Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1e ra^akarma^i, Kaus. 14-17. b. Saya/za with one of Shankar Pandit's MSS. reads 406 HYMNS OF THE ATHARVA-VEDA. vrzsham ekavmham, and glosses, se^anasamarthanaw virya- vatara purushaf/aw madhye imam ra^anam . . . mukhya- sektaram asahaya^uram . . . kuru; cf. our note on III, 5, 7. c. nir aksh/zuhi, lit. 'castrate,' continuing the picture of the preceding Pada : the king is to be a bull, his enemies castrated. Cf. RV. I, 33, 6 ; Sat. Br. IV, 4, 2, 13 ; XIII, 4, 2, 5, and the word mahanirashifa. Ludwig, ' drive out ; ' Zimmer, ' zerstreue ; ' Saya/za, sa;/zku/£itaprabhavan kuru. d. Saya;/a divides aham uttareshu, with the result, ' I (the purohita) put him among the highest rulers.' Cf. XII, 4, 50. Stanza 2. c. The Tait. Br. II, 4, 7, 7, the Paippalada, and Saya;/a read varshman, loc. sing. I see no cogent reason for giving up (with Zimmer, Hillebrandt, and Grill) the reading of our MSS., varshma. IV, 28. Commentary to page 158. Bhava and Sarva, two of the well-known forms (murti) of Rudra (cf. especially their epithet ugra in sts. 3, 6, 7) 1J are implored by virtue of their cosmogonic powers to afford protection against calamity, and, with the familiar Athar- vanic specialisation, to destroy sorceries and demons. The ritual, Kau^. 28, 8, regard the hymn as medicinal (sarva- vyadhibhaisha^yam, 'a remedy for all diseases'). Seven cornucopias are made from (leaves of) the kampila (crinum amaryllacee), filled with water, and anointed with the dregs of ghee. With the right hand the water is poured upon the patient, and the cornucopias are thrown behind the patient. The connection between the prayer and the practice is not manifest. The hymn is rubricated also in takmana^-anaga^a of the Ga/zamala, Ath. Pari*. 32, 7 ; see Kauj. 26, 1, note. It has been translated by Muir, I.e., P- 332. 1 See the introduction to XI, 2 for the Vedic texts, and the Western literature, dealing with this subject. IV, 36. COMMENTARY. 407 Stanza 3. b. The periphrastic expression stuvann emi is so strange to the padakara as to induce him to divide it into stuvan nemi. Saya^a blunders still further, reading stuvan nemi (stuvan pra^a;^san , . . nema/z ardhaw balam asya*sti*ti nemi). Stanza 6. a. mulakr/t, ' manipulator of roots,' is so characteristic a feature in sorcery-practice, as to give rise to specific prohibition of the act ; see Vish/zu-smrzti XXV, 7 ; Manu IX, 290, and cf. Naraya/za on the latter passage in Biihler's translation of Manu, Sacred Books of the East, XXV, 394. IV, 36. Commentary to page 35. The hymn is one of the Mtanani (sc.
2to specific prohibition of the act ; see Vish/zu-smrzti XXV, 7 ; Manu IX, 290, and cf. Naraya/za on the latter passage in Biihler's translation of Manu, Sacred Books of the East, XXV, 394. IV, 36. Commentary to page 35. The hymn is one of the Mtanani (sc. suktani), ' hymns which drive away demons and diseases,5 Kau.y. 8, 25. The entire list (ga^a) is employed at Kauj. 25, 22, among the bhaisha^yani, ' remedial charms,' against bhuta and pua£a ; the performance connected with the recital of the ga;/a is identical with the so-called apanodanani, ' practices to drive away,' described at Kau^. 14, 14 ff. They consist chiefly in burning chaff, spelt, offal of grain, and wood shavings, symbolizing, doubtless, rapid consumption or destruction. The hymn has been translated by Ludwig, Der Rigveda, III, 526; Grill2, pp. 3, 136 ff. The Anukramam, satyau- £-asam agneyam (cf. st. 1). Stanza 3. The first hemistich is not at all clear, agare being air. key. and uncertain. We have taken it with the Pet. Lexs. and Ludwig as = agara, and it is to be noted that two MSS. of S£ya«a's commentary (& Kd) read agaro for agaro. Cf. also agara at Asv. Grzh. I, 7, 21. 