Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1e read ^ivadhanya^ (accented) with some MSS. and RV. I, 80, 4. But the vocative is not impossible : * around this living (father), ye (children) that refresh the living/ The children might be so called in the sense that they continue the life of the parents. In the fourth Pada vam ^anitri either refers to two children, or the parents : * the mother (female) of the two parents/ See also the next stanza, vkm could be easily corrected to vo. Stanzas 7-10. Kaui". 61,1.2: ' While reciting stanza 7 the act indicated in the mantra is performed (i.e. they turn to the east). With the four mantras (7-10) they go around the water- vessel (turning towards each direction 1).' Stanza 9. Cf. Kaushitaki-Upanishad I, 2, 3, where it is said that all those who depart from this world go to the moon (soma), the moon being the door of the world of light. Therefore shall man and wife turn to Soma's region where the pious (sukr/ta/^) departed dwell. Cf. upon this point, Contributions, Third Series, Journ. Amer. Or. Soc. XV, 168. In Pada d the double meaning of pakva, alluded to in the note on st. 2, seems to gain special prominence : pakva is at once the cooked porridge, and the cooked ashes of the deceased couple. Stanza 10. -a, b. Note the threefold play upon the word ud, in uttaram, uttaravat, and udiku c. The piirusha (cosmic man) is the pankti ; that is to say, like the metre pankti he consists of five constituent parts. Cf. Ait. Br. II, 14, 7 : ( Man is composed of five parts, hair, skin, flesh, bones, and marrow/ This statement about the piirusha appears to be solely for the purpose of bridging 1 Kcrava, pra^i^-pra^im iti ^atasrzhhir rigbhik pratiduam upa- tish/^ate mantroktam. XII, 3- COMMENTARY. 647 over to the virag who is identified in the next stanza with the fifth direction, the nadir (dhruva). Stanza 11. Kaor. 61, 3 : * While reciting the stanza (the sacrificers) face reverently every direction.' Apparently the nadir, as it were, embraces all the other directions. For dhruva as a designation of the fifth direction, see III, 26, 5 ; 27, 5, &c. Vira^* obviously has reference to the metre of that name ; she is, too, the daughter of Purusha (cf. Pet. Lex. under vira^ 3), who is said to be the metre pankti in st. 10. A complicated chain of symbolism. c, d. Aditi is called upon to protect the porridge, for she is the cooker of the porridge, by distinction : cf. the legends in Maitr. S. II, 1, 12 ; Tait. Br. Ill, 7, 11, 2, and the note on XI, 1, 1. Stanzas 12, 13. According to Kaui*. 6t, 4 (cf.
2ism. c, d. Aditi is called upon to protect the porridge, for she is the cooker of the porridge, by distinction : cf. the legends in Maitr. S. II, 1, 12 ; Tait. Br. Ill, 7, 11, 2, and the note on XI, 1, 1. Stanzas 12, 13. According to Kaui*. 6t, 4 (cf. Kcsava) the water-vessel is next, with stanza 12, taken from the skin and placed upon the ground, and the water contained in the vessel is used throughout the ceremony. The sacrificer and his wife doubtless come down from the skin ; hence (the earth) is called upon to embrace them, &c. In stanza 13 the water is implored to purify the sacrificial vessels from impure contact (as indicated by the Paribhashd-sutra, Kaui". 8, 14). For the connection of the non- Aryan d&s? with the sacrifice, see Ludwig, Der Rigveda, p. 212. Stanzas 14, 15. At Kau^. 61, 18 the mortar and pestle, and the scrubbed winnowing basket, are placed upon the (afore-mentioned) skin, while stanza 14, along with Pada a of XI, 1, 9, is being recited. Cf. the note on XI, 1, 9 for the substitution of mortar and pestle in the place of the two press-stones. With stanza 15 the pestle is placed upright (in the mortar : Kauj. 61, 21, musalam u££/zrayati). It is also rubricated in Ath. Paru*. 10. 