Agni figures here as the war-god, capable of bringing vic- tory to the cause of the dethroned king. Cf. III, 1 and 2. With him are united the fighting Maruts who hitch up Agni that he may bring (vah) the king. SAyava, curiously, makes the king subject of akikradat (cf. RV. X, 45, 4), ‘the king calls(!) upon thee that he may again enter his king- dom. In Pada d amum is perhaps replaced by the name of the king, in the manner of the ritual; cf. e.g. Vag. S. [X,,403 (Tait. Bey LiLo a.
The stanza is difficult and full of double intent. The crucial word seems to us to be sautramavyd. This is a sacrifice originally devised by the gods to cure Indra from the effects of over-indulgence in soma; see our Contribu- tions, Third Series, Journ. Amer. Or. Soc. XV, 153 ff.; Oldenberg, Nachrichten von der Koniglichen Gesellschaft
* The Satra, gyotirdyatanam ; Darila, gyotisha 4yatanam sthanam uttaravedim avakirya.
Iii, 3. Commentary. 329
der Wissenschaften zu Gottingen, 1893, p. 342 ff. But secondarily this rite is also employed by an exiled king, who is also shaky, as it were (mankur iva fafara, like the somatipiita, Sat. Br. V, 4,11,13)}. Throughout this stanza Indra is both the god, and the dethroned king; the gods are the heavenly physicians (the Asvins and Sarasvati), as well as the Brahmans who are engaged in the restoration of the king. We have therefore rendered sautramazyd dadhvzshanta by ‘infuse courage with the sautrdmavt-sacri- fice.’ The veiled sense of the entire passage is : ‘ However far the king (Indra) is he shall come back to friendly relations with his people, when the priests (dev4Z) chant their songs and apply the sautramavzi to his restoration. Indra is the typical king, AV. IV, 6,11; VI, 98,1; Tait. S. II, 2, 11,6; the Brahmazas are the human devas, times manoer eno, Sat. Dr. 17, 2,2, 65° Tait. S. T,7,'3, 15. Maitr. S. 1, 4,6; Kaus. 6, 26; cf. Indische Studien, IX, 152; X, 16, 35, 36.
Varuma’s relation to water appears here as in IV, 16, 3 (see the note there); Soma grows upon the mountains (Veda and Avesta). The sense is: Even if the exiled king is separated by mountain and sea from his people, let him quickly, untrammelled by such restraints, as an eagle, come to them.
a. The accent of havydm is suspicious: we should
expect havyam. It is either to be emended, or indicates
that the Pada has been adapted from a different sphere.
The eagle brings the soma from a distance to be offered to
Indra. For such adaptations, cf. e.g. the hymn I, 2.
' For the sautramani in general, see Weber, Indische Studien, X, 349, and especially the same author’s recent treatise, ‘Uber die Konigsweihe (ragasfiya),’ in the Transactions of the Royal Academy at Berlin, 1893, p. gt ff.
330 HYMNS OF THE ATHARVA-VEDA.
d. We have rendered Ava gamaya, ‘render accepted,
because the word does not mean elsewhere ‘ bring down’
(Weber). Our authority is Darila on Kaus. 16, 27, avaga-
mana = anuraga, ‘afféction ;’ see the introduction to I, 9.
Sayava, imam rag4nam asmin rashfre bodhaya (similarly
Ludwig).
III, 4. COMMENTARY TO PAGE 113.
The Sitra treats this hymn along with the preceding as a charm for the restoration of a king ; see the introduction to III, 3. Support for such a construction may be derived from st. 5. This, however, is not borne out by the text of the stanzas themselves. These are more general in character, and seem to indicate as their theme the election of a chief. See Ludwig, Der Rigveda, III, 250; Zimmer, Altindisches Leben, p. 162 ff. Note especially st. 2, and the play upon the word varuma (as if from root var, ‘ choose’) in sts. 5, 6. The hymn has been translated by Ludwig, ITI, 252; Zimmer, p 164; Weber, Indische Studien, XVII, 190 ff.; cf. also Bergaigne et Henry, Manuel Védique, p. 141 ff. The Anukramazi, aindram.
The first hemistich is hypermetric, and Weber, Zimmer,
and Bergaigne-Henry each differ in their attempts at
restoration. We are not at all certain that this need is
urgent: Pada a is a good gagati-line, efding at ud ihi; for
Pada b see Oldenberg, Die Hymnen des Rigveda, pp. 66,
67. If the pruning-knife must be used patir in b is most
easily spared, and a most natural interpolation.
a. gan is vox media, either injunctive, or perfect-aorist. The latter in its sense of prophetic aorist is in the Atharvan stylistically very close to the injunctive: often things
desired are stated as having been already accomplished. sce 6. pul, 247 2,
Tt. . Commentary. 33!
