k*V
l<
\
///// '/a//, ' ///////y//</'
VEDIC METRE
K
CAMBRIDGE UNIVERSITY PRESS WAREHOUSE,
C. F. CLAY, Manager.
Hon&Ott: AVE MARIA LANE, E.C.
©lasgofo: 50, WELLINGTON STREET.
fUtpjig: F. A. BROCKHAUS.
#efo gork: THE MACMILLAN COMPANY.
Bomba-g anti Calcutta: MACMILLAN AND CO., Ltd.
[All Bights reserved.]
. Xrr-£ It . 10
VEDIC METRE
IN ITS HISTORICAL DEVELOPMENT
BY
E? VERNON ARNOLD, Litt.D.,
PROFESSOR OF LATIN IN THE UNIVERSITY COLLEGE OF NORTH WALES FORMERLY FELLOW OF TRINITY COLLEGE, CAMBRIDGE.
CAMBRIDGE :
at the University Press 1905
©ambrtoge :
PRINTED BY JOHN CLAY, M.A. AT THE UNIVERSITY PRESS.
A 7533*l4
63023G
2. ^S<o
DEM ANDENKEN
RUDOLFS VON ROTH
DES GEISTVOLLEN LEHRERS
DES ERFAHRENEN MANNES
DES HILFREICHEN FREUNDES
GEWIDMET
VON SEINEM EHEMALIGEN SCHULER.
CONTENTS
PAGE
Preface ■ . ix — xiv
Ch. I. General Introduction 1
Ch. II. The popular Rigveda 22
Appendix I. The linguistic evidence of date . . 28
Appendix II. Doubtful hymns and fragments . . 41
Ch. III. Rearrangement of the Rigveda proper ... 47
Ch. IV. Sandhi 70
Ch. V. Syllabic restoration 81
Ch. VI. Quantitative restoration 108
Ch. VII. Dimeter verse 149
Ch. VIII. Trimeter verse 175
Ch. IX. The less usual metres— Stanzas and strophes . 228
Appendix III. The various forms of the stanza . 244
Ch. X. General conclusions 250
Appendix IV. Table of hymns 269
Ch. XI. Metrical Commentary 289
Corrigenda and Addenda 326
Indices :
Index of Subjects 327
Sanskrit Index . . . . . . . 331
PREFACE
THE Rigveda is not a book, but a library and a literature. Before its contents can be appreciated, it is necessary that they should be methodically arranged. We cannot determine with any exactness by external evidence the date, the locality, or the personality of the authors : we are therefore thrown back upon the poems themselves for our knowledge on these points ; and the internal evidence lends itself most readily to an enquiry into the relative date of the different hymns.
Almost all western students of the Rigveda have perceived that the Rigveda contains a number of poems which by their special characteristics in language, subject, and metre are to be distinguished from the main body of the hymns, and to be associated instead with the poems of the Atharvaveda. These poems have generally been described as 'later additions to the Rigveda,' and in my opinion this description is correct. Since however Professor Maurice Bloomfield in his work on the Atharvaveda (Strassburg, 1899) questions this view, I have not thought it right to take it for granted, but have adopted from him the title ' popular Rigveda ' for these poems.
My first task in this work is accordingly to delimit the ' popular Rigveda,' which has generally been vaguely described as consisting of certain hymns appended to the first nine Mandalas, and the majority of those of Mandala x. For this purpose an examination of the language has proved the most effective method : but the evidence is greatly strengthened by the fact that the differences found in the language are throughout accompanied by differences of metre. These differences are sometimes broadly marked, sometimes subtle : but they can always be clearly recognized when expressed by numerical calculations.
The first systematic attempt to delimit the popular Rigveda was made many years ago by Professor Hermann Oldenberg in his Prolegomena to the Rigveda (Berlin, 1888). Oldenberg also adopted the method of statistical calculations; and was thus led to observe that even those parts of the Rigveda which were not in his view later additions, differed very materially in their metrical structure. It is
x Preface
the principal object of this book to examine these differences, and to see whether they can assist us to obtain an arrangement of the whole of the Rigveda upon historical principles.
In my view this question is to be answered in the affirmative. I believe that the formal scheme reached in this book, by which each hymn of the Rigveda proper is assigned to one of four successive periods, is a true adumbration of the historical development of the whole literature, and should be a real assistance to the study of its meaning. On the other hand, I do not for a moment- suggest that the materials permit of any accuracy in details. At the same time, I think it is conclusively shewn (if it has not been shewn long ago) that the hymns of the ' popular Rigveda ' are in a true sense later additions, and further that these too are spread over a long period of time.
The conclusions I have reached have been in their main outlines published by me in the following articles :
L in the Rigveda (Festgruss an Rudolf von Roth, 1893, pp. 145-148).
Literary Epochs in the Rigveda (KZ. xxxiv, pp. 297-344).
Historical Vedic Grammar (JAOS. xviii 2).
Rigveda vii 33 (KZ. xxxvii, pp. 207-219).
The second Mandala of the Rigveda (KZ. xxxvii, pp. 429-486). »
Rigveda vii 18 (KZ. xxxviii, pp. 491-496).
Rigveda and Atharvaveda (JAOS. xxii, pp. 309-320).
These articles also contain my replies to the objections and criticisms which my propositions have called forth from several Vedic scholars.
Although my position has not yet won acceptance, I have received encouragement from more than one quarter to proceed to the publication of my views in a complete form. In so doing I have endeavoured to reduce controversy to a minimum, and to give instead with all possible fulness the materials from which I have drawn my own conclusions, but by which others in turn may be led to form more or less divergent views. I have not dropped the thread of historical theory which to my mind binds together in proper order a large collection of facts : but even if this thread be not altogether sound, the collections themselves can hardly fail to be of service to future students.
In elaborating this work I found that solutions were incidentally suggested to several important questions which affect the text of the Rigveda.
The first group of these questions has to do with the proposed 1 resolutions ' by which H. Grassmann in his Worterbuch zum Rigveda (1873) has attempted to restore completeness to numerous verses in the Rigveda in the number of syllables : and more particularly with the
Preface xi
restoration of indara for indra, and of -aam for -dm in the genitive plural. Although the native commentators justify the principle of resolution, there have always been scholars who have questioned Grassmann's procedure, which in fact assumes a fluidity of pronun- ciation not known in any settled language. I trust that the treatment of these points in Ch. Ill will greatly reduce the uncertainty that has hitherto prevailed on these points.
The second group of questions has to do with the authority of the Sariihita text with regard to vowel quantities, and in particular with regard to the so-called ■ Sariihita lengthenings,' that is the final vowels which are found with short quantity in the Pada-patha text and in the native grammars, but (more or less regularly) with long quantity in the Samhita text.
As the method of this book prohibits me from discussing the history of this question in the text, I take this opportunity of giving some account of it here. This seems the more desirable, as I hope this illustration will justify the cardinal principle which I have followed, namely to disregard in points of this character the authority not only of the native commentators, but also of the Sariihita as well as the Pada-patha text, and to be guided solely by the general usage of the Vedic poets.
The current explanation of what I have termed the ' variant final vowels,' i.e. the final vowels of which the quantity varies in the Samhita text, is derived from the unhistorical views of the native commentators, and is somewhat as follows. In certain positions in the verse metrical laws require long quantity : but the poets find themselves unable to provide words of the requisite measurement. They therefore introduce syllables of which the quantity is short, and give to those syllables an artificial long value by 'poetical license,' the syllables being thereby 'metrically lengthened.' This general theory is frequently asserted upon the authority of the two scholars who have dealt most fully with the question, namely Th. Benfey and J. Zubatv. But in fact the credit should rather be given to these writers of having shewn that the theory is untenable.
Only habit can explain the general acceptance of so remarkable a metrical theory : still Latin scholars will faintly recollect that the verse even of Virgil was thought not so long ago to require the occasional apology of ' metrical license,' and has not Horace said that at times bonus dormitat Bomerusl In this case however a metrical license, of which the instances can be counted by the thousand, seems to destroy the nature of verse altogether. How are we to suppose that the poets should always find the metre embarrassing just as they
xii Preface
reached a final vowel % and why should they be embarrassed at all by the metre if they possessed in themselves the power to transmute at will a vowel quantity ? In truth the two principles of ' resolution ' and 1 metrical lengthening ' together, if unduly pressed, reduce metre to an absurdity, since by means of them any piece of plain prose can be shewn to correspond to some metrical scheme.
Benfey dealt with the question in a series of articles on the Quantitdtsverschiedenheiten, which extend over the seven years 1874— 1880 and were never completed. His studies in comparative language at once suggested to him an historical explanation, namely that the vowels in question were originally long, but in the course of time shortened. This explanation is at first quite tentative, but as his work proceeds is used with increasing confidence. He finds repeatedly that the long vowels are used in positions in which short vowels would be equally or more acceptable from the metrical standpoint : here of course the idea of ' metrical license ' is out of the question. Still, from habit, Benfey continues to use the explanation * metrical ' wherever the long quantity suits the metre well, which is usually the case.
Zubaty took up the matter about ten years later (1888-1891) from a rather different standpoint. Assuming that in all these forms the Vedic poets were free to choose either the long or the short syllable,' in fact that the quantity was ' doubtful,' he argues from the quantity actually found in the Samhita text to the metrical preferences of the poets. In this way he has no difficulty in shewing that current theories as to the Vedic metres were often founded on a very slender basis of fact. Notably he corrected an error into which all previous writers had fallen, in supposing that the poets preferred short quantity in the third syllable of each verse. This imagined ' rule ' had been imported from Greek iambic verse into the supposed iambic verse of the Rigveda without any enquiry as to the facts. Zubaty 's work is remarkable for the completeness and orderly arrangement of his material, but un- fortunately its publication was never completed.
I fear that my treatment of this subject on pages 108-140 will be thought complicated and difficult : but perhaps this will be more readily excused by those who are familiar with the voluminous writings and inconclusive results of my two predecessors. For many years I had avoided this subject as too difficult for treatment, and had intended to assume (with Zubaty) the correctness of the Samhita text as a working hypothesis. But my study of the subject of ' resolution ' shewed me that the Vedic poets were in the habit of following very definite standards of pronunciation, with only a small margin of choice in the case of words which were actually changing their pronunciation
Preface xiii
in common speech. I felt therefore that I could not accept Zubaty's theory of optional quantity, and that a systematic study of Vedic usage must necessarily reveal in every case either a fixed or at any rate a preferential quantity. It required some time to examine and classify the many thousands of occurrences in the Rigveda, and it is not easy to put forward the detailed results in a form in which tliey can readily be followed. But the general conclusion is only strange in the sense that it is new. All the difficulties disappear when Benfey's suggestion is carried out, not in a hesitating or tentative fashion, but to its logical conclusion. A great number of final vowels are always long in Vedic usage, though in the Samhita text they are often, and in the Pada- patha text always, short : that is to say, the Samhita text has partly, the Pada-patha text entirely, failed to preserve the original quantity. The metrical position is not the cause which has produced long quantity in certain cases, but the hindrance which has prevented the corruption of the Samhita text by the prevailing usage. In other endings the shortening can be traced in the later parts of the Rigveda itself. The instances in which any real doubt remains become in this way reduced to a very small number.
I am aware that in postulating original long quantity for many of these vowels, objections may also be raised by the writers on comparative grammar. But these objections seem in no way entitled to a hearing. In treating of the metre of Plautus or Virgil we deduce our facts directly from the usage of these writers, and the theories of comparative grammar must follow. There are numerous instances in which the forms used by Plautus are, from the broad standpoint of comparative grammar, of later date than the forms used by Virgil : but from the special standpoint of Latin literature the forms peculiar to Plautus are the archaic forms. If therefore it is urged that the verb-forms bhara (2 sing, imperative) and bharata (2 plur.) are not, in the view of comparative grammarians, older than the forms bhara, bharata, it must be remembered, first, that this theory is to some extent founded upon the incorrect postulate of the Sanskrit gram- marians that bhara, bharata are the true Vedic forms ; and secondly, that even if the short vowel is really more primitive (and Benfey at least doubted this), the long vowel may, and indeed as the facts shew, must have established itself in the interval between the primitive period referred to and the times of classical Sanskrit.
This discussion may seem to lead to an unsatisfactory result in so far as it increases the doubts that must be felt as to the general correctness of the Samhita text, and thereby seems to shake the solid structure unde omnia cognita pendent. But the errors of the text in
xiv Preface
small details are so numerous that no commentator has ever left them unnoticed. The question rather arises whether the understanding of the Rigveda would not make better progress if the task of emendation were more vigorously taken in hand. Upon this question I have hardly ventured to enter in the body of the book, for a better know- ledge of the metre seems to me an indispensable preliminary to textual correction : although in the Metrical Commentary I have indicated a fair number of simple alterations in the text which (if admissible on other grounds) have the advantage of removing metrical difficulties. But where difficulties of interpretation and of metre concur in the same verses, I have little doubt that the solution is to be found in that direction : and therefore I have suggested (though only in a tentative way) in Ch. IX this method of dealing with some of the hymns in the 1 uneven lyric ' metres, which are here for the first time recognised as entitled to rank as a distinct class of established metrical forms.
To the writers already named I am indebted, not only in regard to the matters specifically referred to, but also for suggestions and collections of material which extend over a large part of my work. There are many others to whom I am under obligations in some one or more particulars for their contributions to this subject either in their publications or in private communications. Such are Rudolf Roth (to whose memory I venture to dedicate this work as one of his old pupils, and to whose principles of Vedic interpretation I mostly adhere), A. Weber, A. Ludwig, R. Kuhnau, R. Pischel, Karl Geldner, A. Meillet, A. A. Macdonell, E. W. Hopkins, and Emil Sieg. I fear the references given to these writers in the text very imperfectly represent these obligations.
It remains for me to acknowledge the direct assistance I have received in the preparation of this work. Professors H. Oldenberg and J. Zubaty have assisted me throughout by numerous criticisms and suggestions, and the latter also by placing at my disposal the un- published part of his articles on the Quantitdtswechsel. Professors C. Bendall and E. J. Rapson have kindly read my proofs throughout, as Professor Oldenberg has also done for a large part of the book : and each of these has in turn saved me from many errors which otherwise would have disfigured the work. To the liberality of the Cambridge University Press, assisted by a substantial grant from the Cambridge Philological Society, I owe it that the book has been produced with all the aids of modern typography without any cost to myself.
E. VERNON ARNOLD.
Bangor, June, 1905.
CHAPTER I.
GENERAL INTRODUCTION.
1. The object of the present work is the study of the metre of the Rigveda in connexion with its history, and of the history of the Rigveda by the aid of the metre. In this study the funda- mental questions which concern the metre of the Atharvaveda and other early Indian poetry are implicitly contained.
2. The historical standpoint is strange to Indian literary tradition. Men of learning who regard the Rigveda with the respect due to a book of sacred authority, who find in it the inspired source of the convictions and laws which hold together the social life of their country, must naturally look for unity and agreement in its parts. Scrupulously faithful in the preservation of every iota of its text, they seek to interpret its form and its meaning by absolute standards. To their diligence and sincerity we of the West are deeply indebted : for in this way a unique monument of the history of mankind has been preserved, and no small contribution made to its understanding.
3. But to students of the European tradition the Rigveda is not a book, but a library and a literature. Our acquaintance with the poetry of many other countries leads us quickly to the con- viction that its ten MaTidalas or cycles have gathered up the work of many periods, and that the original composition of the hymns was probably the work of several centuries. During the period in which this poetry was produced, great political and social changes undoubtedly occurred : but of these there exists no record, except such as is contained in the pages of the Rigveda itself, or may be distantly inferred from our knowledge of the general history of mankind. It becomes therefore our task to study the Rigveda from within.
a. 1
2 'Internal' evidence of metre
4. For this undertaking the material at our disposal is on the whole abundant. We have besides at our service native theories of metre, worked out by the authors of the Pratisakhyas and the AnuJcramams: but we have no longer need of them, because the study of the text of the Rigveda enables us to ascertain for ourselves the principles which guided the Vedic bards1 : and in regard to details, the native authorities appear to be no better informed than ourselves. We have the advantage of them in that we start free from the prejudices naturally engendered in India by the linguistic and metrical practice of the commentators' own times, and because we have a wider knowledge of the general history of language. On the other hand, we stand in danger of importing into our subject other prejudices, derived from too hasty comparisons with classical or modern verse, or from the instinctive desire to find short and simple solutions of the problems that arise in a great field of literature in which the workers are so few and the desire of completed knowledge is so keen.
5. Almost every European and American critic of the Rigveda has made some contribution towards the theory of its metre : but probably the present is the first attempt to comprise in one view the whole of the material available. As such it is necessarily tentative in character, and may be found to need correction in important details. In the present chapter it is proposed to state the general conclusions which have been accepted or independently reached by the author, and the nature of the evidence by which the}' are supported. In subsequent chapters the different parts of the subject will be considered in detail, and it is hoped that it will appear that the general theory presents a consistent and reasonable interpretation of the facts as a whole. If this is so, it will have a claim to be accepted by historical students as a sound working hypothesis : but if otherwise, the collections of material at least will be available for other investigators.
6. Western critics of Vedic metre, in dealing with isolated questions, fall into two schools, according as they are directly guided by textual or metrical principles. Some, having regard to the great antiquity and authority of the Samhita text, feel
1 F. Max Miiller, Hymns to the Maruts (London, 1869), p. lxxvi.
The 'quantitative' test 3
alarmed at any proposal to tamper with it : and incline in all cases of doubt to maintain the text, and to admit a metrical irregularity. Others, again, recognizing the general skilfulness of the Vedic bards, propose in the same cases textual restoration. If the inclination of the one school were carried to an extreme, the 1 theory of Vedic metre ' would be merely a summary of the facts presented by the existing text, with the possible exception of such modifications as native authorities regard as permissible : if on the other hand a free field is left for the ingenuity of the second school, strict canons of metre will be laid down, and criticism will occupy itself with suggesting alterations of the text wherever it does not conform to them.
7. In spite of the logical dilemma, a very general agreement has been reached on many important points : and this fact at once shews that we can neither regard the text as final, nor the metrical standards as holding good without exception. If we can discover the logical ground on which the one or the other is to be preferred, further progress will be assured.
8. Now it is admitted that the text must be corrected in some points, as for instance in giving syllabic value to y and v, because without such correction the Rigveda is merely prose : and it is not conceivable that the arbitrary correction of two letters only of the alphabet could convert prose into verse on so large a scale. On the other hand, it is admitted that we have deviation from the usual metrical rules in such a hymn as ii 11, because it is inconceivable that textual incorrectness could cause so large a proportion of verses in one hymn to be defective in precisely the same way.
9. The principle underlying these admissions on either side is clearly quantitative: the multiplicity of instances constitutes the proof. Native as well as European commentators alike adopt without hesitation that hypothesis which accounts for the largest number of facts in the simplest way. If one textual correction will rectify ten verses, we make the textual correction : if the admission of one metrical variation or irregularity will accord with the text of ten verses, we admit the metrical variation. The full application of this principle can only be learnt by experience : but its short statement will sufficiently indicate the importance of a full collection of facts as a basis for any theory.
1-2
4 Historical division of the Rigveda
10. Western critics are far from unanimous in their views as to the historical relation of the different parts of the Rigveda. Still there is a very general agreement upon two points : (i) that the division of the Rigveda into mandalas is, in part at least, based upon historical grounds, the different mandalas (or their parts) being relatively homogeneous ; and (ii) that certain hymns appearing at the end of each of the first nine mandalas, or of sections of these, and others constituting a large part of the tenth mandala, are homogeneous in character with the Atharvaveda, and constitute later additions to the original Rigveda collection, or " Rigveda proper."
11. It may be said without hesitation that the two propo- sitions just stated constitute the only possible basis for the historical study of the Rigveda. In consequence of their great importance they will be fully examined in the earlier chapters of this book : for the moment it will be sufficient to notice that they depend on arguments partly of language, partly of metre, each being held to confirm the other. As before, the arguments are quantitative in character. If in a particular collection forming part of the Rigveda certain features of language or metre recur with much greater frequency than in other parts, it is held that that collection is historically homogeneous, being the work either of one poet or of poets connected in time and in family. On the other hand, if in that collection we find one or more hymns in which these common features are absent, it is held that these are misplaced in the text, and should be assigned to some other author or period in accordance with their inner content.
12. The subject falls into the following divisions : — (i) the text of the Rigveda ;
(ii) the metres ;
(iii) the rearrangement of the Rigveda in homogeneous parts ; and
(iv) the historical development of the art of versification.
No one of these divisions can be adequately treated apart from the others. In following the order laid down, it will be necessary to refer from time to time either to later sections of this chapter, or to the more detailed discussion with which subsequent chapters are occupied, in order to obtain a full survey of the facts.
Textual restoration
(i) The Text of the Bjgveda.
13. Our single first-hand authority for the text of the Rigveda is the " Sarhhita " recension, which has been preserved from an unknown antiquity without any variants of importance. The " Pada-patha " text is now acknowledged to be an early commentary upon the Sarhhita, and cannot be set in opposition to its authority. Other Vedic texts repeat the matter of many hymns of the Rigveda in slightly differing forms, but in such cases the Sarhhita text generally appears to have the advantage, and it may be inferred with some confidence that the other texts were historically derived from it.
The Sarhhita text can therefore only be revised upon internal evidence, that of the metre being the most important.
14. The following restorations are amongst those generally agreed upon : —
(i) where the text, in accordance with the classical rules of Sandhi, combines the final vowel of one word with the initial vowel of the next, final a a must occasionally, and final i % u u generally, be read as separate syllables.
(ii) where the text omits initial a after final -ah or -e, the initial a must usually be restored as a separate syllable.
(iii) in numerous words and endings the value of a separate syllable is, either necessarily or optionally, to be given to y v of the text : e.g. \ndriyah is to be read for ndryah, ^tuvdm for tvdm1.
(iv) in a few words long vowels or diphthongs are optionally to be read as equivalent to two syllables : thus sresthah as fsrdyisthah, gopd as gopda.
(v) a few words are regularly misrepresented : thus for pdvakd we must always read pavakd, for suvandh almost always svandh, for mrlaya always mflaya.
15. In other cases restoration is less certain, because the metre itself is open to doubt. The following are the most important : —
1 The technical spellings ndriah, tudm indicate the occasions on which such restorations are required. Though not in accordance with Indian practice, they have the advantage that they cannot be mistaken for Samhita readings.
6 Undetermined problems
(i) in numerous verses some part of the noun indra follows the caesura, and the number of syllables in the verse appears to be ten, whereas most verses in the same hymn have eleven syllables. If we interpret indra metrically as a word of three syllables, e.g. indara, the verses in which the word occurs contain the normal number of syllables. But on the other hand indra is commonly a disyllable, and verses of ten syllables are sufficiently common in the Rigveda to suggest a metrical solution of the difficulty.
(ii) in numerous verses ending with some genitive plural form in -dm there appear to be only seven syllables, but if we read instead -aam the regular number of eight is obtained. But verses of seven syllables are in many such hymns fairly common, and these verses may be, and are by some critics, so interpreted.
(iii) the final vowel of many flexional endings and of several adverbs is given by the text sometimes as short, sometimes as long. The distinction to a large extent follows the preferences of the metrical rhythm : and it is not easy to determine whether the quantity given represents the true value of the ending, or an artificial pronunciation by which a slight irregularity of metre is glozed over. In these cases the Pada-patha usually gives the short value, but this is only evidence of the pronunciation of the word at the time when this commentary was composed.
16. In the determination of the text of the Rigveda that of the metrical value of words and syllables is implicitly contained. The metrical value of a word depends solely upon the number and succession of the short and long syllables which it contains, without regard to the position of the accent. A syllable containing a long vowel or diphthong is necessarily long, the only doubt arising when the long vowel or diphthong is final, and the next word in the same verse begins with a vowel. In such cases the quantity of a final diphthong is that of its prior element, as is shewn by a correct text in ddma d (for ddme d), tdsmd adat (for tdsmai adat): but the quantity of a long final vowel when not combined by Sandhi is not always easy to determine.
A syllable the vowel of which is followed by two consonants is long. One or both of these consonants may belong to a word following, provided that it belongs to the same verse. The sounds represented by m h are for this purpose recognized as full con-
The principal metres 7
sonants : and the Vedic Ih (also variously represented by Ih or dh) is equivalent to a double consonant.
17. The following stanza will illustrate the general character of metrical restoration in the Rigveda : —
(i) Samhita text (following Aufrecht's edition): — vaydm adyendrasya prestha vaydm 4v6 vocemahi samarye \ vaydm purd mdhi ca no dnu dyun tan na rbhuksd nardm dnu syat ||
(ii) Text metrically restored :
vaydm adyd indarasya prdyistJidh vaydm 4u6 vocemahi samarye | vaydm purti mdhi ca na dnu dyun tdn na rbhuksd nardam dnu syat ||
, i 167 io.
(ii) The Metres.
18. The units of Vedic metre are the ' verse,' the ' stanza,' and the ' hymn.'
19. A verse consists most commonly either of eight syllables, when we distinguish it as a dimeter verse : or of eleven or twelve syllables, both of which varieties are included under the name trimeter verse.
20. The number of syllables in a verse is not quite rigidly prescribed. Thus many dimeter verses contain seven syllables only : such verses, if they correspond in rhythm to an ordinary dimeter verse with loss of the last syllable, we term catalectic dimeter verses : if otherwise, the more general name heptasyllabic may be used.
21. Similarly, trimeter verses which contain only ten syllables are not uncommon, such verses being usually equivalent to the verse of eleven syllables with the loss of a syllable before or after the caesura. These shorter verses may be termed decasyllabic.
22. The most typical forms of the stanza are
(i) the Anustubh, which consists of four dimeter verses, and (ii) the Tristubh, which consists of four trimeter verses, each
of eleven syllables.
Four trimeter verses, each of twelve syllables, form a Jagatl
stanza.
8 ' External ' metrical form
23. Stanzas may contain more or fewer verses than four. Thus the Odyatrl consists of three dimeter verses, the Pankti of five, the Mahdpankti of six : whilst three Tristubh verses form the metre known as Virdj, and two decasyllabic verses that known as Dvipadd Virdj.
24. Stanzas may also consist of combinations of dimeter and trimeter verses, the latter being then usually of twelve syllables : all metres of this type we group as lyric metres. Lyric metres may also include verses of four syllables, and even of sixteen, but these are comparatively rare. The most important lyric metres are Usnih (8. 8. 12 or 8. 8. 8. 4), Kakubh (8. 12. 8), Brhatl (8. 8. 12. 8), Satobrhati (12. 8. 12. 8), and Atyasti (12. 12. 8, 8. 8, 12. 8).
25. The strophe (pragdtha) is comparatively rare in the Rigveda, and consists of the combination of a Kakubh or Brhati stanza with a Satobrhati stanza.
. 26. A few hymns are composed of lyric stanzas of very various structures : these we call hymns in mixed lyric metres.
27. The rare combination of verses of eight and eleven syllables in one stanza gives uneven lyric metre.
28. A hymn may contain any number of stanzas, but usually it consists of not less than three or more than fifteen stanzas, generally uniform in character, except in the case of strophic and 1 mixed lyric ' hymns. It is also not uncommon for the last stanza of a hymn to contain one or even two additional verses.
29. Where the number of stanzas in a hymn is very large, or the metre suddenly changes, it becomes probable that we have a composite hymn, that is, two or more hymns combined in the Samhita text.
The number of such composite hymns in the Rigveda is very large : but the hymns thus combined are usually homogeneous in character, and, if so, it is not necessary for the present purpose to separate them. If, however, the suspicion arises that one of the hymns thus combined differs in date or character from another to which it is joined, it becomes at once expedient to treat them as separate hymns.
30. The definitions just given may be said to determine the external form of the different metres, and describe their more
' Internal ' metrical form 9
obvious characteristics. In accordance with them the metres may be grouped as belonging respectively to (a) the lyric, (6) the Anustubh, (c) the Tristubh-Jagati/a?m7ies respectively. The lyric metres being practically unknown in later literature, may be presumed to belong to the more distinctively early parts of the Rigveda.
31. We proceed to consider the internal form, or rhythm, of the different kinds of verse. The internal form is even less rigidly denned than the external, and is treated by native commentators as of comparatively small importance. There are few parts of the verse in which the poets do not consider themselves free at times to depart from the usual rhythms, so that it may perhaps be said that there are no 'rules' of rhythm in the Rigveda. On the other hand, there is no considerable part of the verse in which certain rhythms are not steadily favoured, and others avoided : everywhere there exist metrical preferences. In consequence of the greater elasticity of the internal form, its study is more difficult, but at the same time yields results of greater historical importance than the study of external form.
32. In all metres in the Rigveda the quantities of the first and last syllables of each verse are indifferent, and (with some exceptions) each verse is independent in structure.
33. In almost all metres a general iambic rhythm may be noticed, in the sense that the even syllables, namely the second, fourth, and so on, are more often long than short. Hence it has been supposed that Vedic metre has arisen historically from some combination of iambic ' feet,' such as is found in so many Greek metres. This supposition meets with many difficulties, and the use of the terms ' dimeter' and ' trimeter' verse in this book is not intended to imply acceptance of any such historical theory.
34. In all metres the rhythm of the latter part of the verse is much more rigidly defined than that of the earlier part. Hence it has often, but incorrectly, been supposed that the earlier part of the verse is non-rhythmical.
35. In the early part of the verse there is a general preference for long syllables, in the latter part of the verse for short syllables. These preferences modify considerably the general iambic rhythm prevailing in both parts.
10 Dimeter verse
36. The dimeter verse falls naturally into two parts, or mem- bers, each consisting of four syllables. There is no caesura. We distinguish the two parts as the opening and the cadence.
37. In the opening the first syllable is indifferent, according to § 32. The second and fourth syllables are preferably long (§ 33), but often short (§ 34). As to the third syllable, the principles laid down in §§ 33, 35 appear each to neutralise the other, so that the quantity of this syllable is indifferent. But if the second syllable is short, the third is almost invariably long. This fact seems to imply some principle of transfer of metrical weight, which may be described by the term syncopation, used in a somewhat similar way in modern music.
38. In the cadence the fifth and seventh syllables are almost always short (§§ 33 — 35), but it is not unusual to find a short syllable in the sixth place also (§ 35).
39. The following stanza, in which the division into parts or members is marked by upright lines, is therefore fairly typical of Vedic dimeter verse : —
tudm vald\sya gomatah \ dpdvar ad\rivo bilam j tudm devd | dbibhyusas | tujydmdnd\sa dvisuh ||
i 11 5-
40. In Gayatrl stanzas preference is sometimes shewn for a trochaic rhythm in the cadence. Hymns in which such preference is fairly consistent are said to be in the Trochaic Gayatrl metre. In the following stanza all the verses have a strict trochaic cadence : —
ukthdm cand | sasydmdnam \
dgor arir | d ciketa \
nd gdyatrdm | giydmdnam ||
viii 2 14.
41. An important variation of the Anustubh stanza is found in those parts of the Rigveda which have been already referred to (§ 10) as similar in character to the Atharvaveda, and is regular in the Atharvaveda itself.
In this variation the verses are grouped in pairs, so that the stanza consists of two distichs, and each distich of two dimeter
'Epic' Anustubh 11
verses. In each distich the cadence of the first verse and the opening of the second are modified in the direction of lengthening the third syllable.
In order to make clear the nature of this change, we give to the last part of the first and third verses of the stanza the special title semi- cadence, and to the opening of the second and fourth verses the title re-opening. The variation may then be defined as follows : —
The seventh syllable, which in the cadence is regularly short, becomes in ' semi-cadence ' frequently long.
The third syllable, of which the quantity in the opening is indifferent, becomes almost invariably long in the ■ re-opening.'
To this metre the name of ■ later Anustubh ' has been given, on the ground that it is only found in the later additions to the Rigveda. Without questioning the truth of this view, it may be better to choose a more colourless epithet, and the name epic Anustubh is justified by the resemblance between this metre and that of the epic sloka.
The following stanza shews a fully developed * epic ' rhythm : but the Rigveda shews every gradation from the normal Anustubh rhythm to this.
vdyur asmd | tipdmanthat \ pindsti smd \ kunannamd \ kesi visd\sya pdtrena \ ydd rudrend\pibal sahd \\
x 136 7.
42. Trimeter verse may be analyzed in two ways : —
(i) into two parts, as separated by the caesura, which regu- larly follows either the fourth or the fifth syllable : or
(ii) into three members, namely (a) the opening, which consists of the first four syllables ; (b) the break, consisting of the fifth, sixth, and seventh syllables ; and (c) the cadence, which includes the remaining syllables, beginning with the eighth.
43. In the case of Tristubh verse, the two parts consist either of four and seven syllables, or of five and six syllables each, according as the caesura is early (that is, after the fourth syllable), or late (that is, after the fifth syllable). If the caesura is early, we have a short first part and a long second part : if late, we have a long first part and a short second part.
12 ( Iambic' and 'cretic1 rhythm
In the case of Jagati verse, the second part is in each case longer by one syllable.
In all cases the second part regularly begins with two short syllables.
44. The ' opening ' of trimeter verse, if the caesura is early, is identical in rhythm with that of dimeter verse. But if the caesura is late, the iambic rhythm is much more strictly observed, and we have a farther example of syncopation in the principle that if the fourth syllable is short, the fifth must be long.
45. The middle member of trimeter verse is termed the ' break ' because the general iambic rhythm is broken at this point by the preference for two short syllables after the caesura. The remaining syllable is usually long : so that the most regular forms are 1( y v - and - n ^ ^, where the symbol M marks the position of the caesura.
46. Sometimes the general iambic rhythm is not broken in the middle part of the verse, which therefore takes one of the forms || w — w or v (l - v. Hymns in which such rhythms are prevalent, as is the case in particular in the seventh Mandala, may be said to be in Iambic Tristubh (or Jagati) metre.
On the other hand, a still stronger contrast to the iambic rhythm is not uncommon after an early caesura, when the break takes the form of a cretic (, , - ^ -). Hymns in which this rhythm is favoured may be said to be in Cretic Tristubh (or Jagati) metre.
The iambic and cretic variations are occasionally found in all parts of the Rigveda, but they are only to a small extent com- bined in the same hymns. Hymns in the lyric metres incline to the employment of iambic variations, which therefore appear to be characteristic of the more distinctively early parts of the Rigveda.
47. The ' cadence ' of trimeter verse shews the same general rhythm as that of dimeter verse. Thus the ninth syllable, and in Jagati verse the eleventh, are regularly short : the eighth and the tenth are regularly long, but either or both are occasionally short.
We are, however, able to trace a progressive tendency to eliminate the employment of short syllables in the eighth and tenth places. Thus it is only in a small part of the Rigveda that
Typical trimeter stanzas 13
a short tenth syllable is at all common : whilst the short eighth syllable is chiefly found in the shape of a syllable containing a short final vowel. The employment of these final syllables in a position from which other short syllables are excluded requires careful investigation, and has evidently some connexion with the varying quantities which, as has been already noticed (§15 iii.), the Samhita text assigns in many cases to final vowels.
48. The following stanzas illustrate the most important forms of Trimeter verse, the division of the 'members' being again shewn by perpendicular lines : —
Normal Tristubh stanza : —
bfhaspdtih \\ \ prathamdm \ jdyamdnah \ maho jyoti\sah \\ para\me vioman \ saptdsias \\ | tuvija\to rdvena \ vi saptdras\mir u adha\mat tdmamsi \\
iv 50 4.
Normal JagatI stanza : —
ddadd dr\bham fl maha\te vacasydve \ kaksivate n | vrcay&m \ indra sunvate | mendbhavo \\ | vrsa?ias\vdsya sukrato | visvet td te \\ \ sdvane\su pravdcia \\
Tristubh stanza with iambic variations : —
agnim vo de\vdm ^ agni\bhih sajosah \ ydjistham du\tdm n adhva\re krnudhvam | yo mdrtie\su u nidhru\vir rtdva | tapurmurdhd \\ | ghrtd-an\nah pavdkdh \\
Jagati stanza with cretic variations : —
imam stomam u | drhate \ jdtdvedase rdtham iva n j sdm mahe\md manlsdyd \ bhadrd hi nah \\ \ prdmatir | asya samsddi dgne sakhye \\ \ md risd\md vaydm tdva \\
i 51
vii 3
94
49. 'Decasyllabic' verses correspond generally to Tristubh verses with the omission of a syllable immediately before or after the caesura : this omission we term a rest Two types are used with sufficient regularity to have given special names to the
14 'Decasyllabic' metres
metres of the hymns .which contain them : but these, as well as others, are frequently found in combination with Tristubh verse.
50. The Viratsthdna verse has a rest at the fifth place, fol- lowed by a trochee, as : —
rdsi ksdyam \\ | • rdsi \ mitrdm asme \ rdsi sdrdha \\\ • indra j mdrutam nah \ sajosaso n I • ye ca \ mandasdndh \ prd vdydvah \\ | • pdnti \ dgraiiitim ||
ii 11 14.
51. The Dvipada Viraj verse has a rest at the sixth place, the quantity of the seventh syllable being indifferent: the two parts are then so similar in form that the stanza of two deca- syllabic verses may also be described as containing four verses of five syllables, or pentads.
Example : —
rayir nd cit\rd \\ • s4\ro nd samdfk \ dyur nd prd\n6 \\ • ni\tyo nd sunuh \\
i 66 1.
Here the division into members is only of historic interest, shewing the relation of this metre to the Tristubh.
52. In two hymns of the Rigveda a similar metre is based upon the JagatI verse, the ' rest ' occupying the position of the syllable first following the caesura, whether early or late. To this metre, following the traditional name of the author of the hymns, we may give the name Bhargava. If the rest be denoted by a point • , the most common forms of the break in Bhargava verse are , | • ^ - | and v , ( • - 1 .
The following stauza is entirely composed of Bhargava verses, the two types alternating : —
sriye mdryd\sa \\ - an\jih\r akrnvata | sumdrutam n | . nd pur\vir dti ksdpah \ divds putrd\sa n • e\td nd yetire j dditydsas \\\ - td ak\rd nd vdvrdhuh \\
x 77 7.
53. It seems evident that the decasyllabic metres (amongst which we include the Bhargava) presuppose and are derived from the more common trimeter metres. Their precise relation
1 Contamination ' 1 5
to them is an important subject of investigation. As none of these metres are found in the Atharvaveda or later literature, there is a presumption that, like the lyric metres, they belong to the distinctively early parts of the Rigveda.
54. An important feature in trimeter verse is contamination, or the combination in one verse, stanza, or hymn of parts that do not correspond. Contamination may be external or internal.
55. External contamination is the combination of Tristubh and Jagati verses in the same stanza, and of Tristubh and Jagati stanzas in the same hymn. In hymns of which the general character is Jagati it is quite usual for one or two Tristubh stanzas or verses to appear towards the end of the hymn; consequently it is rather the absence of such variations that calls for notice, at least in hymns of any length. But the contamination of a Tristubh hymn by Jagati is only exceptional in the Rigveda, though very common in the Atharvaveda and later verse, down to and including the epic period. It forms therefore a connecting link between the Rigveda and this later literature.
56. Internal contamination is the combination of two parts of a Tristubh verse which correspond to different positions of the caesura. The combination of two parts consisting of four and six syllables respectively gives the equivalent of a decasyllabic verse with a rest at the caesura ; verses of this type, whatever their origin may be, are fairly common in all parts of the Rigveda, as for example
ino rajann \ ■ \\ ara\tih sdmiddhah J x 3 1 a.
The combination of two parts consisting of five and seven syllables respectively may be termed the hybrid verse. It is often found in the same hymn with external contamination : the two features are exemplified in the first and third verses respectively of the follow- ing stanza : —
uruvydcd | no \\ mahisdh \ sdrma yamsat \
asmin have \\ j puruhu\tdh puruksuh |
sd nah prajd\yai (| hari\asva mflaya \
indra md no u \ririso | md par a dah ||
x 128 8.
The ' hybrid ' verse is again a connecting link with the Atharvaveda and later literature.
16 Chronological order of the hymns
(iii) The Rearrangement of the Rigveda.
57. In the Samhita text the hymns of the Rigveda are arranged in three principal groups, of which the largest extends from i 51 to the end of vii, and consists of fourteen collections of hymns arranged in the ascending order of the number of hymns contained in each : the hymns to Agni coming first, then those to Indra, in each collection. These are usually termed the family collections, each being ascribed by tradition to a particular family of bards.
From i 1 to 50, and in viii we have another series of family collections, in which the arrangement is less regular, and the Agni hymns do not necessarily stand first. These collections are on the average much shorter than the series first mentioned.
The ninth mandala contains only hymns addressed to So?na Pavamana. It has been thought, not without reason, that this book marks the beginning of an attempted new recension of the Rigveda, in which the whole body of hymns was intended to be arranged according to the deities addressed. It is fortunate for historical investigation that this attempt was carried no further.
In the tenth mandala we find a series of collections arranged in the descending order of the number of hymns in each, and extending from x 1 to x 84. From x 85 to 191 we find single hymns arranged in the descending order of the number of stanzas contained in each.
58. It is clear that the arrangement of the collections as wholes is of little or no importance to us, being based almost entirely upon mechanical considerations. Within each collection also the arrangement is generally mechanical, and therefore without value. There remains the possibility that the hymns in each collection may nevertheless be on the whole homogeneous: and this supposition is very generally confirmed by an examination of the contents of the separate collections.
59. The most striking features which suggest that a collection is homogeneous are the following :
(i) the use of the family name of the authors in the separate hymns ;
(ii) the use of a special refrain verse ; and
(iii) the use of metres or rhythms peculiar to the collection.
The 'bardic' and ' 'normal' periods 17
Some or all of these indications combine to confirm the ascrip- tion of the hymns of Mandala vii to the Vasistha family, or (as we may shortly express it) to Vasistha : and that of the hymns of Mandala vi to Bharadvaja. In the same way we find reason to ascribe the collections i 36—43, 44 — 50, viii 1 — 5, 6 — 11, 32 — 34 and 49 — 59 to Kanva, i 165 — 191 to Mana, i 58 — 64 and 74—93 to Gotama, viii 19—22 to Sobhari, 23—26 to VyasVa, 35—38 to Syavasva, and x 20 — 26 to Vimada. All these collec- tions are marked by the fact that their metrical forms are not only different from those which prevail in later literature, but also almost peculiar to each family.
There seems a presumption that all these collections belong to a period of originality and rivalry between the bardic families, which we may provisionally name the bardic period.
To this period we should also be inclined on metrical grounds to assign the collection i 127 — 139, perhaps to be connected with the name of Divodasa; and the hymns ix 98 — 111, each of which corresponds to some one of the collections in this class. The collections i 140 — 164, ii, and v each contain a nucleus of hymns of similar metrical distinctiveness, which may be ascribed to Dir- ghatamas, Grtsamada, and Atri respectively: but very many of the hymns in these collections are of a more normal character.
The composition of the hymns of this group may easily be supposed to have extended over a long period of time, and in each family over several generations.
60. In other collections we find that two metres are almost exclusively employed, namely, Tristubh and GaVyatii, and that in these there is great regularity both of external and internal form. Such collections are i 1—11, 12—23, 24—30, iii, iv, and ix 1—97. Refrain verses and authors' names are very rare in these collections, the name of Kusika being on the whole the most prominent : and in the metre there is little to differentiate one collection from another. It is natural to refer all these hymns to the same general period, and to conceive it as one in which perfection rather than originality of form was the aim. Such a period would seem to be necessarily later than that last described, and we name it provisionally the normal period.
61. The groups i 31 — 35, 94 — 115, and those which extend from x 33 to x 84 employ almost exclusively Tristubh and Jagati
a. 2
1 8 The ' cretic ' period
metre, and include a large proportion of hymns in which cretic rhythm is favoured. Authors' names are again wanting, though refrain verses sometimes occur. The linguistic forms which characterize the Atharvaveda begin to appear with some fre- quency. Although these groups form a comparatively small part of the Rigveda, they seem to have a character of their own, and to belong to a period of transition which may be provisionally named the cretic period, with reference to the distinctive rhythm often found in these hymns.
62. Last in order, but of well-recognized importance, is that part of the Rigveda which resembles in form and character the Atharvaveda. Its metrical characteristics are the 'epic' Anustubh and 'contaminated' Tristubh. In many of the hymns, however, these variations are only occasional, and some hymns, though seldom such as contain more than four or five stanzas, shew the normal forms of the Anustubh and Tristubh, and of other metres characteristic of the Rigveda as a whole. The only considerable group of hymns of this type recognized by the Sarhhita text is that of the funeral hymns, x 14 — 19. Other hymns appear at the end of the respective Mam] alas, or of those sections which comprise the Agni or Indra hymns, or are appended to single hymns with which they are not homogeneous ; whilst a very large proportion are included in the tenth Mandala. These hymns, as we have already noticed (§ 10), are usually ascribed to a later period than the rest of the Rigveda, although there is good reason to think them earlier in date than the existing recension of the Atharvaveda. It does not, however, seem well to call them here by the name ' late Rigveda,' by which we should be pledging our- selves to conclusions that are merely provisional. The name popular Rigveda has recently been given to these hymns, partly on account of their subject-matter, which includes myths, dramatic colloquies, and charms, and may therefore be supposed to appeal chiefly to the common people : and partly because of the relatively modern form of language, which at the time must certainly have had a ' popular ' character, in contrast with the ' hieratic ' diction of the remaining hymns. We may use this convenient title, but must not forget to mention that in this part of the Rigveda are also contained some abstruse philosophical and cosmogonical speculations.
Workmanship of the bards 19
63. We have thus outlined a rearrangement of the contents of the Rigveda into four principal groups, each containing sub- divisions corresponding to the arrangement of the text of the Rigveda itself. This rearrangement is necessarily tentative, and the titles given to each group are intended merely to facilitate reference and to aid the memory. Such titles as 'bardic' and ' popular ' may easily be found misleading if they are supposed to indicate in any adequate way the general history of Vedic poetry from the standpoint of the developement of social institutions : such a study lies beyond the purpose of this book.
(iv) The Historical Developement of the Art of Versification.
64. The time has perhaps hardly come when a fair estimate can be made of the literary and aesthetic powers of the Vedic bards: but it is important to examine the conditions of the mechanical problems presented to them, and to form some estimate of the skill shewn by them in handling their material. The sketch already given of the metrical contents of the Rigveda has shewn that each period, except the 'normal' period, was inventive. The bards were occupied in constructing fresh metrical schemes, as well as in producing verse following established models. They frequently compare their craft to the highest kind of workmanship known to them, that displayed in the construction of a war-chariot : and they shew confidence that a ' new ' song will be more pleasing to the gods than one which is old-fashioned. It is a common-place of Western criticism that in many of the mechanical arts the Hindu workman follows too submissively ancient rules and models. But no such statement can justly be made with regard to the poetic literature of India, either ancient or modern : rather the faculty of inventing and appreciating new and delicate variations of rhythm seems to be a special gift of the race.
65. The comparison of the earlier parts of the Avesta indicates that the first Vedic poets were not far from the period when verse was measured solely by the number of syllables, without any regard to their quantity. We have already noticed (§32) that the quantity of initial and final syllables is always indifferent in
2—2
20 Metrical motives
the Rigveda, and we have every reason to suppose that this feature is inherited from the earlier period of purely syllabic measurement. But in all other parts of the verse we find rhythmical tendencies, which determine with varying regularity the quantity required in each position.
66. The principle of alternation of short and long syllables is simple, and we may well believe that the Vedic bards could have carried it to mechanical perfection, had they so desired. But in addition they were guided by other metrical motives, some of which have been described above (§§ 34, 35). Above all, they were actuated by the desire to combine these motives, and thus give variety to their metre. We are not perhaps entitled to ascribe the 'break' of trimeter verse to a deliberate design of interrupting the iambic rhythm, because it is quite possible that the caesura and the two short syllables that follow it may have been earlier in date than any such rhythm. But the ' cretic ' rhythm certainly suggests a deliberate aiming at variety of form : and if it be granted that the ' epic ' Anustubh is based upon the Anustubh of the Rigveda proper, the motive of the change seems evidently to be the same.
67. 'Contamination' readily suggests careless workmanship, and may in some cases have been due to this cause. But it is also a ready instrument of the inventive temper. The historical relation of Tristubh and JagatI verse has often been discussed : and if one of the two is historically the earlier, the Tristubh has certainly the better claim to this position. Either then Jagati has been derived from Tristubh by contamination with dimeter cadence, or a dimeter verse added to a similar half-verse has been assimilated to the rhythm of the Tristubh. By one method or the other a metre not without a beauty of its own has been constructed. The contamination at a later period of Tristubh with Jagati did not lead to the construction of any harmonious metre : but perhaps in principle it is not to be distinguished from that mingling of the lyric metres from which grew the Brhatl- Satobrhatl strophe, which is probably generally recognized as the most beautiful metrical form of the Rigveda.
68. The origin of the decasyllabic verse is a matter as to which a conjecture will be hazarded later (Ch. vili), but it is only
Merits of Veclic poetry 21
through this stage that we can account at all for the existence of the Dvipada Viraj or Pentad metre, which was actually brought to as polished a perfection as any metre of the Rigveda.
69. In all these cases it is not hard to recognize that apparent irregularity is the result of the inventive spirit, sometimes leading to the construction of new and harmonious forms, sometimes apparently ending in failure. This observation cannot fail to suggest reserve and care before bringing forward any suggestions of incompetence against the versifiers or of carelessness against the editors of our text. It is difficult to think that a professional bard should without motive have left his verse with an irregular rhythm, when any European scholar, without serious practice of the art of versification, can put it into order for him with hardly a perceptible alteration in the meaning. It is also difficult to think that professional reciters and their instructors could by mere accident have left stanzas in a shape which must make them a perpetual burden to the memory. In these 'irregularities' there may be meanings not easily recognized, and for this reason they deserve to be carefully studied.
70. To whatever conclusions we may further be led in detail, it must be plain that as works of mechanical art the metres of the Rigveda stand high above those of modern Europe in variety of motive and in flexibility of form. They seem indeed to bear the same relation to them as the rich harmonies of classical music to the simple melodies of the peasant. And in proportion as modern students come to appreciate the skill displayed by the Vedic poets, they will be glad to abandon the easy but untenable theory that the variety of form employed by them is due to chance, or the purely personal bias of individuals : and to recognize instead that we find all the signs of a genuine historical developement, that is of united efforts in which a whole society of men have taken part, creating an inheritance which has passed through the generations from father to son, and holding up an ideal which has led each in turn to seek rather to enrich his successors than to grasp at his own immediate enjoyment. If this was so, then the Vedic bards
also are to be counted amongst ' great men, and such as sought
out musical tunes, and set forth verses in writing.'
CHAPTEE II.
THE POPULAR RIGVEDA.
71. The ' popular Rigveda ' consists of hymns which contain about one-sixth part of the matter of the Rigveda, and are marked out from the remainder by differences of language, metre, and subject, and by their position in the collection. Of these hymns a large proportion are repeated in the first nineteen books of the Atharvaveda, often with slight differences in the arrangement of the stanzas and in phraseology : and in their general character these hymns can hardly be distinguished from the remaining verse portions of the Atharvaveda.
72. The hymns which, according to the definition just given, plainly belong to the popular Rigveda are the following, those of which either the whole or more than one stanza is repeated in the Atharvaveda being distinguished by the affixed letter a : —
i23i6-i8a, 19-21 a, 22-24 a, 50 10-13 a, 162, 163a, 164a, 191a; ii 32 6-8 a, 42, 43 ; iii 53 17-21, 22-23 i iv 18> 5? 4-8 a ; v 40 5-9, 78 5-9 ; vi 28 1-7 a, 8 a, 47 26-28 a, 29-31 a, 74 a, 75 a ; vii 50, 55 5-8 a, 59 12 a, 103, 104 a; viii 58, 59 6-7, 91 a; ix 5 8-11, 67 31-32, 112, 113, 114; x 9 6-7 a, 8-9 a, 10a, 14 i-i2a, i3~i6a, 15a, 16 i-ioa, n-i4a, 17a, 18a, 19, 244-6, 34, 42 9-na, 56 4-7, 57 a, 58, 59 5-10, 60 7-12 a, 71, 72, 81, 82, 83 a, 84 a, 85 a, 86, 87 i-2ia, 88, 90 i-i5a, 16 a, 97 a, 98, 103 a, 107 a, 109 a, 114, 117, 121a, 125 a, 128 a, 129, 130, 135, 136, 137 a, 142 7-8a, 145a, 146, 151, 152a, 154a, 155, 158, 159, 161a, 162, 163 a, 164 a, 165 a, 166, 169, 173 a, 174 a, 177, 181-183, 184 a, 186, 189 a, 190, 191 2-4 a.
Sufficient evidence in each case is indicated in the ' Table of Hymns ' at the end of the book.
73. In srme hymns and fragments a doubt arises as to whether they should be referred to the popular Rigveda or not, either because the characteristic features of the two groups of hymns are mixed, or because they are almost or entirely wanting.
Doubtful hymns 23
Although hymns of this kind are on the whole fairly numerous, yet relatively they form only a small part of the Rigveda, and do not affect the broad contrast between the two groups.
The difficulties that occur differ in kind according as they affect large or small amounts of matter.
In the case of long hymns and collections of hymns characteristic features must necessarily occur with fair frequency, and difficulty only arises when the features of the opposite groups are found in the same hymn or collection. In such cases the general inference must be that the hymn or collection belongs to a transition period, as for instance the collections i 31 — 35, i 94 — 115, and those which extend generally from x 35 to x 84, which we have already assigned to the ■ cretic ' period (§ 61). Here the only real doubt is whether the transition period lies nearer to the one or the other of the two main groups: and this question is clearly one which should be reserved to a late stage of our enquiry.
But in the case of short hymns, and still more in that of detached verses, characteristic features may be altogether wanting, or so scanty as to give room for the play of chance. If however we can group together in any way these shorter hymns and fragments, it is possible that a general character will come to light in the group as a whole. For example, the single Tristubh stanzas appended to many hymns, taken together, resemble in character the Rigveda proper : whereas the corresponding Anustubh stanzas resemble the popular Rigveda. Such generalizations are often of use in determining roughly the position of the single stanzas, although the inference may not be finally justified in certain cases.
In drawing up a definitive list of the hymns of the ' popular Rigveda,' we are going further than our general theory, strictly understood, permits us. In the first place the two groups of hymns are not sharply divided, but overlap. In the second place the evidence available, when analyzed, consists of probabilities only: and though the concurrence of many probabilities con- stitutes historical certainty, this concurrence is not existent in all details.
Against this theoretical objection must be set the great practical convenience of a definitive list, in which the errors can only be relatively few. In order to deal with the doubtful hymns it will be desirable to review the evidence available.
24 The linguistic evidence
74. First in practical importance stand divergences of language, in which we include both grammar and vocabulary. These are so numerous that there are few stanzas in the Rigveda which do not contain one or two : and though the evidence of a small number of instances is not final, yet it is of great value in giving in almost all cases a first presumption as to the class to which a hymn belongs. In §§ 84 — 87 will be found lists of the distinctive linguistic features of each class of hymns, drawn up upon principles which are mainly mechanical, and therefore free from the influence of personal bias, though subject in detail to the occasional play of chance : and in the ' Table of Hymns ' will be found stated the number of instances of each kind to be found in the hymns and stanzas, so far as it is necessary to treat them separately. It remains to consider how much im- portance can be attached to this kind of evidence in individual cases.
75. An examination of the distinctive grammatical forms as a whole shews us that the hymns of the Rigveda proper record an earlier stage in the developement of the Sanskrit language ; for they shew that multiplicity of form in the stem-formation and flexion both of nouns and verbs which marks the earlier history of all Indo-European languages. The unthematic flexional forms of nouns, and the extended use of the perfect, aorist, subjunctive, and infinitive systems in verbs are particularly conspicuous. On the other hand the language of the popular hymns, though enriched by certain sounds hardly known to the Rigveda proper, shews a tendency to uniformity, obtained by the steady progress of certain favoured types in destroying or assimilating their rivals.
76. The differences of vocabulary lead directly to a somewhat different conclusion. Here divergence of style and subject-matter seem more prominent. Amongst the ' popular ' words are a great number of Indo-European origin which must certainly have been familiar to the poets of the ' Rigveda proper/ though seldom used by them, having to do with the familiar objects and activities of ordinary life. Hence we are led to the contrast between the ' heroic ' and the ' popular ' language, and to the possibility that both may have been simultaneously in use for different purposes. Other words, however, support the inference of earlier date already drawn from the grammatical forms: nor is it possible to draw
The metrical evidence 25
a line between the two classes, which are in practice associated in all the hymns in which they occur.
77. As older words and forms may appear in later hymns either by direct imitation of particular models or by the un- conscious effect of literary tradition, so the ' popular ' words at least may find a place in the older hymns under the influence of some special subject-matter, and even later words and forms by anticipation of linguistic developements not yet established in literature. Amongst ourselves ' Bible ' phraseology is still found in much current literature, whilst our lexicographers find many so-called 'American' neoterisms in early English records. In particular passages a minute criticism of the separate words and forms can lead to no practical result: and therefore in doubtful cases linguistic evidence seems to be of comparatively small importance. But in judging of large quantities of matter its cumulative weight is considerable ; and this appears to make it certain that as a whole the popular Rigveda is really of later date.
78. The evidence of metre is, on the whole, more cogent than that of language : for though the external form of older hymns may be occasionally imitated later, yet this would seem to be impossible as regards the rhythm : for the younger poet either did not appreciate the rhythms used by his predecessors, or desired to improve them. The characteristic metres of the popular Rigveda have been described, viz. the 'epic' Anustubh in all its stages (§ 41), and the ' contamination ' of Tristubh metre by JagatI (§ 54). In Anustubh verse a single occurrence of a long 7th syllable in 1 semi -cadence ' is a decided indication of popular character, whilst the absence of a short 3rd syllable in several successive 'reopenings' is almost as significant. On the other hand too much stress must not be laid on single instances of contamination in trimeter verse, for these are not uncommon in the hymns assigned to the 'cretic' period.
There seems every reason to suppose that the metres of the popular Rigveda are directly derived from those of the Rigveda proper, and consequently of later date.
79. The repetition of a complete hymn or fragment, or even of any part of it beyond one stanza, in the Atharvaveda is a strong indication of the later date. It appears from the list in § 72 that
26 The evidence of subject-matter
more than one half of the hymns which clearly belong to the popular Rigveda are repeated with more or less completeness in the Atharvaveda: whilst of those hymns which clearly belong to the Rigveda proper only about a dozen are repeated, except by the quotation of single stanzas, viz. i 22 16 — 18, 19 — 11, 32, 50 1—9, 154; iv 2; v 46 7 — 8; vi 68 10— n ; vii 32; viii 24; x 40. Single stanzas are drawn by the Atharvaveda from all parts of the Rioveda, but the repetition of such stanzas in the Atharvaveda is still of some weight, especially if they appear in the Rigveda to be detached from their context.
80. To the position of hymns and fragments in the Samhita text considerable importance is to be attached. As we observe that the hymns which plainly belong to the popular Rigveda are almost all found in certain positions, namely at the end of complete collections, or of the Agni or Indra sections of those collections, or in the tenth Mandala : it follows that we are likely to find other hymns of the same character similarly placed. Hymns which disturb the mechanical arrangement of each collection also deserve careful examination. With regard to that arrangement it will be sufficient to refer to the full discussion by Professor H. Oldenberg (Prolegomena, Chapter 11) as a starting point : but it must be kept in mind that many of the oldest hymns in the Rigveda are found either out of the order or in the tenth Mandala, as is conclusively shewn by the language and metre.
81. It is only when other indications fail that a consideration of the subject-matter of the poems becomes necessary. There is clearly a presumption that ' hymns ' in the strict sense, that is poems in which the praise of the gods is the primary object, belong to the Rigveda proper : but this presumption fails when the deity is not known to or not homogeneous with the Pantheon of the Rigveda. So there is a presumption that ' charms,' that is poems in which the profit of the suppliant or the harming of his enemy is the primary object, belong to the popular Rigveda : but even amongst the early hymns we find a few in which relief from pains of conscience or disease is the main theme. Mythological narra- tions and dramatic dialogues are not entirely wanting in the Rigveda proper, though they are much more common later : whilst the converse appears to be true of poems with liturgical and
The evidence of subject-matter 27
ceremonial subjects. Philosophical and cosmogonical poems, and those which contain proverbs or riddles, are generally late.
82. To discuss at any length the evidence affecting particular hymns would exceed the scope of this book, but there will be found in § 88 a list of all those hymns of the Rigveda with regard to which reasonable doubt seems to exist: and an asterisk is prefixed to those which appear to be more properly assigned to the popular Rigveda. The evidence of language and metre is given in the ' Table of Hymns 'at the end of this book, and this table should also be consulted in each case.
In those cases in which the evidence is not quite sufficient to justify us in assigning a hymn to the papular Rigveda, it will generally be probable that it is not very much earlier in date, and therefore that we may have reason to refer it later to some period other than that of the earliest literature, that is, either to the * normal ' or the ' ere tic ' period.
APPENDIX I.
THE LINGUISTIC EVIDENCE OF DATE.
83. Notes.
The lists given in the following sections 84 — 87 are drawn up upon the mechanical principles described by the author in Kuhrvs Zeitschrift N. F. xvii 4, pp. 436, 437, and give in a corrected and amplified form the lists on pp. 440 — 452 in the same article.
References to the occurrences in the Rigveda are only given when they are not readily accessible in such works as Grassmann's Worter- buch zum Rigveda, Lanman's Noun- Inflection in the Veda, and Avery's Verb- Inflection in Sanskrit.
The Valakhilya hymns are counted as hymns belonging to the eighth Mandala, that is, as viii 49 — 59 inclusive. Consequently the remaining hymns of the Mandala are counted as viii 60 — 103, not as viii 49 — 92. This reckoning agrees with Aufrecht's second edition of the Rigveda (Bonn, 1877), and with Max Miiller's editions and Index,
An asterisk * is prefixed to all references to passages in the popular Rigveda. An asterisk prefixed to a word or form denotes that it is found in the popular Rigveda only.
A dagger f marks occurrences which depend upon correction of the text.
Words and forms are accented when any of the occurrences are accented.
In lists of compounds the Pada-patha forms are often given for convenience of tabulation.
In reckoning the number of occurrences Aufrecht's printed text is followed, so that the refrain stanzas and verses which are found in many hymns are as a rule only counted once. Where one or more verses are repeated many times in a single hymn, three occurrences are reckoned.
The forms connected with metrical restoration are omitted here, as the subject is treated in the later chapters of this book.
84. A. Forms characteristic of the Rigveda proper.
1. From nouns in -a, the instrumental singular masculine or neuter in -a. Masc. ghana i 8 3b, 36 16a, 63 5d, ix 97 16c; ghrnti
Forms indicating early date 20
i 52 6a, 141 4d, iv 43 6b, v 73 5d, ix 107 20c ; candrd fiv 48 lc ; camasd x 25 4e ; yajnd i 168 la bis, vi 48 la bis ; himti x 37 10b, 68 10a. Neuter: ukthd iv 33 10a, kavitvd x 124 7a, ratnadheyd iv 34 lb, rdthid i 53 9d, vivid i 80 15b, vrsatvd i 54 2d, sakhid iv 16 20c, viii 86 Id, x 23 7a. sarvarathd v 35 5c, x 160 lb, suMvd *x 141 4b : in -tvand ; kavitvand viii 40 3c, taranitvd i 110 6c, mahit- vand, vrsatvand viii 15 2c. The form mahitvd appears to remain longer in use. For details see Lanman's Nomi- Inflection in the Veda, pp. 334 — 337 : some of the instances are uncertain.
2. Old declensional forms from radical stems in -d, -a : viz. the dat. sing, in -e, in klldlape, de, dhiyamdhe, pasu-se, sucipe, subhamye, havirde ; the gen. and abl. sing, in -ah, -ah, in krstiprdh, jdspdti, jdspatyd, pasusdh ; the voc. sing, in -a, in rtupd, bhuridd, sukraputapd, sucipa, svtapd, somapd ; the instrum. pi. in -dbhih, in agrepdbhih, rtupabhih, gopdbhih : the loc. pi. in -dsu, in dtdsu : the dat. pi. in -abhyah, in bhuriddbhyah.
3. Comparatives and superlatives in -atara, -atama, in asvadd-, asvasd-, indrapd-, ojodd-, madhupd-, ratnadhd-, varivodhd-, vasudd-. vdjasd-, saddsd-, sarvadhd-, sahasradd-, sahasrasd-, sugopd-, somapd-.
4. The accusative singular mahdm.
5. The instrumental singular in -i, text often -i, see § 158, in dcitti, dprabhuti, *avyathi, dhuti, isdnl, iipasruti, updbhrti, uti, rjunlti, citti, *just%, tapani, trivisti, didhiti, diistuti, dustuti, dhiti, ?iitiktl, nisiti, pd/rivisti, purojiti, prdniti, prdbhutl, prdyatj, prdyuktl, prdyutl, mati, vartani, vdsatkrtl, visti. viti, vrsti, sdkfl, sakti, sdnil, s'rustl, sadhdstutl, sadhri, sdhuti, sudlti, suriitl, supaptani, suprdnifo, sumati, *sumiti, suvrkti, sus'dml, susasti, sustuti, smdddisti, haviskrtl, hdstacyuti, heti.
In some cases similar forms can be restored by the aid of the metre : viz. asdnl, navati, ndvyasl, prdmati, saptati, sumati, hiranydyi ; for the occurrences see § 139 iii.
6. The forms arydh, dvyah from stems in art-, avi-.
7. The locative sing, in -d, before consonants, and at the end of the verse.
8. The ablative or genitive singular in -vah from -u stems, in mddhvah, vdsvah.
9. The neuter plural in -u (-u is rarely correct, see § 159), in uru, rju, cdru, tridhdtu, purU (puru), *bahu, *mddhu, vdsu, vilu, sdnu, suddtu, suhdntu : and from a radical stem mayobhu.
10. The form dive-dive.
1 1 . The vocative in -vah, -mah from stems in -vant, -mant. From stems in -vant in adri-, rsi-, gnd-, tavisi-, niyut-, marut-, rayi-, vajri-, vira-, sakti-, saci-, saras-, sahas-, svadhd-, hari-vah : from stems in -mant in tuvis-, dyu-, bhdnu-, mantu^, sucis-, havis-mah.
12. The instrumental tud (only in the phrase tud yujd): compounds in tud-, namely tud-isita, -uta, -datta, -data, -vrdha, -hata, and indra- tuota, in which tud- has instrumental meaning : also tud-diita, -nid, -vasu. So too yuvd-datta, -nlta, -yiij ; yusmd-isita, -uta, -datta, -nlta.
30 Forms indicating early date
13. The forms mdhya, tubhya, asmdbhya, sometimes found in the text in Sandhi combination, sometimes to be restored in accordance with the metre.
The occurrences in which these forms are suggested by the metre are as follows : mdhya i 22 8d ; iv 5 2a, 42 2a ; v 52 10c ; vi 27 8b, 46 9c, 47 10a; viii 1 32a, 26 12c; ix 32 6b; x 39 6b, 49 lb. tubhya i 68 6a, 129 3d; iii 14 2b, 30 20c, 35 7d, 62 7c; iv 3 16a, 17 la; v 6 5d, 29 5a; vi 20 13c, 40 la; vii 29 la, 32 21c, 90 2b; viii 2 30b, 39 3a; ix 88 la; x 7 2a, 116 7a 7c, 148 4a. asmdbhya i 10 8d, 48 9c, 63 8c, 81 6c, 114 5d, 117 2d; iv 55 8c ; vi 53 5c = 6c = 7c, 71 6b; vii 74 5d, 78 Id, 79 4a, 81 6b; viii 67 19a, 84 6b; x 56 2b.
14. The following pronominal forms : yuvoh, ayd (pronoun and adverb) had, and ndkih.
15. Many monosyllabic stems remain in use in classical Sanskrit, but a large number are peculiar to the Rigveda. These include several common words, viz. ksd, tmdn (with purutmdn), nid (with devanid), pfks (with supfks), pft (with prtsutur), mdh (with the adverb malidh), vfdh (with the infinitive vrdhe), and sridh (with asridh) ; and nearly all the words which are rare even in the Rigveda, viz. dmh, arc, id, ud, kfp, ksdp, ksip, ksu, ksdbh, ksmd (in ksmdh), khd, gdh, gfbh, gmd (in gmdh), jn&s, jmdn (with j may d, the verb jmdy and pdrijman), tdr, tuc, tuj, tur, trd, ddn, dd, dds, du, *nddh, ndbh, nds, ndbh, pas, pis, pur, pre, psur, bddh (with jiiubddh, paribddh, somaparibddh), bhid, bhis, bhuj, bhrdj, mtt, mih, mur, mils, mfc, yd, ran, rit, rip, ris, rdp, van, vds, vij, vid, vip, vft (with vrtariisayd), vfs, vrd, sds, sdh, sU, star, sti (with stipd), stut, stubh, sthd, srit, hr&t.
16. Stems in -asi : atasi, dhartiasi, 1 dhdsi, 2 dftasi, sanasi.
1 7. Stems in -dyia : atasdyia, ahnavdyid, dkdyia, uttamayia, trayaydyia, daksdyia, didhisdyia, nrpdyia, panaydyia, pandyia, puru- mdyia, mahaydyia, mahdyia, rasdyia, vitantasdyia, viddyia, sravdyia, sprhaydyia. For aldyia, kundapdyia, bahupdyia cf. C 2, C 3 and C 22.
18. Stems in -iman : ddriman, dhdrvman, pdr%man, bhdrlman, vdrlman, sdriman, sdviman, stdrlman, hdvvman.
19. Stems of neuter nouns in -tvand: janitvand, patitvand, mar- tiatvand, mahitvand, vasutvand, sakhitvand. The instrumental forms, as mahitvand, are included under No. 1.
20. Pronominal stems in -ydt, -yd, -yH, and -vat, in tvaydt, yusmaydt ; tvdyd; asmayu, ahamyu, tvayxi, yavayu, yuvayu, svayd; tvdvat, mdvat, yuvavat, yusmavat.
21. In the case of heteroclite nouns, forms belonging to the follow- ing stems : anarvdn, puru, bhuman, mdnus (with mdnurhita, visvd- manus), mdrta (with dmarta, martabhojana), mahd, yaman (with dkhidra-, dnusra-, istd-, usrd-, dyutdd-, prthu-, pro-, pravdd-, raghu-, said-, sahdsra-, su-yaman), and sdrdha (with sdrdhaniti).
22. Unaugmented forms of historic tenses. In the list given by J. Avery in the Journal of the American Oriental Society, vol. xi, pp. 326 — 361, the following corrections are needed: add tdksat i 127 4e, vi 12 5b, dudrdvat v 50 4b, navanta *x 120 2d, prdthista x 61 5a, bhdrat v 31 lie, bhuvat i 61 14d, rujdt ix 34 lc, vadat viii 45 5a;
Forms indicating earl// date 31
omit rocata iv 10 5d. The whole number of these forms in the Rigveda appears to be 1043, of which 32 are in the 'popular Rigveda': in the independent parts of the Atharvaveda there are 29.
23. The first person singular subjunctive in -se : arcase, rnjase, ohise, krse, car krse, gr/ilse, puriise, ydjase, stuse, hise : sasahise appears to be 2 p. sing.
24. All forms of the perfect subjunctive active. For details refer to Historical Vedic Grammar, pp. 328 — 330: here it will as a rule only be necessary to quote one form from each verb, namely cakdnah, cikitah, ciketasi, jugurat, jujosah, jujusan, jujuvat, tatdnah (1 tan), tatanah (2 tan), alddasah, dlddyah, dadhdrsat, paprcasi, piprdyah, bubodhah, jabhdrat, mamandat, mamdhah, mumucah, mumocat, mumu- rat, rardnah, vavdnah, vividat, vain-dhati, susuvat, susravat, sdsdhah, susudah, paspdrsat, jaghdnat.
25. All subjunctive, optative, and imperative forms of the perfect middle, namely andsamahai, cakdnanta, cdkramanta, caksamlthdh,
jagraslta, tatdnanta, tatdpate, dadabhanta, dadhisvd, dadhidhvam, dadhi- dhve, dudhuvlta, piprdyasva, mdmahanta, mdmahasva, mdmahantam, mdmrjita, yuyojate, rurucanta, vdvrd/idte, vdvrdhdnta, vavrdhdsva, vavrdhlthdh, vdvrdhasva, sasdmate, susuclta, sasahisth&h.
26. Perfect participles without reduplication, except vidvdms: namely khidvtirhs, dasvams, milhvdrhs (with mllhusmat), and sdhvdms.
27. Forms of the second person dual and plural of the root-aorigt having strong stems, namely kartam, kdrta, kdrtana ; gantdm, * gdnta, gdntana; dhdta, dhdtana; ydntana; vartam, varta; varktam ; srota; sbta, sotana; ahetana, heta. For the quantity of final vowels see § 159.f
28. The aorist imperative forms in -si, namely *kdrsi, jesi, josi, ddrsi, daksi, dhdksi, naksi, nesi, pdrsi, prdsi, bhaksi, mdtsi, mdsi, ydksi, ydmsi, yasi, yotsi, rdtsi, rdsi, vdksi, vesi, srosi, saksi, sdtsi, hosi.
29. The aorist imperative form bodhi, whether from budh or bhu.
30. All forms of the root-aorist imperative middle : krsvd (for the quantity of the final vowel see § 158), krdhvam : trdsva, trddhvam ; dhisvd, mdtsvd, mdsva, ydksva, yuksvd, rdsva, vdrhsva, saksva (sac), saksva (sah).
31. The active participle of the root-aorist : rdhdnt (with rdhddri, rdhddvdra), krdnt, gmdnt, citdnt, dyutdnt (in dyutdd-yaman), dhrsdnt (including dhrsdn-martas, -varna, -vin), pdnt (from pa 'drink'), bhiddnt, viddnt (in vidddvasu), vidhdnt, vrsdnt (in vrsadanji), sthdnt.
32. The middle participle of the root-aorist, in arand, krand (including krand), citana, cydvana, dyutand, *dhrsand, niddnd, pisand, piyana, prathdnd, budlmnd, bhiyand, manand, yatdnd, ydtdna, yujand, yodhand, rucand, vipand, urand, subhdna, svitand, sacand, sahand, sdna, srjand, stubhdnd, sprdhand, dhrayana.
One or two forms remain in use later, namely jusand, dyutdna, vidand : for the last see also D 3. Whitney regards it as a present.
33. The augmented passive forms of the root-aorist : dkdri, agami, dceti, dchedi, djani, djndyi, ddarsi, ddhayi, dpayi, dbodhi, dbhraji, dmoci, dmyaksi, ayami, dyoji, drddhi, aroci, avdci, dvari, avedi, asoci, dsrayi^ asarji, dsadi, asavi, astdri, dstdvi, dhdvi. Cf. No. 22 above.
32 Forms indicating early date
34. The active participle of the a-aorist, in krtddvasu, guhdda- vadya, trpdnt, risant, risant, *rudhdnt, vrdhdnt, sisdnt, sucdnt, saddnt, sddddyoni, sdnant (and sanddrayi, sanddvdja), huvdnt.
35. The middle participle in -sand, from the s-aorist, and parti- cipial adjectives of the same form : in area-, urdhva-, rnja-, oha-, jraya-, dhiya-, nama-, manda-, yama-, rabha-, vrdha-, sava-, saha-sdnd.
36. The infinitives in -tdye and their derivatives : istdye (and vasya-) ; purvdeittaye ; maghdttaye, vdsuttaye, havydddtaye ; pltdye (and purvd-, soma-pltdye) ; vltdye (and devd-vltaye) ; sdtdye (and medhd-, vdja-sdtaye).
37. The infinitives in -dhyai, namely iyd-, ird-, isd-, isdya-, irdya-, ksdra-, gdma-, card-, jard-, tarhsayd-, tard-, duhd-, dhiyd-, ndsayd-, piba-, prnd-, bhdra-, manda-, mandayd-, mddayd , ydja-, risayd-, vandd-, var- tayd-, vdha-, vdjayd-, vrjd-, vdvrdhd-, say a-, sued-, sacd-, sdha-, stavd-, syandayd-, huvd-dhyai.
38. The infinitives in -vane : turvdne, ddvdne, dhurvane.
39. The infinitives in -se, -ase : arhdse, redse, rnjdse, ksddase, cardse, javdse, jise, tujdse, dohdse, dh&yase, dhruvdse, pusydse, prdkse, bhiydse, bhojdse, rdjdse, vrnjdse, vrdhdse, s'obhdse, sriydse, stuse, spdrase, spurdhdse, hdrase. But cdksase andjlvdse remain in use later,
40. All verbal forms from certain conjugational stems, namely iyar-, I- (in imahe, iydnd), jigd-, pipl- (present), pdva- (except the participle pdvamdna), yuvd- (from yu 'join'), yuyo- (from yu 'separate'), sisac- sasc- (including asascdt, dsascat), sadh- (not including the causative), stdva- : the perfect plpi- and its participle plpidnd : the aorist pd- 4 drink' (except the augmented indicative), and the aorist optative asyd- : the desiderative vivdsa-.
With the flexional forms may be classed a number of pronouns and adverbs, as these also belong to the grammar of the language : —
41. The pronoun syd, tyd.
42. Adverbs in -vdt, namely angiras-, atri-, atharva-, apnavana-, rsi-, aurvabhrgu-, kanva-, jamadagni-, jami-, nabhdka-, paka-, pitr-, pur ana-, purva , priyamedha-, pratna-, bharadvdja-, bhrgu-, manu-, manus-, yaydti-, vasistha-, virupa-, vyasva-, sthurayupa-vdt.
43. ddha (ddhd) in combination with other particles (of which tmdnd, dvitd are themselves old, see No. 15 and below), namely ddhd Mm, ddhd ca, ddhd cid, ddha tmdnd, ddha dvitd, ddhd nu, ddha smd, ddhd ha (for the quantity of the final a, see § 161): dnusdk (and sdnusdk), tu (tu), dvitd, nd ' as,' m,aksu (and in maksumgamd, maksU- javas, maksuyu), sded (and in sacabhu), sdtra (and in satrakdrd, satrdc, satra-jit, -sdh, -sdha, -ha, -hdn), sim.
85. B. Words characteristic of the Rigveda proper.
1. akta 'ber,m.'
2. atyd ' swift.'
3. ddri ' stone,' and its compounds adri-jd, -juta, -dugdha, -bar has, *-budhna, -bhid, -mdtar, -suta, -samhata, -sdnu.
Words indicating early date 33
4. dndhas « sap.' Cf. D 1 2.
5. abhisti * help/ and its compounds abhisti-kft, -dyumna, -pd, -mat, -savas, su-abhisti, su-abhisti-sumna.
6. abhika 'face.'
7. ara^S 'minister.'
8. arusd ' red,' and arusdstupa.
9. «r/ (r/, rzy) ' stretch.'
10. drnas 'stream,' with arnasd, arnovft, khddo-, go-, dhdnu-, mddhu-arnas.
11. dvas 'help,' except the form dvase, which remains in use later: also avasy, avasyu, su-dvas.
12. avitdr and avitri ' helper.'
13. dvya 'sheep,' with avydya and dvyaya.
14. dsvia 'of horses.'
15. asuria (text asuryd) 'lordly,' and asuryd (text asuryd) 'lordship.'
16. ai/w 'age,' with dyusdk, ekayu, visvdyu, visvdyuposas, visvd- yuvepas.
17. mc?w 'drop.'
18. urusy ' widen,' urusyd, and urusyu.
19. ws'y (proper name) with ausijd.
20. ^1 (except the dative ictdye, which remains in use later), with an-, dnti-, itd-, urvi-, satdm-, sadyd-, sahdsra-, sahdsram-, and su-uti.
21. rjisin 'direct.'
22. rtay 'order,' with rtayd, rtayu, Hay at, rtayin, rtdyti.
23. rbhuksdn, rbhuksd (proper name).
24. r§vd ' upright,' with rsvd-ojas and rsvdvlra.
25. &a 'regard,' with akdyia (also included in A 17).
26. kiitsa (proper name) with kutsa-putrd, -vatsd, and kutsid.
27. ksiti ' dwelling,' with uru-, dhdraydt-, su-ksiti.
28. gdbhasti 'arm,' with gdbhasti-puta, and purnd-, su-, sw-, and
29. girdh 'songs ' in the plural : gir ' voice ' remains in use in the singular. Also compounds of gir, namely giravfdh, girvanas, gir- vanasyu, girvdhas, muhurgir, samgir, and satydgirvahas.
30. gomant ' rich in cattle.'
31. cdnas 'delight,' with canasy, cdnistha, cdnohita.
32. Compounds beginning or ending with candrd * gold ' ; namely asva-, puru-, visvd-, su-, svd-, hdri-candra : candrd-agra, -nirnij, -budhna, -ratha, -vat, and -varna. candrd itself remains in use later.
33. camu ' cup,' with camusdd.
34. carsani ' mortal,' with carsanx-dhft, -prd, -sdh, and pro- and vi-carsani. visvdcarsani remains in use later.
35. jur 'aging,' with a-, amd-, rta-, dhiyd-, ni-, sand-jitr, and djuryat.
a. 3
34 Words indicating early date
36. tdnaya 'offspring.' Cf. D 25.
37. tdvisl 'strength,' with tdvisi-mat, -y, -yd, -vat and dnibhrsta- tavisi.
38. The verb and adjective tuj 'grow,' with tuji, tuji, tunjd, tutuji, tutuji, dtuji. The noun tuj remains in use later.
39. Compounds ending in -tur 'conquering,' namely ap-, dji-, prtsu-, mithas-, rajas-, rat ha-, radhra-, visva-, vrtra-, supra-tHr.
40. turd ' strong,' with *turd-gatu, turayd, turasdh.
41. turvdsa (proper name) and turvdsayddu.
42. Compounds beginning with tuvi-, namely tuvi-ojas, -kiirmi, -kurmin, -kratu, -ksd, -grd, -grdbhd, -yri, -griva, -jatd, -desna, -dyumnd, -nrmnd, -prati, -badhd, -brahman, -maghd, -manyu, -mdtrd, -mraksd, -rddhas, -vdja, -sagma, -susma, -s'ravas; tuvistama, tuvismat ; tuvisvaiids, -svdiii, -svan ; tuvi-magha, -rdva, -rdvat.
43. dams 'excel,' with damsdna, damsdnd, damsdndvat, ddmsas, ddmsistha, ddmsu, ddmsujuta, ddmsupatnl ; puruddmsa, puruddmsas, suddmsas.
44. dasmd ' wondrous,' with dasmdt, dasmdvarcas, ddsmia, puru- dasmd.
45. dasrd ' wondrous.'
46. daSasy 'do worship,' with dasasyd.
47. dM 'do worship,' with ddsu-adhvara, ddsuri, ddasu, ddasuri. The participle dasvdms is already included in A 26, and the noun das' in A 15.
48. durond ' house,' with durona-yu and -sad.
49. dtivas ' worship,' with duvasy, duvasyu, duvoyd, duvoyti.
50. dustdra ' hard to overthrow.'
51. devdtdt and devdtdti 'divinity.'
52. Compounds beginning or ending with dyumnd ' brilliance,' namely abhisti-, *rta-, tuvi-, tvesd-, vibhuta-, su-dyumnd ; dyumnd-vat, -vdrdhana, -irdvas, -sdh, -sati, -huti ; dyumnin. The simple noun dyumnd remains in use later, and also the proper name *pdsadyumna, for which see D 2.
52L Compounds ending in -druh : a-, aksnayd-, antaka-, dnabhi-, abhi-, asma-, puru-, visu-druh.
54. dhanv 'run.'
55. dhlti ' insight,' and rtddhiti.
56. dhtini ' roaring,' with dhunay, dhuni-mat, -vrata, dhunlcuirmrl and dhuntii.
57. nary a ' heroic,' and ndriapas.
58. navy a and navy as 'young.'
59. nitya ' own,' with nitya-aritra, -stotra, -hotar.
60. niy&t 'car,' with niyutvat and niyudratha. Cf. anddvah in D 2.
61. nftama ' most heroic'
62. paty 'rule.'
Words indicating early date 35
63. pdyu 'protector.'
64. pavdkd ' brilliant,' with pavdkd-varcas, -varna, -focis.
65. plti ' drink,' with a-, purvd-, sd-piti : most of the former are already included in A 36 above.
66. puramdhi (proper name), with puramdhivat.
67. puruspfh * much desired.'
68. purilvdsu ' very wealthy.'
69. paumsia 'heroic'
70. pratnd ' ancient,' with pratndthd. pratnavdt is included in A 42 above.
71. prdyas 'sustenance,' with prdyasvat, and ghrtd-, su-, hitd-prayas.
72. prdsasti ' plenty,' with prasastikft.
73. mamh ' be mighty,' with mamhdna, mamhanesthd, maihliaydd- rayi, marhhayu, mdmhistha, mdmhistharati, and mdmhlyams.
74. maghd, ' wealth.'
75. maghdvan 'lord,' except as used of Indra.
76. matsard ' excited,' with matsardvat and matsarin.
77. mandrd 'glad,' with mandrd-ajani, -jihva, -yu, and purumandrd.
78. mdnman 'thought,' with manmasdh, manma-sddhana, and dur-, yajnd-, vipra-, satyd-, and su-mdnman.
79. Compounds ending in -mahas 'might': citrd-, prd-, mitrd-, vdjapra-, vi-, vidydt-, visvd-, vrddhd-, su-mahas.
80. yajatd ' worshipful,' with ydjatra, ydjistha, and ydjiydms.
81. yahti 'quick,' with yahvi.
82. ranvd ' pleasing,' with ranvdsamdri.
83. rddhas ' wealth,' with rddhaspati and rdd/iodeya, and the com- pounds anavabhrd-, dsva-, ghrsvi-, citrd-, tuvi-, pankti-, viti-, satyd-, su-, spdrhd-rddhas. arddhds remains in use later.
84. vaks 'grow.'
85. vanus ' charm,' with vanusy.
86. vdrivas 'free room,' with varivas-y, -yd; varivo-kft, -dhd, -vid.
87. vdrtis 'path.'
88. vdrpas 'wonder,' with ghord-, purio-, prdtijuti-, bhuri-, hdri- varpas.
89. vdja 'prize,' with vdjaydt and vdjayu, and the compounds citrd-, jyd-, tuvi-, puru-, bhardd-, bhdrad-, satd-, sandd-, sa/idsravdja : vdja-kftya, -gandhia, -jathara, -ddt -ddvan, -dravinas, -pati, -patni, -pastia, -pesas, -pramahas, -prasuta, -bandhu, -bharman, vdjarnbhard, vdja-ratna, -vat, -sravas, -sruta, -sdni, -sd, -sft. vdjasati is included in No. 104.
90. vdjinivasu 'liberal.'
91. vdra 'hair, tail,' with vdravat, 1. puruvdra, 1. vitdvdra.
92. vd/ias ' waggon,' with the compounds ukthd-, gir-, nr-, bi'dhma-, mrktd-, vipra-, satydgir-, sindhu-, stoma-vdhas. yajndvahas is in use rather later.
93. vipra * poet,' with vipra-juta, -marwian, -rdjia, -vacas, -vdhas, -vlra : a-, sdma-, su-vipra.
3—2
36 Words indicating early date
94. viti l obtaining,' with vlti-rddhas and -hotra, and ghauri-, devd-, and rdtha-viti. vitdye is included in A 36.
95. vlrdvat ' rich in men.'
96. Compounds in -vrkti, namely ndmo-, su-, and svd-vrkti.
97. vrdhd 'furtherer': vrdhasnu ; a-, kavi-, namo-, marud-, and se-vrdha ; saddvrdha. tutivrdha is included in A 12.
98. sdmsa 'praise.'
99. sdvas ' strength,' with savasdvat, savasin, savasi, sdvistha ; dpratidhrsta-y abhisti-, asdmi-, dvi-, ndksatrcv-, vrddhd-, satyd-savas.
100. susna (proper name) and susiiahdtya.
101. Compounds ending in -socis : dgrbhita-, ajird-, urdhvd-, citrd-, tigmd-, dirghdyu-, duroka-, pavdkd-, vrddhd-, sird-, sukrd-, srestha-, svd-socis.
102. srdvas 'glory,' with srdvas-kdma, -y, -id, -yd, -yu ; susravasyd ; srdvistha ; srava-esd, sravojit ; upamd-, gdthd-, gurtd-, citrd-, tuvi-, dlrghd-, devd-, dyumnd-, prthu-, prathamd-, prd-, brhdt-, vdsu-, vdja-, vrddhd-, satyd-, su-srdvas.
103. sdtpati ' master.' Cf. D 6.
104. sdti 'attainment,' with arkd-, drna-, tokd-, dhdna-, medhd-, vdja-, sdra-sdti. sdtdye is included in A 36.
105. sdnu 'back,' with sdnukd: also adri-, urdhvd-, pfddku-sdnu : snu, ghrtdsnu, ghrtasnu.
106. sukrdtu ' wise,' with sukratuy and sukratuyd.
107. sumnd 'blessing.'
108. suvitd 'prosperity.'
109. suviria ' heroism.'
110. stir a 'sun,' and suracaksas ; asurd.
111. suri 'lord.'
112. stotdr ' singer. '
113. spdrhd 'desirable,' with spdrhdrddhas, spdrhdvira.
114. su-adhvard 'happy in the sacrifice.'
115. suarvat 'glorious.'
116. haryatd 'desirable.'
117. havismat 'bringing offerings.'
86. C. Forms characteristic of the popular Rjgveda
AND ATHARVAVEDA.
1. All words containing the palatal t (except vdsat, srausat, which are found in use earlier) : namely aratvd, *dghdti, itdtah, *kdtuka, kdtd, kikata, kuta, *kuta, *kfplta, kevata, birita, bekandta, *mahdvaturin, *renukakdta, *vaturi?i, *vikata, *sakatt
2. Words containing nd\ dkhandala, dndd, kundapdyia, kundrndcl, *dandd, *pi?ida,*punddrika, *manduka, *m'anduki, *ma?iduradhdnika, mdrtdndd, sdndika, sdndd, hiranyapindd.
Forms indicating late date 37
3. Words containing /, excepting the following, which are estab- lished in use in the Rigveda proper : ulokd, kaldSa, kila, kevala, jdldsa, riila, palitd, phaligd, bahuld, -misla, void, valg, vitfpdld, s%oka. A list of other words containing I is given in Historical Vedic Grammar, pp. 258, 259 : dlarsi, dlarti, and dvicacali are to be added to it.
4. Duals in -au before consonants or at the end of an even pada. To the lists given in Lanman's Noun-Inflection in the Veda pp. 340, 341, 342, and 576 are to be added astau, *kaijL, *dvau, nau. Before vowels (except u) -dv is found throughout the Rigveda : but see §§ 1 28, 1 29.
5. Case-forms in -yai (-iai), -yah (-iah), -yam (-idm) from nouns with -i stems : *dnumatyah, dratiah, turyai, devdhutiai, *ndbhyah, *nirrtyai, *nirrtyah, pustyai, pfhiyah, bhujyai, bhrtyai, *bhrtydm, yuvatyah, yuvatydm, srutyai, sdmgatyam. Forms from bhumi, bsadhi, heti are included in 10 and D 12, 52 below.
6. The accusative divam.
7. The accusative plural dpah.
8. The locative form mayi.
9. Nouns adapted to stems in -a : (a) in -anta ; tarantd, *ddnta, *panta, *vasantd, *vaisantd, sdmanta, *hemantd : (b) compounds in -aksd * eye ' ; adhi-, an-, catu?'-, bhuri-, sad-, *sam-, sahasra-, hiranya- aksd : (c) compounds in -yajd, -raja ; ati-, *anu-, jiva-, *pra-yajd : *adhirajd, rajakd : (d) *pada, with *nipadd, *pdncapada, *pddakd, *padagfhya : (e) *purusa, with *purusi, paHruseya, *purusa, *purusdd, purusaghnd, *apurusd, dpiirusaghna [the forms purusdta, purusatrd, purusatvdta, and purusia are established in the Rigveda proper, and should either be derived from a stem purus- or treated as the begin- nings of the transition] : (f) *mamsd, with *mamsabhiksd : (g) mdsa : (h) hfdaya, with *hrdayavidh and *hrdayia. For svarajd (conjectu- rally) see § 151 iii.
10. Certain other noun-stems, namely bhumi with dydvabhuml and bhumid ; *sakiini, *sakunti and *sakuntikd.
11. Forms of the 1st person singular conjunctive (or imperative) in -dni : kdrani, *gamani, *gani, carani, *davisani, *dadhdni, *ndyani, *pacani, brdvani, *bhajdni, *randhaydni, *rdjani, *va)iani, *srjdni, *stosani, *janghdndni.
12. Subjunctive forms in -sai, -tai : *yajatai.
13. Imperative forms in -dm, -ram, -ratdm : *duhdm.
14. md with the aorist injunctive middle or passive. For the occurrences see Avery, JAOS. xi pp. 346, 347, 361, and add md bibhi- sathdh viii 79 8b.
15. Precatives in -dsam : kriyasma, *bhuyasam.
16. Future forms from stems in -sya, -isya, not including the participles, which are established in use (chiefly as desideratives) in the Rigveda proper : *jesyd-, vaksyd- (vac), karisyd-, janisya-, dhara- yisya-, *bhavisya-, manisyd-, vasayisya-, sanisya-, stavisyd-. Past tenses of this formation must be looked upon as desideratives : such too are karisydh i 165 9d, iv 30 23b, karisydsi i 1 6b.
38 Forms indicating late date
1 7. Causatives in -p : arpdya-, ksepdya-, *glapaya-, *dhdpaya- (1 dhd), dhdpdya- (2 dhd), *vdpdya- (1 vd), sthdpaya-, sndpdya-, dti- sthipa-, *jihipa-.
18. Augmented forms of the imperfect passive : djdya-, aniya-, aprcya-, dmucya-, aricya-, *dpasya-.
19. Absolutives in -tvd (-tud): pltvd, bhittvd, *bhictvd, mitvd, *mohayitvd, yuktvd, *vrtvd, srutvd, *snatvd, hatvd, hitvti.
20. The imperfect forms aslh, aslt.
21. All forms from the following verb-stems: *rchd-, *kuru-, *ksind-, *grhnd-, nudd- (active), brdvl-, bibhl-, muncd-, mrna-, hdr- (hf-), including with the last the noun 2. hdr as ' taking.'
22. The pronoun adds, with its adverbs addh, ainutah, and amuyd: the form etdd, whether neuter singular or adverb : the pronoun ena (the adverb end is earlier) : and the pronominal words ddhara, adhamd, itara, iXdac (Hdaktdt, udaktdh, and uccd are earlier : for uccaih see No. 23) : tdvat, tirydc and its derivatives, pdrdc (for pardcaih see No. 23), bahu (bahuld is earlier) with *bahu-annd, *bahutrd, *bahudhd, bahupdyia, *bahuprajd, *bahus4van : yatard, ydtama: ydvat with *ydvanmdtrdm : sdrva ' all ' (but not sdrva ' whole '), with *sarvdtah) *sarva-anga, *-hut, -hfd.
23. Adverbs in -aih, namely uccaih, nicaih, pardcaih, pracaih, Sdnaih, and sanakaih : in -at, namely apakdt, uttardt, pascdt (and in dpascdddaghvan) ; for adhardt see No. 22: in -tah, with the exception of dtah, dntitah, abhitah, kutah, ydtah, and visvdtah: and also the following : dtho (§ 171), antard (and antarabhard), anydtra, evdm, kathdm, tdtra, tdtha, durdm, vai, sahd, and saydm : and f va when required by the metre in place of iva (see below, § 129).
87. D. Words characteristic of the popular Rigveda
AND THE ATHARVAVEDA.
1. Names of the body and its parts: dnga 'limb,' with *dngia, cdtur-, vilu-, *sarva- and su-dnga ; asthdn ' bone,' with *anasthd, *anasthd?i, *asthanvdt, and *asthlvdt 'knee'; uru 'thigh'; cdksus 'eye,' with *dghora-, *visvdtah-, *hrade-caksus, and *cdksusmat ; pdrus 'limb'; *prsti 'rib,' with *prsti-dmayin ; majjdn 'marrow'; mukha 'mouth,' with visvdtomukha ; sdrlra 'body,' with brhdccharlra ; *srotra 'ear.'
2. Names of other objects of common life: *aksd 'die'; aghnyd 'ox, cow'; anddvah 'waggon'; asvatthd 'fig-tree'; *udakd 'water,' with *anudakd, dpodaka ; rsabhd 'bull'; odand 'broth'; kumbhd 'jug,' with *kumbhin; *krsi 'ploughed land,' with dkrslvala ; kslrd 'milk,' with kslrapdkd : gosthd 'stall'; grama 'village,' with arista-, mahd-, sura-grama, grama-jit, *-ni, and *grdmid ; caru 'pot'; jayd 'wife,' and *brahmajayd; *tfna 'grass'; *darbhd 'wisp'; *dundubhi 'drum,' nald 'reed,' with ndU; ndri 'woman'; pdsa 'snare,' with *pdsadyumna, pasin, and bhuripdsa ; pums (pumdms) ' man ' ; pfddku ' serpent ' in
Words indicating late date 39
pfddkusdnu; vasd 'cow,' with vaJdnna ; 6vdn 'dog,' with tvdpada, *s'vdydtuJ and sunesita ; *sarpd 'serpent'; skambtid 'post,' with slca/m- bhddesna ; stri ' woman/ with *strai?ia ; spJidti ' fattening.'
3. Verbs of common life : compounds of ad ' eat,' *amdd, *urjdd, karambhdd, *kravydd, *purusdd, *madhu-dd, yavasdd, *yavdd, vitivdd, suhutdd, *suyavasdd, *somdd, *havirdd, havydd ; an 'breathe,' with dvyanant, and, prdnd, apiprdna, prdnana ; a£ 'eat,' with *dnasna7it, dsna, prdM, prdsdvya, and *sdsandnasand ; Iks 'see,' with iksenia ; khan 'dig,' with *khanitdr, *khanitra, khanitrima ; *gup 'watch'; *gopdy ' tend ' ; ghas (jaks) ' swallow,' with *ghdsi, jagdhd, *jagdhvdya ; crt ' knot,' with vicft and sarhcft ; chid ' break,' with dchidyarndna, dchimiapatra, ukhdchid, *chidrd (but dchidra and its compounds are established earlier); jiv 'live' (butjlvdse is earlier); dus 'pollute'; dvis ' hate '; nart (nrt) ' dance,' with nrti, nrtu ; nas ' be lost,' with *dnasta- pasu, -vedas, and manands ; nah 'sew'; pac 'cook'; pad 'go,' with *anipddyamdna ; bandh 'bind' (but baddhd is earlier); ddhi bru 'com- fort'; mar (mr) 'die'; muh ' be bewildered ' ; vad 'speak'; sam viddnd ' possessed of ' ; vyadh ' wound,' with *dndviddha and *hrdaydm,dh ; sap 'curse,' with *sa,pdtha, *sapathia ; sar, sir 'break'; sis 'remain over'; *sus 'be dry'; sarp 'creep'; sumanasy 'be kind'; hinis 'hurt,' with dhimsat, dhirhsana, dhimsyamdna, and *himsrd.
4. Words connected with disease, magic, and popular belief : -dfijana 'salve,' in abhi-, *d-, vi-dnjana, and * dnjanagandhi ; apsards 1 water-sprite ' ; aranydni ' forest-sprite ' ; dsura (hostile deity), with asurahdn and *dsurd; krtyd 'witchcraft'; gandharvd (proper name), with gandharvi, gandharvd; jards, jard 'age,' with jardyu, jyotir- jarayu ; devajand ' troop of devas ' ; nirrti ' destruction ' ; pisdci ' will o' the wisp ' ; brdhmand ' by magic ' ; bhesajd ' medicine,' with jdldsa-, *visvd-bhesaja ; *mrtyu ' death,' with dmrtyu and mrtyu-bdndhu ; ydksma 'disease,' with ayaksmd, *ajnatayaksmd, *rajayaksmd ; yamd (proper name), with *yami and *yamdrajan ; ydtudhdna ' wizard,' with *yatudhani; -rogd 'disease,' in *hrdrogd ; visa 'drug,' with avisd, *visdvant.
5. Technical terms chiefly of ritual and philosophy : dsat, dsat ' non-existent ' ; dsu ' existence,' with *asutfp, dsuniti, *gatdsu ; ajya 'sacrificial butter,' with prsaddjyd ; atmdn 'soul,' with *dtmadd, dt- manvdnt, satdtman ; dsa 'zone'; gdrhapatya ' householdership,' with sugdrhapatyd ; gdyatri (the metre) ; *brahmacdrin ' student,' with *vratacdrin ; cittd 'thought'; chdndas 'hymn'; -jndud 'knowledge' in *sa7h-, *suvi-jndnd ; tdpas 'penance,' with tdpasvat ; tejas 'vital force'; di4 and pradis ' region ' ; devdtd ' divinity '; devaydna 'directed to the devas'; dhdtdr 'creator,' with vidhdtdr ; papa 'sinful' (but pdpatvd 'feebleness' is earlier); pitdrah 'ancestors,' with *pitr-yajnd, -ydna, and -vittd) ; prajdpati (proper name) ; brdhmand ' Brahmin,' with brdhmaria ; bhdvya 'future'; bhdgadheya 'portion'; bhutd 'past'; ydjus 'rite' ; *rathamtard (a metre ?) ; vdrcas 'energy ' ; *virdj (a metre) ; visvdkarman 'first cause'; visvdrilpa (proper name) and *vis'varupi ; sraddhd 'faith'; sapta-rsdyah 'seven singers'; sabhd 'meeting,' with sabhdvat, *sabhdsdhd, sabheya; sukrtdm 'good work'; *svargd 'heaven'; svdhd ' amen,' with svdhakrta, svdhdkrti.
40 Words indicating late date
6. ddhipati t lord,' in ddhipatya. Cf. B 103.
7. *dnumati 'reflection.'
8. dyana ' going,' in *d-, ud-, upa-, *nir-, *ni-, *para-, *vi-, supra-, supa-ayand.
9. dranya ' strange,' and aranyd.
10. *dkitti ' attention.'
11. isu 'arrow,' with isu-kft, -dhi, *-bala, -mat, *-hasta ; *asann-, ksiprd-, *tigmd-, and su-isH ; and in *anisavyd. The group isudhy, isudhyd, isudhyu is earlier.
12. osadhi 'herb,' except in the form osadhlsu. Cf. B 4.
13. *kasydpa (proper name).
14. klrti 'glor}'.' But suklrti belongs to the Rigveda.
15. *gandhd 'smell': with *dnjana-, *dhumd-gandhi, sugdndhi and sugandhi.
16. candrdmas ' moon.'
17. *tarh 'destroy,' with *tdrha?ia and dasyutdrhana.
18. *tlksnd 'sharp,' with *tlksnd6rnga.
19. abhi das 'plot.'
20. The phrase *ndma(h) astu ' worship be done.'
21. *ndth 'need,' and *anathd.
22. pdyasvant ' rich in milk.'
23. paridhi 'enclosure.'
24. * puny a 'fragrant/ with *ptinyagandha.
25. prajd 'family.' The compounds are common in the Rigveda. Cf. B 36.
26. pratisthd ' rule, standard.'
27. bhuti 'subsistence.'
28. bhrdtrvya ' clanship ' in abhratrvyd.
29. raani 'jewel,' and manigrlvd.
30. *rajania ' of royal blood.'
31. rdtrl 'night,' with *ati-t *aho- ratrd.
32. rastrd ' royalty,' with *abhirastra.
33. rudh, rundh ' hinder.'
34. -vatsard ' year ' in pari-, sam-vatsard ; pari-, sam-vatsarina.
35. vdrman ' shield,' with vdrmanvat and varmin.
36. varsd 'rain,' with varsd-nirnij, *varsia.
37. vasin 'ruler.'
38. vasas ' robe ' : one or two compounds are earlier.
39. virudh 'herb.'
40. vrksd ' +ree,' with vrksdkesa.
41. *svdsura 'father in law/ with *svasr4.
42. sds 'six.'
43. sajatd 'related.'
Words indicating late date 41
44. *sapdtna ' rival,' with *asapatnd, sapatnahdn, and sapdtnl.
45. sdmiti 'meeting.'
46. sarh srj * provide with,' with *samsfj, ^sarhsrstajit, and *sdrii- srastar.
47. send ' army,' with dyuddha-, *indra-, *citrd-, *deva-, mahd-> vrddhd-, sdrva-send, and sendnt
48. stanayitnu • thunder.'
49. syond (siond) 'soft': and siona-kft, -4i.
50. svdpua ' sleep,' with *jdgratsvapnd.
51. 1 *hdras 'heat,' with *vll_uharas, hdrasvant.
52. Aetf. 'lance,' with iigmdheti.
APPENDIX II. 88. List of doubtful hymns and fragments.
Mand,ala I.
13 9-12. The second section of the Apriya hymns, both here and elsewhere, contains late linguistic features : but only in ix 5 *8— n do we find either of the characteristic metres of the popular Rigveda.
22 i6-j8. Stanzas 17, 18 are repeated AY. vii 26 4, 5.
22 19-21. Stanzas 19, 20 are repeated AV. vii 26 6, 7.
*24 1, 2. These stanzas seem to have the character of a charm : much depends on the interpretation of the phrase pitdram ca matdram ca, for which parallels are found in *i 163 13b, viii 69 15d, ix 73 5a, *x 88 15d, those in the popular Rigveda being the nearer. For the form of question and answer compare *v 44 14, 15.
*24 6-15. The linguistic indications receive some confirmation from slight contamination in 15c. Part of stanza 9 is repeated AV. vi 97 2, and stanza 15 in AV. vii 83 3.
27 13. Uncertain: cf. i 139 11, iii 9 9.
28 1-6. The metre shews some trace of epic rhythm, and the linguistic notes indicate late date. On the other hand it is difficult to separate these stanzas from 7-9, which are similar in their subject: and the whole hymn may therefore be assigned to the transition period.
29. This hymn has to some extent the character of a charm ; it can hardly be earlier than the transition period, and like 28 1-6, is possibly later.
32. Stanzas 1-3 are quoted AV. ii 5 5-7.
35. This hymn, if standing by itself, would naturally be referred to the popular Rigveda in consequence of its metre : but it can hardly be separated from the other hymns of its group.
50 1-9. Quoted AV. xiii 2 16-24.
*84 16-18. Out of order, and not of the character of a hymn. Stanza 16 quoted AV. xviii 1 6.
42 Doubtful hymns
*89 10. Fragment of a cosmogony, quoted AY. vii 6 i.
*90 9. Appended Anustubh stanza, quoted AY. xix 9 6.
*93. The metre of 1-3 may be epic Anustubh, and 4-8 is out of order, besides shewing contamination. The combination of Agni and Soma is so strange to the Rigveda proper that it is probable that the whole hymn is late.
*97. This appears to be of the nature of a charm : stanzas 1-8 are quoted AY. iv 33 1-8.
105 1-3. Stanza 1 quoted AY. xviii 4 89.
105 16-18. Stanza 16 shews a trace of epic rhythm.
115. Stanza 1 is quoted AY. xiii 2 35 : but the hymn can hardly be separated from the other hymns of its group. Compare i 35.
*120 10-12. The character of this fragment is very uncertain : it disturbs the order of the hymns.
*126 6, 7. Appended Anustubh stanzas.
* 133 1-5. These stanzas have the character of a charm : but it is very unusual to find such verses prefixed to one of the hymns of the ordered collection.
139 11. Uncertain: cf. i 27 13.
*161. A typical mythological hymn, assigned to the late Rigveda on linguistic grounds.
♦170, *179. See on i *161.
188 8-11. See on i 13 9-12.
Mandala II.
3 8-1 1. See on i 13 9-12.
*8 6. The metre may be interpreted either as Gayatri with extra verse or as epic Anustubh, but the association of Indra and Soma with Agni is contrary to the practice of the Rigveda, and the nearest parallel is perhaps in the popular hymn *x 173 5c 6a.
*32 4, 5. Quoted AV. vii 48 1, 2.
39, 40. The linguistic notes indicate late date, but this is un- confirmed, and it seems better to assign the hymns to the same group as i 35, 115.
Mandala III.
*8 10, 11. This fragment has late linguistic notes, and disturbs the order of the hymns.
9 9. Uncertain (compare i 27 13), but required here by the order. *28. Out of order, and similar in metre to the next' hymn. Cf. also iii 52.
*29. In spite of the linguistic notes, the general character of this hymn, the traces of epic Anustubh metre, and the fact that stanza 10 is partly repeated in AY. iii 20 1, and stanza 16 is repeated AY. vii 97 1, all contribute to mark it as belonging to the popular Rigveda.
Doubtful hymns 43
33 1— 12. Uncertain : cf. iii 53 9-16.
*33 13. Appended Anustubh stanza, repeated AV. xiv 2 16.
*37 ir. Appended Anustubh stanza.
*52. This hymn is out of order, and being closely parallel to iii 28, is probably a late addition.
53 1. An independent hymn, in its proper order as one of the Indra hymns.
53 2-16. A series of fragments, as to which it is only clear that they are of the same period as iii 33 1-12, which also deals with the personality of VisVamitra. Cf. vi 47 1-25.
53 24. Appended Tristubh verse.
Mand,ala IV.
12 6. Uncertain : cf. i 27 13, iii 9 9. Repeated x 126 8.
*13 5. Apparently a fragment of a cosmogony : cf. i *89 10.
24 *9 *io. These verses form no part of the hymn : their meaning is much disputed, but they seem to have the character of the popular hymns. Cf. i *120 10-12.
*39 6. Appended Anustubh stanza.
42 1-7. A mythological dialogue, which appears to belong to the Rigveda proper.
57 1-3. This hymn is not out of order, and by its analogy with the hymns to Brhaspati, Sadaspati, and Vastospati belongs to the Rigveda proper.
*58. The position of this hymn is the principal reason for assign- ing it to the popular Rigveda rather than to the cretic period, with which it is connected by subject and language. Stanza 10 is repeated AV. vii 82 1. Stanza 11 may be regarded as a contamination of the Tristubh metre, or it may be an appended stanza. Cf. x *94, *175.
Mandala V.
5 8-1 1. See on i 13 9-12.
*30 15. The reference to the Pravargya ceremony is isolated in the Rigveda, and may indicate later date.
40 4. Appended Tristubh stanza.
*44 14, 15. The metre indicates late date.
46 7, 8. Repeated AY. vii 49 1, 2.
*51 14, 15. Appended Anustubh stanzas.
61 6-8. The language, and perhaps the subject, may indicate later date.
62. The language indicates late date, but this is unsupported.
78 4. Appended Tristubh stanza.
*83. Verse 7a repeated AV. iv 15 6a : stanza 8 AV. iv 15 16.
44 Doubtful hymns
Mandala VI.
9. The language alone indicates late date : cf. ii 39, 40, v 62.
15 i6-r8. These stanzas appear to form a separate hymn, rightly placed in the arrangement.
*15 19. Out of order, and late by the linguistic notes.
*16 47, 48. Appended Anustubh stanzas.
47 1-25. This hymn consists of a number of fragments, all of which are out of order in the collection, though they seem to be roughly arranged amongst themselves. The first three fragments are really separate hymns, viz. 1-5 (Soma), 6—10 (Indra), 11—14 (Indra) : they shew no indication of late date, except that several stanzas are repeated elsewhere, namely 1 in AV. xviii 1 48, 6 AV. vii 76 6, 8 AV. xix 15 4, 11 AV. vii 86 i, 12-13 RV. x 131 6, 7, and AV. vii 91 1, 92 1. It does not seem clear that these hymns belong to the popular Rigveda. On the other hand stanzas 15-18 are late by metre and language, but do not appear in AV. : stanzas 19, 20, 21 give no certain indications, and stanzas 22-25 appear rather to be early in character.
*48 22. Appended Anustubh stanza : cosmogonical.
*51 r6. Appended Anustubh stanza.
*52 1-3. Stanza 2 repeated AV. ii 12 6. If stanzas 1-3 are a later addition, the remainder of the hymn is in its proper order.
52 4-6. Uncertain.
53-57. The Pusan group shews a large proportion of the popular linguistic notes, especially 54, of which stanzas 9, 10 are repeated AV. vii 9 3, 4.
60 14, 15. Uncertain.
72. The metre alone indicates late date.
Mandala VII.
2 8— 11. The metre indicates that these stanzas really belong to iii 4, which see.
17. This hymn is a play upon an Apriya hymn of seven verses, such as vii 1 1—7. Although out of order, it does not appear to be late.
*33. Mythological poem.
*35. Uncertain: stanzas 1-10 are repeated AV. xix 10 1-10 ; stanzas 11-15 in AV. xix 11 1-5.
41. Uncertain : repeated AV. iii 16 1-7.
*49. Uncertain : stanza 3 repeated AV i 33 2.
55 1. Compare the preceding hymn, and iv 57 1-3.
*55 2-4. Apparently a charm, but the metre is lyric : cf. x 126.
59 7, 8. Stanza 8 repeated AV. vii 77 2.
59 9-1 1. Out of order. Stanza 9 repeated AV. vii 77 1.
*Q6 16. Unmetrical and probably late.
Doubtful hymns 45
89 5. Repeated AV. vi 51 3.
101, 102. The Parjanya hymns shew late linguistic notes, but they are in their order in the collection.
Mandala VIII.
*1 33. Out of place, and with late linguistic notes.
*1 34. Mythological.
*3 24. Appended cosmogonical verse. The metre is probably Pankti.
*33 16-18. Perhaps late : but cf. v 61 6-8.
*33 19. Appended Anustubh stanza : mythological.
47 1-12. Uncertain.
*47 13-18. The language and the epic rhythm in 15c 17d point to late date. Stanza 17 is repeated AV. vi 46 3, xix 57 1.
*48. The metre seems to indicate late date.
*59 1—5. The position of this hymn between two others that are clearly late, suggests late date.
*66 15. Appended Anustubh stanza.
69. This hymn contains some elements of uncertainty: verse 11a shews epic rhythm : for the phrase pitre mdtre see on i 24 1, 2.
*100. In the section 7-9 the metre, in 10-11 the subject plainly indicate late date. In the other sections the probabilities are on the same side.
*101 14. Cosmogonical stanza, repeated AV. x 8 3.
*101 15, 16. Probably late, as following stanza 14.
*102 19-21. Probably late : stanza 20 is repeated AV. xix 64 3.
*102 22. Probably late, as following stanzas 19-21.
Mandala X.
2. Stanzas 3, 4 are repeated AV. xix 59 3, 2.
9 1-5. Repeated AV. i 5 1—3, 6 1, 54.
*11-13. Hymns 11, 12 are repeated in their entirety in AV. xviii 1, and hymn 13 is repeated in AV. xviii 3 39-41, vii 57 2. There are also other marks of agreement in the collection 10—14 which make it undesirable to separate its parts, though it is probable that some fragments of earlier date are included in it.
*27, *28. The dialogue form contributes to make late date probable.
*32 6-9. Mythological poem (Agni in the waters).
40. Stanzas 10, 12, 13 repeated AV. xiv 1 46, 2 5, 6.
*51-53. Mythological poems (Agni and the gods).
54-56 3. Uncertain. The stanza 55 5 is repeated AV. ix 10 9, and 56 1 in AV. xviii 3 7.
46 Doubtful hymns
*59 1-4, *60 1-6. In the absence of more definite indications these hymns may be presumed to be of the same late date as those attached to them.
62. Uncertain.
*87 22-25. The position amongst hymns clearly popular makes late date probable.
*94. The date of this ceremonial hymn, as of *iv 58, *x 175, is open to some doubt.
*95. Mythological poem (Pururavas and Urvasi).
*101, *102. These hymns must be considered together, owing to the similarity of position and metre. Late date is indicated by the repetition of 101 3, 4 in AV. iii 17 2, 1, and by the mythological subject of 102.
*108. Mythological poem.
110 x-ir. Apriya hymn, repeated AV. v 12 i-u. See on i 13 9-12.
*119. Out of order. Decisive indications of date are wanting.
*120. Repeated AV. v 2.
123. Stanza 6 is repeated AY. xviii 3 66.
124. This hymn as a whole is out of order. Stanzas *1 — 5 containing the dialogue between Indra and Agni appear to be late. On the other hand the Vrtra myth in stanzas 6-8 has the signs of early date. For the 'swan' myth in stanza *9 close analogies are wanting, but it is more probably late.
127. Uncertain : for the subject cf. v 61 17-19. *139 1—3. Uncertain : stanza 3 is repeated AV. x 8 42. *139 4-6. Mythological poem. *141. The metre indicates late date. *142 1-6. Uncertain.
*149. Uncertain: verse 2c suggests contamination. *153. Uncertain : the position favours late date. *157. Mythological poem (slaying of the Asuras). *167. The dialogue form suggests late date.
*168. For the subject cf. *x 146 : verse 2c suggests contamination. *170. The reference to the slaying of the Asuras suggests late date: cf. *x 157.
*175. See on *x 94.
*179. Repeated AV. vii 72.
♦180. Stanzas 2, 3 are repeated AV. vii 84 3, 2.
185. The metre suggests early date : but the position makes this doubtful.
*187. Repeated AV. vi 34.
*191 1. Repeated AV. vi 63 4. The position confirms the presumption of late date.
CHAPTER III.
REARRANGEMENT OF THE RIGVEDA PROPER.
89. It has been indicated above (§§ 57-62) that large parts of the Rigveda proper are on the whole metrically homogeneous, and that these parts can on general grounds be arranged in three periods. More precisely, the greater part of the Rigveda may be divided into ten groups of hymns as shewn on the next page, six of the groups being roughly equivalent to six of the Mandalas, and the remaining four being of a more composite character. Of these ten groups, five have the characteristics of the bardic period : two are regular in metre, and therefore to be assigned to the normal period : two have the characteristics of the cretic or transition period : and the last group comprises the hymns of the popular Rigveda.
90. It is not practicable to define the limits of any of the first nine groups with the same accuracy with which the popular Rigveda has been defined. It is nevertheless desirable to revise the groups as presented in the Samhita text, in order that at least those individual hymns which are in most striking disagreement with the groups to which they belong in the text may be separated from them, and also that these hymns, as well as those which belong to those parts of the Samhita which are not homogeneous, may find some appropriate place in the grouping, and thus be brought under review in our examination of the metre.
We shall therefore attempt first to detach from each group those hymns that are not homogeneous with it, or at least those which clearly belong to a different period : and then to attach these hymns, and those not yet included in the grouping, to those groups to which on the whole they bear most resemblance. These processes cannot of course alter the general character of the
48
The ten homogeneous groups
respective groups as already defined : but if carried out with any success, they will greatly help in removing difficulties which other- wise might prevent us from obtaining a clear view of the less striking characteristics of each group.
91. Table shewing the homogeneous grouping of
THE KlGVEDA.
|
Group |
Period |
Hymns included |
Family |
Distinctive metrical features |
|
I |
Bardic |
i 127-139 |
|
Atyasti |
|
viii 12-18 „ 19-22 ,, 23-26 m 27-31 ,, 43-46 „ 95-101 „ 102, 103 |
Sobharl Vyas'va Sobharl |
Dimeter Usnih Kakubh-Satobrhati Pragathas Usnih Mixed lyric metres ii i> i> ii Kakubh-Satobrhati Pragathas |
||
|
II |
») |
v (part) |
Atri |
Anustubh with occasional extra |
|
x 20-26 |
Vimada |
verse Anustubh varied |
||
|
III |
11 |
i 165-190 |
Mana |
Decasyllabic Tristubh |
|
vi |
Bharadvaja |
>i > • |
||
|
IV |
»» |
vii |
Vasistha |
Iambic Tristubh |
|
V |
»> |
i 36-43 „ 44-50 |
Kanva »> |
Brhatl-Satobrhati Pragathas |
|
viii 1-5 „ 6-11 „ 32-34 ., 49-57 |
»» it |
Brhatl-Satobrhati Pragathas |
||
|
VI |
Normal |
iv |
Vamadeva ? |
Begular Tristubh and Gayatri |
|
VII |
>» |
i 1-11 „ 12-23 „ 24-29 „ 30 |
Kusika ? |
Gayatrl >> >> >» |
|
iii |
Kusika |
Kegular Tristubh and Gayatrl |
||
|
VIII |
Cretic |
i 94-115 |
— |
Cretic Tristubh and JagatI |
|
IX |
j> |
,, 31-35 |
— |
n ii |
|
x 35-84 |
— |
ii ii |
||
|
X |
Popular |
x 14-19 „ 85-191 |
— |
Contaminated Tristubh and epic Anustubh ii >i |
Indications of relative date 49
92. The criteria available in individual cases have already been summarized in § 59, and must now be considered in more detail. Hymns which have any of the characteristics of the popular Rigveda must generally be referred at earliest to the cretic period, and unless there is some reason to the contrary, they will be classed with the hymns x 35-84 in Group IX. Otherwise no single criteria are very certain : in other words, such change as we observe in the Rigveda proper is slow and continuous. On the other hand the concurrence of two or more indications in the same hymn may generally be trusted. Generally speaking, stronger evidence is required to justify the detachment of a hymn that belongs to a homogeneous Samhita group than is sufficient to guide us in the corresponding attachment : and it will be at least prudent to err on the side of caution rather than unnecessarily to disturb the existing grouping.
93- The whole grouping being merely a provisional aid to the study of the metre, any full discussion of the position of individual hymns would be out of place here. It must be sufficient to state generally that there are numerous small indications of a close con- nexion between particular hymns which cannot be included in a catalogue of criteria. Consequently the argument in the remainder of this chapter must be regarded merely as an outline.
As an indication of the value of the respective criteria, the instances in which their indications are not accepted at present are enclosed in square brackets [ ]. In the shorter lists the references are extended to the popular Rigveda, for convenience of reference later.
94. The most important indications of date are those furnished by metre. The following features appear to be characteristic of the bardic period: —
(i) All lyric metres (§ 24) ; Usnih, Atyasti, Kakubh-Satobrhati Pragathas, and mixed lyric metres being specially characteristic of Group I, and Brhati- Sat obrhati Pragathas of the Kanva collection (Group V).
Hymns entirely composed in Brhati seem to be quite as common in the normal period, and occasional verses in Brhati and even Brhati- Satobrhati Pragathas seem to be found still later. Such cases are iii 9 i-8, 44, 45; vi 59 1-6 (Brhati hymns): iii 16 (hymn in B.-Sat.) : i 105 8 (Brhati with refrain verse), *170 i (B.), *179 5 (B.) ; iii *53 18 (B.); ' vi 47 19 (B.); * *14 1? (B.), 33 3-3 (B.-S.), 62 6-7 (B.-S.), *101 5 (B.), *102 1, 3, 11 (B.).
Other instances of lyric metre outside the bardic period are i *23 19 (12.8.8), *164 42 (11.11. 8. 8), *191 13 (8.8.12.8.8);
4
50 Decasyllabic Tristubh
iii 10 (Usnih), 21 4 (11.11.11.8), 5 (Satob.), 23 3 (Satob.), *28 3 (Usnih); iv 1 1-3 (Atyasti, etc.), *57 5 (11 . 8 . 8) ; vii *55 2-4
(8/8.8.8.4), *66 16 (12.8.8); x *17 13 (11.8.8.8), *18 11
(12.12.8.8), *170 4 (8.8.12.12).
For viii *3 24, ix 67 30, *x 85 34, see the ' Metrical Commentary.' In several other cases in the late Rigveda the metre seems to be con- fused rather than lyric.
(ii) Dimeter verse containing a varying number of verses in the stanza. This is particularly common in Group II (Atri hymns).
(a) The most important class of hymns consists of the Anustubh hymns of Mandala v, in which the last stanza usually shews an extra verse : hymns 9, 10, 19, 52, and 86 shew further variations. Other examples are viii 69 7-1 r, 12-16: and in a less regular way *viii 91, *x 145, *164, and other hymns in connexion with epic Anustubh.
(b) Gayatri hymns with an additional verse in the first stanza, or in the first of each triplet of stanzas are [iii 24]; v 28 4-6, 82 1-3 ; viii 3 21-23, 9 19-21, 63 1-9, 68 1-12, 74 1-12, 92 ; ix 101 1-3 ; x 20.
(c) Gayatri with an additional verse in the final stanza is found i 43 7-9, 90 6-9; vi 16 25-27, 45 31-33, [56]; vii 94 10-12; viii 31 5-9, 10-14, 79; ix 66 16-18, 67 25-27; *x 60 1-6. For •ii 8 6 see p. 42.
(d) Otherwise the mixture of Gayatri and Anustubh (or Pankti) stanzas seems not to be specially characteristic of the bardic period, the instances being i 187; iii 53 12, 13; iv 30; vi 53; viii 2, 55,56; x *19, 176.
For the use of Mahapankti (8.8.8.8.8.8) in connexion with Anustubh or Pankti see below, § 95 iv.
(iii) Decasyllabic Tristubh (§ 49) variations are characteristic of Group III (i 165-190, vi) : they are found occasionally in other groups of the bardic period. Hymns in the Dvipada Viraj, Viratsthana, and Bhargava metres also appear to belong chiefly to the bardic period.
(a) The extent to which decasyllabic variations are admitted in the Rigveda depends greatly on the view taken of the proposed restorations indara for indra, -aam for gen. pi. -dm. The occasions for the former restoration are found almost exclusively in hymns which also shew undoubted decasyllabic variations, and therefore the restoration seems at first sight unnecessary. On the other hand the restoration -aam is suggested in different parts of the verse, and in numerous hymns in which all other verses have the normal number of syllables : and this restoration therefore seems to correspond to the intention of the bards generally. If we admit the restoration -aam, but not indara, we find that the following Tristubh or Jagati hymns have at least two decasyllabic variations, being at least one in every
Iambic hymns 51
ten verses: i 60, 61, 63, 77, 104, [145"|, 148, 153, 167, 169, 173, 174, 178; ii 4, 19, 20; [iv 21]; v 33 ,-7, 41, 51 11-13 ; vi 20, 21, 24, 30, 33, 35, 63, 66, 68 i-8; x 23, 49, 50, 99, 148. Also the following lyric hymns: i 120 1-9, 127, 129, 135; x 22, 93, 105, 132 ; and i 149, in which the stanza consists of three Tristubh verses.
In the long hymns i 122, v 45, x 61 the proportion of decasyllabic variations is slightly less than as above.
(b) Hymns in Dvipada Virdj are [i 65-70], vi 44 7-9, vii 34 1-2 1, 56 i-ii, ix 109. [The hymn iv 10 is of a cognate type (5.5.5.11 .).] The hymns x 1, 6, [46] are partly in this metre, partly in Tristubh. The metre seems most characteristic of Group IV (Mandala vii); but several hymns stand in the text in association with hymns in normal Tristubh, and are therefore probably later.
(c) The only hymn in Viratsthana metre is ii 11, in which almost half the verses are Tristubh. This hymn will naturally be associated with those in Mandala ii already noticed as having decasyllabic variations. Hymn i 61 is nearly allied to this type.
(d) The Bhargava hymns x 77, 78 (§ 52) most resemble ii 11 in their general character, about half the verses in each hymn being Tristubh or Jagati.
(iv) Hymns in metres which contain more or less than four trimeter verses in the stanza are most common in the Vasistha group. Occasional extra verses are most common in the Bharadvaja group.
Hymns composed in stanzas each of which contains two or three trimeter verses are i 149; [iii 25]; vii 1 1-20, 17, 22, 31 10-12, 68; viii 9 10-12; ix 110 4-6, 7-9, 10-12; [*x 157].
Occasional extra verses are found in [*ii 43 ; iv 17, 27] ; v 2, 41, 42 1-17, 43; vi 2, 10, 15 4-6, i3-I5, 17, 31, 49, 63; " [*vii 50]; x 115 6-9. In vi 15 1-3 a dimeter verse is appended to a Jagati stanza.
(v) In trimeter verse iambic variations (§ 46) are character- istic of the bardic period, and in particular of the Vasistha group.
The principal iambic variations are the rhythms y y — v , ^ h — ^
at the break, but we also include the rhythms n ^, — u — w, which
are generally found in the same hymns. The occurrences of these rhythms are to a large extent found in the hymns already marked out as belonging to the bardic period by the features noticed under (i), (iii), and (iv) above.
