READING V.
[English Version by Google Translate]
(1) See. Section I, page 270, note 1; page 291, footnote 110.
(2) See. section I, page 295, note 31.
(3) See. section I, page 258, note 29, and page 260, note 37.
(4) Also translated: Let the Devas treat as their children.
(5) Name of Agni.
(6) The poet uses the word Ila in the plural.
(7) Name of the cloud, or of Indra himself, who has this cloud as his base of abode. Ahi, as we have seen, is a name of those Asuras who dwell in the clouds. The word budhna means root, lower part.
(8) That is to say, Agni, does libations. From the libations of the sacrifice the cloud is formed, which Indra must melt on the earth. In this same sense, the sun can also be called the son of waves or libations, since it is born of sacrifice.
(9) Name of Indra.
(10) Anna devata, also called Pitou.
(11) See. Section I, page 271, note 36; page 286, footnote 39.
(12), Natural approach to those who breathe an odor in the air.
(13) Vatapi is the cloud that the wind pushes, and whose volume it increases. The Puranas contain a legend of Vatapi and Agastya. The commentary gives Vatapi for a form of Pitou, god of offerings.
(14) The god of the libation, whom the commentary wants to distinguish from Pitou.
(15) The poet designates the somalata, which is the sarcostema viminalis, or the asclepias acida; and, doubtless also, the other plants which can be employed to form the matter of the offerings.
(16) The name of these cakes is carambha; they are made of fame flower and quail. It seems to me that the shape of these cakes is that which the cloud which the vapors of the offerings contribute to form must present.
(17) I will remind the reader that, by the word deva, I mean the ministers of the sacrifice, or else those deified beings who represent the rites and the hymns.
(18) Name of Agni. See. section I, page 251, note 56.
(19) For this passage, I refer to the notes found in section I, page 252, note 59; and Section II, page 552, note 30.
(20) See. section I, page 246, note 23. The commentator says that these three goddesses are different forms of the essence of Aditya, belonging, Bharati to heaven, Ila to earth, Saraswati to air.
(21) See. section I, page 252, note 61. Twachtri is the vital fire, and we see how it can contribute to the growth of forms.
(22) Vanaspati, name of Agni.
(28) No, of an offering made while pronouncing this word.
(24) That is to say, those who bear the cost of the sacrifice and those who oversee the ceremonies, in a way the laity and the clerics.
(25) These are the children of Cakchivan.
(26) Name of Agni.
(27) See, for the word apri, note 54, page 251, section I. The explanation of this word must be modified here; the sun takes the place of Agni.
(28) I suppose that the poet designates here Agni and the sun, the fire of the sacrifice and the solar fire. The hymn represents the state of heaven before the sacrifice begins.
(29) What I call darkness, by a kind of hypallage, is called in the text the invisible.
(30) Here are the names of these plants:. sara, saccharum sara, vulg. sarahari; cousara, kind of bad sara, hollow; darbha, otherwise cousa, poa cynosuroides; senya, or serya, barleria cristata, otherwise aswabala, saccharum spontaneum; moundja (saccharum munja); virana (andropogon muricatum).
(31) There is an antithesis here that I do not reproduce: the invisible have been seen.
(32) These darknesses are formed by vapors similar to those that the poet supposes elsewhere to come from the offering of the soma. I don't think, with the commentary, that the Soma is the moon here, the abode of the dark vapors of the night: it even seems that this abode is rather the sun.
(33) These genies are called yatoudhanas.
(34) The word rendered by this paraphrase is souravan. The sun must send as rain the vapors which rise towards it; he collects them, and resembles those men who distribute, under a tent which shelters the drinkers from the heat of the day, spirit drinks (soura).
(35) This liquor is the rain itself, which prolongs the life of man by giving the earth a happy fertility. The god who forms it is Indra.
(36) We have seen that this number twenty-one was formed of three times the seven tongues or rays of Agni. If the number three is not formed by that of the savanas, it is perhaps by that of the three colors which compose the tint of the rays, namely, red, black, and white.
(37) See. section I, page 264, note 81.
(38) Note 36 gives an account of the twenty-one flannes; note 80 of reading II, section I, teaches us what is meant by the seven rivers. The rays of the sun, on one side, pump the vapours; these vapors fall in rain, and are, on the other hand, received by the rivers: such is, it seems to me, the meaning of this passage.
(39) Who is this Couchoumbhaca character? I suppose it is Indra, the god who puts order in the world, and whose lightning must separate the clouds to extract water from them, as it is said in this verse. The commentator would seem to believe that it is an Asura, presumed ruler of darkness. We can still think that this character is played here by the poet Agastya, acting by virtue of sacrifice, and destroying evil spells by a species of vidya or charm, to form a beneficent rain; so that the Couchoumbhaca would be the name given to the priest who makes a conjuration whose result must be salutary. My first explanation seems more natural to me. Couchoumbhaca and Harichthas, according to me, are the same person. In the case where the function of the Couchoumbhaca is admitted, instead of the thunderbolt it would be necessary to put the cup of the sacrifice.
(40) Metaphor which indicates that the vapors of the night have become a beneficial wave. I observed myself in the translation of this hymn, to employ no expression which could recall legends which I believe to be more modern than the Rig-Veda, and which are like its poetic commentary. Thus, I avoided rendering the word vicham by poison, because I would have entered into the spirit of those authors who represent the vapors as the poison of the serpents of the night. Now, these snakes are the clouds that snake over the sky. The sun, compared to a bird, becomes Garouda, and makes war on these serpents. The hymn that I have just translated did not seem to me to present similar ideas: this is what should lead to the rejection, with even more confidence, of a piece inserted here, where it is a question of this race of celestial serpents. The first mandala (See section I, page 245, note 1) ends here; it seems that the copyist has the habit of closing each mandala in this way with a piece of his invention, which is not mentioned in the commentary, and which moreover betrays itself by its modern style. The second mandala is called Gritsamada. The first was that of the hundred Rishis.
(41) The poet says Asura.
(42) Name of Agni, who gives wealth.
(43) It seems to me that there is another Gritsamada, son of Sounaca, of the family of Bhrigou.
(44) In the text we find the word Prisni, which is used for the earth. However, it can also mean air (antarikcha).
(45) Ayou and Manou are used, in this sentence, in a general way to say the man.
(46) See. section I, page 249, note 39.
(47) This hymn is related to the thirteenth of reading I, section I, and the sixth of reading II of section II. I refer to the notes of these two hymns for information relating to the epithets.
(48) It must be remembered that Twachtri is the vital fire, which animates the forms to which it comes to ally itself.
(49) The children of Ousidj are the descendants of Cakchivan, or else the word Ousidj must be understood as a synonym of priest.
(50) That is to say that the reflections of the fire spread over the officers of the sacrifice.
(51) The evening sacrifice.
(52) Hotri. The poet, in this hymn, employs seven different expressions, assigned to the various functions of the priest. I try to translate them by a paraphrase which explains their root.
(53) The priests have just produced the fire: they are his fathers, and he, by protecting them, will show himself to be their father.
(54) Guides should have been put in the feminine: because rasmi means both reins and rays. Now, these seven guides or rays are the seven officiants who take part in the sacrifice (hotracas).
(55) Potter.
(56) Agni, in sacrifice, is born and dies; he is considered as a Mauou, as a mortal.
(57) Dadhanou: this word seems to me to be one of the seven names assigned to the ministers of sacrifice.
(58) Prasastri.
(59) Nechtri.
(60) These three sisters are the flames of the three fires garhapatya, ahavaniya and dakchina. See. book I, page 251, note 52.
(61) I thus render the masculine word matri, vessel which measures, which contains the libation. This word also signifies the man, the father of the family who measures, who composes the sacrifice. The commentary sees a feminine name here, and relates it to the enclosure of the sacrifice (vedi). This sister, in question here, is the spoon (djouhou) which is used for libations. We can also give the name of matri (mother) to the reservoir of the waves of sacrifice.
(62) Adwaryou.
(63) Ritwig.
(64) It is born as sacrificial fire and as solar fire: hence its name of dwimatri.
(65) This epithet is remarkable, Bharata. The commentary gives this word as being a name assigned to priests.
(66) The text carries the cows, the bulls and the octopodes. I thought that by the word cows it was necessary to understand, as we have often seen, the flames of the hearth; by the word bulls (oukchan), the libations and by the word octopods, the invocations divided into eight padas. There is also a meter called achti. The commentator says that the word achtapadi relates to the cow when she is full, because her feet and those of her calf form the number of eight. The word achtapadi can also designate the platter of offerings, divided into eight compartments. See. Wilson's dictionary, achtangarghya. The sacrifice in which the sacred butter is offered in eight vessels is called achtacapala.
Rig-Veda Or Book of Hymns, by Par M. Langlois
Re: Rig-Veda Or Book of Hymns, by Par M. Langlois
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Re: Rig-Veda Or Book of Hymns, by Par M. Langlois
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LECTURE VI.
[French Version]
(1) L’auteur fait allusion aux deux naissances d’Agni, dans le feu du sacrifice et dans le feu solaire.
(2) Allusion aux foyers des trois especes de feux.
(3) Nous savons que de l'arani on tirait, pour le sacrifice, le feu qui semble y dormir. Le poete represente l'arani comme un personnage qui s’eveille ou qui dort.
(4) Voy. section I, page 264, note 76.
(5) Voy. section I, page 264, note 2.
(6) Ce personnage est allegorique, et represente la libation. Voy. section I, page 272, note 36; page 286, note 39; section II, page 570, note 11.
(7) Je suppose que ce monstre est le nuage orageux, ou se trouvent accumules les feux de Twachtri. Le commentaire regarde le mot Twdchtra comme le nom d’un Asoura.
(8) Nom d’un Asoura.
(9) Ce sens me parait clair. Le mot tchacra, qui veut dire roue, a donne lieu a une legende que j’ai deja indiquee. On raconte qu’autrefois le char du soleil avait deux roues; qu’Indra en prit une pour s’en servir comme de sa foudre, et la fit rouler dans l'air. C’est la aussi, en d’autres termes, l’histoire de Coutsa, livre I, page 266, note 8, et alibi.
(10) Pour rendre raison de la composition de cet hymne, qui vraiment n’avait pas besoin de cette explication, le commentaire suppose que, dans un sacrifice ou se trouvaient Indra et Gritsamada, les Asouras arrivent avec des intentions hostiles contre Indra, lequel sort de l’enceinte sacree sous la forme de Gritsamada, et laissant la sienne au Richi. Les Asouras saisissent Gritsamada, le prenant pour Indra; Gritsamada se defend, et leur apprend ce que c’est qu’Indra.
