English
^TR^r 'jBTsqr’-sr 7* rr^’Hr 1 77 *rfrg>Tral 77 1 <Trrs mrr *er *<fcpT: srg- nfcrer ir*rar irii^r 11 Verse 4. Padapatha: I mK I l f|r% I ter l I l l 1 1 mi ! I |WW I JJTfTI te I "T^Hr I ? C W: I frtsJFcT: 1 fet IS Y 29 ’ Notes : SA.YANA 5 % fswwrr *rr f%ft f^rar I sn^wTr i W s^TwVr 1t^sit 1 art a*i ITT# ifNNwRfa* ^r^5ft®r*trgvrg ! !i(r^w ,:, rrB^5CT?a^ 1 aiarre^rer^geart isy g*Nt°r fHur r flft #mro: 1 f qsffjT^r^r fiRR^p-m ictS Sftihr ngiRrfr c?fr fp* f*fc% I ***S 8 T *rr *r'3T% h Verso 5. Padapatha : Hk I f m% 1 1 fHr i l s£r: 1 w i fafrff 0 ? i lirs^f I Tsflftr I ?% 3 T 1 1 % I 5 ff|r i 1 few: I p$m I qrafcrr ! w: I jf^li \ Sayana: SPraiwrr gpr%C 3 Wi *re?r: ar?emrif i^g ^>mwirrrtf m *St arWrarorSfi 1 ; arr *r gr $r s ?r w ^nf r>i |r?rr% ?r$ar 1 'ff'rrtg ^rg?^rarraT>rg f¥*%gftr*rr ^Risrrpr r*rrra- rt^r, n- sarromr^ *rs* 4 ft ■JjtfSar ftfci i ?rwr%: g%?fr ? srwsrr gtSforerirerr ar?%sT m*05p rar* 3 ?R n Verse 0. Pad a path a : fAp I % I fair??fr l ?rr4rfr^ I dhfe i i%- ^pt I ??r% I I w I fee -1 ??#: I f | irW I wr*r I ?§??n l 3 t?otr: \ II % Sayana: ? f*RTO“fV ^^irgwg; qrsfcafr *R: g g§- imwTOarcfNsrmrSrarr f^'^r ^r^nfr^t frfsr*r<fr m~i *t^stspe? srsfarfir pnKfait R?ra'srwr wrpr >rr 5 gjy war W5BT?arf*?r *rr 5 Rrr awirar 1 garr I 7 :£?£r *rar%^ artflr^'TPT$W>rf wrar awn i?srPren%*fif w ‘ *<farenui NOTES. 227 Terse 7. Padapatha: $fair i r*Tffffarr i ff5*.sf%rrr l ^rr i ?ft% f $ I I I i i i fw l fr^r^Ti I ^k I arr I %jpgf I f|ft i i **kjl V5 Sayana. : ! mfvprr in*rr wfr w°rr ?k- vtr sfwr zrjrrf^wr 'mroy.-1 H^rRf PttRrf: ItsHstot *mwr wtr ^ ?r gjnrrafa- ’CRWs i^^mtr t*sr*f: ^ n i f^5rj?4 t*f rfR *raj% qr^’-ff wnjRfrenfaiil No. 17. Mandala Y, St’KTA 73, Sayana : 'rirsjprpfi' Typy i rr^r super w fr% W*f §TffHRsrpr #rprrT i srgwptf **r st?*t srrnsR *W35*f r^ra i <Tf??g^T^riHr?fR f£ g^frr^rff^rf^ i faflr gsrsfrrf- fg^r y f I JrraTfTT% m'm swptjs’F 'fwr^r | i m*r w *i% 3=*r?R*fa?pj I! Verse, 1.. •Padapatha i f*£ | g-?r | w I TTr|(i|: I | akrsgrk I ^kprr I qrr r srr 1 p- i ps^r! ^ I apar$% I a*r I mw Ii \ 8 note 3 , Sayama : % st 5S *itnS ifnwrtr^^r tfsrarcr *rr I w^rr ^rerf* arcr sr- q-<r^rt stop# *pi% w to: i ff?r toN% swrfrr% tt-h sfr* sltr-spror **r; i m wmt ^5ir?tg w i ^ *if% srotfial m-. i frerrRTfCTrf?Tr*mHr*i=6^?jui Note * Puru # Both takes this to be a mere strengthening of th© ‘puru’ in the compound that follows * purubhuja/ For this use he cites ** puru puruhutah ” in viii, 2, 32, and 16, 7. Sajana, in the first of these passages, “ puru punishu supam suing iti vibhakter luk bahushu pradeseshu piiruhuteib*’^ In the second, “ puru bahulam puruhiito bahubhir ahutaa cha.” If we accept this, we must give ‘ pttrnbhuja’ some meaning connected with place, such as ‘ ruling in many places/ For it is clear from the context that the third supposition which the poet makes is that the Asvins are neither near nor far, but both, that they are present in more places than one. The word * purubhuj 9 occurs only in the Yocative dual, and is taken by Roth to mean 4 having much goods, possessing many things. 9 Verse 2. Padapatha ?f I ?ur I 5f 5 *i^rr I I |nff% I f^r | ?j- i mn 1i'^hr i *f%4! ^ Sayaha * ffif&w# fatr fit §|%r *rtr*iprRr *frafSra?rft 3^ g?f'T ffrwPT ftw-ir wfRRrft srraj; sroU^nr- *rrfa 1 gfaeiti 3% *f?