Thus the following hymns in classes already noted have each at least two iambic variations, being one in every eight verses : i 36, 40, 77, 79 4-6, 88, 92 i3-t5, 120 1-9, 122, 127, 128, 131, 133 6-7, 135 4-6, 149,153,167,169,173; ii 11, 19, 20; [iii 25 ; iv 10, 27;] v 24, 41, 53, 87; vi 2 11, 10, 15 1-3, 13-15, 31, 35, 46, 48, 63, 66, 68 1-8; vii 1 1-20, 14, 17, 22, 31 10-12, 68, 81; viii 4, 18 1-22, 19, 20, 21, 22 7-12, 23, 25, 26 1-15, 29, 33 i-I5, 35 1-21, 36, 46, 60, 70 7-12, 87, 90, 97 11-15, 98 7-12, 99, 103; ix 108, 110 7-9; x 6, 23, 50, 61, [62 5-10], 77, 93, 99, 105, 115 6-9, 132, 140, 144, 172. A very
4—2
52 Dimeter verse
large proportion of these hymns are in lyric metre, which suggests that the rhythm may be due to the influence of dimeter verse.
Hymns in Tristubh (rarely in Jagati) metre shewing this rhythm to the same extent are i 55, 56, 57, [59, 83], 85, 87, 91 i-4, 92 9-12, [117], 155 1-3, 156, 158 1-5, 180, 181, 184, 190; [ii 9, 11 31,
17, 26, 31, 33; iii 14, 15, 19, 26 4-6, 35, 51 4-6, 58, 61;
iv 4, 6, 12 6, 29, 37 1-4 ; v 8, 31, 46 1-2, 7-8, 49,
77]; vi 4, 11, 12, 13, 15 10-12, 16 46, 23, 26, 29, 37, 38,
40, 44 10-12, 13-15, 50, 60 1-3, 73; vii 1 21-25, 3, 4, 7, 8, 19, 20, 21, 23, 24, 26, 27, 30, 34 22-25, 36, 37, 38, 39, 40, 42, 43, 56 12-2;, 57, 58, 60, 61, 62, 64, 65, 67, 70, 72, 73, 77, 84, 85, 86, 87, 88, 92, 95, 97 ; ix 70, 76, 79, [85 9-12, 86 4-6, 34-36], 88, 93, 94, [96 17-20, 97 .9-21, 52-54] ; x [4, 32 i-5l 39 14], 48, 73, 74, [76, 79], 115 r-5.
To the above are to be added several hymns in which this rhythm is found side by side with other features which indicate late date, with which we include all hymns in the popular Rigveda : *i 93 4-8, 111 (§ 111 i), 116 (§ 95 ii, 110 iv), *133 1-5 ; iii 21, 22 1-3, 53 9-it, and 57 (§ 95 i, ii) ; v 28 1-3, 36 1-5 (§ 95 i) ; vi 64 (§ 95 ii) : *viii 100 1-6; x *59 1-7, 62 1-4 (§§ 95 i, 98 viii), 65 (§ 95 ii), *95, *120, *123.
It appears therefore that iambic rhythm is very much commoner in the bardic period than elsewhere : but it is not rare in Mandala iii (see § 110), is sometimes accompanied by indications of later date, and occasionally found even in the popular Rigveda. Its use therefore extends considerably beyond the groups I-V, and the appearance of this feature in an individual hymn affords by itself only a slight presumption of date.
(vi) Anustubh and Gayatri verse are most commonly found
in association with the lyric metres : but both are fairly frequent
in the groups belonging to the normal period. The changes in
rhythm are on the whole too slight to be used here as a criterion.
Catalectic and heptasyllabic verses (elsewhere than in the semi- cadence of epic Anustubh) indicate early date : the only hymns which shew at least two occurrences, being one in every ten verses, are viii 68 14-19, x 26, and the following which are wholly or partly in lyric metres: i 120 1-9, 175 1-5, x 22, 105.
(vii) The iambic re-opening (opening of padas b and d, see
§ 41) in Anustubh verse, if regular, indicates the bardic period.
This rhythm is regular in the Anustubh hymns of Mandala v: in addition the following hymns have each at least two such re-openings, being one in every four : [i 10, 28 1-6], 84 1-3, 4-6, 176 1-5, 187 1-7; ii 5 ; [iii 13]; vl9; vi 2 1-10, 14, 44 1-3, [*51 16] ; * viii 9 1-9, 16-18, 19-21, 95 ; ix 98, 99, 100, 101 7-16 ; x 21, 26, [*58, *87 22-25].
(viii) Trochaic Gayatri appears most commonly in the bardic period.
Hymns and fragments mainly composed in Trochaic Gayatri are
Contamination 53
i 2 7-9, 3 4-6, 27 i-6, 10-12, 30 i3-i5i 41 7-9, 43 7-9, 90 1-5; ii 6; v 68, 70, 82 7-9 ; vi 16 25-27, 61 10-12 j viii 2, 16, 71 1-9, 79, 81 ; ix 62 4-6, 66 16-18, 19-21 ; x 20, 185.
Occasional Trochaic stanzas are found in the following hymns : i 2 1-3, [22 9-12], 30 7-12, 38; [iii 11, 41; iv 55 8-10] ; v 19; vii [89] ; viii 3 21-23, 5, 7, 11, 55, 56, 94.
In connexion with other metres trochaic dimeter cadence is very- rare : but we find Trochaic Brhatt in iii 16, a trochaic Anustubh stanza in viii 95 7, and trochaic rhythm in uneven lyric metre in i 120 1-9.
95. In striking contrast to the variety of metrical form which characterizes the bardic period are the few and slight indications which specially mark the cretic period, but are also not uncommon in the normal period and in the popular Rigveda.
(i) Contamination in Tristubh and Jagati verse.
External contamination, including the combination of Tristubh or Jagati stanzas with Gayatrl or Anustubh, seems seldom to be much earlier than the cretic period. It is however difficult to define, as in some cases we may be dealing with composite hymns. The appearance of one or two Tristubh stanzas towards the end of Jagati hymns is not included. Probable examples are i 35, 125 ; ii 3 1-7 ; iii 8 1-9. 22, 53 9-ri, 15-16 ; iv 7, 40 1-4, 57 1-3 ; v 28 1-3, [36 1-5], 60 ; vi 7, [47 22-25], 58; vii 41, 44; x 44, 69, 124 6-8, 131; besides numerous examples in the popular Rigveda.
Internal contamination of Jagati stanzas by Tristubh verses is found in at least two instances in each of the following hymns : i 110, 114; x [23], 62 i-4, n, 63, 66, 75, [115 1-5], 122. Similarly of Tristubh stanzas by Jagati or hybrid verses: i 35, [180] ; vi 47 15-18, 72 ; ix 85 9-12. Both variations are common in the popular Rigveda.
(ii) Cretic variations, i.e. occurrences of the rhythm - ^ - after
an early caesura (§ 46), are not rare in any part of the Rigveda : but
they are proportionately much more common in the cretic period.
Hymns of any length in which this rhythm is frequent probably
belong to the cretic period, unless indeed they belong to the
popular Rigveda : but in short hymns the same relative frequency
may be accidental.
Hymns which shew at least two cretic variations, being one in every five verses, are found as follows : i *24 1-2, 30 16, 51, *84 16-18, [91 22-23], *93 12, 94, 96, 100 1-15, 103, 106, 109, 112 24-25, 113, 118, 125, 140, 146 i-4, 159, 160, *162, 182; ii 3 8-n, 30 i-jo, 39, *42 ; iii 5, 6, 9 9, 17, 20, 36, 39, 49, *52 5-8, 53 2-6, 54 ; iv 11, 34, 50 1-6, io-ii, *58 1-10; v 4, 34 9, 46 3-6, 60 7-8, 76, 78 4, 80; vi 6, *15 19, [22, 27 8, 32], 47 20, 52 4-6, [61 1-3], 70, *74; vii 5, 9, 10, 13, 18 1-21, 54, 59 7-8, [69], 78, 79, 80, 101, *104 1-7, *8-i7;
54 Cretic variations
viii 40 12, *58; ix 80, 90, 97 1-3, 34-36, 37~39> 40-42, 43-45, 49~5* ; x 5, 8 7-9, 30, 36 1-12, 13-14, 37 1-10, 38, 44 4-9, 47, *52 1-5, *6, *53, 54, 65, 70 1-7, *87 1-21, 106, *107, 111, 112, *164, *169, 178, *179 2-3.
The following hymns have both iambic and cretic variations to the extent indicated above: i *93 4-8, 111, 116; iii 22 1-3, 57; vi 64.
In lyric or decasyllabic hymns cretic variations occur only as follows, several of the hymns having also iambic variations : i 48, 134; iii 21, 23; viii 10; ix 110 4-6; x 78, 105, 140.
Although a few of the hymns, as indicated by the brackets, probably belong to the bardic period, the following table shews in a striking way the extent to which the iambic variations are associated with the lyric and decasyllabic metres1, and the rarity of cretic rhythm in them : whilst on the other hand in the popular Rigveda iambic variations almost disappear.
|
Metres |
Iambic hymns |
Cretic hymns |
|
Lyric and decasyllabic metres1 Others in Rigveda proper Popular Rigveda |
85 133 6 |
9 91 21 |
(iii) In the Gayatrl and Anustubh metres the absence of those variations which characterize the bardic period is to some extent an indication of later date. For this reason it seems likely that the great body of Gayatrl verse extending from ix 1 to ix 67 is not earlier than the normal period, though it probably includes some material of an earlier date. In Anustubh metre the absence of iambic openings in the second and fourth verses, combined with irregularities of cadence restricted to the first and third verses, marks an approximation to the rhythm of the popular Rigveda. But there are very few single hymns of sufficient length to enable these tendencies to be confidently traced in them.
Iambic re-openings are rare in the following hymns : i 45, 49, 105 1-3, 9-12, 142 1-8; iii 8 1-9, 21 ; iv 7 2-6, 37 5-8, 47 : vi 59 7-10; viii 8, 62 1-3, 89 5-7 ; ix 101 4-6.
Irregularities in semicadence only are found as follows : i 28 la 2a, 105 4a 5a 5c 15a 16a 17a, 142 2a 7a, 158 6a, 187 5a; iii 8 3c; iv 37 6a 6c; v 19 3c; vi 2 2a, 44 4a, 47 23a; viii 8 20a 21a 21c, 9 9a, 34 la, 69 11a; ix 101 6a 12c 16a; x 62 5a 5c.
1 Including the metres referred to in § 94 iv.
Subject-matter of the hymns 55
The combination of the two features is therefore found in i 105, 142 1-8 J iii 8 1-9 ; iv 37 5-8 j [viii 8 ; ix 101 4-6]. Thus a tendency in the direction of the later rhythm can perhaps be observed, not only in hymns of the normal and cretic periods, but even in some of still earlier date. See further in Ch. vn.
(iv) Hymns in Mahapahkti belong to the normal or cretic period.
For this the presumption is only slight. The hymns that shew this metre are *i 191 10-12, viii 39, 40 i-n, 41, 47 1-12, *i3~i8, x *59 8-10, 133 1-6, 134 1-6, *166 5. In x *59 8-10, 133 1-6 the number of verses in the stanza varies.
The extreme regularity of the metre distinguishes these hymns from the Anustubh hymns of Mandala v, in which also as many as six verses are found, though rarely, in one stanza : and it deserves notice that nearly half of the hymns are in the popular Rigveda.
96. The larger collections of the Rigveda shew a general uniformity in their subject-matter, consisting usually of three parts about equal in bulk, of which one is composed of hymns to Agni, the second of hymns to Indra, and the third of hymns to other deities.
On the other hand the smaller collections present us with a different picture. In most of these collections (such as those of which Group I is composed) the hymns to Indra greatly pre- dominate : in some, as in i 65-73, 140-164, and the Anustubh hymns of Mandala v the hymns to Agni are most numerous.
It is therefore probable that the earliest collections were often devoted to the honour of one or two favourite deities, and that the uniformity of the large collections has been reached by a process of supplementing. This process is most easily to be traced in the Agni hymns, which are so slightly represented in most of the smaller collections : thus the Apriya hymns, as well as the hymns to Agni Vaisvdnara and Agni Jatavedas, all of which are included in the Agni sections, appear to be unknown to the earliest groups, and in consequence no hymns of any of these types are found in any lyric metre.
The instances in which the subject-matter seems to afford a clue to the position of individual hymns are given in the next two sections : but these indications are on the whole less trustworthy than those of metre.
97. The deities which appear chiefly in the collections of the
56 Subject-matter of the hymns
bardic period are Mitra-Varuna (and Mitra-Varuna-Aryaman), Vayu (and Indra-Vayu), Visnu and SarasvatI: and in the same period we find almost all of the songs of thanks to patrons for their munificence (ddnastutayah). These features are unevenly distributed amongst the different collections of the period.
(i) Hymns to Mitra- Varuna are found i 2 7-9, [23 4-6], 41 1-6, 7_9) 90 t-5, 136, 137, 151-153; ii 41 4-6; [iii 62 16-18]; v [62, 63], 64-68, [69], 70-72 ; vi 62 8-9, 67; vii 60-66 ; viii 19 34-35, 25 1-9, [47 1-12], 101 1-6; x 126 1-7, 132, 185.
(ii) Hymns to Vayu and Indra-Vayu occur i 2 1-3, 4-6, [23 1—3], 134, 135 ; ii 41 1-3 ; [iv 46-48] ; v 51 1-4, 5-7 ; vii 90-92 ; viii 26 20-25, 46 25-28, 101 9-10.
(iii) Hymns to Visnu are [i 22 16-18, 19-21], 154-156; vi 69; vii 99, 100.
(iv) Hymns to SarasvatI are i 3 10-12; ii 41 16-18; vi 61; vii 95, 96.
(v) The ddnastutayah are [iii 53 7; iv 15 7-10, 32 22-24] j v 27 1-3, 4-6; 30 12-14, 33 8-10, 36 6, 52 15-17, 61 5-10; vi 27 7-8, 45 3i-33) 47 22-25, 63 9-1 1 ; vii 18 22-25 ; viii 1 3°-3^ 2 40-42, 3 21-23, 4 19-21, 5 37-39, 6 46-48, 19 36-37, 21 17-18, 24 28-30, 25 22-24, 34 16-18, 46 21—24, 29-33, 55, 56, 65 10-12, 68 14-19, 69 17-18, 70 13-15, 74 13-15; ix 58. A mock danastuti seems to be found in *i 120 10-12. (See R. Pischel, Vedische Studien i 1 seq.)
98. The deities Brhaspati, Vastospati, Ksetrapati and Sadasas- pati, and Dadhikra appear to be most prominent in the normal period : whilst hymns to Agni VaisVanara and Jatavedas, Dyava- Prthivl, Surya, Parjanya, and the Apah, as well as the Apriya hymns and most of those which have a ritual character, are found chiefly in the cretic period and the popular Rigveda. Here too belong a few hymns praising liberality (daksind), and easily dis- tinguished from the earlier ddnastutayah.
(i) Hymns to Brhaspati or Brahmanaspati : i 18 1—5, [40 1-6, 190] ; ii 23-26 ; iii 62 4-6 ; iv 49, 50 1-6, 10-11 ; vi 73 ; [vii 97, 98] ; x *42 n, 67, 68, *182. To Vastospati : vii 54, 55 1 ; [viii 17 14, 15]. To Ksetrapati : iv 57 1-3. To Sadasaspati : i 18 6-9.
(ii) Hymns to Dadhikra : iv 38-40, vii 44.
(iii) Hymns to Agni Vaisvanara : i 59, 98; iii 2, 3, 26 1-3;
iv 5 ; vi 7-9 ; vii 5, 6, 13. To Agni Jatavedas : i 99 ; iii 17 ; v4; x 188.
(iv) Hymns to Dydva- Prthivi : i 22 13-1 5, 105 (refrain), 159, 160, [185] ; ii 32 1 -3 ; iv 56 ; vi 70 ; vii 53.
(v) Hymns to Surya: i 50 1-9, 115; iv 13 1-4; *vii 66 16; [viii 101 n-12]; x 37 1-10, *189.
(vi) Hymns to Parjanya: *v 83; vi 52 16; vii 101, 102.
Authors and refrains 57
(vii) Hymns to the Apah : i *23 16-18, *ig-2i ; vii 47, *49 ; x 9 1-5, *17 10, 30.
(viii) Apriya hymns: i 13, 142, 188; ii 3 ; iii 4; v 5; vii 2; ix 5 1-7, *8-n ; x 70, 110. Other ritual hymns appear to be i 28, 105 4-6, 9-12, *162, *163, [187]; iii 8 1-9, *io-n, *29 ; iv 23 8-10, 40 5, *58 1-10; viii *66 15, [72] ; x 62 i-4, 76, *94, *101, *175.
(ix) Praise of liberality : i 125, 126 1-5 ; [vi 27 8] ; x *42 9, 62 5-10, 11, *107, *117 1-7.
99. It has already been noticed (§ 59) that the mention of the family name of the poet is characteristic of the bardic period only. The subject has been discussed by H. Oldenberg, in an article Ueber die Liedverfasser des Rigveda (ZDMG. xlii 199-247) : and he has shewn that as a rule the singular and plural forms, e.g. Vasisthah and Vasisthasah, are used side by side, and therefore both alike usually indicate the name of a family, not of an individual poet. The interpretation of the occurrences in the Rigveda is not always easy : several hymns contain references to more than one family, and the later hymns of the Rigveda frequently refer to the ancient poets (or supposed poets) by name, whilst in many cases we cannot be sure whether we have a contemporary record or a mythological reference.
The use of family names is dealt with in detail below (§§ 104 — 110) in connexion with the separate groups : but the treatment makes no claim to be complete. In some collections, as for instances those of the Kanvas, the evidence of family authorship is very complete, and the name occurs in almost every hymn : in others, as for instance in Mandala iv., the evidence is so slight that the use of the family name to describe the collection can only be regarded as conventional. To the traditional lists of authors it is impossible to attribute any independent historical value.
100. Refrain verses concluding each of a series of hymns occur in Dimeter and in Tristubh metre, but the latter occasion- ally close Jagati stanzas. They are chiefly found in the bardic period, but their use occasionally extends to later hymns. A refrain distich is found in the cretic collection i 94-115.
The refrain verses regularly used in the Rigveda are prdtdr
maksu i 58-64, viii 80 10, ix 93 : [tad no mitrdh i 94-115,
ix 97 57-58]: vidy&mesdm i 165-190: [brhdd vadema ii, ix
86 47-48]: mddema satdhimah vi : td tarema vi : yuy&m
pdtd vii; [ix 90, 97 1—3, 4-6; x 65, 66, 122]. In Dimeter metre:
utaidhi prtsu no vrdhe v; vi vo made . . .vivaksase x 20-26 ; [ndbhantam any ake same viii 39-42, cf. x 133].
The following are used in a few hymns only : suviraso viddtham d
58 Linguistic indications
vadema i 117 25, ii 12 15, *viii 48 14: vaydm sidma pdtayo raylndm iv 50 6, v 55 10, viii 40 12, *48 13, *x 121 10: suviriasya pdtayah sidma iv 51 10, vi 47 12, ix 89 7, 95 5, x 131 6 : rdyd madema brhata tuotdh vi 19 13, cf. 49 13 : rdksd (trdsvd) utd nas tantlo dprayucchan x 4, 7 (cf. i 143 8, iii 5 6, 20 2): devoir dydvdprthivl pravatam nah i 31 8, x 67 12: isam urjam suksitim visvam tibhdh x 20 10, 99 12. Of these only two belong to the bardic Rigveda. The refrain verse indrdyendo pari sravd in *ix 112-114 is an artificial addition, borrowed from ix 106 4b.
Concluding stanzas common to two or more hymns are found in many parts of the Rigveda, and usually indicate a close resemblance between the hymns thus connected.
101. Many hymns even in the Rigveda proper are out of their strict order : such hymns are often foreign to the collections in which they stand, but are not necessarily of late date.
For the discussion of the order of the hymns reference has already been made to H. Oldenberg's Prolegomena, ch. II.
In numerous cases there is a slight displacement amongst hymns which are obviously cognate: but the following cases seem to be of more importance: i 2, 3, 10, 24 3-5, 27 13, 104, 189; ii 9, 10, 41 10-12; iii 53 2-16; iv 15 7—10, 48 5 ; v 61 5-10, 84, 87 ; vi 47 1-25; vii 17, 44-55, 59 9-1 1 ; viii 1; in addition to numerous hymns belonging to the popular Rigveda.
102. The recurrence of more than a single stanza of a hymn, or of an independent stanza, in the Atharvaveda, most commonly indicates the cretic period at the earliest.
Most hymns of this kind have been already assigned to the popular Rigveda. Those that remain are i 22 16—18, 19-21, 32, 50 1-9, [154]; iv 2 ; v 46 7-8 ; vi 47 6-10, u-14, 54, 68 9-1 1 ; vii [32], 41 ; [viii 24]; x 2, 9 1-5, 40, 110.
103. In the hymns of the Rigveda proper the linguistic forms recorded in §§ 84, 85 greatly preponderate over those recorded in §§ 86, 87 : but in those of the cretic period the later linguistic forms constitute a tangible proportion of the whole. Conversely, if in any hymn the number of late linguistic forms approaches the number of early forms, there is a presumption that the hymn belongs to the cretic period.
Such hymns are i 13 9-12, 22 13-15, 23 13-15, 28 1-6, 29, [41 7-9, 43 4-6], 83, 84 13-15, [135 7-9, 136 1-6], 145, 182, 188; ii 12, 13, 28, 39, 40, 41 10-12 ; iii 21, 33 1-1*, 45, 53 2-6, 55 ; iv 12 6, 42 8-10 ; v 5, 47 1-6, 62, 81 ; vi 9, [16 16-18], 47 19-21, 52 4-6, 54, 59 1-6, [60 14] ; vii 46, 59 7-8, [76], 101, 102 ; [viii 17 11-13, 34 refrain, 41, 55, 69 12-14, 77]; ix 85 1-4, 86 28-30, 97 7-9; x 2, 91, 106.
The short collections 59
110 8-1 1, 126 8, 127 ; besides numerous hymns in the groups i 31-35 94-115, x 35-84.
104. We proceed to revise the grouping of the hymns, with such assistance as is given by the indications noted in §§ 93-103.
I. The short collections of Mandala viii, arranged without preference for the Agni hymns, and composed in metres almost entirely unknown in the time of the popular Rigveda, not only bear the most evident indications of early date, but have been least disturbed by later additions. On account of their small bulk they are included in one group. All the collections in bk. viii which have no special affinities to other groups are here included, and also the collection i 127-139, which has Atyasti as its dis- tinctive metre.
Group I. The collections included are : —
(i) viii 12-18. Hymns chiefly to Indra, and mostly in Usnih metre, either Dimeter or Trimeter. Attach ix 102-106, in similar metres.
(ii) viii 19-22. The distinctive metre is Kakubh-Satobrhati ; the author's name Sobharl occurs 19 2c 32a, 20 2d 8a 19b, 22 2c 15c. Attach viii 102 1-18, 103 (st. 8-13 Kak.-Sat., 8c Upastuta, 14c Sobharl); ix 108 (Kak.-Sat.); x 115 (8b 9b Upastuta, connecting this hymn with viii 103 : see also § 94 iv, v).
(iii) viii 23—26. The distinctive metre is Usnih. Vyasva is named as author in 23 16a 23b, 24 22a 23b 28c 29b, 26 9b 11a.
(iv) viii 27-31, in lyric metres and Gayatri, addressed to the Adityah and Visve Devah.
(v) viii 43-46, in similar metres to Agni, Indra, and Vayu. For 47 1-12 see §§ 95 iv, 109 iv.
(vi) viii 95-101, in Dimeter Usnih and various lyric metres, addressed chiefly to Indra.
(vii) i 127-139, in Atyasti and similar metres. Attach ix 111.
105. II. Stanzas consisting of a varying number of dimeter verses are specially characteristic of Mandala v : much the most common form is Anustubh with an extra verse in the last stanza, but we also find Gayatri with an extra verse in the first stanza (28 4-6, 82 1-3) and other variations. There are also several lyric hymns in this collection. The trimeter hymns mostly shew the characteristics of the normal or cretic period, and are therefore pro- bably later additions. A similar collection is found in x 20-26.
Several of the short collections in Mandala viii are more akin to this group than the last, though a strict line cannot be drawn.
60 The early Anustubh groups
The second Mandala contains a nucleus of early hymns which have features in common both with this group and with the next.
Group II. The hymns included are :
(i) Early hymns of Mandala v. These include all the lyric, Anustubh, and Pankti, and at least those Gayatrl hymns in which the number of verses in the stanza varies : aLso those Tristubh hymns which have decasyllabic variations or extra verses, and all hymns containing ddnastutayah. The following list will be roughly correct : 2 (§ 94 iv), 6, 7, 9, 10, 16-25, 27 (§ 97 v), 28 4-6 (§ 94 ii), 30 i-i4 (§ 97 v), 33 (§§ 94 iii, 97 v), 35, 36 (§§ 94 v, 97 v), 38-40 3, 41 (§ 94 iii-v), 42 and 43 (§ 94 iv), 45 (§ 94 iii), 50, 51 1-13 (§§ 94 iii, 97 ii), 52, 53, 56, 61 (§ 97 v), 64-67, 68 and 70 (§§ 94 viii, 97 i), 71 and 72 (§ 97 i), 73-75, 78 1-3, 79, 82 (§ 94 ii, viii), 84, 86, 87.
The family names found are Atri in 2 6, 7 8, 10, 22 1, 4, 39 5, 51 8, 67 5, 72 1, 73 6, 7, 74 1, and Sydvdsoa 52 r, 61 5, 9.
The appearance of cretic variations makes us hesitate to ascribe 4, 78 4, and 81 to the original collection, though the proper names reappear in them, as also in 15 and *40 5-9.
The refrain stanza sdm asvinoh is only appropriate to 76 and 77, and would therefore seem to have been added later to 42 and 43.
Attach ix 98-101, on account of the similarit}7 of metre (§ 94 vii).
(ii) In the collection x 20-26 the prevailing metre is Anustubh, with several variations. In 21, 24, 25 half verses occur which form a refrain vi vo made . . .vivaksase, containing the family name Vimada, which also occurs 20 10a, 23 6a 7b [*24 4c]. In 20 we have Trochaic Gayatrl, in 22 uneven lyric metre ; in 26 a large proportion of the verses are catalectic. 23 is in contaminated Jagati, but this hymn is not to be separated from the rest, for it also contains the family name (w. 6a 7b), and the frequency of catalectic cadence finds a parallel in 26.
Attach x 99 (§ 94 iii), which has the refrain isam urjam... in common with x 20 ; and, on its analogy, the other lyric, early Anustubh, and decasyllabic hymns in bk. x, and those with which they are associated, viz. 93, 105, 132 (all in uneven lyric metres), 126 1-7 (lyric), 143 (Anustubh; Atri is named la 2d 3a), 144 and 172 (§ 94 v).
(iii) The collection viii 35-38 is connected with Mandala v by the name Atri in 35 19a, 36 6a 7b, 37 7b, 38 8b, usually with the addition of the name Sydvdsva, and by the use of a lyric metre somewhat resembling that of v 87 and x 132. This metre however appears to glide into Mahapankti, and so far it is associated with a later period.
(iv) Other groups in the eighth Mandala which are generally similar are those which extend from 60 to 79, and 92 to 94. For resemblance of metre see § 94 ii a, b. The proper names that occur are Atri 73 3a 7a 8b, Priyamedha 69 8b 18b, Purumllha 71 14c, Virupa 75 6b.
Attach x 73, 74 (Priyamedha 73 lib : cf. § 94 v).
The decasyllabic groups 61
(v) The nucleus of early hymns contained in Mandala ii may be roughly denned to consist of the following hymns : 4 (§ 94 iii a) 5 (§ 94 vii), 6 (§ 94 viii), 1 1 ,-2o (§ 94 iii c), 19, 20 (§ 94 iii a), 22 (lyric)', 41 1-9 (§ 97 i, ii), 16-18 (Anust. and Byh., cf. ix 98, 99 : see also § 97 iv). The name Grtsamada occurs in 4 9a, 19 8a, [39 8b], 41 18c, and Sunahotra in [18 6c] and 41 17c. The refrain brhdd vadema is wanting in ii 4 : it occurs in 11, 19, 20 as concluding a single final stanza which may have been attached to these hymns later.
A similar nucleus is found in hymns i 120 1-9 (uneven lyric), 121, and 122 (% 94 iii a, v), the name Pajra occurring i 122 7b 8c, and Pajriya 120 5b.
Attach i 2, 3 (§110 ii), x 61, which has iambic rhythm (§ 94 v), and many decasyllabic verses, and the verses lie lid in common with i 121 (5c 5d); x 77, 78, of which the metre appears to be parallel to that of ii 11 (§ 94 iii d); and x 147, 148, of which the latter is decasyllabic, and has verses 2b 2c in common with ii 1 1 (4d 5a).
106. III. With the sixth Mandala we first meet a large homogeneous collection in the existing Samhita, text. The principal metre is Tristubh, and decasyllabic and iambic variations are frequent : the family name Bharadvdja is common, refrain verses are occasional. Much the same is the character of the collections i 58-64 (Gotama Nodhas), 74-93 (Gotama), 165-191 (Mana).
Group III. The collections included may be denned as follows : —
(i) i 58-64. Hymns 60, 61, tf3 contain a very large proportion of decasyllabic variations. The name Gotama occurs in 60 5b, 61 16b, 62 13a, 63 9a; Nodhas in 61 14d, 62 13c, 64 lb. All the hymns except 59 contain the refrain pratar maksu ... .
Detach i 59. This hymn has iambic rhythm, and the family name Bharadvdja in 7b : but it clearly does not belong to this collection, and the ascription to Agni Vaisvanara seems to indicate a late date (§ 98 iii).
Attach viii 80—87 (80 has the Gotama Nodhas refrain), ix 93, 94 (§ 94 v ; 93 has the Gotama Nodhas refrain).
(ii) i 74-93. This collection has a greater variety of metres than any collection of the same length, most of them indicating the bardic period. The name Gotama occurs 77 5a, 78 la 2a, 79 10b, 85 lib, 88 4c 5b, 92 7b. The collection is distinguished by a small group of Soma hymns (91).
Detach i 83 and 84 13-15 (§ 103).
Attach viii 88-90 (Gotama 88 4d) and ix 88, in which stanza 8 = i 91 3 (see also § 94 v).
(iii) i 165-190. The prevailing metre is Tristubh, with many decasyllabic variations. The name Mana or Manya occurs 165 14b 15b, 169 8a, 171 5a, 177 5b, 182 8b, 184 4b 5b, 189 8b: Agastya only in 184 5d. The refrain vidydmesdm ... is regular: in 165-168, 175-176, 183-184 respectively it concludes stanzas which are common
62 The Bharadvdja hymns
to the hymns thus connected. The collection is remarkable in con- taining only a single Agni hymn. A connection with Mandala vi is indicated by the recurrence of 174 2b as vi 20 10c, and of 174 9 as vi 20 12.
Detach i 182 (§§ 95 ii, 103), 188 (§§ 98 viii, 103).
Attach i 104, x 48-50, which are marked by decasyllabic variations (§§ 94 iii a, v).
(iv) vi. Besides Tristubh hymns, which have often decasyllabic variations, this Mandala contains several hymns in Gayatri and in Brhati-Satobrhati Pragathas, the latter seldom being quite regular. Several hymns, both lyric and trimeter, have occasional extra verses. The name Bharadvdja occurs 10 6c, 15 3e, 16 5c 33a, 17 14c, 23 10b, 25 9d, 31 4e, 35 4d, 47 25b, 48 7c 13a, 50 15b, 51 12b, 63 10c, 65 6b. The refrain verse td tarema ... occurs 2 lie, 14 6e, 15 15e, and partly in 6& 8d; the verse mddema satdhimdh ... ends hymns 4, 10, 12, 13, 17, 24; the verse rayti madema ... ends hymn 19 and recurs 49 13d; the resemblance between these verses seems to point to a common authorship. The collection is marked by a large group of hymns to Indra (30-41), of which each consists of tive Tristubh stanzas. There are a few ddnastutayah.
These characteristics are wanting in the Agni hymns 1, 5-9, in hymns 47 and 52, 59-62, and generally from 68 9 to the end of the Mandala ; and the Pusan group 53—58 is marked by late linguistic forms. It would therefore seem that considerable additions have been made to the collection at some later period.
Detach 1, 5, 6 (§ 95 ii), 7 (§ 95 i) and 8 (§ 98 iii), 9 (§§ 98 iii, 103), 47 1-21 (§§ 95 i, ii, 102, 103), 52 4-12 (§ 95 ii), 16, 17 (§ 98 vi), 53-57 (§§ 102, 103), 58 (§ 95 i), 59 1-6 (§§ 94 i, 103), 68 9-73 (§§ 95 i, ii, 98 i, iv, 102). The position of several other hymns is doubtful : see especially § 95 ii.
107. IV. The seventh Mandala is also on the whole homo- geneous. The predominant metre is Tristubh, in which iambic rhythm is far more marked than elsewhere in the Rigveda, but decasyllabic variations are rare : there are found also several Brhati-Satobrhati Pragathas of a very regular character. Although these metres are quite strange to the later periods of the Rigveda, they are employed with a regularity which contrasts strikingly with the variety of form exhibited in Groups I-III, and brings this collection nearer to the normal period. The name Vasistha is common both in the singular and plural. Some hymns of a similar character are found in the group i 140-160, and in the ninth Mandala.
Group IV. (i) The long list of iambic hymns in Mandala vii is given in § 94 v: the collection is also marked by several hymns in Viraj metre (§94 iv).
The name Vasistha appears as follows : vii 1 8b, 7 7a, 9 6a, 12 3b,
Elder and younger Vasisthas 63
22 3b, 23 lb 6b, 26 5a, 37 4d, 39 7a, 42 6a, 59 3b, 70 6c, 73 3d, 76 6a 7b, 77 6b, 80 la, 86 5d, 88 lb 4a, 90 7b, 95 6a, 96 Id 3d : and outside the Mandala in x *15 8b, 65 15a, 66 14a, 122 8a, 150 5c, and in association with the names of other bards in *x 181 Id. It also occurs in i 112, vii 18, *33, and in *x 95, but not as an author's name.
The refrain yuydni pdtd ... is usually found at the end of a stanza common to two consecutive hymns, viz. 1 1-20 and 21-25, 3-4, 7-8, 20-21, 24-25, 39-40, 60-61, 62-63, 64-65, 67 and 69, 70-71, 72-73, 84-85, 90-91, 97-98, 99-100. Also the hymns vii 28-30, 34 and 56, 41 and 80, and x 65, 66 have the same concluding stanzas in each group. The refrain is found independently in hymns vii 9, 11-14, 19, 22, 23, 26, 27, 35-37, 42. 43, 45-48, 51, 53, 54, 57, 58, 75-79, 86-88, 92,93,95; ix 90, 97 1-3, 4-6 ; x 122.
Many hymns shew cretic variations (§ 95 ii). Four of them are Agni hymns, and of these two are addressed to Agni Vaisvanara (§ 98 iii) : two of the four want the refrain. Another (54) is addressed to Vastospati, and out of order (§§ 98 i, 101). Another (101) is addressed to Parjanya (§ 98 vi), and this also wants the refrain. These, like the four Agni hymns, will most naturally be explained as late additions. Hymn 69 occurs in the Asvin group, from which there is not sufficient reason to separate it. The historical hymn vii 18 1-2 1 wants the refrain, but it is accompanied by a ddnastuti (st. 22-25) which has the usual iambic rhythm : the Usas hymns 78-80 form a group of three, and have the usual refrain. But the change of rhythm, in the one case running through 21 stanzas, and in the other through three successive, though short, hymns makes it difficult to think that any of these hymns are really homogeneous with the rest of the collection. If this is a right view, neither the mention of Vasistha (9 6a, 18 passim), nor the refrain verse is a sure indication that a particular hymn belongs to the original collection.
The characteristic iambic rhythm is wanting in the whole series of hymns which extend (out of their order) from 44 to 55 (§ 101) and in all hymns outside the Mandala : whilst hymns 82, 83 are in Jagati, a metre strange to the collection as a whole ; they have a concluding stanza in common, but it does not include the refrain verse. All these hymns are probably the work of a later period, though some of them may have been composed by members of the Vasistha family. The general regularity of the Gayatri hymns to Agni and some others, and the absence of any mention of Vasistha in them, makes it likely they are also later additions.
Detach 2 (§ 98 viii), 5 and 6 (£ 98 iii), 9-13 (§ 95 ii, 98 iii), 15, 18 1-21, 41 (§ 102), 44-48 (§ 98 ii, vii), 51-55 1 Q 98 iv, vii), 59 7-8 (§ 95 ii), 9-11 (§ 101), 78-80 (§ 95 ii), 82 and 83 (Jagati), 89, 101 and 102 (§§ 95 ii, 98 vi, 103).
Attach i 55-57 (§ 94 v), ix 70 (§ 94 v) with 71, 76 and 79 (§ 94 v), 107 (Brh.-Sat. and Viraj), 109 (§ 94 iii b), 110 (§ 94 iv), x 1 and 6 (§ 94 iii 6 and v), 150 (lyric metre, Vasistha 5c).
(ii) Outside Mandala vii there appears in the collection i 140-160 a nucleus somewhat resembling it, in that iambic rhythm is common (§ 94 v), and hymn 149 is in Viraj metre. The name Mdmateya, 147 3a, 152 6a, and 158 6a, is also a connecting link. The hymns
64 The Kanva groups
that agree in character are i 141, 144, 147-156 and 158. See also § 97 iii.
Detach i 140 (§ 95 ii), 142 (§§ 95 iii, 98 viii), 145 (§ 103), 146 (§ 95 ii), 159 and 160 (§§ 95 ii, 98 iv). Also hymns 143 and 157, though their rhythm is not very marked, would seem more probably to belong to the later additions.
108. V. The Kanva collections, although scattered in Man- dalas i and viii, are easily recognized by their distinctive metres (Gayatri, Trochaic Gayatri, and Brhati-Satobrhatl Pragathas), and by the family name. These collections are i 36-43, 44-50, viii 1-5, 6-11, 32-34, 49-57.
Group V. The name Kanva appears i 36 8c 10c lib 17b 19c, 37 lc 14b, 39 7d 9b; 44 8c, 45 5c, 46 9a, 47 2c 4c 5a 10c, 48 4c, 49 4d; viii 1 8c, 2 16c 22a 38c 40b, 3 16a, 4 2c 3d 20a, 5 4c 23a 25a; 6 3a 8c lib 21b 31a 34a 43c, 7 18b 19c 32b, 8 3d 4c 8c 20a, 9 3c 9d 14d, 10 2b ; 32 lb, 33 3a, 34 lb 4a ; 49 5d 10a, 50 10a, 52 8d, 55 4a: also x 115 5a, for which see § 104 ii. Further we have the names Praskanva i 44 6c, 45 3d, viii 3 9d, 51 2a, 54 8d, Medhyatithi or Medhatithi i 36 10c 11a 17c, viii 1 30d, 2 40b, 8 20a, 33 4b, 49 9c, 51 lc, and ix 43 3c (see below), and Vatsa viii 6 lc, 8 7c 8d lie 15b 19d, 9 lb 6c 15d, 11 7a. The names Upastuta, Vimada, Virupa, Sobharl, Atri and Priyamedha also occur in Kanva hymns, and connect them with others contained in Groups I — III.
Detach i 50 1-9 (§§ 98 v, 102).
Attach i 14 (Kanva 2a 5b), 27 1-12 and 30 1-15 (§ 94 viii), ix 43 (Medhyatithi 3c), 58 (§ 97 v), 62 4-6 (§ 94 viii), 66 16-18 (§ 94 ii, viii), 19-21 (§ 94 viii), 67 25-27 (§ 94 ii), x 140 (cf. 6c with i 45 7c : see also § 94 v), 185 (§§ 94 viii, 97 i).
109. VI. The principal collections of the normal period are Mandalas iii and iv : to these are to be added the larger parts of Mandalas ii and v, and of the collections i 1-30 and ix 1-67, 68-97. All of these shew a very close adherence to the normal forms of the Gayatri, Tristubh, and Jagatl stanza : but the third Mandala has certain features almost peculiar to itself which make a separate treatment desirable.
Group VI. The hymns included fall under five headings : —
(i) The hymns in Mandala iv are chiefly in Tristubh metre, but there are several Gayatri hymns. Common concluding stanzas are found in the Agni hymns 13, 14, the Indra hymns 16, 17 and 19 to 24, and the hymns 43 and 44 to the Asvins. The name of Vamadeva appears iv 16 18a, and may be that of the author of the hymns : if we are to interpret iv 4 lib literally, the author of that hymn is a son of Gotama : other proper names that occur are Kutsa 16 10b 11a 12a, 26 lc, 30 4b, Kakfivat 26 lb, Usana 26 Id, Divodasa 26 3d, 30 20c,
The Vamadeva groups 65
and again Gotama 32 9a 12a. Both iambic and cretic rhythm are rare: lyric and other early metres are occasional, as in 1 1-3, 10, 17, 21, 27, and sometimes take forms peculiar to this Mandala. On the whole there seems little reason to suppose that the Mandala contains either a nucleus of older hymns or a supplement of later additions : in any case only a very small part of the Mandala is not homogeneous.
Attach x 126 8 = iv 12 6, and x 131 (refrain suviriasya ... as in iv 51).
(ii) The greater part of the hymns of Mandala ii seem to form a similar collection, except that Jagati is common. The Indra hymns ii 15-18 have the concluding stanza nundm sti te ... , which is also appended to the earlier hymns 11, 19, 20 : its refrain verse is further found in the hymn-pairs 1 and 2, 13 and 14, and in the stanza which concludes each of the hymns 27-29, though it is only appropriate in 28. But, unlike Mandala iv, many hymns which are not homo- geneous appear to be included in the Mandala.
Detach 3 (§§ 95 i, ii, 98 viii), 4-6 and 11 1-20 (§ 105 v), 12 and 13 (§ 103), 14 (connected with 13 by the concluding stanza asmdbhyam tdd...), 19, 20 and 22 (§ 105 v), 39 and 40 (§§ 95 ii, 103), 41 1-9 (§ 105 v), 10-12 (§§ 101, 103), 16-18 (§ 105 v).
Attach ix 86 46-48 (refrain brhdd vadema...), x 91, 92 (x 91 io = ii
14
(iii) Of similar character are the majority of the Trimeter hymns of Mandala v, Jagati being again common : and here we may naturally place those Gayatri hymns in that Mandala which we have no special reason to assign to an earlier date. Amongst these hymns 57, 58 have in common the refrain stanza haye ndrah..., and 76, 77 the stanza
sdm asvinoh The hymns thus included are 1, 3, 8, 11-15, 26, 29,
31, 32, 34, 37, 40 4, 44 1-3, 46-49, 54, 55, 57-60, 63, 69, 76, 77, 78 4, 80, 81, 85.
Detach v 4 (§§ 95 ii, 98 iii), 5 (§§ 98 viii, 103), 28 1-3 (§ 95 i), 62 (§ 103).
(iv) The group viii 39-42, having Mahapankti metre (§ 95 iv) with the refrain ndbhantam anyake same, containing a play on the family name Nabhdka (40 4a 5a), perhaps belongs to this period : for although the punning refrain reminds us of the Vimada hymns (x 20-26), yet the regularity of the metre stands in great contrast to them. Further the concluding verse viii 40 12d is identical with iv 50 6d.
Attach viii 47 1-12 (also Mahapankti), x 133 (refrain ndbhantam anyakesaam ...) and 134 (Mahapankti).
(v) The indications of date in the Soma Pavamana hymns are very slight, and therefore a great number of them probably belong to this period. The great number of hymns in Gayatri metre, and the comparatively large number in JagatT, further favour this conclusion. In ix 89 the refrain suviriasya ... is found, as in iv 51 lOd.
Detach 5 1-7 (§ 98 viii), 43 (§ 108 v), 58 (§ 97 v), 61-67 (§ 110 ii), 70, 71, 76 and 79 (§ 107 i), 80 (§ 95 ii), 88 (§ 106 ii), 90 (§111 ii), 93 and 94 (§ 106 i), 97 1-6 (§ 111 ii), 34-51 (§ 95 ii), 55-58 (§ 111 1), 98-111 (lyric metres),
A. *
66 The Kusika groups
110. VII. The third Mandala has a metrical character of its own, in that iambic variations of the type ^ h - ^ only are fairly common, side by side with cretic variations : so that the hymns seem to be intermediate in character between the Vasistha hymns and those of the cretic period. The metres used are Tristubh and Gayatri. The family name Kusika appears occasionally.
The collections which extend from i 1 to 30 are almost entirely composed in Gayatri, the triplet being specially common : this metre may perhaps be connected with that of the third Mandala.
Group VII. The hymns included are as follows :
(i) Mandala iii. The refrain stanza ildm agne . . . connects hymns 1, 5-7, 15, 22, 23: and the refrain stanza sundih huvema ... Irymns 30-32, 34, 36, 38, 39, 43, 48-50. The family name Kusika appears 26 Id 3b, 30 20d, 33 5d, 42 9c, 50 4d, 53 9d lOd 11a: we find also Visvdmitra 1 21b, 18 4c, 53 7c 9c 12c 13a, and Jamadagni 53 15b, 62 18a. Hymns in Brhati (9 i-8, 44, 45) appear to be characteristic of this collection: such hymns as 10, 11, 13, 16, 23-25, 41 may be of earlier date than the rest, but of this we cannot be sure in so peculiar a collection : cf. § 94 i, ii, iv, v, viii.
Detach 2 and 3 (Jagati hymns : see also § 98 iii), 4 (§ 98 viii), 8 1-9 (§§ 95 i, 98 viii), 17 (§ 98 iii), 26 1-3 (as 2 and 3).
Attach x 89 and 104 (refrain suuam huvema...), 160 (5d vaydm indra tud sundm huvema).
(ii) i 1-30. It is very doubtful whether any of these hymns can be rightly attributed to the Kusika family, since the name only occurs in i 10 11a, in a hymn out of order, and in an unusual metre (Anustubh). The majority of the hymns are in Gayatri triplets, though one series (4-9) consists of hymns each containing ten stanzas.
Detach 2 and 3 (§§ 94 viii, 97 i, ii, iv, 101), 13 (§§ 98 viii, 103), 14 (§ 108), 22 i3-2i m 102, 103), 27 1-12 (§ 94 viii), 28, 29 (g 98 viii, 103), 30 1-15 (§ 94 viii).
Attach ix 61-67 30, (except as in § 108) also composed in Gayatri triplets.
(iii) i 65-73. The series 65-70 in Dvipada Viraj might suggest the bardic period, but we do not find elsewhere hymns so regular in this metre. The number of stanzas in the hymn corresponds to that regularly employed in the series i 4-9. If the hymns 71—73 are rightly associated with 65-70, it follows from the regularity of the rhythm that the whole group must be assigned to the normal period ; also the stanza i 73 3 is almost identical with iii 55 21.
(iv) The hymns i 116-119 are marked by the extreme frequency of iambic and cretic variations side by side (§§ 94 v, 95 ii): thus they correspond metrically more nearly with the standard of Mandala iii than that of any other collection. There are numerous proper names ; but as they are used in historical references they supply no clue to the authorship. As to the refrain suvirdsah ... in 117 25d see § 100.
The cretic group 67
Detach 120 1-9 (§ 105 v) and 122 (§§ 94 iii a, 105 v): the colourless hymn 121 perhaps belongs to these also : 123-126 5 (§§ 95 i, ii, 98 ix).
111. VIIL, IX. Of the hymns with which we still have to deal, a large number are marked by cretic rhythm, and again a large num- ber by the comparative frequency of late linguistic forms. Although in many cases these two features are combined, yet we may dis- tinguish the collection i 94-115 as being on the whole more strongly marked by its metre, and the collection i 31-35 and the hymns remaining in Mandala x, as being more regularly dis- tinguished by the language. In both groups Tristubh and JagatI are almost the only metres used, except so far as they are occasionally contaminated by Anustubh and Gayatrl stanzas.
Group VIII. The hymns included are
(i) The collection i 94-115, in which the hymns are connected by the refrain distich tan no mitrb vdrunah... : a refrain which itself bears the stamp of comparatively late date in its reduction of the Pantheon to a catalogue, and the inclusion in it of Sindhu and Dyava-Prthivl. The refrain is found in 94-96, 98, 100-103, 105 19, 106-115." The hymn 111 differs in a startling way in its rhythm, which is markedly iambic ; but it is connected with the rest by its refrain.
Detach i 104 (§ 94 iii a, 101).
Attach ix 97 55-58 (stanza 58 has the refrain as above), x 33 (2ab, 3ab = i 105 8). Also i 51-54 (see § 95 ii, and compare the mention of Vimada in 51 3c with that in 112 19a : of KaksTvat 51 13b with that in 112 lie; of Kutsa 51 6a, 53 10c with 112 9c^ and so forth).
(ii) The numerous additions to Mandala vii, of which many have the refrain yuyam pata . . . , constitute another collection very like i 94-115, and consisting of the following hymns: 2 1-7 \ 5, 6, 9-13, 15, 18 i-2T, 41, 44-48, 51-55 i, 59 7-11, 78-80, 82, 83, 89. See especially §§ 95 ii, 107 above.
Attach ix 90, 97 1-3, 4-6, x 65, Q6, 122, all having the Vasistha refrain, but a general cretic rhythm (§95 ii).
(iii) The following hymns, detached from the groups with which they stand in the Samhita text for reasons already indicated: i 59, 123-126 5, 140, 143, 145, 146, 157, 159, 160; iii 2, 3, 17, 26 1-3; v 4; vi 1, 5-8, 52 4-12, 16-17, 53-59 6, 68 9-73 ; ix 80, 97 34-51.
Group IX. The following hymns may be assigned to the cretic period, not so much on account of the rhythm (though, as will be shewn later, it approximates to the cretic standard), as on account of the comparative frequency of late linguistic forms, and other notes indicating an approximation to the popular Rigveda : —
1 It seems not improbable that the Apriya stanzas vii 2 1-7, which have some traces of iambic rhythm, are earlier than the stanzas 8-1 1, which occur also in iii 4. In any case some association between the younger Vasistha hymns and the third Mandala is indicated.
5—2
68 The transition group
(i) Hymns i 31-35 (see also §§ 95 i, 102).
(ii) The small groups extending from x 35 to x 84.
Detach as above the hymns that have early metres, viz. 48-50 (§ 106 iii), 61 (§ 94 iii), 73 and 74 (§ 105 iv), 77 and 78 (§ 105 v), and on account of the refrain 65 and 66 (§ 107 i).
(iii) The following isolated hymns in the first nine Mandalas, for the reasons indicated in the lists of hymns detached from each group : i 13, 22 13-21, 28, 29, 50 1-9, 83, 84 13-15, 142, 182, 188; ii 3, 12, 13, 14, 39, 40, 41 10-12 j iii 4, 81-9; v 5, 28 1-3, 62 ; vi 9, 47 1-21 : vii 101, 102; ix 5 1-7.
(iv) The following hymns in Mandala x, for which (where other indications fail) the position in that Mandala affords some presumption of late date: 2 (§§ 102, 103), 3 and 4, 5 (§ 95 ii), 7, 8 (§ 95 ii), 9 1-5 (§ 102), 29, 30 (§§ 95 ii, 98 vii), 31, 32 1-5, 96, 100, 106 (§§ 95 ii, 103), 110 (§§ 98 viii, 102, 103), 111 and 112 (§ 95 ii), 113, 116, 118, 123, 124 6-8 (§ 95 i), 127 (§ 103), 138, 139 1-3, 156, 171, 176, 178 (§ 95 ii), 187, 188 (§98 iii).
x 106 is further connected with ii 39 by the numerous duals in each hymn which are combined by Sandhi with iva.
112. The hymns of the Rigveda proper being thus roughly divided into nine groups, it becomes of interest to enquire into the linguistic character of these groups, and the relative nearness of each to the popular Rigveda. The ninth group, containing as it does most of the single hymns which shew a large proportion of later linguistic notes, is naturally the nearest : but even here the early linguistic notes are three times as many as the late. In the remaining groups the order of time provisionally adopted, that of the bardic, normal, and cretic periods, corresponds to the slow but steady relative increase of the later features. To this general statement there are two important qualifications. In the hymns in various metres, chiefly lyric, which compose Group I, late linguistic forms are extremely rare, and these may therefore, so far as the argument goes, claim to be the earliest hymns in the Rigveda. On the other hand, the hymns of the Kanva family appear to approach linguistically the hymns of the normal period.
This linguistic argument must not be unduly pressed. The con- clusion last indicated seems probable in itself, because the Brhatl- Satobrhati Pragathas of the Kanva family shew, both in external and internal form, a regularity which corresponds sufficiently with the character of the Tristubh of the normal period : and also because the groups concerned have one metre in common, the normal Gayatri. On the other hand, it must not be expected that the statistics now to be given are in themselves sufficient to establish an order of time throughout the nine groups.
Contents of the ten groups
69
113. The treatment of individual hymns in this chapter has necessarily been summary and inadequate; but the general results are confirmed by the tables on pp. 54 and 69, and will be further tested by the metrical enquiries in the following chapters. In this way it will be possible to verify, or perhaps necessary to qualify, this provisional arrangement of the hymns in a chrono- logical order. Just so far as the hymns which are assigned to one period reveal points of agreement other than those upon which the grouping is based, there will be good reason to believe that the original grouping really corresponds to the historical facts.
114. Table shewing the contents of the Kigveda as divided into homogeneous groups.
|
Group |
Trimeter verses |
Dimeter verses |
Linguistic notes |
|||||||
|
Lyric |
Jagati |
Total i |
Lyric |
Anust. |
Trochaic Gayatri |
Total ^ |
Early |
Late |
Per cent3 |
|
|
I |
755 |
32 |
895 |
1459 |
56 |
36 |
2174 |
1456 |
85 |
5-5 |
|
II |
369 |
56 |
1429 |
542 |
992 |
165 |
2971 |
2226 |
169 |
7 |
|
III |
119 |
435 |
3058 |
243 |
276 |
61 |
1246 |
2607 |
166 |
6-5 |
|
IV |
167 |
340 |
2463 |
258 |
4 |
3 |
361 |
1514 |
102 |
65 |
|
V |
337 |
4 |
371 |
613 |
208 |
251 |
1924 |
959 |
81 |
8 |
|
VI |
17 |
J 632 |
4633 |
10 |
90 |
3 |
1954 |
3094 |
290 |
8-5 |
|
VII |
32 |
100 |
2083 |
105 |
22 |
21 |
1748 |
1661 |
181 |
10 |
|
VIII |
10 |
999 |
2628 |
26 |
64 |
3 |
318 |
1220 |
291 |
19 |
|
IX |
4 |
1016 |
2646 |
8 |
53 |
0 |
480 |
971 |
305 |
24 |
|
X |
13 |
552 |
3463 |
44 |
1478 |
0 |
1824 |
414 |
2112 |
83-5 |
|
Total |
1823 |
5166 |
23,669 |
3308 |
3213 |
543 |
15,000 |
16,122 |
3782 |
19 |
|
I— V4 |
96 |
14 |
35 |
95 |
47 |
94 |
57 |
|||
|
VI, VII |
2 |
35 |
29 |
3 |
4 |
5 |
26 |
|||
|
VIII, IX |
1 |
40 |
22 |
1 |
4 |
1 |
5 |
|||
|
X |
i a |
15 |
1 |
45 |
0 |
12 |
1 The verses not included in the two preceding columns are Tristubh or Deca- syllabic Tristubh verses.
1 The verses not included in the three preceding columns are Gayatri, Pahkti, or Mahapahkti verses.
3 The figures in this column shew the proportion of later linguistic forms and words in each 100 of the early and late forms and words taken together.
4 The figures in this part of the table shew how the matter in each of the metres as classified is distributed between the four periods. Thus almost the whole of the matter in the lyric metres and in Trochaic Gayatri is found in the bardic period : Anustubh verse is found chiefly in the first and last periods, and Jagati chiefly in the two intermediate periods.
CHAPTER IV.
SANDHI.
115. In classical Greek and Latin verse a final vowel is usually elided or omitted from calculation if the next word begins with a vowel. According to the rules of classical Sanskrit a vowel in such a position is regularly combined with the vowel following, so that the two syllables coalesce in one. In the Rigveda the vowels are sometimes combined, as in classical Sanskrit : but at other times each retains the character of a separate syllable, in which case hiatus is said to occur. Although hiatus is rarely shewn in the Samhita text, it can be restored with certainty in a great number of passages by the aid of the metre.
Thus in the verse vii 40 3d
nd tdsya roZydh pari-etd asti (text paryetdsti)
it is clear from the metre that the final syllables of each part of the word parietd retain the character of distinct syllables.
In the Rigveda final -a and -a are usually combined with an initial vowel following, whatever it may be : but final -i -I -u -u are only combined when followed by ' similar ' vowels. It is the object of the present chapter to determine the practice of the Rigveda in these points and others of the same character, the extent to which exceptions are permitted, and the historical importance of these exceptions.
116. The discussion in this chapter is limited to the consideration of the treatment of final vowels and diphthongs, and of final syllables ending in h and ra, so far as syllabic combination is possible with the latter. By a final vowel is meant a vowel occurring at the end of a word or the first part of a compound, and so with the other final syllables concerned. The treatment of final consonants does not affect the metre except as included above, for there is no reason to think that any final consonant does not contribute to make position.
The Sanskrit Grammar includes under the heading of Sandhi the treatment of the final vowels of stems : this subject is here reserved for the chapter on 'Syllabic Restoration.'
Hiatus subject to rule 71
A final long vowel or diphthong, if not combined with a vowel following, is frequently reckoned as short : this subject is discussed in the chapter on ' Quantitative Restoration.'
117. The Saiiihita text rarely admits hiatus, but follows the artificial rules of the later Sanskrit (Whitney, Sanskrit Grammar, § 103). As the metrical character of the Rigveda is almost entirely destroyed by this method, commentators both native and western claim a general permission to restore hiatus in all cases. The con- sideration of the metre however shews that the Vedic poets were guided by principles and that deviations from these principles are comparatively rare.
Where the Samhita text shews hiatus, it appears often to be guided by a true appreciation of the metre : but even so the text is practically of no value to us as evidence.
In a few cases, which will be noticed in their order, the text uses diacritical signs to denote hiatus.
118. There are many verses in which the restoration of hiatus is doubtful, either because the normal number of syllables can be obtained in more than one way, or because the verses in question may be inter- preted as decasyllabic or defective. In all such instances it will be reasonable to give the verse that interpretation which brings it as a whole most nearly into agreement with the metrical character of the hymn to which it belongs and the general rules of Vedic prosody. Thus it is generally desirable to assign to each verse a normal number of syllables, but if in a particular hymn the number of shorter verses is considerable, as in the hymns described in § 94 iii as decasyllabic, it becomes more probable that the particular verse is also shorter. Where the required number of syllables can be obtained in more than one way, there is usually one method which is in better agreement with the rules of prosody than any other. In this way the number of cases which involve any serious doubt becomes very small : the consideration of these cases in detail is reserved for the ' Metrical Commentary ' : the interpretation implied in the lists included in the text is always that which appears to the writer on the whole the most probable.
119. Each verse in the Rigveda is an independent metrical unit as regards Sandhi : a final vowel may therefore stand at the end of any verse, whether the next verse begins with a vowel or not, without hiatus arising.
Within the verse hiatus is relatively more common at the caesura than elsewhere.
The Samhita text takes as its unit the distich, or pair of trimeter or dimeter verses. But the appearance of hiatus seems to be quite as common at the end of verses a and c as at the end of verses b and d, and very much commoner at the end of the verse than at the caesura.
Similarly Sandhi combination is almost unknown at the end of the verse, but there are many occurrences at the caesura.
72 Regular Sandhi combination
Instances of exceptional hiatus or combination at the caesura are separately recorded in the lists that follow. Instances of combination at the caesura by ordinary rules are given in Ch. vm below.
The only probable case of Sandhi combination at the end of the verse is in *ix 113 7cd :
tdsmin mdrti dhehi pavamdn | amfte lokd dksite Here the two dimeter verses of epic Anustubh are regarded as forming one verse of 16 syllables. Somewhat similarly we find combination in viii 13 15cd (Dimeter Usnih), but these verses may be regarded as forming a single trimeter verse.
Other cases in which metrical difficulties would be removed by the hypothesis of Sandhi combination are i 110 9ab, *164 24cd, v 7 7cd, vi 27 5ab, ix 97 43bc.
120. Final -a, -a are regularly combined with an initial vowel or diphthong following: and final -i -% -u -u are regularly combined with similar vowels, that is -i or -I with either -i or -I, and -u or -u with either -u or -u.
But many monosyllables are uncombined, especially nd 'as/ sd, and u or u: and less regularly prd, d, sma and other mono- syllables in -* or -u.
Duals in -a, -%, -u are also regularly uncombined.
There appears to be no instance of the combination of the particle u or u with a vowel following : the writing iim iti in the Pada-patha text seems to assert the principle that the long vowel is uncombinable. Similarly such forms as 6, pro, mo (where the Pada-patha has 6 iti, pro iti, mo iti) are never combined with a vowel following : it is occasion- ally necessary to restore for them d it, prd u, md u, etc., with hiatus before it.
The combination of nd ' as,' and sd ' he ' is comparatively rare, and the instances are therefore given as exceptions in § 122. The readings sdh, so, sd in the Samhita text seem all to result from later theories : they are often used even when there is really combination, as in v 4 6d.
In the cases of the other words in -a, -a named above, and also of evd, it appears sufficient to note the instances of hiatus in the general lists, combination being on the whole more common. Hiatus is some- times denoted in the Samhita text by the sign m, as savdyam i 113 lc, sdsadandm i 123 10a, evdm v 6 10a.
Duals in -a usually appear in the text as ending in -dv, but -a stands before u, and at the end of odd verses combination appears in the text.
Duals in -I, -u are usually written in the Samhita text with hiatus ; in the Pada-patha text as in the example prdcl iti prdci, indicating that the final vo\vel is not capable of combination.
Nevertheless there are many instances of the combination of duals in -a, and some of duals in -%\ see § 128. Combination of duals in -a is usually given correctly in the Samhita text, but combination of
Hiatus after -a 73
duals in -I is more often ignored, no doubt as a result of the later theory indicated by the Pada-patha reading.
Locatives in -a are frequently found before consonants within the verse, but there are only four cases of combination with a following vowel, namely in vi 12 2b, *viii 91 lb, *x 101 lib (text -a), and vii 39 3b (text -av). The text also gives -a before u- (Lanman, Noun- Inflection in the Veda, p. 386): but in these cases it would seem right to restore -av rather than postulate hiatus.
The compound which appears as saptarsi in the Samhita text has in the Rigveda the value saptarsi, according to rule.
It is evident that particles such as %m and id are frequently used to prevent hiatus. Thus Professor H. Oldenberg points out [Prolegomena, p. 435, Note), that final vowels are combined with xm 59 times when a vowel follows, whilst there is only one occurrence in which a consonant follows. Again though evd is often used with hiatus, evd id is never found with hiatus, but the combination eved is found, most usually when a vowel follows. Whether these particles were so used by the poets themselves, or are due to reciters and editors, we have no means of determining, and it is therefore reason- able to accept the text as it stands.
For the quantity of final vowels in such words as evd, adyd, see the chapter on ' Quantitative Restoration.'
121. Hiatus is found after -a in the following passages, combination being eight times as frequent :
(a) in Dimeter verse : i 27 3a1, 30 3b 9a, 40 3a2 8d3, 41 7b, 74 lb,
79 10b, 80 9d, 105 9c 10a, 120 5c2, 127 3g3 8e, 129 lc2 4d 5c 9e, 176 5c; ii 5 7c1, 6 6a, 41 8a3; iii 13 la, 41 8b, 51 12b2, 53 13b;
iv 31 13c; v 6 4b, 7 lb1 7a, 9 3b 5a, 16 lb, 17 Id, 18 lb, 25 8b, 33 7a, 35 8a, 50 2b1, 51 5c, 65 5a, 67 lc 5a, 70 4a; vi 14 Id 5c, 16 3b 42b, 44 6c; vii 14 Id, 66 lib1; viii 1 21a, 4 13a, 16 4a,
18 21a, 19 11a, 23 23a, 24 lb 25a, 27 7d4, 40 9d, 43 lie, 44 27c, 46 19b 28d2, 52 9b, 61 3b bis 7d 14b, 62 la2, 66 9a 9b 12b, 67 4b, 68 17b4, 69 lb 8a2 9d 18a, 70 12a, 71 14a, 72 7a, 74 7d, 75 8b, 78 7b,
80 5a, 81 7a, 82 3a, 83 7a, 89 3b, *91 5c, 92 5a2 6b, 95 2c, 98 10a, 101 5a2, 103 10b; ix *5 lib, 11 lb, 24 3b, 29 la2 lb, 55 3b, 58 lb, 59 2b, 61 19b, 63 22a, 98 2b 5d, 101 13a; x 20 8a1, 22 7b 8c, 26 4dJ 8c, *59 10a, *85 41c1, *86 2c3, *90 10b1 *13cS 93 12d 13d4, *97 10c2, *103 13a24, 105 8b, 126 2b, 134 lb, *166 5e, 185 2b3. In verses of four syllables : viii 12 31d = 32d = 33d2, 46 18e2 ; ix 102 8d2.
(b) in Trimeter verse, at the caesura: i 31 8c, 33 la 13c, 52 10a, 61 lc, 62 3a, 77 la, 89 8b, 91 22c, 114 2a, 116 18b, 117 la 8b 11a 21a 22a, 119 9b, 120 4b, 128 4b, 133 7f, *170 5d, 173 12a, 174 7b, 177 5a, 180 2a, 181 9a, 190 5a; ii 4 8a, 11 12a, 14 5d 6b, 18 7a, 19 la 7a;
iii 32 4c ; iv 4 lb, 5 lb, 16 2a, 23 7c5, 28 5b, 51 3b ; v 33 3a 4b,
37 2c, 54 lOd ; vi 3 2b, 6 6c, 12 3a, 13 5d, 15 3a 3b, 16 46b, 20 la
4c 4d3, 21 12d, 24 6b, 31 3a 4b, 33 2a 3a 4a 5a, 36 4c, 47 4d, 48 13a;
vii 1 20c, 4 lb1 8a, 6 3d, 14 2c, 21 4a, 22 4b, 28 la 4a, 32 10c, *33
10c, 41 6a, 52 2c, 90 Id, 98 3c; viii 1 3c 8c, 4 13c, 10 4c, 18 15c1,
19 26a, 22 15b, 25 3c, 96 17c; ix 76 4c, 88 4d; x *10 13a,
74 Words not combined
*12 3a *6a5 *8c5, *13 5c, 32 Id, 40 lid, *42 10a, 49 2b1, 61 3d 14a 14c, 73 9a 10a, 74 4a, *88 12c, 92 7c, 99 lOd, 115 5b, *120 7b, *124 5d.
(c) in Trimeter verse elsewhere : i 57 3c, 61 5b 8b 8d3 15c2, 62 Id 3a1 4b, 63 5a 6a, 79 2a, 104 4a, 115 lb, 120 3c2, 122 4d 13c4, 127 3f3, 129 6a, 141 12a4, 149 3c4, 155 lb1, 167 la, 168 3a4 9c, 174 2c 5b 6a4 7a, 180 2d, 186 10a2, 190 6a24; ii 4 6c4, 17 8b, 19 3b2, 20 4d, 27 6c, 35 6a, 38 9a 9c3; iii 5 2a2, 32 16b3; iv 2 18d, 3 11a, 6 2c, 16 7c2 20b, 19 7a2, 21 7d2, 38 5d\ 40 3d; v 4 4a, 12 la2, 33 lb 10c, 41 3d2 5a4 9b4 12d 14b1 14c4 19d, 45 9a4; vi 4 4b, 10 4b4, 18 5c, 20 la 6c2, 21 9a2, 24 9b2, 34 Id4, 37 2a2 2a, 47 2b, 49 7a4 8c4, 63 2a 2d3 3d6, 66 3b1, 67 8c4, 72 3c2; vii 1 3a24 7c 22b4, 3 Id4, 5 la2, 13 la2, 22 lb 4a, 25 la, *33 10c, 36 la, 40 Id, 42 |6b, 46 lb4, 59 lc, 61 3a2, 79 4d6, 87 lb2, 97 9b; viii 4 4a, 19 23b1 35c, 20 18a1, 22 2a4, 23 24c, 24 15c3, 70 10c, 96 10b2; ix 81 la, 89 la2, 91 5b24, 92 5a, 96 22a2; x *10 6a *13a3, *15 13a1, *17 9c4, 22 11a4, 23 7b1, 29 5a2, *32 7b2, 40 8d4, 49 7b2, 50 la lb4 6d 7d, *53 4c4, 61 24d' 25a, *88 9a *14c, 93 11a, *94 5a *8c, *95 10d2, 96 9d, 105 6a2 6a4, *108 5a6, 115 4a, *121 4a *4c, 133 7c4, 148 5b.
1 ca. * prd. 3 nd negative. 4 the hiatus is at the end of the
prior element of a compound. 5 dtra or ydtra. 8 augment with hiatus.
122. Combination of nd ' as,' sd l he ' is rare.
nd * as ' is found with hiatus about 60 times : with combination only in i 104 5b, x 46 5d, 106 7c, no one of the instances being quite certain.
sd 'he' is found with hiatus about 150 times: with combination about 50 times, chiefly in hymns of the normal and cretic period, as follows :
(a) in Dimeter verse: i 14 lie, 16 5a 9a, 26 lc ; iii 10 3c;
iv 8 4a, 37 6a; vii 15 6a; viii 43 9b; x *86 16a *16c *17a *17c, *97 23c.
(6) in Trimeter verse : i 31 15d, 32 15c, 102 9c, 156 2d; ii 9 6a, 12 5a 5c, 13 2d 3d 4d, 15 6a, 17 6a, 18 2a, 22 lg 2g 3g, 24 la Id, 35 7c 10b 13c, 37 2b; iii 4 2c 10c, 31 11a, 39 2d, 55 17b; iv 4 7a;
v 4 6d ; vii 1 14a 15a, 40 3a; viii 66 8c ; ix 74 2c 7c ; x 2 3c, *27 la, 44 5c, *53 la, 68 9a.
123. Hiatus after -a occurs in the following passages, combination being again eight times as frequent :
(a) in Dimeter verse : i 8 la1, 30 17a1 21b1, 38 6a2, 120 6c1, 127 6c13 lOg, 129 7ex 9b, 133 6c; ii 41 17b; iii 13 lb4; iv 52 2a, *57 7b; v 6 10a5, 25 9a5, *51 15c, 53 14b, 61 5a6, 75 2b, 86 6a5;
vi 16 27a3 42b11, 46 5dx ; vii 59 5a1 ; viii 1 23a1, 5 29b, 7 33a1, 9 13a7, 10 5a7, 16 7a, 17 lb4, 20 17c, 22 la1, 33 13a1 13d8 15a7, 34 la1 lib4, 46 10b 29b, 61 9b9 17a7, 65 5c1, 70 12d4, 98 4a1; ix 29 6a1, 108 Ud1; x 21 la1, 26 Id 9b, *60 7a, 105 4a lib lie, *145 3a.
(6) in Trimeter verse, at the caesura : i 53 3c10 5d 8b, 61 4b, 62 8c, 66 7a, 77 lb, 94 8c11, 117 lb, 120 2b, 129 5a4, *162 13c, 167 10a7, 169 3c12, 173 4a 11a12, 174 la, 178 2a, 180 7c12 8a12, 183 2d,
Hiatus after -a 75
184 2c3 14, 186 6c, 190 3c ; ii 20 3a 7a, 24 3b ; iii 54 12b ; iv 2 lid13, 10 la7 5a, 16 18b, 34 5a11, 35 3b4, 40 2d; v 3 9d, 11 5b, 31 12c, 34 lb, 44 3d, 45 6b 7d, 46 4d, 51 lie, 53 9a; vi 13 3d, 20 3b, 21 9b13, 25 lb 7b, 36 5b8, 41 5a, 49 15c, 50 5b, 61 13b, 64 5a6, *75 I8d;
vii 3 7a, 21 6a, 34 5a11, 60 lc, 70 4b 7a, 87 4b8, 93 7d 8b ; viii 4 20c, 19 26c, 20 2c7 24c11, 35 2b, *48 14b, 96 20a 21a, *100 lie; ix 86 44b 45a, 97 4a11, 107 2c, 109 la4; x 1 7c14, *15 4c11, 23 5b, 55 8d,
64 5a9, 73 7d, 74 6b, *95 16a, 99 3a, 105 4b, *117 7c, *121 2c, 132 4d 6a, 139 3b, 148 4a8.
(c) in Trimeter verse elsewhere: i 48 7c 16c, 58 9c4, 60 4b,
61 16c1, 62 8d, 69 9a, 77 la6 5a6, 87 4c, 104 lc10 5a 6c2, 108 4d', 113 Hd1, 120 6b, 127 6f12, 130 la1, 133 6b, 140 13c, 173 4a, 174 8a,
185 4a, 186 6a, 189 4d2; ii 13 10a, 17 lb, 18 4c1, 19 3d ; iii 6 6c15; iv 2 18b8, 3 13b2, 16 la, 19 6c, 33 10a, 38 6aia 8a12 9a12,
40 3a12, 43 4b1; v 29 15b, 41 16b3 16c3, 45 2d ; vi 4 4b, 12 5a12, 19 9b1, 20 8d, 21 8d* 3, 23 4a, 24 5d 9a, 48 17c2, 64 5a6, 66 3d6 6c'2 6d', 67 6d\ *75 3d ; vii 1 7a4, 4 6d2, 6 7d\ 8 Id1, 22 6c2, 32 14c, 34 la 4a11, 39 5a1, 40 la1 3d 4b 6a2, 42 6a5, 69 3a, 71 3d1 ; viii 1 16c, 70 12c4, 96 9d4, 101 13c, 103 13a3; ix 71 6c1 ; x 5 t5d, 30 2b14, 49 10b lie, 50 2d9, 61 9c 14d 18c, 65 15b, *94 10b, *95 4a6, *101 3b11 *7a", 115 7a5, *129 5d, 132 4d, 144 5b1.
1 d. 2 md. 3 at end of the prior element of a compound. 4 imperative in -a (-a). 5 evd (evd). 6 kd, yd, sd. 7 adya (adyd). 8 plural
in -a (-a) from stems in -an, -man or -van. 9 vd. 10 gerund in -yd (-ya).
11 2 pers. plural in -td (-ta). 12 smd (sma). 13 aorist imperative in -sva (sva). 14 dchd (dcha). 15 dthd (dtha). For the true value of the final vowels of
variant quantity see below, §§ 158-163.
124. After final -i, -l, -u, -u before similar vowels combination and hiatus are more evenly balanced. After monosyllables hiatus is regular, particularly after vi as in x 32 2a, and hi as in i 102 5d. So nU u should probably be restored in i 64 15a, 120 2c, iv 16 21a, v 10 6a, 16 5a, 17 5a, 52 15a, 74 6c, vi 6S 8a, vii 62 6a, 93 6c, 100 la. Combination is rare ; the examples are viva *vii 55 2c, *x 86 7d, nltah *x 161 2b, vlddm vi 9 6b, him ii 30 3c.
On the other hand longer words, and compounds beginning with su-, are generally combined. The exceptions are as follows :
(a) in Dimeter verse: iv 47 2c, 57 Id; vi *16 47c, 44 5a; viii 21 3a, 24 22a, 46 32d, 47 If1 2f' 3f l (in refrain), 49 6d, 53 3d,
62 5b, *91 5b, 93 27a; ix *5 8b, 13 7a, 21 la, 40 4b.
(6) in Trimeter verse, at the caesura: i 36 lc1, 53 11a, 112
Id = 2d = 3d, 122 14d, 127 6b, 169 6a, 171 6a, 173 5a; ii 34 12b;
iii 57 5b; *iv 18 4d; v 58 3a, *83 7d ; vi 5 6a, 10 7a, 21 8a,
47 9c; vii 28 3a, *35 10b; ix 109 18a; x 50 3d, *88 4c,
110 3d.
(c) in Trimeter verse elsewhere: i 52 7b, 70 5b1, 134 5b; ii 17 8c;
iii 55 12c; v 29 6c, 49 5b1; vi9 7c7d; vii 1 3b1, 29 3a1, *49 4b, 58 6b1, 65 la1, 66 12b1, 68 9a1; viii 96 19d; ix 97 49d; x 61 26b1, 116 7d, *169 la.
1 compounds beginning with su-.
76 Combination of semivowels
125. Before dissimilar vowels final -i -i -u -u are regularly used with hiatus : but disyllabic prepositions followed by the augmented tenses of the verbs to which they belong, as ddhy atisthan, are used freely in combination from the normal period onwards. Other combin- ations in which a disyllable is the first element are also fairly common, so that the phonetic type, not the grammatical connection, appears to be the essential condition.
Disyllabic prepositions are combined with an augmented form of a verb following as below :
(a) in Dimeter verse: i 11 6b, *23 23a, 49 2b, 80 9c, 135 6d, *191 5a; *v 40 9c; viii 69 lid ; ix 26 2a, 47 lb, 99 4b, *113 3c; x *9 9a, *72 3c *5c, *85 38a, *90 Id *5c, *135 2c, *159 Id.
(b) in Trimeter verse: i 32 8c 12b, 33 10b, 113 7a, 116 15d 17c, 117 8d, 118 7d, 124 3a, 146 4c, *161 12a, *163 2b *9d, *164 25b, 168 9d, 182 7b; ii 12 lb lib, 17 2d 4b; iii 26 8d, 51 lb;
*iv 18 3a *lla, *58 4b ; v 11 6b, 30 12d *15b, 31 5d ; vi 38 3b, 47 25b; vii 76 4c, 78 3a, *103 3a; viii *59 6d, 96 16c, *100 5c;
ix 68 8b, 69 4c, 80 2a, 86 8c 17c, 110 6b; x 4 6b, 8 8b, *13 3a *5b, 43 6a, *51 2b, 68 8a, *71 3b, *81 4d, *109 5c, *121 6b *8a, 123 2d 6b, *139 4c, *157 5b.
Words consisting of two short syllables are also found in combination as below :
(a) in Dimeter verse: i 50 5a3 5b3, 80 12c; v 19 la, 52 6c, 73 3c; vii 81 la; viii 7 24c, 43 24b1 ; ix 6 5c1, 13 lb1, 17 3a1, 45 4a 5b1, *67 31a *32a, 101 16d, 106 lib1; x *18 lid, *86 8d *llc *22c1, *87 24a *25a, 118 8b, *119 5b, *141 lb3, *145 4a, *146 6b1, *179 Id.
(b) in Trimeter verse: i 34 Id1, 79 5c1, 116 12c2, 118 3c, 120 8a, 122 12b, 139 9a2, 156 2d, *161 8a, *162 2d *7c, *179 Id *3d ;
ii 3 lb3, 15 9a1, 26 lb, 38 3c1 5d ; iii 9 4c, 31 4c, 58 3c ; iv 4 lib, *58 10a ; v 28 lb3, 76 2d ; vi 27 5b1 8c1 ; vii *33 la4, 65 3b1, 83 8c4, *104 2a; viii *1 34a; ix 72 3c, 80 3c3, 97 10c ; x 1 4c, *27 6d, *52 3b, *53 6a, *87 15b3*17d3, *88 13d1 *16c3, 89 13a, *98 lid, *109 2c1, *116 4c, 123 7b3. *124 4d, *128 Id1 *3b *6c3, *129 7c1, *130 7d\ *142 lb, *157 5a3.
Combination of words other than those which consist of two short syllables is comparatively rare, except in the compounds rtvij, gdvyuti, svdhd and svid, in which it is regular.
Combination is found exceptionally as follows :
(a) in Dimeter verse: *i 191 3d (ni) ; v *51 14c and *15a (svasti)-, *vii 55 5d (sdstu); viii 16 lib (svasti); ix 15 la (ydti);
x 134 le If in refrain verses (janitri), *146 4b (ddru).
(b) in Trimeter verse : *ii 32 4c (sivyatu) ; viii 51 4c (tu), 90 5c (Jiamsi)', ix 96 4b (svastdye) ; x *14 lid (svasti), 61 13a (nu), *95 4b (vdsti), 99 12c (svastim), 110 lie (pradis'irtdsya, not pradisy rtdsya as in the text), *121 8c (devesu), *142 lb (asti). For i 110 9 see § 116 above.
On the other hand sudhd occurs in iii 32 15a.
1 prior element of compound. 2 dadhydc. 3 pratydc. * svitydc.
Abhinihita Sandhi 77
126. Words ending in -ah, -ey -o lose their final element before an initial vowel following, and are therefore all alike treated as ending in -a with hiatus : and similarly words ending in ~ai and -au are treated as ending in -a. But duals both of nouns and of verbs ending in -e, and the locative tu4 (tve), are unaltered.
These rules are so far in general agreement with those of classical Sanskrit. The unalterable character of the dual endings, and of tue is recognised in the Pada-patha text by the addition iti : as to asme yusmd see § 170.
127. According to the rules of classical Sanskrit, final -ah becomes -o, and final -e is unaltered, if the next word begins with a-, but the initial a- is lost. This result is comparatively rare in the Rigveda proper, but is occasionally found in all parts of it : in the popular Rigveda it is considerably more common. As many of the instances are found at the caesura, it seems that the loss of the initial vowel was not regarded by the poets as equivalent to combination of the syllables.
After -ah and -e initial a- is lost as follows :
(a) in Dimeter verse: i 79 11a1, 81 le; v 61 2a; vii 66 5c; viii 2 34b 40c, 27 22d, 50 5b ; ix 9 4b, 59 4b ; *x 72 4c, *85 17d,
*90 3c *4b *12a, 126 3a, *127 lc, *145 6a1, *161 5d\ *166 3a *4d, *190 lb. At the beginning of a verse of four syllables viii 13 15d : see above § 1 1 9.
(b) in Trimeter verse, at the caesura: i 59 2c, 70 4b, 118 7a1, 168 9c, 186 8c, 190 3d; iii 59 2d ; ivll2d; vii 1 19b1, 61 3d ;
x 61 7c, 89 13d, *103 lc.
(c) in Trimeter verse, elsewhere: i *24 8c1, 30 16d, 33 13b, 51 3a 5a, 52 9d, 53 2c, 59 3b1, 85 7a1, 89 6c, 103 7b, 122 la, 167 2a, 186 11a; ii 23 16b; *iii 29 3d1 ; iv 16 18a, 55 Id ; v 29 10b1, 30 3d1 10a, 31 3d, 61 9a1; vi 9 2b1, 22 4d, 44 19b, 47 22b, 50 10c ;
vii 18 7c, *33 lib, 57 5c, 71 5a; viii *58 lc *3c1, 96 20c; ix 86 23d; x 7 5c, 43 2c, 49 5c1, 56 3d, 63 6c, 75 2a1, 79 6c1, 92 lib, *95 6d, 99 7c 7d, *108 5b, 116 6b.
The Saihhita text usually shews this combination correctly where it occurs, and also incorrectly at the end of odd verses.
1 forms in -e.
128. Duals in -a, -I, -e are very frequently combined with following iva: the instances are given in the next section. In addition the following examples of combination of duals are found, chiefly in the normal and cretic periods :
(i) Combination of duals in -a :
(a) in Dimeter verse : i 47 9a ; iii 12 4b ; v 73 6d ; viii 5 2c 16c, 8 6c, 22 5d, 31 9b, 35 22c, 38 2b; *x 85 9b, *U1 4b.
78 Combination with iva
(b) in Trimeter verse: i 34 9d, 102 2c, 108 3d, 110 8d, 112 Id, 116 3a 8c 9a 10a 14b 19c, 117 Id lid 12d 13d 18b, 118 9b, 119 2d, 152 3b, *161 7b, 182 4d, 183 2b 3c 5d ; ii 16 5c, 31 la, 39 8c;
iv 2 4b, 21 9a, 44 3d 4b; v 43 8c, 46 3a, 62 5c 5d bis 6b, 63 lc, 76 lc 2b bis 3d 4b; vi 49 5c, 68 lib; vii 9 5c, 44 la, 63 5d, 64 2c, 71 4c, 72 5a, 83 Id 2d 3d; viii 22 10c 12a, 57 4b, 86 3a;
x 22 5a, 39 3b 10a, 41 2a, *52 2c, 64 5b, 73 3d, *87 3a, 106 lib, *125 lc*ld, *128 7c, 131 5a.
(ii) Combination of duals in -i with following i- is found in i 121 8a, 177 4d, iv 56 la, vii 87 2c, 90 3a, the combination being correctly given in the text in the last two instances. Combination with dissimilar vowels following appears to be found also, namely prdcl 'dhvard in iii 6 10c, and rodasl 'bhe (for rodasl ubhe) in i 33 9a, iii 34 Id, v 31 6c, vi 30 Id. There is no instance of the combination of a dual in -u.
(iii) Combination of duals in -e is very rare ; there is perhaps an instance in vii 72 3c.
(iv) In the dvandva duals as indrdgni, ndktosdsd, combination is the more usual : but the following examples of hiatus are found :
(a) in Dimeter verse : v 86 la 4b 6a, vi 59 2b 5a 6a 8a 9a, 60 4c 5b 7a, viii 40 la 3b.
(b) in Trimeter verse, at the caesura : vi 60 13a.
(c) in Trimeter verse elsewhere : vii 93 lb 3d 4c, x 65 2a.
129. The particle iva is so frequently found in combination with preceding words, without regard to the form of the ending, that the simplest explanation is the presence of the parallel form va, regularly used in Pali and in the verses of Buddhist Sanskrit. As such, the occurrences have already been taken account of amongst the forms which indicate late date. As however they may also be regarded as examples of a peculiar form of Sandhi, it will be well to give the list here.
(i) Duals in -a -I -e are combined with iva following :
(a) in Dimeter verse: i 28 7c1; iv 32 23a2; v 64 lc, 74 9d, 86 5d; viii 5 21c, 34 9b, 73 4b.
(b) in Trimeter verse : i 166 lc2 Id2, 173 4d, 184 3a2 3d, 185 Id ; ii 3 6b2, 39 21 times; iii 6 10c, 30 4d2, 58 2b ; iv 41 5b 5c
7d; V18 3C1; vii 69 6a, *104 6d'; viii 26 15c, 35 7a 7b; ix 88 3b; x 4 6a, 40 2c 3a 3d 4a, *59 lb, 106 27 times.
1 duals in -?. 2 duals in -e.
(ii) Words ending in -ah, -ah, -ih, -Ih, -uh, -eh, -aih appear to be
combined with iva following in i 141 lie, 175 6b : ii 6 7c, *43 2b;
iii 36 6b; v 7 8b, 54 6b 6d; vi 46 4a, 48 18a, *75 14a; vii 56
8b; viii 19 14d, 35 5a, *91 3c; ix 96 15d; x 62 9b, 69 5c 6c,
*84 2a, *97 10b, *146 2c, *149 4a *4c, *166 2b, *173 2b *2c.
Irregular Sandhi 79
Words ending in -am, -im, -um appear to be combined with iva following in *i 97 8a ; ii 13 4b ; *iv 18 5a ; vi 19 3c ; vii 41 6d, *59 12c j viii 49 4d ; x 49 6b, *149 lc.
130. The occurrence of Sandhi combination in the Rigveda in positions in which it is not admissible by the rules of classical Sanskrit is proved in the case of duals (§ 128 above). In other cases in which it is suggested by the metre it is not always possible to determine whether the irregularity is in the metre or in the combination.
Probable instances of irregular combination are :
(i) -ah, -e with following vowel other than a : ii 20 8d, iii 43 5c, v 52 14c, vii 86 4d, viii 1 26c, 46 28c, x *85 40b, *87 15c, *90 4a, 93 lOd, *166 5d.
(ii) final -ah: i 177 4a, ii 20 2b, iii 30 21c, iv 34 3d, x *51 9a, 75 3a.
(iii) final -ai, au : iii 32 6b, v 17 3a, vii 39 3b.
(iv) final -am, -dm, -im : i 14 3b, *161 8a, iv *18 2a, v 46 2b, *51 15a, vi 17 7b, 48 4d, vii 19 5c, x 20 2a, 49 6d, *114 4a.
131. The distribution of the principal variations from the Vedic rules of Sandhi combination is shewn in the table following. The whole number of variations is about 1200 : the instances in which the rules are observed may be estimated at ten times that number. About one half of the variations are in favour of hiatus, and one half in favour of combination. Of those in favour of hiatus two-thirds are found in the bardic period ; of those in favour of combination only a quarter are so found. This result is a substantial confirmation of the view that the hymns of the bardic period are earlier in date than the rest of the Rigveda.
The history can be pursued in more detail by considering the number of occurrences of each kind in relation to the bulk of the groups : except that Group V contains so little trimeter verse, and Groups IV, VIII, and IX so little dimeter verse that no comparisons can usefully be made in these particulars. It then appears that hiatus is far more common in Groups I — III than elsewhere. In Groups IV and V hiatus is only half as common as before, but combination is unaltered. In Group IX irregular hiatus hardly exists; in 3000 trimeter verses there are only 20 examples, and of these 13 are at the caesura: combination of all kinds has greatly increased. In the popular Rigveda some reaction is to be noticed: hiatus is more common, and combination
80
History of Sandhi
of sd, of duals, and with iva is rarer; but combination of final -i, -I, -u, -u, -ah, -e is much more common than in Group IX, and a close approximation to the standard of classical Sanskrit is reached.
In trimeter verse the occurrences of hiatus at the caesura are equally common with the occurrences in all other positions in Groups I to VI : in Groups VII to IX they are twice as common.
132. Table shewing the growth of Sandhi combination in the Rigveda.
|
Group |
I |
11 |
III |
IV |
V |
VI |
VII |
VIII |
IX |
X |
|
Bulk1 |
2-3 |
3-5 |
3-8 |
2-7 |
1-7 |
6 |
3 3 |
2-8 |
3 |
4-7 |
|
Exceptional hiatus |
76 |
143 |
157 |
72 |
34 |
84 |
28 |
33 |
22 |
63 |
|
,, combination |
16 |
38 |
41 |
27 |
15 |
78 |
43 |
30 |
113 |
134 |
|
Per cent.2 |
17 |
21 |
21 |
27 |
31 |
48 |
59 |
48 |
85 |
68 |
|
Hiatus after -a3: |
||||||||||
|
dimeter verse |
18 |
28 |
17 |
— |
9 |
7 |
5 |
— |
— |
8 |
|
trimeter at caesura |
9 |
10 |
11 |
5 |
— |
2 |
4 |
2 |
3 |
3 |
|
,, elsewhere |
11 |
18 |
14 |
7 |
— |
5 |
1 |
1-5 |
1-5 |
4 |
|
Hiatus after a4: |
||||||||||
|
dimeter verse |
9 |
9 |
4 |
— |
9 |
3 |
3 |
— |
— |
3 |
|
trimeter at caesura |
7 |
10 |
9 |
5 |
— |
4 |
2 |
2 |
1 |
2 |
|
,, elsewhere |
8 |
7 |
11 |
6 |
— |
3 |
1 |
3 |
•5 |
2 |
|
Hiatus after -i, etc.5 |
3 |
1 |
2 |
3 |
2 |
2 |
1 |
2 |
2 |
2 |
|
Combination : |
||||||||||
|
sd |
5 |
1 |
0 |
1 |
1 |
2-5 |
2 |
1 |
4 |
2 |
|
-i, etc.6 |
3 |
3 |
2 |
3 |
2 |
5 |
4 |
2 |
7 |
18 |
|
-ah, -e7 |
1 |
2 |
3-5 |
2 |
2 |
1-5 |
2 |
3 |
3 |
5 |
|
duals |
2 |
2 |
1-5 |
3 |
3 |
2-5 |
4 |
4 |
4 |
2 |
|
iva8 |
1 |
2 |
3 |
1 |
2 |
1 |
1 |
2 |
20 |
4 |
1 The unit of bulk in this line consists of 1000 trimeter verses = 1500 dimeter verses. No entries are made in the table below for dimeter and trimeter verses separately in those groups in which the bulk of tbe kind in question is less than the unit. 2 The figures in this line give the proportion of occurrences of
exceptional combination in each 100 exceptional instances of the two kinds taken together. 3 From this point all the figures are proportionately reduced so as
to shew the number of occurrences in each unit of bulk. 4 Including the
occurrences of hiatus in dvandva duals. 5 Hiatus after -i, -i, -u, -ft before similar vowels. 6 Combination of -i, -I, -u, -u with dissimilar vowels. 7 Loss of
initial a- after -ah and -e. 8 Combination of iva with duals and other words.
The high proportion in Group IX is largely explained by the numerous occurrences in the two hymns ii 39 and x 106 : but even apart from these hymns there are seven occurrences in each unit of bulk.
CHAPTER V.
SYLLABIC RESTORATION.
133. In the present chapter it is proposed to deal with all the instances in which it seems desirable to correct the Sarhhita text so as to alter the number of syllables in a word. In the great majority of cases the result is to restore hiatus within the word, as in the last chapter the result was to restore hiatus at the end of the word or prior element of the compound. The historical problem under investigation in the two chapters is therefore essentially the same: and the Sanskrit Grammar has reason when it treats of the combination of a stem with a case or personal termination as a problem of ' Sandhi.' As however the treatment of the interior structure of words involves many diffi- culties and complications, it has seemed better to deal first with the simpler problem of the combination of words, and thus to have a starting-point for the further enquiry. Now that we have found that the Vedic poems admit every kind of hiatus, occasionally after -a -a and between similar vowels, and regularly after the semivowels before dissimilar vowels, at the end of words, we shall be prepared to find similar phenomena within words: but it must not be expected that the historical developement will be precisely the same. We shall endeavour first to ascertain and group the facts, as to which the margin of doubt is comparatively small, and afterwards to interpret them as far as possible in the light of our general view of the history of the Rigveda (§§ 153, 154).
134. Syllabic restoration appears to be justified as follows: —
(i) When the proposed restoration is more suitable to the metre in a majority of the occurrences of the particular word or form, as
6
82 Syllabic restoration
(a) in all words containing y or v followed by a vowel with grave accent : as suar for svdr, ddhie for ddhye :
(b) in many nouns having the noun-suffix -ya after a light syllable, as ytijia : and generally in nouns having the same suffix after a heavy syllable, as sdria :
(c) in the pronoun of the second person, in the forms tudm, tudm, tud, tui, and tud- in composition :
(d) in the instrumental singular and gen. loc. dual of -i stems, as sdmid, hdrioh :
(e) in the declension of nouns in -man and -van : as dhdmand (text dhdmnd) : and
(/) in a few isolated words and forms: as bhadsvat (text bhdsvat), dadsvat (text ddsvat), trayidhd (text tredhd), dayisnd (text desnd), prdyistha (text prdstha), frdyini (text sreni).
(ii) When the proposed restoration is more suitable to the metre in a substantial minority of the occurrences, so that it is unlikely that the occasions can be explained as chance irregu- larities of metre. Such cases are
(a) non- thematic flexional forms of monosyllabic nouns and verbs and their compounds, as ksdam, paantu, ndyisi (text nfei), and the corresponding forms with superlative and other suffixes, as jydyistha (text jyestha), bhads, vdata :
(b) the ending -aam (text -dm) in the genitive plural of all declensions :
(c) the endings -bhidm, -bhiah after heavy syllables :
(d) numerous endings and suffixes containing v (less often y) after heavy syllables, as in the words aiigdhue, urdhud, ddsndrtis, abhttid, tvd :
(e) the optative suffix -yd, as in asidma :
(/) the noun-endings -yai, -yah, -yam, as in prthividm : (g) a few words in which y v are the second element in an initial consonant-group, as diatih, sudya.
In connection with these we have to consider the difficult question of restoration in the suffixes -ra and -na, as indara, ruda,rd, mdntara, cyautand : and four-syllable forms of the words ndsatyd, ddityd, either as ndasatya, aadityd or as ndsatid, dditid.
Syllabic restoration is also justified as a conjecture in words and forms which are not very frequent, if it is suggested in one or two passages and if reasonably near analogies can be found in
Accented y and v 83
any of the sections above : but the application of this principle is a matter for individual judgment. In very common words and forms restoration is not justified by an occasional opportunity in the text, and it is therefore unnecessary to discuss such suggestions as the restoration of -aam -aah in the ace. fern. sing, and nom. pi. respectively of the suffixal -a -a declensions.
In addition to the above restorations, all of which are con- nected with the history of hiatus and combination, there are a few instances in which the text appears to be incorrect in other ways.
To represent the restorations systematically, we should write not only girdam siiria tudm, but also da'isnd indra and dhdmnd. But such forms as dayisnd, indara, dhdmand probably represent with fair accuracy the pronunciation required, and in these rarer cases it seems better to follow Indian methods of spelling.
135. Syllabic restoration is required wherever y or v is followed by a vowel with svarita or grave accent : for instance, we must read stiar for svar, ddhie for adhye. Exceptions are rare, except in the popular Rigveda.
This principle is recognized by all commentators, and even by some of the texts (Whitney, Sanskrit Grammar, § 84 b): and effect is given to it in all the texts in the case of words like dhiyah, rudriya. The written forms i u are therefore used in preference to the Indian forms hj, uv, in order to indicate that restoration has been necessary.
Restoration is also required in the vocative case of nouns if the other cases require it : as sahasia i 147 5a by the side of sahasiaih v 29 9a.
The words asurya (neut.), vasavya are regularly of three syllables in the Rigveda : it is therefore necessary to correct the accent, and read throughout asurya, vasavya : for exceptions see § 151 ii.
For kvd we must sometimes read ku : see § 151 iii.
Otherwise the exceptions are as follows :
(a) suffix -ya, -ya: i *162 4a *8b; ii 20 8a (tavasyd), 30 10b (vlrya); iii *53 17c; iv 1 13a (manusya,), *58 9a; vi 47 16d (manusyd), *75 16b; vii *55 7c, 98 6a (pasavyd); ix 56 3b (kanyh) ; x *87 22b, *90 8c, *130 5d *6a, 150 4b (manusya), *151 4c, *163 lc *2c.
(b) in the declension of stems in 4, -u : i *162 20b (tanvah) ;
vi 46 12c (tanve); vii *50 4e, 68 8d (staryctm) ; viii 76 12c (tanvam); ix 96 21c (camvdh) ; x *51 2b *4c, *85 30c *31a,
*95 9c, *98 10c, *155 2c.
Also svdr ii 35 6a (probably), and pathye *v 51 14b (probably).
yajnyd (or yajhyd) seems to be required, where the text gives yajniya, in v 61 16c and vi 52 14a.
In any case two-thirds of the instances are in the popular Rigveda.
6—2
84 The -ya suffixes
136. Syllabic restoration is required in numerous nouns and adjectives ending in the suffixes -ya, -yd, -tya, -nya, etc., preceded by a light syllable.
No methodical distinction between these words and others in which the restoration is not required has been established: but the difference in metrical value between e.g. hdvia * invocandus ' and havyd 'drink offering' is so marked that it is necessary to suppose that primitive suffixes -iya or -ia and -ya existed side by side.
The particulars are as follows :
(i) Words in which y is always syllabic in the Rigveda are uksania (prop, name), aucathid, ksdmia, gdnia, jdmaria, ddmia, pusia, ydvia, hfdia : also dnia, in which the suffix is -a : the gerundives dvyathia, gddhia, tujia, ddbhia, dfsia, yujia, vihdvia, sdsia, gopaydtia : brahmanid, samid, hdvia, himid. For yavyti the metrical value seems to be yavid or even yaviti, but we find the compound yavydvatl.
(ii) In the following words also y is regularly syllabic, but consonantal exceptionally in the passages quoted : dpya ii 38 8a, iii 56 5c, vi 50 lid, *vii 35 lid; irya vi 54 8b, x 106 4c; jdnya ii 6 7c, ix 49 2c (the compounds have always -janya) ; durya i 91 19d, vii 1 lie; dhdnya v 41 8c (and in jlvd-dhanya) ; nary a iv 25 4d ; rdthya i 35 6c, 180 4d, ii 4 4d, 31 7d. Gerundives : guhya ii 32 2a, v 5 10b, *x 53 3b, 79 3a; mddya ii 14 lb; ranya iii 55 7c (the compounds have always ranya- -ranya) : hdvya i 108 6b, 116 6d, 129 6b, ii 23 13a, 37 2b, 39 id, v 33 5d : carkftya i 119 lOd, iv 38 2d, viii 24 23c; -drutya x 134 7c.
(iii) In divyd and sakhyd the syllabic values predominate, being about three times as frequent as the consonantal values, which occur as follows: divyd *i 164 46b *52a ; vi 59 9b; *vii 35 lid,
49 2a, 97 10b, *103 2a; ix 14 8a, 29 6b, 36 5b, 63 30b, 64 6b, 71 9c, 86 lc 4b, 97 33a, 100 3d, 107 24b, 109 3b; x *34 9c, 64 16d, *98 5d, 110 6c, 124 9b, *139 5b: sakhyd i 15 5c, 62 9a, 89 2c, 94 Id 2d 3d, 138 2e 4g, *163 8c; iii 9 3d, 60 3a; iv 25 7a, 28 la,
33 2c; vi 19 13a; vii 18 12c, 82 8c; viii 10 3c, 13 21a,
19 30c, 44 20c 22c, 68 8b; ix 56 2c, 86 9c, 97 5a, 107 19b
20b; x 25 lc, 40 7c, 62 lb, *71 5a, *88 2d, *124 2d.
In words included in (i) and (ii) the syllabic and consonantal values are often found side by side, as in
prajdvatlsu duridsu durya vii 1 lie
vrnand dtra sakhidya sakhydm vii 18 1 2c.
137. In the suffix -ya, -yd following a heavy syllable, the restoration of -ia, -id is regularly required, except in sdntya 'good.'
In many words the syllabic value is represented in the text by iy, as rc/miyd, abhriyd.
The fact that sdntya is always disyllabic suggests that satyd may
-ya after heavy syllables 86
be the true reading. One or two other words, as mdtsya and mddhyathdina, have also always y consonant, but the occurrences are few. It does not therefore seem practicable to distinguish between -la and -ya suffixes after heavy syllables.
The exceptions to the rule hardly number one in every ten instances, but they are much commoner in the words daivyd and sdrya than elsewhere : these instances are therefore given separately below, as are also the instances of gerundive forms in -ya.
The suffixes -ya, -yd are found with y consonant after heavy syllables exceptionally as follows :
(i) daivya i 27 12b; ii 3 7a lOd, 5 2c; iii 4 7a; iv 42 6b ; v 5 7b; vii 8 4d, 97 3c ; viii 18 8a ; x 65 10b, 66 13a, 110 7a, *128 3c, *130 7c.
(ii) siirya i 7 3b, 14 9a, *24 8b, 47 7d, 48 7b, 51 4d, 83 5b, 84 Id, 92 12d, 100 18d, 112 13a, 115 Id 2a 4a 5b, 117 5b, 122 2d, 124 lb, 135 9f, 137 2e, *164 14c, *191 8a *9a*10a; ii 24 9d, 33 lb; iii 30 12a, 31 15d 17b, 32 8d, 34 9a, 39 5d, 44 2b, 54 19d; iv 38
10b, *58 4c; v 27 6d, 33 4c, 37 5c, *40 5a *6c *8c *9a, 54 10b, 59 3b 5d, 62 lb, 63 4b 7d, 79 8c, 81 4b, 85 2d; vi 12 Id, 17 3c 5a, 30 5d, 44 23b, 72 lc; vii 8 4b, *33 8a, *35 8a, 99 4b; viii 3 6b, 6 10c, 7 8b, 12 9a 30a, 25 21a, 27 19a, 29 10b, 32 23a, 43 32b, 56 5e, 68 9b, 72 16c, 89 7b, 98 2b, 101 2d, 102 15c; ix 1 6b, *5 lie, 17 5c, 27 5a, 28 5a, 41 5c, 54 2a, 63 7b, 64 7c, 69 6a, 72 3b, 86 22d, 91 6d, 93 lc, 101 12c, 107 7d, *113 3b; x *10 9b, *12 7c, *16 3a, *27 21b, 31 8d, 35 2c, 37 4a, 45 10c, 49 7a, *58 8a, *59 6c, 62 3a lib, 65 lie, 66 2b, 69 2d, *72 7d, *85 lb, *88 6b, *90 13b, 138 2d 3a 4c, *139 4d, *151 5c, *156 4b, *178 3b; suryd x *85 6c *8c *9c *12c *13a *20c *35c *38b; sdryarasmi x 139 la; surydcandramdsa i 102 2c, *v 51 15b, *x 190 3a; surydmdsd x 64 3c, 68 lOd, 92 12c, 93 5b; ndndsurya *ix 114 3a.
(iii) Gerundives: il_ya iv 24 2a, x 3 4c ; anindyd i 180 7c; auumddya ix 107 lie; pravdeya iv 22 5b, viii 62 3c; rdndya vi 23 6d : daksdyya i 129 2b, ii 4 3d; vitantasdyya vi 18 6d : dhhvsenya v 55 4a; didrksenya i 146 5a, v 55 4b; marmrjenya ii 10 Id; paprksenya v 33 6a ; vdrenya v 22 3c ; saparyenya vi 1 6a.
(iv) Other words: agdstya *vii 33 lOd; aghnyd *x 87 16c; dmartya ii 11 2c, vi 18 7b; dsvya iv 41 10a, *x 87 16b ; djya x 79 5b, *90 6c, *130 3b; dptyd v 41 9c; 2 drya i 103 3d, viii 24 27b, x 65 lid; kdvyd i 121 12c; kdvya i 96 lb, *x 87 21b; jyaisthya i 5 6c,
vaatdpyam (probably) i 121 8d, ix 93 5b, x 105 lc ; vrtratarya i 106 2b, vi 13 lc, 18 6b, 34 5c, viii 37 la, x 104 9c; vfsnya vi 25 3d; venyd vi 44 8d ; vaisya *x 90 12c; satrutdrya vi 22 10b; sdpya x 48 9a; suvirya i 184 4d, iii 16 la 3b, viii 22 18a, 23 27c; saubhdgya *x 85 33c; hdstya ii 14 9c; hotrvdrya vi 70 4c.
138. In the declension of the pronoun tvdm ' thou ' the forms tudm, tudm, tue must generally be restored, and tad (instrumental)
86 The pronoun tvam
always. We must also generally read tua- as the prior element of a compound, whether the meaning is instrumental or otherwise.
The exceptions number rather more than a quarter of the oc- currences in the Rigveda proper, and about one half in the popular Rigveda. They occur as follows :
(i) tvdm i 27 4a, 28 5a, 31 10a, 36 2c 6c, 52 12a 15d, 53 10a 10c, 54 6a, 76 5c, 80 7d, 91 10c 22c, 94 3c 6a 16a, 104 6a, 113 5b 6a 6a 6b 6b, 123 lie, 129 la (probably), 134 5f, 139 7a, 144 6b, 169 la, 170 *5a *5b, 174 lb lc 10a, 189 3a (prob.); ii 1 la 3a 4a 4c 5a 5c 6a
10b lid, 9 4c, 11 4c, 16 6c, *43 3a ; iii 16 3a, 19 5c, 35 3b, 41 7c ;
iv 1 5a, 2 2a 10a, 3 5a, 17 13a, 22 10a; v 2 lie, 3 2a, 13 4a 6b,
30 5a, 32 lb, 33 2a, 81 5a; vi 1 lc, 3 lc, 13 3c; 15 2c 3a, 16 5a,
23 la, 33 4a, 45 17c, 46 2a, 48 8b, 50 9a, *75 lc; vii 15 12a, 20
9d, 29 4d, 32 lib, *55 4a, 99 Id; viii 4 16d, 11 la 3a, 13 26a,
16 12a, 19 10a 30c, 23 12a, 24 26c, 26 20a 25a, 36 7d, 37 4a 5a 6a 6a 7d, 43 15a 32a, 45 6a, 54 8b, 60 12e 14c, 61 16a, 62 11a, 64 3a 3b, 66 6c, 71 5a, 80 2c, 82 7c = 8c = 9c, 90 4c, 92 32c, 93 33a, 96 17c, *100 2c; ix 4 5a, 67 26a, 88 lc, 97 43d, 98 4a, 110 7c ; x 1 4d,
4 lc, 10 *14a *14c, *15 12d, *16 13a, *18 9c, *28 3b, 44 5c, 54 5d, *59 5d, 61 21c, 75 4c, 79 5d, *84 3d, *85 26d *45a, *86 4a, 91 3c, *95 18d, *97 18c *23a, 104 9c, *108 9a, 118 8a, *128 6b, 134 4a, *145 5b.
(ii) tvdm i 9 4b, 12 8a, 14 5a, 36 19a, 48 14a, 49 4c, 91 21d, 130 6c; ii 1 13c, 11 lc (probably), 17 7b, 18 3c; iii 8 la *llc, 35 9b, 37 6b, 43 4a; iv 12 la, *18 12b, 31 7a; v 13 5a, 29 lie, 32 12a ; vi 2 2c, 15 8a, 16 13a ; vii 11 2a, 21 8a, 22 2c ; viii 1 5a, 6 12a, 21 la 5c, 43 20a, 60 lc, 67 10a, 92 14c 22c; ix 45 3a; x *10 13c *14a, 21 2c, 38 5a, 44 5c, *86 3a, *98 9b,
112 7a, 122 5c : tvdmkdma viii 11 7c.
(iii) tve ii 1 14a, 9 3d ; iii 19 4a ; iv 31 6c, 32 12b ; vi 1 13c 13d, 5 2a, 11 3a, 12 2a, 34 la, 47 14a; vii 1 21c, 8 5a, 18 lc ; viii 19 18d, 66 12a, 97 Id, 99 2b ; *x 98 10a, 105 8c, *142 la.
(iv) tvdr in composition: tvddatta ii 33 2a, viii 92 18b; tvdddta i 10 7b, iii 40 6c, v 7 10b, 39 lb; tvdduta v 6 8d ; tvdydt i 53 3d, 125 2c, viii 2 16b; tvdyd i 101 8d 9b, ii 18 6d ; tvdyu vi 47 10c; tvdvat i 81 5c, 91 8c, 165 9b, vi 21 lOd, 30 4a, vii 32 23a, x 38 5d, 100 la ; tvdvrdha i 56 4a, x 69 9d ; tv&hata vii 32 7c ; tvotdsah i 8 3a, x 22 9b; indra-tvotdh i 132 lb, viii 19 16d.
For other forms of tvdm see below § 148 iii.
139. Syllabic restoration is required, more often than not, where the text gives y v r or n immediately followed by a case- ending beginning with a vowel, and especially in the instrumental singular and gen. loc. dual forms: for instance, we must read pdtid, mddhud, pitaroh, svadhdvane, where the text gives pdtyd, m&dhva, pitroh, svadhdvne respectively.
(i) In the instrumental singular and gen. loc. dual forms of nouns in -i -i the measurements -id, -yd are about equally common in the
Instrumental* of -i .stems 87
Rigveda proper after light syllables. The two forms are frequently used side by side, as
sdcid 'kartd pitdrd ytivdnd
sdcyd 'kartd camasdm devapdnam iv 35 5ab. In the masculine -id may have been the original form ; but if so, it lias in almost all instances been replaced in the text by -ind. In the feminine -l is the prevailing form in the Rigveda, and -id seems to Ikj due to the influence of the masculine declension ; the original form in -I seems to have been altered in the text to -yd in several instances, to the injury of the rhythm. Nouns in -vl have regularly -vyd, as prthivyd.
Restoration of -id, -ioh is required as follows :
-id : masc. nouns, pdtid *x 85 22d, sdkhid i 53 7c, vi 56 2b, *viii 48 10a, x 6 2c, *71 10b: fern, nouns, dsvavatid i 30 17a, tmdnidx 110 10a, tvisid x 89 2d, ddvidyutatid ix 64 28a, navyasid vi 22 7a (probably), brahmaitid viii 6 33a, rdjid x 100 12c, rohinid viii 101 13b, sdcid iii 60 6b, iv 20 9a, 35 5a, 56 3d, vi 17 6b, 26 6d, 31 4c, 44 24c, viii 96 13c 17d, x 61 3b, 104 3d, sdmid i 83 4b, ii 1 9b, simid i 151 la 3d, sumatid v 25 3b (probably), sustutid viii 16 3a (probably), 96 20b, sfnid i 58 4b, hdrimd ix 111 la.
-ioh : ardnioh *iii 29 2a, hdrioh i 7 2a, iii 45 2c, iv 16 lib, viii 33 4c'
The declension of rai ' wealth ' is hardly to be separated from that of ray i : a trisyllabic form rayind (rayid, rdyid) is required in i 129 9a 10a, vii 67 9b, x 93 13a, and similarly ray dye [v 41 lib], i 100 16b, raydyah i 167 lc, viii 71 4b, and perhaps iv 48 lb.
(ii) The text has -yd, -yoh in accordance with the metre as follows :
-yd : masculine nouns, ndmyd i 53 7c, pdtyd *x 85 24d *27c *36b, pavyd i 88 2d, v 52 9c, vi 8 5c; rayyd *x 19 7d ; sdkhyd vi 21 7c, viii 43 14c, x 50 2a; feminine nouns, gdtumdtyd vii 54 3b, mddhumatyd i 157 4b, mithatyd vii 48 3d, vasatyd i 66 9a, vdjavatyd i 31 18d, sdcyd iv 35 5b 5c, sddlidraiiyd i 167 4b: probably in dsvavatyd i 53 5d, tindnyd i 188 10a, mahyd iv 1 9b, somavalyd x 113 8b : and always in prthivyd.
-yoh: ardnyoh vii 1 la, drjunyoh *x 85 13d, divdsprthivyoh ii 2 3b, v 49 5d, x 3 7b, *35 2a, yuvatyoh vi*49 2b, x 3 7b.
(iii) On the other hand the text regularly gives mati as instru- mental of mati, and there is no reason why this form should not be restored for matyti v 58 5d. In the compounds -matt is always required by the metre, namely prdmati (text prdmatyd) i 53 5c, sumati (text sumatyd) i 31 18d, v 42 4d, x 29 8d : and on this analogy it is quite probable that we should restore (in accordance with the metre) asdnl ii 14 2b, ndvyasl viii 51 3c, and hiranydyl viii 1 32b, 78 2c.
For the gen. loc. dual forms of rbdasl see below §§151 iii, 173 i.
(iv) In the same cases in the declension of nouns in -iy -id, -ioh are regular after heavy syllables.
The exceptions are found almost exclusively in the popular Rigveda, viz. dkutyd *x 151 4c, istya *x 169 2b, devdJmtyd x 63 lie, sam'icyoh
88 Stems in -an, -man, -van
*x 24 5b. In the last instance but one devdhutl seems a probable restoration, cf. sdhutl, ii 33 4b.
(v) In the declension of nouns in -u there appears to be a similar differentiation of gender to that which is found in the -i nouns. The masculine and neuter nouns have the instrumental either in -una or in -vd, as krdtund, mddhund, krdtvd, mddhvd, where it is very possible that the forms in -una have replaced an early -ud : the -vd form is the more common. In the feminine nouns it is usually necessary to restore -ud (or perhaps -uyd on the analogy of the adverbs such as sddhuyd) for -vd of the text. In the dual the restoration -uoh is regularly required.
Restoration is exceptionally required in krdtud (text krdtvd) § 151 ii : whereas the consonantal value is exceptionally required in panvd (fern.) i 65 4a, mddhvd (fem.) *ix 5 10b, bdhvolt (masc.) vii 25 lc.
In the dative singular sahdsra-bdhue, § 151 ii.
(vi) Restoration is required in the dual forms of the nouns of relationship, viz. pitaroh (pitrroh) for pitroh of the text, and so mdtardh and svasaroh : but mdtrbh is found vii 3 9c. In v 1 1 3a the Taitt. Br. reads mdtrvbh (A. Ludwig, Rigveda, iv 335, vi 247).
(vii) In the declension of nouns in -man, -van following heavy syllables an must regularly be restored for n before case-endings beginning with a vowel : in the case of ddvdne and some other words treated as infinitives (§ 84, A 38) this value is given in the text. Certain words, apparently such as were brought into use later, are exceptions, viz. grdvan, dadhikrdvan, Ibman. In the case of stems in -an, and those in -man, -van which follow a light syllable, restoration is not required, except once in rdjand *x 97 22b.
Consonantal value is found exceptionally in dhindmndm ix 88 4c, prdtarydvnah i 45 9a, bhuriddvnah ii 27 17b, sutapdvne i 5 5a, sutapavnah viii 2 7c, suddvne i 76 3d, svadhdvne v 32 lOd.
The instrumental of mahimdn seems to have the three forms mahnd, mahind, mahimnd: see § 151 ii, iii.
140. Restoration is seldom regularly required in isolated words and forms. Although dayisnd, prdyistha, sidma are all commoner than the forms desnd,prestha, sy&ma which appear in the text, other words of the same type have the shorter forms more often, so that these words are better considered as belonging to the second group : and in the same way bhadsvat and dadsvat are most conveniently treated in connexion with bhads and fdads.
The following forms and words remain, and may be regarded as sporadic instances of internal hiatus :
(i) reduplicated participles in -at, -ana; didiat, dididna ; didhiat, didhidna ; pipidna, pipidnd ; memiat, memidna : except didhydnd i 113 lOd. Cf. § 142 iii b.
(ii) gerunds in -tva, -itva, except kartvd *i 161 3b.
Restorations not regularly required 89
(iii) various initial syllables, namely
jyd ' bow ': jid, except in iv 27 3c, *x 166 3b : jiakd always.
jyok 'long': jiok, except in *vi 28 3d, *x 124 Id.
tredkti : trayidhd, except in vi 69 8d, *x 87 lOd.
dvd i two ' : dud etc. are the more usual forms, but dvd, dvau etc. are found in i 28 2a, 35 6a, 83 3a, iii 2 9d, iv 30 19a, 33 5a, v 62 6d, viii 72 7b, *x 17 2d: dvddasd *vii 103 9a, dvddamkrti *i 164 12a. For dvih see § 148 v.
vl 'go': vidnti, vidntu, but dvyan iii 49 lb; vydntah i 127 5f 5g; vyantu vii 19 6d.
sreni and derivatives : always srdyiui.
syond ' soft ' : always siond.
svargd ' heaven ' : always suargd.
On the other hand svand is always to be read for suvdnd of the text from su * press ': but not in vii 38 2d, where it is the participle of su ■ stir.'
141. Restorations belonging to the second group are all open to some question, although in most cases the doubt is very slight. In a large number of instances the verses can be alternatively explained as consisting of fewer syllables than the normal number, and in particular as being of the decasyllabic or catalectic types (§§ 20, 21). It has been shewn in § 94 iii, vi above that decasyllabic variations are only common in about 50 hymns of the Rigveda, and catalectic verses in only six. If then we find that the opportunity for restoration occurs largely outside these limits, we must accept that as the simpler explanation. In other words, it is not credible that a license of metre should occur in a great number of hymns, and at the same time be restricted to three or four groups of words.
Where however a verse occurring in a decasyllabic or catalectic hymn may equally well be explained as decasyllabic or catalectic respectively, a real doubt arises as to the particular case: all such instances are enclosed in square brackets below. But in decasyllabic hymns of the types described in § 94 iii bed, and in the catalectic hymn x 26, the preference must always be given to the shorter verse-form, as being the more common in these hymns: and the restoration of the full number of syllables is therefore not suggested.
In the groups now to be dealt with the restorations amount ou an average to about one-third of the whole number of occurrences: but in a few individual words (see § 140) the restored forms are more numerous than those in which the text is correct.
90 Radical stems of nouns
142. Restoration is frequently required in radical steins in -a, and occasionally in those in -% and -u, where they appear in the text in combination with a noun or verb termination, or with noun suffixes such as -as and -istha.
(i) This restoration is frequently required in the nom. ace. m. f. of all numbers, in the declension of radical stems in -a, -a.
Examples, arranged in the order of the stems, are as follows :
ksd : ksdam i 67 5a, [174 7b], vi 6 4b, x 31 9a ; ksdah iv 28 5d.
gnd: gndam v 43 6b ; gndah (nom.) [i 61 8a], v 46 8a, vi 50 15c, [68 4a] ; gndah (ace.) v 43 13c : gndah-pdtih ii 38 10b. Grassmann suggests the readings gandm etc., with which Lanman compares the Zend ghendo : but in v 46 8a gndah is metrically preferable.
jd : jdaspdtih vii 38 6a, abjdam vii 34 16a, navajdah iv 6 3c.
jnd: rtajiidah x 65 14b.
da: draviuoddah vii 16 11a, viii 39 6c.
pd: gopda viii 25 la; gopdah viii 31 13b, x 23 6d; -gopda i 120 7c; -gopdah v 38 5c 5d, viii 46 32d 32e : tanupdam viii 71 13d, tanupdd vii 66 3a ; paswpdah iv 6 4 c.
prd: kak$iaprdam viii 3 22b, -prdd i 10 3b; rathaprdam viii 74 10a.
yd: evaydah [v 41 16b].
sd: ksetrasdMiti iv 38 lc.
sthd: girisfhdam ix 85 10b; giristhdah ix 18 la, 62 4b, 98 9c; pathesthdam v 50 3c ; paruthdah *x 97 10a; rathesthdam viii 33 14a; vakmnextMah v 19 5e. The forms [kdfthaah i 63 5c], kdstliaam vii 93 3c are metrically probable, and may be due to a real or fancied derivation from this stem.
snd : ghvtasndah viii 46 28b.
For ablative forms in -oat see below § 151 i.
(ii) Some of the corresponding cases of go 'cow,' div 'sky,' and path ■ path ' are frequently disyllabic. For the ace. sing, of div ' sky ' we may read either didm or dydam. The form didm is evidently permissible, since diauh often occurs in the nominative : and dydam is therefore only suggested when it is metrically preferable.
The examples are :
go: gdam i 151 4d, v 52 16b, vi 45 7c, 46 2c, viii 1 2b, 4 21b, *x 59 10a : gdah (ace. pi.) [i 61 10c], iv 1 15b, vi 47 24b (preferably), ix 87 7d.
div: dydam i 127 2d, vi 48 21a, 67 6d, 72 2c, viii 89 5d.
path: pdnthaam i 127 6g 6h, v 10 Id, viii 68 13b: pdnthaah viii 31 13c.
For nidam, vdam see below § 151 i.
Closely allied With the above are the following cases, in which o, au of the text appear to have disyllabic value :
go: gdvah (gun. s.) i 61 12c, 180 5b, 181 8d : gdvamdn ix 107 9a: gavapithiaya x *95 11a : gdvajdta *vii 35 14d, *x 53 5b.
nail: ndvdh (nom. s.) v 59 2b (the only occurrence of this case).
maghdvan: maghdvanah (gen. s.) v 16 3a, ix 32 lb; maghdvanoh
Radical stems of verbs u\
(gen. du.) v 86 3b: maghdvanih (nom. pi. fern.) vi 65 3c: or inaghdownah, etc., see § 168 i.
In the case of the nominative dyauh the restoration diauh seems more probable : for the instances see § 148 iv.
(iii) Similarly a- is found with hiatus in the conjugation of verbs in radical -a. In similar forms from verbs in -I and -u iy-y ir- respectively are generally found in the text : but a few cases remain, especially in the conjugation of the verb bhu 'be,' which seem to fall under this heading.
(a) Verbs in -a :
g(L ' go ' : gaat viii 5 39a.
da 'give': [daam x 49 la]; ddah viii 2 15b, [x 148 4b]; daat [vi 63 9c], x 80 4a ; da-idm (text deydm) viii 1 5b.
dhd 'put': dhdah vi 19 lOd; [dhaama i 122 12a]; dJiaatam x 93 10a; dha-idm v 64 4b.
pa 'protect': pdanti i 41 2b, [167 8a], v 18 4b, 52 2d 4d, 67 3d, viii 46 4c : pdat iv 55 5c, paantu iv 4 12d, pdantah ix 98 8b. Here may be included the occurrences of the form pdantam, of which the meaning is often obscure: i [122 la], 155 la, viii 92 la, ix 65 28c 29c 30c, *x 88 la.
pa * drink ' : pdah iv 20 4c.
prd ' fill ' : prdah vi 46 5d.
bhd ' shine ' : bhdasi ii 2 2d.
yd 'go': yaasi vi 12 6c; yaati ii 30 lc; ydanti i 37 13a; ydaidam x 40 la; yaatdh i 141 8a, [v 33 5b] ; ya-iydm (text yaydm) v 64 3b.
sihd 'stand' : asthaat i 74 8c, vi 45 31b, vii 16 3a, viii 23 4a.
(6) Verbs in -i, -u :
dl 'shine': dldie iii 55 3b, didiatam iii 27 15c. For dididna see
§ uo-
dhi 'ponder': didhie v 33 la. For didhidna see § 140.
dhd 'shake': ddvldhuat viii 60 13b (text ddvidhvat).
nl 'lead': ndyisam [x 61 4d], ndyin i 129 5d, nayitdr v 50 la 2a 5a, *x 103 8a; anayitd ix 108 13b, prauayitdr [i 169 5b], viii 19 37d, 46 lb.
prl 'please': prayitdrah [i 148 5d].
bhu 'be': bhuuh (bhuvah) vi 15 3a, *x 149 2c: bhuut i 173 8c, iv 43 4a, x 23 lc, 48 9a; abhuut viii 46 24d; bhuutam viii 22 16c, bhuuta vi 50 15d, bhuutu i 94 12c.
M, si 'sharpen': siat i 130 4b 4c.
hit 'call': dhuam etc. i *24 12c *13a, iii 56 4b, iv 6 9d, v 29 8c, vi 50 4d, x 122 8a : juhue *x 149 5b.
(iv) Restoration is often required in superlative formations from stems in -a or -I, as follows :
jyestha: jydyistha i 100 4c, 127 2b, ii 18 8c, iv 1 2c, 22 9a, 56 la, vi 48 21e, vii 65 lc, 86 4a, 97 3a, viii 23 23b, 46 19d, 74 4b, 102 lib, x [50 4d, 61 17d], 78 5a, *120 la.
destha : ddyistha viii 66 6d.
dhktha : dhdyistlia *i 170 5b, iv 41 3a, vii 93 Id.
92 The genitive plural ending
prestha: prdyistha i 167 10a, 169 Id, 181 la, 186 3a, v 43 7c, vi 26 8b, [63 Id], vii34 14b, 36 5d, 88 la, 97 4a, viii 84 la, 103 10a.
yestha : ydyistha v [41 3a], 74 8b, vii 56 6a.
srestha: srdyistka iv 1 6a, v 82 lc, vi 16 26a, [68 2a], x 63 16a, 76 2a; srdyisthavarcas v 65 2a, vi 51 10a; srdywthasocis viii 19 4b.
The following case seems very similar :
desiid : dayisiid vi 63 8a, vii 20 7b, 37 3a, 58 4d, 93 4d.
(v) The restoration of aa is also required in the stems dds and bhds (Greek <£dws) as follows :
dds: dadsvat i 48 Id, iv 2 7d, v 9 2a, vi 33 lb, 68 5c, x 144 2b; sndads- i [63 7c], 184 Id, 185 9c, vii 32 10a.
bhds: bhadh viii 1 28c, 23 lib; bhaasd vi 10 4b, x 3 lc; bhadsvat i 92 7a, 113 4a, x 37 8b.
Somewhat similar is vdata for vdta 'wind': [i 174 5b], 175 4d, 180 6c, 186 10c ; vii 40 6d ; ix 97 52c ; [x 22 4a 5a, 23 4d], *158 lb.
143. The restoration of -aam for -dm in the genitive plural of all declensions is required in about one-third of the occurrences. A great number of the instances are at the end of lyric or dimeter verse, and others fall near the caesura in trimeter verse : but a sufficient number of examples remain to shew that a metrical explanation is inadequate, even if it could be supposed that the large proportion of instances was not a sufficient proof of the reality of forms in -aam.
Such examples are the following :
cittir apdam \\ dame vlsvdyuh i 67 10a (Dvipada Viraj).
vispardhaso \\ -nardam iid sdmsaih 173 10a (Decas. Tristubh).
stotfndam vivdci vi 45 29b (catal. dim. verse).
maghonaam \\ visvesaam suddnavah viii 19 34c (Usnih).
devdnaaiii yd in mdnah 31 15c (dimeter).
iydm esaam \\ amftdnaam gih x 74 3a (Tristubh).
d va rFijasa \\ urjdatn viustisu 76 la (Jagati).