(11) Le mot parvata signifie montagne et nuage. Les Pouranas racontent qu’autrefois les montagnes avaient des ailes, et se transportaient d’elles-memes a travers les airs. La foudre d’Indra leur trancha ces ailes, et depuis ce temps elles sont immobiles. Ce conte n’est qu’un abus de mots, et le commentateur le rappelle a l'occasion de ce vers.
(12) Voy. section I, page 264, note 80.
(13) Voy. section I, page 249, note 36.
(14) C’est-a-dire Twachtri, feu de la foudre.
(15) Cette caverne, c’est le ciel nocturne, c’est la nuit elle-meme et les tenebres.
(16) Dans ce passage, ou le commentateur introduit le ciel et la terre, j’ai cru retrouver l’idee que j’ai deja exprimee section I, lecture VII, vers 5 et 6; je veux dire la peinture de deux nuages orageux, dont l'un est place au-dessus de l’autre, et qui s’avancent en meme temps.
(17) Le commentateur dit: dans la quarantieme annee, et litteralement, le quarantieme automne. Je ne comprends pas que le dieu attende si longtemps pour exaucer ses serviteurs; je me suis cru autorise a rendre encore ici le mot sarad par libation, comme je l’ai deja fait plusieurs fois. Autrement, je ne verrais tout au plus dans sarad qu’un jour d’automne.
(18) Nom d’un Asoura.
(19) Ce qui donne cet accroissement a la plante, c’est le sacrifice, ou bien c’est Indra qui a envoye la pluie.
(20) Ce vase s’appelle Samoudra: il est comme une mer vers laquelle se rendent ces rivieres de libations.
(21) Dans ce passage, qui est une peinture du sacrifice, j’ai vu trois personnes distinctes, et non une seule, quoique le mot eka soit repete trois fois.
(22) Nom d’un Asoura.
(23) Voy. section I, page 292, note 119.
(24) Voy. section I, page 249, note 39.
(25) Je crois que c’est le nom d’un Asoura.
(26) Voy. section I, page 273, note 56; page 292, note 118.
(27) Voy. section I, page 273, note 56; page 290, note 77.
(28) Voy. section I, page 290, note 81.
(29) Nom d’un Asoura.
(30) Nom d’un Asoura.
(31) Autre nom d’Asoura.
(32) Tous ces noms sont des noms d’Asouras.
(34) Voy. section I, page 266, note 8; page 275, note 10; page 288, note 49; page 290, note 85; page 292, note 117, page 300, note 109; section II, page 568, note 15.
(35) Voy. section I, page 272, note 49.
(36) Voy. section I, page 271, note 24; page 291, note 96.
(37) Voir plus haut, note 4.
(38) Radjarchi pris et emmene par les Asouras. Voy. section I, page 292, note 119; section II, page 576, note 23.
(39) C’est le fait mentionne plus haut, hymne 5, vers 12.
(40) Voy. section I, page 290, note 81; section II, page 576, note 27. C’est un conte allegorique sur le soleil, revenant du bout de l’horizon; boiteux et aveugle pendant la nuit, il marche et il voit pendant le jour.
(41) Noms de deux Asouras.
(42) Voy. plus haut, note 38.
(43) Mesure itineraire.
(44) Le commentaire les nomme Adhwaryou et Pratiprasthri.
(45) Le commentateur trouve dans ce vers l'histoire d’Indra coupant les ailes aux montagnes volantes.
(46) Nom d’un Asoura.
(47) Ce char, c’est le sacrifice prepare pour Indra.
(48) Ces quatre jougs sont peut-etre les quatre cotes de l’enceinte du sacrifice. Le commentateur incertain ne sait s’il faut voir ici quatre especes de vases, ou de pretres, ou de ceremonies, ou d’offrandes. Ne serait-ce pas la priere en prose, l’hymne, l’offrande liquide, l’offrande solide?
(49) Ces trois fouets sont les trois tons de la voix; peut-etre les trois savanas.
(50) Les sept guides sont les sept especes de metres sur lesquels les hymnes sont composes.
(51) Les dix roues me semblent etre, suivant le commentaire, dix offrandes contenues dans le vase du sacrifice (tchamasa). On compte aussi dix serviteurs du sacrifice, qui sont les dix doigts.
(52) Le poete designe les trois savanas, ou sacrifices du matin, du midi et du soir.
(53) C’est-a-dire, de l’homme.
(54) Ces coursiers representent le nombre d'akcharas ou de syllabes cjue contiennent les vers ties invocations. Voy. section II, page 555, note 85.
(55) Voy. section I, page 273, note 57; page 274, note 74; page 300, note 111.
(56) Voy. section I, page 266, note 8; page 275, note 10; page 288, note 49; page 290, note 85; page 292, note 117; page 300, note 109; section II, page 568, note 15; page 577, note 34.
(57) Noms d’Asouras.
(58) Voy. section I, page 291, note 98; page 296, note 32; page 299, note 90.
(59) Nom d’un Asoura.
(60) Nous disons que le ciel est d’airain, lorsque la secheresse dure longtemps.
(61) Voy. plus haut, note 4.
(62) Le texte dit Arya.
(63) Pour exprimer cette idee, le poete emploie le mot Twachtri.
(64) Nom d’Agni. Voy. section I, page 246, note 5.
[French Version]
(1) L’auteur fait allusion aux deux naissances d’Agni, dans le feu du sacrifice et dans le feu solaire.
(2) Allusion aux foyers des trois especes de feux.
(3) Nous savons que de l'arani on tirait, pour le sacrifice, le feu qui semble y dormir. Le poete represente l'arani comme un personnage qui s’eveille ou qui dort.
(4) Voy. section I, page 264, note 76.
(5) Voy. section I, page 264, note 2.
(6) Ce personnage est allegorique, et represente la libation. Voy. section I, page 272, note 36; page 286, note 39; section II, page 570, note 11.
(7) Je suppose que ce monstre est le nuage orageux, ou se trouvent accumules les feux de Twachtri. Le commentaire regarde le mot Twdchtra comme le nom d’un Asoura.
(8) Nom d’un Asoura.
(9) Ce sens me parait clair. Le mot tchacra, qui veut dire roue, a donne lieu a une legende que j’ai deja indiquee. On raconte qu’autrefois le char du soleil avait deux roues; qu’Indra en prit une pour s’en servir comme de sa foudre, et la fit rouler dans l'air. C’est la aussi, en d’autres termes, l’histoire de Coutsa, livre I, page 266, note 8, et alibi.
(10) Pour rendre raison de la composition de cet hymne, qui vraiment n’avait pas besoin de cette explication, le commentaire suppose que, dans un sacrifice ou se trouvaient Indra et Gritsamada, les Asouras arrivent avec des intentions hostiles contre Indra, lequel sort de l’enceinte sacree sous la forme de Gritsamada, et laissant la sienne au Richi. Les Asouras saisissent Gritsamada, le prenant pour Indra; Gritsamada se defend, et leur apprend ce que c’est qu’Indra.
(11) Le mot parvata signifie montagne et nuage. Les Pouranas racontent qu’autrefois les montagnes avaient des ailes, et se transportaient d’elles-memes a travers les airs. La foudre d’Indra leur trancha ces ailes, et depuis ce temps elles sont immobiles. Ce conte n’est qu’un abus de mots, et le commentateur le rappelle a l'occasion de ce vers.
(12) Voy. section I, page 264, note 80.
(13) Voy. section I, page 249, note 36.
(14) C’est-a-dire Twachtri, feu de la foudre.
(15) Cette caverne, c’est le ciel nocturne, c’est la nuit elle-meme et les tenebres.
(16) Dans ce passage, ou le commentateur introduit le ciel et la terre, j’ai cru retrouver l’idee que j’ai deja exprimee section I, lecture VII, vers 5 et 6; je veux dire la peinture de deux nuages orageux, dont l'un est place au-dessus de l’autre, et qui s’avancent en meme temps.
(17) Le commentateur dit: dans la quarantieme annee, et litteralement, le quarantieme automne. Je ne comprends pas que le dieu attende si longtemps pour exaucer ses serviteurs; je me suis cru autorise a rendre encore ici le mot sarad par libation, comme je l’ai deja fait plusieurs fois. Autrement, je ne verrais tout au plus dans sarad qu’un jour d’automne.
(18) Nom d’un Asoura.
(19) Ce qui donne cet accroissement a la plante, c’est le sacrifice, ou bien c’est Indra qui a envoye la pluie.
(20) Ce vase s’appelle Samoudra: il est comme une mer vers laquelle se rendent ces rivieres de libations.
(21) Dans ce passage, qui est une peinture du sacrifice, j’ai vu trois personnes distinctes, et non une seule, quoique le mot eka soit repete trois fois.
(22) Nom d’un Asoura.
(23) Voy. section I, page 292, note 119.
(24) Voy. section I, page 249, note 39.
(25) Je crois que c’est le nom d’un Asoura.
(26) Voy. section I, page 273, note 56; page 292, note 118.
(27) Voy. section I, page 273, note 56; page 290, note 77.
(28) Voy. section I, page 290, note 81.
(29) Nom d’un Asoura.
(30) Nom d’un Asoura.
(31) Autre nom d’Asoura.
(32) Tous ces noms sont des noms d’Asouras.
(34) Voy. section I, page 266, note 8; page 275, note 10; page 288, note 49; page 290, note 85; page 292, note 117, page 300, note 109; section II, page 568, note 15.
(35) Voy. section I, page 272, note 49.
(36) Voy. section I, page 271, note 24; page 291, note 96.
(37) Voir plus haut, note 4.
(38) Radjarchi pris et emmene par les Asouras. Voy. section I, page 292, note 119; section II, page 576, note 23.
(39) C’est le fait mentionne plus haut, hymne 5, vers 12.
(40) Voy. section I, page 290, note 81; section II, page 576, note 27. C’est un conte allegorique sur le soleil, revenant du bout de l’horizon; boiteux et aveugle pendant la nuit, il marche et il voit pendant le jour.
(41) Noms de deux Asouras.
(42) Voy. plus haut, note 38.
(43) Mesure itineraire.
(44) Le commentaire les nomme Adhwaryou et Pratiprasthri.
(45) Le commentateur trouve dans ce vers l'histoire d’Indra coupant les ailes aux montagnes volantes.
(46) Nom d’un Asoura.
(47) Ce char, c’est le sacrifice prepare pour Indra.
