Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1Br. H, 5, 5, 5. Previously rendered by Henry, Le livre VII de l'Atharva- veda, pp. 4, 52. Stanza 4. Professor Henry cites the following interesting Alsatian charm : — Hailcher antonius von patua Schick mer was i verlore ha Ter teifel wert's en sine kloye ha. 'Holy Antony of Padua, send to me what I have lost; the devil must have it in his claws/ 1 The word nimr/^ya at the beginning of Sutra 14 seems to belong to the end of Sutra 13. 2 For the cross-roads, see the ncte in the introduction to VI, 1 1 1. VII, 12. COMMENTARY. 543 VII, 11. Commentary to page 142. The hymn is rubricated together with I, 13 at Kaiis. 38, 8 in a somewhat obscure practice which concerns rather I, 13 than the present. It is employed once more at the upakarma, the initiation to the study of the Veda, Kaiu. 139, 8. Cf. also .Santikalpa 15. Previous translations by Ludwig, Der Rigveda, III, 463 ; Grill2, pp. 66, 178 ; Henry, Le livre VII de l'Atharva-veda, pp. 5, 54. The Anukra- mam, sarasvatam. VII, 12. Commentary to page 138. For the general aspects of the subject of this hymn, see Ludwig, Der Rigveda, III, 253 ff. ; Zimmer, Altindisches Leben, 173 ff. Ke.yava prefaces his exposition of the short performance connected with this hymn at Kau^. 38, 27. 28 as follows, atha sabha^ayakarmaz/y u^yante, sabhastam- bhanam karma ^ayakarma tada sabhasadadharmadhikara- nadi ^ayate, c here are told the performances which procure victory in the assembly ; it is a rite which lends stability to the assembly, procures victory, then promotes the judicial acts, and so forth, of those who sit in the assembly.' The practices are as follows : 38, 27. ' While reciting AV. VII, 12, the performer eats (a milk-porridge ; cf. Kam\ 7, 6). 28. He takes hold of the pillars of the assembly-hall, and pays his respects to (the assembly-hall).' The hymn is translated in Muir, Original Sanskrit Texts, V, 438 ; Ludwig, Der Rigveda, III, 253 ; Zimmer, 1. c, 173 ; Grill2, pp. 70, 178 ff. ; Henry, Le livre VII de l'Atharva- veda, pp. 5, 55 ; cf. also Hillebrandt, Vedachrestomathie, p. 44. The Anukramaf/i designates the entire hymn as sabhyam ; st. 1 as dvidevatyo*ta pitrya ; st. 2 as sabhya ; st. 3 as aindri ; st. 4 as mantroktadevatya. Stanza 1. The metre of Padas a, b, d is irregular (Anukr., bhurik- trish/ubh) ; a is catalectic, b hypercatalectic ; but we may 544 HYMNS OF THE ATHARVA-VEDA. read duhitraii (cf. Amer. Journ. Phil. V, p. 27). Similarly d may be perfected by reading pitra/L d. For the appeal to the Fathers for help, cf. II, 12, 4. Stanza 2. a.
