi alone appears ; see Jacob’s Concordance to the principal Upanishads, under the words rigveda, riimaya, 77k; yagurveda, yagurmaya, yagus ; samaveda,samamaya,sdman. They show that the draughts upon the Atharvan and the subsequent literary forms are, in general, made under the excitement of formulaic solem- nity ; while on the other hand, needless to say, the Upani- shads with their eye aloft alike from hymn, sacrificial formula, and witchcraft charm, have no occasion to condemn the Atharvan, aside from that superior attitude of theirs which implies, and diplomatically expresses condemnation of the entire Veda that is not brahmavidya.

Even in the Atharvan Upanishads there is sounded in

' ‘This Upanishad belongs to a Yagus-school; hence the pre-eminence of the yagus, The Atharvan is here forced into a position of disadvantage, and it may be admitted that its mention after the adesa (Upanishad) is intentional. But there is really no other course open to the writer. The tenor of the entire passage excludes the notion of disparagement of any of the texts mentioned.

xlit HYMNS OF THE ATHARVA-VEDA.

general neither the polemic nor the apologetic note which characterises the ritualistic writings of the Atharvan. We ; find, to be sure, in the late Prazava Up. a spo-

The AV. in eae ‘ : ee the radic, if not solitary, assumption of superiority Atharvan on the part of the AV.!, and an interpolated

Upanishads. ;

We ; find, to be sure, in the late Prazava Up. a spo-

The AV. in eae ‘ : ee the radic, if not solitary, assumption of superiority Atharvan on the part of the AV.!, and an interpolated

Upanishads. ;

passage in the Prasna Up. V, 5 betrays the distinct tendency to secure at any cost the correlation - of the Atharvan with the highest brahma’?®. The authority of Atharvanic teachers, Sanatkumara, Angiras, Paippalada, &c., is, of course, cited with especial frequency in the Atharvan Upanishads, helping to confer upon them an esoteric school character. But in general, all that may be said is, that the Atharvan Upanishads mention the fourth Veda along with the other three more frequently than the corresponding tracts of the other schools, that the Atharvan is quietly added to the trayi, whether other literary forms like the itihdsapurazam, &c., appear in the sequel, or not. Even these Upanishads, however, occasionally lapse into the more frequent habit of the bulk of the Vedic literature, and fail to refer to the Atharvan, whether consciously or not, it seems impossible to tell. Thus the Muzdaka Up. I, 1,5 counts the four Vedas (Atharvan included) along with the Angas as the lesser science, above which towers the science of Brahma: rzgvedo, yagurvedak, simavedo stharvaveda/ siksha, &c. But in II, 1, 6 the list is, rzkak sdma yagimshi diksha yag#aska. The Prasna Up. II, 8 says of the Pravwa, ‘life’s breath’ (personified), 7¢shizam karitam satyam atharvangirasam asi, which seemingly con- tains an allusion to the Atharvan writings, but in II, 6 we have, praze sarvam pratish¢kitam riko yagdmshi samani yag#ah kshatram brahma #a*. See also Mahandrayana Up. 22. This betrays the usual preoccupation with the traividya, which is not quite effaced by the possible allusion to the Atharvan in II, 8. The Nrisimhapirvatapani Up.

* See Ind. Stud. I, 296; IX, 51.

* See Ind, Stud. I, 453, note, and cf. Bohtlingk’s critical edition of the Prasna in the Proceedings of the Royal Saxon Academy, November, 18go.

* It would have been easy to substitute for the last four words, atharvaa- girasas ka ye, or the like. Cf, also Piasna V, 5,\alluded to above.

INTRODUCTION. xliii

I, 453, note, and cf. Bohtlingk’s critical edition of the Prasna in the Proceedings of the Royal Saxon Academy, November, 18go.

* It would have been easy to substitute for the last four words, atharvaa- girasas ka ye, or the like. Cf, also Piasna V, 5,\alluded to above.

INTRODUCTION. xliii

I, 2 has, r~gyaguksamatharvanas katvaro vedah; I, 4, rig- yagudsamatharvaripad stryak; II, 1 (=Nrdsimhottarata- pani Up. 3; Atharvasikha Up. 1), r7gbhik rigvedah, yagur- bhir yagurveda, sdmabhiz simavedaZ, atharvavair mantrair atharvavedad; in V,9Q it falls into the broader style of reference, rikah, yagimshi, sdmani, atharvavam, angirasam, sakhah, puravani, kalpan, gathaZ, narasamsih, leading up finally to prazavam, the Om which embraces all (sarvam). But in V, 2 we have rzgmayam yagurmayam samamayam brahmamayam amrztamayam, where brahmamayam ob- viously refers to the brahmavidyda, the holy science, not to the fourth Veda, the Brahmavedat. And thus the Brah- mavidya Up. 5 ff. recounts the merits of the traividya, culminating in the Om, without reference to the Atharvan. It seems clear that even the Atharvan Upanishads as a class are engaged neither in defending the Atharvan from attack, nor in securing for it any degree of prominence. Other references to the Atharvan occur in Atharvasiras 1, rig aham yagur aham samasham atharvangirasoxham; Mu- ktika Up. 12-14, vigveda, yagu/, siman, atharvama ; ibid. 1, atharvavedagatanam . ..upanishadam; Maha Up. 3, gaya- tram khanda rigvedah, traishtubham khando yagurvedah, gagatam khandahk simaveda%, anushéubham khandostharva-

vedah. Cf. also Xdlika Up. 10, 13, 14. On turning to the Grzhya-sfiitras it would be natural to anticipate a closer degree of intimacy with the,Atharvan, and hence a more frequent and less formulaic

The AV. it ‘ os itis reference to its writings. For the subject- yang matter of these texts is itself, broadly speak- sutras.

ing, Atharvanic, besides being dashed strongly with many elements of vidhana or sorcery-practice, i.e. Atharvanic features in the narrower sense and by dis- tinction*. Many verses quoted in the Grzhya-sitras are

1 The Upanishads do not designate the fourth Veda as Brahmaveda, unless we trust certain doubtful variants and addenda, reported by Weber, Ind. Stud. I, 301, note. The earliest occurrence of Brahmaveda is at Sankh, Grzh. I, 16, 13, (see above, p. xxvii).

2 Cf., e.g. the use of roots, Par, I, 13,1; Sankh, I, 19,1; 23,1; the battle- charm, Asv. III, 12 (cf. p. 117 ff. of this volume); the bhaishagyani, ‘remedial charms,’ Asv. III, 6, 3 ff.; Par. 1, 16, 24 ff.; III, 6; Hir. IH, 7;

xliv HYMNS OF THE ATHARVA-VEDA.

I, 16, 13, (see above, p. xxvii).

xliv HYMNS OF THE ATHARVA-VEDA.

a ee a identical with, or variants of those contained in the Atharva- samhita. But even the Grzhya-rites, popular, nay vulgar, as they must have been in their untrammelled beginnings, were, so to speak, Rishified, and passed through in due- time a process of school-treatment which estranged them as far as possible from the specifically Atharvanic connec- - tions, and assimilated them, as far as possible, to the Rig- veda, SAma-veda, and Yagur-veda, as the case may be. Thus the battle-charm, Asv. III, 12, instead of drawing upon the very abundant mantras of this kind, contained in the AV. (see p. 117 ff.), is decked out with the scattering material cf this sort that may be extracted from the RV. (see the notes to Stenzler’s and Oldenberg’s translations). In general the preference for mantras of the particular school is nearly if not quite as great as in the Srauta- sitras. The anticipation of a marked degree of literary relationship with the Atharvan is not materialised. The Grihya-sitras of the Sama-veda (Gobhila and Khadira), and Apastamba!, do not seem to mention the Atharvan at all; Asvalayana (III, 3, 1-3), on the occasion of the svadhyaya, the daily recitation of the Veda, recommends the Atharvan, but the mention of this text is that which we have found to be the normal one in the Srauta-litera- ture, i.e. preceded by vzk, yaguf, and sdman; followed by brahmavza, kalpa, gatha, ndrasamsi, itihdsa, and purdza” Similarly Hiravyakesin (II, 19, 6), in connection with a long list of deities, mentions in order s7gveda, yagurveda, sdmaveda, and itihdsapurava; in Sankhayana I, 24, 8 the Atharvan is even omitted in a similar list, which catalogues

Apast. VII, 18 (cf. p. 1 ff.) ; the sasmanasyani, ‘charms to secure harmony,’ Par. Ill,.7; Apast. III, 9, 4 ff.; VIU, 23, 6.. 7; Hir., 1,13, 10. (etm 134 ff.), &c. See in general the list of miscellaneous Grzhya-rites in Olden- berg’s index to the Grzhya-sfitras, Sacred Books, vol. xxx, p. 306 ff.

‘ This Sfitra mentions neither 7zk, sAiman, nor atharvan, a probably un- conscious preoccupation with the yagu/ that must not be construed as intentional chauvinism against the other Vedas. The mantra-materials quoted and employed do not differ in their general physiognomy from those of the other Sitras, but they are always referred to as yaguh.

* The passage contains in slightly different arrangement the list of Vedic texts presented by the Tait. Ar. I], 9 and 10, above; cf. also Sat. Br. XI, 5y 7) 5. 6.

INTRODUCTION. xiv

* The passage contains in slightly different arrangement the list of Vedic texts presented by the Tait. Ar. I], 9 and 10, above; cf. also Sat. Br. XI, 5y 7) 5. 6.

INTRODUCTION. xiv

rigveda, yaguiveda, simaveda, vakovdkyam, itihdsapura- mam, and finally sarvan vedan (cf. the same grouping, Sat. Br. XI, 5, 7, 6ff.). But in Sankh. I, 16, 3 (brahmaveda) ; Hir. II, 3, 9 (atharvangirasaz); II, 18, 3; 20, 9 (athatva- veda); Par. II, 10, 7 (atharvaveda) ; II, 10, 21 (atharvazdm) there is a distinct advance along the line of later develop- ment in the familiar mention of the fourth Veda; this is not balanced altogether by the restriction to the trayft, Sanur, 1°22, 153 24, 93 Hire Tl, 5,13% Ty13, a, or the restriction to two Vedas, Gobh. I, 6, 19; III, 2, 48; Asv. I, 7, 6= Par. I, 6, 3= Sankh. I, 13, 4, because these passages are to a considerable extent quotations, or modifications of mantras derived from the sruti. The true value of this testimony is chronological, not sentimental: the Grzhya- sitras, as much as their subject-matter is akin to the Atharvan, are not imbued with a sense of its especial value and importance, any more than the srauta-texts. “They : handle their materials in a self-centred fashion, without acknowledging any dependence upon the literary collections of the Atharvans; their more frequent reference to the fourth Veda is formulaic in every single instance, and the greater frequency with which it is mentioned marks the © later chronology of the Grzhya-sitras (cf. Cldenberg, Sacred Books, vol. xxx, pp. i and xvii ff.). The construction of the Vedic literature in general is, as we have seen, such as to forbid any genuine discrimi- The av, ation there against the Atharvan. In so inthe law- far as this Veda offers the means of defence — against the ills of life (disease and posses- sion by demons); in so far as it presents the auspicious blessings pronounced at the sacramental points in the life of the individual, from conception to death, it is holy by its very terms. Even witchcraft is part of the religion; it has penetrated and has become intimately blended with the holiest Vedic rites; the broad current of popular religion and superstition has infiltrated itself through numberless channels into the higher religion that is presented by the Brahman priests, and it may be pre- sumed that the priests were neither able to cleanse their

xlvi HYMNS OF THE ATHARVA-VEDA.

own religious beliefs from the mass of folk-belief with which it was surrounded, nor is it at all likely that they found it in their interest to do so. But there is another field of literature whose roots also reach down to the Veda, in which judgment must be passed over the more unclean and sinister phases of Atharvanic activity. The broad — arena on which men meet in daily contact is the true field for the golden rule. The need of doing unto others what one would have others do unto oneself, and leaving the opposite undone, is sure to be felt, and sure to gain expression in the proper literature. This literature is the legal literature (dharma), more narrowly that part of it which deals with the mutual rights and obligations of men, the vyavahdara-chapters of the legal Sitras and Sastras. Here also the Atharvan retains in a measure its place by virtue of its profound hold upon popular beliefs, because indispensable sciences like medicine and astrology are Atharvanic by distinction, and because the Atharvan per- forms, especially for the king, inestimable services in the injury and overthrow of enemies. The king’s chaplain (purohita) was in all probability as a rule an Atharvan priest (cf. Yag#av. I, 312). But incantations, sorceries, and love-charms do work injury, and the dharma-literature pronounces with no uncertain voice the judgment that the Atharvan, while useful and indispensable under certain circumstances, is on the whole inferior in character and position, that its practices are impure, and either stand in need of regulation, or must be prohibited by the proper punishments.

The Atharvan is not mentioned very frequently either in the Dharma-sitras, the older metrical Dharma-sastras, or in the more modern legal Smrvtis. In Vishvu XXX, 37; Baudh.. U1, 5i.9jet4 stabVie 3534. fee AIO Alon aetk (cf. Manu IT, 107); 1o1t (cf. Manu II, 85); Ausanasa-smrti III, 44 (Giva- nanda, vol. i, p. 514), the Atharvan is mentioned in the

‘In this passage, veddtharyapura4ni setihdsani, the Atharvan is kept distinct from the trayf, the veda by distinction; cf. Weber, Indische Literatur- geschichte*, p. 165, note.

INTRODUCTION. xlvil

i, p. 514), the Atharvan is mentioned in the

‘In this passage, veddtharyapura4ni setihdsani, the Atharvan is kept distinct from the trayf, the veda by distinction; cf. Weber, Indische Literatur- geschichte*, p. 165, note.

INTRODUCTION. xlvil

normal Vedic manner, i.e. preceded by the traividya, and followed by other literary types, especially the itihdsapu- ravam. It is worthy of note that in only three of the five cases' (Baudh. II, 5, 9, 14; Yagéav. I, 44; Aus. III, 44), the older name atharvangirasak appears; the other three have atharvaveda, or atharvan. But it seems altogether impossible to derive from this any chronological indications as to the date of a given legal text, since Usanas, or even Yagzavalkya, is certainly later than Baudhayana and Vishzu. At this time the names atharvaveda, atharvan, atharvawa have established themselves as the equivalent of the older atharvangirasaz, but the older name crops out at times in a purely chance way. At Yagviav. I, 3 the fourth Veda is also implied as one of the fourteen foundations of know- ledge and law, without being mentioned by name; cf. also Ausanasa-smvzti V, 66 (Givananda, vol. i, p. 531, bottom). The Atharvan, however, holds also the position of the fourth Veda in cases where no additional literature is men- tioned ; at Baudh. III, 9, 4 burnt oblations are offered to the four Vedas and many divinities ; at Baudh. IV, 5,1 the Saman, Azk, Yagus, and Atharva-veda are mentioned in .- connection with oblations calculated to procure the special wishes of one’s heart (kamyeshfayaz). At Vas. XXII, 9 the Samhitds of all the Vedas (sarvakdandahsamzhitaz) are counted among the purificatory texts: the Atharvan is probably intended to be included, especially as the Athar- vasiras (see below) is explicitly mentioned. In the late Vriddhaharita-saszhita III, 451 the atharvazdni (sc. siktani) are on a level with the rzko yagdmshi and samani. In the Ausanasa-smriti III, 86 (Givananda, vol. i, p. 518) the twice- born is recommended to read either a Veda, two Vedas, the Vedas, or the four Vedas, a distinction between the trayi vidya and the four Vedas, not explicitly stated elsewhere. The Atharvasiras, an Upanishad connected with the AV., is mentioned a number of times, Gaut. XIX,12; Vas. XXII, g9; XXVIII, 14; Ausanasa-smr7ti IV, 5; the same text is mentioned under the name of Siras at Baudh. IV, 1, 28;

1 See CivanandavidyAsigara’s Dharmasastrasamgraha, vol. i, p. 213.

-xiviil HYMNS OF THE ATHARVA-VEDA.

XIX,12; Vas. XXII, g9; XXVIII, 14; Ausanasa-smr7ti IV, 5; the same text is mentioned under the name of Siras at Baudh. IV, 1, 28;

1 See CivanandavidyAsigara’s Dharmasastrasamgraha, vol. i, p. 213.

-xiviil HYMNS OF THE ATHARVA-VEDA.

sh DS Ec et es il i le le Vas. XXI, 6-8; XXV,13; Vishvu LV, 9. Certain vows called Siras, Baudh. II, 8, 14, 2; Vas. XXVI, 12, also emanate from the sphere of Atharvanic practices; so Govinda at Baudh. loc. cit. More pointedly, and without the company of the traividya, the sacred texts of the Atharvan and Angiras (srutir atharvangirasiZ) are recom- mended as the true weapons with which the Branmavza may slay his enemies, Manu XI, 33; the king must choose for his chaplain (purohita) one who is skilled in the Atharvan and Angiras (atharvangirase), Yag#av. I, 3121; and the same recommendation is implied at Gaut. XI, 15.17, where the king is enjoined to take heed of that which astrologers and interpreters of omens tell him, and to cause the puro- hita to perform in his house-fre among other expiatory rites (santi), rites for prosperity (mangala), and witchcraft practices (abhifdra) against enemies’. Such a purohita is eo ipso an Atharvan priest. In the Atri-saszhita (Giva- nanda’s collection, vol. i, p. 45) gyotirvido ... atharvazah, ‘Atharvan priests skilled in astrology’ are recommended for the performance of sraddhas and sacrifices (cf. Vishzu III, 75; Yag#av. I, 332). The snataka must not live in a country without physicians, Vishzu LXXI, 66,,and the king should consult his physicians in the morning, Yag#av. I, 332. At Vishzu III, 87, the king himself is urged to be conversant with incantations dispelling the effects of poison and sickness, and at Manu VII, 217, the food of the king: is rendered salubrious by sacred texts that destroy poison: these passages evidently refer to Atharvanic bhai- shagyani (cf. p. 25 ff.), and Atharvan priests skilled in their use. At Baudh. II, 8,15,4; Vishvu LXXIII,11; LXXXI, 4, the demons called yatudhana are driven out by means of sesame, in perfect accord with AV. I, 7, 2.

Thus far then the dharma-literature expresses regard for the Atharvan, and distinct dependence upon its literature and its practices. But the ever dubious quality of the fourth Veda sounds from notes pitched in a different key. In the

1 The king himself is urged (ib. I, 310) to devote himself to the trayf.

* This is the stereotyped summary of the functions of the AV., santapush/éi- kabhifarika ; see p. xxix.

INTRODUCTION. xlix

In the

1 The king himself is urged (ib. I, 310) to devote himself to the trayf.

* This is the stereotyped summary of the functions of the AV., santapush/éi- kabhifarika ; see p. xxix.

INTRODUCTION. xlix

first place we may remark that the conspicuous omission of this Veda which characterises the srauta-literature, with- out pronounced disapproval of the Atharvan, is continued in the dharma-texts. Thus notably in the prohibition of the recital of the other Vedas while the sound of the Sdmans is heard, these texts mention only the vzk and the yaguh; see Gaut. XVI, 21; Vas. XIII, 30; Vishvu XXX, 26 ; Manu IV, 123. 124. At Baudh. IV, 5, 29; Manu XI, 263-66, the recitation of the traividya is recommended as a most efficient means of purification and release from sin. In the cosmogonic account, Manu I, 23, only 7zk, yagué, and sAman are derived from the primeval creation. In Baudh. II, 8, 14, 4.5; Manu III, 145, the traividya and its adherents only appear at the funeral-offerings:(sraddha), though the Atri-saszhita singles out Atharvans skilled in astronomy on that very occasion (see above, p. xlviii). At Manu XII, 112 (cf. Yag#av. I, 9) adherents of the three Vedas are recommended as an assembly (parishad) to decide points of law; at Yagzav. II, 211 punishment is declared for him that abuses one skilled in the three Vedas ; at Yagwav. I, 310 the king is urged to devote himself to the study of the trayi (vidya); his chaplain, on the other hand, must be skilled in the manipulation of the atharvangirasam (ib. I, 312). The inferiority of the Atharvan is stated outright at Apast. II, 11, 29, 10. 11, where it is said that the know- ledge of women and Siidras is a supplement of the Atharva- veda (cf. Biihler, Sacred Books, vol. ii, p. xxix); and yet more brusquely Vishvu V, 191 counts him that recites a deadly incantation from the Atharva-veda as one of the seven kinds of assassins.

Still more frequently, performances which imply the knowledge and use of the Atharvan are decried and punished, though the writings of the Atharvan are not expressly mentioned. [hus magic rites with intent to harm enemies, and sorceries and curses in general, cause impurity, and are visited with severe penances at Apast. I, 9, 26,7; 10, 29, 15; Baudh. II, 1, 2,16; Gaut. XXV, 7; Vishmau XXXVII, 26; LIV, 25; Manu IX, 290; XI, 198; Yagnav. III, 289. Yet the other side of the coin is turned

[42] d

l HYMNS OF THE ATHARVA-VEDA.

I, 9, 26,7; 10, 29, 15; Baudh. II, 1, 2,16; Gaut. XXV, 7; Vishmau XXXVII, 26; LIV, 25; Manu IX, 290; XI, 198; Yagnav. III, 289. Yet the other side of the coin is turned

[42] d

l HYMNS OF THE ATHARVA-VEDA.

up at Manu XI, 33, where the Atharvan is recommended as the natural weapon of the Brahmaza against his enemies (see above). Narada, V, 108, also betrays his hostile attitude towards sorcery when he remarks that the sage Vasishtha took an oath, being accused of witchcraft’. With especial frequency and emphasis the impurity of physicians is insisted upon, Apast. I, 6, 18, 20; 19, 15; Vishzu LI, 10; LXXXII, 9; Gaut. XVII, 17; Vas. XIV, 2.19; Manu III, 152. 180; IV, 212. 220; Yagzav. I, 162; III, 240: we gathered above (p. xxxix) that the practice of medicine is regarded in the same light in the Brahmavas ; the charge, of course, reflects upon the Atharvan. Astro- logy also, and fortune-telling, are impure occupations, Baudh. IJ, 1, 2, 16; Manu IX, 258; the practice of astro- logy is forbidden to ascetics, Vas. X, 21; Manu VI, 50; and the astrologer is excluded from the sraddha, Vishzu LXXXII, 7; Manu III, 162. That these practices were Atharvanic in character we may gather from AV. VI, 128; Kaus. 50, 15%. An especially pointed reflection against the AV. is implied in the prohibition of the milakriya or mialakarma, ‘practices with roots*:’ at Vishwu XXV, 7 wives are especially forbidden to engage in such practice; at Manu IX, 290 magic rites with roots, practised by per- sons not related to him against whom they are directed; are regarded as sinful‘; at Manu XI, 64 practices with roots in general are forbidden. Such practices abound in the AV. and its ritual; see I, 34; III, 18 (=RV. X, 145); V, 31,12; VJ,138.139; VII, 38, &c., and the performances connected with them (cf. p. 99 ff. and the commentary on these hymns). Though they are not wanting elsewhere, especially in the Grzhya-sutras, the brunt of the charge is without doubt directed against the Atharvan. Finally, at Gaut. XV, 16; Vishvu LX XXII, 12; Manu III, 151; IV,

’ He has in mind the asseveration of the poet, RV. VII, 104, 15, ady@ mutiya yadi yatudhano asmi, &c., ‘may I die to-day if I am a sorcerer.’

* Cf. ‘Seven Hymns of the Atharva-veda,’ Amer. Journ. Phil. VII, 484 ff. (19 ff. of the reprint) ; the present volume, pp. 160, 532 ff.

* Cf. the same prohibition in the Mahabharata, below, p. liv.

* The commentator Narada states that they are permissible, if practised against a husband or relative.

INTRODUCTION, li

Journ. Phil. VII, 484 ff. (19 ff. of the reprint) ; the present volume, pp. 160, 532 ff.

* Cf. the same prohibition in the Mahabharata, below, p. liv.

* The commentator Narada states that they are permissible, if practised against a husband or relative.

INTRODUCTION, li

205, he who practises for a multitude (gramayagaka) is pronounced impure: we may presume that this kind of activity was largely, if not entirely in the hands of Athar- van-priests ; cf. the note on p. xl. The position of the Atharvan in the Mahabharata may be characterised in the single statement that its importance The AV.in 25 2 Veda, and its canonicity, are finally and theMaha- completely established ; that its practices are a a familiarly known and, in general, not sub- jected to any particular criticism. There is no especial affinity between the great Epic and the srauta-literature, barring the continuance of a considerable quantity of the legendary materials (4khyadna) which are woven into the descriptions of the Vedic sacrifices in the Brahmawas ; hence there is nothing in the Epic to induce preoccupa- tion with the trayi vidya. On the other hand, the great collection deals so largely with the interests of the Kshatriyas as to preclude any conscious discrimination against the fourth Veda, since this Veda also is to a very considerable extent engaged in the interest of the kings (ragakarmawi, Kausika, chapters 14 to 17), and the prac- tices of their chaplains (purohita) are also largely Athar- vanic in character. It is true that the Mahdbhdarata in common with all Hindu literature, the Atharvan literature not excluded, mentions frequently only the three Vedas by their distinctive names, or by the generic terms trayi vidya and trayo veda/. Thus in the passages assembled in A. Holtzmann’s sufficiently exhaustive collectanea on this question in his work on the Epic, Das Mahabharata und seine Theile, vol. iv, p. 5, the prevailing Vedic habit of referring to the Vedas is continued. But there can be little question that this mode of reference has at this time, as doubtless in a measure also in the period of Vedic produc- tivity, become a stereotyped mechanical habit, continued from the tradition of earlier times; cf. Biihler, Zeitschr. d. Deutsch. Morgenl. Gesellsch. XL, 701, who compares the German expression ‘ die vier Erdtheile, and the like. There is no indication that the mention of the Atharvan is con- sciously avoided.

lit HYMNS OF THE ATHARVA-VEDA.

Biihler, Zeitschr. d. Deutsch. Morgenl. Gesellsch. XL, 701, who compares the German expression ‘ die vier Erdtheile, and the like. There is no indication that the mention of the Atharvan is con- sciously avoided.

lit HYMNS OF THE ATHARVA-VEDA.

The main proof of the high regard for the Atharvan and its unchallenged position in the canon, are the quasi- cosmogonic passages in which the four Vedas figure in the primordial transactions of the creation of the world, and its affinity with the personified creator. Thus, at V, 108, 10=3770 Brahman is said to have first sung the four Vedas; Brahman himself is called Katurveda, III, 203, 15 =13560, as similarly Vishvu at XIX, 238, 9 (Bhav.)= 12884 j at T1Tjp°r89,°14= 12963 3 V1,. 67; 63019. Visnen himself declares that the four Vedas (atharvava the fourth) have sprung from him. According to XIX, 14, 15 (Bhav.) = 11516, Brahman created first the tristich called Gayatri, the mother of the Vedas, and afterwards the four Vedas; according to XIX, 53, 41 (Bhav.)=13210 he carries upon each of his four heads one of the Vedas, or, according to II, 11, 32=449, the four Vedas dwell bodily in his palace. At XII, 347, 27=13476 malicious demons steal the four Vedas from Brahman, and Vishzu restores them. Accord- ingly the Brahman priest and the kings, both of whom owe it to themselves to be vedavid, are more specifically described as knowing and reciting the four Vedas, at I, 70, © 37 = 2880 ff. ;-VIT, 9, 29289 5 XIX; 149, 1 (Vish j=7o9e where a Brahmava is designated as aturvedaz, just as the divinity Brahman, above. Other instances of the mention of the four Vedas, with or without other literary composi- tions, are I, 1,215 I,°1)°2645 TL 11, 924507 TE aera 1661 (akhyadnapavzkamair vedaiz); III, 58, 9>=2247 (Aaturo vedan sarvan akhydnapazkaman); III, 64, 17=2417 (fat- varo veda sdngopangaz); III, 189, 14=12963; V, 44, 28 =1711; VII, 59, 1522398; VII,149, 22 =64705 X11 236, 1= 8613; XIT;‘335,'28= 127293 ;"X1, 999; SSr2e7ae 341, 8=13136 (rigvede ... yagurvede tathaisvastharva- sdmasu, puraze sopanishade); XII, 342,97=13256 ff; XII, 347, 28=13476; XIII, 17, 91=1205 ff. (where the Athar- van appears first, atharvasirshak simasya rzksahasramite- kshavah, yagukpadabhugo guhya); XIII, 111, 46=5443; XIII, 168, 31=7736; XIX, 109, 5 (Vish.)=9491. (katvaro sakhila vedaz sarahasyaX savistaraz); XIX, 14, 15 (Bhav.) =11665. Cf. Holtzmann, l.c., p. 6.

INTRODUCTION. liit

(where the Athar- van appears first, atharvasirshak simasya rzksahasramite- kshavah, yagukpadabhugo guhya); XIII, 111, 46=5443; XIII, 168, 31=7736; XIX, 109, 5 (Vish.)=9491. (katvaro sakhila vedaz sarahasyaX savistaraz); XIX, 14, 15 (Bhav.) =11665. Cf. Holtzmann, l.c., p. 6.

INTRODUCTION. liit

By itself the Atharvan is mentioned numerous times: as atharvangiras (singular), atharvangirasaf# (plural), atharva- ngirasa, atharvan, atharvava, atharvavza, and atharva-veda. Invariably the statements presenting these names are either directly laudatory, or they exhibit the Atharvan in an in- disputable position of usefulness. At III, 305, 20=17066 Kunti knows mantras, atharvangirasi! srutam, for com- pelling the gods to appear; at II, 11, 19=437 the athar- vangirasa#, personified, are mentioned honorifically along with other Vedic Azshis; at V, 18, 5=548 ff. Anciras praises Indra with atharvavedamantraiA#, and Indra declares that this Veda shall henceforth have the name atharvangi- rasa, At XII, 342, 99=13258 ff. Pragadpati declares that the sages skilled in the Atharvan (vipra atharvazavidas) fashion him into an Atharvan priest, devoted to the practice of the five kalpas (pa#sakalpam atharvazam). At V, 37, 58=1391 Atharvan practitioners (atharvawah) are spoken of in a friendly way: ‘ For him that has been wounded with the arrow of wit there are no physicians and no herbs, no sacrificial formulas, no amulets, no Atharvavas (conjurers), and no skilful remedies.” See also I, 70, 40= 2883; III, 251, 24=15147; XIII, 14, 3cg=901; XIII, 94, 44=4590. In a number of places weapons are said to be as fierce and efficacious as the sorcery-practices of the Atharvan (kvztyam atharvangirasim iva), VIII, 40, 33=1848; VIII, 90, 4= 4625; VIII, 91, 48=4795; [X,17, 44=907; XIII, g8,13=4706: the passages imply neither praise nor biame, but represent Atharvan practices as familiarly established among the customs of the people.

It is scarcely to be expected that the Atharvan and its practices, notwithstanding their establishment in the good graces of the epic writers, shall come off entirely without criticism ; there must have been persons aching under its supposed inflictions, and moods awake to a full sens of its vulgarity. In such cases the Mahabharata reflects entirely the spirit of the dharma-texts. Thus at XII, 36-28=1322;

' In the Calcutta edition, atharvasirasi for atharvangirasi. * Cf. Bohtlingk, Indische Spriiche, 1497-8.

liv HYMNS OF THE ATHARVA-VEDA.

In such cases the Mahabharata reflects entirely the spirit of the dharma-texts. Thus at XII, 36-28=1322;

' In the Calcutta edition, atharvasirasi for atharvangirasi. * Cf. Bohtlingk, Indische Spriiche, 1497-8.

liv HYMNS OF THE ATHARVA-VEDA.

XIII, 90, 13=4282, physicians are declared to be impure (cf. above, p. 1). Practices undertaken by bad women with charms and roots (mantramdlapara stri ... miala- prakara) are inveighed against: the man that has a wife addicted to them would be afraid of her, as of a snake that had got into the house, III, 233, 13=14660 ff.; cf. the identical prohibition of the dharma-texts above, p. 1)?. Women are said at XIII, 39, 6=2237 ff. (cf. Bohtlingk’s Indische Spriiche ?, 6407) to be skilled in the sorceries of the evil demons Namufi, Sambara, and Kumbhinasi. Magic or sorcery is in general regarded as good. Thus kritya is regarded as the divinity of witchcraft (abhi#aradevata) by the commentator on VII, 92, 54=3314, and krztya, abhi- kara, and maya are in general allowable, but yet it is possible in the view of the Epic to bewitch right to make it wrong, to be a dharmabhifarin, XII, 140, 42=5288, or to use foul maya, VII, 39, 15=1316 ff. (see above, p. xxix, and cf. Hopkins, Journ. Amer. Or. Soc. XIII, 312 ff.).

In the Ramayaza the Vedas in general are mentioned very frequently ; special Vedic names appear to be rare, the Sama-veda (simagaz) being mentioned at IV, 27, 10, the Taittiriya (a#aryas taittiriyavzam) at II, 32, 7 (cf. Ind. Stud. I, 297). The Atharvan (mantras #4:tharvavah) occurs at II, 26, 21.

In the proverb-literature the Atharvan is scarcely men- tioned (cf. Mahabh. V, 37, 58=1391 in Bohtlingk’s Indische

ae Spriiche’, 4216), but the mantras of the Athar-

the later Van are in the minds of the poets, though ey they usually speak of mantras in general without specification. Thus a comparison

of proverbs 1497-8 with 4216 seems to call up the atmo- sphere of the Atharvan practices in their mention of ausha- dhani and mantravi; still more clearly rogaviyogamantra- mahima at 2538 refers to the bheshagani of the AV., and sakyam varayitum ... vyddhir bheshagasamegrahais ha vividhamantraprayogair visham, proverb 6348, both to the Se ee

‘ The sentiment has become proverbial: see Samg. Paddh., niti 76 b (Bohtlingk’s Indische Spriiche’, 5260).

INTRODUCTION. lv

bheshagani and the charms against poison (see p. 25 ff.). The knowledge of sorcery, dreaded in women (see the prohibitions in the dharma, p. | above), is alluded to in proverbial form at 5260=Mahabh. III, 233, 13=14660; and 6407= Mahabh. XIII, 39, 6=2237.

INTRODUCTION. lv

In the Dasakumara-arita the Atharvan is employed twice, once in an obvious sorcery practice, 4tharvavzikena vidhina (chapter iii, p. 108, 13), where priests perform sacri- fices preliminary to transforming a person from one shape to another. Another time (chapter ii, p. 94) a marriage is celebrated with Atharvanic ceremonies (Atharvavena vidhina). Cf. Weber, Ind. Stud. I, 297; Ind. Streifen, F328.

In the Kiratarguniya X, 10 (cf. Weber, Ind. Stud. I, 289 ; Muir, Orig. Sanskrit Texts I*, p. 395) there is a passage which shows that the potency of the Atharvan had not then waned: anupamasamadiptitagariyan krvztapadapanktir atharvazena vedak, ‘he (Arguna), being through unparal- leled composure and fervour exceedingly powerful, as the Veda arranged by Atharvan 1.’

The Puradzas always speak of the fourfold Veda”, and present the Atharvan in the advanced position of the ritual- istic literature of the AV. itself; cf. below, p. lvii ff. The Vishuu-puraza, p. 276, assigns the four Vedas to the four priests of the srauta-ritual, the AV. to the Brahman. Similarly at Prasthana-bheda, p. 16, |. 10, there is the statement, paurohityaz santipaushfikani rag#am_ atharva- vedena karayed brahmatvam ka; cf. Max Miiller, Ancient Sanskrit Literature, p. 476. The Bhagavata-purava I, 4, 19. 20 speaks of the fourfold Veda designed for the execu-

' Mallinatha comments upon the passage, and cites an agama, to wit: sama santir abhyudayakand- diptita ugrata abhi#arakamde atharvawa vasish¢hena krita rakita padanam panktir anuptirvo yasya sa vedas Aaturthaveda, atharvamas tu mantroddharo vasish¢Aena kriia ity agama. The passage has a twofold interest : it reflects the ancient Atharvanic (abhyudaya) and Ajngirasic (abhi- kasa) components of the Veda, and it ascribes its redaction to Vasish¢ha ; cf. above, p. xviii, and below, p. Ixv.

2 Cf. Colebrooke, Miscellaneous Essays, vol. i, p. 10. See, e.g. Vishvu- puraza 1, 5 (Wilson's translation, vol. i, p. 85), where the Atharvan is said to be the northern mouth of Brahman.

lvi IIYMNS OF THE ATHARVA-VEDA.

tion of the sacrifice (yag#asamtatyai vedam ekam fatur- vidham), mentioning them by name in the sequel. At VI, 6,19 figures the atharvangirasa veda. Also, the Matsya- puravza, as quoted by Sdyava in the introduction to the AV., p. 6, orders that the purohita shall compass the Mantras and the Brahmaza of the AV.; and the Mar- kazdeya-puraza claims that the king consecrated with the Mantras of the AV. enjoys the earth and the ocean ; see Sayazea, ibid.

In the Gainist Siddhanta, fifth anga (bhagavati), I, 441; II, 246-7°; upanga, I, 76; X, 3 the scope of Vedic or

Brahmanical literature is stated as riuveda,

The AV. in ‘

enjoys the earth and the ocean ; see Sayazea, ibid.

In the Gainist Siddhanta, fifth anga (bhagavati), I, 441; II, 246-7°; upanga, I, 76; X, 3 the scope of Vedic or

Brahmanical literature is stated as riuveda,

The AV. in ‘

the Gaina gaguveda, sdmaveda, ahavvavaveda (athav- auf Lae vana-), itihdsapamkamam ...; see Weber,

Verzeichniss der Sanskrit- und Prakrit-Hand- schriften, II, 423-4; and Ind. Stud. XVI, pp. 238, 304, 379, 423, 4741. According to Weber, ibid., p. 237, the Siddhanta is to be placed between the second and fifth centuries of our era. This mode of describing the Vedic literature we found above to prevail from the time of the Sat. Br. to the Mahabharata. In the Sdatrakrztanga-sitra II, 27 (see Jacobi translation, Sacred Books, vol. xlv, p. 366) the incantations of the Atharvan (atharvavi) are naturally spoken of in condemnatory language.

As specimens of the view of the Buddhist writings we may quote the A/thakavagga 14, 13 of the Sutta-nipata (Fausboll’s translation, Sacred Books, vol. x, part ii, p. 176), where the practice of the Athabbava-veda is forbidden. To the condemnation of practices essentially Atharvanic in character is devoted the Maha Sila, in the second chapter of the Tevigga-sutta; see Rhys Davids’ translation in the Sacred Books, vol. xi, pp. 196-200, similarly the Vinaya, Kullavagga V, 32, 2, ibid., vol. xx, p. 152.

* Cf. also Kalpa-sitra, in Jacobi’s translation, Sacred Books, vol. xxii, p. 221.

INTRODUCTION. lvil

III. Tue ATHARVA-VEDA IN THE VIEW OF ITS RITUALISTIC LITERATURE.

It is but natural to expect, and the expectation nowhere meets with disappointment, that the Atharvan texts in general should allude with predilection, and

xxii, p. 221.

INTRODUCTION. lvil

III. Tue ATHARVA-VEDA IN THE VIEW OF ITS RITUALISTIC LITERATURE.

It is but natural to expect, and the expectation nowhere meets with disappointment, that the Atharvan texts in general should allude with predilection, and

The normal .- ‘ ‘ ; ; estimateof in terms of praise, to their own kind of com- ce hee positions, to the mythical sages who are their reputed authors, and to the priests devoted to the practices that went hand in hand with the recitation of the Atharvans and Angiras. We found above, (pp. xxxii, xlii), a sufficiently marked tendency on the part of the Sazhita itself and the Atharvan Upanishads to do this; there was occasion to note, too, that this tendency was followed out naturally and with moderation. Certainly there is no indication in these texts of any systematic attempt to make battle against the ancient threefold Veda, or to enter into polemics against the priests devoted to their respective duties while reciting or chanting its mantras. Similarly the ritual texts of the AV. allude preferably, and yet incidentally, to their own Veda, and as occasion offers, bring to the front the priests schooled in it. Thus Kaus. 139, 6 an oblation is offered to Bhyzgu and Angiras along with other divinities, without mention, however, of any specific representatives of the other Vedas. The expression, Kaus. 125, 2, vedabhigupto brahmava parivrzto stharvabhiz santaz!, illustrates this passive preference for the Atharvan very well; cf. also 137, 25. Again, Kaus. 63, 3, four priests descended from Azshis, skilled in the bhrvzgvangirasaz, are employed very naturally, and simi- larly allusion is made to Atharvan priests and Atharvan schools, Kaus. 59, 25; 73,12; Vait. Sa.1, 5; Ath. Paris. 46,2; 73,13; 77,4. In the Atharva-parisish¢zas Bhrzgu, Angiras, and Atharvan figure more frequently than any

1 The passage reflects also the Atharvanic connection of their Veda with Brahman and the brahma; cf. Ath. Paris. 2, 1, brahmame brahmavedaya . . . namaskritya, ai | see below, p. Ixii ff.

lviti HYMNS OF THE ATHARVA-VEDA.

Ath. Paris. 2, 1, brahmame brahmavedaya . . . namaskritya, ai | see below, p. Ixii ff.

lviti HYMNS OF THE ATHARVA-VEDA.

other names: they have become the typical teachers of the trivialities which these texts profess. But over and above this the ritual texts raise certain special claims regarding the position of the Atharvan © among the Vedas, and they further make the Nature of the é : : : especial claims demand with strident voice and obvious of the ritual polemic intention that certain offices shall be reserved for the priests conversant with that Veda. The position of these texts may be stated under three heads. First, they are not content with the rather vacillating attitude of the non-Atharvanic texts which refer in general to a threefold Veda, reserving, as we have seen, the honorific mention of the fourth Veda to more or less well-defined occasions, especially to moods when it is felt desirable to call into requisition the entire range of Vedic literary composition in addition to the trayi vidya (e.g. itihasa, purava, gatha, &c.). Secondly, the office of the Brahman, the fourth priest at the srauta-ceremonies, who oversees and corrects by means of expiatory formulas (prayaskitta) the accidents and blunders of hotar, udgatar, and adhvaryu, is said to belong to an Atharvavedin, and the Vaitana-sitra in fact exhibits the bhzzgvangirovid in possession of that office. Thirdly, a similar claim is advanced in respect to the office of the purohita. Again and again it is stated that the purohita, guru, or brahman of a king, the chaplain or house-priest, shall be conversant with the Atharvan writings, shall be an Atharvan priest, and this claim, as we have seen above (p. xlvi), is supported to some extent by later Brahmanical treatises not derived from Atharvan schools. Cf. also below, p. Ixvii. The Gopatha-brahmava, in its opening chapters I, 1, 4— 1o, describes the cosmogonic origin of the universe and Exaltation the Vedas from the lone brahma. Unlike ofthe AV. other texts, which as a rule ignore the Athar- Bid aah PO os in these creative accounts, the atharvan and the angiras texts are placed at the head; the other Vedic texts (rzk, yagu/, and saman, I, 1, 6), as well as the subsidiary compositions (the five Vedas, called sarpaveda, pisa#aveda, asuraveda, itihdsaveda, and purawaveda, I, 1,

INTRODUCTION. lix

lix

Io), are relegated to the rear. At Vait. Sd. 6, 1 the Atharvan is again placed at the head of the four Vedas. Gop. Br. I, 3, 4 lauds the Atharvan compositions as the greatest religious manifestation, etad vai bhtyishtham brahma yad bhv7gvangirasah#, and at I, 2, 16 (cf. I, 2, 18) the Atharvan figures as the fourth Veda by the name of Brahma-veda, being here correlated with the service of the Brahman-priest as the overseer at the srauta-ceremonies?. At I, 1, 9 there is quoted a stanza, thoroughly Upanishad in character, which shows that the Atharvanists correlated their Veda with the knowledge of brahma, the higher and subtler religious conception, which at all times is raised above any special knowledge of the constituent parts of the Vedic religion: ‘The highest Veda was born of tapas, it grew in the heart of those that know the brahma 7.’ The Atharvan ritual texts never cite the trayi vidya in formulary order without including the fourth Veda °, differ- ing in this regard even from the text of the Samzhita and the Atharvan Upanishads (see pp. xxxii, xliii). The first half of the Gop. Br. (I, 5, 25) ends with the assertion that they who study the trayi reach, to be sure, the highest heaven (trivish¢apam tridivasz ndkam uttamam), but yet the Athar- vans and Angiras go beyond to the great worlds of Brahma (ata uttare brahmaloka mahanta4). As regards the Brahman, the overseer at the srauta- performances, the Vait. Sd. 1, 1 states that he must be RP Se conversant with the Brahma-veda, and in he od of Brahman 18 this priest is described as the lord of beings, in yo aga lord of the world, &c. These expressions seem to indicate that he is the representa- tive at the sacrifice of the personified god Brahman. At 11, 2 (cf. Gop. Br. I, 2, 16) the Brahman is again ordered to be conversant with the atharvangirasa/, this time in

' katasro va ime hotra, hautram adhvaryavam audgatram brahmatvam.

* Thus according to the version of Sayavza, Introduction to the AV.,, p. 5, sreshtho hi vedas tapasosdhigato brahmagfanam hridaye sambabhiiva. Ragen- dralala:nitra’s edition, sresh¢/o ha vedas tapaso s dhigato brahmagyAnam kshitaye sambabbiiva, ‘it was created for the destruction of the oppressors of Brahmans.

* See especially Gop. br. I], 2, 14, where the atharvaigirasah are added every time in liturgical formulas to the r74ah, yagtimshi, and samani.

lx HYMNS OF THE ATHARVA-VEDA.

* See especially Gop. br. I], 2, 14, where the atharvaigirasah are added every time in liturgical formulas to the r74ah, yagtimshi, and samani.

lx HYMNS OF THE ATHARVA-VEDA.

expressed contrast with udgatar, hotar, and adhvaryu (simaveda, régveda, yagurveda). At Gop. Br. I, 2, 18 (end) the Brahman is described with the words, esha ha svai vidvan sarvavid brahma yad bhvigvangirovid. The last statement is of especial interest as indicating the identifi- cation of the Atharvan with the sarvavidya which stands above the trayi vidya (cf. below, p. Ixiii). Especially at Gop. I, 3, t. 2 the futility of the sacrifice without a Brah- man skilled in the bhrigvangirasa# is described vividly: a cow, a horse, a mule, a chariot cannot proceed with less than four feet, therefore the sacrifice, in order to succeed, must have four feet: the four Vedas, and the four priests. Especially characteristic is the following: At Tait. S. III, 5, 2, 1, &c. (cf. Ind. Stud. X, 34), the well-known legend is told, according to which Vasishz#a ‘saw Indra clearly, though the Azshis (in general) did not see him clearly.’ Indra makes Vasish¢a his Brahman (purohita), and con- fides to him moreover a mystery, the stomabhaga-verses. Since then men have Vasishz/a for their purohita: there- fore a descendant of Vasish¢ha is to be chosen as Brahman. The same legend is repeated almost verbatim Gop. Br. II, -2, 13, but the text demurs at the last clause. The Gop. Br. cannot say tasmad vasishz4o brahma karyaz, because it has previously stated emphatically that a bhyzgvangirovid is the only person fitted for that exalted office (I, 2, 18; 3, 1 ff.). At Vait. Si. 6,1 the garhapatya-fire is personified as a steed which is prepared by the four Vedas for the Brah- man, and by Pragapati for Atharvan: the equation brah- man=atharvan is implied. The passage, Vait. Sd. 37, 2, a brahmodya or theological contest between the Brahman and the Udgatar, betrays perhaps a certain insecurity and touchiness on the part of the Brahman in his assumed superiority to the other priests: ‘Not art thou superior, better than I, goest not before me. . . . Thou speakest these words that are worthy of being learned, (but) shalt not become equal to me.’ The superiority of the Brahman was occasionally disputed1, and possibly the Atharvanic

* See Haug, Brahma und die Brahmanen, p. Io.

INTRODUCTION. ixi

Brahman felt that he stood in special need of asserting his dignity.

Io.

INTRODUCTION. ixi

Brahman felt that he stood in special need of asserting his dignity.

Even more energetic are the demands of the liturgical texts in the matter of the office of purohita who is The ofice of KNOWN also by the name of brahman and purochita in the guru. ‘The king who rules the country shall ritual texts. eek a wise Brahman (brahmazam). He verily is wise that is skilled in the bhvzgu and angiras; for the bhvzgu and angiras act as a charm against all ominous occurrences, and protect everything’ (Kaus. 94, 2-4; cf. 126, 2). The equivalence of brahman, purohita, and guru is Suaranteed by comparing with this Ath. Paris. 3, t, kulinamz srotriyas bhrzgvangirovidam ... gurum vriniyad bhaipatizZ; and 3, 3, tasmad bhvzgvangirovidazz ... kury&t purohitam. Cf. also 2, 2, brahma tasmad atharvavit. Conversely, ‘The gods, the Fathers, and the twice-born (priests) do not receive the oblation of the king in whose house there is no guru that is skilled in the Atharvan’ (2, 3). Cf. Weber, Omina und Portenta, p. 346 ff.; Ind. Stud. X, 138; Sayaza, Introduction to the AV., p. 6. In Kaus. 17, 4 ff. the king and the purohita (Darila: raga, purodhaz) are seen in active co-operative practice at the consecration of the king; and again (brahma raga fa) in 140, 4 ff. at the indramahotsava- festival.

The Atharva-parisishZas are not content with these strong recommendations of their own adherents, but they would have the adherents of the other Vedas, yea even of certain branches (sakha) of the Atharvan itself, excluded from the purohiti: ‘The Atharvan keeps off terrible occurrences, and acts as a charm against portentous ones... not the adhvaryu, not the £/andoga, and not the bahvrzka... . The bahvrzka destroys the kingdom, the adhvaryu destroys sons, the £Aandoga dissipates wealth; hence the guru must

be an Atharvava. .. . A Paippalada as guru increases hap- piness, sovereignty, and health, and so does a Saunakin who understands the gods and the mantras. . . . The king

whose purodha is in any way a Galada or a Mauda is deposed from his kingdom within the year’ (Ath. Paris.

xii HYMNS OF THE ATHARVA-VEDA.

.. . A Paippalada as guru increases hap- piness, sovereignty, and health, and so does a Saunakin who understands the gods and the mantras. . . . The king

whose purodha is in any way a Galada or a Mauda is deposed from his kingdom within the year’ (Ath. Paris.

xii HYMNS OF THE ATHARVA-VEDA.

2, 2-5)'. The Paippaladas, Saunakins, Galadas, and Maudas are alike representatives of Atharvan schools (see Kausika, Introduction, p. xxxiii ff.): the passage shows how eager the scramble for the office of purohita had become. That the Atharvans finally succeeded in making heard their clamorous demand for this office (see below, p. Ixvii) is probably due, as we shall see, to their superior, if not exclusive knowledge of witchcraft, which was doubtless regarded in the long run as the most prac- tical and trenchant instrument for the defence of king and people. In order to estimate at its correct value the claims of the Atharvanists that their own Veda is entitled to the name Brahma-veda, and that the so-called ai ricci to Brahman-priests and the Purohitas must be be one adherents of the AV., we need to premise certain considerations of a more general nature. In the Vedic religious system, or we might say more cautiously religious evolution, three literary forms and correspondingly three liturgical meznods of application of these forms to the sacrifice were evolved at a time prior to the reco.ded history of Hindu religious thought and action. They are the rvikah, sdmani, and yagdmshi, known also by a variety of other designations, and characterised to a con- siderable extent by special verbs expressing the act of reciting or chanting them’. Correspondingly the priests who had learned one of these varieties of religious expres- sion and its mode of application to the sacrifice appear, again for aught we know from prehistoric times as indi- vidual actors (hotar, udgatar, adhvaryu), in no wise qualified each by himself to shoulder the burden of literary know- ledge or liturgic technique. The Hindus were at all times well aware that these religious forms are fragmentary and parts of a whole. The Rig-veda contains countless expres- sions indicating the insufficiency of the rzka% to fulfil alone

* Cf. Weber, Ind. Stud. I, 296; the author, Journ. Amer. Or. Soc. XI, 378, note,

* See Max Miiller, History of Ancient Sanskrit Literature, p. 489 ff.; Ludwig, Der Rigveda, III, p. 25 ff.

INTRODUCTION. Ixiil

the scheme of religious action. and the interdependence of the three Vedic types. There is a Rig-veda, but no Rig- vedic religion, as even recent writers on the religions of India unfortunately tend to assume: the absence of sAmans would in principle leave Vedic religion just as much muti- lated as the absence of vzks; the categories are the three parts of a trio whose melody is carried by each in turn.

A comprehensive vision was never wanting, though the search for a word for ‘religion, or religious practice, as a whole was at first not very successful. The Brahmavza- texts still struggle with the notion of the superiority of him that knows all the Vedas, and they consequently posit a sarvavidya! which is superior to a knowledge of each of the Vedas. The most successful attempt at describing the religious literature and action as a whole is the word brahma, and, correspondingly, he who knows the religion as a whole is a brahman. Each of these words appears occasionally in the fourth place, brahma after the trayi; brahman in company with the priests of the tray?. In a sense the brahma is a fourth Veda, but it is not co-ordinate with the other three ; it embraces and comprehends them and much else besides; it is the religious expression and religious action as a whole, and it is the learned esoteric understanding of the nature of the gods and the mystery of the sacrifice as a whole (brahma in brahmodya and brahmavadin). Needless to say, this fourth Veda, if we may so call it, has primarily no connection with the Atharvan, not even in the Atharva-saszhita itself (X1,8,23; XV, 3,7; 6, 3), nor in the Upanishads of that Veda (e.g. Nrisimha- pirvatapani Up. V, 2); the claim that the Atharvan is the Brahma-veda belongs to the Atharvan ritual. In the Upanishads this brahma, still frequently contrasted with the ordinary Vedas, is taken up eagerly, extolled above all other knowledge, and in a way personified, so that it fur- nishes one of the main sources of the various conceptions which finally precipitate themselves in the pantheistic

1 Tait. Br. III, 10, 11, 4; Tait. Ar. X, 47; cf. Sat. Br. XIV, 6, 7, 18; 9» 45 17-

Ixiv HYMNS OF THE ATHARVA-VEDA.

Brahman-Atman. The knowledge of this brahma consti- tutes the brahmavidya, which is separated by the widest imaginable gap from the Brahma-veda in the Atharvanic sense ; cf. above, p. xliii.

III, 10, 11, 4; Tait. Ar. X, 47; cf. Sat. Br. XIV, 6, 7, 18; 9» 45 17-

Ixiv HYMNS OF THE ATHARVA-VEDA.

Brahman-Atman. The knowledge of this brahma consti- tutes the brahmavidya, which is separated by the widest imaginable gap from the Brahma-veda in the Atharvanic sense ; cf. above, p. xliii.

This broader religious knowledge exists again from earliest times, not only in the abstract, but centres in persons who grasped it in its entirety, in distinction from the technically qualified priests devoted to some speciality. What the brahma is to the trayi, that the brahman is to hotar, adhvaryu, &c. Thus the important stanza, RV. X, 71, 11, depicts the activity of four priests at a srauta-sacri- fice, the hotar (7zkim pdsham Aste pupushvan), the udgatar (gayatras gayati sdkvarishu), the adhvaryu (yag#asya matram vi mimite), and the brahman. The latter is de- scribed in the words, brahma vddati gatavidydm, ‘the Brah- man tells (his) innate wisdom ?.’ The association of the first three priests with the three Vedic categories 7zk, saman, and yaguh, is expressed with a degree of clearness com- mensurate with the character of the hymn, which is in the nature of a brahmodya. But the brahman has no peculiar Veda; certainly there is no allusion to the Atharvan. His knowledge is that of the entire Veda. the sarvavidya (Tait. Br. III, 10, 11, 4), religious knowledge as a whole. By means of this knowledge he is able to assume in the ritual practices the function of correcting the mistakes of the other priests, whose knowledge is more mechanical. The Brahman is as it were the stage-manager in the sacerdotal drama, the physician of the sacrifice when it is attacked by the disease of faulty execution (Sat. Br. XIV, 2, 2, 19); he is the mind of the sacrificer (Sat. Br. XIV, 6, 1,7). As such he is also conversant with the mystic aspects of the divine powers, the powers of nature, and the details of the sacrifice. In the expression, brahmd vddati gatavidydm, the ‘own wisdom’ is the brahma (neuter), and vadati gata- vidyam foreshadows the brahmodya, ‘the holy, or theo-

* Cf RV. I, 10, 1; 1,1, 2; -1V, a9, 17 Vi,-38;-3045 VI od rae X, gI, 10.

* Cf. Weber, Ind. Stud. X, 135 ff.; Haug, Brahma und die Brahmanen, p. 9 ff.; Ludwig, Der Rigveda, III, 28 ff.

INTRODUCTION. Ixv

I, 10, 1; 1,1, 2; -1V, a9, 17 Vi,-38;-3045 VI od rae X, gI, 10.

* Cf. Weber, Ind. Stud. X, 135 ff.; Haug, Brahma und die Brahmanen, p. 9 ff.; Ludwig, Der Rigveda, III, 28 ff.

INTRODUCTION. Ixv

logical mystery, or riddle,’ as well as the ritualist refine- ments which the Brahmava and Sitra-texts introduce times without end with the closely-related expression, brahma- vadino vadanti. In the non-Atharvanic Vedic texts it is never suggested that the Atharvan is the specific equip- ment, above all other things, which shapes the faculties of this all-round Vedic theologian. On the contrary, the Kaush. Br. VI, 11 raises the rather one-sided claim that a Rig-veda scholar is the proper Brahman*®. Vasish¢ka was a celebrated Brahman and Purohita, and the qualifications for this office were said for a time (probably by the descen- dants of Vasish#Za themselves) to be especially at home in this family. But the Brahmava-texts declare explicitly that this is an ‘ iiberwundener standpunkt, an obsolete custom: every one properly equipped may be a Brahman ; see Weber, Ind, Stud. X, 34. 35. 137. There is no original connection between Vasishzka and the Atharvan 3, and it is not going too far to assume that the distinguished abilities demanded by the theory of this office were rare enough to admit every one that had intrinsically valid claims upon it.

How, then, did the Atharvans come to raise the plea that the Brahman must be one of themselves, and that, consequently, the Atharva-veda was the Brahma-veda? Schematically this was suggested by an obvious proportion. As the hotar, &c., is to the Rig-veda, &c., so the Brahman is to the fourth Veda, and as the Atharvan is the fourth Veda, or rather a fourth Veda, it required no too violent wrench to identify it with that other comprehensive fourth Veda, the knowledge of the brahma. Thus the Atharvan

? See the author, Journ. Amer. Or. Soc. XV, pp. 172, 184 ff.

7 A broader view, yet one that ignores the Atharvan claim, is taken by Apastamba, in the Yag#a-paribhash4-s(itra 19. There the Brahman is said to perform with all three Vedas. Only the commentator admits that the Atharvan may be included. See Max Miiller, Ancient Sanskrit Literature, p. 470; Zeitschr. d. Deutsch. Morgenl. Gesellsch. IX, p. xlvii; Sacred Books, vol. xxx, p. 321. Cf. also Sat, Br. XJ, 5, 8, 7, and Madhustidana’s statement of the final orthodox view, Max Miiller, ib. 445 ff.; Ind. Stud. I, 4. 14.

* The interesting association of Vasish¢ha with the redaction of the Atharvan, reported by Mallinatha in his comment on Kiratarguniya X, 10, may be founded upon this very title to the office of purohita, and thus show that purohitas were naturally supposed to be Atharvavedins; cf. above, p. lv.

(42) €

Ixvi HYMNS OF THE ATHARVA-VEDA.

above, p. lv.

(42) €

Ixvi HYMNS OF THE ATHARVA-VEDA.

became the Brahma-veda. The fact that there was no systematic sharply-defined provision for the Atharvanists in the scheme of the hieratic religion must have been galling at first, until this arrangement was completed to their own satisfaction. They may have, though we do not know that they did, gathered courage for this tour de force by the frequent mention in the AV. itself of the word brahma in the sense of charm, prayer, e.g. I, 10, 1; 174, 44; 23, 4, &c. If this was done it was a proceeding both arbitrary and superficial: the word has in the AV. the meaning of charm only in so far and inasmuch as the hymns of that Veda happen to be charms ; the RV. employs the term freely to designate its own siktani:(e.g- V; 85,15 Vly 28) 13-96; 15° Xoa3g, DS Opes One misses, too, the plural brahm4wi as the true Vedic type of designation for a special class of composition, on a level with vikahk, simani, yagdimshi, atharvangirasa/z, or athar- vawah (bheshagani) and angirasaZ (abhifarikazi). We may also remember that the Atharvan of all Saszhitas contains the largest collection of theosophic hymns which deal explicitly (X, 2), or implicitly (X, 7), with Brahman and the brahma!. This may, of course, have helped to suggest that the Atharvavedin was the truly superior theo- logian. In the Upanishads the knowledge of just such theosophic relations is styled the brahmavidya. Sdayaza in the Introduction to the AV., p. 4, argues that the AV. is known as Brahma-veda because it was revealed to Brahman who is called Atharvan?. His authority, however, is Gop. Br. I, 4 ff., a text that elsewhere identifies the AV. with that bhayish¢#dam brahma which was produced by the tapas (cf. AV. VIII, 10, 25), pressing to an unwarranted degree the relationship of the Atharvan texts with the sphere of the Upanishads *; cf. above, p. lix.

It may be safe to assume that all these and other notions

Cf. also the superabundant Upanishads, composed in Atharvanic schools.

* atharvakhyena brahmava dr¢sh¢atvat tanndmna ayaw vedo vyapadisyate.

* Similarly the Vishzzu-puraza VI, 5 (Wilson’s translation, vol. v, p. 210): ‘The AV. also states that there are two kinds of knowledge. By the one which is the supreme, God (akshara) is obtained ; the other is that which consists of Aik and other Vedas,’

INTRODUCTION. Ixvii

flitted through the minds of the systematic theologians

Relation of Of the Atharvan schools as they continued

the purohita to insist upon the name Brahma-veda for

Ixvii

flitted through the minds of the systematic theologians

Relation of Of the Atharvan schools as they continued

the purohita to insist upon the name Brahma-veda for

MANS eit scriptures, and upon the office of Brah- man for their priests. A measure of substantiality may, however, come to their claim from another quarter at a comparatively early time, in this instance with the passive support of all Vedic schools. The matter concerns the office of the purohita, the spiritual and temporal aid of the king, his chaplain, and chancellor. One would again look in vain in the non-Atharvanic Samhit4s, Brahmavzas, or Sttras for the direct declaration that the purohita either was, or shuuld be, an adherent of the Atharvan. These texts do not mention the Atharvan in this connection any more than in connection with the office of the Brahman at the sacrifice. Yet it seems extremely unlikely that the knowledge of Atharvan practices should not have been considered a very valuable adjunct, if not a conditio sine qua non, of the purohiti. Purohitas, whether they are formal adherents of the AV. or not, are always engaging in Atharvanic practices, even against one another (cf. Max Miiller, Ancient Sanskrit Literature, p. 486). The interests of the king and his sovereignty (kshatriya and kshatram) are too obviously dependent upon magic rites to admit the likelihood that the pretensions to this office on the part of him that knew them should have been ignored. At all periods the safety of the king, the prosperity of his people, his ascendency over hostile neighbours, must have depended upon the skill of his purohita in magic. The description, Ait. Br. VIII, 24-28, of the purohita, his func- tions, and his relation to the king, transfer the reader to the sphere and spirit of the Atharvan. The purohita secures for the king royalty, strength, empire, and people (VIII, 24, 7). The purohita is a fire with five flaming missiles, dangerous when not properly propitiated ; but, duly honoured, he embraces the king, protecting him with his flames as the ocean the earth (VIII, 25,1). His people do not die young, his own life’s breath does not leave him before he has reached the full limits of his life, he lives to

€ 2

Ixvili HYMNS OF THE ATHARVA-VEDA.

His people do not die young, his own life’s breath does not leave him before he has reached the full limits of his life, he lives to

€ 2

Ixvili HYMNS OF THE ATHARVA-VEDA.

a good old age, if a Brahmaza, imbued with this know- ledge, is his purohita, the shepherd of his kingdom. The subjects of such a king are loyal and obedient (VIII, 25, 2. 3). The prescriptions regarding the purohita are fol- lowed (VIII, 25) by a magic rite, called brahmawah pari- mara, designed to kill hostile kings, which might have found a place in the ritual of the Atharvan’. In later texts, as a matter of fact, the rule is laid down formally that the purohita should be an Atharvavedin. Thus in Gaut. XI,15.17; Yag#av. I, 312 (cf. also Manu XI, 33); see p. xlviii; above. Sayava in the Introduction to the AV., pp. 5, 6, claims outright that the office of purohita belongs to the Atharvanists (paurohityam ka atharvavidaisva ka- ryam), and he is able to cite in support of his claim not only the rather hysterical dicta of the Atharvan writings, but also slokas from a number of Purdzas, the Nitisastra, &c.; cf. above, p. lvi*. In the Dasakumara-arita magic rites, as well as the marriage ceremony, are in fact per- formed at the court of a king with Atharvan rites athar- vazena (atharvazikena) vidhina, and the statement is the more valuable as it is incidental ; see above, p. lv.

I do not desire to enter here upon a discussion of the question of the original relation between the purohita and the brahman, whose identity is baldly assumed in many passages of the earlier Hindu literature®. I believe that they were not originally the same, but that they were bound together by certain specific ties. They are similar,

’ Cf. the battle-charm, AV. III, 19: the purohita figures in it as well as in the accompanying performances, Kaus. 14, 22-23 (Darila). And RV. IV, 50, 7-9, perhaps earlier, shows the bréhaspati (purohita) in essentially the same important relation to the king.

? Cf. Deva at Katy. Sr. XV, 7, 11, purohito yostharvavedavihitanam santi- kapaush¢ikabhikarakarmazam karta,

* Cf. Max Miiller, History of Ancient Sanskrit Literature, p. 485 ff.; Weber, Ind. Stud. X, 31 ff.; Ragastiya, p. 23, note; Haug, Brahma und die Brahmanen, p. 9 ff.; Geldner, Vedische Studien, II, 144 ff.; Oldenberg, Die Religion des Veda, pp. 374, 395 ff. Sayavza at RV. VII, 33, 14 equates purohita and brahman, and Ait. Br. VII, 16, 1 exhibits Vasish¢a, the typical purohita, in the office of brahman at a srauta-rite. At RV.IV, 50, 7 ff. the

activity of a purohita is sketched: the purohita, however, is called brzhaspati (=brahman).

INTRODUCTION. lxix

VII, 33, 14 equates purohita and brahman, and Ait. Br. VII, 16, 1 exhibits Vasish¢a, the typical purohita, in the office of brahman at a srauta-rite. At RV.IV, 50, 7 ff. the

activity of a purohita is sketched: the purohita, however, is called brzhaspati (=brahman).

INTRODUCTION. lxix

above all, in this, that they have in charge, each in his own way, the general interests of their noble employers, whereas other priests are likely ordinarily to have had only subordinate charges, because of the technical charac- ter of their knowledge and occupation. RV. X, 71, II expresses clearly the existence of broader theological in- terests than the mere knowledge of the recitation and chanting of hymns and the mechanical service of the sacrifice (hotar, udgatar, and adhvaryu). This is the Brah- manship which later forks into two directions, on one side the general knowledge of the procedures at the sacrifice (the Brahman as fourth priest), and the theological specula- tions attaching (brahmavadin); on the other, the higher theosophy which leads ultimately to the brahmavidya of the Upanishads. It is natural that a divine thus qualified should at a very early time assume permanent and con- fidential relations to the noble raganya in all matters that concerned his religious and sacrificial interests. His func- tions are those of chaplain and high-priest. It seems unlikely that this Brahman was in all cases, too, competent to attend to those more secular and practical needs of the king connected with the security of his kingdom, the fealty of his people, and the suppression of his enemies. These activities, ragakarmazi, as the Atharvan writings call them, must have called for different training and different talents —they represent rather the functions of a chancellor, or prime-minister, than those of a chaplain—and there is no warrant to assume that every Brahman possessed these necessary qualifications in addition to his expertness in systematic theology. On the other hand, conversely, there must have been purohitas incapable of assuming the charge of their employers’ interests on the occasion of the more elaborate Vedic performances (srauta), unless we conceive that in such cases the Brahman was a mere figure-head and his office a sinecure.

And yet precisely here is to be found the measure of truth which we may suspect in the Atharvanist claim that the supervising Brahman shall be an adherent of the AV. In many cases the tribal king, or raga, might have had but

Ixx HYMNS OF THE ATHARVA-VEDA.

one body-priest, well capable of attending to the kingdom’s needs in all manner of charms and sorcery, and thus filling the paurohitya creditably with the entire armament of the Veda of charms and sorcery, himself an Atharvavedin. If the king had about him no systematic theologian re- splendent in his gatavidyd, if there was no adherent of that ideal fourth Veda, the sarvavidyd that looms above the trayi vidya, the remoter applicability of the srauta-practices to the weal and woe of everyday life, or confidence in the ability of hotar, adhvaryu, &c., to perform their duties correctly of themselves, would lead him to entrust the general supervision of the Vedic performances (in the nar- rower sense) to his Atharvan purohita. Thus the sweeping claim of the Atharvan priests may be founded at least upon a narrow margin of fact, and later the Atharvan priests are likely to have equipped themselves with a suff- ciency of rather external and mechanical knowledge to perform the function of Brahman with a show of respecta- bility, witness the activity of the Brahman in the srauta- rites of the Vaitana-sitra. In very late times the ability of Atharvan priests to practise srauta-rites, and the canonicity of their srauta-manual, the Vaitana-sitra, were recognised by other Vedic schools, if the matter-of-fact references to that Sdtra on the part of the commentators to Katydyana’s Srauta-sitras may be regarded as normal ; see Garbe in the preface to the edition of the Vait. Sa., p. vi. We may remark, however, that the entire question of the relation of the AV. to srauta-practices is a very obscure ; point in the history of Vedic literature, it Relation of : the AV.to being assumed generally that the Atharvan eee had originally nothing to do with the larger Vedic ritual. The assumption in this broad form is at any rate erroneous, or defective. The existing Samhités of the AV. contain mantras which could have had no sense and purpose except in connection with srauta- performances. A series of formulas, e.g. like AV. VI, 47 and 48, has no meaning except in connection with the three daily pressures of soma (savana), and the Vait. Sd.

The existing Samhités of the AV. contain mantras which could have had no sense and purpose except in connection with srauta- performances. A series of formulas, e.g. like AV. VI, 47 and 48, has no meaning except in connection with the three daily pressures of soma (savana), and the Vait. Sd.

INTRODUCTION. Ixx1 21, 7 exhibits them, properly no doubt, as part of an ordi- nary srauta-rite, the agnishtoma. It would seem then that the: Atharvavedins possessed the knowledge of, and prac- tised srauta-rites prior to the conclusion of the present redactions of their hymns, and thus perhaps, after all, the purohita, in case of his being an Atharvan, was not altogether unequipped for taking a hand in the broader Vedic rites with the three fires and the usual assortment of priests. Again, the AV. contains hymns which are evidently expiatory formulas for faults committed at the sacrifice. Thus AV. VI, 114 presents itself in the light of an ordinary prayasfitta-formula, and there are MSS. of the Vaitana-sitra which add six prdyasfitta chapters to the eight which make up the body of that text?. The Gop. Br., more frequently than other Brahmazas, refers to defects in the sacrifice (virishta, ina, yatayadma) which are to be corrected (samdhana) by certain hymns, stanzas, and for- mulas; see I,1,13 and 22. Possibly the germs of the corre- lation of the Atharyan and the Brahman, in his function as supervisor and corrector of the sacrifice, may also turn out to be traceable to a period prior to the present redaction of the Samhitas.

The present volume of transiations comprises about one third of the entire material of the Atharva-veda in the text of the Saunaka-school. But it represents the contents and spirit of the fourth Veda in a far greater measure than is indicated by this numerical statement. The twentieth book of the Samhita, with the exception of the so-called kuntapa- siktani (hymns 127-1367), seems to be a verbatim repeti- tion of mantras contained in the Rig-veda, being employed in the Vaitana-sfiitra at the sastras and stotras of the soma- sacrifice: it is altogether foreign to the spirit of the original

' See Garbe, in the preface of his edition of the text, p. 5; Weber, Ver- zeichniss der Sanskrit und Prakrit Handschriften, II, 83; Kausika, Introduction, p. *xxiii. |

* One of these, hymn 127, appears in the present volume, p. 197 ff.

5; Weber, Ver- zeichniss der Sanskrit und Prakrit Handschriften, II, 83; Kausika, Introduction, p. *xxiii. |

* One of these, hymn 127, appears in the present volume, p. 197 ff.

Ixxil HYMNS OF THE ATHARVA-VEDA. hn pat a eo a Atharvan. The nineteenth book is a late addendum’, in general very corrupt; its omission (with the exception of hymns 26, 34, 35, 38, 39, 53, and 54) does not detract much from the general impression left by the body of the collec- tion. The seventeenth book consists of a single hymn of inferior interest. Again, books XV and XVI, the former entirely Brahmanical prose’, the latter almost entirely so, are of doubtful quality and chronology. Finally, books XIV and XVIII contain respectively the wedding and funeral stanzas of the Atharvan, and are largely coincident with corresponding mantras of the tenth book of the Rig-veda: they are, granted their intrinsic interest, not specifically Atharvanic®. Of the rest of the Atharvan (books I-XIII) there is presented here about one half, naturally that half which seemed to the translator the most interesting and characteristic. Since not a little of the collection rises scarcely above the level of mere verbiage, the process of exclusion has not called for any great degree of abstemiousness.

These successive acts of exclusion have made it possible to present a fairly complete history of each of the hymns translated. The employment of the hymns in the Athar- vanic practices is in closer touch with the original purpose of the composition or compilation of the hymns than is true in the case of the other collections of Vedic hymns. Many times, though by no means at all times, the practices connected with a given hymn present the key to the correct interpretation of the hymn itself. In any case it is instruc- tive to see what the Atharvan priests did with the hymns of their own school, even if we must judge their performances to be secondary.

I do not consider any translation of the AV. at this time as final. The most difficult problem, hardly as yet ripe for final solution, is the original function of many mantras,

* See Kausika, Introduction, p. xl ff.

* Translated by Professor Aufrecht, Indische Studien, I, 130, 140.

* The fourteenth book has been rendered by Professor Weber, Indische Studien, V, p. 195 ff.; the eighteenth book by the same scholar in the Pro- ceedings of the Royal Prussian Academy, 1895, p. 815 ff. ; 1896, p. 253 ff.

INTRODUCTION. Ixxill

after they have been stripped of certain adaptive modifica- tions, imparted to them to meet the immediate purpose of the Atharvavedin. Not infrequently a stanza has to be rendered in some measure of harmony with its connection, when, in fact, a more original meaning, not at all applicable to its present environment, is but scantily covered up by the secondary modifications of the text. This garbled tradition of the ancient texts partakes of the character of popular etymology in the course of the transmission of words. New meaning is read into the mantras, and any little stubbornness on their part is met with modifications of their wording. The critic encounters here a very difficult situation: searching investigation of the remaining Vedic collections is necessary before a bridge can be built from the more original meaning to the meaning implied and required by the situation in a given Atharvan hymn. Need- less to say the only correct and useful way to translate a mantra in the Atharvan, is to reproduce it with the bent which it has received in the Atharvan. The other Vedic collections are by no means free from the same taint. The entire Vedic tradition, the Rig-veda not excepted, presents rather the conclusion than the beginning of a long period of literary activity. Conventionality of subject-matter, style, form (metre), &c., betray themselves at every step: the ‘earliest’ books of the RV. are not exempt from the Same processes of secondary grouping and adaptation of their mantras, though these are less frequent and less obvious than is the case in the Atharva-veda.

Obligations to previous translators : Weber, Muir, Ludwig, Zimmer, Grill’, Henry, &c., are acknowledged in the intro- duction to each hymn. I regret that the work was in the hands of the printer prior to the appearance of Professor Henry’s excellent version of books X-XII*% The late lamented Professor Whitney kindly furnished me with the

'sGrill’s work, entitled, Hundert Lieder des Atharva-veda, second edition (1888), is cited as ‘ Grill*.’, My own six series of Contributions to the Interpre- tation of the Veda, are cited for the sake of brevity as ‘ Contributions.’

2 Les livres X, XI, et XII de l’Atharva-véda. Paris, 1896.

Ixxiv HYMNS OF THE ATHARVA-VEDA.

advance sheets of the late Shankar Pandurang Pandit’s scholarly edition of the AV. with Sayaza’s commentary, as also with many of the readings of the Cashmir text (the so-called Paippalada-sakha) of the AV. Neither the Paippalada nor Sayava sensibly relieves the task. of its difficulty and responsibility.

MAURICE BLOOMFIELD.

JouHNs HorkINs UNIVERSITY, BALTIMORE: April, 1896.

Ee ye S

OF THE.

ATLHARVA-VEDSA:.

Neither the Paippalada nor Sayava sensibly relieves the task. of its difficulty and responsibility.

MAURICE BLOOMFIELD.

JouHNs HorkINs UNIVERSITY, BALTIMORE: April, 1896.

Ee ye S

OF THE.

ATLHARVA-VEDSA:.

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a ae 7 ~ af A cretly in the tree, that the gods shall give us to wear, together with life!

4. The parza has come hither as the mighty strength of the soma, given by Indra, instructed by Varuza. May I, shining brilliantly, wear it, unto long life, during a hundred autumns!

5. Lhe amulet of parvza-wood has ascended upon me unto complete exemption from injury, that I may rise superior (even) to friends and alliances!

6. The skilful builders of chariots, and the inge- nious workers of metal, the folk about me all, do thou, O parza, make my aids!

7. The kings who (themselves) make kings, the charioteers, and leaders of hosts, the folk about me all, do thou, O parza, make my aids!

8. Thou art the body-protecting parza, a hero, brother of me, the hero. Along with the brilliancy of the year do I fasten thee on, O amulet!

V. CHARMS PERTAINING TO ROYALTY. ERG

IV, 22. Charm to secure the superiority of a king.

1. This warrior, O Indra, do thou strengthen for me, do thou install this one as sole ruler (bull) of the Vis (the people); emasculate all his enemies, subject them to him in (their) contests!

2. To him apportion his share of villages, horses, and cattle; deprive of his share the one that is his enemy! May this king be the pinnacle of royalty ; subject to him, O Indra, every enemy!

3. May this one be the treasure-lord of riches, may this king be the tribal lord of the Vis (the people)! Upon this one, O Indra, bestow great lustre, devoid of lustre render his enemy !

4. For him shall-ye, O heaven and earth, milk ample good, as two milch-cows yielding warm milk! May this king be favoured of Indra, favoured of cows, of plants, and cattle!

5. I unite with thee Indra who has supremacy, through whom one conquers and is not (himself) conquered, who shall install thee as sole ruler of the people, and as chief of the human kings. :

6. Superior art thou, inferior are thy rivals, and whatsoever adversaries are thine, O king! Sole ruler, befriended of Indra, victorious, bring thou hither the supplies of those who act as thy enemies !

7. Presenting the front of a lion do thou devour all (their) people, presenting the front of a tiger do thou strike down the enemies! Sole ruler, befriended of Indra, victorious, seize upon the supplies of those who act as thy enemies!

) i

116 HYMNS OF THE ATHARVA-VEDA.

I, 9. Prayer for earthly and heavenly success.

1. Upon this (person) the Vasus, Indra, Pishan, Varuza, Mitra, and Agni, shall bestow goods (vasu)! The Adityas, and, further, all the gods shall hold him in the higher light!

) i

116 HYMNS OF THE ATHARVA-VEDA.

I, 9. Prayer for earthly and heavenly success.

1. Upon this (person) the Vasus, Indra, Pishan, Varuza, Mitra, and Agni, shall bestow goods (vasu)! The Adityas, and, further, all the gods shall hold him in the higher light!

2. Light, ye gods, shall be at his bidding : Sarya (the sun), Agni (fire), or even gold! Inferior to us shall be our rivals! Cause him to ascend to the highest heaven !

3. With that most potent charm with which, | O GAtavedas (Agni), thou didst bring to Indra the (soma-) drink, with that, O Agni, do thou here strengthen this one; grant him supremacy over his kinsmen !

4. Their sacrifice and their glory, their increase of wealth and their thoughtful plans, I have usurped, O Agni. Inferior to us shall be our rivals! Cause him to ascend to the highest heaven !

VI, 38. Prayer for lustre and power.

1. The brilliancy that is in the lion, the tiger, and the serpent; in Agni, the Brahmaza, and Siarya (shall be ours)! May the lovely goddess that bore Indra come to us, endowed with lustre!

2. (The brilliancy) that is in the elephant, panther, and in gold; in the waters, cattle, and in men (shall be ours)! May the lovely goddess that bore Indra come to us, endowed with lustre!

3. (The brilliancy) that is in the chariot, the dice, in the strength of the bull; in the wind, Parganya, and in the fire of Varuza (shall be ours)! May the

V. CHARMS PERTAINING TO ROYALTY. El7

lovely goddess that bore Indra come to us, endowed with lustre!

4. (The brilliancy) that is in the man of royal caste, in the stretched drum, in the strength of the horse, in the shout of men (shall be ours)! May the lovely goddess that bore Indra come to us, endowed with lustre !

VI, 39. Prayer for glory (yasas).

1. The oblation that yields glory, sped on by Indra, of thousandfold strength, well offered, pre- pared with might, shall prosper! Cause me, that . offers the oblation, to continue long beholding (light), and to rise to supremacy !

2. (That he may come) to us, let us honour with obeisance glory-owning Indra, the glorious one with glory-yielding (oblations)! Do thou (the oblation) grant us sovereignty sped on by Indra; may we in thy favour be glorious!

3. Glorious was Indra born, glorious Agni, glorious Soma. Glorious, of all beings the most glorious, am I.

VIII, 8. Battle-charm.

1. May Indra churn (the enemy), he, the churner, Sakra (mighty), the hero, that pierces the forts, so that we shall slay the armies of the enemies a thousandfold !

2. May the rotten rope, wafting itself against yonder army, turn it into a stench. When the enemies see from afar our smoke and fire, fear shall they lay into their hearts !

3. Tear asunder those (enemies), O asvattha

11S HYMNS OF THE ATHARVA-VEDA.

2. May the rotten rope, wafting itself against yonder army, turn it into a stench. When the enemies see from afar our smoke and fire, fear shall they lay into their hearts !

3. Tear asunder those (enemies), O asvattha

11S HYMNS OF THE ATHARVA-VEDA.

(ficus religiosa), devour (khada) them, O khadira (acacia catechu) in lively style! Like the tagad-— bhanga (ricinus communis) they shall be broken (bhagyantam), may the vadhaka (a certain kind of tree) slay them with his weapons (vadhaiZ) !

4. May the knotty 4hva-plant put knots upon yonder (enemies), may the vadhaka slay them with his weapons! Bound up in (our) great trap-net, they shall quickly be broken as an arrow-reed!

5. Ihe atmosphere was the net, the great regions (of space) the (supporting) poles of the net: with these Sakra (mighty Indra) did surround and scatter the army of the Dasyus.

6. Great, forsooth, is the net of great Sakra, who is rich in steeds: with it infold thou all the enemies, so that not one of them shall be released !

7. Great is the net of thee, great Indra, hero, that art equal to a thousand, and hast hundredfold might. With that (net) Sakra slew a hundred, thousand, ten thousand, a hundred million foes, having sur- rounded them with (his) army.

8. This great world was the net of great Sakra : with this net of Indra I infold all those (enemies) yonder in darkness.

9. With great dejection, failure, and irrefragable misfortune; with fatigue, lassitude, and confusion, do I surround all those (enemies) yonder.

10. To death do I hand them over, with the. fetters of death they have been bound. To the evil messengers of death do I lead them captive.

11. Guide ye those (foes), ye messengers of death; ye messengers of Yama, infold them! Let more

than thousands be slain; may the club of Bhava crush them !

V. CHARMS PERTAINING TO ROYALTY. II9

12. The Sadhyas (blessed) go holding up with might one support of the net, the Rudras another, the Vasus another. (Still) another is upheld by the Adityas.

13. All the gods shall go pressing from above with might; the Angiras shall go on the middle (of the net), slaying the mighty army!

14. The trees, and (growths) that are like trees, the plants and the herbs as well; two-footed and four-footed creatures do I impel, that they shall slay yonder army |! 3

15. [he Gandharvas and Apsaras, the serpents and the gods, holy men and (deceased) Fathers, the © visible and invisible (beings), do I impel, that they shall slay yonder army!

16. Scattered here are the fetters of death; when thou steppest upon them thou shalt not escape! May this hammer slay (the men) of yonder army by the thousand!

17. The gharma (sacrificial hot drink) that has been heated by the fire, this sacrifice (shall) slay thousands! Do ye, Bhava and Sarva, whose arms are mottled, slay yonder army!

18. Into the (snare of) death they shall fall, into hunger, exhaustion, slaughter, and fear! O Indra and Sarva, do ye with trap and net slay yonder army!

Do ye, Bhava and Sarva, whose arms are mottled, slay yonder army!

18. Into the (snare of) death they shall fall, into hunger, exhaustion, slaughter, and fear! O Indra and Sarva, do ye with trap and net slay yonder army!

19. Conquered, O foes, do ye flee away; repelled by (our) charm, do ye run! Of yonder host, re- pulsed by Brzhaspati, not one shall be saved!

20. May their weapons fall from their (hands), may they be unable to lay the arrow on (the bow)! And then (our) arrows shall smite them, badly frightened, in their vital members!

21. Heaven and earth shall shriek at them, and

I20 HYMNS OF THE ATHARVA-VEDA.

the atmosphere, along with the divine powers! Neither aider, nor support did they find; smiting one another they shall go to death!

22. The four regions are the she-mules of the god’s chariot, the purodasas (sacrificial rice-cakes) the hoofs, the atmosphere the seat (of the wagon). Heaven and earth are its two sides, the seasons the reins, the intermediate regions the attendants, Vaz (speech) the road.

23. The year is the chariot, the full year is the body of the chariot, Virag the pole, Agni the front part of the chariot. Indra is the (combatant) stand- ing on the left of the chariot, Kandramas (the moon) the charioteer.

24. Do thou win here, do thou conquer here, overcome, win, hail! These here shall conquer, those yonder be conquered! Hail to these here, perdition to those yonder! Those yonder do I envelop in blue and red!

I, 19. Battle-charm against arrow-wounds.

1. The piercing (arrows) shall not hit us, nor shall’ the striking arrows hit us! Far away from us, O Indra, to either side, cause the arrow-shower to fall!

2. To either side of us the arrows shall fall, those that have been shot and shall be shot! Ye divine and ye human arrows, pierce ye mine enemies!

3. Be he our own, or be he strange, the kinsman, or the foreigner, who bear enmity towards us, those enemies of mine Rudra shall pierce with a shower of arrows !

4. Him that rivals us, or does not rival us, him

V. CHARMS PERTAINING TO ROYALTY. r21

that curses us with hate, may all the gods injure: my charm protects me from within !

III, 1. Battle-charm for confusing the enemy.

1. Agni shall skilfully march against our oppo- nents, burning against their schemes and _ hostile plans; GAtavedas shall confuse the army of our opponents and deprive them (of the use) of their hands !

2. Ye Maruts are migtiey in such matters: ad- vance ye, crush ye, conquer ye(the enemy)! These Vasus when implored did crush (them). Agni, verily, as their vanguard shall skilfully attack!

3. O Maghavan, "the hostile army which contends against us—do ye, O Indra, Vvztra’s slayer, and Agni, burn against them!

4. Thy thunderbolt, O Indra, who hast been driven forward swiftly by thy two bay steeds, shall advance, crushing the enemies. Slay them that resist, pursue, or flee, deprive their schemes of fulfilment!

5. O Indra, confuse the army of the enemy; with the impact of the fire and the wind scatter them to either side!

6. Indra shall confuse the army, the Maruts shall slay it with might! Agni shall rob it of its sight ; vanquished it shall turn about!

III, 2. Battle-charm for confusing the enemy.

1. Agni, our skilful vanguard, shall attack, burn- ing against their schemes and hostile plans! GAta- vedas shall bewilder the plans of the enemy, and deprive them (of the use) of their hands!

2. This fire has confused the schemes that are in

12 HYMNS OF THE ATHARVA-VEDA.

your mind; it shall blow you from your home, blow you away from everywhere !

3. O Indra, bewildering their schemes, come hither with thy (own) plan: with the impact of the fire and the wind scatter them to either side!

4. Oye plans of theirs, fly ye away; O ye schemes, be ye confused! Moreover, what now is in their mind, do thou drive that out of them!

5- Do thou, O (goddess) Apvd, confusing their plans, go forth (to them), and seize their limbs! Attack them, burn with flames into their hearts; strike the enemy with fits, (strike our) opponents with darkness!

6. That army yonder of the enemy, that comes against us fighting with might, do ye, O Maruts, strike with planless darkness, that one of them shall not know the other!

VI, 97. Battle-charm of a king upon the eve of battle.

I. Superior is the sacrifice, superior Agni, superior Soma, superior Indra. To the end that I shall be superior to all hostile armies do we thus, offering the agnihotra, reverently present this oblation !

2. Hail be, ye wise Mitra and Varuza: with honey swell ye our kingdom here, (so that it shall) abound in offspring! Drive far to a distance mis- fortune, strip off from us sin, even after it has been committed !

3. With inspiration follow ye this strong hero; cling close, ye friends, to Indra (the king), who conquers villages, conquers cattle, has the thunder- bolt in his arm, overcomes the host arrayed (against him), crushing it with might!

Ms CHARMS PERTAINING TO ROYALTY. 123

VI, 99. Battle-charm of a king on the eve of battle.

1. I call upon thee, O Indra, from afar, upon thee for protection against tribulation. I call the strong avenger that has many names, and is of unequalled birth.

2. Where the hostile weapon now rises against us, threatening to slay, there do we place the two arms of Indra round about. |

3. Ihe two arms of Indra, the protector, do we place round about us: let him protect us! O god. Savitar, and king Soma, render me of confident mind, that I may prosper!

XI, 9. Prayer to Arbudi and Nyarbudi for help in battle.

3. Ihe two arms of Indra, the protector, do we place round about us: let him protect us! O god. Savitar, and king Soma, render me of confident mind, that I may prosper!

XI, 9. Prayer to Arbudi and Nyarbudi for help in battle.

1. The arms, the arrows, and the might of the bows; the swords, the axes, the weapons, and the artful scheme that is in our mind; all that, O Arbudi, do thou make the enemies see, and spectres also make them see!

2. Arise, and arm yourselves; friends are ye, O divine folk! May our friends be perceived and protected by you, O Arbudi (and Nyarbudi) !

3. Arise (ye two), and take hold! With fetters and shackles surround ye the armies of the enemy, O Arbudi (and Nyarbudi)!

4. The god whose name is Arbudi, and the lord Nyarbudi, by whom the atmosphere and this great earth has been infolded, with these two companions of Indra do I pursue the conquered (king) with my army.

I24 HYMNS OF THE ATHARVA-VEDA.

5. Arise, thou divine person, O Arbudi, together with thy army! Crushing the army of the enemy, encompass them with thy embraces!

6. Thou, Arbudi, makest appear the sevenfold spectral brood. Do thou, when the oblation has been poured, rise up with all these, together with the army!

7. (The female mourner), beating herself, with tear-stained face, with short (mutilated ?) ears, with dishevelled hair, shall lament, when a man has been slain, pierced by thee, O Arbudi!

8. She curves her spine while longing in her heart for her son, her husband, and her kin, when (a man) has been pierced by thee, O Arbudi!

g. The aliklavas and the gdshkamadas, the vul- tures, the strong-winged hawks, the crows, and the birds (of prey) shall obtain their fill! Let them make evident to the enemy, when (a man) has been pierced by thee, O Arbudi!

10, Then, too, every wild beast, insect, and worm shall obtain his fill on the human carcass, when (a man) has been pierced by thee, O Arbudi!

II, Seize ye, and tear out in-breathing and out- breathing, O Nyarbudi (and Arbudi): deep-sounding groans shall arise! Let them make it evident to the enemy, when (a man) has been pierced by thee, O Arbudi!

12. ‘Scare them forth, let them tremble; bewilder the enemies with fright! With thy broad embrace, with the clasp of thy arms crush the enemies, O Nyarbudi!

13. May their arms, and the artful scheme that is in their mind be confused! Nota thing shall remain of them, pierced by thee, O Arbudi!

V. CHARMS PERTAINING TO ROYALTY. 125

14. May (the mourning women) beating them- selves, run together, smiting their breasts and their thighs, not anointed, with dishevelled hair, howling, when a man has been slain, has been pierced by thee, O Arbudi!

15. The dog-like Apsaras, and also the Riaipakds (phantoms), the plucking sprite, that eagerly licks within the vessel, and her that seeks out what has been carelessly hidden, all those do thou, O Arbudi, make the enemies see, and spectres also make them see!

16. (And also make them see) her that strides upon the mist, the mutilated one, who dwells with © the mutilated ; the vapoury spooks that are hidden, and the Gandharvas and Apsaras, the serpents, and other brood, and the Rakshas !

17. (And also) the spooks with fourfold teeth, black teeth, testicles like a pot, bloody faces, who are inherently frightful, and terrifying!

18. Frighten thou, O Arbudi, yonder lines of the enemy; the conquering and the victorious (Arbudi and Nyarbudi), the two comrades of Indra, shall conquer the enemies !

19. Dissolved, crushed, slain the enemy shall lie, O Nyarbudi! May victorious sprites, with fiery tongues and smoky crests, go with (our) army!

20. Of the enemies repulsed by this (army), O Arbudi, Indra, the spouse of Safi, shall slay each picked man: not a single one of those yonder shall escape |

21. May their hearts burst, may their life’s breath escape upward! May dryness of the mouth over- take (our) enemies, but not (our) allies!

22. Those who are bold and those who are

126 HYMNS OF THE ATHARVA-VEDA.

cowardly, those who turn (in flight) and those who are deaf (to danger ?), those who are (like) dark goats, and those, too, who bleat like goats, all those, do thou, O Arbudi, make the enemies see, and spectres also make them see!

23. Arbudi and Trishawdhi shall pierce our enemies, so that, O Indra, slayer of Vvztra, spouse of Safi, we may slay the enemy by thousands!

24. The trees, and (growths) that are like trees, the plants and the herbs as well, the Gandharvas and the Apsaras, the serpents, gods, pious men, and (departed) Fathers, all those, O Arbudi, do thou make the enemies see, and spectres also make them see!

25. The Maruts, god Aditya, Brahmazaspati did rule over you; Indra and Agni, Dhatar, Mitra, and Pragapati did rule over you; the seers did rule over you. Let them make evident to the enemies when (a man) has been pierced by thee, O Arbudi!

26. Ruling over all these, rise ye and arm your- selves! Ye divine folk are (our) friends: win ye the battle, and disperse to your various abodes !

XI, 10. Prayer to Trishamdhi for help in battle.

1. Arise and arm yourselves, ye nebulous spectres together with fiery portents; ye serpents, other brood, and Rakshas, run ye after the enemy!

2. He knows how to rule your kingdom together with the red portents (of the heavens). The evil brood that is in the air and the heaven, and the human (powers) upon the earth, shall be obedient to the plans of Trishazzdhi!

V. CHARMS PERTAINING TO ROYALTY. 127

3. The brazen-beaked (birds of prey), those with beaks pointed as a needle, and those, too, with thorny beaks, flesh-devouring, swift as the wind, shall fasten themselves upon the enemies, together with the Trishamdhi-bolt (the bolt with three joints)!

4. Make away with, O Gatavedas Aditya, many carcasses! This army of Trishamdhi shall be de- voted to my bidding !

5. Arise thou divine person, O Arbudi, together with thy army! This tribute has been offered to you (Arbudi and Trishamdhi), an offering pleasing to Trishazzdhi. |

6. This white-footed, four-footed arrow - shall fetter (?). Do thou, O magic spell, operate, together with the army-of Trishawdhi, against the enemies!

7. May (the mourning woman) with suffused eyes hurry on, may she that hath short (mutilated ?) ears shout when (a man) has been overcome by the army of Trishamdhi! Red portents shall be (visible)!

8. May the winged birds that move in the air and in the sky descend ;_ beasts of prey and insects shall seize upon them; the vultures that feed upon raw flesh shall hack into (their) carcasses !

9. By virtue of the compact which thou, O Byz- haspati, didst close with Indra and Brahman, by virtue of that agreement with Indra, do I call hither all the gods: on this side conquer, not over yonder !

10. Brzhaspati, the descendant of Angiras, and the seers, inspired by (our) song, did fix the three- jointed (Trishamdhi) weapon upon the sky for the destruction of the Asuras.

11. Trishamdhi, by whom both yonder Aditya

128 HYMNS OF THE ATHARVA-VEDA.

(the sun) and Indra are protected, the gods did destine for (our) might and strength.

12. All the worlds the gods did conquer through this oblation, (and) by the bolt which Bvzhaspati, the descendant of Angiras, did mould into a weapon for the destruction of the Asuras.

13. With the bolt which Bvzhaspati, the descendant of Angiras, did mould into a weapon for the destruc- tion of the Asuras do I, O Bvzhaspati, annihilate yonder army: I smite the enemies with force.

14. All the gods that eat the oblation offered with the call vasha¢ are coming over. Receive this oblation graciously ; conquer on this side, not over yonder !

15. May all the gods come over: the oblation is pleasing to Trishawdhi. Adhere to the great compact under which of yore the Asuras were conquered !

16. Vayu (the wind) shall bend the points of the enemies’ bows, Indra shall break their arms, so that they shall be unable to lay on their arrows, Aditya (the sun) shall send their missiles astray, and Kan- dramas (the moon) shall bar the way of (the enemy) that has not (as yet) started!

17. If they have come on as citadels of the gods, if they have constituted an inspired charm as their armour, if they have gathered courage through the protections for the body and the bulwarks which they have made, render all that devoid of force!

18. Placing (our) purohita (chaplain), together with the flesh-devourer (Agni) and death, in thy train, do thou, O Trishamdhi, go forth with thy army, conquer the enemies, advance !

19. O Trishamdhi, envelop thou the enemies in

V. CHARMS PERTAINING TO ROYALTY. I29

darkness; may not a single one of those, driven forth by the speckled ghee, be saved!

20. May the white-footed (arrow ?) fly to yonder lines of the enemy, may yonder armies of the enemies be to-day put to confusion, O Nyarbudi!

21. The enemies have been confused, O Nyar- budi: slay each picked man among them, slay them with this army! | .

22. The enemy with coat-of-mail, he that has no coat-of-mail, and he that stands in the battle-throng, throttled by the strings of their bows, by the fasten- ings of their coats-of-mail, by the battle-throng, they shall lie!

23. Those with armour and those without armour, the enemies that are shielded by armour, all those, O Arbudi, after they have been slain, dogs shall devour upon the ground!

24. Those that ride on chariots, and those that have no chariots, those that are mounted, and those that are not mounted, all those, after they have been slain, vultures and strong-winged hawks shall devour! |

25. Counting its dead by thousands, the hostile army, pierced and shattered in the clash of arms, shall lie!

26. Pierced in a vital spot, shrieking in concert with the birds of prey, wretched, crushed, prostrate, (the birds of prey) shall devour the enemy who attempts to hinder this oblation of ours directed against (him) !

27. With (the oblation) to which the gods flock, which is free from failure, with it Indra, the slayer of Vrztra, shall slay, and with the Trishamdhi-bolt (the bolt with three joints)!

[42] K

130 HYMNS OF THE ATHARVA-VEDA.

V, 20. Hymn to the battle-drum.

1. High sounds the voice of the drum, that acts the warrior, the wooden (drum), equipped with the skin of the cow. Whetting thy voice, subduing the enemy, like a lion sure of victory, do thou loudly thunder against them!

2. The wooden (instrument) with fastened (cover- ing) has thundered as a lion, as a bull roars to the cow that longs to mate. Thou art a bull, thy enemies are eunuchs; thou ownest Indra’s foe- subduing fire!

3. Like a bull in the herd, full of might, lusty, do thou, O snatcher of booty, roar against them! Pierce with fire the heart of the enemy; with broken ranks the foe shall run and scatter !

Thou art a bull, thy enemies are eunuchs; thou ownest Indra’s foe- subduing fire!

3. Like a bull in the herd, full of might, lusty, do thou, O snatcher of booty, roar against them! Pierce with fire the heart of the enemy; with broken ranks the foe shall run and scatter !

4. In victorious battles raise thy roar! What may be captured, capture; sound in many places! Favour, O drum, (our deeds) with thy divine voice ; bring to (us) with strength the property of the enemy !

5. When the wife of the enemy hears the voice of the drum, that speaks to a far distance, may she, aroused by the sound, distressed, snatch her son to her arms, and run, frightened at the clash of arms !

6. Do thou, O drum, sound the first sound, ring brilliantly over the back of the earth! Open wide thy maw at the enemies host; resound brightly, joyously, O drum!

7. Between this heaven and earth thy noise shall spread, thy sounds shall quickly part to every side! Shout thou and thunder with swelling sound; make

V. CHARMS PERTAINING TO ROYALTY. I31

music at thy friend’s victory, having (chosen) the good side!

8. Manipulated with care, its voice shall resound! Make bristle forth the weapons of the warriors! Allied to Indra do thou call hither the warriors ; with thy friends beat vigorously down the enemies!

9. A shouting herald, followed by a bold army, spreading news in many places, sounding through the village, eager for success, knowing the way, do thou distribute glory to many in the battle!

10. Desiring advantage, gaining booty, full mighty, thou hast been made keen by (my) song, and winnest battles. As the press-stone on the gather- ing skin dances upon the soma-shoots, thus do thou, O drum, lustily dance upon the booty !

1r. A conqueror of enemies, overwhelming, foe- subduing, eager for the fray, victoriously crushing, as a speaker his speech do thou carry forth thy sound; sound forth here strength for victory in battle !

12. Shaking those that are unshaken, hurrying to the strife, a conqueror of enemies, an unconquerable leader, protected by Indra, attending to the hosts, do thou that crusheth the hearts of the enemies, quickly go!

V, 21. Hymn to the battle-drum, the terror

of the enemy.

1, Carry with thy voice, O drum, lack of heart, and failure of courage among the enemies! Dis- agreement, dismay, and fright, do we place into the enemies: beat them down, O drum!

2. Agitated in their minds, their sight, their

K 2

132 HYMNS OF THE ATHARVA-VEDA.

a ee er hearts, the enemies shall run, frightened with terror, when our oblation has been offered!

3. Made of wood, equipped with the skin of the cow, at home with every clan, put thou with thy voice terror into the enemies, when thou hast been anointed with ghee!

4. As the wild animals of the forest start in fear from man, thus do thou, O drum, shout against the enemies, frighten them away, and bewilder their minds !

5. As goats and sheep run from the wolf, badly frightened, thus do thou, O drum, shout against the enemies, frighten them away, and bewilder their minds!

6. As birds start in fear from the eagle, as by day and by night (they start) at the roar of the lion, thus do thou, O drum, shout against the enemies, frighten them away, and bewilder their minds!

7. With the drum and the skin of the antelope all the gods, that sway the battle, have scared away the enemies.

8. At the noise of the beat of the feet when Indra disports himself, and at his shadow, our enemies yonder, that come in successive ranks, shall tremble!

9. The whirring of the bowstring and the drums shall shout at the directions where the conquered armies of the enemies go in successive ranks !

10. O sun, take away their sight; O rays, run after them; clinging to their feet, fasten your- selves upon them, when the strength of their arms | is gone!

11. Ye strong Maruts, Pv7sni’s children, with Indra.

V. CHARMS PERTAINING TO ROYALTY. I 33

as an ally, crush ye the enemies; Soma the king (shall crush them), Varuza the king, Mahadeva, and also Mrztyu (death), and Indra!

12. These wise armies of the gods, having the sun as their ensign, shall conquer our enemies!

Hail!

VI.

CHARMS TO SECURE HARMONY, INFLUENCE IN THE ASSEMBLY, AND THE LIKE (SAMMANASYANI, ETC,).

III, 30. Charm to secure harmony.

1. Unity of heart, and unity of mind, freedom from hatred, do I procure for you. Do ye take delight in one another, as a cow in her (new-) born calf!

2. The son shall be devoted to his father, be of the same mind with his mother; the wife shall speak honied, sweet, words to her husband!

3. The brother shall not hate the brother, and the sister not the-sister! Harmonious, devoted to the same purpose, speak ye words in kindly spirit!

4. That charm which causes the gods not to dis- agree, and not to hate one another, that do we prepare in your house, as a means of agreement for your folk. |

5. Following your leader, of (the same) mind, do ye not hold yourselves apart! Do ye come here, co-operating, going along the same wagon-pole, speaking agreeably to one another! I render you of the same aim, of the same mind.

6. Identical shall be your drink, in common shall be your share of food! I yoke you together in the same traces; do ye worship Agni, joining together, as spokes around about the hub!

7. I render you of the same aim, of the same

' VI. CHARMS TO SECURE HARMONY, ETC. 135

mind, all paying deference to one (person) through my harmonising charm. Like the gods that are guarding the ambrosia, may he (the leader) be well- disposed towards you, night and day!

CHARMS TO SECURE HARMONY, ETC. 135

mind, all paying deference to one (person) through my harmonising charm. Like the gods that are guarding the ambrosia, may he (the leader) be well- disposed towards you, night and day!

VI, 73. Charm to allay discord.

1. Hither shall come Varuza, Soma, Agni; Brz- haspati with the Vasus shall come hither! Come together, O ye kinsmen all, of one mind, to the glory of this mighty guardian!

2. The fire that is within your souls, the scheme that hath entered your minds, doI frustrate with my oblation, with my ghee: delight in me shall ye take, — O kinsmen!

3. Remain right here, go not away from us; (the roads) at a distance Pishan shall make impassable for you! V4stoshpati shall urgently call you back : delight in me shall ye take, O kinsmen!

VI, 74. Charm to allay discord.

1. May your bodies be united, may your minds and your purposes (be united)! Brahmavzaspati here has brought you together, Bhaga has brought you together.

2. Harmony of mind (I procure) for you, and also harmony of heart. Moreover with the aid of Bhaga’s exertions do | cause you to agree.

3. As the Adityas are united with the Vasus, as the fierce (Rudras), free from grudge, with the Maruts, thus, O three-named (Agni), without grudge, do thou render these people here of the same mind!

136 HYMNS OF THE ATHARVA-VEDA.

VII, 52. Charm against strife and bloodshed.

1. May we be in harmony with our kinfolk, in harmony with strangers; do ye, O Asvins, establish here agreement among us!

2. May we agree in mind and thought, may we not struggle with one another, in a spirit displeasing to the gods! May not the din of frequent battle-

carnage arise, may the arrow not fly when the day of Indra has arrived!

VI, 64. Charm to allay discord.

1. Do ye agree, unite yourselves, may your minds be in harmony, just as the gods of old in harmony sat down to their share!

2. Same be their counsel, same their assembly, same their aim, in common their thought! The ‘same’ oblation do I sacrifice for you: do ye enter upon the same plan!

3. Same be your intention, same your hearts! Same be your mind, so that it may be perfectly in common to you!

VI, 42. Charm to appease anger.

1. As the bowstring from the bow, thus do I take off thy anger from thy heart, so that, having become of the same mind, we shall associate like friends!

2. Like friends we shall associate—I take off thy anger. Under a stone that is heavy do we cast thy anger.

3. I step upon thy anger with my heel and my fore-foot, so that, bereft of will, thou shalt not speak, shalt come up to my wish!

VI. CHARMS TO SECURE HARMONY, ETC. 137

VI, 43. Charm to appease anger.

1. This darbha-grass removes the anger of both kinsman and of stranger. And this remover of wrath, ‘appeaser of wrath’ it is called.

Charm to appease anger.

1. This darbha-grass removes the anger of both kinsman and of stranger. And this remover of wrath, ‘appeaser of wrath’ it is called.

2. This darbha-grass of many roots, that reaches down into the ocean, having risen from the earth, ‘appeaser of wrath’ it is called.

3. Away we take the offensiveness that is in thy jaw, away (the offensiveness) in thy mouth, so that, bereft of will, thou shalt not speak, shalt come up to my wish!

II, 27. Charm against opponents in debate, undertaken with the pa/a-plant.

1. May the enemy not win the debate! Thou art mighty and overpowering. Overcome the debate of those that debate against us, render them devoid of force, O plant!

2. An eagle found thee out, a boar dug thee out with his snout. Overcome the debate of those that debate against us, render them devoid of force, O plant!

3. Indra placed thee upon his arm in order to overthrow the Asuras. Overcome the debate of those that debate against us, render them devoid of force, O plant!

4. Indra did eat the pa/4-plant, in order to over- throw the Asuras. Overcome the debate of those that debate against us, render them devoid of force, O plant!

5. By means of thee I shall conquer the enemy,

138 HYMNS OF THE ATHARVA-VEDA.

as Indra (conquered) the Salavvzkas. Overcome the debate of those that debate against us, render them devoid of force, O plant!

6. O Rudra, whose remedy is the urine, with black crest of hair, performer of (strong) deeds— overcome thou the debate of those that debate against us, render them devoid of force, O plant!

7. Overcome thou the debate of him that is hostile to us, O Indra! Encourage us with thy might! Render me superior in debate!

VII, 12. Charm to procure influence in the assembly..

1. May assembly and meeting, the two daughters of Pragapati, concurrently aid me! May he with whom I shall meet co-operate with me; may I, O ye Fathers, speak agreeably to those assembled !

2. We know thy name, O assembly: ‘mirth, verily, is thy name; may all those that sit assem- bled in thee utter speech in harmony with me!

3. Of them that are sitting together I take to myself the power and the understanding: in this entire gathering render, O Indra, me successful !

4. If your mind has wandered to a distance, or has been enchained here or there, then do we turn it hither: may your mind take delight in me!

VI, 94. Charm to bring about submission to one’s will.

1. Your minds, your purposes, your plans, do we cause to bend. Ye persons yonder, that are devoted to other purposes, we cause you to comply!

2. With my mind do I seize your minds: do ye

VI. CHARMS TO SECURE HARMONY, ETC. 139

with your thoughts follow my thought! I place your hearts in my control: come ye, directing your way after my course!

3. I have called upon heaven and earth, I have called upon the goddess Sarasvati, I have called upon both Indra and ge may we succeed in this, O Sarasvatt!

139

with your thoughts follow my thought! I place your hearts in my control: come ye, directing your way after my course!

3. I have called upon heaven and earth, I have called upon the goddess Sarasvati, I have called upon both Indra and ge may we succeed in this, O Sarasvatt!

VII.

CHARMS TO SECURE PROSPERITY IN HOUSE, FIELD, CATTLE, BUSINESS, GAMBLING, AND KINDRED MATTERS.

III, 12. Prayer at the building of a house.

1. Right here do I erect a firm house: may it stand upon a (good) foundation, dripping with ghee! Thee may we inhabit, O house, with heroes all, with strong heroes, with uninjured heroes!

2. Right here, do thou, O house, stand firmly, full of horses, full of cattle, full of abundance! Full of sap, full of ghee, full of milk, elevate thyself unto oreat happiness!

3. A supporter art thou, O house, with broad roof, containing purified grain! To thee may the calf come, to thee the child, to thee the milch-cows, when they return in the evening !

4. May Savitar, Vayu, Indra, Brzhaspati cunningly erect this house! May the Maruts sprinkle it with moisture and with ghee; may king Bhaga let our ploughing take root!

5. O mistress of dwelling, as a sheltering and kindly goddess thou wast erected by the gods in the beginning; clothed in grass, be thou kindly dis- posed; give us, moreover, wealth along with heroes!

6. Do thou, O cross-beam, according to regulation ascend the post, do thou, mightily ruling, hold off the enemies! May they that approach thee rever-

VII. CHARMS TO SECURE PROSPERITY. 141

ently, O house, not suffer injury, may we with all our heroes live a hundred autumns!

7. Hither to this (house) hath come the tender child, hither the calf along with (the other) domestic animals; hither the vessel (full) of liquor, together with bowls of sour milk!

8. Carry forth, O woman, this full jar, a stream of ghee mixed with ambrosia! Do thou these drinkers supply with ambrosia; the sacrifice and the gifts (to the Brahmans) shall it (the house) protect !

9g. These waters, free from disease, destructive of disease, do I carry forth. The chambers do I enter in upon together with the immortal Agni (fire).

VI, 142. Blessing during the sowing of seed.

1. Raise thyself up, grow thick by thy own might, O grain! Burst every vessel! The lightning in the heavens shall not destroy thee!

2. When we invoke thee, god grain, and thou dost listen, then do thou raise thyself up like the sky, be inexhaustible as the sea! |

3. Inexhaustible shall be those that attend to thee, inexhaustible thy heaps! They who give thee as a present shall be inexhaustible, they who eat thee shall be inexhaustible !

VI, 79. Charm for procuring increase of grain.

1. May this bounteous Nabhasaspati (the lord of the cloud) preserve for us (possessions) without measure in our house!

2. Do thou, O Nabhasaspati, keep strengthening

1. May this bounteous Nabhasaspati (the lord of the cloud) preserve for us (possessions) without measure in our house!

2. Do thou, O Nabhasaspati, keep strengthening

I42 HYMNS OF THE ATHARVA-VEDA.

food in our house, may prosperity and goods come hither ! 3

3. O bounteous god, thou dost command thou- sandfold prosperity: of that do thou bestow upon us, of that do thou give us, in that may we share with thee!

VI, 50. Exorcism of vermin infesting grain in the field.

1. Slay ye the tarda (‘borer’), the samanka (‘hook’), and the mole, O Asvins; cut off their heads, and crush their ribs! Shut their mouths, that they shall not eat the barley; free ye, moreover, the grain from danger !

2. Ho tarda (‘borer’), ho locust, ho gabhya (‘snapper’), upakvasa! As a Brahman (eats not) an uncompleted sacrifice, do ye, not eating this barley, without working injury, get out!

3. O husband of the tarda (-female), O husband of the vagha (-female), ye of the sharp teeth, listen to me! The vyadvaras (‘rodents’) of the forest, and whatever other vyadvaras (there are), all these we do crush.

VII, 11. Charm to protect grain from lightning.

With thy broad thunder, with the beacon, elevated by the gods that pervade this all, with the lightning do thou not destroy our grain, O god; nor do thou destroy it with the rays of the sun!

II, 26. Charm for the prosperity of cattle.

1. Hither shall come the cattle which have strayed to a distance, whose companionship Vayu

VII. CHARMS TO SECURE PROSPERITY. 143

(the wind) enjoys! (The cattle) whose structure of form Tvashzar knows, Savitar shall hold in place in this stable! |

2. To this stable the cattle shall flow together, Brzhaspati skilfully shall conduct them hither! Sinivali shall conduct hither their van: do thou, O Anumati, hold them in place after they have arrived !

3. May the cattle, may the horses, and may the domestics flow together; may the increase of the grain flow together! I sacrifice with an oblation that causeth to flow together!

4. I pour together the milk of the cows, I pour | together strength and sap with the ghee. Poured together shall be our heroes, constant shall be the cows with me the owner of the cows!

5. | bring hither the milk of the cows, I have brought hither the sap of the grain. Brought hither are our heroes, brought hither to this house are our wives!

III, 14. Charm for the prosperity of cattle.

1. With a firmly founded stable, with wealth, with well-being, with the name of that which is born on a lucky day do we unite you (O cattle) !

2. May Aryaman unite you, may Pishan, Bvz- haspati, and Indra, the conqueror of booty, unite you! Do ye prosper my possessions!

3. Flocking together without fear, making ordure in this stable, holding honey fit for soma, free from disease, ye shall come hither !

4. Right here come, ye cows, and prosper here like the saka-bird! And right here do ye beget (your young)! May ye be in accord with me!

144 HYMNS OF THE ATHARVA-VEDA.

5. May your stable be auspicious to you, prosper ye like the sari-birds and parrots! And right here do ye beget (your young)! With us do we unite you.

6. Attach yourselves, O cows, to me as your pos- sessor; may this stable here cause you to prosper! Upon you, growing numerous, and living, may we, increasing in wealth, alive, attend !

VI, 59. Prayer to the plant arundhati for pro- tection to cattle.

1. Thy foremost protection, O Arundhati, do thou bestow upon steer and milch-kine, upon (cattle of) the age when weaned from their mother, upon (all) four-footed creatures !

2. May Arundhati, the herb, bestow protection along with the gods, render full of sap the stable, free from disease our men!

3. [he variegated, lovely, life-giving (plant) do I invoke. May she carry away for us, far from the cattle, the missile hurled by Rudra!

VI, 70. Charm to secure the attachment of a cow to her calf.

1. As meat, and liquor, and dice (abound) at the gambling-place, as the heart of the lusty male hankers after the woman, thus shall thy heart, O cow, hanker after the calf!

2. As the elephant directs his steps after the steps of the female, as the heart of the lusty male hankers after the woman, thus shall thy heart, O cow, hanker after the calf!

3. As the felloe, and as the spokes, and as the

VII. CHARMS TO SECURE PROSPERITY. 145

nave (of the wheel is joined) to the felloe, as the heart of the lusty male hankers after the woman, thus shall thy heart, O cow, hanker after the calf!

III, 28. Formula in expiation of the birth of twin-calves.

1. Through one creation at a time this (cow) was born, when the fashioners of the beings did create the cows of many colours. (Therefore), when a cow doth beget twins portentously, growling and cross she injureth the cattle.

2. This (cow) doth injure our cattle: a flesh-eater, devourer, she hath become. Hence to a Brahman he shall give her; in this way she may be kindly and auspicious!

3. Auspicious be to (our) men, auspicious to (our) cows and horses, auspicious to this entire field, auspicious be to us right here!

4. Here be prosperity, here be sap! Be thou here one that especially gives a_ thousandfold! Make the cattle prosper, thou mother of twins!

5. Where our pious friends live joyously, having left behind the ailments of their bodies, to that world the mother of twins did attain: may she not injure our men and our cattle!

6. Where is the world of our pious friends, where the world of them that sacrifice with the agnihotra, to that world the mother of twins did attain: may she not injure our men and our cattle!

V1, 92. Charm to endow a horse with swiftness.

1, Swift as the wind be thou, O steed, when joined (to the chariot); at Indra’s urging go, fleet as [42] L

V1, 92. Charm to endow a horse with swiftness.

1, Swift as the wind be thou, O steed, when joined (to the chariot); at Indra’s urging go, fleet as [42] L

146 HYMNS OF THE ATHARVA-VEDA.

the mind! The Maruts, the all-possessing, shall har- ness thee, TvashZar shall put fleetness into thy feet!

2. With the fleetness, O runner, that has been deposited in thee in a secret place, (with the fleetness) that has been made over to the eagle, the wind, and moves in them, with that, O steed, strong with strength, do thou win the race, reaching the goal in the contest !

3. Thy body, O steed, leading (our) body, shall run, a pleasure to ourselves, delight to thyself! A god, not stumbling, for the support of the great, he shall, as if upon the heaven, found his own light!

