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Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1Lastly, even the wealth itself which the Maruts are asked to send down from heaven, most likely rain, is called, VIII, 7,13, rayim mada-Zyutam puru-kshim visvadhayasam. . In all these passages we must translate mada-kyut by bringing delight, showering down delight. We have thus arrived at the conclusion that vr/shazam mada-éyitam, as used in our passage I, 85, 7, might be meant either for Indra or for Soma. If the Asvins can be called vréshazau mada-kyuta, the same expression would be even more applicable to Indra. On the other hand, if Soma is called vrishabha# mada-kyiut, the same Soma may legitimately be called vv/sh4 mada-#yut. In deciding whether Indra or Soma be meant, we must now have recourse to other hymns, in which the relations of the Maruts with Vishzu, Soma, and Indra are alluded to. If Indra were intended, and if the first words meant ‘When Vishzu perceived the approach of Indra,’ we should expect, not that the Maruts sat down on the sacrificial pile, but that they rushed to the battle. The idea that the Maruts come to the sacrifice, like birds, is common enough: VIII, 20,10. vrishamasvéna marutah vr/sha-psuna rathena vrisha-nabhiné, & syenasak na pakshizah vritha narak havy& nak vitaye gata. Come ye Maruts together, to eat our offerings, on your NOTES. I, 85, 10. 137 strong-horsed, strong-shaped, strong-naved chariot, like winged hawks! But when the Maruts thus come to a sacrifice it is to participate in it, and particularly in the Soma that is offered by the sacrificer. This Soma, it is said in other hymns, was prepared by Vishu for Indra (II, 22, 1), and Vishvu is said to have brought the Soma for Indra (X, 113, 2). If we keep these and similar passages in mind, and consider that in the preceding verse the Maruts have been invited to sit down on the sacrificial pile and to rejoice in the sweet food, we shall see that the same train of thought is carried on in our verse, the only new idea being that the saving or, possibly, the descrying of the Soma is ascribed to Vishnu. See, however, Bergaigne, Journ. Asiat. 1884, p. 472. Verse 8. Note 1. On na and iva together, see Bollensen, Orient und Occident, II, 470. Verse 9. Note 1, Tvdshfar, the workman of the gods, frequently also the fashioner and creator.
2See, however, Bergaigne, Journ. Asiat. 1884, p. 472. Verse 8. Note 1. On na and iva together, see Bollensen, Orient und Occident, II, 470. Verse 9. Note 1, Tvdshfar, the workman of the gods, frequently also the fashioner and creator. Note 2. Nari, the loc. sing. of nvri, but, if so, with a wrong accent, occurs only in this phrase as used here, and as repeated in VIII, 96, 19. nari dpamsi kartA sah vritraha. Its meaning is not clear. It can hardly mean ‘on man, without some more definite application. If nr¢ could be used as a name of Vritra or any other enemy, it would mean, to do his deeds against the man, on the enemy. Nri, however, is ordinarily an honorific term, chiefly applied to Indra, IV, 25, 4. ndre ndryaya nvf-tamaya nrizim, and hence its application to Vritra would be objectionable. Sayama explains it in the sense of battle. I believe that nari stands for ndry4, the acc. plur. neut. of ndrya, manly, and the frequent epithet of dpas, and I have translated accordingly. Indra is called ndrya-apas, VIII, 93, 1. See also Kuhn’s Zeitschrift, vol. xxv, p. 601. Verse 10. Note 1. Avatd, a well, here meant for cloud, like utsa, I, 64, 6. 138 VEDIC HYMNS. Note 2. Dhamanta’ vaadm is translated by Sdyaza as playing on the lyre, by Benfey as blowing the flute. Such a rendering, particularly the latter, would be very appropriate, but there is no authority for vind meaning either lyre or flute in the Veda. V4md occurs five times only. In one passage, VIII, 20, 8. gébhiz vandh agyate, it means arrow ; the arrow is sent-forth from the bow-strings. The same meaning seems applicable to IX, 50, 1. va#dsya kodaya pavim. In another passage, IX, 97, 8. pra vadanti vamam, they send forth their voice, is applied to the Maruts, as in our passage; in IV, 24, 9, the sense is doubtful, but here too va#zd clearly does not mean a musical instrument. See III, 30, 10. Spiegel compares the Huzvaresh and Armenian vang (Pers. banig), voice. M. Senart (Journal Asiatique, 1874, p. 281) is in favour of taking vaza for flute. Verse 12. Note 1. In the Taitt. S. I, 5, 11, we have sasamanaya, and in the Taitt. Br. II, 8, 5, 6, samsamandya, but Sayaza explains sasam4naya, samsanam kurvate. He explains tridhatdni by asanam, panam, kh4danam. Vréshan.
