Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1a-pura^a 242, as his authority. Cf. also Marka^eya-pura^a 43 ; Vayu- pura^a 19 ; Ait. Ar. Ill, 5, 16 ff. (Sacred Books, I, 262 ff.) ; Aufrecht, Zeitschr. d. Deutsch. Morgenl. Gesellsch., XXXII, 574 ; and Hultzsch, Prolegomena zu des Vasantara£*a 5akuna, pp. 15 ff. Both hymns figure in the du/^svapnana- .sanaga/za of the Ga/zamala, Ath. Paris*. 32, 8 (Kaar. 46, 9, note) ; cf. also Ath. Paris*. 33, 1. The present hymn has been translated by Ludwig, Der Rigveda, III, 443, and Florenz, Bezzenberger's Beitrage, XII, 305 ff. The Anukrama^i, du^svapnanasanadevatyam. Stanza 1. a. Saya/za, contrary to the Padapaz^a, reads manas papa, 'O mind devoted to evil that hast become the cause of dreams ; ' cf. the introduction. The text of the Pada seems to be an Atharvanic contortion of RV. X, 164, 1 a, ape * hi manasas pate. Stanza 2. Cf. RV. X, 164, 3 with the variant a.s*asa ni^asa*bhis*asa ; Tait. Br. Ill, 7, 12, 4, a^asa nirasa yat para^asa. The exact meaning of the words in our text is not easily definable ; Saya^a transcribes them all by compounds of ^asana = hi^sana, 'injury.' Ludwig leaves them untranslated, and regards them as various kinds of imprecations ; but compare his version of the RV. words (927, vol. ii, p. 552). Florenz, 1 durch unrecht verlangen, abweis, verwunschung.' Stanza 3. Cf. RV. X, 164, 4. Saya;za identifies the lightly personified Pra^etas with Varu/za. The word is indeed a frequent epithet of Varu/za. But the patronymic Angirasa suits VI, 5°- COMMENTARY. 485 Brahma^aspati rather than Varu^a (so Grassmann, II, 501) ; Ludwig refers it to Agni. VI, 46. Commentary to page 167. The hymn is employed along with VI, 45 in the practice described at Kaor. 46, 9. 10 ; see the introduction to the preceding hymn. The last two stanzas of the present hymn are employed further, in the case of peculiarly oppressive dreams, in a cumulative performance embracing the acts of Kaiu. 46, 9. 10, as well as those of 46, 11. 12. The latter are undertaken in connection with AV. VII, ico and 101 : the dreamer turns over on his other side, and looks at real food if he has dreamt of eating food. Cf. also Ath. Pari.?. 8, 1 ; 33, 1. The hymn has been translated by Ludwig, Der Rigveda, III, 498 ; Florenz, Bezzenberger's Beitrage, XII, 306. Stanza 1. Varimani is a variable term, either a personification of the waters (cf. Tait. S. V, 5, 4, 1), or of the night (see the passages in the Pet. Lex. under visum. 1 b, column 724, bottom). Here the latter function is in evidence ; cf. Ait. Ar. Ill, 4, 18.
