Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1eds, 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. 74, 75. Stanza 4. a, b. The meaning of amulayam and nara^yam (vanara- kyann ?) is problematic. Our translation is of the etymological 458 HYMNS OF THE ATHARVA-VEDA. sort, and the feminine gender of the words is difficult to account for. But the suggestion of the Pet. Lexs. that both are designations of plants does not commend itself. See the passages cited under amula. Stanza 9. c. mroka and nirdaha are designations of two kinds of destructive fire ; cf. XVI, i, 3. Our rendering of both words is purely tentative. Stanza 10. c. maryadhirebhya^ is very obscure. The Padapa//£a, marya-dhirebhya^, as a compound. At Maitr. S. I, 4, 8 (56, 18) we have maryddhairye^a, and the absence of the vrzddhi of the first syllable suggests that maryd may be an independent word, the enclitic marya, for which see Pischel, Vedische Studien, I, 61 ff. We might then translate, ' The fool verily has prepared (the spell) against the wise.' But Pischel's treatment of the word is not altogether con- vincing. Stanza 11. The first three Padas are identical with the corresponding PadasoflV, 18,6. Stanza 12. b. mulin, * he that practises witchcraft with the roots of plants : ' mulakriya, Vishnu XXV, 7 ; mulakarman, Manu IX, 290; XI, 64; Mahabh. Ill, 233, 13 = 14660 ff. Cf. Winternitz, Das Altindische Hochzeitsrituell, p. 98. VI, 2. Commentary to page 66. The hymn is employed at Vait. Su. 16, 13 in the course of the agnish/oma. The second stanza is made the pivot of a small charm against Rakshas (rakshobhaisha^yam) at Kaur. 29, 27. * While reciting AV. VI, 2, 2 the performer eats milk-porridge that has been cooked upon a fire built up of birds' nests/ The symbolic connection with the stanza is apparent. VI, 9- COMMENTARY. 459 The hymn has been translated by Florenz, Bezzenberger's Beitrage, XII, 251. Stanza 1. b. a dhavata (cf, RV. VII, 32, 6) is not altogether clear. Saya/za, adhavanaz/z nama adabhyagrahartha/^ grzhitasya vasativari^alasya (cf. Vait. Su. 16, 1) . . . yad va . . . da^apavitre^a sarvata^ jodhayata. Stanza 3. The first hemistich is identical with RV. VII, 32, 8 a, b. VI, 8. Commentary to page ioo. The rites connected with this charm are stated in the introduction to II, 30, above. The hymn has been trans- lated by Weber, Ind. Stud. V, 261 ff.
2ayata. Stanza 3. The first hemistich is identical with RV. VII, 32, 8 a, b. VI, 8. Commentary to page ioo. The rites connected with this charm are stated in the introduction to II, 30, above. The hymn has been trans- lated by Weber, Ind. Stud. V, 261 ff. ; Florenz, Bezzen- berger's Beitrage, XII, 257; Grill2, pp. 54, 158 ff. The Anukrama/zi designates it as kamatmadaivatam. Stanza 1. Cf. RV. X, 10, i§. The formulaic refrain occurs also at 1,34,5; 11,30, 1. Stanza 2. * Large birds, as they start to fly, beat the ground with their wings, unable, as it were, to get off. Thus the mind of the woman shall not be able to free itself from her lover.' See Professor Roth, as quoted by Grill, and cf. VI, 18,3; 70, 1. VI, 9. Commentary to page ioi. For the practices connected with this charm, see the introduction to II, 30, above. Previous translations : Weber, Ind. Stud. V, 264 ff. ; Florenz, Bezzenberger's Beitrage, XII, 10. The Anukrama^i, kamatmadaivatam. Stanza 1. Cf. Ill, 25, 3. 4, and the spirit of that hymn in general. 