Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1LupwWIG: Pragapati, kein anderer als du hat umfasst die wesen alle, der wunsch, um deswillen wir dir opfern, der werde uns zu teil, besitzer von reichtiimern mégen wir sein. Note 1. This verse is certainly extremely weak after all that preceded, still, to judge from its frequent occurrence, we cannot well discard it. All we can say is that nowhere, except in the Rig-veda, does it form the final verse of our hymn, and thus spoil its whole character. That character consists chiefly in the burden of the nine verses, Kasmai devaya havisha vidhema, ‘To what god shall we offer sacrifice?’ This is clearly meant to express a desire of finding out the true, but unknown god, and to do so, even after all has been said that can be said of a supreme god. To finish such a hymn with a statement 12 VEDIC HYMNS. that Pragdpati is the god who deserves our sacrifice, may be very natural theologically, but it is entirely uncalled for poetically. The very phrase Kasmai devaya havisha vidhema must have been a familiar phrase, for we find in a hymn addressed to the wind, X, 168, 4, after all has been said that can be said of him, the concluding line: ghdéshak ft asya svinvire na rdpdm tdsmai vataya havisha vidhema, ‘his sound indeed is heard, but he is not seen—to that VAta let us offer sacrifice.’ But more than this, on the strength of hymns like our own in which the interrogative pronoun ka, ‘who,’ occurs, the Brahmans actually invented a god of the name of Ka. I pointed this out many years ago in my History of Ancient Sanskrit Literature (1860, p. 433), where I said: ‘In accordance with the same system, we find that the authors of the Brahmazas had so completely broken with the past that, forgetful of the poetical character of the hymns, and the yearning of the poets after the unknown god, they exalted the interrogative pronoun into a deity, and acknowledged a god ‘ Ka, or Who.’ In the Taittiriyasamhita (I, 7, 6, 6), in the Kaushitaki-brahmaza (XXIV, 4), in the Tazdya-brahmana (XV, 10), and in the Satapatha-brahmaza*, whenever interrogative verses occur, the author states, that Ka is Pragdpati, or ‘the Lord of Creatures’ (Pragapatir vai Kak). Nor did they stop there. Some of the hymns in which the interrogative pronoun occurred were called Kadvat, i.e. having kad or quid. But soon a new adjective was formed, and not only the hymns, but the sacrifices also, offered to the god, were called Kaya, or who-ish®. This word, which is not to be identified with the Latin cujus, cuja, cujum, but is merely the artificial product of an effete mind, is found in the Taittiriya-samhita (I, 8, 3, 1), and in the Vagasaneyi-samhita (XXIV, 15). At the time of PAmini ® Satap. Brahm. I, 1,1, 13; II, 5, 2,13; IV, 5, 6, 4; also Aitar. Brahm. III, 21. b Asv. Sr. Sftra II, 17, 14; Ké&ty. Sr. Sfitra V, 4, 23; Vait. Sfitra VIII, 22, ed. Garbe. NOTES, xX, I2I, I0. 13
2At the time of PAmini ® Satap. Brahm. I, 1,1, 13; II, 5, 2,13; IV, 5, 6, 4; also Aitar. Brahm. III, 21. b Asv. Sr. Sftra II, 17, 14; Ké&ty. Sr. Sfitra V, 4, 23; Vait. Sfitra VIII, 22, ed. Garbe. NOTES, xX, I2I, I0. 13 this word had acquired such legitimacy as to call for a separate rule explaining its formation (P4z. IV, 2, 25). The commentator there explains Ka by Brahman. After this we can hardly wonder that in the later Sanskrit literature of the Purazas, Ka appears as a recognised god, as the supreme god, with a genealogy of his own, perhaps even with a wife; and that in the Laws of Manu, one of the recognised forms of marriage, generally known by the name of Prag4pati-marriage, occurs under the monstrous title of ‘Kaya.’ Stranger still, grammarians who know that ka forms the dative kasmai only if it is an interrogative pronoun, consider kasmai in our hymn as irregular, because, as a proper name, Ka ought to form the dative Kaya. 14 VEDIC HYMNS. MANDALA I, HYMN 6. ASH7AKA I, ADHYAYA 1, VARGA 11-12. To InpRA AND THE Maruts (THE STORM-GODs). 1. Those who stand around? him while he moves on, harness the bright red (steed)1; the lights in heaven shine forth *. 2. They harness to the chariot on each side his (Indra’s)! two favourite bays, the brown, the bold, who can carry the hero. 3. Thou who createst light where there was no light, and form, O men?! where there was no form, hast been born together with the dawns *. 4. Thereupon! they (the Maruts), according to their wont *, assumed again the form of new-born babes, taking their sacred name. 5. Thou, O Indra, with the swift Maruts', who break even through the stronghold’, hast found even in their hiding-place the bright ones® (days or clouds). 6. The pious singers’ (the Maruts) have, after their own mind?, shouted towards the giver of wealth, the great, the glorious (Indra). 7. Mayest thou! (host of the Maruts) be verily seen * coming together with Indra, the fearless: you are both happy-making, and of equal splendour. 8. With the beloved hosts of Indra, with the blameless, hasting? (Maruts), the sacrificer? cries aloud. MANDALA I, HYMN 6, 15 9. From yonder, O traveller (Indra), come hither, or from the light*of heaven’; the singers all yearn for it ;— 1o. Or we ask Indra for help from here, or from heaven, or from above the earth, or from the great sky. 16 VEDIC HYMNS. NOTES. This hymn is ascribed to Kazva, the son of Ghora. The metre is Gayatri throughout. Verse 1=SV. II, 818; VS. XXIII, 5; AV. XX, 26, 4; 47,10; 69,9; TS. VII, 4, 20,1; TB. III, 9, 4,1. Verse 2=SV. II, 819; VS. XXIII, 6; AV. XX, 26, 5; 47,11; 69,10; TS. VII, 4, 20, 1. Verse 3=SV. II, 820; VS. XXIX, 37; AV. XX, 26, 6; 47,12; 69,11; TS. VII, 4, 20,1; TB. III, 9, 4, 3. Verse 4=SV. II, 101; AV. XX, 40, 3; 69, 12. Verse 5=SV. II, 202; AV. XX, 70,1. Verse 6=AV. XX, 70, 2. Verse 7=SV. II, 200; AV. XX, 40, 1; 70, 3. Verse 8=AV. XX, 40, 2; 70, 4. Verse 9=AV. XX, 70, 5. Verse 10=AV. XX, 70, 6. Verse 1.
3VII, 4, 20,1; TB. III, 9, 4, 3. Verse 4=SV. II, 101; AV. XX, 40, 3; 69, 12. Verse 5=SV. II, 202; AV. XX, 70,1. Verse 6=AV. XX, 70, 2. Verse 7=SV. II, 200; AV. XX, 40, 1; 70, 3. Verse 8=AV. XX, 40, 2; 70, 4. Verse 9=AV. XX, 70, 5. Verse 10=AV. XX, 70, 6. Verse 1. WILSON: The circumstationed (inhabitants of the three worlds) associate with (Indra), the mighty (Sun), the indestructive (fire), the moving (wind), and the lights that shine in the sky. BENFEY: Die rothe Sonne schirr’n sie an, die wandelt um die stehenden, Strahlen strahlen am Himmel auf. Lupwic: Sie spannen an den hellen, den roten, den vom feststehenden hinwegwandelnden; heller glanz erstralt am Himmel. Note 1. The poet begins with a somewhat abrupt description of a sunrise. Indra is taken as the god of the bright day, whose steed is the sun, and whose companions the Maruts, or the storm-gods. Arusha, meaning originally red, is used as a proper name of the horse or of the rising sun, though it occurs more frequently as the name of the red horses or flames of Agni, the god of fire, and also of the morning light. In our passage, Arusha, a substantive, meaning the red of the morning, has taken bradhna as an NOTES. I, 6, I. 17 adjective,—bradhnd meaning, as far as can be made out, bright in general, though, as it is especially applied to the Soma-juice, perhaps bright-brown or yellow. Names of colour are difficult to translate from one language into another, for their shades vary, and withdraw themselves