Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1il 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. 2 b)5 sprinkling it, laying upon it a handful of grain with each of the three stanzas, and letting (another person also) lay on (three hands full). The hymn is also rubricated at Vait. Su. 31,4; Gop. Br. II, 4, 9, where nabhasaspati is explained as vayu, ' wind/ and deva sa^sphana as aditya, c sun.' The Atharva^iya-paddhati (Kaor. 19, 1, note) counts the hymn among the pushrika mantra^, ' hymns that produce pros- perity.' The hymn recurs with notable variants at Tait. S. Ill, 3, 8, 2-3 ; cf. also III, 3, 8, 6. Stanza 1. c. The Padapa//£a does not analyse asamatim, either here or at RV. X, 60, 2. 51. The Pet. Lex. renders it by * incomparable/ Bohtlingk, in the smaller lexicon, emends it to asamarti, ' exemption from injury ; ' cf. asamartyai in the passage cited above from the Tait. S. We with Saya/za, matir manam pari££/zedas tena saha vartata iti samati/^, tadvaiparityam asamati^. Stanza 3. c. The Pada is formulaic : Tait. Br. Ill, 7, 5, 7, tasyas te bhakshiva/za>£ sy&ma ; Maitr. S. I, 4, 3 ; 5, 3. 10 ; Apast. 1 The later tradition regards asamati as a proper name ; cf. Saya/za on RV., and Weber, Ind. Stud. X, 33. K k 2 500 HYMNS OF THE ATH ARVA-VEDA . 5r. IV, 13, 7, tasyas (tasya) bhaktivano bhuyasma ; cf. Whitney, Sanskrit Grammar2, §4630!. VI, 80. Commentary to page 13. The subject matter of this hymn is identical with a Brahma/za legend, told at Maitr. S. I, 6, 9 ; Ka//£. S. VIII, t ; Tait. Br. I, 1, 2,4-6 (cf. also Sat Br. II, i, 2, 13-16). The substance of the story is that certain demons (asura) called kalaka%"a piled up a fire-altar in order to ascend by it to heaven. Indra joined them, adding a brick of his own. When they had climbed to heaven, Indra pulled out his brick and they tumbled down. They became spiders, all but two who flew up and became the two heavenly dogs. In our essay, 'The two dogs of Yama in a new role,' printed in the third series of Contributions, Journ. Amer. Or. Soc. XV, 163 ff.1, it has been shown that the two heavenly dogs, otherwise the two dogs of Yama, are the sun and the moon. The mythic character of the kalaka^*a is altogether uncertain. We have surmised (1. c, p. 169) that they are either the galaxy, or the stars in general, conceived as spiders. Possibly some especial group of stars, three in number (cf. st.
2the sun and the moon. The mythic character of the kalaka^*a is altogether uncertain. We have surmised (1. c, p. 169) that they are either the galaxy, or the stars in general, conceived as spiders. Possibly some especial group of stars, three in number (cf. st. 2 of our hymn), is intended. All this is embalmed in the present hymn in a technical oblation (havis ; cf. the note on VI, 39, 1) which is designated ' the majesty of the heavenly dog/ i. e. presum- ably, ' the majesty of the sun.' This and an appeal to the three kalaka/^a are the central points of the hymn, and the ritual, in a fashion altogether obscure, manipulates the prayer as a cure for paralysis (pakshahatabhaisha^yam, Darila and Kei-ava) 2. But the sense of the Sutras, Kam\ 1 Cf. also the note on IV, 20, 7 b. 2 Cf. Wise, Hindu System of Medicine, pp. 253, 256. Accord- ing to Saya/za, kakakapota^yenadipakshihatam, it would seem as though paralysis was supposed to be inflicted by strokes of the wings of crews, pigeons, eagles, and other birds (cf. also Ke^ava). Apparently purely symbolic : pakshin, ' winged, bird,' and paksha, ' side, half (hemiplegia). VI, 8 1. COMMENTARY. 5OI 31, 18. 19 is also not at all clear. With the help of the commentators some such practice as the following seems to be restorable. The paralysed part of the body is rubbed with earth taken from the footprint of a dog, while keeping in quick motion. Then the part is fumigated by burning an insect (taken from a dog). The dog — the word occurs only in the commentaries, not in the Sutra itself — refers, of course, to the ' heavenly dog ' in the mantra ; the quick motion is opposed to the palsy of the patient ; the use of the insect seems to symbolise the fate of the kalaka;^a5 who in the legend become spiders. Cf. the article cited above, p. 166. The third stanza is employed also in a nondescript fashion at Vait. Su. 23, 20 ; Ath. Pam. 39, 1 (tadagadividhi) and 42, 3 (snanavidhi). The hymn has been translated by Ludwig, Der Rigveda, III, tf^ Stanza 1. The stanza cannot be addressed to anything else but the sun, judging from the identity of its first hemistich with RV. X, 136, 4 a, b, which clearly refers to the sun (cf. Con- tributions, 1. c, pp. 167-8, and Tait. S. IV, 6, 3, 4, uksha samudro, &c). Saya^a, along totally different lines : c The bird, crow, pigeon, &c, looking down upon all beings with a desire to injure, flies down upon the limbs of men. In order to remove its injury we honour thee, O Agni, with the oblation, that is the majesty of the heavenly dog.' Cf. the note on st. 3.
