Satapatha Bramhana Part 03

Author(s): Julius Eggeling
Publisher: Oxford
Catalog link: https://jainqq.org/explore/007679/1

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THE
SACRED BOOKS OF THE EAST
[41]
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London HENRY FROWDE Oxford UNIVERSITY PRESS WAREHOUSE
AMEN Corner, E.C.
Wers
33
aero York MACMILLAN & Co., 66 FIFTH AVENUE.
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THE
SACRED BOOKS OF THE EAST
TRANSLATED
BY VARIOUS ORIENTAL SCHOLARS
AND EDITED BY
F. MAX MÜLLER
VOL. XLI
SELF
1 UNITY
Orford AT THE CLARENDON PRESS
189+
[ All rights reserved]
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REESE
Oxford PRINTED AT THE CLARENDON PRESS
BY HORACE HART, PRINTER TO THE UNIVERSITY
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THE
SATAPATHA-BRAHMANA
ACCORDING TO THE TEXT OF THE
MADHYANDINA SCHOOL
TRANSLATED BY
JULIUS EGGELING
PART III
BOOKS V, VI, AND VII
FLESSVE
OF TE
UNIV
Oxford
AT THE CLARENDON PRESS
1894
[All rights reserved]
685
M946
V.41
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685 1946 1.41
CONTENTS.
INTRODUCTION
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PAGK
xi
FIFTH KÂNDA. A. The Vågapeya ..
The Cups (graha) of Soma . . The Cups of Surâ . . . .
Animal Victims. Consecration . . . . . .
Chariot-race Âpti and Klipti-formulas . The Mounting of the Sacrificial Post by the Sacrificer and his Wife . . . .
. 31 The Seating on the Throne-seat . . Vâga-prasavaniya-oblations
Uggiti (victory)-formulas . B. The Râgasûya, or Inauguration of a King
Preliminary offerings. . . Seasonal-offerings . Indraturîya-oblation . . . . Trishamyukta-offerings . . . Ratna-havîmshi, or Jewel-offerings Offering to Soma and Rudra .
Offering to Mitra and Brihaspati . . . Abhishekaniya, or Consecration Ceremony . . . Offerings to the Divine Quickeners (devasų), viz.
Savitri Satyaprasava, Agni Grihapat : 69 Soma Vanaspati, Brihaspati Vak, Indra Gye
shtha, Rudra Pasupati . . . . 70
Mitra Satya, Varuna Dharmapati . . . 71 Preparation of the Consecration Water. Pârtha-oblations . . . . . . . 81
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CONTENTS.
98
Investing of the King with the Consecration
Garments, the Bow and Arrows Âvid-formulas : : : : : : Ascending of the Quarters Stepping on the Tiger-skin. The Sprinkling (Abhisheka) . . . . The Cow-raid . . . . . . Rathavimo kanîya-oblations
101 Game of Dice . . .
. 106 The Passing Round of the Sacrificial Sword
110 Dasapeya. .
114 Samsrip-oblations .
115 Pakabila-oblations ,
120 Prayugâm havîmshi (Oblations to the Teams) . 123 Kesavapanîya · · · Sautrâmanî . . . . . . . 129
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126
SIXTH KÂNDA. Agni-kayana, or Building of the Fire-altar . .
Creation of the Universe Animal Sacrifices . . . . . Layers and Bricks of the Altar. . Savitra Libations The Search for Agni (the Lump of Clay) . The Digging
The Making of the Fire-pan (ukha). Dikshâ, or Initiation ..
The Raising and Carrying of the Ukhya Agni The Fashioning of the Embryonic Agni . The Vishnu-strides . . Vatsapra .
. . . The Driving-about of the Ukhya Agni . .
. 143 • 143
165 186
190 . 197
203 229
246
265
273 275 283
. .
SEVENTH KÂNDA.
Agni-kayana (continued). Gârhapatya-hearth . . Pouring thereon of the Ukhya Agni . Altar of Nirriti . . . . .
298
. .
. 310 . 319
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Preparation of the (Âhavanîya) Fire-altar
CONTENTS.
Ploughing, Watering, and Sowing of Ground
Bricks of the First Layer
Lotus-leaf
Gold Plate.
Gold Man
Svayam-âtrinnâ Brick
Dûrvâ Plant
Dviyagus Bricks
Retahsik Bricks
Visvagyotis Brick
Ritavya Bricks
Ashadha Brick
Tortoise
Mortar and Pestle
Fire-pan
Victims' Heads Apasyâ Bricks Khandasyâ Bricks
Corrections
Plan of Fire-altar
•
·
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•
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Transliteration of Oriental Alphabets adopted for the Translations of the Sacred Books of the East
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INTRODUCTION.
THE first of the three Kândas contained in the present volume continues the dogmatic discussion of the different forms of Soma-sacrifice, in connection with which two important ceremonies, the Vâgapeya and Râgasûya, are considered. From a ritualistic point of view, there is a radical difference between these two ceremonies. The Ragasûya, or 'inauguration of a king,' strictly speaking, is not a Soma-sacrifice, but rather a complex religious ceremony which includes, amongst other rites, the performance of a number of Soma-sacrifices of different kinds. The Vågapeya, or 'drink of strength' (or, perhaps, 'the racecup'), on the other hand, is recognised as one of the different forms (samsthâ) which a single Soma-sacrifice may take. As a matter of fact, however, this form hardly ever occurs, as most of the others constantly do, in connection with, and as a constituent element of, other ceremonies, but is almost exclusively performed as an independent sacrifice. The reason why this sacrifice has received a special treatment in the Brâhmana, between the Agnishtoma and the Râgasûya, doubtless is that, unlike the other forms of Soma-sacrifice, it has some striking features of its own which stamp it, like the Râgasûya, as a political ceremony. According to certain ritualistic authorities1, indeed, the performance of the Vagapeya should be arranged in much the same way as that of the Râgasûya; that is, just as the central ceremony of the Râgasûya, viz. the Abhishekaniya or consecration, is preceded and followed by certain other Soma-days, so the Vâgapeya should be preceded and followed by exactly corresponding ceremonies.
See Kâty. Sr. XIV, 1, 7; Lâty. Sr. VIII, 11, 7-11.
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xii
SATAPATHA-BRAHMANA.
The preceding Kanda was chiefly taken up with a detailed discussion of the simplest form of a complete Soma-sacrifice, the Agnishtoma, serving as the model for all other kinds of one-day (ekâha) Soma-sacrifices; and it also adverted incidentally to some of the special features of such of the remaining fundamental forms of Soma-sacrifice as are required for the performance of sacrificial periods of from two to twelve pressing-days-the socalled a hîna-sacrifices—as well as for the performance of the sacrificial sessions (sattra) lasting from twelve days upwards. As the discussion of the Vågapeya presupposes a knowledge of several of those fundamental forms of Soma-sacrifice, it may not be out of place here briefly to recapitulate their characteristic features.
The ekå ha, or 'one-day' sacrifices, are those Somasacrifices which have a single pressing-day, consisting of three services (or pressings, savana)—the morning, midday, and third (or evening) services—at each of which certain cups of Soma-liquor are drawn, destined to be ultimately consumed by the priests and sacrificer, after libations to the respective deities have been duly made therefrom. At certain stated times during the performance, hymns (stotra) are chanted by the Udgâtris; each of which is followed by an appropriate recitation (sastra) of Vedic hymns or detached verses, by the Hotri priest or one of his assistants. An integral part of each Soma-sacrifice, moreover, is the animal sacrifice (pasubandhu); the number of victims varying according to the particular form of sacrifice adopted. In the exposition of the Agnishtoma, the animal offering actually described (part ii, p. 162 seq.) is that of a he-goat to Agni and Soma, intended to serve as the model for all other animal sacrifices. This description is inserted in the Brâhmana among the ceremonies of the day preceding the Soma-day; whilst, in the actual performance, the slaughtering of the victim, or victims, takes place during the morning service, and the meat-oblations are made during the evening service, of the pressing-day. The ritualistic works enumerate a considerable number of oneday' sacrifices, all of them with special features of their
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INTRODUCTION.
xiii
own; most of these sacrifices are, however, merely modifications of one or other of the fundamental forms of ekåhas. Of such forms or samsthås—literally, completions,' being so called because the final chants or ceremonies are their most characteristic features—the ritual system recognises seven, viz. the Agnishtoma, Atyagnishtoma, Ukthya, Shodasin, Vågapeya!, Atiratra, and Aptoryama.
The Agnishtoma, the simplest and most common form of Soma-sacrifice, requires the immolation of a single victim, a he-goat to Agni; and the chanting of twelve stotras, viz. the Bahish-pavamana and four Agya-stotras at the morning service; the Madhyandina-pavamâna and four Prishtha-stotras at the midday service; and the Tritiya (or Årbhava)-pavamâna and the Agnishtoma-saman at the evening service. It is this last-named chant, then, that gives its name to this sacrifice which, indeed, is often explained as the 'Agnishtoma-samsthah kratuh?,' or the sacrifice concluding with 'Agni's praise.' The term såman,' in its narrow technical sense, means a choral melody, a hymntune, without reference to the words set thereto. Not unfrequently, however, it has to be taken in the wider sense of a chanted verse or hymn (triplet), a chorale ; but, though the distinction is evidently of some importance for the ritual, it is not always easy to determine the particular sense in which the term is meant to be applied, viz. whether a specified såman is intended to include the original text set to the respective tune, or whether some other verses to which that tune has been adapted are intended. In the case of the Agnishtoma-saman, however, the word 'saman' cannot be taken in its narrow acceptation, but the term has to be understood in the sense of a hymn chanted in praise of Agni.' The words commonly used for this chant, are the first two verses of Rig-veda S. VI, 48, a hymn indeed
1 In this enumeration the Vâgapeya is often placed between the Atirâtra and Aptoryåma; e.g. Láty. V, 4, 34.
. Thus on Sat. Br. V, 1, 3, 1 Agneyam agnishtoma alabhate, Sayana remarks, ' agnih stůyate :sminn ity agnishtomo nama sama, tasmin vishayabhůta ågneyam alabhate, etena pasanâ xsmin vågapeye sgnishtomasamsthan kratum evånushthita vån bhavati.' In IV, 2, 4, 9 seq., also, the term 'agnishtoma' would seem to apply to the final chant rather than to the whole sacrifice.
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SATAPATHA-BRAHMANA.
admirably adapted for the purpose of singing Agni's praises. For the first verse, beginning 'yagñâ-yagñâ vo agnaye,' the chief tune-book, the Grâmageya-gâna, has preserved four different tunes, all of which are ascribed to the Rishi Bharadvåga: one of them has, however, come to be generally accepted as the Yagñâyagñîya-tune κar' ¿§oxýv, and has been made use of for this and numerous other triplets 1; whilst the other tunes seem to have met with little favour, not one of them being represented in the triplets arranged for chanting in stotras, as given in the Ûha and Uhya-gânas. Neither the Yagñâyagñîya-tune, nor its original text, is however a fixed item in the chanting of the Agnishtomasâman. Thus, for the first two verses of Rig-veda VI, 48, the Vâgapeya-sacrifice substitutes verses nine and ten of the same hymn, and these are chanted, not to the Yagñâyagñîya, but to the Vâravantîya-tune, originally composed for, and named after, Rig-veda I, 27, 1 (S. V. I, 17; ed. Calc. I, p. 121) 'asvam na två våravantam.'
The Ukthya-sacrifice requires the slaughtering of a second victim, a he-goat to Indra and Agni; and to the twelve chants of the Agnishtoma it adds three more, the so-called Uktha-stotras, each of which is again followed by an Uktha-sastra recited by one of the Hotrakas, or assistants of the Hotri. As the evening service of the Agnishtoma had only two sastras, both recited by the Hotri, the addition of the three sastras of the Hotrakas would, in this respect, equalize the evening to the morning and midday savanas. The word 'uktha' is explained by later lexicographers either as a synonym of ' sâman,' or as a kind of såman3; but it is not unlikely that that meaning of the word was directly derived from this, the most common, use of the word in the term 'uktha-stotra.' The etymology of the word, at all events, would point to the
1 Each Sâman-tune is usually chanted thrice, either each time on a special verse of its own, or so that, by certain repetitions of words, two verses are made to suffice for the thrice-repeated tune.
So also does the Agnishtut ekâha, cf. Tândya Br. XVII, 5, 7.
Sâyana, to Sat. Br. IV, 3, 3, 2, explains it by 'stotra;' but see IV, 2, 3, 6-9 where it undoubtedly refers to the recited verses (rik), not to the sâman. Viz. from root 'vak' to speak. I cannot see the necessity for taking
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INTRODUCTION.
ху
meaning 'verse, hymn,' rather than to that of 'tune' or 'chant;' but, be that as it may, the word is certainly used in the former sense in the term 'mahad-uktha,' the name of the 'great recitation of a thousand brihati verses !, being the Hotri's sastra in response to the Mahavrata-stotra at the last but one day of the Gavâm-ayana. And, besides, at the Agnishtoma a special.ukthya' cup of Soma-juice is drawn both at the morning and midday pressings, but not at the evening savana. This cup, which is eventually shared by the three principal Hotrakas between them, is evidently intended as their reward for the recitation of their 'ukthas.' At the Ukthya-sacrifice, as might have been expected, the same cup is likewise drawn at the evening service. Though it may be taken for granted, therefore, that'uktha' was an older term for 'sastra,' it still seems somewhat strange that this term should have been applied specially to the additional sastras and stotras of the Ukthya-sacrifice. Could it be that the name of the additional Ukthya-cup, as a distinctive feature of this sacrifice, suggested the name for the sastras and stotras with which that cup was connected, or have we rather to look for some such reason as Ait. Br. VI, 13 might seem to indicate? This passage contains a discussion regarding the different status of the Hotrakas who have ukthas of their own, and those who have not; and it then proceeds to consider the difference that exists between the two first and the third savanas of the Agnishtoma in respect of the Hotrakas' ukthas. It is clear that here also, the term "uktha' can hardly be taken otherwise than as referring to
brihad vakas' in Rig-veda VII, 96, 1 in the technical sense of Bribat-tune, as is done by Prof. Hillebrandt, in his interesting essay, 'Die Sonnwendfeste in Alt-Indien,' p. 29, merely because it is used there in connection with Indra ; whilst he himself is doubtful as to whether it should be taken in the same sense in III, 10, 5 where it occurs in connection with Agni. Though the Bribatsaman is no doubt frequently referred to Indra, and the Rathantara to Agni, the couplets ordinarily chanted to them (Rig-veda VI, 46, 1-3 and VII, 32, 33, 23) are both of them addressed to Indra. Both tunes are, however, applied to verses addressed to all manner of deities.
See Catalogue of Sanskrit MSS. of the India Office, No. 434. In Kaush. Br. XI, 8, sadasy ukthâni sasyante,' also, the word has undoubtedly the sense of sastra, or (recited) hymn. In part i, p. 346, note 3 of this translation read 'great recitation or sastra,' instead of great chant.'
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the sastras-though, no doubt, the stotra is sometimes said to belong to the priest who recites the sastra in response to it—and this paragraph of the Brahmana reads almost like the echo of an old discussion as to whether or not there should be recitations for the Hotrakas at the evening service of a complete Soma-sacrifice. If, in this way, the question of 'uktha or no uktha' had become a sort of catchword for ritualistic controversy, one could understand how the term came ultimately to be applied to the three additional stotras and sastras.
Not unfrequently, the Ukthya is treated merely as a redundant Agnishtoma, as an 'Agnishtomah sokthah,' or Agnishtoma with the Ukthas! Considering, however, that the term Agnishtoma, properly speaking, belongs only to a Soma-sacrifice which ends with the Agnishtoma (saman), and that the addition of the Uktha-stotras also involves considerable modifications in the form of most of the preceding chants, a new term such as Ukthya, based on the completing and characteristic chants of this form of sacrifice, was decidedly more convenient. In regard to the composition of the preceding stotras, with the exception of the Mâdhyandina-pavamana and the Agnishtoma-saman, the Ukthya, indeed, may be said to constitute a parallel form of Sacrifice beside the Agnishtoma?, the succeeding samsthås following the model of either the one or the other of these two parallel forms.
The Shodasin-sacrifice requires, as a third victim, the
1 See, for instance, Tandya Br. XX, 1, 1.
? Perhaps the most characteristic point of difference between these two forms in wbich the fundamental stotras are chanted is the first (or Hotri's) Prishtha. stotra at the midday service. Whilst the Agnishtoma here requires the Rachantara-tune chanted on the text, Sáma-veda S. II, 30, 31; the Ukthya, on the other hand, requires the text, S. V. II, 159, 160, chanted to the Brihat-tune. Professor Hillebrandt, 1. c., p. 32, has, indeed, tried to show that these two tanes play an important part in early India in connection with the celebration of the solstices. A similar alternation of samans to that of the Hotri's Prishthastotra obtains at the third, or Brahmanakkhamsin's Prishtha-stotra; the Nagdhasa-saman (II, 35, 36) being used at the Agnishtoma, and the Syaita-saman at the Ukthya-sacrifice. As regards the second (or Maitråvaruna's) and fourth (or Akkhåvåka's) Prishtha-stotras, on the other hand, the same sâman-viz. the Vamadevya (11, 32-34) and Kaleya (II, 37, 38) respectively-is used both at the Agnishtoma and Ukthya.
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immolation of a ram to Indra ; and one additional chant, the shodasi-stotra, with its attendant sastra and Soma-cup. The most natural explanation of the name is the one supplied, in the first place, by Ait. Br. IV, 1 (as interpreted by Sayana) viz. the sacrifice which has sixteen, or a six
teenth, stotra? But, as the name applies not only to the į sacrifice but also to the stotra and sastra, the Bråhmana
further justifies the name by the peculiar composition of the shodasi-sastra in which the number sixteen prevails 2. Very probably, however, the name may have belonged to the sacrifice long before the sastra, for symbolic reasons, had assumed the peculiar form it now presents.
In this summary of the characteristic features of the forms of Soma-sacrifice presupposed by the Vågapeya, no mention has yet been made of the Atyagnishtoma, or redundant Agnish toma, which usually occupies the second place in the list of samsthås. This form of sacrifice is indeed very little used, and there can be little doubt that it was introduced into the system, as Professor Weber suggests, merely for the sake of bringing up the Somasamsthås to the sacred number of seven. This sacrifice is obtained by the addition of the shodasi-stotra to the twelve chants of the Agnishtoma, as well as of the special Somacup and sacrificial victim for Indra, connected with that chant. It may thus be considered as a short form of the Shodasin-sacrifice (though without the full complement of stotras implied in that name), which might have suited the views of such ritualists as held the sastras of the Hotrakas at the evening service to be superfluous.
The distinctive feature of the Atirâtra-sacrifice, as the name itself indicates, is an overnight' performance of chants and recitations, consisting of three rounds of four stotras and sastras each. At the end of each round
1 This is also the explanation of the term given by Sayana in his commentary on Tandya Br. XII, 13, 1.
See this translation, part ii, p. 402, note 1.
See part ii, p. 402, note 2, where it is stated that the tenth and last day of the Dasarätra is an Atyagnishtoma day, called Avivákya, i.e. one on which there should be no dispute or quarrel.
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(paryaya) libations are offered, followed by the inevitable potations of Soma-liquor. That the performance, indeed, partook largely of the character of a regular nocturnal carousal, may be gathered from the fact, specially mentioned in the Aitareya Brahmana, that each of the Hotri's offeringformulas is to contain the three words~'andhas,' Somaplant (or liquor), 'på,' to drink, and 'mada,' intoxication. Accordingly, one of the formulas used is Rig-veda II, 19, I apâyy asya-ndhaso madâya, 'there has been drunk (by Indra, or by us) of this juice for intoxication. The twelve stotras, each of which is chanted to a different tune, are followed up, at daybreak, by the Sandhi-stotra, or twilightchant, consisting of six verses (Sama-veda S. II, 99–104) chanted to the Rathantara-tune. This chant is succeeded by the Hotri's recitation of the Åsvina-sastra, a modification of the ordinary prâtar-anuvāka,' or morning-litany, by which the pressing-day of a Soma-sacrifice is ushered in? The Atirâtra also requires a special victim, viz, a he-goat offered to Sarasvatî, the goddess of speech. As regards the ceremonies preceding the night-performance, there is again a difference of opinion among ritualists as to whether the shodasi-stotra, with its attendant rites, is, or is not, a necessary element of the Atirátra . Some authorities, accordingly, distinctly recognise two different kinds of Atirâtra,-one with, and the other without, the shodasin. In Katyayana's Satra, there is no allusion to any difference of opinion on this point, but, in specifying the victims required at the different Soma-sacrifices, he merely remarks (IX, 8, 5) that, ' At the Atirätra there is a fourth victim to Sarasvati.' This would certainly seem to imply that there are also to be the three preceding victims, including the one to Indra peculiar to the Shodasin. Åsvaldyana (V, 11, 1) also refers incidentally to the shodasin as part of the
See part ii, p. 226 seq. On the present occasion the Prâtur-anavåka is, how. ever, to consist of as many verses as, counting their syllables, would make up a thousand brihati-verses (of thirty-six syllables each). The three sections of the ordinary morning-litany from the body of the Asvina-sastra which conclades, after sunrise, with verses addressed to Sarya, the sun.
* Cf. Láty. Sr. VIII, 1, 16; IX, 5, 33 with commentary. • Notably Tandya Br. XX, 1, 1 seq.
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Atirätra, though it is not quite clear from the text of the sútra whether it is meant to be a necessary or only an optional feature of that sacrifice. The Aitareya Brahmana (IV, 6), on the other hand, in treating of the Atirâtra, enters on a discussion with the view of showing that the night-performance of that sacrifice is in every respect equal to the preceding day-performance; and accordingly, as the three services of the day-performance include fifteen chants and recitations (viz. the twelve of the Agnishtoma, and the three Ukthas), so, during the night, the three rounds of in all twelve stotras, together with the sandhi-stotra, here counted as three stotras (triplets), make up the requisite fifteen chants. This Brahmana, then, does not recognise the shodasin as part of the Atiratra, and, indeed, the manuals of the Atirâtra chants which I have consulted make no mention of the shodasi-stotra, though it is distinctly mentioned there among the chants of the Vâgapeya and the Aptoryâma. The passage in the Aitareya, just referred to, also seems to raise the question as to whether the Atirätra is really an ekâha, or whether it is not rather an ahỉna-sacrifice. On this point also the authorities seem to differ; whilst most writers take the Atirâtra, and the analogous Aptoryâma, to be one-day' sacrifices, the Tandya Brahmana (XX) and Laty. IX, 5, 6 class them along with the Ahînas ? ; and they may indeed be regarded as intermediate links between the two classes of Somasacrifice, inasmuch as, in a continued sacrificial performance, the final recitations of these sacrifices take the place of the opening ceremony of the next day's performance. Such, for instance, is the case in the performance of the Atirâtra as the opening day of the Dvadasäha, or twelve days' period of sacrifice; whilst in the performance of the twelfth and concluding day, which is likewise an Atiratra, the concluding ceremonies of the latter might be considered in
· The Aitareya Brahmana (VI, 18) in discussing the so-called sampâta hymns inserted in continued performances, with the view of establishing a symbolic connection between the several days, curiously explains the term 'ahina,' not from abas' day, but as meaning not defective, where nothing is left out' (a-btna).
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a manner superabundant. It is probably in this sense that Laty. (IX, 5, 4) calls the overnight performance of the last day of an ahîna (e.g. the Dvadasaha) the yagñapukkha, or tail of the sacrifice, which is to fall beyond the month for which, from the time of the initiation, the ahîna is to last.
The Aptoryama-sacrifice represents an amplified form of the Atirâtra. It requires the shodasi-stotra and the ceremonies connected with it as a necessary element of its performance; whilst its distinctive feature consists in four additional (atirikta-) stotras and sastras, chanted and recited after the Åsvina-sastra, the concluding recitation of the Atirâtra. These four chants are arranged in such a manner that each successive stotra is chanted to a different tune, and in a more advanced form of composition, from the trivrit (nine-versed) up to the ekavimsa (twentyone-versed) stoma. In the liturgical manuals, the Aptoryâma, moreover, performs the function of serving as the model for a sacrificial performance with all the 'prishthas?.' Though this mode of chanting has been repeatedly referred to in the translation and notes, a few additional remarks on this subject may not be out of place here. When performed in its 'prishtha' form, the stotra is so arranged that a certain saman (or chanted triplet) is enclosed, as the 'garbha' (embryo), within some other såman which, as its 'prishtha' (i.e. back, or flanks), is chanted a number of times before and after the verses of the central såman. The tunes most commonly used for forming the enclosing såmans of a Prishtha-stotra are the Rathantara and Brihat; and along with these, four others are singled out to make up the six Prishtha-såmans karoxýv, viz. the Vair apa (with the text Sâma-veda II, 212–13), Vairåga (II, 277-9), Sakvara? (chanted on the Mahânâmnî verses,
From Asvalâyana's rule (IX, 11, 4), If they chant in forming the garbha (i. e. in the prishtha 'form), let him (the Hotri or Hotraka) recite in the same way the stotriyas and anurupas,' it seems, however, clear that the Aptoryama may also be performed without the Prishthas.
• The original text of the Säkvara-sâman is stated (by Sâyana on Aitar. Br. IV, 13; Mahidhara on Våg. S. X, 14, &c.) to be Sama-veda II, 1151-3, 'pro shv asmai puroratham,' but the Sama-veda Ganas do not seem to give the tune
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Aitar. År. IV), and Raivatasamans. These six samans are employed during the six days' sacrificial period called Prishthya-shadaha, in such a way that one of them, in the order in which they are here enumerated, is used for the first, or Hotri's, Prishtha-stotra on the successive days of that period. In that case, however, these stotras are not performed in the proper 'prishtha' forma, i. e. they have no other såman inserted within them, but they are treated like any other triplet according to the particular stoma, or mode of composition, prescribed for them. But, on the other hand, in the Aptoryâma, when performed with all the Prishthas,' not only are a number of stotras chanted in the proper 'prishtha' form, but the 'prishtha' element asserts itself in yet another way, viz. by the appearance of all the six Prishtha-så mans' in the course of the performance of the different stotras, in this way :-the Rathantara-tune forms the middlemost of the seven triplets of which the Madhyandina-pavamâna is composed;
with that text, but with the Mahânämnt verses (ed. Bibl. Ind. II, p. 371). The Tándya Br. XIII, 4 (and comm.), gives minute directions as to the par. ticular padas of the first three Mahânâmni triplets which are singled out as of a såkvara (potent) nature, and are supposed to form the three stotriyâ verses of the såkvara-saman, consisting of seven, six, and five pâdas respectively. The asákvara pådas are, however, likewise chanted in their respective places, as is also the additional tenth verse, the five pâdas of which are treated as mere supplementary (or filling in ') matter.
1 That is, the Våravantiya-tune adapted to the Revati' verses. The Vâravantiya-tane is named after its original text, Rig-veda 1, 27, 1, 'asvam da tva väravantam' (Sama-veda, ed. Bibl. Ind. I, p. 121). When used as one of the Prishtha-såmans it is not, however, this, its original text, that is chanted to it, but the verses Rig-veda I, 30, 13-15, 'revattr nak sadhamada' (Sama-veda II, 434-6, ed. vol. iv, p. 56), whence the tune, as adapted to this triplet, is usually called Raivata. The Raivata-saman, thus, is a signal instance of the use of the term 'saman' in the sense of a chanted verse or triplet.
* The statement, in part ii, p.403 note (and repeated in the present part, p. 6, note 2), that, while the Prishtha-stotras of the Abhiplava-shadaha are performed in the ordinary (Agnishtoma) way, the Prishthya-sbadaba requires their performance in the proper Prishtha form, is not correct. In both kinds of shadaba, the Prishtha-stotras are performed in the ordinary way (viz. in the Agnishtoma or Ukthya way, see p. 4 note); but whilst, in the Abhiplava, the Rathantara and Brihat såmans are used for the Hotri's Prishtha-stotra on alternate days, the Prishthya-sbadaba requires a different Prishtha-saman on each of the six days. The two kinds of shadahas also differ entirely in regard to the sequence of stomas prescribed for the performance of the stotras.
b3
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the Brihat forms the 'garbha,' or enclosed sâman, of the Agnishtoma-saman1; the Vairûpa the 'garbha' of the third, the Vairaga that of the first, the Såkvara that of the second, and the Raivata that of the fourth, Prishtlastotra. It is doubtless this feature which gives to certain Soma-days the name of 'sarvaprishtha,' or one performed with all the (six) Prishthas. Then, as regards the particular stotras that are chanted in the proper 'prishtha' form, these include not only the four so-called Prishthastotras of the midday service, but also the four Agyastotras of the morning service, as well as the Agnishtomasâman and the three Uktha-stotras of the evening service,in short, all the first fifteen stotras with the exception of the three Pavamâna-stotras. Of the stotras which succeed the Ukthas, on the other hand-viz. the Shodasin, the twelve chants of the three night-rounds, the Sandhi-stotra, and the four Atirikta-stotras-not one is performed in the 'prishtha' form. How often the several verses of the 'prishtha-sâman,' and those of the 'garbha' are to be chanted, of course depends, in each case, not only on the particular stoma which has to be performed, but also on the particular mode (vishtuti) prescribed, or selected, for the stoma. Thus, while all the four Agya-stotras are chanted in the pankadasa, or fifteen-versed-stoma; the four Prishtha-stotras are to be performed in the ekavimsa (of twenty-one verses), the katurvimsa (of twenty-four verses), the katuskatvârimsa (of forty-four verses), and the ashtakatvârimsa (of forty-eight verses) respectively. Now whenever, as in the case of the pankadasa and the ekavimsastomas, the number of verses is divisible by three, one third of the total number of verses is usually assigned to each of the three parts of the stotra, and distributed over the respective (three or sometimes four) verses of that sâman 2.
xxii
1 Either the Rathantara or the Brihat also forms the 'prishtha,' or enclosing sâman, of the first Prishtha-stotra.
2 Whenever the stotra is not performed in the 'prishtha' form, but consists of a single sâman or triplet, the repetitions required to make up the number of verses implied in the respective stoma, are distributed over the three verses of the sâman in such a way that the whole sâman is chanted thrice, each time with various repetitions of the single verses. The usual form in which the
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INTRODUCTION.
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To illustrate this tripartite composition, the Hotri's Prishtha-stotra, performed in the twenty-one-versed stoma, may be taken as an example. For the 'prishtha,' the manuals give the Brihat-saman, on its original text (Samaveda II, 159, 160, 'tvåm id dhi havâmahe,' arranged so as to form three verses), though the Rathantara may be used instead. For the 'garbha,' or enclosed såman, on the other hand, the Vairåga-saman (with its original text, S. V. II, 277-9, 'piba somam indra mandatu tvà ') is to be used, a most elaborate tune?, with long sets of stobhas, or musical ejaculations, inserted in the text. Of the twenty-one verses, of which the stoma consists, seven verses would thus fall to the share of the 'garbha,' and seven verses to that of the 'prishtha,' as chanted before and after the garbha.' Thus, in accordance with the formula set forth in p. xxii, note 2, the three verses (a, b, c) of the Brihat would be chanted in the form aaa-bbb-c; then the verses of the Vairaga-saman (as 'garbha ') in the form a-bbb-ccc; and finally again the Brihat in the form aaa-b-ccc. Stotras, the total number of verses of which is not divisible by three, of course require a slightly different distribution. Thus, of the third Prishtha-stotra, the stoma of which consists of forty-four verses, the two parts of the 'prishtha' obtain fifteen verses each, whilst the 'garbha' has only fourteen verses for its share.
The Vågapeya, the last of the seven forms of a complete Soma-sacrifice, occupies an independent position beside the Atiratra and Aptoryama, whose special features it does not share. Like them, it starts from the Shodasin, to the characteristic (sixteenth) chant (and recitation) of which it adds one more stotra, the Vågapeya-saman, chanted to the Brihat-tune, in the Saptadasa (seventeen-versed) stoma, and followed by the recitation of the Vågapeyasastra. The Saptadasa-stoma, indeed, is so characteristic of this sacrifice that-as has been set forth at p. 8 note
ekavimsa is performed may be represented by the formula aaa-bbb-c; a-bbbccc; aaa-b-ccc, making together twenty-one verses.
i Åsval. Sr. IX, 3, 4-5. • It is given somewhat imperfectly in the ed. Bibl. Ind. V, p. 391.
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SATAPATHA-BRAHMANA.
below-all the preceding chants, from the Bahishpavamâna onward, are remodelled in accordance with it. Besides, over and above the three victims of the Shodasin-sacrifice, the Vagapeya requires, not only a fourth one, sacred to Sarasvati, the goddess of speech, but also a set of seventeen victims for Pragâpati, the god of creatures and procreation. As regards other rites peculiar to the Vågapeya, the most interesting, doubtless, is the chariot-race in which the sacrificer, who must be either of the royal or of the priestly order, is allowed to carry off the palm, and from which this sacrifice perhaps derives its name. Professor Hillebrandt”, indeed, would claim for this feature of the sacrifice the character of a relic of an old national festival, a kind of Indian Olympic games; and though there is perhaps hardly sufficient evidence to bear out this conjecture, it cannot at least be denied that this feature has a certain popular look about it.
Somewhat peculiar are the relations between the Vagapeya and the Rågasaya on the one hand, and between the Vâgapeya and the Brihaspatisava on the other. In the first chapter of the fifth book, the author of this part of our Brahmana is at some pains to impress the fact that the Vågapeya is a ceremony of superior value and import to the Râgasdya; and hence Katyayana (XV, 1, 1-2) has two rules to the effect that the Rågasaya may be performed by a king who has not yet performed the Vagapeya. These authorities would thus seem to consider the drinking of the Vågapeya-cup a more than sufficient equivalent for the Râgasdya, or inauguration of a king ; they do not, however, say that the Rågasaya must be performed prior to the Vagapeya, but only maintain that the Vagapeya cannot be performed after the Rågasuya. The Rågasaya, according to the Brahmana, confers on the sacrificer royal dignity (râgya), and the Vågapeya paramount sovereignty (sâmrâgya). It might almost seem as if the relatively loose positions here assigned to the Ragasaya were entirely owing to. the fact that it is a purely Kshatriya ceremony to which the
i Vedische Mythologie, p. 247.
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INTRODUCTION.
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Brahmana has no right, whilst the Vågapeya may be performed by Brahmanas as well as Kshatriyas. But on whatever grounds this appreciation of the two ceremonies may be based, it certainly goes right in the face of the rule laid down by Åsvalâyana (IX, 9, 19) that, after performing the Vagapeya, a king may perform the Ragastya, and a Brâhmana the Brihaspatisava. With this rule would seem to accord the relative value assigned to the two ceremonies in the Taittiriya Samhità (V, 6, 2, 1) and Brahmana (II, 7, 6, 1), according to which the Vågapeya is a' samråtsava,' or consecration to the dignity of a paramount sovereign, while the Rågasůya is called a 'varunasava,' i.e., according to Sayana, a consecration to the universal sway wielded by Varuna 1. In much the same sense we have doubtless to understand the rule in which Låtyâyana defines the object of the Vågapeya (VIII, 11, 1), viz. 'Whomsoever the Brâhmanas and kings (or nobles) may place at their head, let him perform the Vâgapeya.' All these authorities, with the exception of the Satapatha-Brahmana and Katyâyana, are thus agreed in making the Vågapeya a preliminary ceremony, performed by a Brahmana who is raised to the dignity of a Purohita, or head-priest (so to speak, a minister of worship, and court-priest), or by a king who is elected paramount sovereign by a number of petty ragas; this sacrifice being in due time followed by the respective installation and consecration ceremony, viz. the Brihaspatisava, in the case of the Purohita ; and the Râgasůya, in that of the king. In regard to the Brihaspatisava, which these authorities place on an equality with the Rågasûya, our Bråhmana finds itself in a somewhat awkward position, and it gets out of its difficulty (V, 2, 1, 19) by simply identifying the Brihaspatisava with the Vågapeya, and making the Vågapeya itself to be the consecration of Brihaspati ;' and Katyayana (XIV, 1, 2) compromises matters by combining the two ceremonies in this way that he who performs the Vagapeya is to perform the Brihaspatisava for a fortnight before and after the Vågapeya.
· Cf. Sankh. St. XV, 13, 4. 'for it is Varuna whom they consecrate.'
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SATAPATHA-BRAHMANA.
The Ragasaya, or inauguration of a king, is a complex ceremony which, according to the Srauta-sūtras, consists of a long succession of sacrificial performances, spread over a period of upwards of two years. It includes seven distinct Soma-sacrifices, viz. 1, the Pavitra, an Agnishtoma serving as the opening sacrifice, and followed, after an interval of a year (during which the seasonal sacrifices have to be performed), by 2, the Abhishekaniya, an Ukthya-sacrifice, being the consecration (or anointing) ceremony. Then follows 3, the Dasapeya, or drink of ten,' an Agnishtoma, socalled because ten priests take part in drinking the Somaliquor contained in each of the ten cups. After another year's interval, during which monthly offerings to the beams (i.e. the months)' are made, takes place 4, the Kesavapaniya, or hair-cutting ceremony, an Atirâtra-sacrifice; followed, after a month or fortnight, by 5, and 6, the Vyushti-dviratra, or two nights' ceremony of the dawning, consisting of an Agnishtoma and an Atirâtra ; and finally 7, the Kshatra-dhriti, or 'the wielding of the (royal) power,' an Agnishtoma performed a month later. The round of ceremonies concludes with the Sautråmanî, an ishti the object of which is to make amends for any excess committed in the consumption of Soma-liquor.
The fifth book completes the dogmatic discussion of the ordinary circle of sacrifices, some less common, or altogether obsolete, ceremonies, such as the Asvamedha (horsesacrifice), Purushamedha (human sacrifice), Sarvamedha (sacrifice for universal rule), being dealt with, by way of supplement, in the thirteenth book.
With the sixth Kanda, we enter on the detailed explanation of the Agnikayana, or building of the fire-altar, a very solemn ceremony which would seem originally to have stood apart from, if not in actual opposition to, the ordinary sacrificial system, but which, in the end, apparently by some ecclesiastical compromise, was added
The Brâhmana (V, 5, 2, 2), however, would rather seem to dispense with this interval by combining the twelve oblations so as to form two sets of six each.
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INTRODUCTION.
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on to the Soma ritual as an important, though not indispensable, element of it. The avowed object of this ceremony is the super-exaltation of Agni, the Fire, who, in the elaborate cosmogenic legend with which this section begins, is identified with Pragapati, the lord of Generation, and the source of life in the world. As the present volume contains, however, only a portion of the Agnikayana ritual, any further remarks on this subject may be reserved for a future occasion.
Since the time when this volume went to press, the literature of the Soma myth has been enriched by the appearance of an important book, the first volume of Professor A. Hillebrandt's Vedische Mythologie, dealing with Soma and cognate gods. As it is impossible for me here to enter into a detailed discussion of the numerous points raised in the work, I must content myself for the present with the remark that I believe Professor Hillebrandt to have fully established the main point of his position, viz. the identity of Soma with the Moon in early Vedic mythology.
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SATAPATHA-BRAHMANA.
FIFTH KÅNDA.
SEL
Pl.SE
UNI!
Y
A. THE VÅGAPEMA First ADHYAYA. FIRST BRÂHMANA. 1. Once upon a time the gods and the Asuras, both of them sprung from Pragàpati, strove together. And the Asuras, even through arrogance, thinking,
Unto whom, forsooth, should we make offering ?' went on offering into their own mouths. They came to naught, even through arrogance: wherefore let no one be arrogant, for verily arrogance is the cause of ruin.
2. But the gods went on making offerings unto one another. Pragâpati gave himself up to them : thus the sacrifices became theirs; and indeed the sacrifice is the food of the gods 3.
3. They then spake, 'To which of us shall this 4 belong?' They did not agree together, saying,
1 Lit. the mouth,' i.e. the opening or beginning, of ruin. The St. Petersburg Dict. compares Prov. xvi. 18: Pride goeth before destruction, and an haughty spirit before a fall.'
* Pragâpati (the lord of creatures or generation) is both the sacrifice and the year (time); see III, 2, 2, 4.
See II, 4, 2, 1. To them (the gods) he (Pragâpati) said, *The sacrifice (shall be) your food, immortality your sustenance (Arg), and the sun your light!'
• For the neuter idam-hardly here this universe,' or vâ
[41]
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SATAPATHA-BRAHMANA.
"To me! to me!' Not being agreed, they said, *Let us run a race for it: whichever of us shall win, to him it shall belong !'- So be it!' so they ran a race for it.
4. Then Brihaspati hasted up to Savitri for his impulsion !,—Savitri being the impeller (prasavitri) among the gods-saying, “Impel this for me, (so that) impelled by thee, I may win this !' Then Savitri, as the impeller, impelled it for him, and impelled by Savitri, he won : he became everything here, he won everything here ; for he won Pragapati, and Pragâpati (the lord of creatures and procreation) indeed is everything here. By offering therewith he (Brihaspati) ascended to that upper region. Therefore who so knoweth, and who so knoweth not,—they say, 'That upper region belongeth to Brihaspati.'
5. Thus they who of old used to offer the Vagapeya, ascended to that upper region. From there Aupåvi Gânasruteya descended again : thenceforward (all men) descend again.
gapeyam,' but rather this thing, it'—the Kânva text reads ayam 'he,' i.e. Pragâpati, or the sacrifice (yagña, masc.); cf. note on V, I, 4, 15.
For want of a simpler and more homely set of terms for the derivatives of the verb sa 'to animate' here used, those used in the preceding volumes are here generally adhered to, though, as there, somewhat reluctantly. The simple to bless, blessing, &c.' might sometimes fit quite well, though no doubt they imply an idea altogether foreign to the etymological meaning of this verb, and could not possibly be used, as is the case here, of the animating influence of the sun. Sometimes 'to speed' has been chosen, where the etymological connection with Savitri is not insisted upon; while in other passages to consecrate, consecration, &c.' might probably come nearer to the meaning of the original. Cp. Delbrück, Altindische Syntax, p. 256.
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V KÂNDA, I ADHYÂYA, 1 BRÂHMANA, 11.
3
6. Indra offered that (Vâgapeya),- he became everything here, he won everything here ; for he won Pragâ pati, and Pragâpati is everything here: by offering therewith he ascended to that upper region.
7. Thus they who of old used to offer the Vâgapeya, ascended to that upper region. From there Aupåvi Gånasruteya descended again : thenceforward (all men) descend again.
8. And whosoever offers the Vågapeya, he becomes everything here, he wins everything here; for he wins Pragâpati, and Pragàpati indeed is everything here.
9. Here now they say, 'One must not offer the Vagapeya ; for he who offers the Vâgapeya wins everything here,—for he wins Pragàpati, and Pragapati is everything here,-he leaves nothing remaining here : his people (or offspring) is like to become worse (off).'
10. Let him none the less sacrifice : whatever (priests) thus know that sacrifice properly, in respect of the Rik, the Yagus, and the Sâman, and such as are proficient, let them assist him in offering it; for verily this is the perfection of that sacrifice, when wise (priests) assist him in offering it : let him therefore sacrifice by all means.
11. Now truly this (the Vagapeya) is the Brâhmana's own sacrifice, inasmuch as Brihaspati (the lord of prayer and devotion) performed it ; for Brihaspati is the Brahman (priesthood, or priestly dignity), and the Brahmana is the Brahman. And it is also that of the Râganya, inasmuch as Indra performed it; for Indra is the Kshatra (nobility, or ruling power), and the Råganya is the Kshatra.
B2
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SATAPATHA-BRÂHMANA.
12. To the king (rågan) doubtless belongs the Ragasûya ; for by offering the Râgasůya he becomes king; and unsuited for kingship is the Brâhmana. And, moreover, the Râgastya is the lower, and the Vâgapeya the higher (sacrifice).
13. For by offering the Râgasûya ? he becomes king, and by the Vâgapeya (he becomes) emperor (samrâg); and the office of king is the lower, and that of emperor the higher : a king might indeed wish to become emperor, for the office of king is the lower, and that of emperor the higher ; but the emperor would not wish to become king, for the office of king is the lower, and that of emperor the higher.
14. Thus that (king) who, by performing the Vâgapeya, becomes emperor, possesses himself of everything here. Previously to each performance (of an ishtia) he offers that oblation to Savitri (the sun), with the text, 'O divine Savitri, impel (prosper) the sacrifice, impel Pragapati for his portion !'
Kâty. Sr. XV, 1, 1-2, lays down the ruie that the Râgasůya is to be performed by a king who has not yet performed the Vågapeya. Asval. Sr. IX, 9, 19, on the other hand, rules : After performing it (the Vågapeya) let a king perform the Ragasûya, a Brâhmana the Brihaspati-sava' (cf. V, 2, 1, 19). See also Kâty. XIV, 1, 2 seq. Cf. Lâty. Sr. VIII, 11, 1 seq.
• During the bright fortnights (of the waxing moon) preceding and following the Vågapeya ceremony proper, the sacrificer has to perform a number of so-called pariyagħa (surrounding or enclosing sacrifices') consisting of nne-day Soma-sacrifices of different kinds, each of which is preceved by a special dîkshâ, or initiation ceremony (cf. III, 1, 2, 1 seq. ; Lâty. Sr. VIII, 11, 2). It is to the ishtis (dikshaniyeshti, prâyaniyeshti) of these pariyagñas that the above injunction regarding the performance of the Savitri ahuti refers.
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V KÂNDA, I ADHYAYA, 2 BRAHMANA, I.
5
15. And even as then Brihaspati hasted up to Savitri for his impulsion-Savitri being the impeller among the gods-saying, ' Impel this for me, (so that) impelled by thee I may win it!' and Savitri, as the impeller, impelled it for him; and impelled by Savitri he won it; even so does this (sacrificing king) now haste up to Savitri for his impulsionSavitri being the impeller among the gods-saying, 'Impel this for me: may I win it, impelled by thee!' and Savitri, as the impeller, impels it for him, and he wins it impelled by Savitri.
16. Wherefore he says (Vâg. S. IX, 1), 'God Savitri, speed the sacrifice, speed the lord of sacrifice unto his portion! May the heavenly, thought-cleansing Gandharva cleanse our thought! May the Lord of Speech render our meat palatable, hail!' For the Lord of Speech is Pragâpati, and meat means food: 'May Pragâpati this day make palatable this our food!' thus he thereby says. This same oblation he offers till the day before the Soma-feast, for thus that performance of his has been commenced; and he (Savitri, the Sun) becomes serene during that sacrifice.
SECOND BRAHMANA.
1. He draws the Amsu1 (graha), just for completeness' sake, for it is therefore that he draws
1 Regarding this cup, u. libation (consisting, it would seem, of imperfectly pressed Soma-plants in water), see part ii, p. 424, note 1. Here, and in the sequel, the author only refers to those points of ceremonial in which the performance differs from that of the ordinary Agnish/oma sacrifice, as described in part ii.
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SATAPATHA-BRAHMANA.
the Amsu. After that he draws those recognised Agnishtoma cups 1 up to the Agra yana.
2. He then draws the Prishthyas?: and whatever the gods (Agni, Indra, and Sarya) won by them, even that he wins by them.
3. He then draws the Shodasin: and whatever Indra won thereby, even that he (the sacrificer) wins thereby.
4. He then draws those five Vagapeya cups (for Indra; the first) with the text (V. S. IX, 2), 'Thee, the firm-seated, the man-seated, the mindseated! Thou art taken with a support 3: I take thee, agreeable to Indra! This is thy wombs (i. e. thy home) : thee, most agreeable to Indra!' therewith he deposits it; for of these
| Viz. the Upâmsu and Antaryâma; the Aindravayava, Maitrâvaruna and  svina; the Sukra and Manthin; and the Âgrayana. Part ii, pp. 256 seq.
* That is, the three Atigrâhyas (part ii, p. 402, note 2), required for the Prishtha-stotras at the midday feast, when performed in their proper 'prishtha' form, as they are at the Prishthya shadaha, and at a Visvagit-ekâha with all the Prishthas. See IV, 5, 4, 14. The authorities of the Black Yagus adopt a somewhat different arrangement. The Vâgapeya cups are likewise called by them A tigrâ hyas (Taitt. S. I, 7, 12; T. B. I, 3, 9), and these are apparently drawn by them immediately after the second of the ordinary three Atigrâhyas, the one belonging to Indra (T. S. vol. i, p. 996,-but see ib. p. 1055, where it is stated that they are drawn immediately after the Agrayana, -that is, probably, if the ordinary Atigráhyas are not required). Then follows (the third ordinary Atigrahya ?), then the Shodasin, and thereupon the seventeen cups for Pragâpati.-Sâyana remarks on our passage,-teshâm (atigråhyânâm) prakritigatâ tritvasamkhyaiva säkhântaravat samkhyântarânupadesát. MS. I. O. 657.
* For an explanation of these notions, see part ii, p. 260, notes i and 2.
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V KÂNDA, I ADHYAYA, 2 BRÂHMANA, 8.
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worlds this one, to wit the earth, is the firm one: this same world he thereby wins.
5. [The second with,] 'Thee, the water-seated, the ghee-seated, the ether-seated! Thou art taken with a support: I take thee, agreeable to Indra! This is thy womb: thee most agreeable to Indra!' therewith he deposits it; for among these worlds that ether (mentioned in the formula) is this air: he thereby wins this air-world.
6. [The third with,] 'Thee, the earth-seated, the air-seated, the sky-seated, the god-seated, the heaven-seated! Thou art taken with a support: I take thee, agreeable to Indra! This is thy womb: thee, most agreeable to Indra !' therewith he deposits it ; for god-seated, heaven-seated indeed is yonder world of the gods : the world of the gods he thereby wins.
7. [The fourth with V. S. IX, 3,]'The waters' invigorating essence, being contained in the sun,—that which is the essence of the waters' essence, that, the most excellent, I take for you! Thou art taken with a support: I take thee, agreeable to Indra! This is thy womb: thee, most agreeable to Indra!' therewith he deposits it; for the waters' essence is he that blows (or purifies) yonder (the wind), and he is contained in the sun, he blows from the sun : that same essence he thereby wins.
8. [The fifth with IX, 4,]' Ye cups, of strengthening libations, inspiring the sage with thought-I have gathered together the pith and sap of you, the handleless! Thou art taken with a support: thee, agreeable to Indra! This is thy womb: thee, most agreeable to
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SATAPATHA-BRÂHMANA.
Indra!' therewith he deposits it ;—pith means essence : it is the essence he thereby wins.
9. These, then, are five Vâgapeya cups he draws; for he who offers the Vâgapeya wins Pragâpati; and Pragàpati is the year, and there are five seasons in the year,-he thus wins Pragâpati : therefore he draws five Vågapeya cups.
10. He (the Adhvaryu) then draws seventeen (other) cups of Soma, and (the Neshtri) seventeen cups of Surà (spirituous liquor), for to Pragâ pati belong these two (saps of) plants, to wit the Soma and the Surâ ;-and of these two the Soma is truth, prosperity, light; and the Surâ untruth, misery, darkness : both these (saps of) plants he thereby wins; for he who offers the Vagapeya wins everything here, since he wins Pragâ pati, and Pragâ pati indeed is everything here.
11. Now as to why he draws seventeen cups of Soma ;-Pragapati is seventeenfold, Prągâpati is the sacrifice': as great as the sacrifice is, as great as is
· See 1, 5, 2, 17, where the principal formulas used in making oblations are computed as consisting together of seventeen syllables. Paak. Br. 18, 6 insists especially on the symbolic identity of Pragapati and the Vågapeya on the double ground that the Vâgapeya consists of seventeen stotras, and has for its characteristic mode of chanting the Saptadasa-stoma, or seventeen-versed hymn. That this is indeed so will appear from a glance at the chief chants. The Bahishpavamâna-stotra, which in the ordinary Agnish/oma is chanted in the trivrit-stoma, consisting of three triplets, or nine verses (see part ii, p. 310), is at the Vâgapeya made to consist of seventeen verses, by the insertion of eight verses (S.V. II, 180-82; 186-00) between the second and third triplets. Again, the Madhyandina-pavamâna, ordinarily chanted in fifteen verses (part ii, p. 333), here consists of seventeen, viz. II, 105–7 (sung twice in two tunes=six verses); II, 663 (one verse); II, 663-4 (sung as triplet, in two tunes=six verses); II, 665 (one verse); II, 821-23
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V KÂNDA, I ADHYÂYA, 2 BRÂHMANA, 15. 9
its measure, with that much he thus wins its truth, its prosperity, its light.
---
12. And why he draws seventeen cups of Surâ ;— Pragâpati is seventeenfold, Pragâpati is the sacrifice : as great as the sacrifice is, as great as is its measure, with that much he thus wins its untruth, its misery, its darkness.
13. These two amount to thirty-four cups; for there are thirty-three gods, and Pragâpati is the thirty-fourth: he thus wins Pragâpati.
14. Now when he buys the king (Soma), he at the same time buys for a piece of lead the Parisrut (immature spirituous liquor) from a long-haired man near by towards the south. For a long-haired man is neither man nor woman; for, being a male, he is not a woman; and being long-haired (a eunuch), he is not a man. And that lead is neither iron nor gold; and the Parisrut-liquor is neither Soma nor Surâ this is why he buys the Parisrut for a piece of lead from a long-haired man.
15. And on the preceding day they prepare two
(three verses)-making together seventeen verses. Similarly, the Arbhava-pavamâna (chanted at the Agnish/oma also in the Saptadasa-stoma, cf. part ii, p. 315; but here with modifications) consists of II, 165-7 (sung twice in two tunes six verses); II, 42, 44 (two verses); II, 47-9 (in two tunes six verses); II, 720-23 (three verses)-making together seventeen verses. For the similarly constructed Vâgapeya hymn see page 11, note 1. See also Lâty. Sr. VIII, 11, 15 seq., where the number of officiating priests, as well as that of the various sacrificial fees, is fixed at seventeen. Similarly, Asv. Sr. IX, 9, 2-3 says that there are either to be seventeen dikshâs, or the whole ceremony is to be performed in seventeen days.
1According to Sâyana, the difference between surâ and parisrut would seem to be that the former beverage is prepared from mature shoots (of rice, &c.), and the latter from such as are not quite ripe.
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earth-mounds ?, the one in front of the axle, and the other behind the axle : 'Lest we should deposit together the cups of Soma, and the cups of Surâ, — this is why, on the preceding day, they prepare two mounds, one in front, and the other behind the axle.
16. Now, when they take the Vasativarf water? (into the havirdhâna shed) by the front door, the Neshtri takes in the Parisrut-liquor by the back door. From the south they bring in the drinking vessels. The Adhvaryu, seated in front of the axle, with his face towards the west, draws the cups of Soma ; and the Neshtri, seated behind the axle, with his face towards the east, draws the cups of Surâ. The Adhvaryu draws a cup of Soma, the Neshtri a cup of Surâ; the Adhvaryu draws a cup of Soma, the Neshtri a cup of Surâ : in this way they draw them alternately.
17. Neither does the Adhvaryu hold the Somacup beyond the axle towards the back, nor the Neshtri the Sura-cup beyond the axle towards the front, thinking, 'Lest we should confound light and darkness !'
18. The Adhvaryu holds the Soma-cup just over the axle, and the Neshtri the Sura-cup just below
1 The mounds (khara) thrown up in the havirdhâna cart-shed, are used for placing the cups of Soma (and Surâ) after they are drawn, until they are used for the libations. See the plan of the sacrificial ground at the end of part ii; only that on the present occasion there is to be a second mound, for the placing of the Surâcups, under or just behind the axle of the southern Soma-cart (in the place where the Nârâsamsa cups to the Fathers were temporarily deposited at the Agnishtoma; see III, 6, 2, 25 with note). On this occasion a small door is also made in the southern wall of the cart-shed, by breaking through the hurdle.
? Part ii, p. 222 seq.
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V KÂNDA, I ADHYAYA, 3 BRÂHMANA, I.
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the axle, with (V. S. IX, 4), United ye are: unite me with happiness!' Thinking, 'Lest we should say "evil", they withdraw them again, with, 'Disunited ye are: disunite me from evil!' Even as one might tear a single reed from a clump of reed-grass, so do they thereby tear him from out of all evil: there is not in him so much sin as the point of a grass-blade. They deposit the two (cups each time on the mounds).
19. Thereupon the Adhvaryu draws the Madhugraha (honey-cup) in a golden vessel, and deposits it in the middle of the Soma-grahas. He then draws the Ukthya, then the Dhruva. And when, at the last chant (of the evening press feast'), he has poured those Soma-grahas one by one into the cups of the officiating priests, they make offering and drink them. At the midday-pressing it is told regarding the honey-cup, and the cups of Surâ : thereof then?
THIRD BRAHMANA. 1. At the Agnishtoma (Sâman 3) he seizes a (victim) for Agni, for the Agnishtoma (i. e. 'Agni's
1 The last chant (at the evening feast) of the Vagapeya sacrifice is the so-called Vâgapeya-saman, or Brihat-stotra (Sâmav. II, 975–7), chanted, to the Brihat tune, in the Saptadasa-stoma; the three verses being, by repetitions, raised to the number of seventeen.- When he has poured ... they offer it :' this is apparently a case of the absolute construction of the gerund in '-ya,' cf. Delbrück, Altindische Syntax, p. 108.
* On these cups, or libations, see V, 1, 5, 28.
. Of the seven fundamental forms (samsthâ) of Soma-sacrifice, each higher, or more complex, form is obtained by some additional ceremony, or ceremonies, being added on to one of the simpler forms of sacrifice. In the present paragraph, the author briefly reviews the lower forms of Soma-sacrifice, contained in the Våga
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praise ? ') is Agni: he thereby wins Agni. For the Ukthas? he seizes one for Indra and Agni; for the hymns (uktha) relate to Indra and Agni : the hymns he thereby wins. For the Shodasin he seizes one for Indra ; for the Shodasin is Indra : the Shodasin (Indra) he thereby wins.
2. For the seventeenth (or seventeenfold) stotra * he seizes one for Sarasvati: thereby, while there is no over-night performance ", it is yet made like the night (performance); for he who offers the Vaga
peya, with the view of enumerating the victims to be slaughtered at its performance; viz. the Agnishtoma with twelve chants and one victim ; the Ukthya with fifteen stotras and two victims; and the Shoda sin with sixteen chants and three victims. For further particulars, see part ii, p. 397, note 2.
The Agnishtoma-saman, the last (twelfth) and distinctive stotra of the Agnishtoma sacrifice, is in praise of Agni (see part ii, p. 368, note 2). At the Vagapeya the ordinary (yagñayagñîya) hymn is not chanted, but S.V. II, 973-4, sung to the Vâravantiya tune (Calc. ed., vol. v, p. 144), takes its place. Pañk. Br. 18, 6, 16.
The three Uktha stotras (chants) and sastras (recitations) constitute the distinctive element of the Ukthya sacrifice; as the Shodasi-stotra and sastra (part ii, p. 401, note 3; p. 402, note 1) constitute that of the Shodasin sacrifice.
3 On the important place assigned to these two deities in the traditional arrangement of the Rigveda-samhita, see the introduction to part i, p. xvi.
• That is the Vågapeya-saman, see note 1, p. II.
• The author here alludes to another form of Soma-sacrifice, not contained in the Vâgapeya, viz. the Atirâtra, which is obtained by following up the Shodasin (with its sixteen chants) with the so-called râtri-paryâyâh, or night-rounds, consisting of three rounds of four chants each, or together twelve chants. These are succeeded, at day-break, by the Sandhi-stotra (or twilight chants), consisting of three chants. Although this night performance does not take place on the present occasion—the Vågapeya-saman taking its place-the author claims for this form of sacrifice also the moral benefits which would accrue to the sacrificer from the Atirâtra, for the reason that the same victim (a he-goat for Sarasvati) is offered on both occasions.
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V KÂNDA, I ADHYAYA, 3 BRÂHMANA, 4.
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peya wins Pragapati, and Pragapati is the year : by that (victim) for Sarasvati he now wins the night : hence, while there is no night performance, it is made like the night.
3. Thereupon he seizes a spotted sterile cow for the Victorious Maruts; for the spotted sterile cow is this (earth) : whatever food, rooted and rootless, is here established on her, thereby she is a spotted cow. Now, he who offers the Vâgapeya wins food, for våga-peya' doubtless means the same as anna-peya (food and drink); and the Maruts are the peasants, and the peasants are food (for the noble). To the Victorious (Maruts)!' he says, even for the sake of victory. It is difficult to obtain an invitatory and offering prayer containing the word ' victorious :' if he should be unable to obtain such as contain the word 'victorious,' any other two verses to the Maruts will do. Difficult to obtain also is a spotted sterile cow: if he cannot obtain a spotted sterile cow, any other sterile cow will do.
4. The course of procedure thereof (is as follows). When the Hotri recites after the Mahendra libation, then let them proceed with (the offering of) her omentum, for that, the Mâhendra , is Indra's special (nishkevalya) libation; and his also are the Nishkevalya-stotra and Nishkevalya-sastra. Now the sacrificer is Indra : thus he thereby puts strength into the sacrificer in the very middle (of the sacri
1 In Taitt. Br. I, 3, 2, 3, on the other hand, vâgapeya (which doubtless means 'drink of strength ') is explained first by vâgâpya,
that through which the gods wished to obtain (aipsan) strength (vâ gram),' and then by drink of strength,' i.e. Soma 'by drinking (pitvá) which one becomes strong (vâgin).
* For this libation, and the accompanying Nishkevalya-sastra, at the midday Soma-feast, see part ii, pp. 338, 339, note 2.
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SATAPATHA-BRAHMANA.
fice): that is why they should proceed with her omentum at that particular time.
5. They cook the portions ? in two lots. Of the one lot thereof, after making an 'under-layer' of ghee (clarified butter) in the guhů spoon, he makes two cuttings from each (portion), bastes them once, and replenishes with ghee (the empty places of) the cuttings. Thereupon he makes one cutting from each into the upabhrit spoon, bastes them twice, but does not replenish (the places of) the cuttings. Now, when of the one lot (of portions) he makes two cuttings from each, thereby that (sterile cow) becomes whole; and when he proceeds with those (portions), thereby he wins the divine race. He then presents the (other) half to the human kind : and thereby he wins the human kind (people, vis).
6. But let him not do it in this wise ; for verily he who departs from the path of the sacrifice, stumbles; and he who does it in this wise certainly departs from the path of the sacrifice. Hence when they proceed with the omenta of the other victims, only then let them proceed with the omentum of that (cow). They cook the portions in one lot, and do not present any to the human kind.
7. He then seizes seventeen victims for Pragapati. They are all hornless, all dark-grey”, all (uncastrated) males; for he who offers the Vågapeya, wins Pragâ pati; but Pragâ pati is food, and the victim (cattle) is food : he thus wins Pragâ pati. And Pragàpati is Soma, and the victim is the visible
? For particulars regarding the meat portions, see part ii, p. 204 seq.
3 Or, black and white (sukla-krishna-varna), as 'syâma' is explained by Sâyana.
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V KÂNDA, I ADHYAYA, 3 BRÂHMANA, 12.
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Soma : he thus wins the visible Pragâpati. There are seventeen (victims), because Pragâpati is seventeenfold: he thus wins Pragâpati.
8. Now, they are all hornless ;-for man is nearest to Pragapati, and he is hornless, unhorned; and Pragâpati also is hornless, unhorned; and these (victims) belong to Pragâ pati : therefore they are all hornless.
9. They are all dark-grey. Now, the dark-grey has two forms, the light hair and the black; and a couple means a productive pair, and Pragâ pati (the lord of generation) represents productiveness, and those (victims) belong to Pragâpati : therefore they are all dark-grey.
10. They are all males ;--for the male means productiveness, and Pragâpati represents productiveness : hence they are all males. Difficult to obtain are victims with these perfections : if he cannot obtain them (all) with these perfections, even some with these perfections will do ; for verily Pragâpati is everything here.
11. Now, some seize the last (victim) for Vâk (Speech), thinking, 'If there be anything beyond Pragâ pati, that is Speech : we thus win Speech.' But let him not do it in this wise; for Pragâpati is everything here,—these worlds and everything there is ;-whatever speech speaks in these worlds, that speech he wins: therefore he need not heed this.
12. The course of procedure regarding these (victims is as follows). When the Maitrâvaruna recites after the Vámadevya`, let them then proceed
1 The Vâmadevya-s âman (Samav. II, 32-34) is the second Prishtha-stotra, after the chanting of which, at the midday feast,
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with their omenta ; for the Vâmadevya means productiveness, and Pragâ pati means productiveness, and these (victims) belong to Pragâ pati : therefore let them proceed with their omenta at that time.
13. And (when) the after-offerings have been performed, and the spoons have not yet been shifted (separated)", then they proceed with the (chief) oblations of those (victims). That (point in the performance) is the end, and Pragâpati is the end : thus he wins Pragâpati at the very end. But were he to proceed therewith sooner, it would be just as if a man had already gone the way he still intends to go,--and where would he be after that? ?-there
the first assistant of the Hotri, the Maitrâvaruna, has to recite his (the second) Nishkevalya-sastra; see part ii, p. 325, note 2; p. 339, note 2.-As regards the Hotri's Prishtha-stotra, the Rathantarasâman (S. V. II, 30, 31) is used for it; while the Abhivarta tune (S. V. ed. Bibl. Ind. III, p. 93) is employed in the chanting of the Brahma-saman (S. V. II, 35, 36; see part ii, p. 434, note 1) instead of the ordinary Naudhasa tune. Park. Br. 18, 6, 11-14.
On this ceremony with which the concluding rites of the ishti commence, see I, 8, 3, 1 seq.
. Or possibly, what would then become of him? The author's reasoning seems to be that, if the sacrificer were to offer any of the chief oblations at an earlier point in the performance, he would thereby anticipate the results he wants to obtain from the whole performance,-or, so to speak, he would then already reach the goal for the attainment of which the subsequent oblations are likewise intended. For the same reason the offering of the omentum of the sterile cow, previously to and independently of the omenta of the other victims, was discountenanced in paragraph 6. Our present passage is interpreted rather differently by Professor Delbrück in his Altindische Syntax, p. 550 :—Wenn er vorher damit vorginge, so wäre das so, als ob er, nach Betretung des Pfades, den er zu betreten beabsichtigt, wo? wäre (d. h. in's Unglück geriethe): "Were he to proceed therewith sooner, it would be just as if, after entering on the path he intends to enter upon, he would be where? (i.e. would get into trouble).'
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V KANDA, I ADHYÂYA, 4 BRAHMANA, 2. 17
fore they proceed with their (chief) oblations at that time.
14. But let him not do it in this wise; for he who departs from the path of the sacrifice stumbles; and he who does it in this wise certainly departs from the path of the sacrifice. Hence whenever they proceed with the omenta of the other victims, let them at the same time proceed with the omenta of these; and whenever they proceed with the (chief) oblations of the other victims, let them at the same time proceed with the oblations of these. There is but one invitatory prayer, and one offering prayer; for (these offerings) belong to one deity. He says (to the Maitrâvaruna), 'To Pragâpati'—saying this (name) in a low voice-' recite the invitatory prayer for the offering of the bucks!'-' To Pragâpati'— saying this in a low voice—' urge the ready-standing offering of the bucks!' and as the Vashat is uttered, he makes the offering.
FOURTH BRAHMANA.
1. At the midday Soma-feast he consecrates (the Sacrificer) by sprinkling; and at the midday Somafeast they run a race; for, verily, Pragâpati is that sacrifice which is here performed, and from which these creatures have been produced,—and indeed, they are even now produced after this one thus he thereby wins Pragâpati in the very centre (of the sacrifice).
2. The Mâhendra cup being not yet drawn,-for
In the original, 'pragâpatih' is the predicate, not the subject, of the sentence; but considerations of construction seem to render the change desirable in English.
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that, the Mahendra, is Indra's special (nishkevalya) cup, and so also are his that Nishkevalya-stotra and Nishkevalya-sastra; and the Sacrificer is Indra : thus he consecrates him at his own dwelling-place. Hence, the Mahendra cup being not yet drawn,
3. He takes down the chariot", with (Vág. S. IX, 5), 'Thou art Indra's thunderbolt;' for the chariot is indeed a thunderbolt, and the sacrificer is Indra : therefore he says, “Thou art Indra's thunderbolt;' — 'a winner of wealth,' for the chariot is indeed a winner of wealth ;-May this one win wealth by thee!'—wealth means food : 'may this one gain food by thee,' is what he thereby says.
4. That chariot, seized by the pole, he turns (from left to right) so as to make it stand inside the vedi?, with, 'In the winning of wealth, the great Mother'— wealth means food; 'in the winning of food, the great Mother!—is what he thereby says ;-'Aditi by name, we praise with speech;' now Aditi is this earth : therefore he says,
Aditi by name, we praise with speech,'-'whereon all this being hath settled ;' for indeed thereon all being here is settled ;—'thereon may the divine Savitri prosper our stay!' whereby he means to say, 'thereon may the divine Savitri prosper our Sacrificer!'
5. He then sprinkles the horses with water, either when being led down to be watered, or when brought
1 The Adhvaryu takes it down from the vâhana, or car-stand.
It is to be placed in the north-eastern part of the vedi, so as to be ready to start on the race northwards along the space between the kätvåla (or pit) and the utkara (heap of rubbish); the horses thus being close to where the Brahman will have to mount a cartwheel put up on the utkara (V, 1, 5, 2).
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V KÂNDA, I ADHYAYA, 4 BRAHMANA, 8. 19
up after being watered. Now in the beginning the horse was produced from the water; while being produced from the water, it was produced incomplete, for it was indeed produced incomplete: hence it does not stand on all its feet, but it stands lifting one foot on each side. Thus what then was left behind of it in the water, therewith he now completes it, and makes it whole; therefore he sprinkles the horses with water, either when being led down to be watered, or when brought up after being watered.
6. He sprinkles them, with (Vâg. S. IX, 6), 'Within the waters is ambrosia, in the waters is medicine: at the praises of the waters may ye wax strong, ye horses!' And with this also, 'O divine waters, what rushing, high-peaked, wealth-winning wave ye have, therewith may this one win wealth!' wealth is food: he thus says, 'May he thereby gain food!'
7. He then yokes (the team of) the chariot. The right horse he yokes (puts to) first; for in human (practice) they indeed put to the left horse first, but with the gods in this way.
8. He yokes it, with (Vâg. S. IX, 7), 'Either the wind, or thought-' for there is nothing swifter than the wind, and nothing swifter than thought: therefore he says, 'Either the wind, or thought;' '(or) the seven and twenty Gandharvas',
1 Professor Weber (in his essay on the Nakshatras, II, 278; Abhandl. of Berlin Academy, 1861) takes this passage (=Taitt. S. I, 7, 7, 2; Kâthaka 13, 14; Maitr. S. I, 11, 1) to contain the first allusion to the system of Nakshatras, or lunar mansions marking the daily stations occupied by the moon (masc.) during his circuit round the heavens. In the ritual of the Black Yagus (Taitt. S.
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they yoked the horse at first;' for the Gandharvas indeed yoked the horse at first: 'May they who yoked the horse at first yoke thee!' this he thereby says; they laid speed into him,'-he thereby says, 'May they who laid speed into it, lay speed into thee!'
9. He then yokes the left horse, with (Vâg. S. IX, 8), 'Become thou swift as the wind, O courser, being yoked!'-thereby he says, 'Become quick as the wind, O courser, being yoked;'-'be thou as Indra's right (steed) in beauty!'—he thereby says, 'Even as Indra's right (steed) for beauty, so be thou that of the sacrificer for beauty!'-'May the allknowing Maruts yoke thee!' he thereby says,
6
may gods yoke thee!'-' May Tvashtri lay speed into thy feet!' in this there is nothing obscure. He then yokes the right side-horse; for in human (practice) they indeed yoke the left sidehorse first, but with the gods in this way.
10. He yokes it, with (Vâg. S. IX, 9), 'What speed hath been secretly laid into thee, O courser, and what (speed), bestowed on the eagle, went along in the wind;'-he thereby says, 'what speed of thine, O courser, is hidden away even elsewhere, therewith win this our sacrifice, Pragâpati!'-'with that strength be thou strong and wealth-winning for us, O courser, and victorious at the gathering!'-wealth means food: he thus means to say, 'And be thou a food-winner for us at this our
I, 7, 7, 2) this formula runs thus: 'Either Vâyu, or Manu, or the Gandharvas, the twenty-seven, harnessed the horse at first, laid speed into him,'-which Sâyana, however, interprets as meaning, 'Vâyu, and Manu, and the (twenty-five) Gandharvas,--these seven and twenty &c.'
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V KÂNDA, I ADHYÂYA, 4 BRÂHMANA, 14.
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sacrifice, at the gathering of the gods win thou this sacrifice, Pragàpati !'
11. Now only those three (horses) are yoked, for what is threefold belongs to the gods, and this (sacrifice is) with the gods. Alongside the yoke (laid) on the side-horse' goes a fourth (horse), for that one is human. When he is about to give that (chariot to the Adhvaryu), he gives it after yoking the fourth (horse) thereto. Hence also at any other sacrifice only those three (horses) are yoked; for what is threefold belongs to the gods, and this (sacrifice is) with the gods. Alongside the yoke of the side-horse goes a fourth (horse), for that one is human. When he is about to give that (chariot) away, he gives it after yoking the fourth (horse) thereto.
12. He now takes out material for a wild-rice pap of seventeen plates for Brihaspati; for he who offers the Vâgapeya wins food,—vâga-peya being doubtless the same as anna-peya (food and drink) : thus whatever food he has thereby won, that he now prepares for him.
13. And as to why it belongs to Brihaspati :Brihaspati won it in the beginning, therefore it belongs to Brihaspati.
14. And why it is prepared of wild rice :-Brihaspati is the Brahman (priesthood), and those wild-rice grains are cooked with the Brahman (prayer),-therefore it is of wild rice. It is one of seventeen plates,
? Or, of the leader, as would appear from Sâyana to Taitt. S. 1,7,8 (p. 1024),- Between the right-hand and the left-hand horse he allows the shafts to project, and between them he puts the horse called “sapti" (in the text).' No fourth horse is, however, apparently mentioned in the ritual of the Black Yagus.
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because Pragậpati is seventeenfold: he thus wins Pragâpati.
15. He makes the horses smell it, with Ye coursers-;' for horses are coursers (vâgin) : therefore he says, 'Ye coursers,'—'wealth-winners,'— wealth is food : 'food-winners' he thereby says ;'starting upon the course;' for they are about to run a race ;—'smell ye Brihaspati's portion!' for this indeed is Brihaspati's portion : therefore he says, 'smell ye Brihaspati's portion!' And why he makes the horses smell it: he thinks, 'may I win Him 1!' therefore he makes the horses smell it.
FIFTH BRÂHMANA. 1. Now when they run a race, he thereby wins this same (terrestrial) world. And when the Brahman sings a Sâman on the cart-wheel set up on (a post) reaching to his navel, he thereby wins the air-world. And when he erects the sacrificial post, he thereby wins the world of the gods. Hence that threefold performance.
2. The Brahman mounts a cart-wheel, set up on (a post) as high as his navel”, with (Våg. S. IX, 10),
That is, Brihaspati; unless' lokam' has to be supplied to imam' (this world'), as might appear probable from the next paragraph. See also V. I, 5, 27-28.
* According to the Taittirîya ritualists, as quoted by Sâyana (Taitt. S. I, 7, 8), the wheel after being mounted by the Brahman is to be turned round thrice in a sunwise motion ;-the (pointed) end of the post being apparently inserted in the navel of the wheel, lying horizontally upon it. The turning wheel is there compared with the Vagra, or disk-shaped thunderbolt. While the wheel is turning round its axle, the Brahman sings the Sâman. Cf. also Lâty. Sr. V, 12, 9 seq., according to which authority, however, the Brahman
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"At the impulse (sava) of the god Savitri, of true impulsion, may I ascend unto the highest heaven of Brihaspati!' thus, if a Brâhmana sacrifices; for Brihaspati is the Brahman (priesthood, or sanctity), and the Brâhmana is the Brahman.
3. And if a Råganya sacrifices, (he does so) with, At the impulse of the divine Savitri, of true impulsion, may I ascend unto the highest heaven of Indra!' for Indra is the Kshatra (nobility, or power), and the Râganya is the Kshatra.
4. Thrice he sings the Saman'. Having thrice sung it, he descends with, 'At the impulse of the divine Savitri, of true impulsion, I have as. cended unto the highest heaven of Brihaspati!'
-thus, if a Brahmana sacrifices, for Brihaspati is the Brahman, and the Brâhmana is the Brahman.
5. And if a Râganya sacrifices, -with, 'At the impulse of the divine Savitri, of true impulsion, I have ascended unto the highest heaven of Indra !' for Indra is the Kshatra, and the Râganya is the Kshatra.
6. They put up seventeen drums along the edge of the altar, from the Âgnidhra backwards (towards
would seem only to put his arms on the wheel, and turn it round, while singing.
1 Viz. the 'vaginâm sâman' (Tândy. Br. 18, 7, 12), Såmav. I, 435, 'âvir maryâ â vågam vagino agman,' &c. 'The fiery steeds have gathered fiery mettle, the impulse of the god Savitri; win ye the heaven, O coursers l' Láty. Sr. V, 12, 14. This singing of the Sâman takes place while the race lasts, the Brahman remaining all the time on the cart-wheel put up on a short post on (or near) the utkara, or heap of rubbish.—The author then anticipates in this and the next two paragraphs what the Brahman is to do when he descends from the wheel after the race is over. The placing of the drums next referred to must also be imagined as taking place whilst the Brahman is mounting the wheel.
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the west); for he who offers the Vâgapeya wins Pragâpati; but Pragâ pati is speech, and that doubtless is the supreme speech which is (the outcome) of seventeen drums: he thus wins the supreme speech, the supreme Pragâpati. Seventeen there are, because Pragâpati is seventeenfold: he thus wins Pragâpati.
7. One of these drums he (the Brahman) beats (while praying) with a sacrificial formula: thereby all of them become beaten with a sacrificial formula.
8. He beats it with (Våg. S. IX, 11), “O Brihaspati, win the race! lift ye up your voice unto Brihaspati: make ye Brihaspati win the race!'thus, if a Brâhmana sacrifices; for Brihaspati is the Brahman, and the Brâhmana is the Brahman.
9. And if a Râganya sacrifices, (he does so) with, O Indra, win the racel lift ye up your voice unto Indra: make ye Indra win the race!' for Indra is the Kshatra, and the Râganya is the Kshatra.
10. And when those race-running chariots' have come up again, he takes down one of those drums with a sacrificial formula ; whereby they all become taken down with a formula.
11. He takes it down, with (Vâg. S. IX, 12), 'This hath been your true concord whereby ye (drums) have caused Brihaspati to win the race ;-Brihaspati ye have caused to win the race: be released, ye wood-lords!' thus, if a Brahmana
Besides the Sacrificer's chariot inside the vedi, sixteen others, each drawn by four horses, have been got ready, outside the vedi, for the race to the udumbara branch, as its goal and turning-point. In paragraphs 10-12 the author again anticipates what is to be done with the drums after the race has taken place, just in order to deal with that item of the ceremonial as a whole.
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V KANDA, I ADHYAYA, 5 BRAHMANA, 15. 25
sacrifices; for Brihaspati is the Brahman, and the Brahmana is the Brahman.
12. And if a Râganya sacrifices, with, 'This hath been your true concord whereby ye have caused Indra to win the race;-Indra ye have caused to win the race: be released, ye woodlords!' for Indra is the Kshatra, and the Râganya is the Kshatra.
13. A Raganya then shoots seventeen arrow's ranges northwards from the edge of the altar; for as much as is one arrow's range, so much is Pragâpati crosswise; and as much as are seventeen arrow's ranges, so much is Pragâpati lengthwise.
14. And as to why a Râganya shoots,-he, the Raganya is most manifestly of Pragâpati (the lord of creatures) hence, while being one, he rules over many; and because 'pragâpati' has four syllables, and 'raganya 2' also has four syllables, therefore a Raganya shoots. He shoots seventeen arrow's ranges, because Pragâpati is seventeenfold: he thereby wins Pragâpati.
15. And whichever (horse) he yokes with a formula, up to that the Sacrificer now steps, with (Vâg. S. IX, 13), 'At the impulse of the divine Savitri,
1 That is, after (or at the same time when) the drums are put up. He is to shoot northwards through the space between the utkara and kâtvâla. At the end of the seventeenth arrow's range he plants an udumbara branch in the ground to serve as the goal round which the chariots are to turn sunwise on their way back to the sacrificial ground.
Pronounce 'râ-ga-ní-a.'
In the Taittirîya ritual (Taitt. S. I, 7, 7, 2; Taitt. Br. I, 3, 5, 4) the Sacrificer steps up to the chariot with the three Vishnustrides, with appropriate formulas.
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of true impulsion, may I win the race of the race-winning Brihaspati!'
16. And even as then Brihaspati hasted up to Savitri for his impulsion,-Savitri being the impeller among the gods-saying, 'Impel this for me : impelled by thee, may I win this !' and Savitri, as the impeller, impelled it for him, and impelled by Savitri, he won; in like manner does he thereby haste up to Savitri for his impulsion,--Savitri being the impeller among the gods,-saying, “Impel this for me : impelled by thee, may I win!' and Savitri, as the impeller, impels it for him, and impelled by Savitri he wins.
17. And if a pupil of the Adhvaryu's or some (other) theological student were to know that prayer, stepping up he makes (the Sacrificer) say, 'O coursers!'—for horses are indeed coursers: therefore he says, 'O coursers '-'wealth-winners!' for wealth is food : ‘food-winners' he thereby says ;'keeping the roads,' for they indeed run keeping (within) the roads ;-'measuring the stages;' for measuring the stages they run over the course ;'go ye to the winning-post!' In order that the evil-doers, the Rakshas, may not hurt them midways, he thus says this. They run the race, they beat the drums, and he (the Brahman) sings the Sâman.
18. He (the Adhvaryu) then either offers or addresses (the horses) with those two gagati-verses : whether he offers, or whether he addresses (the
That is, he does so whilst the cars are running; the offering or prayers being intended to make the Sacrificer's car win the race.
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V KÂNDA, I ADHYÂYA, 5 BRÂHMANA, 24. 27 horses), the significance (of the performance) is the
same.
19. He offers, with (Vâg. S. IX, 14; Rik S. IV, 40, 4), 'That courser speedeth after the whip, fettered at the neck and shoulder and mouth: may Dadhikrâ win according to his power; may he run along the windings of the roads, hail!'
20. [Vâg. S. IX, 15; Rik S. IV, 40, 3], ' And of him, the running, speeding, there fanneth like the wing of the eager bird,- -as of the gliding eagle, about the breast of Dadhikrâvan passing along with might, hail!'
21. He then either offers or addresses (the horses) with the following tristich: this is twofold, because he either offers or addresses. Whether he offers, or addresses (the horses), the significance is the same: he thereby speeds those running horses, imbues them with energy. There are here three earths, namely this one, and two beyond it: these he thereby wins.
22. He addresses (the horses, with Vâg. S. IX, 16; Rik S. VII, 38, 7), 'Auspicious be the coursers unto us at the invocations in the divine service, running their measured course, with beautiful song; swallowing the dragon, the wolf, the evil spirits: may they ever keep away from us affliction!'
23. [Vâg. S. IX, 17; Rik S. X, 64, 6], 'Those racers, wont to hear the calls, may they all hear our call, the coursers running their measured course: they, the winners of thousands, eager to win at the winning of oblations, who have carried off great gain in the contests.'
24. [Vâg. S. IX, 18; Rik S. VII, 38, 8], 'In
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every race, help us, ye racers, at the prizes, ye wise, immortal knowers of the divine law: drink of this mead, be gladdened, and satisfied walk ye on the paths trodden by the gods!'
25. He then steps over against the horses) with the Bârhaspatya pap, and touches it; for he who offers the Vågapeya wins food, since 'våga-peya' is the same as 'anna-peya :' whatever food he has thus gained that he now, having reached that goal, brings in contact with himself, puts within himself.
26. He touches it, with (Vág. S. IX, 19), “May gain of wealth come to me!' wealth means food : he thus says, 'May gain of food come (accrue) to me;'
—May these two, Heaven and Earth, the allshaped, come to me!' for Pragâpati is Heaven and Earth ;—May father and mother come to me!' for Pragâ pati is both father and mother ;-'May Soma come to me with immortality!' for Pragapati is Soma.
27. He makes the horses smell it, with, “Ye coursers!' for horses are coursers : therefore he says, 'Ye coursers !'-'wealth-winners!' wealth is food : 'food-winners' he thereby says ;—'having run the course -' for 'starting (upon the course) he said before, as then they were indeed starting; but now he says, “having run,' for they indeed have run (the race): therefore he says, 'having run;''smell ye Brihaspati's portion—' for this is Brihaspati's portion : therefore he says, 'Smell ye Brihaspati's portion;'-'taking (it) in!'' whereby he imbues the Sacrificer with energy. And as to why
? That is, after the cars have come back, that of the Sacrificer keeping ahead of the others.
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V KÂNDA, 2 ADHYAYA, 1 BRÂHMANA,
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he makes the horses smell, he made them smell before, thinking, “May I win this (world);' and now (he does so) thinking, 'I have won this (world) :' that is why he makes the horses smell.
28. Now on one of those race-running (rival) chariots there has been standing either a Vaisya, or a Râganya ; he now sits down on the northern hip of the altar. Thereupon the Adhvaryu and Sacrificer, taking the honey-cup, step out by the front door (of the cart-shed), and place it in the Vaisya's, or Raganya's, hand. And the Neshtri, taking the cups of Surâ, steps out by the back door. He walks round by the back of the hall, and placing one of the cups) in the Vaisya's, or Râganya's, hand, he says, 'With this I buy Him of thee!' For the Soma is truth, prosperity, light; and the Sura is untruth, misery, darkness : he thus imbues the Sacrificer with truth, prosperity, and light; and smites the Vaisya with untruth, misery, and darkness ;-whatever benefit (or enjoyment) he desires, he obtains for himself by those (cups of Sura). But that cup of honey he presents to the Brahman, together with the golden vessel. In presenting it to the Brahman, he imbues himself with immortal life; for gold is immortal life ;-and whatsoever benefit he desires that he thereby obtains for himself.
SECOND ADHYÂYA. First BRÂHMANA. 1. Thereupon, taking the dipping-spoon (sruva) and the pot for melting butter, he goes to the Ahavaniya fire. He either offers those twelve âptis?, or makes (the Sacrificer) pronounce (the
· The term âpti, literally obtainment, gain,' is technically used
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formulas). Whether he offers, or makes him pronounce (the formulas), the significance is the same.
2. He offers, with (Våg. S. IX, 20), “To the ally, hail!—To the good ally, hail!—To the afterborn, hail!-To the purpose, hail!—To the Vasu, hail!-To the Lord of day, hail!—To the failing day, hail!—To the failing one, sprung from the evanescent, hail!—To the evanescent one, sprung from the terminal, hail!-To the terminal descendant of being, hail!—To the Lord of being, hail!—To the over-lord, hail!' These twelve âptis (obtainments) he offers, because there are twelve months in the year, and Pragàpati is the year, and the sacrifice is Pragâpati: hence whatever obtainment, whatever accomplishment there is for him, that he thereby wins, that he makes his own.
3. He then either offers six kliptis, or makes (the Sacrificer) pronounce them. Whether he offers, or makes him pronounce them, the significance is the same.
4. He makes him pronounce (Vág. S. IX, 21), "May the life prosper through sacrifice! May the breath prosper through sacrifice! May the eye prosper through sacrifice !-May the ear prosper through sacrifice !-May the back prosper through sacrifice!—May the sa
for the twelve formulas, given in the next paragraph, as well as for the oblations made therewith. The first of these formulas is 'âpaye svâha,' whence the above term is probably derived.
· Or perhaps, there is of (belongs to) that (sacrifice).'
* This term, literally 'success, accomplishment,' is technically used to denote the succeeding formulas containing the verb 'klip,' to succeed, prosper, as well as the oblations made therewith.
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crifice prosper through sacrifice!' These six kliptis he makes him pronounce, because there are six seasons in the year, and Pragâpati is the year, and the sacrifice is Pragâpati : thus whatever success, whatever accomplishment there is for him, that he thereby wins, that he makes his own.
5. The sacrificial post is eight-cornered; for the Gâyatri metre has eight syllables, and the Gâyatri is Agni's metre: he thereby wins the world of the gods. The post is either wrapt up, or bound up, in seventeen cloths; for Pragâpati is seventeenfold : he thus wins Pragàpati.
6. There is a wheaten head-piece 1 on it; for man is nearest to Pragâpati, and he is skinless 2. And among plants wheat comes nearest to man, (for) it has no skin : thus he thereby wins the world of men.
7. The post has a hollow (at the top), and is not pointed at the end; for the hollow is sacred to the Fathers; he thus gains the world of the Fathers. It is seventeen cubits long, for Pragâpati is seventeenfold: he thus wins Pragâpati.
8. Thereupon the Neshtri, being about to lead up the (Sacrificer's) wife, makes her wrap round herself, over the garment of consecration, a cloth, or skirt, made of Kusa grass 3; for she, the wife, is the hind
* For the ordinary mortar-shaped top-piece fixed on the post, see part ii, p. 168, note 1. On the present occasion it is to be made of wheaten dough.
? According to a legend given at III, 1, 2, 13 seq., man had originally a (hairy) skin, or hide; but the gods having flayed him, put his skin on the cow.
* In the ceremonial of the Black Yagus (Taitt. Br. I, 3, 7, 1) the Sacrificer himself has to put on a 'târpya' garment, for which see note on V, 2, 5, 20.
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part of the sacrifice?; and he wishes her, thus coming forward, to propitiate the sacrifice. But impure is that part of woman which is below the navel, and pure are the plants of (Kusa) grass : thus having, by means of those plants of (Kusa) grass, made pure whatever part of her is impure, he causes her to propitiate the sacrifice, while coming forward. This is why the Neshtri, being about to lead up the wife, makes her wrap round herself, over the garment of consecration, a cloth, or skirt, made of Kusa grass.
9. He then leans a ladder (against the post). He may ascend either from the south northwards, or from the north southwards; but let him rather ascend from the south northwards (udak), for thus it goes upwards (udak).
10. Being about to ascend, he (the Sacrificer) addresses his wife, 'Come, wife, ascend we the sky!'-'Ascend we!' says the wife. Now as to why he addresses his wife: she, the wife, in sooth is one half of his own self; hence, as long as he does not obtain her, so long he is not regenerated, for so long he is incomplete. But as soon as he obtains her he is regenerated, for then he is complete.
Complete I want to go to that supreme goal,' thus (he thinks) and therefore he addresses his wife.
11. He ascends, with, 'We have become Pragapati's children;' for he who offers the Vâgapeya indeed becomes Pragâpati's child.
12. He then touches the wheat (top-piece) ?, with, 1 Viz. because her ordinary seat is at the back, or west, end of the altar.
. According to the ritual of the Black Yagus (Sây, on Taitt. S. I, 7, 9, vol. I, p. 1039), the Sacrificer, having ascended, lifts up his
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We have gone to the light, O ye gods!' for he who offers the Vâgapeya, indeed goes to the light
13. And as to why he touches the wheat: wheat is food, and he who offers the Vâgapeya, wins food, for våga-peya is the same as anna-peya (food and drink): thus whatever food he has thereby won, therewith now that he has gone to that supreme goal, he puts himself in contact, and possesses himself of it,therefore he touches the wheat (top-piece).
14. He then rises by (the measure of) his head over the post, with, 'We have become immortal!' whereby he wins the world of the gods.
15. Thereupon, while looking in the different directions, he mutters (Våg. S. IX, 22), 'Ours be your power, ours your manhood and intelligence, ours be your energies!' For he who offers the Vâgapeya wins everything here, winning as he does Pragâpati, and Pragâpati being everything here;having appropriated to himself the glory, the power, and the strength of this All, he now lays them within himself, makes them his own : that is why he mutters, while looking in the different directions.
16. They throw up to him bags of salt; for salt means cattle, and cattle is food; and he who offers the Vagậpeya wins food, for våga-peya is the same as anna-peya: thus whatever food he thereby has gained, therewith now that he has gone to the supreme goal, he puts himself in contact, and makes it his own,-therefore they throw bags of salt up to him.
17. They (the pieces of salt) are done up in asvattha
arms to heaven, praying, 'We have gone to the light, to the gods, we have become immortal; we have become Pra gâpati's children!'
[41]
D
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(ficus religiosa) leaves : because Indra on that (former) occasion called upon the Maruts staying on the Asvattha tree, therefore they are done up in asvattha leaves. Peasants (vis) throw them up to him, for the Maruts are the peasants, and the peasants are food (for the nobleman): hence peasants throw them up. There are seventeen (bags), for Pragå pati is seventeenfold: he thus wins Praga pati.
18. Thereupon, while looking down upon this (earth), he mutters, 'Homage be to the mother Earth! homage be to the mother Earth!' For when Brihaspati had been consecrated, the Earth was afraid of him, thinking, 'Something great surely has he become now that he has been consecrated : I fear lest he may rend me asunder?!' And Brihaspati also was afraid of the Earth, thinking, 'I fear lest she may shake me off!' Hence by that (formula) he entered into a friendly relation with her; for a mother does not hurt her son, nor does a son hurt his mother.
19. Now the Brihaspati Soma-feasts is the same as the Vagapeya ; and the earth in truth is afraid of that (Sacrificer), thinking, Something great
See part ii, p. 334, with note 2. On the asvattha devasadana' cp. also Ath.-veda V, 4, 3; Rig-veda I, 164, 20–22; A. Kuhn, Herabkunft des Feuers und des Göttertranks, p. 126 seq. (Mythol. Stud. i. p. 112 seq.).
Or, 'I hope he will not rend me asunder. For this construction-exactly corresponding to the German 'dass (or, wenn) er mich nur nicht aufreisst l' (cf. also the colloquial use of the French 'pourvu,'—'pourvu qu'il ne me déchire pas l' see part ii, p. 31, note I.
The Brihaspatisava is performed by a Brahmana with a view to obtaining the office of Purohita (royal chaplain, or family priest). For Asvalâyana's rule, which places it on a level with the Râgasûya sacrifice of a king, see p. 4, note 1.
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surely has he become now that he has been consecrated : I fear lest he may rend me asunder!' And he himself is afraid of her, thinking, 'I fear lest she may shake me off !' Hence he thereby enters into a friendly relation with her, for a mother does not hurt her son; neither does a son hurt his mother.
20. He then descends (and treads) upon a piece of gold ;-gold is immortal life: he thus takes his stand on life immortal.
21. Now (in the first place) he (the Adhvaryu) spreads out the skin of a he-goat, and lays a (small) gold plate thereon : upon that-or indeed upon this (earth) itself-he (the Sacrificer) steps.
22. They then bring a throne-seat for him; for truly he who gains a seat in the air ?, gains a seat above (others): thus these subjects of his sit below him who is seated above, this is why they bring him a throne-seat.
23. It is made of udumbara wood,—the Udumbara tree being sustenance, (that is) food,-for his obtainment of sustenance, food: therefore it is made of udumbara wood. They set it down in front of the Havirdhana (cart-shed), behind the Åhavaniya (fire).
24. He then spreads the goat-skin thereon; for truly the he-goat is no other than Pragâ pati, for they, the goats, are most clearly of Pragâpati (the lord of generation or creatures) ;-whence, bringing forth thrice in a year, they produce two or three 2: thus he thereby makes him (the Sacrificer) to be Pragâ pati himself,—this is why he spreads the goat-skin thereon.
The Sacrificer is supposed to have done so by the symbolical act of raising his head above the sacrificial post; see paragraph 14 above. ? See IV, 5, 5, 6; part ii, p. 407, note 3.
D 2
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25. He spreads it, with, 'This is thy kingship'!' whereby he endows him with royal power. He then makes him sit down, with, 'Thou art the ruler, the ruling lord l' whereby he makes him the ruler, ruling over those subjects of his ; Thou art firm, and stedfast!' whereby he makes him firm and stedfast in this world ;—'Thee for the tilling!Thee for peaceful dwelling!-Thee for wealth!
-Thee for thrift!' whereby he means to say, * (here I seat) thee for the welfare (of the people).'
SECOND BRÂHMANA. 1. He now proceeds with the Bârhaspatya pap. Its svishtakrit remains yet unoffered, when he (the Adhvaryu) brings him (the Sacrificer) some food; for he who offers the Vagapeya wins food, vâgapeya being the same as anna-peya: thus whatever food he (the Sacrificer) has thereby gained, that he (the Adhvaryu) now brings to him.
2. In a vessel of udumbara wood—the Udumbara tree being sustenance, (that is) food-for the obtainment of sustenance, food : therefore it is in a vessel of udumbara wood. He first brings water, then milk, then (other) kinds of food, as they occur to him.
3. Now some bring seventeen kinds of food,
1 Thus the formula ‘iyam te rât' is interpreted by Mahîdhara (who, however, takes it to be addressed to the throne-seat, and not, as would seem preferable, to the king), and apparently also by our author. The word 'râg' would indeed seem to mean here something like the energy (sakti), or the symbol, of the king. The St. Petersburg dictionary, however, takes it here as the name of a female deity.
? He collects (sambharati), or provides food for him ; this ceremony corresponding to that of equipping or provisioning the sacred fire with the so-called sambhâras, at the Agny-adhâna; see II, 1, 1, 1 seq.; part i, p. 276, note 1.
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V KANDA, 2 ADHYAYA, 2 BRAHMANA, 4. 37
saying, 'Seventeenfold is Pragâpati.' But let him not do so surely all the food is not appropriated to Pragâpati1, and, compared to him, what is man that he should appropriate to himself all food? Hence, while bringing every kind of food that occurs to him, let him not bring of some one (particular) kind of food.
4. And whatever food he does not bring to him, let him (the Sacrificer) forswear 2 that, and not eat of it as long as he lives: thus he does not go to the end, thus he lives long. Of all that food brought together he offers the (seven) Vâga-prasavaniya3 oblations, cutting out (pieces) with the dipping-spoon. Thus to whatever deities he is now offering, they give an impulse to him, and impelled by them he
'Or 'from Pragâpati;' or perhaps, surely not all Pragâpati's food is appropriated.' The Kânva recension reads thus, VI, 2, 3, 3. He first brings water, then milk, then, as they occur to him (other) kinds of food. 'Let him bring those seventeen kinds of food,' they say, 'for Pragâpati is seventeenfold.' Nevertheless (tadu) let him bring whatever kinds of food he can either think of or obtain. 4. Of this his food that has been brought together, let him set aside (uddharet) one (particular kind of) food: let him forswear that (tad udbruvîta), and not eat of it as long as he lives (yâvag gîvet). By that much also (or, even so long, tâvad api vai prâgapateh sarvam annam anavaruddham) all the food of Pragâpati is not appropriated; and who is man (compared) to him, that he should appropriate to himself all food? Thus he does not go to the end, thus he lives long that (food) is here left over for his offspring (or people).
* Sâyana explains' tasya udbruvîta' by,-one ought to proclaim it, saying aloud 'such and such food has not been brought ;'-na sambhritam ity ukkais tannâma brûyât.
That is, oblations calculated to promote or quicken (pra-su) the strength (food,-vâga) by their prayers, the first three of which begin with 'vâgasya... prasavah.' See p. 2, note 1. In the Black Yagus ritual these oblations are called 'Annahomâh' or 'foodoblations.' Taitt. Br. I, 3, 8, 1. The Sutras seem, however, likewise to use the term 'Vâgaprasavanîya' (or Vâgaprasavîya).
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wins: therefore he offers the Vâgaprasavaniya oblations.
5. He offers with (Vág. S. IX, 23–29), 'The impulse of strength impelled of old that king Soma in the plants, in the waters: may they be rich in honey for us! may we be wakeful in the kingdom, placed in the front, hail!'
6. The impulse of strength spread over this sky, and over all these worlds, as the all-ruler; knowing he causeth him to give gifts who wisheth not to give : may he bestow upon us wealth with the full muster of heroes, hail!'
7. "Yea, the impulse of strength prevailed over all these worlds, on every side; from days of yore the king goeth about knowing, increasing the people, and the well-being amongst us, hail!'
8. “To'king Soma, to Agni we cling for help, to the Adityas, to Vishnu, to Sarya, to the Brahman Brihaspati, hail!'
9. 'Urge thou Aryaman, Brihaspati, Indra to the giving of gifts, Vaks, Vishnu, Sarasvati, and the vigorous Savitri, hail!'
10. 'O Agni, speak to us here, be thou gracious unto us! bestow blessings upon us, O winner of thousands, for thou art the giver of wealth, hail!'
11. 'May Aryaman bestow blessings upon us, and Pashan, and Brihaspati! may the divine Vâk give us gifts, hail!'
12. With the remaining (offering material) he sprinkles him (the Sacrificer); he thereby sprinkles
Rig-veda X, 141, 3 reads,—King Soma, Agni we invoke with our voices, the Adityas, &c.
* Rig-veda X, 141, 5 has Vâta (Wind) instead of Vâk (Speech).
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V KÂNDA, 2 ADHYAYA, 2 BRÂHMANA, 15.
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him with food, bestows food upon him: for this reason he sprinkles him with the remaining (material).
13. He sprinkles with (Vag. S. IX, 30), “At the impulse of the divine Savitri, (I sprinkle) thee, by the arms of the Asvins, by the hands of Pashan!' he thus sprinkles (consecrates) him by the hands of gods ;—'I place thee in the leading of Sarasvatt Vâk, the leader;' for Sarasvati is Vâk (speech): he thus places him in the leading of Vâk, the leader.
14. Here now some say, 'I place thee in the leading of the leader of all the gods;' for all the gods are the All: he thus places him in the leading of the leader of the All. But let him not say so; let him rather say, 'I place thee in the leading of Sarasvati Vak;' for Sarasvati is Vak: he thus places him in the leading of Vak.— I consecrate thee, N. N., with the supreme rulership of Brihaspati !' therewith he mentions the (Sacrificer's) name : he thus makes him attain to the fellowship of Brihaspati, and to co-existence in his world.
15. He then says, ' All-ruler is he, N. N.! Allruler is he, N.N.!' Him, thus indicated, he thereby indicates to the gods : 'Of mighty power is he who has been consecrated; he has become one of yours; protect him!' thus he thereby says. Thrice he says it, for threefold is the sacrifice.
According to the Taittirîyas (Taitt. S., vol. I, p. 1049), the Sacrificer is made to sit on the black antelope skin, with his face to the east, with a small gold and silver plate placed on either side of him; and he is then sprinkled in front, on the head, so that the liquid runs down to his mouth, thus symbolizing the entering of food and strength into him.
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16. He then either offers, or makes him pronounce (the formulas of) the Uggiti oblations?. Whether he offers or makes him pronounce (the formulas), the significance is the same.
17. He makes him say (Vag. S. IX, 31-34), With the (word of) one syllable Agni won the breath: may I win that! -_2 With the (metre of) seventeen syllables Pragâ pati won the seventeenfold stoma: may I win that!' whatever those deities won by means of those (formulas), that he now wins by them. There are seventeen (formulas), for Pragâpati is seventeenfold: he thus wins Praga çati.
18. Thereupon he says, 'Recite (the invitatory formula) to Agni Svishtakrit!' Now, as to why this rite is performed between two oblations. Pragapati, truly, is that sacrifice which is here performed, and from which these creatures have been produced,
-and, indeed, they are even now produced after this one: he thus wins Pragâpati in the very middle: therefore that rite is performed between two oblations. Having made (the Âgnidhra) utter the
1 That is, oblations of victory,' with the formulas used therewith, containing each two forms of the verb ud-gi, 'to conquer.'
? The intervening formulas here understood, and given in the Vâg. Samhita, are to the effect that the Asvins, by two syllables, gained the two-footed men; Vishnu, by three, the three worlds ; Soma, by four, the four-footed cattle; Pashan, by five, the five regions (the four quarters and the upper region); Savitri, by six, the six seasons; the Maruts, by seven, the seven kinds of domestic animals ; Brihaspati, by eight, the Gâyatrî metre; Mitra, by nine, the Trivrit stoma (hymn-tune); Varuna, by ten, the Virag metre; Indra, by eleven, the Trishtubh metre; the All-gods, by twelve, the Gagatî metre; the Vasus, by thirteen, the thirteenfold stoma; the Rudras, by fourteen, the fourteenfold stoma; the Adityas, by fifteen, the fifteenfold stoma; Aditi, by sixteen, the sixteenfold stoma.
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V KÂNDA, 2 ADHYAYA, 2 BRAHMANA, 21. 4I
Sraushat, he says, 'Pronounce the offeringprayer to Agni Svishtakrit!' and offers as the Vashat is uttered.
19. He then puts the Idâ on (the idâpâtri). The Idâ having been invoked1, he, having touched water, draws the Mâhendra cup. Having drawn the Mâhendra cup, he sets the chant agoing. He urges him (the Sacrificer) forward to the chant: he gets down (from the throne-seat); he is in attendance at the Stotra, in attendance at the Sastra.
20. Here now some, having performed that, perform that; but let him not do it thus; for the Stotra is his (the Sacrificer's) own self, and the Sastra is his people (or offering): thereby then he ruins the Sacrificer; he goes astray, he stumbles; hence having performed that, let him perform that :—
21. He puts the Idâ on (the dish). The Idâ having been invoked, he, having touched water, draws the Mâhendra cup. Having drawn the Mâhendra cup, he sets the (Prishtha-) Stotra agoing. He urges him (the Sacrificer) forward to the chant: he gets down (from the throne-seat); he is in attendance at the chant (stotra), in attendance at the recitation (sastra).
1 See I, 8, 1, 18 seq.
* That is, the (first or Hotri's) Prishtha-stotra, for which see above, p. 15, note 1; part ii, p. 339, note 2. Its chanting is followed by the Nishkevalya-sastra, recited by the Hotri.
That is to say, according to Sâyana,-they make the Svishakrit, and the rising of the Sacrificer from the throne-seat, take place after the pronunciation of the 'uggiti' formulas, the drawing of the Mâhendra cup, and the performance of the Stotra and Sastra.
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SATAPATHA-BRÂHMANA.
B. THE RÅGASŪYA, OR INAUGURATION OF
A KING.
SECOND ADHYÂYA. THIRD BRÂHMANA.
1. He offers a full-offering ?; for the full means the All: 'May I be consecrated after encompassing the All !' thus he thinks. At this (offering) he bestows a boon; for a boon means all : ‘Having encompassed the All (the universe), may I be consecrated !' thus he thinks. He may perform this offering, if he chooses; or, if he chooses, he may disregard it.
2. And on the following day he prepares a cake on eight potsherds, as sacrificial food for Anumati 2. And whatever portion of (the grains) being ground, -either flour or rice-grains,-falls down behind the pin, that he throws together into the dipping-spoon
1 On the půrnâhuti, or libation of a spoonful of ghee, see part i, p. 302 note. According to Kâty. Sr. XV, 1, 4 seq., Asv. Sr. IX, 3, 2, and other authorities, this full-offering is preceded by the Pavitra (purificatory ceremony), a Soma-sacrifice with four dikshâs or initiation days (? commencing on the first day of the bright fortnight of Phâlguna), serving as the ordinary opening offering (anvârambhanîyeshi). That it formed part of the ceremonial at the time of the composition of the Brâhmana there can be little doubt (cf. Pankav. Br. 18, 8, 1), but as it is an ordinary Agnishtoma, the author had no reason to refer to it.
. I. e. the approval or favour of the deities, personified.--According to Yâgñika Deva (to Katy. Sr. XV, 1, 8), the ceremonies now beginning would commence on the roth day of the bright half of Phalgunî; the fifth day's ceremony from this day, viz. the first of the four seasonal offerings, having to be performed on the Fullmoon of that month; see p. 47, note i.
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(sruva)? They take a firebrand from the Anvâhâryapakana (or southern) fire, and therewith go southward. And where he finds a self-produced hollow 2 or cleft, -
3. Having there made up a fire, he offers with (Vâg. S. IX, 35),‘This, O Nirriti, is thy portion: accept it graciously, hail!' For Nirriti is this (Earth); whomsoever she seizes upon with evil, him she seizes upon with destruction (nirriti): hence whatever part of this (Earth) is of the Nirriti nature, that he thereby propitiates; and thus Nirriti does not seize upon him, while being consecrated. And the reason why he offers in a self-produced hollow or
1 The authorities of the Black Yagus prepare therewith a cake on one kapala. Taitt. S. I, 8, 1.
* Sâyana, perhaps rightly, takes 'irina' here (and on Taitt. S. vol ii, p. 6) in the sense of Ashara,' a spot of barren (or saline) soil. Cf. VII, 2, 1, 8: 'In whatever part of this (earth) there is produced (of itself) a cleft, or in whatever part of it plants are not produced, verily that part of it Nirriti seizes upon.'-Kausika-sätra XIII, 28 (A. Weber, Omina und Portenta, p. 386) recommends the following propitiatory rites in case of a sudden cleft in the ground:
If in the village, or house, or fire-house, or meeting-place, (the ground) should burst open, four cows are got ready, a white, a black, a red, and a one-coloured one. For twelve days he puts down the butter, milked together from these. In the morning of the twelfth, having made up a fire north of where there was that clest, having swept and sprinkled it, and strewn sacrificial grass around it; and having mixed (the butter) with ghee from the white (cow), and addressed it (the spot) with the three verses, Ath.-veda XII, 1, 19–21 ("Agni is in the earth, in the plants, the waters carry Agni, Agni is in the flints, Agni is within men; in cows, in horses are Agnis," &c.), and touched it, let him then offer. In the same way on the south side; in the same way on the western side. Having concluded on the north side, let him offer with the (formulas addressed) to Vastoshpati (the tutelary genius of the dwelling). Having poured the refuse in the cleft, and completed the oblations, he sprinkles the cleft with lustral water.'
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cleft, is that that much of this (earth) is possessed with Nirriti.
4. They then return (to the sacrificial ground) without looking backward. He now proceeds with the cake on eight potsherds for Anumati. For Anumati is this (Earth); and whosoever knows to do that work which he intends to do, for him indeed she approves (anu-man) thereof: hence it is her he thereby pleases, thinking May I be consecrated, approved by that (genius of) approval !'
5. And as to why it is a (cake) on eight potsherds,—the Gayatri consists of eight syllables, and this earth is Gayatri. And as to why he offers of the same sacrificial food i both (oblations): thereby, indeed, both of it comes to be this latter one (viz. Anumati, or approval). A garment is the sacrificial fee for this (offering): for even as one clad in a garment does not venture into the forest, but having deposited that garment(somewhere) escapes (robbers), in like manner no assault befalls him while being consecrated.
6. And on the following day he prepares a cake on eleven potsherds for Agni and Vishnu, and offers it in the same way as the (regular) ishti: this indeed is just what that approved initiation-offering to Agni and Vishnu is there ? Now Agni is all the deities, since in Agni one offers to all deities; and Agni forsooth is the lower end, and Vishnu is the upper end : “May I be consecrated, after thus encompassing all the deities, and after encompassing
Though he has offered twice (to Nirriti and Anumati), he has only once taken out rice for oblation.
3 Viz. at the ordinary Soma-sacrifice; for the Dikshaniyeshti, see part ii, p. 12.
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V KANDA, 2 ADHYÂYA, 3 BRÂHmana, 8. 45
the whole sacrifice!' thus he thinks, and hence there is a cake on eleven potsherds to Agni and Vishnu. Gold is the sacrificial fee for this (offering); for to Agni belongs this sacrifice, and gold is Agni's seed. As to Vishnu, he is the sacrifice, and Agni forsooth is the sacrifice: nevertheless this is Agni's alone, therefore gold is the fee.
7. And on the following day he prepares a cake on eleven potsherds for Agni and Soma, and offers it in the same way as an (ordinary) ishti, for it was thereby Indra slew Vritra, and thereby he gained that universal conquest which now is his. And in like manner does this (king, the Sacrificer) thereby slay his wicked, hateful enemy, and in like manner does he gain the victory. May I be consecrated, when safety and security from evil-doers have been gained!' thus he thinks: hence there is a cake on eleven potsherds for Agni and Soma. For this (offering) a bull set at liberty is the sacrificial fee; for yonder moon they slay while setting him at liberty to wit, by the full-moon offering they slay him, and by the new-moon offering they set him at liberty; therefore a bull set at liberty is the fee.
1
8. And on the following day he prepares a cake on twelve potsherds for Indra and Agni, and offers it in the same way as an (ordinary) ishti. Now when
1 On the identification of Vritra with the moon (and Soma), see I, 6, 3, 17. On the moon serving as food to the gods, see part ii, Introduction, p. xiii. According to a later conception, one kalâ (or sixteenth part of the moon's disc) was taken off each day during the period of the waning, and again added to it during the period of the waxing moon.
ย
Utsargam... ghnanti; perhaps the former has to be taken here as infinitive (in order to set him at liberty) rather than as gerund.
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Indra slew Vritra, that vigour and energy of his went out of him, being frightened: by this offering he again possessed himself of that vigour and energy. And in like manner does this (Sacrificer) by this offering possess himself of vigour and energy; for Agni is fiery spirit, and Indra is vigour and energy: May I be consecrated, having embraced both these energies!' thus he thinks: hence there is a cake on twelve potsherds for Indra and Agni. A bull is the fee for this (offering), for by his shoulder he is of Agni's nature, and by his testicles he is of Indra's nature: therefore a bull is the fee for it.
9. Thereupon he performs the offering of firstfruits ? ; for verily he who performs the Râgasuya secures for himself (the benefits of) all sacrificial rites, all ishtis, even the spoon-offerings; and instituted by the gods, in truth, is that ishti, the Agrayaneshti : May this also be offered by me! May I be consecrated by this (offering) also !' thus he thinks, and therefore he performs the offering of first-fruits. Moreover, it is for the plants that he who is consecrated, is consecrated; therefore he now makes the plants healthy and faultless, thinking, “May I be consecrated for (the obtainment of) healthy, faultless plants (crops)!' A cow is the fee for this offering).
10. Thereupon he performs the Seasonal offerings 3; for verily he who performs the Râgasaya secures for himself (the benefits of) all sacrificial
Cp. I, 1, 2, 9,'(Like) fire, verily, is the yoke of that cart: hence the shoulder of those (oxen) that draw it becomes as if burnt by fire.
? For the Âgrayaneshti, see part i, p. 369 seq.
& For the four Kåturmasya (enumerated in the next chapter), see part i, p. 383 seq.
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rites, all ishtis, even the spoon-offerings; and instituted by the gods, in truth, is that sacrificial rite, the Seasonal offerings: 'May these also be offered by me! May I be consecrated by these (offerings) also !' thus he thinks, and therefore he performs the Seasonal offerings.
Fourth BRÂHMANA. 1. He offers the Vaisvadeva' (All-gods' offering); for by means of the Vaisvadeva, Pragàpati created abundance (of food) and creatures, thinking,
May I be consecrated, after creating abundance and creatures!' And in like manner does this (Sacrificer) now, by the Vaisvadeva, create abundance and creatures, thinking, May I be consecrated, after creating abundance and creatures !'
2. He then offers the Varuna praghâsâhs; for by means of the Varunapraghâsâh Pragapati delivered the creatures from Varuna's noose, and those creatures of his were produced healthy and faultless : * May I be consecrated for healthy, faultless crea
1 This, the first of the Seasonal offerings, is to be performed on the full-moon of Phalgunî, the other three then following after intervals of four months each. During these intervals the ordinary fortnightly sacrifices are to be performed from day to day in this way that either the Full-moon and New-moon sacrifice are performed on alternate days, or the former on each day of the bright fortnights, and the latter on each day of the dark fortnights. Thus, according to Âsv. Sr. IX, 3, 6; while Kâty. XV, 1, 18 allows only the latter mode. The final Seasonal offering, or Sunâsîrya, which ordinarily is performed a twelvemonth after the Vaisvadeva, or on the full-moon of Phålguna, is on the present occasion to be performed just a year after the opening sacrifice, or Pavitra (p. 42, note 1), i. e. on the first day of the bright fortnight of Phålguna, being immediately followed by the Pafikavâtîya.
s See part i, p. 391 seq.
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tures!' he thought. And in like manner does this (Sacrificer) now, by the Varunapraghâsâh, deliver the creatures from Varuna's noose, and those creatures of his are produced healthy and faultless: May I be consecrated for healthy, faultless creatures!' so he thinks.
3. He then performs the Sâkamedhâh1; for by the Sâkamedhâh the gods slew Vritra, and gained that universal conquest which now is theirs. And in like manner does this (Sacrificer) thereby now slay his wicked, hateful enemy; and in like manner does he gain the victory, thinking, 'May I be consecrated, when safety and security are gained!'
4. He then performs the Sunâsirya2, thinking, 'May I be consecrated, having encompassed both essences!' Thereupon the Pañka vâttya (oblation to the five winds). Having poked the Ahavaniya fire asunder into five parts, he offers, cutting out butter with the dipping-spoon.
5. He offers in the forepart (of the fire), with (Vâg. S. IX, 35), 'To the Agni-eyed gods, the eastseated, hail!' He then offers in the southern part
3
1 See part i, p. 408 seq.
* See part i, p. 444 seq., where the word is fancifully explained as composed of suna (prosperity) and sîra (=sâra, sap),—the two essences here referred to. Sâyana, following Yâska (and Sat. Br. II, 6, 3, 6-8 ?), identifies the two component elements with Vâyu, the wind, and Âditya, the sun; see part i, p. 445, note 3.
The authorities of the Black Yagus (Taitt. Br. I, 7, 1, 5) call this oblation Paйkâvattîya, i. e. 'consisting of fivefold cut (or ladled)' ghee, which is offered without disturbing the fire. Prior to this oblation, Âpastamba (Taitt. S., vol. ii, p. 93), however, prescribes a so-called Pankedhmîya, i. e. an oblation on five firebrands,' the fire being, as here, poked about so as to form separate heaps in the four quarters and in the centre.
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with, “To the Yama-eyed 1 gods, the southseated, hail!' He then offers in the hind part with, To the Visvadeva-eyed gods, the westseated, hail!' He then offers in the northern part with either, ‘To the Miträvaruna-eyed gods,or, To the Marut-eyed gods,—the north-seated, hail!' He then offers in the centre with, "To the Soma-eyed gods, the above-seated, the venerable, hail!'
6. Having then poked (the fire) together, he offers with (Vág. S. IX, 36), 'The gods that are Agnieyed, east-seated, to them hail!—The gods that are Yama-eyed, south-seated, to them hail!—The gods that are Visva deva-eyed, west-seated, to them hail!—The gods that are Miträvaruna-eyed-or, Marut-eyed-northseated, to them hail!—The gods that are Somaeyed, above-seated, venerable, to them hail!' Now as to why he thus offers.
7. Now when, by means of the Sakamedhåh, the gods were gaining that universal conquest, which now is theirs, they said, “Verily the fiends, the Rakshas, suck out these (creatures) in the (four) quarters : come, let us throw the thunderbolt at them!' Now the ghee is a thunderbolt: with that thunderbolt, the ghee, they smote the fiends, the Rakshas, in the (four) quarters, and gained that universal conquest which now is theirs. And in like manner does this (Sacrificer) smite the fiends, the Rakshas, in the quarters, by that thunderbolt, the ghee; and thus he gains the victory, thinking, May
1 Yama is the ruler of the departed ancestors, residing in the southern quarter.
[41]
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I be consecrated, when safety and security have been gained I'
8. And as to why he offers those five latter oblations. Now when they poke the Ahavanlya asunder into five parts, thereby they wound and tear some of the fire; and hereby now he heals it: therefore he offers those five latter oblations.
9. For this offering) a carriage and pair, with a side horse, is the priest's fee. Three horses, the warrior, and the charioteer,—these are five breaths, and the breath is the same as the wind: and because that is the fee for this sacrifice, therefore it is called Pañkavâtiya (belonging to the five winds).
10. He may also heal (some disease ') with this (offering): For yonder blower (or purifier, the wind) is this breath; and the breath is the same as the vital energy. Now he (the wind) blows as one only, but on entering into man, he is divided tenfold; and ten are those oblations he offers: thus he (the priest) endows him with the ten vital airs, with the whole, entire vital energy; and were he now even as one whose vital spirit has departed, verily by this (offering) he (the priest) brings him round again.
11. Thereupon the Indraturiya-There is a cake on eight potsherds for Agni, a barley pap for Varuna, a pap of gavedhukâ seed (coix barbata) for Rudra; and a mess of sour curds from a yoke
· Tenâpy etena vishtâvrâge (v. l. vishtâbrage) bhishagyet. Kanva rec.
? That is, the ceremony in which the fourth oblation belongs to Indra While the Madhyandinas perform this ceremony on the same day (the pratipad of the bright fortnight of Phalgunî), the Kanvas do so on the following day; the Apâmârgahoma being then likewise shifted on another day.
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V KANDA, 2 ADHYAYA, 4 BRAHMANA, 13. 51
trained cow for Indra: this Indraturiya he offers. Now Indra and Agni on that occasion consulted with each other: 'Verily the fiends, the Rakshas, suck out these (creatures) in the (four) quarters: come, let us throw the thunderbolt at them!'
12. Agni then spake, 'Let there be three shares for me, one for thee!'-'So be it!'-By that offering those two smote the fiends, the Rakshas, in the (four) quarters, and gained that universal conquest which now is theirs. And in like manner does this (Sacrificer) by that offering smite the fiends, the Rakshas, in the quarters; and gain the victory, thinking, 'May I be consecrated, when safety and security have been gained!'
13. Now what cake on eight potsherds there is for Agni, that is one of Agni's shares; and what barley pap there is for Varuna-Varuna being the same as Agni-that is Agni's second share; and what pap of gavedhukâ seed there is for RudraRudra being the same as Agni-that is Agni's third share. And as to why it is prepared of gavedhukâ seed that god surely is (the recipient) of refuse (remains of offering)1, and gavedhukâ grass is refuse, -hence it is prepared of gavedhukâ seed. And what mess of sour curds there is from a yoke-trained cow for Indra, that is the fourth share (being that) of Indra-turfya being the same as katurtha (fourth)— hence the name Indraturfya. That same yoke-trained cow is the fee for this (offering); for by her shoulder she is of Agni's nature, since her shoulder is, as it were, fire-burnt; and in that, being a female, she improperly draws (the cart), that is her Varunic
1 On Rudra's epithet vâstavya, see I, 7, 3, 1. 8.
E 2
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nature; and in that she is a cow, she is of Rudra's nature1; and in that Indra's sour curds (come) from her, thereby she is of Indra's nature. Indeed that (cow) commands all that: therefore that same yoketrained cow is the fee.
52
14. Thereupon he performs the A pâmârgahoma; for by means of apâmârga plants (achyranthes aspera) the gods wiped away (apa-marg) the fiends, the Rakshas, in the quarters, and gained that universal conquest which now is theirs. And in like manner does this (Sacrificer) now by means of apâmârga plants wipe away the fiends, the Rakshas, in the quarters; and in like manner does he gain the victory, thinking, 'May I be consecrated, when safety and security have been gained!'
15. He takes apâmârga grains in a dipping-spoon of either palâsa (butea frondosa) or vikaňkata (flacourtia sapida) wood. They take a firebrand from the Anvâhâryapakana (southern) fire; and proceed therewith eastward or northward; and there having made up a fire he offers.
16. He takes the firebrand with (Vâg. S. IX, 37; Rik S. III, 24, 1), 'Encounter the arrays, Agni!'-arrays means battles: encounter the battles!' he thereby says;- Repel the evilwisher!'-the evil-wisher is the enemy: 'beat off the enemy!' he thereby says;-'Unconquerable, conquering the evil-doers!'-unconquerable he is indeed, by the Rakshas, the fiends; and conquering the evil-doers, for he conquers every evil :
1 Rudra rules over the beasts (III, 6, 2, 20), whence he is also called the lord of beasts (pasûnâm pati, I, 7, 3, 8; Pasupati V, 3, 3, 7). Pushan, the genius of thrift and prosperity, is also (like the Greek Pan) regarded as the protector of cattle; see V, 2, 5, 8.
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therefore he says, 'conquering the evil-doers; '• Bestow glory upon the offerer of sacrifice!''bestowing blessing on the Sacrificer,' is what he thereby says.
17. Thereupon making up the fire he offers with (Vâg. S. IX, 38), 'At the impulse of the God Savitri I offer with the arms of the Asvins, with the hands of Pashan, with the strength of the Upâmsu!' for the Upâmsu(cup of Soma) is the mouth (or opening) of the sacrifice : thus he slays the fiends, the Rakshas, by the mouth of the sacrifice; Slain is the Rakshas, hail !' thus he slays the fiends, the Rakshas.
18. If the dipping-spoon is of palasa wood, -the palâsa being the Brahman- it is with the Brahman that he slays the fiends, the Rakshas; and if it is of vikankata wood,—the vikankata being the thunderbolt-it is with the thunderbolt that he slays the fiends, the Rakshas: 'For the slaughter of the Rakshas (I take) thee!' therewith he slays the fiends, the Rakshas.
19. If he offers after going eastward, he throws the spoon towards the east; and if he offers after going northward, he throws the spoon towards the north, with, “We have slain the Rakshas!' thus he slays the fiends, the Rakshas.
20. Thereupon they return (to the sacrificial ground) without looking back. Now by this (ceremony) also he may make for himself a counter-charm ? In whatever direction from there (his evil-wisher) is,
See part ii, p. 248. * Viz. an amulet consisting of a band running back into itself. The Kânva text has,—Tena håpy etena vishlâvrage pratisaram kurvita.
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looking back thither he offers ; for the A pâmârga is of a backward effect : whosoever does anything to him there, him indeed he thereby pitches backward. Let him indicate the name of that one, saying, 'We have slain so and so! So and so is slain !' thus he slays the fiends, the Rakshas.
FIFTH BRAHMANA. 1. He prepares a cake on eleven potsherds for Agni and Vishnu, a pap for Indra and Vishnu, and either a cake on three potsherds, or a pap, for Vishnu. He performs that Trishamyukta 1 offering. Therewith the gods came by men, and in like manner does this (king) now thereby come by men.
2. Now as to why there is that cake on eleven potsherds for Agni and Vishnu ;-Agni is the giver, and men are Vishnu's: thus Agni, the giver, gives him (the king) men.
3. And as to why there is a pap for Indra and Vishnu ;—Indra is the Sacrificer, and men are Vishnu's: thus Agni, the giver, gives him (the
That is, the triply connected,' the ceremony being made up of three rounds, each of which consists of three separate oblations, viz. :
1. Âgnâvaishnava cake, Aindråvaishnava pap, Vaishnava pap; 2. Âgnâpaushna cake, Aindrâpaushna pap, Paushna pap;
3. Agnishomîya cake, Aindrâsaumya pap, Saumya pap. In this way one of the three divinities for whom the offering is intended,—viz. Vishnu, Pashan, and Soma,-is each time connected with the two head-gods, Agni and Indra.-In the Black Yagurveda, this set of offerings (not, however, called there by this name), is preceded by another ceremony consisting of five oblations to Dhâtri, Anumati, Râkâ, Sinivali, and Kuhů. Taitt. S. I, 8, 8. Cf. Sat. Br. IX, 5, 1, 38.
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Sacrificer) men; he now puts himself in contact with them, makes them his own.
4. And as to why there is either a cake on three potsherds, or a pap, for Vishnu ;-whatever men Agni, the giver, gives him, among them he thereby finally establishes him (the king); and whatever work he wishes to do with his men, that he is able to do. Thus he thereby approaches the men, thinking, “May I be consecrated, and possessed of men !' A dwarfish bull is the sacrificial fee for this (offering), for the dwarf belongs to Vishnu ?.
5. He then performs another Trishamyukta offering. He prepares a cake on eleven potsherds for Agni and Pushan, a pap for Indra and Pushan, and a pap for Pashan: this Trishamyukta he offers. Thereby the gods obtained cattle ; and in like manner does this (king) thereby obtain cattle.
6. Now as to why there is that cake on eleven potsherds for Agni and Pushan ; Agni is the giver, and the cattle are Pashan's: thus Agni, the giver, gives him cattle.
7. And as to why there is a pap for Indra and Pashan ;-—Indra is the Sacrificer, and the cattle are Pashan's: whatever cattle Agni, the giver, gives him, therewith he now puts himself in contact, those he makes his own.
8. And why there is a pap for Pashan ;-whatever cattle Agni, the giver, gives him, therewith he thereby finally establishes him, and whatever work he wishes to do with his cattle, that he is able
* See the legend, I, 2, 5, 1 seq., which represents Vishnu as a dwarf, who obtained from the Asuras as much ground for the gods, as he lay upon.—Tad dhi pasushu vaishnavam rūpam yad vâmanasya goh. Kanva rec.
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1
to do thus he comes by cattle, thinking, 'May I be consecrated, possessed of cattle!' A dark-grey 1 bull is the fee for this (offering), for such a dark-grey one is of Pushan's nature: there are two forms of the dark-grey, the white hair and the black; and 'two and two' means a productive pair, and Pûshan represents productiveness, for Pûshan is cattle, and cattle means productiveness: thus a productive pair is obtained, hence a dark-grey bull is the sacrificial fee.
SATAPATHA-BRAHMANA.
9. He then performs another Trishamyukta offering. He prepares a cake on eleven potsherds for Agni and Soma, a pap for Indra and Soma, and a pap for Soma: this Trishamyukta (triply connected) he offers:-Thereby the gods attained glory; and in like manner does this (king) thereby attain glory.
10. Now as to why there is that cake on eleven potsherds for Agni and Soma ;-Agni is the giver, and Soma is glory: thus Agni, the giver, gives him glory.
11. And as to why there is a pap for Indra and Soma;-Indra is the Sacrificer, and Soma is glory: whatever glory Agni, the giver, gives him, therewith he now puts himself in contact, that he makes his
own.
12. And why there is a pap for Soma;-whatever glory, Agni, the giver, gives him, therein he now finally establishes him; and whatever work he, the glorious, wishes to do, that he is able to do. Thus he thereby attains glory,-thinking, 'May I be consecrated, endowed with glory!' for the inglorious one has no concern with success. A brown bull is
1 See V, 1, 3, 9.
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the fee for this offering); for such a brown one is of Soma's nature.
13. And on the following day he prepares a cake on twelve potsherds for (Agni) Vaisvânara, and a barley pap for Varuna. These two offerings he performs either on days following one another, or so as to use the same barhis ?.
14. And as to why there is that (cake) for Vaisvanara ;—Vaisvânara ('belonging to all men') truly is the year, and Praga pati is the year; and Pragapati indeed thereby created abundance and creatures, thinking, “May I be consecrated, having created abundance and creatures !' And in like manner does that (king) thereby create abundance and creatures, thinking, “May I be consecrated, having created abundance and creatures !'
15. And why it is one on twelve potsherds ;twelve months there are in the year, and Vaisvânara is the year : this is why it is one on twelve potsherds.
16. And as to why there is a barley pap for Varuna; he thereby frees the creatures from every snare of Varuna, from all that comes from Varuna ?;
1 That is to say, he is either to perform the Vaisvânara on one, and the Våruna one on the next-in which case a different barhis, or altar-covering of sacrificial grass, would be needed-or he may perform them both on one and the same day, with the same barhis serving for both.
* See III, 8, 5, 10 where I translated, 'from all (guilt) against Varuna;' varunya, doubtless, implies both the guilt incurred by the infringement of Varuna's sacred laws, and the punishment inAlicted by him. As regards the swearing by Varuna (?)' there referred to see Rik S. X, 97, 16 where the conjurer mutters : · May they (the plants) free me from the (evil) resulting from the curse and from Varuna ;'--muñkantu mâ sapathyâd atho varunyâd
uta.
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and those creatures of his are produced sound and faultless : May I be consecrated for sound and faultless creatures (or subjects)!' he thinks.
17. A bull is the fee for the Vaisvânara (oblation); for Vaisvânara is the year, and Pragâ pati is the year; and the bull is the Pragâ pati (lord of creatures or generation) among cows: therefore a bull is the fee for the Vaisvânara. A black cloth for the Varuna (oblation), for what is black belongs to Varuna. If he cannot obtain a black one, any kind of cloth will do: it is by its knots that the cloth belongs to Varuna, for the knot is sacred to Varuna.
THIRD ADHYAYA. First BRÂHMANA. 1. Having taken up both (the Gârhapatya and Åhavaniya) fires on the two kindling-sticks, he goes to the house of the Commander of the army, and prepares a cake on eight potsherds for Agni Anikavat; for Agni is the head (anika) of the gods, and the commander is the head of the army: hence for Agni Anikayat. And he, the commander, assuredly is one of his (the king's) jewels: it is for
1 Each of the two aranis' is held for a moment to one of the two fires, which are thereby supposed to become inherent in them till they are 'churned out' again for the new offering fire required. For this mounting' of the fire see part i, p. 396.
Ratna, jewel, precious thing; whence the eleven offerings described in this section are called ratna-havis, or ratninân havîmshi; the recipients of these sacrificial honours, on the part of the newly-consecrated king, being called ratninah, possessed of the Jewel (offering).'—In the ritual of the Black Yagus (Taitt. S. I, 8, 9; Taitt. Br. I, 7, 3) the order of the Ratninah, at whose houses these oblations are performed on successive days, is as follows:-1. Brahman priest (a pap to Brihaspati); 2. Råganya (a cake of eleven kapâlas to Indra); 3. Consecrated Queen (pap to
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him that he is thereby consecrated (or quickened), and him he makes his own faithful (follower). The sacrificial fee for this (jewel-offering) consists in gold; for Agni's is that sacrifice, and gold is Agni's seed: therefore the sacrificial fee consists in gold.
2. And on the following day, he goes to the house of the Purohita (the king's court chaplain), and prepares a pap for Brihaspati; for Brihaspati is the Purohita of the gods, and that (court chaplain) is the Purohita (praepositus ') of that (king) : hence it is for Brihaspati. And he, the Purohita, assuredly is one of his (the king's) jewels : it is for him that he is thereby consecrated, and him he makes his own faithful follower. The sacrificial fee for this is a whitebacked bullock; for to Brihaspati belongs that upper region, and there above lies that path of Aryaman (the sun)': therefore the fee for the Bârhaspatya (oblation) is a white-backed (bullock).
3. And on the following day he prepares a cake on eleven potsherds for Indra at the dwelling of him who is being consecrated (the king); for Indra is the Kshatra (ruling power), and he who is consecrated is
Aditi); 4. The king's favourite wife (pap to Bhaga); 5. A discarded wife (pap to Nirriti); 6. Commander of the army (cake of eight kap. to Agni); 7. Sata (charioteer, Sây.—cake of ten kap. to Varuna); 8. Grâmani (cake of seven kap. to Maruts); 9. Kshattri (chamberlain, or superintendent of seraglio, Sây.—cake of twelve kap. to Savitri); 10. Samgrahîtri (treasurer, Sây.- cake of two kap. to Asvins); 11. Bhagadugha (collector of taxes, Sây.-pap to PQshan); 12. Akshâvâpa (dylltakara, superintendent of gambling, Såy.-gavîdhuka pap to Rudra). Finally the king offers in his own house two cake-oblations (of eleven kapálas) to Indra Sutrâman (the good protector) and Indra Amhomut (the deliverer from trouble).
* Whence the back of that upper region is white, or bright.
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the Kshatra : hence it is for Indra. The sacrificial fee for this is a bull, for the bull is Indra's own (animal).
4. And on the following day, he goes to the dwelling of the Queen, and prepares a pap for Aditi; for Aditi is this Earth, and she is the wife of the gods ; and that (queen) is the wife of that (king): hence it is for Aditi. And she, the Queen, assuredly is one of his (the king's) jewels : it is for her that he is thereby consecrated, and he makes her his own faithful (wife). The sacrificial fee, on her part, is a milch cow; for this earth) is, as it were, a milch cow : she yields to men all their desires; and the milch cow is a mother, and this (earth) is, as it were, a mother: she bears (or sustains) men. Hence the fee is a milch cow.
5. And on the following day, he goes to the house of the Sata (court-minstrel and chronicler), and prepares a barley pap for Varuna; for the Sata is a spiriter (sava), and Varuna is the spiriter of the gods : therefore it is for Varuna. And he, the Sata, assuredly is one of his (the king's) jewels; it is for him that he is thereby consecrated; and him he makes his own faithful (follower). The sacrificial fee for this one is a horse, for the horse is Varuna's own.
6. And on the following day, he goes to the house of the Headman (Grâmani"), and prepares a cake
1 The exact function of this officer is not clearly defined. Though the term is also used of an ordinary village headman (Patel, Adhikârin, Adigar), this could hardly apply here. Sâyana, on one passage, indeed explains the term by 'Grâmam nayati,' but elsewhere he explains it by 'Grâmânâm netâ;' and some such meaning it may perhaps have here,—the head of commu... administration, either for a district (like one of Manu's lords of a hundred, or a
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on seven potsherds for the Maruts; for the Maruts are the peasants, and the headman is a peasant ; therefore it is for the Maruts. And he, the headman, assuredly is one of his (the king's) jewels : it is for him that he is thereby consecrated, and him he makes his own faithful follower. The sacrificial fee for this (jewel) is a spotted bullock, for in such a spotted bullock there is abundance of colours; and the Maruts are the clans (or peasants), and the clan means abundance; therefore the sacrificial fee is a spotted bullock.
7. And on the following day he goes to the house of the Chamberlain (kshattri), and prepares a cake on either twelve, or eight, potsherds for Savitri; for Savitri is the impeller (prasavitri) of the gods, and the chamberlain is an impeller: hence it is for Savitri. And he, the chamberlain, assuredly is one of his (the king's) jewels: it is for him that he thereby is consecrated, and him he makes his own faithful (follower). The sacrificial fee for this (jewel) is a reddish-white draught-bullock; for Savitri is he that burns yonder, and he (the sun) indeed moves along; and the draught-bullock also moves along, when yoked. And as to why it is a reddish-white one ;reddish-white indeed is he (the sun) both in rising and in setting : therefore the sacrificial fee is a reddish-white draught-bullock.
8. And on the following day he goes to the house
thousand villages), or for the whole country. If, however, the headman of a single village be intended (as the coupling of the office with the Maruts might lead one to suppose), he would probably be a hereditary territorial proprietor residing near the place where the inauguration ceremony takes place. Cf. V, 4, 4, 18; and Zimmer, Altindisches Leben, p. 171.
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of the Charioteer (samgrahitri), and prepares a cake on two potsherds for the Asvins; for the two Asvins are of the same womb; and so are the chariot fighter1 and the driver (sârathi) of the same womb (standing-place), since they stand on one and the same chariot hence it is for the Asvins. And he, the charioteer, assuredly is one of his (the king's) jewels: it is for him that he is thereby consecrated, and him he makes his own faithful follower. The sacrificial fee for this (jewel) is a pair of twin bullocks, for such twin bullocks are of the same womb. If he cannot obtain twins, two bullocks produced by successive births (of the same cow) may also form the sacrificial fee, for such also are of the same womb.
And on the following day he goes to the house
1 Savyashthri (otherwise savyeshthri, savyeshtha ;-savyastha, Kânva rec.) is explained by the commentaries as a synonym of sârathi, charioteer (with which it is compounded in savyeshthasârathî, Taitt. Br. I, 7, 9, 1, where Sâyana makes them the two charioteers standing on the left and right side of the warrior), but it seems more probable that the former terms refer to the warrior (rapaBárns) himself (as savyashthâ, Atharva-veda VIII, 8, 23, undoubtedly does), who stands on the left side of the driver (sârathi, víoxos); the change of meaning being perhaps due to caste scruples about so close an association between the Kshatriya warrior and his Sudra servant, as is implied in this and other passages. (Cf. V, 3, 2, 2 with note.)-On Taitt. S. I, 8, 9, Sâyana explains samgrahîtrias the treasurer (dhanasamgrahakartâ kosâdhyakshah), but on I, 8, 16 optionally as treasurer or charioteer; while the Sûta is I, 8, 9 identified by him with the charioteer (sârathi). It is more probable, however, that at the time of the Brahmana the Sûta occupied much the same position as that assigned to him in the epics, viz. that of court-bard and chronicler. The connection of the samgrahîtri with the Asvins can also scarcely be said to favour the interpretation of the term proposed by Sâyana (who, moreover, is himself compelled, on Taitt. S. I, 8, 15; Taitt. Br. I, 7, 10, 6, to take it in the sense of charioteer).
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of the Carver (bhagadugha '), and prepares a pap for Pashan, for Pushan is carver to the gods; and that (officer) is carver to that (king): therefore it is for Pushan. And he, the carver, assuredly is one of his (the king's) jewels : it is for him that he is thereby consecrated, and him he makes his own faithful follower. The sacrificial fee for this (jewel) is a dark-grey bullock: the significance of such a one being the same as at the Trishamyukta ?
10. And on the following day, having brought together gavedhukà (seeds) from the houses of the Keeper of the dice (akshâvâpa) and the Huntsman (govikartana 4), he prepares a gavedhukâ pap for Rudra at the house of him who is consecrated. These two, while being two jewels (of the king), he makes one for the purpose of completeness. And as to why he performs.this offering,~Rudra is hankering after that (cow) which is killed here in this hall ;
1 The meaning tax-gatherer, collector of tithes (or rather, of the sixth part of produce)' assigned to the term by Sâyana, both here, and on Taitt. S. I, 8, 9, might seem the more natural one, considering the etymology of the term. See, however, the explanation given of it in our Brâhmana I, 1, 2, 17:- Pushan is bhagadugha (distributor of portions) to the gods, who places with his hands the food before them. This clearly is Homer's darpos, - Od. I, 141-2:
δαιτρός δε κρειώ πίνακας παρέθηκεν αείρας
παντοίων, παρά & σφι τίθει χρύσεια κύπελλα. See V, 2, 5, 8. 8 "The thrower, or keeper, of the dice,' according to Sâyana. At V, 4, 4, 6 the verb a-vap is used of the throwing the dice into the hand of the player; and it is perhaps that function of the keeper of the dice which is meant to be expressed by the term 'der Zuwerfer der Würfel').
• Literally, the cutter up of cows, the (beef-) butcher. But according to Sâyana, this official was the constant companion of his master in the chase.
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now Rudra is Agni (fire), and the gaming-board being fire, and the dice being its coals, it is him (Rudra) he thereby pleases. And verily whosoever, that knows this thus, performs the Rågasaya, in his house that approved (cow) is killed. And he, the keeper of dice, and the huntsman, are (each of them) assuredly one of his (the king's) jewels : it is for these two that he is thereby consecrated, and these two he makes his own faithful followers. The sacrificial fee for this (jewel) is a bicoloured bullockeither one with white fore-feet, or a white-tailed one, -a claw-shaped knife, and a dice-board! with a horsehair banda; for that is what belongs to those two s.
