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Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1s style of literature is likely ever to have in mind the pun of the Tait. Ar. I, 8, 8, kasyapak pa^yako bhavati, * Ka^yapa is a seer,' and this leads to the suspicion that the name is merely a personification of the sun ; cf. our note on AV. IV, 20, 7. The epithet 'self-existing' must not be taken too literally : svayambhu is one of the many names of the supreme being (see the preceding note), and as such is mentioned along with the others. Muir, 1. c, p. 408, note, suggests in the light of this passage the unlikely theory that, ' this word must therefore be regarded as not necessarily meaning anything more than one who XTX, 54. COMMENTARY. 687 comes into existence in an extraordinary and supernatural manner.' XIX, 54. Commentary to page 225. The hymn has been rendered by Muir, Original Sanskrit Texts, V, 408 ; Ludwig, Der Rigveda, III. 191 ; Scherman, Philosophische Hymnen, pp. 80, 82. Cf. also the introduc- tion to XIX, 53. Stanza 1. See the Ka///a-Upanishad IV, 9 : ' Both whence the sun rises, and where he sets — on him all the gods are placed ; no one whatsoever goes beyond that. This truly is that.' Cf. also AV. X, 8, 16 ; Sat. Br. XIV, 4, 3, 34 = Bnh. Ar. Up. I, 5, 23 ; and Tait. Ar. VIII, 8. Stanza 2. The MS. tradition reports this stanza as consisting of three (gayatri) Padas. But a better division of the re- mainder of the hymn results if we add two Padas of the third stanza (making a pankti), fuse the remaining two Padas of stanza 3 with the first two of stanza 4, and the remaining two of stanza 4 with the first two of stanza 5. This leaves the last two (trish/ubh) Padas of stanza 5 to make up one (our fifth) stanza, along with the two (trish/ubh) Padas printed in Roth and Whitney's edition as the sixth stanza1 — an arrangement in form and sense manifestly superior to the traditional one. Saya^a makes this arrange- ment and deserves credit for it. d, e ( = 3 a, b in the MSS.). The MSS. have kalo ha bhuta/^ bhavya^ ka. putro a^-anayat pura/z (one of Shankar Pandit's Pada-MSS. pura). Roth and Whitney emend, kale ha bhuta;^ bhavya//z ka. mantro a^-anayat pura. We adopt this text with the exception of mantro, for which we have retained the original putro. Saya/za reads and 1 Not so in Shankar Pandit's MSS. of the text, where the arrangement is that of the vulgata, except that the last two trishAibh Padas are added to stanza 5, making it to consist of six Padas, 688 HYMNS OF THE ATHARVA-VEDA. comments, kalenai*va pitra prerake/za putra^ pra^apati/z bhutam, &c. Stanza 3. Made up of st.
2ement is that of the vulgata, except that the last two trishAibh Padas are added to stanza 5, making it to consist of six Padas, 688 HYMNS OF THE ATHARVA-VEDA. comments, kalenai*va pitra prerake/za putra^ pra^apati/z bhutam, &c. Stanza 3. Made up of st. 3 c, d and 4 a, b in the MSS. With it cf. Tait. Br. Ill, 12, 9, 1 and AV. XIX, 6, i3 = RV. X, 90, 9=Va£-. S. XXXI, 7 = Tait An III, 12, 4. c ( = 4 a in the MSS.). The MSS. read kalo yagn&m sam airayan ; one MS. of the Padapa//£a corrects airayan to airayat, as also Saya^a, who reads and comments, sam- airayat udapadayat. Shankar Pandit adopts this reading, and it is at the base of our translation. Roth and Whitney, on the other hand, restore kale ydLgnim sam airayan, which is the text translated by all our predecessors* Stanza 4. Made up of 4 c, d and 5 a, b of the MSS. c (=5 a of the MSS.). Saya^a reads devo for divo, which leaves kale to depend upon adhi tish/^ata/z, to wit : angira nama deva/z . . . so * yam atharva atharvavedasrash/a devai* ks. kale sva^anake adhi tish/^ati. Shankar Pandit adopts Saya/^a's text. Stanza 5. Made up of 5 c, d and 6 of the vulgata. b. vidhritik is translated by Saya/za futilely, lokadharakan. Muir's ' ordinances ' is untenable in the light of the remain- ing occurrences of the word (cf. Pet. Lex.) ; Ludwig, ' die reinen vidhr/ti (zwischenraume, weltgegenden).' Scherman cites KMnd. Up. VIII, 4, 1 and AV. IV, 35, 1 in support of the rendering ' zwischenraume.' Perhaps ' boundary- line' comes nearest to the sense of the original. d. For iyate, cf. the note on XIX, 54, 2 d. XX, 127. Commentary to page 197. The Vedic hymns furnish the germs of a not inconsider- able part of the themes of the later epic narratives, notably in the Mahabharata and the Pura/^as. Especially the danastutis, ' gift-praises,' either independent hymns, or XX, I27. COMMENTARY. 689 stanzas at the end of hymns, lauding the generosity of kings or sacrificers to the officiating Brahmans, appear as preliminary stages in the development of epic narratives in praise of warlike kings and heroes. Closely allied with these are the so-called gatha narasamsyak 7, ' stanzas which sing the praises of men,' jlokas which occur in the Brahma^a-texts, dealing with this theme in exorbitant terms. The Brahmanical authorities agree in assigning the so-called kuntapa-hymns, XX, 127-136, to this kind of literature, and the opening stanza of XX, 127 leaves no room for doubting their correctness. The Ait. Br. VI. 32 ff.
