Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1System of Medicine, p. 341 ff., identifies it with colic (gastro-periodynia), and reports it as due to the deadly tmula or trident of Siva (Rudra). This seems to establish a fairly firm connection between the hymn (cf. st. 1) and the later medical tradi- tion. In the .Srauta-practices the hr/daya^ula, ' the spit upon which the heart of the sacrificial animal is roasted (Tait. S. VI, 4, 1, 4 ; Apast. Sr. VII, 8, 3 ; 23, 10 ; 37, 15 ; XI, 20, 15 ; Sat. Br. Ill, 8, 5, 8 ; VI, 2, 2, 38 ; IX, 5, 4,41 ; Katy. Sr. V, 11, 26 ; VI, 7, 14 ; 10, 1 ; Vait. Su. 10, 22 ; La/y. Sr. V, 4, 6), is always connected symbolically with pain (hrzdaya/^ .rug rikkdXi) : the connection between spear and pain is most natural. The hymn has been translated by Grill2, pp. 14, 168. The Anukrama^i, raudram. Stanza 2. a. dhamanaya^, perhaps, more broadly 'interior canals, or vessels ;' see the notes on I, 17, 3, and VII, 35, 2. 1 Ke^ava, s&fom lohamam^ pashawo va. VI, 92' COMMENTARY. 507 VI, 91. Commentary to page 40. The supposed etymology of yava, ' barley/ from root yu, ' ward off,' is a fruitful source for the application of barley in charms to cure disease and ward off demons. See the introduction to II, 7. The present hymn consists of three loosely connected stanzas (st. 2 = RV. X, 60, 11 ; st. 3 = 111, 7, 5 ; RV. X, 137, 6), in praise of the barley and the waters ; the liturgical texts and the collateral practices define it as a cure for all diseases (sarvabhaisha^yam). Kaujika's rite (28, 17-20) avails itself of these indications, to wit: 17. ' While reciting "V, 9 and VI, 91 four portions of the dregs of ghee are poured into a pail of water. 18. Two (portions) are poured upon the earth (cf. V, 9, 2. 6. 7). 19. These two are gathered up again (into the afore-mentioned pail of water) and (the patient) is washed off with (the resulting mixture). 20. (And putting dregs of ghee into a pail full of barley l) an amulet of barley 2 is fastened (to the patient) while pronouncing the second of the two hymns (VI, 91)/ The hymn is rubricated also in the takmana^anaga^a, Ath. Pan\y. 32, 7 (see Kaus. 26, i, note) ; the Anukrama/zi, yakshmana\ranadevatyam. It has been translated by Grill2, pp. 14, 168. Stanza 1. Cf. Zimmer, p. 237. vyaye (in relation to yava) hazily satisfies the inordinate craving of the Atharvanist for puns. One wonders why yavayami is not worked in instead (cf. the introduction to II, 7). VI, 92. Commentary to page 145. The materials from which this hymn is compounded are, apparently, not original with the Atharvanist. St.
2e craving of the Atharvanist for puns. One wonders why yavayami is not worked in instead (cf. the introduction to II, 7). VI, 92. Commentary to page 145. The materials from which this hymn is compounded are, apparently, not original with the Atharvanist. St. 3 occurs with variants at RV. X, 56, 2 ; sts. i, 2 in the writings of 1 sayave. Kcrava, yavasahite udapatre. The passage is not excerpted in our edition. 2 Cf. Kaur. 19, 27 in the introduction to VI, 142. 508 HYMNS OF THE ATHARVA-VEDA. the White Ya^ur-veda: Vkg. S. IX, 8. 9, and the cor- responding passage of the Kd^va-^akha (each with inde- pendent readings) ; 6at. Br. V, 1, 4, 9. 10. The stanzas seem to belong in the first place to the va^apeya-ceremony ; see Weber, Uber den Va^apeya, Sitzungsberichte der Koniglich Preussischen Akademie der Wissenschaften, 1892, p. 788 (28 of the reprint). At Kaui\ 41, 21-25 they are worked up in a ceremony which Darila designates as a^vasya vidhikarma, Ke^ava and Saya/za as a^va^anti \ The cere- mony consists in pouring dregs of ghee over the horse, after it has been bathed ; pouring more dregs of ghee upon (fragrant substances) that have been ground up, and been placed into a leaf; giving drink to the horse, washing it off, and scattering the