III, 13. Charm for conducting a river into a new channel.

1. Because of yore, when the (cloud-) serpent was slain (by Indra), ye did rush forth and shout (ana- data), therefore is your name ‘shouters’ (nadyah ‘rivers’): that is your designation, ye streams!

2. Because, when sent forth by Varuza, ye then quickly did bubble up; then Indra met (Apnot) you, as ye went, therefore anon are ye ‘meeters’ (Apad ‘waters ’)!

3. When reluctantly ye flowed, Indra, forsooth, did with might choose (avivarata) you as his own, ye goddesses! Therefore ‘choice’ (var ‘ water’) has been given you as your name!

4. One god stood upon you, as ye flowed accord- ing to will. Up breathed (ud AnishuZ) they who are known as ‘the great’ (mahiZ). Therefore ‘up- breather’ (udakam ‘ water’) are they called!

5. The waters are kindly, the waters in truth were ghee. These waters, truly, do support Agni and

VI¥. CtHARMS TO SECURE PROSPERITY. 147

Soma. May the readily flowing, strong sap of the honey-dripping (waters) come to me, together with life's breath and lustre!

6. Then do I see them and also do I hear them ; their sound, their voice doth come to me.: When, ye golden-coloured, I have refreshed myself with you, then I ween, ambrosia (amvzta) am I tasting!

7. Here, ye waters, is your heart, here is your calf, ye righteous ones! Come ye, mighty ones, by this way here, by which I am conducting you here!

VI, 106. Charm to ward off danger from fire.

1. Where thou comest, (O fire), and where thou goest away, the blooming dirva-plant shall grow: a well-spring there shall rise up, or a lotus-laden pool!

2. Here (shall be) the gathering place of the waters, here the dwelling-place of the sea! In the midst of a pond our house shall be: turn, (O fire), away thy jaws!

3. With a covering of coolness do we envelop thee, O house; cool as a pond be thou for us! Agni shall furnish the remedy !

IV, 3. Shepherd’s charm against wild beasts and robbers.

1. Three have gone away from here, the tiger, man, and wolf. Out of sight, forsooth, go the rivers, out of sight (grows) the divine tree (the banyan-tree ?) : out of sight the enemies shall retreat !

Agni shall furnish the remedy !

IV, 3. Shepherd’s charm against wild beasts and robbers.

1. Three have gone away from here, the tiger, man, and wolf. Out of sight, forsooth, go the rivers, out of sight (grows) the divine tree (the banyan-tree ?) : out of sight the enemies shall retreat !

2. The wolf shall tread a distant path, and the robber one still more distant! On a distant path shall move the biting rope (the serpent), on a distant path the plotter of evil!

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148 HYMNS OF THE ATHARVA-VEDA.

3. Thy eyes and thy jaw we crush, O tiger, and also all thy twenty claws.

4. We crush the tiger, ‘the foremost of animals, armed with teeth. Next, too, the thief, and then the serpent, the wizard, and also the wolf.

5. The thief that approacheth to-day, crushed to pieces he goeth away. Where the paths are preci- pitate he shall go, Indra shall slay him with his bolt !

6. The teeth of the wild beast are dulled, and broken are his ribs. Out of thy sight the dragon shall go, down shall tumble the hare-hunting beast!

7. The (jaw, O beast,) that thou shuttest together, thou shalt not open up; that which thou openest up, thou shalt not shut together !—Born of Indra, born of Soma, thou, (my charm), art Atharvan’s crusher of tigers.

III, 15. A merchant’s prayer.

1. Indra, the merchant, do I summon: may he come to us, may he be our van; driving away the demon of grudge, the waylayers, and wild beasts, may he, the possessor, bestow wealth upon me!

2. May the many paths, the roads of the gods, which come together between heaven and earth, gladden me with milk and ghee, so that I may gather in wealth from my purchases!

3. Desirous do I, O Agni, with firewood and ghee offer oblations (to thee), for success and strength; according to ability praising (thee) with my prayer, do I sing this divine song, that I may gain a hundredfold !

4. (Pardon, O Agni, this sin of ours [incurred

Vil} “GHaARMS TO SECURE* PROSPERITY. 149

upon] the far road which we have travelled!) May our purchases and our sales be successful for us; may what I get in barter render me a gainer! May ye two (Indra and Agni) in accord take pleasure in this oblation! May our transactions and the accru- ing gain be auspicious to us !

5. The wealth with which I go to purchase, de- siring, ye gods, to gain wealth through wealth, may that grow more, not less! Drive away, O Agni, in return for the oblation, the gods who shut off gain!

6. The wealth with which I go to purchase, de- siring, ye gods, to gain wealth through wealth, may Indra, Pragapati, Savitar, Soma, Agni, place lustre into it for me!

7. We praise with reverence thee, O priest (Agni) Vaisvanara. Do thou over our children, selves, cattle, and life’s breath watch !

8. Daily, never failing, shall we bring (oblations to thee), O Gatavedas, (as if fodder) to a horse stand- ing (in the stable). In growth of wealth and nutri- ment rejoicing, may we, O Agni, thy neighbours, not take harm!

Do thou over our children, selves, cattle, and life’s breath watch !

1V, 38. Kaus. maufga-prasna; Déarila, prasna ushztsham; + Kesava, mau7iga-incuka (cf. izdva in the Pet. Lex., and especially in Kaus. 26, 30).

° Kaus. pfilyani; Kes. lagén. Symbolic scattering of the fever.

* Kesava here is the least obscure of the commentators, vy4- dhitam agre kritva.

* The text of the Sftra is very obscure. One MS. of the text: reads Avraganam; the rest, 4vragatam. Dérila has 4vragam twice (see notes 7 and 10 on p. 71 of the edition); this may be for the participle vragan, and has served as the basis of the translation.

Toot 2... +-COMMENTARY, 249

details, is clearly a symbolic act of drawing the disease out of the head, and depositing it where it is supposed to have come from; cf. the introduction to VI, 26. One is tempted, at first sight, to accuse the medicine man of the banalité of employing muzga-grass simply because it puns with mu*#&a, ‘release, and this would be no more than Atharvanesque. Possibly, however, there is a little more contained in the practice. In Sat. Br. VI, 3, 1, 26 we have the following legend: ‘ Agni went away from the gods, he entered the mu#ga-grass. Therefore that is hollow, and for that very reason it is as it were disfigured by smoke. The mu”ga is the womb here of Agni.’ In that case we have here the usual attractio similium. The muzga is employed in drawing off the effect of lightning, because — it is the natural home of fire (lightning). Cf. also Sat. Br. Way O, 3, 2%.

Uncanny is the rite which the Kausika prescribes in connection with the hymn at 38, 1-7. It is directed against stormy weather, durdina, the relation of which to lightning, of itself obvious, is stated explicitly in the Harivaszsa 9609, tumulaw durdinam kas sid vidyutstanayitnumat, ‘and there arose a crashing storm accompanied by lightning and thunder.’ The passage of the Siitra may be translated as follows: 1. ‘When one goes against a storm he faces it! while reciting AV. I, 12. 2. Stanza by stanza (he faces the storm hurling) jets of water? (against it). 3. (And he faces it) with a sword, a firebrand, and a club*. 4. (And he faces it) naked while wiping his forehead. 5. Into a coal-pan which he has removed outside (of the house) he makes an oblation of (the leaves of) the horse-radish

’ Kesava. durdinam abhimukham upatish//ate.

* udavagraid: the Brahmamas have innumerable times the ex- pression vagro va apah, e.g. Sat. Br. VII, 2, 1, 17.

* kishkuru (with variants) is unknown elsewhere, but Kesava in glossing it with laku/a=laguda is clearly well-informed. The word is doubtless identical with kishku, which the scholiast at Pa#é. Br. VI, 5, 12 glosses with danda,

250 HYMNS OF THE ATdAARVA-VEDA.

Sat. Br. VII, 2, 1, 17.

250 HYMNS OF THE ATdAARVA-VEDA.

tree! and pebbles. 6. He puts on (fagots of) the kera? and arka (calotropis gigantea) plants. 7. Beaten by the rain, with dishevelled hair *, going thrice around a pit he quickly buries into it the arka-wood.’ The symbolism of this performance is not altogether transparent; the use of the arka is doubtless founded upon a double entente: arka is ‘flash of lightning, and its cessation is coaxed by burying the arka-wood in the pit.

Stanza L

a. For garayu-ga, ‘ born of the (cloud-)womb, cf. abhra-ga in st. 3, and such expressions as vidyin meghasakha, ‘the lightning whose companion is the cloud,’ in the Suparza- khyana 3, 2. The more literal meaning of the word is ‘placenta-born,’ an idea thoroughly Indic. Cf. Sat. Br. VI, 5, 3, 5, trivrzd dhi pragatizZ pita mata putro=tho garbha ulbam garayu. Cf. also VI, 6, 1,24. Professor Kern some years ago was good enough to impart to me his own some- what different view: ‘As to gardyuga-, I think that is what the Norse skalds called a kenning, an oratorical peri- phrasis of vatsa, and this is a veiled expression for light- ning ; cf. apdm vatsa as denoting the fire of lightning, and the srivatsa, the lightning figure on the breast of Vishmu.’ (Letter of May 10, 1887.)—For the epithet vvéshan as applied to lightning see now my article on sishma, Con- tributions, Sixth Series, Zeitschrift der Deutschen Mor- genlandischen Gesellschaft, XLVIII, 565 ff. The entire passage has a good parallel in RV. IX, 74, 3, tse yd vrishéér ita usriyo vv/shad apém netd ya itadtir 77gmiyah, where Soma is obviously compared with lightning.

b. The edition reads vatabhragA(Z), but the text is not absolutely certain, as SAyaza comments upon vatavragah *.

’ Darila, sigrupatrazi.

* Darila, keraparnisti ya surash/re pumdarikesti; Kesava, pa/er- akasamidhaf.

* pratilomakarshitas is explained in the light of keseshu karshita in the Mrzkkhakafika 16, 25.

* Sayama refers the entire stanza to Aditya, ‘the sun.’

I, 12. COMMENTARY. 25I

Both readings are worthless; I have substituted in my article on the Seven Hymns, vata-abhra-gaéz. It is refreshing to see for once an emendation rendered abso- lutely certain by a later discovery. The entire Pada presents the stereotyped four component parts of a storm, vata, abhra, stanayitnu, and vvish/i; in this way they are catalogued in a variety of Vedic texts; see the article on sushma just quoted, I|.c., pp. 569-70.

ce. Read tanvargug6é with crasis of sandhi-hiatus. The juxtaposition of r7gugo and rugan is of the punning order.

569-70.

ce. Read tanvargug6é with crasis of sandhi-hiatus. The juxtaposition of r7gugo and rugan is of the punning order.

d. Read trayadha1.—Cf. the statements about Vishzu, who himself single passes through three regions, e.g. RV. VIII, 29, 7, trizy éka urugdyé vi kakrame. Resting upon this parallelism I have taken ékam dgas as in apposition | with the subject of the clause.

Stanza 2.

a. sokis, the salient symptom of fever, AY. I, 25, 2, 4; Mw, ates VI, 20, 3:

e. I have translated anka as ‘crodk’* and samanka synonymically as ‘hook.’ Both translations are purely tentative ; anka may mean ‘ hook,’ and at present any ren- dering of samanka is an enfant perdu. The word occurs once more in the Atharvan, VI, 50, 1, apparently as the name of some pestiferous insect, or animal which destroys grain. I do not know how to mediate between the two uses of the word. Sdyawva, ankan a#kanasilan siryasya anugaran samankan samazkanasilan samipe vartamanan antarangan api parivarabhitan devan.

d. The text of the Samhita reads asyd, the Padapafha, asya. If the latter is correct in its interpretation, this is the only instance in the Rig and Atharvan-vedas of asya as a masculine. Looked at purely by itself asy4 grabhita may stand for asya(/) grabhité, and this opens out the

' Cf. my article, On certain irregular Vedic subjunctives or imperatives, Amer. Journ. Phil. V, p. 27 (12 of the reprint).

252 HYMNS OF THE ATIIARVA-VEDA.

_— aad

possibility that the stanza stood originally in some other connection where a feminine was appropriate.

Stanza 3.

The stanza, in accordance with its context, is employed in Kaus. 27, 34, along with the so-called mr7gara-siktani, in a more general remedial charm, designated by Darila as a sarvabhaishagyam.

a. sirshakt{, probably for sirshasakti with haplology ; see Proceedings of the American Oriental Society, 1893 (Journal, vol. xvi), p. xxxv. The poet puns upon the word in Pada d with sakatam, although sakti is more likely to come from sav#g, rather than sa&.

b. The masculine yé is difficult. I have referred it to the lightning (usriyo vv/sh4, or sishmak), which involves a considerable ellipsis, indicated by the parenthesis in the translation. But it seems to me possible to refer yo to kasa(#) in Pada a, and to translate more simply, ‘ Release him from headache, and also from cough, which has entered every joint of him.’ Namely kas, feminine, jostles with its thematic pendant kasd, masculine, in AV. V, 22, 10 and 11 (kasd, instrumental feminine in 10; but kdsdm, accusa- tive masculine in 11). It requires no violent stretch of the grammatical imagination to suppose that the poet uncon- sciously has shifted his position from the feminine in Pada a to its masculine doublet kds4 in Pada b. The masculine form prevails in the classical period.

ce. For sishmo, see the article on the word, cited above, where several close parallels to this passage are assembled.

I, 14. COMMENTARY TO PAGE I07.

The masculine form prevails in the classical period.

ce. For sishmo, see the article on the word, cited above, where several close parallels to this passage are assembled.

I, 14. COMMENTARY TO PAGE I07.

The history of the interpretation of this hymn is of interest. Weber, Ind. Stud. IV, 408 (cf. also V, 218); Ludwig, Der Rigveda, III, 459; and Zimmer, Altin- disches Leben, p. 314, translated and interpreted the hymn as a marriage-hymn. Zimmer thought that the stanzas were spoken at the end of the ceremony, as the bridegroom

I, 14. COMMENTARY. 253

assumed charge of the bride. The present writer, following the indications of the practices connected with the hymn in the Kausika (36, 15-17), thought that it was a charm of a woman against a rival, and dealt with the hymn and the ritual in this sense in an article devoted to the subject in Seven Hymns of the Atharva-veda, Amer. Journ. Phil. VII, pp. 473-6. It is of interest to find now that Sayana construes the hymn in the very same spirit.

The proceedings in the Kaus. are somewhat as follows : 36, 15. ‘ While reciting AV. I, 14, the wreath, pillow (?), tooth-brush, and hair (of the woman against whom the charm is undertaken are placed) into the skin of a cow slain by Rudra, or of a funeral cow, and buried in the cavity of a mortar under a pile of three stones'. 16. The hymn | is recited while the wreath is being ground up. 17. Three tufts of hair are tied (each) with a black thread (and buried under) a pile of three stones, the stones each alternately above (each tuft).’ Then follows in Sitra 18 a subsidiary rite for digging the ‘fortune’ up again (Kesava), saubhagya- karazam : ‘ Then one digs her fortune up with the formula, “That fortune of thine which they have buried into a pile of three stones, or four stones, that we now dig up, along with offspring and wealth.”’

Throughout the hymn and the ritual the spirit of fierce hatred manifests itself in allusions to the burial rites. Thus in the ritual the anustaramt; in stanzas 1, 3, the word pitréshu, translated above ‘ with her relatives, may also mean (with

* The Sfitra bristles with difficulties; nishpramanda has been translated by ‘pillow,’ because Sayama says, tadupabhuktamAlya- kandukadantadhavanakesanam. .. (ni)khananadikarmazi. But the word nishpramanda is none too certain; some MSS. and Kesava read nipramanda, and Déarila’s comment on the word is unintel- ligible (kridAyavargagenduka’; cf. pramanda=indukaf, Kaus. 8, 17; 25, 11; 32, 29, and Kausika, Introduction, p. lii). I trans- late kosa by ‘skin,’ because Kesava says, isanahata tasyah karmana «xvesh/ya (the passage is not extracted in the edition). But cf. the word anta#kos4m in st. 4c. Both Darila and Kesava explain isanahatd, ‘slain by Rudra,’ as=gvarahata, ‘killed by fever.’

254 HYMNS OF THE ATHARVA-VEDA.

I trans- late kosa by ‘skin,’ because Kesava says, isanahata tasyah karmana «xvesh/ya (the passage is not extracted in the edition). But cf. the word anta#kos4m in st. 4c. Both Darila and Kesava explain isanahatd, ‘slain by Rudra,’ as=gvarahata, ‘killed by fever.’

254 HYMNS OF THE ATHARVA-VEDA.

double entente) ‘among the Fathers or manes.’ The first hemistich of the third stanza, considered by itself, might be readily interpreted as being uttered at the funeral of a maiden; indeed, it seems possible that material of this sort has been worked over for the occasion. The secondary employment of stanzas, composed primarily for the burial service, is possibly to be assumed for stanzas 2-4 of RV. VII, 55 (see Aufrecht, Ind. Stud. IV, 342), and for AV. IT, 12, 7-8 (q.v.). The Anukramazi makes the following curious statement in regard to our hymn: namas te astu (I, 13), bhagam asya (I, 14), iti sikte vaidyute dve anush¢ubhe, prathamam vaidyutam param varuxam vosta yamyam va, prathamena vidyutam astaud, dvitiyena tadarthasz yamam. There seems to be no reason for associating these hymns, nor for regarding I, 14 as having any relation to lightning’.

Stanza 1.

Padas a and ec, apparently each hypermetric, may be restored by reading, with elision and crasis, bhagasya, and mahdbudhneva.

d. pitvdshu, ‘ with her relatives, as stated more explicitly in st. 2. So also Sayawza. Cf. the words pitrzshad and amagur in the lexicons. But there seems to be intended, too, an allusion to the manes, i.e. to death; cf. the intro-

duction. Stanza 2.

a, b. Sdyaza, here and in the next stanza, refers ragan to Soma, supporting his hypothesis by a reference to RV. X, 85, 40, where Soma is said to have been the first to woo the maiden, being followed by Gandharva, Agni, and man. Cf. also Vas. Dharm. XXVIII, 5.

ec, d. It depends upon circumstances whether the girl lives with her (widowed) mother, or her father, or, after the decease of her parents, with her brother ; cf. for the latter contingency, AV. I, 17, 1.

* Unless the word fsAnahata, Kaus. 36, 15, has misled the author of that very late and bungling performance.

I, 14. COMMENTARY. 255

Stanza 3.

a. Sayavza comments upon kulapa instead of kulap4(Z) of the Samhita and Padapa‘ha.

for the latter contingency, AV. I, 17, 1.

* Unless the word fsAnahata, Kaus. 36, 15, has misled the author of that very late and bungling performance.

I, 14. COMMENTARY. 255

Stanza 3.

a. Sayavza comments upon kulapa instead of kulap4(Z) of the Samhita and Padapa‘ha.

d. The MSS. unanimously have this Pada in the form 4 sirshvahk samopyat (Padap., sam opyat). Sayava emends to samopyat, commenting, sirasak samvapanat bhimau sampa- tanat, ‘until her head sinks to the ground.’ This coin- cides with the reading of the Paippalada, and is accepted by Shankar Pandit and Whitney; see Festgruss an Rudolf von Roth, p. yo. For the interchange between s and s, see our article in the Proc. Amer. Or. Soc., May, 1886 (Journal, vol. xiii, p. cxx). The text in this form might mean ‘until | she scatters from her head, i.e. ‘ until she becomes bald.’ Even after the authority of the Paippalada I venture to repeat, very hesitatingly, my suggestion (Amer. Journ. Phil. VII, p. 476), that 4 sirshzak késam épyat may have been the original text of the Saunakiya-sakha. ‘Let her scatter her hair from her head, or ‘let her scatter the hair of her head,’ either by growing bald, or as a sign of mourning (cf. Contributions, Second Series, Amer. Journ. Phil. XI, pp. 336 ff.). Opya as a noun is very strange, and sam+a+ upyat (precative) would seem to require an expressed object in the accusative. We are reminded, too, of the expression késan pra vapanti, ‘they let down their hair, AV. XIX, 32, 2,as a sign of mourning.

Stanza 4.

a,b. The juxtaposition of Kasyapa and Gaya reminds one of Kasyapa of Gaya, who plays a conspicuous part in the Buddha legend. Asita is another worthy in the same narrative. See the words in the Pet. Lex., and cf. our note on IV, 20, 7.

ce. gami, in the broader sense of the word in the later language, ‘female relatives of the householder.’ Sayazza, striyad ; cf. Nirukta III, 6.

256 HYMNS OF THE ATHARVA-VEDA.

EE ET Pn Lease as Pane Be PONE ET

I, 16. COMMENTARY TO PAGE 65.

The Kausika, 47, 23-4, presents this hymn in the sixth

ce. gami, in the broader sense of the word in the later language, ‘female relatives of the householder.’ Sayazza, striyad ; cf. Nirukta III, 6.

256 HYMNS OF THE ATHARVA-VEDA.

EE ET Pn Lease as Pane Be PONE ET

I, 16. COMMENTARY TO PAGE 65.

The Kausika, 47, 23-4, presents this hymn in the sixth

book, devoted to the witchcraft practices (Abhi#arikavi), as follows: 23. ‘While reciting AV. 1, 16 he who performs the practice collects ground lead, and puts it into the food (of his enemy), or upon the ornaments (upon his person). 24. With a staff, made from a decayed bamboo-reed, as long as an arm, and ornamented’, he strikes (the enemy).’ According to the Paribhasha-sitra, Kaus. 8, 18, the word ‘lead’ in these practices is to be construed very broadly, including both lead itself, ‘ river-lead ’ (i. e. according to the commentators, river-foam), iron-filings, and the head of a lizard. In Contributions, Third Series, Journ. Amer. Or. Soc. XV, pp. 157 ff, I have endeavoured to show that this class of practices is founded upon the famous legend of Indra and NamuAi, in which Indra slays Namuéi with the ‘foam of the waters. The other substances seem to be substituted for practical reasons, being more easily obtained and more readily handled. They may, of course, have been regarded as available for this purpose for other reasons, that escape us. * The hymn has been translated by Weber, Ind. Stud. IV, 409; Grill*?, pp. 1, 75. The Anukramazi describes the hymn as £atanam, ‘charm to chase away with, and accord- ingly it figures in the series called Aatanagawa in the Gazamala, Ath. Paris. 32, 3; see Kaus. 8, 25 note.

Stanza 1.

a. In Apastamba’s Dharmasitra I, 11, 31, 21 we have: ‘ During the day the sun protects the creatures, during the night the moon. Therefore let him eagerly strive to pro- tect himself on the night of the new-moon by purity, con-

* The term alamkrzta here seems to mean technically ‘anointed (with ghee) ;’ see Darila at Kaus. 48, 3, and cf. Kaus. 47, 40. 44

I, 17. COMMENTARY. 3: Stanza 4.

c,d. The passage contains an elliptic comparison, as indi- cated by the brackets in our translation. Without the ellipsis supplied there is no good sense: Weber, ‘ mich allein drum du lieben magst wie einen honigsiissen zweig ; ’ Grill, ‘so sei denn ich das liebste dir, gleich einem honig- siissen zweig. But what human being regards a branch sweet as honey as the most precious possession ?

Stanza 5.

a. The clinging sugar-cane is used here metaphorically for sweetness and attractiveness; no practice of this cha- racter is indicated anywhere.

c,d. The passage is a formula; see II, 30,1; VI, 8, 1-3.

II, 3. COMMENTARY TO PAGE 9. 3 9

The hymn is joined with I, 2 at Kaus. 25, 6-9, in a charm against excessive discharges from the body; see the treatment at I,2. The particular part of Kausika’s prac- tices, which is based on our hymn, is contained in Sitra

II, 3. COMMENTARY TO PAGE 9. 3 9

’ A different interpretation is suggested by Bergaigne, La syntaxe des comparaisons védiques (Mélanges Renier, p. 89).

278 HYMNS OF THE ATHARVA-VEDA.

25, 7- It is founded upon the conception that ants are endowed with the faculty of producing water, and that, too, healing-water, wherever they appear, and consequently whenever they are applied as a remedy. Hence they are here given to the patient to be drunk in water. For fuller statements of this belief, see the introduction to VI, 100, and Seven Hymns of the Atharva-veda, Amer. Journ. Phil. VII, pp. 482-4.

The hymn has been translated by Weber, Ind. Stud. XIII, 138 ff. ; Ludwig, Der Rigveda, III, 507 ; Grill®, pp. 17, 79 ff. The Anukramazi designates it as bhaishagyayurdha- nvantaridaivatam.

Stanza 1.

b. The difficult word here is avatka. In the Paippalada XIX, 8, 2 (see Bohtlingk’s lexicon s.v.) occur the two hypermetric Padas, avatakam mama bheshagam avatakam parivadanam. Here the metre suggests emendation to avatka, but at the same time shows pretty clearly that the word is a derivative of avata, ‘spring.’ Sdyawa is very mis- leading. Having in mind the performances of the Siatra, he identifies avatka with muggasiraZ in Kaus. 25, 6, and the mountain mentioned in the stanza with the Muzgavat, to wit: atra parvatasabdena mu#gavan nama parvato viva- kshitak! . . . tasmat ada viprakrishtam yat prasiddham avatkam vyadhiparihareza rakshakam mufgasirak ava- dhavati avaruhya bhimau dhavati. This involves an im- possible rendering of avadhavati, and leaves out of sight the possibility that this hymn may have nothing to do with the muzga-reed, being concerned rather with the healing water, procured by the ants; see the introduction.

c,d. The passage as it stands in the text, and our trans- lation, can be sustained only on the supposition that the water is added to some other substance, not indicated in the stanza. Ludwig, feeling this difficulty, emends stibhe- shagam to subheshago, ‘so that you (the patient) may have a powerful remedy.’ A simpler emendation is to change

* Cf. the note on V, 22, 5.

Il, 3. COMMENTARY. 279

asasi to asati, ‘that do I make into a remedy for you, so that it may contain goodly remedy.’ But the next stanza, as it stands, seems also to point to a mixed remedy; hence I have adhered to the text. Sdyavza comments against sense and grammar.

Stanza 2.

Il, 3. COMMENTARY. 279

Stanza 2.

I have adhered to the unanimous reading of the MSS.; the Paippalada offers no help, 4d ariga skatayz(!) yad bhe- shagani te sahasram va gha yani te (cf. also VI, 44, 2). The sense of the passage, as it stands, seems to be that all the remedial substances which are combined with the avatka are, after all, inferior in healing capacity to the avatka itself. This is much as Sdyava construes it, tava sambandhini sagatiyani satam ... yani... bheshagdani tesham bheshagaénam madhye tvam uttamam utkréshZata- mam asi. Ludwig and Grill emend te to me ‘dann wird’s doch wohl geschehen, dass von meinen hundert Arzenei’n du selbst die allerbeste bist’ (Grill). I am not convinced that this is right.

a. 4d angd,‘then surely;’ kuvid angd, ‘ yea, quite surely ;’ the latter phrase is a rhetorical question (‘art thou) surely?’ Cf. Yaska’s Nigh. I, 3, and Nirukta IV, 15.

Stanza 3.

a. The Asuras, the demons, here either hide away the remedies by burying them deep in the ground (cf. VI, tog, 3), or they bury them for secure keeping, so that they may become available on occasion (cf. I, 24, 2). See in general the note on I, 24, I.

b. aru(/)srazam is emended well by Ludwig to aru(Z)- sra4nam, from root sra, ‘cook.’ The Dhatupazsa, 22, 22, has sra (srayati) pake, and Sayava also avails himself of this root in one explanation of the word, aru/ srayati pakvam bhavati anena ; and (under st. 5), arusho vravasya pazanam. That is ‘a remedy which causes the wound to ripen or heal. We seem to have here the very source for the root sra of the Dhatupaz/a. For the interchange of the sibilants, see Bloomfield and Spieker, Proc. Amer. Or.

280 HYMNS OF THE ATHARVA-VEDA.

Soc., May, 1886 (Journ., vol. xiii, pp. cxvii ff.). Possibly the word Asrav4 may have had something to do with the change of -srava to -sraza.

ad. Sayava reads asisamat for aninasat ; cf. st. 4.

Stanza 4.

For upagika/, ‘ants, see the introduction to VI, 100. Sayaza, valmikanishpadika vamryaz.

Stanza 6.

The stanza consists of 12+11+11 syllables; the last word rakshdsAm, obviously a gloss, is metrically super- fluous. For Pada c, cf. I, 19, 1.

II, 4. COMMENTARY TO PAGE 37.

st. 4.

Stanza 4.

For upagika/, ‘ants, see the introduction to VI, 100. Sayaza, valmikanishpadika vamryaz.

Stanza 6.

The stanza consists of 12+11+11 syllables; the last word rakshdsAm, obviously a gloss, is metrically super- fluous. For Pada c, cf. I, 19, 1.

II, 4. COMMENTARY TO PAGE 37.

The plant called gangida illustrates very perfectly the absence of any boundary line between disease and demon- _ ology in the Atharvan. On the one hand it is employed against a variety of diseases, fever (takman), internal sores (balasa), and other minor manifestations, or symptoms, designated as gambha, visara4 and visarika, A4sarika, and prishtyamaya (II, 4, 2; XIX, 34, 10), receiving therefore the epithet visvabheshaga, ‘all-healing, XIX, 35, 5; it is moreover the specific against rheumatic troubles, if vi- shkandha and samskandha (II, 4,1 ff.; XIX, 34,1.53; 35, 1) shall turn out ultimately to have this meaning (see the note on st. 1c). On the other hand it obviates all the dangers arising from hostile demons and sorceries, as is expressly stated in all the three hymns devoted to its praise (II, 4; XIX, 34 and 35). The plant is not mentioned outside of the Atharvan which, in lieu of description, indulges in the customary vague rhodomontades. The gods themselves have thrice produced the gangida, Indra has put strength into it, and (XIX, 34, 6) the seers of yore are said to have known it by the name of Angiras—a very pretty conceit, but for the fact that it harbours nothing more than a stolid pun (gangidas and dngirds). From the Kausika and its commentaries we learn at least one thing that it is a tree. In the Siitra, 8, 15, it occurs in a list of ‘holy’ (santaZ)

II, 4. COMMENTARY. 281

trees, as is expressly stated by Kesava, atha santavrzksha ufyante. Darila at 8,15; 42, 23 describes it as a white tree growing in the Dekkhan, argunaz akala iti dakshind- tyak; Kesava at 8, 15, and Sayaza at II, 4, 1 say that it is familiar in Benares, varavasyam prasiddhak. SAyama, in the introduction to our hymn, as also to AV. XIX, 34, has gangidavriksha, and in the commentary at XIX, 34, 1 he places the home of the tree in the north, uttaradese pra- siddhak, all of which would seem to show that the tree is known in many parts of India.

The following is the literature on the gangida: Groh- mann, Indische Studien, IX, 417 ff.; Weber, ib. XIII, 141; Zimmer, Altindisches Leben, p. 65.

The hymn II, 4 is employed, Kaus. 42, 23, in a practice which, according to Darila, is destined to drive away demons (pisa#asatana) ; according to Kesava—I state the text literally—it is, purushahave (cod. purusho have; cf. XIX, 34, 3) akaryakaravena vighnasamanakarma; and further, krztyadishawarthe (cod. krztva-) apyayati vigh- nasamanarakshakaramak vighna# viskandhe(!) ya (the latter passage is not printed in my extracts from that authority in the edition). The practice consists in tying on as an amulet the substance mentioned in the hymn: dir- ghayutvaye:ti mantroktam badhnati. MDarila says gangi- damamuim, and Kesava more explicitly states that an amulet derived from the gangida be tied on with a thread of hemp, gangidamanim sanastitrena badhva sampatya=bhimantrya badhnati. The hemp refers to stanza 5, and it seems to me quite likely that Kesava is right in thus describing the association of the hemp with the gangida as altogether external. The hymn has been translated by Weber, Indische Studien, XIII, p. 140 ff.

Stanza 1.

This hymn, as many others, begins with an irregular stanza, two trish¢ubh and two anushfubh Padas; cf. RV. VII, 103; AV. IV, 12; VI, 111, &c.

b. Sdyana reads rakshamdnah for dakshamanah.

282 HYMNS OF THE ATHARVA-VEDA.

140 ff.

Stanza 1.

This hymn, as many others, begins with an irregular stanza, two trish¢ubh and two anushfubh Padas; cf. RV. VII, 103; AV. IV, 12; VI, 111, &c.

b. Sdyana reads rakshamdnah for dakshamanah.

282 HYMNS OF THE ATHARVA-VEDA.

ce. The meaning of vishkandha, I regret to say, is not clear. Both ancients and moderns have etymologised upon the word, and in all instances have arrived at the conclusion that the word refers to some disease. But the results, though consistent in the one point of disease, betray their weakness in differing as to its special nature. The scho- liast at Tait. S. VII, 3, 13, 1—the only known occurrence of the word outside of the Atharvan literature (cf. also Gop. Br. I, 5, 25)—explains it by viripa(Z) skandhadyavayava yasya tad vishkandham (sc. sariram), ‘the body whose members, shoulders, and so forth, are deformed is vish- kandha.’ Sadyawa, at AV. I, 16, 3 (and similarly here) says, gatipratibandhakam rakshapisakadikritam vighna- gatam, ‘a disease which hinders from walking, produced by Rakshas, Pisakas, &c., instigated by (some hostile) disturb- ance. The same fatuous authority, however, at XIX, 35, 5 says, vishkandham vislishzaskandham evamndamanam vatavisesham maharogam, ‘vishkandha, a serious disease of that name, caused by wind (in the body), producing dislo- cation of the shoulders. Professor Weber is the author of the modern interpretation of the word, ‘drawing the shoulders apart, rheumatism’ (see Indische Studien, IV, 410; XIII, 141; XVII, 215, and cf. the Pet. Lex. ; Zimmer, l.c., 390; Grill?, p. 75). I have been struck by the fact that both Darila and Kesava in their comments upon Kaus. 42, 233 43, 1. 2, the Sitras which rubricate AV. II, 4 and ITI, 9, the principal sources of our knowledge of the vish- kandha, omit all mention of disease of any kind. To begin with, these passages of the Sitra are not part of the bhai- shagyani (Kaus. 25, 1-32, 27). Further, Darila speaks only of pisikandsanam and pisdkakatanam, Kesava of vigh- nasamanam and vishkandhavighnasamano (mami). Ob- servation has taught me that the commentators’ knowledge of the practices is superior to their knowledge of the mean- ings of words—all India is in this regard an easy prey to its perverse etymological habits‘—and I should think it

1 . . °. I recommend a continuous reading of Yaska’s Nirukta to any

. °. I recommend a continuous reading of Yaska’s Nirukta to any

II, 4. COMMENTARY. 283 more conservative for the present to hold that vishkandha, as well as the opportunistic samskandha at AV. XIX, 34, 5, are designations of hostile demoniac forces. One may easily be convinced, by examining, with the aid of Whit- ney’s Index Verborum, all the passages in which the word occurs, that the latter meaning suits as well as the former. Of course the boundary-line between disease and possession by demons is an evanescent one in all Atharvan writings. The formation vishkandha, moreover, suggests vyamsa (RV. I, 32, 5, &c.) and vigriva (RV. VIII, 4, 24), both of them designations of demons (cf. Weber, Ind. Stud. IV, 410). Thus it has seemed best to leave the word untrans- lated for the present.

Stanza 2.

a. gambha, ‘convulsions, cramps, or colic. The transla- tion is reasonably certain. Weber, Ind. Stud. XIII, 142, describes the trouble as an infantile disease, perhaps teeth- ing; cf. also Zimmer, I. c., 392, and Henry, Le livre VII de l Atharva-véda, p. 53. The etymology of the word, and the epithet sdmhanu, ‘shutting the jaws, at AV. VIII, 1, 16, seem to lend themselves at first sight to such an interpreta- tion, but it is after all too narrow. Sdayawza, gambhat himsakat krityadeh, yad va gambha iti dantaviseshasya akhya, rakshasadantaviseshakvztat khadanat. See, how- ever, his very different interpretation at VIII, 1,16. At Kaus. 32, 1; 35, 15 occurs the word gambhagrzhita. Darila at 32, 1 defines it as gambho raksha, tena grzhitaz ; according to Kausika and Kesava, the patient is an infant which is put to the mother’s breast and fed with rice and fennel steeped in milk*. All this would still pass readily as a cure of diseases connected with teething. But in Kaus, 35, 12-15 we have the following performance:

one who wishes to know how much grain may be found among the chaff. And Yaska is the high priest; how much worse are the epigoni |

* Kaus. gambhagrzhitaya (Kes. balakaya) stanam prayakhati, priyangutamdulan abhyavadugdhan payayati.

284 HYMNS OF THE ATHARVA-VEDA.

And Yaska is the high priest; how much worse are the epigoni |

* Kaus. gambhagrzhitaya (Kes. balakaya) stanam prayakhati, priyangutamdulan abhyavadugdhan payayati.

284 HYMNS OF THE ATHARVA-VEDA.

. garbhadrimhanani, gambhagrthitaya ... gym trir ud- grathya badhnati. losh¢4n anvrzkam prasayati. syadmasi- katabhiz sayanam parikirati. The scene here is child-birth, the passage is part of the strikarmazi, ‘women’s rites ’ (32, 28-36, 40), and the gambha has seized the baby or the foetus, either at the moment of birth, or prematurely. Hence the title of the ceremony, ‘ performances for steady- ing the womb or foetus.’ According to Darila, the woman herself receives the treatment, being tied about with a three- fold bowstring (gambhena grzhito garbho yasya striyas tasya gyd4m triguvam kritva badhnati), fed with lumps of earth (gambhagrzhitam [!] prasayati), and having her bed strewed about with black sand. Here gambha seems to refer to some irregular behaviour of the foetus ; cf. Wise, Hindu System of Medicine, pp. 423 (middle), and 421 (bottom), and the introduction to VI, 17. The word has at any rate no special connection with the teeth, as may be seen, too, from Tait. S. IV, 5, 11, 2.

Our translation of visara by ‘ reakianl pain’ (Say. sariravisarazat) is of the etymologising sort. The Pet. Lex., more cautiously, regards it as the name of a demon. Cf. visarika at XIX, 34, 10, which Sayavza glosses by visesheza himsakam.

Stanza 5.

Iam quite agreed with Kesava and Sayama (maniban- dhanasttraprakrztibhata/) in not regarding the juxtaposition of the hemp with the gangida as due to some biological relationship, or therapeutic virtue (cf. Weber, Ind. Stud. XIII, 142). The hemp represents the thread with which the amulet of gangidd was tied on. A thread, or rope of hemp is mentioned also at Kaus. 25, 28; 72,15. See the introduction to the hymn. The hemp, of course, comes from the sap of the furrow; gangida, the tree, from the forest.

Stanza 6. : The same stanza with variants occurs at AV. XIX, 34, 4.

The last Pada is a formula, occurring in addition at IV, 10, 6; XII, 25:19:05 anon

Il, 7. COMMENTARY. 285

II, 7. COMMENTARY TO PAGE QI.

The hemp, of course, comes from the sap of the furrow; gangida, the tree, from the forest.

Stanza 6. : The same stanza with variants occurs at AV. XIX, 34, 4.

The last Pada is a formula, occurring in addition at IV, 10, 6; XII, 25:19:05 anon

Il, 7. COMMENTARY. 285

II, 7. COMMENTARY TO PAGE QI.

Sayaza (and similarly Kesava) define the purpose of this hymn as a charm to obviate curses, evil eye, and danger from the attack of demons: laukikavaidikakrosayor brah- mawasdpe krirakakshuZpurushadvzshZinipate pisdkaya- kshadibhaye. According to Kaus. 26, 35 the procedure | consists in investing the person threatened with (an amulet made of) the substance mentioned in the mantra. The commentators define this as yavamazi, ‘an amulet of barley’ The word yava is not mentioned in the hymn, the nearest approach to it is sapatha-ydopani, ‘wiping out curses.’ As o and ava have almost identical phonetic values in the Veda (cf. our statement of the facts, Amer. Journ. Phil. V, pp. 25 ff.), we must suppose that yava has been read by the ritualists out of the syllable ydé- of yopant; cf. too, the synonym sapatha-ydvani at IV, 17, 2, and the well-known formula yavossi yavaydssmad dveshaé, ‘ barley art thou, ward off hatred from us’ (Tait. S. I, 3,.4,-15 Sat. Br. III, 6, 1, 11; Hirazyak. Sr. IV, 2, 42, in addition to the places mentioned in Kausikasitra, index C). Upon this basis the word and the article yava are suggested. The pun is so familiar as to leave no room for doubt in the mind of the Hindu acquainted with this style of literature. Cf. the intro- duction to VI, 91; and the note to IX, 2, 13.

The hymn has been translated by Weber, Ind. Stud. XIII, 148 f&; Ludwig, Der Rigveda, III, 508; Grill’, pp. 24, 81 ff. The Anukramavzi, bhaishagyayurvanaspatidaivat- yam. Cf. also Santikalpa 19 *.

Stanza 1.

At Apast. Sr. VI, 20,2 the stanza occurs in the following corrupt form: atharvyushé devagit4 vidu khapathagam- bhaniZ: 4po malam iva prazigann asmatsu sapathan adhi. Cf. 17; 25, 4 5.

* Sayana, however, commenting on virudh in st. 1, dfrva yavo va. * Cited erroneously by Sayama as Nakshatrakalpa.

286 HYMNS OF THE ATHARVA-VEDA.

Stanza 2.

b. We may note Grill’s ingenious emendation of gimya% to gamyah, an adjective from gami. But no such form occurs. Cf. AV. II, 10, 1; RV. IV, 4, 5: Sdayana, gamyah gamif sahottpanna bhagini.

Stanza 3.

A number of the attributes stated in this and the pre- ceding stanzas are repeated at VI, 43, 1.2; XIX, 32,1. 3.7 in connection with the holy darbha-grass. The terms are too general and fabulous to permit definite conclusions as to the plant which the poet here has in mind.

Stanza 4.

a. The MSS. are divided between the readings pari sm&m (so our edition) and pari mam. I have followed Sayava and Shankar Pandit in adopting the latter version.

e,d. The metre is irregular (Anukr. virad uparish¢adbrz- hati): c is a catalectic Pada; d has ten syllables, one of which may be suppressed by reading tarshur.

I have followed Sayava and Shankar Pandit in adopting the latter version.

e,d. The metre is irregular (Anukr. virad uparish¢adbrz- hati): c is a catalectic Pada; d has ten syllables, one of which may be suppressed by reading tarshur.

Stanza 5.

b. For the sentiment cf. Tait. Ar. II, 6, 2. Sayava, yah purusha# suhart . . . tena suhvzdayena mitreza saha nak asmakam, sukham bhavatu iti sesha, ‘we together with our friend shall be happy.’ I am not convinced that this is correct. Are we to read, yaz suhart téna vayam saha?

e. kakshurmantra, ‘he who bewitches with his eye,’ also in XIX, 45, 1. Sdyava separates kakshur from mantrasya, explaining the latter by guptasz bhashamazasya pisunasya, ‘the calumniator who speaks secretly.’ But cf. the ‘ thou- sand-eyed curse’ at VI, 37, 1; amitrafakshus at Kaus. 39, 11; and ghoram kakshus, ‘evil eye,’ at IV, 9,6; XIX, Jur"

II, 8. COMMENTARY TO PAGE 13.

The word kshetriya is interpreted by the Atharvavedins — quite unanimously as ‘ inherited disease.’ Three hymns,

11, 8. COMMENTARY. 287

IT, 8 and 10; III, 7 (cf. also IV, 18, 7; V, 30, 4), are designed to drive it out, and the Kausika rubricates all of them among the medical charms (bhaishagyAni), 26, 41-27, 4; 27,7-8; 27, 29-31. Déarila at 26, 43 defines it as ‘family disease, kaulo vyadhiz; Kesava at 27, 41 as, pitvzparyagatah kshetriyarogak kush¢dakshayarogak grahazidosha% sarva- sariraspho/akérak ; similarly Say. at II, 8,1. The scholiast at Tait. Br. II, 5, 6, 3 (p.628) has kshetram garbhasthanam tatrotpannatvat, i.e. ‘disease which has arisen while in the womb’ (rather differently at II, 5, 6, 1, pp. 626-7). The practices connected with these hymns are obscure in detail, and their application is remote.

Kaus. 26, 41-27, 4 deals with our hymn, to wit: 41. ‘While reciting AV. II, 8,1 (the practitioner) washes the. patient outside (of the house). 42. While reciting AV. II, 8, 2 (he washes him outside of the house) at dawn. 43. While reciting AV. II, 8, 3 he pulverises the plants mentioned in the stanza (see the translation), as also natural mud, and mud from an ant-hill, sews this up into the skin of a living animal! (freshly slain), and fastens it (as an amulet upon the patient). 27,1. While reciting II, 8, 4 he places a plough with its span of cattle over the head of the patient ? and pours water over it. 2. While reciting AV. II, 8, 5 he pours the dregs of ghee into (a vessel full of) water (placed) within an empty house. 3. He pours more (dregs of ghee) into an old ditch into which grass from the thatch of the house has been placed. 4. Placing the patient into this ditch he gives him of the water to drink, and rinses him with it.’ The symbolism of these practices is not clear, but they seem at any rate to be built up on the derivation of the word kshetriya from kshétra in the sense of ‘ field,’ rather than in the sense of ‘womb.’ See especially the last

’ For givakoshani see Kausika, Introduction, p. 1. Other sub- stances derived from living animals occur at Katy. Sr. LX, 2, 16; Par. Grzh. Il, 7, 2.

* That is, he puts the patient under the plough with its span, vrishabhayuktasya halasya adhastad vyadhitam avasthapya (Sayama in the introduction to the hymn).

288 HYMNS OF THE ATHARVA-VEDA.

stages of the performance, Sitra 27, 1 (the plough and the span of cattle), and Satras 27, 3. 4, which aim to wash off the illness into the very ground, whence (according to this conception) it has been derived. And the hymn itself is redolent of fields, plants, ploughing, &c., and calls upon (st. 5) ‘the lord of the field’. Thus Professor Weber was led repeatedly to look upon this hymn as a charm to counteract injuries to fields”; see Ind. Stud. V, 145 note ; XIII, 149; Nakshatra II, 292. And yet, I think, all this is mere play upon the two meanings of kshétra, ‘ field, and ‘womb ?;’ the poet, thinking that the disease derives its name from the field, conjures with the properties of the field, or, perhaps, adapts secondarily stanzas constructed originally for practices in the field.

The hymn has been translated by Weber, Ind. Stud. XIII, 149 ff.; and Ludwig, Der Rigveda, III, 513. The Anukramami describes it as yanaspatyam yakshmandasana- daivatyam.

Stanza 1.

The last three Padas are repeated at III, 7, 4; the first half in VI, 121, 3. The point in all these cases is the supposed etymology of the constellation vikvétau (later mdlabarhazi, and mila) from vi rit, ‘loosen ;’ this enables the word to figure wherever there is question of the ‘fetters’ of disease. Cf. in general, Weber, Nakshatra II, 292, 310, 374, 389; Zimmer, pp. 356, 392. For an opposite construction of the function of the vikrétau, see the note on VI, 110, 2.

1 See, however, the note on this expression below.

? Cf. also Pawini V, 2, 92, and commentaries ; Ind. Stud. V, 145 note; XIII, 159 note; XVII, 208 note; Zimmer, 391 ff.

* Note especially the passage from K4/sh. S. cited by Weber, Ind. Stud. XIII, 150 note. The expression svakreta irize does not prove that a field is in the view of a performer. A spot where there is a natural rift in the ground is frequently, in witchcraft, made the theatre of the performance, without any such special end in view. Cf. the passages in the Pet. Lex., and the paribhasha to the abhi- kara performances, Kaus. 49, 6.

11, 8. COMMENTARY. 289

Stanza 2.

A spot where there is a natural rift in the ground is frequently, in witchcraft, made the theatre of the performance, without any such special end in view. Cf. the passages in the Pet. Lex., and the paribhasha to the abhi- kara performances, Kaus. 49, 6.

11, 8. COMMENTARY. 289

Stanza 2.

a,b. I have translated apa ufAatu transitively; cf. III, 7,7; RV. I, 48, 8, &c. Weber and Ludwig, contrary to ordinary usage, take it intransitively: ‘hinschwinden moge jetzt die nacht,’ and ‘ weg geh mit ihrem liechte diese nacht.’ Sayama, in agreement with our version, ‘the night at the time of dawn (usha/kalina ratri) shall chase away (vivasayatu).’ In Pada b I read, for the same reason, with one of Shankar Pandit’s MSS., apok/atu for 4pokfantu, making it govern abhikrétvariZ. Weber, ‘die zauberspinnerinnen (médgen schwinden) hin;’ Ludwig, ‘weg gehn sollen die bezau- bernden.’ Sdayaza, retaining the plural, forces, it seems to me, the meaning of abhik/tvariZ in translating it by abhitaz | rogasantim kurvazah, ‘working a cessation of disease all about.’ And recognising the futility of the first, he also, alternatively, takes 4apo#/antu as an intransitive,. . . pisa- kyah apagakhantu! Cf. the note on III, 7, 7.

Stanza 3.

a,b. According to our translation the words babhror argunakawdasya qualify yavasya; Kesava (and Sayaza who repeats Kesava’s substance) make the two words represent an independent plant: argunakashtham yavabusam tilapizgikam ka ekatra trizi baddhva. And Darila also recognises three plants, the first of which he describes as babhruvarmasya xrgunasya tasya kamdasesham (! for kazdavisesham). Ac- cording to these constructions the first substance is a branch from the tree (Sayaza in commenting on the word in our stanza, argunakhyavrzkshaviseshakash/Aasya) arguna (ter- minalia arjuna). But the construction renders this extremely unlikely, and we prefer to render the text philologically.

b. The word te, ‘thy, would seem at first sight to refer to a field, and, as stated in the introduction, this would show that the poet here looks upon kshetriyd as a derivative of kshétra, ‘ field, and that he therefore introduces the para- phernalia of the field in his incantation. But this cannot stand against the ordinary value of the word, nor is it

[42] U

290 HYMNS OF THE ATHARVA-VEDA.

impossible to imagine the introduction of these substances simply on the ground of the supposed (etymological) deri- vation of the name of the disease. At any rate we have Kausika on our side.

Stanza 5.

impossible to imagine the introduction of these substances simply on the ground of the supposed (etymological) deri- vation of the name of the disease. At any rate we have Kausika on our side.

Stanza 5.

a. sanisrasaksha is dm. Aey. ; Sanisrasa occurs once at AV. V,6 4 as a designation of the intercalary month (cf. AV. XJII, 3, 8; Weber, Nakshatra II, p. 336 note). Our translation is conjectural and etymological ; the only sup- port I find is in srastaksha (Susruta I, 115, 7), ‘with sunken eyes. Sdyaza leans with his full weight on the Kausika’s employment of the stanza (27, 2; see the translation of it above), in which an ‘empty house’ figures, and he identifies the word with stinyagrzhaz (sanisrasyamanani atisayena visramsamanani visiryamazani akshazi gavakshadidvarazi yesham te sanisrasikshaZ, stinyagrvzha ity artha), i.e. in brief, ‘the decayed doors of the empty house.’ Credat Judaeus! Does ‘ with sunken eyes’ refer to the demon of the disease ?

b. The difficulty is much increased by the unintelligible samdesyebhyak which Sayavza, who reads samdesebhyak, again identifies with the garatkhata, ‘the old ditch, in the Sitra, 27, 3.4: sam disyante tyagyante tadgatamrzdadanene sti samdesahk garadgartak! The word seems to refer to some kind of evil (papa) at AV. X, 1, 11. 12; in IV, 16, 8 (where it is contrasted with videsya, ‘ foreign’) it refers to the ‘fetter of Varuza, i.e. disease. Weber, ‘den auftrag’ ausfihrenden verneigung sei ;’ Ludwig, ‘anbetung den zu beauftragenden (sich fiigenden).’ The entire stanza is highly problematic ; its relation to the Sitra very obscure.

II, 9. COMMENTARY TO PAGE 34.

The disease which the hymn is designed to exorcise is, according to Darila, possession by the kind of demons called Pisdka. Kesava (followed by Sdyaza) describes it as due to brahmagraha, a word hitherto not quoted from any text, but reported by the lexicons as equal to brah-

II, 9. COMMENTARY. 291

marakshasa. The practices connected with the hymn at Kaus. 27, 5. 6 are as follows: 5. ‘While reciting AV. II, 9 a talisman consisting of splinters (from ten kinds of wood is fastened upon the patient). 6. Ten friends (of the patient) while muttering the hymn rub him down.’ The commen- tators (cf. Kaus. 13, 5; 26, 40) understand the word sakala to mean ‘a talisman made of ten kinds of holy wood, and these are derived from the list of holy trees catalogued at Kaus. 8,15. Cf.also the splinters from the (holy) kampila- wood, Kaus. 27, 7 (see the introduction to II, 10). used against kshetriyd (hereditary disease). For similar Germanic uses of nine kinds of wood to allay disease, see Wuttke, Der Deutsche Volksaberglaube der Gegenwart, $$ 121, 538: Mannhardt, Baumkultus der Germanen, p. 18.

27, 7 (see the introduction to II, 10). used against kshetriyd (hereditary disease). For similar Germanic uses of nine kinds of wood to allay disease, see Wuttke, Der Deutsche Volksaberglaube der Gegenwart, $$ 121, 538: Mannhardt, Baumkultus der Germanen, p. 18.

The hymn has been translated by Weber, Ind. Stud. XIII, 153 ff.; Ludwig, Der Rigveda, III, 506; Grill?, pp. 8, 82 ff.: cf. also the author in Amer. Journ. Phil. VII, 478, and Bergaigne et Henry, Manuel Védique, p. 137. The hymn figures in the takmandsanagaza of the Gavzamala, Ath. Paris. 32, 7 (see Kaus. 26, 1 note); the Anukramazi describes it as vanaspatyam yakshmandsanadaivatam. The Paippalada presents the hymn, the stanzas arranged as follows: I, 5, 4, 2, 3:

Stanza l.

The metre is irregular, pankti (Anukr., virat prastara- pankti). The Paippalada has the first half as follows : dasavrzksha mu#kemam ahimsro grahyas fa.

Stanza 3.

a. For adhitir the Paippalada reads adhitam. Sdyawa, ‘the Vedas, which he has read formerly, or their meaning, which is to be remembered, he has recalled!’ Cf. KAand. Up. VI, 7. Ludwig emends adhiter, and translates ‘ from insensibleness he has come away,’ but the translation con- flicts with the meaning of adhi g4; cf. RV. II, 4, 8.

c,d. The Satra embodies the indefinite large numbers 100 and 1000 in the amulet of ten kinds of wood, and the

292 HYMNS OF THE ATHARVA-VEDA.

ten friends (Brahmans according to the scholia) who attend the patient. Stanza 4.

The word Aitim occurs only in this stanza, and is very problematic. The Pet. Lex. and Weber, ‘ sammeln ;’ Ludwig, ‘pfliickung ;’ Sayaza, ‘covering. We are con- necting the word with /inoti in the sense of ‘ arrange, build up, having in mind the peculiar amulet or remedy dasa- vriksha, ‘ consisting of ten woods, in st.1. The sense then would be that the gods have found out the magic arrange- ment of the woods, while the Brahmans contribute the practical knowledge of the woods which are endowed with the healing property. Cf. Grill’s similar exposition.

Stanza 5.

I have followed Sdayavza who, relying alternatively upon RV. II, 33, 4, and Tait. S. IV, 5, 1, 2, makes isvaraZ, ‘lord,’ the subject of the sentence, isvara eva he rugva tubhyam idanimtanabhishagripeza bheshagani karotu. But the text of Pada d is awkward, and rendered somewhat doubtful by the Paippalada, whose version of c,d is, sa eva tubhyaz bheshagam akara bhishagati 4a. Upon the basis of this reading Grill suggests for Pada d, kvzzavad bhishagati a. Ludwig suggests suki, Vedic accus. plur. neut. in agreement with bheshagani ; Weber, bhishagam for bhishaga. Sayamza thinks also of su#ina for sukiz. I have translated the unanimous text of the Saunakiya-school.

II, 10. COMMENTARY TO PAGE I4.

Ludwig suggests suki, Vedic accus. plur. neut. in agreement with bheshagani ; Weber, bhishagam for bhishaga. Sayamza thinks also of su#ina for sukiz. I have translated the unanimous text of the Saunakiya-school.

II, 10. COMMENTARY TO PAGE I4.

The practice associated with this hymn at Kaus. oy Fy BE is colourless: 7. ‘While reciting AV. II, 10 (the prac- titioner) fastens upon the limbs (of the patient who has been placed) upon a cross-road! splinters of kampila-wood (crinum amaryllacee), and washes him off with (water

1 The favourite place to divest oneself of evil influences ; see the note in the introduction to VI, 111.

II, 10. COMMENTARY. 293

dipped out) by means of a bunch of grass. 8. (Or) he sprinkles (him in the same way).’ Cf. the practices under II, 8. A closely parallel mantra-passage occurs at Tait Br. II, 5, 6, 1-3; this the commentator on the authority of Baudhayana (see p. 628, bottom) connects with the cere- monies at the birth of a child (gatakarma). According to Baudh. Grih. II, 1 and 7, the child is bathed with these stanzas, and this prescription is borne out by Hir. Grzh. II, 3, 10 ff, where the same stanzas are quoted. They occur also in Apast. Mantrabr. II, 12, 6 (cf. Apast. Grzh. VI, 15, 4). This usage does not really conflict with the Atharvanic employment of the hymn, since it aims to free the child from diseases and troubles derived from the womb of the mother. The conception borders closely on that of original sin. That the Atharvavedins regarded the kshe- triya in this hymn as a disease may be gathered from the employment of the hymn among the bhaishagyani in the Kausika ; it figures also in the takmandasanagama, ‘the list of hymns destructive of fever,’ in the Gazamala ; see Kaus. 26, I note.

The hymn has been translated by Weber, Ind. Stud. XIII, 156 ff., and Ludwig, Der Rigveda, III, 513.

Stanza 1.

a. gamisamsa is equivalent to gamydz sapathaZ in IT, 7, 2; the word recurs at AV. IX, 4, 15, and Tait. Br. II, 5, 6, 3 (where it is glossed by Alasyaprakhydpakat). Sdyama, bandhavo gamaya4, apraptabhilashitanam tesham samsanat akrosaganitat papat.

Stanza 3.

The sense of this and the following two stanzas is interrupted by the refrain; Pada 3 b is in catenary con- struction with Pada 4a. The other version of the hymn (Tait. Br.) does not exhibit the refrain, and the connection of the passages appears undisturbed.

a. Sayana reads vayodha& for vayo dhaé, glossing it by vayasam pakshizam dhata dharayita.

294 HYMNS OF THE ATHARVA-VEDA.

Stanza 8.

The other version of the hymn (Tait. Br.) does not exhibit the refrain, and the connection of the passages appears undisturbed.

a. Sayana reads vayodha& for vayo dhaé, glossing it by vayasam pakshizam dhata dharayita.

294 HYMNS OF THE ATHARVA-VEDA.

Stanza 8.

The stanza alludes to the well-known legend which makes the demon Svarbhanu smite with darkness (eclipse) the sun, who is then freed by Indra and Atri; see RV. V,.40, §-9; ChaiteSel Tass, 1; Kavos Sas Sater V, 3, 2,25 Pa#k. Br. IV, 5,13 XIV, 11, 14; XAT Pao Sankh. Br. XXIV, 3. 4.. The moralising cause of the sun’s mishap, his énas (sin), is not expressed distinctly anywhere, nor is it to be taken au grand sérieux. By comparison it is treated as a disease, and, like disease or misfortune in general, ascribed to some moral delinquency, requiring expiation (prayaskitti); cf. st. 1.

II, 12. COMMENTARY TO PAGE 8o.

The essays on the interpretation of this hymn form an interesting chapter in the history of Vedic study, and we have devoted to the subject an article in the second series of our Contributions, Amer. Journ. Phil. XI, 330 ff., entitled ‘On the so-called fire-ordeal hymn, AV. II, 12.’ The hymn was first interpreted in the sense of a fire-ordeal by Emil Schlagintweit, in an address before the Royal Bavarian Academy in 1866, entitled ‘Die Gottesurtheile der Indier ;’ this interpretation was adhered to by Weber, Ind. Stud. XIII, 164 ff.; Ludwig, Der Rigveda, III, 445; Zimmer, p. 183 ff.; cf. also Kaegi, ‘ Alter und Herkunft des germanischen Gottesurtheils, Festschrift zur Begriis- sung der XX XIX. Versammlung deutscher Philologen und Schulmanner in Ziirich (1887), p. 511. The interpretation which is presented here is founded upon our above-men- tioned article, where Kausika’s significant employment of the hymn was first brought forward; in essential agree-

’ See also Stenzler, ‘Die Indischen Gottesurtheile,’ Zeitschrift der Deutschen Morgenlandischen Gesellschaft, IX; 661-82.

II, 12. COMMENTARY. 295

ment with it is the translation and exposition in Grill?, pp- 47, 85 ff.

II, 12. COMMENTARY. 295

ment with it is the translation and exposition in Grill?, pp- 47, 85 ff.

The hymn is employed in the sixth book of the Kausika which professes to deal with abhif#ara, ‘witchcraft.’ At 47, 12 it is designated as the bharadvagapravraska, ‘the hewer, or cleaver of Bharadvaga’ (the reputed author; cf. II, 12, 2): ‘ With the cleaver of Bharadvaga one cuts a staff for practices pertaining to witchcraft.’ A staff so procured is then employed variously in Kaus. 47, 14. 16. 18; 48, 22. The direct ritual application of the hymn is indicated in Kaus. 47, 25-29, to wit: 25. ‘While reciting the hymn II, 12, one cuts the foot-print of an enemy, as he runs in a southerly! direction with a leaf from a parasu-tree?. 26. He cuts three (lines) along (the length of the foot- print of the running enemy), and three (lines) across (the same). 27. akshzayd samsthapya®. 28. He ties dust derived from the cut foot-print into a leaf of the palasa-tree (butea frondosa), and throws it into a frying-pan. 29. If the dust crackles (in the pan) then (the enemy) has been overthrown. The Siitra then proceeds to prescribe still more elaborate and potent charms for the purpose of down- ing the enemy. Of any connection with the fire-ordeal the tradition makes no mention. There are points of contact between our hymn.and RV. VI, 52; VII, 104. The Anu- kramavzi describes the hymn as nanadevatyam, composed by Bharadvaga.

Stanza 1.

d. Schlagintweit, ‘may these be burned here, if I am burned. So also Weber, Ludwig, and Zimmer. Grill correctly, ‘die sollen gliihen jetzt, wenn ich ergliihe.’ Cf.

1 South is the region of Yama and the departed, i.e. of death.

? Or, with the blade of an axe. At any rate symbolically. The commentators differ as to the meaning of parasupalasena; see Kausika, Introd. p. li, bottom. Sayava, as usual, follows Kesava. See also the note on Kaus. 30, 14 in the introduction to VI, 25.

* The text of this Sfitra is not altogether secure, its meaning and the scholia are obscure.

296 HYMNS OF THE ATHARVA-VEDA.

RV. X, 34, 10; 95,17; AV. XIX, 56, 5. Sayama, mayi abhi#drake tapyamane dikshaniyamena upavasadina klisya- mane sati tapyantam samtapta bhavantu. That is, heaven and earth shall participate in the consecration (diksha) of the performer for the sorcery-practices against his enemy. The appeal to heaven and earth in Pada a, and the mis- interpreted fourth Pada, are really the sole cause of the hypothesis of a fire-ordeal. An appeal to heaven and earth is in occidental minds associated inseparably with asseverations of innocence. A similar construction of it for India is apparently unwarranted.

Stanza 2.

b. For Bharadvaga, see IV, 29, 5; XVIII, 3,16; XIX, 48, 6; and Ludwig, Der Rigveda, pp. 128 ff.

An appeal to heaven and earth is in occidental minds associated inseparably with asseverations of innocence. A similar construction of it for India is apparently unwarranted.

Stanza 2.

b. For Bharadvaga, see IV, 29, 5; XVIII, 3,16; XIX, 48, 6; and Ludwig, Der Rigveda, pp. 128 ff.

d. Schlagintweit, ‘der diesen (unsern) geist beschadigt (i.e. schwur bezweifelt).’” Weber, ‘wer diesen meinen sinn beschadigt, i.e. meinen schwur antastet, mein wort bezwei- felt.’ Ludwig, ‘der diesen meinen sinn anklagt (verlaum- det).’ All these renderings are founded upon the theory of the fire-ordeal. Sdyavza, ptrvam sanmargapravrittam manak mdanasam hinasti. There is no lack of evidence that religious performances were at times the object of enmity and the butt of abuse; cf. stanza 6; RV. VI, 56, and Ludwig, Der Rigveda, IV, 219 ff.

Stanza 3.

a. The first Pada is defective, but occurs in the same form in the Paippalada. It may be corrected by reading somapavan, somapdayin, somapa tvam, or the like. But Atharvan metres are so generally capable of improvement, that we are in danger of singing our own, rather than Atharvan hymns, when we apply ourselves to the task of improving them.

Stanza 4.

a. Professor Weber, |. c., pp. 167-8, has assembled some interesting statements in reference to the connection of the

1], 12. COMMENTARY. 297

number 80 with the fire-ritual. Sdyava attaches a certain significance to the number three, which he connects with the trzkas of the Sdma-sashitas. The number is solemn and formulary.

e. A clear instance of a Vedic parenthesis ; cf. Aufrecht. Festgruss an Otto von Bohtlingk, pp. 2 ff. For ish#a- pirtam, see Windisch, ib., pp. 115 ff. Cf. also RV. X, 14, REA. Hi; ¥3;°8:

d. Schlagintweit supplies ‘firebrand’ in the last Pada, and translates, ‘nehme ich jenen (feuerbrand) an mich mit géttlicher inbrunst.’ Weber, in still more direct adherence to the hypothesis of a fire-ordeal, supplies with amum ‘gliihendes beil, and translates, ‘mit gottlicher gluth nehme ich diesen an mich.’ Ludwig, ‘jenen (den verlaumder) | erfasse ich mit der gottlichen glut.’ Zimmer, ‘halte ich jenen (?feuerbrand, ?axt) mit gottlichem griff.’ Sayama properly refers amum to the enemy, and takes haras in | the sense of krodha (haras etymologically = Oépos; cf. IT, 2,72}.

Stanza 5.

a. didhitham for didhiyatham. Sayava, adipte bhavatam.

Stanza 6.

Recurs with variants at RV. VI, 52, 2; the connection there is less pregnant.

e. Sayana differently, taptimshi tapakani tegdmsi ayu- dhani va vriganani vargakani badhakani-santu, i.e. ‘may our zealous deeds or weapons be destructive to him. Perhaps this is simpler.

Stanza 7.

This and the following stanza seem to be adapted from the funeral ritual (see Amer. Journ. Phil. VII, 476; XI, 335, 336 ff.). Such as they are they occur also in the same connection in the Paippalada; cf. RV. X, 14, 13; 16, 2. Stanzas of this character lend themselves naturally to

Journ. Phil. VII, 476; XI, 335, 336 ff.). Such as they are they occur also in the same connection in the Paippalada; cf. RV. X, 14, 13; 16, 2. Stanzas of this character lend themselves naturally to

298 HYMNS OF THE ATHARVA-VEDA.

imprecation and incantation. Here the poet takes the offensive against the thwarting enemy.

a. For sapta prawn, cf. Tait. Br. I, 2, 3, 3. Shankar Pandit, on the basis of a considerable number of his MSS. (both Samhita and Padapazha), reads manyds for magna/. So also Sayava, manyak dhamanyak kanthagata nadivi- seshak. The MSS. frequently write y for g, especially in connection with nasals (anaymi and yunaymi for anagmi and yunagmi); cf. Maitr. S. I, 3, 35 (p. 42, note 4), and Ind. Stud. IV, 271 note. On general textual and exege- tical grounds the reading magzak is preferable.

Stanza 8.

Schlagintweit translates Padas c, d, ‘(entweder) soll das feuer in deinen leib einkehren, (oder) deine rede gehe zu leben.’ The sense he imagines to be: ‘If the word of the accuser is true, then he shall remain unharmed; if not he shall be injured by fire.’ Essentially in the same spirit are Weber’s, Zimmer’s, and Kaegi’s renderings. Cf. RV X, 15, 14.

II, 14. COMMENTARY TO PAGE 66.

It is regretable that this textually and exegetically difficult hymn is illumined but very little by its abundant employment in the practices of the Atharvavedins. In its more general aspects it figures as one of the #atanani (sc. siktani), ‘hymns designed to chase away (demons and diseases), at Kaus. 8, 25; next, it occurs in another cycle (gaza) of hymns of a somewhat problematic character, called mvzgarasiktani or mvzgarAzi, ‘ purificatory hymns’ (?), at Kaus. 9, 1 (cf. 27, 34). In this sense it is employed twice, Kaus. 72, 4; 82, 14, to purify the entrance to a house, nissalam iti sdlanivesanam samprokshya. If we could only trust that punning juxtaposition of -saélim and sdla-, it would remove one of the chief cruxes in its interpretation !

As regards its narrower application, it is associated dis- tinctly with difficulty in bearing offspring: at Kaus. 34, 3-11 it is employed in a charm for preventing miscarriage ;

II, 14. COMMENTARY. 299

As regards its narrower application, it is associated dis- tinctly with difficulty in bearing offspring: at Kaus. 34, 3-11 it is employed in a charm for preventing miscarriage ;

II, 14. COMMENTARY. 299

at 44, 11 ff. it forms part of an elaborate practice to obviate sterility in cattle. The first of these practices is as follows: 34, 3. ‘While reciting II, 14 (the practitioner) pours dregs of ghee into water (in tubs standing) in three huts which have doors to the east and doors to the west (cf. Kaus. 24, 3), in behalf of the woman afflicted with miscarriage, she being dressed in a black garment. 4. Additional (dregs of ghee he pours) upon lead! placed into (the leaf of) a palasa- tree (butea frondosa). 5. Placing (the. woman) over the lead he washes her (with the above-mentioned water). 6. Having deposited the black garment (where she has been washed) she goes. 7. The Brahman kindles the hut. 8. The same performances take place in the two easterly (huts)? in connection with materials brought on separately | (for each hut). 9. He performs the practices with the branches, mentioned (above, Si. 1: he pours consecrated water over her head as she is seated upon branches of siz- sapa |dalbergia sisu ; cf. Kaus. 8, 16] by the side of a body of water). 10. Haying put down to the west of the fire two reeds upon a stalk (? kaxde ishike), over the two doors (of the huts) *, he causes firewood derived from an udum- bara-tree (ficus glomerata) to be put on the fire. 11. To the woman as she comes home last (of those returning ?), cakes of rice, and ornaments of pramanda (cf. Kausika, Introduction, p. lii), anointed with the dregs of ghee, are given (cf. Kaus. 32, 29; 34, 1).

At Kaus. 44, 1 ff. there is an elaborate practice of the expiatory kind (prayaséitta), in which a sterile cow is sacri- ficed to remove the blemish of sterility from the house. After the cow has been slain, ‘(the priest) while reciting II, 14 carries a firebrand (around her) thrice from right to left without moving (the firebrand) around himself’ (Sa. 44,21). Later on ‘he stops her breath’ while reciting IT,

* Cf. AV. I, 16, and the practices connected with it.

* The practices up to this point therefore have taken place in that one of the three huts furthest to the west.

* Extremely problematic; cf. dhéyine, Kausika, Introduction, p. li, and the scholiasts.

300 HYMNS OF THE ATHARVA-VEDA.

14,5 (Sd. 44,15). All this is too general in character, and fails to cast light on the real difficulties of the hymn. Cf. also Ath. Paris. 17, 2. The Anukramazi classifies it as salagnidevatyam uta mantroktadevatyam. For previous translations, see Weber, Ind. Stud. XIII, 175 ff.; Ludwig, Der Rigveda, III, 522; Grill’, pp. 1, 89 ff.

Stanza 1.

Cf. also Ath. Paris. 17, 2. The Anukramazi classifies it as salagnidevatyam uta mantroktadevatyam. For previous translations, see Weber, Ind. Stud. XIII, 175 ff.; Ludwig, Der Rigveda, III, 522; Grill’, pp. 1, 89 ff.

Stanza 1.

a. The Pada might have better been left untranslated : the text is certainly corrupt, and especially dhisaza, mas- culine, imbedded as it is in half a dozen feminines, is open to suspicion. The Paippalada has nissalas dhishzyam dhishazam, and, since dhishwya means ‘seat of the priest,’ the suggestion arises that nis is to be separated from salam (=salam, ‘ house’)', and is to be taken with nasayamaz in Pada d, making some such sense as the following: ‘we drive out from the house, from the seat of the priest (dhish- mya), and from the fire-place (dhishava)*” Cf. the use of the hymn in Kaus. 72, 4; 82,14 above, and the Anukra- mavzi, salagnidevatyam. But the construction of nir ndasa- yama with the accusative of place from which is unheard of, and the change of all three words to ablatives would amount to an independent composition. Besides, the em- ployment of the Kausika, and the statement of the Anu- kramavzi, just mentioned, may be due to a more or less conscious, punning perversion of the syllables salam, for the purpose of extracting sala, ‘house,’ from them. Grill composes a new Pada, nis salavrzkyam dharshazim, ‘ out (do we drive) the bold Salavrzki.’. Weber, ‘ die dreiste, zahe, ausspringende (? correcting to dhishav4m) ;’ Ludwig—-who entitles the hymn, ‘Gegen die Sala ?’—translates, ‘die aus dem hause befindliche (die aus der sala hélle gekommene ?) freche verlangende, or, alternatively, ‘hinaus die sala, &c., and, once more, as a third possibility, ‘aus dem haus. hinaus die freche begerliche. Sayaza knows nothing about it:

’ Ch Isnt stevie rage: ? Cf. Hillebrandt, Soma und verwandte Gdtter, 175 ff., 181.

II, 14. COMMENTARY. 301

nissal4 is either the name of a female demon, or sala a kind of a tree (vrikshaviseshad, tato nirgata nissala).

b. Sayawa to ekavddydm, ‘she who gives forth a single sound of gruff character.’

ce. Kanda is the name of a demon, 4m. Aey. in RV. and AV., but frequently mentioned elsewhere, especially in connection with Marka; see Sat. Br. IV, 2, I, 4. 9. 10. 14. 20. Sayaza, kruddhasya... papagrahasya.

d. sad4nva, ‘female demon,’ seems to be connected with danu and danava. Sdyaza follows Nirukta VI, 30 in ex- plaining it as ‘ever noisy, sada noniyamanaz.

Stanza 2.

b. Sayava takes aksha as ‘gambling-house’ (akshakri- dasthana, dydtasala), and updnasd either as ‘granary’ (anasaZ samipam updanasam dhanyagvzham) or as ‘ wagon full of grain’ (dhanyapairzam sakaftam). RV. X, 105, 4 does not render the word clear.

e. Nothing is known of the dm. Aey. magundi (Sayaza, kafana pisaki); cf. Weber’s combinations, |. c., p. 177.

Read duhitro (as in the dialects), and cf. our note on VII, 12, 1; also Ait. Br. VII, 13, 8.

Stanza 3.

RV. X, 105, 4 does not render the word clear.

e. Nothing is known of the dm. Aey. magundi (Sayaza, kafana pisaki); cf. Weber’s combinations, |. c., p. 177.

Read duhitro (as in the dialects), and cf. our note on VII, 12, 1; also Ait. Br. VII, 13, 8.

Stanza 3.

a,b. The word adhardd, ‘below, alludes with double entente to hell (adhamad tamamsi). Sayama, patalalokossti; cf. Zimmer, p. 420. This class of writings are fond of con- juring diseases and misfortunes upon others, strangers and neighbours; cf. AV. V, 22, 4 ff.; RV. X, 155; and the common formulary expression, anydms te asmat tapantu hetaya#’ in the Yagus-texts.

Stanza 4.

The stanza occurs in another connection in the Paippa- lada, and may not originally have stood here, since the : ‘Heiliger Sanct Florian, Schiitz unser haus ziind’ andre an!’ Cf. Amer. Journ. Phil. XI, 345 ff.

32302 HYMNS OF THE ATHARVA-VEDA.

second book of the AV. in general consists of hymns of five stanzas. |

a. Sdyava glosses bhutapatir correctly, bhiitanasm palako rudrak. The word bhita here suggests more narrowly ‘evil beings.’

d. indro is metrically superfluous, and may be spared from the context. Anukramazi, uparish/adviradd brzhati.

Stanza 5.

a. I have taken kshetriyAv4m in the sense which it ordinarily has in the AV. (II, 8 and 10; III, 7); Sayama, kshetrat parakshetrat matapitrzsarirad Agatandm . . . roga- nam. Weber and Ludwig, ‘coming from the field.’ Grill, ‘ob ihr zum wild des Felds gehort.’

Stanza 6.

b. In the MSS. the Padap. reads, asur gash¢Zam ivdsaran ; the edition emends gash/Z4m to kash¢/am, and we, with most translators and Sayama, read ivasaram. Sdayaza reads glashtham, glossing, paridhavanena glanaf# san yatra tish- thati sa glashzha (‘ goal, ‘resting-place’?). Cf. VI, 67, 1.

II, 25. COMMENTARY TO PAGE 36.

The plant przsniparzi (hemionitis cordifolia; Sayaza, kitraparzi oshadhiz) is here employed to off-set the activity of demons called kazva, of varied pernicious influence, but especially conceived as devourers of the embryo in the womb. According to Susruta I, 377, 7 it serves, mixed with milk, as a preventive against miscarriage (garbhasrave). Kesava, at Kaus. 26, 36, prescribes it as a far more general remedy, for one overtaken by misfortune, against mis- carriage, still-birth, and demons of various sorts. Darila says it destroys the demons called pisaka. The practice at Kaus. 26, 36 consists in smearing the plant mixed with the dregs of ghee upon the patient. The hymn is one of a list of six grouped together at Kaus. 26, 33 for all sorts of diseases (Sdyava in the introduction, sarvarogabhaisha-

II, 26. COMMENTARY. 303

gyakarmazi), which the Gazamala (Ath. Paris. 32, 24) describes as the gazakarmdgavo (! a list for collective prac- tices). Kaus. 8, 25 mentions it further among the #ata- nani, ‘ hymns with which demons are exorcised.’

The hymn has been translated by Weber, Ind. Stud. XIII, 187 ff.; Grill’, pp. 20, 92. The Anukramazi de- scribes it as vanaspatyam.

a list for collective prac- tices). Kaus. 8, 25 mentions it further among the #ata- nani, ‘ hymns with which demons are exorcised.’

The hymn has been translated by Weber, Ind. Stud. XIII, 187 ff.; Grill’, pp. 20, 92. The Anukramazi de- scribes it as vanaspatyam.

Stanza 4.

For -yopana in this and the next stanza, see Amer. Journ.

Phil. XII, 414 ff. Cf. Il, 7, 1.

II, 26. COMMENTARY TO PAGE 142.

This is a hymn connected with a species of oblation (havis)', whose object is to concentrate (sassravya) wealth and prosperity upon the sacrificer. Cf. I, 15 and XIX, 1. Our hymn aims at prosperity in the stable, and accord- ingly it is rubricated along with III, 14; VII, 75; VI, 11, 3, at Kaus. 19, 14 ff. in a series of ‘stable-ceremonies’ (gosh¢hakarmAawzi), to wit: 19, 15. ‘He (the owner) drinks the new milk of a cow that has thrown her second calf, mixed with the spittle (of the calf)*, 16. He presents a cow (to the Brahman). 17. He pours out (into the stable) a vessel full of water. 18. Having swept together the (previously moistened dung), placing his left hand upon it, he scatters half of it with his right hand. 19. Having placed lumps of excrement, bdellium, and salt into milk from a cow with a calf of a colour identical with hers, he buries (the mixture) behind the fire. 20. On the fourth morning he eats of it. 21. If the milk has turned %, then (the performance) is a success.’

The hymn occurs also in the Paippalada ; it has been translated by Weber, Ind. Stud. XIII, p. 26 ff.; Ludwig,

? Cf. the introduction to VI, 39.

? Sayama, vatsalalamisritam. Cf. Khad. Grch. LI, 1, 47. 48.

* Cheap magic. The milk is sure to turn! Is vikrite to be emended to avikrite ?

304 HYMNS OF THE ATHARVA-VEDA.

Der Rigveda, III, 371; Grill’, pp. 64, 92 ff. Cf also Bergaigne et Henry, Manuel Védique, p. 138. The Anukramazi designates it as pasavyam, the author being Savitar.

Stanza l.

b. Vayu, the wind, the husband of the distant regions (II, 10, 4), who goes in every direction, is naturally regarded as the companion of the cattle, when away from home— a truly poetic conception! Cf. Tait. Br. III, 2, 1, 4.

ce. ripadhéydani is taken by the Pet. Lex. as a copulative compound, ‘form and colour.’ But the analogous bhaga- dhéya and namadhéya do not favour such a construction. Perhaps ‘formation’ is the safest rendering of the word. Girelg. TaityS20565690, 20> Tait Bre H1 8; 14, 2.

Stanza 2.

e,d. Sinivali, the goddess of the new-moon, and Anumati, the goddess of the full-moon, as representatives of the bright part of the month, are fit to illumine the way home. They also preside over the act of procreation; cf. Zimmer, p. 352. Sdayaza, unsupported by MS. authority, comments upon anugate instead of anumate.

Stanza 4.

e. ‘ Poured together,’ i. e. ‘ united, or accumulated.’ The translation is stiffer than the original, where sam si#kami and samsiktaz play upon one another.

authority, comments upon anugate instead of anumate.

Stanza 4.

e. ‘ Poured together,’ i. e. ‘ united, or accumulated.’ The translation is stiffer than the original, where sam si#kami and samsiktaz play upon one another.

Stanza 5.

For the change of verb-form, cf. the note on II, 29, 5.

II, 27. COMMENTARY TO PAGE 137.

The history of the interpretation of this hymn is told by the translator in Seven Hymns of the Atharva-veda, Amer. Journ. Phil. VII, 479 ff. It is of interest, because it marks very clearly the value and continuity of the Hindu

II, 27. COMMENTARY. 305

tradition. It had been regarded previously by all inter- preters as a charm against robbers of provisions, until the obviously correct conception of D4rila in his comment on Kaus. 38, 18 ff. was presented. The translation of this passage, along with the bracketed commentary, is as fol- lows: 38, 18. ‘ While reciting AV. II, 27 (one approaches) the person against whom the debate is directed (from the north-east, while chewing) the root of the pazad-plant’. 19. He addresses (with the charm his opponent). 20. He ties on (the pa/d-root as a talisman). 21. He wears (upon his head) a wreath of seven leaves (of the pa7a).’ Cf. also Santikalpa 17 and 19%. Previous translations of the hymn: Weber, Ind. Stud. XIII, 190 ff. ; Ludwig, Der Rigveda, III, 461; Grill?, pp. 23, 93 ff. The Anukramavi designates the — hymn as vanaspatyam.

Stanza 1.

The Anukramavzt defines the purpose of this stanza cor- rectly by arinirogastvam aprarthayat, ‘he desired absence of strength in the enemy.’

a. Sdyava, incorrectly, takes pras as a noun of agency, prashZarasz vadinam *; see, however, Kaus. 38, 24, prasam Akhydsyan (D4r. pratiprasnam Akhydsyan; cf. Vait. Si. 37,23 38,6). Neither this word nor pratipras and prati- prasita (Kaus. 38, 18; Darila, prativadin) have any con- nection with root as, ‘eat,’ but are derivatives from the root pras, ‘ask.’

e. The construction of prasam pratipraso gahi is not quite certain. Sayaza takes both as accusatives, ‘the

* The paA is, according to Sdyawa at st. 4, identical with the later pacha (clypea hernandifolia); cf. Kaus. 37, 1; Azgvidhana IV, 12, 1 (MSS. pasha). See Ind. Stud. XVII, 266 (the passage quoted from Apastamba i is to be found Apast. Grih. III, 9,5). The word pa/4 is doubtless, like other words for plants (apAmérga, arundhatt), etymologically suggestive ; cf. the root paé, ‘tear..—For the words supplied by D4rila, cf. Kaus. 38, 17.

* Erroneously quoted by Sayaza as Nakshatrakalpa.

* But in st. 7 he falls into line with pratikQlaprasnaripam vakyam.

(42] x

306 HYMNS OF THE ATHARVA-VEDA.

debater and the counter-debaters strike.’ We regard prati- praso as gen. sing. dependent upon prasam (cf. st. 7 a), in which case one should like to emend arasén in Pada d to arasim (cf. Ludwig). If not, pratipras is to be regarded as a collective, ‘the opposition.’ Possibly both are accusa- tives, ‘overcome the debate and the debaters.’

sing. dependent upon prasam (cf. st. 7 a), in which case one should like to emend arasén in Pada d to arasim (cf. Ludwig). If not, pratipras is to be regarded as a collective, ‘the opposition.’ Possibly both are accusa- tives, ‘overcome the debate and the debaters.’

d. arasdn, with double entente, ‘without sap or moisture (in their throats), and ‘without force.’ Sdayaza, sush- kakauthan.

Stanza 2. a, b. The same hemistich occurs at V, 14,1; cf. I, 24, 1. Sayama, suparvah ... vainateyaz, i.e. Garutmant, Garuda.

But there is no myth in all this: the eye of the eagle, and the nosing boar find the secret seat of the plant.

Stanza 3.

Sayaza, in the teeth of the Padapa¢ha, comments both here and in the next stanza on taritave instead of staritave. The Samhita may be construed either way.

Stanza 5.

a. sdkshe (Samhita and Padapa¢ha), probably for sakshye (Sat. Br. I, 3,3, 13); cf our note‘on TV, 20,°7.

b. Sayanza glosses sélavvzkén by arawyasvanaf, in accord- ance with many other scholia, assembled by Weber, 1. c., p- 191. Doubtless jackals, as devourers of corpses, are meant.

Stanza 6.

For galashabheshaga, see Contributions, Fourth Series, Amer. Journ. Phil. XII, 425 ff., and cf. especially AV. VI, 44, 3.

Stanza 7.

d. Sdyaza, with some MSS., reads prasam for prasi

(prasam prash/aram vadinam mam uttaram .. . kuru).

II, 28. COMMENTARY TO PAGE 50. The hymn is counted in the Gazamala, Ath. Paris. 32, 4, as one of a list ‘calculated to bestow long life;’ see Kaus. 54, 11 note. It is worked up more especially in the

Il, 28. COMMENTARY. 307

—

godana, the ceremony of shearing the first whiskers of a youth. Father and mother, while reciting the hymn, hand the boy over thrice to one another and feed him with dumplings, prepared with ghee (Kaus. 54, 13. 14). Cf. Sankh. Grzh. I, 28, 15, and Asv. Grzh. I, 4, 4, where the related stanzas RV. IX, 66, 19-21 are rubricated, and, in sencral, Maite Erroneously quoted by Sadyava as Nakshatrakalpa.

Ill, 6. COMMENTARY. 335

The hymn has been translated by Kuhn, Die Herab- kunft des Feuers!, p. 224; Weber, Ind. Stud. XVII, 204 ff.; Grill?, pp. 21, 104 ff.; cf. also Zimmer, Altindisches Leben, pp- 58, 257. The Anukramavzi, vanaspatyasvatthade- vatyam. 7

Stanza 1.

Both asvattha and khadira are masculines, i.e. males ; hence the virility of the asvattha is, as it were, in the second power. The asvattha, moreover, is intimately related with the production of fire (cf. Tait. Br. I, 1, 3, 9), being in fact an embodiment of the lightning. Hence its special fitness for aggressively hostile practices ; see Weber's note, l. c.

Stanza 2.

The asvattha, moreover, is intimately related with the production of fire (cf. Tait. Br. I, 1, 3, 9), being in fact an embodiment of the lightning. Hence its special fitness for aggressively hostile practices ; see Weber's note, l. c.

Stanza 2.

b. Sdyaza reads vaibadha dodhata’ without support from the MSS. (Samhita or Padapatha). We have adopted this emendation which is indeed self-evident in the light of st. 7. It is of interest to note that the Pet. Lexs., Weber, and Grill felt constrained to resort to the same remedy. The name ‘ displacer’ for the asvattha becomes clear in the light of the natural history of the tree; see the introduction above, and Lassen, Indische Altertumskunde I?, 304 ff. Sayawza takes vaibadha as ‘sprung from the vibadha, i e. the khadira, the latter being so-called because it strikes with its thorns (kav¢akair badhate).

Stanza 3.

a. Sayaza with the Paippalada reads nir abhinaz (nir- bhidya utpannossi); some of Shankar Pandit’s MSS. (both Padapa//a and Sazzhita) support this by reading nirabhinno (niZ abhinnaZ); cf. Pada c.

b. Sayama, correctly, arvave antarikshe; cf. RV. VIII, Ss a eV, $11, 1

e. Sdyaza, the Paippalada, and some of Shankar Pandit’s MSS., nir bhinddhi; cf. Pada a.

Stanza 4.

a. Sayana, the Paippaladda, and some of Shankar Pandit’s MSS., sarati.

336 HYMNS OF THE ATHARVA-VEDA.

Stanza 7.

The stanza is repeated at IX, 2, 12 with the variant sdyakapravuttandm for vaibadhapravuttandm. The similes in this and the next stanza are put into practice in the rites of the Sitra; see the introduction above.

III, 7. COMMENTARY TO PAGE I65.

This hymn and the practices connected with it harbour the peculiar conception that the horn and the skin of the antelope have the power to drive out inherited disease. Kaus. 27, 29-31 we have the following performances: 29. ‘While reciting AV. III, 7 (the practitioner) fastens (an amulet made from the horn of an antclope upon the patient), gives him (water) to drink, lets him rinse himself (with water), and at the time when the stars fade away (at dawn) he sprinkles him with water which has been warmed by quenching in it the kindled piece of antelope’s skin pierced by the peg with which it is fastened (when it is spread out) !. 30. From a heap of undetermined measure he offers as much barley (cf. AV. II, 8, 3) as can be taken up by a single grasp (of the hand). 31. He gives food (to the patient). The relation of the antelope and the practices to the kshetriya are extremely obscure. Again as in II, 8 it seems to rest upon a rapprochement with kshetra, ‘ field, at least if we trust the vague suggestion of the obscure stanzas, Vag. S. XXAIT, go. 31s’ Maite. S. Tit 3,. 13° Lait 4; 19, 25 ch'also Tait. Bro Til) 6) yy2's" Sater At eee 8. Here the antelope is said to eat grain (yad dharixo6 yavam atti; cf. yava in Kaus. 27, 30). But we are

S. XXAIT, go. 31s’ Maite. S. Tit 3,. 13° Lait 4; 19, 25 ch'also Tait. Bro Til) 6) yy2's" Sater At eee 8. Here the antelope is said to eat grain (yad dharixo6 yavam atti; cf. yava in Kaus. 27, 30). But we are

" The words ‘he sprinkles him, &c.’ to the end of the sentence are all of them a paraphrase with the help of the scholiasts of the . words sankudhanagvalena ... avasi#dati. For sankudhana, see Kaus. 26, 16, as explained in the introduction to I, 22 (p. 263); for avagvala, cf. also Kaus. 28, 2, in the introduction to IV, 6 (p. 374), and Kaus, 24%; 33% 20,9; 40,05 aes

III, 7. COMMENTARY. 337

attempting to explain obscurum per obscurius, Perhaps the swiftness of the animal (st. 1) symbolises the rapid removal of the disease. The skin of the antelope is used for an amulet at Kaus. 16, 3, the horn at Sat. Br. III, 2, 2, 20; Apast. Sr. X, 9, 17; SAntikalpa 17, and 19. We must not forget, of course, that vishav4, ‘horn,’ suggests vi shyati, ‘loosen,’ and that the entire employment of the horn may therefore be in its capacity as a ‘loosener’ of disease (cf. the introduction to VI, 44). The hymn puns freely upon these words; cf. sts. 1, 2. In general there are many points of contact between Kausika’s practices and the stanzas. The first two stanzas occur (with variants) at Apast. head, 7, 105 pine second ib. A, Fo; 9-° The hymn has been translated by Weber, Ind. Stud. XVII, © 208 ff.; Grill*, pp. 8, 105 ff. The Anukramazt has, sap- tarkam yakshmandasanadevatam uta bahudevatyam, 4nush- tubham, bhvzgvangira adyabhis tisyzbhir harizam astaut, paraya (st. 4) tarake, parayé (st. 5)spah, parabhy4m (sts. 6, 7) yakshmandsanam. Stanza 1.

a. At Apast. Sr. XIII, 7,16 most MSS. read raghush- yato, genitive of the participle raghushyant, but two MSS. report the reading of our text.

e, d. vishdvaya vishi#inam are in punning alliteration with one another and with vi shyati, ‘loosen’ (understood ; cf. vishaze vi shya in st. 2).

Stanza 2.

b. For padbhis the Apast. Sr., ib., reads padbhis; see our Contributions, Second Series, Amer. Journ. Phil. XI, 350 ff. (cf. also Sat. Br. XIII, 2, 7, 6), and especially pp. 352-3, where we have endeavoured to prove that the expression ‘ with (four) feet’ has come to have the general value of ‘quickly, nimbly, briskly.’ The fact that human beings have but two feet, the swifter animals four, is of far greater salience to the Hindu mind than to ours; cf. Maitr. S. I, 5, 10 (p. 78, 1. 12), Ait. Br. III, 31, 13, and especially Tait. S. V, 4, 12, 1.

(42) “

338 HYMNS OF THE ATHARVA-VEDA.

e. Two of Shankar Pandit’s MSS. have gulphitam for gushphitam; they are supported by Sdyawa (gulphitam gulphavad grathitam), and the unanimous reading of the MSS. at Apast. Sr. X, 10, 3; XIII, 7, 16. Another variant of the word is gushditam, Sat. Br. ITI, 2, 2, 20.

Stanza 3.

b. ‘The- roof with four wings (sides)’ alludes vaguely to the antlers of the antelope, compared with the roof upon a house; the exact meaning of paksha, as part of a house, is not clearly defined; see our notes on AV. IX, 3, 4. 21. Sayaza, katushkonam &hadir iva. Possibly Grili is right in translating ‘a roof which rests upon four posts ;’ he thinks that the four feet of the animal (st. 2) are compared with

posts. Stanza 4.

The stanza is closely parallel with II, 8,1; see the dis-

cussion there. Stanza 5.

Parallel passages, at RV. X, 137,.6:; AN. VIj\oF, 3, mark the stanza as formulaic; its connection with the rest of the stanza is probably purely liturgical. The hymns of the third book are theoretically entitled to six stanzas only (or to six stanzas at least); see AV. XIX, 23, 3, and cf. the literature cited in Amer. Journ. Phil. VII, 470 (bottom).

Stanza 6.

a. Weber translates asute/, ‘through the act of propaga- tion. This would comport well with hereditary disease, but does not accord with the use of the word and the root 4 su in general. Sdyava, strikriyamazdya asuteh, asiyate asixyate ity 4sutir dravibhdtam annam.

b,d. Note the alliteration between vyanasé and nasayami.

Stanza 7.

d. I have, very hesitatingly, construed apa ... ukfatu transitively, in accordance with the usual force of the ex-

[Il, 9. COMMENTARY. 339

pression, and the close parallelism with TI, 8, 2 ¢, d (cf. also VI, 83,,1), where kshetriydm is an accusative dependent upon apa ...uatu. For the subject of the verb cf. sa in st. 1. Perhaps apavasé in Padas a, b is also to be taken transitively, ‘when the constellations shine away (as they fade out in the morning the evil powers of night), &c.’ Sdayavza, as the Pet. Lex. s.v. Apa vas, construes all the derivatives from root vas in this stanza intransitively; cf. our note on IT, 8, 2.

III, 9. COMMENTARY TO PAGE 67.

The hymn, one of the most perplexing in the AV., is directed against a variety of bodily disorders, or demon- iacal forces, among which vishkandha and kabava stand out most clearly. For vishkandha see our discussion in the introduction, and in the note on the first stanza of IT, 4. The Kausika rubricates the hymn at 43, 1, 2, where Darila describes the performance as a pisdkanasanam, Kesava (and Sayaza in his introduction) as a vighnasamanam, to wit: 43, 1. ‘While reciting IIT, 9, an amulet of aralu (calosan- thes indica, a tree) is fastened (to the sufferer) by a red- dish brown thread (cf. st. 3); he is given a staff to carry (cf. st. 2), and he also carries a weapor?. 2. He is fumi- gated with (the smoke of burning) grain-chaff.’

‘While reciting IIT, 9, an amulet of aralu (calosan- thes indica, a tree) is fastened (to the sufferer) by a red- dish brown thread (cf. st. 3); he is given a staff to carry (cf. st. 2), and he also carries a weapor?. 2. He is fumi- gated with (the smoke of burning) grain-chaff.’

The hymn has been translated by Weber, Ind. Stud. XVII, 215 ff. The Anukramawt designates it as dyavaprz- thiviyam uta vaisvadevam.

Stanza 1.

a. The Pet. Lexs. and Weber see in karsapha and vis- apha (both am. Aey.) the designations of certain demons or diseases (Weber, ‘des Abmagernden, Durchdringenden’). SAyana operates on the same line by means of character- istic etymologies, karsaphasya (karasaphasya) krzsasaphasya

ee Se OnE

? The commentators prescribe that the staff shall be anointed with the dregs of ghee and then be polished off, as in Kaus. 23, 11. The same treatment is also prescribed for the weapon,

340 HYMNS OF THE ATHARVA-VEDA.

va svapadasya vydghrade/, visaphasya vigatasaphasya spardhamanapurushakdlasarpadeZ vispash/asaphasya va kriragomahishaded. But the statement that beneficent heaven and earth are father and mother of demons is startling !; the usual Atharvanic way is to say that heaven and earth are the parents of some curative plant: III, 23, 6; VIII, 7, 2, &c. There is nothing in the way of such an interpretation, and it is to be noted that the amulet of aralu-wood, Kaus. 43, § (see above), is not otherwise indi- cated in the hymn. I do not venture to decide.

Stanza 2.

a. Sdyava with some MSS., both Samhita and Padapa/Za, and the Paippalada read asleshmazak for asreshmazah. Our translation is purely conjectural. Sdyavza depends upon the practices of the Sitra: ‘They (the people) carried the aralu-talisman, the staff, &c., being asleshmavzaf, i.e. unaffected (aslish¢az) by troubles, &c. ;’ or, ‘the gods, being free from phlegmatic diseases (sleshmopalakshitatridosha- dashitasarirarahitaZ), carried them.’ The first of these suggestions, barring the precision of its application, appears to contain something of the truth.

Stanza 3.

a. Sdyaza, quoting in support RV. II, 39, 4, and relying upon Bharatasvamin’s interpretation, renders khv¢galam by tanutrazam, ‘ protection of the body,’ and Kausika’s opera- tions seem to render this quite likely: he prescribes the fastening of an amulet by a reddish-brown thread. But in the RV., khv¢galesva visrdsak, the word seems to mean ‘crutch, support.’

ce. Sayaza with some MSS., Samhita and Pada, and the Paippalada read sravasy4m; kabava is explained charac- teristically as follows: kabud karburavarzak krira/ prazi, tatsambandhi vighnad kabavas.

* It seems, however, to derive support from RV.I, 191, 6, which Sayava quotes very aptly.

Ill, TI. COMMENTARY. 341

* It seems, however, to derive support from RV.I, 191, 6, which Sayava quotes very aptly.

Ill, TI. COMMENTARY. 341

d. bandhura%, apparently plural of bandhur, is hopelessly obscure; our translation ‘fastenings’ is no better than Séyaza’s asmabhir baddha&, or his alternate bandhura% asmabhir dharyamazak manzidamdadayah. The word ought to be identical with the stems vandhur, RV. I, 34, 9 (trayo vandhiraz ; cf. trivandhura), bandhura, and vandhtra, ‘the seat of a wagon. The matter is complicated still further by bandhura with discordant accent in st. 4.

Stanza 4.

The basis of this translation is again very unstable owing to the word bandhura which is lexically and grammatically obscure. Sadyaza presents an entirely different result: ' ‘O ye people who desire glory (by conquering the enemy), but go (into battle) bewildered as the gods by the wile of the Asuras, may your weapons (bandhura sambaddha dhrzta khadgadirfiipa hetiz!) destroy the kabava as the ape the dog!’

Stanza 5.

Sayava upon the basis of many MSS. (both Samhita and Padapazha) reads bhatsyami (badhnami). Shankar Pandit adopts this reading. In Pada d, Sdyava with some MSS. reads arishyatha for sarishyatha ; cf. st. 4.

III, 11. COMMENTARY TO PAGE 49.

This hymn, whose first four stanzas are essentially the same as RV. X. 161=AV. XX, 96, 6-9, must have originally had the general value indicated by our title. But the Sfittra (Kaus. 27, 32-33) specialises, and directs its employment against gramya (sc. vyddhi), ‘venereal disease,’ (Darila, mithunasasvyogat). Kesava prescribes it against children’s diseases and venereal diseases (balarogagrzhite ka maithunadoshabhaishagyany ufyante . . . maithunaraga- yakshmami bhaishagyam); Sdyawva, against diseases of children, or disease contracted from women (balagraharoge nirantarastrisasgatiganitayakshmami fa). The practices

342 HYMNS OF THE ATHARVA-VEDA.

are as follows: 27, 32. ‘While reciting the hymn the patient is given to eat a porridge containing rotten fish’. 32. He is taken to the forest*, and (in the morning), when the constellations begin to fade, he is sprinkled with water which has been warmed by quenching in it burning sesame, hemp, cow-dung, and sacred firewood ® (all gathered in the forest).’ :

The hymn figures in the takmandsanagaza (Ath. Paris. 32, 7), and the ayushyagawa (ib. 32, 4) of the Gazaméla ; see Kaus. 26, 1 note; 54, 11 note. See also 58,11, and Vait. Sd. 38, 1. Stanza 4 is quoted in Ath. Paris. 18%, 1. The Anukramazi, aindragnam ayushyam. The hymn has been translated by Weber, Ind. Stud. XVII, 231. There is no basis, as far as can be seen, for his caption, ‘Bei schwerer Geburt.’

Stanza 1.

For the disease ag#atayakshma (cf. AV. VI, 127, 3), and ragayakshma, see Wise, Hindu System of Medicine, p. 321 ff.; Grohmann, Ind. Stud. IX, 400; Zimmer, p. 375 ff.

Stanza 2.

d. Most of Shankar Pandit’s and, apparently, all of Roth and Whitney’s MSS. read dsparsam. Sayama, as the vulgata, asparsham (prabalam karomi).

AV. VI, 127, 3), and ragayakshma, see Wise, Hindu System of Medicine, p. 321 ff.; Grohmann, Ind. Stud. IX, 400; Zimmer, p. 375 ff.

Stanza 2.

d. Most of Shankar Pandit’s and, apparently, all of Roth and Whitney’s MSS. read dsparsam. Sayama, as the vulgata, asparsham (prabalam karomi).

Stanza 3.

a. The divine attribute ‘thousand-eyed,’ predicated to Indra, Agni, Vishvu, &c. (see Pet. Lex. s. v. sahasraksha), is here transferred to the powerful oblation. Cf. the note on IV, 20,4")

— ee

' For pfitisapharf, see Kausika, Introduction, p. lii.

* In order to wipe away the effects of the dissolute habits of the village (gramya).

* For gvala, cf. Kaus. 27, 30 in our introduction to ILI, 7 (also Kaus. 28, 2; 29, 8). For santa, see Kaus. 8, 15. 16.

III, 12. COMMENTARY. 343

Stanza 8.

The correlation of the hymn with diseases of children (Kesava and Sayavza) is based upon this stanza. Kausika, however, has other matters in mind.

III, 12. COMMENTARY TO PAGE 140.

The hymn forms in the ritual a part of a gaza or series entitled vastoshpatiyani (sc. siktani), ‘hymns pertaining to Vastoshpati, the lord of the homestead, Kaus. 8, 23 ff. (see index B, p. 384°, of the edition). More specifically it is employed in Kaus. 43, 8-11 as part of an extensive ceremony at the erection of a house entitled by the Atharva- Paddhati (see p. 118, note 11) as brihakkhalakarma, ‘ the great ceremony of house-building,’ in distinction from a less elaborate ceremony at Kaus. 23, 1 ff., entitled laghu- salakarma (see p. 61, note 12).

The performances-at Kaus. 43, 3 ff. begin with-an intro- ductory rite in connection with AV. VII, 41, designed to remove obstacles in the way of the builder; apparently this is known by the special name of syenaydga, or syenegya. See the discussion of this somewhat obscure point in the fifth series of our Contributions, Journ. Amer. Or. Soc. XVI, p. 12. Then the materials for building are brought on, and the excavation for the house is made, and next the actual work of erection is accompanied by the recitation of the stanzas of our hymn, to wit: 43, 8. ‘The hymn AV. III, 12 is recited while the (central post’) is being fixed and erected. 9. Having anointed it, the sixth stanza of the hymn is recited while the act stated in it is being performed (i. e. while the cross- beam is being placed upon the post). 10. Having taken a pitcher of water, and the fire, they enter the house while reciting the eighth stanza. 11. (The house) is rendered

* So according to Darila, madhyamasthiim4m ; Kesava and Ath. Paddl.., more generally, salam. Cf. Hir. Greh. I, 27, 2, dvarasth(- nam urkhrayati ; also Apast. Grzh. VII, 17, 3.

344 HYMNS OF THE ATHARVA-VEDA.

firm by reciting the two ‘ firm’ stanzas (dhruvabhyam, sts. 1 and 2). The ceremonies are concluded in Kaus. 43, 12-15 with sprinkling the house, the recitation of more mantras, an especial oblation to Vdstoshpati, feeding the Brahmans, and final blessings. )

344 HYMNS OF THE ATHARVA-VEDA.

The hymn has been treated by Ludwig, Der Rigveda, III, 463; Zimmer, p. 150 ff.; Weber, Ind. Stud. XVII, 234 ff.; Grill?, pp. 59, 108 ff.; cf. also Hillebrandt, Veda- chrestomathie, p. 45. The Anukramazi designates the hymn as saldsiktam, and vdstoshpatisaladaivatam. -Similar themes are treated in Asv. Grzh. II, 8; Par. Grzh. III, 4; Sankh. Grth. III, 2, 3; Hir. Grzh. I, 27; Apast. Grzh. VII, 17: Apast. Mantrabr. II, 15; Bharadvaga’s Grzh: II, 3; cf. Oldenberg, Sacred Books of the East, vol. xxix, pp. 92, 212, 345 ff.

Stanza 1.

a, b. The words dhruvds and kshéme convey each the idea of good settlement, and sound foundation; cf. Vag. S. XVIII, 7; Tait. S. IV, 7, 3,1, ksémas ka dhrétis ka, and RV. I, 73,4; VII, 88, 7, dhruvdsu kshitishu. Hence the renderings of Ludwig, Weber, and Hillebrandt ‘im gliicke, in-frieden, &c., do not quite catch the point. Cf.also AV. UES vig

d. upa sam karema seems to convey the idea of close union. In the only other passage quoted by the Pet. Lex. it refers to sexual intercourse, bhartaram upasaszkaret (Brzhat-Samhita 77, 26). SAyaza, vyavaharema.

Stanza 2.

The wording of the stanza is formulaic. In Par. Gvzh. II, 17, 9 Pada b is applied to the furrow of the field; see also the other Grzhya-texts, cited in the introduction.

For sinv¢tavati, ‘full of abundance,’ see Oertel in the Proceedings of the Amer. Or. Soc., May, 1891 (Journ., vol. xv, pp. xcv ff.), and our Contributions, Fifth Series, ib. XVI, p. 19. Ludwig, ‘reich an trefflichkeit ;’ Zimmer, ‘ reich an wonne;’ Weber, ‘reich an frohen liedern;’ Hillebrandt, ‘reich an lieblicher rede ;’ Grill, ‘ reich an herrlichkeiten,’

III, 12. COMMENTARY. 345

Stanza 3.

Hillebrandt and Grill regard the first two Padas as defective, but they are anush¢ubh, no poorer than many others inthe AV. The Anukr., brzhati.

a. dharuzi is in intentional relation with dhruvad, hence ‘a supporter ;’ cf. Tait. S. IV, 3, 7, 2. Grill, ‘ vielfassend, vielbergend;’ Zimmer and Hillebrandt, ‘ geraumig.’ The Pada is catalectic.

b. brzhakkhandaZ, ‘ with broad roof. The translation is problematic, the word being dz. Aey. AAandas does not by itself ever occur in the meaning ‘ roof’ (k#adis, £adman). Some support may be derived from st. 5c, tv/nam vasana, since in Hir. Grzh. the roof is smoothed with a stanza containing the same Pada. The words there used are khannam (sc. salam) abhimrzsati. Sayaza, prabhitakha- dana, mahadbhis Aandobhir devair upeta va. For pfiti- dhanya? of the text of the Saunakiya-sakha, the Paippalada reads pfitadhany4; this underlies our translation. (Cf. paripditeshu dhanyeshu, Manu VIII, 331, and perhaps also the expression krzta dhanaZ, RV. III, 35, 7.

Sayaza, prabhitakha- dana, mahadbhis Aandobhir devair upeta va. For pfiti- dhanya? of the text of the Saunakiya-sakha, the Paippalada reads pfitadhany4; this underlies our translation. (Cf. paripditeshu dhanyeshu, Manu VIII, 331, and perhaps also the expression krzta dhanaZ, RV. III, 35, 7.

d. Cf. Sankh. Gvzh. III, 3, 9, 4 syandantas dhenavo nityavatsaZ. The majority of Shankar Pandit’s MSS. (both Padapaz/a and Samhita) read 4spandamana&.

Stanza 4.

ce. Most MSS., and the editio princeps, read u#fZantu ; Sayawa, Shankar Pandit, with some MSS., and the Paippa- lada, ukshantu, the basis of our translation. Again, our translation presupposes the reading udnd& for unnd of the edition: the MSS. read utné (cf. VII, 45,2; VII, 18, 1, and the Index Verborum, p. 67). The Paippaldda, Shankar Pandit with some of his MSS., and Sayama have udnd; cf. RV. I, 85, 5, (maritaz) udabhir vy wundanti bhfima.

1 Sdyana, with desperate literalness, pftigandhopetagirmadh4nya- yukt4, ‘ endowed with evil smelling, old, grain!’ Ludwig suggests pratidh4ny4 or pratidh4ny4, ‘ gut zu verschliessen.’

346 HYMNS OF THE ATHARVA-VEDA.

d. For ni tanotu, cf. AV. VII, 90, 3; VII, 31, 3, and the plant nitatni, used to prevent the falling out of hair at AV. VI, 136, 1. Sayava, nitaram karotu.

Stanza 5.

a. The words manasya patni are addressed directly to the house (sal4), as may be gathered from IX, 3, 21; the house, after it is erected, is deified, since the weal or woe of its inhabitants are now dependent upon its behaviour. Sayana, mananiyasya vastupate% patni, ‘O wife of Vastupati who is to be honoured!!’ Grill’s etymological combinations — are superfluous; his comparison of Zend nmané-pathni and nm4n6-paiti (Gathic, demana) contrary to phonetic law. Ludwig and Weber, ‘herrin des maasses ;’ Ludwig at IX, 3, 5 ff.(Der Rigveda, III, pp. 464-5), ‘ herrin des verweilens ;’ Zimmer and Hillebrandt, ‘ genie des baues ;’ Grill, ‘ hort der mst

b. Sdyava reads nirmita for nimita.

Stanza 6.

a,b. The expression 4 roha, ‘ascend, harbours two double ententes, borrowed from other well-known events in life. First, sexual connection, in a manner similar to the union of the’two sticks with which fire is churned (see e.g. VI, 11, 1, and cf. III, 6,1); secondly, the various acts of ascend- ing which form parts of the consecration of a king, the ragastiya (cf. Kaus. 17, 3.9; AV. IV, 8). The rule of the king is indicated clearly in the next Pada (cf. AV. I, 10, 1), and in the anointing of the post, prescribed at Kaus. 43, 10. The word virégan in Pada b, which we have rendered ‘ruling, again suggests the alternate meaning, ‘shining ;’ cf. ‘the shining roof’ in AV. III, 7, 3. The vamsa is a very important part of the house ; sometimes it splits, and elaborate performances are prescribed in Kaus. 135 to meet that misfortune.

* Still worse is the alternate interpretation, mtyamanam dhan- yadikam manam tasya patni p4layitrz.

Ill, 12. COMMENTARY. 347

III, 7, 3. The vamsa is a very important part of the house ; sometimes it splits, and elaborate performances are prescribed in Kaus. 135 to meet that misfortune.

* Still worse is the alternate interpretation, mtyamanam dhan- yadikam manam tasya patni p4layitrz.

Ill, 12. COMMENTARY. 347

ce; d. Both Paddas are hypermetric; the first may be mended by excluding gvzhd4z4m (so in our version), which seems to have crept in from st.gc; the second by chang- ing sdrvavirah to suvirak or sdvirak. The'translators render upasattdro, erroneously, by ‘inmates;’ this is certainly incorrect, as may be gathered from Vag. § XXVII, 2. 4, m4 a rishad upasattd te agne; AV. II, 6, 2, ma te rishann upasattdro agne. Sdyava, upavadanakartarak; Ludwig, fancifully, ‘nicht sollen dich verletzen die belagerer der hauser !’ |

Stanza 7.

Occurs with many variants in the Grzhya-sitras of Asv., Par., Sankh., Hir., Apast., Bharadvaga, Manava; see the introduction, and Professor Kirste’s edition of the Hiramzya- kesin, p. 54, notes.

b. The reading gagata saha, alsz in Hir. and Bhar. ; M4n. has gagada saha; Par. gagadai# saha; the pine texts show still greater differences. For gagat, see Zimmer, p 150,and AV. 1X, 3,17. Oldenberg in the Sacred Books, vol. xxix, pp. 345, 395, and ee p. 205 renders both gagat and gagada by ‘companion;’ Ludwig, ‘mit dem lebenden;’ Weber, ‘nebst allem was sich riihrt.’ The others,-as above. Sayava, gamanasilena gavadina saha.,

e, d. Sayavza has kumbhaz which approaches the reading of Sankh., kumbhy4/; and kalasir, like Apast, and- Bhar. The last seems preferable to kalasair of our texts; cf. the note on VI, 59, 2b.

Stanza 8.

Im the Paippalada this stanza is wanting here, appear- ing (with variants) in another hymn; Grill in his transla- tion places it before stanza 7, without a statement of his- motive. Cf. Kaus. 43, 10; Vait. Si. 16, 1 (with the vikara, adhvaryo for nari), and in general AV. 1X, 3, 22,and Raus. 66, 25.

e. Sayana reads patrim and samindhi (samdiptan kuru). Shankar Pandit, with most of his MSS., reads im4m patrén, referring im4m to the house.

348 HYMNS OF THE ATHARVA-VEDA.

d. Weber emends, abhi ksharaty enan, but neither change is necessary. See II, 12, 4, ish¢apirtam avatu naz.

Stanza 9.

Identical with AV. IX, 3, 23, and quoted frequently in the Atharva-Parisishzas (16; 19%, 3, &c.).

III, 13. COMMENTARY TO PAGE 146.

348 HYMNS OF THE ATHARVA-VEDA.

d. Weber emends, abhi ksharaty enan, but neither change is necessary. See II, 12, 4, ish¢apirtam avatu naz.

Stanza 9.

Identical with AV. IX, 3, 23, and quoted frequently in the Atharva-Parisishzas (16; 19%, 3, &c.).

III, 13. COMMENTARY TO PAGE 146.

The first six stanzas of this hymn recur in Tait. S. V, 6, 1, 2-4; Maitr. S. II, 13, 1, in connection with certain oblations of water (kumbheshzakaZ, or apas grahaZ), and they are evi- dently originally atthome in the Yagus-ritual. The etymolo- gical puns, heaped up in the first four stanzas, explain the various names of water quite in Nirukta and Brahmavza-style. The seventh stanza does not occur in the Yagus-samhitas ; it is the one that is characteristically Atharvanic : it narrows down the general subject of the praise of the waters to the special subject in hand, the deflection of a river from its course’. The Kausika, 40, 1-6, supplies the very inter- esting practices engaged in for the same purpose, to wit: ‘1. He who desires that a river shall go a certain way, walks along that way, pouring out water, while reciting the pre- sent hymn. 2. He sticks up the (kinds of grass or reeds called) kasa, dividhuvaka, and vetasa*. 3. While reciting st. 7 a, he places gold upon the mouth of the river (that is, the point from which the river shall branch into the desired channel). 4. With st. 7 b he ties a frog, striped like the reed-plant ishika, through the arm-pits (pits of the fore- feet) with two threads, one red and the other blue® (and places him into the outlet). 5. With st. 7 c he envelopes

* For its employment in the Vaitana-sfitra, see the note on the stanza.

* For the explanation of these varieties of water-plants, see Darila and Kesava. Sayama, kasasaivalapaserakavetasasakhah.

* Cf. the introduction to VII, 116, and the notes on IV, 17, 4; VIII, 8, 24.

III, 13. COMMENTARY. 349

the frog in an avaka-plant (blyxa octandra)!. 6. With st. 7 d he pours water (over the frog)”

The symbolism of these performances is unmistakable: they anticipate the presence of the water with all its life. The gold (40, 3) reflects ‘the golden-coloured, clear, pure waters’ (AV. I, 33, 1: see also st. 6 of our hymn); the river grasses and reeds symbolise the river-vegetation. Above all the frog, securely tied so that he cannot leap away, and the water-bringing avaka affiliate this practice with one of the most interesting practices of Vedic common life ; see our article, ‘On a Vedic group of charms for extin- guishing fire by means of water-plants and a frog,’ in the second series of Contributions, Amer. Journ. Phil. XI, 342 ff.

The hymn has been translated by Weber, Indische Studien, XVII, 240 ff.; cf. also Bergaigne et Henry, Manuel Védique, p. 143. The Anukramazi, varuzam (cf. Kaus. 40, 7), uta sindhvabdaivatam.

Stanza 1.

Journ. Phil. XI, 342 ff.

The hymn has been translated by Weber, Indische Studien, XVII, 240 ff.; cf. also Bergaigne et Henry, Manuel Védique, p. 143. The Anukramazi, varuzam (cf. Kaus. 40, 7), uta sindhvabdaivatam.

Stanza 1.

The etymologies in this and the next three stanzas are dominated by that punning spirit which has made etymo- logy by far the feeblest product of the linguistic endeavours of the Hindus. In the present instance, however, the deri- vation of nadi, ‘river, from nad, ‘roar,’ is likely enough. The mythological event alluded to is the well-known rush of the waters over the dead body of the (cloud-) dragon Vritra, slain by Indra; cf. e.g. RV. I, 32.

Stanza 2.

Varuma (and Mitra) are also instrumental in procuring water, but it is rather the quiet streaming down of refresh-

? Cf. Amer. Journ. Phil. XI, p. 349, and add Sat. Br. XIII, 8, 3,13; Laty. Sr. Ill, 5, 13 ff.

