Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1(the host of the Maruts) come early and soon! NOTES. I, 64, I. 109 NOTES. This hymn is ascribed to Nodhas, of the family of Gotama. No verse of this hymn occurs in SV., VS., AV.; but verse 6=TS. III, 1, 11, 7. Verse 1. Note 1. The first line is addressed by the poet to himself. Note 2. Suvrikt{ is generally explained by a hymn of praise, and it cannot be denied that in this place, as in most others, that meaning would be quite satisfactory. Etymologically, however, suvrzkt{ means the cleaning and trimming of the grass on which, as,on a small altar, the oblation is offered : cf. vriktabarhis, I, 38,1, note 2, page 84. Hence, although the same word might be metaphorically applied to a carefully trimmed, pure, and holy hymn of praise, yet wherever in the Veda the primary meaning is applicable, it seems safer to retain it: cf. III, 61, 5; VI, 11, 5. Prof. Roth, in the Mélanges Asiatiques, vii, p. 612, calls the derivation, which he himself discovered, a ‘ Columbus- Egg.’ He derives suvrzkti from su-+kti, and translates it by excellent praise. He supports the insertion of v, by the analogy of su-v-ita, for su-ita. This derivation is certainly very ingenious, but there are some difficulties which have still to be accounted for. That the substantive rzkti does not occur by itself would not be fatal, because other words in the Veda occur as uttarapadas only. But there is the compound namovrikti in X, 131, 2, which shows that vrikti existed as a substantive, though it is true that the Vagasaneyins (X, 32) read namaukti instead. Taitt. S. I, 8, 21; Taitt. Br. II, 6,1, 3; and Ath. V. XX, 125, 2, have all namovyikti. There is also the compound svavrikti in RV. X, 21,1. Are these to be separated from su-vrikti, and ought we not to take into consideration also the Zend hvarsta, as pointed out by M. Darmesteter (Ormazd, IIo VEDIC HYMNS. p. 10, note), meaning well performed, perfect in a liturgical sense ? Note 8. Apas, with the accent on the last syllable, is the accusative plural of ap, water, and it is so explained by Sayaza. He translates: ‘I show forth these hymns of praise, like water, i.e. everywhere, as Parganya sends down rain at once in every place.’ Benfey explains: ‘I make these hymns smooth like water, i.e. so that they run smooth like water.’ He compares pu6pés, as derived from péw. Ludwig translates: ‘Als ein kunstfertiger das werk im geiste, auch geschickt mit der hand mach ich schén die in der opferversammlungen michtig wirkenden lieder.’ I thought formerly that we ought either to change the accent, and read dpa, or the last vowel, and read apa. In the former case the meaning would be, ‘As one wise in mind and clever performs his work, so do I compose these hymns.’ In the second case we should translate: ‘Like a workman, wise in mind and handy, I put together these hymns.’
2In the former case the meaning would be, ‘As one wise in mind and clever performs his work, so do I compose these hymns.’ In the second case we should translate: ‘Like a workman, wise in mind and handy, I put together these hymns.’ Still there is one point which has hitherto been overlooked by all translators, namely, that apa% viddtheshu Abhuvad, occurring in the first and sixth verses, ought to be taken in the same sense in both passages. Now apak vidatheshu 4bhivaZ seems to mean water efficacious at sacrifices. In the sixth verse I now translate: ‘The bounteous Maruts pour down water, mighty or efficacious at sacrifices, the fat milk (of the clouds).’ Hence in the first verse I should now like to translate: ‘I prepare my songs, like as a handy priest, wise in his mind, prepares the water mighty or efficacious at sacrifices. Roth assigns to vidatha a too exclusively political meaning. Viddtha may be an assembly, a public meeting, a witenagemot, or an éxxAnola, but public meetings at that time had always a religious character, so that vidatha must often be translated by sacrifice. Verse 2. Note 1. It is difficult to say in passages like this, whether Dyu should be taken as heaven or as a personified deity. When the Maruts are called Rudrdsya mary4, the boys of NOTES. I, 64, 4. III Rudra (VII, 56, 1), the personification is always preserved. Hence if the same beings are called Divas mary44, this too, I think, should be translated the boys of Dyu (III, 54,13; V, 59, 6), not the sons of heaven. The bulls of Dyu is a more primitive and more vigorous expression for what we should call the fertilising winds of heaven. Note 2. Marya is a male, particularly a young male, a young man, a bridegroom (I, 115, 2; III, 33,10; IV, 20, 5; V, 61, 4, with vira). The Maruts have grown strong like well-grown manly youths. See also V, 59, 3. V, 59, 5. mdary4h-iva su-vr/dhak vavridhus nara. The men have grown strong like well-grown stallions. In some passages it has simply the meaning of man: I, 91,13. madryah-iva své okyé. Like a man in his own house. Note 3. The simile, like giants, is not quite clear. Satvan means a strong man, but it seems intended here to convey the idea of supernatural strength. Benfey translates, ‘like brave warriors ;’ Wilson, ‘like evil spirits. Ghordvarpas is an adjective belonging to the Maruts rather than to the giants, and may mean of awful aspect, I,19, 5, or of cruel mind; cf. I, 39, 1, note 2. Verse 8. Note 1. Abhog-ghanaZ, the slayers of the demon, are the slayers of the clouds, viz. of such clouds as do not yield rain. Abhog, not nurturing, seems to be a name of the rainless cloud, like N4mufi (na-mué, not delivering rain), the name of another demon, killed by Indra; see Benfey, Glossar, s.v. The cloud which sends rain is called bhugman : VIII, 50, 2. girfh nd bhugma maghdvat-su pinvate. Like a feeding cloud he showers his gifts on the worshippers. Verse 4.
3The cloud which sends rain is called bhugman : VIII, 50, 2. girfh nd bhugma maghdvat-su pinvate. Like a feeding cloud he showers his gifts on the worshippers. Verse 4. Note 1. The ornaments of the Maruts are best described V, 54,11: 112 VEDIC HYMNS. amseshu vak rishtdyak pat-si khdddyak vdksha/-su rukmé. On your shoulders are the spears, on your feet rings, on your chests gold ornaments. See also I, 166, 10, &c. Rukma as a masc. plur. is frequently used for ornaments which are worn on the breast by the Maruts. The Maruts are actually called rukmavakshasaf, gold-breasted (II, 34, 2; V, 55,13 57,5). In the Asval. Srauta-sdtra IX, 4, rukma is mentioned as an ornament to be given to the Hoty? priest ; it is said to be round. Note 2. Vapushe and subhé, as parallel expressions, occur also VI, 63,6. Cf. Delbriick, K. Z. xviii, 96. Note 3. N{ mimrzkshur does not occur again in the Rig-veda, and Roth has suggested to read n{ mimikshur instead; see ni+marg. He does not, however, give our passage under mya, but under mraksh, and this seems indeed preferable. No doubt, there is ample analogy for mimikshu/, and the meaning would be, their spears stick firm to their shoulders. But as the MSS. give mimrtkshus, and as it is possible to find a meaning for this, I do not propose to alter the text. The question is only, what does mimrikshu# mean? Mraksh means to grind, to rub, and Roth proposes to render our passage by ‘the spears rub together on our shoulders.’ The objections to this translation are the preposition ni, and the active voice of the verb. I take mraksh in the sense of grinding, pounding, destroying, which is likewise appropriate to mraksha-krétvan (VIII, 61, 10), and tuvi-mraksha (VI, 18, 2), and I translate, ‘the spears on their shoulders pound to pieces.’ Note 4. The idea that the Maruts owe everything, if not their birth, at least their strength (sv4-tavasa/, sva-bhanavah, sva-srttak), to themselves is of frequent occurrence in these hymns. See verse 7, note I. Verse 5. Note 1. They are themselves compared to kings (I, 85, 8), and called is4nd, lords (I, 87, 4). Note 2. Dhuni is connected with root dhvan, to dun or NOTES. 1, 64, 6. 113 to din. SAyawa explains it by bending or shaking, and Benfey, too, translates it by Erschiitterer. Roth gives the right meaning. Verse 6.
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.