ground substance upon it. Cf. also Vait. Su. 36, 18; Ath. Pam. 4, 1; 15. The hymn has been rendered by Ludwig, Der Rigveda, III, 459. Stanza 3. The variants of this stanza here, as compared with RV. X, 56, 2, betray themselves readily as secondary inspirations to suit the practical application of the hymn as a charm. VI, 94. Commentary to page 138. The key-note of this charm is the word sa^-nam, ' to bend to one's will' The idea is a common one, having assumed a somewhat stereotyped and technical character in the works of the Ya^us and Brdhma^a literature ; see, e. g. Maitr. S. I, 4, 14; Tait. S. Ill, 4, 4, 1 ; VII, 5, 23, 1 ; Tait. Br. Ill, 8, 18, 5 ; Par. Grzh. I, 5, 9. In the Atharvan the hymn IV, 39 (cf. Kau.y. 5, 8 ; 68, 37 ; 72, 37) is the most elaborate production of this sort. In the Kau^ika (12, 5 ff.) the present hymn comes under the head of sa/^manasyani (sc. suktani), c charms designed to procure harmony ; ' for the practices associated with these hymns, see the introduc- 1 Ke^ava, ' horses are rendered by it consecrated, brilliant, safe from accidents, swift, healthy/ VI. 96. COMMENTARY. 509 tion to III, 30. The first two stanzas of this hymn recur at III, 8, 5. 6; the third is almost identical with V, 23, 1. Translated by Ludwig, Der Rigveda, III, 514.
3t consecrated, brilliant, safe from accidents, swift, healthy/ VI. 96. COMMENTARY. 509 tion to III, 30. The first two stanzas of this hymn recur at III, 8, 5. 6; the third is almost identical with V, 23, 1. Translated by Ludwig, Der Rigveda, III, 514. Stanza 2, b. ete in the vulgata is a misprint (not accounted for in the Index Verborum because of the statement on p. 3). Shankar Pandit with all MSS., eta (Padapa///a, a ita), as in III, 8, 6. Stanza 3. For the stem ota (PadapaV^a, a uta), cf. the note on V, 23, 1. Saya/za derives uta from the root va, to wit : ote abhimukhyena sa^tate parasparaz^ sa^baddhe va. But how about Sarasvati in Pada b ? VI, 96. Commentary to page 44. Darila at Kaor. 31, 22-25 prescribes this charm for one seized by evil (p&pagrzhita). Kejava for the same, or for a dropsical person. Saya^a for one attacked by the curse of a Brahma/za (brahma/zakroje ; cf. st. 2 a), or for a drop- sical person. The stanzas and padas, however, betray the most undefined character, being compiled from various spheres (cf. RV. X, 97, 15. 16. 18 ; Tait. S. IV, 2, 6, 4 ; Va^\ S. XII, 90. 92 ; cf. also AV. VIII, 7, 28 ; XI, 6, 7 ; RV. X, 164, 3 = AV. VI, 45, 3 = Tait. Br. Ill, 7, 12, 4; Baudh. Dharmai". II, 4, 7, 18) : the compilation is, in effect, a panacea. The practice of the Kaurika consists in fumi- gating the sufferer with (the soma-branch) mentioned in the mantra (st. 1), which is burned, together with other plants ; in giving him to drink a mixture of honey and uda^vit (water and curds), a mixture of milk and uda^vit, and, again, both these messes combined. The hymn is counted as one of the a^holingaga^a (cf. st. 1) in the Ga^amala, Ath. Paris*. 32, 32 (cf. Kaus. 32, 27, note) ; it has been translated by Ludwig, Der Rigveda, III, 506 ; Grill2, 38, 168. The Anukrama^t, vanaspatyam. 5IO HYMNS OF THE ATHARVA-VEDA. Stanza 2. d. For devakilbishat, cf. the note on VIII, 7, 28. VI, 97. Commentary to page 122. This and the two following hymns figure among the ' battle-charms, ' the sa^gr&mikam (sc. suktani), or the apara^-itaga^a, as it is designated by the Ga^amala, Ath. ParLr. 32, 13. The practices connected with the list are treated at Kaus. 14, 8-1 1. They consist in offering obla- tions of ghee and grits ; placing bows as fagots upon a fire built of bows ; next, placing arrows as fagots upon a fire built of arrows ; and in the presentation (to the king by the chaplain, the purohita) of a bow that has been anointed with the dregs of ghee, and has been polished off.
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.