from sharp definition. We shall meet with this difficulty again and again in the Veda; see RV. X, 20, 9. As it has actually been doubted whether bradhnd arusha can be meant for the sun, and whether the Vedic poets ever looked upon the sun as a horse, I may quote Vag. Samh. XXIII, 4, where the same verse occurs and is declared to be addressed to the sun; and Satap. Br. XIII, 2, 6, 1, where we read, yufiganti bradhnam arusham arantam iti, asau va 4dityo bradhno:rushosmum evdsma adityam yunakti svargasya lokasya samashfyai. Ludwig remarks justly that the sun has been conceived as a chariot also, and that bradhnd arushd may have been thus understood here. Delbriick translates quite boldly: Sie schirren die rothe Sonne an. See also Tait. Br. III, 7,7,4; Tandya Br. XXIII, 3, 5; Sankh. Br. II, 17, 3; Ludwig, Comm. ii. p- 173. M. Bergaigne (Rél. Ved. iii. p. 324) remarks very truly: ‘Le soleil est tantét une roue, tant6t un char, tantét un cheval, trainant le char, tantét un héros monté sur le char et dirigeant les chevaux.’ The following passages will illustrate the principal meaning of arusha, and justify the translation here adopted. ARUSHA, AS AN ADJECTIVE. Arusha is used as an adjective in the sense of red: VII, 97, 6. tam sagmasak arushasahk asvahs brthaspatim saha-véha% vahanti,—ndbha/ na rOpdm arusham vadsanah. Powerful red horses, drawing together draw him, Br#haspati: horses clothed in red colour, like the sky. III, 1, 4. svetdm gagfandm arushdm mahi-tva.
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.
1LupwWIG: Pragapati, kein anderer als du hat umfasst die wesen alle, der wunsch, um deswillen wir dir opfern, der werde uns zu teil, besitzer von reichtiimern mégen wir sein. Note 1. This verse is certainly extremely weak after all that preceded, still, to judge from its frequent occurrence, we cannot well discard it. All we can say is that nowhere, except in the Rig-veda, does it form the final verse of our hymn, and thus spoil its whole character. That character consists chiefly in the burden of the nine verses, Kasmai devaya havisha vidhema, ‘To what god shall we offer sacrifice?’ This is clearly meant to express a desire of finding out the true, but unknown god, and to do so, even after all has been said that can be said of a supreme god. To finish such a hymn with a statement 12 VEDIC HYMNS. that Pragdpati is the god who deserves our sacrifice, may be very natural theologically, but it is entirely uncalled for poetically. The very phrase Kasmai devaya havisha vidhema must have been a familiar phrase, for we find in a hymn addressed to the wind, X, 168, 4, after all has been said that can be said of him, the concluding line: ghdéshak ft asya svinvire na rdpdm tdsmai vataya havisha vidhema, ‘his sound indeed is heard, but he is not seen—to that VAta let us offer sacrifice.’ But more than this, on the strength of hymns like our own in which the interrogative pronoun ka, ‘who,’ occurs, the Brahmans actually invented a god of the name of Ka. I pointed this out many years ago in my History of Ancient Sanskrit Literature (1860, p. 433), where I said: ‘In accordance with the same system, we find that the authors of the Brahmazas had so completely broken with the past that, forgetful of the poetical character of the hymns, and the yearning of the poets after the unknown god, they exalted the interrogative pronoun into a deity, and acknowledged a god ‘ Ka, or Who.’ In the Taittiriyasamhita (I, 7, 6, 6), in the Kaushitaki-brahmaza (XXIV, 4), in the Tazdya-brahmana (XV, 10), and in the Satapatha-brahmaza*, whenever interrogative verses occur, the author states, that Ka is Pragdpati, or ‘the Lord of Creatures’ (Pragapatir vai Kak). Nor did they stop there. Some of the hymns in which the interrogative pronoun occurred were called Kadvat, i.e. having kad or quid. But soon a new adjective was formed, and not only the hymns, but the sacrifices also, offered to the god, were called Kaya, or who-ish®. This word, which is not to be identified with the Latin cujus, cuja, cujum, but is merely the artificial product of an effete mind, is found in the Taittiriya-samhita (I, 8, 3, 1), and in the Vagasaneyi-samhita (XXIV, 15). At the time of PAmini ® Satap. Brahm. I, 1,1, 13; II, 5, 2,13; IV, 5, 6, 4; also Aitar. Brahm. III, 21. b Asv. Sr. Sftra II, 17, 14; Ké&ty. Sr. Sfitra V, 4, 23; Vait. Sfitra VIII, 22, ed. Garbe. NOTES, xX, I2I, I0. 13
2At the time of PAmini ® Satap. Brahm. I, 1,1, 13; II, 5, 2,13; IV, 5, 6, 4; also Aitar. Brahm. III, 21. b Asv. Sr. Sftra II, 17, 14; Ké&ty. Sr. Sfitra V, 4, 23; Vait. Sfitra VIII, 22, ed. Garbe. NOTES, xX, I2I, I0. 13 this word had acquired such legitimacy as to call for a separate rule explaining its formation (P4z. IV, 2, 25). The commentator there explains Ka by Brahman. After this we can hardly wonder that in the later Sanskrit literature of the Purazas, Ka appears as a recognised god, as the supreme god, with a genealogy of his own, perhaps even with a wife; and that in the Laws of Manu, one of the recognised forms of marriage, generally known by the name of Prag4pati-marriage, occurs under the monstrous title of ‘Kaya.’ Stranger still, grammarians who know that ka forms the dative kasmai only if it is an interrogative pronoun, consider kasmai in our hymn as irregular, because, as a proper name, Ka ought to form the dative Kaya. 14 VEDIC HYMNS. MANDALA I, HYMN 6. ASH7AKA I, ADHYAYA 1, VARGA 11-12. To InpRA AND THE Maruts (THE STORM-GODs). 1. Those who stand around? him while he moves on, harness the bright red (steed)1; the lights in heaven shine forth *. 2. They harness to the chariot on each side his (Indra’s)! two favourite bays, the brown, the bold, who can carry the hero. 3. Thou who createst light where there was no light, and form, O men?! where there was no form, hast been born together with the dawns *. 4. Thereupon! they (the Maruts), according to their wont *, assumed again the form of new-born babes, taking their sacred name. 5. Thou, O Indra, with the swift Maruts', who break even through the stronghold’, hast found even in their hiding-place the bright ones® (days or clouds). 6. The pious singers’ (the Maruts) have, after their own mind?, shouted towards the giver of wealth, the great, the glorious (Indra). 7. Mayest thou! (host of the Maruts) be verily seen * coming together with Indra, the fearless: you are both happy-making, and of equal splendour. 8. With the beloved hosts of Indra, with the blameless, hasting? (Maruts), the sacrificer? cries aloud. MANDALA I, HYMN 6, 15 9. From yonder, O traveller (Indra), come hither, or from the light*of heaven’; the singers all yearn for it ;— 1o. Or we ask Indra for help from here, or from heaven, or from above the earth, or from the great sky. 16 VEDIC HYMNS. NOTES. This hymn is ascribed to Kazva, the son of Ghora. The metre is Gayatri throughout. Verse 1=SV. II, 818; VS. XXIII, 5; AV. XX, 26, 4; 47,10; 69,9; TS. VII, 4, 20,1; TB. III, 9, 4,1. Verse 2=SV. II, 819; VS. XXIII, 6; AV. XX, 26, 5; 47,11; 69,10; TS. VII, 4, 20, 1. Verse 3=SV. II, 820; VS. XXIX, 37; AV. XX, 26, 6; 47,12; 69,11; TS. VII, 4, 20,1; TB. III, 9, 4, 3. Verse 4=SV. II, 101; AV. XX, 40, 3; 69, 12. Verse 5=SV. II, 202; AV. XX, 70,1. Verse 6=AV. XX, 70, 2. Verse 7=SV. II, 200; AV. XX, 40, 1; 70, 3. Verse 8=AV. XX, 40, 2; 70, 4. Verse 9=AV. XX, 70, 5. Verse 10=AV. XX, 70, 6. Verse 1.