(48) Ces quatre jougs sont peut-etre les quatre cotes de l’enceinte du sacrifice. Le commentateur incertain ne sait s’il faut voir ici quatre especes de vases, ou de pretres, ou de ceremonies, ou d’offrandes. Ne serait-ce pas la priere en prose, l’hymne, l’offrande liquide, l’offrande solide?
(49) Ces trois fouets sont les trois tons de la voix; peut-etre les trois savanas.
(50) Les sept guides sont les sept especes de metres sur lesquels les hymnes sont composes.
(51) Les dix roues me semblent etre, suivant le commentaire, dix offrandes contenues dans le vase du sacrifice (tchamasa). On compte aussi dix serviteurs du sacrifice, qui sont les dix doigts.
(52) Le poete designe les trois savanas, ou sacrifices du matin, du midi et du soir.
(53) C’est-a-dire, de l’homme.
(54) Ces coursiers representent le nombre d'akcharas ou de syllabes cjue contiennent les vers ties invocations. Voy. section II, page 555, note 85.
(55) Voy. section I, page 273, note 57; page 274, note 74; page 300, note 111.
(56) Voy. section I, page 266, note 8; page 275, note 10; page 288, note 49; page 290, note 85; page 292, note 117; page 300, note 109; section II, page 568, note 15; page 577, note 34.
(57) Noms d’Asouras.
(58) Voy. section I, page 291, note 98; page 296, note 32; page 299, note 90.
(59) Nom d’un Asoura.
(60) Nous disons que le ciel est d’airain, lorsque la secheresse dure longtemps.
(61) Voy. plus haut, note 4.
(62) Le texte dit Arya.
(63) Pour exprimer cette idee, le poete emploie le mot Twachtri.
(64) Nom d’Agni. Voy. section I, page 246, note 5.
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Re: Rig-Veda Or Book of Hymns, by Par M. Langlois
by admin » Wed Apr 05, 2023 3:18 am
READING VI.
[English Version by Google Translate]
(1) The author alludes to the two births of Agni, in the fire of sacrifice and in the solar fire.
(2) Allusion to the hearths of the three kinds of fires.
(3) We know that from the arani one drew, for the sacrifice, the fire which seems to sleep there. The poet represents the arani as a character who wakes up or sleeps.
(4) See. section I, page 264, note 76.
(5) See. section I, page 264, footnote 2.
(6) This character is allegorical, and represents the libation. See. Section I, page 272, note 36; page 286, footnote 39; section II, page 570, note 11.
(7) I assume that this monster is the storm cloud, where the fires of Twachtri are accumulated. The commentary regards the word Twdchtra as the name of an Asura.
(8) Name of an Asura.
(9) This meaning seems clear to me. The word tchacra, which means wheel, has given rise to a legend which I have already indicated. It is said that formerly the chariot of the sun had two wheels; that Indra took one to use as his thunderbolt, and rolled it in the air. This is also, in other words, the story of Coutsa, book I, page 266, note 8, and alibi.
(10) To explain the composition of this hymn, which really did not need this explanation, the commentary supposes that, in a sacrifice where Indra and Gritsamada were, the Asuras arrive with hostile intentions against Indra, who leaves the sacred enclosure in the form of Gritsamada, and leaves his to the Richi. The Asuras seize Gritsamada, mistaking him for Indra; Gritsamada defends himself, and teaches them what Indra is.
(11) The word parvata means mountain and cloud. The Puranas relate that mountains once had wings, and carried themselves through the air. Indra's lightning cut off their wings, and they have been motionless ever since. This tale is only an abuse of words, and the commentator recalls it on the occasion of this verse.
(12) See. section I, page 264, note 80.
(13) See. section I, page 249, note 36.
(14) That is to say Twachtri, fire of lightning.
(15) This cave is the night sky, it is the night itself and the darkness.
(16) In this passage, where the commentator introduces heaven and earth, I thought I found the idea that I already expressed in section I, reading VII, verses 5 and 6; I mean the painting of two storm clouds, one of which is placed above the other, and which advance at the same time.
(17) The commentator says: in the fortieth year, and literally, the fortieth autumn. I don't understand why the god waits so long to answer his servants; I thought I was authorized to render here again the word sarad by libation, as I have already done several times. Otherwise, at most, I would only see sarad on an autumn day.
(18) Name of an Asura.
(19) What gives this growth to the plant is the sacrifice, or it is Indra who sent the rain.
(20) This vase is called Samudra: it is like a sea towards which these rivers of libations go.
(21) In this passage, which is a painting of the sacrifice, I saw three distinct persons, and not just one, although the word eka is repeated three times.
(22) Name of an Asura.
(23) See. section I, page 292, note 119.
(24) See. section I, page 249, note 39.
(25) I believe it is the name of an Asura.
(26) See. Section I, page 273, note 56; page 292, footnote 118.
(27) See. Section I, page 273, note 56; page 290, footnote 77.
(28) See. section I, page 290, note 81.
(29) Name of an Asura.
(30) Name of an Asura.
(31) Another name for Asura.
(32) All these names are names of Asuras.
(34) See. Section I, page 266, note 8; page 275, footnote 10; page 288, footnote 49; page 290, footnote 85; page 292, note 117, page 300, note 109; section II, page 568, note 15.
(35) See. section I, page 272, note 49.
(36) See. Section I, page 271, note 24; page 291, footnote 96.
(37) See footnote 4 above.
(38) Rajarchi captured and led away by the Asuras. See. section I, page 292, note 119; section II, page 576, note 23.
(39) This is the fact mentioned above, hymn 5, verse 12.
(40) See. Section I, page 290, note 81; section II, page 576, note 27. It is an allegorical tale about the sun, returning from the end of the horizon; lame and blind by night, he walks and sees by day.
(41) Names of two Asuras.
(42) See. above, note 38.
(43) Route measurement.
(44) The commentary names them Adhwaryu and Pratiprasthri.
(45) The commentator finds in this verse the story of Indra clipping the wings of the flying mountains.
(46) Name of an Asura.
(47) This chariot is the sacrifice prepared for Indra.
(48) These four yokes are perhaps the four sides of the sacrificial enclosure. The uncertain commentator does not know if we should see here four kinds of vases, or priests, or ceremonies, or offerings. Wouldn't it be the prose prayer, the hymn, the liquid offering, the solid offering?
(49) These three whips are the three tones of the voice; perhaps the three savanas.
(50) The seven guides are the seven kinds of meters on which the hymns are composed.
(51) The ten wheels seem to me to be, according to the commentary, ten offerings contained in the vase of sacrifice (tchamasa). There are also ten sacrificial servants, who are the ten fingers.
(52) The poet designates the three savanas, or sacrifices of morning, noon and evening.
(53) That is to say, of man.
(54) These couriers represent the number of akcharas or syllables which contain the verses of the invocations. See. section II, page 555, note 85.
(55) See. Section I, page 273, note 57; page 274, footnote 74; page 300, footnote 111.
(56) See. Section I, page 266, note 8; page 275, footnote 10; page 288, footnote 49; page 290, footnote 85; page 292, footnote 117; page 300, footnote 109; section II, page 568, note 15; page 577, footnote 34.
(57) Names of Asuras.
(58) See. Section I, page 291, note 98; page 296, footnote 32; page 299, footnote 90.
(59) Name of an Asura.
(60) We say that the sky is bronze, when the drought lasts a long time.
(61) See. above, note 4.
(62) The text says Arya.
(63) To express this idea, the poet uses the word Twachtri.
(64) Name of Agni. See. section I, page 246, note 5.
[English Version by Google Translate]
(1) The author alludes to the two births of Agni, in the fire of sacrifice and in the solar fire.
(2) Allusion to the hearths of the three kinds of fires.
(3) We know that from the arani one drew, for the sacrifice, the fire which seems to sleep there. The poet represents the arani as a character who wakes up or sleeps.
(4) See. section I, page 264, note 76.
(5) See. section I, page 264, footnote 2.
(6) This character is allegorical, and represents the libation. See. Section I, page 272, note 36; page 286, footnote 39; section II, page 570, note 11.
(7) I assume that this monster is the storm cloud, where the fires of Twachtri are accumulated. The commentary regards the word Twdchtra as the name of an Asura.
(8) Name of an Asura.
(9) This meaning seems clear to me. The word tchacra, which means wheel, has given rise to a legend which I have already indicated. It is said that formerly the chariot of the sun had two wheels; that Indra took one to use as his thunderbolt, and rolled it in the air. This is also, in other words, the story of Coutsa, book I, page 266, note 8, and alibi.
(10) To explain the composition of this hymn, which really did not need this explanation, the commentary supposes that, in a sacrifice where Indra and Gritsamada were, the Asuras arrive with hostile intentions against Indra, who leaves the sacred enclosure in the form of Gritsamada, and leaves his to the Richi. The Asuras seize Gritsamada, mistaking him for Indra; Gritsamada defends himself, and teaches them what Indra is.
(11) The word parvata means mountain and cloud. The Puranas relate that mountains once had wings, and carried themselves through the air. Indra's lightning cut off their wings, and they have been motionless ever since. This tale is only an abuse of words, and the commentator recalls it on the occasion of this verse.
(12) See. section I, page 264, note 80.
(13) See. section I, page 249, note 36.
(14) That is to say Twachtri, fire of lightning.
(15) This cave is the night sky, it is the night itself and the darkness.
(16) In this passage, where the commentator introduces heaven and earth, I thought I found the idea that I already expressed in section I, reading VII, verses 5 and 6; I mean the painting of two storm clouds, one of which is placed above the other, and which advance at the same time.
(17) The commentator says: in the fortieth year, and literally, the fortieth autumn. I don't understand why the god waits so long to answer his servants; I thought I was authorized to render here again the word sarad by libation, as I have already done several times. Otherwise, at most, I would only see sarad on an autumn day.
(18) Name of an Asura.
(19) What gives this growth to the plant is the sacrifice, or it is Indra who sent the rain.
(20) This vase is called Samudra: it is like a sea towards which these rivers of libations go.
(21) In this passage, which is a painting of the sacrifice, I saw three distinct persons, and not just one, although the word eka is repeated three times.
(22) Name of an Asura.
(23) See. section I, page 292, note 119.
(24) See. section I, page 249, note 39.
(25) I believe it is the name of an Asura.
(26) See. Section I, page 273, note 56; page 292, footnote 118.
(27) See. Section I, page 273, note 56; page 290, footnote 77.
(28) See. section I, page 290, note 81.
(29) Name of an Asura.
(30) Name of an Asura.
(31) Another name for Asura.
