English
t: I w$i j I pn i I fi T % I ef^oj^ I H* II x NOTES. 149 SATAHA: aiWpar; tf ' a W R ^ w-r ^ m WrcS? ‘?P7- s#t rr *nmpr- -Trdffiftr %<*= i ?r n Frwft mifir hit mar ’rmsnm&sqH w*** l sir 'fsrr ’str^mr ^>°fr arl's^nrirrar srRrsfSR^g-T T 5 ^r rftarar tr >raf?r ggflf% < 5 tm*tr ^ fw srNft *rtr *rp°r^i% 3 #spt riff i fra^r sfmr sfrlft |§ atr% ti Notes; ' 1. Iddm leaver aditydsya svarajah. Roth takes this to be a clause by itself with ‘ id am * in the sense, of V this whole world V for the sub¬ ject. Grassmami follows this. Ludwigjhold* that Sayana is undoubted¬ ly right in explaining iddm * as meaning < havih stotram va/ But he does not accept Say ana’s construe ion, preferring to take ‘ idam * as the subject to * astu,’ It seems clear, however, that Sayana is right in understanding Varuna to be the subject of V astu./ 2. Sukirtim bhiksho. < I hope to be able to compose a fair hymn.’ Both. I translate Ludwig's note. “ Idam ‘ thw* work ao Saya- na rightly, f havih stotram va ’ as is made certain by the folk wing lyajathaya/ The suggested breaking up of the clauses destroys the whole course of thought of the verse, and is therefore inadmissible. The line of thought can only be ns follows: i may my glorious sacrifice win recognition from the god who delights in sacrifice’; therefore, it is the idea of the sacrifice and not that of the god which has to be emphasised, because the sacrifice is the mightiest, the most glorious, of ail things, the offerer has reason to ask from the god who delights in sacrifice for a reward ( Sayana's * tena varuneua, &g., 9 is quite right here). ” Verse 2* Padapatha: p#'l I I ftp? i §saw*h S I ?r i ihar°rp J M I II ^ 50 NOTES. Sayan a. t ffrrar: ?§?Rfr smnfr$ qft- ^Pt whrh Q^mrssr: 5mTOr *T*fa I sutt n tfr^reftaT Twf^.^mTS'Tr^ ^rfasrirar h vqrmnfmrmwzrtr# 0m fk mmfmr *5*5# ?'rRRr n$*t H ‘JSoi'ias: G(Jmatinam Uahas is called 4 gomati , in i, 92, 14, ( where it is to be noticed the epithet stands alongside of two other ‘asvavati f and sunritavatl ’ ). Say ana, “ gomati asmabbyarn datavyair gobhir yirkte. ,T At i, 123, 12 we have the same conjunction of kino and horse,* and, moreover, the rays of the sun are separately mentioned there, “ asvavatir gdmatlr visvavfira y&tamana rasrnibhili siiryasya. ,J * Sayaim, “ gomatlr bahubhir gobhis tadvatyah. ” His interpretation here cannot therefore be accepted. x 2. Jaramanah. The sound of their hymns is compared to the crackling of the fires of their sacrifices. For this meaning of ‘jarate' Both cites, vii, 72, 4 , li brihad agnayah samfdha jarante ” ( Say ana-, “ jaranto stuyante") and other passages (iii 3, 7; i, A9, 7; x t 69, 1; x, m 5} 1,94' 14; ii, 28, 2, v, 15, 4. ). Verse 3. PaDAPATHA: <t4 l mv I I f1 ff a f s * : snprr*f?r |p|t* I I o I 1 3TC- s^f: i s S gssrk I li \ SAYANA: $ STTsT: sHN* YTTH: 5T^°r %?T: TST tit j^njf wg-ri ht ^rwr i srfpr: s^rr Awrec i wfqr srsfsfifft qrw wref^r mt- gfr^Rn: i 3T?®?r ^rff-r fiffmr- t r??>pr '$ "trr 35 ^-s^^tssnw- WLfWOT smf* WWT^t STRrft'- ffcRTOW Will NOTES. 151 Notes: t 1. Furuvirasya, 'Tiydi in men/ thou that canst make our community populous. It corresponds to ‘gom&tV if that word be taken in the sense of giver of kine. Verse 4^ Padapatha; it I I I 3TfI ffSWrrr ! WcTW I I 1 w ! !