HYMN CLXXXVII. Agni
1. To Agni send I forth my song, to him the Bull of all the folk:
So may he bear us past our foes.
2. Who from the distance far away shines brilliantly across the wastes:
So may he bear us past our foes.
3. The Bull with brightly-gleaming flame who utterly consumes the fiends
So may he bear us past our foes.
4. Who looks on all existing things and comprehends them with his view:
So may he bear us past our foes.
5. Resplendent Agni, who was born in farthest region of the air:
So may he bear us past our foes.
HYMN CLXXXVIII. Agni.
1. Now send ye Jatavedas forth, send hitherward the vigorous Steed
To seat him on our sacred grass.
2. I raise the lofty eulogy of Jatavedas, raining boons,
With sages for his hero band.
3. With flames of Jatavedas which carry oblation to the Gods,
May he promote our sacrifice.
HYMN CLXXXIX. Surya.
1. THIS spotted Bull hath come, and sat before the Mother in the east,
Advancing to his Father heaven.
2. Expiring when he draws his breath, she moves along the lucid spheres:
The Bull shines out through all the sky.
3. Song is bestowed upon the Bird: it rules supreme through thirty realms
Throughout the days at break of morn.
HYMN CXC. Creation.
1. FROM Fervour kindled to its height Eternal Law and Truth were born:
Thence was the Night produced, and thence the billowy flood of sea arose.
2. From that same billowy flood of sea the Year was afterwards produced,
Ordainer of the days nights, Lord over all who close the eye.
3. Dhatar, the great Creator, then formed in due order Sun and Moon.
He formed in order Heaven and Earth, the regions of the air, and light.
HYMN CXCI. Agni.
1. THOU, mighty Agni, gatherest up all that is precious for thy friend.
Bring us all treasures as thou art enkindled in libation’s place
2. Assemble, speak together: let your minds be all of one accord,
As ancient Gods unanimous sit down to their appointed share.
3. The place is common, common the assembly, common the mind, so be their thought united.
A common purpose do I lay before you, and worship with your general oblation.
4. One and the same bt your resolve, and be your minds of one accord.
United be the thoughts of all that all may happily agree.
APPENDIX I.
PAGE 87, HYMN CXXVI.
I. subjoin a Latin version of the two stanzas omitted in my trauslation. They are in a different metre from the rest of the hymn, have no apparent connexion with what precedes, and look like a fragment of a liberal shepherd’s love-song. The seventh stanza should, it seems, precede the sixth:
6. [Ille loquitur]. Adhaerens, arcte adhaerens, illa quac mustelae similis se abdidit, multum humorem effundens, dat mihi complexuum centum gaudia.
7. [Illa loquitur]. Prope, prope accede; molliter me tange. Ne putes pilos corporis mei-paucos esse: tota sum villosa sicut Gandharidum ovis.
Professor Ludwig thinks that (multurn humorem, i.e., semen genitale, effundens) may be the name of a slave-girl. Gandharidun ovis: a ewe of the Gandharis. The country of Gandhara is placed by Lassen to the west of the Indus and to the south of the Kophen or Kabul river. King Darius in a rock-inscription mentions the Ga(n)dara together with the Hi(n)du as people subject to him, and the Gandarii, together with the Parthians, Khorasmians, Sogdians, and Dadikae, are said by Herodotus to have formed part of the army of Xerxes. The name of the country is preserved in the modern Kandahar. See Muir, O.S. Texts, ii. 342, and Zimmer, Altindisches Leben, p. 30.
PAGE 221, HYMN CLXXIX.
The deified object of this omitted hymn is said to be Rati or Love, and its Rsis or authors are Lopamudrd, Agastya, and a disciple. Lopamudra is represented as inviting the caresses of her aged husband Agastya, and complaining of his coldness and neglect. Agastya responds in stanza 3, and in the second half of stanza 4 the disciple or the poet briefly tells the result of the dialogue. Stanza 5 is supposed to be spoken by the disciple who has overheard the conversation, but its connexion with the rest of the hymn is not very apparent. In stanza 6 ‘toiling with strong endeavour’ is a paraphrase and not a translation of the original khanamanah khanitraib (ligonibus fodiens) which Sayana explains by ‘obtaining the desired result by means of lauds and sacrifices.’
