Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
135 this essay, that expression existing as, I believe, it does, almost universally in Indian MSS. of the Gita, is not altogether devoid of historical value. Schlegel draws attention to one other circumstance re-, garding the text of the Gita, which is also highly interesting,| namely, that the number of the stanzas is exactly 700.| Schlegel concludes that the author must have fixed on that number deliberately, in order to prevent, as far as he could, all subsequent interpolations'. This is certainly not unlikely ; and if the aim of the author was such as Schlegel suggests, it has assuredly been thoroughly successful. In the chapter of the MahAbhdrata immediately succeeding the eighteenth chapter of the Gita, the extent of the work in slokas is distinctly stated. The verses in which this is stated do not exist in the Gauda or Bengal recension, and are doubtless not genuine. But, nevertheless, they are interesting, and I shall reproduce them here. ‘Kesava spoke 620 slokas, Arguna fifty-seven, Safigaya sixty-seven, and Dhritarashtra one sloka; such is the extent of the Gita.’ It is very difficult to account for these figures. According to them, the total number of verses in the Gita would be 745, whereas the number in the current MSS., and even in the Mahabharata itself, is, as already stated, only 700%. I cannot suggest any explanation whatever of this discrepancy. In conclasion, a few words may be added regarding the general principles followed in the translation contained in this volume. My aim has been to make that translation as close and literal a rendering as possible of the Gita, as interpreted by the commentators Sankarasarya, Sridharasvamin, and Madhusddana Sarasvati. Reference has also been frequently made to the commentary of Ramanugaarya, and also to that of Nilakax¢ha, which latter forms part of the author's general commentary on the Mahabharata. penal view of the Gitd—a view in consonance with that which we have been led to Ly the facts and arguments contained in this lotroduction. * P. xl (Lassen's ed.) » Sahkara’s commentary states in so many words that the Git& he used comtained only yoo slokas. D2 36 BHAGAVADGITA,
2penal view of the Gitd—a view in consonance with that which we have been led to Ly the facts and arguments contained in this lotroduction. * P. xl (Lassen's ed.) » Sahkara’s commentary states in so many words that the Git& he used comtained only yoo slokas. D2 36 BHAGAVADGITA, In some places these commentators differ among themselves, and then I have made my own choice. The foot-notes are mainly intended to make clear that which necessarily remains obscure in a literal translation. Some of the notes, however, also point out the parallelisms existing between the Gita and other works, principally the Upanishads and the Buddhistic Dhammapada and Sutta Nipata. Of the latter I have not been able to procure the original Pali; I have only used Sir M. C. Swamy’s translation. But I may here note, that there are some verses, especially in the Salla Sutta (see pp. 124-127 of Sir M. C. Swamy’s book), the similarity of which, in doctrine and expression, to some of the verses of the Git4 is particularly striking. The analogies between the Gita and the Upanishads have been made the basis of certain conclusions in this Introduction. Those between the Gita and these Buddhistic works are at present, to my mind, only interesting; I am unable yet to say whether they may legitimately be made the premises for any historical deductions. There are two indexes: the first a gencral index of matters, the second containing the principal words in the Gita which may prove useful or interesting for philological, historical, or other kindred purposes. BHAGAVADGITA. CuHapTER I. Dhritarash/ra said: What did my (people) and the P&Asdavas do, O Sasigaya! when they assembled together on the holy field of Kurukshetra, desirous to do battle ? Savigaya said: Seeing the army of the Pasdavas drawn up in battle-array', the prince Duryodhana approached: his preceptor, and spoke (these) words: ‘O preceptor! observe this grand army of the sons of Paxdu, drawn up in battle-array by your talented pupil, the son of Drupada. In it are heroes (bearing) large bows, the equals of Bhima and Arguna in battle—(namely), Yuyudhana, Virdéa, and Drupada, the master of a great car, and Dhrishfaketu, Aekit4na, and the valiant king of Kasi, Purugit and Kuntibhoga, and that eminent man Saibya; the heroic Yudhdmanyu, the valiant Uttamaugas, the son of Subhadrd, and the sons of » Several of these modes of array are described in Manu VII, 187, hike a staff, like a wain, like a boar, &c. That of the Pandavas, here referred to, appears to have been like the thunderbolt, as to which see Manu VII, 191. * This is a literal rendering ; the technical meaning is ‘a warrior proficient in military science, who single-handed can fight a thousand archers.’ 38 BHAGAVADGITA.
