Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1tanza 2. Anumati is the goddess of favour and consent ; cf. the play of words in anu manyasva (as in VII, 20). Akuti is the goddess of schemes. In XIX, 4, 2 she is called ^ittasya mata, * mother of thought ' (' the wish is father to the thought '). Cf. Ill, 8, 5 ; V, 8, 2, &c. VI, 132. Commentary to page 104. For the practices connected with this hymn, see the introduction to VI, 130. It has been translated by Weber, Indische Studien, V, 245, who supposes that it is the text of a brewing-charm (sudzauber), in which the person de- sirous of love boils some concoction that attracts irresistibly the coy beloved. But the absence of any such practice in connection with the hymn casts much doubt upon this interpretation. It seems rather to allude to some mythic touch (akhyayika). Saya//a suggests that the gods either poured love into the water, to quench him, or that they placed him into the atmospheric waters as ruler of all lovers. Varu/?a in the refrain is, of course, in the position of lord or controller of those waters, and varu/zasya dharma/za is not remote from the meaning ' by the permission or order of Varu/za.' The whole savours of the conception that the gods poured smara into the waters either by way of punishing him for his attacks upon themselves T, or in order 1 Cf. the stories of their burning Kama, ' love/ e. g. Muir, Original Sanskrit Texts. I2, 112; IV2, 364. Or is there still a different notion, namely that the fruitful waters are the natural seat of love ? 536 HYMNS OF THE ATHARVA-VEDA. to quench him, and that the person practising the charm kindles him anew with the permission of Varuz/a. Stanza 1. b. In Tait. S. Ill, 4, 7, 3, the Adhis, ' yearnings/ are personified as the Apsaras, the wives of Kama, ' love,' the Gandharva. Stanza 3. Indra/zi is the goddess of successful and happy conjugal love ; see our Contributions, Sixth Series, Zeitschrift der Deutschen Morgenlandischen Gesellschaft, XLVIII, 551 ff. VI, 136. Commentary to page 31. The plant nitatni, c she that takes root ' (cf. the note on III, 12, 4d, and Ait. Br. VII, 31, 3), is not mentioned else- where. In Tait. S. IV, 4, 5, 1 ; Ka//L S. XL, 4 ; Vish/zu, LXVII, 7, the word designates a personification of one of the bricks of the fire-altar (ish/aka) ; in Tait. Br. Ill, 1, 4, 1, one of the stars of the constellation krzttika. This and the next hymn are supplied with practices at Kaos*. 31, 28, to wit: The fruit of (the plant) mentioned in the mantra (i. e.
2one of the bricks of the fire-altar (ish/aka) ; in Tait. Br. Ill, 1, 4, 1, one of the stars of the constellation krzttika. This and the next hymn are supplied with practices at Kaos*. 31, 28, to wit: The fruit of (the plant) mentioned in the mantra (i. e. the nitatni 1), together with the plants ^ivi and &l&ka 2, (are concocted into a solution) and poured (by the medicine-man) who is clothed in black and has eaten black food 3, in the early morning before the rise of the crows (upon the head of the person for whom the hair cure is undertaken). The exact virtue of these plants escapes 1 The scholiasts agree in defining this by ka£ama/£i. The word is not elsewhere quotable as the name of a plant, but is mentioned in Bohtlingk's Lexicon as a kind of spirituous liquor. 2 Cf. Kau^ika, Introduction, pp. xlv and 1. Saya^a has ^ivanti for g\v\, and bhrmgara^a for alaka. On p. xlv we have written alaka, but Darila has alaka. On the other hand Bohtlingk's Lexicon, vol. i, p. 294, mentions alaka = alarka, * calotropis gigantea/ 3 That is sesame, beans, and the like ; cf. Kaorika, Introduction, p. xlix. VI, I38. COMMENTARY. 