*rr* imre n r 13 arrfftffa n; N ote * Varasya* Roth takes this to be the instrumental of a word i varasya’ meaning ‘request, longing/ which occurs in vi, 49, 11, and nowhere else, u grinatd Yarasyarn.’’ Sayana, “ he marutalji stuvatah yarasyara varaniyam stutim prati a ganta agachchhafcam. 97 ‘Verse 8* PiAPATHA : far i i I # i 5^*1 I I I q-j11 l ^ff^rr 1 f*Tr I I I il ^ Sayana It t ff^ f rr wti ww i I *f<J" *fHr% rg&pr? sfsforw n*fc *rc?j: f^^H^erT j: i sr^ ^<7 *t?#t *wr*r*$*r frrgrr wrr i h$- s*uv~*rarr gir gnr'rwfeTrfH. fTwre, ^T?wr*?mr;T sT^rwrfwsRrr ?*rr/% f*re>rar iWNi Tr^srer: i ssftWR* *£tnr ^ ww Q*PWJWr&l |l Note : 1. frma. This obscure word occurs in five places, iv, 27,2, “ irma purarpdhir ajahad aratih/’ Sayana, “Irma s&rvasya prerakaV' v, 62, 2, “ tat su vam mitravaruna mahifcyam Irma tasthdsh'ir ahabhir duduhre. v Sayana, (t irm§ safcataganta sarvasya prerako va adi- fcyah. ,, viii, 22, 4, ‘‘yuvd rdthasya p&ri chakrdm lyata Irmanydd vam ishanyati.’* Sayana, 4t he asvinau yuvoh yuvayoh rathasya ekam chakram parito dyam gachchhati anyad avastkitarn. rathasya chakram Irma xrmau sarvasy antary amitay a prerakau yadva udakasya prerayitarau vam yuvam ishaiiyati gachchhati. ” x-, 44, 6, ‘ 4 prithak prayan prathaina devdhiitayd ’krinvata sravasyani dushtarS nd ye sekdr yajfiiyatn navam ariiham irmaiva td ny avisanfca kdpayah.” Sayana “ Irmaiva rinenaiva nyavisanta nlchair avis&nta adhogatim prapta ityarthab.” The explanation of 4 Irma * in this last passage is from the Nirukta. In all these passages Roth takes the word to be an adTerb meaning ‘ here, on the spot.’ NOTE'S. Verse 4 Pabapatha : 1 £ fflr I $ I ^t*t ! I I fNf i ^ I fr^ 1i I ^rprl ! gnft I ^m^rr I ?FT | l I 3TI | |Vf II v SAYANA : t Rpgr s*n> wr%°r si 3^*3 s# sr**^ *rj 1 ar fRr <jyn 1 iprr fm 1 wr jr*rtf ftf *r<rrft3 >T*rg 1 mr ■prifa wrsV smwOT'ft am sr^vr *rr *m*{: ittot: 1 gr?l5R Jt?(ieBrafiR*f: 11 Notes: 1, Ena, Sayana refers tlairs to Paura, the legend with regard to whom is referred to m the hymn which follows this ( v. 74 )„ It is impossible to say whether this is right or not, Ludwig suggests that 4 ena * refers to the wheel of the first part of the previous verse, Grassmann takes it as an adverb mean¬ ing 4 here.* 2 , Stive, 4 Is praised. ’ A 3 ftl sing, passive, Compare 4 rinv<$ * in verse 7. 3, Eandhurn. * friendship, alliance/ Verse 5. Padapatha; 3TT I ^ I I I I* fask I I *r<u I I gpt I wrr*- I spit 1 |°tf l fpjjr I 3Tf s?rqf: || ^ Sayana 13T^# *ir fwr: w ^srr W : ^r sMf: ^ 33 5fi 'rfw^t qfaft I'mer i % i mnr NOTES 231 3rrrfw*rr #rr w arrfrmr: wwott iNtaff: i arw ht ?w j%$sOTi i spstrnewrc sOTfTOTsm srra<r; OT^errOTfawir <rf^% 11 Notes : 1. For tlie legend of Suryii and the Asvins compare No, 2 2. Sada, Take this with the foregoing 4 yat / the meaning being ‘ whenever, as often as, 1 Surya mounts the car of the Asvins daily. 3. Viyah. Birds. Compare the figure in No. 15, verse 1. There is no authority for Say ana's explanation. 