English
Jajana, Ludwig follows Say ana in taking this as a first person singular* Roth construes it with ‘dhijshAna. ’ ‘After the beaker ( the soma draught ) has entered into me, and excites me, I will praise, &c/ 2. Grassmann takes ‘ nav^va ’ with the preceding words, ‘that he may deliver us as on a ship.’ Sayana’s construction, which Ludwig follows, seems better. Verse 15, Padafatha : 3TpWr: I ?53F' 1 I ^rfr I tTfi'hfw I sRftfK i f§rfa% | ft^-% i §> ftcr I r]frm ! | I w*r I I srfk S enrfer* | psbrll Vt Sayana t Hpmfm^r me % srofttfr^jr arrgmf m4r% stf^amaimr i ^finefmn arpr^if 3T^ mmcr; ??rfr% cm H | ?- 3 ' am ir 4 I ffr?r *mr?r- ff# r*nsj €rTOrtar: jusr^: rem4 am 'tptp-N I rar%% # *fH mrfW- v^k I mm £?f*er: i mf'ra i ■r-'-rr ft •mm'jmr- ^arfrsnw ffr mrnTrfrrsmm 'rr^rmfm meg; I fknn wr|?r*tr> sr> Hrnr cmrcm mimr f4 wm mm ?rnf srrffimmm mmrmfmm i m*mmr?sm i mr* 0 ?: 11 mrmmg. ; t o Rfr- fc?m?m mmrr mar i ccp^rfHfar m?m mmrw I Trm^c^-rrc ^far I W i ftmmmrcrcjfrmH %qf?m mfrermim Pirmrnmmpf rmrmm i mm mc°r extern fmm4 i <rr mrm jni ^wNnw i ftmrftr*rftcr: l Mirsrs^rm: i arrnm I ff mmm $$ MMtsr/ff. m wf* m. 1 ts* 3-wtfW ivm m- €’■ 1 *$$ W <P5TI^ U Notes’; lv ’ Svfeu A joyous exclamation. It is not to be translated ns Say ana does. % Sisiehe. Apparently a first person singular. It is possible, however, that, * sekteva sisiche* refers to Indra. Vers© 16, PadaPathas *r I -<?( 1 pli S .5fs01 Rr-W: S I ar^|| i # 1 *F?T: | jr^cT | ff^r I gf&SMTt | ffqTcT: I ^ I f% i 3TT 1 |m|TT | r%cf s | 3?^; I JT*^ l^l H H Saya!NA; t soft's: nwfft= fa?#: m r i ?rer: Tf-c h ttsjt 7 *rc#fr i r%§ *7PTfSs*r 'Tcf^ar i wwf? rif fwTH^JT sr*>ft o r ^rf^p-^T- ^nsrfSriftftpTrr: I*? fft* srmiT^fifT 7777 ? 7r*W7reRft: i *wft: i ^rTr jfra?rR r -?r4f^ =r i sfOTfft**; 7?*^: I twrcFT httit srravnrear 3r*rr farmer i !%m': i i f^rwjr srttt i ftjrerrr o r ftsrarc’T f5frre^ vt^rtr: i i i s?r-. i ®re%-- sretft Pt i ^?ftbrrj^r7r%£7r flrar w I fSwrroPtgrft?r i Hfr ^TgrTSI'W I 7ft I I ?r??T: I ’ i I f 33 3rcft i ^frrfTT^ wfl 1 i fpfai i srrsp sir ?