Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1in churn- ing the fire. The third Pada is defective : perhaps purve is to be inserted before bhutakr/ta/^, if we consult VI, 133, 5; XII, 1, 39. Stanza 2. According to Kaui\ 60, 22 this stanza is addressed to the smoke as it rises from the churning-sticks. The third Pada reads, adroghavita (Padapa^a, adrogha avita: some MSS. avita^) vafam att^a, which the Paippalada varies by read- ing, adrogha vita vata;/z matsa. Saya;za comments, adroha- karinam swkaxiXxan'am ya^amananam avita rakshita vafam akkha mathyamanagne/£ stutyartham anu^yamanam rig- rupam va£am abhilakshya. The corresponding passage, RV. Ill, 29, 9, reads, asredhanta itana va^am att&, and it, with the Paippalada, suggests the reading adrogha vi'ta va^am akkha, or adrogha aveta, &c, the sense being the same in either case. This has been made the basis of our rendering : the 5aunakiya-text scarcely yields sense. Stanza 3. Kaui". 60, 23 : The incipient fire is addressed with this stanza. For Pada d, cf. st. 11 d, and RV. IV, 50, 10 d. Stanza 4. Kaui". 60, 24: The blazing fire is thus addressed. For Pada d, cf. I, 9, 2; XVIII, 3, 4; Va£\ S. XII, 63. Stanza 5. The text of Pada a seems forced. The Paippalada with marked improvement, tredha bhago nihito gatavedah. Perhaps the words yah pura vo are imported from st. 15. R r 2 6l2 HYMNS OF THE ATHARVA-VEDA. In Pada d the Paippalada reads imam, i.e. the sacrifice!*1, for imam, the patni, the wife ; cf. st. 4d. See Kaoy. 61, 8, from which it would appear that three heaps of rice, from which the brahmaudana is to be prepared, are addressed with this stanza. Stanza 6. Kauj. 6 1, 9-1 1 : ' With the share of grain that has been divided off for the fathers he performs a .sr&ddha. With the one that has been divided off for men he feeds the Brahmans. The share that belongs to the gods he pours into a jar, with closed fist, or open palm, or with the hollow of his two hands (a#£*ali) ; bending his right knee, turned to the north-east, or with his body inclined ; reciting stanza 6 (of this hymn).' Stanza 7. According to Kauj. 61, 20, this stanza is recited while the rice is being poured into the mortar. Possibly the words ud ub^a &c. are addressed to the mortar. The Paippalada has enam for enam ; cf. st. 5. A comparison with st. 6 b still further suggests enan, establishing a natural antithesis between m£o ny ub^a in 6 b, and ud ub^ai^nan (sc. sa^atan) in st. 7 b. Stanza 8. Kaiu.
2&c. are addressed to the mortar. The Paippalada has enam for enam ; cf. st. 5. A comparison with st. 6 b still further suggests enan, establishing a natural antithesis between m£o ny ub^a in 6 b, and ud ub^ai^nan (sc. sa^atan) in st. 7 b. Stanza 8. Kaiu. 60, 30 : The sacrificial skin, its neck turned to the east, the hair turned upward (as usual in ritual perform- ances), is spread out while reciting this stanza. Stanza 9. Kaos-. 61, 18 rubricates Pada a of this stanza along with XII, 3, 14: 'the mortar and pestle, and the scrubbed winnowing-basket are placed upon the skin.' The Sutra seems to substitute mortar and pestle for the two press- stones. Padab is rubricated at 61, 22, along with XII, 3, 18, avahanti. Pada d along with XII, 3, 19 at 6i, 24, udu- 1 Or perhaps even more primarily, the porridge ; ' the share of the gods this (Agni) shall bring over to them/ Cf., however, the feminine enam in st. 7 b. XI, I. COMMENTARY. 613 hantim (sc. patnim anumantrayate). The construction of the second hemistich is not altogether clear. We have referred the action to the earth in st. 8. See also st. 11. Sayazza refers it to the patni (cf. Kaui\ 61, 24, above), and construes imam chiastically with pra^am, to wit : he patni avahanana;^ kurvati nibadhasva imam atmiyam pragam hantu//z ye jatrava^ vartante tan ni ^ahi. This is obviously forced. The construction of im&m as iman (but Padapa///a, imam !), or its emendation to imam (sc. ya^amanam) would render Saya//a's and Kau^ika's (6j, 24) view more natural. Cf. the notes on sts. 5 and 7 for similar suggestions. Stanza 10. Kau^. 60, 19 : grihana grava;/av ity ubhaya/^ grz'hz/ati. Saya;za, ardhar^ena ulukhalamusalam avahananartha;/2 patnim grahayet1. Kau^. 61, 15-17: 'With the second hemistich (the priest) addresses the sacrificer, saying, " Choose three gifts." (The sacrificer) chooses the first wish, saying : " May I by this rite become superior." The wife chooses the other two gifts/ Saya//a, trayo varak ity ardhar^ena nirvapananantara;^ vara;// vrzV/antau (sc. anu- mantrayate). a. We have translated the doubtful a*. \ey. sakr/tau, for which the Paippalada has the equivalent sayu^au. Some MSS. used by Shankar Pandit have sukr/tau, an easier reading, suspicious on account of its facility. Stanza 11. Kauy. 61, 23 : * While reciting the first hemistich of this stanza along with the second hemistich of XII, 3, 19 (the sacrificer) takes hold of the winnowing-basket.' Kaus.