537 our knowledge ; the black colour symbolises, perhaps, the (black) hair. The hymn has been translated by Zimmer, Altindisches Leben, p. 68 (cf. also p. 264); Grill2, pp. 50, 176. The Anukrama/zi,vanaspatyam,by ke^avardhanakamaVitahavya (VI, i37, 0- Stanza 3. b. For vrzsfcate the Pet. Lex. suggests vm^yate. So also Saya/za, Midyate. Cf. the note on XII, 4, 12. VI, 137. Commentary to page 31. For the employment in the ritual see the introduction to the preceding hymn. Previous translations by Ludwig, Der Rigveda, III, 512 ; Zimmer, Altindisches Leben, p. 68 (cf. also p. 264) ; Grill2, pp. 50, 176. The Anukrama/zi, as in the preceding. Stanza 1. No further trace of this curious, probably ad hoc, legend (akhyayika) has been found. Saya/za cites no parallels. Camadagni is mentioned in connection with helpful charms at II, 32, 3 ; V, 28, 7 ; for Asita, cf. the note on I, 14, 4. Stanza 2. Zimmer renders abhmma, ' with the finger ; ' so also Saya/za with the Naigha/z/uka II, 4. 5, angulibhi/z. I do not feel altogether convinced that the Pet. Lex. (s. v. abhfou) is right in denying this meaning. VI, 138. Commentary to page 108. Unsavoury and obscure is the performance associated with the recital of this hymn at Kaui\ 48, 32-34. Urine and dung are put into the skin-bag that covers the tail of a calf, they are covered up with kaku^a-fruits 1, the entire 1 For jepya, ' skin of the tail,' see Kaorika, Introduction, p.
3mance associated with the recital of this hymn at Kaui\ 48, 32-34. Urine and dung are put into the skin-bag that covers the tail of a calf, they are covered up with kaku^a-fruits 1, the entire 1 For jepya, ' skin of the tail,' see Kaorika, Introduction, p. liv ; for kaku&i, ibid, xlviii. The latter word, however, is explained by 538 HYMNS OF THE ATHARVA-VEDA. mess is crushed and dug into the ground 1. Next (Sutra 33) the (same) skin-bag and a reed (are crushed and dug into the ground ?). Finally (Sutra 34) the reed is stuck into the skin-bag and again dug into the ground (?). The Sutras are extremely brief, and the scholiasts do not make clear these performances which reach the lowest plane even of Atharvanic doings. The hymn has been rendered by Weber, Indische Studien, V, 246 ; Ludwig, Der Rigveda, III, 470 ; cf. also Geldner, Vedische Studien, I, 131 ; Zimmer, Altindisches Leben, Index, p. 455 a. Stanza 1. d. The exact meaning of opa^inam escapes us, owing to the complete absence of graphic representations. The lexicons, Weber and Zimmer, ' gelockt ;' Ludwig, ' bezopft.' Sayawa, as the scholiasts in general, de'rives opa^a from the verb upai'ete, and arrives at the meaning ' one with female organs ' (strivya^anam). Geldner, I.e., has gone peculiarly astray in comparing the cuckold and translating 'with horns/ since in Maitr. S. II, 7, 5 = Tait. S. IV, 1, 5> 3 = Vag. S. XI, 56 the goddess Sinivali is described as suka- parda sukurira svopaj-a. All three epithets obviously refer to female methods of dressing the hair and the head. The notion here is that the eunuch shall develop hermaphroditic characteristics, and hence assume the head-gear of a woman. See stanzas % and 3, and cf. in addition AV. VIII, 6, j2; IX, 3, 8 ; Apast. Sr. X, 9, 5-7 ; Sat. Br. V, 1, 2, 14 ; 4, 1, 1 ; Katy. Sr. XIV, 1, 14; XV, 5, %i. The opa^a Ke^ava in a very different way, namely, tasya (sc. vatsasya) vr/sha- ?zai^, i. e., the skin containing the mutrapurisham is covered up with the testicles of the calf. 1 The scholiasts say, marma/n nikhanati (cf. Kau^. 47, 51 ; 48, 4). The digging is supposed to take place, symbolically, in the vital spot of the rival. 2 The OTT. Aey. tiri/m in this passage is doubtless identical with the later kiri/in, and again refers to some feminine mode of dressing the head. VI, 139- 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.
