Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
19. Even by day the Maruts create darkness with the water-bearing cloud!, when they drench the earth. 10. Then from the shouting of the Maruts over the whole space of the earth ', men reeled forward. 11. Maruts on your strong-hoofed never-wearying® [32] G 82 VEDIC HYMNS. steeds! go after those bright ones (the clouds), which are still locked up ®. 12. May your fellies be strong, the chariots, and their horses, may your reins? be well-fashioried. 13. Speak forth for ever with thy voice to praise the Lord of prayer!, Agni, who is like a friend 2, the bright one. 14. Fashion a hymn in thy mouth! Expand like the cloud!! Sing a song of praise. 15. Worship the host of the Maruts, the terrible, the glorious, the musical’. May they be magnified here among us ?. NOTES. I, 38, I. 83 NOTES. This hymn is ascribed to Kazva, the son of Ghora. The metre is Gayatri throughout. Several verses, however, end in a spondee instead of the usual iambus. No attempt should be made to improve such verses by conjecture, for they are clearly meant to end in spondees. Thus in verses 2, 7, 8, and 9, all the three pddas alike have their final spondee. In verse 7, the ionicus a minore is with an evident intention repeated thrice. No verse of the hymn occurs in SV., VS., AV.; but verse 8= TS. III, 1, 11, 5; verse 9 = TS. II, 4, 8, 1. Verse 1. Note 1. Kadha-priya/ is taken in the Padapas#a as one word, and Sayama explains it by delighted by or delighting in praise, a nominative plural. A similar compound, kadhapriya, occurs in I, 30, 20, and there too the vocative sing. fem., kadhapriye, is explained by Sayama as fond of praise. In order to obtain this meaning, kadha has to be identified with kath4, story, which is simply impossible. There is another compound, adha-priya, nom. dual, which occurs VIII, 8, 4, and which Sayama explains either as delighted here below, or as a corruption of kadha-priya. In Boehtlingk and Roth’s Dictionary, kadha-priya and kadha-pri are both taken as compounds of kadha, an interrogative adverb, and priya or pri, to love or delight, and they are explained as meaning kind or loving to whom? In the same manner adha-priya is explained as kind then and there. It must be confessed, however, that a compound like kadha-pri, kind to whom?, is somewhat strange, and it seems preferable to separate the words, and to write kadha priya and adha priya. It should be observed that the compounds kadha-pri and kadha-priya occur always in sentences where there is another interrogative pronoun. The two interrogatives k4t—kddha, what—where, and kas—kddha, who—where, occurring in the same sentence, an idiom so common in G2 84 VEDIC HYMNS.
2It should be observed that the compounds kadha-pri and kadha-priya occur always in sentences where there is another interrogative pronoun. The two interrogatives k4t—kddha, what—where, and kas—kddha, who—where, occurring in the same sentence, an idiom so common in G2 84 VEDIC HYMNS. Greek, may have puzzled the author of the Pada text, and the compound being once sanctioned by the authority of Sakalya, SAyaza would explain it as best he could. But if we admit the double use of the interrogative in Sanskrit, as in Greek, then, in our passage, priya# would be an adjective belonging to pita, and we might translate: ‘What then now? When will you take (us), as a dear father takes his son by both hands, O ye Maruts?’ In the same manner we ought to translate I, 30, 20: kak te ushad kddha priye bhugé marta% amartye. Who and where was there a mortal to be loved by thee, O beloved, immortal Dawn? In VIII, 7, 31, where the same words are repeated as in our passage, it is likewise better to write: kat ha nindm kadha priyaé yat indram d4gahatana, k4h vah sakhi-tvé ohate. What then now? Where is there a friend, now that you have forsaken Indra? Who watches for your friendship? Why in VIII, 8, 4, adha priya should have been joined into one word is more difficult to say, yet here, too, the compound might easily be separated. Kadha does not occur again, but would be formed in analogy with ddha. It occurs in Zend as kadha. Kuhn, Beitrage IV, p. 186, has shown that kdsh¢hak (RV. V, 74, 1) is a similar monster, and stands for ku sh¢hah. The words kat ha nindm commonly introduce an interrogative sentence, literally, What then now? cf. X, 10, 4. Note 2, Vrikta-barhis is generally a name of the priest, so called because he has to trim the sacrificial grass. ‘The sacred Kusa grass (Poa cynosuroides), after having had the roots cut off, is spread on the Vedi or altar, and upon it the libation of Soma-juice, or oblation of clarified butter, is poured out. In other places, a tuft of it in a similar position is supposed to form a fitting seat for the deity or deities invoked to the sacrifice. According to Mr. Stevenson, it is also strewn over the floor of the chamber in which the worship is performed.’ Cf. VI, 11, 5. vrifigé ha yat ndmasa barh{z agnau, dy4mi sruk ghritd-vati su-vrzktiz. NOTES. I, 38, 2. 85 When I reverentially trim the truss for Agni, when the well-trimmed ladle, full of butter, is stretched forth. In our passage, unless we change the accent, it must be taken as an epithet of the Maruts, they for whom the grassaltar has been prepared. They are again invoked by the -same name, VIII, 7, 20: kva nndm su-dénavad madatha vrikta-barhisha/. Where do ye rejoice now, you gods for whom the altar is trimmed?
