Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1, the sun ; Aufrecht, 1. c, p. 344, the moon, the father of sorcery ; Grassmann, in his translation of the Rigveda, I, 343, the starry heaven. In RV. I, 154, 6 the stars are said to be bhuri-^rmga, 'having many horns;' this seems to fortify Grassmann's view. Agni is also fitted for this epithet, since his flames and sparks may be viewed as horns. But lire (light) little befits the occasion. Stanza 3. c. Saya^a, pu/*yagandhaya^ ^obhanagandhayukta^. Pischel, 1. c, p. 57 ff., adduces proof that the Hindus of later times imagined that their women gave forth fragrance during intercourse ; hence, that the women here mentioned are awaiting their lovers. This narrow construction of the word is hardly necessary in the light of Manu V, 130; Marka/^eya Pura//a XXXV, 12, quoted by Pischel himself. Stanza 5. d. Saya;za, ida//z drtsyamknam harmyaw yathct dar^a- naj-akti^unya^ tatha, * as these premises, though seen, are (themselves) devoid of the power of seeing.' IV, 6. Commentary to page 35. According to the commentators, Darila, Ke^ava, and Saya/^a, the performances for removing poison at Kaus. 28, 1-4 include the recitation of this as well as the next hymn (IV, 7). Kau^ika, however, rubricates only IV, 6, as fol- lows : 1. i While reciting IV, 6, in a low voice, and making 374 HYMNS OF THE ATHARVA-VEDA. obeisance to Takshaka1, the patient is made to sip water and is sprinkled with water. 2. The same performance takes place with water into which has been put a branch of the krzmuka-tree, which has been ground to pieces, and then the patient is sprinkled with water warmed by quench- ing in it a heated old garment 2, or a heated old skin of an antelope, or a heated wisp of a broom 3. 3. In a water- vessel which has been smeared with the dregs of ghee a mixed drink is stirred by means of two arrows (whose points) have been daubed (with poison ; cf. st. 7), and whose points are upward 4 ; then lumps of earth 5 are broken into it (while the hymns are being recited) stanza by stanza, and the mixture is drunk until vomiting takes place. 4. Then the patient is given to drink yellow curcuma in ghee (cf. IV, 7, 2, and especially 3)/ The hymn has been translated by Ludwig, Der Rig- veda, III,5i2. Stanza 1. For the cosmogonic conception in the first hemistich, cf. Muir, Orig. Sanskrit Texts, I2, p. 21. In the Ramaya^a (cf. IV, 10, 22), the demon Rava^a is represented as a 1 Takshaka Vaualeya, a serpent-god ; cf. Kaiu. 29, 1; 32, 20; 56, 13, and Ind. Stud. I, 35.
2he cosmogonic conception in the first hemistich, cf. Muir, Orig. Sanskrit Texts, I2, p. 21. In the Ramaya^a (cf. IV, 10, 22), the demon Rava^a is represented as a 1 Takshaka Vaualeya, a serpent-god ; cf. Kaiu. 29, 1; 32, 20; 56, 13, and Ind. Stud. I, 35. 2 Darila, ^ir//avasa^ ; Ke^ava, dunnaka^, or dullaka/i The passages are not given in the edition. 3 The Sutra abounds in subtle symbolic allusions. The krzmuka- tree embodies the bow (karmuka) ; cf. sts. 4, 6. The garment, and the old antelope-skin refer to IV, 7, 6. For ^vala cf. Kau^. 27, 29, in the introduction to III, 7. Darila glosses avakara by ukura- /ikatrz/zani ; Kcrava by ukari^ika marg-anikatr/wam ; Sayawa has patitamar^-anika^akalai^ ; cf. Kamika, Introduction, p. xlv, bottom. 4 For urdhvaphalabhyam see Kaiwika, Introduction, p. Hi, s.v. phala. The poisoned arrows with their points upward symbolise the flight of the poison away from the patient ; cf. sts. 4, 5. 5 Darila glosses rayidhara/zapi/zdan by bhumis tanmayan piw^an. But Ke^ava (and Saya//a with him, as usual) has madanaphalani, ' fruit from the madana-plant/ And Ke^ava remarks anent this plant, yatha Mardayati. IV, 6. COMMENTARY. 