Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1Va^. S. XXV, 1 ff. Cf. also AV. X, 2 ; XI, 8. The hymns in question have been translated and com- pared with certain Teutonic charms by Adalbert Kuhn in his ever-charming work on ' Indische und germanische Segens- spriiche/ Kuhn's Zeitschrift, XIII, 63 ff. These comparisons are of permanent interest for folk-psychology, even though the genetic relationship of the charms may be doubted. The Atharvan version has been rendered in addition by Weber, Ind. Stud. XIII, 205 ff. ; for RV. X, 163 see Ludwig's and Grassmann's translations. [42] Y 322 HYMNS OF THE ATHARVA-VEDA. Stanza 2. a. Saya^a here defines ush/zihabhya/z etymologically as, urdhva//z snigdhabhya^ raktadina utsnatabhyo va naaft- bhya/i, but at RV. snayubhya^ for na^/ibhya/^. Cf. AV. VI, 134, 1 ; IX, 8, 21 ; X, 10, 20, and the schol. at Pacini III, 2, 59. Stanza 3. b. haliksh/zat is obscure : Saya^a, tatsawbandhad (tat refers to klomna/z) mawsapk^avueshat, ' a ball of flesh adjoining the lungs/ The word may possibly be related to hira, ' canal, vein.' Stanza 5. c. d. The tautological use of bhasadyam and bhasadam is justified in the mind of the Atharvan poet, because it heightens the effect of the cumulative pun upon bha;^sasa^. RV. X, 163, 4 exhibits but two of these stems. Stanza 7. d. ka^yapasya vfbarhe^a (sc. brahmaz^a). For Ka^yapa, see the notes on I, 14, 4 ; IV, 20, 7. II, 36. Commentary to page 94. The practices associated with this hymn are part of the 'women's rites' (Kaiu\ 32, 28-36, 40), and they are pre- sented under the special rubric of pativedanani (Kcrava, patilabhakarmam), 'practices by which a husband is ob- tained,' Kaor. 34, 12-16 (cf. also Kau.?. 75, 7), as follows: 13. 'While reciting the hymn the maiden is given to eat a pudding of rice and sesame, such as is cooked for guests. 14. Upon an altar, made out of clay from a cave inhabited by animals (cf. stanza 4), are placed the substances recited in the hymn (gold, bdellium, &c. ; cf. st. 7); these are anointed with the dregs of ghee, and given to the maiden II, 36. COMMENTARY. 323 at the door1. 15. Having sacrificed by night rice and barley from a copper vessel to Garni 2, the maiden walks forth with her right side turned towards (the vessel ; cf. st. 6). The maiden, having been washed and cleaned to the west of the fire, while stanza 5 of the hymn is being recited, is made to do what is told in the stanza (upon a ship) anointed with the dregs of ghee (i. e.
2side turned towards (the vessel ; cf. st. 6). The maiden, having been washed and cleaned to the west of the fire, while stanza 5 of the hymn is being recited, is made to do what is told in the stanza (upon a ship) anointed with the dregs of ghee (i. e. she is made to ascend the ship).' After that follow certain oracles to decide whether the maiden shall succeed in obtaining the husband or not. The hymn has been translated by Weber, Ind. Stud. V, 219 ff. ; XIII, 214 ff. ; Ludwig, Rigveda, III, 476; Grill2, pp. 55, 102 ff. ; cf. also Zimmer, p. 306. Stanza 1. a. Literally, c may a suitor come to our favour,' i. e. a suitor who shall gain our favour. Saya^a, sobhanam buddhim a garnet . . . kslyanim buddhi;# prapya. Cf. Sankh. Grih. I, 6, 1 ff. ; Apast. Grz'h. I, 2, 16 ; 4, 1-2 ; Ind. Stud. V, 276, 291 ff. b. The suitor comes ' with our fortune,' since the betrothal of a daughter is regarded in that light. c. Saya;za, samaneshu samanamanaskeshu . . . yad va samana;^ manyamaneshu sahrzdayeshu. d. Saya^a reads usham for osham, and glosses, usham ushati ru£*ati apanudati du/zkha^atam iti usham sukha- karam. Stanza 2. a,b. Cf. RV. X, 85, 40, 41, where Soma, Gandharva, and Agni are said to be the mythical first husbands of every maiden. Sayana has in mind the same passages, since he glosses