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Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1he hymn fyas been translated by Weber, Indische Stu- dies V, 236 ff. ; Grill2, pp. 56, 164; Zimmer, Altindisches Leben, p. 306. Stanza 1. a, b. Aryaman is the typical wooer or bridegroom ; cf. AV. XIV, 1, 34 ( = RV. X, 85 33). 39 ; a, 5 (=RV. X, 40, 12). Weber and Grill join purastad to vishitastupa^, ' with crest loosened in front ;' Saya^a, cfrom the east.' We are having in mind a bridal procession consisting of many wooers (cf. AV. XI, 8, i. 2, and Kaar. 75, 13). See also Indische Studien, V, 380, bottom. Stanza 2. d. The plural anya^ and the singular a*yati do not agree. Weber would read ayantu or ayanti ; Grill, anya. 1 Cf. Kau^. 34, 12 ; 75, 6. 492 HYMNS OF THE ATHARVA-VEDA. The latter change results in the best metre. Saya^a, coolly, ayati prapnuvanti. VI, 64. Commentary to page 136. This hymn is rubricated in the ga^a, or series, entitled sa^manasyani in Kaar. 12, 5, and the practices are the same as those employed in connection with III, 30, above. The entire hymn is repeated with many variants in RV. X, 191, 2-4, in Maitr. S. II, 2, 6, and in Tait. Br. II, 4, 4, 4 ff. It has been translated by Ludwig, Der Rigveda, III, 372 ; Grill2, pp. 31, j 64; cf. also Zimmer, p. 175, and the well- known translations of RV. X, 191. Stanza 1. a. The RV. and Tait. Br. read, s&nt gakk/iadhvani sim vadadhvam ; the Maitr. S., saw ga^Madhvaw saw ^ani- dhvam. d. Cf. Yank. Br. II, 2, 4; Asv. Sv. II, 11, 10. Stanza 2. Of the four texts, cited above, no one has precisely the same readings, though the sense is essentially the same in all. For the samanaw havL#, cf. the introduction to VI, 39, and the foot-note on VI, 39, 1. Stanza 3. d. All the texts read yatha vak siisaha *sati ; the Pada- pa/^as of the RV. and AV. resolve siisaha asati. This leaves upon our hands a compound adverb siisaha, which I have translated ' perfectly in common.' Ludwig resolves susaha asati, translating ' that you may have easy victory.' It is possible, too, to ignore the Padakara, and read sii saha asati, and translate again as we have done. I had thought also of emending yatha vasu saha*sati, 'that you may have possessions in common/ and found later that the Padapa//za of the Maitr. S. had something similar in mind, reading, vasu saha asati. Cf. also the simple saha*sati at AV. VII, 36. VI, 7°. COMMENTARY. 493 VI, 70. Commentary to page 144. Darila, Kerava, and Saya/za explicitly define the per- formance in connection with this hymn at Kaur. 41, 18-20 as designed to effect harmony between cow and calf.
2imple saha*sati at AV. VII, 36. VI, 7°. COMMENTARY. 493 VI, 70. Commentary to page 144. Darila, Kerava, and Saya/za explicitly define the per- formance in connection with this hymn at Kaur. 41, 18-20 as designed to effect harmony between cow and calf. Saya/za, govatsayor anyonyavirodha^antirupe sa^manasya- karma/zi. Kaiuika himself designates the rite as vananam ; cf. the note on the word apavata in the introduction to VI, 44 (p. 482, note). The practice consists in washing the calf, sprinkling it with the cow's urine, leading it thrice around (the cow), and tying it (near her), while the hymn is being recited. It is then recited once more over the head and ears of the calf. The symbolic force of these acts is apparent. The hymn has been translated by Grill 2, pp. 65, 165. The Anukrama/zi, aghnyam. Stanza 1. a, b. Saya^a, ' as meat is liked by the eater, as brandy is most welcome, and as dice are most welcome at the gaming-place.' Grill connects ma/7zsam and sura rather too closely, ' as sura goes with meat.' But cf. RV. VII, 86, 6 ; AV. XIV, 1, 35. 36 ; XV, 9, 1. 2, where sura and gambling are associated. All three, being forbidden fruit, inspire strong attachment in their devotees. Cf. the practices in the introduction to III, 30 (Kau.s*. 