3c The bird, crow, pigeon, &c, looking down upon all beings with a desire to injure, flies down upon the limbs of men. In order to remove its injury we honour thee, O Agni, with the oblation, that is the majesty of the heavenly dog.' Cf. the note on st. 3. Lud wig's rendering ignores te in Pada d, ' des himlischen hundes grosse der mochten wir dienen mit disem havis.' Stanza 3. Here even Saya^a feels compelled to recognise the presence of the sun, he agne . . . dyuloke tava adityatmana// sahasthanam. VI, 81. Commentary to page 96. The practice connected with this hymn at Kauj". 35, 1 1 is restricted to the tying on of the (bracelet) mentioned in the 502 HYMNS OF THE ATHARVA-VEDA. mantra. No ceremony of this sort is found in the Gnhya- sutras (cf. Paraskara, I, 13), and the word parihasta seems to occur here alone (cf. pariha/aka in the Pet. Lex.). The hymn has been rendered by Ludwig, Der Rigveda, III, 477 ; Weber, Indische Studien, V, 239. Cf. also Bergaigne et Henry, Manuel Wdique, p. 153. Stanza 2. The second hemistich is exceedingly obscure : maryade seems to be the vocative of maryada, and our rendering is a pis-aller. The idea of ' limit ' may refer to the confine- ment within the womb ; cf. Sdya^a in the foot-note. The Pet. Lex., simply, c designation of an amulet/ If it could be construed as a locative singular masculine1 (maryade for maryade; cf. V, 1, 8) it might be translated 'within proper limits of time ; ' cf. sha/zmasamaryadaya, ' within- six months/ Brzhat-sa//zhita 4, 24. The sense would then be that the child shall be born within ten months ; see Par. Grzh. I, 16, 1 ; vSlnkh. Grih. I, 19, 6 ; Hir. Grzh. I, 25, 1 ; II, 2, 5. Again, agame is not at all clear ; it may possibly refer to the circular shape of the bracelet, c that comes back upon itself.' Stanza 3. Aditi is the typical mother that desires a son ; cf. RV. X, 72, 8 ; AV. VIII, 9, 21 ; Maitr. S. II, 1, 12 ; Sat. Br. III, 1, 3, 2. Nowhere else have we met with the statement that her desire was promoted by a bracelet furnished by Tvash/ar. The latter, however, fashions the embryo in the womb ; cf. Ludwig, 1. c, p. 334. VI, 82. Commentary to page 95. In the Kauiika the hymn is employed in a twofold man- ner. At 59, 11 a person who desires a wife sacrifices and 1 Cf. Saya/za, maryade marya^ mara^adharmano manushya/z tair adiyamane svotpattyarthaw svikriyamawe sthane garbhajaye he ^aye tvazrc putram a dhehi, i. e. ' O woman, place a son into thy womb, the place appropriated by men for reproducing themselves !' VT, 83. COMMENTARY.
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.