648 HYMNS OF THE ATHARVA-VEDA. Stanzas 16, 17. At Kauj*. 61, 13. 14 the employment of stanzas 16 and 17 is prescribed, without adhering to their order in the Sawhita : ' With stanza 16 the sacrificer, his wife, and children (sapat- yau) touch the grain (which has previously been poured into a pot, Sutra 11). With the second hemistich of stanza 17 the sacrificer takes hold of his wife's hand/ Stanza 18. Judging from the Kaimka's employment of the stanza the presence of real sacrificial cattle at this stage of the ceremony seems doubtful: the grain that goes to make the porridge seems to be likened to cattle ; cf. stanzas 18, 21. In Pada b the Paippalada reads medhasvan for^yotishman, in Pada c tarn for tan ; according to the Index Verborum most MSS. read tarn for tan, but the present reading seems preferable. Stanza 17. Stanzas which similarly promise the reunion of families in the next world are AV. VI, 120, 3 ; IX, 5, 27 ; XVIII, 3, 23. The second hemistich seems to come from the mouth of the departed, who perhaps is conceived to desire that his wife shall follow him to the funeral-pyre ; cf. st. 2. These statements are, however, hardly definite enough to permit us to connect them with the formalised later rite of Suttee. Stanza 18. This is rubricated along with XI, 1, 9 b at Kaui".
3desire that his wife shall follow him to the funeral-pyre ; cf. st. 2. These statements are, however, hardly definite enough to permit us to connect them with the formalised later rite of Suttee. Stanza 18. This is rubricated along with XI, 1, 9 b at Kaui". 6j, 22 : avahanti, ' the pestle is beaten down (upon the grain).' As it comes down it smites and drives off the hostile powers, but at the same time, as in the case of the axe which slays the sacrificial animal (cf. Contributions, Sixth Series, Zeitschr. d. Deutsch. Morgenl. Gesellsch. XLVIII, 556), the fiction is kept up that it does not really injure the grain. The statement strengthens the impression that the grain is viewed in the light of sacrificial cattle, as in stanzas ?6, 21. XII, 3. COMMENTARY. 649 Stanza 19. For the employment of this stanza in the Sutra, see the notes on XI, 1, 11, and 9. The grain which is to form the porridge is addressed, as though it were the cooked por- ridge that spreads in the dish, and is enriched with ghee. The second hemistich shows this to be anticipatory, for the act of the stanza is the winnowing of the grain. Cf. stanza 53. In Pada c varshavrzddham shows that the basket is made of reeds, not of dead wood ; cf. Zimmer, Altindisches Leben, p. 238. Stanzas 20, 21. Kauj. 61 , 26-28 : ' With stanza 21 the wife as she removes (the husks) is addressed. With stanza 20 the husband and wife touch (the husks) after they have been removed. With part of stanza 20 d (the grain) is again poured into the winnowing-basket.' There is no mention of the preparation of soma which is suggested by amsun in stanza 20 c : the word must therefore refer to some part of the ceremony which the Sutra ignores, unless the grain is figuratively called soma. Stanza 20. The meaning of the first hemistich is far from clear. The Brahma^a is either the priest (cf. XX, 2, 3), or some holy text. Perhaps s&mmita. brahma/zena means 'have been measured out by the Brahma/za;' cf. stanzas 28 and 33. Stanza 21. It seems again as though the animals here refer to the grain, as in stanzas 16 and 18 : the grain is varied in colour ; the porridge when cooked is solid in colour. In Pada c the Padapa^a reads tarn, but we have taken ta;/z=:tan. Stanzas 22-24. Kaiu. 61, 31 : ' With stanza 22 the pot is anointed.' As the Sutra does not rubricate the next stanza (23), where the anointing is mentioned, by itself, we must understand 65O HYMNS OF THE ATHARVA-VEDA. that stanza 23 is included in the quotation. e With stanza 24 he places fire about (the pot)/ In st.