M. Bergaigne is of opinion that the hymn has a mystical meaning, Agastya being identifiable with the celestial Soma whom Lopamudra, representing fervent Prayer, succeeds after long labour in drawing down from his secret dwelling place. See La Religion Vedique, ii. 394 f.
1. ‘Through many autumns have I toiled and laboured, at night and morn, through age-inducing dawnings.
Old age impairs the beauty of our bodies. Let husbands still come near unto their spouses.
2. For even the men aforetime, law-fulfillers, who with the Gods declared eternal statutes,–
They have decided, but have not accomplished: so now let Wives come near unto their husbands.
3. Non inutilis est labor cui Dii favent: nos omnes aemulos et aemulas vincamus.
Superemus in hac centum artium pugna in qua duas partes convenientes utrinque commovemus.
4. Cupido me cepit illius tauri [viri] qui me despicit, utrum hinc utrum illinc ab aliqua parte nata sit.
Lopamudra taururn [mariturn suum] ad se detrahit: insipiens illa sapientem anhelantern absorbet.
5. This Soma I address that is most near us, that which hath been imbibed within the spirit,
To pardon any sins we have committed. Verily mortal man is full of longings.
6. Agastya thus, toiling with strong endeavour, wishing for children, progeny and. power,
Cherished – a sage of mighty strength – both classes, and with the Gods obtained his prayer’s fulfilment.
By ‘both classes’ probably priests and princes, or institutors of sacrifices, are meant. M. Bergaigne understands the expression to mean the two forms or essences of Soma, the celestial and the terrestrial.
5. Membrum suum virile, quod vrotentum fuerat, mas ille retraxit. Rursus illud quod in juvenem filiam sublatum fuerat, non aggressurus, ad se rerahit.
6. Quum jam in medio connessu, semiperfecto opere, amorem in puellam pater impleverat, ambo discedentes seminis paulum in terrae superficiem sacrorum sede effusum emiserunt.
7. Quum pater suam nilam adiverat, cum ed congressus suum semen supra wrrarn effudit. Tum Dii benigni precem (brahma) prgeduerunt, et Vastoshpatim, legum sacrarum custodem, formaverunt.
8. Ille tauro similis spumam in certamine jactavit, tunc discedens pusillaximis huc profectus est. Quasi dextro pede claudus processit, “inutiles fuerunt illi mei complexus,” ita locutus.
9
‘The fire, burning the people, does not approach quickly (by day): the naked (Rakasas approach) not Agni by night; the giver of fuel, and the giver of food, he, the upholder (of the rite), is born, overcoming enemies by his might.’
PAGE 619, HYMN CVI
I borrow Wilson’s translation of the omitted stanzas.
5. ‘You are like two pleasantly moving well-fed (hills) like Mitra and Varuna, the two bestowers of felicity, veracious, possessors of infinite wealth, happy, like two horses plump with fodder, abiding in the firmament, like two rams (are you) to be nourished with sacrificial food, to be cherished (with oblations).
6. ‘You are like two mad elephants bending their forequarters and smiting the foe, like the two sons of Nitosa destroying (foes), and cherishing (friends); you are bright as two water-born (jewels), do you, who are victorious, (render) my decaying mortal body free from decay.
7. ‘Fierce (Asvins), like two powerful (heroes), you enable this moving,
perishable mortal (frame) to cross over to the objects (of its destination) as over water; extremely strong, like the Rbhus, your chariot, attained its destination swift as the wind, it pervaded (everywhere), it dispensed riches.
8. ‘With your bellies full of the Soma, like two saucepans, preservers of wealth, destroyers of enemies. (you are) armed with hatchets, moving like two flying (birds) with forms like the moon, attaining success through the mind, like two laudable beings, (you are) approaching (the sacrifice).’
PAGE 645, HYMN CLXII.
1. MAY Agni, yielding to our prayer, the Raksas-slayer, drive away
The malady of evil name that hath beset thy labouring womb.
2. Agni, concurring in the prayer, drive off the eater of the flesh,
The malady of evil name that hath attacked thy babe and womb.
3. That which destroys the sinking germ, the settled, moving embryo,
That which will kill the babe at birth,even this will we drive far away.
