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IX, 2. COMMENTARY.
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Stanza 16. Identical with RV. I, 23, 24; AV. VII, 89, 2; X, 5, 47.
Stansa 18. Cf. XIV, 1, 35, and Hillebrandt, Soma, p. 251. In Vait. Sû. 30, 13, the stanza figures at the sautrâmanî-rite, as is suggested by the presence of the word súra. Cf. Contributions, Third Series, Journ. Amer. Or. Soc. XV, 148 ff. ; Oldenberg, Nachrichten der Göttingischen Gesellschaft der Wissenschaften, 1893, p. 342 ff.
Stanza 19. Repeated almost identically at VI, 69,2 ; cf. Hillebrandt, 1. c., p. 240.
Stanza 20. 0, d. In Pâda b diví seems to stand secondarily for adhi in st. 10. At any rate tam in Pâda c and sã in d seem to refer to bhůmyam in b. Very differently Henry in his note.
Stanza 21. This and the following sections are written in Brâhmanaprose. The present stanza seems to contain a mystic correlation of the parts of the lash with cosmic forces, all of which are obscure. For the embryo, cf. the note on st. 4. Here gárbha,' embryo,' seems to be a part of a real whip.
IX, 2. COMMENTARY TO PAGE 220. In the cosmogonic hymn, RV. X, 129, 4=AV. XIX, 52, 1, desire (kấma) is said to have been the first seed (product) of the mind,' which came from the one' after it had sprung into existence through creative fervour (tápas). In the philosophical hymns of the Atharvan, and in the disquisitions of the Upanishads, this Kâma, the creative desire (not sexual love, as in AV. III, 25), takes a place among the very numerous primeval cosmic forces, and appears as one form of the tentative monotheistic per
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