Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1Mahabh. 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 gloss at Tait. S., 1. c. VI, 75. Commentary to page 93. This hymn is an abhi/£arika-hymn, and is, accordingly, rubricated twice in the sixth adhyaya of the Kaasika, which is devoted to hostile (witchcraft) practices. The 496 HYMNS OF THE ATHARVA-VEDA. so-called sawsthitahoma/£, * final oblations/ in the case of auspicious (janta) performances, are undertaken while VII, 97 is being recited. Thus according to Kaur. 6, 3 (cf. also 3, 19, note). But in the case of abhi^arika-practices, accord- ing to the Paribhasha-sutra 47, 10, a sinister turn is given to the sarasthitahoma^ by reciting the present hymn with them 1. The more special practice attached to this hymn is at Kaus. 48, 29-31. The sacrificial straw is spread with the thumb. Reed-grass (or an arrow, ^ara?) is thrown upon it from baskets made of kadvindu 2. By means of a leaf of the red a^vattha an oblation3 (of ihgWa-oil ; 47, 3), dashed with poison, is offered. There is no special rapport between the hymn and the ceremony. Previous translations by Ludwig, Der Rigveda, III, 373 ; Grill 2, pp. 22, 165 ff. The Anukrama/zi, mantroktade- vatyam aindram sapatnakshayakama^. The entire hymn recurs with variants, and markedly different arrangement of the Padas, at Apast. Sr. Ill, 14, 2 ; cf. also Tait. S. V, 1, 10, 3ff. VI, 77. Commentary to page 106. This charm is obviously a patchwork of mantras of various original values. The first hemistich of stanza 1 is identical with VI, 44, 1 a, b. The second hemistich of st. 3 is also formulaic (cf. V&g. S. XII, 8), and fits poorly into the present conception of the hymn. The second stanza (= RV. X, 19, 5) is clearly derived from a charm calculated to bring stray cattle home. As the hymn stands it would answer this purpose quite well, but the Kaujika, 36, 5-9, as explained by the commentaries, treats it as a charm for capturing a runaway woman, or holding in check a woman 1 The oblations in the latter case, implicitly, are not of ghee, but of ingk/a-oil ; cf. 47, 3. 2 Cf. 47, 1 ; Tait. S. II, 1, 5. 7. Our rendering of the air. Aey. kadvindukoshMai/£ is conjectural. 3 This is the nairbadhyazra havis (st. 1). For these especially pointed havis, see the note on VI, 39, 1. VI, 77- COMMENTARY. 497 disposed to run away 1.
247, 1 ; Tait. S. II, 1, 5. 7. Our rendering of the air. Aey. kadvindukoshMai/£ is conjectural. 3 This is the nairbadhyazra havis (st. 1). For these especially pointed havis, see the note on VI, 39, 1. VI, 77- COMMENTARY. 497 disposed to run away 1. The proceedings consist in fasten- ing a band down the cross-beam of the house and then fastening it to the middle post2. Then the foot of the (woman's) bed is fastened to an utpala-plant (nymphaea) 3. Further it is fastened to an Skrishta. 4. Finally sesame is offered by means of a coal-rake (akarsha : cf. Darila). The two words kkrishta. and akarsha both contain the root karsh with a, * drag back ; ' cf. akr/sh/imantra, ' charm for drawing a person to one's self/ Hitopade^a, book I, sloka. 90. There can be no doubt as to the meaning of the performances : they are intended to hold fast, or to compel the return of a person that has gone off. The hymn has been translated by Ludwig, Der Rigveda, III, 468, under the heading a^va^ (' horses'). Stanza 1. For the use of the aorists in this and the following stanza, cf. Delbruck, Syntaktische Forschungen, II, 87. To our feeling presents would be preferable to the aorists, and we might perhaps have better so rendered. In Pada d Saya^a supplies iva (luptopamam) with a^van, and striyam with atish/Zzipam, in slavish adherence to the Sutra. See the introduction. Stanza 3. Padas b, c are formulaic : cf. V&g. S. XII, 8. 