1tanza 2. Anumati is the goddess of favour and consent ; cf. the play of words in anu manyasva (as in VII, 20). Akuti is the goddess of schemes. In XIX, 4, 2 she is called ^ittasya mata, * mother of thought ' (' the wish is father to the thought '). Cf. Ill, 8, 5 ; V, 8, 2, &c. VI, 132. Commentary to page 104. For the practices connected with this hymn, see the introduction to VI, 130. It has been translated by Weber, Indische Studien, V, 245, who supposes that it is the text of a brewing-charm (sudzauber), in which the person de- sirous of love boils some concoction that attracts irresistibly the coy beloved. But the absence of any such practice in connection with the hymn casts much doubt upon this interpretation. It seems rather to allude to some mythic touch (akhyayika). Saya//a suggests that the gods either poured love into the water, to quench him, or that they placed him into the atmospheric waters as ruler of all lovers. Varu/?a in the refrain is, of course, in the position of lord or controller of those waters, and varu/zasya dharma/za is not remote from the meaning ' by the permission or order of Varu/za.' The whole savours of the conception that the gods poured smara into the waters either by way of punishing him for his attacks upon themselves T, or in order 1 Cf. the stories of their burning Kama, ' love/ e. g. Muir, Original Sanskrit Texts. I2, 112; IV2, 364. Or is there still a different notion, namely that the fruitful waters are the natural seat of love ? 536 HYMNS OF THE ATHARVA-VEDA. to quench him, and that the person practising the charm kindles him anew with the permission of Varuz/a. Stanza 1. b. In Tait. S. Ill, 4, 7, 3, the Adhis, ' yearnings/ are personified as the Apsaras, the wives of Kama, ' love,' the Gandharva. Stanza 3. Indra/zi is the goddess of successful and happy conjugal love ; see our Contributions, Sixth Series, Zeitschrift der Deutschen Morgenlandischen Gesellschaft, XLVIII, 551 ff. VI, 136. Commentary to page 31. The plant nitatni, c she that takes root ' (cf. the note on III, 12, 4d, and Ait. Br. VII, 31, 3), is not mentioned else- where. In Tait. S. IV, 4, 5, 1 ; Ka//L S. XL, 4 ; Vish/zu, LXVII, 7, the word designates a personification of one of the bricks of the fire-altar (ish/aka) ; in Tait. Br. Ill, 1, 4, 1, one of the stars of the constellation krzttika. This and the next hymn are supplied with practices at Kaos*. 31, 28, to wit: The fruit of (the plant) mentioned in the mantra (i. e.
2one of the bricks of the fire-altar (ish/aka) ; in Tait. Br. Ill, 1, 4, 1, one of the stars of the constellation krzttika. This and the next hymn are supplied with practices at Kaos*. 31, 28, to wit: The fruit of (the plant) mentioned in the mantra (i. e. the nitatni 1), together with the plants ^ivi and &l&ka 2, (are concocted into a solution) and poured (by the medicine-man) who is clothed in black and has eaten black food 3, in the early morning before the rise of the crows (upon the head of the person for whom the hair cure is undertaken). The exact virtue of these plants escapes 1 The scholiasts agree in defining this by ka£ama/£i. The word is not elsewhere quotable as the name of a plant, but is mentioned in Bohtlingk's Lexicon as a kind of spirituous liquor. 2 Cf. Kau^ika, Introduction, pp. xlv and 1. Saya^a has ^ivanti for g\v\, and bhrmgara^a for alaka. On p. xlv we have written alaka, but Darila has alaka. On the other hand Bohtlingk's Lexicon, vol. i, p. 294, mentions alaka = alarka, * calotropis gigantea/ 3 That is sesame, beans, and the like ; cf. Kaorika, Introduction, p. xlix. VI, I38. COMMENTARY. 