brahma with gandharva, and identifies Aryaman with Agni, leaning upon the slender support of Asv. Grih. 1 So that she may adorn and anoint herself with them. 2 The personified goddess of femininity, or maternity ; Darila, ^•amika (?) matr/ka. Cf. AV. V, 1, 4, and Kaur. 34, 20. Y 2 324 HYMNS OF THE ATHARVA-VEDA. I, 7, 13. Cf. AV. XIV, 1, 31, which shows that saz/zbhr/tam alludes consciously to sawbhala in st. 1. c. Dhatar, the god of divine order and creation, just as the three gods in the first hemistich, is especially charged with the arrangement of marriage ; see VI, 60, 3. Stanza 4. Saya;za, with one of Shankar Pandit's MSS., reads maghavan (maMhaniyabhogyapadarthayuktaA), in agree- ment with akhara/£ ; also abhiradhayanti, which he glosses by abhivardhayanti, yad va . . . putrapa^vadibhi^ samr/ddha bhavanti. For the juxtaposition of Indra and Bhaga, cf. VI, 82. For Bhaga in relation to matters of love, VI, 102, 3. Stanza 6. a, b. Judging from IV, 22, 3 ; V, 23, 2 ; X, 10, n, the divinity addressed as ' lord of wealth ' is Indra (Maghavan in st. 4). c, d. The sense is : Every suitor who approaches her shall indicate his esteem, or admiration, so that the event shall not fail to result auspiciously. Cf.
33 ; V, 23, 2 ; X, 10, n, the divinity addressed as ' lord of wealth ' is Indra (Maghavan in st. 4). c, d. The sense is : Every suitor who approaches her shall indicate his esteem, or admiration, so that the event shall not fail to result auspiciously. Cf. the symbolic realisation of this arrangement in Kslus. 34, 15, above. Stanza 7. a. Some MSS. read giilgulu for giiggulu (Saya^a, dhupanadravyavuesha^). b. auksha, ' balsam/ according to Saya;za = pralepana- dravyam. It seems to be simply 'bull's grease;' see the .yloka quoted by Ke^ava at Kaus. 34, 14 (repeated by Saya/za on our passage), as also by Darila, Kerava, and Ath. Paddh. at Kau^. 79, 9 (in elucidation of the word aukshe), and cf. our introduction to AV. I, 34. See also the analogous passage AV. VI, 102, 3, and aukshagandhi as the name of an Apsaras, IV, 37, 3. c. For the plural patibhya/z, see Ind. Stud. V, 205 ff., 221. d. pratikamaya is emended by the Pet. Lex. to prati- kamyaya (cf. sts. 5, 6, 8, and VI, 60, 3) ; Saya/za, enaw kanyaw kamayamanam. The Paippalada reads patikamaya, Ill, I. COMMENTARY. 325 which makes good sense, ' in order to obtain the love of a husband/ Stanza 8. The second nayatu seems superfluous, derived, perhaps, from some parallel expression in which nayatu was the last word. The entire stanza is loosely connected with the hymn ; the plant addressed seems to have no reference to the proceedings in hand. Cf. AV. Ill, 18. Ill, 1. Commentary to page 121. In accordance with our title for this and the following hymn is their designation in the ritual as mohanani (sc. suktani), 'charms for causing bewilderment ; ' see Kaui\ 14. 17. With them go in the subsequent Sutras (18-21) the following performances : 18. 'Chaff (of rice), underlaid with porridge, is sacrificed from a mortar. 19. (Or) in the same way small grain1 (is offered). 20. Twenty-one pebbles are shaken (in a winnowing-basket 2) against (the enemy). 21. (A pot of rice) is offered to the goddess Apva.' The sym- bolism is obvious : the chaff or the small grain symbolises the dispersion of the enemy ; the pebbles shaken against them the destructive attack of the sacrificing king. An offering is made to the goddess of evacuation (from the body). See the note on III, 2, 5. The present hymn has been rendered by Ludwig, Der Rigveda, III, 518 ; Weber, Ind. Stud. XVII, 180 ff. The Anukrama/21, senamohanam. Stanza 1. Agni, the fire, figures largely as the typical leader of the vanguard of armies, e. g. in the battle-hymn, RV. X, 84, 2, and in Tait. S. I, 8, 9, 1 ; Tait. Br. I, 7, 3, 4.
