A History of Sanskrit Literature. Arthur Anthony MacDonell

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СКАЧАТЬ acquired the rank of deities by their marvellous skill. Among the five great feats of dexterity whereby they became gods, the greatest—in which they appear as successful rivals of Tvashṭṛi, the artificer god—consists in their having transformed his bowl, the drinking vessel of the gods, into four shining cups. This bowl perhaps represents the moon, the four cups being its phases. It has also been interpreted as the year with its division into seasons. The Ṛibhus are further said to have renewed the youth of their parents, by whom Heaven and Earth seem to have been meant. With this miraculous deed another myth told about them appears to be specially connected. They rested for twelve days in the house of the sun, Agohya (“who cannot be concealed”). This sojourn of the Ṛibhus in the house of the sun in all probability alludes to the winter solstice, the twelve days being the addition which was necessary to bring the lunar year of 354 into harmony with the solar year of nearly 366 days, and was intercalated before the days begin to grow perceptibly longer. On the whole, it seems likely that the Ṛibhus were originally terrestrial or aërial elves, whose dexterity gradually attracted to them various myths illustrative of marvellous skill.

      In a few passages of the Rigveda mention is made of a celestial water-nymph called Apsaras (“moving in the waters”), who is regarded as the spouse of a corresponding male genius called Gandharva. The Apsaras, in the words of the poet, smiles at her beloved in the highest heaven. More Apsarases than one are occasionally spoken of. Their abode is in the later Vedas extended to the earth, where they especially frequent trees, which resound with the music of their lutes and cymbals. The Brāhmaṇas describe them as distinguished by great beauty and devoted to dance, song, and play. In the post-Vedic period they become the courtesans of Indra’s heaven. The Apsarases are loved not only by the Gandharvas but occasionally even by men. Such an one was Urvaçī. A dialogue between her and her earthly spouse, Purūravas, is contained in a somewhat obscure hymn of the Rigveda (x. 95). The nymph is here made to say:—

      Among mortals in other form I wandered,

      And dwelt for many nights throughout four autumns.

      Her lover implores her to return; but, though his request is refused, he (like Tithonus) receives the promise of immortality. The Çatapatha Brāhmaṇa tells the story in a more connected and detailed form. Urvaçī is joined with Purūravas in an alliance, the permanence of which depends on a condition. When this is broken by a stratagem of the Gandharvas, the nymph immediately vanishes from the sight of her lover. Purūravas, distracted, roams in search of her, till at last he observes her swimming in a lotus lake with other Apsarases in the form of an aquatic bird. Urvaçī discovers herself to him, and in response to his entreaties, consents to return for once after the lapse of a year. This myth in the post-Vedic age furnished the theme of Kālidāsa’s play Vikramorvaçī

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      1

      vii. 59, 12; x. 20, 1; 121, 10; 190, 1–3.

      2

      The other three systems are: (1) that of the Maitrāyaṇī and Kāṭhaka Saṃhitās (two recensions of the Black Yajurveda), which mark the acute with a vertical stroke above; (2) that of the Çatapatha Brāhmaṇa, which marks the acute with a horizontal stroke below; and (3) that of the Sāmaveda, which indicates the three accents with the numerals 1, 2, 3, to distinguish three degrees of pitch, the acute (1) here being the highest.

      3

      In verse 10, which is a late addition; see p. 51, footnote.

      4

      A reference to dropsy, with which Varuṇa is thought to afflict sinners.

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1

vii. 59, 12; x. 20, 1; 121, 10; 190, 1–3.

2

The other three systems are: (1) that of the Maitrāyaṇī and Kāṭhaka Saṃhitās (two recensions of the Black Yajurveda), which mark the acute with a vertical stroke above; (2) that of the Çatapatha Brāhmaṇa, which marks the acute with a horizontal stroke below; and (3) that of the Sāmaveda, which indicates the three accents with the numerals 1, 2, 3, to distinguish three degrees of pitch, the acute (1) here being the highest.

3

In verse 10, which is a late addition; see p. 51, footnote.

4

A reference to dropsy, with which Varuṇa is thought to afflict sinners.

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