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V, 13. COMMENTARY.
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which also manifests itself as a woman; see A. Kuhn, Zeitschr. f. vergl. Sprachf. XIII, 125 ff. For the spirit of this and the subsequent stanzas, cf. the description of the Apsaras, IV, 37.
V, 13. COMMENTARY TO PAGE 27. This charm against snake poison claims interest chiefly from its designations of serpents, mostly of obscure meaning, and reaching down to the bed-rock of folk-lore. Kausika's performances 29, 1-14 are very explicit : they follow the hymn stanza by stanza. But they are not as instructive as they might be owing to their symbolism, and their own obscurity. They begin with the performances in honour of Takshaka, described at 28, 1-4 in connection with IV, 6 and 7 (see the introduction to IV, 6), and continue with additional doings, based upon each stanza of our hymn. These will be referred to most profitably under the head of each separately. The hymn exhibits noteworthy points of contact with RV. I, 191.
Stansa 1. Cf. RV. I, 191, 7.11. We have translated saktám by what has been fastened ;' cf. RV. I, 191, 10. The Pet. Lex. s. V. sang 4), `inherent.'
Stansa 2. Kaus. 29, 2-4: With the second (stanza) the act of confining (the poison) takes place? 3. The (priest) walks about (the patient) towards the left (Kesava, savyam=
dvitîyaya grahanî. Dârila, katakabandha ity arthah, with the second stanza a rope is fastened (about the patient)'? Cf. agrabham, and grihnâmi in the mantra. The feminine gender of grahani is peculiar. We should expect' either grahanam, or dvitîyâ grahani. Kesava, visham na visarpati desasthitam bhavati sarîre na sarpati vishastambhanam bhavati.
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