(i) Restoration of -aam is very commonly required at the end of dimeter verses, as follows :
i 1 8a, 3 lib, 4 3a 3b, 5 2a 2b, 7 9a 9c, 11 lc, 17 2c 4a 4b 5b, 24 3b, 25 14b, 26 9a 9b, 28 lc = 2c = 3c, 30 2a 11a lie 15b, 36 la lb, 37 3a 9a 13c 15a, 38 10a 12b, 39 3d, 41 3b, 44 9a, 45 4c, 46 2b 4a 5a 7a, 48 2d 3b 4d, 75 3a 4a, 81 9c, 84 2d, 86 2b 6c, 88 6c, 97 3a, 127 2e 7d 7e 8d lOg, 128 7d, 129 8c lie, *133 2b *3b, 134 6c 6d, 158 6c, 176 2b, 187 5c 6a 7b 8a, *191 4c *13a *13b; iii 10 lb 4a,
13 3a, 16 Id 4d, 62 6a; iv 7 3c, 8 8a 8b, 9 5b 5c, 30 20a, 31 2a
3a 3b 4c 5a, 32 15a 17a 19a, 46 la, 47 2a, 48 5a 5b; v 6 7c 7d,
7 lc 3b 6c, 9 3c 4b 6d, 10 3a, 16 2a 4a, 18 3b 5d 5e, 25 lc, 35 2c, 39 4a 4b, 51 6a, 52 7c 9c 15a, 53 la 10a 11a, 56 5a 5b, 61 3a 14a, 64 4c 5c, 65 6d, 66 3a 3b 4c 5b, 67 2c 5b, 74 7a 7b 8a, 84 la, 86 4a,
The genitive plural ending 93
87 2d 3e; vi 16 la, 44 2b, 45 29a 29c 31a, 46 12b, 48 2d 8b 53 5a; vii 16 2d 7d, 32 lid 25d, 66 3b, 74 6b, 96 lb 2d, 102 2a
2c ; viii 1 4b 30b, 2 34c, 3 13a, 5 13a 37b 37e, 6 28a 28b 44a 46c
47b, 7 14a 15a, 8 12b 18c, 15 10a, 17 14b, 18 la 2a 2b 16a, 19 8d 37c, 20 3a 11a 14b 14d, 22 13a, 23 7b 25a 25b, 24 4b 17a 24a, 25 14a 23a, 26 16a 18b, 27 15b, 28 5b, 29 6b, 31 10a 10b 14b, 32 15a 15b 19c 20a, 33 12d, 34 3a 5a, 39 2b 4c 5c 6a 6b, 40 3a, 41 Id 5a 7b, 45 2a 7c 28a, 46 lc 2b 18b 18c 18d 19a 22d 26b 29c, 47 2a, 51 5a, 53 la lb 8d, 54 7b, 56 3a 3b, 60 17d, 63 la, 64 3a 3b 3c 4b, 65 10a 10b 11a, 66 5b, 67 9a 13a 14a, 68 4c 4d 6c, 69 2a 2b 2c 18b, 70 la 12a, 71 lib 13b 15d, 74 13d, 75 4c, 78 lc 6a, 83 7a 7b, 92 Id 3a 6a, 93 16b 33a, 94 la lc 8a, 95 3c, 98 6a, 101 6b, 103 6b 7d 10a; ix 1 3c
4a, 10 6a, 23 7a, 47 5a, 52 4a 4b 5b, 58 2a, 61 lib, 64 27a 27b, 65 23b, 67 13a, 101 6c, 102 la 4c, 103 4a, 107 8b, 108 13a 13c, *112 lb *2b ; x 9 5a 5b, [22 10c 12c 14b], 24 2c 3a, 33 8a 8b, 93 5c 9b
9dl4d, *97 8a*8c, 126 6d, 133 lf = 2f = 3f, 134 lc Id, 176 la, 187 lb.
(ii) Elsewhere in Dimeter verse occasions for restoration are much less common, but it is required as follows :
i 7 9b, 25 7a, 26 lb, 29 2a, 30 5a, 43 5c, 46 8b 9b, 50 5a, 128 5e, 133 7c, 176 3b, 187 6b; iii 51 10b; iv9 2c; v 10 4d, 18 3c 5b, 52 3c, 61 10a, 64 4d 5d, 74 2d ; vi 16 lb 18b, 45 9b 10b 16b
19a 29b; viii 5 37d, 17 14d, 18 16b, 19 37e, 20 14b, 23 12a, 24
14a 18a, 25 23b, 31 15c- 16c = 17c, 40 2c, 41 2b, 46 22c, 53 3a, 68 7d, 69 2d 3c, 71 13a, 75 8a, 92 3b 30b, 93 31b 33b, 94 8b, 102 10a 10b, 103 10c; ix 15 5c, 31 2c, 64 10b, 104 5a, 105 5a; x 20 f2a, 22 lc 13c 13d, *57 3c, 93 3a 3b 4c 13b.
(iii) In Trimeter verse occasions for restoration occur chiefly either at the end of verses in lyric metres (not in Jagati), or in the earlier part of lyric and Tristubh verses. Many of the latter are found in hymns in decasyllabic Tristubh metre, and these may also be interpreted as decasyllabic Tristubh verses : the few cases in which restoration of -aam would produce in such hymns an irregular rhythm are omitted from the list.
i [61 5d 12d], 67 10a, [77 4a], 94 12c, 129 8b1 lib1, 134 6a 6b, 149 4c, [167 lOd" 10a, [174 10b 10c], 181 la, 186 5c 7d;
iv 1 20a 20b, 2 18c, [21 8b] ; v "[33 2b, 41 10b, 45 3b 8c], 53
10b1, 56 lc 5c, 87 3c ; vi 3 8c, 13 3d, 15 13c, [20 3d, 24 Id 2c 4c],
25 3c, [33 3d], 47 9c, 48 8a 12c 12c1, 52 14b 15b, 60 13c, [63 10b], 67 la, [68 2b 2c 4b 7c] ; vii 9 2c, 16 2c1 7c1, 32 5a1 7a1 lie1, 56 24b,
73 3a, *103 5a; viii 1 21c, 17 14c 14c1, 19 7b 33c1 34b' 34c 36b1,
20 3b 8a1 14c 14c1, 23 2c1, 24 23c1, 25 23c, 46 16a 16a1, 60 9c, 70 lc lc1 12c, 71 13a, 101 6c1 ; ix 108 10c1 13b1, 111 2a; x [23
lb] lb1, 29 Id, 45 12a, [49 2b, 50 7b], 74 la 3a 3a, 76 la, 78 Id 3b 3d 4a, *88 6c, [93 5a] 12b1, *103 8a, 115 5d, [148 4b].
1 at end of lyric verse.
144. Syllabic restoration is frequently required in the suf- fixes -bhyam, -bhyah following heavy syllables. Many of the
122 3b 4c 10b, 127 8b] 10f,"
, 168 2c 5c, [169 lc, 173 9b] ii 4 2a, 19 3d, 20 3b], 23 8a;
94 Other suffixes
occurrences are at the end of dimeter verses: but (unlike the gen. pi. -aam) they are rare in lyric verse, and comparatively common in Jagati.
Resolution is required as follows :
-bhidm : i 20 3a1, 136 lb2 lc1 6a2, viii 6 36b1, x *14 lie, *163 4b1.
-bhiah: i 7 10bl, 13 lib, 34 6b2, 43 t6c3, 49 3d, 55 5b2, 58 6b2, 64 lb2, 80 2c, 85 8c2, 90 3b1, 102 3d, 112 5a2 21c2, 122 8c, 131 5d], 132 4f, 134 4f2 4g\ 139 7b2 7b1 7c1 7d\ 142 6b, 146 5c2 5d, 188 10b, *191 9c1; ii 1 lb lc2, 4 5b, 5 8b1, 23 17a, 32 2b2, 41 12a; iii 2
6d2, 3 11a, 34 7b, 53 16a2; iv 26 4b, 30 4a1, 36 8a, 41 3b,
53 4c2, 54 lc2 2a2 2d2 5a2; v 5 lib1 lie, 11 Id, 52 5c1 5d\ 54
9a2 9b2; vi 8 5a2, 15 17d', 30 3b, 46 9d\ 47 3d, 59 6b1, 62 6a,
68 4c; vii 32 26b, *104 4c2 *20c *20d2 25d1; viii 1 17d', 8
23d, 9 16d\ 32 5b1, 34 13a1, 41 lb1 lc1, 44 30a1 30b, 63 3a1, 88 5b, 97 lb1; ix 3 9b, 11 3c1, 19 5a1, 28 2b, 33 3b1, 34 2b1, 42 2b,
59 2b1 2c1, 61 12b1, 62 9b1 20c, 65 2b 3b 20b1, 99 7b, 103 6b, 109 21a; x *13 4a, *14 15c2 ^d1, *15 7c, 32 5d, 39 4c,
*60 6a1, 63 2c, 64 2c2, 70 2d, 76 5a2 5b2 5c2 5d2, 77 7b, *85 17a1, ♦94 lb2 *7a2 *7b2 *7c2 *7d2, 110 4d 5d, *135 4b, *145 3b1 *3dJ, 156 4c1, *158 lc1 *4b', *163 3a1 *5b\
1 at end of dimeter verse. - at end of Jagati verse. 3 § 170 iii.
145. Numerous other forms, chiefly those which contain v, and a few initial syllables, require resolution from time to time provided that a heavy syllable precedes.
The principal cases are as follows : (i) Resolution of v in the endings -dhvam, -dhve, -dhvai, -sva : i 37 14c, 39 6a, 48 11a, 64 7d, 85 4d, 113 16a, 124 13a, *161 8d, 166 12d; ii 41 17c; iii 41 8c, 60 5d 6a; iv 1 2a 3a, 31 4a 11a, 32 14b; v 55 6a bis, 57 3d; vi 19 3d, 48 4d ; vii 59 4b 6d, *104 25a; viii 1 23a, 47 7d, 54 2d ; x *87 2d, 100 10b,
122 5b.
After a light syllable -dhuam appears to be found as shewn in § 151 ii.
(ii) Resolution of v in the suffixes -tva (substantives), -va, -vdms (perfect participle), and -vi.
(a) -tva: ndvavdstua vi 20 lie; petua vii 18 17b; raksastud viii 18 13b. For the gerundives in -tva see § 140 ii.
(b) -va (rare): urud v 30 4d, ix 87 8b; urdhud iv 6 2c, [x 61 20c], 105 9a; kdnud viii 2 40b, 4 20a; 1 tdnua iii 31 2a; 2 tdnua x 93 15b; 3 tdnua ix 14 4b, 78 lc : always in yddua. Much more commonly in dsva, where a heavy syllable is produced by external or internal Sandhi : dsva i 175 4d, vi 47 23a, ix 94 5a, x 22 5a, 39 10a; aghd- i 116 6b: ajd- i 138 4b 4c, vi 55 3b 4a, 58 2a, ix 67 10a; rjrd- i 100 16b 17c, 116 16b, 117 18d; jird- i 119 lb, 157 3b; satd- viii 4 19a, x 62 8c; syavd- v 61 5c, viii 35 19b 20b 21b, 36 7a, 37 7a, 38 8a; sdmbhrta- viii 34 12b.
After a light syllable -ua, -ud are found as shewn in § 151 ii.
Feminine case-endings 95
(c) -vdrhs : ddsudms i 407c, 150 la (SV. ddsivdn), iv 2 8d, vii 'M 4c, 92 3a, viii 57 4d, 71 4c; ddsudrhs i 127 la; mVhudrks i 114 3b, viii 25 14c, 76 7a, ix 61 23b, 85 4d, *113 2b, *x 85 25c »45a. fa ii 11 5c we should probably restore ftastambhudrhsam (text tastahh vdmsam).
(d) -vi (rare): mddhul iv 43 5c, [vi 63 8c], vii 67 7b, 71 2d; fiwruih x 68 12b.
(iii) Resolution of y in the verbal suffixes -ya, -sya : d 'diah (da ' bind ') ii 13 9a ; dsiat (2 as) iv 30 20b, *x 72 8d, 138 4a, dpasia iii 24 lb ; drianti (dr) viii 16 6a; ksesidntah (ksi 'dwell') ii 4 3b.
(iv) Resolution of y v in the gerunds in -tyd, -tvd, rtvl, -yd.
-tyd: apitia *ii 43 2c; abhitid iv 32 10c, ix 55 4b; Hid x 66 14c; -tvd very frequently in the Atharvaveda ; ~tv%: iwstui v 53 14c; -yd \ avdsia i 140 10c, abhigtirid ii 37 3c, abhicdksid *viii 1 34c, nicdyid i 105 18c, iii 26 la, jiraticdksid i 124 8b, vicdksid viii 13 30d, samcdksid i 165 12c.
(v) Resolution of the enclitic tvd is regularly dependent upon a preceding heavy syllable : it occurs i 40 lb, 45 5d, 54 5d, 58 6a, 82 3a, 84 6c, 91 11a, 104 9a, 130 Id, *162 15a, 187 2b; ii 32 2d ; iii 47 3c, 52 6c ; iv *18 lib, 30 3a, 32 4b, 52 4a, *57 6b ; v 21 3c,
22 3a, 26 3a, 36 5a ; vi 21 6d, 44 lOd ; vii 16 4a 4d ; viii 3
11a, 6 18a 20a, 15 12a, 23 17a, 33 8c, 45 14a, 60 16a, 65 6a, *91 Id *le, 96 4a 4b 4c 4d, 102 18a; ix 8 9a, 48 3a; x 2 7a, 47 8a,
*85 22b, *137 7c, 140 6c, *158 5a, 160 5b, *161 5a. So in i 129 llg it seems necessary to restore raksohdtiam tud vaso.
(vi) There are several other instances, chiefly in the later part of the Rigveda, where resolution of y v seems to be due to a preceding heavy syllable. Thus we find anid for anyd in *vii 33 8c (nd'niena), x *14 3d (svdhd 'nie), 91 8d (nd 'nidm): aridh v 33 2d (prd 'ri4h) : and similarly didvd iii 46 5a, dudrd iv 51 2c, siendh iv 26 |7a, x 144 5a, sudn 'dog' *x 14 10a *lla, (also *86 4c initially), staid i 109 2b, suddanti viii 50 5c, suadanta ii 1 14c, sudhd iii 32 15a, ahian ix 26 3a (medhdyd 'hian).
146. In the feminine case-endings -yai, -yah, -yam, restoration of i is very frequently necessary, and occurs after both heavy and light syllables.
This resolution is found side by side with the forms with y in all parts of the Rigveda, and occasionally also in the Atharvaveda. See the author's Historical Vedic Grammar, § 198.
(i) gen. abl. fem. in -idh : drdtidh ix 79 3a 3b; urvidh i 146 2c; iLslndrdnidh *x 59 10c; jivantidh *v 78 9d; devidh iv 1 17b; bhtimidh i 80 4a, x 75 3a; rdtridh *x 129 2b; susyantidh *v 78 5b. After a light syllable: tdsidh ii 13 la; prthividh i 39 *3c, 100 lb, iii 8 3b, *29 4b, viii 36 4a, 44 16b, ix 8 8b, 31 2a, 57 4b.
(ii) dat. abl. fem. in -iai : devdhiitiai viii 39 4e ; vispdtniai *ii 32 7c. After a light syllable srutiai ii 2 7b, viii 96 3d, x 111 3a;
96 The optative suffix
and in the older infinitive forms irddhiai i 134 2d; yajddkiai viii 39 lb; vdhadhiai x 22 5b; risayddhiai i 129 8d; sayddhiai ii 17 6c.
(iii) loc. fem. in -idm : dsiknidm iv 17 15a, viii 20 25a; ucchdntidm i 184 lb, v 64 7a; jahndvidm iii 58 6b ; devidm ii 41 17b; pdrusnidm v 52 9a ; bhumidm i 39 4b. After a light syllable prthiviam viii 49 7b, 50 7b, x 49 9b, 73 9c; sdcidm x 61 lb ; sdmidm x 31 lOd.
There is one occurrence of a loc. fem. in -udm, namely svasrudm, for which see § 151 ii.
147. In two parts of the verbal system we find occasional resolution of y v respectively, occurring after both heavy and light syllables, namely in the optative suffix -yd and in the conjuga- tional suffix -u -nu.
In the optative resolution appears to be most common in the bardic hymns, except in the word sidma, in which it becomes increasingly common in the normal and cretic periods, being more frequent than sydma.
Resolution of the -nu suffix before vowels is most often found in the Soma hymns which we have attributed to the normal period.
The instances of id- in the optative suffix are as follows :
(i) asidm v 64 3a, aJidma iv 4 14b, uhi&the iv 56 6c, rdhifima
iv 10 Id, gamidh i 187 7d, jagmidtam vi 50 10a, pupuridh v 6 9c,
vididtam viii 5 37b, msahidt v 7 lOd lOe (§ 169 iii).
(ii) sidm, etc. : i 17 6c1, 38 4b 4c, 120 7c ; iii 1 23c1, 38 9b; iv 41 6c ; vi 50 9c1 ; vii 34 21b1 ; viii 14 lc 2c, 19 25b1 26d1, 44 23b, 70 5b2; x 20 8b.
(iii) sidma: i *24 15d, 51 15d, 73 8b, 94 13c 15d, 98 la, 121 15d, 150 3c, *164 40b, 180 9d ; ii 2 12a, 11 lb1 12d 13a1, 18 8d, 24
15b, 27 16d, 28 2a, 38 lOd; iii 1 21d, 30 18c, 39 7b 8b, 55
22c, 59 3d; iv 8 5a, 16 21d, 17 9d, 41 10b, 50 6d, 51 lie,
56 4d; v 4 8c, 6 8c, 31 13d, 42 17a, 45 lie, 53 Hd1 15c, 54
13b, 55 lOd, 62 9d, 65 5b1, 70 2c; vi 19 13b, 47 12d 13b, 52 5a,
71 2b 6d; vii 1 20c, 4 4d 7b, 14 3c, 17 7a, 18 3d1, 19 7d2,
34 24d 25c, 37 4c, 40 Id1, 41 3d 4a 4d 5b, 48 2a, 52 la, 54 2c, 56 24d, 60 lc, 66 13d1, 87 7b, 92 4c; viii 40 12d, *48 12d *13d,
53 7b; ix 86 38d, 89 7d, 95 5d ; x *14 6d, 22 12d, 29 2b,
31 Id, 36 12c, 38 2c1, 64 lie, 66 12a1, *121 lOd, 126 4dJ, 131 6d 7b, 132 2d2, 148 3c.
1 beginning the verse. 2 after a light syllable.
Resolved values are found in the suffix -u -nu as follows : tanu- iv 45 2d 6b; dhanu- iii 53 4d, ix 75 5a, 77 3b, 79 la, 97 3c 16d 17c 18d 19b 20c 26b, 105 4b; dhunu- vi 47 17c; srnu- iii 20 lc, [v 41 12c] ; sunu- v 30 6b ; hinu- viii 1 19d. Similarly ksnavdmi § 151 i.
So too in the noun dhdnvan and its derivatives, i 35 8b, 168 5c, vi 12 5d.
Initial consonant-groups 07
148. In several words occasional resolution of y and v is required where one of these is the second element in an initial consonant-group. The syllabic value does not appear to be dependent upon the position in the verse.
The more important instances are :
(i) jyti 'strength': jidydn iii 38 5a, vi 30 4b, x 50 5a; paramajidh2, viii 1 30c.
(ii) tva 'several': tua- i 147 2c2, *iv 18 2d bis, *x 71 4c *lla *llc, *72 9c.
(iii) tvdm 'thou': tudya i 53 lie, 102 4a2, ix 85 8d2, *x 84 4c; tudt : i 84 6a; iii 14 6a1; iv 11 3a1 3b1 3c1 4a1 4c1 4dx; v 25 7c2 7dJ; vi 7 3a1 3b1, 13 la1, 31 2a1; vii 5 3a1, 11 lb, 21 3c1; viii 24 lib1 12a 15b, 97 14c1; x *18 13a, 91 8d, *98 2b1, 112 9c.
(iv) div 'sky': diaidi i 8 5c1, 52 10a1, 65 3b, 89 4b; ii 4
6d! ; iii 6 3a1; iv 1 lOd1, 21 Id1, 22 4b1; v 41 lid1; vi 36 5b1, 50 13d1, 51 5a1, 68 4a1; vii 7 5c1; viii 7 26c1, 20 6a, 56 lc\ *100 12b1; ix 86 9b1; x 36 2a1, 44 8b1, 45 8d, *59 3b1, *85
lb *7c' *10b\ 132 la 6b1; didm (or dydam § 142 ii) i 52 lid1, 67 5b2, 141 8b1, 174 3b1, ii 17 5d, iv 22 3d, vii 3 3c, *x 16 3b1.
(v) dvih ' twice ' : duih i 53 9a, vi 66 2b1, *x 120 3b1.
(vi) si 'bind': vi sia- iii 4 9b, [v 45 la], ix 95 5b, x 30 lie.
(vii) syd 'that': sid- vi 65 la, vii 8 2a (after fu § 160), 75 4a, 80 2a; tid- i 30 22a, 37 11a1, 52 la1, 88 5a, 187 4a2; v 32 3a1 4a1 5a1 6a' 8a1, 33 10a2; vi 2 9a, 27 4a, 44 4a1 16a; vii 75
3a : viii 10 3a1, 64 5a1, 67 la1, 92 7a1, 94 10a1 11a1 12a1; ix 111 2a; x[26 2a2], 138 6a, 178 la1.
(viii) svd ' his ' : sua- i 1 8c, 58 2a, 75 5c2, 94 14a, 119 8b ; ii 2 lid, 4 7b2, 5 7a1 7a ; iii 10 2d1, 53 8dJ; iv 16 10c1; v 4 6b,
[41 9b1], 48 3c, 58 7b, 64 5c1, 87 4c; vi 3 8b, *28 2b2, 40 5b, 41 lc, 44 22c, *75 19a; vii 36 5b, 82 6b; viii 2 7c1, 11 10c1, 18 13c1, 44 12b, 79 9a1; x 8 4d, *18 lb, 23 4a, 54 3d, 56 2d *6c1 *7c\ 74
2d2, *83 5d', *85 42d, 105 10c, 118 lc1, *124 2d1, 144 3b2.
1 beginning the verse. 2 after a light syllable.
149. As the suffix -ya regularly becomes -ia after a heavy syllable, and -va occasionally becomes -ua, there is no antecedent improbability in the restoration of -ara for -ra, -ana for -na under the same circumstances. There are in fact a number of passages in which such restoration is probable : but if we consider the two words for which this step most readily suggests itself, indra and rudrd, it is clear that it is attended with special difficulty. In the case of indra the restoration is almost always suggested in a single position, viz. immediately after an early caesura, and a very large proportion of the instances are in decasyllabic hymns, so that an alternative metrical interpretation is suggested : whereas
a. 7
98 Supposed resolution of the suffix -ra
in the case of rudrd the usual condition for restoration, a pre- ceding heavy syllable, is not found. On the other hand, the number of occurrences in which restoration is suggested is re- latively so small in all words of this class that we can hardly think of such forms as indara (indrra) or rudard as the primitive forms. It will therefore be necessary to consider these two words separately. As before, instances which can be alternative! y ex- plained as decasyllabic verses, if they occur in decasyllabic hymns, are enclosed in square brackets.
(i) indra (a) after early caesura: i 33 14a, 53 11a, [63 la to 9a], 89 6a, 100 17a, [104 2a 8a, 129 la 4a 7f 8b], 130 2a, 133 6a, 165 3a, [167 la 10a, 169 la to 5a, 173 5a 7c 10b 11a 13a, 174 la to 10a], 177 5a, [178 la to 4a], 186 6c; ii 17 8d, [19 3a 8c, 20 4a 5b
6a 7a], 31 3a ; iii 32 12a, 49 la ; iv 16 21a, 17 la, 19 la 2b,
[21 10a], 24 2b, 39 4d, 50 11a; v [33 4a 5a], 36 la; vi [20 3b 11a 13a, 21 2a 8a], 22 3a 10a, 23 3a, [24 la 10b], 25 lb, 26 7b, [33 la, 35 2a 3a], 44 15a, 47 9a; vii 19 2a 6a, 20 2a, 21 5a 6a, 22
la 8c, 23 5a, 25 la, 29 la. 30 lb 4a; viii 66 5c, 96 20a, 97
14a; ix 88 la; x [22 la 2a +lla 12a 13a 15a, 23 la],
29 3a, [49 11a, 50 2b 3a 4a, 61 22a, 93 11a], *139 4c, [148 la 2a 4a 5a]. indram&dana vii 92 4a.
(b) elsewhere in Trimeter verse : i 62 3a, 130 10c ; [ii 20 2a] ; iii 53 24a ; iv 16 15a ; vi 26 la ; vii 37 4a ; viii 90 6c ; *x 180 3a.
(c) in Dimeter verse : viii 2 7a, x 22 7a, 105 4a (probably).
The extreme rarity of the form in dimeter verse, in spite of the great number of Indra hymns in Groups I and II in dimeter and lyric metres, seems to shew clearly that the word was always a disy liable to the poets of those groups. The immense majority of the occurrences being in Group III, where the decasyllabic variation prevails, the verses can most readily be explained as decasyllabic, especially as even in this group such convenient forms as indarasya, indaraya would be are never found in trimeter cadence. Hence the first real evidence for resolution occurs in the Vasistha hymns, where there are twelve instances.
(ii) rudrd : i 100 5a, 114 4a 6b 8c ; ii 33 13 times ; iv 3
6d ; v 46 2c, [51 13d] ; *vi 28 7d ; *vii 35 6c, 36 5d, 46 2d
4a; x 92 9a, 126 5c.
The restoration is necessary, and can most easily be explained as an imitation of that of indra : it is almost confined to the normal and cretic periods, and is generally found after a late caesura.
(iii) suffixes -ra, -rd, -ri, almost always after the caesura, and generally in decasyllabic hymns: omdtrd [x 50 5b]; candrd [i 135 4f]; tuvimdtrd viii 81 '?c (dimeter) ; tvdstrd x 76 3c ; ddtrd iv 38 la, [vi 20 7d] ; patrd i 121 la, vi 44 16a, [x 50 6c, 105 10c] ; bhrdtrd iv 23 6b; mantra [x 50 4d 6d] ; mandrd vii 9 2c ; rdstrd iv 42 la, vii 84 2a ; raudra [x 61 la 15a]; vdsrd [x 99 lb]; srotra *x 85 lie (dimeter);
Resolution of nasatya and aditya 99
sutrdtrd [vi 68 7a]; stotrd [x 105 la], hotrd [i 122 9d, 129 7a], iv 2 10c, 48 la (dimeter), vii 60 9a. netrii 92 7a, 113 4a.
After a light syllable only rjrd : see § 151 ii.
Half of the instances are in decasyllabic hymns, and therefore open to question. But the fact that almost all possible occurrences follow a heavy syllable favours the view that, in the later periods at least, resolution occasionally took place.
(iv) The suffixes -na, -nas may be read with resolution in the case of cyautnd vi 47 2c, [x 50 4c], and reknah i 121 5c, [vi 20 7c, x 61 lie, 132 3b]. Both examples are doubtful: but the occurrence of nutna, nutana in the text in agreement with the metre shews at least the possibility of the former resolution.
150. In connexion with these restorations it seems best to consider the proposed restoration of ndasatyd for nasatya. In all cases the normal number of syllables may also be obtained by the restora- tion ndsatid : and the rhythm is sometimes favourable to one, sometimes to the other form. On the whole it seems probable that both forms occur, but there is little reason to consider that either is a primitive form. Most of the instances follow an early caesura.
(i) ndasatyd is metrically preferable : i 34 9d, 116 2c 9a 10a lib 13a 14b 16c 17d 19b 20c 22c 23b, 117 Id 6b lid 13d 23c, 118 4d lib, [173 4d], 180 9d, 182 4d 8a, 183 3c 5d, 184 lc 3b 5d ; ii 41 7a; iv 3 6c, 43 7d, 44 4b ; v 74 2b; vi 11 lc, 49 5c, [63 lc 4d 7b 10a] ; vii 39 4d, 70 6a, 71 4c, 72 la 2b 3d; viii 5 32c 35c, 9 9a, 25 10b, 26 2b, 57 lc 4b, 85 la 9a, 101 7c; x 39 3c, 41 2a.
(ii) ndsatid is metrically preferable : i 20 3a, 47 9a ; iv 37 8b ; viii 8 15a, 9 15a, 19 16b; x 73 4b : and indra-ndsatid viii 26 8b.
The case of ddityd is exactly similar, except that the occasions for restoration are relatively fewer :
(i) aadityd is metrically preferable: *i 24 15c, ii 1 13a, 29 la, iii 54 20c.
(ii) dditid is metrically preferable: i 45 lb, ii 27 6c, viii 18 2b.
151. In several forms and a large number of individual words syllabic restoration is suggested by the metre in one or more passages, but not with sufficient frequency to constitute proof. In the instances that follow restoration is sufficiently probable to make it undesirable to treat the verses concerned as metrically irregular.
(i) Restoration in place of a long vowel or diphthong :
-at in abl. sing, of -a nouns : antdriksaat *x 158 lb ; caritraat *viii
48 5c; pardstaat vi 54 10a; pardkdat i 30 21b, viii 5 31a, x 22 6c ;
sadhdsthaat viii 11 7b.
-dr in 2 3 sing, of the s aorist : dksaah ix 18 lb, 66 28a, 98 2d 3a,
107 9a 9b; bhadh i 128 2g. Similarly bhaak viii 80 8a.
7—2
100 Miscellaneous resolutions
-dr in monosyllabic noun-stems: vdr 'water': vdah iv 19 4b, viii 98 8a; vdr 'protector': vdah [x 93 3b].
arksd (proper name): a-arkse viii 68 16b.
aurvd- (proper name): a-urvabhrguvdt viii 102 4a.
ksoni (proper name1?): ksavani [i 173 7c], *x 95 9b.
hsbdah ' stream ' : ksdvadah vi 1 7 1 2a.
ksnu 'wipe out': ksnavdmi x 23 2d.
ddsa 'barbarian': ddasa [i 104 2c], vi 26 5c, [x 23 2d, 49 6b 7d] ; ddasl [ii 20 7b, vi 20 10d].
dura 'far': duurd iv 20 la, *x 108 11a.
nu 'now': the restoration nuu is an alternative to nu u, the reading suggested in § 124.
pur 'burg': puuh i 189 2c, vii 15 14c.
mam 'me': mdam iv 42 5a 5b, *v 40 7a, *vii 50 la, viii 74 14a, ix 67 25c, x 48 lc, 49 2a, *52 4a, *145 6c.
yds 'tire': aydas [i 167 4a, vi 66 5c].
reknah: rdyiknah vii 40 2c, viii 46 15a, x 132 3c.
vdtdpya(!): vaatdpya i 121 8d, ix 93 5b, x 105 lc.
vdm 'you': vaam iv 42 9a, v 64 2c, 74 10c lOd, vi 59 2a, viii 5 29a, *x 167 4c.
vi 'bird': vaydh (gen. s.) i 130 3b, vi 48 17d.
sura 'lord': Mura i 122 lOd, [173 5b].
sura 'sun': suura or suria i 71 9b, [122 15d, 149 3c], vi 48 17c, 51 2d, ix 111 lc.
stu 'praise': stavisam i 187 la; astaut vii 42 6b.
sprdh 'strive': spuurdhdn vi 67 9a; spuurdhdse v 64 4d.
(ii) Resolution of y, v, r.
rjrd: rjard i 117 14d, rjarasua i 100 16b.
ji- 'conquer': jigiuh viii 19 18c; cf. jidydn, § 148 i.
tu 'be strong': samtdvituat iv 40 4c.
tva: tud after a light syllable: iii 23 4a, x 160 5d : initially *i 191 10f=llf=12f.
dyut 'shine': diutandm vi 15 4a; diotanah viii 29 2a; su-diotma i 141 12a, -diotmdnam [ii 4 la].
-dhuam after a light syllable : i 87 2a, viii 7 2b 14b, 20 18d.
mahimdn 'power': mahind iv 2 lc.
-ya (verb-suffix) after light syllables : fjiantah vi 37 2b 3c.
-ya (noun-suffix) exceptionally after light syllables: ajurid vi 17 13b; dtia ii 34 3a 13c, ix 76 lc, 80 3d, 85 5c, 93 Id; arid iv 1 7d ; gdvia i 131 3b, *v 30 15a, 52 17d, sugdvia *i 162 22a; ndvia 'young' v 29 15b, viii 11 10b ; ninid i 95 4a, iv 3 16b, x 5 lc ; bhavia i 129 6a, *x 90 2b; mdria i 77 3a; vasavid (see § 135) vi 60 lc, x 74 3d.
-yah (ending of i- nouns): aridh iv 48 lb, vi 14 3b, vii 8 la.
-yd (noun- suffix) exceptionally after light syllables : kulid x 43 7b, pddid *x 102 7d, sravasid ii 19 7b.
-yuh (ending of i- nouns) : sdkhiuh viii 69 7d, x 3 4b.
-va (noun-suffix) after a light syllable: dsua i 175 4d, vi 63 7a, viii 5 35b, 26 24 c.
var, vr 'choose': avari iv 55 5b.
-vah in the u declension: mddhuah (gen. sing.) ix 24 7b, (nom. pi.) ix 89 3a.
Miscellaneous restorations 101
-vd (noun-suffix) after a light syllable: apud *x 103 12b, dtmd *i 162 19a.
-va (instrum. masc.) : krdtud iv 28 3c, vi 12 4c.
-vdm (loc. fern, sing.): svasrudm *x 85 46b.
-ve (dat. sing.): sahdsrabdhue viii 45 26b.
(iii) Miscellaneous syllabic restorations :
abhi : loss of initial a is not improbable in 'bhydvartim vi 27 5b, 'bhisrindnn ix 97 43c : cf. bhisdj for abhisdj.
avaydj : avayajah i 173 12b. Cf. svaraj below.
dsveya (in Aufrecht's text only): dsvyena *x 87 16b.
cfs&ra : restore dsakrdh vii 43 5b.
iyam: yam i 186 11a,' vii 66 8b 8c, 86 4d, viii 1 26c, *x 129 6b, *135 7c.
iva: va see above §§ 128, 129.
ukthd : ucdtha v 4 7a, [vi 24 7d], viii 2 30b, x 24 2a.
uttardttdt : uttardt x 36 14 b.
kvd: ku i 38 2c, v 61 la (1), 2a bis: but in v 74 la read kua for kd.
tvdm: tdva for te *x 10 13 b.
ddma : for dame read ddma d ii 1 7d.
(few : for devdndm read devan vi 51 2b.
pascattdt : pas'cdt x 36 14a.
prthivi: prthvi i 67 5a, *191 6a, *v 83 9d, vii 34 7b, 99 3d, viii 79 4b. prthvi is rightly given in the text vi 12 5b. The restoration is also metrically advantageous, but uncertain, in the following passages : i 33 10a, iii 14 Id, vi 19 12c, vii 3 4a, x 168 Id, *173 4a.
pauruseya: paurusyena *x 87 16a.
brhdcehravas: brhdcchravdh x 66 la.
brhaspdti: brdhmanaspdti *x 103 8a.
bhiyds: bhydsam ii 28 6a, ix 19 6b: cf. bhisd.
mdrta: mdrtia i 38 4b, 63 5b, 73 8a, 77 2c ; ii 23 7b; vi 15 8c, 16 46a ; vii 4 3b, 25 2b, 100 la; viii 11 4b, 71 7c; ix 94 3c; x 63 13a, 115 7a, 118 6a.
mahimdn: for mahna read mahimnd vi 66 5c.
rdtha: the stem rdthas is to be restored in rdthasas pdtih v 50 5b, x 64 10c, 93 7b : rdthas or a locative rathe in ratha-ulha x 148 3d.
rodasi: for rodasyoh in i 151 3a, 168 lc read rodasoh, which appears in the text ix 22 5a: otherwise rodasioh or perhaps rbdasioh (§ 173 ii).
sucidan : read sucidantah vii 4 2c.
s'mdsru: smdsdru v 7 7c, [x 23 lc], cf. x 96 8a.
sahasdvan: read sahdvan i 91 23b.
sdhlyas : for sdhiyase i 71 4c read sdhyase.
sddh: for sadhantah read sddhdyantah x 74 3c.
sdnu, snu: both forms are found in the Rigveda; read sdnubhih vii 88 3c.
sumdd, smdd: both forms are found in the Rigveda; it is advan- tageous to read sumdd vii 3 8d, [x 61 8b] and sumddudhnlh i 73 6b, but smdd *i 162 7a.
stu : for stdvante read staunte vi 26 7c : for stavdma stavd ii 11 6b.
svd : for svdsya read suydvasd ii 4 4a : cf. ii 27 1 2b 1 3a.
svan : for svdnit read svauista ii 4 6b : cf. svar.
svar : for asvdrstdm read asvaristam ii 11 7b.
102 Glosses and compounds
svardj : for svardt read svardjdh vii 82 2a, viii 46 28a, *x 15 14c: «» adhirdjd *x 128 9d.
svdvas: read su-dvan in the Pp. text, vi 47 12a 13c.
/«i 'incite': for hiydnd read hydnd viii 49 5b, ix 13 6a, 86 3a,
98 2d.
152. Lastly we may advert to two kinds of syllabic restoration which border upon the sphere of ordinary textual criticism, namely, the appearance in the Rigveda text of glosses and of resolved forms and derivatives from dvandva compounds.
(i) Where a verse includes too many syllables it is a ready method to throw out some word as having been added as an aid to intelligence or devotion, as the words in brackets in the following verses :
sdm bhdsmand [vdyund] veviddnah v 19 5b.
prayati yajiie [agninij adhvare dadhidhvam vi 10 lb.
purvis te [indra] upamdtayah viii 40 9a.
Probable instances of glosses or other additions to the text are to be found in i 129 llg (jijanat); ii 11 6a [indra); iv 1
2a (ague); v 19 5b {vdyund) ; vi 10 lb (agnim) ; vii 41 6d
(dsvdh), 82 2a (vdm) ; viii 29 5b (sucih), 39 6b (apiciam), 40 6c
(vdsu), 9a (indra), 46 17c (visvdmanusdm), 31c (ddha), 103 5a (vajam); *ix 113 3b {tarn) ; *x 10 12a (tanvdm), 20 2a (dgnim), 78 8a
(devdh), *85 34a (kdtukam etdd), *87 13c (mdnyoh), 93 14c (pdnca), *121 7c (ekah), *128 9c (adUytih), 150 4a {devdh), *164 5c (pdpdh).
(ii) In the Rigveda we find dvandva compounds in process of formation, and therefore not only declined irregularly, but also used as bases for derivatives in lax combination.
The text of the Rigveda rightly records such forms in the following passages :
pataydn- mandaydtsakham (i.e. pataydtsakham utd mandaydt-
sakham) i 4 7c dmrta- mdrtidnaam (i.e. dmrtdndm ca mdrtidnam ca) i 26 9b mitrd- utd medhid- Hithim (i.e. mitratithim utd medhidtithim)
i 36 17c. In other passages the Samhita editor has given both words in full, thereby destroying the metre : so that we need to restore as follows : prd tuvidyumnd- sthdvirasya ghfsveh
(text tuvidyumndsya sthdvirasya) vi 18 12a mitrdvdrun-d- utd dhdrmavantd
(text mitravdrunavantd utd dhdrmavantd) viii 35 13a
utd me prayi- vayiyoh (text prayiyoh vayiyoh) viii 19 37a prdti-ardhim devd- devasya mahnd
(text devasya devasya) x 1 5c (so probably in 5b also). pavdkd- sukrdvarcdh (text pdvakdvarcdh sukrdvarcdh) x 140 2a.
History of syllabic change 103
153. The history of the changes discussed in this chapter appears to be as follows.
In the earliest parts of the Rigveda, namely Groups I— III, an additional syllable must frequently be restored in the flexion of monosyllabic root-stems, and in the genitive plural ending. In the later groups this restoration decreases rapidly in frequency, except that the fuller form of the genitive plural remains much longer in common use in dimeter cadence than the other forms.
Syllabic restoration of accented y v, of some -ya suffixes after light syllables, and of all after heavy syllables, of v in tvdm, tvdin, etc., and of y v r n before certain vocalic case-endings, is the rule throughout the Rigveda: but in the popular Rigveda exceptions increase in number.
In the noun-endings in -bhyam, -bhyah, the noun-suffixes containing v, the gerunds in -tva, -tv%, -ya, and the enclitic tva, resolved forms following heavy syllables are fairly common in all parts of the Rigveda.
In the noun-endings in -yai, -yah, -yam, the verbal suffix -nv from -nu, the optative suffix ya-, and in some initial syllables resolution is not uncommon, but tends on the whole to become rarer in the later parts of the Rigveda.
The use of indra after the caesura in decasyllabic verse changed to a conventional use of a form indara in the same position after the disappearance of that metre : and other reso- lutions of the suffixes -ra and -na were occasionally employed, following the same model, and restricted to the same position in the verse.
Resolved forms of the words ndsatya, adityd were also occa- sionally employed, chiefly after the caesura : but the nature of the resolution is uncertain in each case.
Outside the limits described the resolution of long vowels, diphthongs, and semivowels is rare and uncertain : but there are indications that the text is not entirely to be relied upon either in these points or in its reckoning of the number of syllables in other ways in a number of individual words.
Generally, the consideration of these changes supports the view that Groups I-III together form the earliest part of the Rigveda, and that otherwise the general arrangement described in §§ 57-63 holds good.
As these results confirm those reached in the last chapter, we
104 History of syllabic change
are entitled to make a further provisional division of the hymns of the bardic period into (i) hymns of the archaic period, corre- sponding to Groups I— III, and (ii) hymns of the strophic period, corresponding to Groups IV and V.
The consideration of the Table in § 155 will enable us to justify these conclusions in detail. The Table is drawn out so as to call attention to those features which seem to be instructive : in many particulars the number of instances is so few that they give no practical guidance. By taking the numbers for the periods instead of the groups we are able to adopt a larger unit of bulk, namely 5000 trimeter verses = 7500 dimeter verses, without departing much from the actual facts. Where the figures are reckoned separately for trimeter and dimeter verses we take 5000 of each as the standard of bulk.
The whole number of variations with which we have to deal is nearly 2600, which corresponds very fairly with the number of Sandhi variations (§ 131): of these nearly 900 are resolutions of long vowels and diphthongs, 700 irregular consonantal values of y and v, 800 irregular resolutions of y and v, and 200 resolutions of r and n. The Indian tradition, which lays stress only on the resolution of ;// and v, has therefore failed to grasp the true proportions of the phenomena, and so far exercises a misleading influence on modern criticism. We take up the different sections in the order just given, thus bringing them into line with the discussion of Sandhi.
(i) Resolution of long vowels and diphthongs.
(a) In the forms derived from radical root-stems the progress of contraction is very uniform, but is not complete even in the popular Rigveda : indeed the Atharvaveda still shews the nom. sing, in -aah quite commonly (Historical Vedic Grammar, § 175). Forms from stems in -i and -it are not, as a rule, contracted even in classical Sanskrit ; consequently it appears to be matter of accident that such forms as bhut dhve appear in our text side by side with bhuvat dhuve. The parallel of the Greek flexional forms with hiatus goes to shew that we have on the whole a genuine historical developement.
(b) For the genitive plural in -am we find in Groups I to III that rather more than half of the occurrences of -aam are at the end of dimeter verse : but this lends no great support to the view that the measurement had its origin in the constraining of catalectic dimeter verses into a normal measurement. In the later periods the use of the ending -aam in dimeter cadence has clearly become a convention, and no longer corresponds to the ordinary pronunciation : but in the pre- Vedic period the two forms must have been at least equally common : and though the longer form is not necessarily the earlier, yet for our present purpose it must be considered a real archaism.
(ii) Irregular consonantal values of y and v. Where the syllabic value of y and v is the more common, the presumption must be that this is the original form : and it would then appear that any tendency to contraction worked more slowly if a heavy
History of syllabic change 105
syllable preceded. This is quite in accordance with the rules of Sandhi, where we find original -i -u retained before dissimilar vowels throughout the Rigveda proper, the exceptions being almost always in cases where a light syllable precedes. The differentiation thus depending upon the previous syllable might clearly lead to the resolution of original y v where they follow heavy syllables, and it may be that a few such cases are included in this section.
It is remarkable that contraction seems to be equally common in all parts of the Rigveda proper, not only in these words as a whole, but in single words which are particularly common, such as tvdm and siirya. I find some difficulty in thinking that these forms were really established as common variants so early, and am therefore inclined to distrust the text. Since single passages in the Rigveda have retained for us such old forms as ku and rodasoh, usually written kva and rodasyoh, it seems not improbable that an old nominative td may be concealed in many cases under the tvdm of the archaic period, and that the order of developement was tu, tudm, tvdm. In the case of surya the doublet sura (p. 36) is sufficiently common in the Rigveda, as mdrta by the side of mdrtia : it is therefore likely enough that &&ra stood originally in many passages where surya is now read, the order of developement being sUra, suria, surya. Similarly the frequency of such forms as the instrumental masc. in -id, -ua, and the corresponding datives -ie, -ue may be concealed from us under the later forms -ind, -una, -aye, -ave. It is possible that a similar history underlies other forms.
(iii) Irregular resolution of y and v.
(a) The history of the enclitic tva is the clearest proof of the real occurrence of resolution of original v due to a preceding heavy syllable. Although this change as a whole is of equal importance in all parts of the Rigveda, it is not necessarily so in each separate class; the values -bhiah, -bhidm seem to be distinctly increasing in frequency throughout the Rigveda, and the gerund ending -tud is quite common in the Atharvaveda though not found in any part of the Rigveda.
(6) The feminine case-endings in -yai, -yah, -yam, the optative in -yd and the verbal-suffix -nu before vowels shew only occasional vocalisation : in the optative forms (except siama) this is not found later than the normal period. In the case of the verbal- suffix -u would seem to be primitive, and this may be the case also with the other forms.
(c) With regard to the initial groups it is at least clear that such forms as tudya and tudt have a different history from tvdm and tvdm, in which the vowel values predominate. In this case it seems probable that the original v cases have been slightly influenced by the u cases. A large proportion of all the instances follow heavy syllables, but there are so many instances at the beginning of the verse that it seems very doubtful whether this is really a cause of the resolution. The form siama and the word tua shew progressive vocalisation : in the other cases it is diminishing.
(iv) Resolution of r and n. It seems clear that none of the poets recognized in the abstract a word indara. It follows that the form is of metrical origin, and due
106 History of syllabic change
to the constraining of a common type of decasyllabic verse to fit in recitation the standard of a full Tristubh verse. The preceding heavy syllable must have contributed to justify such a pronunciation, since that condition is fulfilled in the great majority of cases in which the r of -ra is vocalised : rudara seems therefore to be due to the fancy of an isolated poet. The resolutions of ndsatyd and ddityd, although of a different type, seem to be of the same artificial character.
(v) Miscellaneous restorations. The occasions for these rapidly diminish throughout the Rigveda proper : this may be explained in individual cases either by the gradual disuse of archaic forms or by the increasing strictness of the metre. In the popular Rigveda the number increases, and a large proportion may be cases in which no restoration is really required, the metre being in fact disordered. The doubtful cases included in this section number rather more than one- tenth of the whole. number considered in this chapter.
154. The text of the Rigveda, when metrically restored, shews us a dialect in which the vowels are relatively more frequent, and the syllables therefore lighter and more musical, than is the case in classical Sanskrit. The Homeric dialect differs just in the same way from classical Greek.
The term ' heroic' has already been used (§ 76) to describe the vocabulary of the Rigveda proper, in accordance with the martial dignity and vigour which distinguishes it (see § 85). This term may appropriately be used to describe the Vedic dialect as a whole, on account of its resemblance to the Homeric dialect.
In view of the antiquity of the literary records in the two ' heroic ' dialects, we may well believe that the ' resolved ' forms which characterize them are on the whole earlier than the corre- sponding ' contracted ' forms of the same languages in their classical periods. Our investigations however shew that this general principle admits of many exceptions.
It does not fall within the scope of this book to trace the history of resolved forms according to the principles of comparative grammar. That forms like pdanti and ydam are not necessarily older in them- selves than pdnti and gam has been pointed out by J. Wackernagel (Altindische Grammatik, § 45) and others.
That the accent tends to preserve the individuality of a syllable appears from § 135, and perhaps also from § 142. The accent may also help to account for a single syllable developing into two, and thus the resolution of -dm in the gen. pi. may have begun with words like naram, pura?n, apami in which that syllable bore originally the cir- cumflex accent. But it does not appear that the Rigveda makes any distinction in this respect between accented and unaccented syllables.
History of syllabic change 107
155. Table of the occasions for Syllabic Restoration.
|
Refer to § |
Periods |
Arch. |
Stroph. |
Normal |
Cretic |
Pop. |
|
|
Units of bulk |
1-9 |
•9 |
18 |
11 |
•9 |
||
|
Long vowels and diphthongs : |
|||||||
|
142 |
Root-stems |
2341 |
68 2 |
45 |
20 |
13 |
15 |
|
143 |
Gen. pi. -aam (dimeter cadence) |
332 |
140 |
140 |
92 |
69 |
27 |
|
> j |
,, ,, (dimeter elsewhere) ,, „ (trimeter) |
72 |
42 |
18 |
13 |
12 |
3 |
|
11 |
119 |
88 |
16 |
5 |
6 |
4 |
|
|
Y, V EXCEPTIONALLY CONSONANTAL : |
|||||||
|
All instances |
671 |
103 |
90 |
82 |
108 |
141 |
|
|
135 |
y, v accented |
36 |
2 |
3 |
3 |
2 |
23 |
|
136 |
Suffix -ya after light syllables3 |
92 |
12 |
22 |
16 |
16 |
15 |
|
137 |
„ ,, heavy „ 4 |
83 |
17 |
7 |
8 |
16 |
14 |
|
>> |
surya |
140 |
15 |
13 |
19 |
25 |
40 |
|
»> |
,, (ratio)5 |
32 |
23 |
37 |
29 |
51 |
|
|
138 |
tvdm |
157 |
34 |
19 |
15 |
21 |
26 |
|
>j |
„^ (ratio)5 |
25 |
23 |
17 |
27 |
42 |
|
|
>> |
tvdm, tve, tvd- |
100 |
17 |
17 |
14 |
15 |
8 |
|
139 |
Endings -yd, -yoh Resolution after heavy syllables: |
29 |
3 |
2 |
3 |
9 |
5 |
|
All instances |
322 |
50 |
43 |
48 |
40 |
52 |
|
|
144 |
Endings -bhidm, -bhiah |
137 |
18 |
13 |
21 |
24 |
27 |
|
145 |
,, -dhuam, etc. |
32 |
3 |
8 |
7 |
4 |
3 |
|
> j |
Suffixes -va, -vl, -vdnis |
63 |
14 |
11 |
8 |
10 |
3 |
|
j> |
Gerunds |
13 |
2 |
0 |
2 |
4 |
2 |
|
15 |
Enclitic tvd Y v exceptionally resolved : |
54 |
13 |
10 |
6 |
3 |
10 |
|
146 |
-iai, -idh, -idm |
44 |
7 |
7 |
6 |
5 |
7 |
|
147 |
-nu (verbal) |
22 |
3 |
2 |
7 |
3 |
0 |
|
> » |
Optative (with nam) |
26 |
8 |
4 |
4 |
0 |
0 |
|
> > |
,, sidnia |
94 |
9 |
19 |
16 |
22 |
6 |
|
148 |
tua |
7 |
0 |
1 |
0 |
0 |
6 |
|
5> |
tudyd, tudt |
29 |
6 |
1 |
5 |
4 |
3 |
|
>J |
diauh, didm |
37 |
6 |
6 |
6 |
4 |
6 |
|
>> |
syd |
31 |
8 |
6 |
3 |
4 |
0 |
|
} > |
svd |
45 |
10 |
5 |
4 |
6 |
9 |
|
>> |
Other words Resolution of -ra, -na : |
11 |
2 |
1 |
2 |
2 |
1 |
|
149 |
indra (decasyllabic hymns)6 |
83 |
[287] |
||||
|
>> |
,, (elsewhere in trimeter verse) |
56 |
27 |
25 |
10 |
6 |
3 |
|
rudrd |
27 |
1 |
1 |
10 |
5 |
2 |
|
|
,, |
-ra, -na (decasyllabic hymns)6 |
17 |
[60] |
||||
|
» » |
. , (elsewhere in trim, verse) |
14 |
6 |
5 |
3 |
3 |
0 |
|
150 |
ndsatyd, ddityd, resolved Miscellaneous and doubtful : |
73 |
13 |
17 |
15 |
5 |
0 |
|
151 i |
Long vowels and diphthongs |
74 |
23 |
11 |
5 |
3 |
10 |
|
151 ii |
Resolution of y v r |
63 |
13 |
8 |
9 |
6 |
11 |
|
151 iii |
Various textual corrections |
80 |
17 |
23 |
5 |
7 |
11 |
|
152 i |
Glosses |
25 |
6 |
2 |
2 |
0 |
7 |
|
152 ii |
Dvandva derivatives |
5 |
2 |
2 |
0 |
0 |
0 |
1 The figures in this column shew the whole actual number of occun-ences.
2 The figures in the remaining columns are proportional, as explained in § 153.
3 Including divyd and sakhyd. 4 Except sHrya.
6 In these lines are given the percentages of consonantal values for each period, out of the whole number of resolved and consonantal values taken together.
6 The whole number of verses in decasyllabic hymns is about 1500 ; the proportional figures are given, as elsewhere, as for 5000 verses.
CHAPTER VI.
QUANTITATIVE RESTORATION.
156. The metrical laws of the Rigveda recognize only the distinction between long and short syllables, a long syllable being one that contains a long vowel or a short vowel followed by two consonants. Since the text distinguishes throughout the long vowels by special symbols, and also denotes each consonant by a distinct symbol or (in consonant-groups) by a distinct element in a symbol, it contains implicitly a complete commentary on the quantitative value of syllables: and any question that may be raised implies a doubt as to the correctness of the text, and can only be discussed by the help of a criterion not directly dependent upon the text.
All the rules which prescribe the quantities of syllables in different positions in the verse, such as those given in §§ 31 — 47, admit of exceptions : and therefore no safe conclusion can be drawn from the occasional appearance of a particular syllable in a position in which long or short quantity is generally required. But the general use of a syllable which recurs with any frequency must necessarily reveal its quantity, in accordance with the principle of quantitative evidence explained in § 9. Short syllables must on the whole be placed in positions which favour short quantity or are indifferent : and long syllables in positions which favour long quantity or are indifferent. If any syllable is used indifferently in all positions in the verse, it must be because its quantity was regarded as indifferently long or short.
The principal questions that arise concern (i) the quantity of variant final vowels, that is, final vowels not uniformly written in the Samhita text, and (ii) the quantity of final long vowels before hiatus. Incidentally we are also concerned (iii) with the value of final -o (Pp. -o iti).
Position the evidence of quantity loo
The principle of evidence here asserted is precisely the same which has been followed in the discussions on Sandhi and on Syllabic Restoration. It reduces to secondary importance all questions as to the readings of the Samhita or Padapatha texts : and accordingly, whilst the readings of the former are noted throughout, and those of the latter when they are of interest, the general discussion of them will be reserved till the end of the chapter : for only in cases in which the metrical evidence leaves reasonable doubt will it be justifiable to pay regard even to so ancient a tradition as that of the Samhita text.
Although the principle adopted leads to changes in the text which are in many cases considerable, it is seldom that any real difficulty arises in words and forms which are of frequent occurrence. For if the text does not correspond to the usage, the question is whether the poets have regularly used words in positions for which they are not well suited metrically, or the editors of the text have introduced unsound alterations. As to the first alternative it is impossible to pronounce until a broad view has been reached as to the metrical standards of the poets in the Rigveda as a whole. But as to the second possibility there is no real room for doubt, in view of the results recorded in the last two chapters, and generally accepted by critics of the Veda. Still it should be of value to indicate the probable causes of the most common errors of the Samhita text, as is attempted in §§ 175, 176.
But, exactly as in the preceding chapters, there are fairly numerous cases of forms and words which are somewhat rare in the Rigveda, and in which therefore the bulk of evidence is insufficient to establish a rule as to general use. Tn such cases the decision between alternative probabilities will be a matter for individual judgment.
157. The chief positions which favour short quantity are (i) the fifth and seventh places in dimeter verse, and the ninth (and eleventh) places in trimeter verse ; (ii) the second place after the caesura, whether early or late ; and (less regularly) the first place after the caesura also.
The chief positions which favour long quantity are (i) the sixth place in dimeter verse, and the eighth and tenth places in trimeter verse ; (ii) the second place in either kind of verse, if the third syllable is short, and the third place, if the second syllable is short; and to an extent much less marked (iii) the second and fourth places in either kind of verse except as just described, and the seventh place in trimeter verse after an early caesura.
The quantity is indifferent in initial and final syllables, in the third place except as described above, and in the fifth place of trimeter verse before late caesura, unless the fourth syllable is short.
Syllables containing short final vowels are, however, admitted
110 Symbols denoting position
more freely than other short syllables to the second place in either kind of verse when the third syllable is short, and to the eighth place in trimeter verse.
These general rules, with the exception of the last, which will be the subject of discussion later, follow directly from the description of the Vedic rhythms in §§ 31 to 47. It will however be of advantage to base them upon direct experiment applied to undisputed long and short final vowels, since the most important questions have to do with final vowels : and also to express the results by symbols which will readily lend themselves to the numerical calculations upon which we have to rely.
The various positions in the verse may be shortly denoted as follows : initial and final syllables by the letters In, Fin : the fourth to the seventh place in dimeter verse by the numerals 4, 5, 6, 7, and the same positions in trimeter verse by these numbers followed by A or B according as the caesura is early or late : the eighth to the tenth (or eleventh) place in trimeter verse by the respective numerals.
The second and third places in dimeter verse may be denoted by 2D 3D, and in trimeter verse by 2T 3T : but in either case if the other syllable of the two is short a special position results favouring long quantity. These positions may be denoted 2d 3d 2t 3t respectively. Similarly before a late caesura the fourth and fifth syllables may be denoted by 4b and 5b respectively, if the other syllable of the two is short, these positions again favouring long quantity in a very marked way.
There are some other positions which are comparatively rare, and yet require to be discriminated. Thus if after an early caesura the sixth syllable is long, the seventh will usually be short (§ 46) ; this position may be denoted by 7a. The third place in the reopening of epic Anustubh is usually long (§ 41) : this position may be denoted by 3e. The seventh place in Trochaic Gayatrl or the semicadence of epic Anustubh is very often long, and may be denoted by 7g. Occurrences before consonant-groups are denoted by Gr.
In decasyllabic verses the syllables will be numbered to correspond with the Tristubh rhythm, one position before or after the caesura being unoccupied.
Occurrences in positions in which the metre is difficult to determine, as in the fifth and sixth places in Trochaic Gayatrl, and occurrences in Sandhi combination, are altogether omitted from consideration : occurrences of long final vowels before hiatus are considered separately (§§ 172-174).
This system of symbols, of which use will be made throughout the chapter, may be illustrated as follows :
In 2T 3T 4A 5A 6A 7A 8 9 10 Fin
pari dydvd-prthivi jabhra urvi i 61 8c
In 2T U 4B 5B 6B 7B 8 9 10 Fin
dvitd w vavre sandjd sdriih i 62 7a
In 2t 3T 4A 5A 6A 7a ^ 8 9 10 11 Fin
asydma tad ddityd juhvato havih viii 27 22c
Normal distribution of final vowels
I 1 1
In 2t 3t 4b 5B
svdsiti apsu \\
In 2i> 3D 4 5 6, 7 Fin
putro nd bahup&yiam
IB 8 9 10 Fin
hafiiso nd titdcm
i 65 9a viii 27 22b
The interpretation of the symbols is shewn in a tabular form on p. 148.
If now we take 1000 occurrences of undoubted long vowels, taken at random from hymns which contain the same proportion of trimeter and dimeter verse as the whole Rigveda, and then 1000 occurrences of undoubted short vowels taken in the same way, we find them distributed amongst the various possible positions as follows :
Table shewing the distribution of long and short final vowels.
|
A |
~ |
B |
- |
C |
- |
~ |
D |
- |
- |
E |
- - |
|
3t, 5b 5 |
0 |
2T 02 |
15 |
In |
48 |
54 |
Gr |
15 |
170 |
5 |
0 130 |
|
3d 10 |
0 |
2t 62 |
12 |
Fi |
226 |
145 |
5A |
2 |
22 |
7 |
0 2 |
|
10 37 |
1 |
2d 22 |
5 |
2D |
15 |
15 |
7a |
0 1 |
|||
|
4A 121 |
24 |
4D |
21 |
18 |
6A |
1 |
10 |
7B |
0 10 |
||
|
6 28 |
1 |
4B, 4b 5 |
0 |
5B |
70 |
64 |
6B |
4 |
34 |
9 |
1 145 |
|
8 121 |
5 |
7A 82 3e, 7g, 7e 1 |
21 0 |
3D 3T |
26 15 |
48 45 |
11 |
0 3 |
|||
|
201 |
7 |
355 |
77 |
421 |
389 |
22 |
236 |
1 291 |
This table may be interpreted as follows for the present purpose : If there is no grammatical motive drawing a form or word towards particular positions in the verse, its place will be determined by the quantity of the syllables, and in the case of forms which have only the final syllable in common, by the quantity of the final syllable. Thus a long final syllable will be distributed fairly evenly between the positions of groups A, B, and C above : and a short final syllable between the positions of groups C, D, and E. Still short final vowels are not rare in the positions of group B, and are occasionally found even in group A. But if the grammatical function of a word draws it to the beginning or end of a clause, the results will be different. Many relatives and conjunctions are disyllables which regularly stand at the beginning of the verse, since in the Rigveda each verse is a fairly complete grammatical whole. Since then the final vowel necessarily stands in the second place, it is so far restricted to the positions 2t 2d 2T 2D and Gr, none of which is in itself decisive. But we may infer from the table that if the vowel is short the positions 2T, 2D will be commoner than 2t 2d, and also that consonant groups will very frequently follow : whereas if the vowel is long the quantity of the third syllable will be just as often short as long, and consonant-groups will follow comparatively seldom.
For index to the symbols see p. 148.
112 Variant final rowels proved long
If on the other hand a word is drawn by its grammatical function to the end of the verse, the occurrences so far elude the test, as the value of the final syllable is optional. In most cases however the same words occur very commonly before the caesura also. We may then infer from the table that if the final syllable is long, the occurrences will be most common before an early caesura : if it is short, before a late caesura.
These various classes of words are illustrated in the Table in § 164, in which only those particulars are given which are practically required. Where the results are intermediate between those which are to be expected for a long and a short vowel respectively, the inference to be drawn is that the quantity was regarded as, to a greater or less extent, optional.
No precise inference is to be drawn from the distribution of final vowels as to the rhythm of the verse. In the first place, long final vowels are more common than short, and therefore in a given quantity of verse, appear in every position with relatively greater frequency than the table suggests. Further the final syllables which end with consonants are in a majority of instances made long by position, except when they occur at the end of the verse. Thus the long syllables in the positions 2t 2d, 2D, 4, exceed the short syllables in a much larger proportion than this table indicates, and those in the positions 3T, 3D are much more nearly equal in number to the short syllables which occur there.
158. Long final vowels are regularly found in the following forms : (i) in the perfect- endings of the 1 pers. sing., 1 pers. pi., and 2 pers. pi. (-d, -md, -a) : (ii) in the 2 sing, imperative of the root-aorist middle (svd) : (iii) in the gerunds in -tyd, -yd (includ- ing -dyd) : (iv) in the case-endings -tari, -I (instr.), -t% -ui and in end (pronoun) : and (v) in the following adverbs ; dccha, dthd, end, evd, Mid, ghd, nil in the combination nil cit, purudhd, visvddhd, visvdhd (including visvdhd), and smd, although the text now and then gives short quantity.
For the forms used in the text, see § 177 i. From the table in §164 it will be seen at once that the general distribution of the syllables concerned closely corresponds to the average for long syllables as shewn in § 157 : and the only doubt that arises is whether the few occurrences in group E are due to metrical or quantitative irregularity.
(i) The following are examples of the regular quantities : bibhdyd hi tudvatah viii 45 35a
a yahi susumd hi te viii 17 1a
tdm vdjam citrdm rbhavo dada nah iv 36 9d.
There is one exception, anaha *viii 48 5b (9).
For index to the symbols see p. 148.
Variant final vowels usually long 113
(ii) In the disyllabic imperatives of the root aorist the final vowel is always long, as in krsvd, trdsvd, nidtsvd (mdtsud), vdmsvd : as for instance :
nU no rayim tipa mdsvd nrvdntam ix 93 5a.
(iii) The following are examples of the use of the gerunds : sd pravolhfn parigdtyd dabhiteh ii 15 4a
td utsndyd rayim abhi prd tasthuh ib. 5c.
There are a few exceptions, almost all of which are in the popular Rigveda: -tya *x 97 21c (5); -ya i 67 10b (9), *x 71 9c (9), *130 7c (9).
(iv) Except the instrumental forms in 41 and -I, these case-endings are rare in the Rigveda : for instance -ul (locative) is only found in camici and tanul, of which the first only occurs in combination, and the second rarely except before consonant groups. But at any rate the hypothesis of long final vowels meets every metrical necessity, Examples are :
vi tdm duhre aryamd kartdrl sdcd i 139 7f
jathdre somam tanul sdho mdhah ii 16 2c
suarvatlr apd end jayema v 2 lid.
(v) Examples of the use of the adverbs named are : sd yajndndm dtha hi sd iii 13 3b
tdsmai visah svaydm evd namante iv 50 8c
indra surin krnuhl sma no ardhdm vi 44 18d
yahi suno sahaso ydsya nu cit vi 18 lie.
Exceptions are few and very doubtful : but we find perhaps dtha in viii 10 5d (5), end (text end) in vi 20 10b (9), gha (text gha) in viii 1 30a (7 in irregular dimeter verse), and visvdha (text -ha) i 25 12a.
159. In the following forms long quantity is regular in the Rigveda, but short quantity is a fairly frequent variation : (i) the imperative in -a, -a ; (ii) the second person plural in -thd, -thand, -td, -tand ; (iii) the neuter pi. in -a (from stems in -cm, -van, and -man), in -%, and in -u.
(i) The imperative in -d, -a occurs in over 1 300 passages : in 40 the vowel is certainly short, in the following positions : 5. *i 23 23d, 42 4c, iii 51 lib, vi 51 13c, viii 32 7c, ix 49 4b, 61 23c, 63 22c, 66 30c, *x 9 9d, *85 35c, *87 25d. 7. viii 44 2c, ix 107 6c, 114
*3d*4b. 7B. iii 32 12c, viii 51 3c, *x 18 lib. 9. i 56 2d,
57 4d, 102 3a 5c, 144 7a, ii 23 Id, iii 15 6a, vi 15 16b, *47 29d, vii 13 3c, 18 18b, *viii 100 4a, x 38 lb, *87 9a*10a*17d, *95 la, *103 5d, 122 2a, 148 3a. 11. i 102 3d. Also probably in x 116
7d (6A).
(ii) The second person plural in -thd, -td (-tha, -ta) occurs over 800 times, and is certainly short in the following 43 passages :
-tha : 5. viii 18 15b, 19 34b, 67 17c, *x 97 5d *9b.
For index to the symbols see p. 148.
8
114 Adverbs in -u, -u
-ta: 5. i 3 8b, *23 19c*21a, 80 9b, 172 3c, ii 41 14c, v 51 2c, vii 59 3d, viii 3 13b, 18 10b, 32 17c, 72 13c, ix 46 4b 4c, 62 18c, 106 3b, x *19 lb, *85 33b, 93 15c 15d 15e, *97 19d, 132 6d, *175 2b, 188 lb. 7. ix 67 27c. 9. i 85 6b, *161 7a, iii 33 12d,
60 2b, iv 36 4b, vii 34 6a, 56 9a, viii 18 21c, *x 13 4a, *15 6b, •51 8b, 66 12b.
(iii) The endings -thana, -tana occur 151 times, but of these 100 are at the end of the verse and 22 in combination. The remaining passages, with three exceptions, favour the long vowel.
The exceptions are all in the 5th place dimeter, namely iv 37 7b, viii 18 15a, *x 175 2c.
(iv) The neuter plural forms in -a (from stems in -an, -man, -van), -t and -ii occur about 225 times ; in many instances the interpretation is uncertain, and the forms may be singular. Only in six passages are plural forms with short final vowel fairly certain, namely malid ix 88 4a (6A), sdrma i 58 8b (9), 174 2b (7B), vi 20 10c (7B), purd vi 44 14a (7B), balm *x 52 4b (6A).
In all these endings the occurrences in groups A and B so greatly outnumber those in D and E (see Table, § 164) that we are likely generally to be in the right in assuming long quantity not only in occurrences in A and B, but also in those in C. This implies a very considerable departure from the practice of the text, for which see § 176 ii. The occurrences in D may be taken to be those of the short vowels : but as in all cases but one a consonant-group follows, this is not certain, and the metre is not affected.
Of the occurrences of the short vowels one third are in the popular Rigveda.
The Pada-patha has correctly kept the old value of the vowels in tri, aha, slrsti.
160. Disyllabic adverbs have regularly final -u in the Rigveda : the particles u tii nd sd are used side by side with u tu nti tedt,t although the forms with long vowels do not often appear in the text.
(i) maksii and mithih have always long quantity, which is also given in the text. In trsu the long vowel must be restored throughout, the occurrences that have weight being i 58 4c, iv 7 11a, vii 3 4b, and x 91 7b (all 2t). Further purtt is found regularly in puru cit, and as an adverb *i 191 9b (2D), vii 62 lb (2T), 97 7d (2t), viii 4 lc (4 A), ix 15 2a (4), x 61 13b (2t) ; and also as the first element in a dvandva derivative, as in puru- purubhujd v 73 lc (4, 6) and vi 63 8a (2T, 6B), purii- puruhutdh viii 2 32b (4), 16 7b (4) and in a separated compound, as puru- ydc chdmsam i 166 13b (2T). For puru-, puru- in ordinary compounds see § 166 iv. stidhih should probably be restored in viii 32 10c (2D), in ii 3 6a (2t) before hiatus, and elsewhere at the end of the verse.
The adverbs may represent an instrumental singular or neut. plural form : the evidence is insufficient to establish a neuter singular in -u, though it is favoured in one or two passages, as uric vi 20 5c (2t), 47 For index to the symbols see p. 148.
Adverbs in -ii, -u 1 1 r>
He (2t), 61 lib (2t), x 147 5b (2t), puni iv 31 8c (2D), *x 94 5d (2T). In i 6 5a (2d) vl[it rid should probably be read as neut. plural.
• (ii) The occurrences of the particle tfi, tu are : A1. 8, v 2 7d. B. 2T1, iii 36 9a, iv 1 10a, 22 5a, ix 72 8a 9a, 97 38d, 107 24a: 2d1, i 10 11a, 29 lc 2c 3c, iii 41 la, iv 32 la, viii 7 lie, 13 14a, 69 16a: 2T2, i 69 8c, iv 22 6a1, vi 29 5b, viii 21 10c, x 1 6a, ♦101 10a1: 4A, *x 88 6c. C1. 2D, viii 2 22a: 3T, i 169
4a, vi 23 7b2. D2. Gr., 7 times : 6 A, i 177 4c. E2. 5, *x
85 35d : 7, vi 48 9d : 11, viii 27 14c.
1 Text tu. 2 Text tit.
(iii) The occurrences of the particle nd, nil are : A. 3t2, i 72 8d3, 167 9a4, ii 33 7d5, vi 27 3a4, viii 25 23c4, 66 9c4 : 3d2, i 80 15a4, viii 12 4c3: 6\ i 17 8a, 172 3a2, ii 8 la : 81, iii 58 6d, iv 16 21a, *18 3b, vi 9 6d, 63 10c, viii 21 7b : 10\ i 56 2c, v 31 13a, vi 8 la, 15 5c, 22 5b. B. 2t, i 59 6a1, 64 13a1, 165 10b2,
186 9a2, iii 49 2a2, v 30 3a2: 2T2, i 139 lb, 166 la, iii 55 18b, v 41 la, vi 8 lb, viii 101 15c, ix 92 5a, x 69 5d: 4A2, i 32 la, 89 9a, iii 31 9c, 55 18a, iv 20 4b, v 41 13a, 85 6a, vi 18 3c, 52 5b, 66 3b, viii 51 7c, *x 59 4b, 62 6c, 100 6a, *168 la: 4B2, i 148 3a, vi 24 3c, vii 19 9a, 37 5c, x 132 3a: 4b, vi 48 16b2: 7A2, iii 38 2d, iv40 1a. C. Initial, 25 times1. 2D2, i 25 17a, v 67 5a, vi 59 la, vii 66 5b, viii 40 9e, 45 37a : 42, viii 77 la, x 72 la : 5B2, ii 11 3a 15a 16a 17a, 28 9c, vi 47 22a, x 61 5b : 3T7, 51 times : 3D7, 22 times. D2. Before consonant-groups 29
times : 6B, x 79 6b. E2. 5, i 132 le : • 7, i 17 8a, 22 8b, viii
46 28d, *x 175 4a : 9, *i 164 32b, v 32 9c, 33 8d, vi 17 9a, 50 5a, vii 39 6d,^ *x 27 7b, 111 7d.
For nu cit see § 158. The occurrences in decisive positions are: A. 8, iv 6 7b, vi 39 3c, viii 27 9c, 46 lie : 10, vi 18 8d lie.
1 Text nil. 2 Text nu. 3 § 163 vi. 4 § 171 iv. 5 § 167 iii.
6 § 175 ii. 7 Occurrences of u ml in the second and third places are included
here.
(iv) In the case of the particle u u many actual and possible occurrences must be left out of account here, as well as the occurrences of an element u which is of phonetic character, and distinct from the particle. In the last class are included not only the well-known u of u lokd and that in the suffix -tava u for -tavai, but also other cases in which -a u stands for final -ai, -au, or -ah (§171 v). As doubtful all occurrences of u in such forms as dtho, ilpo are omitted, except when hiatus has to be postulated before u (§171 ii-iv). Occurrences before hiatus are considered separately (§ 173 iv) : but the somewhat frequent occurrences of u in the second place in the combinations u nil, Ft su must be left out of account, as it is not possible to 'determine with certainty the quantity of the third syllable.
The remaining occurrences are as follows, the text giving u unless otherwise stated :
A. 3t, i 112 Id = 2d = 3d3, 184 2a3, iii 20 2c, 62 2a, iv 6 la3, 51 2a, v 73 8a3, vi 15 la3 12b, 25 lc3, 27 7b3, 51 3a, 66 3b4, vii 29
For index to the symbols see p. 148.
8—2
116 Adverbs in -u, -u
2c3, 95 6a, viii 24 lc3, ix 110 la3, x *10 14a3, 178 la3: 3d, i 27 4a3, 30 4a, 36 13a3, ii 41 7a3, vi 16 16a3, 44 4a, vii 96 la, viii 20 19a3, 61 5a3, 63 8a, 92 7a: 6, viii 61 12c!1: 8, ii 18 2c1, x 56 la1, *1614b: 10, vi 51 10a, x 61 24b4. B. 2t, ii 35 3cl, iv 2 4d,
vi 68 8a2, viii 66 10a1, *x 94 8c1: 2d, v 10 6a2, 16 5a2, 17 5a2, viii 2 13c, 22 13c1, 30 3b, 40 3c, ix 45 4a1: 2T, i 32 15c, ii 2 5b, 37 2a 2b, iii 4 10c, v 29 13d, 58 la, vi 22 2a, 37 2a, 40 2c, vii 20 5b, 38 2a, 42 3a, 61 6a, 62 6a2, 93 6c2, 100 la2, *viii 48 3d: 4A, i 52 8a, 77 2b1, ii 35 15b, iii 1 3c, 31 7a, iv 21 9d, 38 2b, 39 5c, 43 2b, vii 44 2a: 4B, i 113 lie4: 7A, i 108 4b, 178 5c, ii 9 2a, iv 55 4c, x 160 2a.
C. 2D, i 30 2c, 120 2c2, v 52 15a2, vi 54 2a, viii 23 5a, 24 16a, 66 10b, 84 5c, 93 15a, x *16 llc*13b, *85 47d: 4, viii 81 8a, x 126 3c 3d 6a: Final, viii 66 13a: 3T, 34 times: 3D, 36 times. D. Gr, 154 times: 6A, i 113 4c, 143 7d, *164 16a *19a *19b, ii 35 10b, iv 5 3d, 40 la, *v 44 14b, vi 38 la, *vii 35 2a *3a *9c, 86 8c, x *15 13b, 31 7a, *81 4a. E. 7B, i 34 6b, 35 6d, 82 6d, 91 18a,
110 la Id, 139 4a, *164 26d*48b, iii 46 5c, iv 21 9c, 39 la, *v 83 10a, vi 9 6d, 27 Id, vii *35 2b *7b *llc *12b, x 39 lc, 40 11a, *52 3a, *114 4d: 9, iii 31 11a, 53 4a, iv 7 9d, 22 7a, viii 3 20a, 21 9b, 23 7c, x 2 3c, *167 lc: 11, v 55 7b: 5, iii 24 4c,
iv 8 4a, viii 7 17b 22b, 44 9a, 52 10b, *x 86 13b, *173 2d: 7, ii 5 3b, viii 82 3a, *x 86 3c.
1 Text u. 2 Text mi for ni u, § 124. 3 Text ii sil. 4 Text u nu.
(v) The following are the occurrences of the particle s% su :
A. 3t2, viii 103 lc3: 3d, i 37 14c3, 82 la3, iv 31 3a4, viii 7 32a3, 67 15a3, 93 21a4, ix 61 13a3: 61, i 10 lie: 81, iii 36 2c, *v83 10a, viii 24 7c, *x 59 4c: 10, ii 20 la2. B. 2t', i 129
5a, 139 7a 8a2, 148 3c, 173 12a, ii 28 7d, iii 30 6a, 33 9c, 55 2a, iv 26 4a2, v 30 7a,. 42 13a, viii 18 22c, 53 6c, x 75 la2, *101 lid: 2d1, vii 89 la2, viii 27 3a, 32 19a: 2T2, i 76 3a, 165 14c, 169 5c, ii 34 15d, v 62 2a, x 32 2d, 54 la, *59 4a, *94 14c1, 1 12 9a : 4A2, i 76 2b, 184 2a, iii 30 21d, 31 14d, iv 22 lOd, vi 25 lc, 27 7b, vii 29 2c, 42 3c, 93 6a, x 100 2a, 133 7a, 178 la: 4B2, viii 24 lc: 4b2, i 138 4a, 139 If1, iv 6 la, 20 4a, vi 15 la: 7A, *vi 74 4b2. C2. 2D, 105 3a, iv 55 10a, v 67 5c, vi 45 33a, 56 4c,
viii 18 3a 12a, 45 8a, 94 3a, *x 59 8f, 133 3a: 4, i 36 13a, ii 41 7a, iii 24 2c1, iv 32 6a3, v 35 2d, 73 8a, 74 10c lOd, viii 1 19a,
4 3d, 6 39a, 13 25a, 20 19a, 26 la1 15a 23b, 45 9a, 61 5a, 73 17a, 81 8c: 5B, 6 times: 3T5, 29 times: 3D5, 22 times. D2. Gr., 35 times: 6A, *x 179 2a. E2. 5, i 84 3c, iii 37 2a, vi 48 3d, viii 6 32b, 34 12a, 82 6a, *x 16 14c, 126 6a: 7, *i 93 la6, *191 6d, viii 18 18a, 40 la, ix 49 la: 9, i *179 5c, 182 la, v 63 6c, vi 21 7b, 33 la, vii 26 3d, ix 81 3c, *x 18 12a: 11, x 77 4c.
1 Text sit 2 Text su. 3 § 171 iv. 4 § 167 iii.
5 Occurrences of u sil in the second and third places are included here.
6 Perhaps 7e, but see § 198 ii.
Many of the appearances of nu su in the positions 3t, 3d above are due to restorations which will be explained later in this chapter : but
For index to the symbols see p. 148.
adya, adha, and yadi 117
even apart from these the long vowels are amply justified for all four particles, and it appears reasonable to restore the forms with long vowels in all occurrences in groups A and B, as well as in the positions 21) and 4D.
161. In the adverbs adya {adyd), ddha (ddhd), and yddl (yddi) the short and long vowels appear side by side in the text, which closely follows the guidance of the metre.
The occurrences are as follows :
(i) adyd, adyd: A1. 8, *i 161 13d, 180 10a, iii 36 3d, iv 25 3a, 44 la, v 51 13a, x 30 2d 3c, 35 2d, 36 2d, *81 7b. B1. 2t,
i 113 17c, ii 29 2d, v 1 11a2, *vii 104 15a, viii 3 8c, x 55 5d: 2d, i 13 2c, iv 30 23c, v 74 lb, vi 56 6c: 2T, i 115 6a. *163 13c, vi 30 3a, 50 4b, x 35 Id, 54 2d2, 63 8d: 4A2, i 125 3a, 182 8c, 184 la, ii 13 8d, iv 44 3a1, v 56 lc, vi 24 5a, 71 6a, vii 78 5a, viii 22 6c, 27 14c, x 35 13a, 36 11a, 45 9a. C. 2D1, i 13 6c,
44 Id 3a, v 22 2d, 26 8b, 82 4a, viii 22 lb:* 42, i 25 19bl, 28 8a, 44 9d, *50 11a, 136 4e, 142 lb 8d, ii 41 3a 20b, v 13 2b, 53 12a, 74 7a, 82 7b1, vii 66 12a, viii 1 10a 16a, 2 20a, 26 3a, 27 5a, 61 17a1, 94 8a, ix 44 6a, 65 28b1, *x 127 4a: 5B2, 39 times: Final2, 33 times: 3T2, 14 times: 3D2, 11 times. D2. Before groups,
8 times. E2. 7B, viii 26 8c: 5, i 188 la, v 79 la, viii 5 18a,
*xl35 5c: 7, *i 93 2a3, ix 67 22a. 1 The text has adyd. 2 The text has adyd. 3 Perhaps 7e, but see § 198 ii.
(ii) ddha, ddha: A1. 6, v 52 3c: 8, vii 56 lb: 10, ii 31 4d, x 92 14d, 115 lc. B1. 2t, i 55 5c, 101 9c, 114 lOd, 167 2c3,
169 6c3, 186 9c3, iv 2 14a 16a, 5 14c, 10 2a, *18 9c, vi 10 4c2, vii 4 8c, 29 3d, 56 7b, 88 2a, *104 15c, viii 101 10c, ix 110 9a3, x 6 7a, *10 14d, 61 22a2 24a, *95 12d3*14c: 2d, v 16 4a, 52 11a lib 16c, 66 4a, vi 2 7a, vii 15 14a, 74 5a, viii 84 6a, 92 29c, 93 12a, 98 7a, x 25 3c, 33 3d, *97 2c: 2T, i 57 2a2, 102 7d, 104 7a, 129 llf, 156 lc, 180 7c, ii 17 4a, 30 3b, iv 2 15a, 6 7c, *18 13d, 22 6c, 27 4d* v 85 8d, vi 1 2a, 6 5a2, 19 12c, 30 2a, vii 18 21d, 20 3d, 90 3c2, *viii 100 2d, ix 97 11a2, x 61 21a 23a2, *83 7b, *85 27d, 132 3a. C1. 2D, i 42 6a, iv 7 2c, v 17 4c, 38 lc, 52 lie, viii 1 16d, 12 19d, 46 31a3, 75 16c, 83 9c, 98 11c, ix 48 5a, x 25 lc 2c. D2. Before
consonant-groups, 74 times: 6 A, iii 38 2d, iv 1*7 10a, *v 40 6a3, vi 36 lb. E2. 7B, i 153 lc3, ii 28 9a, iii 4 9a, 6 2b, 55 la3 6a,
vi 18 14a, 31 3c, vii 20 5c, 38 6d, 45 3d, x 1 6a, *11 4d, 30 10a, 33 lc, 113 8a: 5, iv 31 6c, viii 1 18a.
1 Text ddha. 3 Text ddha. 3 Text ddha ydd.
(iii) yddl, yddi: A. 5b2, i 173 8d, x 115 lc: 61, x 143 lc: 10\ *x 12 3a. B'. 2t, i 168 8d, iii 5 10c, 6 3c, iv 41 3c,
ix 72 2c, 86 6c, *x 11 4c: 2d, vi 42 3a, viii 19 23a, ix 99 2c: 2T, iii 5 8b, *29 6a, 31 2c, iv 21 8d, vi 25 6b, *vii 104 14a2*15b2, ix70 2d, x* 129 7b2, *16l 2b2: 4 A2, i 56 4a, iii 31 6a* 13a, iv 21 6a, 26 5a, 27 3b, v 48 4c, ix 86 46d, 97 22a1, x 61 25a. C. 2D,
i 11 3c1, ii 5 6a1, viii 13 21a2, 32 6a2, 61 10b2, ix 14 3c1, 15 3c1,
For index to the symbols see p. 148.
118 Imperatives in -dhi, -hi
47 4c1: 41, v 74 5c, ix 14 2a, x 22 10c. D2. Before con-
sonant-groups, 9 times: 6A, *i 161 8c, v 3 10b, vi 25 6d, *x 95 4b. E2. 7B, i 27 13c, 178 3d, vi 22 4a, vii 82 8b, *104 15a,
*viii 100 3b, *x 16 3c, *129 7d, *161 lc*2a.
1 Text yddl. 2 Text yddi.
No great change is required in the text, but the long vowel should be read in all occurrences in groups A and B, and probably in the positions 2D and 4 also.
The Atharvaveda has almost always ddhd, but adyd and yddi.
162. The imperative forms in -dhi -hi are regularly short in the Rigveda: but srnudhi, srnuhi, srudhi have regularly, and krdhi, jahf most commonly, long final vowels. The quantity of forms in -ahi is uncertain.
(i) The forms srnudhi, srudhi occur very commonly followed by the word hdvam, but the value of the final syllable is the same in all cases. The only exception is srudhi viii 66 12d (5), where the words should perhaps be rearranged.
(ii) The forms krdhi, jahi are exceptionally found as follows : krdhi vi 47 lOd (6A), viii 96 8c (CyA);jahi vi 44 17a (7B), viii 53 4a (7B).
(iii) Forms in -uhi (except srnuhi, in which the final vowel is always long) occur as follows: A. 3d, vi 53 4b: 61, vi 45 14c, viii 45 22c: 8, vi 25 3d', 44 9c, vii 25 2c, ix 91 4b. B. 4A,
i 54 9c: 7A, 18 times. C. Final, 10 times. D. Before
groups, 9 times. E. 5, i 13 2c. Distinct evidence of quantity
is wanting, but the prevalence of occurrences in the position 7 A as compared with 8, for which otherwise these forms are equally suitable, and the rather frequent occurrences before consonant-groups, suggest that the vowel was generally regarded as short. The long vowel, however, may reasonably be restored in the occurrences in group A.
1 The text has -ulv.
(iv) Of other forms in -dhi, -hi the occurrences in positions favouring short quantity greatly preponderate, but the restoration of a long vowel is very probable in the positions of group A, and also in the positions 2t, 2d. Such occurrences are: A. 3d, viii 65 5c1: 5b, *x 10 10c2: 8, ii 26 2a14, vii 1 3a3, viii 60 6a3: 10, iii 54 22d4. B. 2t, i 129 11a5, *164 40cs, 189 4a5, ii 11 17d7, vi 2
lie8, vii 1 13a5, viii 3 12a9 12c10, 96 10d", ix 89 7c10, *x 51 5a1: 2d, i 27 3c5, 36 15a5, 129 9b7, *133 2c12, iii 45 lb7, iv 48 Id7, viii 3 11a9, 46 25b7, 60 9a5 9d5, 78 10d13, 93 31b7.
For viddhi tu vii 31 4c viddhi tti is a probable reading, see § 173 iii.
1 ilu. 2 barbrhi. 3 dldihi. 4 dhdihl. 5 pdhi. 6 addhi. 7 yaJu. s villi. 9 gagdht. 10 sagdhi. n dhehi. 12 chindhi. 13 pRrdhi. 14 viln.
163. There remain for consideration a number of final vowels of which the quantity is regularly short, both according to the metre and the text : but they appear frequently in certain positions
For index to the symbols see p. 148.
Short finals protracted 119
in which the long quantity is otherwise favoured. It is difficult to decide to what extent these variations are the result of metrical laxity, or are due to some reminiscence of archaic long quantity or other phonetic cause. It is however clear that there are certain positions in the verse to which long final vowels are admitted more readily than other long syllables, and those which belong to certain endings more readily than other long final vowels. The special positions may be termed positions of protraction, and the special endings described as capable of protraction. Endings capable of protraction fall into two groups.
The first group consists of words which are usually of more than two syllables, and are most commonly found before the caesura and at the end of the verse. The final syllable in this group is protracted in the eighth place of trimeter verse. The forms are (i) the first person plural (other than of perfects) in -ma; (ii) the second and third persons singular of the perfect in -tha, -a ; (iii) the thematic and perfect imperative in -sva ; and (iv) the instrumental of nouns in -ena.
The second group consists of words which are disyllables, and are usually found at the beginning of the verse: they appear therefore as protracted in the second place, especially if the third syllable is short. The forms are (i) paroxytone adverbs in -tra, as ydtra, tdtra ; (ii) pronominal instrumental in -ena, as yena, tena ; and (iii) disyllabic stems appearing as the prior elements of com- pounds and derivatives, as in indra-vat, sumna-yu.
We observe at once that, as nearly all the words have long penult, the final vowel cannot ordinarily occur in any of the positions of group A except 8. The regular* short quantity is however easily demonstrated, as in the next section.
The text only occasionally gives long quantity in the positions 2T, 2D, and in order to simplify the discussion we shall disregard the occurrences in these positions, and assume the final vowels then to be short.
Group I.
(i) Protracted forms of the first person plural in -ma occur 28 times in the eighth place, being in the proportion of almost 50 in 1000, as follows : 8, i 73 9b, 94 lb Id 2d 3d 4a, 132 lb1 If, 165 7c, ii 2 10b, 33 4a, iii 33 10a, iv 10 Id, *58 2a *2b, v 3 6a1, 42 6b, 45 5b 6a, vii 27 5b\ 57 4c, viii 25 22c1, x 2 2c, 63 lOd 14d, 80 7b, 111 lc, 148 Id1. Also 2t, vii 20 8dx: 2d, viii 63 10c1.
The corresponding dual form in -va is never protracted. 1 The text has -ma. For index to the symbols see p. 148.
120 Disyllables with protraction
(ii) The perfect forms in -tha (2 pers.) and -a (3 pers.) are protracted in the 8th place 18 times, being in the proportion of 25 in 1000, and 7 times elsewhere.
The occurrences are: -tha; 8, ii 9 3c, *viii 48 9b, *x 180 2b: 2d, vi 16 3a1, viii 24 24a1 : ' 4b, vii 37 3a. -a; 8, i 31 5c, 145 la, ii 23 13d, v 1 5d, 45 6d, vi 1 6b 9c, vii 18 24b, viii 29 2a2, ix 70 9d, x 5 5b, 67 6b, 111 2d 4c, *181 Id: 2t, i 122 9d2, viii 61 12c: 2d, i 25 8c 9c.
Perfects of verbs in -a, as paprd i 69 lb, jahci viii 45 37c, have always -a, and are not included above.
1 vettha. 2 The text has -a.
(iii) The thematic imperatives in -sva (with which we include perfect forms like dadhisvd) are protracted 9 times in the eighth place, being in the proportion of 20 in 1000. The occurrences are ii 33 2d, 37 3b, iii 60 5b, vi 41 5c, ix 80 4d, 90 4b, 97 44b 44d, x 112 3d. Also once in the position 4b, vi 23 8a.
(iv) The instrumental forms of nouns in -ena are protracted in the 8th place 24 times, being in the proportion of 35 in every 1000. The instances are i 32 5c, 33 13b, 116 24a, 117 21c, *164 30d *38b, iii 31 12c, 32 2c, iv *18 5b, 34 8c, 39 3d, vi 32 2a, vii 18 17b, viii 66 9c1, ix 70 2b, 80 lc, 84 5d, 96 17c, *x 42 lOd, 56 3a, *88 4b, 111 2c, *139 4b, *180 lc. There is also an occurrence in the sixth place of epic Anustubh, *vii 55 7c.
1 The text has -ena.
Group II.
(v) The paroxytone adverbs in -tra occur in the positions of protraction 38 times, being in the proportion of 140 in every 1000 : but this is largely accounted for by the grammatical function. The instances are: 8, iii 53 5b, *vii 103 2d, viii 15 12c: 2t, i 115 2c, *163 4d, *164 3d1 *21a *33d, iii 23 Id, 53 5c 6c, iv 26 7c, v 41 17c, 44 9c 9d, *vi 75 8c*llc, vii 1 4c, 83 2a 2c 2d, viii 20 6c, x8 6b, *18 13d, *28 8d, 42 4c, *53 8c, *71 2c, *88 17a, 138 lc, *149 2a: 2d, i 22 4b, v 61 14b, vi 16 17a1 17c, viii 34 3a, ixlll2e, *x 72 7c.
1 The text has -tra.
(vi) The pronominal instrumental yena, kena, te'na occur in positions of protraction 37 times, being in the proportion of 200 in every 1000, largely accounted for as in the last section. The instances are : 2t, i 117 2d1, 165 2d1, 183 3c1, 186 5c1, ii 17 6c, 24 lOd1, iii 60 2c1, iv 36 9c1, 43 6d\ 51 4c, v 54 15b, 87 5c, vi 49 5c1, vii 1 24c1, 21 6c, 41 5b1, *101 3d1, viii 3 9c 10a, ix 108 4a, x *10 8da, *52 Id1, *102 9c1, *114 7dS *121 5b1: 2d, i 42 5c1, 50 6a, vi 16 48c, *vii 55 7c, viii 12 2a 2c, 17 10b, 19 20b, 20 26b, 67 6c, ix 61 19b, x 126 2c. yena nu may be restored in i 72 8d, viii 12 4c.
1 The text has -ena.
(vii) Protraction in the prior elements of compounds and deriva- tives is not always readily recognized, as many of the words are of comparatively rare occurrence. The instances, according to the dis- cussion in £§ 165-169 below, are as follows, including a few instances
For index to the symbols see p. 148.
Quantity proved by statistics 121
in the positions 6, 8, and 10 : 6, v 9 7a2, ix 101 3a2: 8, i 48 2a,B 12c3: 10, viii 60 13c5 14a6: 2t, i 31 7c8, 48 2a3, 72 2c7, 83 la3, 117 9d8, 118 9b8, 121 12d9, 122 7c' 8d3, 123 12a3, 140 13a2, ii 32 2d10, iii 51 2c11, iv 42 9d9, v 8 7b'°, 30 lb13, 36 ed1, 58 6b'4, vi 1 7b10, 17 lid9, vii 41 7a3, 71 3b10, 72 lb3, 100 2d3, viii 20 2aM, ix 74 5b15, 97 26a15 49c2 51a2, 104 2c15, 110 lie'1, x *15 9a8, 36 8b,B, 40 5d3, 48 7b2, 76 4d15, 78 lb15, 91 15c11, *101 Id4, *109 lcu, 160 lb13: 2d, ii 41 10b2, iv314a2, v 35 5c13, 61 13b17, vi 16 14c9, vii 32 24a2, viii 38 2b9, ix 100 la2, *x 97 7a3.
1 Srutdratha, § 166 vii. 3 abhi, § 167 iii. 3 dsvavant, § 168 ii.
4 indravant, ib. 5 prdti, § 167 v. 6 tatrsand, § 169 iii. 7 sramayii,
§ 168 iii. 8 ahihdn, § 166 vii. 9 vrtrahdn, ib. 10 sumnaydt, mmnayii,
§ 168 iii. n vdjasdni, § 166 vii. 12 sukhdratha, ib. 13 sarvarathd, ib.
14 vllii-, § 166 iv. 15 devavi, § 166 vii. 16 devdvant, § 168 ii. 17 tvesdratha, § 166 vii. 18 «*-, § 167 v.
164. The conclusions reached in the preceding sections are generally confirmed by a close examination of the statistics of the use of words and forms of the different groups. Thus the use of the forms included in § 158 differs only slightly from that of ordinary long final vowels: the forms included in §159 appear much more frequently, but still only occasionally, in the positions which favour short quantity. The adverbs named in §§160, 161 are found in all positions, but several shew a preference for those that favour short quantity. All the remaining forms in their general use agree with those that have short final vowels : yet there remains a substantial difference, which indicates that ' protraction ' is not a mere theory of an editor, but corresponds to some special characteristic of the forms concerned.
The table that follows hardly needs explanation so far as the first three groups are concerned. In the first two the occurrences in group A are far more numerous than those in group E, and similarly those in B than those in ~D ; also the quantity of a following third syllable is indifferent, and the position before an early caesura twice as common as before a late caesura. In the group of adverbs (§§ 160, 161) all these signs disappear. In all the 'forms capable of protraction' (§ 163) we observe that the long third syllable and the position before a late caesura are greatly favoured, and so far short vowels are indicated. Yet the longer words appear ten times as often in group A as ordinary short vowels, although they can (as a rule) only appear in the eighth place (§ 163). The treatment of such forms as ydtra, ytna comes out most clearly when they are compared with other words like dpa, utd, ydsya (with kdsya and tdsya) which have much the same form and grammatical function. Even when we include amongst the latter the forms that appear as dpo, utb in the text (see § 171 iv), a marked difference remains in the distribution between the groups, and indicates that the 1 vowels capable of protraction ' were also not considered very suitable for the positions of short quantity.
For index to the symbols see p. 148.
122 Table of the variant final voivels
Distribution of variant final vowels in the Rigveda.
|
Decisive positions |
In 2nd place |
Before caesura |
||||||||
|
A |
B |
D |
E |
2td |
2TD |
4A |
5B |
|||
|
All long vowels All short vowels |
1000 1000 |
201 7 |
355 77 |
22 236 |
1 291 |
84 17 |
77 30 |
121 24 |
70 64 |
|
|
§158 |
Perfects in -a, etc. Aorist impv. -sva Gerunds in -tya, -yd Endings -tarl, -ti, etc. Adverbs Total |
163 69 85 125 538 |
22 3 8 8 35 |
50 32 18 18 249 |
4 1 2 2 15 |
1 0 4 0 4 |
13 23 1 7 114 |
15 14 2 12 121 |
4 4 15 10 43 |
11 2 6 6 18 |
|
980 |
76 |
367 |
24 |
9 |
158 |
164 |
76 |
43 |
||
|
§159 |
Imperative in -a 2 pi. -tM, -td ,, -thand, -tand Neut. pi. -a, -i, -u Total |
1177 707 129 203 |
146 141 14 25 |
332 140 11 66 |
33 40 1 6 |
40 43 3 6 |
104 17 0 25 |
114 14 0 31 |
108 61 6 16 |
43 38 0 17 |
|
2216 |
326 |
549 |
80 |
92 |
146 |
159 |
191 |
98 |
||
|
§160 |
tu, tn |
38 |
1 |
23 |
8 |
3 |
16 |
7 |
1 |
0 |
|
nu, nu |
215 |
22 |
37 |
30 |
13 |
6 |
14 |
15 |
7 |
|
|
u, u |
387 |
38 |
47 |
171 |
44 |
13 |
30 |
10 |
0 |
|
|
Stt, 8U |
208 |
14 |
49 |
36 |
22 |
19 |
21 |
13 |
6 |
|
|
§161 |
adya, adyd |
184 |
11 |
31 |
8 |
7 |
10 |
14 |
14 |
39 |
|
ddhd, ddha |
182 |
5 |
68 |
78 |
18 |
40 |
42 |
0 |
0 |
|
|
yddi, yddi Total |
68 |
4 |
30 |
13 |
10 |
10 |
18 |
10 |
0 |
|
|
1282 |
95 |
285 |
344 |
117 |
114 |
146 |
63 |
52 |
||
|
§162 |
Impv. in -uhi, -hi, -dhl1 |
870 |
13 |
108 |
60 |
149 |
23 |
33 |
36 |
33 |
|
§163 |
1 pi. -ma Perfect -tha, -a Impv. -sva (thematic) Instr. -ena (nouns) Total |
533 539 387 505 |
28 18 9 25 |
34 45 22 67 |
19 16 6 38 |
67 52 54 109 |
2 6 0 0 |
6 12 0 0 |
28 31 20 64 |
85 91 59 72 |
|
1964 |
80 |
168 |
79 |
282 |
8 |
18 |
143 |
307 |
||
|
Adverbs in -tra Instr. -ena (pronouns) Total |
224 166 |
3 0 |
93 93 |
9 13 |
15 12 |
35 37 |
59 82 |
25 8 |
51 4 |
|
|
390 |
3 |
186 |
22 |
27 |
72 |
141 |
33 |
65 |
||
|
§171 |
dpa, dpo utd, utd ydsya, etc. Total |
167 704 263 |
4 2 0 |
11 114 44 |
101 212 77 |
35 218 72 |
2 65 13 |
19 104 54 |
1 5 2 |
0 1 23 |
|
1134 |
6 |
169 |
490 |
325 |
80 |
177 |
8 |
24 |
||
|
§172 |
Hiatus after -« |
218 |
16 |
71 |
8 |
30 |
9 |
14 |
48 |
48 |
1 omitting krdhi, jahi, srnudhi, srnuhi and srudhi (§ 162).
Variant final* in composition 123
165. In the quantity of the final vowels of the prior elements of compounds and derivatives the Samhita, text is in geueral agree- ment with the metre, and doubtful cases are rare. Owing again to the complexity of the conditions, it is not easy to classify the occurrences or to treat them in a systematic way : but it may be recognized that the quantity of the final vowel depends partly upon the historical character of the prior element, and partly upon the phonetic character of the initial sound of the posterior element, besides any other influences that may be at work. It will be convenient to consider separately: (i) compounds in which the prior element is a noun or numeral; (ii) compounds with pre- positions and particles ; (iii) vowels preceding derivative suffixes ; and (iv) the augment and the vowel of reduplication. The phonetic influence of v following will in each class claim special attention : in addition, it is possible that y r I s and m produce in certain groups of .words some effect in the direction of lengthening.
166. In compounds of which the prior element is a noun (including adjectives, pronouns, and numerals), the final syllable of that element is long (i) if it is a case-form, as aksnayddruh, Ctmdjur, tudvrdha ; (ii) if it is a feminine stem in -a or -%y as urvara- jit} nadttama, sendni ; (iii) in most proper names, as lopdmudrd, visvdmitra ; and occasionally (iv) in stems in -«, uMkhala, purii- tdma, and perhaps (v) in stems in -an, as vrsdyudh. The prior element (vi) has always a long vowel before -vrdh and perhaps in some other cases before v, and (vii) is occasionally found in some other words in positions favouring long quantity.
(i) With the compounds of case-forms are included those of adverbs which have flexional endings, as in evdvadd, etddrs. Such compounds are often found side by side with others that shew the short final of a stem : as sandju but sanajd.
Here must be included the dvandva duals, the prior element having usually the long vowel not only in the nom. voc. ace. form, but also in the oblique cases. The text gives regularly indrdvisnu, mitrdvdruiid, sUrydmdsd, and so forth : and indrdvdyU must in all instances be restored, as is clear from the fact that it never stands at the end of Tristubh verse, or in any other position in which a is favoured. Other restorations favoured by the metre are mitrd . . . vdruiiti i 151 6b and iv 1 18d (2T, 7A), mitrd- v 62 3b (2T), 66 6b (2d).
On the other hand we always find the triplet varuua mitra aryaman with the singular vocative forms, and occasionally the pair varuna mitra in the same shape, as i 122 7a (7 A, 9): cf. vii 66 9ab. mitra
For index to the symbols see p. 148.
124 Final u in composition
varuna should probably be restored in ii 41 4a, v 64 4a, 67 5ab, vii 66 19a, viii 25 4a, 72 17a, 101 3a: and see further § 174 ii.
(ii) The text probably gives dhdrdvard correctly in ii 34 la (2t), though other compounds give dhdra-. In i 43 4a gdthdpati should be read : in ii 41 16ab (2d) ambit aim devltame corresponding to ndditame, and vedudd i 140 la (2t), iv 40 5b (4b). Cf. § 170 iii.
(iii) Words such as ugrddeva, jardbodha, ndrdmrhsa, vd,rsdgird, visvtinara come under this heading, independently of their presumed derivation. In iii 18 4c the metre suggests visvdmitra, but correction is not justified in view of the general usage.
(iv) Of final -u in composition there are many traces in the text, always confirmed in the metre, as urunasd, ulukhala, puriitdma, purui'dvas, vibhdvasu, vasftjti : whilst other words have -u, as isuhasta, gatuvid, dasyuhdn. The long vowels may be connected with adverbial forms, see § 160 above. Further there are many cases in which the metre suggests the restoration of u regularly or occasionally, as follows :
uru- : perhaps urukrt in the single occurrence viii 75 lie (2d), and urdyuga in the single occurrence viii 98 9b (6).
puru- : the compounds have commonly u, sometimes ii. The words purutdma, purubhuj, are sometimes found at the beginning of the stanza, or the end of the dimeter of Jagati verse, in which positions u is favoured ; sometimes after an early caesura, where u is favoured but is not certain. In purutdma the text follows the metre : if rightly, we should restore purubhuj in i 3 lc (2d), v 73 lc (6), viii 8 17b (6), 10 6a (10). But puriwdmi has always the long vowel, probably even in vi 22 4d, vii 38 Id (both 6A).
madhu- : the compounds have regularly u : the metre favours u in madhupfcam ii 10 6d, mddhumatl iv 57 3a and madhuvfdham x 75 8d, for which see subsection via.
vasu-: most of the compounds have u; but u should probably be restored in most (if not all) occurrences of vdsudhiti, namely i 128 8a (10), 181 Id (2t), iv 8 2a (6), 48 3a (6); the other occurrences are iii 31 17a and vii 90 3d (both 6 A). In vasuruc u should probably be restored in the single occurrence ix 110 6b (2t), and in vasuvid the long vowel should certainly be restored in the majority of instances, the following v being an accessory cause, namely in i 46 2c (6), viii 23 16a (6), 60 12d (6), 61 5c (10), ix 101 lid (6), 104 4a (6), x 42 3d (2t). The reading of the text is only supported by *i 164 49c, vii 41 6c, ix 96 10a, where the word follows an early caesura.
vibhu- should be restored in vibhusdh for vibhvdsdh of the text v 10 7c (3D), ix 98 Id (5).
visu- : visuvdt and visuvrt are regular, but visuanca should probably be restored for visucind in *i 164 38c (6 A), as visudriac for visvadriac in vii 25 Id (5A).'
vilu- is regular, and it is therefore hardly safe to restore vllu- in vilupavi v 58 6b (2t), viii 20 2a (2t), or in viluharas *x 109 lc (2t) these appear rather to be instances of protraction (§163 vii).
For index to the symbols see p. 148.
Influence of initial consonants 125
(v) The final syllable of a stem in -an seems to be represented by -a in vrmyHdh : but more usually appears as -a, as in the compounds of brahina-. The metre however suggests the restoration of -a in the following words: ddsabhuji i 52 11a (10); dlianvacard v 36 lc (2t) ; satdpavitra vii 47 3a (2t) and satdbhuji i 166 8a (2t), vii 15 14c (6); sydmagabhasti i 122 15d (2t), vii 71 3c (2t), syumagfblie vi 36 2c (2t), and syfimarasmi viii 52 2d (2D). See also § 174 i.
(vi) A long vowel appears more or less regularly when the second element is one of the words -vasu, -v/dh, -vrdha, -magha or -sah.
(a) -vasu. The preceding vowel is regularly long, often with other contributory causes: sahdvasu ii 13 8a (6A) and puruvdsu, when it also follows the caesura (see subsection iv), are only doubtful exceptions.
-vrdh. A long vowel is found in annavfdh, rtdvfdh, rdum'dh, ahutivfdh, girdvfdh, ghrtavfdh, tugridvfdh, parvatavfdh : but mahivfdh, rayivfdh are equally well attested. In x 75 8d (10) madhuvfdh may be restored.
-vrdha. The metre favours kavlvrdhd viii 63 4a (6), but is unsupported.
(b) -magha. The preceding vowel is always lengthened, and therefore tuvimaghd v 33 6d (6A) should probably be corrected.
(c) -sah. The preceding vowel is regularly long, as in virasdh (§ 178), yajndsdh, carsanlsdh: but short in nrsdh, bhurisdh and a few other words.
Probably janasdh should be restored in i 54 lib (6A).
(vii) In the following compounds there is not sufficient evidence to establish the existence of a long final vowel, but the syllable in question appears with some regularity in ■ positions of protraction ' :
devavl: the second syllable occurs six times in the position 2t, namely ix 74 5b, 97 26a, 104 2c, x 36 8b, 76 4d, 78 lb; six times in the positions 2T, 2D, and nine times in positions in which a short vowel is required. As to a possible reading devaviyam, etc., see § 172 i.
-ratha: tvesdratha v 61 13b (2d), irutdratha i 122 7c (2t), v 36 6d (2t), sarvarathd v 35 5c (2d), x 160 lb (2t), sukhdratha v 30 lb (2t). In candrdratha, surdtha the short vowel is usually favoured.
vajasdni iii 51 2c (2t), ix 110 lie (2t), x 91 15c (2t).
-han : ahihdnam i 117 9d (2t), 118 9b (2t), but ii 13 5b (6 A), 19 3b (6A); wtrahdnam i 121 12d (2t), iv 42 9d (2t), vi 16 14c (2d), 17 lid (2t), viii 38 2b (2d), but i 108 3b (6B). In dasyuhdn the short vowel is usually favoured.
In the forms pdvlru, pdvirava, j)dv%ravat, tuvlrdva, tuvlrdvat there is no lengthening of i before r in a compound, but a stem development such as is found in gabhird, sdrira.
167. In compounds of which the prior element is a preposition or particle, with which may be considered certain combinations of For index to the symbols see p. 148.
126 Prepositions and prefixes
prepositions with nouns and finite verbs, the phonetic character of the second element seems to be of chief importance. Thus (i) many prepositions appear to have long final syllables before -vrta and some other words beginning with v : (ii) dpd is found in the combination dpd vrdhi : (iii) abhi is occasionally supported by the metre in abhlyuj, and is found in the text in combinations such as abhi nardh, abhi navante, abhi sdt : (iv) the negative a- is regularly long in dvrta and frequently in arista and cognate forms, and in dsat. There occur also (v) some other irregularities which cannot be classified.
All the prepositions and particles with which we are concerned have ordinarily short final vowels, so that the questions that arise have to do with occasional long quantity. Amongst the occurrences of prepositions are included such forms as dpo, upo, saho of the text, for the reasons given in § 171 iv.
(i) The compounds dpi-, abhi-, pari-, and prd-vrta always occur where the long vowel is favoured, except vii 27 2d (6A) ; cf. d-v?*ta in subsection iv. In cognate words the value varies ; thus nivrta, trivft and suvft are regular, but we find dpdm-ti viii 66 3c (10), abhlvartd *x 174 la (2D), dnapdrrt vi 32 5c (8), x 89 3a (8), and should perhaps read drwvrta *iii 29 6c (10) and suvlvfta i 10 7a (2d).
Before derivatives of vrj the long vowel is less certain : the text has apdrrktd, ddsdpravarga, prdvaryd, auprdvargd : we should perhaps restore anapdvrjydn i 146 3c (3t) and parlvfjam viii 24 24b (6).
The text has further adhrvdsd, updvasu, pratlvi, prdvand, prdvfs and prdvrsina quite consistently with the metre : and updvidd viii 23 3c (2t) and parlvim x 62 10a (6) are restorations favoured by the metre.
(ii) Long quantity is given in the text and supported by the metre in the phrase dpd vrdhi, which occurs i 7 6b (6), ii 2 7b (10), iv 31 13a (6), vii 27 2d (2t) and viii 23 29c (10). Otherwise the use is that of a short vowel, as shewn in the Table, § 164.
(iii) The metrical use of abhiyiij is the same as that of purubhuj (§ 166 iv), and it may be right to restore abhlyuj in iii 11 6a, viii 45 8a, ix 21 2a (all 6). On the other hand abhisdh must be restored in vii 4 8d (6A). The general use hardly justifies us in keeping the reading abhi where it stands in the text as a separate word, namely in abhi dud x 48 7b (2t), abhi nardm ix 97 49c (2t), abhi nardh v 9 7a (6), ix 101 3a (6), abhi navante ix 100 la (2d), abhi nah i 140 13a (2t), iv 31 4a (2d), ix 97 51a (2t), abhi sat ii 41 10b (2d), vii 32 24a (2d).
For abhi nUb ii 33 7d (2t) and abhi su iv 31 3a (2d), viii 93 21a (2d), *x 59 3a (2d with hiatus) abhi nd, abhi su are probable corrections.
(iv) The metre everywhere supports the restoration dvrta for dvrta, for instance in i 133 7e (6) : cf. subsection i. In derivatives of ris the value is optional : the negative is short in v 42 8a (9), vi 19 4d (9) and
For index to the symbols see p. 148.
Influence of snffixes 127
elsewhere, but long in i 63 5a (8), vi 24 9c (8), 25 2a (8) and regularly in aristdtati in the popular Rigveda, namely in *x 60 8e = *9e = *10d, *97 7d, *137 4b (all 3e). In tisat the metre agrees with the text in supporting the long vowel in v 12 4d (2t), *vii 104 12d (10) and perhaps *13c (7 A).
(v) Amongst miscellaneous variations we may notice a long vowel in the text before ruh, rudh in anurud.fi, uparuh, vlrudfi, quite consistently with the metre; oplju ii 31 5b (10) and nlhdrd *x 82 7c (init.), which may also be correct; and sii- in several compounds (cf. § 160 iv), as sundra, sunfta, subfiarva, silmdya, in agreement with the metre.
The metre favours pratidhfse viii 60 13c (10) 14a (10), and visvasuvidah i 48 2a (8), which may be ranked amongst protracted vowels (§ 163 vii).
The words prasdh, suydvasa have in the text pra-, su-, but the long quantity is inadmissible except in prdsahdm i 129 4b (8) and suydvasa i 42 8a (3d), vi 27 7a (8). Thus prasdh is required in vi 17 4d (10), and suydvasa i 190 6a, ii 27 13a, *vi 28 7a, vii 18 4a, x 106 lOd (all 5A).
168. Before suffixes we find long vowels always before -van, but short vowels regularly before -mant, -vant, except where the ending is -yavant (-idvant) : long and short vowels almost in- differently in derivatives in -ydnt, -yd, -yu and the corresponding verbs in -y.
(i) Long vowels appear to be found regularly before the suffix -van, -vari, as rtdvan, rnavdn, sumndvdrl : and the metre suggests forms such as maghdvanah as antecedent to maghonah etc., the occasions being v 16 3a (6), 86 3b (6), vi 65 3c (2t), ix 32 lb (6). Accordingly matsardvd (from a stem matsardvan) is a probable cor- rection in ix 97 32c (10).
(ii) On the other hand a short vowel is regular before -vant, unless the prior element contains itself a long vowel, as is the case in words like tdvant, svadhdvant, pdtnlvant, visiwdnt, and even in asthmhtt from asthdn.
Amongst derivatives of nouns in -a sutdvant is an exception, for both text and metre favour the long vowel : vayunavant again is correctly given in iv 51 lb (8), and should be restored in vi 21 3b (7A). But d.svavant, indravant, devdvant have regularly a : the occasional a of the text needs correction in dsvavant i 30 17a (5), i 53 5d (6A), indravant iv 27 4a (6A), devdvant (iv 26 6c, 10 but perhaps misplaced) : the other occurrences are chiefly in the second place, and perhaps rank with the protracted vowels (§163 vii).
In the derivatives of feminine nouns in -i or -7 the short vowel must frequently be restored : thus mktirant v 31 6c (2T) and *vi 75 9b (6A), simivant i 141 13a (7B), ii 25 3a (7B), v 56 3c (9), x 8 2b (7B), 78 3c (10 in irregular ending), 89 5b (4B), sdptivant vii 94 10c (2D),
For index to the symbols see p. 148.
128 Vowels of reduplication
x 6 6b (7B), hrsivant ii 31 Id (6 A) : but hrsivant is justified in i 127 6f (10).
As to derivatives in -mant it need only be noticed that vdsimant must in all cases be restored : it occurs i 42 6b (5), 87 6c (3T), v 57 2a (2T) and x 20 6c (6 in Trochaic Gayatri). Cf. § 170 iii.
(iii) In the formations in -ydnt, -yd, -yu both short and long vowels are found, and the restoration of a short vowel is required in rjuyd i 183 5c (7B : it is probably the adverb of rju); rtayu perhaps in v 8 la (6A) as found in the text in viii 70 10a (7); gdtuydnti i 169 5d (6A); vasuydnt, vasuyu as optional forms in i 130 6a (7B), ii 32 Id (6A), iv 16 15a (7B), vi 51 12d (7B); satruydnt in vii 20 3d (6 A). Less certain is aghaydnt iv 2 6d (6A) ; for v 24 3b see § 192. The text gives sumndydnt, sumndyu only where the vowel occurs in the second place : it may rank with the protracted vowels ; so too a possible restoration of sramayuvah in i 72 2c (2T): see § 163 vii.
169. In reduplication a long vowel is found (i) in many perfects of words beginning with v, as vavakre, vdvandhi, vdvasuh, vdvasdnd, vdvrje, vdvrte, vdvrdhijJi ; (ii) of words beginning with r, as rdrand, rdrahdnd ; and (iii) of some other words, as tdtrsdnd, ndndma. Also (iv) in disyllabic reduplication, and (v) in the re-duplication of nouns, and in the intensive verb-forms.
The augment is occasionally long before v, as dvar, dvidhat, dvidhyat and (more rarely) before y and r.
(i) The length of the vowel is irregular, but the text usually agrees with the metre. A long vowel is more common if a heavy syllable follows, as vdvrte but vavrtvdms.
(ii) From rue 'shine' rurucuh is suggested by the metre as an optional form, in iv 7 lc (10), x 122 5d (10).
(iii) From lean cdkan- is regular : cdkdnanta should be restored i 169 4c (5B) (cf. v 31 13a) though not favoured by the metre.
From tard (trd) tdtrddnd should perhaps be restored in iv 28 5d (8) and v 53 7a (init.).
From tars (trs) tdtrsuh tdtrsdnd are given in the text in i 31 7c (2t), 173 lie (6B), ii'4 6a (5 A), *x 15 9a (2t); but tatrsdnd i 130 8f (6B), vi 15 5d (6B). The metre seems to support the latter form, with i 31 7c and *x 15 9a as instances of protraction.
From dhar (dhr) the text has dadhdra, etc. in all strong forms : this is confirmed by the metre, for the word never stands in Tristubh cadence, and only in one case, ix 74 2d (5A), is the short vowel metrically preferable.
From nam the text has ndndma i 48 8a (5A), ii 33 12b (3t), iv 25 2a (2T). The restoration of nandma is probable in the first instance.
From pi, pi the text has plpdya, but pipdya must be restored throughout.
For index to the symbols see p. 148.
The augment 129
From yudh yuyudhuh is a probable restoration, though we have yuyodha vi 25 5b (9), yuyudhdte i 32 13c (5A): the other occurrences are iv 30 3b (6), v 59 5b (10), vii 83 7b (10).
From sah the text has sdsdha and so forth, but sa- is preferable in all decisive instances, namely in i 100 5b (5A), 132 lb (5A), ix 110 12c (5 A), besides the two in which the text has sa-, namely viii 96 15d (9), *x 180 la (2T). The forms sdsdhah, sdsdlmt, sdsahisthdh, in which sd- has really the long vowel, must therefore be referred to a reduplicated aorist or intensive formation. Cf. pipdya, plpdyat above.
(iv) In disyllabic reduplication i is always long, and we should therefore read ddvldhnat viii 60 13b, on the exact analogy of tdvltuat iv 40 4c.
(v) In nouns the vowel of reduplication is generally long : but tdturi is endorsed by the metre in i 145 3c (5A), vi 22 2c (5 A). In the remaining occurrences tdrutra is a tempting correction, but not altogether necessary, namely in iv 39 2d, vi 24 2a, 68 7d.
(vi) The augment is long in the words dvar, dvidhat (text dvidhat), dvidhyat, dvrnak (text varying), dvrni ; as
dceii citrd vi duro na dvah i 113 4b
tudm putro bhavasi yds ta dvidhat ii 1 9c
kurusrdvanam dvrni x 33 4a
But avar must be restored i 92 4d (9), 113 13b (7B). In ii 17 6d (6B) the text gives dvrnak with some support from the metre.
From many forms even of the same verbs the augment has its regular value, as avrnjan, avrjan, dvrkta.
The augment also appears as a- before y in dyukta v 17 3b (2T) and dyunak *i 163 2b (10). Similarly before r we find drinak ii 13 5b (8), and draik occurs several times in positions which prove the first syllable long.
170. With very few exceptions the text accurately represents the quantities of vowels in the final syllables of stems before flexional endings. In some cases however the metre suggests restorations, namely, (i) of a i for d e % in dual verb-forms before the endings -the, -tef -thdm; (ii) of d for a in the strong cases of usds, and of a for d in the declension of compounds of sdh, some nouns in -an and -man, and the adverb visvdhd (text often visvdhd), and in the locative case, and perhaps in the vocative, of nouns in -u ; (iii) of i for %, or the opposite, in the declension of feminine nouns in ■* -i\ and (iv) regularly of ri- ru- in the formation of verbs with the suffix -na, -ni.
Nearly all these points admit of some question, as the number of instances is not very large.
(i) The occurrences which favour the short vowel are as follows : dsathe i 2 8c (7), 15 6c (7), 151 8d (11) 9a (11), v 67 Id (7); dsate For inclex to the symbols see p. 148, A. 9
130 Stem vowels
i 25 6a (7), 136 3d (7), 144 6d (11), v 66 2b (7), viii 31 6b (7); cisathe i 182 3a (11); asate ii 41 5c (7); cakrate viii 29 9a (6B) ; caksaihe vii 70 5b (7B) (7); dadhathe i 151 9a (6B) ; yunjathe i 151 4d (9), v 74 3b (5); ucyate (text ucyete) *x 90 lid; vahathe (-ethe) i 135 8a (6B), 182 2c (6B) ; sobhate \-ete) iv 32 23c (7); yunjathdm iv 45 3b (9); rdsatham i 46 6c (5); anusatdm viii 8 12d (7); trdsitham iv 55 lb (9), v 41 lc (9), vii 62 4a (9), 71 2d (9).
On the other hand the long quantity given in the text is quite admissible in asate v 68 4b (7g) 5c (7g)j dsathe v 62 5d (3T), and is required by the metre in numerous other passages, as iyate vii 39 2b (10), dadhdte i 185 2b (10), and vasathe i 152 la (10).
The short vowel seems therefore to be an archaism which is disappearing.
(ii) (a) In the declension of usds the text usually gives usdsam, usdsd, usdsah in accordance with the metre: but the forms usdsam, usdsd, usdsah are favoured by the metre, and usually appear in the text, in the following passages : A. 8, vii 99 4b, x 35 2c: 10, i 123 12d, 124 9d 13b, ii 28 9c, iii 31 4c, iv 3 lie, 5 13d, 12 2c, v 1 lb, vi 30 5d, 65 4b, 72 2a, vii 41 7a, 42 5c, 72 4a, 76 4d, 88 4d. B. 2d, iv 30 9c: 2T, iii 55 la, viii 27 2b: 4B, i 92 2c, 134 4a, v 80 lc, vii 90 4a1, x 39 lb, *88 18b: 4b, iii 20 la1, v 28 lb1, vii 75 3b1, viii 96 la: 7 A, ii 12 7c1.
In addition the compounds usdsandktd, ndktosdsd always appear at the beginning of the verse : the text gives the long stem vowel in both cases : the metre favours it in the first compound, and is indifferent in the second.
1 The text has umsam, etc.
(b) In the declension of -sah visvasdham is a probable correction in vi 44 4c (5) and satrasdham in viii 92 7a (7).
(c) Probable restorations, chiefly in the accusative singular, are : Stems in -man: mahimdnam (or mahitvandm) viii 46 3a (7), 65 4a (7) :
pdrijmanam viii 72 10b (7): purutmdnam viii 2 38b (7).
Stems in -van : anarvdiiam ii 6 5b (7), vii 97 5d (7a), viii 92 8a (7); dhitdvanam iii 27 2c (7), 40 3a (7); rathaydvana viii 38 2a (7); s'ubhrayavana viii 26 19c (7).
Stems in -an: tiymdmurdhanah, vi 46 lid (7); perhaps rdjanam v 54 7d (6 A) 14d (6A), x 124 8c (7B), rdjana x 61 23a (7B?).
The regular form vfsanam should probably be restored in ix 34 3a (2D), and in x 89 9d (4b) in spite of the metre : the text has vfsanam, contrary to the general use. For neut. pi. -ami there is no sufficient evidence.
(d) A form visvdha appears somewhat frequently in the text, chiefly at the beginning of the verse, by the side of visvdha. Assuming that the final a is justified (for which point see § 158) there is no metrical occasion, as there is no apparent historical justification, for a in the stem-ending.
(e) The existence of a locative in -av from -u stems is only
For index to the symbols see p. 148.
-Locative in -av 131
indirectly recognised in the text in the form sdno in the combination sdno tivye or sdno avydye in bk ix. In the remaining instances which can be recognised by the metre the text regularly gives -av, l>efore consonants -au. The locative vdstav however, in the phrase vdstav usrdh, appears as vdstor in defiance of the metre in some passages, and elsewhere more correctly as vdsta usrdh or usrdh. If we disregard the varieties of spelling, we find that the form in -av is considerably more common than that in -av : and it may so far be justified historically, that -av stands in just the same relation to -avi as -an to -ani.
The occurrences are as follows: A1. 3d, v 52 7b: 5b, ii 27 16d : 6, viii72 2b, ix 63 8b, 65 16b: 10, *x 167 4a. B1. 2t, i 126
lb, x 116 9b: 2D, ix 11 5c. C2. 5B, x 123 2c. 3D, viii
45 41a, ix26 5a. E. 5, viii 6 46b4: 9, ii 39 3c5, iv 25 2b5,
45 5b5, v 49 3b5, vi 46 8a3, vii 69 5a5, viii 46 26a5, ix 86 3c, 91 lc, 92 4c, 96 13b, 97 3a 12d 16d 19b 40c, x 40 2a5. Similarly from a stem in -i v 41 14d (9).
1 -/iv is correct. 2 From this point -av is probable. 3 druhydv.
4 pdrsav. 5 vdstav.
{/) A vocative in -u in place of -o of the text seems probable in i 135 9a (7a), ii 13 13a (6B), viii 25 12c (7B), 51 6a (6B), 52 6a (6B), 70 7b (5), ix 97 17d (9).
(iii) The confusion in Vedic Sanskrit between the feminine stems in -i and -i, and the frequent transitions from the former class to the latter, prepare us for the occasional restoration of -i, which is probable in vasibhih viii 7 32c (7), *x 101 10b (2T): see also §§ 166 ii, 170 ii. On the other hand the restoration ndribhiah is required in i 43 6c to account for the form -bhiah (§ 144).
The restoration of an instrumental in -tl for -tya has already been discussed in § 139 iii; the examples are given on p. 29 (A 5). Similarly yuvateh may be restored for yuvatydh x 40 lib (6A), and tdviseh for tdvisyah v 29 14d (6 A). In all these cases the rarity of a long syllable in the second place after the caesura is the justification of the change.
(iv) From ri, rl ' flow/ the text gives ritui-, rin%- correctly : and the short vowel must regularly be restored in all similar formations, as in hrinati, drundnd, prindn, bhrindnti, srinlhi, in agreement with the history of the forms.
171. To complete the discussion above (§ 160) of the particle u u, and as a preliminary to the study of the quantity of final long vowels before hiatus, it is necessary to investigate the relation of the endings -av -o in the text of the Rigveda to final -a, as well as the relation of the disyllabic ending -a u to final -ai, -au, and ah. Final -av regularly appears in place of a dual in -a before hiatus (except before u-), even when the syllable is short. Final -o is of various origin: sometimes it must be resolved into -a u or -a u, the latter element being the particle u or u; For index to the symbols see p. 148.
9—2
132 Final -av and -o
sometimes it represents a modification of final -a or a in an adverb,
which has the effect of making the final syllable exempt both from
combination and from shortening where a vowel follows, this use
being almost restricted to the later parts of the Rigveda: and
lastly, it is used as a textual correction of -a or -a in forms of all
kinds, with the intention of disguising hiatus or consecutive short
syllables in the second and third places. The combination -a u
represents occasionally final -ai, -au, or -ah, in all positions in the
verse.