2is catalectic, b hypercatalectic ; but we may 544 HYMNS OF THE ATHARVA-VEDA. read duhitraii (cf. Amer. Journ. Phil. V, p. 27). Similarly d may be perfected by reading pitra/L d. For the appeal to the Fathers for help, cf. II, 12, 4. Stanza 2. a. For vidma of the 5aunakiya school the Paippalada reads veda vaf, and Grill and Hillebrandt adopt this version for metrical reasons. But the metre is not really improved by the change. b. narish/a, 'mirth' (cf. XI, 8, 24), refers to the social not the political side of the sabha, which, in addition to being the meeting of the council, is also the occasion and place for gaming (cf. AV. XII, 3, 46), and social intercourse (cf. RV. VI, 28, 6). The word, too, perhaps conveys a double entente, nar, ' man/ and stha, ' place,' or suggests a quasi-superlative, 'most favourable to men.' Thus the variant form narish///a, V&g. S. XXX, 6, presents the effect of this kind of folk-etymology upon the word. Saya/za (as if the word were a compound na-rish/a), ahi/^sita parair anabhibhavya. VII, 13. Commentary to page 93. According to Kaur. 48, 35-36, the hymn is spoken against the enemies that are to be deprived of power, the second stanza while fixing one's regard upon them. Cf. also Santikalpa 15 1. The hymn has been rendered by Ludwig, Der Rigveda, III, 241 ; Grill2, pp. 23, 179; Henry, Le livre VII de l'Atharva-veda, pp. 5, 56. The Anukramazzi, saumyam. Stanza 2. Cf. Ludwig, 1. c, p. 265. That the sun takes away the strength of those who are asleep while it rises or sets, is a notion abundantly elaborated in connection with all holy practices. Such persons are designated as suryabhyudita, and suryabhinimrukta (-mlukta, -mlupta), and they are 1 Quoted erroneously by Sayawa as Nakshatrakalpa. VII, 35- COMMENTARY. 545 regarded as being guilty of one of the ' deadly ' sins. See the writer in the Proceedings of the American Oriental Society, 1894 (Journal, vol. xvi, p. cxix), and cf. Maitr. S. IV, 1, 9; Tait. Br. Ill, 2, 8, 11 ; Ait. Br. I, 3, 14; Gobh. Grih. Ill, 3, 34; Apast. Dh. II, 5, 12. 13. 14, and else- where. VII, 35. Commentary to page 98. At Kau^. 36, 33-34 there is a composite charm for pre- venting a woman from begetting a son, or from begetting offspring at all. If it is intended that a certain woman shall not beget a male son the hymn VII, 34 is recited1 ; if she shall not beget a child at all the hymn VII, 35 is recited : in either case the urine of a she-mule is rubbed with two stone disks, and put into the food or the cos- metics of the woman.
3n shall not beget a male son the hymn VII, 34 is recited1 ; if she shall not beget a child at all the hymn VII, 35 is recited : in either case the urine of a she-mule is rubbed with two stone disks, and put into the food or the cos- metics of the woman. And the person practising the charm looks at the parting in the hair of the woman. The charm is full of symbolism. The she-mule is sterile : * She-mules do not propagate ' (Tait. S.VII, 1,1,3; Ait. Br. IV, 9, 1 ; cf. Adbhuta-brahma^a 7). The rubbing between two stones is symbolic castration. The eyes are fixed with evil intent upon the woman's parting in the hair (simanta) : this seems to be the obverse of the simantonnayana, the well-known ceremony during a woman's pregnancy, in- tended to ensure successful issue. Cf. also Ath. Pari.?. 7. The hymn has been translated by Ludwig, Der Rig- veda, III, 477 ; and by Henry, Le livre VII de l'Atharva- veda, pp. 13, 67. Stanza 1. The stanza seems hardly in touch with the remaining two, or with the construction imparted to the whole by the Sutra. Ludwig omits it in his rendering of the hymn. Its sense, taken by itself, is that of a battle-song. Pada b is identical with VII, 34, 1 b. 1 4 O Agni, drive away the rivals of mine that are already born ; drive away, O G'atavedas, those that are not yet born. Place under my feet those that fight against me. May we, exempt from guilt, live in thy freedom ! ' [42] n n 546 HYMNS OF THE ATHARVA-VEDA. Stanza 2. The rendering of the words hira/z and dhamani/i is necessarily vague: see the note on I, 17, 3, and cf. VI, 90, 2. Ludwig, 'darme/ and 'adern.' Sayaz/a, very pre- cisely, ' small veins/ and ' thick arteries/ That may be the correct philological interpretation of the words, but in that case the stanza must have been originally constructed as a charm to stop flow of blood from the body. VII, 36-37. Commentary to page 96. Both stanzas are recited at the ' rites of the fourth day ' (/£aturthikarma), the performances immediately preceding the consummation of marriage. At ~Kaus. 79, 3 bride and bridegroom anoint one another while reciting VII, 36; at 79, 7 the bride1 envelops the bridegroom in her robe while reciting VII, 37. Previous renditions by Weber, Indische Studien, V, 248 ; Grill, pp. 55, 179 ; Henry, Le livre VII de l'Atharva-veda, PP- I3> 67. The Anukrama/zi (VII, $6), mantroktakshi- devatyam ; (VII, 37), lihgoktadevatyam. Stanza 1. a, b. The sense is: ' May our eyes with their brightness, our faces with their freshness, inspire us with love for one another ! ' Stanza 2.