1il 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. 2 b)5 sprinkling it, laying upon it a handful of grain with each of the three stanzas, and letting (another person also) lay on (three hands full). The hymn is also rubricated at Vait. Su. 31,4; Gop. Br. II, 4, 9, where nabhasaspati is explained as vayu, ' wind/ and deva sa^sphana as aditya, c sun.' The Atharva^iya-paddhati (Kaor. 19, 1, note) counts the hymn among the pushrika mantra^, ' hymns that produce pros- perity.' The hymn recurs with notable variants at Tait. S. Ill, 3, 8, 2-3 ; cf. also III, 3, 8, 6. Stanza 1. c. The Padapa//£a does not analyse asamatim, either here or at RV. X, 60, 2. 51. The Pet. Lex. renders it by * incomparable/ Bohtlingk, in the smaller lexicon, emends it to asamarti, ' exemption from injury ; ' cf. asamartyai in the passage cited above from the Tait. S. We with Saya/za, matir manam pari££/zedas tena saha vartata iti samati/^, tadvaiparityam asamati^. Stanza 3. c. The Pada is formulaic : Tait. Br. Ill, 7, 5, 7, tasyas te bhakshiva/za>£ sy&ma ; Maitr. S. I, 4, 3 ; 5, 3. 10 ; Apast. 1 The later tradition regards asamati as a proper name ; cf. Saya/za on RV., and Weber, Ind. Stud. X, 33. K k 2 500 HYMNS OF THE ATH ARVA-VEDA . 5r. IV, 13, 7, tasyas (tasya) bhaktivano bhuyasma ; cf. Whitney, Sanskrit Grammar2, §4630!. VI, 80. Commentary to page 13. The subject matter of this hymn is identical with a Brahma/za legend, told at Maitr. S. I, 6, 9 ; Ka//£. S. VIII, t ; Tait. Br. I, 1, 2,4-6 (cf. also Sat Br. II, i, 2, 13-16). The substance of the story is that certain demons (asura) called kalaka%"a piled up a fire-altar in order to ascend by it to heaven. Indra joined them, adding a brick of his own. When they had climbed to heaven, Indra pulled out his brick and they tumbled down. They became spiders, all but two who flew up and became the two heavenly dogs. In our essay, 'The two dogs of Yama in a new role,' printed in the third series of Contributions, Journ. Amer. Or. Soc. XV, 163 ff.1, it has been shown that the two heavenly dogs, otherwise the two dogs of Yama, are the sun and the moon. The mythic character of the kalaka^*a is altogether uncertain. We have surmised (1. c, p. 169) that they are either the galaxy, or the stars in general, conceived as spiders. Possibly some especial group of stars, three in number (cf. st.
2the sun and the moon. The mythic character of the kalaka^*a is altogether uncertain. We have surmised (1. c, p. 169) that they are either the galaxy, or the stars in general, conceived as spiders. Possibly some especial group of stars, three in number (cf. st. 2 of our hymn), is intended. All this is embalmed in the present hymn in a technical oblation (havis ; cf. the note on VI, 39, 1) which is designated ' the majesty of the heavenly dog/ i. e. presum- ably, ' the majesty of the sun.' This and an appeal to the three kalaka/^a are the central points of the hymn, and the ritual, in a fashion altogether obscure, manipulates the prayer as a cure for paralysis (pakshahatabhaisha^yam, Darila and Kei-ava) 2. But the sense of the Sutras, Kam\ 1 Cf. also the note on IV, 20, 7 b. 2 Cf. Wise, Hindu System of Medicine, pp. 253, 256. Accord- ing to Saya/za, kakakapota^yenadipakshihatam, it would seem as though paralysis was supposed to be inflicted by strokes of the wings of crews, pigeons, eagles, and other birds (cf. also Ke^ava). Apparently purely symbolic : pakshin, ' winged, bird,' and paksha, ' side, half (hemiplegia). VI, 8 1. COMMENTARY. 5OI 31, 18. 19 is also not at all clear. With the help of the commentators some such practice as the following seems to be restorable. The paralysed part of the body is rubbed with earth taken from the footprint of a dog, while keeping in quick motion. Then the part is fumigated by burning an insect (taken from a dog). The dog — the word occurs only in the commentaries, not in the Sutra itself — refers, of course, to the ' heavenly dog ' in the mantra ; the quick motion is opposed to the palsy of the patient ; the use of the insect seems to symbolise the fate of the kalaka;^a5 who in the legend become spiders. Cf. the article cited above, p. 166. The third stanza is employed also in a nondescript fashion at Vait. Su. 23, 20 ; Ath. Pam. 39, 1 (tadagadividhi) and 42, 3 (snanavidhi). The hymn has been translated by Ludwig, Der Rigveda, III, tf^ Stanza 1. The stanza cannot be addressed to anything else but the sun, judging from the identity of its first hemistich with RV. X, 136, 4 a, b, which clearly refers to the sun (cf. Con- tributions, 1. c, pp. 167-8, and Tait. S. IV, 6, 3, 4, uksha samudro, &c). Saya^a, along totally different lines : c The bird, crow, pigeon, &c, looking down upon all beings with a desire to injure, flies down upon the limbs of men. In order to remove its injury we honour thee, O Agni, with the oblation, that is the majesty of the heavenly dog.' Cf. the note on st. 3.