'Saya/^a etymologises, agiryate samantad bha^yate ma/^sa.yomtadikam atre*ti agaro yuddharanga^. Grill, supported by a more recent utterance of Roth, renders ; unter rufen.' In that case agara would be 'shouting to' (cf. akro^a, Kerava, p. 327, and 408 HYMNS OF THE ATHARVA-VEDA. often elsewhere), pratikrcra, ' shouting back,' i. e. ' under shouting and counter-shouting.' We have taken amavasya as an adjective = amavasya, ' in the night of the new moon ' (Pacini IV, 3, 30. 31). Cf. our note on I, 16, 1. Saya/za aptly quotes from the Apast. Sr. the following passage : ' In the night of the new moon one shall offer to Agni, the slayer of Rakshas, a rice-cake in twelve cups.' Note the concatenation between this and the following stanza. Stanza 5. The sense is that the superior gods who vie with the sun (RV. I, 98, 1 ; 123, 12 ; V, 4, 4 ; IX, 27, 5) shall afford pro- tection against the Pua^as to man and beast. Stanza 7. Note the pun between piskkaiA and .raknomi, and the concatenation with the following stanza. For grama, see the note on VIII, 7, 11. Stanza 9. a. Saya/za with some MSS. reads lipita^ (upadigdha/z sa^kranta^), and Whitney in the Index, guided perhaps by the pada-MSS., which read lapita without visarga, suggests lapitva. But the text seems well enough as it stands. d. alpa^ayun is uncertain : Saya^a, alpakaya^ . . . kiz^, and we accordingly.
3(upadigdha/z sa^kranta^), and Whitney in the Index, guided perhaps by the pada-MSS., which read lapita without visarga, suggests lapitva. But the text seems well enough as it stands. d. alpa^ayun is uncertain : Saya^a, alpakaya^ . . . kiz^, and we accordingly. Ludwig (c, d), * mein ich, sind sie ungliicklich, nur kurze zeit mer im volke verweilend ' (cf. RV. 1,31, 2; 111,55,6; IV, 1 8, 12). IV, 37. Commentary to page ^. The plant a^a.srzngi'1, or, as it is called synonymously by Darila, mesha^zngi, 'goat's horn ' (Saya/za, again synonym- ously, visha/zi), is the odina pinnata ; see Zimmer, p. 68. The hymn is directed against Visakas, Apsaras, and Gan- 1 In stanza 6 it has the additional obscure epithet ara/akl Sayarca, ant . . . a/ayati u^atayati. IV, 37- COMMENTARY. 409 dharvas, and, according to Darila at Kau^. 28, 9-1 1, it is em- ployed in a remedial charm against one possessed by Visakas (pua^agrzhita). Ke^ava and Saya?/a, more broadly and correctly, sarvabhutagrahabhaisha^yam. The practices are stated as follows : 9. ' While pronouncing IV, 37 the prac- titioner takes pulverised jam! (i.e. the pulverised leaves, or fruit, of the prosopis spicigera) from a basket (and puts it) into the food (of the patient) x. 10. (He puts it also) into the cosmetics (of the patient). 11. He scatters (the pulverised .rami) around the house (of the patient) V The hymn is also rubricated among the Mtanani (sc. suktani) ' hymns to drive away with/ Kaus. 8, 25. Cf. vSantikalpa 17 and 21 3. Adalbert Kuhn, in Zeitschr. f. vergl. Sprachf. XIII, 1 18 fT., has translated this hymn and compared it with parallel conceptions in the Teutonic folk-lore. Especially good are the parallels drawn between the Apsaras, who, from the time of RV. X, 95 onwards, are engaged in enticing heroes and divine seers 4, with the Germanic elfs who fascinate the wanderer at night with their dance* The hymn has also been rendered by Ludwig, Der Rigveda, III, 352. Stanza 3. The description of the natural abode of the Apsaras in this and the following stanzas is in accord writh the Brah- manical view from earliest times. Cf. the apya yosha, ' water- woman,' RV. X, lo, 4 ; Bergaigne, La Religion Vedique, II, 35, 40, 96 ; III, 65 fT. ; A. Holtzmann, Zeitschr. d. Deutsch. Morg. Gesellsch. XXXIII, 631 ff. The fanciful list of names embodies largely a superficial personification of fragrant cosmetics and ointments: bdellium, spikenard, fragrant salve, &c. 1 According to Ke^ava and Sayawa he puts pulverised leaves of jami into a jami-fruit, and feeds the patient upon that. Cf. Kau,r.
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.