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.
1Va^. S. XXV, 1 ff. Cf. also AV. X, 2 ; XI, 8. The hymns in question have been translated and com- pared with certain Teutonic charms by Adalbert Kuhn in his ever-charming work on ' Indische und germanische Segens- spriiche/ Kuhn's Zeitschrift, XIII, 63 ff. These comparisons are of permanent interest for folk-psychology, even though the genetic relationship of the charms may be doubted. The Atharvan version has been rendered in addition by Weber, Ind. Stud. XIII, 205 ff. ; for RV. X, 163 see Ludwig's and Grassmann's translations. [42] Y 322 HYMNS OF THE ATHARVA-VEDA. Stanza 2. a. Saya^a here defines ush/zihabhya/z etymologically as, urdhva//z snigdhabhya^ raktadina utsnatabhyo va naaft- bhya/i, but at RV. snayubhya^ for na^/ibhya/^. Cf. AV. VI, 134, 1 ; IX, 8, 21 ; X, 10, 20, and the schol. at Pacini III, 2, 59. Stanza 3. b. haliksh/zat is obscure : Saya^a, tatsawbandhad (tat refers to klomna/z) mawsapk^avueshat, ' a ball of flesh adjoining the lungs/ The word may possibly be related to hira, ' canal, vein.' Stanza 5. c. d. The tautological use of bhasadyam and bhasadam is justified in the mind of the Atharvan poet, because it heightens the effect of the cumulative pun upon bha;^sasa^. RV. X, 163, 4 exhibits but two of these stems. Stanza 7. d. ka^yapasya vfbarhe^a (sc. brahmaz^a). For Ka^yapa, see the notes on I, 14, 4 ; IV, 20, 7. II, 36. Commentary to page 94. The practices associated with this hymn are part of the 'women's rites' (Kaiu\ 32, 28-36, 40), and they are pre- sented under the special rubric of pativedanani (Kcrava, patilabhakarmam), 'practices by which a husband is ob- tained,' Kaor. 34, 12-16 (cf. also Kau.?. 75, 7), as follows: 13. 'While reciting the hymn the maiden is given to eat a pudding of rice and sesame, such as is cooked for guests. 14. Upon an altar, made out of clay from a cave inhabited by animals (cf. stanza 4), are placed the substances recited in the hymn (gold, bdellium, &c. ; cf. st. 7); these are anointed with the dregs of ghee, and given to the maiden II, 36. COMMENTARY. 323 at the door1. 15. Having sacrificed by night rice and barley from a copper vessel to Garni 2, the maiden walks forth with her right side turned towards (the vessel ; cf. st. 6). The maiden, having been washed and cleaned to the west of the fire, while stanza 5 of the hymn is being recited, is made to do what is told in the stanza (upon a ship) anointed with the dregs of ghee (i. e.
2side turned towards (the vessel ; cf. st. 6). The maiden, having been washed and cleaned to the west of the fire, while stanza 5 of the hymn is being recited, is made to do what is told in the stanza (upon a ship) anointed with the dregs of ghee (i. e. she is made to ascend the ship).' After that follow certain oracles to decide whether the maiden shall succeed in obtaining the husband or not. The hymn has been translated by Weber, Ind. Stud. V, 219 ff. ; XIII, 214 ff. ; Ludwig, Rigveda, III, 476; Grill2, pp. 55, 102 ff. ; cf. also Zimmer, p. 306. Stanza 1. a. Literally, c may a suitor come to our favour,' i. e. a suitor who shall gain our favour. Saya^a, sobhanam buddhim a garnet . . . kslyanim buddhi;# prapya. Cf. Sankh. Grih. I, 6, 1 ff. ; Apast. Grz'h. I, 2, 16 ; 4, 1-2 ; Ind. Stud. V, 276, 291 ff. b. The suitor comes ' with our fortune,' since the betrothal of a daughter is regarded in that light. c. Saya;za, samaneshu samanamanaskeshu . . . yad va samana;^ manyamaneshu sahrzdayeshu. d. Saya^a reads usham for osham, and glosses, usham ushati ru£*ati apanudati du/zkha^atam iti usham sukha- karam. Stanza 2. a,b. Cf. RV. X, 85, 40, 41, where Soma, Gandharva, and Agni are said to be the mythical first husbands of every maiden. Sayana has in mind the same passages, since he glosses brahma with gandharva, and identifies Aryaman with