l6 SMITHSONIAN MISCELLANEOUS COLLECTIONS VOL. 94 



ipapmana) and consumption (yaksmcija) and united to life (aynsa)". cf. 

 RV. VII, 59, 2 " Release us from the bonds of death, not those of life " 

 (ba)idliaimt mrtyor niiikslya na amrtat), that is in efifect also "May we pass 

 over from Varuna, from Death, to Agni Vaisvanara, to Life ". 



16. I. e. Agni, ab intra, and eager (icchan, etc.) to proceed. 



17. Converse of githamano anta in IV, i, 11. The "ends" are either as here 

 the halting places of the Sun, or as in Jaimimya Up. Brahmana, I, 35, Winter 

 and Spring, the two ends of the Year ; or, indeed, any pair of contrasted and 

 limiting concepts which are united ab intra and divided ab extra. The dis- 

 tinction of the limits is temporal and spatial ; their indistinction eternal. 



18. The husband (pati) with whom she is at variance is no doubt the 

 Gandharva, the jealous protector of unwedded maidens, cf. X, 85, 21-22. " Rise 

 up from hence, Visvavasu; this maiden hath a husband .... Seek in her 

 father's home another willing maid ". Compare also X, 95, 2, where Urvasi 

 (who corresponds to Usas, Surya, and Apala, as does Pururavas to Surj'a 

 and Indra) deserting Puriiravas says "like the first of Dawns I leave thee". 

 From the Brahmana and other versions of the legend (knowledge of which is 

 taken for granted in X, 95) we know that Urvasi is in fact taken back into the 

 Gandharva world (the "Assumption of the Virgin"), and that it is only when 

 the sacrifices of the Year have been completed that Pururavas himself recovers 

 his Gandharva status and is reunited to his immortal bride. Pururavas is 

 " mortal ", not as man is mortal by contrast with the devas, but as the devas 

 are mortal when contrasted with the asiiras, as Mitra is mortal by contrast 

 with Varuna (I. 164, 38 and X, 85, 17-18) ; he is the "dying god", the Year, 

 the father of " Life " (ayus). 



19. Apala's uninhibited procedure corresponds to the shamelessness of Dawn. 

 RV. passim, where she is referred to as like a dancer, as unbaring her bosom, 

 or unveiling her charms (I, 92, 4; I, 124, 3-4; VI, 64, 2), or described as 

 rising as if from a bath (V, 80, 5-6; Apala's meeting with Indra also taking 

 place beside the river, where, as Sayana takes it, she has gone to take her 

 morning bath). Urvasi and her sister apsarases are similarly described in X, 

 95, 9. Cf. RV., VII, 80, 2 speaking of Dawn, " Youthful and shameless she 

 goeth forward, having come to know of Sun, and sacrifice, and Agni ", and 

 also Jaimimya Up. Brahmana, I, 56, " In the beginning, the woman went 

 about in the flood, desirously seeking a husband (strl .... sanicarantl icchantl 

 saJilc patim, perhaps a reflection of RV. V, 37, 3, vadhur iyaiii patim icchaufi, 

 "This woman desiring a husband", whom Indra makes his chief queen). The 

 woman's boldness, of which the memory survives in the later rhetorical allusions 

 to the inconstancy of SrI-LaksmI, is admirably illustrated in the early Indian 

 representations of apsarases, best perhaps in the Alathura Museum example. J 2. 



20. Cf. Atharva Veda, III, 17, 5, " Tvastr made a marriage for his daughter, 

 and all this universe went forth" {idam visvam bhuvanam vi ydti), where in 

 spite of Bloomfield, Journ. Amcr. Oriental Soc, XVI, p. 183, I venture to 

 think that vi ydti is intransitive and has visvam bhuvanam as subject. It is in 

 the same way that Urvasi " bestows upon her husband's father wealth, when 

 her lover (iisah, m.) woos her from the nearby home" (X, 95, 4), i. e. from 

 the Gandharva world, from within, cf. the reference to the origin of \^ac in 

 " another's house ", RV. X, 109, 4. 



21. Apala is drawn three times "through the opening of the chariot, the 

 opening of the wain, the opening of the team " {khc rathasya, khc anasah. 