1e ra^akarma^i, Kaus. 14-17. b. Saya/za with one of Shankar Pandit's MSS. reads 406 HYMNS OF THE ATHARVA-VEDA. vrzsham ekavmham, and glosses, se^anasamarthanaw virya- vatara purushaf/aw madhye imam ra^anam . . . mukhya- sektaram asahaya^uram . . . kuru; cf. our note on III, 5, 7. c. nir aksh/zuhi, lit. 'castrate,' continuing the picture of the preceding Pada : the king is to be a bull, his enemies castrated. Cf. RV. I, 33, 6 ; Sat. Br. IV, 4, 2, 13 ; XIII, 4, 2, 5, and the word mahanirashifa. Ludwig, ' drive out ; ' Zimmer, ' zerstreue ; ' Saya/za, sa;/zku/£itaprabhavan kuru. d. Saya;/a divides aham uttareshu, with the result, ' I (the purohita) put him among the highest rulers.' Cf. XII, 4, 50. Stanza 2. c. The Tait. Br. II, 4, 7, 7, the Paippalada, and Saya;/a read varshman, loc. sing. I see no cogent reason for giving up (with Zimmer, Hillebrandt, and Grill) the reading of our MSS., varshma. IV, 28. Commentary to page 158. Bhava and Sarva, two of the well-known forms (murti) of Rudra (cf. especially their epithet ugra in sts. 3, 6, 7) 1J are implored by virtue of their cosmogonic powers to afford protection against calamity, and, with the familiar Athar- vanic specialisation, to destroy sorceries and demons. The ritual, Kau^. 28, 8, regard the hymn as medicinal (sarva- vyadhibhaisha^yam, 'a remedy for all diseases'). Seven cornucopias are made from (leaves of) the kampila (crinum amaryllacee), filled with water, and anointed with the dregs of ghee. With the right hand the water is poured upon the patient, and the cornucopias are thrown behind the patient. The connection between the prayer and the practice is not manifest. The hymn is rubricated also in takmana^-anaga^a of the Ga/zamala, Ath. Pari*. 32, 7 ; see Kauj. 26, 1, note. It has been translated by Muir, I.e., P- 332. 1 See the introduction to XI, 2 for the Vedic texts, and the Western literature, dealing with this subject. IV, 36. COMMENTARY. 407 Stanza 3. b. The periphrastic expression stuvann emi is so strange to the padakara as to induce him to divide it into stuvan nemi. Saya^a blunders still further, reading stuvan nemi (stuvan pra^a;^san , . . nema/z ardhaw balam asya*sti*ti nemi). Stanza 6. a. mulakr/t, ' manipulator of roots,' is so characteristic a feature in sorcery-practice, as to give rise to specific prohibition of the act ; see Vish/zu-smrzti XXV, 7 ; Manu IX, 290, and cf. Naraya/za on the latter passage in Biihler's translation of Manu, Sacred Books of the East, XXV, 394. IV, 36. Commentary to page 35. The hymn is one of the Mtanani (sc.
2to specific prohibition of the act ; see Vish/zu-smrzti XXV, 7 ; Manu IX, 290, and cf. Naraya/za on the latter passage in Biihler's translation of Manu, Sacred Books of the East, XXV, 394. IV, 36. Commentary to page 35. The hymn is one of the Mtanani (sc. suktani), ' hymns which drive away demons and diseases,5 Kau.y. 8, 25. The entire list (ga^a) is employed at Kauj. 25, 22, among the bhaisha^yani, ' remedial charms,' against bhuta and pua£a ; the performance connected with the recital of the ga;/a is identical with the so-called apanodanani, ' practices to drive away,' described at Kau^. 14, 14 ff. They consist chiefly in burning chaff, spelt, offal of grain, and wood shavings, symbolizing, doubtless, rapid consumption or destruction. The hymn has been translated by Ludwig, Der Rigveda, III, 526; Grill2, pp. 3, 136 ff. The Anukramam, satyau- £-asam agneyam (cf. st. 1). Stanza 3. The first hemistich is not at all clear, agare being air. key. and uncertain. We have taken it with the Pet. Lexs. and Ludwig as = agara, and it is to be noted that two MSS. of S£ya«a's commentary (& Kd) read agaro for agaro. Cf. also agara at Asv. Grzh. I, 7, 21. 