11. And on the following day he goes to the house of the Courier, and having taken ghee in four ladlings, he offers the ghee to the way, with, 'May the way graciously accept of the ghee, hail!' For the courier is to be dispatched, and when dispatched goes on his way: therefore he offers the ghee to the way. And he, the courier, assuredly is one of his (the king's) jewels : it is for him that he is thereby consecrated, and him he makes his own faithful follower. The sacrificial fee for this (jewel) consists in a skin-covered bow, leathern quivers, and a red turban, for that is what belongs to him.
12. These are the eleven jewels (ratna) he completes; for of eleven syllables consists the Trishtubh, and the Trishtubh is vigour : it is for the sake
i Or, a dice-box, as 'akshâvapanam' is explained by some commentaries,-aksha upyante ssminn ity akshâvapanam aksha(?akshadyata-)sthânâvapanapatram, Sây.
* Or, fastened with a hair-chain (romasragâ prabaddham, Sây.).
* That is to say, the knife and the dice-board are the objects those two officials have chiefly to do with.
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of vigour that he completes the (eleven) jewels. Then as to why he performs the oblations of the Ratnins : it is their king he becomes; it is for them that he thereby is consecrated, and it is them he makes his own faithful followers.
13. And on the following day he goes to the house of a discarded (wife), and prepares a pap for Nirriti;-a discarded wife is one who has no son. He cooks the pap for Nirriti of black rice, after splitting the grains with his nails. He offers it with (Vâg. S. IX, 35), 'This, O Nirriti, is thy share: accept it graciously, ha il!' For a wife that is without a son, is possessed with Nirriti (destruction, calamity); and whatever of Nirriti's nature there is in her, that he thereby propitiates, and thus Nirriti does not take possession of him while he is consecrated. The fee for this (oblation) consists of a black, decrepit, diseased cow; for such a one also is possessed with Nirriti. He says to her (the wife), 'Let her not dwell this day in my dominion'!' thus he removes evil from himself.
SECOND BRÂHMANA. 1. After the jewels' he offers (a pap) to Soma and Rudra. It is cooked in milk from a white (cow) which has a white calf. And as to why, after the jewels,' he offers (a pap) to Soma and Rudra.
2. Now, once upon a time, Svarbhânu, the Asura, struck the sun with darkness, and stricken with darkness he did not shine. Soma and Rudra
1 According to the commentary on Kâty. Sr. XV, 3, 35 she has to betake herself to a Brahman's house, where the king has no power.
• According to Rig-veda V, 40, 5-9 (cf. Sat. Br. IV, 3, 4, 23
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removed that darkness of his; and freed from evil he burns yonder. And in like manner does that (king) thereby enter darkness, or darkness enters him,when he puts those unworthy of sacrifice 1 in contact with the sacrifice; and he does indeed now put those unworthy of sacrifice either Sudras or whomever else in contact with the sacrifice. It is Soma and Rudra who remove that darkness of his; and freed from evil he becomes consecrated. And as to why it is cooked in milk from a white (cow) which has a white calf,—darkness is black : that darkness he removes. The sacrificial fee for this (oblation) is a white (cow) which has a white calf.
3. Even he who, while being qualified for fame, is not yet famous, may perform that offering. Now he who is learned (in the Veda), while being qualified for fame, is not famous; and he who is not famous, is covered with darkness : that darkness of his Soma and Rudra thereby remove; and freed from evil he becomes a very light by his prosperity and renown.
4. Thereupon he prepares a pap for Mitra and Brihaspati? For verily he who departs from the
with note) it was Atri who restored the light of the sun. Professor Ludwig (Bohemian Academy of Sciences, Sitzungsber., May, 1885) has tried to prove that solar eclipses (partly available for chronological purposes) are referred to in this and some other passages of the hymns. Compare also Professor Whitney's remarks thereon, Proceedings of Am. Or. Soc., Oct. 1885, p. xvii.
1 That is, some of those officials of his to whom the ratnahavis were offered; Sayana specifying the Commander of the army and others' as Sadras; and the ‘Huntsman and others' as of whatsoever (low) caste.
* According to the Taittirîya ritualists this double oblation forms part of the dîkshâ, or initiation ceremony (V, 3, 3, 1). See Taitt. S., vol. ii, p. 108.
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path of the sacrifice stumbles; and he does indeed depart from the path of the sacrifice, when he puts those unworthy of sacrifice in contact with the sacrifice, and he does indeed now put those unworthy of sacrifice-either Sadras or whomever else—in contact with the sacrifice. And the path of the sacrifice is Mitra and Brihaspati; for Mitra is the Brahman, and the Brahman is the sacrifice; and Brihaspati is the Brahman, and the Brahman is the sacrifice. Thus he returns again to the path of the sacrifice; and as soon as he has returned to the path of the sacrifice he is consecrated : therefore he prepares a pap for Mitra and Brihaspati.
5. The course of this is as follows). Any asvattha branch broken off by itself, either on the eastern or on the northern side (of the tree), from that he makes a vessel (to hold the pap) for Mitra; for that which is hewn by the axe belongs to Varuna ; but that which is broken off by itself belongs to Mitra : therefore he makes the vessel for Mitra from a branch broken off by itself.
6. Thereupon having curdled the (milk into) curds, and poured it into a leathern bag; and having put (the horses) to the cart, and fastened (the bag on the cart), he tells it to 'fly away. This is that (kind of fresh butter which is self-pro duced'; for that which is churned belongs to Varuna, and that which is self-produced belongs to Mitra : therefore it is self-produced butter.
7. They divide the rice-grains into two parts : the smaller and broken ones belong to Brihaspati,
1 That is, produced in the leathern bottle without further direct human agency, and by the mere motion of the cart.
F 2
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and the larger and unbroken ones to Mitra. For Mitra injures no one, nor does any one injure Mitra ; neither a kusa stalk nor a thorn pricks him, nor has he any scar; for Mitra is every one's friend (mitram).
8. He then puts the pap for Brihaspati on (the fire), covers it with the vessel for Mitra's (pap), pours the butter (into the latter), and throws in the (larger) rice-grains. It is cooked merely by the hot steam1; for what is cooked by fire belongs to Varuna, and what is cooked by hot steam belongs to Mitra : therefore it is cooked by hot steam. Making cuttings from both these sacrificial dishes, he says, 'Pronounce the invitatory prayer to Mitra and Brihaspati!' Having called for the Sraushat, he says, 'Pronounce the offering-prayer to Mitra and Brihaspati!' and offers as the Vashat is uttered.
THE ABHISHEKANÎYA', OR CONSECRATION
CEREMONY.
THIRD BRAHMANA.
1. He performs the initiation ceremony. On the day of preparation he seizes the victim for Agni
That is, by the steam rising from the Brihaspati pap in the bottom vessel.
The Abhishekanîya (or Abhisheka, literally 'the sprinkling'), the Consecration ceremony (corresponding to the Anointment of modern times), requires for its performance five days, viz. one dîkshâ (initiation ceremony), three upasads, and one sutyâ or Soma-day, the particular form of Soma-sacrifice being the Ukthya (part ii, p. 325, note 2). The Dîkshâ is performed immediately after the expiration of the dark fortnight following the full-moon of Phalgunî, that is to say, on the first day of Kaitra (about the middle of March).-According to Kâty. XV, 3, 47 both the Abhishekanîya and Dasapeya require special offering-places, the latter being north of the former. Cf. note on V, 4, 5, 13.-As regards
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V KÂNDA, 3 ADHYÂYA, 3 BRÂHMANA, 3. 69 and Soma. Having performed the offering of the omentum thereof, he prepares a cake on eleven potsherds for Agni and Soma?. Thereupon the offerings of the Divine Quickeners (Devasa) are prepared.
2. For Savitri Satyaprasava (of true impulse) he prepares a cake from fast-grown (plâsuka) rice?, on either twelve, or eight, potsherds ; for Savitri is the impeller (prasavitri) of the gods: “May I be quickened, impelled by Savitri!' thus (he thinks). And as to its being) of fast-grown rice : ‘May they quickly impel me l'he thinks.
3. For Agni Grihapati (the house-lord) he then prepares a cake on eight potsherds from quick-grown (asu) rice*; for the house-lord's position means prosperity : as much as he (the king) rules over, over
the chants (stotra) of the Consecration ceremony, the Pavamânastotras are chanted in the thirty-twofold, the Agya-stotras in the fifteenfold, the Prishtha-stotras in the seventeenfold, and the Agnishtoma-saman and Uktha-stotras in the twenty-onefold mode of chanting (stoma). Pañk. Br. 18, 10, 9. The Bahishpavamâna is specially constructed so as to consist of the following parts, Sâma-veda II, 978-80; further six so-called sambhâryâ verses; further II, 125-27; II, 4-6; II, 431–3; II, 128–30; II, 555-59; II, 7-9; II, 981-83; see Park. Br. 18, 8, 7 seq.—The Taittirîya ritual (Taitt. Br. I, 8, 7 seq.), on the other hand, prescribes for the Pavamâna-stotras, the thirty-four-versed stoma, commencing the Bahishpavamâna by II, 920; II, 431, &c.
? This is the ordinary Pasu-purodása, or cake of animal (offering). See part ii, p. 199, note 2 (where read Agni and Soma, instead of Indra and Agni).
? That is, according to Sâyana, rice which has sprung up again and ripens very rapidly. Taitt. S. I, 8, 10 has 'âsu' instead, for which see next paragraph.
8 Or, consecrated (sa).
• That is, according to Sâyana, rice ripening in sixty days. The Taitt. S. prescribes a cake of black rice for Agni.
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that Agni, the house-lord, leads him to hold the position of a master of the house. And as to its being of quick-grown rice: 'May they quickly lead me!' so he thinks.
4. For Soma Vanaspati (the wood-lord or tree) he then prepares a pap of syâmâka millet : thereby Soma, the wood-lord, quickens him for the plants. And as to its being prepared of syâmâka,—they, the syâmâkas among plants doubtless are most manifestly Soma's own : therefore it is prepared of syâmâka grain.
5. For Brihaspati Vâki (speech) he then prepares a pap of wild rice: thereby Brihaspati quickens him for speech. And as to its being prepared of wild rice, Brihaspati is the Brahman, and they, the wild rice-plants, are ripened by the Brahman? : hence it is prepared of wild rice.
6. For Indra Gyeshtha (the most excellent) he then prepares a pap of red rice-grains (hâyana) :: thereby Indra, the most excellent, leads him to excellence (or, lordship). And as to its being prepared of red rice: outstanding doubtless are those plants, the red rice, and outstanding is Indra : therefore it is prepared of red rice.
7. For Rudra Pasupati (lord of beasts) he then prepares a Raudra pap of gavedhukâ seeds (coix barbata): thereby Rudra, the lord of beasts, quickens
· Brihaspati Vâkpati (lord of speech), according to the Black Yagus, where the order of the Divine Quickeners' is moreover somewhat different.
.? Or cooked by the Brahman, that is by Brâhmans, when living the life of hermits or ascetics.
• The Taitt. S. prescribes a cake prepared of large rice (mahavrîhi).
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him for cattle. And as to its being prepared of gavedhuka seed ;—that God is (the recipient of) refuse (remains of offering), and gavedhukâ seeds are refuse: therefore it is (prepared) of gavedhuka seed.
8. For Mitra Satya (the True) he then prepares a pap of Namba? seed: thereby Mitra the True quickens him for the Brahman. And as to its being prepared of Namba seed,—to Varuna, no doubt, belong those plants which grow in ploughed ground; but those, the Namba plants, belong to Mitra : therefore it is (prepared) of Namba seed.
9. For Varuna Dharmapati (the lord of the law) he then prepares a Varuna pap of barley : thereby Varuna, the lord of the law, makes him lord of the law; and that truly is the supreme state, when one is lord of the law; for whosoever attains to the supreme state, to him they come in (matters of) law: therefore to Varuna Dharmapati.
10. He then proceeds with the cake for AgniSoma. The Svishtakrit of that (oblation) remains yet unoffered, when he proceeds with those (other) oblations.
11. Thereupon, taking hold of him (the Sacrificer) by the right arm, he mutters (Vág. S. IX, 39, 40), ‘May Savitri quicken thee for (powers of) quickening (ruling), Agni for householders, Soma for trees, Brihaspati for speech, Indra for lordship, Rudra for cattle, Mitra for truth, Varuna for the lord of the law.
12. 'Quicken him, O gods, to be unrivalled!'
* The Taitt. S. and Br. read 'amba' instead, “a kind of grain,' according to Sâyana.
? Or, perhaps, on the part of the quickeners (rulers, savânâm).'
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-he thereby says, 'Quicken him, O gods, so as to be without an enemy;'—'for great chiefdom, for great lordship!' in this there is nothing obscure;'for man-rule!''for the ruling of men,' he thereby says;—'for Indra's energy!''for vigour' he means to say when he says, 'for Indra's energy;'-'him, the son of such and such (a man), the son of such and such a woman); -whatever be his parentage, with reference to that he says this ;-'of such and such a people, that is to say, of the people whose king he is ;-' this man, Oye (people)", is your king, Soma is the king of us Brâhmans!' He thereby causes everything here to be food for him (the king); the Brâhman alone he excepts : therefore the Brâhman is not to be fed upon, for he has Soma for his king.
13. Now those gods have the power of quickening, whence their name 'devasa' (Divine Quickeners). It is those gods who now quicken him thus, and quickened (consecrated) by them he will be consecrated on the morrow.
14. They are double-named, for a coupling means strength: May the strong quicken (him),' thus he thinks, and therefore they are double-named.
15. He now says, 'Pronounce the invitatory prayer to Agni Svishtakrit. And as to why that ceremony is performed here between two offerings ?,-verily Pragàpati is that sacrifice which is here performed, and from which all these creatures were produced, -
1 Here the name of the people, e.g. 'Oye Kurus, o ye Pankâlas !' is inserted. The Taitt. S. reads, Oye Bharatåh.'
* That is to say, the oblations to the Divine Quickeners,' which were inserted between the chief oblation of the (Agnishomiya) pasupurodása and the Svishtakrit of it; see above, parag. 10.
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and so they are even now produced after this one.
Thus he places him (the Sacrificer) in the very middle of that Pragâpati, and quickens him in the middle: this is why that ceremony is performed between two offerings. Having called for the Sraushat, he says, ' Urge for Agni Svishtakrit !' and offers as the Vashat is pronounced.
Fourth BRAHMANA. 1. He collects (various kinds of) water. The reason why he collects water, is that-water being vigour-he thereby collects vigour, the essence of the waters.
2. In a vessel of udumbara wood,—the udumbara (ficus glomerata) being sustenance, (that is) foodfor the obtainment of sustenance, food : hence in an udumbara vessel (he mixes the different liquids).
3. He first takes (water)' from the (river) Sarasvati, with (Vâg. S. X, 1), 'The gods took honeysweet water,'—whereby he says, 'the gods took water full of essence;'—'sapful, deemed kingquickening,'—by'sapful’he means to say, 'full of essence ;' and by 'deemed king-quickening' he means to say, '(water) which is recognised as kingquickening ;'-'wherewith they anointed Mitra and Varuna,' for therewith they did anoint (sprinkle) Mitra and Varuna ;-'wherewith they guided
This water gathered from an adjacent river and pond, with some admixture of genuine water from the sacred river Sarasvatî— whence the whole water is also called sârasvatya ápah'-is to be used partly in the place of the ordinary Vasatîvarî water, and partly for the consecration or anointment (sprinkling) of the king. The different kinds of water or liquids are first taken in separate vessels of palása (butea frondosa) wood, and then poured together into the udumbara vessel.
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SATAPATHA-BRÂHMANA.
Indra past his enemies,' for therewith they indeed guided Indra past the fiends, the Rakshas. Therewith he sprinkles him,-Sarasvati being (the goddess of) Speech : it is with speech he thereby sprinkles him. This is one kind of water : it is that he now brings.
4. Thereupon the Adhvaryu, having taken ghee in four ladlings, steps down into the water, and takes the two waves which flow away in different directions) after an animal or a man has stept (or plunged) into it.
5. The one which rises in front of him he catches up with (Vág. S. X, 2), 'Thou art the male's wave, a bestower of kingship: bestow kingship on me, hail!—Thou art the male's wave, a bestower of kingship: bestow kingship on N. N.!'
6. He then catches up that (wave) which rises up behind him with, Thou art the lord of a host of males, a bestower of kingship: bestow kingship on me, hail!—Thou art the lord of a host of males, a bestower of kingship: bestow kingship on N. N.!' With that (water) he sprinkles ; for indeed that is the vigour of the water which rises when either beast or man plunges into it: it is with vigour he thus sprinkles him. This is one kind of water : it is that he now brings.
7. He then takes flowing (water) with (Vâg. S. X, 3), ‘Task-plying yeare, bestowers of kingship: bestow ye kingship on me, hail!Task-plying ye are, bestowers of kingship: bestow ye kingship on N. N.!' With that (water) he sprinkles; for with vigour these (waters) flow, whence nothing stops them flowing along : it is
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V KÂNDA, 3 ADHYAYA, 4 BRAHMANA, 10.
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with vigour he thus sprinkles him. This is one kind of water: it is that he now brings.
8. He then takes such (water) as flows against the stream of the flowing water with, 'Powerful ye are, bestowers of kingship: bestow ye kingship on me, hail!-Powerful ye are, bestowers of kingship: bestow ye kingship on N. N.!' With that (water) he sprinkles, for with vigour indeed those (waters) flow against the stream of the flowing ones: it is with vigour he thus sprinkles him. This is one kind of water : it is that he now brings.
9. He then takes (water) that flows off (the main current) with, 'Overflowing waters ye are, bestowers of kingship: bestow ye kingship on me, hail !-Overflowing waters ye are, bestowers of kingship: bestow ye kingship on N. N.!' With that (water) he sprinkles. Now that (flow of water), after separating itself from that (main current), comes to be that again !; and so there is in his kingdom even one belonging to some other kingdom, and even that man from another kingdom he absorbs: thus he (the Adhvaryu) bestows abundance upon him (the king), and it is with abundance that he thus consecrates him. This is one kind of water : it is that he now brings.
10. He then takes the lord of rivers (sea-water) with, “Thou art the lord of waters, a bestower of kingship: bestow thou kingship on me, hail!—Thou art the lord of waters, a bestower of kingship: bestow thou kingship on N. N.!'
That is to say, it ultimately flows back and mingles again with the main current.
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With that (water) he sprinkles him ; and that lord of rivers (the ocean) being the same as the lord of waters, he thereby makes him (the king) the lord of the people. This is one kind of water : it is that he now brings.
11. He then takes (water from) a whirlpool with, Thou art the offspring of the waters, a bestower of kingship: bestow thou kingship on me, haillThou art the offspring of the waters, a bestower of kingship: bestow thou kingship on N. N.! With that (water) he sprinkles. Now the waters enclose the offspring (embryo): he thus makes him the offspring of the people. This is one kind of water : it is that he now brings.
12. Then what standing pool of flowing water there is in a sunny spot, that (water) he takes with (Vág. S. X, 4), 'Sun-skinned ye are, bestowers of kingship: bestow ye kingship on me, hail!
-Sun-skinned ye are, bestowers of kingship: bestow ye kingship on N. N.!' With that (water) he sprinkles : it is with lustre he thereby sprinkles him, and makes him sun-skinned. Now it is to Varuna that those waters belong which, (whilst being part) of flowing water, do not flow; and Varuna's quickening (sava) is that Râgasůya : therefore he sprinkles him therewith. This is one kind of water: it is that he now brings.
13. He then catches such (water) as it rains while the sun shines, with, 'Lustrous as the sun ye are, bestowers of kingship: bestow ye kingship on me, hail !-Lustrous as the sun ye are, bestowers of kingship: bestow ye kingship on N. N.!' With this (water) he sprinkles : it is with lustre he thereby sprinkles him, and lustrous
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V KÂNDA, 3 ADHYAYA, 4 BRÂHMANA, 16.
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as the sun he thereby makes him. And pure indeed is such water as it rains while the sun shines, for before it has reached this (earth), he catches it : he thus makes him pure thereby. This is one kind of water : it is that he now brings.
14. He then takes (water) from a pond with, Pleasing ye are, bestowers of kingship: bestow ye kingship on me! Pleasing ye are, bestowers of kingship: bestow ye kingship on N. N.!' With that (water) he sprinkles: he thereby makes the people steady and faithful to him. This is one kind of water: it is that he now brings.
15. He then draws (water) from a well with, * Fold-dwellers ye are, bestowers of kingship: bestow ye kingship on me, hail !-Folddwellers ye are, bestowers of kingship: bestow ye kingship on N. N.!' With this (water) he sprinkles. He thereby brings (some of) the water which is beyond this (earth), and also he does so) for the completeness of the waters, this is why he sprinkles him therewith. This is one kind of water : it is that he now brings.
16. He then takes dew-drops 1 with, “Devoted ?
1 Sâyana explains 'prushva' by nîhârâh' (mist water), the commentators on Kâty. XV, 4, 38, by 'hoar-frost.'
It is difficult to see in what sense the author takes vâsa. While Mahîdhara (Vág. S. X, 4) explains it by 'pleasing' or 'desirable' (usyante ganaih kâmyantes nnanishpattihetutvât); Sâyana leaves a choice between that meaning (sarvaih kâmyamânâ) and that of
obedient, submissive' (yadvâ vasyâ stha, nîhâro hi nadîpraváhavan manushyâdigatim na pratibadhnâti, ato vasyatvam prushvânâm annådyâtmakatvam upapâdayati; MS. I. O. 657). The St. Petersburg dictionary gives the meaning submissive,' but leaves it doubtful whether it may not be derived from vasa, 'fat, grease.'
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ye are, bestowers of kingship: bestow ye kingship on me, hail !-Devoted ye are, bestowers of kingship: bestow ye kingship on N. N.!' With that (water) he sprinkles : it is with food he thereby consecrates him, and food he thereby bestows upon him. For even as this fire burns up (the wood) so does that sun yonder, even in rising, burn up the plants, the food. But those waters coming down, quench that (heat), for if those waters were not to come down, there would be no food left remaining here: it is with food he thus sprinkles him. This is one kind of water : it is that he now brings.
17. He then takes honey with, ‘Most powerful ye are, bestowers of kingship: bestow ye kingship on me, hail!—Most powerful ye are, bestowers of kingship: bestow ye kingship on N. N.!' With this (water) he sprinkles, and it is by the essence of the waters and plants that he thereby sprinkles him. This is one kind of water : it is that he now brings.
18. He then takes embryonic (waters) of a calving cow with, 'Mighty ye are, bestowers of kingship: bestow ye kingship on me, hail !—Mighty ye are, bestowers of kingship: bestow ye kingship on N. N.!' With that (water) he sprinkles: it is with cattle he thereby consecrates him. This is one kind of water: it is that he now brings.
19. He then takes milk with, Man-supporting ye are, bestowers of kingship: bestow ye kingship on me, hail!—Man-supporting ye are, bestowers of kingship: bestow ye kingship on N. N.!' With that (water) he sprinkles :
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V KÂNDA, 3 ADHYÂYA, 4 BRÂHMana, 24. 79
it is with cattle he thereby consecrates him. This is one kind of water: it is that he now brings.
20. He then takes clarified butter with, Allsupporting ye are, bestowers of kingship: bestow ye kingship on me, hail!-All-supporting ye are, bestowers of kingship: bestow ye kingship on N. N.!' With that (water) he sprinkles it is with the essence of cattle he thereby consecrates him. This is one kind of water: it is that he now brings.
"
21. Having then caught up (moist) sun-motes with the hollow of his hands, he mixes them (with the other kinds of water), with, 'Self-ruling waters ye are, bestowers of kingship: bestow ye kingship on N. N.!' For those sun-motes are indeed self-ruling waters, since they are flowing, as it were, and, not yielding to one another's superiority, keep being now higher now lower: he thus thereby bestows self-ruling power upon him. This is one kind of water: it is that he now brings.
22. These then are seventeen (kinds of) water he brings together, for Pragâpati is seventeenfold, and Pragâpati is the sacrifice: that is why he brings together seventeen kinds of water.
23. Now sixteen kinds of water are those he offers upon; and he offers sixteen oblations: that makes thirty-two. On two of them he does not offer, viz. on the water from the Sarasvati and on the sunmotes that makes thirty-four. For three and thirty are the gods, and Pragâpati is the thirtyfourth he thus makes him to be Pragâpati (the lord of creatures).
24. And as to why he takes (water) each time after offering, the ghee, to be sure, is a thunder
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bolt: having won them, one by one, by means of that thunderbolt, the ghee, and made them his own, he takes them.
25. And as to why he does not offer on the (water) from the Sarasvati,--Sarasvati, to be sure, is (the goddess of) Speech, and the ghee is a thunderbolt : ‘Lest I should injure (the goddess of) Speech !' thus (he thinks, and) therefore he does not offer on the water from the Sarasvati.
26. And as to why he does not offer on the sunmotes : "Lest I should offer that oblation in a doubtful way 1!' thus (he thinks, and) therefore he does not offer on the sun-motes.
27. He pours them together into an udumbara vessel with, Let the honey-sweet mix with the honey-sweet!'—'Let those full of essence mix with those full of essence!' he thereby says; "Winning great power (kshatra) for the Kshatriyal'in saying this he prays in a covert way for power to the Sacrificer.
28. He deposits them in front of the Maitrâvaruna's hearth, with, ‘Unimpaired rest ye, the strengthful!'-'unimpaired by the Rakshas rest ye!' he thereby says; and by strengthful' he means to say 'powerful;' 'bestowing great power on the Kshatriya;'-in saying this he prays in an overt way for power to the Sacrificer.
FIFTH BRAHMANA. 1. He consecrates him at the midday Soma-feast. Now Pragâpati is that sacrifice which is here performed, and whence these creatures have been
1 On account of the doubtful nature of the watery sun-motes.
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produced, and so they are even now produced after this one: he thus places him in the very middle of that Pragâpati, and consecrates him in the middle.
2. Before the Mâhendra (cup) has been drawn,for that Mâhendra cup is Indra's special (nishkevalya) cup, and so is that Nishkevalya Stotra (hymn) and Nishkevalya Sastra (recitation); and the Sacrificer is Indra; he thus consecrates him in his own resting-place. Hence before the Mâhendra (cup) has been drawn,—
3. He spreads a tiger-skin in front of the Maitrâvaruna's hearth', with (Vâg. S. X, 5), 'Thou art Soma's beauty.' For because when Soma flowed through Indra he (Indra) thereupon became a tiger, therefore he is Soma's beauty: this is why he says, 'Thou art Soma's splendour;'-'may my beauty become like unto thine!' He thus bestows the tiger's beauty on him: therefore he says, 'May my beauty become like unto thine !'
4. He then offers the Pârtha oblations. Now Prithin Vainya was consecrated first of men. He desired that he might appropriate to himself all food. They offered up for him those (oblations), and he appropriated to himself all the food here on earth. They would even call forest beasts to him, saying, 'Come hither thou (beast) so and so, the king wants to cook thee!' Thus he appropriated all food here on earth; and verily he appropriates to himself all food for whom that knows this those (oblations) are offered.
5. There are twelve of them, for there are
1 Viz. before the 'waters' deposited there, according to V, 3,
4, 28.
[41]
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twelve months in the year: therefore there are twelve of them.
6. Six he offers before, and six after, the consecration: he thereby places him in the very middle of that Pragâpati, and consecrates him in the middle.
7. Now of those which he offers before the consecration, Brihaspati is the last (recipient), and of those which he offers after the consecration, Indra is the first;-but Brihaspati is priestly dignity (brahma), and Indra is might, vigour: with these two kinds of vigour he thus encloses him on both sides.
8. Those which he offers before the consecration, he offers (resp.) with, 'To Agni hail!'-Agni is brightness (tegas): with brightness he thus sprinkles (endows) him ;-'To Soma hail!'-Soma is princely power (kshatra): with princely power he thus sprinkles him;-'To Savitri hail!'-Savitri is the impeller of the gods: impelled by Savitri he thus consecrates him ;- -To Sarasvati hail!'-Sarasvati is Speech: he thus sprinkles him with Speech ;-'To Pushan hail!'-Pushan is cattle: with cattle he thus sprinkles him;-To Brihaspati hail!'-Brihaspati is priestly dignity: with priestly dignity he thus sprinkles him. These he offers before the consecration: these are called the Agni-named ones.
9. Those which he offers after the consecration, he offers (resp.) with, 'To Indra hail!'-Indra is vigour with vigour he thus sprinkles him ;-'To the roar hail!'-roar means vigour: with vigour he thus sprinkles him;-To the noise hail!'noise means vigour : with vigour he thus sprinkles him; To Amsa hail!'-Amsa is vigour: with vigour he thus sprinkles him ;-'To Bhaga hail!'— Bhaga is vigour with vigour he thus sprinkles
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him ;-'To Aryaman hail!'—he thus makes him the friend (aryaman) of everything here. These he offers after the consecration : these are called the Åditya-named ones.
10. In front of the Maitrâvaruna's hearth are the (four) consecration vessels in which that consecration water is contained.
II. There is a palâsa (butea frondosa) one: with (the water of) that (vessel) a Brâhman sprinkles ;
-the Palåsa tree is priestly dignity (brahman): it is with priestly dignity that he sprinkles (endows) him.
12. There is an udumbara (ficus glomerata) one : therewith one of his own (kinsmen, or brothers) sprinkles. The udumbara tree means sustenance, (that is) food, and the own' means sustenance, for as far as a man's own goes, so far he does not hunger : thereby his own' is sustenance, and therefore one of his own (kinsmen) sprinkles with an udumbara (vessel).
13. There is one made of the foot (stem) of the nyagrodha (ficus indica): therewith a friendly (mitrya) Raganya sprinkles : for by its feets the
1 Viz. because three of the recipients of these libations-Amsa, Bhaga and Aryaman—belong to the deities called Âdityas, or sons of A diti.
The water in the Udumbara vessel is now distributed into these four (smaller) vessels.
* That is, by its pendant branches. It is well known that the ficus indica, or banyan-tree, as it is ordinarily called, has the babit of bending its branches down to the ground, which then strike root and develop new secondary trunks, so that a single tree may in course of time form a large grove. Hence the name here used for the tree (nyag-rodha, the downward-growing one).
A family tends to multiply families around it, till it becomes the centre of a tribe, just as the banyan tends to surround itself with a forest of its own offspring.' Maclennan, Primitive Marriage, p. 269.
G 2
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nyagrodha tree is supported, and by the friend (mitra) the Râganya (nobleman or king) is supported: therefore a friendly Râganya sprinkles with the water of a vessel) made of the foot of a nyagrodha.
14. There is an asvattha (ficus religiosa) one : therewith a Vaisya sprinkles. Because Indra on that (former) occasion called upon the Maruts staying on the Asvattha tree', therefore a Vaisya sprinkles with an asvattha (vessel). These are the consecration vessels.
15. He then prepares two strainers (pavitra), with (Vâg. S. X, 6), Purifiers ye are, Vishnu's own;'—the significance is the same (as before ?). He weaves gold (threads) into them. With them he purifies those consecration waters. As to why he weaves gold (threads) in;-gold is immortal life: that immortal life he lays into these (waters), and hence he weaves gold (threads) in.
16. He purifies with, ‘By the impulse of Savitri I purify you with a flawless purifier, with the rays of the sun. The significance is the same (as before 3). "Not downfallen thou art, the friend of Speech, born of heat,' 'unimpaired by the Rakshas' he means to say when he says, 'not downfallen;'--' the friend of Speech'
-as long as there is water in the vital airs, so long (man) speaks with speech : therefore he says, 'the friend of Speech.'
See above, p. 34, note 1. The Maruts are constantly identified with the Vis, or people (peasants, &c.) generally, whilst Indra is taken as the divine representative of the ruling class (the king and nobleman).
? See I, 1, 3, 1 (párt i, p. 19). * See I, 1, 3, 6 (part i, p. 21).
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17. 'Born of heat' he says, for from fire springs smoke, from smoke the cloud, from the cloud rain,it is from fire that these are produced : hence he says, 'born of heat.'
18. 'Soma's portion thou art;' for when they consecrate him with those (waters), then there is an oblation : therefore he says 'Soma's portion thou art;'-Hail, spiriters of kings !'-it is with * Hail' that he thus purifies them.
19. He distributes them over those (consecration) vessels, with (Vâg. S. X, 7), 'Playmates are these glorious waters; '--'not overbearing' he means to say, when he says 'playmates ;' and by these glorious waters' he means to say 'the powerful ones ; '-—'unimpaired, active, enveloping,' he thereby means to say 'ye are unimpaired by the Rakshas ;'-'In the habitations Varuna hath made a home;'—the habitations are the people (clans): 'in the people Varuna has made a support' he thereby says ;-he, the child of the waters, in the best of mothers; '--for he who performs the Râgasûya is indeed the child of the waters : therefore he says, 'the child of the waters, in the best of mothers.'
20. He then makes him (the king) put on garments. There is that one called tårpya 1; therein are
1 This is variously explained, by Katyayana and Sâyana, as a linen one, or simply one soaked in ghee, or a tripâna one-i.e. one made of triparna plants, or a thrice saturated one (with ghee) - or one woven out of materials derived from the tripâ plant. It is quite evident that they did not exactly know what to make of it. Indeed, it would almost seem as if the author of the Brâhmana himself was already doubtful as to the meaning of the term. Goldstücker (s.v. abhishekanîya) perhaps rightly takes it to mean a silk under-garment.
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wrought1 all forms of sacrifice that he makes him put on, with (Vâg. S. X, 8), 'Thou art the inner caul of knighthood (kshatra)!' He thus causes him to be born from out of what is the inner caul (amnion) of knighthood.
21. He then makes him put on one of undyed wool, with, 'Thou art the outer caul of knighthood!' He thus causes him to be born from what is the outer caul (chorion) of knighthood.
22. He then throws over the mantle, with, 'Thou art the womb of knighthood!' He thus causes him to be born from what is the womb of knighthood.
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23. He then draws the head-band together, and conceals it (tucks it under) in front, with, 'Thou art the navel of knighthood!' He thus places him in what is the navel of knighthood.
24. Now some wind it quite round about (the navel) saying, 'that (band) is his navel, and this navel goes all round.' But let him not do this, but let him merely tuck it under in front, for this navel is in front. And as to why he makes him put on the garments; he thereby causes him to be born 3,
1 According to the commentators, figures of sacrificial spoons, cups, &c., are sewn in by means of a needle.
1 The commentators do not seem to be quite in accord in regard to this particular item of the ceremonial. The most natural explanation, however, seems to be this: the head-band (turban, ushnîsha) is wound (? once) round the head and tied behind; the ends being then drawn over the shoulders so as to hang down from the neck in the manner of a brahmanical cord (or like the ribbon of an order); and being finally tucked in under the mantle somewhere near the navel.
Viz. inasmuch as the garments are intended to symbolically represent the vestures of the embryo and stages of birth.
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thinking, 'I will anoint him when born :' that is why he makes him put on the garments.
25. Now some put off those garments, and make him put on again the garment of initiation. But let him not do this; for, the limbs? being his natural vestments, they deprive him of his limbs, of his native bodily form. The garment of initiation belongs to Varuna. Let him put on one of those same garments : he (the priest) thereby causes him to be furnished with his limbs, his native bodily form. The garment of initiation belongs to Varuna : he thus saves him from the Varunic garment of initiation.
26. And when he enters the bath 8 they throw it into (the water). This is a congruous* performance. After putting on one of those same garments he comes out (of the bath). Let him give away those (garments) either when the omentum of the barren cow has been offered", or at the completing oblation6.
27. He (the Adhvaryu) then strings the bow, with, 'Thou art Indra's Vritra-killer;' for the bow
1 This change of garments takes place optionally when the Ma. hendra libation is about to be offered. Kâty. XV, 5, 16; 7, 23-26.
? That is, according to Sâyana, the skin, &c.
* That is, at the end of the Râgasûya. In case of the change of garments before the Mahendra libation, the king keeps on the initiation garment in entering and coming out of the bath. This paragraph is of course put in here by anticipation, merely in order to state all that relates to the garments.
• Viz. inasmuch as it is in accordance with what is done at an ordinary Soma-sacrifice, at the end of which the Sacrificer and his wife enter the bath and come forth with fresh garments. See part ii, p. 385. In the present case the king is to enter the bath clothed in one of those three garments, and in coming out he is to put on another of them.
. See part ii, pp. 391-2. . For the Udavasânîyâ-ishti, see ib. p. 389.
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is indeed a Vritra-killer, and the Sacrificer is Indra, -he is Indra in a twofold way, both as a Kshatriya, and as Sacrificer: therefore he says, “Thou art Indra's Vritra-killer.'
28. He then strokes the two arms !, with, Mitra's thou art,–Varuna's thou art;' for the bow is within the two arms, and by his two arms the Râganya pertains to Mitra and Varuna : therefore he says, 'Mitra's thou art, Varuna's thou art.' He hands it to him, with, ‘May he slay Vritra by thee!' whereby he means to say, 'May he slay by thee his spiteful enemy!'
29. He then hands him three arrows. That first one by which he pierces on shooting, that is one, that one is this earth, that one is called 'driba.' And the one by which (the enemy) being pierced lies either living or dead, that is the second, that is this air, that is called 'ruga.' And the one with which he misses (his aim) 3, that is the third, that is yonder sky, that is called 'kshumâ.' For these are the three (kinds of) arrows: therefore he hands him three arrows.
30. These he hands to him with, Protect ye him in front'!- Protect ye him from behind! --Protect ye him from the side! Protect ye
Viz. the arms of the king, as it would seem, according to Sâyana; but the arms (or ends) of the bow, according to Karka and Mahîdhara.
? Literally, on fixing (the arrow on the string); or perhaps, on hitting (the enemy).
• Sâyana takes a pa-râdh noti in the sense of he hurts (or hits)' the enemy. In the Kanva text (Grantha MS.) the three arrows are called rugâ, driva, and kshupâ resp.
• Or perhaps,—whilst (he is) moving forward,—whilst moving backward, whilst moving sideways.
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him from (all) quarters!' Thus he makes all the quarters safe from arrows for him. And as to why he hands the bow to him ;—this, the bow, truly is the nobleman's strength : it is because he thinks, ' I will consecrate him when endowed with strength!' that he hands the weapon to him?
31. Thereupon he makes him pronounce the avid formulas (Vâg. S. X, 9), 'In sight, ye mortals!' This is mysterious, for mysterious is Pragâpati: he thus announces him to Pragâpati, and this one approves of his consecration; and approved by him he is consecrated.
32. Present is Agni, the house-lord;'-Agni is the priesthood (brahman); he thus announces him to the priesthood; and it approves of his consecration, and approved by it he is consecrated.
33. 'Present is Indra, the far-famed;'—Indra is the nobility: he thus announces him to the nobility; and it approves of his consecration, and approved by it he is consecrated.
34. Present are Mitra and Varuna, the upholders of the law;'-Mitra and Varuna are the out-breathing and in-breathing: he thus announces him to the out-breathing and in-breathing, and they approve of his consecration, and approved by them he is consecrated.
35. Present is Pashan, the all-possessing;'
For a sham fight with arrows forming part of the ceremony in the Black Yagus ritual, see p. 100, note 1.
3 That is, as would seem, the formulas of information (or perhaps of announcement, introduction); the first of these formulas beginning with avis (in sight), the others with the participle à vitta, i.e.'obtained, present;' Sâyana and Mahîdhara, however, taking it in the sense of informed,'-a meaning which, indeed, the word may perhaps have been intended to convey in these formulas.
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Pashan is (the lord of) cattle: he thus announces him to the cattle, and they approve of his consecration; and approved by them he is consecrated.
36. 'Present are Heaven and Earth, the allpropitious;'-he thus announces him to those two, the heaven and the earth, and they approve of his consecration; and approved by them he is consecrated.
37. 'Present is Aditi, of wide shelter ;'-Aditi is this earth: he thus announces him to this earth, and she approves of his consecration, and approved by her he is consecrated. Thus to whatever deities he announces him, they approve of his consecration, and approved by them he is consecrated.
FOURTH ADHYAYA. First BRÂHMANA. 1. He puts a piece of copper into the mouth of a long-haired man, with (Våg. S. X, 10), ‘Removed by sacrifice are the mordacious.' For verily he who performs the Râgastya escapes all kinds of death, all murderous blows, and old age alone is his death: hence whatever kind of death, whatever murderous blow there is, past that he now guides him, as past the mordacious ones.
2. And as to why it is of a long-haired man,- such a long-haired man is neither woman nor man; for being a male, he is not a woman, and being longhaired (a eunuch), he is not a man. And copper (or bronze) is neither iron nor gold; and those mordacious ones (snakes) are neither worms nor non-worms. And as to its being copper,—reddish
· Lohầyasa, literally, red metal,' apparently either copper, or an alloy of copper and some other metal.--The eunuch is sitting in the Sadas.
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to be sure are mordacious ones: therefore (he throws it in the face) of a long-haired man.
3. He then makes him ascend the regions, with (Våg. S. X, 10-14), 'Ascend thou the East! May the Gayatri (metre) protect thee, the Rathantara-sâman, the threefold stoma, the spring season, the Priesthood, that precious treasure!'
4. 'Ascend thou the South! May the Trishtubh protect thee, the Brihat-sâman, the fifteenfold stoma, the summer season, the Knighthood, that precious treasure!'
5. 'Ascend thou the West! May the Gagati protect thee, the Vairûpa-sâman, the seventeenfold stoma, the rainy season, the Peasantry, that precious treasure!'
6. 'Ascend thou the North ! May the Anushtubh protect thee, the Vairâga-sâman, the twenty-onefold stoma, the autumn season, fruit, that precious treasure!'
7. 'Ascend thou the upper region! May the Pankti protect thee, the Såkvara and Raivatasåmans, the thrice-ninefold and the three and thirtyfold stomas, the winter and dewy season, spiritual lustre, that precious treasure!'
8. And as to why he makes him ascend the quarters,—that is a form of the seasons: it is the seasons, the year, that he thereby makes him ascend; and having ascended the seasons, the year, he is high, high above everything here, and everything here is below him. 9. On the hind part of the tiger's skin' a piece of
This was spread out in front of the Maitrâvaruna's hearth, see V, 3, 5, 3.
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lead is laid down. He kicks it off with his foot, with (Våg. S. X, 14), 'Kicked off is Namuki's head!' Now there was once an Asura, Namuki by name. Indra knocked him down, and trod with his foot upon him. And in that he, thus trodden upon, bulged out, that is the origin of) a rupture. He tore off his head with his foot, and therefrom sprang a goblin (Rakshas). That one kept calling out to him, 'Whither art thou going? Where wilt thou rid thyself of me?'
10. He beat it off with a disk of) lead: hence lead is soft; for it has lost its spring, as it beat off (the goblin) with all its might. Hence also, while being like gold, it is not worth anything ; for it has lost its spring, as it beat off (the goblin) with all its might. And so, indeed, he (Indra) thereby beat off the fiends, the Rakshas; and in like manner this one (the king) thereby beats off the fiends, the Rakshas.
11. He then makes him step upon the tiger's skin, with (Vâg. S. X, 15), «Thou art Soma's beauty;'-For because when Soma flowed through Indra, he (Indra) thereupon became a tiger, and therefore he is Soma's beauty: this is why he says, • Thou art Soma's beauty ;'- May my beauty be like unto thine!'—The tiger's beauty he thereby bestows upon him : therefore he says, "May my beauty be like unto thine!'
12. Below (the king's foot) he throws a (small) gold plate, with, Save (him) from death!'-Gold is immortal life: he thus takes his stand on immortal life.
13. Then there is (another) gold plate, perforated either with a hundred, or with nine, holes. If with
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a hundred holes,-man here lives up to a hundred (years), and has a hundred energies, a hundred powers; therefore it is perforated with a hundred holes. And if with nine holes,—there are in man those nine vital airs: therefore it is perforated with nine holes.
14. That (gold plate) he lays upon his head, with, Might thou art, victory thou art, immortality thou art!' Gold being immortal life, he thus lays immortal life into him. And as to why there are gold plates on both sides,gold being immortal life, --he thus encloses him on both sides with immortal life: this is why there are gold plates on both sides.
15. He then lifts up his arms, with (Våg. S. X, 16'), 'Golden-bodied, ye two lords rise like the sun: mount ye the chariot, O Mitra and Varuna, and thence behold Aditi and Diti!' Mitra and Varuna verily are the two arms, and the chariot (-seat) is the man: therefore he says,' Mount ye the chariot, O Mitra and Varuna !'—'thence behold Aditi and Diti!' By this he means to say, See ye your own (property) and that of others!'
16. Let him not lift up (the king's arms) with that one, but let him rather lift them up with, 'Thou art Mitra, thou art Varuna ;' for MitraVaruna are the two arms, and by his arms the Råganya belongs to Mitra and Varuna : let him therefore lift up his arms with, “Thou art Mitra, thou art. Varuna.'
" In Rik S. V, 62, 8 the verse runs as follows:-At the glow of the dawn, at the rising of the sun, ye, O Mitra and Varuna, mount your golden-formed, iron-pillared chariot; thence ye behold Aditi and Diti (? the boundless space and the bounded).
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17. And as to why he anoints him (standing) with upstretched arms ;-those arms in truth are the Râganya's power, and power also is that collected essence of the waters wherewith he now anoints him: 'Lest that power, the collected essence of the waters, weigh down (paralyze) this power of mine, the arms,' thus he thinks, and therefore he anoints him (standing) with upstretched arms.
SECOND BRAHMANA. 1. He (the king) is anointed (sprinkled) whilst standing with his face turned towards the east. A Brâhman-either the Adhvaryu, or he who is his (the king's) court chaplain-sprinkles him in front, from behind ;
2. With (Vág. S. X, 17), 'With Soma's glory I sprinkle thee,'—'with vigour' he thereby says ;With Agni's glow..."'-'with vigour' he thereby says ;—With Sarya's splendour ...,-'with vigour' he thereby says ;— With Indra's energy ...,-' with vigour' he thereby says ;— Be thou the chieftain of chiefs !'—'be thou the supreme king of kings' he thereby says ;– Guard (him) ? against darts !'-darts meaning arrows, it is past murder by arrows that he thus guides him : therefore he says, 'guard him against darts !'
3. [Vâg. S. X, 18] 'Quicken him, O gods, to
While the preceding formula is used by the priest, the present and two succeeding ones (each with the words '... I sprinkle thee; guard him against darts l') are pronounced by the other three persons specified in V, 3, 5, 12-14, each sprinkling the king with the water in his respective vessel.
: Mahîdbara explains: 'O Soma, protect him, the Sacrificer, in overcoming the enemy's missiles.'
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be unrivalled!'-he thereby says, ‘Quicken him, O gods, so as to be without an enemy;'-'For great chiefdom, for great lordship!'-in this there is nothing obscure;- For man-rule!'-' for the ruling of men' he thereby says;-'For Indra's lordly sway!'-'for power' he means to say, when he says, 'for Indra's lordly sway!'-'Him, the son of such and such (a man), the son of such and such (a woman),'-whatever be his parentage regarding that he says this;-of such and such a people'-that is to say, of the people whose king he is; This man, O ye (people), is your king, Soma is the king of us Brâhmans!'-he thereby causes everything here to be food for him (the king); the Brâhman alone he excepts: therefore the Brahman is not to be fed upon, for he has Soma for his king1.
4. He (the king) then rubs the sprinkled water
1 Either at this juncture, or after the game at dice, the Hotri recites the legend of Sunahsepha, as given Ait. Br. VII, 13-18.'King Hariskandra, of the race of Ikshvâku, being childless, made a vow that if he obtained a son he would sacrifice him to Varuna. A son was born, who received the name of Rohita, but the father postponed, under various pretexts, the fulfilment of his vow. When at length he resolved to perform the sacrifice, Rohita refused to be the victim, and went out into the forest, where he lived for six years. He then met a poor Brâhman Rishi called Agîgarta, who had three sons, and Rohita purchased from Agîgarta, for a hundred cows, the second son, named Sunahsepha, to be the substitute for himself in the sacrifice. Varuna approved of the substitute, and the sacrifice was about to be performed, the father receiving another hundred cows for binding his son to the sacrificial post, and a third hundred for agreeing to slaughter him. Sunahsepha, however, saved himself by reciting verses in honour of different deities, and was received into the family of Visvamitra, who was one of the officiating priests.' Dowson, Dict. of Hindu Mythology.
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over himself with the horn of a black antelope; for that collected essence of the waters wherewith he now anoints him means vigour : "May this vigour of mine spread through my whole self,' thus he thinks, and therefore he rubs it all over himself.
5. He rubs it over himself, with (Vag. S. X, 19), Forth from the back of the mountain, of the bull,'—even as the mountain stands out here, even as the bull stands out beyond the cattle, so does he who performs the Râgasaya stand out beyond everything here, and everything here is below him : therefore he says, 'Forth from the back of the mountain, of the bull,'-—' The ships keep moving, the self-pouring; they, the upwards bent, have turned back downwards, flowing after the 'dragon of the deep !!
6. He then makes him step the (three) Vishnusteps within (the extent of) the tiger's skin, with,
Vishnu's outstepping thou art! Vishnu's outstep thou art! Vishnu's step thou art!' Now Vishnu's outstepping (vikramana), Vishnu's outstep (vikrânta), and Vishnu's step (krânta): are these (three) worlds: thus having ascended these worlds, he is high above everything here, and everything here is below him.
7. He then pours the remainders (of the water) together into the Brâhman's vessel : he thereby makes the Brâhman an object of respect after the king, whence the Brâhman is an object of respect after the king.
* Ahi Budhnya, the núbor opes of Hellenic mythology (St. Petersburg dict.).
* In the Black Yagus ritual the three steps are called krama, kranta, and vikrânta.'
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8. And to him who is his (the king's) dearest son, he hands that vessel, thinking, 'May this son of mine perpetuate this vigour of mine!'
9. He then returns to the Gârhapatya fire, (his son) holding on to him behind, and offers, with (Vág. S. X, 20), 'O Pragâ pati, than thee none other hath encompassed all these forms: for whatsoever object we sacrifice, let that accrue unto us!—This one is the father of N. N.!'him who is the son, he makes the father, and him who is the father, he makes the son 1: he thereby links together the vigour of both of them.—'N. N. is the father of this one!' him who is the father, he makes the father, and him who is the son, he makes the son : after linking together the vigour of these two, he puts it again in the proper way,May we be the lords of riches, hail!'--this is the blessing of that ceremony: a blessing he thereby invokes.
10. And any residue that is left over, he offers in the Agnidhriya ; for redundant is that residue, and redundant also is the Agnidhriya,—in the Garhapatya they cook the oblations, and in the Ahavaniya they offer, but that one is redundant: thus he puts the redundant to the redundant. He offers it on the north part (of the hearth), for that is the region of that god (Rudra) : hence he offers it on the north
* By way of illustration, Mahîdhara explains what would have happened at the inauguration of king Dasaratha (of Ayodhyâ), the father of Râma; viz. in that case the first formula would run,
Rama is the father of Dasaratha;' and the second— Dasaratha is the father of Rama. According to the ceremonial of the Black Yagus the offering of the residue takes place at the house (first of the favourite son, according to Âpastamba, and then) of the queen. Taitt. S., vol. ii, p. 154.
[41]
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part. He offers with, 'O Rudra, whatever potent", highest name is thine, therein thou art an offering, thou art a home-offering, hail!
Third BRÂHMANA. 1. North of the Ahavaniya he places a hundred, or more than a hundred, cows of that relative of his. The reason why he does so is this :
2. When Varuna was consecrated, his energy, his vigour departed from him. Probably that collected essence (life-sap) of the waters wherewith they were sprinkling him, drove out his energy, his vigour. He found it in the cattle, and because he found it in them, therefore cattle are an object of respect. And having found it in the cattle, he again took to himself his energy, his vigour. And in like manner this one ;-that energy does not indeed depart from him, but he does it (thinking), 'This Râgasuya is Varuna's consecration, and Varuna did so.'
3. He takes down the chariot (from the stand 3); for whatever turns away from the warrior (râganya) that he overtakes with his chariot : for this reason he takes down the chariot.
4. He takes it down with (Vâg. S. X, 21), Thou art Indra's thunderbolt!' The chariot is indeed a thunderbolt; and the Sacrificer is Indra ;-he is Indra for a twofold reason, namely because he is a
1 The meaning of krivi (krayi, Taitt. S.) is doubtful. Mahîdhara derives it from 'kar' (to make or injure), in the sense of either efficacious,' or 'destructive.'-A Grantha MS. of the Kanva text reads kavi, 'wise.'
• I am now inclined to think that some such meaning as 'probably, perhaps' (more nearly, German 'wohl'), fits all the passages (in the Brahmanas at all events) where sasvat occurs.
3 See above, V, 1, 4, 3 seq.
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Kshatriya, and because he is a Sacrificer: therefore he says, 'Indra's thunderbolt thou art.'
5. Having turned it (so as to stand) inside the Vedi, he yokes it with, 'I yoke thee by the direction of Mitra and Varuna, the directors ? ;' for Mitra and Varuna are the two arms, and by his arms the Råganya belongs to Mitra and Varuna : that is why he says, “I yoke thee by direction of Mitra and Varuna, the directors.'
6. He yokes it with four (horses). He passes along by the same way as that on which the dakshinâs ? go,-behind the Sadas, and in front of the hall. He stops it behind the kâtvåla, and in front of the Agnidhra.
7. He mounts it with, 'For unfeebleness (I mount) thee, for svadhâs (I mount) thee!'—by 'for unfeebleness thee' he means to say, 'for a state free from afflictions (I mount) thee;' by 'for svadhâ thee' he means to say, 'for life-sap (I mount) thee;'-'I, the unharmed Arguna!' Now Indra is called Arguna, which is his mystic name; and this (king) is Indra for a twofold reason, namely because he is a Kshatriya, and because he is a Sacrificer: therefore he says, 'the unharmed Arguna.'
8. He then goads on the right yoke-horse, with, 'Conquer thou by the impulse of the Maruts!? For the Maruts are the clansmen, and it is by his
? Prasastri,' the director,' is also another name for the Maitravaruna priest.
? That is, the cows given to priests as sacrificial fee. For particulars regarding the passage by which they are driven to their destination, see part ii, p. 344, note i.
Probably here for well-being ;' the author, however, evidently takes it here in the sense of invigorating potion,' the drink offered to the deceased ancestors.
H2
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clan that the chieftain wins what he desires to win: therefore he says, ' Conquer thou by the impulse of the Maruts !'
9. He then stops (the chariot) in the midst of the cows', with, 'May we obtain by the mind!' For it is by the mind that everything here (that is obtained) is obtained; and by the mind therefore he now obtains everything : therefore he says, “May we obtain by the mind !'
10. He then touches a cow with the end of the bow, with, 'Together with energy!'-energy means vigour, kine : it is energy, vigour, he thereby takes to himself. And he adds, ‘I overpower them, I seize them!'
11. Now as to why he stops amidst the cows of his relative,—whatever is tending away from a man, be it either fame, or anything else, that passes over to his relative foremost of all ;—that energy, or vigour, he now takes again from his relative to himself: that is why he stops amidst the cows of his relative.
12. In return he presents to him just as many (cows) ?, or more. For assuredly he, the Sacrificer,
In the ceremonial of the Black Yagus a sham-fight takes place here. East or north of the sacrificial ground a Râganya has posted himself with bow in hand. The king discharges the arrows at him, with, Obtained is the mind !' and having thus, as it were, overpowered the enemy, he wheels round in a sunwise direction, with, 'I (have become endowed) with energy, with vigour! He then puts on shoes of boar's skin, with, Thou art the mettle of cattle,' gets down from the chariot, and puts on ornaments of silver, copper (as Sâyana here interprets audumbara), and gold (afterwards to be given to the Brahman). Then follow the oblations relating to the unyoking of the chariot. Taitt. S. I, 8, 15, with commentary.
2 Viz. as many as he has taken from him, a hundred or more.
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is not capable of a cruel deed ; but cruelly indeed he acts when he says, 'I overpower them, I seize them;' and thus that is done by him without cruelty : this is why, in return, he presents to him just as many (cows) or more.
13. He then pulls the right-side (horses, or reins). He passes along on the same way as that on which the dakshina (cows) go,-in front of the sacrificial post, and along the south of the Vedi. Behind the Sadas, and in front of the hall, he stops that (car).
14. (Våg. S. X, 22), 'Lest, O Indra, overpowerer of the mighty, we be wanting thee, heedless through ungodliness,-mount thou, O divine wielder of the thunderbolt, the chariot which thou restrainest (as well as its) well-horsed reins?' With this (verse) he stops (the chariot);-reins (rasmi *) means bridle (abhisu) : therefore he says, 'Thou restrainest the well-horsed reins. Thereupon he offers the (four oblations) relating to the unyoking of the chariot. 'Wellpleased the chariot shall be when unyoked,' he thinks, and therefore he offers the (oblations) relating to the unyoking of the chariot.
15. He offers with (Vâg. S. X, 23), “To Agni, the House-lord, hail!' He thereby pleases the part of the chariot relating to Agni; and it is the shoulder-pieces of the chariot that relate to Agni : it is the shoulder-pieces (of the yoke) he thereby pleases. And the house-lord's position means prosperity: as much as he (the king) rules over, for
? For a different version of this somewhat awkwardly constructed verse, see Rik S. V, 33, 3.
9 The explanation is given because the word has also the meaning 'ray.'
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the prosperity, the house-lordship, of that his kingship is thereby rendered free (unopposed).
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16. 'To Soma, the wood-lord (tree), hail!' There are two kinds of (objects) coming from trees, the wheels of chariots and waggons, for both of these he thereby ensures safety. And the wood-lord (tree) being Soma,-whatever part of the chariot comes from the tree, that he thereby pleases. Now the parts of the chariot coming from trees are the wooden pieces of the chariot : hence it is the wooden pieces he thereby pleases. And Soma being the nobility, it is over the nobility that his kingship is thereby rendered free.
17. To the strength of the Maruts, hail!' He thereby pleases the part of the chariot belonging to the Maruts, there are four horses, the chariot the fifth, and the warrior (chariot-fighter) and charioteer two-these are seven, and the host of the Maruts consists of (troops of) seven each : he thereby pleases the whole chariot; and the Maruts being the peasants, it is over the peasantry that his kingship is thereby rendered free.
18. 'To Indra's energy, hail!' He thereby pleases the part of the chariot that belongs to Indra. Now the warrior relates to Indra, and it is the warrior he thereby pleases. And Indra's energy (indriya) means the vigour in Indra1: it is in regard to energy, vigour, that his kingship is thereby rendered free.
19. He then puts on shoes of boar's skin. Now the gods once put a pot of ghee on the fire. Therefrom a boar was produced: hence the boar is fat,
1? Or, means vigour, Indra.
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for it was produced from ghee. Hence also cows readily take to a boar : it is indeed their own essence (life-sap, blood) they are readily taking to. Thus he firmly establishes himself in the essence of the cattle: therefore he puts on shoes of boar's skin.
20. Looking down on this (earth) he then mutters, O mother Earth, injure me not, nor I thee!' For the Earth was once afraid of Varuna, when he had been consecrated, thinking, 'Something great surely has he become now that he has been consecrated : I fear lest he may rend me asunderl' And Varuna also was afraid of the Earth, thinking, 'I fear lest she may shake me off! Hence by that (formula) he entered into a friendly relation with her; for a mother does not injure her son, nor does a son injure his mother.
21. Now this Râgasûya is Varuna's consecration; and the Earth is afraid of him, thinking, 'Something great surely has he become now that he has been consecrated : I fear lest he may rend me asunder!' And he also is afraid of her, thinking, 'I fear lest she may shake me off.' Hence he thereby enters into a friendly relation with her; for a mother does not injure her son, nor does a son injure his mother : therefore he mutters thus.
22. He steps down (from the chariot), muttering this atikhandas verse (Vág. S. X, 24; Rik S. IV, 40,5), 'The swan dwelling in the light, the Vasu dwelling in the air, the priest seated on the altar, the guest dwelling in the retreat (house), -the man-dwelling, the space-dwelling?, the law-dwelling, the sphere-dwelling, the water
Or perhaps, ‘in the best place (vara).' See VI, 7, 3, 11.
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born, cow-born, law-born, rock-born (is) the great truth. For that atikhandas (or excessive metre) comprises all the metres: thus evil does not descend along with him.
23. Let not the charioteer get down along with (or, after) him, lest he should descend on the same world on which the anointed (king) has just descended. They put him up, along with the chariot, on the carstand. Thence he leaps down : thus he does not descend on the same world on which the anointed has just descended?
24. North of the Åhavanfya is the original fire, taken up (from the hearth 2). Behind the right hind-wheel of the cart-stand he fastens two round satamânas 3.
25. He then hides an udumbara (ficus glomerata) branch in the wheel-track). He touches one of those two (plates), with (Vág. S. X, 25), 'So great thou art, life thou art: bestow life upon me! A yoke-mate thou art, lustre thou art: bestow lustre upon me!' He thereby takes life and lustre to himself.
26. He then touches the udumbara branch, with, 'Sustenance thou art: bestow sustenance upon me!' He thereby takes sustenance (strength) to himself. Those same two round satamânas are the fee for this ceremony. He gives them to the
According to Taitt. Br. I, 7, 9, 6, the king, on returning to the Vedi, is supposed to have ascended to the heavenly world (suvargaloka), from which the charioteer is to be excluded by this expedient.
: The Ahavaniya of the hall (the so-called “hall-door fire') has been lifted and placed on a cart.
o Or, two round (gold) plates, weighing a hundred mâna (or berries of Guñga, or Abrus Precatorius, the average weight of which is stated to be it'grains Troy).
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Brahman priest, for the Brahman protects the sacrifice from the south : therefore he gives them to the Brahman.
27. In front of the Maitrâvaruna's hearth the dish of curds for Mitra and Varuna has been deposited. He draws down to it his (the Sacrificer's) two arms !, with, 'I draw you down, the arms of Indra, the doer of mighty deeds. Now curds are the essence of cattle : hence it is to the essence of cattle that he thereby brings down his (the Sacrificer's) arms. And as to its being for MitraVaruna, it is because Mitra and Varuna are the two arms.
FOURTH BRÂHMANA. 1. He proceeds with the curds for Mitra-Varuna. Whilst the Svishtakrit of it remains yet unoffered, they bring a throne-seat for him (the king); for truly he who gains a seat in the air, gains a seat above (others): thus these subjects of his sit below him who is seated above,—that is why they bring him a throne-seat. It is of khadira (acacia catechu) wood, and perforated, and bound with thongs as that of the Bharatas.
2. He places it on the tiger's skin), in front of the Maitrâvaruna's hearth, with (Vág. S. X, 26), 'Thou art pleasant, thou art soft-seated!'-he thereby renders it kindly and auspicious.
3. He then spreads a mantle over it, with,' Thou art the womb (seat) of knighthood!'—he thus
1 Whilst this is done, the king stands on the tiger's skin, and the Adhvaryu hands him his bow and arrows. Thereupon the dish of curds is taken to the uttaravedi to be proceeded with. Kâty. Sr. XV, 6, 34-35.
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makes it (the king's throne) the very womb of knighthood.
4. He then makes him sit down on it, with, 'Seat thee on the pleasant one! seat thee on the soft-seated!'—whereby he says, “Seat thyself on the kindly and auspicious (seat)!'-' Seat thee in the womb of knighthood!'-thus he places him in what is the very womb of knighthood.
5. Having touched him on the chest, he then mutters (Vág. S. X, 27; Rik S. I, 25, 10), 'He hath sat down, the upholder of the sacred law,'the king indeed is the upholder of the sacred law, for he is not capable of all and every speech, nor of all and every deed; but that he should speak only what is right, and do what is right, of that he, as well as the Srotriya (the Brâhman versed in sacred writ), is capable; for these two are the upholders of the sacred law among men : therefore he says, 'He hath sat down, the upholder of the sacred law;'• Varuna, in the home-steads,'—the home-steads are the peasants (clans, people): among the peasants' he means to say ;-' for supreme rule, he the wise!'-'for kingship' he means to say when he says, 'for supreme rule, he the wise.'
6. He then throws the five dice into his hand,
1 The allusions to the game of dice in the early literature are not sufficiently definite to enable us to form a clear idea as to the manner in which the game was played. Sâyana, on our passage (as on Taitt. S. I, 8, 16), remarks that the dice here used consisted either of gold cowries (shells) or of gold (dice shaped like) Vibhîtaka nuts. That the (brown) fruit of the Vibhîtaka tree (Terminalia Bellerica)-being of about the size of a nutmeg, nearly round, with five slightly flattened sides—was commonly used for this purpose in early times, we know from the Rig-veda; but we do not know in what manner the dice were marked in those days. Accord
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with (Vâg. S. X, 28), 'Dominant thou art: may these five regions of thine prosper!'--now that
ing to the commentators, the game is played with five dice, four of which are called krita, whilst the fifth is called kali; and if all the dice fall uniformly (ekarūpa)—i. e. with the marked sides either upwards or downwards—then the player wins, and in that case the kali is said to overrule the other dice. In this case the kali would seem to represent the king. Kâty. Sr. XV,7, 18-19, however, admits of another mode of playing, by which the kali represents the sagâta (tribesman), whilst the king and those that come after him (in the enumeration in paragraphs 15-20) play the krita, &c. To understand this mode, we have probably to turn to Khandog. Up. IV, 1, 4, where it is said of the saint Raikva, that everything good fell to him, just as the lower dice (or casts) submit to the conquering krita. Here the commentators assign the names krita, tretâ, dvâpara, and kali to different sides of the die, marked respectively with 4, 3, 2, and i marks (anka).-In Taitt. Br. 1, 7, 10 the game at dice, at the Râgasûya, is referred to as follows :—With, 'This king has overcome the regions,' he hands (to the king) five dice; for these are all the dice: he thereby renders him invincible. They engage (to play) for a dish of rice (odana), for that is (a symbol of the chief: he thus makes him obtain every prosperity. He addresses them (with the epithets of far-famed, most prosperous, true king.' The Commentary and Sätras then supply the following explanations :—The keeper of the dice (akshâvâpa), having (marked off and) raised the gamblingground (by means of the wooden sword), and sprinkled it, throws down more than a hundred-or more than a thousand-gold dice. From them he takes five dice and hands them to the king: these, as representing the five regions, are taken to include all those dice. These explanations, so far from clearing up the doubtful points, seem rather to add to them. It may be noted, however, that in the well-known hymn, Rik S. X, 34, in which the gambler's state of mind is pictured in very expressive language, the dice of the game are apparently spoken of as tripankâsa vrâta, or the troop of fiftythree' (or thrice five, according to Ludwig's rather improbable conjecture). For other particulars see R. Roth, Zeitsch. d. deutsch. morg. Ges. II, p. 122; A. Weber, Ind. Stud. I, p. 284. According to Goldstücker (s.v. abhishekanîya) this game of dice is intended to symbolize the victory of the present age, or kali-yuga, over the former ages; but the commentator rather takes it as symbolizing the king's dig-vigaya, or victorious sway in every quarter.
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one, the Kali, is indeed dominant over the (other) dice, for that one dominates over all the dice: therefore he says, 'Dominant thou art may these five regions of thine prosper!' for there are indeed five regions, and all the regions he thereby causes to prosper for him.
7. They (the Adhvaryu and his assistants) then silently strike him with sticks on the back;-by beating him with sticks (danda) they guide him safely over judicial punishment (dandabadha): whence the king is exempt from punishment (adandya), because they guide him safely over judicial punishment.
8. Thereupon he chooses a boon; and, verily, whatsoever boon he who has been anointed chooses, that is completely fulfilled for him: therefore he chooses a boon.
9. 'O Brahman!' thus he addresses (the priest) the first time, thinking, 'I will first utter the (word)
If it were not for the clear and unmistakable interpretation of the commentators on the Brâhmana and Kâtyâyana, one might feel inclined to translate, 'thus he addresses the first-the second,' &c., so as to bring it into accord with the practice of the Black Yagus. This practice is as follows (Taitt. S. I, 8, 16, with commentary).— The priest moves the previously uplifted arms of the Sacrificer down to the Vaisvadeva dish of curds (cf. above, V, 4, 3, 27), with, 'Thou art Mitra !-thou art Varuna!' He then places the khâdira throne-seat on the vedi, covers it with a leathern (or fur) cover, with, 'Thou art the navel of the Kshatra, the womb of the Kshatra,' and makes the king sit down with, 'Seat thee on the pleasant one, seat thee on the soft-seated!' The king sits down, with, 'May it not injure thee! may it not injure me!' The priest then addresses him, with, 'He hath sat down, the upholder of the sacred law, Varuna in the home-steads, for supreme rule, he the wise!' The priests and Ratnins (see V, 3, 1, 1 seq.) then sit down in a circle round the king in order to do homage to him,-the Adhvaryu being seated towards the east, the Brahman towards the south, the Hotri
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Brahman, I will speak speech sped by the Brahman :' this is why he first addresses him with 'O Brahman!' The other answers, 'Thou art Brahman! Thou art Savitri of true impulsion!'-he thereby lays vigour into him, and causes Savitri to be of true impulsion.
10. O Brahman!' thus he addresses him the second time. The other answers, 'Thou art Brahman! Thou art Varuna of true power!'he thereby lays vigour into him, and causes Varuna to be of true power.
II. O Brahman!' thus he addresses him the third time. The other answers, 'Thou art Brahman! Thou art Indra, mighty through the people1!' he thereby lays vigour into him, and causes Indra to be mighty through the people.
12. O Brahman!' thus he addresses him the
towards the west, the Udgâtri towards the north. The king then addresses the Adhvaryu, with, 'O Brahman, (Om)!' That priest replies, 'Thou, O king, art Brahman, thou art Savitri of true impulsion.' In the same way the king addresses the Brahman, 'O Brahman!' and that priest replies, "Thou, O king, art Brahman, thou art Indra, of true energy!' Then the Hotri, who replies,
... thou art Mitra, the most kindly !'-the Udgâtri: ... thou art Varuna, of true laws!' Thereupon the Brahman hands the sacrificial sword to the king, with, 'Indra's thunderbolt thou art!' He then hands to him five dice, with, 'This king has overcome the regions !' see next note.-The charioteer, treasurer, and chamberlain are invited by the king (to the game?) by auspicious epithets ('far-famed one,' 'most prosperous one,' 'true king'). Thereupon the Hotri recites the story of Sunahsepa, whereupon follows the offering of the svishtakrit of the cake of the Maruts, and the dish of curds to the Visve Devâh.
1 Or, he whose strength is the people (vis, visa),—that is, the Maruts, in the case of Indra, and the subjects or peasantry in that of the king. Sây.
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fourth time. The other answers, 'Thou art Brahman! Thou art Rudra, the most kindly!'he thereby lays into him (the king) those former energies, and he appeases him (Rudra); and he, Rudra, therefore, is gracious to every one, because he (the priest) appeases him.
13. O Brahman!' thus he addresses him the fifth time. The other answers (undefinedly), 'Thou art Brahman!'-undefined means unlimited : thus heretofore he laid limited vigour into him ; but now he answers undefinedly; and undefined meaning unlimited, he thereby lays complete, unlimited vigour into him: therefore he answers here undefinedly.
14. He then hails him as one bearing auspicious names, -'Much-worker, better-worker, moreworker 1!' Whoever bears such names speaks auspiciously even with a human voice.
15. A Brâhmana then hands to him the sacrificial (wooden) sword, either the Adhvaryu, or he who is his (the king's) domestic chaplain-with,
Indra's thunderbolt thou art: therewith serve me!'—the sacrificial sword being a thunderbolt, that Brâhmana, by means of that thunderbolt, makes the king to be weaker than himself; for indeed the king who is weaker than a Brâhmana, is stronger than his enemies : thus he thereby makes him stronger than his enemies.
16. The king hands it to the king's brother, with, · Indra's thunderbolt thou art: therewith serve me!' Thereby the king makes his brother to be weaker than himself.
17. The king's brother hands it either to the
1 That is, increaser of the prosperity of himself and his people.
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Sata (minstrel and chronicler), or to the Governor, with, 'Indra's thunderbolt thou art: therewith serve me!' Thereby the king's brother makes the Sata, or the Governor, to be weaker than himself.
18. The Sata, or the Governor, hands it to the Gråmani (village-headman), with, 'Indra's thunderbolt thou art: therewith serve me!' Thereby the Sata, or the Governor, makes the headman to be weaker than himself.
19. The Grâmant hands it to a tribesman , with, 'Indra's thunderbolt thou art: therewith serve me!' Thereby the headman makes the tribesman to be weaker than himself. And as to why they mutually hand it on in this way, they do so lest there should be a confusion of classes, and in order that (society) may be in the proper order.
20. Thereupon the tribesman and the Pratiprasthầtris, with that sacrificial sword, prepare the gaming-ground, (close) by the original fire 4, with the puroruk verse of the Sukra 5. The Sukra is the eater : he thereby makes (him) the eater.
21. With the puroruk verse of the Manthin they then put up a shed (vimita). The Manthin cup is
· See p. 60, note.
? The sagâta would seem to be one of the peasant proprietors or 'sharers' constituting the village brotherhood' ruled over by the headman, and often actually belonging to the same family as the latter (Gaugenosse, clansman).
3 The first assistant of the Adhvaryu.
+ That is, north of the Âhavanîya fire, where the cart stands, containing the original (hall-door) fire.
o For this verse (Vág. S. VII, 12; Rik S. V, 44, 1), preceding the ordinary formula with which the Soma-cups are drawn, see IV, 2, 1, 9 (part ii, p. 280).
• Vâg. S. VII, 16; Rik S. X, 123, 1; see IV, 2, 1, 10.
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he that is to be eaten,—thus having first made (him) the feeder, they now make for him one to be fed upon : that is why they put up a shed with the puroruk verse of the Manthin cup.
22. The Adhvaryu then takes clarified butter in four ladlings, places a piece of gold on the gamingground, and offers with (Vág. S. X, 29), “May ample Agni, the lord of rites, delighted,-may ample Agni, the lord of rites, accept of the butter, hail!'
23. He (the Adhvaryu) throws down the dice, with, Hallowed by Svâ hâ, strive ye with Surya's rays for the middlemost place among brethren!' For that gaming-ground is the same as 'ample Agni,' and those dice are his coals, thus it is him (Agni) he thereby pleases; and assuredly in the house of him who offers the Râgasûya, or who so knows this, the striking of that cow is approved of. On those dice he says, 'Play for the cow!' The two draught oxen of the original (hall-door) fire are the sacrificial fee.
24. He then says, 'Pronounce the invitatory prayer to Agni Svishtakrit !' And as to why that ceremony is performed between two oblations,verily, Pragâpati is that sacrifice which is here performed, and from which these creatures have been produced,-and, indeed, they are even now produced after this one ;-thus he places him (the Sacrificer) in the very middle of that Pragâpati, and consecrates him in the very middle: that is why that ceremony is performed between two oblations.
1 Thus (not the slaying) according to the commentary on Kâty. Sr. XV, 7, 20, hantis kâhananamâtro na maranarthah.-The cow is the one staked by the tribesman (sagâta).
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Having called for the Sraushat, he says, ' Pronounce the offering-formula to Agni Svishtakrit,' and offers as the Vashat is uttered.
25. He then puts the idà on (the fire). After the invocation of Ida, he touches water and draws the Mahendra cup. Having drawn the Mahendra cup, he sets the chant agoing. He urges him (the Sacrificer) forward to the chant: he gets down (from the throne-seat); he is in attendance at the chant (stotra), in attendance at the recitation (sastra).
THE DASAPEYA.
FIFTH BRÂHMANA. 1. Now when Varuna was consecrated, his lustre departed from him,- lustre means vigour: that Vishnu, the Sacrifice, it was he that departed from him, probably that collected essence of the waters wherewith he is anointed on that occasion, drove out his lustre.
2. He stole after it with those deities !, -with Savitri, the impeller (prasavitri); with Sarasvati, speech; with Tvashtri, the forms of being ; with Pushan, cattle; with Indra, on the part of him ? (the Sacrificer); with Brihaspati, holiness; with Varuna, might; with Agni, fiery spirit; with Soma, the King;
'In the Black Yagus ritual the order of deities to whom the samsripam havîmshi' are offered is as follows,—Agni, Sarasvatî, Savitri, Pashan, Brihaspati, Indra, Varuna, Soma, Tvashtri, Vishnu. Cf. Taitt. S. I, 8, 17; Taitt. Br. I, 8, 1.
. Or, with Indra, for (the lost vigour) itself. Hardly, 'for us.' The Kânva text has 'indrenâsmai,' and so Sâyana (MS. I. O. 657): asmai apasritâya vîryâya tadadhînakaranârtham indrena; yad vâ vibhaktivyatyayah, anena viryena vîryavatâ indrena.
[41]
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—but only through Vishnu', the tenth deity, he found it.
3. And because he there stole after (anu-sam-srip) with those deities, hence the name Samsripah. And because he becomes consecrated on the tenth day, therefore (this ceremony is called) Dasapeya. And because each time ten (men) steal along : after each cup, therefore also it is called Dasapeya.
4. Here now they say,— Let him steal forth after enumerating ten Soma-drinking grandfathers 4: it is thus that he obtains for himself the Somadraught of this (Dasapeya), for it is a “ drinking of ten."' But that is an overburdening 5, for people (will
? It seems rather strange that Varuna and Vishnu should be included amongst the deities, with whose help Varuna sought to recover his vigour, or Vishnu the sacrifice; but—'Twere to consider too curiously, to consider so.
? That is, dasa (ten) and peya (drink, beverage).
: For an explanation of the noiseless mode of moving with bent bodies, called sarpanam, creeping,' see part ii, pp. 299, 450. It is in this way they are to move when they betake themselves to the respective fire-places for performing the samsrip oblations; as they also do when betaking themselves to the Sadas to drink the cups of Soma at the Soma-feast on the next day. When libations of Somajuice are made from the ten cups (kamasa, see part ii, p. 287), each cup is to be followed by ten Brâhmans who then take part in consuming the liquor in the Sadas- there being thus altogether one hundred Brâhmans taking part in these potations. The contents of the Sacrificer's cup, on the other hand, may be drunk by ten Râganyas (i.e. himself and nine others). See Kâty. XV, 8, 18-20; Taitt. S., vol. ii, p. 179.
• Sâyana takes this literally as meaning that he is to call out the name of the Sacrificer's grandfather, then the grandfather of that one and so on. The commentary on Kâty. XV, 8, 16, on the other hand, apparently takes it to mean ten forefathers of the Sacrificer who have performed Soma-sacrifices, from the grandfather upwards.
That is, an excessive demand, or, a weighing down, or crushing of the Sacrificer, making it impossible for him to perform the ceremony at all.
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be able to) obtain only two or three Soma-drinking grandfathers: hence let him steal forth after enumerating those same deities1.
5. For, surely, it was by those same deities that Varuna obtained the Soma-draught of that (Consecration-ceremony); and in like manner does this one now obtain the Soma-draught of that (ceremony): let him therefore steal forth after enumerating those same deities. Now as soon as the completing oblation of that Consecration-ceremony comes to an end,
2
6. He prepares those (samsrip) oblations,—a cake on twelve, or eight, potsherds for Savitri; for Savitri is the impeller of the gods: impelled by Savitri, Varuna on that occasion stole along; and in like manner does this one now steal along impelled by Savitri. At this (oblation) he presents one lotusflower 3.
7. He then prepares a (rice) pap for Sarasvati,for Sarasvati is speech, and it was with speech that Varuna on that occasion stole along; and in like manner does this one now steal along with speech. At this (oblation) he presents one lotus-flower.
8. He then prepares a cake on ten potsherds for Tvashtri,-for Tvashtri (the fashioner, creator) rules over living forms, and with Tvashtri, the living forms, Varuna on that occasion stole along; and in
That is to say, after pronouncing the mantra, Vâg. S. X, 30, agreeing partly with paragraph 2 above, viz. beginning, 'By Savitri, the impeller; by Sarasvatî, speech,'. and ending, 'by Vishnu, the tenth deity, impelled I steal forth.'
For the Udavasânîyâ ish/i, see part ii, p. 389.
The lotus-flowers presented on this occasion are gold ones, according to Sâyana, or optionally ordinary white or gold ones, according to Kâty. XV, 8, 5-6.
I 2
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like manner does this one now steal along with Tvashtri, the living forms. At this (oblation) he presents one lotus-flower.
9. He then prepares a pap for Pashan ;-for Pashan is cattle, and with cattle Varuna on that occasion stole along; and in like manner does this one now steal along with cattle. At this (oblation) he presents one lotus-flower.
10. He then prepares a cake on eleven potsherds for Indra ;-for Indriya means energy, vigour, and with vigour Varuna on that occasion stole along; and in like manner does this one now steal along with energy, with vigour. At this (oblation) he presents one lotus-flower.
11. He then prepares a pap for Brihaspati ;for Brihaspati means holiness, and with holiness Varuna on that occasion stole along; and in like manner does this one now steal along with holiness. At this (oblation) he presents one lotus-flower.
12. He then prepares a barley pap for Varuna ;with what vehemence Varuna seized the creatures, with that vehemence Varuna on that occasion stole along; and in like manner does this one now steal along with vehemence. At this (oblation) he presents one lotus-flower.
13. The deities of the Upasad are the (eighth, ninth, and) tenth'. At these (oblations) he presents
For the Upasad, or preliminary oblations of ghee to Agni, Soma, and Vishnu, to be performed twice daily for (usually) three days preceding an ordinary Soma-sacrifice, see part ii, p. 104. At the Dasapeya, the ten Samsrip-oblations take as it were the place of the ordinary Upasads, the latter being performed on the last three preliminary days along with, and to the same deities as, the last three Samsrip-oblations; or, according to some authorities,
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five lotus-flowers. That wreath of twelve lotusflowers he puts on himself; that is the initiation : by that initiation he initiates himself.
14. And as to why there are twelve (flowers),there being twelve months in the year, and the year being All, it is by the All that he thus initiates him: what flowers there are of the lotus, they are a form (an image) of the sky, they are a form of the stars ; and what seed-stalks there are, they aṣe a form of the air; and what suckers there are, they are a form of this (earth): thus he initiates him (to rule) over these worlds.
15. And having bought the King (Soma)', and
being substituted for them. There seems also some difference of opinion as to the exact time when the other preliminary ceremonies
-the procession and entrance of king Soma, the guest-meal, &c.are to take place, see paragraph 15.-According to Kâty. XV, 8, 14, these ceremonies are to take place on the seventh day (which the commentator, however, takes to mean the seventh day of the light fortnight of Kaitra; the first seven Samsrip-oblations being, according to him, performed on the day before). The Kânvas, however, perform these offerings on separate days.—The Taittirîya authorities seem also to be at variance with each other as to the exact relation of the Upasads and the last three Samsrip-oblations, the deities of the two being, according to their scheme, only partly identical. According to Apastamba (and Taitt. Br.) the first seven Samsrips are performed on so many days and, moreover, one Diksha on the seventh day. Then on the last three days the Samsrips and Upasads are combined in this way, that the eighth day's Samsrip is performed previous to, the ninth between, the tenth after the two daily Upasad-performances. Each of the ten oblations also requires a special set of fires for its performance, the first being laid down immediately north of the one used for the Abhishekaniya ceremony, the second immediately north of the first, &c.; the last Samsripoblation being performed in the fire-shed (sålå) of the Dasapeya proper. Kâty. XV, 8, 2–3; cf. Taitt. S., vol. ii, p. 176.
? Namely, at the beginning of the Abhishekaniya, or Consecration-ceremony when Soma-plants are purchased sufficient to last
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tied him up in two parts, they drive him around. Having then placed one-half on the throne-seat, he proceeds therewith. Having then placed on the throne-seat that portion which was deposited in the Brahman's house, he proceeds with the guest-meal. Whilst he is proceeding with the guest-meal, he performs the Upasads. Whilst he is performing the Upasads,
16. He prepares those (three) oblations,—a cake on eight potsherds for Agni; a pap for Soma; and a cake on three potsherds, or a pap, for Vishnu. Thus he performs the sacrifice in this way, if it pleases him.
17. But let him not do it in this way; for he who departs from the path of the sacrifice stumbles, and he who departs from the path of the Upasads certainly departs from the path of the sacrifice : let him therefore not depart from the path of the Upasads.
18. Now when he offers to Agni, he steals along with Agni, with fiery spirit; and when he offers to Soma, he steals along with Soma, the King; and when he offers to Vishnu,–Vishnu being the sacrifice,—he visibly obtains the sacrifice, and having visibly obtained it, he makes it his own (or, takes it in).
19. This same (Dasapeya) is an Agnishtoma sacrifice (performed) with the seventeenfold (stoma)"; for Pragâpati is seventeenfold, and Pragâpati is the
for both that ceremony and the succeeding Dasapeya ; the portion destined for the latter ceremony being meanwhile deposited in the Brahman's house.
* All the chants (stotra) of the Dasapeya are to be executed in the seventeenfold mode of chanting, or Saptadasa-stoma; for an example of which see part ii, p. 315, note 1.
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sacrificel : thus he visibly obtains the sacrifice, and having visibly obtained it, he makes it his own.
20. Twelve heifers with first calf are the sacrificial fee for this (sacrifice); for twelve months there are in the year, and the year is Pragâpati, and Pragâ pati is the sacrifice : thus he visibly obtains the sacrifice, and having visibly obtained it, he makes it his own.
21. These (heifers) have twelve embryo calves,that makes twenty-four; for twenty-four half-moons there are in the year, and the year is Pragâpati, and Pragâpati is the sacrifice : thus he visibly obtains the sacrifice, and having visibly obtained it, he makes it his own.
22. He gives them to the Brahman, for the Brahman guards the sacrifice from the south : therefore he gives them to the Brahman. To the Udgâtri (chanter) he gives the gold wreath, to the Hotri the gold plate, to the two Adhvaryus two golden mirrors, to the Prastotri (precentor) a horse, to the Maitravaruna a sterile cow, to the Brâhmanâkhamsin a bull, to the Neshtri and Potri two garments, to the Akhâvâka (a cart) laden with barley, and yoked (with an ox) on one side, to the Agnidh an ox?
23. Now there are here either twelve or thirteen 3 presents,-for either twelve or thirteen are there months in the year, and the year is Pragâ pati, and Pragapati is the sacrifice: thus he visibly obtains the sacrifice, and having visibly obtained it he makes it his own.
See p. 8, note.
The text has 'gâm agnidhe,' i. e. either a bull,' or a cow! So also Kâty. XV. 8, 27. Sâyana, however, refers to another authority,-anadváham agnidha iti sâtritam,... vahnir va anadvân iti hi taittirîyakam.
* That is, according to Sâyana, counting the unborn calves.
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FIFTH ADHYAYA. FIRST BRAHMANA.
1. There is a cake on eight potsherds for Agni: this he places on the eastern part (of the Vedi). There is either a cake on eleven potsherds for Indra, or a rice-pap for Soma: this he places on the southern part. There is a pap for the Visve Devâh (All-gods): this he places on the western part. There is a dish of curds for Mitra-Varuna: this he places on the north part. There is a pap for Brihaspati: this he places in the middle. This is the five-holed pap1;-what five sacrificial dishes (havis) there are, for them there are five holes : hence the name 'five-holed pap.'
2. And as to why the performer of the Râgasûya should perform this offering: because he (the priest) makes him ascend the regions, the seasons, the hymns and metres, he now redeems him therefrom by this (offering). But were the performer of the Ragasûya not to perform this offering, then verily he would become intoxicated (with pride) and would fall down headlong: that is why the performer of the Râgasûya performs this offering.
3. And why he proceeds with the cake on eight
1 According to Sâyana (MS. I. O. 657) the term 'Pañkabila' is derived from the circumstance that the vessel (pâtrî) on which the five sacrificial dishes are placed when taken about to be 'deposited' on the vedi, contains five holes or openings for the dishes to be taken out. The Pankabila oblations are to be performed during the light fortnight succeeding the performance of the Dasapeya, that is to say, during the fortnight commencing with the new moon of Vaisâkha, or in the latter part of April. The Taittirîya ceremonial calls these oblations the 'Disâm aveshtayah,' i. e. • Sacrifices performed for the appeasement of the regions.'
'Or, would become giddy (in flying through space), cf. Taitt. Br. I, 8, 3, I.
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potsherds for Agni,-because he makes him ascend the eastern region, the seasons, the hymns and metres, he now redeems him therefrom by this (oblation). The remains of it he pours on the Brihaspati pap.
4. And why he proceeds with the cake on eleven potsherds for Indra, or with the pap for Soma,because he makes him ascend the southern region, the seasons, the hymns and metres, he now redeems him therefrom by this (oblation). The remains he pours on the Brihaspati pap.
5. And why he proceeds with the pap to the Allgods,- because he makes him ascend the eastern region, the seasons, the hymns and metres, he now redeems him therefrom by this (oblation). The remains he pours on the Brihaspati pap.
6. And why he proceeds with the dish of curds for Mitra-Varuna,-because he makes him ascend the northern region, the seasons, the hymns and metres, he now redeems him therefrom by this (oblation). The remains he pours on the Brihaspati pap. And in that he pours those remains on the Brihaspati pap, he thereby bestows food upon him? (the Sacrificer); and hence food is brought to the king from every quarter.
7. And why he proceeds with the Brihaspati pap, -because he makes him ascend the upper region, the seasons, the hymns and metres, he now redeems him therefrom by this (oblation).
8. And what cake on eight potsherds there is for Agni, the priest's fee for that is gold; for that offering is for Agni, and gold is Agni's seed: there
· Or, puts food into him.
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fore the fee is gold. He gives it to the Agnidh ; for he, the Agnidhra, is really the same as Agni : therefore he gives it to the Agnidh.
9. And what cake on eleven potsherds there is for Indra, the fee for that is a bull, for the bull is Indra. And if there be a pap for Soma, then the fee for that is a brown ox, for the brown one is sacred to Soma. He gives it to the Brahman, for the Brahman guards the sacrifice from the south : . therefore he gives it to the Brahman.
10. And what pap there is for the All-gods, the fee for that is a piebald bullock; for abundance of forms (marks) there is in such a piebald bullock, and the Visve Devâh are the clans, and the clans mean abundance: therefore a piebald bullock is the fee. He gives it to the Hotri, for the Hotri means abundance: therefore he gives it to the Hotri.
11. And what dish of curds there is for MitraVaruna, the fee for that is a sterile cow, for that one is sacred to Mitra-Varuna. If he cannot procure a sterile cow, any unimpregnated one will do; for every sterile cow is indeed unimpregnated. He gives it to the two Adhvaryus; for the Adhvaryus are the out-breathing and the in-breathing, and the out-breathing and in-breathing are Mitra-Varuna : therefore he gives it to the two Adhvaryus.
12. And what pap there is for Brihaspati, the fee for that is a white-backed bullock; for to Brihaspati belongs that upper region, and above that there is that path of Aryaman2: therefore a whitebacked (bullock) is the fee for the Brihaspati (pap). He gives it to the Brahman, for Brihaspati is the
i Or rather, that upward direction. ? That is, the region of light, of the sun. See V, 3, 1, 2 with note.
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Brahman of the gods, and this one is his (the Sacrificer's) Brahman : therefore he gives it to the Brahman. Even a vishthâvragin' who is desirous of food may perform this offering : he (the priest) thereby bestows food upon him from all quarters, and verily he becomes an eater of food.
SECOND BRAHMANA. 1. He performs the oblations of teams (prayugâm havimshi). The reason why he performs the oblations of teams, is that the anointed thereby yokes the seasons, and thus yoked those seasons draw him along, and he follows the seasons thus yoked : therefore he performs the oblations of teams.
2. There are twelve of these (oblations), for there are twelve months in the year: that is why there are twelve. “Let him make offering month by month,' they say. Who knows about (the life of) man? Let him therefore not make offering month by month. Moving eastward he offers six of them each at the distance of the yoke-pin's throw from the other 3; and then turning backward he offers six, each at a yoke-pin's throw from the other.
The meaning of this compound is unknown. Sâyana explains it as meaning one who does not move from one spot, one who always remains in one and the same place. Hence the St. Petersburg dictionary conjectures: 'One whose herd (or cattle-pen, vraga, vrâga) is stationary.' Similarly, Prof. Weber, in Böhulingk's Dictionary. See, however, the Kânva reading above, p. 50, note 1, according to which the word would seem to mean one afflicted with a certain malady (cholera or dysentery). The 'Pankabila' offering may be performed as a special ishti, independently of the Râgasûya. 3"But who (knows if he) will live a year?' Taitt. Br. I, 8, 4, 3.
In that case, he could offer them as distinct ishhis, each with its special barhis, and moving eastwards from the Ahavaniya fire.
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3. But let him not do it thus. He prepares those first six so as to have a common barhis", after the manner of those deities (of the first six oblations); even as in early spring they would yoke their team and go onward until the rainy season, so does he now yoke the six seasons, and thus yoked the six seasons draw him forward and he follows the six seasons thus yoked until the rainy season. Two of the (oxen) drawing the original (hall-door) fire are the sacrificial fee.
4. He prepares the last six oblations so as to have a common barhis, after the manner of those (six) deities. Even as they would return again towards the rainy season, so does he yoke the six seasons, and thus yoked the six seasons draw him towards the rainy season, and he follows the six seasons thus yoked, in the rainy season. Two of the (oxen) drawing the original fire are the sacrificial fee. And as to why the (oxen) drawing the original fire are the sacrificial fee,--the consecrated (king) now yokes the seasons, and it being oxen that (actually) draw (and thus represent the seasons), therefore the (oxen) drawing the original fire are the sacrificial fee.
5. Now as to this the Kurupañkålas used formerly to say, 'It is the seasons that, being yoked, draw us, and we follow the seasons thus yoked. It was because their kings were performers of the Râgasaya that they spake thus.
i That is to say, the first six oblations are to be combined and performed together as a single offering, without changing the covering of sacrificial grass on the altar.
* Sâyana supplies 'kings,' and refers to Taitt. Br. I, 8, 4, 1, where the Kurupañkala (kings) are said to issue forth in the dewy season (on a raid over the eastern country), and to return with their booty at the end of the hot season. See paragraph 5.
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6. There is a cake on eight potsherds for Agni, a pap for Soma, a cake on twelve or eight potsherds for Savitri, a pap for Brihaspati, a cake on ten potsherds for Tvashtri, and one on twelve potsherds for (Agni) Vaisvânara—these are the first six oblations.
7. The six last are paps,-a pap for Sarasvati, a pap for Pashan, a pap for Mitra, a pap for Kshetra pati (the Landlord or Lord of the manor), a pap for Varuna, and a pap for Aditi,--these are the last six paps.
8. Thereupon they seize 1 a reddish-white (cow) which is clearly with calf, (as a victim) for Aditi. The mode of procedure regarding her is the same as that of the eight-footed barren cow ? Now, Aditi being this earth, it is her embryo (child) he thereby causes him (the king) to be. The sacrificial fee for this (cow-offering) is just such a reddish-white cow that is clearly with calf.
9. They then seize a dappled one, which is clearly with calf, (as a victim) for the Maruts. The mode of procedure regarding this one is the same. The Maruts being the clans, he thereby makes him the embryo 3 of the clans. The sacrificial fee for this (cow-offering) is just such a dappled (cow) that is clearly with calf.
* In the Taittirîya ceremonial this animal sacrifice precedes the 'prayugâm havîmshi;' being itself succeeded in the first place by the sâtyaddtânâm havîmshi.'
. On the course of procedure regarding the 'ashtâpadi,' or (supposed) barren cow, found ultimately to be impregnated, see part ii, p. 391 seq.
: That is, he causes him to spring forth from the midst of the people, and be protected by them on all sides.
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10. These two animal victims, whilst being such, are seized (by some) in a different way. The one that is seized for Aditi, (some) seize for the Adityas,
-the Adityas being the All, he (the priest) thereby makes him the embryo of the All (universe). And the one that is seized for the Maruts, (some) seize for the All-gods,—the All-gods being the All, he thereby makes him the embryo of the All.
THE KESAVAPANİYA.
THIRD BRAHMANA. 1. When he has performed the Consecrationceremony (Abhishekaniya), he does not shave his hair. The reason why he does not shave his hair (is this) :—that collected essence of the waters wherewith he is then sprinkled (anointed) is vigour, and it is the hair (of his head) that it reaches first when he is sprinkled ; hence were he to shave his hair, he would cause that glory to fall off from him, and would sweep it away : therefore he does not shave
his hair.
2. He does not shave his hair for a year 1,religious observance is of equal measure with the year, hence he does not shave for a year : the Kesa vapaniya, namely, is a (day of) praise
He is, however, allowed to shave his beard. According to Láty. Sr. IX, 2, 20 seq., he is to pass his nights during the year in the fire-house on a tiger's skin; he is never to enter the village, and is constantly to keep up the fire. Nor is any one in his kingdom, except a Brâhman, to get his hair cut, and even the horses are to remain unclipped.
The Kesava paniya, or 'hair-cutting' (sacrifice), the fourth of the seven Soma-sacrifices enjoined for the inauguration of a king, is to be performed on the full-moon of Gyeshtha (about
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singing (stoma) with the view of the termination of the religious performance.
3. Twenty-onefold is (each stotra of) its Morningservice, seventeenfold (of) the Midday-service, fifteenfold (of) the Evening-service, together with the Uktha (stotras), the Shodasin, and (the twelve stotras of) the Night-service.
4. The Twilight (hymn) is (performed in the) Trivrit (stoma), and with the Rathantara (tune). For the twenty-onefold (stoma) is he that burns yonder (the sun); from that twenty-onefold one he (the Sacrificer) parts, and descends again to the seventeenfold one; from the seventeenfold one to the
May 1), a twelvemonth after the Abhishekaniya, and is to take the form of the Atirâtra-Gyotishloma. As usual, the author only alludes to any special. peculiarities from the ordinary performance. The ordinary ascending scale of stomas-viz. the Trivrit-stoma for the Bahishpavamâna-stotra, the Pankadasa for the Âgya-stotras and the Mâdhyandina-pavamâna; the Saptadasa for the Prishthastotras, and the Tritîya-pavamâna; and the Ekavimsa-stoma for the Agnishloma-saman-prescribed for the twelve stotras of the Agnishtoma (part i, p. 310 seq.), is to be reversed on the present occasion, and the scale of stomas is to be a descending one. The succeeding stotras-viz. (13-15) the three Uktha-stotras; (16) the Shodasin; and (17–28) the three rounds of the night service requiring four stotras each—are likewise to be performed in the Parkadasa (or fifteen-versed) stoma, employed for the hymns of the evening pressing.
1 The Sandhi-stotra, or Twilight hymn, Sâma-veda II, 99-104, is the final stotra of the Atirâtra (part ü, p. 398). Each of the three couplets is, as usual, sung as a triplet, the three thus producing the nine verses of the Trivrit-stoma. The Rathantara tune, to which the couplets are to be sung, is given in the Uhyagâna (Sâma-veda, vol. v, p. 381), but with different verses, viz. Sâma-veda I, 30, 31 (abhi två sûra nonumo), the verses most commonly sung to that famous tune. The chanters' manuals of the Atirâtra (e. g. Ind. Off. MS. 1748) accordingly adapt the tune to the verses here required (enâ vo agnim namaso).
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fifteenfold one; and from the fifteenfold one he plants his foot on this firm footing, the Trivrit (stoma).
5. The Rathantara is the Prishtha (stotra)1 of this (sacrifice); for the Rathantara is this (earth): it is on her, as on a firm footing, he thereby plants his feet. It is an Atirâtra (sacrifice),-the Atirâtra is a firm footing: therefore it is an Atirâtra.
6. He only cuts down his hair, but does not shave it; for that collected essence of the waters with which he is sprinkled is vigour, and it is the hair that it reaches first when he is sprinkled. Thus were he to shave off his hair he would cause that glory to fall off from him, and would sweep it away. But when he cuts it down, he attaches that glory to his own self: therefore he only cuts down his hair, but does not shave it. This is for him a religious observance as long as he lives he does not stand on this (earth with bare feet).
7. From the throne-seat he slips into the shoes; and on shoes (he stands), whatever his vehicle may be, whether a chariot or anything else. For verily he who performs the Râgasûya is high above everything here, and everything here is beneath him;-therefore this is for him a religious observance: as long
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1 The first (or Hotri's) Prishtha-stotra at the midday-service is either the Rathantara, Sâma-veda II, 30, 31 (as for instance at the Agnish/oma), or Brihat-sâman II, 159-160 (as at the Ukthya sacrifice). The Brihat is also ordinarily chanted at the Atirâtra, but on the present occasion the Rathantara is to be substituted for it.
Sâyana interprets this passage so as to imply two separate injunctions:-'For as long as he lives this (cutting down of his hair) is a religious observance for him; and he does not stand on the ground (without shoes).' The repetition in the next paragraph, however, renders this interpretation very improbable.
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as he lives he does not stand on the earth (with bare feet).
THE SAUTRÂMANÍ.
FOURTH BRÂHMANA. 1. There is a reddish-white (he-goat as the victim) for the Asvins, for the Asvins are reddish-white. There is an ewe with teats in the dewlap? for Sarasvati; and a bull he seizes for Indra Sutraman (the good protector) S. Difficult to obtain are beasts with such perfections ; if he cannot obtain any
The last three Soma-sacrifices of the Inauguration-ceremony are not even alluded to by the author, their performance involving no features different from those of the normal Soma-sacrifice. The Vyushti-dvirâtra, or 'two nights' ceremony of the dawn,' consists of an Agnishloma and an Atirâtra Soma-sacrifice, to be performed a month after the Kesavapanîya (or, according to Taitt. Br. I, 8, 10, a fortnight after, viz. on the new-moon, and the first day of the light fortnight respectively). Finally, the Kshatra-dhriti, or
wielding of the ruling-power,' an Agnishtoma, is performed a month later, or on the full-moon of Sravana (about 1 August). Som authorities, however, allow the Soma-sacrifices of the Inaugurationceremony to conclude with the Kesavapanîya Atirâtra (Kâty. Sr. XV, 9, 26), perhaps for the very reason that no mention is made in the Brahmana of the remaining three Soma-days. The final Somasacrifice is followed, in the succeeding fortnight of the waxing moon, by the performance of the Sautrâmanî, some peculiar features of which the author now proceeds to consider. This ceremony (one of the objects of which is the expiation of any excess committed in the consumption of Soma-juice) is considered in the sacrificial system as the last of the seven forms of Haviryagna; being a combination of the ishh with the animal sacrifice. As this ceremony is also performed after the Agnikayana, or construction of the fire-altar, it is more fully dealt with by the author later on (Kanda XII, 7 seq.).
* Prof. R. Wallace's 'India in 1887' (plate 39) contains a photographic representation of an Indian goat with pendicles like teats.
* In the case of the somâtipavita,' not the 'somavâmin,' the Taittirîyas slaughter a fourth victim to Brihaspati.
[41]
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with such perfections, they may slaughter only goats, for they are easier to cook. And if they seize only goats, that for the Asvins is a red one. Then as to why he performs this sacrifice.
2. Now Tvashtri had a three-headed, six-eyed son! He had three mouths; and because he was thus shapen, he was called Visvarûpa (All-shape').
3. One of his mouths was Soma-drinking, one spirit-drinking, and one for other food. Indra hated him, and cut off those heads of his.
4. And from the one which was Soma-drinking, a hazel-cock sprang forth; whence the latter is of brownish colour, for king Soma is brown.
5. And from the one which was spirit-drinking, a sparrow sprang; whence the latter talks like one who is joyful, for when one has drunk spirits, one talks as one who enjoys himself.
6. And from the one which was for other (kinds of) food, a partridge sprang; whence the latter is exceedingly variegated : ghee drops indeed have, as it were, dropped on his wings in one place, and honey-drops, as it were, in another; for suchlike was the food he consumed with that (mouth).
7. Tvashtri was furious: 'Has he really slain my son?' He brought Soma-juice withheld from Indra?; and as that Soma-juice was, when produced, even so it remained withheld from Indra.
1 This portion of the legend is but a repetition from I, 6, 3, 1 seq. A few alterations are, however, made here in the translation.
? Or, 'Soma from which Indra was excluded' (apendra), as formerly translated; a closer rendering of the succeeding clause making this change desirable ;—even as Indra was excluded from the Soma-juice when produced, so he remained excluded from it (when it was offered up).
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8. Indra thought within himself: 'There now, they are excluding me from Soma!' and even uninvited he consumed what pure (Soma) there was in the tub, as the stronger (would consume the food) of the weaker. But it hurt him: it flowed in all directions from (the openings of) his vital airs; only from his mouth it did not flow. Hence there was an atonement; but had it flown also from his mouth, then indeed there would have been no atonement.
9. For there are four castes, the Brahmana, the Râganya, the Vaisya, and the Sûdra; but there is not one of them that vomits Soma; but were there any one of them, then indeed there would be atone
ment.
10. From what flowed from the nose a lion sprang; and from what flowed from the ears a wolf sprang; and from what flowed from the lower opening wild beasts sprang, with the tiger as their foremost; and what flowed from the upper opening that was the foaming spirit (parisrut). And thrice he spit out: thence were produced the (fruits called) 'kuvala, karkandhu, or badara'.' He (Indra) became emptied out of everything, for Soma is everything.
11. Being thus purged by Soma, he walked about as one tottering. The Asvins cured him by this (offering), and caused him to be supplied with everything, for Soma is everything. By offering he indeed became better.
12. The gods spake, 'Aha! these two have saved him, the well-saved (sutrâta):' hence the name Sautrâmani.
1 The berries of three different species of the Zizyphus jujuba, or jujube-tree.
The MS. of Sâyana's commentary reads 'atrâsâtâm.'
K 2
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13. Let him also cure by this (ceremony) one purged by Soma ;-he whom Soma purges is indeed emptied out of everything, for Soma is everything. He now causes him to be supplied with everything, for Soma is everything; and by offering he indeed becomes better : let him therefore cure thereby also one purged by Soma.
14. And as to why the performer of the Râgasůya performs this offering. He who performs the Râgasûya assuredly gains for himself all sacrificial rites, all offerings, even the spoonful-oblations; and instituted by the gods indeed is this offering, the Sautrâmant : May offering be made by me with this one also ! may I be consecrated by this one also !' thus (he thinks, and) therefore the performer of the Râgasûya performs this offering.
15. And as to why there is a victim) for the Asyins,—it was the Asvins who cured him; and in like manner does he (the priest) now cure him through those same Asvins : that is why there is (a victim) for the Asvins.
16. And why there is one for Sarasvati --Sarasvati assuredly is speech, and it was by speech that the Asvins cured him; and in like manner does he now cure him by speech : that is why there is one for Sarasvati.
17. And why there is one for Indra,—Indra assuredly is the deity of the sacrifice, and it is by this (offering) that he now heals him : this is why there is one for Indra.
18. On (the meat-portions of) those victims he throws hairs of a lion, hairs of a wolf, and hairs of a tiger, for that was what sprang therefrom, when Soma flowed right through him. He now supplies
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him therewith, and makes him whole: therefore he throws those (hairs) thereon.
19. But let him not do it so; for he who throws them on the (portions of) the victims, urges the animals on from behind with a clawed (prickly) fire-brand. Let him therefore rather throw them into the fermented liquor (parisrut'),—thus he does not urge on the animals from behind with a clawed fire-brand ; and thus alone he supplies him therewith, and makes him whole : let him therefore throw it rather into the spirituous liquor.
20. Now on the day before, he mixes the spirituous liquor (while muttering, Väg. S. X, 31), 'Get done for the Asvins! get done for Sarasvati! get done for Indra, the good protector!' When that liquor is (done) he proceeds with that offering).
21. They take up two fires; on the northern altar(they lay down) the northern (fire), and on a raised (mound) the southern one, thinking, 'Lest we should offer together the Soma-libations, and the Surà (liquor) -libations :' therefore they take up two fires, and on the northern altar (they lay down the northern (fire), and on a raised (mound) the southern one. And when he proceeds with the omenta, then he proceeds with that spirituous liquor.
22. He purifies it with stalks of Darbha-grass, thinking, 'Let it be pure,'—with (Vâg. S. X, 31), 'The inviting & Soma, purified by the purify
? On the preparation of the parisrut or surâ, see XII, 7; Weber, Ind. Studien, X, p. 349.
• The two new fireplaces, to the east of the Ahavaniya, are to be constructed on the model of those of the Varunapraghasah, see part i, p. 392.
• This doubtful interpretation of vâyu' is adopted from the St.
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ing (strainer), has overflown backwards, Indra's mated friend.' He then pours in flour of 'kuvala, karkandhu, and badara' berries, for when he (Indra) spit out thrice, that was what was produced therefrom therewith he now supplies him and makes him whole, therefore he pours in that (flour).
23. He then draws either one or three cups 1,but only one should be drawn, for there is one puroruk-formula, one invitatory prayer, and one offering prayer; therefore only one (cup) should be drawn.
24. He draws it with (Vâg. S. X, 32), 'Yea, even as the owners of barley cut their barley, spreading it asunder in due order, so hither, hither, bring thou the nourishments of them that offer up the devotional invocation of the Barhis 2-Thou art taken with a supportthee for the Asvins, thee for Sarasvati, thee for Indra, the good protector!' And if he draw three (cups), let him draw them with that same (verse); but let him in that case draw them with separate 'supports.' He then says, 'Recite the
Petersburg dictionary, where, however, it is only applied to two passages of the Rig-veda. Sâyana here explains it by 'pâtrâni gakkhan vâyuvak khîgragâmî vâ bhûtvâ pratyan adhovartî pâtrâbhimukhah san.' In the Taitt. S. this verse is preceded by another (Rik S. IX, 1, 6), 'May Surya's daughter purify thy foaming (parisrut) Soma with the never-failing horse-tail (strainer).'
1 According to the ritual of the Taittirîyas, three cups of Surâ are drawn.
Rik S. X, 131, 2, and Taitt. S. I, 8, 21 read-' hither, hither bring the nourishments of them that have not gone to the devotional up-pulling (cutting) of the barhis-grass' (but differently Sâyana, that have not gone to the neglect of the devotion of the barhis ').
That is to say, he is to repeat the formula, 'Thou art taken
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invitatory prayer to the Asvins, to Sarasvati, and to Indra Sutrâman!'
25. He recites (Vag. S. X, 33 ; Rik S. X, 131, 4), Ye, O Asvins, lords of splendour, having quaffed the cheering (Soma) together with Namuki, the Åsura, helped Indra in his deeds!' Having called for the Sraushat, he says, ' Pronounce the offering prayer to the Asvins, to Sarasvati, and to Indra Sutraman!'
26. He prays (Vâg. S. X, 34; Rik S. X, 131, 5), *As the parents (stand by) their son, so the two Asvins have stood by thee, O Indra, with wise plans and wonderful deeds; when thou quaffedst the cheering (Soma), Sarasvati cured thee, O Lord, by her services.' Twice the Hotri utters the Vashat, twice the Adhvaryu offers and fetches drink. And if he draw three (cups of liquor), then after the offering of that one the other two are offered.
27. Now there is a pitcher perforated either with a hundred, or with nine, holes. If it is one with a hundred holes,-man lives up to a hundred (years), and has a hundred energies, and a hundred powers : therefore it is perforated with a hundred holes. And if with nine holes,—there are in man those nine vital airs: therefore it is perforated with nine holes.
28. This (pitcher), hung up by a sling, they hold just over the Åhavaniya!. He pours into it what spirituous liquor has been left over, and whilst it is
with a support,' each time followed by a special dedication, 'thee for the Asvins l' &c.
That is, over the southern one of the two new fires, the one laid down on a raised mound.
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trickling through, he stands by worshipping with the three verses 1 of the Pitarah Somavantah (the Fathers accompanied by Soma), with three verses of the Pitaro Barishadah (the Fathers seated on the barhis), and with three verses of the Pitaro Agnishvâttâh (the Fathers consumed by the fire). And as to why he thus stands by worshipping, when Soma flowed through Indra, what part of it then went to the Fathers—there being three kinds of Fathers—therewith he now supplies him and makes him whole: therefore he thus stands by worshipping.
29. He then prepares those oblations ,--a cake on twelve or eight potsherds for Savitri, a barley pap for Varuna, and a cake on eleven potsherds for Indra.
30. And why there is one for Savitri,—Savitri is the impeller of the gods, and impelled by Savitri he now heals 8: therefore there is one for Savitri.
1 These triplets to the Fathers are given Våg. S. XIX, 49-51; 55-57; 58-60.–The Taitt. ritual here has a curious variation. After the remainder of the (pure) liquor has been offered to the Fathers, a Brâhman is to be bought over to drink the dregs; and if such an one cannot be found (willing to do it), they are to be poured away on an ant-hill. This is to be done for the sake of atonement.
? That is, according to Kâtyâyana (XV, 10, 19) and Sayana, the pasu-purodâ sa, or cakes of the animal offering. The performance of these is irregular, inasmuch as their deities are not the same as those of the animal sacrifice (the Asvins, Sarasvatî, and Indra Sutraman). Taitt. Br. I, 8, 6, 1, however, explains that in this case the animal sacrifices are without animal cakes,' the libations of liquor, which indeed are offered to the same deities, being in lieu of them.
* The object of the Sautrâmanî offering is to heal or 'make whole' the Sacrificer.
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31. And why there is one for Varuna,–Varuna is the injurer, and he thus heals him even by him who is the injurer : therefore there is one for Varuna.
32. And why there is one for Indra,—Indra is the deity of the sacrifice, and he thus heals him by him who is the deity of the sacrifice: therefore there is one for Indra.
33. And if by that (Sautrâmant-offering) he would heal one purged by Soma', then—(after) the afteroffering (of the animal sacrifice) has been performed, and the two spoons separated-he proceeds with those (three) oblations. For it is towards the back part that Soma flows through, and at the back part (of the sacrifice) he thus closes him up by that sacrificial essence. Let him in that case prepare a cake on two potsherds for the Asvins ; and when he proceeds with the offering of the omenta, then he also proceeds with that two-kapala cake for the Asvins.
34. Let him, however, not do it in this way; for verily whosoever departs from the path of the sacrifice stumbles, and he who does this indeed departs from the path of the sacrifice. Hence at the very time when they proceed with the omenta of those victims, let them then proceed also with those (three) oblations, and let him not then prepare a two-kapâla cake for the Asvins.
35. A castrated bull is the sacrificial fee for this
That is to say, if it is performed, independently of the Rågasûya, as a special offering with a view to expiating any excess committed at a Soma-sacrifice.
' A glance at the list of contents prefixed to part ii will show how this shifting of the Pasu-purodása would alter the regular order of procedure.
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(sacrifice);—the castrated bull is neither female nor male; for being a male it is not a female, and being a female (unmanned) it is not a male : therefore a castrated bull is the fee. Or a draught-mare;-the draught-mare is neither male nor female; for in that it pulls the cart it is not a female; and being a female, it is not a male: therefore a draught-mare (may be) the fee.
FIFTH BRÂHMANA.
1. He prepares a cake on twelve potsherds for Indra and Vishnu. Now as to why he makes this offering. Of old, everything here was within Vritra, to wit, the Rik, the Yagus, and the Sâman. Indra wished to hurl the thunderbolt at him.
2. He said to Vishnu, 'I will hurl the thunderbolt at Vritra, stand thou by me!'--'So be it !' said Vishnu, ‘I will stand by thee: hurl it !' Indra aimed the thunderbolt at him. Vritra was afraid of the raised thunderbolt.
3. He said, 'There is here a (source of) strength: I will give that up to thee; but do not smite me!' and gave up to him the Yagus-formulas. He (Indra) aimed at him a second time.
4. He said, 'There is here a (source of) strength: I will give that up to thee; but do not smite me!' and gave up to him the Rik-verses. He aimed at him a third time.
5. •There is here a (source of) strength : I will give that up to thee; but do not smite me!' and gave up to him the Saman-hymns (or tunes). Therefore they spread the sacrifice even to this day in the same way with those (three) Vedas, first with the
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Yagus-formulas, then with the Rik-verses, and then with the Saman-hymns; for thus he (Vritra) at that time gave them up to him.
6. And that which had been his (Vritra's) seat, his retreat, that he shattered, grasping it and tearing it out': it became this offering. And because the science (the Veda) that lay in that retreat was, as it were, a threefold (tridhâtu) one, therefore this is called the Traidhâtavi (ishti).
7. And as to why the oblation is one for Indra and Vishnu, it is because Indra raised the thunderbolt, and Vishnu stood by him.
8. And why it is (a cake) on twelve potsherds, there are twelve months in the year, and the offering is of equal measure with the year: therefore it is one of twelve potsherds.
9. He prepares it of both rice and barley. He first puts on (the fire) a ball of rice, that being a form (symbol) of the Yagus-formulas; then one of barley, that being a form of the Rik-verses; then one of rice, that being a form of the Sâman-hymns. Thus this is made to be a form of the triple science: and this same (offering) becomes the Udavasâniyâishti (completing oblation) for the performer of the Rågasûya.
10. For, verily, he who performs the Râgasûya gains for himself (the benefit of) all sacrificial rites, all offerings, even the spoonful-oblations; for him the sacrifice becomes as it were exhausted, and he, as it were, turns away from it. Now the whole sacrifice is just as great as that triple Veda; and this (offering) now is made a form of that (Veda, or
· Cf. III, 2, 1, 28.
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sacrifice); this is its womb, its seat: thus he commences once more the sacrifice by means of that triple Veda; and thus his sacrifice is not exhausted, and he does not turn away from it.
11. And, verily, he who performs the Râgasūya gains for himself all sacrificial rites, all offerings, even the spoonful-oblations; and this offering, the Traidhâtavi (ishti), is instituted by the gods : May this offering also be performed by me, may I be consecrated by this one also !' thus he thinks, and therefore this is the completing offering for him who performs the Râgasaya.
12. And also for him who would give to the priests) a thousand (cows) or more 1, let this be the completing offering. For he who gives a thousand or more becomes as it were emptied out; and that triple Veda is the thousandfold progeny of Vâk (speech): him who was emptied out he thus fills up again with a thousand; and therefore let it be for him also the completing offering.
13. And also for those who would sit through (perform) a long sacrificial session, for a year or more, let this be the completing offering. For by those who sit through a long sacrificial session, for a year or more, everything is obtained, everything conquered; but this (offering) is everything : let it therefore be for them also the completing offering.
14. And indeed one may also practise magic by this (offering); for it was thereby thať Arani be
i For a (three days') Soma-sacrifice with a sacrificial fee of a thousand cows, the Trirâtra Sahasradakshina, see part ii, p. 414.
* See part ii, pp. 426, 440 seq.
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witched Bhadrasena Âgâta satrava 1: 'Quick, then, spread (the barhis)!' thus Yâgñavalkya used to say. And by this (offering) indeed Indra also shattered Vritra's retreat; and, verily, he who therewith practises magic shatters thereby the retreat (of his enemy): therefore one may also practise magic with this (offering).
15. And, indeed, one may also heal thereby; for, verily, whomsoever one would heal by a single rik, by a single yagus, by a single saman, him he would indeed render free from disease; how much more so by the triple Veda! Therefore one may also heal by this offering).
16. Three gold pieces of a hundred mânas? each are the sacrificial fee for this offering). He presents them to the Brahman; for the Brahman neither performs (like the Adhvaryu), nor chants (like the Udgåtri), nor recites (like the Hotri), and yet he is an object of respect. And with gold they do nothing, and yet it is an object of respect : therefore he presents to the Brahman three gold pieces of a hundred mânas each.
Apparently the son of Agâtasatru, king of Kâsî, who is mentioned as having been very proficient in speculative theology, and jealous, in this respect, of king Ganaka of Videha.
According to Sâyana, these 'satamânas' are similar to the round plate worn by the king during the Consecration-ceremony; see p. 104, note 2. These plates (as the 'rukmas' generally, VI, 7, 1, I seq.) were apparently used for ornament only, not as coins.
Sâyana explains this to mean that gold is not used for actual consumption, but only indirectly, as for vessels on which food is served, or in traffic, as a medium of barter ;—the gold thus never losing its appearance, its glory.' See II, 1, 1, 5, 'Hence also one does not cleanse oneself with it (?), nor does one do anything else with it.'
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17. Three milch cows (he gives) to the Hotri;for three milch cows mean abundance, and the Hotri means abundance : therefore (he gives) three milch cows to the Hotri.
18. Three garments (he gives) to the Adhvaryu;for the Adhvaryu 'spreads' the sacrifice, and the garments spread themselves (over the body)? : therefore (he gives) three garments to the Adhvaryu. A bullock (he gives) to the Agnidh.
19. Now there are here either twelve, or thirteen gifts, and there are either twelve or thirteen months in the year ;-the offering thus is of equal measure with the year: that is why there are either twelve or thirteen sacrificial gifts.
i Or, people spread the clothes (either in weaving them, or in putting them on). "To spread the sacrifice' is the regular term for the ceremonial practice of spreading the sacrificial fire from the Gârhapatya (or household fire) over the other two hearths, and thus for the performance of the sacrifice generally.
? See p. 119, note 2.
* That is, taking the calves of the three milch cows into account; and optionally counting the gift to the Âgnîdhra.
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SIXTH KÅNDA.
THE AGNIKAYANA, OR BUILDING OF THE
FIRE-ALTAR.
CREATION OF THE UNIVERSE.
FIRST ADHyÂYA. First BRÂHMANA. 1. Verily, in the beginning there was here the non-existent? As to this they say, 'What was that non-existent ?' The Rishis, assuredly,—it is they that were the non-existent?. As to this they say,
Who were those Rishis ?' The Rishis, doubtless, were the vital airs : inasmuch as before the existence of) this universe, they, desiring it, wore themselves out (rish) with toil and austerity, therefore (they are called) Rishis.
2. This same vital air in the midst doubtless is Indra. He, by his power indriya), kindled those (other) vital airs from the midst; and inasmuch as he kindled (indh), he is the kindler (indha): the kindler 3 indeed,-him they call 'Indra' mystically
Or, perhaps, In the beginning this (universe) was indeed nonexistent. Thus J. Muir, Or. S. T. IV, p. 22, of which translation of this cosmogonic myth considerable use has been made here. It need scarcely be remarked that 'idam'is constantly used in an adverbial sense in the Brahmana.
? In the original, the non-existent' is the subject of the clause, not the predicate as would appear from the translation. A similar transposition seems often advisable in English, for the sake of emphasis, and on other grounds. Muir's rendering, The Rishis say that in the beginning there was non-existence,' is a mistake.
The nominative here is striking, and vivid, cf. paragraph 1 below. In corresponding passages of the preceding books, the accusative would stand here; e. g. II, 1, 2, 4, saptarshîn u ha sma vai purarksba ity akakshate; similarly III, 1, 2, 3.
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SATAPATHA-BRAHMANA.
(esoterically), for the gods love the mystic. They (the vital airs), being kindled, created seven separate persons 1 (purusha).
3. They said, 'Surely, being thus, we shall not be able to generate: let us make these seven persons one Person!' They made those seven persons one Person: they compressed two of them (into) what is above the navel, and two of them (into) what is below the navel; (one) person was (one) wing (or side), (one) person was (the other) wing, and one person was the base (i. e. the feet).
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4. And what excellence, what life-sap (rasa) there was in those seven persons, that they concentrated above, that became his head. And because (in it) they concentrated the excellence (srî), therefore it is (called) the head (siras). It was thereto that the breaths resorted (sri): therefore also it is the head (siras). And because the breaths did so resort (sri) thereto, therefore also the breaths (vital airs, and their organs) are elements of excellence (sri). And because they resorted to the whole (system) therefore (this is called) body (sartra).
5. That same Person became Pragâpati (lord of generation). And that Person which became Pragâpati is this very Agni (fire-altar), who is now ¡ (to be) built.
6. He verily is composed of seven persons, for this Person (Agni) is composed of seven persons3,
1 That is, living beings or souls, individualities, which, in their combined form, are here imagined to take the shape of a bird. Muir's rendering, 'males,' can scarcely commend itself.
Literally, 'those two.'
The fire-altar is usually constructed so as to measure seven
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to wit, the body (trunk) of four, and the wings and tail of three; for the body of that (first) Person (was composed of) four, and the wings and tail of three. And inasmuch as he makes the body larger by one person, by that force the body raises the wings and tail.
7. And as to the fire which is deposited on the built (altar),-whatever excellence, whatever lifesap there was in those seven persons, that they now concentrate above, that is his. (Pragâpati's) head. On that same (head) all the gods are dependent (srita), for it is there that offering is made to all the gods: therefore also it is the head (siras).
8. Now this Person Pragâpati desired, 'May I be more (than one), may I be reproduced!' He toiled, he practised austerity. Being worn out with toil and austerity, he created first of all the Brahman (neut.), the triple science. It became to him a foundation: hence they say, 'the Brahman (Veda) is the foundation of everything here.' Wherefore, having studied (the Veda) one rests on a foundation; for this, to wit, the Veda, is his foundation. Resting on that foundation, he (again) practised austerity.
9. He created the waters out of Vâk (speech, that is) the world; for speech belonged to it: that was
man's lengths square; the particular length being that of the Sacrificer. This, however, is the smallest size allowed for an altar, there being altogether ninety-five different sizes specified, varying between seven and 101 man's lengths square.
1 Or, perhaps, to him (Pragâpati). Sâyana merely says,-vâg evâsya sâsrigyata, vâk sahakâri rasanam abhavat, tad asrigyatety arthah; sâ vâk sahakâri rasanam prâgâpatya(m) srishtam sad idam sarvam âpnot. On the part which Vâk (the personification of the Brahman or Veda) takes by the side of Pragâpati in the creation
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created (set free). It pervaded everything here; and because it pervaded (ap) whatsoever there was here, therefore it is called) water (apah); and because it covered (var), therefore also it (is called) water (vâr).
10. He desired, “May I be reproduced from these waters!' He entered the waters with that triple science. Thence an egg arose. He touched it.
Let it exist! let it exist and multiply !' so he said. From it the Brahman (neut.) was first created, the triple science. Hence they say, 'The Brahman (n.) is the first-born of this All. For even before that Person the Brahman was created: it was created as his mouth. Hence they say of him who has studied the Veda, that'he is like Agni ;' for it, the Brahman (Veda), is Agni's mouth.
11. Now the embryo which was inside was created as the foremost (agri) : inasmuch as it was created foremost (agram) of this All, therefore it is called) Agri: Agri, indeed, is he whom they mystically call ? Agni; for the gods love the mystic. And the tear (asru, n.) which had formed itself 3 become the 'asru' (m.): 'asru' indeed is what they mystically call'asva' (horse), for the gods love the
of the universe, and the parallelism between Vâk and ddyos, see Weber, Ind. Stud. IX, p. 473 seq.; Muir, Or. S. T. V, p. 391. Thus Pank. Br. XX, 14, 2, ' Pragâpati alone existed here. He had Vak indeed as his own, as a second to him.
· Muir takes this differently,-Further, (as) the Veda was first created from that Male, therefore it was created his mouth. This translation, however, takes no account of the particle 'hi.' . For the construction, see above, paragraph 2, with note.
Literally, which had flowed together. It is explained as the embryonic liquid in the amnion, or innermost membrane enveloping the foetus.
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mystic. And that which, as it were, cried 1 (ras), became the ass (râsabha). And the juice which was adhering to the shell (of the egg) became the he-goat (aga?). And that which was the shell became the earth.
12. He desired, “May I generate this (earth) from these waters!' He compressed its and threw it into the water. The juice which flowed from it became a tortoise; and that which was spirted upwards (became) what is produced above here over the waters. This whole (earth) dissolved itself all over the water : all this (universe) appeared as one form only, namely, water.
13. He desired, May it become more than one, may it reproduce itself!' He toiled and practised austerity; and worn out with toil and austerity, he created foam. He was aware that 'this indeed looks different, it is becoming more than one): I must toil, indeed!' Worn out with toil and austerity, he created clay, mud, saline soil and sand, gravel (pebble), rock, ore, gold, plants and trees : therewith he clothed this earth.
14. This (earth), then, was created as (consisting of) these same nine creations. Hence they say, "Threefold (three times three) is Agni ;' for Agni is this earth), since thereof the whole Agni (firealtar) is constructed.
15. “This (earth) has indeed become (bha) a foundation !' (he thought): hence it became the earth (bhdmi). He spread it out (prath), and it
'? Or, that part (of the egg) which made a noise (in cracking).
* The word aga' is apparently fancifully taken here in the sense of unborn (a-ga).' * That is, the earth when as yet in the form of the egg-shell.
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became the broad one (or earth, prithivi). And she (the earth), thinking herself quite perfect", sang; and inasmuch as she sang (ga), therefore she is Gayatrf. But they also say, 'It was Agni, indeed, on her (the earth's) back, who thinking himself quite perfect, sang; and inasmuch as he sang (gầ), therefore Agni is Gâyatra.' And hence whosoever thinks himself quite perfect, either sings or delights in songs
SECOND BRAHMANA. 1. That Pragậpati desired, ' May it multiply, may it be reproduced !' By means (or, in the form) of Agni he entered into union with the Earth: thence an egg arose. He touched it: 'May it grow! May it grow and multiply!' he said. : 2. And the embryo which was inside was created as Vayu (the wind). And the tear which had formed itself became those birds. And the juice which was adhering to the shell became those sun-motes.
And that which was the shell became the air. i 3. He desired, “May it multiply, may it reproduce itself!' By means of Vayu he entered into union with the Air: thence an egg arose. He touched it, saying, “Bear thou glory!' From it yonder sun was created, for he indeed is glorious. And the tear which (asru) formed itself became that variegated pebble (asman); for 'asru' indeed is what
· Abhimâninîstrsvigrahâ yasmâd agâyad tasmad iyam Gâyatrî, Sây.— Because, like a haughty woman, she (the earth) sang, therefore she is Gâyatrî.'
* On this illustration, which might either be taken as applying to men in easy circumstances, not troubled with cares; or, perhaps, to a new-born child which cries out lustily, and likes to be sung to, -Sâyana only remarks,-tasmâd u haitad iti svabhâvânuvâdah, kâryadharmena kâranadharmânupâdanâya.
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they mystically call'asman,' for the gods love the mystic. And the juice which was adhering to the shell became those sunbeams. And that which was the shell became the sky.
4. He desired, ' May it multiply, may it reproduce itself!' By means of the Sun he entered into union with the Sky : thence an egg arose. He touched it, saying, 'Bear thou seed!' From it the moon was created, for he (the moon) is seed. And the tear which formed itself became those stars. And the juice which was adhering to the shell became those intermediate quarters; and that which was the shell became those (chief) quarters (points of the compass).
5. Having created these worlds, he desired. *May I create such creatures as shall be mine in these worlds !!
6. By his Mind (manas) he entered into union with Speech (vâk): he became pregnant with eight drops. They were created as those eight Vasus? : he placed them on this (earth).
7. By his Mind he entered into union with Speech : he became pregnant with eleven drops. They were created as those eleven Rudras 2: he placed them in the air.
8. By his Mind he entered into union with Speech: he became pregnant with twelve drops. They were created as the twelve Adityas 8 ; he placed them in the sky
As here, this class of deities--whose sphere of action are the terrestrial regions—was associated with Agni, the guardian of the earth, at III, 4, 2, 1.
. Another class of (storm) deities, here associated with Vâyu, the wind, the guardian of the air-region.
3 'This class of deities (of light) are here associated with the
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9. By his Mind he entered into union with Speech : he became pregnant. He created the All-gods : he placed them in the quarters.
10. And so they say, 'After Agni having been created, the Vasus were created: he placed them on this (earth);—after Vâyu, the Rudras: (he placed) them in the air ;-after the sun, the Adityas: (he placed) them in the sky;-after the moon, the All-gods 1 : he placed them in the quarters.'
11. And so they say, ' Pragàpati, having created these worlds, was firmly established on the earth. For him these plants were ripened into food : that he ate. He became pregnant. From the upper vital airs he created the gods, and from the lower vital airs the mortal creatures.' In whatever way he created thereafter, so he created; but indeed it was Pragapati who created everything here, whatsoever exists.
12. Having created creatures he, having run the whole race, became relaxed ; and therefore even now he who runs the whole race becomes indeed
Sun, who indeed is called the Âditya in paragraphs 4 and 10 (instead of Sarya).
* Professor Weber (Ind. Stud. XIII, p. 268) has drawn attention to the discrepancy between this passage and III, 4, 2, 1, where the Visve Devâh (with Brihaspati) are denied the privilege of forming a special class of deities,—this being one of many points of difference, doctrinal as well as linguistic, between Books 1-5 and 6-10.
: Professor Delbrück, Altind. Synt. p. 147, reads "apakanta,'— the plants matured fruit.
Literally, he fell asunder, or to pieces, became disjointed. Hence, when the gods 'restored' Pragậpati (the lord of generation, identified with the sacrifice, and with Agni, the fire), the verb used is samskri,'to put together;' and this putting together, or restoration, of Pragâpati is symbolically identified with the building up of the fire-altar.
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relaxed. From him being thus relaxed, the vital air went out from within. When it had gone out of him the gods left him.
13. He said to Agni, 'Restore me!'-'What will then accrue to me?' said he. - They shall call me after thee; for whichever of the sons succeeds (in life), after him they call the father, grandfather, son, and grandson: they shall call me after thee,-restore me, then !'—'So be it l'so (saying) Agni restored him: therefore, while being Pragàpati, they call him Agni; and verily, whosoever knows this, after him they call his father, grandfather, son, and grandson.
14. He said, 'Whereon shall we set thee up'?''On the hita (set, or suitable, good)!' he said : the vital air is indeed something good, for the vital air is good for all beings. And inasmuch as he set him up on the hita, therefore one says, 'I shall set up, I am setting up, I have set up?'
15. As to this they say, 'What is hita, and what is u pahita?' The vital air, forsooth, is the ‘hita,'Y and speech is the upahita,' for it is on the vital air that this speech is based (upa-hita). The vital air, again, is the ‘hita,' and the limbs are the 'upahita,' for on the vital air these limbs are indeed based.
16. This, then, was his (Pragâpati's) 'kitya' (Agni | to be set up on an altar-pile); for he had to be built up (ki) by him, and therefore was his kitya.' And
Upa-dha. Paragraphs 14 and 15 involve a double meaning of the word hita, the past participle of dhâ, to put,—viz. put, set, or suitable, beneficial.
? Or, 'I shall put on,' &c., upa-dha, the verb used of the putting on of bricks in building up the altar. Cf. II, 1, 2, 15.
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so indeed he now is the Sacrificer's 'kitya;' for he is to be built up by him, and therefore is his ‘kitya.'
17. Now it was those five bodily parts (tanu) of his (Pragậpati's) that became relaxed,-hair, skin, flesh, bone, and marrow,—they are these five layers (of the fire-altar); and when he builds up the five layers, thereby he builds him up by those bodily parts; and inasmuch as he builds up (ki), therefore they are layers (kiti).
18. And that Pragâpati who became relaxed is the year; and those five bodily parts of his which became relaxed are the seasons; for there are five seasons, and five are those layers: when he builds up the five layers, he thereby builds him up with the seasons; and inasmuch as he builds up (lays down), therefore they are layers.
19. And that Pragâpati, the year, who became relaxed, is that very Vayu (wind) who blows yonder. And those five bodily parts of his, the seasons, which became relaxed, are the regions (or quarters) ? ; for five in number are the regions, and five those layers: when he builds up the five layers, he builds him up with the regions; and inasmuch as he builds up, therefore they are layers.
20. And the Fire that is laid down on the built (altar), that is yonder Sun;—that same Agni is indeed (raised) on the altar, and that just because Agni had restored him (Pragâpati).
21. But they say,—Pragâpati, when relaxed, said to the gods, ' Restore me!' The gods said to Agni, 'In thee we will heal this our father Pragâpati.'--
That is, the four quarters, or cardinal points of the compass; and the upper region, or rather the upward (or perpendicular) direction.
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•Then I will enter into him, when whole,' he said. — "So be it!' they said. Hence, while being Pragapati, they yet call him Agni.
22. In the fire the gods healed him by means of oblations; and whatever oblation they offered that became a baked brick and passed into him. And because they were produced from what was offered (ishta), therefore they are bricks (ishtaka). And hence they bake the bricks by means of the fire, for it is oblations they thus make.
23. He spake, 'Even as much as ye offer, even so much is my happiness :' and inasmuch as for him there was happiness (ka) in what was offered (ishta), therefore also they are bricks (ishtaka).
24. Here now Åktākshya used to say, 'Only he who knows abundant bricks possessed of (special) prayers, should build up the fire (altar): abundantly indeed he then heals Father Pragâpati.'
25. But Tândya used to say, 'Surely the bricks possessed of prayers are the nobility, and the spacefillers are the peasants; and the noble is the feeder, and the peasantry the food ; and where there is abundant food for the feeder, that realm is indeed prosperous and thrives : let him therefore pile up abundant space-fillers!' Such then was the speech of those two, but the settled practice is different therefrom.
26. Now that father (Pragâpati) is (also) the son : 1
* In contradistinction to the yag ushmatî (prayerful) bricks, which bear special names, and have special formulas attached to them; lokam-prina (space-filling ones) is the technical term for those bricks which have no special prayers belonging to them, but are piled up with a common formula (Vâg. S. XII, 54; Sat. Br. VIII, 7,2, 1 seq.), beginning 'lokam prina khidram prina,'' fill the space, fill the gap!
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inasmuch as he created Agni, thereby he is Agni's father; and inasmuch as Agni restored him, thereby Agni is his (Pragâpati's) father; and inasmuch as he created the gods, thereby he is the father of the gods; and inasmuch as the gods restored him, thereby the gods are his fathers.
27. Twofold verily is this,-father and son, Pragâpati and Agni, Agni and Pragâpati, Pragâpati and the gods, the gods and Pragâpati-(for) whosoever knows this.
28. He builds up with', 'By that deity'—that deity, doubtless, is Vâk (speech), —' Angiras-like,’— Angiras, doubtless, is the breath;-lie thou steady!' -that is, 'lie thou firm;' or 'lie thou firmly established.' It is both with speech and with breath that he builds; for Agni is speech, and Indra is the breath; and the fire (agni) relates to Indra and Agni : as great as Agni is, as great as is his measure, by so much he thus builds him up. And again, Indra and Agni are all the gods, (for) Agni belongs to all deities thus as great as Agni is, as great as is his measure, by so much he thus builds him up.
29. Here now they say, 'Wherefore is Agni (the firealtar) built of this (earth)?' But, surely, when that deity (Pragâpati) became relaxed (fell asunder), he flowed along this (earth) in the shape of his life-sap; and when the gods restored him (put him together), they gathered him up from this earth: this earth then is that one brick, for Agni is this earth, since
1 This is the formula (Vâg. S. XII, 53) with which the so-called 'sâdanam' or 'settling' of the bricks is performed. See VII, I, I, 30.
That is, the first brick which the wife of the Sacrificer herself forms, and which is called Ashâdhâ. See VI, 3, 1, 1; 5, 3, I.
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it is thereof1 that the whole Agni is built up. Now this earth is four-cornered, for the quarters are her corners: hence the bricks are four-cornered; for all the bricks are after the manner of this earth.
30. As to this they say, 'But if he (Agni) thus consists of one brick, how then (comes he to be) a fivebricked' one?' Now surely the first brick of clay is this earth,-whatever made of clay he places on that (altar) that is that one brick. And when he puts thereon the heads of the animal victims 3, that is the animal-brick. And when he puts on the gold plate and man, when he scatters gold shavings thereon, that is the golden brick. And when he puts on two spoonfuls (of ghee), when he puts on the mortar and pestle, and fire-sticks, that is the wood-brick. And when he puts on a lotus-leaf (petal), a tortoise, sour curds, honey, ghee, and whatever other food he puts on, that is the fifth brick, the food. Thus, then, it is a five-bricked (Agni).
31. As to this they say, 'On which side is the head of the brick?'-' Where he touches it and says a prayer,' so say some, 'on one end of the naturally perforated (brick) alone indeed should he
8
1 Viz. by means of the clay bricks, and the loose soil put between the layers.
Sâyana only refers here to the fact that the sacrifice (yagña) is called 'pânkta,' 'the fivefold.'
See VII, 5, 2, I seq.
See VII, 4, 1, 32 seq. See VII, 5, I, I seq.
See VII, 4, I, 15 seq. See VII, 5, 1, 12 seq.
8 Apparently some kind of porous stone. Three such perforated stones or 'bricks' are used in the construction of the firealtar; viz. one which is laid on the gold man in the centre of the bottom layer (a sâman relating to bhûs, the earth, being pronounced
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say a prayer while touching it, but thus all those (bricks) of his are turned towards the naturally perforated one.' Let him not do so, for those bricks doubtless are his (Agni's) limbs, his joints; and it would be just as if he were to put a head on each limb, on each joint. But indeed, the fire which is deposited on the pile, that is the head of all those (bricks).
32. Here they say, 'How many animal victims are laid upon the fire (altar)?'-Let him say 'Five,' for he does lay thereon those five victims.
33. Or, 'One,' he may say; 'a ewe;' for a ewe (avi) is this earth, since she favours (av) all these creatures. And the fire (altar) also is this earth, for the whole fire (altar) is built up thereof: hence he may say, ' One.'
"
34. Or, Two,' he may say, 'two sheep;' for sheep, indeed, are both this (earth) and that (sky), since these two favour all these creatures ;-what clay (there is in the brick) that is this earth; and what water there is that is that sky; and the bricks consist of clay and water: therefore he may say, 'Two.'
35. Or he may say, 'A cow (or bullock, go); 'the cow forsooth means these worlds, for whatever walks (gam) that walks in these worlds1; and that
on it while touching it); the second in the centre of the third layer; and the third one being laid upon the centre of the completed fifth layer. They are meant to represent the three worlds, the holes being intended to afford to the Sacrificer (represented by the gold man) a passage to the highest regions. See VI, 2, 3, I seq.
'It is not quite clear whether the author indulges in etymological trifling (go-gû). The Bombay MS. of Sâyana reads,― imâmstallokân gakkhatîti kavana (? gavana) karmasâdhanam gosabdam darsayati.
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fire also is these worlds : therefore he may say, A cow.'
36. As to this they say, 'For what object is this fire (altar) built ?'— Having become a bird, he (Agni) shall bear me to the sky !' so say some; but let him not think so; for by assuming that form, the vital airs became Pragàpati; by assuming that form, Pragàpati created the gods ? ; by assuming that form, the gods became immortal : and what thereby the vital airs, and Pragâpati, and the gods became, that indeed he (the Sacrificer) thereby becomes.
Third BRAHMANA. 1. Verily, Pragâpati alone was here in the beginning. He desired, 'May I exist, may I reproduce myself!' He toiled, he practised austerity (or, became heated). From him, worn out and heated, the waters were created : from that heated Person the waters are born.
2. The waters said, 'What is to become of us ?'Ye shall be heated,' he said. They were heated; they created foam : hence foam is produced in heated water.
