Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1see Whitney, Roots, p. 11, under u, ' proclaim.' JBut I do not see how the meaning of the stem can be derived from the root va, ' weave,' and the preposi- tion a (cf. the Pet. Lex. under 5. va), as Whitney suggests. Cf. Saya^a in the note on VI, 94, 3. Heaven and earth are called upon in a general way to protect against enmity and trouble, cf. II, J 2, i, and especially VI, 3, 2. The 1 That is, according to Darila and Kesava he winds the young of worms around a certain spot of the karira-stalk (Dar. kariraika- de-ram), mashes the stalk, roasts the worms in the fire, and places the stalk upon the fire (correct Darila' s vratapatyadadhati simply to pratapaty adadhati). 2 Cf. Darila at 38, 5, jigrupatram. 3 The roots are dried (gima, ^arant) : see Darila to the passage, and the Paribhasha-siitra, Kam. 8, 17. Darila to the latter passage describes them as an odorous substance (gandhadravyam). 454 HYMNS OF THE ATHARVA-VEDA. goddess Sarasvati is invoked perhaps as the heavenly phy- sician ; Indra and Agni as driving away evil spirits. Cf. also the Mantrabrahma^a of the Sama-veda, II, 7, 4, krimim indrasya bahubhyam ava#£a;/z patayami, and Indra's mill-stone, AV. II, 31, 1. Stanza 2. b. Indra as king of the gods, like the earthly king, is the guardian of treasures ; cf. IV, 22, 3, where the king is called dhanapatir dhananam. Stanza 3. a. A parallel to worms in the eye, in Teutonic folk- lore, is cited by Prof. Kuhn, 1. c, p. 150. In the medical Sastras a disease of the eye is known under the name krz- migranthi, ' sty ; ' this may be related to the disease which is here imagined rather fancifully. c. ' The worm which gets to the middle of the teeth ' is similarly described in the later medicinal works as kri- midantaka, ' caries ' (Pet. Lex.), and dantada (krzmi), Wise, p. 349 ; cf. also the krz'midushitaw dantavar^a^/, by which the i?/k-Pratij"akhya XVII, 10 describes syava, ; see Reg- nier's edition, III, 189. Stanza 4. For the fanciful descriptions of forms, colours, and names in this and the following stanzas, see Kuhn, 1. c, p. 147, and cf. the note on II, 32, 2. c. The formula babhrui" ka. babhrukama^ ka. is repeated in VI, 16, 3 c: the hymn is described by the commentators at Ka.us. 30, 1 ff., as a charm against ophthalmia. It is there also implicated in a fanciful list of personified diseases. d. For koka, cf. VIII, 6, 2, where Saya//a glosses the word by ^akravaka. Stanza 5. a, b. For the epithets .sitikaksha and jitibahu, cf. Va£\ S. XXIV, 2. 4. 7 ; Tait. S. V, 5, 20, 1 ; 6, 13, 1 ; Maitr. S. Ill, 3, 3- 5. 8.
2list of personified diseases. d. For koka, cf. VIII, 6, 2, where Saya//a glosses the word by ^akravaka. Stanza 5. a, b. For the epithets .sitikaksha and jitibahu, cf. Va£\ S. XXIV, 2. 4. 7 ; Tait. S. V, 5, 20, 1 ; 6, 13, 1 ; Maitr. S. Ill, 3, 3- 5. 8. V, 3°. COMMENTARY. 455 Stanza 6. See the notes on II, 32, 1 and 2, and cf. especially AV. VI, 52, t = RV. I, 191, 9- Stanza 7. a. b. All designations are obscure. The Ka/^. S. has a pendant yavasha, perhaps a popular modification of yevasha, in deference to yava, ' barley * ;' kashkasha, e^atka, and .yipavitnuka are a-n. Aey. A natural explanation for e^atka suggests itself, ' active, mobile.' Stanza 8. b. nadaniman, 'roaring, or buzzing.' This, again, is ctar. Aey. c. mashmasha kri recurs in the Katk. S. XVI, 7 ; the Maitr. S. II, 7, 7 (p. 84, 1. 3) has mrismrzsa. (var. mnsmrwa) in its place ; the Tait. S. IV, 1, to, 3, and some of the MSS. of the Va^\ S. XI, 80 (supported by the Pratuakhya, V, 37) read masmasa, an interesting onomatopoetic aggre- gation. d. The Pada is repeated at II, 31, 1. Stanza 9. With the exception of the first Pada this stanza is iden- tical with II, 32, 2 ; so also the next three stanzas repeat, without change, II, 32, 3-5. See the notes there. V, 30. Commentary to page 59. The present hymn is of essentially the same character as VIII, 1 and 2, and its manipulation in the ritual texts, Kaui*. 