is explained by the commentator as vrishti-kartri; Vrishya
as Dharmavriddhikartri; Go-vrisha as Nandirupa; Katankata as
Nityagamanasila; Danda as Niyantri.

1409. Godhead is frequently likened to anahatasavda or sound not
perceptible by the ear, or sound in its nascent state.

1410. Huns are mystic sounds that stand as emblems for various things.
'Beyond three Huns' means, perhaps, 'beyond the influence of wrath.'

1411. In Sacrifice the butter is poured with mantras into the mouth of a
selected Brahmana who represents the gods, and into also the sacred fire.
What is said here is that the great god is of the form of that Brahmana
and of the sacred fire.

1412. This alludes to the sports of Krishna in the groves of Vrinda with
the rustic children who were his companions.

1413. The sacred stream of the Ganges, issuing out of Vishnu's feet, is
held by Brahman in his Kamandalu or jar. Thence it issues out, and
coursing through the heavens fall down on the head of Siva, for Siva
alone is mighty enough to bear that fall. The matted locks of Siva bear
the mark of the fall. This six well-known acts here referred to are
Yajana, Yajana, Adhyayana, Adhyapana, Dana, and Pratigraha (i.e.,
performing sacrifices, assisting at the sacrifices of others, studying,
teaching, making gifts, and accepting gifts). The three acts in which
Siva is engaged are Yajana, Adhyayana, and Dana (i.e., the first, the
third, and the fifth in the above enumeration).

1414. The commentator explains that by Sankhya the speaker means 'the
propounder of the sceptical philosophy.' By Sankhya-mukhya which I
render, 'the foremost of Sankhyas' is meant 'follower of the theistic
philosophy of Patanjala.' By Sankhya-yoga is meant both Vedanta and Yoga.

1415. 'That hast a car and that hast no car' means, as the commentator
explains, 'capable of coursing, without obstruction, through Water, Fire,
Wind, and Space.'

1416. Isana is 'much desired' or 'much coveted by all persons.'

1417. i.e., thou createst and destroyest these repeatedly or settest them
in motion.

1418. These are syllables which all singers of the Samans utter for
lengthening short words in order to keep up the metre.

1419. i.e., He who is adored in these hymns is thyself and no other.

1420. These are the ten colours known to the Rishis.

1421. Lohitantargata-drishtih is explained by the commentator as Lohita
antargata cha drishtirasya. By 'red eyes' is, of course, meant eyes of
th