12, 6-9), Stanza 3. The interrelation of the parts of the wheel are not clear : pradhi and upadhi may be respectively the outer felloe (Saya/za, ratha^akrasya nemi^), and a second circular part closely joined to the felloe (Saya/za, nemisa^baddha^ ara//am sa?/zbandhako valaya/z). They may be, respectively the tire (ordinarily pavi), and the felloe ; or, the felloe, and some inner connective circle next to the felloe. We have, how- ever, followed the Pet. Lex. and Zimmer, Altindisches Leben, p. 248, in regarding upadhi as the spokes, taken collectively. Saya/za takes nabhyam in this latter sense, 494 HYMNS OF THE ATHARVA-VEDA. nabhyam nabhaye hita//z ratha£akramadhyaphalaka;/z pra- dhav adhi nemide^e sa^badhnati. VI, 71. Commentary to page 196. An expiatory prayer (pr^ya^ittam) to obviate any im- propriety, such as greed and worldliness, on the part of the Brahman who receives gifts, or the absence of sacredness in the gift itself. At Kau^. 45, 17 it is recited along with other mantras upon the receipt of the dakshma ; at Kaur. 57, 29-30 the begging Brahman disciple offers, while re- citing the hymn, the fruits of his mendicancy: the firewood which he has begged is put on the fire in the evening and in the morning, while reciting this hymn. At Vait. Su.
3pt of the dakshma ; at Kaur. 57, 29-30 the begging Brahman disciple offers, while re- citing the hymn, the fruits of his mendicancy: the firewood which he has begged is put on the fire in the evening and in the morning, while reciting this hymn. At Vait. Su. 4, 16 the Brahman consumes with it his share of the rice-cakes at the new-moon and full-moon sacrifices. The hymn has been translated by Ludwig, Der Rigveda, III, 433; Grill2, pp. 66, 165. The Anukrama/zi, brahma "gneyam. Stanza 3. This seems to be spoken by a non-Brahmanical sacrificer (ya^amana), to make sure that the fruits of his sacrifice shall not fail him. For the second hemistich the Da^a Karma;zi (paddhati) at Kauj. 57, 29 substitutes the second hemistich of VI, 53, 2. VI, 73. Commentary to page 135. This is one of the sa^manasyani (sc. suktani), * charms designed to produce harmony,5 treated* at Kaus. 12, 5 ff. See the introduction to III, 30 for the practices connected with these hymns. The charm seems to be undertaken by the patriarchal head of a community; cf. Sat. Br. IV, 1, 5, 3ff. The hymn is rubricated also among the vastosh- pattyani (sc. suktani), ' hymns to Vastoshpati ' (cf. st. 3, note), at Kaui-. 8, 23, and note ; the third stanza in the course of ceremonies connected with the building of a house, Kaui*. VI, 75- COMMENTARY. 495 23, 6. Cf. also the pushrik& mantra^, in the note on Kau.r. I9> 1. Stanza 2. c. The MSS. are divided between \&m Mrivayami, tan Mri-, and tan sri- (Padapa/^a, tan sri-). The vulgate has taim Mrt-, emended in the Index Verborum to tarn sri-. Shankar Pandit adopts S^ya^a's rather vapid sivayami (tam vividham akuti^ balam ka. . . . parasparasa^baddhara karomi). Stanza 3. Both Pushan, the guardian of the distant ways, and Vastoshpati, the genius of home, are invited to co-operate with the person desiring adherents, in order to put a stop to dissension -and disintegration. VI, 74. Commentary to page 135. This is one of the sa//zmanasyani (sc. suktani), ' charms designed to produce harmony/ treated at Kau^. 13, 5. See the introduction to III, 30 for the practices connected with these hymns. Stanza 2. d. The word jrantam seems suspicious. Possibly bantam is intended ' with the peace of Bhaga.' The root jam is used with words for * strife,' vigraha, Kathasaritsagara 56, 96 ; vaira, Mahabh. XIV, 2509. Stanza 3. Cf. Tait. S. II, 1, 11, 3, with the variant rudra^ for ugra^ (Saya^a = rudrd^). Sclya/za explains tri/zaman as the threefold fire of the earth, lightning, and sun, or, as the threefold fire of the sacrifice (^arhapatya, &c). Cf.