? Kaus, 40, 7-10 continues with an expiatory performance, con- sisting.chiefly of oblations to Varuma, the god of the waters, in case this new watercourse should threaten the surrounding country with an inundation. The hymn is employed further with many others at Kaus. 41, 12 for sprinkling certain oblations, offered by one about to start upon a business tour. Cf. also Ath. Paris, ro.

350 HYMNS OF THE ATHARVA-VEDA.

ing rain, than the storm-flood at the time of the monsoon. The notion of conquest by thunderbolts, as weapons used against demon serpents, is not present. See Bergaigne, La Religion Védique, III, 122 ff. (especially pp. 125-6). The root valg, which here represents the motion of the waters, seems to contain an almost playful touch: it is used of the gamboling of animals. The allusion to Indra’s ‘meeting of the waters as they went’ is obscure. The Maitr. S. reads samprakyuta for yat préshita.

Stanza 2.

b. The lexicons and the translators derive avivarata from var, ‘enclose. Sdyavza, correctly, it seems to us, from var, ‘choose,’ avivarata vrvztavan yushman svatmasat kartum aikkhat. What sense is there in saying of Indra that he hindered the waters, and when did the waters flow against his will (‘ contre le gré d’Indra, Bergaigne)? An obvious paradox. Soma is said, RV. IX, 94, 1, to purify himself by acting wisely in choosing the waters: apd vvimzanah pavate kaviyan; cf. also V, 48, 1. Indra here is said to appro- priate the waters for his purpose, the benefaction of men.

Stanza 4.

An obvious paradox. Soma is said, RV. IX, 94, 1, to purify himself by acting wisely in choosing the waters: apd vvimzanah pavate kaviyan; cf. also V, 48, 1. Indra here is said to appro- priate the waters for his purpose, the benefaction of men.

Stanza 4.

The exact mythic attitude of this stanza is not clear. Is Indra the subject of apy atish¢Zat or some god hindering, or trying to hinder? Cf. RV. VIII, 6, 16: ‘ He, O Indra, who lay confining thy great waters, him didst thou smite.’ Cf. also RV. I, 32, 12, where one god, or a certain god (deva éka), resists Indra. The verb apy atish¢Zat means either to stand upon (so Sayawa, adhyatish/¢fat), or ‘ stand in the way’ (Pet. Lex.). We incline to the former view. The way in which the word mahir in Pada c is utilised is somewhat obscure: it seems to be brought in partly for the sake of furnishing an etymological basis (sit venia verbo) for the m of udakdm, and partly (note the iti), to infuse a dash of archaism into the reminiscence.

Stanza 7.

This seems to be distinctly ritualistic (sautra).in charac- ter. The calf may be the frog of the Sitra above. Cf.

III, 14. COMMENTARY. 351

also its use in Vait. Si. 29, 13, for which see the intreduc- tion to VI, 106. The waters are cows, because the frog, the water-animal, is their child. Or the new river-bed may be'the calf; cf. RV: U1, 33, 1.

III, 14. COMMENTARY TO PAGE 143.

For the employment of the hymn in the ritual, see our introduction to II, 26. Cf. also Ath. Paris. 16. The Anu- kramavi, ndnddevatyam uta goshfdadevatakam. Previous translations: Ludwig, Der Rigveda, III, 469; Weber, Ind. Stud. XVII, 244 ff. ; Grill”, pp. 64, 112 ff.

Stanza 1.

c,d. Sdyava defines ahargata by ahany-ahani gdayate. The expression occurs once more, V, 28, 12, and ‘aus- picious’ comes very near to its sense. Its opposite is anahargata, Sankh. Sr. XIV, 51, 2-5, ‘born on an unlucky day ’=papanakshatre gatak, Kaus. 46, 25, and elsewhere. Cf. Weber, Nakshatra, II, 314-15 note. LEither it is, ‘born on a good (puvya) day,’ or ‘ born by day in distinction from night’ (cf. naktamgAta, I, 23, 1). The word adréshaa, II, 31, 2; RV. I, 191, 1 ff., &c., would then approach the opposite meaning. Cf. aharbhdg and ahard7/s. ‘With the name’ may mean ‘with the kind, or species;’ cf. V, 4, 8.

Stanza 3.

Both milk and honey are frequently added to the Soma. Hence the milk is here spoken of as honey, Soma being the middle term as it were. Cf. Hillebrandt, Soma und ver- wandte Gdotter, pp. 219, 238 ff.

Stanza 4.

b. sdke«va (Padap. saka iva) has occasioned unnecessary discussion. The word is not treated at all independently in the lexicons. The Western authorities generally regard it as acc. plur. neut. of sdkrit, saknds, &c. Sdyama’s saka

219, 238 ff.

Stanza 4.

352 HYMNS OF THE ATHARVA-VEDA. makshika has good support in the literature. At Tait. S. V, 5,12, 13. Maitr. S.. ITI,,44,.13 5. Vagy S. KXIVG 32 the word occurs in connection with other animals (Mahidhara, sakunti; Madhava, sakaé makshikesty eke, dirgha-karzo mvigavisesha ity apare), and as the word is preceded or followed there by suka, ‘parrot,’ and sari (see the note on st. 5), there is no doubt but what Sdyava has hit the paint I should not be surprised to find the saka identical with the kvzsa, mentioned at Kaus. 10, 2, along with suka and sarika. Cf. also Tait. S. V, 5, 18, 1, and commentary. Grill suggests an improbable remedy, sékeva=sdka(m) iva or saké iva, ‘like vegetables’ (cf. German, ‘ wie ’s unkraut’).

Stanza 5.

b. sdrisdkeva (Padap. sarisaka iva) is doubtful. SAyavza, héiplessly, kshazena sahasraso =bhivardhamanaZ prazivi- seshak ; the suggestion seems incredible even from Sayaza. sari (=sari, sarika, and sarika) is a certain bird which, like the parrot (suka), imitates the human voice; see Tait. S. V, 5, 12,.15Maitr.°S. TIT, 14,445 Vag. Si: KAD eee appears there in connection with suka, ‘parrot,’ and saka (cf. st. 4). It seems hardly possible that our passage does not harbour these very two words, and accordingly I have emended to sarisukeva (= sarisukah iva, with double sandhi). Cf. also Kaus. 10, 2. The translators have again endea- voured to find sakvzt, saknds in the second part of the word. For further suggestions, all of which seem to me to be silenced by the considerations advanced in this and the preceding notes, see Grill, 1. c.

III, 15.. COMMENTARY TO PAGE 148.

The Satra rubricates the hymn in various non-significant practices. At Kaus. 50, 12 the merchant, while reciting the hymn, sets up (or, loads up) his ware (or, his shop), after it has been anointed with the dregs of ghee. At 59, 6 the person who desires merchandise recites the hymn. Cf. Gobh. IV, 8, 19 ff.; Khad. IV, 3, 7. The hymn is also

Ill, 15. COMMENTARY. 353

worked up in the comparatively late indramaha or indra- mahotsava festival, Kaus. 140,16; Ath. Paris. 1g1!; and sts. 7, 8, which are scarcely connected with the body of the hymn, are rubricated in Kaus. 70, 13.14. The Anukramazi, vaisvadevam utaisndragnam ; the author is pazyakamo stharva.

Previous translations: Ludwig, Der Rigveda, II1, 215 ; Zimmer, p. 258; Weber, Ind. Stud. XVII, 247 ff.; Grill’, pp. 69, 113 ff. Cf. also Hillebrandt’s Vedachrestomathie, p. 38.

Stanza 1,

70, 13.14. The Anukramazi, vaisvadevam utaisndragnam ; the author is pazyakamo stharva.

Previous translations: Ludwig, Der Rigveda, II1, 215 ; Zimmer, p. 258; Weber, Ind. Stud. XVII, 247 ff.; Grill’, pp. 69, 113 ff. Cf. also Hillebrandt’s Vedachrestomathie, p. 38.

Stanza 1,

Indra who gathers in the stakes at all contests (dhana- git, dhanamgaya) is their possessor (Tsana), and hence in the | position to bestow wealth (dhanada). The same attributes are given to Agni in various passages of the RV., justifying the appeal to him in the sequel (st. 3 ff.).

Stanza 2.

The first two Padas are repeated in a different connec- TMEV al SS, Lo Glo balks, Se My J yciter Se

Stanza 3.

Cf. RV. III, 18, 3, where the stanza occurs in its proper connection. The word ikkamdno doubtless suggested its adaptability for the present mixtum compositum.

Stanza 4.

The brackets about the two first Padas are designed to show the looseness of the connection with the rest; but there is no reason for doubting that they were put here by the Atharvan poet. They were put here because they speak of the ‘far road which we have travelled.’ Sdyava treats them as an independent (fourth) stanza, and then continues with the following divisions, thoroughly subver- sive of good sense: our 4 b-f and 5a, b (six Padas)=5; our 5 c,d and 6a, b=6; our 6c,d=7; our 7=8; our 8=g.

a. Weber emends sarazim to sarazim, translating, ‘ Diesen Weg du glattestest uns, o Agni!’

[42] Aa

354 HYMNS OF THE ATHARVA-VEDA.

e. The Paippalada reads, samrarava havir ida gusha- ntam. But the plural is vague.

f. karitim and utthitam are rendered in accordance with Grill and. Sayaza, faritam Axaritam vikrayadikam utthi- tas tasmad vyavaharadd utpannas labhayuktam dhanam. The other translators, flatly, ‘our going and our departure.’

Stanza 5.

d. devdn is metrically superfluous: the sense, too, ‘devas who shut off gain, has an Avestan rather than a Vedic ring. The word is a gloss, suggested by devaz in Pada b.

Stanzas 7, 8.

The two stanzas seem to have no connection with the rest of the hymn. They are Yagus-formulas (st. 8, with variants in Tait. SelV, 1,10) 25° Mattri Slit, 7) 93" Rae XVI, 7; Vag. S. XI, 75), and are employed fittingly as puronuvakya and yagya in connection with a ptrzahuti at Kaus. 70, 13. 14, on the occasion of the ceremony of build- ing the householder’s fire (agnyadhanam). The Atharvan tradition regards six stanzas as the normal number for the hymns of the third book (see AV. XIX, 22 and 23, and Ath. Paris. 46, 9. 10).

III, 18. COMMENTARY TO PAGE I07.

This hymn is a repetition with variants of RV. X, 145. The Anukramavzi there gives it the name indrazy-upanishad (Shadgurusishya, indrazyrishika; Sayavza, indrawya 4ar- sham)!. It constitutes also a part of the Apast. Mantra- brahmavza I, 15, 1-6, and the stanzas are employed at Apast. Grih. III, 9, 5. 6 (cf. Kaus. 33,7; Gobh. Grzh. II, 6, 6 ff.) in a charm practised with the pasd-plant (clypea

It constitutes also a part of the Apast. Mantra- brahmavza I, 15, 1-6, and the stanzas are employed at Apast. Grih. III, 9, 5. 6 (cf. Kaus. 33,7; Gobh. Grzh. II, 6, 6 ff.) in a charm practised with the pasd-plant (clypea

1 Cf. for the relation of Indrazt to marital life, our Contribu- tions, Sixth Series, Zeitschr. d. Deutsch. Morg. Gesellsch. XLVIII, 551 ff.; 579. |

111, 18. COMMENTARY. 355

hernandifolia ; cf. our introduction to II, 27). The prac- tices of Kausika (36, 19-21) differ entirely from those of Apastamba. The plant which is used there is the bavd- parzi (so also Kaus. 36, 38). Darila glosses, sarapunkha : Kesava, masika (cf. Kausika, Introduction, p. liii)!. It seems to have been suggested to the ritualist by the epithet uttanaparvza in stanza 2, but Sayava there has in mind again the pa7a, since he quotes AV. II, 27, 4, and in his comment on st. I says outright, pa¢akhydam oshadhim. Kausika’s performance is as follows: 36, 19. ‘ While reciting III, 18, a bavdparvi-plant is mashed, mixed with a spray (of milk) from a red she-goat, and scattered round about the bed (of the rival woman). 20. While reciting stanza 6 a, a leaf (of the plant) is fastened beneath the bed. — 21. While reciting stanza 6 b (a leaf) is thrown upon the (bed).’ We would draw especial attention to the totally different employment of the stanzas in Apast. Grzh. III, 9, 5. 6, in illustration of the loose, subjective symbolism which governs their manipulation. The general purpose of the practice is, however, there the same as with Kausika.

The hymn has been translated by Weber, Ind. Stud. V, 222; XVII, 264 ff.; Zimmer, Altindisches Leben, p. 307. The Rigveda version by Ludwig (932) and Grassmann in their well-known works?; the version of the Apast. Man- trabr. by Winternitz, Das altindische Hochzeitsrituell, p. 98. The Ath. Anukramavzi, .atharvadsnena siktena sapatni- pravuttyai vazaparvam oshadhim astaut.

Stanza 2.

a. Sayava here and at RV., uttanaparve uttanani irdhva- mukhani parvdni patrazi yasyaz.

? According to the Pet. Lex. the common name for this plant is umhali, similar to the indigo-plant ; it is also known as sfiryavamst. Both ban4parni and sarapunkha seem to mean ‘having arrow-form leaves.’

2 The RV. version seems on the whole secondary to that of the AY.: dhama for muda in st. 2 c; kuru for krzdhi in 2 d.

Aa 2

356 HYMNS OF THE ATHARVA-VEDA.

a EEE

Stanza 4.

e. I read ddha, ‘now,’ upon the basis of adha in some MSS., Sdyava’s adha, and with reference to Atha in the RV. Most MSS. read adha& (‘low shall be my rival,’ &c.) ; this is the text adopted by the vulgata, and Shankar Pandit.

Stanza 5.

A very similar stanza occurs XII, 1, 54; Sdayava is seduced by its pratika, ahdm asmi sdhamdna(/), to confuse it with the present, and to suppose that Kaus. 38, 30 quotes it, instead of XII, 1, 54.

Stanza 6.

Stanza 5.

A very similar stanza occurs XII, 1, 54; Sdayava is seduced by its pratika, ahdm asmi sdhamdna(/), to confuse it with the present, and to suppose that Kaus. 38, 30 quotes it, instead of XII, 1, 54.

Stanza 6.

The Sitra does not place the plant about and upon the husband, but about and upon the rival. Sdyava follows through thick and thin. Apast. Grzh. III, 9, 6 correlates the stanza with the husband: ‘she embraces the hus- band with her arms, with the stanza alluding to the word upadhana (Mantrabr. I, 15, 6).

III, 23. COMMENTARY TO PAGE 97.

This hymn furnishes the mantras for the well-known house-practice, called puszsavanam in the Grzhya-sitras?. The Atharvanic form of it is described in Kaus. 35, 1-4, as follows: 1. Now the rites for producing a son. 2. (They are made) in behalf of the woman after she has laid aside the linen soiled by her menses, under a male constellation. 3. While reciting III, 23 an arrow is broken to pieces over her head, and (a piece of the arrow) is fastened (upon her as an amulet). 4. Into a cup made from a plough (the practitioner) puts milk of a cow which has a calf of a colour identical with her own, and rice and barley, mashes it up, adds to the mixture two adhyavda plants, or leaves from a great palasa (butea frondosa) and a vidart (batatas pani-

1 Ch ankh, 1 to. ger Asy. I, 13; Par. I ga: Gone ii: Khad. IT, 2, 24 8.5 Hir. Ty Ages os

Ill, 23. COMMENTARY. Sr

culata), and does with the mixture as in the case of the paidva-ceremony (i.e. he puts it up the right nostril of the woman with his right thumb; cf. Kaus. 32, 21, in the introduction to X, 4)}.

Stanzas 2-4 are repeated with variants in Sankh. Grzh. I, 19,6; stanzas 2, 4, 5 (entire or in part) in Hir. Grzh. I, 25,1. The hymn has been translated by Weber, Ind. Stud. V, 223; XVII, 285 ff.; Ludwig, Der Rigveda, III, 477 ff.; Zimmer, Altindisches Leben, p. 319. The Anukramazi, Rkandramasam uta yonidevatyam, brahm4snena_ putraz prarthayad yonim abhish¢iya pragdayaé iti.

Stanza 2.

d. Ten Junar months reconcile this statement with the biological facts; see Weber, Nakshatra, II, 313; Zimmer,

366. Stanza 4.

Hir. Grzh. I, 25, 1, yani prabhizi viryaxy rzshabha gana- yantu na, tais tvam garbhizi bhava... prasir dhenuga ~ bhava. Sdankh. Grzh. I, 19, 6, purushaZ for rzshabhaZ.

Stanza 5.

a. Ludwig, ‘das pragapatyam vollziehe ich dir ;’ Zim- mer, ‘ich verschaffe dir Zeugungsfahigkeit ;’ Weber, ‘ich thu dir an das Zeugungswerk’ (Ind. Stud. XVII, 286); ‘ich schaff dir Zeugungsfahigkeit’ (ib. V, 224); Sayaza, pragapatina ... nirmitasz pragotpattikaraz karma.

Stanza 6.

Cf. VIII, 7, 2, and perhaps III, 9, 1. The plants are undefined ; see the Siitra, and Sankh. Gvzh. I, 19, 1; 20, ive

Stud. XVII, 286); ‘ich schaff dir Zeugungsfahigkeit’ (ib. V, 224); Sayaza, pragapatina ... nirmitasz pragotpattikaraz karma.

Stanza 6.

Cf. VIII, 7, 2, and perhaps III, 9, 1. The plants are undefined ; see the Siitra, and Sankh. Gvzh. I, 19, 1; 20, ive

* The complicated practice is not clear in every detail. lor phalakamasa and adhyande, see Kausika, Introduction, pp. lii and xlv, and Sankh. Grzh. I, 19, 1 ff. The Grvhya-texts, cited in the preceding note, contain quite a number of parallels. There seems to be a cheap symbolism in the choice of the names of the two

plants, adhyanda: anda, ‘egg, and vidari: vi dar, ‘burst, cleave.’

358 HYMNS OF THE ATHARVA-VEDA.

III, 25. COMMENTARY TO PAGE 102.

The practices of the Sitra, Kaus. 35, 22-28, embody symbolically a large portion of the statements and similes of the hymn, to wit: 22. ‘While reciting the hymn he (who wishes to subject a woman) pushes her with his thumb (cf. st. 1). 23. He puts on (the fire) twenty-one (pieces of ktidi-wood)!, with their thorns to the east (or forward ; cf. st. 3), adorned (i.e. anointed with ghee), over which the hymn has been pronounced. 24. (Then he puts on the fire) the twenty-one tips of the kidi, together with threads (which have been wound about them). 25. For a period of three days (literally, nights) he burns thrice each day kush¢a (costus speciosus) dipped in butter. 26. Having put the mattress (?) of his couch face downward he sleeps upon it (three nights) ?.. 27. He places warm water into a tripod, fastens* it to the foot (of his bed), and lies agitating it with his great toes. 28. By means of a bow which is darbhyasha (? cf. Kaus. 32, 8, in the introduction to VII, 74, and Kausika, Introduction, p. li), and has a bowstring of hemp, with an arrow whose barb is a thorn, whose plume is derived from an owl, whose shaft is made of black Ala-wood (see: Kausika, Introduction, p. xlvi), he

1 The word kidi is to be supplied from the next Sftra. For kaidi= badart, ‘Christ’s thorn, see Kausika, Introduction, p. xliv. Darila observantly sees in this practice the symbolic realisation of st. 3, ya plihanam iti ling at.

* This translation of the Sftra is a doubtful paraphrase of Kxesava’s and Sayaza’s statements. The Sftra is: dirghotpale svagrzhya samvisati. Darila, mamsakese (!? ma#kakam) adhak kreia (? kretva) tatra samvisati; Kesava, kha‘vim adhomukhapa/- fikam grzhitva ...svapiti; Sadyawva, kha‘vaya adhomukhapasaikam grehitva triratram svapiti. ‘The practice refers symbolically to st. rb, ‘do not hold out upon thy bed.’ All this does not explain dirghotpale; cf. the equally difficult utpale, Kaus. 36, 7 (see the introduction to IV, 5).

* Read, apparently, with Sdyavza and one MS. prabadhya- for prabaddha-.

Ill, 28. COMMENTARY. 359

pierces the heart of an effigy’ made of potter’s clay’ (ibid. p- xlvii). The last Satra embodies st. 2. |

the equally difficult utpale, Kaus. 36, 7 (see the introduction to IV, 5).

* Read, apparently, with Sdyavza and one MS. prabadhya- for prabaddha-.

Ill, 28. COMMENTARY. 359

pierces the heart of an effigy’ made of potter’s clay’ (ibid. p- xlvii). The last Satra embodies st. 2. |

For Kama in general as a cosmic force, see the introduc- tion to IX, 2. For Kama as the god of love, Weber, Ind. Stud. V, 225; Muir, Original Sanskrit Texts, V, 407; Zimmer, p. 300. In both forms he is brought into close relation with Agni (fire); cf. Hir. Gvzh. I, 3, 7. |

The hymn has been translated by Weber, Ind. Stud. V, 224; XVII, 290 ff.; Muir, l.c., p. 407; Ludwig, Der Rig- veda, III, 516; Zimmer, p. 307 ;* Grill’, pp. 53, 115 ff.3 cf. also Bergaigne et Henry, Manuel Védique, p. 144. The Anukramavzi, maitravaruzam kaimeshudevatakazz ka.

Stanza l.

b. Sayava reads drzthas, glossing, sayanavishayam Ada- ram ma karshiZ, ‘have no regard for matters connected with the bed (sleep).’

Stanza 2.

b. samzkalpa, literally ‘determination.’ Sayava, with naive picturesqueness, idazz me sydd ida me sydd iti bhogavishayasamkalpanam. Cf. Tait. S. III, 4, 7, 3.

Stanza 4.

e. Grill regards nimanyuZ% as the equivalent of nirman- yu, ‘versohnt. The word seems, however, to have a slightly different meaning, lit. ‘having laid down your pride or anger.’ Sdyava, nyakkrztapravayakalaha.

Stanza 5.

e,d. The passage is formulary, being repeated at I, 34, 2; VI, 9,2; Pada d is repeated at VI, 42, 3; 43, 3.

III, 28. COMMENTARY TO PAGE 145.

Contrary to modern superstitions which regard the birth of twins as auspicious, and prize animals born in pairs, the prevailing Hindu view is that the birth of twins is an

1 Cf. Kaus. 36, 14 in the introduction to VI, 130.

360 HYMNS OF THE ATHARVA-VEDA.

ominous occurrence to be expiated by diverse performances, and that the cattle itself is, as a rule, to be given to the Brahmans. But there are not wanting indications that a favourable view of such events also existed, and one may suspect shrewdly that the thrifty Brahmans, who stood ever ready to gather in all sorts of odds and ends (cf. the elaborate oratio pro domo, XII, 4, in connection with the vasa), gave vigorous support to any tendency towards superstitious fear which might show its head in connection with such occurrences. Weber, Indische Studien, XVII, 298 ff., has assembled quite a number of passages which represent the Hindu attitude towards twins. Cf. also Tait. op fae ee BS

Weber, Indische Studien, XVII, 298 ff., has assembled quite a number of passages which represent the Hindu attitude towards twins. Cf. also Tait. op fae ee BS

The hymn is rubricated thrice in the Kausika, in the thirteenth book, which is devoted to expiatory perform- ances (prayasfitti), in connection with all sorts of omens and portents. It is employed in chapters 109, 5; 110, 4; 111, 5, on the occasion of the birth of twins from cows, mares, asses, and women. The practices consist in cook- ing a porridge in the milk of the mother, offering ghee, pouring the dregs of the ghee into a water-vessel and upon the porridge. Then the animal and its young are made to eat of the porridge, to drink of the water, and they are also sprinkled with the same water. The mother is then given to the Brahmans, and in the case of the human mother a ransom ‘according to her value, or, in accordance with the wealth (of the father), is paid. Cf. Weber, Omina und Portenta, p. 377 ff.

The hymn has been translated by Weber, Indische Studien, XVII, 297 ff. The Anukramavzi, yiminyam... brahmasnena yaminim astaut pasuposhamaya.

Stanza 1.

Since the mother of the twins was born under an arrange- ment which made a separate act of creation necessary for each individual, the birth of two at a time is apartu, ‘ un- seasonable, portentous.’ Pada b is hypermetric and may be relieved in a measure by throwing out bhitakz/to, but

III, 30. COMMENTARY. 261

even this does not yield good metre. In PAéda d, riphati, ‘growling, is not altogether certain. Sdyava, upon the basis of the Dhatup4z/a (riph rinph, hiszsAyam), renders it by bhakshayanti, ‘eating.’ In Apast. Sr. XII, 22, 7 the root occurs in the sense of rikh, likh, ‘scratch, which suits the context quite as well. For the interchange of gutturals and labials, see Contributions, Sixth Series, Zeitschr. d. Deutsch. Morgenl. Gesellsch. XLVIII, 557 note, and the note on XI, 2, 25. Stanza 2.

Cf. XII, 4, 5. 10-12. In Pada b, vyadvart, ‘devouring,’ looks very well by the side of kravydd, ‘flesh-eating.’ In the form vyadvara the word occurs also at Sat. Br. VII, 4, 1, 27, and the scholiast derives it from ad, ‘eat.’ But at II, 31, 4; VI, 50, 3 (twice) we have vyadhvara', and Sayawa reads vyadhvari in our stanza (‘causing misfortune, afflicted with an evil way’), du#khahetur dush¢/amargaz tadvati. The two words are blended and diversified by popular etymology, and it may be that one of them only is original. Cf. the note on II, 31, 4.

Stanzas 5, 6.

The mother of twins is invited to enter the world of the blissful which is described in all its attractiveness, and yet, implicitly, is not desired, for the time being, by the owner of the cow. In yamini, ‘mother of twins,’ there is a pun ‘fit for Yama, the god of heaven, and death:’ this makes it still more appropriate that she shall go there. The first hemistich is formulaic: see VI, 120, 3. Cf. also XVIII, 2, 24; 3, 9-

III, 30. COMMENTARY TO PAGE 134.

In yamini, ‘mother of twins,’ there is a pun ‘fit for Yama, the god of heaven, and death:’ this makes it still more appropriate that she shall go there. The first hemistich is formulaic: see VI, 120, 3. Cf. also XVIII, 2, 24; 3, 9-

III, 30. COMMENTARY TO PAGE 134.

In Kaus. 12, 5 this hymn heads a gava or series of seven Atharvan charms (III, 30; V,1, 5; VI, 64; 73; 74; 94;

* ‘Thus the vulgata. Shankar Pandit’s edition with Sayama and most MSS., vyadvara.

3262 HYMNS OF THE ATHARVA-VEDA.

tani), ‘designed to produce harmony. The practices which are undertaken with them are stated in the sequel, Kaus. 12, 6-9, as follows: 6. ‘A jar full of water, anointed with the dregs of ghee, is carried about the (quarrelling) throng and poured out in their midst. 7. The same proceedings are undertaken with a jar full of brandy (sura). 8. (They who desire peace) are given to eat the pickled flesh of a young cow three years old. g. Food, brandy, and water from the (public?) drinking-place are anointed with the dregs of ghee (and consumed). In justification of this translation, see the commentaries here, and at Kaus. 35, 19: the relation of the proceedings to the charm are not clear in every detail; see especially st. 6, and VI, 70, 1.

The hymn has been treated previously by Muir, Original Sanskrit Texts, V, 439; Metrical Translations, p. 139; Ludwig, Der Rigveda, III, 256, 516; Zimmer, p. 316; Weber, Ind. Stud. XVII, 306 ff.; Grill?, pp. 30, 116 ff. ; Hillebrandt, Vedachrestomathie, p. 45. The Anukramazi designates the hymn as fandramasamm sammanasyam, its author being Atharvan. The Atharvan abounds in such songs of harmony; they occur also outside of the Athar- van literature, e.g. RV. X, 191; Maitr. S. II, 2,6; Kadzz. 5. X,; 12; Tait. Br. I],44, 4 ff." See! alsovthe sepa against family quarrels (kule kalahini) in Kaus. 97, and cf. in general Zimmer, p. 316.

Stanza 1.

Sayava reads sammanushyam in Pada a, and aghnyds in Pada d.

Stanza 2.

The opposite of this picture of peace is portrayed vividly at Sat. Br. IV, 1, 5, 3 ff., where a certain tribe is described as not living in peace: ‘father fought with son, and brother with brother.’ See also the story of Kyavana as told in the Gaiminiya-Brahmaza, Proc. Amer. Or. Soc., 1883 (Journal, vol. xi, p. cxlv): ‘then neither did mother know son, nor son mother.’

b. Sayava reads mata for matra.

III, 30. COMMENTARY. 3263

e. Our edition has santivan; Shankar Pandit and the Paippalada, santivam, which is obviously the correct read- ing, and is at the base of Sayava’s comment, sukhayuktam.

Stanza 3.

a. Sdyava reads dvishyat for dvikshat.

Stanza 4.

a. Sayavza, indradayas . .. vimative na prapnuvanti. Prof. Weber suggests that the gods here referred to are the Brahmans; this is not necessary since the gods are frequently endowed with human foibles: see the note on VI, 111, 3. The point is, that a charm, strong enough to prevent even the bickerings of the gods, will surely produce

The point is, that a charm, strong enough to prevent even the bickerings of the gods, will surely produce

harmony among men. Stanza 5.

a. Sayava. glosses gydyasvantas by gyesh¢hakanish¢ha- bhavena parasparam anusarantas, i.e. following one another in the order of age, the younger after the older. Ludwig, p- 256, renders it ‘vorziiglich;’ p. 516, ‘iiberlegen.’ For kittinak I am tempted to suggest ‘of the (same) mind, cf. saha Aittam esham in AV. VI, 64,2; RV. X, 191, 3; Maitr. S. II, 2, 6 (p. 20, |. 12): Tait. Br. II, 4, 4, 5.

b. Our translation of saszradhayantak agrees with Sa- yawa s, samanasamsiddhikak, samanakaryaz.—‘ Going along the same wagon-pole, i.e. pulling at the same wagon like a team.

d. Cf. Vag. S. VII, 25.c. The Pada is hypercatalectic ; the Anukramavzi designates the stanza on this account as virddgagati. Weber suggests sadhrifin, by way of cure; Grill, the omission of va#, or a change to sadhriko; cf. st. 7.

Stanza 6.

The stanza is irregular (Anukr., prastarapankti), the second half being an anush/ubh. Since stanzas 5 and 7 are connected by concatenation (Pada 5 d=7 a), stanza 6 might be regarded as a very early intrusion. But Kausika employs it particularly for his practices (see above), and

364 HYMNS OF THE ATHARVA-VEDA.

thus the criticism must be made for a very early period, to say the least. The stanza may, however, have stood in a different position in the hymn.

Stanza 7.

The stanza concatenates with 5; cf. e.g. the relation of RV. II, 38, 7 and 9, where st. 8 interrupts a similar relation.

b. Sdyaza reads ekasnush¢in. On p. 256 Ludwig emends samvananena to savanena, but on p. 516 he adheres to the text and translates it by ‘versOhnungsspruch.’ Say., vasi-

karavena anena sasmanasyakarmaza. --e. In RV. I, 71, 9, Mitra and Varuva are said to be guarding the amrzta.

d. Ludwig on p.516 emends saumanas6 to saumanasam, but this is unnecessary if we remember that the leader or chief is referred to in gydyas-, in st. 5 a, and eka-, in 7 b. Moreover at Tait. S. IV, 7, 3, 1, saumanasa/, masc., is an abstract = saumanasam.

III, 31. COMMENTARY TO PAGE 5I.

This extraordinary composition makes draughts upon a variety of mythological and philosophical (psycho- physical) conceptions for the purpose of accentuating the desired separation from misfortune, and union with life. Accordingly each of its eleven stanzas ends in a refrain which states this desire distinctly. Further the hymn is divisible into two halves, the first of which (sts. 1-4) has for its key-note the subject of separation illustrated by cosmic examples; the second (6-11) illustrates union with the principles of life. The intermediate stanza is more problematic; it has been discussed by the translator in connection with his treatment of the marriage of Sarazyd in the third series of his Contributions, Journ. Amer. Or. Soc. XV, pp. 181 ff.

The intermediate stanza is more problematic; it has been discussed by the translator in connection with his treatment of the marriage of Sarazyd in the third series of his Contributions, Journ. Amer. Or. Soc. XV, pp. 181 ff.

The principal employment of the hymn in the ritual is in connection with tle initiation (upanayana) of the young Aryan into the Brahmanical community. At Kaus. 58, 3

III, 31. COMMENTARY. 365

the hymn is recited in the presence of the young man, in connection with a list of kindred hymns. The last two stanzas are employed at Kaus. 24, 31, along with others, on the occasion of the solemn rising from a couch, at the cere- mony of the full-moon of the month 4grahayaza. Cf. also Vait. Sa. 13, 10. The Gazamala, Ath. Paris. 32, 6, counts this hymn as one of three which make up the papmagama and are padpmahan; see Kaus. 30, 17 note. Similarly the Anukramazi (papmahadevatyam). It has been translated by Weber, Ind?‘Stud. XVII, 306 ff.

Stanza 1.

a. The MSS. read avvztan, which Roth and Whitney have emended to a&rztan. Sdayava reads vyavrztam (viyo- gayatam), and takes deva correspondingly as vocative dual (devau asvinau). This reading with m I find also in the papmagava of the Gazamala, cited above, and one wonders whence it comes from. I would suggest the emendation avritran (avritram), literally ‘the gods have separated themselves from old age.’ The gods are agara, ‘free from old age, and Agni is mentioned particularly RV. VI, 68, 9 (cf. Pada b). The middle passive of vi+vart in this sense governs the instrumental ; see Pet. Lex., vol. vi, col. 775. The metre, however, does not favour the suggestion.

Stanza 4.

b. The paths are the heavenly paths, travelled by the gods (devaydnaZ); cf. III, 15, 2; VI, 55, 1; Tait. S. V, 7 25 3

Stanza 5.

Cf; RV. X, 17,1; AV. XVIII, 1, 53. The passage as it appears here is doubtless the product of adaptation. Prof. Weber has interpreted it as aa additional instance of thorough separation, the motif of the first four stanzas. According to his view Tvashéar is making preparations to marry his own daughter, and everybody (tout le monde) is scattering in consternation at the unholy proceeding. I have subjected Prof. Weber’s construction to a detailed

366 IIYMNS OF THE ATHARVA-VEDA.

According to his view Tvashéar is making preparations to marry his own daughter, and everybody (tout le monde) is scattering in consternation at the unholy proceeding. I have subjected Prof. Weber’s construction to a detailed

366 IIYMNS OF THE ATHARVA-VEDA.

criticism in my cssay quoted above. The chief difficulty is in vi yati, which means ‘pass through, not ‘go apart, scatter. The passage seems to mean that the whole world on the occasion of the marriage of Tvash/ar’s daughter to Vivasvant—not to himself—pass through (a given point of observation) to witness the marriage. Thus they might illustrate separation from their ordinary places of abode. Or, a still more literal and philological translation of the passage would be: ‘“ Tvash¢ar is preparing a marriage for his daughter,’ thus saying (or noting) he (who? Tvash/¢ar or Vivasvant ?) passes through the entire world.’ But the other versions read sam eti, and all the following stanzas (6-11) have for their theme union with the principle of life. Since, now, vi occurs no less than thirty times in the entire hymn, it is possible that sam has given place to it, and the passage would thus revert to its original meaning in RV. X,17,1; AV. XVIII, 1, 53. SAyawa takes vi yati in the sense of going asunder, vahatum .. . prasthd4payati iti bud- dhya tasya avakasasz datum ida visvas bhuvanamm przthi- vyantarikshadiripazz vi yati parasparazz vigatam bhavati.

Stanza 6.

a,b. Or, ‘ Agni bestows life's breaths.’ Agni is frequently identified in the Upanishads with the breaths of life: see Maitri-Upanishad VI, 5. 9. 33; Prasna-Upanishad I, 7. Sayana, ‘the Agni of the belly, the cause of the digestion of food and drink.’ Similarly the sun (cf. the next stanza) in Maitri-Up. VI, 1. 5; Prasna-Up. I, 5; II, 8; Tait. Ar. L, 14543

Stanza 11.

For vrishtyod (Padapazha, vrishtya ud) read vrishtya(Z) uid with Roth, Zeitschrift d. Deutsch. Morgenl. Gesellsch. XLVIII, 684.

IV, 3. COMMENTARY TO PAGE 147.

At Kaus. 51, 1-6 the following practices are prescribed : 1. ‘While reciting AV. IV, 3 (the shepherd) follows the cattle, (alternately) raising and digging into (the ground)

IV, 3. COMMENTARY. 267

a pole of khadira-wood (acacia catechu, a hard wood), which has been anointed with the dregs of ghee!. 2. He pours out water, sweeps together the (moistened dust)”; then he offers, while walking, thrice to Indra milk of a cow with a calf of the same colour as herself. 3. He offers the bali (tribute offering) to the (four) regions. 4. He reveres each of the regions®. 5. In the middle (between ‘the four regions) he offers a fifth bali-offering. 6. The remainder he pours down (upon the ground).’ The hymn is one of the raudragava in the Gavzamala, Ath. Paris. 32, 17; see Kaus. 50, 13 note. The Anukramazi accordingly desig- nates it as raudram uta vydghradevatyam. It has been translated by Ludwig, Der Rigveda, III, 499; Grill ?,

pp- 33, 118 ff. :

Stanza l.

Paris. 32, 17; see Kaus. 50, 13 note. The Anukramazi accordingly desig- nates it as raudram uta vydghradevatyam. It has been translated by Ludwig, Der Rigveda, III, 499; Grill ?,

pp- 33, 118 ff. :

Stanza l.

Sayawa suggests, very properly, that the man (purusha) in question is the robber mentioned below. [Pada d is difficult; Ludwig compares RV. I, 24, 7, which according to Geldner, Vedische Studien, I, 113 ff., refers to the ban- yan-tree (nyagrodha, vaza). The branches of that tree take root anew, are nifina, or nihita, and therefore grow until they are out of sight (hiruk, an antarhitandmadheyam, a word for ‘out of sight’ according to Yaska’s Naighaz/uka, ITI, 25). Prof. Roth, as quoted by Grill, p. 118, suggests an arrow, or spear, but the expression devé vanaspatir (cf. VI, 85, 1) is favourable to the other construction. Sdayava, helplessly, vananam adhish¢#ata devas tatrasntarhito var- tate tadvad vyaghradayos pi antarhita bhavantu.

1 The symbolism is transparent: he pierces the imaginary track of the dreaded hostile creatures, and thus pierces the creatures themselves.

? According to Kesava and Sayama he then places his left hand upon the dust and with his right scatters half of it. ‘The words ninayanam samuhya refer back to the practice at Kaus. 19, 17. 18 ; see the introduction to II, 26, p. 303.

* According to Kesava he recites in this connection AV, III, 26 ; cf, Kaus. 14, 25.

368 HYMNS OF THE ATHARVA-VEDA.

Stanza 2.

ce. ‘The rope full of teeth, by familiar figure of speech, the serpent; cf. VII, 108, 1; XIX, 47, 7.8 (partially verbal parallelism with our stanza); Sat. Br. IV, 4, 5, 3- |

Stanza 5.

e. Literally, ‘let him go on the falling down of the paths,’ i.e. ‘where the paths are precipitate.’ Sdyava arrives at a similar result, even though he handles his text very freely, sa ka patham madhye dhvamsena dhvamsakena kash¢ena margeva apa gakdatu. Ludwig, ‘wo die pfade abbrechen ;’ Grill, ‘auf nachstem wege pack’ er sich.’

Stanza 6.

b. Sadyava reads api sirshva, glossing. sirasi bhava hizz- sakak sringadayak avayava api mfda bhavantu, ‘the de- structive members of the body on the head, horns, &c., shall be dulled.’

e. All translations, including our own, are mere guesses. nimruk, ‘sunset,’ is not found except in connection with the setting of the sun. Sayaza’s dvzshzivishayo na bhavati has suggested our ‘out of sight shall go.’ Grill has in mind the root maré, ‘injure, something like nimrzkto, ‘injured, destroyed;’ but there is no such word. godha (Pet. Lex. ‘sinew’) is equally difficult. Sayawa, ‘a kind of wild beast.’ As it has also the meaning ‘large lizard, we have said ‘dragon,’ a pure conjecture. Ludwig's ‘in der tiefe soll das krokodil gehn’ does not differ materially. Grill, ‘mit lah- mer sehne geh’s zu grund.’

godha (Pet. Lex. ‘sinew’) is equally difficult. Sayawa, ‘a kind of wild beast.’ As it has also the meaning ‘large lizard, we have said ‘dragon,’ a pure conjecture. Ludwig's ‘in der tiefe soll das krokodil gehn’ does not differ materially. Grill, ‘mit lah- mer sehne geh’s zu grund.’

d. sasayur (am. Aey.) mrzigah is also not clear. Sdyawa, ‘the evil beast inclined to lie down.’ Ludwig, ‘tief hinab- springend geht das wild.’ We have adopted with profound misgivings the translation of the Pet. Lex., Grill, and Zimmer (p. 79). The latter regards sasayur as an epithet of the tiger (cf. sts. 1, 3, 4, 7); cf., however, sasaghatin, and sasada, names of birds of prey. Prof. Roth, however, as quoted by Grill, holds now a different opinion, ‘a bird of prcy which swoops down from on high.’

IV, 4. COMMENTARY. 369

Stanza 7.

a, b. Cf. VI, 56,1; X, 4, 8, a similar formula calculated to regulate the snapping of the serpent’s mouth. The Pa- dapazha treats samydmak both times as a noun-compound, but it is easier to construe it as saz ydma, an injunctive aorist. The sense is the same. Sayama treats vi yamah also both times as a noun, samyamak samyamanam samyag vyaghradinam mantrasdmarthyena niyamanam yad asti na ssau Viyamak viruddhayamanam bhavati, &c. The passage seems to refer to the jaws of the wild beasts.

ce, d. This may either refer to brahma, ‘charm,’ or to some plant or amulet, of which the Sitra, to be sure, makes no mention. The hemistich is hypermetric, fairly curable . by throwing out atharvazam. The Anukramazi, kakum- mati garbhoparish/adbrzhati.

IV, 4. COMMENTAR\ TO PAGE 3I.

A characteristic mixture of pharmaceutical applications and drastic symbolism constitutes the practices of the ritual, Kaus. 40, 14 ff., as follows: 14. ‘The hymn IV, 4, and, in addition, the following mantra is recited: “ Bulls have dug thee up, thou art a bull, O herb! Thou art a bull, full of lusty force; in behalf of a bull do we dig thee up!” During these recitals the plants us&fushma and parivyadha! are dug up with an iron instrument (Darila, a ploughshare). 15. Two decoctions are made from these plants, poured into milk, a drawn bow is placed into the lap, and then the decoctions are drunk?. 16. (The same

? Darila and Kesava, ukkhushma kapikak&kshu (mucuna pruritus) parivyadhah suravalakah (or, sfikaravalakah); Sayama .mentions only one plant, kapitthakamfilam, the root of feronia elephantum. For usshushma, cf. st. 4.

? We now correct Siitra 15 as follows, dugdhe phaz/av adhigyam (sc. dhanur) upastha 4dhaya pibati. Cf. Kausika, Introduction, p. lviii ff. The symbolism is quite apparent; see stanzas 6 and 7 of the hymn.

[42] Bb

370 HYMNS OF THE ATHARVA-VEDA.

we ee ee ee eee performance takes place) while he sits upon a stake or a pestle?’ (generous suggestions! cf. VII, 90, 3), Fas hymns (and their collateral practices) dealing with the same subject, see VI, 72; 101; VII, 90; Kaus. 40, 16-18 ; 36, 35-7:

Stanza 1.

The Gandharvas, the divine libertines (IV, 37, 11), who enjoy themselves in the company of the heavenly nymphs, the Apsaras, are peculiarly likely to stand in need, and have a knowledge of regenerating plants. Hence the Gandharva digs them up. But why should Varuvza need an aphro- disiac? At VII, 90, 2,a charm for inhibiting the redundant sexual power of an enemy, the divine law of Varuza ‘withers excessive fire. The paradox may be only a seeming one. Varuza, as is well known, not infrequently appears in opposition to Indra, and his name even is occa- sionally, by etymological play (root var), assimilated to Vritra, the demon, whom Indra at RV. I, 32, 7 turns in a castrate (vddhri); cf. RV. IV, 42, 73 X, 124, 4. 5, and Bergaigne, La Religion Védique, III, 144 ff. Sayaza does not comment upon this extraordinary imputation against Varuza, the most highly respected of all the gods.

Stanza 2.

e. I have followed Sadyaza in regarding ud egatu as transitive, udvrzttam karotu, and, utkrzshZaviryayuktasm karotu. Cf. the similar double use of the root ud ar (ud iyarti), and the simple root ir. The Pet. Lex., ‘sich riihren, sich erheben.’ This translation fits poorly for Pada c.

Stanza 3.

a,b. Sdyavza with some MSS. (Samhité and Padapazha) reads virohito for virdhato, and construes it as an epithet of the penis, putrapautradirdpeva virohavzasya nimittam pum-

* The first part of Stra 16 in the edition is to be regarded with Kesava as an independent Sfitra. Kesava was not at hand until the body of the text was in print.

IV, 5. COMMENTARY, a71

vya#ganam. The sense is changed very little. Our trans- lation of abhitaptam ivasnati by ‘exhales heat like a thing on fire’ is somewhat uncertain, since anati means ‘ breathe.’ The Pet. Lexs., ‘nach luft schnappen, lechzen;’ accord- ingly ‘longs for cooling like a thing on fire.’

Stanza 4.

a, b. Sdyava supplies irayatu with ud. This is at least approximately correct, as may be learned from RV. X, 97, 8, uk khishma oshadhinam gdvo gosh¢hdd ivessrate. The only question is whether the simple verb, rather than the causative, is to be supplied: ‘The fire of the plants &c. shall arise.’ The ritual embodies with stereotyped sym- bolism the words u& kAushma in the plant ukkhushma ; see the introduction. : .

e,d. Sayaza, supported by a few MSS., reads samzpisham and tanivasam, glossing, samyak poshayitrizam oshadhinawz sambandhi yad vrzshzyam viryam asti tad asmin purushe tantivasam sariradhinasm krztva dhehi.

Stanza 7.

Repeated at VI, 101, 3; cf. the practice, Kaus. 40, 15, above.

: .

Stanza 7.

Repeated at VI, 101, 3; cf. the practice, Kaus. 40, 15, above.

d. Sayava, with one of Shankar Pandit’s MSS., reads anu valgtiiyata (nvztyata manasd). The Pet. Lexs. and Whitney, Index Verborum, regard sada as the instrumental of a dz. Aey. sad, ‘mounting. But such a root-abstract is naturally feminine, and the participle anavaglayata is neuter, agreeing with pasasd supplied from Padaa. Sayama correctly takes sada as ‘ever.’

IV,'5. COMMENTARY TO PAGE 105.

The purpose of this hymn, regarded from within, is clear, and its position in the ritual in connection with one of the strikarmami (Kaus. 32, 28-36, 40) makes it certain that the Atharvavedins dealt with it in the light indicated by our

Bb2

Ve HYMNS OF THE ATHARVA-VEDA.

title. Four of its stanzas (1, 3, 5,6) appear in a different arrangement, and in connection with other material, in RV. VII, 55, and, as usual, the Atharvan recension smacks of adaptation to a particular purpose’. The Rigveda form itself, however, is open to the same suspicion; both ver- sions may have draughted into service materials whose original connection in olden times (puraza) has passed out of sight. Professor Aufrecht, Ind. Stud. IV, 337 ff., presented as early as 1858 a peculiarly lucid interpretation of both hymns (cf. Zimmer, pp. 149, 308), and more recently Pro- fessor Pischel, Vedische Studien, II, 55 ff., has made a determined attempt—in our opinion unsuccessful—to vin- dicate the interpretation of the Rigveda version as under-_ taken by Shadgurusishya and the Brzhaddevata. Accord- ing to Pischel, Vasish¢/a entered the house of Varuva after he had fasted three days in order to steal food, and employed this charm to put all waking persons and dogs to sleep ?.

There is at any rate no question as to the purpose of the stanzas as arranged by the Atharvan diaskeuasts. Darila describes it as maithunakaravavighnanasakartar, ‘removing obstacles in the way of an assignation. The practices are stated at Kaus. 36, 1-4, as follows: 1. ‘While’ reciting IV, 5 a sleeping-charm is performed. 2. The house is sprinkled with water from a vessel which has been anointed with the dregs of ghee, and the rest is poured upon the inside of the door. 3. The same act is repeated naked. 4. Then a mortar ® is addressed (with the hymn); next, the northern corner (of the house), the southernmost foot of the

’ Note especially asyai in st. 6 of the AV. for sdrve in st. 5 of RV. ; also svaptu for sdstu (archaic) in the same stanzas.

3. The same act is repeated naked. 4. Then a mortar ® is addressed (with the hymn); next, the northern corner (of the house), the southernmost foot of the

’ Note especially asyai in st. 6 of the AV. for sdrve in st. 5 of RV. ; also svaptu for sdstu (archaic) in the same stanzas.

* Pischel argues that Brahmans are known to have committed thefis in later times (Mrzkkhakasikaé 46, 10, &c.; see also Rig- vidhana I, 26, 2; Manu XI, 251). Qn the same principle it. might be argued that Vedic Rishis acted as clowns (viddshaka) and. even cooks, as in modern times. Cf. also Paw&. Br. XXI, 11, 2.

* Does the mortar symbolise the vulva, just:as the pestle the membrum virile, Kaus. 40, 16 (see IV, 4, introduction) ?

IV, 6. COMMENTARY. 73

woman’s bed, and the ropes (of the bed).’ The hymn is rubricated also in Ath. Paris. 8, 1, and it has been trans- lated by Aufrecht, 1. c.; Grill’, pp. 53, 119 ff. The Anu- kramazi, varshabham.

Stanza 1.

a. ‘ Having a thousand horns, of Agni, RV. V, 1, 8; Met, Fit, Fe eV ALM, 3. 12 (cf, RV. V,-2, 9). Sayaza, both here and at RV. VII, 55, 7, suggests Stirya, the sun; Aufrecht, |. c., p. 344, the moon, the father of sorcery; Grassmann, in his translation of the Rigveda, I, 343, the starry heaven. In RV. I, 154, 6 the stars are said to be bhuri-syvznga, ‘having many horns;’ this seems to fortify Grassmann’s view. Agni is also fitted for this: epithet, since his flames and sparks may be viewed as horns. But fire (light) little befits the occasion.

Stanza 3.

e. Sdyava, puvyagandhayaz sobhanagandhayuktadZ. Pischel, l. c., p. 57 ff., adduces proof that the Hindus of later times imagined that their women gave forth fragrance during intercourse ; hence, that the women here mentioned are awaiting their lovers. This narrow construction of the word is hardly necessary in the light of Manu V, 130; Markandeya Puraza XXXV, 12, quoted by Pischel himself.

Stanza 5.

d. Sdyaua, idam drisyamanam harmyam yatha darsa- nasaktisinyam tatha, ‘as these premises, though seen, are (themselves) devoid of the power of seeing.’

IV, 6. COMMENTARY TO PAGE 25,

According to the commentators, Darila, Kesava, and Sayama, the performances for removing poison at Kaus. 238, 1—4 include the recitation of this as well as the next hymn (IV, 7). Kausika, however, rubricates only IV, 6, as fol- lows: 1. ‘ While reciting IV, 6, in a low voice, and making

374 HYMNS OF THE ATHARVA-VEDA.

238, 1—4 include the recitation of this as well as the next hymn (IV, 7). Kausika, however, rubricates only IV, 6, as fol- lows: 1. ‘ While reciting IV, 6, in a low voice, and making

374 HYMNS OF THE ATHARVA-VEDA.

obeisance to Takshaka}, the patient is made to sip water and is sprinkled with water. 2. The same performance takes place with water into which has been put a branch of the kyzmuka-tree, which has been ground to pieces, and then the patient is sprinkled with water warmed by quench- ing in it a heated old garment*, or a heated old skin of an antelope, or a heated wisp of a broom*. 3. In a water- vessel which has been smeared with the dregs of ghee a mixed drink is stirred by means of two arrows (whose points) have been daubed (with poison ; cf. st. 7), and whose points are upward *; then lumps of earth® are broken into it (while the hymns are being recited) stanza by stanza, and the mixture is drunk until vomiting takes place. 4. Then the patient is given to drink yellow curcuma in ghee (cf. IV, 7, 2, and especially 3).’

The hymn has been translated by Ludwig, Der Rig- veda, IIT, 512.

Stanza 1.

For the cosmogonic conception in the first hemistich, cf. Muir, Orig. Sanskrit Texts, I*, p. 21. In the Ramayava (cf. IV, 10, 22), the demon Ravava is represented as a

* Takshaka Vaisaleya, a serpent-god ; cf. Kaus. 29, 1; 32, 20; 56, 13, and Ind. Stud. I, 35.

> Darila, girmavasah; Kesava, dunnakaf, or dullakaZ. ‘The passages are not given in the edition.

* The Sitra abounds in subtle symbolic allusions. The kr?muka- tree embodies the bow (karmuka) ; cf. sts. 4,6. The garment, and the old antelope-skin refer to IV, 7,6. For gvala cf. Kaus. 27, 29, in the introduction to III, 7. Darila glosses avakara by ukura- fikatvimani; Kesava by ukaridika marganikatrzzam; Sdyaza has patitamarganikasakalaih ; cf. Kausika, Introduction, p. xlv, bottom.

* For drdhvaphalabhyam see Kausika, Introduction, p. lii, s.v. phala. ‘The poisoned arrows with their points upward symbolise the flight of the poison away from the patient ; cf. sts. 4, 5.

° Darila glosses rayidharazapivdan by bhimis tanmayan pizdan. But Kesava (and Sdyava with him, as usual) has madanaphalani,

‘fruit from the madana-plant. And Kesava remarks anent this plant, yatha £Aardayati.

IV, 6. COMMENTARY. 375

Brahmavza with ten heads. Sdyava identifies the Brahmava with Takshaka, in accordance with the Sfitra, above.

Stanza 2.

CR Vaz. S. XXXVI, “26; “and for the ‘seven ‘rivers, Max Miiller, Chips from a German Workshop, I, 63; Muir, l.c., p. 490, note; Zimmer, Altindisches Leben,

p. 21. ; Stanza 3.

The poison is evidently a plant (Sayama, kandavisha), since the eagle is constantly associated with the origin and functions of medicinal and magic plants; see I, 24,1; II, 27,2; IV, 20, 3; V, 14, 1, and especially our note on IV, 20, 3. For amimadaZ in Pada c, cf. madavati in IV, 7, 4a.

Stanza 4.

For amimadaZ in Pada c, cf. madavati in IV, 7, 4a.

Stanza 4.

e. The rendering of apaskambha is mere conjecture. Neither the root skambh nor stambh occurs with the pre- position apa. The Pet. Lexs., and Zimmer, 1. c., p. 300, ‘the fastening of the point upon the shaft of the arrow ;’ Ludwig, ‘widerhaken.’ Sdyava has two explanations neither of which is satisfactory, apaskabhyate vidharyate antarikshe iti apaskambhaz kramukavrzkshah (cf. Kaus. 28, 2, above) tasya salyad sakalat ... yadva avaskabhyate dhanushi dharyate iti apaskambho bawak. Our own ‘tearing (arrow)’ is based upon the supposition that apa+skambh may mean ‘uproot, or the like, as opposite of skambh.

Stanza 5.

For the parts of the arrow as described here, sec Zimmer, l.c., p. 300. Sdyana, pra#ganat pralepat.. . apasht#at apakrish/avasthad etatsamgfad vishopadanat. We have translated apash¢sak khringat, ‘from its barbed horn, deriving apdsh¢/a from the root as in dsri, ‘ corner ;’ cf. ash¢A/ivantau, ‘ the knees.’

Sayaza ascends the dizziest height of absurdity in his rendering of kulmalat, to wit: kutsitapravzimalak fa yad

376 HYMNS OF THE ATHARVA-VEDA. i ee ire SCL udbhutasz visham, ‘the poison sprung from the filth of

loathsome animals.’ Stanza 7.

Sayaza agrees with all Western authorities in deriving dpishan from the root pish, to wit : aushadham apimshan. He glosses vishagiri by kandamtladivishotpattihetu’ par- vatah.

IV, 7. COMMENTARY TO PAGE 26.

The practices, Kaus. 28, 1-4, obviously refer to this hymn as well as IV, 6. See the introduction to the pre- ceding hymn. Translations are offered by Ludwig, Der Rigveda, III, 201 ; Grill’, pp. 28, 121 ff. The Anukramawi, vanaspatyam.

Stanza 1.

All Western interpreters regard varavavati as a river ; cf., in addition to the authorities given above, Zimmer, Altindisches Leben, p. 20. Sayava, varava nama vrzksha- viseshak te asy4m santisti varavavati; cf. varava (crataeva roxburghii), AV. VI, 85,1; X, 3, 2 ff., where the same puns upon derivatives of the root var are displayed. The formation of the word varazavati might be compared with sitikavati and hladikavati in RV. X, 16, 14=AV. XVIII, 3, 60; see our Contributions, Second Serics, Amer. Journ. Phil. XI, p. 341 ff. Cf. also madavati in st. 4 (cf. IV, 6, 3c), as a designation of the poisonous plant. varazavati would then be the name of the curative plant. the antidote, ‘affording protection.’ But the ceremonies in the Satra (28, 1) begin with the use of water, and the

appearance of var in Pada a also points to the name of a river. Stanza 2.

di Ci. RY as 7 rer Apast. Src pa, Rear this and the next stanza the ritual, above, Kaus. 28, 4. Stanza 3.

a. In deciding upon the meaning of tiryam we have had in mind the evident concatenation of st. 2 with 3 a,b. The

IV, 7. COMMENTARY. et yd

Stanza 2.

di Ci. RY as 7 rer Apast. Src pa, Rear this and the next stanza the ritual, above, Kaus. 28, 4. Stanza 3.

a. In deciding upon the meaning of tiryam we have had in mind the evident concatenation of st. 2 with 3 a,b. The

IV, 7. COMMENTARY. et yd

thought is continued, and, as is customary in catenary con- structions, a new motif is added, tiryas (sc. visham) in addition to the prafyam, &c. of stanza 2. Since prakyam, &c. indicate directions, we have regarded tiryam in the same light, i.e. as a variant of tirya#k ; cf. X, 2, 11. 24. 25. 28; 8,19; XI, 4, 25; XV, 3, 6. Sayavza also attributes tiryam to vishdm, but in the sense of ‘secret, hidden,’ tiro- bhavam prakdannatvena prayuktam. This rendering is certainly possible. The Western translators all err because they attribute the word to karambham: Pet. Lexs. and Zimmer=tilya, ‘made from sesame;’ Ludwig, ‘ einen breiten kuchen ;’ Grill emends to atiriya (=ati + riya), ‘overflowing.’ |

b. The vulgate reads pibasphakam (Padapazha in Whit- ney’s Index, pibak+phakdm). Shankar Pandit’s MSS. read pibaspakam (Padap. pibak+pakam); Sayaza, piva- spakam, ‘a rich mess.’ For udarathim, see RV. I, 187, 10. The Pet. Lexs., and Grill, ‘dampfend ;’ Ludwig, ‘ hoch- aufgegangen ;’ Sayama, ‘ prosperous’ (udriktartiganakam). Our own translation, ‘cheering, is equally conjectural.

Stanza 5.

Far from clear (cf. VI, 44, 1). Ludwig, ‘ wie einen wall (eine aufschiittung) um das dorf richten wir auf;’ Grill, upon the basis of the Pet. Lex., ‘als wie mit einer heeres- schaar umstellen wir dich mit dem wort.’ Sayama, ‘the poison which is heaped up like a throng of people’ (gana- samtham iva upakitasz visham). He adds that the com- parison with the throng suggests the power of the poison (gramadrzsh/antena vishasya prabalyam uktam), and thus nearly meets our own rendering, which, to be sure, suggests the frequency of the poison, rather than its strength.

Stanza 6.

a, b. The Siitra (28, 2) ought to be helpful here. Three articles are mentioned there, dirsa, agina, and avakara, two of which are given here in the same terms. It would seem to follow that the third, avakara, is identical with pavasta,

378 HYMNS OF THE ATHARVA-VEDA.

and accordingly Sayava says outright, pavastaiz pavanaya astaik sammarganitrizaihx. All this may be correct: the implication appears to be that the poisonous plant, itself worthless, is bartered for worthless things, stray wisps of broom-straw, old garments, and worn-out skin. But the word garat, ‘old, is not mentioned in the hymn, and the symbolism of the Siitra is obscure; we cannot therefore regard all this as in any way secure. Moreover the diffi- cult task of making this interpretation fit the only other occurrence of pavasta (dual, pavdste), RV. X, 27, 7, remains. Sayavza quotes the passage and glosses the dual by dyava- pvithivi, here as well as in the RV.

Stanza 7.

Moreover the diffi- cult task of making this interpretation fit the only other occurrence of pavasta (dual, pavdste), RV. X, 27, 7, remains. Sayavza quotes the passage and glosses the dual by dyava- pvithivi, here as well as in the RV.

Stanza 7.

Repeated at V, 6, 2 in an equally obscure connection. Sayama, ‘those enemies, O people, who were hostile to you in the witchcraft-practices which they performed, may they not by these practices injure our men here.’

IV, 8. COMMENTARY TO PAGE III.

This hymn is founded upon certain practices, well known in connection with the consecration of a king throughout the Vedic literature. Professor Weber has recently devoted to this subject a characteristically excellent treatise, ‘ Uber die Koénigsweihe, den Ragastya, Transactions of the Royal Prussian Academy of Sciences, 1893. Two noteworthy performances are indicated in the hymn: the king is sprinkled with water, derived from holy rivers, and mixed with the essence of holy plants (sintyudakam: see Kaus. 17, 1, and g, 1 ff); and he steps upon a tiger-skin. Both practices figure prominently in the descriptions of the ragastya in the Yagus-samhitas, Brahmavas, and Siitras: see the index to Weber’s treatise under ‘salbung, and ‘tiger-fell” The hymn reflects throughout the spirit of antique popular institutions, and a genuine hades: of the dignity of royalty.

The Atharvan ritual presents it in connection with a

Iv, 8. COMMENTARY. 379

double treatment of the ragasdya, either as a more solemn and elaborate priestly srauta-practice, or a more popular and direct gvthya-practice. The former is given at Vait. Si. 36, 1-13: it presents in a compendious form the practices current in other srauta-works, with particular attention to the chronology of the months. The sprinkling (abhisheaniya) and the tiger-skin figure as the prominent points. The more popular phase of the practice is stated in a double form at Kaus, 17, 1-29. The first (Kaus. 17, 1-10) is the simplest. Only the king and his chaplain (purohita) are here actively engaged: 1. ‘While reciting the hymn he who is about to sprinkle a king prepares at the banks of a great river! “holy water” from the ingre- dients prescribed (in st. 5; cf. Kaus. 9). 2. He causes. a porridge to be cooked, and sprinkles the king who stands upon darbha-grass on the south-side of the vedi (called) parigrzhya’. 3. He seats the king upon a couch (placed) on a bull’s skin*®. 4. They (the king and the purohita) fill for one another a water-vessel (with water). 5. They exchange them. 6. The Brahman says: “In common to us be the good we do, in common the bad.” 7. (The king says): “ He (of us two) who shall do evil, his may the evil be; the good deed alone shall belong to both of us.” 8. (The purohita) gives the porridge (to the king) to eat. g. Then he causes him to mount a horse, and turn to the north-eastern direction (aparagita, “the unconquered”’).

' According to Déarila near the rivers Ganga, Yamuna, or Sarasvatt.

(The purohita) gives the porridge (to the king) to eat. g. Then he causes him to mount a horse, and turn to the north-eastern direction (aparagita, “the unconquered”’).

' According to Déarila near the rivers Ganga, Yamuna, or Sarasvatt.

* Darila, parigyzhya parigrzhyavedihs parigrahavam, sa yogo (!). Ch Tait.-S. I], 2, 10, 5; Maitr. S. 1, 6, 3 (p. 89, 1. 14); Apast. or. lV, 5, 4, and AV. XII, 1, 13.

* I fail to see why Professor Weber (I. c., p. 140, note 5) ignores my obvious emendation of talparshabham to talpa (i. e. talpe) arshabham. ‘The bull’s skin takes here the place of the tiger-skin. The more elaborate ceremony (mahabhisheka), described in the sequel (Kaus. 17, 11 ff.), brings in the tiger-skin. The present form of the ragasfya is the ‘simple one’ (laghu, laghvabhisheka), according to Kesava and Sayama.

280 HYMNS OF THE ATHARVA-VEDA.

10. A thousand (cows), or a choice village, is the fee for the priest.’

The Kausika continues further with another mode of consecration for an ekaradga, ‘sole ruler” In this the tiger-skin takes the place of the bull’s skin. Four princes and a number of servants and subjects participate in this. See Weber, l. c., p. 141 ff.

The hymn has been translated by Ludwig, Der Rigveda, III, 458; Weber, l.c., 139. By itself it figures as the abhishekagava in the Gazamala, Ath. Paris. 32, 30.

Stanza 1.

c,d. The king is all-powerful. But there is yet another king, more powerful than he, death. Death is present in person now, as at all times, but he shall assent to the rule

of the king. Stanza 3.

This stanza recurs in a hymn to Indra, RV. III, 38, 4. The manly Asura is primarily Indra. Since Indra is the typical king (kshatriya), stanzas in praise of Indra lend themselves readily to adaptation to praises and beatifica- tion of royalty; cf. III, 1, 4; 2, 5, and elsewhere.’

Stanza 4.

The tiger, as well as the lion (st. 7), is the king of animals : Sat. Br. V, 5, 4, 10; XII, 7, 1, 8; hence his skin is a mark of royalty. Control of the regions is a sine qua non of royalty; cf. e.g. Maitr. S. Il, 1,12, and the dig-vyastha- pana-mantraz at Tait. S. I, 8,13,1.2; Tait. Br. I, 7, 7,1. 2.

' I am inclined to think that ‘ sole ruler,’ and not ‘simple king,’ as Weber (p. 141) renders it, is the meaning of ekaraga; cf. ekarag in Ait. Br. VIII, 15, 1 (scholiast, eka eva raga); AV. III, 4, 13° RV. VIII,’ 34, 3, and’ ekavrasha; AV. IV, 22; Y.5ee eee which is rubricated in the sequel of this description (Kaus. 17, 28). Kesava, moreover, introduces Saitra 11 with the words, maha- bhishekavidhim vakshyamah. The entire passage Kaus. 17, 11-29 deals with this more pompous ceremony.

IV, 9. COMMENTARY. 381 See in general, Contributions, Fourth Series, Amer. Journ. Phil. XII, 432.

d. The heavenly waters are the very ones with which the king is consecrated. By a bold figure of speech they, as they are about to moisten him, are said to long for him !

Stanza 6.

IV, 9. COMMENTARY. 381 See in general, Contributions, Fourth Series, Amer. Journ. Phil. XII, 432.

d. The heavenly waters are the very ones with which the king is consecrated. By a bold figure of speech they, as they are about to moisten him, are said to long for him !

Stanza 6.

a. Some MSS. and Sayaza read abhi... asrzgan for abhi... asi#an. Sayaza glosses, Abhimukhyena samsrig- antu.

Stanza 7.

e.d. The passage is not quite clear: subhuva/ may refer to the waters, or to the attendant priests (so Sayama, seva- kaganaz). The word dvipinam harbours a double entente : dvipa is ‘island.’ Vaguely, the position of the king, as he is surrounded by the consecrating water, suggests an island in the ocean.

IV,9. COMMENTARY TO PAGE 61.

The hymn is rubricated at Kaus. 58, 8 in a practice calculated to bestow long life upon the young Aryan, after he has been invested with the holy cord (cf. Hir. Grzh. I, 11, 5), to wit: ‘ While reciting IV, 9, an amulet of salve is fastened (upon the youth).’ See also Santikalpa 17 and 19'; Ath. Paris. 4,1. A persistent tradition has it that the mountain Trikakud (‘ Three-peaks’), in more modern times TrikiZa or Trikota, between the Penjab and the Himalayas, is the source from which the salve is derived. See the Pet. Lex. under af#gana, trikakud, and traikakuda, and Zimmer, Altindisches Leben, pp. 29,69. The Anu- kramawzi describes the hymn as traikakuda#ganadaivatam ; it has been translated by Ludwig, Der Rigveda, III, 507 ; Grill’, pp. 35. 123 ff., and exhibits noteworthy points of contact with RV. X, 97.

' Erroneously quoted by Sayawa as Nakshatrakalpa.

3282 HYMNS OF THE ATHARVA-VEDA.

Stanza 1.

b. The majority of Shankar Pandit’s MSS. read akshyam ; this he has taken into the text. Other MSS. read akshyam. But there is also MS. authority for dksham, the reading of the vulgate, and Sayava, who glosses it by #akshuf, ‘eye.’ But 4ksham does not mean ‘eye, and akshyam is other- wise unquotable. Nevertheless, we have translated akshyam, for the passage seems to be a tantalising reverberation of Sat. Br. III, 1, 3, 12. ‘When Indra slew Vvztra, he trans- formed that eye of his (Vrztra’s) into the mount Trikakud. The reason, then, why (ointment) from mount Trikakud (is used), is that he thereby puts eye into eye. This seems to show that the ointment was applied about the eye’, and apparently silences Professor Roth’s objection, as reported by Grill, that this is too narrow a view of the usefulness of the ointment. Cf. also Maitr. S. III, 6, 3; Tait. S. VI, 1, I, 5, which are equally pertinent.

Stanza 3.

e,d. The Paippalada reads, utasmyvztatvasyes=sisha uta ssah pitubhoganam. Pada e looks like an appendage; og Haale, BN Bal P

Stanza 4.

Cf. also Maitr. S. III, 6, 3; Tait. S. VI, 1, I, 5, which are equally pertinent.

Stanza 3.

e,d. The Paippalada reads, utasmyvztatvasyes=sisha uta ssah pitubhoganam. Pada e looks like an appendage; og Haale, BN Bal P

Stanza 4.

Cf. RV. X, 97, 12= Vag. S. XII, 86. The difficult word of the stanza is madhyamasir, all the renderings of which, both native and western, are mere conjectures. Sdayaza, here, either ‘wind’ (i.e. who dwells in the middle region), or, arir mitram arer mitram iti nitisdstroktamavdalama- dhyavarti raga. The gloss at RV. is similar to the latter interpretation. Still more fanciful is Mahidhara at Vag. S.

Stanza 5.

Cf. II, 4, 2, and for the meaning of vishkandha, see the note On ria

' Sayaza on st. 3, anakti akshushi anenesti 4#g¢anam.

IV, 10. COMMENTARY. 333

Stanza 7.

d. We have taken ptrusha in the sense which it fre- quently has in the Veda, namely, ‘menial, servitor. (Cf. Rie Ge, AV. Xe Pe Sat. Br. VI; 3, 1, 225. ‘and probably also RV. VI, 39, 5 (discussed erroneously by Pischel, Vedische Studien, I, 43). Ludwig, ‘ und dein leben, o mensch ;’ Grill, ‘auch deinen lebensgeist, du mann!’ Sayava reads ptirushas with some MSS. (both Samhita and Padapazha), all of which, however, present the word as an enclitic without udatta. With the nominative the sense is, ‘may I as thy servitor (O salve) obtain horses, &c.’

Stanza 8.

For baldsa, see the discussion in the note on V, 22, It. The poison of the serpent is considered as a disease; hence it is mentioned along with takman and balasa.

Stanza 9. Cf. Tait. Ar. VI, 10, 2; Hir. Grch. I, 11, 5.

IV, 10. COMMENTARY TO PAGE 62.

The hymn is employed at Kaus. 58, 9 in connection with a practice for bestowing long life and prosperity upon the young Brahmanical disciple after the investiture: ‘ While reciting IV, 10 an amulet of pearl is fastened (upon the youth).’ Cf. also Santikalpa in the introduction to XIX, 34.

The hymn has been translated by Ludwig, Der Rig- veda, III, 462; Grill?, pp. 36, 124 ff. Cf. also Pischel in Zeitschr. d. Deutsch. Morg. Gesellsch. XXXVI, 135 ff. The Anukramavzi, sankhamavzistiktam.

Stanza l.

In this and the subsequent stanzas the fanciful sources of the pearl, some of which become commonplace in the later literature, are paralleled with great fidelity in the imaginations of Arabic and classical writers; see Pischel, l.c. The glint on the surface of both pearl and shell

384 HYMNS OF THE ATHARVA-VEDA.

suggests gold; and the changes are rung upon this com- parison. See also Yaska’s Nighazu I, 2, where krzsana is put among the names for gold; cf. especially st. 6.

Stanza 2.

a. Sayava, rokananam rokamananam bhasvarazam nak- shatradinadm. He has in mind, doubtless, the beautiful stanza RV. X, 68, 11,‘as a black steed with pearls, thus did the Fathers stud the sky with stars.’

Stanza 3.

Stanza 2.

Stanza 3.

b. For sadanvaz, see our note on II, 14, 1 d.

Stanza 5.

b. Sayama, ‘from the body of Vvitra, or from the cloud.’ The latter alternative hits the point. According to the familiar Hindu notion, the pearl is a drop of rain, and thus it here breaks through the cloud, like the sun, itself a small sun.

Stanza 6.

Pada a accounts for the presence of the word krzsana among the names for gold, Yaska’s Nigh. I, 2. With Pada c cf. RV. I, 35, 4. The extra fifth Pada is formulaic, and betrays its character as an appendage by the change of person (tarishat) ; see the note on II, 4, 6.

Stanza 7.

e. The MSS. available for the vulgate read karsanas; so also the majority of Shankar Pandit’s MSS. The emendation of the Pet. Lex. to kdrsanas is now substan- tiated by Sayava (karsanak krisanasambandhi mami), and a minority of Shankar Pandit’s MSS.

IV, 12, COMMENTARY TO PAGE Ig.

The purport of this hymn is manifest both from its wording, and its function in the ritual. It is to cure external lesions, and fractures of bones. The Kausika

IV, 12. COMMENTARY. 385

deals with it twice, 28, 5. 6, and 28, 14. The practice described in the former place is assigned by Kesava to the healing of broken bones, wounds, and flow of blood caused by weapons (asthibhange rudhirapravahe sastrabhighatadau bhaishagyam). It consists in sprinkling the patient at dawn when the stars fade (with a decoction of the laksha-plant, Kesava adds), then giving him to drink a so-called prisha- taka’, a mixture of ghee and milk (so Darila; cf. Kaus. 49, 15), and finally anointing him with it: 28, 5. rohawisty avanakshatre:vasizkati. 6. prishatakam payayaty abhy- anakti. At Kaus. 28, 14 the performance is very similar, lakshalingabhir (sc. r7gbhir) dugdhe phaw/an payayati, ‘while reciting the stanzas characterised by the mention of the laksha-plant (according to the commentators, AV. V, 5 in addition to our hymn) he gives the patient to drink a decoc- tion (of the plant) in milk.’ Darila distinctly describes this as a cure for wounds (arusho bhaishagyam), while with Kesava the scope of the charm is broader, namely, ‘against wounds from knives, clubs, stones, burns, in fact all wounds of the body.’

The name ]aksha, under which the plant addressed in this hymn goes consistently in the ritual books, does not occur in our hymn, but instead arundhati. In AV. V, 5,7 the laksha is mentioned—apparently a dz. Aey. in the Mantras —and it there appears distinctly as an alternate designation of the creeper called arundhati, or sila#i?, a parasitic plant which grows up on the stems of many trees (V, 5, 5), and which is otherwise described in the same hymn; cf. also Zimmer, Altindisches Leben, p. 67. Since the plant is employed to cure wounds (arus), the student of the Atharvan need hardly be warned that there is a punning symbolic connection between the disease and the simple ; cf. Darila’s

' For prishataka, see Gobh. Grvh. III, 8, 1 ff.; Grzhyasamgraha Il, 59, and my note on the same, Zeitschr. d. Deutsch. Morgenl. Gesellsch. XXXYV, p. 580.

* Possibly also rdhami; see the note on stanza 1. Sayama at VI, 59, 1 explains arundhati as sahadevi (cf. the text of VI, 59, 2).

(42) ce

386 HYMNS OF THE ATHARVA-VEDA. anni lc lt i ca gt statement, arusho bhaishagyam, at Kaus. 28, 14, and the doubtless conscious mention of arts and arundhati in V, 5, 4-53 cf. also VIII, 7,6. The word is, however, likely to be a-rundhati, a feminine present participle with a priva- tive; so Sayavza at VI, 59, 2.

Adalbert Kuhn, Zeitschrift fiir vergleichende Sprach- forschung, XIII, 58 ff.; 151 ff., has compared the hymn with the Merseburg charm, and a considerable variety of related materials from German, Scandinavian, and English sources. And, having in view more particularly AV. V, 5, 8. 9, he believes that the creeper was used primarily to heal the fractured limbs of horses—a construction which seems to me too narrow. Any kind of genetic connection between the Hindu and the German charm is none too certain, since the situation may have suggested the same expressions independently. Yet as a strongly-marked line in the folk-psychological character of the peoples in question, the parallels are extremely valuable and instructive. The hymn has also been translated by Ludwig, Der Rigveda, ITI, 508, and Grill’, pp. 18 and 125 ff.; cf. also Hillebrandt, Vedachrestomathie, p. 48. The Anukramavzi designates the hymn as vanaspatyam, ‘ devoted to Vanaspati, its author being Azbhu (cf. st. 7).

Stanza 1.

The hymn has also been translated by Ludwig, Der Rigveda, ITI, 508, and Grill’, pp. 18 and 125 ff.; cf. also Hillebrandt, Vedachrestomathie, p. 48. The Anukramavzi designates the hymn as vanaspatyam, ‘ devoted to Vanaspati, its author being Azbhu (cf. st. 7).

Stanza 1.

a,b. I take it that the three occurrences of the word rohavi in the stanza are intended to convey the same word in at least a double meaning. The plant is a creeper growing upon trees, as is stated distinctly in AV. V, 5, =. vrtksham-vriksham 4 rohasi, ‘every tree thou doest ascend.’ The poet is very likely to have in mind this meaning of the root ruh in addition to the more direct one, ‘ cause to grow, at least in connection with the first occurrence of the word. It seems necessary to construe one of the two rohavi in the first Pada as a proper name ; Ludwig in his translation goes farther than that, and seems to take one of them as vocative, ‘ Rohawi[, die wachsen macht.] bist du, 0 Rohazi, &c.’ The passage with its three identical nomi- natives has a parallel in the traditional text of DG BME rise

IV, 12. COMMENTARY. 387

gangidéssi gangid6é rakshitassi gangidahk (so the MSS.; the edition corrects to angira asi gangida, &c.). The tempta- tion in both cases is to change at least one of the nomi- natives to a vocative; see the note on XIX, 35,1. Grill translates the two rdéhavzi in Pada a by two synonymic expressions, ‘Verheilung wirkst du, ja du heilst.’ This simply veils the difficulty. It may be worth noting that the MSS. of the Kausika in quoting the hymn at 28, 5 read unanimously rohizi; this is the reading of Sdyava, and of the Paippalada for all three occurrences of the word, and it suggests ‘red,’ a quality which is borne out by certain epithets of the plant, hirawyavarza, ‘ golden-coloured,’ in V,5, 6.73; sairyavarza, ‘sun-coloured,’ in V, 5,6; sushma, ‘fiery, in V, 5,7. The name of the plant, laksha, ‘ lac-dye’— cf. the Pet. Lex. s. v. 2—also suggests ‘red,’ and this may be a third thought which runs through the mind of the versifex while composing the stanza. I attach no text- critical significance to the metre of the stanza (gayatri), which differs from that of sts. 2-5 on the one hand, and Sand 7 on the other; cfiveso:/ RV. Vilide3; AV. Ti, 4; WELL, Oc.

Stanza 2.

I attach no text- critical significance to the metre of the stanza (gayatri), which differs from that of sts. 2-5 on the one hand, and Sand 7 on the other; cfiveso:/ RV. Vilide3; AV. Ti, 4; WELL, Oc.

Stanza 2.

b. I have reluctantly refrained from emending dsti to asthi’,‘ bone.’ The rather superfluous copula at the begin- ning of the Pada is suspicious, and the translation of pésh- tram by ‘bone’ is not at allcertain. Both the related pisita and pesi mean ‘flesh,’ and that, not ‘bone, may be the meaning of pésh¢ram. This fits here as well as at AV. VI, 37, 3, the only other place where the word occurs, and Hillebrandt in the vocabulary of his Vedachrestomathie states a similar view, ‘ losgeschlagenes stiick fleisch, fleisch- fetzen, although his derivation from the root pish, ‘crush,’ separates needlessly our word from pisita and pesi. With this change, Padas a,b should be translated ‘ what bone and flesh in thy person has been injured and burst, (may Dhatar,

* By way of illustrating the easy confusion of these two words we may mention that Sayama at IV, 10, 7 a, reads asti for Asthi.

CCc2

388 HYMNS OF THE ATHARVA-VEDA.

&c.).’ Note, too, the parallelism which is thus established with Padas c,d in st. 3 (dsthi in both stanzas, and pésh¢ram =madmsdsya). Sdyaza comments upon preshzkam instead of péshzram.

e, d. dhatd in alliteration with dadhat.

Stanza 3.

Almost every feature of the detailed account of the parts of the body, here and in the following two stanzas, may be paralleled from the Teutonic charms, e.g. Kuhn, l.c., p. 51:

‘ben zi bena bluot zi bluoda lid zi geliden sose gelimida sin,’

The Norwegian charm mentioned on the same page recites marrow, bones, and flesh: ‘marv i marv, been i been, kjéd i kjéd,’ A charm from the Orkneys recites (l.c., p. 54): ‘Sinew to sinew, joint to joint,

Blood to blood, and bone to bone, Attend thou in God’s name!’

a. As the Pada stands it is hypercatalectic. The Paippa- lada omits te, which may have crept in from Pada c. But even this leaves a bad final cadence: perhaps bhavatu is to be read dissyllabically (bhotu, in the manner of the Prakrit hodu). For the metrical equivalence of ava and 0, see the author’s article, ‘On certain irregular Vedic Subjunctives, Amer. Journ. Phil. V, 25 ff. (p. 10 ff. of the reprint). Sayaza reads sam for sam in each of the four Pdadas.

Stanza 6.

The metre is very irregular ; the Anukramazi describes the stanza as tripada yavamadhya bhuriggayatri, not a bad characterisation, as the middle Pada is larger than the other two. By reading sottish¢za we obtain a good octosyllabic Pada a; b is atrish¢ubh, and c is a catalectic anush¢ubh (read | ardhuaZ). Hillebrandt and Grill assume that this and the following stanza are later accretions, and both metre and sense seem to bear them out. But these matters are so

IV. 16. COMMENTARY. 389

Hillebrandt and Grill assume that this and the following stanza are later accretions, and both metre and sense seem to bear them out. But these matters are so

IV. 16. COMMENTARY. 389

very subjective! Ludwig does not construe Pada b as a comparison, but translates ‘ gutes rad, gute felge, gute nabe hat der wagen. Evidently, he also has in mind an exoteric origin of the stanza.

Stanza 7.

Cf. RV. VI, 54,7. The stanza.consists of two eleven- syllable and two octosyllabic Padas. The first Pada may be righted by reading patitud, or possibly yddi va kartam, &c. (cf. yadi vain Pada b). The Anukramavwi baldly counts thirty-six syllables as they stand, without resolution, and designates the stanza as brzhati.

c,d. The subject of sas dadhat seems to me (as to Grill) to be Dhatar, the fashioner in st. 2; rzbhti belongs » to the comparison, as in X, 1,8. The Azbhus are known to have constructed the chariot of the Asvins, but they are not counted among the divine physicians (Rudra, the Asvins, the waters, and Sarasvatt). Kuhn and Ludwig make vzbhi the subject of saz dadhat, but the former regards it as an epithet of Dhatar.

IV, 16. COMMENTARY TO PAGE 88.

Professor von Roth, who first treated this hymn in his well-known essay, entitled ‘Abhandlung iiber den Atharva- veda’ (Tiibingen, 1856), remarks on p. 30: ‘There is no other hymn in the entire Vedic literature which presents divine omniscience in terms so emphatic, and yct this beautiful fabric has been degraded to serve as an introduc- tion to an imprecation. One may surmise, however, in this case as well as in the case of many other parts of this Veda, that fragments of older hymns have been utilised to deck out charms for sorcery.’

We may remark, however, that the stanzas of this hymn do not occur in any other connection, and there is no tangible evidence that they were constructed for any other purpose than that before us. Certainly the Atharvavedins had nothing better in view, and accordingly the hymn is rubricated in the sixth book of the Kausika which is

390 HYMNS OF THE ATHARVA-VEDA.

devoted to sorcery (Abhifarika). At Kaus. 48, 7 the con- juring enemy, as he comes on, is met by the recital of this hymn; at 127, 3 the third stanza, in praise of Varuma, figures in an expiatory rite when the constellation, ‘the seven Rishis’ (the dipper), is ominously obscured by some nebulous mass, or comet (yatra dhimaketu/ saptarshin upadhiipayati). The Anukramavzi describes the hymn as satyanrztanvikshavastiktam, ‘a hymn which searches out truth and untruth.’ 2

The Anukramavzi describes the hymn as satyanrztanvikshavastiktam, ‘a hymn which searches out truth and untruth.’ 2

There are many translations of the piece: Roth, l.c., pp. 29 ff. ; Zeitschr. d. Deutsch. Morg. Gesellsch. VII, 607 ; Max Miiller, Chips from a German Workshop, I, 40 ff. ; Muir, Original Sanskrit Texts, V, 63 ff. (cf. also II, 451); Metrical Translations, p. 163; Kaegi, Der Rig-veda’, . p. 89 ff. (p. 65 ff. of Arrowsmith’s translation) ; Ludwig, Der Rigveda, III, 388; Grill?, pp. 32, 126 ff.; cf. also Hille- brandt’s Vedachrestomathie, p. 38 ff.; Bergaigne et Henry, Manuel Védique, p. 146 ff.

Stanza 1.

Cf. Psalms xxxiti 13+ exttl. 5 cxxxvill. 6s cxxxing @- ee XXiii. 23, and see for scriptural parallels to the next stanzas the notes to Kaegi’s translation. Sayawa refers esham to the enemies ; most translators, to the human race in general. We supply devanam from devaéd in Pada d. Some MSS. of the Padapaz/a read tayat and drat; the latter is adopted by Sayaza, karanasilam ka nasvaram ka vastu manyate.

Stanza 2.

a. Sdyava explains va#kati by kaudilyena pratarayati, ‘leads astray by means of guile.’ Cf the formula, namo vazkate, parivazkate, stayinas pataye namaz, Mait. S. II, 9, 33: lait..S. [V5 3, 13) Vee. Saou, 21,” addrecsedsars part of the satarudriya-litany to god Rudra in his capacity of master-thief (Mahidhara also, va#kati pratarayati). The Paippalada reads, yas tish¢Zati manasa yas ka vazkati, sup- porting in a measure SAyaza’s and Mahidhara’s glosses.

b. The Padapa¢ha reads nislayan, a participle, not a

IV, 16. COMMENTARY. 291

gerund ; pratankam is left as an accusative dependent upon kar, a verb of motion. The meaning ‘hiding-place’ for pratanka suits its only other occurrence, AV. V, 13, 8: ‘the poison of all (serpents) who have run into their hiding- place is without force. Cf. also pratadkvan, Maitr. S. I, 2, 12; Tait. S. I, 3, 3,1; Vag. S. V, 32, and Pet. Lex. (epithet of a pit). Sayava reads nilayam, and glosses pratankam with prakarsheza krzkkhragivanam prapya. The Paippa- lada has pralayam, absolutive, in the place of pratankam.

Stanza 3.

ce, d. The last two Padas foreshadow Varuva’s later func- tion as Neptune (apam patiz); cf. RV. II, 38, 8; AV. III, 3,4; Maitr. S. II, 6,8; Tait. S. I, 8,12,1; V,6, 1,13. Vag. S. X, 7, and Weber, Ragasiya, p. 44, note 1. The two oceans are the heavenly and earthly oceans; cf. RV.

Mee as eV. 1, 2, 25 5 6.

Stanza 4.

Varuma’s spies are the stars, ‘the eyes of night’ (RV. X, 127, 1), ‘ the beholders of men, AV. XIX, 47, 3 ff. Cf. our Contributions, Third Series, Journ. Amer. Or. Soc. XV, p- 170.

Stanza 5.

b, ec. Sdyava reads purastat for parastat, and construes samkhyata as the nom. of the stem saskhyatar (pramaza- yita).

X, 127, 1), ‘ the beholders of men, AV. XIX, 47, 3 ff. Cf. our Contributions, Third Series, Journ. Amer. Or. Soc. XV, p- 170.

Stanza 5.

b, ec. Sdyava reads purastat for parastat, and construes samkhyata as the nom. of the stem saskhyatar (pramaza- yita).

d. The Pada is exceedingly difficult. ni minoti has the sanction of all MSS., and is apparently the reading of the Paippalada also. The gamester throws down (ni vapati, Kaus. 41, 13) his dice, and it is implied here, of course, that it is done successfully, that the player obtains the stakes (kritam, see Pet. Lex., s.v. kvita 3c), because Varuma cannot be otherwise than successful. As the player plants down these (successful dice) thus does Varuza establish these laws (tani, sc. vratani?). Sayasza, who did not primarily influence our conclusion, in part approaches the same interpretation, tani papinam sikshakarmawi tattatpa-

392 HYMNS OF THE ATHARVA-VEDA.

a Se a panusareva ni minoti ni kshipati ... yatha kitava/ akshan Atmano gayartham nikshipati.. The Pet. Lex. (V, 764; VII, 409) emends to ni Ainoti and vi Ainoti without real gain, tempting as the emendation is in the light of RV. X, 42,9 = AV. VII, 50, 6, and AV. IV, 38, 2. Grill suggests n{ minoti (or minati) in the sense of ‘reducing, causing to vanish the strength of men’ (cf. Sayaza), but neither expression will bear such an interpretation (ni minati does not occur). The translators offer the greatest variety of versions, without, as a rule, adhering closely to the text.

Stanza 6.

Sayama reads visita and rushanta% (so also the Paippa- lada). For sinantu of the vulgate the MSS. have #/inantu, khinattu, and sinantu (Sayawa, kfinattu &/indantu).

Stanza 7.

a. varusa is metrically superfluous, an obvious gloss.

e. The MSS. read sramsayitva and sramsayitva. Sayaza, correctly, srassayitva (galodararogeva srastam kritva).

d. Sayaza, followed by Shankar Pandit, reads abandhaz for abandhraz. The Pet. Lex. s.v. 2 kart, ‘like a leaking tub wound about with rags’ (to stop the leakage). Sdayaza, ase kosa iva parikrztyamanaz (krzti k#edane), ‘like the broken sheath of a sword.’

Stanza 8.

Literally, ‘with Varuva who is fastened lengthwise, &c.’ The word varuvzahk could be well spared from all three ‘Padas, if it were not for the metrical symmetry with the mext stanza. Or it might be changed to the vocative varuza. For samamyo and vyamyo, cf. AV. XVIII, 4, 70: the words are clear. Ludwig and Sayaza erroneously connect them with Amaya, ‘disease.’ videsya is naturally derived from videsa, ‘foreign country ;’ in that case saz- desya is an artificially formed opposite ‘native, indigenous.’ So Sayaza. Both words are dz. dey. An alternate possibility

IV, 17. COMMENTARY. 393

Ludwig and Sayaza erroneously connect them with Amaya, ‘disease.’ videsya is naturally derived from videsa, ‘foreign country ;’ in that case saz- desya is an artificially formed opposite ‘native, indigenous.’ So Sayaza. Both words are dz. dey. An alternate possibility

IV, 17. COMMENTARY. 393

is to render samdesya, ‘ subject to command ;’ then videsya is ‘exempt from command.’ Or, again, each may be translated independently: sazzdesya, ‘subject to command ;’ videsya, ‘foreign:’ their juxtaposition in a magic formula may be of the punning order. For sasdesya, cf. our note on II,8,5b. The divine and the human (noose of) Varuza refers either to divine and human disease (so, apparently, Sayava), or to diseases instigated by gods and men. The formula grovels in the lowest bathos of hocus-pocus.

IV, 17. COMMENTARY TO PAGE 69.

This and the two following hymns are addressed to the apamarga-plant (achyranthes aspera)’. It is employed to ward off all kinds of evil and witchcraft, and its qualifica- tions in that direction are guaranteed to the Atharvanic Hindu by its real or supposed etymology. The name is hardly ever mentioned without bringing in its trail the verb apa marg, ‘to wipe out.’ The pun assumes the most lively reality: diseases, enemies, demons, and sins are wiped out by its influence. See Zimmer, p. 66 ff.; our Contribu- tions, Third Series, Journ. Amer. Or. Soc. XV, 161; Weber, Ragastiya, p. 18. Cf. also Sat. Br. XIII, 8, 4, 4.

The three hymns figure at Kaus. 39, 7 in a list which is almost identical with the krztyapratiharamani (sc. sdktani), or the krztyagavza, a series of hymns designed to counteract sorcery, in the Gavamala, Ath. Paris. 32, 2.

The Kausika, 39, 7-12, prescribes in connection with these hymns a lengthy procedure, which begins with ‘the pouring of the great consecration’ (mahdsantim dvapate). Cf. Kaus. 39, 27; 43,5; 44,6; 46,7; Sankh. Gvzh. V, 11, 2. The mahdasdnti consists in pouring together ‘holy water’ (sdntyudakam) during the recitation of the four ganas of hymns, described in Kaus. 8, 23-9, 6. The ‘holy water’ itself is prepared at Kaus. 9, 8 ff. with elaborate ceremonies, the chief of which is the placing of ‘holy plants °

? Sayama regularly glosses the word by sahadevi.

394 HYMNS OF THE ATHARVA-VEDA.

(Kaus. 8, 16) into the water. Obviously the meaning of all these performances is purification, and the warding off of impure influences. Then follow in Satras 39, 8-12 a variety of rather complicated practices, too lengthy and obscure for exposition in this connection. They concern more narrowly some such hymn, belonging to the krztyaprati- haravdni, as X,1; see the introduction tothat hymn. The fifth stanza of IV, 17 naturally figures in the du/svapna- ndsanagama, ‘series of hymns calculated to drive away evil dreams, of the Gazamal4; see Kaus. 46, 9, note.

The hymn has been translated by Zimmer, p. 66; Grill’, pp. 37, 130 ff. The Anukramavzi, apamargavanaspatideva- tyam. Cf. also Ath. Paris. 18%, 4.

46, 9, note.

The hymn has been translated by Zimmer, p. 66; Grill’, pp. 37, 130 ff. The Anukramavzi, apamargavanaspatideva- tyam. Cf. also Ath. Paris. 18%, 4.

Stanza 2.

a. Sdyava with one MS. reads for sapathaydvanim the synonymous sapathaydpanim ; cf. II, 7, 1.

b. The epithet punadsard does not somehow seem to me to be so clear as to the editors of the Pet. Lexs., Zimmer, and Grill. They render it by ‘zuriickgeschlagene bliithen habend.’ This is based upon the statement at IV, 19, 7, ‘thou didst grow backward, thou hast fruit which is turned backward’ (cf. VII, 65,1; Sat. Br. V, 2, 4, 20), and the epithets parakpushpi, pratyakpushpi, and pratyakparni in native lexical works. In RV. VII, 55, 3 punadsara is an epithet of the barking dog, ‘running back and returning again (to the attack).’ The two other occurrences of the word, AV. VI, 129, 3; X, 1, 9, are not disposed of satis- factorily by the renderings of the Pet. Lexs. It seems to me that ‘attacking’ or ‘defending’ is better, and that the word pratisara, ‘defensive amulet?,’ is closely related to it. Cf. Sat. Br. V, 2, 4, 20, and Seven Hymns, Amer. Journ. Phil. VII, 478 ff. Sadyaza, similarly, punaZpunaX dabhi- kshzyena bahutaravyadhinivrzttaye sarati.

* ‘The pratisara turns the spell as a boomerang upon him who performs it. See AV. VIII, 5, 5, prati#iz krityah pratisarafr agantu, and cf. the note on VIII, 5, 1.

IV, 17. COMMENTARY. 395

Stanza 3.

Identical with I, 28, 3. The Pet. Lexs., Zimmer, and Grill regard mfiram = milam, ‘ root (of an injurious plant),’ Sayaza, mirkdapradam. Padas c,d perhaps rather, ‘she who has taken in hand the (magic substances) created to rob strength...’

Stanza 4.

IV, 17. COMMENTARY. 395

Stanza 3.

Stanza 4.

Cf. V, 31, 1, and the note on Kaus. 39, 31. The unburned vessel seems to symbolise the fragility, destructibility (Sat. Br. XII, 1, 3, 23) of the person upon whom enchantments are practised. At Sat. Br. XIV, 9, 4, 11 = Brzh. Ar. VI, 4, 12 it figures in a sorcery practice against a wife’s para-_ mour. The compound nilalohita is also connected with sorcery from the first. It occurs in RV. X, 85, 28 = AV. XIV, 1, 26 = Apast. Mantrabr. I, 6, 8 (Apast. Grzh. IT, 5, 23)=Baudh. Grzh. I, 8; AV. VIII, 8, 24. The Atharvan ritual, Kaus. 16, 20 (rubricating AV. VIII, 8, 24d); 32,17; 40, 4; 48, 40; 83, 4, leaves little room for doubt that in its view a dark blue and a red thread are here intended. This is also the tradition of Apast. Grzh. II, 5, 23, and similarly Sankh. Grzh. I, 12, 8 prescribes, in connection with RV. X, 85, 28, a red and black cord upon which amulets are fastened. Only Baudh. I, 8 treats the compound as a symbolic representation of night and day; see Winternitz, Das Altindische Hochzeitsrituell, pp. 6, 12, 67. It is, of course, possible to conclude that this is the true source of the symbolism: day and night rendered concrete by these two colours. Sdyavza seems to have lost his grip upon Atharvan tradition when he says to our passage, ‘the fire which is black from the rise of smoke and red from its flame. Zimmer and Grill both co-ordinate nilalohite with Amé patre, ‘an das ungebrannte’ and ‘am rotgebrannten, obviously against the spirit of the Atharvan tradition. Cf. also the introduction to VII, 116, and Tait. S. IV, 5, 10, 1.

c. Raw meat is eaten by demons, and therefore realises symbolically their presence ; see V, 29,6; VIII, 6, 23.

396 HYMNS OF THE ATHARVA-VEDA.

Stanza 5.

Identical with VII, 23. I have translated abhvam by ‘gruesomeness, because it has occurred to me at various times that it, as well as 4bhu (cf. RV. X, 129, 3), is related to ndbhas, ‘fog, cloud,’ being in the current terms of comparative grammar = nbhyo-, and fbhu from root nebh. For this and the following two stanzas, cf. RV. V, 36, 3; Vil, 1- Toff.

Stanza 6.

b. The clever emendation of the Pet. Lex. anapatyatam, for anapadyatam, as is the reading of the MSS. of the vulgate, is now authenticated by quite a number of Shankar Pandit’s MSS., and Sayaza (apatyarahityam); cf. the words apra- gasta and apragastva.

IV, 18. COMMENTARY TO PAGE 70.

For the treatment of this hymn in the ritualistic texts, see the introduction to IV, 17. The hymn has been trans- lated by Grill’, pp. 25, 131 ff.

Stanza 1.

the words apra- gasta and apragastva.

IV, 18. COMMENTARY TO PAGE 70.

For the treatment of this hymn in the ritualistic texts, see the introduction to IV, 17. The hymn has been trans- lated by Grill’, pp. 25, 131 ff.

Stanza 1.

The Atharvanist loves to point to cosmic correspond- ences and harmonies as the foundation of his own righteous undertakings. This harmony furnishes the satyam, the unfailing basis (cf. rztam) for his own operations against the powers of evil. Professor Roth, as quoted by Grill, refers gyOdtikz to the light! of the moon (cf. gyotsna), thus establishing a closer parallelism between Padas a and b. I doubt whether the text will bear this strain. SAayava literally, ‘the light of thee (the apamarga-plant);’ cf. IV, 19, 3. The night is frequently viewed as illumined, starry (RV. X, 12757 AV. XIX, 47, 1; 49, 6.8).

b. krétvariz either ‘enchantments’ or ‘ witches.’

Stanza 3.

In our view the solution of the difficulty here lies in the assumption of a change of gender from yas in Pada b (the

' Correct ‘ Night’ at the beginning of the stanza to ‘ Light.’

IV, 19. COMMENTARY. 397

male sorcerer) to tasyam (the witch) in Pada c. The entire second hemistich describes the punishment of sorcerers, for which cf. V, 23, 13. If we were to change tasyam dag- dhay4m to tdsmin dagdhé the sense would be obvious. Cf. V, 14, 6, yadi str? yadi va puman kritydm kakdra pap- mane. Grill emends amdé to Amayém (sc. sthalyam) with a result somewhat as follows: ‘He who practises sorcery in an unburned vessel and then puts it upon the fire to bake, his magic vessel cracks as though hit by great stones.’ Sayaza deprives himself of possible helpfulness by reading dugdhay4m for dagdhayam (pratikareva riktikrztayam ... krityayam, ‘upon his sorcery rendered impotent by the counter-charm’). , Stanza 4. —

b. The vulgate’s vigrivasm khapaya (Padapatha, vigrivan sapaya) is at the base of our rendering. Shankar Pandit’s MSS. seem to read unanimously kayaya (sayaya), ‘lay.’ Sayawa, kshdyaya (kshayam prapaya). Cf. RV. VII, 104, 24.

Stanza 6.

The first three Padas are identical with the first three of

Vy 3g le

IV, 19. COMMENTARY TO PAGE 71.

For the employment of this hymn in the ritualistic texts, see the introduction to IV, 17. It has been translated by Grill’, pp. 34, 132 ff. Cf. Zimmer, pp. 66-67.

Stanza 1.

The sense of the first hemistich seems to be that the plant in its dual réle of destroyer of enemies and protector of friends depletes and increases families or clans. Sdyava erroneously derives -krit from root kart, ‘cut,’ to wit, satra- nam kartakak...gamayah sahaga/ satravak tesham api kartayita asi. For Pada d, cf. VI, 14, 3c.

Stanza 2.

The words kduvena narshadéna (RV. X, 31, 11) seem to be a gloss upon brahmavéna; cf. 1V, 37,1; VI, 52, 3, &c.

398 HYMNS OF THE ATHARVA-VEDA.

For Pada d, cf. VI, 14, 3c.

Stanza 2.

The words kduvena narshadéna (RV. X, 31, 11) seem to be a gloss upon brahmavéna; cf. 1V, 37,1; VI, 52, 3, &c.

398 HYMNS OF THE ATHARVA-VEDA.

Og a a a SAyana regards the dz. Aey. paryukta as = pariyukta (vini- yuktassi); cf. our remarks on haplology, Proc. Amer. Or. Soc., April, 1893 (Journ., vol. xvi, p. xxxiv ff), But part yug is not quotable elsewhere. The stanza figures in one of the abhayagavza of the Gavzamala ; see Kaus. 16, 8, note.

Stanza 4.

The order of the statement here is really to be reversed: when thou, O plant, wast begotten as apamarga (‘ wiping out’), then the gods drove out the Asuras with thee.

Stanza 5.

For ‘thy father’s name,’ cf. the note on V, 5,1. For pratyak, see pratydn and pratifinaphalas in st. 7, and the note on IV, 17, 2.

Stanza 6.

A cosmogonic brahmodya, pressed into the service of incantation! Cf. Contributions, Third Series, Journ. Amer. Or. Soc. XV, 172 ff. We have presented a purely philological translation of the stanza without attempting to bend it to the situation any further than is warranted by the wording. Grill takes asat in the sense of ‘wrong, and similarly Sayava, asatkalpam krityaripam. But a glance at the word in Jacob’s Concordance to the principal Upani- shads reveals the subjective character of the proceeding. The asat is simply ‘chaos,’ manipulated as one of the primary cosmic forces: the sat, tad, satyam, or rztam would apparently have done just as well. For kartaram in the sense of ‘ evil-doer,’ cf. V, 14, 11.

IV, 20. COMMENTARY TO PAGE 68.

The hymn is addressed to a magic plant which is sup- posed to impart the power to expose hidden demons, wizards, and their hostile practices. The attributes of the plant are not stated in the hymn with sufficient clearness to enable us to point out its place in the redundant Indian

IV, 20. COMMENTARY. 399 flora. The Kausika, 28, 7, mentions the name of the plant as sadampushpa ; this is glossed by Darila with trisaz- dhya and by Kesava with samdhya (probably a corruption of trisamdhya). The Sitra reads: 4 pasyatisti sadam- pushpamazim badhnati, ‘with AV. IV, 20 he ties on as an amulet the plant sadampushpa.’ The plant is mentioned again along with others in a charm directed against witch- craft in 39, 6, and Sayaza defines it in agreement with Kausika, he devi sadaspushpakhye oshadhe; cf. also sadapushpi in the lexicons. The plant seems to be the calotropis gigantea; cf. AKaraka-samhita I, 4, 3. For amulets derived from the vegetable kingdom see Seven Hymns of the Atharva-veda, Amer. Journ. Phil. VII, 478, and for amulets in general Kaus. 7, 19. The hymn is rubricated further in the list of stanzas designated as #ata- nani (sc. siktani), ‘hymns to chase away with, in Kaus. 8, 25, and the Gavzamala, Ath. Paris. 32, 4, adds it also to the three hymns which Kaus. 8, 24 describes as the matrz- namani (sc. siktani). The reason for this classification is the expression devy (oshadhe) in stanzas 1 and 2. See the note at Kaus. 8, 24, and cf. for the matvzgaza our remarks in the introduction to VI, 111. The Anukramazi follows these secondary considerations, designating the hymn as matrvznamadaivatam, its author being Matvznamarshi.

The hymn has been translated by Ludwig, Der Rig- veda, III, 525, and Grill’, pp. 2, 133; cf. also Hillebrandt’s Vedachrestomathie, p. 48.

Stanza 1.

For the description of the plant in this stanza, cf. maz- pasya in VII, 38, 1, and see the introduction to VI, 139. I have upheld in my translation the text of the edition, guaranteed as it is by the unanimous tradition of the MSS. of the Saunakiya-sakha. All corrections, including the important variant pasyasi for pasyati throughout the stanza in the Paippalada, seem to me in this instance to amount to the substitution of a better literary performance for a poorer one; they do not bring with them the proof that

400 HYMNS OF THE ATHARVA-VEDA.

the priests of our school ever had any other text, or, what is more to the point, that the original versifex had com- posed differently. The merit of the Paippaldda’s pasyasi is so obvious that it may be due to a conscious improve- ment on the part of its author. The metre of the stanza is irregular (Anukramawi, svarag); the first Pada is hyper- catalectic, the third Pada may be sustained by reading, with elision and crasis, divadntariksham for divam anta- riksham. Hillebrandt’s suggestion, accepted by Grill, that ad be thrown out seems to me unnecessarily violent.

Hillebrandt’s suggestion, accepted by Grill, that ad be thrown out seems to me unnecessarily violent.

a. Hillebrandt would restore the Pada: pasyati prati pasyati; Grill (with the help of the Paippalada), 4 pasyasi pra pasyasi, continuing with pasyasi throughout. Sayaza retains the third person, referring the stanza to the person who wears the amulet: he devi sadaspushpakhye oshadhe tvadvikaramazidharako:yam ganas tvatprasddad dapasyati agamibhayakarazam pratihartum ganati, ‘O goddess plant, sadampushpa by name, this person here, who wears an amulet fabricated out of thee, by thy favour perceives the © cause of approaching danger, and knows how to repel it.’ The emendation of prati to pra (Grill) is especially unde- sirable, as the same expression occurs in a closely parallel situation, AV. VII, 13, 2.

b. Grill suspects the second pasyati, and imagines oshadhe in its place.

d. The temptation to emend the vocative devi to the nominative devi is great. The sense then would be that the amulet itself sees all dangers. Grill, as we have seen above, adopts the Paippalada reading pasyasi, is thus enabled to retain devi, and also obtains essentially the same sense.

Stanza 2.

a. Read prithviz. The three heavens are well known; see, e.g. AV. V,'4,°9° VI, 95, 1; VT oo ee 6 (cf. the note on V, 4, 3). For the three earths see RV. I, 108, 9; II, 27, 8; TH, 66,25 AV Viper anc Original Sanskrit Texts, V, p. 305, note; Zimmer, Altin- disches Leben, p. 357; Bergaigne, La Religion Védique, I,

IV, 20. COMMENTARY. 401

239. (Cf. also Yasna XI, 7: madhemé thrishvé ainhado zem6, ‘in the middle third of this earth.’

Stanza 3.

I, 108, 9; II, 27, 8; TH, 66,25 AV Viper anc Original Sanskrit Texts, V, p. 305, note; Zimmer, Altin- disches Leben, p. 357; Bergaigne, La Religion Védique, I,

IV, 20. COMMENTARY. 401

239. (Cf. also Yasna XI, 7: madhemé thrishvé ainhado zem6, ‘in the middle third of this earth.’

Stanza 3.

a,b. divydsya suparvdsya ...kaninika is rendered by Ludwig, ‘dises himlischen adlers kleine tochter ;’ by Grill, ‘der Augenstern des Adlers, der am Himmel ist.’ Sayaza glosses suparzd by garutmant, which suggests RV. I, 164, 46. Grill follows the Pet. Lex. [s.v. 2 a). a)] in regarding the divine eagle as the sun. But perhaps the lightning-fire is in the mind of the poet. At Vag. S. XVII, 72; XVIII, 51; Sat. Br. IX, 2, 3, 343; 4, 4, 3, the divinity addressed, suparvo:si garutman, is treated distinctly as Agni, and Mahidhara states this plainly. In Maitr. S. I, 2, 5; Vag. S. IV, 32; Tait. S. VI, 1, 7, 3, ‘the eye-ball (kaniniké, kaninaka) of Agni’s eye’ is spoken of. The expression divya suparvza may be the exact equivalent of divaz syéna, and that, I believe I have proved, is Agni, the lightning, personified as a divine eagle; see Contributions, Fifth Series, Journ. Amer. Or. Soc. XVI, 1 ff. The descent of this eagle, or the Gayatri, as the Brahmavzas have it, is frequently disturbed by a heavenly archer Kvzsanu who wounds the eagle, so that he loses a feather which falls to the earth, and grows up as a plant or tree. See Adalbert Kuhn, Die Herabkunft des Feuers und des G6ottertranks, p- 148 (first edition). The use of the word suparza in our edition is, in my opinion, intended to convey a double entente, ‘bird’ and ‘having beautiful leaves. Cf. Tait. S. VI, 1, 1, 5, where Vvitra’s eye-ball (kaninika) flies away after he had been slain by Indra, and turns into salve (Aiganam). Ludwig does not comment upon his transla- tion of kaninika by ‘kleine tochter,’ rather than ‘ eye-ball ;’ it may possibly turn out correct when RV. X, 40, 9 yields up its meaning. We have there as follows: ganishZa yosha patdyat kaninakoé vi #4sruhan virtiidhad, a passage which suggests the situation in our stanza completely and yet vaguely. But it is interpreting obscurum per obscurius

[42] pd

402 HYMNS OF THE ATHARVA-VEDA.

to bring the RV. stanza into play. Cf. also our note at We fy Oe |

e. Sdyava, gagadrakshartham oshadhiripeza bhimav avatirias si.

Stanza 4.

But it is interpreting obscurum per obscurius

[42] pd

402 HYMNS OF THE ATHARVA-VEDA.

to bring the RV. stanza into play. Cf. also our note at We fy Oe |

e. Sdyava, gagadrakshartham oshadhiripeza bhimav avatirias si.

Stanza 4.

a. ‘The thousand-eyed god.’ In X, 3, 3 an amulet derived from the varaza-tree is designated as sahasraksha ; in X1 52, 3:07. 47yoSateBrelX 154,16 Rudras sesgamens in IV, 28, 3 Bhava-Sarva; in IV, 16, 4 Varuza’s spies; in RV2:1229,93 Indra and Vayu;iin Taiteo/ disparage Indra. Further, we have the ‘thousand-eyed padpman, evil; in AV, V1, 26, 33 “sapatha;.‘ curse, iné Via ee Grill fancies that the god of the plant here in question is meant, but this seems faint after the plant herself has been personified as a goddess, devy oshadhe, in st. 2. Perhaps rather Agni, said to be ‘thousand-eyed’ with especial frequency, is meant; see RV. I, 79, 12; Vag. S. XVII, 71 (XIII, 47); Sat. Br. VII, 5, 2, 32; IX, 2, 3, 32; Apast. Sr. VI, 25,10. Agni particularly chases away evil spirits, agni rakshasmsi sedhati, RV. VII, 15, 10; AV. VIII, 3, 26; | Tait. Br. II, 4, 1, 6; agnir hi rakshasim apahanta, Sat. Br. XV 5%, ants

b. & dadhat. Zimmer, l.c., 204, construes this as an augmentless imperfect. In the Saszhita the augmented form would not differ, ddadhat. The sense is satisfactory — either way.

ce. Sayava comments upon tvaya instead of taya, asin st. 2.

d. ‘The Sidra and the Arya, i.e. every kind of person, as we should say in America ‘black and white. The phrase is formulaic, as may be seen from the compound sidraryau (Mahidhara, sidravaisyau), Vag. S. XIV, 30; Sat. Br. VIII, 4, 3, 12. See in general Muir, Original Sanskrit Texts, II, 368; Ludwig, Der Rigveda, III, 212; Zimmer, lic:, L177, 20421 O49 53

Stanza 5.

a,b. ripavzi and 4tmanam are antithetical: rdpavi, ‘the outer forms of things ;’ 4tmanam, ‘thy own nature.’ It is

IV, 20. COMMENTARY. 403

a controlling characteristic of Vedic conceptions that the inner, true nature of any divinity, or instrument of power, must be understood in order to control its influence or power: ya evam veda, and ya evam vidvan in the Brah- mawas are crystallisations of this idea; cf. AV. I, 13, 3; VI, 46,2; VII, 12, 2, &c.

e. sahasrakaksho, here, and XIX, 35, 3, as epithet of the plant gangida, is a vocative from a stem sahasra-fakshu. The beginnings of a stem #akshu, a pendant of akshus in the ablative kakshos, RV. X, 90, 13. Transition forms between the us- and u-declensions (as also between the is- and i-declensions) are not uncommon in the Veda; see Lanman, in the Journ. Amer. Or. Soc. X, 568 ff.

d. For the class of demons called kimidin, see AV. I, 7: Soot, tec VII. 9 263) 04,.2 > 6; 21.5 ALL 7,40.

Stanza 6.

For yatudhdna, -nf, and pisé#a, see the hymns I, 7 and 8.

Stanza 7.

Amer. Or. Soc. X, 568 ff.

d. For the class of demons called kimidin, see AV. I, 7: Soot, tec VII. 9 263) 04,.2 > 6; 21.5 ALL 7,40.

Stanza 6.

For yatudhdna, -nf, and pisé#a, see the hymns I, 7 and 8.

Stanza 7.

a. Kasyapa is a name to conjure with in the Atharvan writings ; amulets and charms handled by him are peculiarly pomertul(e.o. I, 14,4; 1V, 37,15 VIL, 5,14). Hé rises to the dignity of the supreme self-existing (svayazz-bhi) peme ap AV, XIX, 53,.10; cf:also Tait..S.°V;:6, 1, 1, and see the Pet. Lex. s.v. 2 b. He is also intimately related with forms of the sun, Sairya and Savitar, as is stated expressly in Tait. Ar. I,7,1; see also Tait. Ar. I, 8, 6, and compare Tait. S.V,6,1,1 with AV. I, 33,1b. This fact may by itself account for the expression kasyapasya Rakshur asi. In fact kasyapa is the sun as a tortoise, that creeps its slow course across the sky; cf. the conceptions of the sun as a hermit, and a Brahman disciple, XI, 5, introduction. Only we must not forget that these writings neglect no opportunity of being guided in their construc- tions by puns, even of the most atrocious sort, and kasydpa surely suggests pasyaka, ‘seer, to the Atharvan mind, as is written distinctly in Tait. Ar. I, 8, 8, kasyapak pasyako

pd 2

404 HYMNS OF THE ATHARVA-VEDA.

bhavati yat sarvam paripasyati. The name kasydapa is in some special relation to the Atharvan writings, not as yet fully cleared up; cf. the author in the Journ. Amer. Or. Soc. XI, p. 377.

b. The MSS. read faturakshak, but Sayaza fitly com- ments upon faturakshyd/, the form as emended in Roth and Whitney’s edition; cf. akshos for akshyos in AV. V, 4, 10 (see the note). The ‘ four-eyed bitch’ is Sarama the mother of the two four-eyed dogs of Yama‘, Syama and Sabala. which I have explained as the sun and the moon ; see Journ. Amer. Or. Soc. XV, 163 ff. The epithet ‘ four- eyed ’ seems possibly to be derived from the same view, namely the capacity of the two dogs to see both by day (the sun), and by night (the moon). The Paippalada as quoted by Grill®, p. 135, makes the notable statement that ‘the four-eyed dog (obviously the moon) overlooks by night the sphere of the night,’ yatha sv4 aturaksho ratrim naktastipasyati. In practice the fiction of a four- eyed dog is materialised both by the Hindus and Iranians in the form of a dog with marks over the eyes; sec my article, l.c., p. 165, note 1,and Kaegi in the Philolo- gische Abhandlungen fiir Heinrich Schweizer-Sidler, p. 64, note 57.

e. vidhré, lit. ‘in the clear sky;’ Ludwig, ‘im hellen; Grill, ‘heiteren tags.’ stiryam iva is to be read as three syllables, as frequently elsewhere, either siiryeva or stiryam va.

Stanza 8.

e. téna may be either masculine, referring to the divinity in‘st. 4, or neuter, agreeing with brahma, ‘ charm,’

IV, 22. COMMENTARY TO PAGE II5.

Stanza 8.

e. téna may be either masculine, referring to the divinity in‘st. 4, or neuter, agreeing with brahma, ‘ charm,’

IV, 22. COMMENTARY TO PAGE II5.

The hymn is employed twice in the so-called ragakarmaxi, ‘the royal practices, Kaus.14-17. The first is characterised by the scholiasts, Kesava and Sayama, as a battle-charm

"In RV. I, 29, 3 the two messengers (dogs) of Yama are per- sonified as females.

1V, 22. COMMENTARY. 405

(gayakarma, samgramagayartham), and its rather colourless proceedings are as follows: 14, 24. ‘While reciting IV, 22 and 23 he performs the ceremonies which culminate in the presentation (of the bow to the king).’ These are described in Sitras 8-11 of the same chapter, to wit: 8. ‘An oblation of ghee and grits is poured out. 9. Upon a fire made of bows a bow is laid on as a fagot. 10. Like- wise an arrow (is laid on) upon a fire made of arrows. 11. The bow (of the king), smeared with the dregs of the ghee, is presented to him.’