375 Brahma/za with ten heads. S&ya^a identifies the Brahmawa with Takshaka, in accordance with the Sutra, above. Stanza 2. Cf. Vkg. S. XXXVIII, 26, and for the seven rivers, Max Muller, Chips from a German Workshop, I, 63 ; Muir, 1. c, p. 490, note ; Zimmer, Altindisches Leben, p. 21. Stanza 3. The poison is evidently a plant (Saya/za, kandavisha), since the eagle is constantly associated with the origin and functions of medicinal and magic plants; see I, 24, 1; II, 27, 2 ; IV, 20, 3 ; V, 14, 1, and especially our note on IV, 20, 3. For amimada^ in Pada c, cf. madavati in IV, 7, 4 a. Stanza 4. c. The rendering of apaskambha is mere conjecture. Neither the root skambh nor stambh occurs with the pre- position apa. The Pet. Lexs., and Zimmer, 1. c, p. 300, ' the fastening of the point upon the shaft of the arrow ; ' Ludwig, ' widerhaken.' Saya;za has two explanations neither of which is satisfactory, apaskabhyate vidharyate antarikshe iti apaskambha^ kramukavrzksha^ (cf. Kaui". 28, 2, above) tasya ^alyad jakalat . . . yadva avaskabhyate dhanushi dharyate iti apaskambho bana/i. Our own ' tearing (arrow) ' is based upon the supposition that apa + skambh may mean ' uproot/ or the like, as opposite of skambh. Stanza 5. For the parts of the arrow as described here, see Zimmer, 1. c, p. 300. Saya^a, pra^-anat pralepat . . . apash/Mt apakr/sh^vasthad etatsaw^Tzad vishopadanat.
3on the supposition that apa + skambh may mean ' uproot/ or the like, as opposite of skambh. Stanza 5. For the parts of the arrow as described here, see Zimmer, 1. c, p. 300. Saya^a, pra^-anat pralepat . . . apash/Mt apakr/sh^vasthad etatsaw^Tzad vishopadanat. We have translated apash/M£ kkrihgkt, ' from its barbed horn/ deriving ap&shMa from the root as in a^ri, ' corner ; ' cf. ash//nvantau, ' the knees/ Saya/za ascends the dizziest height of absurdity in his rendering of kulmalat, to wit : kutsitaprammala£ ka. yad 376 HYMNS OF THE ATHARVA-VEDA. udbhuta//z visham, 'the poison sprung from the filth of loathsome animals.' Stanza 7. Saya/za agrees with all Western authorities in deriving apishan from the root pish, to wit : aushadham api;/zshan. He glosses vishagiri by kandamuladivishotpattihetu/z par- vata/z. IV, 7. Commentary to page 26. The practices, Kau.y. 28, 1-4, obviously refer to this hymn as well as IV, 6. See the introduction to the pre- ceding hymn. Translations are offered by Ludwig, Der Rigveda, III, 201 ; Grill2, pp. 28, 121 ff. The Anukrama/zi, vanaspatyam. Stanza 1. All Western interpreters regard varazzavati as a river ; cf., in addition to the authorities given above, Zimmer, Altindisches Leben, p. 20. Saya/za, vara/za n&ma vrzksha- visesh&A te asyam santi*ti vara/z&vati ; cf. vara^a (crataeva roxburghii), AV. VI, 85, 1 ; X, 3, 2 ff., where the same puns upon derivatives of the root var are displayed. The formation of the word vara/zavati might be compared with .ritikavati and hladikavati in RV. X, 16, i4 = AV. XVIII, 3, 60 ; see our Contributions, Second Series, Amer. Journ. Phil. XI, p. 341 ff. Cf. also madavati in st. 4 (cf. IV, 6, 3 c), as a designation of the poisonous plant, vara/zavati would then be the name of the curative plant, the antidote, ' affording protection/ But the ceremonies in the Sutra (28, 1) begin with the use of water, and the appearance of var in Pada a also points to the name of a river. Stanza 2. d. Cf. RV. I, 187, 10; Apast. Sv. XII, 4, 13. Cf. for this and the next stanza the ritual, above, Kau^. 28, 4. Stanza 3. a. In deciding upon the meaning of tiryam we have had in mind the evident concatenation of st. 2 with 3 a, b. The IV, 7- COMMENTARY. 377 thought is continued, and, as is customary in catenary con- structions, a new motif is added, tirya//z (sc. visham) in addition to the pra^yam, &c. of stanza 2. Since pra^yam, &c. indicate directions, we have regarded tiryam in the same light, i.e. as a variant of thyank ; cf. X, 2, 11.-24. 