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VI, 132. COMMENTARY.
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Apsaras are implored for help in gambling. He supposes that they'gain their object' both in play and in love.
VI, 131. COMMENTARY TO PAGE 104. For the practices connected with this hymn, see the introduction to the preceding. Previous translations by Weber, Indische Studien, V, 244 ff.; Grill, pp. 58, 175 ff.
Stanga 2. Anumati is the goddess of favour and consent; cf. the play of words in anu manyasva (as in VII, 20). Åküti is the goddess of schemes. In XIX, 4, 2 she is called kittásya mata, 'mother of thought' ('the wish is father to the thought'). Cf. III, 8, 5; V, 8, 2, &c.
VI, 132. COMMENTARY TO PAGE 104. For the practices connected with this hymn, see the introduction to VI, 130. It has been translated by Weber, Indische Studien, V, 245, who supposes that it is the text of a brewing-charm (sudzauber), in which the person desirous of love boils some concoction that attracts irresistibly the coy beloved. But the absence of any such practice in connection with the hymn casts much doubt upon this interpretation. It seems rather to allude to some mythic touch (âkhyâyika). Såyana suggests that the gods either poured love into the water, to quench him, or that they placed him into the atmospheric waters as ruler of all lovers. Varuna in the refrain is, of course, in the position of lord or controller of those waters, and várunasya dhármana is not remote from the meaning' by the permission or order of Varuna.' The whole savours of the conception that the gods poured smará into the waters either by way of punishing him for his attacks upon themselves !, or in order
I Cf. the stories of their burning Kâma, 'love,' e. g. Muir, Original Sanskrit Texts, I', 112; IV, 364. Or is there still a different notion, namely that the fruitful waters are the natural seat of love?
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