(i) In about 15 instances (§ 174 i) the final syllable of a dual in -av is shewn by the metre to be short, just as in the locatives in § 170 ii e. Only in one instance is such a dual written in combination, namely in vi 63 la. This leads to the conclusion that in an earlier state of the text the duals in -a were rightly distinguished according as hiatus or combination took place, and that a later and mechanical revision has substituted -av for the ending before hiatus, without regard to the quantity. Of a dual in -au becoming automatically -av before vowels there is no trace in the Rigveda proper, for final -au becomes regularly either -a or -a u, as shewn below (subsection v).
(ii) Final -o usually appears in the Pada-patha as -o iti, but this is no satisfactory indication of its origin or value, for even vocatives in -o, as indo (indav) appear as indo iti. If however we exclude final -o as representing -ah, and also the vocatives, we find that in all other instances the vowel in the Rigveda is not capable either of combination or of shortening before vowels : and as it usually ends the first word in a clause, it may be conceived as resulting from the combination of final -a or -a with the particle u. This explanation however owes its attractiveness to the theory of the Pada-patha, represented by its writing urn iti, that the particle u has a special character as pragrhya or uncombinable. As this is hardly the case (see § 173 iv), there is no immediate reason to assume the presence of the particle except where the metre requires the restoration of an additional syllable, namely in 6 (d u) vii 40 la, viii 7 33a, 22 la; go (ca u) vi 66 3b; no (nd u) *x 86 2c; pro (prd u) i 186 10a, vi 37 2a, viii 62 la, ix 89 la; mo (md u) i 38 6a; hdnto (hdnta u) viii 80 5a. In i 186 10a, viii 62 la, *x 86 2c, the ii thus obtained stands with hiatus before a vowel following (§ 124).
(iii) Final -o represents a phonetic developement of a, incapable of combination or shortening, certainly in dtho, probably also in mo and no. The genuineness of the form dtho is shewn first by its appearing only in the popular Rigveda and the Atharvaveda, whereas all revisions of the text of the Rigveda have been carried through the whole of it : and secondly by its use before vowels and consonants alike, although in the latter case no metrical advantage is obtained. Again dtho does not stand for dthd u, for in no instance is it equivalent to dtha u with hiatus, and it cannot be equivalent to dtha, u combined in the Atharva- veda, for in that case there would be almost as many occurrences of the particle u in this one combination as in all other possible positions.
Final -o 133
which is contrary to the principle of quantitative evidence. It follows that dtho is a real phonetic developement of dthd ; and, if so, it is impossible that the later tendency to shorten the word to dtha can have been at work at this period.
The cases of mo and no are not quite so clear, but are generally similar. In one instance mo is to be resolved into m& u (subsection ii) : in addition it is used twenty times initially, usually without metrical advantage, seven instances being in the popular Rigveda (*i 50 13d, *ix 114 4d, x *27 20b, *59 4a 8e = 9f = lOf) and only twice elsewhere in the verse, namely in v 31 13b (6B), *x 18 13b (8). So in one instance no stands for nd u : otherwise it occurs ten times in the popular Rigveda, and only twice outside it, namely in iv 21 9c (8), and vi 54 3d (init.). Both words occur occasionally before vowels, and then are neither combined nor shortened.
(iv) Much more frequently, it seems probable that final -o of the text represents the result of a metrical revision of final -a or -a, and is betrayed as such by its systematic use in positions in which it is metrically convenient, that is, before hiatus, and (in the case of -a) in the positions 2t, 2d. Such a revision must have been the work of a later hand than that which recorded the value of the 'protracted vowels,' and has not as much historical justification. For in the case of the protracted vowels it appears that the words received special treatment from the bards (Table, § 164): but the words in which -o appears are used exactly as ordinary words with final short or long vowels respectively. As examples we may take the three words which appear most commonly, dpo, utb, and upo.
Of these utb appears always initially, and before consonants 40 times j in 34 instances the next syllable is short. On the other hand utd appears 88 times initially, and in 79 of these the next syllable is long. It is clear then that utb stands according to a system before short third syllables. That this system was that of the bards themselves seems improbable : and the more so, because we find utb nu vi 47 lc, viii 25 23c, 72 6a 18a, 94 6a, where nu may be read, and utb nu cit viii 40 10c lie, utb ghd vii 29 4a, indicating that the editor concerned reckoned nu, gha as short syllables, although nu cit, ghd are the regular forms. Further the general practice of the poets (§ 157) does not lead us to expect that utd would be followed by a long third syllable in so high a proportion of the occurrences as 90 per cent.
Further dpo occurs four times before consonants: in three cases the following third syllable is short, but in viii 67 15a the metrical difficulty is easily removed by reading dpa su. upo occurs thirteen times before consonants, in all cases but one in the position 2t or 2d, but the metre can be corrected by reading upa sti in i 82 la, viii 103 lc, ix 61 13a.
In other words ending in -o for -a the usage is the same, and though the particle u may in some cases be present, the restoration of final -a seems generally most probable, with such consequent corrections as ihd sti ix 65 5c, kena nu viii 66 9c, tdtra su i 37 14c, bhuytima sti iv 32 6a, and sahd su viii 7 32a. The chief exception (besides no
For index to the symbols see p. 148.
134 Phonetic u
subs, iii above) is pro, which seems very frequently to stand for prd u, except in *i 161 12d, where prd should be restored.
Where -o stands for -a (as in eto, evo, katho, tdpo) either a vowel follows or one of the particles nu or su. In the latter alternative u is probably contained : in the former it is more than doubtful.
(v) Since the particle u u a,s such is regularly the second word in the clause, or at latest the third when the second word is a similar particle, it must be clearly distinguished from the u which attaches itself to certain verb and noun endings, and therefore regularly appears later in the sentence. This is the case with the ending -tavai {-tavd u), with the words asau (asd u), vai {yd u), and with the nom. sing, and other endings in -ah (-a u).
The occurrences are
-tavd u : i *24 8b, *164 5d *28b, iv 21 9d, *58 9a, v 2 10b, 29 2d, 31 4d, *83 10b, vii 4 8b, 44 5b.
vdu: *i 162 21a, ii 33 9d, v 73 9a, vii 85 2a, *104 13a, viii 23 13a, 62 12a, *ix 112 la, *x 10 12a, *27 5a, *117 la, *137 6a, *142 3a.
asd u : v 17 3a.
-d u (nom. sing, or pi.): i 156 lb (evayd u), 168 lb (devayd u\ iv 23 10b (turayd u), vii 68 4a (devayd u), 88 2c (adhipd w), x 65 lOd (dhanasdu). Also the neut. nom. sing, in bhd u i 46 10a and the gen. fem. sing, in dnumatyd u *x 167 3b.
The forms given above are more common in the popular Rigveda than elsewhere.
The reading -sitdsa u jicvah, in i 140 4b, requires some similar explanation, but as the vowel is long in this case the analogy is not exact, and u may very well belong to the word following. So u jananta ii 18 2c.
172. The quantity of final -a before hiatus, and of final -» -u with hiatus before similar vowels, is generally optional : but the dual forms usually retain long quantity.
Examples are :
asvayd utd rathayd viii 46 10b
vdpurbhir d carata anyd-anyd i 62 8d.
If we take into account only the instances in which -a with hiatus is certainly to be restored, it will be seen from the list below that the short value on the whole predominates, but not to such extent as to justify the rule vocalis ante vocalem corripitur. In particular, there are numerous occurrences in the eighth place, and the number of occurrences before early and late caesura is equal. If further we include those cases in which the final -o of the text represents a slight phonetic variation of long final -a, as explained in the last section, the proportion of instances with the full quantity will be greatly increased.
It may however be noticed that the short value very much' predominates in the nom. sing, of nouns in -ar.
Instances of final -I before a similar vowel are so rare and so indecisive that the rule affecting them can only be inferred from the
Final -a, -I, -u before hiatus 135
analogy of final -a. For -u we have only the restored phrase n4 u (§ 124): and as w& is then always initial, the quantity cannot be determined. In internal combination we find su-uktd and other words, always with -u.
(i) The following are probable instances of -a with hiatus :
A. 3t, ii 19 3d, x 61 9c: 3d, viii 46 10b: 6, viii 17 lb, 34 lib: 8, i 48 7c 16c, 87 4c, 185 4a, ii 17 lb, iv 16 la, v 29 15b, vi 20 8d, 24 9a, vii 1 7a, 40 4b. B. 2t, v 45 2d, vi 23 4a2, *75
3d, viii 101 13c, x 30 2b, *129 5d: 2d, v 53 14b, x 26 Id 9b: 2T, 6 times: 4A, 48 times: 7A, ii 13 10a, iv 2 18b, 19 6c, vi 4 4b, viii 103 13a, x 61 18c, *101 3b, 132 4d. C. Initial,
15 times : 2D, 8 times : 4, 5 times : 5B, 48 times : 3TD, 17 times : also vi 16 27a (6 in Troch. Gayatrl). D. 5 A, i 189 4d :
6A, i 60 4b2, 104 5a, 186 6a2, iv 33 10a1, vii 69 3a1, x 49 10b2, 65 15b1. E. 5, i 133 6c, iii 13 lb, iv 52 2a, *v 51 15c, viii 20 17c, 46 29b, 70 12d, x 105 lib lie: 7a, i 120 6b: 9, i 62 8d, 69 9a, 77 la, 104 lc, 133 6b, 140 13c, 173 4a, iv 3 13b, 16 la, v 41 16b 16c, vi 21 8d, 24 5d2, vii 34 4a, 40 3d2, viii 1 16c, 70 12c, 96 9d, x 5 |5d (reading ptisa dsya), 61 14d2.
1 caesura after third syllable. 2 nom. sing, of noun in -ar.
(ii) In the following cases the text has -o representing -a before hiatus (§ 171 iii iv) ; dtho i 28 6c (2D), 113 13b (2T), *19l 2c (2D), ix 39 5b (2D), x *27 9d (2t), *60 8e = *9e = *10d (2D), *85 35b (2d), *96 13b (2t), *137 4b (2T) j aryamo i 167 8b (7A) ; eso i 46 la (2d) ; dvisto vii 34 12a (3T) ; imo vii 1 18a (2T) ; cattb *x 155 2a (2d); mo *i 50 13d (in.), v 65 6d (in.), *x 18 13b (8); rdkso i 174 3c (2T); vrso iii 27 14a (2D), viii 33 lOd (2D).
(iii) Instances of hiatus of -i before similar vowels are found vii 28 3a (5B), *ix 5 8b (4), *x 88 4c (4A). For the dual forms see § 174.
173. The vowels -€, -u are regularly shortened when followed by dissimilar vowels, but there are many exceptions. In particular, duals regularly, and the particle u most commonly, retain the long quantity.
The diphthongs -e -o become short syllables when followed by any vowel, except that duals in -e, adverbs etc. in -o, and the locative tue tve regularly retain the long quantity.
The diphthongs -ai -au are regularly represented by long vowels when followed by any vowel.
In all these cases there is authority even in the text of the Rigveda for considering that there is no real hiatus, but a resolution into a vowel and a semi- vowel, or in the case of -o for -ah, a retention of the original ending -as. Thus in the declension of dhi the text gives dhiyam for dhi-am, and in the vocative of -u stems -av for -o. For index to the symbols see p. 148.
136 Final -I, -u before hiatus
Consequently the regular use may be represented by such restorations as the following :
daksindv&d vdjini pr&ciy eti iii 6 lc
pibd tu somam gdv-rjlkam indra vi 23 7b
yuvo rdjdmsi suydmdsas dsvdh i 180 la.
Exceptions are probable as follows :
(i) final -I is retained (a) in the nom. sing.; jdnati i 122 9a (3t) ; prthivi i 94 16d (8), iii 8 8b (7A), vii 5 4a (8), *x 10 5d (8); vdji x 56 3a (2t) : (b) in the instrum. sing. ; uti vi 29 6b (2t), viii 21 7b (2t), susdml *x 28 12a (8): (c) in the imperative in -hi: ihl i 80 3a (2d), jahl i 36 16a (8), pdhi viii 60 9b (2d), mimihi vii 19 lie (8), snathihl vii 25 2a (8) ; in -dhi, yuyodhl i 189 3a (8).
(ii) final -I of a noun-stem is regularly retained in the gen. loc. dual rodasiyoh, which is always found in Tristubh cadence : and a suffix -lya is probable in yavlyd i 167 4a (10), 173 12c (10). Other instances are very uncertain, such as prthivlydm i 139 lib, x 73 9c, and yajtianiyarn, etc., *x 88 17b, *107 6b (all 3t). The text reads devdvyam in six passages at the beginning of the verse, and the protraction of d is probably correct, as prativiam regularly occurs in dimeter cadence.
(iii) The rule for forms in -u depends largely upon analogy, since the only forms that occur rather favour the long quantity, namely trsd i 58 2b (2t), sddhd (§ 160 i) ii 3 6a (2d), and tanii *x 183 2b (4A). The forms tu nu su are frequently found before hiatus, as tu iii 30 12d (9), nu i 100 10b (9), vii 96 4a (5), su i 111 2d (9): but in these words the short forms are also found before consonants. On the other hand the restorations proposed in this chapter frequently require that nu and sd should retain their long quantity even before vowels, namely nd *iv 18 4c1, vi 47 lc2, viii 3 13c1, 72 6a2 18a2, 94 6a2 (all 3t or 3d); sd ix 65 5c2 (3d), *x 59 3a3 (3t). So also td vii 31 4c (3d)4.
1 § 175 ii. - § 171 iv. 3 § 167 iii. 4 § 162 iv.
(iv) In the case of u u the long vowel is most favoured before hiatus, though both forms are common : instances in decisive positions are : u ii 24 6d (3t), iii 5 2a (3t), vi 71 5a (2t), vii 81 la (2d), viii 15 la (2d), x *86 2c (2d), *88 10c (2t): u (chiefly in the popular Rigveda) *v 30 15d (6A), vi 27 la (7B), x *27 7a (7B), *102 10b (6B), *149 3d (6B).
(v) The locative tue, tve always retains the long vowel before hiatus, as in ii 5 8c (6) : whereas asme is always shortened, as in viii 22 16c (9), and yusme presumably has the same value. Vocatives in -o are shortened, as indav ix 40 4b; for other words in -o see § 171. For the duals see the next section.
(vi) Final -ai, -au seem regularly to become -d before a following vowel, as in classical Sanskrit. There is however in the Rigveda a marked distinction between the group asmai, tdsmai, ydsmai and such words as asau, v-oi, and the ending -tavai. The former are perhaps occasionally shortened, as ydsma v 7 8a (5), tdsma *i 161 12d (7a),
For index to the symbols see p. 148.
Duals before hiatus 137
asma v 64 2b (5) : whereas the latter develope into -a u, as shewn in § 171 v. asau appears as as&v x 132 4a.
174. All duals, both of nouns and verbs, are regularly long before hiatus : but to this rule there are many exceptions in the earlier parts of the Rigveda.
Examples of the regular usage are : jrayasdnti dram prthu
(text jrayasdndv) v 66 5c
patho nd pdyum jdnasl ubhe dnu ii 2 4d
td hi k§atrdm dhdrdyethe dnu dyun vi 67 6 a.
(i) Exceptions are relatively few, but still certain, namely :
(a) -a before hiatus: i 184 lc (9), iv 15 9a (5) 10a(5), v 74 la (5), 86 5b (5) 5d (5), vi 63 la (9), 67 8c (9), vii 65 2a (9), viii 5 31b (5), 25 4b (5), 26 7c (7a), 35 24b (5), x *90 lid (5), 132 lc (5), 143 3a (5). For the text see § 171 i.
(b) -i : vi 60 13a (7B), *x 94 9a (6 A).
(c) -u : i 46 13c (5), ii 27 15d (9), v 43 4a (9).
(d) dual of a noun in -e : ubhd (ubhe) v 30 9c (7B).
(e) duals of verbs in -e : vii 93 6c (9), viii 26 13c (9), 29 9a (7a). In the dvandva compound indrd-agni, -a is found wherever hiatus
occurs : cf. § 166 i.
(ii) It will here be convenient to deal with the question of possible duals in -a, -i, -u before consonants. Occurrences in the first part of a dvandva compound have been dealt with in § 166 i. In the following instances the text has -a, but the metre favours or at least permits the restoration of -a : i 15 6a (fin.), 151 4a (7A), v 64 6a (fin.), 66 6b (2d), vi 68 5b (7 A), vii 60 12a (4A.), 61 la (7A), 85 4b (4A), viii 9 6b (4). Similarly the restoration of -I is favoured by the metre for prthivi in ii 31 5c and iii 54 4d (both 7A): and that of -u is admissible in vii 19 4d, 65 Id (both final). In four instances in i 17, namely 3b 7a 8a 9b, a dimeter verse begins with indravaruna, and the restoration of indra vdruna on the analogy of varuna mitra in i 122 7a is not improbable : similarly mitra vdruna may be restored in i 15 6b. Besides we have only deva v 67 la (5), vlra vi 63 10c (7B) and hotara v 5 7b (5), sdvistha vi 68 2b (7a), mamhistha vi 68 2c (7a), vipanyu viii 8 19c (5) are favoured by the metre; but these seem insufficient as evidence of a fresh variation in so common a form. It seems therefore more than doubtful whether a dual form in -a exists before consonants : if so, it is of the vocative case only.
175. It appears from the whole course of the discussions in this chapter that the Sarhhita text stands in need of substantial revision, not only in questions of external and internal Sandhi, but also in questions of quantity. It follows that isolated quantitative readings of the text, contrary to its general practice and the For index to the symbols see p. 148.
138 Irregularities of the text
general tenour of the metrical evidence, must always be received with considerable hesitation : and for the purposes of metrical investigation it seems safer to assume in such cases that the words and endings have their ordinary value.
In the case of final vowels before hiatus, the text follows mechanical rules and entirely disregards the metre; so that in this point the Samhita revision is precisely of the same character as in questions of Sandhi, and all modern criticism is agreed in requiring restoration. In the case of the variant final quantities, on the other hand, the Samhita is guided partly by considerations of grammar, that is to say, by the recognized value of the endings in the editor's own time, and partly by the metre, so far as he was able to appreciate it. This work is therefore executed in a more intelligent spirit, and probably at an earlier date, than the Sandhi revision : but the more exact methods of modern literary criticism make it possible in the majority of forms to establish independently rules which are more uniform and at the same time more in harmony with the general character of the metre. Lastly in the case of final -o we can recognize in some words such as dtho a state of the text so early that it recognizes the historical differences between various parts of the Rigveda, and in others like ut6 a restoration on purely metrical grounds, which produces an artificial regularity of metre going greatly beyond the regular practice of the bards.
That the text of the Rigveda should have been corrected by successive editors, and from different points of view, is in itself sufficiently probable : and under such circumstances no restoration of the original text can claim to be more than approximative. But whatever difficulties are involved, it is at least safe to say that it is better to face them than to treat as a text affording a basis for metrical investigation one that is so full of inconsistencies as the Samhita. We constantly find in hymns belonging to the same group, and even in the same hymn and the same verse, differences of quantity for which no metrical or other cause can easily be imagined, and which it is therefore impossible to ascribe to the author. Such inconsistencies are illustrated in the passages quoted below in pairs, the number of which might be indefinitely increased :
(yend prthivydm ni krivim sdyadhyai ii 17 6c
\yena jdnd ubhdye bhunjate visah ii 24 lOd
(krdhi no ray a usijo yavistha iii 15 3d
\krdhi rdtnam susanitar dhdnandm iii 18 5a
(avis karta mahitvand i 86 9b
\jyotis karta ydd usmdsi i 86 10c
{pibd somam mahatd indriydya x 116 la
piba rdye sdvase huydmdnah x 1 1 6 1 c.
The extent to which correction is required in each class of forms is discussed in the next section.
An isolated variation in the text may in some cases be a trace of
For index to the symbols see p. 148.
The Samhitd text 139
an earlier recension, and may serve as a valuable confirmation of the indications of metre. But if it only has the effect of removing an occasional metrical irregularity, the most probable explanation is that it is due to excessive regard for the metre. In all the instances that follow the text gives long quantity to syllables which have ordinarily the short vowel, and which appear so rarely in positions that favour long syllables that there seems no reason to look for any other explanation than the usual metrical liberty of the Rigveda.
The occurrences are as follows :
(i) in flexional endings : -d nom. s. masc. ; sd i 145 lb (8), vi 17 9a (8): -a vocative; i 61 16a (8), viii 45 22a (6) 38a (6) : -asya genitive ; *i 162 19a (8), vii 79 4c (8) : -esu loc. pi. ; viii 31 9d (3D) : -ti 3 sing. ; rdksatl risdh ii 26 4c (10) on the analogy of rdksata risdh ii 34 9b, but see § 167 iv : -ta 3 sing. ; ii 33 13c (8), *vii 33 2d (8), viii 19 24a (8), x 25 7d (final syllable misunderstood for 8) : -ta 3 pi. iv 5 5d (8), 34 Id (8). A slight doubt exists as to the neut. sing, in -d from stems in -an, -man, -van. The form bhiimd is found in i 61 14b (5C), 62 8a (8), 173 6c (fin.) and appears to be a quasi-dual on the analogy of the preceding dydvd : other forms are found in the text in i 69 3b (8), iv 2 16d (2T), vii 28 la (2t), x 45 4b (2D), *129 lb (8), *142 2a (8), 176 lc (2D); whilst ndmd is favoured by the metre in i 48 4d (2d), and brdhmd vii 24 4b (2t). Cf. § 166 v.
(ii) in particles: dva ; vi 46 lib (6) : ihd; iv 5 14c (8), 31 11a (4), x 178 Id (8): ca; i 77 2d (2T), iii 57 5d (8), viii 53 4a (10 : the text has ca, i.e. ca d) : cand; i 84 20b (6): nd; i 147 3d (8) = iv 4 13d (the Sariihita has ndha, Pp. nd aha, TS. correctly nd ha), *vii 104 13a (init.), *x 34 8c (8) : prd-pra ; i 129 8a (2t) : ha; iv 31 5b (2d), v 41 7d (2t). The text also has three times nahi nu, and twice nahi nd at the beginning of the verse : nahi nd is probably the correct reading throughout, namely in i 80 15a, 167 9a, vi 27 3a before consonants, and in *iv 18 4c, viii 3 13c before vowels (§173 iii). There are also occasional instances in compounds, as ista-purtd *x 14 8b.
176. In spite of numerous errors in detail, it remains the fact that the Sarhhita text on the whole gives a true picture of the quantities even of the variant final vowels. Further, the bias it shews is readily explained by the examination of its usage in each class of words. For the long final vowels enumerated in § 158 the text only occasionally gives short quantity, and that chiefly at the end of the verse or distich, or before consonant-groups. In the case of the verbal endings in -d, -ihd, -ta, for which the poets preferred the long values, the text prefers the short values, which were no doubt established in the later period : and the short values are therefore introduced wherever the metre is favourable or indifTerent. Similarly for a, tu, nu and su the text prefers the For index to the symbols see p. 148.
140 Samhitd rides of quantity
short values except in certain phrases. In the case of adyd and ddha the text appears to be in general agreement with the metre. In the words that are usually short the text only introduces the long vowel in the 'positions of protraction,' and there very ir- regularly.
The practice of the text has been elaborately investigated by Th. Benfey (Die Quantitatsverschiedenheiten, Gottingen 1874 — 1880) and J. Zubaty (Der Quantitdtswechsel, Vienna Oriental Journal, 1888 — 1891). Only a very short summary of the results can be given here : in many cases more detailed information is given above. The chief practical importance of establishing the rules of the text (so far as it is possible) lies in the presumption that some of the exceptions represent an earlier recension.
(i) In the forms noted in § 158 the text usually gives the long vowel correctly, except before consonant-groups and at the end of the distich. The treatment of separate words differs slightly. Thus end, end always have the long vowel, and purudhd, visvdhd are only shortened before consonant-groups ; whilst instrumental in -t% are long before groups, but occasionally shortened when final. The perfect forms have the short vowel at the end of all verses, as have also dthd and evd. In the positions 3T, 3D the text usually gives the long vowel correctly, but aorists in -svd are short, and sometimes evd and smd. Before the caesura the perfect forms and evd have the short vowel, but smd is given correctly: the aorists in svd are also short, not only before the caesura, but also often in the positions 2T, 2D. In several positions the text gives gerunds in -tyd, -yd, but -dya, though all are treated by the poets in the same way.
(ii) In the very numerous occurrences of the verb-forms in -d, -thd, -td the text gives the long vowel correctly in the positions of Group A, in 2t, 2d, often in 2T and 2D, and sometimes in 7A. Otherwise it gives the short vowel, which should certainly be corrected in the very common position 4A, and probably also in 3TD, 4, 5B, and in final syllables. The neuter plurals are treated in the same way and need the same correction.
(iii) In the adverbs u, tu, nit, sfi the text shews a strong bias for the short vowel. In the positions 6, 8, 10 the long vowel is used correctly, but in the positions 3t, 3d (where a long vowel is urgently needed) the text gives the short vowel, and for nu and sti either lengthens arbitrarily a preceding vowel or substitutes a form in -o. In the positions 2t, 2d a long vowel is occasionally given : otherwise almost always the short vowel. But the apparently arbitrary exceptions nu (initial), nu cit, u nu, and u su are evidence of an earlier and more correct recension.
(iv) In the adverbs ddha, adyd, and yddl the long vowel is more freely recognized. It appears fairly regularly, not only in the positions 2t and 2d, but also in 2T, 2D, and less regularly in 4. On the other hand ddha ydd appears always, without regard to metre.
For index to the symbols see p. 148.
Quantity by position 141
(v) Of the imperatives in -dhi, -hi the text gives srnuhf, vrudhi, krdhi correctly, but in the positions 2t, 2d otherwise inclines to the short vowel. In all positions other words have the short vowel, and, as it appears, correctly.
(vi) Vowels capable of protraction are written as long in the eighth place, perhaps correctly : the adverbs in -tra regularly so in the positions 2t, 2d, often in the positions 2T, 2D, but not elsewhere. The pronouns yena, kena, tenet have the long vowel in about half the occurrences in the positions 2t, 2d, and occasionally in the position 2D.
The practice of the text gives us some insight into the editor's appreciation of the metre. The comparatively strict rules for short quantity in the positions of Group E he thoroughly understands : but the importance of the positions 3t, 3d, 5b entirely escapes him. Of the less strict preferences of Group B he exaggerates the importance of the long vowel in the positions 2t and 2d, and still more in 2T and 2D : whilst on the other hand he is unaware that the long vowel is preferable in the positions 4A, 4B, 4b, and 7A. It is not clear what view he takes of the position 4, nor whether he thinks that the positions before the caesura and at the end of the verse are preferably short or only indifferent. In the positions 3T and 3D he prefers the short vowel, but not to such an extent as to fail to give the true value to most of the vowels of § 158. Before a consonant-group a short vowel is almost invariably given : whether correctly or not, is a question which does not directly concern the metre. Generally, the editor shews exactly that knowledge of the metre which might be expected of a man thoroughly familiar with the text, who had yet never made an exact study of its mechanism, nor distinctly formulated his own principles of revision.
Occasionally we can recognize mistakes by the editor in the application of his own principles, as when in viii 12 17c, 13 7c he fails to recognize the Dimeter Usnih metre, or when he applies the rule for consonant-groups before tudrn x 61 22a, and tu&van i 30 14a, 189 6a. It is therefore impossible to regard the authority of the text as final.
177. In questions not connected with final syllables few difficulties arise. It must be noticed that syllables are long by position if the vowel is followed either (i) by ch (cch) ; (ii) by Ih ; or (iii) by -nn in the third person plural of secondary tenses and in the nominative singular of participles, but rarely elsewhere. The sounds represented by m m h also contribute to make length by position.
The following are examples :
diaur dsld utd cchadih *x 85 10b
ndrdyaso rid jdlhavah viii 61 lib
ud abhrdniva standyann iyarti vi 44 12a
sbraam srinanti matibhih suarvidam ix 84 5b
visvarii drljidm bhayata djman d te vi 31 2d
For index to the symbols see p. 148.
142 Textual corrections
(i) The most important word containing ch is dclid, which in all cases has the metrical value of dcchd ; and similarly we find always gaccha-, prccha-, yaccha-, dcchidra. This evidence outweighs the few instances in which ch appears to have the value of a single consonant, namely uch&t i 48 3a (5), cachadyat x 73 9b (9), sahdchandas *x 130 7a (6 A), suchadistama vii 66 13c (6B). The value cch is correctly given in the devandyarl text wherever the sound occurs medially, and the writing ch may therefore be regarded. as an error of transliteration: it is however convenient from the point of view of etymology.
(ii) Ih is rare in the Rigveda, except in the participles drljid, tr[hd, in which the restorations dflhd, tj'lhd have been proposed on historical grounds. So far as the metre is concerned, these restorations are unnecessary, Ih being always treated in Sanskrit alphabets as a double consonant.
(iii) Amongst forms in which -nn represents a double consonant are to be reckoned aorists like dtann vi 61 9c (2d) : the nominative singular in -nil as sadfhh has the same value, for instance in i 94 7a (10). Locatives such as djman, tdsmin must everywhere be restored for -ann, -inn of the text, and vocatives in -an, -in usually for those in -ann, -inn : but the final syllable of magliavann is always long by position, and pusann, rdjann, vfsann and sahasdvann usually, for instance in ii 28 9b (4A), iii 32 lc (8), vii 4 6c (8).
(iv) In such common sounds as ih, m, h a large number of instances would be required to throw doubt upon the ordinary rule for position. Such instances are only found in the datives mdhyam, tubhyam, asmdbhyam, for which forms without the final -m are not uncommon in the text, and must also be restored as shewn above on p. 30. This restoration is not required in *i 50 13a or *126 6c, where the syllable occurs in the semicadence of epic Anustubh.
178. There are very few irregularities in the Samhita text
which affect individual words, and such as occur are of little
historical importance.
The following list indicates the readings chosen for the purposes of this book as most probable :
dyuh: a neuter form dyu must be restored in i 37 15c (5), 44 6c (9), 89 "9d (9), 116 10c (9), iii 49 2d (9), 62 15a (5), viii 18 18b (5), x 144 5c (9) 6c (9). Cf, the compounds ayu-sdk, etc.
im : i is to be restored occasionally in the popular Rigveda : *i 164 7a (7B) *16c (7B), *x 27 lid (7B), *125 4b (6A).
isdna: isdna is metrically preferable in i 61 15b (9), iv 16 lib (9), and in isdnakft viii 52 5b (5), 65 5b (5), 90 2b (5).
urviyti: this form usually follows the caesura, and uruya is an attractive correction, which has been suggested on the analogy of sddhuyd and other words. The metrical conditions do not allow us to trace this proposed form with certainty, since urviyti is everywhere admissible : the form in the text is required in x 92 12a (8).
For index to the symbols see p. 148.
Textual correct ions 143
uruvydc: for uruvydncam we must restore urusincam in v 1 12d (7B) ; cf. jvisitanca § 166 iv.
ksdya: for ksdyasya vi 71 6c (6 A) ksayasi is well suggested by H. Oldenberg. Cf. however iv 21 8a.
cardtha stands in the text in i 66 9a (9), and cardtham is required by the metre in i 68 lb (4b), and cardtham i 70 3b (9) 7b (4b): all the passages need emendation.
chardis is always to be read without r, for instance in viii 9 lc (11). See also § 177.
ji 'conquer': the metre requires jigivdrhs in ii 12 4c (6 A), 18 8d (6 A), v 62 9d (6 A), vi 19 7d (6A): but jigivdrhs with the text in iii 15 4b (10) and preferably in x 78 4b (2T).
trtiya: a form tritiya making position is required in i 155 3d (3t), iv 34 4d (2t), ix 75 2d (2t), x 1 3b (8).
tri : tisfndm must be restored in the single occurrence v 69 2c (10).
das : for dasat daslt is metrically preferable in i 120 15a (10) and 139 5c (7a): cf. vii 1 21d.
das: an alternative form das is suggested by the metre in i 76 Id (9), iv 10 4c (9), vii 3 7a (9), 29 3b (9), viii 103 4b (7).
ndr, nf ' man ' : in the gen. pi. nfndm is to be restored.
pavltdr : pavitdr must be restored, as found in the Samaveda and the Pada-patha, in ix 4 4a (2D), 83 2c (7B).
pavakd : pavakd is everywhere to be restored.
purusa, purusa. Except in the forms purusdta, purusatrd, puru- satvdta, the metre always supports purusa, for instance i 114 10a (8), *x 27 22b (8), *90 6a (2d).
barhisdd : the reading in the text is preferable in ii 3 3d (6A), v 44 lb (6A); but barhih-sdd in vii 2 6c (2t), ix 68 lc (2t), *x 15 3c (2t) *4a (2t).
brhdnt : a form brhdbhih is metrically preferable in iv 56 4a (6A), for which cf. mahdnt below : and the forms brhd-diva, brha-divd, brha-divd are metrically preferable to those in the text except in one passage, viz. x 66 8b (2t).
bhurisdh : read bhurisdh ix 88 2a.
mandin : mandi is to be restored in ix 58 la lc 2c 3c (always 5) : cf. mandim i 9 2b, and see below on vdjrin.
mahdnt : the dual mahdna (or mahda) and plural mahdtah (or mahddh) are suggested by the metre in v 41 13a (6 A), vi 67 4c (6A). An instrumental mahdbhih stands in the text in vii 37 Id (7B) and must be restored in iii 36 Id (6A), iv 22 3b (7B), 41 2d (6A), vi 32 4b (7B).
mahimdn : for mahimnd we must restore mahind i 59 7a (6A : see also § 151 i).
mrl_ * pity ' : mfl is everywhere to be restored, as is made clear in particular by the derivative mfllkd, which always stands at the beginning of the verse, and never in Tristubh cadence. The only occurrences unfavourable to the long quantity are iv 3 3b (6A), vi 50 12b (7a).
For index to the symbols see p. 148.
144 History of quantitative change
yaj : for ayeje read ayaje i 114 2c (9), x 63 7a (9) and perhaps vi 36 2a (4B).
ydsmin : it is possible that a locative form ydsmi should be restored before consonants in i 33 14a (9), 174 5a (9), iii 22 la (7B), 49 la (9) and *x 95 4c (9). See on sdsmin below.
vajrin : a vocative form vajri is suggested by the metre in i 80 7b (5), viii 99 lb (5); see on mandin above.
virdsdh i 35 6b is supported by the metre, but seems to require emendation as regards the first syllable.
visvddevdn is probably to be restored for visvdn devdn in viii 10 2c (6A); cf. *x 125 lb.
sc at the beginning of words and in the latter element of compounds is to be read as c, as in camnan i 104 2c, and always in ds'va-, visvd-, 8U-, hdri-candra.
s'vas : read perhaps svdslti for svdsiti in i 65 9a (2t).
san : for sasavdrhs we must restore sasanvdms throughout, as in vii 87 2b (10). There seems to be an exception in iv 42 10a (6 A).
sdsmin: a locative form sdsmi should perhaps be restored in i 174 4a (9) ; see on ydsmin above.
sdnuni neut. pi. i 155 lc (3T) is quite consistent with the metre, but hardly sufficient evidence of the existence of a form in -uni instead of the usual form in -uni.
stavdn. This form occurs in the text in ii 19 5b (10), 20 5c (10), vi 24 8b (10). No such word is known in Sanskrit, and it is also strongly opposed to the metre : numerous emendations have conse- quently been proposed. The form sdtvd satisfies all the conditions both of meaning and of metre, and I incline to restore this, not only in the passages named, but also in iii 18 4a (10), in which stavdn appears to have been falsely corrected to stutdh,
han : for hanydma read lidndma viii 21 12c (5 A).
179. The historical investigation of quantitative change is rendered difficult by the fact that the metre only indicates the quantity with any certainty in about one-third of the occurrences. In these positions there are about 600 variations from the general rules, shewing about the same margin of choice which is allowed in the matter of hiatus (§ 131). In the majority of instances the historical changes are in the direction of shortening a long final vowel : in about one-half of these instances the vowel is regularly long, but the short vowel becomes more common in the later part of the Rigveda : in the remainder the vowel is regularly short, but traces of the long quantity are found in the earliest parts of the Rigveda. There are however instances of change in the opposite direction : in particular, the dual and locative forms before vowels For index to the symbols see page 148.
History of quantitative change 145
are occasionally short in the earliest parts of the Rigveda, but later the long value admits of no exceptions. So far as these changes are evidence of the history of the Rigveda itself, they indicate that the hymns of Group I are its earliest part.
In the table (§ 180) long quantity is presumed for all variant vowels in the positions of Group A (§ 157), and also in the positions 2t, 2d, 4b : and short quantity for all vowels in the positions of Group E, and also in the positions 5 A, 6 A, and 6B.
(i) SJwrtening of final long vowels.
In this direction considerable change can be traced in the Vedic period, with the assistance of the table in the next section. In the forms of § 158 we have hardly any trace of the shortening in the metre, and but little more in the text : but the Pada-patha forms shew that at a later period most of the forms had short final vowels. In the adverbs in -u, ddhd, and yddl, as well as in the verb-forms in -d, -thd, and -td, we can trace with certainty the same process within the Rigveda itself : probably also in the imperatives in -dhl, -hi, and in compounds of puru-, vasu-. Whether such forms as usdsam, however, are the oldest Yedic forms of the strong cases of usds is uncertain : in any case they do not survive the period of the Rigveda proper. The paradox of the existence side by side of the forms end, end but yena, tena remains unexplained : we are not entitled to assert that -d is the older ending. The accent of the adverb is probably of importance.
(ii) Lengthening of final short vowels.
Quite distinctly the statistics shew that the long final vowel in adyd, in the verb forms in -md, -svd (thematic), in the instrumental of nouns in -end, and in the paroxytone adverbs in -trd is (for the Rigveda) a comparatively late development, most common in the cretic period, when (as we shall see) the long syllable in the 8th place at least was most rigidly required. The occurrences taken together are, it is true, less than 150 in number: but they are unmistakeable, and can most naturally be explained as intentional revivals of archaic or supposed archaic forms.
(iii) Developement of final -a into -o, -a v.
This change is connected with increasing strictness in the Rigveda in the question of hiatus. The oldest poems not only shew considerable liberty in the choice between hiatus and combination, but also where a final long vowel stands before hiatus a further choice between the full value and shortening. But in the greater part of the Rigveda final -I, -u are regularly short before dissimilar vowels, whilst the duals and adverbs in -a, if used with hiatus, retain the long quantity. In the popular Rigveda we observe a series of forms which formerly ended in -a, such as the duals, dthd and md, regularly used before hiatus and written in -o or -dv, the two endings being metrically equivalent : and there are traces of similar change in locatives of -i and -u stems, in the perfects of verbs in -a. (as paprd, papraH) and in words ending in -ai
A. 10
146 Problems of comparative grammar
and -au, which have a syllabic increase to -a u. These changes, so far as the evidence of the Rigveda goes, are of a phonetic character ■ and the very different explanations given by the writers on comparative grammar are not easily reconciled with the facts as given in detail above.
(iv) Protraction of final vowels of stems.
The amount of material available in the Rigveda is too small and not sufficiently homogeneous to lead to historical conclusions. Amongst final stem-vowels perhaps a majority have historical justification; and are therefore found in the earlier parts of the Rigveda : but phonetic lengthening is an increasing force, and is found at work on a still larger scale in the later history of Sanskrit (J. Wackernagel, Altindische Grammatik, §§ 41-43).
To the wider historical questions suggested by the changing quantities of the Rigveda only slight reference can be made here : a summary of the widely differing views of the writers on comparative grammar will be found in WackernagePs Altindische Grammatik § 266 c. Variant final vowels are found in Latin also on a large scale, and are attributed to the shifting of the accent away from the final syllable, with consequent shortening. According to this view the pre-classical writers of Latin comedy shew the later historical facts, whereas the classical writers almost everywhere restore the archaic long vowels, contrary to the ordinary pronunciation, for instance in redeo, dma. This example serves to emphasize the technical and, to some extent, arbitrary character of the sharp distinction usually drawn by the poets between long and short vowels. When the Rigveda indicates a long vowel in the neuters plural in -a, -l, -u it is perhaps faithfully recording an earlier stage in the language than that indicated by the occasional appearance of -a, -i, -n. But that the verb-forms in -a, -tJtd, -td, -dlil are in any absolute sense older than the forms in -a, -tha, -ta, -dhi we cannot venture to affirm on the authority of the Rigveda : it can only be said that the oldest Vedic writers most freely use the long vowels.
Many flexional endings employ forms with long and short final vowels side by side, and it is remarkable that the poets should use as regularly as they do a perfect in -ma but past tenses in -ma, an aorist imperative in -svd but a thematic imperative in -svay an adverb end but instrumental forms in -ena. The analogy of Latin might incline us to think that the long vowel is in all cases the older form : or again we might look to the accent as the original cause for the discrimination. But even within the Rigveda the shif tings of quantity cannot be systematically connected either with the position of the accent or with the effect of neighbouring heavy or light syllables. Only on a broad view of the whole evidence it may be said that the shortening of long final vowels is a phonetic tendency of early Sanskrit, and that the long vowels of the Sariihita text are not as a rule artificial protractions on metrical grounds, but imperfect records of an older stage of the language.
Table of quantitative changes
147
180. History of Quantitative Change in the Rigveda.
|
Refer to § |
Periods |
Arch. |
Stroph. |
Normal |
(Jretic |
I'op. |
|
|
Units of bulk |
19 |
•9 |
1-8 |
11 |
•9 |
||
|
All decreasing variations |
422 1 |
199 |
73 |
93 |
34 |
23 |
|
|
All increasing variations |
365 |
71 |
37 |
74 |
70 |
113 |
|
|
Eatio |
26 |
34 |
45 |
67 |
84 |
||
|
Decreasing Variations: |
|||||||
|
160 |
tu |
17 |
l2 |
2 |
5 |
4 |
0 |
|
>» |
ml (with nil cit) |
35 |
11 |
1 |
5 |
3 |
1 |
|
>> |
u |
51 |
14 |
9 |
5 |
5 |
3 |
|
su |
38 |
9 |
4 |
6 |
2 |
3 |
|
|
161 |
ddha |
45 |
11 |
10 |
3 |
4 |
7 |
|
»j |
yddi |
14 |
4 |
0 |
3 |
0 |
2 |
|
162 |
Imperative in -uhi, -hi, -dhl |
36 |
9 |
9 |
3 |
1 |
4 |
|
166 |
Compounds in purii.-, vasu- |
39 |
11 |
14 |
2 |
1 |
0 |
|
170 i |
Duals in -athe, -ate, etc. |
28 |
7 |
11 |
3 |
0 |
1 |
|
„ Ha |
usasam, etc. |
24 |
2 |
7 |
4 |
6 |
0 |
|
„ tie |
Forms in -manam, -vanam, -saham |
14 |
5 |
2 |
1 |
0 |
0 |
|
„ He |
Locatives in -av |
18 |
1 |
2 |
6 |
4 |
0 |
|
172 |
-a short before hiatus |
38 |
13 |
4 |
3 |
3 |
1 |
|
174 |
Duals short before hiatus |
25 |
8 |
4 |
2 |
0 |
2 |
|
Increasing Variations: |
|||||||
|
158 |
Gerunds in -tya, -ya |
4 |
0 |
0 |
1 |
0 |
3 |
|
159 |
Imperative in -a |
41 |
2 |
8 |
4 |
7 |
16 |
|
2 pers. pi. in -tha, -ta |
43 |
8 |
7 |
4 |
2 |
13 |
|
|
160 |
u |
61 |
5 |
6 |
7 |
10 |
24 |
|
161 |
yddi |
14 |
1 |
1 |
1 |
0 |
9 |
|
161 |
adyd |
21 |
1-5 |
1 |
3 |
7 |
3 |
|
163 i |
1 pers. pi. in -ma |
30 |
4-5 |
3 |
3 |
9 |
2 |
|
ii ii |
Perfect in -tha, -a |
25 |
3 |
2 |
3 |
8 |
3 |
|
n Hi |
Imperative in -svd (thematic) |
10 |
2 |
0 |
1-5 |
5 |
0 |
|
m iv |
Instrumental in -end |
25 |
1*5, |
1 |
4 |
5 |
7 |
|
ii v |
Adverbs in -trd |
37 |
3 |
2 |
4 |
6 |
16 |
|
171 v |
a u for -at, -au, -ah 3 |
32 |
3 |
6 |
3 |
2 |
16 |
|
172 ii |
-o for -a before vowel 3 |
22 |
1-5 |
4 |
1 |
2 |
12 |
|
163 vi |
yena, Una, etc., protracted |
37 |
7 |
7 |
4 |
2 |
8 |
|
„ vii |
Protraction in compounds |
56 |
10 |
10 |
7 |
10 |
4 |
1 This column shews the absolute number of variations.
2 From this point the figures shew the proportional number of variations for 5000 trimeter verses.
3 In any part of the verse.
10—2
148
Table of symbols
181. Tabular explanation of the symbols corresponding to the various positions in the verse.
|
Symbols |
Position |
Quantity |
||
|
Trim. v. |
Dim. v. |
Regular |
Preferable |
|
|
In. |
In. |
Initial syllable. |
[indifferent] |
|
|
2T |
2D |
2nd syll., the 3rd being long. |
long |
|
|
2t |
2d |
n „ M short. |
long |
|
|
3T |
3D |
3rd syll., the 2nd being long. |
[indifferent] |
|
|
3t |
3d |
,, ,, ,, short. |
long |
|
|
3e |
3rd syll. in epic reopening. |
long |
||
|
4 |
The fourth syllable. |
long |
||
|
4A |
4th syll., followed by caesura. |
long |
||
|
4B |
4th syll., the caesura following a long fifth syllable. |
long |
||
|
4b |
4th syll., the caesura following a short fifth syllable. |
long |
||
|
5 |
The fifth syllable. |
short |
||
|
5g |
5th syllable in Trochaic Gayatrl. |
[indifferent] |
||
|
5A |
5th syll., following the caesura. |
short |
||
|
5B |
5th syll., followed by the caesura, the fourth syllable being long. |
[indifferent] |
||
|
5b |
5th syll., followed by the caesura, the fourth syllable being short. |
long |
||
|
6 |
The sixth syllable. |
long |
||
|
6A |
Gth syll., after early caesura. |
short |
||
|
6B |
(>th syll., after late caesura. |
short |
||
|
7 |
The seventh syllable, not being final. |
short |
||
|
7g |
7th syll. in Trochaic Gayatrl. |
long |
||
|
7e |
7th syll. in epic semicadence. |
long |
||
|
7A |
7th syll., after early caesura, the sixth syllable being short. |
long |
||
|
7a |
7th syll., after early caesura, the sixth syllable being long. |
short |
||
|
7B |
7th syll. after late caesura. |
short |
||
|
8 |
The eighth syllable. |
long |
||
|
9 |
The ninth syllable. |
short |
||
|
10 |
The tenth syllable. |
long |
||
|
11 |
The eleventh syllable, not being final. |
short |
||
|
Fin. |
Fin. |
The final syllable. |
[indifferent] |
In trimeter verses containing rests (decasyllabic and defective verses) the syllables following the caesura are numbered to correspond to the ordinary rhythm : the ' rest ' is therefore counted as a syllable.
The quantity is tabulated as ' regularly ' long or short when it is so in nine cases out of ten or thereabouts : as ' preferably ' long or short when it is so in about three cases out of four. For a more precise statement in the case of final vowels see p. 111.
The position of a final vowel when followed by a consonant-group is not denoted by any oi the above symbols, but by Gb.
This table does not include all possible positions in Vedic verse, but only those that are of practical importance.
CHAPTER VII.
DIMETER VERSE.
182. The Rigveda contains some 15,000 dimeter verses, which make up about one-third of its whole bulk. The general character of dimeter verse and its principal varieties have already been described in §§ 18—41 above : its distribution amongst the 1 homogeneous groups ' is shewn in § 114. The statements already made, which will form the basis of the discussion in the present chapter, may be shortly recapitulated as follows :
(i) the general type of dimeter verse follows a metrical scheme of an iambic character, namely ^ - ^ — | s, •— v w varia- tions from this scheme being comparatively common in the opening of the verse and occasional in the cadence. Verses of this type are found (a) in the lyric metres which prevail in Group I and are fairly common in the other groups of the archaic and strophic periods, and in which trimeter and dimeter verses are combined in many different arrangements, (b) in Anustubh stanzas, chiefly in Group II (Atri and Vimada hymns), and less often in Groups III and V, and (c) in Gayatri stanzas in all parts of the Rigveda, but especially in Groups V, VI and VII ;
(ii) the * Trochaic Gayatri ' stanza substitutes a trochaic rhythm in the cadence, and is found most frequently in the Kanva hymns (Group V) ; and
(iii) the ' epic Anustubh ' stanza consists of two pairs of dimeter verses, in each of which the cadence of the first verse and the opening of the second approximate to the rhythm ^ — -.
In order to appreciate fully the history of dimeter verse, it is necessary to replace these general statements by definite measurements. For this purpose six groups of hymns are selected
150 Typical dimeter groups
for comparison in the table in § 185. These groups correspond generally to the 'homogeneous groups' defined in § 91, but are subject to the further restriction that each of them consists entirely of hymns in which dimeter verse appears in the form most characteristic of its group. Consequently Group I is represented exclusively by its hymns in lyric metres, Group II by its Anustubh hymns, Groups VI and VII by their Gayatrl hymns : the popular Rigveda by the hymns and fragments in which Anustubh is used without the admixture of Paiikti or Mahapankti. Trochaic Gayatrl, however, is represented by all the hymns composed mainly in that metre, without regard to the previous grouping : the larger part of these hymns belong to Group V. For epic Anustubh the forms which appear in the odd and even verses are tabulated separately.
The hymns tabulated in § 185 include rather less than half the dimeter verse of the Rigveda, but they are quite sufficient in number to illustrate the general character of the different kinds of verse ; whilst there is an obvious advantage in adopting every precaution for the homogeneity of the groups. In Group I hymns in Brhati-SatobrhatI are not included, because this metre is common to Groups I and IY: whilst Groups III, IV, VIII, and IX are altogether omitted for the present, because they contain comparatively little dimeter verse, and no distinctive metres.
For Trochaic Gayatrl it is necessary to disregard the grouping of § 91, on account of the small amount of verse composed in this metre. The list of hymns is given in § 197.
In metres other than epic Anustubh the rhythm of the different verses in the stanza is approximately but not exactly the same : see below § 186 (last paragraph).
183. The opening and cadence of dimeter verse appear to be independent, and may therefore be discussed separately. The quantity of the first and last syllables being indifferent, each part of the verse has eight possible forms. In the opening three of these forms are relatively common, and may be distinguished as the normal form (- — -), the iambic form (^ - ^ -), and the
syncopated form (- ^ ) : in all of these forms the fourth
syllable is long. The 'normal' opening, as appears from the table, is predominant in every form of dimeter verse, usually including rather more than one-third of the whole number of verses. The 'iambic' opening is almost equally common with it in the early Anustubh group, and again in the odd verses in epic Anustubh : but in the other groups it is distinctly less common,
Dimeter opening* 151
and in the 'reopening' (§ 41) of epic Anustubh it is only r.udv found. The 'syncopated' opening is rare in the early Anustubh and in the opening of the odd verses in epic Anustubh, but in the Gayatri groups it is comparable in frequency with the iambic opening, and in the reopening of epic Anustubh it is more than three times as common.
There are three corresponding forms with short fourth syllable :
of these the forms ^, ^ ^ - ^, are each about one-third as
common as the corresponding forms above, except in the reopening of epic Anustubh, in which they are relatively much more common : the remaining form - - ^ ^ is only about one-sixth as common as the corresponding iambic form, with the exception (as usual) of the reopening in epic Anustubh.
The forms of the opening which contain consecutive short syllables in the second and third places may be considered as irregular. They are not common in any part of the Rigveda, and least of all in the Gayatri and epic Anustubh groups.
A division into feet of two syllables is not traceable in the Rigveda, and therefore the usual terms applied to the Greek and Latin classical metres are unsuitable. There is some practical con- venience in speaking of an ictus which falls normally on the even syllables, but is transferred from the second to the third in the * syncopated ' form : and also in speaking of the ' general iambic rhythm ' of the verse as a whole : but it must not be assumed that the ideas which these words connote were present to the Vedic poets.
The division, however, into ' members ' of four syllables each seems to be fully established. The complete change of cadence found in Trochaic Gayatri has no effect upon the opening, except slightly to increase the frequency of all the less regular forms : whilst the change of rhythm in the reopening of Anustubh verse is accompanied, on the contrary, by increased strictness in the cadence. Even the adjacent fourth and fifth syllables appear to be without effect one on the other : for in the comparatively few cases in which the fifth syllable is long, the fourth syllable is also long in the usual proportion of three-fourths or more of the instances.
The opening of epic Anustubh corresponds almost exactly to the opening in the lyric metres, without the comparative preference for the syncopated form shewn by the Gayatii groups. In the reopening the distaste for the iambic and irregular forms is more marked than the preference for any special forms: but the three most common forms are those in which two out of the three distinctive syllables are long.
Of the irregular forms ^ w ^ — is ten times as common as^w ^, and therefore the former form in the first three groups is not very markedly less common than either of the forms — — v^ ^, — ^ — ^. More strictly therefore we should say that ^ w ^ ^ is irregular
152 Dimeter cadence
throughout the Rigveda, and ^ v^ ^ - in the Gayatri and epic Anustubh groups.
All investigators are agreed that the quantity of the first syllable is indifferent under all circumstances. According to my own calcula- tions, a long syllable is more common in this position, in the proportion of 11 to 10 : there is perhaps a slight natural excess of long syllables in the language.
184. Except in Trochaic Gayatri and the ' semi-cadence ' (§ 41) of epic Anustubh, there is only one regular form of cadence in dimeter verse, namely the iambic form vy - ^ -. In the lyric and early Anustubh groups all the variations from this standard taken together hardly amount to one-tenth of the whole number of instances : in the Gayatri groups they are only one-thirtieth, and finally in the full cadence of epic Anustubh only one- hundredth part of the whole. In every one of the groups the variation which differs from the iambic form only by shewing a short sixth syllable is about as common as all the other variations taken together.
In Trochaic Gayatri the most common forms of the cadence have trochaic rhythm, but the length of the seventh syllable is of more importance than that of the fifth. The iambic cadence is fairly common ; the forms ^ - and ^ ^ ^ * are rare.
In the semi-cadence of epic Anustubh the iambic form is still the most common, whilst the trochaic form is among the rarest : the rhythm therefore has little or nothing in common with Trochaic Gayatri. But whilst every possible form is permitted, the most
common after the iambic form is ^ *, and next to it ;
that is, the two forms in which both the sixth and seventh syllables are long.
Catalectic and heptasyllabic verses are much more common in Trochaic Gayatri and among the odd verses of epic Anustubh than elsewhere.
It is generally agreed that the quantity of the final syllable is in all cases indifferent. No exact method of measurement is available, as position is indeterminate.
The special cadence of Trochaic Gayatri can most easily be explained as borrowed from Tristubh metre. This explanation would also account for the comparative frequency of catalectic verses in this metre. It is therefore convenient to treat ' catalectic ' verses as shewing a variation of cadence, and the statistics indicate that 'heptasyllabic' verses should be treated in the same way.
Normal dimeter rhythm
153
185. Table shewing the distribution of the variations in Dimeter verse.
|
Lyric |
Anu§t- |
Troch. |
Gayatri |
Epic Anustubh |
|||
|
Groups |
I |
II |
Gayatri |
VI |
VII |
Odd vv. |
Even vv. |
|
Number of verses |
1275 |
1068 |
474 |
1578 |
1424 |
551 |
550 |
|
The openings: |
|||||||
|
Normal opening, se |
392 |
371 |
329 |
391 |
336 |
368 |
317 |
|
Iambic ,, , := _ ~ _ |
287 |
337 |
272 |
282 |
256 |
307 |
50 |
|
Syncopated „ , = ~ — |
114 |
111 |
144 |
155 |
184 |
111 |
189 |
|
- |
96 |
73 |
117 |
71 |
88 |
103 |
209 |
|
^ _ w s^ |
39 |
34 |
46 |
33 |
54 |
33 |
114 |
|
Syncopated, - ~ - *- |
42 |
39 |
46 |
46 |
61 |
49 |
103 |
|
Irregular openings |
29 |
35 |
46 |
22 |
21 |
29 |
18 |
|
The cadence : |
|||||||
|
Iambic cadence, * |
920 |
892 |
153 |
974 |
962 |
403 |
991 |
|
(with long fifth) ' * |
6 |
12 |
15 |
6 |
4 |
82 |
5 |
|
„ (with short sixth) *■» — r - |
42 |
56 |
25 |
11 |
20 |
62 |
4 |
|
Irregular cadence : |
|||||||
|
Trochaic, - ^ - - |
3 |
2 |
313 |
0 |
5 |
24 |
0 |
|
Syncopated, ~ |
4 |
4 |
213 |
1 |
3 |
44 |
0 |
|
Other forms |
12 |
22 |
252 |
4 |
5 |
313 |
0 |
|
Catalectic verses |
10 |
8 |
21 |
3 |
0 |
31 |
0 |
|
Heptasyllabic verses |
3 |
4 |
8 |
1 |
1 |
11 |
0 |
Note. All the figures in the body of this table are proportional to a bulk of 1000 verses.
186. The general rhythm which is found in lyric, early Anustubh, and Gayatri verse, and also as regards the opening in Trochaic Gayatri and in the odd verses of* the epic Anustubh and as regards the cadence in the even verses of epic Anustubh, may be dis- tinguished as the normal dimeter rhythm from the special forms found in the cadence of Trochaic Gayatri and of the odd verses of epic Anustubh, and in the opening of the even verses of epic Anustubh. In some particulars, as in the use of the openings
^ , ^ ^, * — w v, the normal rhythm is almost exactly
the same in every group ; but in the remaining particulars there are differences which, if not striking, are at least too large to be the work of chance. These may be summarized in the two contrasts, that (i) in the openings of early Anustubh the iambic form is more than twice as common as the two syncopated forms together, whilst in the Gayatri of Group VII it is only equally
154 Small dimeter groups
common, and that (ii) in the early Anustubh hymns irregularities either of opening or cadence are found in 15 verses in each 100, whilst in the Gayatri of Group VI they are only found in 5 verses in each 100. In both points there is approximate agreement between the lyric and Anustubh groups on the one hand, and the two Gayatri groups on the other, and the change seems therefore due to time rather than to metre. We have therefore the presumption of two historical tendencies, which may be shortly called (i) the increase of syncopation, and (ii) the diminution of irregularities. We proceed to trace the progress of these tendencies by examining them in several small groups of hymns which together include nearly all the dimeter verse of the Rigveda.
The groups chosen are 27 in number, and they are selected on the same principle as the larger groups in § 185, namely so as to be homogeneous both in period and metre. The groups contain on the average about 500 verses, but some of them are much smaller : in this way it is possible to bring almost all the dimeter verse in the Rigveda under review, though there are a few hymns in which the metres are so mixed as to elude classification. Of the 27 groups 20 use exclusively the normal dimeter rhythm, and 7 have one or other of the special rhythms.
The groups are composed as follows :
Archaic period : (1) Usnih, i 79 4-6, 84 7-9, 92 13-18, v 40 r-3, 51 5-10, 72, 78 1-3, vi 43, 51 '13-15, viii 12, 13, 15, 18, 23-26, 98 1-6, ix 102-106; (2) Atyasti and allied metres, i 127-139, v 87, ix 111 ;
(3) Kakubh-Satobrhati,' v 53, viii 19-22, 98 7-12, 103, ix 108;
(4) Uneven lyric metres, i 88, 120 1-9, v 24, x 22, 93, 105, 132;
(5) Anustubh of bk v, and also i 84 1-6, 158 6, 175 2-5, 176, ii 5, 41 16, 17, vi 2 1-10, 14, 42 1-3, 44 1-6, 59 7-ro, viii 69 1-3, 7-16, 70 14, 74 13-15, 89 5-7, 95, ix 98-100, 101 4-16, x 21, 24 1-3, 25, 26, 143;
(6) Brhati-Satobrhati, i 84 19, 20, v 56, vi 46, 48, viii 17 14, 15, 27, 60, 61, 66 1-14, 69 17, 18, 70 1-12, 71 io-r5, 77 10, n, 78 n, 87-89 4, 90, 97 1-9, 99, 101 ; (7) Gayatri of Group I, viii 14, 17 1-13, 28, 31 i-t4, 43-45, 102 1-18; (8) Gayatri of Group II, i 2 4-6, 3 1-3, 7-12, ii 41 1-9, viii 38, 92, 93, ix 101 1-3, and in bk v and viii 60-79 ; (9) Gayatri of Group III, in i 74-93 and vi ; also i 172, viii 80 1-9, 82-85; (10) Trochaic Gayatri (see § 197 i) ; (11) Paiikti and Mahapankti, i 80-82, 84 10-12, v 6, 75, 79, viii 31 15-18, 62 r-6, 10-12.
Strophic period : (12) Brhati-Satobrhati, in i 36-50, vii, viii 1-11, 33 1-15, 49-54, and ix 107; (13) Gayatri, i 14, 27 7-9, 30 1-6, viii 32, and in the sections just named ; (14) Trochaic Gayatri (see § 197 ii).
Normal and cretic periods : (15) to (20) Gayatri in six groups, as shewn in the table; (21) lyric hymns and verses in bks iii and iv (see § 94 i); (22) Anustubh etc. of the normal period, i 10, 11, iii 13,
Syncopation 155
21 a, 3, 22 4, 53 ia, iv 7 2-6, 37 5-8, 47, 48, 57 1, viii 39-41, 42 4-6, 47 1-12, x 131 4, 133, 134; (23) Anustubh etc. of the cretic period, i 28 1-6, 29, 105 1-6, 9-18, 142, iii 8 1-9, x 62 5, 8, 9, 176.
Popular Riuveda : (24) Scattered lyric verses (see § 94 i) ;
(25) Gayatri, i 23 16-18, 93 9-11, 97, iii 28, 52 i-4, viii 33 16-18, 102 19-22, x 9 6, 7, 57, 60 1-5, 101 4, 6, 119, 153, 158, 175, 186, 189;
(26) epic Anustubh hymns and fragments, see § 198 ii and iii;
(27) hymns in mixed Anustubh, Pankti and Mahapankti, see § 198 i.
In the Anustubh groups the variations in the odd and even verses are distinguished throughout : where Pankti and Mahapankti are mixed with Anustubh the additional verses added to the respective distich s are reckoned as even verses.
For other metres this distinction is not made in the table. In all the lyric metres irregularities are twice as common in verses beginning a distich as in those concluding it : in Gayatri those in the first, second, and third verses are respectively in the ratios of 5, 3, and 2, in all parts of the Rigveda. As to verses of four syllables see § 192.
187. With regard to the developement of syncopation it appears from the table in § 195 that in the archaic period the Usnih, Kakubh-SatobrhatI, and uneven lyric groups are sub- stantially in agreement with the early Anustubh hymns : whilst the Atyasti and Brhatl-Satobrhatl hymns, and the Gayatri hymns of Group III, do not widely differ from them. In the strophic period the Brhatl-Satobrhatl and Gayatri hymns, and in the normal period the Gayatri hymns of ix 1-60, do not widely differ from the early Anustubh hymns. In all the groups named, then, the iambic forms preponderate largely over the syncopated forms.
On the other hand the syncopated forms are relatively common in two of the Gayatri groups and in the Pankti- Mahapankti hymns of the archaic period, and in all the groups of the normal and later periods except in ix 1-60.
Although the increase of syncopation is therefore not equally observable in every group of the normal and cretic period, yet it is very marked in the hymns of these periods considered as a whole. This increase appears to continue in the popular Rigveda, so far as can be judged from the small amount of verse in the lyric metres and in Gayatri : for in groups 24 and 25 the syn- copated forms decidedly outnumber the iambic forms.
The occurrences of the iambic and syncopated openings are far too numerous to be recorded separately : but more detailed information is given in the * Table of hymns ' at the end of the book.
156 Irregular forms
188. As regards irregularities in the opening the groups of the archaic period shew great uniformity, the irregularities being generally about 3 per cent, of the whole number of verses. In the strophic, normal and ere tic periods the proportion is generally much smaller, but in the popular Rigveda it increases. In Anustubh irregular forms are generally more common in the odd than in the even verses. As the variation is in all cases between narrow limits, it is of little importance in comparing the groups.
Irregularities in the cadence shew much greater variation. In the archaic period departures from the normal rhythm reach the proportion of 38 per cent, in the uneven lyric hymns, so that the cadence in this group must be considered as constituting a special type; it is discussed further in § 196. In the odd verses of early Anustubh, again, the variations reach 13 per cent. : the general average of the archaic period is 7 per cent., whilst the hymns in Gayatri, Pankti, and Mahapankti are much more regular. In the strophic period the average is only slightly less. Later we find that the two Soma groups ix 1-60 and 61-67 shew an extreme regularity, whilst the Kusika groups i 1-30 and iii do not greatly differ from the standard of the earlier periods. In the Anustubh hymns of the cretic period irregularities in the opening of the odd verses are many times more common than in the even verses. In the lyric and Gayatri hymns of the popular Rigveda irregularities are again common.
The irregularities of the opening^ ^ ^ ^) are substantially of the same type as the chief irregularity of the cadence ^ ^ ^ - : but the latter occurs the more commonly. If language appropriate to the classical metres may be permitted, we should say that in each case a short syllable bears the ictus. But in detail there is a remarkable difference. In the opening the short second syllable which bears the ictus is very often one which contains a final vowel: in the cadence the short sixth syllable is almost always an initial syllable.
For the cadence of hymns in the uneven lyric metres see below, §§ 191, 196.
For the 'short syllables which bear the ictus' a quantitative explanation has often been sought, but as it would seem, wrongly. The final vowels found in the second place have been thought, either for some specific reason or merely as final vowels, to have some special suitability for positions which call for a long syllable : but if this were
Irregular openings 157
so, we should find them used also in the third place to make up syncopated openings, and in the sixth place : whereas they are extremely rare in both positions. Again the initial syllables which occur in the sixth place have been supposed to have some special affinity to long vowels, and it has been noticed that the same initial syllables frequently recur in this position. But it has not been shewn that in any case any very large proportion of the occurrences is found in the sixth place : and as in the previous cases, it is noticeable that these syllables are very rarely indeed found in the second or third place of an irregular opening.
It is of the essence of quantitative length that it determines the position in the verse, and is not determined by it : and by this test all the syllables in question are genuine short syllables. In the lists of occurrences, however, attention is called to the special forms and words which have suggested a quantitative explanation.
If we consider that irregularities of both kinds are most common in the earliest parts of the Rigveda, it becomes probable that their later use was largely due to reminiscence, not indeed of the older practice as such, but of individual instances of it : and this may account for the apparently arbitrary difference between the two irregularities. At the same time a reciter would be tempted to give an artificial intonation to words so occurring, and this is probably represented in the text by the long vowel or form in -o for which in many cases we have seen reason to restore a final short vowel (§§ 167 iii, 171 iv, etc.).
189. The irregularities in the opening are about 350 in number. In one-third of the instances the second syllable contains a short final vowel, or -a as representing final -ah or -e ; but only in some 20 instances is the third syllable of this character. In several instances the text gives a long final vowel in the second place, or substitutes -o for final -a (§ 171 iv). In addition there are about 50 instances of uncertain or ' protracted ' final vowels (§§ 162, 163) in the second place where the third syllable is short.
The occurrences may be grouped as follows :
(i) The second syllable contains the final vowel of a word or of the prior element of a compound, or -a representing final -ah or -e : i 4 3c1, 10 4b2 4c3, 13 11a4, 22 2a 18a, 23 15a5 *24b, 28 2b6,*30 20a7, 37 13a, 74 6a8, 81 2a, 91 13c1 15b, *93 3c, 105 5c1 6a1 15b, 127 10d9 lid, 129 3c10 8c1, 130 3gl 5c, 134 6d5, 142 11a4, 158 6a, 175 la, 187 4a; ii 6 4b11 8b, 7 2a1, 41 flOb12; iii 24 2a7, 51 11a7; iv 9 4b5 5a 6b, 30 8b, 31 |4a12 5b13, 32 lib, 52 lc1 3a14 6c1; v 6 9c5, 19 2b, 20 4c1, 27 4a7, 35 3a7, 50 2b8, *51 14c, 52 5b1 8b, 61 3c 4c, 74 6a, 82 7c 9c8, 87 ed1; vi 2 10a, 16 25b, 45 31a6, 47 23c'5 24a16, 48 12b1, 56 6b7, 59 9c1, 61 lib, *75 12c1 ; vii 32 |24a12; viii 2 27a 36c1, 4 lid8, 5 14a, 6 25b1 31c5 47a, 7 10a, 12 27b 31b1, 13 9a5 12a 28c8, 16 4a, 21 9a1 15a7, 22 9a, 24 9a 14a17 30c1, 26 lib5, 27 15b7, 28 5c'8,
158 Irregular openings
30 la19 32 10b 17a1 19c, 33 13b *17c5, 34 lc = 2c = 3c', 46 19b 22e16 27a7, 54 7a, 56 lb1, 61 16b, 65 5a, 68 Id 10c, 69 13a, 72 4a 12a1, 74 4d1 7b7 7c, 78 lb, 79 lb 9d\ 81 8a, 83 7a6', 88 5a, *91 3b6, 92 2cl, 93 20a 34a1, 98 5a2, *102 19a19; ix 3 7a20 8a20, 9 7c, 15 la20 2a20 3a26 6a20, 23 3b1, 27 la20 3a20, 28 2a20 4a20, 57 4b5, 61 3a10, 62 la7 11a20, 63 4a7 9b1, 67 9c2, 99 4c5, 100 la12, *114 3a; x 26 2a 5b, *58 7a7, *86 20a3, 93 13c, *97 3b *17a4, 102 lb1, *119 6a19*lla, 126 2a, 127 7c1, 132 2d2, *137 6b1, 144 3b, 171 2b1, *172 3a, *174 2c2, *186 lb.
1 Final -a or -o for -ah. 2 abhi. 3 -a neut. sing, of stem in -an.
4 dva. 5 utd (text utd). 6 ddhi. 7 Final -e before vowel. 8 ca.
9 prdti. 10 pari. u vdsupati. 12 abhi (text abhi). 1S ha (text ha).
14 utd. 15 ddsa (text ddso). 16 ddsa. 17 lipa (text iipo). 18 saptd
(text saptd). 19 nahi. 20 esd.
(ii) The third syllable contains a similar final vowel : i 8 9b1,
*23 16b1, 26 5a 9b, 84 2b, 86 7b1, 129 lc, 142 4a1, 172 lc1 2b1 ;
*iv 57 5b; v 5 3a1, 67 lc 2b t5b3, 71 lb 2b 3b; vi 44 la,
45 26b; vii 66 3b 8b; viii 19 23c1, 31 5b1, 47 lb, 62 2a1, 67 4b,
69 lie1, 93 9b1; x *90 2a1, 126 2b, *146 6a, *158 lb1.
1 Final -ah. 2 abhi. 3 reading vdruna, § 166 i.
(iii) Other instances : i 5 lb, 12 4a 7c, 16 4b, 25 5b, 37 2a, 38 9c, 42 3c, 46 12a, 84 4b, 105 6b, 127 7g, 128 le, 130 4d, 137 2g, 150 2a; ii 8 5a; iii 62 10a; iv 32 24b, 37 5a 6a; v 7 2d 3a 7d 8b, 18 5e, 27 4c, 35 8b, 39 4c, 52 3c 10a, 65 4d, 66 la 2b, 68 4a, 74 lc 4d, 82 la, 86 2a, 87 8d ; vi 16 19a, 45 17a, 48 5b 14b, 54 8b; • vii 32 7b 15b 20a, *55 5d, 59 9a, 6Q 7c 12d, 96 lb ; viii 2 3b 9a 26c, 4 14b, 5 35c, 6 46a, 8 23a, 11 2a, 13 2a, 18 7b, 19 5a 5c 14b, 22 7b, 23 4b, 24 6b, 25 14b 19b, 26 24b, 31 12a 16a, 33 6a 14b, 36 7c,
37 7c, 41 4a 4d, 45 31a 34b, 46 4b 8d, 62 4d, 66 8b, 69 5a, 71 2c 8b, 72 8a, 83 3b 3c, 84 2a, 89 5c, *91 lb, 92 lb 8c, 93 14a, 94 la, 101 5b, 102 13b *19b, 103 3b ; ix 7 lb, 12 9a, 13 2b, 14 6c, 17 4a 8c, 23 3a, 24 3a, 63 21b, 64 20b, 65 3a 14a 30a, 66 2b 20a, 67 14a, 98 2c, *112 3a, *113 6b; x *59 8d = *9e = *10e, *85 35a, 93 12c, *97 5d *15a *22a, *136 3a *6a, *141 5a, *145 6c.
(iv) * Protracted ' or other vowels of doubtful quantity are found in the second place in dimeter verse as follows : i 22 4b, 25 8c 9c, 27 3c1, 36 15a1, 42 5c, 50 6a, 80 3a1, 129 9b1, *133 2c1 ; iii 45 lb1 ; iv 48 Id1; v 35 5c, 61 13b 14b; vi 16 3a 14c 17a 17c *48c; vii *55 7c; viii 3 11a1, 12 2a 2c, 17 10b, 19 16b 20b, 20 26b, 24 24a, 34 3a,
38 2b, 46 25b1, 60 9a1 9b1 9d', 63 10c, 67 6c, 78 lOd1, 93 31b1 ; ix 61 19b, 101 la, 111 2e; x *72 7c, *97 7a, 126 2c, 176 lc2.
1 Imperative in -dhi, -hi. 2 Neut. sing, in -a, § 175 i.
The distinction between final short vowels and those which are specially ' capable of protraction ' cannot be satisfactorily drawn : but it will be noticed that the number of the latter is not sufficiently large to affect the general conclusions drawn in this chapter with regard to the irregular openings.
190. Quantitative variations in normal dimeter cadence are increasingly rare in proportion as they deviate from the standard
Irregular cadence 159
form. Hence the most common variations are (i) the long fifth syllable — ^ -, and (ii) the short sixth syllable ^ ^ ^ * The long seventh syllable is, however, a rare variation.
The trochaic variation - ^ - -, and the syncopated variation v^ ^ - * are both rare ; they may in some cases be due to the influence of Trochaic Gayatrl, in which they are the most common forms.
In the sixth place the initial syllables of words like ajdra, arusd, dvase, gtihia, martitah, vdruna, sdvase, hdvia, occur with considerable frequency, but it is not clear that this frequency is disproportionate to their occurrences in other parts of the verse.
The irregular forms of the cadence occur as follows :
(i) Long fifth syllable: i 10 la 2c, 12 5c, 24 4a1, 25 16b, 28 8b, 29 7a, 36 15a, 37 la 5b 11a, 42 10a, 43 8c, 48 3a, 90 2c, *97 4a, 175 4d; iv 30 21c 24c, 31 7a; v 6 la 2d, 7 8a, 17 2b, 38 2c, 50 5b2, *51 14b, 53 4a, 61 15b1, 64 2b, 65 2b, 70 3a, 73 4a, 79 2a, 82 4b 7a, 86 6b; vi 46 5d, 54 7a ; vii 81 5b, 94 12a 12b; viii 1 5a, 2 15a 38a, 4 13a, 8 20a 21c, 9 2a, 10 5d3, 12 20c 24a, 16 9a, 19 36c, 22 Id 18b, 25 16a', 28 3b1, 32 25c, 39 6a, 46 27b, 47 12a 12c, 54 Id, 55 4a, 56 2a 4a, 60 3a 19a 20d, 62 9c, 67 7a 18a, 70 lid, 80 4c, 84 9a, *91 3b, 92 7a, 101 2b, 102 lie; ix 5 7c, 15 la, 19 5a, 29 la, 30 2a, 40 lc, 52 2c, 61 2a1, 62 21c, 98 7c, 107 8a 26b, *113 6b; x *16 14d, 22 lb lc 9b, 26 2c 5a 6a, 62 5c, 93 lc Id 2c 9c, 105 3a, *119 lc = *2c = *3c, 126 3c 3d, 127 4a, 144 lc, *153 3c, *158 2a, *175 3c; and frequently in the semi-cadence of epic Anustubh and the allied metres.
1 itthd. 2 see on rathas, § 151 iii. 3 dthd (text dtha).
(ii) Short sixth syllable: i 1 2a, 3 6b, 6 la, 7 4a, 8 6b, 9 9a, 10 7a, 15 7a 10a, 16 la, 17 2a, 18 la1 3a 9c, 22 3a 6a, 24 3a, 25 7b 9b, 27 9b 9c, 28 2a, 30 3b 4a 17a 21c, 36 5a 13b, 37 8a 13a, 38 3b 5a 10a 14b, 42 4c 9b, 43 7a, 44 la, 46 4a 5b, 48 la, 80 10a, 84 2b 7a 20b2, 86 lb 8b 9a, *97 la *lc = *2c = *3c, 105 4a 5c 8a 15a 17a, 127 3d 3g 4c 5d 5g 9g llg, 129 lc 3e 10c lOd, 132 Id, 134 2d, 137 le 3d, 150 2a 2b, 176 5b, 187 2b 7a; ii 41 4a3; iii 9 la 7b, 11 3c, 13 2d 6a, 24 la, 27 10c 13a, 37 la, 40 7a, 41 8a, 45 la, 51 lib, *52 2a, 59 8b, 62 14b; iv 1 2c, 15 7c, 30 9a, 32 4c, 37 6a 6c, 48 lb, 52 lc 2a; v 5 9c, 6 4b, 7 2a 2b 3c 4d 5d 7d, 9 3b 4d 5d 6c t7a4, 17 Id 4b 4c, 18 lb, 20 2b, 22 3c 4b, 25 la 3b, 26 9b, 28 4a, 35 la, 38 2b, 50 la lb 2b 2d 4a 4d 5a, 52 2a 5b 10a 10b, 53 12c 16b, 61 3c 7a 9d lie, 64 4a3 5d 6a 6b, 65 3a 4d 5a 6b, 66 5a, 67 2b, 74 5a, 78 2b, 82 4a 5a 6a 9c, 84 lb Id, 86 la 5b11 6e 6f, 87 le 4d 8e; vi 2 2c 4b 4d 7b 9b 9c, 14 Id 2b 3a 4c, 16 17c 18c 38a 42b 42c 45c, 44 3a, 45 23a 29c, 46 9a lib5, 47 24c, 48 3a 8e, 53 8c, 61 4c; vii 16 Id 5a, 32 15d 24d, 59 la lb 11a, 66 la 2b 2c 4a 6a 7a 8b 9a 12b 12d 14d 19a3, 94 8a; viii 1 5b6 21b 29a, 2 lb 35b, 3 la, 6 35c 42c, 7 la 2b 14b 34a 35b, 9 lb 20a, 11 2a 6a 9a, 12 14a 19a 26b, 13 12c 13a, 14 7a 13a, 15 9b, 16 2b 8a, 18 4a 5a 9c, 19 3a 9c 35d, 20 17c 18d 20d, 22 7b, 23
160 Irregular cadence
4b 11a 19a 26a, 24 7a 20a, 25 2a 3b 4a3 4b11 10a 14a 18b, 26 25a, 27 5a 13a 18b 21a, 29 8b, 30 3a, 31 5a 12b, 32 10c, 33 14b, 34 la, 39 lb, 40 9c, 41 5c, 44 21a, 45 7b |22a7 37a |38a7, 46 lb8 2b 9b 10b 24dB 29b, 47 10a, 50 4d, 53 7a, 60 7a 10b, 61 8d 14b, 63 4a9 4d 10b, 66 9a, 67 13b, 68 4b 11a 18b, 69 la 12a 16d, 70 5b 6b 8d 10a, 71 14a, 72 2c 6c 7b 13c 17a3, 74 la 7d, 77 5a, 78 7a 7b, 80 4a, 82 8b, 83 3c, 84 5a, 89 3a, 90 la, 92 10a 14a, 93 33b, 94 la 4b 5b, 98 7c, 99 7a, 101 3a3 4b, 103 10b; ix 1 6b, 11 4a, 16 2a, 23 6a, 24 7b, 29 5a, 48 3a, 51 3c, 55 3c, 58 2b, 61 9b, 64 lc, 66 19a 21a, 67 25a 26a, 98 6a, 101 |3a4 5a lie 13d, 103 5b, 105 4b, 106 lb 6c, 107 lOd; x 20 7a, 22 5b 7c lOd, 24 t2a12, 25 le, 33 2a, 62 5a 10a10, *90 2b, 93 3c 6d, *101 4a*6a, *102 Id *12a, 105 8b, 118 6c, 126 la Id 6c, 132 2c, 133 6d, 143 la 3d, *153 3b, *155 5b, 156 4a, *166 5e, *173 3b, 176 lb, 185 3a; and frequently in the semi-cadence of epic Anustubh and the allied metres. 1 reading somanaam su-draiiam. 2 text carta. 3 reading mitra varuna.
4 text abht. 5 text avd. 6 § 142 iii a. 7 vrsabha (text vrsabha). 8 § 142 iii 6. 9 see § 166 vi a. 10 see § 167 i. ir§ 174 i a. " 12 see § 151 iii.
(iii) Trochaic ending (-w-*): i 3 11a, 9 5a, 17 3a, 18 3b, 44 2b, 120 2c 6c 7a 7d, 134 5e, 142 7a, 158 6a, *191 lOd *10f *lld *llf *12d *12f ; iii 11 6b, 24 lc, 27 6b, *28 lb *6b, 59 8c ; v 5 4a 5a ; vii *55 2a *3a; viii 9 15a, 14 8a, 24 19a, 27 2d, 29 7b, 30 2c, 32 24a1, 39 6b2, 46 2c, 94 lb 9a ; ix 101 12c, 105 la, *113 4b; x 25 9e, 93 13d, 132 5c, 140 3d.
1 reading in. - reading vwrtidndm and omitting apiciam, § 152 i.
(iv) Syncopated ending (vv - *) : i 3 8c, 10 6d, 28 la, 37 lib, 46 3a, 91 15a, 134 5d, 142 2a, 187 lie lid; ii 41 7a1 ; iii 12 5b, 27 3c, 62 12a 15b; v 5 11a, 20 4d 4e, 51 9a, 61 18b 19a, 72 3a, 74 2b1; vi 47 23a; viii 8 21a, 9 9a1, 20 8d, 25 10b1, 26 2b1,
39 3c, 46 29a, 68 8a, 70 13b, 76 lib, 85 la1 9a1, 98 12a; ix 5 2a,
40 4a, 59 3a, 61 9c; x 126 4a.
1 reading luiasatyd.
(v) Irregular endings (— ^ ^ ^, except where otherwise noted) : i 4 8b, 6 10c, 43 3a, 74 8b, 75 5a, 80 lOd lid, 84 2a, 88 lc, 105 16a2, 127 7c, 129 2d 2e, 150 la1, 175 3a, 187 lb 5a, 188 5a2 11a2; iii 24 5c, 27 lib, *28 2a *3a\ 40 3b2, 59 7c, 62 14a; iv 30 14a, 32 3a1, 46 3a; v 5 7b 10b2, 7 la2 7c3 10d\ 9 la1 4c, 25 2a2, 50 3a, 51 8a2 10a, 52 8a1, 53 12a1 12b, 61 la, 64 7a, 65 4b, 72 2a1, 74 5d 6a1, 75 5a, 84 2c1; vi 2 2a, 44 4a, 46 12d!, 47 24a; vii 16 la, 32 18b1 18d\ 66 7b 18a, 74 5da ; viii 1 30a24, 3 19dJ 24a1, 10 3c, 12 6c5, 13 la1, 14 2a2, 18 8a 17b 20a, 19 32a, 25 24a1, 30 2b2, 33 la1, 36 Id = 2d = 3d, 38 5a, 39 9a1, 43 11a1, 46 21d' 24a, 49 7a2, 51 la, 69 11a1, 74 2a1, 85 8a, 89 5b1 5c, 93 3b, 98 8b2, 99 7b, 101 5a1, *102 22a, 103 7b 12a 13c1; ix 33 6a, 40 3a1, 47 2c, 67 27a 28a2, 98 7b1, 101 6a 16a, *113 6d; x 21 7c5, 24 3c5, 25 5c5 6e5 8c5 9c5, 26 7c1, 93 13a1, 105 6b, 118 8a1, 126 2c1, *158 la1 *3a *4c1, *175 la *lc, 187 5a.
1 ending ~ — - (epic cadence). 2 ending -. 3 § 151 iii. 4 see
§ 158 v. 5 These verses, with the verses of four syllables which follow, make
up trimeter verses with regular rhythm.
The trochaic, syncopated, and irregular endings are also used in Trochaic Gayatrl and epic Anustubh as shewn in § 199.
Syllabic variations 161
191. Syllabic irregularity usually takes the form of the catalectic verse, with the cadence ^ - - : this is fairly frequent in one or two hymns, and seems in these to mark an attempt at a new metre, in which the eighth syllable is replaced by a 'rest,' and the cadence is therefore the same as that of Tristubh verse. Any such hymns belong to the archaic period. Outside these few hymns catalectic verses are not very common.
Other verses of seven syllables (heptasyllabic verses) are com- paratively rare, and it seems probable that in most cases some metrical restoration is required.
Verses of nine syllables are very rare, and hardly seem to be intentional.
Perhaps the only typical hymn in catalectic dimeter metre is x 26 (Anustubh). Here out of 36 verses 23 may be, and 11 must be, measured as catalectic or heptasyllabic : even the smaller figure is too large to be due to chance. In viii 68 14-19 (Gayatri) there are 3 catalectic verses out of 16, if we read a-arkse for drkse in 16b (§ 151 i). The number of such hymns is, however, very large if the syllabic restorations discussed in Chapter V are not accepted.
In uneven lyric verse the proportion of catalectic and heptasyllabic verses is very large, and this may be directly due to the influence of the Tristubh verses in the same hymns. Hymns i 120 1-9, x 22, 105 are most noticeable in this respect.
In Trochaic Gayatri and epic semi-cadence verses of seven syllables are not uncommon, but this seems to be due to the general irregularity of rhythm, as shewn in § 185.
In normal dimeter verse the instances of syllabic irregularity are as follows :
(i) Catalectic verses: i 29 3b, 127 lOd lie, 128 7g, 129 5g 8e, 132 6e, 134 3d, 172 la, 175 lc, 176 5c, 187 7d, *191 9b *12b; iii 8 3c, 13 lb; iv 15 7a, 30 9b, 48 2a; v 7 8c lOe, 27 5c, 35 2a 2b, 38 3b, 52 16a, 86 5a; vi 14 2a, 45 29b, 47 23c; vii 66 2a; viii 4 7a, 10 4a, 17 11a, 18 15a, 25 13b 22b, 28 4a, 31 2a, 39 2d, 46 lib 22e, 61 16d, 68 17a, 70 7a, 72 2a 7a, 74 13a, 75 2a 8b, 103 2a 13b; ix 12 3b, 21 5c, 53 la; x 140 12a1, 176 4c.
» § 152 ii.
(ii) Heptasyllabic verses : i 6 4a, 105 5a, 132 6d, 175 4c ; iii 62 16a; v 7 10c, 50 2a, 86 6a; vi 16 2b, 60 4a; viii 24 30a, 25 23a, 26 5b, 31 10c, 46 32a, 50 9a, 64 la, 69 8a, 71 10b, 74 4c 8a, 84 la, 98 4b; ix 18 7b, 98 8a, *113 5b; *x 119 11a, *164 5c.
(iii) Of hypersyllabic dimeter verses hardly 20 are to be found in the Rigveda : many of them may be removed by restorations already suggested, as *i 191 6a (prthvi, § 151 iii), iv 48 lc = 2c = 3c (candrd § 84 A 1), v 61 1 6c (yajfiyasah, § 135), viii 19 37a (prayi-vayi-yoh § 152 ii), x 20 2a (omit agnini § 152 i). The following instances are not so easily remedied, and seem rather to indicate careless composition :
a. 11
162 Verses of four syllables
i *126 6a, 187 11a lib, *191 16d; v 7 7d, *51 15a; viii 3 21d ;
ix 67 30b 30c; *x 85 46c, *158 2b *2c. These instances are
not included in the tables.
(iv) Defective verses containing only six syllables are found in i 187 la, viii 102 7a, x 93 2b.
192. The rhythm of verses of four syllables is closely associated with that of the cadence of dimeter verse. These verses are seldom recognized as such in the native tradition, but are considered as forming, with the dimeter verses to which they are attached, complete trimeter verses. The difference can as a rule be readily detected by the rhythm.
Thus the native commentators do not distinguish the two forms of Usnih metre, nor is it possible to do so confidently in all single instances. But if we compare verses such as
yena hdmsi ni atrinam \ tdm imahe viii 12 led dturtadaksa y vrsaria vrsanvasu viii 26 lc
we observe that the first has the rhythm which is regular in dimeter verse, the second that which is regular in trimeter verse : and if the former rhythm is regularly repeated throughout the hymn, and a break also regularly follows the eighth syllable, there can be no doubt that we have before us the combination of a verse of eight syllables with one of four.
The great majority of verses of four syllables occur in this ' Dimeter Usnih ' metre, which may be regarded either as a shortening of the Anustubh stanza or an extension of the Gayatri stanza.
Dimeter Usnih is found in i 84 7-9, 91 17, iii 10, v 51 5-7, 8-10, vi 43, 51 13-15/ viii 12, 13, 15 4-6, 18 t-9, 98 4-6, ix 102, 106 1-3. Verses of four syllables otherwise combined are found in *i 191 13, ii 22, *vii 55 2-4, viii 46 7, 18, 62 7-9, 97 n, 12, 98 10-12, ix 60 3, 109 22, x 21, 24 1-3, 25, 126 1-7, 172.
Dimeter Usnih hymns cannot be quite strictly separated from those in the corresponding lyric metre. Thus the hymns named above contain the following trimeter verses : iii 10 6c, viii 12 28c = 29c = 30c, 13 13c 15c; and other Usnih hymns contain verses which are capable of being analyzed as above.
There are about 150 verses of four syllables in the Rigveda. All of them have strict iambic rhythm (as tdm Imahe above) with the following exceptions. In i 84 7-9 the refrain is indra angd which (if it is metrical at all, and not a prose formula) has trochaic rhythm. In ii 22 (in wThich the division into verses is very uncertain) we find tuvisusmah, sdti/a induh ; in vi 51 1 5d gopti amd : there being altogether eight occurrences of these variations.
The rhythm seems to leave no doubt that the four-syllable verse is derived from the latter half of dimeter verse. The occurrences are
Regular parts of the special types 163
almost entirely restricted to the archaic period, except in the hymn *vii 55 2-4 in the popular Rigveda.
Verses of three syllables appear to be attached to stanzas consisting of two dimeter verses in v 24 2, 3, 4.
193. In Trochaic Gayatri syncopated forms are fairly frequent in the opening. As however all the less regular forms of the opening are rather more common in this metre than elsewhere (Table, § 185), this'is no clear indication of date.
In the hymns of the archaic period the iambic cadence is still found once in every five verses, but in the strophic period it is only half as common. The characteristic forms of the cadence are discussed in § 197.
194. In the epic Anustubh of the popular Rigveda, whether pure or mixed, the opening of the odd verses is similar to that of the early Anustubh, the iambic opening being twice as common as the two syncopated forms together. This reversion to a rhythm which appears in the interval to have gone out of use is remark- able. It seems unlikely that there is any conscious imitation of older forms, for the whole growth of the epic Anustubh rhythms is so gradual that the idea of deliberate choice seems to be excluded. The renewed favour given to the iambic form in the opening must therefore be due to the instinctive reaction resulting from the growing tendency to exclude this form from the semi- cadence and the re-opening.
The cadence in the even verses is extremely strict in the Anustubh of the cretic period and in pure epic Anustubh, the few variations that occur consisting exclusively of occurrences of the long fifth and short sixth syllables. In the mixed Anustubh of the popular Rigveda variations are rather more common.
The forms of the semi-cadence and re-opening in epic
Anustubh, and the stages of the transition from the ordinary to
the special rhythm, are further discussed in §§ 198, 200.
Of the irregularities in the full cadence of mixed Anustubh verse in the popular Rigveda a large proportion are found in the Mahapankti stanzas i 191 10- [2. These verses, though rudely dimeter, are not in accordance with any known Vedic metre. Trochaic endings are common, both in semi-cadence and cadence, and the last verse of each stanza, as it stands in the text, begins with the unaccented word tua. Further the stanza that follows (13) is so irregular that it cannot be brought under any scheme. If these stanzas are left out of account, we tind much the same regularity in the cadence of mixed Anustubh and of pure Anustubh hymns.
11—2
164
The small dimeter groups
195. Table shewing the metrical character of the small dimeter groups.
|
Group |
No. of verses |
Opening |
Cadence |
|||
|
Iamb. Sync. |
Irr. |
Irr. |
||||
|
Archaic period : all hymns |
5763 |
28 |
17 |
3 |
7 |
|
|
1 |
Usnih |
691 |
30 |
17 |
3 |
9 |
|
2 |
Atyasti |
402 |
25 |
16 |
3-5 |
8 |
|
3 |
Kakubh- SatobrhatI |
315 |
26 |
12 |
3 |
7 |
|
4 |
Uneven lyric |
121 |
32 |
10 |
3 |
38 |
|
5 |
Anustubh: odd verses |
638 |
33 |
16 |
4 |
13 |
|
,, even verses |
661 |
33 |
15 |
2-5 |
8 |
|
|
6 |
Brhati- SatobrhatI |
458 |
26 |
16 |
2 |
7 |
|
7 |
Gayatri : Group I |
512 |
22 |
18 |
1 |
4 |
|
8 |
„ II |
915 |
24 |
21 |
3 |
6 |
|
9 |
„ HI |
551 |
26 |
18 |
3 |
5 |
|
10 |
Trochaic Gayatri |
256 |
29 |
20 |
4 |
80 |
|
11 |
Pankti and Mahapankti Strophic period: |
292 |
32 |
26 |
3 |
3 |
|
12 |
Brhati- SatobrhatI |
820 |
26 |
16 |
1-5 |
5 |
|
13 |
Gayatri |
572 |
30 |
16 |
2-5 |
7 |
|
14 |
Trochaic Gayatri |
219 |
25 |
19 |
4 |
90 |
|
Normal and cretic periods: all hymns |
3580 |
26 |
21 |
2 |
3 |
|
|
15 |
Gayatri : Mandalas ii, iv, v |
449 |
25 |
20 |
3 |
3 |
|
16 |
ix 1-60 |
1065 |
31 |
21 |
2 |
2 |
|
17 |
i 1-30 |
609 |
26 |
22 |
2-5 |
5 |
|
18 |
n ii ill |
241 |
27 |
26 |
1 |
9 |
|
19 |
ix 61-67 |
576 |
24 |
27 |
2 |
1 |
|
20 |
„ cretic period |
516 |
24 |
21 |
2 |
4 |
|
21 |
Lyric verses |
118 |
15 |
15 |
0 |
4 |
|
22 |
Anustubh, etc. (normal period), odd verses |
250 |
27 |
21 |
2 |
6 |
|
„ „ even verses |
251 |
22 |
24 |
0 |
4 |
|
|
23 |
„ (cretic period), odd verses |
95 |
27 |
19 |
4 |
16 |
|
„ „ even verses |
101 |
19 |
23 |
3 |
1 |
|
|
Popular Kigveda: |
||||||
|
24 |
Lyric verses |
58 |
13 |
16 |
2 |
13 |
|
25 |
Gayatri |
218 |
17 |
28 |
4 |
12 |
|
26 |
Anustubh : odd verses |
551 |
31 |
16 |
3-5 |
60 |
|
,, even verses |
550 |
5 |
30 |
1 |
1 |
|
|
27 |
An. -Pankti- Mah.: odd verses |
222 |
33 |
17 |
2 |
40 |
|
,, ,, even verses |
220 |
18 |
27 |
2 |
6 |
The figures are proportional to each 100 verses.
196. The special forms of dimeter verse are those exclusively found in uneven lyric metre, in Trochaic Gayatri, and in epic Anustubh. The hymns in uneven lyric metre present at first sight the appearance of great irregularity, verses of 7, 8, 11 and 12 syllables being combined with very little system. The analysis of the rhythm of the dimeter verses (§ 199) gives another impression. In no part of the Rigveda is the opening more regular, three-
Uneven lyric and Trochaic Gayatrl rhythms 165
quarters of the verses being of the type - - * - ; syncopated openings are exceptionally rare. In the cadence of the verses of eight syllables the iambic form is again found in about three- fourths of the verses, the chief variations being the long fifth and the short sixth syllable : these variations do not agree with those found in the other special forms. If we may trust the general view we have obtained of the developement of the dimeter verse, the uneven lyric hymns represent its earliest Vedic type.
The list of hymns has been given in § 186 : i 150 and viii 35 might perhaps be added. The character of the rhythm is shewn in the table in § 199. The amount of matter is very small, and only one hymn of this type (v 24) forms part of any of the family collections.
For the further discussion of these hymns see §§ 240-244.
197. The special forms of the cadence in Trochaic Gayatrl are shewn in § 199 for three groups : of these the first two are the Trochaic hymns of the archaic and strophic periods respectively, the openings of which were considered in § 193. The third group consists of single trochaic verses found in hymns chiefly composed in the ordinary Gayatrl metre.
In all the groups the forms with short sixth and long fifth syllable are rare, and the trochaic and syncopated forms are the most common ; so that it is plain that the metre is substantially the same. In the strophic period the iambic cadence is only found in one-tenth of the verses and the syncopated form is as common as the trochaic : so that it would seem that the relative change is in the same direction as in the opening.
The groups referred to consist of the following hymns :
(i) hymns of the archaic period : i 3 4-6, 90 1-5 ; ii 6 ; v 68, 70, 82 7-9; vi 16 25-27, 61 10-12 ; viii 16, 71 1-9, 79, 81 ; x 20.
(ii) hymns of the strophic period : i 27 1-6, 10-12, 30 13-15, 38 7-9, 41 7-9, 43 7-9; viii 2; ix 62 4-6, 66 16-18, 19-21 ; x 185.
(iii) isolated trochaic verses: i 2 2, 7, 22 n, 30 10, 38 2 ; iii 11 5, 41 3, 8; iv 55 8; v 19 1, 2, 53 12; vi 47 24; vii 89 4; viii 3 21, 5 32, 35, 7 33, 11 4, 55 4, 68 16, 94 2 ; *x 175 1.
Isolated verses are recognized by their having in two at least out of the three verses cadences other than the iambic and those with long fifth and short sixth syllables. The table shews that such verses, if collected together, exhibit the characteristics of Trochaic Gayatrl.
The difference between the Trochaic Gayatrl of the archaic and strophic periods, as suggested above, rests upon a comparatively small collection of instances : it can only be regarded as a possibility.
166 Rhythm of epic Anustubh
198. The Anustubh verse of the popular Rigveda appears in three shapes ; (i) in hymns in which the number of verses in the stanza varies, that is, in which Anustubh is combined with Pankti or Mahapankti, (ii) in fragments, usually only of one or two stanzas, attached to older hymns or combined with other metres, such as Gayatri, Tristubh, and Jagati, (iii) in longer hymns, standing separately in the text. The forms found in the opening of the odd verses and in the cadence of the even verses generally resemble the normal dimeter verse, and have been already discussed : the forms found in the semi-cadence and re-opening are analyzed in the table in § 199.
In the semi-cadence the iambic rhythm is still found in two- thirds of the verses in the first two groups, but only in one-third in the last group. In the first group the variations are fairly evenly spread over all the possible forms : in the second the epic
form ^ ^ is the most common ; and in the third this and its
companion -form ^ are together as common as the iambic
cadence. Single hymns can be found in which the new forms distinctly preponderate, and these are presumably the latest in the Rigveda. In all the groups the trochaic and syncopated cadences are relatively rare, and therefore there is no direct connexion between the semi-cadence of this metre and the cadence of Trochaic Gayatri.
In the re-opening the steady decrease in the use of the iambic form is noticeable : it is found in 18, 10, and 2 per cent, of the
instances respectively. After the normal opening * the
syncopated form ^ ^ is most common in the second group, the
epic form ^ ^ in the third.
Here we have every indication of the gradual developement of new standard forms through a period of hesitation and experiment ; and although the different stages of this developement all fall within the latest period of the poetry of the Rigveda, they il- lustrate tendencies which can also be clearly recognized in the developement of dimeter verse in the Rigveda proper.
The groups analyzed are composed as follows :
(i) epic Anustubh, combined with Paiikti or Mahapankti verses : i 191 1-12, 14-16; vi 75; viii 47 13-18, 91; ix 112-114; x 58, 59 8-10, 60 7-ia, 86, 145, 164, 166.
In most of these hymns iambic re-openings are fairly frequent : but we only find one such form in each of the hymns vi 75, viii 47 13-18,
History of epic Anustubh 167
ix 112, and none in ix 114, x 145, 164, 166. The cadence is of the
type ^ ^ in one third of the verses in ix 114, x 58, 164, 166. It is
therefore probable that the hymns ix 114, x 164, 166 are of as late a date as the hymns generally in the third group. On the other hand i 191 10-12 and x 59 8-ro agree entirely with the early Anustubh rhythm.
(ii) epic Anustubh fragments; i 23 20, 22-24, 50 10—13, 90 9, 93 1-3, 126 6, 7, 133 2-4, 164 51, 170 2-4 ; ii 8 6, 32 6-8 : iii 29 1, 4, ro, 12, 33 13, 37 rr, 53 20, 22 ; iv 24 to, 39 6, 57 4, 6, 7 ; v 40 5-9, 51 14, 15, 78 5-9, 83 9; vi 16 47, 48, 28 8, 48 22, 51 16; vii 55 5-8, 59 i2, 103 1, 104 25; viii 33 19, 66 15, 100 7-9; ix 5 8-n, 67 31, 32; x 9 8, 9, 14 13, 14, 16, 16 ji-14, 17 14, 18 j4, 19 (exc. 6), 24 4-6, 87 22-25, 103 13, 109 6, 7, 142 7, 8, 161 5, 179 1, 191 1, 2, 4.
This group is remarkably large, considering the small size of its separate members. It is of course difficult to define the rhythm of the single fragments, although their general character as constituting a transition to epic Anustubh is clear. The only fragments in which the iambic opening occurs more than once are i 133 2-4, 170 2-4, vi 51 16, x 19, 87 22—25. Many of the single verses are free from irregularities of cadence, but this is not remarkable, seeing that in the whole group the iambic cadence is still shewn in two-thirds of the verses. Fragments containing more than one stanza, and always shewing regular cadence, are i 93 1-31, vi 16 47, 48, x 87 22-25. The last fragment therefore agrees with the early Anustubh rhythm in both points.
(iii) epic Anustubh hymns. These are found exclusively in the tenth Mandala, being hymns 72, 90, 97, 135, 136, 137, 141, 146, 151, 152, 154, 155, 159, 162, 163, 173, 174, 184, 190; with which may be grouped the wedding hymn x 85, which contains long sections entirely composed in Anustubh.
Amongst these hymns there is only one which contains the iambic re-opening more than once, and at least once in every ten verses, namely x 152; this hymn and x 141 agree generally in cadence with the earlier hymns.
The hymns in which the new rhythm is most pronounced are x 72, 85, 90, 135-137, 159, 173, 174.
The following are the examples of iambic re-opening in the popular Rigveda : (i) in the mixed Anustubh hymns, vi 75 13d; viii 47 13b; ix 112 2d, 113 4b 8b, x 59 8b 9b 10c, and commonly in i 191, viii 91, x 58, 60 7-12, 86 : (ii) in the Anustubh fragments, i 23 20d, 93 2b, 133 2d 4d, 170 3d 4b; v 51 14b, 78 8b; vi 51 16b 16d; vii 104 25b; ix 5 10b; x 16 14d, 19 lb 7b, 87 22b 25b, 179 lb, 191 Id 2b: (iii) in the epic Anustubh hymns, x 85 12b 33b, 136 lb, 137 3b, 152 lb Id, 173 3b, 190 Id. If the first syllable of arista is not reckoned long, as suggested above (§ 167), additional examples are found as follows: (i) x 60 8e 9e lOd; (iii) x 97 7d, 137 4b.
1 In i 93 1-3 we may obtain epic semi-cadence by reading su in la, and adyti in 2a. But these readings are uncertain (see §§ 160 v, 161 i above) : and otherwise the semi-cadence in this fragment is iambic.
168
Table of special dimeter rhythms
199. Table shewing the special rhythms of uneven lyric, Trochaic Gayatri, and epic Anustubh verse.
|
Uneven |
Trochaic Gayatri |
Epic Anustubh |
|||
|
lyric |
1 |
2 |
3 |
1 2 3 |
|
|
No. of verses |
121 |
247 |
218 |
70 |
2221 2121 3351 |
|
Re-opening |
|||||
|
Normal opening, |
402 |
33 |
32 |
24 |
32 27 32 |
|
Iambic ,, , ^ |
32 |
29 |
25 |
28 |
18 10 2 |
|
Syncopated „ . * • |
7 |
14 |
15 |
25 |
17 22 19 |
|
M _ _ w |
12 |
11 |
12 |
10 |
9 16 25 |
|
~ _ w ^ |
3 |
3 |
7 |
1 |
13 13 10 |
|
K . ^ |
3 |
5 |
4 |
6 |
10 9 11 |
|
Irregular openings |
3 |
5 |
5 |
6 |
13 1 Semi-cadence |
|
Iambic cadence, «--«-* |
62 |
20 |
13 |
12 |
60 58 30 |
|
Trochaic „ , - «- - - |
5 |
33 |
28 |
28 |
4 13 |
|
Syncopated ,, , ~ <- - - |
0 |
16 |
28 |
18 |
3 4 5 |
|
_ _ _ ~ |
0 |
8 |
9 |
7 |
5 6 12 |
|
Epic cadence, - — * |
1 |
9 |
10 |
9 |
7 11 18 |
|
_ ~ s^ S- |
2 |
7 |
5 |
13 |
5 7 10 |
|
Short sixth, >~ ~ «■* * |
7 |
2 |
3 |
3 |
4 5 7 |
|
Long fifth, ^ |
7 |
2 |
1 |
2 |
8 6 10 |
|
Catalectic verses |
13 |
2 |
2 |
6 |
2 14 |
|
Heptasyllabic verses |
3 |
1 |
1 |
2 |
2 11 |
1 These figures state the number of even verses in each group, the number of odd verses being very nearly equal.
2 From this point the figures are in proportion to each 100 verses.
200. It might be misleading to say that the two forms of the Anustubh verse are used side by side, but to a certain extent they overlap. In the Rigveda proper there is no hymn or fragment which has the character of any one of the groups found in the popular Rigveda : but the Kanva hymns possibly shew the beginnings of the new rhythm both in semi-cadence and in the re-opening, and these features are clearly marked in the Anustubh hymns of the cretic period. On the other hand the hymns of Mandalas i, iii and iv, and the Mahapankti hymns of viii 39-42, x 131-134 shew no clear trace of this developement. In the popular Rigveda there are five hymns which represent the old rhythm, namely i 191 10-12, x 59 8-10, 87 22-25, 141, and 152 : but they comprise a trifling proportion of the Anustubh verse of that part of the Rigveda.
The cretic period marks a transition 169
The amount of matter in Anustubh verse in the intermediate groups between III and X is so small that we cannot satisfactorily determine the rhythm used. The Vasistha family has no hymns in this metre. The Kanvas use it in i 45, 49, viii 8, 9 r6-i8, 34 1-15 : the rhythm of the opening might be either early or late, but that of the re-opening rather resembles the late metre. Divodasa has only a few verses in Mandala iv ; the prevalence of syncopation in both openings seems to shew that the metre is influenced by Gayatri. The group viii 39-42 also favours syncopation : but viii 47 1-12 appears to be later, whilst x 131-134 agree with the earliest hymns, except in the regularity of the cadence. The Kusika hymns i 10, 11 agree in rhythm with the earliest period, whilst the few verses in bk iii agree with the Divodasa hymns in character. The hymns of the cretic period, however, shew a distinct approximation to those of the popular Rigveda in all points : they are i 28 1-6, 29, 105, 142 ; iii 8 : x 62, 176.
Of hymns in the popular Rigveda with the old rhythm two are Mahapankti triplets, namely i 191 10-12, x 59 8-10. In x 87 22-25 and 141 the linguistic notes of early and late date are about evenly divided, so that the hymns may belong to a transition period. There remains x 152, which certainly combines the language of the later Rigveda with the early Anustubh rhythm : but too much importance must not be attached to a single short hymn.
The proportional figures for these small groups are given below, but the whole number of verses is generally so low that no decisive weight can be attached to them.
Table shewing the rhythm of small groups of Anustubh verse.
|
Groups |
Odd |
verses |
Even |
verses |
|||||
|
I |
|||||||||
|
No. |
L |
Sync. |
Cad. |
No. |
I. |
Sync. |
Cad. |
||
|
I-IH |
Early Anustubh |
638 |
33 |
16 |
13 |
661 |
33 |
15 |
8 |
|
V |
Kanva |
98 |
32 |
8 |
4 |
98 |
12 |
25 |
1 |
|
VI |
Divodasa: bk iv |
38 |
29 |
21 |
7 |
38 |
7 |
32 |
2 |
|
viii 39-42 |
91 |
18 |
28 |
4 |
85 |
10 |
25 |
6 |
|
|
47 1-12 |
27 |
48 |
3 |
3 |
27 |
22 |
18 |
6 |
|
|
x 131-134 |
32 |
40 |
25 |
0 |
39 |
40 |
18 |
3 |
|
|
VII |
Kusika: i 10, 11 |
40 |
33 |
8 |
8 |
40 |
35 |
20 |
3 |
|
iii |
22 |
9 |
27 |
9 |
22 |
27 |
32 |
9 |
|
|
VIII, IX |
Cretic period |
95 |
27 |
19 |
16 |
101 |
19 |
23 |
0 |
|
X |
Popular Rigveda |
||||||||
|
Mixed Anustubh |
221 |
35 |
17 |
40 |
222 |
18 |
17 |
6 |
|
|
Fragments |
212 |
32 |
22 |
42 |
212 |
10 |
22 |
1 |
|
|
Anustubh hymns |
336 |
30 |
14 |
60 |
336 |
2 |
19 |
1 |
The figures are in proportion to each 100 verses.
170 General history of dimeter verse
201. The analysis of dimeter verse in the Rigveda shews that a series of changes take place in the rhythm, which correspond generally to changes in the form of the stanza. These changes may be recapitulated as follows :
The earliest type is shewn us in the Anustubh hymns of the Atri and Vimada families, and in the uneven lyric hymns. Here the ' normal ' and iambic rhythms are equally common in the opening, all other forms being occasional : in the cadence the iambic rhythm is alone regular, but variations are common as compared with the later periods. Hymns in Usnih, Atyasti, and Kakubh-Satobrhati do not greatly differ from this type, but the iambic opening is rather less common, and the iambic cadence rather more strict.
Many Gayatii hymns have a rhythm of the type just described ; but the great majority of hymns in this metre differ from it in favouring the syncopated openings at the cost of the iambic opening. The same tendency can be observed in several hymns in Anustubh, Pankti, and Mahapankti : but otherwise the develope- ment of syncopation does not coexist with variety of form in the stanza. A systematic use of trochaic cadence is found in many Gayatri hymns, and in one or two in other metres.
Even in the archaic period the iambic cadence was more strictly adhered to in the even than in the odd verses : a corre- sponding restriction of syncopated openings to the even verses laid the basis for the developement of the epic Anustubh metre. The beginnings of this new rhythm are found either in fragments or in hymns mixed with Pankti and Mahapankti : but in the course of time it developed into the precise but delicate and varied metre which we find in the latest hymns of the Rigveda, and which already shews the essential features of the sloka of Sanskrit epic poetry.
The following further explanations on these points may be acceptable :
(i) The position that the Atri Anustubh hymns are amongst the earliest in the Rigveda is confirmed by the great frequency of hiatus in these hymns (see § 132). That the Vimada hymns of bk x, and the hymns in uneven lyric metres, nearly all of which are also found in bk x, should also be ranked with the earliest hymns of the Rigveda will run counter to the presumption usually entertained that the hymns in this book are later in date. But the 'irregularity ' of these hymns, usually considered an evidence of their late date, is really an argument
Anustubh the earliest metre 171
to the contrary : for the verse of the popular Rigveda, though irregular in some points, is exceedingly strict in othors : and the rhythm of the uneven lyric hymns, as well as their vocabulary, is in general agreement with that of the Atri Anustubh hymns. Further, the rhythm of the trimeter verses in these hymns agrees with the earliest type of trimeter verse, as will be seen later. We seem therefore led to the view that the tenth Mandala preserves for us many hymns which could not find a place in the 'family books' because they did not conform to a proper metrical standard.
(ii) The complexity of the lyric metres has led to a general belief that they must be of comparatively late developement. In particular, this has been felt with regard to the Atyasti hymns i 127-139. Undoubtedly these elaborate stanzas presuppose earlier and simpler forms : but it is not necessary that these earlier forms should be such as the Rigveda has preserved. We find however in the Anustubh hymns of Atri and Vimada, and in the uneven lyric hymns, all the materials necessary for the construction of the more elaborate metres, namely the dimeter verse, the verse of four syllables, and the trimeter verse. The mutual influence of the dimeter verse of eight syllables and the trimeter verse of eleven is sufficient to account for the creation of a dimeter verse of seven syllables and a trimeter verse of twelve : in uneven lyric metre all these varieties are combined, but in the later lyric poetry only verses of eight and of twelve syllables are used.
(iii) The combination of Brhati and Satobrhati metres is found in two distinct stages. In the archaic period these metres are variously combined, other metres being often found by their side : such hymns are v 56, vi 48, viii 66, 70 1-12, 87, 97 1-9, 101 : in other cases fragments in these metres are appended to hymns in a different metre, as in i 84, viii 17, 69, 77, 78; complete and regular hymns are rare. On the other hand in the Vasistha and Kanva collections the hymns are regularly composed in alternate Brhati and Satobrhati stanzas, the variations being comparatively unimportant. The Brhati metre is still occasionally used in the normal period, as in the third Mandala : it is therefore the last survivor of the lyric metres.
(iv) Gay atri on the whole appears to be later than Anustubh and the lyric metres. This is first suggested by the form of the stanza : for the whole balance of the Indo-European structure of metre is based upon duality, and the stanza of three verses seems to be a reduction from the normal stanza of four. But although the trimeter stanza of three verses hardly belongs to the earliest part of the Rigveda, several of the uneven and other lyric metres have a stanza of three verses, and it is impossible to doubt the antiquity of Gayatri metre as used in a hymn like viii 46, in combination with lyric metres. We have also found that some groups of the Gayatri hymns, for instance Nos. 9 and 18 above (table, § 195), shew in the opening the same general character as the lyric hymns. But whilst the archaic and strophic periods furnished their proportion of Gayatri verse, the great mass of Gayatri hymns in the Rigveda is distinguished by characteristics which suggest a later date, and at the same time furnish a transition to the metres of the popular Rigveda. These characteristics are the growth of the
172 Transition metres
syncopated opening, the increased regularity of the cadence, and the differentiation of the verses according to their position in the stanza.
(v) The use of the trochaic cadence cannot be restricted to any one period. It is systematic in the Vimada hymn x 20, belonging to a group which we have reason to think one of the earliest in the Rigveda : but the longest hymn in Trochaic Gayatri is viii 2, which belongs to a Kanva group and records the name of more than one member of the Kanva family: whilst in iii 16 we find trochaic cadence in a Brhati hymn, the metre being characteristic of a Mandala which contains few, if any, hymns earlier than the normal period.
(vi) The Kusika groups i 1-30, iii, in which dimeter verse is represented almost exclusively by Gayatri, shew remarkable favour to syncopation, but are very much less regular in cadence than other hymns of the normal period. Of the variations 31 are of the short sixth syllable, 10 are trochaic or syncopated, and there are four examples each of the long fifth and irregular forms. There are no catalectic verses and only 2 of seven syllables. The high proportion of forms with short sixth syllable, and of trochaic and syncopated forms, seems to be specially characteristic of this family.
(vii) As might be expected, the Gayatri groups of Mandala ix elude classification. In the longer hymns 1-60 syncopation is not a striking feature, and it is probable that many of the hymns belong to the earlier family collections, though we have no means of identifying these. In the whole of the book the regularity of the cadence is striking.
(viii) Pankti and Mahapankti, as distinct metres, help to bridge the gap between the Rigveda proper and the late Rigveda. In the archaic period these metres seem to have been hardly known, for it is difficult to find hymns in which syncopation is not prevalent. It is quite clear that the differentiation of odd and even verses which led to the developement of epic Anustubh was attempted in these metres : but as before, the more elaborate form of the stanza was necessarily abandoned when increased attention was given to the rhythm of the single verse.
(ix) Throughout this chapter the theories of hiatus and syllabic and quantitative restoration explained in Chapters IV-YI have been assumed. Critics who are disposed to adhere more closely to the text will of course find a larger proportion of irregularities throughout the Rigveda. But as these will be found to occur most freely in the archaic period, the general conclusion that that period is characterized by some degree of irregularity will rather be strengthened by such a view. On the other hand the irregularities recorded in this chapter may be on the whole regarded as irremediable by any process of restoration, and therefore specially valuable as evidence.
(x) The view of P. von Bradke1, that the Rigveda represents the period of decay of the old Indian lyric poetry, is not borne out by the analysis of the metre. On the contrary, we seem to have specimens of
1 Dyaus Asura (Halle, 1882), p. 2.
Technical skill in dimeter verge 173
composition in various styles, leading up from the rude early metres to the perfect form of the Brhati-SatobrhatT hymns of the strophic period. The sudden disappearance of this kind of composition coincides with a fresh elaboration of the rhythm of single verses : and the latest metrical schemes of the Rigveda, even if less attractive to the European ear, can hardly be described as intrinsically less beautiful in design or less perfect in execution than their predecessors.
202. Whatever difficulties may be felt to attend the explana- tions given in this chapter of particular rhythms, it must at least be clear that Vedic dimeter verse cannot be explained rightly by any of the methods applied to modern European verse or even by those which are applied to the classical Greek and Latin metres. The essentially syllabic character of Vedic verse produces an impression of great simplicity on first acquaintance : but this simplicity is only on the surface, and is consistent with great skill in the disposition of words and syllables to produce a required rhythmical result, which may be of a highly complicated character.
Although Vedic verse shares with Greek and Latin the system of quantities, yet there is no trace in it of the principle that one long syllable is equivalent to two short, nor can we trace any division into feet corresponding to the standard feet of classical verse.
Modern European verse, though based on accent instead of quantity, agrees with Greek and Latin in taking the foot for its unit, and assumes an iambic or trochaic rhythm as the necessary basis for almost every metre. All Western scholars are under the temptation to attribute to the poets of the Rigveda at least a wish to follow the same standard : but the facts prove that the types which really floated before their minds were often of a quite different character.
Statistics perform a useful purpose in counteracting errors which arise from acquired prepossessions, and are not necessarily eliminated even by wide reading. Thus many Vedic scholars, having discovered an ' iambic rhythm ' in dimeter verse, conclude that the third syllable is preferably short, either in the sense that it is more often short than long, or that the poets would at least wish it to be so if they were not hindered by intractable material.
Yet both these suppositions are demonstrably wrong. As a fact, long syllables in this place are almost twice as common as short ; and so regularly is this the case, that in the whole Rigveda it would be hard to find ten successive dimeter stanzas in which the short syllable is equally common. Yet the poet had no difficulty in his material, for in the cadence he successfully achieves this very rhythm, in one period
174 Pure iambic rhythm not sought
in nine verses out of ten, in another in ninety-nine verses out of a hundred.
Again, neither from the classical nor the modern standpoint do
such sequences as — and ^ ^ ^ — suggest any kind of rhythmical
effect : yet the former is in all periods the favourite Vedic opening, and the latter the second in favour amongst possible cadences.
It appears on the whole that ' iambic rhythm ' lay for the Vedic poet in the past : it was part of an inheritance upon which he desired to improve. The existence of this rhythm in the very earliest forms of Vedic poetry seems to set a great gap between it and the apparently non-quantitative verse of the Avesta. At the same time we are not yet entitled to assume that there existed at an earlier period verse more rigidly iambic in character than that preserved to us in the earliest hymns of the Rigveda. Any conjectures as to the character of pre- Vedic verse would be premature until the corresponding forms of trimeter verse have been examined.
CHAPTER VIII.
TRIMETER VERSE.
203. Almost two-thirds of the Rigveda is composed in trimeter verse, the number of verses being nearly 24,000. The main features of the verse are the same throughout the Rigveda : differences of structure, though clearly marked, are concerned with points of secondary importance.
For historical investigation trimeter verse offers a much richer field than dimeter verse. The greater amount of material, the variety of the internal structure, and the absence of sharply contrasted types, all combine to make it easy to trace the steady developement of the rhythm. To these advantages another is added, which is perhaps the most important of all, namely that the Samhita text provides us with a series of collections, within each of which the rhythm is almost absolutely uniform. Nearly all the 'homogeneous groups' defined in § 91 contain sufficient trimeter verse to establish their respective rhythmical laws ; and such groups as i 31-35, 74-93, 94-115, 165-190, and Mandalas iii, iv, vi and vii can be used almost as they stand in the Rigveda as units of investigation.
In this field, if anywhere, the test suggested in § 113 may be applied. The ' homogeneous groups ' as finally defined in Ch. Ill are revised and ordered in accordance with certain striking metrical peculiarities, chiefly concerned with their external form. If it appears that there is a corresponding developement in a number of other metrical features which have not yet been taken into account, it can hardly be doubted that we are within sight of the true history of Vedic metre.
Besides historical developement there are two other possible explanations of metrical variations ; the individual taste of the poet, and chance.
176 History and chance
Between the historical developement of the metre and the individual taste of the poets no sharp line of distinction can be drawn: the history of the Vedic periods is in the last analysis the history of the hymn-writers who belong to each of them. But for practical purposes individual taste is characterized by comparatively abrupt variation. If particular features are found in one group of hymns for which we are not prepared by the groups which just precede it in time, and of wrhich hardly any trace is left in groups that appear immediately to succeed it, it is a natural explanation that these variations represent the bias of a single poet, or perhaps of a small group of poets intimately associated in their work. This individuality has often been recognized in the subject-matter and general treatment of the seventh Mandala, with the result that the family name Vasistha, alone amongst those of the ancient seers of Indian tradition, suggests to many Western critics also a striking personality. It will appear that the metre of this collection lends some support to this view.
Variations on a small scale may be ascribed to chance, that is to say, to causes which are not directly connected with the sense of rhythm. In a large body of verse such chance variations will take place in every possible direction, and therefore they will have no perceptible effect upon the rhythm as expressed in averages. Chance, though it laughs at all other laws, is always subject to its own law, which compels it to neutralize or destroy its own creations : and this principle is just as clearly indicated in the rhythm of Vedic hymns as at the gaming tables of Monte Carlo. If a ball is thrown at hap-hazard on a table on which exactly half of the compartments are red and half are black, then in 1000 consecutive throws the ball must fall very nearly 500 times into a red compartment. If a Vedic poet is really indifferent to the quantity of a particular syllable, then in 1000 of his verses the syllable is sure to be short in just about 500. Conversely if there is a decided balance in favour of the long or the short quantity, there must be a metrical motive somewhere at work.
As however the number of chances is decreased, this certainty is diminished. In a short Vedic hymn, for instance, containing some 20 verses it is not impossible that the initial syllable should be twice as often long as short. Such cases however will not
Parts of trimeter verse 177
often be found : and any theory that might be built upon them would soon be abandoned as the result of further enquiry. In the present chapter (as indeed in those that have preceded it) we shall find it from time to time necessary to deal with small quantities of matter, in which the variations that occur may quite possibly be due to chance. But the uncertainties of the particular case do not produce a like uncertainty in the general conclusions to which we are led. If the survey of the facts be on the whole sufficiently wide, the errors in detail must necessarily be relatively unimportant.
The habit of ascribing the metrical variations of the Rigveda to chance is the necessary result of imperfect familiarity with the details. The critic of metre who has convinced himself that chance is a totally inadequate explanation of the facts presented to him will feel bound to look for some other cause or causes. And since the phonetic structure of the Vedic dialect is obviously pliable in the extreme to the hand of the poet, he will necessarily fall back upon the conclusion that the variations which occur are due to changes of metrical taste : and whether these changes are conscious or unconscious, the product of the time or of the individual, they belong in a broad sense to the region of historical investigation.
204. The general structure of trimeter verse has already been explained in §§ 18-35, 42-56 ; its distribution amongst the 'homogeneous groups' is shewn in § 114. As with dimeter verse in § 183, so now we begin a more minute study of trimeter verse by a general sketch of its most important features, and by giving in figures a precise measurement of the part filled by each in a series of groups, corresponding generally to the 'homogeneous groups' of § 91, but so selected as to represent those parts of the Rigveda of which the homogeneous character is most assured.
The questions to be investigated fall naturally under the following headings: (i) the caesura, (ii) the rhythm of the 'opening,' (iii) the 'break,' or rhythm of the fifth, sixth and seventh syllables, (iv) the cadence, and (v) variations in the number of syllables, so far as they are not included under the preceding headings.
The groups investigated are the following: in the archaic period (i) the lyric hymns, and (ii) the Tristubh hymns of a. 12
178 Typical trimeter groups
Bharadvaja (Mandala vi); in the strophic period (iii) the Tristubh hymns of Vasistha (Mandala vii) ; in the normal period (iv) the hymns of Vamadeva (Mandala iv), and (v) those of Kusika (Mandala iii), in each of which groups the Tristubh metre prevails, but a few Jagati hymns are also found ; and in the cretic period the hymns, almost equally divided between Tristubh and Jagati metre, (vi) of Kutsa (i 94-115), and (vii) of the small groups of hymns extending from x 29 to x 80. In the eighth and last group are included all the hymns of the popular Rigveda.
The statistical results for these eight groups are given in the Table in § 212, and are the basis of the discussion in the sections that now follow.
(i) Although the general type of trimeter verse is on the whole the same throughout the Rigveda, it is necessary to exclude wholly or partly from consideration here certain hymns which have a very distinctive character.
Many verses which are treated by the native authorities as of the trimeter type have already been analyzed as consisting of dimeter verses with verses of four (or three) syllables attached. This is par- ticularly the case in the metre to which the name of ' Dimeter TJsnih ' (§ 192) has been given in this book. Verses of this type are entirely excluded from consideration here.
Hymns in the j uneven lyric metres ' (§27) form a special class so far as the number of syllables in the cadence is concerned. Other variations which they contain are included in this chapter.
Hymns which contain 'decasyllabic variations' (§§ 49-53) in any large proportion fall into two classes, which it now becomes important to distinguish.
The first class consists of hymns in which different decasyllabic variations are found, in proportions varying from one verse in ten to one verse in five. These we now name as a class hymns in decasyllabic Tristubh metre, though in fact two or three of them are in Jagati metre, and in these the verses which contain ' rests ' are of eleven syllables. These hymns are treated separately so far as the deca- syllabic variations are concerned : but other variations are included throughout the chapter. The list of these hymns is given in § 94 iii a.
The second class consists of hymns in each of which some decasyllabic variation is predominant, although some of them contain many verses in Tristubh or Jagati. These we now name hymns in decasyllabic metres, with the same qualification as in the last section. Variations of all kinds occurring in these hymns are given in the lists in this chapter within square brackets or in special subsections, but are entirely excluded from the tables. The hymns here referred to are i 61, 65-70; ii 11 ; iv 10 ; vi 44 7-9 ; vii 34 i-m, 56 i-n ; ix 109 ; x 1, 6, 46, 77 1-5, 78 i-6 (§ 94 iii b c d).
The special features which occur in the uneven lyric hymns and in
The caesura 179
decasyllabic hymns of the two classes will therefore be discussed in this chapter primarily from the standpoint of their occurrence as occasional variations in other hymns. The hymns in decasyllabic Tristubh will also be considered in this chapter as a special class : but the consideration of the hymns in uneven lyric metres and in deca- syllabic metres, so far as their respective characteristic features are concerned, will be postponed to the next chapter.