460 HYMNS OF THE ATHARVA-VEDA. Stanza 2. The second hemistich is formulaic ; see I, 34, % ; III, 25, 5 ; the last Pada at VI, 42, 3 \ 43> 3- Stanza 3. a. Literally, ( whose relations are a licking/ i. e. ' whose young furnish constant occasion for licking.' Licking the young is typical for fond maternity, e. g. AV. V, 1,4. VI, 11. Commentary to page 97. The hymn is employed in a ceremony calculated to ensure the birth of a male child (Ke^ava and Darila, pu^savanam) at Kauj. 35, 8-1 o, to wit : 8. ' While reciting the hymn a fire is churned from the (two kinds of wood .rami and a^vattha) mentioned in the hymn, the fire is thrown into ghee (prepared from the milk) of a cow with a male calf, and then the ghee is treated like the paidva (i. e., it is put with the right thumb up the nose into the right nostril of the pregnant woman) x. 9. (Casting the fire) into a stirred drink with honey it (the stirred drink) is given to the woman to drink. 10. (The fire) is surrounded with the wool of a male animal2, and the wool is tied (as an amulet) upon the woman.' The symbolism of these acts is in general very clear. In the act of churning the fire .rami is the female, and a^vattha the male ; cf. Ad. Kuhn, Die Herabkunft des Feuers1, p. 71 ff. ; Zimmer, Altindisches Leben, pp. 58, 59. The hymn has been rendered by Weber, Indische Studien, V, 264 ff. ; Ludwig, Der Rigveda, III, 477 ; Zimmer, 1. c, 1 Cf. Kaiu. 32, 21 in the introduction to X, 4. 2 We emend kr/sh;/or«abhi^ to vrzshns.
3p. 71 ff. ; Zimmer, Altindisches Leben, pp. 58, 59. The hymn has been rendered by Weber, Indische Studien, V, 264 ff. ; Ludwig, Der Rigveda, III, 477 ; Zimmer, 1. c, 1 Cf. Kaiu. 32, 21 in the introduction to X, 4. 2 We emend kr/sh;/or«abhi^ to vrzshns. ur/zabhi^ with double sazrcdhi ; cf. Kaurika, Introduction, p. lviii ff. Some MSS. read vrzshno-, and vish/zo-, and there is apparently no sense in black wool ; on the other hand the wool of a male animal is exceedingly suggestive. VI, 12. COMMENTARY. 46 1 319; Florenz, Bezzenberger's Beitrage, XII, 260 ff. The Anukrama/zi, retodevatyam uta mantroktadevatyam. Stanza 1. b. ' The male child ' is the fire, which plays, therefore, an important part in the practices stated above. Stanza 2. d. Pra^-apati, the god of procreation, is, of course, the prime authority in these matters ; they are, therefore, said to be of his dictation. Stanza 3. Sinivali and Anumati are two of the personifications of the four phases of the moon. They all preside over the act of procreation, and special rites in their behalf are practised by those desirous of offspring. See Weber, 1. c, p. 228 ff. ; Zimmer, I.e., p. 352. VI, 12. Commentary to page 28. According to the text of Kaui*. 29, 28. 29 in our edition the performances connected with this hymn consist in quickly (^ibham) giving the patient honey to drink, and then continuing with the practices described in connection with IV, 6 at Katu. 28, 2 ff. ; see the introduction to IV, 6. But Kcrava and Saya/za (who regularly bases his presenta- tion of the ritual upon Ke^ava) have madhukri^am for Kau^ika's madhu jibham1; Darila's full text is, ma^a- kam (' broth ') suktasya karmabhimantrya payayati. It seems likely, therefore, that madhu^ibham is to be regarded as a compound meaning some kind of honey mixture. Shankar Pandit prints accordingly madhu^ibham as a compound 2. 1 Kcrava reads also once, madhu^awtam. 2 For gapams k&, Kauy. 29, 29, Saya^a reads gapMims fa. This does not commend itself: since the passage refers to the rites described in Kau^. 28, 2 we should expect ^apadini (sc. karmam) k&. 462 HYMNS OF THE ATHARVA-VEDA. The hymn has been translated by Ludwig, Der Rig- veda, III, 501 ff. ; Florenz, Bezzenberger's Beitrage, XII, 26% ff. Cf. also Bergaigne et Henry, Manuel Vedique, p. 149. The Anukramam, takshakadaivatam (cf. Kaui". 28, 1 ; 29, 1, and the introduction to IV, 6). Stanza 1. Imperfect metaphors. In the second half the notion is that night puts a stop to all activity, and thus the physician stops the action of the poison.
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.