(32) All these names are names of Asuras.
(34) See. Section I, page 266, note 8; page 275, footnote 10; page 288, footnote 49; page 290, footnote 85; page 292, note 117, page 300, note 109; section II, page 568, note 15.
(35) See. section I, page 272, note 49.
(36) See. Section I, page 271, note 24; page 291, footnote 96.
(37) See footnote 4 above.
(38) Rajarchi captured and led away by the Asuras. See. section I, page 292, note 119; section II, page 576, note 23.
(39) This is the fact mentioned above, hymn 5, verse 12.
(40) See. Section I, page 290, note 81; section II, page 576, note 27. It is an allegorical tale about the sun, returning from the end of the horizon; lame and blind by night, he walks and sees by day.
(41) Names of two Asuras.
(42) See. above, note 38.
(43) Route measurement.
(44) The commentary names them Adhwaryu and Pratiprasthri.
(45) The commentator finds in this verse the story of Indra clipping the wings of the flying mountains.
(46) Name of an Asura.
(47) This chariot is the sacrifice prepared for Indra.
(48) These four yokes are perhaps the four sides of the sacrificial enclosure. The uncertain commentator does not know if we should see here four kinds of vases, or priests, or ceremonies, or offerings. Wouldn't it be the prose prayer, the hymn, the liquid offering, the solid offering?
(49) These three whips are the three tones of the voice; perhaps the three savanas.
(50) The seven guides are the seven kinds of meters on which the hymns are composed.
(51) The ten wheels seem to me to be, according to the commentary, ten offerings contained in the vase of sacrifice (tchamasa). There are also ten sacrificial servants, who are the ten fingers.
(52) The poet designates the three savanas, or sacrifices of morning, noon and evening.
(53) That is to say, of man.
(54) These couriers represent the number of akcharas or syllables which contain the verses of the invocations. See. section II, page 555, note 85.
(55) See. Section I, page 273, note 57; page 274, footnote 74; page 300, footnote 111.
(56) See. Section I, page 266, note 8; page 275, footnote 10; page 288, footnote 49; page 290, footnote 85; page 292, footnote 117; page 300, footnote 109; section II, page 568, note 15; page 577, footnote 34.
(57) Names of Asuras.
(58) See. Section I, page 291, note 98; page 296, footnote 32; page 299, footnote 90.
(59) Name of an Asura.
(60) We say that the sky is bronze, when the drought lasts a long time.
(61) See. above, note 4.
(62) The text says Arya.
(63) To express this idea, the poet uses the word Twachtri.
(64) Name of Agni. See. section I, page 246, note 5.
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Re: Rig-Veda Or Book of Hymns, by Par M. Langlois
by admin » Fri Apr 07, 2023 2:23 am
LECTURE VII.
[French Version]
(1) C’est un nom d’Agni, qui dans cet hymne, quelquefois, se trouve confondu avec Indra.
(2) Le commentaire pense qu’il est ici question des rayons du soleil. Je serais assez porte a considerer le mot swardris comme signifiant une portion de l'atmosphere.
(3) Voy. section I, page 249, note 36.
(4) Ces mots sont la paraphrase de l’epithete carnayoni, a laquelle on peut trouver un autre sens. D’apres ce sens, la priere repose dans l'oreille du dieu.
(5) Les Adityas sont au nombre de douze. Dakcha n’est pas ordinairement dans ce nombre.
(6) Ces trois mondes (le texte dit les trois terras) sont la terre, l'air et le ciel.
(7) Le texte emploie le mot dyou, auquel le commentaire donne plusieurs sens. Ces trois dyou sont sans doute les trois regions de l'air qu’on nomme en anglais heaven, sky, aether; ou bien ce sont les mondes que les Indiens appellent maharloka, swarloka, pitriloca. Voy. section I, page 267, note 24. Le mot dyou signifie brillant, et le commentaire propose encore de voir dans les trois dyous, Agni, Vayou, et le Soleil.
(8) Ce sont les trois savanas; ou ce sont trois rites, nommes rasadana, dharana, et visradjana.
(9) Asoura.
(10) C’est l'heure du sacrifice du matin.
(11) J’entends, par ces deux demeures, la demeure terrestre et la demeure celeste, obtenues l'une par ses armes, l’autre par sa piete.
(12) Le commentateur entend tout ce passage des eaux de la pluie que Varouna envoie du ciel. Ce dieu qui tourne autour de la terre, c’est Agni (Parigman), C’est aussi une epithete de l'air, et l'on pourrait dire que les libations s’elevent dans l'air sous la forme de vapeurs; car, au lieu de ces mots comme pour le nourrir, on peut dire aussi comme un oiseau. Le commentateur, dans son systeme, veut que parigman s’entende de la terre.
(13) C’est-a-dire, le sacrifice.
(14) Voy. plus haut, page 573, note 48.
(15) Voy. plus haut, page 569, note 7.
(16) Nom d’Indra ou du soleil, non natus.
(17) Nom d’Indra ou du soleil, quasi unipes. Les mots Adja et Ecapad ont ete reunis pour former un nom de Roudra.
(18) Nom d’Agni. Voy. section I, page 272, note 36; page 286, note 39.
(19) Nom d’Indra.
(20) C’est-a-dire, Agni.
(21) C’est la pleine lune; la nouvelle lune s’appelle Couhou, le jour qui la precede, Sinivali.
(22) Voy. la note precedente.
(28) Le commentateur dit que c’est le meme personnage que Couhou.
(24) Epouse d’Indra.
(25) Prisni (voy. section I, page 257, note 23; page 268, note 37; section II, page 567, note 3) est un nom que l'on donne a la terre, et meme a l’air. Mais il me semble ici que ce mot, qui signifie multicolor, doit se rapporter au nuage. C’est au sein du nuage que Roudra, c'est-a-dire l’air, enfante les vents. Deux mots de cette phrase, vrichan, qui signifie taureau, et oudhan, qui veut dire mamelle, ont donne lieu a une legende. On suppose que Roudra, change en taureau, a eu les Marouts de la Terre, changee en vache.
(27) C’est-a-dire, du nuage, comme l’indique la note precedente.
(28) Nous avons vu, section I, page 272, note 36; page 286, note 39, que Trita est la libation personnifiee. Outrager Trita est donc le fait de l’impie.
(29) Le texte porte le mot dasagwa. Voy. section I, page 274, note 5. Le commentaire suppose que les Marouts, apres des pratiques de dix mois, ont pris la forme des Angiras, et offert eux-memes le sacrifice. Il raconte une querelle survenue entre les Angiras et les Adityas; querelle dans laquelle les Angiras obtinrent l’avantage par le moyen du sacrifice. Il serait facheux que, pour expliquer ce passage, on fut oblige de recourir a ce conte, invente pour donner raison de ce vers. Nous avons vu ailleurs que les Angiras et les Marouts sont des agents du sacrifice. Les feux d’Agni doivent preceder et meme engendrer les feux du soleil. Il est donc naturel que les Adityas soient vaincus par les Angiras.
(30) Dans le systeme du commentateur, ces mots seraient les paroles des Marouts offrant le sacrifice, et disant aux Adityas: "Que les Adityas ne viennent a nous qu’avec l’aurore."
(31) Ces cinq sacrificateurs sont, a ce qu’il parait, les cinq pranas, ou les cinq esprits vitaux (pantchapranas).
(32) C’est-a-dire, Agni, ne des libations, apam napat. Le commentaire, traduisant ces mots plus litteralement, aquarum nepos, forme cette genealogie d’Agni. L’eau du ciel fait naitre le bois, le bois donne la vie au feu; le feu est ainsi le petit-fils des eaux.
(33) Agni est considere comme Vedyouta ou feu des nuages, et it habite alors an milieu des eaux. Il est encore considere comme feu du sacrifice, et il est, sous cette forme, honore par les eaux des libations qui viennent le trouver. Le feu nomme Ourva est le feu des volcans sous-marins.
(34) Ila, Saraswati et Bharati.
(35) Ce sens n’est pas celui du commentaire; cependant il m’avait paru qu’il etait assez dans l'esprit de l'auteur d’etablir une antithese entre la fonction de nourrice et l’etat de fille, et de dire que le dieu etait nourri par ses filles. Agni est le fils nourricier de ces ondes qu’il a enfantees en sa qualite de Vedyouta.
(36) La phrase contient le mot aswa (equus); et le commentaire croit y voir une mention du fameux cheval Outtchesravas, qu’il donne comme etant le soleil.
(37) Plus haut la coupe s’appelait hotra; ici le vase se nomme potra. Un autre nom est nechtra.
(38) Il est question des Aswins, ou bien de Mitra et Varouna.
[French Version]
(1) C’est un nom d’Agni, qui dans cet hymne, quelquefois, se trouve confondu avec Indra.
(2) Le commentaire pense qu’il est ici question des rayons du soleil. Je serais assez porte a considerer le mot swardris comme signifiant une portion de l'atmosphere.
(3) Voy. section I, page 249, note 36.
(4) Ces mots sont la paraphrase de l’epithete carnayoni, a laquelle on peut trouver un autre sens. D’apres ce sens, la priere repose dans l'oreille du dieu.
(5) Les Adityas sont au nombre de douze. Dakcha n’est pas ordinairement dans ce nombre.
(6) Ces trois mondes (le texte dit les trois terras) sont la terre, l'air et le ciel.
(7) Le texte emploie le mot dyou, auquel le commentaire donne plusieurs sens. Ces trois dyou sont sans doute les trois regions de l'air qu’on nomme en anglais heaven, sky, aether; ou bien ce sont les mondes que les Indiens appellent maharloka, swarloka, pitriloca. Voy. section I, page 267, note 24. Le mot dyou signifie brillant, et le commentaire propose encore de voir dans les trois dyous, Agni, Vayou, et le Soleil.
(8) Ce sont les trois savanas; ou ce sont trois rites, nommes rasadana, dharana, et visradjana.
(9) Asoura.
(10) C’est l'heure du sacrifice du matin.
(11) J’entends, par ces deux demeures, la demeure terrestre et la demeure celeste, obtenues l'une par ses armes, l’autre par sa piete.
(12) Le commentateur entend tout ce passage des eaux de la pluie que Varouna envoie du ciel. Ce dieu qui tourne autour de la terre, c’est Agni (Parigman), C’est aussi une epithete de l'air, et l'on pourrait dire que les libations s’elevent dans l'air sous la forme de vapeurs; car, au lieu de ces mots comme pour le nourrir, on peut dire aussi comme un oiseau. Le commentateur, dans son systeme, veut que parigman s’entende de la terre.