3281) is in favour of taking vaza for flute. Verse 12. Note 1. In the Taitt. S. I, 5, 11, we have sasamanaya, and in the Taitt. Br. II, 8, 5, 6, samsamandya, but Sayaza explains sasam4naya, samsanam kurvate. He explains tridhatdni by asanam, panam, kh4danam. Vréshan. Note 2. In vvéshan we have one of those words which it is almost impossible to translate accurately. It occurs over and over again in the Vedic hymns, and if we once know the various ideas which it either expresses or implies, we have little difficulty in understanding its import in a vague and general way, though we look in vain for corresponding terms in any modern language. In the Veda, and in ancient languages generally, one and the same word is frequently made to do service for many. Words retain their general meaning, though at the same time they are evidently used with a definite purpose. This is not only a peculiar phase of language, but a peculiar phase of thought, and as to us this phase has become strange and unreal, it is very difficult to transport ourselves back into it, still more to translate the pregnant terms of the Vedic poets into the definite languages which we have to use. Let us imagine a state of NOTES. I, 85, 12. 139 thought and speech in which virtus still meant manliness, though it might also be applied to the virtue of a woman ; or let us try to speak and think a language which expressed the bright and the divine, the brilliant and the beautiful, the straight and the right, the bull and the hero, the shepherd and the king by the same terms, and we shall see how difficult it would be to translate such terms without losing either the key-note that was still sounding, or the harmonics which were set vibrating by it in the minds of the poets and their listeners, I. Vr¢shan, male. Vréshan, being derived from a root vvésh, spargere, meant no doubt originally the male, whether applied to animals or men. In this sense vrfshan occurs frequently in the Veda, either as determining the sex of the animal which is mentioned, or as standing by itself and meaning the male. In either case, however, it implies the idea of strength and eminence, which we lose whether we translate it by man or male. Thus dsva is horse, but VII, 69, 1, we read: @ vam rathah—vrtsha-bhik yatu dsvaih. May your chariot come near with powerful horses, i. e. with stallions, The Haris, the horses of Indra, are frequently called vrishaxa : I, 177, 1. yuktv@ hart (iti) vréshana. Having yoked the bay stallions. Vrishabha, though itself originally meaning the male animal, had become fixed as the name of the bull, and in this process it had lost so much of its etymological import that the Vedic poet did not hesitate to define vréshabha itself by the addition of vy/shan. Thus we find: VIII, 93, 7. sd& vrtsha vrishabha/ bhuvat. May he (Indra) be a strong bull. I, 54, 2. vrfsha vrisha-tvaé vrishabha&. Indra by his strength a strong bull; but, literally, Indra by his manliness a male bull.
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.
1Lastly, even the wealth itself which the Maruts are asked to send down from heaven, most likely rain, is called, VIII, 7,13, rayim mada-Zyutam puru-kshim visvadhayasam. . In all these passages we must translate mada-kyut by bringing delight, showering down delight. We have thus arrived at the conclusion that vr/shazam mada-éyitam, as used in our passage I, 85, 7, might be meant either for Indra or for Soma. If the Asvins can be called vréshazau mada-kyuta, the same expression would be even more applicable to Indra. On the other hand, if Soma is called vrishabha# mada-kyiut, the same Soma may legitimately be called vv/sh4 mada-#yut. In deciding whether Indra or Soma be meant, we must now have recourse to other hymns, in which the relations of the Maruts with Vishzu, Soma, and Indra are alluded to. If Indra were intended, and if the first words meant ‘When Vishzu perceived the approach of Indra,’ we should expect, not that the Maruts sat down on the sacrificial pile, but that they rushed to the battle. The idea that the Maruts come to the sacrifice, like birds, is common enough: VIII, 20,10. vrishamasvéna marutah vr/sha-psuna rathena vrisha-nabhiné, & syenasak na pakshizah vritha narak havy& nak vitaye gata. Come ye Maruts together, to eat our offerings, on your NOTES. I, 85, 10. 137 strong-horsed, strong-shaped, strong-naved chariot, like winged hawks! But when the Maruts thus come to a sacrifice it is to participate in it, and particularly in the Soma that is offered by the sacrificer. This Soma, it is said in other hymns, was prepared by Vishu for Indra (II, 22, 1), and Vishvu is said to have brought the Soma for Indra (X, 113, 2). If we keep these and similar passages in mind, and consider that in the preceding verse the Maruts have been invited to sit down on the sacrificial pile and to rejoice in the sweet food, we shall see that the same train of thought is carried on in our verse, the only new idea being that the saving or, possibly, the descrying of the Soma is ascribed to Vishnu. See, however, Bergaigne, Journ. Asiat. 1884, p. 472. Verse 8. Note 1. On na and iva together, see Bollensen, Orient und Occident, II, 470. Verse 9. Note 1, Tvdshfar, the workman of the gods, frequently also the fashioner and creator.