3They are again invoked by the -same name, VIII, 7, 20: kva nndm su-dénavad madatha vrikta-barhisha/. Where do ye rejoice now, you gods for whom the altar is trimmed? Otherwise, vrikta-barhishaz might, with a change of accent, supply an accusative to dadhidhve: ‘ Will you take the worshippers in your arms?’ This, though decidedly better, is not absolutely necessary, because to take by the hand may be used as a neuter verb. WILSON : Maruts, who are fond of praise, and for whom the sacred grass is trimmed, when will you take us by both hands as a father does his son? BENFEY: Wo weilt ihr gern? was habt ihr jetzt—gleichwie ein Vater seinen Sohn—in Handen, da das Opfer harrt ? Verse 2. Note 1. The idea of the first verse, that the Maruts should not be detained by other pursuits, is carried on in the second. The poet asks, what they have to do in the sky, instead of coming down to the earth. The last sentence seems to mean ‘where tarry your herds?’ viz. the clouds. Sdyawa translates: ‘Where do worshippers, like lowing cows, praise you?’ Wilson: ‘Where do they who worship you cry to you, like cattle?’ Benfey : ‘Wo jauchzt man euch, gleich wie Stiere? (Ihre Verehrer briillen vor Freude iiber ihre Gegenwart, wie Stiere.)’ The verb ranyati, however, when followed by an accusative, means to love, to accept with pleasure. The gods accept the offerings and the prayers: V, 18, 1. visvani y4s# 4martya% havy& marteshu rdzyati. The immortal who deigns to accept all offerings among mortals, V, 74, 3. kasya brdhm4ni razyathah. 86 VEDIC HYMNS. Whose prayers do ye accept? Followed by a locative ramyati’ means to delight in. Both the gods are said to delight in prayers (VIII, 12, 18; 33,16), and prayers are said to delight in the gods (VIII, 16, 2). I therefore take razyanti in the sense of tarrying, disporting, and na, if it is to be retained, in the sense of. not; where do they not sport? meaning that they are to be found everywhere, except where the poet desires them to be. We thus get rid of the simile of singing poets and lowing cows, which, though not too bold for Vedic bards, would here come in too abruptly. It would be much better, however, if the negative particle could be omitted altogether. If we retain it, we must read: kva vak | gavak | na r4z | yant{|. But the fact is that through the whole of the Rig-veda kva has always to be pronounced as two syllables, kuva. There is only one passage, V, 61, 2, where, before a vowel, we have to read kva: kuva vo ’svaA, kvabhisavad. In other passages, even before vowels, we always have to read kuva, e.g. I, 161, 4. kuvet=kva it; I, 105, 4. kuvartam=kva vitam. In I, 35,7, we must read either kuvedanim sfrya#, making sfrya% trisyllabic, or kuva idanim, leaving a hiatus. In I, 168, 6, kvAvaram is kuvavaram: Sakalya, forgetting this, and wishing to improve the metre, added na, thereby, in reality, destroying both the metre and the sense. Kva occurs as dissyllabic in the Rig-veda at least forty-one times.
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.