1eds, 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. 74, 75. Stanza 4. a, b. The meaning of amulayam and nara^yam (vanara- kyann ?) is problematic. Our translation is of the etymological 458 HYMNS OF THE ATHARVA-VEDA. sort, and the feminine gender of the words is difficult to account for. But the suggestion of the Pet. Lexs. that both are designations of plants does not commend itself. See the passages cited under amula. Stanza 9. c. mroka and nirdaha are designations of two kinds of destructive fire ; cf. XVI, i, 3. Our rendering of both words is purely tentative. Stanza 10. c. maryadhirebhya^ is very obscure. The Padapa//£a, marya-dhirebhya^, as a compound. At Maitr. S. I, 4, 8 (56, 18) we have maryddhairye^a, and the absence of the vrzddhi of the first syllable suggests that maryd may be an independent word, the enclitic marya, for which see Pischel, Vedische Studien, I, 61 ff. We might then translate, ' The fool verily has prepared (the spell) against the wise.' But Pischel's treatment of the word is not altogether con- vincing. Stanza 11. The first three Padas are identical with the corresponding PadasoflV, 18,6. Stanza 12. b. mulin, * he that practises witchcraft with the roots of plants : ' mulakriya, Vishnu XXV, 7 ; mulakarman, Manu IX, 290; XI, 64; Mahabh. Ill, 233, 13 = 14660 ff. Cf. Winternitz, Das Altindische Hochzeitsrituell, p. 98. VI, 2. Commentary to page 66. The hymn is employed at Vait. Su. 16, 13 in the course of the agnish/oma. The second stanza is made the pivot of a small charm against Rakshas (rakshobhaisha^yam) at Kaur. 29, 27. * While reciting AV. VI, 2, 2 the performer eats milk-porridge that has been cooked upon a fire built up of birds' nests/ The symbolic connection with the stanza is apparent. VI, 9- COMMENTARY. 459 The hymn has been translated by Florenz, Bezzenberger's Beitrage, XII, 251. Stanza 1. b. a dhavata (cf, RV. VII, 32, 6) is not altogether clear. Saya/za, adhavanaz/z nama adabhyagrahartha/^ grzhitasya vasativari^alasya (cf. Vait. Su. 16, 1) . . . yad va . . . da^apavitre^a sarvata^ jodhayata. Stanza 3. The first hemistich is identical with RV. VII, 32, 8 a, b. VI, 8. Commentary to page ioo. The rites connected with this charm are stated in the introduction to II, 30, above. The hymn has been trans- lated by Weber, Ind. Stud. V, 261 ff.
2ayata. Stanza 3. The first hemistich is identical with RV. VII, 32, 8 a, b. VI, 8. Commentary to page ioo. The rites connected with this charm are stated in the introduction to II, 30, above. The hymn has been trans- lated by Weber, Ind. Stud. V, 261 ff. ; Florenz, Bezzen- berger's Beitrage, XII, 257; Grill2, pp. 54, 158 ff. The Anukrama/zi designates it as kamatmadaivatam. Stanza 1. Cf. RV. X, 10, i§. The formulaic refrain occurs also at 1,34,5; 11,30, 1. Stanza 2. * Large birds, as they start to fly, beat the ground with their wings, unable, as it were, to get off. Thus the mind of the woman shall not be able to free itself from her lover.' See Professor Roth, as quoted by Grill, and cf. VI, 18,3; 70, 1. VI, 9. Commentary to page ioi. For the practices connected with this charm, see the introduction to II, 30, above. Previous translations : Weber, Ind. Stud. V, 264 ff. ; Florenz, Bezzenberger's Beitrage, XII, 10. The Anukrama^i, kamatmadaivatam. Stanza 1. Cf. Ill, 25, 3. 4, and the spirit of that hymn in general. 