(ii) The complete investigation of trimeter rhythm involves the tabulation of the quantity of almost every syllable in the trimeter verses of the Rigveda, in connexion with the position of the caesura in each case. In the following points only it has seemed sufficient to take samples of the rhythm : (a) for the initial syllable ; (b) for the 1 regular ' forms of the opening (§ 215); (c) for the occurrences of a natural pause after the eighth syllable. As in dimeter verse, we have no means of determining with completeness the quantity of final syllables, but feel justified in assuming that it is metrically indifferent.
Where samples only have been taken of the quantity in any particular position, it has seemed desirable to examine not less than 500 verses in each case.
205. The caesura is the dominant feature of trimeter verse, and its position decisively affects the rhythm both of the opening and of the break. The caesura is a natural pause, corresponding to the taking of the breath in recitation, and occurs regularly in all parts of the Rigveda either as an early caesura, that is, a pause after the fourth syllable, or as a late caesura, that is, a pause after the fifth syllable (§ 43). Verses of these two types are everywhere combined in the same stanza.
The position of the caesura is in itself indifferent in all parts of the Rigveda : but indirectly one or the other position may be slightly favoured on account of some rhythm of the break which depends upon it. Thus in the Vasistha hymns the caesura is more often late, on account of the favour shewn to the break J I, - ^ in connexion with ' secondary caesura ' (see below) : and in the Visvamitra hymns and the later periods the caesura is more often early, on account of the favour shewn to the cretic break ,,---(§207).
In a few cases, chiefly in the archaic period or in the popular Rigveda, there is some difficulty in determining the position of the caesura. In 'decasyllabic' and 'hybrid' verses there is always a well-marked caesura, but it is not easy to say in each case whether it should be considered 'early' or 'late': these verses are further considered in §§ 225-230. Elsewhere we appear to find a weak caesura, namely either (i) a caesura dividing the two parts
12—2
180 'Secondary caesura1
of a compound, or (ii) a caesura following the third syllable. Both forms of the weak caesura are characteristic of the archaic period, and are further considered in § 214.
Chiefly in the Vasistha hymns we find a variation which we may term the secondary caesura, being an approximation of the first eight syllables of trimeter verse to the dimeter type.
The existence of the 'secondary caesura' in the Vasistha hymns may be inferred from the following considerations :
(i) In all other parts of the Bigveda a pause is found after the 8th syllable in about 35 per cent, of the verses, which is just the proportion that might be expected if no special rhythm were aimed at. But in the Vasistha hymns this pause occurs in no less than 57 per cent, of the verses.
(ii) Certain other variations of rhythm, namely the caesura after the third place, and the breaks n w - **, v |( — ^; and - jj -^ are found very much more frequently when there is a pause after the eighth syllable than elsewhere.
The verses in the Vasistha group which combine one of the features last mentioned with a pause after the eighth syllable amount to about one-sixth of all the verses in these hymns, and roughly account for the higher proportion of each of the separate variations in these hymns. It therefore appears that it is the combination of the pause with some other feature which characterizes this collection, and in the Table in § 212 the instances in which the combination occurs are considered separately.
(i) The caesura is usually a pause in the sense as well as in the sound. It is not however absolutely necessary that this should be so : and we find numerous examples in the Bigveda in which the caesura separates either (a) the two parts of a dvandva dual, or (b) an accented word from an enclitic which follows it, or (c) the negative particle or the augment a-, when combined by Sandhi with a word preceding, from the remainder of the word to which either of them belongs. As these occurrences seem to have no historical importance, it will be sufficient to give a few examples here : namely
(a) asmd indra \\ -varund visvdvdram vii 84 4a
(b) hdstesu khadis \\ ca krtis ca sdm dadhe i 168 3d dgne tokdsya \\ nas tdne tanundm ii 9 2c asm ad pari u vdm isah purucih iii 58 8a
(c) sdm vatsend \\ -srjatd mdtdram punah i 110 8b durvasase \\ -mataye md no asyai vii 1 19b.
Examples of secondary caesura 181
Further examples of (c) are found in i 59 2c, 168 9c, 190 3d • ii35 13a; ivll2d; v 11 3c; vii 61 3d; x 61 7c, 68 10b 89 13d, 99 5d, *103 lc *2a.
(ii) That the syllable before the caesura, like the final syllable of the verse, is indifferent in quantity (syllaba anceps) is a theory as old as the Samhita text itself, and finds expression in the systematic neglect to record the long vowels of certain endings in the position 4A (see especially § 176 ii). Western critics have also often inclined to this view. There is however no foundation for it in the usage of the poets : indeed the quantity of the fourth syllable is more strictly regulated in trimeter verse when the caesura follows than in dimeter verse where there is no caesura : and the quantity of the fifth syllable where the caesura follows is better marked than that of the third in the same verses, as appears from the Table (§ 212).
(iii) Of the forms of the secondary caesura by far the most common is that which employs the break s-» » — v, and it is illustrated by the following examples :
somah sukro nd \\ vaydva | ay ami vii 64 5b vdsistha sukra \\ didivah ( pdvaka vii 1 8b,
the first example having in addition a short eighth syllable.
Verses of this type amount to one-tenth of the whole number occurring in the Vasistha group, and are more than twice as common there as in the Bigveda generally: they may therefore be appropri- ately termed Vasisthi verses.
The frequency of verses of this type in the Vasistha group sufficiently accounts for the preference shewn to a late caesura.
(iv) The less important forms of the secondary caesura may be illustrated as follows :
(a) caesura after third syllable with pause after the eighth :
d citra || citriam bhara ( rayim nah vii 20 7d
(b) iambic break u ^ - ^ with pause after the eighth syllable :
prd dhenava u udapruto ( navanta vii 42 lc
(c) iambic break - jj - v with the same pause :
dtutujim cit ^ tutujir I asisnat vii 28 3d.
(v) ' Verses with secondary caesura ' as now defined appear to be distinctly influenced by dimeter rhythm, yet they are by no means in entire agreement with it.
Of our verses (Table, § 212) 5 per cent, have caesura after the third syllable, 23 per cent, after the fourth, and 72 per cent, after the fifth. Of 100 dimeter verses measured in the same way the proportions are 22, 32 and 39 respectively, whilst 8 verses have no break (except within a compound) in any of these positions.
Of the verses which have one or other form of iambic break only 12 per cent, have a short eighth syllable. Although this proportion is very much higher than that usually found in trimeter verse, it is very
182 Rhythm of the opening
much lower than that found in dimeter verse, in which the quantity of the eighth syllable is of course indifferent.
Again in our instances the fifth syllable is long (as in the last example) in one-tenth of the verses, whereas in dimeter verse a long fifth syllable is seldom found more often than once in a hundred verses.
We seem therefore to be precluded from using the convenient title 1 dimeter Tristubh ' for these verses, although it is very suggestive of their general character. Neither are we in a position to assert definitely that this type is derived by contamination from dimeter verse : it is quite possible that its leading variety v^ n - ^ was directly derived from the more usual form ^ n ^ ^ (which is only equally common in these hymns) in an endeavour to introduce a more varied rhythm (see § 207 iv).
In any case it does not seem probable that these verses represent a primitive type : for in that case we should expect to find them accom- panied by the general freedom of metre which characterizes the archaic period : whereas in fact the Vasistha hymns are on the whole quite as regular as (say) those of Vamadeva.
206. In the opening a general iambic rhythm predominates under all circumstances, as in dimeter verse : but the develope- ment of this rhythm is not only different from that found in dimeter verse, but also varies according to the position of the caesura.
If the caesura is early, about two-thirds of the openings in every group fall within the formula * — *,-: if it is late, the proportion is always as high as three-fourths, and in the Visva- mitra group it is much higher.
Before an early caesura the quantity of the third syllable is usually indifferent : in the groups of the normal period a short vowel is preferred, in the Kutsa hymns a long vowel.
If the caesura is late the four regular forms are used almost indifferently in the archaic and even in the strophic period : but later there is a marked preference for a short third and a long fifth syllable, giving a normal form -- ^ — t which is identical with the usual form of the Pentad in Dvipada Viraj verse, and may therefore be called the Pentad opening.
The syncopated form - ^ ,| is fairly common in the lyric
hymns of the archaic period, and still more in the cretic and popular periods : but it has no such developement as occurs in dimeter verse.
The other variations of the opening are of very little historical importance: they are discussed in § 215.
Rhythm of the break 183
In the following stanza all the verses except the first have the ' Pentad opening ' :
indrd yuvdm (| varund didyUm asmin
6jistham ugrd n ni vadhistam vdjram
yb no durevo \\ vrkdtAr dabhitih
tdsmin mimdthdm \\ abhibhuti bjah iv 41 4.
As however the construction of stanzas in which all the verses have either early or late caesura is foreign to the metrical conceptions of the Rigveda, stanzas of this type are only found here and there as chance productions. See further § 207 ii.
207. The rhythm of the break depends directly upon the caesura, and is much more varied when the caesura is early than otherwise : this, as has before been observed, is also the case with the opening.
The normal forms are |jww- when the caesura is early, and - 1| ^ ^ when the caesura is late : each of them includes about 40 per cent, of the occurrences in the archaic period, and an increasing proportion in the later periods.
The subnormal forms after an early caesura are ||— v —, r w v w, II - ^ ^ ; that is, the remaining possible forms with short sixth syllable. Of these the ere tic break fl — — — is found in about one- seventh of the instances in the earlier groups : but in the hymns of Visvamitra and of the later periods it is about twice as common. Occurrences of forms with short seventh syllable are about one- third as frequent in every period as the corresponding forms in which that syllable is long. With a late caesura the only ■ sub- normal' form is ^ I, ^ ^ : in the archaic period this is almost as common as the normal form, but in the later periods it is only half as common.
The iambic forms |, w. — w, ^ jj - w, - jj — w may all be con- sidered as occasional forms, at least in the archaic period. The form s/ „ - v becomes rather more common in the strophic period, and retains a certain importance in the later groups : but the two remaining forms decrease rapidly in frequency. The occurrence of these forms in connexion with ' secondary caesura ' has already been discussed in § 205.
The remaining forms may be considered as irregular. They are all relatively common in the archaic period, and rare afterwards.
184 Rhythm of the break
(i) The rule given in § 45, that the caesura should be followed by two short syllables, holds good for about two-thirds of all the trimeter verses in the Rigveda, but is largely qualified by the particulars now given. Thus after an early caesura the cretic form |j — ^ — is much more common than the form |v;ww, and must be considered as a more regular form : and the form § — **. w seems also to rank as regular in the cretic and popular periods. In other particulars also the classification of the forms does not apply with equal force to all periods ; for instance, the iambic forms (except ^ u - ^) are really irregular after the strophic period.
(ii) With a late caesura both the opening and the break are comparatively inelastic in rhythm : hence, as the examples quoted above (§ 206) shew, the trimeter rhythm tends towards an absolutely rigid scheme, viz.
\j — \j —
The Indian theory of classical Sanskrit metre unnecessarily dis- tinguishes two forms of this verse, according to the quantity of the initial syllable : and it fails to take adequate account of the caesura, which is the most important feature in the verse, at any rate as used in the Rigveda. Still the term Indravajra will be convenient for the scheme just given, if we may modify the traditional meaning by regarding the quantity of the initial syllable as indifferent, and the late caesura as essential.
Although the ' Indravajra ' verse (illustrated in § 206) never becomes established as the basis of an independent metre, it holds a position of such prominence amongst the various forms of Tristubh verse that it may fairly be considered as the dominant type which has emerged from the competition of numerous Vedic rivals.
(iii) The use of the iambic forms y w — w, w jj - v^, and that of the cretic form |( — w - present the most striking features of the metre of the Rigveda. At first sight the iambic forms appear to be character- istic of the earlier Vedic periods, and the cretic form seems to mark the later : and this general view was assumed as a starting-point in §§ 94 v, 95 ii. It is now seen to be subject to important qualifications. In particular the form ^ u — v/, when used with secondary caesura, assumes importance even in some of the later periods, and in the hymns of Visvamitra, and to a certain extent in the group x 29-80, is used side by side with the cretic form.
(iv) Although the form v (| w v is a regular form in all periods, it is comparatively little used in the Vasistha hymns, where it is actually less common than the form v^ (| - v^. There is therefore ground for thinking that the latter form was encouraged by some distaste for the three consecutive short syllables at the break. In the end both these forms gave way to the dominant type - n v v It has been necessary to consider the quantity of the fifth syllable in connexion with the opening also, as it has a bearing upon the quantity of the fourth : but it seems that even with a late caesura the quantity of the fifth syllable is primarily affected by the syllables that follow.
Rhythm of the cadence 185
(v) Irregular forms of the break are much commoner if the
caesura is early than otherwise : the most common form is n ^ , and
next to it || v^. After a late caesura * "jj w — is more common than
^n . This gradation follows naturally from the rule in § 45 : in
both types of the verse the rarest forms of the break are those in which the caesura is followed by two long syllables.
208. The regular rhythm of the cadence is - %/ - * in Tristubh verses, and - v - ^ - in JagatI verses. This rhythm appears to be almost entirely independent of the caesura and the rhythm of the break.
In the eighth place a short syllable is employed fairly often, not only in the archaic and atrophic periods, but also in the hymns of Vamadeva in the normal period : and some liberty in this direction is still retained even in the later periods.
This liberty is, however, not extended equally to all syllables. Final syllables are found twice as often with this quantity as initial or medial syllables : and final vowels are found about twice as often as final consonants.
The prevalence of short final syllables in this position in the Vasistha hymns is associated with the secondary caesura: as becomes clear when we observe that almost one-half of the verses with short eighth syllable in this group have one or other of the iambic breaks u v - w, w ^— \*¥ — ,j - v. The preference given to final short vowels as compared with final syllables ending in consonants calls for some different explanation : the phenomenon is clearly analogous with the similar preference for final short vowels in the second place, and the two are discussed together in §§ 221, 222.
The short tenth syllable is about half as common as the short eighth syllable, and is almost always an initial or medial syllable, as is also the short sixth syllable in dimeter verse. This fact shews that there is some arbitrary or conventional element associated with the opposite tendency shewn in the short eighth syllable.
The short eighth and the short tenth syllable are associated in the same verse just as often as might be expected by the laws of chance, and are therefore tabulated quite independently : all other quantitative variations in the cadence are very rare, and are almost confined to the archaic period.
209. There are some important syllabic variations which
186 Syllabic variations
affect the cadence only. These are (i) the catalectic Jagati verse, in which the Tristubh cadence is found in a lyric or Jagati stanza; (ii) the extended Tristubh verse, in which the Jagati cadence is found in a Tristubh stanza; and (iii) the hyper syllabic verse, in .which the Tristubh or Jagati cadence is extended by two syllables.
The first two variations may be explained by ' contamination ' (§§ 55, 56): 'catalectic Jagati' is not uncommon in the archaic and cretic periods, and becomes frequent in the popular Rigveda ; whilst 'extended Tristubh' is very rare except in the popular Rigveda.
'Hypersyllabic verses' constitute a special metrical develope- ment, as is clear from the great number of such verses found in a single hymn (viii 97 10-15). The occurrences are confined to the archaic period.
These variations are further discussed in §§ 223, 224.
210. The syllabic variations which affect the verse as a whole are those exhibited in 'decasyllabic verses' (§ 49) and 'hybrid verses' (§ 56). Of decasyllabic verses there are many varieties (§§ 226-228), several of which develope into the distinct metres found in the decasyllabic hymns. For the moment we put aside not only these verses, but also all those that occur in the hymns in decasyllabic Tristubh metre (§ 204 i), and consider only those verses which occur sporadically : the Table shews that these are relatively common in the archaic period, and are occasionally found in all the groups except those of Visvamitra and Kutsa.
The conclusion reached above (§ 149 i), that most of the verses in which some part of the word indra follows an early caesura are to be interpreted as decasyllabic, now finds support in considerations of rhythm. For in such verses the final syllable of the word is short in two instances out of every three, as is regularly the case in decasyllabic verses of the corresponding type (§ 226 i, ii) : whereas if the resolved value were correct we should expect to find the rhythm ,| - ^ - quite twice as often as (j - ^ ^. These verses are therefore included with the decasyllabic verses in the Table.
Hybrid verses are occasionally found both in the lyric hymns of the archaic period, and in the popular Rigveda.
In Chapters IV and VI I have preferred to interpret verses either by hiatus or by syllabic resolution, rather than as decasyllabic verses,
Developement of trimeter rhythm 187
whenever the evidence appeared in any way adequate. In so doing I have followed a principle which commends itself by its simplicity both to Indian and to western critics of the Rigveda: but the present enquiry rather points to the conclusion that decasyllabic variations should be more freely recognized. The evidence of early date is very much the same, whichever be the explanation favoured in particular instances.
211. In the general picture of the developement of trimeter rhythm which is shewn by the Table in the next section there appears a broad contrast between the groups of the archaic period and those that are subsequent to them. In the archaic period almost every variation is relatively common, so that it would seem that the trimeter rhythm was not at that time established in any very strict form. But in all the subsequent periods we find very general regularity, with special favour shewn to one or more forms, such as the 'secondary caesura/ the 'pentad opening,' and 'the cretic break,' which are nevertheless common in all periods. In the popular Rigveda the variations are all such as may be explained by the ' contamination ' of verses or parts of verses of different types.
The variations which characterize the archaic period are both numerous and distinctive : they are also generally similar to those which characterize the same period in dimeter verse. Hence we can readily detect the archaic rhythm, even in a small group or a single hymn. The characteristics of the strophic, normal, and cretic periods, on the other hand, can only be observed in large bodies of verse : in small groups and single hymns the favoured types of these periods may happen to predominate merely as the result of chance.
The frequency of 'contamination' in the popular Rigveda has already been used as evidence of date in Chapter II : in other points the metre of that period is in close agreement with that of the cretic period. On the other hand the provisional theory of an 'archaic period' receives confirmation from the appearance of a great number of new features which are seen to characterize the groups assigned to this period : and the examination of these details promises to supply us with the means of defining with considerable accuracy the list of hymns which should be assigned to this period. For the intermediate periods we can only expect to trace the history in its broader outlines.
188
Trimeter rhythm
212. Table shewing the principal varieties of trimeter
RHYTHM.
|
Period |
Archaic |
Stroph. |
Normal |
Cretic |
Popular |
|||
|
Lyric |
Bhar. |
Vas. |
Varna. Visv. |
Kutsa |
x 29-80 |
|||
|
Group |
I |
Ill |
IV |
VI |
VII |
VIII |
IX |
X |
|
No. of verses |
736 |
1524 |
1621 |
1598 |
1407 |
685 |
1155 |
3445 |
|
The Caesura: |
||||||||
|
Caesura after 4th syllable |
448 |
468 |
440 |
496 |
537 |
582 |
519 |
519 |
|
„ ^ „ 5th „ |
496 |
478 |
536 |
480 |
458 |
410 |
467 |
463 |
|
,, in compound |
8 |
14 |
6 |
6 |
3 |
0 |
2 |
2 |
|
,, after 3rd syllable1 |
3 |
5 |
1 |
3 |
0 |
0 |
2 |
0 |
|
Secondary caesura: |
||||||||
|
with caes. after 3rd |
3 |
1 |
9 |
0 |
1 |
0 |
0 |
0 |
|
with break, n ~ |
22 |
13 |
41 |
5 |
10 |
3 |
3 |
3 |
|
>> ii |
40 |
42 |
107 |
24 |
61 |
15 |
34 |
17 |
|
— ii - v |
5 |
15 |
18 |
6 |
7 |
6 |
7 |
3 |
|
The Opening: |
||||||||
|
(a) with early caesura: |
||||||||
|
Regular, == - ~ - |
130 |
163 |
157 |
208 |
220 |
173 |
177 |
174 |
|
II |
151 |
143 |
154 |
161 |
152 |
235 |
176 |
172 |
|
Syncopated, - ~ |
58 |
40 |
37 |
35 |
42 |
68 |
58 |
63 |
|
Other forms |
109 |
122 |
92 |
101 |
123 |
106 |
108 |
110 |
|
(6) with late caesura : |
||||||||
|
Pentad, - - ~ |
115 |
91 |
131 |
182 |
169 |
139 |
150 |
132 |
|
Regular, - - ■ ~ |
113 |
98 |
128 |
77 |
105 |
84 |
69 |
82 |
|
M |
91 |
94 |
85 |
85 |
81 |
58 |
86 |
98 |
|
>> |
78 |
79 |
106 |
75 |
74 |
48 |
61 |
61 |
|
Other forms |
99 |
116 |
86 |
61 |
29 |
81 |
101 |
90 |
|
The Break: |
||||||||
|
(a) after early caesura: |
||||||||
|
Normal, h ~ ~ - |
201 |
206 |
217 |
233 |
295 |
286 |
245 |
270 |
|
Cretic, n - ~ - |
67 |
72 |
67 |
77 |
142 |
170 |
136 |
119 |
|
B W W %tf |
60 |
94 |
65 |
78 |
57 |
50 |
80 |
80 |
|
II — s" w |
19 |
32 |
34 |
19 |
20 |
62 |
46 |
37 |
|
Iambic, „ ~ - -1 |
33 |
14 |
4 |
5 |
1 |
0 |
3 |
1 |
|
Irregular forms |
49 |
30 |
9 |
16 |
6 |
10 |
7 |
11 |
|
(b) with late caesura: |
||||||||
|
Normal, - n ~ ~ |
233 |
221 |
248 |
285 |
248 |
232 |
290 |
279 |
|
-'ii ' |
162 |
167 |
118 |
145 |
130 |
137 |
122 |
153 |
|
Iambic, *- n — wl |
28 |
21 |
31 |
11 |
10 |
13 |
10 |
7 |
|
„ |
13 |
13 |
9 |
4 |
1 |
7 |
3 |
2 |
|
Irregular, - „ - - |
17 |
5 |
6 |
3 |
3 |
0 |
3 |
2 |
|
The Cadence : |
||||||||
|
Short eighth syllable : |
||||||||
|
,, with secondary caesura |
3 |
5 |
19 |
1 |
4 |
0 |
0 |
1 |
|
,, final vowel |
30 |
21 |
15 |
22 |
7 |
7 |
2 |
4 |
|
,, final consonant |
18 |
7 |
11 |
12 |
9 |
4 |
3 |
6 |
|
„ otherwise |
24 |
11 |
2 |
8 |
3 |
10 |
3 |
4 |
|
Short tenth |
34 |
34 |
5 |
8 |
2 |
6 |
3 |
3 |
|
Long ninth |
8 |
9 |
5 |
6 |
1 |
1 |
3 |
2 |
|
Irregular |
4 |
7 |
1 |
1 |
1 |
1 |
1 |
0 |
|
Catalectic JagatI |
23 |
— |
— |
— |
— |
43 |
44 |
70 |
|
Extended Tristubh |
— |
1 |
2 |
1 |
2 |
2 |
0 |
45 |
|
Hypersyllabic verses |
7 |
4 |
1 |
1 |
0 |
0 |
0 |
2 |
|
Syllabic variations: |
||||||||
|
Decasyllabic verses3 |
21 |
25 |
14 |
14 |
4 |
5 |
11 |
10 |
|
Hybrid „ |
5 |
1 |
0 |
0 |
0 |
1 |
0 |
6 |
All the figures in this Table are proportional to each 1000 verses.
The 'Vasisthi' verse 189
213. In order to apply these results to smaller bodies of verse, it will be necessary to record more precisely the occurrences of those variations which are of historic importance. Amongst these the 'secondary caesura,' which includes phenomena con- nected both with the ordinary caesura and with the break, is the first to claim consideration.
Apart from the Vasistha hymns, these variations are most common in the archaic period, but are also occasionally used later. But the ' Vasisthi verse ' (§ 205 iii) is very common in some of the later collections also, for instance in the Visvamitra hymns and the collection x 29-80 : whereas the form with caesura after the third syllable is hardly found later than the strophic period.
(i) The Vasisthi verse occurs so frequently that it will be suffi- cient to give the references to the hymns only, indicating by an index number the number of occurrences in each hymn; reference to the verse is only given in the case of composite hymns. The list then is : i *242 33 36 39 44 51 54 557 56 574 582 59* [613] 632 71 72 73 772 79 83 852 87* 883 89 (8b) 924 *932 100 102 103 1043 110 1113 1128 113 1168 11720 1184 1192 1213 1222 125 1273 128 131 *133 (la lb) 134 140 1412 1443 1492 1512 152 1532 1542 1552 1563 *161 *1633 *164 165 1672 1682 169 171 1735 175 *179 1803 1813 182 1832 1843 185; ii 9 10
[ll2] 122 14 17 192 21 23 24 273 282 29 30 312 *32 (5b) 335 352 36 383 40; iii l5 22 4 5 62 73 146 15 18 192 20 21 222 25 26 *28 *294 305 317 322 353 362 387 392 45 48 50 513 533 (9b 10b *17b) 54 552 56* 575 5810 59 612; iv 22 32 47 55 62 [102] 12 *183 192 20 22 24 272 292
34 37 38 39 42 43 44 45 50 51 *58 ; v l3 2 3 4 82 12 28 (lb) 302 31 322 34 36 4l2 42 434 45 47 48 492 54 55 57 603 76 774 81 *83 87 ; vi 1 3 45 6 10 ll2 123 15 (15b) 16 (46b) 21 22 233 262 272 *28 30 31 33 372 38 39 402 41 446 484 49 504 512 52 (14d) 60 622 633 642 65 664 67 682 69 72 ; vii l5 22 37 48 6 74 85 102 13 143 172 183 193 205 21 224 235 242 25 262 272 302 31 322 34 362 372 385 39 406 423 43 45 566 [and 11a] 572 588 607 612 62 644 654 675 686 692 706 71 723 739 752 772 842 85 864 873 882 90 924 95 977 99 100 *103 *1042; viii *1 (34d) 4 15 18s 19 204 21 22 233 24 27 33 357 362 462 *486 49 53 57 60 66 86 87 88 89 964 982 99 101 ; ix 68 704 712 74 75 763 794 83 84 853 863 883 892 91 93 952 96 97 (lid 21c) 106 107 108 [109]; x [1] 3 4 *103 *13 *14 *18 233 *27 29 30 31 322 (Id 2d) 353 362 382 392 402 45 [462] 483 493 50 55 *59 6110 623 63 644 685 692 70 735 742 762 773 (7b 8b) 78 (7b) 793 *82 *832. 89 91 922 93 *943 *954 993 104 105 106 113 1157 116 *117 *1203 1234 124 *125 132 140 147 *168 172s *179.
[Notes to the Table opposite]
1 For occurrences combined with a pause after the eighth syllable see under 'secondary caesura.' The number of occurrences under the two headings must be added together to give the whole number in each 1000 verses.
2 Vasisthi verse (§ 213).
3 Verses occurring in hymns in decasyllabic Tnstubh are not included here.
190 Other forms of ' secondary caesura'
(ii) The following are instances of the combination of a caesura after the third with a pause after the eighth syllable: i 36 18a, 63 2c1, 174 9d; ii 14 4d2, 17 5d, 24 12c, 33 8c; iii 16 6c, 58 7a;
iv 33 10a2; vi 15 12d, 48 17c3, 51 9b24; vii 2 7c, 7 lb, 20 7d, 26 5b, 36 5c, 57 6b, 60 la4, 67 5b, 68 3c, 88 3d, 97 3b 9a ;
viii 25 23c; ix 96 4b; x 106 7a2 7d, *120 9c, 132 2b,
172 2b.
1 caesura following the prior element of a compound. 2 only in these
instances is dimeter rhythm wanting. 3 § 151 i. 4 with short eighth syllable.
(iii) In the following instances the break n w — *» is combined with a pause after the eighth syllable: i *24 15b, 32 13a, 33 8a, 44 10a, 55 4a, 57 4b, 58 9d, 60 5d, 71 4c1, 83 Id, 87 6b, 88 5d, 89 6d, *93 5d, 104 Id, 106 5b, 113 3c, 116 Id 7d, 117 6d 16b, 120 7c, 121 13d2, 127 8a, 128 4a, 158 4b, *164 13d, 166 14b, 180 8c, 190 4a;
ii 9 3c3, 15 5b, 23 8a, 27 16a; iii 1 17c, 14 6c 7a, 19 2a, 25 5a, 26 3c 6a, 34 8a, 43 3a, 47 lb, 53 lib, 55 18a, 58 7b, 59 2c, 61 2a; iv 12 6b, 20 3b, *24 9b, 26 5b, 37 3b, 50 3b 5a, 55 2ca;
v 31 lid, 46 2d, 53 6a 7c lib 14a, 87 lc 4c 8c; vi 2 lie, 15 10b 12a 15e, 17 Id 13c, 23 7d2, 26 3c 6c, 2(J 2b 2c, 30 4b, 49 4d, 50 12a 14c, 51 9d, 63 2d 7c, 64 5a2, 67 2d, 73 2a2; vii 1 3b 4c 5a 6b lib 15a 19a 20d, 3 9c 10b, 7 4b 7d, 14 3b, 18 7a 7b, 19 lc 4d 8c, 20 4d 5d 7b 8a 9a, 21 8d, 22 2c, 23 3a, 25 fid4, 27 Id, 29 3a, 36 4c 9b, 37 lb2 2b« 6c, 38 Id4 6a7 7b 7c, 39 2d 3c 7a, 40 lb2 3c, 42 lc, 56 14b 19c, 58 5c, 60 6c 7b 12a, 61 4c, 67 5d, 68 3a 6b 8c2, 70 lb, 84 2b, 85 la Id, 86 4b2 6b2 6c2, 87 lb 5d, 92 3c 4d2. 95 2a 2b 4a 5b2 6a2, 97 2a2 2d 5d5, 100 3b; viii 15 2c, 17 15c, 18 19c2, 22 9b, 23 27c, 24 15c, 25 lie,
27 10a, 36 lb - 2b = 3b, 46 28e, 60 4a, 70 7c, 80 lOd, 87 6a, 96 2c 17c, 98 lc, 99 8a, 101 8a; ix 74 4c, 79 3a 3b, 86 43a, 90 6d, 93 5d, 97 3d 6d 54d8, 108 15b, 111 2a; x 4 lc 2b, *17 Id, *18 12c, 23 3a2, 30 2b, 48 7b, 61 20b, 65 lb 15d, 66 la1, 73 5a, 74 6c, 75 5c, *87 21d, *95 7c, 96 5a, 99 la2 6a, 105 4b, 116 5c, 122 8d, 123 5d, 126 8b, 140 6c, 160 5d6.
1 § 151 iii. 2 also short eighth syllable. 3 2 sing. perf. in -thd (~tha)
in eighth place. 4 § 166 iv. 5 § 170 ii c. 6 § 151 ii. 7 § 142 i.
(iv) The break — u — w is combined with a pause after the eighth syllable in the following verses : i 55 3d 6d, 56 3b, 57 4c 6b, 77 5c, 89 5c, 100 4c 10b 15a, 113 13c, 116 21a, 117 3b 4c 7d 13b, 118 6d, 121 11a, 122 3c 4b, 132 6a, 135 6a, 141 6c, 146 3c, 156 2b 3a 3c, 158 2c 5c, *164 29a *52a, 167 5b, 173 lc1, 178 3c1, 186 3b 5a 11a, 189 4a1, 190 3d2 4b; ii 4 3d, [11 10b 12d 21c], 14 8d, 17 lb 6c, 20 4c1, 23 7a, 32 3b, 33 5d 12c, 35 9b 15a, 36 6a; iii 4 4b, 5 2a, 7 lOd, 15 lb1, 19 2b, 21 lc 4b, 33 lc 8b 9a, 54 15b ; iv 2 3a, 4 Id7, 6 3a, 12 6c, 16 5b, 22 3c, 26 6d, 29 3c, 37 la1; v 2 9d, 8 5b, 32 6a, 36 lb, 41 3a 13b, 46 7c, 54 lie, 87 9a; vi 1 3c, 2 lie, 10 3d, 13 4d, 16 46a3, 17 lOd1, 20 6c, 21 6d4 7a, 23 9a, 26 Id1, 29 5b, 40 2d, 49 14d, 50 7a 12c 12d 14a, 63 8b1, 64 Id 3b, 65 lb, 66 lc 8dJ ; vii 1 3a5 9a1 13a1 14c, 3 10a, 6 7a, 8 5c, 16 4a, 18 17d, 19 7d\
28 3d1, 34 24a, 40 5c, 41 7c, 43 3b, 56 17b, 57 3b 6d, 60 4c, 61 4b, 67 5a 5c, 68 5a, 70 la, 76 6a 7b, 77 2a 5a, 84 la lc, 86 4c, 88 3c3, 95 5a; viii 25 18c, 26 5c1, 35 4a 6a, 60 10a1, 96 2b6; ix 69 8d,
Weak caesura 191
70 lb 2c, 73 5d, 74 4a, 75 3b, 86 4c 36b, 91 4a, 93 4d, 94 3a, 96 17a 97 27d 34b 53c 53d, 107 16a 26c, 110 8a; x 4 6c, *10 10a, 22 15d' 23 4a, *27 12a, 30 Id, 35 4b, 39 7d, 43 4b, 45 4b, *59 3a, 61 4b 12c'1 13b 16c 23b, 64 3a1, 70 lie, 74 la1, 76 lb, *85 23b, 91 7b, 93 6a *95 6b, 99 5d, *101 7d, *103 lie, 111 3c, *120 3c *5d, 126 8c' 133 7c.
1 with short eighth syllable. 2 § 127 6. 3 § 151 iii. 4 § 158.
5 impv. -hi in eighth place. 6 § 159 iv. 7 doubtful : see § 159 i.
(v) Short final syllables in the eighth place are specially common in the Vasistha hymns : if however we except those instances which occur in the verses already referred to, they are not so common as in the archaic period or in the Vamadeva hymns. It does not therefore appear that this variation is by itself an indication of ' secondary caesura': but in the cases referred to it is corroboratory evidence of this type.
214. Both forms of the 'weak caesura' (§ 205) are charac- teristic of the archaic period. There is however some difficulty in determining the extent of these variations, even when occurrences in verses which have secondary caesura are excluded from con- sideration.
A caesura separating two elements in a word may confidently be postulated where the rhythm of the break confirms it, as in the following examples :
dasmdsya c&ru \\ -tamam asti ddmsah i 62 6b ddabdhavrata \\ -pramatir vdsisthah ii 9 lc
dnibhrsta \\ -tavisir hanti qjasd 25 4c.
Conversely, the absence of any regular rhythm in the break
makes the ' weak caesuras ' postulated in the following examples
very doubtful :
ye dhenuih visva y -juvam visvdrupdm iv 33 8 b
tatakse \\ sUrydya cid okasi sve v 33 4c.
The consideration which seems decisive in favour of metrical
interpretation by means of the 'weak caesura' in the latter
instances is the extreme rarity of trimeter verses which cannot
be explained in one or other of these ways. Undoubtedly the
phonetic character of the Vedic dialect makes a pause of some
kind at one of the points named almost unavoidable : but only a
very strong metrical feeling for the necessity of such a pause can
account for our finding only three trimeter verses in the whole
Rigveda which have certainly no caesura of any kind, namely
tudm sahdsrdni satd ddsa prdti ii 1 8d
sumndm iyaksantas tutivato nrn ii 20 Id
indra svddisthayd gird saclvah iii 53 2d.
192 Weak caesura
A weak caesura separating two parts of a compound is also found in Virgil : see Dr A. W. VerralPs note on ' the metrical division of compound words in Virgil ' in the Classical Review for July 1904.
The instances of ' weak caesura ' are as follows, those which imply an irregular rhythm at the break having an indication to that effect attached :
(i) The caesura follows the prior element of a compound or derivative: i 30 16c1, 35 5b, 36 lc2 10c, 52 9c, 58 8b1, 60 5c1, [61 3c 4d] 5c3 5d 16a 16c], 62 lb 6a 6b, 63 2c2, 64 3b1, 116 3d, 120 9a, 122 2a1, 127 5b, 129 4b1, 141 12a, 148 lb1, 184 2c; ii 4 la1, 9 la lc, 19 8a1, 25 4c, 34 8d; iii 2 7d, 26 5d, 53 16d, 58 7c 9a; iv 1 4c1 6b1 8b1 19b, 3 lb1, 22 3a1, 23 6d, 33 8bl, 41 3d, 42 8d; vi 2 11a1, 4 7a, 11 4d, 15 4c, 16 46c1, 20 lc 5c1 18c1 4 lie 13d1, 24 6c, 26 5d\ 29 4a, 33 4d\ 34 2b 3d, 44 lOd, 51 10a, 68 lb 2d1 6a 7a; vii 2 7b, 4 5d, 8 6d, 14 lc, 23 5b, *33 11a, 38 2d 5d, 58 2b, 60 8d, *66 16a1, 81 4c, 88 6c1; viii 21 9b, 23 19c, 27 lie, 60 17c, 61 14a1, 66 6c1, 87 5c, 99 lc ; ix 72 4a1, 83 5c1, 84 la, 86 40c1, 88 3d, 94 Id,
108 13b; x [1 5a], *17 5b, 22 10a1, 35 14d, 48 8b1, 50 lb, 61 13d 15c 15d 21c, 74 6c, 76 2b, *85 37a1, *98 5b, 99 8d\ *101 2b, 105 4c lid1 lie1, 122 la, 140 6c, 160 la, *]67 4d. Occurrences in dvandva compounds, as indra n -varund, are not included (§ 205 i).
1 an irregular rhythm results. 2 after third syllable. 3 Viratsthana
verse. 4 reading Sasvddibham in one word.
(ii) The caesura follows the third syllable : i 36 lc1, [61 2b], 62 2d 5a 5b 5c, 73 8a2, 122 8c, 127 2b, 135 4f3, 186 5b ; iv 2 19d,
7 lid, 26 4b; v 33 4c, 49 5b; vi 3 4d 6b 8b, 11 3c, 20 4d,
24 7d2, 33 2b; vii 20 6a, 37 8c4, 61 Id, 69 3a; viii 96 3b,
97 13a; ix 72 lc, 93 5b, 97 31d ; x 32 5d, 50 5b, 65 15b,
68 2a, *95 7a, 105 5c, 115 2d. For examples accompanied by secondary caesura see § 213 ii.
1 caesura after prior element of compound. 2 § 151 iii. 3 § 149 iii.
4 but see Metrical Comm.
Apart from the weak caesura irregularities are few and historically unimportant : but we may conveniently record here the following instances :
(iii) The caesura is at the point of Sandhi combination : i 118 7a 7c, 155 4d, 186 8c; v 45 9b; *vi 75 18b; viii 46 22a; ix 87 5b; x 50 3c. See also § 205 i.
(iv) The metre is so uncertain that the position of the caesura cannot be determined in *i 162 16c, iv 26 7a, and viii 46 20a.
(v) The verses i 122 5c, v 33 7a, and vi 12 6a appear to be dimeter verses, but as they Occur in hymns which are otherwise in trimeter metre the text is probably incorrect.
215. The opening provides very little material which can be used for the historical investigation of small groups of hymns :
The opening 193
its metrical character being less marked than that of other parts of the verse, and the changes that take place being more gradual. Still a history of Vedic metre would be incomplete without some account of its developement, and the attempt is therefore made here to discuss this part of the verse in more detail than was done in § 206. In consequence of the large number of possible forms this is a rather complicated task.
Perhaps the clearest view of the rhythm is obtained by examining the quantities of the second, third, and fourth syllables according as (i) the caesura is early, (ii) the caesura is late and the fifth syllable long, or (iii) the caesura is late and the fifth syllable short.
The table at the end of this section gives accordingly the proportions in which each possible form is found under each of these conditions, and also the corresponding proportions in dimeter verse, in three selected groups of hymns. To obtain the clearest possible view we take the groups of which the historical character is in other ways the most pronounced, namely (i) the lyric verse of group I (§ 91), (ii) the normal group VI, and (iii) the popular Rigveda.
It appears at once that all the groups agree in the general contrast between the regular forms ----(-), and the irregular forms ^ ^ ^ ^ (^) which have ' consecutive short syllables ' in the second and third places : but that forms which have consecutive short syllables in the fourth and fifth places are also irregular. The remaining forms may be considered as occasional forms under
all conditions, the ' syncopated ' type - ^ (-) being everywhere
the most common ; but occasional forms are comparatively rare where the caesura is late.
In the two extreme groups there is (except as just stated) very little difference between the openings in the four classes : but in the normal group there is a very marked difference between dimeter and trimeter verse, which is brought out by comparing the frequency of the ' iambic ' form * - ^ - with that of the ' syn- copated ' form ^ ^ . For whilst in dimeter verse the iambic
form is not twice as common as the syncopated form, in trimeter verse it is never less than six times as common ; and if there is a long fifth syllable before the caesura, it is more than fifteen times as common.
In the hymns therefore of this group the dimeter and trimeter a. 13
194
The opening
rhythm have developed in opposite directions. The favour shewn in dimeter verse to a long third syllable may perhaps be connected with the fact that the fifth syllable is always short : but at any rate the favour regularly shewn in trimeter verse to a short third syllable is most marked when the fifth syllable is long.
The following particulars also deserve to be noticed :
(i) It is agreed on all hands that the quantity of^ the first syllable is in all cases indifferent. According to my calculations, the number of long and short syllables in this position is almost exactly the same. Of. § 183.
(ii) It follows from the Table that the 4th syllable is long in three cases out of four before early caesura, and in nine cases out of ten before late caesura, the difference being due to the more strict rhythm employed generally in the latter alternative.
(iii) The line of distinction between occasional and irregular forms cannot be quite clearly drawn. Consecutive short syllables in the fourth and fifth places are particularly rare, doubtless because the late caesura is almost always followed by two short syllables. Amongst the ' occasional forms ' ^ v^ — ^ and * ^ — ^ — are somewhat rare, and amongst the irregular forms - u u - - is rather common.
(iv) The nine possible types of irregular opening are included in the formulae ^^^^, ^^^^^, ^^^^^. The form ^ ^ ^ ^ ^, in which the irregularity is doubled, and every trace of the rhythm of the opening lost, is naturally very rare: yet we find a few examples of it, as
nd ni misati .. surdno dive-dive *iii 29 14c.
Table shewing the rhythm of the opening.
|
Groups |
Lyric (I) |
Normal (VI) |
Popular (X) |
|||||||
|
Dim. |
A |
B |
C |
Dim. |
A B |
C |
Dim. |
\a |
B C |
|
|
Regular forms: |
||||||||||
|
i= _ w _ |
29 |
29 |
39 |
53 |
28 |
43 61 |
44 |
31 |
1 33 |
43 48 |
|
~ _ _ _ |
39 |
34 |
31 |
36 |
39 |
36 24 |
44 |
37 |
33 |
34 36 |
|
Occasional forms: |
||||||||||
|
- « |
11 |
13 |
11 |
7 |
16 |
7 4 |
7 |
11 |
12 |
8 8 |
|
~ ^1 |
10 |
13 |
o |
•5 |
7 |
6 3 |
1 |
10 |
;n |
4 2 |
|
at _ w vl |
4 |
5 |
5 |
•5 |
3 |
4 4 |
1 |
3 |
i 5 |
3 1 |
|
~ ~ _ - 1 |
4 |
3 |
5 |
0 |
5 |
3 2 |
0 |
5 |
3 |
3 1 |
|
Irregular forms: |
||||||||||
|
= ~ ~ _ |
2 |
2 |
4 |
3 |
2 |
2 1 |
2 |
2 |
3 |
2 3 |
|
— — ' v ""* |
•5 |
1 |
0 |
0 |
0 |
•5 0 |
0 |
1 |
1 |
•5 -5 |
A. Trimeter verse with early caesura.
B. Tnmeter verse with late caesura and long fifth syllable. C ii H m >< short ,, „
The figures are proportional to 100 verses of each class.
1 These forms are irregular in C.
Irregular openings 195
216. The instances of consecutive short syllables in the second and third places in trimeter verse are about 650 in number, the proportion being slightly larger than in dimeter verse (§ 190). In fully one half of the instances the second syllable contains a short final vowel, or -a as representing final -ah or -e: for the final short vowel the text in several instances gives a long vowel, or substitutes -o for final -a (§ 171 iv). Only in some 33 instances do we find a similar short final vowel in the third place : and we therefore have repeated the phenomenon already noticed in di- meter verse (§ 189), that a short final vowel is specially capable of bearing the ictus if it occurs in the second place.
There are less than 200 examples of consecutive short syllables in the fourth and fifth places. In these instances the fourth syllable only rarely contains a final vowel : nor is there any trace of any special metrical value of the fifth syllable.
Similar metrical phenomena are observable in the cadence : and the problem as a whole, and its connexion with the question of protracted vowels, are further discussed in § 221.
Consecutive short syllables in either position are less common in the normal period than elsewhere.
Out of about 350 instances of final short vowels in the second place quoted below, about 35 are instances in which the text gives a long vowel, but, as is held, on insufficient grounds. Whether this number is too large or too small the general argument is unaffected.
(i) CoDsecutive short syllables appear in the second and third places in trimeter verse as follows :
(a) the ictus falls on a final vowel of a word or of the prior element of a compound or derivative: i 32 lb 14c4, 33 9a, 39 f6al, 51 12c, 54 lb, 55 4b, 57 5a, 59 7c4, 64 lid, [68 2a], 76 la 4b, 77 3d, 87 lc 2b, 89 3c, 96 7a, 100 14b, 104 7c, 113 5a 6c, 116 8b tl4c2 25b, 118 2d 10c, 121 4a, 124 14a1, 127 3a, 129 fSa11, 131 f6a2, 140 fl3a3, 143 8d, 149 lb, 152 2d, 153 |4c2, *162 lb *14c, *163 3a *4a *6c *lla, *164 lOd *lld4 *31b *36d *41b *43a *45b, 165 4b 6a 9d, 167 lOd, *170 5c, 171 la, 177 2b4, 182 2a 4a, 186 la lc 4a 5a 6a 7a 8a; ii 2 2c, 4 lc, 9 4c, 10 6d12, [11 t5c2], 12 8b, 13 lOd, 15 Id, 20 8c, 21 la lc 2a, 31 6c, 33 13c, 38 8b, 39 8c; iii 1 21c, 5 8c, 7 f6a2 flOc2, 9 9a, 25 5a, *28 4d, *29 2b *6d *14c, 30 19c 20b13, 31 20c, 32 2c4, 33 6c 6d, 35 13a1, 36 2d, 43 2d 7a 7c 7d, 49 2c, 50 Id, 51 7a, 54 2a f4a2; iv 1 6c, 2 4a, 4 4c, 5 5b lid 12d, 6 3d, 12 6b, 16 14a 20b4, *18 3d4 *4a, 19 6d, 24 7c, 26 3c4 6d, 28 lb, 38 fla- 3d 4b 4d 10b, 54 4a, 57 3a12; v 29 2a 6a4, 30 6a, 33 la 2d 10a, 41 2b 7a |7d10 8a fl6b5 16d 19a, 48 |2c6 5b, 49 4a, 54 8b 10b 15d, 60 3d, 62 lc4 ; vi 4 3c, 5 3c 4c, 6 5b, 8 Id, *15 19b, 20 la 5c, 21 2c, 26 5c, 27 3d, 30 lb, 40 la 2a 4b, 44 14a 19b4, 47 13a*28d, 48 lc 14c, 49 14a 15d, 50 14a, 51 3c 8a, 61 13c,
13—2
196 Irregular openings
63 9a 9d4, 70 la; vii 1 6a f8c2 16c 18c, 8 2d, 16 6c, 20 3a, 21 2d, 24 4b4, 28 fla7, *33 14a, 34 [17a 18a] 24a, *35 3b *4d *9a *12c *13a *13b *13c, 39 5c, 41 7b, 45 4b, 46 lb, 53 f3a2, 56 16b, 58 5d, 59 4a 4c, 60 5c, 64 2b 2d, 67 12b1, 77 fla1, 81 flc,;, 82 3a, 84 13c1, 88 3c, 92 flc', 93 13a1, 97 7a, 98 2c, 99 2b 5b4, 100 2b, *103 9a, *104 8c *19b *19d *24a ; viii 1 24c4, 19 33a, 21 3b |8c2, 23 3c, 27 10a, 53 6a, 54 6a, 60 14a, 61 9c, 96 fed1 lid 15c, 98 lc4 ; ix 69 f 2a1, 73 8b, 79 lc 3d, 86 16c, 90 5d, 92 3d 94 la, 95 3d, 96 2b 18a, 97 |49c3 f 51a3 53a 55c 55d, 108 14a, 110 5a, 11a; x 4 7a4, 8 4a 5c, *10 |13b8, *13 3a4, *15 Id *13a, *16 5a, *17 6d, *18 3c, 23 7b, *27 21c, 30 10b 13a, 31 6c, *34 8b, 37 3a, 48 f7b3, 49 lid, *52 6a, *53 4c14 *4d4 *5a4, 54 6d4, *59 6d, 61 26b, 63 16c, 66 5c4 8d, 68 2b 3a12, 69 2d 12c, *71 |4c2, 73 |9b2, 74 4b, 76 4a 8d, 77 8c, *82 7d, *87 19c, *88 18b, 89 10b, *94 7d4, *95 4b f9b9, 96 4a, 99 7c 8d lid, *102 2b *7c *10a, *103 6a, *108 5b *7d *8a, 110 lc, 116 2a, *117 lc2 *4a *6c, *120 2c *6b *7d, *121 4a *4b *4c, 126 8b, *130 lb, 131 7a, 139 3c, 147 5b, 160 3b, *168 3b, *177 3b, 178 3b.
1 text upo. - text utd. 3 text abM. 4 -a from stem in -an, ef.
§§ 166 v., 175 i. 5 § 142 i. « text dpo. < text brdhma, see § 175 i.
8 reading tdva mdnah, § 151 iii. 9 § 151 i, but doubtful. 10 text hd.
11 text prd-pnl. « cf . § 166 it. 13 cf. § 168 ii. ^ § 121 c.
(6) the ictus falls on a similar final vowel in the third place : i 44 14c, [65 9a], 152 4c, 167 8b 8d, 174 10b, 183 4b; ii 3 3a, 23 17c, 40 6c; iii *29 15b; v 41 9c, 62 6a ; vi 10 lb, 27 3b, 49 9a, 66 6d 9d; vii 1 2b, 9 4b, 20 7c, [34 10b], *35 lie, 61 3b; viii 24 5c; ix 70 7a, 88 7b; x 55 4a, 64 Id, 73 8d, *95 11a, *103 3a, 105 4b 7c.
(c) the ictus falls elsewhere: i 31 16d, 35 8b1, 51 4a, 53 11a, 57 3d, 58 2a, 61 9d, 63 3b, 64 14a, [67 10a], 71 8a, 88 2a, 91 20c 22a 22b, 92 lie 12c, 94 lb, 100 4c 6c, 107 2b, 108 2a, 109 7a, 110 3a 5a, 111 3d, 114 4d, 116 10a 10c 18c 21c 22d 25d, 117 lOd 16c, 121 8d 9d, 123 9d 10c, 124 2a 2b, 125 2a, 127 3f 5f, 130 6f, 134 4a 4f, 139 lib, 140 lb 4c, 141 6b, 155 4a, 158 2c, *161 6d *8a *12c, *162 13c *14a *20b, *164 40a, 168 9b, *179 2c *4d, 181 7d 9b; ii 1 lie, 2 3c 4b, [11 7c], 12 2a, 13 12a, 15 4b 6c, 16 lc, 19 3c 6b 7b, 20 2c 7c, 24 11a, 27 2d 13a, 30 lc, 32 lb, 34 9c, 38 4d ; iii 20 la, 23 la, *29 2a *14b *14d *16c, 32 6a, 33 3c, 48 3b, 51 4c, 61 3d; iv 2 11a 19b, 3 9d 12d 16c, 4 5d, 5 6b 10b, 7 la, 16 2d, 17 7a 10b, *18 2a, 19 6c, 26 2c, 28 5d, 33 8d, 35 3a 7c 9c, 36 Id, 38 4c, 39 5a, 42 4a, 56 2b, 57 2b; v 30 3c 12a, 31 8a 8b 8c, 33 10b, *40 7a, 41 16c, 45 lb, 54 3d 10a 14b, 57 3c, 62 3c 5b, 85 7a ; vi 4 7b, 6 4d, 20 2b 8b 13c, 22 5d, 30 lc Id 5a, 35 5c 5d, 38 2d 3b, 39 2a 2c, 44 12c 17b 22d 23a, 46 13c, 47 2d *30b, 48 lib, 61 la, 62 7a 11a, 64 lb, 66 7c, 69 5c 5d, 70 Id, 72 2d 4c ; vii 5 3b, 8 6d, 20 lb, 32 9c 13a, *33 9d *12d, [34 16a2], 37 6a, 38 6d, 41 6d, 45 3c, 48 2a, 71 2c, 76 Id, 79 4a, 80 2d, 81 3c, 98 2a, 99 3b 6d, *103 10b; viii 20 5b, 26 9c 12c, 46 28a, 49 8c, 96 14a 18d; ix 70 6b, 72 3a, 73 5d, 79 4b, 86 4c 6a, 89 Id 3b, 97 23b 41d, 106 7c, 110 8c; x 4 lc, *14 6a, *15 5b, 23 5c, 36 13a, 39 2a 9c 10c, 45 8c, [46 8b], 47 2c, 48 6c, 50 2b, *52 2c *3c, 54 2a 3d 6a 6b, 55 4b, 61 5d, 62 3b, 67 9b, 68 lb 5d 12a, 70 4a, *71
Irregular openings 107
2a, 73 5b 9c, 77 7a, [78 5b], 80 4b, *85 43b, *88 2d, 93 8a, *94 lib *95 2b, 96 4c, 99 5d, *101 2b, *103 7c, 106 3c, *107 la *5d *6d' *108 11a, *109 la, 122 7d, 123 lc, *125 3b *8b, *130 4b, 131 5a| *139 4b *6a, 144 5b, 148 2d, *149 5b, 160 3a, *182 lc = *2c = *3c. 1 § 147 iii. » g 142 i.
(ii) It will be convenient to note here the occurrences of ' protracted ' final vowels and others of doubtful quantity before a short third syllable: namely i 31 7c, 48 2a, 72 2c, 83 la, 115 2c, 117 2d 9d. 118 9b, 121 12d, 122 7c 8d 9d lod1, 123 12a, 129 11a2, 140 13a, *163 4d, *164 3d *21a *33d *40c2, 165 2d, 166 8a1, 183 3c, 186 5c, 189 4a2; ii [11 17d2], 17 6c, 24 lOd, 32 2d; iii 23 Id, 51 2c, 53 5c 6c, 60 2c, 61 2b; iv 26 7c, 36 9c, 42 9d, 43 6d, 51 4c; v 8 7b, 30 lb, 36 lc1 6d, 41 17c, 44 9c 9d, 54 15b, 58 6b, 87 5c; vi 1 7b, 2 lie2, 17 lid, 49 5c, *75 8c *llc; vii 1 4c 13a2 24c, 20 8d, 21 6c, 41 5b 7a, 47 3al, 71 3b 3c1, 72 lb, 83 2a 2c 2d, 100 2d, 101 3d; viii 3 9c 10a 12a2 12c2, 20 2a 6c, 61 12c, 96 10d2; ix 74 5b, 89 7c2, 97 26a, 104 2c, 108 4a, 110 lie; x 8 6b, *10 8d, *15 9a, *18 13d, *28 8d, 36 8b, 40 5d, 42 4c, 47 4c, *51 5a2, *52 Id, *53 8c, *71 2c, 76 4d, [78 lb], *88 17a, 91 15c, *101 Id, *102 9c, *109 lc, *114 7d, *121 5b, 138 lc, *149 2a, 160 lb. 1 -a for -an (§ 166 v). 2 imperative in -dhi, -hi.
(iii) Consecutive short syllables are found in the fourth and fifth places in i 32 5d, 36 15c, 48 6a, 53 10b, 59 4a, [68 lb, 70 7b], 88 6b, 95 10b, 100 16b1, 104 lc, 110 3c, 112 3b, 116 2a, 117 14d, 121 Id, 124 7b, 128 la, 151 4d, 152 lc, 154 5a 6d, 155 Id, *163 8a, *164 5c *8a *8d *44a, 168 5c2, 173 8c, 174 3d 8d, *179 3b, 183 5b, 184 2b, 189 7d; ii 2 2d3, 12 8b, 17 7a, 19 7d, 20 la, 30 4b, 31 6b, 33 Id; iii 2 5b, 15 3c, *29 14c, 43 2b, 46 4b, 49 2b, 53 9d, 58 7c 7d 8a 9a, 60 7b,
61 3b; iv 1 14a, 2 3c, 5 9c, 6 4a, 27 lc, 34 5c, 40 2b 5c ; v 2 5c, 31 13b, 41 3c 16e, 44 2c, 54 lid 13c, 57 5b 6c, 62 4b, 63 3d 6d, 81 la ; vi 3 5c, 7 la 4c 6b, 10 2d, 15 5b, 23 lb f 8a, 24 9a, 25 3a, *28 6d, 29 3d, 31 5c4, 35 4b, 36 2b, 39 2b 3a 3d 4a 4c, 40 5a, 44 [8a] 16b 18b, 47 4b 10b, 49 2b 8b 12c, 50 4d 6c, 51 lc Id, 52 15b 17a,
62 6a, 64 3d, 68 lOd, 69 5b, *74 lb; vii 1 4a, 8 2a5, 9 3a, 12 2d 3a, 18 24d, 23 5b, *35 4d, 37 3a, 38 5c, 41 3b, 45 3d, 46 3b, 48 2a, [56 9b], 59 8a, 75 5d, 97 4d, 99 5d, *104 lie; viii 9 lc, 21 18c, 35 16a 17a 18a, *48 2d, 52 8c, 53 3c, 89 3c; ix 72 6b, 88 6d, 107 10c; x 3 2d, 5 7d, [6 2d], 7 5b, *10 8b *10c, *18 12b, 31 9a6, *32 9b, 39 8c, 45 8c, 47 8b, 48 lid, *56 4c *6a, 66 10a, 69 2c, 73 3d, 74 3a 6d, 76 la, *87 14d, 89 4a 7b |9d7 17a, *94 14a, *95 3a, 96 5c, 105 7c, 106 8a, *108 11a, *120 3d *5c *7a *7b, *121 8c, 148 3a, 172 4b.
1 § 139 i. 2 § 147 iii. 3 § 142 iii a. 4 § 177 iii. 5 § 148 vii.
6 § 142 i. 7 reading vfsanam, § 170 ii c.
217. The opening is frequently defective by one syllable, and in such cases it is a convenient assumption, agreeable to analogy if not strictly proved, that the defect is caused by a rest at the fourth place. The instances are discussed in § 228.
|
i |
127 If |
|
ii |
18 5b |
|
vii |
32 12c |
|
*x |
87 13c |
|
*x |
88 9b |
198 The iambic break
Hypersyllabic openings are not permissible, except in the ' hybrid ' verse, for which see § 229. The only other examples which require explanation are as follows :
ghrtdsya vibhrastim \\ dnu vasti socisd d catvdrimsdtd u hdribhir yujdndh yd indro hdrivdn \\ nd dabhanti tdm ripah manyor mdnasah u saravya jdyate yd ydsmin djuhavur \\ bhuvandni visvd
218. Almost all the forms of the break are of historical importance : but considerations of space make it impossible to give full lists of the occurrences of the normal and subnormal forms. The list already given in § 95 ii shews the hymns in which the ere tic variation is most prominent.
Occurrences of the iambic forms in connexion with secondary caesura have been enumerated above (§ 213).
All the remaining occurrences of iambic forms, and all the occurrences of irregular forms, indicate early date, except that the history of the form ^ h - ^ is to some extent parallel to that of the secondary caesura.
It is difficult to define precisely the pause after the eighth syllable : and where it is very weak it has seemed desirable to include the examples under this heading rather than above, in spite of the fact that the principal caesura itself is sometimes very slight (§ 205 i).
The following are examples of verses so included in this section :
hota tdm u || ndmobhir d kruudhvam i 77 2b
puruhuta (| purtivaso 'surayhndh vi 22 4d.
(i) The following are the occurrences of the iambic break u v — w without secondary caesura: i 33 12a 14d, 36 12a 16c, 40 4a, 48 fSa1, 56 3a, 62 lOd, [67 9b], 77 2b, 79 Id, 89 4a, 91 3c |23b2, 92 14c 18c, 120 6b, 122 9b, 135 5a |9a3, 149 2a, 174 4b, 181 lb, 186 6d, 190 6d ;
ii 20 2b, 26 lb 2b, 33 2b, 38 10b11; iii 1 15c; iv 6 5a, 12 2b, 16 7c, 20 8a, 27 4c, 29 4d, 35 7c, 37 4a, 42 4a; v 4 7b, 33 |6d4, 45 3c lie, 46 8a, 53 2c 6c, 87 3c 7b 9b ; vi 10 3b, 12 3d, 15 14d, 20 10b, 22 4d5, 23 la 10c, 25 2d, 26 lc 4d, 29 5d, 34 2b, 35 la lb 4a, 37 5c, 44 15c, 46 8c, 47 20d, 48 8c, 60 3b, 66 2c, 68 4a ; vii 4 6b, 16 6c, 18 2d, 19 10a, 20 10c, 21 5b, 27 2d6 3d, 31 12a, 56 15c 17c, 74 4c, 81 4a, 82 |2a2, 86 8b, 92 4b, 97 4c; viii 4 lc 16c, 18 10c, 19 5b lib 13b 20a 28b, 21 |12c7, 23 6c 15c, 26 4c |7c8, 27 13c, 29 3a 4a 5a 16a1, 33 2c, 46 17b, 70 8c, 97 14b9, 103 12b 13a ; ix 68 9a, 84 Id, 90 2b, 97 44a 53b, 108 9b 10a 10c, 110 la; x [6 5b], 31 lOd, 44 5a, 48 3d, 50 lb, 61 26c, 62 6c, 79 5b 6d, *95 8d *llb, 99 5a, 113 6b, *120 5b, *130 Id, *142 4b, 144 5c 6c, 160 5b10.
For the occurrences connected with 'secondary caesura' see § 213 iii.
1 § 169 iii. 2 § 151 iii. 3 § 170 ii/. 4 § 166 vi b. 5 § 166 iv.
6 § 167 i. 7 § 178. 8 § 174 i a. 9 § 224. 1(> § 145 v. n § 142 i.
The iambic break 191)
(ii) The iambic break s/ u — w, even apart from secondary caesura, is very much more common, occurring as follows: i 31 17a, 33 3c 15c,
34 4d, 52 2d, 53 10b, 55 3c, 58 3c, 59 la 3c, [61 lc 14c 16b], 77 5d, 79 5c1, 84 20a, 85 4b lid, 87 3b 5d 6d, 88 2d, 91 4b 18d, 100 4a 16d, 101 8c, 108 lib, 111 2a 2b 2c 3b 5a, 116 lb 2a 3a 8c 9c 12b, 117 14a, 120 4b 8a, 122 5b 13c, 124 4a, 127 6b, 128 4b 7b, 131 4a 5a 7a, 133 6f, 141 10b, 149 2b, 153 4b, 155 lb Id, 156 lb 4b, *164 lid, 165 15b, 168 3c, 169 6a 8a, 173 lid 12a, 177 5b, 180 5b3, 181 5c 6c; ii 1 13c, 4 4c, [11 3a 4c 13a 15a 17a 17b], 14 6b, 15 8b 8c, 17 la Id 8c, 18 2c, 20 la, 24 3b 10c, 27 12b, 31 3b, 33 10a, 35 5c; iii 1 14b 17b 18d 20b, 2 6b lib, 3 9c 11a, 6 10a, 8 8d, 15 3c, 25 2a, 35 2d, 53 lc 14a, 56 7c, 60 7d; iv 1 6c 6d, 3 la, 4 5b, 6 la 7d, 7 lb 8a, 16 2a 14d, 17 19b, *1 8 2d, 21 6b 8a, 23 3a, 28 5b, 34 3d, 37 2d, 55 2a; v 1 7a, 4 lb, 8 7c, 27 2a, 28 3b, 30 9a, 31 2c 3b 13a, 33 4b, 36 2b 2c4, 41 4d 10a 10c 14a, 43 14d, 44 lie, 45 3a 7a, 46 2b, 48 3b, 49 4c, *83 Id ;
vi 4 6a, 12 4a 4d, 13 2a, 15 3b 5c, 17 14d, 19 3d, 20 5d, 22 10c, 23 lb 6d, 24 4c 6a 9c, 26 5a, 31 2a 4b, 33 3b, 34 3a, 37 2d, 38 5d, 41 5a, 42 4c, 44 12b, 46 lc 2a 5c 14c, 47 22a, 63 4a, 66 lb, 68 6a, *74 3b ; vii 1 16c 18b 20a 23b, 2 7a, 3 3d 5b 5d, 4 7c, 6 2c, 7 lc 3b, 14 2c, 17 5b, 18 19d, 19 5a 9b, 20 6b, 21 4a 7d 8b, 23 2a, 24 6a, 26 5a, 28 3a, 30 Id, 32 4c, *33 2c, 36 3b, 37 4b 8b, 39 3d 4a, 43 la 2a 2c 2d, 52 2c, 56 22b, 57 lc, 58 2c, 60 7d, 62 2b, 67 6a 6b, 70 3b, 81 4c, 85 2a 3d, 86 lb, 87 7a, 88 3b, 92 2a 3a 3d, 99 7a, *104 17a; viii 1 5c 17c, 3 12a, 4 20a, 18 15c, 19 2c 10a, 20 9b 20a 20c, 21 8c, 22 15b, 26 8c 15c, 60 3c, 70 12c, 90 4c, 96 la, 97 15a 15c, *100 2d *3c, 103 lc 4c; ix 70 3c 5a 9a 9b, 71 2a 4b, 78 3c, 86 3d 5a 34b, 92 3c, 93 3a, 94 Id, 96 19b, 97 19a 21d, 108 16a, 110 7c; x [1 4d], 2 4c, [6 4d], 7 5b 5c, 8 2c 7d 8a, *10 lc, *12 6d, *13 5b, 31 10a, 32 4d,
35 la, 37 Id 6c, 39 14c, 40 6d, 47 8a, 48 lb 7a, 50 3d 7d, *51 3b *8d, 56 2b5, *59 lc *6c, 61 4c 5a 8a 24a, 67 10b, 73 2c 7d 10c lOd, 76 7d, 77 8a, 78 [6b] 7d, 79 lb, *83 7b, 89 14a 15b 17a, 92 3d 6d, 93 10b 15a, *94 7c *8c, *95 6d *13a, 96 9d 10a, 105 7c, 106 7b, 112 8c, 115 5b, 116 6b, *121 8c, 123 2d 6b, 132 5d, 144 2c, *165 3c2, *181 la. <
For instances connected with 'secondary caesura' see § 213 i.
1 reading asmabhya : the instance should be added to those on p. 30 (A 13). - § 178. 3 § 142 ii. 4 but see § 177 iii. 5 § 84 A 13.
(iii) The iambic break - n - w, apart from secondary caesura, occurs as follows: i 34 lie, 40 7c, 48 6c, 55 lc Id 4b 7a 7b, 62 3d, 85 8d lib, 88 4c, 91 20d, 92 15c, 96 6b, 103 3a, 111 3c, 112 11a, 113 7c, 121 14a, 122 10c, 133 6b, 139 3a, 152 lb, 153 3d, 157 4c, 158 3a, *164 24b, 168 lb, 169 14c1 4d 6d, 171 6c, 173 6b 6d 12b3, 174 2b, 180 6d, 184 4b; ii 2 12b, 4 3a 4d, [11 9d 13c], 13 9b, 16 2b, 19 4d 5b, 20 lb 5c, 23 7d, 31 2d; iii 2 5d, 5 3a, 22 la4; iv 6 8b lOd, 16 lid, 17 lid, 22 4d, 29 4a, 38 3c; v 32 2b 4c, 41 lb 5c 7a 7d 8a 18c4, 53 14c*; vi 4 2a 3b, 10 5d, 11 3a2 5d, 15 2c 14b, 18 5c, 20 10c, 26 6a, 29 lc 4d, 38 lc, 50 6a lid4, 51 lOd, 60 3a, 63 9b, 67 5c, 68 2a; vii 7 5a 6a, 8 3d, 18 13a, 21 3d, 30 2b, 39 lb 3b, 42 Id, 43 5a, 61 3c, 66 13c, 67 7d, 68 4a, 70 4a, 75 5a, 86 Id, 101 lc ; viii 4 8c, 5 38c, 19 2a 6a, 21 18a, 22 10c, 25 12c6, 46 26c, 70 3c, 77 10c, *100 5b; ix 68 8b, 70 5d, 73 5b, 86 17c 42d, 88 6c, 94 la lb f3c:i,
200 Irregular forms of the break
104 5c; x *10 13c, *12 3b, 35 5a, 41 2d, 62 7a, 76 8d, 93 12b, *107 10a, *120 3b, 123 2b, 144 5a7, 148 5b, *149 4a, *170 4d. For instances connected with 'secondary caesura' see § 213 iv.
1 § 169 iii. 2 § 136 ii. 3 § 151 iii. 4 § 178. 5 § 145 iv.
6 § 170 ii/. 7 § 145 vi.
(iv) Of the irregular forms of the break p is by far the most
common : the occurrences are spread not very unevenly over the whole Rigveda, as follows: i *24 Id *2d, 40 4c, 48 8c, 52 4d, 54 lie, 71 8b, 83 3c, 91 2b 2c, 108 11a, 112 9c, 114 lib, 116 7c 18a, 120 8b 9b 9c, 122 7d 15a, 127 8b, |132 lb1, 134 If, 135 4a 5f, 140 8c, 141 12a, 143 6c, 149 3c, *161 5a *9c *12d2, *162 lid, 165 13b 13d, *170 5c, 184 2d, 186 lc, 190 6b; ii 1 9d 16a, 4 la 6c, 18 4a, 19 lb 2d 6d, 20 3d, 31 4b, 34 6d 7d, 37 lb 2b; iii 2 4a, 21 oc, 22 3c, 30 15c, 31 8d, 33 12d, 35 9c, *53 21d; iv 3 3b3, 5 6b, 16 16c 18d, 21 6a, 23 4c, 24 5b *9c, 28 5d, 29 Id 2c 4c, 39 3a, 42 5a flOa3, 54 3b, 55 2b, *57 5a; v 2 lie, 30 3a, 33 8c, 36 5d, 41 4b 17a, 45 4a lid, 51 11a; vi 10 6a, 12 la, 19 9d lOd, 20 5c lid, 23 4b 7a, 24 4d 10c, 26 5b 7c, 29 4c, 35 2d, 46 7c, *47 29c, 66 4b, 67 5d, 68 2b, 73 2d; vii 7 6c, 12 lb, 18 lib 22b4, 27 5b, 32 5c, 37 2c, 41 2d, 48 3c, 67 4b, 68 5b 7b 7c, 81 3c 6c, *103 2c, *1()4 24a; viii 1 16c, 4 3c, 19 29a, 20 8c, 22 18a, 23 16c 21c, 25 5c, 26 13c5, 33 5c, 46 16a, 53 6c, 61 8a, 66 2a 10a, 70 5c; ix 69 7b, 83 Id, 88 3a, 91 6c, 97 52a, 103 2c 3c, 110 2a flS©1 ; x 2 7c, 3 6c 7d, *14 15c, *15 10c, 23 2c 5a, *27 10b, 30 2a, 42 7d, 48 2d 11a, 50 5a, *53 6b, 61 13d 22c, 63 lib, 64 16d, 79 4d, 80 7b, 99 6b, 106 lb, *107 6a, *130 7a6, 131 2d, 150 5a, *169 2a.
Of these occurrences about one-third are in verses in which there is a pause after the eighth syllable. As this proportion is normal, the variation appears not to be connected with secondary caesura.
1 § 169 iii. a § 171 iv. » but see § 178. 4 but perhaps vadhnmantah,
cf. § 168 ii. 5 § 170 i. 6 § 177 i.
(v) The irregular break |, ^ occurs as follows : i 36 1 7c, 40 8a,
55 7d, 83 4d, 88 4b, 121 12d, 133 7a 7f, 139 8b, 145 4b, 167 10b, 173 7c1, 186 2a ; ii 3 5b, 9 5a, 19 2b ; iii 4 4d 8c, 59 2d ; iv 3 7a, 11 4a, 17 3c, 28 3b, 41 9c; v 31 12d, 33 3b, 41 12a, 53 lb; vi 13 2d, 26 7a, 44 15b, 73 lc; vii 1 19c, 42 6b, 56 16d, 62 2d, 71 4d ; viii 19 34c, 20 lib, 23 2c 28c, 24 24c, 25 6c, 27 22a, 46 5b, 63 12d ; ix 72 8b, 74 2d2, 88 6b; x *18 5d, *28 7c, [46 4b], 49 10c, 55 6b, 73 3c, 80 la, *120 5a.
This variation was treated above (§ 94 v) as iambic : but as it is very rare and has no connexion with the secondary caesura, it now seems better to treat it as irregular. It is most common in the archaic period.
1 § 151 i. 2 § 169 iii.
(vi) The irregular break n - - - appears not only to be in itself unrhythmical, but also directly contrary to the normal rhythm after early caesura. It is somewhat more common than might be expected under the circumstances. It is possible that some quantitative explanation may be found in the case of the word aditya, which occurs
Irregular forms of the breal 201
rather frequently in this position, but in no other case does any particular word or form come in question. The occurrences are : i 94 6c, 103 7b, 112 lie, 115 4a, 116 22a, 124 8a, 141 8c, *161 6c *7c ; ii 3 4d', 4 8c, 17 6a, 18 4b, 19 Id, 22 lg= 2g = 3g, 24 8a, 27 la1 3b 4a1 lib1, 28 la1, 31 2c, 33 8d; iii 16 3c, 18 4c, 20 5d' ; iv 1 2d1, 11 3b, 16 9d, 21 10c, 34 8a1, 43 4d; v 41 15b, 51 12c!1, 69 2d, 77 4a; vi 26 5d 8c, 30 4a, 50 12b, 51 lid, 68 2c; vii 88 6c, 101 5a, *104 2c; viii 4 14a, 20 lb, 22 18c, 23 30c, 24 18c 23c, 25 7c, 26 22c, 27 22c1, 29 9a, 36 7b, 37 7b, 51 2a, 60 10c 20a, 70 13c, 96 16a, *100 12b; ix 81 lc, 106 13c; x [1 6d], 3 5c, *12 2d *4a, *15 9a, 48 2a 5c, *52 4c, 61 7b, 74 6b, *102 lib, *107 9c, *108 10a, 111 2d, 115 9d 9e, 160 5a, *169 2b *3b.
1 adityd (10 occurrences).
(vii) All the irregular forms are much rarer when the caesura is late. In a somewhat large proportion of the instances there is only a doubtful caesura, following the prior element of a compound : these instances are given separately, and are not included in the Table in §213 under this heading.
(a) Form ^ |( vy — (in addition to occurrences in compounds, for which see below): i 62 9d, 89 5d, 127 5f, 139 3b, 174 8d, 189 7d;
ii 4 4b, 19 7d (=i 174 8d), 37 4c; iii 5 7b, 30 6c; v 3 12a; vi 8 lc, 20 2c ; x 30 13a, 56 6b, 61 14d, 65 3b, 69 7c, 105 8c, 139 2a.
(b) Form r- „ v-: i 60 4a, [61 2d 9d], 62 Id, [70 10b], 85 5d, *93 6b, 122 14a, *164 lib, 173 8d, 180 10c, 186 9d, 189 3a; ii 4 Id, 13 13c, 18 8c, 21 6c, 23 12d ; iii 2 3d, 17 3c, 30 9d; iv 4 12d, 22 7b, 29 3d ; v 41 14c, 42 15b, 44 3b; vi 27 6d, 34 3c, 67 6d, 71 lc; vii 19 lie, 28 2d, *35 13c, 41 3d, 99 5c; viii 21 lb, 23 7c, 25 15c, 61 9c, 96 15d : ix 86 42a, 90 lb, 108 14a; x 8 5c, 45 4c, 61 9a, 93 8a, 100 12a.
(c) Form ^ „ - -: i [61 12b], 173 9c ; ii 20 8c, 31 lc ; iv 29 3a1; v 41 6d; vi 26 lb 3b, 48 14c; vii 1 4a, 25 4a, 40 6c, 61 2b, 67 3b, 70 6d ; x 3 5a, 23 3d, *95 9c, *98 10c.
(d) Form - || - -: i [61 lb], 127 la2, 169 7a; ii 19 2a, 27 16d; iii 6 6c; vi 26 8a, 46 12c, 63 3b; vii 46 lb, 56 23b; viii 19
3b 35a, 25 24c, 54 8a, 99 7c ; ix 103 5c ; x 61 25d, 66 3c, 74 4b, 79 2c, 93 7a, *142 lb.
The same forms occur in compounds as follows: ^ M ^ - i 30 16c, 58 8b; ii 19 8a; iv 1 4c 6b 8b, 3 lb, 22 3a, 33 8b; vi 2 11a, 16 46c, 20 f8c3 13d, 33 4d, 68 2d ; *vii 66 16a; viii 66 6c; ix 72 4a, 83 5c, 86 40c ; x 48 8b, *85 37a. - „ ^ - i 60 5c, viii 61 14a.
^ H i [61 4d], 64 3b, 122 2a, 129 4b, 148 lb; x 22 10a, 105 lid
lie.
1 but see § 174 ii. a § 145 ii c. 3 reading sasvddibham.
219. The principal syllabic variations connected with the break are the ' rests ' and ' hybrid verses,' both of which are con-
202 Short eighth syllable
sidered below in §§ 225-230. Hypersyllabic breaks are very rare in the Rigveda : the following apparent examples occur, and require to be removed by emendation :
tejisthdbhir \\ ardnibhir dasti dvcise i 127 4b
hatxii ddsyun \\ pur a dyasir ni tdrlt ii 20 8d
dsmai vaydui u ydd vavtina tad vivisma vi 23 5a
hotaro nd u diviydjo mandrdtamah ix 97 26d
220. The variations of the cadence in trimeter verse follow the same general laws which we find at work in normal dimeter verse. Short syllables take the place of long much more freely than vice versa, aud these variations are also continued to a later period.
Thus the short eighth syllable in its various forms is not only found in the archaic and strophic periods, but also in the hymns of Vamadeva. Of the remaining variations again the short tenth syllable is much the most common : but both this and the remain- ing forms are almost confined to the archaic period.
A long ninth syllable is comparatively frequent in Pentad hymns, and marks the divergence of this metre from the parent Tristubh : see farther § 249 ii.
Examples of a long eleventh syllable are hard to find in any part of the Rigveda.
The occurrences of the quantitative variations of the cadence are as follows :
(i) Short eighth syllable (in addition to the examples enumerated in §213):
(a) Final vowels: i *24 Ha, 39 4a, 51 15b, 53 2b, 71 6b, 72 6a, 77 lc, 96 4b, 100 10a, 101 Id, 103 5d, 104 la, 112 19a, 120 2b, 121 4d 10a, 127 7a lOf, 129 6f, 131 la, 133 7b, 138 3f, 145 fib1, 147 4c, 148 5d, 150 2c, 152 2b, *161 10c *13b, *162 119a1, 165 13d 15a, 166 12d, 167 10b 10c, 174 6b 8c, 183 4c, 186 10c, 189 5a; ii 1 5d, 4 8a, 14 3b, 30 2b, 32 lc, 33 113c1; iii 2 7b 9b, 18 2c, 19 4a, 31 21c, 38 4a, 46 4c, 51 3d2; iv 2 la 6d 7d4 12a 19a, 3 7b, 4 6d 7c 12d 15d, 5 f Sd1 fl4c5, 6 Id 4d, 7 8c, 16 lb 4d, 21 la, 23 4c 7b, 24 4d, 27 4b, 34 3a 5a 5d, 35 8b, 36 5d, 39 3a, 42 4b, 43 4c, 45 4b, 55 2b 5b6 5d 6d, 57 2c; v 1 6c, 2 8a lOd, 3 12b, 31 5c, 33 lb 6b, 41 9d lie, 44 4b, 46 2c, 49 4b; vi 1 2d 3b, 10 2b, 12 lc, 13 2c, 17 19a1 14a, 19 2d, 21 8c 8d, 23 5b, 24 10a, 25 lc 3a7, 29 6d, 33 5b, 34 lc, 37 2b, 38 5a, 40 3d 4c, 44 21c, 50 4b 15c, 51 9b, 66 4a 4b 7b lOd, 67 5d 7c 11a, 72 2a 5a : vii 1 8a 13b 15b8 18c 19c, 3 2a 5a, 6 4a, 17 7b, 18 lb, 24 la, 25 2b, 29 2d, 32 5c 18c, *33 |2d', 40 4a, 41 7a, 42 3b, 43 5c, 53 2b, 56 15a, 59 2c 8c, 61 5d, 79 14c1, 82 9c, 86 3a, 87 7b; viii 1 28c, 4 21a, 19 10c 18a 124a1 24c 25b, 20 2a 8c, 21 lb, 22 13b 14a, 23 29c,
Short eighth syllable 203
24 24c3, 27 7c 16a, *48 5a, 52 lc, *59 4b, 60 15c, 61 8a, 66 3c, 70 4c, 96 21a'; ix 79 lc 5c, 81 2d, 84 2a, 86 42b, 88 5c, 89 3a, 97 38b, 105 6c, 108 13b, 110 2a; x [1 6c], *10 13a, *12 7d, 22 3a 8a 15b, *34 t8c5, [46 2d], 48 2a 6b 8d, 50 2a, *52 3a, 61 5b 6b 13d 20c 22d 65 lid, 70 6d, 76 8a, *82 4c, *84 7d, 89 11a, 92 2a, 93 5b, 99 la 8a, 104 4b, 115 9b 9d 9e, *120 9a10, 132 3c 3d, 148 4d, 150 2c, 178 fid2.
1 § 175 i. ■ final vowel of prior element in compound. 3 § 168 iii.
4 § 142 v. s § 175 a. 6 § 151 ii. 7 § 223 i. s § 226 i. » § 227 iii c.
10 § 178.
(b) Final syllables ending in a consonant: i 32 6b, 36 lie, 77 5a, 89 2a, 112 9a 15a, 114 Id, 117 22c, 121 7a, 122 9d, 127 2f, 128 If 4f, 130 lOd, 152 6a 6d, 153 3a, 158 4a 5b, *161 5b *7c *13a, *163 2d, *164 2c *23b, 167 lOd, 169 5b, 182 8b, 189 4a; ii 1 2b, 4 7b, 15 7c, 19 7a, 30 6d, 37 2a 4c, 40 6c; iii 1 15d, 5 7b, 19 lb 2c, 30 3b 13b, 31 4b 8d, 36 4d, 53 15d, 54 lc, 60 2c; iv 2 7b 9d lid, 4 9b, 6 2d 3b, 7 7d, 11 la 5d, 16 5a 11a, 17 20b, 19 3a, 23 7a, 27 Id, 38 7a, 42 9al, 51 6b, *58 11a; v 1 2d, 2 Id, 3 12a, 29 2c, 34 2a, 48 4c, 51 lib, 54 12d, 56 lc 5c, 87 4a; vi 3 3a, 15 la, 34 5b, 44 16b, 61 la, 62 6d, 67 8b; vii 1 la lc, 19 5d, 20 lc, 21 5d, 25 5b, 28 3d 4c 5c, 38 6b, 40 4c, 45 3c, 52 3b, 56 21a, 61 2b, 73 3a, 75 lc, 84 2d, 92 lc, 93 6a, 98 3b, 100 5c, *104 12c; viii *1 33d, 3 20a, 19 3b, 21 4a 9b, 23 7c 8c 16c, 25 3c 5c, 40 12b, *48 3c, 51 2a, 53 5c, *59 7a; ix 70 8a, 73 Id 2d, 74 2d, 84 2c, 86 18c 21b, 92 5d, 94 4a, 97 19c, 103 5c,
110 8b; x [6 la lc], *12 Id *8c, *27 3c, 31 4d, 48 2b, 50 3b, *56 4b, 61 5d 6a 7a 7d 13c, 69 10a, 74 3d, [78 6d], 91 10b, 92 14c, *94 4c, 99 Id, *107 lb, 115 5d, *117 7d, 124 7b, *129 4c, 138 4b, *149 4a.
(c) Syllables not final: i 36 16c, 39 10c, 47 lc, 48 8c, 56 6a 6c, [61 lc, 68 4b], 83 4a, 87 2a, 88 2c 6a, 91 23b, 96 Id = 2d = 3d, 100 6c,
111 4a, 112 5a 15c, 118 7d, 121 M\ 122 lid, 126 4c, 134 3b, 138 If, 144 7c, 145 4b, 149 3c, 151 Id, 154 2c, 158 lc, 169 la, 173 12b2, 174 9a, *179 lb, 186 6d; iii 5 2b, 6 6b, 20 5d, 30 10c; iv 6 lc 9c, 16 16c, 17 3d 14b, 23 6d, 24 2d, 29 2b 4c, 33 lc, 35 7a, 41 9c; v 27 3b, 30 14b, 41 17a, 45 7a, 53 2c, 56 3c 6c; vi 9 5a, 11 lc3, 12 5d, 15 2a, 20 5c lie, 23 10c, 25 5d, 46 13c 14c, 49 6b, 50 6a, 52 15a, 63 3b 6c 7d, 66 4c, 68 lc 2c, *75 7a; vii 4 2c2, 12 Id, 19 10a, 38 2a, *49 lb; viii 1 10c 30c, 4 lc 14a, 15 9c, 19 12a 29a, 20 lib, 23 9c lie, 24 23c, 25 7c, 26 7c 8c, 29 9a, 33 9c lie 13c, 49 10a, 52 4c, 54 6a, 70 lc, 97 14a; ix 81 lc, 88 3d 4c, 103 2c, 108 10a, 111 3f ; x 2 7c, *13 3c, 23 3d, 31 7c, 48 9b, 49 11a, *56 4d, 64 5c, 69 9c, 79 2a, *83 3b, *88 6c, 89 4a, 93 8a 14b, *94 10b, *95 4a *13a, *101 3b, 105 3c, 115 2d 7a, *120 6a, *130 7a, 144 2c 5a, 148 la, 160 lb, *164 3a.
1 § 151 i. 2 § 151 iii. "» § 150 i.
(d) It will be convenient to record here the instances in which a final vowel in the eighth place is ' protracted ' or otherwise of doubtful quantity: namely i 31 5c, 32 5c, 33 13b, 48 12c, 73 9b, 94 lb Id = 2d = 3d 4a, 116 24a, 117 21c, 132 lb If, 145 la, *164 30d *38b, 165 7c, 189 3a1; ii 2 10b, 9 3c, 23 13d, 26 2a1, 33 2d 4a, 37 3b;
iii 31 12c, 32 2c, 33 10a, 53 5b, 60 5b; iv [10 Id], *18 5b, 34 8c, 39 3d, *58 2a *2b ; v 1 5d, 3 6a, 42 6b, 45 5b 6a 6d ; vi 1
204 Short tenth syllable
6b 9c, 25 3d1, 32 2a, 41 5c, [44 9c1]; vii 1 3a1, 18 17b 24b, 25 2a1 2c1, 27 5b, 57 4c, *103 2d ; viii 15 12c, 29 2a, *48 9b, 60 6a1 ; ix 70 2b 9d, 80 lc 4d, 84 5d, 90 4b, 91 4b1, 96 17c, 97 44b 44d; x 2 2c, 5 5b, *42 lOd, 56 3a, 63 lOd 14d, 67 6b, 80 7b, *88 4b, 111 lc 2c 2d 4c, 112 3d, *139 4b, 148 Id, *180 lc *2b, *181 Id. 1 Imperative in -did, -hi.
(ii) Short tenth syllable : i 36 10a 12a, 39 3c, 57 3d, 58 2a1 4d], 60 4c2, [61 Id3], 62 3d 5a, [70 9a], 77 3b4, 85 3c, 87 5d, 89 lc *10c5, 91 21c, 100 16c4, 103 4d, 104 3b, 111 3a, 112 11a, 121 la 9d, 122 10d8 lid, 126 lc, 127 3f 4b6 5f 7b 9fa, 129 lb 6f 10b6, 134 3a, 135 4a6, 140 13c, 141 12b4, 143 3d4, 145 2d, 149 lb2, 158 5a3, 166 2a, 167 lb3 2c 5b, 168 2a, 169 5a3, 173 7c8 8d5 lib, 174 9a, 181 lb, 186 2d 8c4 9c;
ii 1 3b 10a, 2 9d, 4 lb 3d2, 19 lb Id 3a 6a 6c, 20 lb4 2b5 6b3, 26 f4c7, 29 la, 30 lc 6a, 35 lib; iii 1 5c, 2 5d, 20 5d, *29 7c, 46 2d5;
iv 1 2b 19c, 2 14c, 4 3a3 10c, 12 lb, 13 3a, 16 lb 20b4, 17 18a, 34 fid10, 38 9a5, 39 2d ; v 2 Id 4c 7b, 31 5c4, 33 2d5 3b 5a 5b4 10c, 37 3b, 41 4d3 lOd 15d 16e, 53 lb, 57 6d, 87 6a 9a ; vi 1 12c, 3 6b, 4 7d3, 8 5c1, 10 5d5 6a, 11 4d5, 13 lb Id 2a 5d, 15 3b 5d\ 17 12b, 19 6a, 20 lb5 Id 3b, 24 3a 3c 4b 7c 10b 10c, 25 la 6a, 29 4d3, 33 3d3 5d3, 37 4b3 5b, 38 la3, 40 5a, 44 lid, 48 4c6 18a, 49 12d 15c5, 50 2a 3a 7c3 11a, 51 lib5, 62 5a3 9a, 63 3b3, 64 5b, 65 2b4, 66 5a 7b4, 67 la3 3c5 lid, 68 5d5 7d ; vii 3 5b, 32 10c, 34 24b, 42 4c2, *50 4a, 69 7c, 76 id, 92 la, 93 5c 6a, 101 2a, *103 10a; viii 1 16c6 30c, 15 10c, 18 15c, 19 4c 14a 23b 32b6, 20 20a, 21 2c, 22 16c6, 25 10c, 27 5c, 36 4a, 61 4c6 8c 17c, 66 10a, 70 2a6 8c, 71 15c, 97 10c; ix 70 3c 5d, 79 lb, 88 lc, 89 3b, 93 4a, 94 la lb 3a, 96 2c 4b 15c, 97 lb 26d3, 104 2c, 108 10c 14a; x [1 7a], 3 lc 5b 6a 6c3, [6 6c3], 12 4c, 22 4a, 39 14b4, 50 3a 5a 6b, 61 la, 65 12d, 68 3a lie, 74 2d, 78 7d, 93 5b 9a, *95 3d *4b ♦lie, *98 3b, 99 4c 7b, 105 la 7c 10c2, *108 8a, 115 4a1 5b, *129 f7b9, 148 4b, *164 3a.
1 ajdra. 2 ddma a, or similar phrase. 3 superlative in -tama. 4 rdtha.
jdna. 6 dvasc or dvasd. 7 text rdkmti ri.sdh (§ 175 i) : rdkmtlm is a quite
vii 2 lc, 8 6d, 28 4d, [34 lib 14b], 38 6a 7c, 42 la, 52 3a, [56 5b 6a], 63 3c, 68 lc, 93 7b; viii 20 4a 24a, 22 15b, 24 26c, 26 24c, 46 26c, 60 8a; ix 93 lc, [109 3b 10a lib 15a: x 6 2b], *11 8d, *12 5c, 23 4b, 40 5b, [46 5bJ, 49 Id 9b, 50 4c, 55 8a, 73 9b, 74 lc, 76 2b, *87 19c, 93 14a, 105 6a2, 106 5a, 115 5c, *121 7b *8b, *165 3c.
1 taatdmbhat. 2 but see § 244 iii.
(iv) Long eleventh syllable: viii 25 17c, [x 78 3c].
(v) Long ninth syllable combined with some other irregularity : (a) - - « * or - - w v, *, i 48 4c, 59 4a, 63 4a, [67 2b], 89 6a, 100 8c,
Short syllables bearing the ictus 205
121 8c, 122 10b ; iii 58 6b ; iv 26 6b; vi 29 2c, 63 2c, 68 2a ;
[ix 109 21a] ; x 74 4c, 115 5a. (b) w - - * or « - - „ w, i 122 11a; vi 1 4d, 4 4c, 11 3a, 20 4a, 26 7a, 46 12c, 48 17c1, 60 3a-
vii 21 9a ; viii 22 2c ; x [6 lb], 61 14d, *83 5c, 93 7a, 133 7a, *142 lb, *167 4d. (c)u-^or.-v^^v415b; vi 12 6c;
[ix 109 18b] ; x 30 13a2, 61 2c 17a.
1 § 151 i. 2 see Metrical Comm.
(vi) Long eleventh syllable combined with some other irregularity: i 168 lb; ii 22 lg = 2g = 3g; viii 20 9b.
221. We are now in a position to consider as a whole the employment of short syllables to bear the ictus: that is to say, short syllables in positions in which long syllables are regularly required, and which are immediately followed in each case by another short syllable within the same part of the verse. Short syllables are thus vised in every possible position ; that is, in the second and sixth places in dimeter verse, and in the second, fourth, eighth and tenth places in trimeter verse. Details are given in the Table below : with regard to the second place no distinction is made between dimeter and trimeter verse.
It first appears that in the archaic period these variations are about equally common in each position : that is to say, the short vowel is found in about 3 per cent, of the verses. But even in this period there is a distinction in usage : for in the second and eighth place the second syllable in half the instances contains a final vowel, the proportion being much larger than chance can account for: whereas in the fourth, sixth and tenth places the short syllable is generally initial or medial.
Short syllables in the fourth, sixth, eighth and tenth places rapidly diminish in frequency after the archaic period, though in varying degrees. To this there is only one exception : short eighth syllables which contain a final consonant are more common in the strophic than in the archaic period. This is probably due to the influence of the secondary caesura (§ 213).
Short syllables in the second place only slightly diminish in frequency in the strophic, normal, and cretic periods, and are again more common in the popular period. The relation between final short vowels and other short syllables remains uniform throughout. In this point therefore no historical developement is perceptible within the period of the Rigveda.
206
Syllabic variations of the cadence
It has appeared previously (§ 188) that in dimeter verse there is a distinct reduction in the number of irregular openings after the archaic period. This reduction seems not to extend to trimeter verse, apparently for the reason that a short third syllable is more common there. How- ever the movement is on so small a scale that it does not seem to be worth while to pursue the matter further.
The table further shews that both in the 2nd and in the 8th place protraction is on the whole more common in the later periods than elsewhere. The details (proportionate to 5000 verses) have already been given in the table in § 180. Here again the movement is on so small a scale as to have little practical importance : so far as it goes, it indicates that protraction is a secondary developement, distinct alike from the shortening of original long syllables and the general license to throw the ictus on final short vowels, but much more closely akin to the latter.
222. Table of short syllables bearing the ictus.
|
Periods |
Archaic |
Strophic |
Normal |
Cretic |
Popular |
|
Second place (dim. and trim.): Final short vowels Other short syllables Protracted vowels |
14 15 3 |
12 10 3 |
12 11 3 |
11 |
16 13 5 |
|
Fourth place (trim, late caesura) |
26 |
14 |
14 |
15 |
17 |
|
Sixth place (dimeter) |
38 |
24 |
17 |
19 |
13 |
|
Eighth place (trimeter): Final short vowels Other final syllables Other short syllables Protracted vowels |
19 8 12 4 |
13 10 9 4 |
9 8 3 4 |
4 2 4 6 |
4 5 4 4 |
|
Tenth place (trimeter) |
30 |
7 |
5 |
4 |
4 |
The figures given above are proportionate to each 1000 verses of the same kind : for instance, the occurrences in the fourth place before late caesura are propor- tionate to the number of verses which contain a late caesura.
223. The syllabic variations which affect the cadence are, like all other irregularities, much more common in the archaic period than in the normal groups. Indeed they are practically extinct not only in the normal period, but even in the Vasistha hymns. But in the cretic period and later their history is peculiar. 'Catalectic Jagati' becomes common in the cretic period, and is still more so in the popular Rigveda : ' extended Tristubh,' though unknown in the cretic period, is almost as common in the
Catalectlc Jagatl 207
popular hymns as catalectic Jagatl. Hypersyllabic verses, how- ever, are not found in either of these periods.
The question therefore arises whether there is a direct histori- cal connexion between the two former variations as occasionally found in the archaic period, and as frequently found in one or both of the later periods. Such a connexion seems highly im- probable for ■ extended Tristubh ' verses, in view of the great body of Tristubh verse in which no such variations are found : but it cannot be so confidently denied for the ' catalectic Jagatl ' variation, since in the intervening periods very few hymns were composed in Jagatl metre at all. But so far as the evidence goes, the ' catalectic Jagatl ' verse was equally extinct in this period.
We seem therefore entitled to distinguish two sets of phe- nomena, which accidentally take the same outward shape, namely (i) syllabic irregularity of the cadence, marking the archaic period, and (ii) contamination (a) of Jagatl stanzas by Tristubh, marking the cretic and popular periods, and (b) of Tristubh stanzas by Jagati, marking the latter only.
In accordance with the presumed origin of the variations, instances of catalectic Jagati are classified below as occurring (a) in lyric hymns, mostly in the archaic period, (b) elsewhere in the Rigveda proper, principally in the cretic period, and (c) in the popular Rigveda.
Similarly extended Tristubh verses are classified as occurring (a) in the Rigveda proper, mostly in the archaic period, and (b) in the popular Rigveda.
(i) ' Catalectic Jagati ' is found in the second verse of stanza a (Kakubh), and in the second verse of stanza b (Jagati) below :
(«) md no hrnltam dtithih
vdsur agnih N puruprasastd esdh
yah suhota su-adhvardh viii 103 12.
(b) sdtyam tad indra- \\ varuna hrsdsya vam
mddhva urmim \\ duhate saptd vd?ilh idbhir dasv&msam u avatam subhas patl yd vam ddabdha \\ abhi ptiti cittibhih viii 59 3.
The use of the term ' Jagati ' for the trimeter verses that occur in lyric metre is not in accordance with Indian usage, but seems con- venient for the present purpose.
Catalectic Jagati verses are found as follows : (a) frequently in the 'uneven lyric' hymns (§ 186) including viii 35, and in other lyric stanzas as follows: i 36 12a, 39 6c, 127 la 2a, 128 7f, 129 5f 8a, 150 lc 3c; v 87 9a; vii 16 5c lie, 32 25a; viii 24 14c, 25 18c, 26 22c, 46 20c 26a, 54 8a, 90 6c, 101 9c 10a, 103 6c 12b;
ix 107 9c, 111 la; x 126 5c. (b) in Jagati stanzas in the
208 Extended Tristubh
Rigveda proper : i 35 3b 3d 9d\ 101 5b, 102 2c, 110 6a 7a, 114 4a 5c 5d 6d 8a 9b, 145 la 4b; ii 1 16d, 3 6c, 16 5a, 25 5b, 37 4a;
iii 2 lib, 26 6d, 53 16c; v 44 10b; vi 61 3c; vii 41 Id;
ix 70 la, 86 3a 48d ; x 23 5a 5b, 35 10b, 36 6c, 37 6a, 44 7b, 50 5c, 56 5b, 62 la lc 2c 3b 3c 4c lie lid, 63 3b 10b lie 14a, 64 7a, 66 2a 10a 11a, 69 12c 12d, 75 7a 7b 8a 9b, 76 3b, 91 13d, 100 9b, 115 5c 5d, 122 la 3b 3d 8d, 138 6b. (c) *in the popular Rigveda: i 164 36a 41d; ii 32 5b 5d ; iv 58 lid; vi 75 10a; vii 50 lb 2b 3a 3c, 104 3a 7a 7c 23d ; viii 48 5c, 59 2a 3b 4b 5a ; x 18 13d, 53 10a, 84 4b 5b 5d 6c 7b 7d, 94 la, 117 2a, 125 2a.
1 also 'hybrid' verse, § 229.
(ii) ' Extended Tristubh ' is found in the first verse of the following stanza :
td avadan \\ prathamd brahmakilhise
dkupdrah ^ salilo mdtarisvd
viMharas \\ tdpa ugro mayobhuh
dpo devih || pratharaajd rtena *x 109 t.
Extended Tristubh verses are found as follows : (a) in the Rigveda proper: i* 53 10a, [61 11a], 114 11a, 140 10a, 180 4a 9c, 181 5a; ii 3 3c, [11 3b], 18 2d; iii 31 20c, 53 lie; iv 19 5b, 55 6c; v 33 4d, 60 2c; vi 13 5d, 25 3a, 47 18c 18d, 52 14a, 72 lb lc 2b 3b; vii 4 6d, 54 Id, 59 8b, 92 5a; ix 82 5c, 85 lie 12d ;
x 23 7c, [46 7c], 96 lib, 99 4c, 113 10a. (b) *in the popular Rigveda : i 24 15c, 93 8c 8d, 162 4d 6b 8a 8c lib 12c 12d 14a 15c 21a 22a 22b, 163 2a, 164 14a 14c 24c 39c 39d 44a 45b 47d 48c ; ii 42 Id 2c; v 83 10c; vi 47 29b 30c 31c, 74 Id, 75 7a 14d; vii 103 8a; viii 100 12b; x 10 14c, 14 la 10b lib 12a 12b, 16 3b 3c 8a 10a 10b, 17 2b 4c 12d, 18 10c 12a, 27 24c 24d, 34 5c, 51 8a 9a, 53 5c, 59 5a 5c, 71 2b 2c 9c 9d, 81 3a 4c 4d 5a 7a, 82 6c, 85 18b 18d 27a 27b 44d, 88 la, 94 14a, 95 3d 11a1 12d, 98 la 5d 7a 12a, 101 9a 9b, 102 6c lOd, 103 2a 2b 3a 4c 6b 8a2, 109 la 5a 5c, 114 la 2a 2b 3c 4c 4d 5d 6b lOd, 117 8a 8c, 120 9d, 121 3c, 125 4a, 128 7a 7c 8c, 129 3b, 130 2c 2d, 149 2c, 161 la 4c, 165 lc Id 4d, 168 2c, 182 la. 1 § 142 ii. > § 142 iii 6.
224. ' Hypersyllabic verses' containing thirteen syllables (Tristubh) or fourteen syllables (Jagati) are usually formed by an extension of the rhythm of the cadence. They appear to be characteristic of the archaic period, but there are also several occurrences in the popular Rigveda.
The following are examples of hypersyllabic verses :
abhi vo wrdm \{ dndhaso mddesu gay a viii 46 14a. ekah swparndh \\ sd samudrdm a vivesa *x 114 4a.
Hypersyllabic verses are numerous in the hymn viii 97 10-15, where they occur as 10b1 13a1 13b 13c 13d 14b 15b 15d. They are also found as follows : i 88 lb, 133 6a 6f ; iii 59 2d ; iv 1 2a2;
Varieties of the ' rest ' 209
vi 10 lb, 15 14a, 26 2c 7c1, 52 14b3 14c; *vii 104 15a; viii 46 14a, 90 5c2, 103 5a2; *x 87 12b1 *13c1, *114 4a, *121 7c, *139 4c1.
1 Irregular rhythm. 2 verse of 14 syllables. 3 reading apddm, § 143 iii :
otherwise this is a hybrid verse, § 229.
225. The syllabic variations which affect one part of the verse only have already been discussed : but the ' rests ' and 1 hybrid verses ' need to be considered separately, as they involve difficulties as to the position of the caesura and therefore affect the general structure of the verse. We have taken as our start- ing-point (§ 94 iii) the view that the ' rests ' generally are charac- teristic of an early period of the Rigveda : and this view is borne out by the fact that they are comparatively rare in the popular Rigveda. A closer examination however shews that the rests fall into three classes, , partly according to the rhythm of the verses in which they occur, and partly according to their use in the Rig- veda, namely (i) verses in which a rest is associated with iambic rhythm of the break, the rest being at the fifth place, and the sixth syllable being long ; these verses are chiefly found in the decasyllabic Tristubh hymns, and are of the Viratsthana or some similar type : (ii) verses agreeing on the whole with the normal trimeter rhythm, but chiefly found in decasyllabic metres, the types being the Pentad and the Bhargavi verse : and (iii) verses entirely agreeing with the ordinary trimeter rhythm, but having the first part of the verse defective by one syllable. Verses of the last class may be said to contain ' neutral ' rests, on account of their lack of distinctive character : they are found most frequently in the hymns in decasyllabic Tristubh, but to a certain extent are spread over the whole Rigveda.
The hymns in decasyllabic Tristubh and those in decasyllabic metres, if examined on this basis, are found to fall into two groups which do not exactly correspond to the differences denoted by the titles. All the hymns in decasyllabic Tristubh are alike in shewing a free admixture of regular Tristubh verses with decasyllabic verses of the Viratsthana and neutral types, and also a very high proportion of other archaic variations. The Viratsthana and Gautami hymns (ii 11, i 61) only differ from them in shewing a much higher proportion of decasyllabic verses. These hymns must necessarily belong as a whole to the archaic period. On the other hand the Pentad and Bhargavi hymns a. 14
210 Doubtful decasyllabic verses
consist almost exclusively of decasyllabic verses of their respective types, and have comparatively few irregularities of any other kind : it is therefore unlikely that they are earlier than the strophic period.
In recording variations belonging to these different types it is con- venient to distinguish the occurrences, according as they are found (a) in the hymns in decasyllabic metres ; (b) in decasyllabic Tristubh hymns ; (c) in other hymns in the Rigveda proper ; or (d) in the popular Rigveda.
The lists of decasyllabic verses given in the next three sections include over 900 instances, of which almost 400 are in the decasyllabic metres, about 250 in decasyllabic Tristubh verse, the same number in the whole of the rest of the Rigveda proper, and about 50 in the popular Rigveda.
Some of the instances are open to question, as the occurrences of indra in the Vasistha hymns (§ 149 i). On the other hand it is probable that some at least of the verses for which resolution has been suggested in §§ 142, 143, 149 ii-iv, 150 and 151 above are rightly to be explained as decasyllabic verses. Of these doubtful cases there are about 100 in the hymns in decasyllabic Tristubh alone, as shewn in brackets in those sections. The interpretation chosen will therefore materially affect our view as to the extent to which the system of 1 rests ' is carried.
Even on the lower computation, and excluding the decasyllabic metres, decasyllabic verses are about as common in trimeter verse as is hiatus (§ 131) : and there is therefore no abstract reason why in individual cases we should prefer the one explanation to the other. The rhythm may, however, often give a reason for a preference : it should at least be a general rule of metrical interpretation that ' hiatus or resolution should not be postulated in order to bring a verse up to the regular number of syllables, if by so doing irregular rhythm is introduced'
This rule, as already observed, is opposed to the interpretation indara so far as the archaic period is concerned.
From the list of verses containing one or more ' rests ' we omit the following, because the rhythm is so exceptional that it becomes very probable that errors have crept into the text: i 120 lc 6a 7b, 132 2b, *162 16c, 173 4a; ii 19 5a; iv 26 7a ; v 41 9a; vi 17 10c, 50 9c ; viii 46 16c 20a; ix 110 10a ; x 32 5b, 55 8d, 61 26a 27d, 79 5b, *95 4c, 105 8a, 112 6b, 132 la, 144 4c.
226. The decasyllabic types which have iambic rhythm at the break are (i) the Viratsthana verse ; (ii) indra following an early caesura (§ 149 i) ; (iii) the GautamI verse (see below); and (iv) verses with a double rest. The caesura may most con- veniently be reckoned as following the rest. In all the types the seventh syllable is more often short than long.
The Viratsthana verse 211
The Viratsthana type is very common in the hymn ii 11, and the Gautami verse in i 61 : otherwise these verses are chiefly found in the decasyllabic Tristubh hymns, which are most fre- quent in the collections i 58-64 and vi. But all the types are occasionally found with Jagati cadence.
(i) The Viratsthana verse has a rest at the fifth place, and a long sixth syllable. Its two varieties are illustrated by the following examples :
(a) with short seventh syllable
rdsi ksdyam • u r&si mitrdm asme ii 11 14a. (6) with long seventh syllable
dvdbhinad • \\ ukthair vdvrdhdndh ii 11 2d.
(a) Of the first variety there are 106 occurrences, as follows : (a) in ii 11, 39 occurrences: also i 61 5c lOd lie 14d 15d; vii 34 17a;
x 6 lc 6d, 46 7d, 78 la 6c. (b) i 63 9c, 77 2c1 3b, 120 4a, 122 4d, 135 5b2, 149 3a, 153 2a; ii 19 3c 7c, 20 2c 4d ; iv 21 6c 7a 7c; v 41 16d, 45 9a ; vi 20 2d 6c, 21 8b, 33 4c, 63 3a 6a, 66 3b ; x 23 4c2 6d, 49 Id2 3b2 5c\ 61 2c 3d 17a, 99 2d, 148 2b. (c) i 58 8d, 62 7d, 117 lb, 131 6f, 154 3a, 155 5b2, 165 14b; iv 37 4b; v 43 14b; vi 3 7b, 10 4a, 19 2d, 22 6c, 51 4a; vii 1 15b, 28 3b, 56 18a, 58 6a; x 77 7a, 80 2c 4c, 111 10c. (d) *x 59 5c2.
(b) Of the second variety there are only half as many instances, occurring as follows : (a) in ii 11, 11 times: also i 61 3d 4a 6a 8a lid, 68 2b; vi 44 9a; x 46 5d 6b 7c2. (b) i 60 lb, 63 5c, 127 7a, 148 la, 173 5c, 174 9b; ii 20 6d ; v 33 4d, 41 8b, 45 2b; vi 21 2b 6c, 63 2c; x 61 16a, 99 7d 8d. (c) i 33 14c, 71 4b, 89 6b, 117 lc, 121 6c, 140 13c; iv 44 5d ; vi 13 lc, 19 10b, 67 10a; vii 6 2a, 48 1a; viii23 3c2; ix 93 5c3; x 30 9c. (d) *x 17 13a, *120 lb.
1 § 151 iii. 2 Jagati verses. 3 but see § 170 ii/.
(ii) Decasyllabic verses in which indra follows early caesura are of the same types as Viratsthana verses, as illustrated by the following examples :
(a) yd udfci • n indra devdgopah i 53 11a.
(b) ydd dha syd ta • \\ indra srustir dsti i 178 la.
(a) Of the first variety there are 98 occurrences, as follows : (a) ii 11 la 2a 4c 7a 11a 14b 16d 20d; x 6 6c. (b) i 63 la to 9a, 104 2a 8a, 129 la1 4a1, 167 la, 169 la to 5a, 173 13a, 174 la to 5a, 7a to 10a, 178 2a; ii' 19 3a 8c; v 33 4a 5a; vi 20 1 la 13a, 21 8a, 24 10b, 33 la, 35 2a 3a; x 22 2a 11a1 12a 13a 15a, 50 3a 4a1, 61 22a, 93 11a1, 148 2a 4a 5a. (c) i 33 14a, 53 11a, 100 17a, 133 6a, 165 3a, 177 5a; ii 17 8d ; iii 32 12a; iv 16 21a, 17 la, 19 la 2b, 50 11a;
vi 22 3a 10a, 23 3a, 25 lb, 26 7b, 44 15a, 47 9a; vii 19 2a 6a, 21 5a 6a, 22 la 8c, 23 5a, 25 la, 29 la, 30 lb 4a, 92 4a; viii 66 5c1, 97 14a; ix 88 la; x 29 3a. (d) none.
14—2
212 The Gautaml verse
(b) Of the second variety there are only 35 occurrences, as follows: (a) none. (b) i 129 H1 8b1, 167 10a, 173 5a 7c 10b 11a, 178 la 3a 4a; ii 19 lb, 20 4a 5b 6a 7a; iv 21 10a; vi 20 3b, 21 2a, 24 la; x 22 la, 23 la1, 49 11a, 50 2b1, 148 la. (c) i 89
6^130 2^,186 60; 11313a1; Hi 49 la; iv 24 2b, 39 4d; v 36 la ; vii 20 2a ; viii 96 20a. (d) *x 139 4c.
1 Jagati verses.
(iii) The name ' Gautaml verse ' is suggested to describe a metre which agrees in form with the Viratsthana verse, except that the rest precedes an early caesura. Such verses are very common in the Gotama hymn i 61 ; in the occurrences in that hymn the rhythm of
the break is always n ^, the seventh syllable being therefore short :
but it is probable that some occurrences with long seventh syllable in other hymns are really of the same type, and therefore also to be associated with the Viratsthana verse.
The two forms of the Gautaml verse may therefore be illustrated by the following examples :
(a) bhdrdmi • n dhgusdm dsiena i 61 3 b.
(b) brdvah had • u aryamne kdd bhdgaya iv 3 5d.
(a) Occurrences with short seventh syllable: (a) i 61 Id 3b 4b1 4c 10b lib 13a 13b 13c. (b) i 77 5b, 148 2c; ii 20 8b; vi 24 7d ; x 132 3c. (c) i 147 lb ; v 46 8b ; vi 26 la2 ; x 74 3c. (d) none.
(6) Occurrences with long seventh syllable : (a) vi 44 7b 7c ; x 6 3a. (b) vi 20 2b. (c) i 138 2f3, iv 3 5d 12c, x 74 lb.
(d) none. 1 Alternatively with hiatus, § 123 b. 2 Alternatively as a Pentad verse.
3 Jagati verse.
(iv) The majority of those trimeter verses in the Rigveda which have only nine syllables may be explained as Viratsthana verses with an additional rest at the fourth place. The following verses will illustrate the two varieties :
(a) vdyo nd ■ • \\ paptatd sumdydh i 88 Id.
(b) aydm sd • • |( hbtd yb dvijdnmd i 149 5a.
(a) The first of these varieties occurs nine times, namely (a) ii 1 1 3b18 15c. (b) i 129 11a12, 174 6a; x 22 9a1, 61 24c. (c) i 33
9a1, 88 Id; viii 19 33a2.
(6) The second variety occurs six times, namely (b) i 149 5a, 173 4c1 ; x 49 2a1 2, 61 23a, 105 5a3. (c) i 88 2c.
As the great majority of these instances are in hymns in deca- syllabic Tristubh, it becomes highly probable that they are varieties of Viratsthana verse, and belong to the archaic period.
1 indra follows the caesura. 2 Jagati verses. 3 but see § 244 iii.
227. The decasyllabic types which are chiefly found in dis- tinctive metres are the Pentad and the Bhargavi verses.
The Pentad verse is commonly equivalent to a Tristubh verse
The Pentad and Bhargavl verses 213
with rest at the sixth place : but each part of the verse exercises an influence over the other, with the result that the third syllable is generally short, and the seventh and ninth syllables are often long. For the immediate purpose it will be sufficient to distinguish two varieties, according as the seventh syllable is short or long ; the other characteristics are discussed elsewhere.
The Bhargavl verse has two forms, one having a rest in the fifth place, and the other one in the sixth place. The Bhargavl differs from all other decasyllabic variations in being based upon Jagati verse : it is therefore strictly speaking a ' hendecasyllabic ' variation. One of its forms agrees with one of the forms of Pentad verse, except for the difference in the cadence; but the resemblance appears to be accidental.
Occasionally we may find examples of Pentad rhythm with Jagati cadence, and of Bhargavl rhythm with Tristubh cadence : but these examples are isolated, and no importance can be attached to them except as suggesting emendation of the text.
Both in Pentad and in Bhargavl verse the rest appears to follow the caesura: upon this assumption each type in its more common variety agrees with normal trimeter rhythm. Examples of ' double rests ' can be found, but are rare.
(i) The Pentad verse occurs about 170 times with short seventh syllable, and 130 times with long seventh syllable. The great majority of these occurrences are in the Dvipada Yiraj hymns (§ 94 iii b) : in the hymns in decasyllabic Tristubh verses of this type play a comparatively small part. The two varieties may be illustrated by the following examples :
(a) tdkvd nd bhurnir u • vdnd sisakti i 66 2c.
(b) dddhdra ksemam M • bko nd ranvdh i 66 3a.
(a) Occurrences with short seventh syllable : (a) i 65-70, 62 times; ii 11 17d ; vi 44 8c; vii 34 i— «, 26 times, 56 i-n,
13 times; ix 109, 18 times; x 1 6c1, 6 6 times, 46 11 times.
(b) i 153 la, 174 3d ; v 41 15c ; vi 63 2b, 66 3c, 68 5c ; x 93 12a, 99 8b. (c) i 62 8c ; iv 3 lib 13d, 50 2c ; v 15 5c ; vi 25 Id, 67 11c; vii 52 3c, 87 6b ; ix916a; x 45 8b, 73 3a, 89 8d, 124 6c. (d) *x 83 3b, *101 7a, *120 Id *4a.
(b) Occurrences with long seventh syllable: (a) i 61 15b, 65-70 55 times; ii 11 16a; vi 44 7a 8a 8b 9b 9d ; vii 34 1-21,
14 times, 56 1-11, 5 times; ix 109, 24 times; x 1 Id 5b2 6b, 6 6 times, 46 6d. (b) i 104 lb, 120 3b3, 149 2c 4a ; v 41 19a;
vi 24 6d, 66 6d; x 99 8c. (c) i 130 10c; iv26 7d; vi 17 7d, 67 10c; vii 4 3b4, 6 3c. (b) *i 162 16d ; *x 114 10b.
1 with short eighth syllable. 2 reading yajiid-yajnasya, cf. § 152 ii.
3 transferring mdnma to 3a ; but see § 244 ii. 4 § 151 iii.
214 Neutral rests
For the quantity of the third syllable see below § 249 : the instances of a long ninth syllable have already been enumerated in § 220 iii.
Several of these verses may also be interpreted as Gautami verses : for instance vii 52 3c, 87 6b.
(ii) The varieties of Bhargavi verse have been illustrated in § 52 : the form with rest at the sixth place only differs from the second form of Pentad verse in the cadence. The rhythm is that of the normal trimeter verse after early caesura.
(a) Occurrences with rest at the fifth place : (a) x 77 la lb lc1 2b 2d 3a 3c 3d 4d 5b, 78 lb Id 2c1 2d 3b 3c 3d 4b 4c 6d. (c) i 36 8c,
48 4a, 100 6b; vii 96 2c; viii 27 12c.
•
(b) Occurrences with rest at the sixth place : (a) x 77 Id 2a 2c 3b 4c, 78 4d. (b) i 129 9f. (c) i 83 6b, 112' 10b; v 51 13a;
vi 15 Id; viii 52 4a2; x 32 4c2.
1 sixth syllable long. 2 fifth syllable long.
(iii) The varieties that follow bear a resemblance to the Pentad or Bhargavi types, but are too scattered to be of historical importance.
(a) Pentad verses with short seventh syllable and Jagati cadence: (c) ii 24 5b, 36 la; viii 98 7b; ix 71 7c1, 79 lc. (d) *vi 47 31c, *x 56 4d.
(b) Bhargavi verses with rest at the fifth place and Tristubh cadence: (a) i 61 6c, 70 10a; x 6 2a. (b) i 122 3a, 173* 2c;
v 33 2b. (c) i 100 5b, 117 22c, 130 lOd; ii 18 la; vii 75
4a. (d) *x 14 5c.
(c) Pentad verses with rest before and after the caesura, as
sd tudrh na • n • arvan nidayah vi 12 6a.
The occurrences are: (b) ii 20 3a, x 61 27a. (c) ii 31 7c, vi 12
6a, viii 96 21a1, x 55 2c.
(d) Bhargavi verse, with rest before and after an early caesura :
rdjdno • n • nd citrdh susamdfsah x 78 lc. This example seems to stand alone.
1 with short eighth syllable.
228. Verses with neutral rest are such as have the latter part of the verse complete and of the ordinary rhythm : the rest there- fore must be considered to precede the caesura, coming either at the fourth or at the fifth place, as in § 226. Any textual emen- dation which will add a syllable to the first part of the verse will have the effect of restoring a regular trimeter verse.
The two varieties are illustrated by the following examples : (i) anjasi • ukulisi virdpatni i 104 4c.
(ii) dididno • ubhdvati druhamtardh i 127 3b.
Hybrid verses 216
(i) Neutral rests at the fourth place: (a) i 61 11a1; ii 11 3b 7d. (b) i 60 4c, 104 4c, 120 la6 3c8, 122 6c 6da, 167 lc 7b', 169 2c1 5c; ii 4 3b 8b, 20 2a 2d ; v 33 lc 2c, 41 17b, 45 Id; vi 20 7a, 24 3a 10d3, 30 la, 63 4c, 68 4d ; x 23 5a4, 50 4c, 61 27c, 93 9a, 99 6b4 lie, 105 3c 6c, 132 lb 7a. (c) i 48 3c1, 62 3a, 89 4b, 141
8a, 158 3b, 180 3c, 184 5b5, 190 7c; ii 2 la, 14 5b 5c, 15 7a, 31 7b; iv 25 la; v 29 13b; vi 4 8d3, 10 7b3, 12 6d3, 13 6d3, 15 15c, 17 15b3, 29 2b, 48 17c; vii 100 3a; viii 46 17b, 49 4c, 52 2a; ix 86 43a, 107 9a; x 31 6b, 79 3a, 92 14b, 112 lc. (d) *vi 47 31b; *x 16 8c, *85 44c, *94 11a, *95 4a *10a ♦13c, ♦lOl 10b1, *130 la, *\1Q 3b.
1 The verse may be alternatively explained by hiatus or resolution, at the cost of an irregular opening. 2 Supply srotu nah to begin the verse. 3^ Refrain
verse mddema.... 4 with irregular break. 5 Alternatively read maniebhih.
6 but see § 244 i a.
(ii) Neutral rests at the fifth place: (a) i 61 10a3; ii 11 lOd ; x 77 4b 5a, 78 4a. (b) i 127 3b2 9a2 10a2 10b2, 135 lb8,
145 5a 5d, 148 4b, 167 6c, 173 10a, 174 2c 8c, 178 lc; ii 4 5d 9c; iv 21 5c; v 33 10a3, 41 5d lOd 16e3 ; vi 20 7b, 30 5a, 66 9c 10c; x 23 3c2 7b3, 50 5c, 61 25a, 105 lc. (c) i 39 3c2, 64 9a2, 76 Id, 79 lc, 88 3c, 159 2a2, 180 6c, 186 3a 7c; iii 23 4a, 53 24a, 61 4b; iv 1 19c, 2 2d, 3 14b, 4 lc, 16 15a4, 17 lc, 40 2c2; v 30 6a3, 57 8c; vi 65 5a; vii 5 la, 37 4a, 57 lb, 59 8c, 60 9b, 97 6a;
viii 19 18a2, 24 17c2, 101 12a2; ix 88 4c3; x 3 la, 39 14b, 63 15a2, 66 4b, 74 3a3, 78 8a1, 112 2a 7c, 113 7c2, 115 9c, 122 5a2 7d3.
(d) *i 161 14c, *164 30a #35b *48c2 ; *v 40 7a3 7c; *x 12 2a, ^13 3c, ♦H 8d, »27 6c, ^53 4c, *84 4c, *180 3a.
1 § 152 i. 2 Jagati verses. 3 In these verses the full number of syllables
may be obtained at the cost of an irregular opening. 4 § 168 iii.
(iii) A rest following an early caesura gives us the first variety of Bhargavi verse (§ 227 iia): and a rest following a late caesura gives us the first variety of Pentad verse (§ 227 i a).
229. ' Hybrid verses ' (§ 56) are most common in the popular Rigveda, and are there doubtless to be explained by contamina- tion. But there are also a few examples in the earlier parts of the Rigveda, and particularly in the decasyllabic Tristubh hymns. ' Hybrid ' Jagati verses are very rare.
The instances are : (a) none, (b) i 167 lb, 169 6c; ii 4 8d; x 50 2c, 61 lc, 93 14b. (c) i 35 9d, 110 9b, 138 3f '; vi 17 7b; viii 22 14c, 46 19c, 61 8c, 101 12c; x 122 3b. (d) *i 161 8a1, *164 17a *23d *45d; *ii 43 2c1; ♦v 44 15a #15b *15c; *vi 75 18c ; ♦viii 59 6a *7a *7d ; *x 28 lc, *51 9a1, #82 4b, #87 14a, ♦103 7a *lla, *128 8a, *129 6b.
1 Jagati verses.
216 Table of syllabic variations
230. Table shewing the use of the Syllabic Variations.
|
Archaic |
Stroph. |
Normal |
Cretic |
Pop. |
|||||
|
Decas. |
Decas. |
else- |
|||||||
|
Refer to § |
metres |
Trif& |
where |
||||||
|
Number of verses |
516 |
1525 |
3865 |
2621 |
6554 |
5225 |
3463 |
||
|
226 i |
Viratsthana (short 7th) |
1061 |
982 |
22 |
3 |
}2 |
1 |
2 |
1 |
|
,» i |
(long 7th) |
55 |
41 |
11 |
5 |
||||
|
„ ii |
indra (short 7th) |
98 |
17 |
103 |
3 |
}5 |
2 |
1 |
0 |
|
», " |
„ (long 7th) |
33 |
0 |
43 |
1 |
||||
|
h «i |
GautamI (both forms) |
26 |
23 |
4 |
1 |
0 |
0 |
0 |
0 |
|
„ iv |
Double rests |
16 |
4 |
7 |
1 |
0 |
0 |
0 |
0 |
|
227 i |
Pentad (short 7th) |
165 |
294 |
6 |
1 |
l» |
1 |
1 |
2 |
|
m i |
„ (long 7th) |
132 |
242 |
6 |
1 |
||||
|
„ ii |
Bhargavl (early caesura) |
27 |
41 |
2 |
5 |
1.1. |
o |
2 |
o |
|
n ii |
„ (late caesura) |
14 |
12 |
— |
5 |
||||
|
Neutral rests : |
|||||||||
|
228 i |
at the fourth place |
85 |
8 |
25 |
4 |
2 |
1 |
1 |
3 |
|
» " |
at the fifth place |
86 |
12 |
17 |
4 |
2 |
2 |
2 |
3 |
|
229 |
Hybrid verses |
35 |
0 |
2 |
2 |
0 |
0 |
1 |
6 |
1 In this column the absolute number of occurrences is given.
2 From this point the number of occurrences is proportional to each 1000 trimeter verses: except that Pentad variations are proportional to each 1000 Tristubh verses, and Bhargavl variations to each 1000 Jagati verses.
231. It is now possible to define more accurately the charac- teristics of trimeter verse in each period of the Rigveda, and to use these characteristics for a revision of our provisional arrange- ment of the hymns, by examining the extent to which they appear in a series of groups of hymns much smaller than those used in § 204 as the starting-point of this investigation.
In drawing up a list of the characteristics of each period, it must be borne in mind (i) that most of the marks of the archaic period are also found, though much less commonly, in the strophic period : (ii) that the marks of the popular Rigveda are to some extent anticipated in the cretic period: (iii) that the character- istics of the intermediate periods are not such as are peculiar to them, but such as are more freely used in each of them than in other periods. Even the evidence for the archaic and popular periods must be used with care in dealing with small groups of hymns, for instance such as contain less than 500 trimeter verses : but the evidence for the intermediate periods is only a slight indication of date except when the groups are much larger.
Metrical criteria of date 217
Subject to these qualifications, the characteristics of the respec- tive periods may be summed up as follows :
(i) chiefly in the archaic period we find (a) the weak caesura, either after the third syllable or in a compound (§ 214): (b) the iambic and irregular forms of the break (§ 218): (c) irregularities in the rhythm of the cadence (§ 220) : (d) decasyllabic verses with iambic rhythm (§ 226) or with neutral rests (§ 228). From (a), (b) and (c) verses with secondary caesura (§ 213) must be excepted.
(ii) the strophic period is marked by the frequency of the verses in which 'secondary caesura' is found (§ 213).
(iii) in the strophic and normal periods the Pentad opening * - ^ — I, is more common than elsewhere.
(iv) in the cretic period the cretic break „ - w -, and to a less extent the syncopated opening ^ ^ — (j, obtain prominence.
(v) in the popular Rigveda the rhythm is almost the same as in the cretic period, but the following syllabic variations occur : (a) extended Tristubh verses (§ 223 i); (6) catalectic JagatI verses (§ 223 ii); and (c) ' hybrid ' verses (§ 225).
232. The smaller groups to which these tests are applied may be either subdivisions of the large groups, or smaller groups outside them united by their character or position. Subdivision of the homogeneous Mandalas iii, iv, vi, vii, and even of the group x 29-80 shews that the separate parts (as for instance the Agni hymns, the Indra hymns, the hymns. to other deities) are prac- tically identical in rhythm, and therefore it is unnecessary to give details here. The most important groups united by their character are the hymns in the different lyric metres. Small groups united by position are found in all parts of the Rigveda outside the homogeneous Mandalas : and in Mandalas vi and vii the presumed later additions form groups of some importance.