1System of Medicine, p. 341 ff., identifies it with colic (gastro-periodynia), and reports it as due to the deadly tmula or trident of Siva (Rudra). This seems to establish a fairly firm connection between the hymn (cf. st. 1) and the later medical tradi- tion. In the .Srauta-practices the hr/daya^ula, ' the spit upon which the heart of the sacrificial animal is roasted (Tait. S. VI, 4, 1, 4 ; Apast. Sr. VII, 8, 3 ; 23, 10 ; 37, 15 ; XI, 20, 15 ; Sat. Br. Ill, 8, 5, 8 ; VI, 2, 2, 38 ; IX, 5, 4,41 ; Katy. Sr. V, 11, 26 ; VI, 7, 14 ; 10, 1 ; Vait. Su. 10, 22 ; La/y. Sr. V, 4, 6), is always connected symbolically with pain (hrzdaya/^ .rug rikkdXi) : the connection between spear and pain is most natural. The hymn has been translated by Grill2, pp. 14, 168. The Anukrama^i, raudram. Stanza 2. a. dhamanaya^, perhaps, more broadly 'interior canals, or vessels ;' see the notes on I, 17, 3, and VII, 35, 2. 1 Ke^ava, s&fom lohamam^ pashawo va. VI, 92' COMMENTARY. 507 VI, 91. Commentary to page 40. The supposed etymology of yava, ' barley/ from root yu, ' ward off,' is a fruitful source for the application of barley in charms to cure disease and ward off demons. See the introduction to II, 7. The present hymn consists of three loosely connected stanzas (st. 2 = RV. X, 60, 11 ; st. 3 = 111, 7, 5 ; RV. X, 137, 6), in praise of the barley and the waters ; the liturgical texts and the collateral practices define it as a cure for all diseases (sarvabhaisha^yam). Kaujika's rite (28, 17-20) avails itself of these indications, to wit: 17. ' While reciting "V, 9 and VI, 91 four portions of the dregs of ghee are poured into a pail of water. 18. Two (portions) are poured upon the earth (cf. V, 9, 2. 6. 7). 19. These two are gathered up again (into the afore-mentioned pail of water) and (the patient) is washed off with (the resulting mixture). 20. (And putting dregs of ghee into a pail full of barley l) an amulet of barley 2 is fastened (to the patient) while pronouncing the second of the two hymns (VI, 91)/ The hymn is rubricated also in the takmana^anaga^a, Ath. Pan\y. 32, 7 (see Kaus. 26, i, note) ; the Anukrama/zi, yakshmana\ranadevatyam. It has been translated by Grill2, pp. 14, 168. Stanza 1. Cf. Zimmer, p. 237. vyaye (in relation to yava) hazily satisfies the inordinate craving of the Atharvanist for puns. One wonders why yavayami is not worked in instead (cf. the introduction to II, 7). VI, 92. Commentary to page 145. The materials from which this hymn is compounded are, apparently, not original with the Atharvanist. St.
2e craving of the Atharvanist for puns. One wonders why yavayami is not worked in instead (cf. the introduction to II, 7). VI, 92. Commentary to page 145. The materials from which this hymn is compounded are, apparently, not original with the Atharvanist. St. 3 occurs with variants at RV. X, 56, 2 ; sts. i, 2 in the writings of 1 sayave. Kcrava, yavasahite udapatre. The passage is not excerpted in our edition. 2 Cf. Kaur. 19, 27 in the introduction to VI, 142. 508 HYMNS OF THE ATHARVA-VEDA. the White Ya^ur-veda: Vkg. S. IX, 8. 9, and the cor- responding passage of the Kd^va-^akha (each with inde- pendent readings) ; 6at. Br. V, 1, 4, 9. 10. The stanzas seem to belong in the first place to the va^apeya-ceremony ; see Weber, Uber den Va^apeya, Sitzungsberichte der Koniglich Preussischen Akademie der Wissenschaften, 1892, p. 788 (28 of the reprint). At Kaui\ 41, 21-25 they are worked up in a ceremony which Darila designates as a^vasya vidhikarma, Ke^ava and Saya/za as a^va^anti \ The cere- mony consists in pouring dregs of ghee over the horse, after it has been bathed ; pouring more dregs of ghee upon (fragrant substances) that have been ground up, and been placed into a leaf; giving drink to the horse, washing it off, and scattering the ground substance upon