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XIX, 54. COMMENTARY.
687 comes into existence in an extraordinary and supernatural manner.'
XIX, 54. COMMENTARY TO PAGE 225. The hymn has been rendered by Muir, Original Sanskrit Texts, V, 408; Ludwig, Der Rigveda, III, 191; Scherman, Philosophische Hymnen, pp. 80, 82. Cf. also the introduction to XIX, 53.
Stanza 1. See the Katha-Upanishad IV, 9: ‘Both whence the sun rises, and where he sets—on him all the gods are placed ; no one whatsoever goes beyond that. This truly is that.' Cf. also AV. X, 8, 16; Sat. Br. XIV, 4, 3, 34=Brih. År. Up. I, 5, 23 ; and Tait. År. VIII, 8.
Stanza 2. The MS. tradition reports this stanza as consisting of three (gayatri) Padas. But a better division of the remainder of the hymn results if we add two Padas of the third stanza (making a parkti), fuse the remaining two Padas of stanza 3 with the first two of stanza 4, and the remaining two of stanza 4 with the first two of stanza 5. This leaves the last two (trishtubh) Pâdas of stanza 5 to make up one (our fifth) stanza, along with the two (trishtubh) Pâdas printed in Roth and Whitney's edition as the sixth stanza —an arrangement in form and sense manifestly superior to the traditional one. Sâyana makes this arrangement and deserves credit for it.
d, e (=3 a, b in the MSS.). The MSS. have kâló ha bhūtam bhávyam ka putro aganayat púrah (one of Shankar Pandit's Pada-MSS. púrâ). Roth and Whitney emend, kâlé ha bhùtám bhávyam ka mántro aganayat purā. We adopt this text with the exception of mántro, for which we have retained the original putró. Sâyana reads and
* Not so in Shankar Pandit's MSS. of the text, where the arrangement is that of the vulgata, except that the last two trishtubh Pâdas are added to stanza 5, making it to consist of six Pâdas.
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