4. Atapah. The word‘atap’ occurs only here and in vlii, 73, 8„ 44 Vurethe agnim atapo vadate valgv itraye.” Sayan a, u he asvinau valgn manobaram vadate stuvate atrayc atapah o^tapad aushnya,d agnim varethe lyarayatam/* Verso 6 PA DA PATH A ftr* \ i f%?r?r! =rd I l ^?hrr I s-ifir \ *%} wjn I i 13 jrw I ^0^ 11 % Sayana 1 $ to ftarcrei^Ry t i^rPrf^r: I 8?ftnrrf*mr a#rrm^r?rTOT^OT^gfrf %fT?rrsrr^g%fr ototott wottw i l OTRT J:wr Wa I 5:^ “WT: f&frT 'm i nra?# f?rar: srr^srr OTr'^crtff ^ ^ ffSOTOTflW^: WW* irfSfjf aftTOT 3TTR ifOTT-OTf ^OTOTrffT urfffp* ] OT^rnoTs^firOTOTrilr stotot i gr?*r?rgff fthotot. % 1 ??OTrf|f*r: OTTC ST?ffor*UI Note : Bhuranyati. This verb of motion is used in a causal sense here ‘ S(,t 'a motion, blew up,’ with his mouth. The reference is to Atri fanning with his breath the fire on the altar. MW1 $T# y NOTES. Vers© 7. PADA.VATHA: m I i ^rp-t i I gp%! I §s?Pid ^ I fr^ I I aifer I ^ I gjr I ^ s f- tlft li vs Sayana : 3-q ^5Tf?f Tt $9% ?ff*f ^Trfrf *T- pir m$h w<t*£$% i t irPw^wnrwir 3^r HfPT: surfeit srnnfoRr Notes ; 1. Ugrd vam kak uhd yaylh, ‘Fearful is your pass on high/ Muller, Vedie Hymns, 1, 161. See the whole of the note on ‘yayiV there. Roth, who takes * kakuhd * to be the name of a part of the chariot ( see note on No. 6, verse 3, p, 133 ), holds that ‘yayih’ in the Rigveda is always an adjective meaning ‘going, hurrying on/ 2. Samtanfh. This word occurs in only two other places, ix, 69, 2. “ pavanmnah samtanih praghnatam iva m&dhuman drapsdh pdre vrlram arshati.” Sayana, ‘•sarntanir grahadishu saroyag vietrito madhuman . . . tatra drishtantah. praghnatam iva prakarshena hatifcrSnam yoddhrlnam samtanih samyag visrishtah saro yatha sigbrain pr&pyam abhito gachehhati tadvat.” ix, 97. 14. “ pdvamanah samtanim eshi krinv&nn indraya soma parishicbya- manah. ,? Sayana, he soma parishichyamanah adbhih parishikias tvam pavamanah pavitre puyamanah san saintatim fcanu vistare ipratyayah samtatam dhariim krinvan kurvann indraya indrartham eshi gachchhasi/ , It is evident that Sayana did not know any fixed meaning for * sarritanih/ Roth suggests that in all three places it means 4 tune, song, music.” Grassmann follows this. Ludwig, who takes ‘yayih* to be the horse of the Asvins, translates this clause 4 renowned are his exertions in pulling/ Verse 8. Padapatha! rp-V: I 3T CRT 1 ’J ! ! w | j%gf% | | ^ l f^rr I strt I T^hr* I to*. I l tfFf l frn; ii c Sayana ; t *tfs*rr ^r^rVrr^r^ Ifst I i ?rar rr’fHh* R3#rqr Rifr Tg?x?r:T g rr^qr ig R'rarawft ^r^^irfrr r^r% m$ i ?i?Tfr ?rg?r e r ff5r o r^rwrs^frRfrr or ?rra'T^: arraq-rRy: l w jU2?TfRtr; I qg;r: i q*rfte*rrf*r ?ft°rri% qr hrt i fw% *mrre:u Notes : I„ Madbuynva. This word occurs only here and in v. 74, 9 , “sara u shfi vam madhuyiivasmakam astu eharkritih.” Sayana, “ madhuyuva madhumantau.’’ 2. R&dra. Sayana’s first explanation of this word, ‘ melted by our praise’ is an interesting,relic of the etymological interpretation of the Veda. 3, Pipy fish!. ‘With breasts full of.’ It is not clear to what the participle refers. Sayana’s suggestion does not seem good. 'Verso 9. Padapatha : *m\ I ?^ \ 11 1 ^ 1I I sag: I ^T:jsrf I err 1 I ?TJT s fcrar I i srr I jjOT^scj-rrr 11 % .Sayana : 13TT^-Tr i^r gRtfira; q-Rqq i qr qr?q?r o n i Rrgqr •qrqRRrT}' wf; i ?rr ffr ?%;t qr%# gqtRrTR 5 r mmn- 30 4 NOTES.