537 our knowledge ; the black colour symbolises, perhaps, the (black) hair. The hymn has been translated by Zimmer, Altindisches Leben, p. 68 (cf. also p. 264); Grill2, pp. 50, 176. The Anukrama/zi,vanaspatyam,by ke^avardhanakamaVitahavya (VI, i37, 0- Stanza 3. b. For vrzsfcate the Pet. Lex. suggests vm^yate. So also Saya/za, Midyate. Cf. the note on XII, 4, 12. VI, 137. Commentary to page 31. For the employment in the ritual see the introduction to the preceding hymn. Previous translations by Ludwig, Der Rigveda, III, 512 ; Zimmer, Altindisches Leben, p. 68 (cf. also p. 264) ; Grill2, pp. 50, 176. The Anukrama/zi, as in the preceding. Stanza 1. No further trace of this curious, probably ad hoc, legend (akhyayika) has been found. Saya/za cites no parallels. Camadagni is mentioned in connection with helpful charms at II, 32, 3 ; V, 28, 7 ; for Asita, cf. the note on I, 14, 4. Stanza 2. Zimmer renders abhmma, ' with the finger ; ' so also Saya/za with the Naigha/z/uka II, 4. 5, angulibhi/z. I do not feel altogether convinced that the Pet. Lex. (s. v. abhfou) is right in denying this meaning. VI, 138. Commentary to page 108. Unsavoury and obscure is the performance associated with the recital of this hymn at Kaui\ 48, 32-34. Urine and dung are put into the skin-bag that covers the tail of a calf, they are covered up with kaku^a-fruits 1, the entire 1 For jepya, ' skin of the tail,' see Kaorika, Introduction, p.
3mance associated with the recital of this hymn at Kaui\ 48, 32-34. Urine and dung are put into the skin-bag that covers the tail of a calf, they are covered up with kaku^a-fruits 1, the entire 1 For jepya, ' skin of the tail,' see Kaorika, Introduction, p. liv ; for kaku&i, ibid, xlviii. The latter word, however, is explained by 538 HYMNS OF THE ATHARVA-VEDA. mess is crushed and dug into the ground 1. Next (Sutra 33) the (same) skin-bag and a reed (are crushed and dug into the ground ?). Finally (Sutra 34) the reed is stuck into the skin-bag and again dug into the ground (?). The Sutras are extremely brief, and the scholiasts do not make clear these performances which reach the lowest plane even of Atharvanic doings. The hymn has been rendered by Weber, Indische Studien, V, 246 ; Ludwig, Der Rigveda, III, 470 ; cf. also Geldner, Vedische Studien, I, 131 ; Zimmer, Altindisches Leben, Index, p. 455 a. Stanza 1. d. The exact meaning of opa^inam escapes us, owing to the complete absence of graphic representations. The lexicons, Weber and Zimmer, ' gelockt ;' Ludwig, ' bezopft.' Sayawa, as the scholiasts in general, de'rives opa^a from the verb upai'ete, and arrives at the meaning ' one with female organs ' (strivya^anam). Geldner, I.e., has gone peculiarly astray in comparing the cuckold and translating 'with horns/ since in Maitr. S. II, 7, 5 = Tait. S. IV, 1, 5> 3 = Vag. S. XI, 56 the goddess Sinivali is described as suka- parda sukurira svopaj-a. All three epithets obviously refer to female methods of dressing the hair and the head. The notion here is that the eunuch shall develop hermaphroditic characteristics, and hence assume the head-gear of a woman. See stanzas % and 3, and cf. in addition AV. VIII, 6, j2; IX, 3, 8 ; Apast. Sr. X, 9, 5-7 ; Sat. Br. V, 1, 2, 14 ; 4, 1, 1 ; Katy. Sr. XIV, 1, 14; XV, 5, %i. The opa^a Ke^ava in a very different way, namely, tasya (sc. vatsasya) vr/sha- ?zai^, i. e., the skin containing the mutrapurisham is covered up with the testicles of the calf. 1 The scholiasts say, marma/n nikhanati (cf. Kau^. 47, 51 ; 48, 4). The digging is supposed to take place, symbolically, in the vital spot of the rival. 2 The OTT. Aey. tiri/m in this passage is doubtless identical with the later kiri/in, and again refers to some feminine mode of dressing the head. VI, 139- 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.