3. The foam (m.) said, "What is to become of me ?'—' Thou shalt be heated !' he said. It was heated, and produced clay; for indeed the foam is heated, when it floats on the water, covering it; and when one beats upon it, it indeed becomes clay.
4. The clay (f.) said, 'What is to become of me?'• Thou shalt be heated !' he said. It was heated,
See VI, 1, 1, 2 seq., where the seven vital airs are represented as assuming the form of a bird—the Purusha Pragâpati.
* See paragraphs 7-11.
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and produced sand; for this clay becomes indeed heated when they plough it; and if only they plough very fine then it becomes, as it were, sandy. So much, then, as to that "What is to become of me ? what is to become of me??'
5. From the sand he created the pebble : whence sand finally indeed becomes a pebble ;-—from the pebble the stone : whence the pebble finally indeed becomes a stone;—from the stone metal ore: whence from stone they smelt ore ;—from ore gold: whence ore much smelted comes, as it were, to have the appearance of gold.
6. Now that which was created was flowing; and inasmuch as it was flowing (aksharat), a syllable (akshara) resulted therefrom; and inasmuch as it flowed eight times, that octosyllabic Gâyatri was produced.
7. 'This has indeed become (bha) a foundation (resting-place),' so he thought: whence it became the earth (bhůmi). He spread it out (prath): it became the broad (earth, prithivi). On this earth, as on a foundation, the beings, and the lord of beings, consecrated themselves for a year : the lord of beings was the master of the house, and Ushas (the Dawn) was the mistress.
8. Now, those beings are the seasons; and that lord of beings is the year; and that Ushas, the mistress, is the Dawn. And these same creatures, as well as the lord of beings, the year, laid seed
1 He means to say that he will leave this to be supplied in the enumeration of the subsequent creations.
. At sacrificial sessions the Sacrificer is called Grihapati. On this, see IV, 6, 8, 3-5.
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into Ushas'. There a boy (kumâra) was born in a year: he cried.
9. Pragâpati said to him, “My boy, why criest thou, when thou art born out of labour and trouble?' He said, 'Nay, but I am not freed from (guarded against) evil ; I have no name given me : give me a name!' Hence one should give a name to the boy that is born, for thereby one frees him from evil ;-even a second, even a third (name), for thereby one frees him from evil time after time.
10. He said to him, 'Thou art Rudra?' And because he gave him that name, Agni became suchlike (or, that form), for Rudra is Agni : because he cried (rud) therefore he is Rudra. He said, 'Surely, I am mightier than that: give me yet a name!'
11. He said to him, Thou art Sarva. And because he gave him that name, the waters became suchlike, for Sarva is the waters, inasmuch as from the water everything (sarva) here is produced. He said, 'Surely, I am mightier than that: give me yet a name!'
12. He said to him, “Thou art Pasupati.' And because he gave him that name, the plants became suchlike, for Pasupati is the plants: hence when cattle (pasu) get plants, then they play the master 3 (patly). He said, 'Surely, I am mightier than that: give me yet a name!'
13. He said to him, 'Thou art Ugra. And
On the legend regarding Pragậpati and his daughter Ushas, see I, 7, 4, 1 seq.
? On this and several of the other names, see part i, p. 201. .: As, when a horse gets much corn, it becomes spirited, masterful.' The St. Petersburg dictionary suggests the meaning, they become strong.' It might also mean,' they lord it (over the plants).'
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because he gave him that name, Vâyu (the wind) became suchlike, for Ugra is Vâyu: hence when it blows strongly, they say 'Ugra is blowing.' He said, 'Surely, I am mightier than that: give me yet a name!'
14. He said to him, 'Thou art Asani.' And because he gave him that name, the lightning became suchlike, for Asani is the lightning: hence they say of him whom the lightning strikes, 'Asani has smitten him.' He said, 'Surely, I am mightier than that give me yet a name!'
15. He said to him, 'Thou art Bhava.' And because he gave him that name, Parganya (the rain-god) became suchlike; for Bhava is Parganya, since everything here comes (bhavati) from the raincloud. He said, 'Surely, I am mightier than that: give me yet a name!'
16. He said to him, 'Thou art Mahân Devah (the Great God).' And because he gave him that name, the moon became suchlike, for the moon is Pragâpati, and Pragâpati is the Great God. He said, 'Surely, I am mightier than that: give me yet a name!'
17. He said to him, 'Thou art Î sâna (the Ruler).' And because he gave him that name, the Sun became suchlike, for Îsâna is the Sun, since the Sun rules over this All. He said, 'So great indeed I am: give me no other name after that!'
18. These then are the eight forms of Agni. Kumara (the boy) is the ninth that is Agni's
threefold state 1.
19. And because there are eight forms of Agni
1 That is, his state of being trivrit, or three times three.
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the Gâyatri consisting of eight syllables-therefore they say, 'Agni is Gâyatra.' That boy entered into the forms one after another; for one never sees him as a mere boy (kumâra), but one sees those forms of his ', for he assumed those forms one after another.
20. One ought to build him (Agni, the fire-altar) up in (the space of) a year, and recite for a year. For two (years),' however, say some; 'for in one year they laid the seed, and in one year that boy was born, therefore let him build for two (years), and recite for two (years).' Let him, however, build for a year only, and recite for a year; for the same seed which is laid is brought forth; it then lies changing and growing: hence let him build for a year only, and recite for a year. To him (Agni) when built up (kita) he gives a name: whereby he keeps away evil from him. He calls him by a bright (kitra) name 2, saying, 'Thou art bright;' for Agni is all bright things.
THE ANIMAL SACRIFICE'.
SECOND ADHYAYA. FIRST BRAHMANA.
1. Pragâpati set his mind upon Agni's forms. He searched for that boy (Kumâra) who had entered
1 Tatas ka tatprabhriti tam Agnim kumârarûpam na kvakana pasyanti kimtv etâny etaggvalanâdîni rûpâny apurushavidhâni pasyanti, Sây.
Or, he calls him by the name of Kitra (bright), that being the name by which he is actually to address the fire on the altar at the end of the performance. Kâty. XVIII, 6, 23.
This is the so-called ishtakâ-pasu, or animal sacrifice performed with regard to the bricks; the heads of the victims being used in building up the altar, whilst some of the blood is mixed with the clay of which the bricks are made.
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into the (different) forms. Agni became aware of it,
— Surely, Father Pragâpati is searching for me: well then, let me be suchlike that he knows me not.'
2. He saw those five animals,—the Purusha (man), the horse, the bull, the ram, and the he-goat. Inasmuch as he saw (pas) them, they are (called) cattle (pasu).
3. He entered into those five animals; he became those five animals. But Pragâ pati still searched for him.
4. He saw those five animals. Because he saw (pas) them, therefore they are animals (pasu); or rather, because he saw him (Agni) in them, therefore they are animals.
5. He considered, 'They are Agni : I will fit them unto mine own self. Even as Agni, when kindled, glares, so their eye glares; even as Agni's smoke rises upwards, so vapour rises from them; even as Agni consumes what is put in him, so they devour ; even as Agni's ashes fall down, so do their faeces : they are indeed Agni; I will fit them unto mine own self. He meant to slaughter them for different deities: the Purusha (man) for Visvakarman, the horse for Varuna, the bull for Indra, the ram for Tvashtri, the he-goat for Agni.
6. He considered, 'For different deities, indeed, I mean to slaughter now; but I myself desire (kam)
Or, I will make them part of mine own self.—Similarly St. Petersburg dictionary, 'I will change them into myself.' But differently Professor Delbrück, Altind. Synt., p. 239, 'I will make myself to be these, change myself into these. This is on account of the middle form of the verb, which, however, is quite justified also in the former interpretation. Cf.VI, 8, 2, 1, where there is no question of changing the whole sacrifice into a heap of ashes, but of taking over the ashes, or some of it, to form part of the sacrifice.
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Agni's forms: well then, I will slaughter them for the Agnis, as for the object of my) desire. He slaughtered them for the Agnis, as for (his) desire, —to wit, 'for the Agnis,' because many were the forms of Agni he had set his mind upon; and for the desire,' because it was with a desire that he slaughtered them. Having appeased them and carried the fire round them, he led them northwards and slew them.
7. He considered, “Those glories (signs of excel- | lence ) upon which I have set my mind are contained in the heads : well then, I will only put on the heads ?' He cut off the heads and put them on (himself, or the altar). The remaining trunks he then let float on the water 3, and brought the sacrifice to its completion by means of (the offering of) a he-goat, thinking, 'Lest my sacrifice be pulled to pieces.' After performing that animal sacrifice, Pragàpati saw that he had not yet reached the end of Agni (the fire-altar).
8. He considered, 'I must search for that body which I let float on the water.' He searched for it; and what (part) of those (bodies) cast into the water had settled therein, that water he gathered; and what (had settled) in this earth, that clay (he gathered)". And having gathered both that clay
See VI, 1, 1, 4. . 3 That is, on the fire-altar, or (which is the same thing) on himself, Pragâ pati, the sacrifice. The heads of the five victims are placed in (a dish introduced into the bottom layer of the altar so as to impart stability to it. See VII, 5, 2, I seq.
8 Or, he washed them, cleaned them, in water. * Literally, that self, i.e. that part of mine own self, the sacrifice (?).
* It seemed desirable here to leave the construction of the original text unchanged.
M 2
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and water, he made a brick: hence a brick consists of these two, clay and water.
9. He considered, 'Surely, if I fit this (matter) such as it is unto mine own self, I shall become a mortal carcase, not freed from evil: well then, I will bake it by means of the fire.' So saying, he baked it by means of the fire, and thereby made it immortal ; for the sacrificial food which is baked by fire is indeed immortal (or, ambrosia). Hence they bake the bricks with fire: they thereby make them immortal.
10. And inasmuch as he saw them after offering (ishtvå) the animal, therefore they are bricks (ishtaka). Hence one must make the bricks only after performing an animal sacrifice; for those which are made before (or, without) an animal sacrifice are 'anishtaka ?' And, moreover, there is this other (consideration).
11. As to those glories, they are these same heads of the victims; and those (headless) trunks are these five layers (of the fire-altar) : thus when he builds up the layers after putting on the heads of the victims, he thereby unites those trunks with those heads.
12. And because Agni is all those animal victims, therefore animals delight (being) near the fire 3,
1 Sâyana explains abhisamskarishye' by 'âdhiyagrike sarîra upadhâsyâmi,'' if I were to put this (clay and water) on the sacrificial body'
: A play on the word which may mean either non-bricks,' or being without oblation (ishta).'
8 Sâyana seems to take this to mean, that animals (cattle) delight, or sport, when the sacrificial fire is established; that is to say, they feel at home and increase wherever a new household is established (?);-tasmad agnâv âhite pasavo ramante, âtmany eva sâ prstir ity abhiprâyah. Adhunâ sgneh pasushv atmabhūteshu prîtim
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there animals sport with animals. Hence the (sacrificial) fire is set up with him who possesses cattle ; for inasmuch as Agni (was) the same as cattle, therefore Pragâpati (the lord of creatures or generation) became Agni.
13. Here now some say, 'It is at this (point of the performance) that he should offer up all those (five) victims; for had Pragâpati then offered up all of them, he would certainly have reached the end of the fire (altar): hence were he (the Sacrificer) now to offer up all those (victims) he would certainly reach the end of the fire (altar).' Let him not do so: he thus would stray from where the gods have gone, he would stray from the path ;-and what would he then gather"? For those same bodies, those layers, he gathers : let him therefore not do so.
14. Now when he slaughters those animals, he prepares a home for Agni; for nowhere but in his home does one enjoy himself. But the home means food: it is that he lays down in front, and when Agni sees that, he turns unto him.
15. There are a man, a horse, a bull, a ram, and a he-goat; for such are all the animals (used for sacrifice). Animals are food : he thus lays down in front whatever food there is; and seeing that, Agni turns unto him.
16. There are five; for there are those five Agnis,
darsayann âha, yasmâd agnir esha yat pasavas tasmâd yasya manushyasya pasavo bhavanti tasminn etad agnir âdhîyate, tatra hi sa âtmabhūtaih pasubhî ramate nânyatra; evam yad agnyâtmikâh pasavas tatas tam agnim atmâ bhisamskritya pragâpatir agnir abhavat.
That is, what'sambhâras' or equipments of the fire should he then collect? Cf. part i, p. 276.
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to wit, the five layers (of the fire-altar): for them he thus lays down five homes; and seeing that, Agni turns unto him.
17. And when (he offers) 'to the Agnis,'—it is because there are here many Agnis, to wit, those layers; and when (he offers) to the desire, it is in order that the Sacrificer may obtain the object for which he performs that ceremony.
18. A man (purusha) he slaughters first, for man is the first of animals; then a horse, for the horse comes after man; then a bull, for the bull (or cow) comes after the horse ; then a ram, for the sheep comes after the cow; then a he-goat, for the goat comes after the sheep: thus he slaughters them according to their form, according to their excellence.
19. Their ropes may be unequal; that of the man being the longest, then shorter and shorter : thus he makes the ropes according to the form of the animals, to avoid confusion between good and bad. But let them be all alike, all similar; for all these victims are alike, all similar, for they are (all) called Agnis, they are called food: hence they are alike and similar.
20. Here now they say, 'How is that complete five-bricked fire of his gained in the animals ?'Well, in the kapâlas of the sacrificial cakes that first brick, the earthen one, is obtained; and when he slaughters the animal, thereby the animal brick is obtained, and when two gold chips are (placed) on both sides of the omentum, thereby the gold brick is obtained; and what firewood, stake, and enclosing sticks there are, thereby the wooden brick is obtained; and what ghee, sprinkling-water, and cake there are, thereby the fifth brick, the food, is
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obtained: thus then that complete five-bricked fire of his is gained in the animals.
21. For these (victims) there are twenty-four kindling-verses ; for the year consists of twentyfour half-moons, and Agni is the year : as great as Agni is, as great as is his measure, by so much! he thus kindles him.
22. And, again, why there are twenty-four,--the Gayatri consists of twenty-four syllables, and Agni is Gayatra ?: as great as Agni is, as great as is his measure, by so much he thus kindles him.
23. And, again, why there are twenty-four,-mani (purusha) doubtless is twenty-fourfold : ten fingers of the hands, ten toes, and four limbs ; and Praga. pati is the Purusha, and Pragàpati is Agni: as great as Agni is, as great as is his measure, by so much he thus kindles him.
24. He recites both gâyatri and trishtubh verses ; for the gâyatri metre is the vital air, and the trishtubh is the body (self): by the gayatri verses he thus kindles his vital air, and by the trishtubh ones the body. The trishtubh verses are in the middle, and the gayatri verses on both sides thereof; for this body is in the middle, and the (organs of) the vital airs are on the sides thereof. He pronounces more gayatri verses before, and fewer after (the
For the eleven gâyatrî verses, used as sâmidhenîs at an ordinary ishti--and raised to the number of fifteen by repetitions of the first and last verses—see part i, p. 102. The present animal' sacrifice (ishtaka-pasu) adds to these verses nine trishtubh verses (Vâg. S. XXVII, 1-9), which (according to Kâty. XVI, 1, 11) are to be inserted between the two verses containing the words 'samidhyamâna' (being kindled) and 'samiddha' (kindled) respectively, - that is, between the ninth and tenth of the normal or gâyatrî kindling-verses (cf. I, 4, 1, 38).
See VI, 1, 1, 15; 3, 19.
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trishtubh verses); for there are more (organs of the) vital airs in front, and fewer behind.
25. He recites (Vâg. S. XXVII, 1), ‘May the months?, O Agni, may the seasons make thee grow!' When Agni restored the relaxed Pragapati, he (Pragàpati) said to him, “What kindlingverses there are equal to me (in measure), with them kindle me!'
26. He (Agni) saw these (verses), "May the months, O Agni, may the seasons make thee grow!' that is, ‘May both the months, O Agni, and the seasons make thee grow!'—'The years, the Rishis, whatsoever truths' that is, 'May the years, and the Rishis, and the truths make thee grow!'-'With heavenly brightness do thou shine!'—the heavenly brightness doubtless is yonder sun: thus 'together with that do thou shine!'—'lighten up the whole four regions!' that is, 'lighten up all the four regions!'
27. These (verses) have one and the same explanation regarding him (Agni-Pragâpati): how one would make him complete, how he would restore and produce him. They relate to Agni and Pragâpati : to Agni, inasmuch as Agni saw (them); to Pragapati, inasmuch as he (Agni) kindled Pragàpati.
1 This is the meaning assigned here to 'samâh' by Mahîdhara, a doubtful meaning indeed. Besides the ordinary meaning 'year,' the St. Petersburg dictionary also allows to 'samâ' that of 'halfyear' in some passages of the Atharva-veda. In the present passage, the dictionary refers 'samâh' to the adjective 'sama,' hence 'the equal seasons.' This cannot, however, have been the meaning assigned to the word by the author of this part of the Brâhmana, whatever it may originally have been in this verse of the Samhitâs. Sâyana, Taitt. S. IV, 1, 7, takes samah' in the sense of the years,' but remarks that the months and half-months' have to be understood by it in this verse.
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28. Twelve Aprf (propitiatory) verses1 there are, -twelve months are a year, and the year is Agni : as great as Agni is, as great as is his measure, with so much he thus propitiates (or gratifies) him.
29. And, again, why there are twelve,-of twelve syllables consists the Gagati, and the Gagatî is this earth, for on her there is everything that moves (gagat) here. And Agni also is this earth, for it is out of her that the whole fire (altar) is built up: as great as Agni is, as great as is his measure, by so much he thus propitiates him.
30. And, again, why there are twelve,-of twelve syllables consists the Gagati, and the Gagati is all the metres, and all the metres are Pragâpati (the sacrifice), and Pragâpati is Agni: as great as Agni is, as great as is his measure, by so much he thus propitiates him.
31. Those 'kindling-sticks of his (Agni) are upright.' When Agni restored the relaxed Pragâpati, he said to him, 'What Âpri-verses there are equal to me, with them propitiate me!'
2
32. He saw these (verses) :— Upright are his kindling-sticks,' for upright indeed are the kindling-sticks of him when kindled;-'upwards tending the bright flashes of Agni,' for tending upwards are his bright flashes, his flames;-'they, the most brilliant,' that is 'the most powerful ;' -'of the fair-looking son,' for fair-looking indeed Agni is on all sides; and inasmuch as he (the Sacrificer) produces him thereby he (Agni) is his son.
1 For the purport of these verses which form the offering-prayers at the fore-offerings of the animal sacrifice, see part ii, p. 185,
note I.
8
Vâg. S. XXVII, 11 seq.
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33. These (verses) have one and the same explanation regarding him (Agni-Pragâpati): how one would make him complete, how he would restore and produce him. They relate to Agni and Pragâ pati, --to Agni, inasmuch as Agni saw (them); to Pragapati, inasmuch as he (Agni) propitiated Pragâpati.
34. They are unequal, and consist of unequal feet, and unequal syllables; for the metres are unequal: whatever unequal limbs there are at his (Agni's) body, those (limbs) of his he propitiates by these (verses).
35. The animal cake belongs to (Agni) Vaisvânara-Vaisvânara being all the fires—for the obtainment of all the fires.
36. As to why it belongs to Vaisvânara ;—those layers (of the altar) no doubt are the seasons, for the seasons are the fires; and the seasons are the year, and the year is Vaisvânara (belonging to all men). Were it (offered) to Agni (Vaisvânara), he would cause it (the formula) to be redundant. It is one on twelve potsherds : twelve months are a year, and the year is Vaisvânara. The offering and invitatory formulas relate to Agni, for the obtainment of Agni's forms. They contain the word 'kâma' (desire), for the obtainment of his desires.
37. Now some, having in that way' obtained those heads, put them on (the fire-altar), thinking, • Either way 2 are they animals.' But they (who do this) become mortal carcases, for unpropitiated are
That is, according to Sâyana, somehow or other, in some worldly manner, as by buying or begging them, without performing the animal sacrifice.
* That is to say, whether they are consecrated or unconsecrated, in either case they are 'pasavah' or animal (victims). Sây.
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those (heads) of theirs. In this way, indeed, they did put them on for Ashâdhi Sausromateya'; but quickly indeed he died after that.
38. Some, however, make gold ones, saying, · They are immortal bricks (amriteshtaka).' But indeed those are false bricks (anriteshtaka), those are no heads of victims.
39. Some, again, make earthen ones, thinking, Passed away, forsooth, are these animals, and this earth is the shelter of all that has passed away: thus whither those animals have gone, from thence we collect them.' Let him not do so, for whoso knows not both the practice and theory of these (victims), for him let them be passed away. Let him slaughter those very five victims, as far as he may be able to do so; for it was these Pragâpati was the first to slaughter, and Syâ parna Sâyakâyana the last; and in the interval also people used to slaughter them. But nowadays only these two are slaughtered, the one for Pragâ pati, and the one for Vậyu. The theory of these two is now (to be) told.
SECOND BRÂHMANA. 1. The Karakas slaughter (a he-goat) for Praga - pati, saying, Pragàpati, having built up the fire altar (agni), became Agni. When he slaughters that one, then indeed he reaches the end of Agni (the fire-altar).
2. It is a dark grey one; for the grey has two kinds of hair, the white and the black; and two make a productive pair: that is its Pragâpaticharacteristic. It is a hornless one, for Pragậpati is hornless.
1 The son of Ashâdha and Susromatâ, according to Sâyana.
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3. For this (animal sacrifice) there are twenty-one kindling-verses";—twelve months, five seasons, these three worlds, and yonder sun,—that is the twentyonefold Pragâpati; and Pragâpati is Agni: as great as Agni is, as great as is his measure, by so much he thus kindles him.
4. And, again, why there are twenty-one ;-man (purusha) doubtless is twenty-onefold, ten fingers of the hand, ten toes, and the body (make) the twentyonefold man Pragâpati; and Pragâpati is Agni: as great as Agni is, as great as is his measure, by so much he thus kindles him.
5. He recites both gâyatri and trishtubh verses : their significance has been told; and (what applies to) the order of the verses has been told. The libation of ghee 2 he makes with the verse containing (the name) Hiranyagarbha 3; for Hiranyagarbha
1 Viz. the eleven ordinary gâyatri verses raised, by repetitions, to the number of fifteen; with six special trish/ubh inserted (p. 167, note 1). Kâty. XVI, 1, 34.
? On the two libations of ghee, see part i, p. 124 note; P. 128, n. 2. It is doubtful which of the two libations is intended here; whether the first which in any case belongs to Pragâpati, but is usually made with a different formula from the one prescribed here, or the second. The later ritualists themselves seem to have been doubtful on this point; but Kâtyâyana (XVI, 1, 35-37) leans to the opinion, that the second libation must be intended; both libations thus being made to Pragâpati on this occasion. Sâyana remarks,-hiranyavatyâ rikâ 'hiranyagarbhah samavartatety' ata uttaram samaprakam (? samaprakâram) âgharam âghârayati; pragapatir vai hiranyagarbhah sa kâgnis tam evam tarpayitvâpnotîty abhiprayah.
s That is, Vâg. S. XXV, 10 (XIII, 4; Rik S. X, 121, 1, 'Hiranyagarbhah samavartatâgre), 'Hiranyagarbha (the golden child) came first into existence; he was born as the only lord of all being; he sustained this earth and sky: what god (or the god Ka) shall we serve with offering.'
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is Pragâpati, and Pragâpati is Agni. There are twelve Apri-verses: their significance has been told; and (what applies to the order of the verses has been told. The animal cake belongs to Pragapati, for the relation of the victim is also that of the animal cake!. It is one on twelve potsherds : twelve months are a year, and the year is Pragâpati. The offering and invitatory formulas contain the word 'Ka,' for Pragâpati is Kaa.
6. He then slaughters for Vayu Niyutvat (the wind, driving a team of horses) that white, bearded | (he-goat). When Pragâpati had produced living beings, he looked about him, and from exceeding delight his seed fell : it became that white, hornless, bearded he-goat (aga, 'unborn '); for seed is lifesap, and as far as there is life-sap, so far extends the self. And when he slaughters that one, then indeed he reaches the end of Agni (the fire-altar). It is a white one, because seed is white. It is hornless, because seed is hornless. It belongs to Våyu, because Vayu (the wind) is the out-breathing; and to Niyutvat, because the teams (niyut 3) are the in-breathing : the out-breathing and in-breathing he thus lays into him.
See III, 8, 3, 1 seq. . See I, 1, 1, 13 with note.-The above verse, Rik S. X, 121, 1, and following five verses, each of which ends with, what god (or the god Ka) shall we serve with offering,'—are used with the omentum, the animal cake (pasupurodâsa), and the animal oblations respectively; viz. the first three verses as invitatory formulas (anuvâkaya) and the last three as offering formulas (yâgyâ). Âsv. Sr. III, 8, 1.—Vâg. S. XXV, 10–13, only the first four verses are given together; whilst Sâyana, in accordance with Asvalâyana, remarks,-vapâ purodâ sapasûnâm'hiranyagarbhah samavartatâgra' ity âdayah syuh.
3 Probably 'niyutah' here with allusion to 'niyuta,' shut in.
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7. And, again, why he slaughters that white, hornless (he-goat);-when the gods restored the relaxed Pragâpati, they, by means of this victim, put into him that out-breathing which had gone out of him ; and in like manner this one now puts it into him. It belongs to Vâyu, because Våyu is the out-breathing; and to Niyutvat, because the teams are the in-breathing: he thus puts the outbreathing and in-breathing into him. It is white, because Vayu (the wind) is white; and it is hornless, because Vâyu is hornless.
8. For this (animal sacrifice) there are seventeen kindling-verses ; for the year is seventeenfold there are twelve months and five seasons-Pragàpati is the year, and Pragâ pati is Agni: as great as Agni is, as great as is his measure, by so much he thus kindles him.
9. And, again, why there are seventeen,-man is seventeenfold, there are ten vital airs, four limbs, the body the fifteenth, the neck-joints the sixteenth, and the head the seventeenth, — Pragàpati is the Person (or man, purusha), and Prągàpati is Agni : as great as Agni is, as great as is his measure, by so much he thus kindles him.
10. He recites both gâyatri and trishtubh verses : their significance has been told; and (what applies to) the order of the verses has been told. There are twelve Apri-verses : their significance has been told; and (what applies to) the order of the verses has been told. The animal cake belongs to Pragapati: 'Therein then that wish was obtained,'
That is, only two additional trishtubh verses are to be inserted between the 11 (or 15) gâyatri ones.
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Mâhitthi once said,-which the Karakâs say is in the victim to Pragâpati.'
II. And as to why the victim belongs to Vâyu, and the animal cake to Pragâpati;-one half of Pragâpati doubtless is Vâyu, and one half is Pragâpati thus, were they both to belong to Vâyu, or both to Pragâpati, then only one half of him (Pragâpati) would be made up, and one half would not (be made up). But in that the victim belongs to Vâyu, and the animal cake to Pragâpati, thereby he puts together (restores) him, Pragâpati, wholly and entirely.
12. And, again, why the victim belongs to Vâyu, and the animal cake to Pragâpati ;-when the gods restored the relaxed Pragâpati, they, by means of this victim, put into him that out-breathing which had gone out of him; and by means of this cake they restored that body (trunk) of his. And as to why it belongs to Pragâpati, it is because the body (self) is Pragâpati; and (why it is) one on twelve potsherds,—twelve months are a year, and Pragâpati is the year. One of the offering prayers and one of the invitatory prayers1 contain (the word) 'ka,' for Pragâpati is Ka.
1 The three chief oblations of the Animal Sacrifice, requiring each an invitatory prayer (anuvâkyâ) and an offering prayer (yâgyâ), are the omentum-oblation (vapâ), the animal cake (pasupurodâsa), and the meat oblations (pasu-havis). This is the order on the present occasion, whilst usually the cake-oblation succeeds the offering of meat portions. Now the first of the three invitatory prayers (that of the omentum), viz. Vâg. S. XXVII, 26 (Rik S. X, 121, 8), and the last of the three offering prayers (that of the meat portions), viz. Vâg. S. XXVII, 25 (Rik S. X, 121, 7), end with the refrain, 'what god (or, the god Ka) should we serve with offering.' Thus, then, the first and the last of the six formulas would be
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13. Now when in the first place he offers the omentum, he thereby puts into him (Pragâpati) that vital air which is here in front. And when they proceed with that (cake) in the middle, it is because this trunk is in the middle. And when they proceed thereafter with the (meat) oblation, he thereby puts into him that vital air which is behind. The (remaining) offering and invitatory prayers should contain the word 'bright,' with the view of the obtainment of bright forms; and the word 'niyut' (team), for the obtainment of that form which has a team.
addressed to Pragapati; and to him is also exceptionally offered the animal cake, which is here assigned the central position, and which, in the normal sacrificial order, would belong to the recipient of the animal sacrifice itself, or in the present case, to Vâyu Niyutvat. Sayana, on the other hand, makes the above two verses, containing the word Ka, the invitatory and offering prayers of the cake-offering, as the MS. makes him say,-kadvatyau yag yânuvâkye purodâsasya, 'âpo ha yad brihatîr' (Rik S. X, 121, 7), 'yaskid âpo' (X, 121, 8) ity ete. This, indeed, would also seem to be the opinion of Katyâyana, whose rules (XVI, 1, 39-43) are,—39. To. Pragâpati belongs the animal cake at both (animal sacrifices); 40. The offering and invitatory formulas of the Prâgâpatya (animal sacrifice) contain the word 'Ka;' 41. Those of the Vâyavya contain the word 'bright;' 42. Optionally so, those of the omentum (but not at the meat portion, commentary); 43. The remainder is equal in all (three views).—Now it would indeed be the most natural, that the formulas of the cake-offering, here exceptionally assigned to Pragâpati, should be made to correspond to that deity; but the order in which the formulas are given in the Vâg. S. XXVII, 23-28 (cf. Asval. III, 8, 1), as well as paragraph 13 above, seems to favour the first view; though the next paragraph shows that there were differences of opinion on this point. Cf. next note.
i The form of Pragâpati which has a team of horses is Vâyu, the god of wind; while his bright forms are represented by Agni, the fire (VI, 1, 3, 20, 'Agni is all bright things ').— Vâg. S. XXVII, 29-34 gives six verses for use as invitatory and offering formulas
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14. As to this they say, 'It is rather the two (prayers) of the Omentum that should contain (the word)“ bright,” for so far as the two (prayers) of the omentum containing (the word) "bright" extend, extends what is bright in the animal (sacrifice); and the two (prayers) of the (meat) oblation should contain (the word)“ team,” for the obtainment of that form of him (Pragâpati) which has a team.'
15. And, again, why he slaughters this animal ;-| in this animal doubtless the form of all (the five kinds of) animals is (contained): inasmuch as it is hornless and bearded, that is the form of man, for man is hornless and bearded ; inasmuch as it is hornless and furnished with a mane, that is the form of the horse, for the horse is hornless and furnished with a mane; inasmuch as it is eight-hoofed, that is the bull's form, for the bull is eight-hoofed; inasmuch as its hoofs are like those of the sheep, that is the form of the
at the ishtakâpasu to Väyu. Five of these contain the word 'niyut,' team, but only the first two contain the word sukra' (bright): these two are presumably to be used on the present occasion; though I am at a loss to see what other two verses containing the word 'bright' are to be used; unless indeed suklavatyah' in the text means 'verses containing some word for bright,' in which case the ordinary verses used at an animal offering to Vayu Niyutvat, viz. Vâg. S.XXVII, 23 and 24 (Rik S.VII, 91, 3; 90,3) which contain the word 'sveta' (white, light), might be used. The MS. of Sâyana's commentary is unfortunately very corrupt in this place; it alludes to the latter two verses, but whether to recommend them, or set them aside, for the present occasion, is not clear. He does, however, specially except the formulas of the animal cake from being included in the above specification. In the view put forth in paragraph 14, the above-mentioned two verses would apparently have to be used for the omentum-oblation, the two verses containing Ka' for the cake-oblation, and (any) two verses containing the word 'team' (either the ordinary ones, Rik S. VII, 92, 5; VI, 49, 4; or some of the special ones) for the meat-oblation. [41]
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sheep; and inasmuch as it is a he-goat, that is that of the goat. Thus when he slaughters this one, thereby indeed all those (five) animals are slaughtered for him. Whichever of these may suit him-either those five animals, or that (he-goat) for Pragàpati, or that one for (Váyu) Niyutvat —
16. Let him slaughter it at full moon. "Let him slaughter at new moon,' so say some, 'for Pragâ pati is yonder moon: during that night (of new moon) he dwells here (on earth) ?, and it would be just as if he slaughtered him while staying near.'
17. But, indeed, this (takes place) at full moon, for the victim is yonder moon, and him the gods slaughter at full moon 3: 'I will slaughter him at the time when the gods slaughter him,' thus he thinks, and therefore (he does so) at full moon. And, again, why at full moon ;—the full moon no
1 Sâyana here supplies 'let him perform that,'-eshâm karmanâm madhye yat karmasya sampadyeta tat kuryâd iti seshah; but he then adds, that the pronoun 'it' (tam) at the beginning of the next paragraph is caused by proximity of the Niyutvatîya.
* See I, 6, 4, 5. Now this king Soma, the food of the gods, is no other than the moon. When he (the moon, masc.) is not seen that night either in the east or in the west, then he visits this world, and here he enters into the waters (f.) and plants (f.). Thus Pragậpati is here identified with Soma, the moon, and food.
Cp. I, 6, 4, 12-13. "The full-moon oblation, assuredly, belongs to the Vritra-slayer, for by means of it Indra slew Vritra ; and this new-moon oblation also represents the slaying of Vritra, since they prepared that invigorating draught for him who had slain Vritra. An offering in honour of the Vriira-slayer, then, is the full-moon sacrifice. Vritra, assuredly, is no other than the moon; and when during that night (of new moon) he is not seen either in the east or in the west, then he (Indra) finishes in destroying him by means of that (new-moon sacrifice), and leaves nothing remaining of him.'
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doubt was the first to shine forth, hence also (the sacrifice takes place) at full moon.
18. And furthermore, at the Phålguna (full moon), for that full moon of Phâlguna, that is, the second (Phâlguna) 1, is the first night of the year; and that first (Phålguna) is the last (night of the year): he thus begins the year at the very mouth (beginning).
19. Now, as soon as he has performed the fullmoon offering, let him slaughter the victim. For Indra, having driven away Vritra, evil, by means of the full-moon offering, thus freed from evil entered upon this sacrificial performance; and in like manner the Sacrificer, having driven away Vritra, evil, by means of the full-moon offering, thus freed from evil now enters on this sacred) performance.
20. This is (performed) in a low voice, for by means of these victims Pragàpati sought to obtain this (sacred) work ? ; but that (work) was then, as it were, uncertain, indistinct : hence in a low voice.
21. And, again, why in a low voice ;—this performance assuredly belongs to Pragapati, for it is Pragâpati he enters upon by this performance; and Pragâ pati is undefined.
22. And, again, why in a low voice;—there is seed here in the sacrifice, and seed is cast silently—the
'In the older division of the year the first or spring season (vasanta) begins with the month of Phâlguna, that is the month when the moon is in conjunction with the nakshatra of the Uttare Phalgunî, whence that full moon, in the Kaush. Br. 5, I, is called the mouth, and that of the first Phalguni the tail, of the year. See A. Weber, Nachrichten von den Naxatra, II, p. 329. In the above, somewhat bold figure, we are, Sayana reminds us, to understand the fifteenth or last day (of the dark fortnight) of the first Phalgunî, and the pratipad, or first day of the second Phalgunî. 2 That is, the construction of the fire-altar.
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omentum, the animal cake, and the chief oblation, for of that much consists the animal sacrifice.
23. On the eighth day (after full moon) he collects (the materials for) the fire-pan; for sacred to Pragâpati is that day, the eighth (after full moon), and sacred to Pragâpati is this (sacred) piece of work, the fire-pan on a day sacred to Pragâpati he thus performs the work sacred to Pragâpati.
24. And as to why (it is performed) on the eighth day; that eighth day no doubt is a joint of the year, and that fire-pan is a joint of Agni (the fire-altar): he thus makes joint upon joint.
25. And, again, why on the eighth day;-eightfold doubtless is the pan1-the bottom part, the two sideparts, the horizontal belt (or rim), that makes four; and four upright (bands), that makes eight: he thus makes the eightfold on the eightfold (or eighth).
26. He performs the initiation on the day of new moon; for from out of the new moon the sacrifice is spread: 'Whence the sacrifice is spread, thence will generate the sacrifice,' so he thinks.
27. And, again, why he (does so) at new moon;when he performs the initiation, he verily pours out his own self, as seed, into the fire-pan, the womb; and when he becomes initiated, he makes for it (his self) that world (or place) beforehand, and he is
1 For the construction of the fire-pan, in which the sacred fire has to be kept up for a year, during which the initiation-ceremony is repeated day after day, see VI, 5, 2, I seq.
* There is kept up in these paragraphs a play on the word 'loka,' meaning both 'space' and 'world (or place of living),'—and applying both to the space occupied by a brick, in building up the altar; and to the place which the Sacrificer, by this performance, gains for himself in another world. The initiation period is here represented
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born into the world made by him: hence they say, 'Man is born into the world made (by him)?
28. Now, were he to be initiated during less than a year, he would build up bricks without space (for them)2: the bricks would exceed the spaces. And if, after making more spaces 3, he were not to fill up bricks in accordance therewith, the spaces would exceed the bricks. And when, after initiating himself at new moon, he buys (Soma) at new moon", . he piles up as many bricks as he (during the interval) makes space for; and when his (Agni's second) wing is covered (with loose soil), the whole Agni is built up.
29. As to this they say, 'If at the time of the buying (of Soma) the days and nights (of the initiation-period) amount to just as many as there are bricks of that fire-altar, why then are not those
as the time during which the Sacrificer prepares both the requisite space for the altar (as it were, adding day by day so many brickspaces, thus becoming available for the altar-pile at the time of construction), and an adequate place for himself in the celestial regions.
That is, man receives, in a future existence, the reward or punishment for his deeds during this life.
* The author argues in support of the orthodox initiation-periodi of just one year, as just the amount of time required for preparing the exact amount of space (or brick-spaces) requisite for an altar of proper size. If the initiation were to last less than a year, he would not have had sufficient time to prepare the necessary amount of space, or rather, number of spaces required for the bricks; and, by implication, he would not acquire for himself an adequate place hereafter.
That is to say, if he were to make the initiation-period last longer than a year, thus providing for more space than his supply of bricks would suffice to fill up.
• That is, after the expiration of the period of initiation, or just a year after the commencement of the latter.
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spaces of his filled up (which are prepared) during the days there are after the buying (of Soma) ? Well, when he buys (Soma) at new moon, after becoming initiated at new moon (a year previously), then he piles up just as many bricks as (during that interval) he makes space for; and what days there then are after the buying (of Soma), during that interval the Adhvaryu builds up the fire-altar. But when should he build up, if there were not that interval ? As many as there are days and nights in the year, so many are the bricks of that fire-altar. Thereto (comes) a thirteenth month, for there is that thirteenth month ;-thus during the days there are after the buying (of Soma), those spaces of it (the altar) are filled up afterwards with those bricks of the thirteenth month : thus the spaces and the bricks become equal.
30. Thus, then, what first full moon there is (in the year) on that he slaughters the victim; and what first eighth-day there is, on that he prepares the fire-pan; and what first new moon there is, on that he becomes initiated : thus whatever first days there are in the year, of those he thereby takes possession for him (Agni, the altar), those he thereby gains. Now then as to the total amount (of the fire-altar) 2
1 That is, during the days from the commencement to the completion of the altar. These are the upasad-days (part ii, p. 104 seq.), the number of which varies from three days up to three years. During this period the Upasads have to be performed twice daily, and in the interval between the two performances the building of the altar takes place, a certain number of bricks being added each day.
. Or, rather, the correspondence, in toto, of the sacrificial performance with the object to be attained, viz. Agni, the fire-altar.
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31. Here now they say, 'How does that sacrificial performance of his (the animal sacrifice) gain the year, Agni ? how does it correspond with the year, with Agni ?' Well, for those five victims there are twenty-five kindling-verses, twelve Apri-verses,—that makes thirty-six ;-eleven after-offerings, eleven byofferings, that makes fifty-eight.
32. Now what forty-eight there are in these fifty-eight), they are the Gagati (metre) consisting of forty-eight syllables ;—the Gagati doubtless is this earth, for it is thereon that everything is that moves (gagat); and Agni also is this earth, for it is thereof that the whole Agni is built up : as great as Agni is, as great as is his measure, so great does this become 8.
33. And, again, why there are forty-eight;-of forty-eight syllables consists the Gagatt; the Gagati (comprises) all the metres; all the metres are Pragâ pati (the sacrifice); and Pragâpati is Agni : as great as Agni is, as great as is his measure, so great does this become.
34. And what (remaining) ten there are in those fifty-eight), they are the Virág, consisting of ten syllables; and the Virag is Agni,--there are ten regions, and the regions are Agni ; ten vital airs, and the vital airs are Agni: as great as Agni is,
1 Or, come up to, tally with,-katham samvatsarena sampadyate sangakkhate Avayavasâmyena, Sây.
. For these supplementary oblations at the animal sacrifice, see III, 8, 4, 10 seq.
That is, the animal sacrifice that has been performed is thus made out to be equal to Agni, or to the object for which it was performed.
- That is, because all the metres are employed in the chants and recitations during the sacrifice.
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as great as is his measure, so great does this become.
35. The omentum and the animal cake, that makes sixty ;-sixty are the days and nights of a month: thus he gains the month; the month gained gains the season; and the season (gains) the year : he thus gains the year, Agni, and the wishes which are contained in the year, and what other food than that there is in the year, all that (he gains).
36. And for that (victim) of Pragâpati there are twenty-one kindling-verses, and twelve Apri-verses, that makes thirty-three ;-eleven after-offerings, eleven by-offerings, that makes fifty-five ;-omentum, animal cake, and chief oblation, that makes fifty-eight: whatever wish is contained in the fiftyeight, that he gains even here !;-two libations of ghee, that makes sixty : whatever wish is contained in the sixty, that he gains even here; and what other food than that there is in the year, all that (he gains).
37. And for that (victim) of (Vayu) Niyutvat, there are seventeen kindling-verses, and twelve Åprfverses, that makes twenty-nine;-eleven after-offerings, and eleven by-offerings, that makes fifty-one;omentum, animal cake, and chief oblation, that makes fifty-four ;-two libations of ghee, two (oblations to Agni) Svishtakrit, that makes fifty-eight : whatever wish is contained in the fifty-eight, that he gains even here ;-the wood-lord” (tree) and the oblation of gravy, that makes sixty: whatever wish is con
? ? That is, also in this calculation, or in the parts of the sacrifice here enumerated.
. For the oblation to Vanaspati, see part ii, p. 208; for the vasáhoma, ib. 205.
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tained in the sixty, that he gains even here, and what other food than that there is in the year, all that (he gains); and thus that sacrificial performance gains for him the year, Agni ; thus it (the animal sacrifice) corresponds with the year, with Agni:
38. As to this they say, 'Of that animal he should offer no Samishtayagus, nor should he go down with the heart-spit to the purificatory bath 1; for that animal (sacrifice) is the commencement of Agni; the Samishtayagus are the gracious dismissal of the deities 2 ; and the purificatory bath is the completion ;-lest he should at the very commencement dismiss the deities, and complete the sacrifice.' Let him nevertheless complete (the sacrifice) : Pragâpati, having offered that animal, saw that he had not reached the end of him, Agni,—let him therefore complete (the sacrifice). And, again, why he completes it ;—that animal sacrifice is his vital air, and if anything were to cut him off from that, it would cut him off from the vital air; and if anything were to cut him off from the vital air, he would thus die: let him therefore complete (the sacrifice). Now, then, as to the vows (rites of abstinence).
39. Here now they say, 'After he has performed that animal offering, he must not sleep upon (a couch), nor eat flesh, nor hold carnal intercourse ; for that animal sacrifice is the first Dikshâ, and improper surely it would be, were the initiated to sleep upon (a couch), or were he to eat flesh, or hold carnal intercourse.' But in no way is this a Dikshâ, for there is neither a girdle, nor a black
See III, 8, 5, 8 seq.
s See 1, 9, 2, 26–27.
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antelope skin?; but he makes this the first brick ? : let him therefore, if he like, sleep upon (a couch); and whatever food animals here eat, all that is here obtained and taken possession of by him ; and whatever kinds of food there are other than honey, of all those he may eat at pleasure, if he can get them. Carnal intercourse, however, he may not hold prior to the offering of) clotted curds to Mitra and Varuna 3: the purport of this (will be explained) hereafter.
40. Here now they say, 'At this sacrifice he should give a Dakshina (sacrificial gift); thinking, “Lest my sacrifice should be without a dakshina!” let him give to the Brahman the prescribed dakshinâ, for the Brahman is the entire sacrifice : thus the entire sacrifice of his becomes healed. Let him not do so; for he makes this a brick, and it would be just as if he were to give a present with each brick: only at that (proper) time 4 let him therefore give what it befits him (to give).
THIRD BRAHMANA. 1. Now, the gods said, 'Meditate ye !'-whereby, no doubt, they meant to say, 'Seek ye a layers (for the fire-altar)!' Whilst they were meditating,
1 For the antelope skin used at the initiation-ceremony, see III, 2, 1, 1; for the girdle, ib. 10.
See above, VI, 2, 1, 20.
This is the concluding oblation of the Soma-sacrifice, performed at the close of the Agnikayana ; see IX, 5, 1, 54.
• Viz. at the proper time when the priests receive their fees, after the mid-day Soma-service, see part ii, p. 340.
• The author here connects the causal verb ketay' (to reflect) with 'ki,' to pile, to build; or rather with 'kitim ish,' to desire building (an altar).
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Pragàpati saw this earth, as a first naturally-perforated 1 layer : hence it is by means of Pragâpati that he lays on that (brick) 2.
2. Agni said to him (Pragâpati), 'I will step nigh!'-—'Wherewith ?' — With cattle !'—'So be it!' He thereby doubtless meant to say, 'with the cattlebrick ;' for that cattle-brick is the same as the dûrvabrick 8: hence the darva-brick is laid so as not to be separated from the first naturally-perforated one ; hence also not separated from this earth are the plants, the cattle, the fire,--for not separated (from the earth) * he (Agni) stepped nigh with this (brick).
3. They said, 'Meditate ye yet!' whereby no doubt they meant to say, 'Seek ye a layer ! seek ye (to build) from hence upwards !' Whilst they were
* See p. 155, note 8.
• Or, that (layer), the three naturally-perforated bricks occupying the centre of the first, third, and fifth layers of the altar, these bricks are, as it were, the representatives of the respective layer This first svayam-atrinnâ brick is laid down with the formula, May Pragàpati settle thee!' See VII, 4, 2, 6.
• A stalk of Darvâ (Dab) grass—Panicum (or Cynodon) dactylon, or Agrostis linearis-is laid upon the first naturally-perforated brick (which again lies on the man of gold) in such a way that the root lies upon it and the tops hanging down to the ground. Its flowers in the perfect state are among the loveliest objects in the vegetable world, and appear through a lens like minute rubies and emeralds in constant motion from the least breath of air. It is the sweetest and most nutritious pasture for cattle, and its usefulness, added to its beauty, induced the Hindus in the earliest ages to believe it was the mansion of a benevolent nymph. Sir W. Jones, Works, vol. v, p. 78. Professor R. Wallace, in his 'India in 1887,' gives an excellent illustration of this famous grass. He remarks (p. 282) that it has a wonderful power of remaining green, being the grass of all Indian grasses which retains its succulence throughout the extreme heat of summer.'
• That is to say, immediately after the earth-brick had been laid on).
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meditating, Indra and Agni, and Visvakarman saw the air, as a second naturally-perforated layer : hence he lays on that (brick ?) by means of Indra and Agni, and Visvakarman.
4. Vâyu said to them, I will step nigh!'Wherewith!'— With the regions!'--'So be it!' He thereby doubtless meant to say, 'with the regional (bricks?) :' hence on the second naturally-perforated one the regional ones are laid, without being separated from its; and hence not separated from the air are the regions, the wind; for not separated therefrom he (Vâyu) stepped nigh with this (brick).
5. They said, “Meditate ye yet!'-whereby no doubt they said, 'Seek ye a layer! seek ye (to build) from hence upwards!' Whilst they were meditating, Parameshthin saw the sky, as a third naturally-perforated layer: whence it is by Parameshthin (the most high) he lays on that (brick 4).
This second naturally-perforated brick, representing the air, forms the centre of the third layer of the altar. See VIII, 3. I, I seq.
* That is, the bricks marking the regions, or quarters (disya); five of these are laid down immediately after the self-perforated one, in the four directions from it, two of them being laid on the south. See VIII, 3, 1, II.
: Viz. without being separated from the layer which the second svayam-âtrinnâ represents. They would seem to lie about a foot away from the central brick; but as no other special brick lies between them, they may on that account be considered as not separated from it.
• The third svayam-atrinnâ, though considered as forming part of the fifth layer, is really laid on the top of it or rather on the
punaskiti'-an additional pile of eight bricks laid over the central, gârhapatya-like, portion of the fifth layer (cf. VI, 6, 1, 14, with note). It is laid down with the formula May the Most High settle thee 1'--and on it the fire is subsequently placed. See VIII, 7, 3, 13 seq.
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6. Yonder Sun said to him, ‘I will step nigh!' Wherewith ?'— With a space-filling (brick 1).'—'So be it!’—Now he (the sun) indeed is the space-filler : 'by (mine own) self,' he thus means to say. Hence the third naturally-perforated one is laid on so as not to be separated from the space-filling one ? ; and hence yonder sun is not separated from the sky, for not separated therefrom did he step nigh with this (brick).
7. These six deities forsooth became all this (universe), whatsoever exists here. The gods and the Rishis said, “Those six deities forsooth have become all this (universe): bethink ye yourselves how we also may share therein!' They said, ' Meditate ye !' whereby doubtless they meant to say, 'Seek ye a layer! seek ye how we also may share in this 3!' Whilst they were meditating, the gods saw a second, the Rishis a fourth, layer 4.
8. They said, 'We will step nigh!'--'Wherewith ?'— With what is over and above these worlds I'—'So be it!' Now what there is above the earth on this side of the air, therewith the gods stepped nigh, that is this second layer; and what there
i See p. 153, note.
* The laying down of the last svayam-âtrinnâ (together with the likewise perforated vikarnî') is immediately preceded by the filling up of the fifth layer with the 'space-filling' bricks, only one of which has the common formula pronounced over it. See VIII, 7, 2, i seq.
8 Viz. in this universe, and, as a representation thereof, in this fire-altar.
* In the foregoing 1-5 paragraphs only those three layers, which have a 'naturally-perforated' brick in the centre, viz. the first, third, and fifth layers, were mentioned. The author now remarks on the two other layers, representing as it were the space between the three worlds.
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is above the air on this side of the sky, therewith the Rishis stepped nigh, that is this fourth layer.
9. Now when they said, “Meditate ye (ketayadhvam)!' they doubtless meant to say, 'Seek ye a layer (kitim ikkhata) l' and inasmuch as meditating (ketay) they saw them, therefore they are ‘layers' (kitayah).
10. Pragâpati saw the first layer: Pragâ pati assuredly is its (spiritual) ancestry. The gods saw the second layer: the gods assuredly are its ancestry. Indra and Agni, and Visvakarman saw the third layer : they assuredly are its ancestry. The Rishis saw the fourth layer : the Rishis assuredly are its ancestry. Parameshthin saw the fifth layer: Parameshthin assuredly is its ancestry. And, verily, whosoever so knows that (spiritual) ancestry of the structures (layers of the fire-altar), his structures are indeed possessed of an ancestry, possessed of relations (or, of mystic significance, bandhu).
THE SAVITRA LIBATIONS. THIRD ADHYAYA. First BRÂHMANA. 1. The gods then said, “Meditate ye!' whereby doubtless they meant to say, 'Seek ye a layer!' Whilst they were meditating, Savitri saw those Sâvitra (formulas); and inasmuch as Savitri saw them, they are called Såvitra. He offered that eightfold-taken libation; and when he had offered it, he saw this eightfold-appointed Ashâdha, which had been created aforetime.
1 That is, the 'invincible' brick, being the first brick which is made, and that by the Sacrificer's chief wife (mahishî) herself. See VI, 5, 3, I seq.-Sayana remarks,—tâm Âhutim hutva imâm prithivîm âdhiyagħtikîm ashtadhâvihitâm mritsikatâbhih prithivyavairiyam (prithivyangair imâm) ashtavihitâtmikám ashâdham ishta
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2. Now when they said, 'Meditate ye !' they doubtless meant to say, 'Seek ye a layer !' and inasmuch as they saw it whilst meditating (ketay), therefore it is a layer (kiti). And the libation is a sacrifice; and inasmuch as he saw it after sacrificing (ishtva), it is a brick (ishtaka).
3. Now that same (libation of ghee), while being a single one, he offers as an eightfold one with eight formulas: whence this ('invincible' brick), while being a single one, is eightfold appointed.
4. He offers while raising upwards (the spoon) ;he thereby raises this earth upwards by means of its forms?: whence this earth is raised (above the water) by its forms.
5. He offers it continuously ;-for at that time the gods were afraid lest the Rakshas, the fiends, should come thither after them! They saw that continuous libation for preventing the Rakshas, the fiends, from coming after them: hence he offers it continuously.
6. And, again, why he offers that libation ;-this Agni is Savitri, and him he gratifies at the outset by this libation; and having sacrificed to, and gratified, him (Agni), he then puts him together. And inasmuch as by this (libation) he gratifies Savitri, they (the formulas are called) Sâvitra : that is why he offers this libation. kâm apasyat; puraiva lokâpavarga kala (? kâle or kâlât) srishtâm satim. Though in the cosmogonic account, VI, I, 1, 13 seq., the earth is rather said to consist of nine different elements, the 'invincible' brick is commonly identified with the earth. See VI, 5, 3, 1. For the (eightfold) compositions of the clay used for the fire-pan and bricks, see VI, 5, 1, 1 seq.
That is to say, the offering-spoon is filled by eight dippings with the dipping-spoon.
• That is, by means of its constituent elements ;—prithivîm ũrdhyam rupair mridẫdibhir udgamayati, Sấy.
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7. And, again, why he offers this libation ;-this Agni is Savitri, and him he pours out as seed at the outset by this libation; and whatlike seed is poured into the womb suchlike (offspring) is born. And inasmuch as by this (libation) he pours out Savitri as seed, they (the offering-formulas are called) Sâvitra : that is why he offers this libation.
8. Both an offering-spoon (sruk) and a dippingspoon (sruva) are used thereat; for the offering-spoon is speech, and the dipping-spoon is breath; and with speech and breath the gods sought this sacred rite at the beginning : hence there are an offering-spoon and a dipping-spoon.
9. And, again, why there are an offering-spoon and a dipping-spoon,—what Pragâpati was, that indeed is this dipping-spoon, for the dipping-spoon is the breath, and the breath is Pragâpati. And what Vâk (speech) was, that is this offering-spoon; for Vâk is a female, and the offering-spoon (sruk, f.) is a female ; and those waters which went forth from the world of Vâk (speech)', they are this (ghee) which he offers (in) this libation.
10. He offers it continuously, for those waters flowed continuously. And inasmuch as that Pragapati entered the waters with the threefold science, that is these prayers (yagus) with which this (priest) now offers.
11. The first three which there are, are these (three) worlds; and what fourth prayer there is that
1 See VI, 1, 1, 9.
3 VI, 1, 1, 10.-The construction of the text is somewhat peculiar,—what the author means to say seems to be the threefold science (the Veda) with which Pragâpati entered the waters is the same as the prayers now offered up.
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is the threefold science, that is the Gagati,—the Gagati being all the metres, and all the metres (making up) the threefold science; and what last four (prayers) there are, they are the quarters : now Pragapati indeed is those worlds and the quarters; and that (gagati verse in the middle) is the threefold science.
12. He offers with (Vág. S. XI, 1), 'Harnessing first the mind,'— Pragâpati, assuredly, is he that harnesses, he harnessed the mind for that holy work ; and because he harnessed the mind for that holy work, therefore he is the harnessing one.
13. 'Savitri, stretching out the thoughts,'for Savitri is the mind, and the thoughts are the vital airs ;-'gazing reverently at Agni's light,' —that is, having seen Agni's light ;-' bore up from the earth;' for upwards from the earth he indeed bears this (offering).
14. (Vag. S. XI, 2] 'With harnessed mind we,' -he thereby harnesses the mind for this work, for with unharnessed mind one cannot now do anything; -'at the impulse of the god Savitri,'—that is impelled (sped) by the god Savitri,— with power (we strive) for the heavenly;'—that by this holy work he may go to the heavenly world,' he thereby means to say; 'with power,' he says, for by power (energy) one goes to the heavenly world.
15. [Våg. S. XI, 3] 'Savitri, having harnessed the gods,'-Savitri is the mind, and the gods are the vital airs;-'going by thought to the light, to heaven,'—for as such as are going to the heavenly world by thought (devotion) he has harnessed them for this holy work ;-'going to produce a mighty light,'—the mighty light assuredly is yonder sun, and
[41]
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he is this Agni, and him they are indeed going to fit together (or, restore) ;-'may Savitri speed them!'—that is, 'may they perform this holy work, sped by Savitri.
16. [Vâg. S. XI, 4] 'They harness the mind, and they harness the thoughts,'—for both the mind and the vital airs he harnesses for this holy work ;-'the priests of the priest,'—the priest is Pragâpati, and the priests are the gods;—' of the great inspirer of devotion,'—the great inspirer of devotion' is Pragâpati ;—he hath assigned the priestly offices,'-now when he (Agni-Pragapati) is built up, then he assigns the priestly offices, for the priestly offices are assigned over the built-up (fire-altar) ;-'the finder of rites,'—for he indeed found this rite ;—'he alone,' for he alone found this whole holy rite ;-mighty is the praise of the god Savitri,'—that is, 'great is the praise of the god Savitri.'
17. [Vâg. S. XI, 5; Rik S. X, 13, 1] 'By devotions I harness your old inspiration,'the old inspiration (brahman) doubtless is the vital air, and devotion is food, and that food is this oblation: by means of this oblation, by means of this food, he harnesses the vital airs for this holy work,— "May the praise spread a broad on the lord's path,'—this he says in order that there may be for the Sacrificer the praise of fame among both gods and men ;-'may all sons of the immortal hear!'—the immortal one doubtless is Pragâpati, and his sons are all the gods;—'who have resorted
* See III, 5, 3, 12, where 'brihat vipaskit' (in the same formula) is explained as referring to the sacrifice.
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to the heavenly abodes ;'--the heavenly abodes are these worlds : the gods that are in these worlds, with regard to them he says this.
18. [Våg. S. XI, 6; Rik S. V, 81, 3] Whose course the others have followed,'--for Pragapati first performed this rite, whereupon the gods performed it; -'the gods with vigour, the god's greatness,'--the greatness is the sacrifice, thus: 'the gods with vigour (followed) the god's sacrifice, his energy;'-'that dappled steed who hath measured the terrestrial (regions),'—whatsoever is on this earth that is terrestrial, all that he measures out; for with his rays he reaches down to it ;-'the regions, he the god Savitri by his greatness,'—the regions are these worlds, and the god Savitri is yonder sun: he measures them by his greatness.
19. (Vag. S. XI, 7] God Savitri, speed the sacrifice, speed the lord of sacrifice unto his share!'--the god Savitri is yonder sun, and his share is the sacrifice, that he means to say when he says 'speed the sacrifice, speed the lord of sacrifice!'—*May the heavenly, thought-cleansing Gandharva cleanse our thought!'--the heavenly Gandharva is yonder sun, and thought is (sacrificial) food; thus, 'May the food-cleanser cleanse our food!'--'May the lord of speech render agreeable our speech !'—this sacred rite is speech, and the lord of speech is the breath : thus, ‘May the breath render agreeable this rite of ours!'
20. [Våg. S. XI, 8] 'Further, O god Savitri, this our sacrifice!'-the god Savitri is yonder sun, and whatever sacrificial rite he furthers, that
O
2
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reaches its end safely and auspiciously ;-'as one pleasant to the gods,'—that is, as one which shall please the gods ;-'friend-gaining, ever-winning, wealth-winning, heaven-winning; —that is, one that may gain all this ;— Make the hymn-tune successful with the rik (verse), the Rathantara with the Gâyatra (metre), and the Brihat, moving in Gayatra measures!'-thus the samans (hymns);—' Hail!' thus the sacrificial formulas : this threefold science is first produced, even as it was there and then produced. And the Agni who was produced, he is this Agni (fire-altar) who is built up from hence upwards.
21. These then are the eight Savitra (formulas);the Gayatri has eight syllables, and Agni is Gayatra: as great as Agni is, as great as is his measure, by just so much he pours him out as seed. There are nine of them, the call of 'Hail' (being) the ninth,there are nine regions, and Agni is the regions ; nine vital airs, and Agni is the vital airs : as great as Agni is, as great as is his measure, by so much he pours him out as seed. There are ten of them, the libation (being) the tenth,--the Virág has ten syllables, and Agni is Virág (the widely shining 2); there are ten regions, and Agni is the regions; ten vital airs, and Agni is the vital airs: as great as Agni is, as great as is his measure, so great does this become.
22. This libation having been offered, Agni went away from the gods. The gods said, 'Agni is the
1 Or, the single oblations, as distinguished from the whole continued libation.
• Diptya viragamanah, Sây.
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cattle (or, an animal), let us search for him by means of the (different kinds of) cattle : he will become manifest unto his own form. They searched for him by means of the cattle, and he became manifest to his own form: and hence even to this day the animal becomes manifest to its own form (kind) ?, cow to cow, horse to horse, and man to man.
23. They said, 'Surely, if we search with all of them, they will become used up and affording no livelihood ; and if not with all, we shall get him (Agni) incomplete.' They saw one animal (as a substitute) for two animals , namely, the ass (as a substitute) for the cow and the sheep; and because they saw that one beast (would do) for two beasts, therefore that one (the he-ass), whilst being one, doubly impregnates :
24. The sham-man* (they saw to be a substitute) for man,-a sham-man doubtless is he who pleases neither the gods, nor the fathers, nor men. Thus they searched by means of all the beasts, and yet they (the beasts) did not come to be used up and affording no livelihood.
25. With three he searches,-Agni is threefold: as great as Agni is, as great as is his measure, with so much he thus searches for him. They are five
1 That is to say, it shows itself openly, appears fearlessly before others of its kind;-Svâya râpâyeti tâdarthye katurthî ; âvih prakâso bhavati, tadanukârenedânîm api pasuh svâya rupaya samanagittyaya prakao bhavati, Sây.
? That is to say, they saw that one animal might do for two, pañkami pratinidhau, Sây. (Pân. II, 3, II.)
: Viz, the she-ass and the mare.
• Anaddha-purusham alîka-purusham purushật pratyapasyan purushasthâne kalitavantas, Sây. Thus probably a counterfeit of a man, a doll or human effigy.
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by way of (mystic) correspondence 1,—Agni (the fire-altar) has five layers; five seasons are a year, and the year is Agni: as great as Agni is, as great as is his measure, so great does this become.
26. They are fastened with halters of reed-grass to guard (Agni) against injury;-Agni went away from the gods; he entered into a reed, whence it is hollow, and whence inside it is, as it were, smoketinged (thus) that, the reed, is Agni's womb, and Agni is these cattle; and the womb does not injure the child. For it is from a womb that he who is born is born: 'from the womb he (Agni) shall be born when he is born,' thus he thinks.
SATAPATHA-BRAHMANA.
27. They (the halters) are triple (strings), for Agni is threefold. They are made like a horse's halter, for the horse's halter lies all round the mouth, and the womb lies all round the child: thus it is made like the womb.
28. They (the animals) stand facing the east, first the horse, then the ass, then the he-goat; for this
1 That is, in order that this item of the sacrificial performance should correspond with the nature of Agni. The number of five is obtained by the three beasts actually led forward, a horse, an ass, and a he-goat-and the two beasts for which the ass was stated to be a substitute, viz. the cow (or bullock) and the sheep.-Sâyana, whose comment is very corrupt in this place, remarks,-nânaddhâpurusho-tra ganyate.
2 In the text the dative of purpose ('ahimsâyai') is as usual shifted right to the end of the train of reasoning explaining the raison d'être of this item of the performance.
This final clause with 'vai' supplies the reason why Agni entered the womb, viz. because otherwise he could not be born;just as the preceding clause with 'vai' (the womb does not injure the child) supplies the reason why reed grass is used; whilst the preceding clauses explain how the reed comes to be the womb whence Agni sprung.
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is their proper order. For that horse (asva) is the tear (asru) which there (at the creation) formed itself ; and that ass (râsabha) is that which, as it were, cried (ras); and that he-goat (aga, unborn) is the juice which adhered to the shell; and that clay which they are about to fetch is nothing else than the shell (of the egg): for it was from these forms that he was created at first, and from them he thus produces him.
29. They stand on the south side ;-for the gods at that time were afraid, lest the Rakshas, the fiends, should smite their sacrifice from the south.
They saw that thunderbolt, yonder sun; for this horse is indeed yonder sun; and by means of that thunderbolt they drove off the Rakshas, the fiends, from the south, and spread this sacrifice in a place free from danger and devilry. And in like manner does the Sacrificer now by this thunderbolt drive off the Rakshas, the fiends, from the south, and spread this sacrifice in a place free from danger and devilry.
30. On the right (south) side is the Åhavaniya fire, and on the left (north) lies that spade; for the Âhavaniya (m.) is a male, and the spade (abhri, f.) a female, and the male lies on the right side of the female 2. [It lies] at a cubit's distance, for at a cubit's distance the male lies by the female.
31. It should be made of bamboo. Agni went away from the gods. He entered into a bamboostem ; whence that is hollow. On both sides he made himself those fences, the knots, so as not
i
See VI, 1, 1, 11.
Dakshinato vai vrisha yoshâm upasete ;-compare: uttarato hi strî pumâmsam upasete, I, 1, 1, 20; II, 5, 2, 17.
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to be found out; and wherever he burnt through, those spots came to be.
32. It (the spade) should be spotted, for such a one is of Agni's nature. If he cannot procure a spotted one, it may be unspotted, but hollow it must be, to guard (Agni) from injury ? ;-(for) such a one alone is of Agni's nature; that, the bamboo, is Agni's womb; and this (lump of) clay is Agni; and the womb does not injure the child. For it is from a womb that he who is born is born : 'from the womb he (Agni) shall be born when he is born,' so he thinks.
33. It may be a span long, for the voice here speaks but as far as a span's distance 2. It is, however, a cubit long, for the cubit is the arm, and strength is exerted by the arm: it thus becomes equal to his strength.
34. It may be sharp on one side only, for on one of the two sides is there a keen edge to this speech of ours 3. But indeed it is one that is sharp on both sides, for on both sides is there a keen edge to this speech of ours, inasmuch as it speaks both what is divine and what is human", and both truth and untruth : therefore it is one that is sharp on both sides.
1 For the construction, see p. 198, note 2.
? Prâdesamâtram hîdam mukham abhi våg vadati, mukham abhi varnâtmikâ vâg vadati vâktastis (?) tasyâs ka prâdesamâtratvam adhyâtmâvadhâritam atos trâpi prâdesamâtrâ . . . yukta, Sây.
• According to Sâyana the tip of the tongue is indicated (as VII, 2, 3, 3; 2, 4, 14, 'vâk' means 'mouth'); but perhaps it is rather sharp, vituperative speech addressed to another person that is intended here.
• Sâyana identifies the divine speech with Samskrit, and the human speech with the Apabhramsas, or low dialects (?mânusham kâpâtrosam, MS.).
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35. And, again, why it is sharp on both sides,— the strength of the spade doubtless is on that side on which there is its sharp edge: he thus lays strength into it on both sides.
36. And, again, why it is sharp on both sides,when the gods had there discovered him (Agni), they dug him out from these worlds; and in like manner does he now, after discovering him, dig him out from these worlds.
37. When it digs thus (downwards), then it digs him out from this world; and when it moves upwards, then from yonder world; and when it moves about between the two, then from the air-world: it thus digs him out from all these worlds.
38. He takes it up, with (Vâg. S. XI, 9), 'At the impulse of the god Savitri, I take thee by the arms of the Asvins, by the hands of Pushan, by the Gayatri metre, Angiras-like!' By means of those deities he thus takes it up, impelled by Savitri; by the Gâyatri metre: he thus imparts the Gayatri metre to it. From the Earth's seat, Angiras-like, bring thou Agni Purishya1!'
1
1 Mahîdhara says, Agni is called 'purîshya,' because loose soil (purîsha) is put in the fire-pan (ukhâ), on which the fire is then placed. It also doubtless refers to the loose soil which is spread over the different layers of the altar, thus serving as mortar to the bricks. In this epithet of Agni, 'purîsha' seems, however, to be taken in yet another, more subtle sense, the author apparently connecting with it its etymological meaning of 'that which fills, fillings, Germ. Füllung, Füllsel;' whilst the reference to cattle might also seem to point to the later ordinary meaning, 'faeces, manure.' Mahîdhara, on the force of the symbolical identification
pasavo vai purîsham,' seems straightway to take 'purîsha' as a synonym of 'pasu,' when he says,-purîshebhyah pasubhyo hitah purîshyah. Sâyana's comment here is corrupt,-pasavo vai purîsham pûranâmûhi (?) kâryam pasavah pûrayanti.
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now soil means cattle: thus, 'from the earth's lap bring thou Agni, favourable to cattle, as Agni (did)!''by the Trishtubh metre, Angiraslike!' he thereby takes it with the Trishtubh metre and thus lays into it the Trishtubh metre.
39. [Vâg. S. XI, 10] 'A spade thou art,'-for a spade it is: he thus takes it by means of the truth;— 'A woman thou art!'-the spade is a thunderbolt, and the woman is a female, and a female injures no one he thus appeases it so as not to do any injury. 'By thee may we be able to dig out Agni in the seat!' the seat no doubt is this (spot): thus, 'By thee may we be able to dig out Agni in this seat (place).'-'By the Gagati metre, Angiras-like!' he thus takes it up by means of the Gagati metre, and lays the Gagati metre into it.
202
40. With three (formulas) he takes it up,-threefold is Agni: as great as Agni is, as great as is his measure, by so much he thus takes it. Having taken it up with three (formulas), he addresses it with a fourth; for the gods having thus taken it with three (formulas), then laid vigour into it by means of a fourth; and in like manner does he now, after taking it up with three (formulas), lay strength into it with the fourth.
41. [Vâg. S. XI, 11] 'Having taken into his hand, Savitri,'-for it has indeed been taken into his (the Adhvaryu's) hand,—'bearing the spade,'for he indeed bears it, the golden,'-for golden indeed is the one that consists of the metres (the Veda); beholding Agni's light,'—that is, seeing Agni's light,-lifted it up from the earth,'for he indeed lifts it up from the earth;-'by the Anush/ubh metre, Angiras-like;'-he thus takes
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it up by means of the Anushubh metre, and lays the Anushubh metre into it: for his undertaking that spade of bamboo is thus made to be those
metres.
42. Some, indeed, make it of gold, saying, 'It is spoken of as golden.' Let him not do so: in that it is the metres, thereby that (spade) is gold, immortal gold, the immortal metres.
43. He takes it up with four (formulas), for all speech consists of four syllables: 'vâk' (speech) is one syllable, and 'aksharam' (syllable) consists of three syllables. Now that monosyllable 'vâk' is the same as this last one, the Anush/ubh; and that trisyllable 'aksharam' is the same as those former formulas he thus digs up Agni by the whole speech, and equips it with the whole speech,-hence with four (formulas).
44. And, again, why with four (formulas) ;—there are four quarters: he thus lays speech into the four quarters, whence speech speaks in the four quarters. He takes it up both by metres and by formulas, that makes eight-there are four quarters, and four intermediate quarters: he thus lays speech into all the quarters, whence speech speaks in all the quarters.
THE SEARCH AND DIGGING FOR AGNI (THE LUMP OF CLAY).
SECOND BRAHMANA.
1. The spade is still in his hand, when he addresses the beasts. For when the gods at that time were about to search (for Agni) in these (animals) they placed their vigour in front; and in like manner does
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this one, now that he is about to search in these (animals), place his vigour in front.
2. He addresses the horse, with (Vâg. S. XI, 12), 'Most speedily1, O courser, run hither,'-what is swift, that is speedy, and what is swifter than swift, that is most speedy;-'along the widest range,' the widest range doubtless is this (earth): thus, 'along this wide range;'-' in the sky is thy highest home, in the air thy navel, upon earth thy womb' he thus makes it to be those deities, Agni, Vâyu, and Âditya (the sun), and thus lays vigour into the horse.
3. Then the ass, with (Vâg. S. XI, 13), 'Yoke ye two the ass,' he says this to the Adhvaryu and the Sacrificer; upon this course, ye showerers of wealth!'-that is, 'upon this performance, ye showerers of wealth;'-'him, bearing Agni, and helpful' unto us;'—that is, 'him, bearing Agni, and urged forward by us:' he thereby lays vigour into the ass.
4. Then the he-goat, with (Vâg. S. XI, 14), 'At every yoking, at every race, we call him, the most powerful,'-race3 means food: thus, 'in every performance, in respect of every food we call him, the most powerful;'-'Indra to our help, we his friends!'-that is, 'him, the strong (indriyavat), to our help he thereby lays vigour into the he-goat. 5. With three (formulas) he addresses (the victims), threefold is Agni: as great as Agni is, as
Pratûrtam, 'sped forward, speeding forward.'
2 Asmayu, 'tending towards us, favourable to us,' is explained differently by the author of the Brahmana.
The author here, as elsewhere, rather takes 'vâga' in the sense of strength, sustenance.'
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great as is his measure, by so much he thus lays vigour into them.
6. He then makes them walk forward to the east: he thus searches for him (Agni) by means of these animals. He does not touch (them) lest he, Agni, should injure him; for Agni is the same as the animals 1.
7. He makes the horse walk on, with (Vâg. S. XI, 15), 'Forth-speeding, come treading down the curses!'-curse means evil: thus, 'running come, treading down the evil!'-'come, delighting, into Rudra's chieftainship!'—beasts belong to Rudra : thus, 'come thou, delighting, into the chieftainship of him who is thy deity!' he thus searches for him by means of the horse.
8. Then the ass with, 'Traverse the wide air, thou possessed of prosperous pastures and affording safety!'-as the text, so its meaning;'with Pushan as thy mate;'-Pûshan, doubtless, is this earth; thus, 'together with her as thy mate:' he thus searches for him by means of the ass.
9. Then the he-goat, with (Vâg. S. XI, 16), 'From the Earth's seat, Angiras-like, bring thou Agni Purishya!'-that is, 'from the Earth's lap bring thou Agni, favourable to cattle, as Agni (did)!' he thus searches for him (Agni) by means of the he-goat.
10. With three (animals) he searches,-threefold is Agni: as great as Agni is, as great as is his measure, with so much he thus searches for him.
1 The text here has the ordinary Sanskrit construction, running literally thus:-he does not touch-Agni (being) the same as the animals' lest he, Agni, should injure me!'
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By three (formulas) he first addresses (the beasts); that makes six,—six seasons are a year, and the year is Agni : as great as Agni is, as great as is his measure, so great does this become.
THIRD BRÂHMANA. 1. Those fires have been kindled (afresh); and they (the priests and sacrificer) betake themselves to the lump of clay' ;-those fires doubtless are these worlds : when they are kindled, then they are these worlds. For formerly the gods were seeking this sacred rite outside of these worlds ; and when he fetches the lump of clay after passing by those fires, he is seeking him (Agni) outside of these worlds.
2. They go eastwards; for the east is Agni's region : he thus seeks him in his own region, finds him in his own region.
3. They go forward, with, 'Angiras-like, we go to Agni Purishya;'—that is, like Agni, we are going to Agni, favourable to cattle.'
4. He then looks at the sham-man, with, 'Angiras-like, we shall carry Agni Purishya;—that is, ‘Like Agni, we shall carry Agni, favourable to cattle :' he thus searches for him by means of the sham-man.
5. Thereupon a hollow ant-hill is laid down midways (between the lump of clay and the Ahavaniya fire). He looks along it?; for the ant-hill is this
The lump of clay which is to be used for the making of the fire-pan has been placed in a square hole east of the Âhavanîya fire.
* That is to say, he looks at the lump of clay through the hollow part of the ant-hill, whilst muttering the formula given in the next paragraph.
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earth, and this earth is these worlds. For the gods searched for him (Agni) in these worlds part by part; and in like manner does this one now search for him in these worlds part by part.
6. (Vag. S. XI, 17] 'Agni hath looked along the crest of the Dawns,'—thereby they sought him in the dawns ;-'along the days, he, the first knower of beings,'—thereby they sought him in the days;—'and oftentimes along the rays of the sun,'—thereby they sought him in the rays of the sun ;-'along the sky and the earth hast thou spread;'—therewith they sought him in the sky and the earth, and found him; and in like manner does this one thereby find him (Agni). When he sees him from afar, he throws down that (ant-hill); and they go up to the lump of clay.
7. He then addresses the horse; for the gods then said, 'Let us drive away his evil!' Now evil is weariness: thus, 'Let us drive away his weariness, the evil!' They drove away his weariness, the evil; and in like manner does this one now drive away his weariness, the evil.
8. Vag. S. XI, 187 "The courser, having started on his way,'—for his way has indeed been started upon ;—'shaketh off all assaults,'assaults mean evils: thus, 'shakes off all evils ;' and hence, indeed, the horse, whilst running, shakes itself;—'Agni he seeks to descry with his eye on the great seat;'—the great seat doubtless is this sacrificial (place) : thus, 'Agni he wishes to see with his eye on this great seat.'
9. He then makes it (the horse) step on the lump of clay with the left fore-foot); for having discovered him (Agni), it (the horse) then indicated
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him to the gods, as if (it meant to say) ', 'Just here he is!'
10. And, again, why he makes it step thereon ;the gods then were afraid, thinking, 'We hope the Rakshas, the fiends, will not slay here this our (Agni)!' They placed that thunderbolt upon him as a protector, to wit, yonder sun; for that horse is indeed yonder sun; and in like manner does this (Sacrificer, or priest) now place upon him that thunderbolt as a protector.
11. [Vâg. S. XI, 19] ‘Having come upon the earth, O courser, seek thou Agni by thy light!'
-the light is the eye: thus, ‘Having come to the earth, thou, O courser, seek Agni with thy eye!'by pawing the ground tell us where we may dig him out!'--that is, 'by pointing out that (spot) of the ground tell us where we may dig him out.'
12. He then pulls it up3; for the gods now endowed it with vigour (for) having indicated (Agni) to them; and in like manner does this one now endow it with vigour (for) having indicated (Agni) to him. He does so, with [Vàg. S. XI, 20), 'The sky is thy back, the earth thy resting-place, the air thy body, the sea thy womb;'—whereby he says, 'Such
* Or, as if one were to say,-yathầyam iba-sthâna astha(?) iti kaskid brayad evam prostavân, Sây.
* Or, by covering ;-it is not easy to see what the author makes of vrittvaya,' for which the St. Petersburg dictionary suggests
vritvậya.' Mahîdhara derives it from vart,' in the sense of to touch.' Perhaps, however, 'bhamer' depends on 'yatas;' hence 'moving about, tell us from what spot of the ground we may dig him out.
. That is, he pulls up its head (?); "he rouses it, shakes it up,' St. Petersb. Dict.-Sâyana, on the other hand, in accordance with Káty. XVI, 2, 18, interprets ‘unmrisati' by 'he holds his hand over its back,'—prishthasyopari pânim dhârayati.
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thou art, such thou art;'—Looking about with thine eye, tread down the assailers!'—that is, 'Looking about with thy eye, tread down all evildoers !' He does not touch it, lest this thunderbolt should injure him, for the horse is a thunderbolt 1.
13. He then makes it step off (the lump of clay); --for the gods now said, 'What shall we cause it to obtain ??'-'Great beauty 8!'-They caused it to obtain great beauty; and in like manner does this one now cause it to obtain great beauty,—with (Våg. S. XI, 21), Go thou unto great beauty!' —that is, 'Go to thy great beauty!' and therefore, indeed, the horse is the most highly-favoured of animals ;-'from this standing-place,'—that is,
where thou now standest; '-'wealth-giver!'for wealth it does give them ;— Courser!'-for this is a courser ;— May we be in the Earth's favour, whilst Agni we dig in her lap!'—that is, 'May we be in the favour of this earth, whilst digging (for) Agni in her lap!'
14. When it has stepped off he addresses it; for as one would extol him who has given a gift, so the gods now praised and magnified it (for) having indicated (Agni); and in like manner does this one now praise and magnify it, with (Vậg. S. XI, 22), *He hath come down,'—for it has indeed come down,-'the wealth-giver,'—for wealth, indeed, is given them ;-'the racing courser,'--for it is indeed a racer and a courser ;—'hath made good, well-made room on earth,'—that is, thou madest good, well-made room on earth ;'-'thence let us
· For the construction, see on paragraph 6, p. 205, note. · Literally, to step off to.
Saubhaga, 'the state of being well-endowed, well-favoured.'
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dig out the fair-looking Agni,'—'fair-looking,' he says, for Agni is indeed fair-looking on every side ;—'ascending the heaven, unto the highest sky,'—the sky is the heavenly world : thus, 'mounting the heavenly world, unto the highest sky. He makes it come up on the right side (of the lump) to where the two other beasts are: they stand on the right side, facing the east. The significance of the right-hand (southern) position here is the same as it was on that former occasion.
15. Sitting down he now offers upon the lump of clay ;-for the gods then said, “Meditate ye (ketay),' whereby, doubtless, they meant to say, 'Seek ye a layer (kiti)! Whilst meditating they saw this libation, and offered it: after offering it, they saw the fire-pan (representing) these worlds.
16. They said, 'Meditate yel' whereby, doubtless, they meant to say, 'Seek ye a layer!' Whilst meditating they saw this second libation, and offered it: after offering it, they saw the Visvagyotis (alllight bricks), that is, those deities Agni, Våyu, and Aditya; for these deities are indeed all the light. And in like manner does the Sacrificer now, after offering those two libations, see the firepan, these worlds; and those all-light deities. He offers with two interlinked (verses) : he thereby interlinks these worlds, and those deities.
17. And, again, why he offers these two libations ; -he thereby gratifies both the clay and the water ; and having offered to, and gratified, these two, he then brings them together. With two interlinked
1 The two halves of the two verses uttered in the order i a, 2 b, 2 a, i b.
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(verses) he offers : he thereby interlinks (combines thoroughly) the clay and the water.
18. He offers with ghee; for the ghee is a thunderbolt: he thus makes the thunderbolt its (or his, Agni's) protector. The ghee, moreover, is seed: he thus pours forth seed,—with the sruva-spoon; for the sruva (m.) is a male, and the male pours forth seed, with 'Svâhâ (hail !),' for the Svâhâkâra (m.) is a male, and the male pours forth seed.
19. (Vag. S. XI, 23 17 Upon thee I sprinkle with thought, with ghee,'—that is, 'upon thee I offer with thought and ghee;'-'that dwellest near all beings,'—for he (Agni) indeed comes to dwelt near every being ;-'thee, large and great with side-spent force,'--for large he is, and directed sideways, and great with force, with smoke; - most ample through food, and fierce to look at,'—that is, 'capacious with food, a consumer of food, and flaming.'
20. (Vag. S. XI, 24] From all sides I sprinkle the hitherward looking,'—that is, 'from every side I offer upon the hitherward looking ; '-'with spiteless mind let him relish this,'—that is, 'with unchafing mind may he relish this; '-'Agni, glorious as a wooer, and of pleasing colour,'for Agni is indeed glorious as a wooer, and of pleasing colour ;-'not to be touched, while raging with his body,'--for not to be touched is he, whilst flaming with his body.
21. With two (verses) he offers; for the Sacrificer
* Rik S. II, 10, 4, beginning, however, ' I sprinkle Agni with a ghee-oblation.'
s Mahidhara and Såyana (Rik S. II, 10, 5) take 'maryasrî' in the sense of resorted to, or worshipped, by men.'
P2
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is two-footed, and the Sacrificer is Agni: as great as Agni is, as great as is his measure, by so much he thus pours him forth as seed;-with two (verses) relating to Agni: it is Agni he thereby pours forth as seed. Inasmuch as they relate to Agni, they are Agni; and inasmuch as they are Trishtubhs, they are Indra; and Agni (the fire) belongs to Indra and Agni: as great as Agni is, as great as is his measure, by so much he thus pours him forth as seed. Moreover, Indra and Agni are all the gods, and Agni (thus) contains all deities: as great as Agni is, as great as is his measure, by so much he thus pours him forth as seed.
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22. He offers on the horse's footprint ;—the horse is the same as that Agni, and so, indeed, these two libations come to be offered over Agni.
23. He draws lines around it (the lump, with the spade): he thereby puts a measure to it (or, to him, Agni), as if saying, 'So great thou art!'
24. And, again, why he draws a line around it;the gods now were afraid, thinking, 'We hope the Rakshas, the fiends, will not smite here this (Agni) of ours!' They drew that rampart round it; and in like manner does this one now draw that rampart round it, with the spade, for the spade is the thunderbolt, and he thus makes the thunderbolt its (or his, Agni's) protector. He draws it all round: on every side he thus makes that thunderbolt to be its (or his) protector'. Three times he draws a line: that threefold thunderbolt he thus makes to be a protector for him.
25. [Vâg. S. XI, 25-27] 'Around the wise lord
1 Or, he makes that protecting thunderbolt for it (or him).
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of strength-', 'Around (us) we (place) thee, O Agni, as a rampart-,' 'With the days, thou Agni-,' in thus praising Agni he makes a fence for him by means of (verses) containing the word 'pari' (around), for all round, as it were, (run) the ramparts;-(he does so by verses) relating to Agni: a stronghold of fire he thus makes for him, and this stronghold of fire keeps blazing;-(he does so) by three (verses): a threefold stronghold he thus makes for him; and hence that threefold stronghold is the highest form of strongholds. Each following (circular) line he makes wider, and with a larger metre: hence each following line of strongholds is wider, for strongholds (ramparts) are lines.
26. He then digs for him (Agni) in this earth. For the gods then were afraid, thinking, 'We hope the Rakshas, the fiends, will not smite him here 1! For the sake of protection they made this earth to be a self (body, âtman) for him, thinking, 'His own self will protect his own self.' It (the lump of clay) should be as large as the hole: thus this earth (or clay) becomes his (Agni's) self. And as to its (being) as large as the hole,-this earth is the womb, and this (clay) is seed; and whatever part of the seed
1 Vâg. S. XI, 25; Rik S. IV, 15, 3, 'Around the offering, Agni, the wise lord of strength, hath come, bestowing precious gifts upon the worshipper.'
Vâg. S. XI, 26; Rik S. X, 87, 22, 'Around we place thee, the priest, as a rampart, O mighty Agni, the bold-raced slayer of the wily day by day.'
Vâg. S. XI, 27; Rik S. II, 1, 1, 'With the days, O Agni, thou, longing to shine hither, art born forth from the waters, out of the shore, from the woods, from the herbs, thou the bright, O man-lord of men.'
Or he digs out that (lump of clay).
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exceeds the womb, becomes useless; and what is deficient, is unsuccessful; but that part of the seed which is within the hole is successful. Four-cornered is this hole, for there are four quarters: from all the (four) quarters he thus digs him.
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FOURTH ADHYAYA. FIRST BRAHMANA.
1. He now digs it (the lump of clay)1 up from that (hole);-for the gods, having found him (Agni), then dug him up; and in like manner this one, after finding him, now digs him up,-with (Vâg. S. XI, 28), 'At the impulse of the god Savitri, by the arms of the Asvins, by the hands of Pûshan, I dig thee, the Agni Purtshya, from the lap of the earth, Angiras-like;'-impelled by Savitri, he thus, by means of those deities, digs him up, the Agni favourable to cattle, as Agni (did).
6
2. 'Thee, O Agni, the bright, the fairfaced,' for this Agni is indeed bright and fairfaced; 'glowing with perpetual sheen,'-that is, shining with perpetual light;'-'thee, kind to creatures, and never harming, the Agni Purishya we dig up from the lap of the earth, Angiras-like;'-that is, 'thee, kind to creatures, and never harming, the cattle-loving Agni we dig up from the lap of the earth, as Agni (did).'
3. With two (formulas) he digs,-two-footed is the Sacrificer, and the Sacrificer is Agni: as great as Agni is, as great as is his measure, with so much he thus digs him up. And twofold also is that form of his, (consisting as it does of) clay and water.
4. He digs, with, ' I dig,'-' we dig;' for with, 'I
'Or him, Agni; the identity of the two being kept up through
out.
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dig,' Pragậpati dug for him (Agni); and with, we dig,' the gods dug for him, therefore (he digs), with, 'I dig,'—'we dig.'
5. Now while digging with the spade, he says with speech 'I dig,'' we dig,' for the spade is speech. It is for his undertaking that this bamboo (spade) is made; and with speech for a spade, the gods dug him up; and in like manner does this one now dig him up with speech for a spade (or, with the speech-spade).
6. He then deposits it upon the black antelope skin, for the black antelope skin is the sacrifice ?: in the sacrifice he thus deposits it (or him, Agni);-on the hair (side); for the hair is the metres: he thus deposits him on the metres. That (skin) he spreads silently; for the black antelope skin is the sacrifice; and the sacrifice is Pragàpati, and undefined is Pragâpati. North (of the hole he spreads it),—the meaning of this (will be explained) hereafter ;-on (the skin spread) with the neck-part in front, for thus (it is turned) towards the gods.
7. And he deposits it on a lotus-leaf (placed on the skin); for the lotus-leaf is the womb, and into the womb he pours that seed; and the seed which is poured into the womb, becomes generative. He spreads that (leaf) with a formula ; for the formula is speech, and the lotus-leaf is speech 2.
8. [Vâg. S. XI, 29] 'Thou art the waters'
* Regarding the skin of the black antelope, considered as a symbol of Brahmanical worship and civilisation, see part i, p. 23, note 2. As to the white and black hair of it representing the hymn-verses (rik) and tunes (sâman), and those of undecided colour the Yagusformulas, see I, 1, 4, 2.
? Viz. because from speech the waters were produced (VI, 1, 1, 9). and from them the lotus-leaf has sprung. Sây.
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back, Agni's womb, for this is indeed the back of the waters, and the womb of Agni ;-'around the swelling sea,'—for the sea indeed swells around it ;-'thou, growing mighty upon the lotus,'— that is, 'growing, prosper thou on the lotus.'— With the measure of the sky, extend thou in width!'with this he strokes along it (so as to lie even on the skin); for that Agni is yonder sun; and him assuredly none other than the width of the sky can contain:
having become the sky, contain him!' this is what he thereby says.
9. He spreads it over the black antelope skin; for the black antelope skin is the sacrifice; and the black antelope skin is this earth, and the sacrifice is this earth, for on this earth the sacrifice is spread. And the lotus-leaf is the sky; for the sky is the waters, and the lotus-leaf is the waters; and yonder sky is above this earth.
10. He touches both of them-he thereby brings about concord between them-with (Vâg. S. XI, 30), "A shelter ye are, a shield ye are!'--for both a shelter and a shield these two indeed are ;-'uninjured both, and ample,'--for uninjured and ample both these indeed are ;-'capacious, guard ye,'—that is, 'spacious, guard ye!'-'bear ye Agni Purishya!'—that is, 'bear ye Agni, favourable to cattle 1 !'
11. [Vâg. S. XI, 31] Guard ye, light-finders, uniting with each other, with the breast, with the self,'—that is, 'guard him, ye light-finders, uniting with each other, both with your breast and your self;'--' bearing within the brilliant, the
See p. 201, note 1.
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everlasting;'--this Agni indeed is yonder sun, and he is the brilliant, the everlasting one; and him these two bear between (them) : hence he says, 'the brilliant, the everlasting.'
12. He touches them with two (verses) ;-twofooted is the Sacrificer, and the Sacrificer is Agni : as great as Agni is, as great as is his measure, by so much he thus brings about concord between these two. And, again, (he does so) because that form of theirs is twofold, (there being) a black antelope skin and a lotus-leaf.
SECOND BRÂHMANA. 1. He then touches the lump of clay, with (Vág. S. XI, 32), “Thou art the Purishya 1,'—that is, 'Thou art favourable to cattle;'-—'all-supporting,'--for he (Agni) indeed supports everything here;— Atharvan was the first that kindled thee, O Agni!'-Atharvan doubtless is the breath, and the breath indeed churned him out (produced him) at first: Thou art that Agni who was produced at first,' this he means to say; and that same (Agni) he thus makes it (the lump) to be.
2. He then takes hold of it with the (right) hand and spade on the right side; and with the (left) hand on the left side, with, ‘From the lotus Atharvan churned thee forth,—the lotus doubtless means the waters, and Atharvan is the breath; and the breath indeed churned him (Agni, the fire) out of the waters at first ;-' from the head of every offerers,—that is, 'from the head of this All (universe).'
1 See p. 201, note I.
*? Or, of every priest (visvasya vâghatah). There is nothing to
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3. [Vâg. S. XI, 33; Rik S. VI, 16, 14] 'Also the sage Dadhyañk, the son of Atharvan, kindled thee;'-Dadhyaйk, the Âtharvana, doubtless is speech; and he did kindle him therefrom ;'as the Vritra-slayer, the breaker of strongholds,'-Vritra is evil, thus: 'as the slayer of evil, the breaker of strongholds.'
4. [Vâg. S. XI, 34; Rik S. VI, 16, 15] Also Pâthya, the bull, kindled thee, as the greatest slayer of enemies,'-Pâthya, the bull, doubtless is the Mind, and he did kindle him therefrom;-'as a winner of wealth in every battle,'-as the text, so its meaning.
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5. With Gâyatri verses (he performs),-the Gayatri is the vital air: he thus lays vital air into him. With three (verses); there are three vital airs, the out-breathing, the in-breathing, and the through-breathing: these he thus lays into him. These (verses) consist of nine feet, for there are nine vital airs, seven in the head, and two downward ones: these he thus lays into him.
6. And these two following ones are Trishtubhs,— (Vâg. S. XI, 35, 36; Rik S. III, 29, 8; II, 9, 1). Now, the Trishtubh is the body (self): it is his (Agni's) body he makes up by means of these two
show how the author of this part of the Brahmana interprets 'vâghat.' Cf. VI, 4, 3, 10.-Professor Ludwig (Rik S. VI, 16, 13) translates, from the head of the priest Visva.' Mahîdhara offers several interpretations, according to which 'vâghatah' may either be taken as nom. plur., the verb being again supplied in the plural,'the priests churned thee out from the head of the universe,' or 'the priests of the universe (or all priests) churned thee out,'-or 'vâghatah' may be ablative sing., like' mûrdhnah,' qualifying 'pushkarât,'-from the lotus, the head, the leader (or, starter, vâhakât) of the universe.
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(verses). 'Seat thee, O Hotri, in thine own place, thou, the mindful,'—the Hotri, doubtless, is Agni; and this, the black antelope skin, is indeed his own place; 'the mindful,' that is, the wise one;''establish the sacrifice in the seat of the good work!'- the seat of the good work doubtless is the black antelope skin ;-'god-gladdening, thou shalt worship the gods with offering !'—that is, 'being a god, gratifying the gods, thou shalt worship (them) with offering ; '-'Bestow, O Agni, great vigour upon the Sacrificer!'-thereby he implores a blessing upon the Sacrificer.
7. •The Hotri, in the Hotri's seat, the knowing,'—the Hotri, doubtless, is Agni; the Hotri's seat is the black antelope skin; and the knowing? means the wise one ;-'the impetuous and glowing one, of great power, hath sat down,'--that is, the impetuous and shining one, of great power, has sat down ;-the guardian of undisturbed rites, the most wealthy,'—for he indeed is the guardian of undisturbed rites, and the most wealthy;-'the bearer of thousands, the bril. liant-tongued Agni,'--a thousand means all, thus,
the all-bearer, the brilliant-tongued Agni. With two Trishtubh (verses) relating to Agni (he performs) : the meaning of this has been told.
8. Then there is this last Brihati verse, for this (fire-altar) when completely built up becomes like the Brihati (the great) metre : whatlike seed is infused into the womb, suchlike is (the child) born ; and because he now makes this verse a Brihati,
* Thus the author evidently interprets 'vídánah,' instead of being found,'' se trouvant,' as is its real meaning.
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therefore this (altar) when completely built up becomes like the Brzhatt.
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9. [Vâg. S. XI, 37; Rik S. I, 36, 9] 'Seat thee, thou art great,'-he now causes the infused seed to establish itself, whence the seed infused into the womb establishes itself;-'burn thou, best gladdener of the gods!'-that is, 'shine thou, best gladdener of the gods;'-'send forth, O Agni, worthy partaker of the offering, thy showy, ruddy smoke!' for when he (Agni) is kindled, he sends forth his ruddy smoke,-the showy, for it, as it were, shows itself.
10. These (verses) amount to six,-six seasons are a year, and Agni is the year: as great as Agni is, as great as is his measure, so great does this become. And what comes to be like the year, comes to be like the Brihati; for the year is the Brihatt,-twelve full moons, twelve eighth days1 (of the fortnight of waning moon), twelve new moons, that makes thirtysix, and the Brihatt consists of thirty-six syllables. He takes it (the lump of clay) from the right (south) to the left (north) side (of the hole), for from the right side seed is infused into the womb; and this (hole) now is his (Agni's) womb. He takes it thither without stopping, so as not to stop the seed.
THIRD BRAHMANA.
1. He then pours water into it (the hole), for whatever is injured or torn in this earth that is healed by water: by means of the water he thus joins together and heals what is injured and torn in her.
1 See VI, 2, 2, 23.
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2. [Vâg. S. XI, 38] 'Let flow the divine waters, the honey-sweet, for health, for progeny!'-honey means sap (essence): thus, 'the sapful, for health, for progeny; '-'from their seed let plants spring forth, full-berried!' for fullberried plants indeed spring forth from the seat of the waters.
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3. He then heals her with air1; for whatever is injured and torn in this earth that is healed by the air: by means of air he thus joins together and heals what is injured and torn in her.
4. [Vâg. S. XI, 39] 'May Vâyu Mâtarisvan heal,'-Vâyu Mâtarisvan, doubtless, is he (the wind) that blows yonder ;-'the broken heart of thee stretched out with upward look!' for this (hole) is the broken heart of this earth stretched out with upward look;-thou who goest along by the breath of the gods,'-for he (the wind) indeed goes along by means of the breath of all the gods;
to thee, Ka, be vashat (success), O god!'-Ka ('Who?') doubtless is Pragâpati, for him he makes this earth to be the Vashat, for there is so far no other oblation than that.
5. He then heals her by means of the quarters, for whatever is injured and torn in this earth, that is healed by the quarters: by means of the quarters he thus draws and joins together what is injured and torn in her. He joins together this and this quarter 2, whence these two quarters are joined
1 Viz. by fanning air into the hole with the hand.
With his 'nameless' (or little) finger, he pushes some of the loose soil into the hole, first from the front (east) and back (west) sides, and then from the right (south) and left (north) sides. Thus, according to Kâty. XVI, 3, 4, the sunwise movement is
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SATAPATHA-BRAHMANA.
together; then this one and this one, whence these two also are joined together : first thus, then thus; then thus, then thus. This is moving (from left) to right, for so it goes) to the gods: with this and this one a means of healing is prepared; with this and this one he heals.
6. He then takes up together the black antelope skin and the lotus-leaf; for the lotus-leaf is the womb, and with the womb he takes up that infused seed: whence the infused seed is taken up by the womb. (He does so, with, Vag. S. XI, 40] Wellborn with splendour, the refuge and shelter, hath he settled down in the light;' for well-born he is, and he settles down in the refuge, and shelter, and light.
7. He then ties it (the lump) up: he thereby keeps the seed within the womb; whence the seed kept within the womb does not escape. With a string (he ties it), for with the string they yoke the draught beast ;-with a triple one of reed grass : the significance of this has been told .
8. He lays it round (the skin), with, 'Invest thyself, O lustrous Agni, in the many-coloured garment l' In the sacrifice the cord is Varunic; having thereby made it non-Varunic, he makes him put on (the skin) as one would make a garment be put on.
9. He then takes it and rises ;—that Agni being yonder sun, he thus causes yonder sun to rise ;-with (Vág. S. XI, 41), 'Rise, thou of good rites,'—the sacrifice doubtless is a rite: thus, ‘rise thou, well
obtained by the hand moving from east (along the south) to west, and then from south (along the west) to north.
See VI, 3, 1, 27. * See Rik S. VIII, 23, 5, differing considerably.
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worthy of sacrifice; '--' Guard us with godly wisdom !'--that is, 'whatever divine wisdom is thine, therewith guard us!'—Most brilliant to see with great light,'—that is, 'in order to be seen most brilliant with great light;'—'hither, O Agni, come thou with praises!'-the praises are the steeds : thus, 'hither, Q Agni, come with the steeds.'
10. He then lifts it upwards from there towards the east; for this Agni is yonder sun: he thus places yonder sun upwards from here in the east, and hence yonder sun is placed upwards from here in the east. [He does so, with, Vàg. S. XI, 42; Rik S. I, 36, 13] 'Upright for our protection, stand thou like the god Savitri!'-as the text, so its meaning;—'upright, as a bestower' of strength,' --for standing upright he (the sun) indeed bestows ? strength, food;—'when we utter our call with the shining offerers'—the shining offerers®, doubtless, are his (the sun's) rays: it is these he means. He lifts it up beyond the reach of his arms, for beyond the reach of his arms is that (sun) from here. He then lowers it; and having lowered it, he holds it above the navel : the meaning of this (will be explained) hereafter
* The author might seem to connect ‘sasti' (in susasti) with sâs,' to rule, control, instead of with 'sams,' to praise ; Såyana, however, takes 'susasti' as a bahuvrihi, with the praiseworthy,' i. e. with the steeds deserving praise, because they draw well (sobhana sastir eshâm ... sådhu vahanty asvâh). It is indeed not improbable that this was the author's intention.
: Or, a winner-wins. • Añgayo våghatah. See p. 217, note 2. • See VI, 7, 1, 8 seq.
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SATAPATHA-BRAHMANA.
FOURTH BRAHMANA.
1. That (lump of clay representing Agni) is still in his hand when he addresses the animals; for the gods, being about to equip1 (Agni), now first laid vigour into them; and in like manner does this (Sacrificer, or priest) now, being about to equip (Agni), first lay vigour into these (cattle).
2. He addresses the horse, with (Vâg. S. XI, 43; Rik S. X, 1, 2), 'Thus born, art thou the child of the two worlds;'-the two worlds, doubtless, are these two, heaven and earth; and he (Agni) thus born, is the child of these two;-'O Agni, the lovely (child), distributed among the plants,'for he, the lovely one, is indeed distributed among all the plants;-'a brilliant child, through gloom and night,'-for as a brilliant child, he (Agni) indeed shines beyond gloom and night;-'crying aloud thou didst go forth from the mothers;'his mothers, doubtless, are the plants, and from them he comes forth crying aloud. He thereby lays vigour into the horse.
3. Then (he addresses) the ass, with (Vâg. S. XI, 44), 'Steadfast be thou, firm-limbed, and a swift racer be thou, O steed!'-that is, 'be thou steadfast, and firm-limbed, and swift, and a racer, O steed!'' Ample be thou, and well to sit upon, thou, the bearer of Agni's supply!'—that is, 'be
1 For the ceremony of equipping' Agni, see part i, p. 276,
note I.
2 Viz. inasmuch as fire may be elicited from dry wood. See also I, 6, 4, 5, where Soma, frequently identified with Agni (see VI, 5, I, I), is said at new moon to come down to the earth, and enter the waters and plants in order to be born anew from them.
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thou ample (broad), well to rest upon, thou, Agni's provender-bearer'!' He thereby lays vigour into the ass.
4. Then the he-goat, with (Vâg. S. XI, 45), ' Be thou propitious unto human creatures, O Angiras!'-for Agni is Angiras, and the he-goat is sacred to Agni: he thus appeases him with a view to his doing no injury; Scorch not heaven and earth, nor the air, nor the trees!'-that is, 'do not injure anything!' He thereby lays vigour into the he-goat.
5. With three (verses) he addresses (the animals), for threefold is Agni: as great as Agni is, as great as is his measure, with so much he thus lays vigour into them.
6. He then holds it (Agni, the lump of clay) over these animals, whereby he equips him (Agni) with these cattle. He does not touch them, lest he should injure that seed by the thunderbolt, for cattle are a thunderbolt, and this (clay) is seed; or lest that Agni should injure those cattle, for that (lump of clay) is Agni, and these (animals) are cattle.
7. In the first place he holds it over the horse, with (Vâg. S. XI, 46), 'Let the racer start forth neighing lustily,'-that is, 'Let the racer start forth neighing repeatedly;'-'the running ass, crying aloud!' He thus mentions the ass in the formula of the horse, and thereby imbues the ass with sorrow';-bearing Agni Purishya, may he
1 Literally, Agni's bearer of what is suitable for the cattle, or perhaps, be thou, for Agni, the bearer of (himself) favourable to cattle ;-'pasavya' being here as elsewhere used (see p. 201, note) to explain 'purîsha,' that which fills, the mould or soil used as mortar for the layers of bricks, in building up the fire-altar.
• On account of his being compared with the horse, Sây. The author probably alludes to the dejected, spiritless look of the ass, as
[41]
Q
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not perish before his full measure of time!'that is, 'bearing Agni favourable to cattle, may he (the horse) not perish before the completion of this sacred work.' He thereby equips him (Agni) with the horse.
8. Then (over) the ass, with, 'The male carrying Agni, the male,'--for Agni is a male, and the heass is a male: that male carries the male ;-'the sea-born child of the waters,'—for he (Agni) is the sea-born child of the waters. He thereby equips him with the ass.
9. He then takes it off, with, O Agni, come hither to the feast!'--that is, ' in order to rejoice.' By means of the brahman, the yagus (formula), he thus removes him (Agni) from the Sūdra caste.
10. Then (he holds it over) the he-goat, with (Våg. S. XI, 47), 'The law—the truth, the law-the truth!'-the (divine) law doubtless is this Agni; and the truth is yonder sun; or, rather, the law is yonder (sun), and the truth is this (Agni) ; but, indeed, this Agni is both the one and the other : hence he says, 'the law—the truth, the law—the truth.' He thereby equips him with the he-goat.
11. With three (beasts) he equips (Agni),—threefold is Agni : as great as Agni is, as great as is his measure, with so much he thus equips him. With three (verses) he previously addresses (the beasts),that makes six : the significance of this (number) has been explained.
12. They then make the beasts return (to the Âhavaniya): the he-goat goes first of them, then the ass, then the horse. Now, in going away from this
compared with that of the horse. The word 'suk' might, however, perhaps also be taken in the sense of fervour, fire.' .
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(Ahavaniya ), the horse goes first, then the ass, then the he-goat,—for the horse corresponds to the Kshatra (nobility), the ass to the Vaisya and Sudra, the he-goat to the Brahmana.
13. And inasmuch as, in going from here, the horse goes first, therefore the Kshatriya, going first, is followed by the three other castes; and inasmuch as, in returning from there, the he-goat goes first, therefore the Brâhmana, going first, is followed by the three other castes. And inasmuch as the ass does not go first, either in going from here, or in coming back from there, therefore the Brâhmana and Kshatriya never go behind the Vaisya and Sudra : hence they walk thus in order to avoid a confusion between good and bad. And, moreover, he thus encloses those two castes (the Vaisya and Sadra) on both sides by the priesthood and the nobility, and makes them submissive.
14. He then looks at the sham-man, with,' Agni Purishya we bear, Angiras-like;'—that is, 'Agni, favourable to cattle, we bear, like Agni.' He thereby equips him with the sham-man.
15. He (the Adhvaryu) arrives (near the fire) while holding (the lump of clay) over the he-goat; for the he-goat is sacred to Agni : he thus equips him (Agni) with his own self, with his own godhead. And, moreover, the he-goat is the Brahman (priesthood): with the Brahman he thus equips him.
16. He then takes it down, with, 'O plants, welcome ye with joy this propitious Agni coming hitherwards !' for the plants are afraid lest he (Agni) should injure them : it is for them that he
* See VI, 3, 2, 6 seq.
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now appeases him, saying, 'Welcome ye him with joy, propitious he comes to you; he will not injure you !'- Removing all infirmities, afflictions; settling down, drive off from us evil intention!' that is, 'removing all infirmities and afflictions, settling down, drive off from us all evil!'
17. [Vâg. S. XI, 48] O plants, receive him joyfully, ye blossoming, full-berried ones!' for that is their perfect form when they are blossoming and full-berried: thus, 'Being perfect, receive ye him joyfully!'--'this timely child of yours hath settled down in his old seat;' that is, this seasonable child of yours has settled down in his eternal seat.'
18. With two (verses) he takes it down,—twofooted is the Sacrificer, and the Sacrificer is Agni : as great as Agni is, as great as is his measure, with so much he thus takes it down. He takes it down from the right (south) to the left (north) side : the significance of this has been explained. Raised and sprinkled is (the place) where he takes it down, for on a (mound), raised and sprinkled, the (sacrificial) fire is laid down. Gravel is strewed thereon: the significance of this (will be explained) hereafter 1.
19. It is enclosed on all sides ? ; for at that time the gods were afraid, thinking, 'We hope the Rakshas, the fiends, will not smite here this (Agni) of ours!' They enclosed him with this stronghold; and in like manner does this one now enclose him with this stronghold. And, again, this is a womb;
i See VII, I, I, 9.
* The lump of clay is deposited on a raised mound (or perhaps rather on a cut-out piece of ground, uddhata), in an enclosed shed, (with a door on the east side) north of the Ahavaniya.
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and this (clay) is seed; and in secret, as it were, the seed is infused into the womb: it is thus made of the form of the womb; and hence it is only in secret that one would have intercourse even with his own wife.
20. He then unties it (the lump of clay): whatever part of his (body) pains him (Agni) when tied up, that pain he now puts outside of him; and, moreover, he causes him to be born from that womb (the antelope skin).
21. [He unties it, with Vâg. S. XI, 49; Rik S. III, 15, 1] • Blazing forth with wide glare,'—that is,
Shining brightly with wide glare; '-'chase away the terrors of the hating demons!'—that is, 'chase away all evils !!—May I be in the protection of the great, the good protector, in the guidance of Agni, ready to our call!' thereby he invokes a blessing.
22. He then cuts off some goat's hair, and lets loose the animals towards the north-east; for this, the north-east, is the region of both gods and men : he thus bestows cattle on that region, and hence both gods and men subsist on cattle.
THE MAKING OF THE FIRE-PAN (UKHÂ).
Fifth ADHYÂYA. First BRÂHMANA. 1. That water (used for working the clay) has been boiled by means of resin of the pala sa tree (butea frondosa), just for the sake of firmness. And as to why (it is done) by palása resin ;-the palasa tree doubtless is Soma', and Soma is the moon, and that (moon) indeed is one of Agni's
See part i, p. 183.
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forms: it is for the obtainment of that form of Agni (that palâsa resin is used).
2. He pours it on (the clay), with (Vâg. S. XI, 50-52; Rik S. X, 9, 1–3), ‘Refreshing ye are, O waters1!' To whatever deity a Rik-verse, and to whatever deity a Yagus formula applies, that Rik-verse is that very deity, and that Yagus formula is that very deity: hence this triplet (XI, 50-52) is these waters, and they are those very waters which appeared as one form 2: that form he now makes it.
3. He then produces foam and puts it thereto : the second form which was created (in the shape of) foam, that form he thus makes it. And the clay he now mixes is that very clay which was created as the third form. It was from these forms that he (Agni) was created at the beginning, and from them he now produces him.
4. He then mixes it with the goat's hair, just for the sake of firmness. And as to why with goat's hair, the gods then collected him (Agni) from out of the cattle, and in like manner does this one now collect him from out of the cattle. And as to why with goat's hair, it is because in the he-goat (is contained) the form of all cattle; and as to its being hair, form is hair.
5. [Vâg. S. XI, 53] 'Mitra having mixed the earth and ground with light,'-Mitra doubtless
The whole triplet runs thus: 'Refreshing ye are, O waters; lead us to strength, to see great joy !-whatever is your most benign sap, therein let us share, like loving mothers -For you we will readily go to him, to whose abode ye urge us, O waters, and quicken us.'
See VI, I, I, 12.
8 VI, I, I, 13.
That is, the hair of cattle is the most obvious characteristic of their outward appearance.
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is the breath, and the breath first did this sacred work ;-'I mix (fashion) thee, the well-born knower of beings, for health to creatures,'-as the text, so its meaning.
6. Then there are these three kinds of powder (dust) -(sand of) gravel, stone, and iron-rust-therewith he mixes (the clay), just for firmness. And as to why it is mixed) therewith, it is because thereof this (earth) consisted when it was created in the beginning : thus whatlike this (earth) was created in the beginning, such he now makes it (the earth, or fire-pan).
7. [Våg. S. XI, 54] “The Rudras, having mixed the earth, kindled the great light;'-for this Agni is yonder sun: thus it is that great light which the Rudras, having mixed the earth, did kindle ;—'yea, never-failing and brilliant, their light shineth among the gods; '-for that neverfailing and brilliant light of theirs does indeed shine among the gods.
8. With two (verses) he mixes (the clay),-twofooted is the Sacrificer, and the Sacrificer is Agni: as great as Agni is, as great as is his measure, so great he thus mixes (fashions) him.
9. He then kneads it, with (Våg. S. XI,55), ‘Mixed by the Vasus, the Rudras,'--for this (clay) has indeed been mixed both by the Vasus and the Rudras: by the Vasus, because by Mitra; and by the Rudras, because by the Rudras ;-' by the wise, the clay suitable for the work;'--for wise those (gods) are, and suitable for the (sacred) work is this clay;—'making it soft with her hands, may Sinivalt fashion it!'--Sintvalt doubtless is speech : thus, ' May she, having made it soft with her hands, fashion it!'
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10. [Vâg. S. XI, 56] Sinivali, the fair-knotted, fair-braided, fair-locked,'-for Sinivalt is a woman, and that is indeed the perfect form of woman, to wit, the fair-knotted, fair-braided, fairlocked he thus makes her perfect;-' may she place the fire-pan into thy hands, O great Aditi!'-the great Aditi doubtless is this earth: it is to this earth that he says this.
11. [Vâg. S. XI, 57] 'Let Aditi fashion the fire-pan, by her skill, her arms, her wisdom!' -for by her skill, by her arms, and by her wisdom she does indeed fashion it;-'may she bear Agni in her womb, even as a mother (bears) her son in her lap!'-that is, 'as a mother would bear her son in her lap, so may she (Aditi) bear Agni in her womb!'
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12. With three (formulas) he kneads (the clay),— threefold is Agni: as great as Agni is, as great as is his measure, with so much he thus kneads him. With two (verses) he mixes, that makes five;—of five layers consists the fire-altar (Agni); five seasons are a year, and the year is Agni: as great as Agni is, as great as is his measure, so great does this become. With three (formulas) he pours water thereto, that makes eight; of eight syllables the Gâyatri metre consists, and Agni is Gâyatra: as great as Agni is, as great as is his measure, so great does this become. And, moreover, as one of eight syllables1 this (earth) was created in the beginning: thus as great as this (earth) was created in the beginning, so great he thus makes this (fire-pan representing the earth).
1 See VI, 1, 2, 6-7.
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SECOND BRÂHMANA. 1. He then takes a lump of clay, as much as he thinks sufficient for the bottom part, with, 'Makha's head thou art!'-Makha, doubtless, is the sacrifice, and this is its head; for the Ahavaniya fire is the head of the sacrifice, and that Ahavaniya (fire-altar) he is now about to build : hence he says, 'Makha's head thou art!'
2. And, again, as to why he says, ' Makha's head thou art!'—when he (Agni) is built up, then he is born, and it is by the head (issuing first), by the top, that he who is born is born : 'when he is born, may he be born by the head, by the top!' so he thinks.
3. He spreads it out, with (Vág. S. XI, 58), May the Vasus, Angiras-like, fashion thee by the Gayatri metre!'- for the bottom part is this (terrestrial) world, and this the Vasus fashioned by means of the Gayatri metre; and in like manner does this one now fashion it by means of the Gayatri metre;
- Angiras-like,' he says, for Angiras is the breath. •Thou art steadfast!'—that is, 'thou art firm,' or, 'thou art fixed;'-'Thou art the earth!'- for this bottom part is indeed the earth;—'Establish in me offspring, increase of wealth, lordship of cattle, manhood, clansmen for the Sacrificer!' For the Vasus, having fashioned this (terrestrial) world, invoked this blessing thereon; and in like manner does the Sacrificer, having fashioned this world, now invoke this blessing thereon. Having made it of the measure of a span (in each direction), he then turns up its edge on each side.
4. He then lays thereon the first (lower) side-part,
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with, May the Rudras, Angiras-like, fashion thee by the Trishtubh metre!'—for this sidepart is the air, and this the Rudras fashioned by means of the Trishtubh metre; and in like manner does this one now fashion it by means of the Trishtubh metre ;— Angiras-like,' he says, for Angiras is the breath ;- Thou art steadfast!'that is, thou art firm,' or 'thou art fixed;'-'Thou art the air!' for this side-part is indeed the air ;
Establish in me offspring, increase of wealth, lordship of cattle, manhood, clansmen for the Sacrificer!' For the Rudras, having fashioned the air, invoked this blessing thereon; and in like manner does this Sacrificer, having fashioned the air, now invoke this blessing thereon. Having stroked and smoothed it all over
5. He lays on the upper side-part, with, ‘May the Adityas, Argiras-like, fashion thee by the Gagati metre !' for this side-part is yonder sky, and this the Adityas fashioned by means of the Gagati metre; and in like manner does this one now fashion it by means of the Gagati metre; Angiraslike,' he says, for Angiras is the breath ;— Thou art steadfast!'--that is, 'thou art firm,' or 'thou art fixed;'-'Thou art the sky !' for that side-part is indeed the sky;—' Establish in me offspring, increase of wealth, lordship of cattle, manhood, clansmen for the Sacrificer!' For the Adityas, having fashioned the sky, invoked this blessing thereon; and in like manner the Sacrificer, having fashioned the sky, now invokes this blessing thereon.
6. He then makes it (complete), with this fourth prayer, ‘May the All-gods, the friends of all
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men, fashion thee, Angiras-like, by the Anushtubh metre!'—this prayer, doubtless, is the (four) quarters, and the All-gods, the friends of all men, did then, by means of this prayer, put the quarters into these worlds, (that is) into the fire-pan; and in like manner does the Sacrificer, by means of this prayer, now put the quarters into these worlds, into the fire-pan ;-'Aigiras-like,' he says, because Angiras is the breath ;—'Thou art steadfast!' -that is, 'thou art firm,' or 'thou art fixed;'— Thou art the quarters!' for this prayer indeed is the quarters ;-'Establish in me offspring, increase of wealth, lordship of cattle, manhood, clansmen for the Sacrificer!' For the All-gods, the friends of all men, having fashioned the quarters, invoked this blessing on them; and in like manner the Sacrificer, having fashioned the quarters, now invokes this blessing on them.
7. With that same formula he fashions it both inside and outside, whence the quarters are both inside and outside these worlds. He therewith fashions it without restriction to any part of the pan), for unrestricted are the quarters.
8. He makes it just a span high, and a span sideways; for Vishnu, when an embryo, was a span long, and this (fire-pan) is the womb: he thus makes the womb of equal size with the embryo?
9. Were it larger than a span, he would make it smaller by that prayer; and were it smaller, (he would make it) larger thereby .
1 Vishnu is identical with Agni, inasmuch as both are the sacrifice.
* That is to say, if the pan, thus fashioned, is not quite of the exact measure, the formula is supposed to set this right..
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10. If there be one victim, let him make it (the pan) one span wide; and if there be five victims, let him make it five spans wide, or an arrow's width; for the arrow means strength: he thus makes it to be composed of strength. But, indeed, an arrow formerly used to be five spans long 1.
11. He then lays round the horizontal belt (or rim); that is the quarters; for the gods, having made these worlds, the fire-pan, strengthened and encircled them by the quarters; and in like manner the Sacrificer, having made these worlds, the firepan, thus strengthens and encircles them by the quarters.
12. He lays this (rim) on the upper third (of the side), for it is there the ends of these worlds meet, and he thus makes them firm thereby.
13. [He does so, with Vâg. S. XI, 59] 'Thou art Aditi's girdle!'-in the sacrifice the string relates to Varuna: he thus lays this belt round after (expressly) making it one not relating to Varuna.
14. He then silently makes four upright (bands), for these are the quarters; for the gods, having made these worlds, the fire-pan, made them firm on all sides by means of the quarters 2; and in like manner the Sacrificer, having made these worlds, the fire-pan, now makes them firm on all sides by means of the quarters.
15. These (vertical bands) run up to (the rim of) it, for they did then support it, and so do they now support it: thus that upper part of it becomes firm
1 Yasmin kâle dhanurvedânusârena dharmatah kshatriyâ yudhyante tasmin kâle paйkaprâdeseshur âsît, adhunâ tv iyam aniyataparimana vartante, Sây.
2 Viz. by means of the mountains, according to Sâyana.
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by means of the horizontal belt, and that lower part of it by means of these (vertical bands).
16. At their tops they form nipples; for the gods, having made these worlds, the fire-pan, drew forth for themselves from these nipples all (objects of) their desires; and in like manner the Sacrificer, having made these worlds, the fire-pan, draws forth from these nipples all his desires.
17. This (fire-pan) indeed is a cow, for the fire-pan is these worlds, and these worlds are a cow: that horizontal belt is its udder; it is in the (upper) third of it, for the udder is in one-third of the cow.
18. He forms nipples to it, whereby he forms the nipples of the udder: it has four nipples, for the cow has four nipples.
19. Some, indeed, make it with two nipples, or also with eight nipples; but let him not do so, for those cattle which have fewer nipples than a cow, and those which have more nipples, are less fit to yield him a livelihood : hence they make this (firepan) less fit to yield a livelihood; and, indeed, they do not make it (like) a cow, but (like) a bitch, or a ewe, or a mare; hence let him not do so.
20. He then takes hold of its bowl, with, May Aditi seize thy bowl! Aditi, doubtless, is Speech; and the gods, having then fashioned it, perfected it by means of Aditi, speech; and in like manner this one, having fashioned it, now perfects it by means of Aditi, speech.
21. Having grasped it with both hands, he sets it down, with, 'She, having fashioned the great (mahim) fire-pan,'—that is, 'she, having fashioned the great (mahatim) fire-pan; '-'the earthen womb for Agni; for this is indeed Agni's
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earthen womb;-'Aditi offered it unto her sons, thinking, They shall bake it!'--for Aditi, indeed, having fashioned it, offered it to the gods, her sons, to bake it; and in like manner does this one now, after fashioning it, offer it to the gods to bake it.
22. Now some make three (fire-pans), saying, "Three (in number) are these worlds, and the fire-pans are these worlds ;' and also for mutual expiation, thinking, 'If the one will break, we shall carry (Agni) in the other, and if the other (breaks), then in the other (or third).' Let him not do so; for that first bottom part is this world; and that first (lower) sidepart is the air; and the upper one is the sky; and that fourth, the prayer, doubtless is the quarters; and just as much as these worlds and the quarters are, so much is this whole (universe). But were he to add anything thereto, he would make it to be redundant, and whatever redundant (act) is done in the sacrifice is left over for the Sacrificer's spiteful rival. And as to the expiation in case of the (fire-pan being) broken, that (will be told) in a subsequent chapter 1
THIRD BRÂHMANA. 1. Of that same (clay) she (the queen) forms the first, the 'invincible' (brick); for the invincible one (Ashâdha) is this earth, and this earth was created first of these worlds. She forms it of that same clay, for this earth is (one) of these worlds. The (Sacrificer's) consecrated consort (mahisht) forms it; for this earth is a 'mahisht' (female buffalo, a cow). She who is first taken to wife is the consecrated consort.
1 VI, 6, 4, 8.
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2. It measures a foot in length and breadth), for the foot is a foundation, and this earth also is a foundation. It is marked with three lines, for this earth is threefold 1.
3. Now he (the Sacrificer) makes the fire-pan: he thereby makes these worlds. He then makes the (three) 'all-light' (bricks), that is these deities, Agni, Vậyu, Aditya, for those deities indeed are all the light. He makes them from that same clay (as the fire-pan) : he thus produces these gods from these worlds. The Sacrificer makes them. They are marked with three lines, for threefold are these gods 2. Thus as regards the deities.
4. Now as regards the self (or body): the fire-pan, indeed, is the self (of Agni). The invincible' (brick) is speech : that she (the wife) makes first, for this speech is foremost in the body. She makes it from that same clay, for this speech is of the body. The (Sacrificer's) consecrated consort makes it, for speech is a 'mahishi. It is marked with three lines, for speech is divided into three kinds, Rikverses, Yagus-formulas, and Såman-tunes; and be cause of this threefold form of speech, low-voiced, half-loud, and loud.
5. He makes the fire-pan: thereby he makes (Agni's) self. He then makes the all-light' (bricks),
-the 'all-light' (brick) is offspring, for offspring indeed is all the light: he thus causes generation to take place. He makes them of the same clay (as the fire-pan) : he thus produces offspring from the self. The Sacrificer makes them : the Sacrificer thus
1 See VI, 1, 1, 14. · Viz. those of the sky, the air, and the earth.
See VI,
1, 2, 1o.
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produces offspring from his own self. He makes them without interruption: he thus produces uninterrupted offspring from his own self. He makes them subsequently (to the fire-pan): he thus produces the offspring subsequently to his own self. They are marked with three lines, for generation is threefold, father, mother, and son; or, the embryo, and the inner and outer membrane.
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6. He makes these from (clay) prepared with prayer, the others from (clay) prepared without prayer; for these are defined, the others undefined; these are limited (in number), the others unlimited.
7. That Agni is Pragâpati; but Pragâpati is both of this, defined and undefined, limited and unlimited : thus when he makes (bricks) from (clay) prepared with prayer, he thereby makes up that form of his (Pragâpati's) which is defined and limited; and when he makes them from (clay) prepared without prayer, he thereby makes up that form of his which defined and unlimited. Verily, then, whosoever knowing this does it on this wise, makes up the whole and complete Agni. From the (clay) lying ready prepared, he leaves over a lump for expiations 1.
un
8. He (the Adhvaryu) now fumigates it (the firepan) just for the sake of strength, or to (mark) the progress of the work. And, again, as to why he fumigates, that fire-pan is the head of the sacrifice, and the smoke its breath: he thus puts breath into the head.
9. He fumigates it with horse-dung, to insure it against injury; for the horse is sacred to Pragâpati,
1 That is, in case the fire-pan were to break. See VI, 6, 4, 8 seq.
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and Pragâpati is Agni, and one does not injure one's own self. And with dung (he does it) because that is what was eaten (by the horse) and is useless; and thus he does not injure the horse itself, nor the other cattle.
10. [Vág. S. XI, 607 May the Vasus make thee fragrant by the Gayatri measure, Angiraslike !—May the Rudras make thee fragrant by the Trishtubh metre, Angiras-like!—May the Adityas make thee fragrant by the Gagati metre, Angiras-like !—May the All-gods, the friends of all men, make thee fragrant by the Anushtubh metre, Angiras-like!-May Indra make thee fragrant !—May Varuna make thee fragrant!-May Vishnu make thee fragrant!' -he thus fumigates it by means of the deities.
11. Seven balls of horse-dung are (used), and seven formulas : those deities are sevenfold", and seven vital airs there are in the head. But also what is many times, seven times seven, is (expressed by) seven? : he thus puts the seven vital airs into the head.
FOURTH BRÂHMANA. 1. He now digs that (hole)s in the earth; for the gods now were afraid, thinking, "We hope the Rakshas, the fiends, will not smite here this (Agni) of
"? Or, divided into groups of seven each, as, for instance, the Maruts, see II, 5, 1, 13.
Comp. the Germ. (seine sieben Sachen (or, Siebensachen) packen,' to pack one's traps.
* One might take 'athainam asyâm khanati' to mean, 'he now digs for him (Agni) in the earth,' or digs him into the earth.' Cf. VI, 4, 1, 1, 'athainam atah khanati.' Sâyana, however (in accordance with the formula in paragraph 3), supplies 'avatam,' a hole.'
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ours!' They made this (earth) to be his self (body), for protection, thinking, 'The self will protect itself.'
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2. He digs him out with (the help of) Aditi, in order to guard him from injury; for Aditi is this earth, and one does not injure one's own self; but were he to dig with (the help of) another deity, he surely would injure him (Agni).
3. [Vâg. S. XI, 61] 'May the divine Aditi, dear to all the gods, dig thee, Angiras-like, O hole, in the lap of the earth!'-for this hole (is dug) among the gods. That bamboo spade now disappears. This hole is four-cornered, for there are four quarters: he thus digs it from all the quarters'. Having then laid down fuel in it, he silently puts the 'invincible' (brick) thereon, for that is made first.
4. He then sets down the fire-pan (with the bottom part upwards), with, ' May the divine wives of the gods, dear to all the gods, place thee, Angiraslike, O fire-pan, in the lap of the earth!' for of old the divine wives of the gods, dear to all the gods, indeed, like Angiras, placed that (fire-pan) into the lap of the earth, and by (the help of) them he now places it. But, surely, these are the plants,-the wives of the gods are indeed the plants; for by the plants everything here is supported: by means of the plants he thus supports this (fire-pan). He then lays down silently the 'all-light' (bricks). Having then placed fuel thereon he kindles it.
5. May the divine Dhishanâs, dear to all the gods, kindle thee, Angiras-like, O fire-pan, in the lap of the earth!' for of old the divine
1 Sarvâbhyo digbhya enam avatam khanati tam ka sarvâsu dikshu mashtra na himsanti, Sây.
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Dhishanâs, dear to all the gods, indeed kindled it, like Angiras, in the lap of the earth, and with their help he now kindles it. But, surely, this is Vâk (speech), the Dhishanâs are indeed speech', for by speech everything is kindled here: by means of speech he thus kindles this (fire-pan). Whilst looking at it, he then mutters these three formulas :
6. May the divine protectresses, dear to all the gods, heat thee, O fire-pan, Angiras-like, in the lap of the earth!' for of old the divine protectresses, dear to all the gods, indeed, like Angiras, heated it in the lap of the earth; and by them he now heats it. But, surely, these are the days and nights, -the protectresses are indeed the days and nights; for by days and nights everything is covered here: by means of the days and nights he thus heats it.
6
7. May the divine ladies, dear to all the gods, bake thee, Angiras-like, O fire-pan, in the lap of the earth!' for of old the divine ladies, dear to all the gods, did, like Angiras, bake it in the lap of the earth, and with their help he now bakes it. But, surely, these are the metres, the ladies (gnâ) are indeed the metres (scripture texts), for by means of these men go (gam) to the celestial world: by means of the metres he thus bakes it.
8. May the divine women, with unclipped wings, dear to all the gods, bake thee, Angiraslike, O fire-pan, in the lap of the earth!' for
1 Whether 'Dhishanâ' (the name of certain female divinities who have the power of bestowing prosperity and granting wishes) is here connected with 'dhishnya,' fire-hearth; or whether it is taken by the author in some such primary sense as 'intelligence' or 'inspiration,' it were difficult to decide. Sâyana connects it with 'dhî,'-vâg vai dhishanâ, sâ hi dhiyam karma gñâvâsani (?) sambhagate.
R 2
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of old the divine women, with unclipped wings, dear to all the gods, did bake it, like Angiras, in the lap of the earth ; and with their help he now bakes it. But, surely, these are the stars,—the women (gani) are indeed the stars, for these are the lights of those righteous men (gana) who go to the celestial world : it is by means of the stars that he thus bakes it.
9. Now he digs with one (formula), he sets down (the fire-pan) with one, he kindles with one, he heats with one, he bakes (pak) with two, whence twice in the year food is ripened (pak); these amount to six,
—six seasons are a year, and Agni is the year : as great as Agni is, as great as is his measure, so great does this become.
10. And as often as he attends to (the fire by adding fresh fuel), he attends to it with the prayer relating to Mitra, '[The protection) of Mitra, the preserver of men ...;' for a friend (mitra) does not injure any one, nor does any one injure his friend ; and in like manner does this one not injure that (fire-pan), nor does it (injure) him. By day he should put (fuel) on it, by day he should clear it (of the ashes).
11. He clears it (of the ashes) with a prayer relating to Savitri,for Savitri is the impeller: impelled
· The St. Petersburg dictionary seems to take yâvat kiyak kopanyâkarati' in the sense of as much (or, as deep) as he enters into the pan).' But see III, 2, 2, 19, where yâvat kiyakka ... upaspriset' has likewise the meaning as often as he touches.' Cf. also Kâty. Sr. XVI, 4, 15, He keeps up (the fire by adding fuel), with ‘Mitrasya ...;' 16, (He repeats the formula] as often (or long) as he keeps it up (or, adds fuel).
Vâg. S. XI, 62; Rik S. III, 59, 6, 'The gainful protection of the God Mitra, the preserver of men, is glorious and of most wonderful renown.'
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by Savitri, he thus clears it-[Vâg. S. XI, 63] 'May the divine Savitri, the well-handed, well-fingered, and well-armed, clear thee by his might!'-for Savitri is all that.
12. He then turns it (the fire-pan) round, with, 'Not tottering upon the earth, fill the regions, the quarters!'-that is, 'not tottering, fill thou with sap the regions and quarters on earth!'
13. He then takes it up, with [Vâg. S. XI, 64], 'Having risen, do thou become great,'-for these worlds, having risen, are great;-and stand up steadfast!' that is, 'stand thou up firm and fixed!'
14. Having taken it in both hands, he sets it down, with, 'O Mitra, unto thee I consign this firepan for safety: may it not break!' for Mitra is that wind which blows yonder: it is to him he thus consigns it for protection; for these worlds are protected by Mitra (or by a friend), whence nothing whatever is harmed in these worlds.
15. He then pours (milk) into it,—just for strength, or to (mark) the progress of the work. And, again, why he pours (milk) into it, that fire-pan is the head of the sacrifice, and milk is breath: he thus lays breath into the head. Moreover, the fire-pan (ukhâ, f.) is a female he thus lays milk into the female, whence there is milk in the female.
16. He pours goat's milk into it to avoid injury1; for the goat sprang from Pragâpati's head, and Pragâpati is Agni; and one does not injure one's own self. And as to why it is goat's (milk),-the goat eats all (kinds of) herbs: he thus pours into it (the pan) the sap of all (kinds of) herbs.
1 The construction of this, and similar previous passages, is the same as that referred to in part ii, p. 15, note 3.
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17. [Vâg. S. XI, 65] 'May the Vasus fill thee with the Gayatri metre, Angiras-like!—May the Rudras fill thee with the Trishtubh metre, Angiras-like-May the Adityas fill thee with the Gagati metre, A ǹgiras-like!—May the Allgods, dear to all men, fill thee with the Anushtubh metre, Angiras-like!'-by these deities he thus moistens it: by whatever deities he fashions it, by them he fumigates it, and by them he moistens it. For he who performs a work, knows the practice of it: hence by whatever deities he fashions it, by them he fumigates and moistens it.
THE DIKSHA, OR INITIATION.
SIXTH ADHYAYA. FIRST BRAHMANA.
1. Many1 are the oblations, in the building of the fire-altar, as well as at any other (special ceremony) than the building of the fire-altar. For there are supernumerary rites, supernumerary are those which are (performed) over and above another rite : of these are the building of the altar (Agnikityâ), the Ragasûya, the Vâgapeya, and the Asvamedha; and because they are over and above the other (normal) rites, therefore they are supernumerary.
―
1 Or rather, too many, more (than are required at one of the normal Soma-sacrifices),-âdhvarikebhyo bahutarâni, Sây.
That is, as would seem from Sâyana, of such ceremonies as have supernumerary, or additional, oblations to the normal ones connected with them. This discussion seems to be introduced here on account of the additional oblation (that to Vaisvânara) offered at the initiation ceremony. As an 'additional' or special, oblation at the Vâgapeya, Sâyana refers to the pap of wild rice (V, 1, 4, 12); whilst at the Râgasûya the one to Anumati (V, 2, 3, 4) is said to belong to the same category.
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2. A cake i on eleven potsherds to Agni and Vishnu,—that is the initiation (offering) of the (Soma) sacrifice ;-one on twelve potsherds to Vaisvânara, and a pap to the Adityas,—these two belong to Agni.
3. Now were he to prepare only the one for Agni and Vishnu, and not the other two oblations, then only the initiation (offering) of the (Soma) sacrifice would be performed, and not those of Agni (the fire-altar); and were he to prepare only the other two oblations, and not the one to Agni and Vishnu, only the initiation (offering) of Agni would be performed, and not that of the sacrifice.
4. He prepares both that of the sacrifice, and those of Agni, for this rite is both a rite of sacrifice, and a rite of fire : first (comes) that of the sacrifice, and then that of the fire, for the rite of the fire is an accessory rite.
5. Now as regards that (cake) for Agni and Vishnu, its mystic import is the same as what is (implied) in a preparatory ceremony. And the (cake) on twelve potsherds for Vaisvânara is for
1 These and the subsequent offerings form part of the Dikshâ, or initiation ceremony, for the Soma-sacrifice to be performed after the completion of the fire-altar. This initiation ceremony commences on the day of new moon, a week after the preparation of the ukha, or fire-pan. An integral part of the first day of) this ceremony is the kindling of a fire in the ukhâ—the Ukhya Agni'-which ultimately serves to supply the fires for the brick altars built on the completion of the period of initiation. The Dikshâ is, as a rule, to be performed daily for a year, during which time the fire has to be kept up in the ukhâ, and carried about by the Sacrificer for a time each day. While the cake to AgniVishnu here mentioned is the ordinary cake-offering prescribed for the Diksha of the normal Soma-sacrifice (see III, 1, 3, 1), the Vaisvânara cake is peculiar to the Agnikayana.
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the obtainment of all the fires, Vaisvânara being all the fires ;-it is one of twelve potsherds, for twelve months are a year, and Vaisvânara is the year.
6. And, again, as to why he prepares one for Vaisvânara,—it is because he is about to produce Agni as Vaisvânara (belonging, or dear to, all men): in the initiation offering he first pours him forth as seed, and whatlike the seed is that is poured into the womb, suchlike is (the child) born therefrom; and inasmuch as he now pours forth that (Agni) Vaisvânara as seed, therefore he is born hereafter as Vaisvânara.
7. And why he prepares those two (other) oblations,—Vaisvânara is the ruling power, and that Aditya pap is the people: he thus makes both the ruling power and the people. The Vaisvanara (cake) he prepares first, and having thereby made the ruling power, he makes the people.
8. That (Vaisvânara cake) is one single (oblation), having one single deity: he thus makes the ruling power to be concentrated in one (person), and excellence to be concentrated in one. The other, the pap, has many deities, for the pap is a multiplicity of rice-grains, and those Adityas are a multiplicity of gods : he thus bestows multiplicity on the people. Thus much as to the deities.
9. Now as regards the self (or body of Agni). The Vaisvânara (cake) is the head, and that Åditya pap is the body: he thus makes both the head and the body. The Vaisvânara (cake) he prepares first; and having thereby made the head, he then makes the body.
10. That (Vaisvânara cake) is one single (oblation), for the head is, as it were, one only; and the
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other, the pap, has many deities, for that pap is a multiplicity of rice-grains, and this body is a multiplicity of limbs: he thus bestows on the body a multiplicity of limbs.
11. That (pap) is (prepared) on ghee, for the Ådityas are consumers of ghee: he thus gratifies them, each by his own share, by his own liquor. These offerings are (made) silently, for here in the sacrifice there is seed, and silently seed is infused.
12. He then offers the Audgrabhana (libations)', for by the Audgrabhanas (elevatory libations) the gods raised themselves from this world to the heavenly world : and inasmuch as thereby) they raised themselves (ud-grabh), they are called 'audgrabhana ;'-and in like manner does the Sacrificer, by means of the Audgrabhanas, now raise himself from this world to the heavenly world.
13. There are many of these, in the building of the fire-altar as well as at any other (special ceremony): the significance of this has been told. They are of both kinds : (the significance) of this has been told ;first those of the sacrifice, and then those of the fire: (the significance) of this also has been told.
14. He offers five of the sacrifice",—the sacrifice is fivefold: as great as the sacrifice is, as great as is its measure, by so much he thus pours it forth as seed. Seven (libations) of the fire,—the fire(-altar) consists of seven layers 3 ; seven seasons are a year, and
See III, 1, 4, 1.
Viz. the five Audgrabhana libations of the ordinary Somasacrifice offered in the manner there described. See part ii, p. 20, note.
Though Agni, or the fire-altar, is commonly called the fivelayered one (pankakitika), consisting as it does of five complete
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Agni is the year : as great as Agni is, as great as is his measure, by so much he thus pours him forth as seed. Those two kinds (of libations) amount to twelve,-twelve months are a year, and Agni is the year: as great as Agni is, as great as is his measure, so great does this become.
15. He offers", with (Vag. S. XI, 66-67), “The Purpose, Agni, the Impulse, hail !'~from purpose, indeed, this sacred rite originated at first, and he now impels (yokes, uses) it for this rite.
16. 'Mind, Wisdom, Agni, the Impulse, hail!' - from the mind indeed this sacred rite originated at first, and he now impels it for this rite.
17. 'Thought, knowledge, Agni, the Impulse, hail!'—from thought, indeed, this sacred rite originated at first, and he now impels it for this rite.
18. “The distinction of Speech, Agni, the Impulse, hail!'-from speech, indeed, this sacred rite originated at first, and he now impels it for this rite.
19. 'To Pragâpati, to Manu, hail!'—Manu, forsooth, is Pragâ pati, for he thought out (man) all this (universe); and Pragâpati, indeed, of old performed this rite, and he now.makes use of him for this rite.
20. “To Agni Vaisvânara, hail!'- Agni Vaisvânara, doubtless, is the year; and the year, indeed,
layers of bricks, on the top of these there is a small additional pile of two layers, the lower one (punaskiti) in the form of the Gârbapatya hearth (VII, 1, 1, 1 seq.), and the upper one, consisting of two bricks, on which the fire is ultimately laid down. See p. 188, note 4. Hence Agni is also called 'saptakitika.'
1 Viz. the seven special Audgrabhana libations of the Agnikayana.
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of old performed this rite; and he now makes use thereof for this rite.
21. He then offers the one to Savitri, for Savitri, indeed, of old performed this rite, and he now makes use of him for this rite,- (Vâg. S. XI, 67; Rik S. V, 50, I), 'Every mortal would choose the friendship of the divine Guide; every one craves riches, and would have glory for him to prosper, hail!' He who chooses the friendship of the god Savitri, chooses both glory and prosperity; and he who performs this rite, indeed chooses his friendship.