3VII, 4, 20,1; TB. III, 9, 4, 3. Verse 4=SV. II, 101; AV. XX, 40, 3; 69, 12. Verse 5=SV. II, 202; AV. XX, 70,1. Verse 6=AV. XX, 70, 2. Verse 7=SV. II, 200; AV. XX, 40, 1; 70, 3. Verse 8=AV. XX, 40, 2; 70, 4. Verse 9=AV. XX, 70, 5. Verse 10=AV. XX, 70, 6. Verse 1. WILSON: The circumstationed (inhabitants of the three worlds) associate with (Indra), the mighty (Sun), the indestructive (fire), the moving (wind), and the lights that shine in the sky. BENFEY: Die rothe Sonne schirr’n sie an, die wandelt um die stehenden, Strahlen strahlen am Himmel auf. Lupwic: Sie spannen an den hellen, den roten, den vom feststehenden hinwegwandelnden; heller glanz erstralt am Himmel. Note 1. The poet begins with a somewhat abrupt description of a sunrise. Indra is taken as the god of the bright day, whose steed is the sun, and whose companions the Maruts, or the storm-gods. Arusha, meaning originally red, is used as a proper name of the horse or of the rising sun, though it occurs more frequently as the name of the red horses or flames of Agni, the god of fire, and also of the morning light. In our passage, Arusha, a substantive, meaning the red of the morning, has taken bradhna as an NOTES. I, 6, I. 17 adjective,—bradhnd meaning, as far as can be made out, bright in general, though, as it is especially applied to the Soma-juice, perhaps bright-brown or yellow. Names of colour are difficult to translate from one language into another, for their shades vary, and withdraw themselves from sharp definition. We shall meet with this difficulty again and again in the Veda; see RV. X, 20, 9. As it has actually been doubted whether bradhnd arusha can be meant for the sun, and whether the Vedic poets ever looked upon the sun as a horse, I may quote Vag. Samh. XXIII, 4, where the same verse occurs and is declared to be addressed to the sun; and Satap. Br. XIII, 2, 6, 1, where we read, yufiganti bradhnam arusham arantam iti, asau va 4dityo bradhno:rushosmum evdsma adityam yunakti svargasya lokasya samashfyai. Ludwig remarks justly that the sun has been conceived as a chariot also, and that bradhnd arushd may have been thus understood here. Delbriick translates quite boldly: Sie schirren die rothe Sonne an. See also Tait. Br. III, 7,7,4; Tandya Br. XXIII, 3, 5; Sankh. Br. II, 17, 3; Ludwig, Comm. ii. p- 173. M. Bergaigne (Rél. Ved. iii. p. 324) remarks very truly: ‘Le soleil est tantét une roue, tant6t un char, tantét un cheval, trainant le char, tantét un héros monté sur le char et dirigeant les chevaux.’ The following passages will illustrate the principal meaning of arusha, and justify the translation here adopted. ARUSHA, AS AN ADJECTIVE. Arusha is used as an adjective in the sense of red: VII, 97, 6. tam sagmasak arushasahk asvahs brthaspatim saha-véha% vahanti,—ndbha/ na rOpdm arusham vadsanah. Powerful red horses, drawing together draw him, Br#haspati: horses clothed in red colour, like the sky. III, 1, 4. svetdm gagfandm arushdm mahi-tva.
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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