^r% I w i fw I f?r% I'T^r I wk> | *T J qt§: | ! qrftssiTT || V Bay an A: *TFfRr fttntrSrcrr arrfl?*’ nfs-fr <pir **** *vr # wfo'Wsr* sr- \ fc^fsfrrr. ^rjw%3&“: i %?r sfr%?r w^yfm Nfr atf^r tr^grr?* vmfa i <t% h “^rr-fr ^ JTfg^fcs f%u=qf-fT sqtcir n N^rr-rr 1snrw^rr: vr^tvtrfpTT spr~ i ^rttre*r% I n stn- sr% ,i r r=r T^?rr ttrtenrrfiH - -- wratf 7W-. 'Trtf^ Tpstsf^tT | tfH Tf^f I fw?0r% >grFf#?5-T^fff’T: i Trf%^r ; Tnt%^^rff i ??^Vf ’sr^fr arnrrtsr; 11 Notes: 1. SJm. “ An enclitic particle, mostly after pronouns and preposi¬ tions with no very special meaning, to be compared to the Greek ‘ per ’ or the Latin ‘ cunque ’ ” Roth. 2. Pra aarijat. ‘ Let go, ’ started on their course. Compare vi, 63, 7, “pra vain ratho manqjava nsarji.” Sayana, “prasarji visfishtah.” Verse 5. Padapatha: It I *ft i wm I ?Tr?rf sf?r I ^rr^rt I wmn I I i ?f? I im\ I i *rr I ^ I Sjfj ■'WZ NOTES. 1 fMr*t If l *r I hrat l smrf I I pr 1 ^p< II <? Sayana; I cffr<r hn PFrrfts ht*tt RfprRg?ff-*rRN qpf ft’spm f^fr<pr i Pr%ii%rar#f% 'pr^P-vr <sr i tsr ?f*r n#tpt rw ~*h Tm- NRRtfr % NN 5r|; spfffaf^ NT<tf^ fsTstf NT I I ?Plf SIFNh g-NrfSRrnTrgTr ft w nrer ^itr* trR^pEarr^W't Nr wft pf3R Nf NN | f|NRR i TRi^r w? I^t NRrrRNT %~?*RT fT% sr^fNNRi ii Notes; • 1. Kbftm ritdsva. The word ‘kha’ occurs in only one other passage vi, 36, 4, “ sa ray is kham upa srija grman&lu” Sayana, ‘V he indra gri\dinah stuyamanak sa tvaqa rayo dharmsya kham nadinamaithd atra tateambaddha dhtiri lakshyate danim upa srija vimuucha.” The reference isjto Naigh. 1,13. What, our clause means will probably never be known. The translation in the SL. is “ des fromruen Sinnes Quelle will ich off men, ” which is* in itself a puzzle. Verse G. PaDAFATHA : 3T% pr i *r i *m : i ff*r i Pnr4*r i *%\ mx t wk^- I ^ m I wrf | 5Tir spr i f^rr^ j f* f I ! ?fr I ^ 1 qn 1 risfa4:! if I ft II * Sayana s | eR°r *RT W: $ f g' STT? | RW I STHTTO 1$ .iGWR? *TT“ nnrNR hr*? N?nrRT **r NmgwNTN 1 gr?fi% ttrararflrfr m: wWwrfsT= 1 g*t|r$ ?i% hwii ®ff<r ^ trr w #rijr ^^mrrr^nff **t wr STf: ^ ,IW?CT ^92^ 1 arnW! mt: t !| vv$m 1 fj$$ notr: r?*r %m$ * RRrSR ; ^r*R ORn^r PmRrf'T r fr? PJ 4 ^ ppf' I wiror, 3rr?NNi'#TifN nwr< ti NOTES*, Verse/7. P,V)>APATHA T V Iff I f: ! I ffT I % I cM ftM f Jrffr i I *Nf% I *rr I 5^tf?rqr: I aj^r I ft 1 % 1 f^t i f|ra?n I fiw f ft i! >9 SaYANA : % **<* tttfrkFar %vt it *Tft < rmM ^Rm.: % ?ffr?t ?*f rar^rr^m-^ sr^rf <rrt f^Rf |hM %xq % *n*r ’4Hf-fr ft rircr% 1 ^ ^tari^R; 1 ^fq =sr ■i^ri'Hqr *jt ^fptpn^ srfrsravrsrrfr siw^ft jraw^pf *r*rsOTr i^rtt #**•* # atfcfajwrrs sft^arPRrt 1 1 *fr- ^fgf <rerRr 'spt&fi I wr *> 4 * 33 ? ^rfat. *ffafflrs fflt FprsTra: € g§ f*f*r*w fasraar 1 rmswWt: n Verse 8. Pabapatha : 5ffFfi |p|%i fff I 3-rT i fFFt. } If I STfPU gffssga; f araTf S ir ff^ ! ff I I ^ I f I rWnr ! ^^rrft I ft 3 !* \ * Sayana : I ^orTtr tiifaRffrS %5wr rnfr a*^rctrft<Tnps' *m sRtsfr- I w stfr ^ sgrcwfir ?r^r*T I ^ arfr ** t gfr*r* ags m$ srr?