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Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1How could you, how did you come ?—the seat on the back, the rein in the nostrils ? 3. Their goad is on the croup?, the heroes stretched their legs apart®. .. 4. Move along, heroes, young men, the sons of an excellent mother’, so that you may warm yourselves at our fire ’, 5. (1.) May the woman, if she stretched out her arm? asa rest for the hero, praised by SyAv4sva %, gain cattle consisting of horses, cows, and a hundred sheep. 6. (2.) Many a woman is even more often kindlier than a godless and miserly man, 7. (3.) A woman who finds out the weak, the thirsty, the needy, and is mindful of the gods. 8. (4.) Even though many an unpraiseworthy miser (Pazi) is called a man, she is worth as much in weregild. 9. (5.) Also the young woman joyfully whispered to me, to Sy4va, the road,—and the two bays went straight to Purumit//a}, the wise, the far-famed, 10. (6.) Who gave me a hundred cows, like Vaidadasvi, like Taranta, in magnificence. 11. (1.) The Maruts, who drive on their quick horses, drinking the delightful mead, have gained glory here; MANDALA V, HYMN 61. 357 12, (2.) They on whose chariots Rodast? glitters in glory’, like the golden disk above in heaven ; 13. (3.) That youthful company of the Maruts, with blazing chariots, blameless, triumphant, irresistible. 14. (4.) Who now knows of them where the strikers rejoice, the well-born, the faultless ? 15. (5.) You who are fond of praise, become the leaders of the mortal, listening to his imploring invocations, thus is my thought'. 16. (6.) Bring then to us delightful and resplendent! treasures, ye worshipful Maruts, destroyers of enemies. 17. (1.) O night, like a charioteer, carry away this hymn to Darbhya, and these songs, O goddess. 18, (2.) And then tell him thus from me, ‘When Rathaviti offers Soma, my desire never goes away from me.’ 19. (3.) That mighty Rathaviti dwells among people rich in cattle, retired among the mountains. 358 VEDIC HYMNS. NOTES. This hymn is of a very composite nature. It is addressed to the Maruts by Sy4vasva. According to the Anukramazi, however, the Maruts are addressed in vv. 1-4, 11-16 only ; wy. 5-8 are addressed to Sasiyast Tarantamahishi, 9 to Purumi/da Vaidadasvi, 10 to Taranta Vaidadasvi, 17-19 to Rathaviti Darbhya. None of the verses occurs in SV., VS., AV., TS., TB., MS. Metre, 1-4, 6-8, 10-19 Gayatri ; 5 Anushtubh ; 9 Satobrzhati.
21-4, 11-16 only ; wy. 5-8 are addressed to Sasiyast Tarantamahishi, 9 to Purumi/da Vaidadasvi, 10 to Taranta Vaidadasvi, 17-19 to Rathaviti Darbhya. None of the verses occurs in SV., VS., AV., TS., TB., MS. Metre, 1-4, 6-8, 10-19 Gayatri ; 5 Anushtubh ; 9 Satobrzhati. It has been pointed out that in the hymns addressed to the Maruts beginning with V, 52, and ending with V, 60, there is the usual decrease in the number of verses of each successive hymn, viz. 17, 16, 15, 10, 9, 8, 8,8, 8, Our hymn, however, which is the last in the collection of hymns addressed by SyAvasva to the Maruts, breaks the rule, and it has been suggested with great plausibility that it contains a number of verses thrown together at random. Possibly the four verses in the beginning formed an independent hymn, addressed to the Maruts, and again 5-10, and 11-16, followed by an appendix, 17-19. These verses refer to a legend which will have to be discussed at verse 5. Verse 1. Note 1. As to paramdsy4h paravatah, see TS. IV, 1, 9, 3; where we also find (IV, 1, 9, 2) parasyA adhi samvatah. Verse 3. Note 1. Gaghane, like gaghanatak, may mean simply behind, as agre and agrata# mean before. Note 2. It is clear that the Maruts are here supposed to sit astride on their horses. This is also shown by prishthé sddas (v. 2), and by putrakrithé nd gdnayad, they stretched out their legs, ws yuvatxes év rexvotoilg. Zimmer (p. 230) says, ‘Zum Reiten wurde das Ross nicht benutzt.’ On p. 295 he modifies this by saying, ‘ Keine einzige klare Stelle des Rigveda ist mir bekannt, wo das Reiten beim Kampfe erwahnt wiirde; man fahrt immer zu Wagen, wie die Griechen in homerischen Zeiten.’ NOTES. V, 61, 5. 359 Verse 4. Note 1. Bhadragdnayaf, generally rendered by ‘possessed of beautiful wives,’ seems really to mean ‘ possessed of an excellent mother.’ G4Ani clearly means mother, when Agni dvimat4, having two mothers, is called dviganiz ; for it is never said that he has two wives. Besides, the Maruts are constantly addressed as the sons of their mother, Présni, while their wives are mentioned but rarely. However, the other meaning is not impossible. See also Bergaigne, II, 387 seq. Note 2. The fire here intended is, I suppose, the sacrificial fire, to which the Maruts are here invited as they had been in former hymns. Verse 5. Note 1. Ludwig compares the A.S. expression healsgebedde; see also RV. X, 10, Jo. Note 2. I have very little belief in the legends which are told in the Brahmazas and in the Anukramazt in illustration of certain apparently personal and historical allusions in the hymns of the Veda. It is clear in many cases that they are made up from indications contained in the hymns, as in IX, 58, 3, and it seems best therefore to forget them altogether in interpreting the words of the Vedic hymns.
3It is clear in many cases that they are made up from indications contained in the hymns, as in IX, 58, 3, and it seems best therefore to forget them altogether in interpreting the words of the Vedic hymns. ' The story told in the introductory verses, quoted by Sayama, is this :—‘ Arkandnas Atreya was chosen by Rathaviti Darbhya to be his Aztvig priest. At the sacrifice Arkan&nas saw the daughter of Rathaviti and asked her in marriage for his son Sy4vasva. Rathaviti consulted his wife, but she declined on the ground that no daughter of theirs had ever been given to a man who was not a poet (Rishi). Thereupon Sy4v4sva performed penance, and travelled about collecting alms. He thus came to Sasiyast, who recommended him, as a Fzshi, to her husband, king Taranta. King Taranta was very generous to him, and sent him on to his younger brother, Purumi/Za. On his way to Purumi/za, Syavasva saw the Maruts, and composed a hymn in their praise (vv. 11-16). He had thus become a real poet or Rishi, and on returning home, he received from Rathaviti his daughter in marriage.’ 360 VEDIC HYMNS. Saunaka confirms the same story, see Sdyaza’s commentary to V, 61,17. Here therefore we have to deal with two princely brothers, both Vaidadasvis, namely Taranta and Purumi/za. They both give presents to Syavasva, who is a Brahmama, and he marries the daughter of another prince, Rathaviti Darbhya. In the Taxdya-Brahmaza, however, XIII, 7, 12, another story is told, which I quoted in my edition of the Rig-veda at IX, 58, 3 (vol. v, p. xxxiii). Here Dhvasra and Purushanti are introduced as wishing to give presents to the two Vaidadasvis, Taranta and Purumi/za. These hesitate for a while, because they have no right to accept a present without deserving it or having done something for it. They then compose a hymn in praise of Dhvasra and Purushanti, and after that feel justified in accepting their present. Here therefore the Vaidadasvis are receivers, not givers of presents, therefore of princely, not, as has been supposed, of priestly rank, and this would agree better with the words of verse 9, purumi/Adya vipraya. See on all this Oldenberg in Z.D.M.G. XLII, p. 232. If we accept this story, we have to take sdsiyasi in verse 6 as a proper name. But sdsiyast may be a comparative of sas-vat (see B.-R. ' s.v.), and would then mean, more frequent. We expect, no doubt, an adverb rather like sasvat, but a feminine corresponding to vdsyast is perhaps admissible. In that case we should have simply to deal with some woman, tva stri, who, as the poet says, is as good as, if not better than, many a man. Verse 8.