(13) C’est-a-dire, le sacrifice.
(14) Voy. plus haut, page 573, note 48.
(15) Voy. plus haut, page 569, note 7.
(16) Nom d’Indra ou du soleil, non natus.
(17) Nom d’Indra ou du soleil, quasi unipes. Les mots Adja et Ecapad ont ete reunis pour former un nom de Roudra.
(18) Nom d’Agni. Voy. section I, page 272, note 36; page 286, note 39.
(19) Nom d’Indra.
(20) C’est-a-dire, Agni.
(21) C’est la pleine lune; la nouvelle lune s’appelle Couhou, le jour qui la precede, Sinivali.
(22) Voy. la note precedente.
(28) Le commentateur dit que c’est le meme personnage que Couhou.
(24) Epouse d’Indra.
(25) Prisni (voy. section I, page 257, note 23; page 268, note 37; section II, page 567, note 3) est un nom que l'on donne a la terre, et meme a l’air. Mais il me semble ici que ce mot, qui signifie multicolor, doit se rapporter au nuage. C’est au sein du nuage que Roudra, c'est-a-dire l’air, enfante les vents. Deux mots de cette phrase, vrichan, qui signifie taureau, et oudhan, qui veut dire mamelle, ont donne lieu a une legende. On suppose que Roudra, change en taureau, a eu les Marouts de la Terre, changee en vache.
(27) C’est-a-dire, du nuage, comme l’indique la note precedente.
(28) Nous avons vu, section I, page 272, note 36; page 286, note 39, que Trita est la libation personnifiee. Outrager Trita est donc le fait de l’impie.
(29) Le texte porte le mot dasagwa. Voy. section I, page 274, note 5. Le commentaire suppose que les Marouts, apres des pratiques de dix mois, ont pris la forme des Angiras, et offert eux-memes le sacrifice. Il raconte une querelle survenue entre les Angiras et les Adityas; querelle dans laquelle les Angiras obtinrent l’avantage par le moyen du sacrifice. Il serait facheux que, pour expliquer ce passage, on fut oblige de recourir a ce conte, invente pour donner raison de ce vers. Nous avons vu ailleurs que les Angiras et les Marouts sont des agents du sacrifice. Les feux d’Agni doivent preceder et meme engendrer les feux du soleil. Il est donc naturel que les Adityas soient vaincus par les Angiras.
(30) Dans le systeme du commentateur, ces mots seraient les paroles des Marouts offrant le sacrifice, et disant aux Adityas: "Que les Adityas ne viennent a nous qu’avec l’aurore."
(31) Ces cinq sacrificateurs sont, a ce qu’il parait, les cinq pranas, ou les cinq esprits vitaux (pantchapranas).
(32) C’est-a-dire, Agni, ne des libations, apam napat. Le commentaire, traduisant ces mots plus litteralement, aquarum nepos, forme cette genealogie d’Agni. L’eau du ciel fait naitre le bois, le bois donne la vie au feu; le feu est ainsi le petit-fils des eaux.
(33) Agni est considere comme Vedyouta ou feu des nuages, et it habite alors an milieu des eaux. Il est encore considere comme feu du sacrifice, et il est, sous cette forme, honore par les eaux des libations qui viennent le trouver. Le feu nomme Ourva est le feu des volcans sous-marins.
(34) Ila, Saraswati et Bharati.
(35) Ce sens n’est pas celui du commentaire; cependant il m’avait paru qu’il etait assez dans l'esprit de l'auteur d’etablir une antithese entre la fonction de nourrice et l’etat de fille, et de dire que le dieu etait nourri par ses filles. Agni est le fils nourricier de ces ondes qu’il a enfantees en sa qualite de Vedyouta.
(36) La phrase contient le mot aswa (equus); et le commentaire croit y voir une mention du fameux cheval Outtchesravas, qu’il donne comme etant le soleil.
(37) Plus haut la coupe s’appelait hotra; ici le vase se nomme potra. Un autre nom est nechtra.
(38) Il est question des Aswins, ou bien de Mitra et Varouna.
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Re: Rig-Veda Or Book of Hymns, by Par M. Langlois
by admin » Fri Apr 07, 2023 2:25 am
READING VII.
[English Version by Google Translate]
(1) It is a name of Agni, which in this hymn is sometimes confused with Indra.
(2) The commentary thinks that it is a question here of the rays of the sun. I would rather take the word swardris to mean a portion of the atmosphere.
(3) See. section I, page 249, note 36.
(4) These words are the paraphrase of the epithet carnayoni, to which we can find another meaning. According to this meaning, prayer rests in the ear of the god.
(5) The Adityas are twelve in number. Dakcha is not usually in this number.
(6) These three worlds (the text says the three terras) are the earth, the air and the sky.
(7) The text uses the word dyou, to which the comment gives several meanings. These three dyou are undoubtedly the three regions of the air which are called in English heaven, sky, aether; or they are the worlds which the Indians call maharloka, swarloka, pitriloca. See. section I, page 267, note 24. The word dyou means brilliant, and the commentary again proposes to see in the three dyous, Agni, Vayou, and the Sun.
(8) These are the three savanas; or these are three rites, called rasadana, dharana, and visradjana.
(9) Asura.
(10) It is time for the morning sacrifice.
(11) I mean, by these two dwellings, the earthly dwelling and the celestial dwelling, obtained one by his arms, the other by his piety.
(12) The commentator hears all this passage of the waters of the rain that Varuna sends from the sky. This god who revolves around the earth is Agni (Parigman), He is also an epithet of the air, and one could say that the libations rise in the air in the form of vapours; for, instead of these words like to feed him, one can also say like a bird. The commentator, in his system, wants parigman to mean the earth.
(13) That is to say, the sacrifice.
(14) See. above, page 573, note 48.
(15) See. above, page 569, note 7.
(16) Name of Indra or of the sun, not natus.
(17) Name of Indra or of the sun, quasi unipes. The words Adja and Ecapad have been combined to form a name of Roudra.
(18) Name of Agni. See. Section I, page 272, note 36; page 286, footnote 39.
(19) Name of Indra.
(20) That is to say, Agni.
(21) It is the full moon; the new moon is called Couhou, the day before it, Sinivali.
(22) See. the previous note.
(28) The commentator says that it is the same character as Couhou.
(24) Wife of Indra.
(25) Prisni (see section I, page 257, note 23; page 268, note 37; section II, page 567, note 3) is a name given to the earth, and even to the air. But it seems to me here that this word, which means multicolor, must refer to the cloud. It is within the cloud that Rudra, that is to say the air, gives birth to the winds. Two words of this sentence, vrichan, which means bull, and oudhan, which means udder, have given rise to a legend. It is supposed that Rudra, changed into a bull, had the Marouts of the Earth, changed into a cow.
(27) That is to say, from the cloud, as the previous note indicates.
(28) We have seen, section I, page 272, note 36; page 286, note 39, that Trita is the libation personified. Outraging Trita is therefore the act of the impious.
(29) The text bears the word dasagwa. See. section I, page 274, note 5. The commentary supposes that the Maruts, after ten months' practices, took the form of the Angiras, and themselves offered the sacrifice. It tells of a quarrel that arose between the Angiras and the Adityas; quarrel in which the Angiras obtained the advantage by means of sacrifice. It would be unfortunate if, to explain this passage, we were obliged to have recourse to this tale, invented to give reason for this verse. We have seen elsewhere that the Angiras and the Marouts are agents of sacrifice. The fires of Agni must precede and even engender the fires of the sun. It is therefore natural that the Adityas are defeated by the Angiras.
(30) In the system of the commentator, these words would be the words of the Marouts offering the sacrifice, and saying to the Adityas: "Let the Adityas come to us only with the dawn."
(31) These five priests are, it seems, the five pranas, or the five vital spirits (panchapranas).
(32) That is to say, Agni, ne of libations, apam napat. The commentary, translating these words more literally, aquarum nepos, forms this genealogy of Agni. Water from the sky gives birth to wood, wood gives life to fire; the fire is thus the grandson of the waters.
(33) Agni is considered as Vedyuta or fire of the clouds, and he then dwells in the midst of the waters. It is still considered as the fire of sacrifice, and it is, in this form, honored by the waters of the libations which come to find it. The fire called Ourva is the fire of submarine volcanoes.
(34) Ila, Saraswati and Bharati.
(35) This meaning is not that of the commentary; however it seemed to me that it was enough in the mind of the author to establish an antithesis between the function of nurse and the state of daughter, and to say that the god was nourished by his daughters. Agni is the foster son of these waves that he gave birth to in his capacity as Vedyouta.
(36) The sentence contains the word aswa (equus); and the commentary believes to see there a mention of the famous horse Utchesravas, which it gives as being the sun.
(37) Above the cup was called hotra; here the vase is called potra. Another name is nechtra.
(38) It is about the Aswins, or Mitra and Varouna.
[English Version by Google Translate]
(1) It is a name of Agni, which in this hymn is sometimes confused with Indra.
(2) The commentary thinks that it is a question here of the rays of the sun. I would rather take the word swardris to mean a portion of the atmosphere.
(3) See. section I, page 249, note 36.
(4) These words are the paraphrase of the epithet carnayoni, to which we can find another meaning. According to this meaning, prayer rests in the ear of the god.
(5) The Adityas are twelve in number. Dakcha is not usually in this number.
(6) These three worlds (the text says the three terras) are the earth, the air and the sky.
(7) The text uses the word dyou, to which the comment gives several meanings. These three dyou are undoubtedly the three regions of the air which are called in English heaven, sky, aether; or they are the worlds which the Indians call maharloka, swarloka, pitriloca. See. section I, page 267, note 24. The word dyou means brilliant, and the commentary again proposes to see in the three dyous, Agni, Vayou, and the Sun.
(8) These are the three savanas; or these are three rites, called rasadana, dharana, and visradjana.
(9) Asura.
(10) It is time for the morning sacrifice.
(11) I mean, by these two dwellings, the earthly dwelling and the celestial dwelling, obtained one by his arms, the other by his piety.
(12) The commentator hears all this passage of the waters of the rain that Varuna sends from the sky. This god who revolves around the earth is Agni (Parigman), He is also an epithet of the air, and one could say that the libations rise in the air in the form of vapours; for, instead of these words like to feed him, one can also say like a bird. The commentator, in his system, wants parigman to mean the earth.
(13) That is to say, the sacrifice.
(14) See. above, page 573, note 48.
(15) See. above, page 569, note 7.
(16) Name of Indra or of the sun, not natus.