# ^°r wwrrorfspaffi an* w#* mxn 5 rar**r*f 1 wmt %=^tt 1 W( iM ffNpw 1 jd ?rcr*rcr? 4 t#fs*r% gar ■* 1 11 f? mm * w?t vr r^wr^r c* 3Wf?trr% *§§•= mtfo sftrr mnrFr fkHTH I wr^rarit 1 11 Verse 9., Fadapatha : it| I worn ajth i sre i ffspnfa I *rr 1^1 I ar?3 s ^rR‘ I 3Tft 5 7tr* I ffJ 3 s *jrt- #11 p: 13?r 1 ft I #rrf I ffw I ?rrf l srrff ift 20 NOTES, Sayana: ? wr 3fr°rrPr RNnftPr: fcrrft ^*rrfSrt*mf*l to wrfh tospt *rNH tot i ?c“! i sftot i (’T 37a ?rr *t*rr fsrrrft- ^rK qnrpr tosr i arfr ^ I ttspt TO°r arsafc- f%^fr w^r *rr ^fpf nr# m wSrr i f% i ^jrarcfh w- spsr snro = ar^srr ^i P*wipft '5TnT<ff h*t sgsr ^csrsf e^qr arr^pr i % srg %$ sftarer #rror' *HRjr^[ i nr <$% t i^nr^n^tr Hmsrcf #t ^r%?gs$: n Verse 10. Papapatha : % 1 ?T3R 1 %*4'* i m i wr | fr I \ w I I *T#T | 3Tff ! #R: I 3T I ?f: | f|- i I srr l ^ { ?iWrqv I ?£*r j qjrrfl WFfJI \o SAVAXa : ■ wr *J q^'r w-5%' tpsrafrof-- ftrmf^rr i?jfRRg#r E -rr w'sr %£ *pj 4m TOs/fara to ict^r m f^rsr°^r ?r *fr sfr-sw* ft c ?n% fsrqraRr i i f*r *%?&??? i? src°r TO*r?wwi;TOrr?|rff to U Veyse 11 . Fadapatiia :• W l 3 Tf*^ S *rfFn I *m 1 f|?T^ l ^cFf^rt I 3 Tf l f*A \I 3t^J 3#** i *rr I *tr?: i ?r*pr! w szm'r^ 1 -m I m* I ff^i \ f|^ I fsfnf: I! v< Satana : t *nr°T *nfhr: vrn*'- ftpiwfiw^ w%r?r> #|<w* fi^rsrTOir? qrwfa? wr?*m w#sf t f% g^r?.Tsn^if|:. srqt \ qtfNt'rsfsgrfSfPt - . ?fff *ra *tftt ^rfetra. i .^srif's rr5if^fr: i "-ffrt^r PrgT^rwffeiTRPro• i anarf??? r*Vsr 5 5nt°rw i arrPTw#- ftr frjtrrt: i fi Vfffffc >rcri%i ^wffar.?*r<rar: gfawr fpr irf7g?r , i1'^iPT^r!T srr^Hr^ft nr .^fareri I crsr^gwf |||g Pr- r*^4%fr 3?ft *l* i f^affatfiar ?sr $1 ?n?J[mcr*ft mm mm *1 <§§# >rr wr % 1 mi gfttr- *rer*it ft* *fr^r: ff? jf’rj wr# wt** 3*iTC*r*T> u ^No. 9 . MandaU it Sukta 38 . SayaiU J stj ar f^^rf3[rl m spft *rr*^M %f*r t ^ ^rr'i^ ?rt%^r ? sf $$rrf5r ^rftprnTT?r i <f$rn% N&sSfr% I^^pSi sap^nrrlr r*t w*$*i *rswi ***$* tf8 il This hymn is t^tislafced by Both in the Siebeui% Lieder with the following note, my, ,;\ I translate. <f An evening hymn to Savitar. This god has the doubte function of ushering in both the day and the night ( Rigyeda v, 82, 8 ) and betrays in that an essential relationship with the Greek, Hermes, He is invoked to keep bad dreams off* The present hymn has reference to that side of bis activity only in virtue of which Savitar, coming at evening time, leads iri the night; in the morning and in the evening he is the impeller or inciter, who sometimes calls men to their work, sometimes, as here, to test. Verse 1. When he stretches out his arm in command over the world, all obey, even the water and the wind share the stillness of the approach* in g night. Verse 2. The traveller halts, the bird of prey rests. Verse 3. Matt’s work comes to a sudden stop, when the god divides the day from the night. Versed. Now the evening fires are seen to blaze everywhere, the son of the house returning from labour receives his] eveningi meal. Verse o. Everything seeks its home. Verse6. Even the restless fish, and the birds do that; and the cattle make for their stalls. Verse 8. No other power, of gods or of demons, can disturb this ordained order of day and night. Verse 9. The closing verses are a prayer for the good things which Savitar can bring to his worship- 56 NOTEB. pers from all quarters. Verses 7 and 8 are variations of the same thought and cannot originally have stood together.