**i**f w'n i *T*Jtw l nmftraftftt m i ra>rrer ^r^-fTTf^n Verse 17. PADAPATHA: gT^rir I sr^ir S 1 S Hf I •va 'N ■ . ■ si) ~. — — N 24 Ml UlST/fy HOTES* ^scr'frw 1 i sto^fctu i i I §r*r- I fF^ I I | ^hrr^nxss Sayan A* t ??sr xrsranfr f xrsnsmsrex ?rrfawKr xfax xrjrarrx; i xn^xt i faxfa srcjfMtafhT xr^rc ?i% *rc: wx xftxxtf*ri*r stx ^xxw-rrtx srfsSX jw i*jwr*r i jgcr^ tom xx- x-xxx qt?x mfWxMXOTx xxx six* w*ra)r.sfiSflrt$x *mrc xxr ftx i jrRrxrr x*i xsrroxriw i xxr srorsxrxxxrph nsRxxrxr xgft ^Rrgx ^rr fxrrx f^wfrrf^ xrrfr^r wrfa sr?cf rx^rsrf xxrxr xrfrorrcxr tffara xr*x*1art x?r- wjr%T°rr* xxxr$%*r i fx* i spfrfaj nfaf#rr??xx*r fajjrxr xx* faxfax^xsrfaxx: i xwfaTO?xxxrrc°rx I sNrxrxjfOT=w: i *stxxxxxi i glx ig*Ri%* •s'-toTtx xxrtx $$ sm roflp t*xx I rxxTX: i xf i xx°f t x: i ixrrxxMrfxm: i xrsrarxlf I tx xr*h xrx rxrxj 3 iTO^xrr?xr 5 xri%xi?xr?x 51 snsft$ ! x?g 1 Sff Wl ! X<p'rx ftjfX. > &XTOtfaX Iff XrXfwjtfX XXX: j*UXr 1 frfriwfwc: I sfxx i fx &xrxfxrR?xxx xxR' nx?x?xrftxTx*f* pfrx: if fslftfir x*xw i sfarxx i far srl I fsx si 'V A No, 12. Mawdala III. Sayakas Sukta 33. xxxxrxrr'xrx xxfaxHf x§f xrfrx ! *?xWx5rxfrxff v srx-fxrxr x- trxr xxfar xfrftft^ifaxxxtf%x?xfaflx xfrxrxx ’X ff ffagw'h w*^ I i sr* x^^xelNxrtNr x#?r- x**xr?ro qx Xtrx-. | farsrxr fa^P^raiwixiW rx i sr^xrj^rf fanrrfegx: i fnfr xrxr i xxrfa xa*xr xr fwiTw xsr: c?g^% xxrfx ?xr qx xxxr Wrintfaxnfr• &J^jpir: i str farw fa>xrfx<=r: few SXtefr xim: spjx i x x #tfhxx xxxx: x# xxxrqrx faxr?,- srgari-: xxqxrwx^xsrxH i ^^ftmpwfawf.sxrvrxr# & xft fxrxicxrxxrxrrrxr^'x^r'xxxm H This hymn is translated in the Siebenzig Lieder. Verse L Padapatha: sf | qrfcrprm 1flcft ?fcr I s'TSFrrsr i ^ f%~ s£r | fair | f refcrff ?fa I *rr~ sr'r i 3j* ?fa I nmr I f?#r ?fa I fastfar | sp^t 8 iif I it? ?fa l i X Sayana? irlmr farfar tr^wSTOUf?TOrfa*fa®i TOfa ?rg5FT*fa sftnprfa i *m% 5^ f?r to% %*tr farfa H-$?rfa fagfa smfa sr^r eofafa l m r s^*faprfa pr *rs% f?r R<*rr r*®wsft 'nwr i ?r?jr *rm ?jr i ^’Jr $ *rr?ft tffa'trfa *fa?r ?rar*ef * fawfa i %<* jith^ i m\ nrafr s M^rroroffaft: i jrof fsrfrsr #5? T5f 5Rf}psg'sft TOW Hfifr I fatJtf. awfwa-'TR; fa'inrorfr fa^rronTr rtr i wgsft i *j r^nt $ swraifa 5frlr r*erfafa ggsft1 <rrowfa =r?fr totto *w£ srfa tffa mm-. [^ arsr fa*w*r , r^RT3'TWT|7WFrr|M^r ^rronfa wt fag% ?fav ?rr f^ro^ ^ *r ?raw% ?rafa: mfar r5*rfa ?rr nrcrfar t% tfRir rmd w^f^r fa'Trjfgifa tow irsfait ffa i to# i to SvEsI1 WSfS^^TOrTOXroiftw i fafro i fa 3 ? tor sifafa fast i ‘aftarar TfcrM%-at: %tfWraw%s*rtTOfaW TR? I ’rfatTOT? ffa ’fa: srt?fa?TO I fTWTfa ' *mfa‘ ?TOr~ iihr&taft*r i vfat ' iw'wifawa^wft ffa ft-- ?fa I faf sarecrfa v RffaroswRCr i WTO; i wk i ton:to fa^r^w: i faRTOTO trs i ffaRi^fa^rw i fafac * to *rfa to WTOR^TOifFfW ‘4? fa^Jr i srafftro arvifaw w5rr I 3fa% I m TO> l >Tfarf^:l fa^fTfTOfaTOS I wffat fgw rtffafawfaww 11 Notes i JL Vishite. Sayana rightly rejects the alternative meaning which Yaska puts forward fox* this word. It means ‘ let loose. 