22. Now some offer these Audgrabhana libations into the fire-pan itself, saying, “These, surely, are offered for (special) objects of desire, and that firepan is the Sacrificer's self: we thus secure for the Sacrificer's self all his objects of desire.' Let him not do so; for the fire which is kindled (in the firepan) is the essence of the completed sacrifice and of those libations, and when he puts the fire-pan on the fire, after the sacrifice has been completed and the Audgrabhanas offered, then the sacrifice mounts it (the pan), and it bears the sacrifice: let him, therefore, put the fire-pan on the fire only after the sacrifice is complete, and the Audgrabhanas have been offered.
23. It is covered with a layer of Muñga grass, just for the purpose that it may blaze up. And as to why it is with a layer of Muñga grass, (it is done) to avoid injury, for that Muñga grass is a womb, and the womb does not injure the child; for he who is born, is born from a womb: May he (Agni), when he is born, be born from the womb, thus he thinks.
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24. Inside there is a layer of hemp, just for the purpose that it may blaze up. And as to its being a layer of hemp,—the inner membrane (amnion) of the womb from which Pragâpati was born consists of fax, and the outer membrane (chorion) of hemp : hence the latter is foul-smelling, for it is the outer membrane of the embryo. [It is so used] to avoid injury, for the outer membrane does not injure the embryo; and it is from the outer membrane of the embryo that he who is born is born : May he (Agni), when he is born, be born from the outer membrane of the embryo !' thus he thinks.
SECOND BRẬUMANA. 1. Standing he puts it (the pan) on the fire, for the fire-pan is these worlds, and these worlds stand, as it were. And, moreover, whilst standing one is strongest.
2. Standing (with his face) towards north-east, for standing towards north-east Pragàpati created creatures.
3. And, again, why (he does so) standing towards north-east ;— that (quarter), the north-east, is the quarter of both gods and men.
4. And, again, why standing towards north-east, — in that quarter is the gate of the world of heaven, hence it is standing with his face towards northeast that one offers libations, and standing towards north-east that one leads up the dakshinâs : it is by the gate that he thus makes him enter into the world of heaven.
1 That is, underneath the layer of muñga. Both the reed-grass and the hemp are to be crushed and reduced to the condition of powder previously to their being strewed into the fire-pan.
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5. [Vâg. S. XI, 68] ‘Break not! Suffer not injury!' - as the text, so its meaning ;-'0 mother, bear up bravely!'-for the fire-pan (ukhâ, f.) is a woman; and 'O mother' is a term for addressing a woman: 'bear up well, indeed!'
(Thou) and Agni will do this (work)!'-for (the fire-pan) and Agni will indeed be doing this (sacred work).
6. [Vâg. S. XI, 69] Stand firm, divine Earth, for our well-being !' as the text, so its meaning ;'A divine (asura) contrivance thou art made in the wonted manner;'--the vital spirit (asu) is the breath, and this (fire-pan) has indeed been made its contrivance in the wonted manner ;-May this offering be agreeable to the gods!' he thereby means those libations which he intends to offer in that fire; and moreover, that (fire-pan) itself is an offering ;-—'unharmed rise thou in this sacrifice!' this he says with the view that it may rise unharmed, uninjured, in this sacrifice.
7. With two (verses) he heats it on the fire,—the Sacrificer is two-footed, and the Sacrificer is Agni : as great as Agni is, as great as is his measure, by so much he thus heats it (the pan). [He does so] with a gâyatri and a trishtubh verse,—the Gayatri is the vital air, and the Trishtubh the body; and the animal is as much as the vital air and the body: thus by as much as the animal (consists of) he puts that (pan) on the fire. And, again, the Gayatri is Agni, and the Trishtubh is Indra; and the fire relates to Indra and Agni: as great as the fire is, as great as is its measure, by so much he thus heats it. These two (verses) have seven feet (viz. three and four respectively),—the fire-altar consists of seven
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layers ? ; seven seasons are a year, and Agni is the year: as great as Agni is, as great as is his measure, so great does this become.
8. When the fire heats it, then the flame mounts up to it; for the fire-pan is a female, and the fire is a male: hence when the male heats the female, he infuses seed into her.
9. Now, if the flame is too long in mounting up, some throw coals on (the pan), thinking, .There is fire now on both sides.' But let him not do so; for the animal is indeed born with bones ? ; but it is not forced in with bones, as it were, at first; but it is introduced only as seed. Now that flame is boneless seed: hence the flame alone should mount up to it.
10. When the flame mounts up to it, he places a kindling-stick thereon: thereby the seed enters it (the fire-pan), and that fire imparts growth to that seed (in the shape of) this (kindling-stick).
11. It should be one of krimuka wood. Now, the gods and the Asuras, both of them sprung from Pragâpati, strove together. The gods, having placed Agni in front, went up to the Asuras. The Asuras cut off the point of that flame held forward. It settled down on this earth, and became that krimuka tree: hence it is sweet, for there is vital essence (in it). Hence also it is red, for it is a flame, that kri
See p. 249, note 3. * The fire ultimately to be placed on the new Garhapatya hearth (VII, I, I, I seg.) whence the Ahavaniya on the great fire-altar has to be kindled—is to be produced in the ukhâ, or pan, as it were in its womb; but the material (grass and hemp) which has already been put in the pan, is only to be kindled by the blaze of the fire on which the pan has been placed, without any burning coals being applied to the fuel within the pan.
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muka tree being the same as this Agni: it is (in the shape of) fire that he imparts growth to it.
12. It (the kindling-stick) is a span long, for Vishnu, as an embryo, was a span long: he thus imparts to it growth equal to his body.
13. It is soaked in ghee;-the inner membrane of the womb from which Agni was produced consisted of ghee: hence he now blazes up towards it, for it (the stick) is his self (body); and hence it (the krimuka) has no ashes: (Agni) himself now enters into his own self, to avoid injury', for the inner membrane does not injure the embryo; and it is from the inner membrane that he who is born is born: 'When he (Agni) is born, may he be born from the inner membrane!' thus he thinks.
"
14. He puts it (the kindling-stick) on, with (Vâg. S. XI, 60; Rik S. II, 7, 6), 'The wood-eating, ghee-drinking, that is, he who has wood for his food, and ghee for his drink, 'the primeval, desirable Hotri,'-that is, the old, desirable Hotri;'-'the wonderful son of power,'-power is strength: thus, 'the wonderful son of strength.' Standing he puts it on with the 'Svâhâ:' the meaning of this (will be explained) hereafter 2.
15. Now the fire-pan is the body, the reed-grass (fuel) the womb, the hemp the inner membrane 3,
1 The dative ahimsâyai' again doubtless belongs to the first sentence of the paragraph (it is soaked in ghee '), the intervening clauses being inserted for explanation. For a similar construction, see above, p. 198, note 2.
2 See VI, 7, 2, I.
The inverted order of the words 'sanâ garâyu' is peculiar. It seems to have been resorted to with the view of keeping together the two pairs of subjects, 'muñgâh-sanâh' and 'garâyuulbam.'
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the ghee the outer membrane, and the kindling-stick the embryo.
16. The pan is outside, and the reed-grass (fuel) is inside ; for the body is outside, and the womb inside. The reed-grass is outside, and the hemp inside ; for the womb is outside, and the outer membrane is inside. The hemp is outside, and the ghee is inside ; for the outer membrane is outside, and the inner membrane is inside. The ghee is outside, and the kindling-stick is inside ; for the inner membrane is outside, and the embryo is inside. It is from these that he who is born is born, and from them he thus causes him (Agni) to be born.
THIRD BRÂHMANA. 1. He then puts on a vikankata (flacourtia sapida) one. When Pragâ pati performed the first offering, a vikankata tree sprang forth from that place where, after offering, he cleansed (his hands). That vikankata, then, is that first offering; it is that he now offers on this (fire), and he therewith gratifies him (Agni). [Vâg. S. XI, 71; Rik S. VIII, 75, 15] 'From the far region come thou over to the near one: do thou protect that wherein I am!' as the text, so its meaning.
2. He then puts on an udumbara (ficus glomerata) one. The gods and the Asuras, both of them sprung from Pragâpati, strove together. Now all the trees sided with the Asuras, but the udumbara tree alone did not forsake the gods. The gods, having conquered the Asuras, took possession of their trees.
3. They said, 'Come, let us lay into the udumbara tree whatever pith, whatever vital sap there is in these trees : were they then to desert us, they would
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desert us worn out, like a milked-out cow, or like an ox that has been (tired out by) drawing (the cart).' Accordingly they laid into the udumbara tree what pith and essence there was in those trees; and on account of that pith it matures (fruit) equal to all the (other) trees ! ; hence that (tree) is always moist, always full of milky sap,—that udumbara tree, indeed, (being) all the trees, is all food : he thus gratifies him (Agni) by every kind of food, and kindles him by all trees (kinds of wood).
4. [Vâg. S. XI, 72] ‘From the farthest distance,'—that is, ' (from) what farthest distance there is; '-'O red-steeded, come hither!' for red, indeed, is Agni's horse ;-'Purishya, much-loved,' —that is, 'favourable to cattle, dear to many;'-'O Agni, overcome thou the scorners l' that is, O Agni, overcome all evil-doers!'
5. He then puts on one not cut by an axe, -that(Agni) is born when he is built up : it is for all (kinds of) food that he is born. Now that (wood) not cut by an axe is one kind of food (for the fire): it is thereby that he now gratifies him. [Vâg. S. XI, 73; Rik S.VIII, 102, 20] Whatsoever wood we lay upon thee, O Agni, let all that be ghee unto thee, do thou relish that, O youngest!' as the text, so its meaning: whatever (wood there is not cut by the axe, that he makes palatable to him; and having made it food for him, he sets it before him.
6. He then puts on one that has lain on the ground,—he (Agni) is born when he is built up: it is for all (kinds of) food that he is born. Now that
According to Ait. Br. V, 24, its fruits ripen three times a year.
[+1]
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(wood) which has lain on the ground is one kind of food (for the fire): it is thereby he now gratifies him. [Vâg. S. XI, 74; Rik S. VIII, 102, 21] • What the red ant eats, what the white ant crawls over,'—for either the red ant eats it, or the white ant crawls over it ;—'let all that be ghee for thee, do thou relish that, O youngest!' as the text, so its meaning : whatever (wood) has lain on the ground, that he makes palatable for him ; and having made it food for him, he sets it before him.
7. The remaining (kindling-sticks) are of palása wood (butea frondosa);—the Palâsa tree is the Brahman, it is by the Brahman he thus kindles him (Agni). And, again, why they are palasa ones; the Palasa tree is Soma, and he, Soma, doubtless is the supreme offering : it is that he now offers on this (fire), and by that he gratifies him (Agni).
8. [He puts them on, with Vâg. S. XI, 75-82] Day by day bearing unremittingly,'—that is, Day by day bringing not unmindful;'-'food to him like unto a standing horse,'—that is, 'food as to a standing (resting) horse;'—'we, rejoicing in wealth-thrift and sap,'--that is, 'rejoicing in wealth, and thrift, and sap; '-'0 Agni, let not us, thy associates, suffer injury!' this he says with a view that his (Agni's) associate (the Sacrificer) may not suffer injury.
9. While Agni is kindling on the earth's navel,'—that (place) where he is now being kindled is indeed the navel of the earth ;-'we call for great wealth-thrift,'—that is, we call for wealth and great thrift; '--'Unto him, the draughtdelighted,'—for he is indeed delighted (or, in
a
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ebriated) by the draught,-'of high praise,'-for he is indeed highly praised;-'the adorable'— that is, 'worthy of adoration;'-'Agni, the conqueror, overpowering in battles;'-for Agni is indeed a conqueror, and overpowering in battles.
10. 'Whatever aggressive armies there are, onrushing with drawn-up lines; whatever thieves and robbers, those I cast into thy mouth, O Agni.'-'Devour thou in a lump the waylayers with thy two tusks, the thieves with thy teeth, and the robbers with thy jaws, O holy one!'-'What waylayers there are among men, what thieves and robbers in the wood, what miscreants in the lurking-places, I throw them into thy jaws.'—'Whatever man may plot against us, and whosoever may hate us, or abuse and seek to hurt us, every one of them burn thou to ashes!'
II. For the gods then made food of whosoever hated them, and of whomsoever they hated, and gave them up to him (Agni), and thereby gratified him; and this, then, became his food, and he burnt up the evil of the gods; and in like manner does the Sacrificer now make food of whosoever hates him, and of whomsoever he hates, and give them up to him (Agni), and thereby gratify him; and this, then, becomes his food, and he burns up the Sacrificer's evil.
12. These eleven (kindling-sticks) he puts on for one who is not either a noble, or a domestic chaplain (purohita); for incomplete are those eleven, and incomplete is he who is not either a noble, or a domestic priest.
13. Twelve (he puts on) for a noble or a domestic
S 2
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chaplain; for those twelve are a complete whole (or everything), and he who is either a noble or a domestic chaplain is everything.
14. In the case of a Purohita, he puts it on, with (Vâg. S. XI, 81), 'Perfected is my sanctity (brahman), perfected the vigour, the strength, perfected the victorious power (kshatra) whose Purohita I am!'-he thus perfects both his sanctity and power 1.
15. And in the case of a nobleman, with (Vâg. S. XI, 82), 'I have raised their arms, their lustre and strength: by the spiritual power I destroy the enemies, and elevate mine own (relatives)!' this he says with the view that he may destroy his enemies, and elevate his own relatives. Let him put on both these (kindling-sticks); for both the Brahman and the Kshatra are this Agni; and it is this Agni he thus kindles by those two, by the Brahman and the Kshatra.
16. These (kindling-sticks) amount to thirteen thirteen months are a year, and Agni is the year : as great as Agni is, as great as is his measure, by so much food he thus gratifies him.
-:
17. They are a span long, for Vishnu, as an embryo, was a span long; and this is (Agni's or Vishnu's) food: he thus gratifies him with food proportionate to his own body. But the food which is proportionate to one's body satisfies, and does no injury; but what is too much that does injury, and what is too little that does not satisfy. Standing he puts them on-the significance of this (will be ex
'Or, his spiritual and political power, his priesthood and nobility.
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plained) further on ;—and with the Svâhà (“hail!'); for seed is infused here (in the sacrifice,-to wit,) this Agni; and were he to put on the logs unconsecrated by Svâhà, he would injure him (Agni). Now inasmuch as they are kindling-sticks, they are not oblations; but inasmuch as they are put on) with the Svâhâ, they are food, for the Svåhå is food; and thus he does not injure him (Agni).
Fourth BRAHMANA. 1. Having then stridden the Vishnu strides, and reverentially stood by (the fire) with the Vatsapra? (hymn), after the sun has set, he in the first place throws out the ashes (from the fire-pan). For at that (former) time he regales him (Agni) with that food, those kindling-sticks; and the foul part of that eaten food sinks to the bottom as ashes. He now clears him thereof, and infuses speech into him?, thus freed from foulness. Having infused speech, he puts on a kindling-stick,--and thereby regales him with food for the night,—with, ' Night for night bearing unremittingly : '—the meaning of this has been told : he prays for that same security and wellbeing for the night; and whatsoever he puts on thereafter by night, that he puts on as a libation offered to him
2. And in the morning, when the sun has risen, he in the first place throws out the ashes. For at that (former) time he regales him with that food, that kindling-stick ; and the foul part of that eaten food which he puts on during the night sinks to the
See VI, 7, 4, 1 seq. See above, VI, 6, 3, 8.
Or, sets free the speech in him. Lit. 'made into a libation for him.'
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bottom as ashes. He now clears him thereof, and infuses speech into him thus freed from foulness. Having infused speech, he puts on a kindling-stick,
-and thereby regales him with food for the daywith, “Day by day bearing unremittingly;'—the meaning of this has been told : he prays for that same security and well-being for the day; and whatsoever he puts on thereafter by day, that he puts on as a libation offered to him.
3. Verily, day and night passing on come up to a year, and the year is everything here : he prays for that security and well-being for a succession of days.
4. And when they give him (the Sacrificer) the fast-milk, he puts on a kindling-stick, after dipping it into the fast-milk. Some, however, say, ' Let him not dip it into the fast-milk : he would be offering a libation, and it would be improper were one who is initiated to offer a libation.'
5. Let him nevertheless dip it in, for that (Åhavaniya fire) is his (the Sacrificer's) divine body, and this (real body of his) is his human one. Now were he not to dip it in, he would not be satisfying that divine body of his ; but when he dips it in, he does so satisfy that divine body. And in that it is a kindling-stick, it is not a libation; and in that it is dipped into the fast-milk, it is food, for the fast-milk is food.
6. And having put on the kindling-stick, he drinks the fast-milk; for that (fire) is his divine body, and this (body of his) is the human one ; and the gods (come) first, and then men: hence he drinks the fast-milk after putting the kindling-stick on the
fire).
7. [He puts it on, with Våg. S. XI, 83] 'O
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Lord of food, give us of thy food!'-that is, 'O Lord of viands, give us of thy viands!'—'of the painallaying, strengthening'--that is, of the hungerallaying, strengthening (food),'—'Onward, onward lead thou the giver!'-the giver, doubtless, is the Sacrificer : thus, 'Onward lead thou the Sacrificer!' -'Give us sustenance for the two-footed and the four-footed!'-he thereby asks a blessing. Now as to the expiation in case of (the fire-pan being) broken which, he said, would be explained 'in a subsequent chapter?'
8. If the fire-pan were to break, let him pour that (fire in the pan) into any such unbroken, new pot with a wide mouth as there may be; for the pan which is broken indeed suffers injury, but uninjured is this deity (Agni): ‘Uninjured I will bear him in the uninjured !' so he thinks. Into that (pot) he first throws a potsherd of the (broken) pan, and thus he (Agni) is not deprived of that womb of his.
9. He then takes the (remaining®) clay, and having pounded both the (broken) pan and that remainder, and mixed it, he makes a (new) pan in the very same way, without using any formula, quite silently. Having baked it, he pours (the fire) over. The expiation in this case is one of performance only. Having again thrown that potsherd into the (new) pan, and pounded both the (temporary) pan and the remaining clay, and mixed it, he lays it aside for expiation.
10. And if the fire in the pan (Ukhya Agni) were to go out, it is doubtless to the Gârhapatya that it goes, for from the Gârhapatya it has been taken. Having then taken it out of the Gârhapatya eastwards (to the place of the Åhavaniya), and put fuel on it, let him
* See VI, 5, 2, 22. See VI, 5, 3, 7.
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put the fire-pan on it in the same way (as before), without using any formula, quite silently. When the fire rises up to it,—
11. He performs two expiations. For it is for (the obtainment of) all his wishes that he makes up that (fire); and whatever part of his wishes is here cut off when the fire goes out, that he thereby joins together and heals. He performs both expiations, that of the (Soma) sacrifice and that of the fire-altar,-first that of the sacrifice, then that of the fire-altar: the significance of this has been explained'.
"
12. Having cut out with a kindling-stick some of the butter, he offers sitting a libation, with (Vâg. S. XII, 43), To Visvakarman, hail!' Then stepping near he puts the kindling-stick on the fire, with (Vâg. S. XII, 44), Again the Adityas, the Rudras, the Vasus may kindle thee, again the Brahmans with sacrifices, O bringer of good things!'-that is, 'May those deities again kindle thee!'-'With ghee make thou grow thy body, let the wishes of the Sacrificer be true!'-that is, 'With ghee indeed make thou grow thy body, and for whatever wishes the Sacrificer makes up a fire, may they all come true!'
13. And if the Gârhapatya fire were to go out, it is doubtless to the churning-sticks that it goes, for from the churning-sticks it has been taken. Having churned it out with the churning-sticks, and put fuel on it, he performs two expiations.
14. And if the Âhavantya fire were to go out whilst the pressing (of Soma) proceeds, it is doubtless to the Gârhapatya that it goes, for from the Gârhapatya it has been taken. Having taken it straight1 See VI, 6, 1, 3 seq.
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way eastward from the Gårhapatya, and put fuel on it, he performs two expiations : whatever (kind of Soma) sacrifice may be (performed) at the time, the expiation of that sacrifice he should perform ; and of like kind is the expiation of the fire-altar.
15. And if the Agnidhriya fire were to go out, it is doubtless to the Garhapatya that it goes, for from the Gårhapatya it has been taken. Having taken it from the Gårhapatya eastward along the north of the Sadas, and put fuel on it, he performs two expiations. And if the Gârhapatya were to go out, the meaning (procedure) of that has been explained.
SEVENTH ADHYÂYA. First BRÂHMANA. 1. He hangs a gold plate (round his neck), and wears it; for that gold plate is the truth, and the truth is able to sustain that (fire 1): by means of the truth the gods carried it, and by means of the truth does he now carry it.
2. Now that truth is the same as yonder sun. It is a gold (plate), for gold is light, and he (the sun) is the light; gold is immortality, and he is immortality. It (the plate) is round, for he (the sun) is round. It has twenty-one knobs, for he is the twenty-first?. He wears it with the knobs outside, for the knobs are his (the sun's) rays, and his rays are outside.
1 That is, the Ukhya Agni, or fire in the pan, which the Sacrificer will have to carry about during his time of initiation; and which, moreover, is here taken to be the Sacrificer's divine body (VI, 6, 4, 5).
* See I, 3, 5, 12,—twelve months of the year, five seasons, and three worlds: this makes twenty; and he that burns yonder is the twenty-first. See also Ait. Br. IV, 18, where the sun is identified with the Ekavimsa or Vishuvat day, the central day of the year, by which the gods raised the sun up to the heavens.
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3. And as to why he puts on and wears the gold plate ;—that plate is yonder sun, and man, in his human form, is unable to sustain that fire: it is only in this (solar or divine) form that he bears that (divine) form.
4. And, again, why he puts on and wears the gold plate ;—this fire is seed poured out here; and the gold plate means vital energy (or brilliance) and vigour : he thus lays vital energy and vigour into that seed.
5. And, again, why he puts on and wears the gold plate ;-the gods now were afraid lest the Rakshas, the fiends, should destroy here that (Agni) of theirs. They made that (plate), yonder sun, to be his (Agni's) protector (standing) by his side, for the gold plate is yonder sun: and in like manner does this (Sacrificer) now make that (plate) to be his (Agni's) protector by his side.
6. It is sown up in a black antelope's skin; for the black antelope skin is the sacrifice, and the sacrifice is able to sustain that (Agni): by means of the sacrifice the gods carried him, and by means of the sacrifice he now carries him ;—with the hair (inside), for the hair are the metres, and the metres are indeed able to sustain him : by the metres the gods carried him, and by the metres he now carries him.
7. It is sown into the white and black hair, for these two are forms of the rik (hymn-verse) and the saman (hymn-tune), and the rik and sâman are indeed able to sustain him (Agni): by the rik and sâman the gods carried him, and by the rik and saman he now carries him. The hempen sling of the gold plate is a triple (cord): the significance of this has been explained.
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8. He wears it over the navel; for that gold plate is yonder sun, and he (stands) over the navel (of the earth or sky).
9. And, again, why over the navel,- below the navel is the seed, the power of procreation, and the gold plate represents vital energy and vigour: (he does so, thinking,) ' Lest the gold plate burn up my seed, my power of procreation, my vital energy and vigour.'
10. And, again, why over the navel ;-sacrificially purer is that part of the animal (victim) which is above the navel, and more in contact with ordure is that which is below the navel: he thus carries it (the plate) by means of that part of the animal which is sacrificially purer.
11. And, again, why over the navel, -that part of the vital air which is immortal is above the navel, and streams out by upward breathings; but that which is mortal passes by and away from the navel : he thus makes him (the Sacrificer) obtain the part of the vital air which is immortal, and by that he then carries it (the fire).
12. Now, he carries that (fire in the pan) on a seat;-the seat (asandi) doubtless is this earth, for on her everything here is settled (asanna); and she indeed is able to sustain him (Agni): it was thereby that the gods carried him, and thereby he now carries him.
13. It is made of udumbara wood (ficus glomerata), for the Udumbara tree is sustenance (sustaining strength), life-sap: by means of sustenance, life-sap, he thus carries him. Moreover, that Udumbara represents all the trees here (on earth), and all the trees (together) are capable of sustaining that (fire) :
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by means of all the trees the gods bore (or, maintained) it, and by means of all the trees does he now bear it.
14. It (the seat) is a span high; for Vishnu, as an embryo, was a span high: he thus makes the womb equal in size to the embryo. It is a cubit across; for the cubit is (the length of) the (fore-) arm, and strength is exerted by the arm. It thus is made equal to strength, and strength is indeed capable of sustaining him (Agni): by means of strength the gods did bear him, and by means of strength does he now bear him.
15. The feet and boards1 are four-cornered; for there are four regions, and the regions are able to sustain him by means of the regions the gods bore him, and by the regions does he now bear him. It is interwoven with cords of reed-grass, triple ones, the significance of this has been explained; and smeared over with clay, (the significance) of this also has been explained; but it also serves to keep them from taking fire 2.
16. Now he carries him (Agni, the fire) by means of a netting,-he, Agni, is these worlds, and the netting is the regions, for by means of the regions these worlds are able to stand; and inasmuch as they are so able (sak), it is called a netting (sikya): he thus carries him by means of the regions. It is furnished with six strings,--for there are six
1 That is, the boards forming the seat itself, and being a cubit long. 2 Lit. 'from (the fire in the pan) burning over (or through the clay);' or 'from (their) being burnt over.'
Apparently a round netted mat, on which the fire-pan is to be placed, and which is fastened to a cord by means of six strings, thus somewhat resembling the scale of a balance.
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regions ;-made of reed-grass, triply wound-the significance of this has been explained ;—and smeared with clay—(the significance) of this also has been explained; but it also serves to keep them from taking fire.
17. The waters are his (Agni's) foundation, for on the waters these worlds are founded. The sun is the connecting link ?, for to the sun these worlds are linked by means of the quarters: whosoever thus knows this, carries suchlike a one by suchlike a one 2.
18. And, again, why he carries him by means of a netting,-he, Agni, is the year, and the netting is the seasons ; for by means of the seasons the year is able to exist, and inasmuch as it is so able (sak), therefore the netting is called) 'sikya :' he thus carries him by the seasons. It is furnished with six strings, for there are six seasons.
19. Day and night are his foundation, for on day and night this year is founded. The moon is the connecting link, for to the moon this year is linked by means of the seasons: whosoever thus knows this, carries suchlike a one by suchlike a one. And verily by him who so knows this, he (Agni) is carried for a year; and by him who does not so know it, he is attended to for a year 3. Thus as to the deities,
Or, the central point, the hinge or hook, to which the worlds are attached.
? Lit. carries that form by that form,--that is to say, he sustains, by means of the sun, the whole world in the form of Agni.
. That is to say, he who desires to derive the full benefit from the initiation ceremony, and the Agnikayana generally, must not only keep up the Ukhya Agni (or pan-fire) during the year of the initiation, but must also carry him at least for a time every day during that period.
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20. Now as to the self (or body of Agni). Agni doubtless is the self, and the netting is the vital airs, for by means of the vital airs that self is able to exist; and inasmuch as it is so able (sak) therefore (the netting is called) 'sikya :' he thus carries (sustains) him by means of the vital airs; and it is furnished with six strings, because there are six vital airs.
21. The mind is his foundation, for on the mind this body is founded, -and food is the connecting link, for to food this body is linked by means of the vital airs : whosoever thus knows this, carries suchlike (Agni) by suchlike means.
22. Now he carries him by means of the firepan; for the pan is these worlds, and these worlds are indeed able to hold him: by means of these worlds the gods carried him, and by means of them he (the Sacrificer) now carries him.
23. And as to why it is called 'Ukhâ ;'-by means of this sacred performance and this process the gods at that time dug out these worlds ; and inasmuch as they so dug out (ut-khan), it (the pan representing the worlds) is called 'utkhâ,'—'utkha' being what they mysteriously (esoterically) call'ukha,' for the gods love the mysterious.
24. Now'ukhâ' (consists of) two syllables,-the Sacrificer is two-footed, and the Sacrificer is Agni : as great as Agni is, as great as is his measure, by so much he thus carries him. And that same (pan) is, a pot (kumbhi), it is a cauldron (sthåll) ; this
1 These words, according to Sâyana, are merely intended as synonymous (paryâya) for 'ukha,' or fire-pan, not as different vessels (such as the pot used temporarily when the pan is broken) as one might suppose.
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makes six (syllables),--six seasons are a year, and the year is Agni : as great as Agni is, as great as is his measure, so great does this become.
25. He now takes hold of him (Agni?) by means of two (straw) pads 2; for he, Agni, is yonder sun, and the two pads are day and night: he thus takes hold of yonder sun by means of the day and the night, and hence that (sun) * is encompassed by day and night.
26. And, again, why he takes hold of him by means of two pads,-he, Agni, is yonder sun, and the two pads are these two worlds : he thus encompasses yonder sun by these two worlds, and hence he is encompassed by these two worlds. They are round, for these two worlds are round; of reedgrass, triply wound,- the significance of this has been told ;—and smeared with clay,—(the significance) of this also has been told, but it also serves to keep them from taking fire.
27. Now then the (mystic) correspondence (of the number of objects to the nature of Agni),—the seat, the fire-pan, the sling of the gold plate, the fire, and the gold plate,—these amount to six ;—six seasons are a year, and the year is Agni : as great as Agni is, as great as is his measure, so great does this become. Two pads, that makes eight, the Gayatri has eight syllables, and Agni is Gayatra : as great as Agni is, as great as is his measure, so great does this become. · That is, of the pan containing the fire.
Sâyana (on VII, 2, 1, 15) explains them as two balls of straw. The comparison in 26 rather points to their being round mats.
* Thus Sâyana. If, on the other hand, Agni be intended here, this might be taken as an illusion to the regular worship of the fire at the morning and evening twilights (cf. VI, 7, 2, 3).
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28. Now the total correspondence,-four feet and four boards (of the seat), the netting, and the sling of the gold plate, or any other corded netting; after that the pan and fire, and the gold plate,-that makes thirteen ;-thirteen months are a year, and the year is Agni: as great as Agni is, as great as is his measure, so great does this become.
SECOND BRAHMANA.
1. Standing he puts on that (gold plate)',-for that gold plate is yonder sun, and yonder sun stands, as it were; and moreover, while standing one is stronger. [He does so] standing with his face towards north-east: the significance of this has been explained.
2. [Vâg. S. XII, 1; Rik S. X, 45, 8] 'Looking like a golden disk he hath shone far and wide,'-for that gold plate, being seen, indeed shines far and wide;-'flashing forth unquenchable3 life for glory,'-for not easily dying is his (Agni's) life (vital power); and for glory he does shine; Agni became immortal by his powers, when Dyaus bore him-,' for Dyaus (the sky) did bear him ;-'she that hath good seed-,' for good seed indeed she has whose seed he (Agni) is.
3. He then takes hold of him by means of the two pads, with (Vâg. S. XII, 24), 'Night and Dawn,
1 The author now proceeds to give further particulars regarding the ceremonial details treated of in the preceding chapter (VI, 7, 1, I seq.).
* Literally, 'seen' or 'appearing (like).'
• Rather 'irresistible, difficult to bear (against);' but the author connects' durmarsha' with 'mar,' to die.
Rik S. I, 96, 5, slightly different.
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of one mind, unlike in form,'-night and dawn, doubtless, are day and night, (and they are) of one mind 1, and unlike in form ;-'nourish one child, combining together,'—whatever belongs to the day and the night, therewith they, combining together, indeed nourish him (Agni);-'a golden disk, he shineth between heaven and earth'— whilst taking it (the fire), he mutters this prayer ; for heaven and earth are those two, the sky and the earth; and moving between these two he shines : that is why, in taking it, he mutters this prayer ;'the wealth-giving gods kept Agni;'—therewith, having taken hold of it in both hands, he sets it down; for the wealth-giving gods are the vital airs, and they indeed kept up Agni at first : by means of them he now keeps him up.
4. He then puts round his (neck) the sling of the netting, with (Vág. S. XII, 3; Rik S. V, 81, 2), •The wise putteth on all forms,'—the wise one, doubtless, is yonder sun, and the netting is all forms ;-' he hath brought forth what is good for the two-footed and four-footed,'--for in rising he does bring forth what is good for the twofooted and four-footed ;-'the adorable Savitri hath glanced over the firmament,'—the firmament, doubtless, is the heaven, and even in rising he looks along it ;-'he flasheth forth after the starting? of the Dawn,'—for the Dawn shines forth first, and after her shining forth he (the sun) follows, flashing forth.
5. By means of the fashioning (formula) he then fashions him out of that (matter) : he thereby
1 That is to say, they are allied. • Or, perhaps, after the precedence (example) of the Dawn.
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fashions that infused seed, whence the seed infused into the womb is fashioned.
6. [Vâg. S. XII, 4] A well-winged bird thou art!'—the well-winged bird means vigour: he thus forms him so as to be (endowed with) vigour ;'the Trivrit is thy head,'—he thus makes the
Trivrit stoma (nine-versed hymn) his head ;-'the Gayatra thine eye,'—he thus makes the Gayatri metre his eye ;-'the Brihat and Rathantara thy wings,'—he thus makes the Brihat and Rathantara (hymn-tunes) his wings ;-'the hymn is the self,'--the Pañkavimsa stoma (twenty-fiveversed hymn) he makes the self (soul, or body);'the metres the limbs,'—for the metres are indeed his (Agni's) limbs ;-'the prayers his name,'— the prayers (yagus) are his name 'Agni' by which they call him, —'the Vâmadevya sâman is thy body,'—the body, doubtless, is the self: thus the Vamadevya (hymn-tune) is thy body, thy self;'— 'the Yagñayagñiya thy tail,'—he thus makes the Yagñâyagñiya 1 his tail ;—'the hearths thy hoofs,'—by means of the hearths he (Agni) is indeed established in this world ;-'thou art a wellwinged bird: go to the heaven! fly to the light!'—thus having made him a well-winged bird”, he says, 'Go to the gods ! fly to the heavenly world !!
7. He fashions him here in the pan or womb) into (a bird) with wings and tail ; for whatlike the seed is fashioned in the womb, suchlike it is born; and because he here fashions him as a bird) with
" The ordinary hymn-tune of the Agnishtoma-sâman, the last and characteristic stotra of the simplest, or Agnishtoma Soma-sacrifice.
? Or, the bird (or eagle, suparna) Garutmat.
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wings and tail, therefore he is hereafter born with wings and tail.
8. Now some, after addressing him by that fashioning (formula), build a different altar (than of an eagle's shape), either one constructed in the form of a trough ?, or like a chariot-wheel, or like a kite, or like the front part of a thill, or like a thill on both sides, or one consisting of a heap of loose soil ?. Let him not do so, (but) in such wise as one might carve a young one with wings and tail: let him therefore build it (the fire-altar) in the form of an eagle.
9. With that fashioning (formula) he holds him high up from thence towards east s; for he, Agni, is yonder sun : he thus places yonder sun high up from here in the east; and hence yonder sun is placed high up from here in the east. He holds him up so as to be beyond the reach of the arms, for he (the sun) is beyond the reach of the arms from here. He then lowers him, and, having lowered him, he holds him above the navel : the significance of this has been explained
10. He then strides the Vishnu-strides. For the gods, in the form of Vishnu (the sun), then strode through these worlds; and inasmuch as, in the form of Vishnu, they thus strode, they are called the Vishnu-strides : in like manner does the Sacrificer,
Sâyana seems to make this a round vessel, ---dronah parimandalânâma-(? lamâna)rQpam dronam iva kiyate dronakit.
. Samuhya samuhya purîsham tenaiva kevalena kiyata iti samuhyapurishah, Sây.
* As in the case of the lump of clay, VI, 4, 3, 10. • VI, 7, 1, 8 seq.
6 Or the Vishnu-steps, as the term, for a special reason, was translated at V, 4, 2, 6.
T2
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in the form of Vishnu, now stride through these worlds.
11. Now he who is Vishnu is this sacrifice; and he who is this sacrifice is that same Agni in the ukha (fire-pan): into that same (Agni) the gods changed themselves, and strode through these worlds; and in like manner the Sacrificer, having changed himself into that same (Agni), strides through these worlds.
12. Standing with his face towards north-east (he strides); for standing towards north-east Pragậpati created offspring by means of the Vishnu-strides : in like manner does the Sacrificer now, standing towards north-east, create offspring by means of the Vishnu-strides.
13. (Vâg. S. XII, 5] Thou art Vishnu's stride,'—for in the form of Vishnu he strides ; 'the slayer of foes; '-for he now slays his foes ;'mount thou the Gayatri metre,'—the Gayatri metre he does mount,-'stride along the earth!'
-along the earth he indeed strides. He stretches forward his (right) foot and strides : he raises the fire upwards, for upwards he ascends.
14. 'Thou art Vishnu's stride,'--for in the form of Vishnu he strides ;—'the slayer of plotters,'—for he now does slay the plotters ;mount thou the Trishtubh metre!'-the Trishtubh metre he does mount;-'stride along the air !'-along the air he indeed strides. He stretches forward his foot and strides : he raises the fire (yet further) upwards, for upwards he ascends.
15. "Thou art Vishnu's stride,'—for in the form of Vishnu he strides ;-'the slayer of the evil-minded,'—for he now does slay the evil
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minded; Mount the Gagati metre!'--for the Gagati metre he does mount;—'stride along the sky!'-along the sky he indeed strides. He stretches his foot forward and strides : he raises the fire (yet further) upwards, for upwards he ascends.
16. Thou art Vishnu's stride,'--for in the form of Vishnu he strides ;—'the slayer of the hostile,'--for he now does slay the hostile ;'mount thou the Anushtubh metre!'-the Anushtubh metre he does mount;-'stride along the quarters!'-he looks along the (four) quarters ; he does not stretch forward his foot, thinking, ‘Lest I lose these worlds !'—He raises the fire right up, for he ascends completely (to the top).
THIRD BRAHMANA. 1. He then holds it (the fire in the pan) up thus (towards north-east). Now the gods at that time were desiring, 'May we be like Parganya (the raingod)!' By that body (of his ) they became like Parganya, and in like manner does the Sacrificer by that body (of his) become like Parganya.
2. (Vág. S. XII, 6; Rik S. X, 45, 4] 'Agni roared like the thundering sky,'—for he (Agni) indeed roars like the thundering Parganya ;-'again and again licking the ground, stroking? the plants,'—for Parganya, whilst licking again and
Viz. by the Agni who is now being held up, and of whom Parganya is said to be another form, at VI, 1, 3, 15. It is probably the smoke rising from the fire-pan that suggests the idea of the Jupiter pluvius sending forth his flashes of light from the dark cloud.
? Literally, anointing (? either furbishing, or impregnating).
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again the ground, does stroke the plants;—‘scarce born, the kindled shone forth,'-for scarce born he indeed lights up everything here;-'with his light he shineth between the two worlds,'the two worlds, doubtless, are the heaven and the earth, and these two he indeed illumes by his light. He holds it (the fire in the pan) up so as to be beyond the reach of his arms, for Parganya is beyond the reach of (our) arms.
3. He then lowers it; for whatever sap, whatever sustenance there is in this world, that rises upwards with it through these worlds, for Agni is the sap, Agni is the substance in this world: thus were that always to be so, then there would be no sap, no sustenance in this world; but when he lowers (the fire), he bestows sap and sustenance on this world.
4. And, again, why he lowers it, he then indeed rises upwards from here through these worlds: that is, as it were, a rising away from here. But this earth is the resting-place; and were that always to be so, the Sacrificer would be removed from this world. But when he lowers (the fire), he thereby comes back to this resting-place, and stands firmly on this resting-place.
5. And, again, why he lowers it,—there, indeed, in rising upwards, he conquers these worlds from here: that is, as it were, a conquering in a forward direction. Now the conquest of him who conquers only in a forward direction is completed by others; but for him who conquers both ways there is free scope: thus, when he lowers (the fire) he conquers
1 Literally, were that to be so much only (i. e. were the fire always to be held up there).
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these worlds both from here upwards and from thence backwards.
6. [Vâg. S. XII, 7-10] 'Ever returning Agni, turn thou back unto me, with life, with vigour, with offspring, with riches; with gain, with wisdom, with wealth, with prosperity!-O Agni, Angiras! may thine be a hundred courses, and a thousand returns: with increase of increase bring back what was lost by us, and bring us again riches !— Return again with sustenance, again, O Agni, with food and life, guard us again from trouble! With wealth return, O Agni, overflow with the all-feeding stream on every side!'—that is, ' with all this return thou to me!' Four times he lowers (the fire further and further), for four times it rises upwards : thus as often as it rises upwards, so often he lowers it; and having lowered it (completely), he holds it above his navel : the significance of this has been explained.
7. He then addresses him (Agni); for Agni is vital power: he thus lays vital power into his self: [Vâg. S. XII, 11] Hither have I brought thee,'
—for they do indeed bring him hither;—' thou hast entered,'—he then lays vital power into his self;—'stand thou firm, never staggering!'--he thus lays the vital power firmly into his self ;'may all the people long for thee!'—the people are food : thus, 'may all food long for thee!'—'may thy rule not fall away from thee!'-rule means glory: thus,'may thy glory not fall away from thee!'
8. He then unties the sling of the netting, and the sling of the gold plate ; for the sling belongs to
1 VI, 7, 1, 8 seq.
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Varuna he thus frees himself from Varuna's noose. He does so with a verse to Varuna: he thus frees himself from Varuna's noose by its own self, by its own deity. [Vâg. S. XII, 12; Rik S. I, 24, 15] 'Take off from us, O Varuna, the uppermost cord, down (take) the lowest, away the middle one!' as the text, so the meaning;-and so, O Âditya, may we be sinless in thy service for safety (Aditi)!'—Aditi is this earth: thus, 'Sinless may we belong to thee and to her (the earth)!'
9. He then holds him (Agni) up thus (towards south-east); for on that former occasion he raises him upwards from here towards the east with the fashioning formula1; and he then holds him up thus (towards north-east 2). Now were that alone to take place, he (the sun), surely, would stop even there (in the north); but inasmuch as he now holds him up thus (towards south-east), he (the sun) having gone thus (in a northerly direction), then comes back again thus (in a southerly direction).
10. [Vâg. S. XII, 13; Rik S. X, 1, 1] 'The great hath stood up erect before the Dawns,'-for before the dawn the great one (Agni) indeed stands up erect;-emerged from the gloom he hath come with light,'-for emerged from the gloom, the night, he indeed comes with light, with the day; well-shapen with white light,'—for he, Agni, is indeed well-shapen with white light;— 'when born, he hath filled all homesteads;'all homesteads, doubtless, means these worlds, and these he indeed fills, when born. He holds him up so as to be beyond the reach of the arms, for he (the
1 VI, 7, 2, 9.
VI, 7, 3, I.
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sun) is beyond the reach of arms from here. He then lowers him : he thereby comes back to this restingplace, and stands firmly on this resting-place. [He does so] with a gagati verse ?, for the Gagati gains these worlds from above hitherwards.
11. [Vág. S. XII, 14; Rik S. IV, 40, 5] 'The swan dwelling in the light,'--the swan dwelling in the light, doubtless, is yonder sun ;-'the Vasu dwelling in the air,'—the Vasu dwelling in the air, doubtless, is the wind ;-'the priest seated on the altar,'--the priest seated on the altar, doubtless, is Agni ;-'the guest,'—for he (Agni) is indeed the guest of all beings;—'dwelling in the retreat?,'—that is, dwelling in rugged places;''the man-dwelling,'—the man-dwelling, doubtless, is the vital air; and men are human beings : he thus means that vital air, that fire, which (burns) in human beings ;-'the space-dwelling,'--for he (Agni) indeed is seated in all spaces ;-'the lawseated,'—that is, the truth-seated ;'--'the spheredwelling,'--for he is indeed seated in all spheres ;'the water-born, cow-born'--for he is indeed both water-born and cow-born ;-law-born,'--that is, 'truth-born;'-'rock-born,'--for he is born from the rock;—'the law,—that is, the truth. With 'the Great!'he deposits it (the fire); for he (Agni) is indeed the great (truth): he thus deposits him (on the seat) after making him what he is.
12. [He does so] with two syllables (brihat'),— the Sacrificer is two-footed, and the Sacrificer is
? It is rather a trishtubh verse.
Rather, (the guest) dwelling in the house (durona-sad), but the author evidently derives durona' from dus' (bad), making it a synonym of 'durga.'
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Agni: as great as Agni is, as great as is his measure, with so much he thus deposits him.
13. He then stands worshipping by him; for he makes, as it were, light of him, when he strides with him through these worlds both thus (upwards), and thus (downwards): he now makes amends to him, so that he (Agni) may not hurt him.
14. And, again, why he stands by him ;-the gods at that time were afraid, lest he should injure these worlds of theirs from anigh: they thereby appeased him towards these worlds; and in like manner does he (the Sacrificer) now appease him towards these worlds.
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15. [Vâg. S. XII, 15-17] 'Seat thee in this thy mother's lap, thou, O Agni, knowing all ordinances! burn her not with thy heat, thy flame! shine in her with a brilliant light!-Glowing with light and heat within thine own seat, be thou gracious unto this Ukhâ, O knower of beings! Being gracious unto me, O Agni, now seat thee graciously! seat thee here in thine own seat, having made happy all the regions!'-by saying 'Gracious-Gracious,' he appeases him, so that he may not injure any one, and thus he, being appeased, does not injure these worlds.
16. With three (verses) he stands by worshipping;-three in number are these worlds, and threefold is Agni: as great as Agni is, as great as is his measure, with so much he thereby makes amends to him, and with so much does he thereby appease him towards these worlds.
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FOURTH BRÂHMANA. 1. He then stands by him worshipping with the Våtsapra rite? For Pragâpati, having by means of the Vishnu-strides produced creatures, created vital power for them by means of the Våtsapra rite; and in like manner the Sacrificer, having, by means of the Vishnu-strides, produced creatures (or, subjects), creates vital power for them by means of the Vâtsapra rite.
2. Now the Vatsapra rite, doubtless, is he, the golden-handed? (Agni) ;-hence whomsoever that is born one may wish to obtain the full (measure of) life, let him touch that one with the Vâtsapra rite, and he thereby creates vital power for that newborn one; and accordingly that one obtains the full (measure of) life. And whomsoever one may wish to be vigorous, let him first address that one with the Vikriti (fashioning) formula, and that one accordingly becomes vigorous.
3. [Våg. S. XII, 18-20] 'From the sky Agni was first born;'—the sky, doubtless, is the breath, and from the breath he (Agni) was indeed first born,—'from us the second time, the knower of beings,'—inasmuch as he, man-like, on that occasion generated him a second time ^ ;-'the
1 That is, the recitation of Vâg. S. XII, 18–28 or 29 (Rik S. X, 45), ascribed to the poet Vatsapri Bhâlandana. The Brâhmana, however, comments only on the first three verses, and perhaps these alone were used for the purpose at the time when the Brahmana was composed.
* This is a somewhat doubtful meaning of dâkshayana-hasta.' The synonyms (if correct), hiranyapâni and hiranyahasta, always refer to Savitri, the sun.
• See VI, 7, 2, 5-6. • ? Or, as a second ; see above, VI, 1, 1, 11.
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third time in the waters,'—inasmuch as he there did generate him a third time from the waters ;'he, the manly-minded, (kindling him) the imperishable,' — the manly-minded, doubtless, is Pragàpati ; and the imperishable, Agni?;— kindling him the mindful praises (gar) him,'--for he who kindles him generates him, mindful.
4. 'We know, O Agni, thy threefold three,' -Agni, Vâyu (wind), Aditya (sun), these are his three in three forms ;-'We know thy manifold scattered sites,'—inasmuch as he (Agni) is here distributed manyways ;'we know thy highest name which is in secret,'— the youngest,' that indeed is his highest name in secret ;-'we know that source whence thou art come;'—the source, doubtless, is the (heavenly) waters, for from the waters he first came.
5. 'In the sea the manly-minded (kindled) thee, in the waters,'—the manly-minded is Pragapati : thus, 'In the waters Pragâ pati (kindled) thee;' -'the man-watcher hath kindled thee, O Agni, in the udder of the sky,'—the man-watcher, doubtless, is Pragâpati, and the udder of the sky is the waters ;—'thee, whilst standing in the third region,'—the third region, doubtless, is the sky ;-'the buffaloes made (thee) grow in the lap of the waters ;'-the buffaloes, doubtless, are
The construction of the text here favoured by the author is very doubtful. It has probably to be construed,—the third time (he, Agni, was born) in the waters, he, the manly-minded (or, friendly to men). Kindling him, the imperishable (Agni), the heedsul (? or pious) one praises him,'-or perhaps, While kindling him, the considerate one praises him unceasingly. A point which favours the author's construction is that, in verse 3, nrimanaas' certainly resers not to Agni, but to him who generated him.
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the vital airs : thus, 'the vital airs made thee grow in the sky'
6. These (three verses 1) have one and the same explanation regarding him (Agni): they are Trishłubh verses relating to Agni. Inasmuch as they relate to Agni, they are Agni ; and inasmuch as they are Trishtubhs, and eleven (syllables), they are Indra ;—but Agni consists of Indra and Agni : as great as Agni is, as great as is his measure, with so much he thus stands worshipping by him. And Indra and Agni are all the gods, and Agni includes (or belongs to all the deities: as great as Agni is, as
1 The remaining verses (XII, 21-29) are as follows :1. Agni roared like the thundering sky, &c. (see VI, 7, 3, 2).
2. The upraiser of glories, the upholder of riches, the inspirer of thoughts, the guardian of Soma; the excellent son of power, shines forth as king in the waters, kindled before the dawns.
3. A beacon unto all that is, the child of the world filled the two spheres even when born; even the hard rock he broke going thither when the five peoples worshipped Agni.
4. An eager cleanser, a wise messenger, the immortal Agni has been set up among the mortals ; Alickering (?) he sends forth the red smoke, striving with his bright flame to reach the sky.
5. Looking like a golden disk, &c. (see VI, 7, 2).
6. Whoso maketh for thee this day a ghee-baked cake, O divine Agni of auspicious flame, lead him onwards to bliss, unto godallotted glory, O youngest !
7. Make him share in the songs of triumph, make him share in every hymn that is sung! Dear be he unto Surya, dear unto Agni; let him prevail with the living one and with them that are to be born!
8. They that worship thee day by day, O Agni, win all desirable boons; ardently wishing for wealth, they have opened with thee the stable filled with cows !
9. Agni Vaisvânara has been celebrated by the Rishis, the guardian of Soma, most gracious unto men: let us invoke heaven and earth who are free from hatred l grant us wealth, ye gods, with abundance of men !
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great as is his measure, with so much he thus stands worshipping by him.
7. And, again, why the Vishnu-strides and the Vâtsapra rite are (performed) ;-by the Vishnustrides Pragâpati created this world, and by the Vâtsapra the fire (Agni); by the Vishnu-strides Pragâpati created the air, and by the Våtsapra the wind (Vayu); by the Vishnu-strides Pragàpati created the sky, and by the Vatsapra the sun (Aditya); by the Vishnu-strides Pragâpati created the regions, and by the Vâtsapra the moon; by the Vishnustrides Pragâpati created that which has been, and by the Vâtsapra that which shall be ; by the Vishnustrides Pragâpati created possession (wealth), and by the Vâtsapra hope; by the Vishnu-strides Pragâpati created the day, and by the Vâtsapra the night; by the Vishnu-strides Pragâpati created the former (bright) fortnights, and by the Vâtsapra the latter (dark) fortnights ; by the Vishnu-strides Pragapati created the half-months, and by the Vâtsapra the months; by the Vishnu-strides Pragâpati created the seasons, and by the Vâtsapra the year : thus the reason why the Vishnu-strides and Vâtsapra are (performed) is that he thereby even now creates everything.
8. And, again, why the Vishnu-strides and the Vatsapra rite are (performed). By the Vishnustrides Pragâpati drove up to heaven. He saw that unyoking-place, the Vâtsapra, and unyoked thereat to prevent chafing; for when the yoked (beast) is not unloosed, it is chafed. In like manner the Sacrificer drives up to heaven by the Vishnu-strides ; and unyokes by means of the Våtsapra.
9. Having stridden the Vishnu-strides, he then
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forth with stands by the fire worshipping it with the Vatsapra, just as one who has journeyed would forthwith unyoke. Men (proceed) after the manner of the gods : hence even now, when a troop of men have journeyed they forthwith unyoke.
10. Now, the Vishnu-strides indeed are the day and the night, and the Vâtsapra is the day and the night: he thus journeys for a day and a night, and takes rest for a day and a night: and hence even now when a troop of men have journeyed for a day and a night they take rest for a day and a night.
11. Only for one half of the year he strides the Vishnu-strides, and for one half he worships the fire with the Vatsapra; for the world of heaven is in the midst of the year : thus were he to stride for less than half (a year), he would not reach that world of heaven; and were he to do so for more than half (a year), he would pass beyond that world of heaven and lose it; but when he strides for one half, and worships the fire for one half, he unyokes forthwith after reaching the world of heaven.
12. He proceeds with these two alternately, even as one would accomplish a long way by (repeatedly) unyoking. Both before and after (the Diksha), he combines both, the Vishnu-strides and the Vatsapra ; for the Vishnu-strides are the day, and the Vâtsapra the night; and Pragâpati, both when he was about to generate and when he had generated this universe, enclosed it on both sides by day and night : in like
1 That is, whilst on the first day of the Dîkshâ, as well as on the day after its completion, both the Vishnu-strides and the Vâtsapra are performed, during the intermediate period of one year they are performed on alternate days,—the Vishnu-strides on even, and the Våtsapra on uneven days.
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manner the Sacrificer now, both when he is about to generate and when he has generated this universe, encloses it on both sides by day and night.
13. As to this they say, 'If the Vishnu-strides are the day, and the Vatsapra the night, and both of them are (performed) during the day, not during the night, how then are they both performed for (or by) him also during the night ?' Well, on that (first) occasion, when he is being initiated, he, at the outset, combines both (performances) in the afternoon ; for the afternoon is the same thing as the night. Then throwing them thus together, he at the end combines them both in the forenoon ; for the forenoon is the same thing as the day; and in this way they are both performed during the day, and both during the night.
14. Now early on the day on which he may intend to combine them, when the sun has risen, he first throws out the ashes (from the pan); having thrown out the ashes, he releases his speech; having released his speech, he puts on a kindling-stick; having put on a kindling-stick, he takes the ashes down to (and throws them into) the water. In the same way as he takes them down he returns after taking some of the ashes; and having thrown it into the pan he stands reverentially by the fire. He then performs two expiations.
15. And if the day should be one for the Vishnustrides, let him, after striding the Vishnu-strides, worship the fire with the Vâtsapra; and if it be one for the Vâtsapra, let him, after worshipping with the Vâtsapra, and striding the Vishnu-strides, finally perform the Vâtsapra. Let him not conclude by performing the Vishnu-strides, for that would be as if
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after going for a drive he were not to unyoke; but when he concludes by performing the Vatsapra—the Vatsapra being a halting-place-(it is) as if he made a halt and unloosed (the team) : let him therefore conclude by performing the Vatsapra.
Eighth ADHYÂYA. FIRST BRÂHMANA. 1. 'Let him drive Agni about while keeping him up,' so they say. The gods and the Asuras, both of them sprung from Prâgapati, were contending. The gods drove about on wheels (cars), and the Asuras stayed at home. The gods, while driving about on wheels, saw this rite (sacrificial performance), for it was indeed in driving about on wheels that they saw this rite: hence it is to the cart that the formulas relate at the (performance with) sacrificial cakes?, and to the cart in the building of the fire-altar
2. Now he who drives Agni about goes to the gods by the sacred performance, for divine is the rite performed by him ; but he who does not drive him about goes to the Asuras by the sacred performance, for demoniac is the rite performed by him.
3. Here now some say, 'It is by himself that he (Agni) is driven about ; for by the Vishnu-strides he drives forward, and by the Vatsapra he unyokes.' Let him not think this to be so; for divine (to the gods) is that progress of his, to wit, the Vishnu-strides ; and divine the unyoking, to wit, the Vâţsapra. But human would be that progress of his, which he makes in this manner, and human the unyoking he makes.
Sâyana says, 'vîrasiddheh,' by the heroes' success." * See I, 1, 2, 5.
• Sâyana refers to Våg. S. XII, 31, upwards may the All-gods bear thee ...' (paragraph 9 below), as a passage in point.
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4. This Agni is Pragâpati; and Pragâpati is both the gods and men. Now when the Vishnu-strides and the Vâtsapra are (performed), he thereby makes up that form of his which is divine; and when he drives him about he thereby makes up that form of his which is human. Verily, then, he who, knowing this, drives him about, makes up that whole and entire Pragâpati: let him therefore by all means drive him (Agni) about.
5. Now on any day on which he may intend to drive, he gets the chariot placed north of the fire (with the pole) to the east; and puts a kindling-stick on it (the fire); for at that time the gods first regaled him (Agni) with food, with that kindling-stick, when he was about to start: and in like manner does this one now first regale him with food, with that kindlingstick, when he is about to start.
6. [Vâg. S. XII, 30; Rik S. VIII, 44, 1] 'With fuel serve ye Agni!'—that is, 'with fuel worship ye Agni!'-'with draughts of ghee awake ye the guest, offer ye libations unto him!'-that is, 'with (draughts of) ghee do ye awake the guest, and offer libations unto him !'-with a (verse) containing (the verb) 'awake' he awakens him for the starting.
7. He then lifts him (the fire) up, with (Vâg. S. XII, 31), 'Upwards may the All-gods bear thee, O Agni, by their thoughts!'-at the beginning all the gods did indeed bear him upwards by their thoughts, for that (or, he) was then their thought: in like manner does this (Sacrificer) now bear him upwards by his thoughts, for this now is his thought;
-'be thou gracious unto us, of fair look, and rich splendour!'- -as the text, so its meaning. From the south he places him (Agni) northwards
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on the chariot)—the significance of this has been explained. Having put the Gârhapatya into a pot, he places it on (the chariot) behind (the Åhavaniya, or Ukhya Agni). If he choose, he himself may mount up beside him (Agni), or he may walk by the side (of the chariot).
8. He then yokes two oxen, first the right one, then the left one: so (it is done) with the gods, otherwise in human (practice). And in whatever direction he may intend to drive, let him first drive east, for the east is Agni's region : he (Agni) thus proceeds towards his own region.
9. [Whilst driving thither, he mutters, Vag. S. XII, 32] Go forth, O Agni, brilliant thou with propitious flames!'--that is, Brilliant, О Agni, go thou forth with propitious, shining flames !'* Beaming with great beams injure not my people with thy body!'—that is, “With great shining flames do not injure my people by thyself!'
10. Whenever the axle creaks, let him mutter that prayer (Våg. S. XII, 33); for demoniacal is that voice which is in the axle: he thereby appeases that (voice) and makes it as of the gods.
11. And, again, why he mutters that prayer ;with whomsoever, mounted (on a chariot), the axle creaks, this is his own voice: hence when the axle creaks while Agni is mounted, this is the voice of Agni himself. It was Agni indeed whom the gods thereby praised and magnified; and in like manner does this (Sacrificer) thereby praise and magnify him: 'Agni roared like the thundering sky,' — the meaning of this has been explained.
* See above, VI, 7, 3, 2.
U 2
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12. If he unyokes before (reaching) his dwelling, let the fire remain on the chariot itself; but when he unyokes for (staying at) his dwelling, he stops the chariot (with the pole) to the east; and north of it he raises and sprinkles (a place) where he takes it (the fire) down. He takes it down from south to north : the meaning of this has been explained.
13. He then puts a kindling-stick thereon ; for on that occasion the gods regaled him (Agni) with food, with that kindling-stick, after he had travelled : in like manner does this (Sacrificer) now regale him, after he has travelled, with food, with that kindlingstick.
14. (He puts it on, with Vâg. S. XII, 34; Rik S. VII, 8, 4] Far, far famed is this Agni of the Bharata (tribe),'—the Bharata ", doubtless, is Pragapati, for he sustains (bhar) this entire (universe);'that his great light shineth brightly, as the sun,'
-that is, that, like the sun, his great light shines brightly;'—'he who overthrew Paru in battles,' -Paru, by name, was an Asura-Rakshas: him Agni overthrew (abhi-sthà) in battles ;—'blazed up hath the divine guest, gracious unto us;'—that is, 'being kindled, the divine guest is gracious to us.' With a (verse) containing (the verb) sthå' (he performs), for he thereby makes him stop (sthå) for (staying at) his home.
15. Now, then, the (symbolic) correspondence,with the first (formula) he puts on a kindling-stick, with one he lifts him up, with one he starts, with one he addresses the axle, with the fifth he puts on a
Mahfdhara, in accordance with Nigh. III, 18 (priest), explains 'bharata' as the one who brings (bhar) offerings; and, with Sâyana, identifies the Bharata with the Sacrificer.
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kindling-stick, that makes five,-of five layers consists the fire-altar, five seasons are a year, and the year is Agni: as great as Agni is, as great as is his measure, so great does this become.
SECOND BRAHMANA.
1. Now, then, as to the taking down of the ashes (to the water 1). Now, the gods at that time threw out the ashes (from the pan). They said, 'If we make this, such as it is, part of our own self, we shall become mortal carcases, not freed from sin; and if we cast it away, we shall put outside of Agni what therein is of Agni's nature: find ye out in what manner we shall do this!'-They said, 'Meditate ye (kit)!' whereby, indeed, they said, 'Seek ye a layer (or altar, kiti). Seek ye in what manner we shall do this!'
2. While meditating, they saw this,—'Let us take it down to the water; for the water is the foundation of this universe: having settled it on that wherein is the foundation of this universe, we shall reproduce from out of the water what there is of Agni's nature in this (heap of ashes).' They then took it down to (and threw it into) the water; and in like manner does this (Sacrificer) now take it down to the water.
3. [Vâg. S. XII, 35] 'O divine waters, receive ye these ashes, and put them in a soft and fragrant place!'-that, being consumed (matter), has run its course (is useless): regarding that he says, 'Put it in the most fragrant place!'-' May
1 The ashes removed from the ukhâ' or fire-pan are put in a bag made of leaves of some sacred tree, and are then thrown into the water in two portions. As they are floating on the water, a small portion is taken from them again with the little finger and put in the pan.
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the wives, wedded to a good lord, bow down to him,'—the wives, doubtless, are the waters, for from the waters this universe is produced; and in Agni the waters have indeed a good lord ;-'bear it on the waters, even as a mother (bears) her son!' —that is, as a mother would bear her son on her lap, so bear ye this!'
4. (Vag. S. XII, 36; Rik S. VIII, 43, 9] 'In the waters, O Agni, is thy seat,'--that is, 'in the waters, O Agni, is thy womb;'-'as such thou clingest to the plants,'- for he does indeed cling to (love) the plants,-' being in (their) womb thou art born again,'—when he is in the womb he is indeed born again. [Våg. S. XII, 37] 'Thou art the child of the herbs, the child of the trees, the child of all that is, O Agni, thou art the child of the waters;'-he thus makes him (Agni) the child of this entire (universe).
5. With three (verses) he throws (the ashes into the water),--threefold is Agni: as great as Agni is, as great as is his measure, by so much he thus throws them down. First with one (prayer), and then with two; or first with two, and then with one,--but at two separate times he throws them down : he thus throws them down by means of the two-footed animals.
6. He then takes some (of the ashes) therefrom : he thereby reproduces from the waters what there is of Agni's nature in that (heap of ashes). [He takes it] with that (nameless or little finger), for with that (finger) medicine is prepared : it is with that one he thus puts him (Agni) together. [Vag. S. XII, 38-41] Having settled in the womb, as
1.Pra-sad' (=pra-âp, Mahidhara) seems here really to have the
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ashes, in the waters, and the earth, O Agni'by his ashes he is, indeed, settled in the womb, that is, both in the waters and in the earth ;-'having united with the mothers, thou hast again, brightly shining, seated thee;'--that is, 'Having joined thy mothers, thou, the shining one, hast again seated thyself (in thy home).'— Having again seated thee in thy seat, the waters and the earth, O Agni, thou liest in her (the earth, or pan) most happy, as in a mother's lap.' — Return again with sustenance, again, O Agni, with food and life; guard us again from trouble! With wealth return, O Agni, overflow with the all-feeding stream on every side!'--that is, .With all this return thou to me!'
7. With four (verses) he takes (some of the ashes);-he thereby supplies him (Agni) with fourfooted animals; and animals being food, it is with food he thus supplies him. With three (verses) he takes (the ashes) down (to the water),—that makes seven, for of seven layers consists the fire-altar, seven seasons are a year, and the year is Agni: as great as Agni is, as great as is his measure, so great does this become.
8. Having taken some of the ashes, and returned, he throws it into the fire-pan, and stands by (the fire) worshipping it; for when he throws Agni into the water he does what is improper; he now makes amends to him so that he may not injure him. With two (verses) relating to Agni (he worships), for it is to Agni that he makes amends,--and with such
meaning of abhiprasad' or 'anuprasad,' as the accusative can scarcely be taken along with âsadah.'
· See p. 249, note 3.
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as contain (the verb)" budh' (to attend to, awake), in order that Agni may attend to this speech of his.
9. [Våg. S. XII, 42–3; Rik S. I, 147, 2; II, 6, 4] 'Attend thou to this word of mine, O youngest!' —that is, 'attend to this word of mine, O youngest !'-—'put forth most plentifully, O faithful one!'-that is, 'put forth most abundantly, O faithful one!'—'this one revileth thee, and that one singeth thy praises,'—that is, 'one (man) reviles thee, and another sings thy praises ; '-'reverently I revere thy body, O Agni!'--that is, 'I, thy reverer, revere thy body, O Agni!'—Be thou a munificent patron of offerings, O lord of wealth, the bestower of wealth, keep off from us the haters!' this he says in order that he may keep off haters from him. With two (verses) he worships the fire, a Gayatri and a Trishtubh verse : the significance of this has been explained.
10. These make, nine (verses),--there are nine regions !, and Agni is the regions ; nine vital airs, and Agni is the vital airs: as great as Agni is, as great as is his measure, so great does this become.
11. He then performs two expiations; for it is for (the obtainment of) all his desires that he sets up that (fire) ;-thus whatever part of his desires is here cut off when the fire is thrown into the water, that he thereby joins together and restores. He performs both expiations which (are performed) when the fire has gone out 2: the significance of this has been explained.
1 Viz. the four cardinal points, and the four intermediate points, of the compass, and the upper region. To these paragraph 13 adds, as a tenth, the lower region.
· VI, 6, 4, 10 seq.
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12. This makes ten (performances), the Virâg consists of ten syllables, and Agni is the Virâg1; there are ten regions, and Agni is the regions; ten vital airs, and Agni is the vital airs: as great as Agni is, as great as is his measure, so great does this be
come.
1 That is, the wide-shining, or wide-ruling one.
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SEVENTH KÅNDA.
THE GÂRHAPATYA HEARTH. First ADHYÂYA. First BRÂHMANA. 1. Being about to build the Gârhapatya (fire-place), he sweeps its site) with a Palasa (butea frondosa) branch. For when he builds the Gârbapatya? he settles on that place; and whatsoever builders of fire-altars (there have been), they are indeed settled on this earth ; and when he sweeps (that place) he thereby sweeps away those settled (there before him), thinking, 'Lest I should settle on those already settled (here).
2. (He sweeps, with Vâg. S. XII, 451 'Off with you! away with you! crawl away from here?!'that is, 'Go off, go away, and crawl away from here!' he says this to those that crawl on their belly;~'Ye that are here of old and of latel' that is, 'both ye who were here of yore, and ye of the present day.'
3. "Yama hath given the settlement on earth (to this Sacrificer); '--for Yama indeed rules over the settling on this earth, and it is he who grants to this (Sacrificer) a settlement on this earth.
That is, the householder's fire,' which represents the Sacrificer's domestic hearth,
*This first pâda is taken from Rik S. X, 14, 9. The four pâdas of the verse are muttered by the Adhvaryu while sweeping the four sides of the site respectively, beginning in the east and ending in the north. On this place when swept the circular site of the Garhapatya is then marked off by saline soil being scattered over it (cf. Taitt, S. V, 2, 3, 2–3).
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4. 'The Fathers have prepared this place for him!' for Yama is the Kshatra (nobility, or ruling power), and the Fathers (deceased ancestors) are the clansmen; and to whomsoever the chief (kshatriya), with the approval of the clan, grants a settlement, that (settlement) is properly given : and in like manner does Yama, the ruling power, with the consent of the Fathers, the clan, now grant to this (Sacrificer) a settlement on this earth.
5. With a pala sa branch he sweeps; for the Paläsa tree is the Brahman': it is by the Brahman he thus sweeps away those already settled ;-with a prayer (he does so), for the prayer is the Brahman : it is by the Brahman he thus sweeps away those already settled. He throws it (the branch) out towards the north
6. He then scatters saline soil (over the hearthsite); for the Garhapatya is this world, and salt means cattle: he thus bestows cattle on this world, - hence those cattle here in this world.
7. And again why he scatters saline soil. Praga pati created creatures; he created them with different kinds of amnions : they did not agree together. He desired, “May they agree together!' He made them to be of the same (kind of) amnion : hence even to this day, being of equal amnions, they agree together. And he who offers, offers thinking, 'May I be (born) with the same (kind of) amnion as the gods!' and when he scatters saline salt (in the hearthsite) he thereby becomes of equal amnion with the gods.
1 For the identification of the Paläsa with the Brahman (sacred writ, or the holy spirit embodied therein), see part i, p. 90, note 1.
• 'He throws it upwards, Delbrück, Synt. F. V, 79.
:
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8. He does so, with Vâg. S. XII, 46] 'Concord thou art!' for thereby they agreed together? ;-'ful. filment of desire;' for salt is cattle, and fulfilment of desire means cattle ;—'In me may there be the fulfilment of thy desire!' that is, ' May there be on me cattle for thee!'—He covers with it the whole (circular) Gârhapatya; for the Gârhapatya altar is the womb, and the saline soil is the amnion: he thus covers the whole womb with the amnion.
9. He then scatters sand to keep (the saline soil, or amnion) from being scorched ? ;-for sand is nothing else than the ashes of Agni Vaisvânara, and him, Agni Vaisvânara, he is indeed about to build up; and Agni does not scorch his own self.
10. And again why he scatters sand, -sand is nothing else than the seed of Agni Vaisvânara , and him, Agni Vaisvânara, he is about to build up; but nothing is fashioned from out of the seedless : ‘May he (Agni) be fashioned from out of this seed !' so he thinks.
11. [He scatters it, with Vag. S. XII, 46] 'Agni's ashes thou art! Agni's soil thou art!' for Agni's ashes are useless, and the sand is not useless : he thus makes it (the Gårhapatya hearth) to be useful. He covers with it the whole Gârhapatya; for the
Sâyana, on Taitt. S. IV, 2, 4, takes samgrânam' in the sense of knowledge, recognition;' explaining it from the fact that cattle by their smell recognise the places of saline soil and lick them.
* Or, to keep (the fire) from burning over (or through the sand, and injuring the saline soil or amnion). For the construction, see p. 198, note 2.
This notion is apparently based on the supposed etymological connection of sikata,' sand, with the rootsik.'
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Gårhapatya altar is the womb, and the sand is seed: he thus fills the whole womb with seed.
12. He then encloses it with enclosing-stones; for the enclosing-stones are the womb: he thus encloses the seed here cast in the womb; and hence the seed which is cast is enclosed in the womb.
13. And, again, why he encloses it with enclosingstones ;-the Gårhapatya hearth is this (terrestrial) world, and the enclosing-stones are the waters: he thus surrounds this world with water,-it is with the ocean that he thus surrounds it on all sides, and hence the ocean flows round this world on all sides. (He puts up the stones) by turning to the right (or south), whence the ocean flows round this world (from the east) southwards ;-by means of a dug out (hole, or moat), whence the ocean flows round this world in a moat.
14. [Vâg. S. XII, 46] 'Ranging ye are!' for he does range them ;-'ranging around ye are!' for he does range them all round;-' upwards ranging get ye fixed !' thus he says, placing them upright: hence the ocean surges upwards; but were he to place them sideways, the ocean surely would all at once overflow all this (earth). He does not settle them, for unsettled are the waters ; nor does he pronounce the Sadadohas (verse) on them 8.
That is, from east to south, &c., following the course of the sun.
s? That is, by digging in each stone, the circle consisting of altogether twenty-one stones.
• The two ceremonies here referred to, viz. the "sådana' (settling, setting, steadying, viz. by means of the formula, XII, 53, with the help of that deity lie thou steady, like Angiras,' see VII, 1, 1, 30) and the muttering of the Sadadohas verse (Vág. S. XII, 55, for which
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15. For the enclosing-stones are the bones, and the Sûdadohas is the breath; and there is no breath in the bones. With one and the same formula he lays down many bricks', for of one and the same form are the waters; and as to there being many enclosing-stones, it is because there are many waters.
16. The enclosing-stones, then, are the womb; the saline earth is the amnion, and the sand is the seed. The enclosing-stones are outside, and the saline earth is inside; for the womb is outside, and the amnion inside. The saline earth is outside, and the sand inside; for the amnion is outside, and the seed inside. He who is born is born from these: it is from them that he thus causes him (Agni) to be born.
17. Thereon he now builds it (the hearth): he
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thereby fashions that infused seed; and hence the infused seed is fashioned in the womb.
see note to paragraph 31), are the so-called 'necessary' rites, because they have as a rule to be performed on each (special) brick, when it has been laid down in building up the fire-altar.
1 Viz. the so-called 'lokamprinâ' (or space-filling bricks), for which see p. 153, note.
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18. He puts on (the circular site) four (bricks) running eastwards ? ; two behind running crosswise (from south to north), and two (such) in front. Now the four which he puts on running eastwards are the body; and as to there being four of these, it is because this body (of ours) consists of four parts 2. The two at the back then are the thighs; and the two in front the arms; and where the body is that (includes) the head.
19. Now he here fashions him (Agni) with wings and tail; for whatlike the seed is fashioned in the womb suchlike (offspring) is born : thus inasmuch as he now fashions him with wings and tail, he is born hereafter 8 with wings and tail.
20. While being indeed furnished with wings and tail, people do not see him as one having wings and tail 4: hence one does not see the child in the womb in its proper shape ; but hereafter they (will) see him as one having wings and tail, and hence one sees the child after it is born in its proper shape.
21. Four (bricks) he puts on first, for of him that
1 That is, with the lines by which they are marked running from west to east. Whilst these four bricks are oblong ones, measuring two feet by one, the four placed at the back and in front of them measure each a foot square, as do also those placed in the corners of the square pile, except the south-east corner, where two bricks are to be placed measuring one foot by half a foot each.
* See VI, 1, 1, 3-6.
8 Or 'yonder,' that is, as the great fire-altar, soon to be built, which is ultimately to receive the Âhavanîya fire, taken from the Gårbapatya.
+ While in the form of the Gårhapatya the wings and tail are not represented at all, these appendages form an important part of the great altar of the Âhavaniya fire. In the Gârhapatya hearth, Agni would seem represented rather as a man lying on his back with the head towards the east.
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is being produced it is the body (trunk) that is produced first. Sitting south (of the hearth-site) with his face to the north he puts on first one (brick) of the upper (north) part 1 (of the trunk); and in this manner that Agni of his comes to be built up towards (or for the Sacrificer) himself.
22. (He puts it on, with Vag. S. XII, 47; Rik S. III, 22, 1, &c.] 'This is the Agni wherein Indra taketh the Soma-juice,' for the Garhapatya hearth is this (terrestrial) world, and the Soma-juice is the waters: Indra thus took up the waters in this world;
'into his belly, craving it,'--for the belly is the centre ;—'thousandfold strength, like a swift racer,'--the thousandfold strength, doubtless, is the waters,—thou, having gained, art exalted, O knower of beings!' that is, thou, being built, art built ?, O knower of beings!'
23. [The second brick, with Vâg. S. XII, 48] 'O Agni, what splendour is thine in the heaven,'
-his splendour in the heaven doubtless is the sun ;'on earth,' that on earth is this fire ;-'and that which is in the plants, in the waters, O holy one!' he thereby means the fire that is both in the plants, and in the waters ;—'wherewith thou hast overspread the wide air,'—that is, the wind ;
brilliant is that light, surging, man-viewing;' that is, 'great is that light, surging, man-viewing.'
24. [The third, with Vâg. S. XII, 49] 'O Agni,
1 In laying down the bricks he again follows the course of the sun, that is, he lays down the four large or central ones from north to south, then the two back ones from south to north, and finally the two front ones from north to south.
• ? That is, Thou, being built (as the Gârbapatya), art built (once more as the Ahavaniya).
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thou goest up to the flood of the heaven ;' the flood of that heaven doubtless is the waters (of the atmosphere): to them he goes by his smoke; -'hither callest thou the divine inspirers,'the divine inspirers doubtless are the vital airs, for these inspire all thoughts ;-'the waters approach (thee), they that are beyond the luminous sphere of the sun, and they that are below here;'--the luminous sphere doubtless is that world yonder where that (sun) is burning : he thereby means both the waters which are beyond, and those which are below that (sun).
25. [The fourth one, with Vâg. S. XII, 50] 'The Agnis Purishyas,'—that is, the Agnis favourable to cattle ;—'together with those of the streams (prâvana);' this is a form of starting? (prâyana), for the Gârhapatya is indeed a starting of the fire;'may they, benevolent, accept the sacrifice, the copious, salutary draughts!' that is, 'may they benevolently accept the sacrifice, the copious, innocuous draughts!'
26. He puts them down separately: what different desires there are, those he thereby lays into the self. He 'settles' them once: he thereby makes the self one. He pronounces the Sadadohas 2 verse on them; for the Sudadohas is the vital air : by means of the vital air he thus makes him (Agni) continuous, joins him together.
27. Thereupon going round behind, he sits down on the north side with his face to the south, and puts on first the southern one of the two behind,
1 Viz. inasmuch as prāvana' begins with the preposition ‘pra,' forward, Sây. . See p. 307, note 2.
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with (Vâg. S. XII, 51), 'Potent nourishment, O Agni, the possession of kine,'-nourishment means cattle : he thus invokes for him the blessing of cattle ;-'Grant thou perpetually unto him that calleth!'-he that calls doubtless is the Sacrificer ;– May there be to us a son, the perpetuator of the race,'a son means offspring ;-let that, О Agni, be thy good-will unto us!' he therewith invokes a blessing.
28. Then the northern one, with (Vâg. S. XII, 52; Rik S. III, 29, 10), “This is thy natural womb, whence born thou shonest forth,'--that is, 'this (householder's hearth) is thy primeval, perennial womb (birth-place), whence born thou wert enkindled; '-'knowing it, ascend, O Agni, and increase our substance!' as the text, so its meaning.
29. These two are his (Agni's) thighs,--separately he puts them on, separately he 'settles' them, separately he pronounces the Sadadohas verse upon them, for separate are these two thighs. There are two of them, for there are two thighs. Behind he puts them on, for behind are those thighs. At their upper ends they are joined (to the central ones "), for so are these thighs joined (to the body) at their upper ends.
30. Thereupon, going round again by the same way, he sits down on the south side, with his face to the north, and puts on first the northern one of the two (bricks) in front, with (Vâg. S. XII, 53),
They are joined to each other, according to Sâyana, but this can hardly be the meaning intended, as the stones lie close to each other also at the lower (western) end.
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VII KANDA, I ADHYÂYA, I BRÂHMANA, 32. 307
Ranging thou art: by that deity, Angiraslike, lie thou steady 1!' Then the southern one, with, 'Ranging round thou art: by that deity, Angiras-like, lie thou steady1!'
31. These two are his (Agni's) arms, separately he puts them on, separately he 'settles' them, separately he pronounces the Sûdadohas 2 verse on them; for separate are these two arms. There are two of them, for there are two arms. He puts them on in the forepart, for these arms are here in front. At their upper ends they are joined (to the central ones), for so are these two arms joined (to the body) at the upper ends. Those two (arms) he puts on thus (from north to south), and those two (thighs) thus (from south to north): that is (from east to) southward, for thus it is with the gods *.
32. Eight bricks he puts on (the hearth-site),— the Gâyatri consists of eight syllables, and Agni is Gâyatra as great as Agni is, as great as is his measure, so great he thus builds him. Five times he 'settles' (the bricks)—the fire-altar consists of five layers; five seasons are a year, and Agni is the year as great as Agni is, as great as is his measure,
"
1 This common portion of the two formulas forms the so-called 'settling' (or 'setting') formula (sâdana); Kâty. Sr. XVI, 7, 14; cf. VI, 1, 2, 28, and p. 301, note 3. Angiras-like' apparently means, 'as (thou didst) in the case of, or with, Angiras.'
2 Vâg. S. XII, 55; Rik S. VIII, 69, 3. At his birth the welllike milking, speckled ones mix the Soma (draught), the clans of the gods in the three spheres of the heavens.' This difficult verse has been differently translated by different translators. The Brahmana itself also gives a very different, doubtless quite fanciful, interpretation of it at VIII, 7, 3, 21.
That is, in accordance with the course of the sun. Or, 'thus (it goes,—or, Agni, as a bird, flies) to the gods.' 5 See VI, I, I, 15.
X 2
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*
-
SATAPATHA-BRAHMANA.
308
so great he thus builds him. Eight bricks he 'settles' five times, that makes thirteen,-thirteen months are a year, and there are thirteen layers of earth in the fire-altar: as great as Agni is, as great as is his measure, so great does this become.
33. He then puts on a space-filling one: the significance of that one (will be explained) further on1. Three there are in front 2,-threefold is Agni : as great as Agni is, as great as is his measure, so great he thus builds him;-and ten those that follow-the significance of these (will be explained) further on. Or first two, then ten, and then one, for in this way they build up the pile, these amount to thirteen: the significance of this has been told.
34. Both these kinds (of bricks) amount to twentyone; there are twelve months, five seasons, these three worlds, and yonder sun as the twenty-first: that sun he thus establishes in this fire-altar.
35. Moreover, there are twenty-one enclosingstones, twelve months, five seasons, these three worlds, and that Agni from yonder (sun) as the twenty-first this Agni he thus establishes in yonder sun. And inasmuch as he puts on those (bricks) in this way, he thereby establishes those two (the sun and the fire) in each other, and (accordingly) those two are established in each other; for both of them he now makes out to be the twenty-first, and both
1 VIII, 7, 2, I seq.
2 Viz. one in the north-east, and two (of half the size) in the south-east corner.
Viz. one in the south-west, and one in the north-west corner; and further, eight more filling up the four segments of the circle. See the outline of the Gârhapatya altar at p. 302.
4
Or, perhaps that Agni on yonder sky (or fire-altar?). In any case it is the sun that is referred to."
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VII KÂNDA, I ADHYAYA, I BRÂHMANA, 37. 309 of them are then here !, as the Ahavaniya and the Gârhapatya.
36. He, then throws thereon a layer of earth,—the significance of this (will be told) further on 2. He takes it from the edge of the pit (Kátvála); for the Katvala is the same as Agni 3, and in this way does that which is of Agni's nature become his. It (the Garhapatya altar) should be even with the mouth (of the fire-pan) : the significance of this has been told 4.
37. It (the Gârhapatya hearth) measures a fathom (in diameter'), for man is a fathom high, and man is Pragâpati (the lord of generation), and Pragâpati is Agni: he thus makes the womb of equal size to his (Agni's) body. It is circular, for the womb is circular; and moreover the Gârhapatya is this (terrestrial) world, and this world doubtless is circular.
? That is to say, they will be here after the completion of the two altars,—the Gârhapatya fire being the Agni proper, and the Âhavanîya fire the sun. .
For this, and the formula (Våg. S. XII, 56) used therewith, see VIII, 7, 3, I seq.
8 See part ii, p. 116, note 3, "The earth taken from the pit being used for constructing the high altar, both are of the same size or cubic extent.'
See'VI, 3, 3, 26. o Or rather, it is a circle corresponding in area to a square of one fathom; which gives a diameter somewhat exceeding in length a fathom (that is, the space between the tips of the middle fingers when the arms are extended). The measurement is (at least theoretically) a relative one, being adapted to the Sacrificer's size; but practically the fathom (vyâma, or purusha, man) may be taken to be of about 6 feet, the vyama being equal to 4 aratnis (cubits) of 2 prâdesas (spans of some 18 inches each). This allows for a central square of 4 feet, and about 1 foot (in reality somewhat less) for each of the two bisectors of the segments.
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310
SATAPATHA-BRAHMANA.
38. He then pours those two (fires) together ?, - he thereby establishes concord between them with (Vág. S. XII, 57-60), 'Unite ye two, and get ye on together, loving, radiant, well-disposed, dwelling together for food and drink !—Together have I brought your minds, together your rites, together your thoughts: 0 Agni Purishya, be thou the overlord, and bestow thou food and drink upon our Sacrificer!-O Agni, thou art the Purishya, wealthy, prosperous: having made happy all the regions, seat thee here in thine own seat!-Be ye two unto us of one mind, of one thought, without guile! Injure ye not the sacrifice, nor the lord of the sacrifice, and be ye propitious unto us this day, ye knowers of beings!' He therewith pacifies them for (mutual) safety, so that they shall do no injury to one another.
39. With four (verses) he pours them together, he thereby establishes concord between them by whatever four-footed cattle there are; and cattle being food, it is by means of food that he establishes concord between them.
40. Let him not look at that (pan) while empty : 'I must not look at the empty one!' so he thinks. Were he to look at the empty (pan), it would certainly devour him.
41. He then pours sand into it S, for sand (sikatà) is
"That is, he pours the fire of the pan (ukhyâgni) on the Gârhapatya (hearth).
# Purishya' seems here to have the sense of 'rich, plentiful.' See p. 201, note.
8.Ukha,' the pan, is feminine, and represents the womb from which Agni is born.
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VII KÂNDA, I ADHYAYA, I BRÂHMANA, 44.
311
the seed of Agni Vaisvânara : he thus pours (sic) Agni Vaisvânara as seed into it. It should be even with the brim : the significance of this has been explained.
42. He then unlooses it, to keep it from chafing; for if that which is yoked is not unloosed it is chafed. Now when yoked there, it (the fire-pan) bore this Agni within it as seed, and him it has now brought forth. It now conceives a second time; for the ‘Ukha' is a female, and hence when a female has brought forth the seed the first time, it conceives a second time.
43. [He unlooses it from the netting, with Vâg. S. XII, 61] ‘Even as a mother her son, so hath the Earth borne Agni Purtshya,'—that is, Agni, favourable to cattle ;-' she, the Ukhà, in her own womb;' that is, the Ukhâ has borne Agni in her own womb ;— May Pragâpati, the all-former, release her, in concert with the All-gods, the seasons!' the All-gods doubtless are the seasons : thus Pragàpati, the all-former, releases it, in concert with the All-gods, the seasons. He deposits it north of the fire, at a cubit's distance: the significance of this has been explained 1.
44. He then pours milk into it,-it first receives seed, and now it receives milk; for the fire-pan is a female: hence when a female receives seed, then it receives milk. The sand is below, and the milk above, for the seed is below, and the milk above. He pours it into the middle, so that thereon he may place the human heads.
1 VI, 3, 1, 30.
: See VII, 5, 2, 14.
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1
312
SATAPATHA-BRAHMANA.
SECOND BRAHMANA.
1. Pragâpati produced creatures. Having produced creatures, and run the whole race, he became relaxed'. From him, when relaxed, the vital air went out from within: then his vigour went out of him. That having gone out, he fell down. From him, thus fallen, food flowed forth: it was from that eye on which he lay that his food flowed. And, verily, there was then no firm foundation whatever here.
2. The gods spake, 'Verily, there is no other foundation than this: let us restore even him, our father Pragâpati; he shall be our foundation.'
3. They said unto Agni, 'Verily, there is no foundation other than this: in thee we will restore this our father Pragâpati; he shall be our foundation.'-'What will then be my reward?' said he.
4. They spake, 'This Pragâpati is food: with thee for our mouth we will eat that food, and he (Pragâpati) shall be the food of us, having thee for our mouth.' He said, 'So be it!' Therefore the gods eat food with Agni as their mouth; for to whatsoever deity men offer, it is into Agni that they offer, since it is with Agni for their mouth that the gods thus took in the food.
5. Now the vital air which went out from within him is no other than the wind that blows yonder; and the vigour which went out of him is yonder sun; and the food which flowed from him is all the food which there is within the year.
6. The gods heated him in the fire; and when the
1 Literally, fallen asunder, i. e. broken to pieces, or disjointed ('opened,' Delbrück, Synt. F. V, p. 385).
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VII KÂNDA, I ADHYAYA, 2 BRÂHMANA, 10.
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fire rose over him thus heated, that same vital air which had gone out from within him came back to him, and they put it into him ; and the vigour which had gone out of him they put into him; and the food which had flowed from him they put into him. Having made him up entire and complete, they raised him (so as to stand) upright; and inasmuch as they thus raised him upright he is these worlds.
7. This (terrestrial) world truly is his foundation; and what fire there is in this world that is his (Pragâpati's) downward vital air. And the air is his body, and what wind there is in the air, that is that vital air of his in the body. And the sky is his head; the sun and the moon are his eyes. The eye on which he lay is the moon : whence that one is much closed up, for the food flowed therefrom.
8. Now that same foundation which the gods thus restored is the foundation here even to this day, and will be so even hereafter.
9. And the Pragậpati who became relaxed is this same Agni who is now being built up. And when that fire-pan lies there empty before being heated, it is just like Pragậpati, as he lay there with the vital air and the vigour gone out of him, and the food having flowed out.
10. He heats it on the fire, even as the gods then heated him (Pragâpati). And when the fire rises over it thus heated, then that same vital air which went out from within him comes back to him, and he puts it into him. And when, putting on the gold plate, he wears it, he puts into him that very vigour which had gone out of him. And when he puts on kindling-sticks, he puts into him that very food which had flowed from him.
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11. He puts them on in the evening and morning, for the food both of the day and the night was flowing out. These same (ceremonies) should be (performed) during a whole year, for that Pragâ pati whence those (substances) went out is the year: into that whole (Pragàpati) he thus puts all that (which belongs to him). And in whatever part of this (year) he should therefore not do so, into that part of him (Pragâpati) he would not put that (which belongs therein). 'One must not even be a looker-on at the (building up of a fire) not carried about for a year,' Vâmakakshayana was wont to say, 'lest he should see this our father Pragåpati being torn to pieces ?.' He restores him so as to be whole and complete, and raises him to stand upright, even as the gods then raised him.
12. This (terrestrial) world in truth is his (Pragapati's) Gârhapatya (hearth); and what fire there is in this world that to him is the fire on the Garhapatya. And what space there is between the Åhavaniya and the Gârhapatya, that is the air 3; and that wind in
Or, in whatever part of this (year) from henceforward he should not do so.
* It is very doubtful whether this second clause of the oratio directa is really meant to belong to Vâmakakshầyana's argument, or whether it is the author's own, in which case it has to be taken with what follows. Lest he should ... pieces, he (first) restores him,' &c. That is, he is not to place him (Pragâpati) in an upright position, until he has been completely restored. The particular form of the participle qualifying Pragâpati (vikhidyamâna) might seem to favour the former alternative; see, however, paragraph 23, antayoh samskriyamânayor, after the two ends have been perfected.'
. In this and the following paragraphs the ordinary position of subject and predicate seems often reversed: in the present case one would expect—that air is to him the space between the two fires.
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VII KÂNDA, I ADHYÂYA, 2 BRÂHMANA, 15.
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the air is for him the fire on the Ågnidhriya. The sky is his Ahavaniya (hearth), and those two, the sun and the moon, are the fire on the Âhavaniya. This then is indeed his own self 1.
13. The Åhavanfya truly is his head; and the fire which is on the Åhavaniya is that vital air of his in the head. And as to why it (the Åhavaniya) has wings and tail, it is because that vital air in the head has wings and tail ? ;--the eye is its head, the right ear its right wing, the left ear its left wing, the vital air its central body 5, and the voice is the tail (and) the foundation (the feet): inasmuch as the vital airs subsist by eating food with speech (voice)', the voice is the tail, the foundation.
14. And what space there is between the Ahavaniya and Gârhapatya, that is the body (trunk); and the fire on the Agnidhriya is to him that vital air inside the body. The Gårhapatya is his foundation; and the fire on the Garhapatya is his downward vital air.
15. Now some build it (the Garhapatya) in three layers, saying, 'There are here three downward vital airs. Let him not do so : they who do so do what is excessive,-one amounting to twenty-one, one amounting to the Anushtubh, and one amounting to the Brihati; for this (altar) is of one single form-a
1 Viz. the sacrificial ground thus becomes identical with the universe, i. e. with Pragâpati.
. That is, it is (like) a bird. The word 'prâna' might almost be rendered here by the living being.'
3 In the text this is reversed, the head is the eye, the right wing the right ear, the left wing the left ear, the central body the vital air, which can scarcely be the construction intended by the author.
* Or, with the mouth. In VIII, 5, 4, 1; X, 5, 2, 15, 'vâk' is identified with the tongue.
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womb. And as to those downward vital airs, they are indeed a bringing forth, for even the urine and faeces he voids are 'brought forth.'
16. Now then the (mystic) correspondence,twenty-one bricks, nine formulas 1, that makes thirty; -and the 'settling' and Sûdadohas verse, that makes thirty-two, the anushubh verse consists of thirtytwo syllables: this is an anushubh 2.
SATAPATHA-BRAHMANA.
17. And, again, there are twenty-one enclosingstones; the formula the twenty-second; the formula for the sweeping, the saline earth and its formula, the sand and its formula, the 'filling' (soil) and its formula; with four (formulas) he pours (the two fires) together; with a fifth he unties (the pan); then this (Nirriti) with three,—the anushubh verse consists of thirty-two syllables: this then is an anushtubh.
18. Then there are these two formulas, and they are indeed an anushtubh-the Anushubh is speech: thus what twofold form of speech there is, the divine and the human, loud and low, that is those two.
19. The Gârhapatya pile thus is those three
1 Viz. XII, 47-54 (XII, 53, consisting of two formulas). That is to say, these thirty-two items form, as it were, an Anush/ubh verse consisting of thirty-two syllables.
See VII, 2, I, I seq.
I do not see what other formulas can be intended here except those addressed to the enclosing stones, concluding with the 'sâdana,' or 'settling' formula, viz. Vâg. S. XII, 53; see above, VII, 1, 1, 30; though these do not exactly yield thirty-two syllables, but thirty-four (see, however, paragraph 22). Our available MSS. of the commentary are unfortunately defective at this place. On the artificial manipulation of making up imaginary metres by the mere number of syllables, irrespective of their real prosodic value, see Professor Weber, Ind. Stud., VIII, p. 23 seq.
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VII KÂNDA, I ADHYÂYA, 2 BRAHMANA, 21. 317
anushubh verses. And as to why they make up three anush/ubhs in this (Gârhapatya), it is because all these (three) worlds then come to be (contained) therein. From it they take one of the two (first) anushtubhs of thirty-two syllables (to be) the Âhavaniya,—that Âhavantya is that sky, that head (of Pragâpati). Then one of the two (anushtubhs) is left here (to be) this Gârhapatya, this foundation, this very (terrestrial) world.
20. And as to those two formulas, they are that space between the Âhavaniya and the Gârhapatya, that air (-world), that body (of Pragâpati). And because there are two of them (making up one anush/ubh), therefore that space (and hearth) between the Åhavaniya and the Gârhapatya (viz. the Agntdhriya hearth1) is smaller; and therefore the airworld is the smallest of these worlds.
21. That same Anushtubh, speech, is threefold. That fire, taking the form of the vital air, goes along with it (speech),-the fire which is on the Ahavaniya (altar) is the out-breathing, and yonder sun; and the fire which is on the Agnidhriya is the throughbreathing, and the wind which blows yonder; and the fire which is on the Gârhapatya is the in-breathing, and what fire there is here in this (earth-) world. And verily he who knows this makes up for himself the whole Vâk (speech), the whole vital air, the whole body (of Pragâpati).
1 Or, the Dhishnya hearths (see paragraph 23), which are more properly situated between the Gârhapatya and the Ahavanîya fireplaces. See the plan of the sacrificial ground in part ii; where, however, the Âhavanîya of the Prâkînavamsa (hall), or the so-called sâlâdvârya (hall-door fire), would represent the Gârhapatya for the Ahavaniya of the Mahâvedi.
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318
SATAPATHA-BRAHMANA.
22. Then that Brihati (metre),—the two (verses) of thirty-two syllables : that makes thirty-two; then those two formulas : that makes thirty-four ; Agni the thirty-fifth ;-a metre does not vanish by a syllable (too much or too little), neither by one nor by two ? ;-moreover, that (Agni) consists of two syllables: that makes thirty-six. The Brihati consists of thirty-six syllables,-it is the Brihati that that (Ahavaniya) pile thus amounts to; for whatlike the seed which is infused into the womb, suchlike (offspring) is born therefrom : thus in that he makes up that Brihati (metre) in this (Garhapatya hearth), thereby that (Ahavaniya) fire-altar amounts to the Brihati.
23. As to this they say, 'As the Gârhapatya is this (terrestrial) world, the Dhishnya hearths the air, and the Ahavaniya the sky, and the air-world is not separated from this (earth-) world, why then, after building the Gârhapatya, does he build the Ahavaniya, and (only) then the Dhishnyas ?' Well, at first these two worlds (heaven and earth) were together; and when they parted asunder, the space which was between (antar) them became that air (antariksha); for fksha : ' indeed it was theretofore, and 'Now this "iksha" has come between (antara),' they said, whence 'antariksha' (air). And as to why, after building the Gârhapatya, he builds the Ahavaniya, it is because these two worlds were created first. Then, going back, he throws up the Dhishnya hearths, just to prevent discontinuity of
1 The same latitude in the computation of the number of syllables constituting a metre is conceded, Ait. Br. I, 6.
? That is, 'visible,' or, capable of being seen through.'
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VII KÂNDA, 2 ADHYAYA, I BRÂHMANA, 5.
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the sacred work; and thus indeed the middle is completed, after the two ends have been completed.
THE ALTAR OF NIRRITI. SECOND ADHYÂYA. First BRÂHMANA. 1. They now take the Nirriti (bricks) from there. For, having built the Gârhapatya, the gods then ascended it,—the Gârhapatya being this (earth-) world, it is this world they ascended after completing it. They saw nothing but darkness not to be seen through.
2. They said, “Think ye upon this, how we may dispel that darkness, evil!' They said, Meditate ye (ketay)!'—whereby indeed they said, 'Seek ye to build an altar (kitim)!'—'Seek ye so that we may dispel that darkness, evil!'
3. Whilst meditating, they saw those Nirriti bricks; they piled them up, and by them dispelled that darkness, evil; for Nirriti (corruption, or destruction) is evil; and inasmuch as by them they dispelled Nirriti, evil, these are Nirriti's (bricks).
4. Now that same thing which the gods did, is done here: even now that darkness, that evil, has indeed been dispelled by the gods themselves; but when he now does this, it is because he thinks, 'I must do what the gods did.' And, besides, he removes, by means of these (bricks), whatever evil, whatever corruption there is; and because he removes by them evil, corruption (nirriti), therefore these are Nirriti's (bricks).
5. And, again, why they take these (bricks) of Nirriti ;—when the gods restored the relaxed Pragapati, they cast him as seed into the fire-pan, the
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womb; the fire-pan being indeed a womb. In the course of a year they prepared for him this foundation, even this (terrestrial) world; the Gârhapatya (hearth) being this world: therein they generated him. And whatever evil there was in him, whatever mucus, whatever inner and outer membrane, that they removed from him by means of these (bricks); and inasmuch as thereby they removed his evil, his corruption, these are Nirriti's (bricks).
6. In like manner the Sacrificer now casts his own self?, as seed, into the fire-pan, the womb; the fire-pan being indeed a womb. In the course of a year he prepares for that (self of his) this foundation, even this (terrestrial) world; the Gârhapatya being this world: therein he generates it. And whatever evil there is of it, whatever mucus, whatever inner and outer membrane, that he removes therefrom by these (bricks); and inasmuch as he thereby removes its evil, its corruption, these are Nirriti's (bricks).
7. They measure a foot (square): he thus treads evil, corruption, under foot. They are unmarked ; for whatever is not, that is unmarked (by characteristics): he thus makes evil, corruption to be non-existent. They get baked by (rice) husks, for husks belong to Nirriti : by Nirriti's own (objects) he thus performs Nirriti's rite. They are black, for black was that darkness; and black in truth is Nirriti (corruption).
8. With them they proceed towards that (southwestern) quarter, for that is Nirriti's quarter: he thus places Nirriti (corruption) in Nirriti's quarter.
? Or (Pragậpati's), Agni's self, or body.
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VII KÂNDA, 2 ADHYÂYA, I BRÂHMANA, 10.
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And anywhere where there is a self-produced hollow 1 or cleft in the ground, he lays down those (bricks) ; for on whatever part of this (earth) there is a cleaving, or in whatever part of it plants are not produced, verily that part of it Nirriti seizes upon : he thus places corruption in a (part) of the earth set aside for Nirriti. Having put them in their places in a direction away from himself ?, he lays them down 3.
9. [He lays them down, with Vâg. S. XII, 62–64) 'Seek thou him that offereth not Soma, nor other offering!' him who neither presses Soma nor makes offering Nirriti indeed visits ;-'Of the thief do thou follow the way, of the robber!' that is, 'follow the way both of the thief and the robber, and even as a thief or a robber remains concealed, so do thou remain concealed !'-'Seek thou some one other than us: this is thy way;' that is, 'seek him who is ignorant of this (sacred work); '-'Homage be to thee, O divine Nirriti!' he thus turns Nirriti aside by rendering homage to her.
10. 'Homage be unto thee full well, O sharpedged Nirriti!' for Nirriti is indeed sharp-edged: to her he thereby renders homage ;-'loose thou
1 Or probably, a barren spot, see p. 43, note 2.
? That is, whilst himself remaining north of the place, and facing the south, he puts them down in the direction from north to south.
s That is, he performs the formal ceremony of 'laying down (upadhâna)' whilst muttering the respective verses. In the present case the 'laying down' of the bricks is to be performed by him whilst muttering the formulas, but without touching the bricks themselves. The direction that the bricks are to be deposited in a direction 'away from him' perhaps refers to the 'laying down' instead of to the actual placing them.
[41]
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SATAPATHA-BRAHMANA.'
this iron bond!' for it is indeed with an iron bond that Nirriti binds him whom she binds; being of one mind with Yama and Yami,'— Yama doubtless is Agni, and Yami is this (earth), and by these two everything here is kept in check: thus, being of one mind with those two,'-'raise him unto the highest firmament!'the firmament is the heavenly world: thus, 'raise the Sacrificer up to the heavenly world!'
11. 'Thee, O awful (goddess), into whose mouth I offer—' Nirriti is indeed awful, and into her mouth he now offers when he performs this divine rite ;' for the unloosing of these bonds;' that is, of those bonds with which he has been bound ;-'Thee whom people rejoice in calling Earth,'—the Earth is this (world), and he who exists, exists thereon,-'but I know thee to be Nirriti everywhere!' that is, in every respect I know that thou art Nirriti. Now Nirriti is this earth, and this earth makes him decay who becomes corrupted : in speaking thus, it is as if he were to say, 'Thou art So and So, the son of So and So, I know thee, do not injure me!' for in no wise does he who is known injure one when spoken to.
12. He does not touch (the bricks),- Nirriti being evil,—lest he put himself in contact with evil. He does not 'settle' them,-settlement being a firm footing—lest he give a firm footing to evil. He does not pronounce the Sadadohas verse upon them, - the Sadadohas being the vital air,—lest he should join Nirriti (corruption) together, and restore her.
13. Now some lay (the bricks) down from the farther end towards themselves, -Nirriti (corruption) being evil, - lest they themselves should go the way
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to corruption. Let him not do so, but let him lay them down in the direction away from him: he thus drives evil, corruption, away from him.
14. Three bricks he lays down-threefold is Agni: as great as Agni is, as great as is his measure, by so much he thus repels evil, corruption.
15. The seat, the netting, the sling of the gold plate, and the two pads he throws down on the farther side (of the bricks),--the sling - is sacred to Nirriti: from Nirriti's sling he is thus freed. [He throws them down, with Vâg. S. XII, 65] 'The indissoluble bond which the divine Nirriti hath fastened upon thy neck,'—indissoluble indeed for him who does not know this ;—'that (bond) of thine I unloose, as from the middle of Ayus,'—Âyus ? doubtless is Agni, and his middle (body) is that Gârhapatya which has been built ;not yet built is the Åhavaniya: hence whether a youth builds the altar, or an old man, he says 'as from the middle of Ayus; '--'now, being urged forward, eat thou this nourishment!' nourishment means food : thus, 'now, set free, eat thou this food.' With Trishtubh verses (he performs this rite), for the Trishtubh is a thunderbolt: it is thus with a thunderbolt that he repels evil, corruption.
16. There are three bricks, the seat, the netting, the sling of the gold plate, and the two pads; that makes eight ;—the Gayatri consists of eight syllables,
According to Sâyana the sling of the gold plate is here singled out, because the other objects have necessarily been damaged by the hot fire-pan and are consequently thrown away as a matter of course.
I See III, 4, 1, 22. In the formula "âyus' may rather have to be taken in the sense of life,' or vital power.' Mahîdhara takes 'na' in the sense of now (samprati),' instead of as.'
Y 2
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and Agni is Gâyatra: as great as Agni is, as great as is his measure, by so much he thus repels evil, corruption.
17. On the space between (the Sacrificer and the bricks) he pours out a jarful of water,-water is a thunderbolt with a thunderbolt he thus separates from himself evil, corruption. With 'Homage to (the goddess of) Prosperity who hath done this!' they rise, for it was with a view to prosperity that the gods at first performed this rite, and to that (goddess) they then rendered homage; and for prosperity indeed this (Sacrificer) now performs this rite, and to that (goddess) he now renders homage. They go back (to the sacrificial ground) without looking back they thus abandon evil, corruption, even without looking back to it.
18. Having returned, he stands worshipping by the fire; for when he goes into that (south-western) direction whilst Agni is only half built up, he does what is improper: he now makes amends to him to prevent his doing any harm.
19. And again, why he stands by (the fire). The Gârhapatya (hearth) is this (terrestrial) world; for the Garhapatya is a foundation, and the foundation doubtless is this (earth). Now when he goes into that direction, he goes where there is no path; and when he stands by (the fire), he thereby returns to this (earth), the foundation, and establishes himself upon this foundation.
20. [He worships, with Vâg. S. XII, 66] 'The harbourer and gatherer of riches,' for a harbourer this world indeed is, a gatherer of riches;'all form he watches over with his favours,'that is, 'all forms (of being) he watches over with
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his favours; '-'like the god Savitri, like Indra, he of true covenant stood at the meeting of ways';' as the text, so its meaning.
PREPARATION OF THE SITE OF THE GREAT
(ÂHAVANIYA) ALTAR.
SECOND BRÂHMANA. 1. He then prepares the Prâyaniya ? (opening sacrifice). With the Havishkrit of that (oblation) he releases (the Sacrificer's) speech . Having released his speech, he throws away the grass-bush (stambayagus *). Having thrown away the grassbush, and drawn the first line of enclosure, and the lines (across the mahâ-vedi), he says, 'Throw thrice!'. and the Agnidhra throws thrice (the wooden sword) 6.'
2. Having returned (to the offering, or hall-door 1 Mahîdhara takes 'samare pathînâm' in the sense of in the battle of (i. e. with) the waylayers (paripanthibhih saha).'
. See part ii, p. 47 seq.
• Viz. by calling out three times “Havishkrit, come hither, whereby the Adhvaryu summons one of the priests, or maidservants, to assist in preparing the material for offering. See part i, p. 27 seq.
• Part i, p. 55 seq. o Part i, p. 59 seq.
• See part i, p. 55. It must, however, be borne in mind that the passage here referred to relates to the construction of the Vedi of an ordinary ishti, whilst in the present instance we have to do with a Mahâvedi, as prescribed for Soma-sacrifices (cf. part ii, p. III seq., where, however, only a few distinctive points are adverted to). The plan of the Mahâvedi, given at the end of part ii, shows at the eastern end a square mound, the so-called uttara-vedi, or higher, upper altar, on which the Ahavanîya, or offering, fire is maintained. On a similar earth mound, but raised in the centre of the square site (see VII, 3, 1, 27), the Agnikayana requires the erection of the large brick fire-altar, the preparation of the site of which is explained from the next paragraph.
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fire) he proceeds with the opening sacrifice. Having performed the opening sacrifice, he yokes a plough. For the gods at that time, being about to heal him (Agni-Pragâpati), first supplied him with food, and in like manner does this (Sacrificer) now that he is about to heal him, first supply him with food. It (the food) is the plough (sira), for 'sfra' is the same as 'sera ? :' he thus puts food into him.
3. It is made of udumbara (ficus glomerata) wood, -the Udumbara tree being sustenance, lifesap: he thus supplies him with sustenance, with life-sap. The cordage of the plough consists of muñga grass, triply twisted: the significance of this has been explained.
4. Standing behind the right (southern) hip of Agni (the site of the fire-altar) he (the Pratiprasthầtri) addresses it (the plough) while being yoked (by the Adhvaryu) in front of the left(northern) shoulder, with (Vag. S. XII, 67, 68; Rik S. X, 101, 4, 3), “The skilful yoke the ploughs, and stretch across the yokes,'—the skilful are those who know, and they do yoke the plough and stretch the yokes across ;-'the wise, with mind devoted to the gods,'-devotion means sacrifice: thus, 'the wise, performing sacrifice to the gods.'
5. 'Yoke ye the ploughs, and stretch across the yokes!'—they indeed yoke the plough, and stretch the yokes across ;-'into the ready womb here cast ye the seed!' it is for the seed that that womb, the furrow, is made; and if one casts
1 That is 'sa + irâ,' with draught or food.
Or rather, put (the oxen) to the ploughs. Professor Ludwig takes ' sîrâ' in the sense of straps, traces,'--the skilful fasten the traces.
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(seed) into unploughed (ground), it is just as if one were to shed seed elsewhere than into the womb.
And plentiful yield i be there through our song!'--the song is speech, and yield means food ;'and let the ripe crop go anigh the sickle!' for when food gets ripe, people approach it with the sickle. With two (verses) he yokes, a Gayatri and a Trishtubh one : the significance of this has been explained.
6. He yokes the right (ox) first, then the left one: thus it is (done) with the gods, differently in human (practice). It is a team of six oxen, or one of twelve oxen, or one of twenty-four oxen : it is the year (he obtains) as the consummation.
7. He then ploughs through it,--ploughing means food; and the gods at that time when they were about to heal him (Agni-Pragâpati) first put food into him ; and in like manner does this (Sacrificer) now when he is about to heal him, first put food into him.
8. Only the body (of the altar-site) he ploughs through, not the wings and tail : he thus puts food into the body. And, indeed, the food which is put into the body benefits the body as well as the wings and tail ; but that which is put) into the wings and tail does not benefit either the body or the wings and tail.
9. On the right (south) side of the fire-altar, he ploughs first a furrow eastwards inside the enclosingstones, with (Vậg. S. XII, 69; Rik S. IV, 57, 8), 'Right luckily may the plough-shares plough up the ground, luckily the tillers ply with their 1 Or, concession (Erhörung).
That is, from the right thigh to the right shoulder (south-west to south-east).
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oxen!'-—'luckily-luckily,' he says, 'for what is successful that is lucky :' he thus makes it (the furrow)
successful.
10. Then on the hindpart (he ploughs a furrow) northwards !, with (Vág. S. XII, 70), With sweet ghee let the furrow be saturated,'-as the text so its meaning ;-'approved of by the All-gods, by the Maruts!' for both the All-gods and the Maruts have power over the rain ;-'sapful, and teeming with milk,'—milk means life-sap: thus, 'teeming with life-sap and food;'— with milk, O furrow, turn thou unto us!' that is, 'with life-sap, O furrow, turn thou unto us!'
11. Then on the left (north) side (he ploughs a furrow) eastwards?, with (Våg. S. XII, 71), 'The share-shod plough,'--that is, 'the plough abounding in wealth,'—'propitious, offering prospect for the Soma-cupt'--for Soma is food ;-'it throweth up the cow, the sheep, the lusty wife, the swift
1 That is, from the right thigh to the left thigh (south-west to north-west). Whilst the first furrow was ploughed from the south west to the south-east corner, the present and two following furrows are ploughed 'sunwise' from south-west to north-west, north-west to north-east, and north-east to south-east respectively. We are not told in what manner the plough is to be got back from the southeast to the south-west corner after the ploughing of the first furrow, whether it is to be carried there, or to be pulled back outside the enclosed square.
• That is, from the left thigh to the left shoulder (north-west to north-east).
• Or, the metal-shod. The author's reason for interpreting pavîravat' by 'rayimat' is not clear.
• According to the St. Petersburg dictionary, 'somapitsaru' is probably a corrupt form, like the various readings somasatsaru' (Ath. S. III, 17, 3) and sumatitsaru' (Taitt. S. IV, 2, 5,6='moving up and down,' Sayana). Cf. Vasishtha Dharmasastra (Bühler's translation, Sacred Books of the East, vol. xiv, p. 13), where soma
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wheeled waggon,' for all this the furrow throws up (yields).
12. Then on the forepart (he ploughs a furrow) southwards !, with (Våg. S. XII, 72), 'Milk out, O cow of plenty, their desire to Mitra, and to Varuna, to Indra, to the Asvins, to Pashan, to creatures and plants!' husbandry is (beneficial) to all deities: thus, ‘Milk out for these deities all their desires!'-He first ploughs thus (south-west to southeast), then thus (south-west to north-west), then thus (north-west to north-east), then thus (north-east to south-east): that is (sunwise), for thus it is with the
gods ?
13. Four furrows he ploughs with prayer : he thereby puts into him (Pragâ pati-Agni) what food there is in the four quarters; and that with prayer, true is the prayer, and true (manifest) are those quarters.
pitsaru' is explained in the text as meaning 'provided with a handle (tsaru) for the Soma-drinker' (somapi). Also Indische Studien, XVII, p. 259, where Professor Weber proposes to divide the word
somasatsaru' into soma(n);' with thongs, and sa-tsaru,' with handle. If somapi-tsaru' really represent the constituent elements,
tsaru,'handle, may indeed be intended as having special reference to the handle of the Soma-cup (kamasa); though 'somapi' could only be taken in the sense of Soma-drinker,' and not in that of *Soma-cup,' optionally suggested by Mahîdhara.
That is, from the left to the right shoulder (north-east to southeast).
? Or, perhaps, thus it goes to the gods; this tends godward. Whilst the last three furrows are indeed ploughed 'sunwise' (east to south, &c.), the first furrow was ploughed in the opposite direction (south-west to south-east). The reason for this is that the whole performance is to take place in an easterly direction, so as to tend towards the gods. Were he to start at the south-east corner, and then plough right round, he would be moving away from the gods, who are supposed to reside in the east.
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14. He then ploughs (again) through the body: he thereby puts into him what food there is in the year. Silently (he does so), for what is silent is undetermined, and the undetermined is everything: by means of everything he thus puts food into him. He first ploughs thus (through the middle from south to north), then thus (south-west to north-east), then thus (east to west), then thus (north-west to south-east), -that is sunwise', for thus it is with the gods.
15. Three furrows he ploughs each time,-threefold is Agni: as great as Agni is, as great as is his measure, with so much he thus puts food into him.
16. Twelve furrows he ploughs silently, the year (consists of) twelve months, and the year is Agni as great as Agni is, as great as is his measure, by so much he thus puts food into him.
17. Both kinds (of furrows) amount to sixteen,— of sixteen parts Pragâpati consists, and Pragâpati is Agni: he thus puts into him food proportionate to his body. And, indeed, the food which is proportionate to the body, satisfies, and does no harm; but that which is too much, does harm, and that which is too little, does not satisfy.
1 Here, again, the sunwise motion of the plough only applies to the three last furrows (or sets of furrows), which always move from left to right,-south-west to north-east, east to west, northwest to south-east. The first set of furrows-drawn from south to north, or along the cross-spine' (as distinguished from the real, or easterly spine running from west to east)-are apparently drawn in this way, in order to avoid the southerly direction, as that would imply speedy death to the Sacrificer,-his going to the Fathers, or deceased ancestors, who are supposed to reside in the south. In drawing the furrows in the way they do, the priests not only avoid that region, but at the very outset move away from it, and thereby assure long life to the Sacrificer.
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18. And, again, why he ploughs through him,the gods being about to put him (Pragâpati) together, thereby in the first place put the vital airs into him; and in like manner does this (Sacrificer), being about to put him together, thereby in the first place put the vital airs into him. They (the furrows) are lines, for these vital airs (move) in lines (channels).
19. Four furrows he ploughs with prayer : he thereby puts into him those four well-defined vital airs which are in the head; and this (he does) with prayer,-true is the prayer, and true (manifest, real) are these vital airs in the head.
20. And as to why he ploughs through the body: he thereby puts into him those vital airs which are inside the body. Silently (he does so), for who knows how many vital airs there are inside the body?
21. Having gained the object for which he yokes those (oxen), he now unyokes them, with (Vậg. S. XII, 73), Be ye unyoked, ye inviolable (oxen)!' for inviolable 1 they indeed are with the gods ;-Ye godward-striding !' for with them he performs the divine work;—'We have come to the end of this gloom;'-gloom doubtless means famine : thus,
we have come to the end of this famine; '-'we have attained the light!' for he who attains the gods, the sacrifice, indeed attains the light. He then lets them loose towards north-east—the significance of this has been explained 2. He gives them to the Adhvaryu, for it is he that does the work with them : let him assign them (to him) at the time of (the presentation of) the Dakshinas.
See part ii, p. 216, note 2, where 'aghnyâ' was used of cows. . See VI, 4, 4, 22. The plough is put aside on the utkara (heap of rubbish).
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.
SATAPATHA-BRAHMANA.
THIRD BRÂHMANA. 1. He then places a bunch of darbha (kusa) grass (poa cynosuroides) on (the middle of the altar-site); for the gods then placed plants thereon, and in like manner does the Sacrificer now place plants thereon.
2. And, again, why he places a bunch of grass thereon ;—when he (Agni) is built up, he is born, and he is born here for all (kinds of) food; but these darbha plants (contain) both kinds of food, for they are both water and plants. Now the waters which, loathing Vritra, rose up on the dry land forming bushes, became those grasses", --inasmuch as they rose forming bushes (dribh), they are (called) darbhagrasses. These darbha-grasses, then, are the water (which remained) pure, and meet for sacrifice, when Vritra flowed towards it; and inasmuch as they are darbha-grasses, they are plants : by both kinds of food he thus gratifies him (Agni).
3. [He places it] at the meeting of the furrows, for the meeting of furrows is speech (the mouth) ?, and the furrows (channels) are the vital airs; and this is their place of meeting; and in the mouth food is put for the vital airs. In the middle (he places the bunch), whereby he puts it into the very
1 The author here alludes to the legend given at I, 1, 3, 4-5,– Vritra lay enveloping all that space which extends between heaven and earth, and because he lay enveloping (vri) all that, he is called Vritra. Him Indra slew. Being slain, he flowed stinking in all directions towards the water; for in every direction lies the ocean. Now some of the water loathed him, it rose higher and higher and flowed over : hence (sprang) these kusa grasses,-they are indeed the water which was not putrified; but with the other water some (matter) has indeed become mixed when the putrid Vritra flowed into it.
* See p. 200, note 3.
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middle of him ; silently (he does so), for what is silent is undefined, and the undefined is everything : with everything he thus puts food into him.
4. He then offers thereon, when he (Agni) is built, he is born, and he is born here for all (kinds of) food; but that ghee is the life-sap (essence) of this universe, for it is the life-sap of both the waters and plants : he thus gratifies him by the life-sap of this universe. And as far as the life-sap extends, so far extends the body: he thus gratifies him by this universe. With (ghee) taken in five (ladlings, he offers),—the fire-altar consists of five layers, five seasons are a year, and the year is Agni : as great as Agni is, as great as is his measure, with so much food he thus gratifies him.
5. And, again, why he offers thereon ;-when in the beginning the Rishis, the vital airs', put together this Agni, they gained for themselves that fore-share? in him : hence they are the fore-sharers. Thus when he offers on (the grass-bush) he thereby gratifies those Rishis, the vital airs, who gained for themselves the fore-share in him (Agni). With fivefold-taken ghee (he offers) : the significance of this has been explained.
6. And, again, why he offers thereon ;-whatever forms, whatever modes of chanting, whatever prishtha (stotras), whatever metres he is now going to bestow on Agni, for them he prepares this foreshare, and it is them he thereby gratifies. With
* See VI, 1, 1, 1.
* Literally, a share in front, in the first place, i.e. a preferential share, or fore-taste. Being accented separately, 'purastât' here, however, forms no compound with 'bhaga;' though it does in purastadbhaga,' fore-sharer. Cf. Taitt. S. V, 6, 4, 2.
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fivefold-taken ghee (he offers): the significance of this has been explained.
7. And, again, why he offers thereon ;-at that time the gods were afraid, thinking, 'Long indeed is this performance: we hope the Rakshas, the fiends, will not smite here this (Agni) of ours!' They saw this preliminary conclusion of this performance, and brought that whole (Agni) to completion even at that (point), and built him up then ; and in like manner this (Sacrificer) brings that whole (Agni) to completion even at this (point), and builds him now.
8. (Vâg. S. XII, 74] 'The year, this is a layer (of bricks) ;-'together with the dark halfmonths, this is a layer of earth ;-'the Dawn,' this is a layer (of bricks);—'together with the ruddy (cows),' this is a layer of earth;-'the two Asvins,' this is a layer (of bricks); 'together with their wonderful deeds,' this is a layer of earth ;'the Sun,' this is a layer (of bricks) ;-'together with the dappled horse,' this is a layer of earth;
(Agni) Vaisvânara,' this is a layer (of bricks) ;'together with Ida,' this is a layer of earth ;'with ghee,' this is a layer (of bricks) ;-'Sva-,' this is a layer of earth;-'hâ!' this is a layer of bricks).
9. There are thirteen utterings,—thirteen months are a year; thirteen in number are the layers of bricks and earth of the fire-altar: as great as Agni is, as great as is his measure, so great he thus builds him up. With butter he sacrifices,—butter is the
· Literally, a conclusion previously, or at the beginning of the performance.
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same as Agni : it is Agni he thus builds up. With fivefold-taken (butter he offers),—the altar consists of five layers,-five seasons are a year, and the year is Agni : as great as Agni is, as great as is his measure, so great he thus builds him up. He offers raising (the spoon) upwards: he thus builds Agni upwards by means of the layers (of the altar).
Fourth BRÂHMANA. 1. He then pours out jarfuls of water,-for the gods then said, “Meditate ye (ketay)!' whereby they doubtless meant to say, 'Seek ye a layer (kitim)!' Whilst meditating they saw the rain to be a (suitable) layer, and put it on that (altar-site); and in like manner does this (Sacrificer) now put it thereon.
2. Jarfuls of water are (poured out); for rain is water : it is rain he thereby bestows on it. With an udumbara jar (he pours them on): the significance of this has been told ;—with a four-cornered one ;-four quarters there are : from all quarters he thus bestows rain thereon.
3. Three jarfuls he pours out each time!,-threefold is Agni: as great as Agni is, as great as is his measure, with so much he thus bestows rain thereon.
4. Twelve jarfuls of water he pours on the ploughed ground, -twelve months are a year, and the year is Agni : as great as Agni is, as great as is his measure, by so much he thus bestows rain thereon.
On every four of the sixteen furrows, in the order in which they have been ploughed, he is to empty three jarfuls of water, making altogether twelve jars of water.
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5. On the ploughed ground he pours (water), whence it rains for the benefit of) the ploughed land. Now were he only to pour it on the ploughed ground, and not on the unploughed, it would only rain for the ploughed land, not for the unploughed. And were he only to pour it on the unploughed ground, and not on the ploughed, it would only rain for the unploughed land, and not for the ploughed. He pours it both on the ploughed, and the unploughed, ground; whence it rains both for the ploughed, and the unploughed, ground.
6. Three (jarfuls)1 he pours both on the ploughed, and on the unploughed, ground;-threefold is Agni : as great as Agni is, as great as is his measure, with so much he thus bestows rain thereon.
7. And, again, why he pours out jarfuls of water ; -at that time the gods, being about to put him (Agni-Pragàpati) together, in the first place put water into him ; and in like manner does this one now, being about to put him together, in the first place put water into him.
8. Three jarfuls he pours out each time,-threefold is Agni: as large as Agni is, as large as is his measure, by so much he thus puts water into him.
9. Twelve jarfuls he pours on the ploughed ground,--twelve months are a year, and the year is Agni: as great as Agni is, as great as is his measure, by so much he thus puts water into him.
10. On the ploughed ground he pours it: he thereby puts water into the vital airs. But were he to pour (water) only on the ploughed ground, and
These are additional three jarfuls poured over the whole Agnikshetra, or site of the altar.
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not on the unploughed, there would be water only in the channels of) the vital airs, and not in the other (parts of the) body. And were he to pour (water) only on the unploughed ground, and not on the ploughed, there would be water only in (the other parts of the body, and not in the vital airs. He pours it both on the ploughed, and the unploughed, ground, whence there is water here both in (the channels of) the vital airs and in the body.
11. Three (jarfuls) he pours both on the ploughed, and on the unploughed, ground ;-threefold is Agni: as great as Agni is, as great as is his measure, with so much he thus puts water into him.
12. Fifteen jarfuls of water he pours out,-fifteenfold is the thunderbolt: by that fifteenfold thunderbolt of his he thus drives away all evil.
13. He then sows all (kinds of) herb (-seed) ;-for the gods then said, 'Meditate ye!' whereby doubtless they meant to say, 'Seek ye a layer!' whilst meditating, they saw food to be a (suitable) layer, and put that on (or, into) him (Agni); and in like manner does this one now put it into him.
14. It is (seed) of all herbs,-all herbs means all food; he thus puts all (kinds of) food into him. Let him omit one of those kinds of food, and not eat thereof as long as he lives. By means of the udumbara jar (he sows the seed): the significance of this has been explained ;-with a four-cornered one, there are four quarters : from all quarters he thus puts food into him (Agni). He sows it with anushtubh (verses),—the Anushtubh (metre) is speech, and by means of speech (the mouth ") food is eaten.
* See p. 200, note 3.
[41]
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15. With three verses he sows each time!,-threefold is Agni : as great as Agni is, as great as is his measure, with so much he thus puts food into him.
16. With twelve verses he sows on the ploughed ground,—twelve months are a year, and the year is Agni : as great as Agni is, as great as is his measure, with so much he thus puts food into him.
17. On the ploughed ground he sows, whence food ripens on ploughed ground. Were he to sow only on the ploughed ground, and not on the unploughed, food would only ripen on ploughed ground, not on unploughed; and were he to sow only on unploughed ground, and not on ploughed ground, food would only ripen on unploughed ground, and not on ploughed ground. He sows on both the ploughed, and the unploughed, ground: hence food ripens both on ploughed, and on unploughed, ground.
18. With three (verses) he sows both on the ploughed, and on the unploughed, ground, -threefold is Agni: as great as Agni is, as great as is his measure, by so much he thus puts food into him.
19. And, again, why he sows all (kinds of) herb (-seed), -the gods at that time, being about to put him (Agni-Pragâpati) together, in the first place healed him by healing medicine; and in like manner does this one now, being about to put him together, first heal him with healing medicine.
20. It is (seed) of all herbs ;-all herbs is the
1 The sowing of the seed is done after the manner of the watering of the site, viz. so as to finish the sowing of every four furrows with the completion of the muttering of three verses (Våg. S. XII, 75-86); whereupon the remaining seed is scattered over the whole site with additional three verses (87-89).
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same as all (kinds of) medicine: by all (kinds of) healing medicine he thus heals him.
21. With three verses he sows each time,-threefold is Agni: as great as Agni is, as great as is his measure, with so much he thus heals him.
22. With twelve verses he sows on the ploughed ground,-twelve months are a year, and the year is Agni as great as Agni is, as great as is his measure, with so much he thus heals him.
23. On the ploughed ground he sows: he thereby heals the vital airs. And were he to sow only on the ploughed ground, and not on the unploughed, he would only heal the vital airs, and not the other (parts of the) body; and were he to sow only on the unploughed, and not on the ploughed, ground, he would only heal the body, and not the vital airs: he sows both on the ploughed, and on the unploughed, ground; and thus he heals both the vital airs and the body.
24. With three (verses) he sows both on the ploughed, and on the unploughed, ground,—threefold is Agni: as great as Agni is, as great as is his measure, with so much he thus heals him.
25. Fifteen jarfuls of water he pours out, and with fifteen verses he sows,-that makes thirty,the Virág (metre) consists of thirty syllables, and the Virag (the far-shining, or far-ruling) is the whole food: the whole food he thus puts into him.
26. [He sows, with Vâg. S. XII, 75 seq.; Rik S. X, 97] The herbs first grown three ages before the gods','-the gods doubtless are the seasons,
1 Thus the St. Petersburg dictionary; while Professor Ludwig construes 'triyugam purâ' together, the herbs first come from
Z 2
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and from them those (herbs) used to grow thrice, in spring, in the rainy season, and in the autumn ;
of the brown ones will I ponder,'--the brown one, doubtless, is Soma, and the herbs are related to Soma, and the Purusha (Pragâpati) is related to herbs ? ;-'the hundred powers,'-inasmuch as he here lives a hundred (years), and has a hundred merits, and a hundred energies, there are in him those hundred powers ;-'and seven,' he thereby speaks of those seven vital airs in the head.
27. 'Yours, O Mother, are a hundred powers, and yours a thousand growths,'-inasmuch as (the plants) here are shooting out a hundredfold, and a thousandfold ;-'Ye of a hundred virtues, render ye free from sickness this one of mine!' that is, him whom I am now healing.
28. These (verses) 2 have one and the same ex
the gods before the three ages;'—but is there any other example of 'purâ' with the accusative? The author of the Brâhmana, on the other hand, takes 'triyugam pura' as adverbs independent of each other, -'formerly at three periods.'
1 Or, consists of herbs.
* That is, the two verses just explained, as well as the remaining thirteen verses (Vag. S. XII, 77 seq.; Rik S. X, 97, 3 seq.), viz. :
3. Rejoice ye at the plants, the full-budded, abounding in shoots : like victorious mares, the herbs are eager to win (or, to save).
4. As plants, o divine mothers, I call upon you: horse, and cow, and raiment would I win, and thine own self, O Purusha!
5. On the Asvattha tree is your abode, on the Parna dwelling is made for you: possessed of cattle shall ye be, when ye save the Purusha.
6. Wherein the herbs have met together, even as the nobles in the assembly, that priest is called physician, demon-killer, painremover.
7. The (herb) rich in horses, the one rich in Soma, the
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planation with regard to this (Agni-Pragâ pati),how he may heal him, and preserve him. They are anushtubh verses,—the Anushtubh is speech, and speech is all healing medicine : by means of all healing medicine he thus heals him.
29. Now, then, regarding the defined and the undefined (ceremonies) ;—with prayer he yokes two oxen, silently the others; with prayer he ploughs four furrows, silently the others; silently he puts on the grass-bush, with prayer he makes a libation thereon; silently he pours out the jarfuls of water, with prayer he sows.
30. This Agni is Pragâpati, and Pragâpati is both the defined and the undefined, the limited and the
strengthening, most powerful,--all herbs have I found for healthfulness to him (the Purusha).
8. Forth rush the energies of the plants, like kine from the stable, eager to win wealth, eager to win wealth, O Purusha!
9. Strength-giving (ishkriti) is the name of your mother, hence ye are healing powers (nishkriti): winged furrows ye are; what ye make sick, ye heal.
10. All obstacles have they overcome, even as the thief the cowpen; the herbs have expelled whatever defect of the body there was.
11. When, to give strength, I take these herbs in my hand, the self of Yakshman (consumption) perishes, as from the clutches of the living (? i.e. from death, Ludw.).
12. Whose every limb, whose every joint ye, O herbs, flow through, from him ye chase away (the demon) Yakshman,-mighty (he is) and, as it were, abiding in the core.
13. Fly forth, O Yakshman; together with the garrulous jay; vanish with the gliding of the wind, with the whirlwind (?)!
14. May one of you help the other, may ye lend help to one another! Of one mind, help ye forward this word of mine!
15. Those bearing fruit, and those without fruit, the flowerless and the flowering, urged forward by Brihaspati, may they preserve us from trouble !
The Vâg. S. also gives the remaining verses of the hymn, which are not, however, required on the present occasion.
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unlimited. Now whatever he does with prayer thereby he restores that form of his which is defined, limited; and whatever he does silently, thereby he restores that form of his which is undefined, unlimited,—verily, whosoever, knowing this, performs thus, restores this whole and complete Pragâpati. The outer forms are defined, and the inner ones are undefined ; and Agni is the same as an animal : hence the outer forms of the animal are defined, and the inner ones undefined.
THIRD Adhyâya. First BRÂHMANA. 1. Built is the Gârhapatya, unbuilt the Åhavanfya ; he then buys the king (Soma): the Gârhapatya being this (terrestrial) world, the Åhavaniya the sky, and Soma he that blows yonder, he thus places him (Vậyu, the wind) between these two worlds; and hence be blows between these two worlds.
2. And as to why he buys the king when the Gârhapatya is built, and the Ahavaniya unbuilt, — Agni is the body, and Soma the vital air: he thus places the vital air in the middle of the body, and hence that vital air is in the middle of the body.
3. And, again, why he buys the king when the Gârhapatya is built, and the Åhavaniya unbuilt, - Agni is the body, and Soma is the life-sap: he thus supplies the body with life-sap, and hence this body (of ours) is supplied with life-sap from end to end.
4. Having bought the king, and driven him about, he then takes out the material for the guest-neal. With the Havishkrit of that (ceremony) he releases speech. And in this way he interlinks the per
That is, in performing the various rites of the Soma-sacrifice,
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formance of the (Soma) sacrifice and the performance of the fire (altar) for the purpose of unity of performance, thinking, Uniform shall be this performance!'
5. And, again, why he interlinks them,-Agni (the fire-altar) is the body, and the (Soma) sacrifice is the vital air : he thus places the vital air in the midst of the body, and hence that vital air is in the middle of the body.
6. And, again, why he interlinks them,-Agni is the body, and the (Soma) sacrifice is the vital sap : he thus supplies the body with vital sap, and hence this body is supplied with vital sap from end to end. He then returns to the site of the Åhavaniya.
7. Now some sweep with the palâ sa branch on both occasions', saying, 'Surely, on both occasions he builds (an altar). Let him, however, not do so; for by (building) the Gârhapatya he settles, and by the Åhavaniya he rises upwards: therefore let him not do so.
8. And only on the Gârhapatya (site) he throws saline soil, not on the Åhavaniya; for the Gârhapatya is this (terrestrial) world, and saline soil means cattle: he thus bestows cattle on this world, whence there are cattle in this world.
9. And only on the Åhavaniya (site) he places a lotus leaf, not on the Garhapatya ; for the lotus leaf means water, and the Åhavaniya the sky: he thus places the waters (vapours) in the sky. On both he
and at the same time doing all that is necessary for the building of the fire-altar, on which the Soma-offering itself is ultimately to be performed.
1 Viz. in consecrating the site of the Âhavanîya, as well as that of the Gârhapatya altar (see VII, 1, 1, 1).
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SATAPATHA-BRAHMANA. scatters sand; for sand means seed, and in both (fire-altars) fashioning (of Agni) takes place : May he be fashioned from out of that seed !' thus he thinks.
10. He scatters it with two different formulas; for the Gårhapatya is the world of men, and the Ähavaniya is the world of the gods, and different indeed are the divine and the human. With the longer formula he scatters it on the Ahavaniya, and with the shorter one on the Garhapatya, for longer is the life of the gods, and shorter the life of men. On the Gårhapatya he scatters the sand before (the setting up of) the enclosing-stones; for sand is seed : May these be fashioned from out of that seed !' thus he thinks.
11. As to this they say, 'If the enclosing-stones are the womb, and the sand is seed, and the sand is strown on the Gårhapatya before (the setting up of) the enclosing-stones, how, then, is that seed of his not shed aside, (but) is received (by the womb)?' Well, the saline soil is the amnion, and inasmuch as he strews first the saline soil, that seed of his is not shed aside, but is received by that amnion. He now addresses the enclosing-stones on the Ahavaniya : the meaning of this has been explained. He then scatters sand : sand being seed, that seed of his is not shed aside, but is received also by that womb.
12.: And only on the Ahavaniya he strokes it (even) with two (verses) containing (the verb) 'to grow?,' not on the Garhapatya; for the Gârhapatya is this (terrestrial) world, and the Åhavaniya is the heavenly world, and this Sacrificer, being indeed
1 VII, 1, 1, 14.
* See paragraphs 45, 46.
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born in this world, is really intended to be born in the heavenly world: when he strokes (the sand) even on the Ahavaniya with two (verses) containing (the verb) to grow, and not on the Gârhapatya, he causes him to be born in the heavenly world.
13. He now puts clod-bricks thereon",—that firealtar is these worlds, and the clod-bricks are the regions: he thus places the regions into these worlds; whence there are those regions in these worlds.
14. He takes them from outside the (site of the) fire-altar i for those regions which are in these worlds are already possessed by him (Agni); and he now bestows on him those regions which are beyond these worlds.
15. From outside the Vedi (he takes them);—the Vedi being this (earth), and those regions which are on this (earth) being already possessed by him, he now bestows on him those regions which are beyond this (earth).
16. And, again, why he puts clod-bricks thereon, - when Pragậpati was disjointed, his vital sap flowed over all the regions (or, in all directions); and when the gods restored him ? they, by means of these clodbricks, put into him that vital sap; and in like manner does this one now put that vital sap into him.
17. He takes them from outside the site of) the fire-altar ; for the vital sap which is in these worlds is already possessed by him (Agni), and he now puts
1 He places a clod of earth on each end of the two spines,' that is to say, in the middle of each of the four sides of the square constituting the 'body' of the altar-site.
• Or, when they put him together (by building the fire-altar).
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into him that vital sap which flowed away beyond these worlds 1
18. From outside the Vedi (he takes them),—the Vedi being this (earth), and that vital sap which is in this (terrestrial) world being already possessed by him, he now puts into him the vital sap which flowed beyond this (earth).
19. He takes them with the sacrificial (wooden) sword,—the sword is a thunderbolt, and the thunderbolt means force, and this (earth) means wealth : by force he thus obtains wealth.
20. From the front side he brings one, with (Våg. S. XII, 102), “May he not injure me who is the begetter of the Earth!'-the begetter of the Earth doubtless is Pragàpati (the lord of creatures and generation): thus, May Pragâpati not injure me!'_'Or he of true ordinances who hath pervaded the sky,' that is, 'Or he of true ordinances who has created the sky;'_'Or he who first begat the shining waters,'—the shining waters doubtless are the men : thus, 'he who first created men; '-'To the god Ka (who?) let us do homage by offering !' Ka doubtless is Pragâpati, thus, 'To him let us do homage by offering !' Having brought it he puts it on the body (of the altar-site) inside the enclosing-stones : he thereby puts into him (Agni) what vital sap had flowed away from him in the eastern direction, and also the eastern region itself he bestows upon him.
21. Then (he fetches a clod) from the south, with (Vág. S. XII, 103), "Turn hither, O Earth, with
· Viz. when these worlds were plunged into the water, see VI, 1, I, I2.
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sacrifice, with milk!' as the text, so the meaning;
—'Agni, sent forth, hath mounted thy skin;' whatsoever is on this (earth) that is her skin; and that (skin) Agni mounts, when sent forth, when blazing forth. Having brought it he puts it on the body (of the altar) inside the junction of the (right) wing (and the body): he thereby puts into him (Agni) what vital sap had flowed from him in the southern direction, and also the southern region itself he bestows upon him.
22. Then from behind (he fetches one, with Vâg. S. XII, 104), O Agni, what in thee is pure, what brilliant, what clean, what meet for sacrifice,'-Agni doubtless is this (earth): of her he says this ;-'that do we bring to the gods,' that is, * that we bring for this divine work. Having brought it he puts it on the body (of the altar) inside the junction of the tail (and the body): he thereby puts into him what vital sap had flowed away from him in the western direction, and also the western region itself he bestows upon him. Let him not take it exactly from the back (west) lest he should take the vital sap from the path of the sacrifice : he takes it from about there?
23. Then from the north, with (Vậg. S. XII, 105), 'Sap and strength have I taken from here,'that is, 'Sap and strength I take from here ;'-'the womb of sacred law,' the sacred law doubtless is the truth : thus, 'the womb of the truth ;'-'the stream of the mighty,' the mighty (buffalo, or
1 Viz. from some place towards north-west from the middle of the western side of the body of the altar.
: Mahîdbara takes 'âdam'here as the regular imperfect of 'ad,' I ate.
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mahisha) doubtless is Agni, for he, being born here great (mahat), animated everything ;-'May it accrue to me in the cows, in the bodies,'-the body is the self: thus, ‘May it accrue to me both in the cows and in (my own) self;'—' I leave behind decline, weakness, sickness!' therewith he spreads the sand (by stroking): he thereby consigns to that (northern) region whatever decline, weakness, and sickness there is; whence hungry people (live) in that region. Having brought that (clod), he puts it on the body (of the altar) on the middle of the junction of the (left) wing (and the body): he thereby puts into him (Agni) what vital sap flowed away in the northerly direction; and also the northern region itself he bestows upon him.
24. These same (clods) are the regions; he places them on all sides : he thus places the regions on all sides; whence the regions are on every side. [He places the clods so] as to face each other from every side: he thereby places the regions to face each other from every side, and hence the regions face each other from every side. He places them separately, 'settles 1' them separately, and separately pronounces the Sadadohas upon them; for separate from each other are the regions. Standing he places them, for the regions, as it were, stand; and stronger, indeed, one is whilst standing.
25. These same (clods) are bricks having special prayers (yagushmati 2): on the body (of the altar) he places them, not on the wings and tail; for bricks having special prayers are placed on the body, not. on the wings or tail.
See p. 301, note 3.
• See p. 153, note 1.
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26. As to this they say, 'How do these (clodbricks) come to be put on as baked, as heated (burnt) ones?' Well, these (clods) are vital sap, and the vital sap (blood) is naturally-heated; and, moreover, whatever comes in contact with Agni Vaisvânara, even thereby comes to be put on as baked, as heated.