58, 3. 11, and the ayushyaga/za (Kauj-. 54, 11, note), coincides with both of these. See the introduction to VIII, 1. Previous renderings by Muir, Original Sanskrit Texts, V, 441 ff. ; Ludwig, Der Rigveda, III, 494 ff. 1 Cf. Contributions, Fourth Series, Amer. Journ. Phil. XII, 429. note 2. 456 HYMNS OF THE ATHARVA-VEDA. Stanza 1. The first hemistich is verbose and obscure. Muir, ' from thy vicinity, from thy vicinity, from a distance, from thy vicinity (I call) to thee;' Ludwig, without construing, ' deine nahe nahe, deine feme nahe.' We have taken the two Padas as quasi-intensive expressions, equivalent respec- tively to avatas te, and paravatas te. Stanza 2. Cf. for Pada b the Italian proverb : — Da chi mi fido, guarda mi, Dio, Da chi mi non, mi guarderd io. — Stanza 5. Cf. Ath. Pam. 4, 1. We have regarded the stanza, not without hesitancy, as a plea of the professional medicine- man in behalf of his art, and against domestic remedial expedients (' hausmittelchen '). The expression pratyak sevasva looks as though it meant ' refuse with thanks,' and our rendering of sar^ata^ aims to reproduce the supposed satirical flavour of the passage.
3e- man in behalf of his art, and against domestic remedial expedients (' hausmittelchen '). The expression pratyak sevasva looks as though it meant ' refuse with thanks,' and our rendering of sar^ata^ aims to reproduce the supposed satirical flavour of the passage. Stanza 10. Cf. VIII, 1, 13, and the note on the passage. Stanza 12. b. The construction of the Pada is not quite clear. Ludwig, ' anbetung denen die zu den vatern fiihren ; ' Muir. 'reverence to the Fathers, and to those who guide us/ Both renderings are non-committal ; we have in mind the dogs of Yama as the subject of uta ye nayanti. Stanza 13. Cf. Ath. Parii*. 1 3, 3. V, 31. Commentary to page 76. The hymn belongs to the krztyapratihara;zani. a series of hymns designed to repel spells. It is closely similar in character to X, 1, together with which it is employed in the V, 31- COMMENTARY. 457 practices described at Kauj. 39, 7 fT. ; see the introduction to X, 1. The particular point of interest in this hymn is the full catalogue of animate and inanimate objects within which spells were instituted. It seems that these objects, through which the prosperity of an enemy was attacked, went in the ritual by the name of marmam, ' vital spots ; ' see Kau.y. 39, 28. 31. The notion appears to be that a man is vulnerable through his belongings as well as his own person. Cf. in general, Maitr. S. Ill, 3, 8 (106, 11) ; Tait. S. VI, 2, 11, 1 ; Sat. Br. Ill, 5, 4, 2. Stanza 1. For the entire stanza, cf. IV, 17, 4, and our notes there. a. An unburned vessel figures also in a witchcraft practice, Sat. Br. XIV, 9, 4, 11 = Brzh. Ar. Up. VI, 4, 12. The symbolic aspect of an unburned vessel, namely its fragility, is in evidence at Sat. Br. XII, 1, 3, 23 ; Manu III, 179. We wTould remark in passing that the Padapa/^a's yad ykvcxkm ^akriir at VI, it 6, 1 is to be emended to yady amk >£akrur. Correct accordingly the Index Verborum. Stanza 2. b. It is difficult to decide whether kuririm refers to some individual animal, ' a crested animal/ perhaps * peacock/ or whether it is to be regarded as an epithet of ' goat ' in Pada a. Geldner,Vedische Studien, 1, 130, renders it ' horned/ but this is based upon a misinterpretation of VI, 138, 2; see the note there. Cf. Zimmer, Altindisches Leben, p. 91. Stanza 3. The solipeds, horse, ass, &c, have one hoof, and incisors above and below, in distinction from the animals called anyatodant, c those that have incisors only in the lower jaw/ They are contrasted with the pasture-animals in the preceding stanza. See Zimmer, 1. c, pp.