2See, however, Bergaigne, Journ. Asiat. 1884, p. 472. Verse 8. Note 1. On na and iva together, see Bollensen, Orient und Occident, II, 470. Verse 9. Note 1, Tvdshfar, the workman of the gods, frequently also the fashioner and creator. Note 2. Nari, the loc. sing. of nvri, but, if so, with a wrong accent, occurs only in this phrase as used here, and as repeated in VIII, 96, 19. nari dpamsi kartA sah vritraha. Its meaning is not clear. It can hardly mean ‘on man, without some more definite application. If nr¢ could be used as a name of Vritra or any other enemy, it would mean, to do his deeds against the man, on the enemy. Nri, however, is ordinarily an honorific term, chiefly applied to Indra, IV, 25, 4. ndre ndryaya nvf-tamaya nrizim, and hence its application to Vritra would be objectionable. Sayama explains it in the sense of battle. I believe that nari stands for ndry4, the acc. plur. neut. of ndrya, manly, and the frequent epithet of dpas, and I have translated accordingly. Indra is called ndrya-apas, VIII, 93, 1. See also Kuhn’s Zeitschrift, vol. xxv, p. 601. Verse 10. Note 1. Avatd, a well, here meant for cloud, like utsa, I, 64, 6. 138 VEDIC HYMNS. Note 2. Dhamanta’ vaadm is translated by Sdyaza as playing on the lyre, by Benfey as blowing the flute. Such a rendering, particularly the latter, would be very appropriate, but there is no authority for vind meaning either lyre or flute in the Veda. V4md occurs five times only. In one passage, VIII, 20, 8. gébhiz vandh agyate, it means arrow ; the arrow is sent-forth from the bow-strings. The same meaning seems applicable to IX, 50, 1. va#dsya kodaya pavim. In another passage, IX, 97, 8. pra vadanti vamam, they send forth their voice, is applied to the Maruts, as in our passage; in IV, 24, 9, the sense is doubtful, but here too va#zd clearly does not mean a musical instrument. See III, 30, 10. Spiegel compares the Huzvaresh and Armenian vang (Pers. banig), voice. M. Senart (Journal Asiatique, 1874, p. 281) is in favour of taking vaza for flute. Verse 12. Note 1. In the Taitt. S. I, 5, 11, we have sasamanaya, and in the Taitt. Br. II, 8, 5, 6, samsamandya, but Sayaza explains sasam4naya, samsanam kurvate. He explains tridhatdni by asanam, panam, kh4danam. Vréshan.
3281) is in favour of taking vaza for flute. Verse 12. Note 1. In the Taitt. S. I, 5, 11, we have sasamanaya, and in the Taitt. Br. II, 8, 5, 6, samsamandya, but Sayaza explains sasam4naya, samsanam kurvate. He explains tridhatdni by asanam, panam, kh4danam. Vréshan. Note 2. In vvéshan we have one of those words which it is almost impossible to translate accurately. It occurs over and over again in the Vedic hymns, and if we once know the various ideas which it either expresses or implies, we have little difficulty in understanding its import in a vague and general way, though we look in vain for corresponding terms in any modern language. In the Veda, and in ancient languages generally, one and the same word is frequently made to do service for many. Words retain their general meaning, though at the same time they are evidently used with a definite purpose. This is not only a peculiar phase of language, but a peculiar phase of thought, and as to us this phase has become strange and unreal, it is very difficult to transport ourselves back into it, still more to translate the pregnant terms of the Vedic poets into the definite languages which we have to use. Let us imagine a state of NOTES. I, 85, 12. 139 thought and speech in which virtus still meant manliness, though it might also be applied to the virtue of a woman ; or let us try to speak and think a language which expressed the bright and the divine, the brilliant and the beautiful, the straight and the right, the bull and the hero, the shepherd and the king by the same terms, and we shall see how difficult it would be to translate such terms without losing either the key-note that was still sounding, or the harmonics which were set vibrating by it in the minds of the poets and their listeners, I. Vr¢shan, male. Vréshan, being derived from a root vvésh, spargere, meant no doubt originally the male, whether applied to animals or men. In this sense vrfshan occurs frequently in the Veda, either as determining the sex of the animal which is mentioned, or as standing by itself and meaning the male. In either case, however, it implies the idea of strength and eminence, which we lose whether we translate it by man or male. Thus dsva is horse, but VII, 69, 1, we read: @ vam rathah—vrtsha-bhik yatu dsvaih. May your chariot come near with powerful horses, i. e. with stallions, The Haris, the horses of Indra, are frequently called vrishaxa : I, 177, 1. yuktv@ hart (iti) vréshana. Having yoked the bay stallions. Vrishabha, though itself originally meaning the male animal, had become fixed as the name of the bull, and in this process it had lost so much of its etymological import that the Vedic poet did not hesitate to define vréshabha itself by the addition of vy/shan. Thus we find: VIII, 93, 7. sd& vrtsha vrishabha/ bhuvat. May he (Indra) be a strong bull. I, 54, 2. vrfsha vrisha-tvaé vrishabha&. Indra by his strength a strong bull; but, literally, Indra by his manliness a male bull.
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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