27. He then throws up the Uttara-vedi ? (highaltar),—the Vedi is this (earth), the Uttara-vedi the sky, and the clod-bricks are the regions : thus when he puts on the clod-bricks between the preparation of) the Vedi and (that of) the Uttara-vedi, he thereby places the regions between these two worlds ; whence the regions are between these two worlds. He makes it either a yoke long on each side, or forty feet,—whichever way he pleases. He then throws sand thereon: the meaning of this has been explained.
28. He throws it on the Uttara-vedi ;-the Uttaravedi is the womb : he thus infuses seed into the womb; and the seed which is infused into the womb becomes generative. He covers the whole body (of the altar) with that (sand): he thus puts seed into the whole body ? ; whence the seed is produced from the whole body.
29. (He throws it on the high-altar, with Vâg. S. XII, 106-111; Rik S. X, 140] ‘Thine, O Agni, is glory and vigour,'—his glory (sravas) and vigour doubtless is the smoke, for that announces (srâvaya) him in yonder world, —'mighty shine forth the
See p. 325, note 6. . That is to say, he first throws down sand on the Uttara-vedi, and then covers with it the whole of the body of the altar, so as to make it even with the Uttara-vedi.
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flames, O rich-beamed one!' that is, 'the flames of (thee), the mighty one, shine forth, O thou, abounding in wealth!'-'With might, O wide-rayed one (thou bestowest) strength, worthy of song,' might is power: thus, ' By (thy) power, O wide-rayed (thou givest) food worthy of song;'-'bestowest thou upon the worship, O sage!' worship doubtless is the Sacrificer: thus, 'Upon the worship thou bestowest, O sage!'
one,
30. Pure-flamed, bright-flamed,' for pureflamed and bright-flamed he (Agni) is; 'full-flamed, didst thou burst forth with light,' that is, 'fullflamed shonest thou forth with light;'-'running about as their son thou helpest the two mothers,' for as their son he does help the two mothers; thou fillest both spheres,' the two spheres doubtless are these two, heaven and earth, and these two he indeed fills, with smoke yonder (sky), with rain this (earth).
31. Child of strength, knower of beings, in benedictions,' that is, 'child of strength, knower of beings, in praises,'-' delight thou, kindly in thoughts,' that is, ' shine thou, kindly in thoughts;'
in thee have they brought together multiform nourishments,' that is, 'in thee have they brought together many-formed nourishments; '-' of wondrous help are the fair-born,' as the text, so the meaning.
SATAPATHA-BRAHMANA.
"
32. Ruling, O Agni, spread thou by beings' -the beings are men: thus, 'Shining, O Agni, spread thyself by men!'-'riches amongst us, O immortal!' that is, 'bestowing wealth upon us, O immortal!'-'Of beautiful form, shinest thoufor he indeed shines, of beautiful form;-' thou
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fillest (us with) profitable wisdom;' that is, thou fillest (us with) perennial wisdom.
33. 'Him, the wise arranger of the cult,'— the cult is the sacrifice : thus, 'him, the wise preparer of the sacrifice;'-'ruling over great wealth,' that is, 'ruling in great wealth ;'—'the bestowal of good things-prosperous, mighty (mah) nourishment,'--that is, the bestowal of good things ; prosperous, ample (mahat) nourishment,'— 'givest thou, and profitable substance,' that is, 'givest thou, and perennial substance.'
34. '[Thee,] the righteous,' that is, the truthful;'-'the mighty,' the mighty (or buffalo) doubtless is Agni ;-'the all-remarkable,' for he (Agni) is indeed remarkable to all ;—'(thee), Agni, men have placed foremost for happiness,' happiness doubtless is the sacrifice, and for the sacrifice they indeed place him foremost ;-'thee, the hearer, the far-ruling, divine one, with song the human tribes;' that is, thee who hearest, thee, the farruling god, we men invoke.'
35. Now this hymn of six verses is that same Agni Vaisvânara ; and it is in order to make a beginning in the building of the altar) that that sand is scattered,-he thereby pours into it Agni Vaisvânara as seed ;-(he does so) with a six-versed hymn: six seasons are a year and the year is Vaisvânara (belonging to all men).
36. As to this they say, 'If the seed is said to be seed what is its seed characteristic?'-Let him say, 'white;' for seed is white;-or 'speckled,' for seed is, as it were, speckled.
· The author connects sanasi' with 'sanâtana'(old, perpetual).
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37. As to this they say, 'As seed is moist, and he scatters dry sand, how does it become moist for him, after the manner of seed ?' Well, the metres are vital sap, and vital sap is moist; and inasmuch as he scatters that (sand) with metres, it is thus that it becomes moist for him, after the manner of seed.
38. As to this they say, 'How does it come to be put on for him by means of the day and the night?' Well, day and night are two, and there are two (kinds of) seed, the white and the black : as black and white it is thus put on for him by means of the day and the night.
39. As to this they say, 'How does that (sand), put on by the days and nights, become complete (or perfect) for him, neither deficient, nor superabundant ?' Well, endless are the days and nights, and endless is the sand: it is thus that, put on by the days and nights, it becomes complete for him, neither deficient, nor superabundant. •And wherefrom (is obtained) the oceanic (Samudriya 1) metre?' The ocean is endless, and the sand is endless : that is the oceanic metre.
40. As to this they say, 'How is that (sand) of his put on separately with different prayers ?' Well, prayer is thought; this thought, prayer, comes to be equal to the whole sand”: and thus that (sand) of his comes to be put on separately with different prayers.
41. As to this they say, 'How does that (sand) of his come to be put on by all the metres ?'Inasmuch as he scatters it with that hymn of six verses; for as many syllables as there are in the
1 The exact purport of this term is not clear.
: Sikatah, sand, is plural, consisting as it does of a multiplicity of sand-grains
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seven metres, so many syllables there are in that hymn of six verses': thus that (sand) of his comes to be put on by all the metres.
42. And as to why he scatters sand,—that Agni (fire-altar) is Pragâpati, and Pragâpati is the whole Brahman. Now that sand is (put) in (the place of) the lost part of the Brahman; and that part of it which has not been lost is this fire-altar which is now being built : thus when he scatters sand he restores to him that lost part of the Brahman. That (sand which) he scatters is unnumbered, unlimited; for who knows how great is that lost part of the Brahman? And verily he who, knowing this, scatters sand, restores the whole, complete Pragâpati.
43. As to this they say, 'What is the number of these unnumbered sand grains ?' Let him say, "Two;' for there are two kinds of sand, the white and the black; or let him say, 'Seven hundred and twenty,' for so many days and nights there are in the year; or 'Two hundred and fifty-two,' for so many syllables there are in that hymn of six verses ; or 'Twenty-five,' for seed is twenty-fivefold ?
44. This same (sand represents) bricks with special prayers: he places it on the body (of the altar), not
1 This is a somewhat loose calculation. As a matter of fact, the seven principal metres, viz. Gayatrî (24), Ushnih (28), Anush/ubh (32), Brihati (36), Pankti (40), Trishubh (44), Gagati (48), contain together 252 syllables. The hymn recited in scattering the sand, on the other hand, consists of one Vishtarapankti (40), three Satobrihatîs (3 X 40), the Uparishlâggyotis ( 40), and one Trishtubh (44), or together of 244 syllables. On similar cases of looseness in computing the syllables of metres, see p. 318, note 1.
• Viz. inasmuch as it emanates from the body (paragraph 28), and the body consists of twenty-five parts—the trunk, the four limbs, and twenty fingers and toes. Cf. VI, 2, 1, 23, where, however, the trunk is not taken into account. [41]
A a
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th
on the wings and tail; for bricks with special prayers are placed on the body, not on the wings and tail. He does not 'settle'it, lest he should stop the seed, and generation.
45. He then strokes it (the sand) even by means of two verses containing the verb 'to grow :' he thereby causes that infused seed to grow, whence the seed infused into the womb grows;- with two (verses) relating to Soma (he strokes the sand); for Soma is breath: he thus puts breath into the seed; whence the infused seed becomes possessed of breath. But, indeed, were it to come forth without breath it would become putrid; and this indeed is the Sadadohas? in this case ; for Soma is breath, and the Sadadohas is breath.
46. [Vâg. S. XII, 112, 113; Rik S. I, 91, 16, 18] Grow thou! let manly power gather in thee from all sides, O Soma!' manly power doubtless is seed: thus, 'Grow thou ! let seed gather in thee from every side, O Soma !'—'Be thou in the gathering of strength!' in food doubtless is strength : thus, 'be thou in the gathering of food!'Let the drinks, let the forces gather in thee!' -drink doubtless means vital sap, and in food are forces : thus, 'let vital sap, let food gather itself in thee !'—'and manly powers in thee, the overcomer of enemies;' that is, and seed in thee, the overcomer of evil; '-'growing, O Soma, for the sake of immortality, he thereby lays immortality into the generative power, whence generative power is immortal;—'gain thou the highest glory in the heavens!' his highest glory
See p. 301, note 3.
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in the heavens doubtless is the moon, for that one causes him to be celebrated in yonder world 1. With two (verses) he makes him grow, a gâyatri and a trishtubh one,—the significance of this has been explained.
47. Now then the (mystic) correspondence,-four clod-bricks he puts on; with a six-versed (hymn) he scatters (the sand); with two (verses) he makes (the seed) grow; that makes twelve,-twelve months are a year, and the year is Agni : as great as Agni is, as great as is his measure, so great does this become.
SECOND BRAHMANA. 1. Having smoothed (the sand) down with the two verses containing (the verb) to grow,' and returned (to the hall) he proceeds with the guest offering. Having performed the guest offering, he proceeds with the Pravargya and the U pasada. Having performed the Pravargya and the Upasad, they appease that (first) layer on the (red ox-)skin. And as to why on a skin : for the obtainment of the forms, the skin being outward form ;-on the hairy side: for the obtainment of the forms, hair being outward form ;-on a ruddy (skin): for the obtainment of all forms, all forms (colours being contained) in the ruddy ;-on (the skin) of an ox: for the obtainment of Agni's forms, the ox being the same as Agni; -on (the skin spread) with the neck towards the east, for that (tends) godward.
Sâyana remarks,—The high glory, in the heaven, of Soma growing in the form of a creeper is said to be the moon: in yonder heavenly world that moon indeed, when being drunk (by the gods) in the form (?) of ambrosia, causes bim, Soma, to be celebrated. * See part ii, p. 104.
A a 2
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2. He spreads it in front of the Gârhapatya, on the Vedi, with the hairy side upwards, and the neck towards the east: thereon they appease that layer. Now he sprinkles (the bricks);-when he sprinkles, he thereby makes it pure, sacrificially clean;-with clarified butter (he sprinkles), for that is pure, sacrificially clean; and also with the view of its being unsurpassed1, for no other sacrificial food is sprinkled with ghee;-silently (he sprinkles), for what is (done) silently is undefined, and the undefined is everything: by means of everything he thus makes it pure, and sacrificially clean; and also with the view of its being unsurpassed, for no other sacrificial food is sprinkled silently.
3. And, again, why he sprinkles, this (layer of bricks) is sacrificial food, and as such he bastes it "; for whatever sacrificial food is buttered, and basted, that is palatable and sacrificially clean. With ghee (he bastes it), for sacrificial food is basted with ghee; silently (he does so), for silently sacrificial food is basted;-by means of stalks of Kusa grass, for these are pure, and sacrificially clean;-by means of the tops, for the top is sacred to the gods.
4. As to this they say, 'When he sprinkles only the first layer, how does that whole fire-altar of his come to be sprinkled, how does it come to be led forward on the skin, and how led forward by the horse 3?' Inasmuch as in this (layer) he (symbolically) sprinkles the bricks of all the layers; and
4
Literally, for not surmounting.
2 See part i, p. 192, note 1.
On the leading forward of the fire, and laying it down on the foot-print of a horse, see II, 1, 4, 23 seq.
According to Kâty. XVII, 3, 18-19 some ritualists would seem to put the (yagushmatî) bricks of all the layers on the skin. But
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thus indeed that whole fire-altar of his comes to be sprinkled, and led forward on the skin, and led forward by the horse. They lift up this (first) layer?
5. He (the Adhvaryu) then says (to the Hotri), 'Recite to the fires being led forward !' For at that time when the gods were setting out to spread the sacrifice, the Rakshas, the fiends, sought to smite them, saying, 'Ye shall not sacrifice! ye shall not spread the sacrifice!' Having made those fires, those bricks, to be sharp-edged thunderbolts, they hurled these at them, and laid them low thereby; and having laid them low, they spread that sacrifice in a place free from danger and devilry.
6. Now, what the gods did is done here,-even now those Rakshas are indeed smitten by the gods themselves; and when he nevertheless does this, it is because he thinks, 'I must do what the gods did.' And so, having made those fires, those bricks, to be sharp-edged thunderbolts, he hurls them at whatever Rakshas, whatever evildoers there may be, and lays them low thereby; and having laid them low, he spreads the sacrifice in a place free from danger and devilry.
7. And as to why (he recites) to the fires,-it is because there are here many fires, to wit, those layers; and as to his reciting) to them being led forward (pra-har), it is because he hurls (pra-har) them forward (as thunderbolts).
perhaps this is merely a wrong interpretation of this passage of the Brâhmana; though the three 'naturally-perforated' bricks are probably placed together.
The Adhvaryu's attendants take up the ox-skin with the bricks for the first layer lying on it.
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8. Now some recite (Våg. S. XII, 50), 'The Agnis Purishyas, together with those of the streams, a form of starting1. Let him not do so; let him recite gâyatri verses addressed to Agni, and relating to (objects of) desire: (Vâg. S. XII, 115; Rik S. VIII, 11, 7), 'Hither may Vatsa lead thy mind even from the highest seat, O Agni, with the song desirous of thee!'-(Vâg. S. XII, 116; Rik S. VIII, 43, 18), ' To thee, O Agni, best of Angiras, all good homesteads have laid themselves out for (the obtainment of) their desire.'-(Vâg. S. XII, 117), 'Agni, the one allruler, shineth in the beloved homes, the (object of) desire of all that is and shall be.'
9. Verses addressed to Agni he recites for the obtainment of Agni's forms;—and such as relate to desire, for the obtainment of his desires;-Gâyatri ones, Agni is Gâyatra: as great as Agni is, as great as is his measure, with so much he thus pours him forth as seed;-with three (verses),-Agni is threefold: as great as Agni is, as great as is his measure, with so much he thus pours him forth as seed. These (three), with the (first and last verses) recited thrice, amount to seven,-of seven layers consists the fire-altar, seven seasons are a year, and the year is Agni as great as Agni is, as great as is his measure, so great does this become. He recites in a low voice, for here in the sacrifice seed is (cast), and seed is cast silently. He (the Hotri) marches reciting behind (the bricks carried by the attendants); he thus marches, defending the sacrifice by the metres from behind.
1 See VII, 1, 1, 25.
2 See p. 249, note 3.
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10. And in front they lead a white horse. For at that time the gods were afraid lest the Rakshas, the fiends, should smite them here. They saw that thunderbolt, even yonder sun; for that horse is yonder sun: having driven off the Rakshas, the fiends, in front, by that thunderbolt, they obtained well-being in a place free from danger and devilry. They arrive at the (site of) the fire-altar; south of the tail (of the altar) they set down the layer (of bricks); from the north they make the horse step (on the site of the altar).
11. They lead it eastward on the left (north) side of the altar, inside the enclosing-stones, whereby they ward off evil from the eastern region; then southward, whereby they ward off evil from the south; then westward, whereby they ward off evil from the western region; then northward, whereby they ward off evil from the northern region. Having thus warded off the Rakshas, the fiends, from all the regions, he sets it (the horse) free towards northeast: the significance of this has been explained.
12. Whilst it goes westward he makes it smell (kiss) that layer (of bricks);—that horse is yonder sun, and those bricks are the same as all these creatures (on earth) : thus even as he makes (the horse) smell, so yon sun kisses these creatures ?. And hence, by Pragâpati's power, every one now thinks, 'I am!' And as to why he makes it smell while going westward, it is because, whilst going (from east) to west, that (sun) kisses all these creatures.
According to Sâyana, it is by his rays (identified with the vital airs of living beings) that the sun kisses (or puts himself in contact with) the creatures (and animates them); so that every one feels that he is 'labdhâtmaka,' or has obtained a self, or life and being.
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13. And, again, why he makes it smell ;—that horse is yonder sun, and those naturally-perforated (bricks) are these worlds ; and even as he makes it smell, so yonder sun strings these worlds to himself on a thread?. And as to that thread, the significance of that (will be explained) further on.
14. And, again, why he makes it smell ;-Agni went away from the gods; he entered the water. The gods said to Pragâpati, 'Go thou in search of him: to thee, his own father, he will reveal himself.' He became a white horse, and went in search of him. He found him on a lotus leaf, having crept forth from the water. He eyed him, and he (Agni) scorched him : hence the white horse has, as it were, a scorched mouth”, and indeed is apt to become weak-eyed. He (Agni) thought he had hit and hurt him, and said to him, 'I grant thee a boon!'
15. He (Pragâpati) said, "Whoever shall seek thee in that form (of a white horse), shall find thee!' And, accordingly, he who seeks him (Agni) in that form, finds him; and having found him, he then builds him up.
16. It should be a white (horse), for that is a form of him (the sun) who burns yonder. If he cannot obtain a white one, one that is not white might do; but a horse it should be. If he cannot obtain a horse, even an ox might do, for the ox is of Agni's nature, and Agni is the repeller of all evils.
That is, he passes a thread through them (as through pearls), fastened to himself. Regarding this Thread, or spiritual bond, holding together all sentient existences of the universe, see XIV, 6, 7, 7 seq.
* That is, according to Sâyana, a reddish mouth.
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17. Now, then, as to the mounting (of the altar). Now some mount it from the front (east) towards the back, or from the back towards the front: let him not do so; for that Agni (the fire-altar) is an animal; and if one mounts an animal (ox) from the front towards the back, it strikes him with its horns ; and if he mounts it from the back towards the front, it does so with its feet. Let him mount it only by the middle bodys; for the animal which people mount by the (middle) body, carries them forward, and does not hurt them. From the left (north) side (he should mount it), for any animal which people mount they mount from the left side. By mounting the (body of the) altar from the left side, and performing the work connected with the Uttara-vedi, he takes hold of Agni in the (middle) body (or, into himself); and having taken Agni into his own self, he sings the 'true hymn.' He puts a lotus-leaf on (the altar): thereof further on.
18. Now that horse they lead about when evening is closing in ; for at that time the gods were afraid lest the Rakshas, the fiends, should there smite that (Agni, or altar) of theirs. They made that thunderbolt, to wit, yonder sun, his protector, for that horse is yonder sun; and in like manner does this one now make that thunderbolt his (Agni's) protector.
19. He leads it about towards the setting of the sun; for he (the sun is manifestly his protector by day; and the Rakshas are the associates of the
That is, as to the way in which the priests and sacrificer are to step on the body of the altar-site, when coming from outside.
. That is to say, from sideways as in getting on the saddle of a horse.
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night : for the night he thus makes that thunderbolt his protector. He leads it about on every side : on every side he thus makes that thunderbolt his protector. Thrice he leads it about: he thus makes that thunderbolt his (Agni's) threefold protector. He then lets it loose towards north-west: the purport of this has been explained. It afterwards returns (to the sacrificial ground): the purport of this (will be explained) further on.
THE BUILDING OF THE ALTAR.
THE FIRST LAYER.
Fourth ADHYÂYA. First BRAHMANA. 1. Being about to build Agni (the fire-altar), he takes him up into his own self; for from out of his own self he causes him to be born, and wherefrom one is born, suchlike he becomes. Now were he to build up Agni without taking him up into his own. self, he would beget man from man, mortal from mortal, one not freed from sin from one not freed from sin ; but when he builds up Agni after taking him up into his own self, he causes Agni to be born from Agni, the immortal from the immortal, the sinless from the sinless.
2. He takes him in (by muttering, Vâg. S. XIII, 1), Within me I first take Agni,' he thereby first takes Agni into his own self;—' for increase of wealth, for healthy progeny, for vigorous manhood!' and hereby he takes all blessings to himself;—'and may the deities stand by me!' and hereby he takes all the gods to himself; and thus he takes into his own self all that he is about to generate from his own self. Having taken Agni
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into his own self whilst standing, he builds him up sitting ;-Agni is an animal : hence the animal, having received the fætus standing, gives birth after lying down.
3. He now sings the Satya Saman' (true hymn). For the gods then said, 'Let us make the truth (satya) his mouth (or beginning): thus we shall become the truth, truth will turn unto us, and true will become that wish of ours for which we are about to perform this rite!'
4. They sang that 'true hymn' at the outset, and thus made the truth his (Agni's) mouth; and they became the truth ; the truth turned unto them, and true became that wish of theirs for which they performed this rite.
5. And in like manner when the Sacrificer now, at the outset, sings the true hymn,' he thereby makes the truth his (Agni's) mouth; and he (himself) becomes the truth; and truth turns unto him; and true becomes that wish of his for which he performs this rite.
6. Now that truth is the same as the waters, for the waters are the truth. Hence they say, Whereby ? the waters flow, that is a form of the truth.' It is the waters indeed that were made first of this universe : hence when the waters (rains) flow, then everything whatsoever exists is produced here.
7. He then puts down a lotus-leaf (in the centre of
Probably Sâma-v. S. I, 99 (Rik S. I, 69, 4), 'O Agni, lord of bovine food, child of strength, grant unto us, O knower of beings, great gloryl' See Weber, Ind. Stud. XII, p. 148, note 2.
'? Or, in that (or because, yena) the waters flow,—that is to say, the flowing of the waters (rain, &c.) is a manifestation of eternal truth.
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the altar-site);—the lotus-leaf is a womb: he hereby puts a womb to it (for Agni to be born from).
8. And, again, why he puts down a lotus-leaf ;the lotus means the waters, and this earth is a leaf thereof : even as the lotus-leaf here lies spread on the water, so this earth lies spread on the waters. Now this same earth is Agni's womb, for Agni (the fire-altar) is this earth, since thereof the whole Agni is built up: it is this earth he thus lays down. He lays it down so as not to be separated from the truth: he thereby establishes this earth on the truth ;
-hence this earth is established on the truth; and hence the truth is this earth, for this earth is the most certain of these worlds.
9. [He lays it down, with Vâg. S. XIII, 2] “The waters' back thou art, the womb of Agni,' for this earth is indeed the back of the waters, and the womb of Agni ;-'around the swelling ocean,' for the ocean indeed swells around this earth ;'growing great on the lotus,' that is, 'growing, flourish thou on the lotus;'-'spread out with the extent, with the breadth, of the sky!' with this he strokes along the leaf),--for this Agni is yonder sun, and no other extent but that of the sky is able to contain him: he thus says (to the leaf), "Having become the sky, contain him!' He lays it down with a Svarâg verse, for self-rule (svârâgya) belongs to the waters. Having settled ' it, he pronounces the Sadadohas? upon it: the significance of this has been explained.
10. He then puts the gold plates thereon. Now
See p. 301, note 3. · Viz, the one the Sacrificer wore round his neck during the initiation period. See VI, 7, 1, 1 seq.
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this gold plate is yonder sun, for he shines over all the creatures here on earth; and 'rokas' (shine) they mystically call 'rukma' (gold plate), for the gods love the mystic: he thus lays down yonder sun (on the altar). It is golden, and round, with one and twenty knobs,-the significance of this has been > explained. He puts it down with the knobs pointing downward; for the knobs are his (the sun's) rays,, and his rays (shine) downwards.
11. He puts it down on the lotus-leaf;-the lotusleaf is a womb in the womb he thus places him (Agni).
12. And, again, why he puts it on the lotus-leaf;— the lotus-leaf is a foundation, for the lotus-leaf is this earth, and this earth is the foundation: he who is not settled on this earth, is unsettled even as one
who is far away. Now by means of his rays that (sun) is settled on this earth: he thus settles him (Agni) on this earth, as his foundation.
13. And, again, why he puts it on the lotus-leaf. When Indra had smitten Vritra, he, thinking that he had not laid him low, entered the waters. He said to them, 'I am afraid: make ye a stronghold for me!' Now what essence of the waters there was that they gathered upwards (on the surface), and made it a stronghold for him; and because they made (kar) a stronghold (pûh) for him, therefore it is 'pûshkara ;' 'pushkara' being what is mystically called 'pushkara' (lotus-leaf), for the gods love the mystic. Now when he puts it (the gold plate) on the lotus-leaf, he then establishes him (Agni) in that essence which the waters gathered together for him (Indra), and in that stronghold which they made for him.
14. [He puts it down, with Vag. S. XIII, 3]
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"The Brahman first born in front;' the Brahman doubtless is yonder sun, and he is born day by day in front in the east) ;-'from the summit' he,. the longing, overspread the shining,' the summit doubtless is the middle, the shining ones are these worlds, and the longing one is yonder sun, - he is the longing one inasmuch as he longed to be born ; and in rising he overspreads ? these (worlds) from the summit, from the middle ;-'he (overspread) the nighest extents of the deep,' his nighest extents of the deep doubtless are the regions, for he (the sun) does extend nigh to them ;-'the womb of the existent and of the non-existent did he overspread !' the womb of the existent and of the non-existent doubtless are these worlds ; for both what exists and what does not exist is born from these worlds. He puts it on with a trishtubh verse, for yonder (sun) is related to the Trishtubh S. Having' settled ' it, he pronounces the Sadadohast verse upon it: the significance of this has been explained.
15. He then lays the (gold) man thereon,-he is Pragâpati, he is Agni, he is the Sacrificer. He is made of gold, for gold is light, and fire is light; gold is immortality, and fire is immortality. It is a man (purusha), for Prągâpati is the Man.
1 Sîmatah' would rather seem to mean 'from the boundary line,' but the author here takes sîman' in the sense of (sîmanta) hair-line, parting of the hair, crown of the head (Scheitel).
: In the Sanskrit participial (or gerundial) construction, the relation between the primary and secondary notions is usually the reverse of ours,—thus 'he rises in overspreading
s It is usually with Indra that the Trishtubh metre is connected see part i, introduction, p. xviii; Sat. Br. IX, 4, 3, 7 (cf. VIII, 5, 1, 10) -the Trish/ubh being also the emblem of the nobility (III, 4, 1, 10).
• See p. 301, note 3.
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16. And, again, why he lays down the man. When Pragàpati was relaxed, his pleasing form went out from within ; when it had gone out of him, the gods left him. When the gods restored him, they put that pleasing form into him, and the gods were pleased with that (form) of his; and inasmuch as the gods were pleased (ram) with that pleasing (ramya) form of his, it is called 'hiramya ;'"hiramya' being what is mystically called 'hiranya' (gold), for the gods love the mystic. And in like manner does this (Sacrificer) now put that pleasing form into him (Agni), and the gods are pleased with that (form) of his. But that pleasing form of his is the vital air : it is that vital air he thus puts into him.
17. He lays him on the gold plate, for the gold plate is yonder sun : that same man who is in that (sun's) disk, it is him he now lays down (on the altar).
18. He lays him down on his back 1 ;-for the gods at that time said, If we lay down these two 2 both looking hitherwards, they will burn up everything here; and if (we lay) both so as to be turned away from here, they will give warmth only in the opposite direction; and if facing each other, then there will be light only between those two, and they will injure each other. They laid down the one so as to look hitherwards, and the other so as to look away from here: that one (the sun), the gold disk, looking downwards, gives warmth by his rays, and
1 Professor Weber, Ind. Stud. XIII, p. 249, takes uttânam' in the sense of standing erect,' with his face towards the east; but this surely must be a mistake.
• Viz. both the gold plate (the sun), which was laid down with the embossed or front side downwards, and the gold man.
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that man (tends) upward by his vital airs?. He lays him down (with the head) towards the east, for (with the head) towards the east this Agni (the firealtar) is built up.
19. [He lays him down, with Vâg. S. XIII, 4 ; Rik S. X, 121, 1] Hiranyagarbha came first into existence,' for that golden child did come first into existence ;—'born he was the one lord of being;' for he indeed was born as the one lord of all this being ;-'he upholdeth this earth and the sky,' for he (the sun) does uphold both the sky and the earth ;-'to the god Ka let us do homage by offering !' Ka (Who ?) is Pragàpati : thus, 'let us do homage to Him by offering !'
20. [Våg. S. XIII, 5; Rik S. X, 17, 11] “The drop leaped along the earth and sky;' the drop is yonder sun, and he leaps both to the sky and to the earth-thus (in rising) to that (sky), and thus (in setting) to this earth);-along this seat, and that which was afore;' that is, to this world, and to that one; or this (Åhavaniya altar) which is now being built, and that (Garhapatya altar) which yonder was built before;—' (the drop) moving along the common seat;' for he (the sun) moves along that common seat;—'the drop I offer along the seven hotrâs;' the drop is yonder sun; and the seven hotrâs are the regions : he thus establishes yonder sun in the regions.
21. With two (verses) he lays him down ;-twofooted is the Sacrificer, and the Sacrificer is Agni : as great as Agni is, as great as is his measure, with so much he thus lays him down ;—with two trishtubh
* CF. VI, 7, 1, 11, where it is said that the immortal part of the vital air of man streams out by upward breathings. Cf.p. 359, n. 1.
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verses, for he (the sun) is related to the Trishtubh. Having 'settled' him, he pronounces the Sadadohas on him: the significance of this has been explained.
22. He then sings a Sâman. For the gods, having laid down that man, then saw him (looking) even suchlike as yonder dry plank.
23. They said, 'Think ye upon this, how we may put vigour into this man!' They said, “Meditate ye (ketay)!' whereby, doubtless, they meant to say, 'Seek ye to build up (kitim ish)! seek ye how we shall put vigour into this man !
24. Whilst meditating, they saw this Sâman; and sang it, and thereby put vigour into him; and in like manner does this (Sacrificer) thereby put it into him: he sings on the man, he puts vigour into the man ;he sings on the bright one , for Agni is all bright things. After he has laid him down, let him not walk round him in front, lest that Agni should injure him.
25. He (the Sacrificer) then stands by (the gold man) worshipping him with the Sarpanama (serpentnamed) formulas. The serpents doubtless are these worlds, for these glide along (sarp) with everything here whatsoever there is; and Agni is no other than the self (body) of all the gods. They, the gods, having laid down (on the altar) that self of theirs, were afraid lest these worlds should glide away with that self of theirs.
26. They saw those Sarpanama and worshipped with them ; by these (verses) they stopped these worlds for him, and caused them to bend themselves; and because they caused them to bend (nam) them
That is, he sings the Kitra-sâman, Sâma-v. I, 169 (Vâg. S. XXVII, 39), 'With what favour will the bright one, the evergrowing friend, be with us; with what mightiest host?' [41]
въ
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selves, therefore (the formulas are called) Sarpanâma. And in like manner does the Sacrificer, when he stands by worshipping with the Sarpanâma formulas, stop these worlds for him, and cause these worlds to bend themselves; and so they do not glide away with that self of his.
27. And, again, why he stands by worshipping with the Sarpanâma formulas;-the serpents are these worlds, for whatever creeps (sarp), creeps in these worlds. Now when he worships with the Sarpanâma formulas-whatever fiend there is in these worlds, whatever devourer, whatever ogress,-all that he thereby appeases.
28. [Vâg. S. XIII, 6-8] 'Homage be to the serpents, whichever are on earth, and they that are in the air, and they that are in the sky, to those serpents be homage!' whatever serpents there are in these three worlds to them he thereby does homage.
29. They that are the darts of demons,' for some (of the serpents), sent by demons, bite;— 'and those on the trees, and those which lie in holes, to those serpents be homage!' he thereby does homage to the serpents that lie both in trees, and in holes.
30. Or those that are in the luminous sphere of the sky; or those in the rays of the sun; those by which abode is made in the waters, to those serpents be homage!' he hereby does homage to them wheresoever they are. He does so by 'homage, homage,' for homage is sacrifice (worship): by sacrifice, by homage, he thus worships them. Let him therefore not say 'homage be to thee,' to one not worthy of sacrifice, for it
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would be just as if he said 'sacrifice (or, worship) be to thee!'
31. With three (formulas) he worships,—three are these worlds, and threefold, also, is Agni: as great as Agni is, as great as is his measure, by so much he thus stops these worlds (from moving); and by so much does he appease everything here. Standing he worships, for these worlds stand, as it were ; and besides, while standing one is stronger.
32. Thereupon, having sat down he offers on (the gold man) with fivefold-taken ghee,—the significance of this has been explained. On each side (of the fire he offers), moving round: he thus gratifies him (Agni) with food from all quarters.
33. And, again, why he offers thereon. The gods, having laid down that body of theirs, now were afraid lest the Rakshas, the fiends, should smite that (body) of theirs. They saw those Rakshas-killing counter-charms 1,—(Vág. S. XIII, 9-13; Rik S. IV,
See p. 53, note 2. In the present instance, the sacrificial formulas themselves constitute these charms. The five verses, only the first pâda of the first of which is given in the text, are as follows:
1. Put forth thy power as (if it were) a broad host (or, net); go forth, like a mighty king with his following, following up the swift host! An archer thou art : pierce the Rakshas with thy fieriest (darts).
2. Swiftly fly thy whirling (darts): fiercely burning attack thou boldly! Unfettered, O Agni, with thy tongue pour forth on all sides winged flames and firebrands.
3. Thou, the most rapid, send forth thy spies: be thou an undaunted protector to this people (from him) who planneth evil against us from afar or from near by; O Agni, let none dare to attack us without thy cognizance.
4. Rise, O Agni, spread thyself out, and burn down the foes, O sbarp-darted: whosoever hath done us injury, burn him down, O faming one, like dry brushwood.
Bb 2
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4, 1-5), 'Put forth thy power, like a broad army!' slayers of Rakshas are the counter-charms: having, by means of these counter-charms, repelled the Rakshas, the fiends, in every quarter, they (the gods) restored that body in a place free from danger and devilry; and in like manner this Sacrificer, having, by means of these counter-charms, repelled the Rakshas, the fiends, in every quarter, now restores that body (of Agni) in a place free from danger and devilry.
34. He offers with ghee; for the ghee is a thunderbolt: by the thunderbolt he thus repels the Rakshas, the fiends ; - with fivefold-taken (ghee), – of five layers consists the fire-altar; five seasons are a year, and the year is Agni: as great as Agni is, as great as is his measure, with so much he thus repels the Rakshas, the fiends ;-with (five) verses addressed to Agni, for the Rakshas-killing light is Agni: by Agni he thus repels the Rakshas, the fiends ;—with trishtubh verses,—the Trishtubh is a thunderbolt : by the thunderbolt he thus repels the Rakshas, the fiends. On each side (he offers) moving round: in every quarter he thus repels the Rakshas, the fiends.
35. Behind the altar (he offers) while seated with his face towards the east; then on the left (north) side (looking) to the south; then in front (looking) to the west; then going round behind, (he offers) on the right (south) side while sitting with his face towards the north. Thus (he moves) to the right, for
5. Stand up, O Agni; strike out for our sake, and manifest thy divine powers I unstring the strong (arrows, or bows) of the goblins : crush the enemies, be they kindred or strangers !
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that (leads) to the gods. Thereupon, going back, (he offers) while sitting behind, with his face towards the east; and in this way that performance of his takes place towards the east'.
36. He then lays down two offering-spoons,-the offering-spoons are arms 2: it is his arms he thus restores to him (Agni). And as to why offeringspoons (are laid down), it is because the arms are offering-spoons, - that bowl and the handle are two, for there are two of these arms. He lays them down at the (left and right) sides, for these arms (of ours) are at the sides.
37. On the right (south) side he lays down one of kârshmarya (gmelina arborea) wood. For at that time the gods were afraid lest the Rakshas, the fiends, should destroy their sacrifice from the south. They saw that Rakshas-killing tree, the Karshmarya: having by that tree repelled the Rakshas, the fiends, on the south, they spread that sacrifice in a place free from danger and devilry. And in like manner the Sacrificer, having by that tree repelled the Rakshas, the fiends, on the south, now spreads that sacrifice in a place free from danger and devilry. It (the spoon) is filled with ghee ;-the ghee is a thunderbolt: it is by the thunderbolt he thus repels the Rakshas, the fiends, on the south.
38. On the left (north) side he then lays down one of udumbara (ficus glomerata) wood; for the Udumbara means strength, life-sap: strength, lifesap he thus puts into him. It is filled with sour
1 The order in which he offers would thus be, - west, north, east, (then going back along the north and west sides) south, west.
• They are indeed of an arm's length, with bowls of the shape and size of the hand, see part i, p. 67, note 2.
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39. And, again, why he lays down two offeringspoons. When Pragapati was relaxed, Agni took his (Pragàpati's) fiery spirit, and carried it off to the south, and there stopped ; and because after carrying (karsh) it off he stopped (ud-ram), therefore the Kårshmarya (sprang up). And Indra took his (Pragapati's) vigour and went away to the north : it became the Udumbara tree.
40. He (Pragàpati) said to those two, 'Come ye to me, and put back into me that (substance) of mine wherewith ye have gone off !'-'Well then, bestow thou all food here on us two!' they said. — Well then, join me, becoming these two arms of mine!'
So be it!' He bestowed all food on them, and they joined him, becoming those two arms of his : hence it is by the arms that food is made, and by means of the arms that it is eaten, for he (Pragapati) bestowed all food on the two arms.
41. The kârshmarya one he lays down on the right side, with (Våg. S. XIII, 13), ‘By Agni's fiery spirit'I settle thee!'—that fiery spirit of his (Pragàpati's) which Agni then took and carried off to the south, he now puts back into him.--'Agni, the head, the summit of the sky, he, the lord of the earth, animates the seeds of the waters,' for Agni indeed is this (spoon). With a Gayatri verse (he performs),-Agni is Gâyatra : as great as Agni is, as great as is his measure, with so much he thus lays down that (spoon). It is filled with ghee, for ghee belongs to Agni : with his own share, with his own life-sap he thus gratifies him.
42. He then lays down the udumbara one on the
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left (north) side, with (Vâg. S. XIII, 14), 'By Indra's vigour I settle thee!' that vigour of his (Pragapati's) which Indra then took and went away to the north, he now puts back into him.-(Vâg. S. XIII, 15; Rik S. X, 8, 6), 'Thou hast become the leader of the sacrifice, and of the sphere to which thou tendest with propitious teams; the light-giving head hast thou lifted to the sky; thy tongue, O Agni, hast thou made the bearer of the offering;'-Indra indeed is this (spoon). And as to its being a verse addressed to Agni, it is because it is the performance of Agni (the fire-altar); and a trishtubh one, because Indra is connected with the Trish/ubh; and Agni includes Indra and Agni: as great as Agni is, as great as is his measure, with so much he thus lays it down. Moreover, all the gods are Indra and Agni, and Agni belongs to all the deities: as great as Agni is, as great as is his measure, with so much he thus lays it down. It is filled with sour curds, for sour curds belong to Indra: with his own share, with his own life-sap he thus gratifies him.
43. Indra and Agni indeed are those two arms of his (Pragâpati's): they join him with fiery spirit and vigour. Where he (the Sacrificer) touches (the ground with his arms), whilst viewing intently the gold man with his breast close to him, there he
1 There seems to be considerable difference of opinion between Kâtyâyana and Sâyana regarding this point of the ceremonial. The gold man lies stretched out on his back with his head towards the east. According to Kâtyâyana, XVII, 4, 10, he (the Sacrificer) is to lie down so as to cover the gold man, but without actually touching him with his breast, and at the extreme end of where the arms touch (the ground) he is to make two marks, where the spoons are then to be laid down with the bowl towards the east. Sâyana,
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(the Adhvaryu) makes a mark and lays down those (spoons); for that is the place of those two (arms).
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44. Now some lay them down sideways (from south to north), saying, 'Sideways run these two arms (of ours).' Let him not do so, but let him lay them with the bowl towards the front (east), for this Agni (altar) is built with the head towards the front; and, besides, in this way the arms are stronger. Separately he lays them down, separately he 'settles' them, and separately he pronounces the Sûdadohas verse on them; for separate are these two arms.
45. As to this they say, 'Let him make no arms to this (gold) man1, lest he should cause him to be redundant; for these two spoons are (in lieu of) his arms.' Let him nevertheless make (him with arms), for those two spoons are (merely) after the manner of the two arms. Moreover, those two (arms of Agni) are wings; and whatever forms, whatever stomas, whatever prishthas, whatever metres he will be applying to that fire-altar, that will be the perfection, that will be the growth of those two: let him therefore make arms to that (gold) man.
on the other hand, explains-'Let the Adhvaryu lay down the two spoons close to the breast of the laid-down gold man. Having beheld (i.e. recognised)-or, whilst beholding (?)—that man, whereever the laid-down pair of spoons reaches his breast there, having made a mark, let him lay down the two spoons: that part of the breast doubtless is the place of those two (spoons, or gods?) extolled as the arms. Perhaps the text of this comment is somewhat corrupt. The ceremony is apparently intended to symbolise the identification of the Sacrificer with the sacrificial man, or the sacrifice itself. The Sacrificer lies down so as to rest on his forearms; the spoons being afterwards laid down on the marks left by the fore-arms (and naturally running in an easterly direction).--For Professor Weber's view, see p. 367, note 1.
1 That is to say, Let it be a gold statuette without arms.
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*
SECUND BRÂHMANA. 1. He puts a Svayam-âtrinnâ (naturally-perfor- ated brick) on (the gold man) ;-the (first) naturallyperforated one being this earth, he thus puts this earth thereon. He puts it on so as not to be separate from the man; for the naturally-perforated one means food, and the naturally-perforated one means this earth, and this earth is food, since it is on her that all food ripens : he thus places food close to him (the man, Agni). Upon (the man he puts it): he thus places the food upon him ?.
2. And, again, why he puts on a naturallyperforated one ;-the naturally-perforated (brick) is the breath (or vital air), for the breath thus bores itself (svayam âtrintte) through the body: it is breath he thus bestows on it. He puts it so as not to be separate from the man; for the naturally-perforated one is the breath, and the naturally-perforated one is this earth, and this earth is the breath, since this earth bears everything that breathes : he thus puts the breath so as not to be separate from him. Upon (the man he places the brick): he thus puts the breath upon him ?
3. And, again, why he puts thereon the naturallyperforated one. The deities, taking up the disjointed Pragâpati, separated; and, having obtained a restingplace in them, thus separated, he settled down.
4. Now that Pragâ pati who became disjointed is this very Agni (fire-altar) that is now being built up; and that resting-place (or, foundation) is this first
? Viz. inasmuch as the food is introduced into the body from above. It might also mean, he makes the food superior to the body, inasmuch as the body cannot exist without it. Similarly as regards the breath in the next paragraph.
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naturally-perforated (brick) ;-thus when he now puts it on, he thereby puts upon this (altar-site) that (foundation) which there was for his body : that is why he now puts it on.
5. He puts it on by means of Pragàpati, for Pragapati thereby took back to himself (that foundation) of his body. [Vâg. S. XIII, 16] 'Steady thou art,' that is, 'Firm thou art, or established thou art;' *supporting,' for that which supports is a founda- - tion; laid down by Visvakarman;' Visvakarman is Pragàpati, thus, 'laid down by that one;'
May the ocean, may the bird not injure thee!' the ocean doubtless is the gold plate, and the bird is the man: thus, ‘May those two not injure thee!'
Not shaking, steady thou the earth l' as the text, so the meaning.
6. [Vag. S. XIII, 17] ‘May Pragâ pati settle thee'--for Pragàpati saw this first layer?;—' on the back of the waters, on the way of the ocean,' the back of the waters doubtless is this earth, and the way of the ocean is this earth ;-'thee, the wide, the broad one!' for this earth is both wide and broad ;-'broaden thou: thou art the broad one!' that is, ' broaden thou, and thou art the broad (earth, prithivi).
7. [Vâg. S. XIII, 18] 'Thou art the earth (bha),' for this is the earth ;—'thou art the ground (bhdmi),' for this is the ground ;-'Thou art Aditi,' -Aditi is this earth, for this earth gives (dad)
1 The pratishtha' (basis) of the bird-shaped Agni includes the parts on which the bird stands or sits, viz. the feet, and the hindpart of the body. Sâyana, on the other hand, takes it to mean the 'pumlinga,' which seems very improbable.
* See VI, 2, 3, 1.
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everything here ;—the all-containing,' for on this earth everything is contained ;-'supporter of all the world,' that is, supporter of the whole world;'sustain the earth, steady the earth, injure not the earth!' that is, sustain thyself, steady thyself, injure not thyself!
8. [Vâg. S. XIII, 19] For all breathing, outbreathing, through-breathing, and up-breathing; for the naturally-perforated (brick) is the breath, and the breath serves for all that;'for a resting-place, for a moving-place;' the naturally-perforated (bricks) are these worlds !, and these worlds are the resting-place, the moving-place;May Agni guard thee'-that is, may Agni protect thee !'with mighty well-being !' that is, with great well-being ;-'with the safest roof,' that is, with whatever roof (abode) is the safest. Having settled' it, he pronounces the Sadadohas s on it: the meaning of this has been explained. He then sings a Saman: the meaning of this (will be explained further on.
9. Here now they say, 'How is it that that (gold) man is not held (weighed) down by the naturallyperforated (brick)*?' Well, the naturally-perforated (brick) is food and breath; and man is not held down either by food or by his breath.
10. He then lays the Darva-bricko thereon ; the Dårvå-brick being cattle ; it is with cattle he
See p. 155, note 8. * That is, by adding the formula, 'By that deity, Angiras-like, lie thou steady!'
• See p. 301, note 3.
• That is to say, How will he (the Sacrificer) be able to rise upwards to heaven, when that brick is lying on him?
• See p. 187, note 3.
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thus endows it: these are the same cattle together with which Agni on that former occasion approached”; it is them he now puts thereon. He lays it down immediately on the naturally-perforated (brick); the naturally-perforated (brick) being this earth, he thus places the cattle immediately on this earth. Upon (the brick he places it): upon this earth he thereby places cattle.
11. And, again, why he lays down the Darvabrick. The hair of Pragapati which were lying on the ground when he was disjointed became these herbs. The vital air then went out from within him, and, that having gone out, he fell down.
12. He said, “Verily, this (vital air) has undone me !' and because he said, 'it has undone (dharv) me,' hence (the name) dhårvå ;' 'dhårvå' doubtless being what is mystically called 'durva,' for the gods love the mystic. That (durvå grass) is the ruling power (Kshatra), for it is this vital sap, the breath; and the other plants are the hair : in laying down that (dûrvå plant) he lays down all (kinds of) plants.
13. When the gods restored him, they put that life-sap, the breath, inside him ; and in like manner does this (Sacrificer) now put it into him. He lays it down immediately on the naturally-perforated (brick); the naturally-perforated one being this earth, v he thus places the plants immediately on this earth. Upon (the brick he lays it): upon this earth he thus places the plants. It should be with root and top, for completeness' sake. Let him lay it on in such manner that while lying on the naturallyperforated (brick) it touches the ground (with its
See VI, 2, 3, 2.
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tops)', for on this earth those (plants) spring up, and along her they grow.
14. He lays it on, with (Vâg. S. XIII, 20-21), 'Growing up joint by joint, knot by knot;' for joint by joint, and knot by knot that (grass) does grow up; 'so do thou prolong us, O Dûrvâ (plant), by a thousand, and a hundred (descendants)!' as the text, so its meaning.
15. Thou that spreadest by a hundred, and branchest out by a thousand (shoots);' for by a hundred (shoots) it spreads, and by a thousand it branches out ;-' to thee, O divine brick, we will do homage by offering;' as the text, so the meaning. With two (verses) he puts it on the meaning of this has been explained. Having 'settled' it, he pronounces the Sûdadohas upon it: the meaning of this has been explained.
16. He then puts down a Dviyagus (brick). Indra and Agni desired, 'May we go to the heavenly world!' They saw that dviyagus brick, even this earth, and laid it down; and having laid it down, they went to the heavenly world from that foundation. In like manner when this Sacrificer lays down a dviyagus (brick), (he does so) thinking, 'I want to go to the heavenly world by the same means (rûpa), by performing the same rite by which Indra and Agni went to the heavenly world!' And as to its being called dviyagus,' it is because two deities saw it. And as to why he lays down a dviyagus one: the dviyagus doubtless is the Sacrificer.
6
1 The root is to lie on the brick from which (as representing the earth) it is supposed to have sprung; the tops then spreading along the ground.
This brick is placed close beside the svayamâtrinnâ (naturallyperforated one) in front (east) of it, on the 'anûka' or spine.
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17. Here now they say, 'If (the dviyagus) is that same Sacrificer who is that gold man, which then is that (real) form of his?' Well, that (gold man) is his divine body, and this (brick) is his human one. As to that gold man, that is his immortal form, his divine form; gold being immortal. And as to this (brick) being made of clay, it is because this is his human form.
18. Now were he only to lay down that (golden man), and not to let this dviyagus (brick) remain 1, the Sacrificer surely would quickly pass away from this world; but now that he allows this (brick) to remain, he thereby leaves to him this human form of his; and so he attains with this body the full (measure of) life.
19. And were he not to put it on after (the gold man), he assuredly would not afterwards find out that divine body; but now that he puts it on thereafter, he does so afterwards find out that divine body. He lays it down close to the dûrvâ-brick: the dûrvâ-brick being cattle, he thus establishes the Sacrificer in (the possession of) cattle.
20. Here now they say, 'How do those two bodies of his come to be connected together by the breath, and not severed?' Well, the naturallyperforated (brick) is the breath, and the dûrvâ-brick is the breath, and the dviyagus (-brick) is the Sacri
The verb 'apa-sish' is taken similarly by Sâyana (avaseshayet); whilst the St. Petersburg dictionary assigns to it the meaning 'to omit, leave out' (weglassen), which can hardly be correct (? misprint for übriglassen). It might, however, possibly be taken in the sense of 'vi-sish,' to specify, to single out.
That is to say, he would not, after quitting his mortal body, know or find out that divine body with which he wishes to invest himself.
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ficer: and inasmuch as he lays down the důrva-brick close to the naturally-perforated one, he thereby connects and joins breath with breath ; and inasmuch as he lays down the dviyagus one close to the dûrvå-brick-the darva-brick being the breath, and the dviyagus the Sacrificer—those two bodies of his (the human one and the divine one) thus become connected together by the breath, and not severed.
21. (He lays down the dviyagus brick, with Vâg. S. XIII, 22, 23] O Agni, what lights of thine in the sun overspread the sky by their beams, with all those help us to light and to people! -0 ye gods, what lights of yours are in the sun, and what lights are in kine and horses, O Indra and Agni, with all those bestow light upon us, O Brihaspati!' for 'light' he prays each time : light being immortality, it is immortality he thus bestows on him (Agni, and the Sacrificer). With two (verses) he lays it down: the significance of this has been explained. And, moreover, it is because that material form (of the brick) is a twofold one, (consisting as it does of) clay and water. Having settled it, he pronounces the Sadadohas upon it: the significance of this has been explained.
22. He then lays down two Retahsik (seed-shedding bricks);—the seed-shedders doubtless are these two worlds, for these two worlds do shed seed ;this (terrestrial world) sheds seed upwards from here in the form of) smoke; it becomes rain in yonder world, and that rain yonder world (sheds) from above: hence (creatures) are born within these two worlds, and therefore these two worlds are seed-shedders.
23. [He lays them down, with Vâg. S. XIII, 24]
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'The wide-ruling one contained the light;' the wide-ruling one1 doubtless is this (terrestrial) world: it contains this fire, the light.-'The self-ruling one contained the light,' the self-ruling1 one doubtless is yonder world: it contains yonder sun, the light. And the wide-ruling one and the self-ruling one being these two worlds, he lays them down separately, for separate are these two worlds. He 'settles' them once he thereby makes them one and the same (or, joined together), whence the ends of these two worlds meet.
SATAPATHA-BRAHMANA.
24. And, again, why he lays down two seedshedders; the seed-shedders are the testicles, for only he who has testicles sheds seed. The wideruling one contained the light;-the self-ruling one contained the light,' he says; for the wide-ruling and the self-ruling ones are the testicles: they contain that light, the seed, Pragâpati. He lays them down separately, for separate are these testicles. He 'settles' them once: he thereby makes them one and the same, whence they have a common connectingpart. He lays them down close to the dviyagus (brick): the dviyagus being the Sacrificer, he thus puts the testicles together with the Sacrificer.
25. He then lays down a Visvagyotis (all-light brick); the first 'all-light' (brick) is Agni, for Agni
(
'Or, the wide-shining... the self-shining one.
The two Retahsik bricks are laid down immediately in front (east) of the Dviyagus one, one on each side of the 'spine,' which thus coincides with their line of separation.
See VI, 5, 3, 3.
As in the case of the Svayamâtrinnâs (naturally-perforated bricks, see pp. 155, note 8; 187, note 2), so there are three Visvagyotis or 'all-light' bricks, placed in the first, third, and fifth layers
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is all the light in this (terrestrial) world: it is Agni he thus lays down. He lays it down close to the seed-shedding ones,—the seed-shedding ones being these two worlds, he thus places Agni together with these two worlds. He lays it down between the two Retahsik 1), for Agni (the fire) is within these two worlds.
26. And, again, why he lays down an 'all-light' (brick);—the 'all-light' (brick) is progeny, for progeny is all the light; he thus lays generative power (into Agni). He lays it down so as not to be separated from the seed-shedding (bricks),--the seedshedders being the testicles, he thus makes the generative power inseparable from the testicles. He lays it down between (those two), for within the testicles progeny is produced.
27. [He lays it down, with Vâg. S. XIII, 24] * May Pragâpati settle thee'-for Pragâ pati saw this first layer 2 ;-'on the back of the earth, thee the brilliant one!' for on the back of the earth this brilliant Agni indeed is.
28. 'For all breathing, out-breathing, through-breathing,'--the all-light (brick) is breath, and breath is (necessary) for this entire universe ;'give all the light !' that is, 'give the whole light;'
-'Agni is thine over-lord,' he thus makes Agni the over-lord of this earth. Having settled 'its, he
of the altar, and representing the light (or ruling deity) of the respective world represented by the svayamâtrinna of the same layer.
1 In reality the Visvagyotis brick is not placed between the two Retahsik, but in front of the line separating them from each other,
He saw' the first naturally-perforated brick, which, as the central brick of the first layer, represents the latter, as well as the lowest of the three worlds, the earth. See VI, 2, 3, 1.
· Viz. by adding, 'by that deity, Angiras-like, lie thou steady!'
сс
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pronounces the Sadadohas upon it: the significance of this has been explained.
29. He then lays down two Ritavya (seasonal bricks);—the two seasonal (bricks) being the same as the seasons, it is the seasons he thus lays down. [Våg. S. XIII, 25] 'Madhu and Madhava, the two spring seasons,'—these are the names of those two: it is thus by their names that he lays them down. There are two (such) bricks, for two months are a season. He'settles' them once?: he thereby makes (the two months) one season.
30. And as to why he now lays down these two; —this Agni (fire-altar) is the year, and the year is these worlds; the first layer is this (terrestrial) world thereof, and the spring season also is this world thereof; and when he now lays down those two (bricks), he thereby puts back into him (AgniPragâ pati) what those two (the first layer and the spring) are to that body of his : this is why he now lays down those two (bricks).
31. And, again, why he now lays down these two ;-this Agni is Pragàpati, and Pragâpati is the year; the first layer is his foundation, and the spring season also is his foundation ;—thus when he now lays down these two (bricks), he thereby puts back into him what those two are to that body of his: this is why he now lays down those two (bricks). He lays them down close to the 'all-light' brick : the 'all-light' brick being progeny, he thus lays progeny close together with the seasons; whence progeny is produced in accordance with the seasons, for by seasons people compute (the age of man)
That is, he pronounces the sådana-formula once only. & Viz. its foundation.
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whilst in the state of embryo, and by seasons when he is born.
32. He then lays down the Ashâdha (invincible brick)', -the 'invincible one' being this earth, it is this earth he thus lays down. He puts it on the fore-part (of the altar-site), for this earth was created first.
33. And as to its being called Ashâdha. The gods and the Asuras, both of them sprung from Pragâpati, strove together. The gods saw this invincible brick, even this earth; they put it on (the altar); and having put it on, they conquered (and drove) the Asuras, the enemies, the rivals, from this universe; and inasmuch as thereby) they conquered (asahanta), it is called Ashadha. In like manner the Sacrificer, after putting on that (brick), conquers (and drives) his spiteful rival from this universe (or, from everything here).
34. And, again, why he lays down the Ashâdha. The Ashadha is speech, and by speech 2 the gods then indeed conquered and drove) the Asuras, the enemies, the rivals, from this universe; and in like manner the Sacrificer, by means of speech, conquers (and drives) his spiteful rival from this universe: it was speech the gods then laid down (or bestowed on Agni), and in like manner the Sacrificer now lays down speech.
35. This earth is the bearer of what is desirable ; for--the desirable being the vital airs—this earth bears everything that breathes, and for that reason this earth is the bearer of what is desirable. But
See VI, 5, 3, 1-2. • Viz. by threats, vituperation, &c., Sây.
CC 2
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speech (the mouth) also indeed is the bearer of what is desirable ; for the desirable is the vital airs, and for the (channels of) the vital airs food is put into the mouth : therefore speech is the bearer of what is desirable.
36. Now the Ashâdha is the same as those vital airs; he lays it down in the fore-part (of the altar): he thus bestows (on Agni the organs of) the vital airs in front; whence there are here (organs of) the vital airs in front (of the body). Let him not in this layer enclose this (Ashâdha) in front by any other brick which has a special prayer of its own, lest he close up (the organs of) the vital airs.
37. And as to why he lays down in front five Apasyâs !, -water (ap) is food, and by food (the organs of) the vital airs are not closed up. He lays down (the Ashâdha) close to the two seasonal ones : he thereby establishes speech in the seasons, and hence speech (the mouth) speaks here, firmly established in the seasons.
38. Here now they say, “If the Visvagyotis (brick) is progeny, and the Ashâdhå speech, why does he put the two seasonal ones between them ?' Well, the seasonal ones being the year, he thus separates speech from progeny by the year, and hence children utter speech at the time (or age) of a year.
39. [He lays down the Ashâdha, with Vâg. S. XIII, 26] 'Thou art Ashâdha, the conquering' for the gods thereby conquered the Asuras,-'conquer the enemies! conquer the hostile!' as the text, so the meaning ;-'thou hast a thousand energies: do thou speed me!' a thousand means
1 See VII, 5, 2, 40 seq.
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all: thus, 'thou hast all energies, do thou speed me!' When he has 'settled' it, he pronounces the Sûdadohas on it: the significance of this has been explained.
40. Here now they say, 'Why are those other bricks placed in front of the naturally-perforated one?' Let him say, There are two wombs (birthplaces)—the one being the womb of the gods, the other the womb of men: the gods have their birthplace in the east, and men in the west; and when he lays down those (bricks) in front, he thereby causes the Sacrificer to be born from the womb of the gods.
FIFTH ADHYAYA.
FIRST BRAHMANA.
1. He then puts down a (living) tortoise; the tortoise means life-sap: it is life-sap (blood) he thus bestows on (Agni). This tortoise is that life-sap of these worlds which flowed away from them when plunged into the waters1: that (life-sap) he now bestows on (Agni). As far as the life-sap extends, so far the body extends: that (tortoise) thus is these worlds.
2. That lower shell of it is this (terrestrial) world; it is, as it were, fixed; for fixed, as it were, is this (earth-)world. And that upper shell of it is yonder sky; it has its ends, as it were, bent down; for yonder sky has its ends, as it were, bent down. And what is between (the shells) is the air;-that (tortoise) thus is these worlds: it is these worlds he thus lays down (to form part of the altar).
3. He anoints it with sour curds, honey, and ghee, sour curds doubtless are a form of this (earth-)
1 See VI, I, I, 12.
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world, ghee of the air, and honey of yonder sky: he thus supplies it (the tortoise) with its own form. Or, sour curds are the life-sap of this (earth-)world, ghee that of the air, and honey that of yonder sky: he thus supplies it with its own life-sap.
6
4. [He anoints it, with Vâg. S. XIII, 27-29; Rik S. I, 90, 6-8] Honey the winds pour forth for the righteous, honey the rivers; full of honey may the plants be for us!-Honey by night and morn, rich in honey may the region of the earth be for us, honey the father Heaven!rich in honey may the tree be for us, rich in honey the sun, full of honey the kine!' To whatever deity a Rik-verse, and to whatever (deity) a Yagus formula applies, that very deity the verse is, and that very deity the sacrificial formula is1. This triplet then is honey (madhu); and honey being life-sap, it is life-sap he thus puts into him (Agni). With three Gayatri verses (he performs): the significance of this has been explained.
5. And as to its being called 'kûrma' (tortoise);— Pragâpati, having assumed that form, created living beings. Now what he created, he made; and inasmuch as he made (kar), he is (called) 'kûrma;' and 'kurma' being (the same as) 'kasyapa' (a tortoise), therefore all creatures are said to be descended from Kasyapa.
6. Now this tortoise is the same as yonder sun: it is yonder sun he thus lays down (on the altar). He lays it down in front with the head towards the back (west): he thus places yonder sun in the east
That is to say, each Vedic text is identical with the deity to which it is addressed. Cf. VI, 5, 1, 2.
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looking thitherwards (or moving westward); and hence yonder sun is placed in the east looking thitherwards. On the right (south) of the Ashâdha (he places it), for the tortoise (karma, masc.) is a male, and the Ashadhâ a female, and the male lies on the right side of the female ;-at a cubit's distance ?, for at a cubit's distance the male lies by the female. That Ashadha is the consecrated queen (mahishi) of all the bricks, hence being on the right (south) side of her, it (the tortoise) is on the right side of all the bricks.
7. And, again, why he puts down a tortoise ;-the: tortoise (kůrma) is the breath, for the breath makes (kar) all these creatures : it is breath he thus puts into him (Agni). He puts it down in front looking towards the back : he thus puts in the breath in front tending towards the back; whence the breath is taken in from the front backwards. [He puts it down so as to be] turned towards the (gold) man: he thus puts breath into the Sacrificer. South of the Ashâdhå (he puts it), for the tortoise is breath, and the Ashådhå speech; and the breath (prâna, masc.) is the male, the mate, of speech (våk, fem.).
8. [He sets it down, with Vâg. S. XIII, 30–32] 'Seat thee in the depth of the waters!' for that indeed is the deepest (place) of the (heavenly) waters where yonder (sun) burns ; —lest the sun, lest Agni Vaisvânara should scorch thee!' that is, lest the Sun, lest Agni Vaisvânara injure thee ;-'Overlook the creatures with unbroken wings,' that is, overlook all these uninjured, unharmed creatures, that is, these bricks ;—'may
While the bricks generally measure a pâda or foot square, the cubit measures about two feet.
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heaven's rain favour thee!' this he says in order that the rain of heaven may favour him.
9. He then makes it move', with, 'Over the heaven-reaching three oceans he crept,' the three heaven-reaching oceans doubtless are these worlds, and over them he crept in the shape of a tortoise; the lord of waters, the bull of the bricks,' for he (the tortoise) indeed is the lord of waters, and the bull of the bricks ;-'induing the covering of him, the well-made, in the world,' the covering (purisha) means the cattle: thus, entering the (form of the) cattle of the well-made (Agni) in the world;-'go thither whither the former have passed away!' that is, go thither whither by this performance former (tortoises) went.
10. The mighty sky and the earth,' that is, the great sky and the earth;—' shall mix (prepare) this our sacrifice!' that is, shall favour this sacrifice; they shall fill us with nourishments!' that is, they shall nourish us with nourishments! With the last (verse) relating to heaven and earth he puts it down, for the tortoise represents heaven and earth.
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:
II. With three (formulas) he puts it on (the altar); three are these worlds, and threefold is Agni as great as Agni is, as great as is his measure, by so much he thus puts it on. With three (formulas) he anoints it; that makes six: the significance of this (number) has been explained. There are avakâ-plants below and avakâ-plants above (the
1 He sets the tortoise down with three verses; and in muttering the second verse he makes it move while he still holds it in his hand.
* Blyxa octandra, a grassy plant growing in marshy land ('lotusflower,' Weber, Ind. Stud. XIII, p. 250).
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tortoise),—the avaka-plant means water : he thus places it in the midst of water. Having 'settled' it, he pronounces the Sadadohas upon it: the significance of this has been explained.
12. He then puts down a mortar and pestle. Vishnu desired, “May I be an eater of food!' He saw these two bricks, the mortar and pestle. He placed them on (the altar); and by placing them thereon, he became an eater of food. In like manner, when the Sacrificer now places a mortar and pestle thereon, (he does so) thinking, 'I want to be an eater of food by the same means (rupa), by performing the same rite by which Vishnu became an eater of food.' Now the mortar and pestle mean all (kinds of) food; for by the mortar and pestle food is prepared, and by means of them it is eaten.
13. He puts them down at the distance of the two retahsik 1,—the retahsik being the ribs, and the ribs being the middle: he thus puts food into the middle of him (Agni) ;-on the north (upper) side (of the central brick): he thus puts the food upon him ; -at the distance of a cubit, for from a cubit's distance food is (taken by the hand and) eaten.
14. They measure a span, for Vishnu, when an embryo, was a span long; and these (mortar and pestle) being food, he thus puts food into him (AgniVishnu) proportionate to his body. And indeed the food which is proportionate to the body satisfies,
1 The mortar and pestle are to be placed as far north of the central (naturally-perforated) brick, as the two retahsik lie in front (towards the east) of it. This distance is ascertained by means of a cord stretched across the bricks hitherto laid down (from the Svayamâtrinnà to the Ashâdhá), and knots made in the cord over the centre of the respective bricks.
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and does no harm ; but that which is excessive does harm; and that which is too little does not satisfy.
15. They are made of Udumbara wood ;-the Udumbara (ficus glomerata) being strength, life-sap, he thus puts strength, life-sap into him. And, again, the Udumbara being all the trees, by putting on those two, he puts all trees on (the altar). At the distance of the two retahsik (bricks, he places the mortar and pestle),—the 'seed-shedders' being these two (worlds ), he thus puts the trees in these two (worlds), and hence there are trees in these two (worlds). It (the mortar) is four-cornered,—there being four quarters, he thus places trees in all the quarters; whence there are trees in all the quarters. It is contracted in the middle, to give it the form of a (real) mortar.
16. And, again, why he places a mortar and pestle thereon. From Pragâpati, when relaxed, the breath wanted to go out from within. He kept it back by means of food : hence the breath is kept back by food, for he who eats food, breathes.
17. The breath being kept back, the food wanted to go out of him. He kept it back by means of the breath : hence food is kept back by the breath, for he who breathes, eats food.
18. Those two being kept back, strength wanted to go out of him. He kept it back by those two: hence strength is kept back by those two; for he who eats food, breathes; and to him it gives strength.
19. Strength being kept back, those two wanted
"I do not see what else could here be referred to than the heaven and the earth (cf. VII, 4, 2, 22), though in that case one might rather expect 'imau (lokau)' instead of 'ime.' Possibly, however, the earth and atmosphere may be intended.
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to go out of him. He kept them back by means of strength : hence those two are kept back by strength; for he to whom one gives strength, breathes and eats food.
20. Those (energies) thus were kept back by one another. Having kept them back by one another, he (Pragâpati) caused them to enter his own self; and that food having entered, all the gods entered along with it; for everything here lives on food.
21. It is thereto that this verse applies,— Then, indeed, he became that breath,'—for that breath he then indeed became ;-' having become the great Pragâ pati,'--for great he indeed then became, when those gods entered him ;—'having obtained the benefits, the beneficial,'—the benefits doubtless are the vital airs (breaths), and the beneficial are the food : thus, having obtained all that;
-'when he breathed the breaths in the stronghold;'-the stronghold doubtless is the self (body), and inasmuch as he breathed the breaths, the gods are the breaths; and inasmuch as Pragapati breathed, the breath also is Pragåpati; and verily he who is that breath, he is that Gayatri ;-and as to that food, that is Vishnu, the deity; and as to that strength, that is the Udumbara (tree).
22. He said, 'Verily this one has lifted me from out of all evil ;' and because he said he has lifted me out (udabhârshit),' hence (the name) udumbhara ; '-'udumbhara' doubtless being what is mystically called Udumbara, for the gods love the mystic. • Wide space (uru) shall it make (karat) for me!' he said, hence 'urukara ;' 'urukara' doubtless being what is mystically called 'ulûkhala' (the mortar); for the gods love the mystic. Now that mortar is
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the birth-place of all breaths; and the birth-place of the breaths being the head
23. It (the mortar) is of the measure of a span, for the head is, as it were, of the measure of a span ;four-cornered, for the head is, as it were, fourcornered ;-contracted in the middle, for the head is, as it were, contracted in the middle.
24. Now when the gods restored him (Pragâ patiAgni), they put all that inside him—breath, food, strength; and in like manner this (Sacrificer) now puts that into him. At the distance of the two retahsik (he places it),—the retahsik being the ribs, and the ribs the middle, it is thus in the middle of (or, inside) him that he puts all that.
25. (He sets them down !, with Vâg. S. XIII, 33 ; Rik S. I, 22, 19] 'See ye the deeds of Vishnu'deed doubtless means power : thus, see ye the powers of Vishnu ;—'whereby he beheld the sacred ordinances,'-ordinance means food : thus, whereby he did behold the food ;-'Indra's allied friend,' for he is indeed Indra's allied friend. With a (verse) relating to two deities he sets them down, for the mortar and pestle are two. Once he 'settles' them : he thereby makes them one and the same ; for one and the same is that food. Having settled' it, he pronounces the Sudadohas on it: the significance of this has been explained.
26. He then places the fire-pan thereon,—the firepan is a womb: a womb (birth-place) he thus gives to him (Agni). He places it on the mortar,-the mortar is the air, and everything that is above this
· The mortar, according to the commentaries to Kâty., is partly dug into the ground, with the open part upwards; the pestle being then placed to the right (south) of it.
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earth is air; and the air is the middle: he thus places the womb in the middle; whence the womb of all beings, even of trees, is in the middle.
27. And, again, why he places the fire-pan thereon ;—that same Pragapati who became disjointed doubtless is this same fire-pan, for the fire-pan is these worlds, and Pragàpati is these worlds. He places it on the mortar : he thereby establishes him (Pragâpati) in all that–breath, food, strength; and thus he places him so as not to be separated from all that.
28. Thereupon, having pounded the remainder (of the clay), and having put the fire-pan in its place, he throws (the pounded clay) in front of the fire-pan; for this is the place of that (remainder ?), and thus that (remainder) is not separated therefrom.
1 Viz., according to Sâyana, because they spring from the germ in the centre of the fruit.
s? Or, of it (the fire-pan). There is some uncertainty regarding this item of the ceremonial. Katyâyana's rule (XVII, 5, 44 'Having placed the Ukhâ (pan) on the mortar, pounded the remainder of clay, and thrown it down in front, with the text “Dhruvâ asi," (of) the Ukhâ'-is evidently intentionally vague. Mahîdhara (on Våg. S. XIII, 34) gives the following interpretation of it,— Having first silently placed the Ukhả on the mortar, then pounded the remaining clay, and thrown it down on the ground in front of the Ukhâ, let him place the Ukha thereon with two formulas.' According to this, the Ukhâ would only temporarily be placed on the mortar, its proper and permanent place (loka) being on the powdered clay in front (to the east) of the mortar. The text of the Brâhmana, as it stands, however, cannot possibly be construed so as to accord with Mahîdhara's interpretation. This would require some such reading as,-athopasayâm pishtvå, purastad ukhâyâ upanivapya lokabhâgam ukhâm karoti. See, however, paragraph 38 below, which evidently applies to the permanent position of the pan.
* For the genitive "asya' (viz. lokasya) with 'antarita?-instead
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29. Here now they say, 'How does that (remainder) of his come to be put on as cooked, as baked ?'-In that it is prepared with a sacrificial formula; and, moreover, whatever comes in contact with Agni Vaisvânara even thereby comes to be put on as something cooked, as baked.
30. [He sets the fire-pan down, with Vâg. S. XIII, 34-35] 'Steady thou art, supporting,' the meaning of this has been explained";— from here he was at first born, from these wombs, the knower of beings;' for from these wombs the knower of beings (Agni) was indeed born at first; 'by the Gayatri, the Trishtubh, and the Anushtubh, may he, the knowing, bear the offering to the gods!'-by means of these metres he, the knowing, indeed bears the offering to the gods.
31. 'For sap, for wealth, do thou rest, for might in glory, for strength, for offspring!' that is, for all that do thou rest !-all-ruling thou art, self-ruling thou art!' for both all-ruling and self-ruling he (Agni) indeed is ;-'may the two Sarasvata wells cheer thee!' Sarasvat (m.) is the Mind, and Sarasvati (f.) Speech,--these two are the Sarasvata wells: thus, may these two cheer thee! With two (formulas) he sets it down: the significance of this has been explained ; and, moreover, twofold is that form, (consisting as it does of) clay and water. Having 'settled' it, he pronounces the Sudadohas on it: the significance of this has been explained.
32. He then offers upon it;now seed was poured into it before, (in the shape of) sando; that he now
of the more usual ablative-see VI, 2, 2, 38, prânasya tad antariyât. 1 VII, 4, 2, 5.
· See VII, 1, 1, 41.
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fashions', whence the seed injected into the womb is fashioned. He offers with the dipping-spoon, with ‘Hail l' with two Gayatri verses relating to Agni: the significance of this has been explained.
33. [Vag. S. XIII, 36-37; Rik S. VI, 16, 43; VIII, 75,1] O Agni, harness those good steeds of thine: they draw equal to thy mettle!-Like a chariot-fighter, harness thou the steeds, the best callers of the gods, O Agni! take thy seat as the old Hotri!' with two (verses) containing the (verb) 'yug' (to harness, fasten),– he thus settles that seed injected into the womb, whence the seed settled in the womb does not escape.
34. If (the fire in the pan) has been carried about for a year, in that case he should now offer; for (the fire) which has been carried about for a year is everything, and that also whereon he offers is everything. But if it has not been carried about for a year, let him only stand by (worshipping) it; for (the fire) which has not been carried about for a year is not everything; and that by which he stands (worshipping) is not everything. Let him nevertheless offer thereon.
35. Now that Agni is an animal, and even now he is (being) made up whole and complete: the naturally-perforated (brick) is his lower vital air, the
1 The verb.abhi-kri' is here taken in the sense of 'vi-kri' (he gives form to it); and in that sense I would now take it at II, 3. 1, 4, "he fashions (gives human shape to) that embryo,' instead of he benefits that embryo.' The St. Petersburg dictionary proposes the meaning, 'to do something with reference to (or, for the benefit of). The proper German meaning would rather seem to be
bearbeiten.' The preposition 'abhi' is probably used here with reference to the abhi-guhoti.'
* See p. 269, note 3.
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dviyagus the hip, the two retahsik the ribs, the visvagyotis the breast-bone, the two seasonal ones the back, the ashâdhâ the neck, the tortoise the head, and the vital airs in the tortoise are those vital airs in the head.
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36. Now that (Agni) he builds upwards from here (as flying) towards the east, and that Agni being yonder sun, he thereby places yonder sun upwards from here in the east; whence yonder sun is placed upwards from here in the east.
37. He then turns him towards the right',-he thereby turns yonder sun towards the right, whence yonder sun moves round these worlds (from left) to right.
38. The fire-pan is the belly, the mortar the womb;-the fire-pan is above, and the mortar below; for the belly is above, and the womb below. The pestle is the sisna; it is round-like, for the sisna is round-like. He places it to the right (south of the mortar), for the male lies on the right side of the female. And what food there is for the consecrated animal, that is the dûrvâ-brick. The left (north) side of that (Agni or altar) is more raised, that Agni is an animal, and hence the left side of the belly of a well-filled beast is more raised (than the right side).
SECOND BRAHMANA.
1. He puts the heads of the victims in (the firepan), the heads of the victims being animals (or cattle), it is animals he thus puts thereon. He puts them in the fire-pan;-the pan being these worlds, and the heads of the victims being beasts, he thus
1? Viz. by filling up the vacant spaces of the altar from left to
right,
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puts animals in these worlds; whence there are animals in these worlds.
2. And as to why (he puts the heads) in the firepan ;-the fire-pan being a womb, and the heads of the victims being animals, he thus establishes the animals in the womb: hence animals, though being eaten and cooked, do not diminish, for he establishes them in the womb.
3. And, again, why he puts the heads of the victims therein ;—what (animal) perfections (srl) there were, they are these victims' heads; and what rumps there were, they are those five layers (of the altar). Now those five layers are these worlds, and these worlds are this very fire-pan: thus, when he puts the heads of the victims in the fire-pan, he thereby unites those rumps with those heads.
4. He puts them in the fore-part, so as to look towards the back (west). For when, on that (former) occasion, Pragâ pati wanted to slaughter these animals, they, being about to be slaughtered, wanted to run away. He seized them by (the organs of) the vital airs ?; and having seized them by the vital airs, he took them into himself from the front (mouth) towards the back (inside).
5. Now the same thing which the gods did is done here. The animals do not, indeed, want to run away from him ; but when he does this, it is because he wants to do what the gods did : having thus seized them by (the outlets of) the vital airs, he takes them into himself from the front towards the back.
· See VI, 1, 1, 4; 2, 1, 7.
That is, by the head, according to Sâyana.. [41]
Dd
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6. And, again, why he puts the heads of the victims thereon. Pragâ pati alone was here at first? He desired, “May I create food, may I be reproduced !' He fashioned animals from his vital airs, a man from his soul (mind), a horse from his eye, a cow from his breath, a sheep from his ear, and a goat from his voice; and inasmuch as he created them from the vital airs, people say that 'Animals are vital airs.' The soul is the first of the vital airs; and inasmuch as he fashioned man from his soul, they say that 'Man is the first, and strongest of animals. The soul is all the vital airs, for in the soul all the vital airs are established. And inasmuch as he fashioned man from his soul, they say that 'Man is all animals,' for they all belong to man.
7. Having created that food, he took it into himself from the front towards the back; and hence whosoever prepares for himself food, takes it into himself from the front towards the back (inside). That (animal food being put) in the fire-pan, and the fire-pan being the belly, he thus puts the food into the belly.
8. He now in the first place 2) thrusts gold chips into each of them,-gold is vital air, and the vital airs go out of these animals when slaughtered : thus, when he thrusts gold chips into each of them, he puts the vital airs into them.
9. Seven (chips) he thrusts into each, -seven vital airs there are in the head : these he thereby puts into it. And if there are five victims, let him thrust in five times seven (chips); for those five victims he puts on (the fire-pan), and there are seven vital
1 See J. Muir, Original Sanskrit Texts, V, p. 391. . That is, before putting the heads in the fire-pan.
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airs in each victim : he thus puts the vital airs into all of them.
10. Now, even if there is only one victim, some people thrust five times seven (into that one head), thinking, 'Those five victims he puts down (symbolically), and there are seven vital airs in each victim : thus we put the vital airs into all of them. Let him not do so, for in this animal the form of all animals is contained ?; and when he thrusts (seven chips) into this one, he thereby puts the vital airs into all of them.
11. The first (chip) he thrusts into the mouth, with (Våg. S. XIII, 38; Rik S. IV, 58, 6, 5), 'Fitly flow the draughts of milk like rivers,'— draughts of milk are food, and that indeed flows fitly into this mouth ;-'purified within by the heart, by the mind,'—for the food is indeed purified by the heart and mind within him who is righteous ;-'the streams of ghee I behold,' he thereby means the libations he is about to offer on that fire;'the golden reed (is) in the middle of Agni,' he thereby means that gold man.
12. With (Våg. S. XIII, 39), 'For praise thee!' (he thrusts one in) here into the right nostril); praise (or splendour) means breath, for with breath one praises ;-with, 'For sheen thee!' here (into the left nostril); sheen means breath, for by breath one shines; and also because everything here shines for breath ;-with, 'For brightness thee!' here into the right eye) ;-with,‘For lustre thee!' here
1 Viz. a he-goat, as the animal sacrifice to either Pragâpati, or (Vậyu) Niyutvat; see pp. 178, 184. • See VI, 3, 2, 15.
dd 2
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SATAPATHA-BRÂHMANA.
(into the left eye), for bright and lustrous these two eyes indeed are ;-with,'This hath become the fiery spirit of all the world, and of Agni Vaisvânara,' here into the right ear) ;—with (Vâg. S. XIII, 40), 'Agni, bright with brightness, the golden disk, lustrous with lustre,' here into the left ear),—thus with two (formulas) containing "all",' for the ear is all.
13. He then lifts up the human head-he thereby exalts it-with, Giver of a thousand thou art : for a thousand thee!' a thousand means everything : thus, 'the giver of everything, for everything (I bestow) thee!'
14. He then puts them (the heads) in (the firepan), first (that of) the man-having taken possession of the man by strength he sets him up;-the man in the middle; on both sides the other victims: he thus sets the man, as the eater, in the midst of cattle ; whence man is the eater in the midst of cattle.
15. The horse and ram on the left (north) side : he thereby puts those two (kinds of) cattle in that region; whence those two (kinds of) cattle are most plentiful in that region.
16. The bull and he-goat on the right (south) side: he thereby puts those two (kinds of) cattle in that region; whence those two (kinds of) cattle are most plentiful in that region.
17. The (head of the) man he places on the milk?, -milk means cattle: he thus establishes the Sacrificer among cattle,—with (Vâg. S. XIII, 41), 'With
* Only the first of the two formulas, however, contains the word visva,' all.
: The pan was partly filled with sand and milk, see VII, 1, 1, 41. 44.
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VII KÂNDA, 5 ADHYAYA, 2 BRÂHMANA, 19. 405
milk anoint thou Aditya, the unborn child!' that unborn child, the man, is indeed the sun : thus, Him anoint thou with milk !—'the all-shaped maker of a thousand,' the maker of a thousand is man, for to him belong a thousand ;-'spare him with thy heat, harbour not evil thoughts against him!' that is, spare him with thy fire, do not hurt him!-'make him live a hundred years, while thou art built!'he thereby makes man the one among animals (capable of) living a hundred years; whence man, among animals, lives up to a hundred years.
18. Then on the left side (he puts the head of) the horse, with (Våg. S. XIII, 42), “The speed of the wind,'—this one, the horse, is indeed the speed of the wind;—Varuna's navel—for the horse is Varuna; - -'the horse, born in the midst of the flood;' the flood is the water, and the horse is indeed the water-born ;-'the tawny, rock-founded child of rivers;' rock means mountain, and the waters are indeed founded on the mountains ;—'harm him not, Agni, in the highest region !' the highest region means these worlds : thus, do not harm him in these worlds!
19. Then on the right side (the head of) the bull, with (Vág. S. XIII, 43), “The imperishable, red drop,' the drop doubtless is Soma; and that bull is the same as the imperishable Soma ;-'the eager one (bhuranyu),' that is, the bearer (bhartri);-'Agni, the forward-striving, I glorify with homages;' for
1.Pratimâ' is perhaps taken here by the dogmatic expositor in the sense of likeness, counterpart;' in which case one would have to translate, the counterpart of a thousand, the all-shaped
one.'
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406
SATAPATHA-BRÂHMANA.
the bull is sacred to Agni; and 'the forward-striving,' he says, because forward (towards the east) they hold up Agni', and towards the front? they attend upon him ;-'duly fitting thyself by limbs,' when he is built up, then he does indeed duly fit himself limb by limb ;—'harm not the inexhaustible, wideruling cow 3,' the cow is indeed wide-ruling (virag), and the wide-ruling is food, and accordingly the cow is food.
20. Then on the left side (he puts the head of) the ram, with (Våg. S. XIII, 44), 'The defender of Tvashtri, the navel of Varuna,' for the ewe is sacred both to Varuna and to Tvashtri;-'the ewe born from the highest sphere;' the highest sphere doubtless is the ear, and the ear is the regions, --(thus 4) the highest sphere is the regions ;-'the mighty, thousandfold artifice of the Asura,' that is, the great, thousandfold artifice of the Asura 5 ;'0 Agni, harm it not in the highest
. See VI, 4, 3, 10.
? Or, they attend upon him (Agni, the fire-altar) who tends towards the front (east);' inasmuch as the altar is built in the shape of a bird flying eastwards.
3 Or, harm not the cow, the wide-ruling (or wide-shining) Aditi!
• After the two premises (with 'vai ') the inference seems here to be introduced without any particle. Similarly in paragraph 24; while in paragraph 19 the particle 'u' is used to perform that office. Cf. however VII, 4, 2, 1, where a third parallel clause (which logically might have been the inference) is introduced by 'u vai.'
o Sâyana refers to the legend in Taitt. S. II, 1, 2, 2, here alluded to :-Svarbhânu, the Asura, struck the sun with darkness. The gods sought an expiation for that (darkness): the first darkness of his which they dispelled became a black ewe, the second a red one, the third a white one; and what they cut off from the surface of the bone (?) that became a barren sheep, &c.
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VII KÂNDA, 5 ADHYAYA, 2 BRÂHMANA, 24.
407
region!' the highest region are these worlds : thus, do not harm him (the ram) in these worlds!
21. Then on the right side (he puts the head of) the he-goat, with (Våg. S. XIII, 45), 'The Agni who was born from Agni,' for that Agni was indeed born from Agni 1;—'from the pain of the earth or also of the sky;' for what was born from the pain (or heat) of Pragâpati, that was born from the pain of the sky and the earth ;—'whereby Visvakarman begat living beings,'—the he-goat (or, the unborn one) is Vak (Speech), and from Vâk Visvakarman 3 begat living beings;—'him, O Agni, may thy wrath spare!' as the text, so the meaning.
22. These are the victims; separately he puts them down, separately he 'settles' them, and separately he pronounces the Sadadohas on them; for separate from one another are those animals.
23. He then offers on the human head, -sacrifice is offering : he thus makes man the one among animals fit to sacrifice; whence man alone among animals performs sacrifice.
24. And, again, why he offers thereon :-he thereby lays vigour into the head. He offers with ghee,-ghee is a thunderbolt, and the thunderbolt means vigour : he thus lays vigour into it. With • Hail' (he offers),--the 'Hail' (svâhâkâra, m.) is a male, and the male means vigour: he thus lays vigour into it. With a trishtubh verse (he offers); the Trishtubh is a thunderbolt, and the thunderbolt
1 Viz. inasmuch as the fire to be ultimately deposited on the firealtar was taken from the original (hall-door) fire. . See VI, 1, 1, 9.
That is, Pragấpati, the lord of procreation; see VI, 1, 2, 6 seq.
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408
SATAPATHA-BRAHMANA.
means vigour; the Trishtubh is vigour : with vigour he thus lays vigour into it.
25. Having run through the (first) half-verse, he pronounces the Svâhâ ;—the rik (verse) is a bone : having cleft asunder that skull-bone which is here inside the head, he there lays vigour into it.
26. Having then run through the (second) halfverse, he pronounces the Svaha, -having joined together that skull-bone which is here on the top of the head, he there lays vigour into it.
27. [Vâg. S. XIII, 46; Rik S. I, 115, 1] 'The brilliant front of the gods hath risen,' for that man is yonder sun, and he indeed rises as the brilliant front (face) of the gods ;-'the eye of Mitra, Varuna, and Agni, for that (sun) is the eye of both gods and men ;' he hath filled heaven, and earth, and the air,' for when he rises he indeed fills these worlds ;-'Sarya, the soul of the movable and immovable;' for that (sun) is indeed the soul of everything here that moves and stands.
28. He then stands by (the heads, revering them) with the Utsargas 2. For at that time when Pragapati wanted to slaughter the victims, they, being about to be slaughtered, were distressed (or pained); and by these Utsargas he drove out their distress 3, their evil. In like manner does this one, by these Utsargas, now drive out their distress, their evil.
29. Now some remove the distress of whichever (head of a) victim they put down, thinking lest they might put distress, evil, thereon ; but it is they that
That is, having rapidly muttered it. · That is, (means of deliverance or removal, a term applied to the next five mantras.
Lit. their burning heat (suk); cf. par. 32 seq.
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VII KÂNDA, 5 ADHYÂYA, 2 BRÂHMANA, 32.
409
put distress, evil, thereon; for the distress they remove from the preceding one, they put on (the altar) with the succeeding one.
30. And some revere (the heads) whilst moving round them, thinking, we remove distress upwards ;' but these indeed follow the distress, the evil, upwards; for upwards he (the Sacrificer) goes by this performance, and upwards they remove the distress.
31. Let him remove it outside the fire (-altar); that fire (-altar) being these worlds, he thus puts distress outside these worlds ;-outside the Vedi; the Vedi being this earth, he thus puts distress outside this earth ;-(he does so) standing with his face towards the north ; for in that region those animals are, and he thus puts distress into them in the region in which they are.
32. He first removes that of the man—for him he puts down first-with (Vâg. S. XIII, 47), ‘Harm not this two-footed animal!' the two-footed animal doubtless is the same as man: thus, ' do not harm that one!’— (thou) the thousand-eyed, being built for pith;'—the thousand-eyed he (Agni) is on account of the chips of gold; 'for pith,' that is, 'for food.'—'Graciously accept thou, O Agni, the sham-man, the victim, as pith!'a sham-man is a kim-purusha (mock-man) : thus, accept graciously the kim-purusha, O Agni !'Building up therewith thy forms, get thee settled !' the form is the self: thus, 'Building up
1 The Sacrificer builds the fire-altar with a view to his securing for himself a place in heaven.
3 It is doubtful what is meant here by this term, unless it be a monkey, or a counterfeit human head; cf. p. 197, note 4.
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SATAPATHA-BRAHMANA.
therewith, perfect thyself1!'-'Let thy burning heat reach the sham-man! let thy burning heat reach him whom we hate!' he thereby lays burning heat into the sham-man, and into him whom he hates.
410
33. Then that of the horse, with (Vâg. S. XIII, 48), 'Harm not this one-hoofed animal!' the one-hoofed animal doubtless is the same as the horse thus, do not harm that one!-'the racer neighing among the racers;' for neighing indeed he is, and a racer among racers;- The wild fallow (beast) do I assign unto thee,' he thereby assigns to him the wild fallow (beast)2;—' building up therewith thy forms, get thee settled!' that is, building up therewith, perfect thyself!'-'Let thy burning heat reach the fallow beast! let thy burning heat reach him whom we hate!' he thereby lays burning heat into the fallow beast, and into him whom he hates.
34. Then that of the bull, with (Vâg. S. XIII, 49), 'This thousandfold, hundred-streamed well-,' for a thousandfold, hundred-streamed well he, the bull (cow), indeed is;-extended in the middle of the flood,' the flood doubtless are these worlds: thus, subsisted upon in these worlds;-'the inexhaustible, milking ghee for man,'-for ghee this inexhaustible (cow) indeed milks for man ;
1 This paraphrase does not make it clear how the author construes and interprets this part of the formula; especially in what sense he takes 'nishîda.'
2 Thus Mahîdhara (gauravarnam mrigam). In the St. Petersburg dictionary 'gaura' is taken here in the sense of 'buffalo, bos gavæus.' The parallelism in the next two formulas might indeed seem to point to that meaning.
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VII KÂNDA, 5 ADHYÂYA, 2 BRÂHMANA, 36. 411
'harm not, O Agni, in the highest region!' the highest region doubtless are these worlds : thus, do not harm it in these worlds !—'The wild buffalo do I assign unto thee,' he thereby assigns to him the wild buffalo (gavaya);-'building up therewith thy forms, get thee settled!' that is, ‘building up therewith, perfect thyself!'—'Let thy burning heat reach the buffalo! let thy burning heat reach him whom we hatel' he thereby lays burning heat into the buffalo, and into him whom he hates.
35. Then that of the sheep, with (Vâg. S. XIII, 50), “This woollen that is, this woolly,'— 'navel of Varuna,' for the sheep is sacred to Varuna ;-'the skin of animals, two-footed and four-footed,' for that (sheep) indeed is the skin of both kinds of animals?, two-footed and four-footed ;'the first birth-place of Tvashtri's creatures,' for Tvashtri indeed fashioned this as the first form;
'harm not, O Agni, in the highest region!' the highest region is these worlds : thus, 'do not harm him in these worlds !'-—'The wild buffalo do I assign unto thee,' he thereby assigns the wild buffalo (ushtra) to him ;-'building up therewith thy forms, get thee settled !' that is, ' building up therewith, perfect thyself!'-'Let thy burning heat reach the buffalo! let thy burning heat reach him whom we hate!' he thereby lays burning heat into the buffalo, and into him whom he hates.
36. Then that of the he-goat, with (Vág. S. XIII, 51), 'Verily, the he-goat was produced from Agni's heat;'—that which was produced from · Viz. inasmuch as its wool serves as a cover for man and beast.
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412
SATAPATHA-BRÂHMANA.
Pragâpati's heat, was indeed produced from Agni's heat;—'he saw the progenitor at first, the progenitor doubtless is Pragâpati : thus, 'he saw Pragapati at first;'—'thereby the gods at first (agre) went to the godhead;' the he-goat' doubtless is speech, and from speech the gods doubtless first went to the godhead, to the summit (agram);'thereby they went to the height, the wise;' the height doubtless is the heavenly world : thus, 'thereby they went to the heavenly world, the wise;'
— The wild sarabha do I assign unto thee,'— he thereby assigns the wild sarabha ? to him ;'building up therewith thy forms, get thee settled !' that is, 'building up therewith, perfect thyself!'-'Let thy burning heat reach the sarabha! let thy burning heat reach him whom we hate!'he thereby lays burning heat into the sarabha, and into him whom he hates.
37. As to this they say,—The pain (heat), the evil of these animals, which Pragâpati drove out, became these five animals; they, with their pith (sacrificial essence) gone out of them, are pithless, unfit for sacrifice; a Brahmana should not eat of them: he consigns them to that region; whence Parganya does not rain in that region where these are.
38. He returns (to the offering-fire) and stands thereby worshipping it;—for when he goes outside the Vedi, whilst Agni (the fire-altar) is only half built up, he does what is improper; he now makes amends to him to prevent his doing injury. With
'Aga,' he-goat, is here again taken in the sense of a-ga,' unborn. As to the gods having sprung from Vâk, see VI, 1, 2, 6 seq.
? A fabulous animal with eight legs.
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VII KANDA, 5 ADHYAYA, 2 BRAHMANA, 41. 413
a verse to Agni (he worships): it is to Agni he thereby makes amends;-with an undefined one; the undefined means everything: by means of everything he thus makes amends to him ;-with (a verse) containing the word 'youngest:' this indeed, to wit, the youngest, is his favourite form;-inasmuch as when born he took possession (yu) of everything here, he is the youngest (yavishtha).
39. [Vâg. S. XIII, 52; Rik S. VIII, 84, 3]' Shield thou, O youngest, the men of the liberal worshipper!' the liberal worshipper is the Sacrificer, and the men are the people;-'hear thou the songs!' that is, hear this hymn of praise!-'protect thou kin and self!' the kin (race) means offspring: thus, 'protect both (the Sacrificer's) offspring and himself.'
40. Having stepped on the altar and walked round behind the naturally-perforated (brick), he lays down the Apasyâh (water-bricks);—now the Apasyâh are the same as water, and the water has gone out of these victims he thus puts water into these victims, when he lays down the Apasyâh (bricks). He lays them down close to the (heads of the) animals: he thereby puts the water together with the animals. He lays down five (bricks) in each quarter, for five are those victims. He lays them down in every (quarter): everywhere he thus puts water into them.
41. Now the first fifteen are the Apasyâh,-water is a thunderbolt, and the thunderbolt is fifteenfold; -hence wherever the waters flow, there they destroy evil; and verily the thunderbolt destroys the evil of this place: hence, when it rains one should go about uncovered, thinking, 'May that thunderbolt remove evil from me!'
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414
SATAPATHA-BRÂHMANA.
42. And the last five are the Khandasyah (the metres' bricks) ;—the metres are cattle, and cattle is food; or rather the flesh of cattle is food, and the flesh has departed from these victims: he therefore puts flesh on those cattle when he lays down the Khandasyah. He places them close to the victims : he thereby puts the flesh close to the bones of the) cattle. The Apasyâh are inside, the Khandasyâh outside ; for the water is inside, and the flesh outside.
43. As to this they say, 'If there are that water and that flesh, where then is the skin, and where the hair ?' Well, the skin of cattle is food, and the hair of cattle is food; and when he lays down the Khandasyâh, that is the skin of the victims, that is their hair. Or, again, those goats' hair which are in the fire-pan", they are hair. The fire-pan is outside, and the victims' heads are inside, for outside is the hair, and inside is the body. Whether in the one way, or whether in the other,' so Så ndilya was wont to say, 'in any case we make up the victims wholly and completely.'
44. And, again, why he lays down the Apasyah. When Pragâ pati was disjointed the water went from him; that being gone, he sank down; and because he sank down (vis), therefore there are twenty (vimsati, viz. such bricks). It flowed from his fingers, the fingers being the end, it (the water) went from him in the end.
45. Now the Pragapati who became disjointed is this very Agni who is now being built up; and the water (@pah) which went from him is these very
See VI, 4, 4, 32 ; 5, 1, 4.
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VII KÂNDA, 5 ADHYAYA, 2 BRÂHMANA, 52.
415
Apasyah ;-hence when he lays them down, he thereby puts back into him that very water which went from him : therefore he now lays these down.
46. [Vâg. S. XIII, 43] ‘In the way of the waters I settle thee!' the way of the waters is the wind; for when he blows hither and thither then the waters flow: in the wind he settles' this (first
brick).
47. ' In the swell of the waters I settle thee!' the swell of the waters is the plants, for wherever the waters keep swelling there plants grow: in the plants he settles this (brick).
48. In the ashes of the waters I settle thee!' the ashes of the waters are the foam: in foam he settles this one.
49. `In the light of the waters I settle thee!' the light of the waters is the lightning: in the lightning he settles this one.
50. 'In the path of the waters I settle thee!' the path of the waters is this earth, for on the earth the waters flow: on this earth he settles this one. Whatever water flowed from those (five) forms of his, that water he now (by these five formulas) puts back into him; and those forms themselves he thereby restores to him.
51. 'In the flood, the seat, I settle thee!' the flood is the breath: in the breath he settles this one.
52. 'In the ocean, the seat, I settle thee!' the sea is the mind; from the mind-ocean, with speech for a shovel, the gods dug out the triple science. Thereto this verse applies,— May the true god know this day where the gods placed that offering, they who dug it out from the ocean with
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416
SATAPATHA-BRÂHMANA.'
sharp shovels; '—the ocean is the mind, the sharp shovel is speech, the offering is the triple science : it is thereto this verse applies. In the mind he settles this (brick).
53. 'In the stream, the seat, I settle thee!' the stream is speech : in speech he settles this one.
54. 'In the abode of the waters I settle thee!' the abode of the waters is the eye, for there water always abides: in the eye he settles this one.
55. 'In the goal of the waters I settle thee!' the goal of the waters is the ear: in the ear he settles this one. Whatever water flowed from those (five) forms of his, that water he now (by these five formulas) puts back into him; and those forms themselves he thereby restores to him.
56. In the seat of the waters I settle thee!' the seat of the waters is the sky, for in the sky the waters are seated : in the sky he settles this one.
57. 'In the home of the waters I settle theel the home of the waters is the air : in the air he settles this one.
58. 'In the womb of the waters I settle thee!' the womb of the waters is the sea : in the sea he settles this one.
59. 'In the sediment of the waters I settle thee!' the sediment (purisha) of the waters is sand: in the sand he settles this one.
60. In the resort of the waters I settle thee!' the resort of the waters is food : in food he settles this one. Whatever water flowed from those (five) forms of his, that water he now (by these five formulas) puts back into him; and those forms themselves he thereby restores to him.
61. ‘By the Gayatri metre I settle theel
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VII KÂNDA, 5 ADHYAYA, 2 BRÂHMANA, 62. 417
By the Trishtubh metre I settle thee!-By the Gagatimetre I settle thee!-By the Anushtubh metre I settle thee!-By the Pankti metre I settle thee!' Whatever water flowed from those metres of his, that he now (by these formulas) puts back into him; and those metres themselves he thereby restores to him.
62. These (bricks) are fingers (and toes) : he puts them on all sides 1, for these fingers (and toes) are on all sides; he puts them at the ends, for these fingers (and toes) are at the ends ; in four sets he puts them on, for these fingers (and toes) are in four sets ; five he puts on each time, for there are five fingers (or toes) at each (limb); separately he puts them on, for separate are these fingers (and toes); only once he'settles' each (set): he thereby makes (each set) one and the same, whence they have a common connecting-link.
1 The four sets of bricks are placed in the middle of the four sides of the square 'body' of the altar-site, or at the ends of the two spines' intersecting each other.
(41)
Е е
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418
SATAPATHA-BRAHMANA.
CORRECTIONS.
Introduction, page xii, line 33. Read,-the day preceding the Soma-day, the animal offering to Agni-Soma being indeed a constant feature of that day's proceedings at every Soma-sacrifice; whilst the slaughter of the special victim, or victims, of the respective sacrifice takes place during the morning service, &c.
P. 5, last line of text. Read, therefor.
P. 6, note a, l. 3. Prishthya shadaha, see Introduction, p. xxi.
P. 8, last line of notes. For 'II, 665' read 'II, 663, in a different tune again.' P. 9, 1. 5 of notes. Read,-II, 720-22.
P. 34, 1. 21. Read,-Brihaspati consecration.
For 'offering' read 'offspring.'
P. 41, 1. 14. P. 104, 1. 2. P. 146, 1. 23.
For 'truth' read 'law;' (cf. VI, 7, 3, 11.) For 'become' read 'became.'
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PLAN OF FIRE-ALTAR (AGNIKSHETRA).
PLAN OF FIRE- ALTAR (AGNIKSHETRA)
Tail
NW
W
SW
Left thigh
Right Chigh
Left wing
E e 2
N
Spine of body (acman)
Right wing
419
Loft shoulder
Right shoulder
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TRANSLITERATION OF ORIENTAL ALPHABETS ADOPTED FOR THE TRANSLATIONS
OF THE SACRED BOOKS OF THE EAST.
MISSIONARY ALPHABET.
CONSONANTS.
Sanskrit.
Zend.
Pehlevi.
Persian
Arabic.
Hebrew. Chinese.
I Class.
II Class.
III Class.
kh
Gutturales. 1 Tenuis.... 2 aspirata ... 3 Media .... 4 » aspirata ..... 5 Gutturo-labialis ..
noroas
6 Nasalis ....
9790 : obing : -- www: 3:::--www! Anaan : ZERE:
:::::
S(N
TRANSLITERATION OF ORIENTAL ALPHABETS.
h, hs
7 Spiritus asper....... 8 , lenis....... 9 , asper faucalis ....
lenis faucalis. ...
, asper fricatus .... 12 , lenis fricatus....
10
»
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Gutturales modificatae
(palatales, &c.) 13 Tenuis ........ 14 „ aspirata .. 15 Media ...... 16 , aspirata ...... 17 Nasalis ...
kh
:
www: :www: :::::
::
421
::

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MISSIONARY ALPRABET.
CONSONANTS
confirmed
Sanskertt.
Zad.
Pehlevt
Perrian
Arabic, Hebrew. Chinese
1 Class
I che
III Clan.
422
18 Semivocalis ..
y yo
init.
19 Spiritus asper.... 20
lenis ....... 21 – asper assibilatus.
» lenis assibilatus ..
Dentales. 23 Tenuis ......... 24 „ aspirata . .... 25 , assibilats .. 26 Media ...... 27 „ aspirata . . . 28 , assibilata .. 29 Nasalis ........ 30 Semivocalis ....... » mon
mollis 1 ..., 32 , mollis 2.. 33 Spiritus asper 1 ..... 34 „ esper 2 ....... 35 , lenis ........ 36 , asperrimus 1...... 37 . Asperrimus 2 ....
::78 evige:
тн
TRANSLITERATION OF ORIENTAL ALPHABETS
::34 Ion In ::35 1:42:n 17:33:43: :: :: Esirrinn::oorn:
: :333
: 81 31 21:40: A
DH
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.
...
b
b
R
Dentales modifloatao
(lingualos, &c.) 38 Tenuis ........ 39 , aspirata ....... 40 Media ............ 41 aspirata .... 42 Nasalis ............ 43 Semivocalis ......
fricata ...... 45 , diacritica . 46 Spiritus asper ........ 47 , lenis .........
:::*:*
: «
.
.
.
.
.
.
.
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lenis ...... 58 Anusvåra ....... 59 Visarga ......
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FOR THE SACRED BOOKS OF THE EAST.
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VOWELS.
MISSIONARY ALPHADAT.
- 1 Class 11 Class III Class.
Sanskrit
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Hebrew. Chinese.
::
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62
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longa ... e (ai) 16 Diphthongus gutturo-palatalis di
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oi (ou) 19 Gutturo-labialis brevis ... 20
longa .... (au) 21 Diphthongus gutturo-labialis
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ou (ou) 24 Gutturalis fracta ... 25 Palatalis fracta ....... 26 Labialis fracta ....... 27 Gutturo-labialis fracta ...
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SACRED BOOKS OF THE EAST
TRANSLATED BY VARIOUS ORIENTAL SCHOLARS
AND EDITED BY F. MA X MÜLLER * This Series is published with the sanction and co-operation of the Secretary of
State for India in Council.
REPORT pronanted to the ACADÉMIX DES INSCRIPTIONS, May 11,
1883, by X. BRNBBT RAMAI. M. Renan présente trois nouveaux une seconde, dont l'intérêt historique et volumes de la grande collection des religieux ne sera pas moindre. M. Max “Livres SACrés de l'Orient" (Sacred Müller a su se procurer la collaboration Books of the East), qne dirige à Oxford, des savans les plus éminens d'Europe et avec une si vaste érudition et une critique d'Asie. L'Université d'Oxford, que cette si sûre, le savant associé de l'Académie grande publication honore au plus haut des Inscriptions, M. Max Müller. ... La degré, doit tenir à continuer dans les plus première série de ce beau recueil, com larges proportions une oeuvre aussi philoposée de 24 volumes, est presque achevée. sophiquement conçue que savamment M. Max Müller se propose d'en publier exécutée.'
EXTRACT from the QUARTERLY RIVIEW. "We rejoice to notice that a second great edition of the Rig Veda, can comseries of these translations has been an pare in importance or in usefulness with nounced and has actually begun to appear. this English translation of the Sacred The stones, at least, out of which a stately Books of the East, which has been devised edifice may hereafter arise, are here being by his foresight, successfully brought so brought together. Prof. Max Müller has far by his persuasive and organising deserved well of scientific history. Not power, and will, we trust, by the assista few minds owe to his enticing words ance of the distinguished scholars he has their first attraction to this branch of gathered round him, be carried in due study. But no work of his, not even the time to a happy completion.' Professor E. LARDY, Inaugural Lecture in the University of Iredburg, 1887.
Die allgemeine vergleichende Reli- internationalen Orientalistencongress in gionswissenschaft datirt von jenem gross- London der Grundstein gelegt worden artigen, in seiner Art einzig dastehenden war, die Übersetzung der heiligen Bücher Unternehmen, zu welchem auf Anregung des Ostens' (the Sacred Books of the Max Müllers im Jahre 1874 auf dem East).
The Ion. ALBERI 8. G. CAIXING.' Words on Exdating Religions. •The recent publication of the "Sacred a great event in the annals of theological Works of the East" in English is surely literature.'
aft dart einzig dll Anreraten
Oxford AT THE CLARENDON PRESS
LONDON: HENRY FROWDE OXFORD UNIVERSITY PRESS WAREHOUSE, AMEN CORNER, E.C.
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SACRED BOOKS OF THE EAST :
FIRST SERIES. VOL. I. The Upanishads.
Translated by F. MAX MÜLLER. Part I. The KhandogyaUpanishad, The Talavakara-upanishad, The Aitareya-aranyaka, The Kaushitaki-brahmana-upanishad, and The Vagasaneyisamhita-upanishad. 8vo, cloth, ios. 6d. The Upanishads contain the philosophy of the Veda. They have become the foundation of the laler Vedanta doctrines, and indirectly of Buddhism. Schopenhauer, speaking of the Upanishads, says:
In the whole world there is no study so beneficial and so elevating as that of the Upanishads. It has been the solace of my life, it will be the solace of my death.
[See also Vol. XV.] VOL. II. The Sacred Laws of the Åryas,
As taught in the Schools of Âpastamba, Gautama, Vâsishtha, and Baudhâyana. Translated by GEORG BÜHLER. Part I. Âpastamba and Gautama. 8vo, cloth, 1os. 6d. The Sacred Laws of the Aryas contain the original treatises on which the Laws of Manu and other lawgivers were founded.
[See also Vol. XIV.] VOL. III. The Sacred Books of China.
The Texts of Confucianism. Translated by JAMES LEGge. Part I. The Shů King, The Religious Portions of the Shih
King, and The Hsiao King. 8vo, cloth, 125. 6d. Confucius was a collector of ancient traditions, not the founder of a new religion. As he lived in the sixth and fifth centuries B.C. his works are of unique interest for the study of Ethology.
(See also Vols. XVI, XXVII, XXVIII, XXXIX, and XL.] VOL. IV. The Zend-Avesta.
Translated by JAMES DARMESTETER. Part I. The Vendidad. 8vo, cloth, 1os. 6d. The Zend-Avesta contains the relics of what was the religion of Cyrus, Darius, and Xerxes, and, but for the battle of Marathon,
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EDITED BY F. MAX MÜLLER.
might have become the religion of Europe. It forms to the present day the sacred book of the Parsis, the so-called fire-worshippers.
Two more volumes will complete the translation of all that is left us of Zoroaster's religion.
[See also Vols. XXIII and XXXL) VOL. V. Pahlavi Texts.
Translated by E. W. WEST. Part I. The Bundahis, Bahman
Yast, and Shayast lå-shầyast. 8vo, cloth, 12s. 6d. The Pahlavi Texts comprise the theological literature of the revival of Zoroaster's religion, beginning with the Sassanian dynasty. They
are important for a study of Gnosticism. VOLS. VI AND IX. The Qur'ân.
Parts I and II. Translated by E. H. PALMER. 8vo, cloth, 215. This translation, carried out according to his own peculiar views of the origin of the Qur'an, was the last great work of E. H. Palmer,
before he was murdered in Egypt. VOL. VII. The Institutes of Vishnu.
Translated by JULIUS JOLLY. 8vo, cloth, ros. 6d. A collection of legal aphorisms, closely connected with one of the oldest Vedic schools, the Kathas, but considerably added to in later
time. Of imporlance for a critical study of the Laws of Manu. VOL. VIII. The Bhagavadgitâ, with The Sanatsugâtiya, and The Anugîta.
Translated by KashINÂTH TRIMBAK TELANG. 8vo, cloth,
Ios. 6d. The earliest philosophical and religious poem of India. It has been
paraphrased in Arnold's Song Celestial. VOL. X. The Dhammapada,
Translated from Pâli by F. Max Müller; and The Sutta-Nipâta,
Translated from Páli by V. FAUSBÖLL; being Canonical Books of the Buddhists. 8vo, cloth, ros. 6d. The Dhammapada contains the quintessence of Buddhist moralily. The Sutta-Nipata gives the authentic teaching of Buddha on some of the fundamental principles of religion.
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SACRED BOOKS OF THE EAST :
VOL. XI. Buddhist Suttas.
Translated from Pali by T. W. Rhys Davids. 1. The Mahaparinibbâna Suttanta; 2. The Dhamma-kakka-ppavattana Sutta. 3. The Tevigga Suttanta; 4. The Akankheyya Sutta; 5. The Ketokhila Sutta ; 6. The Mahâ-sudassana Suttanta ;
7. The Sabbâsava Sutta. 8vo, cloth, 1os. 6d. A collection of the most important religious, moral, and philosophical
discourses taken from the sacred canon of the Buddhists. VOL. XII. The Satapatha-Brâhmana, according to the Text of the Madhyandina School.
Translated by Julius EGGELING. Part I. Books I and II.
8vo, cloth, 12s. 6d. A minute account of the sacrificial ceremonies of the Vedic age. It contains the earliest account of the Deluge in India.
[See also Vols. XXVI, XLI.] VOL. XIII. Vinaya Texts.
Translated from the Pali by T. W. Rhys Davids and HERMANN OLDENBERG. Part I. The Pâtimokkha. The Mahavagga, I-IV.
8vo, cloth, ros. 6d. The Vinaya Texts give for the first time a translation of the moral code of the Buldhist religion as settled in the third century B.C.
[See also Vols. XVII and XX.] VOL. XIV. The Sacred Laws of the Aryas,
As taught in the Schools of  pastamba, Gautama, Vasishtha, and Baudhayana. Translated by GEORG BÜHLER. Part II.
Vasishtha and Baudhayana. 8vo, cloth, 1os. 6d. VOL. XV. The Upanishads.
Translated by F. Max MULLER. Part II. The Katha-upanishad, The Mundaka-upanishad, The Taittiriyaka-upanishad, The Brihadaranyaka-upanishad, The Svetâsvatara-upanishad, The Prasña-upanishad, and The Maitrầyana-brâhmana-upanishad.
8vo, cloth, ios. 6d. VOL. XVI. The Sacred Books of China.
The Texts of Confucianism. Translated by JAMES LEGGE. Part II. The Yî King. 8vo, cloth, ros. 60.
[See also Vols. XXVII, XXVIII.) VOL. XVII. Vinaya Texts.
Translated from the Pâli by T. W. Rhys Davids and HERMANN OLDENBERG. Part II. The Mahavagga V-X. The Kullavagga, I-III. 8vo, cloth, ros. 6d.
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EDITED BY F. MAX MÜLLER.
VOL. XVIII. Pahlavi Texts.
Translated by E. W. WEST. Part II. The Dâdistân-î Dînîk and The Epistles of Mânûskîhar. 8vo, cloth, 12s. 6d.
VOL. XIX. The Fo-sho-hing-tsan-king.
A Life of Buddha by Asvaghosha Bodhisattva, translated from Sanskrit into Chinese by Dharmaraksha, A.D. 420, and from Chinese into English by SAMUEL BEAL. 8vo, cloth, 10s. 6d. This life of Buddha was translated from Sanskrit into Chinese, A. D. 420. It contains many legends, some of which show a certain similarity to the Evangelium infantiae, &c.
VOL. XX. Vinaya Texts.
Translated from the Pâli by T. W. RHYS DAVIDS and HERMANN OLDENBERG. Part III. The Kullavagga, IV-XII. 8vo, cloth, 10s. 6d.
VOL. XXI. The Saddharma-pundarîka; or, The Lotus of the True Law.
Translated by H. KERN. 8vo, cloth, 12s. 6d.
'The Lotus of the true Law, a canonical book of the Northern Buddhists, translated from Sanskrit. There is a Chinese translation of this book which was finished as early as the year 286 A.D. VOL. XXII. Gaina-Sutras.
Translated from Prâkrit by HERMANN JACOBI. Part I. The Âkârânga-Sutra and The Kalpa-Sutra. 8vo, cloth, 10s. 6d. The religion of the Gainas was founded by a contemporary of Buddha. It still counts numerous adherents in India, while there are no Buddhists left in India proper.
Part II, in preparation.
VOL. XXIII. The Zend-Avesta.
Translated by JAMES DARMESTETER. Part II. The Sîrôzahs, Yasts, and Nyâyis. 8vo, cloth, 10s. 6d.
VOL. XXIV. Pahlavi Texts.
Translated by E. W. WEST. Part III. Dînâ-î MaînôgKhirad, Sikand-gûmânîk Vigâr, and Sad Dar. 8vo, cloth, 10s. 6d.
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SACRED BOOKS OF THE EAST:
SECOND SERIES.
VOL. XXV. Manu.
Translated by GEORG BÜHLER. 8vo, cloth, 2IS. This translation is founded on that of Sir William Jones, which has been carefully revised and corrected with the help of seven native Commentaries. An Appendix contains all the quotations from Manu which are found in the Hindu Law-books, translated for the use of the Law Courts in India. Another Appendix gives a synopsis of parallel passages from the six Dharma-sätras, the other Smritis, the Upanishads, the Mahâbhârata, &c.
VOL. XXVI. The Satapatha-Brâhmana.
Translated by JULIUS EGGELING. Part II. Books III and IV.
8vo, cloth, 125. 60. VOLS. XXVII AND XXVIII. The Sacred Books of China.
The Texts of Confucianism. Translated by JAMES LEGGE. Parts III and IV. The Li Ki, or Collection of Treatises on the Rules
of Propriety, or Ceremonial Usages. 8vo, cloth, 125. 6d. each. VOL. XXIX. The Grihya-Satras, Rules of Vedic Domestic Ceremonies.
Part I. Sânkhâyana, Âsvalâyana, Påraskara, Khâdira. Translated by HERMANN OLDENBERG. 8vo, cloth, 12s. 6d. These rules of Domestic Ceremonies describe the home life of the ancient Aryas with a completeness and accuracy unmatched in any other literature.
Some of these rales have been incorporated in the ancient Law-books. VOL. XXX. The Grihya-Satras, Rules of Vedic Domestic Ceremonies.
Part II. Gobhila, Hiranyakesin, Âpastamba. Translated by HERMANN OLDENBERG. Âpastamba; 'Yagña-paribhâsha-stras.
Translated by F. Max MÜLLER. 8vo, cloth, 125. 6d. VOL. XXXI. The Zend-Avesta.
Part III. The Yasna, Visparad, Âfrînagån, Gâhs, and Miscellaneous Fragments. Translated by L. H. Mills. 8vo.
cloth, 12s. 6d. VOL. XXXII. Vedic Hymns.
Translated by F. Max MÜLLER. Part I. 8vo, cloth, 18s. 6d.
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EDITED BY F. MAX MÜLLER.
VOL. XXXIII. The Minor Law-books.
Translated by JULIUS JOLLY. Part I. Nârada, Brihaspati. 8vo, cloth, 10s. 6d.
VOL. XXXIV. The Vedânta-Sutras, with the Commentary by Sankarâkârya. Part I.
Translated by G. THIBAUT. 8vo, cloth, 12s. 6d.
VOL. XXXV. The Questions of King Milinda. Part I. Translated from the Pâli by T. W. RHYS DAVIDS. 8vo, cloth, Ios. 6d.
VOL. XXXVI. The Questions of King Milinda. Part II. [In the Press.]
VOL. XXXVII. The Contents of the Nasks, as stated in the Eighth and Ninth Books of the Dinkard. Part I. Translated by E. W. WEST. 8vo, cloth, 15s.
VOL. XXXVIII. The Vedânta-Sûtras. Part II. [In the Press.]
VOLS. XXXIX AND XL.
The Texts of Tâoism. cloth, 215.
The Sacred Books of China. Translated by JAMES LEGGE. 8yo,
VOL. XLI. The Satapatha-Brahmana. Part III. Translated by JULIUS EGGELING. [In the Press.]
VOL. XLII. The Buddha-karita. E. B. COWELL. The Sukhâvatî-vyûha. MAX MÜLLER. [In the Press.]
Translated by Translated by F.
VOLS. XLIII AND XLIV. The Satapatha-Brâhmaza. Parts IV and V. [In preparation.]
VOL. XLV. The Gaina-Sutras. Part II. [In preparation.]
VOL. XLVI. preparation.]
The Vedanta-Sutras.
Part III. [In
VOL. XLVII. The Contents of the Nasks. Part II. [In preparation.]
VOL. XLVIII. Vedic Hymns. Part II. [In preparation.]
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RECENT ORIENTAL WORKS.
Anecdota Oxoniensia.
ARYAN SERIES. Buddhist Texts from Japan. I. Vagrakkhedikâ ; The Diamond-Cutter.
Edited by F. Max Müller, M.A. Small 4to, 35. 6d.
One of the most famous metaphysical treatises of the Mahâyâna Buddhists. Buddhist Texts from Japan. II. Sukhåvati-Vyaha : Description of Sukhôvati, the Land of Bliss.
Edited by F. Max MÜLLER, M.A., and BUNYIU NANJIO. With two Appendices: (1) Text and Translation of Sanghavarman's Chinese Version of the Poetical Portions of the SukhavatiVyûha ; (2) Sanskrit Text of the Smaller Sukhâvatî-Vyâha. Small 4to, 75. 6d. The editio princeps of the Sacred Book of one of the largest and most influential sects of Buddhism, numbering more than ten millions of followers
in Japan alone. Buddhist Texts from Japan. III. The Ancient Palm
Leaves containing the Pragña-Paramitá-HridayaSätra and the Ushnisha-Vigaya-Dharani.
Edited by F. Max Müller, M.A., and BUNYIU NANJIO, M.A. With an Appendix by G. BÜHLER, C.I.E. With many Plates. Small 4to, Ios.
Contains facsimiles of the oldest Sanskrit MS. at present known. Dharma-Samgraha, an Ancient Collection of Buddhist Technical Terms.
Prepared for publication by KenjiU KASAWARA, a Buddhist Priest from Japan, and, after his death, edited by F. Max
Müller and H. Wenzel. Small 4to, 75. 6d. Kâtâ yana's Sarvânukramant of the Rigveda.
With Extracts from Shadgurusishya's Commentary entitled Vedârthadîpikâ. Edited by A. A. MACDONELL, M.A., Ph.D. 16s.
Oxford AT THE CLARENDON PRESS
LONDON : HENRY FROWDE OXFORD UNIVERSITY PRESS WAREHOUSE, AMEN CORNER, E.C.
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Google
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THE
SACRED BOOKS OF THE EAST
[42]
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London HENRY FROWDE OXFORD UNIVERSITY PRESS WAREHOUSE
AMEN CORNER, E.C.
305873
Dom mina Sinus tlo
allumee
Clero York THE MACMILLAN CO., 66 FIFTH AVENUE
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THE
SACRED BOOKS OF THE EAST
TRANSLATED
BY VARIOUS ORIENTAL SCHOLARS
AND EDITED BY
F. MAX MÜLLER
VOL. XLII
Oxford
AT THE CLARENDON PRESS
1897
[All rights reserved]
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REISE
Oxford PRINTED AT THE CLARENDON PRESS
BY HORACE HART PRINTER TO THE UNIVERSITY
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må46
0.42
HYMNS OF THE ATHARVA-VEDA
TOGETHER WITH
EXTRACTS FROM THE RITUAL BOOKS
AND THE COMMENTARIES
TRANSLATED BY
MAURICE BLOOMFIELD
Oxford
AT THE CLARENDON PRESS
1897
[ AN nghts reserved]
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CONTENTS.
INTRODUCTION :
I. The names of the Atharva-veda and their meanings II. The position of the Atharva-veda in Hindu Literature in general
III. The Atharva-veda in the view of its Ritualistic Literature Prefatory remarks
HYMNS, TRANSLATION AND COMMENTARY:
I. Charms to cure diseases and possession by demons of disease (bhaishagyâni).
Book v, 22. Charm against takman (fever) and related diseases
vi, 20. Charm against takman (fever)
i, 25. Charm against takman (fever) vii, 116. Charm against takman (fever) v, 4. Prayer to the kush/ha-plant to destroy takman (fever)
•
xix, 39. Prayer to the kush/ha-plant to destroy takman (fever) and other ailments. i, 12. Prayer to lightning, conceived as the cause of fever, headache, and cough i, 22. Charm against jaundice and related diseases
·
•
685 M946 v. 42
vi, 14. Charm against the disease balâsa vi, 105. Charm against cough
i, 2. Charm against excessive discharges from the body
ii, 3. Charm against excessive discharges from the body, undertaken with spring
water
118430
•
·
PAGES
xvii
xxviii
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lxxi
I, 441
3, 468
3, 270
4, 565
4, 414
5, 676
7,246
7,263 8,463
8, 513
8, 233
9, 277
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vili
CONTENTS.
BOOK
PAGES
10, 481
10, 235
II, 506 II, 241 12, 562
12, 471
13, 500 13, 286
15, 336 16, 266
16, 268
vi, 44. Charm against excessive discharges from the body . . . .
. i, 3. Charm against constipation and retention of
urine. . . . . . . . vi, 90. Charm against internal pain (colic), due to
the missiles of Rudra. . . i, 10. Charm against dropsy . . . . vii, 83. Charm against dropsy . . . . vi, 24. Dropsy, heart-disease, and kindred maladies
cured by flowing water . . . . vi, 80. An oblation to the sun, conceived as one of
the two heavenly dogs, as a cure for paralysis ii, 8. Charm against kshetriya, hereditary disease. ii, 10. Charm against kshetriya, hereditary disease. iii, 7. Charm against kshetriya, hereditary disease. i, 23. Leprosy cured by a dark plant. . . i, 24. Leprosy cured by a dark plant. . . vi, 83. Charm for curing scrofulous sores called
apakit . . . . . . . vii, 76. A. Charm for curing scrofulous sores called
apakit . . . . .
B. Charm for curing tumours called gâyânya C. Stanza sung at the mid-day pressure of
the soma . . . . . : vii, 74. A. Charm for curing scrofulous sores called
apakit . . . . .
B. Charm to appease jealousy . . .
C. Prayer to Agni, the lord of vows . . vi, 25. Charm against scrofulous sores upon neck
and shoulders . . . . . . vi, 57. Urine (gâlâsha) as a cure for scrofulous
sores . . . iv, 12. Charm with the plant arundhati (lâksha) for
the cure of fractures . . . . . V, 5. Charm with the plant silákî (lákshâ, arundhati)
for the cure of wounds . . . . vi, 109. The pepper-corn as a cure for wounds. i, 17. Charm to stop the flow of blood . . . ii, 31. Charm against worms . . . ii, 32. Charra against worms in catile . . .
17, 559 17, 560
18
3, 562
3, 559 3, 559
19, 472 19, 488
19, 384
20, 419 21, 516 22, 257 22, 313 23, 317
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CONTENTS.
BOOK
v, 23. Charm against worms in children
iv, 6. Charm against poison
iv, 7. Charm against poison
vi, 100. Ants as an antidote against poison
v, 13. Charm against snake-poison
vi, 12. Charm against snake-poison
vii, 56. Charm against the poison of serpents, scorpions, and insects
vi, 16. Charm against ophthalmia
vi, 21. Charm to promote the growth of hair
vi, 136. Charm with the plant nitatnf to promote the growth of hair
vi, 137. Charm to promote the growth of hair iv, 4. Charm to promote virility
·
•
vi, 111. Charm against mania
iv, 37. Charm with the plant agasringf to drive out Rakshas, Apsaras, and Gandharvas
ii, 9. Possession by demons of disease, cured by an amulet of ten kinds of wood.
i, 36. Charm against demons (pisâka) conceived as the cause of disease.
•
ii, 25. Charm with the plant prisniparnî against the demon of disease called kanva
vi, 32. Charm for driving away demons (Rakshas and Pisâkas)
vi, 127. The kipudru-tree as a panacea
xix, 38. The healing properties of bdellium vi, 91. Barley and water as universal remedies
ii, 4. Charm with an amulet derived from the gangida-tree, against diseases and demons
xix, 34. Charm with an amulet derived from the gangida-tree, against diseases and demons
xix, 35. Charm with an amulet derived from the gangida-tree, against diseases and demons
vi, 85. Exorcism of disease by means of an amulet from the varana-tree
·
vi, 96. Plants as a panacea.
ii, 33. Charm to secure perfect health
viii, 7. Hymn to all magic and medicinal plants, used as a universal remedy
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PAGES
23, 452
25, 373
26, 376
27, 511
27, 425
28, 461
29, 552
30, 464
30, 470
31, 536 31, 537
31, 369
32, 518
33, 408
34, 290
35, 407
36, 302
36, 475
37, 280
38, 669
39, 674
39, 505 40, 530
40, 675
40, 507
41, 578
44, 509
44, 321
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45, 600
ix, 8. Charm to procure immunity from all diseases ii, 29. Charm for obtaining long life and prosperity
by transmission of disease . . . .
47, 308
49, 341 50, 306 51, 364 52, 551
II. Prayers for long life and health (@yushyâni).
iii, 11. Prayer for health and long life . . . ii, 28. Prayer for long life pronounced over a boy . iii, 31. Prayer for health and long life . . . vii, 53. Prayer for long life . . . . . viii, 1. Prayer for exemption from the dangers of
death. . . . . . . . viii, 2. Prayer for exemption from the dangers of
death. . . . . . . . V, 30. Prayer for exemption from disease and death iv, 9. Salve (añgana) as a protector of life and limb iv, 10. The pearl and its shell as an amulet bestow
ing long life and prosperity . . . . xix, 26. Gold as an amulet for long life . .
53, 569
55, 573 59, 455 61, 381
62, 383 63, 668
64, 237
III. Imprecations against demons, sorcerers, and ene
mies (abhikârikâni and krityậpratiharanâni). i, 7. Against sorcerers and demons . . i, 8. Against sorcerers and demons . . . i, 16. Charm with lead, against demons and sor
cerers . . . . . . . vi, 2. The soma-oblation directed against demons
(rakshas) . . . . . . . ü, 14. Charm against a variety of female demons,
conceived as hostile to men, cattle, and home iii, 9. Against vishkandha and kábava (hostile
demons) . . . . . . . iv, 20. Charm with a certain plant (sadampushpa)
which exposes demons and enemies . . iv, 17. Charm with the apâ mârga-plant, against
sorcery, demons, and enemies . . . iv, 18. Charm with the apâmârga-plant, against
sorcery, demons, and enemies . . . iv, 19. Mystic power of the apâmârga-plant, against
demons and sorcerers . . . . .
68, 398
69, 393
70, 396
71, 397
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CONTENTS.
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72, 556 72, 602 76, 456 77, 429
79, 575
BOOK vii, 65. Charm with the apâ mârga-plant, against
curses, and the consequence of sinful deeds. X, 1. Charm to repel sorceries or spells , . V, 31. Charm to repel sorceries or spells . . V, 14. Charm to repel sorceries or spells . . viii, 5. Prayer for protection addressed to a talis
man made from the wood of the sraktya-tree. », 3. Praise of the virtues of an amulet derived
from the varana-tree . . . . . 1, 6. Praise of the virtues of an amulet of khadira
wood in the shape of a ploughshare . . iv, 16. Prayer to Varuna for protection against
treacherous designs . . . . . ii, 12. Imprecation against enemies thwarting holy
work . . . . . . . . vii, 70. Frustration of the sacrifice of an enemy. ii, 7. Charm against curses and hostile plots, under
taken with a certain plant . . . . üži, 6. The asvattha-tree as a destroyer of enemies. vi, 75. Oblation for the suppression of enemies
(nairbâdhyam havin) . . . . . vi, 37. Curse against one that practises hostile
charms . . . . . vii, 13. Charm to deprive enemies of their strength
89, 294 90, 557
285
91, 334
92, 495
93, 475 93, 544
94, 322 95, 491 95, 502 96, 498 96, 546
IV. Charms pertaining to women (strîkarmâni).
ü, 36. Charm to obtain a husband vi, 60. Charm to obtain a husband . . vi, 82. Charm for obtaining a wife . . . vi, 78. Blessing for a married couple. . vii, 36. Love-charm spoken by a bridal couple vii, 37. Charm pronounced by the bride over the
bridegroom . . . . . . . vi, 81. A bracelet as an amulet to ensure concep
tion . . . . . . . . jü, 23. Charm for obtaining a son (pumsavanam). vi, 11. Charm for obtaining a son (pumsavanam). vii, 35. An incantation to make a woman sterile. vi, 17. Charm to prevent miscarriage . . . i, 11. Charm for easy parturition . . .
96, 501 97, 356 97, 460 98, 545 98, 467 99, 242
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i, 34. Charm with licorice, to secure the love of a
woman
ii, 30. Charm to secure the love of a woman vi, 8. Charm to secure the love of a woman. vi, 9. Charm to secure the love of a woman vi, 102. Charm to secure the love of a woman
iii, 25. Charm to arouse the passionate love of
.
•
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CONTENTS.
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a woman
vi, 139. Charm to arouse the passionate love of
a woman
vii, 38. Charm to secure the love of a man vi, 130. Charm to arouse the passionate love of
•
•
•
•
woman
vi, 18. Charm to allay jealousy
vii, 45. Charm to allay jealousy
•
·
•
•
•
a man
vi, 131. Charm to arouse the passionate love of
a man
vi, 132. Charm to arouse the passionate love of
a man
iv, 5. Charm at an assignation
vi, 77. Charm to cause the return of a truant
•
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•
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i, 14. A woman's incantation against her rival iii, 18. Charm of a woman against a rival or co-wife vi, 138. Charm for depriving a man of his virility. i, 18. Charm to remove evil bodily characteristics from a woman
vi, 110. Expiatory charm for a child born under an unlucky star
vi, 140. Expiation for the irregular appearance of the first pair of teeth
•
.
V. Charms pertaining to royalty (râgakarmâni).
iv, 8. Prayer at the consecration of a king
iii, 3. Charm for the restoration of an exiled king
iii, 4. Prayer at the election of a king iii, 5. Praise of an amulet derived from the parnatree, designed to strengthen royal power
iv, 22. Charm to secure the superiority of a king. i, 9. Prayer for earthly and heavenly success
·
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PAGES
99, 274
100, 311
100, 459
IOI, 459
IOI, 512
102, 358
102, 539 103, 546
104, 534
104, 535
104, 535
105, 371
106, 496 106, 467
107, 547
107, 252
107, 354 108, 537
109, 260
109, 517
IIO, 540
III, 378 112, 327
113, 330
114, 331
115, 404 116, 239
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PAGES vi, 38. Prayer for lustre and power . . . 116, 477 vi, 39. Prayer for glory (yasas) . . . . 117, 478 viii, 8. Battle-charm . . . . . . 117, 582 i, 19. Battle-charm against arrow-wounds . . 120, 262 ü, 1. Battle-charm for confusing the enemy. . 121, 325 iï, 2. Battle-charm for confusing the enemy. 121, vi, 97. Battle-charm of a king upon the eve of
battle . . . . . . . . . 122, 510 vi, 99. Battle-charm of a king upon the eve of
battle. . . . . . . xi, 9. Prayer to Arbudi and Nyarbudi for help in
battle . . . . . . . . 123, 631 xi, 1o. Prayer to Trishamdhi for help in battle . 126, 637 V, 20. Hymn to the battle-drum . . . . 130, 436 V, 21. Hymn to the battle-drum, the terror of the
enemy. . . . . . . . 131, 439
123, 51°
VI. Charms to secure harmony, influence in the assem
bly, and the like (sâmmanasyâni, &c.). üi, 30. Charm to secure harmony . . . 134, 361 vi, 73. Charm to allay discord . . . . 135, 494 vi, 74. Charm to allay discord . . . . 135, 495 vü, 52. Charm against strife and bloodshed . . 136, 550 vi, 64. Charm to allay discord . . • 136, 492 vi, 42. Charm to appease anger . . . . 136, 479 vi, 43. Charm to appease anger . . . . 137, 480 ü, 27. Charm against opponents in debate, under
taken with the pâtâ-plant . . . . 137, 304 vii, 12. Charm to procure influence in the assembly 138, 543 vi, 94. Charm to bring about submission to one's
will . . . . . . . . 138, 508 VII. Charms to secure prosperity in house, field, cattle,
business, gambling, and kindred matters. iii, 12. Prayer at the building of a house . . 140, 343 vi, 142. Blessing during the sowing of seed . 141, 541 vi, 79. Charm for procuring increase of grain . 141, 499 vi, 50. Exorcism of vermin infesting grain in the
field . . . . . . . . 142, 485 vü, 11. Charm to protect grain from lightning . 142, 543
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CONTENTS.
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PAGES ïi, 26. Charm for the prosperity of cattle . . 142, 303 iii, 14. Charm for the prosperity of cattle . . 143, 351 vi, 59. Prayer to the plant arundhatî for protection
to cattle . . . . . . . 144, 490 vi, 70. Charm to secure the attachment of a cow
to her calf. . . . . . . 144, 493 iïi, 28. Formula in expiation of the birth of twin
calves . . . . . . . . 145, 359 vi, 92. Charm to endow a horse with swiftness . 145, 507 iii, 13. Charm for conducting a river into a new
channel . . . . . . . 146, 348 vi, 106. Charm to ward off danger from fire. . 147, 514 iv, 3. Shepherd's charm against wild beasts and
robbers . . . . . . . 147, 366 üi, 15. A merchant's prayer . . . . 148, 352 iv, 38. A. Prayer for success in gambling .. . 149, 412
B. Prayer to secure the return of calves that
have strayed to a distance . . 150, 413 vii, 50. Prayer for success at dice . . . 150, 548 vi, 56. Exorcism of serpents from the premises . 151, 487 X, 4. Charm against serpents, invoking the horse
of Pedu that slays serpents . . . . 152, 605 xi, 2. Prayer to Bhava and Sarva for protection
from dangers . . . . . . 155, 618 iv, 28. Prayer to Bhava and Sarva for protection
from dangers . . . . . . 158, 406 vii, 9. Charm for finding lost property. . 159, 542 vi, 128. Propitiation of the weather-prophet . . 160, 532 xi, 6. Prayer for deliverance from calamity, ad
dressed to the entire pantheon . . . 160, 628
VIII. Charms in expiation of sin and defilement.
vi, 45. Prayer against mental delinquency : . 163, 483 vi, 26. Charm to avert evil . . . . . 163, 473 vi, 114. Expiatory formula for imperfections in the
sacrifice . . . . . . 164, 528 vi, 115. Expiatory formulas for sins . . . 164, 529 vi, 112. Expiation for the precedence of a younger
brother over an older . . . . . 164, 521 vi, 113. Expiation for certain heinous crimes . 165, 527
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vi, 120. Prayer for heaven after remission of sins. vi, 27. Charm against pigeons regarded as ominous birds
vi, 29. Charm against ominous pigeons and owls. vii, 64. Expiation when one is defiled by a black bird of omen
mans.
vi, 46. Exorcism of evil dreams
vii, 115. Charm for the removal of evil characteristics, and the acquisition of auspicious ones.
IX. Prayers and imprecations in the interest of the Brahmans.
v, 18. Imprecation against the oppressors of Brah
v, 19. Imprecation against the oppressors of Brah
mans.
v, 7. Prayer to appease Arâti, the demon of grudge
and avarice
•
.
xii, 4. The necessity of giving away sterile cows to the Brahmans
•
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·
·
vi, 71. Brahmanical prayer at the receipt of gifts XX, 127. A kuntâpa-hymn
.
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xi, 1. The preparation of the brahmaudana, the porridge given as a fee to the Brahmans xii, 3. The preparation of the brahmaudana, the porridge given as a fee to the Brahmans
ix, 3. Removal of a house that has been presented to a priest as sacrificial reward
•
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•
X. Cosmogonic and theosophic hymns. xii, 1. Hymn to goddess Earth
xiii, 1. Prayer for sovereign power addressed to the god Rohita and his female Rohini xi, 5. Glorification of the sun, or the primeval principle, as a Brahman disciple
xi, 4. Prâna, life or breath, personified as the supreme spirit
ix, 2. Prayer to Kâma (love), personified as a primordial power
•
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PAGES
165, 529
166, 474 166, 475
167, 555 167, 485
168, 564
169, 430
171, 433
172, 423
174, 656
179, 610
185, 645
193, 595
196, 494
197, 688
199, 639
207, 661
214, 626
218, 622
220, 591
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CONTENTS.
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PAGES
xix, 53. Prayer to Kala (time), personified as a pri
mordial principle . . . . . . 224, 681 xix, 54. Prayer to Kâla (time), personified as a pri
mordial principle . . . . . . 225, 687 xi, 7. Apotheosis of the ukkhishta, the leavings of
the sacrifice . . . . . . 226, 629 ix, 1. Hymn to the honey-lash of the Asvins 229, 587
INDEXES :
I. Index o
II. Index of Hymns in the order of the Atharva-veda Additions and Corrections . . . . . .
693 709
711
Transliteration of Oriental Alphabets adopted for the
Translations of the Sacred Books of the East
713.
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11
INTRODUCTION.
I. THE NAMES OF THE ATHARVA-VEDA AND
THEIR MEANINGS.
The com
THE fourth Veda is known in Hindu literature by an unusually large number of appellations. Of pound stem these the dvandva plural atharvângirásah is old, atharvângiras. occurring AV. X, 7, 20; it is the name found at the head of the Atharvan MSS. themselves. The appearance of this name in a given text has not unfrequently been made the basis-partly or entirely-for estimating the relative chronology of that text. But this criterion can claim only negative value, since the designation occurs in a text as late as the Ausanasa-smriti, III, 441. It is found in a great variety of texts of the Vedic literature, as may be seen in the subsequent account of the attitude of Hindu literature towards the fourth Veda (p. xxviii ff.), but at no period does it positively exclude other designations.
The locative singular of this same compound occurs in a passage not altogether textually certain, Mahâbh. III, 305, 20=17066, where the Bombay edition has atharvângirasi srutam, but the Calcutta, atharvasirasi srutam. The locative singular (apparently neuter) of the stem atharvângirasa occurs rarely, Yâgñav. I, 312 (kusalam atharvângirase). A specimen of a derivative adjective from the compound may be seen at Manu XI, 33, atharvângirasih srutîh; cf. Mahâbh. VIII, 40, 33=1848, krityâm atharvângirasîm.
1 See Givânanda's Dharmasastrasamgraha, vol. i, p. 514. b
[42]
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HYMNS OF THE ATHARVA-VEDA.
The name átharvan, with a great variety of derivatives,
is employed growingly as the designation of Meaning of each of the the Veda; the name angiras by itself is so terms atharvan rare as to arrest attention when it is met. and angiras.
B*** At TS: VII, 5, 11, 2 = Kathaka Asvamedhagrantha, V, 2, occurs the formula angirobhyah svâhâ, preceded by rigbhyah, &c. svâhâ : it is, as far as is known, the solitary occurrence of this designation of the Atharvaveda in a Vedic text. Quite frequently, however, the members of the compound atharvangirasah are separated so that each is mentioned by itself, but always in more or less close conjunction with one another. This shows that the compound is not a congealed formula, but that the texts are conscious of the fact that each has a distinct individuality, and a right to separate existence. In other words, the AV. actually consists of atharvan and angiras matter, and the question arises what elements in the makeup of this Veda these terms refer to. The answer, I believe, may now be given with a considerable degree of certainty : the term atharvan refers to the auspicious practices of the Veda, the bheshagani (AV. XI, 6, 14), those parts of the Veda which are recognised by the Atharvan ritual and the orthodox Brahmanical writings, as sânta, "holy,' and paushtika, 'conferring prosperity ;' the term angiras refers to the hostile sorcery practices of the Veda, the yâtu (Sat. Br. X, 5, 2, 20), or abhikåra', which is terrible (ghora).
In an article entitled, 'On the position of the Vaitanasætra in the literature of the Atharva-veda,' Journ. Amer. Or. Soc. XI, 387 ff., I pointed out that the above-mentioned distinction is clearly made at Vait. Sû. 5, 10, where two lists of plants are differentiated, one as atharvanyah, the other as angirasyah. The same distinction is maintained at Gop. Br. I, 2, 18. The former refers to the list of plants
' In texts not Vedic the term angirasah occurs occasionally as an abbreviated form of atharvangirasah. Thus in the first superscription of the AV. Práti. såkhya, the Saunakfya Katuradhyâyika, and in Panini V, 2, 37. Cf. also Gop. Br. I, 1, 8.