The othe: performance, Kaus. 17, 28-9, is part of the consecration of a chief ruler (ekaraga, Kaus. 14, 11; cf. ekavvisha in our hymn, sts. 1, 5, 6,7). The special solem- nities of the consecration have been absolved, but every morning the royalty of the king has to be renewed, to wit: 28. ‘ Every morning the hymn IV, 22 (or its first stanza?) is recited to the king (by the purohita, the house-priest). 2g. They (the king and the purohita) then perform the above-mentioned pouring of water (each into a vessel), and the exchange (of the vessels).’ This refers to Sadtras 4 and 5 of the same chapter; cf. the introduction to IV, 8, and Professor Weber’s discussion of the passage in his treatisc, Uber die Kénigsweihe, p. 140 (Transactions of the Royal Prussian Academy, 1893). The hymn, further, is one of a cycle (gaza) devoted to the gain of royal power (rash¢ra- samvarga) grouped together in the indramahotsava, Ath. Paris. 19, 1 (cf. Kaus. 140, 6, note). See also Ath. Paris. 4, 1 and 16. The fanciful analysis of the hymn by the Anukramavi may be seen in Grill’s introduction.

The hymn appears again in Tait. Br. II, 4, 7, 7 ff.; it has been translated by Ludwig, Der Rigveda, III, 457; Zimmer, 165; Grill, 67, 135 ff.; cf. Hillebrandt’s Veda- chrestomathie, p. 43.

Stanza l.

The speaker is the purohita, the house-priest, or chaplain of the king; he figures prominently in all the ragakarmazi. Kaus. 14-17.

b. Sayava with one of Shankar Pandit’s MSS. reads

406 HYMNS OF THE ATHARVA-VEDA. itp en ee cee ek Pe oe vrisham ekavrisham, and glosses, sekanasamarthanam virya- vatam purushavam madhye imam raganam .. . mukhya- sektaram asahayasiram... kuru; cf. our note on III, 5, 7.

e. nir akshvuhi, lit. ‘castrate, continuing the picture of the preceding Pada: the king is to be a bull, his enemies castrated. Cf. RV. I, 33,6; Sat. Br. IV, 4, 2,13; XIII, 4, 2,5, and the word mahanirashza. Ludwig, ‘drive out Zimmer, ‘ zerstreue ;’ Sdyava, samkuitaprabhavan kuru.

d. Sdyava divides aham uttareshu, with the result, ‘I (the purohita) put him among the highest rulers. Cf. XII, 4, 50.

Stanza 2.

e. The Tait. Br. II, 4, 7, 7, the Paippalada, and Sayawa read varshman, loc. sing. I see no cogent reason for giving up (with Zimmer, Hillebrandt, and Grill) the reading of our MSS., varshma.

IV, 28. COMMENTARY TO PAGE 158.

Bhava and Sarva, two of the well-known forms (marti) of Rudra (cf. especially their epithet ugra in sts. 3, 6, 7)}, are implored by virtue of their cosmogonic powers to afford protection against calamity, and, with the familiar Athar- vanic specialisation, to destroy sorceries and demons. The ritual, Kaus. 28, 8, regard the hymn as medicinal (sarva- vyadhibhaishagyam, ‘a remedy for all diseases’). Seven cornucopias are made from (leaves of) the kampila (crinum amaryllacee), filled with water, and anointed with the dregs of ghee. With the right hand the water is poured upon the patient, and the cornucopias are thrown behind the patient. The connection between the prayer and the practice is not manifest. The hymn is rubricated also in takmanasanagava of the Gavamala, Ath. Paris. 32, 73; see Kaus. 26, 1, note. It has been translated by Muir, lc., P- 332:

1 See the introduction to XI, 2 for the Vedic texts, and the Western literature, dealing with this subject.

IV, 36. COMMENTARY. 407

Stanza 3.

b. The periphrastic expression stuvann emi is so. strange to the padakara as to induce him to divide it into stuvan nemie Sdayaza blunders still further, reading stuvan nemi (stuvan prasamsan ... nema ardha balam asy4sstisti nemi).

Stanza 6.

a. milakv/t, ‘manipulator of roots,’ is so characteristic a feature in sorcery-practice, as to give rise to specific prohibition of the act; see Vishzu-sm7zti XXV, 7; Manu IX, 290, and cf. Narayaza on the latter passage in Biihler’s translation of Manu, Sacred Books of the East, XXV, 394.

IV, 36. COMMENTARY TO PAGE 35.

The hymn is one of the Aatanani (sc. siktani), ‘hymns which drive away demons and diseases, Kaus. 8, 25. The entire list (gaza) is employed at Kaus. 25, 22, among the bhaishagyani, ‘remedial charms, against bhita and pisdfa ; the performance connected with the recital of the gava is identical with the so-called apanodandani, ‘ practices to drive away, described at Kaus. 14, 14 ff. They consist chiefly in burning chaff, spelt, offal of grain, and wood shavings, symbolizing, doubtless, rapid consumption or destruction.

The hymn has been translated by Ludwig, Der Rigveda, III, 526; Grill?, pp. 3, 136 ff. The Anukramawzi, satyau- gasam a4gneyam (cf. st. 1).

Stanza 3.

They consist chiefly in burning chaff, spelt, offal of grain, and wood shavings, symbolizing, doubtless, rapid consumption or destruction.

The hymn has been translated by Ludwig, Der Rigveda, III, 526; Grill?, pp. 3, 136 ff. The Anukramawzi, satyau- gasam a4gneyam (cf. st. 1).

Stanza 3.

The first hemistich is not at all clear, Agaré being dz. Aey. and uncertain. We have taken it with the Pet. Lexs. and Ludwig as=4gara, and it is to be noted that two MSS. of Sayana’s commentary (S Kd) read Agidro for Agaro. Cf. also agara at Asv. Grth. I, 7, 21. SAyana etymologises, agiryate samantad bhagyate m4msasonitadikam atre=ti agaro yuddharanga%. Grill, supported by a more recent utterance of Roth, renders ‘ unter rufen.’ Inthat case Agara would be ‘shouting to’ (cf. 4krosa, Kesava, p. 327, and

408 HYMNS OF THE ATHARVA-VEDA.

nee a - iteehir e RN e often elsewhere), pratikrosa, ‘shouting back,’ i.e. ‘ under shouting and counter-shouting.’ We have taken amavasya as an adjective =AmAavAsya, ‘in the night of the new moon (Panini IV, 3, 30. 31). Cf. our note on I, 16, 1. Sayaza aptly quotes from the Apast. Sr. the following passage : ‘In the night of the new moon one shall offer to Agni, the slayer of Rakshas, a rice-cake in twelve cups. Note the concatenation between this and the following stanza.

Stanza 5.

The sense is that the superior gods who vie with the sun (RV. 1,.08,45,123, 125.V, 4,49 1X. 23, 5) shall afford pro- tection against the Pisa#as to man and beast.

Stanza 7.

Note the pun between pisafaih and saknomi, and the concatenation with the following stanza. For grama, see the note on VIII, 7, 11.

Stanza 9.

a. Sdyaza with some MSS. reads lipitaz (upadigdha/ samkrantah), and Whitney in the Index, guided perhaps by the pada-MSS., which read lapita without visarga, suggests lapitva. But the text seems well enough as it stands.

d. alpasaytin is uncertain: Sayava, alpakayak. . . kiza“, and we accordingly. Ludwig (c, d), ‘mein ich, sind sie ungliicklich, nur kurze zeit mer im volke verweilend ° (cf. RY. I, 34, sje TIS ao a Ne

IV, 37. COMMENTARY TO PAGE 33.

The plant agasrzigi', or, as it is called synonymously by Darila, meshasrzngi, ‘goat's horn’ (Sayaza, again synonym- ously, vishazi), is the odina pinnata; see Zimmer, p. 68. The hymn is directed against Pisaf#as, Apsaras, and Gan-

' In stanza 6 it has the additional obscure epithet ara/aky. Sdyava, ard... a/ayati uesatayati.

68. The hymn is directed against Pisaf#as, Apsaras, and Gan-

' In stanza 6 it has the additional obscure epithet ara/aky. Sdyava, ard... a/ayati uesatayati.

IV, 37- COMMENTARY. 409 dharvas, and, according to Darila at Kaus. 28, g-11, it is em- ployed in a remedial charm against one possessed by Pisdkas (pisazagrzhita). Kesava and Sayava, more broadly and correctly, sarvabhitagrahabhaishagyam. The practices are stated as follows: 9. ‘ While pronouncing IV, 37 the prac- titioner takes pulverised sami (i.e. the pulverised leaves, or fruit, of the prosopis spicigera) from a basket (and puts it) into the food (of the patient)!. 10. (He puts it also) into the cosmetics (of the patient). 11. He scatters (the pulverised sami) around the house (of the patient)”.’. The hymn is also rubricated among the Aatanani (sc. sfiktani) ‘hymns to drive away with, Kaus. 8,25. Cf. Santikalpa 17 and 21°.

Adalbert Kuhn, in Zeitschr. f. vergl. Sprachf. XIII, 118 ff., has translated this hymn and compared it with parallel | conceptions in the Teutonic folk-lore. Especially good are the parallels drawn between the Apsaras, who, from the time of RV. X, 95 onwards, are engaged in enticing heroes and divine seers *, with the Germanic elfs who fascinate the. wanderer at night with their dance. The hymn has also been rendered by Ludwig, Der Rigveda, III, 352.

Stanza 3.

The description of the natural abode of the Apsaras in this and the following stanzas is in accord with the Brah- manical view from earliest times. Cf. the apya ydsha. ‘water-woman, RV. X, 10, 4; Bergaigne, La Religion Védique, II, 35, 40, 96; III, 65 ff.; A. Holtzmann, Zeitschr. d. Deutsch. Morg. Gesellsch. XX XIII, 631 ff. The fanciful list of names embodies largely a superficial personification of fragrant cosmetics and ointments: bdellium, spikenard, fragrant salve, &c.

sami into a sami-fruit, and feeds the patient upon that. Cf. Kaus. 47; 23.

? As there is no mention of the sami in the hymn, one is almost tempted to identify the agasrzigi with it.

* Shankar Pandit, erroneously, Nakshatrakalpa 17 and ar.

* Cf. our note on VI, 111, 4.

410 HYMNS OF THE ATHARVA-VEDA.

For aukshagandhi, cf. aukshdm in our note on II, 36, 7, and in the introduction to I, 34 ; pramandani reminds us of pramanda, Kausika, Introduction, p. lii. See also Kuhn, ig

b. Bohtlingk, in his lexicon, proposes avasvase, dative infinitive, ‘to blow away. Sayawa and the Paippalada read iva svasam for avasvasam. The former glosses, sushzku naupreravakusalam yatha titirshavo gana upaga- khanti.

f. SAayava reads pratibaddhad for pratibuddhaz (nirud- dhagatayaZ) in this and the subsequent stanzas.

Stanza 4.

We have adopted Shankar Pandit’s arrangement of sts. 4-6, to wit: his st. 4 is made up of vulgata 4a,b+ 3 e,f, which is repeated by all his MSS.; his st. 5 is the rest of vulg. 4; and his st. 6 is vulg. 5+6. Sayawza does not insert the additional hemistich, but he also differs from the vulgate in his arrangement.

4-6, to wit: his st. 4 is made up of vulgata 4a,b+ 3 e,f, which is repeated by all his MSS.; his st. 5 is the rest of vulg. 4; and his st. 6 is vulg. 5+6. Sayawza does not insert the additional hemistich, but he also differs from the vulgate in his arrangement.

b. The Pet. Lex. suggests sikhazdiniz, vocative, ‘ crested, as an epithet of the Apsaras ; cf. the same epithet of the Gandharva in st.7.. Sdyavza simply ‘peacocks.’ We prefer the poetic figure: the crowns of the great trees are likened unto crests.

Stanza 7.

a. For the epithet Anr¢tyataz, cf. the parinz¢tyati apsara in: LV 202%: Stanza 8.

e,d. The epithet avakada, ‘ devouring dvak4-reeds’ (blyxa octandra), is clear. The Gandharvas live on the shores of waters, and the davaka is the typical water-plant. See our Contributions, Second Series, Amer. Journ. Phil. XI, 342 ff. (especially 349 ff.); Roth, in Festgruss an Otto von Bohtlingk, p. 97 ff. Less certain is havirada, ‘ devouring oblations. The sense of the hemistich might be taken pregnantly: The Gandharvas who devour our oblation, though their natural food is the avaka-reed, &c. But

IV, 37. COMMENTARY. AIl

I have in mind RV. X, 95, 16, where the Apsaras Urvasi exclaims that upon eating a drop of ghee her appetite was cloyed for ever (cf. Harivamsa 1377; Vishwu-purava IV, 6, 28, and Geldner, Vedische Studien, I, pp. 263, 282). The Atharvan is reminiscent, and fond of generalising salient features of legends. It seems possible that the Gandharvas are substituted for the Apsaras who represent the Apsaras par excellence, Urvast. SAdyavza on the AV. evinces his customary and astonishing talent of dodging difficulties by means of bad variant readings, to wit: abhi- hradan abhigatahladan praptagalasayan va.

Stanza 10.

Professor von Roth in Festgruss an Otto von Boht- lingk, pp. 97 ff., proposes to read gyotayamamakdan (Pada- patha, gyotaya mamakdn) as one word, and interprets the word in his inimitably ingenious manner as=pisdadipika, _ ‘will o’ the wisp, Jack o’ lanthorn.’ Yet we have adopted the simpler solution of the difficulty, proposed by Whitney - in Festgruss an Rudolf von Roth, p. 91. He proposes gyotayamanakdan, comparing pravartamanaka, RV. I, 19f, 16. In both cases the suffix ka is truly diminutive, indi- cating that the action of the verb is undertaken by a dimi- nutive agent; cf. also avakarantika, AV. V, 13, 19 (see the note there), and the Mantrabrahmaza of the Sama-veda II, 7, 3, athaissham (sc. krimiz4m) bhinnakaZ kumbhad. ‘Little shiner’ would be the literal translation of gyotaya- manakan, and Roth’s comparison with the will o’ the wisp may yet hold good.

Stanza 11.

also avakarantika, AV. V, 13, 19 (see the note there), and the Mantrabrahmaza of the Sama-veda II, 7, 3, athaissham (sc. krimiz4m) bhinnakaZ kumbhad. ‘Little shiner’ would be the literal translation of gyotaya- manakan, and Roth’s comparison with the will o’ the wisp may yet hold good.

Stanza 11.

b. The epithet sarvakesaka reminds one of hairiness as a sign of sexual power, RV. I, 126, 7; X, 86, 16, a very suitable attribute of the Gandharva; cf. also kapi in vrishakapi in X, 86. But the word for ‘hair’ in both these passages is réma, while sarvakesaka naturally refers to the hair of the head; RV. X, 136, 6. Yet the two conceptions may be connected.

412 HYMNS OF THE ATHARVA-VEDA.

IV, 38. COMMENTARY TO PAGE 149.

Both the internal evidence of the stanzas themselves (including the metre), and their employment in the ritual prove the composite character of this hymn. The Anu- kramazi, too. significantly describes the hymn as dvideva- tyam. A gambling song of four stanzas is combined with cattle-charm of three stanzas, apparently for the purely formal reason that every hymn of the fourth book must consist of at least seven stanzas ; cf. AV. XIX, 23,4; Gop. Br. I, 1, 8; Ath. Paris. 46, 9. 10; Ind. Stud. TViagaas XVII, 178; Kausika, Introduction, p. xli. Sayava is the only authority that makes a blend of the two parts. He comments upon ydsam rvishabhd, &c., in st. 5, as follows: ydsim apsarasam ... sekanasamarthad pati“.

The practices connected with the gambling-song are reported at Kaus. 41, 10-13, as follows: 10. ‘ Under the constellation ptirva ashad/4h} the gambler digs a pit (in the gambling-house). 11. Under the constellation uttara ashadhah he (again) fills up the pit. 12. He smoothes the place where the play takes place. 13. While reciting IV, 38, 1-4; VII, 50; and VII, 10g he throws dice which have been steeped (in curds and honey during the three nights [and days] beginning with the thirteenth day of the month ; see Kaus. 7, 19).’

This part of the hymn has been rendered by Muir, Original Sanskrit Texts, V, 430; Ludwig, Der Rigveda, III, 454; Grill?, pp. 71, 140 ff.; cf also A. Holtzmann: Zeitschr. d. Deutsch. Morg. Gesellsch. XX XIII, 631 ff.

* The name ashadhah means ‘invincible. Here, as frequently elsewhere, its symbolic suggestiveness is utilised to secure success or victory for the person who performs under the two constellations of that name; cf. Weber, Nakshatra, I], 374, 386.

IV, 38. -COMMENTARY. At

Stanza 1.

Cf. Zimmer, pp. 283-5. The kritam,. or the kv7tani in Pada c (cf. sts. 2 c and 3b), are either the winnings, or the winning numbers, or combinations, of the dice. Cf. Apast.

ee Ved, 20. Stanza 2.

a. Sayawa, vikinvatim ekatra nirbadhe kosh¢se trifaturan akshan visesheza samuf/invatis samghikurvatim. Muir, ‘who collects and scatters;’ Ludwig, ‘die aufhaufende, zuschiittende. These technical terms are very obscure: the scholiasts are untrustworthy because they have in mind different games and different times.

Muir, ‘who collects and scatters;’ Ludwig, ‘die aufhaufende, zuschiittende. These technical terms are very obscure: the scholiasts are untrustworthy because they have in mind different games and different times.

Stanza 3.

Sayava combines Padas e and f with 4 a, b, making his fourth stanza, and then continues as follows: 4c,d+5a,b= 5; 5c—f=6; 6=7; 7=8. His comment on this stanza is rendered very problematic through bad readings: ada- dhanas for adadana ; seshanti (avaseshayanti) for sishati ; prahan for praham. For parinrétyati, cf. anz/tyatak .. . gandharvasya, IV, 37, 7. We have assumed with great reluctance that sishati is a desiderative participle from sa=san, ‘gain.’

Stanza 4.

We read pramodate for pramddante with Sayava and two of Shankar Pandit’s MSS., and bibhrati for bibhrati. The anacoluthon in the second hemistich is thus easily removed.

The three stanzas are designated at Kaus. 21, 11 as karkipravadaz (sc. rikah), ‘the stanzas that mention the word karki (cf. sts. 6, 7). They are employed in a rite, designed, according to the scholiasts, to secure the pros- perity of cattle (Sayava, gopush¢ikarma; Kesava, gosdnti), as follows: ‘The karkipravada stanzas are recited over a young cow, upon which are placed twelve halters, and which is anointed with the dregs of ghee. Then, while

414 HYMNS OF THE ATHARVA-YEDA.

pronouncing Padas 7c and 7d, the things indicated in (these) mantras are done (i.e. fodder is given to the young cow. and she is fastened with the halters).’ In consideration of these practices, and the statements of the stanzas them- selves, we have thought that the purport of the hymn is a more special one, to wit, to secure the return of the | young cows from pasture, and have formulated the caption accordingly. The stanzas are also employed at Kaus. 66, 13 at a so-called sava, or formal bestowal of the dakshima : a karki (young white cow), together with an anibandhya, a cow designed for the cattle-sacrifice, are given to the priests as a particular kind of reward.

This part of the hymn has been rendered by Ludwig, Der Rigveda, III, 455.

Stanza 5.

Because the Tait. S. III, 4, 7, 1 mentions an Apsaras by the name of marizi, Sdyava connects this stanza with the preceding gambling charm. The true sense seems to be that the cows which wander ‘in den tag hinein’ are in charge of the daily sun; as he comes daily without fail, so do the young cows return. But the text is vague and fanciful, marred moreover by an anacoluthon.

Stanza 6.

Sayava explains karki by karkavarvza subhré iyam gauh. Accordingly we, ‘white calf.’ |

V, 4. COMMENTARY TO PAGE 4.

But the text is vague and fanciful, marred moreover by an anacoluthon.

Stanza 6.

Sayava explains karki by karkavarvza subhré iyam gauh. Accordingly we, ‘white calf.’ |

V, 4. COMMENTARY TO PAGE 4.

Next to the soma-plant the kush¢/a is one of the most valued members of the Vedic flora. According to the medical books it is costus speciosus, or arabicus. The word is not mentioned in the Rig-veda, but is common in the Atharvan where three hymns, V, 4; VI, 95; XIX, 39, are devoted to accounts of its origin and its healing properties. It is the prince of remedies, like unto the steer among domestic animals, and the tiger among the beasts of prey. Like the soma, his good friend and companion,

V, 4. COMMENTARY. 415

he grows upon the mountains, especially upon the high peaks of the Himalaya. In fact both soma and kushza came from the third heaven; the kush//a grew originally under that wonderful asvattha-tree (ficus religiosa), under whose shelter the gods themselves are accustomed to assemble. A pretty myth tells how a golden ship (soma, the moon ?), with golden tackle and oars, descends from heaven, and alights upon the Himavant mountains, bringing kushzha, the visible embodiment of the heavenly ambrosia. The use of the plant is varied, its effect most reliable. Hence it is designated as visvabheshaga, ‘all-cure.’ and visvadha- virya. ‘ potent at all times.’ Headache, consumption, and afflictions of the eye are cured by it. But especially it seems to have been regarded as the specific against fever (takman) in all its forms. It seems to have been a fragrant plant since in AV. VI, 102, 3 it is employed in a love-charm in connection with salve, licorice, and spikenard. The kush¢ha itself must have been prepared as a salve, since in Kaus. 28, 13 the patient is anointed with a mixture of ground kush¢#a with butter; cf. especially Kesava’s gloss to the passage. Curiously enough in the later literature kushéha is the ordinary designation of leprosy, doubtless a species of euphemism; cf. Wise, Hindu System of Medicine, p. 258 ff. Excellent accounts of the kush¢/a- plant are given by Grohmann, Indische Studien, IX, p- 419 ff., and Zimmer, Altindisches Leben, p. 63 ff.

The employment of this hymn in the Kausika-sitra is of a general character: all the stanzas of the Atharvan which contain the word kush¢/a are classed together at 28, 13 as kush//alingah (sc. rikah); while they are being recited the patient is anointed with kush¢/a, ground up with butter, which is rubbed in without pressure (apratiharam: see Pet. Lex. s.v. har with prati, and Bohtlingk’s Lexicon, vol. ii. p.2g0c). Déarila describes this, quite precisely, as a cure for fever, while Kesava sets it up for a variety of diseases, ragayakshma (a kind of consumption; see Zimmer, l.c., p. 375), headache, leprosy (kush//a), and pain in all limbs. The Gavamala, Ath. Paris. 32, 7, counts the hymn as

416 HYMNS OF THE ATHARVA-VEDA.

375), headache, leprosy (kush//a), and pain in all limbs. The Gavamala, Ath. Paris. 32, 7, counts the hymn as

416 HYMNS OF THE ATHARVA-VEDA.

takmandasana, ‘destructive of takman’ (see Kaus. 26, 1, note), but the Anukramavi describes it as yakshmanasana- kush//adaivatyam, the author being Bhrzgu-Angiras. The hymn has been translated by Grohmann, l.c., 419 ff. ; Zimmer, l.c., 63 ff., and Grill’, pp. 9, 141.

Stanza 2.

b. Himavant is identical with Himalaya.

e. Professor Roth, cited by Grill in his note, suspects srutvd and suggests srutvd. The latter seems more difficult, and I am at a loss to appreciate why the reputation of the kush¢#a among men might not be so stated.

Stanza 3.

The entire verse is repeated in AV. VI, 95,1; and with a single variant in XIX, 39, 6.

a. A tree as the seat of the gods occurs in RV. X, 135, I, yasmin vrzkshé supalasé devaiZ sampibate yama4, ‘ the tree of beautiful foliage within which Yama drinks with the gods ;’ cf. also RV. I, 164, 20. 22, and Kuhn, Die Herab- kunft des Feuers und des Gottertrankes1, pp. 126 ff.

b. tritiyasyam itd divi indicates the parallelism which this myth establishes between the kush¢/Za and the soma. The asvattha-tree is elsewhere said to drip with soma (Kuhn, I.c., 128). The same expression is employed for soma at Tait. “S.'Vij\-1,/6)91y Tait. Br. °l, 4) 3a 2, 1,13; cf. our Contributions, Fifth Series, Journ. Amer. Or. Soc. XVI; 11; also the Pet. Lex. s.v) div, “ofan tridiva.

ce, d. For amrétasya kakshavam, cf. RV. I, 13,5. The Pada is replaced in AV. XIX, 39, 6. 7 by tata kush¢ho agayata; the word avanvata is rendered variously: Roth, in Grill’s note, ‘(dorthin) wollten haben ;’ Grohmann, p. 421, ‘spendeten ;’ Zimmer, p. 64, ‘dort besassen;’ Grill, ‘dort ward den Gottern zu teil.’

Stanza 4.

ec. The vulgata here and at VI, 95, 2, which is a repeti- tion of this stanza, reads pushyam. We have rendered

V, 4. COMMENTARY. 417 pushpam, with some of the MSS., and Whitney, Index Verborum, s.v. If we retain pushyam the sense would not be changed materially; the two words are hopelessly blended, since the writing of Devanagari MSS. in such a case is totally unreliable.

Stanza 5.

a. The Anukramazi designates the stanza as bhurig, on account of the apparently hypermetrical first Pada. This may be corrected so as to yield an anush/¢ubh, either by crasis of panthana 4san, or by substituting the older form pantha(s). The former is the more conservative alternative, since the nominative plural panthas does not occur in the Atharvan.

d. niravahan with its two prepositions indicates vividly the two chief features of the myth: nir, ‘ forth (from heaven);’ a, ‘to (the mountain upon which it grows).’

Stanza 6.

The former is the more conservative alternative, since the nominative plural panthas does not occur in the Atharvan.

d. niravahan with its two prepositions indicates vividly the two chief features of the myth: nir, ‘ forth (from heaven);’ a, ‘to (the mountain upon which it grows).’

Stanza 6.

The stanza, both by its metre (gayatri), and subject matter, betrays its character as an interruption of the mythological history of the kush/Za. It seems, too, in a measure, modelled after VI, 95, 3, with which it shares its last Pada. Nevertheless I would not go as far as Grill does, and print the stanza at the end of the hymn, because it may have been composed as a liturgical interruption of the mythological account. To say that it was inserted because of the assonance of 4 vaha in Pada b with nirdvahan in 5d is begging the question, since this assonance may be part of the original endeavour. To be sure, the redactors of the Atharvan are quite capable of such bétises, but they should not be charged with them except for good cause!

b. 4 vaha, ‘restore, literally, ‘bring hither.’ The word is not otherwise quotable in this sense. Similar expres- sions, however, are employed to indicate the restoration of a disturbed mind; here, perhaps, with reference to the delirious ravings of the fever-patient ; cf. punar da, AV. VI, 111, 4, and perhaps 4 ga and ud ga, II,9,2. The sense

[42] Es

418 HYMNS OF THE ATHARVA-VEDA.

is fairly secure owing to its juxtaposition with nish kar (cf. st.10,and Ly 9; 5, icy.

Stanza 7.

b. Cf. AV. XIX, 39, 5. 8 for somasya.sakha.

ad. akshushe, ‘to my eye,’ not in the sense of the oculist, there being no implication of disease of the eye, as is the case in the expression upahatyd4m akshds in st. 10. The poet has in mind that eye with which ‘to see the sun’ (siryam drisé, drisdye stiryaya, or svar drisé) is the poetic prayer for life. This is quite clear. The eye here is that which finally does go to the sun, stiryaw #akshur gakkhatu, RV. X, 16, 3; cf. with this and the preceding Pada the formula at the animal sacrifice, e.g. Ait. Br. II, 6, 13. ‘may thy eye go to the sun; may thy breath unite with

the wind.’ Stanza 8.

e,d. ndmany uttamdani: literally, ‘highest names;’ cf. AV. XIX, 39, 2, where the names are stated with much

fancy. Stanza 9.

For the diction of this stanza, cf. AV. VI, 95, 3; XIX, 39, 3-45 and V, 22,2; XIX, 34, Lo.

Stanza 10.

e,d. ndmany uttamdani: literally, ‘highest names;’ cf. AV. XIX, 39, 2, where the names are stated with much

fancy. Stanza 9.

For the diction of this stanza, cf. AV. VI, 95, 3; XIX, 39, 3-45 and V, 22,2; XIX, 34, Lo.

Stanza 10.

The stanza is rubricated separately as a member of the takmanasanagava in the Gavamala; see Kaus. 26, 1, note. The Anukramazi designates it as ushvziggarbha nifvzt (nivvzt), because Pada b seems defective. By reading _ akshids tanivo the defect is remedied: akshds here, as well as in part of the MSS. at XIX, 60, 1, stands for akshydés with defective presentation of the sound-group kshy as ksh. See also IV, 20, 7, where all MSS. read katurakshas for faturakshyds. The case is the same as appears in mekshami for mekshydmi, AV. VII, 102, 1; sdkshe for sakshye, II, 27, 5; vibhunkshamaza- for -kshya- maza-, Kaus. 23, 9; 38, 26, and more remotely like sama for syama, AV. I, 24, 4, and samaka for syAmaka, Kaus.

V, 5. COMMENTARY. 419

74, 16. Morphological deductions, such as _ Professor Hopkins, Amer. Journ. Phil. XIII, 21 ff, bases upon these defective writings, are therefore subject to the gravest suspicion. In general, Devanagari MSS. must be watched very: closely for the loss of y, especially if preceded by two consonants; cf. especially the hopeless confusion between the words arghya and argha.

V, 5. COMMENTARY TO PAGE 20.

The only mention of this hymn in the practices of the Kausika is the one implied in 28, 14, lakshalingabhir (sc. vigbhir) dugdhe phaz/an payayati, where the commentators agree in presenting our hymn along with AV. IV, 12, as ‘the stanzas characterised by the mention of the laksha- plant.’ For the practices connected with the plant that goes by the names Arundhati, Sila#i, Laksha (possibly also Rohavi), see the introduction to IV, 12, and the note on its first stanza.,

The hymn has been translated by Zimmer, Altindisches Leben, p. 67; Grill*, pp. 10, 143; the last two stanzas by Kuhn, Zeitschrift fiir vergleichende Sprachforschung, XIII, p. 61. The Anukramazi designates it as lakshikam, ‘ per- taining to the laksha-plant.’

Stanza 1.

a. The Atharvan poets signalise with great predilection their knowledge of the power of any substance which they employ by stating that this knowledge extends to the father, mother, and other relatives of the substance. Or, again, they indicate their control over any disease, or hostile force, by assuming the same knowledge of their kindred. Of the latter class are the boasts made in V, 13, 7; VI, 61, 1, and VII, 74,1. ‘The former class concerns plants exclu- sively. Dyaus, the heaven, and Pvzthivi, the earth, are father and mother of plants, III, 23,6; VIII, 7, 2, and perhaps also III,9,1- Fanciful names are given to the parents of plants: I, 24, 3, sdrfipad nama te matd sdrdipo ndma te pita (cf. Kaus. 26, 22,note); VI, 16,1, vihdlhon&ma

EC¢2

420 HYMNS OF THE ATHARVA-VEDA.

Kaus. 26, 22,note); VI, 16,1, vihdlhon&ma

EC¢2

420 HYMNS OF THE ATHARVA-VEDA.

te pitd maddvati ndma te mata (of the plant abayu, mus- tard); XIX, 39, 2, givald ndma te mata givanto ndma te pita (of the plant kushzha) ; V, 4, 9, uttamd nama te pita (of the same plant). The names of the ancestors in our stanza are peculiarly fanciful and heterogeneous.

ce. silaZi, only in this hymn; cf. silazgala (silavga + ala), VI, 16, 4; Kaus. 51, 161, ‘a creeper or weed growing in grain-fields. See Kausika, Introduction, p. xlv, and cf. also our note on st. gc.

Stanza 2.

d. For nyd#kani, cf. nyd#kanam, AV. IV, 36, 6, and RV. VIII, 27, 18, where Sayava explains the word by nitaraz gamanam.

Stanza 3.

a. Cf. with this the designation of the plant in IV, 12, 1, rohazi (rohivi), and the note there.

b. kanyala here and XIV, 2, 52; the suffix -la with dis- paraging function as in vrzshala.

e. gayanti occurs also as the proper designation of a plant, equal to the common givanti: see the lexicons.

d. sparavi calls to mind Lat. pro-sper and spés, but sphira and the root sphai (I. E. sphéi) have a better claim upon these words.

Stanza 4.

b. harasa is translated by Zimmer, ‘durch einen schlag (griff);’ by Grill, ‘ mit gewalt.’ This is a possible alterna- tive. There are two haras in the Veda, one from the root har, ‘take, and the other from ghar. The latter is Oé€pos ; cf. Zeitschrift ftir vergleichende Sprachfoischung, X XV, 80, 132 note, 168. Examples of the latter are AV. VIII, 3, 4 ff.; XVIII, 2, 36.58; 3,71; XIX, 65 and 66; and espe- cially TI, '19,'23 20, '23 27, 23° 22.2 5 9909. Where te ee occurs in the series tapas, haras, aris, sokis, and tégas.

* The MSS. of the Kausika read sila#gala with palatals. By changing silaff to sila? we obtain the possible etymology ‘she that creeps upon stones.’

V, 5. COMMENTARY. - 421

Stanza 7.

For the epithets of the plant in this and the preceding stanza, see the note on IV, 12, J.

b. For sushme, see Contributions, Sixth Series, Zeit- schrift der Deutschen Morgenlandischen Gesellschaft, XLVIII, 565 ff.; for lomasavakshaze, Pischel, Vedische Studien, I, 178.

Botton O97: Vs X10, 96 Att BDrotl 6, 13 ;. Sat, .Br. bE a ET RR Mi aT 2

Stanza 8.

b. For sushme, see Contributions, Sixth Series, Zeit- schrift der Deutschen Morgenlandischen Gesellschaft, XLVIII, 565 ff.; for lomasavakshaze, Pischel, Vedische Studien, I, 178.

Botton O97: Vs X10, 96 Att BDrotl 6, 13 ;. Sat, .Br. bE a ET RR Mi aT 2

Stanza 8.

a, b. I have translated the passage with strict adherence to the text which is certainly not above suspicion. The Paippalada offers no help. Inasmuch as the father is mentioned, it seems likely that both parents are somehow contained in the passage, and the change from kanino to kanina has suggested itself to all translators (Pet. Lex., Zimmer, Grill). The first Pada would then be, ‘ Silafi by name art thou, daughter of a maiden.’ I would draw attention here, as at IV, 20, 3, to RV. X, 40, 9, gdnishéa yosha patayat kaninaké vi #4sruhan virddhaz (cf. also RV. X, 3,2 and AV. XII, 3, 47?), where the origin of plants occurs somehow in connection with a woman and a kani- naka. But the passage is buried in obscurity for the present. If the emended kanina is taken to refer to the mother of the plant, it would certainly seem natural to see in agababhru the father. The word as it stands can be nothing but a vocative from a formally and lexically un- quotable feminine agababhrij; Grill suggests the change to the nominative masculine agababhrus, an emendation which Zimmer's translation also implies. Grill, too, thinks that the mother and father thus reconstructed for these passages must be identical with those in st. 1, namely, night and cloud—a conclusion which, in our opinion, is not at all coercive. He points out that night is designated in XIX, 48, 2 as ‘mother,’ and in XIX, 49, 1 as a blooming young woman (ishiré yosha yuvatiZ) ; as regards agababhru he has in mind the goat of Pashan in his relation to sunset and

422 HYMNS OF THE ATHARVA-VEDA.

dawn (cf. RV. VI, 55, 1, and Ludwig’s note, vol. iv, 147). All this is possible, but excessively problematic.

e.d. The cloudy allusions of the preceding Padas are obfuscated further by the statement here that the plant has been sprinkled with the blood of the brown horse of Yama, an expression which may also harbour an allusion to night (cf. syavi, RV. I, 71, 1; III, 55, 11; Naighazzuka I, 7). Elsewhere the horses of Savitar (RV. I, 35, 5), Agni (RV. II, 10, 2), Rudra (AV. XI, 2, 18) are designated as syava. The Padapasda reads asna, ‘by the mouth,’ and Zimmer adopts this reading, against the Pet. Lex., Kuhn (p. 61), Whitney in the Index Verborum, and Grill. The Padapaéva itself has asnak in the next stanza—an obvious inconsistency. I cannot rid myself of the impression that there is some connection between this and a statement in the Maitr. S. IV, 9, 19; Tait. Ar. IV, 29, asrzimukho rudhirevza=bhyakto yamasya dita/, ‘the messenger of Yama bloody-mouthed, bedaubed with blood;’ if so the brown horse of Yama may be a variant of the two dogs of Yama called syama and sabala, ‘ sun and moon, or ‘ day and night’ (cf. Contributions, Third Series, Journ. Amer. Or. Soc. XV, 163 ff.), and this would again lead back to the word ratri inst. 1. Non liquet. Grill: ‘It is conceived that the plant has absorbed the blood of a divine animal with which it has been sprinkled, and has acquired thereby corresponding strength and virtue.’ :

Stanza 9.

a,b. Zimmer: ‘aus des rosses maul (cf. the preceding note) herausgefallen lief sie an die biume;’ Kuhn: ‘vom blut des rosses hergecilt, glitt sie sogleich den baumen zu ;’ Grill: ‘entsprungen aus des pferdes blut lief diese zu den baumen hin.’ saszpatita is not altogether satisfactory; the Pet. Lex. translates it ‘zusammengeflossen, zusammenge- ronnen. ‘The entire picture is vague, and is not rendered less so by the next Pada.

e. The meaning of this Pada is by no means established. [t is formulary in character and always employed in con- nection with plants. In the oshadhistuti, RV. X, 97, 9;

V, 7- COMMENTARY. 423

Vag. S. XII, 83 the version is siraZ patatrizi sthana; Tait. S. IV, 2, 6,2; Maitr. S. II, 7, 13, saréZ patatrizizZ sthana; Kazh. S. XVI, 13, sara patatriviz stha; Kap. S. XXV, 4, sura/# patatriziz sthana (so also a variant of Maitr. S.). Sayava at RV. explains the word by sarazasilaz, while Mahidhara at Vag. S. suggests no less than three other interpretations in addition to that of Sayava, none of them usable. Note also sird (pattrasira), RV. I, 121, 11, which may fairly claim relationship with this group; cf. also the expression apam asi svasad in st. 7. Kuhn, 1. c., p. 61, had in mind sara in his translation ‘ befliigelt wurde sie ein pfeil. Certainly a ‘winged brook’ strains the limits of common sense. But I have no better suggestion to make. The word saré seems to contain a punning allusion to the name of the plant silat.

V, 7. COMMENTARY TO PAGE 172.

c., p. 61, had in mind sara in his translation ‘ befliigelt wurde sie ein pfeil. Certainly a ‘winged brook’ strains the limits of common sense. But I have no better suggestion to make. The word saré seems to contain a punning allusion to the name of the plant silat.

V, 7. COMMENTARY TO PAGE 172.

The Veda, especially the Atharvan, is much given to personify evil qualities as female divinities, e.g. nirrzti, araddhi, 4rti, aradyi, and particularly drati. The present hymn aims to appease the powers of avarice and grudge personified as Arati; more particularly the poet has in mind the dakshiva of the priest; that shall not be with- held, but shall accrue abundantly. Cf. st.1; Kazz. Up. I,1. The Sdastras expressly forbid the withholding of the dakshiva, e.g. Vishzu-smrzti LIV, 15. See also in general Miers Avs Vi IS: 30; XII, 5°: Gop.-Br. I, 5, 25. In the Atharvan rites our hymn figures in a variety of connections. At Kaus. 18,14,in the course of the so-called nirrztikarm4i (18, 1-18), grain is offered to the goddess of misfortune while the hymn is being recited. At Kaus. 41,8 a person about to engage in a business venture makes an offering (upadadhita') while pronouncing our hymn, as well as III,20 and VII,1. The intention is to remove obstacles.

‘+ For the meaning of this technical term, see Kesava to Kaus. 6 (p. 309 of the edition). The upadhana according to this consists in offering one of thirteen different kinds of havis.

424 HYMNS OF THE ATHARVA-VEDA.

Once more in Kaus. 46, 6 he who has a request to make, recites sts. 5-10 along with VII, 57, in order that his request shall not be refused. The hymn has been translated by Ludwig, Der Rigveda, III, 305; Grill*, pp. 39, 145 ff.

Stanza 2.

a, b. purodhatsé, lit. ‘dost make thy agent or purohita ;’ purusha, ‘servant, minister ;’ parirapin, ‘suggesting, prompt- ing, advising ;’ cf. XII, 4, 51.

Stanza 5.

The sraddha is ‘faith, religious zeal,’ that makes the sacrificer liberal to the priests. Cf. Darila to Kaus. 46, 6. It is the same sraddha which entered Nakiketas, Kazk. Up. I, 2 ff., to such an extent that he desired to be given himself as sacrificial reward to his priests. This zeal is naturally bestowed by the brown soma, i.e. in the course of solemn sacrifice, and through the inspiration that comes from the hymns (Vaz Sarasvati), sung while drinking the soma. The previous translations seem to me to miss the point wholly: Ludwig, ‘den (anteil, den) ich verlange...den soll heute Sraddha finden.’ But ydm refers to the person supplicated, not to favoursasked. Grill, ‘ wen ich angehe mit dem spruch ... der werd heut inne mein vertraun, und nehm den braunen soma hin.’ Cf. also Zimmer, p. 272.

Stanza 6.

Grill, ‘ wen ich angehe mit dem spruch ... der werd heut inne mein vertraun, und nehm den braunen soma hin.’ Cf. also Zimmer, p. 272.

Stanza 6.

d. The Pet. Lex. suggests for this single occurrence of prati hary the meaning ‘verschmahen, zuriickweisen,’ though the word ordinarily means ‘delight in, long for’ The passage seems to contain the euphemistic insinuation that Arati when sufficiently cajoled is favourable to generosity. Or, those who desire to be generous must curry favour with Arati; otherwise she frustrates their intentions. Cf. I, 8, 2.

Stanza 8.

_ Arati is here connected with nightmare. Her appear- ance as a naked woman recalls the German ‘alp,’ or ‘mahre’

V, 13. COMMENTARY. 425

’

which also manifests itself as a woman; see A. Kuhn, Zeitschr. f. vergl. Sprachf. XIII, 125 ff. For the spirit of this and the subsequent stanzas, cf. the description of the Apsaras, IV, 37.

V, 13. COMMENTARY TO PAGE 27.

This charm against snake poison claims interest chiefly from its designations of serpents, mostly of obscure mean- ing, and reaching down to the bed-rock of folk-lore. Kau- sika’s performances 29, I-14 are very explicit: they follow the hymn stanza by stanza. But they are not as instruc- tive as they might be owing to their symbolism, and their own obscurity. They begin with the performances in honour of Takshaka, described at 28, 1-4 in connection with IV, 6 and 7 (see the introduction to IV. 6). and con- tinue with additional doings, based upon each stanza of our hymn. These will be referred to most profitably under the head of each separately. The hymn exhibits noteworthy points of contact with RV. I, 191.

Stanza 1.

Cf. RV. I, 191, 7.11. We have translated saktam by ‘what has been fastened ;’ cf. RV. I, 191, 10. The Pet. Lex. s. v. sa%g 4), ‘inherent.’

Stanza 2. Kaus. 29, 2-4: ‘ With the second (stanza) the act of con- fining (the poison) takes place’. 3. The (priest) walks about (the patient) towards the left (Kesava, savyam=

' dvitiyaya grahami, Dérila, ka/akabandha ity artha/, ‘ with the second stanza a rope is fastened (about the patient)’? Cf. agra- bham, and grzhvami in the mantra. ‘The feminine gender of grahami is peculiar. We should expect either grahamvam, or dvittyA grahami. Kesava, visham na visarpati desasthitam bhavati sarire na sarpati vishastambhanam bhavati.

426 HYMNS OF THE ATHARVA-VEDA.

apradakshivam). 4. He fastens a bunch of grass’ to the border of the (patient’s) tuft of hair.’

b. etdsu, feminine, with reference to the numerous female reptiles in sts. 7 ff.

Stanza 3.

Kaus. 29, 5: ‘With the third (stanza) he drives the poison forth.” Kesava, damsad visham anyatra gsakkhati. In Padaa, vrisha me ravah suggests perhaps the fire which is built to frighten away serpents; see RV. I, 94,10; VII, ros g5 Mp pis. AP RMIT A6, YT at Br Lee 6 vrisharava is the designation of a croaking bird. Pada d echoes RV. I, 191, 8: the rising sun symbolises the qui- escence or destruction of all harmful powers.

I, 94,10; VII, ros g5 Mp pis. AP RMIT A6, YT at Br Lee 6 vrisharava is the designation of a croaking bird. Pada d echoes RV. I, 191, 8: the rising sun symbolises the qui- escence or destruction of all harmful powers.

Stanza 4.

Kaus. 29, 6. 7: ‘ While reciting the fourth stanza, along with VII, 882, the (serpent’s) bite is rubbed * with grass, and the grass thrown upon the serpent. 7. (Or in the absence of the serpent he throws it) where the biting took place.’ Cf. Kaus. 32, 25. The ceremony is an attempt at the complete realisation of the mantra.

Stanza 5.

Kaus. 29, 8: ‘ With the fifth stanza he sprinkles the poisoned person with water heated by quenching in it

1 The virtue of this manipulation rests apparently in the pun between stamba and the root stambh, ‘ fasten, confine’ !

* *Go away, thou art an enemy, an enemy surely art thou! Thou hast mixed (thy) poison into poison, thou hast certainly mixed poison. ‘To the serpent himself do thou go away. Him slay!’ Cf. Ludwig, Rigveda, III, 511; Henry, Le livre VII de l Atharva-véda, pp. 36, 106.

° Kesava, pragvalya, ‘ heating the bite with burning grass.’ This is due to confusion of this performance with Kaus. 32, 24, damsma nitapya.

V, 13. COMMENTARY. 427 burning reeds from a thatch! mixed with grains of sesame.’ For avagvala, cf. Kaus. 27, 29 (introduction to III, 7); Kaus. 27, 33 (introduction to III, 11); 28, 2 (introduction to IV, 6). The punning symbolism which connects this practice with upatrzzya, and perhaps also alika# (as though it were valika) in the mantra, represents the low-water mark of banale attempts to construct a practice upon the indications of the mantra. The names of the serpents in this and the following stanzas are for the most part very obscure (cf. Zimmer, pp. 94, 95): for kairata, see X, 4, 14, for babhru, VI, 56,2. asita is a more common designation, VI, 56,2; VII, 56, 1, &c., and cf. the note on VI, 56, 2.

ce. stimadnam, dz. Aey., we have rendered as though it were sthdmanam (masculine!). Cf. our remarks on the interchange between surd aspirates and non-aspirates, Amer. Journ. Phil. XII, pp. 436 ff, and Roth in the Zeitschr. d. Deutsch. Morg. Gesellsch. XLVIII, 105 ff. The Pet. Lex. under stha+ api suggests sramazam, without interpreting the passage in this form.

Stanza 6.

Kaus. 29, 9: ‘ With the sixth (stanza) a bowstring taken from the notched end of the bow is fastened upon the patient.’ Again, the vaguest kind of symbolism in refer- ence to Padad. For taimata, see V, 18, 4. The rendering of apodaka is very uncertain. Though in accord with the apparent meaning of the same word in st. 2, it jars here: we should rather expect another designation of serpents, ‘one that does not live in the water (?).’

Stanza 7.

For taimata, see V, 18, 4. The rendering of apodaka is very uncertain. Though in accord with the apparent meaning of the same word in st. 2, it jars here: we should rather expect another designation of serpents, ‘one that does not live in the water (?).’

Stanza 7.

Kaus. 29, 10: ‘ With the two next stanzas (7 and 8) the patient is given to drink water with the earth of a bee-hive.’ (Kesava, however, madhfidvapa=madhuvrzkshamr7ttika). The relation of the practice to the stanzas is profoundly obscure. Cf. the note on V, 5, 1.

Se — - — ee nee ee

? Cf. the introduction to VI, 24.

428 HYMNS OF THE ATHARVA-VEDA.

Stanza. 8.

b. We are tempted to change the instrumental dsiknya to the ablative dsikny4Z, ‘born of the black serpent,’ or ‘born of the black night,

ce. For pratankam, see our note on IV, 16, 2; cf. also XII, 1, 46; Sat. Br. VII, 4, 1, 28 (ye vasvateshu serate), SadeAilebta id aa, oe

. «

Stanza 9.

Kaus. 29, 11: ‘ With the ninth (stanza) the patient is given to drink water containing the excrement of a porcu- pine. With a prick (of the porcupine) that has three white stripes he feeds meat to the patient'.’ Cf. the closely cor- related RV. I, 191, 16.

a. The Pet. Lexs. and Zimmer, p. 82, translate karva by ‘long-eared.. But has the porcupine long ears? I have preferred to think of his pricks (salali) as giving rise to the somewhat fanciful adjective. The prickly porcupine may naturally not live on good terms with serpents, being hard to tackle.

b. avakarantika, left untranslated by the Pet. Lexs ,in the light of pravartamanakak, RV. I, 193, 11, is obviously a diminutive participle; see our note on IV, 37, 10.

Stanza 10.

Kaus. 29, 13: ‘With the tenth (stanza) the patient is given water to sip from a gourd.’ This looks as though there was some connection in the mind of the Sitrakara between tabuva and alabu. At any rate tabuva, and tas- tuva in the next stanza, seem to be a cure for poison. This and the next stanza are wholly problematic.

Stanza 11.

Kaus. 29, 14: ‘ With the eleventh stanza he ties (a gourd) to the navel of the patient. For tastivam some MSS., according to Bohtlingk’s lexicon, read tasrivam.

’ Cf. Kaus. 10, 16, and the Grzhya-siitras, where the prick with three stripes figures frequently ; see Stenzler’s index, s.v. tryezt.

V, 14. COMMENTARY. 429

V, 14. COMMENTARY TO PAGE 77.

The hymn is one of the krityapratiharazni, a series of hymns which counteract spells, given in the list at Kaus. 49, 7. See the introductions to IV, 17; V, 31; VIII, 5; X, 1, &c. The plant which figures prominently (sts. 1, 2, 4, 9) is not specified. It may be the apdmarga, as in IV, 17-19; cf. the Anukramazi, vanaspatyam. The hymn has’ been translated by Zimmer, p. 396 ff.; Grill*, pp. 26, 147 ff.

Stanza 1.

The first hemistich is repeated at II, 27, 2; see the note there. Stanza 9.

1, 2, 4, 9) is not specified. It may be the apdmarga, as in IV, 17-19; cf. the Anukramazi, vanaspatyam. The hymn has’ been translated by Zimmer, p. 396 ff.; Grill*, pp. 26, 147 ff.

Stanza 1.

The first hemistich is repeated at II, 27, 2; see the note there. Stanza 9.

In the course of the performances undertaken with the krityagava at Kaus. 39, 7-12 (cf. the introduction to IV, 17) this stanza is rubricated (Stra 11), preceded by the words krityay4smitrafakshusha samikshan, which seems to be mantra, either entirely, or in part; cf. Darila and Kesava, p. 341. The sense of the Stitra, as much else in the same passage, is very obscure.

Stanza 10.

a. As a son goes to his father, thus do thou, O spell, return to thy father, i.e. to him that has prepared thee.

e, d. Grill, following Roth’s lead, reads bandhum iva and translates, ‘wie sich der fliichtling heimwarts kehrt, &c.’ We do not feel constrained to accept the emendation. ava+ kram ordinarily means ‘overcome, hence we have trans- lated avakrami? by ‘one who overcomes.’ The comparison is as good, if not better. Zimmer, ‘wie den Banden entflichend eile zuriick &c.’—a forced construction of the accusative, bandham.

Stanza 11.

A doubtful stanza in changed metre (g4yatri). It may have slipped in because of my7gdm iva in the next stanza.

430 HYMNS OF THE ATHARVA-VEDA.

PRUrInCI PR The sense seems to be: as surely as the antelope, shy though she be, mates with the buck, so surely shall the spell strike him who prepares it. Cf. IV; 4, 7=V ip oe and VII, 115, 2. But abhiskdndam is dm. Aey.: we have followed Grill in referring it to the mounting buck. The Pet. Lex. regards it-as a gerund, and Whitney, Index Ver- borum, emends to abhiskandan, a masculine participle, yielding a very problematic construction. Zimmer, ‘ wie die scheue Antilope, die Gazelle dem Angreifer (entflieht, so du, o Kranker, dem Zauber).’

V, 18. COMMENTARY TO PAGE 169.

The object of the two hymns V, 18 and 1g is clearly to present in the most drastic language the danger which arises from the oppression of Brahmans, and usurpation of their property’. Especially the cow of the Brahman, given to him as his sacrificial stipend (dakshiva ; cf. XII, 4), is sacred and inviolable. The point is accentuated by the practices connected with them. The two hymns are rubricated at Kaus. 48, 13 ff. under the name brahma- gavyau (i.e. the two brahmagavi-hymns). The practices are intended to compass the -death of him that robs or slays the cow of a Brahman; they are as follows: 13. ‘(The Brahman) recites the two brahmagavi-hymns against (the robbers)”. 14. He recites them while the activity (of killing and cutting up the cow is being performed). 15. vikrztati (Dar. tvadhye havidkritesty artha%). 16. (He recites the hymns) over the excrement within the entrails®. 17. And

1 This is the agyeyata, ‘freedom from oppression,’ of the Brahman ; cf. Weber, Ind. Stud. X, 60 ff.

15. vikrztati (Dar. tvadhye havidkritesty artha%). 16. (He recites the hymns) over the excrement within the entrails®. 17. And

1 This is the agyeyata, ‘freedom from oppression,’ of the Brahman ; cf. Weber, Ind. Stud. X, 60 ff.

* Darila and Kesava add to this the related hymn XII, 5 (mixed prose and verse).

* Excessively doubtful; Darila has the following as text and scholion: kak kriya anvdha, fibadhye, dveshyam manasi (Cod. anasi) krztva saptaminirdesaét. Cf. XII, 5, 39, where the excrement of the cow is described as fit for sorcery-practices.

Vv, 18. COMMENTARY. 431

also at a burial-ground!. 18. Thrice he exclaims: ‘ Slay those yonder.” 19. While reciting the second (brahma- gavi-hymn) he hides a stone in the excrement. 20. Twelve nights does he rest observing every vow (of the brahma- karin). 21. When the sun has risen twice (after the twelve days, the enemy) is laid low.’ Cf. especially AV. XII, 4 and 5, and Sat. Br. XIV, 6, 7, 4=Brzh. Ar. Up. III, 7, 13. The Anukramavzi designates the two hymns as brahma- gavidevatye.

Both hymns have been translated by Muir, Original Sanskrit Texts, I*, 285 ff.; Ludwig, Der Rigveda, III, 447 ff., 451 ff. (cf. also 154); Zimmer, 199 ff.; Grill?, 41, 148 ff. ; cf. also Hillebrandt’s Vedachrestomathie, p. 42.

Stanza 3.

Ludwig very ingeniously suggests the change of ma to ya at the beginning of Padac; this yields a more concin- nate construction: ‘Enveloped in her skin, as an adder with evil poison, sapless, unfit to be eaten is the cow of the Brahmava.’ Shankar Pandit with all MSS., sa.

Stanza 4.

This and the following stanza, as also 8, 9, and 13 are in trishzubh metre, and bear no reference to the cow of the Brahman: they deal with the Brahman himself. Muir, Ludwig, and Zimmer refer the verbs to the cow.

Stanza 5.

b. na Aittat, lit. ‘not as the result of thought ;’ cf. afittya, V, 17, 12, and malvad, V, 18, 7.

Stanza 6.

b. The Paippalada reads agne/ priyatama tanti/, and the Pet. Lex. suggests agné/ priya tandr.iva; cf. st. 14, and All, 5, 41. 73.

ce. Soma is the heir of the Brahman, i. e. Soma is bene- fited by the service of the priest; or, perhaps, Soma is

' Dar smasine pakasthane &badhyavat.

4.32 HYMNS OF THE ATHARVA-VEDA.

irtterested in the Brahman’s cow (implied throughout the hymn), because her milk is mixed with Soma; cf. st. 14. See also Sat. Br. V, 4, 2, 3.

Stanza 7.

Cf. RV. X, 88; 34. nizkhidam, lit. ‘to throw out.’ Pro- fessor Roth suggests ni-khidam, ‘to get down.’ niZkhid is certainly am. Aey. and might be for nishkhid=ni-shkhid, re- minding us of the MSS. of the Tait. S. which write khkhid in the interior of words (after augment and prepositions) ; see Ind. Stud. XIII, 106-7. But the statement, that the oppressor of Brahmans swallows the cow, and that he then | cannot get her out again, because she sticks in his throat, is equally suitable.

S. which write khkhid in the interior of words (after augment and prepositions) ; see Ind. Stud. XIII, 106-7. But the statement, that the oppressor of Brahmans swallows the cow, and that he then | cannot get her out again, because she sticks in his throat, is equally suitable.

Stanza 8.

b. The expression nadik& ddntas tapasd« bhidigdhaz seems to me to contain a double entente, ‘his windpipe (shaft of the arrow), his teeth (points of the arrow), are bedaubed (like the arrow with poison) with holy fire’ A striking figure of speech, hardly to be misunderstood ! Muir, ‘his windpipe is arrow-points smeared with fire;’ Ludwig, ‘die nadika (speiserére oder luftrére?) die zahne vom tapaz bestrichen;*. Zimmer, ‘seine luftrohre mit Glutil bestrichne Pfeilspitzen;’ Grill, ‘die Luftréhr Pfeil- spitze, in des Eifers Gluth getauchet.’

Stanza 10.

d. vaitahavya, patronymic from vitahavya, a proper name; cf. st. 11, and V,19, 1. Zimmer, pp. 132, 200-1, translates the word by ‘die aus habsucht opfernden,’ and ‘die opfergierigen, but the word per se has no disparaging! meaning; cf. vitihotra.

Stanza 11.

c,d. Ludwig, ‘die der Kesaraprabandha letztgeborene gebraten. This mvolves the emendation of Zaram4gim to karamagaém (sc. vatsam, ‘calf’), and makes Kesarapra- bandha the name of a cow; cf. prathamagd. That cows

V, 19. COMMENTARY. 433

had names may be seen from our introduction to II, 32, but this name, ‘ having her hair braided,’ is clearly that of a woman. Apparently the iniquity of the Vaitahavyas reaches its height, when they do not spare the only goat of the poor woman. If the text were only as sound as the moral!

Stanza 12.

a. Cf. V, 19, 11, where the number 99 takes the place of 101. Both are formulaic.

Stanza 14.

Cf. st. 6 and XII, 5, 4. 58.

e. hantabhisasténdras ought, in the light of stanza 6, to » mean ‘Indra slays the curser,’ or ‘Indra destroys curses.’ Accordingly the Pet. Lex. proposes hantasbhisastim (cf. Whitney, Sanskrit Grammar”, §§ 271 d, 946); hanta =bhisaster is equally possible (cf. l.c., § 1182 d). The text might possibly be sustained by reading hanta bhisasta (acc. plur. neut.). Ludwig takes both words as nomina- tives of tar-stems, ‘Indra toter flucher.’ Zimmer, still differently, reads hantasbhisastam. ,

d. For vedhas, cf. our note on I, 11, 1 b.

V, 19. COMMENTARY TO PAGE 171.

For the employment of this hymn in the ritual, and other general considerations, see the introduction to V, 18.

Stanza 1.

ec. Bhrfgu is a typical name for an Atharvan priest ; cf. angirasa in st. 2; bhrvzgvangiras, like atharvangiras, is a name of the Atharva-veda itself; see Kaus. 63,33; 94, 3. 4. Like Atharvan and Angiras, the Bhyzgu are connected with the production of fire; cf. Ludwig, III, 140.

For the Srz#igayas, see Weber, Ind. Stud. I, 208 ff,, 232 ; Ludwig, III, 154; Zimmer, 132; Weber, ‘Episches im vedischen Ritual,’ Sitzungsberichte der Koniglich Preu- ssischen Akademie, July 23, 1891, vol. xxxviii, p. 797

Ludwig, III, 140.

[42] F f

434 HYMNS OF THE ATHARVA-VEDA.

(p. 31 of the reprint). The legend which is alluded to here (and in V, 18, 10. 11) is not to be found elsewhere. One may fairly question whether it is not, in a measure at least, trumped up in deference to a supposed etymology : -gaya in srffigaya suggests ‘conquer, oppress’ (cf. giyate in st. 6, and brahmagydasya in st. 7); the syllable svzn (Padapatha srin=gaya) is not above the suspicion of having suggested svingin, ‘horned animal,’ RV. I, 32, 5, &c.; cf. the later writing srz#gaya, Vishzu-puraza, &c. Note however Tait. S. VI, 6, 6, 2, and Sat. Br. XII, 9, 3, 1 ff., in both of which places the Srvzigayas come to grief.

Stanza 2.

ce. The text has ubhay&dam, which we have emended (with Grill) to ubhayddann, ‘having two rows of teeth.’ The ram is ordinarily a harmless animal; but, just as he portentotisly devours a lioness at RV. VII, 18, 17, so he here appears armed with extra teeth, and capable of doing mischief. Possibly, however, ubhayadam is an accusative from ubhaydda = ubhayddant, ‘horse,’ and ‘the goat de- voured the horse’ is another way of marking the ominous destruction of the property of oppressors. Cf. RV. X, go, Io, and the Pet. Lexs., s.v. ubhaydatodant, ubhayatodanta, ubha- yadant.

Stanza 3.

b. I have accepted Professor Weber’s not altogether certain emendation of suklam to sulkam (Ind. Stud. XVII, 304). This is based upon Muir’s perfectly secure parallel correction at III, 29, 3 (Original Sanskrit Texts, V, 310). These two.passages are the only ones upon which the Pet. Lex., s. v. 2d, bases the meanings ‘ auswurf, schleim, rotz’ for sukla ; otherwise the word means ‘white.’ It must be conceded, however, that the reading sulkdm disturbs the parallelism between Padas a and b, and that the construc- tion of ish with the locative of the person from whom something is desired is strange. The text as it stands would yield, who threw slime upon him.’

c,d. This punishment broaches upon the later infernal

V, I9. COMMENTARY. 435 fancies of the Markawdeya-purama ; see Scherman, Roman- ische Forschungen, V, 539 ff.; Materialien zur Geschichte der Indischen Visionsliteratur (Leipzig, 1892), and Feéer, Journal Asiatique, Eighth Series, vol. xx, p. 185 ff.; Ninth Series, vol. i, p. 112 ff.; cf. also Zimmer, 420 ff.

Stanza 4.

b. ‘ As far as she reaches or penetrates,’ i.e. wherever she is distributed and eaten (?). Ludwig, ‘wohin sie iiberhaupt gewandelt,’ i.e. wherever she has been during her life-time. Zimmer (and similarly Grill), ‘wahrend sie noch unter dem

beile zuckt.’ ) Stanza 5.

b. I read asyate for asyate with Zimmer and Grill; cf. -V,18,3d. See also the note on III, 4, 7, and Proc. Amer. Or. Soc., May, 1886 (Journ., vol. xiii, p. cxvii ff.).

wherever she has been during her life-time. Zimmer (and similarly Grill), ‘wahrend sie noch unter dem

beile zuckt.’ ) Stanza 5.

b. I read asyate for asyate with Zimmer and Grill; cf. -V,18,3d. See also the note on III, 4, 7, and Proc. Amer. Or. Soc., May, 1886 (Journ., vol. xiii, p. cxvii ff.).

Stanza 7.

The last word, brahmagyasya, is a gloss (Anukr. upari- sh/adbrzhati). The cow is described as portentous, hence she forebodes destruction; cf. VIII, 6, 22.

Stanza 9.

e. The Pet. Lex., s.v. man with abhi, reads tad dhanam for sad dhanam. The emendation is not urgent.

d. Narada is the typical interlocutor in the Puravas; in. AY. XII, 4, 16. 24. 41 ff, he is especially engaged in pro- curing the brahmagavi.

Stanza ll.

Cf. V, 18,12. For nava navatayas, see Whitney, Sk. Gr.?

$477 d. Stanza 12.

A favourite method of imprecation in the Atharvan consists in threatening with the ceremonies of funeral, or even employing stanzas and formulas originally constructed for burial; cf. the introduction to I, 14, and the note on II, 12, 7. The present stanza, as well as sts. 13, and

F f 2

436 HYMNS OF THE ATHARVA-VEDA.

XII, 5, 47 ff., contain such threats against the oppressor of Brahmans; cf. our Contributions, Second Series, Amer. Journ. Phil. XI, p. 336 ff. (especially pp. 339 ff.). In this stanza reference is made to the custom of tying a kidi-plant (according to Darila at Kaus. 21, 2. 13, &c.= badari, ‘ Christ’s thorn ;’ cf. Kaus. Introduction, p. xliv) to the dead, so that it trails after him and effaces the track of death: death shall not tind the path again and turn upon his trail for further victims. Cf. Antoninus Liberalis 23, éfiinre Se ex Ths ovpas mpds ExaoTov Any, ws av Ta txvn TOV Body apavicn. To this rough embrace, symbolic of death, the oppressor is here assigned. See Roth in Festgruss an Bohtlingk, pp. 98-9; and the present translator, Amer. Journ. Phil. XI, 338; XII, 416.

Stanza 14.

Cf. Asv. Sraut. VI, 10,2; Asv. Grth. IV, 1, 16; Max Miiller, ‘Die Todtenbestattung bei den Brahmanen, Zeitsch. d. Deutsch. Morgenl. Gesellsch. IX, p. 11.

Stanza 15.

a. For the relation of Mitra and Varuvza to rain, see Ludwig, Der Rigveda, III, 314.

e. Cf. VI, 88, 3; Khad. Grzh. III, 1, 6; and Ludwig, I. c., p. 256.

V, 20. COMMENTARY TO PAGE 130.

The purpose of the hymn is obvious. At Kaus. 16, 1, it is rubricated along with VI, 126, 1, and accompanied by the following solemnities. All musical instruments are washed, dipped into a mixture which contains the fragrant substances tagara (powder of the tabernaemontana coro- naria) and usira (the root of andropogon muricatus); they are next anointed with the dregs of ghee (cf. V, 21, 3), and finally the chaplain (purohita) of the king sounds them thrice and hands them over to the warriors as they go forth to battle. Cf. also: Vait..Sii)94) Tay cAth. Paris. 9.2

V, 21, 3), and finally the chaplain (purohita) of the king sounds them thrice and hands them over to the warriors as they go forth to battle. Cf. also: Vait..Sii)94) Tay cAth. Paris. 9.2

V, 20. COMMENTARY. 437

The hymn has been translated by Ludwig, Der Rigveda, III, 460 ff.; Grill’, pp. 68, 153 ff. Cf. Zimmer, p. 289. The Anukramazi, vanaspatyadundubhidevatyam Sapatnasenaparagayaya devasenavigayaya.

Stanza 1.

Cf. V, 21, 3. The Padapa¢ha satvana: yan, ‘going with, or to, the warriors.’ Grill, ‘wann sie in den kampf ruft.’ As regards the resonance of the wood, Tait. S. VI, 1, 4, 1 has the following pretty conceit: ‘Vaz, speech, once upon a time escaped from the gods, and settled in the trees.., Her voice still resounds in wooden instruments.’

Stanza 2.

a. druvaya (cf. XI, 1, 12), with an obscure suffix vaya, perhaps = maya; cf. our remarks on the interchange of v and m in the Proc. Amer. Or. Soc., May, 1886 (Journ., vol. xiii, pp. xcvii ff.)’. Ludwig, ‘an beiden hdlzern nach beiden seiten befestigt.’

b. The MSS. read vdsitam, emended in the vulgate to vasitim. This we have translated. Ludwig also adopts vasitam, but renders ‘ losbriillend wie ein stier auf die kiihe.’ ew alae, 32, Al, O, 25.

Stanza 3.

ce. Possibly vi vidhya is to be read for vidhya (haplology ; cf. Proc. Amer. Or. Soc., April, 1893; Journal, vol. xvi, p. xxxiv ff.); see I, 8,2; VI, 66,1; XI, 9, 23.

d. hitvd grém4n, ‘with broken ranks,’ or, ‘having aban- doned the villages’ (so Pet. Lex. and Ludwig).

Stanza 7.

ce. For utpipanaz, see our discussion, Contributions, Fourth Series, Amer. Journ. Phil. XII, p. 441 ff. d. In the light of satruttirya and vritratfirya one is

1 Perhaps, however, druv-4ya, formed upon a denominal verb- stem; cf. gav-ay4, ‘ bos gavaeus:’ go, ‘cow.

438 HYMNS OF THE ATHARVA-VEDA.

( {SR RENEE ARSED eG MEIN UE Sa tempted to read amitratdrydya, notwithstanding the metre. The sense would be the same in the end. svardhi (stem sv-ardhin), am. Aey., we have translated philologically ‘having the good side;’ cf. RV. II, 27, 15. The Pet. Lexs. and Grill, ‘ein guter parteigenosse (kampfgenosse),’ but the word is certainly a bahuvrihi. Ludwig’s ‘sinnend auf liecht (gewinn)’ presupposes svar-dhiZ, but there is no reason for the loss of the visarga.

Stanza 8.

a. The metre suggests for dhibhiZ the synonymous dhiti- bhiz; cf. RV. I, 161,7 with III, 60, 2. Likewise, vadasi for vadati would harmonise better with Pada b.

ce. Ludwig takes satvano as nominative of satvana, ‘ Indra- freund und held lass dich nennen.’

Stanza 9.

Stanza 8.

a. The metre suggests for dhibhiZ the synonymous dhiti- bhiz; cf. RV. I, 161,7 with III, 60, 2. Likewise, vadasi for vadati would harmonise better with Pada b.

ce. Ludwig takes satvano as nominative of satvana, ‘ Indra- freund und held lass dich nennen.’

Stanza 9.

Treated by Roth, Festgruss an Otto von Bohtlingk, p. 99. His translation implies that the drum heralds the return of the warriors after the battle, and announces the respective merits of the participants!. This breaks the connection, and imports over-pregnant sense into Pdadas c, d, ‘das verdienst sachverstandig abschatzend (but vayunani vidvan is a mere formula !), teile vielen lob aus im kriege,’ i.e. ‘fiir ihre haltung im kriege (for their conduct in battle)” For dviraga, cf. duellum, bellum.

Stanza 10.

c,d. A blurred comparison. The press-stones are placed over the skin ‘into which the juice trickles, adhishavavzam (sc. Aarma)?; cf. Hillebrandt, Soma und verwandte Gotter, p. 181 ff. They dance upon (beat down upon) the stems

* Note XII, 1, 41, Akrandé yasydém vadati dundubhifz, ‘upon whom (sc. the Earth) resounds the roaring drum.’

? adhishavazam by itself means the pressing-board, and so it may be.understood here without altering the sense materially. Only the simile in that case is still further diluted.

V, 21. COMMENTARY. 439

of the plant over the skin. Thus the drum-sticks* beating upon the skin for victory, as it were, dance upon (beat upon) the booty. The Pet. Lex. and Grill change adri to adhri, apparently as though it were the MS. reading (‘man konnte an eine verwechselung mit ddri denken, Pet. Lex. s.v. adhri). But there is no word adhri, and according to the Index Verborum the MSS. read adri!. The expression grava adriz seems to be a composite phrase, ‘ press-stone ;’ cf. Hillebrandt, l.c., 152 ff.

Stanza 12.

e. For vidatha nifikyat cf. RV. IV, 38, 4. It seems to mean ‘like a leader (puroet4) attending to the troops.’ Ludwig, ‘der opferversammlungen gedenkend ;’ cf. Der Rigveda, IIT, 259 ff. I believe that viddtha primarily means ‘family ;’ cf. su-vidatra, 2. védana (pativédana), pari vid, &c.

V, 21. COMMENTARY TO PAGE 131.

The practice connected with this hymn at Kaus. 16, 2. 3 is as follows: ‘(The purohita) while reciting the hymn makes an offering aloud, and swings the sacrificial spoon about high in the air*. Theh he sews a soma-branch upon (a piece) of the skin of an antelope, and fastens it (as an amulet) upon the king.’ The performance on high sym- bolises the shrill sound of the drum (cf. V, 20, 1); the amulet seems to be a blended, vague embodiment of the soma-shoot in V, 20, 10, and the antelope’s skin in V, 21, 7. Stanza 12 of our hymn is rubricated in the aparagitagana of the Gawamala, Ath. Paris. 32,13. The hymn has been translated by Ludwig, Der Rigveda, III, 373-4.

Stanza 7.

b. The skin of the antelope seems thus to have been used for the covering of the drum just as the skin of the

Stanza 12 of our hymn is rubricated in the aparagitagana of the Gawamala, Ath. Paris. 32,13. The hymn has been translated by Ludwig, Der Rigveda, III, 373-4.

Stanza 7.

b. The skin of the antelope seems thus to have been used for the covering of the drum just as the skin of the

' Some of Shankar Pandit’s MSS. do, however, read Adhri. * Darila, irdhvam parivartayan ... homas ka ukfaih.

440 HYMNS OF THE ATHARVA-VEDA.

FOE a a eee cow (V, 20,1; 21, 3). But the matter is not altogether clear, since in the Sitra above the antelope’s skin is com- bined with a soma-shoot. This points, rather, to some use of it.either at the soma-pressing, or, perhaps, at some preparatory stage (diksha). The black antelope’s Skin is regularly employed at the diksha; cf. Ait. Br. I, 3, 17; Lindner, Die Diksha, p. 27 ff.; Oldenberg, Die Religion des Veda, pp. 87, 399 ff.

Stanza 8.

The first hemistich is altogether obscure. One may imagine that the poet desires to accentuate Indra’s (and implicitly the king’s) power by stating that the enemies are frightened at the beat of his feet, even when he is amusing himself; cf. Mahabh. III, 14882, yadi prakridate sarvair devaik saha. satakratu, ‘if (Indra), of hundredfold power, disports himself in the company of the gods.’ The words &fayaya saha would naturally mean ‘in the company of khayd, and one is almost tempted to suspect sakya (sakia), ‘in the company of Safi. But it is possible to extract the meaning, ‘the enemies are frightened at the beat of Indra’s feet and at his shadow.’ Ludwig, ‘mit denen Indra spilet mit dem fussgerausch und seinem schatten ’(!).

Stanza 9.

Ludwig, ‘nur wie der laut einer bogensene sollen die dundubhi herschreien, von den heeren der feinde, welche besigt sind, und mit ihrer front nach allen weltgegenden gehn. But gydghosh4% is not a possessive compound, witness the accent, and the sense of abhi krosantu must be the same as that of abhi krand in V, 20, 2. 7; 21, 4-6.

Stanza 10.

The picture is that of interference of the sun and its rays with the operations of the enemy. patsanginir, ‘ clogging their feet, is not quite clear. Ludwig may be right in regarding it as an independent noun, ‘schlingen,’ ‘traps,’ cf. Kaus. 16, 16.

V, 22. COMMENTARY. 441

V, 22. COMMENTARY TO PAGE I.

patsanginir, ‘ clogging their feet, is not quite clear. Ludwig may be right in regarding it as an independent noun, ‘schlingen,’ ‘traps,’ cf. Kaus. 16, 16.

V, 22. COMMENTARY. 441

V, 22. COMMENTARY TO PAGE I.

The word takman is not mentioned at all in the Rig- veda, but occurs very frequently in the Atharvan. Four hymns, I, 25; V, 22; VI, 20; VII, 116, are devoted exclusively to its cure!; the word is mentioned freauently elsewhere in the Atharvan ; and there are descriptions of diseases, such as are stated in AV. I, 12, which are very closely allied in character to the takmdn, but the word js not mentioned in the text. The Gavzaméala, the 32nd of the Atharva-Parisish/as, presents in its seventh paragraph | a series (gaza) of no less than nineteen hymns, supposed to be devoted to the cure of this disease (takmanasana) ; see Kaus. 26,1,note. SAyava to AV. XIX, 34, 10 explains takman as follows: krikkhragivanakartaram yasmin sati krikkhrena givanam bhavati. Professor Roth in his famous tract, ‘Zur Litteratur und Geschichte des Veda’ (p. 39), published in 1846, thought .that the takmdn referred to leprosy because the name of the plant kushz¢sa (costus speciosus), the specific against takmdn, is in the later medical writings also a designation of leprosy. Adolphe Pictet in an article entitled ‘Die alten Krankheitsnamen der Indo-Germanen, published in Kuhn’s Zeitschrift, V, 337, thought he found etymological support for this view in Persian takhtah and Erse tachas, tochas, both of which refer to leprosy, or the like. Professor Weber, judging from the symptoms described in AV. I, 25, recognised fever as the chief feature of the takmdan (see Indische Studien, 1V, 119); after him Dr. Virgil Grohmann published in the same Journal, IX, 381 ff., a careful and exhaustive essay which corroborated Weber’s view. This was still further supported by Professor Zimmer in his Altindisches Leben, p. 379 ff., and now Darila and Kesava, the com- mentators of the Kausika-sitra, everywhere gloss the word

? Cf. also the hymns to the kushfha-plant, V, 4 and XIX, 39.

442 HYMNS OF THE ATHARVA-VEDA.

by gvara!. The descriptions of gvara as offered by the Hindu medical Sastras are such as to leave no doubt that the two diseases are essentially the same. Just as the word takmdn is lost in the later literature, the word gvara is totally wanting in the Atharvan: the two words comple- ment one another. Only one must not expect to find lucidly expressed diagnosis and consistent therapeutics in Atharvan writings ; the descriptions are frequently vague, being blended with that of other diseases, and the treat- ment frequently symbolic. In many passages, moreover, the takman is a person, and belongs to the same class of demoniacal manifestations as graha, amiva, rakshas, and the like.

In many passages, moreover, the takman is a person, and belongs to the same class of demoniacal manifestations as graha, amiva, rakshas, and the like.

Briefly, the disease is described as having for its chief symptom the change between heat and chills; inter- mittency, arriving either every day at the same time, every third day, or omitting every third day *; jaundice, which suggests true malarial fever, especially during the rainy season; and the association with a variety of other diseases, some of which are none too clear in character. Headaches, coughs: are alluded to unmistakably ; in addition the diseases called baldsa (AV. IV, 9, 8; XIX, 34, 10), and his ‘brother's son, the paman (V, 22, 12). Almost all diseases in India show a tendency to be accompanied by febrile symptoms, and the frequency of malarial fevers is notorious. Susruta designates fever as ‘the king of diseases; ’ fever is present when man comes into the world, and it is also present when he leaves the world. Gods and men alone survive its ravages (Susruta, Uttaratantra, chapter 39). No wonder, then, that the burning weapons of Takman are dreaded so much in the Atharvan. The effort is made to drive him out, either with polite words (I, 25; VI, 20); with potent charms (IX, 8, 6); or with plants used as specifics, especially the kush¢da (costus speciosus), which is

* We may mention also that Dr. Muir translated the word by ‘consumption :’ Original Sanskrit Texts, IV, p. 280. *°Ci AY. 1, 28.4 Vl, rae ome

V, 22. COMMENTARY. 443 therefore designated as takmanasana (V, 4, I. 2), and the gangida, an unexplained member of the Indian flora’. In V, 22 the gods, Agni, Soma, Varuza, the Adityas, and the deified press-stones (pressing the soma) are appealed to for help. Cf. in addition to the authorities mentioned above, Edmund Hardy, Die Vedisch-Brahmanische Periode, p. 198, and, for detailed descriptions of fever and its treatment in the medical Sastras, Wise, Hindu System of Medicine, p- 219 ff.

Cf. in addition to the authorities mentioned above, Edmund Hardy, Die Vedisch-Brahmanische Periode, p. 198, and, for detailed descriptions of fever and its treatment in the medical Sastras, Wise, Hindu System of Medicine, p- 219 ff.

The treatment of AV. V, 22 in the ritual, Kaus. 29, 18. 19, is as follows : ‘(The priest) gives (the patient) gruel made of roasted grain to drink. The dregs (of the gruel) he pours from a copper vessel over the head (of the patient) . into fire derived from a forest-fire®.’ The treatment is intensely symbolical, being based upon the attractio si- milium, with a touch of homoeopathy. The roasted grain represents heat and therefore fever; the copper vessel (lohitapatra), with the other meaning of lohita, ‘red,’ in mind, again suggests heat and fever, and the forest fire, davagni, figures in preference to ordinary fire because it is occasioned by lightning, and lightning is conceived as the cause of fever and its related diseases. See our treatment of AV. I, 12, and cf. Seven Hymns of the Atharva-veda, Amer. Journ. Phil. VII, 469 ff. (p. 4 ff. of the reprint). Note also the very parallel treatment which the fever patient undergoes at the hands of Kausika in 25, 26, in connection with AV. I, 25.

The hymn has been translated many times, either entirely or in part. See Roth, l. c., p. 38; Grohmann, Indische

? Darila at Kaus. 8, 15, gangidosrgunah afala iti dakshimatyah. Kesava, ib., gangido varamasyam prasiddhaf. It is the name of a tree in any case; see XIX, 34 and 35.

2 Kausika’s language is of the most concise Sfitra sort: 18... agin payayati. 19. dave lohitapatreva mfrdhni sampatan anayati. The translation above is with the help of Darila. ‘The employment of the dregs after the act of aplavana is technical; see the Pari- bhasha-sfitra Kaus. 7, 15. For the sampata, see also Grzhyasam-

graha I, 113.

444 HYMNS OF THE ATHARVA-VEDA.

Studien, IX, p. 381 ff. (especially pp. 411-12); Ludwig, Der Rigveda, III, 510; Zimmer, |. c., pp. 380 ff.; Grill?, pp. 12, 153 ff.; cf. also Hillebrandt, Vedachrestomathie, p. 49. The Anukramazi designates, it as a takmanasanadevatyam (sc. siktam); Bhvigu-Angiras are the authors.

Stanza 1.

a. Because the first Pada is a gagati followed by three trish¢ubh Padas the Anukramawzi designates the stanza as a bhurig. It is possible, however, to obtain a trishzubh by reading apabddhatetd/ with elision and crasis; cf. Roth in Kuhn's Zeitschrift, XXVI, 5off. I prefer to retain the gagati, because it frequently appears in trish¢ubh stanzas, without the possibility of a change.

It is possible, however, to obtain a trishzubh by reading apabddhatetd/ with elision and crasis; cf. Roth in Kuhn's Zeitschrift, XXVI, 5off. I prefer to retain the gagati, because it frequently appears in trish¢ubh stanzas, without the possibility of a change.

b. ptitadaksha’ (stem pitadakshas) is not easily rendered. Roth, I.c., ‘von unversehrter kraft ;’ the Petersburg lexicons, Grohmann, and Grassmann, ‘ von reiner gesinnung ;’ Hille- brandt, ‘ von gelauterter gesinnung ;’ Grill, ‘lautern sinnes ;’ Ludwig, ‘von geheiligter kraft ; * Max Miller, Vedic Hymns, Sacred Books of the East, vol. xxxii, p. 493, ‘endowed with pure strength. But ‘lautere gesinnung’ idealises over much, and ‘ pure strength’ is vague. Perhaps after all our translation ‘of tried skill or strength’ comes nearest to the true sense of the original. Cf. RV. III, 1, 5, kratum punanak kavibhiz pavitraif, ‘ purifying his intellect by wise means of purification.’ The epithets pita-daksha and ptita-dakshas are employed very frequently in connec- tion with the Adityas, singly or collectively, and it is perhaps significant that Daksha is one of the Adityas.

d. Ludwig takes the words amuyaé bhavantu in their plainest sense, ‘sollen nach jener seite hinweggehn.’ But amuya frequently has a sinister, contemptuous meaning, ‘in that well-understood, suitable, evil manner ;’ it is a kind of euphemism like English ‘ gone,’ German (slang) ‘ caput.’ Cf. amuya sayanam, RV. I, 32, 8; papdyd=muyd, RV. I, 29, 5, &c.; and Grill’s note, p. 155.

V, 22. COMMENTARY. 445

Stanza 2.

a. In India malarial fever is frequently accompanied by jaundice ; cf. AV. VI, 20, 3, ‘thou that makest all forms yellow, and I, 25, 2. 3, where the takman is designated as haritasya deva, ‘the god of the yellow (colour). Cf. Grohmann, ib. 393.

b. Between the expression agnir ivasbhidunvan and the davagni of the ritual practice (Kaus. 29, 19) there is a thread of symbolic connection. Cf. AV. I, 25, 2. 3; VI, m3

d. nyan and adharaén are synonymous to such an extent as to render it difficult‘to preserve the flavour of the original: literally, ‘do thou go away down, or lower!’

Stanza 3.

a. For,parusha and parusheya, Ludwig reads arusha and 4rusheya, and translates ‘der rot ist von rotem ’—an un- necessarily severe handling of the text.

b. avadhvamsa is dz. Aey., but the meaning is fairly clear ; cf. the expression kirmair avadhvams in the Pet. Lex., s.v. dhvams. The eruption (Grohmann, 394) produces roughness of the skin’s surface, and the Hindus look upon such super- ficial changes as coming from without; cf. Contributions, Second Series, Amer. Journ. Phil. XI, 323 (5 of the reprint).

e. visvadhavirya would seem to refer to the kush¢ha- plant, if we consult AV. XIX, 39, 10. But the ritual does not indicate its employment.

Stanza 4.

Contributions, Second Series, Amer. Journ. Phil. XI, 323 (5 of the reprint).

e. visvadhavirya would seem to refer to the kush¢ha- plant, if we consult AV. XIX, 39, 10. But the ritual does not indicate its employment.

Stanza 4.

a,b. Note the concatenation between this and the pre- ceding stanza, effected by Padas 3d and 4a. The expres- sion nama/ kritva indicates a polite modification of the power of the charm, calculated to engage the co-operation of the demon Takman himself. P4da a is trochaic; in b read kritua.

ce. Literally, ‘the fist-fighter of Sakaszbhara,’ i.e. the champion carrier of excrement, or the chief of diarrhoea

446 HYMNS OF THE ATHARVA-VEDA.

producing diseases: sakamzbhara seems to be the personifica- tion of abnormal evacuation.

Stanza 5.

I do not consider the versifier incapable of a certain kind of punning intention in the choice of ethnic communities to which he would relegate the takman: mahavrzsha, here, and elsewhere in the hymns, may suggest to him ‘a very strong’ tribe, better fitted to cope with the ravages of the disease; balhika surely suggests to his mind bahika and bahis, ‘ without,’ i.e. not his own people! ; and even miga- vant may suggest mu#ga-grass, the plant which figures among Kausika’s remedies for the disease ; see the intro- duction to I, 12, and cf. mu#gavant in Yaska’s comment at Nirukta IX, 8, as the equivalent of migavant*. Rigorous geographical deductions derived from the juxtaposition of these names are therefore to be avoided. They are, how- ever, as also the Gandhiari, Anga, and Magadha in the sequel, true ethnical designations ; see Roth, Zur Literatur und Geschichte des Weda, p. 39; Zimmer, pp. 29, 129, 431, 433, and Webei’s article, ‘ Uber Bahli, Bahlika, Proceed- ings of the Berlin Academy of November, 1892, vol. xlvii, p. 985 ff.

a,b. Note the concatenation with 4d.

e,d. The Anukramazi designates the stanza as vira¢ pathya brzhati, but takmams is in all probability interpolated. Its removal ensures a fairly good anush/ubh.—nyo&ara is Gz. Aey., its form being perhaps twisted in some measure in deference to the obvious pun with dkas in a, b (‘ gelegen- heitsbildung ’); it also suggests doubtless in its suffix the

1 Cf. especially, Zimmer, p. 433, top.

* The name mf{gavant, however, is typical for a region far dis- tant; see Tait. 5. 1, 8, 6, 2; Vag. .S. IIT, 61, and Sat. Bro ThG..3, 17, in all of which Rudra with his destructive bow is entreated to depart beyond the Mfgavants: esha te rudra bhagah... tena svasena paro migavatostishy avatatadhanva, &c. ‘Here is thy share, O Rudra; provisioned with it go beyond the Migavants with thy bow strung, &c.’

V, 22. COMMENTARY. 447 word ara, ‘going. Ludwig’s translation is very literal, “wie gross du auch geboren bist, so gross bist du heimisch bei den Bahlikas.’

Stanza 6.

‘Here is thy share, O Rudra; provisioned with it go beyond the Migavants with thy bow strung, &c.’

V, 22. COMMENTARY. 447 word ara, ‘going. Ludwig’s translation is very literal, “wie gross du auch geboren bist, so gross bist du heimisch bei den Bahlikas.’

Stanza 6.

a,b. I really see no present possibility of translating the words vydla vi gada vyanga ; everything suggested is mere guess-work. A brief history of the interpretation of the words may be given in lieu of any personal conviction as regards their meaning. vy4la, according to the lexicons, means either ‘ malicious, wily, or ‘serpent,’ or some other ferocious animal, any of which meanings might be given to the demon of a severe disease. Ludwig translates it ‘schlange, a rendering which is supported in a measure by vyariga, ‘limbless ;’ Grill and Hillebrandt prefer ‘tuck- isch.’ The text of the Samhita and the Padapdzha both have vi gada, which is doubtless felt to be an imperative. Accordingly Ludwig translates it ‘sprich heraus ;’ Grill in the first edition of his ‘ Hundert Lieder,’ pp. 11, 63, emended vi gadha, and rendered ‘lass los.’ Whitney in his Index Verborum, s.v. gad and vigada, as also in his ‘ Roots, Verb- Forms, &c., under root gad suggests the reading vigada, vocative, and this is now accepted by Grill in the second edition, who renders it ‘stumm, and Hillebrandt, s. v. vigada, who entertains the same view: etwa ‘ wort-, sprach- los. With this emendation in mind the word might also be translated ‘O chatterer,’ referring to the delirium of the patient. One may be permitted, too, to consider the possibility that gada, ‘sickness,’ is at the bottom of the word : vigada, ‘ free from sickness,’ (euphemistic address to the demon of the disease); cf. Bohtlingks Lexicon, s. v. In that case vigada would be synonymous with agada, ‘free from disease,’ and this would remind us strongly of RV. X, 16,6; AV. XVIII, 3, 55; Tait. Ar. VI, 4, 2, ydt te krishbvah sakuna Atutdda pipilad sarpa utd va svdpadah, agnish fad visvad agadam krinotu, ‘If the black bird (vulture) has bitten thee, the ant, the serpent, or even the wild animal, may all-devouring Agni restore (agadam krinotu) that.’ And further, we may remember that the

448 HYMNS OF THE ATHARVA-VEDA. a en pn tn i et ee ee ktishzha-plant, the specific against takmdn, renders agada a person suffering from takman in AV. V, 4,6; VI, 95, 3. vyanga again calls up a variety of possibilities. If we translate vydla by ‘serpent, we will not fail to remember that vyanga, ‘limbless,’ occurs in AV. VII, 56, 4 as an epithet of the serpent, and render accordingly. So Ludwig and Grill in the second edition. Hillebrandt more vaguely, ‘korperlos.’ The Petersburg Lexicons, and Grillin the first edition, translate it by ‘fleckig’ (vi+a#g), which might be justified by some symptom of the disease. Non liquet.— With bhtiri yavaya we have supplied vagram from Pada d.

Hillebrandt more vaguely, ‘korperlos.’ The Petersburg Lexicons, and Grillin the first edition, translate it by ‘fleckig’ (vi+a#g), which might be justified by some symptom of the disease. Non liquet.— With bhtiri yavaya we have supplied vagram from Pada d.

e. nish¢dkvarim with the following pun in mind: nish takm4nam (suva, or the like), ‘drive out the takman.’ The word is &m. Aey., but fairly clear as a synonym of prakirza', pumskali, vipravragini, bahuarizi, &c. Such a person is correlated with the cross-roads; see the citations in our edition of the Grzhyasamgraha II, 23, note 3 (Zeitschr. d. Deutsch. Morgenl. Gesellsch. XX XV, 573), and add Kaus. 37; 9-

Stanza 7.

b. The etymology of balhika in the mind of the poet (bahika ‘externus;’ cf. note on st. 5) accounts for para- stardm ‘farther away. The statement may not be utilised for geographical purposes.

d. visva dhunihi, ‘shake her through as it were’ with humorous intent. The symptom referred to is ague, and it is paralleled by the use of the root vip in st. 10 (cf. also IX, 8, 6).

Stanza 8.

b. I have translated in accordance with the vulgata, bandhv addhi parétya, but not without a strong temptation to emend to bandhv adhi parétya, and translate, ‘ having passed over to thy kinfolk, the Mahavrvzshas and the Miga- vants. ‘Eat your kinfolk’ seems exceedingly crude even

for the present production. The MSS. exhibit indigestible variants.

+ Schol. at Grzhyasamgraha II, 22, grzhe-grzhe gamanasila.

V, 22. COMMENTARY. 449

d. anyakshetrazi va ima seems to refer to other countries, nearer to the speaker than those mentioned in the stanza; perhaps, as Grill remarks, the Anga and Magadha men- tioned in st. 14.

Stanza 9.

The exact connection between the various statements made in this stanza is not easy to find. Perhaps as fol- lows: Takman does not take pleasure in the other regions (near by), that is, he remains in the country of the person praying; therefore he seems to be implored not to damage him personally, but to seek out other victims. But (after all?) Takman has got himself ready and will go to the remotest region, that of the Balhikas, that being the final - outcome announced by the priest in charge of the exorcism. Ludwig translates anyakshetré ‘ in andrer leib ;’ neither his, nor Grill’s translation makes clear the sequence of thought.

b. The Pada is formulaic=VI, 26, 1 b.

e. The translations of prarthas, our own included, are practically guess-work. The Pet. Lexicons, ‘ ausriistung zur reise ;’ Ludwig, ‘ begirig nach der ferne ;’ Grill, in the same spirit, ‘schon riistet Takman sich zur reis;’ Hillebrandt, ‘bereitwillig.’ I have translated simply upon the basis of the denominative prarthayati, ‘desire, demand. The metre demands pra-arthas.

Stanza 10.

Lexicons, ‘ ausriistung zur reise ;’ Ludwig, ‘ begirig nach der ferne ;’ Grill, in the same spirit, ‘schon riistet Takman sich zur reis;’ Hillebrandt, ‘bereitwillig.’ I have translated simply upon the basis of the denominative prarthayati, ‘desire, demand. The metre demands pra-arthas.

Stanza 10.

a. We have translated rard by ‘ deliriously hot.’ In the Atharvan it occurs only as a form of the takman (see st. 13, ae a5, 44 V1, 110, 1, and cf. Tait.S. 11,5, 2, 3), butin the Tavdya-Brahmava VII, 5, 10 it occurs as an epithet of Agni, and the scholiast is pretty nearly right in commenting, raira iti sabdayamano dahatisti riraZ. The word is indeed to be derived from the root ru, ‘ howl,’ and it expresses both the heat and delirium of the fever. Foragnir rdra/, cf. also the mantra in Kaus. 71, 6, addressed to Agni, ma no rurof%, &c. Sdyava at AV. I, 25, 4, sitanantarabhavine gvaraya.

b. For avepayaz, cf. the note on stanza 7d. Read kasd avepayah.

(42) CE

450 HYMNS OF THE ATHARVA-VEDA.

Stanza ll.

b. We have not rendered baldsa by ‘consumption, with most of the authorities, on account of our distrust of the commentators: Mahidhara at Vag. S. XII, 97, kshaya- vyadhi ... balam asyati kshipati,and Sayava at AV. XIX, 34, 10, balasya asanakartaram balakshayakarakam. The explanations are of the etymologising sort, and the utter- ances of the texts as gathered by Zimmer, p. 385 ff., are not conclusive. The strongest evidence in favour of the identity or similarity of balasa and consumption is the parallel- ism of VI, 14, 1 with V, 30, 9, but even that is not conclu- sive. Further, the formal parallelism with kilasa, which means ‘some kind of eruption, or leprosy, points to a similar conclusion, ‘sore, or swelling, for bal4sa Such, indeed, was Grohmann’s view, Ind. Stud. IX, 396 ff. (cf. also Wise, Hindu System of Medicine, pp. 296 and 311), and we do not see that it is supported by a lesser array of intrinsic evidence. The question is still sub judice and is not likely to be settled until the medical Sdstras reveal their treatment of the disease more fully. We have there- fore not undertaken to translate the word for the present. Ludwig renders it by ‘dropsy, upon what authority, we fail to see.-—Note the masculine thematic form kasdm_ fol- lowing closely upon the fem. kasd in st. 10 b; we may, of course, resort to a correction of the accent (kasam). but see our note on I, 12, 3b. udyuga is dz. Aey., and might per- haps better have been left untranslated. We are permitting the word udyoga, ‘exertion, and Ludwig’s rendering of udyuga by ‘angestrengter husten’ to entice us. Grill retains the original, ‘mit Schwindsucht, Husten, Udyuga ;’ Zimmer, p. 384, ‘den Baldsa und den sich anschliessenden Kasa.’

Stanza 12.

ce. For paman, see Grohmann, |. c., p. 401 ff.; Zimmer, l. c., p. 388, and Wise, l.c., p. 261. The latter describes the disease in accordance with Karaka’s teachings as fol- lows: ‘Small tubercles in great numbers of a dark or

384, ‘den Baldsa und den sich anschliessenden Kasa.’

Stanza 12.

V, 22. COMMENTARY. 451

purplish hue with a copious bloody discharge accompanied with burning and itching.’ In the AV. the word is dm. Aey. The schol. at Sat. Br. III, 2, 1, 31 renders pama by vikar- Rika, ‘scurf, eruption.’

Stanza 13.

a. Zimmer, |. c., 382, suggests upon rather slender evi- dence another explanation of tv/tiyaka, ‘he who produces death after the third paroxysm.’ SAayawa at AV. XIX, 309, 10 comments upon the traditional text sirshalokamm tritiya- kam (which Roth and Whitney have emended in their edition to sirshasokam tr/tiyakam), with the result, ‘ Thy head (O kush¢a-plant) is in the third heaven,’ thus omit- ting an opportunity to tell us what tr/tiyaka is. At I, 25,4, however, he has, tvztiyadivase A4gakkhate. Without doubt the takman trztiyaka is identical with evara tritiyaka, Su- sruta II, 404, 7; 405, 14, trztiyakas trztiye=hni (pravartate), i.e. the rhythmus tertianus. Wise, l.c., p. 232, says, rather obscurely, ‘When the fever returns at an interval of one day it is called Tritiyaka.’—vitrztiya is Ga, Aey. and not altogether clear. Grohmann, l.c., p. 388, regards this as equivalent to the tertiana duplicata, consisting of daily attacks which, however, correspond in every other day as regards the time of day in which they take place, or as regards their intensity. But vitrztiya translated philolo- gically means ‘ leaving aside the third day,’ and there is no evidence to connect it with the tertiana duplicata. Ac- cording to our construction the vitr7tiya would appear to be identical with the takman of whom it is said, yO... ubhayadyur abhyéti, I, 25, 4 (see the note there), and VII, 116, 2.

b. sadamdi is probably the equivalent of the sasmtata- gvara, or satata-gvara (Wise, |. c., 231),a kind of fever which continues without interruption for a longer period, seven, ten, or twelve days, is then followed by an interval, and again occurs and remains for several days, Sayama at AV. XIX, 39, 10 blunderingly refers sadamdi to the kush/ha- plant, and renders it by sada rogamam khamdayita, ‘the constant crusher of diseases.’ He has in mind no doubt

Gg2

XIX, 39, 10 blunderingly refers sadamdi to the kush/ha- plant, and renders it by sada rogamam khamdayita, ‘the constant crusher of diseases.’ He has in mind no doubt

Gg2

452 HYMNS OF THE ATHARVA-VEDA. the root 3. da, ‘divide, and in this sense it may be an epithet of the takmdn, ‘always cutting.’ The Pet. Lex: suggests derivation from 2. da, ‘fiir immer fesselnd,’ which is no less apt an etymology than the preceding Zimmer's suggestion, 1. c. 383, note, is ingenious and. enticing. He would sce in the word an abbreviation of *sadam-dina, made like madhya-dina, and meaning there- fore ‘belonging to every day ;’ this etymology may per- haps now be supported by sadadi (adverb), ‘commonly,’ which occurs quite frequently in the Maitrayavi-samhita, I, 5, 12 (80, 18); I, 10, 9 (149, 15), &c.—sdrada here, along with graishma and varshika in the next Padas show that the takman raged at various seasons; it seems, however, to be associated most persistently with the autumn, at least if we may trust the adjective visvasarada’ in AV. IX, 8, 6; XIX, 34, 10. Wise, l. c., p. 233, remarks: ‘ The type of fever varies according to the season of the year.’

Stanza 14.

ce. Read ganam iva as three syllables, either ganeva (cf. Roth, Kuhn’s Zeitschrift, XXVI, 45 ff.), or ganaw va, with reference to the Prakritic form.—sevadhim, i.e. they shall hold on to the takman like a treasure, that he may not return.

V, 23. COMMENTARY TO PAGE 23.

The practice connected with this hymn at Kaus. 29, 20- 26 is an amplification of that described in Kaus. 27, 14-20 in conjunction with AV. II, 31, being supplemented by a distinct therapeutical treatment of the patient, as follows: 20. ‘ While reciting AV. V, 23 the practitioner uses the root of a (reed-grass called) karira *, performing the rite described in connection with the arrow (at Kaus. 27, 15) upon a cer-

" Sayama at AV. XIX, 34, 10 glosses the word with, sarvasya sarvada va visaramzakartaram !

* According to Kesava he ties it on as an amulet, but according to Kaus. 27, 14 he offers it as an oblation (guhoti).

V, 23. COMMENTARY. 453

27, 15) upon a cer-

" Sayama at AV. XIX, 34, 10 glosses the word with, sarvasya sarvada va visaramzakartaram !

* According to Kesava he ties it on as an amulet, but according to Kaus. 27, 14 he offers it as an oblation (guhoti).

V, 23. COMMENTARY. 453

tain part of it’. 21. The dust (which forms part of the performance in 27, 18) he takes from the village (using it the same way as in Kaus. 27, 18. 19). 22. He places (the sick child) upon the lap of its mother to the west of the fire. and with the bottom of a pestle (heated in the fire, and) greased with butter, he warms the palate (of the child) by thrice pressing upon it. 23. He anoints it with (a mix- ture of the leaves? of a) horse-radish tree and butter. 24. He takes twenty-one (dried) usira-roots (andropogon muri- catus *), pronounces over them the hemistich V, 23, 13 c,d. and performs upon them the acts mentioned therein (i.e. he mashes the roots and burns their surfaces with fire, Kesava). 25. He presents the usira-roots (to the patient). 26. He pours water (upon the patient) along with the twenty-one (usira-roots).’ The practice is by no means clear in every detail, Sutra 20 being especially obscure.

The hymn has been translated by Kuhn, Zeitsch. f. vgl. Sprachforsch. XIII, 140 ff., and Ludwig, Der Rigveda, III, 501. Cf. also Bergaigne et Henry, Manuel Védique. p. 148.

Stanza 1.

Cf. VI, 94, 3. The meaning of the stem dta- (4 uta-) is not altogether certain; see Whitney, Roots, p. 11, under u, ‘proclaim.’ But I do not see how the meaning of the stem can be derived from the root va, ‘ weave,’ and the preposi- tion 4 (cf. the Pet. Lex. under 5. va), as Whitney suggests. Cf. Sayava in the note on VI, 94, 3. Heaven and earth are called upon in a general way to protect against enmity and trouble, cf. II, 12, 1, and especially VI, 3, 2. The

' That is, according to Darila and Kesava he winds the young of worms around a certain spot of the karfra-stalk (Dar. kariraika- desam), mashes the stalk, roasts the worms in the fire, and places the stalk upon the fire (correct Darila’s vratapatyadadhati simply to pratapaty adadhati).

* Cf, Darila at 38, 5, sigrupatrawi.

* The roots are dried (girma, garant): see Darila to the passage, and the Paribhasha-sfitra, Kaus. 8,17. Dérila to the latter passage describes them as an odorous substance (gandhadravyam).

454 HYMNS OF THE ATHARVA-VEDA.

goddess Sarasvati is invoked perhaps as the heavenly phy- sician; Indra and Agni as driving away evil spirits. Cf. also the Mantrabrahmaza of the Sama-veda, II, 7, 4, krimim indrasya bahubhyam ava#kam pataydmi, and Indra’s mill-stone, AV. ITI, 31, 1.

Stanza 2.

b. Indra as king of the gods, like the earthly king, is the guardian of treasures ; cf. IV, 22, 3, where the king is called dhanapatir dhananam.

Stanza 3.

ITI, 31, 1.

Stanza 2.

b. Indra as king of the gods, like the earthly king, is the guardian of treasures ; cf. IV, 22, 3, where the king is called dhanapatir dhananam.

Stanza 3.

a. A parallel to worms in the eye, in Teutonic folk- lore, is cited by Prof. Kuhn, l. c., p. 150. In the medical Sastras a disease of the eye is known under the name krz- migranthi, ‘sty ;’ this may be related to the disease which is here imagined rather fancifully.

ce. ‘The worm which gets to the middle of the teeth’ is similarly described in the later medicinal works as kvr7- midantaka, ‘ caries’ (Pet. Lex.), and dantada (krzmi), Wise, p. 349; cf. also the kyzmiddshitasz dantavarvam, by which the Azk-Pratisakhya XVII, 10 describes syava ; see Reg- nier’s edition, III, 189.

Stanza 4.

For the fanciful descriptions of forms, colours, and names in this and the following stanzas, see Kuhn, |. c., p. 147,and cf. the note-on II, 32, 2.

e. The formula babhrus #a babhrukarvas ka is repeated in VI, 16, 3c: the hymn is described by the commentators at Kaus. 30, 1 ff., as a charm against ophthalmia. It is there also implicated in a fanciful list of personified diseases.

d. For koka. cf. VIII, 6, 2, where SAyava glosses the word by dakravaka.

Stanza 5.

a,b. For the epithets sitikaksha and sitibahu, cf. Vag. S. XXIV, 2.4.7; Tait.S. Vj 5, 20,136; 13) 1s Wean e 3, 3: 8,

V, 30. COMMENTARY. 455

Stanza 6.

See the notes on II, 32, 1 and 2, and cf. especially AV. Wip sect] RVEL, 195, 9:

Stanza 7.

a, b. All designations are obscure. The Kath. S. has a pendant yavdsha, perhaps a popular modification of yévasha, in deference to yava, ‘barley !;’ kashkasha, egatka, and sipavitnuka are Gz. Aey. A natural explanation for egatka suggests itself, ‘ active, mobile.’

Stanza 8.

b. nadaniman, ‘roaring, or buzzing.” This, again, is az. \ey.

e. mashmashaé kvz recurs in the Kath. S. XVI, 7; the Maitr. S. II, 7, 7 (p. 84, 1. 3) has mrzsmvzsa (var. mvzsmrzsa) in its place; the Tait. S. IV, 1, 10, 3, and some of the MSS. of the Vag. S. XI, 80 (supported by the Pratisakhya, V, 37) read masmasA, an interesting onomatopoetic aggre- gation.

d. The Pada is repeated at II, 31, 1.

Stanza 9.

With the exception of the first Pada this stanza is iden- tical with II, 32, 2; so also the next three stanzas repeat, without change, II, 32, 3-5. See the notes there.

V, 30. COMMENTARY TO PAGE 59.

The present hymn is of essentially the same character as VIII, 1 and 2, and its manipulation in the ritual texts, Kaus. 58, 3. 11, and the ayushyagawa (Kaus. 54, 11, note), coincides with both of these. See the introduction to VIII, 1. Previous renderings by Muir, Original Sanskrit Texts, V, 441 ff.; Ludwig, Der Rigveda, III, 494 ff.

' Cf. Contributions, Fourth Series, Amer. Journ. Phil. XII, 429. note 2.

54, 11, note), coincides with both of these. See the introduction to VIII, 1. Previous renderings by Muir, Original Sanskrit Texts, V, 441 ff.; Ludwig, Der Rigveda, III, 494 ff.

' Cf. Contributions, Fourth Series, Amer. Journ. Phil. XII, 429. note 2.

456 HYMNS OF THE ATHARVA-VEDA.

Stanza 1.

The first hemistich is verbose and obscure. Muir, ‘from thy vicinity, from thy vicinity, from a distance, from thy vicinity (I call) to thee;’ Ludwig, without construing, ‘deine nahe nahe, deine ferne nahe. We have taken the two Padas as quasi-intensive expressions, equivalent respec- tively to avatas te, and paravatas te.

Stanza 2. Cf. for Pada b the Italian proverb :—

Da chi mi fido, guarda mi, Dio, Da chi mi non, mi guardero io.—

Stanza 5.

Cf. Ath. Paris. 4,1. We have regarded the stanza, not without hesitancy, as a plea of the professional medicine- man in behalf of his art, and against domestic remedial expedients (‘hausmittelchen’). The expression pratyak sevasva looks as though it meant ‘refuse with thanks,’ and our rendering of sargata# aims to reproduce the supposed satirical flavour of the passage.

Stanza 10. Cf. VIII, 1, 13, and the note on the passage.

Stanza 12.

b. The construction of the Pada is not quite clear. Ludwig, ‘anbetung denen die zu den vatern ftihren;’ Muir, ‘reverence to the Fathers, and to those who guide us.’ Both renderings are non-committal; we have in mind the dogs of Yama as the subject of uta yé nayanti.

Stanza 13. Cf. Ath. Paris. 13, 3.

V, 31. COMMENTARY TO PAGE 76,

The hymn belongs to the krztyapratiharamAni, a series of hymns designed to repel spells. It is closely similar in character to X, 1, together with which it is employed in the

V, 31. COMMENTARY. 457

practices described at Kaus. 39, 7 ff.; see the introduction to X,1. The particular point of interest in this hymn is the full catalogue of animate and inanimate objects within which spells were instituted. It seems that these objects, through which the prosperity of an enemy was attacked, went in the ritual by the name of marmazi, ‘ vital spots ;’ see Kaus. 39, 28. 31. The notion appears to be that a man is vulnerable through his belongings as well as his own person. Cf. in general, Maitr. S. III, 3, 8 (106, 11); Tait. Peete. 20. 05 Sat. br Tis 4 t.

Stanza 1.

For the entire stanza, cf. IV, 17, 4, and our notes there.

a. An unburned vessel figures also in a_ witchcraft. practice, Sat.-Br: XIV, 9,4, 16 = Brzh. Ar. Upr Vivasis. The symbolic aspect of an unburned vessel, namely its fragility, is in evidence at Sat. Br. XII, 1, 3, 23; Manu III, 179. We would remark in passing that the Padapazsa’s yad yamam akrur at VI, 116, 1 is to be emended to yady amam kakrir. Correct accordingly the Index’ Verborum.

Stanza 2.

The symbolic aspect of an unburned vessel, namely its fragility, is in evidence at Sat. Br. XII, 1, 3, 23; Manu III, 179. We would remark in passing that the Padapazsa’s yad yamam akrur at VI, 116, 1 is to be emended to yady amam kakrir. Correct accordingly the Index’ Verborum.

Stanza 2.

b. It is difficult to decide whether kuririzi refers to some individual animal, ‘a crested animal,’ perhaps ‘ peacock,’ or whether it is to be regarded as an epithet of ‘ goat’ in Pada a. Geldner, Vedische Studien, I, 130, renders it ‘horned,’ but this is based upon a misinterpretation of VI, 138, 2; see the note there. Cf. Zimmer, Altindisches Leben, p. g1.

Stanza 3.

The solipeds, horse, ass, &c., have one hoof, and incisors above and below, in distinction from the animals called anydatodant, ‘those that have incisors only in the lower jaw. They are contrasted with the pasture-animals in the preceding stanza. See Zimmer, l.c., pp. 74, 75.

Stanza 4.

a,b. The meaning of amilay4m and narafyam (vanara- kyam ?) is problematic. Our translation is of the etymological

458 HYMNS OF THE ATHARVA-VEDA.

sort, and the feminine gender of the words is difficult to account for. But the suggestion of the Pet. Lexs. that both are designations of plants does not commend itself. See the passages cited under amila.

Stanza 9.

e. mroka and nirdaha are designations of two kinds of destructive fire; cf. XVI, 1, 3. Our rendering of both words is purely tentative.

Stanza 10.

e. maryadhirebhya/ is very obscure. The Padapdadzha, marya-dhfrebhya%, as a compound. At Maitr. S. I, 4,8 (56, 18) we have maryddhairyeza, and the absence of the vriddhi of the first syllable suggests that marya may be an independent word, the enclitic marya, for which see Pischel, Vedische Studien, I, 61 ff. We might then translate, ‘The fool verily has prepared (the spell) against the wise.’ But Pischel’s treatment of the word is not altogether con- vincing.

Stanza 11.

The first three Padas are identical with the corresponding Padas of IV, 18, 6. Stanza 12.

b. malin, ‘he that practises witchcraft with the roots of plants:’ midlakriya, Vishzu XXV, 7; milakarman, Manu IX, 290; XI,-645 Mahabh. TI, 239; 19= 14000 1 ee Winternitz, Das Altindische Hochzeitsrituell, p. 98.

VI, 2. COMMENTARY TO PAGE 66.

The hymn is employed at Vait. Sd. 16, 13 in the course of the agnishfoma. The second stanza is made the pivot of a small charm against Rakshas (rakshobhaishagyam) at Kaus. 29, 27. ‘While reciting AV. VI, 2, 2 the performer eats milk-porridge that has been cooked upon a fire built up of birds’ nests.’ The symbolic connection with the stanza 1S apparent.

VI, 9. COMMENTARY. 459

The hymn has been translated by Florenz, Bezzenberger’s Beitrage, XII, 251.

Stanza 1.

b. 4 dhavata (cf. RV. VII, 32, 6) is not altogether clear. Sayawa, Adhavanam nama addbhyagrahartham grzhitasya vasativarigalasya (cf. Vait. Sa. 16, 1)...yad va... dasdpavitreza sarvatak sodhayata.

459

The hymn has been translated by Florenz, Bezzenberger’s Beitrage, XII, 251.

Stanza 1.

b. 4 dhavata (cf. RV. VII, 32, 6) is not altogether clear. Sayawa, Adhavanam nama addbhyagrahartham grzhitasya vasativarigalasya (cf. Vait. Sa. 16, 1)...yad va... dasdpavitreza sarvatak sodhayata.

Stanza 3. The first hemistich is identical with RV. VII, 32, 8 a, b.

VI, 8. COMMENTARY TO PAGE 100.

The rites connected with this charm are stated in the introduction to II, 30, above. The hymn has been trans- lated by Weber, Ind. Stud. V, 261 ff.; Florenz, Bezzen- berger’s Beitrige, XII, 257; Grill”, pp. 54, 158 ff. The Anukramazi designates it as kimatmadaivatam.

Stanza 1.

Cf. RV. X, 10, 13. The formulaic refrain occurs also at 94, 55°11, 20, 13.

Stanza 2.

‘Large birds, as they start to fly, beat the ground with their wings, unable, as it were, to get off. Thus the mind of the woman shall not be able to free itself from her lover.’ See Professor Roth, as quoted by Grill, and cf. VI, 18, 3; 70, I.

VI,9. COMMENTARY TO PAGE 101.

For the practices connected with this charm, see the introduction to II, 30,above. Previous translations: Weber, Ind. Stud. V, 264 ff.; Florenz, Bezzenberger’s Beitrage, XII, 10. The Anukramazi, kamatmadaivatam.

Stanza 1. Cf. III, 25, 3. 4, and the spirit of that hymn in general.

460 HYMNS OF THE ATHARVA-VEDA.

Stanza 2.

The secund hemistich is formulaic; see I, 34,2; III, 25, 52 thelast Padaat Wilaaeeu 743; 2:

Stanza 3.

a. Literally, ‘whose relations are a licking,’ i.e. ‘ whose young furnish constant occasion for licking’ Licking the young is typical for fond maternity, e.g. AV. V, 1, 4.

VI, 11. COMMENTARY TO PAGE 97.

The hymn is employed in a ceremony calculated to ensure the birth of a male child (Kesava and Darila, pussavanam) at Kaus. 35, 8-10, to wit: 8. ‘ While reciting the hymn a fire is churned from the (two kinds of wood sami and asvattha) mentioned in the hymn, the fire is thrown into ghee (prepared from the milk) of a cow with a male calf, and then the ghee is treated like the paidva (i. e., it is put with the right thumb up the nose into the right nostril of the pregnant woman)!. 9. (Casting the fire) into a stirred drink with honey it (the stirred drink) is given to the woman to drink. 10. (The fire) is surrounded with the wool of a male animal*, and the wool is tied (as an amulet) upon the woman.’ The symbolism of these acts is in general very clear. In the act of churning the fire sami is the female, and asvattha the male; cf. Ad. Kuhn, Die Herabkunft des Feuers', p. 71 ff.; Zimmer, Altindisches Leben, pp. 58, 59.

The hymn has been rendered by Weber, Indische Studien, V, 264 ff.; Ludwig, Der Rigveda, III, 477; Zimmer, 1.c.,

* Cf. Kaus. 32, 21 in the introduction to X, 4.

Ad. Kuhn, Die Herabkunft des Feuers', p. 71 ff.; Zimmer, Altindisches Leben, pp. 58, 59.

The hymn has been rendered by Weber, Indische Studien, V, 264 ff.; Ludwig, Der Rigveda, III, 477; Zimmer, 1.c.,

* Cf. Kaus. 32, 21 in the introduction to X, 4.

> We emend kreshnornabhihz to vrishva firzabhiz with double samdhi; cf. Kausika, Introduction, p. lviii ff. Some MSS. read vréshno-, and vishvo-, and there is apparently no sense in black wool; on the other hand the wool of a male animal is exceedingly suggestive.

VI, 12. COMMENTARY. 461

319; Florenz, Bezzenberger’s Beitrage, XII, 260 ff. The Anukramawzi, retodevatyam uta mantroktadevatyam.

Stanza l.

b. ‘ The male child’ is the fire, which plays, therefore, an important part in the practices stated above.

Stanza 2.

d. Pragapati, the god of procreation, is, of course, the prime authority in these matters ; they are, therefore, said to be of his dictation.

Stanza 3.

Sinivali and Anumati are two of the personifications of. the four phases of the moon. They all preside over the act of procreation, and special rites in their behalf are practised by those desirous of offspring. See Weber, |. c., p. 228 ff. ; Zimmer, l.c., p. 352.

VI, 12. COMMENTARY TO PAGE 28.

According to the text of Kaus. 29, 28. 29 in our edition the performances connected with this hymn consist in quickly (sibham) giving the patient honey to drink, and then continuing with the practices described in connection with IV, 6 at Kaus. 28, 2 ff.; see the introduction to IV, 6. But Kesava and Sayaza (who regularly bases his presenta- tion of the ritual upon Kesava) have madhukridam for Kausika’s madhu sibham!; Darila’s full text is, mamda- kam (‘broth’) siktasya karmabhimantrya pdayayati. It seems likely, therefore, that madhusibham is to be regarded as a compound meaning some kind of honey mixture. Shankar Pandit prints accordingly madhusibham as a compound ?,

’ Kesava reads also once, madhusamtam.