3 Sayawa, palayana^ilaya^ striya nirodhanakarma^i. The posi- tion of the charm in the second part of the fourth adhyaya of the Sutra, among the strikarma/zi (Kau^. 32, 28-36, end), shows that Kaujika himself regards it as a practice concerning women. 2 The symbolism is obvious. For the parts of the house, cf. Ill, 12, 6. and the introduction to III, 12. See also Zimmer, Altin- disches Leben, p. 153. 8 This is very doubtful. The word utpale here, as at Kaiu. 35, 26 (see the introduction to III, 25), is very problematic. Sayawa has upale, ' to a stone/ Apparently a specious, easier reading. 4 Whatever that may "be. Darila, alsrzsh/a^ mat/rke*ti prasi- ddhabhidhanas tasmin jayanapadaw badhnati. See Pet. Lex. under matrz'ka. [42] K k 498 HYMNS OF THE ATHARVA-VEDA. VI, 78. Commentary to page 96. In the light of the words bhut&ia (st. 1 a), and rash/re^a (st. % b) it would seem as though this blessing related to the marriage of a royal personage (kshatriya). The central idea of this charm is the bhuta^ havis, 'oblation that produces power;' cf. especially IV, 8, i, and the ya.ro havis, ' oblation that yields glory/ VI, 39.
3would seem as though this blessing related to the marriage of a royal personage (kshatriya). The central idea of this charm is the bhuta^ havis, 'oblation that produces power;' cf. especially IV, 8, i, and the ya.ro havis, ' oblation that yields glory/ VI, 39. The latter forms also part of the practices of a king (see the introduction to VI, 38). But there is nothing in the treatment of the hymn, Kaui*. 78, 10. 14-16, to show that it refers to a royal couple, though that is not conclusive as regards its original intent. The practices consist in pouring the dregs of ghee upon the heads of the couple, after they have come home (a kind of consecration, abhisheka) ; in causing them to eat together of fluid food (rasa ; cf. st. 1 d) and porridge ; and, finally, in offering as much barley mixed with ghee as can be held in the two hands placed side by side. The hymn has been translated by Weber, Indische Studien, V, 238 ; Ludwig, Der Rigveda, III, 371 ff. ; Grill 2, pp. 57, 166. The Anukramam to the first two stanzas, Mndramasyau (cf. & pyayatam, st. 1 ; abhi vardhatam, st. 2) . . . ^ayabhivrz'ddhyai ^andramasam astaud raylm ka. dampatyor aprarthayat ; to the third stanza, tvash/ri. Stanza 1. a, b. For bhutena the Paippalada reads bhutasya ; Grill suggests bhutyena. But the use of the noun in apposition, rather than the attributive adjective, seems to be idiomatic in connection with these pregnantly employed havis : see ya.ro havis, VI, 39, 1 (cf. the note there), and abhivarta;^ havfs, RV. X, 174, 1. Weber regards Agni as the subject of a pyayatam ; Saya/za, the bridegroom. The latter is correct, but it would seem as though the passage alluded to the moon (cf. the Anukramam), the typical bridegroom ; cf. RV. X, 85, 6 ff. = AV. XIV, i, 6 ff d. The Paippalada has sa rasenabhi vardhatam. The rendering of the P&da is not at all certain ; the word rasena VI, 79- COMMENTARY. 499 (and payasa in st. 2) surely alludes to sexual sap (cf. RV. I, 105, 2): some such sense as 'he causes the wife to increase with his semen ' is to be expected. But vardhatam is not causative, and we have given a purely philological rendering. Cf. also RV. X, 174, 1 d ; AV. 1, 29, 1 d. Weber, ' das (weib) mog' umwachsen er mit kraft ; ' Ludwig, ' die soil er mit dem besten gedeihen machen (vardhatam) ; ' Grill, ' fur's weib . . . nehm er an zeugungskraften zu.' VI, 79. Commentary to page 141. The performance which accompanies this charm at Kau5\ 21,7 consists in placing a stone upon a grain-bag (cf. st.
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.