21. Varimani is a variable term, either a personification of the waters (cf. Tait. S. V, 5, 4, 1), or of the night (see the passages in the Pet. Lex. under visum. 1 b, column 724, bottom). Here the latter function is in evidence ; cf. Ait. Ar. Ill, 4, 18. Araru is a personification of hostility and demoniac force ; cf. Tait. Br. Ill, 2, 9, 4. Stanza 3. Cf. RV. VIII, 47, 17; AV. XIX, 57, 1. Saya/za, mechanically, ' as one removes claws and other parts that have been injured by disease, or as wicked men transmit their debts by tradition (inheritance)/ &c. VI, 50. Commentary to page 142. Ke^ava and Siya^a, in their introductions to the cere- monies prescribed in connection with this hymn at Kau^. 51, 17-22, mention a long line of pestiferous insects, but the rare and unknown words in the hymn are not elucidated. 486 HYMNS OF THE ATHARVA-VEDA. The performances are as follows: 17. * While the hymn is being recited, the performer walks about the grain-field, hacking a piece of lead with an iron instrument1. 18. He scatters stones upon the field. 19. He ties a hair through the mouth of a tarda (insect) and buries him head down- ward into the middle of the field. 20. He performs the act which is to be done while walking 2. 21. He offers a bali- ofifering to Asa. (" region "), to A^apati (" lord of the regions "), to the two A-rvins, and to Kshetrapati (" lord of the field "). 22. On the day when he performs the ceremonies for these (divinities?) he shall remain silent up to the time of sunset/ The hymn is catalogued also in the first abhayaga/za (cf. st. 1) of the Ga/zamala, Ath. Pam. 32, 12 (cf. Ka,us. 16, 8, note). It has been rendered by Ludwig, Der Rigveda, III, 499 fif. ; Florenz, Bezzenberger's Beitrage, XII, 312 ff. The Anukrama^t, a\?vinam abhayakama^. Stanza 1. The renderings of tardam and samankam are conjectured etymologically. For the latter, see the note on I, 1 2, 2 c. Stanza 2. The name lipakvasa is not even etymologically sugges- tive. S&ya/za reads apakvasaA (a-pakvas),, glossing, adag- dha^ santa^. 1 For Kamika's ayasa sisa#z karshan Saya^a reads aya^sisazrc gharshan, paraphrasing it by lohamaya#z sisaw gharshan. Possibly sisam is to be changed to sitam : the performance would then con- sist in ploughing a furrow with an iron (plough) about the field. Cf. Kau.s\ 50, 17. 2 Cf. Kaur. 51, 2 (in the introduction to IV, 3) : 'While walk- ing he offers thrice to the Awins (so Sayawa ; cf. st.
3be changed to sitam : the performance would then con- sist in ploughing a furrow with an iron (plough) about the field. Cf. Kau.s\ 50, 17. 2 Cf. Kaur. 51, 2 (in the introduction to IV, 3) : 'While walk- ing he offers thrice to the Awins (so Sayawa ; cf. st. 1 of our hymn) milk of a cow with a calf of the same colour as herself.' Saya/za reads for ^are, the word which we have rendered ' while walking/ £arau. By transcribing k&ve in Devanagari, and adding a vertical line after the r, the partial ambiguity will appear. Saya/za's statement is, ^arurn a^vibhya^^uhuyat. We are not convinced. Why should the MSS. of the Kau^ika write the diphthong au in this fashion in this instance, and never elsewhere ? VI, 5^. COMMENTARY. 487 Stanza 3. The two compounds with pati are ambiguous. The final long a of the stems preceding may be due to Vedic (metrical) lengthening : in that case, ' lord of the tarda,' &c, is the proper rendering. So Saya^a. For vyadhvara^ Shankar Pandit's edition, with most MSS. and Saya^/a, read vyad- vara/z ; cf. our notes on II, 31, 4 c ; III, 28, 2. VI, 56. Commentary to page 151. The terms of the hymn indicate a charm against serpents, of the general sort1, but Kau^. 50, 17-22 gives it a prag- matic turn ; the practice is designed to keep serpents away from the premises: 17. 'While reciting this hymn along with sundry other mantras, lines are scratched around the bed, the house, and the grain-field. 1 8. Grass that has been anointed with the dregs of ghee is fastened upon the door through a yoke-hole 2. 19. Dung from the entrails (of a cow) is crumbled (at the door). 20. It is dug into (the ground). 21. And laid on (the fire). 22. (The same performances as with the dung are undertaken with) the blossoms of the apamarga-plant (achyranthes aspera; cf. the introduction to IV, 17), the hoofs(!) of the kudriy£i-tree 3, the roots of them being turned away 4 (from the ground, fire, &c.) V The hymn is also rubricated (with others) at Kaiu\ 139, 8, in the course of practices preparatory to the study of 1 Cf. Ke^ava, sarpadisvastyayanam. 2 Cf. AV. XIV, i, 40; Kaur. 76, 12, and Indische Studien, V, i99> 387- 3 Very doubtful: the word is kudri/fctaaphan. Kei'ava, guduki- padan, 'the feet of the gud&ki (cocculus cordifolius'). Saya^a simply, gudukim. 4 The text, para^inamulan. Neither Kcrava, nor Saya^a com- ments upon the word. 5 The aim of these performances is clear : the serpents are to be excluded by magic lines, and purifying substances and plants. 488 HYMNS OF THE ATHARVA-VEDA. the Vedas. Cf. also Vait Su.
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.