For the distinction between santa and abhikârika see Kaus. 3, 19, and note 5 on p. It of our edition.
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INTRODUCTION.
xix
catalogued at Kaus. 8, 16, and there distinctly described as såntah, holy;' the second list is stated at Vait. Sa. 5, 10 itself to be angirasa, in the obscure terms, kapurviparvarodâkâvrikkâvatînådânirdahantîbhir angirasibhih. These names are in general unknown, the text is not quite certain, but the designation of the last, nirdahantî, shows that the list is designed for unholy sorcery practices (åbhikärika)? The adjective angirasa is in general in the ritualist texts of the AV. equivalent to abhikarika. Thus sambhara angi. rasah, Kaus. 47, 2, means 'utensils for sorcery';' danda angirasah, Kaus. 47, 12, means 'staff for sorcery;' agnir angirasah, Kaus. 14, 30, means 'sorcery-fire S' The fifth kalpa of the AV., usually known as Ångirasa-kalpa, bears also the names Abhikara-kalpa, and Vidhana-kalpa, 'textbook of sorcery ;' see ibid. XI, 376 ff. It is worth while to follow out this specific use of the
term angirasa in non-Atharvan texts, lest it be The term angiras in suspected of being an Atharvanic refinement. non-Atharvan The Rig-vidhåna IV, 6, 4, has the following texts.
sloka: 'He against whom those that are skilled in the Ångirasakalpas practice sorcery repels them all with the Pratyangirasakalpa.' The term pratyangirasa is the exact equivalent of pratyabhikárana, 'counter-witchcrafts' (AV. II, 11, 2), and the krityåpratiharanani, Ath. Paris. 32, 2 (cf. Kaus. 39, 7, note). The texts of the sort called atharvanapratyangirakalpam ( see Ind. Stud. I, 469) deal with the same theme, as does the Yagur-vidhana (Agni-purana, 259, 1c) in the expression pratyangireshu (sc. karmasu). Cf. also the titles of works, pratyangiråtatva, pratyangiråpasikanga, and pratyangirasukta, mentioned in Böhtlingk's Lexicon, as probably dealing with the same theme. We may connect with this pejorative use of the
Cf. AV. III, 2, 5; VII, 108, 2; IX, 2, 4; 5, 31; XIV, 2, 48.
Dårila, ghoradravyâni. : Kesava, digiraso sgnih kandalagnih.
* yam angirasakalpais tu tadvido s bhikaranti sa pratyangirasakalpena sarvams tin pratibadhate. CL also the following slokas, and IV, 8, 3; Ath. Paris. 3, I; and see Rudolf Meyer's preface to his edition of the Rig-vidbana, p. xxxi.
Sayana, nivâryate parakritabhikâraganitâ krityå anena iti pratyabbikaranah.
b 2
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HYMNS OF THE ATHARVA-VEDA.
word ångirasa the fact that the Vishnu-purâna (Wilson's translation, V, 383) and the Bhavishya-purâna count the Angirasa as one of the four Vedas of the Parsis (Maga), the other three, Vada, Visvavada, and Vidut, also conveying thinly veiled disparagement of the religious books of an exotic religion; cf. Wilson in Reinaud's Mémoire sur l'Inde, p. 394; Ind. Stud. I, 292, note; Weber, Ind. Lit., p. 164, note.
We may then regard it as certain that the words angiras and angirasa are reflected by the ceremonial literature in the sense of abhikära and abhikârika. Far more important is the evidence of certain texts of greater antiquity, and higher dignity, which have occasion to mention the Atharvan incidentally, and enunciate clearly this twofold character of the Veda. They make the very same distinction between atharvan and angiras that appeared above in the ritualistic passage, Vait. Sa. 5, 10 (Gop. Br. I, 2, 18). At Sankli. Sr. XVI, 2, 1 ff., on the occasion of the horse-sacrifice, recitations are made from the ordinary Vedic classes of literature, the rikah, yagûmshi, sâmâni, and also the remoter literary categories which the Brahmanas and Sätras report, with great unanimity and considerable variety, as having been in existence in their time: the itihasa (akhyana), purâna, sarpavidyâ, &c. The Atharvan figures immediately after the Rik and Saman, and that too twice, in its double character as Atharyan and Angiras, and, what is more important, bheshagam, i.e. remedial charms, are recited from the Atharvan; ghoram, i.e. sorcery, âbhikârikam, from the Angiras ? The commentator regards bheshagam and ghoram as distinct works, bhesha gagranthasya stharvanikanam ... ghoram atharvano granthah. The same subject is treated in almost identical terms in Åsv. Sr. X, 7, 1 ff.: again àtharvano vedah and angiraso vedah are treated individually, and again the former is correlated with bheshagam, the latter with ghoram 3. Once more this theme is handled
Cf. Max Müller, History of Ancient Sanskrit Literature, p. 40 ff. . atharvavedo vedah so syam iti bheshagam nigadet ... angiraso vedo vedah so syam iti ghoram nigadet.
Scholiast, ghoram iti abbikârådipratipadakam ity arthah. Cf. RV. X, 34, 14, ma do ghoréna karatá s bhi dhrishnú.
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:
by the Sat. Br. XIII, 4, 3, 3 ff. here also atharvan and angiras are recognised individually; the correlation with bheshagam and ghoram is wanting, but the individuality of the two categories is clearly implied in the behest to recite on the third and fourth days respectively one section each of the Atharvans and the Angiras, each of which are distinctly said to be a Veda'.
INTRODUCTION.
Indirect, yet significant testimony that this double character of the AV. was clearly established in Brahmanical times may be derived from the formation of the names of two apocryphal teachers. One is Bhishag Atharvana, Kath. S. XVI, 3 (Ind. Stud. III, 459); the other is Ghora Angirasa, Kaush. Br. XXX, 6; Åsv. Sr. XII, 13, 1; Khând. Up. III, 17, 6 (cf. Ind. Stud. I, 190, 293). The formation Bhishag Atharvana is illustrated further by Pank. Br. XII, 9, 10, bheshagam vâ âtharvanâni; and XVI, 10, 10, bheshagam vai devânâm atharvâno bheshagyâyai vâ rishtyai2; cf. also the expressions samyu âtharvana, personified as a sage, Gop. Br. I, 2, 18, and atharvabhik sântah, Kaus. 125, 23. These names never, as far as is known, occur in inverted order: there is no Bhishag Ångirasa, and no Ghora Åtharvana; they reflect perfectly the individual character and the individual function of the two members of the compound atharvángirasak.
The term angiras in
It seems now, further, that the texts of the Atharvasamhitâ mark this same distinction with no uncertain touch. At AV. XI, 6, 14, four the Atharva Vedic mantra-categories are indicated by the expressions, rikak, samâni, bheshaga(ni), and yágumshi. The choice of the word bheshaga is certainly eclectic and one-sided. The passage appeals to the auspi
samhitâ.
1 atharvano vedah atharvanâm ekam parva vyâkakshanah; angiraso vedah...angirasâm ekam parva vyâkakshanah. Elsewhere, aside from the Atharvan texts, the component parts of the dvandva atharvângiras are drawn asunder, but without accessory statements; thus Tait. Br. III, 12, 9, 1; Nrisimhapûrvatâpanî Up. 5, 9.
? A converse statement like bheshagam vâ ângira sâni, is, if we judge the matter aright, a counter-sense, and unheard of anywhere in Hindu literature.
'So also Sânti, as the wife of Atharvan; see Wilson's translation of the Vishnu-parâna, I, 110, 200; Bhagavata-purâna III, 24, 24.
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HYMNS OF THE ATHARVA-VEDA.
cious side of the holy texts, and naturally chooses the auspicious aspect of the Atharvan also. Its precise coinplement is Sat. Br. X, 5, 2, 20, Here, after correlating the adhvaryu-priests with the yaguh, the khandoga-priests with the saman, the bahvrikas with the uktha (rik), the author presents yâtu, 'sorcery,' and the yâtuvidah, those skilled in sorcery,' as representatives of the fourth Veda. The bheshaga of the Atharvan passage, and the yâtu of the present passage, make up together what is embraced in the name atharvangirasah (AV. X,7, 20). Moreover, the Samhitâ exhibits a decided predilection, bordering on rigorous distinction, for associating the term angirasa with aggressive witchcraft, or the practice of spells (krityà). Thus VIII, 5, 9, kritya ängirasih ; X, 1, 6, pratîkina ångirasáh ... pratikih kritya ákrltya-mấn krityâkrito gahi ; XII, 5, 52, ådádânam angirasi brahmagyám úpa dasaya ; cf. also VI, 45, 3=RV. X, 164, 4. In XI, 4, 16 (cf. also VIII, 7, 17) the distinction between Atharvanic and Angirasic plants appears again, not, however, in any connection which conveys of necessity the contrast between 'holy' and 'witchcraft' plants. But it may do so. This, it will be remembered, is made in Vait. SQ. 5, 10; it formed the starting point for the present enquiry, and the chain of evidence extending through the Atharvanic and Brahmanical literature seems thus to be linked. We may add finally that the late Parisishta hymns, AV. XIX, 22 and 23, which are repeated in the tract entitled Vedavratasya s desanavidhi, Ath. Paris. 46, 9 and 10, deal with and state subdivisions of angirasa and atharvana-texts, each separately? The statements are but faintly applicable to the existing redactions of the Atharvan, the Saunakiya, and Paippalâdasâkhâs?, but we should be slow to condemn them as wholly apocryphal. The Gop. Br. I, 1, 5 and 8 also narrates in its own style of unbridled Brahmanical fancy the separate creation by Brahman of the Rishis Atharvan and Angiras,
1 angiras&nam adyaih pankânuvakaih svâhâ (XIX, 22, 1); sárvebhyo sngirobhyo vidaganébhyah sváha (XIX, 22, 18); atharvandnam katurrikébhyah svdha (XIX, 23, 1).
Cf. Weber, Ind. Stud. IV, 433 ff.
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the subsequent emanation from these two of twenty Atharvanic and Angirasic descendant sages1, and finally, the production by the Atharvans of the atharvana veda, by the Angiras of ângirasa veda.
In another passage, I, 3, 4, the Gop. Br. also asserts the separate character of the Angiras and Atharvans; the latter are again associated with bheshagam, the former is made the base of a foolish etymology, to wit: bhûyishtham brahma yad bhrigvangirasah, ye-ngiraso ye-ngiraso sa rasah, ye tharvâno ye tharvânas tad bheshagam.
Cause of the
of atharvan
As regards the chronology and cause of this differentiation of atharvan and angiras the texts are differentiation apparently wholly silent. The association of both names (and later of the name bhrigu and angiras. also) with the texts and practices of the fourth Veda may be sought in the character of these mythic beings. They are fire-priests, fire-churners, and the Atharvanic rites, as well as the house-ceremonies in general, centre about the fire, the oblations are into the fire. Fire-priests, in distinction from soma-priests, may have had in their keeping these homelier practices of common life. But whence the terrible aspect of the Angiras in contrast to the auspicious Atharvans ? In the hymn about Saramâ and the Paris, RV. X, 108, 10, Saramâ threatens the Panis with the terrible Angiras, ángirasas ka ghorah. This statement, wholly incidental as it seems to be, is, of course, not to be entirely discarded. More important is the fact that Brihaspati, the divine purodhâ (purohita), is distinctly ângirasa. In Kaus. 135, 9, Brihaspati Ångirasa appears distinctly as the representative, or the divinity of witchcraft performances. In the Mahâbhârata he is frequently called angirasâm sreshthah. In his function of body-priest of the gods it behoves him to
INTRODUCTION.
1 Doubtless by way of allusion to the twenty books in the existing redaction of the Saunakfya-sâkhâ. The expression vimsino s ngirasah is rep.ated Pân. V, 2, 37, as a designation of the twenty books of the Saunakiya-sakhâ in its present redaction.
? Avestan åtar-, âthra-van and Vedic athar-van may be derivatives from the root manth, math (mth) 'churn.' But the absence of the aspiration in âtarmakes the doubtful derivation still more doubtful.
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exercise against hostile powers those fierce qualities which are later in a broader sense regarded as Angirasic. Thus RV. X, 164, 4 = AV. VI, 45, 3!, certainly exhibits this function of the divine purohita, and the composer of AV. X, 1, 6, when he exclaims, ' Pratîkîna (“Back-hurler") the descendant of Angiras, is our overseer and officiator (purohita): do thou drive back again (pratikih) the spells, and slay yonder fashioners of the spells,' has also in mind the divine purohita ? The stanza foreshadows the later formation pratyangiras, discussed above. We look in vain, however, for statements of the reason why the word atharvan should be especially associated with sånta and bheshaga, and must assume that this was accomplished by secondarily contrasting it with angiras after the sense of ghora, abhikara had incrustated itself over it 3. The uncertainty of all this does not endanger the result that at a comparatively early time the terms atharvânah, in the sense of holy charms,' and angirasah, in the sense of 'witchcraft charms, joined the more distinctively hieratic terms rikah, yagamshi, and sâmâni, as characteristic types of Brahmanical literary performances. But this distinction was at a later period again abandoned; in the end the name atharvan and its derivatives prevail as designations of the practices and charms of the fourth Veda without reference to their strongly diversified character.
The stem atharvan is modulated in a considerable variety of ways by derivative processes, the simple stem itself, or forms in the singular from it, being decidedly rare, and not at all early. I have noted Nrisimhapūrvatâpani Up. I, 4, rigyaguhsâmâtharvarúpah saryah. Plural forms are less rare: atharváno vedah, Sat. Br. XIII, 4, 3, 7; atharvanâm,
1 yad indra brahmanas pate.bhidrohám kárâmasi, práketå na angiraso dvishatam pâty ambasah.
IRV. IV, 50, 7-9 prescribes that kings shall keep in honour (súbhritam) a brihaspati, i. e, a Brahman purohita, in archaic language whose sense coincides completely with the later Atharvanic notions. Barring the diction the passage might stand in any Atharva-Parisishta; cf. below, p. Ixviii, note.
SA dash of popular etymology may have helped the process : a-tharvan, *not injaring;' cf. thurv in the sense of injure,' Dhâtupâtha XV, 62, and perhaps Maitr. S. II, 10,1; also the roots tûrv and dbary with similar meanings.
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The
TB. III, 12, 9, I; atharvânah, Pañk. Br. XVI, 10, 10. derivative neuter plural âtharvanâni (sc. sûktâni) is common, from AV. XIX, 23, 1; Pañk. Br. XII, 9, 10 to Vriddhahârita-samhitâ III, 45 (Givânanda, vol. i, p. 213), and later. The same stem, âtharvana, is used in the masculine singular, âtharvanas (sc. vedah) katurthal, Khând. Up. VII, 1, 2. 4; 2,1; 7, 1; in the plural, mantrâ âtharvanâh, Râm. II, 26, 21. The stem ǎtharvana (without vriddhi of derivation) is found Nrisimhapurvatâpanî Up. II, 1, atharvanair mantrail; Mahâbh. III, 189, 14 = 12963, atharvanah (sc. vedah). Still another derivative is atharvâna, in atharvâna-vid, Mahâbh. XII, 342, 100=13259. The name atharva-veda appears about as early as the corresponding names of the other Vedic categories (rigveda, &c.), Sânkh. Sr. XVI, 2, 10; Pâr. Grth. II, 1, 7; Hir. Grih. II, 19, 6; Baudh. Grih. IV, 5, 1. The form employed in the Gainist Siddhânta is a(t)havvana-veda (see below, p. lvi); that of the Buddhist scriptures is åthabbana-veda (ibid.).
Other
of the AV.
In addition to the designations of the Atharvan discussed above there are still others, based upon different modes of viewing this heterogeneous collection of Mantras. designations A single passage, Sat. Br. XIV, 8, 14, 1-4= Brih. År. Up. V, 13, 1-4, seems to hint at the fourth Veda with the word kshatram. The passage is engaged in pointing out the merits of Vedic compositions, stated in the series uktham (=rik; cf. Sat. Br. X, 5, 2, 20), yaguh, sâma, kshatram. Inasmuch as the first three obviously represent the trayî vidyâ, it is possible to view kshatram as epitomising the Atharvan1. If so, the passage is of considerable interest, as it seems to view the fourth Veda as the Veda of the Kshatriyas. More precisely the passage substitutes the act of kshatra, i.e. the characteristic performances of the Kshatriya (through, or with the aid of
'Cf. also Prasna Up. II, 6, where brahma and kshatra figure. Both together represent in the epics the best outcome of the life of a kshatriya, 'piety' and 'prowess.' It is possible to conceive the appearance of kshatra alone as an elliptic version of both brahma and kshatra, the two together being the outcome of the trayf preceding, rather than a supplementary statement of additional Vedic types of composition; cf. Prasna Up. II, 6. For brahma alone, see below, p. xxxi, note.
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his purohita) as Atharvanic by distinction. Recently Professor Weber has emphasised the marked relation of the Atharvan to the royal caste.
The text of the Samhitâ abounds in râgakarmâni, ' royal practices,' and Weber thinks that the name of Kausika, the author of the great Atharvan Sûtra, points to a Kshatriya connection, since Kusika is identical with Visvamitra, and the latter, as is well known, stands forth among the ancient Vedic heroes as the representative of royalty. None of these points can be regarded as more than possibilities 2.
Two other designations of the AV. differ from all the preceding in that they are the product of a later Atharvanic literary age, neither of them being found in the Samhitâ, and both being almost wholly restricted to the ritual text of the Atharvan itself. They are the terms bhrigvangirasah and brahma-veda.
The term bhrigvangirasah is, as far as the evidence of the accessible literature goes, found only in Atharvan texts. Though bhrigu takes in this compound the place of atharvan, the terms bhrigavah or bhriguveda do not occur. The term bhrigvangirasah, however, is the favourite designation of the Veda in the Atharvan ritual texts: it makes a show, in fact, of crowding out the other designations. Thus the Kausika does not directly mention the Atharvan compositions by any other name (see 63, 3; 94, 2-4; cf. 137, 25; 139, 6), although vaguer allusions to this Veda and its adherents are made with the stem atharvan (59, 25; 73, 12;
1
Episches im vedischen Ritual, Proc. of the Royal Academy at Berlin, July 23, 1891; nr. xxxviii, p. 785 ff. (especially 787, top); Râgasûya, pp. 4, 23, note.
We may note also the prominence allowed in the AV. to the kind of performance called sava. These are elaborate and rather pompous bestowals of dakshina, rising as high as the presentation of a house (sâlâsava, IX, 3); or a goat with five messes of porridge, five cows, five pieces of gold, and five garments (agaudana, IX, 4). There are twenty-two kinds of these sava, and the eighth book of the Kausika is devoted to their exposition (Kesava 64-66 presents a brief catalogue of them). Revenues of this kind are not likely to have been derived from lesser personages than rich Kshatriyas, or kings.
3 In the Sambitâ the stem bhrigvangiras is never employed as the name of the Atharvan writings; in AV. V, 19, 1. 2 the terms bhrigu and ângirasa occur as the names of typical Brahman priests.
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125, 2.) The term also occurs in Vait. Sû. 1, 5; Gop. Br. I, 1, 39; 2, 18 (end); 3, 1. 2. 4, and it is common in the Parisishtas (see Weber, Omina und Portenta, p. 346 ff. ; Verzeichniss der Sanskrit und Prakrit Handschriften, II, 89 ff.), and the Anukramani. No valid reason appears why the term bhrigu has succeeded in encroaching so far upon the term atharvan. The following may, however, be remarked. The three words atharvan, angiras, and bhrigu are in general equivalent, or closely related mythic names in connection with the production or the service of fire. Occasionally in the mantras (RV. X, 14, 6) they are found all together ', or bhrigu is found in company with atharvan (RV. X, 92, 10), or with angiras (RV. VIII, 43, 13). This interrelation of the three names continues in the Yagus and Brâhmana-texts, but in such a way that the juxtaposition of bhrigu and angiras becomes exceedingly frequent , broaching in fact on complete synonymy. The latter is reached in Sat. Br. IV, 1, 5, 1, where the sage Kyavana is designated either as a Bhargava or as an Ångirasa 8. It is conceivable that the frequency of this collocation suggested to the Atharvavedins a mode of freshening up the more trite combination atharvângirasah ; of any reason for a conscious preference of the word bhrigu the texts show no trace.
The term brahma-veda whose origin is discussed below (p. Ixv) likewise belongs to the sphere of the Atharvan ritual. Outside of the Atharvan there is to be noted only a single, but indubitable occurrence, Sankh. Grih. I, 16, 3.
Cf. Weber, Verzeichniss, II, 46.
Eg. Tait. S. I, 1, 7, 2; Maitr. S. I, 1, 8; Vâg. S. I, 18; Tait. Br. 1, 1, 4,8; III, 2, 7, 6; Sat. Br. I, 2, 1, 13; Kâty. Sr. II, 4, 38; A past. Sr. I, 12, 3; 33,6 ; Yaska's Nigh.V, 5; Nir. XI, 18. The juxtaposition of bhrigu and atharvan is decidedly rarer in this class of texts (e. g. A past. Sr. IV, 12, 10); that of bhriga and angiras continues in the Mabábbårata, and later; see Pet. Lex. s.v. (col. 364, top).
Cf. similarly Dadhyank Atharvana, Tait. S. V, 1, 4, 4, with DachyaAlk Angirasa, Pank. Br. XII, 8, 6.
* A statement like that of the late Kalika Upanishad 10, that the Bhrigu are foremost among the Atharvans (atharvano bhrigûttamah), if it is taken seriously at all, reflects rather the result than the cause of the substitution of the Dame bhriga for atharvan.
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Even in the Atharvan Upanishads the term is wanting1. The earliest occurrences of the word, aside from Sânkh. Grih., are Vait. Sû. 1, 1; Gop. Br. I, 2, 16. The word is common in the Parisishtas.
HYMNS OF THE ATHARVA-VEDA.
We may note finally the terms pañkakalpa and paйkakalpin. They do not refer directly to the Samhitâs of the AV., but are both bahuvrîhi-compounds designating 'one who practises with the five kalpas of the AV.,' i.e. Atharvan priests. Thus the words were first explained by the author, Journ. Amer. Or. Soc. XI, 378; Kausika, Introduction, p. lvii. Cf. also Magoun, The Åsurî-kalpa, Amer. Journ. Phil. X, 169. They are very late: they do not occur in the Sutras or Brahmana of the AV., nor, as far as is known, in the literature proper of that Veda. They appear as the titles of scribes of Atharvan texts, see Kausika, Introduction, p. ix; Weber, Verzeichniss der Sanskrit und Prâkrit Handschriften, II, 96. But they are sufficiently attested outside of the Atharvan, in the expression, paйkakalpam atharvânam, Mahâbh. XII, 342, 9913258, and in the Mahâbhashya (Ind. Stud. XIII, 455).
II. THE POSITION OF THE ATHARVA-VEDA IN HINDU LITERATURE IN GENERAL.
Statement
In addressing oneself to the task of characterising the estimate which the Hindus placed upon the Atharvan texts and practices, it is especially needful to of the take a broad, if possible a universal view, of problem. the statements of the Vedic and mediaeval texts bearing upon the question. The Atharvan is
1 The word occurs in certain doubtful variants of the text of the Mundaka Up.; see Ind. Stud. I, 301, note. In Râm I, 65, 22 brahmaveda is contrasted with kshatraveda, just as at Mahâbh. VII, 23, 39-988 brâhma veda with dhanurveda. In such cases the word brahma is not to be referred pregnantly to the fourth Veda, but to Brahmanic religion in general represented by the first caste, the science of war being in the hands of the second, or warrior-caste. Cf. below, p. xlii. The word brahmavid, Mahâbh. III, 2625 (Nala 14, 18, brahmarshi, however, seems to mean 'skilled in sorcery,' and may contain an allusion to the AV.
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a sacred text in more than one respect: aside from the materials which it shares with the Rig- and Yagurvedas, many of its hymns and practices are benevolent (bheshaga) and are in general well regarded, though even these, as we shall see, do not altogether escape the blight of contempt. Many hymns of the AV. are theosophic in character: on whatsoever ground they found shelter in the Atharvan collections they cannot have been otherwise than highly esteemed. The class of charms designed to establish harmony in family and village life and reconciliation of enemies (the so-called sâmmanasyâni, p. 134 ff.), and the royal ceremonies (râgakarmâni), are obviously auspicious in their nature. Even the sorceries of the Atharvan necessarily show a double face: they are useful to oneself, harmful to others. According as they are employed objectively and aggressively, they are a valuable and forceful instrument for the benefit and aggrandisement of him that employs them; according as one suffers from them subjectively and passively, they are dreadful and contemptible. This conflict of emotions lasts throughout the history of the recorded Hindu thought; the colour of the Atharvan remains changeable to the end, and is so described in the final orthodox and stereotyped view that it is used 'to appease, to bless, and to curse1.' The fact, however, is that there must have arisen in the long run a strong wave of popular aversion against the Veda, whose most salient teaching is sorcery. This appears from the discussions of the Hindus themselves as to the orthodoxy of that Veda"; from the conscious efforts of the later Atharvan writings to vindicate its character and value; from the allegorical presentation of the Atharvan as " a lean black man, sharp, irascible, and amorous 3;' and many occasional statements of the Vedic and classical texts. The history of the relation of the Atharvan to the remaining Hindu literature is, however,
INTRODUCTION.
1 sântikapaushikâbhikârâdipratipâdaka, Madhusudanasarasvati (Ind. Stud. I, 16); Kesava to Kaus. 1, 1; Deva to Kâty. Sr. XV, 7, 11, and elsewhere. According to Burnell, Vamsabrâhmana of the Sâmaveda, p. xxi, the most influential scholars of Southern India still deny the genuineness of the Atharvan. 3 Râgendralâlamitra in the Introduction to the Gopatha-brahmana, p. 4.
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still unwritten, and the following pages aim to supply the necessary data.
In the hymn to the Purusha, the primaeval cosmic man (RV. X, 90, 9), the three Vedic categories, rikah sâmâni yaguh, are mentioned; a fourth term, khandâmsi, is generic, embodying the metrical canons, or the metrical compositions as a whole, but the opportunity to mention the Atharvan is neglected 1. The names atharvan, angiras, and bhrigu, which occur frequently elsewhere in the RV., designate mythic personages, intimately connected with the production of the fire, and the soma-sacrifice; nowhere do they seem to refer to any kind of literary composition. Even the expression brahmâni, used in connection with atharvan, RV. I, 80, 16, can claim no special interest, because, as will appear later (p. lxvi), the word brahma is never used as a specific designation of Atharvan charms. No great importance is to be attached to this silence; the praises to the gods in connection with the great somasacrifices, with their prevailing mythical colouring, darkened very often by priestly mysticism, offer but scant occasion for the mention of sorcery, or the plainer practices of everyday life. Yet sorcery and house-practices there were in India at all times. The failure of the Rig-veda to mention any systematic redaction of charms by a collective name like atharvângirasah must be gauged by the slenderness of its opportunities to mention the Veda as a generic name (cf. VIII, 19, 5), or Vedic collections or redactions in particular (X, 90, 9). There is no proof that even the oldest
Position of the AV. in the Rigveda.
For RV. X, 71, II, which also hints at the three Vedic types, and the brahma that embraces them all, see the full discussion below, p. lxiv ff.
'Cf. e. g., RV. I, 191; VII, 50, and especially VII, 104, 16.
The familiar mention of compositions called rik, sâman, uktha, stotra, sastra, &c., does not, it is important to note, refer to collections at all, but to types of poetic productivity; they are moreover all of them such as were distinctly connected with the soma-sacrifice. Their presence simply accentuates the preoccupation of the body of the Rig-vedic collection with the great priestly sacrifices, and the consequent absence of the more general terms for Vedic classes of writings. The stem yaguh, in the sense of collection of formulas of the Yagur-veda, occurs only in the above-mentioned passage, X, 90, 9.
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parts of the RV., or the most ancient Hindu tradition accessible historically, exclude the existence of the class of writings entitled to any of the names given to the Atharvan charms; there is no evidence that these writings ever differed in form (metre) or style from those in the existing Atharvan redactions; and, finally, there is no positive evidence-barring the argumentum ex silentiothat the names current in other texts as designations of Atharvan hymns (bheshagâni, atharvânah, angirasah, &c.) were unknown at the earliest period of literary activity. On the other hand, the existing redactions of the AV. betray themselves as later than the RV. redaction by the character of the variants in those mantras which they share with the RV.
Position of
the AV. in
the hymns
of the
samhita.
As regards the AV., the stanza X, 7, 20 presents the four Vedic categories, rikah, yaguh, sâmâni, and atharvângirasah, the last the traditional name of the Saunakiya-version. The same tetrad is intended at XI, 6, 14, where the narrower term bheshaSaunakiya- gâ(ni) takes the place of atharvângirasah. At XIX, 54, 5 the mention of atharvan and angiras, though not directly referable to the AV., certainly suggests it, because stanza 3 speaks in the same strain of the rikah and yaguh; and in XIX, 22, 1; 23, 1 (parisishta in character; cf. above, p. xxii), the ângirasâni and âtharvarâni (sc. sûktâni) are mentioned separately. Otherwise this text also fails to present a fixed name for the type of literature known later as Atharvanic1. The Atharvan is very much in the same position as we shall find the Yagustexts: the three Vedas are mentioned, often in connection with other more specific forms and designations of prayer and sacerdotal acts, but the Atharvan is omitted. The impression left in both cases is by no means that of conscious neglect or contempt, but rather of esoteric restriction to the sphere of the great Vedic ritual (srauta) 2.
Thus
The word brahma which is catalogued with the trayf at XI, 8, 23; XV. 6, 3 (cf. also XV, 3. 7) does not refer to the Atharvan, but is the broader and higher term for religious activity in general. Cf. RV. X, 71, 11, and see below, p. lxvi. 'E. g. in the very same hymn (X, 7, 14) in which the Atharvângirasah are
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it augurs no contempt or neglect of the Atharvan, if in a charm constructed for the purpose of obtaining a knowledge of the Vedas, AV. VII, 54 (Kaus. 42, 9), only rik, saman, yaguh, veda, and oblation (havih) are mentioned : the person who here desires Vedic learning is not in training for Atharvan priesthood, and therefore does not take care to include this specialistic learning? And similarly a considerable number of additional Atharvan passages, IX, 6, 1. 2; XI, 7, 5. 24; 8, 23; XII, 1, 38; XV, 3, 6–8; 6, 3, in which the Atharvan is not mentioned with the other Vedic compositions, betray no sign of conscious exclusion or contempt of the Atharvan. On the other hand, this very omission ensures the interesting result that the Samhita of the AV., unlike its ritualistic adjuncts (see p. lvii ff.), is in no wise engaged either in self-glorification, or in polemics against the other Vedas. It seems altogether evident that the Atharvan diaskeuasts were totally unconscious of any disadvantages inherent in their text, or any contemptuous treatment on the part of the adherents of the other Vedas.
In addition to the explicit designation of the Atharvan compositions as atharvångirasah, bhesha gåni, åtharvanäni, &c., there is to be noted in the Saunakiya-text of the hymns a decided advance in the association of the names Atharvan, Angiras, and Bhrigu with the practices and conditions which these hymns are aimed at. The older, broader, and vaguer mythic personality of all three which appears, e.g. in RV. VIII, 43, 13; X, 14, 6 (=AV. XVIII, 1, 58); X, 92, 10, is still continued in the Atharvan (VI, 1,1; XI, 6, 13; XVI, 8, 11-14): Atharvan, Argiras, and Bhrigu are at times simply semi-divine, or wholly divine
mentioned as the fourth Veda the poet lapses into the more familiar traividya, in a stanza which, like st. 20, aims to state that the Vedas are derived from Skambha (Brahma), a monctheistic personification; cf. Muir, Original Sanskrit Texts, V, 378.
A similar passage in a Sátra of the RV. (Åsv Grih. III, 3, 1-3, on the same occasion, namely, the study of the Veda, does not hesitate to include the Atharvan along with many other Vedic texts. This does not argue conscious preference, any more than the Atharvan passage indicates conscious exclusion ; cf. below, p. xliv.
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beings, whose office is entirely non-Atharvanic. But on the other hand the Atharvans appear at IV, 37, i as slayers of the Rakshas (similarly IV, 3, 7); the Atharvans and Angiras fasten amulets, and consequently slay the Dasyus, at X, 6, 20; and the name Bhrigu appears at V, 19, 1 (cf. TS. I, 8, 18, 1; TB. I, 8, 2, 5) as the typical designation of a Brahmana, i.e. here, of an Atharvan priest. Such specialisations of these names are unknown in the RV. Especially noteworthy is the evident beginning of the association of the name angirasa with aggressive witchcraft or spells, and the somewhat less clear corresponding correlation of the stem atharyana with auspicious charms (see above, p. xviii ff.). Altogether the impression arises that the names Atharvan, Angiras, and Bhrigu, connected with the redaction of the AV., have in the text of that Veda assumed, or commenced to assume, the office which the diaskeuast and the ritualistic texts of the Atharvan have definitely and permanently bestowed upon them.
In the domain of the sruti, exclusive of the Rig-veda, i.e. in the Yagus-samhitås, and the Brahmanas, the position
of the Atharvan is on the whole defined with Position of the AV. in sufficient clearness. It depends altogether on the rest of the practical character of these texts as ex. the srati.
ponents of the great Vedic sacrifices, the srauta-performances : these, by their very nature, exclude any very direct interest in the systematic charms of the bheshagani and abhikärikäni. Such sorcery as is interwoven with the srauta-performances has acquired independent expression in the metrical and prose formulas the Yagus-samhitas; it figures in the form and by the name of sacrificial formulas (yagamshi) as part of the threefold Veda (trayî vidya). Thus the subject-matter of formulas like the following: 'I dig (pits) that slay the Rakshas, destroy the spells that belong to Vishnu ; that spell here which my equal or unequal has dug into the ground) do I cast out; I make subject here my equal or my unequal that plans hostile schemes against me' (Tait. S. 1, 3, 2, 1 ; VI, 2, 11, 1. 2; Maitr. S. I, 2, 10. 11; Våg. S. V, 23 ff.; Sat. Br. III, 5, 4, 8 ff.), is by its very terms [42]
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Atharvanic, and the practices by which its recitation is supplemented might be described in the Kausika-satra. The formula yo asmấn dveshti yám ka vayam dvishmál, 'he that hates us and whom we hate' (shall perish, or the like), occurs countless times in the Yagus-texts, as well as in the Atharvan charms. The aims and the acts of the Atharvan are present at the Vedic sacrifice, as well as at the practices of private life; the difference lies in the degree of applicability, and the degree of prominence: in the sruti-literature the sphere of the Atharvan is restricted to matters that are incidental and subsidiary, intended merely to pave the way for the main issue, the successful dispatching of the sacrifice to the gods, and the undisturbed gratification of the pricsts (the ishtam and the pûrtam). Under these circumstances and at such a time pronounced hostility against the Atharvan would be a paradox, too silly even for the Yagus-texts and the Brahmanas; no such hostility or repugnance is in evidence: that is reserved for a later and more reflective age.
In the first place then, the mythic personages Atharvan, Angiras, and Bhrigu, whose proper names in the course of time are growingly restricted to the sphere of the Atharvan, continue in their pristine position of demi-gods. At Maitr. S. I, 6, 1 the Angiras are still gods, angirasâm två devânâm vratenâ - dadhe; similarly Tait. Br. I, 1, 4, 8, bhrigûnâm tvâ: ngirasâmn vratapate vratená s dadhâmi ; cf. also Tait. Br. III, 2, 7, 6; Maitr. S. I, 1, 8; Vâg. S. I, 18 (Sat. Br. I, 2, 1, 13; Kâty. Sr. II, 4,38); Åpast. Sr. V, 11,7. For Atharvan, see Tait. S. V, 1, 4, 3; 6, 6, 3; Tait. Br. I, 1, 10, 4; Vâg. S. VIII, 56; XI, 32. And so innumerable other instances. Needless to say, the descendants of the three divinities, conceived eponymically as the founders of families of Rishis, the Atharvana, Àngirasa, and Bhârgava, enjoy the same rights, and hold the same position of honour as the other families of Rishis, it being reserved for the later Atharvan writings to extol them beyond measure, and to establish them as the typical teachers? Thus Atharvan Daiva is the name of an ancient
i Cf. Weber, Omina und Portenta, p. 347.
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teacher, Sat. Br. XIV, 5, 5, 22; 7, 3, 28; Dadhyank Atharvana, Tait. S. V, I, 4, 4; 6, 6, 3; Sat. Br. IV, 1, 5, 18; VI, 4, 2, 3; the countless Ângirasa, of which the RV. Anukramani counts no less than 45', e. g. Sat. Br. IV, 1. 5, 1; Kaush. Br. XXX, 6; Ait. Br. VIII, 21, 13; Åpast. Sr. V, 11, 7; and the equally frequent Bhârgava, Tait. S. I, 8, 18, 1; Sat. Br. ib.; Ait. Br. VIII, 2, 1. 5; Kaus. Br. XXII, 4. Occasionally, doubtless, even the sruti feels the connection that has been established between these names and the sphere of Atharvanic literary activity, as when the Kâth. S. XVI, 13 mentions a Rishi Bhishag Atharvana 2 (see Weber, Ind. Stud. III, 459); the Kaush. Br. XXX, 6, a Rishi Ghora Angirasa; or when the Pank. Br. XII, 8, 6 states that Dadhyaйk Ångirasa was the chaplain (purodhâniya) of the gods.
The manner in which the hymns of the Atharvan are alluded to in the srauta-texts is as follows. Ordinarily the texts are preoccupied with the sacrificial literature in the narrower sense, and hence devote themselves to the mention and laudation of the trayî vidyâ, either without recounting its specific literary varieties, or by fuller citation of the terms rik, sâman, yaguh. For these are substituted not infrequently other terms like stoma, uktha, sastra, udgîtha. &c., special liturgical varieties, also derived directly from the sphere of the srauta-performances, and, in fact, strictly dependent upon these performances for their existence. On the other hand, whenever the srauta-texts mention, or make draughts upon other literary forms like itihasa, purâna, gâthâ, sûtra, upanishad, and many others, the Atharvan literature is almost unfailingly included, and that too almost invariably in the following order: the traividya is mentioned first, the Atharvan holds the fourth place, and next follow in somewhat variable arrangement the types itihasa, &c.
1 Cf. Weber, Episches im vedischen Ritual, Sitzungsberichte der KöniglichPreussischen Akademie d. Wissenschaften zu Berlin, 1891, p. 812 (46 of the reprint).
The same apocryphal Rishi is reported by the Anukramanis as the author of the oshadhistuti, 'the hymn to the plants,' RV. X, 97; Vâg. S. XII, 75-89.
C 2
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the
Thus the Taittiriya-samhità mentions rik, såman, and yaguh alone at II, 4, 12, 7; 5, 7, 1; VI, 1, 2, 4; VII, 3,
1,4; 12, 1; the same categories are alluded to The AV. in
the" at II, 4, 11, 6, in the expressions sâmnah, yaguTaittirfya shâm, and ukthamadânâm ; at III, 2, 9, 5. 6 samhita.
in the expressions udgâtrinâm (with udgitha), ukthasamsinâm (with rikah), and adhvaryûnâm ; cf. also ishtayagushah, stutastomasya, sastokthasya at I, 4, 28, I. The only mention of Atharvan literature is at VII, 5, 11, 2, under the designation angirasah (without atharvânah ?), and here the text is as follows: rigbhyah svâha, yagurbhyah svåhå, sâmabhyah svâhâ, angirobhyah svâhâ, vedebhyah svåhà, gâthâbhyah svâhâ, nârasamsîbhyah svâhå, raibhî. bhyah svaha.
This also, in the main, is the nature of the references to the AV. in the Satapatha-brahmana. Either the term
w trayi vidyâ is used, or rik, sâman, and yaguh The AV. in
** are mentioned explicitly: I, 1, 4, 2. 3; II, Satapatha- 6, 4, 2-7; IV, 6, 7, 1. 2; V, 5, 5, 1. 9; VI, brahmana.
1, 1, 8; 3, 1, 10. 11. 20; VII, 5, 2, 52; VIII, 5, 2, 4; IX, 5, 2, 12; X, 4, 2, 21. 22; 5, 2, 1. 2; XI, 5, 4, 18; 8, 3-7; XII, 3, 3, 2; 4,9; XIV, 4, 3, 12 ; 8, 15, 2. 9. In all these cases there is no mention of the Atharvan; but neither is there any mention of any other literary type that has a distinctive standing outside of the trayî vidya. On the other hand, the Atharvan is mentioned in a number of cases, every one of which presents also a lengthy list of additional literary forms. Thus XI, 5, 6, 4-8, rikah, yagūmshi, sâmâni, atharvangirasah, anusâsanani, vidyâ, vâkovakyam, itihasapuranam, gåthå nårâsamsyah ; XIII, 4, 3, 3 ff., riko vedah, yagûmshi vedah, atharvâno vedah, angiraso vedah, sarpavidya vedah, devaganavidyâ vedah, mâyâ vedah, itihâso vedah, purânam veda), sâmâni vedah ; XIV, 5, 4, 10; 6, 10, 6; 7, 3, 11 (=Brih. År. II, 4, 10; IV, 1, 2; 5, 11), rigvedo yagurvedah samavedostharvangirasa itihâsah puranam vidyå upanishadah slokåh sútrâny anuvyakhyânâni vyakhyânâni ; X, 5, 2, 20, adhvaryavah (yaguh),
1 Ct. above, p. xviii.
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khandogâh (sâman), bahvrikak (uktham), yâtuvidah (yâtu). sarpavidah... devaganavidah. Only a single Upanishad passage, XIV, 8, 14, 1-4 (= Brih. Ar. Up. V, 13, 1-4), seems to mention, or rather hint at, the Atharvan in connection with representatives of the trayî vidyâ, without mentioning other texts 1. The series is uktham, yaguh, sâma, kshatram; the passage possibly views the fourth Veda as the Veda of the Kshatriyas, or, more precisely, substitutes the act of kshatra, i. e. the performances of the kshatriya as Atharvanic by distinction. See, for this, p. xxv, above.
INTRODUCTION.
The Taittirîya-brâhmana mentions the Atharvan twice, once in accordance with the method described above, at III, 12, 8, 2, riko yagumshi sâmâni atharvângirasah itihâsapurânam. In the other passage, III, 12, 9, 1, the Atharvan is mentioned without the customary adjuncts, and that too before the Sâma-veda, to wit, rikâm prâkî mahati dig ukyate, dakshinâm âhur yagushâm apârâm, atharvanâm angirasâm pratîkî, sâmnâm udîkî mahatî dig ukyate. But it is of interest to note that in the sequel, where sundry symbolic and mystic correlations of the Vedas with the sun, &c., are established, the Atharvan is wanting, and the operations take place with vedais tribhih. Thus, rigbhih pûrvâhne divi deva îyate, yagurvede tishthati madhye ahnah, sâmavedenâ-stamaye mahîyate, vedair asûnyas tribhir eti sûryah. We shall not err in judging that the fourth Veda is mentioned in a purely formulaic manner, only because it is needed to fill out the scheme of the four principal directions of space; the real theme at the heart of the author is the traividya, as, e. g. in III, 10,. 11, 5. 6. On the other hand, it would be altogether erroneous to assume either hostility, or conscious discrimination against the Atharvan. The Taittirîya-âranyaka again falls into line in two passages, II, 9 and 10, presenting the texts in their most expansive form, rikah, yagumshi,
The AV. in the Taittiriyabrâhmana.
...
1 Conversely the tray? is catalogued with other texts (vákovâkyam itihâsapurâxam), but without the Atharvan, at XI, 5, 7, 6 ff.; cf. the same list Sankh. Grih. I, 24, 8.
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HYMNS OF THE ATHARVA-VEDA.
samani, atharvangirasah, brâhmanâni, itihåsân, purânâni, kalpân, gåthåh, nârâsamsih.
The only mention of the Atharvan as a literary type in Sankhâyana's Srauta-sâtra is at XVI, 2, 2 ff., again in the
. series, riko vedah, yagurvedah, atharvavedah The AV. in the remain- (in connection with bheshagam), angiraso vedah ing srauta- (in connection with ghoram), sarpavidya, ratexts.
kshovidya, asuravidya, itihâsavedah, purânavedah, sâmavedah. Very similarly in Åsvalâyana's Srautasútra X, 7, i ff., riko vedah yagurvedah, atharvânah vedah (with bheshagam), angiraso vedah (with ghoram), vishavidya, pisákavidya, asuravidya, purânavidya, itihaso vedah, sâmavedah. These passages are essentially identical with Sat. Br. XIII, 4, 3, 3 ff., above; their chief interest lies in the differentiation of atharvan and angiras, respectively as representatives of the auspicious (bheshagam) and terrible (ghoram=âbhikärikam) activities of this Veda ; cf. above, p. xviii ff. In the Pañkavimsa-brâhmana, XII, 9, 10; XVI, 10, 10, the Atharvan charms are mentioned favourably: bheshagam va atharvaâni, and theshagam vai devânâm atharvano bheshagyâyais vas rishtyai. Cf. also XXIII, 16,7; Käth. S. XI, 5 (cf. Ind. Stud. III, 463).
The Vågasaneyi-samhità mentions the traividya (or rik and sâman without yaguh) frequently, IV, 1.9; VIII, 12 ; XVIII, 9. 29. 67; XX, 12; XXXIV, 5; XXXVI, 9; the Atharvan is nowhere mentioned in connection with the other three. Once at XXX, 15=Tait. Br. III, 4, 1, 11, a woman that miscarries (avatoka) is devoted to the Atharvans; the reference, in the light of AV. VI, 17; Kaus. 35, 12 (a charm to prevent miscarriage), seems to be to Atharvan hymns or Atharvanic practices. Otherwise the word atharvan occurs in connections that admit of no special, or at any rate obvious, reference to the fourth Veda, VIII, 56 ; XI, 32. Neither is there, as far as is known, any mention of the Atharvan in the Maitrāyani-samhità, the Aitareya and Kaushitaki-brâhmanas, or Kâtyâyana's and Lâtyâyana's Srauta-sútras.
The position of the Atharvan in the srauta-literature according to this evidence is what might be naturally
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expected: there is no evidence of repugnance or exclusiveness. Witchcraft is blended with every sphere of religious thought and activity, and the only sane attitude on the part of these texts must be the recognition of the literary products which are by distinction the repositories of witchcraft. No one will expect rigid consistency : witchcraft blows hot and cold from the same mouth; according as it is turned towards the inimical forces, human and demoniac, or is turned by others against oneself, it is regarded as useful, or noxious. The AV. itself takes the same view by implication: the hymn, II, 12, hurls the bitterest invective against enemies that endeavour to thwart one's holy work; this does not prevent one's own endeavour to frustrate the sacrifice of an enemy (VII, 70); the hymn, II, 7, ensures protection against curses and hostile plots, but does not prevent the existence of fierce imprecations and curses issued forth subjectively for the ruin of another (VI, 13 and 37). It is a question throughout of my sorcery, or thy sorcery. The flavour of holiness and virginal innocency is necessarily absent, and this want crops out in connection with the performances of yâtu even in the RV. (VII, 104, 15. 16), where the writer exclaims: 'may I die to-day if I am a sorcerer,' and complains against his enemy who calls him, though he is pure, a sorcerer, and against the real sorcerer who pretends that he is pure. Though yâtu (sorcery) is regarded here as devilish (cf. e.g. AV. I, 7 and 8), the writer at Sat. Br. X, 5, 2, 20 is not prevented from placing the yâtuvidah, 'those that are skilled in sorcery,' in solemn array with the representatives of the holiest forms of literature, immediately after the bahvrikah, as the characteristic exponent of Atharvanic activity. And on the other hand even bheshagam, 'cure, medicine,' the altruistic province of the Atharvan, though well regarded in general, does not come off without a sneer. The Tait. S. VI, 4, 9, 3 (cf. Maitr. S. IV, 6, 2; Sat. Br. IV, 1, 5, 14) says, brâhmanena bheshagam na kâryam, 'a Brahman shall not practise medicine,' the reason that is assigned being that the physician is
Resumé of the srautatexts estimate of the AV.
INTRODUCTION.
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impure, that the practice entails promiscuous, unaristocratic mingling with men : 'men run to the physician' (MS. IV, 6, 2, p. 80, l. 1)? And we may trust that the canons of social standing and literary appreciation of a people that had produced the best that is to be found in Vedic literature could not fail altogether, when in the proper mood, to estimate at its right value the wretched hocus-pocus of the bheshagani themselves, though these were the best that the Vedic period had produced for the relief of bodily ailment. Yet the Veda without witchcraft would not be the Veda, and the srauta-texts are not in the position to throw stones against the Atharvan. Moreover it must not be forgotten that the Atharvan contains in its cosmogonic and theosophic sections more material that undertakes to present the highest brahmavidyâ than any other Vedic Samhità (cf. below, p. lxvi); by whatever literary evolution this was associated with this sphere of literature and incorporated into the redaction, it doubtless contributed to the floating of the more compact body of sorcery-charms, and its higher valuation among the more enlightened of the people. At any rate, a sober survey of the position of the Atharvan in the traividya yields the result that this Veda, while not within the proper sphere of the greater concerns of Vedic religious lise, is considered within its own sphere as a Veda in perfectly good standing; the question of its relative importance, its authority, and its canonicity is not discussed, nor even suggested.
The position of the Atharvan in the Upanishads does not appear to differ from that in the sruti in general. Aside
The AV in from the Atharvan Upanishads, which are the Upani- naturally somewhat freer in their reference
shads to the AV., and in the mention of more or less apocryphal Atharvan teachers, it is introduced but rarely, and usually in the manner prevalent elsewhere in the srauta-literature, i.e. preceded by the trayî, and
'CE. the contempt for the pügayagfiyah, ye pûgân yagayanti, 'those who sacrifice for a crowd,' Manu III, 151; Mahabh. I, 3883, and the grå mayâgin, Manu IV, 205, and gråmayágaka, Mabábh. III, 13355. See also Vishnu LXXXII, 12; Gaut. XV, 16.
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followed by a variable list of other literary types. Thus the passages quoted above from Sat. Br. XIV, 5, 4, 10; 6, 10, 6; 7, 3, 11 = Brih. Ar. Up. II, 4, 10; IV, 1, 2 ; 5, 11, and the Tait. År. II, 9 and 10, are of Upanishad character, and the Maitr. Up. VI, 32 repeats the list of texts stated at Sat. Br. = Brih. År. Up., just cited, in precisely the same order. The same text, Maitr. Up. VI, 33 (=Mahâ Up. 2; Atharvasiras 4), has the list rigyaguhsâ mâtharvângirasa itihasah puranam. The Khând. Up. III, 1-4 deals with rik, yaguh, saman, atharvângirasah, and itihâsapurânâni ; the same text at VII, 1, 2. 4; 2, 1; 7, 1, has the same list, ... atharvanas katurthah itihåsapurânah patikamah, to which are added a lengthy series of additional sciences (vidya). The Tait. Up.=Tait. År. VIII, 3, again, presents the Atharvan in a formulaic connection, tasya (sc. âtmanah) yagur eva sirah, rig dakshinah pakshah, samosttarah pakshah, adesa åtmå, atharvangirasah pukkham. There is, as far as is known, no additional mention of the Atharvan in the non-Atharvanic Upanishads, and it is evident that there is no marked change in the manner in which the fourth Veda is handled. Very much more numerous are the instances in which the trayî alone appears; see Jacob's Concordance to the principal Upanishads, under the words rigveda, rinmaya, rik; yagurveda, yagurmaya, yagus ; sâmaveda, samamaya, saman. They show that the draughts upon the Atharvan and the subsequent literary forms are, in general, made under the excitement of formulaic solemnity; while on the other hand, needless to say, the Upanishads with their eye aloft alike from hymn, sacrificial formula, and witchcraft charm, have no occasion to condemn the Atharvan, aside from that superior attitude of theirs which implies, and diplomatically expresses condemnation of the entire Veda that is not brahmavidya.
Even in the Atharvan Upanishads there is sounded in
This Upanishad belongs to a Yagus-school; hence the pre-eminence of the ragas. The Atharvan is here forced into a position of disadvantage, and it may be admitted that its mention after the adesa (Upanishad) is intentional, But there is really no other course open to the writer. The tenor of the entire passage excludes the notion of disparagement of any of the texts mentioned.
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Atharvan
general neither the polemic nor the apologetic note which characterises the ritualistic writings of the Atharvan. We
find, to be sure, in the late Pranava Up. a spoThe AV. in
the radic, if not solitary, assumption of superiority Upanishads.
on the part of the AV.', and an interpolated
e passage in the Prasna Up. V, 5 betrays the distinct tendency to secure at any cost the correlation of the Atharvan with the highest brahma ? The authority of Atharvanic teachers, Sanatkumâra, Angiras, Paippalada, &c., is, of course, cited with especial frequency in the Atharvan Upanishads, helping to confer upon them an esoteric school character. But in general, all that may be said is, that the Atharvan Upanishads mention the fourth Veda along with the other three more frequently than the corresponding tracts of the other schools, that the Atharvan is quietly added to the trayî, whether other literary forms like the itihâsapurânam, &c., appear in the sequel, or not. Even these Upanishads, however, occasionally lapse into the more frequent habit of the bulk of the Vedic literature, and fail to refer to the Atharvan, whether consciously or not, it seems impossible to tell. Thus the Mundaka Up. I, 1, 5 counts the four Vedas (Atharvan included) along with the Angas as the lesser science, above which towers the science of Brahma: rigvedo, yagurvedah, såmavedo stharvavedah sikshâ, &c. But in II, 1, 6 the list is, rikah sâma yagûmshi diksha yagñaska. The Prasna Up. II, 8 says of the Prâna, life's breath' (personified), rishînân karitam satyam atharvangirasam asi, which seemingly contains an allusion to the Atharvan writings, but in II, 6 we have, prâne sarvam pratishthitam riko yagůmshi sâ mâni yagñah kshatrain brahma ka? See also Mahânârayana Up. 22. This betrays the usual preoccupation with the traividya, which is not quite effaced by the possible allusion to the Atharvan in II, 8. The Nrisimhapūrvatâpani Up.
I See Ind. Stud. I, 296; IX, 51.
* See Ind. Stud. I, 453, note, and cf. Löhtlingk's critical edition of the Prasna in the Proceedings of the Royal Saxon Academy, November, 1890.
3 It would have been casy to substitute for the last four words, atharvaagirasas ka ye, or the like. Cl. also Prasna V, 5, alluded to above.
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1, 2 has, rigyagukså måtharvanas katváro vedåh ; I, 4, rigyaguhsâ mâtharvarûpah suryah; II, 1 (=Nrisimhottaratapani Up: 3; Atharvasikha Up. I), rigbhih rigvedah, yagurbhir yagurvedah, sâmabhih så mavedah, atharvanair mantrair atharvavedah; in V, 9 it falls into the broader style of reference, rikah, yagûmshi, sâmâni, atharvânam, angirasam, sâkhâh, purânâni, kalpân, gåthåh, nârâsamsih, leading up finally to pranavam, the Om which embraces all (sarvam). But in V, 2 we have rigmayam yagurmayam såmamayam brahmamayam amritamayam, where brahmamayam obviously refers to the brahmavidya, the holy science, not to the fourth Veda, the Brahmaveda ! And thus the Brahmavidya Up. 5 ff. recounts the merits of the traividya, culminating in the Om, without reference to the Atharvan. It seems clear that even the Atharvan Upanishads as a class are engaged neither in defending the Atharvan from attack, nor in securing for it any degree of prominence. Other references to the Atharvan occur in Atharvasiras I, rig aham yagur aham sâmâ sham atharvangiraso - ham; Muktika Up. 12–14, rigveda, yaguh, så man, åtharvana ; ibid. 1, atharvavedagatânâm... Upanishadâm; Maha Up. 3, gâyatram khanda rigvedah, traish/ubham khando yagurvedah, gågatam khandah så mavedah, ânushtubham khando-tharvavedah. Cf. also KQlika Up. 10, 13, 14.
On turning to the Grihya-sūtras it would be natural to anticipate a closer degree of intimacy with the Atharvan,
and hence a more frequent and less formulaic The AV.
in the reference to its writings. For the subjectGribya- matter of these texts is itself, broadly speaksâtras.
ing, Atharvanic, besides being dashed strongly with many elements of vidhâna or sorcery-practice, i.e. Atharvanic features in the narrower sense and by distinction ? Many verses quoted in the Grihya-sätras are
1 The Lipanishads do not designate the fourth Veda as Brahmaveda, unless we trust certain doubtful variants and addenda, reported by Weber, Ind. Stud. I, 301, note. The earliest occurrence of Brahmaveda is at Sânkh. Grih. I, 16, 13 (see above, p. xxvii).
? Cf., e.g. the use of roots, Pâr. I, 13, ; Sankh. I, 19, 1; 33, 1; the battlecharm, Åsv. JII, 12 (cf. p. 117 ff. of this vclume); the bhaishagyani, * remcdial charms,' Åsv. III, 6, 3 ff.; Par. I, 16, 24 ff.; III, 6; Hir. II, 7;
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identical with, or variants of those contained in the Atharvasamhitâ. But even the Grihya-rites, popular, nay vulgar, as they must have been in their untrammelled beginnings, were, so to speak, Rishified, and passed through in due time a process of school-treatment which estranged them as far as possible from the specifically Atharvanic connections, and assimilated them, as far as possible, to the Rigveda, Sâma-veda, and Yagur-veda, as the case may be. Thus the battle-charm, Åsv. III, 12, instead of drawing upon the very abundant mantras of this kind, contained in the AV. (see p. 117 ff.), is decked out with the scattering material of this sort that may be extracted from the RV. (see the notes to Stenzler's and Oldenberg's translations). In general the preference for mantras of the particular school is nearly if not quite as great as in the Srautasůtras. The anticipation of a marked degree of literary relationship with the Atharvan is not materialised. The Grihya-sútras of the Sama-veda (Gobhila and Khâdira), and Åpastamba', do not seem to mention the Atharvan at all; Asvaldyana (III, 3, 1-3), on the occasion of the svâdhyâya, the daily recitation of the Veda, recommends the Atharvan, but the mention of this text is that which we have found to be the normal one in the Srauta-literature, i.e. preceded by rik, yaguh, and sâman; followed by brâhmana, kalpa, gâthâ, nârâsamsî, itihâsa, and purana ? Similarly Hiranyakesin (II, 19, 6), in connection with a long list of deities, mentions in order rigveda, yagurveda, sâmaveda, and itihâsapurâna; in Sankhayana I, 24, 8 the Atharvan is even omitted in a similar list, which catalogues
A past. VII, 18 (cf. p. I ff.); the sânimanasyâni, charms to secure harmony,' Pâr. III, 7; A past. III, 9, 4 ff.; VIII, 23, 6. 7; Hir. I, 13, 19 ff. (cf. p. 134 ff.), &c. See in general the list of miscellancous Grihya-rites in Oldenberg's index to the Gribya-sâtras, Sacred Books, vol. xxx, p. 306 ff.
"This Sūtra mentions neither rik, sâman, nor atharvan, a probably unconscious preoccupation with the yaguh that must not be construed as intentional chauvinism against the other Vedas. The mantra-materials quoted and employed do not differ in their general physiognomy from those of the other Sätras, but they are always referred to as yaguh.
? The passage contains in slightly different arrangement the list of Vedic texts presented by the Tait. Ar. II, 9 and 10, above; cf. also Sat. Br. XI, 5, 7, 5.6.
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rigveda, yagurveda, så maveda, vákovákyam, itihasapuranam, and finally sarvan vedân (cf. the same grouping, Sat. Br. XI, 5, 7, 6 ff.). But in Sânkh. I, 16, 3 (brahmaveda); Hir. II, 3, 9 (atharvangirasah); II, 18, 3; 20, 9 (atharvaveda); Pår. II, 10, 7 (atharvaveda); II, 10, 21 (atharvanâm) there is a distinct advance along the line of later development in the familiar mention of the fourth Veda ; this is not balanced altogether by the restriction to the trayî, Sânkh. I, 22, 15; 24, 2; Hir. I, 5, 13; II, 13, 1, or the restriction to two Vedas, Gobh. I, 6, 19; III, 2, 48; Åsv. 1, 7, 6= Pâr. I, 6, 3= Sânkh. I, 13. 4, because these passages are to a considerable extent quotations, or modifications of mantras derived from the sruti. The true value of this testimony is chronological, not sentimental : the Grihyasûtras, as much as their subject-matter is akin to the Atharvan, are not imbued with a sense of its especial value and importance, any more than the srauta-texts. They handle their materials in a self-centred fashion, without acknowledging any dependence upon the literary collections of the Atharvans; their more frequent reference to the fourth Veda is formulaic in every single instance, and the greater frequency with which it is mentioned marks the later chronology of the Grihya-sútras (cf. Oldenberg, Sacred Books, vol. xxx, pp. i and xvii ff.).
The construction of the Vedic literature in general is, as we have seen, such as to forbid any genuine discrimi
The ay nation there against the Atharvan. In so in the law. far as this Veda offers the means of defence books.
ks. against the ills of life (disease and possession by demons); in so far as it presents the auspicious blessings pronounced at the sacramental points in the life of the individual, from conception to death, it is holy by its very terms. Even witchcraft is part of the religion ; it has penetrated and has become intimately blended with the holiest Vedic rites; the broad current of popular religion and superstition has infiltrated itself through numberless channels into the higher religion that is presented by the Brahman priests, and it may be presumed that the priests were neither able to cleanse their
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HYMNS OF THE ATHARVA-VEDA.
own religious beliefs from the mass of folk-belief with which it was surrounded, nor is it at all likely that they found it in their interest to do so. But there is another field of literature whose roots also reach down to the Veda, in which judgment must be passed over the more unclean and sinister phases of Atharvanic activity. The broad arena on which men meet in daily contact is the true field for the golden rule. The need of doing unto others what one would have others do unto oneself, and leaving the opposite undone, is sure to be felt, and sure to gain expression in the proper literature. This literature is the legal literature (dharma), more narrowly that part of it which deals with the mutual rights and obligations of men, the vyavahara-chapters of the legal Satras and Såstras. Here also the Atharvan retains in a measure its place by virtue of its profound hold upon popular beliefs, because indispensable sciences like medicine and astrology are Atharvanic by distinction, and because the Atharvan performs, especially for the king, inestimable services in the injury and overthrow of enemies. The king's chaplain (purohita) was in all probability as a rule an Atharvan priest (cf. Yagñay. I, 312). But incantations, sorceries, and love-charms do work injury, and the dharma-literature pronounces with no uncertain voice the judgment that the Atharvan, while useful and indispensable under certain circumstances, is on the whole inferior in character and position, that its practices are impure, and either stand in need of regulation, or must be prohibited by the proper punishments.
The Atharvan is not mentioned very frequently either in the Dharma-sútras, the older metrical Dharma-sastras, or in the more modern legal Smritis. In Vishnu XXX, 37; Baudh. II, 5, 9, 14; IV, 3, 4; Yågñav. I, 44 (cf. Manu II, 107); 101" (cf. Manu II, 85); Ausanasa-smriti III, 44 (Givananda, vol. I, p. 514), the Atharvan is mentioned in the
1 In this passage, vedatharvapurânâni setihâsâni, the Atharvan is kept distinct from the trays, the veda by distinction; cf. Weber, Indische Literaturgeschichte, p. 165, note.
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normal Vedic manner, i.e. preceded by the traividya, and followed by other literary types, especially the itihâsapurânam. It is worthy of note that in only three of the five cases (Baudh. II, 5, 9, 14; Yâgñav. I, 44; Aus. III, 44), the older name atharvângirasah appears; the other three have atharvaveda, or atharvan. But it seems altogether impossible to derive from this any chronological indications as to the date of a given legal text, since Usanas, or even Yagnavalkya, is certainly later than Baudhâyana and Vishnu. At this time the names atharvaveda, atharvan, atharvana have established themselves as the equivalent of the older atharvângirasah, but the older name crops out at times in a purely chance way. At Yâgñav. I, 3 the fourth Veda is also implied as one of the fourteen foundations of knowledge and law, without being mentioned by name; cf. also Ausanasa-smriti V, 66 (Givânanda, vol. i, p. 531, bottom). The Atharvan, however, holds also the position of the fourth Veda in cases where no additional literature is mentioned; at Baudh. III, 9, 4 burnt oblations are offered to the four Vedas and many divinities; at Baudh. IV, 5, I the Sâman, Rik, Yagus, and Atharva-veda are mentioned in connection with oblations calculated to procure the special wishes of one's heart (kâmyeshtayah). At Vas. XXII, 9 the Samhitâs of all the Vedas (sarvakhandahsamhitah) are counted among the purificatory texts: the Atharvan is probably intended to be included, especially as the Atharvasiras (see below) is explicitly mentioned. In the late Vriddhahârîta-samhitâ III, 451 the âtharvanâni (sc. sûktâni) are on a level with the riko yagûmshi and sâmâni. In the Ausanasa-smriti III, 86 (Gîvânanda, vol. i, p. 518) the twiceborn is recommended to read either a Veda, two Vedas, the Vedas, or the four Vedas, a distinction between the trayî vidya and the four Vedas, not explicitly stated elsewhere. The Atharvasiras, an Upanishad connected with the AV., is mentioned a number of times, Gaut. XIX, 12; Vas. XXII, 9; XXVIII, 14; Ausanasa-smriti IV, 5; the same text is mentioned under the name of Siras at Baudh. IV, 1, 28;
INTRODUCTION.
1 See Givânandavidyâsâgara's Dharmasâstrasamgraha, vol. i, p. 213.
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Vas. XXI, 6-8; XXV, 13; Vishnu LV, 9. Certain vows called Siras, Baudh. II, 8, 14, 2; Vas. XXVI, 12, also emanate from the sphere of Atharvanic practices; so Govinda at Baudh. loc. cit. More pointedly, and without the company of the traividya, the sacred texts of the Atharvan and Angiras (srutîr atharvângirasîh) are recommended as the true weapons with which the Brahmana may slay his enemies, Manu XI, 33; the king must choose for his chaplain (purohita) one who is skilled in the Atharvan and Angiras (atharvângirase), Yâgñav. I, 3121; and the same recommendation is implied at Gaut. XI, 15. 17, where the king is enjoined to take heed of that which astrologers and interpreters of omens tell him, and to cause the purohita to perform in his house-fire among other expiatory rites (sânti), rites for prosperity (mangala), and witchcraft practices (abhikâra) against enemies. Such a purohita is eo ipso an Atharvan priest. In the Atri-samhitâ (Gîvananda's collection, vol. i, p. 45) gyotirvido... atharvânal, 'Atharvan priests skilled in astrology' are recommended for the performance of sråddhas and sacrifices (cf. Vishnu III, 75; Yagnav. I, 332). The snataka must not live in a country without physicians, Vishnu LXXI, 66, and the king should consult his physicians in the morning, Yâgñav. I, 332. At Vishnu III, 87, the king himself is urged to be conversant with incantations dispelling the effects of poison and sickness, and at Manu VII, 217, the food of the king is rendered salubrious by sacred texts that destroy poison: these passages evidently refer to Atharvanic bhaishagyâni (cf. p. 25 ff.), and Atharvan priests skilled in their use. At Baudh. II, 8, 15, 4; Vishnu LXXIII, 11; LXXXI, 4, the demons called yâtudhâna are driven out by means of sesame, in perfect accord with AV. I, 7, 2.
Thus far then the dharma-literature expresses regard for the Atharvan, and distinct dependence upon its literature and its practices. But the ever dubious quality of the fourth Veda sounds from notes pitched in a different key. In the
HYMNS OF THE ATHARVA-VEDA.
'The king himself is urged (ib. I, 310) to devote himself to the trayî.
This is the stereotyped summary of the functions of the AV., sântapushtikabhikarika; see p. xxix.
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first place we may remark that the conspicuous omission of this Veda which characterises the srauta-literature, without pronounced disapproval of the Atharvan, is continued in the dharma-texts. Thus notably in the prohibition of the recital of the other Vedas while the sound of the Sâmans is heard, these texts mention only the rik and the yaguh; see Gaut. XVI, 21; Vas. XIII, 30; Vishnu XXX, 26; Manu IV, 123. 124. At Baudh. IV, 5, 29; Manu XI, 263-66, the recitation of the traividya is recommended as a most efficient means of purification and release from sin. In the cosmogonic account, Manu I, 23, only rik, yaguh, and sâman are derived from the primeval creation. In Baudh. II, 8, 14, 4. 5; Manu III, 145, the traividya and its adherents only appear at the funeral-offerings (srâddha), though the Atri-samhita singles out Atharvans skilled in astronomy on that very occasion (see above, p. xlviii). At Manu XII, 112 (cf. Yagñav. I, 9) adherents of the three Vedas are recommended as an assembly (parishad) to decide points of law; at Yâgñav. II, 211 punishment is declared for him that abuses one skilled in the three Vedas; at Yagnav. I, 310 the king is urged to devote himself to the study of the trayî (vidyâ); his chaplain, on the other hand, must be skilled in the manipulation of the atharvângirasam (ib. I, 312). The inferiority of the Atharvan is stated outright at Åpast. II, 11, 29, 10. 11, where it is said that the knowledge of women and Sûdras is a supplement of the Atharvaveda (cf. Bühler, Sacred Books, vol. ii, p. xxix); and yet more brusquely Vishnu V, 191 counts him that recites a deadly incantation from the Atharva-veda as one of the seven kinds of assassins.
Still more frequently, performances which imply the knowledge and use of the Atharvan are decried and punished, though the writings of the Atharvan are not expressly mentioned. Thus magic rites with intent to harm enemies, and sorceries and curses in general, cause impurity, and are visited with severe penances at Apast. I, 9, 26, 7; 10, 29, 15; Baudh. II, 1, 2, 16; Gaut. XXV, 7; Vishnu XXXVII, 26; LIV, 25; Manu IX, 290; XI, 198; Yagnav. III, 289. Yet the other side of the coin is turned
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up at Manu XI, 33, where the Atharvan is recommended as the natural weapon of the Brahmana against his enemies (see above). Nârada, V, 108, also betrays his hostile attitude towards sorcery when he remarks that the sage Vasishtha took an oath, being accused of witchcraft'. With especial frequency and emphasis the impurity of physicians is insisted upon, Åpast. I, 6, 18, 20; 19, 15; Vishnu LI, 10; LXXXII, 9; Gaut. XVII, 17; Vas. XIV, 2. 19; Manu III, 152. 180; IV, 212. 220; Yagñav. I, 162; III, 240: we gathered above (p. xxxix) that the practice of medicine is regarded in the same light in the Brahmanas; the charge, of course, reflects upon the Atharvan. Astrology also, and fortune-telling, are impure occupations, Baudh. II, 1, 2, 16; Manu IX, 258; the practice of astrology is forbidden to ascetics, Vas. X, 21; Manu VI, 50; and the astrologer is excluded from the sråddha, Vishnu LXXXII, 7; Manu III, 162. That these practices were Atharvanic in character we may gather from AV. VI, 128; Kaus. 50, 152. An especially pointed reflection against the AV. is implied in the prohibition of the mûlakriyâ or mûlakarma, 'practices with roots 3:' at Vishnu XXV, 7 wives are especially forbidden to engage in such practice; at Manu IX, 290 magic rites with roots, practised by persons not related to him against whom they are directed, are regarded as sinful; at Manu XI, 64 practices with roots in general are forbidden. Such practices abound in the AV. and its ritual; see I, 34; III, 18 (=RV. X, ¡45); V, 31, 12; VI, 138. 139; VII, 38, &c., and the performances connected with them (cf. p. 99 ff. and the commentary on these hymns). Though they are not wanting elsewhere, especially in the Grihya-sûtras, the brunt of the charge is without doubt directed against the Atharvan. Finally, at Gaut. XV, 16; Vishnu LXXXII, 12; Manu III, 151; IV,
HYMNS OF THE ATHARVA-VEDA.
He has in mind the asseveration of the poet, RV. VII, 104, 15, adya murfya yadi yâtudhano ásmi, &c., ' may I die to-day if I am a sorcerer.'
* Cf. 'Seven Hymns of the Atharva-veda,' Amer. Journ. Phil. VII, 484 ff. (19 ff. of the reprint); the present volume, pp. 160, 532 ff.
Cf. the same prohibition in the Mahâbhârata, below, p. liv.
The commentator Nârada states that they are permissible, if practised against a husband or relative.
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205, he who practises for a multitude (grâmayâgaka) is pronounced impure: we may presume that this kind of activity was largely, if not entirely in the hands of Atharvan-priests; cf. the note on p. xl.
The position of the Atharvan in the Mahâbhârata may be characterised in the single statement that its importance as a Veda, and its canonicity, are finally and completely established; that its practices are familiarly known and, in general, not subjected to any particular criticism. There is no especial affinity between the great Epic and the srauta-literature, barring the continuance of a considerable quantity of the legendary materials (âkhyâna) which are woven into the descriptions of the Vedic sacrifices in the Brahmanas; hence there is nothing in the Epic to induce preoccupation with the trayî vidyâ. On the other hand, the great collection deals so largely with the interests of the Kshatriyas as to preclude any conscious discrimination against the fourth Veda, since this Veda also is to a very considerable extent engaged in the interest of the kings (râgakarmâni, Kausika, chapters 14 to 17), and the practices of their chaplains (purohita) are also largely Atharvanic in character. It is true that the Mahabharata in common with all Hindu literature, the Atharvan literature not excluded, mentions frequently only the three Vedas by their distinctive names, or by the generic terms trayî vidyâ and trayo vedâh. Thus in the passages assembled in A. Holtzmann's sufficiently exhaustive collectanea on this question in his work on the Epic, Das Mahâbhârata und seine Theile, vol. iv, p. 5, the prevailing Vedic habit of referring to the Vedas is continued. But there can be little question that this mode of reference has at this time, as doubtless in a measure also in the period of Vedic productivity, become a stereotyped mechanical habit, continued from the tradition of earlier times; cf. Bühler, Zeitschr. d. Deutsch. Morgenl. Gesellsch. XL, 701, who compares the German expression 'die vier Erdtheile,' and the like. There is no indication that the mention of the Atharvan is consciously avoided.
The AV. in the Maha
bhârata.
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The main proof of the high regard for the Atharvan and its unchallenged position in the canon, are the quasicosmogonic passages in which the four Vedas figure in the primordial transactions of the creation of the world, and its affinity with the personified creator. Thus, at V, 108, 10=3770 Brahman is said to have first sung the four Vedas; Brahman himself is called K’aturveda, III, 203, 15 =13560, as similarly Vishnu at XIX, 238, 9 (Bhav.)= 12884; at III, 189, 14=12963 ; VI, 67, 6=3019 Vishnu himself declares that the four Vedas (atharvana the fourth) have sprung from him. According to XIX, 14, 15 (Bhav.) = 11516, Brahman created first the tristich called Gâyatrî, the mother of the Vedas, and afterwards the four Vedas; according to XIX, 53, 41 (Bhav.)=13210 he carries upon each of his four heads one of the Vedas, or, according to II, 11, 32=449, the four Vedas dwell bodily in his palace. At XII, 347, 27=13476 malicious demons steal the four Vedas from Brahman, and Vishnu restores them. Accordingly the Brahman priest and the kings, both of whom owe it to themselves to be vedavid, are more specifically described as knowing and reciting the four Vedas, at I, 70, 37=2880 ff.; VII, 9, 29=289; XIX, 142, 1 (Vish.)=7993, where a Brahmana is designated as katurvedah, just as the divinity Brahman, above. Other instances of the mention of the four Vedas, with or without other literary compositions, are I, 1, 21; I, 1, 264; II, 11, 32=450 ; III, 43, 41 = 1661 (åkhyânapañkamair vedaih); III, 58, 9=2247 (katuro vedân sarvân akhyanapañkamân); III, 64, 17=2417 (katvâro vedåh såågopâågåh); III, 189, 14=12963; V, 44, 28 =1711 ; VII, 59, 15=2238; VII, 149, 22=6470; XII, 236, I=8613; XII, 335, 28=12723; XII, 339, 8=12872; XII, 341, 8=13136 (rigvede ... yagurvede tathais vastharvasåmasu, purâne sopanishade); XII, 342,97=13256 ff.; XII, 347, 28=13476; XIII, 17, 91 = 1205 ff. (where the Atharvan appears first, atharvasîrshah såmasya riksahasrâmitekshanah, yaguhpâdabhugo guhyah); XIII, 111, 46 = 5443 ; XIII, 168, 31=7736; XIX, 109, 5 (Vish.)=9491 (katvaro sakhila vedäh sarahasyah savistarâh); XIX, 14, 15 (Bhav.) =11665. Cf. Holtzmann, 1. c., p. 6.
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By itself the Atharvan is mentioned numerous times: as atharvangiras (singular), atharvangirasah (plural), atharvangirasa, atharvan, atharvana, atharvana, and atharva-veda. Invariably the statements presenting these names are either directly laudatory, or they exhibit the Atharvan in an indisputable position of usefulness. At III, 305, 20=17066 Kuntî knows mantras, atharvangirasisrutam, for compelling the gods to appear; at II, 11, 19=437 the atharvårigirasah, personified, are mentioned honorifically along with other Vedic Rishis ; at V, 18, 5=548 ff. Angiras praises Indra with atharvavedamantraih, and Indra declares that this Veda shall henceforth have the name atharvangirasa. At XII, 342, 99=13258 ff. Pragåpati declares that the sages skilled in the Atharvan (viprå atharvânavidas) fashion him into an Atharvan priest, devoted to the practice of the five kalpas (pañkakalpam atharvânam). At V, 37, 58=1391 Atharvan practitioners (atharvanâh) are spoken of in a friendly way: 'For him that has been wounded with the arrow of wit there are no physicians and no herbs, no sacrificial formulas, no amulets, no Atharvanas (conjurers), and no skilful remedies *.' See also I, 70, 40=2883; III, 251, 24=15147; XIII, 14, 309=901; XIII, 94, 44=4590. In a number of places weapons are said to be as fierce and efficacious as the sorcery-practices of the Atharvan (krityam atharvangirasîm iva), VIII, 40, 33= 1848 ; VIII, 90, 4=4625; VIII, 91, 48=4795; IX, 17, 44= 907; XIII, 98,13=4706: the passages imply neither praise nor blame, but represent Atharvan practices as familiarly established among the customs of the people.
It is scarcely to be expected that the Atharvan and its practices, notwithstanding their establishment in the good graces of the epic writers, shall come off entirely without criticism ; there must have been persons aching under its supposed infictions, and moods awake to a full sense of its vulgarity. In such cases the Mahabharata reflects entirely the spirit of the dharma-texts. Thus at XII, 36–28=1322 ;
In the Calcutta edition, atharvasirasi for atharvangirasi. Cf. Böhtlingk, Indische Sprüche, 1497-8.
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XIII, 90, 13=4282, physicians are declared to be impure (cf. above, p. 1). Practices undertaken by bad women with charms and roots (mantramalaparà strî ... malaprakara) are inveighed against : the man that has a wife addicted to them would be afraid of her, as of a snake that had got into the house, III, 233, 13=14660 ff.; cf. the identical prohibition of the dharma-texts above, p. 1)?. Women are said at XIII, 39, 6=2237 ff. (cf. Böhtlingk's Indische Sprüche °, 6407) to be skilled in the sorceries of the evil demons Namuki, Sambara, and Kumbhînasi. Magic or sorcery is in general regarded as good. Thus krityâ is regarded as the divinity of witchcraft (abhikåradevata) by the commentator on VII, 92, 54=3314, and krityâ, abhikâra, and måyå are in general allowable, but yet it is possible in the view of the Epic to bewitch right to make it wrong, to be a dharmabhikårin, XII, 140, 42=5288, or to use foul mâya, VII, 30, 15=1316 ff. (see above, p. xxix, and cf. Hopkins, Journ. Amer. Or. Soc. XIII, 312 ff.).
· In the Ramayana the Vedas in general are mentioned very frequently; special Vedic names appear to be rare, the Sâma-veda (sâ magâl) being mentioned at IV, 27, 10, the Taittirîya (akâryas taittirîyânam) at II, 32, 7 (cf. Ind. Stud. I, 297). The Atharvan (mantras kastharvanah) occurs at II, 26, 21.
In the proverb-literature the Atharvan is scarcely mentioned (cf. Mahâbh. V, 37, 58=1391 in Böhtlingk's Indische
... Sprüche', 4216), but the mantras of the AtharThe AV. in the later" van are in the minds of the poets, though literature they usually speak of mantras in general in general,
without specification. Thus a comparison of proverbs 1497-8 with 4216 seems to call up the atmosphere of the Atharvan practices in their mention of aushadhani and mantrâni; still more clearly rogaviyogamantramahimâ at 2538 refers to the bheshagâni of the AV., and sakyam vârayitum ... vyâdhir bheshagasamgrahais ka vividhamantraprayogair visham, proverb 6348, both to the
i The sentiment has become proverbial ; see Sârng. Padah., niti 76 b (Böhtlingk's Indische Sprüche?, 5260).
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bheshagani and the charms against poison (see p. 25 ff.). The knowledge of sorcery, dreaded in women (see the prohibitions in the dharma, p. 1 above), is alluded to in proverbial form at 5260= Mahâbh. III, 233, 13= 14660; and 6407= Mahâbh. XIII, 39, 6=2237.
In the Dasakumara-karita the Atharvan is employed twice, once in an obvious sorcery practice, atharvanikena vidhinâ (chapter iii, p. 108, 13), where priests perform sacrifices preliminary to transforming a person from one shape to another. Another time (chapter ii, p. 94) a marriage is celebrated with Atharvanic ceremonies (àtharvanena vidhina). Cf. Weber, Ind. Stud. I, 297 ; Ind. Streifen, I, 328.
In the Kirâtârgunîya X, 10 (cf. Weber, Ind. Stud. I, 289; Muir, Orig. Sanskrit Texts 1%, p. 395) there is a passage which shows that the potency of the Atharvan had not then waned : anupamasamadiptitâgarîyân kritapadapanktir atharvanena vedah, 'he (Arguna), being through unparalleled composure and fervour exceedingly powerful, as the Veda arranged by Atharvan 1.'.
The Purânas always speak of the fourfold Veda”, and present the Atharvan in the advanced position of the ritualistic literature of the AV. itself; cf. below, p. lvii ff. The Vishnu-purâna, p. 276, assigns the four Vedas to the four priests of the srauta-ritual, the AV. to the Brahman. Similarly at Prasthâna-bheda, p. 16, 1. 10, there is the statement, paurohityam sântipaushtikani ragñâm atharvavedena kårayed brahmatvam ka; cf. Max Müller, Ancient Sanskrit Literature, p. 476. The Bhagavata-puråna I, 4, 19. 20 speaks of the fourfold Veda designed for the execu
"Mallinâtha comments upon the passage, and cites an agama, to wit: samah sântir abhyudayakande diptita ugratâ abhikârakande atharvand vasishthena kritâ rakita padanam panktir anupūrvo yasya sa vedas katurthavedah, atharvanas tu mantroddharo vasishthena krita ity agamah. The passage has a twofold interest : it reflects the ancient Atharvanic (abhyudaya) and Angirasic (abhikâra) components of the Veda, and it ascribes its redaction to Vasishtha ; cf. above, p. xviii, and below, p. lxv.
. CF. Colebrooke, Miscellaneous Essays, vol. I, p. 10. See, e.g. Vishnu. purana I, 5 (Wilson's translation, vol. I, p. 85), where the Atharvan is said to be the northern mouth of Brahman.
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tion of the sacrifice (yagñasamtatyai vedam ekam katurvidham), mentioning them by name in the sequel. At VI, 6, 19 figures the atharvargirasa veda. Also, the Matsyapurâna, as quoted by Sayana in the introduction to the AV., p. 6, orders that the purohita shall compass the Mantras and the Brahmana of the AV.; and the Mârkandeya-purana claims that the king consecrated with the Mantras of the AV. enjoys the earth and the ocean ; see Såyana, ibid.
In the Gainist Siddhanta, fifth anga (bhagavati), I, 441; * II, 246–7; upånga, I, 76; X, 3, the scope of Vedic or
. Brahmanical literature is stated as riuveda, The AV. in the Gaina gaguveda, sâmaveda, ahavvanaveda (athavand Bauddha vana-), itihâsapamkamam ...; see Weber, writings.
* Verzeichniss der Sanskrit- und Prakrit-Handschriften, II, 423-4; and Ind. Stud. XVI, pp. 238, 304, 379, 423, 474? According to Weber, ibid., p. 237, the Siddhanta is to be placed between the second and fifth centuries of our era. This mode of describing the Vedic literature we found above to prevail from the time of the Sat. Br. to the Mahabharata. In the Satrakritânga-stra II, 27 (see Jacobi's translation, Sacred Books, vol. xlv, p. 366) the incantations of the Atharvan (atharvani) are naturally spoken of in condemnatory language.
As specimens of the view of the Buddhist writings we may quote the Atthakavagga 14, 13 of the Sutta-nipata (Fausböll's translation, Sacred Books, vol. x, part ii, p. 176), where the practice of the Athabbana-veda is forbidden. To the condemnation of practices essentially Atharvanic in character is devoted the Maha Silam, in the second chapter of the Tevigga-sutta ; see Rhys Davids' translation in the Sacred Books, vol. xi, pp. 196-200, similarly the Vinaya, Kullavagga V, 32, 2, ibid., vol. xx, p. 152.
* Cf. also Kalpa-sútra, in Jacobis translation, Sacred Books, vol. xxii, p. 221.
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The normal estimate of the AV. in its own literature.
lvii
It is but natural to expect, and the expectation nowhere meets with disappointment, that the Atharvan texts in general should allude with predilection, and in terms of praise, to their own kind of compositions, to the mythical sages who are their reputed authors, and to the priests devoted to the practices that went hand in hand with the recitation of the Atharvans and Angiras. We found above, (pp. xxxii, xlii), a sufficiently marked tendency on the part of the Samhitâ itself and the Atharvan Upanishads to do this; there was occasion to note, too, that this tendency was followed out naturally and with moderation. Certainly there is no indication in these texts of any systematic attempt to make battle against the ancient threefold Veda, or to enter into polemics against the priests devoted to their respective duties while reciting or chanting its mantras. Similarly the ritual texts of the AV. allude preferably, and yet incidentally, to their own Veda, and as occasion offers, bring to the front the priests schooled in it. Thus Kaus. 139, 6 an oblation is offered to Bhrigu and Angiras along with other divinities, without mention, however, of any specific representatives of the other Vedas. The expression, Kaus. 125, 2, vedâbhigupto brahmanâ parivrito tharvabhih sântah', illustrates this passive preference for the Atharvan very well; cf. also 137, 25. Again, Kaus. 63, 3, four priests descended from Rishis, skilled in the bhrigvangirasah, are employed very naturally, and similarly allusion is made to Atharvan priests and Atharvan schools, Kaus. 59, 25; 73, 12; Vait. Sû. 1, 5; Ath. Paris. 46, 2; 73, 1; 77, 4. In the Atharva-parisishtas Bhrigu, Angiras, and Atharvan figure more frequently than any
The passage reflects also the Atharvanic connection of their Veda with Brahmán and the bráhma; cf. Ath. Paris. 2, 1, brahmane brahmavedâya . . . namaskritya, and see below, p. lxii ff.
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other names: they have become the typical teachers of the trivialities which these texts profess.
But over and above this the ritual texts raise certain special claims regarding the position of the Atharvan
among the Vedas, and they further make the Nature of the especial claims demand with strident voice and obvious of the ritual polemic intention that certain offices shall be
reserved for the priests conversant with that Veda. The position of these texts may be stated under three heads. First, they are not content with the rather vacillating attitude of the non-Atharvanic texts which refer in general to a threefold Veda, reserving, as we have seen, the honorific mention of the fourth Veda to more or less well-defined occasions, especially to moods when it is felt desirable to call into requisition the entire range of Vedic literary composition in addition to the trayî vidya (e.g. itihâsa, purâna, gâthâ, &c.). Secondly, the office of the Brahman, the fourth priest at the srauta-ceremonies, who oversees and corrects by means of expiatory formulas (prayaskitta) the accidents and blunders of hotar, udgåtar, and adhvaryu, is said to belong to an Atharvavedin, and the Vaitâna-sútra in fact exhibits the bhrigvangirovid in possession of that office. Thirdly, a similar claim is advanced in respect to the office of the purohita. Again and again it is stated that the purohita, guru, or brahman of a king, the chaplain or house-priest, shall be conversant with the Atharvan writings, shall be an Atharvan priest, and this claim, as we have seen above (p. xlvi), is supported to some extent by later Brahmanical treatises not derived from Atharvan schools. Cf. also below, p. Ixvii.
The Gopatha-brâhmana, in its opening chapters I, 1, 410, describes the cosmogonic origin of the universe and
the Vedas from the lone brahma. Unlike Exaltation of the AV. other texts, which as a rule ignore the Athar
in generale van in these creative accounts, the atharvan and the angiras texts are placed at the head ; the other Vedic texts (rik, yaguh, and sâman, I, 1, 6), as well as the subsidiary compositions (the five Vedas, called sarpaveda, pisâkaveda, asuraveda, itihâsaveda, and purânaveda, 1, 1,
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10), are relegated to the rear. At Vait. Sû. 6, 1 the Atharvan is again placed at the head of the four Vedas. Gop. Br. I, 3, 4 lauds the Atharvan compositions as the greatest religious manifestation, etad vai bhủyishtham brahma yad bhrigvangirasah, and at I, 2, 16 (cf. I, 2, 18) the Atharvan figures as the fourth Veda by the name of Brahma-veda, being here correlated with the service of the Brahman-priest as the overseer at the srauta-ceremonies ?. At I, 1, 9 there is quoted a stanza, thoroughly Upanishad in character, which shows that the Atharvanists correlated their Veda with the knowledge of brahma, the higher and subtler religious conception, which at all times is raised above any special knowledge of the constituent parts of the Vedic religion : The highest Veda was born of tapas, it grew in the heart of those that know the brahma 2.' The Atharvan ritual texts never cite the trayi vidyâ in formulary order without including the fourth Veda", differing in this regard even from the text of the Samhitå and the Atharvan Upanishads (see pp. xxxii, xliii). The first half of the Gop. Br.(1,5, 25) ends with the assertion that they who study the trayî reach, to be sure, the highest heaven (trivishtapam tridivam nåkam uttamam), but yet the Atharvans and Angiras go beyond to the great worlds of Brahma (ata uttare brahmaloka mahânta).
As regards the Brahman, the overseer at the srautaperformances, the Vait. SQ. 1, I states that he must be
conversant with the Brahma-veda, and in 1, 17. The office of Brahman 18 this priest is described as the lord of beings, in the ritual lord of the world, &c. These expressions
seem to indicate that he is the representative at the sacrifice of the personified god Brahmán. At II, 2 (cf. Gop. Br. I, 2, 16) the Brahman is again ordered to be conversant with the atharvangirasah, this time in
texts.
' katasro vâ ime hotra, hautram adhyatyavam audgâtram brahmatvam,
* Thus according to the version of Sayana, Introduction to the AV., p. 5, steshiko bi vedas tapaso sdhigato brahmagriânâm hridaye sambabhůva. Râgendralalamitra's edition, sreshtho ba vedas tapaso dhigâto brahms gyânâm kshitaye sambabbûva, 'it was created for the destruction of the oppressors of Brahmans.'
"See especially Gop. Br. II, 2, 14, where the atharvangirasah are added every time in liturgical formalas to the rikah, yagümshi, and sâmâni.
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expressed contrast with udgâtar, hotar, and adhvaryu (sâmaveda, rigveda, yagurveda). At Gop. Br. I, 2, 18 (end) the Brahman is described with the words, esha ha vai vidvân sarvavid brahmâ yad bhrigvangirovid. The last statement is of especial interest as indicating the identification of the Atharvan with the sarvavidyâ which stands above the trayî vidyâ (cf. below, p. lxiii). Especially at Gop. I, 3, 1. 2 the futility of the sacrifice without a Brahman skilled in the bhrigvangirasah is described vividly: a cow, a horse, a mule, a chariot cannot proceed with less than four feet, therefore the sacrifice, in order to succeed, must have four feet: the four Vedas, and the four priests. Especially characteristic is the following: At Tait. S. III, 5, 2, 1, &c. (cf. Ind. Stud. X, 34), the well-known legend is told, according to which Vasishtha saw Indra clearly, though the Rishis (in general) did not see him clearly.' Indra makes Vasishtha his Brahman (purohita), and confides to him moreover a mystery, the stomabhâga-verses. Since then men have Vasishtha for their purohita: therefore a descendant of Vasishtha is to be chosen as Brahman. The same legend is repeated almost verbatim Gop. Br. II, 2, 13, but the text demurs at the last clause. The Gop. Br. cannot say tasmâd vâsishtho brahmâ kâryah, because it has previously stated emphatically that a bhrigvangirovid is the only person fitted for that exalted office (I, 2, 18; 3, 1 ff.). At Vait. Sû. 6, 1 the gârhapatya-fire is personified as a steed which is prepared by the four Vedas for the Brahman, and by Pragâpati for Atharvan: the equation brahman atharvan is implied. The passage, Vait. Sû. 37, 2, a brahmodya or theological contest between the Brahman and the Udgâtar, betrays perhaps a certain insecurity and touchiness on the part of the Brahman in his assumed superiority to the other priests: Not art thou superior, better than I, goest not before me. . . . Thou speakest these words that are worthy of being learned, (but) shalt not become equal to me.' The superiority of the Brahman was occasionally disputed', and possibly the Atharvanic
See Haug, Brahma und die Brahmanen, p. 10.
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Brahman felt that he stood in special need of asserting his dignity.
Even more energetic are the demands of the liturgical texts in the matter of the office of purohita who is
The office of known also by the name of brahman and parobita in the guru. 'The king who rules the country shall
ritual texts. seek a wise Brahman (brahmânam). He verily is wise that is skilled in the bhrigu and angiras ; for the bhrigu and angiras act as a charm against all ominous occurrences, and protect everything' (Kaus. 94, 2-4 ; cf. 126, 2). The equivalence of brahman, purohita, and guru is guaranteed by comparing with this Ath. Paris. 3, 1, kulinam srotriyam bhrigvangirovidam ... gurum vriniyâd bhupatih; and 3, 3, tasmad bhrigvangirovidam ... kuryat purohitam. Cf. also 2, 2, brahmâ tasmad atharvavit. Conversely, 'The gods, the Fathers, and the twice-born (priests) do not receive the oblation of the king in whose house there is no guru that is skilled in the Atharvan' (2, 3). Cf. Weber, Omina und Portenta, P. 346 ff.; Ind. Stud. X, 138; Såyana, Introduction to the AV., p. 6. In Kaus. 17, 4 ff. the king and the purohita (Dârila : rågà, purodhah) are seen in active co-operative practice at the consecration of the king; and again (brahmâ raga ka) in 140, 4 ff. at the indramahotsavafestival.
The Atharva-parisishtas are not content with these strong recommendations of their own adherents, but they would have the adherents of the other Vedas, yea even of certain branches (sâkha) of the Atharvan itself, excluded from the purohiti: 'The Atharvan keeps off terrible occurrences, and acts as a charm against portentous ones . . . not the adhvaryu, not the khandoga, and not the bahvrika. ... The bahvrika destroys the kingdom, the adhvaryu destroys sons, the khandoga dissipates wealth ; hence the guru must be an Atharvana. ... A Paippalåda as guru increases happiness, sovereignty, and health, and so does a Saunakin who understands the gods and the mantras. ... The king whose purodha is in any way a Galada or a Mauda is deposed from his kingdom within the year' (Ath. Paris.
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2, 2-5). The Paippalâdas, Saunakins, Galadas, and Maudas are alike representatives of Atharvan schools (see Kausika, Introduction, p. xxxiii ff.): the passage shows how eager the scramble for the office of purohita had become. That the Atharvans finally succeeded in making heard their clamorous demand for this office (see below, p. lxvii) is probably due, as we shall see, to their superior, if not exclusive knowledge of witchcraft, which was doubtless regarded in the long run as the most practical and trenchant instrument for the defence of king and people.
Causes
of the AV.
In order to estimate at its correct value the claims of the Atharvanists that their own Veda is entitled to the name Brahma-veda, and that the so-called leading up to Brahman-priests and the Purohitas must be the exaltation adherents of the AV., we need to premise certain considerations of a more general nature. In the Vedic religious system, or we might say more cautiously religious evolution, three literary forms and correspondingly three liturgical methods of application of these forms to the sacrifice were evolved at a time prior to the recorded history of Hindu religious thought and action. They are the rikah, sâmâni, and yagûmshi, known also by a variety of other designations, and characterised to a considerable extent by special verbs expressing the act of reciting or chanting them 2. Correspondingly the priests who had learned one of these varieties of religious expression and its mode of application to the sacrifice appear, again for aught we know from prehistoric times as individual actors (hotar, udgâtar, adhvaryu), in no wise qualified each by himself to shoulder the burden of literary knowledge or liturgic technique. The Hindus were at all times well aware that these religious forms are fragmentary and parts of a whole. The Rig-veda contains countless expressions indicating the insufficiency of the rikah to fulfil alone
HYMNS OF THE ATHARVA-VEDA.
1 Cf. Weber, Ind. Stud. I, 296; the author, Journ. Amer. Or. Soc. XI, 378,
note.
2 See Max Müller, History of Ancient Sanskrit Literature, p. 489 ff.; Ludwig, Der Rigveda, III, p. 25 ff.
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the scheme of religious action, and the interdependence of the three Vedic types. There is a Rig-veda, but no Rigvedic religion, as even recent writers on the religions of India unfortunately tend to assume: the absence of så mans would in principle leave Vedic religion just as much mutilated as the absence of riks; the categories are the three parts of a trio whose melody is carried by each in turn.
A comprehensive vision was never wanting, though the Search for a word for 'religion,' or religious practice, as a whole was at first not very successful. The Brahmanatexts still struggle with the notion of the superiority of him that knows all the Vedas, and they consequently posit a sarvavidya? which is superior to a knowledge of each of the Vedas. The most successful attempt at describing the religious literature and action as a whole is the word brahma, and, correspondingly, he who knows the religion as a whole is a brahmán. Each of these words appears occasionally in the fourth place, brahma after the trayi; brahmán in company with the priests of the trayî. In a sense the bráhma is a fourth Veda, but it is not co-ordinate with the other three ; it embraces and comprehends them and much else besides; it is the religious expression and religious action as a whole, and it is the learned esoteric understanding of the nature of the gods and the mystery of the sacrifice as a whole (brahma in brahmodya and brahmavâdin). Needless to say, this fourth Veda, if we may so call it, has primarily no connection with the Atharvan, not even in the Atharva-samhità itself (XI,8,23; XV, 3,7; 6, 3), nor in the Upanishads of that Veda (e.g. Nrisimhapůrvatâpanî Up. V, 2): the claim that the Atharvan is the Brahma-veda belongs to the Atharvan ritual. In the Upanishads this brahma, still frequently contrasted with the ordinary Vedas, is taken up eagerly, extolled above all other knowledge, and in a way personified, so that it furnishes one of the main sources of the various conceptions which finally precipitate themselves in the pantheistic
* Tait. Br. III, 10, 11, 4; Tait. År. X, 47; cf. Sat. Br. XIV, 6, 7, 18; 9, 4, 17.
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Brahman-Atman. The knowledge of this brahma constitutes the brahmavidyâ, which is separated by the widest imaginable gap from the Brahma-veda in the Atharvanic sense; cf. above, p. xliii.
This broader religious knowledge exists again from earliest times, not only in the abstract, but centres in persons who grasped it in its entirety, in distinction from the technically qualified priests devoted to some speciality. What the brahma is to the trayî, that the brahmán is to hotar, adhvaryu, &c. Thus the important stanza, RV. X, 71, 11, depicts the activity of four priests at a srauta-sacrifice, the hotar (rikám pósham âste pupushván), the udgåtar (gâyatrám gâyati sákvarîshu), the adhvaryu (yagñásya mấtrâm ví mimîte), and the brahmán. The latter is described in the words, brahma vádati gâtavidyấm, 'the Brahman tells (his) innate wisdom '.' The association of the first three priests with the three Vedic categories, rik, sâman, and yaguh, is expressed with a degree of clearness commensurate with the character of the hymn, which is in the nature of a brahmodya. But the brahmán has no peculiar Veda; certainly there is no allusion to the Atharvan. His knowledge is that of the entire Veda, the sarvavidyâ (Tait. Br. III, 10, 11, 4), religious knowledge as a whole. By means of this knowledge he is able to assume in the ritual practices the function of correcting the mistakes of the other priests, whose knowledge is more mechanical. The Brahman is as it were the stage-manager in the sacerdotal drama, the physician of the sacrifice when it is attacked by the disease of faulty execution (Sat. Br. XIV, 2, 2, 19); he is the mind of the sacrificer (Sat. Br. XIV, 6, 1, 7) 2. As such he is also conversant with the mystic aspects of the divine powers, the powers of nature, and the details of the sacrifice. In the expression, brahma vádati gâtavidyấm, the 'own wisdom' is the bráhma (neuter), and vádati gâtavidyấm foreshadows the brahmodya, 'the holy, or theo
1 Cf. RV. I, 10, 1; II, 1, 2; IV, 22, 1; VI, 38, 3. 4; VII, 33, 14; X, 52, 2; X, 91, 10.
* Cf. Weber, Ind. Stud. X, 135 ff.; Haug, Brahma und die Brahmanen, p. 9 ff.; Ludwig, Der Rigveda, III, 28 ff.
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logical mystery, or riddle \,' as well as the ritualist refinements which the Brahmana and Sûtra-texts introduce times without end with the closely-related expression, brahmavâdino vadanti. In the non-Atharvanic Vedic texts it is never suggested that the Atharvan is the specific equipment, above all other things, which shapes the faculties of this all-round Vedic theologian. On the contrary, the Kaush. Br. VI, 11 raises the rather one-sided claim that a Rig-veda scholar is the proper Brahman? Vasishtha was a celebrated Brahman and Purohita, and the qualifications for this office were said for a time (probably by the descendants of Vasishtha themselves) to be especially at home in this family. But the Brahmana-texts declare explicitly that this is an überwundener standpunkt,' an obsolete custom : every one properly equipped may be a Brahman; see Weber, Ind. Stud. X, 34. 35. 137. There is no original connection between Vasishtha and the Atharvan 3, and it is not going too far to assume that the distinguished abilities demanded by the theory of this office were rare enough to admit every one that had intrinsically valid claims.upon it.
How, then, did the Atharvans come to raise the plea that the Brahman must be one of themselves, and that, consequently, the Atharva-veda was the Brahma-veda ? Schematically this was suggested by an obvious proportion. As the hotar, &c., is to the Rig-veda, &c., so the Brahman is to the fourth Veda, and as the Atharvan is the fourth Veda, or rather a fourth Veda, it required no too violent wrench to identify it with that other comprehensive fourth Veda, the knowledge of the brahma. Thus the Atharvan
See the author, Journ. Amer. Or. Soc. XV, pp. 172, 184 ff.
A broader view, yet one that ignores the Atharvan claim, is taken by Åpastamba, in the Yagña-paribhasha-sútra 19. There the Brahman is said to perform with all three Vedas. Only the commentator admits that the Atharvan may be included. See Max Müller, Ancient Sanskrit Literature, p. 470; Zeitschr. d. Deutsch. Morgenl. Gesellsch. IX, p. xlvii; Sacred Books, vol. XXX, P. 321. Cf. also Sat. Br. XI, 5, 8, 7, and Madhusådana's statement of the final orthodox view, Max Müller, ib. 445 ff.; Ind. Stud. I, 4. 14.
The interesting association of Vasishtha with the redaction of the Atharvan, reported by Mallinâtha in his comment on Kiråtârguniya X, 10, may be founded upon this very title to the office of purohita, and thus show that parohitas were naturally supposed to be Atharvavedins; cf. above, p. lv.
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became the Brahma-veda. The fact that there was no systematic sharply-defined provision for the Atharvanists in the scheme of the hieratic religion must have been galling at first, until this arrangement was completed to their own satisfaction. They may have, though we do not know that they did, gathered courage for this tour de force by the frequent mention in the AV. itself of the word brahma in the sense of charm, prayer, e.g. I, 10, 1; 14, 44; 23, 4, &c. If this was done it was a proceeding both arbitrary and superficial: the word has in the AV. the meaning of charm only in so far and inasmuch as the hymns of that Veda happen to be charms; the RV. employs the term freely to designate its own saktani (e.g. V, 85, 1; VII, 28, 1; 36, 1; X, 13, 1; 61, 1). One misses, too, the plural brahmâni as the true Vedic type of designation for a special class of composition, on a level with rikah, sâmâni, yagûmshi, atharvangirasah, or atharvånah (bhesha gâni) and angirasah (abhikarikâni). We may also remember that the Atharvan of all Samhitas contains the largest collection of theosophic hymns which deal explicitly (X, 2), or implicitly (X, 7), with Brahman and the brahmal. This may, of course, have helped to suggest that the Atharvavedin was the truly superior theologian. In the Upanishads the knowledge of just such theosophic relations is styled the brahmavidya. Sayana in the Introduction to the AV., p. 4, argues that the AV. is known as Brahma-veda because it was revealed to Brahman who is called Atharvans. His authority, however, is Gop. Br. I, 4 ff., a text that elsewhere identifies the AV. with that bhūyishtham brahma which was produced by the tapas (cf. AV. VIII, 10, 25), pressing to an unwarranted degree the relationship of the Atharvan texts with the sphere of the Upanishads 3 ; cf. above, p. lix.
It may be safe to assume that all these and other notions
Cf. also the superabundant Upanishads, composed in Atharvanic schools. atharvakhyena brahmanâ drishtat våt tannâmnâ ayam vedo vyapadisyate.
Similarly the Vishnu-purâna VI, 5 (Wilson's translation, vol. v, p. 210): "The AV. also states that there are two kinds of knowledge. By the one which is the supreme, God (akshara) is obtained; the other is that which consists of Rik and other Vedas.'
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flitted through the minds of the systematic theologians of the Atharvan schools as they continued the purohita to insist upon the name Brahma-veda for to the AV. their scriptures, and upon the office of Brahman for their priests. A measure of substantiality may, however, come to their claim from another quarter at a comparatively early time, in this instance with the passive support of all Vedic schools. The matter concerns the office of the purohita, the spiritual and temporal aid of the king, his chaplain, and chancellor. One would again look in vain in the non-Atharvanic Samhitâs, Brahmanas, or Sutras for the direct declaration that the purohita either was, or should be, an adherent of the Atharvan. These texts do not mention the Atharvan in this connection any more than in connection with the office of the Brahman at the sacrifice. Yet it seems extremely unlikely that the knowledge of Atharvan practices should not have been considered a very valuable adjunct, if not a conditio sine qua non, of the purohiti. Purohitas, whether they are formal adherents of the AV. or not, are always engaging in Atharvanic practices, even against one another (cf. Max Müller, Ancient Sanskrit Literature, p. 486). The interests of the king and his sovereignty (kshatriya and kshatram) are too obviously dependent upon magic rites to admit the likelihood that the pretensions to this office on the part of him that knew them should have been ignored. At all periods the safety of the king, the prosperity of his people, his ascendency over hostile neighbours, must have depended upon the skill of his purohita in magic. The description, Ait. Br. VIII, 24-28, of the purohita, his functions, and his relation to the king, transfer the reader to the sphere and spirit of the Atharvan. The purohita secures for the king royalty, strength, empire, and people (VIII, 24, 7). The purohita is a fire with five flaming missiles, dangerous when not properly propitiated; but, duly honoured, he embraces the king, protecting him with his flames as the ocean the earth (VIII, 25, 1). His people do not die young, his own life's breath does not leave him before he has reached the full limits of his life, he lives to
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a good old age, if a Brâhmana, imbued with this knowledge, is his purohita, the shepherd of his kingdom. The subjects of such a king are loyal and obedient (VIII, 25, 2. 3). The prescriptions regarding the purohita are followed (VIII, 25) by a magic rite, called brahmanah parimâra, designed to kill hostile kings, which might have found a place in the ritual of the Atharvan'. In later texts, as a matter of fact, the rule is laid down formally that the purohita should be an Atharvavedin. Thus in Gaut. XI, 15. 17; Yâgñav. I, 312 (cf. also Manu XI, 33); see p. xlviii, above. Sâyana in the Introduction to the AV., pp. 5, 6, claims outright that the office of purohita belongs to the Atharvanists (paurohityam ka atharvavidai-va kâryam), and he is able to cite in support of his claim not only the rather hysterical dicta of the Atharvan writings, but also slokas from a number of Puranas, the Nîtisâstra, &c.; cf. above, p. Ivi 2. In the Dasakumâra-karita magic rites, as well as the marriage ceremony, are in fact performed at the court of a king with Atharvan rites. âtharvanena (âtharvanikena) vidhinâ, and the statement is the more valuable as it is incidental; see above, p. lv.
I do not desire to enter here upon a discussion of the question of the original relation between the purohita and the brahman, whose identity is baldly assumed in many passages of the earlier Hindu literature 3. I believe that they were not originally the same, but that they were bound together by certain specific ties. They are similar,
Cf. the battle-charm, AV. III, 19: the purohita figures in it as well as in the accompanying performances, Kaus. 14, 22-23 (Dârila). And RV. IV, 50, 7-9, perhaps earlier, shows the brihaspati (purohita) in essentially the same important relation to the king.
2 Cf. Deva at Kâty. Sr. XV, 7, 11, purohito yo s tharvavedavihitânâm sântikapaushrikâbhikârakarmanâm kartâ.
' Cf. Max Müller, History of Ancient Sanskrit Literature, p. 485 ff.; Weber, Ind. Stud. X, 31 ff.; Râgasûya, p. 23, note; Haug, Brahma und die Brahmanen, p. 9 ff.; Geldner, Vedische Studien, II, 144 ff.; Oldenberg, Die Religion des Veda, pp. 374, 395 ff. Sâyana at RV. VII, 33, 14 equates purohita and brahman, and Ait. Br. VII, 16, I exhibits Vasishtha, the typical purohita, in the office of brahman at a srauta-rite. At RV. IV, 50, 7 ff. the activity of a purohita is sketched: the purohita, however, is called brihaspati (-brahman).
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above all, in this, that they have in charge, each in his own way, the general interests of their noble employers, whereas other priests are likely ordinarily to have had only subordinate charges, because of the technical character of their knowledge and occupation. RV. X, 71, 11 expresses clearly the existence of broader theological interests than the mere knowledge of the recitation and chanting of hymns and the mechanical service of the sacrifice (hotar, udgåtar, and adhvaryu). This is the Brahmanship which later forks into two directions, on one side the general knowledge of the procedures at the sacrifice (the Brahman as fourth priest), and the theological speculations attaching (brahmavadin); on the other, the higher theosophy which leads ultimately to the brahmavidyâ of the Upanishads. It is natural that a divine thus qualified should at a very early time assume permanent and confidential relations to the noble raganya in all matters that concerned his religious and sacrificial interests. His functions are those of chaplain and high-priest. It seems unlikely that this Brahman was in all cases, too, competent to attend to those more secular and practical needs of the king connected with the security of his kingdom, the fealty of his people, and the suppression of his enemies. These activities, râgakarmâni, as the Atharvan writings call them, must have called for different training and different talents
- they represent rather the functions of a chancellor, or prime-minister, than those of a chaplain-and there is no warrant to assume that every Brahman possessed these necessary qualifications in addition to his expertness in systematic theology. On the other hand, conversely, there must have been purohitas incapable of assuming the charge of their enıployers' interests on the occasion of the more elaborate Vedic performances (srauta), unless we conceive that in such cases the Brahman was a mere figure-head and his office a sinecure.
And yet precisely here is to be found the measure of truth which we may suspect in the Atharvanist claim that the supervising Brahman shall be an adherent of the AV. In many cases the tribal king, or râgâ, might have had but
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one body-priest, well capable of attending to the kingdom's needs in all manner of charms and sorcery, and thus filling the paurohitya creditably with the entire armament of the Veda of charms and sorcery, himself an Atharvavedin. If the king had about him no systematic theologian resplendent in his gåtavidya, if there was no adherent of that ideal fourth Veda, the sarvavidyâ that looms above the trayî vidyâ, the remoter applicability of the srauta-practices to the weal and woe of everyday life, or confidence in the ability of hotar, adhvaryu, &c., to perform their duties correctly of themselves, would lead him to entrust the general supervision of the Vedic performances in the narrower sense) to his Atharvan purohita. Thus the sweeping claim of the Atharvan priests may be founded at least upon a narrow margin of fact, and later the Atharvan priests are likely to have equipped themselves with a sufficiency of rather external and mechanical knowledge to perform the function of Brahman with a show of respectability, witness the activity of the Brahman in the srautarites of the Vaitâna-sútra. In very late times the ability of Atharvan priests to practise srauta-rites, and the canonicity of their srauta-manual, the Vaitâna-sútra, were recognised by other Vedic schools, if the matter-of-fact references to that Sûtra on the part of the commentators to Kâtyâyana's Srauta-sútras may be regarded as normal; see Garbe in the preface to the edition of the Vait. Sû.,
p. vi.
We may remark, however, that the entire question of the relation of the AV. to srauta-practices is a very obscure
point in the history of Vedic literature, it Relation of the AV. to being assumed generally that the Atharvan the srauta- had originally nothing to do with the larger ritual.
Vedic ritual. The assumption in this broad form is at any rate erroneous, or defective. The existing Samhitas of the AV. contain mantras which could have had no sense and purpose except in connection with srautaperformances. A series of formulas, e.g. like AV. VI, 47 and 48, has no meaning except in connection with the three daily pressures of soma (savana), and the Vait. Sa.
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21, 7 exhibits them, properly no doubt, as part of an ordinary srauta-rite, the agnishtoma. It would seem then that the Atharvavedins possessed the knowledge of, and practised srauta-rites prior to the conclusion of the present redactions of their hymns, and thus perhaps, after all, the purohita, in case of his being an Atharvan, was not altogether unequipped for taking a hand in the broader Vedic rites with the three fires and the usual assortment of priests. Again, the AV. contains hymns which are evidently expiatory formulas for faults committed at the sacrifice. Thus AV. VI, 114 presents itself in the light of an ordinary prayaskitta-formula, and there are MSS. of the Vaitâna-sútra which add six prayaskitta chapters to the eight which make up the body of that text? The Gop. Br., more frequently than other Brahmanas, refers to defects in the sacrifice (virishta, ûna, yâtayama) which are to be corrected (samdhana) by certain hymas, stanzas, and formulas; see I, 1, 13 and 22. Possibly the germs of the correlation of the Atharvan and the Brahınan, in his function as supervisor and corrector of the sacrifice, may also turn out to be traceable to a period prior to the present redaction of the Samhitâs.
The present volume of translations comprises about one third of the entire material of the Atharva-veda in the text of the Saunaka-school. But it represents the contents and spirit of the fourth Veda in a far greater measure than is indicated by this numerical statement. The twentieth book of the Samhitâ, with the exception of the so-called kuntapasûktâni (hymns 127-1362), seems to be a verbatim repetition of mantras contained in the Rig-veda, being employed in the Vaitâna-sútra at the sastras and stotras of the somasacrifice: it is altogether foreign to the spirit of the original
See Garbe, in the preface of his edition of the text, p. 5; Weber, Verzeichniss der Sanskrit und Prakrit Handschriften, II, 83; Kausika, Introduction, P. xxxiii.
* One of these, hymn 137, appears in the present volume, p. 197 ff.
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Atharvan. The nineteenth book is a late addendum, in general very corrupt; its omission (with the exception of hymns 26, 34, 35, 38, 39, 53, and 54) does not detract much from the general impression left by the body of the collection. The seventeenth book consists of a single hymn of inferior interest. Again, books XV and XVI, the former entirely Brahmanical proses, the latter almost entirely so, are of doubtful quality and chronology. Finally, books XIV and XVIII contain respectively the wedding and funeral stanzas of the Atharvan, and are largely coincident with corresponding mantras of the tenth book of the Rig-veda : they are, granted their intrinsic interest, not specifically Atharvanic 3. Of the rest of the Atharvan (books I-XIII) there is presented here about one half, naturally that half which seemed to the translator the most interesting and characteristic. Since not a little of the collection rises scarcely above the level of mere verbiage, the process of exclusion has not called for any great degree of abstemiousness.
These successive acts of exclusion have made it possible to present a fairly complete history of each of the hymns translated. The employment of the hymns in the Atharvanic practices is in closer touch with the original purpose of the composition or compilation of the hymns than is true in the case of the other collections of Vedic hymns. Many times, though by no means at all times, the practices connected with a given hymn present the key to the correct interpretation of the hymn itself. In any case it is instructive to see what the Atharvan priests did with the hymns of their own school, even if we must judge their performances to be secondary.
I do not consider any translation of the AV. at this time as final. The most difficult problem, hardly as yet ripe for final solution, is the original function of many mantras,
"See Kausika, Introduction, p. xlff.
Translated by Professor Aufrecht, Indische Studien, 1, 130, 140. 3 The fourteenth book has been rendered by Professor Weber, Indische Studien, V, p. 195 ff.; the eighteenth book by the same scholar in the Proceedings of the Royal Prussian Academy, 1895, p. 815 ff.; 1896, p. 253 ff.
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after they have been stripped of certain adaptive modifications, imparted to them to meet the immediate purpose of the Atharvavedin. Not infrequently a stanza has to be rendered in some measure of harmony with its connection, when, in fact, a more original meaning, not at all applicable to its present environment, is but scantily covered up by the secondary modifications of the text. This garbled tradition of the ancient texts partakes of the character of popular etymology in the course of the transmission of words. New meaning is read into the mantras, and any little stubbornness on their part is met with modifications of their wording. The critic encounters here a very difficult situation : searching investigation of the remaining Vedic collections is necessary before a bridge can be built from the more original meaning to the meaning implied and required by the situation in a given Atharvan hymn. Necdless to say the only correct and useful way to translate a mantra in the Atharvan, is to reproduce it with the bent which it has received in the Atharvan. The other Vedic collections are by no means free from the same taint. The entire Vedic tradition, the Rig-veda not excepted, presents rather the conclusion than the beginning of a long period of literary activity. Conventionality of subject-matter, style, form (metre), &c., betray themselves at every step : the earliest ' books of the RV. are not exempt from the same processes of secondary grouping and adaptation of their mantras, though these are less frequent and less obvious than is the case in the Atharva-veda.
Obligations to previous translators: Weber, Muir, Ludwig, Zimmer, Grill?, Henry, &c., are acknowledged in the introduction to each hymn. I regret that the work was in the hands of the printer prior to the appearance of Professor Henry's excellent version of books X-XII? The late lamented Professor Whitney kindly furnished me with the
Grill's work, entitled, Hundert Lieder des Atharva-veda, second edition (1888), is cited as Grill?' My own six series of Contributions to the Interpretation of the Veda, are cited for the sake of brevity as Contributions.
* Les livres X, XI, et XII de l'Atharva-véda. Paris, 1896.
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advance sheets of the late Shankar Pandurang Pandit's scholarly edition of the AV. with Sayana's commentary, as also with many of the readings of the Cashmir text (the so-called Paippalâda-sâkhâ) of the AV. Neither the Paippalâda nor Såyana sensibly relieves the task of its difficulty and responsibility.
MAURICE BLOOMFIELD.
JOHNS HOPKINS UNIVERSITY,
BALTIMORE: April, 1896.
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REESE 1.137
THE
UNIVE
CHARMS TO CURE DISEASES AND POSSESSION BY
DEMONS OF DISEASE (BHAISHAGYÂNI).
V, 22. Charm against takman (fever) and
related diseases.
1. May Agni drive the takman away from here, may Soma, the press-stone, and Varuna, of tried skill; may the altar, the straw (upon the altar), and the brightly-flaming fagots (drive him away)! Away to naught shall go the hateful powers!
2. Thou that makest all men sallow, inflaming them like a searing fire, even now, O takman, thou shalt become void of strength: do thou now go away down, aye, into the depths!
3. The takman that is spotted, covered with spots, like reddish sediment, him thou, (O plant) of unremitting potency, drive away down below!
4. Having made obeisance to the takman, I cast him down below: let him, the champion of Sakambhara, return again to the Mahâvrishas!
5. His home is with the Mügavants, his home
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with the Mahâvrishas. From the moment of thy birth thou art indigenous with the Balhikas.
6. O takman, vyåla, vi gada, vyánga, hold off (thy missile) far! Seek the gadabout slave-girl, strike her with thy bolt!
7. O takman, go to the Magavants, or to the Balhikas farther away! Seek the lecherous Sadrafemale: her, O takman, give a good shaking-up!
8. Go away to the Mahâvrishas and the Magavants, thy kinsfolk, and consume them! Those (regions) do we bespeak for the takman, or these regions here other (than ours).
9. (If) in other regions thou dost not abide, mayest thou that art powerful take pity on us! Takman, now, has become eager : he will go to the Balhikas.
10. When thou, being cold, and then again deliriously hot, accompanied by cough, didst cause the (sufferer) to shake, then, O takman, thy missiles were terrible: from these surely exempt us!
II. By no means ally thyself with balâsa, cough and spasm! From there do thou not return hither again: that, О takman, do I ask of thee!
12. O takman, along with thy brother balasa, along with thy sister cough, along with thy cousin pâman, go to yonder foreign folk !
13. Destroy the takman that returns on (each) third day, the one that intermits (each) third day, the one that continues without intermission, and the autumnal one; destroy the cold takman, the hot, him that comes in summer, and him that arrives in the rainy season!
14. To the Gandhâris, the Magavants, the Angas, and the Magadhas, we deliver over the takman, like a servant, like a treasure!
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VI, 20. Charm against takman (fever).
1. As if from this Agni (fire), that burns and flashes, (the takman) comes. Let him then, too, as a babbling drunkard, pass away! Let him, the impious one, search out some other person, not ourselves! Reverence be to the takman with the burning weapon!
2. Reverence be to Rudra, reverence to the takman, reverence to the luminous king Varuna! Reverence to heaven, reverence to earth, reverence to the plants!
3. To thee here, that burnest through, and turnest all bodies yellow, to the red, to the brown, to the takman produced by the forest, do I render obeisance.
3
I, 25. Charm against takman (fever).
1. When Agni, having entered the waters, burned, where the (gods) who uphold the order (of the universe) rendered homage (to Agni), there, they say, is thy origin on high: do thou feel for us, and spare us, O takman!
2. Whether thou art flame, whether thou art heat, or whether from licking chips (of wood) thou hast arisen, Hradu by name art thou, O god of the yellow do thou feel for us, and spare us, O takman!
3. Whether thou art burning, whether thou art scorching, or whether thou art the son of king Varuna, Hrůdu by name art thou, O god of the yellow: do thou feel for us, and spare us, O
takman!
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4. To the cold takman, and to the deliriously hot, the glowing, do I render homage. To him that returns on the morrow, to him that returns for two (successive) days, to the takman that returns on the third day, homage shall be!
VII, 116. Charm against takman (fever). 1. Homage (be) to the deliriously hot, the shaking, exciting, impetuous (takman)! Homage to the cold (takman), to him that in the past fulfilled desires !
2. May (the takman) that returns on the morrow, he that returns on two (successive) days, the impious one, pass into this frog !
V, 4. Prayer to the kushtha-plant to destroy
takman (fever). 1. Thou that art born upon the mountains, as the most potent of plants, come hither, O kushtha, destroyer of the takman, to drive out from here the takman!
2. To thee (that growest) upon the mountain, the brooding-place of the eagle, (and) art sprung from Himavant, they come with treasures, having heard (thy fame). For they know (thee to be) the destroyer of the takman.
3. The asvattha-tree is the seat of the gods in the third heaven from here. There the gods procured the kushtha, the visible manifestation of amrita (ambrosia).
4. A golden ship with golden tackle moved upon the heavens. There the gods procured the kushtha, the flower of amrita (ambrosia).
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5. The paths were golden, and golden were the oars; golden were the ships, upon which they carried forth the kushtha hither (to the mountain). .
6. This person here, O kushtha, restore for me, and cure him! Render him free from sickness for me!
7. Thou art born of the gods, thou art Soma's good friend. Be thou propitious to my in-breathing and my out-breathing, and to this eye of mine!
8. Sprung in the north from the Himavant (mountains), thou art brought to the people in the east. There the most superior varieties of the kushtha were apportioned.
9. 'Superior,' O kushtha, is thy name; 'superior' is the name of thy father. Do thou drive out all disease, and render the takman devoid of strength!
10. Pain in the head, affliction in the eye, and ailment of the body, all that shall the kushtha heal—a divinely powerful (remedy), forsooth!
XIX, 39. Prayer to the kushtha-plant to destroy
takman (fever), and other ailments. 1. May the protecting god kushtha come hither from the Himavant : destroy thou every takman, and all female spooks!
2. Three names hast thou, O kushtha, (namely: kushtha), na-gha-mâra (forsooth-no-death '), and na-gha-risha ("forsooth-no-harm'). Verily no harm shall suffer (na ghà ... rishat) this person here, for whom I bespeak thee morn and eve, aye the (entire) day!
3. Thy mother's name is givalà ("quickening '), thy father's name is givanta (living ). Verily no
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harm shall suffer this person here, for whom I bespeak thee morn and eve, aye the entire day!
4. Thou art the most superior of the plants, as a steer among cattle, as the tiger among beasts of prey. Verily no harm shall suffer this person here, for whom I bespeak thee morn and eve, aye the entire day!
5. Thrice begotten by the Sâmbu Angiras, thrice by the Adityas, and thrice by all the gods, this kushtha, a universal remedy, stands together with soma. Destroy thou every takman, and all female spooks!
6. The asvattha-tree is the seat of the gods in 1 the third heaven from here. There came to sight the amrita (ambrosia), there the kushtha-plant was
born.
7. A golden ship with golden tackle moved upon the heavens. There came to sight the amrita, there the kushtha-plant was born.
8. On the spot where the ship glided down, on the peak of the Himavant, there came to sight the ambrosia, there the kushtha-plant was born. This kushtha, a universal remedy, stands together with soma. Destroy thou every takman, and all female spooks!
9. (We know) thee whom Ikshvâku knew of yore, whom the women, fond of kushtha, knew, whom Vâyasa and Mâtsya knew: therefore art thou a universal remedy.
10. The takman that returns on each third day, the one that continues without intermission, and the yearly one, do thou, (O plant) of unremitting strength, drive away down below!
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7
I, 12. Prayer to lightning, conceived as the cause of fever, headache, and cough.
1. The first red bull, born of the (cloud-)womb, born of wind and clouds, comes on thundering with rain. May he, that cleaving moves straight on, spare our bodies; he who, a single force, has passed through threefold!
2. Bowing down to thee that fastenest thyself with heat upon every limb, we would reverence thee with oblations; we would reverence with oblations the crooks and hooks of thee that hast, as a seizer, seized the limbs of this person.
3. Free him from headache and also from cough, (produced by the lightning) that has entered his every joint! May the flashing (lightning), that is born of the cloud, and born of the wind, strike the trees and the mountains!
4. Comfort be to my upper limb, comfort be to my nether; comfort be to my four members, comfort to my entire body!
I, 22. Charm against jaundice and related diseases.
1. Up to the sun shall go thy heart-ache and thy jaundice in the colour of the red bull do we envelop thee!
2. We envelop thee in red tints, unto long life. May this person go unscathed, and be free of yellow colour!
3. The cows whose divinity is Rohini, they who, moreover, are (themselves) red (róhinik)—(in their) every form and every strength we do envelop thee.
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4. Into the parrots, into the ropanâkâs (thrush) do we put thy jaundice, and, furthermore, into the haridravas (yellow wagtail) do we put thy jaundice.
VI, 14. Charm against the disease balasa. 1. The internal disease that has set in, that crumbles the bones, and crumbles the joints, every balâsa do thou drive out, that which is in the limbs, and in the joints !
2. The balasa of him that is afflicted with balasa do I remove, as one gelds a lusty animal. Its connection do I cut off as the root of a pumpkin.
3. Fly forth from here, O balasa, as a swift foal (after the mare). And even, as the reed in every year, pass away without slaying men !
VI, 105. Charm against cough. 1. As the soul with the soul's desires swiftly to a distance flies, thus do thou, O cough, fly forth along the soul's course of Alight!
2. As a well-sharpened arrow swiftly to a distance flies, thus do thou, O cough, fly forth along the expanse of the earth!
3. As the rays of the sun swiftly to a distance fly, thus do thou, O cough, fly forth along the flood of the sea!
1, 2. Charm against excessive discharges from
the body. 1. We know the father of the arrow, Parganya, who furnishes bountiful fluid, and well do we know his mother, Prithivi (earth), the multiform!
2. O bowstring, turn aside from us, turn my body
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into stone! Do thou firmly hold very far away the hostile powers and the haters !
3. When the bowstring, embracing the wood (of the bow), greets with a whiz the eager arrow, do thou, O Indra, ward off from us the piercing missile !
4. As the point (of the arrow) stands in the way of heaven and earth, thus may the muñga-grass unfailingly stand in the way of sickness and (excessive) discharge!
II, 3. Charm against excessive discharges from
the body, undertaken with spring-water. 1. The spring-water yonder which runs down upon the mountain, that do I render healing for thee, in order that thou mayest contain a potent remedy.
2. Then surely, yea quite surely, of the hundred remedies contained in thee, thou art the most superior in checking discharges and removing pain.
3. Deep down do the Asuras bury this great healer of wounds: that is the cure for discharges, and that hath removed disease.
4. The ants bring the remedy from the sea : that is the cure for discharges, and that hath quieted disease.
5. This great healer of wounds has been gotten out of the earth : that is the cure for discharges, and that hath removed disease.
6. May the waters afford us welfare, may the herbs be propitious to us! Indra's bolt shall beat off the Rakshas, far (from us) shall fly the arrows cast by the Rakshas !
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HYMNS OF THE ATHARVA-VEDA.
VI, 44. Charm against excessive discharges from
the body. 1. The heavens have stood still, the earth has stood still, all creatures have stood still. The trees that sleep erect have stood still : may this disease of thine stand still !
2. Of the hundred remedies which thou hast, of the thousand that have been collected, this is the most excellent cure for discharges, the best remover of disease.
3. Thou art the urine of Rudra, the navel of amrita (ambrosia). Thy name, forsooth, is vishanaka, (thou art) arisen from the foundation of the Fathers, a remover of diseases produced by the winds (of the body).
I, 3. Charm against constipation and retention
of urine. 1. We know the father of the arrow, Parganya, of hundredfold power. With this (charm) may I render comfortable thy body: make thy outpouring upon the earth ; out of thee may it come with the sound bål!
2. We know the father of the arrow, Mitra, &c. 3. We know the father of the arrow, Varuna, &c. 4. We know the father of the arrow, Kandra, &c. 5. We know the father of the arrow, Surya, &c.
6. That which has accumulated in thy entrails, in thy canals, in thy bladder—thus let thy urine be released, out completely, with the sound bål!
7. I split open thy penis like the dike of a lakethus let thy urine be released, out completely, with the sound bâl!
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8. Relaxed is the opening of thy bladder like the ocean, the reservoir of water—thus let thy urine be released, out completely, with the sound bal!
9. As an arrow Aies to a distance when hurled from the bow—thus let thy urine be released, out completely, with the sound bål !
VI, 90. Charm against internal pain (colic), due
to the missiles of Rudra. 1. The arrow that Rudra did cast upon thee, into (thy) limbs, and into thy heart, this here do we now draw out away from thee.
2. From the hundred arteries which are distributed along thy limbs, from all of these do we exorcise forth the poisons.
3. Adoration be to thee, O Rudra, as thou casteth (thy arrow); adoration to the (arrow) when it has been placed upon the bow); adoration to it as it is being hurled; adoration to it when it has fallen down!
1, 10. Charm against dropsy. 1. This Asura rules over the gods; the commands of Varuna, the ruler, surely come true. From this (trouble), from the wrath of the mighty (Varuna), do I, excelling in my incantation, lead out this man.
2. Reverence, O king Varuna, be to thy wrath, for all falsehood, O mighty one, dost thou discover. A thousand others together do I make over to thee: this thy (man) shall live a hundred autumns !
3. From the untruth which thou hast spoken, the abundant wrong, with thy tongue—from king Varuna I release thee, whose laws do not fail.
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4. I release thee from Vaisvânara (Agni), from the great flood. Our rivals, O mighty one, do thou censure here, and give heed to our prayer!
VII, 83. Charm against dropsy.
1. Thy golden chamber, king Varuna, is built in the waters! Thence the king that maintains the laws shall loosen all shackles !
2. From every habitation (of thine), O king Varuna, from here do thou free us! In that we have said, 'ye waters, ye cows;' in that we have said, 'O Varuna,' from this (sin), O Varuna, free us!
3. Lift from us, O Varuna, the uppermost fetter, take down the nethermost, loosen the middlemost! Then shall we, O Âditya, in thy law, exempt from guilt, live in freedom!
4. Loosen from us, O Varuna, all fetters, the uppermost, the nethermost, and those imposed by Varuna! Evil dreams, and misfortune drive away from us then may we go to the world of the pious!
VI, 24. Dropsy, heart-disease, and kindred maladies cured by flowing water.
1. From the Himavant (mountains) they flow forth, in the Sindhu (Indus), forsooth, is their assembling-place: may the waters, indeed, grant me that cure for heart-ache!
2. The pain that hurts me in the eyes, and that which hurts in the heels and the fore-feet, the waters, the most skilled of physicians, shall put all that to rights!
3. Ye rivers all, whose mistress is Sindhu, whose
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queen is Sindhu, grant us the remedy for that: through this (remedy) may we derive benefit from you!
VI, 80. An oblation to the sun, conceived as one of
the two heavenly dogs, as a cure for paralysis.
1. Through the air be flies, looking down upon all beings : with the majesty of the heavenly dog, with that oblation would we pay homage to thee!
2. The three kalakañga that are fixed upon the sky like gods, all these I have called for help, to render this person exempt from injury.
3. In the waters is thy origin, upon the heavens thy home, in the middle of the sea, and upon the earth thy greatness. With the majesty of the heavenly dog, with that oblation would we pay homage to thee!
II, 8. Charm against kshetriya, hereditary
disease. 1. Up have risen the majestic twin stars, the vikritau ('the two looseners '); may they loosen the nethermost and the uppermost fetter of the kshetriya (inherited disease)!
2. May this night shine (the kshetriya) away, may she shine away the witches ; may the plant, destructive of kshetriya, shine the kshetriya away!
3. With the straw of thy brown barley, endowed with white stalks, with the blossom of the sesamemay the plant, destructive of kshetriya, shine the kshetriya away!
4. Reverence be to thy ploughs, reverence to thy
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wagon-poles and yokes! May the plant, destructive of kshetriya, shine the kshetriya away!
5. Reverence be to those with sunken eyes (?), reverence to the indigenous (evils ?), reverence to the lord of the field! May the plant, destructive of kshetriya, shine the kshetriya away!
II, 10. Charm against kshetriya, hereditary disease.
1. From kshetriya (inherited disease), from Nirriti (the goddess of destruction), from the curse of the kinswoman, from Druh (the demon of guile), from the fetter of Varuna do I release thee. Guiltless do I render thee through my charm; may heaven and earth both be propitious to thee!
May Agni together with the waters be auspicious to thee, may Soma together with the plants be auspicious. Thus from kshetriya, from Nirriti, from the curse of the kinswoman, from the Druh, from the fetter of Varuna do I release thee. Guiltless do I render thee through my charm; may heaven and earth both be propitious to thee!
3. May the wind in the atmosphere auspiciously bestow upon thee strength, may the four quarters of the heaven be auspicious to thee, Thus from kshetriya, from Nirriti &c.
4. These four goddesses, the directions of space, the consorts of the wind, the sun surveys. Thus from kshetriya, from Nirriti &c.
5. Within these (directions) I assign thee to old age; forth to a distance shall go Nirriti and disease! Thus from kshetriya, from Nirriti &c.
6. Thou hast been released from disease, from
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mishap, and from blame; out from the fetter of Druh, and from Grâhi (the demon of fits) thou hast been released. Thus from kshetriya, from Nirriti &c.
7. Thou didst leave behind Arâti (the demon of grudge), didst obtain prosperity, didst enter the happy world of the pious. Thus from kshetriya, from Nirriti &c.
8. The gods, releasing the sun and the ritam (the divine order of the universe) from darkness and from Grâhi, did take them out of sin. Thus from kshetriya, from Nirriti &c.
III, 7. Charm against kshetriya, hereditary
disease. 1. Upon the head of the nimble antelope a remedy grows! He has driven the kshetriya (inherited disease) in all directions by means of the horn.
2. The antelope has gone after thee with his four feet. O horn, loosen the kshetriya that is knitted into his heart!
3. (The horn) that glistens yonder like a roof with four wings (sides), with that do we drive out. every kshetriya from thy limbs.
4. The lovely twin stars, the vikritau (the two looseners') that are yonder upon the sky, shall loosen the nethermost and the uppermost fetter of the kshetriya!
5. The waters, verily, are healers, the waters are scatterers of disease, the waters cure all disease: may they relieve thee from the kshetriya!
6. The kshetriya that has entered into thee from the prepared (magic) concoction, for that I know the remedy: I drive the kshetriya out of thee,
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7. When the constellations fade away, and when the dawn does fade away, (then) shall he shine away from us every evil and the kshetriya !
.
I, 23. Leprosy cured by a dark plant. 1. Born by night art thou, O plant, dark, black, sable. Do thou, that art rich in colour, stain this leprosy, and the gray spots!
2. The leprosy and the gray spots drive away from here—may thy native colour settle upon theethe white spots cause to fly away!
3. Sable is thy hiding-place, sable thy dwellingplace, sable art thou, O plant: drive away from here the speckled spots !
4. The leprosy which has originated in the bones, and that which has originated in the body and upon the skin, the white mark begotten of corruption, I have destroyed with my charm.
1, 24. Leprosy cured by a dark plant. 1. The eagle (suparna) that was born at first, his gall thou wast, O plant. The Åsurt having conquered this (gall) gave it to the trees for their colour.
2. The Asurt was the first to construct this remedy for leprosy, this destroyer of leprosy. She has destroyed the leprosy, has made the skin of even colour.
3. 'Even-colour' is the name of thy mother; ‘Even-colour' is the name of thy father; thou, O plant, producest even colour: render this (spot) of even colour!
4. The black (plant) that produces even colour has been fetched out of the earth. Do thou now, pray, perfect this, construct anew the colours !
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VI, 83. Charm for curing scrofulous sores
called apakit. 1. Fly forth, ye apakit (sores), as an eagle from the nest! Surya (the sun) shall prepare a remedy, Kandramás (the moon) shall shine you away!
2. One is variegated, one is white, one is black, and two are red: I have gotten the names of all of them. Go ye away without slaying men!
3. The apakit, the daughter of the black one, without bearing offspring will fly away; the boil will fly away from here, the galunta (swelling) will perish.
4. Consume thy own (proper) oblation with gratification in thy mind, when I here offer svâhâ in my mind!
VII, 76. A. Charm for curing scrofulous
sores called apakit. 1. Ye (sores) fall easily from that which falls easily, ye exist less than those that do not exist (at all); ye are drier than the (part of the body called) sehu, more moist than salt.
2. The apakit (sores) that are upon the neck, and those that are upon the shoulders; the apakit that are upon the vigâman (some part of the body) fall off of themselves.
B. Charm for curing tumours called gâyânya.
3. The gâyânya that crushes the ribs, that which passes down to the sole of the foot, and whichever is fixed upon the crown of the head, I have driven out every one.
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4. The gâyânya, winged, flies; he settles down upon man. Here is the remedy both for sores not caused by cutting, as well as for wounds sharply cut!
5. We know, O gâyânya, thy origin, whence thou didst spring. How canst thou slay there, in whose house we offer oblations?
C. Stanza sung at the mid-day pressure of the soma.
6. Drink stoutly, O Indra, slayer of Vritra, hero, of the soma in the cup, at the battle for riches! Drink thy fill at the mid-day pressure! Living in wealth, do thou bestow wealth upon us!
VII, 74. A. Charm for curing scrofulous sores called apakit.
1. We have heard it said that the mother of the black apakit (pustules) is red: with the root (found by) the divine sage do I strike all these.
2. I strike the foremost one of them, and I strike also the middlemost of them; this hindmost one I cut off as a flake (of wool).
B. Charm to appease jealousy.
3. With Tvashtar's charm I have sobered down thy jealousy; also thy anger, O lord, we have quieted.
C. Prayer to Agni, the lord of vows.
4. Do thou, O lord of vows, adorned with vows, ever benevolently here shine! May we all, adoring thee, when thou hast been kindled, O Gâtavedas, be rich in offspring!
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VI, 25. Charm against scrofulous sores upon
neck and shoulders. 1. The five and fifty (sores) that gather together upon the nape of the neck, from here they all shall pass away, as the pustules of the (disease called) apakit!
2. The seven and seventy (sores) that gather together upon the neck, from here they all shall pass away, as the pustules of the (disease called) apakit!
3. The nine and ninety (sores) that gather together upon the shoulders, from here they all shall pass. away, as the pustules of the disease called) apakit!
VI, 57. Urine (gâlâsha) as a cure for
scrofulous sores. 1. This, verily, is a remedy, this is the remedy of Rudra, with which one may charm away the arrow that has one shaft and a hundred points !
2. With gålåsha (urine) do ye wash (the tumour), with gâlâsha do ye sprinkle it! The gâlâsha is a potent remedy: do thou (Rudra) with it show mercy to us, that we may live!
3. Both well-being and comfort shall be ours, and nothing whatever shall injure us! To the ground the disease (shall fall): may every remedy be ours, may all remedies be ours !
IV, 12. Charm with the plant arundhati
(låksha) for the cure of fractures. 1. Rohani art thou, causing to heal (rohani), the broken bone thou causest to heal (rohani): cause this here to heal (rohaya), O arundhati!
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2. That bone of thine which, injured and burst, exists in thy person, Dhâtar shall kindly knit together again, joint with joint!
3. Thy marrow shall unite with marrow, and thy joint (unite) with joint; the part of thy flesh that has fallen off, and thy bone shall grow together again!
4. Thy marrow shall be joined together with marrow, thy skin grow together with skin! Thy blood, thy bone shall grow, thy flesh grow together with flesh!
5. Fit together hair with hair, and fit together skin with skin! Thy blood, thy bone shall grow : what is cut join thou together, O plant!
6. Do thou here rise up, go forth, run forth, (as) a chariot with sound wheels, firm feloe, and strong nave; stand upright firmly!