* For gapams ka, Kaus. 29, 29, Sayama reads gapadims ka. This does not commend itself: since the passage refers to the rites described in Kaus. 28, 2 we should expect gapadini (sc. karm4mi) fa.

462 HYMNS OF THE ATHARVA-VEDA.

The hymn has been translated by Ludwig, Der Rig- veda, III, 501 ff.; Florenz, Bezzenberger’s Beitrage, XII, 262 ff. Cf. also Bergaigne et Henry, Manuel Védique, p.149. The Anukramazi, takshakadaivatam (cf. Kaus. 28, 1; 29, 1, and the introduction to IV, 6).

Stanza 1.

Imperfect metaphors. In the second half the notion is that night puts a stop to all activity, and thus the physician stops the action of the poison. In Padac the notion seems to be that the hamsd is awake at night ; cf. Zimmer, Altin- disches Leben, p. 90. Sdyawa takes hawesa in the sense of Atman, soul (cf. brahman = paramahamsa), ‘as the entire body, but not the soul, is at rest.’ Perhaps hazzsa is here, as frequently elsewhere, the sun. Can we trust the present poet to know that the sun is at work by night in another hemisphere? The sense would then be that every creature but the hamsa (i.e. the sun) is at rest. Cf. RV. X, 136, 5. Ludwig, ‘ wie die nacht das iibrige lebende totet (? dhvan- sat), or, ‘as night separates the remaining living things from the sun (hazmsa).’

Stanza 2.

e. Asanvat (Padap. dsan-vat) is dz. Aey., literally ‘that which has a mouth. Sdayava, dsyayuktam. In effect the word seems to mean ‘the present’ (‘that which can speak, or breathe?’ highly and grotesquely poetic, if true). The Pet. Lex. suggests that it is either an obscure derivative of root as, ‘be, or a corruption of 4sannam. Does it stand for asthanvat, ‘corporeal ;’ cf. Avestan astvat? The change of asthan to adsan may have crept in from asné in 3d. Or possibly, aAtmanvat. The Paippalada has 4sunvat.

Stanza 3.

ce. Parushzi is the name of a river: Zimmer, l.c., p. 11. Sipala seems to be a fanciful, typical river, or lake, named after the water-plant sipala, avaka (blyxa octandra), ib., p. 71. The avaka quenches fire, see Contributions, Second Series, Amer. Journ. Phil. XI, p. 342 ff. The entire stanza

VI, 14. COMMENTARY. 463

contains the statement that the poet with his song is sweetening all waters and (the plants of) the mountains. In the practice honey is added to water and other ingredients, as a potion for the invalid.

VI, 14. COMMENTARY TO PAGE 8.

For the nature of the disease baldsa, see our discussion in the note at V, 22, 11, and cf. VI, 127. This particular charm is defined by Kesava (and Sayaza) as a sleshma- bhaishagyam, ‘cure for phlegm, in agreement with the medical Sastras; cf. Wise, Hindu System of Medicine, p. 311. We may suppose that it refers to some virulent swelling of the throat. The indications of the Kausika, 29, 30, are not helpful: the practice is purely symbolic. A reed is placed into the water (of a river) and then the patient is washed with water by means of a branch from a ‘holy’ tree (D&rila, santavvzkshasakalena; cf. Kaus. 8, 15), so that the water flows down upon the reed. The perishable reed upon which the disease has been washed out of the patient is supposed to float away ; cf. sts. 3c, d.

Kaus. 8, 15), so that the water flows down upon the reed. The perishable reed upon which the disease has been washed out of the patient is supposed to float away ; cf. sts. 3c, d.

The hymn has been translated by Florenz, Bezzenberger’s Beitrage, XII, 265 ff. The Anukramazi, balasadevatyam.

Stanza 1.

Cf. the parallel stanza, V, 30, 9, where very similar qualities are ascribed to consumption, yakshma. But we must not, on that account, go so far as to identify balasa outright with yakshma.

a, b. Note the alliteration between asthi- and asthitam.

Stanza 2.

a, b. The Paippalada has krzzomi for kshizomi. The Pet. Lex. suggests, most ingeniously, the reading nir.. . akshvzomi for nir... kshizomi (cf. IV, 22, 1, and for the sense in general III, 9, 2). But perhaps the dz. Aey., nih kshizomi, ‘remove, destroy, simply suggests the other verb by way of zeugma. Sayasa with the Paippalada

464 HYMNS OF THE ATHARVA-VEDA.

ee escapes the difficulty by reading pushkaram, ‘as a lotus that has grown up in a great lake thus it is torn up by the root.’ Possibly this is the true solution. Cf. also VI, 127, %

e,d. Cf. RV.VII, 59,12. The Paippalada, milam ulvalvo yatha.

Stanza 3.

b. Sdyava reads susuka, ‘as a wild animal of that name (susuka) runs to a distance. The word is not quotable. The Pet. Lexs., on the other hand, suggest that asumga is the name of some bird. Neither suggestion commends itself.

ce. For the reed that passes away in a year’s time, cf. IV, 19, 1. On the other hand reeds grow profusely and quickly, VI, 137, 2. 3. Sdyaza reads ita for fZa.

VI, 16. COMMENTARY TO PAGE 30.

This hymn, full of hocus-pocus and singular diction, represents the extreme Atharvanesque manner, and for this reason alone is worth reproducing. All details are ex- ceedingly obscure, and the rather full elaboration of it in the ritual is not very helpful. The commentators agree in regarding it as a charm against ophthalmia (akshirogabhai- shagyam); the performances, Kaus. 30, 1-6, are as follows : 1. ‘While reciting the hymn (an amulet derived from the mustard-plant), anointed with the dregs of mustard-oil}, is fastened (to the patient). 2. (And) the stem (of the mus- tard-plant) smeared with (mustard-oil is also fastened upon him as an amulet). 3. The leaf (of the mustard-plant) mixed (with the oil) is given (to the patient). 4. (Then) four fruits of the saka-tree (tectona grandis) are given (to

* We would now read sarshapatailasampatam in accordance with the comments of Darila, Kesava, and Sayama. The latter sarsha- patailena sampatitam.

* Sayama, sarshapatailena bhrzsh/am sarshapapatrasikam kakshi- rogagrastaya prayakshet.

VI, 16. COMMENTARY. 465

the patient). 5. A paste made from the sap of the plant is smeared (upon the eyes of the patient)1. 6. (The patient) eats (of the sap).’ We are permitted to judge from these practices that the mustard-plant, and perhaps other plants (the sdka-tree) are referred to in the hymn, but the identification is uncertain.

A paste made from the sap of the plant is smeared (upon the eyes of the patient)1. 6. (The patient) eats (of the sap).’ We are permitted to judge from these practices that the mustard-plant, and perhaps other plants (the sdka-tree) are referred to in the hymn, but the identification is uncertain.

The fourth stanza is rubricated at Kaus. 51, 15. 16 in a practice that seems to be calculated to remove weeds from a field (alabheshagam)*, The practice consists*in burying three tips of the sila#gAla-plant (cf. Kausika, In- troduction, p. xlv) into the middle of a furrow.

The hymn has been translated by Florenz, Bezzenber- gers Beitrage, XII, 268 ff The Anukramazi, mantrokta- . devatyam uta #4ndramasam.

Stanza 1.

Sayavza reads 4vayo and anavayo, which he derives from avayati, ‘eat, and accordingly, with complete dependence upon the Sitra, ‘O mustard that art being eaten, and, © mustard-stalk that art not eaten.’ It must be admitted that there is a punning correlation between these two words and 4vayah in st. 2d, which Sayavza renders, bhakshitam akaro“ ; it is quite likely, too, that abayu is more or less identical with the mustard-plant. But here our guesses end. Sdayaza glosses karambham again after the SAtra, sarshapatailamisrabhvzsh/am tatpatrasikam (Kaus. 30, 3).

Stanza 2.

a, b. The mention by name of the father and mother of a plant is typical and formulaic; cf. the note on V, 5, I. Shankar Pandit reads vihahlo; Sayaza, vihamlakhyak kaskit pita. For madavati, cf. 1V, 7,4, and the note on varavdvati, IV, 7, 1.

c,d. For hi na of the vulgata Shankar Pandit with the

} Sayama, milakshiram abhimantrya vyadhitasya akshini afigyat. 2 For 4la, see Kausika, Introduction, p. xlvii. But Sayama reads annabheshagam, ‘curing of food:’ annasvastyayanakamas/ tisrah gasyavallir abhimantrya kshetramadhye nikhanet. Cf. also Kesava.

(42] Hh

466 HYMNS OF THE ATHARVA-VEDA.

i 2i6 ney ane PAPER V ES Ee majority of his MSS., both Samhita and Padapatha, reads hi na (both enclitic). The sense of the extremely obscure passage seems to be, that the plant does not consume itself in vain, but confers the benefits expected from it. So also SAyava, Atmano hanim prapy4spi paropak4raparo bhavasi, ‘even when thou hast arrived at thy own destruction thou hast for thy highest aim the benefaction of others.’

Stanza 3.

So also SAyava, Atmano hanim prapy4spi paropak4raparo bhavasi, ‘even when thou hast arrived at thy own destruction thou hast for thy highest aim the benefaction of others.’

Stanza 3.

Sayava regards tauvilika as the name of a female demon that causes disease. And thus also babhri and babhru- karva are two personified rogaheti’. We have rendered ailabak by ‘howling one’ (Sayaza, rogaviseshah) ; better, ‘howl’ (abstract): cf. XII, 5, 47. In Pada d the Pada- pacha reads nih ala as two separate words, and we have taken ala as a vocative. The word, according to Darila to Kaus. 25, 18 (cf. the introduction to I, 3, p. 236), seems to mean ‘a kind of weed.’ Whitney in the Index Ver- borum suggests a verb nir ala from a root al, comparing vy ala, V, 22, 6 (obscurum per obscurius). Sayavza, he nirala etatsamgaia roga, again regards the entire word as the name of a disease.

Stanza 4.

All that we know of the names in this stanza is that they are plants, and, probably, compounds of Ala (st. 3), though the Padapazda does not divide them as compounds?. At Kaus. 51, 16 sila#gala occurs as the name of a plant (Kesava, sasyavalli ; cf. Kausika, Introduction, p. xlv), and Sayaza says, doubtless correctly, of all three, tisraz samg7as tisyzzam sasyavallindm. But the true value of the formula seems beyond reach.

1 Pada c is formulaic: it recurs at V, 23, 4c}; see the note

there. 2

Am A

alasa means ‘dull, sluggish ;’ for sila#gala, cf. sila&i, V, 5, 1. 8. The MSS. of Kaus. 51, 16 read sila#gala, suggesting the presence of the word sila, ‘stone,’ in the first member. Sayama, sala#gala (sasyamazigar}),

VI, 18. COMMENTARY. 467

VI, 17. COMMENTARY TO PAGE 98.

The Kausika, 35, 12-15, has a performance entitled garbhadvzmhavani, ‘ performances for steadying the womb, or foetus, which rubricates, in addition to our hymn, AV. V, 1,1, and a mantra whose pratika is akyuta (probably the hymn given in full at Kaus. 98, 21). It is as follows: 35, 13, ‘A bowstring, thrice knotted, is tied about (the foetus) that has been seized by convulsions. 14. (The woman) is fed upon lumps of earth. 15. Black pebbles are scattered about her couch.’ For the character of gambha, ‘convulsions, see the note on II, 4, 2, and cf. especially the references there given to Wise, pp. 421-3.

The hymn has been translated by Ludwig, Der Rigveda, III, 477; Florenz, Bezzenberger’s Beitrige, XII, 269 ff. © The Anukramazi, garbhadr7mhanadevatyam.

VI, 18. COMMENTARY TO PAGE 106.

especially the references there given to Wise, pp. 421-3.

The hymn has been translated by Ludwig, Der Rigveda, III, 477; Florenz, Bezzenberger’s Beitrige, XII, 269 ff. © The Anukramazi, garbhadr7mhanadevatyam.

VI, 18. COMMENTARY TO PAGE 106.

The performances at Kaus. 36, 25 ff. involve the use of this hymn in company with VII, 45, and the third stanza of VII, 74. They picture a woman engaged in symbolic acts calculated to appease a jealous man, and to remove the jealousy from his body, to wit: 25. ‘ The practising woman mutters the above-mentioned mantras against (the jealous) man, presents to him (a stirred drink with grits, Kaus. 7, 7), and touches (his person). 26. With the first (of these hymns) she performs upon his body the act described in the hymn (i.e. she blows out fire held over his body *). 27. While reciting VII, 45, 2 (see the stanza) [she gives him to drink] water, warmed by pouring it over a heated axe. Soothing the jealous man, and the symbolic removal of the fire of his jealousy, are therefore the points of the practice.

’ Kesava, akyuta dyaur iti. Darila, sakhantariyasiktam. ? Darila, hridayesgninirvapavzam mantroktatvat. Kesava, kafipra- dese . . . dhamati. uh 2

468 HYMNS OF THE ATHARVA-VEDA.

a a me The present hymn has been rendered by Weber, Indische

Studien, V, 235 ff.; Ludwig, Der Rigveda, ITI, 514; Florenz,

in Bezzenberger’s Beitrage, XII, 270 ff.; Grill’, pp. 28,

159 ff. The Anukramazi, irshyavindsanadevatyam.

Stanza 3.

b. For manaskam patayishzukadm, cf. RV. I, 163, 11; VI, 9, 5. Ludwig renders patayishvukam by ‘zu falle bringend,’ but that would require patayishvukam, since the Vedas discriminate between the stems pataya and pataya, the former being simple, the latter alone causative. Weber also causatively, ‘was dir den sinn entfallen macht.’

d. nvéter is untranslatable, though Ludwig renders the Pada, ‘wie die erhitzung eines tanzers.’ The Paippalada reads trzter; this supports in a measure Weber's and the Pet. Lexs.’ emendation to dr¢ter, ‘as heat from a pot, or, ‘as the exhalation from a (water-carrier’s) skin.’ Similarly also Sayava, with the approval of Shankar Pandit, yatha driteh karmamayyéa bhastrikayad sakasat tanmadhyavarti- nam dshmavzam svdsavad antaptritam vayum.

VI, 20. COMMENTARY TO PAGE 3.

The Kausika offers by way of practice to be performed in connection with this charm a part of that reported for AV. V, 22. The exceedingly terse Sitra, 31, 7, agner ivesty uktas dave, is to be translated, ‘With AV. VI, 20 he does what has been said in connection with the forest-fire,’ i.e. according to Darila, what is prescribed in Sitra 29, 19 (and by implication also what is prescribed in 29, 18). Namely, he pours the dregs of gruel, which the patient has imbibed previously, from a copper vessel over his head into fire derived from a forest-fire. See the introduction to V, 22. The practice is again symbolic, aiming by attractio similium to obviate the symptoms of heat and fire incidental to the disease. The hymn has been translated by Ludwig, Der Rigveda, III, 511; Zimmer, p. 380; and Florenz, in Bezzen- berger’s Beitrage, XII, 273 ff.; and it is quoted also in the

VI, 20. COMMENTARY. 469 takmanasanagaza of the Gavzamala, Ath. Paris. 32, 7 (Kaus. 26,1, note). - The Anukramazi designates it as yakshma- nasanadaivatam, and describes its authorship and purpose as follows: bhvzgvangiraZ ... anena mantroktan sarvan devan astaut.

Stanza 1.

a. A gagati Pada may be construed if one syllable is sup- pressed. Probably agnér iva is to be read as three syllables with elision of r and crasis (cf. Pet. Lex., s.v. iva 4c), or by reading va in the manner of the Prakrit. Florenz, |. c., makes different propositions. The Anukramazi designates the stanza as atigagatt. |

sushmin is a derivative from sishma, whose fundamental meaning seems to be ‘lightning,’ from which ‘strength’ is derived secondarily; see Contributions, Sixth Series, Zeitschr. d. Deutsch. Morgenl. Gesellsch. XLVIII, 565 ff.

b. mattd vilapan; cf. the words unmaditoé and Ialapiti nA YY. Vi 711, 1.

e. Ludwig and Florenz propose to emend avratas to avratam, because the epithet ‘impious’ does not seem to suit the takman; cf. RV. I, 132, 4. A glance at AV. VII, 116, 2 exhibits the takman with the same epithet under circumstances which admit of no doubt, showing the danger of subjective reasoning on matters connected with foreign folk-psychology. Ludwig renders ‘irgend einen werklosen.’

Stanza 2.

a. Note the concatenation with Pada 1 d: tapurvadha in 1d suggests Rudra in 2a, and takmane is repeated.

c,d. The diction lapses into formulary prose, which does not however deter the Anukramavi from assigning the entire stanza to the metre kakummati prastarapanktt.

Stanza 3.

The metre is very rough, according to the Anukramavi, satafpankti. Pada a is a trochaic anush/ubh if we read sbhisokayishuur; b is a trishtubh; c is a hypercatalectic anushfubh ; d a gagati.

470 HYMNS OF THE ATHARVA-VEDA. i a a

a, b. In close paral eleaen with V, 22, 2.a,b: see the note on the passage.

ce. The epithet babhri calls to mind Latin febris from febrv-is, which would then be the ‘ brown, sallow disease.’

470 HYMNS OF THE ATHARVA-VEDA. i a a

a, b. In close paral eleaen with V, 22, 2.a,b: see the note on the passage.

ce. The epithet babhri calls to mind Latin febris from febrv-is, which would then be the ‘ brown, sallow disease.’

d. The meaning of vanya, ‘silvestris, seems fairly certain: The Pet. Lex. suggests ‘greenish, in order to establish a parallelism with aruza and babhri in the preceding Pada. Grohmann, I. c., p. 385, translates ‘dem wilden (wasserge- borenen?) Takman.’ If the word means ‘forest-born’ then it must refer to the malarial fever of the rainy season which is caused by the decay of the tropically prolific flora. Cf. the takman varshika in AV. V, 22, 13. Living in wooded, ill-ventilated valleys is, according to Wise, l.c., p. 220, one of the causes of fever. Sdyava, samsevyaya, ‘to him that is to be adored.’

VI, 21. COMMENTARY TO PAGE 30.

This interesting hymn is accompanied by equally in- teresting symbolic practices, at Kaus. 30, 8-10, part of which passage is unfortunately very obscure: 8. ‘ While reciting the hymn the person that desires the growth of hair (Sayavza, kesavriddhikamaw) is rinsed off with water heated by burning plants! that grow upon the earth under trees. 9. His head is rinsed off with an effusion prepared by heating dice in water. 10. (And also with an effusion prepared) from two nika/a-plants?(?).’ The symbolism of the first practice is quite clear: as the head of the earth is clothed with plants (cf. st. 1), as the crown of the tree is full of leaves, so shall the person practising the charm be luxuriantly hirsute. But the dice (the fruit of the vibhitaka-tree) and the nikafd.are left unexplained.

’ Cf. the note on Kaus. 27, 29, in the introduction to III, 7 (p. 336, note).

* Very doubtful. Kesava, daruharidraharidre (!) 4a dvabhyam kyathayitva avasi#kati. Sdyana, haridrakvathodakena avasifket. According to these authorities nika‘i would then be the yellow curcuma.

VI, 24. COMMENTARY. 471

The hymn has been translated. by Florenz, Bezzenber- ger’s Beitrage, p. 275 ff.; Grill?, pp. 50, 160 ff.. Cf. also Bergaigne et Henry, Manuel Védique, p. 150. The Anu- kramami #andramasai (cf. st. 2).

Stanza 1.

For the conception of the three earths, see the note on IV, 20,2. Sdyawa refers tvaké in Pada c to the real earth, which ig the skin of the other earths, tasdm przthivinaw tyakah tvag iva upari vartamana ya bhiimiz tasyaz,

VI, 24. COMMENTARY TO PAGE 12.

st. 2).

Stanza 1.

VI, 24. COMMENTARY TO PAGE 12.

Rubricated at Kaus. 30, 13. Ddarila prescribes it against dropsy ; Kesava, more explicitly, as a cure for pain in the heart, dropsy and jaundice (cf. the introduction to I, 22). Kausika’s performance is as follows: ‘While reciting VI, 24 water is drawn from a stream along its current?; (the water is warmed with burning) grass from a thatch (and sprinkled upon the patient)*.’ It seems quite possible that the ritualist has in mind the particular disease dropsy: the water (Varuva’s infliction) shall flow from the body like a running stream. The word hriddyota (st. 1) would accord with dropsy, since diseases of the heart are fre- quently associated with it. But st. 2 seems to point to a more general and vague conception on the part of the hymn, and accordingly we have expanded the caption. See also Kaus. 9, 2; 18, 3, note; 41,14; Ath. Paris. 41, 1.

The hymn has been translated by Florenz, Bezzenber- gers Beitrage, XII, p. 279 ff.; Grill’, pp. 13, 161 ff.

1 anvipam: Pet. Lex.+am wasser gelegen’(?). The word means ‘ along the course,’ i.e. the water must not be drawn against the current. Cf. Maitr.S. 1V, 4, 1, and Kesava, anulomam. The opposite of anvipam is pratipam, ‘ against the current.’

* The supplied passages are indicated, it seems, by Kaus. 29, 8 ; see the note on V, 13, 5. Kausika is at times so terse as to render necessary the memorising of the entire Sfitra.

472 HYMNS OF THE ATHARVA-VEDA.

oat Ses ee ne eS eS SS eee

Stanza l.

d. For hvzddyota, see the note on I, 22, I.

VI, 25. COMMENTARY TO PAGE IQ.

Adalbert Kuhn, in Zeitschrift fiir vergleichende Sprach- forschung, XIII, 128 ff., treated the hymn under the head of ‘Seven and seventy-fold disease,’ comparing with it Ger- manic formulas directed against fever and other diseases ; these are often described as being of seventy-seven varieties. Florenz, Bezzenberger’s Beitrage, XII, 281 ff., suggests that some febrile disease, accompanied by eruptions, is in question. In Contributions, Second Series, Amer. Journ. Phil. XI, 327 ff., we assumed that the hymn with its ritual represent a charm against a disease, similar to the scrofu- lous swellings called apa#it (VI, 83; VII, 74, 1-2; 76, 1-2), and this is now fully corroborated by Kesava and Sayana who define the present charm asa cure for gavda- mala, ‘scrofula.’ Cf. also the interesting ‘Manskunder’ (many4/ and skandhyaZ in sts. 1, 3 of the hymn), defined as ‘tumours of the neck’ in the previously quoted passage of Wise, Hindu System of Medicine, p. 316. The Anu- kramavzi, mantroktamanyavinasanadevatyam.

also the interesting ‘Manskunder’ (many4/ and skandhyaZ in sts. 1, 3 of the hymn), defined as ‘tumours of the neck’ in the previously quoted passage of Wise, Hindu System of Medicine, p. 316. The Anu- kramavzi, mantroktamanyavinasanadevatyam.

The practices are stated at Kaus. 30, 14-16, as follows: 14. ‘While reciting the hymn, fifty-five leaves of the parasu? (plant or tree?) are kindled by means of pieces of wood. 15. (The sap of the leaves) which has boiled forth into a cup is smeared with a stick of wood (upon the sores). 16. (The sores are then smeared) with a (pul- verized) shell, and with the saliva of a dog, and subjected to the bites of leeches, gnats, and so forth (cf. Kesava’s

1 The word parastiparv4n is not altogether clear, Darila’s and Kesava's (gopasilikam?) glosses being corrupt. Kaus. 47, 25 presents the obviously parallel parasupalasa which Kesava glosses by parsuvr7kshapatram, and this we have adopted as the sense here. But Darila at 47, 25 has ku/Aaramukham, ‘the blade of an axe!’ Cf. the note on Kaus, 47, 25 in the introduction to Lyre,

VI, 26. COMMENTARY. 473

comment upon this Sitra at Kaus. 31, 16, and our remarks in the above-cited Contributions, pp. 325-6).

Stanzas 1-3.

d. The word vak4z in the refrain is translated by Kuhn as ‘swarms, by the Pet. Lexs. and Florenz as ‘buzzing.’ But the apafit are not insects (see VI, 83). and Sdyama’s vakaniya dosha designates the low water-mark of his hermeneutical capacity. As it seems impossible to retain the word, we may perhaps resort to the emendation paka&, remembering the well-known confusion in the MSS. of v and p’. The sense would then be ‘ may they (the tumours) | pass away like the’ puStules of the apafit.’ The implication would then be that the tumours in question are ‘hard and large’ (Wise, l.c., 316), and that the apa#it are more easily brought to the point of breaking open.

VI, 26. COMMENTARY TO PAGE 163.

The ritual treats this as a remedial charm, fit to remove all diseases (sarvarogabhaishagyam). The performances, Kaus. 30, 17. 18, are as follows: By night the hymn is recited, parched grains of corn are poured into a sieve, and then cast away. On the next day three bali-offerings are thrown into the water for Sahasraksha (‘the thousand-eyed divinity,’ cf. st. 3), and (three) puddings of rice are thrown and scattered upon the cross-roads?. The ceremony is symbolic for the most part: the sieve is always the tangi- ble expression of passing through and out (cf. Kaus. 26, 2 in the introduction to I, 12), and general dispersion is the salient motif. The hymn‘is also rubricated in the Santi- kalpa, chapter 15, in a rite directed against the goddess of

' Cf. upolava and upolapa, Kausika, Introduction,.p. xlviii.

2 Cf. the sentiment in st. 2 of the hymn: the cross-roads are the most convenient spot at which to part company. For the character of the cross-roads in general, see the note on p. 519 in the introduc- tion to VI, 111.

474 HYMNS OF THE ATHARVA-VEDA.

xlviii.

474 HYMNS OF THE ATHARVA-VEDA.

misfortune (nirvztizarma), and in the papmagava and the takmandsanagaza of the Gazamala, Ath. Paris. 32, 7. 12 (cf. Kaus. 26, 1; 30,17, notes). It has been translated by Florenz, Bezzenberger’s Beitrage, XII, 282. The Anu- kramazi, papmadevatakam.

Stanza l.

b. The Pada is formulaic, being repeated at V, 22, 9 b.

Stanza 3.

b. For the epithet sahasraksha, see the note on IV, 20, 4. ‘ Thousand-eyed’ here refers to the power of infallibly spy- ing out victims; cf. especially the ‘thousand-eyed curse’ ar V 197 st.

VI, 27. COMMENTARY TO PAGE 166.

The pigeon as a bird of omen is well known in Teutonic mythology; cf. Gothic hraivadubé, literally ‘ carcass-dove, as the name of the turtle, and see Grimm, Deutsche Mytho- logie, p. 659 ff. The present hymn is the Atharvanic equivalent of RV. X, 165, 1-3, and the archaic locative Ashsri in 3 b (cf. Ath. Pratisikhya I, 74) seems to indicate a certain superiority of the Atharvan text, which is, how- ever, not borne out by 2b and 3c, whose Rig-vedic form is metrically preferable. Cf. Adbhuta-Brahmava 6 and 8 (Weber, Omina und Portenta, pp. 325, 330); Hultzsch, Prolegomena zu des Vasantaraga Sakuna, p. 7. At Kaus. 46, 7 this and the two following hymns are recited while the ‘great consecration’ (mahdsdanti) is being poured (cf. Kaus. g, 6, note). The Anukramazi defines the three hymns as yamyany uta nairrztani. The-present hymn has been treated by Florenz, Bezzenberger’s Beitrage, XII, p. 282 ff.

Stanza 2.

b. The RV., grzhéshu for grzhas nak. The Atharvan reading almost looks as though anaga(Z) were understood in the sense of ‘not arriving’ (an-4-gaZ). The accent of

VI, 37. COMMENTARY. 475

the stem is both anagds and anagas, and the Padapatha does not divide it, thus apparently indicating its own doubt as to the character of the word. Sdayavza, anaparddhakah.

VI, 29. COMMENTARY TO PAGE 166.

For the general character of this hymn and its treat- ment in the ritual, see the introduction to VI, 27. It has been treated by Florenz,- Bezzenberger’s Beitrage, XII, p- 287 ff.

VI, 32. COMMENTARY TO PAGE 36.

The practice connected with this hymn at Kaus. 31, 3 consists in digging a ditch near the fire, filling it with hot water, and in sacrificing into it a rice-cake after circum- ambulating it thrice and muttering the hymn. The hot water near the fire is doubtless emblematic of the well- known properties of Agni as the most obvious enemy of spooks and uncanny hostile forces. Darila, pisikanasanam. The hymn figures also in the #atanagama, ‘list of hymns with which (demons, &c.) are chased away’ in the Gavamala, Ath. Paris 32, 3 (cf. Kaus. 8, 25, note). It has been trans~ lated by Florenz, Bezzenberger’s Beitrage, XII, 291 ff.

Darila, pisikanasanam. The hymn figures also in the #atanagama, ‘list of hymns with which (demons, &c.) are chased away’ in the Gavamala, Ath. Paris 32, 3 (cf. Kaus. 8, 25, note). It has been trans~ lated by Florenz, Bezzenberger’s Beitrage, XII, 291 ff.

Stanza 3.

The second hemistich is repeated at VIII, 8,21. Sayaza renders g#atdram by abhig#am svdminam, ‘experienced master. Ludwig, Der Rigveda, III, 528, bottom, ‘der sie kennt.’

VI, 37. COMMENTARY TO PAGE 93.

The hymn is rubricated at Kaus, 48, 23-26, in prac- tices designed to repel the sorcery-practices of enemies. A white lump (of earth)’ is given to a dog (cf. st. 3), an

? So Kesava and Sdyama, svetamrittika.

476 HYMNS OF THE ATHARVA-VEDA.

amulet of tarf#a! is put on, an oblation (of ingida-oil, Kaus. 47, 3) is poured, and fagots (of vadhaka-wood, Kaus. 47, 13; cf. AV. VIII, 8, 3) are laid on the fire. The practice is based upon symbolic realisations of suggestions contained in the hymn *.

Previous translations: Grill?, pp. 25, 161 ff.; Florenz, Bezzenberger’s Beitrage, XII, 297. The Anukramavi, kandramasam.

Stanza 1.

a. For the epithet ‘thousand-eyed,’ see the note on IV, 20, 4, and especially VI, 26, 3. Sayaza identifies it out- right with Indra, indrak sapathad sapakriyayaz karta.

Stanza 2.

d. The sentiment of this Pada and of the first hemistich of the next stanza are worked up anew in VII, 59. That mantra is accompanied, Kaus. 47, 37, by an interesting practice: wood from a tree struck by lightning is put on the fire, to symbolise the destruction of the enemy by lightning.

Stanza 3.

ec. pésh¢ram may mean ‘flesh’ rather than ‘bone,’ in accordance with our note on IV, 12, 2. Sayawza reads pesh¢am (pish¢amayam khadyam). For dvakshamam (Pada- pazha, ava-kshamam) we have ventured a new interpreta- tion, ‘down upon the ground, from ava and kshaman ‘ground: SAayawa, avadagdham; Pet. Lex., ‘abfindung’ (‘sop’); Grill, ‘brocken ;’ Florenz, ‘knochenrest ;’ Boht-

* According to Darila ‘an amulet consisting of a bone’ (? asthi- kamami; cf. pésh/ram in st. 3); according to Kesava and Sayama ‘an amulet of palasa-wood.’ Cf. the mantra in Kaus. 13, 12.

* Sayama thinks that st. 3 is referred to in Kaus. 47, 37 under the pratika, y6 nak sdpat. But the lightning is not mentioned in st. 3, but rather in st. 2. Hence the little hymn VII, 59 is doubt- less the one intended at Kaus. 447, 37: it consists of sentiments contained in VI, 37, 3 :and 2, and begins also with the words, yé nah sapat.

VI, 38. COMMENTARY. 477

lingk’s Lexicon, ‘lean ;’ Whitney in the Index Verborum shelters the word under the root ksham with ava. Cf. XI, 10, 23.

VI, 38. COMMENTARY TO PAGE 116.

447, 37: it consists of sentiments contained in VI, 37, 3 :and 2, and begins also with the words, yé nah sapat.

VI, 38. COMMENTARY. 477

lingk’s Lexicon, ‘lean ;’ Whitney in the Index Verborum shelters the word under the root ksham with ava. Cf. XI, 10, 23.

VI, 38. COMMENTARY TO PAGE 116.

This and the next hymn are worked up in the course of the royal rites (ra4gakarmazi, Kaus. 14-17). The object . of both the hymn and the practices connected with it is to endow a king with varas, ‘lustre,’ and more particularly to transfer to him the vargas inherent in men, animals, and brilliant substances. The practice, Kaus. 13, 3-6, is as follows: While reciting VI, 38 and 39, hairs from the navel of a snataka!, a lion, a tiger, a goat, a ram, a bull, or a king, are pasted together with lac, covered with gold, and fastened on as an amulet. Also an amulet prepared from the splinter of ten kinds of (‘holy’) wood is put on (see the introduction to II, 9). While reciting the same two hymns, and in addition III, 16; VI, 69, and IX, 1, the seven vital organs? (of a lion or any of the other animals mentioned above), mixed with a mess of rice, are eaten. The relation of these performances to VI, 38 are obvious.

Both hymns are rubricated further in the course of the practices at the initiation of pupils to the study of the Vedas, Kaus. 139,15, and they hold membership in the:two varkasyagazas ef the Gazamala, Ath. Paris. 32, 10 and 27 (see Kaus. 12, 10 and 13, 1, notes). Cf. also Ath. Paris. 4, 13.387, 12

The two hymns have been translated by Ludwig, Der Rigveda, III, 240; Florenz, Bezzenberger’s Beitrage, XII, 297 ff. The Anukramazi: ime bvzhaspatidevatye varsas- kamak...rishir apasyat.

* A Brahmana who has performed the ceremony of ablution, required on finishing the period of his disciplehood (brahmafarya), before entering the second period of his life, that of a house- holder (grihastha). This embodies in practice the word brah-

mané in st, 38, 1 b. 4 Darila defines these as padamadhyani nabhihridayam mfirdha fa.

478 HYMNS OF THE ATHARVA-VEDA.

Stanza 1.

The relation of the two hemistichs of each stanza of the hymn is anacoluthic. It seems best in translation to supply some such expression as na astu from na étu in Pada d.

b. The rendering of brahmazé by ‘in the Brahmaza’ is rendered certain by the word snataka in the Sitra above. Florenz, erroneously, ‘im Brahman Agni.’

d. The mention of Indra in all sorts of royal charms is due to the most prominent characteristic of the god, namely strength. Indra is the heavenly ragan, par excellence. His © ever-shadowy mother also is personified. strength. ‘Indra is putrak savasak and savasah sinus& (RV. VIII, 92, 14; IV, 24, 1)... See: Perry, Journ, Amer, Or. Soc. XI) 1407s Contributions, Sixth Series, Zeitschrift der Deutschen Morgenlandischen Gesellschaft, XLVIII, 548.

Stanza 2.

Cf. the related passage from the varfasya-hymn, IX, 1, 18. Stanza 4.

VIII, 92, 14; IV, 24, 1)... See: Perry, Journ, Amer, Or. Soc. XI) 1407s Contributions, Sixth Series, Zeitschrift der Deutschen Morgenlandischen Gesellschaft, XLVIII, 548.

Stanza 2.

Cf. the related passage from the varfasya-hymn, IX, 1, 18. Stanza 4.

a,b. Ludwig renders dundubhav d4yatay4m ‘in der pauke, der langezogen ténenden.’ This receives a certain support from Sayava, atadyamanayam, but we prefer to compare dyata as used of the tightened bowstring, e.g. XI, 2, 1. For purushasya mayau, cf. XIX, 49, 4.

VI, 39. COMMENTARY TO PAGE II7.

For the employment of this hymn in the ritual, and pre- vious translations, see the introduction to VI, 38. The keynote of the present hymn is yasas (cf. VI, 58), that of the preceding, varkas. The word ydsas seems to be technically the name of the oblation which must have accompanied the recital of the hymn; see sts. 1a and 2a.

Stanza 1.

a. Ludwig, ‘als herrlichkeit gedeihe das havis (das yaso- havis) ;' Florenz, ‘zur ehr’ gedeih das havis mir ;’ Sayaza,

VI, 42. COMMENTARY. 479

yasaso hetutvat. It seems difficult to construe ydsas as a nominative, in co-ordination with havis, but cf. the bha- tam havis, VI, 781. We may, of course, either emend to yasohavir, or take yaso as an instrumental; cf. Lanman, Journ. Amer. Or. Soc. X, 562. But, I believe, the con- struction as it stands is technical.

b. Sadyaza has for subhvztam the rather more acceptable reading suvyztam (sush¢Zu vartamanam).

Stanza 2.

@. yasobhir seems to refer directly to the havis in st. 1; see the introduction. Sayama, evasively, kirtibhiz.

VI, 42. COMMENTARY TO PAGE 136.

According to the text of the mantra this is a charm to appease wrath in general. But the Kausika, 36, 28-31, deals with it in the course of the so-called ‘ women’s rites’ (strikarmazi, 32, 27-36 end), and the commentators are agreed in regarding it as an instance of conflict between two persons of opposite sex. According to Kesava and Sayaza the charm is practised by a woman against an angry man (her husband, or lover); Darila, on the other hand, more naturally ascribes the. acts to a man trying to appease an angry woman. ‘These nicer specifications are therefore in all probability secondary. The practice is as follows : The person who desires to appease wrath takes up a stone while reciting st. 1. He places the stone upon the ground while reciting st. 2. He spits around the stone while reciting st. 3. Finally he lays an arrow on a bow while standing in the shadow (of the wrathful person). The last executes the sentiment of st. I, with rather vague symbolism. The hymn isalso recited, at Vait. Sd. 12,13, by

? So also abhivarténa havisha, RV. X, 174, 1. Ordinarily these havfs are accompanied by an adjective, e. g. samsravyam havis, II, 26,3; nairbadhyam havis, VI, 75,1. Cf. also VI, 64, 2; VI, 87, 3, and Ludwig, Der Rigveda, LI, 371 ff.

480 HYMNS OF THE ATHARVA-VEDA.

Sd. 12,13, by

480 HYMNS OF THE ATHARVA-VEDA.

one who is consecrated for the performance of the soma- sacrifice (dikshita), if he has been guilty of an outburst of wrath.

Previous translations by Ludwig, Der Rigveda, ITI, 515; Florenz, Bezzenberger’s Beitrage, XII, 302 ff.; Grill?, 29, 162. The Anukramazi, mantroktamanyudevatyam.

Stanza 3.

The elaboration of this stanza in the Sitra above shows how vaguely punning the connection of the two channels of literature, mantra and sitra, may be at times: the words abhi tish¢#dmi of the stanza seem to have suggested abhi- nish¢#ivami in the Sditra. Cf., e.g. SAankh. Grzh. where the mantra word akshan, ‘they have eaten, is employed as though it meant aksham, ‘axle.’ This is symbolism gone to seed, but we should err in supposing that the performers of the practices really misunderstood the mantras to that extent. It is the extreme outgrowth of the habit of con- sciously turning to immediate use, in any way at all, materials whose real value is something quite different, and whose true sense may have been well understood.

d. The Pada is formulaic; see I, 34, 2; III, 25,5; VI, 9,2; 43, 3. The entire second hemistich is repeated in VI, 43, 3-

VI, 43. COMMENTARY TO PAGE 137.

The magic power of darbha-grass (cf. XIX, 32) is here employed to appease wrath. According to Kaus. 36, 32, the grass is dug up (in the manner prescribed at Kaus. 33, 9; cf. Kesava), and fastened on as a talisman. The Kausika, in working up this hymn among the ‘ women’s rites ° (cf. the introduction to the preceding hymn), is com- mitted to the view that the hymn deals with a conflict between a man anda woman. The text of the hymn, how- ever, reveals no such specific purpose. The hymn has been translated by Florenz, Bezzenberger’s Beitrage, XII, 303 ; Grill’, pp. 30, 162, The Anukramavi, mantroktamanyusa- manam.

VI, 44. COMMENTARY. 481

Stanza 1.

For Pada b, cf. RV. VI, 75,19. The text of Pada c seems untenable. For vimanyukasy4-syam, Grill suggests viman- yukas asyam, Florenz, vimanyuko ayam, either of which yields the sense of our translation. Possibly mdnor viman- yukasydsyam may be the true reading: ‘the appeaser of wrath of the man that is free from wrath it is called ;’ cf. Sayaza, manyo manyumata/ purushasya.

Stanza 3.

For the second hemistich, and for Pada d, cf. the note on Via thn: 3-

VI, 44. COMMENTARY TO PAGE Io.

Possibly mdnor viman- yukasydsyam may be the true reading: ‘the appeaser of wrath of the man that is free from wrath it is called ;’ cf. Sayaza, manyo manyumata/ purushasya.

Stanza 3.

For the second hemistich, and for Pada d, cf. the note on Via thn: 3-

VI, 44. COMMENTARY TO PAGE Io.

Darila does not state what disease this hymn and the practice at Kaus. 31, 6 are directed against. Kesava (and Sayaza depending upon him) describes it as an apavdda- bhaishagyam, and his comment leaves no doubt that he regards it as a practice against calumniators’. It looks as though this obvious misconstruction stood insome connection with the word apavataya/ in the Satra, which Kesava either fails to understand, or deflects by a pun into the channel of a usage with which neither hymn nor Sttra had anything to do in the first instance. Unless indeed Kesava interprets the first stanza in the sense that the heavens, the earth, and all living beings have stood (stand), and that, therefore, the character of the person impugned will stand in spite of all aspersions. Or, again, the horn fallen by itself from the head of a cow, and that, too, a cow that has weaned her calf, symbolises, perhaps, the withdrawal of the good will of men. This might be employed homoeopathically to cure their hostility. Note also vishava, ‘horn, which suggests vi sa, ‘loosen;’ cf. VI,121,1. The practice is as follows: A horn

1 apavade bhaishagyam ufyate, bahubhashazam adharme 4a pra- vartane tasya apavadad (!).

[42] I 1

482 HYMNS OF THE ATHARVA-VEDA.

that has been shed by a cow whose calf has been weaned ? is anointed with the dregs of ghee (is filled with water; the patient is given the water to drink, and is also sprinkled with it) while the hymn is being pronounced in a low voice (cf. Kaus. 28,1). Obviously Kausika interprets vishavaka in st. 3 as ‘horn, and a horn that has curative power we have in III, 7, 2. 3 (cf. the Saitra in the introduction). But the statements in st. 3 seem to contain a fitting characterisa- tion of a plant, and in this sense we have interpreted the passage in our Contributions, Fourth Series, Amer. Journ. Phil. XII, 426 ff. On the other hand, vishavaké is a Gz. dey., and may after all be only the diminutive of vishaza, ‘horn,’ III, 7, 2.3; VI,121,1. This seems on the whole the more conservative view, although Kausika’s gosrzigena may be due either to misunderstanding, or to conscious symbolic manipulation. At any rate the hymn itself is of no uncertain character: being a remedial charm, it takes its place among the bhaishagyakarmavzi in the first part of the fourth book of the Kausika, and the terms for the diseases mentioned in it are fairly clear.

Previous translations by Ludwig, Der Rigveda, III, 5cy (cf. also 321, 343); Florenz, Bezzenberger’s Beitrage, XII, 304 ff. Cf. also Bergaigne et Henry, Manuel Védique, p- 151. The Anukramazi, visvamitramantroktadevatyam * uta vanaspatyam.

* The MSS. of the text read apavataya#. Darila apagatayaA. which he explains by, apagata vatsavigalitasneha; cf. Kausika, Introduction, p. xlv. The opposite of apavata is abhivata, Lary. Sr. VIII, 5, 3, ‘a cow that nourishes her calf’ Cf. abhivanyavatsa, ‘a cow that gives suck to a strange calf,’ Ait. Br. VII, 2, 4 (cf. the commentary, p. 377 of Aufrecht’s edition) ; apivanyavatsa, Kaus. 80, 25; 82, 22 (our edition, erroneously, api vanyavatsayaA), in the same sense; and nivanyavatsa (also nivanya) frequently in the Sat. Br. in the same sense (see Pet. Lex.). See also Ludwig’s note on RV. VI, 67 (110), Der Rigveda, IV, p. 113.

? The word visvam, not visvamitra, occurs in st. 1. In st. 2 we have vasish‘ham. Some blundering manipulation of the two seems to have inspired the compiler of this futile tract.

VI, 45. COMMENTARY. 48 3

Stanza 1.

The first hemistich is formulaic; see VI, 77, 1. Sayama, his general interpretation of the hymn notwithstanding, is not prevented from interpreting rdga and Asrdva (st. 2) by rudhirasrava or raktasrava, ‘flow of blood.’ In the intro- duction to I, 2, he interprets asrdva more broadly as excessive discharge in general, diarrhoea, flow of urine, or of blood. The word vatikryztanasani (see the note on st. 3) tends to narrow down this more general construction in accordance with our caption, but we must beware of ascrib- ing any too pointed diagnoses to these early physicians: it is quite possible that excessive discharges of all sorts were exorcised with this charm. For the use of the aorists, cf. Delbriick, Syntaktische Forschungen, II, 87.

Stanza 2.

Rote Bey 4,52.

Stanza 3.

a. For vishazaka, see the introduction. Possibly the word is identical with vishavika, reported by the medical Sastras (cf. Wise, Hindu System of Medicine, p. 146), and the lexicographers, as the name of a plant.

e. Cf. Wise, ].c., 250, bata byadhi (vatavyadhi), ‘ diseases produced by wind (in the body), not ‘wound,’ as Zimmer has argued, Altindisches Leben, pp. 389 ff. Sdyaza divides vatikrztandsani in two, vati a4srdvasya rogasya soshayitri ; kritanasani, krztam rogasya nidanabhttasz dushkarma, tasya ndsayitri. Cf. the note on VI, 109, 3, and the intro- duction to I, 12.

VI, 45. COMMENTARY TO PAGE 163.

This hymn (along with the next) is directed against bad dreams, an application due, perhaps, in the first instance, to the chance expression, ‘awake or asleep, in st. 2. It may be the case, however, that evil thoughts were conceived as returning in the form of annoying dreams. The practice

112

484 HYMNS OF THE ATHARVA-VEDA. at Kaus. 46, 9-10 is as follows: ‘ With VFI, 45 and 46 the person that has an (evil) dream rinses his mouth. If he has had an excessively frightful dream he offers a cake of mixed grain, and deposits a second in the territory of an enemy. Kesava tells what constitutes an evil dream, mentioning the svapnadhyaya, probably Matsya-purava 242, as his authority. Cf. also Markazdeya-purava 43; Vayu- puravza 19; Ait. Ar. III, 5, 16 ff. (Sacred Books, I, 262 ff.); Aufrecht, Zeitschr. d. Deutsch. Morgenl. Gesellsch., XXXII, 574; and Hultzsch, Prolegomena zu des Vasantaraga Sakuna, pp. 15 ff. Both hymns figure in the du/svapnana- sanagawa of the Gawamala, Ath. Paris. 32, 8 (Kaus. 46, 9, note); cf. also Ath. Paris. 33, 1.

The present hymn has been translated by Ludwig, Der Rigveda, III, 443, and Florenz, Bezzenberger’s Beitrage, XII, 305 ff. The Anukramazi, du/svapnanasanadevatyam.

Stanza 1.

a. Sadyava, contrary to the Padapa¢/a, reads manas papa, ‘O mind devoted to evil that hast become the cause of dreams ;’ cf. the introduction. The text of the Pada seems to be an Atharvanic contortion of RV. X, 164, 1 a, apes hi manasas pate.

Stanza 2.

Cf. RV. X, 164, 3 with the variant Asasa nihsdsd=bhisdsa : Tait. Br. III, 7, 12, 4, asdsa nisdsA ydt parasdsA. The exact meaning of the words in our text is not easily definable; Sayava transcribes them all by compounds of sasana= himsana, ‘injury.’ Ludwig leaves them untranslated, and regards them as various kinds of imprecations ; but compare his version of the RV. words (927, vol. ii, p. 552). Florenz, ‘durch unrecht verlangen, abweis, verwiinschung.’

Stanza 3.

Cf. RV. X, 164, 4. Sayaza identifies the lightly personified Praketas with Varuva. The word is indeed a frequent epithet of Varuva. But the patronymic Angirasa suits

VI, 50. COMMENTARY. 485

Brahmazaspati rather than Varuza (so Grassmann, II, 501) : Ludwig refers it to Agni.

VI, 46. COMMENTARY TO PAGE 167.

The hymn is employed along with VI, 45 in the practice described at Kaus. 46, 9. 10; see the introduction to the preceding hymn. The last two stanzas of the present hymn are employed further, in the case of peculiarly oppressive dreams, in a cumulative performance embracing the acts of Kaus. 46, 9. 10, as well as those of 46, 11. 12. The latter are undertaken in connection with AV. VII, 1co and 101: the dreamer turns over on his other side, and looks at real food if he has dreamt of eating food. Cf. also. Ath. Paris. 8,1; 33, I.

The hymn has been translated by Ludwig, Der Rigveda, III, 498; Florenz, Bezzenberger’s Beitrage, XII, 306.

Stanza l.

VII, 1co and 101: the dreamer turns over on his other side, and looks at real food if he has dreamt of eating food. Cf. also. Ath. Paris. 8,1; 33, I.

The hymn has been translated by Ludwig, Der Rigveda, III, 498; Florenz, Bezzenberger’s Beitrage, XII, 306.

Stanza l.

Varuvani is a variable term, either a personification of the waters (cf. Tait. S. V, 5, 4, 1), or of the night (see the passages in the Pet. Lex. under varuvza 1 b, column 724. bottom). Here the latter function is in evidence ; cf. Ait. Ar. III, 4,18. Araru is a personification of hostility and demoniac force; cf. Tait. Br. III, 2, 9, 4.

Stanza 3.

es LER, ATs il ts FAN lds 479 1a, OAV AMA, mechanically, ‘as one removes claws and other parts that have been injured by disease, or as wicked men transmit their debts by tradition (inheritance),’ &c.

VI, 50. COMMENTARY TO PAGE 142.

Kesava and Sayava,in their introductions to the cere- monies prescribed in connection with this hymn at Kaus. 51, 17-22, mention a long line of pestiferous insects, but the rare and unknown words in the hymn are not elucidated.

486 HYMNS OF THE ATHARVA-VEDA.

The performances are as follows: 17. ‘While the hymn is being recited, the performer walks about the grain-field, hacking a piece of lead with an iron instrument'. 18. He scatters stones upon the field. 19. He ties a hair through the mouth of a tarda (insect) and buries him head down- ward into the middle of the field. 20. He performs the act which is to be done while walking *. 21. He offers a bali- offering to Asa (“region’”’), to Asapati (“lord of the regions”), to the two Asvins, and to Kshetrapati (“lord of the field”). 22. On the day when he performs the ceremonies for these (divinities?) he shall remain silent up to the time of sunset.’

The hymn is catalogued also in the first abhayagasa (cf. st. 1) of the Gawamala, Ath. Paris. 32, 12 (cf. Kaus. 16, 8, note). It has been rendered by Ludwig, Der Rigveda, II], 499 ff.; Florenz, Bezzenberger’s Beitrage, XII, 312 ff. The Anukramazi, 4svinam abhayakamaz.

Stanza 1.

The renderings of tard4m and samankam are conjectured etymologically. For the latter, see the note on I, 12, 2c.

Stanza 2.

The name upakvasa is not even etymologically sugges- tive. Sdyaza reads apakvasa/ (a-pakvas), glossing, adag- dhav santah.

* For Kausika’s ayasd sisam karshan Sdyana reads ayahstsam gharshan, paraphrasing it by lohamayam stsam gharshan. Possibly sisam is to be. changed to sitim: the performance would then con- sist in ploughing a furrow with an iron (plough) about the field. is ied 5k Ss Kaen

* Cf. Kaus. 51, 2 (in the introduction to IV, 3): ‘While walk- ing he offers thrice to the Asvins (so Sayava; cf. st. 1 of our hymn) milk of a cow with a calf of the same colour as herself.” Sdyana reads for Aare, the word which we have rendered ‘ while walking,’ darau. By transcribing Aare in Devanagari, and adding a vertical line after the r, the partial ambiguity will appear. Sayaza’s statement is, AaruM asvibhyam guhuyat. Weare not convinced. Why should the MSS. of the Kausika write the diphthong au in this fashion in this instance, and never elsewhere ?

VI, 56. COMMENTARY. 8 407

Stanza 3.

The two compounds with pati areambiguous. The final long a of the stems preceding may be due to Vedic (metrical) lengthening: in that case, ‘lord of the tarda, &c., is the proper rendering. So Sayava. For vyadhvaraé# Shankar Pandit’s edition, with most MSS. and Sayavwa, read vyad- vara“; cf. our notes on II, 31, 4c; III, 28, 2.

VI, 56. COMMENTARY TO PAGE I5I.

The terms of the hymn indicate a charm against serpents, of the general sort', but Kaus. 50, 17-22 gives it a prag- matic turn; the practice is designed to keep serpents away from the premises: 17. ‘While reciting this hymn along with sundry other mantras, lines are scratched around the bed, the house, and the grain-field. 18. Grass that has been anointed with the dregs of ghee is fastened upon the door through a yoke-hole*. 1g. Dung from the entrails (of a cow) is crumbled (at the door). 20. It is dug into (the ground). 21. And laid on (the fire). 22. (The same performances as with the dung are undertaken with) the blossoms of the apamarga-plant (achyranthes aspera; cf. the introduction to IV, 17), the hoofs(!) of the kudrifi-tree *, the roots of them being turned away‘ (from the ground, fire, &c.)°.’

The hymn is also rubricated (with others) at Kaus. 139, 8, in the course of practices preparatory to the study of

1 Cf. Kesava, sarpadisvastyayanam.

2 Cf_ AV. XIV, 1, 40; Kaus. 76, 12, and Indische Studien, V. 199, 387.

* Very doubtful: the word is kudrif#isaphan. Kesava, gudti- padan, ‘the feet of the gudff? (cocculus cordifolius ’). Sdayana simply, gudixim.

ris» ATA A |, ero, . Beer ‘

The text, paradinamailan. Neither Kesava, nor Sayava com- ments upon the word.

* The aim of these performances is clear: the serpents are to be

excluded by magic lines, and purifying substances and plants.

488 HYMNS OF THE ATHARVA-VEDA.

the Vedas. “Cf. also Vait, St: 29, 10; Ath: ParisPages, It has been translated by Ludwig, Der Rigveda, III, nies Grill’, pp. 5, 162 ff.

Stanza 1.

488 HYMNS OF THE ATHARVA-VEDA.

the Vedas. “Cf. also Vait, St: 29, 10; Ath: ParisPages, It has been translated by Ludwig, Der Rigveda, III, nies Grill’, pp. 5, 162 ff.

Stanza 1.

The second hemistich recurs at X, 4, 8 (cf. also IV, 3, 7) without the formula namo devaganébhyad. This may therefore have been borrowed from the end of st. 2. The divine folks are the serpents themselves, cf. XI, 9, 2. 5. 26; 10, 5, and the sarpadevaganah, Vag. S. XXX, 8. See also atl My hari oe.

Stanza 2.

For different designations of serpents, see Zimmer, Altin- disches Leben, pp. 94 ff. For asita (Sayava, krzshvavarma) and tiraskiragi (Sayama, tiryag avasthita ...valayo yasya), see TIT 275025 “VILA S6, 155 hy 4,5 es XIE 9) See the note to the last-mentioned passage. See also the note on’ V; ‘13, 5, and’°1S.°V "5; Tost. 2. ~ The Hinda commen tators explain svaga als ‘self-born.’ Sayawza, svayam eva gayate karavantaranairapekshyeva utpadyate; cf. the gloss, Tait. S.V, 5, 14,1. The Pet. Lex.; ‘vivipara,’ or ‘the em- bracer. Weber at Tait. S., l.c., also derives it from svag, ‘enfold.’

Stanza 3.

Cf. A. Kuhn, Zeitschrift fiir vergleichende Sprachfor- schung, XIII, 60.

The third Pada may refer to the forked tongue of the serpent (Sdyawa, sarpasya hi dve gihve). But perhaps more likely, it is a strong way of saying,‘I shut up thy tongue, continuing under the impetus of the first hemistich. Cf. Pada d.

VI, 57. COMMENTARY TO PAGE Ig.

The practices of the Kausika, 31, 11-15, contribute not a little towards the elucidation of this medicinal charm. In the hymn the disease is merely designated as the arrow of Rudra, but in the Satra it is called akshata; the remedy is akshatavrazabhaishagyam (Kesava), and Sayavza explains

VI, 57. COMMENTARY. 489

it as a ‘wound without opening’ (mukharahitavraza ‘) ; C.sate0 eiperua cat Kous:-92,. 11.13. ;: In.-Contributions; Second Series, Amer. Journ. Phil. XI, 321 ff., we have shown that the disease in question is a tumour or a boil. and in Contributions, Fourth Series, ib. XII, 425 ff., we have assumed on the basis of the ritual that the remedy designated in the hymn (st. 2) as galasha, the particular remedy of Rudra, is identical with mitra, ‘urine, of the Sitra?. The practice consists in moistening the tumour with the foam of (cow’s) urine, throwing the urine itself upon it; next, washing it off, then, smearing it with scour- ings from the teeth, and with the pollen from bunches of grass. The disease is probably much the same as the gandamala,‘scrofula;’ cf. AV. VI, 83; VII,74; VII, 76, 4, and the introductions to these hymns.

The third stanza is rubricated in the list of purificatory mantras, Kaus. 9, 2 (cf. the brzhakkhantigava of the Gazamala, Ath. Paris. 32, 26), and in a similar list, Kaus. 41, 14.

Stanza 1.

AV. VI, 83; VII,74; VII, 76, 4, and the introductions to these hymns.

The third stanza is rubricated in the list of purificatory mantras, Kaus. 9, 2 (cf. the brzhakkhantigava of the Gazamala, Ath. Paris. 32, 26), and in a similar list, Kaus. 41, 14.

Stanza 1.

e, d. The arrow here described is Rudra’s arrow that in- flicts disease Fittingly, Rudra’s own remedy the galasha is employed as acure. The very rare word galashabhe- shaga occurs also in the Nilarudra-Upanishad 3, esha ety aviraha rudro galashabheshagaz (see Jacob’s Concordance).

Stanza 2.

For galasha Sdyava reads four times galasha; cf. our discussion of the forms of the word in Contributions, Fourth Series, l. c., 425.

Stanza 3. e,d. Cf. RV. VIII, 20,26; X, 59, 8-10. The last Pada

' Kesava, yasya gamdadush/asya rudhiram na vahati.

? Professor Windisch, in a review of the above-mentioned essay (Literarisches Centralblatt, 1892, No. s1, col. 1836), refers to a treatise of E. Wilhelm, ‘On the use of beef’s urine’ (Bombay, 1889). This is not at hand, but see Wise, Hindu System of Medicine, p. 117.

490 HYMNS OF THE ATHARVA-VEDA.

is formulaic; see AV. XVIII, 5, 23, and note the variant, RV. X, 59, 8-10.

VI, 59. COMMENTARY TO PAGE 144.

This hymn, obviously a cattle-charm, is employed, along with a great variety of, other mantras, rather indifferently, at Kaus. 50, 13. The practice is that of a merchant who starts out upon his business: in Kaus. 50, 13 he offers? a variety of substances with the list of hymns in question. Cf. the introductions to III, 15; VI, 128, and XI, 2. It is rubricated further in the list of purificatory mantras, Kaus. 9, 2 (cf. the brzhakkhantigana of the Gavzamala, Ath Paris. 32, 26), and in a similar list, Kaus. 41, 14; it has been ren- dered by Grill?, pp. 65,163. For the character of the plant arundhati, see the introduction to IV, 12.

Stanza 1.

Sayava defines arundhati as sahadevi, a common name for plants, but the interpretation is not to be trusted because he reads sahadevi for saha devir in st.2b. Cf. the introduction toIV,12. In Padac, Grill emends vayase unnecessarily to avayase, ‘was nicht erstarkt ist. Sayaza, quite correctly, ‘at the age beyond five years when weaned from the mother.’ Cf. the quotations in the Pet. Lex. under 3. vayas 2); the passage, ekahayanaprabhvzty 4- pa#kahayanebhyo vaydmsi, quoted from Apastamba at Tait. Br. III, 12, 5, 9, is referred to by Sayaza also.

Stanza 2.

b. For saha devir we read saha devair; cf. the reading kalasir for kalasair in the note on III, 12, 7, and, more generally, the note on XII, 3, 32c. Grill, similarly, the

* The word upadadhita there and elsewhere is a technical term, ‘lay upon.’ Kesava, at the end of Kaus. 6 (see p. 309, middle, of the edition), defines it as the act of offering one of thirteen offerings (havimshi), very varied in character ; cf. the word upadhana in the Paribhasha-sutra 8, 17.

VI, 60. COMMENTARY. 491

6 (see p. 309, middle, of the edition), defines it as the act of offering one of thirteen offerings (havimshi), very varied in character ; cf. the word upadhana in the Paribhasha-sutra 8, 17.

VI, 60. COMMENTARY. 491

compound sahadevi (cf. XII, 4, 23); Sayava, sahadevyakhya arundhati abhilashitaphalasya avarayitri oshadhiz (avara- yitri=arundhati). Stanza 3. b. givala as epithet of arundhati occurs also, VIII, 7, 6. See the note there, and at XIX, 39, 3.

VI, 60. COMMENTARY TO PAGE 95.

The prescription for the use of this hymn at Kaus. 34, 22-24 is to pour an oblation (of ghee) for Aryaman (in the morning) before the crows rise, and to place bali-offerings within the corners of the house. (The wooer is, then, sure to come) from the direction from which (the crows) come flying. The charm is, therefore, an oracle (pativedanam ‘) ; it is not employed in the marriage-ritual, Kaus. 75, where the actual arrival of the bridegroom is described, unless, indeed, it is implied in the word pativedanam (75, 6). But the Paddhatis refer to Kaus. 34, 13, a rite performed in con- nection with AV. II, 36, rather than to our performance.

The hymn has been translated by Weber, Indische Stu- dien, V, 236 ff.; Grill?, pp. 56, 164; Zimmer, Altindisches Leben, p. 306.

Stanza 1.

a, b. Aryaman is the typical wooer or bridegroom; cf. AV. XIV, 1, 34 (=RV. X, 85, 23). 39; 2, 5 (=RV. X, 40, 12). Weber and Grill join purastad to vishitastupad, ‘ with crest loosened in front ;’ Sayavza, ‘from the east.’ We are having in mind a bridal procession consisting of many wooers (cf. AV. XI, 8,1. 2, and Kaus. 75,13). See also Indische Studien, V, 380, bottom.

Stanza 2.

d, The plural anyd4/ and the singular 4syati do not agree. Weber would read d4yantu or d4yanti; Grill, anyd.

a a —

' Cf. Kaus. 34, 12; 75, 6.

492 HYMNS OF THE ATHARVA-VEDA. ee ae en EE The latter change results in the best metre. Sayana, coolly, Ayati prapnuvanti.

VI, 64. COMMENTARY TO PAGE 136.

This hymn is rubricated in the gava, or series, entitled sAmmanasyani in Kaus. 12, 5, and the practices are the same as those employed in connection with III, 30, above. The entire hymn is repeated with many variants in RV. X, 191, 2-4, in Maitr. S. II, 2, 6, and in Tait. Br. II, 4, 4, 4 ff. It has been translated by Ludwig, Der Rigveda, III, 372; Grill’, pp. 31, 164; cf. also Zimmer, p. 175, and the well- known translations of RV. X, 191.

Stanza 1.

a. The RV. and Tait. Br. read, sdm gakkhadhvam sam vadadhvam; the Maitr. S., sam gakkhadhvam sam gani- dhvam.

d. Cf. Pazk. Br. II, 2, 4; Asv. Sr. II, 11, 10.

Stanza 2.

Of the four texts, cited above, no one has precisely the same readings, though the sense is essentially the same in all. For the samanam havih, cf.the introduction to VI, 39, and the foot-note on VI, 39, I.

Stanza 3.

d. Cf. Pazk. Br. II, 2, 4; Asv. Sr. II, 11, 10.

Stanza 2.

Stanza 3.

d. All the texts read yatha va’ susahdssati; the Pada- pathas of the RV. and AV. resolve susaha dsati. This leaves upon our hands a compound adverb susaha, which I have translated ‘ perfectly in common.’ Ludwig resolves susaha asati, translating ‘that you may have easy victory. It is possible, too, to ignore the Padakara, and read st saha asati, and translate again as we have done. I had thought also of emending yatha vasu sahdassati, ‘that you may have possessions in common,’ and found later that the Padapatha of the Maitr. S. had something similar in mind, reading, vasu saha Asati. Cf. also the simple sah@ssati at AN..Vit 20.

VI, 70. COMMENTARY. 493

VI, 70. COMMENTARY TO PAGE 144.

Dérila, Kesava, and Sayaza explicitly define the per- formance in connection with this hymn at Kaus. 41, 18-20 as designed to effect harmony between cow and calf. Sayaza, govatsayor anyonyavirodhasantiriipe sasmanasya- karmazi. Kausika himself designates the rite as vananam; cf. the note on the word apavata in the introduction to VI, 44 (p. 482, note).

The practice consists in washing the calf, sprinkling it with the cow’s urine, leading it thrice around (the cow), and tying it (near her), while the hymn is being recited. It is then recited once more over the head and ears of the calf. The symbolic force of these acts is apparent. The hymn has been translated by Grill’, pp. 65,165. The Anukramavzi, aghnyam.

Stanza 1.

a, b. Sdyava, ‘as meat is liked by the eater, as brandy is most welcome, and as dice are most welcome at the gaming-place.’ Grill connects mamsam and surda rather too closely, ‘as sura goes with meat. But cf. RV. VII, 86, 6; AV. XIV, I, 35. 36; XV, 9,1. 2, where sura and gambling are associated. All three, being forbidden fruit, inspire strong attachment in their devotees. Cf. the practices in the introduction to III, 30 (Kaus. 12, 6-9).

Stanza 3.

The interrelation of the parts of the wheel are not clear: pradhi and upadhi may be respectively the outer felloe (Sayama, rathakakrasya nemiz), and a second circular part closely joined to the felloe (Sayava, nemisaszbaddhak aravam sambandhako valayad). They may be, respectively the tire (ordinarily pavi), and the felloe; or, the felloe,and some inner connective circle next to the felloe. We have, how- ever, followed the Pet. Lex. and Zimmer, Altindisches Leben, p. 248, in regarding upadhi as the spokes, taken collectively. Sayawa takes nabhyam in this latter sense,

494 HYMNS OF THE ATHARVA-VEDA.

nabhyasz nabhaye hitasz rathakakramadhyaphalakam pra-

dhav adhi nemidese sambadhnati. ;

VI, 71. COMMENTARY TO PAGE 106.

Lex. and Zimmer, Altindisches Leben, p. 248, in regarding upadhi as the spokes, taken collectively. Sayawa takes nabhyam in this latter sense,

494 HYMNS OF THE ATHARVA-VEDA.

nabhyasz nabhaye hitasz rathakakramadhyaphalakam pra-

dhav adhi nemidese sambadhnati. ;

VI, 71. COMMENTARY TO PAGE 106.

An expiatory prayer (prayaskittam) to obviate any im- propriety, such as greed and worldliness, on the part of the Brahman who receives gifts, or the absence of sacredness in the gift itself. At Kaus. 45, 17 it is recited along with other mantras upon the receipt of the dakshiva; at Kaus. 57, 29-30 the begging Brahman disciple offers, while re- citing the hymn, the fruits of his mendicancy: the firewood which he has begged is put on the fire in the evening and in the morning, while reciting this hymn. At Vait. St. 4. 16 the Brahman consumes with it his share of the rice-cakes at the new-moon and full-moon sacrifices.

The hymn has been translated by Ludwig, Der Rigveda, III, 433; Grill’, pp. 66,165. The Anukramazi, brahma

ssoneyain. Stanza 3.

This seems to be spoken by a non-Brahmanical sacrificer (yagamana), to make sure that the fruits of his sacrifice shall not fail him. For the second hemistich the Dasa Karmavi (paddhati) at Kaus. 57, 29 substitutes the second hemistich of VI, 53, 2.

VI, 73. COMMENTARY TO PAGE 135.

This is one of the saszmanasydani (sc. siktani), ‘charms designed to produce harmony,’ treated at Kaus. 12, 5 ff. See the introduction to III, 30 for the practices connected with these hymns. The charm seems to be undertaken by the patriarchal head of a community ; cf. Sat. Br. IV, 1, 5, 3 ff. The hymn is rubricated also among the vastosh- patiyani (sc. siktani), ‘hymns to Vastoshpati’ (cf. st. 3, note), at Kaus. 8, 23, and note; the third stanza in the course of ceremonies connected with the building of a house, Kaus.

VI, 75. COMMENTARY. 495

23,6. Cf. also the push¢ika mantra, in the note on Kaus. Ig, I. Stanza 2.

e. The MSS. are divided between ta khrivayami, tan khri-, and tan sri- (Padapazfa, tan sri-). The vulgate has tam kfri-, emended in the Index Verborum to td sri-. Shankar Pandit adopts Sdyaza’s rather vapid sivayami (tas vividham akttisz bala ha... parasparasamzbaddham karomi).

Stanza 3.

Both Pishan, the guardian of the distant ways, and Vastoshpati, the genius of home, are invited to co-operate with the person desiring adherents, in order to put a stop to dissension and disintegration.

VI, 74. COMMENTARY TO PAGE 135.

This is one of the saszmanasy4ni (sc. siktani), ‘charms designed to produce harmony,’ treated at Kaus. 12, 5. See the introduction to III, 30 for the practices connected with

these hymns. Stanza 2.

d. The word srantam seems suspicious. Possibly santam is intended ‘with the peace of Bhaga.’ The root sam is

used with words for ‘strife,’ vigraha, Kathdsaritsdgara 56, 96; vaira, Mahabh. XIV, 2509.

Stanza 2.

d. The word srantam seems suspicious. Possibly santam is intended ‘with the peace of Bhaga.’ The root sam is

used with words for ‘strife,’ vigraha, Kathdsaritsdgara 56, 96; vaira, Mahabh. XIV, 2509.

Stanza 3.

Cf. Tait. S. II, 1, 11, 3, with the variant rudra% for ugraz (Sayava = rudrak). Sayava explains triviman as the threefold fire of the earth, lightning, and sun, or, as the threefold fire of the sacrifice (garhapatya, &c.). Cf. the gloss at Tait. S., l.c.

VI, 75. COMMENTARY TO PAGE 92.

This hymn is an abhifarika-hymn, and is, accordingly, rubricated twice in the sixth adhydya of the Kausika, which is devoted to hostile (witchcraft) practices. The

496 HYMNS OF THE ATHARVA-VEDA.

so-called samsthitahomas, ‘final oblations,’ in the case of auspicious (santa) performances, are undertaken while VII, 97 is being recited. Thus according to Kaus. 6, 3 (cf. also 3,19, note). But in the case of abhi#arika-practices, accord- ing to the Paribhasha-sitra 47, 10, a sinister turn is given to the sasthitahomas by reciting the present hymn with them!. The more special practice attached to this hymn is at Kaus. 48, 29-31. The sacrificial straw is spread with the thumb. Reed-grass (or an arrow, sara?) is thrown upon it from baskets made of kadvindu*. By means of a leaf of the red asvattha an oblation® (of ingida-oil; 47, 3); dashed with poison, is offered. There is no special rapport between the hymn and the ceremony.

Previous translations by Ludwig, Der Rigveda, III, 373; Grill*, pp. 22, 165 ff. The Anukramavz?, mantroktade- vatyam aindram sapatnakshayakamaz. The entire hymn recurs with variants, and markedly different arrangement of the Padas, at Apast. Or. Jil, t4, %>. Ch, also LalGrse we 1, 10, Sit,

VI, 77. COMMENTARY TO PAGE 106.

This charm is obviously a patchwork of mantras of various original values. The first hemistich of stanza 1 is identical with VI, 44,1 a,b. The second hemistich of st. 3 is also formulaic (cf. Vag. S. XII, 8), and fits poorly into the present conception of the hymn. The second stanza (= RV. X, 19, 5) is clearly derived from a charm calculated to bring stray cattle home. As the hymn stands it would answer this purpose quite well, but the Kausika, 36, 5-9, as explained by the commentaries, treats it as a charm for capturing a runaway woman, or holding in check a woman

* The oblations in the latter case, implicitly, are not of ghee, but of ingida-oil; cf. 47, 3.

> Cf. 47,1; Tait. S. II, 1, 5. 7. Our rendering of the dz. Xey. kadvindukosh/haif is conjectural.

* This is the nairbadhyam havfs (st. 1). For these especially pointed havis, see the note on VI, 39, 1.

VI, 77. COMMENTARY, 497

47, 3.

> Cf. 47,1; Tait. S. II, 1, 5. 7. Our rendering of the dz. Xey. kadvindukosh/haif is conjectural.

* This is the nairbadhyam havfs (st. 1). For these especially pointed havis, see the note on VI, 39, 1.

VI, 77. COMMENTARY, 497

disposed to run away?. The proceedings consist in fasten- ing a band down the cross-beam of the house and then fastening it to the middle post”. Then the foot of the (woman’s) bed is fastened to an utpala-plant (nymphaea) °. Further it is fastened to an akvishZa*. Finally sesame is offered by means of a coal-rake (akarsha: cf. Darila). The two words akrzshza and akarsha both contain the root karsh with 4, ‘drag back;’ cf. Akvzsh¢imantra, ‘charm for drawing a person to one’s self,’ Hitopadesa, book I, sloka go. There can be no doubt as to the meaning of the performances: they are intended to hold fast, or to compel the return of a person that has gone off.

The hymn has been translated by Ludwig, Der Rigveda, III, 468, under the heading asvah (‘ horses’).

Stanza 1.

For the use of the aorists in this and the following stanza, cf. Delbriick, Syntaktische Forschungen, II, 87. To our feeling presents would be preferable to the aorists, and we might perhaps have better so rendered. In Padad Sayana supplies iva (luptopamam) with asvan, and striyam with atish7Zipam, in slavish adherence to the Sitra.. See the introduction.

Stanza 3. Padas b, c are formulaic: cf. Vag. S. XII, 8. °

1 Sayama, palayanasilayaA striya nirodhanakarmazi. The posi- tion of the charm in the second part of the fourth adhydya of the Sfitra, among the strikarmazi (Kaus. 32, 28-36, end), shows that Kausika himself regards it as a practice concerning women.

* The symbolism is obvious. For the parts of the house, cf. III, 12, 6, and the introduction to III, 12. See also Zimmer, Altin- disches Leben, p. 153.

* This is very doubtful. The word utpale here, as at Kaus. 35, 26 (see the introduction to III, 25), is very problematic. SAdyana has upale, ‘to a stone.’ Apparently a specious, easier reading.

* Whatever that may be. Darila, 4krzsh/ah matrzke sti prasi- ddhabhidhanas tasmin sayanapadam badhnati. See Pet. Lex. under m4tr7k4.

(42] Kk

498 HYMNS OF THE ATHARVA-VEDA.

VI, 78. COMMENTARY TO PAGE 96.

SAdyana has upale, ‘to a stone.’ Apparently a specious, easier reading.

* Whatever that may be. Darila, 4krzsh/ah matrzke sti prasi- ddhabhidhanas tasmin sayanapadam badhnati. See Pet. Lex. under m4tr7k4.

(42] Kk

498 HYMNS OF THE ATHARVA-VEDA.

VI, 78. COMMENTARY TO PAGE 96.

In the light of the words bhiténa (st. 1 a), and rash/réva (st. 2 b) it would seem as though this blessing related to the marriage of a royal personage (kshatriya). The central idea of this charm is the bhitazz havis, ‘oblation that produces power;’ cf. especially IV, 8, 1, and the yaso havis, ‘oblation that yields glory, VI, 39. The latter forms also part of the practices of a king (see the introduction to VI, 38). But there is nothing in the treatment of the hymn. Kaus. 78, 10. 14-16, to show that it refers to a royal couple, though that is not conclusive as regards its original intent. The practices consist in pouring the dregs of ghee upon the heads of the couple, after they have come home (a kind of consecration, abhisheka) ; in causing them to eat together of fluid food (rasa; cf. st. 1 d) and porridge; and, finally, in offering as much barley mixed with ghee as can be held in the two hands placed side by side.

The hymn has been translated by Weber, Indische Studien, V, 238; Ludwig, Der Rigveda, III, 371 ff.; Grill ?, pp. 57, 166. The Anukramazi to the first two stanzas, kandramasyau (cf. 4 pyayatam, st. 1; abhi vardhatam, st. 2)... gayabhivrzddhyai Zandramasam astaud rayis ka dampatyor aprarthayat; to the third stanza, tvash/¢ri.

Stanza 1.

a; b. For bhaténa the Paippalada reads bhitasya; Grill suggests bhityena. But the use of the noun in apposition. rather than the attributive adjective, seems to be idiomatic in connection with these pregnantly employed havis: see yaso havis, VI, 39, 1 (cf. the note there), and abhivartam havis, RV. X, 174, 1. Weber regards Agni as the subject . of 4 pydyatam ; Sdyava, the bridegroom. The latter is correct, but it would seem as though the passage alluded to the moon (cf. the Anukramavi), the typical bridegroom ; cf. RV. X, 85, 6 ff. = AV. XIV, 1, 6 fff.

d. The Paippalada has sa rasenabhi vardhatam. The rendering of the Pada is not at all certain; the word rdsena

VI, 79. COMMENTARY. 499

(and payasa in st. 2) surely alludes to sexual sap (cf. RV. I, 105, 2): some such sense as ‘he causes the wife to increase with his semen’ is to be expected. But vardhatam is not causative, and we have given a purely philological rendering. Cf. alsoRV.X,174,1d; AV.I,29,1d. Weber, ‘das (weib) még’ umwachsen er mit kraft ;’ Ludwig, ‘die soll er mit dem besten gedeihen machen (vardhatam);’ Grill, ‘ fiir's weib ... nehm er an zeugungskrdften zu.’

VI, 79. COMMENTARY TO PAGE I4I.

Cf. alsoRV.X,174,1d; AV.I,29,1d. Weber, ‘das (weib) még’ umwachsen er mit kraft ;’ Ludwig, ‘die soll er mit dem besten gedeihen machen (vardhatam);’ Grill, ‘ fiir's weib ... nehm er an zeugungskrdften zu.’

VI, 79. COMMENTARY TO PAGE I4I.

The performance which accompanies this charm at Kaus. 21,7 consists in placing a stone upon a grain-bag (cf. st. 2b), sprinkling it, laying upon it a handful of grain with each of the three stanzas, and letting (another person also) lay on (three hands full). The hymn is also rubricated at Vait. Sa. 31,4; Gop. Br. II, 4, 9, where nabhasaspati is explained as vayu, ‘wind, and deva saszsphana as aditya, ‘sun.’ The Atharvaziya-paddhati (Kaus. 19, 1, note) counts the hymn among the push¢ika mantra, ‘hymns that produce pros- perity. The hymn recurs with notable variants at Tait. S. III, 3, 8, 2-3; cf. also III, 3, 8, 6.

Stanza 1.

ce. The Padapazha does not analyse dsamatim, either here of at RV. X, 60, 2. 51. The Pet.. Lex. renders. it, by ‘incomparable.’ Bohtlingk, in the smaller lexicon, emends it to dsamarti, ‘exemption from injury;’ cf. asamartyai in the passage cited above from the Tait. S. We with Sayava, matir manam parifkfedas tena saha vartata iti samati#, tadvaiparityam asamatiz.

Stanza 3.

ce. The PAda is formulaic: Tait. Br. III, 7, 5,7, tasyas te bhakshivawak sy4ma; Maitr. S. I, 4, 3; 5, 3. 10; Apast.

' The later tradition regards asamati as a proper name; cf. Sayana on RV., and Weber, Ind. Stud. X, 33.

KK 2

500 HYMNS OF THE ATHARVA-VEDA.

ee NE Ren ia eS Sr. IV, 13, 7, tasyds (tasya) bhaktivano bhfyasma ; cfi Whitney, Sanskrit Grammar?, § 462 d.

VI, 80. COMMENTARY TO PAGE 13.

The subject matter of this hymn is identical with a Brahmaza legend, told at Maitr. S. I, 6,9; Kaz. SV iF, 1; Tait. Br. I, 1, 2, 4-6 (cf. also Sat. Br. II, 1, 2, 13-16). The substance of the story is that certain demons (asura) called kalakA%ga piled up a fire-altar in order to ascend by it to heaven. Indra joined them, adding a brick of his own. When they had climbed to heaven, Indra pulled out his brick and they tumbled down. They became spiders, all but two who flew up and became the two heavenly dogs. In our essay, ‘The two dogs of Yama in a new role, printed in the third series of Contributions, Journ. Amer. Or. Soc. XV, 163 ff.1, it has been shown that the two heavenly dogs, otherwise the two dogs of Yama, are the sun and the moon. The mythic character of the kalakazga is altogether uncertain. We have surmised (l.c., p. 169) that they are either the galaxy, or the stars in general, conceived as spiders. Possibly some especial group of stars, three in number (cf. st. 2 of our hymn), is intended.

The mythic character of the kalakazga is altogether uncertain. We have surmised (l.c., p. 169) that they are either the galaxy, or the stars in general, conceived as spiders. Possibly some especial group of stars, three in number (cf. st. 2 of our hymn), is intended.

All this is embalmed in the present hymn in a technical oblation (havis; cf. the note on VI, 39, 1) which is designated ‘the majesty of the heavenly dog,’ i. e. presum- ably, ‘the majesty of the sun.’ This and an appeal to the three kalaka#ga are the central points of the hymn, and the ritual, in a fashion altogether obscure, manipulates the prayer as a cure for paralysis (pakshahatabhaishagyam, Darila and Kesava)*. But the sense of the Sitras, Kaus.

1 Cf. also the note on IV, 20, 7 b.

> Cf. Wise, Hindu System of Medicine, pp. 253, 256. Accord- ing to Sayaza, kakakapotasyenadipakshihatam, it would seem as though paralysis was supposed to be inflicted by strokes of the wings of crows, pigeons, eagles, and other birds (cf. also Kesava), Apparently purely symbolic: pakshin, ‘ winged, bird,’ and paksha, ‘side, half’ (hemiplegia).

VI, 81. COMMENTARY. 501

31, 18. 19 is also not at all clear. With the help of the commentators some such practice as the following seems to be restorable. The paralysed part of the body is rubbed with earth taken from the footprint of a dog, while keeping in quick motion. Then the part is fumigated by burning an insect (taken from a dog). The dog—the word occurs only in the commentaries, not in the Sitra itself—refers, of course, to the ‘heavenly dog’ in the mantra; the quick motion is opposed to the palsy of the patient; the use of the insect seems to symbolise the fate of the kalakazéza, who in the legend become spiders. Cf. the article cited above, p. 166.

The third stanza is employed also in a nondescript fashion at Vait. Sa. 23,20; Ath. Paris. 39, 1 (tadagadividhi) and 42, 3 (snanavidhi). The hymn has been translated by Ludwig, Der Rigveda, III, 373.

Stanza 1.

The stanza cannot be addressed to anything else but the sun, judging from the identity of its first hemistich with RV. X, 136, 4 a, b, which clearly refers to the sun (cf. Con- tributions, ].c., pp. 167-8, and Tait. S. IV, 6, 3, 4, uksha samudro, &c.). Sayama, along totally different lines: ‘The bird, crow, pigeon, &c., looking down upon all beings with a desire to injure, flies down upon the limbs of men. In order to remove its injury we honour thee, O Agni, with the oblation, that is the majesty of the heavenly dog.’ Cf. the note on st. 3. Ludwig's rendering ignores te in Pada d, ‘des himlischen hundes grésse der modchten wir dienen mit disem havis.’

Stanza 3.

Here even Sayawa feels compelled to recognise the presence of the sun, heagne. . . dyuloke tava AdityatmanaZ sahasthanam.

VI, 81. COMMENTARY TO PAGE 96.

The practice connected with this hymn at Kaus. 35,11 is restricted to the tying on of the (bracelet) mentioned in the

502 HYMNS OF THE ATHARVA-VEDA.

. . dyuloke tava AdityatmanaZ sahasthanam.

VI, 81. COMMENTARY TO PAGE 96.

The practice connected with this hymn at Kaus. 35,11 is restricted to the tying on of the (bracelet) mentioned in the

502 HYMNS OF THE ATHARVA-VEDA.

mantra. No ceremony of this sort is found in the Grzhya- stitras (cf. Paraskara, I, 13), and the word parihasta seems to occur here alone (cf. pariha¢aka in the Pet. Lex.). The hymn has been rendered by Ludwig, Der Rigveda, III, 477; Weber, Indische Studien, V, 239. Cf. also Bergaigne et Henry, Manuel Védique, p. 153.

Stanza 2.

The second hemistich is exceedingly obscure: maryade seems to be the vocative of marydda, and our rendering is a pis-aller. The idea of ‘limit’ may refer to the confine- ment within the womb; cf. Sayaza in the foot-note. The Pet. Lex., simply, ‘ designation of an amulet.’ If it could be construed as a locative singular masculine? (maryd&de for marydde; cf. V, 1, 8) it might be translated ‘ within proper limits of time;’ cf. shazmasamarydadaya, ‘ within six months, Brzhat-saszhita 4,24. The sense would then be that the child shall be born within ten months; see Par. Grith. I, 165.15: Saakh., Grab, 1926 p-blir.-Gerhe eae II, 2,5. Again, 4game is not at all clear; it may possibly refer to the circular shape of the bracelet, ‘that comes back upon itself

Stanza 3.

Aditi is the typical mother that desires a son; cf. RV. X; 738s AV Vill vo, ex;:, Maités Sil Gray a2 eeSaeee III, 1,3, 2. Nowhere else have we met with the statement that her desire was promoted by a bracelet furnished by Tvashéar. The latter, however, fashions the embryo in the womb; cf. Ludwig, l. c., p. 334.

VI, 82. COMMENTARY TO PAGE 95.

In the Kausika the hymn is employed in a twofold man- ner. At 59, 11 a person who desires a wife sacrifices and

1 Cf. Sayawa, maryade maryaéA marazadharmano manushya’ tair adiyamane svotpattyartham svikriyamaze sthane garbhasaye he gaye tvam putram a dhehi, i. e. ‘OQ woman, place a son into thy womb, the place appropriated by men for reproducing themselves!’

vt, 83. COMMENTARY. 503

prays with it to Indra. At 78, 10 the hymn is recited with sundry other mantras (cf. VI, 78) while dregs of ghee are being poured upon the heads of the bridal couple, after they have come home. The hymn has been translated by Weber, Indische Studien, V, 239 ff. ; Ludwig, Der Rigveda, III, 470; Grill?, pp. 57,167. The Anukramazi, aindram, composed by gayakamo bhagad.

Stanza 2.

VI, 78) while dregs of ghee are being poured upon the heads of the bridal couple, after they have come home. The hymn has been translated by Weber, Indische Studien, V, 239 ff. ; Ludwig, Der Rigveda, III, 470; Grill?, pp. 57,167. The Anukramazi, aindram, composed by gayakamo bhagad.

Stanza 2.

The marriage of Sdryda, the daughter of Savitar, to Soma, the moon, is the typical heavenly marriage. The Asvins acted as wooers. Cf. RV. X, 85, 6 fL=AV. XIV, 1, 7 ff. ; Ait. Br. IV, 7,1. For a large number of correlated pas- sages, see Contributions, Third Series, Journ. Amer. Or. Soc. XV, 186. To these may be added Maitr. S. II, 2,7; IV, 2, 12; Kazh. S. XI, 3 (Indische Studien, III, 467); Tait. Br. II, 3, 10, 1 ff. Surya is probably identical with Ushas; the Asvins are frequently conceived as her hus- bands, rather than wooers in behalf of Soma.

Stanza 3.

According to RV. VIII, 17, 10, Indra is conceived as having a long hook or rake with which he heaps together goods: here he is implored to furnish with its aid a wife (and, implicitly, property also). At II, 36,6 he is addressed as ‘lord of wealth. The word sakipate is to be taken here in its secondary, legendary sense, not in its primary sense, ‘lord of might ;’ cf. Contributions, Sixth Series, Zeitschr. d. Deutsch. Morgenl. Gesellsch. XLVIII, 548.

VI, 83. COMMENTARY TO PAGE 17.

The two Petersburg Lexicons; Adalbert Kuhn in Zeit- schrift fiir vergleichende Sprachforschung, XIII, 155 ; Lud- wig, Der Rigveda, III, 342, 500; Zimmer, Altindisches Leben, 54, 97; and Florenz, Bezzenberger’s Beitrage, XII, 280 regarded the apait as a certain noxious insect. In Contributions, Second Series, Amer. Journ, Phil. XI,

504 HYMNS OF THE ATHARVA-VEDA.

pe On iron a ae ren s a 320 ff., we assumed for it the meaning * sore, pustule, boil, or the like, and this is now fully borne out*by Kesava and Sayaza who render the word by gazdamala, ‘ scrofula.’ The apafit is a scrofulous sore, from root #i and apa, * pick off;’ cf. Lat. scabies, scabere, Germ. die schabe, schaben, Engl. scab. The word is identical with apa4i in the medical SAstras. The hymn is rubricated along with the first part of VII, 76 at Kaus. 31, 16.173; the practices prescribed are in part those undertaken in connection with VI, 25 (Kaus. 30, 16), for which see above: the sores are smeared with a (pulverised) shell, and with the saliva of a dog, and sub- jected to the bites of leeches, gnats, &c."_ The practice is then continued: rock-salt is ground up, placed upon the sore, and spat upon. Cf. the strikingly similar perform- ances, reported by Wise, Hindu System of Medicine, p. 315, in connection with the cure of ‘ scrofulous swellings’ (gazdamAla, apaki).

Cf. the strikingly similar perform- ances, reported by Wise, Hindu System of Medicine, p. 315, in connection with the cure of ‘ scrofulous swellings’ (gazdamAla, apaki).

The second hemistich of st. 3 is accompanied by an independent practice at Kaus. 31, 20: it is identical with the one described in the introduction to VI, 57 for the cure of the akshata. And the fourth stanza, again, is prescribed against wounds (sores, arus) of unknown origin, at Kaus. 31, 21: the wound is sprinkled with ‘holy water’ (santyu- daka), and, while the nature of the disease is revolved in the mind, with the dregs of ghee *.

The hymn has been translated by Ludwig, Der Rigveda, III, 500.

* Sayaza, rudhiramokshartham, ‘to relieve the congestion by letting blood.’

* Kausika seems to express this in the curiously condensed statement, manasa sampatavata (cf. the stanza). Sayava (after Kesava) fgyam hutva manas4 samkalpya vrave sampatan anayet. Sayava, by the way, connects st. 4 with the following hymn (VI, 84), which he supposes to be included in these perform- ances. But VI, 84 appears in a totally different function at Kaus. 52, 3, of which Sayaza makes no mention. Cf. also Vait. Sf. 38, 1.

VI, 85. COMMENTARY. 505

Stanza 1.

The conception that a disease flies forth from the patient occurs also at RV. X, 97, 13, ‘O yakshma, fly forth, fly with the blue jay, fly with the current of the wind.’ See also AV. V, 30, 9; VI, 40, 3. The converse notion that sores fly on to the body occurs at AV. VII, 76, 4.

Stanza 3.

Sayaza, glaud varvaganito (Shankar Pandit, vraza-) har- shakshayak ... galunta“ gazdamalodbhavavikarema tatra- tatra hastapddddisasmmdhishu udbhitan gadin tasyati (!) upakshapayatisti gaduntak. Wise, l. c, p. 311, has, ‘Gilin. The swelling in this disease is like the swelling of a plum, not painful, but hard; and is produced by diseased — phlegm, and blood.’ Cf. gilayu, ‘a hard boil in the throat,’ .Pet. Lex. The correspondence with either is uncertain,

Stanza 4.

The formula seems to correspond perfectly with its use in the practice (Kaus. 31, 21) above: whatever oblation suits thee, that do thou comfortably enjoy, while I am mentally making an offering with the auspicious svaha. The disease is uncertain, hence the exact character of the offering is left undefined.

VI, 85. COMMENTARY TO PAGE 309.

The varava-tree (crataeva roxburghii) is extolled very highly for its medicinal and magic qualities. See the longer hymn, X, 3, and cf. Zimmer, Altindisches Leben, p. 60 ff. Apparently the sole basis for this belief is the supposed derivation of the word from the root var, ‘shut off ;’ cf. the similar puns upon asvattha, khadira, tagad- bhafiga, vadhaka at VIII, 8, 3; sara (srinati), vibhidaka (bhinatti) at Tait. S. II, 1, 5,7, and many more. At Kaus. 26, 33. 37 the practice prescribed consists simply in tying on an amulet derived from the varava-tree. The hymn is also rubricated in the takmanasanagawa of the Gazamala,

506 HYMNS OF THE ATHARVA-VEDA.

S. II, 1, 5,7, and many more. At Kaus. 26, 33. 37 the practice prescribed consists simply in tying on an amulet derived from the varava-tree. The hymn is also rubricated in the takmanasanagawa of the Gazamala,

506 HYMNS OF THE ATHARVA-VEDA.

Ath. Paris. 32, 7 (Kaus. 26, 1, note). The first hemistich of st. 2 recurs in a different connection, Kaus. 6,17. In st. 3 b Sayava reads visvadhayanih for visvadha yatiz.

VI, 90. COMMENTARY TO PAGE II.

It is far from easy to determine the exact disease which this charm aims to mitigate. The text of the hymn sug- gests rheumatism, but this presupposes perhaps too acute a diagnosis. At any rate it is some kind of sharp internal pain, either rheumatism, neuralgia, or colic, and that is the view of the ritualist. The hymn is rubricated at Kaus. 31, 7, as follows: ‘While pronouncing VI, 90 a spear (-amulet)? is fastened upon him who suffers pain as if from a spear (or who has, as it were, a spear sticking in him).? Kesava describes the symptoms as follows: atha udare va hvzdaye vasnge va sarvange va stile utpanne. The disease sila, and he who suffers from it (silin) are well known in the medical Sdstras. Wise, Hindu System of Medicine, p. 341 ff., identifies it with colic (gastro-periodynia), and reports it as due to the deadly trisdila or trident of Siva (Rudra). This seems to establish a fairly firm connection between the hymn (cf. st. 1) and the later medical tradi- tion. In the Srauta-practices the hvzdayasila, the spit upon which the heart of the sacrificial animal is roasted (Tait. S. VI, 4,1, 4; Apast. Sr. VII, 8, 3; 23, 10; 27, 15; XI, 20, 15; Sate Beall :8; 5/85 Vip, 2,38; 1 ae Katy... Sr. V, tn, 264. VI. 7, 143 10,0: Vale ee Laty. Sr. V, 4, 6), is always connected symbolically with pain (hyzdayam sug rzkhati): the connection between spear and pain is most natural.

The hymn has been translated by Grill?, pp. 14, 168. The Anukramazi, raudram.

Stanza 2.

a. dhamanayak, perhaps, more broadly ‘interior canals, or vessels ;’ see the notes on I, 17, 3, and VII, 35, 2.

* Kesava, siilam lohamanif pashano va.

VI, 92. COMMENTARY. 5O7

VI, 91. COMMENTARY TO PAGE 40.

14, 168. The Anukramazi, raudram.

Stanza 2.

a. dhamanayak, perhaps, more broadly ‘interior canals, or vessels ;’ see the notes on I, 17, 3, and VII, 35, 2.

* Kesava, siilam lohamanif pashano va.

VI, 92. COMMENTARY. 5O7

VI, 91. COMMENTARY TO PAGE 40.

The supposed etymology of yava, ‘barley,’ from root yu, ‘ward off, is a fruitful source for the application of barley in charms to cure disease and ward off demons. See the introduction to II, 7. The present hymn consists of three loosely connected stanzas (st. 2=RV. X, 60,11; st. 3=III, 7,53; RV. X, 137, 6), in praise of the barley and the waters ; the liturgical texts and the collateral practices define it as a cure for all diseases (sarvabhaishagyam). Kausika’s rite (28, 17-20) avails itself of these indications, to wit: 17. ‘While reciting V, 9 and VI, 91 four portions of the dregs of ghee are poured into a pail of water. 18. Two (portions) — are poured upon the earth (cf. V, 9, 2.6.7). 19. These two are gathered up again (into the afore-mentioned pail of water) and (the patient) is washed off with (the resulting mixture). 20. (And putting dregs of ghee into a pail full of barley ') an amulet of barley ? is fastened (to the patient) while pronouncing the second of the two hymns (VI, 91).’

The hymn is rubricated also in the takmandasanagaza, Ath. Paris. 32, 7 (see Kaus. 26, 1, note); the Anukramavi, yakshmandsanadevatyam. It has been translated by Grill”, pp. 14, 168.

| Stanza 1.

Cf. Zimmer, p. 237. vyaye (in relation to yava) hazily satisfies the inordinate craving of the Atharvanist for puns. One wonders why yavaydmi is not worked in instead (cf. the introduction to II, 7).

VI, 92. COMMENTARY TO PAGE 145.

The materials from which this hymn is compounded are, apparently, not original withthe Atharvanist. St. 3 occurs with variants at RV. X, 56, 2; sts. 1, 2 in the writings of

* sayave. Kesava, yavasahite udapatre. The passage is not excerpted in our edition. * Cf. Kaus. 19, 27 in the introduction to VI, 142.

508 HYMNS OF THE ATHARVA-VEDA.

the White Yagur-veda: Vag. S. IX, 8. 9, and the cor- responding passage of the K4évva-sdkha (each with inde- pendent readings); Sat. Br. V, 1, 4, 9. 10. The stanzas seem to belong in the first place to the vagapeya-ceremony ; see Weber, Uber den Vagapeya, Sitzungsberichte der Koniglich Preussischen Akademie der Wissenschaften, 1892, p. 788 (28 of the reprint). At Kaus. 41, 21-25 they are worked up in a ceremony which Darila designates as asvasya vidhikarma, Kesava and Sdyawa as asvasanti’. The cere- mony consists in pouring dregs of ghee over the horse, after it has been bathed ; pouring more dregs of ghee upon (fragrant substances) that have been ground up, and been placed into a leaf; giving drink to the horse, washing it off, and scattering the ground substance upon it. Cf. also Vait. Si... 36, 18> Ath. Paris 4-12, 55.) he juvain hae ees rendered by Ludwig, Der Rigveda, III, 459.

Stanza 3.

Cf. also Vait. Si... 36, 18> Ath. Paris 4-12, 55.) he juvain hae ees rendered by Ludwig, Der Rigveda, III, 459.

Stanza 3.

The variants of this stanza here, as compared with RV. X, 56, 2, betray themselves readily as secondary inspirations to suit the practical application of the hymn as a charm.

VI, 94. COMMENTARY TO PAGE 138.

The key-note of this charm is the word samw-nam, ‘to bend to one’s will. The idea is a common one, having assumed a somewhat stereotyped and technical character in the works of the Yagus and Brahmawa literature; see, e.g. Maitr. 5. I, 4,143; Fait... ITT, 4,451; Vil, 5,2e98bs aro Br. III, 8, 18, 5; Par. Grzh. I, 5,9. In the Atharvan the hymn IV, 39 (cf. Kaus. 5,8; 68, 37; 72, 37) is the most elaborate production of this sort. In the Kausika (12, 5 ff.) the present hymn comes under the head of sAsmanasyani (sc. siktani), ‘charms designed to procure harmony;’ for the practices associated with these hymns, see the introduc-

* Kesava, ‘horses are rendered by it consecrated, brilliant, safe from accidents, swift, healthy.’

VI. 96. COMMENTARY. 509

tion to III, 30. The first two stanzas of this hymn recur at III, 8, 5.6; the third is almost identical with V, 23, 1. Translated by Ludwig, Der Rigveda, III, 514.

Stanza 2.

b. éte in the vulgata is a misprint (not accounted for in. the Index Verborum because of the statement on p. 3). Shankar Pandit with all MSS., éta (Padapa¢/a, 4 ita), as in Eat, 86.

Stanza 3.

For the stem ota (Padapa‘¢ha, & uta), cf. the note on V, 23, 1. Sayaza derives uta from the root va, to wit: ote abhimukhyena samtate parasparam sambaddhe va. But — how about Sarasvati in Pada b?

VI, 96. COMMENTARY TO PAGE 44.

Darila at Kaus. 31, 22-25 prescribes this charm for one seized by evil (papagrvzhita). Kesava for the same, or for a dropsical person. Sdyava for one attacked by the curse of a Brahmaza (brahmazdkrose; cf. st. 2a), or for a drop- sical person. The stanzas and padas, however, betray the most undefined character, being compiled from various spheres (cf. RV. X, 97, 15. 16. 18; Tait. S. IV, 2, 6, 4; Vag: S. XIT; 90. 92; cf. also AV. VIII,.7, 28; XI, 6,7; ee 2. 104, Se AV. VI, 45. 2 TaitaBs Ty 7,219)43 Baudh. Dharmas. II, 4,7,18): the compilation is, in effect, a panacea. The practice of the Kausika consists in fumi- gating the sufferer with (the soma-branch) mentioned in the mantra (st. 1), which is burned, together with other plants ; in giving him to drink a mixture of honey and udasvit (water and curds), a mixture of milk and udasvit, and, again, both these messes combined. The hymn is counted as one of the amholingagama (cf. st. 1) in the Gawamala, Ath. Paris. 32, 32 (cf. Kaus. 32, 27, note); it has been translated by Ludwig, Der Rigveda, III, 506; Grill?, 38, 168. The Anukramavzi, vanaspatyam.

510 HYMNS OF THE ATHARVA-VEDA.

Stanza 2. d. For devakilbishat, cf. the note on VIII, 7, 28.

VI, 97. COMMENTARY TO PAGE 122.

1) in the Gawamala, Ath. Paris. 32, 32 (cf. Kaus. 32, 27, note); it has been translated by Ludwig, Der Rigveda, III, 506; Grill?, 38, 168. The Anukramavzi, vanaspatyam.

510 HYMNS OF THE ATHARVA-VEDA.

Stanza 2. d. For devakilbishat, cf. the note on VIII, 7, 28.

VI, 97. COMMENTARY TO PAGE 122.

This and the two following hymns figure among the ‘battle-charms,’ the sdmgramikazi (sc. siktani), or the aparagitagama, as it is designated by the Gavamala, Ath. Paris. 32, 13. The practices connected with the list are treated at Kaus. 14, 8-11. They consist in offering obla- tions of ghee and grits; placing bows as fagots upon a fire built of bows; next, placing arrows as fagots upon a fire built of arrows ; and in the presentation (to the king by the chaplain, the purohita) of a bow that has been anointed with the dregs of ghee, and has been polished off. The entire list of hymns is further employed at the ceremonies connected with the beginning of the study of the Veda (upakarma) at Kaus. 139, 7; the hymns VI, 97-99, at the indramaha-festival, Kaus. 140, Io.

Stanza 3.

Repeated at XIX, 13, 6, and with variants, RV. X, 103, 6; SV. IT, 1204; Maitr. S. II, 10, 4; Tait. S. IV, 6, 4, 2; Vag. S. XVII, 38. The stanza is primarily addressed to Indra, but Indra and king are at this stage of Vedic litera- ture perfectly synonymous; cf. the note on III, 3, 2, and Ludwig, Der Rigveda, III, 251.

VI, 99. COMMENTARY TO PAGE 123.

In the Kausika the hymn is employed along with, and in precisely the same situations as VI, 97; see the intro- duction there, and cf. also Vait. SQ. 18, 16. Previously

translated by Grill’, pp. 18, 168 ff£ The Anukramazi, aindram. Stanza 1.

e, d. Cf. RV. X, 128, 9, which suggests by its word adhi- ragam the possibility that ekagdm in our stanza is some

VI, 100. COMMENTARY. SII

sort of a secondary product of ekaragam. But this is not favoured by the metre, and we may compare, in support of our rendering, ekaganman, as the designation of a king, ‘of singular birth,’ quoted by the Pet. Lex. from the Tri-

kazdasesha. Stanza 2.

The first hemistich is formulaic; cf. I, 20, 2.

VI, 100. COMMENTARY TO PAGE 27.

But this is not favoured by the metre, and we may compare, in support of our rendering, ekaganman, as the designation of a king, ‘of singular birth,’ quoted by the Pet. Lex. from the Tri-

kazdasesha. Stanza 2.

The first hemistich is formulaic; cf. I, 20, 2.

VI, 100. COMMENTARY TO PAGE 27.

The equivalence of the word upagika with upagihvika, upadika, and upadipika1, and its meaning of ‘ant, was established by the present translator in ‘Seven Hymns of the Atharva-veda, Amer. Journ. Phil. VIJ, 482 ff. The upagika are a kind of ants, fancied to be endowed with the power of digging up beneficent, healing water: according to sts. I, 2 the gods themselves furnished them with this quality. They are, accordingly, brought into contact with the bodies of poisoned persons in every possible manner. According to Kaus. 31, 26, a lump from an ant-hill is fastened (as an amulet) upon the poisoned person; he is given some of it to drink (in water); is made to rinse his mouth with the same mixture; and is besmeared with a solution of itin warm water. Cf. also the introduction to II, 3. In addition to the numerous passages bearing upon this subject, that have been cited in the above-mentioned article, see also Vag. S. XXXVII,4; Katy. Sr. XXVI, 1,6; Tait. peas 2, 8, 4; 3, 1, 33 Tait. Ar. IV, 2, 7 Apast. Ste Vad, 7; XV,2,1; 16,5; Ath. Paris. 67, 2 (cf. Weber, Omina und Portenta, p. 324); Ydska’s Nighaw/avas III, 29 = Kautsavaya 67 (cf. Roth’s Erlauterungen, p. 35); and the scholiast at Tait. S. I, 1, 3 (p. 19 of the edition of the Bib- liotheca Indica). For upakika, &c., the Pali forms of the word, see Morris in the London Academy of Nov. 19, 1892, vol. xlii, p. 462.

1 Cf. also dehika, uddehika, and upadehik4, ‘names of ants that throw up earth,’ and see Grill’, p. 81, note. And again, cf. utpa- dika (with variants), Pet. Lex. s.v. utpddaka 3.

512 HYMNS OF THE ATHARVA-VEDA.

The hymn has been translated by Ludwig, Der Rigveda, III, 511 (cf. also pp. 343, 507). See also Bergaigne et Henry, Manuel Védique, p. 153.

Stanza 1.

ce. The Pet. Lex. suggests three rivers named Sarasvati, or perhaps simply three rivers in general. But some per- sonified group of divinities is more likely to be in the mind of the writer, probably three of the Apri divinities, Saras- vati, Ida, Bharati. This conclusion was arrived at before inspecting Sayavza, who has, sarasvatyas trayiripaz?, yad va ida sarasvati bharati. See Oldenberg, Die Religion des Veda, p. 243.

Stanza 2.

The vulgate erroneously emends upagika(Z) of the MSS. to upagika(&); cf. ‘Seven Hymns &c.,’ p. 483 (18 of the reprint). Sayava manipulates the text still further: he devak vah yushmakam sambandhinyad upagikad . . . niru- dake sthane ...udakam... akshdrayan.

VI, 102. COMMENTARY TO PAGE 101.

For the practices connected with this hymn, see the introduction to II, 30, above. The rites of Kausika (35, 21) seek especially to realise in practice the similes of this hymn (sts. 2, 3). The Anukramavzi designates it as Asvi- nam, spoken by one who is abhisaszmanaskamaz. It has been translated by Weber, Ind. Stud. V, 243 ff.; Grill?, Pp. 54, 169 ff.

Stanza 1.

The comparison seems to be derived from the practices in ploughing. Cf: RV. IV, 57, 4.08; “A Vi lly eae. The Asvins play a part in agriculture ; see RV. I, 117, 21.

Stanza 2.

a,b. Both ragasvak and prishty4m are problematic. Sayava, yatha asvasreshthah prishtyam sankubaddham

' Cf. Oldenberg, Zeitschr. d. Deutsch. Morgenl. Gesellsch. XXXIX, 54 ff.

VI, 105. COMMENTARY. 513

sabandhanaragegum lilaya akhidati unmdlayati tadvat, ‘as a noble horse uproots with ease the halter fastened to a peg. Altogether unlikely. Roth, as quoted by Grill, and Bohtlingk’s Lexicon, s.v. przshty4, regard the latter as related to (in fact a feminine of) prashZi, ‘side-horse,’ and accordingly we have translated, without any feeling of certainty. Cf. X, 8, 8. But przshtyd may possibly be identical with pvzsh¢ivah (dsva), XVIII, 4, 10, ‘the horse which carries burdens upon its back,’ and ragasvak simply the ‘horse of the king.’ The point then would be that ordinary horses follow the royal stallion on expeditions, or processions.

e. The edition of Roth and Whitney reads tv¢zma. But many MSS. read trézam; this is accepted by Whitney in | the Index Verborum, and is rendered certain by Kaus. 35s 21.

Stanza 3.

The ingredients of the love-mixture are worked up in the Kausika; the sweetwood figures especially in charms of this sort; cf. I, 34,4. In Padac Sdyaza regards turo as a genitive of tur, agreeing with bhagasya, tvaramazasya saubhagyakarasya devasya.

VI, 105. COMMENTARY TO PAGE 8.

The practice attached to this hymn in Kaus. 31, 27 is designated by Darila as a cure for coughs, and by Kesava as a cure for coughs and expectoration (kase sleshma- patane fa). The Sitra is as follows: yatha mano-va diva ity arishzena, ‘ While reciting AV. VI, 105 and VII, 107 he performs the practice prescribed (for the cure of the disease called arish¢a).’ This latter disease seems to be a nervous trouble in the nature of epilepsy or St. Vitus dance (Darila, arishéam . . . angaspandanakalahalabhitadi, see Kausika, Introduction, p. xlv). The practice accord- ing to Kaus. 28, 15 consists in making the patient take a few steps away from his house (Darila, kanifit padani grihan nishkramayati [cod. nisramayati]|), after having previously, in accordance with the Paribhasha-satras, Kaus.

[42] Lt

xlv). The practice accord- ing to Kaus. 28, 15 consists in making the patient take a few steps away from his house (Darila, kanifit padani grihan nishkramayati [cod. nisramayati]|), after having previously, in accordance with the Paribhasha-satras, Kaus.

[42] Lt

514 HYMNS OF THE ATHARVA-VEDA.

7, 18 and 7, 7 (cf. also Kes. at 28,15; 31, 27), fed him with a churned drink and porridge. The patient, as he leaves his habitual place, is, doubtless, supposed to leave the disease behind him.

AV. VII, 107, which appears in company with the present hymn, is a formula, consisting of a single stanza, to wit, ‘May the seven rays of the sun bring down (the waters?) from heaven: the waters, the floods of the sea, have caused thy pangs to leave thee (literally, have caused the point, or arrow, to fall out of thee).’

The hymn has been translated by Ludwig, Der Rigveda, III, 510; Zimmer, Altindisches Leben, p. 385; cf. also Hillebrandt, Vedachrestomathie, p. 50.

Stanza 1.

b and sequel. The force of the adverbial suffix -mat is similar to that of dialectic -like in ‘quicklike’ and similar expressions.

d. pravayyam, 4m. Aey., literally, ‘the course along which the wind blows;’ see, e.g. RV. V, 83, 4, pra vata vanti. Sayava, pragantavyam avadhim; the Pet. Lexs., etwa ‘fliichtigkeit ;’ Zimmer, ‘fittig;’ Ludwig, ‘wehen;’ Hille- brandt, ‘ flugbahn.’

VI, 106. COMMENTARY TO PAGE 147.

The present charm forms a link in a long chain of prac- tices for quenching fire by means of water-plants (cf. dirvaz in st. 1) and a frog (cf. the Vaitana-sdtra, below). This line of conceptions has been assembled and treated by the translator in Contributions, Second Series, Amer. Journ. Phil. XI, p. 342 ff., where the present hymn is also treated’. Allied with it most closely is the passage, RV.

* The numerous passages assembled in that article may be supplemented further by Maitr. S. III, 3, 3.6; Tait. S. V, 4, 2, 1;. Sat. Br. IX, 1,:2,'20 ff/; “XT, 85°93, Way Layer ee a ae cf. also Indische Studien, 1X, 414, and our introductions to III, 13 and VII, .116.

VI, 106. COMMENTARY. 515

X, 142, 7,8; anent this, the Rigvidhdana, IV, 11, 1, states that it is also employed against danger from conflagrations (agnibhaye sati); see Oldenberg, Zeitschr. d. Deutsch. Morgenl. Gesellsch. XX XIX, 79, and cf. Shadgurusishya (ed. Macdonell), p. 163.

VI, 106. COMMENTARY. 515

The practices at Kaus. 52, 5-9 present the hymn in the somewhat general character of a samanam, ‘ quieting force,’ operative against danger from fire in the first place, but, further, intended to appease curses (mental fire) and to quiet the pain of one that has been burned by . fire: 5. ‘While reciting the present hymn a practice to quiet (fire) is performed within a pond. 6. (The same ceremony is performed) in a ditch dug inside of the house. 7. The house is covered with an avaka-plant (a water-plant, blyxa octandra; cf. the article cited above, p. 349). 8. Toa person who is being cursed (a stirred drink and porridge”) are offered. A person who has been burned is washed (with water).’ The third and second stanzas are employed, along with III, 13, 7 and XVIII, 3, 5 (6), at Vait. Sa. 29, 13, to scatter the fire upon the altar by means of a frog, an avaka-plant, and reed-plants; see our article, p. 345.

The hymn has been treated previously by Grill*, pp. 63, 170. The Anukramawi, dirvasaladevatyam.

Stanza l.

The dirv4-plant, a kind of a millet (panicum dactylon), figures from early times (RV. X, 16, 13, &c.) in these fire- charms; see our article, pp. 342-3, and Zimmer, Altin- disches Leben, p. 70. The stanza is repeated with variants at RY. Xx, 142, 8.

Stanzas 2, 3.

Cie. 2, 140,47 > Maitr. S, Il, 16, 1; Tait. S..1V, 6, 1,

a: Vag. >. VII, 7; Asv. St. II, 12,2. Pada 3d occurs

1 According to Kesava water is poured into the pond, as a pro- tection against fire.

* Thus if we trust the Paribh4sh4-sfitra, Kaus. 7, 7. But Sayama (after Kesava), taptam4shake divye tailadikam abhimantrya sapatha- kartre (!) prayakhet.

L1l2

516 HYMNS OF THE ATHARVA-VEDA.

frequently in the Yagus-texts, &c., in the form agnir himasya bheshagam: Tait. S. VII, 4, 18, 2;° Maitr. S. III, 12,194 Vag. SicX XIII. a0 Asv. Sm Xi.95 29 -cnmame Br. II], 9, 5, 4. The present version seems adapted for the occasion.

VI, 109. COMMENTARY TO PAGE 21.

The hymn is rubricated at Kaus. 26, 33 along with five others! in a series which is designated gavakarmagava (!) by the GazamAla, Ath. Paris. 32,24. Its particular employ- ment is indicated at 26, 38: the patient is given pepper- corns to eat. Darila defines the practice as kshiptabhai- shagyam, and Kesava (and Sdyaza) clearly regard it as a cure for wounds. Cf. the note on st. 3.

The hymn has been translated by Ludwig, Der Rigveda, III, 509; Zimmer, Altindisches Leben, p. 389. (Cf. also Bergaigne et Henry, Manuel Védique, p. 154.

Stanza 1.

Sayaza has alternate renderings for kshiptabheshagi, and atividdhabheshag1, in effect, ‘throwing aside, and suppressing (other) remedies.’ Hardly probable: note the accents.

389. (Cf. also Bergaigne et Henry, Manuel Védique, p. 154.

Stanza 1.

Sayaza has alternate renderings for kshiptabheshagi, and atividdhabheshag1, in effect, ‘throwing aside, and suppressing (other) remedies.’ Hardly probable: note the accents.

Stanza 3.

a. For the rdle of the Asuras in connection with curative plants, see the introduction to I, 24, and cf. especially IT, 3) 3:

e. Zimmer, l.c., p. 389, has endeavoured to show that vatikv7ta means ‘produced by wounds.” Kesava (and Sayaza) here (not however at VI, 44, 3) seem to agree with this construction of the word. Sayawa, in the introduction, must have this word in mind when he defines the charm as dhanurvata - kshiptavatadi - krztsnavatavyddhisantyartham, and he seems to take vata in the sense of ‘wound.’ Yet we would adhere to the ordinary sense of vata, ‘wind of the body,’ in the medical Sastras; cf. Wise, Hindu System a ee

TE 72h VE Ses toy vee

VI, I10. COMMENTARY. 517

of Medicine, p. 250. Zimmer’s quotation from Wise, p. 323, is based upon a misunderstanding of the English words. The words, ‘ or throw pieces of wood or stone,’ mean that the consumptive shall not exert himself by throwing, not, that his consumption has been brought on by throws (on the part of some other person) of pieces of wood or stone.

VI, 110. COMMENTARY TO PAGE Iog.

The Kausika, 46, 25, very intelligently, prescribes this charm for one born under an inauspicious constellation (papanakshatre gataya). The sense of the Siitra is obscure!. The word milena refers to some performance undertaken elsewhere either ‘under the constellation midla’—this is identical with the vifr¢tau, st. 2—, or ‘with a root.’ Curiously enough, it would seem as though this referred to some per- formance described in the Nakshatrakalpa, if we are to trust Kesava, who says: ‘ This rite is performed under the constellation mila. He shall perform’ the rite mentioned in the Nakshatrakalpa... He eats milk-porridge over which dregs of ghee have been poured ... In this rite sacrificial straw with the roots (samila) is spread”; fagots with the roots attached are laid on the fire...’ The entire practice according to Kesava (and Sayawa) consists in washing off and sprinkling (the child, or the parents), and in eating the above-mentioned porridge (cf. Kaus. 46, 26) °.

The hymn has been treated by Weber, Die vedischen Nachrichten von den Nakshatra, II, 291; Ludwig, Der Rigveda, III, 431 (under the caption, ‘ Segensgebet fiir den opferer’); Zimmer, Altindisches Leben, p. 321.

1 The full text is, pratno histi papanakshatre gataya milena.

* Cf. Kaus. 1, 22. 23 and the scholiasts. Of course the word ‘root’ throughout symbolises the constellation mila.

* The practice thus coincides largely with that undertaken in connection with VI, 112 (see the introduction) and, since the word mila occurs also in its first stanza, mfi!ena in Kaus. 46, 25 perhaps simply refers to the practices in Kaus. 46, 26 ff.

518 HYMNS OF THE ATHARVA-VEDA.

Stanza 1.

Repeated with variants at RV. VIII, 11, 10; Tait. Ar. X, 1 (st. 69). In Pada c Sdyava with these texts reads piprayasva (sariram ... piraya) for piprayasva. The mean- ing of the latter is at any rate in doubt, either ‘ delight’ (from root pri) or ‘fill’ (from root pra’).