4. That which divides thy legs that it may lie between the married pair,
That penetrates and licks thy side,-even this will we exterminate.
5. What rests by thee in borrowed form of brother, lover, or of lord,
And would destroy thy Progeny,-even this will we exterminate.
6. That which through sleep or darkness hath deceived thee and lies down by thee,
And will destroy thy progeny,–even this will we exterminate.
PAGE 645, HYMN CLXIII
1. FROM both thy nostrils, from thine eyes, from both thine ears and from thy chin,
Forth from thy head and brain and tongue I drive thy malady away.
2. From the neck-tendons and the neck, from the breast-bones and from the spine,
From shoulders, upper, lower arms, I drive thy malady away.
3. From viscera and all within, forth from the rectum, from the heart,
From kidneys, liver, and from spleen, I drive thy malady away.
4. From thighs, from knee-caps, and from heels, and from the forepart of the feet,
From hips ‘ frorn stomach, and from groin I drive thy malady away.
5. From what is voided from within, and from thy hair, and from they nails,
From all thyself from top to toe, I drive thy malady away.
6. From every member, every hair, disease that comes in every joint,
From all thyself, from top to toe, I drive thy malady away.
PAGE 650, HYMN CLXXXIV.
1. MAY Visnu form and mould the womb, may Tvastar duly shape the forms,
Prajapati infuse the stream, and Dhatar lay the germ for thee.
2. O Sinivali, set the germ, set thou the germ, Sarasvati:
May the Twain Gods bestow the germ, the Asvins crowned with lotuses.
3. That which the Asvins Twain rub forth with the attrition-sticks of gold,-
That germ of thine we invocate, that in the tenth month thou mayst bear.
APPENDIX II.
METRE.
Rhyme is not used in the Rgveda. The metres are regulated by the number of syllables in the stanza, which consists generally of three or four Padas, measures, divisions, or quarter verses, with a distinctly marked interval at the end of the second Pada, and so forming two hemistichs or semi-stanzas of equal or unequal length. These Padas most usually contain eight or eleven or twelve syllables each; but occasionally they consist of fewer and sometimes of more than these numbers. The Padas of a stanza are generally of equal length and of more or less corresponding prosodial quantities: but sornetimes two ox more kinds of metre are employed in one stanza, and then the Padas vary in quantity and length. As regards quantity, the first Syllables of the Pada are not subject to very strict laws, but the last four are more regular, their measure being generally iambic in Padas of eight and of twelve syllables and trochaic in those of eleven. In the printed text the first and second Padas form one line, and the third, or third and fourth, or third, fourth, and fifth, complete the distich or stanza. This arrangement I have followed in my translation.
Subjoined, in alphabetical arrangement, are the names, with brief descriptions, of the metres used in the Hymns of the Rgveda. The Index of Hymns will show the metre or metres employed in each Hymn.
Abhtisarini: a species of Trstup, in which two Padas contain twelve instead of eleven syllables.
Amstup or Anustubh: consisting of four Padas of eight syllables each, two Padas forming a line. This is the prevailing form of metre in the Manava-dharma-sastra, the Mahabharata, the Ramayana, and the Puranas.
Anustubgarbha: a metre of the Usnih class: the first Pada containing five syllables, and the three following Padas of eight syllables each.
Anustup Pipilikamadhya: a species of Anustup, having the second Pada shorter than the first and third (8 syllables+ 4+8+ 8).
Asti: consisting of four Padas of Sixteen syllables each, or sixty-four syllables in the stanza.
Astrapaikti: consisting of two Padas of eight syllables each, followed by two Padas of twelve syllables each.
Atidhrti: four Padas of nineteen syllables each, = 76 syllables.
Atijagati: four Padas of thirteen syllables each.
Atincrti: consisting of three Padas containing respectively seven, six, and seven syllables.
Atisakvari: four Padas of fifteen syllables each.
Atyasti: four Padas of seventeen syllables each.
Brhati: four Padas ( 8 + 8 + 12 + 8) containing 36 syllables in the stanza.
Caturvimsatika Dvipada: a Dvipada containing 24 syllables instead of 20.
Dhrti: consisting of seventy-two syllables in a stanza.
Dvipada Viraj: a species of Gayatri consisting of two Padas only (12+8 or 10+10 syllables); inadequately represented in the translation by two decasyllabic iambic lines.