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.
1he hymn fyas been translated by Weber, Indische Stu- dies V, 236 ff. ; Grill2, pp. 56, 164; Zimmer, Altindisches Leben, p. 306. Stanza 1. a, b. Aryaman is the typical wooer or bridegroom ; cf. AV. XIV, 1, 34 ( = RV. X, 85 33). 39 ; a, 5 (=RV. X, 40, 12). Weber and Grill join purastad to vishitastupa^, ' with crest loosened in front ;' Saya^a, cfrom the east.' We are having in mind a bridal procession consisting of many wooers (cf. AV. XI, 8, i. 2, and Kaar. 75, 13). See also Indische Studien, V, 380, bottom. Stanza 2. d. The plural anya^ and the singular a*yati do not agree. Weber would read ayantu or ayanti ; Grill, anya. 1 Cf. Kau^. 34, 12 ; 75, 6. 492 HYMNS OF THE ATHARVA-VEDA. The latter change results in the best metre. Saya^a, coolly, ayati prapnuvanti. VI, 64. Commentary to page 136. This hymn is rubricated in the ga^a, or series, entitled sa^manasyani in Kaar. 12, 5, and the practices are the same as those employed in connection with III, 30, above. The entire hymn is repeated with many variants in RV. X, 191, 2-4, in Maitr. S. II, 2, 6, and in Tait. Br. II, 4, 4, 4 ff. It has been translated by Ludwig, Der Rigveda, III, 372 ; Grill2, pp. 31, j 64; cf. also Zimmer, p. 175, and the well- known translations of RV. X, 191. Stanza 1. a. The RV. and Tait. Br. read, s&nt gakk/iadhvani sim vadadhvam ; the Maitr. S., saw ga^Madhvaw saw ^ani- dhvam. d. Cf. Yank. Br. II, 2, 4; Asv. Sv. II, 11, 10. Stanza 2. Of the four texts, cited above, no one has precisely the same readings, though the sense is essentially the same in all. For the samanaw havL#, cf. the introduction to VI, 39, and the foot-note on VI, 39, 1. Stanza 3. d. All the texts read yatha vak siisaha *sati ; the Pada- pa/^as of the RV. and AV. resolve siisaha asati. This leaves upon our hands a compound adverb siisaha, which I have translated ' perfectly in common.' Ludwig resolves susaha asati, translating ' that you may have easy victory.' It is possible, too, to ignore the Padakara, and read sii saha asati, and translate again as we have done. I had thought also of emending yatha vasu saha*sati, 'that you may have possessions in common/ and found later that the Padapa//za of the Maitr. S. had something similar in mind, reading, vasu saha asati. Cf. also the simple saha*sati at AV. VII, 36. VI, 7°. COMMENTARY. 493 VI, 70. Commentary to page 144. Darila, Kerava, and Saya/za explicitly define the per- formance in connection with this hymn at Kaur. 41, 18-20 as designed to effect harmony between cow and calf.
2imple saha*sati at AV. VII, 36. VI, 7°. COMMENTARY. 493 VI, 70. Commentary to page 144. Darila, Kerava, and Saya/za explicitly define the per- formance in connection with this hymn at Kaur. 41, 18-20 as designed to effect harmony between cow and calf. Saya/za, govatsayor anyonyavirodha^antirupe sa^manasya- karma/zi. Kaiuika himself designates the rite as vananam ; cf. the note on the word apavata in the introduction to VI, 44 (p. 482, note). The practice consists in washing the calf, sprinkling it with the cow's urine, leading it thrice around (the cow), and tying it (near her), while the hymn is being recited. It is then recited once more over the head and ears of the calf. The symbolic force of these acts is apparent. The hymn has been translated by Grill 2, pp. 65, 165. The Anukrama/zi, aghnyam. Stanza 1. a, b. Saya^a, ' as meat is liked by the eater, as brandy is most welcome, and as dice are most welcome at the gaming-place.' Grill connects ma/7zsam and sura rather too closely, ' as sura goes with meat.' But cf. RV. VII, 86, 6 ; AV. XIV, 1, 35. 36 ; XV, 9, 1. 2, where sura and gambling are associated. All three, being forbidden fruit, inspire strong attachment in their devotees. Cf. the practices in the introduction to III, 30 (Kau.s*. 