19. Even by day the Maruts create darkness with the water-bearing cloud!, when they drench the earth. 10. Then from the shouting of the Maruts over the whole space of the earth ', men reeled forward. 11. Maruts on your strong-hoofed never-wearying® [32] G 82 VEDIC HYMNS. steeds! go after those bright ones (the clouds), which are still locked up ®. 12. May your fellies be strong, the chariots, and their horses, may your reins? be well-fashioried. 13. Speak forth for ever with thy voice to praise the Lord of prayer!, Agni, who is like a friend 2, the bright one. 14. Fashion a hymn in thy mouth! Expand like the cloud!! Sing a song of praise. 15. Worship the host of the Maruts, the terrible, the glorious, the musical’. May they be magnified here among us ?. NOTES. I, 38, I. 83 NOTES. This hymn is ascribed to Kazva, the son of Ghora. The metre is Gayatri throughout. Several verses, however, end in a spondee instead of the usual iambus. No attempt should be made to improve such verses by conjecture, for they are clearly meant to end in spondees. Thus in verses 2, 7, 8, and 9, all the three pddas alike have their final spondee. In verse 7, the ionicus a minore is with an evident intention repeated thrice. No verse of the hymn occurs in SV., VS., AV.; but verse 8= TS. III, 1, 11, 5; verse 9 = TS. II, 4, 8, 1. Verse 1. Note 1. Kadha-priya/ is taken in the Padapas#a as one word, and Sayama explains it by delighted by or delighting in praise, a nominative plural. A similar compound, kadhapriya, occurs in I, 30, 20, and there too the vocative sing. fem., kadhapriye, is explained by Sayama as fond of praise. In order to obtain this meaning, kadha has to be identified with kath4, story, which is simply impossible. There is another compound, adha-priya, nom. dual, which occurs VIII, 8, 4, and which Sayama explains either as delighted here below, or as a corruption of kadha-priya. In Boehtlingk and Roth’s Dictionary, kadha-priya and kadha-pri are both taken as compounds of kadha, an interrogative adverb, and priya or pri, to love or delight, and they are explained as meaning kind or loving to whom? In the same manner adha-priya is explained as kind then and there. It must be confessed, however, that a compound like kadha-pri, kind to whom?, is somewhat strange, and it seems preferable to separate the words, and to write kadha priya and adha priya. It should be observed that the compounds kadha-pri and kadha-priya occur always in sentences where there is another interrogative pronoun. The two interrogatives k4t—kddha, what—where, and kas—kddha, who—where, occurring in the same sentence, an idiom so common in G2 84 VEDIC HYMNS.
2It should be observed that the compounds kadha-pri and kadha-priya occur always in sentences where there is another interrogative pronoun. The two interrogatives k4t—kddha, what—where, and kas—kddha, who—where, occurring in the same sentence, an idiom so common in G2 84 VEDIC HYMNS. Greek, may have puzzled the author of the Pada text, and the compound being once sanctioned by the authority of Sakalya, SAyaza would explain it as best he could. But if we admit the double use of the interrogative in Sanskrit, as in Greek, then, in our passage, priya# would be an adjective belonging to pita, and we might translate: ‘What then now? When will you take (us), as a dear father takes his son by both hands, O ye Maruts?’ In the same manner we ought to translate I, 30, 20: kak te ushad kddha priye bhugé marta% amartye. Who and where was there a mortal to be loved by thee, O beloved, immortal Dawn? In VIII, 7, 31, where the same words are repeated as in our passage, it is likewise better to write: kat ha nindm kadha priyaé yat indram d4gahatana, k4h vah sakhi-tvé ohate. What then now? Where is there a friend, now that you have forsaken Indra? Who watches for your friendship? Why in VIII, 8, 4, adha priya should have been joined into one word is more difficult to say, yet here, too, the compound might easily be separated. Kadha does not occur again, but would be formed in analogy with ddha. It occurs in Zend as kadha. Kuhn, Beitrage IV, p. 186, has shown that kdsh¢hak (RV. V, 74, 1) is a similar monster, and stands for ku sh¢hah. The words kat ha nindm commonly introduce an interrogative sentence, literally, What then now? cf. X, 10, 4. Note 2, Vrikta-barhis is generally a name of the priest, so called because he has to trim the sacrificial grass. ‘The sacred Kusa grass (Poa cynosuroides), after having had the roots cut off, is spread on the Vedi or altar, and upon it the libation of Soma-juice, or oblation of clarified butter, is poured out. In other places, a tuft of it in a similar position is supposed to form a fitting seat for the deity or deities invoked to the sacrifice. According to Mr. Stevenson, it is also strewn over the floor of the chamber in which the worship is performed.’ Cf. VI, 11, 5. vrifigé ha yat ndmasa barh{z agnau, dy4mi sruk ghritd-vati su-vrzktiz. NOTES. I, 38, 2. 85 When I reverentially trim the truss for Agni, when the well-trimmed ladle, full of butter, is stretched forth. In our passage, unless we change the accent, it must be taken as an epithet of the Maruts, they for whom the grassaltar has been prepared. They are again invoked by the -same name, VIII, 7, 20: kva nndm su-dénavad madatha vrikta-barhisha/. Where do ye rejoice now, you gods for whom the altar is trimmed?