1Mahabh. 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 gloss at Tait. S., 1. c. VI, 75. Commentary to page 93. This hymn is an abhi/£arika-hymn, and is, accordingly, rubricated twice in the sixth adhyaya of the Kaasika, which is devoted to hostile (witchcraft) practices. The 496 HYMNS OF THE ATHARVA-VEDA. so-called sawsthitahoma/£, * final oblations/ in the case of auspicious (janta) performances, are undertaken while VII, 97 is being recited. Thus according to Kaur. 6, 3 (cf. also 3, 19, note). But in the case of abhi^arika-practices, accord- ing to the Paribhasha-sutra 47, 10, a sinister turn is given to the sarasthitahoma^ by reciting the present hymn with them 1. The more special practice attached to this hymn is at Kaus. 48, 29-31. The sacrificial straw is spread with the thumb. Reed-grass (or an arrow, ^ara?) is thrown upon it from baskets made of kadvindu 2. By means of a leaf of the red a^vattha an oblation3 (of ihgWa-oil ; 47, 3), dashed with poison, is offered. There is no special rapport between the hymn and the ceremony. Previous translations by Ludwig, Der Rigveda, III, 373 ; Grill 2, pp. 22, 165 ff. The Anukrama/zi, mantroktade- vatyam aindram sapatnakshayakama^. The entire hymn recurs with variants, and markedly different arrangement of the Padas, at Apast. Sr. Ill, 14, 2 ; cf. also Tait. S. V, 1, 10, 3ff. VI, 77. Commentary to page 106. This charm is obviously a patchwork of mantras of various original values. The first hemistich of stanza 1 is identical with VI, 44, 1 a, b. The second hemistich of st. 3 is also formulaic (cf. V&g. S. XII, 8), and fits poorly into the present conception of the hymn. The second stanza (= RV. X, 19, 5) is clearly derived from a charm calculated to bring stray cattle home. As the hymn stands it would answer this purpose quite well, but the Kaujika, 36, 5-9, as explained by the commentaries, treats it as a charm for capturing a runaway woman, or holding in check a woman 1 The oblations in the latter case, implicitly, are not of ghee, but of ingk/a-oil ; cf. 47, 3. 2 Cf. 47, 1 ; Tait. S. II, 1, 5. 7. Our rendering of the air. Aey. kadvindukoshMai/£ is conjectural. 3 This is the nairbadhyazra havis (st. 1). For these especially pointed havis, see the note on VI, 39, 1. VI, 77- COMMENTARY. 497 disposed to run away 1.
247, 1 ; Tait. S. II, 1, 5. 7. Our rendering of the air. Aey. kadvindukoshMai/£ is conjectural. 3 This is the nairbadhyazra havis (st. 1). For these especially pointed havis, see the note on VI, 39, 1. VI, 77- COMMENTARY. 497 disposed to run away 1. The proceedings consist in fasten- ing a band down the cross-beam of the house and then fastening it to the middle post2. Then the foot of the (woman's) bed is fastened to an utpala-plant (nymphaea) 3. Further it is fastened to an Skrishta. 4. Finally sesame is offered by means of a coal-rake (akarsha : cf. Darila). The two words kkrishta. and akarsha both contain the root karsh with a, * drag back ; ' cf. akr/sh/imantra, ' charm for drawing a person to one's self/ Hitopade^a, book I, sloka. 90. There can be no doubt as to the meaning of the performances : they are intended to hold fast, or to compel the return of a person that has gone off. The hymn has been translated by Ludwig, Der Rigveda, III, 468, under the heading a^va^ (' horses'). Stanza 1. For the use of the aorists in this and the following stanza, cf. Delbruck, Syntaktische Forschungen, II, 87. To our feeling presents would be preferable to the aorists, and we might perhaps have better so rendered. In Pada d Saya^a supplies iva (luptopamam) with a^van, and striyam with atish/Zzipam, in slavish adherence to the Sutra. See the introduction. Stanza 3. Padas b, c are formulaic : cf. V&g. S. XII, 8. 