(17) Name of Indra or of the sun, quasi unipes. The words Adja and Ecapad have been combined to form a name of Roudra.
(18) Name of Agni. See. Section I, page 272, note 36; page 286, footnote 39.
(19) Name of Indra.
(20) That is to say, Agni.
(21) It is the full moon; the new moon is called Couhou, the day before it, Sinivali.
(22) See. the previous note.
(28) The commentator says that it is the same character as Couhou.
(24) Wife of Indra.
(25) Prisni (see section I, page 257, note 23; page 268, note 37; section II, page 567, note 3) is a name given to the earth, and even to the air. But it seems to me here that this word, which means multicolor, must refer to the cloud. It is within the cloud that Rudra, that is to say the air, gives birth to the winds. Two words of this sentence, vrichan, which means bull, and oudhan, which means udder, have given rise to a legend. It is supposed that Rudra, changed into a bull, had the Marouts of the Earth, changed into a cow.
(27) That is to say, from the cloud, as the previous note indicates.
(28) We have seen, section I, page 272, note 36; page 286, note 39, that Trita is the libation personified. Outraging Trita is therefore the act of the impious.
(29) The text bears the word dasagwa. See. section I, page 274, note 5. The commentary supposes that the Maruts, after ten months' practices, took the form of the Angiras, and themselves offered the sacrifice. It tells of a quarrel that arose between the Angiras and the Adityas; quarrel in which the Angiras obtained the advantage by means of sacrifice. It would be unfortunate if, to explain this passage, we were obliged to have recourse to this tale, invented to give reason for this verse. We have seen elsewhere that the Angiras and the Marouts are agents of sacrifice. The fires of Agni must precede and even engender the fires of the sun. It is therefore natural that the Adityas are defeated by the Angiras.
(30) In the system of the commentator, these words would be the words of the Marouts offering the sacrifice, and saying to the Adityas: "Let the Adityas come to us only with the dawn."
(31) These five priests are, it seems, the five pranas, or the five vital spirits (panchapranas).
(32) That is to say, Agni, ne of libations, apam napat. The commentary, translating these words more literally, aquarum nepos, forms this genealogy of Agni. Water from the sky gives birth to wood, wood gives life to fire; the fire is thus the grandson of the waters.
(33) Agni is considered as Vedyuta or fire of the clouds, and he then dwells in the midst of the waters. It is still considered as the fire of sacrifice, and it is, in this form, honored by the waters of the libations which come to find it. The fire called Ourva is the fire of submarine volcanoes.
(34) Ila, Saraswati and Bharati.
(35) This meaning is not that of the commentary; however it seemed to me that it was enough in the mind of the author to establish an antithesis between the function of nurse and the state of daughter, and to say that the god was nourished by his daughters. Agni is the foster son of these waves that he gave birth to in his capacity as Vedyouta.
(36) The sentence contains the word aswa (equus); and the commentary believes to see there a mention of the famous horse Utchesravas, which it gives as being the sun.
(37) Above the cup was called hotra; here the vase is called potra. Another name is nechtra.
(38) It is about the Aswins, or Mitra and Varouna.
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Re: Rig-Veda Or Book of Hymns, by Par M. Langlois
by admin » Fri Apr 07, 2023 3:28 am
LECTURE VIII
[French Version]
(1) J’ai tout a l’heure mentionne les trois noms qu’on donne au vase du sacrifice, hotra, potra, et nechtra. J’ignore la difference qui existe entre ces trois vases; je n’en puis etablir d’autre que celle qui resulte de la signification des noms, d’ou ces mots sont derives. Hotri est le pretre qui offre l’holocauste, potri le pretre qui purifie, nechtri le pretre qui dirige le sacrifice.
(2) Dieux des saisons. Voy. section I, lecture 1, l’hymne 15, qui a des rapports avec cet hymne.
(3) Cette coupe (potra) est presentee a Agni, invoque quatre fois sous le nom de Dravinodas (riche et liberal). Ce passage nous rappelle le vers 10 de l'hymne 15, de la section I, lecture 1.
(4) Savitri, c’est le soleil; et le vers memo indique l'etymologie de ce mot, qui vient de sava, creation.
(5) C’est-a-dire, du nuage qui rafraichit la terre.
(6) C’est-a-dire, l’aurore, qui precede le soleil et semble etre sa mere.
(7) C’est-a-dire, le soleil voile, le soleil de nuit.
(8) Les metres (tchhandas) sur lesquels sont composes les hymnes sont appeles les epouses du dieu que ces hymnes celebrent.
(9) Le tchacravaka est une oie rouge (anas casarca, brahmany goose).
(10) Ces sept roues, suivant le commentateur, sont les six ritous ou saisons, et le mois complementaire.
(11) Le commentaire renouvelle ici l’explication donnee pour les sept roues du char. Mais on ne peut l'admettre, puisque le nombre des ritous est trop grand. Ne serait-ce pas une allusion aux cinq elements?
(12) Pouchan est le soleil qui brille dans le ciel; Soma est la libation qui existe d’abord dans la plante, et ensuite dans l’air ou s’elevent ses exhalaisons. Le commentaire, tenant compte de la double signification du mot soma, etablit le dieu Soma d’abord dans la plante ou il nait, et ensuite dans la lune (tchandra). Nous n’avons pas encore vu que Soma fut, dans ces hymnes, identifie avec la lune.
(13) Soma, par la vertu du sacrifice, est le createur des mondes: Soma est une forme d’Agni.
(14) Le poete leur donne l'epithete de roudra.
(15) C’est le nom du pere de Gritsamada.
(16) Voy. section I, page 247, note 24. J’entends le mot naditame dans le sens de sonantium rerum optima. Je ne puis me resoudre a voir ici la riviere de Saraswati.
(17) Le nom de Capindjala se donne a un oiseau qui est le francolin. Il parait qu’on l’emploie aussi pour le Tchataca (cuculus melano-leucus). Ce petit oiseau est suppose ne boire que l’eau du nuage, qu’il appelle par son cri. Le poete compare au Tchataca qui annonce la pluie, Indra qui, comme l'oiseau, vit dans l'air, et par le bruit de son tonnerre annonce la pluie.
(18) C’est de ce cote que doit venir pour l'Indien le nuage.
(19) Il faut supposer que ce foyer, comme dans le sacrifice, est tourne du cote du levant, de sorte que la droite est necessairement le midi.
(20) J’ignore si le tchataca a deux cris. Le lecteur reconnaitra-t-il deux tons dans le bruit du tonnerre?
(21) Brahmana: c’est la seconde fois que ce mot est employe. Voy. section II, page 566, note 98. Le commentaire traduit ce mot par brahmapoutra.
(22) Le dictionnaire dit que carcari est a water jar with a spout. Le commentaire explique carcari par vadyavisecha. Il semblerait donc que le carcari serait un instrument, comme un tambour.
(23) Ici finit le second mandala, termine, comme le premier, par une petite piece de vers qui me semble de la composition du copiste. Voy. section II, page 594, note 40. Le troisieme mandala porte le nom de Viswamitra.
(24) Ce n’est plus le meme poete qui a compose cet hymne; et ces libations, que quelques-uns appelaient les meres d’Agni, celui-ci peut les appeler ses soeurs. Agni et les libations n’ont-ils pas pour peres les devas?
(25) Sans doute ce ne sont pas les sept rivieres mentionnees a la section I, page 264, note 80. Ce sont les sept meres ou especes de libations. Voy. section II, page 562, note 51.
(26) Les vases des libations.
(27) Ce sont les deux pieces de l'arani, qui a donne naissance au feu. Le commentaire veut qu’il soit ici question du ciel et de la terre.
(28) Tout ce passage m’a paru difficile: je n’ai pas cru devoir adopter la pensee du commentateur, lequel croit que ce pere c’est l'air, qui, je ne sais comment, se trouve le pere d’Agni. Je pense qu’il est ici question du soleil, pere du monde, et, par la force de ses rayons, formant le nuage qui est comme la mamelle de la terre. Agni, en sa qualite de vedyouta, existe dans le nuage que (a foudre divise et fond dans les airs.
(29) C’est-a-dire, le ciel et la terre.
(30) Traduction du mot damounas. Voy. section II, page 546, note 21.
(31) Ces plantes servent, soit a alimenter le feu; soit a composer les libations.
(32) Ourva, volcan sous-marin.
(33) Je croirais assez que le mot ila, au lieu de signifier terre, devrait se rendre par hymne.
(34) Les deux pieces de l'arani.
(35) Les ousidjs sont ordinairement les enfants de Cakchivan; mais ce mot est synonyme de devas. Dans cette phrase les ousidjs ou devas sont evidemment les rites et ceremonies qui, dans le sacrifice, changent Agni terrestre en Agni vedyouta et en Agni solaire.
(36) C’est-a-dire, dans l’air.
(37) Le germe d’Agni est dans l'arani.
(38) Veswanara.
(39) Matariswan est le vent, qui habite l'air ainsi qu’Agni vedyouta: il anime le feu du foyer, et semble ainsi y avoir apporte le dieu. Il doit le reprendre, et le transporter dans le ciel.
(40) Ces trois strophes sont ainsi consacrees a chanter les trois formes d’Agni, parthiva (terrestre), vedyouta (celeste), souryaroupa (solaire).
(41) Traduisez autrement bien dispose pour l'humanite.
(42) Asoura.
(43) Ousidj.
(44) Ousidj.
(45) Voy. livre I, page 251, note 56.
(46) Le texte donne ici un pronom qui est au duel. Le commentaire dit que les deux choses designees sont Agni et le cousa. Je ne me rends pas compte de cette explication. Je pense que les deux personnes ainsi designees sont les deux epoux qui offrent le sacrifice.
(47) Sapta hotrani.
(48) Il est question ici des rites personnifies.
(49) Voy. section I, page 252, note 59; et section II, page 552, note 30.
(50) Voy. section I, page 246, note 7.
(51) Voy. section I, page 247, note 23. Les Saraswatas sont les mantras personnifies, comme les devas sont les chants aussi deifies. Quant aux Bharatis, je suppose que ce sont les gestes, les details de l'action exterieure du sacrifice, personnifies comme enfants de Bharati.
(52) Les Marouts, habitants de l'air, forment sept divisions composees chacune de sept individus, total quarante-neuf Marouts. Le dieu de l'air est, par cette raison, appele le dieu aux sept tetes.
(53) De l'arani. Il n’est point question ici du ciel et de la terre, comme le croit le commentateur.
(54) C’est ici le ciel et la terre.