2, Haaamane, Say ana follows Yaska, the first of whose alternative explanations of this rare word appears to be tie light one. Compare especially iii, 53, 23, “ navajinam vajina hasayanti, ,r where the causal seems to be used in the sense of * putting in rivalry with/ Sayana, “ na hasayanti hSsyaspadam na kurvanti tena saha na spardhanta ityarthah.” There is* of course, a con¬ nection between the senses of * vying with each other ; and ‘laughing at each other/ 3. Gaveva subhr6 mat dr a. It is better to take these woreta to¬ gether, as Yaska does, than to- break them up into two singles* as Sayana prefers*. Verse 2. Padapat ha: wfNf 5 frq% I f^ I rH^fci% % f%1 we®- 5 fp-ir N l f-^hfsr \ 1 *nrrc!% ?f?r #~ *?rsr®r | fww: | rN-frff frlr I w-m I 8 ! 3?fqr I fr% I f% fn H Sayana; t fs^or rr^rjrwffrr ^rgsr^ecrKp^ mm nsy: 1 ?ePR:'u 3 %/trmr tfk 4 r 3 ?? arr^wfrt#; c trttTFrtsr ^fr-* 7 Frr^r is^r ?Tg?r jrs'it ?r% •TFfj: t wr four 3 ?;^RTORfra c ^ra 1 qgf$r f r^* 1 fr *raif?r?rejr str^Pr ?F?TfFTr fm*rs 1 3 ff?*rr %r*? ri ftf?f 1 sro^rej i r shr fE^rarr'j f m*rrr? 6 re-1 Phwt 1 w&f *rssrrarr*r 1 arr^'r# i srR’Cr awVfg- ^m'Tr^rrrr^ 9Tjjm; l a#* 1 w^Llw^wnlf nrrar%% m~ 1 mF#rff : i ^ ftwwil** i mm 1 ^5 1 ^mm 5 * j m rarf%wrw fsrs: 1 ^ sirpnrr- ’$$t : 1 ?pr: t F^^ft 1 hr %=3r% 1 w*rrff= Kgr^npr" srrcmisrast 11 KOTJNS* 189 Verse 3. Padafatha: 37 ^ ! I ^rfScrrrr^ I I fWr^r*r I I wwrK 1 5 ? ? *r s & I *r?r?r | #rt?r% i$r ? 5 f|frSt | | %%W I i sNfcfr il \ Say an At f *?rcrt URf PrwniM smrfsw^ i *nj<fr g^nf ekr^mr F? Hit mw- T ** JTIHT: ?H; I f% Hf## > HI# HI# * ^ H?*tFhH ^FlfPi ! ST- ^KfcRiHuf Wfci Fr#r ®mr HWH!j#®ircHf3 hthth- %^r afffS wni egjng 3*FH?’j-ar ’sres# i gHPmramre I^orp^zf: I arW^l ISI^JI m^f- st# Hi?? ^hiFtw \ HHtnsH hhjp;: i fanra: i i ^iNnfi 1 (pf^rw^FarmiHRiaH^RrH: 1 ^#r#r3Hri: 5 #>rr3~ ?rsf5% # WHC: >l" Verse 4. Padapatha: ^ i I I M^o i I frrak I t^-f fff l l *r I ^Tt I I sfer^j l f^s^j s f%sr*. i *reb I #?frr% II * Sayan a? nf ?gt H# f^rppf fpir HHFTI fipPHHTHIi^’M hws* nft? #f% f*tpt egsH3^fr'fi?av ^rf#r®ssafr f- 1 #T*?pr , H*f j3tpJh 1 erwfHFHPi? ##: # *ihh HrH: spsth srmnr h #t fspr&rrar h i f%> Ffrfa^S/?# ftsfr srr§r°fir H*rfr *rFk^HTH.