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.
1see Whitney, Roots, p. 11, under u, ' proclaim.' JBut I do not see how the meaning of the stem can be derived from the root va, ' weave,' and the preposi- tion a (cf. the Pet. Lex. under 5. va), as Whitney suggests. Cf. Saya^a in the note on VI, 94, 3. Heaven and earth are called upon in a general way to protect against enmity and trouble, cf. II, J 2, i, and especially VI, 3, 2. The 1 That is, according to Darila and Kesava he winds the young of worms around a certain spot of the karira-stalk (Dar. kariraika- de-ram), mashes the stalk, roasts the worms in the fire, and places the stalk upon the fire (correct Darila' s vratapatyadadhati simply to pratapaty adadhati). 2 Cf. Darila at 38, 5, jigrupatram. 3 The roots are dried (gima, ^arant) : see Darila to the passage, and the Paribhasha-siitra, Kam. 8, 17. Darila to the latter passage describes them as an odorous substance (gandhadravyam). 454 HYMNS OF THE ATHARVA-VEDA. goddess Sarasvati is invoked perhaps as the heavenly phy- sician ; Indra and Agni as driving away evil spirits. Cf. also the Mantrabrahma^a of the Sama-veda, II, 7, 4, krimim indrasya bahubhyam ava#£a;/z patayami, and Indra's mill-stone, AV. II, 31, 1. Stanza 2. b. Indra as king of the gods, like the earthly king, is the guardian of treasures ; cf. IV, 22, 3, where the king is called dhanapatir dhananam. Stanza 3. a. A parallel to worms in the eye, in Teutonic folk- lore, is cited by Prof. Kuhn, 1. c, p. 150. In the medical Sastras a disease of the eye is known under the name krz- migranthi, ' sty ; ' this may be related to the disease which is here imagined rather fancifully. c. ' The worm which gets to the middle of the teeth ' is similarly described in the later medicinal works as kri- midantaka, ' caries ' (Pet. Lex.), and dantada (krzmi), Wise, p. 349 ; cf. also the krz'midushitaw dantavar^a^/, by which the i?/k-Pratij"akhya XVII, 10 describes syava, ; see Reg- nier's edition, III, 189. Stanza 4. For the fanciful descriptions of forms, colours, and names in this and the following stanzas, see Kuhn, 1. c, p. 147, and cf. the note on II, 32, 2. c. The formula babhrui" ka. babhrukama^ ka. is repeated in VI, 16, 3 c: the hymn is described by the commentators at Ka.us. 30, 1 ff., as a charm against ophthalmia. It is there also implicated in a fanciful list of personified diseases. d. For koka, cf. VIII, 6, 2, where Saya//a glosses the word by ^akravaka. Stanza 5. a, b. For the epithets .sitikaksha and jitibahu, cf. Va£\ S. XXIV, 2. 4. 7 ; Tait. S. V, 5, 20, 1 ; 6, 13, 1 ; Maitr. S. Ill, 3, 3- 5. 8.
2list of personified diseases. d. For koka, cf. VIII, 6, 2, where Saya//a glosses the word by ^akravaka. Stanza 5. a, b. For the epithets .sitikaksha and jitibahu, cf. Va£\ S. XXIV, 2. 4. 7 ; Tait. S. V, 5, 20, 1 ; 6, 13, 1 ; Maitr. S. Ill, 3, 3- 5. 8. V, 3°. COMMENTARY. 455 Stanza 6. See the notes on II, 32, 1 and 2, and cf. especially AV. VI, 52, t = RV. I, 191, 9- Stanza 7. a. b. All designations are obscure. The Ka/^. S. has a pendant yavasha, perhaps a popular modification of yevasha, in deference to yava, ' barley * ;' kashkasha, e^atka, and .yipavitnuka are a-n. Aey. A natural explanation for e^atka suggests itself, ' active, mobile.' Stanza 8. b. nadaniman, 'roaring, or buzzing.' This, again, is ctar. Aey. c. mashmasha kri recurs in the Katk. S. XVI, 7 ; the Maitr. S. II, 7, 7 (p. 84, 1. 3) has mrismrzsa. (var. mnsmrwa) in its place ; the Tait. S. IV, 1, to, 3, and some of the MSS. of the Va^\ S. XI, 80 (supported by the Pratuakhya, V, 37) read masmasa, an interesting onomatopoetic aggre- gation. d. The Pada is repeated at II, 31, 1. Stanza 9. With the exception of the first Pada this stanza is iden- tical with II, 32, 2 ; so also the next three stanzas repeat, without change, II, 32, 3-5. See the notes there. V, 30. Commentary to page 59. The present hymn is of essentially the same character as VIII, 1 and 2, and its manipulation in the ritual texts, Kaui*. 