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.
1e read ^ivadhanya^ (accented) with some MSS. and RV. I, 80, 4. But the vocative is not impossible : * around this living (father), ye (children) that refresh the living/ The children might be so called in the sense that they continue the life of the parents. In the fourth Pada vam ^anitri either refers to two children, or the parents : * the mother (female) of the two parents/ See also the next stanza, vkm could be easily corrected to vo. Stanzas 7-10. Kaui". 61,1.2: ' While reciting stanza 7 the act indicated in the mantra is performed (i.e. they turn to the east). With the four mantras (7-10) they go around the water- vessel (turning towards each direction 1).' Stanza 9. Cf. Kaushitaki-Upanishad I, 2, 3, where it is said that all those who depart from this world go to the moon (soma), the moon being the door of the world of light. Therefore shall man and wife turn to Soma's region where the pious (sukr/ta/^) departed dwell. Cf. upon this point, Contributions, Third Series, Journ. Amer. Or. Soc. XV, 168. In Pada d the double meaning of pakva, alluded to in the note on st. 2, seems to gain special prominence : pakva is at once the cooked porridge, and the cooked ashes of the deceased couple. Stanza 10. -a, b. Note the threefold play upon the word ud, in uttaram, uttaravat, and udiku c. The piirusha (cosmic man) is the pankti ; that is to say, like the metre pankti he consists of five constituent parts. Cf. Ait. Br. II, 14, 7 : ( Man is composed of five parts, hair, skin, flesh, bones, and marrow/ This statement about the piirusha appears to be solely for the purpose of bridging 1 Kcrava, pra^i^-pra^im iti ^atasrzhhir rigbhik pratiduam upa- tish/^ate mantroktam. XII, 3- COMMENTARY. 647 over to the virag who is identified in the next stanza with the fifth direction, the nadir (dhruva). Stanza 11. Kaor. 61, 3 : * While reciting the stanza (the sacrificers) face reverently every direction.' Apparently the nadir, as it were, embraces all the other directions. For dhruva as a designation of the fifth direction, see III, 26, 5 ; 27, 5, &c. Vira^* obviously has reference to the metre of that name ; she is, too, the daughter of Purusha (cf. Pet. Lex. under vira^ 3), who is said to be the metre pankti in st. 10. A complicated chain of symbolism. c, d. Aditi is called upon to protect the porridge, for she is the cooker of the porridge, by distinction : cf. the legends in Maitr. S. II, 1, 12 ; Tait. Br. Ill, 7, 11, 2, and the note on XI, 1, 1. Stanzas 12, 13. According to Kaui*. 6t, 4 (cf.
2ism. c, d. Aditi is called upon to protect the porridge, for she is the cooker of the porridge, by distinction : cf. the legends in Maitr. S. II, 1, 12 ; Tait. Br. Ill, 7, 11, 2, and the note on XI, 1, 1. Stanzas 12, 13. According to Kaui*. 6t, 4 (cf. Kcsava) the water-vessel is next, with stanza 12, taken from the skin and placed upon the ground, and the water contained in the vessel is used throughout the ceremony. The sacrificer and his wife doubtless come down from the skin ; hence (the earth) is called upon to embrace them, &c. In stanza 13 the water is implored to purify the sacrificial vessels from impure contact (as indicated by the Paribhashd-sutra, Kaui". 8, 14). For the connection of the non- Aryan d&s? with the sacrifice, see Ludwig, Der Rigveda, p. 212. Stanzas 14, 15. At Kau^. 61, 18 the mortar and pestle, and the scrubbed winnowing basket, are placed upon the (afore-mentioned) skin, while stanza 14, along with Pada a of XI, 1, 9, is being recited. Cf. the note on XI, 1, 9 for the substitution of mortar and pestle in the place of the two press-stones. With stanza 15 the pestle is placed upright (in the mortar : Kauj. 61, 21, musalam u££/zrayati). It is also rubricated in Ath. Paru*. 10. 648 HYMNS OF THE ATHARVA-VEDA. Stanzas 16, 17. At Kauj*. 61, 13. 