Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1Note 3. Abhva is more than dark clouds, it is the dark gathering of clouds before a storm, ein Unwetter, or, if conceived as a masculine, as in I, 39, 8, ein Ungethiim. Such words are simply untranslatable. 286 VEDIC HYMNS. MANDALA I, HYMN 170. ASHT7AKA I, ADHYAYA 4, VARGA 8-9. DIALOGUE BETWEEN INDRA AND HIS WoORSHIPPER, AGASTYA. 1. Indra: There is no such thing to-day, nor will it be so to-morrow. Who knows what strange thing? this is? We must consult the thought of another, for even what we once knew seems to vanish, 2. Agastya: Why dost thou wish to kill us, O Indra? the Maruts are thy brothers; fare kindly with them, and do not strike? us in battle. 3. The Maruts: O brother Agastya, why, being a friend, dost thou despise us? We know quite well what thy mind was. Dost thou not wish to give to us? 4. Agastya: Let them prepare the altar, let them light the fire in front! Here we two will spread? for thee the sacrifice, to be seen? by the immortal. 5. Agastya: Thou rulest, O lord of treasures ; thou, lord of friends, art the most generous. Indra, speak again with the Maruts, and then consume our offerings at the right season. NOTES, I, 170. 287 NOTES. Although this hymn is not directly addressed to the Maruts, yet as it refers to the before-mentioned rivalry between the Maruts and Indra, and as the author is supposed to be the same, namely Agastya, I give its translation here. None of its verses occurs in SV., VS., TS., AV. The Anukramazika ascribes verses 1, 3, 4 to Indra, 2 and 5to Agastya; Ludwig assigns verses 1 and 3 to the Maruts, 2, 4, and 5 to Agastya; Grassmann gives verse I to Indra, 2 and 3 to the Maruts, and 4 and 5 to Agastya. The hymn admits of several explanations. There was a sacrifice in which Indra and the Maruts were invoked together, and it is quite possible that our hymn may owe its origin to this. But it is possible also that the sacrifice may be the embodiment of the same ideas which were originally expressed in this and similar hymns, namely, that Indra, however powerful by himself, could not dispense with the assistance of the storm-gods. I prefer to take the latter view, but I do not consider the former so untenable as I did formerly. The idea that a great god like Indra did not like to be praised together with others is an old idea, and we find traces of it in the hymns themselves, e. g. II, 33, 4. m4 duAstuti, m4 sdhati. It is quite possible, therefore, that our hymn contains the libretto of a little ceremonial drama in which different choruses of priests are introduced as preparing a sacrifice for the Maruts and for Indra, and as trying to appease the great Indra, who is supposed to feel slighted. Possibly Indra and the Maruts too may have been actually represented by some actors, so that here, as elsewhere, the first seeds of the drama would be found in sacrificial performances.
2Possibly Indra and the Maruts too may have been actually represented by some actors, so that here, as elsewhere, the first seeds of the drama would be found in sacrificial performances. I propose, though this can only be hypothetical, to take the first verse as a vehement complaint of Indra, when asked to share the sacrifice with the Maruts. In the second 288 VEDIC HYMNS. verse Agastya is introduced as trying to pacify Indra. The third verse is most likely an appeal of the Maruts to remind Indra that the sacrifice was originally intended for them. Verses 4 and 5 belong to Agastya, who, though frightened into obedience to Indra, still implores him to make his peace with the Maruts. Verse 1. Note 1. In the first verse Indra expresses his surprise in disconnected sentences, saying that such a thing has never happened before. I do not take ddbhuta (nie da gewesen) in the sense of future, because that is already contained in svas. The second line expresses that Indra does not remember such a thing, and must ask some one else, whether he remembers anything like it. We ought to take abhisamkarénya as one word, and probably in the sense of to be approached or to be accepted. Abhisamérin, however, means also changeable, Verse 2. Note 1. VadhiZ is the augmentless indicative, not subjunctive ; see, however, Delbriick, Synt. Forsch. I, pp. 21, 115. Verse 4. Note 1. Ketana refers to yagv#a as in VIII, 13, 8. It means that which attracts the attention of the gods (IV, 7, 2), and might be translated by beacon. Note 2, The dual tanavavahai is strange. It may refer, as Grassmann supposes, to Agastya and his wife, Lopamudra, but even that is very unusual. See Oldenberg, K. Z. XXXIX, 62. Professor Oldenberg (K. Z. XXXIX, 60 seq.) takes this and the next hymn as parts of the same Akhy4na hymn, and as intimately connected with the Marutvatiya SAastra of the midday Savana, in the Soma sacrifice. MANDALA I, HYMN I7I. 289 MANDALA I, HYMN 171. ASHZ7AKA II, ADHYAYA 4, VARGA 11. To tHE Maruts (THE STORM-GoDs). 1. I come to you with this adoration, with a hymn I implore the favour! of the quick (Maruts). O Maruts, you have rejoiced? in it clearly %, put down then all anger and unharness your horses ! 2. This reverent praise of yours, O Maruts, fashioned in the heart, has been offered by the mind!, O gods! Come to it, pleased in your mind, for you give increase to (our) worship *. 3. May the Maruts when they have been praised be gracious to us, and likewise Maghavat (Indra), the best giver of happiness, when he has been praised. May our trees (our lances)! through our valour stand always erect, O Maruts! 4. I am afraid of this powerful one, and trembling in fear of Indra. For you the offerings were prepared,—we have now put them away, forgive us !