3They are again invoked by the -same name, VIII, 7, 20: kva nndm su-dénavad madatha vrikta-barhisha/. Where do ye rejoice now, you gods for whom the altar is trimmed? Otherwise, vrikta-barhishaz might, with a change of accent, supply an accusative to dadhidhve: ‘ Will you take the worshippers in your arms?’ This, though decidedly better, is not absolutely necessary, because to take by the hand may be used as a neuter verb. WILSON : Maruts, who are fond of praise, and for whom the sacred grass is trimmed, when will you take us by both hands as a father does his son? BENFEY: Wo weilt ihr gern? was habt ihr jetzt—gleichwie ein Vater seinen Sohn—in Handen, da das Opfer harrt ? Verse 2. Note 1. The idea of the first verse, that the Maruts should not be detained by other pursuits, is carried on in the second. The poet asks, what they have to do in the sky, instead of coming down to the earth. The last sentence seems to mean ‘where tarry your herds?’ viz. the clouds. Sdyawa translates: ‘Where do worshippers, like lowing cows, praise you?’ Wilson: ‘Where do they who worship you cry to you, like cattle?’ Benfey : ‘Wo jauchzt man euch, gleich wie Stiere? (Ihre Verehrer briillen vor Freude iiber ihre Gegenwart, wie Stiere.)’ The verb ranyati, however, when followed by an accusative, means to love, to accept with pleasure. The gods accept the offerings and the prayers: V, 18, 1. visvani y4s# 4martya% havy& marteshu rdzyati. The immortal who deigns to accept all offerings among mortals, V, 74, 3. kasya brdhm4ni razyathah. 86 VEDIC HYMNS. Whose prayers do ye accept? Followed by a locative ramyati’ means to delight in. Both the gods are said to delight in prayers (VIII, 12, 18; 33,16), and prayers are said to delight in the gods (VIII, 16, 2). I therefore take razyanti in the sense of tarrying, disporting, and na, if it is to be retained, in the sense of. not; where do they not sport? meaning that they are to be found everywhere, except where the poet desires them to be. We thus get rid of the simile of singing poets and lowing cows, which, though not too bold for Vedic bards, would here come in too abruptly. It would be much better, however, if the negative particle could be omitted altogether. If we retain it, we must read: kva vak | gavak | na r4z | yant{|. But the fact is that through the whole of the Rig-veda kva has always to be pronounced as two syllables, kuva. There is only one passage, V, 61, 2, where, before a vowel, we have to read kva: kuva vo ’svaA, kvabhisavad. In other passages, even before vowels, we always have to read kuva, e.g. I, 161, 4. kuvet=kva it; I, 105, 4. kuvartam=kva vitam. In I, 35,7, we must read either kuvedanim sfrya#, making sfrya% trisyllabic, or kuva idanim, leaving a hiatus. In I, 168, 6, kvAvaram is kuvavaram: Sakalya, forgetting this, and wishing to improve the metre, added na, thereby, in reality, destroying both the metre and the sense. Kva occurs as dissyllabic in the Rig-veda at least forty-one times.
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.
No commentary for this page.