Ekapada Tristup: a Trstup consisting of a single Pada or quarter stanza.
Ekapada Viraj: a Viraj consisting of a single Pada.
Gayatri: the stanza usually consists of twenty-four syllables, variously arranged, but generally as a triplet of three Padas of eight syllables each, or in one line of sixteen syllables and a second line of eight. There are eleven varieties of this metre, and the number of syllables in the stanza varies accordingly from nineteen to thirty-three.
Jagati: a metre consisting of forty-eight syllables arranged in four Padas of twelve syllables each, two Padas forming a line or hemistich which in the translation is represented by a double Alexandrine.
Kakup or Kakubh: a metre of three Padas consisting of eight, twelve, and eight syllables respectively.
Kakubh Nyakusira; consisting of three Padas of 9+12+4 syllables.
Krti: a metre of four Padas. of twenty syllables each.
Madhyejyotis: a metre in which a Pada of eight syllables stands between two Padas of twelve.
Mahibrhati: four Padas of eight syllables each, followed by one of twelve.
Mahapadapankti: a two-lined metre of thirtyone syllables, the first line consisting of four Padas of five syllables each, and the second being a Tristup of the usual eleven syllables. See Vedic Hymns, part 1. (S. Books of the East, XXXII), p. xcviii.
Mahapankti: a metre of forty-eight syllables 8 x 6 or 12 x 4.
Mahasatobrhati: a lengthened form of Satobrhati.
Nastarupi: a variety of Anustup.
Nyankusarini: a metre of four Padas of 8 + 12 + 8 + 8 syllables.
Padanicrt: a variety of Gayatri in which one syllable is wanting in each Pada: 7+3=21 syllables.
Padapankti: a metre consisting of five Padas of five syllables each.
Pankti: a metre of five octosyllabic Padas, like Anustup with an additional Pada.
Panktyuttara: a metre which ends with a Pankti of 5 + 5 syllables.
Pipilikamadhya: any metre the middle Pada of which is shorter than the preceding and the following.
Pragatha: a metre in Book VIII, consisting of strophes combining two verses, viz. a Brhati or Kakup followed by a Satobrhati.
Prastarapankti: a metre of forty syllables: 12+12+8+8
Pratistha: a metre of four Padas of four syllables each; also a variety of the Gayatri consisting of three Padas of eight, seven, and six syllables respectively.
Purastadbrhati: a variety of Brhati with twelve syllables in the first Pada.
Pura-usnih: a metre of three Padas, containing 12+8+8 syllables.
Sakvari: a metre of four Padas of fourteen syllables each.
Satobrhati: a metre whose even Padas contain eight syllables each, and the uneven twelve: 12+8+12+8=40.
Skandhogriva: consisting of Padas of 8 + 12 + 8 + 8 syllables.
Tanusira: consisting of three Padas of 11 + 11 + 6 syllables.
Tristup or Tristubh: a metre of four Padas of eleven syllables each.
Uparistadbrhati: consisting of four Padas of 12 + 8 + 8 + 8 syllables.
Uparistajjyotis: a Tristup stanza the last Pada of which contains only eight syllables.
Urdhvabrhati: a variety of Brhati.
Urobrhati: a variety of Brhati: 8+12 8 + 8 syllables.
Usniggarbha: Gayatri of three Padas of six, seven, and eleven syllables respectively.
Usnih: consisting of three Padas of 8 + 8 + 12 syllables.
Vardhamana: a species of Gayatri; 6 + 7 + 8 21 syllables.
Viparita: a metre of four Padas resembling Vistarapankti.
Viradrupa: a Tristup metre of four Padas, 11 + 11 + 11 + 7 or 8 syllables.
Viraj: a metre of four Padas of ten syllables each.
Viratpurva: a variety of Tristup.
Viratsthana: a variety of Tristup.
Visamapada: metre of uneven stanzas.
Vistarabrhati: a form of Brhati of four Padas containing 8 + 10 + 10 + 8= 36 syllables.
Vistarapankti: a form of Pankti consisting of four padas of 8+12+12+8-40 syllables.
Yavamadhya: a metre having a longer Pada between two shorter ones.
End of Rig Veda
Om Tat Sat