3May our trees (our lances)! through our valour stand always erect, O Maruts! 4. I am afraid of this powerful one, and trembling in fear of Indra. For you the offerings were prepared,—we have now put them away, forgive us ! 5. Thou through whom the Manas? see the mornings, whenever the eternal dawns flash forth with power?, O Indra, O strong hero, grant thou glory to us with the Maruts, terrible with the terrible ones, strong and a giver of victory. 6. O Indra, protect thou these bravest of men? (the Maruts), let thy anger be turned away? from the Maruts, for thou hast become? victorious together with those brilliant heroes. May we have an invigorating autumn, with quickening rain! [32] U 290 VEDIC HYMNS, NOTES. The Anukramazi assigns verses 1 and 2 to the Maruts, the rest to Indra Marutvat. The poet is again Agastya. The whole hymn corresponds to the situation as described in the preceding hymns, and leads on to a kind of compromise between the Maruts, who seem really the favourite gods of the poet, and Indra, an irresistible and supreme deity whose claims cannot be disregarded. None of the verses of this hymn occurs in SV., VS., TS., AV. Verse 1. Note 1. Sumati here means clearly favour, as in I, 73, 6, 7; while in I, 166, 6 it means equally clearly prayer. Note 2. Ludwig takes rard#ata as referring to sikténa and ndmas&. The accent of rar4#ata is irregular, and likewise the retaining of the final long 4 in the Pada text. Otherwise the form is perfectly regular, namely the 2 p. plural of the reduplicated aorist, or the so-called aorist of the causative*. PAxini (VII, 4, 2, 3) gives a number of verbs which form that aorist as vu uv —,and not as u— vu, eg. asasdsat, not asisasat; ababddhat, ayaydkat, &c. Someverbs may take. both forms, e.g. abibhragat and ababhragat. This option applies to all KazyAdi verbs, and one of these is raz, which therefore at the time of Katyayana was supposed to have formed its reduplicated aorist both as ararazat and as ariravat. Without the augment we expect riravata or raravata. The question is why the final a should have been lengthened not only in the Samhit4, that would be explicable, but in the Pada text also. The conjunctive of the perfect would be rardvzata. See also Delbriick, Verbum, p- 111. Note 3. Vedydbhis, which Ludwig translates here by um dessentwillen, was ihr erfaren sollt, I have translated by clearly, though tentatively only. ® See Sanskrit Grammar, § 372, note. NOTES, I, 171, 5. 291 Verse 2. Note 1. The same idea is expressed in X, 47, 7. hridisprésahk manasa vakyamanak. Note 2. Ndmasak vridhdsak is intended to convey the idea that the Maruts increase or bless those who worship them. Verse 3. Note 1. The second line has given rise to various interpretations. GRASSMANN: Uns mégen aufrecht stehn wie schéne Baume Nach unsrem Wunsch, O Maruts, alle Tage. LuDwiGc: Hoch mégen sein unsere ‘kaimpfenden lanzen, alle tage, O Marut, sigesstreben.