Recurs with marked variants at Tait. S. III, 3, 9, 2; Maitr. S. II, 5, 10.
The expression aya rag4 varuvaz in st. 5 a is too pointed to signify merely ‘that king Varuvza:’ varuva is used here with false etymological intent as ‘ chooser ;’ the word plays upon the sense of ahvat, and vvzvatam in st. 2. Similarly varuzaihz in the next stanza means (Indra), with the remain- ing gods (Varuvza, Mitra, &c.), all choosing the king, and again, with double entente: ‘Come on, O king, thou hast come to an agreement with the leaders of thy people who are the electors’ (cf. III, 5, 7). All this is thoroughly — Atharvanesque.
Cf. Vait. Sd. 13, 2, where this stanza is employed in con- nection with a personified Pathya Svasti, the wife of Pishan (ib. 15, 3), ‘the prosperous path,’ as an embodiment of success and well-being. Cf. also ib. 24, 8; 37, 20, and the Pet. Lex. under pathya 3. In Pada d most MSS., both of the Samhita and Padapa/fa, read vasa, ‘rule ;’ some MSS., Sayava, and the Western authorities, vasa, ‘dwell.’ Cf. AV. XII, 4, 27. For the interchange of s and s, see the present writer in the Proc. Amer. Or. Soc., May, 1886 (Journ., vol. xiii, p. cxvii ff.). Cf. also the note on V, 19, 5.
III, 5. COMMENTARY TO PAGE IT4.
The parza-tree figures in many sacerdotal performances, being identical with the paldsa (butea frondosa). Its branches and especially its wood are employed directly, and in the form of utensils, at most sacrifices (cf. Zimmer, Altindisches Leben, p. 59); its sanctity is accentuated by myths which derive the plant directly from heaven, and that, too, in connection with the descent of the soma (cf. st. 4). A divine archer, who guards the soma, shoots at
332 HYMNS OF THE ATHARVA-VEDA.
the eagle that robs the soma; the eagle looses a feather (parva), which alights upon the earth and becomes the parva-tree. See RV. IV, 26 and 27, and the extensive legen- dary material attaching thereunto, and cf. Adalbert Kuhn, Die Herabkunft des Feuers und des Gottertranks, pp. 148, 192; Contributions, Fifth Series, Journ. Amer. Or. Soc. PGE Blom ee
No very specific instructions are recorded in the ritual regarding the manipulation of the hymn. At Kaus. 19, 22, in the course of the so-called push/ikarmavzi, ‘ practices designed to engender prosperity’ (Kaus. 18, 19-24, 46), we have the mere statement that this and other hymns, dealing with amulets, are recited, while the amulet in question (mantrokta), after it has been steeped in sour milk and honey for three days (Kaus. 7, 19), is fastened on the person desiring its protecting influence’. Accordingly, the Atharvaniya-paddhati (Kaus. 19, I note) mentions it in a long list of push¢ika mantraz. Cf. also Santikalpa 17, and 19%. The Anukramazi describes it as saumyam (cf. st. 4)... (etena) parvzamavzim uktarshir (i.e. Athar- van) astaut. Translated by Weber, Indische Studien, XVII, 194 ff.
Stanza. 1.
d. For aprayavan of the vulgata, read dprayavam (gerund)
with the Index Verborum; cf. XIX, 55, 1, and Vag. S.
XI, 75.
For the relation of the parva to soma, see the introduc- tion above.
In Pada c Weber emends priyasam to bhriydsam, and Sayava hovered on the edge of the same correction, priya- sam bhriydsam dharayeyam. It is, however, not certain, for in Lazy. Sr. III, 2,10 (also Drahydyava) we have manas tanashu pipratad, parallel to manas tandshu bibhrata/, RV. EPA AP ESM ON Mire tes Sy
* Sayama, tegobalayurdhanadipush/aye. * Cited erroneously by Sayava as Nakshatrakalpa.
Iii, 5. Commentary. 333
X, 57,6; Vag. III, 56; Kaus. 89, 1; Tait. Br. II, 4, 2,7. Nay, we have the passage with piprataZ in another place in the Tait. Br. (III, 7, 14, 3) itself, and it would seem, therefore, that piprata% (Pet. Lex. ‘ erhalten’) has a meaning closely analogous to that of bibhratad.