Stanza 2.

For the character of the constellations gyesh/aghni (thus, not gyaishtdaghni, the MSS.) and vifr7tau, see Weber, Nakshatra, II], pp. 292, 310, 374, 389; Zimmer, l.c., pp- 356, 392. In Pada b (formulaic, see VI, 112, 1 b) the expression milabarhavat plays upon two alternate names of the vikrztau, namely, mifila, and mflabarhavi*. The name vikvitau is here felt to be ‘ entanglers, ensnarers ;’ elsewhere in the AV. and in other texts, the word is rather regarded auspiciously, ‘they that loosen the bonds of disease, and the like. See the note on II, 8, 1. The change of person in the second hemistich is noteworthy, but Agni seems to be the subject in both.

Stanza 3. For vyaghréshni, cf. vyaghrdu dantau VI, 140, 1. The tiger, thus early, typifies danger to life, as even to this day he claims thousands of victims annually in India.

VI, 111. COMMENTARY TO PAGE 32.

The hymn is one of the three matvznamani (sc. siktAni), ‘hymns that contain the names of the mothers,’ Kaus. 8, 24. They are II, 2 and VIII, 6 in addition to the present, and appear to have been so designated because they contain the words apsaras (II, 2, 3.5; VI, 111, 4), and matar (VIII,

* So Whitney, doubtfully, in the Index Verborum, p. 195 b (cf. also 382). The form piprayasva is not quoted in the same author’s Roots, Verb Forms, &c., either under pra and pri (p. 102), or under pr? (p.. 100).

2 Cf. also the foot-note on VI, 112, 1a, b.

VI, III. COMMENTARY. 519

195 b (cf. also 382). The form piprayasva is not quoted in the same author’s Roots, Verb Forms, &c., either under pra and pri (p. 102), or under pr? (p.. 100).

2 Cf. also the foot-note on VI, 112, 1a, b.

VI, III. COMMENTARY. 519

6, 1'); cf. Kausika, Introduction, p.lviii. The matrvznamdani are mentioned frequently in the Kausika (see Index B) ; the employment which bears most closely upon the sense of the present hymn is at Kaus. 26, 29-32, a rite which, according to the scholiasts, cures a person possessed by demons. Pulverised fragrant substances, mixed with ghee, are sacrificed, and the patient is anointed with what remains. The patient is next placed upon a cross-roads ?, a wicker-work of darbha grass, containing a coal-pan, upon his head ; and upon the coal the previously mentioned frag- rant substances are again offered. The patient going into a river against the current throws the same substances into a sieve’, while another person from behind washes him off. Pouring more of the fragrant substances into an unburned vessel, moistening the substances (with ghee), placing the vessel into a three-footed wicker-basket made of muzga-grass he ties it to a tree in which there are birds’ nests. The complicated ceremony is largely symbolic : it aims to purify, and indicate the passing out of the unhealthy conditions.

The hymn has been translated by Ludwig, Der Rigveda, III, 512; Zimmer, Altindisches Leben, p. 393; Grill ?, pp. 23, 170; cf. also Hillebrandt, Vedachrestomathie, p. 50; Wise, Hindu System of Medicine, p. 279 ff. The Anukramazi, 4gneyam.

Stanza 1.

The Anukramawzi designates the first stanza as parda- nush¢up trishtubh. A considerable variety of textual emendations, none of which seems warranted by the exigencies of the case, are suggested by Grill’, p. 170. The stanza consists of three trish¢ubh Padas, the second of

1 Cf. also XII, 1, 60, and the introduction to IV, 20.

2 The favourite place to divest oneself of evil influences; cf. Kaus. 27, 7, in the introduction to II, 10; Kaus. 30, 18, in the introduction to VI, 26, &c. See in general Oldenberg, Die Religion des Veda, p. 267, and the index under ‘ kreuzweg.’

* For the sieve, see the introduction to VI, 26.

520 HYMNS OF THE ATHARVA-VEDA.

which is hypermetric, and seems to suggest a slurred reading of the five syllables preceding the caesura, perhaps ém yo baddhak for ayam yo baddhak (cf. Avestan aém).

b. baddhaz and styatas# may refer either simply, or with double entente to the mental condition of the patient, ‘bound and checked by the fetters of the dementia.’

e. Zimmer, p. 393, ‘dann wird er dir deinen antheil darbringen.’ But adhi kar does not seem to bear any such interpretation.

Stanza 3.

baddhaz and styatas# may refer either simply, or with double entente to the mental condition of the patient, ‘bound and checked by the fetters of the dementia.’

e. Zimmer, p. 393, ‘dann wird er dir deinen antheil darbringen.’ But adhi kar does not seem to bear any such interpretation.

Stanza 3.

a. Zimmer renders devainasa by ‘ sin against the gods;’ Ludwig, ‘von befleckung (where is there a corresponding word in the original ?), siinde gegen die gétter, der wan- sinnig.’ It does not seem that the gods madden him that offends against them, a mere sight of them suffices: see Mahabh. III, 14501, ‘the man who, awake or asleep, beholds the gods quickly becomes mad ; that is known as possession by the gods, Our translation, too, preserves the parallelism between the first two Pddas. Indeed, devainasa seems to mean outright ‘the sins committed by the gods.’ See the introduction to VI, 112, and Proc. Amer. Or. Soc., March, 1894 (Journal, vol. xvi), p. cxix ff., and cf. especially Apast. Sr. XIII, 17,,03 Pagk. Brod oa ee (devakvztasyaixnasaz). Thus also Sdyava, devakritam enas...devakrztat pdpad upaghatad unmaditam. Cf, perhaps, also VIII, 7, 28.

b. Read yathanunmadits for yada4nunmadité : the corrup- tion is due to1d.

Stanza 4.

a. At AV. II, 2, 5 the Apsaras are designated as the ‘mind-bewildering’ wives of the Gandharvas ; at Tait. S. III, 4, 8, 4, ‘the Gandharvas and Apsaras render mad him that is mad.’ In the sequel of the latter passage it is stated that it is necessary to quiet them (samayati, cf. st. 2a). The expression punar da is used in the sense of ‘ give back, give up possession,’ rather than in the derived sense, ‘ make well, restore.’ All this seems to be well founded in the early Hindu view; in RV. X, 11, 2 the Gandharvi and the:

VI, 112. COMMENTARY. R21

woman of the waters (Aapyad ydshav4) perform a similar service: ‘And the Gandharvi, the woman of the water, spake; when the reeds rustle may she protect my mind ?.’ Primarily, the madness which the Gandharvas and Apsaras can cause, and which they are called upon to remove, is, in accordance with the general character of these divinities, the madness of love; cf. the story of Urvasi and Purdravas (RV. X,.95, especially st. 14).

VI, 112. COMMENTARY TO PAGE 164.

the story of Urvasi and Purdravas (RV. X,.95, especially st. 14).

VI, 112. COMMENTARY TO PAGE 164.

This and the following hymn reflect a cycle of legends to which the translator has devoted an article in the Proc. Amer. Or. Soc., March, 1894 (Journal, vol. xvi, p. cxix ff.), entitled, ‘ Trita, the scapegoat of the gods.’ Without the light of the conceptions there alluded to the hymns are hardly intelligible *, and a brief statement of them here will not be out of place. At Maitr.S. IV, 1, 9, it is stated that the gods did not find a person upon whom they might be able to wipe off from themselves the bloody part of the sacrifice, i.e. their guilt. Agni spat upon the waters, and successively three personages, Ekata, Dvita, and Trita, were born. The gods wiped off their guilt upon them; they in turn wiped themselves upon one who was overtaken by the rising sun, i.e. one over whom the sun had risen while he was asleep; this one wiped himself upon one who was over- taken by the setting sun; he upon one afflicted with brown teeth ; he upon one with diseased nails ; he upon one that had married a younger sister, before the older was married ; he upon one whose younger brother had married before himself; he upon one who had married before his older brother; he upon one who had slain a man; he upon one who had committed an abortion. ‘Beyond him who has committed an abortion the sin does not pass.’

In Tait. Br. III, 2, 8, 9 ff. the same story is told with

1 Cf. Pischel, Vedische Studien, I, 183.

* Cf. Contributions, Third Series, Journ. Amer. Or. Soc. XV, 163; Fifth Series, ib, XVI, 3.

522 HYMNS OF THE ATHAKVA-VEDA.

variants, the chief difference being that the culminating sin is the slaying of a Brahman: ‘ Beyond the slayer of a Brahman the sin does not pass.’ Still other versions occur in the Kase. S. XXXI, 7; Kap. S. XLVII, 7 (cf. also Sat. Br. I, 2, 2, 8; Ka¢y. Sr. II, 5, 26; Mahidhara to Vag. S. I, 23; Apast. Sr. I, 25, 15); and similar lists of sinful personages are to be quoted from a variety of Sitras, and later Smarta-texts; see Delbriick, Die Indoger- manischen Verwandtschaftsverhaltnisse, in the Transac- tions of the Royal Saxon Society, vol. xi, nr. v, p. 578 ff. (200 ff. of the reprint); cf. also Zimmer, Altindisches Leben, p. 315. All those mentioned in the lists are obviously regarded as burdened with guilt (énas); and the legend clearly marks them as persons upon whom), therefore, the guilt of others may be unloaded,

xi, nr. v, p. 578 ff. (200 ff. of the reprint); cf. also Zimmer, Altindisches Leben, p. 315. All those mentioned in the lists are obviously regarded as burdened with guilt (énas); and the legend clearly marks them as persons upon whom), therefore, the guilt of others may be unloaded,

In another version of the legend, Sat. Br. I, 2, 3, 1 ff, Trita and his two shadowy companions Ekata and Dvita roam about with Indra, and when the latter slays Visvarapa, the son of Tvash¢ar, they are saddled with this crime, equivalent to the murder of a Brahman, because they ‘ knew about his going to be killed.’ The truth is this: Indra’s drastic performances upon the great variety of demons whom he slays, coupled as they are at times with wiles and treachery, have not failed to arouse the compunctions of a certain school of Vedic moralists (see, e.g. TS. VI, 5, 1, 1-3 ;: Tait. Bro 1y7,.1,.9. 84. Pagk. Br. XH1Dy 6.8, eee Maitr. S. IV, 3,43; 5, 6), and they have given rise to the notion of misdeeds on the part of the gods in general (devainasa, AV. VI, 111, 3; X, 1, 12). It was natural, now, that some personage closely associated with Indra— a personage, moreover, who could be construed as syb- servient, or at least ancillary to him—should be picked out for the unenviable position. For this Trita seems fitted in an eminent degree. Trita is the double of Indra in his struggle with the demons (RV. I, 187, 1), or his coadjutor (RV. I, 52,5; V, 86, 1; VIII, 7, 24, and especially X, 8, 8). Whether we regard him as the faded predecessor of Indra in the rdle of a demiurge, being, as it were, the Indo-Iranian

VI, 112. COMMENTARY. 523

Hercules (cf. the Avestan Thraétaona Athwya) ; whether we regard him as Indra’s lieutenant (see the passages of the RV. just cited); or whether we follow Bergaigne, La Religion Védique, II, 326, 330, in viewing him as a divine sacrificer; in each case the moralising fancy, which would whitewash the cruelties incidental upon Indra’s valued services, naturally alights upon Trita, and makes him bear the burden of his superior’s misdeeds. And this again has been generalised so that in AV. VI, 113 the gods in general, without specification, are said to have wiped off their guilt upon Trita. He in his turn passes off his guilt upon the sinners among men.

And this again has been generalised so that in AV. VI, 113 the gods in general, without specification, are said to have wiped off their guilt upon Trita. He in his turn passes off his guilt upon the sinners among men.

The rites within which AV. VI, 112 and 113 are embedded in Kaus. 46, 26-9 have for their object the removal of the sin of him whose younger brother marries first, as also of the prematurely married younger brother. Symbolically the sin is again removed, this time to a non-living object, to wit: ‘While reciting VI, 112 and 113 (the performing priest) ties fetters of mu#ga-grass upon the limbs of the parivitti and the parivividana!, as they-sit at the edge of a body of water (a river), washes them by means of bunches of grass, and rinses them off. Placing other fetters upon the foam (in the river) he lets them flow away while reciting the hemistich, VI, 113, 2 c,d. And having entered the dwelling (the priest) sprinkles them while reciting all the hymns to the waters (see Kaus. 7, 4, note).

The treatment of the Kausika embraces but one aspect of the hymn, in employing it in connection with the ex-

? Darila, ‘the younger brother along with the unmarried older brother. Kesava somewhat differently, ‘an expiatory performance for him who marries, sets up the fire, and is consecrated for the soma-sacrifice, while the older brother is living.’ Cf. the sins of the paryadhatar and the paryahita,.‘the younger brother who sets up the fire, and the older brother who is passively implicated in the same sin;’ and the pariyash/ar and the parish/a, ‘the younger brother who is consecrated for the sacrifice before the older, and the older brother who is passively implicated in the same sin.’ See Delbriick, |. c., pp. 580-1 (202-3).

524 HYMNS OF THE ATHARVA-VEDA.

piatory performances of the parivitta and the parivividana. It seems that this is too narrow, and that the hymns were constructed to cover all the crimes in the catalogues con- nected with the legend of Trita, as mentioned above. This at least is in Kesava’s mind; see the foot-note. Further, the text of both hymns (VI, 112, 3; 113, 2) states distinctly that the sins in question shall be wiped off upon the abor- tionist, the bhrdzahan, whose crime figures as a most shocking one at the end of the lists. This indicates that the entire list of sins is inthe mind of the poet, even though he intends to direct his charm against some special part of them. Finally, the expression dvadasadha in VI, 113, 3, refers, in my opinion, again to the list of crimes which are stated variously as from g—i1 in number, the use of the numeral 12 being due to its formulary and solemn character. From all this it seems to me that the hymns have in mind at least all those sins that arise from the inversion of the order of precedence as between the younger and older brothers, and probably the rest also.

From all this it seems to me that the hymns have in mind at least all those sins that arise from the inversion of the order of precedence as between the younger and older brothers, and probably the rest also.

The hymns have been translated by Ludwig, Der Rig- veda, III, 469, 444; Grill’, pp.15,171; Hardy, Die Vedisch- brahmanische Periode, p. 201. Cf. also Zimmer’s luminous allusion to VI, 113, Altindisches Leben, p. 315; and Ber- gaigne et Henry, Manuel Védique, p. 154. Ludwig intro- duces VI, 112 with the caption ‘ Heirat. Fir vater mutter sohn,’ and defines it (I. c., p. 470) as follows: ‘Der bruder der vor seinem Altern geheiratet hat, oder (so the text) der altere, der den jiingern frither hat heiraten lassen, hat dadurch trockenheit verursacht. Er wird gebunden, seine frau, sein kind, bisz der regen ihn erlést.. Support for this statement is wanting, and the author has not defined his motives. Grill treats both hymns rather too vaguely under the caption ‘krankheit’ (p. 8 ff.). The Anukramazi defines VI, 112 as Agneyam; VI, 113 as paushvam.

Stanza 1.

a, b. Our reference of the pronoun aydm to the delin- quent younger brother, the parivividana or parivettar, while

VI, 112. COMMENTARY. 525

not altogether certain, seems better than Grill’s to some disease, a conception which leads him to emend the word to iydm (sc. gr&hiZ). Both Ludwig and Grill, moreover, refer gyesh¢kam to ‘the father,’ who, to be sure, is mentioned in st. 2 in a general way, along with the mother and the sons, ‘release them all, father, sons, and mother.’ ‘This is simply another way of saying, ‘releasesthe entire family from the consequences of the sin committed by a single member.’ The point of the hymn is stated in the first Pada, and their rendering of gyesht#am causes them to miss it}. |

I do not know whether the selection of Agni as the helping agent is of the general sort, or whether it refers to the legends reported above, in all of which Agni plays apart. In the versions of the Maitr. S. and Tait. Br. Agni helps the gods to free themselves from their pollution, and he is introduced also in the narrative of the Sat. Br. But in general Agni chases away evil demons, protects against poverty, straits, and enmities (RV. IV, 11, 5); especially does he remove the consequences of sin, vy énamsi sisratho vishvag agne (RV. IV, 12, 5).

e. Grahi is the attack of disease personified as a female demon. -Since the word is derived from the root grah, ‘seize, she is supposed to fetter the sick person (cf. the second stanza), and the medicine man’s practices take the turn of freeing him from them symbolically; see the Kausika above, and cf. RV. X, 161, 1; AV. II, 9, 1.

d. ‘May all the gods give thee leave, i.e. may they support thee in thy undertaking, as e.g. Agni is supported by a train of gods when he drives out fever in AV. V, 24, 1.

RV. X, 161, 1; AV. II, 9, 1.

d. ‘May all the gods give thee leave, i.e. may they support thee in thy undertaking, as e.g. Agni is supported by a train of gods when he drives out fever in AV. V, 24, 1.

* The entire hemistich, however, may have been secondarily adapted to the present situation: gyesh‘ham vadhit reminds us of gyesh/haghni, the designation of a certain constellation (VI, rro, 2), and Pada b repeats formulaically VI, 110, 2 b, which obviously alludes to the constellation mfla. Cf. the introduction to that hymn and the note on its second stanza,

526 HYMNS OF THE ATHARVA-VEDA.

Stanza 2.

b. The use of the number three is formulary and solemn. I see no possibility of pointing out any three persons of the family, especially subject to the consequences of the illegal marriage, since primarily only the parivitta and the parivividana are invoived. The cataloguing of father, sons, and mother in Pada d simply expands the notion contained in the solemn number three.

Stanza 3.

a. For pdarivitta the Kausika (46, 26) substitutes the synonymous parivitti. Ludwig's suggested emendation to parivetta, ‘the younger brother who marries before the older’ (=parivividana in the Kaus., |. c.), is unnecessary, since both brothers alike are affected by the sin, wherever these conceptions crop out, and the mention of the older is as appropriate as that of the younger; cf. the monograph of Prof. Delbriick cited above, p. 578 ff. (200 ff.).

e. vimufo hi sdnti is difficult to translate ; literally, ‘they are loosenings,’ i.e. the fetters are subject in their very nature to the charm instituted to loosen them. Grill, in his note, paraphrases prettily, but not quite in accordance with the situation, ‘denn sie sind Stricke der Ausspannung.’ Ludwig, rather vaguely, ‘denn es sind die befreier da (oder: denn es ist regen gekommen).’ Possibly vimizo is genitive singular, and the expression is to be rendered ‘for they belong to release,’ i.e. are subject to release. The poet sacrifices rigorous logic to the pun which is secured by introducing vimuo after vi musantam. The word vimuko, moreover, foreshadows thestatement about Pishan in Pada d, since he is designated in RV. I, 42, 1; VI, 55, 3 as vimuko napat, ‘the son of release,’ i.e. ‘the releaser’ par excellence (cf. sthaso napat, and the like , and in RV. VIII, as vimoéfana, ‘ the liberator.’

d, The Pada is very characteristic in that it assigns quite definitely the conceptions at the base of the hymn to the cycle of ideas which are worked up in the-legends reported

VI, 113. COMMENTARY. 527

in the introduction. Pishan is asked to wipe off (m7vzkshva, from root marg, the technical verb in those legends) the sin upon the abortionist (bhravahan), his sin being greatest : ‘beyond him that has committed an abortion the sin does not-pass ;’ see Maitr. S.1V, 1,9, and the corresponding passages of the Kazkaka and KapishzZala Samhitds, as quoted by Prof. Delbriick, l.c., pp. 579 (201) ff. Cf. also VI, 113, 2.d.

S.1V, 1,9, and the corresponding passages of the Kazkaka and KapishzZala Samhitds, as quoted by Prof. Delbriick, l.c., pp. 579 (201) ff. Cf. also VI, 113, 2.d.

VI, 113. COMMENTARY TO PAGE 165.

For the conceptions at the base of this hymn, see the introduction to VI, 112. The statements here are more general than in the preceding, but the sins consequent upon © the precedence of the younger brother are especially in the mind of the poet, at least if we trust the tradition of the ritual; cf. the discussion of this point, above.

Stanza 1.

b. It is not absolutely necessary to emend enazz to enan (i.e. enad) with the Pet. Lex., s. v., trita b), and Grill’, p. 171, since the masculine enam may refer to papmanam, abstracted from papman in 2a. Read mamrége, and cf. Kihnau, Die Trishtubh-Jagati-Familie, pp. 69-71, and Oldenberg, Die Hymnen des Rig-veda, p. 477.

ce, d. Read tua graahir, in order to obtain a gagati-pada in the midst of a trishfubh stanza, and cf. Oldenberg, 1. c., p. 115 ff. Note the pun between 4nasé and nasayantu; cf. III, 7,6. Both Padas are repeated in st. 3.

Stanza 2.

For the first hemistich, cf. Tait. Br. II, 2, 9, 2.

Aa, 2t Vids 14, 63 4,-1,,105 4, 20; RV..:X; T55y 3

d. The identity of Padad with VI, 112, 3 d elicits certain text-critical remarks from Dr. Grill, which are, to say the least, premature. The repetition of the Pada does not suffice for the basis of textual manipulations, and the

528 HYMNS OF THE ATHARVA-VEDA.

appearance of Pashan, in addition to Agni, upon the scene is sufficiently accounted for by the suggestion of the root vi mu; cf. our note on VI, 112, 3c.

Stanza 3.

a. The expression, ‘deposited in twelve places is that which has been wiped off Trzta, contains a distinct refer- ence in round number to the list of delinquencies, stated variously as being from nine to eleven, through which Trita’s sin passes as it is transferred among men, from one sin to another; see the introduction above. Sdayaza makes out the count by counting the gods as one, the three Aptyas as three, and eight human sinners: he who is caught asleep by the rising sun, and seven others.

b. Read manushyaénasani in accordance with the divi- sion of the Padapa¢ha, or manushiyainasani.

ce, d. Identical with 1 c, d.

VI, 114. COMMENTARY TO PAGE 164.

b. Read manushyaénasani in accordance with the divi- sion of the Padapa¢ha, or manushiyainasani.

ce, d. Identical with 1 c, d.

VI, 114. COMMENTARY TO PAGE 164.

In accordance with the general character of its contents this hymn is employed, in connection with one or more of those following, on a considerable number of occasions. At Kaus. 46, 30-32 the entire anuvaka beginning with our hymn is employed in expiatory rite at the death of one’s teacher; at 46, 33-35 in connection with an expiatory offering from one’s store of grain and provisions; at 46, 36-40 in connection with the discharge of one’s debts on the death of the creditor?. Still more secondary is the use of these hymns at Kaus. 60, 7; 67, 19 (here only VI, 114, 115, 117),in connection with the sava or brahmaudana, the solemn presentation of the priest’s rewards; and at Vait. Sd. 22,15; 23, 12; 30, 22; Santikalpa 17,195 Ath. Paris. 22,4}; 39, 11. Similar formulas to those contained

? So according to Darila: Kesava and Sayaza with better reason perhaps restrict the recitation to V1, 117-119, three hymns that deal with debt (7274) explicitly.

VI, 120. COMMENTARY. 529

in this and the next hymn occur in RV. X, 37, 12; Maitr. S. III, 11, 10; IV, 14,7; Vag. S. XX, 14-20; Tait. Br. II, 4, 4,8; 6,6,1; Tait. Ar. II, 3,1; 7, 3.

The hymn has been translated by Ludwig, Der Rigveda, ITI, 443; Grill?; pp. 45, 172. The Anukramazi, vaisva- devam. |

Stanza 1.

For the designation of the Brahmans as gods, see the note on XII, 3, 38. Stanza 3.

a. médasvata (sc. pasuna) ; cf. Tait. S. VI, 3, 11,5. The point is felt by Sayavza who supplies pasund. Not so Darila at Kaus. 46, 30, note, medasvata sru#asgyam guhoti. According to this construction it would be proper to emend | to médasvatya.

VI, 115. COMMENTARY TO PAGE 164.

In general the employment of this hymn coincides with that of the preceding, as far as the Kausika and Vaitana- stra are concerned; see the introduction there. The additional employment in Vait. Si. 8, 7, and (of st. 3) in 30, 23 is without special significance. See also Ath. Paris. 39, 11. For parallel passages in other texts, see the intro- duction to the preceding hymn. Previous translations by Ludwig, Der Rigveda, III, 443; Grill’, pp. 46, 172 ff. ; cf. also Zimmer, Altindisches Leben, p. 182. The Anukra- mavzi, vaisvadevam.

Stanza 2.

Sayama, on the strength of Tait. Br. III, 8,18, 5, suggests that bhatam and bhavyam may refer to this and the next world. Cf. VI, 12,2; XI, 4, 20, and II, 28, 3.

VI, 120. COMMENTARY TO PAGE 165.

The employment of this hymn in the ritual takes place on the same occasions as VI, 114; see the introduction to that hymn, and cf. Darila’s corrupt gloss on Kaus. 46, 30

[42] M mi

530 HYMNS OF THE ATHARVA-VEDA. (note 5). Previous translations by Ludwig, Der Rigveda, III, 442; Grill?, pp. 72,173; cf. Muir, Original Sanskrit Texts, V, pp. 299, 41, 306. The Anukramavi, mantrokta- devatyam.

Darila’s corrupt gloss on Kaus. 46, 30

[42] M mi

Stanza 1.

Cf. Maitr.o. 510,35 IV, 14,17: 'Tait..S.[, (Gye Tait. Br. III, 7, 12, 4; Tait. Ar. II, 6, 8.

Stanza 2.

b. The Paippalada has trata for bhrata, hardly an im- provement in the light of the connection.

Stanza 3.

The first hemistich recurs at III, 25, 8 a,b; cf. Muir, l.c., I?, 385, note.

VI, 127. COMMENTARY TO PAGE 40.

The hymn is rubricated at Kaus. 26, 33 along with five others (II, 7; 25; VI, 85; 1cg; VIII, 7) in a series which the Gazamala, Ath. Paris. 32, 24, designates as gavakarma- gana. Inthe sequel the Kausika prescribes its employment twice: at 26, 34 it is recited while the patient is being anointed (with the powder obtained by pulverizing a chip of) palasa-wood of the width of four fingers’; at 26, 39 it is employed while dregs of ghee are being poured upon the head cf one afflicted with dropsy. Darila regards both treatments as cures for dropsy; Kesava and Sayama con- struct them more broadly as universal remedies?. It would seem as though the chip of palasa-wood (butea frondosa) is intended to reflect the Aiptidru in st. 2 of the hymn. A previous translation by Zimmer, Altindisches Leben,

p. 386.

* Sayama, aturangulam paldsasakalam pishfva abhimantrya vyadhitasariram limpet.

2 Sayama, galodaravisarpadisarvarogabhaishagyartham.

VI, 127. COMMENTARY. 531

Stanza 1.

For vidradha, see Grohmann, Indische Studien, IX, 397; Zimmer, Altindisches Leben, p. 386; and Wise, Hindu System of Medicine, pp. 210, 284, 288, 362. Sayama, vidarazasilasya vrazaviseshasya. For baldsa, see the note on V, 22, 11. Not at all clear is Ildhita: it is either ‘flow of blood,’ or ‘inflammation.’ Sdyava suggests both (visar- pakaviseshasya nama, yad va...rudhirasravatmakasya rogasya). Cf. vilohitam IX, 8,1; XII, 4, 4. Shankar Pandit and Sayavza read visalpakasya!; cf. their readings at XIX, 44, 2 (in the note on IX, 8,2). Finally, the sense of pisitam, ordinarily ‘flesh,’ is by no means clear in this connection : we have taken it in the attenuated meaning ‘piece, bit, speck.’ The Pet. Lex. suggests that it is for *pishitam=pishfam, but that would be equally problematic in any such sense as is demanded by the connection. Sayava, literally, nidanabhitasz dushfasz mdamsam, i.e. (with a change of construction: accusative for genitive), ‘the plant shall not leave the diseased flesh which is the root of the afore-mentioned diseases.’ Very unlikely.

Stanza 2.

Sayava, literally, nidanabhitasz dushfasz mdamsam, i.e. (with a change of construction: accusative for genitive), ‘the plant shall not leave the diseased flesh which is the root of the afore-mentioned diseases.’ Very unlikely.

Stanza 2.

The mushkat are likely to be bag-like swellings. Accord- ing to Grohmann, |. c, p. 399, Susruta designates certain swellings on the neck as mushkavat, ‘similar to testicles.’ Cf. also VI, 14,2. In Pddad sipudrur of the vulgata is faulty: the MSS. and Shankar Pandit read fipudrur ; Sayama, kipadrur (etatsamg#o drumaviseshaz). The word occurs nowhere else; cf. the introduction.

Stanza 3.

The last two Padas may be an afterthought. For aghatam yakshmam the compound ag#atayakshma occurs Il], 11, 1=>RV.X,161,1. Cf. Zimmer, |.c., p. 377, who tries

1 Sayama, vividham sarpati nddimukhena sarirasya antarvy4pnoit «ti visarpaka/.

Mm 2

532 HYMNS OF THE ATHARVA-VEDA.

to define it--though by its very terms it is undefinable—as the name of a certain disease. |

VI, 128. COMMENTARY TO PAGE 160.

The present hymn, and the custom which it harbours, have been treated by the writer in ‘Seven Hymns of the Atharva-veda, Amer. Journ. Phil. VII, 484 ff. According to the indications of the ritual the hymn is in praise of sakadhtima, which, as a possessive compound, means ‘he of the dung-smoke, i.e.‘ he that prophesies from the smoke of cow-dung.’ The sakadh(ima predicts the weather for a person about to start on a journey; see below. As weather-prophet he very naturally comes, like our ‘ Oid Probabilities, or ‘weather-clerk,’ to be regarded at the same time as controlling the weather for good or bad— in short, as a weather-maker. Control of the weather, as a delegated power, comes most naturally from the stars: hence these are said, in st.1, to have made him their king.

In the Paribhasha-sitra, Kaus. 8, 17, we have the clear statement that the sakadhima is an old Brahman. Ac- cording to the Dasa Karmavzi, and the Atharvaviya-pad- dhati, at Kaus. 76, 19, one (or four) sakadhimas recite at a certain stage of the wedding-practices the sirya-hymn (RV. X, 85)1. In Kaus. 50, 15. 16, in the course of the practices of a merchant about to start on an expedition, the merchant, while reciting this hymn, places lumps of dung (sakr7tpizdan) upon the joints of a Brahman friend, and asks the sakadhima: ‘What sort of a day shall we have to-day?’ He answers: ‘A fair day, a very auspicious one’

' stryapa/kam kurvanti. The sense of this expression is not altogether certain. It may mean simply, ‘they read the sun, i.e. for indications of weather. Kesava in the same place has vr7sha- kapibrahmawih stiryam pa/hanti, a most curious statement. Does vrishakapibrahmaza mean ‘ sun-Brahmaza, astrologer,’ and does sfiryam refer to the v7.shakapi-hymn, RV. X, 86?

® Sayawa, sighram kartukamak ... brahmamasya samdhishu gomayapizdan nidhaya agnitvena samkalpya abhimantrya sitrokt- aprakareva prasnaprativakane kuryat.

VI, 128. COMMENTARY. 533

Does vrishakapibrahmaza mean ‘ sun-Brahmaza, astrologer,’ and does sfiryam refer to the v7.shakapi-hymn, RV. X, 86?

® Sayawa, sighram kartukamak ... brahmamasya samdhishu gomayapizdan nidhaya agnitvena samkalpya abhimantrya sitrokt- aprakareva prasnaprativakane kuryat.

VI, 128. COMMENTARY. 533

Once more the hymn is prescribed, Kaus. 100, 3, in a pra- yaskitti for an eclipse of the moon, probably on account of the prayer in the third stanza; cf. also Santikalpa 15. For st. 3, see Kaus. 138, 8.

The hymn, with the addition of sundry other stanzas, is repeated in an appendix to the Nakshatrakalpa, and has been presented in our afore-mentioned article, p. 485 ff. ; cf. Weber’s translation of it in his Omina und Portenta, p. 353. The vulgata form of the hymn has been rendered by Zimmer, Altindisches Leben, p. 353; cf. also Ludwig, Der Rigveda, III, 187.

Stanza 1.

Sayama also defines sakadhtima as brahmamza, but in a roundabout way. Primarily, according to his view, it is_ the fire in which lumps of dung have been placed, and from which the smoke rises (sakrztaZ sammbandhi dhimo yasminn agnau sa sakadhimas agniz). But agni (e.g. according to Tait. S. V, 2, 8, 2) is identical with brahmaza; cf. his words, agnitvena samkalpya, in the note above!. In the brahmodya-stanza, RV. I, 164, 43=AV. IX, 10, 25, occurs the expression sakamayam dhimam; this is paraphrased in Katyayana’s Sarvanukramazi and in Shadgurusishya’s comment (pp. 11,97 of Macdonell’s edition) by sakadhtiima, ‘dung-smoke.’ Possibly ‘the fire that gives forth dung- smoke’ (cf. Haug in the Proceedings of the Bavarian Academy, 1875, II, p. 506) forms the true mythic back- ground of these conceptions; the Brahman interpreter may be secondarily called sakadhtima. Weber, 1.c., surmises that it may be the first morning fire, kindled while the stars are still shining, and indicating by its rising or falling smoke the weather of the breaking day; cf. also the same author, In- dische Studien, V, 257; X,65; Nakshatra, II, 272, note; 393.

1 Sayama continues, tam sakadhtimam brahmawam pura naksha- trami tarakah raginam kandramasam akurvata. According to this the moon (fire) is the sakadhfima, the controller of the weather. This is good folk-lore: the Brahmawa may be the moon’s repre- sentative on earth,

5 34 HYMNS OF THE ATHARVA-VEDA.

VI, 130. COMMENTARY TO PAGE I04.

According to this the moon (fire) is the sakadhfima, the controller of the weather. This is good folk-lore: the Brahmawa may be the moon’s repre- sentative on earth,

5 34 HYMNS OF THE ATHARVA-VEDA.

VI, 130. COMMENTARY TO PAGE I04.

This and the following two hymns? are accompanied at Kaus. 36, 13-14 by. the following practices: * Bean-loves’ (mdshasmaran; Kesava and Sayama simply ‘beans, mashan) are thrown (upon the head of the person whose love is de- sired 2). Then the points of arrows (sara) are kindled and are cast in every direction about the effigy (of the desired person), its face fronting towards the performer. The bean (masha) is doubtless regarded as inflammatory food (cf. the Pythagorean prohibition), since it is forbidden at the fasts preliminary to holy practices, along with honey, salt, meat, and brandy; see Kaus. 1, 32, and note (and frequently elsewhere): its fitness in a love-charm seems derivable from this notion. A similar practice with the effigy occurs at Kaus. 35, 28 (see the introduction to ITT, 25).

The hymn has been interpreted by Weber, Indische Studien, V, 244 ff.; Ludwig, Der Rigveda, III, 515; Grill?, pp. 58, 174 ff.

Stanza 1.

The pada-MSS. read rathasgite yindm; Sayama substi- tutes dhinam for this yindm. But the text of the Sazzhita- MSS. justifies rathagiteyindm *. Weber, l. c., p. 345, note, refers by way of illustration of the present epithets of the Apsaras to the names samgayanti (IV, 38, 1), ugragit, ugrampasyd, and rdshfrabhrzt (VI, 118, 1. 2), and to the frequent warlike epithets of the Gandharvas, with whom they are associated closely (cf. e.g. Tait. S. III, 4, 7, 3). Grill, too daringly, emends to arthagitam Arthagitinam, supporting his theory by a reference to IV, 38, where the

* Thus according to the commentators: 131 and 132 are not otherwise rubricated.

* Thus Darila; according to Kesava, upon his couch, house, or bed; according to Séyaza, on the ground which he walks.

* The hymn is wanting in the Paippalada.

VI, .1.32.., COMMENTARY. 535

* Apsaras are implored for help in gambling. He supposes that they ‘ gain their object’ both in play and in love.

VI, 131. COMMENTARY TO PAGE I04.

For the practices connected with this hymn, see the introduction to the preceding. Previous translations by Weber, Indische Studien, V, 244 ff.; Grill’, pp. 58, 175 ff.

Stanza 2.

Anumati is the goddess of favour and consent; cf. the play of words in d4nu manyasva (as in VII, 20). Akati is the goddess of schemes. In XIX, 4, 2 she is called Rittasya mata, ‘mother of thought’ (‘the wish is father to the thought’). Cf. III, 8,5; V, 8, 2, &c.

VI, 132. COMMENTARY TO PAGE 104.

For the practices connected with this hymn, see the introduction to VI, 130. It has been translated by Weber, Indische Studien, V, 245, who supposes that it is the text of a brewing-charm (sudzauber), in which the person de- sirous cf love boils some concoction that attracts irresistibly the coy beloved. But the absence of any such practice in connection with the hymn casts much doubt upon this interpretation. It seems rather to allude to some mythic touch (akhyayika). Sdyaza suggests that the gods either poured Jove into the water, to quench him, or that they placed him into the atmospheric waters as ruler of all lovers, Varuva in the refrain is, of course, in the position of lord or controller of those waters, and varuvasya dharmawa is not remote from the meaning ‘ by the permission or order of Varuza.’ The whole savours of the conception that the gods poured smara into the waters either by way of punishing him for his attacks upon themselves ', or in order

1 Cf. the stories of their burning Kama, ‘love,’ e. g. Muir, Original Sanskrit Texts. I’, 112 ; 1V’, 364. Oris there still a different notion, namely that the fruitful waters are the natural seat of love?

536 HYMNS OF THE ATHARVA-VEDA.

Ty thee Se i dp to quench him, and that the person practtsing the charm kindles him anew with the permission of Varusa.

Stanza 1.

b. In Tait. S. III, 4, 7, 3, the Adhis, ‘ yearnings, are personified as the Apsaras, the wives of Kama, ‘ love, the Gandharva.

Stanza 3.

Indravi is the goddess of successful and happy conjugal love; see our Contributions, Sixth Series, Zeitschrift der Deutschen Morgenlandischen Gesellschaft, XLVIII, 551 ff.

VI, 136. COMMENTARY TO PAGE 31.

The plant nitatni, ‘she that takes root’ (cf. the note on III, 12, 4d, and Ait. Br. VII, 31, 3), is not mentioned else- where.. In Tait..S. IV,.4;.5, 14.Kat%.5.. XL, 250 Vig LXVII, 7, the word designates a personification of one of the bricks of the fire-altar (ishzaka); in Tait. Br. III, 1, 4,1, one of the stars of the constellation kvzttika. This and the next hymn are supplied with practices at Kaus. 31, 28, to wit: The fruit of (the plant) mentioned in the mantra (i.e. the nitatni?), together with the plants givi and 4laka #, (are concocted into a solution) and poured (by the medicine-man) who is clothed in black and has éaten black food 3, in the early morning before the rise of the crows (upon the head of the person for whom the hair cure is undertaken). The exact virtue of these plants escapes

* The scholiasts agree in defining this by kAkama&?. The word is not elsewhere quotable as the name of a plant, but is mentioned in Bohtlingk’s Lexicon as a kind of spirituous liquor.

The exact virtue of these plants escapes

* The scholiasts agree in defining this by kAkama&?. The word is not elsewhere quotable as the name of a plant, but is mentioned in Bohtlingk’s Lexicon as a kind of spirituous liquor.

* Cf. Kausika, Introduction, pp. xlv and 1. Sayama has givantt for givi, and bhvznhgaraga for 4laka. On p. xlv we have written alaka, but Darila has 4l4k4. On the other hand Bohtlingk’s Lexicon, vol. i, p. 294, mentions alaka=alarka, ‘ calotropis gigantea,’

* That is sesame, beans, and the like; cf. Kausika, Introduction, p- xlix.

VI, 138. COMMENTARY. 537

our knowledge; the black colour symbolises, perhaps, the (black) hair.

The hymn has been translated by Zimmer, Altindisches Leben, p. 68 (cf. also p. 264); Grill?, pp. 50, 176. The Anukramazi, vanaspatyam, by kesavardhanakama Vitahavya (VT, 197,'1).

Stanza 3.

b. For vriskate the Pet. Lex. suggests vriskyate. So also Sayana, khidyate. Cf. the note on XII, 4, 12.

VI, 137. COMMENTARY TO PAGE 3I.

For the employment in the ritual see the introduction to the preceding hymn. Previous translations by Ludwig, Der Rigveda, III, 512; Zimmer, Altindisches Leben, p. 68 (cf. also p. 264); Grill?, pp. 50,176. The Anukramazvi, as in the preceding.

Stanza 1.

No further trace of this curious, probably ad hoc, legend (akhyayika) has been found. Sdyaza cites no parallels. Gamadagni is mentioned in connection with helpful charms at II, 32, 3; V, 28, 7; for Asita, cf. the note on I, 14, 4.

Stanza 2.

Zimmer renders abhisund, ‘ with the finger ;’ so also Sayava with the Naighazéuka II, 4. 5, angulibhiZ. I do not feel altogether convinced that the Pet. Lex. (s. v. abhisu) is right in denying this meaning.

VI, 138. COMMENTARY TO PAGE 108,

Unsavoury and obscure is the performance associated with the recital of this hymn at Kaus. 48, 32-34. Urine and dung are put into the skin-bag that covers the tail of a calf, they are covered up with kakufa-fruits!, the entire

" For sepy4, ‘ skin of the tail,’ see Kausika, Introduction, p. liv ; for kakufa, ibid. xlviii. The latter word, however, is explained by

538 HYMNS OF THE ATHARVA-VEDA.

mess is crushed and dug into the ground?. Next (Sifitra 33) the (same) skin-bag and a reed (are crushed and dug into the ground?). Finally (Stitra 34) the reed is stuck into the skin-bag and again dug into the ground(?). The Sutras are extremely brief, and the scholiasts do not make clear these performances which reach the lowest plane even of Atharvanic doings.

The hymn has been rendered by Weber, Indische Studien, V, 246; Ludwig, Der Rigveda, III, 470; cf. also Geldner, Vedische Studien, I, 131; Zimmer, Altindisches Leben, Index, p. 455 a.

Stanza 1.

The hymn has been rendered by Weber, Indische Studien, V, 246; Ludwig, Der Rigveda, III, 470; cf. also Geldner, Vedische Studien, I, 131; Zimmer, Altindisches Leben, Index, p. 455 a.

Stanza 1.

d. The exact meaning of opasinam escapes us, owing to the complete absence of graphic representations. The lexicons, Weber and Zimmer, ‘ gelockt ;’ Ludwig, ‘ bezopft.’ - Sayama, as the scholiasts in general, derives opasa from the verb upasete, and arrives at the meaning ‘one with female organs’ (strivya%ganam). Geldner, |.c., has gone peculiarly astray in comparing the cuckold and translating ‘with horns, since, in .Maitr, 5, IT, 7, 5=Tait..S: [Vote eee Vag. S. XI, 56 the goddess Sinivali is described as suka- parda sukurira svopasa. All three epithets obviously refer to female methods of dressing the hair and the head. The notion here is that the eunuch shall develop hermaphroditic characteristics, and hence assume the head-gear of a woman. See stanzas 2 and 3, and cf. in addition AV. VIII, 6, 77; iW Be ae Apast. or. X, 9, 5-7; Sat, Br. Vl ieee 4, 1, 1; Katy. Sr. XIV, T, 14; AV, 5, 22.0 ee

Kesava in a very different way, namely, tasya (sc. vatsasya) wr7sha- naih, i.e., ‘the skin containing the mitrapurisham is covered up with the testicles of the calf.

* The scholiasts say, marmami nikhanati (cf. Kaus. 47,513; 48, 4). The digging is supposed to take place, symbolically, in the vital spot of the rival.

® The Gr. dey. tiri/in in this passage is doubtless identical with the later kirf/in, and again refers to some feminine mode of dressing, the head.

VI, 139. COMMENTARY. 539

seems to be some form of coiffure which has become at this stage of the literature a characteristic ornamentation of women; its primary meaning may have been ‘horn, but this is by no means rendered certain by Pazk. Br. XIII, 4, 3 (upon which Geldner relies), since it may be figurative in that sense.

Stanzas 2, 3.

The exact meaning of kurira (Sayava, kesagdlam), kuririn (Sayava, kuriraZ kesak tadvantam kuru), and kumba (Sayava, abharavam strivdm) is again uncertain, but they all refer to female head-gear.

VI, 139. COMMENTARY TO PAGE 102.

The present charm is apparently addressed to a plant which is, however, not mentioned by name, unless nyastika be a proper noun. The hymn is rubricated, along with VI, 129 and VII, 38, at Kaus. 36,12: the person practising the charm digs up a suvarfala-plant 1, with the ceremonies pertaining to the digging up of plants (cf. Kaus. 33, 9. 16), fastens (its) white blossoms upon his head, and thus enters the village. Neither of the two other hymns (VI, 129 and VII, 38) defines the plant more specifically *: the exactitude of the Sitra does not inspire confidence.

The hymn has been rendered by Weber, Indische Studien, V, 247; Ludwig, Der Rigveda, III, 515.

Stanza 1.

For the formulaic numbers see the analogical parallels mentioned by A. Kuhn in Zeitschrift fiir vergleichende Sprachforschung, XIII, 133. The Gz. Aey. nyastika is

The hymn has been rendered by Weber, Indische Studien, V, 247; Ludwig, Der Rigveda, III, 515.

Stanza 1.

For the formulaic numbers see the analogical parallels mentioned by A. Kuhn in Zeitschrift fiir vergleichende Sprachforschung, XIII, 133. The Gz. Aey. nyastika is

* Darila, suvarkala prasiddha trisamdhyasadrzsi (cf. the introduc- tion to lV, 20); Kesava has sankhapushpi and sfiryavela (cf. sirya- valli) ; Sayama, sankhapushpik4, ‘andropogon aciculatus.’

* Cf. however the epithet mampasy4a, VII, 38, 1, with the descrip- tion in LV, 20, 1. This again points to the plant trisamdhya.

540 HYMNS OF THE ATHARVA-VEDA.

We ee ES rr obscure: Kuhn and Ludwig incline to its construction as a proper noun, and that may ‘be correct. Sayama, (‘the plant) that suppresses the characteristics of ill-luck.’ Our rendering is etymological, and equally guess-work.

Stanza 3.

a. Most of Shankar Pandit’s MSS. read samushpala for samushyala. SAyava also, samushpala samyak uptaphala sati. The Pet. Lexs. derive the word (a dm. Aey.) from a root ush=us, the weak form of vas, ‘arousing love’;’ Ludwig, doubtfully, ‘ procuress.’ We, with Weber (‘ zusam- men uns brennend’), derive the word from ush, ‘burn.’ Everything is uncertain.

Stanza 5.

The hostility of the ichneumon and the serpent is known in Hindu literature from earliest to latest times’. The putting together of the serpent by the ichneumon refers perhaps to the cat-like antics of the animal over his prey. It is a lame comparison at the best.

VI, 140. COMMENTARY TO PAGE IIo.

‘When the upper two teeth come before the lower, then there is danger of death to the parents, and the following expiatory rite is prescribed, says Kesava at Kaus. 46, 43-46. The performance consists in scattering or offering (rice, barley, or sesame: cf. Kaus. 7, 5); in making the child bite some of the kinds of grain indicated in the mantra (st. 2); in giving him some of the same grain cooked in ‘holy water’ (Kaus. 9, 8 ff.) to eat; finally, in making the parents eat of the same dish.

The hymn has been rendered by Zimmer, Altindisches Leben, p. 321; Grill*, pp. 49, 176 ff. (cf also Weber, Indische Studien, V, 224; Ludwig, Der Rigveda, III, 343). These interpreters construe the hymn as a charm for avert-

* Cf. Vag. S. XXIV, 26, 92 5) TaiteS.1V, 5 ra, 2a:

VI, 142. COMMENTARY. 541

ing danger from the first pair of teeth in general, without reference to any irregularity in their appearance. Possibly this broader construction is the more original, Kausika’s being a later refinement.

Stanza l.

For vyaghrau, cf. the note on VI, 110, 3; for the com- bination Brahmavzaspati (Brzhaspati) Gatavedas (Agni), the note on VII, 53, 1.

VI, 142. COMMENTARY TO PAGE I4I.

Possibly this broader construction is the more original, Kausika’s being a later refinement.

Stanza l.

For vyaghrau, cf. the note on VI, 110, 3; for the com- bination Brahmavzaspati (Brzhaspati) Gatavedas (Agni), the note on VII, 53, 1.

VI, 142. COMMENTARY TO PAGE I4I.

At Kaus. 24, 1, this hymn is recited while barley (or grain in general, yava), mixed with ghee, is swept into a furrow in the grain-field by means of the plough; then (three) handfuls of seed are poured (into the furrow) 1, one with each stanza of the hymn, and these finally are covered (with earth). Stanza 3 is recited at Kaus. 19, 27, while an amulet of barley is being fastened on a person to ensure him prosperity (cf. Kaus. 28, 20 in the introduction to VI, gt). The hymn is one of the class designated by the Atharvaviya-paddhati (at Kaus. 19, 11) as push¢#ika man- trah, ‘stanzas that ensure prosperity.’

The hymn has been translated by Ludwig, Der Rigveda, III, 463; Zimmer, Altindisches Leben, p. 237; Grill?, pp. 66, 177 ff. Cf. also Bergaigne et Henry, Manuel Védique, p. 156. The Anukramazi, yavyam.

Stanza l.

e. Ludwig, and, independently, Aufrecht in Kuhn’s Zeit- schrift, XX VII, 218, read przwihi, ‘ fill” for mrzzihi. Sayama, vrinihi, which he also explains, ‘with a change of a letter,’ as prizihi pdraya. Sensible suggestions these, but they do not prove that the Saunakiya-poet did not make use of the bold yet natural figure of speech involved in mrzzihif (‘full unto bursting,’ ‘zum bersten voll’). Cf. the note on 1If, 1, 2.

1 Cf, RV. VIL, 78, 10.

542 HYMNS OF THE ATHARVA-VEDA.

Stanza 3.

a. Sdyava, upasadak upasattarah (cf. III, 12,6 c) upagan- tarak karmakarah. This is essentially correct. The western translators take the word as an abstract noun, ‘stores ;’ Ludwig, ‘ ansatze’ (? ‘aufspeicherungen ’).

VII, 9. COMMENTARY TO PAGE 159.

The prayer is addressed to Pdshan. the sun that watches over the ways, and is accompanied by characteristic prac- tices at Kaus. 52, 12-14: They who seek lost property have their hands and feet washed and anointed; their right hands are then scoured, and they are started upon the search. The same performance is undertaken with dregs of the ghee, and the right hands are again scoured off’. Then twenty-one pebbles are thrown scatteringly upon a cross-roads. The last practice is an interesting instance of attractio similium: the scattering of the pebbles upon the cross-roads symbolises the lost objects, and at the same time counteracts their lost condition”. The second stanza is enlisted in the first abhayagavza, a series designed to secure immunity from danger, in the Gavzamala, Ath. Paris. 32, 12 (cf. Kaus. 16, 8). Seealso Vait. Sa. 8,13. Stanza1 is. repeated in KYV.X, 117, 6= Lait. Br. 1y/8, 5, 3) See RV. VI; 54, 9= Vag. S. XXXIV, 41=Tait.. Br. ieee ee Previously rendered by Henry, Le livre VII de lAtharva-

Paris. 32, 12 (cf. Kaus. 16, 8). Seealso Vait. Sa. 8,13. Stanza1 is. repeated in KYV.X, 117, 6= Lait. Br. 1y/8, 5, 3) See RV. VI; 54, 9= Vag. S. XXXIV, 41=Tait.. Br. ieee ee Previously rendered by Henry, Le livre VII de lAtharva-

véda, pp. 4, 52. Stanza 4. Professor Henry cites the following interesting Alsatian charm :— Hailcher antonius von patua Schick mer was i verlére ha Ter teifel wert’s en sine kloye ha. ‘Holy Antony of Padua, send to me what I have lost; the devil must have it in his claws.’ oo ee ' The word nimrigya at the beginning of Sitra 14 seems to belong to the end of Satra 13. * For the cross-roads, see the ncte in the introduction to VI, rrr.

VII, 12. COMMENTARY. 543

VII, 11. COMMENTARY TO PAGE 142.

The hymn is rubricated together with I, 13 at Kaus. 38, 8 ina somewhat obscure practice which concerns rather I, 13 than the present. It is employed once more at the updkarma, the initiation to the study of the Veda, Kaus. 139, 8. Cf. also Santikalpa 15. Previous translations by Ludwig, Der Rigveda, III, 463 ; Grill?, pp. 66,178 ; Henry, Le livre VII de l’Atharva-véda, pp. 5, 54. The Anukra- mavi, sarasvatam.

VII, 12. COMMENTARY TO PAGE 138.

For the general aspects of the subject of this hymn, see | Ludwig, Der Rigveda, III, 253 ff.; Zimmer, Altindisches Leben, 172 ff. Kesava prefaces his exposition of the short performance connected with this hymn at Kaus. 38, 27. 28 as follows, atha sabhagayakarmazy ufyante, sabhastam- bhanasz karma gayakarma tada sabhasadadharmadhikara- madi gayate, ‘here are told the performances which procure victory in the assembly; it is a rite which lends stability to the assembly, procures victory, then promotes the judicial acts, and so forth, of those who sit in the assembly.’ The practices are as follows: 38, 27. ‘While reciting AV. VII, 12, the performer eats (a milk-porridge; cf. Kaus. 7, 6). 28. He takes hold of the pillars of the assembly-hall, and pays his respects to (the assembly-hall).’

The hymn is translated in Muir, Original Sanskrit Texts, V, 438; Ludwig, Der Rigveda, III, 253; .Zimmer, |. c.,173; Grill*, pp. 70, 178 ff.; Henry, Le livre VII de l’Atharva- véda, pp. 5, 55; cf. also Hillebrandt, Vedachrestomathie, p. 44. The Anukramazi designates the entire hymn as sabhyam ; st. 1 as dvidevatyosta pitryd; st. 2 as sabhya; st. 3 as aindri; st. 4 as mantroktadevatya.

Stanza l.

The metre of PAdas a, b, d is irregular (Anukr., bhurik- trish/ubh); a is catalectic, b hypercatalectic ; but we may

544 HYMNS OF THE ATHARVA-VEDA.

read duhitrau (cf. Amer. Journ. Phil. V, p. 27). Similarly d may be perfected by reading pitraZ. d. For the appeal to the Fathers for help, cf. II, 12, 4.

Stanza 2.

a. For vidma of the Saunakiya school the Paippalada reads véda vai, and Grill and Hillebrandt adopt this version for metrical reasons. But the metre is not really improved by the change.

d. For the appeal to the Fathers for help, cf. II, 12, 4.

Stanza 2.

a. For vidma of the Saunakiya school the Paippalada reads véda vai, and Grill and Hillebrandt adopt this version for metrical reasons. But the metre is not really improved by the change.

b. narish¢a, ‘mirth’ (cf. XI, 8, 24), refers to the social not the political side of the sabha, which, in addition to being the meeting of the council, is also the occasion and place for gaming (cf. AV. XII, 3, 46), and social intercourse (cf. RV. VI, 28, 6). The word, too, perhaps conveys a double entente, nar, ‘man,’ and stha, ‘place, or suggests a quasi-superlative, ‘most favourable to men. Thus the variant form narish¢ha, Vag. S. XXX, 6, presents the effect of this kind of folk-etymology upon the word. Sdayaza (as if the word were a compound na-rish/a), ahiswsita parair anabhibhavya.

VII, 13. COMMENTARY TO PAGE 93.

According to Kaus. 48, 35-36, the hymn is spoken against the enemies that are to be deprived of power, the second stanza while fixing one’s regard upon them. Cf. also Santikalpa 151. The hymn has been rendered by Ludwig, Der Rigveda, III, 241; Grill*, pp. 23, 179; Henry, Le livre VII de l’Atharva-véda, pp. 5, 56. The Anukramazi, saumyam.

Stanza 2.

Cf. Ludwig, l.c., p. 265. That the sun takes away the strength of those who are asleep while it rises or sets, is a notion abundantly elaborated in connection with all holy practices. Such persons are designated as siryabhyudita, and sdryabhinimrukta (-mlukta, -mlupta), and they are

* Quoted erroneously by Sayaza as Nakshatrakalpa.

VII, 35. COMMENTARY. 545

regarded as being guilty of one of the ‘deadly’ sins. See the writer in the Proceedings of the American Oriental Society, 1894 (Journal, vol. xvi, p. cxix), and cf. Maitr. S. IM rg 7 Pat. Br. Hie, 8113 Aite Bre“l,,.9;, 147;°Gobh. Grih. III, 3, 34; Apast. Dhl, 5) 12, 13.'14;"and else= where.

VII, 35. COMMENTARY TO PAGE 98.

At Kaus. 36, 33-34 there is a composite charm for pre- venting a woman from begetting a son, or from begetting offspring at all. If it is intended that a certain woman shall not beget a male son the hymn VII, 34 is recited! ; if she shall not beget a child at all the hymn VII, 35 is recited: in either case the urine of a she-mule is rubbed with two stone disks, and put into the food or the cos- | metics of the woman. And the person practising the charm looks at the parting in the hair of the woman. The charm is full of symbolism. The she-mule is sterile: ‘She-mules do not propagate’ (Tait. S. VII, 1,1, 3; Ait. Br. IV, 9,1; cf. Adbhuta-brahmava 7). The rubbing between two stones is symbolic castration. The eyes are fixed with evil intent upon the woman’s parting in the hair (simanta) : this seems to be the obverse of the simantonnayana, the well-known ceremony during a woman’s pregnancy, in- tended to ensure successful issue. Cf. also Ath. Paris. 7.

The eyes are fixed with evil intent upon the woman’s parting in the hair (simanta) : this seems to be the obverse of the simantonnayana, the well-known ceremony during a woman’s pregnancy, in- tended to ensure successful issue. Cf. also Ath. Paris. 7.

The hymn has been translated by Ludwig, Der Rig- veda, III, 477; and by Henry, Le livre VII de l’Atharva- véda, pp. 13, 67.

Stanza 1.

The stanza seems hardly in touch with the remaining two, or with the construction imparted to the whole by the Saitra. Ludwig omits it in his rendering of the hymn. Its sense, taken by itself, is that of a battle-song. Pada b is identical with VII, 34, 1 b.

* *O Agni, drive away the rivals of mine that are already born; drive away, O Gatavedas, those that are not yet born. Place under

my feet those that fight against me. May we, exempt from guilt, live in thy freedom !’

[42] Nn

546 HYMNS OF THE ATHARVA-VEDA.

in i i

Stanza 2.

The rendering of the words hirdéz and dhamdniz is necessarily vague: see the note on I, 17, 3, and cf. VI, 90, 2. Ludwig, ‘darme, and ‘adern.’ Sdayava, very pre- cisely, ‘small veins, and ‘thick arteries. That may be the correct philological interpretation of the words, but in that case the stanza must have been originally constructed as a charm to stop flow of blood from the body.

VII, 36-37. COMMENTARY TO PAGE 96.

Both stanzas are recited at the ‘rites of the fourth day’ (aturthikarma), the performances immediately preceding the consummation of marriage. At Kaus. 79, 2 bride and bridegroom anoint one another while reciting VII, 36; at 79, 7 the bride! envelops the bridegroom in her robe while reciting VII, 37.

Previous renditions by Weber, Indische Studien, V, 248 ; Grill, pp. 55,179; Henry, Le livre VII de l’Atharva-véda, pp. 13, 67. The Anukramavzi (VII, 36), mantroktakshi- devatyam ; (VII, 37), lingoktadevatyam.

Stanza 1.

a, b. The sense is: ‘ May our eyes with their brightness, our faces with their freshness, inspire us with love for one

another!’ Stanza 2.

For mdnugata, cf. XIV, 2, 41. The second hemistich is nearly identical with VII, 38, 4 c, d.

VII, 38. COMMENTARY TO PAGE 103.

For the practices associated with this hymn, see the introduction to VI, 139. The charm is there undertaken by a woman, here bya man. It has been translated by

' Not so the Paddhatis, vastre#4skhadayati tau, i.e. the priest envelops the two. But this is contrary to the context of the stanza.

VII, 45. COMMENTARY. 547

Weber, Indische Studien, V, 249; Ludwig, Der Rigveda, Pees ae, p:859; 1179 ; Henry, Le livre: Vil-de l’Atharva-véda, pp. 14, 68. The Anukramazt, vanas- patyam.

Stanza 1.

the priest envelops the two. But this is contrary to the context of the stanza.

VII, 45. COMMENTARY. 547

Weber, Indische Studien, V, 249; Ludwig, Der Rigveda, Pees ae, p:859; 1179 ; Henry, Le livre: Vil-de l’Atharva-véda, pp. 14, 68. The Anukramazt, vanas- patyam.

Stanza 1.

b. For mampasyam, cf. IV, 20, 1, and note. The abso- lutely literal translation of the word is ‘the plant that sees me! but the formation is so artificial that it may also mean ‘the he-sees-me-plant, i.e., in effect, the plant that draws his attention towards me. The epithet abhirorudam suggests that the plant may in reality be so strongly scented as to draw tears.

Stanza 2.

For legends of Indra’s seduction by a female demon, see Sankh. Br. XXIII, 4; Kazs. S. XIII, 5 (Indische Studien, III, 479; V, 249, 453); cf. the note on I, 24, 1.

Stanza 4.

The sense is: In ‘this affair of our love my voice shall rule; thine shall rule in the assembly, where it is fitting that a man’s voice shall be listened to. Pddas c,d are nearly identical with VII, 37.,d. Cf. Maitr.S IV,7,4 (p. 97, 1.15).

VII, 45. COMMENTARY TO PAGE 10%.

For the practices connected with this hymn, see the introduction to VI, 18. It has been translated previously by Weber, Indische Studien, V, 250; Ludwig, Der Rig- veda, III, 514; Grill*, pp. 29, 180; Henry, Le livre VII de | Atharva-véda, pp. 16,72 ff. The Anukramavzi, irshya- panayanam.

Stanza 1.

There is no allusion in the ritual to any precious sub-

stances gotten from a distance. The description here

' In this spirit Sdyava, mam eva narim pasyat mamaisvasnuk(- lam. But he offers also our rendering as an alternative, mam eva patye pradarsayat.

Nn 2

548 HYMNS OF THE ATHARVA-VEDA.

given would suit either saindhavam, ‘salt, or guggulu, ‘bdellium’ (cf. XIX, 38, 2). Perhaps, however, it simply tries to magnify the cost and potency of some ordinary substance (Kaus. 36, 25) by deriving it fictitiously from an unknown country far away.

Stanza 2.

Note the subtle symbolism of Kaus. 36, 27: the jealous man drinks water which has actually cooled the heated axe.

VII, 50. COMMENTARY TO PAGE 150.

For the practices associated with this hymn, see the introduction to the first part of IV, 38. Stanzas 1, 2, 5, 8,9 seem to have been composed directly with reference to the situation?» st:.3°(=RV.-V, 60; 2); st. 44 = RAE 102, 4); and stanzas 6.7 (=RV. X, 42, 9. 10) are adapted secondarily to the purpose in hand; see the notes below. Previous renderings by Ludwig, Der Rigveda, III, 455; Zimmer, Altindisches Leben, p. 285; Grill?, pp. 71, 180; Henry, Le livre VII de l’Atharva-véda, pp. 18, 75 ff. Cf. also Muir, Original Sanskrit Texts, V, 430. The Anukra- mazi, aindram, composed by kitavabandhanakamosngiraz (cl. sti)

Stanza 1.

d. badhydsam is ambiguous. Sdyava reads vadhydsam (hanishyami); the Anukramavi, above, has in mind the root bandh, ‘bind.’ Of Western translators, Grill, ‘fahn’ (fangen); the rest, ‘slay.’

The Anukra- mazi, aindram, composed by kitavabandhanakamosngiraz (cl. sti)

Stanza 1.

Stanza 3.

Adapted from a hymn to the Maruts, RV. V, 60,1; Maitr. S. IV, 14, 11; Faitorre Il) 70a, a ae tains the words vi fayat krztam nak, derived from the sphere of the gamester’s speech. Note the word krztam in the preceding stanza.

1 In the case of the second stanza this is not altogether certain : it savours of the Maruts. One may imagine Indra as the speaker.

VII; 50.. COMMENTARY. 549

Stanza 4.

Adapted from an Indra-hymn; cf. RV. I, 102, 4. The words vayadm gayema ... bhdre-bhare render the stanza usable on the present occasion.

Stanza 5.

The words sawlikhitam and saszridham are hopelessly obscure. I have rendered samlikhitam as though it meant ‘scratched clean,’ ‘cleaned out.’ The rendering of samz- rudham is purely etymological. Sayavza, loke hi kitavaz asmin pade pratikitavam akshasalakadibhiZ sasrotsydmi: ti ankan kurvanti tatraixva £a samzrundhanti. tadvzsaxz prati-. kitavostra sambodhyate, he kitava samlikhitasz padeshu samyag ankan likhitavantam api tvam agaisham ... sav- roddharam api tvam agaisham gayami. yadva sazzlikhi- tam samyag likhitawz Aihnitazz padam abhilakshya tvam gayami, uta api fa samzrudham.. . tad7zsasz sthanam abhi- lakshya tvam gayami. The Pet. Lexs. regard both words as obscure termini of the game. Ludwig, ‘ich hab dir abgewonnen das zusammengekratzte, ich hab dir abge- wonnen das zusammengescharrte. Grill, ‘was du ein- streichst, and, ‘was du zuriickbehieltst.. Henry, ‘(je t’ai) gratté de fond en comble (?), et j'ai gagné l’enjeu total (?).’

Stanza 6.

Adapted from an Indra-hymn, RV. X, 42, 9=AV. XX, 89, 9 (cf. also RV. X, 43, 5), where the gamester and the game appear by way of comparison. In Pada c, devakamo is felt in our version to have the double sense ‘loving play,’ and ‘loving the gods.’ It may be questioned whether the same intention is present in the RV.

Stanza 7.

Adapted from RV. X, 42, 10, &.=AV, XX, 17, 10, &c. Its juxtaposition in the RV. with the preceding stanza. and the occurrence of gayema, have brought it into the Atharvan compilation.

550 HYMNS OF THE ATHARVA-VEDA.

VII, 52. COMMENTARY TO PAGE 136.

This hymn is catalogued in the gava or series called sammanasyani in Kaus. 12, 5, and is accompanied by the practices described at AV. III, 30. It is rubricated further at Kaus. 9, 2, in the series designated by the Gazamala, Ath. Paris. 32, 26, as the great santigava. The first stanza of the hymn is found, with variants, Maitr. S. IT, 2, 67 Tai Br. II, 4, 4, 6. The hymn has been translated by Ludwig, Der Rigveda, III, 428 (cf. also p. 344); Grill®, pp. 31, 181 ff.; Henry, Le livre VII de l’Atharva-véda, pp. 19, 79. The Anukramavzi designates it as simemanasyam asvinam.

S. IT, 2, 67 Tai Br. II, 4, 4, 6. The hymn has been translated by Ludwig, Der Rigveda, III, 428 (cf. also p. 344); Grill®, pp. 31, 181 ff.; Henry, Le livre VII de l’Atharva-véda, pp. 19, 79. The Anukramavzi designates it as simemanasyam asvinam.

Stanza 1.

The first stanza is described by the Anukramazi as kakummaty anush/ubh, but the irregularity vanishes, if we read suébhiak ... arazebhiak. The Tait. Br.—but not the Maitr. S.—substitutes the classical forms svaiz and arazaif, thus disguising the metre still further.

Stanza 2.

a. Cf. the parallel Pada, RV. X, 30, 6 c.

b. The text as it stands! yields the following transla- tion: ‘may we not struggle with one another in fateful spirit.’ But a suggestion of Grill seemed to me too fasci- nating to resist, he emends manasa daivyena to manasa- daivyena= manasa adaivyena, and our translation presup- poses this text. At RV. II, 23, 12 we have, adevena manasa yo rishavyati ...eighassati, ‘he who attacks in a spirit displeasing to the gods . . . (and) desires to murder.’ Prof. Henry’s rendering, ‘ne point lutter contre lesprit divin,’ though possible grammatically, imposes upon mdnas

* Shankar Pandit, with Sayama and many MSS., reads yushmahi for yutsmahi. Sdyava, ma viyukta bhima. Another variant yus/- mahi is nothing but a misspelling of yutsmahi ; cf. Kausika, Intro-

duction, p. Ixi, and variant forms like kaputsala and kapu/ala (Bohtlingk’s Lexicon),

VI, 53. COMMENTARY. 551

the meaning of ‘law, decree,’ and the like, and has an un-Vedic flavour according to my judgment.

ce, d. Literally, ‘may the noises not arise when there is frequent (continuous) slaughter 1,’ &c.

It is not at all clear what the day of Indra has to do with the cessation of carnage. Is it that Indra by fighting his battle removes all need of fighting enemies? Or, is the day of Indra simply the battle-day? The latter seems more natural. The word dhani seems to harbour one of the inevitable puns, suggesting ‘non-slaying, i.e. perhaps ‘the end of any need of fighting on the part of men.’ See also Prof. Henry’s careful discussion of the passage.

VII, 53. COMMENTARY TO PAGE 52.

The latter seems more natural. The word dhani seems to harbour one of the inevitable puns, suggesting ‘non-slaying, i.e. perhaps ‘the end of any need of fighting on the part of men.’ See also Prof. Henry’s careful discussion of the passage.

VII, 53. COMMENTARY TO PAGE 52.

The hymn belongs to the class of ayushyavwi, ‘hymns designed to prolong life;’ cf. the 4yushyagava, Ath. Paris. 32, 4, at Kaus. 54, 11, note, and the Anukramawzt, Ayu- shyam uta barhaspatyam asvinam. The ayushya-hymns are very uniform in character; the present one exhibits especially noteworthy points of contact with VIII, 1. Kaus. 55,17 prescribes its employment, along with many more of a similar character, at the ceremony of investiture (upana- yana)*. The seventh stanza, familiar in the Saszhitas and the ritual, is employed at Kaus. 24, 32 on rising from sleep during the agrahayavi, the spring-festival at the full-moon of the month agrahayava, or margasirsha. At Vait. Sd. 24, 4 it is spoken in stepping out of the bath (symbolic application: as the sun rises from the celestial sea; cf. XI, 5, 26). Cf. also Kaus. 55, 15, note ;°58, 18, note, and Ath. Paris. 43, 1.

The hymn has been translated by Muir, Original San-

' Sayama reads vinihrute, and glosses, kau/ilye nimitte ghoshah

vaimanasyanibandhanad sabdah ... utthitd ma bhfivan, yadva bahulasabdena tamo vivakshyate . .. visesheva stainyadikau/ilya- nimitte bahule tamasi ... ghoshaA ma bhfivan.

2 Cf. also SAantikalpa 17, 18, which is quoted by Sayana erroneously as Nakshatrakalpa.

552 HYMNS OF THE ATHARVA-VEDA.

skrit Texts, V, 443; Grill?, pp. 15, 182 ff.; Henry, ie livre VII de l’‘Atharva-véda, pp. 20, 80 ff. Cf. also Ludwig, Der Rigveda, IIT, 341.

Stanza l.

Repeated with variants at Vag. S. XXVII, 9; Maitr. Ss LE 1.3,257- Cod. somewhat indistinctly tatrflasfitreva, obviously for tan nilasftreva, and that again for tam (sc. mamdikam) nflasfitreva, the plural tan being a corruption derived from the plural mantroktan in, 26,:: eee

VII, 116. COMMENTARY. 567

being himself cold and moist. I would also draw attention to RV. X, 166, 5, where in the course of a hostile charm occurs the expression, 4 vo mirdhanam akramim, adhas- paddn ma tid vadata mazditka ivo«dakat, ‘I have stepped upon your head; from under my feet do ye speak up to me like frogs from the water.’ A touch of this idea also is perhaps worked up symbolically in the present practice, and even more clearly in the related performance at Kaus. 48, 40.

48, 40.

The combination of the colours blue and red is associated everywhere with hostile witchcraft. In RV. X,85, 28=AV. XIV, 1, 26 (cf. Sankh. Grzh. I, 12, 8; Apast. Grth. I, 5, 23) the bridal garment polluted during the consummation is spoken of as, nilalohitasz bhavati kvztyassaktir vy agyate, ‘blue and black it is; the sorcery, the inherent (evil) ”, is driven out. In AV.IV, 17, 4 (see our note on that stanza) a hostile charm is. made in a blue-red vessel, and red and blue threads are spread out against enemies in AV. VIII, 5, 24 (cf. Kaus. 16, 20). This sinister employment of red and blue renders it unlikely that the use of the same colours in German wedding-practices is in any way to be connected with the Hindu conception; see Weber, Indische Studien, V, 308, note 4; Winternitz, Das altindische Hochzeitsrituell nach dem Apastambiya-Grvzhyastitra (Imperial Academy of Vienna, vol. xl), p. 67; Hillebrandt, Mitteilungen der Schlesischen Gesellschaft fiir Volkskunde (1894-95), I, 39 ff. Why, now, is blue and red fit for Hindu sorcery practices? Is nilalohita night and day?

On the other hand it seems difficult to dissociate from the present practice the Bohemian frog-charm which Groh- mann, l.c., reports as a cure against fever: ‘In Bohemia the practice is to cure chills and fever (kaltes fieber) by catching a green frog at the time of the morning dews on the day preceding that of St. George. This is sewn into a bag which is hung about the neck of the patient without his

1 Cf. the Sfitra 26, 20 in connection with the jaundice cure, vadata (sc. sakunin) upasthapayati, and Kesava’s comment thereon. 2 For Asaktf, see Ludwig’s excellent remark, Der Rigveda, vol. v,

p- 398.

568 HYMNS OF THE ATHARVA-VEDA.

knowing its contents. Then the patient must pronounce the lord’s prayer nine times on nine days before sunrise. On the ninth day he must go with prayer to the river, cast the bag into the water, and return home praying and without turning his face.’

The hymn has been translated and expounded by Groh- mann, l.c., pp. 386, 414; Zimmer, Altindisches Leben, p. 381; and Victor Henry, Le livre VII de l’Atharva-véda, pp. 45, 124. The hymn is quoted also as one of the takmana- sanagava in the Gavamala, Ath. Paris. 32, 7 (Kaus. 26, 1, note).

Stanza 1.

As the verse stands the first half is hopeless prose, and yet the second half is a good gagati-pada. Henry, l.c., p. 125, makes the exceedingly ingenious and plausible suggestion that the first half consisted originally also of two gagati-padas, and stood,

ndmo rfr&ya Ay4vandya dhrishndve, namo rfiraya &édandya dhrzshnave.

Henry, l.c., p. 125, makes the exceedingly ingenious and plausible suggestion that the first half consisted originally also of two gagati-padas, and stood,

ndmo rfr&ya Ay4vandya dhrishndve, namo rfiraya &édandya dhrzshnave.

These were then by a species of haplology! fused, so as to yield namo rdiraya kyavanaya kddanaya dhrishnave. Still we would not go as far as Henry himself does, and make this reconstruction the basis of a translation, especially as either the word #yavanaya, or kddanaya (more probably the latter), might have entered the text as a gloss. The expulsion of either yields a good gagati-pada, and the tradition may at any rate be respected as long as it does not interfere with good sense.

a. For rirdya, see the note to V, 22, 10a, and cf. I, 25, 4; for kodanaya, Shankar Pandit with SAyaza and some MSS. reads nddanaya.

b. pirvakamakz/tvane is obscure. The Pet. Lexs. trans- late it, ‘alte wiinsche erfiillend ;’ Grohmann and Zimmer, ‘nach altem triebe thiatig.’ Grohmann supposes that the

* For haplology in Vedic Sanskrit, see the author in the

Proceedings of the American Oriental Society for 1893 (Journal, vol. Xvi, p. XXXiv).

VIII, I. COMMENTARY. 569

word refers to the periodicity of the attacks of fever. Henry thinks that the word is to be divided as a compound into pirva-kamakvztvan rather than pfirvakama-krztvan, and accordingly translates, ‘ qui, des temps immémorial, agit a sa guise. Sadyaza, pirvesham abhilashav4m kartitre £ettre, as if -kvztvane were derived from root krit,‘ cut.’ The com- bination k4mam kar occurs RV. X, 61, 6, kamam krinvané pitari yuvatydm, ‘when the father was satisfying his desire on the young daughter’ (cf. stanza 7), and this, when strictly applied to the compound, might yield the result ‘having formerly satisfied his (sexual) love,’ i.e. ‘the takmdn due to (excessive) sexual intercourse.’ According to Susruta sexual love (kama) is one of the causes of fever (cf. Groh- mann, p. 386, note). But we must not omit the comparison of the (itself doubtful) word pirvakritvari, XII,1, 14.c, which seems to mean ‘ anticipating (wishes) by deeds.’ The present — epithet may aim to conciliate the takman by extravagant praise of this sort. I have, however, adopted the rather non-committal rendering, ‘he who in the past fulfilled desires.’ This may refer to excesses, or to willingness.

Stanza 2.

For anyedyuz and ubhayadyus, see the notes on I, 25,44; for avrata/, the note on VI, 20, Ic.

VIII, 1. COMMENTARY TO PAGE 53.

I have, however, adopted the rather non-committal rendering, ‘he who in the past fulfilled desires.’ This may refer to excesses, or to willingness.

Stanza 2.

For anyedyuz and ubhayadyus, see the notes on I, 25,44; for avrata/, the note on VI, 20, Ic.

VIII, 1. COMMENTARY TO PAGE 53.

This is an almost impassioned prayer for long life: the heavenly powers, the vital principles, and the human being for whom the prayer is made are implored alike to co- operate in bringing about the result. In the ritual the hymn figures therefore as an ayushyam (sc. siktam), ‘a hymn that bestows long life ;’ accordingly it holds mem- bership in the ayushyagava of the Gazamala, Ath. Paris. 32, 4 (Kaus. 54,11, note; cf. also 139,7). At Kaus. 55,17 it is employed in the course of the investiture of the young Brahman with the holy cord; at Kaus. 58, 3. 11 in certain special ceremonies (brahmavoktam, and rishihasta%, Sd. 4)

570 HYMNS OF THE ATHARVA-VEDA.

calculated to ensure longevity. Cf. also Santikalpa 23°; Ath: (Barisy37, 2

The hymn has been rendered by Muir, Original Sanskrit Texts, V, 443 ff.; Ludwig, Der Rigveda, III, 495 ff.; Henry, Les livres VIII et IX de | Atharva-véda, pp. 1, 35 ff.

Stanza 1.

The obeisance to death is in the nature of indemnification for the loss of his victim. For Pada b,cf. AV. VII, 53, 2-6; for Pada d, RV. X, 66, 2.

Stanza 2.

The expression s6mo amsuman has a double meaning that cannot be reproduced in translation. Soma (the moon) with his rays, or soma (the plant) with its shoots. The former meaning is likely to have been uppermost in the mind of the writer who is here dealing with personified gods. Cf. Hillebrandt, Soma, p. 300, note 3.

Stanza 6.

M. Henry points out very properly that Padas a and c allude to the sun: as the sun ascends, so shall the young Brahman ascend to life, and mount the very chariot of the sun, in order to reach the zenith of his life. Sayaza suggests the senses and the body. In Pada d Sayaza has agirvih for girvid in Shankar Pandit’s MSS. (the same MSS. at XIV, 1, 21 also read girvir for givrir). The sense with this reading is quite as good as that in the text: ‘then without decaying thou shalt hold converse, &c.’ The passage is formulaic’; “th “AV XIV, 1, 212° RV. cog, oe vidatham, cf. the note on V, 20, 12.

Stanza 8.

The word éhi at the end of Pada c is metrically super- fluous. Sdyavza seems to follow a redaction which does not exhibit it, since he neglects to comment upon it.

* Cited erroneously, as usual, by Sayaa as Nakshatrakalpa. —

VIII, I. COMMENTARY. 571

Stanza 9.

the note on V, 20, 12.

Stanza 8.

The word éhi at the end of Pada c is metrically super- fluous. Sdyavza seems to follow a redaction which does not exhibit it, since he neglects to comment upon it.

* Cited erroneously, as usual, by Sayaa as Nakshatrakalpa. —

VIII, I. COMMENTARY. 571

Stanza 9.

a. Sayavza does not.comment upon préshitau, but supplies (iti seshaX) the verb badhatam. The word is at any rate suspicious, being readily derivable from the ianguage that belongs to the myth of the two dogs (cf. RV. X, 14, 11b, 12b). Henry, after stating the difficulty very clearly, changes it to pishatam, fairly similar in sound, but quotable only at AV. IV, 6, 7, and not very suitable in meaning. We have retained préshitau, and have supplied ‘go after’ (anu ar, RV. X, 14, 12b) from sheer conservatism 4, recognising, however, quite clearly that the original text is disfigured by reminiscences from the RV., and that some other word is very likely to have been thrown out by the glossarial

préshitau. Stanza 10.

Cf. the abhayagaza of the Gavamala, Ath. Paris. 32, 12, excerpted in Kaus. 16, 8, note.

Stanza 11.

Frequently rubricated in the Ath. Parisishzas: 13, 1; 15;°17,1; 187,1.13. The fires in the waters are the lightning in the clouds; cf. RV. VIII, 43, 9, and the parallel

versions. Stanza 138.

The adjectives and participles are momentarily per- sonified in the manner of Roman divinities like Fabulinus, Edusa, Potina, and the like. Bodha and Pratijbodha, Asva- pna and Gagrzvi are said to be Azshis at AV. V, 30, 10, and Sdyavza here speaks of all six personifications as Rishis.

Stanza 15.

Bohtlingk’s lexicon, Whitney in the Index Verborum, and Sayama (glossing the word by sammodaya) propose samz- thade for samide. As natural as this correction seems, it is nevertheless not unavoidable: samud in the sense of

' The Paippalada has the same word, préshitau.

572 HYMNS OF THE ATHARVA-VEDA.

‘conversation’ makes excellent sense in the light of st. 6d and VIII, 2, 3d. The word in either form is Gm. Aey.

Stanza 16.

a. Sayava renders gambhad sdmhanur by ‘the Asura Gambha with shut teeth!’ and it may be that nothing more specific than some such folk-lore notion is contained in the word. See, however, our full discussion of the word at AV. II, 4,2. Ludwig, ‘der zahn mit den kiefern.’

Aey.

Stanza 16.

b. The rendering of the expression mé& gihvd (Padapatha, gihva 4) barhiz is mere guess-work. It would seem as though the words at any rate depicted some evil influence, parallel with gambha and tdmas in Pada a. S&yawa, barhir iva ayamavistaropeté uhyamanéa gihva rakshazprabhritehk sam- bandhini, ‘the tongue of the Rakshas, or the like, spread wide as the sacrificial straw. Ludwig suggests, gihva abarhiz, ‘nicht (soll) die zunge an sich reissen.’ Henry, ‘the tongue (of the fire) shall not gain hold of the barhis (but only of the libation)’—an unexpected ritual statement, unlikely in this connection, aside from the difficulty of sup- plying a fitting verb with the preposition 4. The verb that is required is vidat (Pada a). Our rendering is based upon a compound gihva-abarhiZ: see the root 1. barh with a, Non liquet.

Stanza 19.

For Pada b, cf. VIII, 2, 4; for c,d, Contributions, Second Series, Amer. Journ. Phil. XI, 336 ff.

Stanza 20.

The stanza recurs with variants at RV. X, 161, 5, and AV. XX, 96, 10. Stanza 21.

Sayava glosses vy avat with vyaukkfat, thus obviously deriving the word from the root vas, ‘shine. An extra- ordinary instance of grammatical insight in the midst of

" He offers also alternately, samhatahanur gambha asthOladanto ma vindatu ... bhaksayitum.

VIII, 2. COMMENTARY. 573

numberless inaptitudes. Whitney, in the Index Verborum, doubtfully suggests the same correct derivation.

VIII, 2. COMMENTARY TO PAGE 55.'

This hymn, like the preceding, is a prolonged prayer designed to ensure long life (€yushyam), and, accordingly, it is employed in the ritual on all occasions that demand the use of VIII, 1. But the last stanza (28) adds a special feature to the present hymn which it does not share with the preceding. From this it appears that the life-bestowing element which the poet has in mind is (an amulet of) the pitudru-tree!, and, accordingly, the hymn is employed independently, at Kaus. 58, 14 ff, in the ceremony of giving a name to a child (ndmakarava): (the child is placed upon the lap of the mother) and an uninterrupted stream » of water (avié/innam ; cf. akkidyamanam in st. 1 b) is turned upon it. Then an amulet derived from the pfitudru-tree is fastened upon it, and it is given drink. Individual stanzas of the hymn are employed in other ceremonies connected with the sacramental moments (samskara) in the child’s life: they will be noted below. Cf. also Santikalpa 17. 1g. 23.

The hymn has been translated by Muir, Original Sanskrit Texts, V, 447 ff.; Ludwig, Der Rigveda, III, 496 ff.; Henry, Les livres VIII et IX de l’Atharva-véda, pp. 4, 39 ff.

Stanza 1.

Cf. also Santikalpa 17. 1g. 23.

The hymn has been translated by Muir, Original Sanskrit Texts, V, 447 ff.; Ludwig, Der Rigveda, III, 496 ff.; Henry, Les livres VIII et IX de l’Atharva-véda, pp. 4, 39 ff.

Stanza 1.

a. Shankar Pandit’s MSS., and Sayawza, read snish¢im for srush¢#im of the vulgate (cf. the note on III, 30, 7).

Sayaza glosses, snush¢im prasnutim...upakramasva... yadva kumarasya haste avifdinnadm udakadharam ninayed (cf. Kaus., above)... tasya snushfim. All this can only

mean, insipidly, ‘take hold of this heap of immortality

1 The Atharvanists gloss the word with devadaru (pinus deodora) ; so also the gloss at Apast. Sr. VII, 5, 6. The Atharvaniya- paddhati at Kaus. 58, 15, sala (vatica robusta). Cf. also pfitadru and pitudaru in the lexicons.

574 HYMNS OF THE ATHARVA-VEDA.

a a (amréta);’ but our own rendering (cf. VIII, 1, 7. 8) is pro- blematic. The Pet Lex. (s.v. srish¢i), ‘fasse vertrauen zum nichtsterben ;’ Muir, ‘this boon of immortality ;’ Ludwig and Henry, ‘this composition about immortality.’ None of these renderings do justice to the meaning of srushdi.

Stanza 6.

For the character of the epithets in this stanza, see the nores'on Vill, Oe os LN, 20.2.

Stanza 9. The second hemistich occurs in a different connection at Kaus. 97, 6, in a practice destined to restore peace in a quarrelling family. For Pada d, cf. RV. X, 18, 4.

Stanza 11. b. For garam mrztyim I read garamrztyum ; cf. II, 13, 2; bh ge doe IP Stanza 12. This and the following stanza are again employed in a general way in course of the practices at Kaus. 97, 3; cf. the note on st. 9. See also Santikalpa 15.

Stanza 14.

Employed variously in the practices connected with childhood and youth: at the nirvzayava, the ceremony of taking the child out of the house for the first time, Kaus. 58, 18; at the £idakarama, ‘the making of the crest, Kaus. 54, 17; cf. also the Paddhatis in the note on Kaus. 58, 17. For abhisrifyau, cf. Bergaigne, Etudes sur le lexique du Rig-véda, p. 108 ff.; Pischel, Vedische Studien, I, 53 ff. Sayava reads adhisriyau (praptasrike sriprade stam).

Stanza 16. Cf. Kaus. 58,173. Vait. Sd.:to, 6; Ath. Paris-99."4;

Stanza 17.

See Kaus. 53, 19 (godana) ; 55, 3 (upanayana) ; and also the Paddhatis at Kaus. 58,17. Cf. AV: VI, 68.

VIII, 5. COMMENTARY. 575

Stanza 18.

Employed at the annaprasana, the ceremony at which the child is given solid food for the first time, Kaus. 58, 19; cf. also 58, 17, note. For baldsa, see the note on V, 22, 11.

Stanza 20.

See Kaus. 58, 20, and cf. 58, 17, note. Also Ath. Paris. 4,4. For imam me, cf. AV. I, 10, 2d; VIII, 2, 20 d.

Stanza 22. See Kaus. 58, 21, and cf. 58, 19, note.

WITld) 5. COMMENTARY TO PAGE 79.

58, 19; cf. also 58, 17, note. For baldsa, see the note on V, 22, 11.

Stanza 20.

See Kaus. 58, 20, and cf. 58, 17, note. Also Ath. Paris. 4,4. For imam me, cf. AV. I, 10, 2d; VIII, 2, 20 d.

Stanza 22. See Kaus. 58, 21, and cf. 58, 19, note.

WITld) 5. COMMENTARY TO PAGE 79.

The hymn is addressed to an amulet made of the srak- tya-tree, defined by the commentators with great unanimity as the tilaka-tree (clerodendrum phlomoides). tion of the universe ; see Plato's Symposium 6. Of such hymns the Atharvan has two, XIX, 52, in addition to the present. Cf. Muir, Original Sanskrit Texts, V, p. 402 ff.; Scherman, Philosophische Hymnen, p. 76 ff.

The personification of Kama as a supreme being suggests very quickly his power to protect those who worship him, and to destroy the enemies of the worshipper. The Atharvan naturally rings the changes upon these more ordinary divine qualities: the personal Kdma is dealt with much in the same spirit as Agni, many of whose attributes are conferred upon him. For the relation of Kama to Agni, see Weber, Ind. Stud. V, 225 ff. In the ritual the entire hymn, as well as single stanzas of it, is degraded into ordinary witchcraft charms against enemies, without special signi- ficance: see Kaus. 49, I; 48, 53 24, 29, and cf. 46, 9, note; Vait. Sa. 24,197. The hymn has been translated in full by Ludwig, Der Rigveda, III, 529; Henry, Les livres VIII et IX de l’Atharva-véda, pp. 84, 118 ff. More or less frag- mentary translations are offered in the two works cited above; cf. also Hillebrandt’s Vedachrestomathie, p. 40 ff.

Stanza 1. a,b. For the distinction between ghvita and agya, see

the Gvzhyasamgraha I, 106 (Zeitschr. d. Deutsch. Morgenl. Gesellsch. XXXV, p. 567).

Stanza 2.

This and the following stanza are rubricated along with certain other mantras in the du/svapnandsanagaza, a series of stanzas designed to obviate the effect of evil dreams, in the Gazamala, Ath. Paris. 32, 8. See Kaus. 46, 9, note.

* Quoted in the Ath. Parisish/as (e.g. 10) as kamasfiktam.

IX, 2. COMMENTARY. 593

b. Prof. Roth in the Pet. Lex., s.v. bhas, regards this passage as corrupt, and conjectures yasmad bibhatse yak ka nasbhinande, ‘ which I loathe and which I do not enjoy.’ The motive of the correction, in addition to the poor metre, is the usual transitive use of abhi nand, ‘take pleasure in, and the like; this does not seem to me to warrant so com- plete a transformation of the text.

ec. The Pada is hypermetric, and may be normalised by reading muzka for mu#kami. But the imperative first sing. act. without ni is not elsewhere known in the Atharvan.

Stanza 3.

ec. The Pada is hypermetric, and may be normalised by reading muzka for mu#kami. But the imperative first sing. act. without ni is not elsewhere known in the Atharvan.

Stanza 3.

b. asvagata occurs but one other time, AV. XII, 5, 40, asvagata pdrihvuta, a very obscure passage. The Pet. Lexs. translate ‘heimatslosigkeit ;’ Ludwig, ‘ unfreiheit’ (cf. Der Rigveda, III, 284); Henry, ‘dépendance.’ The adjective asvaga occurs in a closely parallel passage, XII, 5, 45, asvagam apragasam karoti; I would compare svastha and asvastha, ‘well’ and ‘unwell;’ svasthata and asvas- thata, ‘ well-being’ and ‘diseasedness.’ For dvarti Vag. S. XXX, 12 has avarizti, ‘ trouble’ (Ludwig, ‘ verarmung’); cf. perhaps Avestan hamvareti of opposite meaning, ‘ defence, courage.’

Stanza 5.

Vak Virag (cf. Khand. Up. I, 13, 2) is the same Vak who is designated RV. VIII, 100, 11, ‘as the milch-cow whom the gods begot;’ cf. AV. VIII, 9, 2, and Oldenberg, Zeitschr. d. Deutsch. Morgenl. Gesellsch. XX XIX, 54 ff. In Pada d the metre is sensibly relieved by dropping pasavo (so also st. 16); nevertheless I should hesitate to correct, because the same RV. stanza states ‘that multiform animals (pasava/) speak her (vas). The argument may, of course, be turned the other way, by assuming that pasdvo is due to a reminiscence from that very stanza.

Stanza 9.

a,b. For indragni, nominative for vocative, coupled with kama, vocative, cf. Delbriick, Altindische Syntax, p. 105.

[42] Qq

594 HYMNS OF THE ATHARVA-VEDA.

The dual number of the verb in the next Pada may be due to the dual number of indragni.

d. This seems to be the full form of the Pada which occurs previously (st. 4) in a defective form.

Stanza 12.

The same stanza with one variant occurs in a different connection at III, 6,7. This, as well as the next stanza, seems to be interpolated.

Stanza 13.

It is impossible to reproduce the chain of puns in this clap-trap stanza; yava-ydvano, moreover, is somewhat ambiguous, as yavan may come either from yu, ‘ ward off’ (so we, with Whitney in the Index Verborum), or ya, ‘go’ (so Ludwig). The Pet. Lexs. do not analyse the word, simply translating it ‘abwehrend.’ Cf. in a general way the hymns II, 7; VI, 91.

Stanza 16.

Pada a ends at trivardtham (read sarma as three syllables) ; udbhu seems to be a gloss. Pada b is hypermetric, and may be relieved by casting out brahma and krztam (Henry). For Padas c, d, cf. st. 5 c,d, apparently the more original source of the passage.

Stanza 19.

At fsa Upanishad IV, the ‘one’ (ekam) is similarly lauded, naisnad deva Apnuvan pirvam arshat (arsat). Cf. Ath Paris. 48, 2.

Stanza 22.

Cf. Vag. S. XXIV, 25,903 AVL, os Vice Stanza 23. NManyu is ‘courage,’ personified; cf. RV. X, 83, 84.

Stanza 25.

The purpose of the passage seems to be to ensure whole- some desires, fit and capable of realisation; evil thoughts,

Cf. Ath Paris. 48, 2.

Stanza 22.

Cf. Vag. S. XXIV, 25,903 AVL, os Vice Stanza 23. NManyu is ‘courage,’ personified; cf. RV. X, 83, 84.

Stanza 25.

The purpose of the passage seems to be to ensure whole- some desires, fit and capable of realisation; evil thoughts,

IX, 3. COMMENTARY. 595

unfit for fulfilment, shall not trouble the suppliant. But dhiyaX may refer perhaps to the hostile prayers of the enemy, which shall not injure him that prays to Kama.

IX, 3. COMMENTARY TO PAGE 193.

The character of this hymn is such that its proper object did not reveal itself clearly, until. its application appeared plainly stated in the Kausika. Zimmer, p. 153 (cf. the translation, p. 151 ff.), supposes that the hymn is a charm to free one’s house from imaginary witchcraft practices,which have been placed as fetters upon it (cf. stanzas 5, 6, 24). Ludwig, Der Rigveda, III, 464 ff, translates the hymn under the title, ‘ Removal of a house, without stating the precise situation ; he comes very near the truth, yet misses the main point. Grill*, pp. 60, 188 ff., fails to find any reason for a removal, and construes the hymn (just as IIT, 12) as a dedicatory ceremony after the erection, and before occupation. And Henry, Les livres VIII et IX del’ Atharva- veda, pp. 87, 121 ff., seems to underrate the significance of its employment in the Sitra. He suggests that the hymn alludes to the building of a house, but accentuates the successive removals of the ancillary frame, the scaffolding, as the house advances from stage to stage.

The Kausika treats the hymn in 66, 22-30, and Kesava epitomises the treatment very well by designating the ceremony as sdlasavam, i.e. the solemn bestowal upon a priest of a house as dakshivd. See his comment on Kaus. 64-66, especially page 365, lines 1, 2, and cf. also the intro- duction to XI,1. The Kausika’s rather elaborate treatment is as follows: Sd. 22.‘ While reciting AV. IX, 3, that which is about to be given along with the house is (placed) within (the house) covered up. 23. It is recommended, moreover, that the objects mentioned in the hymn (be given as addi- tional gifts). 24. While reciting st. 18 the door is removed. 25. While reciting st. 22 they take up the water-vessel and the fire and enter the house. 26. That (water-vessel) is anointed with the dregs (of ghee) after they have arrived

Qq2

596 HYMNS OF THE ATHARVA-VEDA.

within (the house), while the (entire) hymn is being recited. 27. Having sprinkled the house (with water) from the anointed water-vessel, having recited the stanzas (of the hymn) over it, having addressed (the recipient), the giver, being made to speak (what?), presents (the house)?. 28. (The recipient) while reciting st.15 acceptsit. 29. While reciting the first stanza he loosens the objects mentioned in the stanza*. 30. Addressing them with st. 24 he carries them off.’

The Anukramavzi designates the hymn simply as sala- devatyam. For previous translations see above.

(The recipient) while reciting st.15 acceptsit. 29. While reciting the first stanza he loosens the objects mentioned in the stanza*. 30. Addressing them with st. 24 he carries them off.’

The Anukramavzi designates the hymn simply as sala- devatyam. For previous translations see above.

Stanza 1.

One may imagine that the upamit is a vertical post, the pratimit a slanting support to hold the house in position, the parimit a crossbeam connecting the vertical posts; but no certainty can be reached in words which are likely to be technically flavoured. Cf. Kaus. 66, 29, above.

Stanza 2.

Indra’s double Byzhaspati here slays Vala, as in RV. X, 67 and 68; cf. also ITI, 23, 18: II, 24, &c. Vala (Vretra) is often described as lying unloosened, undone, after Indra’s attack ; hence the comparison.

Stanza 3.

e. The Pada may be rendered, more concisely, ‘asa skilful butcher the joints (of an animal).’ Our rendering is based upon the conviction that the poet has in mind the ritual butcher. Cf. RV. I, 162, 18. 20, and Contributions, Sixth Series, Zeitschr. d. Deutsch. Morgenl. Gesellsch. XLVI IT, 556. The point of the stanza is, of course, that the parts of the house shall not be damaged in the course of their transfer to the priest.

” Cf. Kaus. 63, 22, which also leaves some of the terms in this Sfitra in the dark,

* The buttresses, supports, and connecting beams.

IX, 3. COMMENTARY. 597

Stanza 4.

Again the terms are technical, and not at all clear. I have rendered pakshd by ‘side,’ in deference to uldkapakshi (sc. sala) in Pazini, IV, 1, 55, and Mahabhashya, IV, 29b. Cf. AV. III, 7,3, Aatushpaksham khadth (Sayana, katushkozam), ‘roof with four sides or facades ;’ see also st. 21 of our hymn. Zimmer and Grill, ‘seitenpfosten;’ Ludwig, ‘zimmer ;’ Weber in his comment on ITI, 7, 3 (Ind. Stud. XVII, 210), ‘vierbeschwingtes dach ;’ Henry, ‘ chambranles.’

Stanza 5.

ce. For manasya patni, see our comment on III, 12, 5.

- Stanza 6.

a,b. The difficult expression in this hemistich is razyaya (kam), which is a Gm. Aey. when accented with the svarita on the last syllable. Ordinarily the word is raya, one of whose meanings when used as a noun is ‘pleasure, joy.’ This meaning is at the base of our translation ‘ for comfort ;’ but what are those ropes (sikyani) which are tied within for comfort? Non liquet. The Pet. Lexs. and Zimmer give it up. Ludwig translates etymologically, ‘dass die theile in ihrer lage verharren,’ and Grill follows the suggestion up by proposing the emendation rdmavzaya. Henry, ‘ pour (te) maitriser’ (cf. his note). The real difficulty is with sikyani, which is doubtless an obscure technical term.

Ludwig translates etymologically, ‘dass die theile in ihrer lage verharren,’ and Grill follows the suggestion up by proposing the emendation rdmavzaya. Henry, ‘ pour (te) maitriser’ (cf. his note). The real difficulty is with sikyani, which is doubtless an obscure technical term.

e, d. The second half of the stanza, as it stands, disturbs the run of the metre (Anukr., pathydpankti), and possibly needs correction. By dropping manasya patni and uddhita the last Pada is restored as sivd nas tanvé bhava, in accord- ance with similar expressions in I, 12, 4; VIII, 1,5; 2,16. Cf. st. 21 c, d,e, which is similarly irregular, and also contains the expression mdnasya patnim.

Stanza 7.

The various designations of the house represent a fairly complete summary of the huts and other sheltered places

598 HYMNS OF THE ATHARVA-VEDA.

which are needed in the larger Vedic (srauta) sacrifices ; see the Pet. Lex. under each, Zimmer, p. 154, and cf. especi- ally Vag. S. XIX, 18; Tait. S. III, 2, 4, 3.4. The divergent metre of the stanza (8+8+12: Anukramazi, paroshzih), and the interruption which it occasions in the account of the breaking up of the house, render it very suspicious. The bestowal of sacrificial epithets upon the house are obviously intended to enhance its value in the eyes of the recipient.

Stanza 8.

Technical terms again render this stanza obscure. I imagine a covering of wicker-work, the openings in which suggest a thousand eyes, stretched across a beam and slant- ing down from it to both sides (vishfvati) in the manner of our roofs. The passage seems, perhaps, to harbour a com- parison of the roof with the head and the head-dress of a woman (cf. opasa and vishiivati, and see the note on VI, 138,1). Professor Geldner, Vedische Studien, I, 136, renders the stanza: ‘die in der mitte als diadem ausgespannte tausendaugige befestigte aufgesesetzte stange losen wir durch besprechung.’ But what occasion is there for a pole with thousand eyes, i.e. countless holes!? Ludwig renders akshum opasam by ‘das locherige geflecht;’ Grill, ‘das ausgespannte flechtennetz ;’ Zimmer, l.c., and p. 265, ‘das netz das iiber den schopf (gespannt ist);’ Henry, ‘le réseau tendu.

Stanza 10.

a. He that bestows a house in this world gets it back again in heaven. Ludwig, ‘in jener welt (soll) es ihm entgegen- kommen.’ Kausika’s construction of the hymn renders the meaning very clear.

Stanza 15.

At this point the recipient of the house (cf. Kaus. 66, 28,

above) begins to see to it that the house shall produce for

' The employment at AV. VIII, 8, 18, of the root han, ‘slay,’ with akshugalabhyam does not prove 4kshu to mean ‘ pole, club :’ that which catches the enemy may be imagined to slay him; cf. also st.7. Sdyava at RV. I, 180, 5, divides 4-kshu, ‘not perishing.’

IX, 3. COMMENTARY. 599

him all expected benefits, and he does not hesitate to ‘take his mouth full.’ The picture is a vivid one.

also st.7. Sdyava at RV. I, 180, 5, divides 4-kshu, ‘not perishing.’

IX, 3. COMMENTARY. 599

him all expected benefits, and he does not hesitate to ‘take his mouth full.’ The picture is a vivid one.

e. Similar and yet different is RV. X, 121, 5, yo antari- kshe ragaso vimana; cf. also RV. VI, 7;7; 69,5; AV. LY, 25, 2.

e. The Pada is de trop in form and sense (Anukr., trya- vasana pa#kapada:tisakvari). If it originally stood here at all, it is spoken by an agent of the recipient who receives the house for him (tasmai). Or tasmai is an ethical dative, ‘in the interest of him (the donor).’

Stanza 17.

b. A bold and beautiful comparison this, between the house and night who gathers to her bosom all creatures. In the hymn to night, RV. X, 127, 5, we have: ‘ The throngs (of beings) have gone to rest, those who go on foot and fly by wing ; gone to rest have the preying eagles.’ Cf. also AV. III, 12, 5. Grill applies the pruning-knife to this and the preceding Pada (11+12: Anukr., prastarapankti), in order to exact two anush/fubh Padas, trézair vasdna rdtri sva sél4 gagannivésant. This amounts to independent com- position, not very good at that, since it leaves the first Pada, a good trish¢ubh, in bad shape.

Stanza 20.

a,b. With vi gdyate and pragayate, cf. vigavati pragavati in stanzas 13, 14. Stanza 21,

Ludwig here, as in st. 4, translates paksha by ‘room:’ ‘das zweizimmerig, vierzimmerig, &c. gebauct wird;’ the Pet. Lex., Zimmer, and Grill, ‘ pfosten.’ But see the note on st. 4, and cf. Kaus. 135, 9 (p. 287, |. 5), ash¢asthtio dasapakshaZ, showing that paksha and sthtiva cannot both mean ‘pillar, post. The exact meaning of the word is after all not clear. Cf. Henry’s note on the passage.

ce. For agnir garbhe, see Contributions, Fifth Series, Journ. Amer. Or. Soc. XVI, pp. 15, 16.

600 HYMNS OF THE ATHARVA-VEDA.

Stanza 22.

The expressions ‘turned towards’ imply friendly recep- tion on the part of the house, and eagerness on the part of the future possessor ; hence’at Kaus. 66, 25 the house is entered along with water and fire. Cf. III, 12, 8, and Kaus. 43, Io.

d. The waters and Agni are the door of the order, or the law of the universe, i.e. they are the primal elements. Hence Agni is styled frequently vztdsya prathamagdah, ritasya garbhak ; rztasya dhirshad; see Grassmann’s Lexi- con, under rztasya.

Stanza 23.

Is identical with AV. III, 12,9; see the note on the passage.

Stanza 24.

According to Kaus. 66, 30 the house is actually carried off at this stage; the stanza offers especial security that Kausika construes the hymn aright. Cf. with his construc- tion the rather forced interpretations of Grill, p. 192, and Henry, p. 128.

IX, 8. COMMENTARY TO PAGE 45.

Stanza 24.

IX, 8. COMMENTARY TO PAGE 45.

This is a charm against diseases in general (sarvabhai- shagyam), without indication as to remedies, either in the form of drugs, or talismans. At Kaus. 32, 18.19 the patient is taken hold of while the hymn is being recited. During the recital of the last two stanzas the sun is faced reverently. According to Sayaza at II, 33 the hymn is a member of the amholingagazza, ‘a series designed to drive away distress ;’ see the introduction to IT, 33.

The hymn has been translated by Zimmer, Altindisches Leben, p. 378 ff.; Henry, Les livres VIII et 1X de l’Atharva- veda, pp. 105, 141 ff.

Stanza 1.

For vilohita, see the note on XII, 4,4; for karmasdld, Wise, Hindu System of Medicine, p. 287, and the introduc- tion to VI, go.

Ix, 8. COMMENTARY. 601

Stanza 2.

kankisha is a dz. Aey. of unknown meaning. For visa- lyaka, cf. sts. 5, 20, and VI, 127, 1. 3; XIX, 44,2. In the last two hymns, and in the present hymn, Shankar Pandit reads visalpakak ; Sayava at VI, 127, visalpakaz ; at XIX, 44, 2, visarpakaX (vividham sarazasilo vravaviseshaf, ‘a run- ning wound’). See Zimmer, p. 386; and cf. Wise, p. 414.

Stanza 4.

The rendering of pramota (az. Aey.) is Zimmer's con- jecture. It may be rendered ‘dumb’ with equal propriety and equal uncertainty. Cf. Sk. mika, Lat. miitus. The Pet. Lex., ‘eine bestimmte krankheit.’ All renderings are based upon the suggestion of the passage itself.

Stanzas 6-8.

For udvepayati, cf. V, 22,7.10; for visvasarada, cf. XIX, 34,10; for gavinike, I, 3,6; for bala4sa, V, 22,11. Inst. 7¢ antar angebhyo is suspicious, as is also antdr 4tmano in st.gc. Both are probably to be emended to antarangebhyo and antaratmano (or possibly with oxytonesis, cf. Whitney, Sk. Gr.?, §. 1289). Accordingly our translation.

Stanza 9.

For a-pv4, ‘impurity’ (par excellence), ‘ diarrhoea,’ cf. the note on the goddess Apva in III, 2, 5; for antar 4tmano, the note on antar angebhyo in st. 7c.

Stanza 11.

Pada a is directly joined in sense to 10b: the bilam is identical with vastibildm, ‘opening of the bladder,’ in I, 3,8. The plain sense is that disease shall pass off in the form of urine from the bladder, in the form of faeces from the belly.

Stanza 19.

The word madayanti (not mAddyanti; cf. pataya-, ‘ fall :’ patdya-, ‘fell’) is not altogether clear. Perhaps ‘ madden ’

602 HYMNS OF THE ATHARVA-VEDA.

is nearer the truth. Bohtlingk, ‘ betauben ;’ Zimmer, ‘ lah- men. Cf. the root ram in its two meanings of ‘delight’ and ‘ rest.’ | Stanza 20.

The word madayanti (not mAddyanti; cf. pataya-, ‘ fall :’ patdya-, ‘fell’) is not altogether clear. Perhaps ‘ madden ’

602 HYMNS OF THE ATHARVA-VEDA.

is nearer the truth. Bohtlingk, ‘ betauben ;’ Zimmer, ‘ lah- men. Cf. the root ram in its two meanings of ‘delight’ and ‘ rest.’ | Stanza 20.

For vidradha, cf. Grohmann, Indische Studien, IX, 397; Zimmer, p. 386, and Wise, pp. 210, 284, 288, 362; for vati- kara, see Contributions, Fourth Series, Amer. Journ. Phil. XII, 427; the notes on VI, 44, 3; 109, 3, and the introduc- tion to I,12; for alagi (Wise, p. 296, alaghi'), see Zimmer, p. 390. Henry’s balagi is scarcely due to oversight: he seems to have in mind some children’s disease, bala-gi.

Stanza 21. For ushzihabhyaZ, see the note on IIT, 33, 2.

Stanza 22.

For vidhu, ‘ beat,’ cf. vidhukranta, a designation of a cer-

tain musical bar. For the second hemistich, cf. the note on Ih,'32, 1.

X, 1. COMMENTARY TO PAGE 72.

This hymn belongs to the class called krztyapratiharaAni, a series of hymns ‘ which repel sorceries or spells, assembled in the list at Kaus. 39, 7. The practices associated with this group of hymns, Kaus. 39, 7-12, are obscure. They begin with ‘the pouring of the great consecration’ (see the introduction to IV, 17). The performer then takes the holy water obtained by the ‘great consecration, and at night takes off his shoes, puts on a turban, and proceeds to the place where the spell is supposed to have been in- stituted, sprinkling the holy water as he goes. A formula is recited indicating that the holy water is sprinkled for certain female personifications of holiness and beneficence (yatayai, &c., Kaus. 39, 9). If no spell is found he casts away (the materials with which he is performing??). The

’ Cf. also andhalagt, Pet. Lex. and Wise, p. 412.

* The holy water, or the turban? Darila, samskarémam apa- kshepad.

X, I, COMMENTARY. 603

next Sitra (11) is obscure; cf. the note on V, 14,9. For Sitra 12, see Kaus. 35, 28 in the introduction to III, 25. Various single stanzas and Padas of the hymn (20c; 21 c,d; 25; 32)are employed in other phases of witchcraft in Kaus. 39; see the index.

The hymn has been translated by Ludwig, Der Rigveda, III, 520 ff. Cf. the closely related hymn V, 31.

Stanza l.

The spell is in the nature of some terrifying, evil-working figure (bugbear, bogey, bogle; German popanz), not inerely a magical rite. See the performances in the Sitra, above.

Stanza 6.

Cf. the closely related hymn V, 31.

Stanza l.

The spell is in the nature of some terrifying, evil-working figure (bugbear, bogey, bogle; German popanz), not inerely a magical rite. See the performances in the Sitra, above.

Stanza 6.

The first hemistich is not easy to render, owing to the plays upon the words, and their ad hoc personifications. It might be rendered, ‘ Pratizina (“ Back-hurler’’) is our magic priest (4ngirasa), Adhyaksha (“Overseer”) our officiator. The word Angirasé at any rate implies an allusion to that use of the word which couples it especially with witchcraft, and contrasts it with holy practices (Athar- vaza, santa): see the introduction to this volume; the note on XI, 4,16; andcf. VIII, 5,9. Note also the pun between kritya(Z) and akrétya, and cf. V, 8, 7.

Stanza 8.

Cf. IV,12,7. Here, as there, 7zbhu may be either appel- lative, or refer to the mythic Azbhu.

Stanza 10.

a. The image of things floating down a river is employed with great predilection to indicate loss of power, harmless- ness: e.g. 1, 8,1; VI, 113,25; X, 4, 3-

Stanza 1l.

The gift of an outsider to the Fathers must either have been regarded as a defilement, or as an attempt to alienate their affection and protecting care. In PAda b the sacrifice is the hostile sacrifice as in VIII, 5,15; the name of the

604 HYMNS OF THE ATHARVA-VEDA.

enemy is frequently called out in hostile formulas and prayers, e.g. IV, 16, 9; Kaus. 47, 10. 22. For the difficult word samdesyat, here and in the next stanza, see the notes on II, 8, 5b and IV, 16, 8.

Stanza 12.

For the conception of the sins of the gods, see the notes on VI, 111, 3; 113,1, and Proc. Amer. Or. Soc., March, 1894 (Journal, vol. xvi), p. cxix ff. Ludwig’s rendering, ‘sin against the gods, and against the Fathers,’ is perfectly admissible, but the other seems to us more pregnant and probable.

Stanza 15.

d. kurdZini, translated by ‘crowned with a crest,’ is in truth a dz. Aey. of unknown value. The Pet. Lexs. suggest its equivalence with kiri¢in, ‘ornamented with a diadem.’ Cf. also kurira and kuririn, the latter in the closely related hymn, V, 31, 2. Hemagandra also reports a word kuru/in, ‘horse, and Ludwig, apparently on this basis, translates ‘mit rossen.’ The head of the bogey may have been orna- mented in some fanciful way with a crest. But the point is altogether problematic. Cf. also tirt#in, VIII, 6, 7.

Stanza 18.

Hemagandra also reports a word kuru/in, ‘horse, and Ludwig, apparently on this basis, translates ‘mit rossen.’ The head of the bogey may have been orna- mented in some fanciful way with a crest. But the point is altogether problematic. Cf. also tirt#in, VIII, 6, 7.

Stanza 18.

With the first hemistich cf. the little legend at Maitr. S. HI, 8;:8(106,{11)5 Tait Sukblp 2,32, b; stanza, have var. According to Pischel, Vedische Studien, II, 74 ff., this is the true reading: injunctive of the s-aorist, second person singular (avarsham, avar, avar) from root var, ‘ward off, hinder, obstruct.’ The sense would be, ‘ward off the fierce poison of the serpent (so that it be) devoid of strength.’ Butin the next stanza var would need to be construed as the third singular aorist indicative, ‘he did ward off, &c.,’ which renders this construction proble- matic. Perhaps the words var ugram, being metrically superfluous, are merely a gloss to visham.

Stanza 4.

Our rendering of the dz. Aey. aramghusho is purely ety- mological, and very doubtful. Ludwig manipulates it as a proper noun. Perhaps it is the designation of some serpent-killing bird.

Stanza 5.

For kasarvila, the TS. I, 5, 4, 1 has kasar#ira (kadraveya), as the name of a personified serpent-vishi. ratharvi is a am. Xey. of unknown connection. Ludwig suggests that the word means ‘die die radform liebt.’ Both are wanting in the list of serpent divinities, Pazk. Br. XXV, 15, 3.

608 HYMNS OF THE ATHARVA-VEDA

Pci ara Fe I 9 ES a en

Stanza 8.

The first hemistich recurs at VI, 56, 1¢, d; cf. the note there. Stanza 10.

a. aghdsva seems here to be the designation of a serpent. In RV. I, 116, 6 aghdsva with different (bahuvrihi) accent seems to be Pedu, the possessor of the serpent-killing horse ; cf. Bergaigne, l.c., p. 451. The relation of the two is very obscure. For svagd and the subsequent designations of serpents, see the note on VI, 56, 2.

Stanza 22.

e. kAndavisham and kanadknakam are 4m. Aey.; it is not even certain that the latter refers to a particular substance : the word may be an adjective qualifying kandavisham. It seems to be an intensive formation from root kan.

Stanza 24.

a, b. taudi and ghrztaki seem to be fanciful names of plants, ‘the piercer,’ and ‘ dripping with ghee.’ The latter is personified in many ways, as night (AV. XIX, 48, 6);, Sarasvati (RV. V, 43, 11); cf. ghvztdpadi as an epithet of Ida (e.g. Sat. Br. I, 8, 1, 26).

Stanza 25 Rubricated at Ath. Paris. 33, 3.

X,6. COMMENTARY TO PAGE 84.

The chief interest of this rather banale production lies in the practice which it harbours. From st. 2 we gather that the hymn is addressed to an amulet prepared from the ploughshare. In st. 6 the amulet itself is spoken of as a ploughshare’, but in addition it is said to be ‘strong khadira-wood’ (acacia catechu). From Darila at Kaus.

' Cf. also the allusions to the ploughshare in sts. 12 and 33.

In st. 6 the amulet itself is spoken of as a ploughshare’, but in addition it is said to be ‘strong khadira-wood’ (acacia catechu). From Darila at Kaus.

' Cf. also the allusions to the ploughshare in sts. 12 and 33.

X, 6. COMMENTARY. 609

35, 4, we may gather that there was a part of the plough- share which was called ‘the chin of the ploughshare’ (phalafibuka). This must have been made of wood, since of it might be made a vessel having the form of a soma-cup (Darila, ibidem). All doubt is dispelled by the same com- mentator’s glosses on Kaus. 19, 22. 23 (p. 53, notes 10 and 12 of our edition). Here it is stated with direct reference to st. 6 of the present hymn, that ‘the chin’ of the plough was made of khadira-wood, and that an amulet fashioned out of khadira-wood in the likeness of the plough is the object extolled in the present hymn!. The khadira is a very hard wood (cf. Zimmer, Altindisches Leben, p. 58); at Sat. Br. XIII, 4, 4, 9 it is said to be daruma, ‘hard,’ and is compared with the bones of the body. The chin of the ploughshare can scarcely be anything else than the point - of the instrument, and we are thus brought face to face with the primitive wooden plough. The metal ploughshare seems to have been known as well, if pavira, AV. III, 17, 3; Nees mat, ge Lalit. 9. IV 2, 5 Os: Maite All, 4,77, has that meaning (cf. Zimmer, |.c., p. 236). The appropriate- ness of the embodiment of ‘the chin of the plough, made of khadira-wood, into an amulet lies on the one hand in the character of the plough and the ploughshare as emblems of prosperity (cf. stanzas 127 and 33); on the other, in the qualifications of the khadira, ‘the wood that chews up (khad) the enemies’ (cf. AV. VIII, 8, 3).

The hymn is rubricated at Kaus. 19, 22 ff. In Sf. 22 the amulet is tied on in the manner described at Kaus. 7, 19 (cf. the introduction to X, 3). In the obscure next Sitra (23) the four amulets? mentioned in Sitra 22 seem to be passed along the cords (with which they are fastened) * by means of a chip of gold (cf. hirawyasrag in st. 4); they are then bent, and put on each three times. In Sd. 24 4 fire is

1 Not so Kesava, khadirapalasamazim, ‘an amulet from the leaves of the khadira-tree.’

2 Cf. the mantra in Kaus. 20, 5.

* Dérila, uktamanes fatasrah suvarnasragmamigatutvam nitva.