3dit have sukr/tau, an easier reading, suspicious on account of its facility. Stanza 11. Kauy. 61, 23 : * While reciting the first hemistich of this stanza along with the second hemistich of XII, 3, 19 (the sacrificer) takes hold of the winnowing-basket.' Kaus. 61, 25 : ' With the second hemistich of this stanza and the first of XII, 3, 19 he addresses (the wife) as she winnows.' Aditi in the stanzas and the patni in the practice are regu- larly correlated ; cf. st. 1. For Pada d, cf. 3 d. 1 Sayawa obviously violates the sense of the stanza : patnim grahayet collides with griha/za . . . vira in Pada a. 6l4 HYMNS OF THE ATHARVA-VEDA. Stanza 12. Kaw. 61, 29: The winnowing is performed while this stanza is recited. a. Our translation of upajvase, ' while (the wind) blows,' i.e. ' in the draught/ is wholly conjectural. The Pet. Lexs. 'drohnend.' Saya/za, with many MSS., reads upa^vase dhruvaye (for upa^vase druvaye of the editions), and com- ments as follows : dhruvaye dhruvaya sthiraya satyaphalaya karma?ze he tandulak yushman upa^vase upa samipe cUvasa- yami prabhutan karomi. Nothing usable may be derived from this manipulation of the stanza. For druvaye, see the note on V, 20, 2. Stanza 13. Kau^. 60, 25 : ' With stanza 13 he sends (the wife), guarded and ornamented, to fetch water.' Saya/za, udakam aharanti/zz patni//z sa;^preshayet. This act precedes in the ritual the winnowing, being one of the first features of the ceremonial. Stanza 14. Kaus. 60, 26-28 : ' With the first Pada he addresses (the wife) as she brings the water (Saya/za, prathamapadena agakkkantiin patnim anumantrayate). With the second and third Padas he calls upon the wife (to rise). With the words, " take the water- vessel," she takes it.' But Sayazza refers the action in the fourth Pada to the sacrificer himself: a tva*gan ya.gn&h iti padaikade^ena ^alakumbha- datri patni kartara#z preshayet, prati kumbha//z grzbhaya iti ardhapadena patni ^alakumbha^ grahayet kartaram. a. Saya/za regards the yoshita^ i-umbhamana^ not as 1 pure waters/ but as the women who bring them, ^obhana- la//zkarayukta ima yoshita/z udakahartrya^ striya^. But cf. sts. 17, 27. b. Saya/za reads tava saz/zrabhasva, and the Paippalada tava^ sa//zrabhasva. The Pada as it stands in the editions is not defective: yet tavasa//z sam rabhasva (haplographia) may have been the original reading. We have at any rate translated tavasam as an abstract. XI, I. COMMENTARY. 615 Stanza 15. Kau^. 60, 29 : ' (The sacrificer) puts (the vessel) down while reciting the first Pada/ Saya^a, prathamapadena ^■alakumbha;^ bhumau nidadhyat.