3ling with this theme in exorbitant terms. The Brahmanical authorities agree in assigning the so-called kuntapa-hymns, XX, 127-136, to this kind of literature, and the opening stanza of XX, 127 leaves no room for doubting their correctness. The Ait. Br. VI. 32 ff. 2 works up the material of the kuntapa-hymns at the sattras, the ' soma-sessions,' or prolonged soma-sacrifices, at which seventeen priests perform their functions. See Roth, Uber den Atharva-veda (Tubingen, 1856), p. 6 ff. ; Max Miiller, History of Sanskrit Literature, p. 493 ; Haug's translation of the Ait. Br., p. 430 ff., and Weber, Episches im vedischen Ritual, Proceedings of the Royal Prussian Academy, July 23, 1891, XXXVIII, p. 770 ff. (p. 4 ff. of the reprint). AV. XX, 127 consists of four pieces, dealing with dif- ferent themes ; the ritual employs each of them distinc- tively under the names nara\ya;/zsi, raibhi, parikshiti, and karavya. Two of these names, na.rasa.msi and raibhi, occur as early as RV. X, 85, 6 ; Tait. S. VII, 5, 11, 2. Quite a number of the stanzas of kuntapa-hymns are quoted in the Brahma/zas, exhibiting essentially the same textual corruption as the Atharvan version. The iarikh. Sr. XII, 14 ff. exhibits then! in full : AV. XX, 127 = Saiikh. Sr. XII, 14-17. 1 Sometimes gatha^ (indragatha^) and naraja/^sya^ are differen- tiated, being mentioned separately, Tait. S. VII, 5, 11, 2; Kaush. Br. XXX, 5; Ait. Br. VI, 32, 3. 25; -Sat. Br. XI, 5, 6, 8 ; ksv. Grzh. Ill, 3, 1 ff. ; Ya^T/av. I, 45. The Br/'haddevata, III, 154, states explicitly that the nara^a^si-verses are of the nature of d&nastutis. 2 Cf. also Kaush. Br. XXX, 5; Sahkh. *SY. XII, 14; Asv. Sr. VIII, 3, 7 ff. ; Vait. SA. 32, 19 ff. ; Gop. Br. II, 6, 12 ff. [42] Y y 6gO HYMNS OF THE ATHARVA-VEDA. A. The first three stanzas, known in the ritual (Ait. Br. VI, 32, 4~ff. ; Kaush. Br. XXX, 5 ; Gop. Br. II, 6, 12) as the nara.ya//zsya/£ (sc. rika/i), contain a danastuti. Their appli- cation, especially in the Ait. Br., contributes nothing to their elucidation. At Tait. S. VII, 5, 11, 2 the commen- tator defines them as manushyavishayakhyanapara riks.k^ ' stanzas devoted to the narration of human affairs/ But n&rai-awsa can scarcely fail to allude in some manner to nara^a;^sa (Agni); cf. the next two parts. Stanza 1. The Ruxamas are praised as liberal bestowers of dakshma in RV. V, 30, 12-15 ; d. also RV. VIII, 3, 12 ; 4, 2. See Zimmer, p. 129. The stanza is quoted Asv. Sr. VIII, 3, 10 ; Sankh. Sr. XII, 14, 1, Stanza 2. Cf. 5ankh. Sr. XII, 14, 2 ; RV.
