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V, 31. COMMENTARY.
457
practices described at Kaus. 39,7 ff. ; see the introduction to X, 1. The particular point of interest in this hymn is the full catalogue of animate and inanimate objects within which spells were instituted. It seems that these objects, through which the prosperity of an enemy was attacked, went in the ritual by the name of marmâni, vital spots;' see Kaus. 39, 28. 31. The notion appears to be that a man is vulnerable through his belongings as well as his own person. Cf. in general, Maitr. S. III, 3, 8 (106, 11); Tait. S. VI, 2, 11, 1; Sat. Br. III, 5, 4, 2.
Stanza 1.
For the entire stanza, cf. IV, 17, 4, and our notes there.
8. An unburned vessel figures also in a witchcraft practice, Sat. Br. XIV, 9, 4, 11 = Brih. År. Up. VI, 4, 12. The symbolic aspect of an unburned vessel, namely its fragility, is in evidence at Sat. Br. XII, 1, 3, 23; Manu III, 179. We would remark in passing that the Padapatha's yád yâmám kakrúr at VI, 116, 1 is to be emended to yády åmám kakrúr. Correct accordingly the Index Verborum.
Stanza 2. b. It is difficult to decide whether kurîrini refers to some individual animal,' a crested animal,' perhaps 'peacock,' or whether it is to be regarded as an epithet of goat' in Pada a. Geldner, Vedische Studien, I, 130, renders it'horned,' but this is based upon a misinterpretation of VI, 138, 2; see the note there. Cf. Zimmer, Altindisches Leben, p. 91.
Stanza 3. The solipeds, horse, ass, &c., have one hoof, and incisors above and below, in distinction from the animals called anyátodant, 'those that have incisors only in the lower jaw.' They are contrasted with the pasture-animals in the preceding stanza. See Zimmer, 1. c., pp. 74, 75.
Stanse 4. &, b. The meaning of amalayam and naråkyam (vânarâkyam ?) is problematic. Our translation is of the etymological
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