it. Cf. also Vait. Su. 36, 18; Ath. Pam. 4, 1; 15. The hymn has been rendered by Ludwig, Der Rigveda, III, 459. Stanza 3. The variants of this stanza here, as compared with RV. X, 56, 2, betray themselves readily as secondary inspirations to suit the practical application of the hymn as a charm. VI, 94. Commentary to page 138. The key-note of this charm is the word sa^-nam, ' to bend to one's will' The idea is a common one, having assumed a somewhat stereotyped and technical character in the works of the Ya^us and Brdhma^a literature ; see, e. g. Maitr. S. I, 4, 14; Tait. S. Ill, 4, 4, 1 ; VII, 5, 23, 1 ; Tait. Br. Ill, 8, 18, 5 ; Par. Grzh. I, 5, 9. In the Atharvan the hymn IV, 39 (cf. Kau.y. 5, 8 ; 68, 37 ; 72, 37) is the most elaborate production of this sort. In the Kau^ika (12, 5 ff.) the present hymn comes under the head of sa/^manasyani (sc. suktani), c charms designed to procure harmony ; ' for the practices associated with these hymns, see the introduc- 1 Ke^ava, ' horses are rendered by it consecrated, brilliant, safe from accidents, swift, healthy/ VI. 96. COMMENTARY. 509 tion to III, 30. The first two stanzas of this hymn recur at III, 8, 5. 6; the third is almost identical with V, 23, 1. Translated by Ludwig, Der Rigveda, III, 514.
3t consecrated, brilliant, safe from accidents, swift, healthy/ VI. 96. COMMENTARY. 509 tion to III, 30. The first two stanzas of this hymn recur at III, 8, 5. 6; the third is almost identical with V, 23, 1. Translated by Ludwig, Der Rigveda, III, 514. Stanza 2, b. ete in the vulgata is a misprint (not accounted for in the Index Verborum because of the statement on p. 3). Shankar Pandit with all MSS., eta (Padapa///a, a ita), as in III, 8, 6. Stanza 3. For the stem ota (PadapaV^a, a uta), cf. the note on V, 23, 1. Saya/za derives uta from the root va, to wit : ote abhimukhyena sa^tate parasparaz^ sa^baddhe va. But how about Sarasvati in Pada b ? VI, 96. Commentary to page 44. Darila at Kaor. 31, 22-25 prescribes this charm for one seized by evil (p&pagrzhita). Kejava for the same, or for a dropsical person. Saya^a for one attacked by the curse of a Brahma/za (brahma/zakroje ; cf. st. 2 a), or for a drop- sical person. The stanzas and padas, however, betray the most undefined character, being compiled from various spheres (cf. RV. X, 97, 15. 16. 18 ; Tait. S. IV, 2, 6, 4 ; Va^\ S. XII, 90. 92 ; cf. also AV. VIII, 7, 28 ; XI, 6, 7 ; RV. X, 164, 3 = AV. VI, 45, 3 = Tait. Br. Ill, 7, 12, 4; Baudh. Dharmai". II, 4, 7, 18) : the compilation is, in effect, a panacea. The practice of the Kaurika consists in fumi- gating the sufferer with (the soma-branch) mentioned in the mantra (st. 1), which is burned, together with other plants ; in giving him to drink a mixture of honey and uda^vit (water and curds), a mixture of milk and uda^vit, and, again, both these messes combined. The hymn is counted as one of the a^holingaga^a (cf. st. 1) in the Ga^amala, Ath. Paris*. 32, 32 (cf. Kaus. 32, 27, note) ; it has been translated by Ludwig, Der Rigveda, III, 506 ; Grill2, 38, 168. The Anukrama^t, vanaspatyam. 5IO HYMNS OF THE ATHARVA-VEDA. Stanza 2. d. For devakilbishat, cf. the note on VIII, 7, 28. VI, 97. Commentary to page 122. This and the two following hymns figure among the ' battle-charms, ' the sa^gr&mikam (sc. suktani), or the apara^-itaga^a, as it is designated by the Ga^amala, Ath. ParLr. 32, 13. The practices connected with the list are treated at Kaus. 14, 8-1 1. They consist in offering obla- tions of ghee and grits ; placing bows as fagots upon a fire built of bows ; next, placing arrows as fagots upon a fire built of arrows ; and in the presentation (to the king by the chaplain, the purohita) of a bow that has been anointed with the dregs of ghee, and has been polished off.
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.