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.
1Br. H, 5, 5, 5. Previously rendered by Henry, Le livre VII de l'Atharva- veda, pp. 4, 52. Stanza 4. Professor Henry cites the following interesting Alsatian charm : — Hailcher antonius von patua Schick mer was i verlore ha Ter teifel wert's en sine kloye ha. 'Holy Antony of Padua, send to me what I have lost; the devil must have it in his claws/ 1 The word nimr/^ya at the beginning of Sutra 14 seems to belong to the end of Sutra 13. 2 For the cross-roads, see the ncte in the introduction to VI, 1 1 1. VII, 12. COMMENTARY. 543 VII, 11. Commentary to page 142. The hymn is rubricated together with I, 13 at Kaiis. 38, 8 in a somewhat obscure practice which concerns rather I, 13 than the present. It is employed once more at the upakarma, the initiation to the study of the Veda, Kaiu. 139, 8. Cf. also .Santikalpa 15. Previous translations by Ludwig, Der Rigveda, III, 463 ; Grill2, pp. 66, 178 ; Henry, Le livre VII de l'Atharva-veda, pp. 5, 54. The Anukra- mam, sarasvatam. VII, 12. Commentary to page 138. For the general aspects of the subject of this hymn, see Ludwig, Der Rigveda, III, 253 ff. ; Zimmer, Altindisches Leben, 173 ff. Ke.yava prefaces his exposition of the short performance connected with this hymn at Kau^. 38, 27. 28 as follows, atha sabha^ayakarmaz/y u^yante, sabhastam- bhanam karma ^ayakarma tada sabhasadadharmadhikara- nadi ^ayate, c here are told the performances which procure victory in the assembly ; it is a rite which lends stability to the assembly, procures victory, then promotes the judicial acts, and so forth, of those who sit in the assembly.' The practices are as follows : 38, 27. ' While reciting AV. VII, 12, the performer eats (a milk-porridge ; cf. Kam\ 7, 6). 28. He takes hold of the pillars of the assembly-hall, and pays his respects to (the assembly-hall).' The hymn is translated in Muir, Original Sanskrit Texts, V, 438 ; Ludwig, Der Rigveda, III, 253 ; Zimmer, 1. c, 173 ; Grill2, pp. 70, 178 ff. ; Henry, Le livre VII de l'Atharva- veda, pp. 5, 55 ; cf. also Hillebrandt, Vedachrestomathie, p. 44. The Anukramaf/i designates the entire hymn as sabhyam ; st. 1 as dvidevatyo*ta pitrya ; st. 2 as sabhya ; st. 3 as aindri ; st. 4 as mantroktadevatya. Stanza 1. The metre of Padas a, b, d is irregular (Anukr., bhurik- trish/ubh) ; a is catalectic, b hypercatalectic ; but we may 544 HYMNS OF THE ATHARVA-VEDA. read duhitraii (cf. Amer. Journ. Phil. V, p. 27). Similarly d may be perfected by reading pitra/L d. For the appeal to the Fathers for help, cf. II, 12, 4. Stanza 2. a.