1(the host of the Maruts) come early and soon! NOTES. I, 64, I. 109 NOTES. This hymn is ascribed to Nodhas, of the family of Gotama. No verse of this hymn occurs in SV., VS., AV.; but verse 6=TS. III, 1, 11, 7. Verse 1. Note 1. The first line is addressed by the poet to himself. Note 2. Suvrikt{ is generally explained by a hymn of praise, and it cannot be denied that in this place, as in most others, that meaning would be quite satisfactory. Etymologically, however, suvrzkt{ means the cleaning and trimming of the grass on which, as,on a small altar, the oblation is offered : cf. vriktabarhis, I, 38,1, note 2, page 84. Hence, although the same word might be metaphorically applied to a carefully trimmed, pure, and holy hymn of praise, yet wherever in the Veda the primary meaning is applicable, it seems safer to retain it: cf. III, 61, 5; VI, 11, 5. Prof. Roth, in the Mélanges Asiatiques, vii, p. 612, calls the derivation, which he himself discovered, a ‘ Columbus- Egg.’ He derives suvrzkti from su-+kti, and translates it by excellent praise. He supports the insertion of v, by the analogy of su-v-ita, for su-ita. This derivation is certainly very ingenious, but there are some difficulties which have still to be accounted for. That the substantive rzkti does not occur by itself would not be fatal, because other words in the Veda occur as uttarapadas only. But there is the compound namovrikti in X, 131, 2, which shows that vrikti existed as a substantive, though it is true that the Vagasaneyins (X, 32) read namaukti instead. Taitt. S. I, 8, 21; Taitt. Br. II, 6,1, 3; and Ath. V. XX, 125, 2, have all namovyikti. There is also the compound svavrikti in RV. X, 21,1. Are these to be separated from su-vrikti, and ought we not to take into consideration also the Zend hvarsta, as pointed out by M. Darmesteter (Ormazd, IIo VEDIC HYMNS. p. 10, note), meaning well performed, perfect in a liturgical sense ? Note 8. Apas, with the accent on the last syllable, is the accusative plural of ap, water, and it is so explained by Sayaza. He translates: ‘I show forth these hymns of praise, like water, i.e. everywhere, as Parganya sends down rain at once in every place.’ Benfey explains: ‘I make these hymns smooth like water, i.e. so that they run smooth like water.’ He compares pu6pés, as derived from péw. Ludwig translates: ‘Als ein kunstfertiger das werk im geiste, auch geschickt mit der hand mach ich schén die in der opferversammlungen michtig wirkenden lieder.’ I thought formerly that we ought either to change the accent, and read dpa, or the last vowel, and read apa. In the former case the meaning would be, ‘As one wise in mind and clever performs his work, so do I compose these hymns.’ In the second case we should translate: ‘Like a workman, wise in mind and handy, I put together these hymns.’
2In the former case the meaning would be, ‘As one wise in mind and clever performs his work, so do I compose these hymns.’ In the second case we should translate: ‘Like a workman, wise in mind and handy, I put together these hymns.’ Still there is one point which has hitherto been overlooked by all translators, namely, that apa% viddtheshu Abhuvad, occurring in the first and sixth verses, ought to be taken in the same sense in both passages. Now apak vidatheshu 4bhivaZ seems to mean water efficacious at sacrifices. In the sixth verse I now translate: ‘The bounteous Maruts pour down water, mighty or efficacious at sacrifices, the fat milk (of the clouds).’ Hence in the first verse I should now like to translate: ‘I prepare my songs, like as a handy priest, wise in his mind, prepares the water mighty or efficacious at sacrifices. Roth assigns to vidatha a too exclusively political meaning. Viddtha may be an assembly, a public meeting, a witenagemot, or an éxxAnola, but public meetings at that time had always a religious character, so that vidatha must often be translated by sacrifice. Verse 2. Note 1. It is difficult to say in passages like this, whether Dyu should be taken as heaven or as a personified deity. When the Maruts are called Rudrdsya mary4, the boys of NOTES. I, 64, 4. III Rudra (VII, 56, 1), the personification is always preserved. Hence if the same beings are called Divas mary44, this too, I think, should be translated the boys of Dyu (III, 54,13; V, 59, 6), not the sons of heaven. The bulls of Dyu is a more primitive and more vigorous expression for what we should call the fertilising winds of heaven. Note 2. Marya is a male, particularly a young male, a young man, a bridegroom (I, 115, 2; III, 33,10; IV, 20, 5; V, 61, 4, with vira). The Maruts have grown strong like well-grown manly youths. See also V, 59, 3. V, 59, 5. mdary4h-iva su-vr/dhak vavridhus nara. The men have grown strong like well-grown stallions. In some passages it has simply the meaning of man: I, 91,13. madryah-iva své okyé. Like a man in his own house. Note 3. The simile, like giants, is not quite clear. Satvan means a strong man, but it seems intended here to convey the idea of supernatural strength. Benfey translates, ‘like brave warriors ;’ Wilson, ‘like evil spirits. Ghordvarpas is an adjective belonging to the Maruts rather than to the giants, and may mean of awful aspect, I,19, 5, or of cruel mind; cf. I, 39, 1, note 2. Verse 8. Note 1. Abhog-ghanaZ, the slayers of the demon, are the slayers of the clouds, viz. of such clouds as do not yield rain. Abhog, not nurturing, seems to be a name of the rainless cloud, like N4mufi (na-mué, not delivering rain), the name of another demon, killed by Indra; see Benfey, Glossar, s.v. The cloud which sends rain is called bhugman : VIII, 50, 2. girfh nd bhugma maghdvat-su pinvate. Like a feeding cloud he showers his gifts on the worshippers. Verse 4.
3The cloud which sends rain is called bhugman : VIII, 50, 2. girfh nd bhugma maghdvat-su pinvate. Like a feeding cloud he showers his gifts on the worshippers. Verse 4. Note 1. The ornaments of the Maruts are best described V, 54,11: 112 VEDIC HYMNS. amseshu vak rishtdyak pat-si khdddyak vdksha/-su rukmé. On your shoulders are the spears, on your feet rings, on your chests gold ornaments. See also I, 166, 10, &c. Rukma as a masc. plur. is frequently used for ornaments which are worn on the breast by the Maruts. The Maruts are actually called rukmavakshasaf, gold-breasted (II, 34, 2; V, 55,13 57,5). In the Asval. Srauta-sdtra IX, 4, rukma is mentioned as an ornament to be given to the Hoty? priest ; it is said to be round. Note 2. Vapushe and subhé, as parallel expressions, occur also VI, 63,6. Cf. Delbriick, K. Z. xviii, 96. Note 3. N{ mimrzkshur does not occur again in the Rig-veda, and Roth has suggested to read n{ mimikshur instead; see ni+marg. He does not, however, give our passage under mya, but under mraksh, and this seems indeed preferable. No doubt, there is ample analogy for mimikshu/, and the meaning would be, their spears stick firm to their shoulders. But as the MSS. give mimrtkshus, and as it is possible to find a meaning for this, I do not propose to alter the text. The question is only, what does mimrikshu# mean? Mraksh means to grind, to rub, and Roth proposes to render our passage by ‘the spears rub together on our shoulders.’ The objections to this translation are the preposition ni, and the active voice of the verb. I take mraksh in the sense of grinding, pounding, destroying, which is likewise appropriate to mraksha-krétvan (VIII, 61, 10), and tuvi-mraksha (VI, 18, 2), and I translate, ‘the spears on their shoulders pound to pieces.’ Note 4. The idea that the Maruts owe everything, if not their birth, at least their strength (sv4-tavasa/, sva-bhanavah, sva-srttak), to themselves is of frequent occurrence in these hymns. See verse 7, note I. Verse 5. Note 1. They are themselves compared to kings (I, 85, 8), and called is4nd, lords (I, 87, 4). Note 2. Dhuni is connected with root dhvan, to dun or NOTES. 1, 64, 6. 113 to din. SAyawa explains it by bending or shaking, and Benfey, too, translates it by Erschiitterer. Roth gives the right meaning. Verse 6.
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.