14 the employment of stanzas 16 and 17 is prescribed, without adhering to their order in the Sawhita : ' With stanza 16 the sacrificer, his wife, and children (sapat- yau) touch the grain (which has previously been poured into a pot, Sutra 11). With the second hemistich of stanza 17 the sacrificer takes hold of his wife's hand/ Stanza 18. Judging from the Kaimka's employment of the stanza the presence of real sacrificial cattle at this stage of the ceremony seems doubtful: the grain that goes to make the porridge seems to be likened to cattle ; cf. stanzas 18, 21. In Pada b the Paippalada reads medhasvan for^yotishman, in Pada c tarn for tan ; according to the Index Verborum most MSS. read tarn for tan, but the present reading seems preferable. Stanza 17. Stanzas which similarly promise the reunion of families in the next world are AV. VI, 120, 3 ; IX, 5, 27 ; XVIII, 3, 23. The second hemistich seems to come from the mouth of the departed, who perhaps is conceived to desire that his wife shall follow him to the funeral-pyre ; cf. st. 2. These statements are, however, hardly definite enough to permit us to connect them with the formalised later rite of Suttee. Stanza 18. This is rubricated along with XI, 1, 9 b at Kaui".
3desire that his wife shall follow him to the funeral-pyre ; cf. st. 2. These statements are, however, hardly definite enough to permit us to connect them with the formalised later rite of Suttee. Stanza 18. This is rubricated along with XI, 1, 9 b at Kaui". 6j, 22 : avahanti, ' the pestle is beaten down (upon the grain).' As it comes down it smites and drives off the hostile powers, but at the same time, as in the case of the axe which slays the sacrificial animal (cf. Contributions, Sixth Series, Zeitschr. d. Deutsch. Morgenl. Gesellsch. XLVIII, 556), the fiction is kept up that it does not really injure the grain. The statement strengthens the impression that the grain is viewed in the light of sacrificial cattle, as in stanzas ?6, 21. XII, 3. COMMENTARY. 649 Stanza 19. For the employment of this stanza in the Sutra, see the notes on XI, 1, 11, and 9. The grain which is to form the porridge is addressed, as though it were the cooked por- ridge that spreads in the dish, and is enriched with ghee. The second hemistich shows this to be anticipatory, for the act of the stanza is the winnowing of the grain. Cf. stanza 53. In Pada c varshavrzddham shows that the basket is made of reeds, not of dead wood ; cf. Zimmer, Altindisches Leben, p. 238. Stanzas 20, 21. Kauj. 61 , 26-28 : ' With stanza 21 the wife as she removes (the husks) is addressed. With stanza 20 the husband and wife touch (the husks) after they have been removed. With part of stanza 20 d (the grain) is again poured into the winnowing-basket.' There is no mention of the preparation of soma which is suggested by amsun in stanza 20 c : the word must therefore refer to some part of the ceremony which the Sutra ignores, unless the grain is figuratively called soma. Stanza 20. The meaning of the first hemistich is far from clear. The Brahma^a is either the priest (cf. XX, 2, 3), or some holy text. Perhaps s&mmita. brahma/zena means 'have been measured out by the Brahma/za;' cf. stanzas 28 and 33. Stanza 21. It seems again as though the animals here refer to the grain, as in stanzas 16 and 18 : the grain is varied in colour ; the porridge when cooked is solid in colour. In Pada c the Padapa^a reads tarn, but we have taken ta;/z=:tan. Stanzas 22-24. Kaiu. 61, 31 : ' With stanza 22 the pot is anointed.' As the Sutra does not rubricate the next stanza (23), where the anointing is mentioned, by itself, we must understand 65O HYMNS OF THE ATHARVA-VEDA. that stanza 23 is included in the quotation. e With stanza 24 he places fire about (the pot)/ In st.
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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