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.
1Note 3. Abhva is more than dark clouds, it is the dark gathering of clouds before a storm, ein Unwetter, or, if conceived as a masculine, as in I, 39, 8, ein Ungethiim. Such words are simply untranslatable. 286 VEDIC HYMNS. MANDALA I, HYMN 170. ASHT7AKA I, ADHYAYA 4, VARGA 8-9. DIALOGUE BETWEEN INDRA AND HIS WoORSHIPPER, AGASTYA. 1. Indra: There is no such thing to-day, nor will it be so to-morrow. Who knows what strange thing? this is? We must consult the thought of another, for even what we once knew seems to vanish, 2. Agastya: Why dost thou wish to kill us, O Indra? the Maruts are thy brothers; fare kindly with them, and do not strike? us in battle. 3. The Maruts: O brother Agastya, why, being a friend, dost thou despise us? We know quite well what thy mind was. Dost thou not wish to give to us? 4. Agastya: Let them prepare the altar, let them light the fire in front! Here we two will spread? for thee the sacrifice, to be seen? by the immortal. 5. Agastya: Thou rulest, O lord of treasures ; thou, lord of friends, art the most generous. Indra, speak again with the Maruts, and then consume our offerings at the right season. NOTES, I, 170. 287 NOTES. Although this hymn is not directly addressed to the Maruts, yet as it refers to the before-mentioned rivalry between the Maruts and Indra, and as the author is supposed to be the same, namely Agastya, I give its translation here. None of its verses occurs in SV., VS., TS., AV. The Anukramazika ascribes verses 1, 3, 4 to Indra, 2 and 5to Agastya; Ludwig assigns verses 1 and 3 to the Maruts, 2, 4, and 5 to Agastya; Grassmann gives verse I to Indra, 2 and 3 to the Maruts, and 4 and 5 to Agastya. The hymn admits of several explanations. There was a sacrifice in which Indra and the Maruts were invoked together, and it is quite possible that our hymn may owe its origin to this. But it is possible also that the sacrifice may be the embodiment of the same ideas which were originally expressed in this and similar hymns, namely, that Indra, however powerful by himself, could not dispense with the assistance of the storm-gods. I prefer to take the latter view, but I do not consider the former so untenable as I did formerly. The idea that a great god like Indra did not like to be praised together with others is an old idea, and we find traces of it in the hymns themselves, e. g. II, 33, 4. m4 duAstuti, m4 sdhati. It is quite possible, therefore, that our hymn contains the libretto of a little ceremonial drama in which different choruses of priests are introduced as preparing a sacrifice for the Maruts and for Indra, and as trying to appease the great Indra, who is supposed to feel slighted. Possibly Indra and the Maruts too may have been actually represented by some actors, so that here, as elsewhere, the first seeds of the drama would be found in sacrificial performances.
2Possibly Indra and the Maruts too may have been actually represented by some actors, so that here, as elsewhere, the first seeds of the drama would be found in sacrificial performances. I propose, though this can only be hypothetical, to take the first verse as a vehement complaint of Indra, when asked to share the sacrifice with the Maruts. In the second 288 VEDIC HYMNS. verse Agastya is introduced as trying to pacify Indra. The third verse is most likely an appeal of the Maruts to remind Indra that the sacrifice was originally intended for them. Verses 4 and 5 belong to Agastya, who, though frightened into obedience to Indra, still implores him to make his peace with the Maruts. Verse 1. Note 1. In the first verse Indra expresses his surprise in disconnected sentences, saying that such a thing has never happened before. I do not take ddbhuta (nie da gewesen) in the sense of future, because that is already contained in svas. The second line expresses that Indra does not remember such a thing, and must ask some one else, whether he remembers anything like it. We ought to take abhisamkarénya as one word, and probably in the sense of to be approached or to be accepted. Abhisamérin, however, means also changeable, Verse 2. Note 1. VadhiZ is the augmentless indicative, not subjunctive ; see, however, Delbriick, Synt. Forsch. I, pp. 21, 115. Verse 4. Note 1. Ketana refers to yagv#a as in VIII, 13, 8. It means that which attracts the attention of the gods (IV, 7, 2), and might be translated by beacon. Note 2, The dual tanavavahai is strange. It may refer, as Grassmann supposes, to Agastya and his wife, Lopamudra, but even that is very unusual. See Oldenberg, K. Z. XXXIX, 62. Professor Oldenberg (K. Z. XXXIX, 60 seq.) takes this and the next hymn as parts of the same Akhy4na hymn, and as intimately connected with the Marutvatiya SAastra of the midday Savana, in the Soma sacrifice. MANDALA I, HYMN I7I. 289 MANDALA I, HYMN 171. ASHZ7AKA II, ADHYAYA 4, VARGA 11. To tHE Maruts (THE STORM-GoDs). 1. I come to you with this adoration, with a hymn I implore the favour! of the quick (Maruts). O Maruts, you have rejoiced? in it clearly %, put down then all anger and unharness your horses ! 2. This reverent praise of yours, O Maruts, fashioned in the heart, has been offered by the mind!, O gods! Come to it, pleased in your mind, for you give increase to (our) worship *. 3. May the Maruts when they have been praised be gracious to us, and likewise Maghavat (Indra), the best giver of happiness, when he has been praised. May our trees (our lances)! through our valour stand always erect, O Maruts! 4. I am afraid of this powerful one, and trembling in fear of Indra. For you the offerings were prepared,—we have now put them away, forgive us !