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.
1in churn- ing the fire. The third Pada is defective : perhaps purve is to be inserted before bhutakr/ta/^, if we consult VI, 133, 5; XII, 1, 39. Stanza 2. According to Kaui\ 60, 22 this stanza is addressed to the smoke as it rises from the churning-sticks. The third Pada reads, adroghavita (Padapa^a, adrogha avita: some MSS. avita^) vafam att^a, which the Paippalada varies by read- ing, adrogha vita vata;/z matsa. Saya;za comments, adroha- karinam swkaxiXxan'am ya^amananam avita rakshita vafam akkha mathyamanagne/£ stutyartham anu^yamanam rig- rupam va£am abhilakshya. The corresponding passage, RV. Ill, 29, 9, reads, asredhanta itana va^am att&, and it, with the Paippalada, suggests the reading adrogha vi'ta va^am akkha, or adrogha aveta, &c, the sense being the same in either case. This has been made the basis of our rendering : the 5aunakiya-text scarcely yields sense. Stanza 3. Kaui". 60, 23 : The incipient fire is addressed with this stanza. For Pada d, cf. st. 11 d, and RV. IV, 50, 10 d. Stanza 4. Kaui". 60, 24: The blazing fire is thus addressed. For Pada d, cf. I, 9, 2; XVIII, 3, 4; Va£\ S. XII, 63. Stanza 5. The text of Pada a seems forced. The Paippalada with marked improvement, tredha bhago nihito gatavedah. Perhaps the words yah pura vo are imported from st. 15. R r 2 6l2 HYMNS OF THE ATHARVA-VEDA. In Pada d the Paippalada reads imam, i.e. the sacrifice!*1, for imam, the patni, the wife ; cf. st. 4d. See Kaoy. 61, 8, from which it would appear that three heaps of rice, from which the brahmaudana is to be prepared, are addressed with this stanza. Stanza 6. Kauj. 6 1, 9-1 1 : ' With the share of grain that has been divided off for the fathers he performs a .sr&ddha. With the one that has been divided off for men he feeds the Brahmans. The share that belongs to the gods he pours into a jar, with closed fist, or open palm, or with the hollow of his two hands (a#£*ali) ; bending his right knee, turned to the north-east, or with his body inclined ; reciting stanza 6 (of this hymn).' Stanza 7. According to Kauj. 61, 20, this stanza is recited while the rice is being poured into the mortar. Possibly the words ud ub^a &c. are addressed to the mortar. The Paippalada has enam for enam ; cf. st. 5. A comparison with st. 6 b still further suggests enan, establishing a natural antithesis between m£o ny ub^a in 6 b, and ud ub^ai^nan (sc. sa^atan) in st. 7 b. Stanza 8. Kaiu.
2&c. are addressed to the mortar. The Paippalada has enam for enam ; cf. st. 5. A comparison with st. 6 b still further suggests enan, establishing a natural antithesis between m£o ny ub^a in 6 b, and ud ub^ai^nan (sc. sa^atan) in st. 7 b. Stanza 8. Kaiu. 60, 30 : The sacrificial skin, its neck turned to the east, the hair turned upward (as usual in ritual perform- ances), is spread out while reciting this stanza. Stanza 9. Kaos-. 61, 18 rubricates Pada a of this stanza along with XII, 3, 14: 'the mortar and pestle, and the scrubbed winnowing-basket are placed upon the skin.' The Sutra seems to substitute mortar and pestle for the two press- stones. Padab is rubricated at 61, 22, along with XII, 3, 18, avahanti. Pada d along with XII, 3, 19 at 6i, 24, udu- 1 Or perhaps even more primarily, the porridge ; ' the share of the gods this (Agni) shall bring over to them/ Cf., however, the feminine enam in st. 7 b. XI, I. COMMENTARY. 613 hantim (sc. patnim anumantrayate). The construction of the second hemistich is not altogether clear. We have referred the action to the earth in st. 8. See also st. 11. Sayazza refers it to the patni (cf. Kaui\ 61, 24, above), and construes imam chiastically with pra^am, to wit : he patni avahanana;^ kurvati nibadhasva imam atmiyam pragam hantu//z ye jatrava^ vartante tan ni ^ahi. This is obviously forced. The construction of im&m as iman (but Padapa///a, imam !), or its emendation to imam (sc. ya^amanam) would render Saya//a's and Kau^ika's (6j, 24) view more natural. Cf. the notes on sts. 5 and 7 for similar suggestions. Stanza 10. Kau^. 60, 19 : grihana grava;/av ity ubhaya/^ grz'hz/ati. Saya;za, ardhar^ena ulukhalamusalam avahananartha;/2 patnim grahayet1. Kau^. 61, 15-17: 'With the second hemistich (the priest) addresses the sacrificer, saying, " Choose three gifts." (The sacrificer) chooses the first wish, saying : " May I by this rite become superior." The wife chooses the other two gifts/ Saya//a, trayo varak ity ardhar^ena nirvapananantara;^ vara;// vrzV/antau (sc. anu- mantrayate). a. We have translated the doubtful a*. \ey. sakr/tau, for which the Paippalada has the equivalent sayu^au. Some MSS. used by Shankar Pandit have sukr/tau, an easier reading, suspicious on account of its facility. Stanza 11. Kauy. 61, 23 : * While reciting the first hemistich of this stanza along with the second hemistich of XII, 3, 19 (the sacrificer) takes hold of the winnowing-basket.' Kaus.