‘Cf. Sat. Br. XII, 3, 4, 2. [42] Rr

610 HYMNS OF THE ATHARVA-VEDA.

built while reciting st. 35; in Sd. 25 the amulet is taken out of the substances in which it has (again) been steeped while reciting st. 29 (cf. Sa. 22), and (again) fastened while reciting st. 30. Cf. also Vait. Sa. 10, 2. 3, and Ath. Paris. 37,1, rubricating stanzas 1 and 3. St. 4 is rubricated at Ath Paris:,59, 3-3 st..95 at'22, 33.46; 3.

Stanza 6.

The formula, yam abadhnad br¢haspatiz, which is repeated many times, indicates the presence of the purohita, the king's chaplain. As Brzhaspati, the divine purohita, fastens the amulet upon the gods, so the king’s chaplain serves the king.

Stanza 34.

Stanza 6.

Stanza 34.

A delicate oratio pro domo. The significant words are yagw#avardhana and satadakshivza (ish¢a and pfirta). The real meaning of the stanza is: ‘as I, the priest, have by means of this amulet made thy sacrifice successful, thus do thou, the king, permit thyself to be inspired to reward me, the priest, by a gift of a hundred cows!’

XI, 1. COMMENTARY TO PAGE 179.

The preparation of the brahmaudana, otherwise called savayag#a (Sdyavza), or brahmaudanasava (odanasava in Sayaza’s introduction to Tait. Br. II, 7, 7, page 772), is described at full length in Kaus. 60-63. It consists of the solemn combination of a soma-sacrifice with the cooking of a porridge for the Brahman’s dakshiwa. Both the sacri- ficer and his wife (patni) participate in the ceremonious details of the performance. The ceremony works up quite completely the stanzas of XII, 3, in addition to the present hymn. Wherever the ritual is suggestive or explanatory, its gist will be given in connection with the stanzas in question. There are, however, many signs of a secondary and forced employment of the stanzas in the ritual, and the stanzas themselves exhibit occasionally secondary changes which arouse the suspicion that their form and their group- ing here are not altogether primary and original.

XI, I. COMMENTARY. OI!

Stanza 1.

At Tait. S. VI, 5, 6,1; Tait. Br. I, 1, 9, 1, the preparation of the porridge is correlated with a legend that tells of Aditi and the birth of her sons. Cf. the note on XII, 3, 11. Aditi in our hymn symbolises the pdtni, the wife of the sacrificer (yagamana). According to Kaus. 60, 19, the stanza is spoken while both of them are engaged in churn- ing the fire. The third Pada is defective: perhaps piirve is to be inserted before bhitakr/tak, if we consult VI, 133, 5; XII, 1, 39.

Stanza 2,

According to Kaus. 60, 22 this stanza is addressed to the smoke as it rises from the churning-sticks. The third Pada reads, adroghavita (Padapazha, ddrogha avita: some MSS. avitaz) vikam akkha, which the Paippalada varies by read- ing, adrogha vita vatasz matsa. Sdyavza comments, adroha- karizam sukaritravam yagamananam avita rakshité vakam akkha mathyamanagne/ stutyartham andi#yamanam 7zg- ripam vakam abhilakshya. The corresponding passage, RV. III, 29, 9, reads, dsredhanta itana vagam akkha, and it, with the Paippaldda, suggests the reading adrogh4 vita vagam akkha, or adrogha aveta, &c., the sense being the same in either case. This has been made the basis of our rendering: the Saunakiya-text scarcely yields sense.

Stanza 3. Kaus. 60, 23: The incipient fire is addressed with this stanza. For Pada d, cf. st. 11d, and RV. IV, 50, 1od. Stanza 4.

This has been made the basis of our rendering: the Saunakiya-text scarcely yields sense.

Stanza 3. Kaus. 60, 23: The incipient fire is addressed with this stanza. For Pada d, cf. st. 11d, and RV. IV, 50, 1od. Stanza 4.

Kaus. 60, 24: The blazing fire is thus addressed. For Pada d, cf. I, 9, 2; XVIII, 3,4; Vag. S. XII, 63.

Stanza 5.

The text of Pada a seems forced. The Paippalada with marked improvement, tredhd bhago nihito gatavedas. Perhaps the words ya purd vo are imported from st. 15.

Rr 2

612 HYMNS OF THE ATHARVA-VEDA.

In Pada d the Paippalada reads imam, i.e. the sacrificer', for imdém, the patni, the wife; cf. st.4d. See Kaus. 61, 8, from which it would appear that three heaps of rice, from which the brahmaudana is to be prepared, are addressed

with this stanza. Stanza 6.

Kaus. 61, 9-11: ‘ With the share of grain that has been divided off for the fathers he performs a sraddha. With the one that has been divided off for men he feeds the Brahmans. The share that belongs to the gods he pours into a jar, with closed fist, or open palm, or with the hollow of his two hands (a#gali); bending his right knee, turned to the north-east, or with his body inclined ; reciting stanza 6 (of this hymn)’

Stanza 7.

According to Kaus. 61, 20, this stanza is recited while the rice is being poured into the mortar. Possibly the words ud ubga &c. are addressed to the mortar. The Paippalada has enam for enam; cf. st. 5. A comparison with st. 6b still further suggests endn, establishing a natural antithesis between nifo ny ubga in 6 b, and ud ubgai=-nan (sc. sagatdn) in st. 7 b.

Stanza 8.

Kaus. 60, 30: The sacrificial skin, its neck turned to the east, the hair turned upward (as usual in ritual perform- ances), is spread out while reciting this stanza.

Stanza 9.

Kaus. 61, 18 rubricates Pada a of this stanza along with XII, 3, 14: ‘the mortar and pestle, and the scrubbed winnowing-basket are placed upon the skin. The Sitra seems to substitute mortar and pestle tor the two press- stones. Pada b is rubricated at 61, 22, along with XII, 2 18, avahanti. PAda d along with XII, 3, 19 at 61, 24, udi- $e SS

* Or perhaps even more primarily, the porridge ; ‘the share of

the gods this (Agni) shall bring over to them.’ Cf, however, the feminine endm in st. 7 b.

XI, I. COMMENTARY. 613

hantim (sc. patnim anumantrayate). The construction of the second hemistich is not altogether clear. We have referred the action to the earth in st. 8. See also st. 11. Sayava refers it to the patni (cf. Kaus. 61, 24, above), and construes imam chiastically with pragdm, to wit: he patni avahananamw kurvati nibadhasva imam atmiydm pragds hantum ye satravad vartante tan ni gahi. This is obviously forced. The construction of ima as iman (but Padapaz/a, imam !), or its emendation to imam (sc. y4gamanam) would render Sayava’s and Kausika’s (61, 24) view more natural. Cf. the notes on sts. 5 and 7 for similar suggestions.

This is obviously forced. The construction of ima as iman (but Padapaz/a, imam !), or its emendation to imam (sc. y4gamanam) would render Sayava’s and Kausika’s (61, 24) view more natural. Cf. the notes on sts. 5 and 7 for similar suggestions.

Stanza 10.

Kaus. 60, 19: grzhavza gravavav ity ubhayam grzhnati. Sdyava, ardharkena ulikhalamusalam avahananartham patniw grahayet!. Kaus. 61, 15-17: ‘With the second hemistich (the priest) addresses the sacrificer, saying, “Choose three gifts.” (The sacrificer) chooses the first wish, saying: “ May I by this rite become superior.” The wife chooses the other two gifts.’ Sdyawa, trayo varah ity ardhargena nirvapananantaram varam vrzzantau (sc. anu- mantrayate).

a. We have translated the doubtful az. Acy. sakrZtau, for which the Paippalada has the equivalent sayugau. Some MSS. used by Shankar Pandit have sukv/tau, an easier reading, suspicious on account of its facility.

Stanza 11.

Kaus. 61, 23: ‘While reciting the first hemistich of this stanza along with the second hemistich of XII, 3, 19 (the sacrificer) takes hold of the winnowing-basket.’ Kaus. 61, 25: ‘With the second hemistich of this stanza and the first of XII, 3, 19 he addresses (the wife) as she winnows.’ Aditi in the stanzas and the patni in the practice are regu- larly correlated ; cf. st. 1. For Pada d, cf. 3 d.

* Sayana obviously violates the sense of the stanza: patnim grahayet collides with grihan4 ... vira in Pada a.

614 HYMNS OF THE ATHARVA-VEDA.

= a

Stanza 12.

Kaus. 61, 29: The winnowing is performed while this stanza is recited.

a. Our translation of upasvasé, ‘while (the wind) blows, i.e. ‘in the draught,’ is wholly conjectural. The Pet. Lexs. ‘drohnend.’ Sdyavza, with many MSS., reads upasvase dhruvaye (for upasvasé druvaye of the editions), and com- ments as follows: dhruvaye dhruvaya sthirdya satyaphalaya karmaze he tavdulaZ yushman upasvase upa samipe asvasa- yami prabhitén karomi. Nothing usable may be derived from this manipulation of the stanza. For druvaye, see the note on V, 20, 2.

Stanza 13.

Kaus. 60, 25: ‘With stanza 13 he sends (the wife), guarded and ornamented, to fetch water. Sayava, udakam aharantim patnize sawzpreshayet. This act precedes in the ritual the winnowing, being one of the first features of the ceremonial.

Stanza 14.

Kaus. 60, 26-28: ‘ With the first Pada he addresses (the wife) as she brings the water (Sdyaza, prathamapadena Agakkhantim patnim anumantrayate). With the second and third Padas he calls upon the wife (to rise). With the words, “take the water-vessel,” she takes it. But Sdyaza refers the action in the fourth Pada to the sacrificer himself: a tvasgan yag#ah iti padaikadesena galakumbha- datri patni kartarasz preshayet, prati kumbhaz gribhaya iti ardhapadena patni galakumbhaz grahayet kartaram.

a. Sayava regards the yoshitakX simbhamana/% not as ‘pure waters,’ but as the women who bring them, sobhana- lamkarayukta ima yoshita# udakahartrya’ striyak. But Ch stsi1 7,0 7%

b. Sadyaza reads tava samrabhasva, and the Paippalada tavak samrabhasva. The Pada as it stands in the editions is not defective: yet tavasam sam rabhasva (haplographia) may have been the original reading. We have at any rate translated tavasam as an abstract.

XI, I. COMMENTARY. 615

Stanza 15.

Kaus. 60, 29: ‘(The sacrificer) puts (the vessel) down while reciting the first Pada.’ Sdyamza, prathamapddena galakumbham bhimau nidadhyat. Kaus. 60, 34: ‘With the remaining three Padas he places the water-vessel upon the skin.’ Cf. also Kaus, 61, 33.

a. Our rendering of Pada a leaves some misgivings. A more natural translation of it is, ‘the share of food that has of yore been set aside for you.’ But this leaves it hanging in mid-air.

Stanza 16.

Kaus. 61, 31: The pot is placed upon the fire; cf. also Kaus. 2, 7.

Stanza 17. |

Kaus. 61, 34. 35: The purifying two blades of darbha- grass are placed over the pot, and water is poured in; cf. also Kaus. 2,8. The Paippalada read in Pada c, dadat pragam bahuldm Asin (pasin ?) me.

Stanza 18.

Kaus. 61, 36: With this stanza and XII, 3, 28 the grain is washed in water, and poured into the pot. Cf. also Kaus. 2, 9.

Stanza 19.

Kaus. 61, 37: With this stanza and XII, 3, 29 the porridge is allowed to cook.

d. For paktvd in the vulgata, Shankar Pandit, following most of his MSS. and Sdyaza, reads pakt&; this we have translated. Cf. also the Index Verborum, s.v. paktvz. The corruption is due to st. 18 d. Note the alliteration.

Stanzas 21, 22.

Kaus. 61, 41. 42: With stanza 21 and XII, 3, 35 the porridge is taken off the fire. With st. 22 the pot is turned to the right.

Stanza 23.

Kaus. 61, 44 rubricates only the second hemistich,

amsadhrim (some MSS. amsadrim) ity upadadhati. The

616 HYMNS OF THE ATHARVA-VEDA.

difficult word in the stanza is the dz. Aey. which the vulgata presents in the form amsadhrim. The MSS. present in addition the forms amsaddhrim, aszsadrim, and amsaddrim. Shankar Pandit chooses amsadrim; Sdayavza amsadhrim, glossing as follows: amsan bhagan devamanushyapitrzsam- bandhino dharayati-ti amzsadhri tam ...vedim. The only point that seems worth saving is the statement that the word refers to the vedi, not to the pot, as the Pet. Lexs. have it: ‘vielleicht ein gefass mit handhaben, henkeln auf beiden seiten.’

d. daivanam (sc. brahmavzandm). Read perhaps deva- tanam, metri gratia; cf. st. 25, and Ill, 3, 2; Vivgaaa. Mal; 9; GOP Vase Ooo Oe

Stanza 24.

Kaus. 62, 1: With st. 24 and XII, 3, 36 the performance indicated in the mantra is made, i.e. the sru# is placed upon the altar (Sayaza, srukam vedyam sadayet).

brahmavzandm). Read perhaps deva- tanam, metri gratia; cf. st. 25, and Ill, 3, 2; Vivgaaa. Mal; 9; GOP Vase Ooo Oe

Stanza 24.

Kaus. 62, 1: With st. 24 and XII, 3, 36 the performance indicated in the mantra is made, i.e. the sru# is placed upon the altar (Sayaza, srukam vedyam sadayet).

a. The feminine hastam is an opportunist formation, made to suit the feminine sruZam. Some MSS., the Paip- palada, and Sayavza read hastam, a facile emendation which is, however, discredited by the universal reading dvitiyam.

Stanza 25.

Kaus. 63, 3: Four descendants of the Rzshis who know the Bhvzgu-Angiras texts (i.e. the Atharvan writings) are seated. Sayava, dsane upavesayet. Cf. also Kaus. 65, 13.

b. Sayava, punar etan pra sida prapnuhi. This meaning of pra sad is not well authenticated: perhaps ‘favour them’ is the true sense.

Stanza 26.

Not rubricated in the Kausika, but Sayava, in the intro- duction, supplies the action, gatura arsheydn ritvigo yaga- mana ahvayet. Not so, however, in the commentary upon the text, suhava sobhanahvana patni Arsheyan... puna/- punar ahvaydmi. Whitney, in the Index Verborum, re- gards suhava as instrumental ‘ with efficient call,’ at III, 26, 6; VII, 47,15; 48,1, in addition to our passage. But if we

XI, I. COMMENTARY. 617

compare AV. VII, 48, 1 with its parallel in RV. II, 32, 4, rak4m ahaz suhavdm (so RV. ; suhava, AV.) sushzuti huve, it seems hard to refrain from emending suhava in our stanza to suhavd4m# = suhavan. This we have done, sup- ported further by RV. VII, 44,2; 82, 4; 93,1; X,141, 4.

Stanza 27.

Kaus. 63, 4: The action indicated in the stanza is per- formed. Sayama, tesham ritvigas hastaprakshalanartham udakam dadyat. The stanza is nearly identical with VI, naz, 5 ycfjalsozsts 17 pand=X, 9; 27:

Stanza 28.

Kaus. 62, 22: With stanza 28 and XII, 3, 50 he places gold upon the porridge (Sdyava, odane hirazyam nida- — dhyat). Kaus. 63,5: With Pada b and XII, 3, 53 he sets it aside (? Sayama, ishat karshayet).

a. For the relation of light and gold, cf. I, 9, 2.

b. For pakvam kshétrat, cf. vvzkshasz pakvam, RV. III, 45,4; pakvd sakha, RV. I, 8, 8.

Stanza 29.

Kaus. 63,6. 7: With Pada a the chaff is poured into the fire (Sadyava, agnau tushan guhuyat). With Pada b the refuse is swept aside with the left foot. The precise differ- ence between tisha and kambiika is not clear. Sdyaza. glosses the former by, brahmaudanarthatazdulebhyaz pyrz- thakkrztan ; both Kausika and Sayawa render kambiika by phalikaravza. These indications we have followed. The fire obtains the more valuable and nutritious part of the refuse ; Nirrzti, the goddess of destruction, has the refuse pushed to her as a sop, uncannily, with the left foot.

Stanza 30.

Kaus. 63, 19. 20: Either with the entire hymn, or with the part of it that begins here, he first anoints the porridge with the dregs of ghee. Cf. especially st. 31.

Stanza 30.

Kaus. 63, 19. 20: Either with the entire hymn, or with the part of it that begins here, he first anoints the porridge with the dregs of ghee. Cf. especially st. 31.

a. I have taken the words srdmyataz &c. as genitives

618 HYMNS OF THE ATHARVA-VEDA.

singular, dependent upon viddhi. See Delbriick, Altin- dische Syntax, p. 159. Sdyaza, as accusatives plural: diksharipam tapas tapyam4nan, &c.

Stanza 31.

Kaus. 62, 15-17: With the first hemistich of our stanza and XII, 3, 45 he makes a cavity (for ghee) on the top of the porridge (SdAyava, gartam kurydt). The stanza is varied by substituting the word brahman for adhvaryo, if a priest other than the Adhvaryu is addressed. With the second hemistich of each of the two stanzas he floods the porridge with ghee.

Stanza 32.

For purishizak Sayama quotes to the point Tait. S. IT, 6 4,3: pragd vai pasavad purisham, pragayaisvaisnam pasu- bhid purishavantaz karoti. Cf. sts. 26a, b; 25d.

XI, 2. COMMENTARY TO PAGE 155.

The hymn is addressed to Rudra (Siva-Agni), under the large variety of names or embodiments (marti) customary with that divinity. These vary from seven to nine in number, most of which, namely Rudra, Bhava, Sarva, Pasupati, Ugra (cf. also the word ise in st. 27, as reflecting the name {sana 1) occur in the hymn either as full proper names, or as standing epithets. Connected lists of these names occur frequently, e.g. AV. XV, 5; Vag. S. XXXIX, 8.9; Kaush. Br. VI, 2 ff.: Sat. Br. VI, 1, 3, 10-17; Sankh. Sr. IV, 18,5; Kaus. 51, 8; Par. Grth. III, 8, 6; Asv. Grth. IV, 8,19; Hir. Gvzh. II, 8, 6.7; Markawdeya-puraza, 52, 2 ff.: cf, Weber, Ind. Stud. II, 302: XVIT tage. are und Portenta (Royal Academy of Berlin, 1858), p. 400 ff ; Muir, Original Sanskrit Texts, IV?, 343, 403 ff.

The hymn is a prayer to Rudra, in his various aspects,

* Sadyana cites the following versus memorialis: sarvam pasu- patim os gram rudram bhavam See ee mahadevam ka bhimam fa.

XI, 2. COMMENTARY. 619

for protection and mercy, and it is rubricated, accordingly, at Kaus. 50, 13. 14 in the course of the performances of a merchant who starts out upon his business. See the in- troductions to the hymns III, 15; VI,59; and 128. Further, in a performance undertaken by a traveller in a lonely place, at Kaus. 51, 7 ff., and again, when an ominous bird of prey holding flesh in its beak alights, Kaus. 129, 3 (cf. stanzas 2,24 0f the hymn). See also Vait. Si. 29,10. The hymn figures also in the raudragawa of the Gawaméala, Ath. Paris. 32,17. It has been translated by Muir, Original Sanskrit Texts, IV?, 335 ff.,and Ludwig, Der Rigveda, III, p. 549 ff.; cf. also Bergaigne et Henry, Manuel Védique, p. 157 ff.

Stanza 2.

See also Vait. Si. 29,10. The hymn figures also in the raudragawa of the Gawaméala, Ath. Paris. 32,17. It has been translated by Muir, Original Sanskrit Texts, IV?, 335 ff.,and Ludwig, Der Rigveda, III, p. 549 ff.; cf. also Bergaigne et Henry, Manuel Védique, p. 157 ff.

Stanza 2.

The metrical tradition of the stanza is corrupt: avishya- vad at the end of the first hemistich seems to belong to Pada c, which ends at pasupate. Accordingly our transla- tion. Sdayavza, in Pada b, reads, pampering his etymology, aviklabebhyaZ, and glosses, viklaba adhvish7ah katards tad- viparitebhya/, ‘to those who are the reverse of viklaba (cowardly),’ i.e. ‘bold ;’ cf. the note on XI, 9, 9.

Stanza 3.

Sayava, ropaya# ropayitryo mohayitryas tanvak. Cf. V, 30, 16, and Rudra’s relation to diseases in st. 22. The epithet ‘thousand-eyed’ accentuates the relation between Rudra and Agni; see the note on IV, 20, 4.

Stanza 4.

One is tempted to emend antarikshaya in Pada d to antarikshat, ‘from the atmosphere reverence be to thee.’ The change of the ablative to the dative may be due to st. 5d, prati#indya te ndmaz.

Stanza 7.

ce. The MSS. read unanimously ardhakaghatina, but there is no Ardhaka to slay. SAdyama, ‘he whose habit it is to slay half of the (hostile) army,’ an insipid pis-aller.

620 HYMNS OF THE ATHARVA-VEDA.

A demon by the name of Andhaka is in the epics a familiar victim of Siva, who is styled andhakaghatin in Maha- bharata XII, 10356, and Siva is'the later representative of Rudra. The Paippalada reads adhvagaghatin, ‘the slayer of the wayfarer.’ This suits admirably, since the hymn is intended as a prayer for protection against the dangers of a journey; cf. st. 4, and the practices (in the introduction). But its very suitableness lays it open to the suspicion of being an easy reading which shirks the difficulty involved in the less familiar ardhaka (andhaka).

Stanza 11.

For the last Pada, cf. XI, 9, 7.14; 10, 7, and our Con- tributions, Second Series, Amer. Journ. Phil. XI, 339 ff. The female mourners indicate, of course, the presence of

death. Stanza 12.

b. The MSS. read sahasraghnim, -ghnydm, and -ghni. The vulgate has adopted the impossible -ghnim ; Sayama, -ghnydm ; and Shankar Pandit, -ghni. We have translated the latter, as a locative singular from -hdn, with haste,

understood. Stanza 18.

Cf. X, 1, 26; Sat. Br. XIV, 4, 2, 18: padani? means ‘tracking the steps,’ not ‘leading the steps’ (Pet. Lex.), as may be seen especially in the passage of the Sat. Br., where vindate is the synonym of ni.

Stanza 14. b. The text has Zarato, not faratho: change the con- struction accordingly to the third person. Stanzas 15, 17: St. 15 is formulaic: see, e.g. XI, 4,7. St. 17 is rubri- cated in Ath. Paris. 298, Stanza 18.

In the epic literature, Kesin is a demon slain by Krishza. In RV. I, 164, 44, three Kesin are mentioned: they are Agni, Sarya, and Vayu; further, RV. X, 1 36 is a hymn to

15 is formulaic: see, e.g. XI, 4,7. St. 17 is rubri- cated in Ath. Paris. 298, Stanza 18.

In the epic literature, Kesin is a demon slain by Krishza. In RV. I, 164, 44, three Kesin are mentioned: they are Agni, Sarya, and Vayu; further, RV. X, 1 36 is a hymn to

XI, 2. COMMENTARY. 621

Kesin, the sun, typified as a solitary hermit (muni); see Contributions, Third Series, Journ. Amer. Or. Soc. XV, 167. Possibly the chariot of the sun is the object of Rudra’s attack. The entire stanza may, however, be taken differently: ‘The crushing chariot of the long-haired (kesin, i.e. Rudra)... we approach first.’ Sayaza advocates the construction which we have put into the text.

Stanza 24.

Cf. XII, 1, 49. 51. In Pada a, vane may bea metrically superfluous gloss suggested by 4razydh. In Pada c, ya- ksham is not quite clear: ‘thy spirit, or ‘thy reflection, image.’ Sayawa adopts the hackneyed etymological ex- planation of the word, pigyam svaripam.

Stanza 25.

a, b. Sayama, ‘ simsumara isa kind of crocodile, agagara a kind of serpent, pulikaya and the rest varieties of water animals.’ The last word occurs in the form pulikaya at Maitr. S. III, 14, 2 (between matsya and nakra); in the corresponding passage, Vag. S. XXIV, 21, in the form kulipaya (Mahidhara, galaga), and at Tait. S. V, 5, 13, 1 in the form kulikaya (commentary, bahupan matsyaviseshah). For the interchange between gutturals and labials, see Contributions, Sixth Series, Zeitschr. d. Deutsch. Morgenl. Gesellsch. XLVIII, p. 557, note1. For the obscure ragas& (Padapatha, ragasahk) Sayama reads ragasa (Atmiyena tegasa).

d. Many MSS. sarvan. Sdyaza with some MSS. reads sarvam for sdrvan, the obviously correct form which we

have in the vulgate. Stanza 26.

Though Rudra here threatens men with poison, he is elsewhere reported as himself drinking it. So clearly in the Bhagavata-purava X, 31, and apparently also RV. X,

? Add the following possible cases of the correlation of gutturals and labials: riph=rikh; stupa=stuka; and cf. kapusdhala, ‘ back- hair’ (cf. Lat. caput), with kakubh, kakudh.

622 HYMNS OF THE ATHARVA-VEDA.

136, 7, if we take visha in its ordinary sense. The trans- lators here generally render it by ‘water, fluid’ (cf. st. 1 of the same hymn). See Muit, I.c., IV’, pp. 50, 320.

Stanza 27.

ce. The vulgata reads tasyai. This is corrected in the Index Verborum to tasmai. Some of Shankar Pandit’s MSS. now exhibit this obviously correct reading, which is also the basis of Sdyaza’s comment.

Stanza 28.

c. Parallels to this interesting passage, together with a valuable discussion of the position of sraddha, ‘faith, in the Veda, are presented in Ludwig’s work, Der Rigveda, III, 263 ff.

Stanza 29.

now exhibit this obviously correct reading, which is also the basis of Sdyaza’s comment.

Stanza 28.

c. Parallels to this interesting passage, together with a valuable discussion of the position of sraddha, ‘faith, in the Veda, are presented in Ludwig’s work, Der Rigveda, III, 263 ff.

Stanza 29.

b. The stanza is repeated, RV. I, 114,7; Vag. S. XVI, 15; Tait. S. IV, 5, 10, 2; the second Pada appears there in the more desirable form, ma na uikshantam uta ma na ukshitam, ‘do not cause injury to our growing and grown up (children).’ The Atharvan reading seems to be due to a misunderstanding of the meaning of the root uksh, as being derived from vah, ‘carry.’ Sdayaza, bharavahana- kshamam madhyavayaskam, ‘the middle-aged man capable of carrying burdens, and vakshatah(!) kritavahanavy4- paran. Ludwig, ‘der uns faret... die uns faren werden.’ Our own translation is a makeshift.

Stanza 30. b. The Pet. Lexs. and Muir translate asasmsiktagilé- bhyaz by ‘devouring unchewed food.’ We with Sayaza and Ludwig.

XI, 4. COMMENTARY TO PAGE 218.

In.the Upanishads, praza, ‘ breath,’ is frequently identified with brahma and atman. See, e.g. Kaushitaki Up. II, 1, 2; III,2; IV, 20; Tait. Up. III, 3. Very frequently Agni and Sirya take the place of these abstractions, e.g. Maitri

XI, 4. COMMENTARY. 623

pe. Vier. 5-6. 93; Prasna Up. 1,5. 7.8; II, 8. Prava is the personified breath of life, itself at the base of all existence (Katha Up. VI, 2), and fits naturally into the system of monotheistic-pantheistic thought which from the earliest beginnings of Hindu literature runs in a parallel current with polytheism. A noteworthy feature of this hymn is the predication to Praza of the qualities of a rain- god (Parganya). As such he quickens the life of plants and animals, and the account of this action of his is pursued with a great deal of detail and repetition. Equally remark- able is the outspoken identification of Praza in sts, 21 and 22 with the sun in the form of the hamsa. This is a round- about way of saying that praza (4tmdn) is identical with brahma, brahm&. See Muir, Original Sanskrit Texts, V, 393 ff.; Scherman, Philosophische Hymnen aus der Rig- | und Atharva-veda-samhita, p. 69 ff., each of whom offers a partial translation.

In the ritual of the Atharvan the hymn figures as an ayushyam (sc. siktam), ‘ bestowing long life,’ and therefore forms a part of the ayushyagawa in the Gazamala, Ath. Paris. 32, 4 (see Kaus. 54,11, note). Cf. also Kaus. 139, 7. At Kaus. 55, 17 it is employed in the course of the investi- ture of the disciple with the holy cord; at Kaus. 58, 3. 11 in certain special ceremonies (brahmavoktam and ,v7shi- hastah, Si. 4), calculated to ensure longevity. The last stanza of the hymn is in our opinion constructed with this purpose directly in view: see the note on the passage. Cf. also SAntikalpa 15,191.

Stanza 2.

58, 3. 11 in certain special ceremonies (brahmavoktam and ,v7shi- hastah, Si. 4), calculated to ensure longevity. The last stanza of the hymn is in our opinion constructed with this purpose directly in view: see the note on the passage. Cf. also SAntikalpa 15,191.

Stanza 2.

The four component parts of a storm are wind, thunder, lightning, and rain; see our Contributions, Sixth Series, Zeitschr. d. Deutsch. Morgenl. Gesellsch. XLVIII, 569-70, and cf. especially the vayu krandadishdi, ‘the wind hastening along with clamour’ (RV. X, 100, 2). We have therefore assumed that krdnda is the wind, ‘the roarer, par excel- lence. See also st. 15.

1 Erroneously quoted by Sayaza as Nakshatrakalpa.

624 HYMNS OF THE ATHARVA-VEDA.

Stanzas 5, 6.

Cf. Prasna Up. II, 10: ‘When thou, O Praza, sprinklest the rain, then are these creatures full of joy ; (they think): “food shall we have according to wish.”’ Praza here, as elsewhere in this composition, approaches closely to the character of Parganya; see the hymn, RV. V, 83. For St.i5; ch stow7s

Stanza 7.

The verse is formulaic; see, e.g. XI, 2, 15.

Stanza 11.

Sayaza, ‘by his going out he causes the death of all living beings.’ For Pada b of this and the following stanza, cf. the similar sentiments assembled by Scherman, l.c.,

PP- 35; 59- Stanza 13.

The epithet anadvdn, ‘ox,’ suggests AV. IV, 11, where supreme divine power is attributed to an ox. See Muir, Original Sanskrit Texts, V, 399, and Jacob’s Concordance, s. v. anaduh.

Stanza 16.

In the ritualistic literature the terms atharvawa and angi- rasa are differentiated, so that the former means ‘holy; being the equivalent of santa, while the latter means ‘ per- taining to sorcery,’ being the equivalent of abhi#arika. Cf. Kaus. -47,-2. 12; Vait. SQ. 5, 10; Gopatha-Br. I, 2, 18; Rig-vidhana IV, 6,4. See Journ. Amer. Or. Soc. XI, 387 ff.; Amer. Journ. Phil. XI, p. 332, note; and the introduction to the present work. Especially in the passages quoted from the Vaitana-sitra and the Gopatha-Brahmazma this distinction is expressed clearly, and there seems to be no good reason to doubt that the writer here has it in mind. For angirasth (sc. oshadhiz), see also AV. VIII, 5,9; 7, 17.24. Cf. also

XIX, 39, 5. Stanza 21.

Sayaza explains hamsa, alternately, as either the sun, or breath. The latter, if it withdraws from man, produces

XI, 4. COMMENTARY. 625

For angirasth (sc. oshadhiz), see also AV. VIII, 5,9; 7, 17.24. Cf. also

XIX, 39, 5. Stanza 21.

Sayaza explains hamsa, alternately, as either the sun, or breath. The latter, if it withdraws from man, produces

XI, 4. COMMENTARY. 625

death, and consequently annuls all distinctions of time. There can be no doubt that the former is the correct inter- pretation. The stanza contains a blend of two personifica- tions of the sun. As hamsa the sun figures at AV. X, 8, 7; X11, 3, 34; Tait. Ar. 11,.15,.8; Tait. Br, III, 10, 9, 11; cf. the words hasmsa and paramahamwsa in Jacob’s Concordance to the principal Upanishads. The second conception of the sun underlies Pada a; it is that of the aga ekapad, or ekapada, for which see Roth, Ydska’s Nirukta, Erlauterungen, p. 165; Bergaigne, La Religion Védique, III, p. 20 ff.; Henry, Les Hymnes Rohitas, p. 25. We would refer any one that doubts that aga ekapad is the sun to Tait. Br. III, 1, 2, 8, ‘Aga Ekapad has risen in the east, delighting all beings. At his urging (prasavam) all the gods go, &c. Stanza 22.

Sayaza again suggests that the human body, with breath as the dominating force, is the subject of the stanza. The human body, consisting of skin, blood, and six other elements, is eight-wheeled, and held in position by one felloe, breath. Doubtless, the sun is again presented mys- tically. At AV. X, 8, 7 (cf. Muir, l.c., I,9; Ludwig, Der Rigveda, ITI, 395) the stanza occurs with the variant éka- kakram for ash/akakram. In this form it is obviously a continuation of st. 21: we are at a loss to explain the mystic thought which underlies the change of eka to ashda ; cf. ash/dkakra in AV. X, 2, 31. The stanza posits a theo- sophic riddle (brahmodya; cf. Journ. Amer. Or. Soc. XV, 172 ff.); the second hemistich recurs in a different connec- tion at AV. X, 8, 13.

Stanzas 24-26.

The last three stanzas impart to the hymn the character of a conjuration, in accordance with its employment in the Kausika. See the introduction. In the last stanza apam garbha is ‘fire’ (cf. RV. I, 164, 52; Tait. S. IV, 2, 3, 3), either the fire in the body, or, perhaps more probably, the fire of which the Brahman disciple takes care. See Sankh.

[42] 5S

626 HYMNS OF THE ATHARVA-VEDA.

Grih. II, 10; Asv. Grih. I, 20, 1c-21 ; Par. Grzh. II, 4,1 ff. ; Gobh. Grzh. II, 10, 46.

XI, 5. COMMENTARY TO PAGE 214.

S. IV, 2, 3, 3), either the fire in the body, or, perhaps more probably, the fire of which the Brahman disciple takes care. See Sankh.

[42] 5S

626 HYMNS OF THE ATHARVA-VEDA.

Grih. II, 10; Asv. Grih. I, 20, 1c-21 ; Par. Grzh. II, 4,1 ff. ; Gobh. Grzh. II, 10, 46.

XI, 5. COMMENTARY TO PAGE 214.

This hymn has been subjected to the treatment of a number of prominent scholars: see Muir, Original Sanskrit Texts, V, 399 ff. ; Ludwig, Der Rigveda, III, 452 ff. ; Scher- man, Philosophische Hymnen aus der Rig- und Athar- va-veda-Samhita, p. 84 ff.; cf. also Bergaigne et Henry, Manuel Védigque, p. 161 ff. Neither of these scholars seems to us to state quite correctly the origin of this peculiar type of speculation. In our Contributions, Third Series, Journ. Amer. Or. Soc. XV, 167 ff., we have endeavoured to show that RV. X, 136 contains the glorification of the sun as a muni, a solitary ascetic: the present hymn may be under- stood best from a similar starting-point. The sun, who con- tributes elsewhere many of his qualities to the speculations regarding the primeval principle of the universe, is here for the nonce imagined as a BrahmaZarin, a Brahmanical disciple, engaged in the practice of his holy vows; next, by an easy transition, all the functions and powers of the Brahmafarin are made the basis of a momentary cosmo- gonic and philosophical account of the origin and existence of the universe. This allegory is carried out with all the feeble consistency that characterises Hindu speculations of this sort, and the more gladly so, as it offers a good oppor- tunity for the apotheosis of Brahmanism, and the Brahmanic caste. The purely physical qualities of the sun peep out in a variety of stanzas, especially 1, 5, 6, 11, 23, and 26. Cf. the manipulation of the first stanza at Gop. Br. I, 2, 1.

Stanza 3.

Sayaza fitly quotes Apastamba’s Dharmasitra, I, 1, 1, 15-17. Cf. also Gautama I, 8; Vishvwu XXX, 44-45; Vasishzka II, 3-5; Manu II, 146-8. See also Kaus. 55, 18, note; Sat. Br. XI, 5, 4, 12.

Stanza 4, It is not easy to differentiate the synonyms prz7ati and

XI, 5. COMMENTARY. 627

piparti at the end of the two hemistichs. Sayama, przati pirayati ... piparti pirayati palayati va. Ludwig and Scherman render piparti by ‘ fordern.’

Stanza 6.

e. This Pada is peculiarly suggestive of the sun: cf. RV. X, 136, 5. In the preceding Pada the apparently trivial dirghasmasruZ, ‘with long beard, probably refers to the rays of the sun.

Stanza 7.

For the identification of the brahma, or some kindred primeval principle, with Indra, cf. AV. X, 7, 29 ff. See also stanza 16.

Stanza 11.

The two Agnis are explained by Sayama, correctly, we believe, as the fire of the sun and the terrestrial fire, eko seniz anudyatsiryatmako vartate, aparak parthivosgniz przthivya upari vartate. And further: ‘The combined rays of this (terrestrial) fire and the sun, exceedingly strong in their fusion, expand upon heaven and earth.’

And further: ‘The combined rays of this (terrestrial) fire and the sun, exceedingly strong in their fusion, expand upon heaven and earth.’

Stanza 12.

Sayama regards Varuva (cf. stanzas 14, 15) as the subject of the first hemistich, abhikrandan . .. megheshu stanitasz gargitam kurvan syatingaz (!Shankar Pandit; the MSS. have syamtigah) syetavarvam galaptrzam praptak evam- bhito varuvzaz. There is no reason for thus separating the twe hemistichs. Sdyaza is squeamish about endowing a Brahmafarin with a brzhak khépah; but he enacts here the rdle of Pragdpati, and the predication of a penis is as natural as that of the more commonplace semen (rétas).

Stanza 13.

d. Ludwig, ‘ihr 4gya ist der mensch, regen und wasser.’ We have translated with Sayava. Cf. RV. X, 51, 8, ghrztasm ka=paém purusham kai«shadhindm, which carries the note of a vague relationship with our passage, but does not

remove the obscurity. ss 2

628 HYMNS OF THE ATHARVA-VEDA.

: Stanza 24. | For brdhma bhragat (again the sun), cf. Kaus. 97, 8 (p. 253).

XI, 6. COMMENTARY TO PAGE 160.

The hymn is rubricated, Kaus. 9, 2. 4, in the two so-called sAntigazas (cf. Ath. Paris. 32, 26.27). These are lists of purificatory hymns and stanzas, employed especially at the preparation of the santyudaka, ‘holy water’ (Kaus. 9, 8 ff.). According to the Gazamala, Ath. Paris. 32, 32 the hymn, with the exception of stanzas 7, 9, 22, and 23, which strike a different key, is a member of the aholingagama, a list of stanzas characterised by the presence of the word azzhas, ‘ misfortune, calamity ;’ cf. Kaus. 32,27. The chief interest of the hymn lies in the clear and fairly complete presenta- tion of the pantheon of the time. This is very much on the plane of the Yagus-texts and the Brahmawas.

Stanza 9.

For the group of divinities addressed in this stanza, see the introduction to XI, 2.

Stanza 14.

For the use of the word bheshag&ni as an equivalent of ‘holy’ Atharvan charms, cf. Sankh. Sr. XVI, 2,9; Asv. Sr. X, 7,3; Pazk. Br. XII, 9, 10. See the introduction to the present volume.

Stanza 15.

Zimmer, Altindisches Leben, p. 72, assumes that sdha is the designation of a plant, and this view may be supported from the Hindu lexicographers. In the Index Verborum the word figures under the stem sdhas. Our rendering implies the adjective sdha, ‘mighty,’

Stanza 17.

The entire stanza and certain turns of its expression are

formulaic; see III, 7, 9. 10, and cf. the Pet. Lex. under artava.

XI, 7. COMMENTARY. 629

Stanzas 19, 20.

The two are identical, except that sdrvan and sarvabhiz are substituted in 20, for visvan and visvabhifz in 19. Cf. Kaus. 56, 133 74, 3.

Stanza 23.

The little story (4khydyika) here alluded to is not, to our knowledge, illumined by the rest of the literature. Méatalt is mentioned once more, RV. X, 14, 3, in a totally different connection. Cf. Kaus. 58, 25, and Kausika, Index D, under the stanza.

Stanza 23.

XI, 7. COMMENTARY TO PAGE 226.

The Vedic writings are extremely shifty in assigning to a first cause the creation and maintenance of the universe, | in the course of their cosmogonic speculations. There are purely philosophical abstractions like sat (being) and asat (non-being), tad (that), eka (the only); cosmic forces like brahma, kala (time), kama (love), praza (breath) ; and per- sonal creators like Pragapati, Purusha, Visvakarman, Hira- myagarbha, and Paramesh¢din. But further, in the course of the speculations of the Brahmawas, universal or special cosmogonic power is attributed to all sorts of trivial circum- stances, even down to the special features and implements of the sacrifice. The priestly power (cf. XI, 5), and the priestly activity, are made to stand for the cosmic force with which they aim to establish relations. Sdyavzea is quite right, therefore, in correlating the present hymn with such a statement as is made in Tait. Br. I, 1, 9, 1 (cf. also Mait. S. II, 1, 12), where divinities are born of the leavings of the brahmaudana (see XI, 1; XII, 3) which had been eaten by Aditi. The hymn is nothing but a momentary symbolic transfer of the divine, or pantheistic attributes to a certain ritualistic feature made prominent for the time being. The writer knows that he is simply transferring his most fulsome cosmogonic conceptions in order to accen- tuate a to him important ritualistic act, the consumption of the leavings of the sacrifice. The veil is thin; everything

630 HYMNS OF THE ATHARVA-VEDA.

that is said here fits the brahma, or some other embodi- ment, and Sayava boldly establishes the equation ukkishéa =brahma. Accordingly, too, in at least two stanzas (15, 16) the uskishZa is personified as the masculine ukkishZas, quite in the manner of the relation of the neuter brahma to the masculine brahmdan. We may note, however, that the road for this drastic transfer is opened in a measure by the philosophical position of the word anna, ‘food.’ This is a prominent link in the chain that unites man to the universe. See, e.g. Tait. Up. III, 3, and the stately array of passages in Jacob’s Concordance to the principal Upani- shads, s.v. The interest of the hymn lies rather in the attempt which it makes to exploit exhaustively the chief concerns of Brahmanical existence and belief. Except. for its metrical form it belongs to Brahmavza literature. See Muir, Original Sanskrit Texts, vol. v, p. 396 ff., and Scherman, Philosophische Hymnen aus der Rig- und Atharva-veda-Samzhita, p. 87 ff., where partial translations of the hymn are essayed.

Stanza 3.

Except. for its metrical form it belongs to Brahmavza literature. See Muir, Original Sanskrit Texts, vol. v, p. 396 ff., and Scherman, Philosophische Hymnen aus der Rig- und Atharva-veda-Samzhita, p. 87 ff., where partial translations of the hymn are essayed.

Stanza 3.

d. The translation of Pada d is mere guess-work. Since vra means ‘ throng,’ dra would seem to mean the converse ; cf. the root dra, ‘run:’ ‘that which is assembled and that which is scattered, i.e. ‘that which is confined and that which is free,’ or the like. Sdayava, vrak varako varuzah drak dravakak amrztamayak somak. The difficulty is in- creased by the appearance of another mystic monosyllable, nyaz in st.4a. The Pet. Lex. suggests that all three are artificial abbreviations.

Stanza 4.

a. This Pada is again nearly hopeless. The vulgate reads drzmha sthiro, and Whitney in the Index Verborum classifies drvzmha as an imperative. But an imperative is out of place in this hymn which is throughout descriptive. Shankar Pandit with the Padapa¢ha and Sdyawa reads drimhasthiré as a compound (Sayama, drimhanena sthirikrito loka). I have thought of dridhadrzmha{Z), ‘he who fastens that

XI, 9. COMMENTARY. 631 which is firm:’ it is a mere guess. Cf. bhimidvzszha, V, 28,14; XIX, 33, 2. Sdyavza glosses nya by netarah, ‘leaders,’ but we should then at least expect nya# with the circumflex. I have preferred the singular; cf. vraZ and

draz in 3d. Stanza 5.

Information regarding the great variety of terms con- nected with the liturgy and the sacrifice in this and the following stanzas is to be obtained every time from the Pet. Lex. For this stanza, cf. Ludwig, Der Rigveda, III, 25. For the obscure expression tan mdyi in Pada d, cf. sts. 12, 14, and srir mayi in st. 1.

Stanza 6.

The beginning of the mahdndmni-verses is given by Sayama, as follows: vida maghavan vida gatum anu samsisho disak (Ait. Ar. IV,1). Cf. Proc. Berl. Acad. 1868, p. 244.

Stanza ll.

b. The expression ubhayaz saha has been rendered, not without grave misgivings, upon Sayavza’s authority, ubhaya ity anena £atdratradinam dviguzitatvazz vivakshitam.

Stanza 14.

Three earths and three heavens are mentioned frequently ; see Muir, Original Sanskrit Texts, vol. v, p. 304 ff., and the note on IV, 20, 2. Nine are unique.

Stanza 19. According to Sdyawva the mantras called #aturhotarah are Tait. Ar. III, 1-5. Cf. the Pet. Lex. s.v.

Stanza 21.

d. We have followed Sayava, who reads samsritah sritaz. The error which extends to the Padapa/da seems to be due to the singulars ahita nihita hita at the end of the next stanza.

XI, 9. COMMENTARY TO PAGE 123.

Arbudi and Nyarbudi, two divinities, friends of Indra (indramedinau, sts. 4 and 18), are implored to help in battle, and destroy the enemy. These two are associated

632 HYMNS OF THE ATHARVA-VEDA.

XI, 9. COMMENTARY TO PAGE 123.

Arbudi and Nyarbudi, two divinities, friends of Indra (indramedinau, sts. 4 and 18), are implored to help in battle, and destroy the enemy. These two are associated

632 HYMNS OF THE ATHARVA-VEDA.

in XI, 9, and especially XI, 10 with a third, Trishamdhi, ‘Three-joints, who is evidently the personification of a three-jointed weapon (vagreva trishamdhina in XI, 10, 3 and 27). Cf. the trishamdhi ishu, or the trikazda ishu, ‘ three- jointed arrow,’ in Ait. Br. I, 25, 5; III, 33, 5; Sat. Br. II, I,2,9. Further, the employment of the two hymns (XI, g and 10) in the Kausika renders it possible to assume that all three divinities are personifications of peculiar weapons, or machines employed in the rough warfare of the time. The warlike practices in question (Kesava and Sayaza, gayakarmAavi) are described, Kaus. 16, 21-26, as follows: 21. ‘With the two hymns, XI, 9 and 10 (the king’s chaplain, the purohita), exhorts (the warriors) in accordance with the indications (of the hymns). 22. For sacrifice he employs “speckled ghee!.” 23. He next performs the practices which end with the act of handing over (the bow), and the practices of scattering (snares and traps in the way of the enemy”). 24. Along with the scattered (snares, &c.) he places three-jointed weapons (trishaszdhini), weapons that have the form of bolts (vagrarfipavi), and weapons that have the form of arbudi®. 25. A white-footed (cow) is anointed with the dregs of ghee and fastened with a rope of darbha-grass to the staff which serves the king to rest upon(?). 26. A second (white-footed cow) is driven (toward the enemy).’ The last two Siitras bristle with

* Cf. XI, 10, 19, ‘Speckled ghee’ is ghee mixed with sour milk. See the Pet. Lex. s.v. przshadagya.

* They are given in detail, respectively at Kaus. 14, 8-11 (cf. the introduction to VI, 97), and 14, 28-9.

* Darila: The trishamdhini are for cutting (khedaya), the vagra- riipami are for breaking (bhedaya), the arbudirfipami are for bringing to fall (pataya). To these vague statements may be added the following, vagraripazi pamduramgakapdlakartrzka shash/ikatu- shkam arbuder eva riipam yeshdm vartulani. And further ‘all are made of brass, all are tied with ropes.’ They would seem to be destructive instruments placed in the way of the enemies’ attack. Sayawa explains trisamdhini (!) as lohamayani patrami, ‘ brazen vessels.” Kesava offers nothing of consequence.

XI, 9. COMMENTARY. 633

And further ‘all are made of brass, all are tied with ropes.’ They would seem to be destructive instruments placed in the way of the enemies’ attack. Sayawa explains trisamdhini (!) as lohamayani patrami, ‘ brazen vessels.” Kesava offers nothing of consequence.

XI, 9. COMMENTARY. 633

difficulties. Sdyawa says. sitipadim gam, ‘a white-footed cow,’ but Darila at Kaus. 14, 22 (cf. AV. III, 19) has me- shim, ‘a white-footed she-goat.’ At AV. XI, Io, 6 (see the note on the passage, and cf. also XI, 10, 20) a white-footed, four-footed arrow is spoken of; this seems to indicate that the white-footed animal is let loose as a symbolic arrow, to find its way into the camp of the enemy (scape-goat ?): in this way Sutra 26 obtains sense. Further, the word up4- sanga is obscure. We have translated tentatively and doubtfully according to Darila’s indication, visramawartho- rdhvagadazdah; Kesava has simply rag#o (Cod. ragaa daudah ; Sayana, rag#as kihnitaketudazde rahasyam ba- dhniyat, ‘he shall secretly tie (the cow) to the staff of the characteristic banner of the king.’ The Pet. Lex. assumes for updsanga the meaning ‘vicinity, but the word ordinarily | means ‘ quiver.’ Is there a ‘staff of the quiver?’

We have no information in the Veda itself regarding Arbudi and Nyarbudi, aside from this and the next hymn. Sayaza says that they were serpents (see st. 5), the sons of that Serpent-Azshi Arbuda (Kadraveya, the son of Kadri), to whom tradition ascribes the composition of RV. X, 94 and 175; cf; Asv. Sr. V, 12, 9. 23; X, 7. Four words are concerned in the elucidation of this matter, arbuda (arbuda), and nyarbuda, arbudi and nyarbudi, and their manifold meanings do not bridge over to our subject with any degree of firmness. Only one point I would suggest: the forms with the prefix ni are in all probability the result of a verbal misconstruction. Arbuda in the Rig-veda is a demon-serpent whom Indra is bound to slay. At RV. II, 11, 20 we have ny arbudasm vavrzdhano asta, ‘thou (Indra),having waxed mighty, didst prostrate Arbuda ;’ similarly VIII, 32, 3, ny 4rbudasya vishtapam varshmanzam brzhatds tira, ‘ pierce the high resting-place of great Arbuda;’ cf. also I, 51,6; II, 14, 4. I believe that nyarbuda and nyarbudi owe their intrinsically meaningless prefix ni to such verbal juxtapositions which could be easily misunderstood. A still greater curiosity is the friendly relation of Arbudi and Nyarbudi, as ancillary war-gods, with Indra, notwith-

634 HYMNS OF THE ATHARVA-VEDA.

standing Indra’s hostility to Arbuda in the RV. Note also the apparent epithet of Indra, nardabuda, at TS. ITI, 3, 10,1. Whether it is in any way connected with this cycle of ideas it is impossible to say. The present hymn has been translated by Ludwig, Der Rigveda, III, 530-1. Stanza 1.

Sayaza, ‘Make manifest to the enemy our equipments for battle, so that fear shall arise in their minds.’ For udaran Sayama proposes either ‘ demons in the air, udgatan antarikshakaran raksha/pisakadin, or ‘ fiery portents, sirya- rasmiprabhava ulkadaya Antarikshyé utpataz. For ami- trebhyak Ludwig proposes a different construction, ‘make all that visible with the enemy, i.e. may their weapons and plans not remain hidden from us!

Stanza 2.

b. For the construction of this Pada (repeated in st. 26 c), cf. Delbriick, Altindische Syntax, p. 106.

c,d. The Padapazha reads sdemdrishza and gupt4, neuters plural in agreement with mitrézi. Sdayaza comments upon sdmdrishtak and gupté&, supplying ‘ warriors’ with it: this does not change the sense. Ludwig, ‘erblickt soll euer verborgenes werden, so vile unsere freunde sind, o Arbudi.’ For the eliptic vocative singular, arbude, cf. stanzas 3 and 11.

Stanza 5.

a. The word bhogébhiZ, ‘ with (thy) curves,’ would seem to indicate that Arbudi is primarily a serpent ; cf. RV. VI, 75%4 5 Tait. Soil, 4p 500 F Ve ass, ae Duets may also refer to some snare-like machine, similar to a serpent. Sayama, sarpasariraiz pariveshéaya.

Stanza 7.

For women as mourners over the dead, and their con- ventional practices, see our essay on the subject, Contribu- tions, Second Series, Amer. Journ. Phil. XI, 336 ff. Our

XI, 9. COMMENTARY. 635

explanation of krzdhukarvz?, ‘ with short (mutilated) ears,’ is very doubtful, and on p. 340 of the essay just quoted I have asked whether the entire stanza does not perchance refer to demons of the battle-field. I do not place great confidence in Sayama’s naively ingenious explanation of krzdhukarnvi by ‘short-eared, because all ear-ornaments have been removed.’ Ludwig is relieved by making a proper name of the word.

Stanza 8.

a. The Pada is problematic: our translation implies that the women, bereft of their relatives who have fallen in battle, sit in a bent attitude longing for their lost kin. It would be possible to imagine another situation: with bent back the women who miss their relatives seek them on the battle-field, where Arbudi has pierced them. Sdyaza offers nothing usable. Ludwig’s translation is not clear, ‘die abreisst den riickenwirbel, wahrend sie im geist den sohn sucht,’ &c.

Stanza 9.

Sdyaza offers nothing usable. Ludwig’s translation is not clear, ‘die abreisst den riickenwirbel, wahrend sie im geist den sohn sucht,’ &c.

Stanza 9.

Sayavza presents futile etymologies for aliklava' and gashkamada. Pada d, amitreshu sarmikshayan is cut of construction, and superfluous: samikshayan is in reality the nominative singular masculine of the participle (as in st. 6b). The expression has assumed the character of a refrain (cf. stanzas 11 and 25), and is similar to the equally formulaic amitrebhyo dvzsé kuru, in stanzas I, 15, 22, and 24.

Stanza 12.

e. Sayava reads trugrahaiz (arivam grahavaiz), and bahuvankaiZ (bahuna vakrabandhanai/), i.e. ‘with thy thighs and arms. The parallelism is noteworthy, and firu- may be the correct reading. Conversely, of course, Sayavza may have accentuated an incidental parallelism.

' aliklabaA visishfaklaibyayukté viklab4h tadviparita aliklabad, ‘viklabas are creatures afflicted by extraordinary impotence ;’ the converse of that are aliklabas (!); cf. the note on XI, 2, 2.

636 HYMNS OF THE ATHARVA-VEDA.

Stanza 14.

Cf. the essay quoted in the note on stanza 7 (especially p- 340, note). For paéaurav of the vulgata, Shankar Pandit, following Sayavza and some MSS., has substituted pa/drav. Sayaza on Pada b, ura# vakshafsthalam pafirau tatpra- desau (fa) Aghnanas. Here, doubtless, belongs too pafira in Tait. S. V, 7, 21,2; 22, 1, axdesignation,eime part of the body, described by the commentator as ‘ ribs in the back. The translation of the am. Aey. aghariziz in Pada c is that of the Pet. Lex., and purely etymological. Sayama, ‘distressed by the grief due to the loss of their husbands’ (aghena... artaZ).

Stanza 15.

a, b. All the matter pertaining to the female demons is extremely problematic. SAyaza takes svanvatihz literally, ‘accompanied by the dog Sdrameya as a playmate. He explains ripakaz as ‘ ghostly armies which by the force of magic are perceptible in outline merely ’ (mayavasat keva- lam ripamdatreza upalabhyamanaZ senaripakaz). The word rfipaka suggests the root rup, ‘injure ;’ cf. XI, 2, 3.

c,d. Sayaza garbles his text, and comments as follows, patre anta# madhye rerihatiz punad-punar lihatiz durnihi- taishizim dush/anikshiptam ikkdantive vasdm (!) gam.

Stanza 16.

a. Our rendering of khadtire reflects simply our own and Sayaza’s perplexity, dirabhitam kha khadiram (!) akase daradese.

Stanza 22.

Much in this is obscure and bizarre. Sdyawa does not help much, except that he agrees with the Pet. Lexs. in reading -vasinak for -vdsina# in Pada d; see bastavasinak for bastavasinak in VIII, 6, 12,and cf. V, 20,2 b. Accord- ingly our rendering. The entire stanza seems to depict a blend of a human and demoniac army (‘das wilde heer’), altogether fit to strike terror into the heart of the enemy.

XI, 10. COMMENTARY. 637

Stanza 23.

V, 20,2 b. Accord- ingly our rendering. The entire stanza seems to depict a blend of a human and demoniac army (‘das wilde heer’), altogether fit to strike terror into the heart of the enemy.

XI, 10. COMMENTARY. 637

Stanza 23.

Sayaza: ‘ Trishamdhi is a certain god who routs armies, or designates a weapon, a club which has three joints ;”’ cf. our remarks in the introduction to the hymn. The natural- istic basis of the quasi-divinity is (Rudra’s) lightning.

Stanza 24.

Even the trees and other vegetation, as well as animate beings, may exercise their powers to the destruction of the enemy, as is stated unambiguously in the closely parallel stanzas VIII, 8, 14. 15, where the arrangement of the first two hemistichs is a different one. Cf. also Kaus. 73, 5.

Stanza 25.

For the loosely construed refrain at the end of this verse, see the note on stanza 9.

XI, 10. COMMENTARY TO PAGE 126.

The hymn continues the subject of XI, 9, but the appeals for help to Arbudi and Nyarbudi are subordinated ; Tri- shamdhi is here the prominent figure: his momentous powers are engaged for the destruction of the enemy. For the employment of the hymn in the Atharvanic practices and the meaning of Trishamdhi, see the introduction to the preceding hymn, and the note on XI, 9, 23. It has been translated by Ludwig, Der Rigveda, III, 531 ff.

Stanza 1.

For ketu, see the passages and the literature quoted by the Pet. Lex. s.v. 7); Muir, Original Sanskrit Texts, I?, p. 32, note 51. Both Sayawva and Ludwig render the word here, as in stanzas 2 and 7, by ‘ flag.’

Stanza 2.

a, b. The vulgata, depending upon the Padapa ¢/a, con- strues vedardgyam as a compound, it is difficult to say in what sense. We have taken isém veda in the sense of a quasi periphrastic perfect (cf. Whitney, Sanskrit Gram-

638 HYMNS OF THE ATHARVA-VEDA.

mar?, § 1070, c). Similarly Sayama, isda veda isitavyatvena ganatu (!).. The word trishazzdhe is metrically superfluous and grammatically unassimilable: it has been omitted in our translation. At best it must be emended to trishamdhir. The construction of Pada b is problematic; perhaps it is to be put with what follows, ‘may the evil brood, &c., together with the red portents, &c.’ The aruvaz ketavah are personified as evil forces in this hymn; see the matter referred to in stanza I.

Stanza 6.

The construction of Pada b is problematic; perhaps it is to be put with what follows, ‘may the evil brood, &c., together with the red portents, &c.’ The aruvaz ketavah are personified as evil forces in this hymn; see the matter referred to in stanza I.

Stanza 6.

The sense of the first hemistich is extremely obscure. According to D§arila to Kaus. 16, 25, and Sayava on our passage, the sitipad? is a cow. But this fails to accord directly with the verbs asyati, Kaus. 16, 26, and saz patatu in stanza 20 of our hymn: they point to some missile, an arrow, or the like, and accordingly we have saravya in the present stanza. But what is a ‘white-footed, four-footed arrow?’ Wecan merely refer back to the solution proposed in the introduction to XI, 9g: apparently a white-footed cow is chased as a symbolic arrow into the camp of the enemy. Cf. Kaus. 14, 22 where likewise a sitipadi (Darila, meshi) is let go (avasrzgati, ordinarily employed with arrows). The latter Siitra evidently relates to AV. III, 19, 8, ‘fly forth, O arrow, after thou hast been hurled’ Sayava reads in our stanza saw patatu for sam dyatu (diyatu, ‘ fly’ ?), and evades the difficult ‘ four-footed arrow’ by paraphrasing saravyéa as an adjective agreeing with gauh, to wit, saravya sardzdm bazanam samthak ... sarasashati- rapa bhaitva (gauZ) sam patatu satrin sasprapnotu. This resembles our own tentative explanation.

Stanza 7.

Cf. the notes on XI, 9, 7.14. Possibly female demons, or spectres rather than mourners are referred to. Sdyaza refers dhimakshi and kriédhukarzi to the army of the enemy ; this he supposes to be blinded by magic smoke, and bewildered by the noise of battle (alpasrotra pafaha- dhvanina hatasravazds4marthya).

XII,. I. COMMENTARY. 639

Stanza 17.

Identical with AV. V, 8,6. See the diverse translations of the passage in Ludwig, Der Rigveda, III, pp. 439 and

532. Stanza 19.

e. The speckled ghee (ghee mixed with sour milk) is embodied in the practices of the Kausika, 16, 22; see the introduction to XI, g.

Stanza 20.

Cf. the discussion of sitipadi in the note on stanza 6.

Stanza 22. Sayaza explains 4gman as ‘vehicle,’ rathadi yanam, which simplifies the sense. In Pada d he reads, desirably, abhihi- taf, ‘bound, for abhihatad, ‘ slain.’

Stanza 25.

e. kakagakrita is da. Aey. The Pet. Lexs., etwa ‘zerfetzt;’ Ludwig, ‘ zerstaubt ;’ Sdyaza, kutsitaganana vilolaganana va krzta.

Stanza 26.

a. Read marma-viddham. Suparmair is out of construc- tion, and it seems natural to read suparza(Z). But the Pada as it stands is hypermetric, and the expulsion of the word leaves a good trish¢ubh, ending at adantu. Then, to be sure, Pada b is short by two syllables.

XII, 1. COMMENTARY TO PAGE 199.

Read marma-viddham. Suparmair is out of construc- tion, and it seems natural to read suparza(Z). But the Pada as it stands is hypermetric, and the expulsion of the word leaves a good trish¢ubh, ending at adantu. Then, to be sure, Pada b is short by two syllables.

XII, 1. COMMENTARY TO PAGE 199.

This hymn is one of the most attractive and characteristic of the Atharvan, rising at times to poetic conception of no mean merit, and comparatively free from the stock artificialities of the Vedic poets. The relation of the real, visible earth to man, animals, and plants preponderates over the remoter mythological and mystic conceptions. The hymn and its individual stanzas are employed in the ritual freely and in a considerable variety of aspects. Its chief use is at the 4grah4yazi-ceremonies, the concluding ceremonies of the rites devoted to serpents, undertaken on

640 HYMNS OF THE ATHARVA-VEDA.

the full-moon day of the month Margasirsha (Kaus. 24, 24 ff.1). The so-called dridhikarmani’”, ‘rites for rendering houses, villages, &c., firm, or well-established’ (Kaus. 38, 12, ff.), are also associated with this hymn, which on that occasion goes by the name of bhaumam (sc. siktam). At Kaus. 98, 3 the hymn is employed in the course of the expiatory practices on the occasion of an earthquake. A considerable number of stanzas are worked up at the bhiisaszskara, the preparation of the ground for the fire-altar (vedi) in Kaus. 137. The Gazamala, Ath. Paris. 32, 5 (see Kaus. 8, 23, note), counts it as one of the vdstoshpatiyani (sc. siktani), ‘hymns addressed to the genius of the home- stead ;’ the Atharvaziya-paddhati at Kaus. 19, 1, enlists it among ‘the stanzas that secure prosperity’ (push/ika mantraz). Cf. also Vait. Sd. 12,6; Ath. Paris. 10; 41, 1. The uses of single stanzas, or groups of stanzas, will be stated in the notes on the same, below.

The hymn has been translated by Ludwig, Der Rigveda, III, 544 ff.

Stanza 2.

Cf. Kaus. 137,16. This and the preceding stanzas recur Maitr.S.IV,14,11. The reading badhyato in st. 2 a is scarcely tenable, though supported by some MSS. and Kaus. 137, 16. Many MSS. read madhyato, ‘from the midst (of men).’ The Maitr. S. has asaszbadha ya madhyatd, manavébhya’. As regards pravatak in 2b, Prof. Pischel, Vedische Studien, II, 63 ff. (cf. Weber, Ind. Stud. IV, 407), seems to us well justified in claiming that pravat many times means ‘ river,’ (root pru); nevertheless we must assume another pravat (pra-vat) in the sense assumed above, formed like ud-vat, ni-vat, &c. Cf. especially RV. VIII, 6,°34, &c. (Pischel, eats oie oy

‘Cf. Asv. Grah. II, 3; Paras. Grch. II, 2; Sankh. Grzh. IV, 17.18; Gobh. Grzh. III, 9; Khad. Grch. III, 3, 6 ff.; Apast. Grihs VI, 19; 9 tis; °O'. sta: Gree ite

* The reading of the word is not quite secure; see the critical note, Kaus. 38, 12, and cf. Kesava.

XII, I. COMMENTARY. 641

Stanza 4.

Asv. Grah. II, 3; Paras. Grch. II, 2; Sankh. Grzh. IV, 17.18; Gobh. Grzh. III, 9; Khad. Grch. III, 3, 6 ff.; Apast. Grihs VI, 19; 9 tis; °O'. sta: Gree ite

* The reading of the word is not quite secure; see the critical note, Kaus. 38, 12, and cf. Kesava.

XII, I. COMMENTARY. 641

Stanza 4.

Cf. Kaus. 137, 17; Maitr. S. IV, 14, 11 (233, 15. 16). The Pet. Lex., vols. i. 269; v. 1001 (s.v. Anya), explains anya in Padac as ‘inexhaustibleness.’ So also Ludwig. But the ordinary meaning of dnya suffices as a pis-aller. Does the end of the word veil svapatyd, ‘ ownership ?’

Stanzas 5-7. :

Cf. Maitr. S. IV, 14, 11 (233,143 234,13 233,12), in part with important variants. Stanza 6 is rubricated at Kaus. 137,28. For the expression bhtiimism przthivim, cf. Avestan zim perethvim, Yasna X, 4. Doubtless przthivi is still (or anew) felt as an adjective.

Stanza 8.

For parallel statements, cf. the passages assembled by Muir, Original Sanskrit Texts, IV, 24 (note 58). Cf. also Ludwig, I.c., p. 320.

Stanza 11.

This and the next stanza are members of the svasty- ayanagamza of the Gamwamala, Ath. Paris. 32, 11 (Kaus. 25, 36, note). Cf. also Ath. Paris. 10; 181, 1.

Stanza 18.

Cf. Vait. SO. 15,8; Ath. Paris. 10. For parigrzhvanti, cf. the parigrzhya (sc. vedi), Kaus. 17, 2, and, in addition to the passages cited in the Pet. Lex. (under pari grah 3), Tait. S. II, 2, 10, 5; Maitr. S. I, 6, 3 (89, 14); Apast. Sr. IV, 5, 4:

Stanza 14.

e. For pirvakrztvari, cf. the note on pirvakamakr/tvane, VII, 116, 1b.

Stanzas 19-21.

The connection of these stanzas with the body of the hymn is a loose one: Agni, not the earth, is their primary subject; cf. III, 21,1.2. See Kaus. 2,41; 120,53; 137,30; cf. also Ath. Paris. 48, 2.

[42] $ Sih =

642 HYMNS OF THE ATHARVA-VEDA.

Stanza 22. d. Ludwig, ‘von svadha (opferspeise wol = 1/4) und speise. We with Pet. Lex. (feta (dover).

Stanzas 23-25.

They are frequently cited in the Atharvan ritual as the gandhapravadaz (sc. rzkah), ‘stanzas that mention gandha (fragrance).’ At Kaus. 13, 12 a king desirous of lustre is anointed with fragrant substances, the act being accom- panied by the recital of these stanzas. Similarly Kaus. 54, 5 (cf. also 24, 24, note); Vait. Sa. 10,5. The stanzas figure also in the second varkasyagawa of the Gazamalé, Ath. Paris. 32, 27 (Kaus. 12, 10, note), and are cited fre- quently in the Atharva-parisishdas, 4, 1. 3.4; 6,2; 17,2; 22,33; 44,1. Inst. 23, gandha and gandharvd(f) in allite- ration.

Stanza 27. Cf. Vait. Sa. 2, 8.

Stanza 28.

Cf. Kaus. 24, 33; Ath. Paris. 43, 3. Possibly &a is to be added to Pada b. Stanza 29.

Cf. Kaus, 3,8; 24,28; 90,15; 137,40; Ath. Paris. 39, 16.

Stanza 30.

See Kaus. 58, 7 (cf. 24, 24, note), and Vait. Sa. 12, 6, both in connection with purification of the body.

24, 24, note), and Vait. Sa. 12, 6, both in connection with purification of the body.

Stanza 31.

Repeated with variants at Maitr. S. IV, 14, 11 (233, 16). This and the next stanza are members of the svasty- ayanagava of the Gawzamdla, Ath. Paris. 32, 11 (Kaus. 25, 36, note).

Stanza 33.

See Kaus. 24, 33; Vait. Sad. 27, 7.

Stanza 34. See Kaus. 24, 30. It is curious that this charming verse

finds only secondary employment; it-does not even figure among the du/svapnanasanani.

XII; I.. COMMENTARY, 643

a EIDE STRESS TSN a ge Stanza 35.

See Kaus. 46, 51; 137,12; Ath. Paris. 44,1. Cf. st. 61.

_ Stanza 36. See Kaus. 137, 9 (cf. 137, 4, note). Cf. Tait. S. V, 7, 2, 4.

Stanzas 38-40.

Cf. Kaus. 24, 37 (cf. 24, 24, note); Vait. Si. 10, 8; ie 22,1. Stanza 38 is counted by the Atharvawziya-paddhati (Kaus. 19, 1, note) among the pushzika mantra“,

Stanza 41. b. Cf. V, 20, 9, and the note.

Stanza 42. see Kaus. 24, 38; 137, 24.

Stanza 44. Cf. Kaus. 24, 39; Ath. Paris. 10, 18, 2.

Stanza 46.

See Kaus. 50, 17; 139, 8; Vait. Sd. 29, 10; Ath. Paris. 19, 5. Cf. also the raudragava of the Gawzamala, Ath. Paris. 32,17 (Kaus. 50, 13, note). The root ginv in Pada c, as in st. 3c, seems to be intransitive, contrary to ordinary usage.

Stanza 47. Cf. Kaus. 50,1; Ath. Paris. 19, 2. In Pada d pdnthanam is a metrically superfluous gloss.

Stanza 49.

For this and the next stanza, cf. Vag. S. XXX, 8; Sat. Br. Alll, 2, 4, 2.4. For Pada a; see AV. XI, 2, 24, and note. In Pada c, ula is quotable in addition only at Vag. S. XXIV, 31; Maitr. S. III, 14, 2 (Mahidhara, ‘a kind of wild animal’)'. Ludwig, l.c., pp. 166, 548, regards it as an adjective, ‘howling. Ludwig, to rzkshika, ‘ barin (?).’

1 Cf, fila, Tait. S. V, 5, 12, 1, defined by the commentator in a variety of ways, indicative of perplexity. 7. Ss

644 HYMNS OF THE ATHARVA-VEDA.

Stanza 51.

Pada b recurs at XI, 2,24b. Note the parenthesis in- volved in Padae. In the same Pada upavdm is a gloss,

disturbing the metre. Stanza 52.

See Kaus..24,.41 3 139,023:

Stanza 53. See Kaus. 10, 20, in the rite for acquiring wisdom.

Stanza 54.

See Kaus. 38, 30. While reciting this stanza one who wishes to be victorious in debate approaches the assembly- hall from the north-easterly direction (aparagita, ‘ the uncon- quered’ direction).

Stanza 58.

Seé Kaus. 24, 14; 38,29. Recited by one who desires to please in the assembly: he addresses the assembly-hall with the mantra, and looks at it. Pada b is obscure: cf. Kesava to 38, 29, yak £akshusha pasyati tad vadan (Gammu MS. idam) vighato na bhavati. Perhaps, ‘when I look, then they delight in me.’

Stanza 59. See Kaus. 24, 31 (ef. 3, 4, note).

Stanza 60. For the ‘mothers, cf. the introduction to VI, 111. The earth herself is ‘mother,’ st. 63.

Kesava to 38, 29, yak £akshusha pasyati tad vadan (Gammu MS. idam) vighato na bhavati. Perhaps, ‘when I look, then they delight in me.’

Stanza 59. See Kaus. 24, 31 (ef. 3, 4, note).

Stanza 60. For the ‘mothers, cf. the introduction to VI, 111. The earth herself is ‘mother,’ st. 63.

‘ Stanza 61.

See Kaus, 46, 52; 197,.13. 14.. .Cf. for*Pada a tne gi modya, Vag. S. XXIII, 9. 10. 45. 46; Sat. Br. XIII, 2, 6, 13; Maitr. 5. ITT, 12,19; -Tait.S, VII 4, 181. 2 eee III, 9, 5,5,and the commentators. For the second hemistich,

cf St.n25 Stanza 62.

See Kaus. 50, 10: a traveller starts on his journey.

Stanza 63. See Kaus. 24, 27; 58, 19, note; Vait. Sd. 27, 8.

XI, 3. COMMENTARY. 645

XII, 3. COMMENTARY TO PAGE 185.

This hymn treats of the brahmaudana, the preparation of the porridge for the Brahmans, more elaborately than XI, 1, with which it is worked up in Kaus. 60-63. See the intro- duction to XI, 1.

Stanzas 1-4,

The sacrificer, his wife, and children step upon a skin, and seat themselves around a vessel full of water. Kaus. 60, 31 ff. : ‘With stanza 1 (the priest) makes (the sacrificer) step upon the skin. 32. The wife (follows, or takes hold of the husband) as he is calling’. 33. With the third stanza? he calls for his children... 35. With stanza 4 they along with the children seat themselves around (a vessel containing water . which has been placed upon the skin, Sfatra 34).’

Stanza 1.

a. ihi is wanting in the Paippalada. The Pada is improved by throwing it out and reading pumaén trisyllabically.

Stanza 2.

édhas at the end of the third Pada may perhaps be regarded as an instrumental : ‘When Agni with his flame, &c. ;’ cf. Lanman, Noun-Inflection in the Veda, p. 562. The second hemistich seems to refer to widow-burning (cf. st. 17, and RV. X, 18,7). The word pakvat, rendered ‘ from the (cooked) porridge,’ seems to harbour something of a double entente: ‘from the cooked remains of the body, after it has been burned upon the funeral-pyre.’ The well-cooked porridge anticipates symbolically the successful conclusion of life, to be followed by a happy life hereafter. Cf. also stanzas 7-9, 11, &c.

* The translation of this Sfitra is by no means clear, and does not agree with Kesava’s treatment, tatra hvayasva iti padena patnim (Gammu MS. patni) 4hvayita.

2 Kesava, ‘with the third Pada:’ yavantév agre prathamam iti padena apatyani anvahvayita. But how can trétiyasyam mean with the third Pada?

646 HYMNS OF THE ATHARVA-VEDA.

Stanza 4.

We read givadhanya/ (accented) with some MSS. and RV. I, 80, 4. But the vocative is not impossible: ‘around this living (father), ye (children) that refresh the living.’ The children might be so called in the sense that they continue the life of the parents. In the fourth Pada vas ganitri either refers to two children, or the parents: ‘the mother (female) of the two parents.’ See also the next stanza. vam could be easily corrected to vo.

In the fourth Pada vas ganitri either refers to two children, or the parents: ‘the mother (female) of the two parents.’ See also the next stanza. vam could be easily corrected to vo.

Stanzas 7-10.

Kaus. 61,1. 2: ‘While reciting stanza 7 the act indicated in the mantra is performed (i.e. they turn to the east). With the four mantras (7-10) they go around the water-vessel (turning towards each direction *).’

Stanza 9.

Cf. Kaushitaki-Upanishad I, 2, 3, where it is said that all those who depart from this world go to the moon (soma), the moon being the door of the world of light. Therefore shall man and wife turn to Soma’s region where the pious (sukv/taz) departed dwell. Cf. upon this point, Contributions, Third Series, Journ. Amer. Or. Soc. XV, 168, In Pada d the double meaning of pakva, alluded to in the note on st. 2, seems to gain special prominence: pakva is at once the cooked porridge, and the cooked ashes of the deceased couple.

Stanza 10.

a,b. Note the threefold play upon the word ud, in uttaram, uttaravat, and udifi.

e. The purusha (cosmic man) is the pankti; that is to say, like the metre pankti he consists of five constituent parts. Cf. Ait. Br. II, 14,7: ‘Man is composed of five parts, hair, skin, flesh, bones, and marrow.’ This statement about the purusha appears to be solely for the purpose of bridging

* Kesava, prakim-pradim iti fatasrzbhir r7gbhif pratidisam upa- tish/Zate mantroktam.

XII, 3. COMMENTARY. 647

over to the virdg who is identified in the next stanza with the fifth direction, the nadir (dhruvd).

Stanza 11.

Kaus. 61, 3: ‘ While reciting the stanza (the sacrificers) face reverently every direction. Apparently the nadir, as it were, embraces all the other directions. For dhruvd as a designation of the fifth direction, see III, 26,5; 27, 5, &c. Virag obviously has reference to the metre of that name; she is, too, the daughter of Purusha (cf. Pet. Lex. under virag 3), who is said to be the metre pankti in st. Io. A complicated chain of symbolism.

e,d. Aditi is called upon to protect the porridge, for she is the cooker of the porridge, by distinction: cf. the iegends in Maitr. S. II, 1,12; Tait. Br. III, 7, 11, 2, and the note on XI, I, 1.

Stanzas 12, 13.

According to Kaus. 61, 4 (cf. Kesava) the water-vessel is next, with stanza 12, taken from the skin and placed upon the ground, and the water contained in the vessel is used throughout the ceremony. The sacrificer and his wife doubtless come down from the skin ; hence (the earth) is called upon to embrace them, &c. In stanza 13 the water is implored to purify the sacrificial vessels from impure contact (as indicated by the Paribhasha-sitra, Kaus. 8, 14). For the connection of the non-Aryan dasi with the sacrifice, see Ludwig, Der Rigveda, p. 212.

Stanzas 14, 15.

In stanza 13 the water is implored to purify the sacrificial vessels from impure contact (as indicated by the Paribhasha-sitra, Kaus. 8, 14). For the connection of the non-Aryan dasi with the sacrifice, see Ludwig, Der Rigveda, p. 212.

Stanzas 14, 15.

At Kaus. 61, 18 the mortar and pestle, and the scrubbed winnowing basket, are placed upon the (afore-mentioned) skin, while stanza 14, along with Pada a of XI, 1, 9, is being recited. Cf. the note on XI, 1, 9 for the substitution of mortar and pestle in the place of the two press-stones. With stanza 15 the pestle is placed upright (in the mortar: Kaus. 61, 21, musalam uf#ffrayati). It is also rubricated in Ath. Paris. 10.

648 HYMNS OF THE ATHARVA-VEDA.

Stanzas 16, 17.

At Kaus. 61, 13. 14 the employment of stanzas 16 and 17 is prescribed, without adhering to their order in the Saahita : ‘With stanza 16 the sacrificer, his wife, and children (sapat- yau) touch the grain (which has previously been poured into a pot, Sitra 11). With the second hemistich of stanza 17 the sacrificer takes hold of his wife’s hand.’

Stanza 16.

Judging from the Kausika’s employment of the stanza the presence of real sacrificial cattle at this stage of the ceremony seems doubtful: the grain that goes to make the porridge seems to be likened to cattle; cf. stanzas 18,21. In Pada b the Paippalada reads medhasvan for gyotishman, in Pada c tam for tan; according to the Index Verborum most MSS. read tam for tan, but the present reading seems

preferable. Stanza 17.

Stanzas which similarly promise the reunion of families in the next world are AV. VI, 120, 3; IX, 5, 27; XVIII, 3,23. The second hemistich seems to come from the mouth of the departed, who perhaps is conceived to desire that his wife shall follow him to the funeral-pyre; cf. st. 2. These statements are, however, hardly definite enough to permit us to connect them with the formalised later rite of Suttee.

Stanza 18.

This is rubricated along with XI, 1, 9b at Kaus. 61, 22: avahanti, ‘the pestle is beaten down (upon the grain).’ As it comes down it smites and drives off the hostile powers, but at the same time, as in the case of the axe which slays the sacrificial animal (cf. Contributions, Sixth Series, Zeitschr. d. Deutsch. Morgenl. Gesellsch. XLVIII, 556), the fiction is kept up that it does not really injure the grain. The statement strengthens the impression that the

grain is viewed in the light of sacrificial cattle, as in stanzas 16,29;

XII, 3. COMMENTARY. 649

Stanza 19.

For the employment of this stanza in the Sdtra, see the notes on XI, 1,11,and g. The grain which is to form the porridge is addressed, as though it were the cooked por- ridge that spreads in the dish, and is enriched with ghee. The second hemistich shows this to be anticipatory, for the act of the stanza is the winnowing of the grain. Cf. stanza 53. In Pada c varshavvzddham shows that the basket is made of reeds, not of dead wood; cf. Zimmer, Altindisches Leben, p. 238.

The second hemistich shows this to be anticipatory, for the act of the stanza is the winnowing of the grain. Cf. stanza 53. In Pada c varshavvzddham shows that the basket is made of reeds, not of dead wood; cf. Zimmer, Altindisches Leben, p. 238.

Stanzas 20, 21.

Kaus. 61, 26-28: ‘ With stanza 21 the wife as she removes (the husks) is addressed. With stanza 20 the husband and wife touch (the husks) after they have been removed. With part of stanza 20d (the grain) is again poured into the winnowing-basket.’ There is no mention of the preparation of soma which is suggested by aestin in stanza 20c: the word must therefore refer to some part of the ceremony which the Sitra ignores, unless the grain is figuratively called soma.

Stanza 20.

The meaning of the first hemistich is far from clear. The Brahmava is either the priest (cf. XX, 2, 3), or some holy text. Perhaps sdsmmita bréhmavena means ‘have been measured out by the Brahmamya;’ cf. stanzas 28 and 33.

Stanza 21.

It seems again as though the animals here refer to the grain, as in stanzas 16 and 18: the grain is varied in colour ; the porridge when cooked is solid in colour. In Padac the Padapatha reads tam, but we have taken ta#= tan.

Stanzas 22-24.

Kaus. 61, 31: ‘ With stanza 22 the pot is anointed. As the Sfaitra does not rubricate the next stanza (23), where the anointing is mentioned, by itself, we must understand

650 HYMNS OF THE ATHARVA-VEDA.

that stanza 23 is included in the quotation. ‘With stanza 24 he places fire about (the pot).’ In st. 22 d brahmawa seems to be a gloss.

Stanza 25. Kaus. 61, 34. 35: ‘With this stanza and XI, 1, 17 the

two purifying blades of darbha-grass are placed over the pot, and water is poured upon the grain.’

Stanzas 28, 29.

Cf. XI, 1, 18.19, and see the notes there for the practices that go with the stanzas.

Stanza 30.

Pada a may be addressed either to the fire, or some officiating person, perhaps the wife. In Pada b the sin- gular atmanam is peculiar: the word seems, either to have reached the extreme limit of pronominal usage, or, as we have translated, refers to the interior of each grain of corn, which is to be penetrated by the water. In Pada d the Paippalada has pradiso yathaimam, upon the basis of which we would propose pradiso yathes maz, ‘ according to these regulations. Or, perhaps, the Pada is to be rendered (with the same emendation): ‘measured was the grain as these regions of space (were measured). It is possible, too, to imagine pradiso as a verb, and read pradiso yathesmam in still closer accord with the Paippalada, ‘as thou didst order this (woman).’ The word pradiso is mentioned under pradis in Whitney’s Index Verborum for this passage.

Stanzas 31, 32.

Kaus. 61, 38-40. A barhis (seat of darbha-grass) is prepared for the porridge: with 31 a the sickle is handed over to him who shall cut the grass, with part of 31 b he cuts it, with 32 the grass is strewn. Cf. Kaus. 1, 24. 25; See Te

Stanzas 31, 32.

Stanza 31.

d. amanyuta (Padapa//a, dmanyutaZ) is to be regarded

either as a homophonous instrumental from the abstract

XII, 3. COMMENTARY. 651

amanyuta (better amanyuta), or a denominative participle in ta (Whitney, Sk. Gr.2,§1175b). The latter is the more probable construction. Possibly, however, we must read amanyu ta, ‘without anger they,’ dmanyu being an adverb. The word yés4m in Pada c seems indeed to demand taz in Pada d.

Stanza 32.

e,d, The Paippalada has, tatra deva/ saha devair visantu, and dakshizato for rztubhir. Pada c stands sorely in need of correction: we propose tasmin devat# saha devir visantu. But for the metre tasmin deva/ saha devibhir visantu would be even simpler. Cf. in a general way VI, 59, 2, note. _

Stanza 33.

Kaus. 61, 43. A wooden platter is placed upon the barhis. In Pada c tvdsh¢ra is used consciously for tash/ra: the conceptions of the earthly carpenter, and the heavenly carpenter, Tvash¢ar—sukr7/t and rdpakr/t are his standing epithets—are blended into one. The difficult word in this stanza is vanaspate, which along with the statements in the first three Padas (agnish¢oma) seem to refer origin- ally to the yipa, the post to which the sacrificial animal is ed. eee. 2. sat. Br tlt, 64,1. .Lhére 3s no octa- sion here, as far as can be seen, for a yipa, and Kausika makes no mention of one. It looks very much as though a stanza concerned with the yiipa had been secondarily adapted. Similarly at Kaus. [5,11 our stanza figures in connection with a chariot, which is also secondary.

Stanza 34.

Kaus. 62,9. The porridge is put down to the west of the fire. The meaning of the ‘sixty autumns,’ as indeed the sense of the entire passage, is extremely obscure; cf. stanzas 41,42. The point of the stanza may again lie in the double meaning of pakva (cf. stanza 2): in sixty years, that is at the end of his life, the sacrificer shall reach heaven by the pakva, in the double sense of the porridge he has offered to the Brahmans, and the cooked ashes of the funeral-pyre.

652 HYMNS OF THE ATHARVA-VEDA.

Stanza 36.

Employed along with XI, 1, 21 at Kaus. 61, 41; see the note on XI, 1, 21, and cf. Vait. Sa. 10,9. In the order of the Sitra this stanza precedes stanza 34. Cf. XVIII, 3, 29.

Stanza 36.

Employed along with XI, 1, 24 at Kaus. 62, 1 ff; see the note on XI, 1, 24. The ladle is placed upon the altar, and in the sequel the porridge is dipped out, as indicated in the second hemistich of the present mantra (cf. Kaus. 62, 6. 7) Oe AIBOAr Ny ot Vay ye

Stanzas 37, 38.

Stanza 36.

Stanzas 37, 38.

Kaus. 61, 45.46. With stanza 37 the porridge is covered with ghee; with stanza 38 the porridge is addressed. Both acts in the Satra precede correctly and naturally the dip- ping out of the porridge, indicated in stanza 36. In stanza 38 the mighty eagle seems to be the sun which shines pon the porridge; cf. XIII, 2, 32. 33. Both devaz# and deva- tabhiz seem to refer to the Brahmavas: the acting priests shall give the porridge to the priests for whom the porridge is prepared asa fee. Cf. Muir, Original Sanskrit Texts, I °, 262; Weber, Indische Studien, X, 35, and see Kaus. 6, 26 ff.

Stanza 39.

Kaus. 62, 11 ff.: ‘ With stanza 39 the act indicated in the stanza is performed (i e. both husband and wife place the porridge in one dish?). The wife takes hold of the hus- band. The subsequent performances are undertaken while husband and wife have hold of one another. In Pada a the second para which is rather superfluous may perhaps be emended to pate, corresponding to gaye in Pada b.

Stanza 40.

b. We read asmat for asmat to correspond with asy4/ in Pada a: man and wife are correlated.

XII, 3. COMMENTARY. 653

Stanza 41.

Kaus. 62,18: ‘ With stanzas 41 and 44 juices are poured upon (the porridge).’ The fourth Pada which is identical with 34 a (see its explanation there) seems out of place; it may have crept in owing to 42a. In Pada b amr/tasya nabhayaz may mean, ‘the navels of immortality.’

Stanza 42.

Kaus. 62, 10: ‘With this stanza the porridge is divided into three sections. Cf. XI, 1, 6, and the corresponding passage, Kaus. 61, 8-11. In Pada a ‘the treasure’ is the porridge itself; cf. st. 34.

Stanza 43. |

Kaus. 62,14: ‘ With this stanza the fire is carried around (the porridge).’ Cf. e.g. RV. VII, 15, 10; AV. VIII, 3, 26.

Stanza 45.

Employed along with XI, 1, 31 at Kaus. 62, 15.17; see the note at XI,1,31. In Padad the rare singular angiraso is to be changed to the adjective Angiraso, or, equally well, to the vocative plural angiraso.

Stanza 46.

The three stanzas beginning here are quoted in the course of another version of the brahmaudana practices (Kaus. 67 and 68), in Sitra 68,27. The devataz in Pada a are again, in all likelihood, the Brahmavas ; cf. st. 38.

Stanza 47.

b. The passage may perhaps be rendered, ‘and (so does) my wife at my doing and instigation.’ The second hemi- stich is evidently spoken by the priest in a sort of response to the speech of the sacrificer in the first two Padas.

Stanza 48.

a. 4dharo is very doubtful: the Pet. Lex., ‘ riickhalt’ (?). Perhaps ‘support, or protection in guilt’ is nearer to the true sense. Perhaps, again, an emendation to adharmo, ‘lawlessness, would not lead too far afield.

Stanza 48.

654 HYMNS OF THE ATHARVA-VEDA.

Stanza 49.

Kaus. 62, 18. 19. A cow and utensils for milking are placed to the north of the fire, the cow is milked during the recitation of a certain hymn, and the milk poured upon the porridge. Pada a is short by two syllables: supply karma, or the like?

Stanzas 50, 51.

Kaus. 62, 22. 23: ‘ With stanza 50 (and XI, 1, 28) gold is placed upon (the porridge); with stanza 51 a homespun garment accompanied by gold is put down in front of it.’ These, of course, are additional gifts (piece de résistance).

Stanza 50.

Ordinary fire in wood, lightning in the (cloud-)waters, and the fire of the heavenly luminaries, are reflected in the gold, presented by him that cooks the porridge: in giving the gold he becomes luminous, illustrious. Cf. I, 9,2; XI,

¥, 20; Stanza 51.

Since all animals have skins, nay even the porridge has a self-made garment, it is fit that the Brahman should also have one. In Pada c kshatréza seems to mean ‘ covering,’ and it may stand for #Aatreza from fad, ‘ cover,’ though khatra ordinarily means ‘umbrella.’ Cf. the variants ahi- kshetra and ahikshatra for ahif/atra, ‘mushroom,’ i.e.

‘serpent’s umbrella.’ Stanza 52.

Kaus. 63, 1. 2: ‘ With this stanza they clothe themselves in the same garment. A second garment (which they put on) becomes a garment (that carries off) evil: that, accord- ing to some authorities, is given to a human being of the lowest character.’ Cf. Kaus. 18, 1. 4, where a black gar- ment (krzshvakailam), symbolic of misfortune, is put on, and afterwards dropped into the water, in order that the mis-

fortune may depart. Stanza 53.

Cf. the note on XI, 1, 28. For Padas c, d, cf. stanzas 19 a, b. The point of the stanza is not altogether clear: it

XII, 3. COMMENTARY. 655

seems as though the smoke rising from the porridge (the earth) symbolises a cloud, and thus procures rain.

Stanza 54.

At Kaus. 63, 8 ‘other chaff of grain (phalikarava in Sitra 7) is thrown (into the fire) while reciting this stanza.’

COMMENTARY. 655

seems as though the smoke rising from the porridge (the earth) symbolises a cloud, and thus procures rain.

Stanza 54.

At Kaus. 63, 8 ‘other chaff of grain (phalikarava in Sitra 7) is thrown (into the fire) while reciting this stanza.’

Previously, in Sttras 6 and 7, similar substances (tusha and kambiika) have been thrown into the fire, and cast aside with the left foot; see the note on XI,1, 29. The stanza is extremely obscure, and I have lost ‘confidence in the interpretation of it advanced in Contributions, Sixth Series, Zeitschr. d. Deutsch. Morgenl. Gesellsch. XLVIII, 576. Its purpose seems to be, rather, to cause the fire to blaze up anew, perhaps, in order to drive away demons. As the > sky can assume different colours, and, especially. in the morning, can drive away its blackness for the brightness of the dawn (Pada c), so the fire may be enlivened unto redness by sacrificing (chaff) into it. RV. X, 3, 1d is almost identical with our Padac. The Paippalada, suit- ably to the metre, reads atmany in Pada b, and rusantim in c; for 4pagait, see the passage in the Contributions, cited above.

Stanza 55 ff.

With the remaining stanzas the bestowal of the brah- maudana and the concomitant gifts takes place (Kaus. 63, 22). The series of formulas beginning here are closely related to the sarpahuti, AV. III, 27; Maitr. S. II, 13, 21; Tait. S. V, 5, 10, 1 ff.; cf. Weber, Indische Studien, XVII, 295 ff. For the names of the serpents, see the notes on VI, 56; VII, 56, and Zimmer, Altindisches Leben, p. 94 ff. The expression gara mrityave in the third line of the for- mula reminds us of the bahuvrihi garamrztyu, XIX, 24, 8 ; 26,1; 30,1. This suggests here a tatpurusha garamriztyu, ‘death from old age ;’ the passage would then mean, ‘ may he lead us to death from old age.’ In stanza 59 the asso- ciation of Vishvu with the dhruva dis is remarkable: we should expect the fidhvd. For the association of Indra (not Yama) with the southern direction, see Weber, |. c., p. 296.

656 HYMNS OF THE ATHARVA-VEDA.

XII, 4. COMMENTARY TO PAGE 174.

For the association of Indra (not Yama) with the southern direction, see Weber, |. c., p. 296.

656 HYMNS OF THE ATHARVA-VEDA.

XII, 4. COMMENTARY TO PAGE 174.

The hymn is an elaborate plea of the Brahmans for one of the numerous sources of income which they managed to devise. Especially all sorts of ominous occurrences are set down as occasions for expiatory performances (prayastitti), at which the performing Brahman comes in for his dakshiza (see the thirteenth book of the Kausika), and every kind of irregularity in the birth of a domestic animal is amended by ceremonies in which the animal finally expiates its own existence by going over into the possession of the Brahman. See, for instance, AV. III, 28, and Kaus. 109-111. A cow which after a certain time (see st. 16) is discovered to be sterile (vasa) is viewed in this light: she belongs to the Brahmans, and the present hymn recounts in picturesque language, accompanied by fierce threats, the urgency of pass- ing her on to the Brahmans whom nothing hurts. Similarly in Tait. S. II, 1, 2, 2, a sterile sheep is said to be ‘cattle for the gods’ (i.e. in effect, for the Brahmazas); cf. also Tait. Br. I, 2, 5, 2, and see in general Weber, Ind. Stud. X, 61 ff. In Kaus. 44 and 45 the ceremonies for slaughtering a vasa are described ; it seems according to 45, 17 that they are wound up by giving the animal away. , The present hymn is rubricated in Kaus. 66, 20 along with X, 10; nothing is stated except that she is bestowed upon the Brahmans, after having been solemnly sprinkled while the hymns are recited. Cf. in general Ludwig, Der Rigveda, III, 272, and the same scholar’s translation of the hymn, ibid. 448 ff. The metre of this composition is regular anu- shzubh ; this, together with the style and contents, betrays the late character of the hymn.

Stanza 1.

The parenthetic expression, ‘and they have noted her,’ is admonitory: the Brahmans do not fail to know that a sterile cow exists; they are sure to claim their own! Ludwig suggests abhatsata or abhantsata for abhutsata, ‘and those who have bound her,’ but there is no relative pronoun, and the sense resulting is strained.

XII, 4. COMMENTARY. 657

Stanza 3.

a For kidd, cf. Geldner, Vedische Studien, I, 138. asya seems to refer to gava#, understood from the context.

b. kd¢am ardati is difficult: ka¢4m is unquestionably a Prakritic form for kartam, AV. IV, 12, 7 (cf. similarly kéva/e, RV. VI, 54,7). For ardati one would expect some word for ‘fall,’ or ‘ push,’ but the word means ‘burst, go to pieces.’ Perhaps ka¢am is the subject, ‘the deep ground bursts’ (cf. RV. IV, 17, 2; AV. XIX, 9, 8, descriptive of earthquakes), but this does not quite do justice to ka¢im.

d. The Paippalada has for diyate the preferable reading giyate, ‘his property is wrung (from him). For the inter- change of the sound-groups di and gi (dy and gy), see the writer in Amer. Journ. Phil. VII, 482.

Stanza 4.

a. vilohita, designation of some disease, also FX, 8, 1: perhaps, ‘flow of blood from the nose.’ Henry, Les livres VIII et IX de l’Atharva-véda, pp. 105, 142, ‘décomposition du sang. Both translations are purely etymological, but we may note that the word occurs in connection with other ailments of the head at IX, 8,1. Cf. also léhita VI, 127, 1, note.

e,d. The passage is not quite clear. saszvidyam. dm. Aey., may mean ‘possession.’ Ludwig. ‘name. At any rate there seems to be an attempt to etymologise upon, or explain, vasd as a derivative from the root vas, ‘control :’ the character of the vasa. quasi ‘ controller,’ is such that she cannot be deceived (duradabhna). We should expect ukyate for ufyvase: the Paippalida also reads uf/yase. The Pet. Lexs. translate duradabhna (also st. 19), by ‘getting the better of gates,’ i.e. ‘not to be confined. This is ingeniously improbable, and contrary to the more usual rendering of the perfect passive participle. The prefixes dur- and a- represent a double negative for emphasis; the word is a stronger version of dii-dabha.

Stanza 4 may be suspected of having stood originally

[42] =

658 HYMNS OF THE ATHARVA-VEDA. after 5, because its second hemistich seems to summarise the statements made in the remaining three hemistichs of the two stanzas. Stanza 5.

b. viklindu, am. Aey., perhaps ‘catarrh;’ cf. vikleda (root klid), ‘ moisture.’

d. Ludwig emends ya to yan, but the feminine is un- objectionable (supply, dhentiZ, or the like).

Stanza 6.

For the custom of marking cattle, see Zimmer, Altin- disches Leben, p. 234. The sense of A sku is not quite certain. For Sat. Br. I, 2, 1, 5. 8, Bohtlingk’s Lexicon renders it ‘durch stochern zerkleinern;’ Eggeling, Sacred Books, XII, 33, ‘ pull towards oneself ;’ Pet. Lex.. ‘ divide off.’ For & vriskate, see the next note.

Stanza 12.

ec d. If we compare 4 vrzskanti in st. 28, and Sat. Br. XII, 1, 3, 22, it seems possible that the passive 4 vrishyate must be substituted in one or another case (stanzas 6, 12, 26, 34) for & vriskate ; cf. the parallel roots skyut and sfut, and the note on VI, 136, 3. The Pet. Lex. s.v. suggests the same correction for a number of passages in other texts. The dative manyave, in that case, involves zeugma: here the middle of the same verb, in the sense of ‘ infringe upon,’ is certainly required, as is shown by st. 51.

Stanza 16.

For Narada in this and several of the following stanzas, see the note on V, 19, 9.

Stanza 18.

The sense is as follows: Though he did not perceive her udder, because a young and sterile cow is deficient in this

mark of prospective maternity, yet when he gives her away, she becomes a fruitful source of blessings.

Stanza 18.

The sense is as follows: Though he did not perceive her udder, because a young and sterile cow is deficient in this

mark of prospective maternity, yet when he gives her away, she becomes a fruitful source of blessings.

XII, 4. COMMENTARY. 659

Stanza 22.

d. The cow belongs not even to every ordinary Brahmaza, but only to him that knows all her mystic properties; cf. the numberless occurrences in the Brahmazas of the expres- sions, ya evazz veda, &c., and ya evazz vidvan, &c.

Stanza 23. The divinities that belong to the earth are in all pro- bability the Brahmavas themselves; cf. the note on XII, 3, 38. The stanza betrays sharp competition between the

Brahmazmas. Stanza 24.

e.d. Ludwig proposes to read either vidvdn for vidyan, or narada for ndrada#. Neither seems necessary: vidyat is the optative of narration, a moderated form of categorical statement. A better way to ease the construction is to read sa ha for saha in Pada d.

Stanza 27.

The statement is significant: it seems as though stanzas of a more antique and floating character respecting the vasa existed prior to the Atharvan redaction. For vaset read, of course, vaset with the Index Verborum; cf. the note on III, 4, 7.

Stanzas 29, 30.

d. Ludwig suggests gighammsasi, and this is correct as far as the change of the third person to the second person is concerned. The attraction of the proper third person in st. 30 has operated. But I have furthermore changed both stems to gigdmsa- from the root gam: the sense is much simplified. In st. 30d read yak#yaya with the Index Ver- borum.

Stanza 31.

Cf. the interesting parallel stanza Sat. Br. III, 4, 2,7. It may be questioned whether the real gods are supposed to mediate between the vasd and the Brahmans, or whether dev4 and brahmdn are used synonymously. Cf. the notes on st. 23 and st. 40.

Uua2

660 HYMNS OF THE ATHARVA-VEDA.

Stanza 32.

a,b. The call svadhd is the ordinary and typical exclama- tion in connection with formulas addressed to the Fathers, in distinction from svaha, the call to the gods. The con-. struction of the hemistich involves a zeugma. If we compare expressions like 4 stiryaya vriskyate Tait. Br. II, 1, 2, 10; 4 vviskyantam aditaye durévak, RV. X, 87, 18, it would seem as though the datives pitr7bhyo and devatabhyaz are to be construed with na a vriskyate (vriskate), derived from the sense of Pada 4; cf. also st. 28d. See in general the note on st. 12.

Stanza 38.

Brihaspati is the divine representative of the Brahmans: he undertakes to collect the debt incurred by the un- righteous owner of the vasa from his descendants by causing the priests to dun them for the debt.

Stanza 41.

also st. 28d. See in general the note on st. 12.

Stanza 38.

Stanza 41.

For viliptyam (MSS. also viliptim) the Paippalada has vilaptim (for vilapatim?). Neither form seems to suggest anything usable. Perhaps vilupti, ‘miscarrying, a deriva- tive of vilupta, ‘ destroyed,’ in the neuter ‘ dead offspring’ is the true reading, of which the extant forms are perplexed popular etymologies (vilipti, ‘soiled ;’ vilapati, ‘ whining’). Only it does not appear clear why vilupti should have been misunderstood ; hence the suggestion is very problematic.

Stanza 42.

e. The Paippalada reads tan for tam: ‘And Narada replied to them ’—a more facile reading.

Stanzas 43-47.

There seems to be considerable disorder in the arrange- ment of these stanzas. We should naturally expect 47 immediately after 43. This may have been displaced by 44: the concordance of kdsya(Z) in 43, and viliptya’ in 44

XIII, I. COMMENTARY. 661

(cf. vilipt? ya in the otherwise identical st. 46) renders stanza 44 suspicious. The original order, throwing out 44, may have been 43, 47, 46, 45.

XIII, 1. COMMENTARY TO PAGE 207.

The thirteenth book of the Atharvan consists of four hymns devoted to the worship of a divinity called Rohita, and his female Rohivi. There can be no doubt that ‘the red’ sun and his accompanying female, who in the course of the literature is designated as Ushas, Strya, Sarya Savitri, or Dyu!, are primarily in the mind of the poet. Rohita accordingly is identified with Agni (stanzas I, 11. 12), Surya (stanzas I, 32. 45; 2,1) and other manifestations of. the sun”. But there is also another equally obvious side to the composition: it represents an allegorical exaltation ofa king (raga) and his queen (mahishi). The heavenly Kohita and his female are called upon to protect and exalt the king and queen; the names of the divinities, rohita and rohivi, are felt by the Atharvan poet to furnish especially good ground for calling upon them to undertake this pro- tection, since they afford an inexhaustible mine for puns with words that mean ‘rise. ascend’ (cf. st. 4a), In the royal ceremonies (ragakarmavzi) the king frequently ascends (a ruh, or 4 kram), a throne, or skin, or horse; the act, of course, symbolises every time the moral ascendency of the potentate. Cf. Vait. Sd. 36,7; Kaus. 17, 3. 9. 13. 22; Ait. Br. VIII, 6, 12; and the ragastya at Vag. S. X, 1 ff,

* Cf. Contributions, Third Series, Journ. Amer. Or. Soc. XV, 186.

Cf. Vait. Sd. 36,7; Kaus. 17, 3. 9. 13. 22; Ait. Br. VIII, 6, 12; and the ragastya at Vag. S. X, 1 ff,

* Cf. Contributions, Third Series, Journ. Amer. Or. Soc. XV, 186.

* The word ‘identified’ is perhaps too strong. The composition of this book is by no means a unit; it is indeed at times very difficult to see upon what ground the various stanzas have been compiled evidently wih the main purpose of glorifying Rohita. But at any rate the compiler finds it especially natural to adapt stanzas in praise of other sun-divinities, and to glide over into the diction familiar to them. At Kaus. 24, 42 rohita is explained directly as the sun (Aditya). Another relation of Rohita is Agni with two red steeds (rohitabhyim), La/y. Sr. I, 4, 2 ff.

662 HYMNS OF THE ATHARVA-VEDA.

where the verb 4 ruh occurs with especial frequency. In general the relationship of many stanzas of the present hymn with those in vogue at the ragasiya, the ceremonies at the consecration of a king, is very close; they have been collected and discussed in our remarks on the Rohita-book ; see the article cited below.

In the Tait. Br. II, 5, 2, 1-3 a considerable number of the stanzas at the beginning of this hymn recur with variants which betray the fact that the Taittiriya-version is older and better than that of the Atharvan'. The com- mentator (p. 600) explains the rohita as the horse employed at the asvamedha, the horse-sacrifice, and we may regard it as possible that certain stanzas in this compilation were originally composed for this purpose (cf. the note on Stes):

The hymns of book XIII are designated at AV. XIX, 23, 237, and Kaus. 99, 4 as rohitani (sc. siktani). Neither the Kausika, nor the Vaitana, each of which rubricates individual stanzas, contributes anything of consequence towards the elucidation of the hymn*. In Ath. Paris. 13, 2 (Hirazyagarbhavidhi) the first two hymns of the book are employed. This is distinctly a royal rite, intended to ward off all evil (sarvapapanodana). Stanzas1,12; 2, 36. 37 are employed in another ragakarma, called the Ghr7ztavekshavam, Ath. Paris. 8,1. Nowhere is there anything calculated to define these hymns more narrowly.

The present hymn has been rendered by Ludwig, Der Rigveda, III, 536 ff.; cf. also Muir, Original Sanskrit Texts, V, 395 ff. The entire Rohita-book has been translated and expounded by Henry, Les Hymnes Rohitas (Paris, 1891); cf. Contributions, Fourth Series, Amer. Journ. Phil. XIJ,

' AV. XII, ‘1; rin’ Tait. Broth sya a A AV. qin Tait. 1; AV. 5 in Tait ty AVJ6 In Tait ys Tait. 3; AV. 8 in Pat,.2 3A Ve ori) Pare es

* Cf. Indische Studien, IV, 433.

* At Kaus. 99, 4 the rohita-hymns are addressed to the sun during an eclipse.

XIII, I. COMMENTARY. 663 429 ff.; Regnaud, Le Rig-Veda et les Origines de la Mytho- logie Indo-Européenne, p. 315 ff.

Stanza l.

3; AV. 8 in Pat,.2 3A Ve ori) Pare es

* Cf. Indische Studien, IV, 433.

* At Kaus. 99, 4 the rohita-hymns are addressed to the sun during an eclipse.

XIII, I. COMMENTARY. 663 429 ff.; Regnaud, Le Rig-Veda et les Origines de la Mytho- logie Indo-Européenne, p. 315 ff.

Stanza l.

In Pada d the Tait. Br. reads nak for tva; the latter seems due to secondary adaptation. The stanza in its Atharvan form clearly bespeaks protection for a king from Rohita. Its first hemistich is addressed, very secondarily, at Kaus. 49, 18, in a witchcraft-practice to a sinking ship.

Stanza 3.

The appearance here of a stanza that deals with Indra and the Maruts is not as arbitrary as it may seem to be | at first sight. In a certain sense Pada 3 a is in catenary construction with 2b. The Maruts are the vis, the people; Indra is the typical king. And, with a quick turn in the second hemistich of the present stanza, Rohita again sug- gests the king, who listens to the people (the vis, the Maruts): the word svadusaszmudak conveys between the lines the prayer, ‘so that they (the people) shall be de- lighted with the sweet gifts of royalty.’

Stanza 4.

Cf. XIIi, 3, 26 d, and the introduction, for the allitera- tions in Pada a. The Taittiriya version of Pada c, tabhi* samrabdho avidat shad urvi#, has correct metre, and the aorist third singular avidat is in accord with the tenses and numbers of the verbs immediately following. Ludwig evades the syllepsis in the plural avindan, rendering, ‘von disen (frauen) erfasst haben die sechs weiten ihn aufgefunden.’

Stanza 5.

The present stanza, together with 4 a, b, exhibits a very pronounced allusion to practices akin to the ragastya ; cf. the dig-vydsthapana-mantraZ, Tait. S. I, 8, 13, 1-2, and see for details our article cited above, p. 432. For the form Asthan (Asthat), ib. 438 ff. Cf. the first abhayagava of the Ganamala, Ath. Paris. 32, 12 (Kaus. 16, 8, note).

664 HYMNS OF THE ATHARVA-VEDA.

Stanza 6.

The Taittirtya version again has the mark of priority (aga ékapad for aga ékapddah). The aga ékapad is cer- tainly the sun; cf. Tait. Br. III, 1, 2, 8, ‘the one-footed goat (with double entente, “driver,” and again, “non-born ”?) has risen in the east, delighting all gods; at his urging all the gods go.’ Cf. the note at XI, 4, 21.

Stanza 10.

The gayatri, the rhythmic measure of Agni, is his repre- sentative upon earth (cf. RV. I, 61,8; Journ. Amer. Or. Soc. XVI, 9). The assimilation of Rohita and Agni, which appears frequently in the sequel, begins here. Note the vatiants, Tait bry 11/2;.5, 2,

Stanza 11.

d. Repeated at RV. X, 123, 8d, where the Pada appears to be secondary, since the word rip&zi, supplied here from Pada b, is there wanting. Cf. similarly the inferiority of RV. VI,.58; 1-2 to Tait, Arch 10,1 (a).

Stanza 12.

Note the vatiants, Tait bry 11/2;.5, 2,

Stanza 11.

Stanza 12.

ec. tva is metrically superfluous, and hardens the sense. Without it, ‘he shall not abandon me, lest I abandon (him).’ Our rendering of nathitd, ‘when implored,’ is uncertain: ordinarily (e.g. III, 1, 2) it means ‘in distress.” The sense would then be, ‘may I not in distress abandon thee.’

Stanza 14. ce. Repeated in st. 37d. The rendering is conjectural owing to the obscurity of the word magmani, which occurs here only. Cf. RV. I, 143, 4.

Stanza 15.

e. I am inclined to think that Ludwig is correct in emending the dz. Aey. ushvihakshardé to ushzihaksharo = ushviha aksharo, and in rendering aksharo by om (the prazava); cf. Sankh. Sr. I, 1, 36 (prazavo ye yagdmahe vasha¢karah). For other suggestions, cf. Henry’s careful discussion in his note (l.c., p. 27 ff.).

+ Cf. Bergaigne, La Religion Védique, III, 23.

XI, I. COMMENTARY. 665

Stanza 16.

The five stanzas beginning here are rubricated at the godana-ceremony, the trimming of the youth’s beard at the time of puberty, Kaus. 54, 10. Their connection with the rest of the hymn is problematic. In stanza 18d Rohita, as a variant of Agni in 17d, is mentioned, and this alone may have induced the diaskeuasts to place the entire series here.

Stanza 17.

This and the next two stanzas exhibit the word vaaspati. They, along with other stanzas containing the same word, are known in the ritual (Kaus. 41, 15) as vakaspatilinga/ (sc. szkah), and are employed at practices designed to ensure gain in business, while addressing the rising sun.

d. The word paramesh/Zin seems to refer for the nonce to the young man, who, during the moment of his consecra- tion, assumes in the exorbitant language of his environment the rdle of the lord on high.

Stanza 18.

According to the Index Verborum the MSS. read nau for no (both times ?). Stanza 21.

Here begin the stanzas devoted to Rohizi. Cf. RV. I, 39,6; VIII, 7,28. Both these passages have the nomi- native rohitaz, so that he himself appears as the side horse, the speckled mares or cows of the sky being the main draught-animals. The Atharvan form smacks of adapta- tion, decidedly. For, apparently, Rohita is here in the car, and the speckled female is the side-horse. The gloss on this stanza, Kaus. 24, 42. 43, which states distinctly that rohita is the sun, pr¢shati the sky (dyu), conceives of the latter as a cow’, rather than a mare, as one would expect in the case of the female of the red steed. This is quite

' The stanza is cited by the Ath. Paddhau (haus. 19, 1, note), as one of the push/ika mantra/.

666 HYMNS OF THE ATHARVA-VEDA.

in accord with the usual description of the dawn; cf. RV. | Pee Be Fee oa RsP ey Bea 5 6 ey

This is quite

' The stanza is cited by the Ath. Paddhau (haus. 19, 1, note), as one of the push/ika mantra/.

666 HYMNS OF THE ATHARVA-VEDA.

in accord with the usual description of the dawn; cf. RV. | Pee Be Fee oa RsP ey Bea 5 6 ey

Stanza 22.

The word sari, very common as a masculine, is here, and here alone, feminine’ It seems chosen, with conscious straining, for the purpose of alluding to Saryda, the female of the sun. We should not forget in this connection the fact that there is another Rohizi, the constellation of that name, corresponding to another male divinity of light, the moon 3. see: Tait..5.1])-3, 5, 138 Dait. Br FL, 15120 eee also Tait.S.1I,1,7,7). It is not unlikely that the existence of one of these pairs stimulated the completion of the other. These notions are plastic, and elusive in their multiplicity.

Stanza 23.

Cf. the similar mantra, Vait. Sa. 36, 27. For a possible relation of this stanza and the rohivi-episode of the hymn to a certain part of the ceremonies at the horse-sacrifice, see our above-cited essay, p. 435 ff.

Stanza 25.

This and the next stanza are recited at the /itrakarma, a rite designed to procure prosperity, during the full moon of the month faitra ; see Kaus. 18, 25.

Stanza 27.

Addressed at the 4gyatantra, Kaus. 137, 10, to him that constructs the fire-altar (vedi). The adjectives payasvatiwz,

&c., refer doubtless primarily to the earth, the cosmic altar (ely Stay, Stanza 31.

b. For utptpanam, cf. our discussion, l.c., 441 ff.

Stanza 32. ce. The Paippalada reads rasmibhizZ for dasmana; this suggests rasmina, ‘with his ray, but the singular instru- mental is rare, and in this connection doubtful.

XIII, I. COMMENTARY. 667

Stanza 33.

The Virag is another personification of the shining female heaven (dawn), and the male sun is viewed here as her calf rather than her husband. The ‘bull of prayers’ again must refer to the sun: it seems to mean ‘he to whom prayers are chiefly directed,’ a conception which is fortified imme- diately by the epithet sukraprzshzha, which I take to be an equivalent of sémaprzshtha (st. 12). In Padac it would seem natural to read ghrzténaktam, ‘anointed with ghee, for ghvzténarkam, establishing thus a certain balance be- tween this expression and brahma sdntam in Pada d. But the construction of abhi ark with two accusatives is secure, Sev Vil, 14,1 5 72,1; and at Tait. Br. 115°8,°8, 9c -we have, tam arkair abhy arfantivatsam. Each reading seems equally good under the circumstances.

Stanza 39.

d. The Paippalada reads vipasyantam for vipaskitam ; the reading is not favoured by the metre, and:seems in every way inferior.

Stanza 40.

Br. 115°8,°8, 9c -we have, tam arkair abhy arfantivatsam. Each reading seems equally good under the circumstances.

Stanza 39.

d. The Paippalada reads vipasyantam for vipaskitam ; the reading is not favoured by the metre, and:seems in every way inferior.

Stanza 40.

a. The text as it stands can hardly be sustained. The Paippalada reads, devo devam arfayasi. Henry, without a knowledge of this, emends to devo devan arkayasi; cf. our remarks, l.c., p. 437. We have finally accepted this in our rendering: the extant Saunakiya reading must have arisen on the basis of the reading devéd devammmarkayasi with anticipatory anusvara.

Stanza 41.

A cosmic charade (brahmodyam)=AV. IX, 9, 17, and RV. I, 164,17 (with the variant antd/ for asmin in Pada d). The subject of the riddle is the dawn. Her calf is the sun, as in st. 33. The disappearance of the dawn at sunrise is depicted prettily, though rather mystically in the second hemistich. The meaning of Pada d is that though a cow she does not beget her calf in this earthly herd: her calf

668 HYMNS OF THE ATHARVA-VEDA.

is heavenly. Cf. Haug, Vedische Rathselfragen und Rath- selspriiche, p. 24, for other explanations that seem to us decidedly strained.

Stanza 42.

Another, profoundly mystic, charade, essentially identical with IX, 10, 21 and RV. I, 164, 41. Whatever the inde- pendent solution may be (cf. Haug, l.c., p. 47 ff.), the presence of the stanza here seems to be in some way due to the word pada in 41 b. There the word indicates the part of the body; here, with characteristic jugglery, the metrical ‘foot.’ The varying light or rays (feet) of the dawn may have suggested the metres with their varying feet, even if the brahmodyam was not really constructed primarily with a view to the answer ‘dawn. It has at any rate no direct bearing upon Rohita, and seems to appear here by way of expanding the laudation of the female divinity of the preceding stanza.

Stanza 45.

Beginning here Stirya appears in the rdle of a cosmic sacrificer, and the elements of the sacrifice familiar in the liturgies are boldly projected into the visible universe. With all the extravagance of the fancies they are on the whole intelligible, and at times not wanting in beauty.

Stanza 56.

Employed at Kaus. 49, 26 in a conjuration against an enemy. Pada b, pi apds tov iAov durxetv, Hes. "Epya xat NMepar 725,

XIX, 26. COMMENTARY TO PAGE 63.

The hymn is not employed in the Kausika!. It is quoted by Sayava from the Santikalpa 177, as follows: agnes pragatam iti suktena agneyim agnibhaye sarvakamasya fa. This Sayava expounds, iti vihitayam agneyyakhyayam

' Cf. Kausika, Introduction, p. xl. * Sayama regularly substitutes Nakshatrakalpa for Santikalpa.

XIX, 34. COMMENTARY. 669

It is quoted by Sayava from the Santikalpa 177, as follows: agnes pragatam iti suktena agneyim agnibhaye sarvakamasya fa. This Sayava expounds, iti vihitayam agneyyakhyayam

' Cf. Kausika, Introduction, p. xl. * Sayama regularly substitutes Nakshatrakalpa for Santikalpa.