3May our trees (our lances)! through our valour stand always erect, O Maruts! 4. I am afraid of this powerful one, and trembling in fear of Indra. For you the offerings were prepared,—we have now put them away, forgive us ! 5. Thou through whom the Manas? see the mornings, whenever the eternal dawns flash forth with power?, O Indra, O strong hero, grant thou glory to us with the Maruts, terrible with the terrible ones, strong and a giver of victory. 6. O Indra, protect thou these bravest of men? (the Maruts), let thy anger be turned away? from the Maruts, for thou hast become? victorious together with those brilliant heroes. May we have an invigorating autumn, with quickening rain! [32] U 290 VEDIC HYMNS, NOTES. The Anukramazi assigns verses 1 and 2 to the Maruts, the rest to Indra Marutvat. The poet is again Agastya. The whole hymn corresponds to the situation as described in the preceding hymns, and leads on to a kind of compromise between the Maruts, who seem really the favourite gods of the poet, and Indra, an irresistible and supreme deity whose claims cannot be disregarded. None of the verses of this hymn occurs in SV., VS., TS., AV. Verse 1. Note 1. Sumati here means clearly favour, as in I, 73, 6, 7; while in I, 166, 6 it means equally clearly prayer. Note 2. Ludwig takes rard#ata as referring to sikténa and ndmas&. The accent of rar4#ata is irregular, and likewise the retaining of the final long 4 in the Pada text. Otherwise the form is perfectly regular, namely the 2 p. plural of the reduplicated aorist, or the so-called aorist of the causative*. PAxini (VII, 4, 2, 3) gives a number of verbs which form that aorist as vu uv —,and not as u— vu, eg. asasdsat, not asisasat; ababddhat, ayaydkat, &c. Someverbs may take. both forms, e.g. abibhragat and ababhragat. This option applies to all KazyAdi verbs, and one of these is raz, which therefore at the time of Katyayana was supposed to have formed its reduplicated aorist both as ararazat and as ariravat. Without the augment we expect riravata or raravata. The question is why the final a should have been lengthened not only in the Samhit4, that would be explicable, but in the Pada text also. The conjunctive of the perfect would be rardvzata. See also Delbriick, Verbum, p- 111. Note 3. Vedydbhis, which Ludwig translates here by um dessentwillen, was ihr erfaren sollt, I have translated by clearly, though tentatively only. ® See Sanskrit Grammar, § 372, note. NOTES, I, 171, 5. 291 Verse 2. Note 1. The same idea is expressed in X, 47, 7. hridisprésahk manasa vakyamanak. Note 2. Ndmasak vridhdsak is intended to convey the idea that the Maruts increase or bless those who worship them. Verse 3. Note 1. The second line has given rise to various interpretations. GRASSMANN: Uns mégen aufrecht stehn wie schéne Baume Nach unsrem Wunsch, O Maruts, alle Tage. LuDwiGc: Hoch mégen sein unsere ‘kaimpfenden lanzen, alle tage, O Marut, sigesstreben.
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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