3 Sayawa, palayana^ilaya^ striya nirodhanakarma^i. The posi- tion of the charm in the second part of the fourth adhyaya of the Sutra, among the strikarma/zi (Kau^. 32, 28-36, end), shows that Kaujika himself regards it as a practice concerning women. 2 The symbolism is obvious. For the parts of the house, cf. Ill, 12, 6. and the introduction to III, 12. See also Zimmer, Altin- disches Leben, p. 153. 8 This is very doubtful. The word utpale here, as at Kaiu. 35, 26 (see the introduction to III, 25), is very problematic. Sayawa has upale, ' to a stone/ Apparently a specious, easier reading. 4 Whatever that may "be. Darila, alsrzsh/a^ mat/rke*ti prasi- ddhabhidhanas tasmin jayanapadaw badhnati. See Pet. Lex. under matrz'ka. [42] K k 498 HYMNS OF THE ATHARVA-VEDA. VI, 78. Commentary to page 96. In the light of the words bhut&ia (st. 1 a), and rash/re^a (st. % b) it would seem as though this blessing related to the marriage of a royal personage (kshatriya). The central idea of this charm is the bhuta^ havis, 'oblation that produces power;' cf. especially IV, 8, i, and the ya.ro havis, ' oblation that yields glory/ VI, 39.
3would seem as though this blessing related to the marriage of a royal personage (kshatriya). The central idea of this charm is the bhuta^ havis, 'oblation that produces power;' cf. especially IV, 8, i, and the ya.ro havis, ' oblation that yields glory/ VI, 39. The latter forms also part of the practices of a king (see the introduction to VI, 38). But there is nothing in the treatment of the hymn, Kaui*. 78, 10. 14-16, to show that it refers to a royal couple, though that is not conclusive as regards its original intent. The practices consist in pouring the dregs of ghee upon the heads of the couple, after they have come home (a kind of consecration, abhisheka) ; in causing them to eat together of fluid food (rasa ; cf. st. 1 d) and porridge ; and, finally, in offering as much barley mixed with ghee as can be held in the two hands placed side by side. The hymn has been translated by Weber, Indische Studien, V, 238 ; Ludwig, Der Rigveda, III, 371 ff. ; Grill 2, pp. 57, 166. The Anukramam to the first two stanzas, Mndramasyau (cf. & pyayatam, st. 1 ; abhi vardhatam, st. 2) . . . ^ayabhivrz'ddhyai ^andramasam astaud raylm ka. dampatyor aprarthayat ; to the third stanza, tvash/ri. Stanza 1. a, b. For bhutena the Paippalada reads bhutasya ; Grill suggests bhutyena. But the use of the noun in apposition, rather than the attributive adjective, seems to be idiomatic in connection with these pregnantly employed havis : see ya.ro havis, VI, 39, 1 (cf. the note there), and abhivarta;^ havfs, RV. X, 174, 1. Weber regards Agni as the subject of a pyayatam ; Saya/za, the bridegroom. The latter is correct, but it would seem as though the passage alluded to the moon (cf. the Anukramam), the typical bridegroom ; cf. RV. X, 85, 6 ff. = AV. XIV, i, 6 ff d. The Paippalada has sa rasenabhi vardhatam. The rendering of the P&da is not at all certain ; the word rasena VI, 79- COMMENTARY. 499 (and payasa in st. 2) surely alludes to sexual sap (cf. RV. I, 105, 2): some such sense as 'he causes the wife to increase with his semen ' is to be expected. But vardhatam is not causative, and we have given a purely philological rendering. Cf. also RV. X, 174, 1 d ; AV. 1, 29, 1 d. Weber, ' das (weib) mog' umwachsen er mit kraft ; ' Ludwig, ' die soil er mit dem besten gedeihen machen (vardhatam) ; ' Grill, ' fur's weib . . . nehm er an zeugungskraften zu.' VI, 79. Commentary to page 141. The performance which accompanies this charm at Kau5\ 21,7 consists in placing a stone upon a grain-bag (cf. st.
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.