3That of the Pandavas, here referred to, appears to have been like the thunderbolt, as to which see Manu VII, 191. * This is a literal rendering ; the technical meaning is ‘a warrior proficient in military science, who single-handed can fight a thousand archers.’ 38 BHAGAVADGITA. Draupadi—all masters of great cars. And now, O best of Brahmazas! learn who are most distinguished among us, and are leaders of my army. I will name them to you, in order that you may know them well. Yourself, and Bhishma, and Karza, and Kr7pa the victor of (many) battles; Asvatthaman, and Vikarza, and also the son of Somadatta, and many other brave men, who have given up their lives for me, who fight with various weapons, (and are) all dexterous in battle. Thus our army which is protected by Bhishma is unlimited; while this army of theirs which is protected by Bhima is very limited. And therefore do ye all, occupying respectively the positions! assigned to you, protect Bhishma ? only.’ Then his powerful grandsire, Bhishma, the oldest of the Kauravas, roaring aloud like a lion, blew his conch, (thereby) affording delight to Duryodhana. And then all at once, conchs, and kettledrums, and tabors, and trumpets were played upon; and there was a tumultuous din. Then, too, Madhava and the son of Pazdu (Arguna), seated in a grand chariot to which white steeds were yoked, blew their heavenly conchs. Hyéshikesa* blew the Paséaganya‘, and Dhanazigaya the Devadatta, and Bhima, (the doer) of fearful deeds, blew the great conch Pauzdra. King YudhishéAira, the son of Kuntt*, blew the Anan- ? The original word means, according to Sridhara, ‘the ways of entrance into a VyGha or phalanx.’ * Who, as generalissimo, remained in the centre of the army. * Literally, according to the commentators, ‘lord of the senses of perception.’ “ Schlegel renders the names of these conchs by Gigantea, Theodotes, Arundinea, Triumphatrix, Dulcisona, and Gemmifiorea respectively, * So called, par excellence, apparently. CHAPTER I, 24. 39
The source text as printed, transcribed diplomatically. Where the source language uses a non-Latin script that reaches us only through a Victorian romanisation, this layer is labelled transliteration, because that is what we hold.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
135 this essay, that expression existing as, I believe, it does, almost universally in Indian MSS. of the Gita, is not altogether devoid of historical value. Schlegel draws attention to one other circumstance re-, garding the text of the Gita, which is also highly interesting,| namely, that the number of the stanzas is exactly 700.| Schlegel concludes that the author must have fixed on that number deliberately, in order to prevent, as far as he could, all subsequent interpolations'. This is certainly not unlikely ; and if the aim of the author was such as Schlegel suggests, it has assuredly been thoroughly successful. In the chapter of the MahAbhdrata immediately succeeding the eighteenth chapter of the Gita, the extent of the work in slokas is distinctly stated. The verses in which this is stated do not exist in the Gauda or Bengal recension, and are doubtless not genuine. But, nevertheless, they are interesting, and I shall reproduce them here. ‘Kesava spoke 620 slokas, Arguna fifty-seven, Safigaya sixty-seven, and Dhritarashtra one sloka; such is the extent of the Gita.’ It is very difficult to account for these figures. According to them, the total number of verses in the Gita would be 745, whereas the number in the current MSS., and even in the Mahabharata itself, is, as already stated, only 700%. I cannot suggest any explanation whatever of this discrepancy. In conclasion, a few words may be added regarding the general principles followed in the translation contained in this volume. My aim has been to make that translation as close and literal a rendering as possible of the Gita, as interpreted by the commentators Sankarasarya, Sridharasvamin, and Madhusddana Sarasvati. Reference has also been frequently made to the commentary of Ramanugaarya, and also to that of Nilakax¢ha, which latter forms part of the author's general commentary on the Mahabharata. penal view of the Gitd—a view in consonance with that which we have been led to Ly the facts and arguments contained in this lotroduction. * P. xl (Lassen's ed.) » Sahkara’s commentary states in so many words that the Git& he used comtained only yoo slokas. D2 36 BHAGAVADGITA,