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.
1How could you, how did you come ?—the seat on the back, the rein in the nostrils ? 3. Their goad is on the croup?, the heroes stretched their legs apart®. .. 4. Move along, heroes, young men, the sons of an excellent mother’, so that you may warm yourselves at our fire ’, 5. (1.) May the woman, if she stretched out her arm? asa rest for the hero, praised by SyAv4sva %, gain cattle consisting of horses, cows, and a hundred sheep. 6. (2.) Many a woman is even more often kindlier than a godless and miserly man, 7. (3.) A woman who finds out the weak, the thirsty, the needy, and is mindful of the gods. 8. (4.) Even though many an unpraiseworthy miser (Pazi) is called a man, she is worth as much in weregild. 9. (5.) Also the young woman joyfully whispered to me, to Sy4va, the road,—and the two bays went straight to Purumit//a}, the wise, the far-famed, 10. (6.) Who gave me a hundred cows, like Vaidadasvi, like Taranta, in magnificence. 11. (1.) The Maruts, who drive on their quick horses, drinking the delightful mead, have gained glory here; MANDALA V, HYMN 61. 357 12, (2.) They on whose chariots Rodast? glitters in glory’, like the golden disk above in heaven ; 13. (3.) That youthful company of the Maruts, with blazing chariots, blameless, triumphant, irresistible. 14. (4.) Who now knows of them where the strikers rejoice, the well-born, the faultless ? 15. (5.) You who are fond of praise, become the leaders of the mortal, listening to his imploring invocations, thus is my thought'. 16. (6.) Bring then to us delightful and resplendent! treasures, ye worshipful Maruts, destroyers of enemies. 17. (1.) O night, like a charioteer, carry away this hymn to Darbhya, and these songs, O goddess. 18, (2.) And then tell him thus from me, ‘When Rathaviti offers Soma, my desire never goes away from me.’ 19. (3.) That mighty Rathaviti dwells among people rich in cattle, retired among the mountains. 358 VEDIC HYMNS. NOTES. This hymn is of a very composite nature. It is addressed to the Maruts by Sy4vasva. According to the Anukramazi, however, the Maruts are addressed in vv. 1-4, 11-16 only ; wy. 5-8 are addressed to Sasiyast Tarantamahishi, 9 to Purumi/da Vaidadasvi, 10 to Taranta Vaidadasvi, 17-19 to Rathaviti Darbhya. None of the verses occurs in SV., VS., AV., TS., TB., MS. Metre, 1-4, 6-8, 10-19 Gayatri ; 5 Anushtubh ; 9 Satobrzhati.
21-4, 11-16 only ; wy. 5-8 are addressed to Sasiyast Tarantamahishi, 9 to Purumi/da Vaidadasvi, 10 to Taranta Vaidadasvi, 17-19 to Rathaviti Darbhya. None of the verses occurs in SV., VS., AV., TS., TB., MS. Metre, 1-4, 6-8, 10-19 Gayatri ; 5 Anushtubh ; 9 Satobrzhati. It has been pointed out that in the hymns addressed to the Maruts beginning with V, 52, and ending with V, 60, there is the usual decrease in the number of verses of each successive hymn, viz. 17, 16, 15, 10, 9, 8, 8,8, 8, Our hymn, however, which is the last in the collection of hymns addressed by SyAvasva to the Maruts, breaks the rule, and it has been suggested with great plausibility that it contains a number of verses thrown together at random. Possibly the four verses in the beginning formed an independent hymn, addressed to the Maruts, and again 5-10, and 11-16, followed by an appendix, 17-19. These verses refer to a legend which will have to be discussed at verse 5. Verse 1. Note 1. As to paramdsy4h paravatah, see TS. IV, 1, 9, 3; where we also find (IV, 1, 9, 2) parasyA adhi samvatah. Verse 3. Note 1. Gaghane, like gaghanatak, may mean simply behind, as agre and agrata# mean before. Note 2. It is clear that the Maruts are here supposed to sit astride on their horses. This is also shown by prishthé sddas (v. 2), and by putrakrithé nd gdnayad, they stretched out their legs, ws yuvatxes év rexvotoilg. Zimmer (p. 230) says, ‘Zum Reiten wurde das Ross nicht benutzt.’ On p. 295 he modifies this by saying, ‘ Keine einzige klare Stelle des Rigveda ist mir bekannt, wo das Reiten beim Kampfe erwahnt wiirde; man fahrt immer zu Wagen, wie die Griechen in homerischen Zeiten.’ NOTES. V, 61, 5. 359 Verse 4. Note 1. Bhadragdnayaf, generally rendered by ‘possessed of beautiful wives,’ seems really to mean ‘ possessed of an excellent mother.’ G4Ani clearly means mother, when Agni dvimat4, having two mothers, is called dviganiz ; for it is never said that he has two wives. Besides, the Maruts are constantly addressed as the sons of their mother, Présni, while their wives are mentioned but rarely. However, the other meaning is not impossible. See also Bergaigne, II, 387 seq. Note 2. The fire here intended is, I suppose, the sacrificial fire, to which the Maruts are here invited as they had been in former hymns. Verse 5. Note 1. Ludwig compares the A.S. expression healsgebedde; see also RV. X, 10, Jo. Note 2. I have very little belief in the legends which are told in the Brahmazas and in the Anukramazt in illustration of certain apparently personal and historical allusions in the hymns of the Veda. It is clear in many cases that they are made up from indications contained in the hymns, as in IX, 58, 3, and it seems best therefore to forget them altogether in interpreting the words of the Vedic hymns.
3It is clear in many cases that they are made up from indications contained in the hymns, as in IX, 58, 3, and it seems best therefore to forget them altogether in interpreting the words of the Vedic hymns. ' The story told in the introductory verses, quoted by Sayama, is this :—‘ Arkandnas Atreya was chosen by Rathaviti Darbhya to be his Aztvig priest. At the sacrifice Arkan&nas saw the daughter of Rathaviti and asked her in marriage for his son Sy4vasva. Rathaviti consulted his wife, but she declined on the ground that no daughter of theirs had ever been given to a man who was not a poet (Rishi). Thereupon Sy4v4sva performed penance, and travelled about collecting alms. He thus came to Sasiyast, who recommended him, as a Fzshi, to her husband, king Taranta. King Taranta was very generous to him, and sent him on to his younger brother, Purumi/Za. On his way to Purumi/za, Syavasva saw the Maruts, and composed a hymn in their praise (vv. 11-16). He had thus become a real poet or Rishi, and on returning home, he received from Rathaviti his daughter in marriage.’ 360 VEDIC HYMNS. Saunaka confirms the same story, see Sdyaza’s commentary to V, 61,17. Here therefore we have to deal with two princely brothers, both Vaidadasvis, namely Taranta and Purumi/za. They both give presents to Syavasva, who is a Brahmama, and he marries the daughter of another prince, Rathaviti Darbhya. In the Taxdya-Brahmaza, however, XIII, 7, 12, another story is told, which I quoted in my edition of the Rig-veda at IX, 58, 3 (vol. v, p. xxxiii). Here Dhvasra and Purushanti are introduced as wishing to give presents to the two Vaidadasvis, Taranta and Purumi/za. These hesitate for a while, because they have no right to accept a present without deserving it or having done something for it. They then compose a hymn in praise of Dhvasra and Purushanti, and after that feel justified in accepting their present. Here therefore the Vaidadasvis are receivers, not givers of presents, therefore of princely, not, as has been supposed, of priestly rank, and this would agree better with the words of verse 9, purumi/Adya vipraya. See on all this Oldenberg in Z.D.M.G. XLII, p. 232. If we accept this story, we have to take sdsiyasi in verse 6 as a proper name. But sdsiyast may be a comparative of sas-vat (see B.-R. ' s.v.), and would then mean, more frequent. We expect, no doubt, an adverb rather like sasvat, but a feminine corresponding to vdsyast is perhaps admissible. In that case we should have simply to deal with some woman, tva stri, who, as the poet says, is as good as, if not better than, many a man. Verse 8.
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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