XIX, 34. COMMENTARY. 669

mahasantau hirazyanirmitasz kuzdaladikam abhimantrya badhniyat. According to this he who is afraid of fire, or desires everything in general, performs ‘the great rite of con- secration for Agni, and puts on earrings and so forth, made of gold.’ For mahdasanti, see Kaus. 39, 273 43,53 44, 6: 46, 7, and the note on Kaus. 9, 5. Sadyavza further quotes Santikalpa 19, in which the hymn is again rubricated : agned pragatam pari yad dhiravyam iti hirazvyam agney- yam, and comments, karvzamadhye /idravad dhirazya- kuzdalam ity arthaz. Once more the hymn is rubricated in the Tulapurusha, Ath. Paris. 11, 1, along with other mantras: agne gobhi/, agnesbhyavartin (Kaus. 72, 13). agne/ pragatam iti saszpatan udapatra aniya sbhishekakala- seshu ninayet. The performances are secondary throughout. © The hymn has been translated by Grill*, pp. 49, 192; the Anukramavi designates it as Agneyam hairazyam.

Stanza 1.

avipastBr:3, 4; 7, 4: Apast. Sf. Al Vyit, 2. In Padact enam refers either to mavzi or some other masculine designa- tion of a jewel. Sayava, hiravyartipam padartham arhati.

Stanza 2.

For pragdvanto manava/, see Bhagavadgita X, 6. The majority of the MSS. read ishiré for ishiré, and Whitney, Index Verborum, and Roots of the Sanskrit Language, seems to derive the word from ish, ‘send.’ Sdyama, ishire pra- ptavantat.

XIX, 34. COMMENTARY TO PAGE 38.

The hymns, AV. XIX, 34 and 35, are not rubricated in either of the Sadtras, Kausika or Vaitana, and this is in accordance with the general character of the nineteenth book as a paralipomenon in the text of the Saunaka school ; see Kausika. Introduction, p. xl ff. According to the Santi- kalpa 17 and 1g, both hymns are employed in a mahasanti, ‘great consecration’ (cf. Kaus. 9, 6, note), pertaining to Vayu, the wind. In reference to this Sdyawa has the fol-

670 HYMNS OF THE ATHARVA-VEDA. lowing: pa#kamesnuvake dvadasa siktani, tatra ‘ gangido ssi’ iti prathamadvitiyabhyas stiktabhyam ‘vayavyam vatavatyAydm ’! iti (Santikalpa 17°) vihitayam vayavya- khyAyd4m mahasantau gangidavrikshanirmitas mazim ba- dhniyat, tatha nakshatrakalpe (! for santikalpe) sitritam, ‘“vatage gatahk” (IV, Io) iti sankhaw varuzyd4m, “gangido ssi gangido rakshitassi” (XIX, 34) iti gangidam vayavy- Ayam’ iti (Santikalpa 19). A number of stanzas have been commented upon by Zimmer, Altindisches Leben: see the

index, p. 457. Stanza l.

for santikalpe) sitritam, ‘“vatage gatahk” (IV, Io) iti sankhaw varuzyd4m, “gangido ssi gangido rakshitassi” (XIX, 34) iti gangidam vayavy- Ayam’ iti (Santikalpa 19). A number of stanzas have been commented upon by Zimmer, Altindisches Leben: see the

index, p. 457. Stanza l.

a, b. The text of our translation of the first two Padas is that of the vulgate. This differs from the MS. reading so much as to amount to an independent composition on the part of the editors. They read, angira (cf. st. 6) asi gangida rakshitassi gangida ; the MSS. unanimously pre- sent, gangidossi gangidé rakshitassi gangidak. I am far from feeling that the editors have restored the ancient text. The difficulty with the MS. reading is the absence of any adjective or noun gangida with appellative meaning, and the cumulation of nominatives. The latter difficulty is paralleled closely by AV. IV, 12, 1, and it would seem almost as though in both passages the nominative had assumed the function of vocative. Neither difficulty exists for Sayazva, who translates the second gangidd as vocative and paraphrases the first as an agent noun, as follows: he gangida maze gangidossi yato gatandm krityandm krityakritam ka nigaravakarta:si (one MS. nigirava-) ato gangida ity ukyate... gam girati iti gangirak ... yad va gangamyate satrin badhitum iti gangidaz. I must say that I do not think it impossible that the original text had in mind some pun on the root gar, ‘swallow, in connection with the first gangida, or perhaps some other root, say, gigri, ‘wake.’ The latter suggestion would yield good

* My copy of the Santikalpa reads vatavatyadyam. * Shankar Pandit, erroneously, here and in the following quota- tion, substitutes Nakshatrakalpa for Santikalpa.

XIX, 34. COMMENTARY. 671

sense, the first gangido, ‘wakeful,’ being parallel with rda- kshita in the second Pada.

Stanza 2.

* Shankar Pandit, erroneously, here and in the following quota- tion, substitutes Nakshatrakalpa for Santikalpa.

XIX, 34. COMMENTARY. 671

sense, the first gangido, ‘wakeful,’ being parallel with rda- kshita in the second Pada.

Stanza 2.

a. The MSS. at the basis of Roth and Whitney’s edition read gagritsyas tripa#kasiz, and the editors, inspired doubt- less by RV. X, 34, 8, have emended akshakrityds tripaw##a- si, ‘the sorceries with dice, fifty-three in number.’ But the parallelism of the Rig-veda passage is every way doubtful (Zimmer, Altindisches Leben, p. 284; Weber, Uber die Kénigsweihe, Transactions of the Royal Prussian Academy of Sciences, 1893, p. 72 of the reprint) ; the bold emendation is at any rate not warranted by any too desperate condition of the text. The majority of the MSS. - used in Shankar Pandit’s edition (both Saszhita and Pada- pazha) have gagritsyas, which the editor, with Sayama, has changed to ya(Z) grétsyas; this might mean ‘the thieving female demons’ (Sayava, ya gritsyak gardhanasila yds... krityah); cf. grétsak at Vag. S. XVI, 25, and Mahidhara's scholium. Notwithstanding that g7vztsyas is the unanimous lectio difficillima of the MSS., perchance yet destined to be sustained, I have restored simply ya kritya!'; cf. for the juxtaposition of krztya and krityakrit (Pada b), AV. weet ao, 54. 4.4. 5. 0. AK 1d, PRs Xk, 1,.0.30 jo KIX, 45, 1. The Padapatha divides tripa#ka-asiz, ‘devouring fifteenfold, which would comport well with the reading gritsyas. The meaning ‘consisting of fifty-three’ assumed for pa#kasa, 2. in the Pet. Lex., in our translation, and by Sayama (tryadhikapa#hasatsamkhyakaz), thus rests upon a fragile basis; perhaps the Padapda//a is right; or, per- haps, the word means simply ‘fifteenfold, an adjectivised tripaviza-sas, with the well-known adverbial suffix. -sas, ‘ fold *’

1 Sayama describes the krztyd concretely as a figure, or the like, made of mud, wood, &c., mriddarvadina nirmitaputtalyadi.

* Cf. the Avestan fractional numeral adjectives thrishva- ‘a third,’ kathrushva- ‘a fourth,’ &c., which, in our opinion, are adjectivised locatives plural, thrishu, &c., ‘that which is in three,’

672 HYMNS OF THE ATHARVA-VEDA.

e. The MSS. of the vulgate read sarvan vinaktatégaso, for which the edition substitutes vinashza-. This is Sayava’s reading (vinashéategasaZ hatavirydn), and with a slight alteration (vinishéa-) that of one of the MSS. used by Shankar Pandit. The latter recites all the readings of his manuscripts ; they are (besides vinakta-), bhanakti, bhinakti, minaktu, vinakti, and vinaktu. He has chosen the last, making the Pada, sarvan vinaktu tégasa/, ‘may (the gan- gida) expel all strength’ (note, however, the ordinarily neuter gender of tégas). We prefer the text of the editio princeps and Sayaza.

Stanza 3.

He has chosen the last, making the Pada, sarvan vinaktu tégasa/, ‘may (the gan- gida) expel all strength’ (note, however, the ordinarily neuter gender of tégas). We prefer the text of the editio princeps and Sayaza.

Stanza 3.

a. Sayazva, abhikarata utpaditasz nada dhvanizz, ‘the noise got up by the person practising witchcraft (against any one);’ cf. Kesava’s purushahava in the introduction to II, 4 (p. 281). The MSS., Samhita and Padapazha, read krvztrim anna-adam !

b. Our translation of sapta visrasa/ by ‘seven debilitating (charms)’ is a purely etymological conjecture; cf. expres- sions like visrastanga, ‘lax of limb,’ visrastafetana, ‘lax in mind, and the like. Sdayawa, visraszsanaz ... mdardhani- sh¢ieshu nasarandhradvaya-kakshurgolakadvaya-srotrak“i- dradvaya-mukhakuhara-rtipeshu saptasu #/idreshu abhi- karata utpadita sapta nishyandaZ, i.e. ‘discharges from the

seven openings of the head, induced by one practising witchcraft.’ Stanza 4.

The same stanza with variants occurs at AV. II, 4, 6.

Stanza 5.

e. The text of the vulgate has sasahé, a reading which is now supported by one of the MSS. at the base of Shankar Pandit's edition. The MSS. in general have sdsaha, Pada- paca sasaha, each with a considerable variety of accentua- tions. Sayava comments upon the following text for Padas c, d, vishkandham ogasa saha samskandham oga ogasa. For his explanation of vishkandha, see the note on II, 4, 1 c (p. 282); his comment upon sdzzskandha is as

XIX, 34. COMMENTARY. 673 follows: yena rogevza skandhaf sasznatah samlagno bhavati sa rogai samskandha#. This etymological rendering coin- cides with that in the minds of the occidental interpreters : the Pet. Lex., ‘name of a demon or disease ;’ Bohtlingk, ‘name of a disease ;’ and Zimmer, l.c., p. 391, ‘ contracting the shoulders, a disease.’ See, however, our note on II. Act ©10.:257). Stanza 6.

a. The MSS. of both Samhita and Padapazha read trishtva ; we with both editions trish ¢va. Sayama, trishu lokeshu avasthanaya. |

ce. The name angiras for the plant seems to be trumped up to pun with gangidas.

Stanza 8.

a. Roth and Whitney's edition reads, dtho yad& sama- bhavo, the basis of our translation: the MSS. have atho pada na bhagavo (Padapa/fa, atho iti pada na bhagava/). Shankar Pandit, upon the basis of Sayaza’s comment, restores athospadana bhagava/. The explanation is, he upadana upadiyate svikriyate krztyanirharavadivyapareshv iti upadanaz. The meaning seems to be something like ‘thou who ait pressed into service for the purpose of driving out sorceries. I do not believe in either the restoration, or the explanation.

The explanation is, he upadana upadiyate svikriyate krztyanirharavadivyapareshv iti upadanaz. The meaning seems to be something like ‘thou who ait pressed into service for the purpose of driving out sorceries. I do not believe in either the restoration, or the explanation.

ce. I have again translated the text as restored by Roth and Whitney (cf. XIX, 35.1). The MSS. of the Saszhita read pura ta ugra grasata (upa), and those of the Pada- pata are divided in reading ugra# and ugra. With the latter we might have the following sense, ‘formerly a fierce (female demon?) ate of thee.’ Sdyava, te tvam (!) ugraz pramina/# pura grasate bhakshayanti (! plural). I feel by no means certain that the vulgate has restored the original text.

Stanza 10.

a. Asarika and visarika are translated upon the basis of their etymology simply. Sdyava, dsarikasz sarvato him- sakam etannamanam rogam tathd visarikasz visesheva

[42] X X

674 HYMNS OF THE ATHARVA-VEDA.

hiszsakam etanndmanam ka balasam. To visarikam, cf. our note on II, 4, 2 (p. 284). :

b. For haldsam, see the note on V, 22, I1.

e. For visvasAradam, see the note on V, 22, 13.

XIX, 35. COMMENTARY TO PAGE 39.

For the employment of this hymn in the ritual texts, see the introduction to XIX, 34. Sayaza defines it as gangidamazibandhane. It has been translated by Groh- mann, Indische Studien, IX, p. 418 ff.; and Zimmer, Altin- disches Leben, p. 65.

Stanza 3.

a The MSS., both Saszhita and Padapaz¢ha, read dur- hardak samghoram kakshud, and Sayavza explains the otherwise unknown compound samghoram by atyanta- kriram. I have refused the text as emended by Roth and Whitney (durhardas tva7 ghordm) ; cf. IV, 9, 6.

b. 4gamam ‘I have approached’ with sinister intention ; Sayaza, 4gatam (!) hantuzz praptam. But several MSS. read 4dabhan (for 4dabhan ?), ‘destroying,’ and this is worth considering. Grohmann and Zimmer translate 4gamam as an adjective, ‘der herzutritt,’ ‘den herantretenden.’

e. For sahasrafaksho, see the note on IV, 20, 5.

e. The extra Pada, making a pankti out of the anush¢ubh, is rather suspicious. The MSS. read gangidak; we, with the vulgate, gangida ; cf. the note on XIX, 34, 1.

Stanza 4.

ce. The majority of the MSS., both of the Sazzhité and the Padapaza, read bhavydd. Both editions follow the minority of the MSS. in adopting the regular bhavyad.

Stanza 5.

a. The edition of Roth and Whitney has yé kz¢tvano, an emendation of yak krizshzavo of the MSS., both Sam- hita and Padapa¢da. Sayaza comments upon ya rishzavo (devair nishpaditaz . . . gantaro himsakaé purusha/), and

XIX, 38. COMMENTARY. 675

this reading has been adopted by Shankar Pandit. I know not how to improve upon the suggestion of the occidental editors.

Sayaza comments upon ya rishzavo (devair nishpaditaz . . . gantaro himsakaé purusha/), and

XIX, 38. COMMENTARY. 675

this reading has been adopted by Shankar Pandit. I know not how to improve upon the suggestion of the occidental editors.

b. The western editors have restored yd utd martye- bhyad, the basis of our translation. The MSS. have ya uté vabhrztenyaz (vabhrztenya), and vabhrzthenyak. Sayaza’s text has ya utd vavrztésnya%, upon which he comments as follows, ye anye manushyddiprerita badhaka vavrite va- vritire (!why does he comment, in the teeth of the grammar, upen the plural, instead of the singular, which would make equally good sense?). Shankar Pandit has adopted Sayaza’s text.

XIX, 38. COMMENTARY TO PAGE 40.

The matter of this little hymn, the guggult or bdellium, has been made the subject of an exhaustive investigation by Lassen, Indische Alterthumskunde, I?, 339; cf. also Zimmer, Altindisches Leben, p. 28. Sdayaza here defines it as, surabhiz ghrazasamtarpako gandhaz; cf. also his comment at II, 36,7. The ritual of the Kausika makes no mention of the hymn, but it is rubricated in an unim- portant way in Ath. Parisish¢as 4, 3. 41; 17,2. A previous translation is that of Grill’, pp. 39, 193. The Anukramazi, mantroktagugguludevatakam.

Stanza 1.

In most of the MSS. the bracketed hemistich forms the first half of st. 17; next, the last hemistich of our first stanza, together with the first of st. 2, makes up the second ; and, finally, the second hemistich of our st. 2 figures inde- pendently as a third stanza. Some MSS., however, make one stanza of the three last hemistichs (a tryavasdné, sc. rik). The bracketed passage is obviously secondary, though it stood in its present place at the time of the composition

? Cf. the introduction to XIX, 39, note. 2 Thus also both editions.

XX 2

———

676 HYMNS OF THE ATHARVA-VEDA.

of the Parisishzas. It seems to have been attracted to its present place by the word yakshmaz in st. 2a of the text.

a. For arundhate, see IV, 12; V, 5; VI, 59, in these translations. Sdyawa overcomes the embarrassing presence of the word by turning it into a verb, rodham na kurvanti na pidayanti (!), and Whitney in the Index, in the same vein, emends the word to arundhata, though it is followed by the present asnute. The MSS. with accent, arundhate.

f. The MSS. have, mrzgd Asva ives rate, which we have translated. Roth and Whitney emend mrzgad 7/sya ivesrate, ‘as antelopes flee from the wild beast.’

XIX, 39. COMMENTARY TO PAGE 5.

The MSS. with accent, arundhate.

f. The MSS. have, mrzgd Asva ives rate, which we have translated. Roth and Whitney emend mrzgad 7/sya ivesrate, ‘as antelopes flee from the wild beast.’

XIX, 39. COMMENTARY TO PAGE 5.

Neither the Kausika, nor Darila and Kesava, make any mention of this hymn, though it might. but for the com- mentaries, be understood to be included in the kush- thalingah (sc. rikah) in Kaus. 28,13. It is not, moreover, included in the takmandsanagava of the Gavamala, Ath. Paris. 32, 7: see Kaus. 26, 1, note. Its failure to appear in the latter is fortuitous, since the Gavzamala, like other Atharvan Parisishfas, draws freely upon the nineteenth book; Kausika’s silence, on the other hand, is in accord with the general attitude of this Sutra towards the nine- teenth (and twentieth) books of the Samhita ; see Kausika, Introduction, p. xl. Sayava in his introduction to the hymn says that the hymn is employed in the Ratrikalpa}, on the occasion when incense of kush¢/a is offered (to whom ?) in connection with AV. XIX, 34, etu deva/ iti shash¢/az siiktam (sc. pazkamesnuvake) asya ratrikalpe kush//apra- dane viniyozaz pirvasiktasamaya (XIX, 38) uktaz.

The hymn has been translated by Ludwig, Der Rigveda, III, 198 ff.; cf. also Zimmer, Altindisches Leben, Index, p. 457b. For the nature of the kush¢a, see the introduc- tion to V, 4.

* ‘The quotation occurs neither in the Pish/aratryah Kalpa (Ath, Paris. 6), nor in the Aratrika (Ath. Paris. 7), but in the Purohita- karma (Ath. Paris. 4, 4), where it is quoted together with XIX, 38.

XIX, 39. COMMENTARY. 677

Stanza 2.

XIX, 39. COMMENTARY. 677

Stanza 2.

b, ec. The two Pdadas are translated in accordance with the text of the edition, which emends the MS. readings with great ingenuity, as follows: naghaméaro naghdarishé na ghayam purusho rishat. For the two syllables nagha the MSS. everywhere present nadya; so also Shankar Pandu- rang Pandit’s MSS. of the text with Sayavza’s commentary, and the Padapa/ha (nadya). The Devanagari MSS. confuse badly, in the case of doubtful words, the characters for dya and gha; see, e.g. the writings vamdya for vamgha, Kaus. 8, 14, and apadya for apagha, 36, 22; 42, 22; 82,4. Thus far the emendation seems therefore well founded, an impres- sion which is strengthened by Sayaza’s abortive attempts to get sense out of nadyd by correlating it with nadi, ‘ river,’ and even worse. As regards nagharishdé of the edition, Shankar Pandit’s MSS. waver between nadydarishd, nad- yayusho, and nadydayishd, and the Padapatha between nadya-rishaZ and nadya-dyushaz; the element dyusha seems to be due to a secondary effort to contrast the word with mara in the preceding, and thus strain sense out of it. The formation nagharisha is guaranteed by AV. VIII, 2,6; 7,6, where it is also an epithet of a curative plant. By the side of purusho rishat the MSS. have also ptru- shorshat and purusho rishat (Padapa¢/a: purushad rishat, and purusha# rzshat). These emendations may be regarded as a specimen of the best that can be done with the corrupt text of the nineteenth book.—‘ Three names hast thou,’ i.e. na-gha-mard (‘forsooth-not-death’), and na-gha-risha (‘forsooth-not-harm’), in addition to the ordinary name kush/Za. This refers to varieties of the plant (cf. V, 4, 8), which, in the common manner of the Atharvan, justify opportunistic formations, coined with the freest fancy, and expressive of salient qualities.

Stanza 3. a. givala, ‘vivida,’ ‘quickening, or ‘ full-of-life,’ is the

honorific epithet of an independent plant (AV. VI, 59, 3; VIII, 2, 6; 7,6), probably the arundhati (see the introduc-

678 HYMNS OF THE ATHARVA-VEDA.

tion to IV, 12). The Atharvan has a way of formulating qualities as father, mother, brother, &c. of the object they are attributed to; see the note on V, 5, I.

b. I have not followed the edition in emending givanto, the unanimous reading of the MSS., to givalo. A glance at VIII, 2,6; 7, 6 shows givaldm by the side of givantim ; and givanta, givanti, givantika are sufficiently authenticated as names of remedial plants. The emendation seems entirely groundless. For another father of the plant, see V, 4, 9 b.

Stanza 4.

a. Cf. VIII, 5,11; V,4,9a,b, and also1b. The fulsome praise in the manner of kathenotheism. When another plant is employed the expressions are no less exorbitant ; CRE BV Es Bp ts

Stanza 5.

The emendation seems entirely groundless. For another father of the plant, see V, 4, 9 b.

Stanza 4.

a. Cf. VIII, 5,11; V,4,9a,b, and also1b. The fulsome praise in the manner of kathenotheism. When another plant is employed the expressions are no less exorbitant ; CRE BV Es Bp ts

Stanza 5.

a. The MSS. have triz simbubhyo angirebhyas, or angi- reyebhyas, for which the vulgate substitutes boldly, trir bhv/gubhyo angirobhyas. I have followed it, not without some misgivings, in translating angirobhyas ; the text, how- ever, may possibly disguise some patronymic derivative of angiras. Sdyaza comments upon angireyebhyas, with the words, angirasim apatyabhitebhyaX sambubhyaz But I could not go so far as to substitute trir bhrigubhyo for triz sambubhyo, the lectio difficilior, apparently for the reason merely that the Bhyzgu and Angiras are frequently mentioned together. Sambu and especially its patronymic Sambavya are well authenticated, the latter being a school- name of a sautra-sakha. The Sdmbavya-grzhyasitra is a version closely related to the Sankhayana-grzhyasitra ; cf. Indische Studien, XV, 4 and 154.

e. sakam.somena tishzhati (cf. V, 4, 7b): both séma and kush¢Za are mountain-plants; the former has the epithet girish¢ha, ‘ dwelling upon the mountain,’ RV. IX, 18, 1, &c., and the mountains are called sémaprish¢fa, ‘having soma upon their backs, AV. ITI, 21,10. For kush¢a as a moun- tain-plant, see V, 4,1; VI, 95, 3.

XIX, 39. COMMENTARY. 679

Stanza 6.

The same stanza at V, 4, 3; VI, 95, 1, with the variant fourth Pada, deva# kush¢zam avanvata; see the notes at V, 4,3. %In Shankar Pandit’s edition with Sayaza’s com- mentary the last four Padas of the preceding stanza are here added at the end, as a refrain.

Stanza 7.

The same stanza at V, 4,4; VI, 95, 2, with pushpam (pushyam) for £akshavam in Pada 3, and devé# kushzkam avanvata in Pada 4; see the notes at V, 4,4. In Mr. Pandit’s edition the same refrain as in the preceding stanza.

Stanza 8.

Stanza 7.

Stanza 8.

a, b. It seems difficult to abstain from comparing with this passage certain features of the well-known legend of Manu and the flood. In the Sat. Br. I, 8,1,6 the northern mountain upon which Manu’s ship settled is styled ‘ Manu’s descent, manor-avasarpavam, and in the version of the flood-legend in the Mahabharata I, 12795 (cf. also the Matsyopakhyana 49) it is called nau-bandhana. If the vulgate is correct in its restoration of the word ikshvako to ikshvakor in the next stanza (y), ‘ the ancestor of Ikshvaku,’ i.e. Manu, may be imagined as landing with his ship upon the mountain, and finding the remedy. The Rig-veda, II, 33, 13, speaks of pure, most wholesome, and strengthen- ing remedies which ‘ Father Manu’ chose, and it seems altogether likely that the two independent legends should blend here in the mind of the poet, and that he should have in mind when speaking of the descent of his golden heavenly ship upon the Himalaya the very spot where Manu descended. Nevertheless it may be fairly questioned whether navaprabhrammsana here is a proper name, and does not mean simply, ‘ where the (heavenly) ship descended.’ The character of the word as a compound is not at all secure. The majority of the MSS. of the Saszhita read navaprabhramsanam with two accents, and one of Shankar Pandit's MSS. has nava/ prabhrawsanam. The MSS. of

680 HYMNS OF THE ATHARVA-VEDA.

the Padapa¢/a are divided between na avas prabhraszsanam and na ava prasbhrawsanam.:’ At any rate the ship which brings down the kush¢Za (Soma, the moon?), and Manu’s ship, may have nothing to do with one another except their mutual suggestion. Pada a seems to have stood ori- ginally, yatra navaz# prabhraszsanam. See Weber in Kuhn and Schleicher’s Beitrage zur vergleichenden Sprachfor- schung, IV, 288 ; Grohmann, Indische Studien, IX, 423; Zimmer, l.c., p. 30; Eggeling, Sacred Books of the East, vol. xii, p. 218, note.

Stanza 9.

a. We have not translated the text of the vulgate, yas tva véda pfirva ikshvakor, a by no means certain restora- tion, since the MSS. of the Samzhita have ikshvako (ishvako), and those of the Padapa/da ikshvakah (ishvakah). SAdyaza comments upon the nominative, puratana ikshvakt raga, and that presupposes a more natural reading, yasz tva véda ptirva ikshvakur, the one adopted for our version. Although this handles the text more severely, I could not get myself to feel certain that pfirva {kshvako/# could mean ‘the ancestor of Ikshvaku,’ as useful as this result is for the current inter- pretation of the preceding stanza?.

Although this handles the text more severely, I could not get myself to feel certain that pfirva {kshvako/# could mean ‘the ancestor of Ikshvaku,’ as useful as this result is for the current inter- pretation of the preceding stanza?.

b. The text is doubtful, the MSS. read kush¢da kamyah (kamyaz). Accordingly Sdyava takes kushzha as vocative and translates kamya/ as a patronymic, ‘the son of Kama.’ I could not follow him, but the treatment of the words in the vulgate as a compound, kush¢dakamyaz, ‘ women fond of kush¢fa,’ is also doubtful. Perhaps the use of the plants in unguents (AV. VI, 102, 3) is in the mind of the poet. Professor Whitney in the Index Verborum assumes a nomi- native singular masculine kush¢Zakamyas. Ludwig, ‘ der den kush/Za liebt (besser, der sohn derer, die den kushzha liebt).’

ce. The text as translated is, yaa vayasé yam matsyas.

* Ludwig in the same sense suggests putra fkshvakor, ‘ the son of Ikshvaku.’ But why should this lectio facillima have been completely lost ?

XIX, 53. COMMENTARY. 681

The MSS. have yam va vaso (or vaso) yam Atsyas. Sayama, moreover, comments upon yamasya/, as follows: yamasya asyam iva Asya yasya sa tad7vzso (vasak) etanndma devo veda. Matsya is the name of a royal sacrificer in Sat. Br. XIII, 5, 4, 9, and of a Rzshi skilled in special practices in Tait. Br. I, 5, 2, 1; and Vayasa, though not quotable as a proper name, might yet be such a one. But vayasa ordi- narily means ‘large bird, and matsya suggests matsya, ‘fish. I see nothing good to be done with this suggestion. The translation of the Pada is altogether problematic.

Stanza 10.

a. The vulgate emends sirshalokam to sirshasokamz, ‘that burns the head’ (inadvertently omitted in the text). To be convinced, we need but watch Sayava’s contortions, when once he is misguided by the traditional text. He refers sirshalokas to the kush¢sa-plant instead of the tak- man: ‘your head (O kush/Zfa) is in the third heaven.’ But every epithet in Padas a, b refers to the takman, as may be seen by comparing V, 22,13; see the note to the passage.

b. For sadamdi, see the note on V, 22, 13 b. hayana either sums up the varieties of the takman which are described in V, 22, 13 as séradd, grafshma. and varshika., and would then have to be translated ‘occurring through the year ;’ or it means simply ‘yearly, i.e. occurring (at a given time) every year ;’ cf. visvasarada at IX, 8,6; XIX, 34, 10. Involuntarily one thinks, too, of Zend zayana, ‘winter’ (Yasna 64, 20, Yasht 13, 8), and asks whether Vedic hayana does not primarily mean ‘ winter’ and ‘wintery ; afterwards poetically ‘year’ and ‘yearly. Then hayana here might be added as a fourth variety of the takman to the sarada, graishma, and varshika. Scarcely probable.

ce. For visvadhavirya, see V, 22, 3.

XIX, 53. COMMENTARY TO PAGE 224.

This and the following hymn, being theosophic and cosmogonic in character, play no part in the practices of the Atharvan, except that they are recited (under the

Scarcely probable.

ce. For visvadhavirya, see V, 22, 3.

XIX, 53. COMMENTARY TO PAGE 224.

This and the following hymn, being theosophic and cosmogonic in character, play no part in the practices of the Atharvan, except that they are recited (under the

682 HYMNS OF THE ATHARVA-VEDA.

designation kalastikta) along with the kdmastkta (AV. IX, 2), and the purushastkta (AV. XIX, 6=RV. X, go) in the tenth Atharva-parisishza, the Bhimidéna. Sayava has the following statement in his introduction to this and the following hymn: ‘kalo asvo vahati’ iti siktadvayasya sau- varvabhimidane agyahome viniyogaZ, uktam hi parisish/e, anvarabhyastha guhuyat kamasiktasm kdlasiiktas purusha- siktam (Ath. Paris. 10, 1).

The hymn has been treated many times: Muir, Original Sanskrit Texts, V, 407; Ludwig, Der Rigveda, III, 191; Monier Williams, Indian Wisdom?, p. 25; Lucian Scher- man, Philosophische Hymnen aus der Rig- und Atharva- Veda-Sanhita (Strassburg, 1887), p. 78 ff.; Grill’, pp. 73, 193 ff.; ¢f. also Hillebrandt’s Vedachrestomathie, p. 41. The Anuktamawi ascribes the authorship of the hymn to Bhrigu, and defines stanzas 6-10 as, mantroktasarvatmaka- kdladevatya anushZubha iti:

Stanza l.

a. Sayavza imagines the seven rays as being tied to the mouth, neck, and feet of the steed, and explains them as being the six seasons, each of two months, the thirteenth (lunar) month of the intercalary year being the seventh’. This is the same explanation as is offered by Sayava at RV. I, 164, 2 for sapta yuzganti, and Sayava to our pas- sage offers further in support of his interpretation RV. I, 164, 15, where the thirteenth month is probably described ; see Haug, Vedische Rathselfragen und Rathselspriiche, p. 23 (Proceedings of the Bavarian Academy, 1876). Sayava here, as well as at RV. I, 164, 2, suggests the seven rays of the sun (cf. AV. VII, 107; X, 8,9; XIII, 3, 10) as an alternate explanation, relying upon Yaska’s Nirukta IV,27. The occidental interpretations of this expression—

For the thirteenth month, see Sat. Br. II, 2, 3, 27, and Professor Eggeling’s note on his translation, Sacred Books, vol. xii, p. 321, note 6, Also, especially, Professor Weber’s learned note in ‘ Die vedischen Nachrichten von den Nakshatra,’ II, p. 336, nose.

XIX, 53. COMMENTARY. 683

none of them satisfactory—are enumerated by Scherman, pp. 78, 81, and Grill, p. 193. I am inclined to believe in the kinship of our passage with RV. I, 164, 2, and also in a semi-lucid blending of the attributes of time with those of.the sun. Cf. AV. XIII, 2, 39, where Rohita, a form of the sun, is identified with time; see Henry, Les Hymnes Rohitas, pp. 13, 44, and Contributions, Fourth Series, Amer. Journ. Phil. XII, p. 430. The Maitri-Upanishad states distinctly that the sun is the source of time, siryo yoniz kalasya (VI, 14).

Cf. AV. XIII, 2, 39, where Rohita, a form of the sun, is identified with time; see Henry, Les Hymnes Rohitas, pp. 13, 44, and Contributions, Fourth Series, Amer. Journ. Phil. XII, p. 430. The Maitri-Upanishad states distinctly that the sun is the source of time, siryo yoniz kalasya (VI, 14).

b. sahasraksha is an attribute of a great variety of divini- ties, and it does not, therefore, contribute to the definition of the passage, see the note on IV, 20, 4; Sayava, saha- srakiramopetak, i.e. the sun. agara and bhirireta# are attributes of the two Ushas at AV. VIII, 9, 12. The latter, in the RV., only of heaven and earth; the former, again, of an almost complete assortment of divinities. One must not be too insistent with a later Atharvan production, the poet makes‘ draughts upon the entire stock of mythic and cosmogonic ideas; the poetic past is his kamadhuk ; he cares not for nicety of distinction.

e. Sayavza: ‘The Azshis mount (i.e. control) time; svadhinam kurvanti, svadhinakaéla bhavanti.

Stanza 2.

a. The MSS. have sakrén which Roth and Whitney emend to sakraé; Shankar Pandit adheres to the MS. reading. Sayavza comments upon sakra+nu vahati (sapta vittin anu anukrameva... dharayati). The seven wheels occur again at RV. I, 164, 3. 12, where Sayava refers them to the seven modes of subdividing the year. But the scholiast to the present passage, again, as in st. 1, has in mind the seven seasons (sapta r7tin), i.e., the six seasons and the intercalary month. A wagon with seven wheels occurs also at RV. II, 40, 3, where it is employed by Soma and Pfishan to carry the gods. Cf. also the Brzhaddevata, IV, 32.

b, Sadyava comments upon amritam tanv akshaZ, to wit :

684 HYMNS OF THE ATHARVA-VEDA.

asya akshax tanu samtatasz sikshmam amrvztam amaraza- dharmakam avinasvaram tattvam.

e. The MSS. have amgat, amgat (enclitic), and anyat. Shankar Pandit relying upon Sayavza adopts a#gat, which the latter renders by a#gan . . . vyaktikurvan. I do not see how we can well escape Roth and Whitney's emenda- tion to arvdn in the light of pratyan in the next stanza, and in that case it seems desirable to supply vahati, ‘ carries, from Pada a. But we may render also, ‘he turns towards all these beings.’ Muir, ‘he is at present all these worlds ;’ Grill, ‘er fahrt herbei mit jenen wesen allen ;’ Ludwig, ‘er (fahrt) herwarts alle dise welten ;’ Scherman, ‘er (fahrt) herwarts kommend alle diese wesen.’

d. All translators, except Scherman, render iyate as a verb of motion (Sayaza, ix gatau)!; Scherman, ‘ Kala wird als der erste gott angefleht.’ Cf. Tait. Br. III, 12, g, 1, rigbhizZ pirvahve divi deva iyate (schol. gakkhati), yagurvede tish/Zati madhye ahna/, simavedena+sstamaye mahiyate. Read seyate with crasis.

Stanza 3.

a. Ludwig explains the full jar as the sun: Sayama, better, as the year with its days and nights, months and seasons. The Pada is an irregular gagati (read ptrzak as three syllables).

gakkhati), yagurvede tish/Zati madhye ahna/, simavedena+sstamaye mahiyate. Read seyate with crasis.

Stanza 3.

a. Ludwig explains the full jar as the sun: Sayama, better, as the year with its days and nights, months and seasons. The Pada is an irregular gagati (read ptrzak as three syllables).

b. The MSS. of the vulgate, santaz, which is emended to santam. Shankar Pandit gives santaz (accent!) as the reading of both Samhita and Padapatha ; Sayawa translates it by ‘good men,’ satpurushaz. The emendation can be avoided : ‘him we see being in many places’

e. Ludwig, ‘er (fiihrt) hinweg alle dise welten ;’ Scher- man, ‘er (Kala) [fahrt] zuriickgewandt alle diese Wesen.’ The Pada is antithetical to st. 2 c, and indicates decay and death as over against life and growth. Cf. Mait. Up. VI, 14 (end), ‘From Time all beings flow, from Time they grow, and into Time they set.’ Possibly we may render, ‘he turns away from all these beings.’

' So also Ludwig here, but in the almost identical passage, X1X, 54, 6, ‘wirdangefleht.” It seems impossible to decide.

XIX, 53. COMMENTARY. 685

Stanza 4.

a,b. In both Padas the caesura is after eva, the pas- sage before the caesura being defective; the first Pada is a gagati. Grill, p. 195, by way of amending the metre, goes far in the direction of composing the Padas anew. Ludwig reads san for sa7z in both Padas, and his suggestion is supported by one of Shankar Pandit’s MSS. of the Pada- pavda. He translates: ‘er allein ist, und als solcher hat > er dig welten gebracht, er allein ist, und als solcher kam er um alle welten herum,’

e. The caesura again after the first three syllables.

- Stanza 5.

The metre is irregular, especially in the first Pada: the Anukramazi, nivrzt (nifrzt) purastadbrzhati. Read przthvir in Pada b, and possibly divaganayat in Pada a.

b. The ‘three earths’ are meant; see IV, 20, 2, and our note on the same. Sdyavza, sarvaprazyadharabhita’ prithiviz ; he also quotes RV. I, 108, g.

e. The MSS., both Samhita and Padapasha, kalé ha. I follow Roth and Whitney in reading kaléna.

d. The MSS. unanimously, havis tishz/ate, which is emended by the same editors to ha vi tishzZate. In this they were forestalled by Sdyawa, vi tishthate viseshena asritasz vartate. Grill, ‘auf grund des Kala steht es fest, a translation that seems less probable than ours.

Stanza 6.

a. The MSS. have bhitfm which Roth and Whitney have changed to bhimim. Sayavza also comments upon bhiitim, but he approaches closely to the value of bhimim, bhavanavag gagat. We with the vulgate.

Stanza 7. In Tait. Ar. IX, 3-6=Tait. Up. III, 3 ff. the funda-

mental principles prava, manas, vig#dna (similar to ndma in this stanza), and Ananda are described ; cf. especially the expression, 4nandad dhy eva khaly imani bhdtani

686 HYMNS OF THE ATHARVA-VEDA.

gayante with the second half of our stanza. See also AV. XI, 4, 4 ff., and Scherman, I|.c., p. 71. For the posi- tion of ndma in philosophical cosmogony, cf. also Tait. Ar. HE 2? 7.

especially the expression, 4nandad dhy eva khaly imani bhdtani

686 HYMNS OF THE ATHARVA-VEDA.

gayante with the second half of our stanza. See also AV. XI, 4, 4 ff., and Scherman, I|.c., p. 71. For the posi- tion of ndma in philosophical cosmogony, cf. also Tait. Ar. HE 2? 7.

Stanza 8.

For discussions of tapas and brdhma, see Scherman, I.c., p. 2 (note on RV. X, 129, 3), and Grill, p. 196, both con- taining references to previous efforts in behalf of these words. Sdyawza well translates tapas by, gagatsargana- vishayam paryadlofanam. In explanation of gyéshtdam he has, hirazyagarbhakhyam tattvam. His translation for brahma is mechanical: sango vedas, ‘the Veda and its Angas.’ For Pada d, cf. our notion of ‘ Father Time.’

Stanza 9.

d. Paramesh/¢/in is one of the numerous designations of the supreme being, almost monotheistic in character, which serves to form a transition stage from the earlier poly- theism to the pantheism of the Upanishads. Essentially the same idea is incorporated above in the term gyéshéha, which Sayaza fitly explains as hirawyagarbha, ‘golden embryo, another embodiment of the same idea. Simi- larly visvakarman, ‘ fabricator of the universe, svayambha, ‘ self-existing ;’ cf. the next stanza, and AV. X, 7, 17.

Stanza 10.

d. Kasyapa is a divine being identical or parallel with Pragapati. This style of literature is likely ever to have in mind the pun of the Tait. Ar. I, 8, 8, kasyapaz pasyako bhavati, ‘ Kasyapa is a seer,’ and this leads to the suspicion that the name is merely a personification of the sun; cf. our note on AV. IV, 20, 7. The epithet ‘self-existing’ must not be taken too literally: svayambhf is one of the many names of the supreme being (see the preceding note), and as such is mentioned along with the others. Muir, l.c., p. 408, note, suggests in the light of this passage the unlikely theory that, ‘this word must therefore be regarded as not necessarily meaning anything more than one who

XIX, 54. COMMENTARY. 687

comes into existence in an extraordinary and supernatural manner.’

XIX, 54. COMMENTARY TO PAGE 225.

The hymn has been rendered by Muir, Original Sanskrit Texts, V, 408; Ludwig, Der Rigveda, III, 191 ; Scherman, Philosophische Hymnen, pp. 80, 82. Cf. also the introduc- tion to XIX, 53. | Stanza 1.

See the Kat#a-Upanishad IV, 9: ‘ Both whence the sun rises, and where he sets—on him all the gods are placed ; no one whatsoever goes beyond that. This truly is that.’ Cf. also AV. X, 8,16; Sat. Br. XIV, 4, 3, 34=Brzh. Ar. Up. I, 5, 23; and Tait. Ar. VIII, 8.

Stanza 2.

| Stanza 1.

Stanza 2.

The MS. tradition reports this stanza as consisting of three (gayatri) Padas. But a better division of the re- mainder of the hymn results if we add two Padas of the third stanza (making a pankti), fuse the remaining two Padas of stanza 3 with the first two of stanza 4, and the remaining two of stanza 4 with the first two of stanza 5. This leaves the last two (trish¢Zubh) Padas of stanza 5 to make up one (our fifth) stanza. along with the two (trish¢ubh) Padas printed in Roth and Whitney’s edition as the sixth stanza'—an arrangement in form and sense manifestly superior to the traditional one. Sdayavza makes this arrange- ment and deserves credit for it.

d,e (=3 a, bin the MSS.). The MSS. have kalo ha bhiitam bhavyam fa putré aganayat puraz (one of Shankar Pandit’s Pada-MSS. pura). Roth and Whitney emend, kalé ha bhitds bhavyam #a mantro aganayat pura. We adopt this text with the exception of: mantro, for which we have retained the original putro. Sdyawa reads and

1*Not so in Shankar Pandit’s MSS. of the text, where the arrangement is that of the vulgata, except that the last two trish/ubh Padas are added to stanza 5, making it to consist of six Padas,

688 HYMNS OF THE ATHARVA-VEDA.

comments, kalenai=va ie prerakeza putrak pragapatiz bhitam, &c. Stanza 3.

Made up of st. 3 c,d and 4a, b in the MSS. With it cf. Tait. Br, IE], 12,.9;'1- and, AV. XIX, 6, 13—= RE aoe, g= Vag. S. XXXI, 7=Tait. Ar. III, 12, 4.

e (=4 a in the MSS.) The MSS, read kalé yagwam sam airayan; one MS. of the Padapdaf¢/a corrects airayan to airayat, as also Sadyavza, who reads and comments, sam- airayat udapaddayat. Shankar Pandit adopts this reading, and it is at the base of our translation. Roth and Whitney, on the other hand, restore kalé yag#asm sam airayan, which is the text translated by all our predecessors.

Stanza 4.

Made up of 4c, d and 5 a, b of the MSS.

e (=5 a of the MSS.). Sayaza reads devo for divo, which leaves kalé to depend upon adhi tish¢/ata%, to wit: angira ndma deva# ...sosyam atharva atharvavedasrash/a devas #a kale svaganake adhi tishzZati. Shankar Pandit adopts Sayava’s text.

Stanza 5.

Made up of 5 c, d and 6 of the vulgata.

b. vidhrztiz is translated by Sayava futilely, lokadharakan. Muir’s ‘ ordinances’ is untenable in the light of the remain- ing occurrences of the word (cf. Pet. Lex.); Ludwig, ‘ die reinen vidhvzti (zwischenraume, weltgegenden).’ Scherman cites Khand. Up. VIII, 4, 1 and AV. IV, 35, 1 in support of the rendering ‘zwischenraume.’ Perhaps ‘ boundary- line’ comes nearest to the sense of the original.

d. For iyate, cf. the note on XIX, 54, 2 d.

XX, 127. COMMENTARY TO PAGE 197.

Up. VIII, 4, 1 and AV. IV, 35, 1 in support of the rendering ‘zwischenraume.’ Perhaps ‘ boundary- line’ comes nearest to the sense of the original.

d. For iyate, cf. the note on XIX, 54, 2 d.

XX, 127. COMMENTARY TO PAGE 197.

The Vedic hymns furnish the germs of a not inconsider- able part of the themes of the later epic narratives, notably in the Mahabharata and the Purdwas. Especially the danastutis, ‘gift-praises, either independent hymns, or

XX, 127. COMMENTARY. 689

stanzas at the end of hymns, lauding the generosity of kings or sacrificers to the officiating Brahmans, appear as preliminary stages in the development of epic narratives in praise of warlike kings and heroes. Closely allied with these are the so-called gatha nardsamsyah', ‘ stanzas - which sing the praises of men,’ slokas which occur in the Brahmava-texts, dealing with this theme in exorbitant terms. The Brahmanical authorities agree in assigning the so-called kuntapa-hymns, XX, 127-136, to this kind of literature, and the opening stanza of XX, 127 leaves no room for doubting their correctness. The Ait. Br. VI. 32 ff.* works up the material of the kuntapa-hymns at the sattras, the ‘soma-sessions, or prolonged soma-sacrifices, at which seventeen priests perform their functions. See Roth, Uber den Atharva-veda (Tiibingen, 1856), p. 6 ff.; Max Miiller, History of Sanskrit Literature, p. 493; Haug’s translation of the Ait. Br., p. 430 ff., and Weber, Episches im vedischen Ritual, Proceedings of the Royal Prussian Academy, July 23, 1891, XX XVIII, p. 770 ff. (p. 4 ff. of the reprint).

AV. XX, 127 consists of four pieces, dealing with dif- ferent themes; the ritual employs each of them distinc- tively under the names nardsazmsi, raibhi, parikshiti, and karavya. Two of these names, narasamsi and raibhi, occur as early as RV. X, 85, 6; Tait. S. VII, 5, 11, 2. Quite a number of the stanzas of kuntapa-hymns are quoted in the Brahmavzas, exhibiting essentially the same textual corruption as the Atharvan version. The Sankh. Sr. XII, 14 ff. exhibits them in full: AV. XX, 127= Sankh. Sr. XII,

14-17.

* Sometimes gathah (indragatha/) and narasamsyah are differen- tiated, being mentioned separately, Tait. S. VII, 5, 11, 2; Kaush. Br. AXX, §; Ait. Br. VI, 32, 3. 25; Sat. Br. XI, 5, 6, 8; Asv. Grth. III, 3, 1 ff.; Yagiav. I, 45. The Brrhaddevata, III, 154, states explicitly that the ndrdsamsi-verses are of the nature of danastutis.

* Cf. also Kaush. Br. XXX, 5; Sankh. Sr. XII, 14; Asv. Sr. VIII, 3, 7 ff.; Vait. SA. 32, 19 ff.; Gop. Br. Il, 6, 12 ff.

[42] Yy

690 HYMNS OF THE ATHARVA-VEDA.

I, 45. The Brrhaddevata, III, 154, states explicitly that the ndrdsamsi-verses are of the nature of danastutis.

* Cf. also Kaush. Br. XXX, 5; Sankh. Sr. XII, 14; Asv. Sr. VIII, 3, 7 ff.; Vait. SA. 32, 19 ff.; Gop. Br. Il, 6, 12 ff.

[42] Yy

690 HYMNS OF THE ATHARVA-VEDA.

The first three stanzas, known in the ritual (Ait. Br. VI, 32, 4 ff.; Kaush. Br. XXX, 5; Gop. Br. II, 6,12) as the narasaszsyah (sc. rikah), contain a danastuti. Their appli- cation, especially in the Ait. Br., contributes nothing to their elucidation. At Tait. S. VII, 5, 11, 2 the commen- tator defines them as manushyavishaydkhyanapara szkah, ‘stanzas devoted to the narration of human affairs.’ But ndrasamsa can scarcely fail to allude in some manner to nardsamsa (Agni); cf. the next two parts.

Stanza 1.

The Rusamas are praised as liberal bestowers of dakshiza in. RV. V;..30,,12-153 chsalso RV. VITL 3.-19= aaa ee Zimmer, p. 129. The stanza is quoted Asv. Sr. VIII, 3, 10.5 SAnkn. Fs lie tdi ck,

Stanza 2.

Cf, Sankh, Sr, X1T14, 2; RV. VIL 64726 ge eee 22; and Pischel, Zeitschr. d. Deutsch. Morgenl. Gesellsch. XXXV, 712. The second hemistich is textually corrupt and obscure. The sense seems to be that the chariot pre- sented by Kaurama as part of the dakshivd is so high that it seems to just dodge the heavens which in their turn flee from its contact. I read fshamavd(#) with the Pet. Lex., and Whitney in the Index. The MSS. have tshamaza(Z) ; the edition ishamava(Z). The word upasprésak I have taken as an ablative from the abstract upaspr¢s, ‘ touch, contact. The Pet. Lex. takes it as an adjective, ‘the touching heavens as they recede. The text of SAnkh. Sr. XII, 14, 2 has gihilate for gihishate.

The next three stanzas are known in the ritual as raibhyax (sc. rzkahk); see Ait. Br. VI, 32, 7 ff.; Kaush. Br. XXX,.5; Gop. Br. II, 6,12. At Tait. S) Vil 5 ae ene commentator explains them as referririg to Rebha (Agni), rebha# sabdakrzd agni# tadvishaya rikah; Sayaua at Ait.

XX, 127. COMMENTARY. 6901

Br.—where, as well as at Gop. Br., the treatment of them suggests nothing—defines them more vaguely as rebhasa- bdopeta r7zkahk. Agni is unquestionably spoken of as rebha, So ay, 1, 527, 105. Vi 964241, 3; it is therefore not easy to decide whether he, the divine chanter, is addressed here, or whether the poet, the human chanter, is urged to perform his function. I incline to the former view, having in mind especially the parallelism of st. 4 with RV. III. 6,2. The text is very corrupt.

Stanza 4.

Ct. Sankh. or. XII, 15, 1,.and: RY. If], 6, 2, divas kid agne mahina przthivya vakyantam te vahnaya“ saptagihvas, _ ‘by the greatness (Ludwig, 307, along the greatness) of heaven and earth may thy seven-tongued flames disport themselves, O Agni!’ For kshurd bhurigor, cf. the interest- ing kshuro bhvzgvan, Tait. S. IV, 3, 12, 3 (bhvzgvan for bhurigvan, not in the lexicons), and Pischel in Vedische Studien, I, 240, 243.

Stanza 5.

the interest- ing kshuro bhvzgvan, Tait. S. IV, 3, 12, 3 (bhvzgvan for bhurigvan, not in the lexicons), and Pischel in Vedische Studien, I, 240, 243.

Stanza 5.

Cf. Sankh. Sr. XII, 14, 4. I have translatéd rebhdso of the MSS.; the edition has the vocative rebhadso. The text of the second hemistich is very corrupt; its emended form in the edition is at the base of our rendering.

Stanza 6.

Cf. Sankh. Sr. XII, 14, 5, with important variants.

The next four stanzas are known in the ritual as the parikshityas (sc. rzkahk); see Sankh. Sr. XII. 17; Ait. Br. VI, 32,10 ff.; Kaush. Br: XXX, 5; Gop. Br. I],6,12. The Ait. Br. and Gop. Br. advance as one of two expositions the theory that Agni is parikshit, ‘since he lives about among the people, and the people live around him.’ The text itself admits of no doubt: Agni Vaisvanara, the typi- cal god of Brahmanical piety (Sat. Br. I, 4, 1, 10-18), is a kindly ruler among men, and his presence secures the

Yy2z

692 HYMNS OF THE ATHARVA-VEDA.

prosperity of the golden age. In the later legends Pari- kshit is propagated variously as a terrestrial king.

Stanza 7.

Cf. Sankh. Sr. XII, 17, 1. ‘In Pada d we have trans- lated 4 srzvotA of the edition; the MSS. read 4 sundta (cf. the Prakrit root su, ‘ hear’).

Stanza 10.

The first hemistich is problematic, the comparison of the overflow of the grain with the bursting forth of the light is bold, nay bizarre. The MSS. do not read svak, as does the edition with Sankh. Sr. XII, 17, 4. Perhaps svaZ is to be read instead of svak (cf. Bloomfield and Spieker in the Proc. Amer. Or. Soc., May, 1886; Journ., vol. xiii, p. cxvii ff.): ‘On the morrow the ripe barley bursts forth from the opening of the ground, i.e. grain planted to-day ripens on the morrow. The second hemistich occurs in a different connection at Vait. Sa. 34, 9; here also the MSS. read edhati for edhate, as emended in the edition.

The last four stanzas are designated in the ritual as karavyaz (sc. vika/), ‘ referring, or pertaining to the poet ;’ see Sankh. Sr. XII, 15, 2-4; Ait. Br. VI, 30, 16 ff. ; —Kaush. Br. XXX, 5; Gop. Br. II, 6,12. The expositions contain nothing but a worthless pun with derivatives of the root kar, ‘make.’ The general sense of the stanzas is clear. Stanza 12 occurs with variants at Hir. Gvzh. I, 22, 9; Par. Grzh. I, 8, 10; Gobh. Grzh. II, 4, 6 (pratika); SV.

Mantra-br. I, 3, 13. Stanza 14.

d. For the skilfully emended #ano dadhishva, cf. Geldner, Studien zum Avesta, p. 58 ff.; Roth, Zeitschr. d. Deutsch. Morgenl. Gesellsch, XLVIII, r10.

Peo. OF SUBLECTS.

Abhayagana, a list of hymns that secure immunity from danger, pages 398, 486, 542, 571, 576, 663.

abortion, and abortionist, 165, 521, 524, 527.

adaptation of mantras, Ixiii, 297, 365, 372, 380, 484, 525 n, 541, 548-9, 563, 665.

adhvaryu-priest, 184, 243; ef. ritvig.

abortion, and abortionist, 165, 521, 524, 527.

adaptation of mantras, Ixiii, 297, 365, 372, 380, 484, 525 n, 541, 548-9, 563, 665.

adhvaryu-priest, 184, 243; ef. ritvig.

Aditi, 50-1, 97, 166, 179, 181, 183, 186, 206, 212, 502, 610, 613, 629, 647.

Aditya, 126-7, 1525 499, 661 n.

Adityas (plural), 6, 12, 55, 57, 89, 116, 119, 135, 161, 163, 191, 230, 443-4.

adrishta, and drishta, designations of worms, 315, 351.

Aga Ekapad, and Ekapada, 208, 625, 664.

Agastya, a sage, 23-4, 33.

Agni, 1, 3, 12, 14, 18, 24, 32, 35-6, 40, 42-3, 47-9, 50, 52-3, 55-6, 58, 60, 64-5, 75, 77-81, 85, 99, 94, 104-5, 109-10, 112~3, 116-7, 120-2, 126, 128, 134-5, 139, 141, 146-9, 151, 154,160, 163-6, 170, 173, 175, 179-80, 182, 184-5, 188, 190, 192, 194-5, 201, 205, 208-11, 221-2, 226, 231, 241,249, 254, 270-2, 308-9, 323, 325-6, 328, 342, 353, 359, 365) 373, 492, 408,422,443, 447, 449; 454, 475,478,485, 498, 501, 518, 525, 528, 533, 545 1, 552, 554, 580, 592, 600, 612 n, 620, 622, 627, 641, 645, 661, 664, 690, 691; Agnis, two, 216; cf. Garhapatya, Gatavedas, and Vaisvanara.

agnihotra-sacrifice, 84,

122, 145, 227. agnishtoma-sacrifice, 189, 226, 458, 589.

agrahayani- -ceremony, 365, 551, 639.

Akiiti, a goddess, 104, 535.

aligi, designation of a serpent, 28; cf. viligi.

aliklava, designation of birds of prey, 124, 155.

All gods (visve devah), 6, 33, POS, £53,116, 119, 184.

alliteration, 273, 345, 388, 576, 642, 646, 663; cf. puns, and double meaning.

amholingagama, designation of certain lists of mantras, 321, 509, 600, 628.

amrita (ambrosia), 4, 6, 10, 26, 43, 53, 86, 135, 141, 147, 162, 185, 190, 229.

Amsa, a divinity, 160.

amulet of the antelope’s skin and horn, 3363 of aralu, 339; of the asvattha-tree, 334; of barley, 285, 507, 541, 546; of a brace- let, 96; of darbha-grass, 480; defensive, 394, 576; of the hairs of a Brahman, 477; of the gangida-tree, 281, 669; of gold, 63, 668; of herbs, 42; of karira- grass, 452% of khadira-wood in the shape of a _ploughshare, 84 ff., 608; of krishnala-berries, 239; of licorice, 275, 276; of a lute-string, 561; to cause micturation, 236; of mud, 287; of mud sewn up in the skin of a newly-slain animal, 553; of

39, 193,

694 HYMNS OF THE

mufiga-grass, 234; of the parza- tree, 114, 332; of the pa¢a-plant,

305; of pearl, 62, 383; of the. patudru-tree, Bae Oe ane sadampushpa-plant, 339; of salve, 3813 of the skin of a bull pierced by a peg (?) 263; of the sraktya-tree, 79, 5753; of a spear, 506; of taréha, 476; of ten kinds of holy wood, 34, 291 ff., 477, 578; of a thread that is red, 67; of the varana- tree, 81, 402, 505, 605.

Andhaka (Ardhaka), 155, 619.

Angas, a people, 2, 446, 449.

anger, charms against, 136 ff. 479 ff.

Andhaka (Ardhaka), 155, 619.

Angas, a people, 2, 446, 449.

anger, charms against, 136 ff. 479 ff.

Angiras and Angirasa, mythic per- sonages, xxx ff,, 38, 435-939 BO; 86, 89, 119,° 127-8, 161, 163, 171, I9l, 225, 280, 433; 484, 576, 673, 678; special meaning in contrast with Atharvan and Atharv ana, Xvili ff., xxi ff., xxiii iiiy. EXT. 19, 576, 580, 603, 624.

Angirasa/,designation of the Atharva- veda, xviii, xxxi; cf. Atharvan- girasah, Bhrigvangirasah,

annaprasana, ceremony at the first feeding of a child, 575.

antelope, buck, 32; horn of, 15, 336; skin of, 132, 215, 336, 439.

ants (and earth from an ant-hill, cure poison), 27, 234, 287, 511, 552 ff; produce water (‘ piss- se ), 3, 278 ; devour scorpions,

’

icant a female nats 98, 104, 109, 143) 173, 304, 461, $35-

Apim napat, a divinity, 589.

aphrodisiaca, 370.

Apri-hymns, 228.

Apsaras and Apsara, 32, 80, 104, 119, 125-6, 149, 160, 202, 205, 225, 229, 324, 370, 408 ff, 414, 425, 518, 520-1, 534-6; names of,

. 33, 409 ff, 534.

Aptyas, three water-divinities, 521 ff.

Apva, divinity of evacuation from fright,-.122,.0348-7. 001s Ch, Sakambhara.

Araru, a divinity, 167, 485.

Arati, demon of avarice and grudge, 15, 57, 82, 109, 172 ff, 187, 261, 423.

ATHARVA-VEDA.

Araya and Arayi, male and female demons, 66, 69, 70, 162, 205.

Arbudi, name of a battle-divinity, 123 ff., 631 ff.; cf. Nyarbudi.

Ardhaka (Andhaka), 155, 619.

arka and arka-songs, 112, 226.

arrow, of love, 102, 358; parts of, 4323 poisoned, as a homoeopa- thic cure for poison; ‘ white- footed, four-footed,’ 127, 129; -wounds, charm against, 120.

arteries, I1, 22, 259.

Arya, 68, 72, 402.

Aryaman, 20, 94-5, 99, 109,

, _ 160, 243, 323, 333, 491.

Asa and Asipati, divinities, 486.

Asita, a sage, 31, 107, 255.

assembly and assembly-hall, 136, 138, 191-2, 206; charm to obtain influence in, 134 ff., 138, 5433 spell in, 76.

assignation, charm at, 105, 371-

astrologers and fortune-tellers, I.

Asura (sing.), 111, 241, 380 (Indra) ; Asuri (fem.), 16, 103 (Siren), 268 ff.; Asuras (plural), 9, 11, 21, 27, 62, 67, 71, 79, 80, 82-3,

143,

85-6, 127-8, 137, 199, 215, 222-3, 268, 279, 341, 398, 500, 516, 572.

Asvins, 48, 52,85, 95, 100-I, 112-13, 142, 160, 200, 229 ff., 310, 312, a 389, 486, 503, 512, 581, 587-9.

Atharvan and Atharvaza, mythic sages, xxx ff., 148, 225, 588 n, 688 ; Atharvans (plural), 33, 86, hy ee . special meaning in contr ast with Ahgiras and Angirasa xviil, fh, xxiil ff... Sexi tena: 603, 624; derivatives from the stem atharvan, xxiv; schools, relation of to one another, lxi; teachers, xlii, lviii.

Atharvangirasah, designation of the AV., xvii, xxx, xxxii, xlvii, 433; cf. Angirasah, Bhrigvangirasad.

Atharva-veda, names of and their meanings, xvii; position of in Hindu literature, xxviii; in the RV., xxx ff.; in the Saunaktya- samhitA, XXxi ff.; in the sruti in general, xxxiii; in the ‘Faltass Xxxvi; in the Sat. Br., xxxvi; in the Tait. Br., xxxvii; in the Upanishads, xl ff.; in the Grihya-

INDEX OF SUBJECTS,

695

sfitras, xliii ff.; in the law-books, xlv ff.; in the Mahabh., li ff.; in classical literature in general, liv ff.; in Gaina and Bauddha- texts, lvi; in its own ritual literature, lvii; relation of to the trayi vidya, xxxi, xxxv, lvi ff.; srauta-practices in, Ixx.

Atri, a sage, 23-4, 294, 319.

Atrin, devouring demon, 37, 62, 64-5.

attractio similium, 241, 249, 270, 443, 468, 542, 561, 564; cf. homoeopathy.

auksha, a salve, 276, 324, 410; cf. the next.

Aukshagandhi, name of an Apsaras, 33; 324, 410.

avarice against priests condemned, 42 3.

Balhikas, a people, 2, 446, 449. bali-offerings, 367, 473, 491. balsam, 94.

barber, 57.

barley, 13, 40, 43, 57, 87, I10, 162, 204, 219, 232, 540; as an amulet, 285; with water as a universal remedy, 507.

battle-charms (samgramikazi), xliiin, xliv, 117 ff., 233, 262, 404, 510, 545, 582; addressed to Arbudi and Nyarbudi, 631 ff.; to Trishamdhi, 637; -fire 325; -machines, 632-4.

bdellium (guggulu), 94, 303, 322,324, 409, 548; healing properties of, 40, 675; cf. Guggulfi.

beans, 110, 536 n; inflammatory, 534; ‘ bean-loves,’ 534.

beasts of prey, 155-7, 161.

Bhaga, a god, 33, 53, 94-5, 101, 135, 140, 160, 173, 204, 312-13, 324, 495.

Bharadvaga, a sage, 89, 295 ff, 319; -pravraska, ‘cleaver of Bharadvaga,’ designation of a staff used in witchcraft, 295.

Bharatasvamin, a scholar, 340.

Bharati, a female divinity, 512.

Bhava, a god, 56, 75, 118-9, 155 f., 175, 402, 406, 585, 624, 618.

Bheda, a royal sacrificer, 179.

bheshag4ni, designation of the au- spicious parts of the Atharva- veda, xviii, xxi, xxxi ff., 628.

Bhishag Atharvana in contrast with Ghora Angirasa, xxi.

Bhrigu, a mythic personage, xxx ff., XXXil, XXXIV, 171, 433.

Bhrigvangirasah, designation of the Atharva-veda, xxvi, 433,616; cf. Angirasad and Atharvangirasas.

bhiisamskara, a ceremony, 640.

birds of prey, 124-9, 155, 157, 205; nests, fire made of, 458; omi- nous and defiling, 82, 166 ff, 186,

Bishkala, 99, 245.

‘biting rope’ (serpent), 147, 368.

‘black food,’ 536.

blood, charms against the flow of, 22, 45,174,234, 257, 385, 483, 531.

blue and red (threads), magic colours, 69, 120, 348, 395, 564, 566-7, 583, 587.

boar (finds plants), 43, 77, 137, 306.

bodily characteristics, auspicious and evil, 109, 168, 260, 564.

bracelet, as an amulet to secure conception, 96, 501-2.

208; 211,.275~7, 220, 224-6, 623, 627-30, 686.

brahma-graha and brahma-rakshasa, designations of demons, 290-1.

Brahmadarin (Brahmanic disciple), deified and glorified, 214, 626.

Brahman, the god, 94, 127, 592.

Brahmaza, cosmic, 25.

Brahmazaspati, a divinity: see Bri- haspati.

brahmavoktam (ceremony), 569, 623.

Brahman-priests, designated as gods, 529, 616, 652, 659; asthieves(?), 372; prayers in the interest of, 169 ff.; invective against op- pressors of, 169 ff., 430 ff., 522; inviolableness of their cows, 169 ff., 430 ff. ; as fourth priests in the Vedic sacrifices, lviii, xii, Ixv, Ixvili.

brahmaudana (Brahman’s porridge), preparation of, 179 ff., 185 ff, 528, 610, 645 ff., 653.

Brahma-veda, designation of the Atharva-veda, xxvii, xliii n, lix, Ixii ff.

brahmodya, Vedic charades, Ix, Ixiv, 398, 625, 644, 667-8.

brandy (sura), 84, 231, 362, 493, 534, 578, 591; cf. liqucr.

696 HYMNS OF THE

breath of life, deified, 218 ff., 622 ff., 6293 cf. Prama.

bridal couple, love charms spoken

by, 96, 546; cf. wedding.

Brihaspati (Brahmamaspati), a god, XXlll, 29, 32, 44, 47) 49) 50, 52, 635: O60: 70; 385 Sl PIG 115, 126-8, 135, 140, 143, 160, 163, 178, 193, 211%, 213, 485, 541, 552, 554, 596, 610, 660.

Brihatsaman, a Brahman, 171.

broom-straw (?), 26

brotherless maidens, 22, 258.

bull’s skin, 379 ff.

burial ground, practices at, 77, 431.

business, practices preparatory to,

148, 349N, 352, 490, 532, 619.

Calamity, protection against, 158, 406; charm against, addressed to the Vedic pantheon, 160, 628; cf. misfortune.

calf: see cows.

calumny, charm against, 481.

castration, 406, 545.

cattle, charms for their prosperity, 142 ff, 303, 351, 412 Hh, 490; charm. to restore strayed, 150, 496; marking of, 174, 658; naming of, 3173 sacrifice of, 226, 228; worms in, 317; cf, cows,

cave of animals, 322.

chariot, divine, 120; cf, wagon.

child-birth, ceremonies at (gata- karma), 293.

chiromancy (sdmudrika), 260.

cleft ground, scene of witchcraft, 288 n.

conception, charm to secure it, 94, 501.

consecration: see king; soma-sacrifice, 498.

‘consecration, great :’ santi.

constellation, lucky, 110; unlucky, 109, 517; charm for a child born under an unlucky, 109, 517; male, 356; fading away of (symbolic fading of disease ), 16. Names‘of: ashadbab, roe a gyeshthaghni, 109; milla and mfilabarhani, 288, 517-8, 525; vikritau, 13,15, 110, 288, 517-83

-builder, 144;

for the

see maha-

ATHARVA-VEDA.

saptarshayah, 52, 161, 179 ff., 390, 563.

cosmogonic hymns, 199 ff.

cattle,

creators, ten, 226.

creeper, symbol of a loving woman, 100.

cross-roads, 292, 448, 473, 519, 542; cf. fork of the road.

curses, charms to obviate them, gr,

93, 285, 556.

Daksha, 444.

Danavas, 85.

dancing sprites, 33, 149, 410, 413-

danger, protection from, 155 ff., 160, 618 ff.

dasi, non-Aryan servant-woman: see slave-girl.

Dasyus, 67, 83, 86, 203, 222.

death, from hunger and thirst, 69 ; messengers of (cf.dogsof Yama), 118; of a teacher, expiation of, 528; personified as a teacher, 2163 tracks of effaced, 436.

debate, charm to secure success in, 137, 275, 304 ff, 644.

debts, discharge of, 528.

defilement by black birds, 167, 555.

demons, charms to drive them away, 1 fi, 33-9, 64 ff., 66, 290, 298, 339, 407-8, 669 ff. : female, varieties of, "63 36, 638.

Deshiri, a goddess ‘that guides, 219.

desires, ‘charms for their fulfilment: see wishes.

Dhatar, a god, 20, 54, 81, 86, 94-5, 126, 160, 324, 387, 389.

dice, 88, 116, 144, 149-51, 169, 391, 470, 493: ; ill-luck at, 69; cf. gambling.

diksha, consecration for sacrifice, 227.

directions, and regions of space, 14, 39, 86, 161, 203, 223, 225, 380, 647, 650, 655; enumerated, 188,

INDEX OF SUBJECTS. 697

192, 196; four, 120, 156, 199, 206, 216, 222, 367; five, 113, 162; six, 68, 207, 222; inter- mediate, 1:0, 212, 223; distant regions, 304; distances, three, g2; of heaven and earth, 99; north-eastern direction (apara-

gita), 305, 379, 644.

disaffected people, loyalty of re-

stored, 240.

discord : see strife, diseases, charms against, 1 ff. Enu-

meration of: abscess (vidradha), 40, 47,531,602; ag#atayakshma, ‘unknown disease,’ 40, 342,531; ague, 448; akshata (tumour), 488, 562; alagi, 602; apakit (scrofula), 17 ff., 472 ff, 503, 558-9; arishta, 513; aAsarika, 280, 637; asrava (excessive dis- charges), 483; balasa, 2, 8, 39, 40, 42, 46, 57, 61, 280, 383, 442, 450, 463, 531, 575, 601, 674; blood, flow of, 40, 531, 657; ‘breaking disease,’ 38; of children, 341, 3433 colic, 11, 283, 506; constipation, 10, 233, 2353 consumption, 49, 247, 415, 442 DN, 450, 463; convulsions, 37, 55, 283, 467; cough, 2, 7, 8, 247-8, 442, 513; deformity, 72; demons of disease, 33-9, 339; diarrhoea, 46, 233, 325, 327, 445, 483, 601; discharges, excessive, 8 ff., 277, 481, 672; dropsy, 11 ff., 42, 89, 241, 450, 471, 509, 530, 562; ear-ache, 40, 44-5; epilepsy, 264, 513; of the eye, 5, 12, 24, 30, 40, 47; 415, 454, 464; fever (tak- man; cf. takmandsana), of all sorts, 1 ff., 39, 46, 60, 157, 218, 233, 246, 270, 273 ff., 280, 415, 441-2, 445, 451, 468, 470, 569,

takmandsana), of all sorts, 1 ff., 39, 46, 60, 157, 218, 233, 246, 270, 273 ff., 280, 415, 441-2, 445, 451, 468, 470, 569,

336; inflammation, 531; jaun- dice, 7, 8, 46, 61,263, 442, 445, 471, 566; leprosy (kilasa), 16, 266, 415, 441, 450; Mania: see the word; of nails, 521; neu- ralgia, 40, 45-7, 506; paman (eruption), 2, 442, 450; para- lysis, 13, 5003; prishtyamaya, 280; ragayakshma, ‘ king’s evil’ (syphilis ?), 342, 415, 561; rheu- matism, 282, 506; sawskandha (disease or demon!, 38, 280, 283, 672; scrofula and scrofu- lous sores (cf. apadit), 17 ff, 472, 488 ff, 503 ff., 558-9; spasm, 2; St. Vitus dance, 513; transmission of, 47, 309; of teeth, faa; 92; 464,:. 521-3. f0-: mours, 17, 19; udyuga, 450; vatikara, vatikrita , (inflation, winds), 10, 22, 246, 483, 516, 602; venereal disease, 341; vi- klindu, 174, 658; vilohita, 600, 657; visara, visarika, 280, 284, 673; visarpaka ({visalpaka), 531, 601; vishkhanda (cf. sam- skandha), 37-9, 61, 65, 67, 257, 280, 282, 339, 382,672; worms in all parts of the body, 22-24, 313 ff.; worms in children, 23, 452; wounds (cf. fractures), 20-1, 419, 516; yakshma, 247, 291, 337, 416,463, 468,505,507.

dogs, 106 (watch-dog?); as beasts

of prey, 129; heavenly (sun and moon), 13, 500; bitch, four- eyed, 68; of Rudra, 158; of Yama (messengers, four-eyed), 34, 59, 60, 167, 318, 404, 422, 500, 571.

double meaning, 238, 250, 254, 259,

306, 313, 346, 381, 386, 544, 549, 645, 664; cf. alliteration and puns,

676, 681; fractures(ct.wounds), dreams, evil, 12, 61, 69, 82, 167, 19, 384; galunta (swelling), 17, 221, 394, 483 ff., 592, 605, 642. 505; gambha, 280, 283, 467, dridbikarmani, a ceremony, 640. 572; gayanya (tumour), 17, driveling woman, 109.

560-1; gout (in heels andtces), Druh, demon of deceit, 14-5.

42; grahi (fit, seizure): see the drum (hymns to), 117, 130 ff., 204, word; head-ache (sirshakti), 5, 436 ff.; spell in, 77.

7, 45-6, 248, 252, 415, 442, Dvita, a water-god, 521-2.

657; heart-disease, 7, 12, 40, ‘dwelling, mistress ot,’ 140, 194-5, 264, 471; hemiplegia, 500 n; 346; cf. house.

hereditary disease (kshetriya), Dyu,asky-god, 50; female of Sarya, 13 f1., 47, 67, 286 ff., 293, 302, 661, 665.

698

HYMNS OF THE ATHARVA-VEDA.

Eagle, 165 9.75-4:32,0137, 3aO; 190,

306; finds healing plants, 306, 375; heavenly (lightning), 68, 241, 401, 581.

ears of cattle, pierced, 174, 658.

earth, mother of plants, 235; god- dess, 180, 199 ff., 639 ff.; lump of (curative), 234, 287, 475, 5523 tron a bee-hive, 427; from a mole-hill, 427; -quake, 640; earths, three in number, 30, 68, 400, 471, 631, 686; earths, nine in number, 228, 631.

eclipse of moon, 533; of sun, 294, 662 n.

effigy, human, in witchcraft, 72, 359,

534.

Ekata, a water god, 521-2.

elephant, 76, 116, 144, 195 (female), 200:

enema, 236.

enemies, charms against, 89, 92-3, 325, 334, 484, 544, 557-

eclipse of moon, 533; of sun, 294, 662 n.

effigy, human, in witchcraft, 72, 359,

534.

Ekata, a water god, 521-2.

elephant, 76, 116, 144, 195 (female), 200:

enema, 236.

enemies, charms against, 89, 92-3, 325, 334, 484, 544, 557-

eunuch, 108, 130, 538.

evil, charms against, 163, 509; eye, 61, 91, 285-6, 474 (cf. papma- gaza); deposited in a garment, 6543 qualities, personified as divinities, 423 ; thoughts, elimi- nation of, 594. Cf. sin.

Fathers, ¥o,°54,°59,-63)°-93;°8 7; 119, F26,°238; 161+, 166, 170-1, 175, 180, 183-4, 186, 196, 223, 229, 254, 384, 456, 544, 585, 603-4, 612, 660.

fire, charm for security against, 147, 514; battle-fire (senagni), 325; in a battle-charm, 121; digestive (gatharagni), 242; forest-fire, 107, 443, 468; funeral-fire, 77.

fish and fishermen, 154.

five peoples (races), 92, 201, 204.

fork of the road, 163; cf. cross-roads.

fortune, charm to procure it, 253.

frog (symbol of water and coolness), 4, 348, 350, 514-5, 565.

funeral practices in sorcery and imprecations, 254, 297, 435; funeral-fire, spell in, 77; funeral- cow (anustarani), 253.

Gamadagni, a sage, 23-4, 31, 319.

Gambling, gamester, and gambling- place, 76, 88, 144, 149-50, 191, 391, 412, 544, 548; cf. dice.

GAmi, a goddess, 323.

Gandhiri, a people, 2, 446.

Gandharvas, 31, 33-4, 43, 80, 119, 125-6, 160, 202, 205, 210, 214, 225, 229, 254, 323, 370, 408 ff, 413, 520-1, 534, 536; namesol, 534; Gandharv', 520-1.

Garhapatya (Agni), 165, 167.

Garuda and Garutmant, 25, 268 ff., 306, 401; cf. eagle.

Gatavedas (Agni), 18, 54, 57, 64-5. 83, 88,-98,-166) 410, PIO. ater. 149, 168, 180, 183, 208, 541, 545 n; (Aditya), 127.

gatha narasamsyad, a class of man- tras, 689.

Gaya, a sage, 107, 255.

gayatri,a metre, 112, 208; in relation to Agni, 664.

gharma, 119; three gharmas, 230, 590.

Ghora Angirasa in contrast with Bhishag Atharvama, xxi.

gifts, prayer at the receipt of, 196; praise of him that bestows them (danastuti), 197, 688; three, 183, 613;

glory, prayer for, 117, 478; cf. lustre.

goat-footed woman, ro9.

goddna-ceremony, 307, 574, 665.

gods, ageless, 3653; sinful: see sin; sleepless, 200.

gold, 94, 116, 183, 192, 196, 264, 322, 348, 384, 477, 617, 654, 668 ff.; as an amulet, 63.

golden age, 198, 692.

golden ship (soma, the moon?), 4, 6, 415, 680.

Gotama, a sage, 319.

gourd used in charm against ser- pents, 428.

Grahi (fit, seizure), a female demon, 15, 34, 49, 57, 165, 187, 525.

grain, charm to produce increase of, 141, 499; expiatory offering of, 528.

gramayagin, -yagaka, and pfigaya- ghiya, an inferior kind of priest, xl n, li, 580.

INDEX OF

hassa, a bird (the sun), 28, 462.

haplology, 398.

happy kingdom, 198, 692.

haridrava, yellow wagtail, 8, 266.

harmony, agreement, peace, charms to secure them (sammanasyAni), xxix, xliv n, 134 ff, 492, 494-5,

508, 550; between cow and calf, 493.

havis (technical), 479, 492, 496 n, 498, 500.

health, charms to secure it, 44-5, 49 ff.

heat, fever cured by (attraction), 270.

heavens, three, 68, 400, 416, 631; nine, 228, 631; cf. oceans, nine.

hell (nethermost darkness), 177, 191, 211, 221-3, 242, 301.

hemp (fastens amulets), 37, 162, 281, 284, 582.

herald, 131. :

hermit, personification of the sun, 403.

Himavant-mountains (Himéalaya), 4-6, 12, 61, 415, 679.

Hiranyagarbha, the supreme god, 629, 686.

holiness and beneficence, female personifications of, 602.

holy work thwarted, 89; ‘holy water,’ 379, 393, 504, 540.

homoeopathy, 264, 443, 481, 506, 566; cf. attractio similium.

honey, mixture of, for guests, 84; symbol of agreeableness, 277 (cf. licorice, and sugar-cane) ; honey-lash of the Asvins, hymn to, 229, 587.

hook, to rake in wealth with, 503.

horse, charm to endow it with swiftness, 145, 507; of Pedu, 152 ff., 605, 607 (cf. Pedu, and Paidva-ceremony); sacrifice of, 662, 666; of Yama, 21, 422.

hostile powers, charm for exposing hidden, 398.

house, prayers and practices at the building of, 140, 343, 4943 parts of, 140, 193 ff., 243, 343, 497, 596-8; purification of the entrance of, 298; presented as a gift to Brahmans, 193, 595, 598; removal of, 193, 5955 varieties of, 597.

SUBJECTS. 699

Hriidu, designation of fever, 3, 273. human sacrifice, ransomed, 360. hundred and one, 50, 162, 168, 170, 397, 433, 565; cf. ninety-nine. husband, charms to obtain one (pativedanani), 94-5, 217, 322,

491. hymns of the Atharva-veda, arrange- ment of, 247.

Ichneumon (and serpent), 42, 103, 540, 580; cf. porcupine.

Ida, a goddess, 512.

fkshviku, a king, 6, 679-80.

Indra, 18, 22, 24, 32-4, 38-9, 48-9, UPI mee Soest Pen fen Py 77-81, 85, 89-92, 95,103, 105-6, 108, 112-17, 14Q-—23,. 125-33; 136-40, 143, 145-6, 148-9, 151-3, 160, 162-3, 169-70, 173, 179, 183, 188, 192-3, 195-6, 198, 200-1, 203-4, 207, 210, S13-16, 317, 221=3,. 226,. 2:31; 241, 256-7, 268, 280, 294, 311, 315, 324, 328-9, 331, 342, 349- 50, 353, 367, 370, 380, 402, 433, 44°, 454, 476, 478, 500, 503, 522, 547-9, 551, 554, 583, 596, 627, 633, 655, 663; Indra Brahmanaspati, 163; seduced by an Asuri, 103, 268, 547; his mother, 116, 478. Cf. Magha- van, and Sakra.

indramaha and -mahotsava, a festival, 353, 405, 510.

Indrani, 105, 354, 536; indranya drsham, and indrazy-upanishad,

54.

ingida, and ingida-oil, used in sorcery, 334, 476, 496, 582.

intercalary month and year, 682-3.

inundation, charm to prevent it, 349 ne

investiture with the holy cord (upanayana), 240, 364, 381, 383, 551, 569, 574, 623.

fsana, a god, 253 n, 618.

isht4-pfirtam, 297.

Jackal, 306. jealousy, charms against, 18, 106 ff.,

467, 547, 559- ‘jewels’ of the king’s court, 333.

700 HYMNS OF THE

Kabava (demon ?), 67, 339-40.

kairata, designation of a serpent, 28, 427; cf. Kirdta-maiden.

Kala (time) personified, 224 ff.,°629, 681, 687.

kAlakafga, three (heavenly phenome- non), 13, 500.

Kama, love personified, 102, 175, 220 ff., 311, 359, 591, 629, 682; myth of, 535.

kanaknaka, designation of poison, 154, 608.

Kanda, a demon, 66, 301.

kanda-poison, 154, 608.

Kandra, and Kandramas (moon-god), 16,17; 85,120, 129, 167.

kankaparvan (scorpion), 29, 553.

Kanva, demon of disease, 36, 3023 name of a sage, 23-4, 33, 71; 315, 318-9, 397.

kdravyah, designation of certain stanzas, 689 ff.

karki, designation of a white calf, 150, 413-4.

karsapha (a demon ?), 67, 339.

kasarvila (kasarvira), designation of a serpent and serpent-vvshi, 152, 607.

Kasyapa, a sage, 33, 45, 80, 107, 225, 255, 322, 577, 686; eye of (the sun), 68, 403; Kasyapas (plur.), 210.

katurthi-karma, a wedding-practice, 276, 546.

Kaurama, a tribe, 197.

Kesaraprabandha, a woman, 170

Kesin, a divinity, 157, 620.

kilala, a sweet drink, 206.

Kimidin, a kind of demon, 64, 68, 205, 238, 403.

king, practices pertaining to the, li, 111 ff., 404, 477 (cf. sovereign power) ; consecration of (raga- sflya), 111, 226, 239, 333, 346, 378, 405, 661, 663; election of, Pris:

restoration of an exiled, 112, 327, 330; marriage of, 498; charm to ensure him superiority, 115, 404; compared with Indra, 112; with a leopard, 1123; with alion and tiger, 115; and purohita, mutual rites be- tween, Ixi, 379.

kinswoman, curse of, 14.

Kirata-maiden, 153; cf. kairata.

ATHARVA-VEDA.

kitrakarma, a ceremony, 666.

krisa, designation of a bird, 352.

Krisanu, a heavenly archer, 4o1.

kshatram, represents the Atharvan and its practices (?), xxv.

Kshetrapati, a divinity, 486.

Atidakarana, a ceremony, 309, 574.

Kumira, a god, 326; cf. Skanda.

kuntapa-hymn, 197, 688.

Kuru, a country, 198.

Lakshmi, 261, 565.

Lalami (woman with spot on the forehead), 109, 261-2.

lash (whip), parts of, 231 ff., 591.

lead, in sorcery, 65, 256 ff., 299.

legends, 268 ff., 2704., 525. sees 604, 629, 679.

lion, 112, 115-6, 139, 132, 205, 380, 477+

liquor, 141, 1443; cf. brandy, and kilala.

locust, 142.

longevity, charms and prayers to secure it, 49 ff, 52, 55-6, 58, 60, 114, 239 N, 306, 309, 321, 342, 418, 455, 551-2, 569 ff, 573, 623, 668.

lost property, charm to find it, 159, 542.

lotus, lotus-root, 147, 236.

love-charms, 99 ff., 103 ff., 274, 311, 358, 415, 459, 512, 534 ff, 539.

lustre and strength, charms to secure them, 116,477, 633,

Madhubrahmaza, 587 n.

madhugraha, 589.

madhusiikta, 589.

Magadha, a country and tribe, 2, 446, 449.

Maghavan (Indra), 94, 121, 151, 324.

INDEX OF

SUBJECTS. 701

magic identification of two persons,

310. Magundi, daughters of (demons), 66,

301.

Mahadeva (Rudra), 133.

mahanamni-verscs, 226, 631.

mahasanti,‘ great consecration,’ 393, 446, 448, 474, 602, 669.

Mahavrisha, a tribe, 1, 2.

maiden, mythical first husbancs of,

323.

male child, rite for begetting one (pussavana), 97, 356, 460.

mania, charms to secure it, 32, 417, 518.

Manmatha, god of love, 311.

Manu, 67, 96, 679.

Manyu, wrath personified, 223, 594.

Mari4i, an Apsaras, 414.

Marka, a demon, 301.

marks of the body, good and evil: see bodily characteristics.

married couple, blessing for, 96, 546.

marrows, eight, go.

Maruts, 48, 53,90, 104,112-3,121-2, 126, 132, 135, 140, 146, 151, 183-4, 188, 207, 230, 266, 328, 548, 663.

Matali, 162, 629.

Matarisvan, 53, 205, 216, 219.

matrinamani and matrigana, desig- nation of certain mantras, 399, 518-9; cf. mothers.

Matsya, a sage, 6, 681.

messengers of death, two, 167; cf. dogs.

metal-worker, 114.

metres, 112, 186, 208-9, 227, 345, 664.

micturation towards the sun, sinful, 214, 668.

miscarriage, charms to prevent it, 97-8, 298, 302.

misfortune, removal of, 364; cf. calamity.

Mitra, 10, 37, 39, 50-1, 91, 102, 105, 10g, 113, 116, 122, 126, 153, 160, 172, 175, 195, 210-1, 216, 331, 349, 439, 557-

mixed grain, spell in, 76.

mole, 142; mole-hill, earth from, 427.

mosquitoes, buzzing of, 36.

‘ mothers,’ divinities, 644; cf. ma- trimamani.

mourners, female, 55, 124-5, 127, 156, 634, 638.

mrigarastiktani, designation of cer- tain hymns, 252, 298.

Mrityu, death personified, 133.

Miigavant, a tribe, 1, 2, 446, 448.

mule, symbolic of sterility, 120, 545.

Mufgavant, a mountain, 278.

mustard against ophthalmia, 464.

Nardabuda, 634; cf. Nyarbudi.

N§arshada, a patronymic, 397; cf. Nrishad.

new-moon, night of, fit for sorcery, 256, 408.

new-moon and full-moon sacrifices,

559-

Night, personified, 20.

ninety-nine, 172, 433; cf. hundred and one.

nirzayana-ceremony, 574.

Nirriti, demon of destruction and misfortune, 14 ff., 36, 49, 52-3, 57, 82, 90, 92, 166 ff., 173, 183, 187, 423, 474, 556-7, 564, 617.

Nissala, a female demon (?), 66, 300.

nivid-formuias, 228. Nrishad, a sage, 71; cf. Narshada. Nyarbudi, a battle-god, 123 ff., 631 ff.; cf, Nardabuda, and Arbudi. Occans, nine, cf. heavens, nine.

ominous birds, charms against, 166, 474 ff., 619; ominous sneezing, §2.

oracles, 243, 295, 303, 323, 491.

ordeals, with fire, 294 ff.

ox (anadvan), apotheosized, 624.

228 ;

Paidva-practice, 357, 460, 605 ff. ; cf. Pedu, and horse of Pedu.

702 HYMNS OF THE

panaceas, 40-1, 252, 302, 321, 406, 473, 597, 509, 530, 578, 600. pazkakalpa, and -kalpin, a priest who practices Atharvan sorcery, XXVili, lili.

pankti, a metre, 186, 209, 212.

pantheon, Vedic, addressed in prayer, 160, 628.

panther, 116.

papmagaza, a certain list of mantras,

474.

Paramesh¢hin, the supreme god, 80, 84, 208-I0, 215, 225, 629, 665, 686.

Parganya, a rain-god, 8, 10, 43, 52, 116, 153, 161, 200, 204, 233-6, 588, 623-4.

parigrzhya, designation of a fire-altar (vedi), 379, 641.

Parikshit, a king (Agni), 197 ff, 691 ff. parikshiti, designation of certain

stanzas, 689 ff.

parrots, 8, 144, 264 n.

parturition, charm to make it easy, 99, 242.

Parushzi, a river, 29, 442.

Pasupati, a form of Rudra, 155 ff., 161, 618. Pathya Svasti, a divinity that pro- tects travel, 331; cf. roads. pea-hen (devours serpents), 30, 555. pearl and its shell as an amulet, 62, 383 ff.

pebbles, 250.

Pedu, a king, 152 ff., 605, 607; cf. horse, and Paidva-ceremony.

physician, social position of, xxxix, xlviii, 1, liv; divine, 389, 454.

pigeon, bird of omen, 474.

Pila, name of an Apsaras, 33.

pizdadana, a ceremony, 259.

Pisakas, a class of demons, 34-7, 57-8, 65, 68, 187, 190, 205, 281-2, 290, 302, 339, 407-9, 4753 Pisaki, the female, 301.

plants and trees, in general, as heal- ing agents, 41 ff., 44, 578; used in sorcery, xix; against a rival woman, 107; to deprive of vi- rility, 108 ; arouses love, 102-3; five kingdoms of, 162; names of their fathers and mothers, 419,421. Names and epithets: abayu (mustard ?), 30, 465; adhyanda, 356; agasringi (me-

ATHARVA-VEDA.

shasringi), 33, 408; ahva, 118; 582, 584; dla, 30, 236, 358; 4laki, 536; alasala, 30; amfila(?), 457; apamarga, 69 ff., 305 n, 393 ff., 429, 487, 556; arazaki (agasringi), 33; arka-tree, 250; arundhati, 19-21, 40-1, 144, 289, 305 Nn, 385, 4195: 49085 579, 676-75; asuri-tree, 267; asvattha-tree, 4, 6, 21, 33, 43, 91,97, 117, 334 ite 415-6, 460, 496, 505, 582 ff., 585; avaka- reed, 33-4, 42, 349, 410, 462, 515, 579; bamboo (staff of), 248, 256-7; banaparnt, 355; banyan-tree (nyagrodha), 21,

33, 147, 367; barley: see the word; beans: see the word; camphor, 236 n3; curcuma,

yellow (haridra), 374; darbha- Brass, 43, 137, 152-3, 162, 241, 286, 317, 480, 519, 606, 615; dark plant, cures leprosy, 16, 267, 270; dhava-tree, 21; ‘displacer’ (vaibadha), epithet of the asvattha-tree, 91-2, 335; dividhuvaka (reed), 348; diirva-plant (millet); 147, 258, 515; ‘even-colour,’ epithet of a plant to cure leprosy, 16; gangida-tree, 37-9, 280 ff., 403, 443, 670 ff.; gayanti, 420; ghritaéi (?), 154, 608; givala, 5,

, 56, 491, 677; givanta, 5, 783 givantl, 41, 56, 420, 536n; givi, 536; gourd, 428; haridra: see curcuma; haritakt, ‘ gall- nut,’ 236n; induka=pramanda, 236 n; kadvindu (reed ?), 496; kakamaét (?), 536 n; kampila and kampila, 240, 292, 406; karira (reed), 452 ; kasa (reed), 348; kerad-tree, 250; khadira- tree, 21, 84, ‘GI. 158.5345 ee 367, 505, 582, 608; khalva and khalvanga, ‘ lentils,’ 314-5; 4i- pudru-tree, 40, 530 ff.; krimuka- tree, 374; krishnala-berries, 239; kfidi-plant, 172, 358; kudrifi-tree (gudfi#i), 487; ku- shtha-plant, ‘costus speciosus,’ 4 ff, ror, 311, 358, 414-5, 436, 441 ff., 448, 451, 676; laksha, ‘lac,’ 19-21, 385, 387, 4193 madavatt, an epithet, 26, 30, 374-5, 465 3 mampasya, an epi-

INDEX OF SUBJECTS.

793

thet, 399; millet: see dfirva; mus#ga-grass, 9, 234-5, 242, 248, 278, 519, 5233; mustard, 464; naghamara and nagharisha, epithets of the kusht/a-plant, 5, 41, 56, 677; naraki (?), 457; nikaga (?), 470; ntlagalasala, 30; nirdahanti, xix; nitatni, 31, 346, 536; nyastika (?), 5393; palasa- tree, 295, 299, 356, 530, 584; parasu (tree, or plant?), 295, 4723 parivyadha-plant, 369; parva-tree, 331 ff., 581; para- plant, 137, 3¢5, 354; pavika = ula, 236 n; pepper, 21, 516; plaksha-tree, 21; pramanda, 226, 253 0, 410; prisniparzi, 36, 302; piitika, 236; pitudru- tree, 58, 573; reeds (vetasa), various sorts of, 308, 348, 464; rice: see the word ; rohami, 19, 385-6; sadampushpa, 67, 399; sahadevi, 490; saivala, a water- plant, 245; saka-tree, 464; sami, a creeper, 67, 409, 460; sankhapushpi, 539 n3;_ sara- punkha, 3554 sesame: see the word; sigru-tree, 250, 453; silaki, 20-1, 385, 419 ff.; si- lavigala, 30, 420, 465-63; sims- apa, 299; soma, the plant, 6, 43-4; sraktya-tree, 79, 575; sfiryavalli,539n; suvaréala, 539; syama (sama), a black plant, 270; tagadbhafiga-tree, 118, 505, 582 ff.; tarksa=palasa, 476; taudi (plant ?), 154, 608; tilaka-tree, 5753; trisasmdhya, 399, 539 0; udumbara-tree, 299; ukkhushma-plant, 369; ula, 205, 236; usira, 436, 453; utpala (?), 497; vadhaka-tree, 118, 476, 505, 582, 584; varana- tree, 39, 81, 505; vibhidaka- tree (vibhitaka), 470, 505; vi- bhindant, and vibhindati, 71 ; vidari, 356; vihalha, 30, 4655 virina, 561; vishanaka (?), 10, 482 ff.

plough and ploughshare, 84, 287 ff, 356, 608-9.

poison, charms against, 25 ff., 27 ff., 42, 154, 373 ff, 511.

porcupine, hostile to serpents, 28, 428; cf. ichneumon.

porridge (gruel), 26, 30; for the

plough and ploughshare, 84, 287 ff, 356, 608-9.

poison, charms against, 25 ff., 27 ff., 42, 154, 373 ff, 511.

porcupine, hostile to serpents, 28, 428; cf. ichneumon.

porridge (gruel), 26, 30; for the

Brahmans, preparation of,179 ff., 185 ff., 610 ff., 645 ff.; porridge- man, 240 n.

portentous occurrences, 262.

post, sacrificial, 201, 203, 213.

Pragapati, 31, 55, 84, 97-8, 126, 138, 149, 161, 179, 194, 204, 206, 215-9, 224-8, 230-2, 461, 592, 627, 629, 686.

Pragetas (Angirasa), a divine per- sonification, 163, 484.

Pramandani, an Apsaras, 33, 4103 cf. pramanda, under plants.

Praza: see breath of life. Pratif#ina (Angirasa), a divine per- sonification, xxiv, 73, 603. pratyangirasa, ‘ counter-witchcratt,’ X1x, xxiv; cf. angiras. precedence of younger brother, - expiation of, 164, 521. pridaku, a kind of serpent, 553. prishataka, mixture of ghee milk, 385.

Prisni, a goddess, 43, 132, 207.

Prithivi (earth), personified, 8, 50.

prosperity, charms to procure it, PP elie eee

protection from sorcery and hostility, prayer for, 575.

piigayag#iya : see gramayagin.

puns, 95, 97, 116-8, 146, 153, 194, 205-6, 216, 318, 221, 225, 232, 243-4, 247 N, 249, 251-2, 266 n, 267, 280, 285, 287-8, 298, 322, 326, 336-7, 348 ff., 361, 370, 385, 393, 403, 408, 426 n, 427, 434, 446, 448, 480-1, 497, 505, 507, 518, 527, 551, 561 n, 575, 582-3, 594, 603, 609, 657, 661, 670, 673, 6923 cf. alliteration, and double meaning.

puraza, ancient legends, 228.

purification of the body, 642.

purikaya (with variants), a water- animal, 157, 621.

purodasa, sacrificial rice-cake, 120, 177.

purohita (chaplain of the king), 128 ; office and character of, lviii, Ixi, lxii ff.; relation of to the Atharva-veda, lIxvii; relation of to the Brahman (fourth priest), Ixviil.

Purfiravas, a mythical 564 Nn.

Purusha, cosmic man, 186, 216, 629,

and

king, 521,

704 HYMNS OF THE

646-7; hymn to (purushasikta), Xxx, 682.

Piishan, 99, 116, 135, 143, 159-60, 165, 198, 243-4, 331, 421, 495, 526-8, 542.

Races of men (peoples), five, 92, 20%, 204.

ragasa (a water-animal?), 157, 621.

raghat (falcon ?), 43, 580.

raibhi, designation of certain stanzas, 689 ff.; cf. Rebha.

rain-charm, addressed to the Maruts, 267.

Rakshas (demons), 9, 32-4, 36-8, 42, 57, 62, 66, 69, 71, 80, go, 96, 125-6, 162, 187, 190, 205, 282-3, 315, 408, 442, 458, 557, 572.

ratna, ‘jewels of the king’s court,’ 333:

raudragava, designation of certain mantras, 367, 619, 643.

Ravana, a demon, 374.

raw meat, eaten by demons, 395; spell in, 76.

razor and strop (kshuro bhrigvan), 197, 691.

Rebha (Agni), 690.

riC€, 43, 57, 87, 110, 204, 219, 232, 540.

Rik, 161, 204, 225-6, 229.

rishihasta, a certain ceremony, 569, 623.

Rishis, personifications of qualities, 5713; seven: see constellations.

rita, order of the universe, 15, 228.

ritvig, a priest, 204; ct. adhvaryu.

rival, woman’s incantation against, 107, 253, 355.

river, charm for conducting it into a new channel, 146, 3483 navi- gable, 74, 80.

roads, divinities of, 113; cf. Pathya Svasti.

robbers, charm against, 147.

Rohini, designation of female divi- nities, 7, 207, 210, 265, 661 ff., 665-6.

Rohita, a sun-god, 207 ff., 265, 661 ff, 683.

ATHARVA-VEDA.

rohitani (sc. siktani), designation of the hymns to Rohita, 662.

roots, practices with, xliii n, 1, liv, 407, 458.

ropamaka, thrush, 8, 264 n, 266.

rope full of teeth (serpent), 368.

rotten fish, cures certain diseases, 342.

rotten grain, 345.

rotten rope in battle-practices, 117, 582.

Rudra, 3, 10, 11, 19, 37, 66, 80, 120, 138, 144, 155 ff, 161; 179, 253, 302, 326, 389-90, 402, 406, 422, 446 n, 488-9, 495, 506, 581, 586, 604, 618-9, 621, 637; Ru- dras (plural), 119, 135, 161.

runaway woman, charm to capture her, 106, 496.

Riipakas, certain phantoms, 125, 636.

rara, epithet of takman (fever), 273,

449, 568. Rusamas, a people, 197, 690.

Sacrifice, of an enemy frustrated, 90, 5573 expiation of imper- fections in, 164, 528; human (ransomed), 3603; leavings of (uk&hishra) apotheosized, 226 ff., 588, 629 ff.; sacrifices and litur- gical terms catalogued, 226 ff, 631; sacrificial post (yfipa), 201, 203, 213; sacrificial seat (sadas), 203, 210.

Sadanvas, demons, 62, 66-7, 301, 384.

Sadhyas, certain divine beings, 119, 585.

Sahasraksha,a god, 473; cf.thousand- eyed.

saka-bird, 143, 351 ff.

Sakadhfima (weather- prophet), 160, 532.

Sakambhara, personification of ab- normal evacuation, 1, 445; cf. Apva.

Saki, Indra’s female, 95, 125-6, 440, 503.

Sakra, 117-8, 203; cf. Indra, Ma-

havan, and Mahadeva.

sakvari-stanzas, 157, 208.

salasava, ceremony of giving away a house, 595; cf. house, and sava.

Salavrikas, jackals, 138, 306.

salt (rock-salt), 303, 504, 534, 548.

INDEX OF SUBJECTS.

salve (Agana), 61, 101, 311, 381, 401, 409, 415.

Saman, 161, 204, 226-7, 229; singers of, eighty-three, 89.

Sambu (Angiras), and Sambavya, 6, 678.

samsravya (havis), 303.

samsthitahom4/, final oblations, 496.

samtanakarma, a certain rite, 259.

samudra and samudrika (chiro- mancy), 260.

Saraméa, 404; cf. dogs of Yama.

sarkofa: see scorpion.

sarpahuti, a certain ceremony, 655.

Sarva, a god, 56, 75, 119, 155 f., 161, 175, 402, 406, 604, 618.

sasayur mirigah, a wild animal (?), 368.

Satarudriya, a litany, 586.

satra-offerings, 204, 207.

sautramami-sacrifice, 112, 328, 578, 591.

sava and savayagiia (solemn bestowal of dakshina), 414, 528, 595, 610; cf. salasava.

Savitar, a god, 32, 48-9, 54,°79, 80, 85, 95, 109, III, 123, I40, 143, 149, 160, 168, 210, 212, 221, 403, 422, 503.

scorpion (sarkofa), 29, 30, 553.

sea-animals and monsters, 157, 621.

seasons, five, 209; six, 203; and their lords, 162. i

seduction of Indra by an Asuri, 103, 268, 547.

serpents (snakes), charms against, 151 ff, 425, 461, 487, 552 ff., 605; rites to on the full-moon day of the month Ma4rgasirsha, 640; names and varieties of, 27-9, 152-4, 192, 193, 425, 427, 488, 553, 608, 655; as gods, 43, 119, 126, 162 (cf. Takshaka) ; rope full of teeth, 147.

sesamum, sesame-oil, as a remedy, and against demons, xlviii, 13, 64, 110, 238,248, 258, 427, 540.

seven priests, 204; seven Rishis: see constellations,

[42]

153,

shavings of wood, 236, 261.

shepherd’s charm against wild beasts and robbers, 147, 366.

ship of fortune, 94; golden, 4, 6, 415, 680 (soma, the moon?).

shouting, hostile, 408.

sieve (scatters disease symbolically),

; 248, 473, 519.

simantonnayana, a ceremony, 545.

sin, expiation and prayer for re- mission of, 122, 163 ff., 165; ‘deadly sins,’ 521 ff, 545; mental, 163; ‘original,’ 293; sins of relatives, 59, 82; sins of the gods, 73, 363, 520 ff, 581, 604. Cf. evil.

Sindhu (Indus), a river, 12, 40, 62, 107.

Sinivali, a goddess, 98, 143, 304, 461, 538.

Sipala, a river, 29, 462.

Siva, a god, 326, 506, 620.

Skanda, a god, 326; cf. Kumara.

slave-girl, 2, 174, 186, 448, 647.

sleeping-charm, 106, 372.

sneezing, ominous, 82.

soma, three daily pressings of, 590; midday-pressing of, 562; rape of, 241; king of the plants, 55. Cf. ship. Z

Soma, a god, 1, 5, 14, 30, 32, 53, 62, 65, 75, 79, 85, 90, 94, 103, 112,117, 122-3, £33,135) 147-9, 154.) 36%, 176) 2755: 253, 186, 188-9, 193-5, 216, 222, 250, 254) 312, 323, 329, 35°, 431; 443, 503, 570.

sons, rite for begetting them: see male child (puszsavana).

sorcerers and sorceries, charms and practices against, xxii, 13, 38, 42, 58-9, 61, 64-5, 82, 159, 237-8, 280, 285, 393 ff, 403, 475) 495, 592, 602; consecration or, 296.

soshyanti-karma, a ceremony, 243.

sovereign power, prayer for, 207, 661; cf. king.

sowing of seed, blessing during, 141, 541.

speckled ghee, 129, 632, 639.

a ——————

(marmani, 457), 69,72, 74) 76-75 spell-figures of mud, wood, &c., 671 Nn. '

spies of Varuna, 88, 391, 402; cf. thousand-eyed spies.

spikenard, ror, 415.

splinters of wood, 292.

spot on the forehead of a woman, 109.

spring-water, cures excessive dis- charges (homoeopathy), 9, 12, 277, 471.

sraddha, defined as faith and works, 424.

srauta-practices in the Atharva-veda, ex

Srifigaya, a people, 171, 433 ff.

stable, rites for prosperity in: see cattle.

staff for witchcraft, 295.

stars, Varuza’s spies, 391.

sterile cows, necessity of giving them to the Brahmans, 174 ff., 360, 656 ff. ; varieties of, 178 ff.; sterility, charm to cause it, 98, 545; sterility of cattle obviated,

299.

sthakara-powder (with variant forms), 311, 436.

sthapati, derivation of, 319.

storm, four component parts of, 251, 623; charm against, 248 ff.

streams, navigable, 74, 80.

strife, charms to allay it, 135 ff, 362.

St. Vitus dance, 513.

submission to one’s will, charm to bring it about, 138, 508.

success, prayer and practice to obtain it, 116, 239.

Stidra, 68, 72, 4023; -women, 2.

sugar-cane, symbolic of attractive- ness, 100, 2773 cf. honey, and licorice.

suitor, 94.

sun, personified as aga ekapad, 625, 664; as an eagle, 6523; as a hamsa-bird, 28, 462, 623~5; as a hermit, 403, 621, 626; as a Brahman disciple; 214, 403, 626 ff. ; as Rohita (cf. the word), 661 ff.; as a tortoise, 403; sun and moon as two heavenly dogs (dogs of Yama), 13, 404, 500; related to time, 683, 686; to brahma, 628; sun-charades, 212,

220 (stanza 21; cf. brahmodya) ; sun’s steed, personified as the white horse of Pedu, 605. Sunahsepa, legend of, 241. Suparza: see Garuda and Garutmant, Sfirya, 10, 17, 31, 47, 53, 60, 85, 103, 116, 160, 203, 205, 210- 12, 214, 373, 403, 620, 622, 668; sarya-stikta, 243 n; Stirya, the sun-female (Savitri), 95, 202, 312, 503, 661, 666. Sfishan (Sfishava), a divinity of parturition, 99, 243-5. svaga, designation of a serpent, 152-

, 193.

Svarbhanu, demon of eclipses, 294.

svastyayanagama, a certain list of mantras, 641.

Svayambhii, the supreme being, 592, 686.

syenayaga, or syenegya, a certain rite}3433

syeneshu, a 577 0.

symbolism, 236, 240-1, 243 n, 248- 9, 261, 263, 277, 287, 311, 321, 324-5, 327 N, 355, 357 N, 3670, 369, 371-2, 374, 407, 412, 425, 427, 443, 445, 457, 460, 467-8, 479, 473, 476, 479, 481, 497, 500 N, 501, 519, 537, 545, 548, 551, 558, 561, 564, 567, 582 n.

witchcraft practice,

Tabuva, a remedy against snake- poison, 28, 4283 cf. tastuva.

tagara: see sthakara.

taimata, designation of a serpent, 28, 169. .

takmandsana and takmandsanagama, a series of hymns against fever and kindred diseases, 247, 291, 293, 342, 406, 416, 418, 441, 443-4, 469, 474, 505, 507, 568, 676; cf. fever.

fever.

Takshaka (Vaisaleya), a serpent-god, 374, 425, 462, 606.

tapas (creative fervour), 199, 204, 208, 214-7, 224-5, 228, 686.

tarda (tarda), an insect of the field, 142, 486.

tastuva, a remedy against snake- poison, 28, 428; cf. tabuva.

Tauvilika, a certain female demon of disease, 30, 466.

teeth, diseases of, 24, 72, 454, 5213

INDEX OF SUBJECTS.

797

expiation of irregular appear- ance of, 110, 540.

ten friends (Brahmans), 291-2.

theosophic hymns, 199 ff.

thieves, 198, 205.

thirst, charm against, 308.

thirty-three gods, 187.

thousand-eyed divinities and objects, 68, 82, 88, 93, 155, 157-8, 163, 224, 286, 342, 402-3, 473-4, 476, 586, 598, 605, 619, 683; cf. Sahasraksha.

Thraétaona Athwya, an Avestan divinity, 523; cf. Trita.

Three-named (Agni), 135, 495.

tiger, 111, 115-6, 205, 368, 380, 477, 518; tiger-like day, 110; tiger- like first teeth, 110; tiger-skin, I1I, 378 ff.

Time, personified: see Kala.

tonsure, ceremony of preparation : see Afidakarana.

tortoise, personification of the sun, 403.

transference of disease, 47, 309.

traps and nets in battle, 118-9, 582, 632.

traveller’s charm, 644.

treachery, protection against, 88, 389.

Trikakud, a mountain, 61-2, 381.

Trishamdhi, a battle-god, 126 ff., 632, 637 ff.

Trita, a divine being, 165, 521-2, 528.

Tvashrar, a god, 18, 48, 51, 96-7, 143, 146, 160, 189, 365-6, 502, 522, 651

twin-calves, expiation of their birth, 145, 360.

Udasvit, a certain mixture of food,

509.

Ugra, a god (Rudra), 156 ff., 618.

ukkhishta, apotheosis of : see sacrifice.

unburned vessel, sorceries with, 69, 755 395; 3975 457-

upagika (with many variants), certain kind of ant, 268, 280,

511.

upakvasa, a certain field-insect, 142, 486.

upatrinya, a kind of serpent, 28, 427.

urine, as a cure for sores, 19, 489; Rudra’s remedy, 133, 306; ex-

cessive, 234; retention of, ro, 233, 2353 cf. micturation. urugiila, a serpent, 28. Urvast, a divine female, 411, 521. Ushas (Aurora), 31, 161, 318, 503, 661.

Vagapeya-ceremony, 226, 508. vagha, designation of an animal, 223; vagha, its female, 142.

Vaisaleya: see Takshaka.

Vaisvanara (Agni), 12, 54, 58, 80, 149, 197, 200, 242, 580, 691.

Vaitahavya, a people, 170-1, 4 ee cf, Vitahavya.

Vak (speech personified), 120, 437; Vak Sarasvati, 173, 4243 Vak Virag, 221, 593; Vaéaspati, the lord of speech, 209, 665.

Vala, a cloud demon, 193, 596; cf. Vritra.

Varanavati, a river, 26, 375.

varkasyagana, designation of certain mantras, 477, 589-90, 642.

vas: see sterile cow.

Vasava (Indra), 95; cf. Vasu.

vashat-call, 84, 99, 128, 209, 243.

Vasishtha, a sage, 372; relation of to the Atharva-veda, lv ff., lxv.

Vastoshpati, genius of homestead, 135, 343 ff., 494-5, 640.

Vasu, a class of deities, 55, 89, 116, 239, 19%, 275) “161; 270; ef. Vasava.

Vata, god of wind, 85 ff., 89, 153, 161, 219; cf. Vayu.

Vayasa, a sage, 6, 681.

Vayu, personification of the wind, 51, 54, 128, 140, 142, 304, 402, 499, 620, 669; cf. Vata.

Veda, practices preparatory to the study of, xliv, 233, 477, 487, 510, 543, 590, 606; relation of the three Vedas to the Athar- van, xxxi ff., xxxv ff., li ff., lv ff,

ZZ2

708 HYMNS

Ixi; Vedic literary categories, xxxv ff,

vedi, fire-altar, 200; cf. parigrzhya.

veins, 22, 259.

vermin in the field, exorcism of, 142, 485; cf. worms.

vigriva, a demon, 70.

viligi, designation of a serpent, 28 ; cf. Aligi.

village, the scene of Atharvan per- formances: see gramayagin.

Virag, a female divinity, 80, 120, 186, 211, 215-6, 219, 221, 593, 647, 667.

virility, charm to increase it, 31, 369; charm to deprive a man of it, 108, 537.

visapha (a demon ?), 67, 339.

Vishzu, a god, 80, 89, 160, 193, 200, 221, 251, 342, 655.

visikha, a demon, 70.

V isvakarman, the supreme god, 206, 209, 592, 629, 686.

Visvarfipa, son of Tvashtar, 318, 522.

Visvavasu, a demon, 319.

Vitahavya, a people, 31; havya.

Vivasvant, a god, 57, 160, 366.

vomiting as a cure for poison, 374.

vrishakapi-Brahmans, 532 n.

Vritra, a cloud-demon, 18, 40, 62-3, 79, 81, 91-2, 95, 121, 126, 129, 158, 203, 310, 349, 370, 382, 384, 596; his eye becomes mount Trikakud, 382.

Wagon, parts of, 587; cf. chariot.

washerman, 188.

waters (divine), 14-5, 161; water, healing, 40-1, 48; produced by ants, 27; as a remedy against jealousy, 107; for the conse- cration of a king, 111; -animals, varieties of, 157, 6213; -plants, 514, 579; -skin, 107; -sprites, 409.

weather - prophet, 159, 532.

propitiation of,

cf. Vaita--

OF THE ATHARVA-VEDA.

wedding, charms used at, 502, 546; ceremony at the consummation, 276, 546; of a royal personage, 498.

weeds, charm to remove them, 465.

wheel, parts of, 493.

white-footed arrow, 633, 638; cow or. she-goat, ibid.

wife, charm to obtain one, 95, 502 ff.; of the sacrificer, 180 ff., 185 ff., 610 ff., 645 ff.; wives of the gods, 162, 167.

wild beasts, charm against, 147, 366.

will o’ the wisp, 411.

wishes, charm for obtaining one’s, xlvii, 605; three wishes, 181, 613.

womb, performances for steadying it, 284, 467.

worms of all sorts, in human beings and animals, 22-4, 223, 314 ff, 351.

Yagus, 161, 204, 225-6, 229.

Yakshas, a kind of divinities, 161.

Yama, god of death, 37, 44, 52, 54, 57, 59, 60, 90, 107, 110, 118, 161, 167, 177, 185-6, 192, 195, 318, 361, 404, 416, 422, 456, 500, 585, 655; horse of, 21; cf, dogs of Yama.

Yamuna, a river, 62.

yatu, yatuvid, and yatudhana: see sorcerers and sorceries,

yellow birds and objects for the cure of jaundice, 264.

younger brother’s precedence over an older, expiation of, 164, 523.

II,

Il,

Ill,

INDEX OF HYMNS IN THE ORDER

o — ~ - . o . > ° * .

. . - . od ° ° .

OF THE ATHARVA-VEDA.

» 137, 304

50, 306 47, 308

. 100, 311

22, 313 23, 317 44, 321 94, 322

. 1at, 325 . 121, 327 » 902, 3297

IT,

1V,

. . ° . e e ° e . . ° e * e -

PAGES

113, 330

114, 331

Ql, 334 15, 336 67, 339 49, 341

- 140, 343

146, 348

. 143, 351

148, 352 107, 354 97, 356

- 102, 358

145, 359 134, 361 51, 364 147, 366 31, 369

. 105, 371

25, 373 26, 376 Tir, 378 61, 381 62, 383 19, 384 88, 389 69, 393 70, 396 735 397 68, 398

» 115, 404 . 158, 406

35) 407 33, 408

+ 149, 412

4, 414 20, 419

» 172, 423

L413

27, 425

VI,

14 1

PAGES

77; 429

- 169, 430 » 173, 433 » 130, 436 - I3Z1, 439

T, 441 235 452 59) +55 76, 456 66, 458

» 100, 459

IOI, 459 97, 460 28, 461

8, 463 30, 464 98, 467

. 106, 467

3, 468 30, 470 12, 471 19, 472

- 163, 473 . 166, 474 - 166, 475

+ 116,

« AST,

. 163, . 167,

36, 475 93, 475 477 478 479 480 481 483 485

117, 136,

10,

- 142, 485 . 151, 487

19, 488

» 144, 490

95, 49!

HYMNS OF THE

PAGES

- 136, 492 - 144, 493 - 196, 494 * 135, 494 > 135, 495

92, 495

- 106, 496

96, 498

+ 141, 499

13, 500 96, 501 95, 502 17, 503 39, 505 11, 506 40, 507

- 145, 507

138, 508

44, 509 122, 510

See eRe)

27, 3511

. IOI, 512

8, 513

- 147, 514

21, 516

109, 517 32, 518

Page 2, stanza 7: Forthe Migavants as the type of a distant pcople, sec Sat. Br. II, 6, 2, 17.

P. 5, stanza 2: read ‘na-gha-mara’ for ‘ na-gha-mara.’

P. 6, stanza 10: insert the words ‘that burns the head’ after ‘takman.’

P. 16, hymns [, 23 and 24: for symbolic removal of leprosy by the sacrifice of a white cow, see Katy. Sr. XV, 3, 37. |

P, 20, stanza 6: read ‘ felloe’ for ‘ feloe.’

P. 28, stanzas 10, 11: cf. Weber, Proceedings of the Berlin Academy, 1896, pp. 681 ff., 873 ff.

P. 37, line 8: read ‘did’ for ‘do.’ :

P. 44, bottom: read ‘II, 33’ for ‘II, 32.’

P. 49, title: read ‘ayushyani’ for ‘ dyushyani.’

P. 64, title: read ‘ Abhi#arikani’ for * Abhiféarikani.’

P. 70, stanza 1: read ‘ Light’ for ‘ Night.’

P. 84, in the title of X, 6: read ‘ of an amulet’ fer ‘of amulet.’

P, roo, line 10: insert the words * woman, shalt love,’ after ‘ thou,’

P. 136, hymns VI, 42 and 43: cf. Sat. Br. X1, 6, 1, 13.

P. 173, line 2: read ‘ dost’ for ‘ didst.’

P; 178, stanza 44: insert ‘O Brihaspati’ after ‘ vilipti.

P. 190, line 6: read ‘ stirring-stick ’ for ‘ stirring stick.’

P. 238, stanza 2: cf. Baudh. Dh. I], 8, 15,4; Vishwu-smrvti LA NILE, 11.

P. 239, in the second line of the introduction to 1, 9: read ‘consecra- tion’ for ‘ coronation.’

P. 253, note: ‘nishpramanda-dantadhavana’ may mean * tovth-wash without the fragrant substance pramanda,’ A symbolic interpreta- tion of nishpramanda, ‘ bereft of delight,’ seems to be implicd with double meaning.

P. 307, stanza 1: cf. Susruta I, 22, 10.

P. 531, stanza 1: for vidradhacf. RV. IV, 32, 23 (Ludwig’s commentary, vol. v, p.93); AV.1X, 8,20; Roth, Nirukta, Erlauterungen, p. 42 fl.

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