(55) Ce mot n’existe pas dans le texte: sroutch. Il est donne par le commentaire. Je pense que le mot Ghritatchi doit etre considere comme substantif, avec la signification de libation.
(56) Ces dieux ne peuvent etre que les rayons d’Agni.
(57) J’ai compris de cette maniere le mot ouma. Le commentaire y a vu une classe de Pitris.
(58)Voy. section II, page 551, note 4.
FIN DES NOTES DE LA DEUXIEME SECTION.
[French Version]
(1) J’ai tout a l’heure mentionne les trois noms qu’on donne au vase du sacrifice, hotra, potra, et nechtra. J’ignore la difference qui existe entre ces trois vases; je n’en puis etablir d’autre que celle qui resulte de la signification des noms, d’ou ces mots sont derives. Hotri est le pretre qui offre l’holocauste, potri le pretre qui purifie, nechtri le pretre qui dirige le sacrifice.
(2) Dieux des saisons. Voy. section I, lecture 1, l’hymne 15, qui a des rapports avec cet hymne.
(3) Cette coupe (potra) est presentee a Agni, invoque quatre fois sous le nom de Dravinodas (riche et liberal). Ce passage nous rappelle le vers 10 de l'hymne 15, de la section I, lecture 1.
(4) Savitri, c’est le soleil; et le vers memo indique l'etymologie de ce mot, qui vient de sava, creation.
(5) C’est-a-dire, du nuage qui rafraichit la terre.
(6) C’est-a-dire, l’aurore, qui precede le soleil et semble etre sa mere.
(7) C’est-a-dire, le soleil voile, le soleil de nuit.
(8) Les metres (tchhandas) sur lesquels sont composes les hymnes sont appeles les epouses du dieu que ces hymnes celebrent.
(9) Le tchacravaka est une oie rouge (anas casarca, brahmany goose).
(10) Ces sept roues, suivant le commentateur, sont les six ritous ou saisons, et le mois complementaire.
(11) Le commentaire renouvelle ici l’explication donnee pour les sept roues du char. Mais on ne peut l'admettre, puisque le nombre des ritous est trop grand. Ne serait-ce pas une allusion aux cinq elements?
(12) Pouchan est le soleil qui brille dans le ciel; Soma est la libation qui existe d’abord dans la plante, et ensuite dans l’air ou s’elevent ses exhalaisons. Le commentaire, tenant compte de la double signification du mot soma, etablit le dieu Soma d’abord dans la plante ou il nait, et ensuite dans la lune (tchandra). Nous n’avons pas encore vu que Soma fut, dans ces hymnes, identifie avec la lune.
(13) Soma, par la vertu du sacrifice, est le createur des mondes: Soma est une forme d’Agni.
(14) Le poete leur donne l'epithete de roudra.
(15) C’est le nom du pere de Gritsamada.
(16) Voy. section I, page 247, note 24. J’entends le mot naditame dans le sens de sonantium rerum optima. Je ne puis me resoudre a voir ici la riviere de Saraswati.
(17) Le nom de Capindjala se donne a un oiseau qui est le francolin. Il parait qu’on l’emploie aussi pour le Tchataca (cuculus melano-leucus). Ce petit oiseau est suppose ne boire que l’eau du nuage, qu’il appelle par son cri. Le poete compare au Tchataca qui annonce la pluie, Indra qui, comme l'oiseau, vit dans l'air, et par le bruit de son tonnerre annonce la pluie.
(18) C’est de ce cote que doit venir pour l'Indien le nuage.
(19) Il faut supposer que ce foyer, comme dans le sacrifice, est tourne du cote du levant, de sorte que la droite est necessairement le midi.
(20) J’ignore si le tchataca a deux cris. Le lecteur reconnaitra-t-il deux tons dans le bruit du tonnerre?
(21) Brahmana: c’est la seconde fois que ce mot est employe. Voy. section II, page 566, note 98. Le commentaire traduit ce mot par brahmapoutra.
(22) Le dictionnaire dit que carcari est a water jar with a spout. Le commentaire explique carcari par vadyavisecha. Il semblerait donc que le carcari serait un instrument, comme un tambour.
(23) Ici finit le second mandala, termine, comme le premier, par une petite piece de vers qui me semble de la composition du copiste. Voy. section II, page 594, note 40. Le troisieme mandala porte le nom de Viswamitra.
(24) Ce n’est plus le meme poete qui a compose cet hymne; et ces libations, que quelques-uns appelaient les meres d’Agni, celui-ci peut les appeler ses soeurs. Agni et les libations n’ont-ils pas pour peres les devas?
(25) Sans doute ce ne sont pas les sept rivieres mentionnees a la section I, page 264, note 80. Ce sont les sept meres ou especes de libations. Voy. section II, page 562, note 51.
(26) Les vases des libations.
(27) Ce sont les deux pieces de l'arani, qui a donne naissance au feu. Le commentaire veut qu’il soit ici question du ciel et de la terre.
(28) Tout ce passage m’a paru difficile: je n’ai pas cru devoir adopter la pensee du commentateur, lequel croit que ce pere c’est l'air, qui, je ne sais comment, se trouve le pere d’Agni. Je pense qu’il est ici question du soleil, pere du monde, et, par la force de ses rayons, formant le nuage qui est comme la mamelle de la terre. Agni, en sa qualite de vedyouta, existe dans le nuage que (a foudre divise et fond dans les airs.
(29) C’est-a-dire, le ciel et la terre.
(30) Traduction du mot damounas. Voy. section II, page 546, note 21.
(31) Ces plantes servent, soit a alimenter le feu; soit a composer les libations.
(32) Ourva, volcan sous-marin.
(33) Je croirais assez que le mot ila, au lieu de signifier terre, devrait se rendre par hymne.
(34) Les deux pieces de l'arani.
(35) Les ousidjs sont ordinairement les enfants de Cakchivan; mais ce mot est synonyme de devas. Dans cette phrase les ousidjs ou devas sont evidemment les rites et ceremonies qui, dans le sacrifice, changent Agni terrestre en Agni vedyouta et en Agni solaire.
(36) C’est-a-dire, dans l’air.
(37) Le germe d’Agni est dans l'arani.
(38) Veswanara.
(39) Matariswan est le vent, qui habite l'air ainsi qu’Agni vedyouta: il anime le feu du foyer, et semble ainsi y avoir apporte le dieu. Il doit le reprendre, et le transporter dans le ciel.
(40) Ces trois strophes sont ainsi consacrees a chanter les trois formes d’Agni, parthiva (terrestre), vedyouta (celeste), souryaroupa (solaire).
(41) Traduisez autrement bien dispose pour l'humanite.
(42) Asoura.
(43) Ousidj.
(44) Ousidj.
(45) Voy. livre I, page 251, note 56.
(46) Le texte donne ici un pronom qui est au duel. Le commentaire dit que les deux choses designees sont Agni et le cousa. Je ne me rends pas compte de cette explication. Je pense que les deux personnes ainsi designees sont les deux epoux qui offrent le sacrifice.
(47) Sapta hotrani.
(48) Il est question ici des rites personnifies.
(49) Voy. section I, page 252, note 59; et section II, page 552, note 30.
(50) Voy. section I, page 246, note 7.
(51) Voy. section I, page 247, note 23. Les Saraswatas sont les mantras personnifies, comme les devas sont les chants aussi deifies. Quant aux Bharatis, je suppose que ce sont les gestes, les details de l'action exterieure du sacrifice, personnifies comme enfants de Bharati.
(52) Les Marouts, habitants de l'air, forment sept divisions composees chacune de sept individus, total quarante-neuf Marouts. Le dieu de l'air est, par cette raison, appele le dieu aux sept tetes.
(53) De l'arani. Il n’est point question ici du ciel et de la terre, comme le croit le commentateur.
(54) C’est ici le ciel et la terre.
(55) Ce mot n’existe pas dans le texte: sroutch. Il est donne par le commentaire. Je pense que le mot Ghritatchi doit etre considere comme substantif, avec la signification de libation.
(56) Ces dieux ne peuvent etre que les rayons d’Agni.
(57) J’ai compris de cette maniere le mot ouma. Le commentaire y a vu une classe de Pitris.
(58)Voy. section II, page 551, note 4.
FIN DES NOTES DE LA DEUXIEME SECTION.
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Re: Rig-Veda Or Book of Hymns, by Par M. Langlois
by admin » Fri Apr 07, 2023 3:32 am
READING VIII
[English Version by Google Translate]
(1) Earlier I mentioned the three names given to the sacrificial vessel, hotra, potra, and nechtra. I do not know the difference which exists between these three vases; I cannot establish any other than that which results from the signification of the names, from which these words are derived. Hotri is the priest who offers the holocaust, potri the priest who purifies, nechtri the priest who directs the sacrifice.
(2) Gods of the seasons. See. section I, reading 1, hymn 15, which relates to this hymn.
(3) This cup (potra) is presented to Agni, invoked four times under the name of Dravinodas (rich and liberal). This passage reminds us of verse 10 of hymn 15, section I, reading 1.
(4) Savitri is the sun; and the verse memo indicates the etymology of this word, which comes from sava, creation.
(5) That is to say, from the cloud that refreshes the earth.
(6) That is to say, the aurora, which precedes the sun and seems to be its mother.
(7) That is to say, the sun veils, the sun at night.
(8) The meters (tchhandas) on which the hymns are composed are called the wives of the god whom these hymns celebrate.
(9) The tchacravaka is a red goose (anas casarca, brahmany goose).
(10) These seven wheels, according to the commentator, are the six ritous or seasons, and the complementary month.
(11) The comment here renews the explanation given for the seven wheels of the chariot. But this cannot be admitted, since the number of ritous is too great. Wouldn't this be an allusion to the five elements?
(12) Pouchan is the sun that shines in the sky; Soma is the libation that exists first in the plant, and then in the air where its exhalations rise. The commentary, taking into account the double meaning of the word soma, establishes the god Soma first in the plant where he was born, and then in the moon (tchandra). We have not yet seen that Soma was, in these hymns, identified with the moon.
(13) Soma, by virtue of sacrifice, is the creator of the worlds: Soma is a form of Agni.
(14) The poet gives them the epithet of roudra.
(15) This is the name of Gritsamada's father.
(16) See. section I, page 247, note 24. I understand the word naditame in the sense of sonantium rerum optima. I cannot bring myself to see the Saraswati River here.
(17) The name Capindjala is given to a bird which is the francolin. It seems that it is also used for Tchataca (cuculus melano-leucus). This little bird is supposed to drink only water from the cloud, which it calls out with its cry. The poet compares to Tchataca who announces the rain, Indra who, like the bird, lives in the air, and by the sound of his thunder announces the rain.