It is unnecessary to give here a list of the hymns in each of the 57 small groups examined, as the contents are sufficiently indicated in the Table in § 235. To each of the small groups are prefixed the results for the larger groups of Chapter III, so that the homogeneity of the larger groups can at once be tested. The division of the hymns of the popular Rigveda into small groups is of an artificial character, since only the hymns x 10-18 form a natural group.
218 Reviev) of the trimeter groups
233. The following are the principal results of this investiga- tion, as shewn by the Table in § 235.
The three principal groups of the archaic period have on the whole the same metrical character, but this character is least pronounced in Group III. Amongst the smaller groups the Usnih, Kakubh-Satobrhati, and uneven lyric hymns, the decasyllabic Tristubh hymns of Mandalas ii and vi, and the group x 48-50 (in decasyllabic Tristubh and JagatI) have the most marked archaic character, variations occurring in every third or fourth verse. The hymns in Atyasti and Brhati-Satobrhati, the deca- syllabic Tristubh hymns of the groups i 165-190 and of Mandala x, the hymns of the group i 58-64, and the remainder of the Bharadvaja hymns have archaic variations once in every fifth verse. On the other hand the hymns of Mandala v, of the group i 76-92, and the hymns of the Mana family (i 165-190) other than the hymns in decasyllabic Tristubh do not shew any large proportion of archaic variations : and the two latter use the Pentad opening as freely as the hymns of the normal period.
In the strophic period all the groups agree in shewing the archaic variations about once in every eight verses : but the use of secondary caesura is confined to the Vasistha hymns and one or two of the smaller groups : in the Kanva hymns there is no trace at all of this variation.
In the normal period several of the groups diverge from the general standard. The Vamadeva hymns (Mandala iv) have as many of the archaic variations as the hymns of the preceding period : the hymns of Mandala ix shew special favour to the Pentad opening: the group i 116-119, and (to a lesser extent) the third Mandala combine secondary caesura with the cretic break.
The groups of the cretic period shew a remarkable agreement in all particulars, the general rhythm being very strict in all the groups, and the cretic break being used once in every four or five verses.
The hymns of the popular period present no new feature of interest.
234. Since it appears that the secondary caesura is entirely absent from some of the groups of the strophic period, which yet
Parallel developements
219
agree in other points, we must necessarily conclude that the metre in this period followed two parallel lines of developement, one only of these being characterized by the secondary caesura. The general characteristic of the period must then be defined as the use of the archaic variations to a smaller extent than is found in the archaic period.
By this definition the following small groups will properly be assigned to that branch in the strophic period which is free from secondary caesura: the Gotama group i 76-92, the Mana group i 165-190 (excepting the decasyllabic hymns), the Brhatl- Satobrhatl hymns of Mandala vii, the Kanva hymns, and perhaps also those of Mamateya. It seems also probable that Mandala iv (Vamadeva hymns) should, as a whole, be assigned to this branch of the strophic period. The second branch will consist of the Tristubh hymns of Mandala vii and the group i 55-57.
The same division into two branches will then be perceived in the normal period, the hymns in Mandalas ii, v and ix being free from secondary caesura, whilst those in Mandala iii and the group i 116-119 retain the principal form of secondary caesura and discard some of its rarer forms (see subsection iii a below). In this group i 116-119 the developement of the ere tic break is also very marked.
The general developement of trimeter metre appears therefore such as may be indicated as follows :
1. Archaic hymns
( Lyric metres generally
•j Bharadvaja (vi)
( Decasyllabic hymns of bks. ii, v and x.
2. Strophic hymns
, Gotama (i 76-92) Mana (i 165-190) \ Vasistha (Br.-Sat. hymns) j Kanva VYJimadeva (iv)
4. Normal hymns
{Mandala ii Mandala v Soma hymns (ix 68-97).
3. Strophic hymns with secondary caesura (Vasistha (Tristubh hymns) {Group i 55-57
5. Cretic hymns with secondary caesura ( Group i 116-119 "(Kusika (iii).
6. Cretic hymns.
7. Popular Rigveda.
220 Small trimeter groups
This genealogy is of course suggested with every reserve : but it is quite consistent with the general view of the history of dimeter verse obtained in § 201.
If the indications of metre are followed out in further detail as a matter of speculative interest, the following points have some pro- babilities to recommend them :
(i) (a) In the archaic period the Atyasti hymns, chiefly found in the group i 127-139, and the Brhati-Satobrhati hymns, chiefly found in Mandalas vi and viii, are not so early in date as the other lyric metres. For the results of the similar investigation of the dimeter verses in the lyric metres see §§ 187, 201 ii, iii.
(b) The group viii 35-37 contains so few trimeter verses that the metrical indications cannot be trusted. So far as they go they revive the doubt already expressed in § 105 iii as to the real antiquity of these hymns. It will perhaps be best to refer them to the strophic period.
(c) In all the groups into which the large Group III is divided the question arises whether the hymns in decasyllabic Tristubh are really of the same date as the remainder. Wherever the bulk is sufficient to enable us to examine the two sets of hymns, we find that the deca- syllabic Tristubh hymns have a much larger proportion of archaic variations. This result is the more remarkable, because the decasyllabic variations themselves are not included in the case of these hymns. It seems therefore probable that these groups are not entirely homogeneous, though the evidence may not always be sufficient to justify us in naming particular hymns as later in date.
(ii) (a) In the strophic period there is a considerable divergence in the proportion of archaic variations between the three groups of Kanva hymns : but the number of trimeter verses is so small, and the agreement in other matters so close, that we should not be justified in separating them. If we take the three groups together the percentage of archaic variations is 17, which is distinctly lower than that of the Brhati-Satobrhati hymns in Group I, but agrees closely with the results for the Brhati-Satobrhati hymns of Mandala vii. Cf. § 201 iii.
(b) The great frequency of the secondary caesura in the Vasistha Tristubh hymns stands in striking contrast to its entire absence in the Brhati-Satobrhati hymns of the same Mandala. The Pentad opening is also much more common in the Tristubh hymns than in those in Brhati-Satobrhati. It is perhaps not impossible that a single poet should have introduced these variations into one metre without em- ploying them in the other : but it seems more probable that a difference in time should account for the divergence. Upon this supposition we must assign the earlier date to the lyric hymns. The Mamateya group i 141-158 does not employ the secondary caesura, but it has very commonly the Pentad opening : in both respects it agrees closely with the Vamadeva hymns, which we have now brought into the strophic period.
Small trimeter groups
221
(iii) (a) In the normal groups as a whole secondary caesura is extremely rare : its frequency in the group i 116-119 and in the third Mandala is the more remarkable. If we compare the four separate forms of secondary caesura in the Vasistha hymns and in these groups, we arrive at the following results for each 100 verses :
|
No. of verses |
Secondary caesura accompanied by caes. after 3rd II w *• 1 - ** - |
i- |
||
|
Vasistha i 116-119 iii |
1615 184 1418 |
1 4 0 2 0 1 |
10 18 7 |
2 3 1 |
The groups i 116-119 and iii therefore only employ two of the four forms that are used in the Vasistha hymns, that is the forms in which the caesura follows the fifth syllable : these are used in the group i 1 16— 119 much more commonly than elsewhere, but in the third Mandala less commonly. This is consistent with the view that the Vasistha group is the earliest of the three.
(b) In almost all the groups of the normal period the cretic varia- tions are distinctly more common than in the preceding periods, and thus the favour shewn to these forms is to some extent anticipated. On the other hand the favour shewn to the Pentad opening varies considerably both in the strophic period and in this.
(c) The small group i 71-73 is singularly featureless : but it is at least clear that it has nothing at all in common with the Pentad hymns i 65-70 to which it is attached, except the ascription of the hymns to the god Agni.
(iv) In the cretic and popular periods respectively there are practically no divergences of rhythm. The process of contamination appears to be most advanced in the group i 161-164, x 94-191, and we may conjecture that the very latest trimeter hymns of the Rigveda are contained within those groups. Otherwise the entire absence of individuality in these two periods is remarkable. It seems probable that the hymns of both periods follow the breaking-up of the system of family collections : though they include two groups, i 31—35 and i 94— 115, which have the outward characteristics of family collections and appear as such in the Samhita text.
222
Trimeter variations
235. Trimeter variations in the smaller groups.
|
No. of verses |
Arch. |
Stroph. |
Stroph. and Normal |
Cretic |
Pop. |
||
|
ARCHAIC PERIOD |
|||||||
|
Group I |
.895 |
26 2 |
7 |
12 |
12 |
3 |
|
|
1 2 3 4 5 6 |
Usnih l Atyasti ] Kakubh-SatobrhatI 1 Uneven lyric1 Brhatl-Satobrhati ■ Miscellaneous |
154 316 207 117 274 195 |
39 21 38 37 23 16 |
12 5 8 10 8 9 |
12 14 11 7 16 14 |
17 11 15 8 11 12 |
2 3 2 1 2 3 |
|
Group II |
1301 |
24 |
8 |
12 |
9 |
1 |
|
|
7 8 9 10 11 |
i 121, 122 ii 4, 19, 20, etc. V viii 35-37 x 61, 73, 74, etc. |
120 116 438 68 306 |
26 40 14 5 23 |
1 3 3 21 13 |
11 5 13 18 11 |
12 9 10 9 10 |
0 1 1 0 1 |
|
Group HI |
2983 |
18 |
7 |
13 |
11 |
1 |
|
|
12 13 14 15 16 17 18 |
i 58-64, ix 93, 94 i 76-92, ix 88 i 165-190 ,, (decas. Tristubh) vi ,, (decas. Tristubh) x 48-50 strophic period |
211 310 459 181 1206 316 116 |
19 15 11 21 18 30 27 |
5 7 6 7 7 6 7 |
24 12 20 12 9 8 7 |
9 14 9 6 12 11 13 |
0 0 1 1 0 0 2 |
|
Group IV |
2301 |
12 |
16 |
13 |
10 |
1 |
|
|
19 20 21 22 23 24 |
i 55-57 i 141-158 vii (Tristubh hymns) ,, (Br. -Sat. hymns) ix 70,' 71, 76, 79 (Jagati) 107, 110 |
90 306 1615 100 110 71 |
12 12 12 16 12 11 |
21 9 18 6 13 6 |
13 21 17 9 21 10 |
3 9 11 10 7 12 |
0 0 0 3 1 1 |
|
Group V |
371 |
18 |
3 |
14 |
16 |
1 |
|
|
25 26 27 |
i 36-48 (Br. -Sat.) viii 1-11, 33 viii 49-57 |
117 141 100 |
22 17 11 |
4 1 3 |
15 12 15 |
19 13 13 |
2 1 0 |
1 These groups include some hymns in the larger Groups II and III also.
2 These figures are proportionate to each 100 verses.
Trimeter variations
223
Trimeter variations in the smaller groups (contd.).
|
No. of verses |
Arch. |
Stroph. |
Stroph. and Normal |
Cretic |
Pop. |
||
|
NORMAL PERIOD |
|||||||
|
Group VI |
4633 |
8 |
4 |
17 |
14 |
1 |
|
|
28 |
ii, x 91, 92 |
1087 |
7 |
4 |
13 |
15 |
1 |
|
29 |
iv |
1593 |
12 |
3 |
18 |
12 |
0 |
|
30 |
V |
942 |
4 |
4 |
18 |
16 |
0 |
|
31 |
ix 68-86 (JagatI) |
568 |
5 |
4 |
20 |
9 |
0 |
|
32 |
ix 87-97 (Tristubh) |
348 |
4 |
4 |
18 |
14 |
0 |
|
Group VII |
1961 |
5 |
8 |
16 |
19 |
3 |
|
|
33 |
i 71-73 |
120 |
5 |
3 |
11 |
13 |
0 |
|
34 |
i 116-119 |
184 |
9 |
24 |
14 |
33 |
0 |
|
35 |
iii |
1418 |
5 |
8 |
17 |
18 |
4 |
|
36 |
x 89, 104, 160 CRETIC PERIOD |
129 |
6 |
2 |
16 |
19 |
0 |
|
Group VIII |
2628 |
5 |
2 |
14 |
23 |
1 |
|
|
37 |
i 51-54 |
208 |
3 |
1 |
13 |
18 |
0 |
|
38 |
i 94-115 |
685 |
6 |
2 |
14 |
24 |
2 |
|
39 |
i 123-126 |
152 |
2 |
1 |
11 |
24 |
0 |
|
40 |
i 140-160 |
188 |
6 |
1 |
16 |
23 |
2 |
|
41 |
iii |
136 |
7 |
2 |
16 |
21 |
0 |
|
42 |
vi |
324 |
4 |
2 |
15 |
17 |
2 |
|
43 |
vii |
546 |
5 |
3 |
11 |
20 |
1 |
|
44 |
ix 80, 90, 97 (parts) |
156 |
3 |
1 |
15 |
32 |
0 |
|
45 |
x 65, 66, 122 |
148 |
6 |
2 |
14 |
18 |
5 |
|
Group IX |
2617 |
5 |
3 |
14 |
19 |
2 |
|
|
46 |
i 31-35 |
284 |
4 |
1 |
13 |
19 |
1 |
|
47 |
ii |
253 |
3 |
2 |
14 |
22 |
1 |
|
48 |
vi |
109 |
4 |
0 |
10 |
10 |
2 |
|
49 |
x 29-80 |
1168 |
5 |
4 |
15 |
19 |
2 |
|
50 |
x 96-178 POPULAR RIGVEDA |
428 |
6 |
4 |
13 |
17 |
2 |
|
Group X |
3463 |
5 |
2 |
12 |
18 |
5 |
|
|
51 |
i 161-164 |
397 |
7 |
2 |
8 |
24 |
8 |
|
52 |
iv |
109 |
4 |
4 |
17 |
21 |
1 |
|
53 |
vii |
279 |
5 |
1 |
10 |
14 |
3 |
|
54 |
viii |
156 |
6 |
5 |
12 |
15 |
3 |
|
55 |
x 10-18 |
386 |
7 |
2 |
12 |
18 |
5 |
|
56 |
x 27-90 |
747 |
4 |
1 |
13 |
17 |
5 |
|
57 |
x 94-191 |
939 |
6 |
2 |
15 |
19 |
7 |
224 History of trimeter verse
236. The detailed examination of trimeter verse in this chapter leads us to a somewhat different view of its history to that assumed as a starting-point in § 94 above. At that time decasyllabic and iambic variations appeared to be charac- teristic of the earlier parts of the Rigveda, as opposed to the cretic variation and contamination, which characterize its later parts. Now, however, we are in a position to distinguish two kinds of variation in the earlier parts. Variations of almost every kind appear side by side in those groups which we can assign most confidently to the archaic period, resulting in a rhythm which we may call the less rigid trimeter rhythm, and which exactly corresponds to the earliest form of dimeter rhythm (§ 201). This we seem bound to recognize as the earliest form of trimeter verse in the Rigveda. But the different variations which together contribute to this general rhythm do not disappear simultaneously. Just when the rests and most other variations are becoming rare, we find a developement of the iambic rhythm, especially in connexion with the secondary caesura: this rhythm affecting chiefly the break, but to some extent the opening also. Thus the iambic and cretic variations no longer appear as contrasted, but as characterizing successive stages in the developement of the metre. To a certain extent these variations even overlap, as in the hymns i 116-119 and in the third Mandala. The iambic variations cease therefore to be regarded as in themselves evidence of the earliest date : and indeed it has been noticed above (§§ 94 v, 207 iii) that they are not uncommon in some comparatively late hymns.
These facts supply us with an explanation of the develope- ment of the cretic break : it is the shifting of the rhythm which follows a late caesura in the Vasisthl verse to a similar position following an early caesura.
The considerations discussed in this chapter have led us to assign to the same period two of the largest family collections, those of Vamadeva and Vasistha : whilst several others are assigned to neighbouring periods. Earlier enquiries into the history of the Rigveda have generally taken the form of an attempt to arrange the separate family collections in order of time : but this point of view now appears to be of subordinate importance. It would seem more correct to think of all the family collections on the larger scale as practically contemporaneous, and to speak of a
History of trimeter verse 225
'period of the family collections' as contrasted with an earlier period of small collections, and later periods in which the distinc- tion of families had disappeared.
Of all parts of the verse, the opening lends itself least to historical treatment. We can, however, find no explanation of the comparative frequency of short final vowels in the second place except by assuming it to be a survival of a metrical freedom originally used in syllables of all kinds. In this case the rule prohibiting the use of consecutive short syllables in the second and third places can hardly have existed in the pre-Vedic period : though the occurrence of such a combination would not have been very common, owing to the general preference for long syllables in the opening (§ 35).
237. From the history of trimeter rhythm in the Rigveda we pass naturally to the consideration of its probable rhythm in the pre-Vedic period. As to this we can only form conjectures by observing the trend of change from the earliest Vedic period onwards.
In that earliest period iambic variations are no more common than many other irregularities : they are however, under certain conditions, on the increase. There is therefore no reason to suppose that pre-Vedic verse used iambic rhythm at the break : and the rule laid down in § 45, that the caesura must be followed by two short syllables, seems most probable for the pre-Vedic period also.
The caesura appears indifferently after the fourth or fifth syllable in every part of the Rigveda : yet there is some slight reason for thinking the early caesura to be the normal position ; for the need for variety in the opening is more felt when the caesura is in that position.
With regard to the cadence we notice that, whilst in the earliest period Tristubh hymns only rarely exhibit Jagati cadence, and Jagati hymns can hardly be found, the lyric hymns admit Tristubh cadence in their trimeter verses with some freedom. It would seem to be a probable interpretation of these facts that Tristubh was originally the dominant metre, and that the uneven lyric hymns shew Jagati verse in process of developement from it through the influence of dimeter verse.
Although the secondary caesura is not specially characteristic a. 15
226 The primitive trimeter verse
of the earliest period, yet its possibility seems to point to the recognition by the earliest poets of a division of the verse at that point, corresponding more or less to the analysis of the modern metres into 'feet.'
From these considerations we seem to arrive at the following scheme as representing the dominant form of pre-Vedic trimeter verse, and as the possible starting-point of the developement of the Vedic forms generally :
all the symbols being understood to mark preferences far less marked than those of the Rigveda generally.
(i) This conclusion corresponds as far as regards the opening with that reached in $ 201 for dimeter verse. In the history of the Rigveda the two forms gradually diverge, dimeter verse preferring the long third syllable, the trimeter verse inclining towards the short third syllable.
(ii) The presumed pre-Vedic forms of dimeter and trimeter verse approximate to some extent to the non-quantitative verse of the Avesta, inasmuch as almost every possible rhythm is occasionally found. But in this direction much is still left unexplained.
(iii) Analogies drawn from Greek metre might suggest to us that the two parts of trimeter verse were derived from two separate verses : but we must reject this view, as there is no trace of syllaba anceps either before or after the caesura.
238. The chief problems that remain are three: (i) what is
the origin of the rhythm ^ ^ {ionicus a minor e) in the second
member of trimeter verse ? (ii) what is the origin of decasyllabic metre ? and lastly (iii) why is the iambic rhythm, both in dimeter and trimeter verse, encroached upon in the opening by long syllables, in the cadence by short syllables ?
To these questions the following conjectural answers may be given :
(i) In the developement of trimeter verse the caesura was prior to any differentiation of quantity. The natural pause at the caesura for taking breath made it convenient that short syllables should follow : from this beginning a preference for long or short syllables spread in both directions on the principle of alternation, in successive waves not always producing identical metrical results. This process never affected the extremities of the verse.
Origin of the 'rest' 227
(ii) Decasyllabic Tristubh does not arise from the equivalence of one long syllable to two short (of which there is no trace in the Rigveda), nor from contamination of two forms in which the caesura is in different positions: nor is it an indirect result of the process of syllabic contraction. Against any of these suppo- sitions stands the fact that the Viratsthana verse, which we can most certainly trace to the archaic period, has a rhythm which is distinct from that which would be reached by any of these processes. It seems therefore to follow that this form of verse is a direct and independent result of the natural pause at the caesura : that is, that the ' rest ' is the starting-point of the de- velopement, and that this causes directly a preference for a long sixth syllable, and that the long sixth syllable (here as always) causes a secondary preference for a short seventh syllable.
The ' decasyllabic metres ' we take to be a developement from decasyllabic Tristubh verses.
If this explanation is correct the GautamI verse ($226 iii) has con- siderable interest, because in this type of decasyllabic verse the rest is actually followed by two long syllables, quite contrary to the ordinary rhythm of the break.
The ' neutral rests ' may well be later in date than the Viratsthana verse, and may represent an assimilation of the decasyllabic verse to the normal trimeter type : assimilation in the opposite direction being represented by the iambic rhythm of the Vasistha hymns.
(iii) For an explanation of the preference for short syllables in the cadence (§ 35) it is most natural to look to dimeter verse, in which the contrast between the opening and the cadence is most marked. The comparative favour shewn to a short sixth syllable is not, however, easy to explain : it may be due to the influence of the trimeter rhythm at the break. There can be no doubt that a strong desire to differentiate the opening and the cadence in dimeter verse contributed to maintain this distinction, whatever its origin may have been.
Whatever explanations may be adopted as to particular facts, it is clear that both dimeter and trimeter verse had a long history of developement before the Vedic period. For the history of trimeter verse after the Vedic time, it must suffice here to refer to Dr R. Kiihnau's 'Die Tristubh-Jagatl Familie' (Gottingen, 1886).
15—2
CHAPTEE IX.
THE LESS USUAL METRES— STANZAS AND STROPHES.
239. With the conclusion of the analysis of dimeter and trimeter verse the discussion of Vedic metre is in the main complete : the combination of verses into stanzas and strophes being usually so simple that it has been sufficiently explained in the General Introduction. There remain however for consideration a number of hymns, chiefly belonging to the earlier periods of Vedic poetry, which are constructed upon principles which differ from those already discussed in detail. In these hymns the rhythm or internal structure is on the whole of comparatively small importance, whilst the number of syllables in. the verse, and the combination of verses into stanzas and of stanzas into strophes, that is to say, the elements of the ' external structure ' (§ 30) require to be carefully considered. This inquiry is of a much easier kind than those in which we have so far been engaged. It will be found that most of the hymns to be examined belong to groups that are fairly well defined, and which include one or two standard types and a number of variations which only slightly depart from them. Such groups are (i) the 'uneven lyric ' hymns, (ii) the lyric and dimeter triplets, amongst which Usnih and Gayatii are most prominent, (iii) the Kakubh-SatobrhatI and Brhati-Satobrhati strophes, (iv) the Atyasti hymns and (v) the decasyllabic metres. After the consideration of the separate groups it will be possible to discuss the few hymns which do not fall into the classification, and to consider the relationship of the groups to one another and to the bulk of the hymns in the Rigveda ; and also such traces of strophic arrangement as can be found in ordinary trimeter verse.
The 'uneven lyric'' hi/mm 229
240. The ' uneven lyric ' metres have been defined in § 27 as those which combine in one stanza verses of eight and eleven syllables. A list of such hymns has been given in § 186, and we have seen reason to believe that the dimeter and trimeter verses which they contain represent the earliest Vedic types of these two kinds of verse (§§ 196, 233). The irregularity shewn in these hymns as they stand in the Samhita text is a further indication of their antiquity, since in the Rigveda proper we find that strictness of metrical regulation increases in the later periods.
The antiquity of these hymns may cause irregularities in the text in various ways. Some are due to the lack of strict metrical principle which characterized the composers: others to the per- plexities of the reciters and copyists in preserving the tradition of poems of which both the dialect and the metre were becoming strange to them. Hence in these hymns questions of emendation assume an importance unusual in the Rigveda, and it becomes impossible to feel confident as to the original form of many of the stanzas. Where however difficulties of metre and of interpretation occur in the same stanza, it will be justifiable to look to the composition of the hymn as a whole as a guide : and though it may not be practicable to restore with any certainty the original form, yet it will appear that there is little justification for the complete despair with which the metre of some of these hymns has been regarded by Western critics.
241. The following principles are suggested as a clue to the difficulties of the ' uneven lyric ' hymns :
(i) The number of verses in the stanza is not fixed : the con- cluding stanza in particular is often made of greater length, as in the Atri Anustubh, by repeating one or more of the verses in the scheme.
(ii) The succession of dimeter and trimeter verses is seldom quite regular : in particular, dimeter verses are occasionally re- placed by trimeter.
(iii) By contamination of the cadences of the two kinds of verse the dimeter verse is often, sometimes almost regularly, reduced to seven syllables: whilst the trimeter verse is with varying regularity extended to twelve syllables, and thus approxi- mates to that used in lyric verse.
230 Uneven lyric hymns
(iv) Amongst the trimeter verses decasyllabic variations are common.
The discussion will be the more readily followed if we begin with the hymns in which the metre causes the least difficulty, and reserve to the last those in which either the metre is very complicated or the text less satisfactory than usual.
242. The easier hymns to interpret are of course those which come nearest to the regular lyric metres. These hymns are v 24, x 93 and x 132, to which should perhaps be added i 127, 129 and 150, and viii 35. Looked at from the later standpoint, these are lyric hymns marked by somewhat frequent catalexis both of the dimeter and the trimeter verses : but regarded historically some or all of them mark a transition stage between the ' uneven lyric ' and the lyric metres. Such further difficulties as appear in the separate hymns are easily explained by the principles stated in the last section.
(i) The hymn i 127 can hardly be separated from the whole group i 127-139, which we have seen reason to regard as not quite of the earliest date (*$ 201, 231). But catalectic verses are somewhat common, occurring as la 2a lOd He, and there are also several irregularities of rhythm. Of the other hymns in this group only i 129 has the same characteristics, but they occur less frequently, the catalectic verses being 5f 8a 8e.
(ii) i 150 is treated by the Anukranianl as an Usnili hymn, but of its three trimeter verses only one (2c) has more than 11 syllables: the probable standard is therefore 8.8. 11.
(iii) v 24 is conveniently included here, though the type is rather 8.8.3 than 8.11. Only in lc (varuthiah) do we find four syllables in the short verse.
(iv) The hymn viii 35, like i 127, belongs to a group from which it cannot easily be detached, but its peculiar structure deserves notice. The regular type of the stanza is 12. 12. 12.8, and the stanzas are grouped in triplets, the last three verses of the stanza being the same throughout each triplet. Of the 21 initial verses 4 have catalectic cadence, namely 6a 13a 14a 15a: and of ■ the 21 refrain verses 2, namely 10b = llb=12b and 16b=17b=18b.
(v) The hymn x 93 approximates to the type 12.12.8.8, and is accordingly described by Indian tradition, after a careful counting of the whole number of syllables, as of the Prastarapahkti metre. Of the trimeter verses, however, la lb 4a 4b 14a 14b are certainly catalectic (14b being also 'hybrid'), and 12a 12b may be read as catalectic: of the dimeter verses 2d is certainly catalectic, and 5c 9b 9d 13d 14d may be so read. The hymn therefore appears to be associated with the ' uneven lyric metres ' in the irregularity of the cadence.
Metres of x 22 and 93 281
With this limitation ten of the fifteen stanzas correspond to the type described. Stanza 9 is of the type 12.8.8.8.8, and stanza 15 of the type 12.8.8.8: these stanzas shew the irregularity of external structure which characterizes the uneven lyric metres. The remaining stanzas 2, 3 and 13 are described in the Anukramani as Anustubh : this may be correct, but in any case some emendation is required in each, and it is quite likely that each of the original stanzas contained at least one trimeter verse. In this case they may have run somewhat as follows :
yajile-yajfle u saparyati sd dev&n yah sumndm dlrghasruttamd dvivasati agneh. 2
visvesaam \\ irajyati vasundm devdnaam mahdh sd visve hi visvdmahasah visve yajnesu yajniyah. 3
yesai'n rdbhir ^ hiranydyl vavdrta yuktd isd hiranydyl uemddhitd vam fawthsici vfthd viprdh stavanta. 13
(vi) The hymn x 1 32 approximates to the same standard 12.12.8.8: stanza 6 is exactly of this type, and stanza 2 can be read in the same way. The final stanza 7 has an extra dimeter verse, and 7c is catalectic. In stanza 4 (11.11.7.11) all four verses are catalectic, and there can be little doubt that stanzas 3 and 5 are substantially of the same type : in this case 3c requires correction, perhaps to ydd va pusyati dadvan. In stanza 1 only the first verse causes any difficulty : metre and meaning would be adequately represented by some such verse as Ijdndm id y vdsund dyauh prnaktu.
243. In x 22 we have an isolated but almost perfect example of an ' uneven lyric ' hymn, the type being 11.8.8.8. The position of this hymn in the Vimada collection enables us definitely to assign it to the same period as the earliest forms of Anustubh verse (§ 201).
The metre is termed Purastddbrhatl in the Anukramani, as though the type were 12.8.8.8: and stanzas 5, 7, and 9 are described as Anustubh. Of the opening verses of these three stanzas 5a is Tristubh, if we read vdatasya (§ 142 v): 9a is Tristubh with a double rest (§ 226): 7a alone is dimeter, and probably needs correction.
Of the initial verses only 3a and 11a have Jagati cadence, but many have rests or other archaic variations : of the dimeter verses 3c 5b and 6c are probably to be read as catalectic.
The whole number of stanzas is the same as in x 93, but the last stanza is Tristubh.
232 Metres of i 88 and 120
244. The more difficult hymns of this class are i 88, i 120 1-9, and x 105. But although it may not be possible to determine the original form of each stanza in these hymns, we can feel confident that the general type in the mind of the composer was for i 88 11 . 11 . 7 . 11 ; for i 120 11.11.7; and for x 105 11 . 7 . 11. In these hymns therefore the Tristubh or trochaic cadence is generally found in both the trimeter and the dimeter verses.
(i) In i 88 stanza 5 may be taken as giving the normal type, namely :
etdt tidn nd n yojanam aceti sasvdr ha ydn |( maruto gotamo vah
pdsyan hiranyacakran dyodamstrdn y vidhdvato vardhun.
If this is so, stanza 1 diverges by having a full dimeter verse, and stanzas 3 and 4 diverge by having trimeter verses in the third place, whilst stanza 6 has a dimeter verse in the fourth place. 2c which contains nine syllables must in any case be emended. In addition we have two irregular forms of Tristubh verse, lb being hypersyllabic (§ 224), and Id having a double rest (§ 226).
(ii) In i 120 1-9 both metre and meaning are very obscure in many of the stanzas. The starting-point for the interpretation of both is to be found in stanza 8, which gives us a metrical type 11.11.7, and also indicates that the matter of the hymn is exactly what is usual in hymns to the Asvins. It follows that the text has been violently disturbed in some of the other stanzas, and needs correction. On the analogy of i 88 we may infer that the third verse will not always be of seven syllables, but may appear as a dimeter or a Tristubh verse. In stanza 4 we find an additional verse of 7 syllables.
It would be beyond the scope of this book to discuss possible emendations of the text as such, but the metrical effect of the original hymn may have been somewhat as follows :
kd frddhdti n hotard asvind vdm kb vdm josam ^ ubhdyor a vidhdti
kathd jddsdd dpracetdh. 1
vidvdmsd it \\ \kHbha jprcchdti jsdntd dvidvdn itthd u dpara acetdh
nu cin nu mdrta fasyat. 2
f dvidvdmsah h havdmahe \vaydm vdm
td no vidvdmsd \\ mdnma \d jjusethdm
prd j riricydd \i ddyamdno yuvdkuh. 3
vi prcchdmi n pdkid jcid \vratdni vdsatkrtasya ^ fadhvardsya dasrd
td pdtam sdhyaso nah
pdtdm ca rdbhyaso nah. 4
Metre of x 1 05 233
prd yd jghosi n \bhfgavdnena j.subhro. ydyd vdcd h ydjati pajriyo va/nt
prd fdevayur nd fsddhat. 5
\nii jcic chrutam \\ tdkavdnasya f gdthdm ahd/rh cid dhi ^ rirebhd asvind vani
dksi s'ubhas pail ddn. 6
yuvdm fydd \gd \\ dstam d Jtamsayethe td no vasu (| sugopdd sidtam
pdtdm vfkdd aghdyoh. 7
md kdsmai dhdtam ^ • amitrine nah md fkutra no n grhebhyo dhendvo guh
standbhuja dsisvlh. 8
duhlydn mitrd \\ -dhitaye yuvaku rdye ca no \\ mimitdm vdjavatyai
ise ca dhenumdtyai. 9
For previous discussions of this hymn refer to Prof. A. Ludwig's Rigveda iv 39-42, and Prof. R. Pischel in Vedische Studien ii 87-109.
The ingenious theory1 that the peculiarities of this hymn are due to the ill temper of the bard, who purposely made it unmetrical, is not very probable. To a bard familiar with the smoother metres of (say) the normal period the construction of a hymn of this type would have been a very severe task.
(iii) In x 105 the normal type of the stanza is 11.7.11; this is found in the text in stanzas 1, 2 and 10, and is still more clearly proved by the form of the final stanza, in which each of the two last verses is doubled, giving the type 11.7.7.11.11. In 7a we have a trimeter verse of 12 syllables, unless we substitute ddsyu as an abbreviated form for ddsyave : 8a has a double rest, 8b is a full dimeter verse, and 9a appears to be a dimeter verse, although it is easy to restore a trimeter verse in the shape urdhud • „ tretini ydd bhiiut te. The most difficult stanzas are those from 3 to 6, which may perhaps be restored somewhat as follows :
dpa \ayoli \\ • indro jmdrtio nd
sasramdno bibhlvdn subhe ydd • h yuyuje tdvislvdn. 3
sdcd ay oh M • carkrse fydd fenam
\u\ianaksat saparydn naddyor vi- M vratayoh sura indrah. 4
kesavantd n yah fsubhd adhi tasthaii
vydcasvantd nd pustyai biprdbhidm n vanoti siprinivdn. 5
rsvebhir fyad n rsvd-ojds tatdk.sa
prd surah sdvasdstaut rbhur nd • u krdtubhir mdtarisvd. 6
1 R. Pischel, Vedische Studien, i 1 ff.
234 Lyric triplets
(iv) Isolated stanzas of the uneven lyric type appear to occur as follows : in viii 46 20 of the type 11.8.11.8: in viii 46 14 of the type 13.8.14; see Appendix III, No. 18 : in iii 21 4 as 11 . 11 . 11 . 8 : in v 19 5 (unless the text is corrected) of the type 8.11.11.11. For similar stanzas in the popular Rigveda see Appendix III (§ 253), Nos. 35 and 39.
245. Almost the whole of the lyric verse in the Rigveda, and a large proportion of the dimeter hymns, shew a system of group- ing of stanzas. The most common grouping is that of three stanzas to make a metrical unit, the hymn consisting of any number of such units. Owing to the disconnected character of the Vedic poems, it might not always be easy to trace this group- ing by the meaning: but it is easily recognized by the great number of hymns in which the number of stanzas is some multiple of 3, and by the fact that changes of metre so commonly take place after each third stanza.
A group of three stanzas may be called a triplet. The principal kinds of triplets in the Rigveda are the following : (i) Usnih or other homogeneous lyric triplets ; (ii) triplets of mixed lyric metres, or of lyric metres combined with Gayatri, Tristubh, or Anustubh ; (iii) Gayatri or Anustubh triplets ; (iv) triplets in which Anustubh and Gayatri are combined in some systematic way. In trimeter verse triplets are not common, and we defer the discussion of this point (see § 251 i).
It is probable that the system of grouping is at times carried further, and in particular that groups of three or five triplets are deliberately combined to form a larger whole : in the former case an extra stanza is often added to the last triplet, so that the poem as a whole consists of ten stanzas in the one case and fifteen in the second.
(i) Hymns in Usnih metre, whether of the type 8 . 8 . 8 . 4 or the type 8.8. 12, are almost invariably grouped in triplets : the list of hymns is given in § 186. The only stanzas not so grouped are found in vi 43 (4 Usnih stanzas), viii 18 22, ix 102 (8 stanzas), 106 13, 14 (2 stanzas): see also subsection ii.
Triplets of the Atyasti type are found in i 130, 132, 134-137, v 87 and ix 111. See also § 247 ii. A triplet of the type 12.8.12 is found in ix 110 1-3. For Brhati triplets see § 246 iv.
(ii) It very often appears from the general arrangement of a hymn which contains a large proportion of lyric stanzas that the stanzas are grouped in triplets, although the stanzas which form the triplet are not homogeneous, nor grouped according to any recognizable system.
Lyric triplets 235
Mixed lyric triplets are found in viii 9 4-6, 98 7-9, 10-12, And also frequently where a Kakubh-SatobrhatI or Brhatl-Satobrhatl strophe ia included : for the latter class see § 246 i.
Triplets in which lyric metres are combined with dimeter verse or with Tristubh are found as follows: i 91 16-18; ii 41 16-18; *iii 28 1-3; v 61 9-11 ; vi 15 16-18 ; vii 14 ; viii 5 37-39, 9 13-15, 24 28-30, 26 20-22, 23-25, 35 22-24, 70 13-15, 89 5-7.
(iii) Of the Gayatri and Anustubh verse contained in the Rigveda a very large proportion is grouped in triplets : the system extends to the epic Anustubh verse of the popular Rigveda.
A grouping of this kind is usually to be inferred where the number of Gayatri verses in a hymn is a multiple of 9, or the number of Anustubh verses a multiple of 12: see the 'Table of Hymns' appended to Ch. X.
(iv) The grouping of Anustubh and Gayatri together in triplets is a very simple and effective arrangement. Usually the first stanza alone in the triplet is Anustubh : of this we have examples in v 28 4-6, 82 1-3; viii 3 21-23, 9 19-21, 63 1-3, 7-9, 68 1-12, 74 1-12, 92 1-3; ix 101 1-^. Two Anustubh stanzas are followed by a Gayatri stanza in viii 63 4-6, x 62 8-10. Two Gayatri stanzas are followed by an Anustubh stanza in i 43 7-9, vi 45 31-33, ix 67 25-27.
Similar groups each consisting of five stanzas are perhaps to be found in viii 31 5-9, 10-14, 69 7-11, 12—16.
(v) l\lore complicated groupings are chiefly found in Gayatri verse. Groups of nine stanzas are found in i 1, 16, 17, 19, 41, 43, 50 1-9; iii 11, 12, 40-42; viii 11 1-9, 72, 73, 77 1-9, 79, 80 1-9, 81-85, 102 1-18 ; ix 6-13 ; x 118. Groups of ten stanzas are found in i 4-9, 26, 42, 86; iii 37 1-10; iv 15 ; viii 17 1-10, 38 ; ix 1-4. Groups of fifteen stanzas are found in i 37, 38, 46 ; iv 31 ; vi 16 1—45 ; viii 6 1-45, 14, 32, 34 1-15, 44.
246. The combination of a Kakubh or BrhatI stanza with a SatobrhatI stanza so as to form a strophe is a well-marked feature of certain parts of the Rigveda, and in particular of the Sobhaii, Vasistha, and Kanva collections. The beginnings of the system may be traced back to the lyric triplets, in which some third stanza is combined with Kakubh or BrhatI and SatobrhatI : and there is an intermediate stage in which the combination is in pairs of stanzas, but many slight variations are permissible. The strophes are so far treated as single stanzas, that they are them- selves frequently combined in triplets.
(i) Kakubh-Satobrhati and Brhati-Satobrhati strophes are found combined with some third stanza (often 12 .8.8 Purausnih) making a triplet as follows : vi 48 13-15 (Pur.-B.-Sat.) 16-18 (Kak.-Sat.-Pur.) 19-21 (B.-B.-Sat.) ; vii 96 1-3 (B.-Sat.-Prastarapankti) ; viii 4 19-21 (B.-Sat- Pur.); x 62 5-7 (An.-B.-Sat.). In vi 48 variations from the strict
236 Brhatl-Satobrhatl strophes
type occur for which see the Appendix to this chapter as follows : 15 No. 63, 21 No. 60.
(ii) Kakubh-Satobrhati strophes are found in triplets in viii 19-21, 22 7-18, with the following irregularities ; in viii 19 we find an ex- tended strophe (12.8.12.8.12.8) as 26-27, and 37 as it stands is Pankti, though by rearrangement of the words Satobrhati may be restored ; and in viii 22 stanza 7 is Brhati, stanza 8 is Anustubh, and stanza 12 of the type 12.8.12.12. Another such triplet is probably to be found in viii 103 8-13, although stanza 10 is in the text only Gayatri ; and in ix 108 stanzas 1-6 and 7-12 are probably triplets.
Strophes not arranged in triplets are only found in v 53 5-6, 15-16 and ix 108 13-16. Isolated Kakubh verses do not occur.
(iii) Brhati-Satobrhati strophes are found in triplets as follows : iii 16; vi 48 1-12; vii"l6, 32, 59 1-6, 66 10-15, 74, 81; viii 4 1-18, 10, 22 1-6, 61, 70 1-6, 71 10-15, 87, 88, 90, 101 1-12, ix 107.
The hymns named contain the following irregularities. In vi 48 stanzas 6 and 8 are of the type 12.8.12.8.8, 7 is of the type 8.8.12.8.8, and 11 is Kakubh. In vii 32 we have an extended Satobrhati stanza as 2-3, of the type 12.8.12.8.12.8. In viii 10 1-6 stanzas 2 and 4 are variations on Satobrhati, of the respective types 12.8.12.12 and 8.8.12.12. In viii 101 stanza 3 is Gayatri, and there is an appended Brhati stanza after stanza 12. In ix 107 we have extended Satobrhati stanzas of the same type as above as 2-3 and 15-16 ; for stanza 9 see §§ 142 ii, 151 i, 228 i.
In v 56 we have a hymn of nine stanzas, of which two only are Satobrhati and the rest Brhati.
Similar strophes not arranged in triplets are regular in the Kanva hymns, and i 36, 39, 40, 44, 47, 48 ; viii 3 1-20, and 49-54 are so composed. Elsewhere we find the hymns vi 46, viii 27, 60, 66 1-14, 99 composed of these strophes.
The Kanva hymns contain no irregularities.
Detached strophes occur i 84 19-20; viii 1 1-4, 17 14-15, 46 n-121, 25-26, 27—28, 77 10-ir, 89 1-4, 103 4-7 ; x 33 2-3. Here viii 46 12 is of the type 8.12.8.12, and viii 103 5 of the type 11.12.12.8.
1 See § 248 iii.
(iv) Brhati stanzas occur in triplets in vi 59 1-6; viii 33 1-15, 62 7-91, 70 7-12, 97 1-9 ; x 150 1-3. Other Brhati hymns are iii 44, 45 ; viii 1 5-32. Detached stanzas are found as i 139 5, *170 1 ; iii 53 18; v 53 2 ; vi 15 18, 42 4, 47 19, 60 14 ; viii 30 3, 46 71, u, 19, 69 r7, 18, 78 10; ix 98 n, 99 1 ; *x 14 15, *101 5, *102 1, 3, 12. For the position of this metre in the later parts of the Rigveda see § 94 i.
1 These are ' Dimeter Brhati ' stanzas, the type being 8.8.8.4.8.
(v) Satobrhati and the allied metres are very rarely found outside the strophic system ; but there are three hymns near the end of the tenth Mandala which are so composed, namely x 140, 144, and 150. In x 140 the first two stanzas are Vistdrajmnkti (8.12.12.8), stanzas 3-5 Satobrhati, and 6 is Uparistajj yotis (12.12.12.8). In x 144 the first
The Atyasti group 237
two of these metres are combined with Bihati and Gayatri. In x 150 a BrhatI triplet is followed by two stanzas in Uparistdjjyotis.
All these hymns must necessarily be referred to a very early Vedic period.
247. The Atyasti metre is the most common form of a group of lyric metres, which are characterized by the large number of verses included in one stanza. The whole group may be regarded as a developement of the Satobrhati metre in its extended form 12.8.12.8.12.8 (§ 246 ii) or through the metre of v 87 (12.12.12.8.8).
The Atyasti group of metres is amongst the latest productions of the archaic period, and presupposes a long developement of the lyric stanza : but the view entertained by many Western critics that hymns in these metres belong to the later additions to the Rigveda is entirely untenable. A correct appreciation of this metre is given by A. Ludwig, Rigveda iv, xxxi-xxxii.
(i) There are about 20 varieties of stanza belonging to the Atyasti group : their common features are that they have at least five verses to the stanza, of which two at least are trimeter and two at least dimeter, and that (with rare exceptions) the stanza begins with a trimeter and ends with a dimeter verse.
The standard Atyasti metre, of which the type is 12. 12.8 | 8.8| 12 . 8 . 8 is as common as all the rest put together, but on account of its length it must be regarded as almost the latest in developement.
(ii) Hymns composed in standard Atyasti triplets are i 130, 132, 134, 136, and ix 111 : v 87 consists of triplets of stanzas of the type 12. 12 j 12. 8. 8: i 137 of a triplet of the type 8.8.8J8.8J12.8: and i 135 of triplets which are chiefly Atyasti, but partly of an allied type (12 . 12 . 8 | 12 . 12 . 8). Hymns i 130 and 136 have each also an appended Tristubh stanza.
Other hymns in Atyasti are i 127-129, 131, 133 6-7, 138, 139, in which the following stanzas differ from the standard: i 127 6, 129 8, 9, 133 6; whilst i 139 s is a Bihati stanza. See Appendix III (§ 253) Nos. 74, 77, 80, 81, 85, and 88.
The triplet iv 1 1-3 consists of mixed metres of this group, and is followed by a Tristubh hymn. See Appendix III (§ 253) Nos. 62, 75, and 83.
(iii) In ii 22 we have a metre which seems to be similar in principle to Atyasti. In stanzas 2 and 3 the type is 12.4 | 12.4 | 12.8. 8, but the last two dimeter verses (which belong to a refrain) are unrhythmical. The first stanza only differs by having an additional verse of four syllables after e. The concluding stanza is in the text of the type 24 | 1'2 . 4 | 12. 8 . 4 | : but it is probable that the first section admits of some analysis. .See Appendix III (§ 253) Nos. 79, 84, and 87.
238 Disordered grouping
(iv) In viii 35-37 the metres appear to be allied, viii 35 (12.12.12.8) does not indeed come within our definition in sub- section i, and has points of contact with the uneven lyric metres : but viii 36 i-6 is of the type 12.12 | 8.8.8.8, and the concluding stanza only differs in having one dimeter verse less. For the similar metres found in viii 37 see Appendix III (§ 253) Nos. 70 and 71.
248. The grouping of stanzas is so regular in those hymns in which the lyric metres are used, that some disorder in the text may be suspected where an arrangement in triplets or strophes does not come to light. Such hymns are v 53, viii 30, and viii 46. In addition the Astarapankti hymns of Vimada (x 21, 24 1-3, 25) shew no clear indication of grouping.
(i) v 53. In this hymn stanza 4 may be interpreted as Kakubh by reading vdHau in 4a (§ 170 iii), and thus the number of the detached Kakubh stanzas (1, 4, 10, 11) becomes equal to that of the detached Satobrhati stanzas (7, 9, 13, 14). As there are also two strophes (5-6, 15-16) in the hymn, and only 4 stanzas of quite different type, it seems probable that the original hymn was composed entirely in Kakubh- Satobrhatl, but has not been faithfully preserved.
(ii) viii 30. Here a triplet in mixed metres (1 Gayatri, 2 Purausnih, 3 BrhatI) is followed by an appended Anustubh stanza.
(iii) viii 46. This is the most varied hymn in the Rigvecla, but contains many groups. 1—6 Gayatri triplets : 5 is in the text Dimeter Kakubh, but probably suvlricwn should be omitted. 7 Dim. BrhatI. 8 Anustubh. 9 Satobrhati. 10 Gayatri. 11-12 BrhatI followed by stanza 8.12.8.12 in place of Satobrhati. 13 Dvipada Jagatl. 14 is a Satobrhati stanza: the first verse is hypersyllabic, and the fourth is represented only by the initial word ydthti. 15 as 13 : omit the concluding words nundm dtha. 16 probably the same as 14, but requiring considerable restoration. 17 The type is 12 . 12 j 12 . 8 . 8, as in v 87 : the third verse requires restoration. 18 Uparistadbrhati. 19-20 BrhatI. 20 is either disordered or is in uneven lyric metre. 21 Parikti. 22 Stanza of type 12 . 8 j 8 . 8 . 8 representing Satobrhati. 23 Gayatri. 24 Pankti. 25-28 Brhatl-SatobrhatI strophes. 29-33 Dimeter stanzas, except that 30a is trimeter: in 31c said should perhaps be omitted. It seems probable that stanzas 1 to 12 are arranged in triplets, and 13 to 28 in strophes each containing two stanzas.
249. The internal structure or rhythm of decasyllabic verses has been examined in the last chapter (§§ 228-230). It there- fore only remains here to consider the building up of such verses into stanzas and strophes in the hymns that have already been distinguished as composed in decasyllabic metres, and to measure the extent to which these hymns are differentiated from the less regular trimeter hymns from which they have originated.
The Penta/l metre 230
The most important of these metres is the ' Dvipada Viraj ' or 1 Pentad ' metre. There are a few hymns in which Pentad and Tristubh verses are combined : but in the greater number Tristubh verses are so rare that they may practically be disregarded. In these, which we may call the pure Pentad hymns, we observe that the original trimeter verse is split, and becomes two verses : and these two exercise a mutual influence which tends towards their complete assimilation. This point seems to be reached in the metre of iv 10, in which three pentads are followed by a Tristubh verse in each stanza. Pentad hymns are usually arranged in strophes of ten stanzas, each of which consists of two trimeter verses or four pentads.
(i) The mixed Pentad hymns are vi 44 7-9, x 1,6, and 4G. In these hymns about two-thirds of the verses are ordinal Tristubh verses, and of the remainder three-quarters are Pentad verses and one- quarter belong to other decasyllabic types. The stanzas consist of four trimeter verses, and the two parts of each verse retain their original character : thus the quantity of the third syllable is indifferent, but the ninth is almost invariably short. The strophe-formation varies : the first hymn named consists of a triplet, the second and third of seven stanzas each, and only the last of ten stanzas.
(ii) The 'pure Pentad' hymns are i 65-70, vii 34 1-21, 56 i-it, and ix 109. These hymns contain together over 200 verses, of which only nine are Tristubh verses. In vii 34 and 56 the seventh syllable (the initial syllable of the second Pentad) is long in one-third of the instances, in the other hymns in one-half : but here the effects of the 'rest' and of assimilation coincide. The third syllable, almost in- different in quantity in trimeter verse, is in these hymns short in almost three-quarters of the instances : whilst the corresponding ninth syllable, always short in trimeter verse, is in these hymns long in one- seventh of the instances (§220 iii) : these two changes appear to be due to mutual assimilation.
It is remarkable that the fifth syllable is long in three-quarters of the instances, so that (in spite of the tendency to assimilate) this syllable does not become syllaba anceps.
All the Pentad hymns are arranged in strophes consisting of five double stanzas, but some add a final stanza, so that the total number is 10, 11, or 21. In ix 109 there is also an additional stanza in another metre (8.4.8) which hardly seems to belong to the hymn. The number of stanzas in the strophe thus corresponds exactly to the number of syllables in the verse.
(iii) The metre found in iv 10 consists of three Pentads followed by a Tristubh verse, as for instance :
dgne tdm adyd dsvarii nd stomaih krdtum nd bhadrdm hrdispfsam |( rdhidma ta ohaih.
240 The Viratsthana metre
In the fifth stanza there are four Pentads besides the Tristubh verse, the last of these being evidently a repetition of the third.
The rhythm of the first pentad in each stanza is the same as in the Pentad hymns, and that of the last pentad (the last two in stanza 5) the same as in the second pentad in those hymns. As to the middle pentad it is hardly possible to make a safe inference from 8 occurrences only : so far as can be observed, the quantity both in the third and in the fifth place is indifferent.
The strophe-formation is very uncertain : perhaps we have a strophe of five stanzas followed by a triplet.
250. The remaining hymns in decasyllabic metre are ii 11 (Viratsthana) and x 77, 78 (Bhargavi) : to which may perhaps be added i 61 as shewing at least the beginnings of a new decasyllabic stanza (Gautami). Although none of these metres become estab- lished in the same way as the Pentad metre, they appear to be clearly conceived by the poets in the special hymns in which they appear.
An arrangement in strophes of five stanzas is probable.
(i) The hymn ii 1 1 consists of 20 Viratsthana stanzas followed by one Tristubh stanza : it therefore corresponds in the number of stanzas with the Pentad hymns vii 34 and ix 109.
Of the 80 verses in the Viratsthana stanzas 43 must necessarily be read as Viratsthana verses ; 8 more if indra is read (as seems certain in this hymn) as a disyllable, and yet 8 more if we abstain from resolutions which are permissible but not necessary : so that we have 59 verses or three-quarters of the whole number which are of the Viratsthana type. The verses in which we abstain from possible resolutions are 2d {ukthaih § 151 iii), 4d (ddslh § 151 i), 5a (guhyam § 136 ii), 5c (dytim § 142 ii), 12a (dpy abhuma § 125), 13a (sydma § 147), 15a (yyantu § 140 iii), 19d (sdkhydsya§ 137).
Of the remaining verses 12 have the Viratsthana ending, but appear to have five syllables in the opening. Here, if the text is correct, we seem to have contamination of the two metres. Bub in 4c 6a it is possible to omit indra as a gloss, and in 6b it seems desirable to read stand for stavdma : in 3a 17a ukthesu nu, ugresu nti seem more probable than ukthesvid nu, ugresvid nu. In 9d 10b 12d 13c 17b 19a 20a the verse certainly has eleven syllables. There are 4 regular Tristubh verses only, namely Id 2b 8d 12b, and 5 which shew various irregu- larities other than those alread}^ described, namely 3b 7d lOd 15c 17d.
In the Viratsthana verses the seventh syllable is usually short.
(ii) The Bhargavi hymns x 77, 78 each consist of eight stanzas, and in each case only five stanzas out of the eight shew the special metre. It is natural therefore to regard these hymns as composite : x 77 consisting of a Bhargavi strophe of five stanzas followed by a Tristubh triplet, and x 78 of a similar strophe followed by a Jagati triplet, of which, however, the last stanza is Tristubh. On this supposition it becomes necessary to transpose stanzas 5 and 6 in x 78.
The Bhdrgavl metre 241
In the Bhargavl strophes there are 14 verses out of 30 which do not conform to either of the Bhargavl types (§ 52) : of these verses 5 have eleven syllables and 9 have twelve, but all agree in shewing Jagati cadence. There can therefore be no doubt that we have to deal with a variation of Jagati verse, though the Anukramani by means of count- ing the syllables discovers most of them to be Tristubh.
Between the two types of Bhargavl verse it is impossible to distinguish satisfactorily, as a large proportion of the verses may be classed with either, according as we place the caesura before or after nd.
(iii) In i 61 the regular Tristubh verses number 30 out of 63, or rather less than half, the Viratsthana verses are 10 in number, Gautami verses 9, and other irregular verses 14. No special importance would attach to the Gautami verses, except for their extreme rarity in other parts of the Rigveda : as it is, there appears to be an attempt to create a new type similar to Viratsthana : and in stanza 1 3 no less than three verses out of four are of this type, as follows :
asyed u • n prd bruhi purvidni turdsya • n kdrmdni ndvya ukthaih yudhe ydd • u isndnd ayudhani rghaydmdno \\ ni rinati sdtrun.
The hymn consists of three strophes each of five stanzas, and an appended Tristubh stanza.
251. In the great body of Tristubh and Jagati verse in the Rigveda we look in vain for any strophic arrangement. Occasionally there appear indications of a grouping in three, five, seven, and ten (or eleven) stanzas, but the varieties are so numerous that it is quite possible to explain them as due to chance.
Jagati hymns often have a concluding Tristubh stanza, and some of the longer hymns have one or two such stanzas towards the end. It is open to question whether this habit has any con- nexion with grouping in strophes.
(i) Tristubh and Jagati triplets might be expected in the earlier parts of the Rigveda, but the traces of them are few. They are probable in vi 15 1-15, 44 13-24, and in the Soma hymns ix 86 and 97. Where the stanza consists of three verses only (§ 94 iv), the triplet grouping seems to be more regular, as in vii 22, 31 10-12, 68; ix 110 4—12. In viii 9 10-12 a triplet is composed of a Tristubh, a Viraj, and a Jagati stanza.
(ii) Strophes of five stanzas are certainly found in the group of Indra hymns extending from vi 30 to vi 41, and are further probable in iii 17-23, 44-50, iv 27-29, ix 75-84. See also subsection v.
(iii) Strophes of seven stanzas appear to belong rather to the later periods of the Rigveda, and may perhaps be associated with the
a. 16
242
Possible trimeter strophes
conduct of the sacrifice by the saptd hotdrah. The Apriya hymns in their original form must have consisted of seven stanzas only, and the
hymns
:, 17, and ix 5 1-7 are of this type, though additional
verses have been added at a later period to two of these three hymns. Other probable examples, all in Tristubh metre, are the hymns vi 7—9, x 1-7, 79, 80, *81-84, and *87 1-21V
(iv) Groups of ten stanzas are probably due to the influence of the Pentad hymns (§ 249) : they may be traced in i 71-73 ; iii 5-7, 34-36; iv 19-23; ix 68-70. Hymns of eleven stanzas may be explained in the same way, by the addition of a concluding stanza : possible examples are i 53, 54, 185, 186 ; x 48, 49.
(v) Hymns of 15 and 20 stanzas are more common in the Rigveda than those which contain an intermediate number, and thus indirectly suggest strophes of five stanzas each. Such hymns are i 32, 33, 51, 52, 121, 122 J ii 33-35 ; iv 1, 2, 4, 5 ; v 29, 30, 41, 43, 54 ; vi 49, 50; *vii 35 ; x 91, 92. The hymns i 116, 117 each contain 25 stanzas.
(vi) There are about 170 Jagati hymns in the Rigveda: of these nearly 100 are composed in JagatT alone, about 40 have a concluding Tristubh verse, and about 35 have some further admixture of Tristubh.
The relation of these varieties is shewn in the annexed Table. In the archaic period irregular combinations of Jagati and Tristubh are proportionately common, corresponding to the uneven lyric metres : in the strophic and normal periods pure Jagati is most common, but in the latter the use of final Tristubh stanzas begins to assert itself, and leads to greater irregularities in the two last periods. The history of contamination within the stanza is exactly similar : see § 223.
Table shewing the varieties of Jagati verse.
|
Period |
Arch. |
Stroph. |
Norm. |
Cretic |
Popular |
| Total |
|
Pure Jagati Jagati with final Tristubh Mixed Jagati |
11 3 7 |
10 2 1 |
48 17 6 |
24 15 19 |
5 3 3 |
98 40 36 |
|
21 |
13 |
71 |
58 |
11 |
174 |
252. Upon a general view of the developement of the externa] structure of the verse it may be said that the archaic period is characterized by irregularity and variety,- the strophic period by regularity and variety : and that the normal and cretic periods are marked by regularity only. From the Western point of view the metrical history of the earlier periods possesses an interest which is wanting later : for the varied forms of the stanza
Decay of the strophe 243
have their counterparts in modern metres, whilst the developement of the internal structure appears artificial and even pedantic. It is therefore perhaps not too much to claim a more human interest for the earlier poetry : but on the other hand it may be said that the metrical powers of the Vedic poets were not lessened in the later periods, though they were diverted into directions which appeal less readily to modern sympathies.
16—2
APPENDIX III.
THE VARIOUS FORMS OF THE STANZA.
253. The following list shews the various forms of the stanza which occur in the Rigveda. For convenience of reference they are arranged in the ascending order of the number of verses in the stanza, and of the number of syllables in each verse in order. The titles given in the Anukramam are given when they are practically convenient, but omitted when they are misleading. New titles are given within square brackets.
The number of verses in the stanza varies from two to eight. In the Samhita text the single verses iv 17 15, v 41 20, 42 17, 43 16, and vi 63 11 are treated as stanzas, but in each case the verse really belongs to the preceding stanza. The verse x 20 1 is not a stanza, but an abbreviated quotation of x 25 1.
A. Stanzas of two verses.
1 . Type 8.8: Dvipadd Gayatrl. A variation of Gayatri, occur- ring in ix 67 16-18. The three stanzas are together equivalent to a Mahapaiikti stanza.
2. Type 8.12. Stanzas apparently of this type seem always to be capable of resolution into three verses : see Nos. 6 and 8.
3. Type 11.11: Dvipadd Tristubh. This stanza occurs vi 47-25, vii 17, *x 157 2—5 : also according to the text in vi 10 7, 17 15, but these verses may more appropriately be considered as parts of the stanzas preceding : see No. 69.
4. Type 12.8: [Dvipadd Satobrhati], This metre is regularly used in viii 29, and also appears in the text in viii 46 30. In other instances the verses seem to belong to a preceding Satobrhati stanza : see No. 72. In *x 157 1 the corresponding type 11 . 8 is found.
5. Type 12. 12 : [Dvipada Jagati]. A possible interpretation of the stanzas viii 46 13, 15.
Forms of the stanza 246
B. Stanzas of three verses.
6. Type 8.4.8: ix 109 27, x 172 3.
7. Type 8.8.3: occurs v 24 in a hymn of four verses, of which the first is of the type 8.8.4: see § 242 iii.
8. Type 8. 8. 4: x 172 i, 2, 4.
9. Type 8.8.8: Gdyatrl. Common in all periods ; see Ch. vn throughout : for the strophes see § 245 iii.
10. Type 8.8.11: probably aimed at in i 150, see § 242 ii.
11. Type 8.8.12: TJsnih. Regularly used in triplets, § 245 i.
12. Type 8. 12 .8 : Kakubh. For the use in lyric triplets see §§ 245 ii, 246 i ; in the Kakubh-SatobrhatI strophe § 246 ii.
13. Type 11.7.11. Used in x 105, see § 244 iii.
14. Type 11.8.8. This uneven lyric stanza occurs in x 93 2, for which see § 243 v : an occurrence in the popular Rigveda *iv 57 5 may be due to some error in the text. It is possible that this is also the metre aimed at in ix 67 30, where each of the last two verses has nine syllables.
15. Type 11.11.7. This uneven lyric metre is imperfectly pre- served in i 120 1-9 : see § 244 ii.
16. Type 11 . 11 . 11: Virdj [Tripadd Tristubh], This metre is established in the strophic period, and the stanzas are usually grouped in triplets : see § 251 i. Hymns not so arranged are i 149, iii 25, vii 1 1-20. This stanza occurs in i 120 3 in place of No. 15.
17. Type 12.8.8: Purausnih. This stanza usually occurs as the last in a lyric triplet; see § 245 ii : other occurrences are vi 48 13, viii 30 2. Occurrences in the popular Rigveda are doubtful, but appear in the text as *i 23 19, *vii 66 16.
18. Type 12. 8. 12. This stanza occurs in ix 110 1-3, and is perhaps the basis of viii 46 14 (13.8. 14).
19. Type 12 . 12. 12 : \ Tripadd Jagatl]. This stanza is found in triplets in ix 110 4-6, 7-9.
C. Stanzas of four verses.
20. Type 5.5.5.5: Dvipadd Virdj [Pentad]. See § 249.
21. Type 5.5.5.11: Padapahkti. A variation of No. 20, occur- ring in iv 10 : see § 249 iii.
22. Type 8.4.8.8: [Dimeter Purausnih]. This stanza is found in the text in viii 28 4, 46 5 : in each case the short verse is perhaps a gloss, and the stanza really Gayatri.
23. Type 8.8.4.8: [Dimeter Kakubh]. Occurs viii 22 n, as a variation of Kakubh in the usual strophe : see § 246 ii.
24. Type 8.8.8.4: [Dimeter Usnih]. For the occurrences see § 192, and for the arrangement in strophes § 245 i.
25. Type 8.8.8.8: Anustubh. See Ch. vn throughout.
246 Stanzas of four verses
26. Type 8.8.12.8: Brlwtl. Most regularly in the Brhall-tiato- brhatl strophe, see § 246 iii : occasionally in triplets, § 246 iv • in homogeneous hymns and in detached verses, § 246 iv.
27. Type 8.8.12.12. In viii 10 4 this stanza represents Sato- brhati : see § 246 iii. In *x 170 4 it is probably the accidental result of contamination of Anustubh and Jagati verse ; cf. Nos. 35, 39, 46.
28. Type 8.11.11.11. A stanza of this type is found in the text v 19 5 : either it is to be read as a Pankti verse by omitting vayund in b, or it is parallel to No. 8 : see § 244 iv.
29. Type 8. 12 . 8. 8 : Skandhogrlvl. Occurs i 175 1 in an Anustubh hymn.
30. Type 8 . 12 . 8. 12 : Viparita. This stanza represents Sato- brhati in viii 46 12 : see § 246 iii.
31. Type S. 12 . 12 . 8 : Vixtarapankti. This stanza is equivalent to Satobrhati and is used in connexion with it: it occurs x 140 l, 2, 144 6: see § 246 v.
32. The type 9.9.8.8 occurs i 187 11. It is perhaps only au accidental variation of Anustubh.
33. Type 10. 10. 10. 10 : Viratstltana. In ii 11 ; complete stanzas are rare, but one is quoted in § 50. See § 250 i.
34. Type 10 . 10 . 10 . 10 : [Gautami\. There is no complete stanza, but i 61 13 is nearly complete. See § 250 iii.
35. Type 11.8.8.8: Purastadbrhatl. This important uneven lyric metre is regularly used in x 22 (§ 243) and may probably be restored in x 93 3, 13 (§ 242 v.). The occurrence in *x 17 13 is perhaps accidental : cf. Nos. 27, 39, and 46.
36. Type 11.8.11.8: Visamdpada. This appears to be an un- even lyric metre, but only occurs in viii 46 20 : see § 244 iv.
37. The type 11.11.7.7 occurs i 120 4, and is a variation of
No. 15.
38. Type 11 . 11.7.11. This is an uneven lyric metre, similar to No. 13 : it is found in i 88 5 (§ 244 i), and in x 132 3, 4, 5 (§ 242 vi).
39. Type 11 . 11 . 8 . 8. This important uneven lyric metre is found in i 88 6 (§ 244 i) and in x 93 r, 4, 14 (§ 242 v). Cf. Nos. 38 and 46. For the occurrence in *i 164 42 cf. Nos. 27, 35 and 46.
40. Type 11.11.8.11. This occurs in i 88 1 (§ 244 i), and in the text in i 122 5.
41. Type 11.11.11.8. This is found in the text in iii 21 4 : see § 244 iv.
. 42. Type 11.11.11.11: Tristubh. See Ch. viii throughout.
43. Type 12.8.8.8. This variation of No. 35, for which it has suggested a title, is only found in x 93 15.
44. Type 12 . 8 . 12 . 8 : Satobrhati. This stanza is almost ex- clusively found in strophes (occasionally in triplets) combined either with Kakubh or with Brhati : see § 246.
Stanzas of Jive verses i>47
45. Type 12.8. 12. 12 : Madhyejyotis. This variation of E brhati is found in viii 10 2, 22 12 : see § 246 ii iii.
4 6. Type 12.12.8.8: Prastdrapaiikti This stanza is closely OOO- nected with No. 39, and is found frequently in x 93 and 132, and as the concluding verse of a triplet in vii 96 3. See §§ 242 v vi, 246 i. There is an occurrence in the popular Rigveda in *x 18 u : cf. Nos 27 35 and 39.
47. Type 12. 12,12.8: Uparistdjjyotis. This is a variation of Satobrhati, the regular metre of viii 35, and also found in viii 103 5, and x 140 6, 144 5, and 150 4, 5. In x 140 6 it is described in the Anukramani as Tristubh. See § 246 v.
48. Type 12 . 12. 12. 12 : Jagatl. Common only in the normal and cretic periods, see § 114 Note 4 : even in these the metre is almost unknown to Kusika (Mandala iii). See Chapter viii throughout. For the relation to Tristubh see § 251 vi.
49. The type 12 . 12 . 14 . 12 appears to occur in viii 97 10 : cf. the next No.
50. Type 13. 13. 13. 13 : Atijayatl. A complete stanza is found viii 97 13 : and the two following stanzas appear to aim at the same result.
51. Type 20. 11 . 11 . 11. This is found in *vii 50 4, and invites emendation.
D. Stanzas of five verses.
52. Type 5.5.5.5.11 : Mahdpadapankti. This stanza occurs in iv 10 5, and is an extension of No. 21.
53. Type 8.8.8.4.8 [Dimeter Brhati]. This variation of No. 25 occurs viii 46 7, 62 7-9.
54. Type 8.8.8.8.4: Uparistddbrhatl. This variation of No. 25 is the only lyric metre which is found mostly in the later parts of the Rigveda: it occurs *vii 55 2-4; viii 46 18, 97 n, 12; x 126 1-7 (5 irregular).
55. Type 8.8.8.8.8: Pahkti. This metre was originally an extension of No. 25, and only used in concluding stanzas of Anustubh hymns : but it is found as an independent metre in i 29, 80, 81, 82 1-5, 84 10-12, 105 ; v 6, 75, 79 ; viii 31 15-18, 39, 46 ai, 24 j and in the popular Rigveda in *x 86.
56. Type 8.8.12.8.8: Mahdbrhatl. This occurs i 105 8; vi 48 7 ; and is a variation of No. 26. See § 246 iii.
57. Type 11.7.7.11.11. This extension of No. 12 is found in x 105 11 : see § 244 iii.
58. Type 11.11.11.11.11: Sakvarl. This extension of the Tristubh stanza is fairly common in the archaic period, and occasional later : it occurs iv 17 14-15, 27 3 ; v 2 12, 41 16-17, 19-20, 42 16-17, 43 15-16; vi 2 11, 15 15, 31 4, 49 15, 63io-n ; x 115 9. Seeg 94 iv.
59. Type 12 . 8 | 8.8:8: viii 35 23 (cf. No. 49), 46 22, and x 93 9 (cf. No. 48).
248 Stanzas of six verses
60. Type 12.8 | 12.8.8: Mahdsatobrhati. This stanza is an ex- tension of No. 44, and takes its place in the strophe (§ 246 iii) in vi 48 6, 8, 2i.
61. Type 12. 12 | 8.8.8. This stanza is only found in viii 36 7 = 37 7, and x 132 7. See § 242 vi.
62. Type 12.12.8.12.8. A stanza belonging to the Atyasti group, and found in iv 1 2. See § 247 ii.
63. Type 12 . 12 | .12 .8.8. This stanza is regularly employed in v 87, and is also found in vi 48 15, viii 46 17. It occupies an inter- mediate position between Satobrhati (No. 44) and the Atyasti group : see § 245 ii.
64. Type 12 . 12 | 12 . 12 . 8. This is an extension of the Jagati stanza, found in vi 15 3.
65. Type 12. 12 | 12. 12. 12 [Pancapadd Jagati]. This exten- sion of the Jagati stanza is found in *ii 43 2 and vi 15 6.
E. Stanzas of six verses.
66. Type 8.8 | 8.4.8.4: Astdrapankti. This extension of the Anustubh stanza is peculiar to the Vimada group, being found in x 21, 24 1-3, and 25 : see § 248.
67. Type 8.8 | 8.4.8.8. This stanza is found, perhaps by some error in the text, in *i 191 13. Cf. No. 54.
68. Type 8.8 | 8.8 | 8.8: Mahdpahkti. This metre first appears as an extension of an Anustubh stanza in v 86 6 ; it is used in associa- tion with Paiikti in *x 59 9, 10. As an independent metre or associated with a still longer stanza it appears not to be earlier than the normal period, and occurs in viii 39-41, x 133 4-6, 134 1-6. The grouping of the verses varies, even in the same hymn.
69. Type 11.11 | 11.11.11.11. This stanza is not recognized in the Samhita text, but is a probable interpretation of the pairs of stanzas which appear as vi 10 6-7, 17 14-15.
70. Type 12.4.8 | 12.4.8. This occurs in viii 37 2-6, and is a developement of Satobrhati. The verse of four syllables always consists of an unaccented word.
71. Type 12. 8. 8 | 12.8.8. A variation of the last No., found in viii 37 1.
72. Type 12.8 | 12.8 | 12.8. This is an extension of Sato- brhati, not recognized in the text, but found in the stanzas vii 32 2-3, viii 19 26-27, ix 107 2-3, 15-16. Cf. No. 4, and see § 246.
73. Type 12. 12 | 8.8.8.8. This stanza is found in viii 36 1-6 : see § 247 iv.
74. Type 12.12.8 | 12.12.8. This stanza belongs to the Atyasti group : it is found in i 135 7, 8. See § 247 ii.
75. Type 12. 12. 8| 12.12.12. This stanza also belongs to the Atyasti group : it is found in iv 1 1.
Long stanzas 249
F. Stanzas of seven verses.
76. Type 8.8.8|8.8.8.8. This extension of the Mahapankti stanza is found in viii 40 2, x 133 1—3. The grouping of the verses varies.
77. Type 8 . 8 . 8 | 8 . 8 | 12 . 8. This is the metre of i 137, see § 247 ii. Like all the metres that now remain, it belongs to the Atyasti group.
78. Type 8 . 12 . 8 j 12 . 8 . 12 . 8. This combination of a Kakubh and a SatobrhatI stanza was perhaps regarded as a single stanza in the strophic period. For the occurrences see § 246 i.
79. Type 12.4 | 12.4 J 12.8.8: Asti. Found in ii 22 2, 3. See § 247 iii.
80. Type 12 . 8 . 8 | 8 . 8 | 12 . 8. Found in i 129 9 : see § 247 ii.
81. Type 12. 12 . 8 | 8.8 | 8.8. Found in i 129 8 : see § 247 ii.
82. Type 12 . 12 . 8 | 8 . 8 | 12 . 8 : Atyasti. This elaborate stanza is found generally in the hymns i 127-139, though with many slight variations, and belongs to the end of the archaic period or to the strophic period. See § 247.
83. Type 12.12.8 | 12 . 8 | 12 . 8 : Dhrti. Found in iv 1 3.
84. Type 12 . 12 . 12 . 4 | 12 . 8 . 4. This appears to be the type aimed at in ii 22 4. See § 247 iii.
85. Type 13 . 12 . 8 | 8 . 8 | 14 . 8. This stanza is found in i 133 6, and it is doubtful whether the text requires correction : cf. No. 50.
G. Stanzas of eight verses.
86. Type 8.8.12.8 | 12.8.12.8. This combination of a BrhatI and a SatobrhatI stanza was very possibly regarded as forming a single stanza : for the occurrences see § 246 ii iii.
87. Type 12 . 4 | 12. 4 | 12 . 4 | 8 . 8. Found in ii 22 1: see § 247 iii.
88. Type 12 . 12 . 8 | 8 . 8 | 12 . 8 . 8 : Atidhrti. This stanza of 76 syllables is the longest recognized in the Rigveda. It is an extension of No. 82, and occurs in i 127 6 : see § 247 ii.
CHAPTER X.
GENERAL CONCLUSIONS.
254. In the first three chapters of this book a general survey was made of the metre, language, and subject-matter of the hymns of the Rigveda, with the object of finding a basis for the more exact metrical investigations which were to follow. As a result of this survey the hymns were rearranged, and the division into ten Mandalas was replaced by a division into ten ' groups,' each group being based upon one or more of the collections found in the Sariihita text, but being modified by the detachment and attach- ment of individual hymns : and the ten groups were arranged in a rough chronological order, in accordance with their general correspondence to the respective types of the ' bardic,' ' normal,' ' cretic,' and ' popular ' periods.
But in the six chapters which have followed, of which three have been occupied with the establishment of a metrically correct text, and three with the ascertainment of the laws of metre, we have met with a mass of evidence which has a considerable bearing upon the grouping of the hymns, and which does not in every particular support the rearrangement which was adopted as a basis.
Thus a revision of the grouping becomes necessary, and in this concluding chapter the endeavour will be made first to revise the grouping in harmony with all the evidence now before us, then to restate the principal elements of the evidence in agreement with the revised grouping, and lastly to trace in general outline the developeinent of the metre, language, and subject-matter in such a way as may seem most helpful to those who in the future may be concerned with the investigation of any one of them.
The historical study of the hymns by means of internal evidence is only possible by the process of successive approximations, each of which reacts upon the evidence by which it was obtained. The earliest
The Table of hymns 251
attempts made in this direction broke down because their authors took as their units complete Mandalas, as H. Brunnhofer in KZ. xxv Wl(3 t\\ (1879), and C. R. Lanman in his Noun-Inflection in the Veda, JAOS. x pp. 576-581 (1878). The latter writer has however correctly stated, in my opinion, the method by which progress is possible, and in the present work and the papers which have preceded it I have done no more than attempt to carry out Lanman's programme, as stated on p. 581 of the work referred to.
It is obvious that the process of repeated correction is not only laborious for the investigator but also for the reader, who may further be inclined to dismiss as artificial arguments which involve a mass of detail which is constantly changing and presents no clear picture to the mind. These difficulties attend the first investigations of any intricate problem : but as soon as a beginning has been made, they diminish rapidly in seriousness. Thus as soon as the general difference between the Rigveda proper and the popular Rigveda is recognised, the student will be prepared for the further distinctions made at the opening of this book, whilst the further corrections made in this chapter, though not unimportant in themselves, scarcely affect in any important particulars the arguments of the preceding chapters.
255. The revised grouping of the hymns which is now proposed is indicated in the ' Table of hymns ' which is appended to this chapter. The periods to which the respective hymns are referred are five in number, the ' bardic period ' of Chapters i-in having been replaced since by the ' archaic ' and ' strophic ' periods. The difference in character between these two periods is perhaps most marked in the use of hiatus (§ 131), but it is very clear in every part of our subject, that is, in syllabic restoration (§ 153), in quantitative change (§ 180), in dimeter rhythm (§ 195) and in trimeter rhythm (§ 235). This difference, therefore, though it may pass unnoticed in a first review of the Rigveda, becomes on closer examination the plainest of all. The period to which a particular hymn is assigned is shewn by a capital letter in the left-hand column, the popular Rigveda being denoted as before by the asterisk.
Following the practice of the native Anukramani's, the Table states the ' metre ' of each hymn and the ' deity ' to which it is addressed. Uneven lyric, Trochaic Gayatri, Contaminated Tristubh, and Epic Anustubh are recognised as distinct metres, but many trifling variations (such as occasional extra verses in Gayatri or Tristubh hymns) are not noticed. Poems which are not of the nature of hymns have no entry in the column for the ' deity,' except that the words 'cosmogony' or 'charm' appear where the poem has
252 Metrical pictures
either of these characters. It thus appears at a glance that poems which are not hymns are found almost exclusively in the popular period.
The metrical statistics are arranged in six columns, of which the first three state the number of ' early metrical notes,' that is, of those variations which are chiefly found in the archaic and strophic periods, and the last three the number of 'late' notes, that is, of those variations which are chiefly found in the cretic and popular periods. The nature of these variations is more fully explained in §§ 258-260. In the case of each hymn or small group of hymns the statistics as a whole combine to form what we may call a metrical 'picture, that is, a numerical formula by which the general tenour of the metrical evidence is indicated. Thus since all variations are comparatively rare in the normal period, and such as occur are evenly distributed between those that mark the earlier and the later periods, hymns of this period may generally be recognised by the small total number of variations (on the average about one in every four trimeter verses) and by an approach towards equality in the number of early and late variations. The normal period thus becomes the central point in our investigations, and a hymn or group of hymns will be judged to be either earlier or later according to the extent to which the metrical picture deviates from the standard thus laid down: the archaic hymns being most plainly marked by having a very large number of variations, that is, about one in every two trimeter verses, half of these being in the first column alone. Hymns in dimeter verse, however, cannot be so readily distinguished by their metrical pictures, as the number of variations is much smaller.
Lastly, in the two right-hand columns is given the number of occurrences of early and late ' linguistic variations/ including both grammatical forms and wTords, according to the lists given in Appendix I. This linguistic evidence, being mainly directed to the difference between the Rigveda proper and the popular Rigveda, has only an indirect bearing upon the different periods of the former. But when applied to large groups of hymns, this indirect evidence is of great value, because it is entirely independent of the metrical evidence.
The general harmony between the metrical and linguistic evidence appears clearly from the Table in § 257.
Final arrangement of the groups 253
The metrical variations referred to in §§ 257, 260 and in the ' Table of hymns ' include all those which have been shewn in the preoecBng chapters to possess historical importance, and the corrected statistics shew that they are naturally divided into six groups, as follows :
A. Variations distinctive of the archaic period.
B. Variations distinctive of the archaic and strophic periods.
C. Variations distinctive of the same periods, but also in use,
though to a smaller extent, in the normal period.
D. The cretic break, quite common in all periods, but much
more frequently employed after the end of the strophic period than before.
E. Variations distinctive of the cretic and popular periods.
F. Variations distinctive of the popular period only.
Of these the first three are * early variations,' and the last three are ' late variations.' In dimeter verse only the first two and the last two classes are represented, and the whole amount of evidence is much smaller than in trimeter verse.
A detailed list of the variations is given in § 260.
256. The Table in the following section shews the manner in which the metrical and linguistic evidence may be combined with regard to the larger groups of hymns which appear there. The figures in thick type apply to the whole mass of hymns assigned to each of the five periods, and give the average number of variations under each heading in every 100 trimeter or 150 dimeter verses : whilst the figures in ordinary type give the same information with regard to the separate groups. The pictures as given for trimeter verse being the more significant, there can be now little reason to doubt that the groups i 127-135 and i 165-190 belong in the main to the archaic period, whilst i 74-92 cannot well be earlier than the strophic period. The greater part of the fourth Mandala is also seen to be probably of the strophic period. The trimeter hymns of Mandala vii shew a high proportion of variations under C, due to the frequency of secondary caesura: and the group i 116-119 shews a high proportion both under C and under D, the first due to the frequency of some forms of secondary caesura, the latter to the frequency of the cretic break. We must further notice that the average metrical pictures of the last three periods differ but slightly, and that therefore the metre becomes here an uncertain guide. Lastly, in all the trimeter groups, the linguistic
254 Dimeter groins and single hymns
evidence very closely approaches the standard of the period to which each group is assigned.
With regard to dimeter verse, it is easy to see that our work is less successful. Epic Anustubh is happily for our purpose sufficiently distinguished by its external form, and therefore only a very small amount of dimeter verse appears in the Table as belonging to the cretic and popular periods, and for this the metrical evidence is of little value. In the earlier periods the grouping is most successful with regard to the lyric metres, in which it is guided by the trimeter variations. Here for instance we see that the dimeter verses of the group i 127-135, just as its trimeter verses, contain almost twice as many early variations as those of the Kanva lyric hymns. From this assured starting-point we go on to notice that the dimeter hymns of the early part of Mandala v, and those of the group x 20-26, are undoubtedly of the archaic period, whilst the dimeter hymns of the Kanva groups correspond precisely to the dimeter verses of the lyric hymns of the same groups. It seems also probable that the section i 24-30 belongs to the strophic period. In the other groups the results seem fairly consistent, with the striking exception of the Soma Pavamana groups ix 1-60, 61-67 30. In these large groups the metre has the regularity of the normal period, whilst the language has the variety of the archaic period. This contradiction is with our present knowledge insuperable, but the metrical evidence seems to be far the more important of the two.
Except as regards the groups here discussed, the revision of the grouping only affects single hymns or very small groups. In the list of hymns previously assigned to the popular Rigveda no alteration has been made, as very little new evidence has been gathered. In the Rigveda proper, attention has been mainly directed to two points, the grouping found in the Samhita text, and the ' metrical picture.' Where these both point in the same direction, any divergent indications that may have been noticed in Ch. ill are now usually disregarded, and the grouping is simplified accordingly. Where this agreement is wanting, the metrical picture has generally been followed if it is well marked : but if this is not the case, or if the group or hymn is very short, the arrangement previously adopted has been left unaltered, an italic letter in the left-hand column being used to indicate that the metrical picture by itself would point to a different conclusion.
Detailed evidence of date 255
The following notes deal with points of detail with regard to the use and value of the evidence of date furnished in the 'Table of hymns ' :
(i) The amount of matter contained in the 'small groups ' of the 'Table of hymns' varies considerably. Where (as in the third and ninth Mandalas) there are considerable series of hymns which are identical in their metrical character, space has been economized by treating each such series as a single group. On the other hand, if a single hymn consists of parts that are not homogeneous, it is essential to record a separate ' metrical picture ' for each part, however small it may be.
(ii) In tracing the history of single variations we have often needed to collect the occurrences from 1000 verses at one time, and sometimes from as many as 5000. But when the most important variations are combined, the history can be traced with equal certainty from comparatively small bodies of verse. Supposing that 10 variations have exactly the same history, we can trace this with the same accuracy either by observing a single variation in 1 000 verses, or all together in 100 verses. In fact the archaic variations are so numerous that we have little difficulty in recognising a hymn of archaic type by its metre, even if it only includes from 25 to 50 verses : but in the other periods the evidence is less direct, and cannot be very clearly followed unless we can first group on some other ground hymns containing together from 100 to 200 verses. The extreme shortness and fewness of the dimeter hymns in the family books greatly hamper the application of the metrical evidence, and we can therefore do little more than assume that in each Mandala the dimeter hymns are probably of the same date as those in trimeter verse.
(iii) The variations of which the occurrences are counted up in the six columns are those which are shewn in the Table in § 260, and include all those which have been shewn in the previous chapters to possess historical importance. The evidential value of the separate variations included in one column is approximately the same, as appears from the corrected statistics as given in that Table. But the different columns are by no means of equal value as evidence ; column A which represents the 'archaic' variations has by far the most distinctive character, and column D which gives the occurrences of the ' cretic break ' is the least important.
(iv) It must be noticed that the numbers given in the 'Table of hymns ' are absolute, and not proportionate : whilst those in the Table in the next section are proportionate to each 100 verses, three dimeter verses being counted as two. The pictures in the 'Table of hymns' must therefore be reduced to the same proportions before they are compared with the standard pictures for each period.
256
Combined pictures
257. Combined Metrical and Linguistic Pictures.
|
No. |
Group |
Tr. w. |
Dim. w. |
Notes in trimeter verses • |
Notes in dimeter vv. |
Lingu. |
||
|
A |
B C |
D E F |
A B E F |
V AV |
||||
|
Archaic |
4499 |
4368 |
21 |
6 13 |
7 2 1 |
12 16 2 0 |
68 4 |
|
|
1 |
i 58-64 |
201 |
24 |
3 4 |
5 10 |
81 4 |
||
|
2 |
127-135 |
211 |
275 |
22 |
6 13 |
8 3 0 |
14 14 1 1 |
72 3 |
|
3 |
165-190 |
671 |
85 |
18 |
4 11 |
7 2 2 |
62 6 |
|
|
4 |
v (Atri) |
361 |
963 |
20 |
8 11 |
7 10 |
13 20 1 1 |
67 4 |
|
5 |
vi |
1600 |
510 |
17 |
5 11 |
8 11 |
8 11 2 0 |
66 4 |
|
6 |
viii 12-31 |
316 |
867 |
23 |
11 18 |
8 3 1 |
8 12 2 0 |
63 4 |
|
7 |
60 etc. (lyric) |
185 |
454 |
17 |
8 10 |
4 3 1 |
13 16 1 0 |
64 5 |
|
8 |
„ (dimeter) |
2 |
500 |
10 13 2 0 |
52 4 |
|||
|
9 |
ix 98-111 |
64 |
311 |
8 9 2 1 |
80 4 |
|||
|
10 |
x 20-26 |
45 |
167 |
13 18 1 0 |
106 3 |
|||
|
Strophic |
4458 |
3928 |
7 |
6 14 |
7 11 |
5 10 2 1 |
55 4 |
|
|
11 |
i 24, etc. |
162 |
6 17 1 0 |
56 5 |
||||
|
12 |
Kanva (lyric)1 |
311 |
577 |
8 |
10 8 |
11 2 0 |
5 10 2 1 |
57 4 |
|
13 |
„ (dimeter) l |
31 |
753 |
3 13 3 2 |
57 4 |
|||
|
14 |
i 74-92 |
288 |
372 |
9 |
4 11 |
9 2 1 |
4 6 11 |
49 7 |
|
15 |
141-158 |
326 |
10 |
9 |
6 13 |
6 3 1 |
58 4 |
|
|
16 |
iv |
1115 |
350 |
9 |
3 9 |
7 11 |
4 13 1 0 |
62 3 |
|
17 |
vii (lyric) |
107 |
166 |
11 |
4 13 |
7 3 0 |
8 16 3 1 |
63 3 |
|
18 |
„ (trimeter) |
1669 |
109 |
7 |
8 19 |
7 1 1 |
6 18 0 0 |
53 4 |
|
19 |
viii 62-97 |
140 |
539 |
3 |
3 9 |
6 1 1 |
6 8 10 |
52 5 |
|
Normal |
5815 |
3257 |
2 |
2 8 |
11 2 1 |
2 5 3 1 |
51 5 |
|
|
20 |
i 1-11 |
287 |
3 9 11 |
62 7 |
||||
|
21 |
12-23 |
357 |
0 6 3 0 |
32 3 |
||||
|
22 |
116-119 |
284 |
2 |
2 20 |
16 5 3 |
45 10 |
||
|
23 |
ii |
1011 |
116 |
4 |
2 7 |
11 2 1 |
42 7 |
|
|
24 |
iii |
1456 |
415 |
2 |
2 9 |
13 2 0 |
5 6 2 1 |
44 5 |
|
25 |
iv |
512 |
74 |
3 |
3 6 |
13 1 0 |
38 4 |
|
|
26 |
V |
894 |
85 |
2 |
1 7 |
9 1 1 |
39 5 |
|
|
27 |
ix 1-60 |
1 |
1169 |
2 3 3 1 |
79 3 |
|||
|
28 |
61-67 |
3 |
599 |
2 2 4 0 |
82 2 |
|||
|
29 |
68-97 |
972 |
3 |
2 5 |
8 11 |
57 5 |
||
|
Cretic |
4942 |
618 |
2 |
1 4 |
14 4 1 |
3 5 2 1 |
36 8 |
|
|
30 |
i 31-35 |
284 |
2 |
1 3 |
10 2 2 |
27 14 |
||
|
31 |
94-115 |
682 |
2 |
3 5 |
17 4 1 |
35 9 |
||
|
32 |
vi |
415 |
155 |
3 |
1 3 |
14 1 3 |
2 5 10 |
42 8 |
|
33 |
vii |
515 |
75 |
3 |
1 5 |
16 2 1 |
39 6 |
|
|
34 |
x 29-80 |
1125 |
43 |
3 |
1 5 |
15 5 0 |
32 8 |
|
|
Popular |
3463 |
343 |
3 |
1 4 |
12 3 7 |
6 8 4 2 |
10 38 |
This table only deals with hymns composed in trimeter and in normal dimeter verse : the bulk of the dimeter verse of the cretic and popular periods is therefore not included. The hymns in each group are those which in the ' Table of hymns ' are assigned to *he period named.
All the figures (except those shewing the number of verses) are proportional to 100 trimeter or 150 dimeter verses.
1 i.e. hymns in the groups i 36-43, 44-50, viii 1-11, 32-34, 49-57.
Metrical developement 257
258. The developement of metre may be traced with regard either to the ' external ' or the ' internal ' form (§§ 30, 31). External metrical form is one of the most important criteria of the popular Rigveda, but with regard to it there is little to be amended in the statements of the earlier chapters. We notice however that ' contamination ' is also a mark of the archaic period (§ 223). In the Rigveda proper ' decasyllabic Tristubh ' is found to be a mark of the archaic or of the strophic period, according to the rhythm (§ 225), whilst Pentad hymns are found as late as the normal period. Lyric metres generally characterise the archaic period: but the regular Brhati-Satobrhati strophe is later. The date of the Trochaic Gayatri metre is not satisfactorily determined.
The developement of the internal form, that is, of the less striking variations, can only be followed systematically so far as we find general types consistently followed. For this purpose, therefore, we put aside all hymns of special types, such as the decasyllabic hymns, and those in Trochaic Gayatri and in Epic Anustubh, and also the Anustubh hymns of the Kanvas and of the cretic period, which approach the type of Epic Anustubh (§ 200). The history of trimeter verse and (less clearly) of normal dimeter verse can then be followed by the aid of the Table in § 260.
The ' early variations ' included in the Table are 26 in number, of which one has to do with the external form, and 7 are connected with the restoration of the text, and are discussed in the next section. Of the remaining 18 variations there are 7 which are almost restricted to the archaic period, 7 which are common to the archaic and strophic periods, and only 4 which retain some importance in the normal period. Of the later variations almost all have to do either with the text or with the external form : so that we may say that at the end of the normal period the internal form is fixed, both for trimeter and dimeter verse : the only exception being the increased use of the cretic break.
259. The linguistic developement of the Rigveda runs parallel with that of the metre. This is to be seen first of all in the use of Sandhi and the linguistic forms which are reached by metrical restoration. The general explanation of these changes is the increasing rapidity of pronunciation, which results in the extended use of Sandhi combination, the consonantization of semi-vowels, and the shortening of vowels originally long : although there are
a. 17
258 Linguistic developement
a few instances of change in the opposite direction, which are explained by the influence of analogy. The Table in § 260 shews that those variations which are becoming rare in the archaic period die out rapidly, and generally reach their minimum in the normal period : but the linguistic developement can be traced in the later periods by the rise of new variations which are due to the same general causes as the decay of the others.
The same progress can be traced in the use of the linguistic features which characterise the Rigveda proper as contrasted with the late Rigveda and Atharvaveda. As appears from the Table in § 257, the older forms and words are much more common in the archaic period than elsewhere, and are more common in the strophic and normal periods than in the cretic hymns : that is, of the whole number of these words and forms there are some that go out of use at the end of each period in succession. As to the later forms, none of them are in regular use in any part of the Rigveda proper, but they are used in the cretic period twice as often as in those periods which precede it.
Very much fuller evidence would be available if we were to take as a starting point the linguistic features of the normal period, and contrast them with those that mark the two earlier periods. This line of evidence has been pursued, so far as grammatical forms are concerned, in the author's Historical Vedic Grammar. It is sufficient here to note that the linguistic features of the archaic period differ from those of the normal period somewhat in the same way, though not to the same extent, as the dialect of the Homeric poems differs from that of Herodotus.
Notes to the Table on the page opposite.
All the figures in the body of the table are proportional to each 1000 trimeter verses, or to each 1500 dimeter verses : and the assignment of the occurrences to the respective groups is in accordance with the arrangement adopted in the ' Table of hymns.'
1 including hiatus after -a when shortened (§ 172 i), and after duals in -a, -i, etc. when shortened (§ 174 i). 3 also §§ 143 ii, hi, 151 i. 3 except -nam in
dimeter cadence. 4 as in -saham, -manam, -vanam, -anam when restored on
metrical grounds. 5 also § 220 iii-vi. 6 Catalectic and heptasyllabic dimeter verses. 7 except when accompanied by secondary caesura. 8 Viratsthana and indra verses, and verses with double rest. 9 also §§ 166 iv, 170 i. 10 i.e. when accompanied by caesura after the third syllable, or by the break |[ ~ - «- : for the other forms see below. n also §§ 128, 129. u with consonantal value of y
in each case. Vi This variation is not taken into account except in the treat-
ment of dimeter verse. 14 Combination by Sandhi of final -t, -i, -u, -ii with
dissimilar vowels. 15 with the final vowel in each case shortened.
Table of variations 259
260. Table of Variations of historical importance.
|
Refer to § |
Variation |
In trimeter |
verses |
In no Ar. |
rmal dimeter vv. |
|||
|
Period |
Ar. |
St. |
N. |
Cr. |
Pop. |
St. N. Cr. P. |
||
|
Whole no. of verses |
4499 |
4458 |
5815 |
4942 |
3463 |
4368 3928 3257 618 343 |
||
|
A. Archaic |
||||||||
|
121AC1 |
Hiatus after -ii1 |
22 |
9 |
2 |
2 |
5 |
30 |
12 7 - 8 |
|
142 a |
Resolutions -aa, -aam* |
40 |
13 |
3 |
3 |
5 |
43 |
15 7 12 15 |
|
170 ii&c |
Shortened stems of nouns4 |
2 |
11--. |
|||||
|
190 v 3 |
Irregular cadence |
16 |
6 |
2 |
2 |
3 |
21 |
14 5 15 26 |
|
191 i, ii |
Short dimeter verses6 |
20 |
5 4 2 8 |
|||||
|
214 i, ii |
Weak caesura7 |
17 |
8 |
4 |
2 |
2 |
||
|
218 i |
Break || >7 |
16 |
8 |
2 |
2 |
1 |
||
|
218 vii |
Irregular breaks (late caes.) Short tenth syllable |
11 |
4 |
3 |
3 |
2 |
||
|
220 ii |
34 |
10 |
4 |
5 |
3 |
|||
|
226 |
Rests, with iambic rhythm8 |
35 |
9 |
2 |
2 |
1 |
||
|
228 |
Neutral rests |
18 |
6 |
2 |
2 |
7 |
||
|
Total |
209 |
73 |
24 |
23 |
29 |
116 |
47 24 29 57 |
|
|
B. Archaic and Strophic |
||||||||
|
123 ac |
Hiatus after -a - |
6 |
5 |
1 |
1 |
1 |
9 |
4 10 4 |
|
143 iii |
-aam in dimeter cadence |
54 |
43 14 19 4 |
|||||
|
162 3, 49 |
-hi, u-, -athe, -ate |
4 |
5 |
1 |
1 |
1 |
8 |
7 2 2- |
|
190 i |
Long fifth syllable |
18 |
10 6 9 30 |
|||||
|
190 ii |
Short sixth syllable |
72 |
40 23 17 42 |
|||||
|
213 ii, iii |
Secondary caesura10 |
15 |
24 |
8 |
3 |
3 |
||
|
218 iii |
Break - j| - ~7 |
14 |
10 |
2 |
3 |
2 |
||
|
218 v |
Break || - - ~ |
6 |
4 |
1 |
1 |
1 |
||
|
220 i c |
Short eighth not final |
14 |
9 |
2 |
3 |
4 |
||
|
227 i |
Pentad verses |
5 |
2 |
1 |
0 |
2 |
||
|
Total |
64 |
59 |
16 |
12 |
14 |
161 |
104 46 47 80 |
|
|
C. Other early variations |
||||||||
|
121Z>, 123/; |
Hiatus -a, -a at caesura |
20 |
10 |
5 |
3 |
5 |
||
|
213 i |
Sec. caes.: VasisthI v. |
45 |
62 |
37 |
18 |
17 |
||
|
213 iv |
,, with break - || - *•> |
13 |
14 |
8 |
4 |
3 |
||
|
218 ii |
Break ~ || -— 7 |
20 |
27 |
12 |
7 |
7 |
||
|
220 i ab |
Short eighth (final syll.) |
31 |
26 |
13 |
6 |
10 |
||
|
Total |
129 |
139 |
75 |
38 |
42 |
|||
|
D. Cretic break (|| - • ) |
74 |
72 109 138 |
121 |
|||||
|
E. Later variations |
||||||||
|
122b11 |
Comb, of sd, duals, iva |
6 |
6 |
9 |
19 |
5 |
3 |
4 3 5 9 |
|
136 3,1372 |
„ divyd, sakhyci, siiryaVi |
3 |
2 |
5 |
8 |
8 |
7 |
7 10 2 - |
|
144 |
Resolution -bhidm, -bhiah13 |
[4 |
1 |
4 |
3 |
3] |
3 |
5 10 14 18 |
|
159 i, ii |
-a, -tha, -ta shortened |
1 |
2 |
1 |
2 |
3 |
5 |
3 4 2 9 |
|
223 i |
Catalectic Jagati |
5 |
3 |
2 |
10 |
9 |
||
|
Total |
15 |
13 |
17 |
39 |
25 |
18 |
19 27 23 36 |
|
|
F. Popular period |
||||||||
|
125 |
Comb, of -?', -ii, etc.14 |
2 |
2 |
5 |
5 |
15 |
3 |
4 4 7 19 |
|
135 |
ij v consonantal |
- |
1 |
1 |
0 |
4 |
- |
_ _ _ 4 |
|
160 4,1613 |
u, yddi15 |
1 |
2 |
1 |
3 |
8 |
- |
2 - - 1 |
|
171 v, 172 i |
-a u, -o before hiatus |
1 |
2 |
1 |
1 |
4 |
1 |
1 1 - - |
|
223 ii |
Extended Tristubh |
2 |
1 |
1 |
3 |
36 |
||
|
229 |
Hybrid verse |
2 |
- |
- |
1 |
6 |
||
|
Total |
8 |
8 |
9 |
13 |
~n |
4 |
7 5 7 24 |
17—2
2G0 Origin of the ritual
261. As the parallel developement of language and metre affords adequate proof of the general chronological sequence of the Vedic hymns, it is unnecessary to trace the developement of ideas with any purpose of obtaining from this study a corroboration of our theory as a whole. It is perhaps peculiarly difficult to trace such a developement in a ritual literature, in which antiquated conceptions may easily linger for long periods by the mere force of daily repetition, long after they have ceased to express any genuine feeling or belief. In giving here a general sketch of the developement of the conceptions which form the subject-matter of the hymns, we can only attempt to point out that here and there such developement plainly runs parallel with that of metre and language, and that there is reason to suppose that closer investigation may lead to more definite results.
262. The ritual practices which are fundamental to the Rigveda appear to be essentially older than any beliefs in gods, heroes, or spirits which may be adduced from time to time in explanation of them. The kindling of the sacred fire before dawn may have been originally an act of sympathetic magic calculated to ensure the return of daylight, and therefore as practical in its aim as the kindling of fire to be a source of light or warmth in the house, or a means of warning off thieves and beasts of prey. The preparation of the sacred drink, originally mead and in a later form Soma, was an even more direct means of strengthening the clan by raising the spirits of its warriors, and making welcome the visitor who might some day fight on his hosts' side. Throughout the Rigveda the 'priests' are primarily expert craftsmen, skilled in the kindling of the fire or the preparation of the nectar in accordance with ancient rules: a third attainment, the poetic inspiration which finds expression in chant and recitation, necessary accompaniments of either of the primeval ceremonies, is perhaps of later date, but reaches almost equal importance.
But even in the earliest parts of the Rigveda we find each of the two great ceremonies interpreted in a different way, and so that the one becomes to a great extent out of harmony with the other. The sacred fire is now kindled to act as 'messenger' between two peoples, the one on the earth and the other in heaven. The ' people in heaven ' is variously described as consisting of the ' gods,' or by name of ' Varuna, Mitra, Aryaman,' to which list we
Gods of heaven air and earl It -jin
may mentally add 'and so forth,' since the names given are plainly no complete catalogue of the gods meant. We have therefore in the archaic period a clear conception of a company of deities living in the sky, and an interpretation of the sacrifice as a festival to which these gods are invited by the fire-messenger to descend. This circle of deities we may provisionally name the ' Chaldaean gods,' since so far as our knowledge goes the study and admiration of the heavens is in the first instance associated with the shepherd- peoples of the Chaldaean plains.
On the other hand the drink-ceremony is associated with a god or hero Indra, well described by H. Oldenberg as a ' barbarian-god.' A great feeder, swiller, and fighter, he stands out as the type of the Aryan adventurer-prince, rushing to the invasion of the lands of the 'seven rivers,' storming forts, releasing captives, taking possession of lands and herds. This conception seems so natural a product of the times, that we are hardly surprised to find that there is practically no trace of the worship of Indra amongst other Indo-European peoples: and it is so predominant in the earliest Vedic hymns, that we must ascribe to the enthusiasm of conquest embodied in the praise of this warrior-god the chief impulse towards the creation of the literature. From the ' Chaldaean gods ' Indra is cut off by the fact that he dwells on earth, not in the sky ; and again not less sharply by the lower moral tone which he represents. At this period then, the two worships seem to be separated by a gulf both of theory and of sentiment.
Two other groups of deities are prominent in the earlier parts of the Rigveda, the Asvina and the Marutah. Both appear capable of naturalistic interpretations; the Asvina as representing some phenomenon of the sky, by which they come to be associated with the ' Chaldaean ' deities ; the Marutah as representing the storm- clouds, which as they sweep furiously over the earth may be compared to or associated with the devastating onset of Indra. In a subordinate position we may notice especially Usas the Dawn, and Pusan the rustic deity of the field path-ways. In these religious conceptions there is a striking lack of coordination, and we can only think of them as fragments of some earlier system or systems of deities, to which we are hardly likely to find the clue unless it be in the history of other Indo-European peoples. The chief deity of the Indo-Europeans, Zet>9 or Jove, is honoured in the Rigveda by no hymn, but his name Dyaus is still held in
262 Indra and Vayu
respect, and at times he seems to exercise a shadowy sovereignty. Failing fuller knowledge, we may reasonably speak of all the deities mentioned in this section as Indo-European, and we may largely interpret this Indo-European system as a deification of natural phenomena. Amongst these phenomena, however, the daily course of the sun occupies a position of very subordinate importance.
Our general conception therefore of the subject-matter of the earliest Vedic hymns is that it is composed of heterogeneous elements amongst which the following stand out prominently, arranged in an order of time based upon their relative clearness in the minds of the hymn- writers : (i) the primitive ceremonies of fire- and drink- making ; (ii) the Indo-European nature-worships; (iii) the Chaldaean deities of the heaven ; (iv) the warrior-god of the invasion of India.
We may consider here in more detail those deities who are most prominent in the archaic period.
(i) To the primary conception of Indra as the warrior-god several others are attached, which may have been originally independent of him and much earlier in date. Such are the conceptions of (a) the Vi-traghna, the slayer of the dragon who guards in his rock-cavern the seven sacred streams ; (b) the dawn-maker, who with a blow parts heaven and earth, and makes the light appear; (c) the storm-god, who rides at the head of his host, the Marutali, and who strikes down his foes with his mace, the thunder-bolt ; (d) the conqueror of some miserly foe, such as the Panayah or Vala, whose cows he seizes. These con- ceptions cross one another and the primary conception of the warrior- god in all imaginable directions, and can therefore only with difficulty be disentangled.
In the later periods of the Rigveda Indra is brought into closer relation with the other gods, and the savage traits of his character are toned down. He assumes the position of the creator and supporter of the universe, the begetter of heaven and earth, the protector of the ceremonies. He is chosen by the gods as their champion in time of danger, and then admitted to their company. In the latest poems his name stands always prominent in the catalogue of the gods, as indeed it does throughout the Rigveda in the hymns addressed to the Visve Devah.
(ii) In the archaic hymns Vayu appears to be the charioteer of Indra. There is no hint in the hymns themselves that this god repre- sents the Wind : this later interpretation of his character may be either a reminiscence or a guess. In no case is Vayu to be identified with Vata, for they appear side by side in many hymns to the Visve Devah. In the later parts of the Rigveda the place of Vayu is taken by Brhaspati.
The Adityah 268
(iii) The group Jlitra-Varuua-Aryamav is \crv commonly 111H with in the archaic period, but not so frequently in hymns addressed to this triple deity as in Agni hymns. In the periods next following either Aryaman disappears from the group, or other names are added. In later times (e.g. RV. ix 114 3c) these gods form part of a group of seven, known as the seven Adityah, the sons of their mother Aditi. This number seven we may perhaps trace back to the archaic period by the help of viii 28 5, and if so, a door is open for H. Oldenberg's interpretation of this group as ultimately based upon an older worship of sun, moon and five planets (Die Religion des Veda, p. 193).
It is however quite impossible to connect the Vedic deities directly with the separate heavenly bodies. The association of Mitra with the sun is frequently based upon the parallel with the Iranian Mithra. But it finds little support in the Rigveda, unless it be in the early Agni hymns, in which Agni_ is often said to be ' like Mitra.'
The names of the seven Adityah, if indeed that was their original number, are variously given : besides the three principal figures we find with some regularity Savitar and Bhaga, and the list may be completed by adding the feminine names of Puramdhi and Aramati, or those of the male deities Daksa and Amsa.
(iv) The Asvina are twin deities who are usually interpreted as denoting some phenomenon of the sky. In the Rigveda they appear as twin-charioteers, who travel to the ceremony and bring with them mead : by their beauty and their courage they win the favour of the Sun's daughter ; she mounts their car and becomes their bride. In the later parts of the Rigveda the Asvina are rescuers and physicians, and play a part in numerous myths.
(v) It seems clear that the Marutah are personifications of the storm-clouds, and the Vedic statement that they are sons of Dyaus (viii 20 17) may be interpreted by us as meaning that they are Indo- European deities. In the earlier parts of the Rigveda they are also entitled Rudras, but later a deity Rudra is evolved, who becomes their father. The Marutah are frequently brought into relation with Indra. In the Mana hymns (i 165-190) Indra robs them of their share in the sacrifice, on the ground that he has conquered the Vitra, not they. In truth Indra appears to have stolen his title of Vrtraghna from some earlier god or gods. Later the Marutah become the fighting-men of Indra's host, and it would seem that through them Indra first became associated with the region of the clouds.
263. The first Vedic pantheon appears to have been formed under the pressure of war. The various cults noted in the last section may have been maintained with various degrees of zeal by different Aryan clans: but any such difference became small in the face of the dark-skinned natives, who did not practise even the fundamental ceremonies ; who ' kindled no fire, and pressed no Soma.' In the pantheon thus formed the war-god naturally took
204 Beginnings of philosophy
the first place. But when this pressure was removed new forces political, philosophical and aesthetic began to assert themselves, and to influence the forms of religious worship. Great kingdoms were established in the New Land, and their sovereigns and chancellors prided themselves in establishing an order of peace and justice, repeating on earth the everlasting harmony of the kingdom of heaven, and embracing the light-skinned and the dark-skinned as members of one family. Under such influences the half-forgotten lore of Chaldaea was in part revived, and under the names sometimes of the pair Mitra and Varuna, sometimes of a single deity as Varuna, Savitar or Bhaga, a sovereign power is established in the pantheon itself, possessing a moral grandeur not altogether unworthy to be compared with that of Ahura Mazda or Yahveh. In the exuberant life of a tropical country the beginnings of philosophy arose in questionings as to the source and the unity of the manifold vital powers of the universe, the setting-out of its parts in the order of space, and the existence of a ' beyond ' known to the initiated only. Thus the fire-god took again a new character as the source of life in man and beast, in cloud and rock, in mountain and wood. Some old-world myth of a giant who takes three steps was turned to a picture of earth, heaven, and the third mysterious region : and from these in turn the fancy builds up three earths, three heavens, and even a three- fold order of the universe.
But as the speculative spirit grew, religion became more and more divorced from practical affairs, and in the variety of opinions the uniformity, and, as it seemed, the beauty of the ceremonial attracted the more attention. The ceremonies indeed, as we have seen reason to think, were originally celebrated for severely practical purposes: but when the fear of days without dawns and sons without spirit died out, they were continued for their inherent charm and as exercises of priestly skill : perhaps too because the priests, like highly educated people in all ages, were unwilling quod iuvenes didicere, senes perdenda fateri. The worship of the fire-god and of the Soma was already in existence in the archaic period, but the deities were conceived in human shape, and even associated with Indra in his warlike feats. In the later parts of the Rigveda proper they are increasingly prominent in their ceremonial meaning only. Every stage in the ritual is described with insistent minuteness in hymn upon hymn. New deities are
Agni Visiiu and Soma 21;.,
introduced which are without meaning except for their part in the ritual, as Ghrta, Gauh, Havis, Vac and above all the deities of the successive verses of the Apriya hymns.
Again, it is in connection with the ritual of the fire-worship, that we may find an explanation of the new importance attached in the normal and cretic periods to such deities as Usas and Dyava- Prthivi, which seem to be Indo-European in their origin. The dawn is the hour of the ritual, and the twin deities of darkness and light nurse the infant flame. The fire is set up as a pillar to join heaven and earth, and at the same time to hold them apart. These deities are therefore no longer nature deities in the strict sense, but are part of the equipment of the ritual.
(i) The worship of Mitra and Varuna reaches its highest develope- ment in the Vasistha hymns to these deities, which attain an elevation of moral conception which has often recalled to their readers the Hebrew psalms. Of the worship of Varuna alone as a supreme deity there is hardly any trace in the Rigveda, but there are hymns addressed to him in which he is appealed to to release his worshipper from the burden of his sins, and apparently from the penalty of dropsy. Several hymns are addressed to Savitar singly, two to Mitra, and one to Bhaga. Aditi, the mother of the Adityah, is probably, as Professor A. Macdonell suggests, an abstraction from the qualities of the group. In the Vasistha hymns the daily course of the sun is the chief wonder- deed of Mitra and Varuna : and from this time on the worship of Surya has a growing importance.
(ii) In the earliest hymns Agni is worshipped as the messenger of the gods, and also as a warrior-deity: in the latter capacity he is frequently joined with Indra. Even in these hymns he bears the title Jatavedas, indicating that all living things are his household, or in other words that he is the source of all life, the soul of the universe. Agni is therefore at once one and manifold : by the side of Agni stand the Agnayah. Thus in the later parts of the Rigveda proper Agni Jatavedas and Agni Vaisvanara are deities distinct from Agni himself, and we can trace the beginnings of an Agni Dravinodas, an Agni Raksohan, and so forth. But this developement is most marked in connection with the ritual, with the result that Agni is discerned not merely in the sacrificial fire (Agni Samiddha), but in the persons of the worshippers (Agni Tanu-napat), in those of the singers (Agni Nara- mrnsa), in the straw-carpet, in the doorways, in the sacrificial post, and in the solemn concluding cry of svahd, according to the set type of the Apriya hymns.
(iii) That Visnu represents the marking out of the bounds of space is the view of H. Oldenberg (Die Religion des Veda, p. 228).
(iv) Perhaps to all previous writers on Vedic chronology, certainly to the present author in his earlier papers, the hymns to Soma
266 Lesser deities
Paramenia have appeared to be amongst the oldest in the Rigveda. For this view there is the obvious argument that both in language and sentiment these hymns are entirely cut off from the later parts of the Rigveda and all later literature. The metre, however, goes to shew that only a few of these hymns can belong to the two earliest periods of the Rigveda : and it therefore seems likely that the number of these hymns has been artificially increased so that they may equal those addressed to Agni and Indra. The hymns are purely of a ritual character: only in the popular Rigveda (ix 113) do we find the doctrine of immortality associated with the worship of Soma, as in Greece with that of Dionysus.
(v) The deity of the sacred song is properly Brhaspati or Brah- ma/mspati, and in hymns of the two earlier periods this character is strictly preserved. In later hymns the god becomes associated with Indra, and takes the place left vacant by the disappearance of Vayu, as Indra's charioteer. As god of song he appears to be replaced in turn by Vac.
(vi) The close association of the pairs Night and Day, Earth and Heaven with the ritual can readily be traced in the Apriya hymns. In separate hymns Usas alone takes the place which is filled by the pair Usasa-nakta in the hymns to the Visve Devah. The hymns to Usas in their feeling for brightness and beauty recall to us the Greek Eos and the Latin Aurora, and perhaps are our best representations of the Indo-European type of hymn. So Dyava-Prthivl appear occasionally in Indo-European fashion as parents of the gods, but more usually they are merely guardians of the sacred rite, and obedient subjects of the law of Mitra and Varuna.
(vii) Amongst the deities which are prominent in the later parts of the Rigveda are the Rbhavah : they are craftsmen who by their skill have attained the rank of gods.
264. It hardly falls within the scope of this book to discuss in any detail the subject-matter of the popular Rigveda, which opens a world of thought entirely different to that of the Rigveda proper, and records for us the first distinctively Indian efforts to lay the foundations of philosophy, cosmology, and magic. But a few concluding words may be devoted to those myths of which a considerable number are to be found in the popular Rigveda, and which appear to constitute its earliest part : since in the mythical hymns the linguistic forms of the Rigveda proper and the popular Rigveda are used side by side. The Rigveda proper is not altogether deficient in myths, but they are baldly related and generally in single stanzas ; as for instance the warlike deeds of Indra and the clever rescues of the Asvina. But in the popular Rigveda myths appear in a dramatic form, and the theme is not
Vedic myths 207
historical but social : here too the poets for the first time wrestle with the moral and aesthetic problems associated with the relation- ship of man to woman. In these myths the woman generally appears as the temptress, not perhaps so much from a sensual impulse as from the desire of children : whilst the duty of the man is always abstinence, without any regard even to the claims of marriage. We find in fact the germ of the ascetic theories which afterwards became so firmly rooted both in Brahmanism and in Buddhism, and which have spread thence over the Western world. Such theories stand in striking contrast to the patriarchal sentiments of the Rigveda proper and of all other national religions, and the question of their origin seems to call for investigation. One suggestion may be made here by the way. It seems probable enough that Aryan princes may often have been led by native wives away from the practices of the Brahmanic religion, and in particular from liberality to the Brahmans themselves : and thus that an opposition of interests between priests and queens may have become traditional.
(i) The best known of the dramatic myths of the Rigveda is the dialogue of Pururavas and Urvasi (RV. x 95) on the interpretation of which much light has been thrown by Professor Karl Geldner ( Vedische Studien i, pp. 243-295). The poem is of special interest to the folk- lorist, being based upon the marriage of a prince to a fairy maiden, and his subsequent desertion by her. Special attention may be called to the cynical reply of Urvasi in stanza 15, when Pururavas threatens to die for love of her. There is no truth in the friendship of women : they have the hearts of hyaenas. However dramatically the sneer may suit the occasion in the mouth of Urvasi, it reveals a bitter grudge in some poet's mind against feminine influence.
(ii) The tale of Agastya and his neglected wife Lopamudra (i 179) has been lately treated by Dr Emil Sieg (Die Sagenstqffe des Rgveda, pp. 120-126). Agastya as a sage is bound by a vow of chastity: Lopamudra's youth is passing, yet she remains childless. To her passionate appeals Agastya gives way. So far the poet has only blame for the woman. But in the concluding stanzas excuses are found for the pair. The divine Soma may well forgive the sin, for desire is human : besides Agastya has won offspring, to the advantage of both the light and the dark races (Lopamudra, we may conclude, is a native woman) and the high purposes of the gods are after all fulfilled.
(iii) In the light thrown by these two hymns we may consider the tale of Yama and Yami, the parents of the human race (x 10). At the first glance it becomes probable that we have a variant of the tale of Adam and Eve, though it may not be easy to guess from what common source or by what channels the tale has reached us in such
268 Our first parents
different forms. The Vedic myth has the advantage of logical con- sistency, for the temptation deals not with the apparently meaningless prohibition of eating from a particular tree, but with the real moral problem necessarily implied in the relationship of the first human pair, if they are conceived (and it cannot easily be otherwise), both as brother and sister and as husband and wife. The Hebrew version may however have in reality the same meaning as the Vedic: at any rate the phrase " the knowledge of good and evil " well represents the late Vedic conception of the marriage relation, and the shame which over- comes Adam and Eve after their sin, as well as the penalty inflicted on the latter, both point to the real nature of the sin itself. In the Rigveda however the position is plainly stated. Yarn! is full of a longing to fulfil her destiny, and to become the mother of mankind. Yama on the other hand is overwhelmed by scruples : the laws of the gods permit no exceptions, and their eyes are open wide to mark offence. 1 Nay, but the gods designed us for wedlock,' Yami suggests. ' Who knows their secret intent, or will venture to be their spokesman?' replies her brother. ' Heaven and Earth were brother and sister, yet they became the parents of the gods : why not you and I then of mankind?' But Yama is still unconvinced, and bids his sister look elsewhere for a husband. This suggestion is under the circumstances irritating, and Yarn! fairly loses her temper and speaks out her mind. So far as our poem reaches, Yama does not yield : yet it is obvious that in the original form of the tale he must have given way.
Much more light from other literatures is needed before any certainty can be felt in this case as to the details of the interpretation : but it seems sufficiently clear that we have before us the sincere attempt of a theological school to grapple with fundamental problems of morality, such as the instinct of shame in regard to sexual relations, the prohibition of marriage between near relatives, and the rival claims of reason and the divine law to man's unquestioning obedience. The solution suggested in the Veda is perhaps near akin to that of Genesis : had the first human beings had more faith, the heavenly powers would have spared them the sin and pain of an animal mode of procreation, and yet would have found a way to perpetuate the human race.
APPENDIX IV.
TABLE OF HYMNS. 265. Explanatory Notes.
For a general explanation of the arrangement of the Table of hymns see §§ 255-260 above.
The following are the abbreviations used in the respective columns :
Period. A Archaic. S Strophic. N Normal. C Cretic. # Popu- lar. If these letters are in small italic characters the corresponding period is indicated by the metrical variations alone.
Metre. An. Anustubh (Tr. An. Trochaic Gayatri with extra verse). B or Brh. Brhati. BS Brhati-Satobrhati. G Gayatri. J Jagati (Ct. J or Cont. J Contaminated Jagati). Jt. Jagati with final Tristubh stanza. KS Kakubh-Satobrhatl. Ma. or Mahap. Mahapankti (E. or Ep. with rhythm of Epic Anustubh). P Pahkti (E. or Ep. with rhythm of Epic Anustubh). Padap. Padaparikti. Prast. Prastara- pankti. Pur. Purausnih. Sat. Satobihati. Tr. Tristubh (Dvip. Tr. Dvipada Tristubh ; Ct. Tr. or Cont. Tr. Contaminated Tristubh). Un. lyric Uneven lyric. Us. or Usn. Usnih.
Deity. A. or Ag. Agni (A. J at. Agni Jatavedas ; A. Raks. Agni Raksohan ; A. Vais. Agni Vaisvanara). As. Asvina. Brh. or Brhasp. Bihaspati or Brahmanaspati. Dan. Danastuti. DP Dyaus-Prthivi. I. or Ind. Indra. Mar. Marutah. MV Mitra-Varuna. MVA Mitra- Yaruna-Aryaman. Pus. Piisan. S. or So. Soma. Sar. Sarasvatl. Sav. Savitar. Us. Usas. Yar. Yaruna. Vis. Visnu. VD Visve Devah.
Metrical notes. See §§255, 260.
Linguistic notes. V Forms and words characteristic of the Rigveda proper, §§ 84, 85. AV. Forms and words characteristic of the popular Rigveda and Atharvaveda, §§ 86, 87.
266. TABLE OF HYMNS. Mandala I.
|
Verses |
Metrical notes |
Lin- guistic |
||||||
|
I Ph |
Hymn Metre Deity |
Tr. |
Dim. |
ABC |
D E F |
V AV |
||
|
N S i |
A. I 1-] 1 2, 31 3 4-6 4-9 10, 11 |
1 [Kusik G fr. G G An. |
a] Agni Various2 Indra |
27 48 9 180 80 |
- 2 1 5 - 1 4 12 1 4 |
1 - 2 - - 1 |
4 1 26 0 8 0 73 10 41 3 |
1 2 and 3 i-3, 7-12; 2 2, 7 Tr. G. 3 1-3 As., 7-9 VD., 10-12 Sarasvati.
2 1-3 Vayu, 4-6 Ind. -Vayu, 7-9 MV. j
|
N |
B. I 12-23 |
|||||||
|
12,14 |
G |
Agni |
72 |
- 1 |
2 - |
30 0 |
||
|
0 |
13 15-23 15 |
it 1 |
Apriya Various 2 |
36 285 |
- 14 |
1 - 4 - |
8 3 60 9 |
|
|
# |
23 16-18 19-24 |
»» Various3 |
Apah *4 it |
1 1 |
9 21 |
_ _ |
3 1 |
0 1 1 14 |
1 22 11 Tr. G. 2 15 VD.; 16 I.; 17 I.-Var.; 18 1-5 Brh., 6-9 Sadaspati;
19 Agni-Marutah; 20 Rbhavah; 21 I.-A.; 22 1-4 As., 5-8 Sav., 9-12 Gnah, 13-15 DP., 16-21 Vis.; 23 1-3 I.-Vayu, 4-6 MV., 7-9 I.-Mar., 10-12 Mar., 13-15 Pus. 3 19 Pur.,
20 An., 21 G. ; 22-24 Epic An.
Charm.
C. I 24-30 Tr.
3-5, etc.1
6-15
etc.2
13, 30 16
1-6
7-9
G
Tr.
Tr. G
App. Tr.
An.
G
P
|
Agni |
8 |
|
|
Various 1 |
162 |
|
|
Varuna |
40 |
|
|
Agni3 |
36 |
|
|
Devah 4 |
8 |
|
|
Ulukhala |
22 |
|
|
Vanaspati |
9 |
|
|
Charm |
23 |
6 20 2 1 1 2
1 -
- 4
2 1
2 - -
1 -
4 12
3-1 - 1
1 -
0 0
60 5
3 11
19 0
2 2
0 10
6 1
11 5
*243- Tr. G.
-5 Sav., 25 Var., 26, 27 7-9 Agni, 30 1-12 Indra, 17-19 As., 20-22 Usas: 30 10 2 27 1-6, 10-12 and 30 13-15. 3 30 13-15 Indra. 4 30 16 Indra.
I 31-35 J1 Tr.
Cont.Tr/
1 31 8, 16, 18 Tr.
Agni Indra
>> Asvina Savitar
|
72 |
1 |
|
60 |
|
|
60 |
|
|
48 |
|
|
44 |
34 9, 12 Tr.
35
- 33 9 2 11 10
13
15
5
J.
i 1-93 Mandala I, continued.
271
E. I 36-43: Kanva
36, 39, 40 BS
37, etc.2 G 38 7-9, etc.3 Tr. G
1 39 Mar., 40 Brhasp. 42 Piisan, 43 i-6 Eudra.
Agni, etc.1 Various 2
3
Tr. I Dim.
-w
90 144
28
ABC
12 13 4 20 1 2
2 37, 38 i-6 (2 Tr. G.), 10-15 Mar., 41 1-6 MVA. 38 7-9 Mar., 41 7-9 MVA., 43 7-9 Soma.
D E F
Lingu.
2 2
54 5 52 12 12 3
S
N
F. I 44-50: Kanva
44, 47, 48 j BS
45, 49 ! An. 46 G
50 1-9 ,,
10-13 Epic An
1 47 As., 48 Usas
G. I 51-57 : Indra collection
51-54 j J1 I Indra
55-57
|
Agni, etc.1 |
60 |
100 |
|
2 >> |
56 |
|
|
Asvina |
45 |
|
|
Surya |
27 |
|
|
Charm |
16 |
4 14 - 1 3 8 1 -
49 Usas.
18
|
3 - |
47 |
3 |
|
1 1 |
18 |
0 |
|
- 2 |
16 |
1 |
|
- 2 |
7 |
0 |
|
- 1 |
1 |
1 |
208 80
- 10
10 18
25
1 51, 53 2 fin. St., 52 13, 15, and 54 6,
H. I 58-64: Gotama Nodhas
58, 60
59
61
62,
64
03
J1, Tr. Tr.
Gautami
Tr.
Jt.
Agni
Agni Vais. Indra
Marutah
56
28 03 86
51)
K. I
65-70 71-73
1 58 7-9 Tr
65-73: Agni collection
I Pentad I Agni
L. I
74. etc.1
76, etc.2 79 4-6, etc.3 80, etc.4 82 6, etc.5 84 1-6 84 13-15, 86 16-18
I Tr. 74-93: Gotama
122 120
89 90
-8, etc.7
-4, etc.8
-3
9" 74, 75,
G Tr.
Lyric 3
P
J5
An.
G
Tr.
Un. lyric6
App. Tr.
Tr. G
G
Epic An.
Tr.7
Epic An.
Cont. Tr.
G
|
a Agni |
73 |
|
|
52 |
||
|
Various 3 |
12 |
32 |
|
Indra |
150 |
|
|
5 11 |
136 |
24 |
|
I., Mar. |
12 |
45 |
|
Marutah |
20 |
4 |
|
Cosmogony |
4 |
|
|
VD |
15 |
|
|
7 |
42 4 |
|
|
Soma8 |
88 |
6 |
|
Ag.-Soma |
24 |
12 |
|
>» |
9 |
Tr.
- 1
121
48
9 - -
|
44 |
0 |
|
14 |
0 |
|
56 |
4 |
|
83 |
5 |
|
35 |
3 |
110 9
89 8
|
2 |
|||
|
- 9 |
0 |
- |
- |
|
3 2 |
1 |
1 |
1 |
|
3 |
2 |
2 |
|
|
8 14 |
9 |
3 |
1 |
|
2 |
1 |
- |
|
|
5 |
5 |
- |
- |
|
5 4 |
- |
- |
|
|
1 |
1 |
- |
|
|
- |
- |
- |
|
|
2 7 |
12 |
1 |
1 |
|
_ |
— |
— |
|
|
1 2 |
7 |
- |
2 |
|
- |
-. |
- |
|
29 |
3 |
|
35 |
0 |
|
26 |
2 |
|
45 |
0 |
|
44 12 |
|
|
7 |
2 |
|
21 |
3 |
|
2 |
5 |
|
17 |
1 |
|
0 |
0 |
|
4 |
i) |
|
12 |
3 |
|
0 |
0 |
|
43 |
6 |
|
4 |
1 |
|
4 |
4 |
|
4 |
0 |
2 76, 77, 79 1-: 84 7-9 (Dim. Us.), 19, 20 (BS.) to Indra; 92 13- 4 80-82 5, 84 10^12. 5 82 6, 83 Indra ; 85 (5,
VD. G See § 244 i. 7 90 6-8 VD., 91 5-15 Soma.