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.
1s style of literature is likely ever to have in mind the pun of the Tait. Ar. I, 8, 8, kasyapak pa^yako bhavati, * Ka^yapa is a seer,' and this leads to the suspicion that the name is merely a personification of the sun ; cf. our note on AV. IV, 20, 7. The epithet 'self-existing' must not be taken too literally : svayambhu is one of the many names of the supreme being (see the preceding note), and as such is mentioned along with the others. Muir, 1. c, p. 408, note, suggests in the light of this passage the unlikely theory that, ' this word must therefore be regarded as not necessarily meaning anything more than one who XTX, 54. COMMENTARY. 687 comes into existence in an extraordinary and supernatural manner.' XIX, 54. Commentary to page 225. The hymn has been rendered by Muir, Original Sanskrit Texts, V, 408 ; Ludwig, Der Rigveda, III. 191 ; Scherman, Philosophische Hymnen, pp. 80, 82. Cf. also the introduc- tion to XIX, 53. Stanza 1. See the Ka///a-Upanishad IV, 9 : ' Both whence the sun rises, and where he sets — on him all the gods are placed ; no one whatsoever goes beyond that. This truly is that.' Cf. also AV. X, 8, 16 ; Sat. Br. XIV, 4, 3, 34 = Bnh. Ar. Up. I, 5, 23 ; and Tait. Ar. VIII, 8. Stanza 2. The MS. tradition reports this stanza as consisting of three (gayatri) Padas. But a better division of the re- mainder of the hymn results if we add two Padas of the third stanza (making a pankti), fuse the remaining two Padas of stanza 3 with the first two of stanza 4, and the remaining two of stanza 4 with the first two of stanza 5. This leaves the last two (trish/ubh) Padas of stanza 5 to make up one (our fifth) stanza, along with the two (trish/ubh) Padas printed in Roth and Whitney's edition as the sixth stanza1 — an arrangement in form and sense manifestly superior to the traditional one. Saya^a makes this arrange- ment and deserves credit for it. d, e ( = 3 a, b in the MSS.). The MSS. have kalo ha bhuta/^ bhavya^ ka. putro a^-anayat pura/z (one of Shankar Pandit's Pada-MSS. pura). Roth and Whitney emend, kale ha bhuta;^ bhavya//z ka. mantro a^-anayat pura. We adopt this text with the exception of mantro, for which we have retained the original putro. Saya/za reads and 1 Not so in Shankar Pandit's MSS. of the text, where the arrangement is that of the vulgata, except that the last two trishAibh Padas are added to stanza 5, making it to consist of six Padas, 688 HYMNS OF THE ATHARVA-VEDA. comments, kalenai*va pitra prerake/za putra^ pra^apati/z bhutam, &c. Stanza 3. Made up of st.
2ement is that of the vulgata, except that the last two trishAibh Padas are added to stanza 5, making it to consist of six Padas, 688 HYMNS OF THE ATHARVA-VEDA. comments, kalenai*va pitra prerake/za putra^ pra^apati/z bhutam, &c. Stanza 3. Made up of st. 3 c, d and 4 a, b in the MSS. With it cf. Tait. Br. Ill, 12, 9, 1 and AV. XIX, 6, i3 = RV. X, 90, 9=Va£-. S. XXXI, 7 = Tait An III, 12, 4. c ( = 4 a in the MSS.). The MSS. read kalo yagn&m sam airayan ; one MS. of the Padapa//£a corrects airayan to airayat, as also Saya^a, who reads and comments, sam- airayat udapadayat. Shankar Pandit adopts this reading, and it is at the base of our translation. Roth and Whitney, on the other hand, restore kale ydLgnim sam airayan, which is the text translated by all our predecessors* Stanza 4. Made up of 4 c, d and 5 a, b of the MSS. c (=5 a of the MSS.). Saya^a reads devo for divo, which leaves kale to depend upon adhi tish/^ata/z, to wit : angira nama deva/z . . . so * yam atharva atharvavedasrash/a devai* ks. kale sva^anake adhi tish/^ati. Shankar Pandit adopts Saya/^a's text. Stanza 5. Made up of 5 c, d and 6 of the vulgata. b. vidhritik is translated by Saya/za futilely, lokadharakan. Muir's ' ordinances ' is untenable in the light of the remain- ing occurrences of the word (cf. Pet. Lex.) ; Ludwig, ' die reinen vidhr/ti (zwischenraume, weltgegenden).' Scherman cites KMnd. Up. VIII, 4, 1 and AV. IV, 35, 1 in support of the rendering ' zwischenraume.' Perhaps ' boundary- line' comes nearest to the sense of the original. d. For iyate, cf. the note on XIX, 54, 2 d. XX, 127. Commentary to page 197. The Vedic hymns furnish the germs of a not inconsider- able part of the themes of the later epic narratives, notably in the Mahabharata and the Pura/^as. Especially the danastutis, ' gift-praises,' either independent hymns, or XX, I27. COMMENTARY. 689 stanzas at the end of hymns, lauding the generosity of kings or sacrificers to the officiating Brahmans, appear as preliminary stages in the development of epic narratives in praise of warlike kings and heroes. Closely allied with these are the so-called gatha narasamsyak 7, ' stanzas which sing the praises of men,' jlokas which occur in the Brahma^a-texts, dealing with this theme in exorbitant terms. The Brahmanical authorities agree in assigning the so-called kuntapa-hymns, XX, 127-136, to this kind of literature, and the opening stanza of XX, 127 leaves no room for doubting their correctness. The Ait. Br. VI. 32 ff.