3c The bird, crow, pigeon, &c, looking down upon all beings with a desire to injure, flies down upon the limbs of men. In order to remove its injury we honour thee, O Agni, with the oblation, that is the majesty of the heavenly dog.' Cf. the note on st. 3. Lud wig's rendering ignores te in Pada d, ' des himlischen hundes grosse der mochten wir dienen mit disem havis.' Stanza 3. Here even Saya^a feels compelled to recognise the presence of the sun, he agne . . . dyuloke tava adityatmana// sahasthanam. VI, 81. Commentary to page 96. The practice connected with this hymn at Kauj". 35, 1 1 is restricted to the tying on of the (bracelet) mentioned in the 502 HYMNS OF THE ATHARVA-VEDA. mantra. No ceremony of this sort is found in the Gnhya- sutras (cf. Paraskara, I, 13), and the word parihasta seems to occur here alone (cf. pariha/aka in the Pet. Lex.). The hymn has been rendered by Ludwig, Der Rigveda, III, 477 ; Weber, Indische Studien, V, 239. Cf. also Bergaigne et Henry, Manuel Wdique, p. 153. Stanza 2. The second hemistich is exceedingly obscure : maryade seems to be the vocative of maryada, and our rendering is a pis-aller. The idea of ' limit ' may refer to the confine- ment within the womb ; cf. Sdya^a in the foot-note. The Pet. Lex., simply, c designation of an amulet/ If it could be construed as a locative singular masculine1 (maryade for maryade; cf. V, 1, 8) it might be translated 'within proper limits of time ; ' cf. sha/zmasamaryadaya, ' within- six months/ Brzhat-sa//zhita 4, 24. The sense would then be that the child shall be born within ten months ; see Par. Grzh. I, 16, 1 ; vSlnkh. Grih. I, 19, 6 ; Hir. Grzh. I, 25, 1 ; II, 2, 5. Again, agame is not at all clear ; it may possibly refer to the circular shape of the bracelet, c that comes back upon itself.' Stanza 3. Aditi is the typical mother that desires a son ; cf. RV. X, 72, 8 ; AV. VIII, 9, 21 ; Maitr. S. II, 1, 12 ; Sat. Br. III, 1, 3, 2. Nowhere else have we met with the statement that her desire was promoted by a bracelet furnished by Tvash/ar. The latter, however, fashions the embryo in the womb ; cf. Ludwig, 1. c, p. 334. VI, 82. Commentary to page 95. In the Kauiika the hymn is employed in a twofold man- ner. At 59, 11 a person who desires a wife sacrifices and 1 Cf. Saya/za, maryade marya^ mara^adharmano manushya/z tair adiyamane svotpattyarthaw svikriyamawe sthane garbhajaye he ^aye tvazrc putram a dhehi, i. e. ' O woman, place a son into thy womb, the place appropriated by men for reproducing themselves !' VT, 83. COMMENTARY.
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.