3dit have sukr/tau, an easier reading, suspicious on account of its facility. Stanza 11. Kauy. 61, 23 : * While reciting the first hemistich of this stanza along with the second hemistich of XII, 3, 19 (the sacrificer) takes hold of the winnowing-basket.' Kaus. 61, 25 : ' With the second hemistich of this stanza and the first of XII, 3, 19 he addresses (the wife) as she winnows.' Aditi in the stanzas and the patni in the practice are regu- larly correlated ; cf. st. 1. For Pada d, cf. 3 d. 1 Sayawa obviously violates the sense of the stanza : patnim grahayet collides with griha/za . . . vira in Pada a. 6l4 HYMNS OF THE ATHARVA-VEDA. Stanza 12. Kaw. 61, 29: The winnowing is performed while this stanza is recited. a. Our translation of upajvase, ' while (the wind) blows,' i.e. ' in the draught/ is wholly conjectural. The Pet. Lexs. 'drohnend.' Saya/za, with many MSS., reads upa^vase dhruvaye (for upa^vase druvaye of the editions), and com- ments as follows : dhruvaye dhruvaya sthiraya satyaphalaya karma?ze he tandulak yushman upa^vase upa samipe cUvasa- yami prabhutan karomi. Nothing usable may be derived from this manipulation of the stanza. For druvaye, see the note on V, 20, 2. Stanza 13. Kau^. 60, 25 : ' With stanza 13 he sends (the wife), guarded and ornamented, to fetch water.' Saya/za, udakam aharanti/zz patni//z sa;^preshayet. This act precedes in the ritual the winnowing, being one of the first features of the ceremonial. Stanza 14. Kaus. 60, 26-28 : ' With the first Pada he addresses (the wife) as she brings the water (Saya/za, prathamapadena agakkkantiin patnim anumantrayate). With the second and third Padas he calls upon the wife (to rise). With the words, " take the water- vessel," she takes it.' But Sayazza refers the action in the fourth Pada to the sacrificer himself: a tva*gan ya.gn&h iti padaikade^ena ^alakumbha- datri patni kartara#z preshayet, prati kumbha//z grzbhaya iti ardhapadena patni ^alakumbha^ grahayet kartaram. a. Saya/za regards the yoshita^ i-umbhamana^ not as 1 pure waters/ but as the women who bring them, ^obhana- la//zkarayukta ima yoshita/z udakahartrya^ striya^. But cf. sts. 17, 27. b. Saya/za reads tava saz/zrabhasva, and the Paippalada tava^ sa//zrabhasva. The Pada as it stands in the editions is not defective: yet tavasa//z sam rabhasva (haplographia) may have been the original reading. We have at any rate translated tavasam as an abstract. XI, I. COMMENTARY. 615 Stanza 15. Kau^. 60, 29 : ' (The sacrificer) puts (the vessel) down while reciting the first Pada/ Saya^a, prathamapadena ^■alakumbha;^ bhumau nidadhyat.
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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