12, 6-9), Stanza 3. The interrelation of the parts of the wheel are not clear : pradhi and upadhi may be respectively the outer felloe (Saya/za, ratha^akrasya nemi^), and a second circular part closely joined to the felloe (Saya/za, nemisa^baddha^ ara//am sa?/zbandhako valaya/z). They may be, respectively the tire (ordinarily pavi), and the felloe ; or, the felloe, and some inner connective circle next to the felloe. We have, how- ever, followed the Pet. Lex. and Zimmer, Altindisches Leben, p. 248, in regarding upadhi as the spokes, taken collectively. Saya/za takes nabhyam in this latter sense, 494 HYMNS OF THE ATHARVA-VEDA. nabhyam nabhaye hita//z ratha£akramadhyaphalaka;/z pra- dhav adhi nemide^e sa^badhnati. VI, 71. Commentary to page 196. An expiatory prayer (pr^ya^ittam) to obviate any im- propriety, such as greed and worldliness, on the part of the Brahman who receives gifts, or the absence of sacredness in the gift itself. At Kau^. 45, 17 it is recited along with other mantras upon the receipt of the dakshma ; at Kaur. 57, 29-30 the begging Brahman disciple offers, while re- citing the hymn, the fruits of his mendicancy: the firewood which he has begged is put on the fire in the evening and in the morning, while reciting this hymn. At Vait. Su.
3pt of the dakshma ; at Kaur. 57, 29-30 the begging Brahman disciple offers, while re- citing the hymn, the fruits of his mendicancy: the firewood which he has begged is put on the fire in the evening and in the morning, while reciting this hymn. At Vait. Su. 4, 16 the Brahman consumes with it his share of the rice-cakes at the new-moon and full-moon sacrifices. The hymn has been translated by Ludwig, Der Rigveda, III, 433; Grill2, pp. 66, 165. The Anukrama/zi, brahma "gneyam. Stanza 3. This seems to be spoken by a non-Brahmanical sacrificer (ya^amana), to make sure that the fruits of his sacrifice shall not fail him. For the second hemistich the Da^a Karma;zi (paddhati) at Kauj. 57, 29 substitutes the second hemistich of VI, 53, 2. VI, 73. Commentary to page 135. This is one of the sa^manasyani (sc. suktani), * charms designed to produce harmony,5 treated* at Kaus. 12, 5 ff. See the introduction to III, 30 for the practices connected with these hymns. The charm seems to be undertaken by the patriarchal head of a community; cf. Sat. Br. IV, 1, 5, 3ff. The hymn is rubricated also among the vastosh- pattyani (sc. suktani), ' hymns to Vastoshpati ' (cf. st. 3, note), at Kaui-. 8, 23, and note ; the third stanza in the course of ceremonies connected with the building of a house, Kaui*. VI, 75- COMMENTARY. 495 23, 6. Cf. also the pushrik& mantra^, in the note on Kau.r. I9> 1. Stanza 2. c. The MSS. are divided between \&m Mrivayami, tan Mri-, and tan sri- (Padapa/^a, tan sri-). The vulgate has taim Mrt-, emended in the Index Verborum to tarn sri-. Shankar Pandit adopts S^ya^a's rather vapid sivayami (tam vividham akuti^ balam ka. . . . parasparasa^baddhara karomi). Stanza 3. Both Pushan, the guardian of the distant ways, and Vastoshpati, the genius of home, are invited to co-operate with the person desiring adherents, in order to put a stop to dissension -and disintegration. VI, 74. Commentary to page 135. This is one of the sa//zmanasyani (sc. suktani), ' charms designed to produce harmony/ treated at Kau^. 13, 5. See the introduction to III, 30 for the practices connected with these hymns. Stanza 2. d. The word jrantam seems suspicious. Possibly bantam is intended ' with the peace of Bhaga.' The root jam is used with words for * strife,' vigraha, Kathasaritsagara 56, 96 ; vaira, Mahabh. XIV, 2509. Stanza 3. Cf. Tait. S. II, 1, 11, 3, with the variant rudra^ for ugra^ (Saya^a = rudrd^). Sclya/za explains tri/zaman as the threefold fire of the earth, lightning, and sun, or, as the threefold fire of the sacrifice (^arhapatya, &c). Cf.
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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