25- 28; 8, 19; XI, 4, 25; XV, 3, 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 sun ; Aufrecht, 1. c, p. 344, the moon, the father of sorcery ; Grassmann, in his translation of the Rigveda, I, 343, the starry heaven. In RV. I, 154, 6 the stars are said to be bhuri-^rmga, 'having many horns;' this seems to fortify Grassmann's view. Agni is also fitted for this epithet, since his flames and sparks may be viewed as horns. But lire (light) little befits the occasion. Stanza 3. c. Saya^a, pu/*yagandhaya^ ^obhanagandhayukta^. Pischel, 1. c, p. 57 ff., adduces proof that the Hindus of later times imagined that their women gave forth fragrance during intercourse ; hence, that the women here mentioned are awaiting their lovers. This narrow construction of the word is hardly necessary in the light of Manu V, 130; Marka/^eya Pura//a XXXV, 12, quoted by Pischel himself. Stanza 5. d. Saya;za, ida//z drtsyamknam harmyaw yathct dar^a- naj-akti^unya^ tatha, * as these premises, though seen, are (themselves) devoid of the power of seeing.' IV, 6. Commentary to page 35. According to the commentators, Darila, Ke^ava, and Saya/^a, the performances for removing poison at Kaus. 28, 1-4 include the recitation of this as well as the next hymn (IV, 7). Kau^ika, however, rubricates only IV, 6, as fol- lows : 1. i While reciting IV, 6, in a low voice, and making 374 HYMNS OF THE ATHARVA-VEDA. obeisance to Takshaka1, the patient is made to sip water and is sprinkled with water. 2. The same performance takes place with water into which has been put a branch of the krzmuka-tree, which has been ground to pieces, and then the patient is sprinkled with water warmed by quench- ing in it a heated old garment 2, or a heated old skin of an antelope, or a heated wisp of a broom 3. 3. In a water- vessel which has been smeared with the dregs of ghee a mixed drink is stirred by means of two arrows (whose points) have been daubed (with poison ; cf. st. 7), and whose points are upward 4 ; then lumps of earth 5 are broken into it (while the hymns are being recited) stanza by stanza, and the mixture is drunk until vomiting takes place. 4. Then the patient is given to drink yellow curcuma in ghee (cf. IV, 7, 2, and especially 3)/ The hymn has been translated by Ludwig, Der Rig- veda, III,5i2. Stanza 1. For the cosmogonic conception in the first hemistich, cf. Muir, Orig. Sanskrit Texts, I2, p. 21. In the Ramaya^a (cf. IV, 10, 22), the demon Rava^a is represented as a 1 Takshaka Vaualeya, a serpent-god ; cf. Kaiu. 29, 1; 32, 20; 56, 13, and Ind. Stud. I, 35.
2he cosmogonic conception in the first hemistich, cf. Muir, Orig. Sanskrit Texts, I2, p. 21. In the Ramaya^a (cf. IV, 10, 22), the demon Rava^a is represented as a 1 Takshaka Vaualeya, a serpent-god ; cf. Kaiu. 29, 1; 32, 20; 56, 13, and Ind. Stud. I, 35. 2 Darila, ^ir//avasa^ ; Ke^ava, dunnaka^, or dullaka/i The passages are not given in the edition. 3 The Sutra abounds in subtle symbolic allusions. The krzmuka- tree embodies the bow (karmuka) ; cf. sts. 4, 6. The garment, and the old antelope-skin refer to IV, 7, 6. For ^vala cf. Kau^. 27, 29, in the introduction to III, 7. Darila glosses avakara by ukura- /ikatrz/zani ; Kcrava by ukari^ika marg-anikatr/wam ; Sayawa has patitamar^-anika^akalai^ ; cf. Kamika, Introduction, p. xlv, bottom. 4 For urdhvaphalabhyam see Kaiwika, Introduction, p. Hi, s.v. phala. The poisoned arrows with their points upward symbolise the flight of the poison away from the patient ; cf. sts. 4, 5. 5 Darila glosses rayidhara/zapi/zdan by bhumis tanmayan piw^an. But Ke^ava (and Saya//a with him, as usual) has madanaphalani, ' fruit from the madana-plant/ And Ke^ava remarks anent this plant, yatha Mardayati. IV, 6. COMMENTARY. 