17 Us.), 19-21, 22, 23 to Soma; 92 1-4 (J), 5-8, 9-" t0 Usas-
3 794-6(Usn.) to Agni;
5 (Us.) to Usas, 16-18 (Us.) to As.
2 Tr.'), 87 Mar.; 89 1-9 (6, 8, 9 Tr.)
' 91 1-4, 16-18 (16 G.,
272
Table of hymns
Mandala I, continued.
|
Tr. Dim. |
ABC |
DBF |
Lingu. |
|||||
|
c |
M. I 94-115 [Kutsa] |
! |
||||||
|
94-991 |
Tr.2 |
Agni3 |
137 |
2 4 2 |
30 3 - |
47 15 |
||
|
# |
97 |
G |
j j |
19 |
- 6 |
1 - |
0 2 |
|
|
100-103 |
Tr.4 |
Indra |
170 |
5 2 12 |
22 9 - |
67 15 |
||
|
A |
104 |
»» |
>> |
36 |
8 3 4 |
4 - - |
16 3 |
|
|
105 |
An.5 |
3 |
74 |
2 5 |
- - |
24 15 |
||
|
106-111 |
J, Tr.6 |
Various6 |
155 |
2 4 10 |
30 4 3 |
61 14 |
||
|
112-114 |
7 »» |
8 >> |
198 |
2 7 9 |
34 8 4 |
70 12 |
||
|
115 |
Tr. |
Surya |
i 22 |
1 - - |
14- |
| 2 5 |
1 except 97. 101 1-7 J, 8-i
2 94 J (2 fin. st. Tr.). 3 98 A. Vais., 99 A. Jat.
Tr.; 102 J. 5 with refrain, 8 Brh. with refrain, i9 Tr.
6 106 Jt., 107 Tr. to VD. ; 108, 109 Tr. to I.-Agni; 110 Cont. J (5, 9 Tr.), Ill Jt. to Rbhavah. 7 112 J (2 fin. st. Tr.); 113 Tr.; 114 Cont. J (2 fin. st. Tr.).
8 112 As\; 113 Usas; 114 Rudra.
N. I 116-126 [Pajra]
116, 117 118, 119 120 1-9
10—12 121, 122 123-126 5 126 6, 7
See § 244 ii.
Tr. Tr., J Un. lyric1 G Tr. Tr.2 Epic An.
|
1] Asvina |
200 |
1 |
5 4 48 |
33 12 4 |
|
84 |
- 1 8 |
15 2 2 |
||
|
19 |
10 |
9 3 5 |
3 2 1 |
|
|
Danastuti |
9 |
- - |
||
|
Indra, VD |
120 |
29 6 14 |
12 2 1 |
|
|
Various3 |
152 |
112 |
24 1 1 |
|
|
Danastuti |
e| |
- - |
- - 1 |
|
77 22 |
|
|
51 |
7 |
|
11 |
1 |
|
0 |
9 |
|
99 |
5 |
|
33 |
9 |
|
1 |
1 |
125
4i 5
J.
123, 124 Usas; 125-126 5 Danastuti.
0
127 128 129
130-132 133 1-5 6, 7 134, 135 136-139
I 127-139 [Divodasa]
Atyasti Agni
Mixed2
Atyasti
Indra
>» Charm Indra Vayu Various4
|
33 |
45 |
26 16 7 |
! 12- |
|
24 |
32 |
3 3 6 |
- 1 - |
|
31 |
46 |
21 10 2 |
2 2- |
|
70 |
88 |
7 3 7 |
7 1 - |
|
4 |
15 |
- 3 2 |
11-! |
|
6 |
8 |
4 3 3 |
_ _ _ 1 |
|
1 47 |
56 |
10 5 2 |
7 2 1 |
|
| 69 |
97 |
16 1 |
3 6 3; |
50 1
30 1
47 0
93 4
1 12
6 1
61 3
78 6
1 130 is Tr. 2 133 1 Tr., 2-4 Epic An., 5 G.
11 Tr. 4 136, 137 MV., 138 Pusan, 139 VD.
For the following variations of Atyasti see Ch. ix, App. ; 127 6 (No (Nos. 81, 80); 133 6 (No. 85) ; 135 7, 8 (No. 74); 137 (No. 77).
■ 136 7 Tr. ; 139 5 B., 129 8, 9
i 94-191
278
M and ALA I, continued.
|
Tr. |
Dim. |
A |
B |
C |
D |
E |
F |
Lingu. |
||||
|
s |
P. I 140-164: Mamateya |
|||||||||||
|
c |
140, 146 |
J, Tr.1 |
Agni |
72 |
3 |
_ |
2 |
19 |
_ |
2 |
29 9 |
|
|
141, 144 |
J2 |
_ J5 |
80 |
5 |
2 |
7 |
7 |
3 |
_ |
54 6 |
||
|
c |
142 |
An. |
Apriya |
52 |
- |
- |
1 |
- |
1!) 3 |
|||
|
c |
143 |
Jt. |
Agni |
32 |
1 |
- |
_ |
4 |
_ |
1 |
17 0 |
|
|
145 |
Cont. J |
> j |
20 |
3 |
1 |
2 |
1 |
2 |
_ |
3 3 |
||
|
a |
147-149 |
Tr.3 |
jj |
55 |
11 |
3 |
5 |
3 |
- |
- |
33 1 |
|
|
150 |
Un. lyric4 |
•i |
3 |
6 |
1 |
2 |
1 |
_ |
2 |
_ |
6 0 |
|
|
151-153 |
Tr.5 |
MV |
80 |
3 |
8 |
10 |
5 |
1 |
_ |
52 2 |
||
|
154-156 |
J6 |
Visnu |
68 |
4 |
1 |
14 |
3 |
1 |
2 |
25 1 |
||
|
C |
157 |
7 |
Asvina |
24 |
_ |
1 |
_ |
4 |
_ |
_ |
7 1 |
|
|
158 1-5 |
Tr. |
>> |
20 |
2 |
3 |
4 |
2 |
_ |
_ |
16 1 |
||
|
6 |
An. |
4 |
- |
1 |
_ |
- |
1 0 |
|||||
|
C |
159, 160 |
J |
DP |
40 |
1 |
_ |
_ |
8 |
- |
_ |
18 1 |
|
|
# |
161 |
Jt. |
Kbhavah |
56 |
1 |
_ |
6 |
11 |
1 |
4 |
6 29 |
|
|
# |
162, 163 |
Tr.8 |
[Eitual]' |
139 |
1 |
1 |
- |
6 |
24 |
1 |
21 |
12 54 |
|
# |
164 |
Cont.Tr.9 |
202 |
6. |
1 |
3 |
6 |
27 |
5 |
20 |
9 72 |
1 140 io and 2 fin. st. Tr. ; 146 5 J. 2 141 2 fin. st. Tr.
4 see § 242 ii. 5 151 J. 6 154 Tr. ? 157 2 fin. st. Tr.
Tr. (3, 6 J). 9 164 42 11. 11. 8. 8, 51 Epic An.
3 149 Viraj. 8 162 Cont.
Q. I 165
165, 166, 171 I
167-169
170
172
173, 174
175, 176
177
178
179
180, 181
182
183-185
186
187
188
189, 190
# 191
-191
Tr.1
Tr.1
Epic An
G
Tr.
An.4
Tr.
5 5
5 J) 6
j"
Tr.
Mana
Ind.-Mar.2
Marutah Indra
[Agastya] A&vina
G9
Tr.
EpicAn.10
VD
Apriya Agni,
Brhasp. Charm
|
139 |
|
|
108 |
|
|
5 |
15 |
|
9 |
|
|
90 |
|
|
4 |
39 |
|
19 |
|
|
19 |
|
|
21 |
3 1 |
|
74 |
|
|
31 |
|
|
82 |
|
|
43 |
|
|
37 |
|
|
33 |
|
|
62 |
|
|
69 |
|
6 |
2 |
6 |
|
31 |
6 |
15 |
|
2 |
- |
1 |
|
1 |
- |
|
|
43 |
10 |
15 |
|
8 |
3 |
1 |
|
1 |
- |
2 |
|
5 |
- |
2 |
|
_ |
1 |
1 |
|
12 |
3 |
13 |
|
- |
2 |
2 |
|
5 |
2 |
9 |
|
16 |
2 |
5 |
|
5 |
6 |
|
|
2 |
- |
|
|
7 |
2 |
7 |
|
1 |
3 |
3 2
7 -
1
8 1 - 1
3 1
4 -
3 ~ 7 1
4 6 2 -
5 -
4 3
63 6
77 3
- 6
2 1
68 1
29 2
9 3
15 0
2 11
57
11 44
•_>:. i:>
2
40
5 40
1 166, 168 J (2 fin. st. Tr.). 2 166 Marutah. 176 6 Tr. ; for 175 i see Ch. ix, App. No. 29. 7 182 6, 8 Tr. 8 185 DP. 9 187 x, 3. 5-7 An.
10 191 10-12 Mahap., 13 see Ch. ix, App. No. 67,
3170iB.)5Tr. 4175 6,
179 5 B. 6 180 Cont. Tr.
for 11 see Ch. ix, App. No. 32.
18
274
Table of hymns
Mandala II.
|
Tr. |
Dim. |
A |
B C |
D |
E |
F |
Lingu. |
||||
|
N |
[Grtsamada] |
||||||||||
|
1,2 |
J |
Agni |
112 |
5 |
2 3 |
10 |
1 |
- |
71 7 |
||
|
c |
3 |
Tr.1 |
Apriya |
44 |
- |
1 - |
10 |
2 |
2 |
6 4 |
|
|
A |
4 |
,, |
Agni |
36 |
12 |
2 5 |
1 |
- |
1 |
35 0 |
|
|
5 |
An. |
32 |
2 |
_ |
1 |
1 |
9 1 |
||||
|
6 |
Tr. G |
»» |
24 |
1 |
- |
1 |
- |
16 0 |
|||
|
7,8, 41 2 |
G |
Various 3 |
84 |
1 |
2 |
1 |
1 |
22 5 |
|||
|
# |
86 |
Epic An.4 |
Ag.-I.-So. |
4 |
- |
- |
- |
- |
1 0 |
||
|
9,10 |
Tr. |
Agni |
48 |
2 |
2 2 |
4 |
1 |
- |
16 2 |
||
|
S |
11 1-20 11 21, 14-18, |
Virat- sthana |
Indra |
80 |
— |
4 13 |
3 |
— |
1 |
43 4 |
|
|
21 |
Tr.5 |
1, |
198 |
8 |
6 20 |
19 |
5 |
4 |
74 11 |
||
|
c |
12, 13 |
Tr., Jt. |
II |
111 |
1 |
2 2 |
17 |
6 |
2 |
17 13 |
|
|
A |
19, 20, 22 |
Tr.6 |
'» |
77 |
7 |
35 |
6 9 |
12 |
3 |
1 |
85 4 |
|
23-26 |
J7 |
Brhasp. |
169 |
6 |
4 6 |
21 |
5 |
1 |
64 6 |
||
|
27-32 3 |
Tr.8 |
Various 9 |
215 |
10 |
2 15 |
24 |
1 |
1 |
94 19 |
||
|
# |
32 4, s |
Cont. J |
Eaka |
8 |
- |
- 1 |
1 |
2 |
1 |
3 1 |
|
|
# |
6-8 |
Epic An. |
Sinlvall |
12 |
- |
- |
- |
- |
0 5 |
||
|
33-38 |
Tr." |
Various n |
269 |
9 |
1 21 |
28 |
6 |
5 |
108 25 |
||
|
C |
39, 40 |
Tr. |
12 11 |
54 |
- |
- 2 |
10 22 |
- |
6 14 |
||
|
A |
41 16-18 |
An.13 |
SarasvatI |
1 |
11 |
- |
1 |
- |
- |
1 1 |
|
|
# |
42, 43 |
Ct.Tr., J |
Charms |
23 |
- |
- - |
4 |
1 |
3 |
1 24 |
1 3 6, 7 J-
7-9 As., 10-12 Ind.,
z exc. 8 6. t3-i5 VD.,
41 16-18.
IQ-2! DP.
3 7, 8 Agni, 41 1-3 Vayu, 4 or G with extra verse. 17, 21 Jt. 6 For 22 see Ch. ix, App. Nos. 87, 79, 84. 7 23 15, 19,
8 30 11, 32 1-3 J; 31 Jt. 9 27, 29 Adityah, 28 Varuna, 30-32 3 VD. 36, 37 J. u 33 Eudra, 34 Mar., 35 Apam Napat, 36, 37 VD., 38 Sav. 40 Soma-Pusan. 13 41 18 B.
4-6 MV., 5 16 J, 24 i2 Tr. 10 34 Jt., 12 39 As.,
ii l-iii 62
275
Mandala III.
|
Tr. |
Dim. |
A |
B C |
D |
E |
F |
Lingu. |
||||
|
N |
[Kusika] |
||||||||||
|
1, etc.1 |
Tr.1 |
Agni '2 |
367 |
17 |
10 10 43 |
63 |
3 |
1 |
153 15 |
||
|
2, 3, 26 i-6 |
J |
Ag. Vais.3 |
128 |
4 |
3 9 |
18 |
2 |
- |
90 5 |
||
|
4 i-7 |
Tr. |
Apriya |
28 |
1 |
2 1 |
1 |
1 |
- |
17 0 |
||
|
c |
8-n |
, |
>» |
16 |
- |
1 - |
3 |
1 |
- |
2 1 |
|
|
8.-9 |
4 >> |
Vanaspati |
28 |
8 |
1 |
- 1 |
3 |
- |
- |
4 1 |
|
|
# |
IO, II |
>» |
»1 |
8 |
- |
- - |
1 |
- |
- |
0 3 |
|
|
c |
9 i-8 |
Brh. |
Agni |
8 |
24 |
- |
2 - |
1 |
1 |
1 |
14 1 |
|
>> |
9 |
Tr. |
Ag.-Devah |
4 |
- |
- - |
2 |
- |
0 0 |
||
|
10 |
Dim.Usn. |
Agni |
27 |
- |
2 |
1 |
- |
1 17 0 |
|||
|
s |
11, etc.5 |
G5 |
Various 5 |
283 |
11 |
10 |
2 |
2 |
138 8 |
||
|
13 |
An. |
Agni |
28 |
.3 |
3 |
- |
- |
! 13 0 |
|||
|
16 |
BS6 |
>> |
9 |
15 |
- |
1 - |
- |
- |
- |
15 1 |
|
|
c |
17 |
Tr. |
Ag. Jat. |
20 |
1 |
- - |
6 |
- |
- |
10 0 |
|
|
25 |
Viraj |
Agni |
15 |
- |
1 2 |
1 |
- |
- |
8 0 |
||
|
* |
28 |
Mixed 7 |
9 |
11 |
2 |
- 1 |
- |
— |
- |
0 1 |
|
|
# |
29 |
Cont.Tr.8 |
48 |
16 |
1 |
- 4 |
5 |
- |
- |
10 4 |
|
|
30-32, etc.9 |
Tr.9 |
Indra 9 |
424 |
6 |
3 36 |
39 |
7 |
5 |
172 22 |
||
|
33 i— 12 |
48 |
- |
- 3 |
5 |
1 |
- |
6 5 |
||||
|
# |
13 |
Epic An. |
Charm |
4 |
- |
- |
- |
- |
0 4 |
||
|
c |
34-36, 39 |
Tr. |
Indra |
152 |
- |
1 9 |
31 |
5 |
- |
45 7 |
|
|
# |
37 11 |
Epic An. |
»> |
4 |
- |
- |
- |
- |
1 1 |
||
|
44, 45 |
Brh. |
11 |
10 |
30 |
- |
2 1 |
— |
1 |
— |
i 10 4 |
|
|
# |
52 1-4 |
G |
ji |
12 |
- |
1 |
- |
- |
1 1 |
||
|
# |
5-8 |
Tr.10 |
16 |
- |
- - |
5 |
- |
- |
7 0 |
||
|
C |
53z-8 |
,1 |
fJ |
28 |
- |
- - |
4 |
- |
1 |
5 3 |
|
|
9—16 |
Mixed11 |
24 |
7 |
2 |
1 4 |
4 |
1 |
1 |
8 4 |
||
|
# |
17-23 |
12 |
Charm |
17 |
11 |
- |
- 1 |
2 |
- |
1 |
2 19 |
|
24 |
App. Tr. |
Indra |
4 |
1 |
- 1 |
- |
- |
- |
3 0 |
||
|
c |
54 |
VD |
88 |
- |
1 3 |
19 |
1 |
- |
28 5 |
||
|
55-59 5, etc.13 |
Various 13 |
219 |
6 |
6 23 |
28 |
2 |
1 |
64 12 |
|||
|
c |
60 |
j" |
Kbhavah |
28 |
- |
- 2 |
5 |
2 |
- |
11 2 |
1 1, 5-7, 14, 15, 18-20, 21 (a, 3 An., 4 11. 11. 11. 8, 5 Sat.), 22 (4 An.), 23
(3 Sat.), 26 7-9. 2 Several hymns include the Devah. s 26 4-6 to Agni
and Marutah. 4 8 3, 7 An. ■ 11 (5 Tr. G.), 24, 27 to Agni; 12 to Ind.-
Agni: 37 i-io, 40, 41 (3, 8 Tr. G.), 42, 51 10-12 to Indra; 59 6-9 to Mitra; 62 4-6
Brhasp., 7-9 Pusan, 10-12 Sav., 13-15 Soma, 16-18 MV.
verses in this hymn have mostly trochaic cadence.
4 Tr., 5 J. 8 29 1, 4, 10, 12 Epic Anustubh.
43, 46, 47 (I.-Mar.), 48-51 6, 51 7-9 (I.-Mar.), 53 1
10 52 6 J. n 53 9, 11, 14, 15 Tr., 10, 16 J, 12 An.,
The Brhati dimeter 7 28 1, 2, 6 G., 3 Usnih, 9 also 38 (Cosmogony),
(I.-Parvata) ; 51 1-3 J.
13 G. 12 53 17, 19.
21, 23 Tr., 18 B., 20, 22 Epic An. 62 1-3 I.-Varuna.
13 55-57 VD., 58 As., 59 1-5 Mitra, 61 Usas,
18—2
276
Table of hymns
Mandala IV.
|
Tr. |
Dim. |
A |
B C |
D |
E |
F |
Lingu. |
||||
|
s |
[Vamadeva] |
||||||||||
|
1-3,6 |
Tr.1 |
Agni |
269 |
6 |
29 |
9 27 |
13 |
1 |
1 |
181 8 |
|
|
4,5 |
2 |
120 |
5 |
- 23 |
15 |
1 |
2 |
61 10 |
|||
|
7 |
Mixed3 |
> y |
24 |
20 |
1 |
1 4 |
1 |
- |
1 |
16 0 |
|
|
8, 9, etc.4 |
G |
Ag.,Indra |
269 |
8 21 |
3 |
1 |
120 8 |
||||
|
10 |
Padap.5 |
Agni |
8 |
- |
- 4 |
- |
- |
1 |
13 0 |
||
|
N |
11, 12 |
Tr. |
>> |
48 |
2 |
2 4 |
12 |
- |
- |
21 2 |
|
|
>> |
18 x-4 |
»> |
Surya |
16 |
1 |
- 1 |
2 |
- |
- |
2 1 |
|
|
# |
5 |
>> |
,, |
4 |
0 2 |
||||||
|
N |
14 |
ii |
VD |
16 |
- |
- - |
3 |
- |
- |
1 0 |
|
|
16, 17, etc.6 |
>> |
Indra6 |
450 |
39 16 35 |
31 |
2 |
5 |
307 10 |
|||
|
# |
18 |
>» |
[Indra] |
52 |
- |
- 3 |
4 |
1 |
2 |
4 19 |
|
|
N |
24 i-8 |
ii |
Indra |
32 |
1 |
1 2 |
5 |
_ |
_ |
15 0 |
|
|
# |
9, io |
T,Ep.An. |
4 |
4 |
- |
1 - |
- |
- |
- |
0 1 |
|
|
N |
25 |
Tr. |
Indra |
32 |
1 |
- - |
5 |
1 |
- |
8 1 |
|
|
ii |
33-37 4 |
Tr.7 |
Bbhavah |
176 |
6 |
4 12 |
21 |
2 |
_ |
79 7 |
|
|
ii |
37 5-8 |
An. |
ii |
16 |
- |
2 |
1 |
- |
11 1 |
||
|
38-39 5, etc.8 |
Tr.8 |
Various8 |
244 |
21 |
9 13 |
14 |
6 |
2 |
114 10 |
||
|
* |
39 6 |
Epic An. |
Dadhikra |
4 |
- |
- |
- |
- |
0 1 |
||
|
46-48 |
G, An.9 |
Vayu9 |
55 |
2 |
7 |
- |
- |
28 0 |
|||
|
N |
49, etc.10 |
G |
Various10 |
54 |
1 |
2 |
_ |
_ |
17 0 |
||
|
> > |
50-57 311 |
Tr., J11 |
n |
192 |
4 |
3 |
5 10 |
17 |
1 |
1 |
57 11 |
|
# |
57 4-8 |
EpicAn.1'- |
Charm |
5 |
14 |
0 9 |
|||||
|
# |
58 |
Tr.13 |
Ghrta |
44 |
- |
- 2 |
10 |
2 |
4 |
9 3 |
1 1 1-3 see Ch. ix, App. Nos. 75, 62, 83. 2 4 Agni Kaksohan, 5 Agni Vais.
3 7 i J, 2-6 An., 7-n Tr. 4 8, 9, 15 i-6 Agni : 15 7-10 Dan. ; 30-32 21 Indra ;
22-24 Dan. 5 see Ch. ix, App. No. 21; 5 No. 52. 6 16, 17, 19-23, 26-29;
26, 27 Indra-Syena, 28 Ind.-Soma. 7 36 Jt. 8 38, 39 1-5 Tr., 40 J (1 Tr.)
to Dadhikra; 41, 42 to I.-Var., 43-45 to As. (45 Jt.). 9 46 G., 47, 48 An. ; 46,
47 to Indra- Vayu. ' 10 49 Ind.-Brh. ; 52 Usas; 55 8-10 VD. (8 Tr. G.) ; 56 5-7 DP.
11 50 1-9 Tr. to Brh., 10, 11 Jt. to Ind.-Brh.; 51 Tr. to Usas; 53 J, 54 Jt., to Savitar; 55 1-7 Tr. to VD.; 56 1-4 Tr. to DP.; 57 1-3 to Ksetrapati (1 An., 2, 3 Tr.).
12 57 5 see Ch. ix, App. No. 14, 8 Tr. 13 58 n J to Agni.
iv 1-v 87
277
Mandala V.
|
Tr. i |
Dim. |
A B |
C |
D |
E |
F |
1 Lingu. |
||||
|
A |
A. The Atri collection |
||||||||||
|
s |
2 |
Tr. |
Agni |
49 |
3 - |
5 |
2 |
_ |
1 |
13 2 |
|
|
6, 7, etc.1 |
Atri An. |
332 |
29 42 |
1 |
1 |
180 6 |
|||||
|
33 1-7 |
Tr. |
Indra |
27 |
15 1 |
5 |
1 |
1 |
1 |
13 2 |
||
|
8-io |
>} |
Danastuti |
12 |
2 - |
- |
2 |
- |
- |
8 0 |
||
|
35, etc.2 |
Atri An. |
Indra |
3 |
80 |
6 6 |
- |
- |
49 0 |
|||
|
36 |
Tr.3 |
3 |
24 |
1 1 |
4 |
2 |
- |
- |
15 2 |
||
|
41 |
VD |
79 |
28 11 |
10 |
4 |
- |
- |
54 7 |
|||
|
s |
43 |
fJ |
60 |
5 - |
5 |
4 |
1 |
- |
! 39 2 |
||
|
45 |
M |
44 |
8 2 |
6 |
5 |
- |
- |
27 0 |
|||
|
50, etc.4 |
Atri An.4 |
Various 4 |
6 |
380 |
44 56 |
7 |
4 |
169 11 |
|||
|
51 1-3, etc.5 |
G5 |
5 5) |
94 |
3 12 |
1 |
- |
1 32 5 |
||||
|
53, 56, 876 |
Lyric6 |
Marutah |
57 |
77 |
12 26 |
6 |
6 |
1 |
- |
67 3 |
|
|
68, 70, 82 7-9 |
Tr. G |
Various'7 |
36 |
1 3 |
- |
- |
9 1 |
1 6 (P.), 7, 9, 10, 16-23 (19 i, 2 Tr. G.), 24 (Un. lyric, see § 242 iii), 25. 2 35, 38, 39; 40 1-3 Usnih. 3 36 3 J; 6 Dan. 4 50 to Netar; 51 4 G. to
Vayu; 5-7 Dim. Us. to I.-Vayu; 8-10 Dim. Us. to Agni and VD. ; 52 to Marutah (15-17' Danastuti); 64-67 to MV. ; 72 Usnih to MV. ; 73, 74 to A6.J 75 P. and 78 1-3 Usnih to As.; 84 Prthivl; 86 Ind.-Ag. 5 51 1-3 to Agni and VD. ;
61 (5 An., 9 Sat.) to Marutah, etc. ; 71 to MV. ; 82 1-6 to Savitar. 6 53 KS. (12
Tr. G.), see § 248 i; 56 B. (3, 7 Sat.) ; 87 see Ch. ix, App. No. 63. 7 68, 70 to
MV.; 82 7-9 to Savitar.
N
B. The later collection
|
1, 3, etc.1 |
Tr., J1 |
|
4 |
Tr. |
|
5 |
G |
|
13, 14, etc.3 |
3 |
|
29, etc.4 |
Tr.4 |
|
30 15 |
,, |
|
40 5-9 |
Tr.,Epic |
|
An.5 |
|
|
42 1-17, etc.6 |
Tr., J6 |
|
i8,44, etc.7 |
7 >> |
|
44 14, 15 |
Cont. Tr. |
|
51 14, 15 |
Epic An. |
|
785-9 |
»5 |
|
79 |
Pahkti |
|
83 |
Cont.Tr.8 |
|
ition Agni1 |
216 |
1 |
|
2 |
44 |
|
|
Apriya |
30 |
|
|
Agni3 Indra |
276 |
85 |
|
Danastuti |
4 |
|
|
Charm |
12 |
8 |
|
Various 6 |
241 |
|
|
7 |
402 |
|
|
Agni |
8 |
|
|
Charm |
8 20 |
|
|
Usas |
43 |
|
|
Par j any a |
36 |
4 |
|
2 •2 2 1 6 |
2 19 - 2 2 5 18 |
23 - 11 1 2 1 21 2 |
|
1 |
- - |
2 4 |
|
1 8 |
1 3 2 29 |
30 11 37 11 |
|
_ |
1 |
1 |
|
- |
1 - 2 |
1 4 - |
|
85 |
7 |
|
17 |
3 |
|
6 |
5 |
|
32 |
0 |
|
107 18 |
|
|
1 |
1 |
|
1 |
it |
|
67 17 |
|
|
144 23 |
|
|
0 |
0 |
|
0 |
0 |
|
0 |
6 |
|
22 |
0 |
|
2 |
11 |
# 44 r4, 15 Cont. Tr. Agni 8 - - 4
^ SI T. T? T?.n\o. An f!hfl.rm
i c #
1 1, 3 Tr., 8, 11 J, 12, 15 Tr., 27 1-3 Tr. (Dan.), 28 1-3 Tr. (2 J). 2 4 9-n A.
Jat. 3 13, 14; 26; 27 4-6 An. (Dan.); 28 4-6 (4 An.). 4 29, 30 1-14 (12-14
Dan.), 31, 32, 34 1-8 J, 9 Tr. (Dan.), 37, 40 4. 5 5, 9 Epic An. 6 42 1-17 Tr.,
46 3-6 J to VD.; 62 Tr., 63 J, 69 Tr. to MV. ; 78 4 Tr. to As.; 80 Tr. to Usas, 81 J to Sav., 85 Tr. to Varuna. 7 42 18 Tr. to AS. ; 44 1-13 J, 46 r, 2 Jt., 47 Tr.,
48 J, 49 Tr., 51 n-13 J to VD.; 46 7, 8 Jt. to Gnah; 54 J (14 Tr.), 55 Jt., 57 J with 2 fin. st. Tr., 58 Tr., 59 Jt., 60 Tr. (7, 8 J) to Marutah; 76, 77 Tr. to Asvina. 8 9 Epic An.
278
Table of hymns
Mandala VI.
|
Tr. |
Dim. |
A |
B |
c |
D |
E |
P |
Lingu. |
|||||
|
A |
Bharadvaja |
||||||||||||
|
1. |
The Agni series |
||||||||||||
|
c |
1 |
Tr. |
Agni |
52 |
2 |
- |
4 |
5 |
- |
- |
34 1 |
||
|
2 i-io, 14 |
An. |
,» |
60 |
4 |
10 |
- |
- |
39 0 |
|||||
|
2 H, 3, 4 |
Tr. |
,» |
69 |
13 |
5 |
10 |
1 |
- |
- |
65 2 |
|||
|
c |
5-8 |
1 »» |
1 |
112 |
3 |
- |
2 |
13 |
1 |
- |
08 4 |
||
|
1) |
9 |
Ag. Vai£. |
28 |
- |
1 |
- |
2 |
- |
1 |
3 6 |
|||
|
10-13 |
,, |
Agni |
98 |
22 |
7 |
17 |
3 |
1 |
1 |
91 2 |
|||
|
15 i-xs |
J, Tr.2 |
»» |
62 |
1 |
7 |
7 |
6 |
3 |
- |
- |
47 0 |
||
|
16-18 |
Mixed 3 |
, j |
5 |
7 |
- |
- |
- |
- |
2 |
- |
5 1 |
||
|
# |
J9 |
Tr. |
it |
4 |
- |
- |
- |
2 |
- |
- |
0 2 |
||
|
16 1-45 |
G4 |
i» |
126 |
5 |
8 |
- |
- |
58 4 |
|||||
|
46 |
Tr. |
>> |
4 |
1 |
- |
3 |
- |
- |
- |
5 0 |
|||
|
• |
47, 48 |
Epic An. |
»> |
8 |
- |
- |
- |
- |
0 3 |
1 7, 8 to Ag. Vais. 4 16 25-27 Tr. G.
7 6, 7 J, 8 Jt.
15
1-9
15 16 Tr.
An., 18 B.
2. The Indra series
17, 20-26
18, 19, 30-32 27
28 1-7
8 29, etc.3 42, 43, 44 1-6
44 7-9
22—24 45 46
47 1-5 6-14 15-18 19-21 22—25 26-28 29-31
Tr.
Epic An.
Tr.
An.4
Pentad
Tr.
G
BS
Tr.
Cont. Tr. Tr.5 Mixed 6 Tr.7 Cont. Tr.
|
ries Indra |
346 |
1 |
|
169 |
||
|
1 |
32 28 |
1 |
|
Charm |
4 |
|
|
Indra |
252 |
|
|
1 |
50 |
|
|
12 |
||
|
Soma |
12 |
|
|
Indra |
100 |
|
|
21 |
35 |
|
|
Soma |
20 |
|
|
Indra |
36 |
|
|
16 |
||
|
VD |
9 |
3 |
|
Danastuti |
6 |
4 |
|
Charm |
12 |
|
|
j, |
12 |
|
78 18 39 |
34 |
2 |
4 |
|
8 3 8 |
25 |
4 |
- |
|
2-2 |
5 |
- |
3 |
|
- - 1 |
2 |
- |
- |
|
36 6 39 |
13 |
_ |
1 |
|
3 2 1 |
— |
- |
|
|
8 7 |
— |
2 |
— |
|
7 7 4 |
- |
1 |
1 |
|
1-1 |
2 |
- |
- |
|
3 - - |
1 |
- |
- |
|
_ _ _ |
2 |
- |
3 |
|
1 1 - |
3 |
- |
- |
|
1-1 |
1 2 2 |
- |
- |
|
1 - - |
1 |
3 |
|
231 |
18 |
|
100 |
8 |
|
16 |
2 |
|
2 |
6 |
|
0 |
2 |
|
192 |
12 |
|
28 |
0 |
|
5 |
1 |
|
3 |
0 |
|
61 |
0 |
|
34 |
3 |
|
5 |
1 |
|
24 |
2 |
|
0 |
1 |
|
2 |
2 |
|
5 |
1 |
|
0 |
2 |
|
0 |
7 |
1 27 7, 8 Danastuti. 43 Dim. Usnih. 7 47 27 J.
2 28 2-4 J. 47 19 B.
3 29, 33-41, 44 10-21. 4 42 4 B.,
6 47 22 Tr., 23 An., 24 Tr. G., 25 Dvip. Tr.
vi 1-vii 33
279
Mandala VI, continued.
|
Tr. |
Dim. |
ABC |
D |
E |
F |
Lingu. |
||||
|
3. The Visve Devah series |
||||||||||
|
48 1-21, etc.1 |
BS1 |
VD1 |
36 |
69 |
15 6 6 |
5 |
3 |
- |
65 4 |
|
|
# |
22 |
Epic An. |
Cosmogony |
4 |
- - |
- |
- |
0 3 |
||
|
49, etc" |
Tr. |
VD2 |
193 |
21 12 19 |
6 |
1 |
2 |
105 6 |
||
|
# |
51 16 |
Epic An. |
4 |
- - |
- |
- |
0 0 |
|||
|
# |
52 1-3 |
Tr. |
Charm |
12 |
_ _ _ |
1 |
- |
- |
0 3 |
|
|
c |
4-6, etc.3 |
3 |
Various 3 |
42 |
18 |
1 - - |
8 |
1 |
- |
17 8 |
|
7-12,53-57 |
G |
Piisan 4 |
134 |
! 1 4 |
- |
- |
30 15 |
|||
|
c |
59 7-10, etc.5 |
5 |
Various 5 |
61 |
i 1 1 |
1 |
- |
29 0 |
||
|
c |
61 1-3, etc.6 |
J, Tr.6 |
6 |
64 |
1 2 - 5 |
11 |
1 |
- |
39 3 |
|
|
63-68 8 |
Tr. |
7 |
205 |
55 24 31 |
19 |
- |
- |
143 6 |
||
|
C |
68 9-1 1 |
Jt. |
I.-Var. |
12 |
_ _ _ |
1 |
1 |
- |
6 0 |
|
|
69-71, 73 |
Tr.8 |
Various 8 |
92 |
| 1 2 1 |
16 |
- |
- |
45 3 |
||
|
72 |
Cont. Tr. |
I.-Soma |
20 |
2-3 |
2 |
1 |
4 |
5 0 |
||
|
# |
74 |
Tr. |
S.-Eudra |
16 |
- - 1 |
4 |
- |
1 |
1 8 |
|
|
# |
75 |
Cont.Tr.9 |
Charm |
52 |
25 |
1-21 |
8 |
2 |
4 |
2 45 |
1 with 51 13-15 Dim. Usnih to VD.; 60 13-15 to Ind.-Agni (13 Tr., 14 B., 15 An. 2 49-51 12, 52 13-15; 60 1-3 to Ind.-Agni. 3 52 4-6, 16, 17 to VD.; 58 (2 J.) to
Piisan; 59 1-6 B. to Ind.-Agni. 4 52 7-12 to VD. 5 59 7-10 (An.) and 60 4-12
to Ind.-Agni; 61 4-12 (10-12 Tr. G) to Sarasvatl. 6 61 1-3 J, 13, 14 Jt. to SarasvatI; 62 Tr. to Asvina. 7 63 1-8 As., 9-n Dan.; 64, 65 Usas; 66 Mar.; 67 MV.;
68 1-8 Ind.-Varuna. 8 69 Ind.-Visnu; 70 DP. (J); 71 Sav. (1-3 J); 73 Brhasp.
9 75 12, 13, 15, 16, 19 Epic An., 17 Pahkti.
Mandala VII.
Vasistha
The Agni and Indra series
1.
1, 3, 4, 7, 8
2 1-7
5, 9-13
6
14, 16, 32
15
17
18 1-21 22—25 19-30,31io-i2 31 i-9 33
Tr.1
BS4 G
Dvip. Tr. Tr.
G
Tr.
Agni Apriya Agni2 3
Various 4
Agni
[Apriya]
Indra
Danastuti
Indra
i [Vasistha]
201 28
122 28 66
14
84
16
309
56
27
|
11 |
24 |
58 |
|
2 |
1 |
3 |
|
4 |
1 |
3 |
|
1 |
2 |
5 |
|
16 |
11 |
12 |
|
1 |
- |
|
|
- |
- |
4 |
|
1 |
3 |
6 |
|
30 21 |
56 |
|
|
2 |
- |
3 |
9 3 3
1 - -
26 2 -
3 - -
7 4-
1 -
2 - -
17 2 - 1 - -
18 - -
11 1 1
102 14 58 10 79 19
8 0
34 7
6 0
218 9
9 1 1 24
1 1 1-18 Viraj. 2 5, 13 Agni Vais. 3 6 6, 7 Agni Vais. 16 to Agni; 32 (3 see Ch. ix, App. No. 72) to Indra. 5 22
4 14 (1 B., 2, 3 Tr.), [-8, 31 10-12 Viraj.
280
Table of hymns
M and ALA VII, continued.
|
Tr. |
1 Dim. ABC |
D |
E |
F |
Lingu. |
|||||
|
2. The first Visve Devah series |
||||||||||
|
34 1-21, etc.1 |
Pentad |
VD1 |
64 |
- - 2 |
_ |
2 |
1 |
28 4 |
||
|
22—25 |
Tr. |
>> |
15 |
1-2 |
2 |
- |
- |
2 2 |
||
|
# |
35 |
j> |
tf |
59 |
2 - - |
6 |
2 |
7 |
9 6 |
|
|
36-40 |
5J |
149 |
15 22 25 |
7 |
1 |
_ |
74 4 |
|||
|
c |
41, 44, 59 7, 8 |
»> |
Various 3 |
55 |
2-4 |
9 |
S |
2 |
10 5 |
|
|
42, 43 |
)> |
Agni&VD |
42 |
4 5 11 |
2 |
_ |
_ |
21 1 |
||
|
c |
45-48, etc.4 |
4 |
Various 4 |
105 |
4 16 |
7 |
- |
1 |
44 2 |
|
|
# |
49 |
j> |
Apah |
15 |
- 1 - |
2 |
1 |
_ |
2 2 |
|
|
# |
50 |
Cont.Tr. |
Charm |
16 |
2 - - |
2 |
i |
1 |
0 13 |
|
|
c |
55 1, 59 9-11 |
G |
Various 5 |
12 |
- 1 |
- |
_ |
2 0 |
||
|
* |
55 2—4 |
Lyric6 |
Charm |
12 |
- 2 |
- |
- |
1 0 |
||
|
# |
5-8 |
Epic An. |
>» |
16 |
- - |
- |
2 |
0 8 |
||
|
56 12-58 |
Tr. |
Marutah |
102 |
9 5 24 |
2 |
— |
_ |
63 3 |
||
|
59 1-6 |
BS |
» » |
9 |
15 |
13 1 |
_ |
1 |
- 1 |
10 2 |
|
|
# |
12 |
Epic An. |
Charm |
4 |
- - |
1 |
0 3 |
1 with 56 i-ii to Marutah. 59 7, 8 Marutah. 4 45 Sav.
Adityah ; 53 DP. ; 54 Vastospati. Ch. ix, App. No. 54.
2 41 1, 44 1 J. 3 41 Bhaga, 44 Dadhikra,
46 Kudra (Jt.); 47 Apah; 48 Kbhavah; 51, 52
5 55 1 Vastospati, 59 9-1 1 Marutah. 6 see
C
60-65
66 1-9, etc.i
10-15, etc.2
16 67-73 75-77 78-80 82, 83 84-88 89 1-4
90,91 92-100 6 101 103
104 1-24
25
etc.
Tr. G
BS
Pur.
Tr.3
J
Tr.
G5
J
Tr.
Cont. Tr. Epic An.
|
vah series |
||
|
MV |
149 |
|
|
Various 1 |
82 |
|
|
2 |
32 |
52 |
|
Surya |
1 |
2 |
|
Asvina |
177 |
|
|
Usas |
81 |
|
|
46 |
||
|
I.-Varuna |
76 |
|
|
Varuna 4 |
120 |
|
|
Various 5 |
18 |
|
|
Charm |
4 |
|
|
I.-Vayu |
51 |
|
|
Various 7 |
187 |
|
|
Parjanya |
23 |
|
|
36 |
4 |
|
|
Charms |
96 |
|
|
Ind.-Soma |
4 |
|
8 8 25 |
|
4 13 |
|
5 8 1 |
|
1 - |
|
7 14 35 |
|
1 1 9 |
|
1-1 |
|
1-1 |
|
5 11 25 |
|
- 2 |
|
- - 2 |
|
18 13 26 |
|
1 1 - |
|
2-1 |
|
_ - 4 |
|
- - |
|
8 |
2 |
1 |
46 5 |
|
- |
- |
42 1 |
|
|
- |
- |
1 |
i 47 1 |
|
- |
- |
0 2 |
|
|
19 |
4 |
2 |
105 8 |
|
12 |
- |
1 |
32 5 |
|
14 |
- |
1 |
27 4 |
|
4 |
4 |
2 |
22 5 |
|
2 |
1 |
■d |
57 11 |
|
- |
- |
3 2 |
|
|
1 |
- |
- |
1 0 |
|
8 |
1 |
- |
27 3 |
|
16 |
2 |
2 |
88 4 |
|
5 |
- |
- |
2 7 |
|
5 |
1 |
2 |
4 28 |
|
19 |
5 |
3 |
7 39 |
|
- |
- |
0 0 |
1 66 1-3, 7-9, 17-19 MV., 4-6 Adityah; 94 Ind.-Ag.; 96 4-6 Sarasvat. 2 66 10-15 MVA.; 74 As.; 81 Usas; 96 1-3 (3 Prast.) Sar. 3 68 1-7 Viraj. 4 84, 85
Ind.-Varuna. 5 89 1-4 (4 Tr. G) Charm; 102 Parjanya. 6 except 94, 96.
7 92 I.-Vayu; 93 I.-Agni; 95 Sar.; 97, 98 Ind.-Brh.; 99, 100 Visnu. 8 103 1
Epic An.
vii 34:-viii 31
2M
Mandala VIII.
|
Tr. |
Dim. |
ABC |
D |
E |
F |
Lingu. |
||||
|
s |
A. VIII 1-11 : Kanva col- lections |
|||||||||
|
1, 3, 41 |
BS1 |
Indra 2 |
95 |
202 |
18 21 12 |
7 |
3 |
1 |
146 11 |
|
|
# |
133 |
Tr. |
Dan. |
4 |
- - 1 |
- |
- |
- |
0 2 |
|
|
# |
34 |
» 5 |
4 |
- - 1 |
- |
- |
1 0 3 |
|||
|
2 |
Tr. G3 |
Indra 3 |
127 |
2 5 |
- |
- |
! 56 7 |
|||
|
# |
3 24 |
P (Ep.) |
5 |
1 - |
- |
- |
0 3 |
|||
|
5 |
G4 |
Asvina5 |
11110 |
4 5 |
3 |
- |
I 44 2 |
|||
|
6, 7, 9-11 6 |
G6 |
Various 6 |
30 324 |
2 23 1 |
4 |
3 |
3 |
141 9 |
||
|
8, 9 7-9,16-18 |
An. |
Asvina 7 |
104 |
- 6 |
9 |
- |
34 1 |
1 1 1-32 B.
3 21—23, 4 19~ 2
37 P., 38 B., 39 An. 9 1-6, 10-15, J9- Usas and As.
(2, 4 Sat.); 3 1-23 (21 Tr. An., 22, 23 G); 4 1-21 (21 Pur.). 2 1 30-32,
Dan.; 4 15-18 Pusan. 3 2 40-42 G (Dan.). 4 5 32, 35 Tr. G,
5 5 37-39 Dan. 6 6 Indra (46-48 Dan.); 7 Mar. (33 Tr. G) ;
-ai, 10 As. (mixed metres); 11 Agni (4 Tr. G, 10 Tr.).
7 9 16-1
A I B. VIII 12-31 : Various
early collections
12, 13, 18 1-9 Dim. Us. ! Indra 1
14. 17 1-13 G
Us. Various 2
Tr. G Indra
KS3 Various4
Usnih 5
! 15, etc.2
! 16 19-22 23-26
27-30 31
Various 7 G8
VD.
|
222; |
|
|
84 |
|
|
26 |
601 |
|
36 |
|
|
144 |
204 |
|
101 |
228 |
|
45 |
92 |
|
61 1 |
|
6 13 |
|
|
2 3 |
|
|
12 8 |
5 |
|
1 4 |
|
|
45 28 32 |
|
|
40 41 |
16 |
|
11 13 |
3 |
|
7 6 |
11
138 4
12 7
29 2
18 0
171 11
175 7
36 8
19 1
1 18 1-9 Adityah. 2 15 Indra (4-6 Dim. Us.) ; 17 14, 15 Ind. and Vastospati
(BS.); 18 10-22 Adityah. 3 19 34 Us., 37 P.; 22 1, 3, 5, 7 B., 8 An., 12 see Ch. ix,
App. No. 45. 4 19 1-33 Agni, 34, 35 MVA., 36, 37 Dan.; 20 Marutah; 21 1-16
Indra, 17, 18 Dan.; 22 As. 5 24 30, 26 20 An.; 26 16, 19, ai, 25 G. 6 23 Agni;
24 1-27 Indra, 28-30 Dan.; 25 1-9 MV., 10-21 VD., 22-24 Dan.; 26 1-19 As., 20-25 Vayu. 7 27 BS.; 28 G (4 Pur.); 29 see Ch. ix, App. No. 4; 30 see § 248 ii. 8 31 15-18 P.
282
Table of hymns
Mandala VIII, continued.
|
Tr. |
Dim. |
A |
B |
C |
D |
E F |
Lingu. |
||||
|
s |
C. VIII 32-59 : Kanva and other collections |
||||||||||
|
32, 34 16-18 |
G |
Indra x |
99 |
_ |
7 |
5 - |
33 2 |
||||
|
33 1-15 |
B |
,, |
15 |
45 |
3 |
8 |
1 |
- |
- 1 |
28 0 |
|
|
# |
16-18 |
G |
9 |
- |
- |
- - |
0 3 |
||||
|
# |
19 |
Epic An. |
4 |
- |
- |
- - |
0 6 |
||||
|
34 1-15 |
An. |
Indra |
36 |
- |
5 |
2 - |
9 2 |
||||
|
35-38 2 |
Lyric 2 |
Various 2 |
66 |
93 |
1 |
9 12 |
4 |
5 - |
34 7 |
||
|
39-41 3 |
Mahap.4 |
5 it |
165 |
6 |
12 |
2 - |
44 9 |
||||
|
40 12 |
Tr. |
I.-Agni |
4 |
- |
- |
1 |
2 |
- - |
3 0 |
||
|
42 1-3 |
M |
Varuna |
12 |
- |
- |
_ |
1 |
- - |
0 0 |
||
|
4-6 |
An. |
ASvina |
12 |
- |
- |
- - |
4 0 |
||||
|
n |
43, 44 |
G |
Agni |
189 |
3 |
1 |
7 2 |
64 9 |
|||
|
45 |
j» |
Indra |
126 |
- |
8 |
- - |
43 4 |
||||
|
A |
46 |
Mixed 6 |
7 > > |
28 88 |
24 23 |
2 |
1 |
2 1 |
65 3 |
||
|
N |
47 1-12 |
Mahap. |
MVA |
54 |
- |
4 |
- - |
17 2 |
|||
|
# |
13-18 |
„ (Ep.) |
Charm |
! 24' |
- |
- |
- - |
0 3 |
|||
|
# |
48 |
Tr.8 |
Soma |
60| |
1 |
- |
9 |
5 |
1 - |
15 7 |
|
|
49-54 |
BS |
Indra |
84 140 \ |
8 |
13 |
5 |
10 |
3 2 |
123 8 |
||
|
55, 56 |
G9 |
Danastuti |
31 |
2 |
3 |
1 - |
17 7 |
||||
|
57 |
Tr. |
Asvina |
16 |
- |
- |
1 |
1 |
1 - |
8 1 |
||
|
4 |
58 |
, |
12 |
- |
- |
- |
3 |
- - |
1 8 |
||
|
# |
59i-s |
Cont. J. |
I.-Varuna |
20 |
- |
- |
1 |
3 |
4 - |
3 2 |
|
|
# |
6, 7 |
Cont. Tr. |
5J |
8 |
- |
- |
1 |
1 |
- 4 |
0 3 |
1 34 16-18 Dan. 2»35 Un. lyric (see §242 iv) to A§.; 36, 37 (see Ch. ix, App.
Nos. 73, 61, 71, 70) to Indra; 38 G to Ind.-Agni. 3 except 40 12. 4 40 2 see
Ch. ix, App. No. 76. 5 39 Agni; 40 Ind.-Agni; 41 Varuna. 6 see § 248 iii.
7 46 25-28 Vayu; 21-24, 29-33 Dan. 8 48 5 J- 9 55 3, 5 An., 4 Tr. G; 56 5 P.
mil 32-103
2*3
Mandala VIII, continued.
|
Tr. |
Dim. |
A B |
C |
D |
£ |
P |
Lingu. |
||||
|
A |
D. VIII 60-103 (Various |
||||||||||
|
small collections) |
|||||||||||
|
60,61,66i-i4 |
BS |
Indra x |
78 |
130 |
21 20 |
7 |
3 |
1 |
1 |
96 12 |
|
|
s |
62 |
Pankti2 |
j> |
48 |
1 1 |
- |
1 |
12 1 |
|||
|
63 i-n,64, 65 |
G |
)> |
108 |
2 13 |
1 |
_ |
41 2 |
||||
|
63 i2 |
Tr. |
Devah |
4 |
- 1 |
- |
1 |
_ |
_ |
1 0 |
||
|
* |
66i5 |
Epic An. |
4 |
- - |
- |
- |
0 2 |
||||
|
67-69 |
G3 |
Indra 4 |
2 |
189 |
14 19 |
8 |
1 |
72 8 |
|||
|
70, 71 10-15 |
BS5 |
Ind., Agni |
26 |
53 |
16 15 |
2 |
2 |
- |
_ |
49 3 |
|
|
s |
71 1-9, 79 |
Tr. G |
Ag.,Soma |
55 |
- - |
- |
- |
22 4 |
|||
|
72-74 |
G6 |
Various7 |
145 |
13 8 |
3 |
- |
45 3 |
||||
|
s |
75-78 |
G8 |
Indra9 |
4 |
146 |
5 7 |
- |
1 |
37 12 |
||
|
80 1-9, etc.10 |
G10 |
Various10 |
9 |
150 |
8 9 |
1 |
_ |
1 |
63 4 |
||
|
10 |
Tr. |
Devah |
4 |
- 1 |
_ |
_ |
_ |
_ |
2 0 |
||
|
s |
81 |
Tr. G |
Indra |
27 |
1 - |
_ |
- |
19 0 |
|||
|
5 > |
86 |
J |
As., Sav. |
18 |
- - |
1 |
- |
1 |
- |
6 0 |
|
|
>> |
88-90 |
BS11 |
Indra |
25 |
51 |
4 2 |
3 |
_ |
3 |
1 |
50 1 |
|
# |
91 |
Epic An. |
Charm |
30 |
1 1 |
1 |
- |
1 8 |
|||
|
s |
92-94 |
G12 |
Indra13 |
235 |
11 16 |
- |
- |
102 7 |
|||
|
>> |
95 |
An.14 |
}» |
32 |
1 1 |
_ |
_ |
16 1 |
|||
|
>> |
96 |
Tr. |
>> |
84 |
4 4 10 |
8 |
- |
1 |
29 3 |
||
|
>> |
97 1-9 |
Brh. |
>> |
9 |
27 |
- - |
- |
1 |
1 |
- |
16 1 |
|
10-15 |
Irreg.15 |
> > |
16 |
8 |
4 1 |
2 |
- |
- |
- |
17 2 |
|
|
98, etc.16 |
BS16 |
11 |
36 |
83 |
11 11 |
4 |
1 |
4 |
1 |
51 2 |
|
|
# |
100 1-6 |
Tr.1? |
24 |
- 1 |
2 |
1 |
1 |
2 |
0 3 |
||
|
# |
7-9 |
Epic An. |
12 |
- - |
- |
- |
1 2 |
||||
|
# |
10, 11 |
Tr. |
Vac |
8 |
- - |
1 |
- |
- |
- |
3 3 |
|
|
# |
12 |
Cont.Tr. |
4 |
1 |
0 1 |
||||||
|
• |
101 14 |
Tr. |
Cosmog. |
4 |
0 1 |
||||||
|
* |
i5> 16 |
»> |
Gauh |
8 |
- - |
- |
1 |
- |
- |
0 0 |
|
|
102 1-18 |
G |
Agni |
54 |
4 2 |
1 |
- |
17 0 |
||||
|
# |
19—22 |
»» |
» » |
12 |
1 - |
- |
- |
0 2 |
|||
|
103 1-13 |
Mixed18 |
17 |
32 |
10 6 |
2 |
2 |
2 |
- |
35 0 |
||
|
14 |
An. |
j> |
4 |
- - |
- |
- |
1 0 |
1 60 Agni. 2 62 7-9 Dim. B (Dim. U 69 1-3, 7-10, 12-15 An.; n, 16 P; 17, 18 B.
3 68 16 Tr. G ; 19, 69 17, 18 Dan.
with refrain verse).
4 67 Adityah; 6814-
5 70 7-i2 B; 13-15 see § 245 ii. 6 74 13-15 Au. ' 72 VD.; 73 As.; 74 1-12
Agni, 13-15 Danastuti. 8 77 10, n BS.; 78 10 B. 9 75 Agni. " 80 1-9, 82
Ind.; 83 VD. ; 84 Agni; 85 AS.; 87 As. (BS.). n 89 5, 6 An., 7 B. 12 94 2
Tr. G. Vi 94 Marutah. 14 95 7 Tr. An., see § 94 viii. 15 see § 224.
16 98 1-3 Us., 4-6 Dim. Us.,' 7-12 Mixed; 99; 101 1-13 VD. (3 G, I3 B). " 100 6 J. 18 103 1-3 B, 4-7 B.-Sat., 8-13 Kak.-Sat.
284
Table of hymns
Mandala IX.
N
Soma Pavamana collection Soma P. Apriya
Soma P.2
5 j>
6
Soma P.
|
1-4 |
G |
|
5r-7 |
» » |
|
8-i i |
Epic An. |
|
6-60 |
GM |
|
61-67 30 3 |
4 »» |
|
62 4-6, etc.6 |
Tr. G |
|
67 31. 32 |
Epic An. |
|
68, etc.7 |
J7 |
|
70, etc.8 |
8 >> |
|
80 |
.. |
|
81-86 |
9 » » |
|
87, etc.10 |
Tr. |
|
88 |
}> |
|
93,94 |
»> |
|
97 1-33, 52-56 |
>> |
|
34-51.57.58 |
>» |
|
98-101 |
An." |
|
102-106 |
Usnih l2 |
|
107 |
BS13 |
|
108 |
KS |
|
109 |
Pentad 14 | |
|
110 |
Viraji5 |
|
111 |
Atyasti ; |
|
112-114 |
Ep.An.16 |
Tr. Dim
113
21
16
1 1035
3 599
27
8
248
116
20
320
252
28
40
152
80
2
29
38
24
43
33
9
176 91 62 32 1 3 12 78
ABC
- 3
- 1
1 -
19 22 8 9 1 2
3 5 11
3 4 25
8 4 21 11 5 12
4 4 5
9 4 6
5 3 7 1-4
11 8 5 10 3 4 4 4
D E F
1 - 20 10 14 -
1 2
18 4 6 2 5 -
19 6
2 2
1 -
1 -
2 1
Lingu.
51 4
1 1
1 3
555 20
329 8
16 2
0 4
127 13 72 8 13 2 187 25 146 8 30 1 35 0
103 51
110 65 63 30 29 25 0 12 1 7 31
1 60 3 Pur. - 58 Dan. 3 exc. as in next line. 4 67 16-18 Dvipadfi G,
30 see Ch. ix, App. No. 14. 5 67 ia-12 Pusan, 22-24 Agni, 25-27 VD. 6 62 4-6; 66 16-18; 66 19-21 (Agni). 7 68 Jt.; 69 (2 fin. st. Tr.); 72, 73; 74 (8 Tr.);
75,77,78. 8 70, 71Jt.; 76, 79. 9 81, 82 Jt.; 85 n, 12 Cont. Tr. 10 87,
89-92, 95, 96. » 98 n, 99 1 B; 101 2, 3 G. 12 102, 106 1-3 Dim. Us.
13 107 3, 16 see Ch. ix, App. No. 72. 14 109 22 type 8.4.8. " 110 1-3
12. 8.12, 4-9 12.12.12. 16 with refrain borrowed from 106 4b.
ix l-x 26
2 so
Mandala X.
|
Tr. |
Dim. |
ABC |
D |
E |
F |
Lingu. |
|||||
|
A. |
X 1-9: Agni collection |
||||||||||
|
s |
1,6 |
Pentad > |
Agni |
56 |
5-7 |
1 |
_ |
1 |
, 21 1 |
||
|
c |
2,7,8 |
Tr. |
2 |
92 |
1 1 6 |
9 |
1 |
2 |
38 6 |
||
|
s |
3 |
, |
>> |
28 |
7-1 |
2 |
_ |
- 14 0 |
|||
|
c |
4, 5 |
» » |
56 |
12 2 |
11 |
1 |
1 | 23 5 |
||||
|
- |
9 x-5 |
G |
Apah |
15 |
- 2 |
- |
-41 |
||||
|
# |
6, 7 |
»> |
Charm |
6 |
- - |
- |
- ] 0 2 |
||||
|
# |
8,9 |
Epic An. |
>» |
8 |
- - |
1 |
1 0 5 |
||||
|
- |
1 mixed with Tristubh |
• |
2 8 7-9 Indra. |
||||||||
|
# |
B. |
X 10-19 : Funeral col- lection |
|||||||||
|
10 |
Tr. |
[Yama] |
56 |
2 2 7 |
3 |
1 |
2 |
6 28 |
|||
|
11 |
J1 |
Agni |
36 |
1 - - |
2 |
- |
- |
16 4 |
|||
|
s |
12 |
Tr. |
Ag. & VD |
33 |
3 17 |
- |
1 |
- |
12 6 |
||
|
13 1-3 |
»> |
DP |
12 |
111 |
1 |
- |
1 |
4 0 |
|||
|
4 |
4 |
_ _ _. |
- |
1 |
- |
0 3 |
|||||
|
5 |
j" |
DP |
4 |
- - 2 |
- |
- |
1 |
0 0 |
|||
|
14 i-is |
, etc.2 |
Cont.Tr.2 |
Pitarah2 |
243 |
5 |
6 3 3 |
25 |
4 19 |
14 141 |
||
|
i3_1 |
6, etc.3 |
Epic An.3 |
' 3 >5 |
1 |
39 |
- 1 |
2 |
- |
0 22 |
||
|
19 |
4 |
Charm |
31 |
- - |
1 |
- |
1 14 |
1 11 7-9 Tr. 2 14 1-12, 15 Tr. (« J), 16 i-xo, 18 1-13 (11 Prast.), funeral hymns;
17 1-13 (13 11.8.8.8). 3 14 13-16 (15 Brh.), 16 n-i4 funeral hymns; 17 14,
18 14. 419 6G.
A
|
C. X 20-26 : Vimada |
|||||||
|
20 |
Tr. G1 |
Agni |
7 |
26 |
11- |
1 - - |
11 0 |
|
21, 24-26 2 |
An.2 |
Various 2 |
124 |
8 11 |
1 - |
56 2 |
|
|
22 |
Un. lyric3 |
Indra |
17 |
43 |
18 9 4 |
11- |
43 1 |
|
23 |
Cont. J. |
28 |
15 2 5 |
1 2 1 |
19 0 |
||
|
24 4-6 |
Epic An. |
Cosmog. |
12 |
0 3 |
1 1 from 25 1 ; 9 Viraj, 10 Tr. Ch. ix, App. No. 66 ; 26 Pusan.
2 21 Ag., 24 1-3 Ind., 25 Soma: for metre
3 For metre see § 243 ; 15 Tr.
286
Table of hymns
Mandala X, continued.
|
Tr. |
Dim. |
A |
B C |
D |
E |
F |
Lingu. |
||||
|
c |
D. X 27-84 : various small groups |
||||||||||
|
# |
27 |
Cont. Tr. |
96 |
1 |
- 3 |
4 |
2 |
5 |
9 30 |
||
|
# |
28 |
Tr. |
48 |
_ |
1 - |
_ |
_ |
1 |
13 14 |
||
|
N |
29-32 5 |
i |
Various1 |
156 |
10 |
3 10 |
14 |
1 |
1 |
76 12 |
|
|
# |
32 6-9 |
,, |
[Agni] |
16 |
1 |
_ - 1 _ |
- |
- |
2 5 |
||
|
33 |
Mixed2 |
7 |
23 |
_ |
3 |
_ |
_ |
11 6 |
|||
|
# |
34 |
Tr.3 |
[Aksah] |
56 |
- |
- 1 |
8 |
1 |
1 |
0 33 |
|
|
35-38 |
J4 |
Various4 |
165 |
2 |
1 11 |
35 |
6 |
- |
58 7 |
||
|
39-41 |
J5 |
Asvina |
124 |
5 |
1 8 |
12 |
7 |
2 |
52 6 |
||
|
42-446 |
Tr., J« |
Indra |
104 |
1 |
1 1 |
10 |
2 |
1 |
40 9 |
||
|
# |
42 9-n |
Tr. |
12 |
- |
- 1 |
- |
- |
- |
1 6 |
||
|
45,47 |
Tr. |
Ag.,Indra |
75 |
2 |
1 3 |
11 |
1 |
0 |
25 3 |
||
|
46 |
Pentad? |
Agni |
40 |
- |
- 4 |
3 |
- |
1 |
27 1 |
||
|
A |
48-50 |
J8 |
[Indra] |
116 |
36 |
6 18 |
15 |
3 |
1 |
81 6 |
|
|
# |
51-53 |
Cont.Tr. |
[Agni] |
104 |
4 |
1 3 |
23 |
4 10 |
10 35 |
||
|
54-56 3 |
Tr. |
Indra9 |
68 |
1 |
1 3 |
15 |
_ |
_ |
11 12 |
||
|
• |
56 4-7 |
Jt. |
16 |
1 |
1 1 |
- |
1 |
- |
1 7 |
||
|
• |
57 |
G |
Charm |
18 |
1 |
_ |
_ |
_. |
1 2 |
||
|
# |
58 |
Epic An. |
ii |
21 |
- |
- |
1 |
- |
0 7 |
||
|
# |
59 i-7 |
Cont. Tr. |
ii |
27 |
1 |
- 4 |
1 |
2 |
2 |
6 11 |
|
|
# |
8-io |
Ma.(E.)10 |
DP |
17 |
2 |
- |
- |
- |
0 2 |
||
|
# |
60 i-6 |
G |
19 |
_ |
_ |
1 |
- |
2 0 |
|||
|
# |
7-12 |
Epic An.11 |
Charm |
27 |
- |
1 |
- |
3 |
0 7 |
||
|
A |
61 |
Tr. |
108 |
25 |
3 32 |
4 |
_ |
2 |
76 7 |
||
|
62 |
Mixed12 |
22 |
20 |
1 |
2 3 |
2 |
11 |
- |
10 7 |
||
|
63, 64 |
Cont. J, J13 |
VD |
132 |
2 |
1 7 |
12 |
8 |
- |
44 6 |
||
|
65, 66 |
Jt.,Cont.J |
VD |
116 |
7 |
3 1 |
19 |
6 |
1 |
31 6 |
||
|
67, 68 |
Tr. |
I.-Brhasp. |
96 |
3 |
- 6 |
12 |
2 |
1 |
23 14 |
||
|
69, 70 |
14 |
Agni15 |
92 |
1 |
1 6 |
23 |
5 |
- |
23 8 |
||
|
# |
71 |
Cont.Tr. |
[Jnana] |
44 |
_ |
_ _ |
5 |
•1 |
5 |
0 17 |
|
|
# |
72 |
Epic An. |
Cosmog. |
36 |
- |
- |
1 |
2 |
0 15 |
||
|
A |
73, 74 |
Tr. |
Indra |
68 |
9 |
4 18 |
1 |
1 |
- |
37 9 |
|
|
n |
75,76 |
Cont. J, J |
Various16 |
68 |
4 |
2 5 |
2 |
5 |
- |
26 5 |
|
|
S |
77 i-s, 78 i-6 |
Bhargavl |
Marutah |
44 |
1 |
- 2 |
4 |
_ |
_ |
59 5 |
|
|
>> |
77 6-8, 78 7, 8 |
Tr., Jt. |
„ |
20 |
3 |
- 5 |
2 |
- |
- |
15 1 |
|
|
79, 80 |
Tr. |
Agni |
56 |
7 |
2 4 |
10 |
- |
- |
15 S |
||
|
# |
81, 82 |
Cont.Tr. |
Cosmog. |
55 |
1 |
- |
- 2 |
6 |
0 |
9 |
6 24 |
|
# |
83, 84 |
Cont.Tr. |
[Manyu] |
56 |
2 |
2 4 |
6 |
7 |
- |
3 17 |
1 29 I., 30 Apah, 31 VD., 32 i-5 I. (J). 2 i Tr., 2) 3 BS., 4-9 G. 3 34 7 J.
4 3,5, 36 VD. (2 fin. st. Tr.) ; 37 i-io Surya (Jt.) «, 12 Devah (J); 38 Indra.
5 39 Jt. 6 42 1-8 Tr., 43 J, 44 1-3 Tr., 4-9 J. t mixed with Tristubh. 8 48 7, 10, 11 Tr. ; 49 Jt. 9 56 1 -3 Lament. w 59 8 Pankti. « 60 8, 9 P. 12 62 1-4, 11 Cont. J, 5, 8, 9 An., 6, 7 B.-Sat., 10 G. 13 63 2 fin. st. Tr.; 64 12 and
fin. st. Tr. 14 69 1, 2 J.
70 Apriya. 16 75 Sindhavah, 76 Gravanah.
x 27-114
287
M and ALA X, continued.
|
Tr. |
Dim. |
A |
B |
C |
D |
E |
F |
Lingu. |
||||
|
% |
E. X 85-114: Sing |
le hymns |
||||||||||
|
85 |
(Cont.Tr. |
[Marriage] |
53 |
2 |
- |
1 |
7 |
1 |
5 |
3 24 |
||
|
/Epic An. |
136 |
1 |
- |
ia |
4 |
6 65 |
||||||
|
86 |
P. (Epic) |
[Vrsakapi] |
95 |
1 |
- |
7 |
3 |
9 19 |
||||
|
87 i-2i |
Tr. |
A. Kaks. |
84 |
1 |
1 |
- |
17 |
4 |
3 |
4 77 |
||
|
22-25 |
An. |
Charm |
16 |
- |
- |
1 |
3 |
5 7 |
||||
|
88 |
Tr. |
Agni |
76 |
3 |
1 |
1 |
11 |
2 |
3 |
5 19 |
||
|
N |
89 |
5 J |
Indra |
68 |
- |
2 |
5 |
11 |
- |
1 |
30 9 |
|
|
90 1-15 |
Epic An. |
Cosmog. |
60 |
3 |
1 |
1 |
3 |
0 60 |
||||
|
16 |
Tr. |
Devah |
4 |
- |
- |
- |
1 |
- |
- |
1 0 |
||
|
N |
91, 92 |
Jt., J |
Agni,'VD |
120 |
1 |
- |
10 |
6 |
2 |
- |
42 12 |
|
|
A |
93 |
Un. lyric1 |
VD |
22 |
38 |
20 |
14 |
5 |
2 |
4 |
1 |
44 2 |
|
94 |
Cont. J |
Gravanah |
56 |
! 4 |
2 |
6 |
3 |
1 |
1 |
9 17 |
||
|
95 |
Cont. Tr. |
[Urvasi] |
71 |
12 |
4 |
8 |
5 |
1 |
6 |
25 24 |
||
|
C |
96 |
J2 |
Harayah |
52 |
1 |
1 |
2 |
2 |
- |
2 |
39 1 |
|
|
97 |
Epic An. |
Osadhlh |
92 |
2 |
2 |
4 |
- |
1 61 |
||||
|
98 |
Cont. Tr. |
Charm |
48 |
3 |
- |
- |
6 |
1 |
6 |
1 5 |
||
|
A |
99 |
Tr. |
Indra |
48 |
9 |
4 |
9 |
4 |
- |
2 |
43 3 |
|
|
C |
100 |
Jt. |
VD |
40 |
j - |
- |
- |
- |
1 |
- |
15 2 |
|
|
101-103 |
Cont.Tr.3 |
Various4 |
123 |
22 |
i 5 |
8 |
2 |
16 |
1 |
12 |
14 42 |
|
|
N |
104 |
Tr. |
Indra |
41 |
- |
_ |
•2 |
3 |
_ |
_ |
29 1 |
|
|
A |
105 |
Un. lyric5 |
>> |
23 |
12 |
20 |
5 |
8 |
4 |
- |
- |
20 2 |
|
C |
106, 110-113 |
Tr.6 |
7 |
208 |
7 |
2 |
5 |
36 29 |
2 |
55 18 |
||
|
107-109, 114 |
Cont.Tr.8 |
148 |
8 |
! 4 |
2 |
1 |
27 |
- |
15 |
9 57 |
1 see § 242 v. 103 13 Epic An.
113 Jt. 7 106 As., 110 Apriya.
2 96 11-X3 Tr. 3 101 4, 6 G, 5 B; 102 1, 3, 12 B;
4 103 i-ii Indra, 12 Apua, 13 Charm. 5 see § 244 iii.
8 107 Tr. (4 J); 108 Tr.; 109 6, 7 Epic An.
288
Table of hymns, x 115-191
Mandala X, continued.
|
Tr. |
Dim. |
A |
B |
C |
D |
E |
F |
Lingu. |
||||
|
# |
F. X 115-191 : Single hymns, continued |
|||||||||||
|
A |
115 |
Cont. J » |
Agni |
37 |
8 |
3 |
18 |
2 |
2 |
_ |
32 0 |
|
|
C |
116, 122, 123 |
Tr.2 |
Various 2 |
100 |
3 |
4 |
8 |
11 |
6 |
5 |
53 7 |
|
|
117, etc.3 |
Cont. Tr. |
160 |
3 |
2 |
5 |
16 |
5 20 |
5 75 |
||||
|
C |
118, etc.4 |
G |
Various 4 |
87 |
1 |
3 |
3 |
1 |
20 7 |
|||
|
119, etc.5 |
>» |
5 |
104 |
7 |
8 |
3 |
1 |
5 22 |
||||
|
120, 121 |
Tr. |
Indra 6 |
70 |
7 |
6 |
9 |
3 |
- |
5 |
10 22 |
||
|
124 1-5 |
>j |
[I.-Agni] |
20 |
- |
- |
1 |
1 |
1 |
1 |
0 4 |
||
|
N |
6-8 |
7 |
[Vrtra] |
12 |
- |
1 |
2 |
- |
- |
- |
5 0 |
|
|
9 |
>> |
[Hamsa] |
4 |
- |
- |
- |
- |
1 |
„ |
0 0 |
||
|
A |
126 1-7 |
Upar.8 |
MVA |
1 |
27 |
2 |
6 |
1 |
- |
3 0 |
||
|
N |
8 |
Tr. |
Agni |
4 |
- |
1 |
1 |
- |
- |
- |
2 2 |
|
|
131 |
9 |
Indra |
24 |
4 |
_ |
_ |
_ |
2 |
1 |
_ |
9 2 |
|
|
A |
132 |
Un. lyric10 |
MV |
17 |
11 |
4 |
3 |
6 |
2 |
1 |
- |
17 4 |
|
S |
133, 134 |
Mahap.11 |
Indra n |
4 |
68 |
3 |
6 |
1 |
- |
- |
- |
19 2 |
|
135, etc.12 |
Ep. An.13 |
8 |
410 |
2 |
4 |
1 |
2 |
12 |
12 |
7 245 |
||
|
c |
138 |
J |
Indra |
24 |
- |
- |
1 |
- |
4 |
- |
14 4 |
|
|
139, etc.14 |
Cont.Tr.14 |
Various 14 |
243 9 |
13 |
2 |
6 |
19 |
6 18 |
29 102 |
|||
|
s |
140, 150, 172 |
Lyric 15 |
Agni 16 |
26 26 |
2 |
2 |
4 |
4 |
- |
1 |
23 0 |
|
|
141 |
An. |
VD |
1 24 |
— |
2 |
1 |
1 |
3 3 |
||||
|
A |
143 |
An. |
Asvina |
24 |
1 |
3 |
- |
_ |
15 0 |
|||
|
144 |
Mixed17 |
Indra |
6 |
14 |
3 |
5 |
1 |
1 |
- |
- |
12 0 |
|
|
N |
147, 160 |
Jt., Tr. |
> > |
-in |
2 |
2 |
1 |
4 |
- |
- |
25 2 |
|
|
A |
148 |
Tr. |
5, |
20 |
8 |
2 |
2 |
3 |
1 |
0 |
18 0 |
|
|
C |
176 |
An.18 |
Agni 19 |
15 |
1 |
2 |
- |
- |
9 1 |
|||
|
178 |
Tr. |
TSrksya |
12 |
- |
- |
1 |
4 |
1 |
- |
4 0 |
||
|
S |
185 |
Tr. G |
MVA' |
9 |
2 |
1 |
- |
- |
1 0 |
1 115, 2 fin. st. Tr. 2 116 Ind., 122 Agni (Cont. J), 123 Vena. 3 117;
125; 128-130. 4 118 A. Raks.; 127 Urmya; 156 Agni; 171 Indra; 188 A. Jat.
5 119, 153 Indra; 158 Surya-Savitar ; 175 Gravanah (i Tr. G); 186 Vata; 187 Agni; 189. 6 121 Prajapati. "' 124 7 J. 8 see Ch. ix, App. No. 54.
9 131 4 An. 10 see § 242 vi. » 133 i-3, see Ch. ix, App. No. 76 ; 7 Tr. ;
134 7 P (Devah). 12 135-137; 142 7, 8; 145, 146; 151; 152 (Ind.) An.; 154,
155; 159; 162,'l63; 164; 166; 173, 174; 184; 190, 191. 13 164 3, 191 3 Tr.
14 139 1-3 Siirya; 139 4-6; 142 i-6 Agni; 149 Sav.; 157 VD (Dvip. Tr., i 11. 8); 161 Charm (5 Epic An.); 165 Kapota; 167 Indra (J); 168 Vata; 169 Osadhlh; 170 Vibhrat (J : 4 see Ch. ix, App. No. 27); 177 Patarhga; 179 Indra (i Epic An.); 180 Indra; 181; 182 Agni and Brhaspati; 183 Charm. 15 140 3-5 Sat.; 150
1-3 Br.: for the other stanzas see Ch. ix, App. Nos. 6 (172 3), 8 (172 1, 2, 4), 31 (140 1, 2), 47 (140 6, 150 4, 5). 16 172 Usas. 17 144 1, 3, 4 G, 2 B,
5 No. 47 as above, 6 No. 31. 18 176 2 G. 19 176 1 Rbhavah.
Hymns in this section for which no deity is named are for the most part either charms or philor jphical poems.
CHAPTER XI.
METEICAL COMMENTAEY. 267. Introductory Notes.
The Metrical Commentary does not form a complete record of the restorations required in the Samhita text, and only notices those metrical irregularities which are very exceptional.
In particular, the following restorations are very commonly required in addition to those mentioned in the Commentary :
Hiatus, whether regular, as after -i, -I, -u, -u, or exceptional, as after -a, -a.
Combination of final -a, -a with initial r (text -a r-).
Syllabic restoration : (i) of i u for y v followed by the grave accent : (ii) of i for y in the instr. sing, -yd and the dual form -yoh after heavy syllables ; in the suffixes -ya -yd after heavy syllables ; in the words guhya, jdnya, tyd, dadhydnc, divyd, ndrya, pratydnc, mddya, yiijya, sakhyd, syd and some others : in the optatives asydm and sydm ; and in the suffixes -bhyah, -bhyam after heavy syllables at the end of the verse : (iii) of u for v in tvdm, tvdm, tvd, tva, svd and in the instr. sing. fern, in -vd : (iv) of aa for a in the gen. pi. -dm at the end of the verse : (v) of -an for n in the declension of nouns in -an, -man, -van : and (vi) of ar for r in the dual forms pitrbh, matroh, svasroh.
Quantitative restoration: (i) in the words correctly written dcchd, evd, nfndm, pavdkd, mfl (mflaya-, mfllkd, sumfUkd) : (ii) in final vowels in positions which are metrically unimportant, as in the third and fifth syllables of trimeter verse, before consonant groups, and at the end of the verse: (iii) of cch for ch in Aufrecht's text: (iv) of c for sc in compounds as puru-candrd, su-candrd: (v) of n for nn in the locative and vocative singular.
Where the text gives a correct reading this is not usually noted in the Commentary, even though restoration is required by the ordinary rules; as when the suffix -ya has monosyllabic value after a heavy syllable.
Emendations suggested in the Commentary are not intended as definitive proposals, but only as indications of the general require- ments of the metre in accordance with the period to which the hymn is assigned.
19
290 Metrical Commentary
The following slight corrections are needed in Aufrecht's text of the Rigveda (2nd edition, Bonn 1877) : ix 47 2b dasyutdrhand, 86 35c mddhvd; x 4 5d pra?idyanta, 6 2a bhdniibhir, 8 3c dsvabudhnd, 51 lc bahud/td, 106 2d mahishevdvaptindt, 143 3a daiisishtJidv.
References are given throughout the Commentary to the sections of this book in which the points raised have already been discussed, except as regards some of the more common restorations, for which the references are given in the Index.
268. Metrical Commentary.
Mandala I.
A. I 1-11. [Dimeter hymns of the normal or strophic period, irregularly arranged. 10 is addressed to Indra of the Kusika family, and the metre corresponds fairly with that of the dimeter hymns of Mandala III."
8, 9 perhaps in Trochaic Gayatri
8d asmdbhya.
B. I 12-23. [Gayatri hymns of a very regular type, not earlier than the. normal period. Kanvdh 14 2a.]
12. 5b smd. 14. 3a indrd- ; 3b either miirdm aynim with irregular Sandhi (§130 iv) as in Latin, or mitrfigiti as a compound. 15. 6b initra vdruria § 174 ii ; 6c dsathe ; 12a santia: the statement in § 137 is to be deleted. 17. 3b and elsewhere indra vdruna, see §174 ii. 18. la correction is needed, e.g. to sbmdnaam suarnaram or somavrfham su-dvasam. 20. 3a probably ntisatidbhidm. 22. 19c yujia. 23. 2b, 3a indrd-; 15a utd ; *18c kdrtuam; *19a probably non-metrical, cf. vii 66 16a; *21c jiok.
C. I 24-30. [Dimeter hymns of the strophic period. Later additions appear both at the beginning and towards the end of the
series.]
*24. For the date see §88; 12c dhuat; 12d sd; 13a dhuat; 15c perhaps aaditya, § 150: extended Tristubh verse, or read te for tdva.
25. 6a dmte; 12a visvdha. 26. la vdsisva; 9b see §152 ii. 27. 3c pdhi. 28. 6a smd; 7c hdrlva with Sandhi. 30. 4a u; 14a ghd tutivdn; 17a dsva valid; 21b a dntdd : perhaps pardkdat, § 151 i.
D. I 31-35. [Trimeter hymns of the cretic period : but 33 in its metrical character is of the strophic or normal period.]
31. 18d sumati, § 139 iii. 33. 9a a 'double rest' (§ 226 iv) is hardly probable in this hymn : perhaps add tvdm at the end of the verse. 14a, 14c Viratsthana verses; 14a perhaps ydsmi; 15c jiok.
i 1-61 291
34. lc himid; 4b trayidhd ; 7c rat hid ; 9d naasatyd. 35. 6b, see §178; 8b dhdnud, §147; triui dhdnvd would be more regular. 9d the hybrid Tristubh verse invites correction, as by reading d for abhi.
EF. I 36-50. [Two typical Kanva collections : but both from the form and the contents a still earlier date is suggested for the first hymn.]
36. lc perhaps read vdcobhir Imahe su-uktaih, as a Vasisthi verse; 4c sd ; 8c Bhargavl verse : perhaps read vfsd kdnva abhuvat ; 10c, 11a medhidtithih or medhya-atithih 1 1 2a perhaps needs correction ; 1 2c srutia ; 15a pdhi; 17c, see §152 ii.
37. 13a ydanti; 14c tdtra su\ 15c dyu. 38. 2c kd, §151 iii; 3c kua, ib. ; 4b mdrtidsah, ib. ; 6a md u su. 39. 3c perhaps needs correction; 5c prd ; 6a upa ; 6c perhaps asruvat. 40. lb tud ; 6a vocema; 7c ddsudn; 8d nd 'not' with hiatus, which is rare. 41. 7b probably -asya with hiatus, though the reading -driamndh is metrically more convenient. 42. 2c smd ; 6b vdsi-, see § 168 ii. 43. 4a gdthd-, §166 ii; 6c ndribhiah, §170 iii. 44. 6c dyu. 45. lb dditidn ; 5d <wa ; 10b ydksvd. 46. la, es-d ; 2c perhaps vasu-i § 166 iv ; 6c rdsathdm; 10a 6/«f ?/> for bhdh: the repetition of the particle w is impossible; 13c sambhu is probable, § 174 ic. 47. 9a ndsatid. 48. Id dadsvatl; 3a ucchdt, though against the metre ; 3c asidh is doubtful, being against the rhythm ; 4a Bhargavl verse, requiring correction : perhaps prd ye tdva ; 4d ndmd plural; 9 c asmdbhya; lOd srudhi ; 11a vdmsud ; 12a vahd ; 16b mimiksvd. *50. 13c mdhyam, not mdhya : for the rhythm cf. 10c.
G. I 51-57. [Of these hymns 51-54 are metrically akin to the Kutsa series i 94-115 : 55-57 to the Gotama series i 74-93.]
51. 2b avrta : d- may be the negative particle, §167 iv ; 6d evd; 8c bhava ; 14b duria. 52. 7c yujia. 53. 2c pradivo 'kdma- ; 5c prdmaM, § 139 iii; 5d dsvavatyd, § 168 ii ; 7c sakhid; 9a duih ; 10a perhaps SCT for utibhih. 54. llb^awa^a^, §166 vie; lid su-apatyai. 56. 2a nemanisah ; 4a yatR 57. 4b ardbhyd.
H. I 58-64. [The Gotama Nodhas hymns appear to be as early as any in the Rigveda : the refrain marks out i 59 as a later addition, and connects viii 80 and ix 93 : see § 106 i. For the peculiar metre of i 61 see § 250 iii.]
58. 2b, 4c trsu, §§ 160 i, 173 iii; 5d cdratah, cf. i 146 lc; 6a tud; 8d Viratsthana verse. 59. 4a requires correction, the metre being in disorder and the verb wanting : probably brhativa with Sandhi ; 7a mahind, § 178. 60. lb Viratsthana verse.
61. 2 b the verse is disordered, the true type being found in 3b: bddhe cannot stand ; 8a probably Viratsthana verse ; 1 0a evd ; 1 0c gdah, § 142 ii ; 11a Jagati cadence : perhaps dpah should be restored ; lid Viratsthana verse; 12c gdvah, § 142 ii ; 15b Gautami verse rather than Pentad : perhaps imnah ; 15c probably surye (Viratsthana verse) ; 16a hariyojana, § 175 i, cf. i 62 13b.
19—2
292 Metrical Commentary
62. 3a Rest at the fourth place ; 5c bhumydh ; 8c Pentad verse, but possibly Gautami; 12a evd. 63. 4a irregular cadence, §220 v; 5b perhaps mdrtidndm, § 151 iii ; 5c kasthaah, § 142 i ; 7c perhaps sudadse, § 142 v; 8c asmdbhya ; 8d visvddhd. 64. 9a Rest at the fourth place ; 15a nu it, § 124.
K. I 65-73. [The Pentad hymns 65-70 shew a very regular rhythm, and cannot be earlier than the strophic period. The text is rather imperfect, and needs correction where it conflicts with the standard metre. Hymns 71-73 are in very regular Tristubh, probably of the normal period.]
65. 9a perhaps svdslti, § 178 ; 10b the long 9th syllable marks the full developement of this metre, § 249 ii. 66. 9a cardthd requires correction, § 178. 67. 2b read havirvdt, cf. i 72 7d; 5a ksdam, prthvim; 5b dydam ; 9b Tristubh verse; 10b sammayd, cf. § 158 iii: at least there is no other example of a gerund in -ya in the Rigveda proper. 68. 2d Viratsthana verse : or read devdndm devdh ; 4b perhaps dmartam, cf. v. 33 6b. 69. 8a probably read ydd dhdn ; 8b viver dpdihsi, cf. vi 31 3d. 70. 3b cdratdm, cf. §178; 4d 'mrtdh; 5b su- uktaih ; 7b cdratah, cf. i 58 5d ; 10a read purutrd ndrah; 10b perhaps read vedo vi babhruh, cf. iii 1 10a.
71. 2a vilu plural; 4b Viratsthana verse; 4c sdhyase, § 151 iii; 9b perhaps suura or su?-ia, more probably Viratsthana verse : see § 151 i. 72. 8d yena nu. 73. lc siona-, prindndh; 6b sumddudhnih, §151 iii ; 8a mdrtidn, ib. ; 9b vanuyama, tuotdh rather than tvd-utdh.
L. I 74-93. [Gotama collection : the hymns appear to be generally of the strophic period, 80-82, 91-93 being perhaps later. The collection is characterized by the comparative frequency of Jagati and Pankti verse. See § 106 ii.]
74. 8c asthaat. 76. Id Rest at the fifth place: dasema, § 178; 2b, 3a su ; 3c vahd. 77. 2c mdrtidya, giving Viratsthana verse ; 2d ca, §175 ii; 3a mdria, § 151 ii ; 3b Viratsthana verse; 4a nfndam; 5a evd, cf. evdm v 6 10a ; 5b Gautami verse. 79. lc Rest at the fifth place; 5c asmdbhya. 80. 3a prehi, § 173 i; 7b vajri, §178; 15a iiahi nu; 16b dadhidn, 81. 6c asmdbhya ; 7c grbhdyd. 82. la upa su ; srnuhi as in text ; 3a tud. 83. 4b sdmid ; 6b Bhargavi verse, needing correction. 84. 6a tudt ; 6c tud; lib srinanti ; *16-18, see § 88 ; *18b yajdtai is a very late form ; 20b cand, § 175 ii. 85. 5c siauti; 7b d nakam ; 9c ndri' dpamsi ; lOd rdnia ; 12a sdrmd ; 12d dliatta. 86. 9b kartd. 87. 2a dcidhuam, § 151 ii; 4b avrtah, see on i 51 2b ; 6c vdsimantah, see § 168 ii.
88. For the metre, see § 244 i; lb hypersyllabic verse, § 224; Id verse with double Rest, § 226 iv a; 2c requires emendation, but see § 226 iv b ; 3c Rest at the fifth place. 89. 4b Rest at the fourth place : diauh ; 6a suasti ; 6a, 6b Viratsthana verses ; 6c probably tarksio Wista- ; 9a nu ; 9b ydtra ; 9d dyu.
90. 2d visvdhd; *9 cf. *vii 35. 91. 11a tud ; 16-18 form one hymn, as indicated by the use of the verb d pyd in each stanza ; 23b sahdvan. §151 iii. 92. 3d dhd ; 4d avar, § 169 vi; 7a bhadsvatl,
i 62-120 298
netari; 14c vi uccha ; *93 1-3 : for the metre see note on p. 167 : for the date see § 88.
M. I 94-115. [This collection stands alone in the Rigveda for the frequency of the cretic break: but 111 does not share this peculiarity. 105 is of the same type as i 24, and presupposes a dramatic setting : it is possible that some of the fragments are of earlier date.]
94. 6c drtvijyd : rtviyd is a probable correction : 12c sd. 95. 4a ni/iid, § 151 ii. *97. 8a sindhum 'va.
100. lb prthividh; 5a rudard, § 149 ii ; 5b catalectic Bhargavi verse, § 227 iii b, probably to be corrected : see also § 169 iii ; 6b seems to require correction; 8c sd: irregular cadence; 16b Rest at the fifth place, or read raydye, § 139 i : rjardsuasya, § 151 ii; 17c rjrdsuah, § 145 ii&; 18b sdrud; 19a vis'vdhd.
102. 3d tvdyddbhiah ; 7d ddha. 103. 5b dhattand ; 5c, 5d sd.
104. lb Pentad verse ; lc avasdya : final -d shortened before following vowel ; 2a probably Viratsthana verse (indra type) ; 2c ddasasya, § 151 i ; 4c Rest at the fourth place; 5b nd 'as ' combined, § 122 ; 6a sd ; 6b bhajd ; 8a as 2a ; 9a tud ; 9d srnuhi.
105. 2a vd u, § 171 v (to be added); 2d pariddyd ; 5a hepta- syllabic verse; 7a sd; 7c vianti; 9b tdtra ; 15d ndvia ; 16a Epic semi-cadence; 18c nicdyid. 106. 2b bhutd. 108. 4b u; id a with hiatus. 109. 2b sidldt; 5b susrava, § 158 i. 110. 2d dgacchatd; 6a Tristubh cadence, cf. 7a ; 9b hybrid verse, unless we read indrar- bhumdn.
111. 3a taksatd. 112. 10b Bhargavi verse, probably needing correction, as to djd d, cf. 17b ; 19b ghd. 113. 2a svetid; 4a bhadsvati, netari ; 13b avah ; 16a irdhuam; 17c uccha; 19d janayd. 114. 2c dyaje, §178; 3b mldhicah ; 4a rudardm, § 149 ii; 5d asmdbhya; 6b, 8c as 4a; lib irregular break. 115. 2c ydtra.
N. I 116-126. [These hymns are very slightly connected by references to the Pajra family, and differ greatly in metre ; see § 105 v. The first two hymns, and to a slighter extent 118 and 119 stand alone in the Rigveda in the regular use of iambic and cretic variations at the break side by side : see § 110 iv. The remaining hymns correspond generally to the types of the periods to which they are respectively assigned in the 'Table of hymns.']
116. 2c naasatyd here and frequently, the final vowel being often combined by Sandhi with the initial vowel of a word following; 6b aghdsua § 145 ii b ; 10c dyu; 14c utd; 16b rjrdsua. 117. lb lc Viratsthana verses ; 2d asmdbhya ; 4c long ninth syllable, easily cor- rected by interchanging rinlthah and ddmsobhih ; 14d rjarebhih, § 151 ii; 18c rjrdsua; 22c catalectic Bhargavi verse: correction is probably required ; 23d srutia. 118. 7a Sandhi at caesura, § 214 iii. 119. lb jlrdsua, § 145 ii b.
120. Both the text and the metre of stanzas 1-9 require emendation on a large scale : see § 244 ii. *10-12. The most modern passage in the Rigveda, recording the poet's gratitude for the gift of a
294 Metrical Commentary
motor-car (rdtha anasvd) : the extreme regularity of the metre is in striking contrast to the preceding stanzas : see also ^88.
121. la pdtaram is possible, § 149 iii ; 5c probably Viratsthana verse, but see § 149 iv ; 6c the same; 7a su-idhmd ; 7d pasu-ise', 8a hdrlhd, dual with Sandhi, § 128 ii; 8c irregular cadence; 8d vaatdpyam, § 151 i; 13c prdsyd (gerund); 15a probably ddsit, § 178; 15c bhajd.
122. la pdantam, § 142 iii a; 3a catalectic Bhargavl verse, § 227 iii b ; 3b probably apdaiu ; 4c the same ; 4d Viratsthana verse ; 5c the verse may be completed by interpreting dm as an abbreviation for d voceya ; 6c Rest at the fourth place ; 6d supply srotu nah at the beginning of the verse; 8c pajrebhiah probably; 8d mdhya ; 9d hotardbhih is possible, § 149 iii; 10b nardam: irregular cadence; lOd perhaps suurah, § 151 i; 11a irregular cadence; 12a Viratsthana verse; 12c irregular cadence; 13c istd-asva or istdma, cf. § 145 ii&; 15c irregular cadence; 15d suurah, § 151 i.
123. 8a adyd; 12d nd mud ; 13c adyd. 124. 4a upa; 5c u ; 8a jydyasyai has probably replaced an older form jydyase which served also as the feminine : cf . durvdsase vii 1 1 9a ; 8b -cdksia ; 1 0c ucchd ; 13a dstodhuam. 125. 3a adyd ; 3c pdyayd ; 3d vardhayd. 126. 4b srdyinim; *6a hypersyllabic dimeter verse; 6c mdhyam, cf. *i 50 13c.
O. I 127-139. [These hymns, outwardly similar, are very different in their internal structure. 127 and 129 are of very archaic character: on the other hand 136-139 are very regular. The later hymns are also marked by metres in which the dimeter verses greatly preponderate, and by occasional Brhati and Tristubh verses. The authorship is not known. See further § 201 ii.]
127. See § 242 i ; la ddsuantam, catalectic verse ; If hypersyllabic opening, which requires correction, § 217 : perhaps bhrajdm for viblirdstim, cf. ix 98 3d ; 2b jydyisthani : caesura after third syllable ; 2d dydam ; 3b Rest at the fifth place ; 3e vdnam 'va ; 4b ardnl as plural is probable, see § 219; 5e vllji, mrina plural; 6c d art-; 6g, 6h pdnthaam ; 7a extended Viratsthana verse ; 8b sdrvdsaam ; 9a, 10a as 3b; lOd catalectic verse; He probably catalectic verse. 128. 2g bhadr, § 151 i; 5e vdsunaam ; 7f, 7g catalectic verses; 8a vdsudhiti probably, § 166 iv.
129. See § 242 i; la Viratsthana verse (indra type) ; If omit anavadya and read as Viratsthana verse ; 2a s'rudhi ; 3d tilbhya ; 4b visvd-dyum ; 5a nama; 5d ndyisi, § 142 iii b; 5f, 5g catalectic verses; 6a bhavia, § 151 ii; 6d sd; 7a Viratsthana verse rather than hotarayd; 7e d %m; 8a prd-pra, § 175 ii : catalectic verse; 8d, 8e probably catalectic verses ; 8f a trimeter verse should be restored ; 9a perhaps rayina, § 139 i; 9b ydhi ; 9f Bhargavi yerse, probably requiring emendation, § 227 ii b ; 10a perhaps rayina ; 11a pdhi, verse with double Rest, £ 226 iv a ; llg read tud and omit jijanat, § 152 i.
130. Id tud ; 2a Viratsthana verse (indra type): svandm, % 140 iii ; 3b vaydh, § 151 i; 4b, 4c siat ; 4d vividnd ; 6a vasuydntah, § 168 iii; 10c Pentad verse, § 227 i b; lOd probably dhabhih: Rest at fifth place. 131. 3b ydvia, § 151 ii ; 6a utd ; 6f Viratsthana verse; 6g srudhl; 7djahi. 132. lb sasahydma, § 169 iii; 2b two syllables are wanting; 6d, 6e catalectic verses.
i 121-*163 295
133. *l-5 see § 88 ; *lc ahhivldgyd ; *2c chindhf; He i syllable
is wanting; 6a hypersyllabic. verse, unless irudki is a -loss: Jmlrhi \ 6f hypersyllabic verse, § 224; 7c devdnaam; 7e ,lrrf.ih, § 167 iv. 134. 2d perhaps irddhiai, § 146 ii ; 3d catalectic verse; 3f eakfayd : 5g asurydt, § 135; 6a esaam ; 6b somdnaam ; 6d w£«. 135. lb I; at the fifth place; 2f vdhd; 4f Gautami verse, cf. § 226 iii a, rather than candard ; 5b Viratsthana verse ; 5f indrdvdyu ; 8a vaJtai/ir, j 170 i; 9a yayw, § 170 ii/ 136. 3d ft&fe ; 4e adyd; M ji6k.
138. 2f Gautami verse; 3f hybrid verse; 4a sii ; lb, !«■ njdsaa.
139. lc indravdyd; 5c ddslt, § 178; 8a mcf sd ; lib the insertion of ye at the beginning of the verse is metrically desirable.
P. I 140-164 [The collection is similar in character to Mandala vii.
See § 107 ii.]
140. la vedisdde, § 166 ii ; 4b ujuvah requires correction, perhaps to j ujuvah or dhljuvah; 7b evd; 10c probably avdsia; 13a abhi; 13c perhaps to be corrected, as to gdvyam ydnto ydviam dlrghd aha. 141. 8a Rest at the fourth place : yaatdh; 10c nu ; lie rasmimr }va with Sandhi ; 12a sudiotmd, § 151 ii : jlrd-asvah ; 13a simivadbhih, § 168 ii. 142. lb adyd; 2a the semi-cadence here and in 7a indicates a transition to Epic Anustubh ; 8d adyd. 143. 7c didiat. 144. 4d purd adverb, § 160 i ; 6d asate. 145. la jagdma ; lb sd, § 175 i; 4b yujia; 5a, 5d Rests at the fifth place; 5a dpia. 146. 2c wrvidk : 3c anapdvrjyd, § 167 i. 147. lb Gautami verse; 2c tnah the second time; 3d nd ha, § 175 ii ; 4c sd', 5a sahasia. 148. lb visva-pusam, cf. i 162 22b : cf. H. Oldenberg in tiacred Books of the East, vol. xlvi, p. 174; 2c Gautami verse; 3a nu ; 4b Rest at the fifth place; 5a perhaps add yam at end of the verse; 5d probably Viratsthana, but see § 142 iii b.
149. 2c Pentad verse; 3a Viratsthana verse; 3c suurah, § 151 i, satd-atmd ; 4a Pentad verse ; 4c apdam is doubtful here ; 5a verse with double Rest, § 226 iv b. 150. For the metre see § 242 ii ; la dctfudn. 151. la simid; 3a rodasoh, § 151 iii; 4a asurd, § 174 ii ; 4d gdam, §142 ii, yufijathe, § 170 i; 6b mitrd...vdrund, § 166 i; 8d dsathe; 9a dadhathe, dsathe. 153. la Pentad verse ; 2a Viratsthana verse ; ±c utd. 154. Id trayidhd; 3a Viratsthana verse. 155. la pdantam, § 142 iii«; lc perhaps restore sdnavi: delete the comment on p. 144; 3d see § 178; 4d Sandhi at caesura; 5b abhikhydyd: Viratsthana verse. 156. lc ddha.
157. 3b jlrdsuah probably. 158. lc aucathid probably, § 136 i; 3b Rest at the fourth place. 159. 2a" Rest at the fifth place.
*161. lc nindima; 8a hybrid verse with irregular opening, or (more probably) with irregular Sandhi idbdakdm, § 130 iv; 8d madayddlami : 1 2a sammi lyd ; 12c asapatd; 14a bhumi' dgnih ; 14c Rest at the fifth place. *162. 4a havisydm (y cons.); 6d utd; 7a probably snuht ma adhdyi, § 151 iii; 8b slrsanya (y cons.); 14b probably four syllables are missing, read as 16c; 15a tud ; 16c contains no trace of rhythm, and needs correction: read ydt samd&nam ydc'ca pddtnfam <irvatah;
296 Metrical Commentary
*164. 7 a i, § 178; 13d eva; 16c as 7a; 17a, 23d hybrid verses: in 23d perhaps omit it; 32a sd; 35b Rest at the fifth place; 38c perhaps visu-ancd, § 166 iv ; 40c addhi ; 40d pibd ; 45d hybrid verse ; 48c Rest at the fifth place.
Q. I 165-190. Mana collection. [One of the most homogeneous collections in the Rigveda : but 173, 174, 186 have the archaic character more strongly marked than the rest of the hymns. The late hymns 170, 179 have found their way into this collection in consequence of its ascription to Agastya. See § 106 iii.]
165. 3a Viratsthana verse {indra type) ; 6a svadhd (final -a shortened before following vowel): but dsit is a very doubtful form in this hymn, and more probably we should read aid and then svadhd ah ; 7a bhuri (plur.); 8d cakard, § 158 i; 10b nu ; lib snitia: cakrd ; 12c -cdksid; 13b ydtand; 13d bhutd; 14b Viratsthana verse; 14c varttd; 15c a dative vaytiyai seems required. 166. lc aidhe 'va, Bollensen O. and O. ii 473; Id yudhe 'va ib. ; 12d drddhuam ; 13b purusdrhsa appears to be a proper name, § 160 i. 167. la Viratsthana verse {indra type) ; lb hybrid verse; lc Rest at the fourth place: raydyah, § 139 i; 2b brhddivaih, § 178; 2c ddhd ydd ; 4a aydasah § 151 i and yavlyd § 173 ii are doubtful; 6c Rest at the fifth place; 7b Rest at the fourth place; 8a padnti ; 8b aryamd ; 9a nahi nu ; 10a adyd: prdyistha, Viratsthana verse ; 10b sudh; 1 Od nardam.
168. lb omit u, giving a catalectic verse ; lc rodasoh, cf. ix 22 5a ; 2c apdam ; 3a trptd-arhsavah ; 5c dhanua-cyutah, § 147 : isdam; Qhdyayd; 6c cyavayatha. 169. lc marutaam; 2c Rest at the fourth place; 4c cdkdnanta, § 169 iii; 5b Viratsthana verse: but see § 142 iii b ; 5c su; 5d gdtuyanti, § 168 iii; 6c ddhd: hybrid verse. *170. la sudh ; 4a catalectic verse.
171. Id dhattd) 6a sdhyasah is probable. 172. la catalectic verse ; 3a nU ; 3b vriiktd. 173. 2c catalectic Bhargavi verse, § 227 iii b ; 3a sddmd ; 4a requires correction, § 225 ; 4c double Rest, § 226 iv b ; 4d Viratsthana verse; 5b probably Rest at the fourth place, but see § 151 i ; 7 c irregular cadence : the resolution of o in ksonih is very doubtful, but see § 151 i; 8c bhuut; 8d yddl ; 9b nardam; 11a Viratsthana verse {indra type); lie perhaps tatrsdnd, § 169 iii ; 12b avaydjah, § 151 iii after Th. Benfey ; 12c perhaps yavlyd, § 173 ii.
174. la Viratsthana verse {indra type); 2c Rest at the fifth place: anavadya drndh ; 3b dydani or didm ; 3d Pentad verse, or read <Iii ma a; 4a nu \ perhaps sdsmi, § 178; 5a vdhd, ; 5b vdatasya dsvd ; 6a double Rest, § 226 iv a : mitrd-lrun Grassmann : but emendation is rather required; 7b ksadm; 8c Rest at the fifth place; 9b Viratsthana verse; 9d caesura after the third syllable; 10a tvdm; 10b, 10c perhaps Pentad verses: otherwise nardam, sprdhdam. 175. 4c vdhd: catalectic verse ; 4d vdtasya dsuaih, § 151 ii, or perhaps vdatasydsuaih with long fifth syllable ; 6b mayo 'va. 176. 3b ksitlndam ; 5c catalectic verse.
177. 2c, 3a tisthd ; 4a devayd 'yam with Sandhi, § 130 ii ; 4d nisddyd: hdrlhd with Sandhi, § 128 ii; 5a sustutah (nom.) is probable. 178. lc Rest at the fifth place; 5c u.
180. 3c Rest at the fourth place ; 4a extended Tristubh verse ; 5b perhaps gdvah, § 142 ii, cf. i 181 8d ; 6c Rest at the fifth place :
i #164-iY 10 2!)7
vdatah; 9c probably sudsviam, giving an extended Tristubh verse, cf. 4a. 181. la prdyistha isdam; Id vdsudhitl, § 166 iv ; 5a extended Tristubh verse; 7b trayidhd; 8c pipdya ; 8d as 180 5b. 182. 2c vahathe, § 170 i; 3a dsathe ; 8c adyd. 183. 5c rjuyd, $ 168 iii. 184. la adyd; lb ucchdntidm; lc s<mta with -a shortened, § 174 ia; Id sudads-, § 142 v; 2a sS; 3a isukfte 'va, Bollensen ; 4a mddhui; 5b mdniebhih or Rest at the fourth place. 185. 9c bhdrl cid perhaps as adverb : 4sudads-, § 1 42 v.
186. 2c Pentad verse; 3a Rest at the fifth place; 5b caesura after the third syllable; 5c apdam; 6a tvdsta d; 7d nardam; 8c caesura combined with Sandhi ; 9a nti ; 9c ddhd ; 9d perhaps jrrusaydnta, cf. £ 168 iii; 10a prd u ; 10c vdatah; 11a wo We. 187. la may be restored thus: pitum nu u astavisam, cf. § 151 i; 2b tud; 4a tie; 6b devdnaam; 7c dtra ; 7d catalectic verse; 11a, lib probably need emendation. 188. 5a we should probably read vibhuh prabhfih, cf. § 166 iv. 189. la ndyd ; 2c Rest at the fifth place : puuh (§ 151 i) is more than doubtful ; 3a yuyodhi ; 4a pahi ; 6a ghd tudvdn ; 7d an irregular verse, both in the opening and the break. 190. 3d bhlmd 'raks-, with Sandhi at the caesura ; 6a supra-etuh, suydvasah ; 7c Rest at the fourth place.
*191. la, 3a, 5c catalectic verses ; 6a prthvi, § 151 iii; 6c catalectic verse. 10-13. The metre here is disturbed, see § 194. In 10c the sense requires that no should belong to the following verse, and in lOf the unaccented tud is clearly out of place at the beginning. In 13c there is a further disturbance owing to the words are asya being placed earlier in the verse. 14a heptasyllabic verse; 16d hyper- syllabic verse.
Maiidala II.
[The collection as a whole is of the normal period, and the metre is very regular, Jagati being prominent. The few archaic hymns, such as 4, 11, 19, 20, 22, 41 16-18 seem to represent the original collection of the Grtsamada family. See § 109 ii.]
1. lb adbhidh; 7d probably ddma d as in 8a, § 151 iii ; ta dvidhat, § 169 vi; 8d no caesura, § 214; 13a aaditydsah, § 150; 14c suadanta, §145 vi. 2. la Rest at the fourth place, yet strange in this hymn : vardhatd; 2d bhaasi, § 142 iii a ; 7b srutiai; 9b pipdya: brhddivesu, §178; 11a sahasia. 3. 3c valid', extended Tristubh verse; 6a sadhu, §§ 160 i, 173 iii; 6b vayie 'va ; 6c catalectic verse ; lib it; lie valid. 4. la -diotmdna?n, § 151 ii; 2a apdam; 2d probably devdn as gen. pi. (cf. vi 11 3b, 51 2b), and jlrd-asvah; 3b Rest at the fourth place: ksesidntah; 4a suydvaseva, § 151 iii; 5d Rest at the fifth place; 6a perhaps tatysand^ § 169 iii; 6b probably svanista, § 151 iii; 6c krsnd-adlivd ; 6d diauh ; 7b suayuh ; 8b Rest at the fourth place ; 8d su-apatydm : hybrid verse ; 9c Rest at the fifth place.
5. 7a sudh sudya. 6. lc u sU; 5b anarvdnam, § 170 ii c; 7c jdnyo 'va. *8. 6a Epic Anustubh semi- cadence : see p. 42.
9. 2a u; 2d didiat; 5a vasavydm, §135; 5d krdhi: su-apatydsya.
10. 2d drum (dual) with hiatus ; 5a prati-dncam.
298 Metrical Commentary
11. For the metre see § 250 i; Id, 2b Tristubh verses; 2c perhaps dmartam ; 3a it should probably be omitted : nU ; 3b rudriyesu ca requires emendation, the omission of ca being the first step; 4e probably omit indra; 5c utd : tastambhudmsam, § 145 ii c; 6a as 4c ; 6b stavd, § 151 iii; 7b asvaristdm, § 151 iii ; 7d Rest at the fourth place; 8d Tristubh verse; 9d, 10b Tristubh openings; lOd Rest at the fifth place; 12b Tristubh verse; 13c as 9d ; 15a vydntu in nu ; 15c double Rest ; 17a omit it ; 17b as 9d ; 17c prindnd ; 17d ydhi : Pentad verse ; 19a, 20a as 9d ; 21 concluding verse borrowed from ii 19.
12. 4c jigivdn, £178; be sd Wydh; 5d dhattd; 7c usdsam, § 170 ii a. 13. la tdsidh, § 146 i; 4b rayim }va; 8d adyd; 9a d 'diah, § 145 iii; 13a vasu, § 170 ii/; 13b vamvydm, § 135. The last stanza properly belongs to 14. 14. Id juhotd; 2b asdnl W, § 139 iii ; 2c bharatd; 3d urnutd ; 5b, 5c Rests at the fourth place; lib ksdmia. 15. 5c utsndya ; 7a Rest at the fourth place. 16. 5a catalectic verse. 17. 5d secondary caesura, § 213 ii: dydam; 6c perhaps sayddhiai, § 146 ii ; 6d on dvrnak see § 169 vi; 8d krdhi. 18. la perhaps read ndva ayoji ; 2b utd tritiyam ; 2d sd. The cadence is probably, but not certainly, that of Jagati, cf. i 1 40 2c ; 3c md sd ; 4a dudbliydm ; 5b hypersyllabic opening, §217; 5d d sastid; 5d, 6a perhaps saptati, navati, cf. $ 139 iii; 7c vihdvia ; 8c jydyisthe ; 8d jigivdn, § 178.
19. lb svdndsya, § 140 iii: Viratsthana verse; 3a Viratsthana verse (indra type); 3d perhaps dhnaam; 4a sd; 5a requires emendation ; 5b probably sdtvd, § 178; 7b perhaps dravasid, § 151 ii 20. la sti ; lc didhiatah ; Id no caesura, £ 214; 2a Rest at the fourth place, if we read tudbhih : but more probably a double Rest, cf. § 226 iv ; 2b -pah asi with Sandhi, § 130 ii; 2c Viratsthana verse; 2d Rest at the fourth place ; 3a double Rest of an irregular type, § 227 iii c ; 3b nardam ; 5a sd; 5c usdsah, £ 170 ii; 5c sdtvd, § 178; 6d Viratsthana verse; 7b ddaslh (§ 151 i) is here unlikely ; 8a tavasydm; a change of accent is probably required, § 135 ; 8b Gautami verse; 8d hatvi is suspicious in so early a hymn : by restoring ghndn the metre becomes correct : but see §§ 130 i, 219. 22. For the metre see Ch. ix, App. Nos. 87, 79 and 84.
23. 2a asuriya; 7 b mdrtiah, § 151 iii; 8a tanunaam ; 9b vdsu (plur.) ; 13a catalectic verse; 14c krsvd. 24. 4a dsmdsiam ; 5a bMvltud; 5b perhaps insert vi before durah; 6d u; 14b kdrmd, pro- bably plural. 25. 3a simivan ; 5b sdrma. 26. 2a vihi ; 4a dvidhat, § 169 vi; 4c rdksati, § 175 i. 27. 4c asurydm, § 135; 6c probably dditidh ; 10c rdsvd ; 13a suydvasa; 15d sadhu, with -u of dual shortened before a vowel, § 174 i c; 16d the verse seems to require rearrange- ment, as nrdv dristdh sdrman d siama. 28. 6a dpa su : bhydsam, §151 iii; 7b bhrindnti. 29. la dadityah ; 5a mimaya.
30. lc yaati, § 142 iii«; 5a ksipa ; 9b abhikhydyd ; 10b vlrya (y cons), §135 a; 10c jiok; lid srutia. 31. Id hhivant; 4c brhadivd ; 5b apijti, see § 167 v ; 5c prthivl ; 7c irregular double Rest (§ 227 iii c) requiring emendation. 32. Id vasuyu, § 168 iii; *5b, *5d catalectic verses ; *7c vispdtniai.
33. Id here and often rudard, a form probably invented by the poet, see § 149 ii; 4c arpaya; 7d abhi nu ; 8c for the caesura see §213 ii; 9d asurydm; 13c dvr/iita, § 175 i. 34. 3a, 13c dtia only in
ii 11 lit 39 298
this hymn and Mandala ix, § 151 ii : 3d ydthd. 35. 5a avyath\ 6a svdr, § 135, but perhaps rather extended Tristubh verse; 7h pipdya; 7c, 13c sd ' pdm with Sandhi. 36. la extended Pentad verse, § 227 iii a : like 24 5b above, it calls for emendation.
37. lc bharatd; 3c abhigurid. 38. 5a ddria; 7a dpia; 9c nd 'not' with hiatus; 10b gndaspdti, § 142 i. 39. la grdvdnd 'va with Sandhi, and so frequently in this hymn; 3c vdstav usrdh, § 170 ii e. 41. 3a adyd ; 3b indra-vdyu ; 4a perhaps mitra varuna ; 5c dsate ; 7a sd, naasatyd ; 7b dsvavat ; 8a, nd ' not ' with hiatus ; 10b abhi, § 167 iii ; 12a dsabhiah ; 16a dmbitame is probable, § 166 ii ; 16b devUame as 16a , 17b devidm; 17c matsud; 18a brdhmd (plur.) ; 18c mdnmd. *42. 3a krauda. *43. 2b brahmaputro 'va ; 2c hybrid verse : apitid.
Mandala III.
[This collection is singularly homogeneous : it is also very regular, but characterized by a fairly frequent use of the VasisthI verse. See §1101]
1. lc didiat ; 2a cakrmd; 6a vavrdja ; 15d ddmia ; 16b dhdnid ; 23c sicf£. 2. 7c s^; 8a namasydtd; 8b ddmia-, lid msi^ (plur.). 3. 7a su-apatye: dyavi is probable. 4. 9b siasva, § 148 vi. 5. 2a /?r« id u. 6. lb nayatd ; 3a diauh ; 6c m^d : probably Viratsthana verse ; 10c prdcl 'dhv-, § 128 ii : but prdk or prdcd as an adverb is more probable. 7. 5d gdnia ; 6a, 10c i^d. 8. 3b prthividh; 7c wanto ; 9a srayiiiisah. 10. 3c scf '(/ne with Sandhi. 11. 6a probably abhlyujah, § 167 iii. 13. lb catalectic verse ; 7a rdsvd. 14. 2b tiibhya ; 6a tudt. 15. 5a sdrmd ; 6a plpayO. 16. For the metre see § 94 viii ; 5b perhaps aviratdya (neuter); 6c srjd, and see § 213 ii. 17. 3d bhavd. 18. 2a tdpd; 4a sdtvd, % 178. 19. 3b siksd, su-apatyd; 4c vahd.
20. la usdsam, % 170 iia; lc srnuantu, § 147; 2c d; 5d dditydn, giving irregular break (§218 vi), followed by short eighth and tenth syllables : this seems more probable than reading aaditydn and then Jagati cadence. 21. 5c stokdh scotanti te vaso is a probable arrange- ment. 22. la sd and perhaps ydsmi; Id sasanvdn. 23. 4a Rest at the fifth place. 24. lb dpdsid. 26. la nicdyid. 27. 2c perhaps dhitdvanam, § 170 ii ; 14a vfsd ; 15c didiatam ; *28 see p. 42 ; *29 see p. 42 ; 2a ardnioh ; 4b prthividh ; 6c perhaps dnlvrta, § 167 i ; 8a sidd ; 9b itand.
30. 4d nimite 'va; 13d karma (plur.) ; 15a dfhyd; 20c suarydvah, tdbhya; 21c divdksd 'si : for the Sandhi see § 130 ii ; 2 Id sd. 31. 2a tdnua; 9c nu ; 13a yddl : 13b rodaslyoh, § 173 ii ; lid sd ; 15a pnru- candrdm ; 20c extended Tristubh verse, unless we correct by reading indra tvd?h nah. 32. 6b for the possible Sandhi see § 1 30 iii : but sdrtava u is probably the right reading, § 171 v ; 8a kdrmd ; 15a sudhii, § 145 vi; 16b nd 'not' with hiatus. 33. *13a Epic Anustubh semi- cadence.
34. 6b kdrmd; 7b devebhiah; 8b sasanvamsam ; 9d prd 'nam. 35. 3a upa; 7d tiibhya; 9d, 10a pibd. 36. Id mahdbhih, §178; 6b rathio 'va ; 9a bhard. 38. 2d nd ; 5a jidydn ; 7c asuriyam, 39. 8c bhdrl cit probably.
300 Metrical Commentary
40. 2b haryd ; 3a dhitdvanam, § 170 ii c; 5a dadhisvd. 41. 6a mandasva. 43. 5c me 'rsim : for the Sandhi see § 1 30 i ; 7a pibd. 44. 2a usdsam, § 170 ii. 45. lb yaM ; 2c hdrioh. 46. 5a -didvd, § 145 vi. 47. 2c jahi; 3c tud. 48. 3a upasthdyd. 49. la perhaps ydsmi, § 178 ; 2a raz; 2d %%, § 178.
51. 10b rddhdnaam. *52. See p. 43; 6c tud; 8a bharatd. 53. 2d no caesura, § 214; 4d dhanad, § 147 ; 11a pretd ; lie extended Tristubh verse ; 16c catalectic verse ; *17c pdtalye (y cons.), § 135 a; *22c Epic Anustubh semi-cadence. 54. lc ddmia ; 4a utd ; 4d prthivl ; 17b bhdvathd ; 20c aadityaih, § 150. 55. la usdsah, § 170 ii; 2a ma; 3b didie ; 17b s<f 'nyasmin ; 18a, 18b f»4& 56. 3b tri-udhd is not required by the metre, but seems probable. 57. 5d sddayd : ca, § 175 ii ; 6d rdsvd.
58. 6b apparently jahndvidm, with irregular cadence. 59. 2d hypersyllabic verse, § 224 : Sandhi combination of all the words in the first part of the verse is unlikely. 60. 5d matsud ; 6b sdcid. 61. 4b probably usd d ydti. 62. lb tujia; 2a, u; 4c rdsvd ; 7a pusan, but see §177 iii ; 7c tubhya ; 15a dyu ; 16a abhi should probably be read for d, a heptasyllabic verse being improbable in this collection : perhaps mitra varuna.
Mandala IV.
[This Mandala is also of a homogeneous character, except so far as the metrical standard varies between those of the strophic and normal periods. Lyric verse is rare. See § 109 i.]
1. For the metres of stanzas 1—3 see Ch. ix, App. Nos. 75, 62 and 83 ; le janatd ; 2a hypersyllabic verse, § 224, unless ague be omitted, § 152 i: vavHsud; 2c jy ay istham ; 3a vavrtsud ; 5c yaksvd ; 5d mfllkdm; 7d probably aridh, § 151 ii ; 9c dilria; lOd diauh; 12d for the Sandhi see § 127 b ; 13a manusyah (y cons.), § 135 a ; 15b gdah, § 142 ii; 17b devidh ; 17d rju (plur.); 19c Rest at the fifth place; 20a, 20b visvesaam.
2. lc mahind, § 151 ii; 2d the verse as it stands has a Rest at the fifth place and a long ninth syllable : but sukrdn should probably be corrected ; 4d u, valid ; 5a the cadence becomes regular if yajndh and asvi are interchanged; 7d dadsvdn, §142 v; 8d ddsudmsam ; 10c hotard, § 149 iii; lie su-apat- ; 12b duria ; 12c dfsia ; 13c bhard ; 18c mdrtdnaam; 19c sucandrd; 19d caesura after third syllable.
3. 3b sumflikdya in spite of the metre, §178; 4a sdmiai; 5d Gautami verse ; 6c ndasatydya : yakse, A. Ludwig ; 6d probably a Gautami verse, as 5d, rather than with rudardya : but see § 149 ii ; 9d probably Rest at the fifth place: pipdya ; lib Pentad verse; 12c Gautami verse ; 13b ma for md before vowel ; 13d Pentad or Gautami verse : 14b Rest at the fifth place : prindndh ; 14c rujd ; 16a tubhya ; 16b ni?iid, § 151 ii.
4. lc Rest at the fifth place: drundndh; Id vidhya is probable ; 2d, 3a srjd ; 8 b sdm devdtdtd, H. Oldenberg ; 12d paantu is doubtful, on account of the rhythm ; 13d nd ha, § 175 ii ; 14b as'idma, § 147 i ; 14c siidayd. 5. 2a mdhya; 5a vidntah ; 5d ajanata, § 175 i; 14c ihd,
iii 10-iv 39 301
§ 175 ii. 6. la su; 2c perhaps urdhudm ; 3c navajdah, § 142 i; 4c pasupdah ib. ; 6d tanul, § 158 iv ; 9b rju-dncah; 9d ahuanta, § 142 iii. 7. lc perhaps viruructih, § 169 ii ; 11a trs4, probably plural, cf. § 160 i ; lid caesura after the third syllable. 8. 2a veda : perhaps vdsudhiti, § 166 iv; 6b sasanvdmsah. 9. la mf[d ; 2c visvesaam ; 3a sddmd (plur.); 4b utd.
10. For the metre see § 249 iii; Id rdhidma, § 147 i ; 4c perhaps dasema, § 178. 11. 2d rdsvd. 12. 6c evd. 15. 7a catalectic verse ; 9a, 10a deva with -a shortened before vowel, § 174 \a. 16. lib hdrioh and probably isdnah, §178; lie gddhia; 12c mrnd ; 15a Rest at the fifth place: vasuydntah, § 168 iii; 20b probably Rest at the fifth place; 21a nu u.
17. la tubhya; lc Rest at the fifth place; 15a extra verse belonging to 14. *18. 2a durgdham etdd with Sandhi, § 130 iv; 2d tuena twice; 4c nahi nu ; 5a avadydm 'va; lib tud. 19. 4b vdar, § 151 i; 5b extended Tristubh. 20. la the resolution duurdt (§151 i) is improbable : durdt and indrah may well be interchanged ; 4a u sU ; 4c pdah ; 5b sfma ; 6b evd.
21. This hymn contains several Viratsthana verses, which are unusual in this Mandala : namely 6c, 7a, 7c, 10a; Id diauk ; 2a stavathd ; 5c Rest at the fifth place, unless we transfer d to the beginning of this verse ; 6a yddl ; 8b apdam ; 9a sukrtd, dual with Sandhi. 22. 3a devd \\ -tamah ; 3b mahdbhih, § 178; 3d didm; 4b diaiih; 7b irregular break; 9d jahi. 23. 6b bhrdtardm, § 149 iii. 25. l&'adyd: Rest at the fourth place; 2b vdstav.
26. 4a su ; 4b caesura aiter the third syllable ; 5a yddl. The violent disturbance of the metre which extends from 6b to 7a must be due to some corruption of the text. The original may have run some- what as follows : pardvdtah sakuno mddhumantam | somam bharad devdvdn dddrhdno \ diva addya uttardd amUsmdt \\ dddyd somam abharac chiendh : for devdvdn see § 168 ii, for siendh § 145 vi ; 7d Pentad verse. 27. 3b yddl ; 3c jydm with y consonant stands here alone in the Rigveda proper, § 140 iii ; 4a indravatah, § 168 ii. 28. 3c krdtud is probable, but very rare, § 151 ii ; 3d sdrud, § 139 v; 5d perhaps ksdah, § 142 i: tdtrddnd, § 169 iii.
29. There are many irregularities in the break, namely in Id, 2c, 3a, 3d, 4c. 30. 3a tud; 3b perhaps yuyudhuh, § 169 iii; 8d extra verse; 9b catalectic verse; 14a irregular cadence; 20b dsiat ; 24d extra verse. 31. 3a abhi su; 4a probably abhi, § 167 iii; iavavrtsud; 5b ha, § 175 ii ; 6c tve ; 7a tvdm, long fifth syllable; 11a ihd, § 175 ii : vrnlsud. 32. 3a long seventh syllable ; 4b tud ; 6a bhuydma su tuavatah; 10c abhitid ; 14b matsud; 23a Jcanlnake 'va; 23c sobhate, § 170 i.'
33. 7a duddasa; 10a caesura after the third syllable: but, as this is strange in this hymn, we may perhaps read ye medhdyd hdri ulilui. 34. Id agmata, § 175 i ; 3d agriydh utd combined, § 130 ii ; 4c pibatd ; 4d see § 178 ; 6d pdtd. 35. 2d vicakrd, § 158 i; 5a sdcia 'kartd; 5b, 5c sdcyd '/carta. 36. 4a cakra, § 158 i; 8a dhisdndbhiah. 37. 4b Viratsthana verse; 7b citana, § 159 iii; 8b ndsatia, § 150 ii ; 8d Sastd.
38. la utd, § 171 iv: ddtard, § 149 iii ; lc ksetrdsdam, § 142 i; 4a gddhia; 5d ca dechd ; 6b srdyinibhih. 39. 2d perhaps tdrutram,
302 Metrical Commentary
§ 169 v; 4d perhaps indaram, § 149 i ; *6c surabhi (plur.). 40. la nti; 2c Rest at the fifth place: 4c -tdvituat, §§ 151 ii, 169 iv; 5b vedlsdd, § 166 ii.
41. 2d mahdbhih ; 3a dhdyistha ; 3b sasamanebhiah ; 5b vrsabhd 'va ; 10a rdthia; lib indrd . . .varund, cf. § 166 i. 42. la rdstardm, § 149 iii ; 2a mdhya ; 2b asurydni, § 135; 5a, 5b mdam; 9a vaam; 10a sasan- vdmsah seems necessary, though against the metre: see § 178. 43. lc long ninth syllable; 4a bhuut or bhuvat ; 4d probably we should read mddhul and omit nah ; 5c mddhul ; 7d naasatyd. 44. 5d Viratsthana verse. 45. 2d tanudntah, § 147 ; 3b yuiijathdm ; 5b vdstav, § 170 iie; 6b as 2d.
46. 3b etc. indrdvdyu. 47. 4d indrdvdyu. 48. This hymn contains several catalectic verses; la hotara, § 149 iii; lb perhaps aridh, § 151 ii; lc perhaps candrd (instr.), § 84 A 1 ; Id ydhi ; 3a vdsiulhitl, § 166 iv. 50. 2c Pentad verse; 11a indara. 51. 2a u ; 2c dudrd, § 145 vi; 10c siondt. 52. 2a citra with -a shortened ; 4a tud.
55. lb trdsithdm, § 170 i; 4c it; 5b probably avari, § 151 ii ; 5c pdat ; 6b dpia ; 6c extended Tristubh verse ; 8a vasavydsya ; 8c asmdbhya. 56. la: the latter part reads prthivlhd jydyisthe : for the Sandhi see § 128 ii; 3d sdcid ; 4a perhaps brhdbhih, § 178 ; 6c uhidthe, § 147 i. *57. 5a jusetlwim is probably a gloss ; 6b tud. *58. See p. 43 ; 3b due ; 5a hfdia ; 9a kanyah (y cons.), § 135 a : or kanidh 'va ; 10c nay aid; lid catalectic verse.
Mandala V.
[The hymns in Anustubh with occasional extra verse stand alone in the Rigveda, and appear in the main to constitute the original Atri collection. In these hymns hiatus is extremely common. The trimeter hymns agree closely with the second Mandala in character, only a few bearing indications of early date. See §§ 105 i, 109 iii.]
1. 11a adyti; lib tistha; 12d uru-dncam, §178. 2. 12e extra verse. 3. 10a bhdri ndmd, § 159 iv. 4. 6b sudyai; 7a Pentad verse : ucdtliaih is an attractive correction, § 151 iii. 5. 7b perhaps hotdra, § 174 ii ; 10b irregular cadence: perhaps read ndma guhid ; lie devebhiah. 6. 2a sd; 5d tubhya ; 6a prd u; 9c utd : pupuridh, § 147 i; 10a evd with hiatus; lOd asu-dsviam. 7. 2a kutra; 5a smd; 7c hiri-smasdruh, § 151 iii ; 7d hypersyllabic verse, § 191 iii; 8a smd ; 8b svdditir 'va, § 129 ii ; lOd, lOe sasahidt, §§ 147 i, 169 iii ; lOe cata- lectic verse. 8. la perhaps rtaydvah, § 168 iii. 9. 2a dadsvatah; 3a, 4a smd-, 7a abhi, § 167 iii.