1a-pura^a 242, as his authority. Cf. also Marka^eya-pura^a 43 ; Vayu- pura^a 19 ; Ait. Ar. Ill, 5, 16 ff. (Sacred Books, I, 262 ff.) ; Aufrecht, Zeitschr. d. Deutsch. Morgenl. Gesellsch., XXXII, 574 ; and Hultzsch, Prolegomena zu des Vasantara£*a 5akuna, pp. 15 ff. Both hymns figure in the du/^svapnana- .sanaga/za of the Ga/zamala, Ath. Paris*. 32, 8 (Kaar. 46, 9, note) ; cf. also Ath. Paris*. 33, 1. The present hymn has been translated by Ludwig, Der Rigveda, III, 443, and Florenz, Bezzenberger's Beitrage, XII, 305 ff. The Anukrama^i, du^svapnanasanadevatyam. Stanza 1. a. Saya/za, contrary to the Padapaz^a, reads manas papa, 'O mind devoted to evil that hast become the cause of dreams ; ' cf. the introduction. The text of the Pada seems to be an Atharvanic contortion of RV. X, 164, 1 a, ape * hi manasas pate. Stanza 2. Cf. RV. X, 164, 3 with the variant a.s*asa ni^asa*bhis*asa ; Tait. Br. Ill, 7, 12, 4, a^asa nirasa yat para^asa. The exact meaning of the words in our text is not easily definable ; Saya^a transcribes them all by compounds of ^asana = hi^sana, 'injury.' Ludwig leaves them untranslated, and regards them as various kinds of imprecations ; but compare his version of the RV. words (927, vol. ii, p. 552). Florenz, 1 durch unrecht verlangen, abweis, verwunschung.' Stanza 3. Cf. RV. X, 164, 4. Saya;za identifies the lightly personified Pra^etas with Varu/za. The word is indeed a frequent epithet of Varu/za. But the patronymic Angirasa suits VI, 5°- COMMENTARY. 485 Brahma^aspati rather than Varu^a (so Grassmann, II, 501) ; Ludwig refers it to Agni. VI, 46. Commentary to page 167. The hymn is employed along with VI, 45 in the practice described at Kaor. 46, 9. 10 ; see the introduction to the preceding hymn. The last two stanzas of the present hymn are employed further, in the case of peculiarly oppressive dreams, in a cumulative performance embracing the acts of Kaiu. 46, 9. 10, as well as those of 46, 11. 12. The latter are undertaken in connection with AV. VII, ico and 101 : the dreamer turns over on his other side, and looks at real food if he has dreamt of eating food. Cf. also Ath. Pari.?. 8, 1 ; 33, 1. The hymn has been translated by Ludwig, Der Rigveda, III, 498 ; Florenz, Bezzenberger's Beitrage, XII, 306. Stanza 1. Varimani is a variable term, either a personification of the waters (cf. Tait. S. V, 5, 4, 1), or of the night (see the passages in the Pet. Lex. under visum. 1 b, column 724, bottom). Here the latter function is in evidence ; cf. Ait. Ar. Ill, 4, 18.