7. If he has been injured by falling into a pit, or if a stone was cast and hurt him, may he (Dhâtar, the fashioner) fit him together, joint to joint, as the wagoner (Ribhu) the parts of a chariot !
V, 5. Charm with the plant silåkt (lákshâ,
arundhati) for the cure of wounds.
1. The night is thy mother, the cloud thy father, Aryaman thy grandfather. Silâki, forsooth, is thy name, thou art the sister of the gods.
2. He that drinks thee lives; (that) person thou dost preserve. For thou art the supporter of all successive (generations), the refuge of men.
3. Every tree thou dost climb, like a wench lusting after a man. Victorious,''firmly founded,' 'saving,' verily, is thy name.
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4. The wound that has been inflicted by the club, by the arrow, or by fire, of that thou art the cure: do thou cure this person here!
5. Upon the noble plaksha-tree (ficus infectoria) thou growest up, upon the asvattha (ficus religiosa), the khadira (acacia catechu), and the dhava (grislea tomentosa); (thou growest up) upon the noble nyagrodha (ficus indica, banyan-tree), and the parna (butea frondosa). Come thou to us, O arundhati !
6. O gold-coloured, lovely, sun-coloured, most handsome (plant), mayest thou come to the fracture, O cure! •Cure,' verily, is thy name!
7. O gold-coloured, lovely, fiery (plant), with hairy stem, thou art the sister of the waters, O låkshâ, the wind became thy very breath.
8. Silâkt is thy name, O thou that art brown as a goat, thy father is the son of a maiden. With the blood of the brown horse of Yama thou hast verily been sprinkled.
9. Having dropped from the blood of the horse she ran upon the trees, turning into a winged brook. Do thou come to us, O arundhati !
VI, 109. The pepper-corn as a cure for wounds.
1. The pepper-corn cures the wounds that have been struck by missiles, it also cures the wounds from stabs. Anent it the gods decreed : Powerful to secure life this (plant) shall be!'
2. The pepper-corns spake to one another, as they came out, after having been created : 'He whom we shall find (as yet) alive, that man shall not suffer harm!'
3. The Asuras did dig thee into the ground, the
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gods cast thee up again, as a cure for disease produced by wind (in the body), moreover as a cure for wounds struck by missiles.
I, 17. Charm to stop the flow of blood. 1. The maidens that go yonder, the veins, clothed in red garments, like sisters without a brother, bereft of strength, they shall stand still !
2. Stand still, thou lower one, stand still, thou higher one; do thou in the middle also stand still !
The most tiny (vein) stands still: may then the great artery also stand still!
3. Of the hundred arteries, and the thousand veins, those in the middle here have indeed stood still. At the same time the ends have ceased (to flow).
4. Around you has passed a great sandy dike : stand ye still, pray take your ease!
II, 31. Charm against worms. 1. With Indra's great mill-stone, that crushes all vermin, do I grind to pieces the worms, as lentils with a mill-stone.
2. I have crushed the visible and the invisible worm, and the kurūru, too, I have crushed. All the algandu and the saluna, the worms, we grind to pieces with our charm.
3. The algandu do I smite with a mighty weapon: those that have been burned, and those that have not been burned, have become devoid of strength. Those that are left and those that are not left do I destroy with my song, so that not one of the worms be left.
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4. The worm which is in the entrails, and he that is in the head, likewise the one that is in the ribs : avaskava and vyadhvara, the worms, do we crush with (this) charm.
5. The worms that are within the mountains, forests, plants, cattle, and the waters, those that have settled in our bodies, all that brood of the worms do I smite.
I. CHARMS TO CURE DISEASES.
II, 32. Charm against worms in cattle.
1. The rising sun shall slay the worms, the setting sun with his rays shall slay the worms that are within the cattle!
2. The variegated worm, the four-eyed, the speckled, and the white-I crush his ribs, and I tear off his head.
3. Like Atri, like Kanva, and like Gamadagni do I slay you, ye worms! With the incantation of Agastya do I crush the worms to pieces.
4. Slain is the king of the worms, and their viceroy also is slain. Slain is the worm, with him his mother slain, his brother slain, his sister slain.
5. Slain are they who are inmates with him, slain are his neighbours; moreover all the quite tiny worms are slain.
6. I break off thy two horns with which thou deliverest thy thrusts; I cut that bag of thine which is the receptacle for thy poison.
V, 23. Charm against worms in children.
1. I have called upon heaven and earth, I have called upon the goddess Sarasvati, I have called
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upon Indra and Agni: 'they shall crush the worm,' (I said).
2. Slay the worms in this boy, 0 Indra, lord of treasures! Slain are all the evil powers by my fierce imprecation!
3. Him that moves about in the eyes, that moves about in the nose, that gets to the middle of the teeth, that worm do we crush.
4. The two of like colour, the two of different colour; the two black ones, and the two red ones; the brown one, and the brown-eared one; the (one like a) vulture, and the one like a) cuckoo, are slain.
5. The worms with white shoulders, the black ones with white arms, and all those that are variegated, these worms do we crush.
6. In the east rises the sun, seen by all, slaying that which is not seen; slaying the seen and the unseen (worms), and grinding to pieces all the worms.
7. The yevâsha and the kashkasha, the egatka, and the sipavitnuka-the seen worm shall be slain, moreover the unseen shall be slain!
8. Slain of the worms is the yevâsha, slain further is the nadaniman; all have I crushed down like lentils with a mill-stone.
9. The worm with three heads and the one with three skulls, the speckled, and the white-I crush his ribs and I tear off his head.
10. Like Atri, like Kanva, and like Gamadagni do I slay you, ye worms! With the incantation of Agastya do I crush the worms to pieces.
11. Slain is the king of the worms, and their viceroy also is slain. Slain is the worm, with him his mother slain, his brother slain, his sister slain.
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13. Of all the male worms, and of all the female worms do I split the heads with the stone, I burn their faces with fire.
IV, 6. Charm against poison. 1. The Brâhmana was the first to be born, with ten heads and ten mouths. He was the first to drink the soma ; that did render poison powerless.
2. As great as heaven and earth are in extent, as far as the seven streams did spread, so far from here have I proclaimed forth this charm that destroys poison.
3. The eagle Garutmant did, O poison, first devour thee. Thou didst not bewilder him, didst not injure him, yea, thou didst turn into food for him.
4. The five-fingered hand that did hurl upon thee (the arrow) even from the curved bow—from the point of the tearing (arrow) have I charmed away the poison.
5. From the point (of the arrow) have I charmed away the poison, from the substance that has been smeared upon it, and from its plume. From its barbed horn, and its neck, I have charmed away the poison.
6. Powerless, O arrow, is thy point, and powerless is thy poison. Moreover of powerless wood is thy powerless bow, O powerless (arrow)!
7. They that ground (the poison), they that daubed it on, they that hurled it, and they that let
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it go, all these have been rendered impotent. The mountain that grows poisonous plants has been rendered impotent.
8. Impotent are they that dig thee, impotent art thou, O plant! Impotent is that mountain height whence this poison has sprung.
IV, 7. Charm against poison. 1. This water (vâr) in the (river) Varanâvati shall ward off (vårayâtai)! Amrita (ambrosia) has been poured into it: with that do I ward off (vâraye) poison from thee.
2. Powerless is the poison from the east, powerless that from the north. Moreover the poison from the south transforms itself into a porridge.
3. Having made thee (the poison) that comes from a horizontal direction into a porridge, rich in fat, and cheering, from sheer hunger he has eaten thee, that hast an evil body: do thou not cause injury !
4. Thy bewildering quality (madam), O (plant?) that art bewildering (madàvati), we cause to fall like a reed. As a boiling pot of porridge do we remove thee by (our) charm.
5. (Thee, O poison) that art, as it were, heaped about the village, do we cause to stand still by (our) charm. Stand still as a tree upon its place; do not, thou that hast been dug with the spade, cause injury!
6. With broom-straw (?), garments, and also with skins they purchased thee: a thing for barter art thou, O plant! Do not, thou that hast been dug with the spade, cause injury!
7. Those of you who were of yore unequalled in
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the deeds which they performed—may they not injure here our men: for this very purpose do I engage you!
VI, 100. Ants as an antidote against poison.
1. The gods have given, the sun has given, the earth has given, the three Sarasvatis, of one mind, have given this poison-destroying (remedy)!
2. That water, O ants, which the gods poured for you into the dry land, with this (water), sent forth by the gods, do ye destroy this poison !
3. Thou art the daughter of the Asuras, thou art the sister of the gods. Sprung from heaven and earth, thou didst render the poison devoid of strength.
V, 13. Charm against snake-poison. 1. Varuna, the sage of heaven, verily lends (power) to me. With mighty charms do I dissolve thy poison. The (poison) which has been dug, that which has not been dug, and that which is inherent, I have held fast. As a brook in the desert thy poison has dried up.
2. That poison of thine which is not fluid I have confined within these (serpents ?). I hold fast the sap that is in thy middle, thy top, and in thy bottom, too. May (the sap) now vanish out of thee from fright!
3. My lusty shout (is) as the thunder with the cloud: then do I smite thy (sap) with my strong charm. With manly strength I have held fast that sap of his. May the sun rise as light from the darkness!
4. With my eye do I slay thy eye, with poison
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do I slay thy poison. O serpent, die, do not live; back upon thee shall thy poison turn!
5. O kairâta, speckled one, upatrinya (grassdweller ?), brown one, listen to me; ye black repulsive reptiles, (listen to me)! Do not stand upon the ground of my friend; cease with your poison and make it known (to people?)!
6. I release (thee) from the fury of the black serpent, the taimâta, the brown serpent, the poison that is not fluid, the all-conquering, as the bowstring (is loosened) from the bow, as chariots (from horses).
7. Both Åligt and Viligt, both father and mother, we know your kin everywhere. Deprived of your strength what will ye do?
8. The daughter of urugûlâ, the evil one born with the black-of all those who have run to their hiding-place the poison is devoid of force.
9. The prickly porcupine, tripping down from the mountain, did declare this: 'Whatsoever serpents, living in ditches, are here, their poison is most deficient in force.'
10. Tâbuvam (or) not tâbuvam, thou (O serpent) art not tâbuvam. Through tâbuvam thy poison is bereft of force.
II. Tastuvam (or) not tastuvam, thou (O serpent) art not tastuvam. Through tastuvam thy poison is bereft of force.
VI, 12. Charm against snake-poison.
1. As the sun (goes around) the heavens I have surrounded the race of the serpents. As night (puts to rest) all animals except the hamsa bird, (thus) do I with this (charm) ward off thy poison.
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2. With (the charm) that was found of yore by the Brahmans, found by the Rishis, and found by the gods, with the charm) that was, will be, and is now present, with this do I ward off thy poison.
3. With honey do I mix the rivers; the mountains and peaks are honey. Honey are the rivers Parushni and Sipâlâ. Prosperity be to thy mouth, prosperity to thy heart!
VII, 56. Charm against the poison of serpents,
scorpions, and insects.
1. The poison infused by the serpent that is striped across, by the black serpent, and by the adder; that poison of the kankaparvan (with limbs like a comb,' scorpion) this plant has driven out.
2. This herb, born of honey, dripping honey, sweet as honey, honied, is the remedy for injuries; moreover it crushes insects.
3. Wherever thou hast been bitten, wherever thou hast been sucked, from there do we exorcise for thee the poison of the small, greedily biting insect, (so that it be) devoid of strength. .
4. Thou (serpent) here, crooked, without joints, and without limbs, that twisteth thy crooked jawsmayest thou, O Brihaspati, straighten them out, as a (bent) reed!
5. The poison of the sarkota (scorpion) that creeps low upon the ground, (after he) has been deprived of his strength, I have taken away; moreover I have caused him to be crushed.
6. There is no strength in thy arms, in thy head, nor in the middle of thy body). Then why dost thou so wickedly carry a small (sting) in thy tail ?
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7. The ants devour thee, pea-hens hack thee to pieces. Yea, every one of you shall declare the poison of the sarkota powerless!
8. Thou (scorpion) that strikest with both, with mouth as well as tail, in thy mouth there is no poison : then what can there be in the receptacle in thy tail ?
VI, 16. Charm against ophthalmia. 1. O abayu, (and even if) thou art not âbayu, strong is thy juice, O âbayu! We eat a gruel, compounded of thee. · 2. Vihalha is thy father's name, Madâvatt thy mother's name. Thou art verily not such, as to have consumed thy own self.
3. O Tauvilika, do be quiet! This howling one has become quiet. O brown one, and brown-eared one, go away! Go out, О âla !
4. Alasâlâ thou art first, silañgalâlâ thou art the next, nilâgalasâlâ (thou art third ?)!
VI, 21. Charm to promote the growth of hair.
1. Of these three earths (our) earth verily is the highest. From the surface of these I have now plucked a remedy. .
2. Thou art the most excellent of remedies, the best of plants, as Soma (the moon) is the lord in the watches of the night, as Varuna (is king) among the gods.
3. O ye wealthy, irresistible (plants), ye do generously bestow benefits. And ye strengthen the hair, and, moreover, promote its increase.
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VI, 136. Charm with the plant nitatni
to promote the growth of hair. 1. As a goddess upon the goddess earth thou wast born, O plant! We dig thee up, O nitatni, that thou mayest strengthen (the growth) of the hair.
2. Strengthen the old (hair), beget the new! That which has come forth render more luxurious!
3. That hair of thine which does drop off, and that which is broken root and all, upon it do I sprinkle here the all-healing herb. VI, 137. Charm to promote the growth of hair.
1. The (plant) that Gamadagni dug up to promote the growth of his daughter's hair, Vitahavya has brought here from the dwelling of Asita.
2. With reins they had to be measured, with outstretched arms they had to be measured out. May thy hairs grow as reeds, may they (cluster), black, about thy head!
3. Make firm their roots, draw out their ends, expand their middle, O herb! May thy hairs grow as reeds, may they (cluster), black, about thy head!
IV, 4. Charm to promotư virility. 1. Thee, the plant, which the Gandharva dug up for Varuna, when his virility had decayed, thee, that causest strength?, we dig up.
2. Ushas (Aurora), Sarya (the sun), and this charm of mine; the bull Pragâpati (the lord of creatures) shall with his lusty fire arouse him!
The original, more drastically, sepaharshaním. By a few changes and omissions in stanzas 3, 6, and 7 the direct simplicity of the original has been similarly veiled.
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3. This herb shall make thee so very full of lusty strength, that thou shalt, when thou art excited, exhale heat as a thing on fire!
4. The fire of the plants, and the essence of the bulls shall arouse him! Do thou, O Indra, controller of bodies, place the lusty force of men into this person !
5. Thou (O herb) art the first-born sap of the waters and also of the plants. Moreover thou art the brother of Soma, and the lusty force of the antelope buck!
6. Now, O Agni, now, O Savitar, now, O goddess Sarasvati, now, O Brahmanaspati, do thou stiffen the pasas as a bow!
7. I stiffen thy pasas as a. bowstring upon the bow. Embrace thou (women) as the antelope buck the gazelle with ever unfailing (strength)!
8. The strength of the horse, the mule, the goat and the ram, moreover the strength of the bull bestow upon him, O controller of bodies (Indra)!
VI, 111. Charm against mania. 1. Release for me, o Agni, this person here, who, bound and well-secured, loudly jabbers! Then shall he have due regard for thy share (of the offering), when he shall be free from madness!
2. Agni shall quiet down thy mind, if it has been disturbed! Cunningly do I prepare a remedy, that thou shalt be freed from madness.
3. (Whose mind) has been maddened by the sin of the gods, or been robbed of sense by the Rakshas, (for him) do I cunningly prepare a remedy, that he shall be free from madness.
4. May the Apsaras restore thee, may Indra, may
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Bhaga restore thee; may all the gods restore thee, that thou mayest be freed from madness!
I. CHARMS TO CURE DISEASES.
IV, 37. Charm with the plant agasringt to drive out Rakshas, Apsaras and Gandharvas.
1. With thee, O herb, the Atharvans first slew the Rakshas, with thee Kasyapa slew (them), with thee Kanva and Agastya (slew them).
2. With thee do we scatter the Apsaras and Gandharvas. O agasringi (odina pinnata), goad (aga) the Rakshas, drive them all away with thy smell!
3. The Apsaras, Guggulû, Pilâ, Naladi, Aukshagandhi, and Pramandani (by name), shall go to the river, to the ford of the waters, as if blown away! Thither do ye, O Apsaras, pass away, (since) ye have been recognised!
4. Where grow the asvattha (ficus religiosa) and the banyan-trees, the great trees with crowns, thither do ye, O Apsaras, pass away, (since) ye have been recognised!
5. Where your gold and silver swings are, where cymbals and lutes chime together, thither do ye, O Apsaras, pass away, (since) ye have been recognised.
6. Hither has come the mightiest of the plants and herbs. May the agasringt arâtakt pierce with her sharp horn (tikshmasringi)!
7. Of the crested Gandharva, the husband of the Apsaras, who comes dancing hither, I crush the two mushkas and cut off the sepas.
8. Terrible are the missiles of Indra, with a hundred points, brazen; with these he shall pierce the Gandharvas, who devour oblations, and devour the avakâ-reed.
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HYMNS OF THE ATHARVA-VEDA.
9. Terrible are the missiles of Indra, with a hundred points, golden; with these he shall pierce the Gandharvas, who devour oblations, and devour the avaka-reed.
10. All the Pisâkas that devour the avaka-reeds, that burn, and spread their little light in the waters, do thou, O herb, crush and overcome!
11. One is like a dog, one like an ape. As a youth, with luxuriant locks, pleasant to look upon, the Gandharva hangs about the woman. Him do we drive out from here with our powerful charm.
12. The Apsaras, you know, are your wives; ye, the Gandharvas, are their husbands. Speed away, ye immortals, do not go after mortals!
II, 9. Possession by demons of disease, cured
by an amulet of ten kinds of wood. 1. O (amulet) of ten kinds of wood, release this man from the demon (rakshas) and the fit (grâhi) which has seized upon (gagraha) his joints! Do thou, moreover, O plant, lead him forth to the world of the living !
2. He has come, he has gone forth, he has joined the community of the living. And he has become the father of sons, and the most happy of men!
3. This person has come to his senses, he has come to the cities of the living. For he (now) has a hundred physicians, and also a thousand herbs.
4. The gods have found thy arrangement, (O amulet); the Brahmans, moreover, the plants. All the gods have found thy arrangement upon the earth.
5. (The god) that has caused (disease) shall perform the cure; he is himself the best physician.
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Let him indeed, the holy one, prepare remedies for thee, together with the (earthly) physician!
I. CHARMS TO CURE DISEASES.
IV, 36. Charm against demons (pisâka) conceived as the cause of disease.
1. May Agni Vaisvânara, the bull of unfailing strength, burn up him that is evil-disposed, and desires to harm us, and him that plans hostile deeds against us!
2. Between the two rows of teeth of Agni Vaisvânara do I place him that plans to injure us, when we are not planning to injure him; and him that plans to injure us, when we do plan to injure him.
3. Those who hound us in our chambers, while shouting goes on in the night of the new moon, and the other flesh-devourers who plan to injure us, all of them do I overcome with might.
4. With might I overcome the Pisâkas, rob them of their property; all evil-disposed (demons) do I slay: may my device succeed!
5. With the gods who vie with, and measure their swiftness with this sun, with those that are in the rivers, and in the mountains, do I, along with my cattle, consort.
6. I plague the Pisâkas as the tiger the cattleowners. As dogs who have seen a lion, these do not find a refuge.
7. My strength does not lie with Pisâkas, nor with thieves, nor with prowlers in the forest. From the village which I enter the Pisâkas vanish away.
8. From the village which my fierce power has entered the Pisâkas vanish away; they do not devise evil.
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HYMNS OF THE ATHARVA-VEDA.
9. They who irritate me with their jabber, as (buzzing) mosquitoes the elephant, them I regard as wretched (creatures), as small vermin upon people.
10. May Nirriti (the goddess of destruction) take hold of this one, as a horse with the halter! The fool who is wroth with me is not freed from (her) snare.
II, 25. Charm with the plant prisniparnt against
the demon of disease, called kanva. 1. The goddess Prisniparnt has prepared prosperity for us, mishap for Nirriti (the goddess of destruction). For she is a fierce devourer of the Kanvas: her, the mighty, have I employed.
2. The Prisniparni was first begotten powerful; with her do I lop off the heads of the evil brood, as (the head) of a bird.
3. The blood-sucking demon, and him that tries to rob (our) health, Kanva, the devourer of our offspring, destroy, O Prisniparni, and overcome!
4. These Kanvas, the effacers of life, drive into the mountain; go thou burning after them like fire, O goddess Prisniparni!
5. Drive far away these Kanvas, the effacers of life! Where the dark regions are, there have I made these filesh-eaters go.
VI, 32. Charm for driving away demons (Rakshas
and Pisâkas). 1. Do ye well offer within the fire this oblation with ghee, that destroys the spook! Do thou, O Agni, burn from afar against the Rakshas, (but) our houses thou shalt not consume!
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2. Rudra has broken your necks, ye Pisakas : may he also break your ribs, ye spooks! The plant whose power is everywhere has united you with Yama (death).
3. Exempt from danger, O Mitra and Varuna, may we here be ; drive back with your flames the devouring demons (Atrin)! Neither aider, nor support do they find; smiting one another they go to death.
II, 4. Charm with an amulet derived from the
gangida tree, against diseases and demons. 1. Unto long life and great delights, for ever unharmed and vigorous, do we wear the gångida, as an amulet destructive of the vishkandha.
2. From convulsions, from tearing pain, from vishkandha, and from torturing pain, the gangida shall protect us on all sides-an amulet of a thousand virtues !
3. This gangida conquers the vishkandha, and smites the Atrin (devouring demons); may this allhealing gangida protect us from adversity!
4. By means of the invigorating gangida, bestowed by the gods as an amulet, do we conquer in battle the vishkandha and all the Rakshas.
5. May the hemp and may the gangida protect me against vishkandha! The one (gangida) is brought hither from the forest, the other (hemp) from the sap of the furrow.
6. Destruction of witchcraft is this amulet, also destruction of hostile powers: may the powerful gangida therefore extend far our lives!
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HYMNS OF THE ATHARVA-VEDA.
XIX, 34. Charm with an amulet derived from the gangida-tree, against diseases and demons.
1. Thou art an Angiras, O gangida, a protector art thou, O gangida. All two-footed and four-footed creatures that belong to us the gangida shall protect!
2. The sorceries fifty-three in number, and the hundred performers of sorcery, all these having lost their force, the gangida shall render bereft of strength!
3. Bereft of strength is the gotten-up clamour, bereft of strength are the seven debilitating (charms). Do thou, O gangida, hurl away from here poverty, as an archer an arrow!
4. This gangida is a destroyer of witchcraft, and also a destroyer of hostile powers. May then the powerful gangida extend far our lives!
5. May the greatness of the gangida protect us about on all sides, (the greatness) with which he has overcome the vishkandha (and) the samskandha, (overcoming) the powerful (disease) with power!
6. Thrice the gods begot thee that hast grown up upon the earth. The Brahmanas of yore knew thee here by the name of Angiras.
7. Neither the plants of olden times, nor they of recent times, surpass thee; a fierce slayer is the gangida, and a happy refuge.
8. And when, O gangida of boundless virtue, thou didst spring up in the days of yore, O fierce (plant), Indra at first placed strength in thee.
9. Fierce Indra, verily, put might into thee, O lord of the forest! Dispersing all diseases, slay thou the Rakshas, O plant!
10. The breaking disease and the tearing disease,
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39 the balasa, and the pain in the limbs, the takman that comes every autumn, may the gangida render devoid of force!
XIX, 35. Charm with an amulet derived from the
gangida-tree, against diseases and demons. 1. While uttering Indra's name the seers bestowed (upon men) the gangida, which the gods in the beginning had made into a remedy, destructive of the vishkandha.
2. May that gangida protect us as a treasurer his treasures, he whom the gods and the Brâhmanas made into a refuge that puts to naught the hostile powers!
3. The evil eye of the hostile-minded, (and) the evil-doer I have approached. Do thou, O thousandeyed one, watchfully destroy these! A refuge art thou, O gangida.
4. May the gangida protect me from heaven, protect me from earth, protect (me) from the atmosphere, protect me from the plants, protect me from the past, as well as the future; may he protect us from every direction of space!
5. The sorceries performed by the gods, and also those performed by men, may the all-healing gangida render them all devoid of strength!
VI, 85. Exorcism of disease by means of an amulet
from the varana-tree. 1. This divine tree, the varana, shall shut out (vårayâtai). The gods, too, have shut out (avivaran) the disease that hath entered into this man!
2. By Indra's command, by Mitra's and by
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HYMNS OF THE ATHARVA-VEDA.
Varuna's, by the command of all the gods do we shut out thy disease.
3. As Vritra did hold fast these ever-flowing waters, thus do I shut out (vâraye) disease from thee with the help of) Agni Vaisvânara.
VI, 127. The kipudru-tree as a panacea. 1. Of the abscess, of the balasa, of flow of blood, O plant; of neuralgia, O herb, thou shalt not leave even a speck!
2. Those two boils (testicles) of thine, O balasa, that are fixed upon the arm-pits—I know the remedy for that: the kipudru-tree takes care of it.
3. The neuralgia that is in the limbs, that is in the ears and in the eyes—we tear them out, the neuralgia, the abscess, and the pain in the heart. That unknown disease do we drive away downward.
XIX, 38. The healing properties of bdellium.
1. [Neither diseases, nor yet a curse, enters this person, o arundhati! From him that is penetrated by the sweet fragrance of the healing bdellium, diseases flee in every direction, as antelopes and as horses run.
2. Whether, O bdellium, thou comest from the Sindhu (Indus), or whether thou art derived from the sea, I have seized the qualities of both, that this person shall be exempt from harm.
VI, 91. Barley and water as universal remedies.
1. This barley they did plough vigorously, with yokes of eight and yokes of six. With it I drive off to a far distance the ailment from thy body.
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2. Downward blows the wind, downward burns the sun, downward the cow is milked : downward shall thy ailment pass!
3. The waters verily are healing, the waters chase away disease, the waters cure all (disease): may they prepare a remedy for thee!
VIII, 7. Hymn to all magic and medicinal plants,
used as a universal remedy. 1. The plants that are brown, and those that are white; the red ones and the speckled ones; the sable and the black plants, all (these) do we invoke.
2. May they protect this man from the disease sent by the gods, the herbs whose father is the sky, whose mother is the earth, whose root is the ocean.
3. The waters and the heavenly plants are foremost; they have driven out from every limb thy disease, consequent upon sin.
4. The plants that spread forth, those that are bushy, those that have a single sheath, those that creep along, do I address; I call in thy behalf the plants that have shoots, those that have stalks, those that divide their branches, those that are derived from all the gods, the strong (plants) that furnish life to man.
5. With the might that is yours, ye mighty ones, with the power and strength that is yours, with that do ye, O plants, rescue this man from this disease! I now prepare a remedy.
6. The plants givalå ("quickening'), na-gha-risha ('forsooth-no-harm'), givanti (' living'), and the arundhati, which removes (disease), is full of blossoms,
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HYMNS OF THE ATHARVA-VEDA.
and rich in honey, do I call to exempt him from injury.
7. Hither shall come the intelligent (plants) that understand my speech, that we may bring this man into safety out of misery!
8. They that are the food of Agni (the fire), the offspring of the waters, that grow ever renewing themselves, the firm (plants) that bear a thousand names, the healing (plants), shall be brought hither!
9. The plants, whose womb is the avakå (blyxa octandra), whose essence are the waters, shall with their sharp horns thrust aside evil!
10. The plants which release, exempt from Varuna (dropsy), are strong, and destroy poison; those, too, that remove the disease) balasa, and ward off witchcraft shall come hither!
II. The plants that have been bought, that are right potent, and are praised, shall protect in this village cow, horse, man, and cattle!
12. Honied are the roots of these herbs, honied their tops, honied their middles, honied their leaves, honied their blossoms; they share in honey, are the food of immortality. May they yield ghee, and food, and cattle chief of all!
13. As many in number and in kind the plants here are upon the earth, may they, furnished with a thousand leaves, release me from death and misery !
14. Tiger-like is the amulet (made of) herbs, a saviour, a protector against hostile schemes: may it drive off far away from us all diseases and the Rakshas!
15. As if at the roar of the lion they start with fright, as if (at the roar) of fire they tremble before
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the (plants) that have been brought hither. The diseases of cattle and men have been driven out by the herbs: let them pass into navigable streams!
16. The plants release us from Agni Vaisvânara. Spreading over the earth, go ye, whose king is the tree!
I. CHARMS TO CURE DISEASES.
17. The plants, descended from Angiras, that grow upon the mountains and in the plains, shall be for us rich in milk, auspicious, comforting to the heart!
18. The herbs which I know, and those which I see with my sight; the unknown, those which we know, and those which we perceive to be charged with (power),
19. All plants collectively shall note my words, that we may bring this man into safety out of misfortune,
20. The asvattha (ficus religiosa), and the darbha among the plants; king Soma, amrita (ambrosia) and the oblation; rice and barley, the two healing, immortal children of heaven!
21. Ye arise: it is thundering and crashing, ye plants, since Parganya (the god of rain) is favouring you, O children of Prisni (the spotted cloud), with (his) seed (water).
22. The strength of this amrita (ambrosia) do we give this man to drink. Moreover, I prepare a remedy, that he may live a hundred years!
23. The boar knows, the ichneumon knows the healing plant. Those that the serpents and Gandharvas know, I call hither for help.
24. The plants, derived from the Angiras, which the eagles and the heavenly raghats (falcons) know, which the birds and the flamingos know, which all
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HYMNS OF THE ATHARVA-VEDA.
winged (creatures) know, which all wild animals know, I call hither for help.
25. As many plants as the oxen and kine, as many as the goats and the sheep feed upon, so many plants, when applied, shall furnish protection to thee!
26. As many (plants), as the human physicians know to contain a remedy, so many, endowed with every healing quality, do I apply to thee!
27. Those that have flowers, those that have blossoms, those that bear fruit, and those that are without fruit, as if from the same mother they shall suck sap, to exempt this man from injury!
28. I have saved thee from a depth of five fathoms, and, too, from a depth of ten fathoms; moreover, from the foot-fetter of Yama, and from every sin against the gods.
VI, 96. Plants as a panacea. 1. The many plants of hundredfold aspect, whose king is Soma, which have been begotten by Brihaspati, shall free us from calamity!
2. May they free us from (the calamity) consequent upon curses, and also from the (toils) of Varuna; moreover, from the foot-fetter of Yama, and every sin against the gods !
3. What laws we have infringed upon, with the eye, the mind, and speech, either while awake, or asleep-may Soma by his (divine) nature clear these (sins) away from us!
II, 32. Charm to secure perfect health. 1. From thy eyes, thy nostrils, ears, and chinthe disease which is seated in thy head—from thy brain and tongue I do tear it out.
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2. From thy neck, nape of the neck, ribs, and spine the disease which is seated in thy fore-armfrom thy shoulders and arms I do tear it out.
3. From thy heart, thy lungs, viscera, and sides; from thy kidneys, spleen, and liver we do tear out the disease.
I. CHARMS TO CURE DISEASES.
4. From thy entrails, canals, rectum, and abdomen; from thy belly, guts, and navel I do tear out the disease.
5. From thy thighs, knees, heels, and the tips of thy feet from thy hips I do tear out the disease seated in thy buttocks, from thy bottom the disease seated in thy buttocks.
6. From thy bones, marrow, sinews and arteries; from thy hands, fingers, and nails I do tear out the disease.
7. The disease that is in thy every limb, thy every hair, thy every joint; that which is seated in thy skin, with Kasyapa's charm, that tears out, to either side we do tear it out.
IX, 8. Charm to procure immunity from all diseases.
1. Headache and suffering in the head, pain in the ears and flow of blood, every disease of the head, do we charm forth from thee.
2. From thy ears, from thy kankûshas the earpain, and the neuralgia—every disease of the head do we charm forth from thee.
3. (With the charm) through whose agency disease hastens forth from the ears and the mouth-every disease of the head do we charm forth from thee. 4. (The disease) that renders a man deaf and
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HYMNS OF THE ATHARVA-VEDA.
blind-every disease of the head do we charm forth from thee.
5. Pain in the limbs, fever in the limbs, the neuralgia that affects every limb-every disease of the head do we charm forth from thee.
6. (The disease) whose frightful aspect makes man tremble, the takman (fever) that comes every autumn, do we charm forth from thee.
7. The disease that creeps along the thighs, and then enters the canals, out of thy inner parts do we charm forth.
8. If from the heart, from love, or from disgust, it arises, from thy heart and from thy limbs the balâsa do we charm forth.
9. Jaundice from thy limbs, diarrhoea from within thy bowels, the core of disease from thy inner soul do we charm forth.
10. To ashes (âsa) the balâsa shall turn; what is diseased shall turn to urine! The poison of all diseases I have charmed forth from thee.
II. Outside the opening (of the bladder) it shall run off; the rumbling shall pass from thy belly! The poison of all diseases I have charmed forth from thee.
12. From thy belly, lungs, navel, and heart-the poison of all diseases I have charmed forth from thee.
13. (The pains) that split the crown (of the head), pierce the head, without doing injury, without causing disease, they shall run off outside the opening (of the bladder)!
14. They that pierce the heart, creep along the ribs, without doing injury, without causing disease, they shall run off outside the opening (of the bladder)!
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15. They that pierce the sides, bore along the ribs, without doing injury, without causing disease, they shall run off outside the opening (of the bladder)!
16. They that pierce crosswise, burrow in thy abdomen, without doing injury, without causing disease, they shall run off outside the opening (of the bladder)!
17. They that creep along the rectum, twist the bowels, without doing injury, without causing disease, they shall run off outside the opening (of the bladder)!
18. They that suck the marrow, and split the joints, without doing injury, without causing disease, they shall run off outside the opening (of the bladder)!
19. The diseases and the injuries that paralyse thy limbs, the poison of all diseases I have charmed forth from thee.
20. Of neuralgia, of abscesses, of inflation, or of inflammation of the eyes, the poison of all diseases I have driven forth from thee.
21. From thy feet, knees, thighs, and bottom; from thy spine, and thy neck the piercing pains, from thy head the ache I have removed.
22. Firm are the bones of thy skull, and the beat of thy heart. At thy rising, O sun, thou didst remove the pains of the head, quiet the pangs in the limbs.
II, 29. Charm for obtaining long life and pros
perity by transmission of disease. 1. In the essence of earthly bliss, O ye gods, in strength of body (may he live)! May Agni, Sarya, Brihaspati bestow upon him life's vigour !
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2. Give life to him, O Gâtavedas, bestow in addition progeny upon him, O Tvashtar; procure, O Savitar, increase of wealth for him; may this one, who belongs to thee, live a hundred autumns !
3. May our prayer bestow upon us vigour, and possession of sound progeny; ability and property do ye two, (O heaven and earth), bestow upon us ! May he, conquering lands with might, (live), O Indra, subjecting the others, his enemies !
4. Given by Indra, instructed by Varuna, sent by the Maruts, strong, he has come to us; may he, in the lap of ye two, heaven and earth, not suffer from hunger and not from thirst!
5. Strength may ye two, that are rich in strength, bestow upon him; milk 'may ye two, that are rich in milk, bestow upon him! Strength heaven and earth did bestow upon him; strength all the gods, the Maruts, and the waters.
6. With the gracious (waters) do I delight thy heart, mayest thou, free from disease, full of force, rejoice! Clothed in the same garment do ye two drink this stirred drink, taking on as a magic form the shape of the two Asvins !
7. Indra, having been wounded, first created this vigour, and this ever fresh divine food : that same belongs to thee. By means of that do thou, full of force, live (a hundred) autumns; may it not flow out of thee: physicians have prepared it for thee!
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PRAYERS FOR LONG LIFE AND HEALTH
(ÂYUSHYÂNI).
III, 11. Prayer for health and long life. 1. I release thee unto life by means of (my) oblation, from unknown decline, and from consumption. If Grâhi (seizure) has caught hold (gagrâha) of this person here, may Indra and Agni free him from that!
2. If his life has faded, even if he has passed away, if he has been brought to the very vicinity of death, I snatch him from the lap of Nirriti (the goddess of destruction): I have freed him unto a life of a hundred autumns.
3. I have snatched him (from death) by means of an oblation which has a thousand eyes, hundredfold strength, and ensures a hundredfold life, in order that Indra may conduct him through the years across to the other side of every misfortune.
4. Live thou, thriving a hundred autumns, a hundred winters, and a hundred springs ! May Indra, Agni, Savitar, Brihaspati (grant) thee a hundred years! I have snatched him (from death) with an oblation that secures a life of a hundred years.
5. Enter ye, O in-breathing and out-breathing, as two bulls a stable! Away shall go the other deaths, of which, it is said, there are a hundred more! 6. Remain ye here, O in-breathing and out[42]
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breathing, do not go away from here; do ye carry anew to old age his body and his limbs!
7. To old age I make thee over, into old age I urge thee; may a happy old age guide thee ! Away shall go the other deaths, of which, it is said, there are a hundred more!
8. Upon thee (life unto) old age has been deposited, as a rope is tied upon a bull. That death which has fettered thee at thy birth with a firm rope, Brihaspati with the hands of the truth did strip off from thee.
II, 28. Prayer for long life pronounced over
a boy. 1. For thee alone, O (death from) old age, this (boy) shall grow up: the other hundred kinds of death shall not harm him! Like a provident mother in her lap Mitra shall befriend him, shall save him from misfortune!
2. May Mitra or Varuna, the illustrious, cooperating, grant him death from old age! Then Agni, the priest, who knows the ways, promulgates all the races of the gods.
3. Thou, (O Agni), rulest over all the animals of the earth, those which have been born, and those which are to be born : may not in-breathing leave this one, nor yet out-breathing, may neither friends nor foes slay him!
4. May father Dyaus (sky) and mother Prithivi (earth), co-operating, grant thee death from old age, that thou mayest live in the lap of Aditi a hundred winters, guarded by in-breathing and outbreathing!
5. Lead this dear child to life and vigour, O Agni,
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Varuna, and king Mitra! As a mother afford him protection, O Aditi, and all ye gods, that he may attain to old age !
III, 31. Prayer for health and long life. 1. The gods are free from decrepitude; thou, O Agni, art removed from the demon of hostility. I free thee from all evil and disease, (and) unite thee with life.
2. (Vậyu), the purifying (wind), shall free thee from misfortune, Sakra (Indra) from evil sorcery! I free thee from all evil and disease, (and) unite thee with life.
3. The tame (village) animals are separate from the wild (forest animals); the water has flowed apart from thirst. I free thee from all evil and disease, (and) unite thee with life.
4. Heaven and earth here go apart; the paths go in every direction. I free thee from all evil and disease, (and) unite thee with life.
5. 'Tvashtar is preparing a wedding for his daughter,' thus (saying) does this whole world pass through. I free thee from all evil and disease, (and) unite thee with life.
6. Agni unites (life's) breaths, the moon is united with (life's) breath. I free thee from all evil and disease, (and) unite thee with life.
7. By means of (life's) breath the gods aroused the everywhere mighty sun. I free thee from all evil and disease, (and) unite thee with life.
8. Live thou by the life's) breath of them that have life, and that create life; do not die! I free thee from all evil and disease, (and) unite thee with life.
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9. Breathe thou with the (life's) breath of those that breathe; do not die! I free thee from all evil and disease, (and) unite thee with life.
10. Do thou (rise) up with life, unite thyself with life, (rise) up with the sap of the plants ! I free thee from all evil and disease, (and) unite thee with life.
11. From the rain of Parganya we have risen up, immortal. I free thee from all evil and disease, (and) unite thee with life.
VII, 53. Prayer for long life. 1. When, O Brihaspati, thou didst liberate (us) from existence in yonder world of Yama, (and) from hostile schemes, then did the Asvins, the physicians of the gods, with might sweep death from us, O Agni!
2. O in-breathing and out-breathing, go along with the body, do not leave it: may they be thy allies here! Live and thrive a hundred autumns ; Agni shall be thy most excellent shepherd and overseer!
3. Thy vital force that has been dissipated afar, thy in-breathing and thy out-breathing, shall come back again! Agni has snatched them from the lap of Nirriti (the goddess of destruction), and I again introduce them into thy person.
4. Let not his in-breathing desert him, nor his out-breathing quit him and depart! I commit him to the Seven Rishis : may they convey him in health to old age !
5. Enter, O in-breathing and out-breathing, like two bulls into a stable : this person shall here flourish, an unmolested repository for old age!
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6. Life's breath we do drive into thee, disease we do drive away from thee. May this excellent Agni endow us with life from every source!
7. Ascending from the darkness of death to the highest firmament, to Surya (the sun), the god among gods, we have reached the highest light.
VIII, 1. Prayer for exemption from the dangers
of death. 1. To the 'Ender,' to Death be reverence! May thy in-breathing and thy out-breathing remain here ! United here with (life's) spirit this man shall be, sharing in the sun, in the world of immortality (amrita)!
2. Bhaga has raised him up, Soma with his rays (has raised) him up, the Maruts, the gods, (have raised) him up, Indra and Agni (have raised) him up unto well-being.
3. Here (shall be) thy life's) spirit, here thy inbreathing, here thy life, here thy mind! We rescue thee from the toils of Nirriti (destruction) by means of our divine utterance.
4. Rise up hence, O man! Casting off the footshackles of death, do not sink down! Be not cut off from this world, from the sight of Agni and the sun!
5. The wind, Mâtarisvan, shall blow for thee, the waters shall shower amrita (ambrosia) upon thee, the sun shall shine kindly for thy body! Death shall pity thee: do not waste away!
6. Thou shalt ascend and not descend, O man! Life and alertness do I prepare for thee. Mount, forsooth, this imperishable, pleasant car; then in old age thou shalt hold converse with thy family!
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7. Thy mind shall not go thither, shall not disappear! Do not become heedless of the living, do not follow the Fathers! All the gods shall preserve thee here!
HYMNS OF THE ATHARVA-VEDA.
8. Do not long after the departed, who conduct (men) afar! Ascend from the darkness, come to the light! We lay hold of thy hands.
9. The two dogs of Yama, the black and the brindled one, that guard the road (to heaven), that have been despatched, shall not (go after) thee! Come hither, do not long to be away; do not tarry here with thy mind turned to a distance!
10. Do not follow this path: it is terrible! I speak of that by which thou hast not hitherto gone. Darkness is this, O man, do not enter it! Danger is beyond, security here for thee.
11. May the fires that are within the waters guard thee, may (the fire) which men kindle guard thee, may Gâtavedas Vaisvânara (the fire common to all men) guard thee! Let not the heavenly (fire) together with the lightning burn thee!
12. Let not the flesh-devouring (fire) menace thee: move afar from the funeral pyre! Heaven shall guard thee, the earth shall guard thee, the sun and moon shall guard thee, the atmosphere shall guard thee against the divine missile !
13. May the alert and the watchful divinities guard thee, may he that sleeps not and nods not guard thee, may he that protects and is vigilant guard thee!
14. They shall guard thee, they shall protect thee. Reverence be to them. Hail be to them!
15. Into converse with the living Vâyu, Indra, Dhâtar, and saving Savitar shall put thee; breath
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and strength shall not leave thee! Thy (life's) spirit do we call back to thee.
16. Convulsions that draw the jaws together, darkness, shall not come upon thee, nor (the demon) that tears out the tongue (?)! How shalt thou then waste away? The Adityas and Vasus, Indra and Agni shall raise thee up unto well-being!
17. The heavens, the earth, Pragâpati, have rescued thee. The plants with Soma their king have delivered thee from death.
18. Let this man remain right here, ye gods, let him not depart hence to yonder world! We rescue him from death with (a charm) of thousandfold strength.
19. I have delivered thee from death. The (powers) that furnish strength shall breathe upon thee. The (mourning women) with dishevelled hair, they that wail lugubriously, shall not wail over thee!
20. I have snatched thee (from death), I have obtained thee; thou hast returned with renewed youth. O thou, that art (now) sound of limb, for thee sound sight, and sound life have I obtained.
21. It has shone upon thee, light has arisen, darkness has departed from thee. We remove from thee death, destruction, and disease.
VIII, 2. Prayer for exemption from the dangers of death.
1. Take hold of this (charm) that subjects to immortality (life), may thy life unto old age not be cut off! I bring to thee anew breath and life: go not to mist and darkness, do not waste away!
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2. Come hither to the light of the living; I rescue thee unto a life of a hundred autumns! Loosing the bands of death and imprecation, I bestow upon thee long life extended very far.
3. From the wind thy breath I have obtained, from the sun thine eye; thy soul I hold fast in thee: be together with thy limbs, speak articulating with thy tongue!
4. With the breath of two-footed and four-footed creatures I blow upon thee, as on Agni when he is born (as on fire when kindled). I have paid reverence, O death, to thine eye, reverence to thy breath.
5. This (man) shall live and shall not die : we rouse this man (to life)! I make for him a remedy: O death, do not slay the man!
6. The plant gtvala ("quickening '), na-gha-risha ('forsooth-no-harm'), and givanti (living'), a victorious, mighty saviour-plant do I invoke, that he may be exempt from injury.
7. Befriend him, do not seize him, let him go, (O death); though he be thy very own, let him abide here with unimpaired strength! O Bhava and Sarva, take pity, grant protection; misfortune drive away, and life bestow!
8. Befriend him, death, and pity him: may he from here arise! Unharmed, with sound limbs, hearing perfectly, through old age carrying a hundred years, let him get enjoyment by himself (unaided)!
9. The missile of the gods shall pass thee by! I pass thee across the mist (of death); from death I have rescued thee. Removing far the fleshdevouring Agni, a barrier do I set around thee, that thou mayest live.
10. From thy misty road that cannot be withstood,
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O death, from this path (of thine) we guard this (man), and make our charm a protection for him.
11. In-breathing and out-breathing do I prepare for thee, death in old age, long life, and prosperity. All the messengers of Yama, that roam about, dispatched by Vivasvant's son, do I drive away.
12. Arâti (grudge), Nirriti (destruction), Grâhi (seizure), and the flesh-devouring Pisâkas (do we drive) away to a distance, and hurl all wicked Rakshas away into darkness as it were.
13. I crave thy life's breath from the immortal, life-possessing Agni Gâtavedas. That thou shalt not take harm, shalt be immortal in (Agni's) company, that do I procure for thee, and that shall be fulfilled for thee!
14. May heaven and earth, the bestowers of happiness, be auspicious and harmless to thee; may the sun shine, and the wind blow comfort to thy heart; may the heavenly waters, rich in milk, flow upon thee kindly!
15. May the plants be auspicious to thee! I have raised thee from the lower to the upper earth: there may both the Adityas, the sun and the moon, protect thee.
16. Whatever garment for clothing, or whatever girdle thou makest for thyself, agreeable to thy body do we render it; not rough to thy touch shall it be!
17. When thou, the barber, shearest with thy sharp well-whetted razor our hair and beard, do not, while cleansing our face, rob us of our life!
18. Rice and barley shall be auspicious to thee, causing no balâsa, inflicting no injury! They two drive away disease, they two release from calamity.
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19. Whatever thou eatest or drinkest, the grain of the plough-land or milk, whatever is or is not to be eaten, all that food do I render for thee free from poison.
20. To day and to night both do we commit thee: from the demons that seek to devour, do ye preserve this (man) for me!
21. A hundred years, ten thousand years, two, three, four ages (yuga) do we allot to thee; Indra and Agni, and all the gods without anger shall favour thee!
22. To autumn thee, to winter, spring and summer, do we commit; the rains in which grow the plants shall be pleasant to thee!
23. Death rules over bipeds, death rules over quadrupeds. From that death, the lord of cattle, do I rescue thee: do not fear!
24. Free from harm thou shalt not die ; thou shalt not die: do not fear! Verily, they do not die there, they do not go to the nethermost darkness ;
25. Verily, every creature lives there, the cow, the horse, and man, where this charm is performed, as the (protecting) barrier for life.
26. May it preserve thee from sorcery, from thy equals and thy kin! Undying be, immortal, exceedingly vital; thy spirits shall not abandon thy body!
27. From the one and a hundred deaths, from the dangers that are surmountable, from that Agni Vaisvânara (the funeral pyre ?) may the gods deliver
thee!
28. Thou, the remedy called patudru, art the body of Agni, the deliverer, slayer of Rakshas, slayer of rivals, moreover thou chasest away disease.
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V, 30. Prayer for exemption from disease and
death. 1. From near thy vicinity, from near thy distance (do I call) : remain here, do not follow; do not follow the Fathers of yore! Firmly do I fasten thy life's breath.
2. Whatever sorcery any kinsman or stranger has practised against thee, both release and deliverance with my voice do I declare for thee.
3. If thou hast deceived or cursed a woman or a man in thy folly, both release and deliverance with my voice do I declare for thee.
4. If thou liest (ill) in consequence of a sin committed by thy mother or thy father, both release and deliverance with my voice do I declare for thee.
5. Fight shy of the medicine which thy mother and thy father, thy sister and thy brother let out against thee: I shall cause thee to live unto old age!
6. Remain here, O man, with thy entire soul; do not follow the two messengers of Yama: come to the abodes of the living!
7. Return when called, knowing the outlet of the path (death), the ascent, the advance, the road of every living man!
8. Fear not, thou shalt not die: I shall cause thee to live unto old age! I have charmed away from thy limbs the disease that wastes the limbs.
9. The disease that racks and wastes thy limbs, and the sickness in thy heart, has flown as an eagle to a far distance, overcome by my charm.
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10. The two sages Alert and Watchful, the sleepless and the vigilant, these two guardians of thy life's breath, are awake both day and night.
11. Agni here is to be revered; the sun shall rise here for thee: rise thou from deep death, yea from black darkness!
12. Reverence be to Yama, reverence to death ; reverence to the Fathers and to those that lead (to them) [death's messengers ?]! That Agni who knows the way to save do I engage for this man, that he be exempt from harm!
13. His breath shall come, his soul shall come, his sight shall come, and, too, his strength! His body shall collect itself: then shall he stand firm upon his feet!
14. Unite him, Agni, with breath and sight, provide him with a body and with strength! Thou hast a knowledge of immortality: let him not now depart, let him not now become a dweller in a house of clay!
15. Thy in-breathing shall not cease, thy outbreathing shall not vanish; Surya (the sun), the supreme lord, shall raise thee from death with his rays!
16. This tongue (of mine), bound in the mouth, yet) mobile, speaks within : with it I have charmed away disease, and the hundred torments of the takman (fever).
17. This world is most dear to the gods, unconquered. For whatever death thou wast destined when thou wast born, O man, that (death) and we call after thee: do not die before old age!
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IV, 9. Salve (añgana) as a protector of life and
limb. 1. Come hither! Thou art the living, protecting eye-ointment of the mountain, given by all the gods as a safeguard, unto life.
2. Thou art a protection for men, a protection for cattle, thou didst stand for the protection of horses and steeds.
3. Thou art, O salve, both a protection that crushes the sorcerers, and thou hast knowledge of immortality (amrita). Moreover, thou art food for the living, and thou art, too, a remedy against jaundice.
4. From him over whose every limb and every joint thou passest, O salve, thou dost, as a mighty intercepter, drive away disease.
5. Him that bears thee, O salve, neither curse, nor sorcery, nor burning pain does reach ; nor does the vishkandha come upon him.
6. From evil scheme, from troubled dream, from evil deed, and also from foulness; from the evil eye of the enemy, from this protect us, O salve!
7. Knowing this, O salve, I shall speak the truth, avoid falsehood. May I obtain horses and cattle, and thy person, O serving-man!
8. Three are servants of the salve: the takman (fever), the balasa, and the serpent. The highest of the mountains, Trikakud (“Three-peaks') by name, is thy father.
9. Since the salve of Trikakud is born upon the Himavant, it shall demolish all the wizards and all the witches.
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10. Whether thou art derived from the (mountain) Trikakud, or art said to come from the (river) Yamuna, both these names of thine are auspicious : with these, O salve, protect us!
IV, 10. The pearl and its shell as an amulet
bestowing long life and prosperity. 1. Born of the wind, the atmosphere, the lightning, and the light, may this pearl shell, born of gold, protect us from straits !
2. With the shell which was born in the sea, at the head of bright substances, we slay the Rakshas and conquer the Atrins (devouring demons).
3. With the shell (we conquer) disease and poverty; with the shell, too, the Sadânvâs. The shell is our universal remedy; the pearl shall protect us from straits!
4. Born in the heavens, born in the sea, brought on from the river (Sindhu), this shell, born of gold, is our life-prolonging amulet.
5. The amulet, born from the sea, a sun, born from Vritra (the cloud), shall on all sides protect us from the missiles of the gods and the Asuras!
6. Thou art one of the golden substances, thou art born from Soma (the moon). Thou art sightly on the chariot, thou art brilliant on the quiver. [May it prolong our lives !]
7. The bone of the gods turned into pearl ; that, animated, dwells in the waters. That do I fasten upon thee unto life, lustre, strength, longevity, unto a life lasting a hundred autumns. May the (amulet) of pearl protect thee!
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XIX, 26. Gold as an amulet for long life.
1. The gold which is born from fire, the immortal, they bestowed upon the mortals. He who knows this deserves it; of old age dies he who wears it.
2. The gold, (endowed by) the sun with beautiful colour, which the men of yore, rich in descendants, did desire, may it gleaming envelop thee in lustre ! Long-lived becomes he who wears it!
3. (May it envelop) thee unto (long) life, unto lustre, unto force, and unto strength, that thou shalt by the brilliancy of the gold shine forth among people!
4. (The gold) which king Varuna knows, which god Brihaspati knows, which Indra, the slayer of Vritra, knows, may that become for thee a source of life, may that become for thee a source of lustre !
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IMPRECATIONS AGAINST DEMONS, SORCERERS, AND ENEMIES (ÂBHIKÂRIKÂNI AND
KRITYÂPRATIHARANÂNI).
I, 7. Against sorcerers and demons. 1. The sorcerer (yâtudhâna) that vaunts himself, and the Kimidin do thou, O Agni, convey hither! For thou, O god, when lauded, becomest the destroyer of the demon.
2. Partake of the ghee, of the sesame-oil, O Agni Gâtavedas, that standest on high, conquerest by thyself! Make the sorcerers howl !
3. The sorcerers and the devouring (atrin) Kimidin shall howl! Do ye, moreover, O Agni and Indra, receive graciously this our oblation!
4. Agni shall be the first to seize them, Indra with his (strong) arms shall drive them away! Every wizard, as soon as he comes, shall proclaim himself, saying, 'I am he'!
5. We would see thy might, O Gâtavedas; disclose to us the wizards, O thou that beholdest men ! May they all, driven forth by thy fire, disclosing themselves, come to this spot!
6. Seize hold, O Gatavedas : for our good thou wast born! Become our messenger, O Agni, and make the sorcerers howl!
7. Do thou, O Agni, drag hither the sorcerers, bound in shackles; then Indra with his thunderbolt shall cut off their heads!
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I, 8. Against sorcerers and demons. 1. May this oblation carry hither the sorcerers, as a river (carries) foam! The man or the woman who has performed this (sorcery), that person shall here proclaim himself!
2. This vaunting (sorcerer) has come hither : receive him with alacrity! O Brihaspati, put him into subjection; O Agni and Soma, pierce him through!
3. Slay the offspring of the sorcerer, O somadrinking (Indra), and subject (him)! Make drop out the farther and the nearer eye of the braggart (demon)!
4. Wherever, O Agni Gâtavedas, thou perceivest the brood of these hidden devourers (atrin), do thou, mightily strengthened by our charm, slay them : slay their (brood), O Agni, piercing them a hundredfold !
I, 16. Charm with lead, against demons and
sorcerers. 1. Against the devouring demons who, in the night of the full-moon, have arisen in throngs, may Agni, the strong, the slayer of the sorcerers, give us courage!
2. To the lead Varuna gives blessing, to the lead Agni gives help. Indra gave me the lead : unfailingly it dispels sorcery.
3. This (lead) overcomes the vishkandha, this smites the devouring demons (atrin); with this I have overwhelmed all the brood of the Pisakas. 4. If thou slayest our cow, if our horse or our
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domestic, we pierce thee with the lead, so that thou shalt not slay our heroes.
VI, 2. The soma-oblation directed against
demons (rakshas). 1. Press the soma, ye priests, and rinse it (for renewed pressing), in behalf of Indra who shall listen to the song of the worshipper, and to my call !
2. Do thou, O doughty (Indra), whom the drops of soma enter as birds a tree, beat off the hostile brood of the Rakshas !
3. Press ye the soma for Indra, the soma-drinker, who wields the thunderbolt! A youthful victor and ruler is he, praised by many men.
II, 14. Charm against a variety of female demons,
conceived as hostile to men, cattle, and home.
1. Nissâlâ, the bold, the greedy demon (? dhishana), and (the female demon) with long-drawn howl, the bloodthirsty ; all the daughters of Kanda, the Sadânvàs do we destroy.
2. We drive you out of the stable, out of the axle (of the wagon), and the body of the wagon; we chase you, O ye daughters of Magundi, from the house.
3. In yonder house below, there the grudging demons (arâys) shall exist; there ruin shall prevail, and all the witches !
4. May (Rudra), the lord of beings, and Indra, drive forth from here the Sadânvâs; those that are seated on the foundation of the house Indra shall overcome with his thunderbolt!
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5. Whether ye belong to (the demons) of inherited disease, whether ye have been dispatched by men, or whether ye have originated from the Dasyus (demon-like aborigines), vanish from here, Oye Sadânvâs!
6. About their dwelling-places I did swiftly course, as if on a race-course. I have won all contests with you: vanish from here, Oye Sadânvås !
III, 9. Against vishkandha and kâbava (hostile
demons). 1. Of karsapha and visapha heaven is the father and earth the mother. As, ye gods, ye have brought on (the trouble), thus do ye again remove it!
2. Without fastening they (the protecting plants?) held fast, thus it has been arranged by Manu. The vishkandha do I render impotent, like one who gelds cattle.
3. A talisman tied to a reddish thread the active (seers) then do fasten on: may the fastenings render impotent the eager, fiery kábava!
4. And since, O ye eager (demons), ye walk like gods by the wile of the Asuras, the fastening (of the amulet) is destructive to the kâbava, as the ape to the dog.
5. I revile thee, the kâbava, unto misfortune, (and) shall work harm for thee. Accompanied with curses ye shall go out like swift chariots!
6. A hundred and one vishkandha are spread out along the earth; for these at the beginning they brought out thee, the amulet, that destroys vishkandha.
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IV, 20. Charm with a certain plant (sadampushpå)
which exposes demons and enemies. 1. He sees here, he sees yonder, he sees in the distance, he sees—the sky, the atmosphere as well as the earth, all that, O goddess, he sees.
2. The three heavens, the three earths, and these six directions severally; all creatures may I see through thee, O divine plant !
3. Thou art verily the eyeball of the divine eagle; thou didst ascend the earth as a weary woman a palanquin.
4. The thousand-eyed god shall put this plant into my right hand: with that do I see every one, the Sudra as well as the Arya.
5. Reveal (all) forms, do not hide thy own self; moreover, do thou, O thousand-eyed (plant), look the Kimidins in the face!
6. Reveal to me the wizards, and reveal the witches, reveal all the Pisakas : for this purpose do I take hold of thee, O plant!
7. Thou art the eye of Kasyapa, and the eye of the four-eyed bitch. Like the sun, moving in the bright day, make thou the Pisaka evident to me!
8: I have dragged out from his retreat the sorcerer and the Kimidin. Through this (charm) do I see every one, the Sudra as well as the Arya.
9. Him that Aies in the air, him that moves across the sky, him that regards the earth as his resort, that Pisâka do thou reveal (to me)!
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IV, 17. Charm with the apâ mârga-plant, against
sorcery, demons, and enemies. 1. We take hold, O victorious one, of thee, the mistress of remedies. I have made thee a thing of thousandfold strength for every one, O plant !
2. Her, the unfailingly victorious one, that wards off curses, that is powerful and defensive; (her and) all the plants have I assembled, intending that she shall save us from this (trouble)!
3. The woman who has cursed us with a curse, who has arranged dire misfortune (for us), who has taken hold of our children, to rob them of their strengthmay she eat (her own) offspring!
4. The magic spell which they have put into the unburned vessel, that which they have put into the blue and red thread, that which they have put into raw flesh, with these slay thou those that have prepared the spell !
5. Evil dreams, troubled life, Rakshas, gruesomeness, and grudging demons (arayi), all the evilnamed, evil-speaking (powers), these do we drive out from us.
6. Death from hunger, and death from thirst, poverty in cattle, and failure of offspring, all that, O apâmârga, do we wipe out (apa mrigmahe) with thee
7. Death from thirst, and death from hunger, moreover, ill-luck at dice, all that, O apâmârga, do we wipe out with thee.
8. The apâ mârga is sole ruler over all plants, with it do we wipe mishap from thee: do thou then live exempt from disease !
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IV, 18. Charm with the apâ mârga-plant, against
sorcerers and demons. 1. Night is like unto the sun, the (starry) night is similar to day. The truth do I engage for help: the enchantments shall be devoid of force !
2. He, O ye gods, who prepares a spell, and carries it to the house of one that knows not (of it), upon him the spell, returning, shall fasten itself like a suckling calf upon its mother!
3. The person that prepares evil at home, and desires with it to harm another, she is consumed by fire, and many stones fall upon her with a loud crash.
4. Bestow curses, O thou (apâ mârga), that hast a thousand homes, upon the (demons) visikha ('crestless'), and vigriva (crooked-neck ')! Turn back the spell upon him that has performed it, as a beloved maid (is brought) to her lover!
5. With this plant I have put to naught all spells, those that they have put into thy field, thy cattle, and into thy domestics.
6. He that has undertaken them has not been able to accomplish them: he broke his foot, his toe. He performed a lucky act for us, but for himself an injury.
7. The apamârga-plant shall wipe out (apa mârshtu) inherited ills, and curses; yea, it shall wipe out all witches, and all grudging demons (arayi)!
8. Having wiped out all sorcerers, and all grudging demons, with thee, O apamârga, we wipe all that (evil) out.
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IV, 19. Mystic power of the apâmarga-plant,
against demons and sorcerers. 1. On the one hand thou deprivest of kin, on the other thou now procurest kinfolk. Do thou, moreover, cut the offspring of him that practises spells, as a reed that springs up in the rain !
2. By a Brâhmana thou hast been blest, by Kanva, the descendant of Nrishad. Thou goest like a strong army; where thou hast arrived, O plant, there there is no fear.
3. Thou goest at the head of the plants, spreading lustre, as if with a light. Thou art on the one hand the protector of the weak, on the other the slayer of the Rakshas.
4. When of yore, in the beginning, the gods drove out the Asuras with thee, then, O plant, thou wast begotten as apămârga ( wiping out').
5. Thou cuttest to pieces (vibhindatí), and hast a hundred branches; vibhindant (cutting to pieces') is thy father's name. Do thou (turn) against, and cut to pieces (vi bhindhi) him that is hostile towards us !
6. Non-being arose from the earth, that goes to heaven, (as) a great expansion. Thence, verily, that, spreading vapours, shall turn against the performer (of spells)!
7. Thou didst grow backward, thou hast fruit which is turned backward. Ward off from me all curses, ward off very far destructive weapons !
8. Protect me with a hundredfold, guard me with a thousandfold (strength)! Indra, the strong, shall put strength into thee, O prince of plants!
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VII, 65. Charm with the apâmârga-plant, against
curses, and the consequences of sinful deeds.
1. With fruit turned backward thou verily didst grow, O apâ mârga : do thou drive all curses quite far away from here!
2. The evil deeds and foul, or the sinful acts which we have committed, with thee, O apâmârga, whose face is turned to every side, do we wipe them out (apa mrigmahe).
3. If we have sat together with one who has black teeth, or diseased nails, or one who is deformed, with thee, O apâmârga, we wipe all that out (apa mrigmahe).
X, 1. Charm to repel sorceries or spells. 1. The (spell) which they skilfully prepare, as a bride for the wedding, the multiform (spell), fashioned by hand, shall go to a distance: we drive it away!
2. The (spell) that has been brought forward by the fashioner of the spell, that is endowed with head, endowed with nose, endowed with ears, and multiform, shall go to a distance : we drive it away!
3. (The spell) that has been prepared by a Sudra, prepared by a Râga, prepared by a woman, prepared by Brahmans, as a wife rejected by her husband, shall recoil upon her fabricator, (and) his kin!
4. With this herb have I destroyed all spells, that which they have put into thy field, into thy cattle, and into thy men.
5. Evil be to him that prepares evil, the curse shall recoil upon him that utters curses : back do we hurl
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it against him, that it may slay him that fashions the spell.
6. Pratikina (Back-hurler '), the descendant of Angiras, is our overseer and officiator (purohita) : do thou drive back again (pratikih) the spells, and slay yonder fashioners of the spells !
7. He that has said to thee (the spell): 'go on'! upon that enemy, that antagonist do thou turn, O spell: do not seek out us, that are harmless!
8. He that has fitted together thy joints with skill, as the wagoner (Ribhu) the joints of a chariot, to him go, there is thy course : this person here shall remain unknown to thee!
9. They that have prepared thee and taken hold of thee, the cunning wizards—this is what cures it, destroys the spell, drives it back the opposite way : with it do we bathe thee.
10. Since we have come upon the wretched (spell), as upon (a cow) with a dead calf, flooded away (by a river), may all evil go away from me, and may possessions come to me!
11. If (thy enemies) have made (offerings) to thy Fathers, or have called thy name at the sacrifice, may these herbs free thee from every indigenous evil !
12. From the sin of the gods, and that of the fathers, from mentions of (thy) name, from (evil schemes) concocted at home, may the herbs free thee with might, through (this) charm, (and these) stanzas, (that are the milk of the Rishis !
13. As the wind stirs up the dust from the earth, and the cloud from the atmosphere, thus may all misfortune, driven by my charm, go away from me!
14. Stride away (O spell), like a loudly braying
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she-ass, that has been loosened (from the tether); reach those that have fabricated thee, driven from here by (my) forceful charm!
15. 'This is the way, O spell,' with these words do we lead thee. Thee that hast been sent out against us do we send back again. Go this way like a crushing army, with heavy carts, thou that art multiform, and crowned by a crest (?)!
16. In the distance there is light for thee, hitherward there is no road for thee; away from us take thy course! By another road cross thou ninety navigable streams, hard to cross! Do not injure, go away!
17. As the wind the trees, crush down and fell (the enemy), leave them neither cow, nor horse, nor serving-man! Turn from here upon those that have fabricated thee, O spell, awaken them to childlessness!
18. The spell or the magic which they have buried against thee in the sacrificial straw (barhis), in the field, (or) in the burial-ground, or if with superior skill they have practised sorcery against thee, that art simple and innocent, in thy household fire,
19. The hostile, insidious instrument which they have brought hither has been discovered; that which has been dug in we have detected. It shall go whence it has been brought hither; there, like a horse, it shall disport itself, and slay the offspring of him that has fashioned the spell !
20. Swords of good brass are in our house : we know how many joints thou hast, О spell! Be sure to rise, go away from hence! O stranger, what seekest thou here?
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21. I shall hew off, O spell, thy neck, and thy feet : run away! May Indra and Agni, to whom belong the children (of men), protect us!
22. King Soma, who guards and pities us, and the lords of the beings shall take pity on us!
23. May Bhava and Sarva cast the lightning, the divine missile, upon him that performs evil, fashions a spell, and does wrong!
24. If thou art come two-footed, (or) four-footed, prepared by the fashioner of the spell, multiform, do thou, having become eight-footed, again go away from here, O misfortune!
25. Anointed, ornamented, and well equipped, go away, carrying every misfortune! Know, O spell, thy maker, as a daughter her own father!
26. Go away, O spell, do not stand still, track (the enemy) as a wounded (animal)! He is the game, thou the hunter: he is not able to put thee down.
27. Him that first hurls (the arrow), the other, laying on in defence, slays with the arrow, and while the first deals the blow, the other returns the blow.
28. Hear, verily, this speech of mine, and then return whence thou camest, against the one that fashioned thee!
29. Slaughter of an innocent is heinous, O spell: do not slay our cow, horse, or serving-man! Wherever thou hast been put down, thence thee do we remove. Be lighter than a leaf!
30. If ye are enveloped in darkness, covered as if by a net—we tear all spells out from here, send them back again to him that fashioned them.
31. The offspring of them that fashion the spell, practise magic, or plot against us, crush thou, O spell,
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leave none of them! Slay those that fashion the spell !
32. As the sun is released from darkness, abandons the night, and the streaks of the dawn, thus every misery, (every) device prepared by the fashioner of the spell, (every) misfortune, do I leave behind, as an elephant the dust.
. V, 31. Charm to repel sorceries or spells.
1. The spell which they have put for thee into an unburned vessel, that which they have put into mixed grain, that which they have put into raw meat, that do I hurl back again.
2. The spell which they have put for thee into a cock, or that which (they have put) into a goat, into a crested animal, that which they have put into a sheep, that do I hurl back again.
3. The spell which they have put for thee into solipeds, into animals with teeth on both sides, that which they have put into an ass, that do I hurl back again.
4. The magic which they have put for thee into moveable property, or into personal possession, the spell which they have put into the field, that do I hurl back again.
5. The spell which evil-scheming persons have put for thee into the gârhapatya-fire, or into the housefire, that which they have put into the house, that do I hurl back again.
6. The spell which they have put for thee into the assembly-hall, that which they have put) into the gaming-place, that which they have put into the dice, that do I hurl back again.
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7. The spell which they have put for thee into the army, that which they have put into the arrow and the weapon, that which they have put into the drum, that do I hurl back again.
8. The spell which they have placed down for thee in the well, or have buried in the burial-ground, that which they have put into (thy) home, that do I hurl back again.
9. That which they have put for thee into human bones, that which (they have put into the funeral fire, to the consuming, burning, flesh-eating fire do I hurl that back again.
10. By an unbeaten path he has brought it (the spell) hither, by a (beaten) path we drive it out from here. The fool in his folly has prepared (the spell) against those that are surely wise.
11. He that has undertaken it has not been able to accomplish it: he broke his foot, his toe. He, luckless, performed an auspicious act for us, that are lucky.
12. Him that fashions spells, practises magic, digs after roots, sends out curses, Indra shall slay with his mighty weapon, Agni shall pierce with his hurled (arrow)!
V, 14. Charm to repel sorceries or spells. 1. An eagle found thee out, a boar dug thee out with his snout. Seek thou, O plant, to injure him that seeks to injure (us), strike down him that prepares spells (against us)!
2. Strike down the wizards, strike down him that prepares spells (against us); slay thou, moreover, O plant, him that seeks to injure us!
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.
3. Cutting out from the skin (of the enemy) as if (from the skin) of an antelope, do ye, O gods, fasten the spell upon him that prepares it, as (one fastens) an ornament !
4. Take hold by the hand and lead away the spell back to him that prepares it! Place it in his very presence, so that it shall slay him that prepares the spell!
5. The spells shall take effect upon him that prepares the spells, the curse upon him that pronounces the curse! As a chariot with easy-going wheels, the spell shall turn back upon him that prepares the spell!
6. Whether a woman, or whether a man has prepared the spell for evil, we lead that spell to him as a horse with the halter.
7. Whether thou hast been prepared by the gods, or hast been prepared by men, we lead thee back with the help of Indra as an ally.
8. O Agni, gainer of battles, do thou gain the battles! With a counter-charm do we hurl back the spell upon him that prepares the spell.
9. Hold ready, (O plant,) thy weapon, and strike him, slay the very one that has prepared (the spell)! We do not whet thee for the destruction of him that has not practised (spells).
10. Go as a son to his father, bite like an adder that has been stepped upon. Return thou, O spell, to him that prepares the spell, as one who overcomes his fetters!
II. As the shy deer, the antelope, goes out to the mating (buck), thus the spell shall reach him that prepares it!
12. Straighter than an arrow may it (the spell) Aly
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against him, O ye heaven and earth; may that spell take hold again of him that prepares it, as (a hunter) of his game!
13. Like fire (the spell) shall progress in the teeth of obstacles, like water along its course! As a chariot with easy-going wheels the spell shall turn back upon him that prepares the spell !
VIII, 5. Prayer for protection addressed to a talis
man made from wood of the sraktya-tree. 1. This attacking talisman, (itself) a man, is fastened upon the man: it is full of force, slays enemies, makes heroes of men, furnishes shelter, provides good luck.
2. This talisman slays enemies, makes strong men, is powerful, lusty, victorious, strong; as a man it advances against sorceries and destroys them.
3. With this talisman Indra slew Vritra, with it he, full of device, destroyed the Asuras, with it he conquered both the heaven and earth, with it he conquered the four regions of space.
4. This talisman of sraktya assails and attacks. With might controlling the enemies, it shall protect us on all sides !
5. Agni has said this, and Soma has said this ; Brihaspati, Savitar, Indra (have said) this. These divine purohitas (chaplains) shall turn back for me (upon the sorcerer) the sorceries with aggressive amulets!
6. I have interposed heaven and earth, also the day, and also the sun. These divine purohitas (chaplains) shall turn back for me (upon the sorcerer) the sorceries with aggressive amulets!
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7. (For) the folk that make an armour of the talisman of sraktya-like the sun ascending the sky, it subjects and beats off the sorceries.
8. With the amulet of sraktya, as if with a seer of powerful spirit, I have gained all battles, I slay the enemies, the Rakshas.
9. The sorceries that come from the Angiras, the sorceries that come from the Asuras, the sorceries that prepare themselves, and those that are prepared by others, both these shall go away to a distance across ninety navigable streams!
10. As an armour upon him the gods shall tie the amulet, Indra, Vishnu, Savitar, Rudra, Agni, Pragapati, Parameshthin, Virag, Vaisvânara, and the seers all.
11. Thou art the most superb of plants, as if a steer among the cattle, as if a tiger among beasts of prey. (The amulet) that we did seek, that have we found, a guardian at our side.
12. He that wears this talisman, verily is a tiger, a lion as well, and, too, a bull; moreover a curtailer of enemies.
13. Him slay not the Apsaras, nor the Gandharvas, nor mortal men; all regions does he rule, that wears this talisman.
14. Kasyapa has created thee, Kasyapa has produced thee. Indra wore thee in human (battle); wearing thee in the close combat he conquered. The gods did make the talisman an armour of thousandfold strength.
15. He that plans to harm thee with sorceries, with (unholy) consecrations and sacrifices—him beat thou back, O Indra, with thy thunderbolt that hath a hundred joints !!
16. This talisman verily does assail, full of might,
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victorious. Offspring and wealth it shall protect, provide defence, abound in luck!
17. Remove our enemies in the south, remove our enemies in the north ; remove, O Indra, our enemies in the west: light, O hero, place in front (east) of us!
18. An armour for me be heaven and earth, an armour day, an armour the sun! An armour for me be Indra and Agni; Dhâtar shall bestow (dadhâtu) an armour upon me!
19. The armour of Indra and Agni, that is thick and strong, all the gods united do not pierce. This great (armour) shall protect my body on all sides, that I may obtain long life, and reach old age !
20. The divine talisman has ascended upon me unto complete exemption from injury. Assemble about this post that protects the body, furnishes threefold defence, in order to (secure) strength!
21. Into it Indra shall deposit manliness: do ye, O gods, assemble about it for long life, for life lasting a hundred autumns, that he may reach old age.
22. May Indra who bestows welfare, the lord of the people, the slayer of Vritra, the controller of enemies, he that conquereth and is unconquered, the soma-drinking bull that frees from danger, fasten the amulet upon thee: may it protect thee on each and every side, by day and by night! X, 3. Praise of the virtues of an amulet
derived from the varana-tree. 1. Here is my varana-amulet, a bull that destroys the rivals: with it do thou close in upon thy enemies, crush them that desire to injure thee!
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2. Break them, crush them, close in upon them: the amulet shall be thy van-guard in front! With the varana the Devas (gods) did ward off (avârayanta) the onslaught of the Asuras (demons) day after day.
3. This thousand-eyed, yellow, golden varanaamulet is a universal cure; it shall lay low thy enemies: be thou the first to injure those that hate thee!
4. This varana will ward off (vårayishyate) the spell that has been spread against thee; this will protect thee from human danger, this will protect thee from all evil!
5. This divine tree, the varana, shall shut out (vârayâtâi)! The gods, too, have shut out (avivaran) the disease that has entered into this (man).
6. If when asleep thou shalt behold an evil dream; as often as a wild beast shall run an inauspicious course; from (ominous) sneezing, and from the evil shriek of a bird, this varana-amulet will protect thee (vârayishyate).
7. From Arâti (grudge), Nirriti (misfortune), from sorcery, and from danger; from death and overstrong weapons the varana will protect thee.
8. The sin that my mother, that my father, that my brothers and my sister have committed; the sin that we (ourselves) have committed, from that this divine tree will protect us.
9. Through the varana are confused my enemies and my (rival) kin. To untraversed gloom they have gone : they shall go to the nethermost darkness!
10. (May) I (be) unharmed, with cows unharmed, long-lived, with undiminished men ! This varanaamulet shall guard me in every region (of space)!
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11. This varana upon my breast, the kingly, divine tree, shall smite asunder my enemies, as Indra the Dasyus, the Asuras (demons)!
12. Long-lived, a hundred autumns old, do I wear this varana : kingdom and rule, cattle and strength, this shall bestow upon me!
13. As the wind breaks with might the trees, the lords of the forest, thus do thou break my rivals, those formerly born, and the latter born! The varana shall watch over thee!
14. As the wind and the fire consume the trees, the lords of the forest, thus do thou consume my rivals, those formerly born, and the latter born! The varana shall watch over thee!
15. As, ruined by the wind, the trees lie prostrate, thus do thou ruin and prostrate my rivals, those formerly born, and the latter born! The varana shall watch over thee!
16. Do thou cut off, 0 varana, before their appointed time and before old age, those that aim to injure him in his cattle, and threaten his sovereignty!
17. As the sun is resplendent, as in him brilliance has been deposited, thus shall the amulet of varana hold fast for me reputation and prosperity, shall sprinkle me with brilliance, and anoint me with splendour!
18. As splendour is in the moon, and in the sun, the beholder of men, thus shall the amulet of varana hold fast, &c.
19. As splendour is in the earth, as in this Gatavedas (the fire), thus shall the amulet of varana hold fast, &c. 20. As splendour is in the maiden, as in this
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appointed chariot, thus shall the amulet of varana hold fast, &c.
21. As splendour is in the soma-draught, as splendour is in the honey-mixture (for guests), thus shall the amulet of varana hold fast, &c.
22. As splendour is in the agnihotra-oblation, as splendour is in the call vashat, thus shall the amulet of varana hold fast, &c.
23. As splendour is in the sacrificer, as (splendour) has been deposited in the sacrifice, thus shall the amulet of varana hold fast, &c.
24. As splendour is in Pragâpati, as in this Parameshthin (the lord on high), thus shall the amulet of varana hold fast, &c.
25. As immortality is in the gods, as truth has been deposited in them, thus shall the amulet of varana hold fast, &c.
X, 6. Praise of the virtues of amulet of khadira
wood in the shape of a ploughshare. 1. The head of the hostile rival, of the enemy that hates me, do I cut off with might.
2. This amulet, produced by the ploughshare, will prepare an armour for me: full of stirred drink it has come to me, together with sap and lustre.
3. If the skilful workman has injured thee with his hand or with his knife, the living bright waters shall purify thee from that, (so that thou shalt be) bright!
4. This amulet has a golden wreath, bestows faith and sacrifice and might; in our house as a guest it shall dwell!
5. Before it (the amulet as a guest) ghee, surâ
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(liquor), honey, and every kind of food we place. The amulet having gone to the gods shall, as a father for his sons, plan for us growing good, more and more day after day!
6. The amulet which Brihaspati tied, the ploughshare dripping with ghee, the strong khadira, unto strength, that Agni did fasten on; that yields him ghee more and more day after day: with it those that hate me do thou slay!
7. This amulet which Brihaspati tied ... that Indra did fasten on, for strength and heroism; that yields him might more and more, &c.
8. The amulet which Brihaspati tied ... that Soma did fasten on unto perfect hearing and seeing ; that verily yields him lustre more and more, &c.
9. The amulet which Brihaspati tied ... that Sûrya did fasten on, with that he conquered these directions of space; that yields him prosperity more and more, &c.
10. The amulet which Brihaspati tied ... wearing that amulet Kandramas (the moon) conquered the golden cities of the Asuras and the Dänavas; that yields him fortune more and more, &c.
11. The amulet which Brihaspati tied for swift Vata (wind), that yields him strength more and more, &c.
12. The amulet which Brihaspati tied for swift Vata, with that amulet, О Asvins, do ye guard this plough-land; that yields the two physicians (the Asvins) might more and more, &c.
13. The amulet which Brihaspati tied for swift Vata, wearing that, Savitar through it conquered this light; that yields him abundance more and more, &c.
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14. The amulet which Brihaspati tied for swift Vâta, wearing that, the waters ever run undiminished; that verily yields them ambrosia more and more, &c.
15. The amulet which Brihaspati tied for swift Vata, that comforting amulet king Varuna did fasten on; that verily yields him truth more and more, &c.
16. The amulet which Brihaspati tied for swift Vata, wearing that the gods did conquer all the worlds in battle; that verily yields them conquest more and more, &c.
17. The amulet which Brihaspati tied for swift Vâta, that comforting amulet the divinities did fasten on; that verily yields them all more and more, &c.
18. The seasons did fasten it on; the divisions (of the year) did fasten it on. Since the year did fasten it on, it guards every being
19. The intermediate directions did fasten it on; the directions did fasten it on. The amulet created by Pragâpati has subjected those that hate me.
20. The Atharvans did tie it on, the descendants of the Atharvans did tie it on; with these allied, the Angiras cleft the castles of the Dasyus. With it those that hate me do thou slay!
21. That Dhâtar did fasten on : (then) he shaped the being. With it those that hate me do thou slay!
22. The amulet which Brihaspati tied for the gods, destructive of the Asuras, that has come to me together with sap and lustre.
23. The amulet ... has come to me together with cows, goats, and sheep, together with food and offspring.
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24. The amulet ... has come to me together with rice and barley, together with might and prosperity.
25. The amulet ... has come to me with a stream of honey and ghee together with sweet drink.
26. The amulet ... has come to me together with nourishment and milk, together with goods and fortune.
27. The amulet ... has come to me together with brilliance and strength, together with glory and reputation.
28. The amulet ... has come to me together with all kinds of prosperity.
29. This amulet the gods shall give me unto prosperity, the mighty amulet that strengthens sovereignty and injures the rivals!
30. An (amulet) auspicious for me thou shalt fasten upon (me), together with brahma (spiritual exaltation) and brilliance! Free from rivals, slaying rivals, it has subjected my rivals.
31. This god-born amulet, the sap milked from which these three worlds revere, shall render me superior to him that hates me; it shall ascend upon my head unto excellence !
32. The amulet upon which the gods, the Fathers, and men ever live, shall ascend upon my head unto excellence!
33. As the seed grows in the field, in the furrow drawn by the ploughshare, thus in me offspring, cattle, and every kind of food shall grow up!
34. Upon whom, O thou amulet that prosperest the sacrifice, I have fastened thee (that art) propitious, him, O amulet, that yieldest a hundredfold sacrificial reward, thou shalt inspire unto excellence!
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35. This fire-wood that has been laid on together with the oblations do thou, Agni, gladly accept : may we in this kindled Gâtavedas (fire), through (this) charm, find favour, well-being, offspring, sight, and cattle!
IV, 16. Prayer to Varuna for protection against treacherous designs.
1. The great guardian among these (gods) sees as if from anear. He that thinketh he is moving stealthily-all this the gods know.
2. If a man stands, walks, or sneaks about, if he goes slinking away, if he goes into his hiding-place; if two persons sit together and scheme, king Varuna is there as a third, and knows it.
3. Both this earth here belongs to king Varuna, and also yonder broad sky whose boundaries are far away. Moreover these two oceans are the loins of Varuna; yea, he is hidden in this small (drop of)
water.
4. He that should flee beyond the heaven far away would not be free from king Varuna. His spies come hither (to the earth) from heaven, with a thousand eyes do they watch over the earth.
5. King Varuna sees through all that is between heaven and earth, and all that is beyond. He has counted the winkings of men's eyes. As a (winning) gamester puts down his dice, thus does he establish these (laws).
6. May all thy fateful toils which, seven by seven, threefold, lie spread out, ensnare him that speaks falsehood: him that speaks the truth they shall let go!
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7. With a hundred snares, O Varuna, surround him, let the liar not go free from thee, O thou that observest men! The rogue shall sit, his belly hanging loose, like a cask without hoops, bursting all about !
8. With the snare of) Varuna which is fastened lengthwise, and that which is fastened) broadwise, with the indigenous and the foreign, with the divine and the human,
9. With all these snares do I fetter thee, O N. N., descended from N. N., the son of the woman N. N.: all these do I design for thee.
II, 12. Imprecation against enemies thwarting
holy work. 1. Heaven and earth, the broad atmosphere, the goddess of the field, and the wonderful, far-striding (Vishnu); moreover, the broad atmosphere guarded by Våta (the wind): may these here be inflamed, when I am inflamed !
2. Hear this, O ye revered gods! Let Bharadvåga recite for me songs of praise! May he who injures this our plan be bound in the fetter (of disease) and joined to misfortune!
3. Hear, O soma-drinking Indra, what with burning heart I shout to thee! I cleave, as one cleaves a tree with an axe, him that injures this our plan.
4. With (the aid of) thrice eighty sâman-singers, with (the aid of) the Adityas, Vasus, and Angirasmay our father's sacrifices and gifts to the priests aid us-do I seize this one with fateful fervour.
5. May heaven and earth look after me, may all the gods support me! Oye Angiras, O ye fathers
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devoted to Soma, may he who does harm enter into misfortune!
6. He who perchance despises us, O ye Maruts, he who abuses the holy practice which is being performed by us, may his evil deeds be firebrands to him, may the heavens surround with fire the hater of holy practices!
7. Thy seven in-breathings and thy eight marrows, these do I cut for thee by means of my charm. Thou shalt go to the seat of Yama, fitly prepared, with Agni as thy guide!
8. I set thy footstep upon the kindled fire. May Agni surround thy body, may thy voice enter into breath!
VII, 70. Frustration of the sacrifice of an enemy.
1. Whenever yonder person in his thought, and with his speech, offers sacrifice accompanied by oblations and benedictions, may Nirriti (the goddess of destruction), allying herself with death, smite his offering before it takes effect!
2. May sorcerers, Nirriti, as well as Rakshas, mar his true work with error! May the gods, despatched by Indra, scatter (churn) his sacrificial butter; may that which yonder person offers not succeed!
3. The two agile supreme rulers, like two eagles pouncing down, shall strike the sacrificial butter of the enemy, whosoever plans evil against us!
4. Back do I tie both thy two arms, thy mouth I shut. With the fury of god Agni have I destroyed thy oblation.
5. I tie thy two arms, I shut thy mouth. With the fury of terrible Agni have I destroyed thy oblation.
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II, 7. Charm against curses and hostile plots,
undertaken with a certain plant. 1. The god-begotten plant, hated by the wicked, which wipes away the curses (of the enemies), like water a foul spot it has washed away all curses from me.
2. The curse of the rival and the curse of the kinswoman, the curse which the Brahman shall utter in wrath, all that (do thou put) under our feet !
3. From heaven her root is suspended, from the earth it rises up; with her that has a thousand shoots do thou protect us on all sides!
4. Protect me, protect my offspring, protect our goods; let not ill-will overcome us, let not hostile schemes overcome us!
5. The curse shall go to the curser; joint possession shall we have with the friend. Of the enemy who bewitches with (his) eye we hew off the ribs.
III, 6. The asvattha-tree as a destroyer of
enemies. 1. A male has sprung from a male, the asvattha (ficus religiosa) from the khadira (acacia catechu). May this slay my enemies, those whom I hate and those who hate me!
2. Crush the enemies, as they rush on, O asvattha, 'displacer,' allied with Indra, the slayer of Vritra, (allied) with Mitra and Varuna !
3. As thou didst break forth, O asvattha, into the great flood (of the air), thus do thou break up all those whom I hate and those who hate me!
4. Thou that goest conquering as a conquering
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bull, with thee here, O asvattha, may we conquer our rivals!
5. May Nirriti (the goddess of destruction), O asvattha, bind in the toils of death that cannot be loosened those enemies of mine whom I hate and who hate me!
6. As thou climbest up the trees, O asvattha, and renderest them subordinate, thus do thou split in two the head of my enemy, and overcome him!
7. They (the enemies) shall float down like a ship cut loose from its moorings! There is no returning again for those that have been driven out by the displacer.'
8. I drive them out with my mind, drive them out with my thought, and also with my incantation. We drive them out with a branch of the asvatthatree.
VI, 75. Oblation for the suppression of enemies
(nairbâdhyam havih). 1. Forth from his home do I drive that person yonder, who as a rival contends with us: through the oblation devoted to suppression Indra has broken him to pieces.
2. Indra, the slayer of Vritra, shall drive him to the remotest distance, from which in all successive years he shall not again return!
3. He shall go to the three distances, he shall go beyond the five peoples; he shall go beyond the three ethers, whence he shall not again in all successive years return, while the sun is upon the heavens!
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VI, 37. Curse against one that practises hostile
charms. 1. The thousand-eyed curse having yoked his chariot has come hither, seeking out him that curses me, as a wolf the house of him that owns sheep.
2. Avoid us, O curse, as a burning fire (avoids) a lake! Strike here him that curses us, as the lightning of heaven the tree!
3. He that shall curse us when we do not curse, and he that shall curse us when we do curse, him do I hurl to death as a bone to a dog upon the ground
VII, 13. Charm to deprive enemies of their
strength. 1. As the rising sun takes away the lustre of the stars, thus do I take away the strength of both the women and the men that hate me.
2. As many enemies as ye are, looking out against me, as I come on-of those that hate me do I take away the strength, as the sun takes away the strength of persons asleep (while it rises).
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CHARMS PERTAINING TO WOMEN (STRÎKARMÂNI).
II, 36. Charm to obtain a husband.
1. May, O Agni, a suitor after our own heart come to us, may he come to this maiden with our fortune! May she, agreeable to suitors, charming at festivals, promptly obtain happiness through a husband!
2. Agreeable to Soma, agreeable to Brahma, arranged by Aryaman, with the unfailing certainty of god Dhâtar, do I bestow upon thee good fortune, the acquisition of a husband.
3. This woman shall obtain a husband, since king Soma makes her lovely! May she, begetting sons, become a queen; may she, going to her husband, shine in loveliness!
4. As this comfortable cave, O Maghavan (Indra), furnishing a safe abode, hath become pleasing to animals, thus may this woman be a favourite of fortune (Bhaga), beloved, not at odds with her husband!
5. Do thou ascend the full, inexhaustible ship of Bhaga (fortune); upon this bring hither the suitor who shall be agreeable (to thee)!
6. Bring hither by thy shouts, O lord of wealth, the suitor, bend his mind towards her; turn thou the right side of every agreeable suitor towards (her)!
7. This gold and bdellium, this balsam, and
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Bhaga (fortune), too; these have prepared thee for husbands, that thou mayest obtain the one that is agreeable.
8. Hither to thee Savitar shall lead the husband that is agreeable! Do thou, O herb, bestow (him) upon her!
VI, 60. Charm for obtaining a husband. 1. This Aryaman (wooer) with loosened crest of hair comes hither in front (of the procession), seeking a husband for this spinster, and a wife for this wifeless man
2. This maid, O Aryaman, has wearied of going to the wedding-feasts of other women. Now shall, without fail, O Aryaman, other women go to her wedding-feast !
3. Dhâtar (the creator) supports (dadhara) this earth, Dhâtar supports the heavens, and the sun. May Dhâtar furnish this spinster with a husband after her own heart!
VI, 82. Charm for obtaining a wife. 1. I call the name of him that comes here, that hath come here, and is arriving ; I crave (the name) of Indra, Vritra's slayer, the Vâsava of hundredfold strength.
2. The road by which the Asvins carried away as a bride Sarya, Savitar's daughter, 'by that road, Bhaga (fortune) told me, thou shalt bring here a wife'!
3. With thy wealth-procuring, great, golden hook, O Indra, husband of Saki, procure a wife for me that desireth a wife!
rease wife for me
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VI, 78. Blessing for a married couple. 1. Through this oblation, that causes prosperity, may this man flourish anew; may he excel the wife that they have brought to him with his sap!
2. May he excel in strength, excel in royalty ! May this couple be inexhaustible in wealth that bestows thousandfold lustre!
3. Tvashtar begot (for thee) a wife, Tvashtar for her begot thee as a husband. May Tvashtar bestow upon you two a thousand lives, may he bestow upon you long life!
VII, 36. Love-charm spoken by a bridal couple.
The eyes of us two shine like honey, our foreheads gleam like ointment. Place me within thy heart; may one mind be in common to us both!
VII, 37. Charm pronounced by the bride over
the bridegroom. I envelope thee in my garment that was produced by Manu (the first man), that thou shalt be mine alone, shalt not even discourse of other women!
VI, 81. A bracelet as an amulet to ensure
conception. 1. A holder art thou, holdest both hands, drivest off the Rakshas. An acquirer of offspring and wealth this bracelet hath become!
2. O bracelet, open up the womb, that the embryo be put into it)! Do thou, O limit (-setting bracelet),
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furnish a son, bring him here (à gamaya), thou that comest here (agame)!
3. The bracelet that Aditi wore, when she desired a son, Tvashtar shall fasten upon this woman, intending that she shall beget a son.
i
III, 23. Charm for obtaining a son (pumsavanam).
1. That which has caused thee to miscarry do we drive away from thee, that very thing do we deposit outside of thee, away in a far place.
2. Into thy womb shall enter a male germ, as an arrow into a quiver! May a man be born there, a son ten months old!
3. A male son do thou produce, and after him a male shall be born! Thou shalt be the mother of sons, of those who are born, and those whom thou shalt bear!
4. By the effective seed which bulls put forth do thou obtain a son ; be a fruitful milch-cow!
5. Pragâpati's (the lord of creatures) work do I perform for thee: may the germ enter into thy womb! Obtain thou, woman, a son who shall bring prosperity to thee, and bring thou prosperity to him!
6. The plants whose father was the sky, whose mother the earth, whose root the (heavenly) ocean
-may those divine herbs aid thee in obtaining a son!
VI, 11. Charm for obtaining a son (pumsavanam).
1. The asvattha (ficus religiosa) has mounted the samt (mimosa suma): then a male child was produced. That, forsooth, is the way to obtain a son ; that do we bring to (our) wives.
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2. In the male, forsooth, seed doth grow, that is poured into the female. That, forsooth, is the way to obtain a son; that has been told by Pragâpati.
3. Pragâpati, Anumati, and Sinivált have fashioned him. May he (Pragâpati) elsewhere afford the birth of a female, but here he shall bestow a man!
VII, 35. An incantation to make a woman
sterile.
1. The other enemies conquer with might; beat back, O Gatavedas, those that are not yet born! Enrich this kingdom unto happiness, may all the gods acclaim this man!
2. Of these hundred entrails of thine, as well as of the thousand canals, of all these have I closed the openings with a stone.
3. The upper part of the womb do I place below, there shall come to thee neither offspring nor birth! I render thee sterile and devoid of offspring; a stone do I make into a cover for thee.
VI, 17. Charm to prevent miscarriage. 1. As this great earth conceives the germs of the beings, thus shall thy embryo be held fast, to produce a child after pregnancy!
2. As this great earth holds these trees, thus shall thy embryo be held fast, to produce a child after pregnancy!
3. As this great earth holds the mountains and the peaks, thus shall thy embryo be held fast, to produce a child after pregnancy!
4. As this great earth holds the animals scattered
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far, thus shall thy embryo be held fast, to produce a child after pregnancy!
I, 11. Charm for easy parturition. 1. Aryaman as active hotar-priest shall utter for thee the vashat-call at this (soma-) pressing, O Pashan! May (this) woman, (herself) begotten in the proper way, be delivered, may her joints relax, that she shall bring forth !
2. Four directions has the heaven, and also four the earth : (from these) the gods created the embryo. May they open her, that she shall bring forth !
3. May Sushan open : her womb do we cause to gape. Do thou, O Sushanâ, loosen the womb, do thou, O Bishkalâ, let go (the embryo)!
4. Attached not at all to the flesh, nor to the fat, not at all to the marrow, may the splotched, moist, placenta come down to be eaten by a dog! May the placenta fall down!
5. I split open thy vagina, thy womb, thy canals; I separate the mother and the son, the child along with the placenta. May the placenta fall down!
6. As flies the wind, as flies the mind, as fly the winged birds, so do thou, O embryo, ten months old, fall along with the placenta! May the placenta fall down!
I, 34. Charm with licorice, to secure the love
of a woman. 1. This plant is born of honey, with honey do we dig for thee. Of honey thou art begotten, do thou make us full of honey!
2. At the tip of my tongue may I have honey, at my tongue's root the sweetness of honey! In my
H
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power alone shalt thou then be, thou shalt come up to my wish!
3. Sweet as honey is my entrance, sweet as honey my departure. With my voice do I speak sweet as honey, may I become like honey!
4. I am sweeter than honey, fuller of sweetness than licorice. Mayest thou, without fail, long for me alone, (as a bee) for a branch full of honey!
5. I have surrounded thee with a clinging sugarcane, to remove aversion, so that thou shalt not be averse to me!
II, 30. Charm to secure the love of a woman.
1. As the wind tears this grass from the surface of the earth, thus do I tear thy soul, so that thou, woman, shalt love, shalt not be averse to me!
2. If ye, O two Asvins, shall unite and bring together the loving pair-united are the fortunes of both of you (lovers), united the thoughts, united the purposes !
3. When birds desire to chirp, lustily desire to chirp, may my call go there, as an arrow-point upon the shaft!
4. What is within shall be without, what is without shall be within! Take captive, O herb, the soul of the maidens endowed with every charm!
5. Longing for a husband this woman hath come, I have come longing for a wife. As a loudly neighing horse I have attained to my good fortune!
VI, 8. Charm to secure the love of a woman.
1. As the creeper embraces the tree on all sides, thus do thou embrace me, so that thou, woman,
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shalt love me, so that thou shalt not be averse to me!
2. As the eagle when he flies forth presses his wings against the earth, thus do I fasten down thy mind, so that thou, woman, shalt love me, so that thou shalt not be averse to me.
3. As the sun day by day goes about this heaven and earth, thus do I go about thy mind, so that thou, woman, shalt love me, so that thou shalt not be averse to me.
VI, 9. Charm to secure the love of a woman.
1. Hanker thou after my body, my feet, hanker after my eyes, my thighs! The eyes of thee, as thou lustest after me, and thy hair shall be parched with love!
2. I make thee cling to my arm, cling to my heart, so that thou shalt be in my power, shalt come up to my wish!
3. The cows, the mothers of the ghee, who lick their young, in whose heart love is planted, shall make yonder woman bestow love upon me!
VI, 102. Charm to secure the love of a woman.
1. As this draught animal, O ye Asvins, comes on, and proceeds, thus may thy soul come on, and proceed to me!
2. I draw to myself thy mind, as the leading stallion the female side-horse. As the stalk of grass torn by the wind, thus shall thy mind fasten itself upon me!
3. A coaxing mixture of salve, of sweet wood, of kushtha, and of spikenard, do I deftly pick out with the hands of Bhaga (good fortune).
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III, 25. Charm to arouse the passionate love
of a woman. 1. May (love), the disquieter, disquiet thee; do not hold out upon thy bed! With the terrible arrow of Kama (love) do I pierce thee in the heart.
2. The arrow, winged with longing, barbed with love, whose shaft is undeviating desire, with that, well-aimed, Kama shall pierce thee in the heart!
3. With that well-aimed arrow of Kama which parches the spleen, whose plume flies forward, which burns up, do I pierce thee in the heart.
4. Consumed by burning ardour, with parched mouth, do thou (woman) come to me, pliant, (thy) pride laid aside, mine alone, speaking sweetly and to me devoted!
5. I drive thee with a goad from thy mother and thy father, so that thou shalt be in my power, shalt come up to my wish.
6. All her thoughts do ye, O Mitra and Varuna, drive out of her! Then, having deprived her of her will, put her into my power alone!
VI, 139. Charm to arouse the passionate love
of a woman. 1. Clinging to the ground thou didst grow, (O plant), that producest bliss for me; a hundred branches extend from thee, three and thirty grow down from thee: with this plant of a thousand leaves thy heart do I parch.
2. Thy heart shall parch (with love) for me, and · thy mouth shall parch (with love for me)! Languish,
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moreover, with love for me, with parched mouth pass thy days!
3. Thou that causest affection, kindlest (love), brown, lovely (plant), draw (us) together; draw together yonder woman and myself, our hearts make the same!
4. As the mouth of him that hath not drunk dries up, thus languish thou with love for me, with parched mouth pass thy days!
5. As the ichneumon tears the serpent, and joins him together again, thus, O potent (plant), join together what hath been torn by love!
VII, 38. Charm to secure the love of a man.
1. This potent herb do I dig out: it draws toward me the eye, causes (love's) tears. It brings back him who has gone to a distance, rejoices him that approaches me.
2. By (the plant) with which the Åsuri allured Indra away from the gods, by that do I subject thee, that I may be well-beloved of thee!
3. Thy face is turned towards Soma (the moon), thy face is turned towards Sarya (the sun), thy face is turned towards all the gods : 't is thee here that we do invoke.
4. My speech, not thine, in this matter) hath weight: in the assembly, forsooth, do thou speak ! To me alone shalt thou belong, shalt not even discourse of other women!
5. Whether thou art beyond the haunts of men, or whether across the river, this very herb, as if a captive bound, shall bring thee back to me!
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VI, 130. Charm to arouse the passionate love
of a man. 1. This yearning love comes from the Apsaras, the victorious, imbued with victory. Ye gods, send forth the yearning love: may yonder man burn after me!
2. My wish is, he shall long for me, devoted he shall long for me! Ye gods, send forth the yearning love : may yonder man burn after me!
3. That yonder man shall long for me, (but) I for him nevermore, ye gods, send forth the yearning love : may yonder man burn after me!
4. Do ye, O Maruts, intoxicate him (with love); do thou, O mid-air, intoxicate him; do thou, O Agni, intoxicate him! May yonder man burn after me!
VI, 131. Charm to arouse the passionate love
of a man. 1. From thy head unto thy feet do I implant (love's) longing into thee. Ye gods, send forth the yearning love : may yonder man burn after me!
2. Favour this (plan), Anumati; fit it together, Akūti! Ye gods, send forth the yearning love: may yonder man burn after mel
3. If thou dost run three leagues away, (or even) five leagues, the distance coursed by a horseman, from there thou shalt again return, shalt be the father of our sons!
VI, 132. Charm to arouse the passionate love
of a man. 1. Love's consuming longing, together with yearn
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ing, which the gods have poured into the waters, that do I kindle for thee by the law of Varuna!
2. Love's consuming longing, together with yearning, which the all-gods (visve devâh) have poured into the waters, that do I kindle for thee by the law of Varuna!
IV. CHARMS PERTAINING TO WOMEN.
3. Love's consuming longing, together with yearning, which Indrânt has poured into the waters, that do I kindle for thee by the law of Varuna!
4. Love's consuming longing, together with yearning, which Indra and Agni have poured into the waters, that do I kindle for thee by the law of Varuna!
5. Love's consuming longing, together with yearning, which Mitra and Varuna have poured into the waters, that do I kindle for thee by the law of Varuna!
IV, 5. Charm at an assignation.
1. The bull with a thousand horns who rose out of the sea, with the aid of him, the mighty one, do we put the folks to sleep.
2. The wind blows not over the earth. No one
looks on. Do thou then, befriended of Indra, put all women and dogs to sleep!
3. The women that lie upon couches and upon beds, and they that rest in litters, the women all that exhale sweet fragrance, do we put to sleep.
4. Every moving thing I have held fast. Eye and breath I have held fast. I have held fast all limbs in the deep gloom of the night.
5. Of him that sits, and him that walks, of him that stands and looks about, of these the eyes we do shut, just as these premises (are shut).
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6. The mother shall sleep, the father shall sleep, the dog shall sleep, the lord of the house shall sleep! All her relations shall sleep, and these people round about shall sleep!
7. O sleep, put thou to sleep all people with the magic that induces sleep! Put the others to sleep until the sun rises; may I be awake until the dawn appears, like Indra, unharmed, uninjured!
VI, 77. Charm to cause the return of a truant
woman.
1. The heavens have stood, the earth has stood, all creatures have stood. The mountains have stood upon their foundation, the horses in the stable I have caused to stand.
2. Him that has control of departure, that has control of coming home, return, and turning in, that shepherd do I also call.
3. O Gâtavedas (Agni), cause thou to turn in; a hundred ways hither shall be thine, a thousand modes of return shall be thine: with these do thou restore us again!
VI, 18. Charm to allay jealousy. 1. The first impulse of jealousy, moreover the one that comes after the first, the fire, the heartburning, that do we waft away from thee.
2. As the earth is dead in spirit, in spirit more dead than the dead, and as the spirit of him that has died, thus shall the spirit of the jealous (man) be dead!
3. Yon fluttering little spirit that has been fixed
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into thy heart, from it the jealousy do I remove, as air from a water-skin.
VII, 45. Charm to allay jealousy. 1. From folk belonging to all kinds of people, from the Sindhu (Indus) thou hast been brought hither: from a distance, I ween, has been fetched the very remedy for jealousy.
2. As if a fire is burning him, as if the forest-fire burns in various directions, this jealousy of his do thou quench, as a fire (is quenched) with water!
I, 14. A woman's incantation against her rival.
1. I have taken unto myself her fortune and her glory, as a wreath off a tree. Like a mountain with broad foundation may she sit a long time with her parents!
2. This woman shall be subjected to thee as thy wife, O king Yama; (till then) let her be fixed to the house of her mother, or her brother, or her father!
3. This woman shall be the keeper of thy house, O king (Yama), and her do we make over to thee! May she long sit with her relatives, until (her hair) drops from her head !
4. With the incantation of Asita, of Kasyapa, and of Gaya do I cover up thy fortune, as women cover (something) within a chest.
III, 18. Charm of a woman against a rival or
co-wife. 1. I dig up this plant, of herbs the most potent, by whose power rival women are overcome, and husbands are obtained.
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2. O thou (plant) with erect leaves, lovely, do thou, irged on by the gods, full of might, drive away my rival, make my husband mine alone!
3. He did not, forsooth, call thy name, and thou shalt not delight in this husband! To the very farthest distance do we drive our rival.
4. Superior am I, O superior (plant), superior, truly, to superior (women). Now shall my rival be inferior to those that are inferior!
5. I am overpowering, and thou, (O plant), art completely overpowering. Having both grown full of power, let us overpower my rival!
6. About thee (my husband) I have placed the overpowering (plant), upon thee placed the very overpowering one. May thy mind run after me as a calf after the cow, as water along its course !
VI, 138. Charm for depriving a man of his
virility. 1. As the best of the plants thou art reputed, O herb: turn this man for me to-day into a eunuch that wears his hair dressed !
2. Turn him into a eunuch that wears his hair dressed, and into one that wears a hood! Then Indra with a pair of stones shall break his testicles both!
3. O eunuch, into a eunuch thee I have turned; O castrate, into a castrate thee I have turned ; O weakling, into a weakling thee I have turned ! A hood upon his head, and a hair-net do we place.
4. The two canals, fashioned by the gods, in which man's power rests, in thy testicles ...... ...... I break them with a club.
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5. As women break reeds for a mattress with a stone, thus do I break thy member ..........
I, 18. Charm to remove evil bodily characteristics
from a woman. 1. The (foul) mark, the lalâmi (with spot on the forehead), the Arâti (grudging demon), do we drive out. Then the (signs) that are auspicious (shall remain) with us; (yet) to beget offspring do we bring the Arâti !
2. May Savitar drive out uncouthness from her feet, may Varuna, Mitra, and Aryaman (drive it) out from her hands; may Anumati kindly drive it out for us! For happiness the gods have created this woman.
3. The fierceness that is in thyself, in thy body, or in thy look, all that do we strike away with our charm. May god Savitar prosper thee!
4. The goat-footed, the bull-toothed, her who scares the cattle, the snorting one, the vilidhi (the driveling one), the lalâmi (with spot on the forehead), these do we drive from us.
VI, 110. Expiatory chaim for a child born
under i 7 unlucky star. 1. Of yore, (O Agni), thou wast worthy of supplication at the sacrifice; thou wast the priest in olden times, and now anew shalt sit (at our sacrifice)! Delight, O Agni, thy own body, and, sacrificing, bring good fortune here to us!
2. Him that hath been born under the (constellation) gyeshthaghnt (she that slays the oldest '), or
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under the vikritâu (they that uproot'), save thou from being torn up by the root by Yama (death)! May he (Agni) guide him across all misfortunes to long life, to a life of a hundred autumns !
3. On a tiger (-like) day the hero was born ; born under a (good) constellation he becometh a mighty hero. Let him not slay, when he grows up, his father, let him not injure the mother that hath begotten him!
VI, 140. Expiation for the irregular appearance
of the first pair of teeth. 1. Those two teeth, the tigers, that have broken forth, eager to devour father and mother, do thou, O Brahmanaspati Gâtavedas, render auspicious!
2. Do ye eat rice, eat barley, and eat, too, beans, as well as sesamum! That, О teeth, is the share deposited for your enrichment. Do not injure father and mother!
3. Since ye have been invoked, O teeth, be ye in unison kind and propitious! Elsewhere, O teeth, shall pass away the fierce (qualities) of your body! Do not injure father and mother!
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(RÂGAKARMÂNI).
IV, 8. Prayer at the consecration of a king.
1. Himself prosperous (bhàto), he does put strength into the beings (bhūteshu); he became the chief lord of the beings (bhàtânâm). To his consecration death does come: may he, the king, favour this kingdom!
2. Come forth hither-do not glance away-as a mighty guardian, slayer of enemies ! Step hither, thou who prosperest thy friends: the gods shall bless thee!
3. As he did step hither all (men) did attend him. Clothed in grace, he moves, shining by his own lustre. This is the great name of the manly Asura; endowed with every form (quality) he entered upon immortal (deeds).
4. Thyself a tiger, do thou upon this tiger-skin stride (victorious) through the great regions! All the clans shall wish for thee, and the heavenly waters, rich in sap!
5. The heavenly waters, rich in sap, flow joyously, (and too) those in the sky and upon the earth : with the lustre of all of these do I sprinkle thee.
6. They have sprinkled thee with their lustre, the heavenly waters rich in sap. May Savitar thus fashion thee, that thou shalt prosper thy friends!
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7. (The waters) thus embracing him, the tiger, promote hin, the lion, to great good fortune. Him, the leopard in the midst of the waters, as though standing in the ocean, the beneficent (floods, or the vigorous priests) cleanse thoroughly!
III, 3. Charm for the restoration of an exiled
king. 1. (Agni) has shouted loud: may he here well perform his work! Spread thyself out, О Agni, over the far-reaching hemispheres of the world! The allpossessing Maruts shall engage thee: bring hither that (king) who devoutly spends the offering!
2. However far he be, the red (steeds) shall urge hither Indra, the seer, to friendship, since the gods, (chanting) for him the gayatri, the brihati, and the arka (songs), infused courage into him with the sautrâmani-sacrifice !
3. From the waters king Varuna shall call thee, Soma shall call thee from the mountains, Indra shall cite thee to these clans! Turn into an eagle and fly to these clans !
4. An eagle shall bring hither from a distance him that is fit to be called, (yet) wanders exiled in a strange land! The Asyins shall prepare for thee a path, easy to travel! Do ye, his kinfolk, gather close about him!
5. Thy opponents shall call thee; thy friends have chosen thee! Indra, Agni, and all the gods have kept prosperity with this people.
6. The kinsman or the stranger that opposes thy call, him, O Indra, drive away; then render this (king) accepted here!
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III, 4. Prayer at the election of a king. 1. (Thy) kingdom hath come to thee: arise, endowed with lustre! Go forth as the lord of the people, rule (shine) thou, a universal ruler! All the regions of the compass shall call thee, O king; attended and revered be thou here!
2. Thee the clans, thee these regions, goddesses five, shall choose for empire! Root thyself upon the height, the pinnacle of royalty: then do thou, mighty, distribute goods among us!
3. Thy kinsmen with calls shall come to thee; agile Agni shall go with them as messenger! Thy wives, thy sons shall be devoted to thee; being a mighty (ruler) thou shalt behold rich tribute!
4. The Asvins first, Mitra and Varuna both, all the gods, and the Maruts, shall call thee! Then fix thy mind upon the bestowal of wealth, then do thou, mighty, distribute wealth among us!
5. Hither hasten forth from the farthest distance ; heaven and earth, both, shall be propitious to thee! Thus did this king Varuna (as if, 'the chooser ') decree that; he himself did call thee: 'come thou hither'!
6. O Indra, Indra, come thou to the tribes of men, for thou hast agreed, concordant with the Varunas (as if, the electors'). He did call thee to thy own domain (thinking): let him revere the gods, and manage, too, the people'!
7. The rich divinities of the roads, of manifold diverse forms, all coming together have given thee a broad domain. They shall all concordantly call
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thee; rule here, a mighty, benevolent (king), up to the tenth decade (of thy life)!
III, 5. Praise of an amulet derived from the parna
tree, designed to strengthen royal power. 1. Hither hath come this amulet of parna-wood, with its might mightily crushing the enemy. (It is) the strength of the gods, the sap of the waters : may it assiduously enliven me with energy!
2. The power to rule thou shalt hold fast in me, O amulet of parna-wood; wealth (thou shalt hold fast) in me! May I, rooted in the domain of royalty, become the chief!
3. Their very own amulet which the gods deposited secretly in the tree, that the gods shall give us to wear, together with life!
4. The parna has come hither as the mighty strength of the soma, given by Indra, instructed by Varuna. May I, shining brilliantly, wear it, unto long life, during a hundred autumns !
5. The amulet of parna-wood has ascended upon me unto complete exemption from injury, that I may rise superior (even) to friends and alliances !
6. The skilful builders of chariots, and the ingenious workers of metal, the folk about me all, do thou, O parna, make my aids!
7. The kings who (themselves) make kings, the charioteers, and leaders of hosts, the folk about me all, do thou, O parna, make my aids!
8. Thou art the body-protecting parna, a hero, brother of me, the hero. Along with the brilliancy of the year do I fasten thee on, O amulet !
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IV, 22.
Charm to secure the superiority of a king.
1. This warrior, O Indra, do thou strengthen for me, do thou install this one as sole ruler (bull) of the Vis (the people); emasculate all his enemies, subject them to him in (their) contests!
2. To him apportion his share of villages, horses, and cattle; deprive of his share the one that is his enemy! May this king be the pinnacle of royalty; subject to him, O Indra, every enemy!
3. May this one be the treasure-lord of riches, may this king be the tribal lord of the Vis (the people)! Upon this one, O Indra, bestow great lustre, devoid of lustre render his enemy!
4. For him shall ye, O heaven and earth, milk ample good, as two milch-cows yielding warm milk! May this king be favoured of Indra, favoured of cows, of plants, and cattle!
5. I unite with thee Indra who has supremacy, through whom one conquers and is not (himself) conquered, who shall install thee as sole ruler of the people, and as chief of the human kings.
6. Superior art thou, inferior are thy rivals, and whatsoever adversaries are thine, O king! Sole ruler, befriended of Indra, victorious, bring thou hither the supplies of those who act as thy enemies!
7. Presenting the front of a lion do thou devour all (their) people, presenting the front of a tiger do thou strike down the enemies! Sole ruler, befriended of Indra, victorious, seize upon the supplies of those who act as thy enemies!
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I, 9. Prayer for earthly and heavenly success.
1. Upon this (person) the Vasus, Indra, Pashan, Varuna, Mitra, and Agni, shall bestow goods (vasu)! The Adityas, and, further, all the gods shall hold him in the higher light!
2. Light, ye gods, shall be at his bidding : Surya (the sun), Agni (fire), or even gold! Inferior to us shall be our rivals! Cause him to ascend to the highest heaven!
3. With that most potent charm with which, O Gatavedas (Agni), thou didst bring to Indra the (soma-) drink, with that, О Agni, do thou here strengthen this one; grant him supremacy over his kinsmen!
4. Their sacrifice and their glory, their increase of wealth and their thoughtful plans, I have usurped, () Agni. Inferior to us shall be our rivals! Cause him to ascend to the highest heaven!
VI, 38. Prayer for lustre and power. 1. The brilliancy that is in the lion, the tiger, and the serpent; in Agni, the Brahmana, and Surya (shall be ours)! May the lovely goddess that bore Indra come to us, endowed with lustre!
2. (The brilliancy) that is in the elephant, panther, and in gold; in the waters, cattle, and in men (shall be ours)! May the lovely goddess that bore Indra come to us, endowed with lustre!
3. (The brilliancy) that is in the chariot, the dice, in the strength of the bull; in the wind, Parganya, and in the fire of Varuna (shall be ours)! May the
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lovely goddess that bore Indra come to us, endowed with lustre!
4. (The brilliancy) that is in the man of royal caste, in the stretched drum, in the strength of the horse, in the shout of men (shall be ours)! May the lovely goddess that bore Indra come to us, endowed with lustre !
VI, 39. Prayer for glory (yasas). 1. The oblation that yields glory, sped on by Indra, of thousandfold strength, well offered, prepared with might, shall prosper! Cause me, that offers the oblation, to continue long beholding (light), and to rise to supremacy!
2. (That he may come) to us, let us honour with obeisance glory-owning Indra, the glorious one with glory-yielding (oblations)! Do thou (the oblation) grant us sovereignty sped on by Indra; may we in thy favour be glorious !
3. Glorious was Indra born, glorious Agni, glorious Soma. Glorious, of all beings the most glorious, am I.
VIII, 8. Battle-charm. 1. May Indra churn (the enemy), he, the churner, Sakra (mighty), the hero, that pierces the forts, so that we shall slay the armies of the enemies a thousandfold!
2. May the rotten rope, wafting itself against yonder army, turn it into a stench. When the enemies see from afar our smoke and fire, fear shall they lay into their hearts !
3. Tear asunder those (enemies), O asvattha
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(ficus religiosa), devour (khâda) them, o khadira (acacia catechu) in lively style! Like the tågadbhanga (ricinus communis) they shall be broken (bhagyantâm), may the vadhaka (a certain kind of tree) slay them with his weapons (vadhaih)!
4. May the knotty âhva-plant put knots upon yonder (enemies), may the vadhaka slay them with his weapons! Bound up in (our) great trap-net, they shall quickly be broken as an arrow-reed !
5. The atmosphere was the net, the great regions (of space) the (supporting) poles of the net: with these Sakra (mighty Indra) did surround and scatter the army of the Dasyus.
6. Great, forsooth, is the net of great Sakra, who is rich in steeds : with it infold thou all the enemies, so that not one of them shall be released!
7. Great is the net of thee, great Indra, hero, that art equal to a thousand, and hast hundredfold might. With that (net) Sakra slew a hundred, thousand, ten thousand, a hundred million foes, having surrounded them with (his) army.
8. This great world was the net of great Sakra: with this net of Indra I infold all those (enemies) yonder in darkness.
9. With great dejection, failure, and irrefragable misfortune; with fatigue, lassitude, and confusion, do I surround all those (enemies) yonder.
10. To death do I hand them over, with the fetters of death they have been bound. To the evil messengers of death do I lead them captive.
11. Guide ye those (foes), ye messengers of death; ye messengers of Yama, infold them! Let more than thousands be slain; may the club of Bhava crush them!
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12. The Sâdhyas (blessed) go holding up with might one support of the net, the Rudras another, the Vasus another. (Still) another is upheld by the Ådityas.
13. All the gods shall go pressing from above with might; the Angiras shall go on the middle (of the net), slaying the mighty army!
14. The trees, and (growths) that are like trees, the plants and the herbs as well; two-footed and four-footed creatures do I impel, that they shall slay yonder army!
15. The Gandharvas and Apsaras, the serpents and the gods, holy men and (deceased) Fathers, the visible and invisible (beings), do I impel, that they shall slay yonder army!
16. Scattered here are the fetters of death ; when thou steppest upon them thou shalt not escape ! May this hammer slay (the men) of yonder army by the thousand !
17. The gharma (sacrificial hot drink) that has been heated by the fire, this sacrifice (shall) slay thousands ! Do ye, Bhava and Sarva, whose arms are mottled, slay yonder army!
18. Into the (snare of) death they shall fall, into hunger, exhaustion, slaughter, and fear! O Indra and Sarva, do ye with trap and net slay yonder army!
19. Conquered, O foes, do ye flee away; repelled by (our) charm, do ye run! Of yonder host, repulsed by Brihaspati, not one shall be saved!
20. May their weapons fall from their (hands), may they be unable to lay the arrow on the bow)! And then (our) arrows shall smite them, badly frightened, in their vital members !
21. Heaven and earth shall shriek at them, and
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the atmosphere, along with the divine powers ! Neither aider, nor support did they find; smiting one another they shall go to death!
22. The four regions are the she-mules of the god's chariot, the purodasas (sacrificial rice-cakes) the hoofs, the atmosphere the seat (of the wagon). Heaven and earth are its two sides, the seasons the reins, the intermediate regions the attendants, Vâk (speech) the road.
23. The year is the chariot, the full year is the body of the chariot, Virág the pole, Agni the front part of the chariot. Indra is the (combatant) standing on the left of the chariot, Kandramas (the moon) the charioteer.
24. Do thou win here, do thou conquer here, overcome, win, hail! These here shall conquer, those yonder be conquered! Hail to these here, perdition to those yonder! Those yonder do I envelop in blue and red!
I, 19. Battle-charm against arrow-wounds. 1. The piercing (arrows) shall not hit us, nor shall the striking arrows hit us! Far away from us, O Indra, to either side, cause the arrow-shower to fall !
2. To either side of us the arrows shall fall, those that have been shot and shall be shot! Ye divine and ye human arrows, pierce ye mine enemies !
3. Be he our own, or be he strange, the kinsman, or the foreigner, who bear enmity towards us, those enemies of mine Rudra shall pierce with a shower of arrows!
4. Him that rivals us, or does not rival us, him
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that curses us with hate, may all the gods injure: my charm protects me from within !
III, 1. Battle-charm for confusing the enemy.
1. Agni shall skilfully march against our opponents, burning against their schemes and hostile plans; Gatavedas shall confuse the army of our opponents and deprive them (of the use) of their hands!
2. Ye Maruts are mighty in such matters : advance ye, crush ye, conquer ye (the enemy)! These Vasus when implored did crush (them). Agni, verily, as their vanguard shall skilfully attack!
3. O Maghavan, the hostile army which contends against us—do ye, O Indra, Vritra's slayer, and Agni, burn against them!
4. Thy thunderbolt, O Indra, who hast been driven forward swiftly by thy two bay steeds, shall advance, crushing the enemies. Slay them that resist, pursue, or flee, deprive their schemes of fulfilment!
5. O Indra, confuse the army of the enemy; with the impact of the fire and the wind scatter them to either side!
6. Indra shall confuse the army, the Maruts shall slay it with might! Agni shall rob it of its sight; vanquished it shall turn about! III, 2. Battle-charm for confusing the enemy.
1. Agni, our skilful vanguard, shall attack, burning against their schemes and hostile plans! Gâtavedas shall bewilder the plans of the enemy, and deprive them (of the use of their hands!
2. This fire has confused the schemes that are in
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your mind; it shall blow you from your home, blow you away from everywhere!
3. O Indra, bewildering their schemes, come hither with thy (own) plan: with the impact of the fire and the wind scatter them to either side!
4. O ye plans of theirs, fly ye away; Oye schemes, be ye confused! Moreover, what now is in their mind, do thou drive that out of them!
5. Do thou, O (goddess) Apvà, confusing their plans, go forth (to them), and seize their limbs! Attack them, burn with flames into their hearts; strike the enemy with fits, (strike our) opponents with darkness!
6. That army yonder of the enemy, that comes against us fighting with might, do ye, O Maruts, strike with planless darkness, that one of them shall not know the other !
VI, 97. Battle-charm of a king upon the eve of
battle. 1. Superior is the sacrifice, superior Agni, superior Soma, superior Indra. To the end that I shall be superior to all hostile armies do we thus, offering the agnihotra, reverently present this oblation!
2. Hail be, ye wise Mitra and Varuna : with honey swell ye our kingdom here, (so that it shall) abound in offspring! Drive far to a distance misfortune, strip off from us sin, even after it has been committed!
3. With inspiration follow ye this strong hero; cling close, ye friends, to Indra (the king), who conquers villages, conquers cattle, has the thunderbolt in his arm, overcomes the host arrayed (against him), crushing it with might!
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VI, 99. Battle-charm of a king on the eve of
battle. 1. I call upon thee, O Indra, from afar, upon thee for protection against tribulation. I call the strong avenger that has many names, and is of unequalled birth.
2. Where the hostile weapon now rises against us, threatening to slay, there do we place the two arms of Indra round about.
3. The two arms of Indra, the protector, do we place round about us: let him protect us! O god Savitar, and king Soma, render me of confident mind, that I may prosper!
XI, 9. Prayer to Arbudi and Nyarbudi for help
in battle. 1. The arms, the arrows, and the might of the bows; the swords, the axes, the weapons, and the artful scheme that is in our mind; all that, O Arbudi, do thou make the enemies see, and spectres also make them see!
2. Arise, and arm yourselves; friends are ye, O divine folk! May our friends be perceived and protected by you, O Arbudi (and Nyarbudi)!
3. Arise (ye two), and take hold! With fetters and shackles surround ye the armies of the enemy, O Arbudi (and Nyarbudi)!
4. The god whose name is Arbudi, and the lord Nyarbudi, by whom the atmosphere and this great earth has been infolded, with these two companions of Indra do I pursue the conquered (king) with my army.
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5. Arise, thou divine person, O Arbudi, together with thy army! Crushing the army of the enemy, encompass them with thy embraces !
6. Thou, Arbudi, makest appear the sevenfold spectral brood. Do thou, when the oblation has been poured, rise up with all these, together with the army!
7. (The female mourner), beating herself, with tear-stained face, with short (mutilated ?) ears, with dishevelled hair, shall lament, when a man has been slain, pierced by thee, () Arbudi!
8. She curves her spine while longing in her heart for her son, her husband, and her kin, when (a man) has been pierced by thee, O Arbudi!
9. The aliklavas and the gâshkamadas, the vultures, the strong-winged hawks, the crows, and the birds (of prey) shall obtain their fill! Let them make evident to the enemy, when (a man) has been pierced by thee, O Arbudi !
10. Then, too, every wild beast, insect, and worm shall obtain his fill on the human carcass, when (a man) has been pierced by thee, O Arbudi !
11. Seize ye, and tear out in-breathing and outbreathing, O Nyarbudi (and Arbudi): deep-sounding groans shall arise! Let them make it evident to the enemy, when (a man) has been pierced by thee, O Arbudi!
12. Scare them forth, let them tremble; bewilder the enemies with fright! With thy broad embrace, with the clasp of thy arms crush the enemies, O Nyarbudi !
13. May their arms, and the artful scheme that is in their mind be confused! Not a thing shall remain of them, pierced by thee, O Arbudi !
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14. May (the mourning women) beating themselves, run together, smiting their breasts and their thighs, not anointed, with dishevelled hair, howling, when a man has been slain, has been pierced by thee, O Arbudi !
15. The dog-like Apsaras, and also the Rapakâs (phantoms), the plucking sprite, that eagerly licks within the vessel, and her that seeks out what has been carelessly hidden, all those do thou, O Arbudi, make the enemies see, and spectres also make them see!
16. (And also make them see) her that strides upon the mist, the mutilated one, who dwells with the mutilated; the vapoury spooks that are hidden, and the Gandharvas and Apsaras, the serpents, and other brood, and the Rakshas !
17. (And also) the spooks with fourfold teeth, black teeth, testicles like a pot, bloody faces, who are inherently frightful, and terrifying !
18. Frighten thou, O Arbudi, yonder lines of the enemy; the conquering and the victorious (Arbudi and Nyarbudi), the two comrades of Indra, shall conquer the enemies !
19. Dissolved, crushed, slain the enemy shall lie, O Nyarbudi ! May victorious sprites, with fiery tongues and smoky crests, go with (our) army!
20. Of the enemies repulsed by this (army), O Arbudi, Indra, the spouse of Saki, shall slay each picked man: not a single one of those yonder shall escape!
21. May their hearts burst, may their life's breath escape upward! May dryness of the mouth overtake (our) enemies, but not (our) allies!
22. Those who are bold and those who are
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cowardly, those who turn (in Alight) and those who are deaf (to danger?), those who are (like) dark goats, and those, too, who bleat like goats, all those, do thou, O Arbudi, make the enemies see, and spectres also make them see!
23. Arbudi and Trishamdhi shall pierce our enemies, so that, O Indra, slayer of Vritra, spouse of Saki, we may slay the enemy by thousands!
24. The trees, and (growths) that are like trees, the plants and the herbs as well, the Gandharvas and the Apsaras, the serpents, gods, pious men, and (departed) Fathers, all those, O Arbudi, do thou make the enemies see, and spectres also make them see!
25. The Maruts, god Åditya, Brahmanaspati did rule over you; Indra and Agni, Dhâtar, Mitra, and Praga pati did rule over you; the seers did rule over you. Let them make evident to the enemies when (a man) has been pierced by thee, O Arbudi !
26. Ruling over all these, rise ye and arm yourselves! Ye divine folk are (our) friends : win ye the battle, and disperse to your various abodes !
XI, 10. Prayer to Trishamdhi for help in
battle, 1. Arise and arm yourselves, ye nebulous spectres together with fiery portents; ye serpents, other brood, and Rakshas, run ye after the enemy!
2. He knows how to rule your kingdom together with the red portents (of the heavens). The evil brood that is in the air and the heaven, and the human (powers) upon the earth, shall be obedient to the plans of Trishamdhi!
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3. The brazen-beaked (birds of prey), those with beaks pointed as a needle, and those, too, with thorny beaks, flesh-devouring, swift as the wind, shall fasten themselves upon the enemies, together with the Trishamdhi-bolt (the bolt with three joints)!
4. Make away with, O Gåtavedas Aditya, many carcasses ! This army of Trishamdhi shall be devoted to my bidding !
5. Arise thou divine person, O Arbudi, together with thy army! This tribute has been offered to you (Arbudi and Trishamdhi), an offering pleasing to Trishamdhi.
6. This white-footed, four-footed arrow shall fetter (?). Do thou, O magic spell, operate, together with the army of Trishamdhi, against the enemies !
7. May (the mourning woman) with suffused eyes hurry on, may she that hath short (mutilated ?) ears shout when (a man) has been overcome by the army of Trishamdhi! Red portents shall be (visible)!
8. May the winged birds that move in the air and in the sky descend ; beasts of prey and insects shall seize upon them; the vultures that feed upon raw Alesh shall hack into (their) carcasses !
9. By virtue of the compact which thou, O Brihaspati, didst close with Indra and Brahman, by virtue of that agreement with Indra, do I call hither all the gods : on this side conquer, not over yonder!
10. Brihaspati, the descendant of Angiras, and the seers, inspired by (our) song, did fix the threejointed (Trishamdhi) weapon upon the sky for the destruction of the Asuras.
11. Trishamdhi, by whom both yonder Åditya
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(the sun) and Indra are protected, the gods did destine for (our) might and strength.
12. All the worlds the gods did conquer through this oblation, (and) by the bolt which Brihaspati, the descendant of Angiras, did mould into a weapon for the destruction of the Asuras.
13. With the bolt which Brihaspati, the descendant of Angiras, did mould into a weapon for the destruction of the Asuras do I, O Brihaspati, annihilate yonder army: I smite the enemies with force.
14. All the gods that eat the oblation offered with the call vashat are coming over. Receive this oblation graciously; conquer on this side, not over yonder !
15. May all the gods come over: the oblation is pleasing to Trishamdhi. Adhere to the great compact under which of yore the Asuras were conquered!
16. Vâyu (the wind) shall bend the points of the enemies' bows, Indra shall break their arms, so that they shall be unable to lay on their arrows, Åditya (the sun) shall send their missiles astray, and Kandramas (the moon) shall bar the way of (the enemy) that has not (as yet) started !
17. If they have come on as citadels of the gods, if they have constituted an inspired charm as their armour, if they have gathered courage through the protections for the body and the bulwarks which they have made, render all that devoid of force!
18. Placing (our) purohita (chaplain), together with the flesh-devourer (Agni) and death, in thy train, do thou, O Trishamdhi, go forth with thy army, conquer the enemies, advance !
19. O Trishamdhi, envelop thou the enemies in
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darkness; may not a single one of those, driven forth by the speckled ghee, be saved !
20. May the white-footed (arrow ?) fly to yonder lines of the enemy, may yonder armies of the enemies be to-day put to confusion, O Nyarbudi !
21. The enemies have been confused, O Nyarbudi: slay each picked man among them, slay them with this army!
22. The enemy with coat-of-mail, he that has no coat-of-mail, and he that stands in the battle-throng, throttled by the strings of their bows, by the fastenings of their coats-of-mail, by the battle-throng, they shall lie!
23. Those with armour and those without armour, the enemies that are shielded by armour, all those, O Arbudi, after they have been slain, dogs shall devour upon the ground!
24. Those that ride on chariots, and those that have no chariots, those that are mounted, and those that are not mounted, all those, after they have been slain, vultures and strong-winged hawks shall devour!
25. Counting its dead by thousands, the hostile army, pierced and shattered in the clash of arms, shall lie!
26. Pierced in a vital spot, shrieking in concert with the birds of prey, wretched, crushed, prostrate, (the birds of prey) shall devour the enemy who attempts to hinder this oblation of ours directed against (him)!
27. With (the oblation) to which the gods flock, which is free from failure, with it Indra, the slayer of Vritra, shall slay, and with the Trishamdhi-bolt (the bolt with three joints)!
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HYMNS OF THE ATHARVA-VEDA.
V, 20. Hymn to the battle-drum.
1. High sounds the voice of the drum, that acts the warrior, the wooden (drum), equipped with the skin of the cow. Whetting thy voice, subduing the enemy, like a lion sure of victory, do thou loudly thunder against them!
2. The wooden (instrument) with fastened (covering) has thundered as a lion, as a bull roars to the cow that longs to mate. Thou art a bull, thy enemies are eunuchs; thou ownest Indra's foesubduing fire!
3. Like a bull in the herd, full of might, lusty, do thou, O snatcher of booty, roar against them! Pierce with fire the heart of the enemy; with broken ranks the foe shall run and scatter!
4. In victorious battles raise thy roar! What may be captured, capture; sound in many places! Favour, O drum, (our deeds) with thy divine voice; bring to (us) with strength the property of the enemy!
5. When the wife of the enemy hears the voice of the drum, that speaks to a far distance, may she, aroused by the sound, distressed, snatch her son to her arms, and run, frightened at the clash of arms!
6. Do thou, O drum, sound the first sound, ring brilliantly over the back of the earth! Open wide thy maw at the enemies host; resound brightly, joyously, O drum!
7. Between this heaven and earth thy noise shall spread, thy sounds shall quickly part to every side! Shout thou and thunder with swelling sound; make
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music at thy friend's victory, having (chosen) the good side!
8. Manipulated with care, its voice shall resound! Make bristle forth the weapons of the warriors ! Allied to Indra do thou call hither the warriors; with thy friends beat vigorously down the enemies!
9. A shouting herald, followed by a bold army, spreading news in many places, sounding through the village, eager for success, knowing the way, do thou distribute glory to many in the battle!
10. Desiring advantage, gaining booty, full mighty, thou hast been made keen by (my) song, and winnest battles. As the press-stone on the gathering skin dances upon the soma-shoots, thus do thou, O drum, lustily dance upon the booty !
II. A conqueror of enemies, overwhelming, foesubduing, eager for the fray, victoriously crushing, as a speaker his speech do thou carry forth thy sound; sound forth here strength for victory in battle!
12. Shaking those that are unshaken, hurrying to the strife, a conqueror of enemies, an unconquerable leader, protected by Indra, attending to the hosts, do thou that crusheth the hearts of the enemies, quickly go!
V, 21. Hymn to the battle-drum, the terror
of the enemy. 1. Carry with thy voice, O drum, lack of heart, and failure of courage among the enemies! Disagreement, dismay, and fright, do we place into the enemies : beat them down, O drum!
2. Agitated in their minds, their sight, their
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hearts, the enemies shall run, frightened with terror, when our oblation has been offered!
3. Made of wood, equipped with the skin of the cow, at home with every clan, put thou with thy voice terror into the enemies, when thou hast been anointed with ghee !
4. As the wild animals of the forest start in fear from man, thus do thou, O drum, shout against the enemies, frighten them away, and bewilder their minds!
HYMNS OF THE ATHARVA-VEDA.
5. As goats and sheep run from the wolf, badly frightened, thus do thou, O drum, shout against the enemies, frighten them away, and bewilder their minds!
6. As birds start in fear from the eagle, as by day and by night (they start) at the roar of the lion, thus do thou, O drum, shout against the enemies, frighten them away, and bewilder their minds!
7. With the drum and the skin of the antelope all the gods, that sway the battle, have scared away the enemies.
8. At the noise of the beat of the feet when Indra disports himself, and at his shadow, our enemies yonder, that come in successive ranks, shall tremble!
9. The whirring of the bowstring and the drums shall shout at the directions where the conquered armies of the enemies go in successive ranks !
10. O sun, take away their sight; O rays, run after them; clinging to their feet, fasten yourselves upon them, when the strength of their arms is gone!
11. Ye strong Maruts, Prisni's children, with Indra
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as an ally, crush ye the enemies; Soma the king (shall crush them), Varuna the king, Mahadeva, and also Mrityu (death), and Indra!
12. These wise armies of the gods, having the sun as their ensign, shall conquer our enemies ! Hail!
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VI.
CHARMS TO SECURE HARMONY, INFLUENCE IN
THE ASSEMBLY, AND THE LIKE
(SAMMANASYÂNI, ETC.).
III, 30. Charm to secure harmony. 1. Unity of heart, and unity of mind, freedom from hatred, do I procure for you. Do ye take delight in one another, as a cow in her (new-) born calf!
2. The son shall be devoted to his father, be of the same mind with his mother; the wife shall speak honied, sweet, words to her husband!
3. The brother shall not hate the brother, and the sister not the sister! Harmonious, devoted to the same purpose, speak ye words in kindly spirit !
4. That charm which causes the gods not to disagree, and not to hate one another, that do we prepare in your house, as a means of agreement for your folk.
5. Following your leader, of (the same) mind, do ye not hold yourselves apart! Do ye come here, co-operating, going along the same wagon-pole, speaking agreeably to one another! I render you of the same aim, of the same mind.
6. Identical shall be your drink, in common shall be your share of food! I yoke you together in the same traces : do ye worship Agni, joining together, as spokes around about the hub!
7. I render you of the same aim, of the same
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mind, all paying deference to one (person) through my harmonising charm. Like the gods that are guarding the ambrosia, may he (the leader) be welldisposed towards you, night and day!
VI, 73. Charm to allay discord.
1. Hither shall come Varuna, Soma, Agni; Brihaspati with the Vasus shall come hither! Come together, O ye kinsmen all, of one mind, to the glory of this mighty guardian!
2. The fire that is within your souls, the scheme that hath entered your minds, do I frustrate with my oblation, with my ghee: delight in me shall ye take, O kinsmen !
3. Remain right here, go not away from us; (the roads) at a distance Pûshan shall make impassable for you! Vâstoshpati shall urgently call you back : delight in me shall ye take, O kinsmen!
VI, 74. Charm to allay discord.
1. May your bodies be united, may your minds and your purposes (be united)! Brahmanaspati here has brought you together, Bhaga has brought you together.
2. Harmony of mind (I procure) for you, and also harmony of heart. Moreover with the aid of Bhaga's exertions do I cause you to agree.
3. As the Adityas are united with the Vasus, as the fierce (Rudras), free from grudge, with the Maruts, thus, O three-named (Agni), without grudge, do thou render these people here of the same mind!
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HYMNS OF THE ATHARVA-VEDA.
VII, 52. Charm against strife and bloodshed.
1. May we be in harmony with our kinfolk, in harmony with strangers; do ye, O Asvins, establish here agreement among us!
2. May we agree in mind and thought, may we not struggle with one another, in a spirit displeasing to the gods! May not the din of frequent battlecarnage arise, may the arrow not fly when the day of Indra has arrived!
VI, 64. Charm to allay discord.
1. Do ye agree, unite yourselves, may your minds be in harmony, just as the gods of old in harmony sat down to their share!
2. Same be their counsel, same their assembly, same their aim, in common their thought! The 'same' oblation do I sacrifice for you: do ye enter upon the same plan!
3. Same be your intention, same your hearts! Same be your mind, so that it may be perfectly in common to you!
VI, 42.
Charm to appease anger.
I. As the bowstring from the bow, thus do I take off thy anger from thy heart, so that, having become of the same mind, we shall associate like friends!
2. Like friends we shall associate-I take off thy anger. Under a stone that is heavy do we cast thy anger.
3. I step upon thy anger with my heel and my fore-foot, so that, bereft of will, thou shalt not speak, shalt come up to my wish!
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VI, 43. Charm to appease anger.
1. This darbha-grass removes the anger of both kinsman and of stranger. And this remover of wrath, ' appeaser of wrath' it is called.
2. This darbha-grass of many roots, that reaches down into the ocean, having risen from the earth, 'appeaser of wrath' it is called.
3. Away we take the offensiveness that is in thy jaw, away (the offensiveness) in thy mouth, so that, bereft of will, thou shalt not speak, shalt come up to my wish!
II, 27. Charm against opponents in debate, undertaken with the pâtâ-plant.
1. May the enemy not win the debate! Thou art mighty and overpowering. Overcome the debate of those that debate against us, render them devoid of force, O plant!
2. An eagle found thee out, a boar dug thee out with his snout. Overcome the debate of those that debate against us, render them devoid of force, O plant!
3. Indra placed thee upon his arm in order to overthrow the Asuras. Overcome the debate of those that debate against us, render them devoid of force, O plant!
4. Indra did eat the pârâ-plant, in order to overthrow the Asuras. Overcome the debate of those that debate against us, render them devoid of force, O plant!
5. By means of thee I shall conquer the enemy,
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HYMNS OF THE ATHARVA-VEDA.
as Indra (conquered) the Sâlâvrikas. Overcome the debate of those that debate against us, render them devoid of force, O plant !
6. O Rudra, whose remedy is the urine, with black crest of hair, performer of (strong) deedsovercome thou the debate of those that debate against us, render them devoid of force, O plant!