^t#r?f arews^ t tr^r i H^airair thiw .- 1 sgqrf ggrSrffr ffftarar amar^r: i f^#> , frTjpj:i Rr?f*rnT: l ftfr %^r% i t^fraR i <scffar *4°ffr% #r*srf;firw: : i i fg * jpnf 51^5!!?^: I I Wfrai:: I <f& =f!% gjfqfJTfiffajt: I f% : t i vffir irrs'fli^ianrm^r sn^fw^nr* Jrf^^n n *r^?ffrg aF*n| ^r®grJ : f#?w5r^ : i uorow1 srer i s?r^€r i frf I flfYfr %frT 2°r i w ^fifww 13 °r: l ihmtv- Note* Sargataktah. This word occurs again in verse 11 of this hymn (prasav&h sdrgataktah ) and nowhere else* 1 Sargapra- takta 9 occurs in i, 65, 6, “ dtyo najman sdrgaprataktah sindhur nd kshodah ka lmvarate,” Say arm, “ sargena visarjanena praga- mitahi/ Roth takes ‘ sargatakta* to mean ‘ shooting forward * ( like an arrow ). Verse 5, PaDAFATHA: I *r | sr% i *rprr*r 1 I s<r' I | |f: m \ 13Tw i p<fr l yfhT I I 3# i fr%^ I ff: !l k Sayana: f**rft*rr srfir^ i I nrngyir* 1 wNf $ ! **fr f4 *T f^fSrare* *w wr*?rra s^arrt ^fr*r ?rfs}%|: i aatar i tftawMt i 37 ^ 1 ? i (rfhr*frsu5TOiT i *rthjTfrsrr® st^wt*&5ts 'jfi'TfHr wgsff $% i #5rarw *ra$ : g$- fHrFrea? fftft *r?*ajr *f#Tr *FfrTO ?frarr .ggeff srrf n^^rr^rf*T * s?f i 3WM *t !r^% glp^ps Tnifa^iT^TW si?ffi *r*rfa i sni^rspmf^ f?s*r *T#5*tr $<wr rg?str *f*<rar trsrr ^ ym i wt i i ^nw- i i 7t7®*p*r*7$f ??sf€rwf?r , Tff^r ^f%g; 1 sri r%ftr g\t wwr- *Nr: i 7i sFTtfffo 777tft<i: i 3Tmf%77?7 qmPfwrR'irfeTiTrgTra^? i q-|: i f'T Tfa> i fRft^tr 77 1 3iniMrg77sr°rr 2°r1 r%3* ! i *J=?r7f ! 7777 TTfamr; g^774^tt: I 77?S- - I T#r 17 37717: 777.17: 77 fT7 77rrTr^7 777fIT7r f77fT7t7r77 77m7 7# 771% I T7!7J s 7?ft*$sr*77: t TTf I £7%#lF f%=7 3?n777%7*"777" 771T7?73#Srs I sn: I P77T7: II Note; Vdchase sotnyaya, The force of the adjective here is doubt¬ ful. Sayana follows the old explanation of Yaska, according to which it conveys a promise to the rivers that, if they do Vigvamitra’a will, they will get soma. Shankar Pandit translates ‘my prayer, accompanied by Soma.’ Both cites this as one of four passages in which the adjective ‘ somya > means 4 loving soma, inspired bv soma/ The others are iii, 5.1, 11 (an epithet of Indraft Sayana, “ somyam somarham ” ) iv, 25, 2 (the same, with the same explanation ) and viii, 82, 8. Versa 6. Padapatha j ^sr: l ^rr^l 3 t^ti sr^Rif: i ^ \ agg^ | fpr i 'rrfsfaw | ffRrn; I ^ I 3?wr i ^t%?rr I ^iri%: I ^ | f^l | 3PJ: { T# || ^ Sayaka: 77T: 7 ^ 75 : l | PP7tf%sr 73T71f: 7^7^ 71^7717^*351717: TT^TT 7(77rr%'7f 7^*717777 I 1?