English
Verse 7 is the simpler and Verse 3 the more ornate expression. Nevertheless it seems probable that it is this latter verse which really belongs to the hymn, because it contains a reference to the evening, whereas verse 8 speaks only in general of the way in which Savitar allots to the beasts their several homes. Verse 10 appears to be an interpolation. ” Versa 1* Padapatha i Ifsr:) fffcrr | 5^ I jt 1 crrfs^tn’t i 1 f5^ I §tr* I nr 1 I urr?t' i I spr I srr I i I II ^ Satana: &'■ Wr ?tfsr<Tr mw wfaiRr srawf 5rfWr^3f^T|f%grf% 1 sftssr: *rf%?rr I cf^Tr: ?r?sr^ i m-. vrir fiflr *nrni 1 sfifrarr snrar* 1 r%=er gt sfcnft W*- ft Ff sri# nap^ftr t ?rnr i am 3?ftr ~a sftfafiir jiwt mmr 3TRprr?r ^Frg i mtPR- Notksj L Savita aavaya. One of many plays on the meaning of the name of the god. Compare Muir, Sanskrit Texts, 5, 165. “ The word Savitri is defined by Yaska ( Nirukta 10, 31 ) as meaning, i sarvasya prasa- vita,’ but he does not explain in what sense ‘prasavitiV is to be taken,. The root W or ‘ su/ from which it is derived, has three principal significations, ( 1 ) to generate or bring forth ; (2) to pour forth a libation ; and (3) to send or impel. When treating of derivatives of this root as applied to Savitri, Sayan a sometimes gives them the sense of sending or impelling, and sometimes of permitting or ^authorizing (‘anujha* ). la a few places he explains the root as meaning to beget,, ( Thus on i, 113, 1, he renders "prasuta’ by ‘utpanna,’ and 4 savah 9 by ‘utp&ttih.’) The word 4 prasavitri/ as well as various other deri* NOTES* 157 vativetfof the root 'su/ are introduced in numerous pa 8 sagf 3 S of the Rigveda relating to the' god Savitri, with evident reference to the derivation of that name from the aamo root, and with a constant play upon the words, such as is unexampled in the case of any other deity / 9 2 r Sasvattam&m. If fi ud asthat’ refers, as Sayana rightly explains it, to a particular morning ‘sasvattamdm * cannot mean * pratidinam Roth takes it to mean * once again , ( again, after countless previous times )and compares its use at iii. 1. 23; 35, 6 ; 62, 2 iv, 87, x, 70,3. 3. Tadapah. Occurs only here and in si, 13, 3 ; viii, 47, 165, 47, 2 ( where, according to Roth, it is an adverb meaning * in accustomed wise ’ ). 3. Vfihnih. Non© of the European interpreters ( except Muir ) accept Sayana’s suggestion as to the meaning of this word t here. But they differ sadly among themselves, Roth thinks the passage is one of several in which ‘ vahni ’ means 4 he who is on a journey 5 ( on horseback or in a chariot), and is applied accordingly to various gods* “ Visain v£hnir na vispiltihi ” ix, 108, 10 ; i, 3, 9; u vahnibbir devair agne sammbhih ” i, 44,13 • Marat i, 6 , 5; x, 138, 1; Agni viii, 8 , 12; Indr9nl21, 2; Savitar, &c. i, 160, 3; ad rddasx jydtisha vahnir atanot ii, 1774; 38, 1; the flowing soma ix, 9, 6 ; 20, 6 ; 36, 2; 65, 28, 89, 1 . " Miiller ( see his full note on the word, Yedic Hymns, 1, 37 ) translates 4 The divine Savitar, the luminous, arose/ Ludwig translates ‘ the priest/ Grassmarxn follows Roth* 4 . Dev^bkyah, Ludwig takes this as an ablative *from the gods/ 5. Vltikotram/ ^Vitihotra, 1. adj. a * he who invites the gods to enjoyment or a meal ‘ltd maiisate vitihotrah sudevah > i, 84, 18 5 ii, 38, 1; viii 31, 9; Agni iii, 24, 2, v, 26, 3.,* '* Roth. Verse 2. Padafatha: I ! IN* I fdfc I * I vrfvr I p^d- f^r: I I 3Ti4; I i%?r N I I sr?M srr! S gqw I r%tr I §tf| 1 jgf I qfts^ll r < NOTES. 