੫. ਅਗ੍ਰੋਪਹਰਣੀਯਾਧ੍ਯਾਯਃ

Meaning of the commentary

Several interpretations of the three stages are preserved. One describes measures from langhana through purgation as preliminary care for a wound, opening and healing the wound as the principal treatment, and measures concerning strength, complexion and agni as subsequent care. Another applies the division to a person undergoing shodhana: pachana, oleation and sweating are preliminary; emesis, purgation, basti, nasya and venesection are principal procedures; and a gradual dietary sequence beginning with peya is subsequent care. A third makes the division according to the course of illness: measures before its manifestation, from accumulation through premonitory signs, are preliminary; those during manifest illness are principal; and care for what persists after the illness subsides is subsequent. These measures are not all detailed here because that would make the text unnecessarily lengthy; they will be explained under individual disorders.

Meaning of the commentary

The required articles are to be brought nearby before undertaking a procedure such as excision. Jambavaushtha is described as a black-stone implement whose tip resembles a jambu fruit. Picu is cotton, prota is cloth, and patta is material for binding a wound. Tarpana includes preparations such as saktu mixed with water and milk preparations; kashaya is water in which medicinal substances have been boiled. A fan may be made of bamboo, and the vessel called kataha of iron or another material. The inclusive ending also covers pads, earthenware pieces, pots, cooking vessels, beds, seats and similar supplies. Some articles are needed for the procedure itself, while others address complications. Attendants, as well as equipment, must be prepared. They should be devoted to the person they serve, unwavering, and capable of carrying out the required tasks.

Meaning of the commentary

These steps follow the assembling of equipment. Favourable tithis, karanas, muhurtas and nakshatras are to be determined by those versed in astral science. Akshata is glossed here as barley grains; gems include rubies and pearls. Bali means an offering, mangala includes singing, and svastivachana means pronouncing blessings. The anatomical structures to be avoided are counted as 107 marmas, 700 siras, 900 snayus, 210 joints, 300 bones and 24 dhamanis originating at the navel. Anuloma means following the direction in which the hairs lie; the commentator attributes bluntness of the edge and pain to working against that direction. The limit of entry is the appearance of pus. Both withdrawal in one movement and prompt withdrawal are stressed. Repetition of the word 'instrument' is explained as appropriate because entry and withdrawal are different actions. To limit harm from an excessively extensive incision, the passage specifies a space of two angulas for a less deep lesion and three for a deeper one. Some readings omit the word antara, 'space'.

Meaning of the commentary

The verse restates the preceding description. The repeated conjunction allows an elongated wound, a broad wound, or one possessing both features. Nirashraya is explained as not involving marmas and similar structures. Some read nirashaya, interpreted as not remaining adherent there. Appropriate timing is illustrated by restrictions on procedures using instruments, kshara or fire in children and older people; another example contrasts the cold season with summer for a lesion considered suitable for fire treatment. Some read yuktakalakrita and explain it as uniform suppuration; others as treatment performed when suppuration has properly occurred. Some textual traditions omit this verse.

Meaning of the commentary

The rite is introduced in response to fear of rakshasas associated with blood, pus and similar wound conditions. Some authorities hold that the words should not be explained because they are mantras; others provide the explanation that follows. Kritya is interpreted as a harmful female being produced through a hostile practitioner's ritual. An alternative wording speaks of protection rather than repelling. Brahma's assent means acceptance of the rite. The commentary identifies nagas with beings such as Vasuki, pishachas as flesh-eaters, gandharvas as divine singers, pitrs with groups such as the Agnishvattas, yakshas with figures such as Dhanada, and rakshasas with figures such as Ravana. Beings of the dwelling inhabit the house site. Prana is discussed through a list of twelve vital principles, but Vayu's role here is taken specifically as the prana division of vata because the other four divisions are named next. Soma is the moon; Parjanya is a rain-bearing cloud, or Indra according to others; and stanayitnu denotes clouds. Manu is Prajapati. One reading understands manye as the two siras at the back of the neck and also assigns protection of understanding to Manu; another takes manye as 'I think', rather than as anatomical wording. Rupa means beauty, and chaya a kind of lustre, distinguished from prabha as visible nearby rather than from afar. Retas is semen. Kha is interpreted as bodily channels, or alternatively the senses. Parakrama means capability; paurusha is glossed as the penis; the foremost Purusha as Narayana; atman as the living self; and Dhruva as a particular star. The deities are described as continually present. Svasti means auspicious well-being. The calamities mentioned at the end are illustrated as excessive rain, drought, rodents, locusts, birds, and one's own or an opposing army, all associated with destruction of food and other resources.