58, 3. 11, and the ayushyaga/za (Kauj-. 54, 11, note), coincides with both of these. See the introduction to VIII, 1. Previous renderings by Muir, Original Sanskrit Texts, V, 441 ff. ; Ludwig, Der Rigveda, III, 494 ff. 1 Cf. Contributions, Fourth Series, Amer. Journ. Phil. XII, 429. note 2. 456 HYMNS OF THE ATHARVA-VEDA. Stanza 1. The first hemistich is verbose and obscure. Muir, ' from thy vicinity, from thy vicinity, from a distance, from thy vicinity (I call) to thee;' Ludwig, without construing, ' deine nahe nahe, deine feme nahe.' We have taken the two Padas as quasi-intensive expressions, equivalent respec- tively to avatas te, and paravatas te. Stanza 2. Cf. for Pada b the Italian proverb : — Da chi mi fido, guarda mi, Dio, Da chi mi non, mi guarderd io. — Stanza 5. Cf. Ath. Pam. 4, 1. We have regarded the stanza, not without hesitancy, as a plea of the professional medicine- man in behalf of his art, and against domestic remedial expedients (' hausmittelchen '). The expression pratyak sevasva looks as though it meant ' refuse with thanks,' and our rendering of sar^ata^ aims to reproduce the supposed satirical flavour of the passage.
3e- man in behalf of his art, and against domestic remedial expedients (' hausmittelchen '). The expression pratyak sevasva looks as though it meant ' refuse with thanks,' and our rendering of sar^ata^ aims to reproduce the supposed satirical flavour of the passage. Stanza 10. Cf. VIII, 1, 13, and the note on the passage. Stanza 12. b. The construction of the Pada is not quite clear. Ludwig, ' anbetung denen die zu den vatern fiihren ; ' Muir. 'reverence to the Fathers, and to those who guide us/ Both renderings are non-committal ; we have in mind the dogs of Yama as the subject of uta ye nayanti. Stanza 13. Cf. Ath. Parii*. 1 3, 3. V, 31. Commentary to page 76. The hymn belongs to the krztyapratihara;zani. a series of hymns designed to repel spells. It is closely similar in character to X, 1, together with which it is employed in the V, 31- COMMENTARY. 457 practices described at Kauj. 39, 7 fT. ; see the introduction to X, 1. The particular point of interest in this hymn is the full catalogue of animate and inanimate objects within which spells were instituted. It seems that these objects, through which the prosperity of an enemy was attacked, went in the ritual by the name of marmam, ' vital spots ; ' see Kau.y. 39, 28. 31. The notion appears to be that a man is vulnerable through his belongings as well as his own person. Cf. in general, Maitr. S. Ill, 3, 8 (106, 11) ; Tait. S. VI, 2, 11, 1 ; Sat. Br. Ill, 5, 4, 2. Stanza 1. For the entire stanza, cf. IV, 17, 4, and our notes there. a. An unburned vessel figures also in a witchcraft practice, Sat. Br. XIV, 9, 4, 11 = Brzh. Ar. Up. VI, 4, 12. The symbolic aspect of an unburned vessel, namely its fragility, is in evidence at Sat. Br. XII, 1, 3, 23 ; Manu III, 179. We wTould remark in passing that the Padapa/^a's yad ykvcxkm ^akriir at VI, it 6, 1 is to be emended to yady amk >£akrur. Correct accordingly the Index Verborum. Stanza 2. b. It is difficult to decide whether kuririm refers to some individual animal, ' a crested animal/ perhaps * peacock/ or whether it is to be regarded as an epithet of ' goat ' in Pada a. Geldner,Vedische Studien, 1, 130, renders it ' horned/ but this is based upon a misinterpretation of VI, 138, 2; see the note there. Cf. Zimmer, Altindisches Leben, p. 91. Stanza 3. The solipeds, horse, ass, &c, have one hoof, and incisors above and below, in distinction from the animals called anyatodant, c those that have incisors only in the lower jaw/ They are contrasted with the pasture-animals in the preceding stanza. See Zimmer, 1. c, pp.
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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