Agni, leaning upon the slender support of Asv. Grih. 1 So that she may adorn and anoint herself with them. 2 The personified goddess of femininity, or maternity ; Darila, ^•amika (?) matr/ka. Cf. AV. V, 1, 4, and Kaur. 34, 20. Y 2 324 HYMNS OF THE ATHARVA-VEDA. I, 7, 13. Cf. AV. XIV, 1, 31, which shows that saz/zbhr/tam alludes consciously to sawbhala in st. 1. c. Dhatar, the god of divine order and creation, just as the three gods in the first hemistich, is especially charged with the arrangement of marriage ; see VI, 60, 3. Stanza 4. Saya;za, with one of Shankar Pandit's MSS., reads maghavan (maMhaniyabhogyapadarthayuktaA), in agree- ment with akhara/£ ; also abhiradhayanti, which he glosses by abhivardhayanti, yad va . . . putrapa^vadibhi^ samr/ddha bhavanti. For the juxtaposition of Indra and Bhaga, cf. VI, 82. For Bhaga in relation to matters of love, VI, 102, 3. Stanza 6. a, b. Judging from IV, 22, 3 ; V, 23, 2 ; X, 10, n, the divinity addressed as ' lord of wealth ' is Indra (Maghavan in st. 4). c, d. The sense is : Every suitor who approaches her shall indicate his esteem, or admiration, so that the event shall not fail to result auspiciously. Cf.
33 ; V, 23, 2 ; X, 10, n, the divinity addressed as ' lord of wealth ' is Indra (Maghavan in st. 4). c, d. The sense is : Every suitor who approaches her shall indicate his esteem, or admiration, so that the event shall not fail to result auspiciously. Cf. the symbolic realisation of this arrangement in Kslus. 34, 15, above. Stanza 7. a. Some MSS. read giilgulu for giiggulu (Saya^a, dhupanadravyavuesha^). b. auksha, ' balsam/ according to Saya;za = pralepana- dravyam. It seems to be simply 'bull's grease;' see the .yloka quoted by Ke^ava at Kaus. 34, 14 (repeated by Saya/za on our passage), as also by Darila, Kerava, and Ath. Paddh. at Kau^. 79, 9 (in elucidation of the word aukshe), and cf. our introduction to AV. I, 34. See also the analogous passage AV. VI, 102, 3, and aukshagandhi as the name of an Apsaras, IV, 37, 3. c. For the plural patibhya/z, see Ind. Stud. V, 205 ff., 221. d. pratikamaya is emended by the Pet. Lex. to prati- kamyaya (cf. sts. 5, 6, 8, and VI, 60, 3) ; Saya/za, enaw kanyaw kamayamanam. The Paippalada reads patikamaya, Ill, I. COMMENTARY. 325 which makes good sense, ' in order to obtain the love of a husband/ Stanza 8. The second nayatu seems superfluous, derived, perhaps, from some parallel expression in which nayatu was the last word. The entire stanza is loosely connected with the hymn ; the plant addressed seems to have no reference to the proceedings in hand. Cf. AV. Ill, 18. Ill, 1. Commentary to page 121. In accordance with our title for this and the following hymn is their designation in the ritual as mohanani (sc. suktani), 'charms for causing bewilderment ; ' see Kaui\ 14. 17. With them go in the subsequent Sutras (18-21) the following performances : 18. 'Chaff (of rice), underlaid with porridge, is sacrificed from a mortar. 19. (Or) in the same way small grain1 (is offered). 20. Twenty-one pebbles are shaken (in a winnowing-basket 2) against (the enemy). 21. (A pot of rice) is offered to the goddess Apva.' The sym- bolism is obvious : the chaff or the small grain symbolises the dispersion of the enemy ; the pebbles shaken against them the destructive attack of the sacrificing king. An offering is made to the goddess of evacuation (from the body). See the note on III, 2, 5. The present hymn has been rendered by Ludwig, Der Rigveda, III, 518 ; Weber, Ind. Stud. XVII, 180 ff. The Anukrama/21, senamohanam. Stanza 1. Agni, the fire, figures largely as the typical leader of the vanguard of armies, e. g. in the battle-hymn, RV. X, 84, 2, and in Tait. S. I, 8, 9, 1 ; Tait. Br. I, 7, 3, 4.
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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