21. Varimani is a variable term, either a personification of the waters (cf. Tait. S. V, 5, 4, 1), or of the night (see the passages in the Pet. Lex. under visum. 1 b, column 724, bottom). Here the latter function is in evidence ; cf. Ait. Ar. Ill, 4, 18. Araru is a personification of hostility and demoniac force ; cf. Tait. Br. Ill, 2, 9, 4. Stanza 3. Cf. RV. VIII, 47, 17; AV. XIX, 57, 1. Saya/za, mechanically, ' as one removes claws and other parts that have been injured by disease, or as wicked men transmit their debts by tradition (inheritance)/ &c. VI, 50. Commentary to page 142. Ke^ava and Siya^a, in their introductions to the cere- monies prescribed in connection with this hymn at Kau^. 51, 17-22, mention a long line of pestiferous insects, but the rare and unknown words in the hymn are not elucidated. 486 HYMNS OF THE ATHARVA-VEDA. The performances are as follows: 17. * While the hymn is being recited, the performer walks about the grain-field, hacking a piece of lead with an iron instrument1. 18. He scatters stones upon the field. 19. He ties a hair through the mouth of a tarda (insect) and buries him head down- ward into the middle of the field. 20. He performs the act which is to be done while walking 2. 21. He offers a bali- ofifering to Asa. (" region "), to A^apati (" lord of the regions "), to the two A-rvins, and to Kshetrapati (" lord of the field "). 22. On the day when he performs the ceremonies for these (divinities?) he shall remain silent up to the time of sunset/ The hymn is catalogued also in the first abhayaga/za (cf. st. 1) of the Ga/zamala, Ath. Pam. 32, 12 (cf. Ka,us. 16, 8, note). It has been rendered by Ludwig, Der Rigveda, III, 499 fif. ; Florenz, Bezzenberger's Beitrage, XII, 312 ff. The Anukrama^t, a\?vinam abhayakama^. Stanza 1. The renderings of tardam and samankam are conjectured etymologically. For the latter, see the note on I, 1 2, 2 c. Stanza 2. The name lipakvasa is not even etymologically sugges- tive. S&ya/za reads apakvasaA (a-pakvas),, glossing, adag- dha^ santa^. 1 For Kamika's ayasa sisa#z karshan Saya^a reads aya^sisazrc gharshan, paraphrasing it by lohamaya#z sisaw gharshan. Possibly sisam is to be changed to sitam : the performance would then con- sist in ploughing a furrow with an iron (plough) about the field. Cf. Kau.s\ 50, 17. 2 Cf. Kaur. 51, 2 (in the introduction to IV, 3) : 'While walk- ing he offers thrice to the Awins (so Sayawa ; cf. st.
3be changed to sitam : the performance would then con- sist in ploughing a furrow with an iron (plough) about the field. Cf. Kau.s\ 50, 17. 2 Cf. Kaur. 51, 2 (in the introduction to IV, 3) : 'While walk- ing he offers thrice to the Awins (so Sayawa ; cf. st. 1 of our hymn) milk of a cow with a calf of the same colour as herself.' Saya/za reads for ^are, the word which we have rendered ' while walking/ £arau. By transcribing k&ve in Devanagari, and adding a vertical line after the r, the partial ambiguity will appear. Saya/za's statement is, ^arurn a^vibhya^^uhuyat. We are not convinced. Why should the MSS. of the Kau^ika write the diphthong au in this fashion in this instance, and never elsewhere ? VI, 5^. COMMENTARY. 487 Stanza 3. The two compounds with pati are ambiguous. The final long a of the stems preceding may be due to Vedic (metrical) lengthening : in that case, ' lord of the tarda,' &c, is the proper rendering. So Saya^a. For vyadhvara^ Shankar Pandit's edition, with most MSS. and Saya^/a, read vyad- vara/z ; cf. our notes on II, 31, 4 c ; III, 28, 2. VI, 56. Commentary to page 151. The terms of the hymn indicate a charm against serpents, of the general sort1, but Kau^. 50, 17-22 gives it a prag- matic turn ; the practice is designed to keep serpents away from the premises: 17. 'While reciting this hymn along with sundry other mantras, lines are scratched around the bed, the house, and the grain-field. 1 8. Grass that has been anointed with the dregs of ghee is fastened upon the door through a yoke-hole 2. 19. Dung from the entrails (of a cow) is crumbled (at the door). 20. It is dug into (the ground). 21. And laid on (the fire). 22. (The same performances as with the dung are undertaken with) the blossoms of the apamarga-plant (achyranthes aspera; cf. the introduction to IV, 17), the hoofs(!) of the kudriy£i-tree 3, the roots of them being turned away 4 (from the ground, fire, &c.) V The hymn is also rubricated (with others) at Kaiu\ 139, 8, in the course of practices preparatory to the study of 1 Cf. Ke^ava, sarpadisvastyayanam. 2 Cf. AV. XIV, i, 40; Kaur. 76, 12, and Indische Studien, V, i99> 387- 3 Very doubtful: the word is kudri/fctaaphan. Kei'ava, guduki- padan, 'the feet of the gud&ki (cocculus cordifolius'). Saya^a simply, gudukim. 4 The text, para^inamulan. Neither Kcrava, nor Saya^a com- ments upon the word. 5 The aim of these performances is clear : the serpents are to be excluded by magic lines, and purifying substances and plants. 488 HYMNS OF THE ATHARVA-VEDA. the Vedas. Cf. also Vait Su.
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.