158 Sayana: *fr?nn‘ *r?nnf ■srn?r: ^4 ?pt srr^frtrg; >r%?rf$ 5mrc*n?f i strFV^ arnrsfl am sr§ ; jnr% >=rfcr i 5rt ^tmRr asfmg TKr?r i air ww^fffr %5f= i ssrnjppnrr Ppm sffWftnff ^pfcn'W^fasrtf; t 3r^r f%tra= smPr Trpfr *T?r prT ii Notes; 1 . Srushtaye. Literally perhaps ‘to the hearing’; that is 4 and all obey * ( ltoth ) or 1 that all may mark * ( Ludwig ). 2. Nimrigrah. Occurs only here. The meaning is probably quite irrecoverable, unless indeed we simply accept Sayana’s explanation. Both, who believes that the poet is describing the evening, suggests that it means ‘ stoop, are obedient to his command.* Ludwig, who takes the poet to be describing mid-day* thinks it possible that the drying Up power of the sun at noon Is glanced at in the word, and would make it mean * disappear.* It seems better to say that we do not know what it means. If Sayana is right the epithet must remind the English reader of 'Keaf^inef u The moving waters at their priest-like^msk Of pure ablution round Earth’s human shores.’* Verse 3* Padapatha: 3TT3T4k: ! *rpf I r% l *nufrT 1 15 ^ I atflf- i wrm; I l #b I ar^f"rr*r I r ^t > farl i 1 1 I i ! 3jnrrT II \ Sayana: nm HRftr WTTfrfa-j tfranTmMrfa j-ftirf ^3^0% fag’Mf i ^fwr% ^°r: i fsr?*n?r aTCwnf 1 i f%=5r srsri'Tn i srfnffar arnn^nt^sm •• t ?nm<nrr- *rr awn foanerfft i trng; barest ffor ^rer ^ NOTES. 159 w%'-1 HT^Ffr Tfrr-TRg i sirt^ sTrT^?jrf% i T<?rr Trf^rr0raif% *rmj! Notes : #> _/ * 1, Asubhte cbit, See. ** Though going with swift horses he now unyokes them : while his chariot is still rolling on he checks its course/’ A description of sunset. 2, Ahydrshuiia-tn* This word occurs only here. The meaning is quite uncertain. In the St. Petersburg Dictionary Both derives ft, as Sayana does, from ‘ahi* a serpent and ‘arshati* he goes, but takes it to mean /shooting forward like serpents/ Ludwig accepts this, and refers the word to the horses of the sun, < he checks the zeal even of the serpent-swift horses/ This makes the clause a complement of the preceding one. In the Siebenzig Lieder Roth puts forward another explanation which does not seem so plausible. He takes ‘ahyarshi/ to mean Hhe (bird) that attacks snakes/ and Says that it is put generally here for all birds of prey. According to this the clause would mean, * He brings to an end the quick flight ef birds of prey.’ This seems to break the thought. The sun (1) tanspans/ (2) thus brings his chariot to an abrupt stop, and (8) brings his swift horses to a halt. Theh (4) comes Night, at his bidding, 3, IVldId. r fbis name for Night occurs only here. > Verse 4. Padapatha : TfRTrT i *rrr I I f^cjrUFl tpHft I J%'| I fw I I urb ! || 1 fr^w I WFA ! & 1 I 1 gffrrr i |y: i r l sppiji v ■jf*. , ‘ . ■ V" . Sax ana : • .. • ****9 WHr *r*r*?rar t'jsr- ^ i sfifr.