10. Id pdnthaam ; 2c tue, § 173 v; 4d yesaam ; 6a nu u; 7c vibhfimham, § 166 iv. 11. Id -ebhiah. 12. 3c veda. 13. 2b adyd ; 5c rasvd. 15. 5a ml; 5c Pentad verse. 16. 3a maghdvanah or perhaps maghdvanah ; 5a nu u. 17. 3a va 'sd u : the Sandhi is unusual, perhaps read asya 'sail vd u, cf. §§130 iii, 171 v; 5a, nu u.
18. 3c yesaam ; 4b pdanti ; 5b dsvdnaam ; 5e extra verse : nfndam.
19. 1,2 Trochaic Gayatri ; 5b vayUnd appears to be a gloss on bhdsmand, § 152 i; 5c, 5d catalectic dimeter verses; 5e -sthdah.
21. 3c tud. 22. 3a tud ; 3c probably vdrenyasya with y cons.,
iv 40-v 51 303
§ 137 iii; 4b sahasia. 23. lb perhaps prasdhd, § 1G7 v; 3c vidnii. 24. For the metre see S 242 iii. 25. 3b suniatid; 7b area ; 7c, 7d tudt ; 8c utd. 27. 2d ydcchd; 6a sataddvani. 28. lb usdsam, § 170 ii a: perhaps uruyd, § 178 (H. Oldenberg) ; 3a sardhd. 29. 5a tiibhya ; 8c ahuanta, § 142 iii 6; 13a kathd nit ; 14d perhaps tdviseh, § 170 iii; 15b ndvia, § 151 ii.
30. 3d mi ; 4d probably Viratsthana verse ; 5b srutia; 6a perhaps tubhyam id; 6b sunudnti, § 147 ; 7c dtra ; 9c uMt£ with final shortened before vowel, § 174 id. *15a gdvia, § 151 ii. 31. 2a dravd ; 6c probably sdktivah, § 168 ii : rodasl 'bhe, § 128 ii; 13b md. 32. 3a
33. la didhie; lc Rest at the fourth place ; 2b catalectic Bhargavi verse, § 227 iii b; hdrlnaam; 2c as lc; 2d prd Widh, § 145 vi; 3b dsan; 4a Viratsthana verse (indra type). 4c caesura after the third syllable : the verse becomes regular if tatakse is placed at the end ; 4d apparently daasdsya : extended Tristubh verse ; 5a as 4a ; 5b yaatdh ; 6a -enyam (y cons.) : tue or Viratsthana verse; 6d tuvl-, § 166 vi 6 ; 7a perhaps read evd na indra dkavdbhir uti ; 10a Rest at the fifth place is probable. 34. lc sunotana. 35. 2d su ; 8a indra ehi.
36. la Viratsthana verse (indra type) ; 5a tud. 37. 4a ydsmin. 38. 3b catalectic verse; 4a utd; 5c, 5d sugopdah. 40. lc etc. vfsann, § 177 iii; *7a, 7c Rests at the fifth place, but see § 151 i; *9a Epic Anustubh semi-cadence.
41. This hymn contains numerous Rests, words with resolved vowels, and examples of hiatus ; lc trasithdm ; 3a ydyistha (-a dual shortened) ; 4d dsu-asva- ; 5b irregular cadence; 7d ha} § 175 ii ; 8b Viratsthana verse; 9a requires correction, §225; 9b su-aitavah ; 10b apdam or Pentad verse ; lOd Rest at the fifth place; lib perhaps raydye, § 139 i; lid diaiih; 12c probably Pentad or Gautami verse; 13a mahatah or mahaah, see § 178 ; 14c candrd-agrdh ; 14d see § 170 iie; 16b perhaps Rest at the fourth place ; 16b, 16c decha-uktau ; 16d Viratsthana verse ; 16e Rest at the fifth place; 1 9a Pentad verse. 42. 2b hfdia ; 3&iraya; 4d sumati, § 139 iii; 15b yuvanyun is suspicious on account of the rhythm: perhaps yuvayuh ; 17a extra verse to 16; 18 borrowed from v 76.
43. 3b bharatd ; 4a bdhu, final -u being shortened before the vowel, $ 174 ic; 6b gndam, § 142 i; 6d vahd; lOd ganta; 13c gndah ; 14b Viratsthana verse. 44. 6a evd; 8d sd; 10b catalectic verse; *15a, *15b, *15c hybrid verses.
45. This hymn has many archaic variations; la visidnn, § 148 vi ; Id Rest at the fourth place ; 2b Viratsthana verse ; 2d- sthuna iva ; 3b mahtnaam ; 5a eta ; 8c asaam ; 9a yaatu, saptd-asvah. 46. 2b mdrutam utd with Sandhi, § 130 iv ; 2c rudardh, § 149 ii ; 4d tvdstd with hiatus ; 8a gndah, viantu ; 8b Gautami verse. 48. 4c yddi ; 5b cdru (plur.), cf. ix 70 Id ; 5c vidmd. 49. 3b vdstav usrrfh, § 170 iie; 5b probably caesura after third syllable : su-uktd-. 50. la nayituh, § 142 iii b ; 2a heptasyllabic verse; 2b ca with hiatus; 3c pathesthdam, § 142 i; 5b rdthasas pdtih, § 151 iii.
51. 12b suasti; 13a Bhargavi verse, § 227 ii b : the resolution adid can hardly be justified ; 13d rudardh, § 149 ii ; *14b, *14d suasti gives a better rhythm, and 4 should probably be read throughout; *14b
304 Metrical Commentary
probably svasti pathie, with long fifth syllable: but see § 135 ; *14c svasti with v cons., § 125 Hi a; *15a svasti : pdnthdm dnu with Sandhi, § 130 iv.
52. la sydvdsua, § 145 ii b ; 2d paanti ; 3c marutaam ; 4d pdanti ; 8c, 9a smd; 9a pdrusnidm; 10c mdhya; 14c dhrsnava ojasd with Sandhi seems unavoidable: see § 130 i; 15a, nu u ; 16a catalectic verse; 16b gdam, § 142 ii ; 17d gdvia, § 151 ii. 53. For the metres see §248 i; 4a vdsisu ; 8a ydtd ; 12a adyd; 13c dhattand; 14c vrstui.
54. 4c djathd; 6b kapanti 'va, § 129 ii; 6d cdksur 'va ib. ; 7d perhaps rdjanam, § 170 ii c ; 14b avathd ; 14d dhatthd, and as 7d. 55. 4c w&t ; 10a nayatd. 56. lc marutaam is doubtful; 3c simivdn ; 5c Rest at the fourth place; 7b sm«. 57. 2a vtisimantah, § 168 ii; 2c sthd; 7c krnutd. 58. 4a S™; 5d ma^f is probable, § 139 iii; 7b sudm.
59. 2b probably ndvdh, § 142 ii ; 5b yuyudhuh, § 169 iii ; 7a srdyiiiih.
60. 2c extended Tristubh verse ; 8b pibd.
61. 2a the probable reading is ku v6 'svdh ku abhisavah, cf. v 74 la : § 151 iii. Similarly in la ku is a probable correction for ke. 2b s'ekd, § 158 i; 5c sydvdsua-; 10a dhenundam; 16c yajiiydsah, § 135: but perhaps the true reading is yajyavah. 62. 2a su ; 3b mitrd rdjdnd, § 166 i; 9d jigivdmsah. 63. 6c vasatd. 64. 2c vaam, § 151 i; 3a asidm; 3b yayidm, § 142 iii a ; 4a perhaps mitra varuna, § 166 i; 4b dhayidm ib. ; 4d stoifndam or spuurdhdse, § 151 i; 5d sdkhlnaam; 7a ucchdntidm. 65. 5c tudtayah ; 6a mitrd ; 6d met 66. 2b asurydm, § 135 : aiate ; 6b mitrd, § 174 ii. 67. la deva is doubtful, § 174 ii ; Id dsathe; 3d pdanti; 5ab mitra .. .varuna, § 166 i. 68. 4c dew. 69. 2c tisrndm. 70. 4b bhujema. 72. 2a, 3a irregular cadence. 73. lc puru- puru- bhujd, $§ 160 i, 166 iv; 9a wf w, § 171 v.
74. la kua sthah ; the old form ku is curiously preserved in a verse where it cannot stand; deva with -d shortened, § 174 ia; 2b ndasatyd; 2d nadinaam ; 3b yunjathe, § 170 i; 6c nil u; 7a adyd ; 8b ydyistha; 10c, lOd vaam, § 151 i. 75. 2b ahdm sand requires correction. 76. lc rdthid. *78. 5b susyantidh; 9d jivantidh. 79. 2c ucchd. 80. lc nstisam, § 170 ii a. 81. 5d sydvdsuah.
82. lc srdyistham ; 4b, 4c probably require correction as follows : prajdvat saubhagam suvd \ dusvdpniam pdrd suvd. *83. See p. 43 ; la vadd ; 3a probably rathir iva (Lanman) ; 6b pinvatd ; 9d probably prthvidm, § 151 iii; 10c extended Tristubh verse. 84. 2c Epic Anustubh semi-cadence. 85. 6a nU.
86. la indrd-agni; 3b maghdvanoh or maghdvanoh; 5b, 5d deva with -a shortened, § 174 ia; 6a evd indrd-agnibhydm, heptasyllabic dimeter verse : or read indraya agndye. 87. For the metre see Ch. ix, App. No. 63 ; 3c yesaam ; 4c sudt ; 9a catalectic verse ; 9e sydtd.
Mandala VI.
[The original Bharadvaja collection was of the same metrical type as that of Gotama Nodhas, i 58—64, but of larger extent. Its general characteristics are described in § 106 iv. The archaic variations are most marked m the hymns 4, 10-13, 20, 24-26, and 63-68 8, but are also found to a smaller extent in many other hymns. The important lyric hymns 46 and 48 also belong to the original collection. Additions
v 52-vi 21 305
have been made at various times, and cannot always be clearly dis- tinguished : but a considerable number, especially amongst the Agni hymns, shew the metrical type of the cretic period.]
1. lc vrsann, § 177 iii; 3a vasavyaih, § 135; 9a sd ; 9d tuotah ; 13d vdsu. 2. 9a tid ; lib rodasiyoh, §173 ii; lie viht 3. 3d kutra; 4d, 6b caesura after third syllable; 6a vdstav ; 7b Viratsthana verse; 8a yiljia ; 8b as 4d : suebhih ; 8c marutaam. 4. 2d Rest at the tifth place ; 4b hiatus after -a and -«; 4c perhaps tudm ; 5a nitiktl ; 8d Rest at the fourth place. 5. 2a tve, puru-anlka ; 6a krdhl. 6. 4 b ksdam. 8. 3c cdrmani 'va ; 5d vrscd.
10. lb hypersyllabic verse, § 224, or omit agnini, § 152 i ; 3a pipdya ; 4a Viratsthana verse ; 4b bhaasd, krsnd-adhva : ddhd ; 4c bahu cit, cf. § 160 i; 6d gddhia ; 7a, 7b extra verses to stanza 6. 11. lc ndasatyd; 3a dhdnid : irregular cadence ; 3c caesura after the third syllable. 12. 2b, §120; 4a sd with hiatus ; 4c krdtud probably, § 151 ii ; 5b see § 151 iii; 5d dhdnud, § 147 ; 6a double Rest, § 227 iii c; 6c yaasi: irregular cadence. 13. la tudt ; lc Viratsthana verse; 3d apdam ; 4d vasavyaih ; 5d probably extended Tristubh verse. 14. 2a, 3b catalectic verses : less probably aridh in 3b, § 151 ii; 5c, 5d dvrtah, § 167 iv.
15. la su; Id jiok : Bhargavi verse, §227 ii6; 3a bhuuh; 3d yacchd ; 3e extra (dimeter) verse ; 4a perhaps diotanam, cf. 20 8c ; 6e extra verse ; 8c mdrtidsah, § 151 iii ; 9a ubhdyd (neut. pi.) ; 12b u : sahasdvann, § 177 iii; 12d caesura after the third syllable; 13c devdnaam; 14a hypersyllabic verse, § 224; 15c Rest at the fourth place; 15e extra verse; 16d nayd; 18a jdnisva; *19c asthuri, § 159 iv. 16. lb visvesaam; 2b heptasyllabic verse; 14a dadhid?in; 18b nemdnaam ; 22c area, gdyd; 26a srdyisthah; 27a tud-utdh; 33b yacchd; 42c si one ; 46a mdrtiah, § 151 iii.
17. 6b sdcid; 7b hybrid verse : but see § 130 iv ; 7d Pentad verse ; 9a sd, § 175 i ; 10c requires correction, § 225 ; 12a Rest at the fourth place, but see § 151 i: 13b ajurid (§ 151 ii) seems unlikely: hence ir- regular Rest, cf. § 227 iii 6; 15a, 15b extra verses to 14. 18. Id vardhd; 3c nu; 7a jdnvmd (plur.) ; 7b perhaps dmartena; 9c dhisva; 12a read prd tuvidyumnd- sthdvirasya, § 152 ii. 19. 2a evd; 2d Viratsthana verse; 3c yiithdm 'va, § 129. 3d the position of the caesura is uncertain : perhaps indrabhi jj dvavHsu' djau ; 6a bhara ; 7 'd jigivdrhsah, tuotah; 10b as 2d; lOd dhdah; 12c perhaps prthvidm, § 151 iii; 13d tuotah.
20. la dyauly. bhuma with hiatus; 2b asurydm: Gautami verse, § 226 iii b ; 2d Viratsthana verse ; 3d purdam; 4a irregular cadence ; 4d caesura after the third syllable ; 6c as 2d ; 7a Rest at the fourth place ; 7b Rest at the fifth place ; 7c probably Viratsthana verse, but cf. §§ 149 iv, 151 i; 7d probably Viratsthana verse, but cf. § 149 iii; 8c probably sasvadibham in one word; 10b long ninth syllable: the occurrence is not sufficient evidence of an adverb end', lOd probably as 7a : but see § 151 i ; 11a Viratsthana verse (indra type) ; lie -vdstuam : 13a as 11a ; 13c tubhya.
21. 2a Viratsthana verse (indra type) ; 2b Viratsthana verse ; 3b vayunavat, cf. iv 51 lb; 6b srutia; 6c as 2b j 6d evd, vidmd, tua ; 7r
a. 20
306 Metrical Commentary
yujia ; 8a as 2a ; 8b as 2b ; 8d d-isiau, where a represents &. 22. 2a u ; 3d bJiard; 6c Viratsthana verse; 7a probably ndvyasid, § 139 i; 9c dhisvti. 23. 5a vavdna gives a hypersyllabic break, §219: perhaps read vdvna or vena ; Gd kriydsma: this form is suspicious in this hymn : perhaps kardma ; 8a probably mandasva.
24. 2c nardam; 3a Rest at the fourth place ; 3cntt; 4c vatsdnaam; 5a adyd ; 5d pari-etd, -d being shortened before a vowel ; 6d Pentad or Gautami verse; 7d GautamI verse, § 226 iii a: see also § 151 iii ; 8b sdtva, § 178; 9c uti, 4 being shortened, § 173: dris-, § 167 iv ; 10b Viratsthana verse (indra type). 25. lc su; Id as 24 6d ; 2a perhaps drisanyann, § 167 iv; 3a extended Tristubh verse; 3c tudm esaain.
26. la GautamI verse; 2b gddhia; 2c hypersyllabic verse, § 224, cf. 7c; 5c probably Viratsthana verse: for possible ddasa see § 151 i; 7c tudyd and as 2c: but see on stu, § 151 iii; 8b prdyisthdh; 8c the last half of the verse is entirely unrhythmical : perhaps read ksatra- astu -srdyisthah with divided compound, cf. § 152 ii.
27. 3a nahi nU ; 4a tidt ; 5b probably a compound abhydvarti- cdyamdndya, cf. 8c: see also § 151 iii; 7b sU; 8b mdhya. *28. 2b sudm ; 3d jibk ; 6c kpiuthd; 7a suydvasam ; 7d rudardsya, § 149 ii. 29. 2b Rest at the fourth place ; 2c irregular cadence ; 5b tu ; 6b uti with long final vowel, § 173 i.
30. la Rest at the fourth place; Id rodasl 'bhe, § 128 ii ; 2a asurydm', 2d possibly uruyd, § 178; 3b dbhiah; ibjidydn; 5a Rest at the fifth place. 31. 2a tudt : Viratsthana verse {indra type) ; 3d dviver dpdmsi ; 4c sdcid ; 4e extra verse ; 5d srdvayd. 32. 4b mahdbhih, § 178.
33. la Viratsthana verse ((indra type); lb dadsvdn; 2b caesura after the third syllable ; 2d tuotdh ; 3d nfndam ; 4c Viratsthana verse. 34. Id ukiha-arkd. 35. 2a, 3a Viratsthana verses (indra type). 36. Id asurydm; 5a s'rutia; 5b diauh. 37. 2a prd u with hiatus; 2b, 3c fjiantah, § 151 ii. 38. 4b perhaps brdhmd (plur.). 39. 5b pinvd. 40. la tubhya; 2a pibd. 41. 5a probably Viratsthana verse; 5d avd. 42. 3 c veda.
44. 4a tidm u; 4c visvdsdham, § 170 ii 6, or rather visvasdham; 7-9 for the metre see § 249 i ; 7a, 8a, 8b, 8c, 8d, 9b, 9d Pentad verses ; 7b, 7c Gautami verses; 9a Viratsthana verse ; 7c sasanvdn; 7d probably bhavat, giving a Pentad verse; 8c ndmd (plur.); 8d venydh (y cons.); 9c krnuhl or more probably krdlii, giving a Pentad verse; lOd tud; lid jahi, § 173 i; 13b bhard; 14a puru plur., § 159 iv; 15a Viratsthana verse (indra type); 16a tidt : Viratsthana verse, but see § 149 iii; 21c pipdya; 22c sudsy a.
45. 5b dudyoh; 7c gdam, § 142 ii ; 9b jdndnaam ; 9c vrhd ; 10b vdjdnaam; 16b krstlndam; 17 cmrlayd; 18a dhisvd; 19a raylndam ; 22a gdyd ; 29b stotfndam: catalectic verse ; 31b asthaat.
46. 2c gdam, § 142 ii ; 4a vrsabho 'va, § 129 ii ; 5d d ubhe : prdah ; 8a druhydv, § 170 ii e; 9c yacchd: mdhya; lib ava, § 175 ii ; lid perhaps -miirdhanah, § 170 ii c; 12b sdrmd; 12c yacchd: the latter part of the verse is very irregular : tanve is not without parallels (§ 135 6), but on the whole a hybrid verse with long ninth syllable is more probable: cchadih; 12d for dvesah, dvisam should probably be restored.
vi 22-67 307
47. See p. 4-4 ; lc iitd nd; 2b ydsya with hiatus; 2c perhapt cyautand, § 149 iv j 3d ydbhiah ; 6a pibd ; 9a Viratsthana verse {indra type); 9b s'atavan needs correction, perhaps to sahdvan for saha*<< ,-,,,,, cf. i 91 23b; 9c isdam; 10a mrla : mdhya; 10b coda yd ; 14c probably wn2, § 160 i; 16d manusyhn (y cons.), § 135a; 17c -dhunudndh; 18c, 18d extended Tristubh verses; 23a aW dsudn, § 145 ii 6 ; 23c oasa, catalectic verse; 24b gdahy § 142 ii : irregular cadence; *28e sd imdm ; *29a svasayd ; *29b, *30c extended Tristubh verses ; *31b Rest at the fourth place ; *31c extended Pentad verse ($ 227 iii a), probably to be corrected.
48. 4d vdjam utd with Sandhi, § 130 iv : rdsvd, vamsud; 6e, 7e extra verses; 8a visvasaam; 8e, 15e extra verses; 16b nU ; 17c requires correction, perhaps evdtha : see also § 151 i; 17d vaydh, § 151 i; 18a drier 'va ; 21a dydam; 21e extra verse : jydyistham. 49. 5c naasatyd with Sandhi; 6b dpia ; 7a citrd-ayuh; 8c candrd-agrdh ; lib gantd; 12c tanui, § 158 iv; 15a mf ; 15e extra verse.
50. 4d dhudma, § 142 iii 6 ; 7b dhdtd; 9c aratnau (BR.): perhaps craia d, cf. *i 24 15c, ii 28 2a, and for the metre i 60 4c, vii 42 4c; 13d diaiih; 15c gndah, § 142 ib ; 15d bhuuta. 51. 2b devdn, gen. pi., §151 iii; 2c rju (plur.); 2d Viratsthana verse; less probably suurah, § 151 i; 3a u; 4a Viratsthana verse; 5a diauh; 7c ksdyathd ; 9b caesura after the third syllable; 10a srdyistha-, u ; 12d perhaps vasuyuh, § 168 iii.
52. See p. 44; 5b nu; 14a see § 135: but perhaps yajniydsah, and so as the next two verses; 14b, 14c Irypersyllabic verses, § 224; 14b apdam. 53. 4b cinuhi ; 5c, 6c, 7c asmdbhy a;. 6b icchd; 7a rikhd; 8d extra verse. 54. 3c nd; 10a pardstaat, § 151 i. 55. 3b, 4a ajdsua. 56. 6b updvasu is probable, § 166 via; 6d extra verse. 58. 2a ajdsua. 59. 2a vaam; 9b tYmt (plur.).
60. lc vasavia exceptionally, § 151 ii ; 4a heptasyllabic verse; 13a indra- with -a shortened before vowel, cf. § 174 i a: also agni, § 174 ib; 13c isdam; 14b vasavyaih, § 135. 61. 2b sanu (plur.); 3c, 10b catalectic verses; lib uru is unlikely, § 160 i; 13b anydh ace. pi. 62. 6a adbhidh.
63. la -huta, § 174 i a; lc naasatyd; Id prdyisthdh; 2b Pentad verse ; 2c Viratsthana verse with irregular cadence, perhaps requiring correction; 2d nd 'not' with hiatus; 3a Viratsthana verse ; 3d a-aiijan, % 121 c : cf. vii 79 4d, and a-arksd, a-urva-, § 151 i; 4c Rest at the fourth place; 7a perhaps dsuasah, §151 ii ; 8a puru- puru- bhujd, § 160 i ; day imam; 8c mddhui; 9c daat ; 10b dsvanaam; 10c vira, see §174ii; 11a extra verse to stanza 10.
64. 2a perhaps uruyd ; 4c valid ; 5a sd d vahd yd probably, sd, and yd having the vowels shortened. 65. la sid ; 3c maghdvanlh or maghdvanlh ; 3d dhdtd ; 4d smd ; 5a Rest at the fifth place.
66. lc pipdya; 2b duih; Sbcauiiit: Viratsthana verse ; 3c Pentad or Gautami verse ; 3d sd it ; 5c probably read aydaso mahimnd, § 151 i, iii; 6d Pentad verse; 8b dvathd ; 9c, 10c Rests at the fifth place. 67. la satdant ; lc rasmd 'va; Id dud : jdnd dual with hiatus ; 4c possibly mahdna or mahdd, § 178; 6d d atan, dydam ; 8c ghrtaanna, $ 174 ia; 9a spuurdhdn, § 151 i; 9b dhdmd (plur.).; 9d dpia ; 10a Viratsthana verse; 10c Pentad verse; 11a chadisah; lie Pentad verse.
20—2
308 Metrical Commentary
68. 2a srdyisthd: irregular cadence ; 2b surdnaam; perhaps savistha, § 174 ii; 2c maghonaam or Gautami verse; 4a gndah, § 142 i; 4b nardam; 4c probably prd ebhyah with hiatus ; 4d diauh or dydva : Rest at the fourth place : prthivl ; 5b varuna ; 5c dadsvan ; Pentad verse ; 7a pro- bably Gautami verse, but see § 1 49 iii ; 7c yesaam or sasahvtin j 7d perhaps tdrutrah, § 169 v; 8a nU u ; 9b drcd.
71. 6a adyd; 6b asmdbhya; 6c ksdyasi (H. Oldenberg). 72. The extended Tristubh verses lb, lc, 2b, 3b are not necessarily indications of late date : they may be connected with uneven lyric metre. See on viii 35, § 242 iv ; 2c dydam ; 5b srutia. *74. la asurydm. *75. 3d jid with hiatus; 9b sdktivantah, § 168 ii ; 14a dhir 'va ; 1 4b jidyah ; 16b sdravye, § 135a; 17e visvdhd: extra verse ; 18b for the caesura see § 205 ic; 18c hybrid verse; 19a sudh : heptasyllabic verse ; 19c semi-cadence of Epic Anustubh.
Mandala VII.
[The great majority of the hymns are characterized by an approxi- mation of the trimeter rhythm to that of dimeter verse, as described in § 213. The name of Vasistha and the characteristic refrain verse are however found even in the hymns which have not this metrical type, and are therefore probably of a different period : see § 107.]
1. 3a prd-iddhah: perhaps dldihi; 3b su-urmia ; 5b su-apatydm, sahasia; 7a dahd ; 8c utd; 13a, pdhi; 15b Viratsthana verse: but such verses are so rare in this collection that they invite emendation ; 16a 8(1; 18a irtid; 18c viantu; 19b for the caesura see § 205 ic; 20d pdtd.
2. lc sprsd; 6c perhaps barhih-sddd, § 178; 7c for the caesura see § 213 ii. 3. Id ghrtd-anna; 2d smd ; 3c di&m or dydam ; 4a perhaps prthvi&m, § 151 iii; 4b trsii, § 160 i; 7a dasema; 8d sumdt; 9c mdtroh: this is a very unusual measurement, see § 139 vi.
4. 2c perhaps sucidantah, § 151 iii; 2d bhurl (plur.); 3b mdrtidsah, § 151 iii : Pentad verse ; 6d md with hiatus : extended Tristubh verse ; 8d abhisdt, § 167 iii. 5. la Rest at the fifth place; 3a tudt; 6a tue, § 173: asurydm; 9b srutia. 6. 2a see on vii 1 15b: dhaasim is possible ; 2b rodaslyoh ; 3c Pentad verse ; 7d d with hiatus. 8. la aridh, § 151 ii: the interpretation is doubtful; Id a with hiatus; 2a probably u sid, but the rhythm is irregular; 5a tve, § 173. 9. 2c mandard is just possible, § 149 iii : visdam.
11. lb ndrte tudt ; 5 a, valid. 12. Id prati-dncam ; 3c vdsti (plur.). 13. lc prinandh; 3c iria. 15. 1 3b smd ; 14c perhaps puuh, § 151 i. 16. 3a asthaat ; 4a tad ; 4d rdsvd, tua ; 5c catalectic verse ; 7a tue, §173; 8c sahasia; 11a -ddah, § 142 i; lie as 5c. 17. la bhdva; 5a vdmsva.
18. Id vdsu (plur.); 4a suydvase; 22a due ; 22b vadhumantd is possible, § 218 iv. 19. 2a indara, § 149 i a; 5c satatamdm a- with Sandhi, § 130 iv; 9a nu.
20. 2a indarah; 2d vdsu (plur.); 3d satruydntam, § 168 iii; 6a for the caesura see § 214 ii; 7b dayisndm; 7c perhaps dmarta;
vi 68-vii 59 309
7d § 213 ii. 21. 3c tudt; 5a, 6a indara; 9a irregular cadence (§ 220 v) is improbable in this collection : perhaps read sydma ta indra vi. sdkhayah: for the opening cf. 20 8d. 22. la indara; 3<; brdkmd; 6a, 6b bhtiri, probably an adverb with plural form; 6c rod with hiatus: jiok; 8c as la. 24. 4b perhaps brdhma (plur.); 6c pinvd.
25. lc bahvoh (v cons.), § 139 v; Id visudriak, § 166 iv ; 2b mdrtidsah, § 151 iii; 2c krnuhl; 2d bhard ; 3c jahi, § 162. 26. 5b for the caesura see § 205 iv a. 27. 2d pdrlvrta probably, § 167 i ; 4c pipdya; 5c vidntah. 28. la brdhma, see § 175 i ; 3b Viratsthana verse, probably requiring correction ; 4d the metre requires mayinah. 29. la indara, tubhya ; 2c s4 ; 3a su-uktaih ; dbdasema; 4a utd glid.
31. 4c viddhi td, § 162 iv ; 5c tue, § 173 v. 32. 9a sredhatd ; 10a sudadsah; 12c hypersyllabic opening, requiring correction, § 217 ; 15a smd ; 21c tubhya; 2A& probably abhi mtdh, § 167 iii; 25a catalectic verse : perhaps read amitridn ; 26b putrebhiah.
*33. 2d avriiita, § 175 i; 8c nd 'niena, § 145 vi; 10c jdnma, utd: the double hiatus in this hymn is suspicious. 34. 7b prthvi, § 151 iii; 12b krnotd; 14b prdyisthah; 16a abjdam (§ 142 i) gives an irregular opening; 1 7a Viratsthana verse ; 21b Tristubh verse. *35. See p. 44 ; 6c rudarebhih, § 149 ii; 13c perhaps apdam; 14d gdvajatah (§ 142 ii) or ye gojdtdh.
36. 3d sdsmin ; 5c for the caesura see § 205 iv a ; 5d rudardya, § 149 ii: prdyistha. 37. 3a dayisndm ; 3d vasavyd ; 4a sud-yasah; 4c ddsudmsah ; 8c read payur dividh. 38. 2a u, tistJid ; 2d suvandh, see § 140 iii ; 6a jdaspdtih, § 142 i : long ninth syllable, as also in 7c; 8a avata. 39. 3b emendation seems required, as Sandhi combination of a locative from an -u stem seems unknown : cf . §§ 1 20, 1 30 iii, 170 ii e, 219 ; 4d ndasatya ; 5a d with hiatus ; 5b vaha.
40. la d u with hiatus, § 171 ii ; 2c rdyiknah (§ 151 i) is certain, but the form is unexplained; 5a probably vaydyai, cf. i 165 15c; 6d vdatah, § 142 v. 41. Id catalectic verse; 3c janaya ; 5a evd; 6d either rdtham 'va, § 129 iii, or omit dsvdh as a gloss, § 152 i. 42. 3c sd : puru-anika ; 4b siona- ; 6a evd with hiatus; 6b astaut, § 151 i. 43. 2c strnitd ; 4d gantana ; 5b dsakrah, § 151 iii. 45. 2c sd. 46. lb probably devaya ksiprd- ^ isave ; 2a ksdmia ; 2d rudara, § 149 ii; 4c bhajd. 48. la Viratsthana verse; 4b bhutd.
*50. la mdam (§151 i) or Rest at the fifth place; 4 two Tristubh verses must be restored at the beginning of the stanza; 4a perhaps ends udvdto va ; 4b read sdnti for ydh ; 4e extra verse : nadydh, § 135 b. 52. 3c Pentad verse. 53. 3a utd. 54. Id bhava: extended Tristubh verse. *55. The four-syllable verse in each of the stanzas 2-4 is without parallel in the popular Eigveda, see §192; 7c sahasyena (y cons.), § 135 a ; 8c catalectic verse.
56. 3b vdtasvandsah ; 6a ydyisthdh ; 8b probably munir 'va ; 9b perhaps ma durmatir - vah ; 10a ndma (plur.); 10b Tristubh verse; 11a sua-; 14c ddmia ; 17a mflantu with long ninth syllable; 18a Viratsthana verse; 20d dhaitd; 21c vasavye; 22d bhutd ; 23a bhdrl, cakra, §§ 159 iv, 158 i; 24b jdnanaam. 57. lb Rest at the fifth place ; 2d sadatd ; 5c no 'vata ; 6b for the caesura see § 205 iv a ; Qdjigrtd. 58. 4d dayisndm; 6a Viratsthana verse, or (with Lanman) avdci ; 6b su-uktdm. 59. 4b dradhuam ; 4d ydtd ; 5a d ii .sd ;
310 Metrical Commentary
6d -adhuai ; 8b extended Tristubh verse ; 8c Rest at the fifth place ; *12c-to'w, § 129 iii.
60. la for the caesura see § 205 iv a; 2d rju (plur.); 9a hotardbhih, §149 iii; 9b Rest at the fifth place; 12a devd. 61. la varund; Id § 214 ii; 3d yatb y -nimisam; 6d brdhmd (plur.). 62. lb jdnimd (plur.); 4a trdsithdm, § 170 i; 6a nu u. 63. la, 2a u; 3c see § 177 i. 65. la su-uktaih; lc asurydm., jydyistham ; 2a td for td dual, § 174 i a.
66. 2a catalectic verse; 2c asurydya ; 3a tanupdd, § 142 i; 8b, 8c iydm is a monosyllable, § 151 iii; 12b su-uktaih; 13c succhadis-; 19a perhaps mitra varuna. 67. 2b upa ; 5b as 60 la; 9b probably rayind, § 139. 68. 2a madia; 3c as 60 la; 8d starydm, § 135 6. 69. 3a perhaps & suasvd yasdsd ; 5a vdstav, § 170 ii e
70. 5b caksathe, § 170 i; 6a naasatyd. 71. 2d mddhui; trdsithdm. 72. 3c for the Sandhi see § 128 iii. 73. 3a pathdam. 74. 5d asmdbhya.
75. 3a tie; 3b usdsah, § 170 ii a; 4a sia: catalectic Bhargavi verse, requiring correction, § 227 iii b ; 8b dsvavat, § 168 ii. 77. la upa; 4d coddyd ; 5d dsvavat. 78. Id asmdbhya ; o& adyd. 79. 4a asmdbhya ; 4c vrsabhdsya, § 175 i ; 4d a-urnoh, § 121 c : cf. vi 63 3d.
80. 2a sicl 81. law; 5d rasvd; 6b asmdbhya. 82. 2a requires correction somewhat as follows : samrdd vdm anyd anyd ucyate svardt : but cf. § 151 iii; 6b sudm. 83. 7b perhaps yuyudhuh, § 169 iii. 84. 2a rdstardm, § 149 iii; 3c upa. 85. 2d sdrud; 4b adityd.
86. 3b upa ; 4a jydyistham ; 4d emendation is required, perhaps tareyam from tar, tur : but see §§ 130 i, 151 iii. 87. 2b sasanvdn; 2c for the Sandhi see § 128 ii; 2d dhama ; 6b Pentad verse; 7a mfldyati. 88. 3c sdnubhih, § 1 5 1 iii ; 3d for the caesura see § 205 iv a; 6c probably requires correction. 89. la md sU.
90. lc vdha ; 2b tubhya ; 3a as 87 2c; 4a usdsah, § 170 ii a ; 5c, etc. indrdvdyu. 91. 2c, etc. indrdvdyu ; 3d su-apatydni ; 5d prinand. 92. lc upa ; 3a ddsudmsam ; 4a indara- ; 5a extended Tristubh verse. 93. lb, etc. indra-agni; Id dhdyistha; 3a upa; 3c kdsthaam, § 142 i; 4d dayisnaih; 6a u su; 6c nU d : -a^Aa for -dthe, § 174 i e. 94. 9b dsvavat, § 168 ii; 10c sdptivanta, ib. ; 12d extra verse.
95. 6a u: 6c vdrdha. 96. la i7; lb dsuriye (vocative) or (as Bollensen) asuriydm ; 2c Bhargavi verse, perhaps requiring cor- rection. 97. 3a jydyistham ; 3b for the caesura see § 205 iv a ; 5d anarvdnam,% 170 iic; 6a Rest at the fifth place; 7c su-dvesdh; 9a as 3b. 98. lb juhotana; 6a pasavydm (y cons.), § 135 a. 99. lc vidmd; 3d prthvim, § 151 iii.
100. la perhaps ntt u mdrtiah ; 3a Rest at the fourth place. 101, 102. See p. 45. 101. 4b trayidhd. 102. 2c purusinaam. *103. 5a esaam; 8a extended Tristubh verse. *104. 3a catalectic verse; 6d nrpdtl yva ; 11a sd; 13a nd, § 175 ii ; 15a hypersyllabic verse, §224; 15b tatdpa, § 158 i; 18b grbhdydtd; 19a vartayd; 19d jahl ; 20c -ebhiah; 2 2d mrnd; 2iajahi; 25a caksvd, caksua.
vii 60-viii 16 311
Mandala VIII.
A. VIII 1-11. [Kanva collections, § 108 : but with more variety of metre than is found elsewhere.]
1. 2b gdam, § 142 ii ; 5b dayiyam, § 142 iii a; 10a adyd ; 10c dniani if the word is correct; 16c perhaps tvd with hiatus: otherwise long ninth syllable; 19d hinudndm, § 147; 21c visvesaam; 23a mdtsud ; 26c either rasinah iydm with Sandhi (§ 130 i), or hybrid verse, cf. also § 151 iii; 28c bhadh, § 142 v; 30a irregular cadence, gha (§ 158 v) being unexampled; 30c -jidh, § 148 i; 32a mdhya; 32b perhaps liiranydyl, § 139 iii; *34c abhicdksid.
2. 3b srindntah; lib srinihi; 13b sitit tvdvatah ; 13c u; 15b daah, § 152 iii a, or catalectic verse; 20a md sti adyd; 22a sifted ; 22b vidmd, § 158 i; 26a pdatd, § 142 i; 28b heptasyllabic verse; 28d extra verse; 30b tubhya : catalectic verse, but see § 151 iii ; 32b purfi- puru- hutdh, § 160 i ; 35c vdsu plural ; 38b purutmdnam, § 170 ii c ; 40b kdnudm.
3. 4c sd; 6d svdndsah; 10c sd; 12c probably sagdhi,% 162 iv.; 11a tud ; 13c nahi nu ; 2 Id extra verse*: upeva requires correction; 22b -praam, § 142 i. *24. This is probably a Pankti verse ; 24a Epic semi-cadence; 24c trochaic semi-cadence; 24d read pdkasthdmdnam abravam.
4. 7a catalectic verse; 14a vdvatd requires correction; 16br<ft>va; 19a mtdsuam, § 145 ii b ; 20a kdnud ; 21b gdam, § 142 ii.
5. 13c md; 29a vaam, § 151 i; 31a perhaps parakdat, § 151 i; 31b asndnta, § 174 ia; 32c ndasatyd ; 35b probably catalectic verse: or dhtaih, § 151 ii ; 35c as 32c; 37b perhaps vididtam, § 147 i; 37d ustrdnaam; 39a gaat, § 142 iii a.
6. 18a, 20a tud; 31c utd; 33a brahmanid, cf. § 151 ii ; 39a mdndasva ; 46b pdrsav, § 170 ii e. 7. 2b probably dcidhuam, § 151 ii; lie tu; 14b as 2b; 18a dvd, § 158 i; 21a sma; 26c diauh; 32a sa/m 0*2 ; 32c -vdsibhih, § 170 iii ; 33a d u sd; 33c vavrtidm (cf. § 147 i), or catalectic verse.
8. 12d probably anusatam, § 170 i; 15a ndsatid; 17b probably purubhuja, § 166 iv; 19c vipanyu is possible, § 174 ii ; 23d jivebhiah. 9. lc prthu cchadlh; 6b devd: 9a naasatya ; 15a ndsatid, or catalectic verse. 10. 2c perhaps visvddevdn, § 178; 3a tid; 4a catalectic verse; 5d dthd with long fifth syllable, § 158 v; 6a purubhuja. 11. 2a prasdsiah ; 3b catalectic verse ; 4a heptasyllabic verse ; 4b perhaps mdrtiasya ; 5b bhurl ndmd (plur.); 7b perhaps sadhdsthaat, § 151 i; 10b ndvia, § 151 ii; 10c sudm.
B. VIII 12-31. [These collections are almost exclusively in lyric metres. They have every indication of antiquity : but the few dimeter hymns which are included in the collection appear by their smoother rhythm to be later additions.]
12. icyenanu; 19c ddha ; 28c, 29c, 30c trimeter verses. 13. 9a utd; 13c is a trimeter verse, though with dimeter rhythm, as nah is unaccented; 15c as 13c; 19d sd; 21a perhaps yddl; 25a vdrdhasva sU; 28c utd; 30d viedksid; 31b utd. 14. 2a irregular cadence.^ 15. la u; 10c su-apatydni ; 12a tud. 16. 3a sustutid or sustuti d; 6a
312 Metrical Commentary
drianti, § 145 iii • 7b purU- puru- hutdh, § 160 i; lib svasti. 17. lb the text for once gives correctly pibd with hiatus; 5c grbhayti ; 11a catalectic verse ; 1 4c pur dam ; 1 4d muninaam.
18. 2b dditidnaam ; 7b uti d (for uti d) is the more probable read- ing; lie krnutd; 13c suaih ; 15a catalectic verse; 16b apdam; 18b dyu, § 178; 22c probably dyu.
19-22. See § 104 ii. 19. 4b srdyistha- ; 4c sd; 7b urjaam; 10c sd; 14d udno 'va, § 129 ii ; 16b ndsatia ; 18a Rest at the fifth place; 18c jigiuh, § 151 ii ; 20d vane/na; 24a airayata, § 175 i; 27 extra verses to 26 ; 30a sd ; 33a two additional syllables are required : cf. § 226 4a : perhaps repeat anye ; 34b ndyathd : maghfrnaam belongs to the second verse. 37. This stanza must certainly have been Satobrhati originally, perhaps with an extra dimeter verse : but the original form is not easily restored. For the first verse see § 152 ii, but a trimeter verse is required ; 37d praimyitd, % 142 iii b ; 37e diydnaam.
20. 3b marutaam; 6a diauh; 9b irregular cadence; 14b tesaam ; 14c ardnaam; 17c the first part of the verse seems to be defective; 18d probably vavrdhuam, § 151 ii ; 19c gdyd : 24a dvathd ; 25a dsiknidm.
21. 4c probably dhdmd : otherwise a hybrid verse; 8c utd; 12c hdndma is probable, § 178; 15b tudvatah. 22. la d u ; 2a purva- with internal hiatus; 5d ndsatia; 6c adyd; 14c hybrid verse; 16c bhuutam, § 142 iii b ; 17a dsvavat, § 168 ii.
23-26. See § 104 iii. 23. la fljsva; 3c extended Viratsthana verse; 4a asthaat, § 142 iii a : 5a tisthd ; 7c the rhythm is very irregular, and emendation is desirable; 9c upa ; lib bhadh, § 142 v; 12a urjaam ; 12b rdsvd ; 12c avd ; 16a probably vasuvidam, § 166 iv ; 16b aprindt ; 17a tud ; 21b dvidhat, § 169 vi ; 23b jydyistha ; 24a area ; 24c ddmia.
24. lib, 12a tudt ; 14a upa: hdrlnaam; 14c catalectic verse; 15c nd 'not' with hiatus; 16b sincd; 17c Rest at the fifth place; 18a vdjdnaam; 19a eta ; 23c the rhythm is irregular; 24b perhaps parlvfjam, § 167 i; 24c as 23c; 28a susdmane; 30 probably in its original form an Usnih verse ; 30a perhaps ydjamdnah ; 30c esd : perhaps omit dpasritah.
25. la gopddj § 142 i; 3b asurydya ; 4a perhaps mitra varuna ; 4b deva, § 174 ia; 5c, 7c irregular rhythm; 10b ndasatyd ; 12c perhaps sindhu, § 170 ii/*; 13b gopaydtiam (§ 136 i) or catalectic verse ; 14a apdam; 14c midhudmsah; 17c long eleventh syllable, almost without parallel, § 220 iv; 1 8b prthividh ; 1 8c catalectic verse : perhaps mahitvand ; 22a uksaniayane, § 136 i; 22b perhaps hdraydyane; 23a heptasyllabic verse ; 23b hdrlnaam ; 23c wtfa ?iu : for the caesura see § 205 iv a; 24c irregular break, easily corrected by interchanging vdjind and drvantd : drvatd is also possible.
26. 2b naasatyd; 3a adyd; 7c suvira, § 174 ia; 8b ndsatia ; lib %&£ ; 12c mdhya; 13c cakrdta, §174 ie; 19c -ydvand, § 170 iic; 20, 21, 25 : it is probable that all these were originally Usnih stanzas; 22c is unrhythmical ; 23b vdhasva ; 24c for possible dsua- see § 151 ii.
27. 5a adyd ; 8a ydtd ; lid dnidm ; 12c Bhargavi verse ; 14c adyd ; 15d dvidhat, § 169 vi ; 20b yem^ § 158 i; 21c dhatthd. 28. 4a catalectic verse : the words tdthed asat are probably a gloss, anticipating
viii 17-52 313
the sense of the next verse ; 5c saptd. 29. 2a diotanah, g 15] i omit sucih, § 152 i; 6a pipdya; 8a dud ; 9a cakrata dual, §g 170 i, 174 ie. 30. For the metres see § 248 ii ; 3b u; 3d naitfd ; Id *^//v* dsvdya. 31. 2a catalectic verse; 6b asate, § 170 i; 9d extra verse: devesu, §175 i; 10c heptasyllabic verse; lib suasti; 13b gopdah, § 142 i; 1 3c pdnthaah, § 142 ii; 14d extra verse; 15c etc. devdnaam.
C. VIII 32-59. [This part of the Mandala consists of Kanva hymns and others of the same period. Hymn 46, however, has a distinctively archaic character.]
32. 6a perhaps yddl; 10c sddhu, § 160 i; 18b dvrtah, § 167 iv ; 19c pibd; 24a tu; 25c long fifth syllable, easily corrected by reading pakvdm gosu. 33. 4c hdrioh; 6a as 32 18b; 8c tud ; 12b vfsann, § 177 iii; 13d brdhmd (plur.) ; 14a rathesthdam, § 142 i; 15b dhisvti ; *17c utd. 34. Id etc. yayd, § 158 i; 12b -dsuah, § 145 ii 6.
35-38. See §§ 105 iii', 234 i&. 35. For the metre see § 242 iv ; 5a yuvaso 'va, § 129 ii; 13a omit -vantd the first time, § 152 ii ; 16a perhaps brdhmd (plur.); 19b etc. -dsuasya, § 145 ii b ; 24b deva, § 174 i a. 36. See § 247 iv; 4a probably prthividh. 38. 2a -ydvand, § 170 ii c.
39-42. See § 109 iv. 39. lb perhaps yajddhiai, § 146 ii ; 3a tubhya ; 4e -hutiai ; 6b apiciam is perhaps a gloss, § 152 i : mdrtdnaam ; 6c -ddah, § 142 i. 40. Id vilu (plur.); 2c nfndam; 3c u; 4a area; 6d vdsu may be a gloss, § 152 i; 8c indrdgnioh; 9a indra may be a gloss, § 152 i; 10c, lie utd nu. 41. 2b pitfndam.
44. lib smd; 16b prthividh; 23b sidh; 28a tue, § 173 v. 45. 8a abhlyujah, § 167 iii; lib dsvavantah, § 168 ii ; 22a vrsabha, § 175 i; 26b -bdhue, § 151 ii, or restore -bdhave ; 34b dudyoh; 38a as 22a.
46. For the metres see § 248 iii; lb pranayitah, § 142 iii 6; 2b, 2c vidmd, § 158 i; 3a mahimdnam, § 170 iic; 4c pdanti; 10a gavyd srf ; lib catalectic verse; 14a hypersyllabic verse, § 224: but perhaps gdyd belongs to 14b, and mahd should be omitted there: cf. 17b; 14c srutia; 15a rdyiknah; 16a visvesaam; 16b requires correction; 17b Rest at fourth place: or omit milhuse; 17c omit visvdmanusdm, § 152 i; 19c probably with yiijia (§ 136 i) as hybrid verse ; 19d jydyistliam ; 20a defective verse, § 225; 20c catalectic verse; 22c sydvlnaam; 22e gdvaam; 24d abhuut; 25b ydhi; 26a vdstav and as 20c; 28a add dsi: see also § 151 iii; 28b ghrtasndah, § 142 i; 28c rdjo-'sitam, § 130 i; 31c omit ddha, § 152 i; 32a heptasyllabic verse; 32d, 32e -gopaah, § 142 i.
47. See p. 45; 7d drddhuam. *48. 4a bhavd ; 5c perhaps caritraat, § 151 i; 6b caksayd.
49. lb area; 4c Rest at the fourth place; 4d ksudrdm 'va, § 129 iii; 5b hydndh, § 151 iii; 7a irregular cadence, cf. 50 7a; 7b prthividm. 50. 5c suddanti, § 145 vi ; Qdpipetha; 7b prthividm. 51. 2d tuotdh; 3e ndvyasi, § 139 iii; 6a perhaps vasu, § 170 ii/; lOd svdnasah, § 140 iii. 52. 2a perhaps pfsadraye; 2b svdne, § 140 iii; 4a probably requires emendation: ydsya tudm gives an irregular opening and break. The verse may be easily corrected thus : ydsya stomesu tudm indra; 5b probably isdnakrt, § 178; 6a as 51 6a.
314 Metrical Commentary
♦
53. 3a visvesaam; 4a ca, § 171 ii; 7d sasanvdmsah ; 8c evti.
54. 2d matsud; 6d sasanvdmsah ; 8a the verse requires correction.
55. 4a sthd. 56. lc diauh; 4a M^ra. 57. lc naasatya; 4d ddsudmsam. *58. lc y<5 'niicdndh. *59. 6a, 7a, 7d hybrid verses.
D. VIII 60-103. [Short collections of the archaic and strophic periods.]
60. 6a probably dldihi ; 7c dahd ; 9a, 9b, 9d probably pdhi ; 9c urjaam; 10b smd ; 12d probably vasuvidah ; 13b ddvidhuat, § 169 iv; 13c, 14a perhaps pratldhfse, § 167 v; 16a tua; 16d tisthd ; 20a vesti requires correction, probably to visat ; 20d sedhd. 61. 4a dpraml-satya by the derivation ; 5c vasuvidam ; 8c hybrid verse : cakrma, § 158 i; 9a dvidJiat ; 9c tadyd ; 10b yddl; 12a yuyujmd ; 17a sudh-suah, cf. § 140 iii; 17b trdsvd.
62. la ^?ra w, § 171 ii; 7-9 for the metre see Ch. ix. App. No. 53. 63. Id, 4d, 5d extra verses; 2c brdhmd (plur.) is probable; 4a perhaps kavlvrdhdh, § 166 via; 8a u. 64. la catalectic verse; 5a tidni.
65. 4a mahimdnam, § 170 iic; 5b isdnakrt ; 5c d ihl ; 6a tua.
66. 5c extended Viratsthana verse (indra type); 6c tvdm; 6d ddyisthah; 7a hidh, cf. § 140 iii; 9c kena nU ; 13a tue, § 173 v : u at the end of the verse is only found here, § 160 iv. 67. la tidn; 5c sthd; 15a dpa sit; 19c asmdbhya.
68. 7d krstindam ) 9a tuotdsah; 13b pdnthaam; 14a dud-dud; 1 6a catalectic verse ; 1 6b a-arkse : this appears to be the original form of the patronymic, § 151 i: catalectic verse; 17a catalectic verse; 17b indra-ute. 69. 2d dlienundam; 3b srinanti ; 3c devdnaam ; 4b area; 7d perhaps sdkhiuh, § 151 ii ; 8a heptasyllabic verse; 11a Epic Anustubh semi-cadence. 70. lc visvdsaam; 5b siuh; 6c avd; 7a catalectic verse; 7b dlrghdyu, § 170 ii/"; 12c dhdndnaam; 13c irregular break, suggesting emendation. 71. 4b perhaps raydyah, § 139 i ; 4c ddsudmsam; 6b irregular cadence; 6c naya; 7c mdrtidya, § 151 iii; 10b heptasyllabic verse; 13a isdam; 13d taniipdam, % 142 i.
72. 2a catalectic verse ; 6a utd nU ; 6b dsvavat ; 7a as 2a : 10b pdrijmanam, § 170 ii c ; 13b rodaslyoh; 17a perhaps mitra varan a, § 166 i; 1 8a utd nfi. 74. lc dUria; 4b jydyistham ; 4c heptasyllabic verse; 10a -praam, § 142 i; 13a catalectic verse; 14a ?ndam, § 151 i. 75. 2a catalectic verse; 8a devdnaam; 8b as 2a; lie perhaps iirukrt, § 166 iv.
76. l&midhuah; 12c tanvdm, § 135 b. 77. lie rdnia. 78. 2a bhard ; 2c probably hiraiiydyi, § 139 iii; lOd piirdhi. 79. 3a tudm; 4b pHhvydh, § 151 iii; 7a mfhiyakuh; 9a sne ; 9c rdjann, § 177 iii.
80. 5a hdnta u nd, § 171 ii ; 8a bhaag, § 151 i. 81. 2c probably catalectic verse, but see § 149 iii ; 3b the same, or martidsah, § 151 iii ; 4a eta ; 6a bhard ; 8a ii nti ; 9a catalectic verse. 82. la dravd ; 4a tU; 6a srudhi. 83. 6b ddhvan. 84. la prdyistham : hepta- s}Tllabic verse ; 6b asmdbhya. 85. la, 9a naasatya.
88. 5b dntebhiah. 89. 4a bhard ; 5d dydam ; 6d jdntuam. 90. 2b isdnakrt, § 178 ; 2c yujia; 4b 6AifrI (plur.); 5c hypersyllabic verse, § 224 : but it may easily be corrected to tvdm vrtrd hamsi ; 6c catalectic verse. *91. lb § 120; Id, le tua; 3a Epic Anustubh
vlii 53-ix 21 :;i:>
semi-cadence; 3c sdnair 'va, § 129 ii, but some correction i required ; 7 c as 3a.
92. la pdantam, § 142 iii a; 3b vdjdnaam; 5a m; 7a tidm u: satrdsdham, § 170 ii b; 8a anarvdnam, § 170 ii c ; 9b probably purd plural; 30b vdjdnaam; 31a indrdbhi. 93. 3b dsvavat, § 168 ii ■ t In- verse may readily be corrected to gomad ydvamad d&vavat ; 5c utd ; 21a abhi stt ; 31b ydhi : maddnaam ; 33a read tvdrii hi wtrahan esaam, § 177 iii ; 33b somdnaam. 94. 2a catalectic verse, or read updstha d; 6a utd nu ; 8a adyd ; 8b dev&naam ; 10a etc. tidn n4.
95. 7a eta nu : for the metre see § 94 viii. 96. 2b sdnU (plur.). 3b caesura after the third syllable; 3d srutiai; 4a etc. tud; 5a bdhubh; 6d upa; 9d vapd ; 10b prd way a; lOd dhehi ; lib spr^a, tanul ; 12c bhusd ; 13c sdcia ; 15d, 16a irregular breaks; 20a Viratsthana verse (indra type) ; 20b sustutiti) 21a emendation seems required.
97. 3c suaih; 10b for the numerous hypersyllabic verses of which this stands first see § 224; 13a caesura after the third syllable; 14c tudt. 98. 4b heptasyllabic verse; 7b extended Pentad verse; 8a vdar, § 151 i; also the word dive-dive probably belongs to this verse; 9b perhaps uruyuge, § 166 iv; 12c rdsvd. 99. la hidh, cf. §140; lb vajri, § 178; 4c sd. *100. 3a bharatd ; 12b the interpre- tation is doubtful, perhaps diauh, then irregular break and Jagati cadence. 101. 3a perhaps mitra varuna, § 166 i; 7b kdrtud ; 7c naasatyd; 9c srlndndh ; 9c, 10a catalectic verses; 12c asuriyah, cf. § 173 ii: hybrid verse, or read devdn, cf. § 151 iii; 13b ro/u/jia • 13c citra iva.
102. 4a a-iirva-, § 151 i; 7a catalectic verse; 10a vwvesaam ; 10b hotfnaam; lib jydyisthah ; 14a dvrtam ; 18a tua. 103. lc upa su ; 2a catalectic verse; 3b carkftia; 4b dasat, § 178; 5a hypersyllabic verse, § 224, or omit vdjam, § 152 i; 5c extended Pentad verse, § 227 iii a, probably requiring correction; 6c catalectic verse; 10a prdyistham ; 10b four syllables are wanting at the end of this verse, as yasdstamam ; 1 0c rdthanaam ; 1 2a irregular cadence ; 1 2b catalectic verse.
Mandala IX.
A. IX 1-67. [This large collection of Gayatrl hymns does not correspond to any collection or set of collections addressed to other deities. A few of the hymns may have belonged originally to such collections as those of Kanva or Kusika : the majority must be imitations of these, and from the regularity of their structure cannot be earlier than the normal period.]
1. 4a arsd ; 9b srindnti. 3. 9b devebhiah. 4. 4a pdvitdrah, §178; Gbjiok; 7a arsd. 5. lc prindn; *8a, 9a, lie Epic Anustubh semi-cadence. 6. 3b svandh, § 140. 8. 8b prthividh; 9a tud. 9. 4b nadio 'jinvat. 11. 6b srinltana. 12. 3b catalectic verse. 13. 6a hydndh, § 151 iii. 14. 4b tdnua. 15. la perhaps read dhiy* aiti; 5c sindhunaam. 18. la giristhdah, §142 i; lb perhaps aksanh, §151 i; 7b heptasyllabic verse: perhaps read pdvamdnah. 19. 6b bhydsam, § 151 iii.
21. 2a perhaps abhlyujah, § 167 iii; 5c catalectic verse; 6a rdthia.
316 Metrical Commentary
22. 7b vdsu (plur.). 24. lc srindndh; 7b catalectic verse, unless we read mddhuah, § 151 ii, or restore mddhunah. 26. 3a -a 'hian, §145 vi. 28. 2b devebhiah; 6c devavih probably, § 166 vii. 29. la perhaps prd dh&rd asya, cf. 30 la; 6a d indo. 30. 2a the reading is doubtful, but recurs ix 107 26b. 31. 2a prthividh; 2c vdjdnaam. 32. lb maghdvanah or maghdvanah; 6b mdhya. 34. 3a vfsanam, § 170 ii c. 36. la rdthia. 39. la arsd ; 5b dtha.
40. lc perhaps vipram sumbhauti ; 3a perhaps nu na indo rayim maham ; 6c vfsann, § 177 iii. 41. 4c dsvavat. 42. 2b devebhiah] 6b dsvavat. 43. 6c rdsva. 44. 6a adyd. 46. 4c srinlta. 47. 2a kdrtua; 2 c irregular cadence. 48. 3a tud. 53. 1 a catalectic verse ; 3c rujd. 55. 4b abhitid. 56. 3b requires correction, perhaps kanid na, omitting jdrdm: but see § 135 a. 57. 4b utd, prthividh. 58. la etc. mandi is probable, § 178. 59. 3c sldd, 60. 2b dtha ; 3a probably omit asisyadat.
61. 2a long fifth syllable: 13a upa su; 19c probably devavih, § 166 vii; 23b midhuiih. 62. 3c asmdbhya; 4b giristhdah, § 142 i; 8a sd; 20c devebhiah ; 24b arsd. 63. 18b dsvavat. 64. lOb&amnaara; lib devavih; 26a n£a ; 28a ddvidyutatid, § 139 i. 65. 2b, 3b devebhiah; 5c iAa sit ; 26c srindndh; 28c, 29c, 30c pdantam, § 142 iii a. 66. 18d extra verse; 26c hdricandrah; 28a perhaps aksaah, § 151 i; 30c mfl_a. 67. 10a ajdsua, § 145 ii 6; 25c mdam, ^ 151 i ; 27d extra verse; 28a irregular cadence; 30 the metre is of the type 11.9.9, but is perhaps not so intended.
B. IX 68-97. [Only a few of these hymns have the metrical variations or other marks characteristic of the archaic and strophic periods. Otherwise the collection both in the smoothness of its rhythm and in the equal use of Tristubh and JagatI metre is closely akin to the second Mandala and the later part of the fifth.]
68. lc perhaps barhih-sddah, § 1 78 ; lOd dhattd. 69. 2a upa, § 171 iv ; 8b dsvavat, § 168 ii. 70. la catalectic verse: but SV. duduhrire. 71. 2b asuriyam is required by Vedic usage, see § 135 Addenda ; 4d srindnti ; 6c d %m ; lc extended Pentad verse, probably to be corrected. 72. lc caesura after third syllable; 9c mdsvd. 74. 4c prinanti ; 8b sasanvdn- 75. 2d perhaps tritiyam, § 178 ; 5a dhanua, §147; 5d codaya. 76. lc dtiah, § 151 ii; 3c pinvd; 5d tuotdyah. 77. 3b dhanuantu, § 147. 78. lc tdnud ; 4b suarjit. 79. la dhanuantu; lb svandsah : brhddivesu, § 179 ; lc the rhythm is irregular, and requires correction ; 3a, 3b dratiah.
80. 3d dtia. 81. 3b bhdva. 82. 5c extended Tristubh verse. 83. 2c pavitdram, § 179. 84. 5b srinanti: suarvidam. 85. 4d mldhuah; 5c dtia; 10b giristhdam, g 142 i; lie, 1 2d extended Tristubh verses.
86. 2b rdthia; 3a hyandh, § 151 iii: catalectic verse; 9b diauh; 15a sd; 16a prd ; 34d dhdnia; 41d asmdbhya; 42a sd; 42c dud; 43a Rest at the fourth place; 45a dpia; 47d svandh; 48b dhdva ; 48d catalectic verse.
87. la drava; 5b for the caesura see § 214 iii; 7a svandh; 7d gdah, § 142 ii ; 8b urue, § 145 ii b ; 9a smd. 88. la Viratsthana verse (indra type): tubhya ; 2a bhurisdt, § 178; 4a perhaps rnahd,
ix 22-114 317
§ 159 iv, but cf. the rhythm of 3a ; 4c Rest at the fifth place. 89. la prd u; 3a mddhuah, § 151 ii; 7c sagdfit 90. la rodaslyoh, i 17.5 ii ; Id vdsu (plur.); 4d asmdbhya ; 6d pdtd.
91. la rdthia; 2b svdnd; 4b urnuhl; 5b pra-dcah; 6a Pentad verse; 6d jiok. 92. la svdnd; 2b ndnid (plur.); 5a nU. 93. lc the irregular rhythm suggests emendation, but the hymn is one of Gotama Nodhas ; Id dtia ; 3d srinanti ; 5a indsvd ; 5b caesura after the third syllable: vaatrfpyam, § 151 i; 5c Viratsthana verse. 94. 3c mdrtidya, § 151 iii, or Pentad verse ; 5a 'dsuam, § 145 ii b. 95. 5b sid, § 148 vi- 96. 4b svastdye with v cons is doubtful in the Rigveda proper, and perhaps suasti should be read : for the caesura see § 2 1 3 ii ; 8d xrayd ; 9b rdnia; 15d urur 'va, § 129 ii; 16b arm ; 21c camvdh (§ 135 6) is improbable : either camti (sing.) or as a hybrid verse : visa.
97. Id sddmd (plur.); 3c svard; dhanud; 3d paid; 4b hinotd ; 11a mddhud (fern.); lib rbmd (plur.) ; 16d, 17c dhanud ; 17d indu, §170 ii f; 18a syd ; 19d sravd ; 20c dhanuanti; 21b sravd; 21c asmdbhya; 26a perhaps devaviyah, cf. § 173 ii ; 26d see §219: for diviydjah read diviah; 27d hrdhi; 32c matsardvdn, § 168 i; 33c, 36c visa ; 40d «wm ; 43c perhaps read jocfo/o 'bhisri?idn ; 48b sram ; 49c, 51a a6A£, § 167 iii; 52c vdata.
C. IX 98-114. [Lyric hymns of the archaic and strophic periods, with which the editor has included with good reason the Anustubh, Pentad, and Yiraj hymns.]
98. lb arm; lb vibhusdham, § 166 iv; 2a svdnd; 2d hyand; 2d, 3a perhaps aksaah, § 151 i; 7b irregular cadence; 8a heptasyllabic verse; 8b pdantah, § 142 iii a; 9c giristhdah, § 142 i. 99. 4c utd ; 7b devebhiah. 100. la abhi, § 167 iii. 101. 3a abhi, § 167 iii; 10c svdnd; lid vasiivid, § 166 iv. 103. 6b devebhiah. 104. 2c perhaps devaviyam, § 173 ii; 4a vasuvidam; 5a madanaam. 105. 2c devavih; 4b dhanud ; 5a harlnaam. 106. la dcchd.
107. 2d srinantah; 3a svdnd; 9a Rest at the fourth place: gdvamdn, § 142 ii : aksaah ; 9b aksaah; 9c catalectic verse. 108. 4a dadhidhn ; 6a dpia; 10c apdam ; 13b d-nayitd, § 142 iii b. 109. 3b arm; 16a svdnd; 17b srinand ; 18b irregular cadence; 21a devebhiah; 22b srindnn. 110. 6b vasuruc, § 166 iv; 9a a«7«i ?/ac?, § 161 ii ; 10a requires correction, § 225; 12c sasahvdn, § 169 iii. 111. la hdri?iid, § 139 i : catalectic verse; lc suurah; 2a iidt, panindam.
*112. la vd U) § 171 v; le the refrain is borrowed from ix 106 4b. *113. la catalectic verse; 2b midhuah ; 3b hypersyllabic verse: probably omit tdm, § 152 i; 5b heptasyllabic verse; 6b perhaps vdcam chandasidin, as a long fifth syllable is very unusual in the full cadence of Epic Anustubh ; 7c hypersyllabic verse : the Sandhi combination of two verses ($ 119) is not probable : the omission of mtim is perhaps on the whole the best course.
Mandala X.
A. X 1-9. [The Agni hymns 1, 3, 6 shew frequent Pentad verses and other variations characteristic of the strophic period : cf. x 46, and see § 249 L]
318 Metrical Commentary
1. For the metre see §249 i; Id, 6b, 6c Pentad verses; 2a rodasiyoh, § 174 ii; 3b tritiyam, § 178; 5b caesura after the third syllable, but cf. § 152 i; 5c prdti-ardhirii devd-devasya, § 152 ii ; 6a tn ; 7d vahd: sahasia. 2. 3d sd ; 7a tud ; 7c pitvy&nam pravidvdn is probable here. 3. la Rest at the fifth place; lc bhaasd, § 142 v; 4c sudsah. 5. lc nhiioh, § 151 ii.
6. For the metre see § 249 i; lc, 6c, 6d Viratsthana verses; la, lb 2b, 2c, 2d, 3c, 3d, 4a, 5a, 6a, 7a, 7 b Pentad verses ; 2a catalectic Bhargavi verse; 3a Gautami verse. Thus the decasyllabic verses in this hymn are more than half the whole number, and in doubtful cases the preference maybe given to this interpretation; lc jyestha more probably ; 2c sakhyd more probably ; 2d dtya more probably ; 6b sdptivautah, § 168 ii ; 7b hdvya more probably, but see § 136 ii. 7. la suasti ; 2a tubhya. 8. 2b simivdn, § 168 ii; 5c irregular rhythm. *9. 7c jiok.
B. *X 10-19. [The hymns 14-18 are clearly of the latest date : as is also 19, which is unconnected by subject. On the other hand the position of hymns 10-13 is open to question, both on metrical and on linguistic grounds.]
10. Metre and language are closely allied to those of x 95 ; lb purti as ace. sing, is very doubtful, see § 160 i ; 4c dpia; 5d prthivi, § 173 i; 7d rathia; 8d vrha; 10c barbrhi ; 12a requires emendation : perhaps nd te tanvam n tanud, cf. § 1356; 13a and 13b also require emendation : perhaps read batb bata n asi yama nd evd | tdva mdnah \\ ; 14c for tdva read te. 11-13. See p. 45. 11. 2a dpia ; 3a sd ; 5d sasanvdn ; 6a Iraya ; 6c su-apas- ; 8d perhaps interchange dtra and vltdt ; 9c vahd. 12. Id pratidh ; 2a Rest at the fifth place ; 2d irregular break ; 4a as 2d. 13. 3c Rest at the fifth place ; 4a devebhiah.
14. 2c ydtra; 3d svdha 'nie, § 145 vi, or svdhd anye ; 5c catalectic Bhargavi verse, ^ 227 iii b ; 8d Rest at the fifth place ; 9a ita twice ; 10a drava ; 10a, 11a sudnau, §145vi; lie tdbhiam; lid svasti ; 15c iddm should perhaps be omitted. 15. 3c, 4a barhih-sddah, § 178 ; 7b dhatta; 7c putrebhiah; 7d yacchata; 9a perhaps devdtd; 1 lb sadatd; 13b vidmd ; 14c svardjdh, § 151 iii. 16. 3b, 3c gacchd ; 3b didm or dydam; 5a srja ; 14d long fifth syllable exceptionally: perhaps agnim sit 17. 5b sd; 9c sahasra-arghdm ; 13a appears to be a dimeter verse perverted by the recollection of 12a: omit skanndh.
18. lb sudh ; 2d bhavatd ; 8a irsva ; 11 cf. i 164 42; 13a tudt.
19. 6b semi-cadence of Epic Anustubh : this is therefore the third verse of an Anustubh stanza, the first two being similar to those of stanza 8.
C. X 20-26. [The Vimada hymns are of a very early type, see
§ 201.]
20. 1 an imperfect quotation from x 25 1 ; 2a emendation is required: perhaps omit agnim (§ 152 i) and read bhujdam : but see §130 iv ; 2d extra verse; 3c srdyinidantah ; cf. sucidan, § 151 iii; 5c sddma (plur.) ; 6c vdsimantam, § 168 ii; 8b perhaps siuh. 21 etc.
X 1-45 319
For the metre see Ch. ix, App. No. 66; 4b sdhasdvann, § 177 iii; 7c bhfl rhythm is influenced by that of trimeter verse.
22. For the metre see § 243 ; la Viratsthana verse (indra type) ; lc fslnaam; 4a vdatasya ; 5b vdhadhiai (§ 146 ii) is very doubtful ; 7a requires correction, as d no valid indra pfksa adyd ; 9a double Rest, § 226 iv a : perhaps dvd tvdm nah \\ ; 11a extended Viratsthana verse; 12a, 13a as la; 13c ydsaam; 13d dhenundam.
23. la extended Viratsthana verse; lb hdrlnaam; lc smd
§ 151 iii : bhuut ; 2d perhaps kpiavd/ui, § 151 i : ddasasya (ib.) is quite uncertain ; 3c Rest at the fifth place; 4a sd, sud; 4c as la; 4d vdatah, § 142 v ; 5a Rest at the fourth place with irregular break ; emendation is probably required ; 6d as la : gopdah, § 142 i; 7b as 3c rather than ca indra : carseh.
24. 2a catalectic verse, unless we read ucdthaih, § 151 iii; 3c for the cadence cf. 21 7c; *5b samicyoh, § 139 iv. 25. lc ddha; 5c the rhythm here, as also in 6e, 8c, 9c, 9e is that of trimeter verse, cf. 21 7c, 24 3c; 7c sedhd, rdjann, § 177 iii; 7e isala, § 175 i. 26. For the metre see § 191 ; 2a tidt; 4c matlndam is uncertain in this hymn; 7c semi-cadence of Epic Anustubh : perhaps read prd dildhod....
D. X 27-84. [The small groups of hymns here included are generally of a type which stands in contrast with that of the archaic and strophic periods, without having the specific character of the Kutsa hymns. It is very probable that many of the hymns assigned to the cretic period really belong to the popular Rigveda, but maintain artificially the linguistic features of the Rigveda proper.]
*27, *28. See p. 45. *27. 6c Rest at the fifth place; lid read i for im the second time, § 178; 18a vxsu-ancah. *28. lc hybrid verse; 12a the text gives the hiatus correctly.
29. 2d sasanvdn ; 4a tudvatah; 5a %rayd ; 8d sumati, § 139 iii. 30. 9c a-usdndm as a-arksd, viii 68 16b; lie siadhvam, § 148 vi ; 12c sthd: su-apat- ; 13a read dyatir ddrsram ; 14c dhattand. 31. 3c dnasmd, § 158 i; 4d sd ; 6b Rest at the fourth place; 9a ksdam, § 142 i, or Rest at the fifth place; lOd samidm. 32. 4c Bhargavi verse ; 5b two syllables are wanting after the caesura : perhaps supply solid ; 5d caesura after the third syllable: 4mebhiah\ *6-9 see p. 45; *7b prd eti ; *9c sd. 33. lb smd. *34. 8c nd, § 175 ii ; lid sd.
35. 2d svdndh) 7b suvd ; 10b catalectic verse; 14a avathd. 36. 2a dia/tih) 8b devaviyam, cf. § 174 ii; 11a adyd', 14a read pascdt ; 1 4b read uttardt. 37. 2d visvdhd twice, § 170 ii <:/ ; 6a catalectic verse; 7a visvdhd; 7d jidk ; 8b bhadsvantam, § 142 v; 10a bhavd ; 12a cakpnd, § 158 i.
39. 4c adbhidh; 5b dthd ; 6b mdhya ; 10a -ds'ua?n, § 145 ii b ; 10c carkftiam ; 14b Rest at the fifth place. 40. la ydantnm, § 142 iii a; 2a vdstav, § 170 ii e ; 5d dsvavate, § 168 ii ; 6d bharatd; 11a vidmd, % 158 i; lib perhaps yuvateh, § 170 iii; 12d duria.
42. lc taratd; Id rdmayd ; 2b bodhaya ; 3d vasilvidam, § 166 iv; 5d su-dstrdn. 43. 2a tuadrik; 7b kulidh, § 151 ii. 44. 4c k/-*ra \ grbhdyd: tue, § 173 v; 7b catalectic verse: perhaps yuyujrire, cf. ix 70 la ; 8b diauh.
45. 2a trayidhd; 2b dhdmd (plur.) ; 4c for htm restore hi;
320 Metrical Commentary
8b Pentad verse; 8d diauh; 9a adyti; 10a, 10b bhajd ; lib vdsu (plur.); 12a nardam ; 12d dhattd. 46. For the metre see § 249 i: it suggests for this hymn an earlier date than its neighbours can lay claim to. The Pentad verses are la, lb, lc, 2a, 2b, 5a, 5b, 5c, 6a, 6c, 7a, whilst 5d, 6b, 6d, 7c, 7d are Viratsthana verses. Hence the Pentad hymn seems to have consisted of 5 double stanzas, thus corresponding in length to the hymns in i 65-70: whilst 3, 4, 8-10 may be Tristubh stanzas appended later. 6d Sandhi at the caesura ; 7c the interpretation is doubtful : JagatI cadence. 47. 2c carkftiam; 3c srutdrsim ; 5a dsvavantam, § 168 ii; 8a tud.
48-50. These hymns are almost alone in the Rigveda in combining frequent Rests with Jagati cadence : but cf. x 77, 78. 48. lc mdam (§ 151 i) is doubtful: perhaps Rest at the fifth place; 6a dud-dud; 7b abhi, § 167 iii ; 9a bhuut, § 142 iii b. 49. la daam, § 142 iii a, or Rest at the fourth place; lb mdhya ; Id extended Viratsthana verse; 2a mdam, § 151 i : double Rest, § 226 iv 6; 2b apdam; 3b, 5c as Id; 6b vrtrdm 'va, § 129 iii: probably as Id rather than ddasam, § 151 i; 6d rocandvi, § 130 iv; 9b prthividm; 10b tvdsta d- ; 11a Viratsthana verse {indra type) : vivie, cf. § 140 iii; lie visvd it, or Rest at the fifth place.
50. 1 b perhaps visva-dbhuve (Grassmann) ; 2a sd ; 2b carkftiah : extended Viratsthana verse {indra type) ; 2c hybrid verse ; 3a Viratsthana verse {indra type); 3c for the caesura see § 214 iii: asuriydya ; 4a as 2b ; 4c Rest at the fourth place : then perhaps cyautandh, § 149 iv ; 4d jydyistha : extended Viratsthana verse, but see § 149 iii ; 5a probably extended Viratsthana verse, but see § 148 i; 5b extended GautamT verse, rather than as in § 149 iii; 5c the cadence requires correction, perhaps vardhitti ca nah; 6c probably pdtaram, § 149 iii ; 6d as 4d ; 7b vdsunaam.
*51-53. See p. 45. *51. 2b tanvah, § 135 6; 2c ku 'aha; 4c as 2b; 5a ehl; 5d vdlm; 6d jidydh, § 140 iii; 8c pfirusam, § 178; 9a hybrid verse: but see $ 130 ii. *52. la sdstdnd; lc brutd; 4a mdam; 5c bdhuoh, *53 4c the opening requires emendation ; 5b gdvajdtdh, § 142 ii; 5c perhaps drhhah, cf. vi 3 Id ; 6c vayatd; 6d bhavd ; 8b tisthatd; 11c visvdhd.
54. 3a u, 55. 2c irregular double Rest, § 227 iii c ; 5d hidh, §140 iii (Addenda); 8d requires correction. 56. 2b asmdbhya; 2d sudm ; *4d extended Pentad verse ; *5b catalectic verse.
*57. 3c pitrndam ; 4c jidk. *59. 3a abhi su ; 3b diauh ; 4b nu ; 5c extended Viratsthana verse; 6c ji6k ; 10a Irayd: gdam, § 142 ii; 10c -rdnidh. *60. 6d rdjann, § 177 iii; 8e perhaps arista-, § 167 iv.
61. [This extraordinary hymn has a metrical unity which stands in striking contrast to its discontinuity of subject : it has all the marks of the archaic period, and yet a parallel hymn can hardly be found amongst the archaic collections. Alone in this part of the Rigveda it is dissociated in structure from its companion hymn. An Iranian origin has been suggested by the proper name Ndbhdnedistha in 18b.] la raudaram, § 149 iii, but more probably Viratsthana verse; lb sdcidm; lc hybrid vert>e ; 2a ddbhia; 2c Viratsthana verse, with irregular cadence ; 3b sdcid ; 3d dsrinlta : Viratsthana verse ; 4d ndyisam, § 142 iii b ; 7c for the caesura see § 205 i c ; 8b pdrd ait ; 9c sdnitd
x 45-83 321
with hiatus the first time, or Rest at the fifth place; lie Viratsthana verse, but see § 149 iv; 13a tan nti asya is perhaps most probable; 14d perhaps read srudhi hotar n rtdsya hotar adhruk ; 15a as la- 16a Viratsthana verse; 16c sd; 17a as 2c; 17 djydyistha; 20c urdhud, srdyinih; 21a ddha ; 22a ddhd tudm: Viratsthana verse (indra type) 23a a series of defective verses are found towards the end of the hymn, the others being 24c, 26a, 27a, 27d : these require emendation ; 25a yddl : Rest at the fifth place ; 26b su-uktaih ; 27b bhutti ; 27c Rest at the fourth place. 62. 8c satdsuam, % 145 ii 6; 9b divo 'va, § 129 ii.
63. 2c sthti: adbhidh; 7a ayaje, § 178; 10c su-aritrdm; lie devdhutl, § 139 iv; 13a mdrtiah, § 151 iii; 14a avathd ; 15a suasti: Rest at the fifth place; 16a srdyisthd ; 16c sd. 64. 7a catalectic verse; 10c rdthasas pdtih, § 151 iii; 12b ddaddtd ; 12c pipayata.
65. 2a indra-agni ; 5a siksd; 9b indrd-vdyd; 14b rtajiidah, § 142 i; 15b caesura after the third syllable, or read visvani ye; 15d pdtd. 66. la brhdc-chravdn, § 151 iii; 4b Rest at the fifth place ; 12d brdhmd (plur.) ; 14c etid.
67. 4a dudbhyam. 68. 2a caesura after the third syllable; 3a sadhu-arydh ; 9a, 9b sd; 10b for the caesura see § 205 ic; 12b perhaps pilruih, § 145 ii d : or Rest at the fourth place ; 12c sd.
69. 5c, 6c stiro 'va, § 129 ii; 5d nu; 12c, 12d catalectic verses; 12d tistha. 70. Id bhavd; 2d devebhiah; 8b sidatd: siondm; 11a vahd.
*71. 4c utd tuasmai ; 7d probably sndtud, omitting u. *72. 8d dsiat, § 145 iii.
73. 2b puru adv. § 160 i; 3a Pentad verse; 4b ndsatid; 6d hfdid; 7c siond; 9b utd : for the ninth syllable see § 177 i; 9c prthivi&m. 74. la vdsunaam; lb Gautami verse; 2d suaih; 3a Rest at the fifth place, rather than esaam : amftdnaam ; 3c Gautami verse, § 226 iii b : in the cadence probably sddhdyantah (§151 iii), cf. ii 3 8a; 3d vasaviam exceptionally § 151 ii ; 4b the rhythm is easily made normal by reading gomantam urvdm abhi ye titrtsdn ; 4c irregular cadence ; 6b probably ndma, giving a Viratsthana (indra) verse.
75. la su; lc trayidhd; 3a bhdmidh u- with Sandhi, § 130 ii ; 6b susdrtud, § 139 v: tid; 6d mehatnud; 8d perhaps madhuvfdham, % 166 iv and via. 76. la ilrjdam; 2a srdyisthant ; 3b catalectic verse; 3c tvdstare, § 149 iii; 4a hatd ; 4d perhaps devaviyam, cf. § 173 ii ; 5d area; 8b sunuthd.
77, 78. For the metre see §§ 52, 227 ii, and 250 ii. 77. 6-8 Tristubh stanzas; 7a Viratsthana verse ; 7b marudbhiah, 78. la, 6c extended Viratsthana verses; lc see § 227 iii d; Id ksitlndam; 2a, 2b JagatI verses : so too 3a, 6a, 6b ; 3b agnindam ; 3c slmivatitah with irregular cadence, § 168 ii; 3d pitfndam; 4a rdthdnaam : ye Wdh with Sandhi; 5, 7 JagatI stanzas; 5a jydyisthdsah; 8 Tristubh stanza ; 8a probably omit devdh (§ 152 i) and read with Rest at the fifth place.
79. 3a Rest at the fourth place ; 5b djyaih, § 137 iv ; a syllable is wanting at the end of the verse; 5d pratidnn. 80. lb srutia; 2c Viratsthana verse; 4a daat, § 142 iii a; 4c havydm, § 136: hence Viratsthana verse ; 7c prd 'va.
*81. 2a add at the end kathdslt. *82. 2d saptarsin ; 4b hybrid verse. *83. la tividhat, § 169 vi; 3b requires correction: perhaps
a. 21
322 Metrical Commentary
sapdtndn for sdtrun : jahi ; 5c irregular cadence, requiring correction ; 5d sua ; 7b ddha. *84. 2a agnir 'va, § 129 ii; 4c Rest at the fifth place: tudyd; 6a dbhutid, § 145 iv.
E. *X 85—114. [In the single hymns which conclude the tenth Mandala those which belong to the popular Rigveda predominate : but they only occur in groups on account of incidental agreement in the metre and number of stanzas. The first three hymns are of very unusual length.]
*85. 7c diauh; lie perhaps srotaram, § 149 iii ; 12b vidndh; 20c siondm; 22b tud ; 30c, 31a vadhvdh, § 1356; 34a perhaps omit kdtukam etdd ; 38c pdtibhlah is doubtful, § 144; 40b -e u- with Sandhi, § 130 i; 44c Rest at the fourth place: siond; 45a midhuah ; 46b svasrudm, § 146 iii; 46c hypersyllabic opening, requiring correction, cf. § 191 iii.
*86. [Although the fifth verse in each stanza is a refrain, there are only slight indications of the Epic Anustubh rhythm, as in the semi- cadence in 10a, 14a, 15a, 20a, 23c] 2c nd u: nd 'not' with hiatus; 4c sua, § 145 vi ; 10a snid ; 12c dpia.
*87. [Although of late date, the Tristubh verses of this hymn are free from contamination, and the Anustubh verses have the earlier rhythm; see § 198 ii.] 2a sprsd; 2d dhatsud; 7c jahl; 8a sd; lOd tredhd exceptionally, § 140 iii; 12b, 13c hypersyllabic verses, §§224, 217; 14a hybrid verse; 15c sdrava Wchantu with Sandhi, § 130 i; 16a probably paurusyena ; 16b dsvyena; 19c dahd ; 22b sahasya, § 135 a ; 23b smd.
*88. la pdantam, § 142 iii a; 6c, 9b require correction : see § 217; 10c trayidhd; 12d dpa; 15a, 16a due; 17b perhaps yajiianiyoh, § 173 ii.
89. 2b rdthia ; 2d tvisid ; 5b simivdn : 6d vlhi (plur.) ; 8b pdrvd (plur.) ; 8d Pentad verse ; 9d vfsatiam, § 170 ii c ; lOd read hdvio yoge; 13d probably dnu dpah; for the caesura see § 205 i c; 17b Rest at the fourth place.
*90. [Very late rhythm, § 198 iii.] 2a ptirusah, § 178; 4a hyper- syllabic verse, or combination of urdhvdh and ut, § 130 i; 6a purusena; 8c vdyavyan, § 135 a; 11a as 6a ; lid pdda, § 174 i a; ucyate, § 170 i.
91. 7b trsti, § 160 i; Sd nd 'nidm, § 145 vi; tudt ; 13d catalectic verse. 92. 4d dthd; 9a rudardya, § 149 ii; 9c sn-dvdn; 14b Rest at the fourth place.
93. For the metre see § 242 v ; 5a apdam ; 7b rdthasas pdtih, § 151 iii; 9a Rest at the fourth place; 9c sahd; 10a dhaatam, § 142 iii a; lOd rdydh utd with Sandhi, § 130 i; 12a Pentad verse; 14b hybrid verse ; 15b tdnuah. *94. la catalectic verse; 5d puru, see § 160: perhaps the adverb; 9a hdri, § 174 i b ; 10b Rest at the fifth place; 11a Rest at the fourth place; 12a evd; 14a extended Tristubh verse.
*95. [Companion hymn to x 10, with several archaic variations.] 3a A. Ludwig completes the verse by reading asakta ; 4a perhaps sd a vdsu; 4c two syllables are wanting: perhaps ydsmi, § 178; 5a, 5b smd; 5b dviatyai ; 6a srdyinih ; 7a caesura after the third syllable ; 8c sma ; 9b Rest at the fifth place, rather than ksavanibhih, § 151 i; 9c tanvdh,
x 83-115 323
§ 135 6, or hybrid verse; 10b dpia ; lOcjdnista; lOd tiratd; 11a gava- pithidya, § 142 ii : extended Tristubh verse; 12d ddhd ydd; 13c Rest at the fourth place, or tdva for te. 96. 3a, 7d sd ; 10a smd ; lib extended Tristubh verse; 13b dthd.
*97. [Very late hymn.] 7a asvavatim, § 168 ii ; 10a pariffMdafa § 142 i; 10b stentih with z'm (Grassinann), $ 129 ii ; 13a heptasyllabic verse; 14c, 15c, 19c catalectic verses; 20a as 13a. *98. 2b tndt ; 10c tanvdh, § 135 b.
99. See § 105 ii ; lb Viratsthana verse, rather than vdsardm, §149 iii; 4c irregular cadence; 5d for the caesura see § 205 ic; 6b Rest at the fourth place, with irregular break ; 7d Viratsthana verse; 8a sd; 8b Pentad or Gautami verse ; 8c Pentad verse; 8d as 7d; lie Rest at the fourth place; 12c svastim exceptionally, § 125 iii b ; or read karad asmai suastim.
100. la drhyd; 2a su, bharatd ; 6a ntt ; 7a cakrmd, § 158 i; 9b catalectic verse, or read yuyotand ; 10b angdhue; 10c evd ; lib § 120; 12c rdjid.
*101, *102. See p. 46. *101. 3b Rest at the fifth place, rather than short eighth syllable; 7a Pentad verse; 8b vdrmd (plur.); 10b vdsibhih, §170 iii: caesura after the third syllable; 12d coddyatd, khuddtd. *102. 2a smd; 3a yacchd; 4b smd; 7d pddid, § 151 ii; lib pipidnd. *103. lc, 2a for the caesura see § 205 i c ; 2c jayatd ; 7a hybrid verse; 8a nayitd, § 142 iii b : probably brdhmanaspdtih, § 151 iii; 10a liar say d; 11a hybrid verse; 12b apue, § 151 ii ; 12c dahd. 104. 3d s'dcid.
105. For the metre see § 244 iii ; la Viratsthana verse, rather than stotardm,% 149 iii: the verse ends haryata d, cf. 10c ; lc represents a trimeter verse: Rest at the fifth place, then vaatdpidya, cf. § 151 i; stanzas 3 to 6 see § 244 iii ; 8a two syllables are wanting : perhaps supply indra before the caesura ; 10c sue : Viratsthana verse rather than pdtare, § 149 iii; 11a asuriya. 106. Numerous duals combined with iva, § 129 i b; 7a, 7d for the caesura see § 213 ii; 7c nd 'as' combined, § 122 ; lOd suyavasdd.
*107. 6b perhaps yajnaniyam, § 173 ii ; 10a 'dsuam probably, cf. § 145 ii b. *108. see p. 46; 4a vedd (1 sing.), § 158 i: ddbhia ; 5a d-icchah, § 121 c; 5b divo 'ntdn; 6d mflat; 10a nd; lOd, 11a itd ; 11a Rest at the fifth place, rather than duurdm, but see § 151 i.
110. lc vahd; 4d devebhiah, siondm ; 5d devebhiah, bhavatd ; 8d su-dpasah; 10a tmdnid; lie by Sandhi pradisi 'rtdsya, not as in the text. ill. lb nfndm; 3a srutiai, § 146 ii; 10c Viratsthana verse. 112. lc Rest at the fourth place; 2a Rest at the fifth place; 5b rdiiia; 6b requires correction, as end somam piba satakrato tvdm; 7c as 2a ; 9a sldd ; 9c ndrte tudt. 113. 4d suapas- ; 7c Rest at the fifth place; 9a bhdrl (adv.) ; 10a extended Tristubh verse ; lOd vidd s4. *114. 4a hypersyllabic verse, § 224 : see also § 130 iv; 6c vimdyd; 10b Pentad verse.
F. *X 115-191. [These shorter hymns include many charms, all belonging to the popular Rigveda.]
115. lc yddl; 2d caesura after the third syllable ; 5a irregular cadence ; 5c, 5d catalectic verses ; 5d tesaam ; 7a evd with hiatus :
21—2
324 Metrical Commentary
mdrtiaih, § 151 iii; 8a sahasdvann, § 177 iii; 9c Rest at the fifth place. 116. lc, Id pibd ; 7a, 7c (the second time) tubhya. *117. lc, 2d utd; 5c rdthia.
118. 6a mdrtidh, § 151 iii ; 8b osd. *119. See p. 46 ; 11a hepta- syllabic verse; 13a probably grhdm. *120. la jydyistham ; lb Viratsthana verse ; Id Pentad verse ; 3b duih ; 4a as Id; 8a brdhmd (plur.): brhddiva, % 178; 9c for the caesura see § 213 ii ; 9d extended Tristubh verse. *121. 7c hypersyllabic verse, § 224, but cf. § 152 i.
122. 3b hybrid and catalectic verse ; 5a Rest at the fifth place ; 5b matsud ; 5d perhaps rurucuh, § 169 ii; 7d djiam, or as 5a; 8a ahuanta, § 142 iii 6; 8d pdtd. 123. 7d ndmd (plur.). 124. See p. 46; *ld jyok exceptionally, § 140 iii; *2d probably su&t sakhydt; *3b dhdmd (plur.); 6c Pentad verse; 8c perhaps rdjanam, § 170 ii c. *125. 4a sd-, 4b i, § 178; 8a evd.
126. For the metre see Ch. ix, App. No. 54 ; 2c Epic Anustubh semi-cadence; 2d pdthd; 5c rudardm, § 149 ii ; catalectic trimeter verse; 8c evd sU. *127. 3b usdmm, § 170 ii a; 4a adyd ; 6b ydvdyd. *128. 8a hybrid verse; 9c omit dditydh, § 152 i. *129. 2b rdtridh; 6b hybrid verse : or iydm monosyllabic, § 151 iii ; 7b add dadhe. *130. [Very late hymn.] la Rest at the fourth place; 2c il sddah requires correction, cf. § 171 v; 5d, 6a manusyah, § 135 a; 7a see § 177 i.
131. 6a, 7c sxv-dvan. 132. For the metre see § 242 vi ; la see § 242 vi ; lb Rest at the fourth place ; lc devd, § 174 i a ; 2b for the caesura see § 213 ii ; 3b rekaimh possibly, § 149 iv ; 3c Gautami verse : rdyiknah, § 151 i; 3d u; 6b diauh; 7a perhaps apna-rdjand. 133, 134. See § 109 iv. 133. la /wa sii ; lg, etc. jidkdh ; 6a tudydvah; 7a sd : tdm should perhaps begin the verse ; 7c dcchidra-udhni. 134. 2a smd.
*135. 4b vij?rebhiah ; 7c iydm perhaps monosyllabic, § 151 iii. *136. 6c catalectic verse. *137. 5a catalectic verse ; Ictud.
138. 4a dsiat, § 145 iii; 5b tujia; 6a tid: srutia; 6b catalectic verse. *139. 4c hypersyllabic verse, § 224. 140. See § 246 v ; 2a § 152 ii; 3c tue\ § 173 v; 6c tud. *141. lc yacchd ; 4a indrdvdyd. *142. la tve, § 173 v; lb dsti is probably to be omitted, or read nahi anydd dpyam ah ; 5a srdyinayah ; 6c namd.
143. 3a ddmsistha, § 174 i a. 144. See § 246 v; 2b dadsvate, § 142 v; 4c perhaps vivartanih, see § 225; 5a siendh, § 145 vi; 5b d abharat ; 5c, 6c dyu, § 178. *145. 6c mdam, § 151 i; 6e extra verse. *146. 2c -bhir 'va, § 129 ii. 147. 4c tudvrdhah ; 5b krdhl.
148. la Viratsthana verse (indra type); lb sasanvdmsah; lc bhard; 2b Viratsthana verse, rather than ddasih: but see § 151 i; 3d ratha- ulha ; 4a brdhmd (plur.): tubhya; 4b ddah, § 142 iii a : nfndam; 4c bhavd. *149. lc dsvam 'va, § 129 iii; 2c bhuuh perhaps: cf. § 142 v ; 4a gdvo 'va, § 129 ii ; 4c pdtir 'va, ib. ; 5b juhue, § 142 iii b.
150. See § 246 v ; 3c vahd ; 4a omit devdh, § 152 i ; 4b manusyah, § 135 a. *151. 2a heptasyllabic verse; 4c hrdayydyd, § 135 a. *152. 4b yacchd; 5c catalectic verse. *155. lb gacchd; saddnue, cf. § 145 ii b ; 2c arayyam, § 135 b. 156. 2c hinvd. *157. Id needs restoration as a trimeter verse. *158. lb vdatah, § 142 v: -ksaat perhaps, § 151 i ; 2 may perhaps be restored as follows : sdvitar ydsya
x 115-191 325
te hdrah , savtinam satdm arhati \ tena no pdhi didyutah; 5a tud, *159. 4c catalectic verse. 160. 4a em; 5b tud; 5d perhaps tud, § 151 ii.
*161. 2b nitah, § 124; 4& jvud; 4b m; 5a tud the second time. *162. lc hep tasyllabic verse, but cf. 2a; 2a catalectic verse. *163. lc sirsanydm, § 135a; 2c dosanydm ib. ; 4b -dbhidm. *164. 3a the metre is out of harmony with the period : perhaps read ydd dsastyd nihsdstid 'bhisastid; 3b updrimd, § 158 i; 5c hypersyllabic verse; 5e extra verse. *165. 3c requires correction : perhaps sdm na astu gobhiah purusebhiah. *166. 2b indro 'va, § 129 ii; stanza 5 requires correction. *167. 4c vaam, § 151 i; 4d irregular cadence. *168. la nu. *169. Id ava-sdyd. *170. See p. 46 ; 3b Rest at the fourth place.
172. 2b for the caesura see § 213 ii. *173. 2b pdrvato 'va, § 129 ii; 2c indro 'va, ib.; 4a probably diauh: then prthvi, cf. $ 151 iii. *174. 2a ahhlvftyd is probable, cf. § 167 i : catalectic verse; 4c cata- lectic verse. 176. 4c catalectic verse. 178. la tidm; Id ihd, § 175 ii. *180. lc bhard ; 2c samsdyd\ 3a Rest at the fifth place. *183. 2b tanu, § 173 iii. *184. 3a heptasyllabic verse. 185. 2b nd 'not' with hiatus. *189. 3a dhdmd (plur.). *190. lb tdpaso 'dhi gives a better rhythm than tdpasa ddhy; 3c catalectic verse. *191. 4a heptasyllabic verse.
CORRIGENDA AND ADDENDA
p. 14 1. 25, etc., for ' Bhargavd' read * BhdryavV p. 30 1. 5 for i 22 8d read i 122 8d. „ 1. 10 add i 79 5c. „ 1. 11 for viii 67 19a read viii 67 19c. p. 61 1. 11. The name Pajra also occurs in viii 63 12c. p. 65 1. 29 for 44 1-3 read 44 1-13. p. 79 1. 16. Omit § 130 iii.
p. 84 1. 4 from bottom of page. Omit the words ' except in sdntya ' good '.' p. 84 last line, and p. 85 1. 1. Omit the sentence from ' The fact...' to '...reading.' p. 87 1. 6 from bottom of page. Add navati ii 18 6a, saptati ii 18 5d. p. 89 1. 9. Add vivie x 49 11a. Add after 1. 11 : svdh ' tomorrow ' : more usually
sudh. And after line 17 : hydh 'yesterday,' always hidh. p. 101 1. 20. For dev&n gen. pi. add ii 4 2d. p. 102 1. 5. Add ahian ix 26 3a. p. 119 lines 5, 6, and 7 for ' long ' read ' short.' p. 125 1. 15 from bottom of page, for ' § 172 i ' read ' § 173 ii.' p. 126 1. 23 read apuvrktd. p. 128 1. 25 for ' heavy' read ' light.'
p. 131 1. 25 for ' § 170 ii ' read ' § 168 ii,' and add vtisisu v 53 4a. p. 134 1. 16. For vti u add i 105 2a. ,, 1.29. Add u sddah *x 130 2c. p. 135 1. 3. We find -u long with hiatus before a similar vowel in i 39 2b (2d).
,, 1. 18. viii 96 9d has -a in the eighth place, not the ninth, p. 136 1. 15. The suffix -iya is also found in asuriya (adj.), which is required in
all occurrences (except ix 71 2b) for asurya of the text. p. 137 1. 19. Also dual of a verb in -e in i 2 9c (5).
,, 1. 21. But indra-agni occurs vi 60 13a (9). p. 141 line 12 from bottom of page, for Hi read Ik. p. 142 1. 8. Aufrecht justifies his transliteration in his Preface, p. 6. p. 143 1. 16 for i 120 15a read i 121 15a. p. 144 lines 20-22 are to be deleted, tdmmi being locative singular : see also the
Metrical Commentary. p. 159. Add to the occurrences: (i) Long fifth syllable, x *141 3c, 143 6a; (ii) Short
sixth syllable, i 2 8a3 9a3 9c, *x 141 3a. p. 160. (iii) Trochaic ending : omit the exx. in i 120, and add v 19 5b, vii 94 8b,
viii 5 37a, 11 2c ; (iv) Syncopated ending, add v 19 3c; (v) Irregular endings,
add viii 3 22a2, 17 14a1, 55 3b2, 56 5a. p. 161. (i) Catalectic verses : add *x 152 5c ; (ii) Heptasyllabic verses, add v 19
5c 5d. p. 209 1. 3 for ' apddm ' read ■ apdam.' p. 221. § 234 iii a. The metre of the third Mandala has been carefully analyzed
by A. Meillet (Journal Asiatique, Sept.-Oct., 1897). In addition to the passages here referred to there are many others as to which the
views expressed in the body of the work are modified in the ' Metrical Com- mentary ' (pp. 289—325).
INDEX OF SUBJECTS
The references are to the pages. Each page is for this purpose divided into four equal parts, denoted respectively by the letters abed.
The arrangement follows the English alphabet : but in the case of Sanskrit words the special symbols used are arranged, in relation to the nearest English symbols, in the order of the Sanskrit alphabet. Thus the whole alphabet employed in this index is as follows : a a b c d d e e f g h h i i j k 11 m m m n ii n n o 6 p q r r sssftuwvwxyz.
Names of metres are in italics.
Abhinihita Sandhi 77c
Adam and Eve 267d, 268
Aditi 265b
Agastya 61d, 267d
Agnayah 265c
Agni 265c ; the seven Agni's, ib. ; Agni
Jatavedas 55d, 56d; Agni Vaisvanara
55d, 56d Ahura Mazda 264b Amsa 263b Anukramanl's 2a Anustubh 7d ; the Atri hymns earliest
170d; in the Kanva hymns 168d,
169a; in the cretic period 169b; the
older rhythm in the popular Kigveda
168d; Anustubh triplets 235b. See
also Epic Anustubh Aorist. Koot-aorist 31bcd; a-aorist 32a Aramati 263b Archaic period 104a, 187b Arnold, E. V. x b, 37a, 258c Art in Vedic verse 19b ; in the ritual
264a Aryaman 261a Aryans 263d Asvina 261c, 263b, 266d Asti 219a Asceticism 267a Atharvaveda 25d, 58c Atidhrti 249c Atijagati 247b Atri 17c, 60bd, 64b AU/asti 8b, 171b, 220a, 237 ; in triplets
234d Aufrecht, Th. ; his text of the Kigveda
142a, 290a Augment with long quantity 129b Aurora 266b Avery, J. 30d, 37d Avesta 19d, 174a, 226b
Adityah 263ab Apah 57a
Apriya hymns 41b, 44c, 57a, 67 note, 265a ; originally of seven stanzas _ only 242a Astarapankti 248b
Bardic period 17b Benfey, Th. xi, xii, 140a, 296c Bhaga 263b, 264b, 265b Bharadvaja 17a, 61b, 62b Bhargavl 14c, 51b, 214a, 240d
BLOOMFIELD, M. ix C
Bollensen, 0. 296b, 297a
Brhaspati 56c, 266b
Brhatl 8b, 66b ; in triplets 236d
Brhati-Satobrhati 220a; strophes 236
Bradke, P. von 172d
Brahmanaspati, see Brhaspati
Break lid, 183; cretic form 53d; iambic
forms 198, 199 ; irregular forms 200,
201 Brunnhofer, H. 251a
Cadence 10a, lid, 12d; of dimeter verse 152a ; of Trochaic Gayatrl 152d ; of trimeter verse 185
Caesura lie, 179-182; secondary 189- 191 ; weak 191, 192
Catalectie Jagatl 207c
Catalectic verses 7c; dimeter 161c
Ceremonial 264c
Chaldaean deities 261a, 264b
Chance, laws of 176c
Charms 26d
Combination of final -a, -a 72-74; of final -/, -i, -u, -u 75,76; of duals 77d, 78ab; with iva 78cd; irregular 79ab
Composite hymns 8c
328
Index of Subjects
Compounds, treatment of final vowels in the prior element 120d, 121, 123-128
Consecutive short syllables in dimeter verse 157, 158; in trimeter verse 195-197
Contamination 15a, 20c, 53b, 257a
Cosmogonies 27a
Cretic break 53d
Cretic period 18a
Cretic Tristubh 12c, 53c
Dadhikra 56d
Daksa 263b
Daksina 57a
Dawn, see Usas
Danastuti 56b
Decasyllabic metres 178d, 227b
Decasyllabic Tristubh 178c, 227a, 257a
Decasyllabic verses 7d, 50, 51, 209-215
Defective verses : dimeter 162a; trimeter
210c Dhrti 249b Dimeter Brhati 247c Dimeter Kakubh 245d Dimeter Puraumih 245d Dimeter Usnih 162c Dimeter verse 7b, 10, 11, 149-174 Dionysus 266a Disease 39b Distich 71d
Divodasa 17b, 64d, 169a, 253c Dlrghatamas 17c Duals 72d; before hiatus 137a Dvandva duals 78b ; with caesura 180d ;
derivatives 102cd Dvipadd Gayatri 244c Dvipada Jagatl 244d Dvipada Satobrhati 244d Dvipada Tristubh 51b, 244d Dvipadd Virdj 8a, 14b, 51a, 239 Dyaus 261d Dyava-Prthivl 56d, 265a, 266b
Early Caesura lid, 67b
Earth, see Prthivl and Dyava-Prthivl
Eos 266b
Epic Anustubh lib, 163b, 166, 167
Extended 'Tristubh 208b
External Contamination 15b, 53b, 207-8
External form 8d
Family collections 16a
Feminine influences 267b
Fifth syllable, in dimeter verse 159b;
in trimeter verse 182d Final Tristubh verses 242d Final vowels (variant) xi, 108-128 Fire, as magic 260b; as messenger to
heaven 260d Foot 9c, 151b, 173c
Gauh 265a
Gauiami 212ab, 241b
Gayatri 8a; with extra verse 50b; its
history 171cd ; triplets 235a. See also
Trochaic Gayatri Geldner, Kakl 267c Genesis 268c Ghrta 265a Glosses 102b
Gotama 17a, 61d, 65a, 253c Gotama Nodhas 61c, 291c Grtsamada 17c, 61a Grassmann, H. x d, 296d, 323a
Havis 265a
Heaven 260d, 261a. See also Dyaus and Dyava-Prthivl
Heptasyllabic verses 7c, 161d
Heroic dialect 24d, 106c
Hiatus 70-80 ; after -a 72-74 ; after nd ' as ' 74b ; after sd ' he ' 74c ; after -d 74, 75 ; denoted by m 72c ; of duals 72d, 77a; of locatives in -a 73a; prevented by use of id, lm 73b
Homogeneous groups 48
Hybrid verse 15d, 215d
Hymn 8c
Hypersyllabic verses, dimeter 16 Id ; trimeter 198a, 202a, 208d
Iambic reopening 52d, 167d
Iambic rhythm in trimeter verse 9c,
51c, 184c; not sought in dimeter
verse 174a Iambic Tristubh 12c Ictus 151c ; borne by short svllables
156c, 205, 206 Immortality 266a Indo-European deities 262a Indra 261bc, 262c, 266b indra verses 186c, 211c lndravajrd 184b Inspiration 260d Internal Contamination 15c, 53c Internal form 9a Irregular cadence, in dimeter verse 160c ;
in trimeter verse 204d, 205a Irregular openings. See Consecutive
short syllables
Jagatl 7d, 175-227; catalectic 207c;
with Tristubh stanzas 242c ; triplets
241d Jamadagni 66b Jove 261d
Kakslvat 64d, 67c
Kakubh 8b, 235d, 236a
Kanva 17a, 57c, 64ab, 220c, 254b
Ksetrapati 56d
KijHNAu, E. 227d
Kusika 17d, 66, 172b
Kutsa 64d, 67c, 182c
Lankan, C. B. 37a, 251a, 309d Late Anustubh. See Epic Anustubh Late caesura lid
Index of Subjects
viu
Late Rigveda 4a, 18c
Linguistic developemeut 257d, 258
Linguistic evidence, 28-41, 68cd ; within
the Kigveda proper 25 2d Long eleventh syllable 204d Long ninth syllable 204cd; in Pentad
hymns 239c Lopamudra 267d
Ludwig, A. 233b, 237b, 300d, 322d Lyric metres 8a
Macdonell, A. A. 265b
Madhyejyotis 247a
Magic 39b, 260b
Mahabfhati 247d
Mahdpadapankti 247c
MaMpankti 8a, 55a, 169b, 248c
Muliuxatobrhati 248a
Marutah 261d, 263c
Max Muller, F. 2 note
Mamateya 63d, 220d
Mana or Manya 17a, 61d, 253c, 263c, 296a
Medhyatithi 64b
Meillet, A. 221a (Addenda)
Members 10a, lid, 151c
Metrical Commentary 289-325
Metrical families 9a
Metrical pictures 252b, 256
Mitra 261a, 265b ; compared with Mithra
263b Mitra- Varuna 56a, 265b Mitra-Varuna-Aryaman 263a Mixed lyric hymns 8b Monosyllabic stems 30b Motor-cars 293d Mythological hymns 26d, 266-268
Nabhaka 65c Natives of India 263d Nabhanedistha 320d Neutral rests 214, 215, 227c Nodhas. See Gotama Nodhas Normal dimeter rhythm 153c Normal period 17d
Oldenberg, H. ix d, 26c, 57b, 58b, 73b, 143a, 263a, 295b, 300d, 303a, 308a
Opening 10a, lid, 12a; of dimeter verse 150d; of Epic Anustubh 163b; of trimeter verse 182, 192-194
Order of hymns 26b, 58b
Padapankti 239d Pada-patha 5a Pajra 6ia (also Addenda) Paiikti 8a, 172c Pahcapada Jagatl 248b Panayah 262c Par j any a 56d
Parts (of the verse) 10a, lie Pentad hymns 239, 257a Pentad opening 182d Pentad strophes 239d Pentad verses 213cd
Perfect forms 31ab
Philosophical poems 27a, 264a
Pischel, B. 888b
Popular dialect 24d
Popular Kigveda 18d, 22-46
Position before A h ch nn m Ih 141, 142
Positions of Protraction 119a
Pragatha 8b
Praskanva 64b
Prastdrapahkti 247a
Pravargya ceremony 43d
Pratisakhya's 2a
Pre-Vedic verse 174a, 225b
Priests, originally craftsmen 260c
Pnyamedha 60d,' 64b
Protraction 119a, 146a; in the second
place of trimeter verse 197a; in the
eighth place 203d Proverbs 27a Purarhdhi 263b Purastudbrhatl 231d, 246c Purausnih 245c Purumilha 60d Puriiravas 267c Pilsan 44c, 261d
Quantitative evidence 3d, 109 Quantitative restoration 108-148 Quantity not determined by position 157b
Rbhavah 266c
Reduplication 128b
Refrain verses 57d
Reopening of Epic Anustubh 11a
Resolution of root-stems 104c, 106d
Restoration of text 5b, 81—148
Rests 13d, 209-215
Riddles 27a
Rigveda proper 4b
Ritual, its origin 260bc
Ritual hymns 57a
Rudra 263c
Sakvari 247d Sloka lib &unahotra 61a Syavasva 17a, 60bd
Sadasaspati 56d
Samhita text xi, 5a, 71a, 137-141
Sandhi 70-80
SarasvatI 56b
Satobrhati 8b, 236d
Savitar 263b, 264b, 265b
Secondary caesura 180b, 190, 191, 221a
Semicadence of Epic Anustubh 11a
Short eighth syllable 185c,' 202-204
Short sixth syllable 159cd, 160a
Short syllables bearing the ictus 205, 206
Short tenth syllable 185d, 204
Shortening of final long vowels 145b
330
Index of Subjects
Sieg, Emil 267d
Sindhu 67b
Skandhogrivi 246a
Sobhari 17a, 59c, 64b
Soma 260c
Soma Pavamana hymns 16b, 65d, 254c,
266a Stanza 7d Strophes 235-237 Strophic period 104a Surya 56d, 265c Syllaba anceps 181a Syllabic measurement 19d Syllabic restoration 81-107 Sympathetic magic 260b Syncopated cadence in dimeter verse
160c; in trimeter verse 205a Syncopated opening in dimeter verse
150d; in Trochaic Gayatri 163a; in
trimeter verse 182d Syncopation 10b
Table of hymns 269-288
Trimeter verse 7c, 11-13, 175-227
Tripada Jagati 245c
Tripada Trutubh 245b
Triplets 234b
Tristubh 7d, 20c; in triplets, etc. 241d,
242ab Trochaic Anw<tubh 53a Trochaic Brhatl 53a Trochaic cadence in dimeter verse 160b,
172a Trochaic Gayatri 10c, 53a, 165
Unaugmented forms 30d Uneven lyric 8c, 164d, 229-234 / "jHtrixtaribrhati 247c Uparistajjyotis 236d, 247a Upastiita 59c, 64b
UrvaSl 267c
USana 64d
Usas 261d, 265a, 266b
Usasa-nakta 266b
Umih 8b; in triplets 234d
Vala 262c
Variant final vowels xi-xiii, 108-128
Varuna 261a, 264b, 265b. See also
Mitra- Varuna Vasistha 17a,'62d, 63, 220cd, 265bc Vatsa 64b Vac 265a
Vamadeva 64d, 218c Vayu 56b, 262d Vastospati 56c Vdsisthl 181b, 189 Verrall, A. W. 192a Verses of four syllables 162 Vimada 17a, 60c, 64b, 67c, 170d Viparita 246b Viraj 8a, 51b, 245b Viratsthfuid 14a, 51b, 64b, 211, 240c Virupa 60d, 64b ViSvamitra 66b VifamSpadd 246c n'starapankti 236d, 246b Visnu 56b, 265d Vocalis ante vocalem 134d Vrtraghna 262c, 263c Vyasva 17a, 59c
Wackernagel, J. 106d, 146ab Weak caesura 191b
Yahveh 264b
Yama and YamI 267d, 268
Zetfs 261d
ZuBATf, J. xii, 140a
SANSKRIT INDEX
The transliteration follows the forms which appear in the Samhita text, restored forms being added where this seems required within brackets.
a- initial 77bc
-a final with hiatus 72-74
-a voc. dual 137c
-a, -a neut. pi. 113c
-a, -a 2 sing. impv. xiii, 113
-a, -a 3 sing. pf. 120a
-aam gen. pi. lOlcd
-ami 142b
dccha, dccha 112c, 142a
dtha, dthd 112c, 140b
dtho (dthd) 132d
adds 38b
adyd, adyd 117a, 140d
ddlui, dcihd 117c, 140d
ddha ydd 140d
-an stems 88c, 130c
-ann locative and vocative 142b
•ann 2, 3 sing. 142b
-anta 37b
dntja (dnia) 84b
dpd 126c
dpo (dpa) 133d
dpya (dpia) 84b
abhiyuj 126c
abhi (abhi) 126d
arista (dr-) 127a
arydh (aridh) lOOd
•av locative 131a
•av vocative 132b
dvidhat 129b
dvrnak (a-) 129b
dv'ria (d-) 126d
asdnyd (-i) 87d
asydm (4dm) 96c
diva (diua) 94d
dsvavant 127d
dsat (dsat) 127a
dsan (dsan) 303a
-asi 30c
-ase (inf.) 32b
asuryd (asuryd) 83c, 136b (Addenda)
asmdbhyam (-bhya) 30a
asme 136d
asmai 136d
r//j«, a/u7 114c
dhobhih (dhabhih) 294d
-a final with hiatus 74, 75 ; quantity 134c; developed to -o, -du 135b, 145d •a u 131d, 134ab, and Addenda •a (-aa) noun-suftix 90 -a instrum. sing. 28d -a locative 29c, 73a -a dual, combined 77d, 78a -a (-aa) verb-suffix 91 -a 2 sing. impv. 113d, 140c -a 1 sing. perf. 112c -a 2 plur. perf. 112c -at (-aat) 99d -dtama 29b -dtara 29b -utdm (-atdm) 130a -ate (-ate) 130a -dtliam (-athdm) 130a -a*7i£ (-athe) 129d -a nam (-an am) 130c <7a7tyd 99c, 106a -a;ti (1 p. sing, subj.) 37c -am (-aam) gen. pi. 92, 93, 106d -dya (gerund) 112c, 113a, 140c dyuh (dyu) 142d dyeji (dyaje) 144a -ayya 30c -dr (-aar) 99d -dv 131d avar (dvar) 129b dvidhyat 129b awm 129b -<7*' (-aas) 92ab a's^ 38a dxlh 38a a'sAra (dsakra) 101a
-*, -I instr. 29b, 112c, 113b
-i, -I neut. pi. 113c
-inn 142b
(d 73b
indra (Indara) 98bc, 106a
Indravant 127d
-inn (-<») locative and vocative 142b
iydm (ydm) 101b
'irya (Ma) 84b
iva ('ua) 68b, 78cd
332
Sanskrit Index
-isya fut. 37d
-i before hiatus 134c, 136ab
• i instr. sing. 29b, 113b
-I dual, combined 78ab
-ithdm (ithdm) 130a
\m (t, i) 73b, 142d
-Iman 30c
Udna (isdna) 142d
w, 3 115c, 140d
-u, -u neut. pi. 29d, 113c, 114b
u lokd 115c
-ui, -ui loc. 112c, 113b
utd (utd) 133c
lipo (upa) 133d
uruvydc 143a
urviyd (uruyd) 142d
usdsam, ustisam, etc. 130b
ii 115c, 140d
-« before hiatus 134c, 136c
-u neut. pi. 29d, 113c
fi jananta 134c
a juvah 134c
fl fdda$ 134c (Addenda)
-urn Ui 132c
-e dual, combined 78b
etdd 38b
-<?te (-ate) 130a
-effce (-af/ie) 130a
-ena, -end 120b
?/u7 112c, 140b, 305d
end 112c, 113c, 140b
evd, evd 73b, 112c, 140b
■aih adv. ending 38b
-o (-«) vocative 131bc -o Ui 132c dsadhi 40a
-au dual 37a, 132b
m 141d, 142c
ih denoting hiatus 72d
m 6d, 141d, 142c
h 6d, 141d, 142c
kavyd (kan'ui) 83d klla, kild 112c krdhl, krdht 118b, 141a Una, Una 120d, 141a krdtuna, (krdtud) 88a kriyasma 306a /cvo (/ctfa, fat) 101b
gddhya (gddhia) 84b aa"/> (gdah) 90c jiaffl (gdam) 90c giihya (giihia) 84c
ao/j (gdvah) 90d gdjata (gdvajdta) 90d gopithya, gavapithia 90d gdmdn (gdvamdn) 90d
o/ta, ofta 112c
cardthd 143a carkftya (-tia) 84c cyautnd (cyautand) 99a
ccfc 141d
cchardih (cchadih) 143a
jdnya (jdnia) 84b j'a/u, ja/if 118b jig'tvdifis 143a jya' ( jia') • bow ' 89a j?/a (j/a) 'strength' 97a jydkd (jidkd) 'bow '89a jyestha 91d jj/oA- (jirffc) 89a
? 36d
nd 36d
-fa, -fa 2 plur. xiii, 113c, 114a
-tana, -tana 113c
tanvah (tanuah) 83d
tanve (tanue) 83d
-Mwe 32a
•tort, -tori 112c
tacasya (-yd) 83d
tava w 134b
tdtisydh (tdviseh) 131c
tdsmai 136d
-f/, -fi instrum. 112c, 113b, 140b
tu, tu 115a, 140d
tubhya, tubhyam 30a
tuvimaghd 125b
fr%a (tritfya) 143b
fWM 142a
fr.N//, fr.su 114c
fe'wa, fi?za 120d, 141a
-tai 3 sing. subj. 37c
tyd (tid) 97c
-ft/a (-tia) after light syllable 84
-tyd (-tid) gerund 95b, 112c, 140c
-tra, -trd 120c, 141a
trt 114c
tredhd (trayidhd) 89a
tva (tua) 97a
-taa (-fwa) 88d, 94d
-tvana 30c
tadf (tudt) 97a, 105d
to<fm (tudm) 85d, 105b
taam (torfm) 85d, 86c
tvdyd (tudya) 97b, 105d
tva (tud) 85d
tad (fad) 95b, 100c
-tva {-tud) gerund 29d, 38a, 95b
tvd- (tud-) 86c
-tvl (-tui) gerund 95b
Sanskrit Index
388
tve (tue) 17&, 85d, 86c, 136d
-tha, -thd 2 plur. 113, 114, 140c -tha, -thd 2 sing. perf. 120a -thana, -thana 113c
ddbhya (ddbhia) 84b
ddmya (ddmia) 84b
das (das) 143b
das (das) 143b
dasvdihs (ddsudihs) 95a
ddsa (ddasa) 100a
ddsvat (dadsvat) 92a
dasvdms (ddsudihs) 95a
dive-dive 29d
divyd (divid) 84c
df'dyaZ (didiat) 88d
didyana (dtdiana) 88d
d?dae (dldie) 91c
didhyat (didhiat) 88d
didhydna (dldhiana) 88d
didhye (didhie) 91c
durya (duria) 84b
<ta?-a (daard) 100a
dWM 142a
deydm (da-idm) 91b
devdvant 127d
devavt, devdvi 125c, 136b
devdhutya (-ti) 87d
d<?van gen. pi. 101b (and Addenda)
destha (ddyistha) 91d
d«snd (dayimd) 92a
dwa»i (didm, dydam) 90cd, 97b
d?/n< (dia£) 100c
dyaiih (diauh) 97b
dt;a (dna) 89a
dvi/i (da?/?) 97b
dhdnya (dhdnia) 84b
dhanv (dhanu) 96d
dhdnvan (dhdnuan) 96d
-rfM, -dM imperv. 118d, 141c
dheydm (dha-iam) 91b
dhestha (dhdyistha) 91d
-d%ai 32b
-dhvam (-dhuam) 94c, 100c
-dnt>e (-rf/iue) 94c
-dhvai (-dhuai) 94c
nd 'as' combined 74b
na 'not' with hiatus 73cd, 74ab
-fia (-ana) 97, 99
-na/i (•ana$) 88c
ndma astu 40b
ndrya (ndria) 84b
ndvyasyd (ndvyasl) 87d
nani, naM 139c
-na,-ni stems : preceding vowel short 131c
ndsatya 99b, 106a
na, n-n 115a, 140d
nu (nuu or nu u) 100a
na ci« 112c
nrndm (nrndm) 143b
-ne (-ane) 88c
netdr (nayitdr) 91c n^aw (nmii.<,i),i) 91c nd (nd) 133a
liaiih {iiaiuih) 90d
-nn 141d
-nya (-nia) after light syllables 84
-p causatives 38a
pdnthdm (pdnthaam) 90d
pavitdr (pavitdr) 143b
pasavya 83d
pdntam (pdantam) 91b
pdvakd (pavdkd) 143b
pitrdh (pitardh) 88b
pipdya (pipdya) 128d
ptpydna (pipiana) 88d
pipy and (pipiana) 88d
purutdma 124b
purubhuj 124b
purma (purusa) 143c
i>aru 114d
purudhd, purudhd 112c
par 100b
pusan 142b
prihivf (prthvl) 101b
prthivydm 136b
jprajtf 40c
pratlvydm 136b
prdmatya (prdmati) 87d
prestha (prdyistha) 88d, 92a
_prri (|wd w) 132c, 134a
barhimd 143c
brhaddivd, brhdddiva 143c
brhddbhih (brhdbhih) 143c
6Ms (6nads) 92b bMsvat (bhadsvat) 92b onuwa 139b
-fenna/j (-bhiah) 93d, 94 -bhydm (-bhidm) 93d, 94
-ma, -ma 1 p. plur. 119d
-maife vocative 29d
maksu 114c
maghavann 142b
maghonah 90d, 127c
maghdnoh 90d
mddya (madia) 84c
mddhva fern, (mddhud) 88a
-wan stems 88c, 130c
manusya (manusia) 83d
waai 37b
mdrta (mdrtia) 101c
mahdnt: forms mahdnah, niaininn,
hdbhih 143d mahdm 29b
mahind 88c, 100c, 143d mahimnd 88c, 101c ma find 88c tiuihya, mdhyam 30a -md 1 plur. perf. 112c mil trnh (ma tat oh) 88b mddhvt (mddhui) 95a
334
Sanskrit Index
mtim (mdam) 100b 7)i> thu 114c
mllhvtfms (milhudms) 95a tnrl (mfl) _143d mrlikd (mrlikd) 143d memyat (memiat) 88d mo (md u) 133a -mnah (-manah) 88c •mna (-mand) 88c
-y stems 30c
-ya (-ia) noun-suffix 84, 85cd, lOOd
-yd (-la) noun -suffix 83d
-ya verb- suffix 95a, 100c
-yah (-iah) lOOd
yajhanyam (-nfyam) 136b
yajhlya 83d
yddi, yddi, 117d, 140d
yavyti (y arty ti) 84b, 136b
ydsmin (ydsmi) 144a
ydsmai 136d
-yd (-to) noun-suffix 84, lOOd
-ya (-»7) noun-suffix 83d
-yd (-id) instrum. sing. 87
-yd (-id) optative 96c
-yd (-id) gerund 95b, 112c, 140c
-yah (-idh) 37a, 95d
yatdh (yaatdh) 91c
yati (yaati) 91c
-yam (-iam) locative 37a, 96a
yayam (yayidm) 91c
//»./>« (U"ji«) 84b
yuyudhdh 129a
yitnitydh (yuvateh) 131c
yimne 136d
yena, yend 120d, 141a
yestha 92a
-r/at (-ia/) dative 37a, 95d
■yoh (-ioh) 87
-ra (-ara) 97-99
rdnya (rdnia) 84c
rdf/ta (rdthas) 101c
-ratha 125c
rdthya (rdthia) 84c
rdjann 142b
rudrd (rudard) 98d, 106a
reknah (rdyiknah) 100b
reknah (rekanah) 99a
rai: cases formed from the stem rajfi- 87b
rddasoh 101c
rddasyoh (rddasiyoh) 136b
Z 37a
1$ 141d
-ra (-«a) 94d, lOOd
-vaj[i (-ua$) 100d
-rah vocative 29d
-rat 32c
-van stems : ace- vanam 130c
-vane 32b
vavdna 306 a
vasavya (vasavyd) 83c
-rasu 125b
vdsudhiti 124c
vasurdc 124c
vasuvid 124d
vdstu, loc. vdstav 131a
-rd (-ad) ins.tr. sing. 88a; after light
syllables 101a -ra?Hs (-wawts) 95a rata (vdata) 92b vdtdpya (vaatdpya) 100b ram (uaam) 100b -ram (-warn) 96a »*> (rdar) 100a ra'si 131c
vdsimant (vdsi-) 128a vibhvdsdh 124d visvddha, visvddha 112c visvdha, visvdhd 112c visvdha (visvdhd) 112c, 130d -rl (-z«) 95a rr/' 126b -rrta 126b -iTdft 125b vrsann 142b
vfsdnam (vr*anam) 130d -w>$ (-ho/?) dual 88a -rna/i (-rana/f) 88c -tme (-vane) 88c rydnti (vidnti) 89a
fcbya (sdsia) 84b iaivddibham 199b, 201d, 305d shnictutt (ximivant) 127d Itrto' 114c sura (sdura) 100b snnidhi, srnudht 118b .srim/if 118b, 141a «c initial 144b s//a? (sj'flf) 91c smdsru (smd.Sdru) 101c srdtya (srtitia) 84c sntdhi, srudhi 118b, 141a sre'rc? (srdyini) 89a srestha (srdyntha) 92a ii'dA (sud/?) 89a (Addenda) .srdn (foonj 95c
sd 'he' combined 74c
sakhyd (sakhid) 84c
sakhydh (sakhidh) lOOd
sdptivant (sdptivant) 127d
•sriVra 38b
sasavdihs (sasanvdihs) 144b
sdsmin (sdsmi) 144b
-sd/j 125c : ace. -sdham 130c
sahasdvann lOld, 142b
sddhu, sddlw 114d
•«a}uf 32a
sonw (s/id) 101c
sano (sdnav) 131a
sasdha (sasdha) 129a
si 'bind': stem sia- 95b
sd, su 116cd, 140d
Sanskrit Index
885
sudds (sudads) 92a sumatyd (sumatt) 87d sumnayu, mmnayu 128b suvdnd (svdnd) 89b sfnjavasa (su-) 127b sura (sriura or stfruz) 100b st1n/a (suri'a) 85b -se 1 pers. sing. 31a -se infinitive 32b -sai subjunctive 37c stavdn (sdtvd) 144c sma, smd 112c, 140c syd (sid) 32c, 97c -sya future 37d sydm (sid)n) 96c sydma (sidma) 96c syond (siond) 89a svd (sud) 97c
-sva, -*va (sua, -sua) Mc -*va, -*va 112c, 113a, 120b, svad (mud) 95c 8var (suar) 83b svardj (svardjd) 102a svarga (xitaryd) 89a svasrdh (svasarnh) 88b svdhd 265d
-fcan 125d
hdvya (hdvia) 84c
havyd 84a
-to,' -M 118cd, 141a
hiydnd (hydnd) 102a
hiranydyd (-ydyi) 87d
hrdya (hfdia) 84b
%aft (Atrffc) 89b (Addenda)
Mi).
CAMBRIDGE : PRINTED BY JOHN CLAY, M.A. AT THE UNIVERSITY PRESS.
%,
CM
O
I
&
H 0) >
1
SCO -P
* o
H T> •
*
T5
0)
m >
aJ en CO v*v
h3 <
|
1 — ,_,.._.. |
||||
|
^^ |
1 |
UNIVERSITY OF TORONTO |
||
|
LIBRARY |
||||
|
I |
k |
|||
|
ft u 0 |
DO NOT // |
|||
|
PC o CO |
V* |
REMOVE / |
||
|
fc c V < 2 |
THE 1 CARD | FROM ^ |
|||
|
4 |
I |
THIS \ |
||
|
^ |
POCKET \, |
|||
|
to r» Q — |
1 |
. |
||