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NOTES.
v, 87, I.
365
NOTES.
This hymn is evidently a later addition at the end of the fifth Mandala. It is addressed to the Maruts, and is ascribed to Evayâmarut Atreya. None of its verses occurs in SV., VS., AV., TS., TB., MS., except the first, which is found in SV. I, 462. Metre, Atigagati.
The name of the poet is due to the refrain Evayamarut which occurs in every verse, and sometimes as an integral portion of the verse. Evayamarut is a sacrificial shout, much like Evoî in Greek, Evoe in Latin, though I do not mean to say that the two are identical. Evayah, as I explained in note to I, 168, 1, is an epithet of Vishnu, as well as of the Maruts, meaning quickly moving. Evayâmarut, therefore, may mean the 'quick Marut.' This is strange, no doubt, because in the Rig-veda the Maruts always occur in the plural, except in some doubtful passages. Still Evayâmarut, the quick Marut, might be a name of Vishnu. It cannot be taken as a Dvandva, Vishnu and the Maruts.
This hymn was translated by Benfey in his glossary to the Sâma-veda, p. 39. Benfey takes evaya as identical with evoî, and explains it as an adverbial instrumental, like âsuya, in the sense of stürmisch. But this would leave evayavan unexplained.
Verse 1.
Note 1. Giri-gah may mean 'produced on the mountains,' but it may also mean 'produced in the throat or voice,' and it is so explained elsewhere, for instance in SV. I, 462 (Bibl. Ind., vol. i, p. 922). girau vâki nishpannah; [also by another commentator, hridaye gâtâ, yagñagâtâ và ity uktam]. Oldenberg suggests girige, which would be much better, considering how Vishnu is called girikshit, girishtha, &c.; see Bergaigne, II, 47. Most of the epithets have occurred before. I take sávase as a substantive, like sardhas, not as an adjective. As to dhúnivrata, see V, 58, 2; as to prayagyu, V, 55, 1.
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