375 Brahma/za with ten heads. S&ya^a identifies the Brahmawa with Takshaka, in accordance with the Sutra, above. Stanza 2. Cf. Vkg. S. XXXVIII, 26, and for the seven rivers, Max Muller, Chips from a German Workshop, I, 63 ; Muir, 1. c, p. 490, note ; Zimmer, Altindisches Leben, p. 21. Stanza 3. The poison is evidently a plant (Saya/za, kandavisha), since the eagle is constantly associated with the origin and functions of medicinal and magic plants; see I, 24, 1; II, 27, 2 ; IV, 20, 3 ; V, 14, 1, and especially our note on IV, 20, 3. For amimada^ in Pada c, cf. madavati in IV, 7, 4 a. Stanza 4. c. The rendering of apaskambha is mere conjecture. Neither the root skambh nor stambh occurs with the pre- position apa. The Pet. Lexs., and Zimmer, 1. c, p. 300, ' the fastening of the point upon the shaft of the arrow ; ' Ludwig, ' widerhaken.' Saya;za has two explanations neither of which is satisfactory, apaskabhyate vidharyate antarikshe iti apaskambha^ kramukavrzksha^ (cf. Kaui". 28, 2, above) tasya ^alyad jakalat . . . yadva avaskabhyate dhanushi dharyate iti apaskambho bana/i. Our own ' tearing (arrow) ' is based upon the supposition that apa + skambh may mean ' uproot/ or the like, as opposite of skambh. Stanza 5. For the parts of the arrow as described here, see Zimmer, 1. c, p. 300. Saya^a, pra^-anat pralepat . . . apash/Mt apakr/sh^vasthad etatsaw^Tzad vishopadanat.
3on the supposition that apa + skambh may mean ' uproot/ or the like, as opposite of skambh. Stanza 5. For the parts of the arrow as described here, see Zimmer, 1. c, p. 300. Saya^a, pra^-anat pralepat . . . apash/Mt apakr/sh^vasthad etatsaw^Tzad vishopadanat. We have translated apash/M£ kkrihgkt, ' from its barbed horn/ deriving ap&shMa from the root as in a^ri, ' corner ; ' cf. ash//nvantau, ' the knees/ Saya/za ascends the dizziest height of absurdity in his rendering of kulmalat, to wit : kutsitaprammala£ ka. yad 376 HYMNS OF THE ATHARVA-VEDA. udbhuta//z visham, 'the poison sprung from the filth of loathsome animals.' Stanza 7. Saya/za agrees with all Western authorities in deriving apishan from the root pish, to wit : aushadham api;/zshan. He glosses vishagiri by kandamuladivishotpattihetu/z par- vata/z. IV, 7. Commentary to page 26. The practices, Kau.y. 28, 1-4, obviously refer to this hymn as well as IV, 6. See the introduction to the pre- ceding hymn. Translations are offered by Ludwig, Der Rigveda, III, 201 ; Grill2, pp. 28, 121 ff. The Anukrama/zi, vanaspatyam. Stanza 1. All Western interpreters regard varazzavati as a river ; cf., in addition to the authorities given above, Zimmer, Altindisches Leben, p. 20. Saya/za, vara/za n&ma vrzksha- visesh&A te asyam santi*ti vara/z&vati ; cf. vara^a (crataeva roxburghii), AV. VI, 85, 1 ; X, 3, 2 ff., where the same puns upon derivatives of the root var are displayed. The formation of the word vara/zavati might be compared with .ritikavati and hladikavati in RV. X, 16, i4 = AV. XVIII, 3, 60 ; see our Contributions, Second Series, Amer. Journ. Phil. XI, p. 341 ff. Cf. also madavati in st. 4 (cf. IV, 6, 3 c), as a designation of the poisonous plant, vara/zavati would then be the name of the curative plant, the antidote, ' affording protection/ But the ceremonies in the Sutra (28, 1) begin with the use of water, and the appearance of var in Pada a also points to the name of a river. Stanza 2. d. Cf. RV. I, 187, 10; Apast. Sv. XII, 4, 13. Cf. for this and the next stanza the ritual, above, Kau^. 28, 4. Stanza 3. a. In deciding upon the meaning of tiryam we have had in mind the evident concatenation of st. 2 with 3 a, b. The IV, 7- COMMENTARY. 377 thought is continued, and, as is customary in catenary con- structions, a new motif is added, tirya//z (sc. visham) in addition to the pra^yam, &c. of stanza 2. Since pra^yam, &c. indicate directions, we have regarded tiryam in the same light, i.e. as a variant of thyank ; cf. X, 2, 11.-24. 25- 28; 8, 19; XI, 4, 25; XV, 3, 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.
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