(18) It is from this side that the cloud must come for the Indian.
(19) It must be supposed that this hearth, as in the sacrifice, is turned towards the east side, so that the right is necessarily the south.
(20) I don't know if the tchataca has two calls. Will the reader recognize two tones in the sound of thunder?
(21) Brahmana: this is the second time that this word is used. See. section II, page 566, note 98. The commentary translates this word as brahmaputra.
(22) The dictionary says that carcari is a water jar with a spout. The comment explains carcari by vadyavisecha. It would therefore seem that the carcari would be an instrument, like a drum.
(23) Here ends the second mandala, finished, like the first, by a small piece of verse which seems to me to be the composition of the copyist. See. section II, page 594, note 40. The third mandala bears the name of Viswamitra.
(24) It is no longer the same poet who composed this hymn; and these drink offerings, which some called the mothers of Agni, he may call his sisters. Are not Agni and the libations fathered by the devas?
(25) Undoubtedly these are not the seven rivers mentioned in section I, page 264, note 80. They are the seven mothers or species of libations. See. section II, page 562, note 51.
(26) The libation vessels.
(27) These are the two parts of the arani, which gave birth to fire. The commentary wants it to be a question here of heaven and earth.
(28) All this passage seemed difficult to me: I did not think I had to adopt the thought of the commentator, who believes that this father is the air, which, I do not know how, is the father of Agni. I think it is a question here of the sun, father of the world, and, by the force of its rays, forming the cloud which is like the breast of the earth. Agni, in his quality of vedyuta, exists in the cloud that (a lightning splits and melts in the air.
(29) That is to say, heaven and earth.
(30) Translation of the word damunas. See. section II, page 546, note 21.
(31) These plants serve either to feed the fire; or to compose the libations.
(32) Ourva, submarine volcano.
(33) I would rather believe that the word ila, instead of meaning earth, should be rendered by hymn.
(34) The two pieces of arani.
(35) The ousijs are usually the children of Cakchivan; but this word is synonymous with devas. In this sentence the usijs or devas are evidently the rites and ceremonies which, in the sacrifice, change terrestrial Agni into Agni vedyouta and into solar Agni.
(36) That is to say, in the air.
(37) The germ of Agni is in the arani.
(38) Veswanara.
(39) Matariswan is the wind, which inhabits the air as well as Agni vedyouta: it animates the fire of the hearth, and thus seems to have brought the god there. He must take it back, and carry it into heaven.
(40) These three stanzas are thus dedicated to chanting the three forms of Agni, parthiva (terrestrial), vedyouta (celestial), souryaroupa (solar).
(41) Translate otherwise well disposed for humanity.
(42) Asura.
(43) Ousidj.
(44) Ousidj.
(45) See. book I, page 251, note 56.
(46) The text here gives a pronoun which is dual. The commentary says that the two things designated are Agni and cousa. I don't understand this explanation. I think that the two persons thus designated are the two spouses who offer the sacrifice.
(47) Sapta hotrani.
(48) It is a question here of personified rites.
(49) See. Section I, page 252, note 59; and Section II, page 552, note 30.
(50) See. section I, page 246, note 7.
(51) See. section I, page 247, note 23. The Saraswatas are the personified mantras, as the devas are the chants also deified. As for the Bharatis, I suppose these are the gestures, the details of the outward action of sacrifice, personified as children of Bharati.
(52) The Marouts, inhabitants of the air, form seven divisions each composed of seven individuals, totaling forty-nine Marouts. The god of air is therefore called the seven-headed god.
(53) Arani. There is no question here of heaven and earth, as the commentator believes.
(54) This is heaven and earth.
(55) This word does not exist in the text: sroutch. It is given by the comment. I think the word Ghritatchi should be considered as a substantive, with the meaning of libation.
(56) These gods can only be the rays of Agni.
(57) This is how I understood the word ouma. The commentary saw in it a class of Pitris.
(58) See. section II, page 551, note 4.
END OF SECOND SECTION NOTES.
[English Version by Google Translate]
(1) Earlier I mentioned the three names given to the sacrificial vessel, hotra, potra, and nechtra. I do not know the difference which exists between these three vases; I cannot establish any other than that which results from the signification of the names, from which these words are derived. Hotri is the priest who offers the holocaust, potri the priest who purifies, nechtri the priest who directs the sacrifice.
(2) Gods of the seasons. See. section I, reading 1, hymn 15, which relates to this hymn.
(3) This cup (potra) is presented to Agni, invoked four times under the name of Dravinodas (rich and liberal). This passage reminds us of verse 10 of hymn 15, section I, reading 1.
(4) Savitri is the sun; and the verse memo indicates the etymology of this word, which comes from sava, creation.
(5) That is to say, from the cloud that refreshes the earth.
(6) That is to say, the aurora, which precedes the sun and seems to be its mother.
(7) That is to say, the sun veils, the sun at night.
(8) The meters (tchhandas) on which the hymns are composed are called the wives of the god whom these hymns celebrate.
(9) The tchacravaka is a red goose (anas casarca, brahmany goose).
(10) These seven wheels, according to the commentator, are the six ritous or seasons, and the complementary month.
(11) The comment here renews the explanation given for the seven wheels of the chariot. But this cannot be admitted, since the number of ritous is too great. Wouldn't this be an allusion to the five elements?
(12) Pouchan is the sun that shines in the sky; Soma is the libation that exists first in the plant, and then in the air where its exhalations rise. The commentary, taking into account the double meaning of the word soma, establishes the god Soma first in the plant where he was born, and then in the moon (tchandra). We have not yet seen that Soma was, in these hymns, identified with the moon.
(13) Soma, by virtue of sacrifice, is the creator of the worlds: Soma is a form of Agni.
(14) The poet gives them the epithet of roudra.
(15) This is the name of Gritsamada's father.
(16) See. section I, page 247, note 24. I understand the word naditame in the sense of sonantium rerum optima. I cannot bring myself to see the Saraswati River here.
(17) The name Capindjala is given to a bird which is the francolin. It seems that it is also used for Tchataca (cuculus melano-leucus). This little bird is supposed to drink only water from the cloud, which it calls out with its cry. The poet compares to Tchataca who announces the rain, Indra who, like the bird, lives in the air, and by the sound of his thunder announces the rain.
(18) It is from this side that the cloud must come for the Indian.
(19) It must be supposed that this hearth, as in the sacrifice, is turned towards the east side, so that the right is necessarily the south.
(20) I don't know if the tchataca has two calls. Will the reader recognize two tones in the sound of thunder?
(21) Brahmana: this is the second time that this word is used. See. section II, page 566, note 98. The commentary translates this word as brahmaputra.
(22) The dictionary says that carcari is a water jar with a spout. The comment explains carcari by vadyavisecha. It would therefore seem that the carcari would be an instrument, like a drum.
(23) Here ends the second mandala, finished, like the first, by a small piece of verse which seems to me to be the composition of the copyist. See. section II, page 594, note 40. The third mandala bears the name of Viswamitra.
(24) It is no longer the same poet who composed this hymn; and these drink offerings, which some called the mothers of Agni, he may call his sisters. Are not Agni and the libations fathered by the devas?
(25) Undoubtedly these are not the seven rivers mentioned in section I, page 264, note 80. They are the seven mothers or species of libations. See. section II, page 562, note 51.
(26) The libation vessels.
(27) These are the two parts of the arani, which gave birth to fire. The commentary wants it to be a question here of heaven and earth.
(28) All this passage seemed difficult to me: I did not think I had to adopt the thought of the commentator, who believes that this father is the air, which, I do not know how, is the father of Agni. I think it is a question here of the sun, father of the world, and, by the force of its rays, forming the cloud which is like the breast of the earth. Agni, in his quality of vedyuta, exists in the cloud that (a lightning splits and melts in the air.
(29) That is to say, heaven and earth.
(30) Translation of the word damunas. See. section II, page 546, note 21.
(31) These plants serve either to feed the fire; or to compose the libations.
(32) Ourva, submarine volcano.
(33) I would rather believe that the word ila, instead of meaning earth, should be rendered by hymn.
(34) The two pieces of arani.
(35) The ousijs are usually the children of Cakchivan; but this word is synonymous with devas. In this sentence the usijs or devas are evidently the rites and ceremonies which, in the sacrifice, change terrestrial Agni into Agni vedyouta and into solar Agni.
(36) That is to say, in the air.
(37) The germ of Agni is in the arani.
(38) Veswanara.
(39) Matariswan is the wind, which inhabits the air as well as Agni vedyouta: it animates the fire of the hearth, and thus seems to have brought the god there. He must take it back, and carry it into heaven.
(40) These three stanzas are thus dedicated to chanting the three forms of Agni, parthiva (terrestrial), vedyouta (celestial), souryaroupa (solar).
(41) Translate otherwise well disposed for humanity.
(42) Asura.
(43) Ousidj.
(44) Ousidj.
(45) See. book I, page 251, note 56.
(46) The text here gives a pronoun which is dual. The commentary says that the two things designated are Agni and cousa. I don't understand this explanation. I think that the two persons thus designated are the two spouses who offer the sacrifice.
(47) Sapta hotrani.
(48) It is a question here of personified rites.
(49) See. Section I, page 252, note 59; and Section II, page 552, note 30.
(50) See. section I, page 246, note 7.
(51) See. section I, page 247, note 23. The Saraswatas are the personified mantras, as the devas are the chants also deified. As for the Bharatis, I suppose these are the gestures, the details of the outward action of sacrifice, personified as children of Bharati.
(52) The Marouts, inhabitants of the air, form seven divisions each composed of seven individuals, totaling forty-nine Marouts. The god of air is therefore called the seven-headed god.
(53) Arani. There is no question here of heaven and earth, as the commentator believes.
(54) This is heaven and earth.
(55) This word does not exist in the text: sroutch. It is given by the comment. I think the word Ghritatchi should be considered as a substantive, with the meaning of libation.
(56) These gods can only be the rays of Agni.
(57) This is how I understood the word ouma. The commentary saw in it a class of Pitris.
(58) See. section II, page 551, note 4.
END OF SECOND SECTION NOTES.
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Re: Rig-Veda Or Book of Hymns, by Par M. Langlois
by admin » Fri Apr 07, 2023 3:46 am
END OF FIRST VOLUME (Rig-Veda Or Book Of Hymns, Translated from Sanskrit by M. Langlois, Member of the Institut, 1848)
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