Both Weber and Sayazva cite in illustration of the meaning ‘friend’ for aryaman the passage Tait. S. II, 3, 4, 1, ‘he, verily, who gives. is a friend (aryaman).’ Weber renders Pada d, ‘iiber die gunst des freundes selbst,’ a rendering which rather forces the meaning and position of uta.
Stanzas 6, 7.
The two stanzas prove conclusively that the hymn belongs to the sphere of practices connected with the consecration of a king, and the firm establishment of his royalty. The four classes of persons whose aid is regarded as desirable for the king belong to the so-called ratna, ‘jewels, of the court, i.e. they are honoured and indispensable members of his household. Their number altogether is about a dozen, and according to Tait. Br. I, 7, 3, 1 ff., they are the ‘givers and takers of royalty (rash¢rasya pradataraZ, rash- trasya+ padataraz).’ As a preliminary to the consecration of a king they must be conciliated, and an oblation is offered in the house of each. See for the entire subject Professor Weber’s notes on the two stanzas, and his still more elaborate exposition of this interesting theme in his monograph, Uber die Konigsweihe, p. 19 ff.; cf. also Zim- mer, Altindisches Leben, p. 252; Ludwig, Der Rigveda, III, 246, 249, 251.
+a. Weber in the note on this passage, and Uber die Kénigsweihe, p. 22 ff., presents serious evidence in favour of reading yésragano (aragano) for yé ragano, ‘they who make kings, though themselves not kings:’ see Sat. Br. III, 4, 1, 7. 8; XIII, 2, 4, 18. Certainly this suits the character of the sita and gramawi better than the title raga. Nevertheless minor potentates, influential in the choice of a greater king, may be alluded to here; cf. the expressions
334 HYMNS OF THE ATHARVA-VEDA.
raga varuzahk and varuaih in III, 4, 5. 6, and our note to the passage. Weber himself has not embalmed his sugges- tion in the translation, ‘die kon’ ge konigsmacher auch.’
III, 6. COMMENTARY TO PAGE QI.
The asvattha-tree (ficus religiosa) is a strong tree of hard wood whose branches grow into other trees, resulting in their destruction!, On the other hand the union of the two trees is regarded as sexual (VI, 11), and emblematic of strength. In this hymn, as well as in the associated prac- tices, the asvattha is employed to destroy enemies. At Kaus. 48, 3-6, the hymn is worked up in the following sorcery-practice (abhifarika): 3. ‘While reciting III, 6 (the performer) ties on as a talisman the substance mentioned in the hymn (i.e. wood from an asvattha-tree which has fastened itself upon a khadira-tree), after an oblation has been poured upon it, and it has been anointed (with ghee). 4. As many enemies (as this practice is aimed at) so many fetters, anointed with ingida-oil*, besmeared with the dregs (of that same oil?), (the performer), having recited the hymn over them, (places) along with the threads? into a soma-vessel, and digs them into the vital spot* (of the enemies). 5. While reciting st.8 of this hymn along with IX, 2, 4 (q.v.), he pushes off what is mentioned in the stanza (namely, a boat) by means of a branch (of the asvattha-tree). 6. While reciting st. 7 he causes (the fetters) to float down (the water)’ The practices are not quite clear, nor do the commentators seem to understand them at all points. Cf. also Santikalpa 19°.
1 Cf. Kash. S. XTX, 10, esha (sc. asvattho) vai vanaspatinam sapatnasahah.
® The oil of ingida takes the place of ghee (Agya) in witchcraft ; see the paribhasha, Kaus. 47, 3, and cf. 14, 283 25, 30.
3 Which threads? Darila, sfitreza sambandham kretva.
* This presupposes an effigy of the enemy who is thus reached by proxy. Cf. 47, 51.
> Erroneously quoted by Sadyava as Nakshatrakalpa.
Ill, 6. COMMENTARY. 335
The hymn has been translated by Kuhn, Die Herab- kunft des Feuers!, p. 224; Weber, Ind. Stud. XVII, 204 ff.; Grill?, pp. 21, 104 ff.; cf. also Zimmer, Altindisches Leben, pp- 58, 257. The Anukramavzi, vanaspatyasvatthade- vatyam. 7
Both asvattha and khadira are masculines, i.e. males ; hence the virility of the asvattha is, as it were, in the second power. The asvattha, moreover, is intimately related with the production of fire (cf. Tait. Br. I, 1, 3, 9), being in fact an embodiment of the lightning. Hence its special fitness for aggressively hostile practices ; see Weber's note, l. c.