3ling with this theme in exorbitant terms. The Brahmanical authorities agree in assigning the so-called kuntapa-hymns, XX, 127-136, to this kind of literature, and the opening stanza of XX, 127 leaves no room for doubting their correctness. The Ait. Br. VI. 32 ff. 2 works up the material of the kuntapa-hymns at the sattras, the ' soma-sessions,' or prolonged soma-sacrifices, at which seventeen priests perform their functions. See Roth, Uber den Atharva-veda (Tubingen, 1856), p. 6 ff. ; Max Miiller, History of Sanskrit Literature, p. 493 ; Haug's translation of the Ait. Br., p. 430 ff., and Weber, Episches im vedischen Ritual, Proceedings of the Royal Prussian Academy, July 23, 1891, XXXVIII, p. 770 ff. (p. 4 ff. of the reprint). AV. XX, 127 consists of four pieces, dealing with dif- ferent themes ; the ritual employs each of them distinc- tively under the names nara\ya;/zsi, raibhi, parikshiti, and karavya. Two of these names, na.rasa.msi and raibhi, occur as early as RV. X, 85, 6 ; Tait. S. VII, 5, 11, 2. Quite a number of the stanzas of kuntapa-hymns are quoted in the Brahma/zas, exhibiting essentially the same textual corruption as the Atharvan version. The iarikh. Sr. XII, 14 ff. exhibits then! in full : AV. XX, 127 = Saiikh. Sr. XII, 14-17. 1 Sometimes gatha^ (indragatha^) and naraja/^sya^ are differen- tiated, being mentioned separately, Tait. S. VII, 5, 11, 2; Kaush. Br. XXX, 5; Ait. Br. VI, 32, 3. 25; -Sat. Br. XI, 5, 6, 8 ; ksv. Grzh. Ill, 3, 1 ff. ; Ya^T/av. I, 45. The Br/'haddevata, III, 154, states explicitly that the nara^a^si-verses are of the nature of d&nastutis. 2 Cf. also Kaush. Br. XXX, 5; Sahkh. *SY. XII, 14; Asv. Sr. VIII, 3, 7 ff. ; Vait. SA. 32, 19 ff. ; Gop. Br. II, 6, 12 ff. [42] Y y 6gO HYMNS OF THE ATHARVA-VEDA. A. The first three stanzas, known in the ritual (Ait. Br. VI, 32, 4~ff. ; Kaush. Br. XXX, 5 ; Gop. Br. II, 6, 12) as the nara.ya//zsya/£ (sc. rika/i), contain a danastuti. Their appli- cation, especially in the Ait. Br., contributes nothing to their elucidation. At Tait. S. VII, 5, 11, 2 the commen- tator defines them as manushyavishayakhyanapara riks.k^ ' stanzas devoted to the narration of human affairs/ But n&rai-awsa can scarcely fail to allude in some manner to nara^a;^sa (Agni); cf. the next two parts. Stanza 1. The Ruxamas are praised as liberal bestowers of dakshma in RV. V, 30, 12-15 ; d. also RV. VIII, 3, 12 ; 4, 2. See Zimmer, p. 129. The stanza is quoted Asv. Sr. VIII, 3, 10 ; Sankh. Sr. XII, 14, 1, Stanza 2. Cf. 5ankh. Sr. XII, 14, 2 ; RV.
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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