2is catalectic, b hypercatalectic ; but we may 544 HYMNS OF THE ATHARVA-VEDA. read duhitraii (cf. Amer. Journ. Phil. V, p. 27). Similarly d may be perfected by reading pitra/L d. For the appeal to the Fathers for help, cf. II, 12, 4. Stanza 2. a. For vidma of the 5aunakiya school the Paippalada reads veda vaf, and Grill and Hillebrandt adopt this version for metrical reasons. But the metre is not really improved by the change. b. narish/a, 'mirth' (cf. XI, 8, 24), refers to the social not the political side of the sabha, which, in addition to being the meeting of the council, is also the occasion and place for gaming (cf. AV. XII, 3, 46), and social intercourse (cf. RV. VI, 28, 6). The word, too, perhaps conveys a double entente, nar, ' man/ and stha, ' place,' or suggests a quasi-superlative, 'most favourable to men.' Thus the variant form narish///a, V&g. S. XXX, 6, presents the effect of this kind of folk-etymology upon the word. Saya/za (as if the word were a compound na-rish/a), ahi/^sita parair anabhibhavya. VII, 13. Commentary to page 93. According to Kaur. 48, 35-36, the hymn is spoken against the enemies that are to be deprived of power, the second stanza while fixing one's regard upon them. Cf. also Santikalpa 15 1. The hymn has been rendered by Ludwig, Der Rigveda, III, 241 ; Grill2, pp. 23, 179; Henry, Le livre VII de l'Atharva-veda, pp. 5, 56. The Anukramazzi, saumyam. Stanza 2. Cf. Ludwig, 1. c, p. 265. That the sun takes away the strength of those who are asleep while it rises or sets, is a notion abundantly elaborated in connection with all holy practices. Such persons are designated as suryabhyudita, and suryabhinimrukta (-mlukta, -mlupta), and they are 1 Quoted erroneously by Sayawa as Nakshatrakalpa. VII, 35- COMMENTARY. 545 regarded as being guilty of one of the ' deadly ' sins. See the writer in the Proceedings of the American Oriental Society, 1894 (Journal, vol. xvi, p. cxix), and cf. Maitr. S. IV, 1, 9; Tait. Br. Ill, 2, 8, 11 ; Ait. Br. I, 3, 14; Gobh. Grih. Ill, 3, 34; Apast. Dh. II, 5, 12. 13. 14, and else- where. VII, 35. Commentary to page 98. At Kau^. 36, 33-34 there is a composite charm for pre- venting a woman from begetting a son, or from begetting offspring at all. If it is intended that a certain woman shall not beget a male son the hymn VII, 34 is recited1 ; if she shall not beget a child at all the hymn VII, 35 is recited : in either case the urine of a she-mule is rubbed with two stone disks, and put into the food or the cos- metics of the woman.
3n shall not beget a male son the hymn VII, 34 is recited1 ; if she shall not beget a child at all the hymn VII, 35 is recited : in either case the urine of a she-mule is rubbed with two stone disks, and put into the food or the cos- metics of the woman. And the person practising the charm looks at the parting in the hair of the woman. The charm is full of symbolism. The she-mule is sterile : * She-mules do not propagate ' (Tait. S.VII, 1,1,3; Ait. Br. IV, 9, 1 ; cf. Adbhuta-brahma^a 7). The rubbing between two stones is symbolic castration. The eyes are fixed with evil intent upon the woman's parting in the hair (simanta) : this seems to be the obverse of the simantonnayana, the well-known ceremony during a woman's pregnancy, in- tended to ensure successful issue. Cf. also Ath. Pari.?. 7. The hymn has been translated by Ludwig, Der Rig- veda, III, 477 ; and by Henry, Le livre VII de l'Atharva- veda, pp. 13, 67. Stanza 1. The stanza seems hardly in touch with the remaining two, or with the construction imparted to the whole by the Sutra. Ludwig omits it in his rendering of the hymn. Its sense, taken by itself, is that of a battle-song. Pada b is identical with VII, 34, 1 b. 1 4 O Agni, drive away the rivals of mine that are already born ; drive away, O G'atavedas, those that are not yet born. Place under my feet those that fight against me. May we, exempt from guilt, live in thy freedom ! ' [42] n n 546 HYMNS OF THE ATHARVA-VEDA. Stanza 2. The rendering of the words hira/z and dhamani/i is necessarily vague: see the note on I, 17, 3, and cf. VI, 90, 2. Ludwig, 'darme/ and 'adern.' Sayaz/a, very pre- cisely, ' small veins/ and ' thick arteries/ That may be the correct philological interpretation of the words, but in that case the stanza must have been originally constructed as a charm to stop flow of blood from the body. VII, 36-37. Commentary to page 96. Both stanzas are recited at the ' rites of the fourth day ' (/£aturthikarma), the performances immediately preceding the consummation of marriage. At ~Kaus. 79, 3 bride and bridegroom anoint one another while reciting VII, 36; at 79, 7 the bride1 envelops the bridegroom in her robe while reciting VII, 37. Previous renditions by Weber, Indische Studien, V, 248 ; Grill, pp. 55, 179 ; Henry, Le livre VII de l'Atharva-veda, PP- I3> 67. The Anukrama/zi (VII, $6), mantroktakshi- devatyam ; (VII, 37), lihgoktadevatyam. Stanza 1. a, b. The sense is: ' May our eyes with their brightness, our faces with their freshness, inspire us with love for one another ! ' Stanza 2.
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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