- wra? aiftjfc fltw- 'TT'T I fT?fr: 5BV?tt n*Rl I SfT^W Sf>£ TT’ 60 NOTES. %rm mnnnr&r&pj: i i ^rf^TTrrfm %<*• I Wr<K: mm srssr f%?P* s*wra: snriVe zri %?i jprf%Sf% i £fr mr- f^t: r&r i *wt =r =g^ i mv: snmt mm mmmm im ?m i srfwr wt*?< srai%rr *$■■ rt*rf?t: wrfWfr stmnt a*rresrft > 3%<fif?r mn, i sr^l ^frwftUrew s*r?$: f*rm*n% w Notes: 1 , The meaning of this verse is a subject of what seems hopeless controversy* The student has Sayana’s interpretation before him. According to it ‘vayantl’ is the Night, while ‘didrah’ is the cunning craftsman, that is to say, some, or all human workers. Roth and Ludwig diverge from this, but along different paths. Roth accepts Sayana's explanation of ‘dhlrah and proposes to explain ‘vdyamT in a similar way. He takes that word to mean ‘ the spinning woman/ standing for the class of women in general busy at women’s work. Ludwig accepts Sayana’s explanation of ‘ v&yanti/ and proposes to explain ‘dhirah 1 in a similar way, referring it to the god Savitar. Verse 5. Padafatha: w I #*ffr%l I I i fa I filt 1 srswr: I I I Jrprr I f S 3?r I mK i I 1 * fr|t^l II f Sayan A: 5PT?T: STlrff-SW: T% *T*r*rWRT VJ- 3Tf*rr%sr?r i *Hfavr ^rPiftterW i srrg= ^j#sTrfig qrr^ 1 *rr?rr 3rr- ?rr%w r arr^rfqra' wrc^nnr- =srg jrwrfftfirar^ *rr*r arr^ anwr% 11 Notes : Visvam ayuh. Roth takes * ayubd here in the sense of Mife ’ ‘ living things, the world/ He compares vii, 90, 6, where the same expression occurs. Sayana’s note there is “ Visvam vyaptam ayur aimarrj jlvanara va. if this is right the phrase is in apposition to ‘ nanaukansi/ NOTES. 161 2. Jycshtham mata sunave bh$gam adhat. Roth believes that this means ‘the mother (any mother) gives the best portion to her son/ referring it to the evening meal which the housewife gets ready for the son returning from Ayork. It seems better to hold with Sayana that the meaning is mythological. But the verse is not intelligible to me, Sayana must, I think, be wrong in referring it to I the morning. The poet is in the middle of a description of the evening. Verse 6. FADAPATHA : S3TIW3# | ft2^TrT: | }%#*: iMfcfovf Sfrnb i I Iftrr l aapjcr. I I I j%^crrr | ||- e#l 3TT I 3TJTT^ I I fcTFT ! I tsqfctr \\\ Sayana : I¥br: f^rif srroirr: i r¥wr *rf<r'r ’Ttfrr wrrcrc. i wr 19Rr ?*r Trsrrer i ijt I pfRt TRWfaff ft ST^fT# wffrnr^Rr i tnnsrlf |s7r flff 77?7^rlrg' 7^7 %n arew- aiPa^ TRrfsrrarrr 11 Note : l Sasvan. r Every man of whatever condition.’ Compare “jinSya sasvate” in i, 36, 19, where Sayana’s note is “ bahuvidhaya janaya.” Verse?. Padapatha t ^ I rf^rvi I wor I spf I ^ l m I WJTWi | 1% I 8^1 | SRfR 1 I J fR | grrR i f?rr i |^t I fffg: I f? 5 F? 11 ^ Sayana - - t ^RR?RW3Tq(J STRfM ! 3TTT: #I#f3RHftrRRS 7RRJ *rr f?7Rr?fr5T^ st7t H*rr*R 7f*f 7-7rg sm g*r* gnrrr arr ^pRrff^J: 3Tf£rriigrf*?f i ?%r 7*rrPr prr fo^-- 21 2 NOTES* nrnr "frr^ srprg: infft ?Trfr asrrfa j&tffoffat %srr *t ft^arrN u NOTES: 1; Tvaya hitam, <&c. The construction is not clear, Ludwig takes ‘anu 1 with both ‘bhagam’ and ‘dhanva/ but in two different senses. ‘In accordance with (j&nu) the lot assigned to them in water* the beasts wonder over (anu) the wilderness/ u e ., they go only where they can get water. This seems to raeto be an impossible construction.