'Saya/^a etymologises, agiryate samantad bha^yate ma/^sa.yomtadikam atre*ti agaro yuddharanga^. Grill, supported by a more recent utterance of Roth, renders ; unter rufen.' In that case agara would be 'shouting to' (cf. akro^a, Kerava, p. 327, and 408 HYMNS OF THE ATHARVA-VEDA. often elsewhere), pratikrcra, ' shouting back,' i. e. ' under shouting and counter-shouting.' We have taken amavasya as an adjective = amavasya, ' in the night of the new moon ' (Pacini IV, 3, 30. 31). Cf. our note on I, 16, 1. Saya/za aptly quotes from the Apast. Sr. the following passage : ' In the night of the new moon one shall offer to Agni, the slayer of Rakshas, a rice-cake in twelve cups.' Note the concatenation between this and the following stanza. Stanza 5. The sense is that the superior gods who vie with the sun (RV. I, 98, 1 ; 123, 12 ; V, 4, 4 ; IX, 27, 5) shall afford pro- tection against the Pua^as to man and beast. Stanza 7. Note the pun between piskkaiA and .raknomi, and the concatenation with the following stanza. For grama, see the note on VIII, 7, 11. Stanza 9. a. Saya/za with some MSS. reads lipita^ (upadigdha/z sa^kranta^), and Whitney in the Index, guided perhaps by the pada-MSS., which read lapita without visarga, suggests lapitva. But the text seems well enough as it stands. d. alpa^ayun is uncertain : Saya^a, alpakaya^ . . . kiz^, and we accordingly.
3(upadigdha/z sa^kranta^), and Whitney in the Index, guided perhaps by the pada-MSS., which read lapita without visarga, suggests lapitva. But the text seems well enough as it stands. d. alpa^ayun is uncertain : Saya^a, alpakaya^ . . . kiz^, and we accordingly. Ludwig (c, d), * mein ich, sind sie ungliicklich, nur kurze zeit mer im volke verweilend ' (cf. RV. 1,31, 2; 111,55,6; IV, 1 8, 12). IV, 37. Commentary to page ^. The plant a^a.srzngi'1, or, as it is called synonymously by Darila, mesha^zngi, 'goat's horn ' (Saya/za, again synonym- ously, visha/zi), is the odina pinnata ; see Zimmer, p. 68. The hymn is directed against Visakas, Apsaras, and Gan- 1 In stanza 6 it has the additional obscure epithet ara/akl Sayarca, ant . . . a/ayati u^atayati. IV, 37- COMMENTARY. 409 dharvas, and, according to Darila at Kau^. 28, 9-1 1, it is em- ployed in a remedial charm against one possessed by Visakas (pua^agrzhita). Ke^ava and Saya?/a, more broadly and correctly, sarvabhutagrahabhaisha^yam. The practices are stated as follows : 9. ' While pronouncing IV, 37 the prac- titioner takes pulverised jam! (i.e. the pulverised leaves, or fruit, of the prosopis spicigera) from a basket (and puts it) into the food (of the patient) x. 10. (He puts it also) into the cosmetics (of the patient). 11. He scatters (the pulverised .rami) around the house (of the patient) V The hymn is also rubricated among the Mtanani (sc. suktani) ' hymns to drive away with/ Kaus. 8, 25. Cf. vSantikalpa 17 and 21 3. Adalbert Kuhn, in Zeitschr. f. vergl. Sprachf. XIII, 1 18 fT., has translated this hymn and compared it with parallel conceptions in the Teutonic folk-lore. Especially good are the parallels drawn between the Apsaras, who, from the time of RV. X, 95 onwards, are engaged in enticing heroes and divine seers 4, with the Germanic elfs who fascinate the wanderer at night with their dance* The hymn has also been rendered by Ludwig, Der Rigveda, III, 352. Stanza 3. The description of the natural abode of the Apsaras in this and the following stanzas is in accord writh the Brah- manical view from earliest times. Cf. the apya yosha, ' water- woman,' RV. X, lo, 4 ; Bergaigne, La Religion Vedique, II, 35, 40, 96 ; III, 65 fT. ; A. Holtzmann, Zeitschr. d. Deutsch. Morg. Gesellsch. XXXIII, 631 ff. The fanciful list of names embodies largely a superficial personification of fragrant cosmetics and ointments: bdellium, spikenard, fragrant salve, &c. 1 According to Ke^ava and Sayawa he puts pulverised leaves of jami into a jami-fruit, and feeds the patient upon that. Cf. Kau,r.
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.