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HYMNS OF THE ATHARVA-VEDA.:
Stansa 2.
a. Såyana here defines ushníhâbhyah etymologically as, ardhvam snigdhâbhyah raktádinå utsnätâbhyo và nâdibhyah, but at RV. snäyubhyah for nâdîbhyah. Cf. AV. VI, 134, 1 ; IX, 8, 21; X, 10, 20, and the schol. at Pånini III, 2, 59.
Stanza 3. b. hálikshnat is obscure: Sâyana, tatsambandhâd (tat refers to klomnáh) mâmsapindaviseshât, a ball of flesh adjoining the lungs.' The word may possibly be related to hira, 'canal, vein.'
Stansa 6. 0, d. The tautological use of bhasadyån and bhásadam is justified in the mind of the Atharvan poet, because it heightens the effect of the cumulative pun upon bhámsasah. RV. X, 163, 4 exhibits but two of these stems.
Stanza 7. d. kasyápasya vîbarhena (sc. brahmana). For Kasyapa, see the notes on I, 14, 4; IV, 20, 7.
II, 36. COMMENTARY TO PAGE 94. The practices associated with this hymn are part of the 'women's rites' (Kaus. 32, 28–36, 40), and they are pre: sented under the special rubric of pativedanâni (Kesava, patilabhakarmâni), 'practices by which a husband is obtained,' Kaus. 34, 12–16 (cf. also Kaus. 75, 7), as follows: 13. While reciting the hymn the maiden is given to eat a pudding of rice and sesame, such as is cooked for guests. 14. Upon an altar, made out of clay from a cave inhabited by animals (cf. stanza 4), are placed the substances recited in the hymn (gold, bdellium, &c.; cf. st. 7); these are anointed with the dregs of ghee, and given to the maiden
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