460 HYMNS OF THE ATHARVA-VEDA. Stanza 2. The second hemistich is formulaic ; see I, 34, % ; III, 25, 5 ; the last Pada at VI, 42, 3 \ 43> 3- Stanza 3. a. Literally, ( whose relations are a licking/ i. e. ' whose young furnish constant occasion for licking.' Licking the young is typical for fond maternity, e. g. AV. V, 1,4. VI, 11. Commentary to page 97. The hymn is employed in a ceremony calculated to ensure the birth of a male child (Ke^ava and Darila, pu^savanam) at Kauj. 35, 8-1 o, to wit : 8. ' While reciting the hymn a fire is churned from the (two kinds of wood .rami and a^vattha) mentioned in the hymn, the fire is thrown into ghee (prepared from the milk) of a cow with a male calf, and then the ghee is treated like the paidva (i. e., it is put with the right thumb up the nose into the right nostril of the pregnant woman) x. 9. (Casting the fire) into a stirred drink with honey it (the stirred drink) is given to the woman to drink. 10. (The fire) is surrounded with the wool of a male animal2, and the wool is tied (as an amulet) upon the woman.' The symbolism of these acts is in general very clear. In the act of churning the fire .rami is the female, and a^vattha the male ; cf. Ad. Kuhn, Die Herabkunft des Feuers1, p. 71 ff. ; Zimmer, Altindisches Leben, pp. 58, 59. The hymn has been rendered by Weber, Indische Studien, V, 264 ff. ; Ludwig, Der Rigveda, III, 477 ; Zimmer, 1. c, 1 Cf. Kaiu. 32, 21 in the introduction to X, 4. 2 We emend kr/sh;/or«abhi^ to vrzshns.
3p. 71 ff. ; Zimmer, Altindisches Leben, pp. 58, 59. The hymn has been rendered by Weber, Indische Studien, V, 264 ff. ; Ludwig, Der Rigveda, III, 477 ; Zimmer, 1. c, 1 Cf. Kaiu. 32, 21 in the introduction to X, 4. 2 We emend kr/sh;/or«abhi^ to vrzshns. ur/zabhi^ with double sazrcdhi ; cf. Kaurika, Introduction, p. lviii ff. Some MSS. read vrzshno-, and vish/zo-, and there is apparently no sense in black wool ; on the other hand the wool of a male animal is exceedingly suggestive. VI, 12. COMMENTARY. 46 1 319; Florenz, Bezzenberger's Beitrage, XII, 260 ff. The Anukrama/zi, retodevatyam uta mantroktadevatyam. Stanza 1. b. ' The male child ' is the fire, which plays, therefore, an important part in the practices stated above. Stanza 2. d. Pra^-apati, the god of procreation, is, of course, the prime authority in these matters ; they are, therefore, said to be of his dictation. Stanza 3. Sinivali and Anumati are two of the personifications of the four phases of the moon. They all preside over the act of procreation, and special rites in their behalf are practised by those desirous of offspring. See Weber, 1. c, p. 228 ff. ; Zimmer, I.e., p. 352. VI, 12. Commentary to page 28. According to the text of Kaui*. 29, 28. 29 in our edition the performances connected with this hymn consist in quickly (^ibham) giving the patient honey to drink, and then continuing with the practices described in connection with IV, 6 at Katu. 28, 2 ff. ; see the introduction to IV, 6. But Kcrava and Saya/za (who regularly bases his presenta- tion of the ritual upon Ke^ava) have madhukri^am for Kau^ika's madhu jibham1; Darila's full text is, ma^a- kam (' broth ') suktasya karmabhimantrya payayati. It seems likely, therefore, that madhu^ibham is to be regarded as a compound meaning some kind of honey mixture. Shankar Pandit prints accordingly madhu^ibham as a compound 2. 1 Kcrava reads also once, madhu^awtam. 2 For gapams k&, Kauy. 29, 29, Saya^a reads gapMims fa. This does not commend itself: since the passage refers to the rites described in Kau^. 28, 2 we should expect ^apadini (sc. karmam) k&. 462 HYMNS OF THE ATHARVA-VEDA. The hymn has been translated by Ludwig, Der Rig- veda, III, 501 ff. ; Florenz, Bezzenberger's Beitrage, XII, 26% ff. Cf. also Bergaigne et Henry, Manuel Vedique, p. 149. The Anukramam, takshakadaivatam (cf. Kaui". 28, 1 ; 29, 1, and the introduction to IV, 6). Stanza 1. Imperfect metaphors. In the second half the notion is that night puts a stop to all activity, and thus the physician stops the action of the poison.
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.