2penal view of the Gitd—a view in consonance with that which we have been led to Ly the facts and arguments contained in this lotroduction. * P. xl (Lassen's ed.) » Sahkara’s commentary states in so many words that the Git& he used comtained only yoo slokas. D2 36 BHAGAVADGITA, In some places these commentators differ among themselves, and then I have made my own choice. The foot-notes are mainly intended to make clear that which necessarily remains obscure in a literal translation. Some of the notes, however, also point out the parallelisms existing between the Gita and other works, principally the Upanishads and the Buddhistic Dhammapada and Sutta Nipata. Of the latter I have not been able to procure the original Pali; I have only used Sir M. C. Swamy’s translation. But I may here note, that there are some verses, especially in the Salla Sutta (see pp. 124-127 of Sir M. C. Swamy’s book), the similarity of which, in doctrine and expression, to some of the verses of the Git4 is particularly striking. The analogies between the Gita and the Upanishads have been made the basis of certain conclusions in this Introduction. Those between the Gita and these Buddhistic works are at present, to my mind, only interesting; I am unable yet to say whether they may legitimately be made the premises for any historical deductions. There are two indexes: the first a gencral index of matters, the second containing the principal words in the Gita which may prove useful or interesting for philological, historical, or other kindred purposes. BHAGAVADGITA. CuHapTER I. Dhritarash/ra said: What did my (people) and the P&Asdavas do, O Sasigaya! when they assembled together on the holy field of Kurukshetra, desirous to do battle ? Savigaya said: Seeing the army of the Pasdavas drawn up in battle-array', the prince Duryodhana approached: his preceptor, and spoke (these) words: ‘O preceptor! observe this grand army of the sons of Paxdu, drawn up in battle-array by your talented pupil, the son of Drupada. In it are heroes (bearing) large bows, the equals of Bhima and Arguna in battle—(namely), Yuyudhana, Virdéa, and Drupada, the master of a great car, and Dhrishfaketu, Aekit4na, and the valiant king of Kasi, Purugit and Kuntibhoga, and that eminent man Saibya; the heroic Yudhdmanyu, the valiant Uttamaugas, the son of Subhadrd, and the sons of » Several of these modes of array are described in Manu VII, 187, hike a staff, like a wain, like a boar, &c. That of the Pandavas, here referred to, appears to have been like the thunderbolt, as to which see Manu VII, 191. * This is a literal rendering ; the technical meaning is ‘a warrior proficient in military science, who single-handed can fight a thousand archers.’ 38 BHAGAVADGITA.
3That of the Pandavas, here referred to, appears to have been like the thunderbolt, as to which see Manu VII, 191. * This is a literal rendering ; the technical meaning is ‘a warrior proficient in military science, who single-handed can fight a thousand archers.’ 38 BHAGAVADGITA. Draupadi—all masters of great cars. And now, O best of Brahmazas! learn who are most distinguished among us, and are leaders of my army. I will name them to you, in order that you may know them well. Yourself, and Bhishma, and Karza, and Kr7pa the victor of (many) battles; Asvatthaman, and Vikarza, and also the son of Somadatta, and many other brave men, who have given up their lives for me, who fight with various weapons, (and are) all dexterous in battle. Thus our army which is protected by Bhishma is unlimited; while this army of theirs which is protected by Bhima is very limited. And therefore do ye all, occupying respectively the positions! assigned to you, protect Bhishma ? only.’ Then his powerful grandsire, Bhishma, the oldest of the Kauravas, roaring aloud like a lion, blew his conch, (thereby) affording delight to Duryodhana. And then all at once, conchs, and kettledrums, and tabors, and trumpets were played upon; and there was a tumultuous din. Then, too, Madhava and the son of Pazdu (Arguna), seated in a grand chariot to which white steeds were yoked, blew their heavenly conchs. Hyéshikesa* blew the Paséaganya‘, and Dhanazigaya the Devadatta, and Bhima, (the doer) of fearful deeds, blew the great conch Pauzdra. King YudhishéAira, the son of Kuntt*, blew the Anan- ? The original word means, according to Sridhara, ‘the ways of entrance into a VyGha or phalanx.’ * Who, as generalissimo, remained in the centre of the army. * Literally, according to the commentators, ‘lord of the senses of perception.’ “ Schlegel renders the names of these conchs by Gigantea, Theodotes, Arundinea, Triumphatrix, Dulcisona, and Gemmifiorea respectively, * So called, par excellence, apparently. CHAPTER I, 24. 39
The source text as printed, transcribed diplomatically. Where the source language uses a non-Latin script that reaches us only through a Victorian romanisation, this layer is labelled transliteration, because that is what we hold.
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