7. Overcome thou the debate of him that is hostile to us, O Indra! Encourage us with thy might! Render me superior in debate !
VII, 12. Charm to procure influence in the
assembly. 1. May assembly and meeting, the two daughters of Pragâ pati, concurrently aid me! May he with whom I shall meet co-operate with me; may I, O ye Fathers, speak agreeably to those assembled !
2. We know thy name, O assembly: ‘mirth,' verily, is thy name; may all those that sit assembled in thee utter speech in harmony with me!
3. Of them that are sitting together I take to myself the power and the understanding: in this entire gathering render, O Indra, me successful !
4. If your mind has wandered to a distance, or has been enchained here or there, then do we turn it hither : may your mind take delight in me!
VI, 94. Charm to bring about submission to
one's will. 1. Your minds, your purposes, your plans, do we cause to bend. Ye persons yonder, that are devoted to other purposes, we cause you to comply!
2. With my mind do I seize your minds : do ye
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with your thoughts follow my thought! I place your hearts in my control: come ye, directing your way after my course!
3. I have called upon heaven and earth, I have called upon the goddess Sarasvati, I have called upon both Indra and Agni: may we succeed in this, O Sarasvati !
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VII.
CHARMS TO SECURE PROSPERITY IN HOUSE, FIELD, CATTLE, BUSINESS, GAMBLING, AND KINDRED
MATTERS.
III, 12. Prayer at the building of a house.
1. Right here do I erect a firm house: may it stand upon a (good) foundation, dripping with ghee! Thee may we inhabit, О house, with heroes all, with strong heroes, with uninjured heroes!
2. Right here, do thou, O house, stand firmly, full of horses, full of cattle, full of abundance! Full of sap, full of ghee, full of milk, elevate thyself unto great happiness!
3. A supporter art thou, O house, with broad roof, containing purified grain! To thee may the calf come, to thee the child, to thee the milch-cows, when they return in the evening!
4. May Savitar, Vayu, Indra, Brihaspati cunningly erect this house! May the Maruts sprinkle it with moisture and with ghee; may king Bhaga let our ploughing take root!
5. O mistress of dwelling, as a sheltering and kindly goddess thou wast erected by the gods in the beginning; clothed in grass, be thou kindly disposed; give us, moreover, wealth along with heroes!
6. Do thou, O cross-beam, according to regulation ascend the post, do thou, mightily ruling, hold off the enemies! May they that approach thee rever
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ently, O house, not suffer injury, may we with all our heroes live a hundred autumns!
7. Hither to this (house) hath come the tender child, hither the calf along with the other) domestic animals; hither the vessel (full) of liquor, together with bowls of sour milk!
8. Carry forth, O woman, this full jar, a stream of ghee mixed with ambrosia! Do thou these drinkers supply with ambrosia; the sacrifice and the gifts (to the Brahmans) shall it (the house) protect!
9. These waters, free from disease, destructive of disease, do I carry forth. The chambers do I enter in upon together with the immortal Agni (fire).
VI, 142. Blessing during the sowing of seed.
1. Raise thyself up, grow thick by thy own might, O grain! Burst every vessel! The lightning in the heavens shall not destroy thee!
2. When we invoke thee, god grain, and thou dost listen, then do thou raise thyself up like the sky, be inexhaustible as the sea !
3. Inexhaustible shall be those that attend to thee, inexhaustible thy heaps ! They who give thee as a present shall be inexhaustible, they who eat thee shall be inexhaustible !
VI, 79. Charm for procuring increase of grain.
1. May this bounteous Nabhasaspati (the lord of the cloud) preserve for us (possessions) without measure in our house !
2. Do thou, O Nabhasaspati, keep strengthening
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food in our house, may prosperity and goods come hither!
3. O bounteous god, thou dost command thousandfold prosperity: of that do thou bestow upon us, of that do thou give us, in that may we share with thee!
VI, 50. Exorcism of vermin infesting grain in
the field. 1. Slay ye the tarda ('borer'), the samanka (hook'), and the mole, O Asvins; cut off their heads,'and crush their ribs! Shut their mouths, that they shall not eat the barley; free ye, moreover, the grain from danger !
2. Ho tarda (borer '), ho locust, ho gabhya (“snapper '), upakvasa! As a Brahman (eats not) an uncompleted sacrifice, do ye, not eating this barley, without working injury, get out!
3. O husband of the tardà (-female), O husband of the vaghà (-female), ye of the sharp teeth, listen to me! The vyadvaras (rodents') of the forest, and whatever other vyadvaras (there are), all these we do crush.
VII, 11. Charm to protect grain from lightning.
With thy broad thunder, with the beacon, elevated by the gods that pervade this all, with the lightning do thou not destroy our grain, O god; nor do thou destroy it with the rays of the sun!
II, 26. Charm for the prosperity of cattle. 1. Hither shall come the cattle which have strayed to a distance, whose companionship Vayu
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(the wind) enjoys! (The cattle) whose structure of form Tvashtar knows, Savitar shall hold in place in this stable!
2. To this stable the cattle shall flow together, Brihaspati skilfully shall conduct them hither! Sinivali shall conduct hither their van: do thou, O Anumati, hold them in place after they have arrived!
3. May the cattle, may the horses, and may the domestics flow together; may the increase of the grain flow together! I sacrifice with an oblation that causeth to flow together!
4. I pour together the milk of the cows, I pour together strength and sap with the ghee. Poured together shall be our heroes, constant shall be the cows with me the owner of the cows!
5. I bring hither the milk of the cows, I have brought hither the sap of the grain. Brought hither are our heroes, brought hither to this house are our wives !
III, 14. Charm for the prosperity of cattle.
1. With a firmly founded stable, with wealth, with well-being, with the name of that which is born on a lucky day do we unite you (O cattle)!
2. May Aryaman unite you, may Pashan, Brihaspati, and Indra, the conqueror of booty, unite you! Do ye prosper my possessions !
3. Flocking together without fear, making ordure in this stable, holding honey fit for soma, free from disease, ye shall come hither!
4. Right here come, ye cows, and prosper here like the saka-bird! And right here do ye beget (your young)! May ye be in accord with me!
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HYMNS OF THE ATHARVA-VEDA.
5. May your stable be auspicious to you, prosper ye like the sâri-birds and parrots! And right here do ye beget (your young)! With us do we unite you.
6. Attach yourselves, O cows, to me as your possessor; may this stable here cause you to prosper ! Upon you, growing numerous, and living, may we, increasing in wealth, alive, attend !
VI, 59. Prayer to the plant arundhatt for pro
tection to cattle. 1. Thy foremost protection, O Arundhati, do thou bestow upon steer and milch-kine, upon (cattle of) the age when weaned from their mother, upon (all) four-footed creatures !
2. May Arundhatt, the herb, bestow protection along with the gods, render full of sap the stable, free from disease our men!
3. The variegated, lovely, life-giving (plant) do I invoke. May she carry away for us, far from the cattle, the missile hurled by Rudra!
VI, 70. Charm to secure the attachment of a
cow to her calf. 1. As meat, and liquor, and dice (abound) at the gambling-place, as the heart of the lusty male hankers after the woman, thus shall thy heart, O cow, hanker after the calf!
2. As the elephant directs his steps after the steps of the female, as the heart of the lusty male hankers after the woman, thus shall thy heart, O cow, hanker after the calf!
3. As the felloe, and as the spokes, and as the
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nave (of the wheel is joined) to the felloe, as the heart of the lusty male hankers after the woman, thus shall thy heart, O cow, hanker after the calf!
III, 28. Formula in expiation of the birth of
twin-calves. 1. Through one creation at a time this (cow) was born, when the fashioners of the beings did create the cows of many colours. (Therefore), when a cow doth beget twins portentously, growling and cross she injureth the cattle.
2. This (cow) doth injure our cattle: a flesh-eater, devourer, she hath become. Hence to a Brahman he shall give her; in this way she may be kindly and auspicious!
3. Auspicious be to (our) men, auspicious to (our) cows and horses, auspicious to this entire field, auspicious be to us right here!
4. Here be prosperity, here be sap! Be thou here one that especially gives a thousandfold ! Make the cattle prosper, thou mother of twins !
5. Where our pious friends live joyously, having left behind the ailments of their bodies, to that world the mother of twins did attain: may she not injure our men and our cattle!
6. Where is the world of our pious friends, where the world of them that sacrifice with the agnihotra, to that world the mother of twins did attain : may she not injure our men and our cattle!
VI, 92. Charm to endow a horse with swiftness.
I. Swift as the wind be thou, O steed, when joined (to the chariot); at Indra's urging go, fleet as
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the mind! The Maruts, the all-possessing, shall harness thee, T vashtar shall put fleetness into thy feet!
2. With the fleetness, O runner, that has been deposited in thee in a secret place, (with the fleetness) that has been made over to the eagle, the wind, and moves in them, with that, O steed, strong with strength, do thou win the race, reaching the goal in the contest!
3. Thy body, O steed, leading (our) body, shall run, a pleasure to ourselves, delight to thyself! A god, not stumbling, for the support of the great, he shall, as if upon the heaven, found his own light!
III, 13. Charm for conducting a river into a new
channel. 1. Because of yore, when the (cloud-) serpent was slain (by Indra), ye did rush forth and shout (anadata), therefore is your name 'shouters' (nadyah rivers'): that is your designation, ye streams !
2. Because, when sent forth by Varuna, ye then quickly did bubble up; then Indra met (åpnot) you, as ye went, therefore anon are ye 'meeters' (apah 'waters')!
3. When reluctantly ye flowed, Indra, forsooth, did with might choose (avivarata) you as his own, ye goddesses! Therefore 'choice' (vâr'water ') has been given you as your name!
4. One god stood upon you, as ye flowed according to will. Up breathed (ud ânishuh) they who are known as 'the great' (mahih). Therefore 'upbreather' (udakam 'water ') are they called !
5. The waters are kindly, the waters in truth were ghee. These waters, truly, do support Agni and
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Soma. May the readily flowing, strong sap of the honey-dripping (waters) come to me, together with life's breath and lustre!
6. Then do I see them and also do I hear them ; their sound, their voice doth come to me. When, ye golden-coloured, I have refreshed myself with you, then I ween, ambrosia (amrita) am I tasting!
7. Here, ye waters, is your heart, here is your calf, ye righteous ones! Come ye, mighty ones, by this way here, by which I am conducting you here!
VI, 106. Charm to ward off danger from fire.
1. Where thou comest, (O fire), and where thou goest away, the blooming dûrvâ-plant shall grow : a well-spring there shall rise up, or a lotus-laden pool !
2. Here (shall be the gathering place of the waters, here the dwelling-place of the sea! In the midst of a pond our house shall be: turn, (O fire), away thy jaws !
3. With a covering of coolness do we envelop thee, O house ; cool as a pond be thou for us! Agni shall furnish the remedy!
IV, 3. Shepherd's charm against wild beasts and
robbers. 1. Three have gone away from here, the tiger, man, and wolf. Out of sight, forsooth, go the rivers, out of sight (grows) the divine tree (the banyan-tree?): out of sight the enemies shall retreat!
2. The wolf shall tread a distant path, and the robber one still more distant! On a distant path shall move the biting rope (the serpent), on a distant path the plotter of evil!
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3. Thy eyes and thy jaw we crush, O tiger, and also all thy twenty claws.
4. We crush the tiger, the foremost of animals, armed with teeth. Next, too, the thief, and then the serpent, the wizard, and also the wolf.
5. The thief that approacheth to-day, crushed to pieces he goeth away. Where the paths are precipitate he shall go, Indra shall slay him with his bolt !
6. The teeth of the wild beast are dulled, and broken are his ribs. Out of thy sight the dragon shall go, down shall tumble the hare-hunting beast!
7. The (jaw, O beast,) that thou shuttest together, thou shalt not open up; that which thou openest up, thou shalt not shut together !—Born of Indra, born of Soma, thou, (my charm), art Atharvan's crusher of tigers.
III, 15. A merchant's prayer. 1. Indra, the merchant, do I summon: may he come to us, may he be our van; driving away the demon of grudge, the waylayers, and wild beasts, may he, the possessor, bestow wealth upon me!
2. May the many paths, the roads of the gods, which come together between heaven and earth, gladden me with milk and ghee, so that I may gather in wealth from my purchases !
3. Desirous do I, O Agni, with firewood and ghee offer oblations (to thee), for success and strength; according to ability praising (thee) with my prayer, do I sing this divine song, that I may gain a hundredfold!
4. (Pardon, O Agni, this sin of ours [incurred
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upon] the far road which we have travelled !) May our purchases and our sales be successful for us; may what I get in barter render me a gainer! May ye two (Indra and Agni) in accord take pleasure in this oblation! May our transactions and the accruing gain be auspicious to us!
5. The wealth with which I go to purchase, desiring, ye gods, to gain wealth through wealth, may that grow more, not less! Drive away, O Agni, in return for the oblation, the gods who shut off gain!
6. The wealth with which I go to purchase, desiring, ye gods, to gain wealth through wealth, may Indra, Pragâpati, Savitar, Soma, Agni, place lustre into it for me!
7. We praise with reverence thee, O priest (Agni) Vaisvânara. Do thou over our children, selves, cattle, and life's breath watch!
8. Daily, never failing, shall we bring (oblations to thee), O Gâta vedas, (as if fodder) to a horse standing (in the stable). In growth of wealth and nutriment rejoicing, may we, O Agni, thy neighbours, not take harm!
IV, 38. A. Prayer for success in gambling.
1. The successful, victorious, skilfully gaming Apsara, that Apsarà who makes the winnings in the game of dice, do I call hither.
2. The skilfully gaming Apsarā who sweeps and heaps up (the stakes), that Apsarâ who takes the winnings in the game of dice, do I call hither.
3. May she, who dances about with the dice, when she takes the stakes from the game of dice, when she desires to win for us, obtain the advantage
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by (her) magic! May she come to us full of abundance! Let them not win this wealth of ours!
HYMNS OF THE ATHARVA-VEDA.
4. The (Apsarâs) who rejoice in dice, who carry grief and wrath-that joyful and exulting Apsarâ, do
I call hither.
B. Prayer to secure the return of calves that have strayed to a distance.
5. They (the cattle) who wander along the rays of the sun, or they who wander along the flood of light, they whose bull (the sun), full of strength, from afar protecting, with the day wanders about all the worlds-may he (the bull), full of strength, delighting in this offering, come to us together with the atmosphere!
6. Together with the atmosphere, O thou who art full of strength, protect the white (karki) calf, O thou swift steed (the sun)! Here are many drops (of ghee) for thee; come hither! May this white calf (karki) of thine, may thy mind, be here!
7. Together with the atmosphere, O thou who art full of strength, protect the white (karki) calf, O thou swift steed (the sun)! Here is the fodder, here the stall, here do we tie down the calf. Whatever (are your) names, we own you. Hail!
VII, 50. Prayer for success at dice.
1. As the lightning at all times smites irresistibly the tree, thus would I to-day irresistibly beat the gamesters with my dice!
2. Whether they be alert, or not alert, the fortune of (these) folks, unresisting, shall assemble from all sides, the gain (collect) within my hands!
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3. I invoke with reverence Agni, who has his own riches; here attached he shall heap up gain for us! I procure (wealth) for myself, as if with chariots that win the race. May I accomplish auspiciously the song of praise to the Maruts!
4. May we by thy aid conquer the adversary's) troop; help us to obtain) our share in every contest! Make for us, O Indra, a good and ample road ; crush, O Maghavan, the lusty power of our enemies !
5. I have conquered and cleaned thee out (?); I have also gained thy reserve. As the wolf plucks to pieces the sheep, thus do I pluck thy winnings.
6. Even the strong hand the bold player conquers, as the skilled gambler heaps up his winnings at the proper time. Upon him that loves the game (the god), and does not spare his money, (the game, the god) verily bestows the delights of wealth.
7. Through (the possession of) cattle we all would suppress (our) wretched poverty, or with grain our hunger, O thou oft implored (god)! May we foremost among rulers, unharmed, gain wealth by our cunning devices !
8. Gain is deposited in my right hand, victory in my left. Let me become a conqueror of cattle, horses, wealth, and gold!
9. O dice, yield play, profitable as a cow that is rich in milk! Bind me to a streak of gain, as the bow (is bound) with the string!
VI, 56. Exorcism of serpents from the premises.
1. May the serpent, ye gods, not slay us along with our children and our men! The closed (jaw)
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shall not snap open, the open one not close! Reverence (be) to the divine folk!
2. Reverence be to the black serpent, reverence to the one that is striped across! To the brown svaga reverence; reverence to the divine folk!
3. I clap thy teeth upon thy teeth, and also thy jaw upon thy jaw; I press thy tongue against thy tongue, and close up, O serpent, thy mouth.
X,
HYMNS OF THE ATHARVA-VEDA.
4.
Charm against serpents, invoking the horse of Pedu that slays serpents.
I. To Indra belongs the first chariot, to the gods the second chariot, to Varuna, forsooth, the third. The serpents' chariot is the last: it shall hit a post, and come to grief!
2. The young darbha-grass burns (the serpents ?), the tail of the horse, the tail of the shaggy one, the seat of the wagon (burns the serpents ?).
3. Strike down, O white (horse), with thy forefoot and thy hind-foot! As timber floating in water, the poison of the serpents, the fierce fluid, is devoid of strength.
4. Neighing loudly he dived down, and, again diving up, said: 'As timber floating in water, the poison of the serpents, the fierce fluid, is devoid of strength.'
5. The horse of Pedu slays the kasarnila, the horse of Pedu slays the white (serpent), and also the black. The horse of Pedu cleaves the head of the ratharvi, the adder.
6. O horse of Pedu, go thou first: we come after thee! Thou shalt cast out the serpents from the road upon which we come!
7. Here the horse of Pedu was born; from here
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is his departure. Here are the tracks of the serpentkilling, powerful steed!
8. May the closed (serpent's jaw) not snap open, may the open one not close! The two serpents in this field, man and wife, they are both bereft of strength.
9. Without strength here are the serpents, those that are near, and those that are far. With a club do I slay the vriskika (scorpion), with a staff the serpent that has approached.
10. Here is the remedy for both the aghâsva and the svaga! Indra (and) Pedu's horse have put to naught the evil-planning (aghayantam) serpent.
11. The horse of Pedu do we remember, the strong, with strong footing: behind lie, staring forth, these adders.
12. Deprived are they of life's spirit, deprived of poison, slain by Indra with his bolt. Indra hath slain them: we have slain them.
13. Slain are they that are striped across, crushed are the adders! Slay thou the one that produces a hood, (slay) the white and the black in the darbhagrass !
14. The maiden of the Kirâta-tribe, the little one digs up the remedy, with golden spades, on the mountain's back.
15. Hither has come a youthful physician: he slays the speckled (serpent), is irresistible. He, forsooth, crushes the svaga and the vriskika both.
16. Indra did set at naught for me the serpent, (and so did) Mitra and Varuna, Vâta and Parganya both.
17. Indra did set at naught for me the serpent, the adder, male and female, the svaga, (the serpent)
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that is striped across, the kasarmila, and the dasonasi.
18. Indra slew thy first ancestor, O serpent, and since they are crushed, what strength, forsooth, can be theirs?
HYMNS OF THE ATHARVA-VEDA.
19. I have gathered up their heads, as the fisherman the karvara (fish). I have gone off into the river's midst, and washed out the serpent's poison.
20. The poison of all serpents the rivers shall carry off! Slain are they that are striped across,
crushed are the adders!
21. As skilfully I cull the fibre of the plants, as I guide the mares, (thus), O serpent, shall thy poison go away!
22. The poison that is in the fire, in the sun, in the earth, and in the plants, the kândâ-poison, the kanaknaka, thy poison shall go forth, and come!
23. The serpents that are sprung from the fire, that are sprung from the plants, that are sprung from the water, and originate from the lightning ; they from whom great brood has sprung in many ways, those serpents do we revere with obeisance.
24. Thou art, (O plant), a maiden, Taudt by name; Ghritâkt, forsooth, is thy name. Underfoot is thy place I take in hand what destroys the poison.
25. From every limb make the poison start; shut it out from the heart! Now the force that is in thy poison shall go down below!
26. The poison has gone to a distance: he has shut it out; he has fused the poison with poison. Agni has put away the poison of the serpent, Soma has led it out. The poison has gone back to the biter. The serpent is dead!
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XI, 2. Prayer to Bhava and Sarva for protection
from dangers. 1. () Bhava and Sarva, be merciful, do not attack (us); ye lords of beings, lords of cattle, reverence be to you twain! Discharge not your arrow even after it has been laid on (the bow), and has been drawn! Destroy not our bipeds and our quadrupeds !
2. Prepare not our bodies for the dog, or the jackal; for the aliklavas, the vultures, and the black birds! Thy greedy insects, O lord of cattle (pasupate), and thy birds shall not get us to devour !
3. Reverence we offer, O Bhava, to thy roaring, to thy breath, and to thy injurious qualities ; reverence to thee, O Rudra, thousand-eyed, immortal!
4. We offer reverence to thee from the east, from the north, and from the south ; from (every) domain, and from heaven. Reverence be to thy atmosphere!
5. To. thy face, o lord of cattle, to thy eyes, O Bhava, to thy skin, to thy form, thy appearance, (and to thy aspect) from behind, reverence be!
6. To thy limbs, to thy belly, to thy tongue, to thy mouth, to thy teeth, to thy smell (nose), reverence be!
7. May we not conflict with Rudra, the archer with the dark crest, the thousand-eyed, powerful one, the slayer of Ardhaka !
8. Bhava shall steer clear from us on all sides, Bhava shall steer clear from us, as fire from water ! May he not bear malice towards us: reverence be to him!
9. Four times, eight times, be reverence to Bhava,
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ten times be reverence to thee, O lord of cattle ! To thy (charge) have been assigned these five (kinds of) cattle: cows, horses, men, goats and sheep.
10. Thine, () strong god (ugra), are the four regions, thine the sky, thine the earth, and thine this broad atmosphere; thine is this all that has a spirit and has breath upon the earth.
11. Thine is this broad, treasure-holding receptacle within which all worlds are contained. Do thou spare us, o lord of cattle : reverence be to thee! Far from us shall go the jackals, evil omens, dogs; far shall go (the mourning women) who bewail misfortune with dishevelled hair!
12. Thou, O crested (god), carriest in (thy hand), that smites thousands, a yellow, golden bow that slays hundreds; Rudra's arrow, the missile of the gods, flies abroad: reverence be to it, in whatever direction from here (it flies)!
13. The adversary who lurks and seeks to overcome thee, O Rudra, upon him thou dost fasten thyself from behind, as (the hunter) that follows the trail of a wounded (animal).
14. Bhava and Rudra, united and concordant, both strong (ugrau), ye advance to deeds of heroism: reverence be to both of them, in whatever direction (they are) from here !
15. Reverence be to thee coming, reverence to thee going; reverence, O Rudra, be to thee standing, and reverence, also, to thee sitting !
16. Reverence in the evening, reverence in the morning, reverence by night, reverence by day! I have offered reverence to Bhava and to Sarva, both.
17. Let us not with our tongue offend Rudra, who
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rushes on, thousand-eyed, overseeing all, who hurls (his shafts) forward, who is manifoldly wise!
18. We approach first the (god) that has dark horses, is black, sable, destructive, terrible, who casts down the car of Kesin : reverence be to him!
19. Do not hurl at us thy club, thy divine bolt; be not incensed at us, O lord of cattle! Shake over some other than us the celestial branch!
20. Injure us not, interpose for us, spare us, be not angry with us! Let us not contend with thee!
21. Do not covet our cattle, our men, our goats and sheep! Bend thy course elsewhere, O strong god (ugra), slay the offspring of the blasphemers!
22. He whose missile, fever and cough, assails the single (victim), as the snorting of a stallion, who snatches away (his victims) one by one, to him be reverence!
23. He who dwells fixed in the atmosphere, smiting the blasphemers of the god that do not sacrifice, to him be reverence with ten sakvari-stanzas!
24. For thee the wild beasts of the forest have been placed in the forest: flamingoes, eagles, birds of prey, and fowls. Thy spirit, О lord of cattle, is within the waters, to strengthen thee the heavenly waters flow.
25. The dolphins, great serpents (boas), purikayas (water-animals), sea-monsters, fishes, ragasas, at which thou shootest—there exists for thee, O Bhava, no distance, and no barrier. At a glance thou lookest around the entire earth; from the eastern thou slayest in the northern ocean.
26. Do not, O Rudra, contaminate us with fever, or with poison, or with heavenly fire: cause this lightning to descend elsewhere than upon us!
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27. Bhava rules the sky, Bhava rules the earth; Bhava has filled the broad atmosphere. Reverence be to him in whatever direction from here (he abides)!
28. O king Bhava, be merciful to thy worshipper, for thou art the lord of living beasts! He who believes the gods exist, to his quadruped and biped be merciful!
29. Slay neither our great nor our small; neither those of us that are riding, nor those that shall ride; neither our father, nor our mother. Cause no injury, O Rudra, to our own persons !
30. To Rudra's howling dogs, who swallow their food without blessing, who have wide jaws, I have made this obeisance.
31. Reverence, O god, be to thy shouting hosts, reverence to thy long-haired, reverence to thy reverenced, reverence to thy devouring hosts! May well-being and security be to us!
IV, 28. Prayer to Bhava and Sarva for
protection from calamities. 1. O Bhava and Sarva, I am devoted to you. Take note of that, ye under whose control is all this which shines (the visible universe)! Ye who rule all these two-footed and four-footed creatures, deliver us from calamity!
2. Ye to whom belongs all that is near by, yea, all that is far; ye who are known as the most skilful archers among bowmen; ye who rule all these two-footed and four-footed creatures, deliver us from calamity!
3. The thousand-eyed slayers of Vritra both do
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I invoke. I go praising the two strong gods (ugrau) whose pastures extend far. Ye who rule all these two-footed and four-footed creatures, deliver us from calamity!
4. Ye who, united, did undertake many (deeds) of old, and, moreover, did visit portents upon the people; ye who rule all these two-footed and fourfooted creatures, deliver us from calamity!
5. Ye from whose blows no one either among gods or men escapes; ye who rule all these twofooted and four-footed creatures, deliver us from calamity!
6. The sorcerer who prepares a spell, or manipulates the roots (of plants) against us, against him, ye strong gods, launch your thunderbolt! Ye who rule all these two-footed and four-footed creatures, deliver us from calamity.
7. Ye strong gods, favour us in battles, bring into contact with your thunderbolt the Kimidin! I praise you, O Bhava and Sarva, call fervently upon you in distress : deliver us from calamity!
VII, 9. Charm for finding lost property. 1. On the distant path of the paths Pushan was born, on the distant path of heaven, on the distant path of the earth. Upon the two most lovely places both he walks hither and away, knowing the way).
2. Pashan knows these regions all; he shall lead us by the most dangerless (way). Bestowing wellbeing, of radiant glow, keeping our heroes undiminished, he shall, alert and skilful, go before us !
3. O Pashan, under thy law may we never suffer harm: as praisers of thee are we here!
4. Pashan shall from the east place his right hand
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about us, shall bring again to us what has been lost: we shall come upon what has been lost!
VI, 128.
Propitiation of the weather-prophet.
1. When the stars made Sakadhûma their king they bestowed good weather upon him: This shall be his dominion,' they said.
2. Let us have good weather at noon, good weather at eve, good weather in the early morning, good weather in the night!
3. For day and night, for the stars, for sun and moon, and for us prepare good weather, O king Sakadhûma!
4. To thee, O Sakadhûma, ruler of the stars, that gavest us good weather in the evening, in the night, and by day, let there ever be obeisance!
"
XI, 6. Prayer for deliverance from calamity, addressed to the entire pantheon.
1. To Agni we speak and to the trees, to the plants and to the herbs; to Indra, Brihaspati, and Sûrya: they shall deliver us from calamity!
2. We speak to king Varuna, to Mitra, Vishnu and Bhaga. To Amsa and Vivasvant do we speak : they shall deliver us from calamity!
3. We speak to Savitar, the god, to Dhâtar, and to Pushan; to first-born Tvashtar do we speak: they shall deliver us from calamity!
4. We speak to the Gandharvas and the Apsaras, to the Asvins and to Brahmanaspati, to the god whose name is Aryaman: they shall deliver us from calamity!
5. Now do we speak to day and night, to Surya
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(sun) and to Kandramas (moon), the twain; to all the Adityas we speak: they shall deliver us from calamity!
6. We speak to Vata (wind) and Parganya, to the atmosphere and the directions of space. And to all the regions do we speak: they shall deliver us from calamity!
7. Day and night, and Ushas (dawn), too, shall deliver thee from curses! Soma the god, whom they call Kandramas (moon), shall deliver me!
8. To the animals of the earth and those of heaven, to the wild beasts of the forest, to the winged birds, do we speak: they shall deliver us from calamity!
9. Now do we speak to Bhava and Sarva, to Rudra and Pasupati ; their arrows do we know well : these (arrows) shall be ever propitious to us!
10. We speak to the heavens, and the stars, to earth, the Yakshas, and the mountains; to the seas, the rivers, and the lakes: they shall deliver us from calamity!
11. To the seven Rishis now do we speak, to the divine waters and Pragâ pati. To the Fathers with Yama at their head: they shall deliver us from calamity!
12. The gods that dwell in heaven, and those that dwell in the atmosphere; the mighty (gods) that are fixed upon the earth, they shall deliver us from calamity!
13. The Adityas, Rudras, Vasus, the divine Atharvans in heaven, and the wise Angiras : they shall deliver us from calamity!
14. We speak to the sacrifice and the sacrificer, to the riks, the såmans, and the healing (Atharvan) charms; we speak to the yagus-formulas and the
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invocations (to the gods): they shall deliver us from calamity!
15. We speak to the five kingdoms of the plants with soma the most excellent among them. The darbha-grass, hemp, and mighty barley: they shall deliver us from calamity!
16. We speak to the Arayas (demons of grudge), Rakshas, serpents, pious men, and Fathers; to the one and a hundred deaths: they shall deliver us from calamity!
17. To the seasons we speak, to the lords of the seasons, and to the sections of the year; to the halfyears, years, and months: they shall deliver us from calamity!
18. Come, ye gods, from the south and the west; ye gods in the east come forth! From the east, from the north the mighty gods, all the gods assembled : they shall deliver us from calamity!
19, 20. We speak here to all the gods that hold to their agreements, promote the order (of the universe), together with all their wives: they shall deliver us from calamity!
21. We speak to being, to the lord of being, and also to him that controls the beings; to the beings all assembled: they shall deliver us from calamity!
22. The five divine regions, the twelve divine seasons, the teeth of the year, they shall ever be propitious to us!
23. The amrita (ambrosia), bought for the price of a chariot, which Mätalt knows as a remedy, that Indra stored away in the waters: that, О ye waters, furnish ye as a remedy!
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VIII.
CHARMS IN EXPIATION OF SIN AND DEFILEMENT.
VI, 45. Prayer against mental delinquency.
1. Pass far away, O sin of the mind! Why dost thou utter things not to be uttered ? Pass away, I love thee not! To the trees, the forests go on! With the house, the cattle, is my mind.
2. What wrongs we have committed through imprecation, calumny, and false speech, either awake, or asleep-Agni shall put far away from us all offensive evil deeds!
3. What, O Indra Brahmanaspati, we do falselymay Praketas (care-taker') Ângirasa protect us from misfortune, and from evil!
VI, 26. Charm to avert evil. 1. Let me go, O evil; being powerful, take thou pity on us! Set me, o evil, unharmed, into the world of happiness!
2. If, O evil, thou dost not abandon us, then do we abandon thee at the fork of the road. May evil follow after another (man)!
3. Away from us may thousand-eyed, immortal (evil) dwell! Him whom we hate may it strike, and him whom we hate do thou surely smite !
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VI, 114. Expiatory formula for imperfections in the sacrifice.
1. The god-angering (deed), O ye gods, that we, the (Brahman) gods, have committed, from that do ye, O Adityas, release us, by virtue of the order of
the universe!
2. By virtue of the order of the universe do ye, O reverend Adityas, release us here, if, O ye carriers of the sacrifice, though desirous of accomplishing (the sacrifice), we did not accomplish (it) !—
3. (If), when sacrificing with the fat (animal), when offering oblations of ghee with the spoon, when desiring to benefit you, O all ye gods, we have contrary to desire, not succeeded!
VI, 115. Expiatory formulas for sins. I. From the sins which knowingly or unknowingly we have committed, do ye, all gods, of one accord, release us!
2. If awake, or if asleep, to sin inclined, I have committed a sin, may what has been, and what shall be, as if from a wooden post, release me!
3. As one released from a wooden post, as one in a sweat by bathing (is cleansed) of filth, as ghee is clarified by the sieve, may all (the gods) clear me from sin!
VI, 112. Expiation for the precedence of a younger brother over an older.
1. May this (younger brother) not slay the oldest one of them, O Agni; protect him that he be not torn out by the root! Do thou here cunningly
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loosen the fetter of Grâhi (attack of disease); may all the gods give thee leave!
2. Free these three, O Agni, from the three fetters with which they have been shackled! Do thou cunningly loosen the fetters of Grâhi; release them all, father, sons, and mother!
3. The fetters with which the older brother, whose younger brother has married before him, has been bound, with which he has been encumbered and shackled limb by limb, may they be loosened; since fit for loosening they are! Wipe off, O Pûshan, the misdeeds upon him that practiseth abortion!
VI, 113. Expiation for certain heinous crimes.
1. On Trita the gods wiped off this sin, Trita wiped it off on human beings; hence if Grâhi (attack of disease) has seized thee, may these gods remove her by means of their charm!
2. Enter into the rays, into smoke, O sin; go into the vapours, and into the fog! Lose thyself on the foam of the river! Wipe off, O Pûshan, the misdeeds upon him that practiseth abortion!
3. Deposited in twelve places is that which has been wiped off Trita, the sins belonging to humanity. Hence if Grâhi has seized thee, may these gods remove her by means of their charm!
VI, 120. Prayer for heaven after remission of
sins.
1. If air, or earth and heaven, if mother or father, we have injured, may this Agni Gârhapatya (household fire) without fail lead us out from this (crime) to the world of well-doing!
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2. The earth is our mother, Aditi (the universe) our kin, the air our protector from hostile schemes. May father sky bring prosperity to us from the world of the Fathers; may I come to my (departed) kin, and not lose heaven!
3. In that bright world where our pious friends live in joy, having cast aside the ailments of their own bodies, free from lameness, not deformed in limb, there may we behold our parents and our children!
VI, 27. Charm against pigeons regarded as ominous birds.
1. O ye gods, if the pigeon, despatched as the messenger of Nirriti (the goddess of destruction), hath come here seeking (us out), we shall sing his praises, and prepare (our) ransom. May our twofooted and four-footed creatures be prosperous!
2. Auspicious to us shall be the pigeon that has been despatched; harmless, ye gods, the bird shall be to our house! The sage Agni shall verily take pleasure in our oblation; the winged missile shall avoid us!
3. The winged missile shall not do us injury: upon our hearth, our fireplace he (the pigeon) takes his steps! Propitious he shall be to our cattle and our domestics; may not, ye gods, the pigeon here do harm to us!
VI, 29. Charm against ominous pigeons and owls.
1. Upon those persons yonder the winged missile shall fall! If the owl shrieks, futile shall this be, or if the pigeon takes his steps upon the fire!
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2. To thy two messengers, O Nirriti, who come here, despatched or not despatched, to our house, to the pigeon and to the owl, this shall be no place to step upon!
3. He shall not fly hither to slaughter (our) men ; to keep (our) men sound he shall settle here! Charm him very far away unto a distant region, that (people) shall behold you (i.e. him) in Yama's house devoid of strength, that they shall behold you bereft of power!
VII, 64. Expiation when one is defiled by a
black bird of omen. 1. What this black bird flying forth towards (me) has dropped here--may the waters protect me from all that misfortune and evil !
2. What this black bird has brushed here with thy mouth, O Nirriti (goddess of misfortune)-may Agni Garhapatya (the god of the household fire) free me from this sin !
VI, 46. Exorcism of evil dreams. 1. Thou who art neither alive nor dead, the immortal child of the gods art thou, O Sleep! Varunânt is thy mother, Yama (death) thy father, Araru is thy name.
2. We know, O Sleep, thy birth, thou art the son of the divine women-folk, the instrument of Yama (death)! Thou art the ender, thou art death! Thus do we know thee, O Sleep: do thou, O Sleep, protect us from evil dreams!
3. As one pays off a sixteenth, an eighth, or an (entire) debt, thus do we transfer every evil dream upon our enemy.
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HYMNS OF THE ATHARVA-VEDA.
VII, 115. Charm for the removal of evil characteristics, and the acquisition of auspicious ones.
1. Fly forth from here, O evil mark, vanish from here, fly forth to yonder place! Upon him that hates us do we fasten thee with a brazen hook.
2. The unsavoury mark which flying has alighted upon me, as a creeper upon a tree, that mayest thou put away from us, away from here, O golden-handed (golden-rayed) Savitar (the sun), bestowing goods upon us!
3. Together with the body of the mortal, from his birth, one and a hundred marks are born. Those that are most foul do we drive away from here; the auspicious ones, O Gâtavedas (Agni), do thou hold fast for us!
4. These (marks) here I have separated, as cows scattered upon the heather. The pure marks shall remain, the foul ones I have made to disappear!
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IX.
PRAYERS AND IMPRECATIONS IN THE INTEREST
OF THE BRAHMANS.
V, 18. Imprecation against the oppressors of
Brahmans. 1. The gods, O king, did not give to thee this Icow) to eat. Do not, O prince, seek to devour the cow of the Brahmana, which is unfit to be eaten!
2. The prince, beguiled by dice, the wretched one who has lost as a stake his own person, he may, perchance, eat the cow of the Brâhmana, (thinking), let me live to-day (if) not to-morrow'!
3. Enveloped (is she) in her skin, as an adder with evil poison; do not, O prince, (eat the cow) of the Brâhmana : sapless, unfit to be eaten, is that cow!
4. Away does (the Brahmana) take regal power, destroys vigour; like fire which has caught does he burn away everything. He that regards the Brâhmana as fit food drinks of the poison of the taimâta-serpent.
5. He who thinks him (the Brahman) mild, and slays him, he who reviles the gods, lusts after wealth, without thought, in his heart Indra kindles a fire; him both heaven and earth hate while he lives.
6. The Brahmana must not be encroached upon,
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any more than fire, by him that regards his own body! For Soma is his (the Brâhmana's) heir, Indra protects him from hostile plots.
HYMNS OF THE ATHARVA-VEDA.
7. He swallows her (the cow), bristling with a hundred hooks, (but) is unable to digest her, he, the fool who, devouring the food of the Brahmans, thinks, 'I am eating a luscious (morsel).'
8. (The Brahman's) tongue turns into a bowstring, his voice into the neck of an arrow; his windpipe, his teeth are bedaubed with holy fire: with these the Brahman strikes those who revile the gods, by means of bows that have the strength to reach the heart, discharged by the gods.
9. The Brahmanas have sharp arrows, are armed with missiles, the arrow which they hurl goes not in vain; pursuing him with their holy fire and their wrath, even from afar, do they pierce him.
10. They who ruled over a thousand, and were themselves ten hundred, the Vaitahavya, when they devoured the cow of the Brahmana, perished.
11. The cow herself, when slaughtered, came down upon the Vaitahavyas, who had roasted for themselves the last she-goat of Kesaraprâbandhâ.
12. The one hundred and one persons whom the earth did cast off, because they had injured the offspring of a Brâhmana, were ruined irretrievably.
13. As a reviler of the gods does he live among mortals, having swallowed poison, he becomes more bone (than flesh). He that injureth a Brahmana, whose kin are the gods, does not reach heaven by the road of the Fathers.
14. Agni is called our guide, Indra slays those who curse (us): (sages) know.
Soma our heir, that the strong
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15. Like a poisoned arrow, o king, like an adder, O lord of cattle, is the terrible arrow of the Brâhmana : with that he smites those who revile (the gods). V, 19. Imprecation against the oppressors of
Brahmans. 1. Beyond measure they waxed strong, just fell short of touching the heavens. When they infringed upon Bhrigu they perished, the Sriñgaya Vaitahavyas.
2. The persons who pierced Brihatsâman, the descendant of Angiras, the Brahmana—a ram with two rows of teeth, a sheep devoured their offspring.
3. They who spat upon the Brahmana, who desired tribute from him, they sit in the middle of a pool of blood, chewing hair.
4. The cow of the Brahman, when roasted, as far as she reaches does she destroy the lustre of the kingdom ; no lusty hero is born (there).
5. A cruel (sacrilegious) deed is her slaughter, her meat, when eaten, is sapless; when her milk is drunk, that surely is accounted a crime against the Fathers.
6. When the king, weening himself mighty, desires to destroy the Brâhmana, then royal power is dissipated, where the Brâhmana is oppressed.
7. Becoming eight-footed, four-eyed, four-eared, four-jawed, two-mouthed, two-tongued, she dispels the rule of the oppressor of the Brahman.
8. That (kingdom) surely she swamps, as water a leaking ship; misfortune strikes that kingdom, in which they injure a Brahmana.
9. The trees chase away with the words : 'do not
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come within our shade,' him who covets the wealth that belongs to a Brâhmana, O Nârada !
10. King Varuna pronounced this (to be) poison, prepared by the gods : no one who has devoured the cow of a Brâhmana retains the charge of a kingdom.
11. Those full nine and ninety whom the earth did cast off, because they had injured the offspring of a Brâhmana, were ruined irretrievably.
12. The kūdi-plant (Christ's thorn) that wipes away the track (of death), which they fasten to the dead, that very one, O oppressor of Brahmans, the gods did declare (to be) thy couch.
13. The tears which have rolled from the eyes of) the oppressed (Brahman), as he laments, these very ones, O oppressor of Brahmans, the gods did assign to thee as thy share of water.
14. The water with which they bathe the dead, with which they moisten his beard, that very one, O oppressor of Brahmans, the gods did assign to thee as thy share of water.
15. The rain of Mitra and Varuna does not moisten the oppressor of Brahmans; the assembly is not complacent for him, he does not guide his friend according to his will.
V, 7. Prayer to appease Arâti, the demon of
grudge and avarice. 1. Bring (wealth) to us, do not stand in our way, O Arâti; do not keep from us the sacrificial reward as it is being taken (to us)! Adoration be to the power of grudge, the power of failure, adoration to Arâti!
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2. To thy advising minister, whom thou, Arâti, didst make thy agent, do we make obeisance. Do not bring failure to my wish!
3. May our wish, instilled by the gods, be fulfilled by day and night! We go in quest of Arati. Adoration be to Arâti!
4. Sarasvati (speech), Anumati (favour), and Bhaga (fortune) we go to invoke. Pleasant, honied, words I have spoken on the occasions when the gods were invoked.
5. Him whom I implore with Vák Sarasvati (the goddess of speech), the yoke-fellow of thought, faith shall find to-day, bestowed by the brown soma! · 6. Neither our wish nor our speech do thou frustrate! May Indra and Agni both bring us wealth! Do ye all who to-day desire to make gifts to us gain favour with Arâti !
7. Go far away, failure! Thy missile do we avert. I know thee (to be) oppressive and piercing, O Arâti!
8. Thou dost even transform thyself into a naked woman, and attach thyself to people in their sleep, frustrating, O Arâti, the thought and intention of man.
9. To her who, great, and of great dimension, did penetrate all the regions, to this golden-locked Nirriti (goddess of misfortune), I have rendered obeisance.
10. To the gold-complexioned, lovely one, who rests upon golden cushions, to the great one, to that Arâti who wears golden robes, I have rendered obeisance.
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XII, 4. The necessity of giving away sterile
cows to the Brahmans. 1. 'I give,' he shall surely say, 'the sterile cow to the begging Brahmans'—and they have noted herthat brings progeny and offspring !
2. With his offspring does he trade, of his cattle is he deprived, that refuses to give the cow of the gods to the begging descendants of the Rishis.
3. Through (the gift of) a cow with broken horns his (cattle) breaks down, through a lame one he tumbles into a pit, through a mutilated one his house is burned, through a one-eyed one his property is given away.
4. Flow of blood attacks the cattle-owner from the spot where her dung is deposited : this understanding there is about the vaså (the sterile cow); for thou (sterile cow) art said to be very difficult to deceive!
5. From the resting-place of her feet the (disease) called viklindu overtakes (the owner, or the cattle). Without sickness breaks down (the cattle) which she sniffs upon with her nose.
6. He that pierces her ears is estranged from the gods. He thinks: 'I am making a mark (upon her)' (but) he diminishes his own property.
7. If any one for whatsoever purpose cuts her tail then do his colts die, and the wolf tears his calves.
8. If a crow has injured her hair, as long as she is with her owner then do his children die : decline overtakes them without (noticeable) sickness.
9. If the serving-maid sweeps together her dung,
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that bites as lye, there arises from this sin disfigurement that passeth not away.
10. The sterile cow in her very birth is born for the gods and Brahmanas. Hence to the Brahmans she is to be given : that, they say, guarantees the security of one's own property.
u. For those that come requesting her the cow has been created by the gods. Oppression of Brahmans it is called, if he keeps her for himself.
12. He that refuses to give the cow of the gods to the descendants of the Rishis who ask for it, infringes upon the gods, and the wrath of the Brâhmanas.
13. Though he derives benefit from this sterile cow, another (cow) then shall he seek! When kept she injures (his) folk, if he refuses to give her after she has been asked for!
14. The sterile cow is as a treasure deposited for the Brâhmanas: they come here for her, with whomsoever she is born.
15. The Brâhmanas come here for their own, when they come for the sterile cow. The refusal of her is, as though he were oppressing them in other concerns.
16. If she herds up to her third year, and no disease is discovered in her, and he finds her to be a sterile cow, O Nârada, then must he look for the Brahmanas.
17. If he denies that she is sterile, a treasure deposited for the gods, then Bhava and Sarva, both, come upon him, and hurl their arrow upon him.
18. Though he does not perceive upon her either udder, or tits, yet both yield him milk, if he has prevailed upon himself to give away the sterile cow.
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19. Hard to cheat, she oppresses him, if, when asked for, he refuses to give her. His desires are not fulfilled, if he aims to accomplish them without giving her away.
20. The gods did ask for the sterile cow, making the Brahmana their mouthpiece. The man that does not give (her) enters into the wrath of all of these.
21. Into the wrath of the cattle enters he that gives not the sterile cow to the Brahmanas; if he, the mortal, appropriates the share deposited for the gods.
22. Even if a hundred other Brahmanas beg the owner for the sterile cow, yet the gods did say anent her: 'The cow belongs to him that knoweth thus.'
23. He that refuses the sterile cow to him that knoweth thus, and gives her to others, difficult to dwell upon is for him the earth with her divinities.
24. The gods did beg the sterile cow of him with whom she was born at first. That very one Narada recognised and drove forth in company with the gods.
25. The sterile cow renders childless, and poor in cattle, him that yet appropriates her, when she has been begged for by the Brâhmanas.
26. For Agni and Soma, for Kama, for Mitra, and for Varuna, for these do the Brahmanas beg her: upon these he infringes, if he gives her not.
27. As long as the owner does not himself hear the stanzas referring to the giving away of) her, she may herd among his cattle; (only) if he has not heard (them) may she pass the night in his house.
28. He that has listened to the stanzas, yet has
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permitted her to herd among the cattle, his life and prosperity the angry gods destroy.
29. The sterile cow, even when she rambles freely, is a treasure deposited for the gods. Make evident thy true nature when thou desirest to go to thy (proper) stable !
30. She makes evident her nature when she desires to go to her (proper) stable. Then indeed the sterile cow puts it into the minds of the Brahmans to beg (for her).
31. She evolves it in her mind, that (thought) reaches the gods. Then do the Brahmans come to beg for the sterile cow.
32. The call svadhå befriends him with the Fathers, the sacrifice with the gods. Through the gift of the sterile cow the man of royal caste incurs not the anger of (her), his mother.
33. The sterile cow is the mother of the man of royal caste: thus was it from the beginning. It is said to be no (real) deprivation if she is given to the Brahmans.
34. As if he were to rob the ghee ladled up for Agni (the fire) from the (very) spoon, thus, if he gives not the sterile cow to the Brahmans, does he infringe upon Agni.
35. The sterile cow has the purodasa (sacrificial cake) for her calf, she yields plentiful milk, helps in this world, and fulfils all wishes for him that gives her to the Brahmans).
36. The sterile cow fulfils all wishes in the king. dom of Yama for him that gives her. But they say that hell falls to the lot of him that withholds her, when she has been begged for. 37. The sterile cow, even if she should become
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fruitful, lives in anger at her owner : 'since he did regard me as sterile (without giving me to the Brahmans), he shall be bound in the fetters of death!'
38. He who thinks that the cow is sterile, and (yet) roasts her at home, even his children and grandchildren Brihaspati causes to be importuned (for her).
39. Fiercely does the (supposed) sterile cow burn when she herds with the cattle, though she be a (fruitful) cow. She verily, too, milks poison for the owner that does not present her.
40. It pleases the cattle when she is given to the Brahmans; moreover, the sterile cow is pleased, when she is made an offering to the gods (Brahmans).
41. From the sterile cows which the gods, returning from the sacrifice, created, Narada picked out as (most) terrible the vilipti.
42. In reference to her the gods reflected: 'Is she a sterile cow, or not?' And Narada in reference to her said: 'Of sterile cows she is the most sterile!'
43. 'How many sterile cows are there), O Nârada, which thou knowest to be born among men?' About these do I ask thee, that knowest : 'Of which may the non-Brâhmana not eat?'
44. Of the vilipti, of her that has born a sterile cow, and of the sterile cow (herself), the non-Brahmana, that hopes for prosperity, shall not eat!
45. Reverence be to thee, O Nárada, that knowest thoroughly which sterile cow is the most terrible, by withholding which (from the Brahmans) destruction is incurred.
46. The vilipti, O Brihaspati, her that has begotten a sterile cow, and the sterile cow (herself),
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the non-Brahmana, that hopes for prosperity, shall not eat!
47. Three kinds, forsooth, of sterile cows are there : the vilipti, she that has begotten a sterile cow, and the sterile cow (herself). These he shall give to the Brahmans; (then) does he not estrange himself from Pragâpati.
48. “This is your oblation, O Brahmanas,' thus shall he reflect, if he is supplicated, if they ask him for the sterile cow, terrible in the house of him that refuses to give her.
49. The gods animadverted in reference to Bheda and the sterile cow, angry because he had not given her, in these verses—and therefore he (Bheda)
perished.
50. Bheda did not present the sterile cow, though requested by Indra : for this sin the gods crushed him in battle.
51. The counsellors that advise the withholding (of the sterile cow), they, the rogues, in their folly, conflict with the wrath of Indra.
52. They who lead the owner of cattle aside, then say to him: 'do not give,' in their folly they run into the missile hurled by Rudra.
53. And if he roasts the sterile cow at home, whether he makes a sacrifice of her, or not, he sins against the gods and Brâhmanas, and as a cheat falls from heaven. XI, 1. The preparation of the brahmaudana, the
porridge given as a fee to the Brahmans. 1. O Agni, come into being! Aditi here in her throes, longing for sons, is cooking the porridge for the Brahmans. The seven Rishis, that did
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create the beings, shall here churn thee, along with progeny!
2. Produce the smoke, ye lusty friends; unharmed by wiles go ye into the contest! Here is the Agni (fire) who gains battles, and commands powerful warriors, with whom the gods did conquer the demons.
3. O Agni, to a great heroic deed thou wast aroused, to cook the Brahman's porridge, O Gåtavedas! The seven Rishis, that did create the beings, have produced thee. Grant her (the wife) wealth together with undiminished heroes !
4. Burn, O Agni, after having been kindled by the firewood, bring skilfully hither the gods that are to be revered! Causing the oblation to cook for these (Brahmans), do thou raise this (sacrificer) to the highest firmament !
5. The threefold share which was of yore assigned to you (belongs) to the gods, the (departed) Fathers, and to the mortals (the priests). Know your shares ! I divide them for you: the (share) of the gods shall protect this (woman)!
6. O Agni, possessed of might, superior, thou dost without fail prevail! Bend down to the ground our hateful rivals!—This measure, that is being measured, and has been measured, may constitute thy kin into (people) that render thee tribute !
7. Mayest thou together with thy kin be endowed with sap! Elevate her (the wife) to great heroism ! Ascend on high to the base of the firmament, which they call the world of brightness'!
8. This great goddess earth, kindly disposed, shall receive the (sacrificial) skin! Then may we go to the world of well-doing (heaven)!
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9. Lay these two press-stones, well coupled, upon the skin; crush skilfully the (soma-) shoots for the sacrificer! Crush down, (O earth), and beat down, those who are hostile to her (the wife); lift up high, and elevate her offspring !
10. Take into thy hands, O man, the press-stones that work together : the gods that are to be revered have come to thy sacrifice! Whatever three wishes thou dost choose, I shall here procure for thee unto fulfilment.
11. This, (O winnowing-basket), is thy purpose, and this thy nature : may Aditi, mother of heroes, take hold of thee! Winnow out those who are hostile to this (woman); afford her wealth and undiminished heroes!
12. Do ye, (O grains), remain in the (winnowing-) basket, while (the wind) blows over you; be separated, ye who are fit for the sacrifice, from the chaff! May we in happiness be superior to all our equals! I bend down under our feet those that hate us.
13. Retire, O woman, and return promptly! The stable of the waters (water-vessel) has settled upon thee, that thou mayest carry it: of these (the waters) thou shalt take such as are fit for sacrifice; having intelligently divided them off, thou shalt leave the rest behind !
14. These bright women, (the waters), have come hither. Arise, thou woman, and gather strength! To thee, that art rendered by thy husband a true wife, (and) by thy children rich in offspring, the sacrifice has come : receive the (water-) vessel!
15. The share of food that belongs to you of yore has been set aside for you. Instructed by the Rishis bring thou (woman) hither this water! May this
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sacrifice win advancement for you, win protection, win offspring for you; may it be mighty, win cattle, and heroes for you!
16. O Agni, the sacrificial pot has settled upon thee: do thou shining, brightly glowing, heat it with thy glow! May the divine descendants of the Rishis, assembled about their share (of the porridge), full of fervour, heat this (pot) at the proper time!
17. Pure and clear may these sacrificial women, the waters bright, flow into the pot! They have given us abundant offspring and cattle. May he that cooks the porridge go to the world of the pious (heaven)!
18. Purified by (our) prayer, and clarified by the ghee are the soma-shoots, (and) these sacrificial grains. Enter the water; may the pot receive you! When ye have cooked this (porridge) go ye to the world of the pious (heaven)!
19. Spread out far unto great extent, with a thousand surfaces, in the world of the pious! Grandfathers, fathers, children, grandchildren-I am the fifteenth one that did cook thee.
20. The porridge has a thousand surfaces, a hundred streams, and is indestructibles it is the road of the gods, leads to heaven. Yonder (enemies) do I place upon thee: injure them and their offspring ; (but) to me that brings gifts thou shalt be merciful!
21. Step upon the altar (vedi); make this woman thrive in her progeny; repel the demons; advance her! May we in happiness be superior to all our equals! I bend down under our feet all those that hate us.
22. Turn towards her with cattle, (thou pot), face towards her, together with the divine powers !
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Neither curses nor hostile magic shall reach thee; rule in thy dwelling free from disease!
23. Properly built, placed with care, this altar (vedi) has been arranged of yore for the Brahmans porridge. Put it, О woman, upon the purified amsadhrt; place there the porridge for the divine (Brâhmanas)!
24. May this sacrificial ladle (sruk), the second hand of Aditi, which the seven Rishis, the creators of the beings, did fashion, may this spoon, knowing the limbs of the porridge, heap it upon the altar!
25. The divine (Brahmanas) shall sit down to thee, the cooked sacrifice: do thou again descending from the fire, approach them! Clarified by soma settle in the belly of the Brâhmanas; the descendants of the Rishis who eat thee shall not take harm!
26. O king Soma, infuse harmony into the good Brahmanas who shall sit about thee! Eagerly do I invite to the porridge the Rishis, descended from Rishis, that are born of religious fervour, and gladly obey the call.
27. These pure and clear sacrificial women (the waters) I put into the hands of the Brahmanas severally. With whatever wish I pour this upon you, may Indra accompanied by the Maruts grant this to me!
28. This gold is my immortal light, this ripe fruit of the field is my wish-granting cow. This treasure I present to the Brâhmanas : I prepare for myself a road that leads to the Fathers in the heavens.
29. Scatter the spelt into Agni Gâtavedas (the fire), sweep away to a far distance the chaff! This (chaff) we have heard, is the share of the ruler of the house (Agni), and we know, too, what belongs to Nirriti (destruction) as her share.
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30. Note, (O porridge), him that takes pains, and cooks and presses the soma; lift him up to the heavenly road, upon which, after he has reached the fullest age, he shall ascend to the highest firmament, the supreme heavens!
31. Anoint (with ghee), O adhvaryu (priest), the surface of this sustaining (porridge), make skilfully a place for the melted butter; with ghee do thou anoint all its limbs! I prepare for myself a road that leads to the Fathers in the heavens.
32. O sustaining (porridge), cast destruction and strife among such as are sitting about thee, and are not Brahmanas! (But) the descendants of the Rishis, that eat thee, being full of substance, spreading forth, shall not take harm!
33. To the descendants of the Rishis I make thee over, O porridge; those who are not descended from Rishis have no share in it! May Agni as my guardian, may all the Maruts, and all the gods watch over the cooked food!
34. Thee (the porridge) that milkest the sacrifice, art evermore abundant, the male milch-cow, the seat of wealth, we beseech for immortality of offspring and long life with abundance of wealth.
35. Thou art a lusty male, penetratest heaven: go thou to the Rishis, descended from Rishis! Dwell in the world of the pious: there is a well-prepared (place) for us two!
36. Pack thyself up, go forth! O Agni, prepare the roads, that lead to the gods! By these wellprepared (roads) may we reach the sacrifice, standing upon the firmament (that shines) with seven rays !
37. With the light with which the gods, having cooked the porridge for the Brâhmanas, ascended
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to heaven, to the world of the pious, with that would we go to the world of the pious, ascending to the light, to the highest firmament !
XII, 3. The preparation of the brahmaudana, the
porridge given as a fee to the Brahmans. 1. (Thyself) a male, step thou upon the hide of the male (steer) : go, call thither all that is dear to thee! At whatever age ye two formerly did first unite (in marriage), may that age be your common lot in Yama's kingdom !
2. Your sight shall be as clear (as formerly), your strength as abundant, your lustre as great, your vitality as manifold! When Agni, the (funeral-) pyre, fastens himself upon the corpse, then as a pair ye shall rise from the (cooked) porridge!
3. Come ye together in this world, upon the road to the gods, and in Yama's realms! By purifications purified call ye together the offspring that has sprung from you!
4. Around the water united, sit ye down, O children ; around this living (father) and the waters that refresh the living ! Partake of these (waters), and of that porridge which the mother of you two cooks, and which is called amrita (ambrosia)!
5. The porridge which the father of you two, and which the mother cooks, unto freedom from defilement and foulness of speech, that porridge with a hundred streams (of ghee), leading to heaven, has penetrated with might both the hemispheres of the world.
6. In that one of the two hemispheres and the two heavenly worlds, conquered by the pious, which especially abounds in light, and is rich in honey, in
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that do ye in the fulness of time come together with your children!
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7. Keep ever on in an easterly direction: this is the region that the faithful cling to! When your cooked porridge has been prepared on the fire, hold together, O man and wife, that ye may guard it!
8. When ye shall have reached the southerly direction, turn ye to this vessel! In that Yama, associated with the fathers, shall give abundant protection to your cooked porridge!
9. This westerly direction is especially favoured: in it Soma is ruler and consoler. To this hold, attach yourselves to the pious: then as a pair ye shall rise from the cooked porridge!
10. The northerly direction shall make our realm the very uppermost, in offspring uppermost! The purusha is the metre pankti: with all (our kin), endowed with all their limbs, may we be united!
II. This 'firm' direction (nadir) is Virâg (brilliancy) reverence be to her; may she be kind to my children and to me! Mayest thou, O goddess Aditi, who holdest all treasures, as an alert guardian guard the cooked porridge!
12. As a father his children do thou, (O earth), embrace us; may gentle winds blow upon us here on earth! Then the porridge which the two divinities (the sacrificer and his wife) are here preparing for us shall take note of our religious fervour and our truth!
13. Whatever the black bird, that has come hither stealthily, has touched of that which has stuck to the rim, or whatever the wet-handed slavegirl does pollute-may ye, O waters, purify (that) mortar and pestle!
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14. May this sturdy press-stone, with broad bottom, purified by the purifiers, beat away the Rakshas ! Settle upon the skin, afford firm protection; may man and wife not come to grief in their children!
15. The (pestle of) wood has come to us together with the gods : it drives away the Rakshas and Pisakas. Up it shall rise, shall let its voice resound: through it let us conquer all the worlds !
16. The cattle clothed itself in sevenfold strength, those among them that are sleek and those that are poor. The thirty-three gods attend them : mayest thou, (O cattle), guide us to the heavenly world!
17. To the bright world of heaven thou shalt lead us; (there) let us be united with wife and children ! I take her hand, may she follow me there ; neither Nirriti (destruction), nor Arâti (grudge), shall gain mastery over us!
18. May we get past the evil Gråhi (seizure)! Casting aside darkness do thou, (O pestle), let thy lovely voice resound; do not, O wooden tool, when raised, do injury; do not mutilate the grain devoted to the gods!
19. All-embracing, about to be covered with ghee, enter, (O pot), as a co-dweller this space!—Take hold of the winnowing-basket, that has been grown by the rain : the spelt and the chaff it shall sift out!
20. Three regions are constructed after the pattern of the Brahmana: yonder heaven, the earth, and the atmosphere.—Take the (soma-) shoots, and hold one another, (O man and wife)! They (the shoots) shall swell (with moisture), and again go back into the winnowing-basket!
21. Of manifold variegated colours are the
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animals, one colour hast thou, (O porridge), when successfully prepared.-Push these (soma-) shoots upon this red skin; the press-stone shall purify them as the washer-man his clothes !
22. Thee, the (pot of) earth, I place upon the earth: your substance is the same, though thine, (O pot), is modified. Even though a blow has cracked or scratched thee, do not therefore burst: with this verse do I cover that up!
23. Gently as a mother embrace the son: I unite thee, (pot of) earth, with the earth! Mayest thou, the hollow pot, not totter upon the altar, when thou art pressed by the tools of sacrifice and the ghee!
24. May Agni who cooks thee protect thee on the east, Indra with the Maruts protect thee on the south! May Varuna on the west support thee upon thy foundation, may Soma on the north hold thee together!
25. Purified by the purifiers, the (waters) flow pure from the clouds, they reach to the spaces of heaven, and of the earth. They are alive, refresh the living, and are firmly rooted : may Agni heat them, after they have been poured into the vessel !
26. From heaven they come, into the earth they penetrate; from the earth they penetrate into the atmosphere. May they, now pure, yet purify themselves further; may they conduct us to the heavenly world !
27. Whether ye are over-abundant or just sufficient, ye are surely clear, pure, and immortal : cook, ye waters, instructed by the husband and wife, obliging and helpful, the porridge !
28. Counted drops penetrate into the earth, commensurate with the breaths of life and the plants. The uncounted golden (drops), that are poured into
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(the porridge), have, (themselves) pure, established complete purity.
29. The boiling waters rise and sputter, cast up foam and many bubbles. Unite, ye waters, with this grain, as a woman who beholds her husband in the proper season!
30. Stir up (the grains) as they settle at the bottom: let them mingle their inmost parts with the waters! The water here I have measured with cups; measured was the grain, so as to be according to these regulations.
31. Hand over the sickle, with haste bring promptly (the grass for the barhis); without giving pain let them cut the plants at the joints! They whose kingdom Soma rules, the plants, shall not harbour anger against us!
32. Strew a new barhis for the porridge : pleasing to its heart, and lovely to its sight it shall be! Upon it the gods together with the goddesses shall enter; settle down to this (porridge) in proper order, and eat it!
33. O instrument of) wood, settle down upon the strewn barhis, in keeping with the divinities and the agnishtoma rites! Well shaped, as if by a carpenter (Tvashtar) with his axe, is thy form. Longing for this (porridge) the (gods) shall be seen about the vessel!
34. In sixty autumns the treasurer (of the porridge) shall fetch it, by the cooked grain he shall obtain heaven; the parents and the children shall live upon it. Bring thou this (man) to heaven, into the presence of Agni!
35. (Thyself) a holder, (O pot), hold on to the foundation of the earth : thee, that art immoveable
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the gods (alone) shall move! Man and wife, alive, with living children, shall remove thee from the hearth of the fire !
36. Thou hast conquered and reached all worlds; as many as are our wishes, thou hast satisfied them. Dip ye in, stirring stick and spoon! Place it (the porridge) upon a single dish!
37. Lay (ghee) upon it, let it spread forth, anoint this dish with ghee! As the lowing cow her young that craves the breast, ye gods shall greet with sounds of satisfaction this (porridge)!
38. With ghee thou hast covered it, hast made this place (for the porridge): may it, peerless, spread afar to heaven! Upon it shall ,ést the mighty eagle; gods shall offer it to the divinities!
39. Whatever the wife cooks aside from thee, (O husband), or the husband (cooks) unbeknown of thee, O wife, mix that together : to both of you it shall belong; bring it together into a single place!
40. As many of her children as dwell upon the earth, and the sons that have been begotten by him, all those ye shall call up to the dish: on shall come the young knowing their nest!
41. The goodly streams, swelling with honey, mixed with ghee, the seats of ambrosia, all these does he obtain, ascends to heaven. In sixty autumns the treasurer (of the porridge) shall fetch it!:
42. The treasurer shall fetch this treasure: all outsiders round about shall not control it! The heaven-directed porridge, that has been presented and deposited by us, in three divisions has reached the three heavens.
43. May Agni burn the ungodly Rakshas; the flesh-devouring Pisâka shall have nothing here to
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partake of! We drive him away, hold him afar from us: the Adityas and Angiras shall stay near it!
44. To the Adityas and the Angiras do I offer this (food of) honey, mixed with ghee. Do ye two, (man and wife), with clean hands, without having injured a Brâhmana, performing pious deeds, go to that heavenly world!
45. I would obtain this highest part of it (the porridge), the place from which the highest lord permeates (the all). Pour butter upon it, anoint it with plentiful ghee: this here is our share, fit for the Angiras!
46. For the sake of truth and holy strength do we make over •';is porridge as a hoarded treasure to the gods : it shall not be lost to us in gaming or in the assembly; do not let it go to any other person before me!
47. I cook, and I give (to the Brahmans), and so, too, my wife, at my religious rite and practice.—With the birth of a son the world of children has arisen (for you): do ye two hold on to a life that extends beyond (your years)!
48. In that place exists no guilt, and no duplicity, not even if he goes conspiring with his friends. This full dish of ours has here been deposited: the cooked (porridge) shall come back again to him that cooks it !
49. Kind deeds we shall perform for our friends : all that hate us shall go to darkness (hell) !-As (fruitful) cow, and (strong) steer, they (man and wife) shall during every successive period of their lives drive away man-besetting death!
50. The fires (all) know one another, that which lives in plants, and lives in the waters, and all the
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(light-) gods that glow upon the heaven. The gold (here) becomes the light of him that cooks (the porridge).
51. This (naked skin) among the hides is born upon man (alone), all other animals are not naked. Clothe yourselves, (ye Brahmans), in sheltering garments: (even) the face of the porridge is a homespun garment!
52. What falsehood thou shalt speak at play and in the assembly, or the falsehood that thou shalt speak through lust for gain-put on together, (O man and wife), this same garment, deposit upon it every blemish!
53. Produce rain, go to the gods, let smoke arise from (thy) surface; all-embracing, about to be covered with ghee, enter as a co-dweller this place!
54. In many ways heaven assumes within itself a different form, according to circumstances. It (the heaven) has laid aside its black form, purifying itself to a bright (form); the red form do I sacrifice for thee into the fire.
55. Thee here we hand over to the eastern direction, to Agni as sovereign lord, to the black serpent as guardian, to Âditya as bowman: do ye guard it for us, until we arrive! To the goal here he shall lead us, to old age; old age shall hand us over to death then shall we be united with the cooked (porridge)!
56. Thee here we hand over to the southern direction, to Indra as sovereign lord, to the serpent that is striped across as guardian, to Yama as bowman: do ye guard it for us, until we arrive! To the goal here, &c.
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57. Thee here we hand over to the western direction, to Varuna as sovereign lord, to the pridákuserpent as guardian, to food as bowman: do ye guard it for us, until we arrive. To the goal here, &c.
58. Thee here we hand over to the northern direction, to Soma as sovereign lord, to the svagaserpent as guardian, to the lightning as bowman : do ye guard it for us, until we arrive. To the goal here, &c.
59. Thee here we hand over to the direction of the nadir, to Vishnu as sovereign lord, to the serpent with black-spotted neck as guardian, to the plants as bowmen: do ye guard it for us, until we arrive. To the goal here, &c.
60. Thee here we hand over to the direction of the zenith, to Brihaspati as sovereign lord, to the light-coloured serpent as guardian, to the rain as bowman: do ye guard it for us, until we arrive. To the goal here, &c.
IX, 3. Removal of a house that has been presented
to a priest as sacrificial reward. 1. The fastenings of the buttresses, the supports, and also of the connecting beams of the house, that abounds in treasures, do we loosen.
2. 0 (house) rich in all treasures ! the fetter which has been bound about thee, and the knot which has been fastened upon thee, that with my charm do I undo, as Brihaspati (undid) Vala.
3. (The builder) has drawn thee together, pressed thee together, placed firm knots upon thee. Skilfully, as the priest who butchers (the sacrificial animal), do we with Indra's aid disjoint thy limbs.
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4. From thy beams, thy bolts, thy frame, and thy thatch; from thy sides, (O house) abounding in treasures, do we loosen the fastenings.
5. The fastenings of the dove-tailed (joints), of the reed (-covering), of the frame-work, do we loosen here from the 'mistress of dwelling.'
6. The ropes which they have tied within thee for comfort, these do we loosen from thee; be thou propitious to our persons, O mistress of dwelling, after thou hast (again) been erected !
7. A receptacle for Soma, a house for Agni, a seat for the mistresses (of the house), a seat (for the priests), a seat for the gods art thou, O goddess house!
8. Thy covering of wicker-work, with thousand eyes, stretched out upon thy crown, fastened down and laid on, do we loosen with (this) charm.
9. He who receives thee as a gift, o house, and he by whom thou hast been built, both these, O mistress of dwelling, shall live attaining old age!
10. Return to him in the other world, firmly bound, ornamented, thou house), which we loosen limb by limb, and joint by joint!
11. He who built thee, O house, brought together (thy) timbers, he, a Pragàpati on high, did construct thee, O house, for his progeny (pragâyai).
12. We render obeisance to him (the builder); obeisance to the giver, the lord of the house ; obeisance to Agni who serves (the sacrifice); and obeisance to thy (attendant) man!
13. Reverence to the cattle and the horses, and to that which is born in the house! Thou that hast produced, art rich in offspring, thy fetters do we loosen.
14. Thou dost shelter Agni within, (and) the
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domestics together with the cattle. Thou that hast produced, art rich in offspring, thy fetters do we loosen.
15. The expanse which is between heaven and earth, with that do I receive as a gift this house of thine; the middle region which is stretched out from the sky, that do I make into a receptacle for treasures ; with that do I receive the house for this one.
16. Full of nurture, full of milk, fixed upon the earth, erected, holding food for all, O house, do thou not injure them that receive thee as a gift!
17. Enveloped in grass, clothed in reeds, like night does the house lodge the cattle; erected thou dost stand upon the earth, like a she-elephant, firm of foot.
18. The part of thee that was covered with mats unfolding do I loosen. Thee that hast been enfolded by Varuna may Mitra uncover in the morning!
19. The house built with pious word, built by seers, erected— may Indra and Agni, the two immortals, protect the house, the seat of Soma !
20. Chest is crowded upon chest, basket upon basket; there mortal man is begotten from whom all things spring.
21. In the house which is built with two facades, four facades, six facades; in the house with eight facades, with ten facades, in the 'mistress of dwelling,' Agni rests as if in the womb.
22. Turning towards thee that art turned towards me, O house, I come to thee that injurest me not. For Agni and the waters, the first door to divine order, are within.
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23. These waters, free from disease, destructive of disease, do I bring here. The chambers do I enter in upon in company with the immortal Agni (fire).
24. Do thou not fasten a fetter upon us; though a heavy load, become thou light! As a bride do we carry thee, O house, wherever we please.
25. From the easterly direction of the house reverence (be) to greatness, hail to the gods who are to be addressed with hail !
26. From the southerly direction of the house, &c. ! 27. From the westerly direction of the house, &c.! 28. From the northerly direction of the house, &c. !
29. From the firm direction (nadir) of the house, &c. !
30. From the upright direction (zenith) of the house, &c. !
31. From every direction of the house reverence (be) to greatness, hail to the gods who are to be addressed with hail !
VI, 71. Brahmanical prayer at the receipt of
gifts. 1. The varied food which I consume in many places, my gold, my horses, and, too, my cows, goats, and sheep: everything whatsoever that I have received as a gift-may Agni, the priest, render that an auspicious offering !
2. The gift that has come to me by sacrifice, or without sacrifice, bestowed by the Fathers, granted by men, through which my heart, as it were, lights up with joy-may Agni, the priest, render that an auspicious offering!
3. The food that I, O gods, improperly consume,
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(the food) I promise, intending to give of it (to the Brahmans), or not to give of it, by the might of mighty Vaisvânara (Agni) may (that) food be for me auspicious and full of honey!
XX, 127. A kuntâpa-hymn.
A.
1. Listen, ye folks, to this: (a song) in praise of a hero shall be sung! Six thousand and ninety (cows) did we get (when we were) with Kaurama among the Rusamas,—
2. Whose twice ten buffaloes move right along, together with their cows; the height of his chariot just misses the heaven which recedes from its touch. 3. This one (Kaurama) presented the seer with a hundred jewels, ten chaplets, three hundred steeds, and ten thousand cattle.
B.
4. Disport thyself, O chanter, disport thyself as a bird upon a flowering tree; thy tongue glides quickly over the lips as a razor over the strop.
5. The chanters with their pious song hurry on blithely as cows; at home are their children, and at home the cows do they attend.
6. Bring hither, O chanter, thy poem, that which earns cattle and earns good things! Among the gods (kings) place thy voice as a manly archer his arrow!
C.
7. Listen ye to the high praise of the king who rules over all peoples, the god who is above mortals, of Vaisvânara Parikshit!
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8. Parikshit has procured for us a secure dwelling, when he, the most excellent one, went to his seat. (Thus) the husband in Kuru-land, when he founds his household, converses with his wife.
9. What may I bring to thee, curds, stirred drink, or liquor ?' (Thus the wife asks her husband in the kingdom of king Parikshit.
10. Like light the ripe barley runs over beyond the mouth (of the vessels). The people thrive merrily in the kingdom of king Parikshit.
D.
11. Indra has awakened the poet, saying: 'Arise, move about, and sing; of me, the strong, verily, sing the praises; full every pious one shall offer thee (sacrificial reward)!'
12. Here, O cattle, ye shall be born, here, ye horses, here, ye domestics! And Pashan also, who bestows a thousand (cows) as sacrificial reward, settles down here.
13. May these cattle, O Indra, not suffer harm, and may their owner not suffer harm; may the hostile folk, O Indra, may the thief not gain possession of them!
14. We shout to the hero with hymn and song, we (shout) with a pleasing song. Take delight in our songs; may we not ever suffer harm!
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XII, 1. Hymn to goddess Earth. 1. Truth, greatness, universal order (rita), strength, consecration, creative fervour (tapas), spiritual exaltation (brahma), the sacrifice, support the earth. May this earth, the mistress of that which was and shall be, prepare for us a broad domain !
2. The earth that has heights, and slopes, and great plains, that supports the plants of manifold virtue, free from the pressure that comes from the midst of men, she shall spread out for us, and fit herself for us!
3. The earth upon which the sea, and the rivers and the waters, upon which food and the tribes of men have arisen, upon which this breathing, moving life exists, shall afford us precedence in drinking!
4. The earth whose are the four regions of space, upon which food and the tribes of men have arisen, which supports the manifold breathing, moving things, shall afford us cattle and other possessions also!
5. The earth upon which of old the first men unfolded themselves, upon which the gods overcame the Asuras, shall procure for us (all) kinds of cattle, horses, and fowls, good fortune, and glory!
6. The earth that supports all, furnishes wealth,
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the foundation, the golden-breasted resting-place of all living creatures, she that supports Agni Vaisvanara (the fire), and mates with Indra, the bull, shall furnish us with property!
7. The broad earth, which the sleepless gods ever attentively guard, shall milk for us precious honey, and, moreover, besprinkle us with glory!
8. That earth which formerly was water upon the ocean (of space), which the wise (seers) found out by their skilful devices; whose heart is in the highest heaven, immortal, surrounded by truth, shall bestow upon us brilliancy and strength, (and place us) in supreme sovereignty!
9. That earth upon which the attendant waters jointly flow by day and night unceasingly, shall pour out milk for us in rich streams, and, moreover, besprinkle us with glory!
10. The earth which the Asvins have measured, upon which Vishnu has stepped out, which Indra, the lord of might, has made friendly to himself; she, the mother, shall pour forth milk for me, the son!
11. Thy snowy mountain heights, and thy forests, O earth, shall be kind to us! The brown, the black, the red, the multi-coloured, the firm earth, that is protected by Indra, I have settled upon, not suppressed, not slain, not wounded.
12. Into thy middle set us, O earth, and into thy navel, into the nourishing strength that has grown up from thy body; purify thyself for us! The earth is the mother, and I the son of the earth; Parganya is the father; he, too, shall save us!
13. The earth upon which they (the priests) inclose the altar (vedi), upon which they, devoted to all (holy) works, unfold the sacrifice, upon which
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are set up, in front of the sacrifice, the sacrificial posts, erect and brilliant, that earth shall prosper us, herself prospering!
14. Him that hates us, O earth, him that battles against us, him that is hostile towards us with his mind and his weapons, do thou subject to us, anticipating (our wish) by deed!
15. The mortals born of thee live on thee, thou supportest both bipeds and quadrupeds. Thine, O earth, are these five races of men, the mortals, upon whom the rising sun sheds undying light with his rays.
16. These creatures all together shall yield milk for us; do thou, O earth, give us the honey of speech!
17. Upon the firm, broad earth, the all-begetting mother of the plants, that is supported by (divine) law, upon her, propitious and kind, may we ever pass our lives!
18. A great gathering-place thou, great (earth), hast become; great haste, commotion, and agitation are upon thee. Great Indra protects thee unceasingly. Do thou, O earth, cause us to brighten as if at the sight of gold: not any one shall hate us!
19. Agni (fire) is in the earth, in the plants, the waters hold Agni, Agni is in the stones; Agni is within men, Agnis (fires) are within cattle, within horses.
20. Agni glows from the sky, to Agni, the god, belongs the broad air. The mortals kindle Agni, the bearer of oblations, that loveth ghee.
21. The earth, clothed in Agni, with dark knees, shall make me brilliant and alert !
22. Upon the earth men give to the gods the sacrifice, the prepared oblation; upon the earth
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mortal men live pleasantly by food. May this earth give us breath and life, may she cause me to reach old age!
23. The fragrance, O earth, that has arisen upon thee, which the plants and the waters hold, which the Gandharvas and the Apsaras have partaken of, with that make me fragrant: not any one shall hate us!
24. That fragrance of thine which has entered into the lotus, that fragrance, 0 earth, which the immortals of yore gathered up at the marriage of Sûryâ, with that make me fragrant: not any one shall hate us!
25. That fragrance of thine which is in men, the loveliness and charm that is in male and female, that which is in steeds and heroes, that which is in the wild animals with trunks (elephants), the lustre that is in the maiden, O earth, with that do thou blend us : not any one shall hate us!
26. Rock, stone, dust is this earth; this earth is supported, held together. To this golden-breasted earth I have rendered obeisance.
27. The earth, upon whom the forest-sprung trees ever stand firm, the all-nourishing, compact earth, do we invoke.
28. Rising or sitting, standing or walking, may we not stumble with our right or left foot upon the earth!
29. To the pure earth I speak, to the ground, the soil that has grown through the brahma (spiritual exaltation). Upon thee, that holdest nourishment, prosperity, food, and ghee, we would settle down, O earth!
30. Purified the waters shall flow for our bodies;
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what flows off from us that do we deposit upon him we dislike: with a purifier, O earth, do I purify myself!
31. Thy easterly regions, and thy northern, thy southerly (regions), O earth, and thy western, shall be kind to me as I walk (upon thee)! May I that have been placed into the world not fall down!
32. Do not drive us from the west, nor from the east; not from the north, and not from the south! Security be thou for us, O earth: waylayers shall not find us, hold far away (their) murderous weapon!
33. As long as I look out upon thee, O earth, with Sarya (the sun) as my companion, so long shall my sight not fail, as year followeth upon year!
34. When, as I lie, I turn upon my right or left side, O earth; when stretched out we lie with our ribs upon thee pressing against (us), do not, О earth, that liest close to everything, there injure us!
35. What, О earth, I dig out of thee, quickly shall that grow again : may I not, O pure one, pierce thy vital spot, (and) not thy heart!
36. Thy summer, O earth, thy rainy season, thy autumn, winter, early spring, and spring; thy decreed yearly seasons, thy days and nights shall yield us milk !
37. The pure earth that starts in fright away from the serpent, upon whom were the fires that are within the waters, she that delivers (to destruction) the blasphemous Dasyus, she that takes the side of Indra, not of Vritra, (that earth) adheres to Sakra (mighty Indra), the lusty bull.
38. Upon whom rests the sacrificial hut (sadas) and the (two) vehicles that hold the soma (havirdhâne), in whom the sacrificial post is fixed, upon
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whom the Brahmanas praise (the gods) with riks and såmans, knowing (also) the yągur-formulas; upon whom the serving-priests (ritvig) are employed so that Indra shall drink the soma ;
39. Upon whom the seers of yore, that created the beings, brought forth with their songs the cows, they the seven active (priests), by means of the satraofferings, the sacrifices, and their creative fervour (tapas);
40. May this earth point out to us the wealth that we crave; may Bhaga (fortune) add his help, į may Indra come here as (our) champion!
41. The earth upon whom the noisy mortals sing and dance, upon whom they fight, upon whom resounds the roaring drum, shall drive forth our enemies, shall make us free from rivals!
42. To the earth upon whom are food, and rice and barley, upon whom live these five races of men, to the earth, the wife of Parganya, that is fattened by rain, be reverence !
43. The earth upon whose ground the citadels constructed by the gods unfold themselves, every region of her that is the womb of all, Pragapati shall make pleasant for us!
44. The earth that holds treasures manifold in secret places, wealth, jewels, and gold shall she give to me; she that bestows wealth liberally, the kindly goddess, wealth shall she bestow upon us !
45. The earth that holds people of manifold varied speech, of different customs, according to their habitations, as a reliable milch-cow that does not kick, shall she milk for me a thousand streams of wealth!
46. The serpent, the scorpion with thirsty fangs,
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that hibernating torpidly lies upon thee; the worm, and whatever living thing, O earth, moves in the rainy season, shall, when it creeps, not creep upon us: with what is auspicious (on thee) be gracious to us!
47: Thy many paths upon which people go, thy tracks for chariots and wagons to advance, upon which both good and evil men proceed, this road, free from enemies, and free from thieves, may we gain : with what is auspicious (on thee) be gracious to us!
48. The earth holds the fool and holds the wise, endures that good and bad dwell (upon her); she keeps company with the boar, gives herself up to the wild hog.
49. Thy forest animals, the wild animals homed in the woods, the man-eating lions, and tigers that roam; the ula, the wolf, mishap, injury (rikshikâ), and demons (rakshas), O earth, drive away from us !
50. The Gandharvas, the Apsaras, the Arayas and Kimidins; the Pisâkas and all demons (rakshas), these, O earth, hold from us!
51. The earth upon whom the biped birds fly together, the flamingoes, eagles, birds of prey, and fowls; upon whom Mâtarisvan, the wind, hastens, raising the dust, and tossing the trees—as the wind blows forth and back the flame bursts after ;
52. The earth upon whom day and night jointly, black and bright, have been decreed, the broad earth covered and enveloped with rain, shall kindly place us into every pleasant abode!
53. Heaven, and earth, and air have here given me expanse; Agni, Surya, the waters, and all the gods together have given me wisdom.
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54. Mighty am I, Superior' (uttara) by name, upon the earth, conquering am I, all-conquering, completely conquering every region.
55. At that time, O goddess, when, spreading (prathamâna) forth, named (prithivi 'broad') by the gods, thou didst extend to greatness, then prosperity did enter thee, (and) thou didst fashion the four regions.
56. In the villages and in the wilderness, in the assembly-halls that are upon the earth; in the gatherings, and in the meetings, may we hold forth agreeably to thee!
57. As dust a steed did she, as soon as she was born, scatter these people, that dwelt upon the earth, she the lovely one, the leader, the guardian of the world, that holds the trees and plants.
58. The words I speak, honied do I speak them : the things I see they furnish me with. Brilliant I am and alert : the others that rush (against me) do I beat down.
59. Gentle, fragrant, kindly, with the sweet drink (kilâla) in her udder, rich in milk, the broad earth together with (her) milk shall give us courage!
60. She whom Visvakarman (the creator of all) did search out by means of oblations, when she had entered the surging (flood of the) atmosphere, she, the vessel destined to nourish, deposited in a secret place, became visible (to the gods) and the heavenly) mothers.
61. Thou art the scatterer of men, the broadly expanding Aditi that yields milk according to wish. What is wanting in thee, Pragapati, first-born of the divine order (rita), shall supply for thee !
62. Thy laps, O earth, free from ailment, free
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from disease, shall be produced for us! May we attentively, through our long lives, be bearers of bali-offerings to thee!
63. O mother earth, kindly set me down upon a well-founded place! With (father) heaven cooperating, O thou wise one, do thou place me into happiness and prosperity!
XIII, 1. Prayer for sovereign power addressed to
the god Rohita and his female Rohini. 1. Rise up, O steed, that art within the waters, enter this kingdom, rich in liberal gifts! Rohita (the red sun) who has begotten this all, shall keep thee well-supported for sovereignty!
2. The steed that is within the waters has risen up: ascend upon the clans that are sprung from thee! Furnishing soma, the waters, plants, and cows, cause thou four-footed and two-footed creatures to enter here!
3. Do ye, strong Maruts, children of Prisni (the cloud), allied with Indra, crush the enemies! Rohita shall hear you, that give abundant gifts, the thrice seven Maruts, who take delight in sweet (nourishment)!
4. Rohita has climbed the heights, he has ascended them, he, the embryo of women, (has ascended) the womb of births. Closely united with these women they found out the six broad (directions); spying out a road he has brought hither sovereignty.
5. Hither to thee Rohita has brought sovereignty; he has dispersed the enemies : freedom from danger has resulted for thee. To thee heaven and earth
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together with the revati and sakvart-stanzas shall yield gifts at will!
6. Rohita produced heaven and earth; there Parameshthin (the lord on high) extended the thread (of the sacrifice). There Aga Ekapâda (the onefooted goat, the sun) did fix himself; he made firm the heavens and earth with his strength.
7. Rohita made firm heaven and earth, by him the (heavenly) light was established, by him the firmament. By him the atmosphere and the spaces were measured out, through him the gods obtained immortality.
8. Rohita did ponder the multiform (universe) while preparing (his) climbings and advances. Having ascended the heaven with great might, he shall anoint thy royalty with milk and ghee!
9. All thy climbings, advances, and all thy ascents with which thou, (Rohita, the sun), fillest the heavens and the atmosphere, having strengthened thyself with their brahma and payas (spiritual and physical essence) do thou keep awake (do thou watch over) among the people in the kingdom of the (earthly) Rohita (the king)!
10. The peoples that have originated from thy tapas (heat, or creative fervour), have followed here the calf, the gâyatri. They shall enter thee with kindly spirit; the calf Rohita with its mother shall come on!
11. High on the firmament Rohita has stood, a youth, a sage, begetting all forms. As Agni he shines with piercing light, in the third space he did assume lovely (forms).
12. A bull with a thousand horns, Gâtavedas (fire), endowed with sacrifices of ghee, carrying
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soma upon his back, rich in heroes, he shall, when implored, not abandon me, nor may I abandon thee: abundance in cattle and abundance in heroes procure for me!
13. Rohita is the generator of the sacrifice, and its mouth; to Rohita I offer oblations with voice, ear, and mind. To Rohita the gods resort with glad mind: he shall cause me to rise through elevation derived from the assembly!
14. Rohita arranged a sacrifice for Visvakarman ; from it these brilliant qualities have come to me. Let me announce thy origin over the extent of the world!
15. Upon thee have ascended the brihati and the pankti (metres), upon thee the kakubh with splendour, O Gâta vedas. Upon thee the vashat-call, whose syllables make an ushniha, has ascended, upon thee Rohita with his seed has ascended.
16. This one clothes himself in the womb of the earth, this one clothes himself in heaven, and in the atmosphere. This one at the station of the brown (sun) did attain unto the worlds of light.
17. O Vakaspati (lord of speech), the earth shall be pleasant to us, pleasant our dwelling, agreeable our couches! Right here life's breath shall be to our friend; thee, O Parameshthin, Agni shall envelop in life and lustre!
18. O Vakaspati, the five seasons that we have, which have come about as the creation of Visvakarman, right here (they and) life's breath shall be to our friend; thee, O Parameshthin, Rohita shall envelop in life and lustre!
19. O Vakaspati, good cheer and spirit, cattle in our stable, children in our wombs beget thou! Right
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here life's breath shall be to our friend; thee, O Parameshthin, I envelop in life and lustre.
20. God Savitar and Agni shall envelop thee, Mitra and Varuna surround thee with lustre! Treading down all powers of grudge come thou hither : thou hast made this kingdom rich in liberal gifts.
21. Thou, O Rohita, whom the brindled cow, harnessed at the side, carries, goest with brilliance, causing the waters to flow.
22. Devoted to Rohita is Rohint his mistress, with beautiful colour (complexion),great, and lustrous: through her may we conquer booty of every description, through her win every battle!
23. This seat, Rohini, belongs to Rohita ; yonder is the path on which the brindled (female) goes! Her the Gandharvas and the Kasyapas lead forth, her the sages guard with diligence.
24. The radiant bay steeds of the sun, the immortal, ever draw the delightful chariot. Rohita, the drinker of ghee, the shining god, did enter the variegated heavens.
25. Rohita, the sharp-horned bull, who surpasses Agni and surpasses Surya, who props up the earth and the sky, out of him the gods frame the creations.
26. Rohita ascended the heaven from the great flood; Rohita has climbed all heights.
27. Create (the cow) that is rich in milk, drips with ghee : she is the milch-cow of the gods that does not refuse! Indra shall drink the Soma, there shall be secure possession; Agni shall sing praises : the enemies do thou drive out!
28. Agni kindled, spreads his flames, fortified by ghee, sprinkled with ghee. Victorious, all-conquering Agni shall slay them that are my rivals!
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29. He shall slay them, shall burn the enemy that battles against us! With the flesh-devouring Agni do we burn our rivals.
30. Smite them down, O Indra, with the thunderbolt, with thy (strong) arm! Then have I overpowered my rivals with Agni's brilliant strengths.
31. O Agni, subject our rivals to us; confuse, O Brihaspati, the kinsman that is puffed up! O Indra and Agni, O Mitra and Varuna, subjected they shall be, unable to vent their wrath against us!
32. Do thou, god Sûrya (the sun), when thou risest, beat down my rivals, beat them down with a stone: they shall go to the nethermost darkness!
33. The calf of Virág, the bull of prayers, carrying the bright (soma) upon his back, has ascended the atmosphere. A song accompanied by ghee they sing to the calf; himself brahma (spiritual exaltation) they swell him with their brahma (prayer).
34. Ascend the heavens, ascend the earth; sovereignty ascend thou, and possessions ascend thou! Offspring ascend thou, and immortality ascend thou, unite thy body with Rohita !
35. The gods that hold sovereignty, who go about the sun, with these allied, Rohita, kindly disposed, shall bestow sovereignty upon thee!
36. The sacrifices purified by prayer lead thee forth; the bay steeds that travel upon the road carry thee: thou shinest across the swelling ocean.
37. In Rohita who conquers wealth, conquers cattle, and conquers booty, heaven and earth are fixed. Of thee that hast a thousand and seven births, let me announce the origin over the extent of the world! 38. Glorious thou goest to the intermediate direc
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tions and the directions (of space), glorious (in the sight) of animals and the tribes of men, glorious in the lap of the earth, of Aditi : may I like Savitar be lovely!
39. Being yonder thou knowest (what takes place) here; being here thou beholdest these things. Here (men) behold the inspired sun that shines upon the
sky.
40. A god thou praisest the gods, thou movest within the flood. They kindle (him), a universal fire; him the highest sages know.
41. Below the superior (region), above the inferior (region) here, the cow has arisen supporting (her) calf by the foot. Whither is she turned; to which half (of the universe), forsooth, has she gone away; where, forsooth, does she beget? Verily not in this herd!
42. One-footed, two-footed, four-footed is she; eight-footed, nine-footed became she, the thousandsyllabled (consisting of thousand elements) pankti (quinary stanza) of the universe: the oceans from her flow forth upon (the world).
43. Ascending the heaven, immortal, receive kindly my song! The sacrifices purified by prayer lead thee forth; the bay steeds that travel upon the road carry thee.
44. That do I know of thee, O immortal, where thy march is upon the sky, where thy habitation is in the highest heaven.
45. Sürya (the sun) surveys the sky, Sarya the earth, Sarya the waters. Sarya is the single eye of being : he has ascended the great heavens.
46. The broad (directions) where the fagots that fence in (the fire), the earth turned itself into a fire
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altar. There Rohita laid on for himself these two fires, cold and heat.
47. Laying on cold and heat, using the mountains as sacrificial posts, the two fires of Rohita who knows the (heavenly) light, into which (the fires) rain (flowed) as ghee, carried out the sacrifice.
48. The fire of Rohita who knows the (heavenly) light is kindled by prayer. From it heat, from it cold, from it the sacrifice was produced.
49. The two fires swelling through prayer, increased through prayer, sacrificed into with prayer; the two fires of Rohita who knows the (heavenly) light, kindled through prayer, carried out the sacrifice.
50. One is deposited in truth, the other is kindled in the waters. The two fires of Rohita who knows the (heavenly) light, kindled through prayer, carried out the sacrifice.
51. The fire which the wind brightens up, and that which Indra and Brahmanaspati (brighten up), the two fires of Rohita who knows the (heavenly) light, kindled through prayer, carried out the sacrifice.
52. Having fashioned the earth into an altar, having made the heavens (his) sacrificial reward, then having made heat into fire, Rohita created all that has breath through rain (serving) as ghee.
53. Rain fashioned itself into ghee, heat into fire, the earth into an altar. Then Agni by (his) songs fashioned the high mountains.
54. Having fashioned by means of songs the high (mountains), Rohita spake to the earth : In thee all shall be born, what is and what shall be.
55. The sacrifice first, (and then) what is and
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what shall be was born. From that this all was born, and whatever here appears, brought hither by the sage Rohita.
56. He who kicks a cow with his foot, and he who micturates towards the sun-of thee do I tear out the root; thou shalt henceforth not cast a shadow!
57. Thou that passest across me, casting thy shadow against me, between me and the fire-of thee do I tear out the root; thou shalt henceforth not cast a shadow!
58. He, O god Surya, that to-day passes between thee and me, upon him our evil dream, our foulness, and our misfortunes do we wipe off.
59. May we not miss our way, may we not, O Indra, miss the sacrifice of him that presses the soma; may not the powers of grudge intercept us!
60. The (guiding) thread stretched out among the gods, that accomplishes the sacrifice, that, by pouring oblations, may we attain !
XI, 5. Glorification of the sun, or the primeval
principle, as a Brahman disciple. 1. The Brahmakârin (Brahmanical disciple) moves inciting both hemispheres of the world; in him the gods are harmonised. He holds the heavens and the earth, he fills the teacher with creative fervour (tapas).
2. The fathers, the divine folk, and all the gods severally follow the Brahmakârin; the Gandharvas did go after him, six thousand three hundred and thirty-three. He fills all the gods with creative fervour.
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3. When the teacher receives the Brahmakarin as a disciple, he places him as a foetus inside of his body). He carries him for three nights in his belly: when he is born the gods gather about to see him.
4. This earth is (his first) piece of firewood, the heaven the second, and the atmosphere also he fills with (the third) piece of firewood. The Brahmakârin fills the worlds with his firewood, his girdle, his asceticism, and his creative fervour.
5. Prior to the brahma (spiritual exaltation) the Brahmakârin was born; clothed in heat, by creative fervour he arose. From him sprung the brâhmanam (Brahmanic life) and the highest brahma, and all the gods together with immortality (amrita).
6. The Brahmakârin advances, kindled by the firewood, clothed in the skin of the black antelope, consecrated, with long beard. Within the day he passes from the eastern to the northern sea; gathering together the worlds he repeatedly shapes them.
7. The Brahmakârin, begetting the brahma, the waters, the world, Pragrâpati Parameshthin (he that stands in the highest place), and Virág, having become an embryo in the womb of immortality, having, forsooth, become Indra, pierced the Asuras.
8. The teacher fashioned these two hemispheres of the world, the broad and the deep, earth and heaven. These the Brahmakârin guards with his creative fervour (tapas): in him the gods are harmonised.
9. This broad earth and the heaven the Brahmakârin first brought hither as alms. Having made these into two sticks of firewood he reveres them; upon them all beings have been founded.
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10. One is on the hither side, the other on the farther side of the back of the heavens; secretly are deposited the two receptacles of the brâhmanam (Brahmanic life). These the Brahnakärin protects by his tapas (creative fervour); understandingly he performs that brahma (spiritual exaltation) solely.
11. One on the hither side, the other away from the earth, do the two Agnis come together between these two hemispheres (of the world). To them adhere the rays firmly; the Brahmakârin by his tapas (creative fervour) enters into the (rays).
12. Shouting forth, thundering, red, white he carries a great penis along the earth. The Brahmakârin sprinkles seed upon the back of the earth; through it the four directions live.
13. Into fire, the sun, the moon, Måtarisvan (wind), and the waters, the Brahmakârin places the firewood; the lights from these severally go into the clouds, from them come sacrificial butter, the purusha (primeval man), rain, and water.
14. Death is the teacher, (and) Varuna, Soma, the plants, milk; the clouds were the warriors: by these this light has been brought hither.
15. Varuna, having become the teacher, at home prepares the ghee solely. Whatever he desired from Pragâpati, that the Brahmakarin furnished, as Mitra (a friend) from his own âtman (spirit, or person).
16. The Brahmakârin is the teacher, the Brahmakârin Pragâpati. Pragâpati rules (shines forth, vi râgati); Virág (heavenly power, or light) became Indra, the ruler.
17. Through holy disciplehood (brahmakaryam), through tapas (creative fervour), the king protects
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Arin
his kingdom. The teacher by (his own) brahmakäryam (holy life) seeks (finds) the Brahmakârin.
18. Through holy disciplehood the maiden obtains a young husband, through holy disciplehood the steer, the horse seeks to obtain fodder.
19. Through holy disciplehood, through creative fervour, the gods drove away death. Indra, forsooth, by his holy disciplehood brought the light to the gods.
20. The plants, that which was and shall be, day and night, the tree, the year along with the seasons, have sprung from the Brahmakärin.
21. The earthly and the heavenly animals, the wild and the domestic, the wingless and the winged (animals), have sprung from the Brahmakarin.
22. All the creatures of Pragâ pati (the creator) severally carry breath in their souls. All these the brahma, which has been brought hither in the Brahmakârin, protects.
23. This, that was set into motion by the gods, that is insurmountable, that moves shining, from it has sprung the brâhmanam (Brahmanical life), the highest brahma, and all the gods, together with immortality (amrita).
24, 25. The Brahmakärin carries the shining brahma : into this all the gods are woven. Producing in-breathing and out-breathing, as well as through-breathing; speech, mind, heart, brahma, and wisdom, do thou furnish us with sight, hearing, glory, food, semen, blood, and belly!
26. These things the Brahmakârin fashioned upon the back of the (heavenly) water. He stood in the sea kindled with tapas (creative fervour). He, when he has bathed, shines vigorously upon the earth, brown and ruddy.
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XI, 4. Prâna, life or breath, personified as the supreme spirit.
1. Reverence to Prâna, to whom all this (universe) is subject, who has become the lord of the all, on whom the all is supported!
2. Reverence, O Prâna, to thy roaring (wind), reverence, O Prâna, to thy thunder, reverence, O Prâna, to thy lightning, reverence, O Prâna, to thy rain !
3. When Prâna calls aloud to the plants with his thunder, they are fecundated, they conceive, and then are produced abundant (plants).
4. When the season has arrived, and Prâna calls aloud to the plants, then everything rejoices, whatsoever is upon the earth.
5. When Prâna has watered the great earth with rain, then the beasts rejoice; (they think): 'strength, forsooth, we shall now obtain.'
6. When they had been watered by Prâna, the plants spake in concert: thou hast, forsooth, prolonged our life, thou hast made us all fragrant.'
7. Reverence be, O Prâna, to thee coming, reverence to thee going; reverence to thee standing, and reverence, too, to thee sitting!
8. Reverence be to thee, O Prâna, when thou breathest in (prânate), reverence when thou breathest out! Reverence be to thee when thou art turned away, reverence to thee when thou art turned hither to thee, entire, reverence be here!
9. Of thy dear form, O Prâna, of thy very dear form, of the healing power that is thine, give unto us, that we may live!
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10. Prâna clothes the creatures, as a father his dear son. Prâna, truly, is the lord of all, of all that breathes, and does not breathe.
11. Prâna is death, Prâna is fever. The gods worship Prâna. Prâna shall place the truth-speaker in the highest world!
12. Prana is Virág (power, lustre), Prâna is Deshtri (the divinity that guides): all worship Prâna. Prâna verily is sun and moon. They call Prâna Pragâpati.
13. Rice and barley are in-breathing and outbreathing. Prâna is called a steer. In-breathing, forsooth, is founded upon barley; rice is called outbreathing.
14. Man breathes out and breathes in when within the womb. When thou, O Prâna, quickenest him, then is he born again.
15. They call Prâna Mâtarisvan (the wind); Prâna, forsooth, is called Vâta (the wind). The past and the future, the all, verily is supported upon Prâna.
16. The holy (âtharvana) plants, the magic (ângirasa) plants, the divine plants, and those produced by men, spring forth, when thou, O Prâna, quickenest them.
17. When Prâna has watered the great earth with rain, then the plants spring forth, and also every sort of herb.
18. Whoever, O Prâna, knows this regarding thee, and (knows) on what thou art supported, to him all shall offer tribute in yonder highest world.
19. As all these creatures, O Prâna, offer thee tribute, so they shall offer tribute (in yonder world) to him who hears thee, O far-famed one!
20. He moves as an embryo within the gods;
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having arrived, and being in existence, he is born again. Having arisen he enters with his mights the present and the future, as a father (goes to his son.
21. When as a swan he rises from the water he does not withdraw his one foot. If in truth he were to withdraw it, there would be neither to-day, nor to-morrow, no night and no day, never would the dawn appear.
22. With eight wheels, and one felloe he moves, containing a thousand sounds (elements), upward in the east, downward in the west. With (his) half he produced the whole world : what is the visible sign of his (other) half?
23. He who rules over this (all) derived from every source, and over everything that movesreverence be to thee, O Prana, that witidest a swift bow against others (the enemies)!
24. May Prâna, who rules over this (all) derived from every source, and over everything that moves, (may he) unwearied, strong through the brahma, adhere to me!
25. Erect he watches in those that sleep, nor does he lie down across. No one has heard of his sleeping in those that sleep.
26. O Prâna, be not turned away from me, thou shalt not be other than myself! As the embryo of the waters (fire), thee, O Prâna, do bind to me, that I may live.
IX, 2. Prayer to Kama (love), personified as
a primordial power. 1. To the bull that slays the enemy, to Kama, do I render tribute with ghee, oblation, and (sacrificial)
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melted butter. Do thou, since thou hast been extolled, hurl down my enemies by thy great might!
2. The evil dream which is offensive to my mind and eye, which harasses and does not please me, that (dream) do I let loose upon my enemy. Having praised Kama may I prevail !
3. Evil dreams, O Kâma, and misfortune, O Kâma, childlessness, ill-health, and trouble, do thou, a strong lord, let loose upon him that designs evil against us!
4. Drive them away, O Kâma, thrust them away, O Kâma; may they that are my enemies fall into trouble! When they have been driven into the nethermost darkness, do thou, O Agni, burn up their dwelling-places !
5. That milch-cow, O Kâma, whom the sages call Vâk Virag (ruling, or resplendent speech), is said to be thy daughter; by her drive away my enemies ; breath, cattle, and life shall give them a wide birth!
6. With the strength of Kâma, Indra, king Varuna, and Vishnu, with the impelling force (savena) of Savitar, with the priestly power of Agni, do I drive forth the enemies, as a skilled steersman a boat.
7. My sturdy guardian, strong Kama, shall procure for me full freedom from enmity! May the gods collectively be my refuge, may all the gods respond to this, my invocation!
8. Taking pleasure in this (sacrificial) melted butter, and ghee, do ye, (O gods), of whom Kama is the highest, be joyful in this place, procuring for me full freedom from enmity!
9. O Indra and Agni, and Kâma, having formed an alliance, do ye hurl down my enemies; when
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they have fallen into the nethermost darkness, do thou, O Agni, burn up after them their dwellingplaces!
10. Slay thou, O Kâma, those that are my enemies, hurl them down into blind darkness. Devoid of vigour, without sap let them all be; they shall not live a single day!
11. Kâma has slain those that are my enemies, a broad space has he furnished me to thrive in. May the four directions of space bow down to me, and the six broad (regions) carry ghee to me!
12. They (the enemies) shall float down like a boat cut loose from its moorings! There is no returning again for those who have been struck by our missiles.
13. Agni is a defence, Indra a defence, Soma a defence. May the gods, who by their defence ward off (the enemy), ward him off!
14. With his men reduced, driven out, the hated (enemy) shall go, shunned by his own friends! And down upon the earth do the lightnings alight; may the strong god crush your enemies!
15. This mighty lightning supports both moveable and immoveable things, as well as all thunders. May the rising sun by his resources and his majesty hurl down my enemies, he the mighty one!
16. With that triple-armoured powerful covering of thine, O Kâma, with the charm that has been made into an invulnerate armour spread (over thee), with that do thou drive away those who are my enemies; may breath, cattle, and life give them a wide berth!
17. With the weapon with which the god drove forth the Asuras, with which Indra led the Dasyus
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to the nethermost darkness, with that do thou, O Kâma, drive forth far away from this world those who are my enemies!
18. As the gods drove forth the Asuras, as Indra forced the demons into the nethermost darkness, thus do thou, O Kâma, drive forth far away from this world those who are my enemies!
19. Kâma was born at first; him neither the gods, nor the Fathers, nor men have equalled. To these art thou superior, and ever great; to thee, O Kâma, do I verily offer reverence.
20. As great as are the heavens and earth in extent, as far as the waters have swept, as far as fire; to these art thou superior, &c.
21. Great as are the directions (of space) and the intermediate direction on either side, great as are the regions and the vistas of the sky; to these art thou superior, &c.
22. As many bees, bats, kurûru-worms, as many > vaghas and tree-serpents as there are; to these art thou superior, &c.
23. Superior art thou to all that winks (lives), superior to all that stands still (is not alive), superior to the ocean art thou, O Kâma, Manyu! To these art thou superior, &c.
24. Not, surely, does the wind equal Kâma, not the fire, not the sun, and not the moon. To these art thou superior, &c.
25. With those auspicious and gracious forms of thine, O Kâma, through which what thou wilst becometh real, with these do thou enter into us, and elsewhere send the evil thoughts!
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XIX, 53. Prayer to Kâla (time), personified as a primordial power.
1. Time, the steed, runs with seven reins (rays), thousand-eyed, ageless, rich in seed. The seers, thinking holy thoughts, mount him, all the beings (worlds) are his wheels.
2. With seven wheels does this Time ride, seven naves has he, immortality is his axle. He carries hither all these beings (worlds). Time, the first god, now hastens onward.
3. A full jar has been placed upon Time; him, verily, we see existing in many forms. He carries away all these beings (worlds); they call him Time in the highest heaven.
4. He surely did bring hither all the beings (worlds), he surely did encompass all the beings (worlds). Being their father, he became their son; there is, verily, no other force, higher than he.
5. Time begot yonder heaven, Time also (begot) these earths. That which was, and that which shall be, urged forth by Time, spreads out.
6. Time created the earth, in Time the sun burns. In Time are all beings, in Time the eye looks abroad.
7. In Time mind is fixed, in Time breath (is fixed), in Time names (are fixed); when Time has arrived all these creatures rejoice.
8. In Time tapas (creative fervour) is fixed; in Time the highest (being is fixed); in Time brahma (spiritual exaltation) is fixed; Time is the lord of everything, he was the father of Pragâpati.
9. By him this (universe) was urged forth, by him
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it was begotten, and upon him this (universe) was founded. Time, truly, having become the brahma (spiritual exaltation), supports Parameshthin the highest lord).
10. Time created the creatures (pragâh), and Time in the beginning (created) the lord of creatures (Pragâpati); the self-existing Kasyapa and the tapas (creative fervour) from Time were born.
XIX, 54. Prayer to Kala (time), personified as
a primordial power. 1. From Time the waters did arise, from Time the brahma (spiritual exaltation), the tapas (creative fervour), the regions (of space did arise). Through Time the sun rises, in Time he goes down again.
2. Through Time the wind blows, through Time (exists) the great earth; the great sky is fixed in Time. In Time the son (Pragâpati) begot of yore that which was, and that which shall be.
3. From Time the Riks arose, the Yagus was born from Time; Time put forth the sacrifice, the imperishable share of the gods.
4. Upon Time the Gandharvas and Apsarases are founded, upon Time the worlds (are founded), in Time this Angiras and Atharvan rule over the heavens.
5. Having conquered this world and the highest world, and the holy (pure) worlds (and) their holy divisions; having by means of the brahma (spiritual exaltation) conquered all the worlds, Time, the highest God, forsooth, hastens onward.
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XI, 7. Apotheosis of the ukkhishta, the leavings
of the sacrifice. 1. In the ukkhishta are deposited name (quality) and form, in the ukkhishta the world is deposited. Within the ukkhishta Indra and Agni, and the all are deposited.
2. In the ukkhishta heaven and earth, and all beings, are deposited ; in the ukkhishta are deposited the waters, the ocean, the moon, and the wind.
3. In the ukkhishta are both being and non-being, death, strength (food), and Pragàpati. The (creatures) of the world are founded upon the ukkhishta; (also) that which is confined and that which is free, and the grace in me.
4. He who fastens what is firm, the strong, the leader, the brahma, the ten creators of the all, the divinities, are fixed on all sides to the ukkhishta as the (spokes of the) wheel to the nave.
5. Rik, Sâman, and Yagus, the singing of the sâmans, their introductions, and the stotras are in the ukkhishta. The sound 'him'is in the ukkhishta, and the modulations and the music of the sâman. That is in me.
6. The prayer to Indra and Agni (aindragnam), the call to the soma, as it is being purified (pavamânam), the mahânâmnf-verses, the singing of the mahâvrata, (these) divisions of the service are in the ukkhishta, as the embryo in the mother.
7. The ceremony of the consecration of the king (rågasaya), the vâgapeya, the agnishtoma, and the cattle-sacrifice belonging to it, the arka and the horse-sacrifice, and the most delightful (sacrifice) for which fresh barhis is strewn, are in the ukkhishta.
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8. The preparation of the sacred fire (agnyâdheyam), the consecration for the soma-sacrifice (dikshâ), the sacrifice by which (special) wishes are fulfilled, together with the metres, the sacrifices that have passed out, and the extended sacrifices (satra), are founded upon the ukkhishta.
9. The agnihotra, faith, the call vashat, vows and asceticism, sacrificial rewards, what is sacrificed (to the gods) and given (to the priests) are contained in the ukkhishta.
10. The (soma-sacrifice) that lasts one night (ekarâtra), and that which lasts two nights (dvirâtra), the (condensed soma-sacrifice called) sadyakri, and (that which is called) prakri, the (songs called) ukthya, are woven and deposited in the ukkhishta; (also the parts) of the sacrifice subtle through (higher) knowledge.
11. The soma-sacrifice that lasts four nights (katurâtra), five nights (pañkarâtra), six nights (shadrâtra), and along (with them) those that last double the time; the sixteenfold stotra (shodasin), and the soma-sacrifice that lasts seven nights (saptarâtra), all the sacrifices which were founded upon immortality (amrita), were begotten of the ukkhishta.
12. The pratihâra-passages (in the sâman-songs), and their final syllables, the (soma-sacrifices called) visvagit and abhigit, the soma-sacrifice that ends with the day (sâhna), and that which lasts into the next day (atirâtra), are in the ukkhishta-the soma-sacrifice also that lasts twelve days. That is in me.
13. Liberality, accomplishment, possession, the call svadhâ, nurture, immortality (amrita), and might, Q 2
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all inner desires are satisfied according to wish in the ukkhishta.
14. The nine earths, oceans, heavens, are founded upon the ukkhishta. The sun shines in the ukkhishta, and day and night also. That is in me.
15. The (soma-sacrifice called) upahavya, the offering on the middle day of a sacrifice lasting a year (vishuvant), and the sacrifices that are secretly presented, Ukkhishta, the sustainer of the universe, the father of the generator (Pragâpati), supports.
16. Ukkhishta, the father of the generator, the grandson of the spirit (asu), the primal ancestor (grandfather), the ruler of the universe, the lusty bull dwells upon the earth.
17. Order (rita), truth (satya), creative fervour (tapas), sovereignty, asceticism, law and works; past, future, strength, and prosperity, are in the ukkhishta-force in force.
18. Success, might, plans, dominion, sovereignty, the six broad (regions), the year, libation (idâ), the orders to the priests (praisha), the draughts of soma (graha), oblations (are founded) upon the ukkhishta.
19. The (liturgies called) katurhotârah, the âprihymns, the triennial sacrifices, the (formulas called) nîvid, the sacrifices, the priestly functions, the cattlesacrifice and the soma-oblations connected with it, are in the ukkhishta.
20. The half-months and months, the divisions of the year together with the seasons, the resounding waters, thunder, the great Vedic canon (sruti) are in the ukkhishta.
21. Pebbles, sand, stones, herbs, plants, grass, clouds, lightning, rain, are attached to, and are founded upon the ukkhishta.
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22. Success, attainment, accomplishment, control, greatness, prosperity, supreme attainment, and wellbeing rest upon, rest in, have been deposited in the ukkhishta.
23. Whatever breathes with breath, and sees with sight, all gods in the heavens, founded upon heaven, were born of the ukkhishta.
24. The riks and the sâmans, the metres, the ancient legends (purânam) together with the yagus, all gods in the heavens, founded upon heaven, were born of the ukkhishta.
25. In-breathing and out-breathing, sight, hearing, imperishableness and perishableness, all gods in the heavens, founded upon heaven, were born of the ukkhishta.
26. Joys, pleasures, delights, jubilation and merriment, all gods in the heavens, founded upon heaven, were born of the ukkhishta.
27. The gods, the (deceased) Fathers, men, Gandharvas and Apsaras, all gods in the heavens, founded upon heaven, were born of the ukkhishta.
IX, I. Hymn to the honey-lash of the Asvins.
I. From heaven, from earth, from the atmosphere, from the sea, from the fire, and from the wind, the honey-lash hath verily sprung. This, clothed in amrita (ambrosia), all the creatures revering, acclaim in their hearts.
2. Great sap of all forms (colours) it hath-they call thee moreover the seed of the ocean. Where the honey-lash comes bestowing gifts, there life's breath, and there immortality has settled down.
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3. Men severally, contemplating it profoundly, behold its action upon the earth : from the fire and from the wind the honey-lash hath verily sprung, the strong child of the Maruts.
4. Mother of the Adityas, daughter of the Vasus, breath of life of created beings, nave of immortality, the honey-lash, golden-coloured, dripping ghee, as a great embryo, moves among mortals.
5. The gods begot the lash of honey, from it came an embryo having all forms (colours). This, as soon as born, (while yet) young its mother nourishes; this, as soon as born, surveys all the worlds.
6. Who knows it and who perceives it, the inexhaustible, soma-holding cup that has come from the heart of it (the honey-lash)? 'Tis the wise priest : he shall derive inspiration from it!
7. He knows them, and he perceives them, the inexhaustible breasts of it (the honey-lash), that yield a thousand streams. Nourishment they pour out without recalcitration.
8. The great (cow) that loudly gives forth the sound him,' that bestows strength, and goes with loud shouts to the holy act, bellowing with lust for the three (male) gharmas (fires), she lows, and drips with (streams) of milk.
9. When the waters, the mighty bulls, self-sovereign, wait upon (the cow), swollen with milk, (then) they, the waters, pour nourishment (upon her), and cause her to pour nourishment at will for him that knoweth this.
10. The thunder is thy voice, O Pragàpati ; as a bull thou hurlest thy fire upon the earth. From the fire, and from the wind the honey-lash hath verily sprung, the strong child of the Maruts.
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11. As the soma at the morning-pressure is dear to the Asvins, thus in my own person, O Asvins, lustre shall be sustained!
12. As the soma at the second (mid-day) pressure is dear to Indra and Agni, thus in my own person, O Indra and Agni, lustre shall be sustained !
13. As the soma at the third pressure (evening) is dear to the Ribhus, thus in my own person, O Ribhus, lustre shall be sustained !
14. May I beget honey for myself; may I obtain honey for myself! Bringing milk, O Agni, I have come: endow me with lustre!
15. Endow me, O Agni, with lustre, endow me with offspring and with life! May the gods take note of this (prayer) of mine; may Indra together with the Rishis (take note of it)!
16. As bees carry together honey upon honey, thus in my own person, O Asvins, lustre shall be sustained!
17. As the bees pile this honey upon honey, thus in my own person, O Asvins, lustre, brilliance, strength, and force shall be sustained !
18. The honey that is in the mountains, in the heights; in the cows, and in the horses; the honey which is in the surâ (brandy) as it is being poured out, that shall be in me!
19. O Asvins, lords of brightness, anoint me with the honey of the bee, that I may speak forceful speech among men!
20. The thunder is thy speech, O Pragâpati; as a bull thou hurlest thy fire upon earth and heaven. All animals live upon it (the earth), and she with it (Pragâ pati's fire) fills nourishment and food.
21. The earth is the staff, the atmosphere the
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embryo, the heaven the whip (itself?), the lightning the whip-cord; of gold is the tip (of the whip ?).
22. He that knoweth the seven honies of the whip becomes rich in honey ; (to wit), the Brâhmana, the king, the cow, the ox, rice, barley, and honey as the seventh.
23. Rich in honey becomes he, rich in honey become his appurtenances, worlds rich in honey does he win, he that knoweth thus.
24. When in a bright sky it thunders, then Pragapati manifests himself to (his) creatures (pragâh). Therefore do I stand with the sacred cord suspended from the right shoulder (pråkinopavita), saying,
O Pragâpati, watch over me!' The creatures (pragâh) watch over him, Pragâpati watches over him, that knoweth thus.
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EXTRACTS FROM THE RITUAL
TEXTS AND COMMENTARY.
1, 2. COMMENTARY TO PAGE 8. THE ritual application of this hymn is a twofold one. It is employed as a medical charm and, again, as a battle-charm, owing to the belief that certain diseases are inflicted upon mortals by the arrows of Parganya, a belief which introduces into the context a large number of words redolent of battle, as well as some designations of diseases. Cf. with this the double treatment, e.g., of AV. I, 12. As a battlecharm the present hymn figures in Kaus. 14, 7 in a lengthy list (gana) of hymns called sâmgrâmikâni (or aparágitagana); this list is employed in connection with warlike practices in the subsequent Sûtras (14, 8–13, and more especially Satra 12). Still more secondarily, the entire list (aparågita) is employed in Kaus. 139, 7, along with certain other ganas, at the ceremonies connected with the beginning of the study of the Veda (upakarma)? Cf. also the Santikalpa 17 and 18%
In its medicinal construction the hymn is a charm against diarrhoea, being followed by AV. I, 3, a charm against diseases of the opposite character, constipation and retention of urine. It is handled in this sense at Kaus. 25, 6-9, along with AV. II, 3, in a practice which, according to Dârila, is directed against diarrhoea (atisára); Kesava and Sayana construe it more broadly as against fever, diarrhoea, exces
"See the introduction to VI, 97. * Quoted erroneously by Sayana as the Nakshatrakalpa.
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sive urine, and even flow of blood, i.e. against excessive or unnatural flows from the body in general. The practices are as follows: 25, 6. While reciting the two hymns I, 2 and II, 3 the (practising priest) ties the head of a stalk of muñga-reed (saccharum munja) with a cord (made from the same plant, as an amulet, upon the patient'). 7. Having ground up a natural lump of earth, and earth from an ant-mound, he gives (a solution of this to the patient) to drink. 8. He smears him with ghee. 9. He blows upon (the rectum of the patient 3).'
The hymn has been translated and analysed by Weber, Ind. Stud. IV, pp. 394-5; and the present writer, in 'Seven Hymns of the Atharva-veda,' Amer. Journ. Phil. VII, pp. 467-9. Cf. also Florenz in Bezzenberger's Beiträge, XIV, pp. 178 ff.; and, as a specimen of an interpretation which assumes that no Vedic passage has previously been correctly understood, Regnaud, L'Atharva-Véda et la méthode d'interprétation de M. Bloomfield, pp. 8–10.
Stanza 1. &. Parganya is the god of rain (hence his epithet bhữridhảyas), and his outpourings upon the earth seem to be compared with a shower of arrows; hence in RV. VI, 75, 15 the arrow is said to come from the semen of Parganya (pargányaretasa fshvai). Possibly, however, the arrow is Parganya's child, because arrow-reeds (sara) grow in consequence of the rain. It seems further that the discharges from the body are compared with Parganya's rain, and are therefore under his control ; cf. I, 3, 1 below. Hence the
· The passage in brackets is derived from the Commentaries.
· For the role of the ant-mound, see the note on II, 3, 4, and more especially VI, 100.
. So according to Dârila, apâne dhamati; Kesava and Sayana, in accordance with their more liberal construction, cause the blowing to be performed upon the particular opening in the body from which the excessive discharge flows (Sâyana, apânasisnanadlvranamukhânâm dhamanam). For apâna, a euphemism for 'rectum,' see Kausika, Introduction, p. lv, bottom.
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double construction of this hymn as a battle-charm, and as a remedy against excessive discharges. For the knowledge which imparts power and control, cf. VII, 12, 2; 76, 5, and elsewhere. Also Sat. Br. IX, 1, 1, 17, no damage comes from him who has been recognised and addressed.'
C
b. The earth as mother of the plants yields the shafts for the arrows.
Stanza 2.
a. Weber's translation 'Bogenschnur! schlinge dich um uns,' is not in accordance with the quotable uses of the verb pari nam. Sâyana, quite correctly, asmân parihritya mâm vihâya anyatra saram preraya. Cf. II, 13, 4 b; Tait. S. IV, 6, 6, 4.
c. Sâyana, who throughout this hymn identifies Parganya and Indra (cf. Bühler, Orient und Occident, I, p. 229; Bergaigne, III, p. 25), refers vîdúh to Indra. But it refers to the bowstring; cf. vidu ayudhâ, RV. I, 39, 2; and similarly, RV. VI, 47, 26.
Stanza 3.
a. Literally, 'when the cows embracing the tree.' The singular or plural of the stem go for 'sinew,' and some word for tree in the sense of bow,' occur also RV. VI, 47, 26; 75, 11; X, 27, 22.
b. Sâyana, anusphuram pratisphuranam, sphur samkalane... arkanti... prerayanti.
Stanza 4.
d. Cf. with this the tying of the amulet in the practices of the Sutra. Sâyana, muñgeshîkâ-nirmitâ ragguh. Cf. the introduction to I, 12.
I, 3. COMMENTARY TO PAGE 10.
The Kausika prescribes this hymn against retention of urine and constipation; the stanzas themselves seem to refer to difficulties in micturation only, and very possibly, the Sûtra adds the other feature. The hymn is the pendant
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to I, 2, which aims to obviate the opposite difficulties. The practices in Kaus. 25, 10-19 are as follows: 10. While reciting AV. 1, 3 (the practitioner) ties on (as an amulet upon the patient) a substance .promoting micturation? II. He gives him to drink a solution of earth from a molehill, of patika (a stinking plant, guilandina bonduc), of pulverised, dried pramanda?, each mixed with (wood-) shavings 3. 12. While reciting the last two stanzas of the hymn, he gives him an enema. 13. He makes him take a ride in a vehicle. 14. He shoots off an arrow. 15. He opens the urethra. 16. He probes the bladder 4. 17. Having poured twenty-one barley-grains with water into a milk-pail, placing an axe behind (the patient), he pours the water from the grains (upon the suffering part). 18. He gives him to drink a decoction of ala , lotus-root, and ula?. 19. The same treatment is prescribed for one suffering from constipation.' The performances are in part therapeutic, in part symbolic (the shooting of the arrow). Cf. Wise, Hindu System of Medicine, pp. 364 ff.
The hymn has been translated by Weber, Ind. Stud. IV, pp. 395–6. Cf. also Bergaigne et Henry, Manuel Védique, p. 130.
Stanse 1. Cf. I, 2, 1 above. The expression satávrishnya refers to the abundant semen (rain) of Parganya ; cf. especially
According to the commentators, harîtakî, 'gall-nut,' and karpära, camphor,' are such substances. ? Dârila, at Kaus. 8, 17, glosses this with induka.
e sense and the construction of the long compound in this Sätra are not altogether clear. Cf. Kausika, Introduction, p. Ixii ff.
• According to Sâyana, in the introduction, he probes the bladder with a copper instrument. So also Kesava.
• The text, phalato: this seems to refer to the twenty-one barley-grains.
& Apparently a kind of creeper or weed in grain-fields.' Darila, godhamavyâdhih; Kesava, yavagodhamavalli. See Kausika, Introduction, p. xlvii.
? Dârila, kasturikâsâka, ‘musk;' Kesava, pâvika.
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RV. VI, 75, 15. Hence the repetition of the same expression with four other gods is secondary and mechanical. The medicine man wants to make sure that he does not neglect and offend. Sâyana justifies the mention of Mitra and Varuna by a reference to Tait. S. II, 4, 10, 2; of Kandra by saying, asya oshadhisatvật sarasya pitritvena vyapadesah; and of Surya by relying again upon Tait. S. II, 4, 10, 2.
Stansa 6. a. Sâyana explains gávinyor by, antrebhyo vinirgatasya matrasya můtrasayapråptisadhane pârsvadvayasthe nadyau gavinyau ity ukyate. The urethra and the ureter? Cf. the dual gavînyau in Tait. S. III, 3, 10, 1; and gavînike, AV. I, 11,5; IX, 8, 7.
b. The majority of the MSS. read sámsrutam; but one of Shankar Pandit's MSS. has sámsrutam. For the root sru, 'Aow,' see Bloomfield and Spieker, Proc. Ainer. Or. Soc., May, 1886 (Journal, vol. xiii, p. cxx). For years I have had sámsritam written as a possible emendation on the margin of my copy of the text, and now Sayana persistently (three times) comments upon the same reading.
Stansa 7. b. The MSS. are divided between the readings vártram and vártam. Såyana comments upon the latter, vartam vartate pravahati galam atresti varto margah, and some of the MSS. of Kaus. 25, 16, a Satra coined with evident reference to this stanza (vartim bibhetti, see the translation above), also read vartam. Dârila comments, vartam mûtrabilam. I do not feel certain that this is not the correct word for the text : like the outlet of a lake.' For vártra, see Tait. S. I, 6, 8, 1; Maitr. S. I, 4, 1o.
I, 7. COMMENTARY TO PAGE 64. This and the following hymn are directed chiefly against the species of beings called yâtudhấna, a term which oscillates between the meaning 'human sorcerer' and 'hostile
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demon.' The entire tradition, Satras and Commentaries, give the word the latter bent, but we can see from RV. V, 12, 2; VII, 104, 15, 16, that men might practise yâtú, and, therefore, be yâtudhấna. Both hymns are catalogued in a series (gana) called kåtana, driving away (demons, &c.);' in Kaus. 8, 25, and the Ganamâlâ, Ath. Paris. 32, 3 (katanagana): for their employment, see Kausika, Index B, under kåtanâni, and Såntikalpa 16. With the subjectmatter of these hymns cf. in general RV. VII, 104, and III, 30, 14 ff. Both hymns have been rendered by Weber, Indische Studien, IV, 398 ff.; Ludwig, Der Rigveda, III, 523; cf. also Bergaigne et Henry, Manuel Védique, p. 131 ff.
Stansa 1. Throughout this and the next hymn Sảyana takes the root stu in its ordinary holy sense of 'praise,' a mistake which leads to the most contorted renderings, and to an utter disregard of grammatical construction, excused by assuming interchanges of inflections (vibhaktivyatyaya). He seems to be shy to attach any sinister sense to the root, or to connect it in any way with evil beings. For kimidin, see the note on IV, 20, 5.
Stanza 2. c. tailásya in the vulgata is an emendation of the MS. reading taulásya (Sảyana, tulâvat hūyamâna-dravyasya).
d. vi lå paya,'make howl,' obviously includes as a double entente the other possible sense of the word 'annihilate,' as causative from the root lî.
Stansas 4, 5. A great deal of stress is laid in these hymns upon the confession of the yâtudhấna himself. Half the battle is won when their true nature is made apparent. Cf. I, 8, 4 and the note on I, 2, 1. Hence the neat difference between the active prá brûhi in 5 b, said of Agni (cf. RV. X, 87, 8
=AV. VIII, 3, 8), and the middle prabruvânáh in 5 d, said of the yâtudhana. Stanzas 5-7 are perhaps of a later
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hand, since the hymns of the first book ordinarily present only four stanzas ; cf. the introduction to I, 12.
1, 8. COMMENTARY TO PAGE 65. For the employment of this hymn in the Atharvanic practices, and previous translations, see the introduction to the preceding hymn.
Stansa 4. c. In order to obtain a trishtubh line we may either resolve both tấms or tvám, or insert gahi after tvám.
I, 9. COMMENTARY TO PAGE 116. The hymn has been translated by Ludwig, Der Rigveda, III, 456, and entitled rågabhisheke, at the coronation of a king.' Zimmer, Altindisches Leben, p. 163, renders it in the same spirit. The Kausika, however, in its description of the coronation (chapter 17), does not rubricate this hymn, but rather IV, 8 (cf. also Vait. SQ. 36, 7), and the Ganamâlâ, Ath. Paris. 32, 30, again only counts IV, 8 as the abhishekagana (see Kaus. 17, 1 note). Weber, Ind. Stud. IV, 401, entitles it'Segensspruch für einen Fürsten,' but this also seems to be too narrow: the Satra, advisedly no doubt, employs it in practices designed to confer glory, lustre upon any one at all.
At Kaus. 11, 19. 20, the hymn is employed along with I, 35 and V, 28 in a practice designed to make one successful (sampatkarma), to wit: 'an amulet made of a pair of krishnala-berries (abrus precatorius linnaeus)', which has
1 Or the weight of two krishnala in gold? All the commentators explain yugmakrishnalam as 'gold.' Darila, raktikesti (see Pet. Lex.) prasiddhâbhidhâna ayam ka sauvarnamanih; Kesava, suvarnamanih, hiranyamanih (here, and at Kaus. 52, 20). Cf. the word hiranya in I, 9, 2; 35, 1; V, 28, 6. A very similar performance undertaken with the same three hymns is stated at Kaus. 52, 20. 21, being a rite which bestows long life (àyushyakarma). See also
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been steeped in honey during certain three days, Kaus. 7, 19), is tied on. Then a mess of porridge, cooked in the milk of a cow with a calf of the same colour, is shaped in the figure of a man, enriched during twelve days with the dregs of ghee, and consumed with averted face?
Further, at Kaus. 16, 27. 28, the hymn is associated with a practice intended to restore the loyalty of a disaffected people 8 : the king is given to eat a porridge prepared from an after-growth of rices, cooked in the milk of a cow with a calf of the same colour, upon a fire of kâmpila-branches (crinum amaryllacee), which have grown out where they have been previously cut. A neat bit of symbolism : the milk of the cow with a calf of the same colour represents complete harmony; the after-growth of rice and kampila represents the resumption of the sharply interrupted relations between the king and his people.
Once more the hymn is recited for obvious reasons at Kaus. 55, 17, along with a list of others at the investiture of the young 'twice-born' (cf. also the scholiast at 17, 31), and it figures in one of the two varkasyaganas, 'series of hymns which confer lustre,' in the Ganamala, Ath. Paris. 32, 10 (see Kaus. 13, 1 note).
Stanga 2. The abrupt change of person in Påda c suggests the possibility of emending asmát to asmát, 'inferior to him. But cf. the same formula in st. 4 C.
Ce.
Sântikalpa 17 and 19 (quoted by Sâyana erroneously as Nakshatrakalpa). Cf. also Tait. Br. I, 3, 6, 7.
As the porridge-man drips with ghee, thus the real man shall live in abunda
? râshtrâvagamanam. Dârila, ganapadah tasyâ : vagamanakaram ... anuragakaram. Sâyana, 'a performance designed to restore a king, driven from his kingdom by an enemy. Cf. the hymns III, 3 and 4.
* The commentators state explicitly that rice which has grown anew upon the place, where it has previously been cut, is to be used. See Dârila, Kesava, and Sâyana (lQnapunarutthitagam odanam).
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Stanza 3. Allusion seems to be made here to the rape of the soma in Indra's behalf by Agni, the heavenly eagle (syena). According to our interpretation, in Contributions, Fifth Series, Journ. Amer. Or. Soc. XVI, 1 ff., this Agni, the eagle, is the lightning.
I, 10. COMMENTARY TO PAGE 11. Varuna punishes crime, especially falsehood (cf. AV. IV, 16; Tait. Br. I, 7, 2, 6, &c.), with his disease, the waterbelly, dropsy? The performance of the Kausika is purely symbolic : 25, 37. 'While reciting the hymn (the priest) sprinkles the patient over the head (with water) by means of twenty-one tufts of darbha-grass together with reeds taken from the thatch of a house.' The water in the body is supposed to be washed out by the water sprinkled upon it (attractio similium)
The hymn has been translated by Weber, Ind. Stud. IV, 403-4; Ludwig, Der Rigveda, III, 445; cf. also Bergaigne et Henry, Manuel Védique, p. 133.
Stanga 1.
b. Weber regards váså as fem. sing. ; Whitney, in the Index Verborum, as nom. plur. masc. ; Sayana, as neut. plur., vaså vasâni. Varuna and Asura are, of course, the same divinity.
c. Weber, durch mein gebet von da herauss dich reissend ;' Ludwig, mit meinem brahma hervor mich tuend ;' Sayana, brahmana mantrena ... såsadanah atyartham tikshnah ... praptabalah.
Stanga 2. c, d. The passage is a reverberation from the legend of Sunahsepa ; cf. Ait. Br. VII, 15.
1 Varuna is the lord of the waters (see the note on IV, 16, 3): the dropsy is therefore conceived to be due to his infliction.
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d. For távå syám, cf. VIII, 2, 20 d. Ludwig suggests that the sufferer, being a kshatriya, is said to be the man of Varuna, the king (kshatriya). Weber construes it as though it were an ethical dative, ‘dieser lebe dir (i. e. durch deine gnade) hundert Herbste.' Sayana, identically the same way, tava anugrahat.
Stans& 4. a, b. Ludwig, rendering 'von dem grossen meere Vaisvânara,' thinks that the lower regions are alluded to, since death overtakes him that has been seized by Varuna. Sâyana over-ingeniously connects vaisvanara with the digestive fire (gatharågni), i.e. in this connection, digestive disturbance. But AV. VIII, 2, 27 shows that nothing more is intended than the funeral fire. Cf. for the entire stanza, Vait. Sa. 38, 1.
I, 11. COMMENTARY TO PAGE 99. The ceremonies connected with this hymn are described in Kaus. 33, i ff. They are in part intended to procure easy and natural parturition, but the attention of the søtrakâra seems to be engrossed even more by certain oracles which shall tell whether the woman is in danger, and whether or not she will give birth to a male child. As the practices, in spite of their unusual length, do not exhibit any very close connection with the hymn, we may only present the first six Satras, as follows: 1. While reciting AV. I, 11, four portions of the dregs of ghee are poured into a water-pail, and four muñga-reeds are plucked (and placed) eastward upon the head (of the pregnant woman'). 2. The sheaths (of the muñga-reeds) are placed westward. 3. If (these reeds and stalks) should break, there is danger. 4. (The practitioner) washes her with warm water, beginning with the braid of hair to the right.
* Cf. the four directions mentioned in the second stanza of the hymn.
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5. The joints of the house are loosened?. 6. On both sides of her a cord and a wagon-rope is fastened. The remaining Satras are not all of them clear; they seem to be devoted wholly to oracles for finding out whether it is to be a boy or not.
Practices similar to the above, in part built up upon mantra-materials of a similar character, are known in the Grihya-sâ tras and elsewhere by the name of soshyantîkarma; see Sat. Br. XIV, 9, 4, 22=Brih. År. VI, 4, 23; Pår. Grih. I, 16, 1 ff.; Sankh. Grih. I, 23; Gobh. Grih. II, 7, 13 ff.; Khâd: Grih, II, 2, 28 ff.; Hir. Grih. II, 2, 8 ff.; Åpast. Grih. VI, 14, 13 ff.
The hymn has been treated by Roth, Ueber den Atharvaveda (Tübingen, 1856), pp. 15 ff.; Weber, Indische Studien, IV, 404-5; Ludwig, Der Rigveda, III, 478.
Stansa 1.
2, b. The point of the first hemistich is the punning comparison of the birth (sūti) with the act of pressing the soma. This makes of it a sacrifice; Aryaman, as the hotar-priest, utters the vashat-call for Pashan who is, as it were, the adhvaryu-priest; cf. Ind. Stud. X, 324. Ludwig's surmise that Soshan is to be read for Půshan (cf. stanza 3) is untenable. The association of the two in matters connected with marriage (RV. X, 85, 36, 37) is well known? For hótå vedhåh, see Ludwig, Der Rigveda, III, pp. 223-4; vedhák, however, is not derivable from the root vidh, but is equal to Avestan vazdanh (Geldner, Studien zum Avesta, p. 58).
c. The Påda is very difficult. Roth emends freely, sísri. tâm nâry ritápragåto,'(a child) begotten at the proper time shall detach itself, O woman!' He compares, for this use of sísritam, Våg. S. VIII, 28, evá-yám dásamåsyo asrat,
Symbolic action calculated to loosen the foetus ; cf. in general AV. IX, 3.
The mantra quoted in Kaus. 33, 7 is also based upon the same hymn, RV. X, 85, 40 (the sûrya-sūkta).
R 2
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where asrat is, however, to be derived from srams, 'fall.' Weber regards náry ritápragata as parenthetic, and combines sísratâm with párvåni, ‘lass nachgeben-mög die frau richtig gebaut sein !-lass weichen die glieder!' Ludwig,
es löse sich die frau als eine richtig gebärende.' We have adhered closely to the text, but sisratam as a third singular middle imperative is problematic, and perhaps Roth's emendation (sisritam) is to be adopted. Possibly some derivative of srams stood in place of the word (sísrasat, ‘may she cause the child to fall'?).
Stanza 2. d. The editio princeps reads tấm vyúrnuvantu satave; Shankar Pandit, following the minority of his MSS. and Såyana, reads tám, which was also proposed by Roth, 1.c., p. 15, and adopted by Weber, 1.c., p. 405. I have translated tâm, because the womb and not the foetus (cf. AV. IV, 2, 8) is opened at birth.
Stansa 3.
2. We shall, in all probability, never be able to unravel the tangle of mixed, punning notions which have given rise here to the dr. dey., the proper name Sushan. Ludwig is impressed with it so much as to endow the entire hymn with the title Sashan. In the first place it is a modification of Pushan, suggesting the future or desiderative of the root sů, 'beget ;' cf. sushyantî, RV. V, 78, 5. Then, there is surely an allusion to ushá() vyūrnvats in RV. I, 92, II, that is, sûsha is dimly felt to be su + ushá, beautiful Ushas;' cf. Tait. S. IV, 7, 3, 2. Sâyana plainly and mechanically offers this as one of three explanations, sobhana ushah sûsha. And again the words su 'well' and san 'obtain' may also have Aitted before the eyes of the versifex, cf. sushane in Pâda c. Sâyana offers two explanations in addition to the above, sûshå savitri praganayitrî devatà, and suvam sanotîsti sûsha. The Pâda is catalectic, but scarcely stands in need of emendation ; cf. Oldenberg, Die Hymnen des Rigveda, pp. 34 ff.
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b. Cf. RV. V, 78, 5; Ait. Br. V, 15, 4.
c. Sushane (a. λey. as sûsha in Pâda a) may be a vocative from either sûshani or sûshana Sâyana, he sûshane, suvam sanoti prayakkhati... sukhaprasavakârinî devatâ.
d. Still more problematic is bishkale. Sâyana explains it as either from bishka, an imitative word, and the root lâ 'take' or 'make,' or else from a combination of the roots vish 'permeate' and kal 'go!' According to the Sabdakalpadruma, bishkalâ is the domestic sow (grâmyasûkarah) called bahv-apatya, 'having abundant offspring,' on account of its prolificness.
COMMENTARY.
245
Stanza 4.
Cf. Pâr. Grih. I, 16, 2; Hir. Grih. II, 3, 3. Sâyana, supported by some MS. authority, reads mâmsena, as does Pâraskara. Sâyana quotes from an unquotable Vedic text (nigamântaram) another form of this mantra, svavity(!) avapadyasva na mâmseshu na snâvasu na baddham asi maggasu.
c. Sévalam is problematic. The scholiast to Pâraskara renders it 'moist, slimy,' and the Petersburg lexicon's suspicion that this is a purely etymological rendering based upon the name of the water-plant saivâla is fully borne out by Sâyana's statement, sevalam galasyoparisthitasaivâlavat ântarâvayavâsambaddham. Roth, 1. c., p. 16, suggests kevalam, 'alone;' cf. for the interchange between s and k, Bloomfield and Spieker in the Proc. Amer. Or. Soc. for May, 1886 (Journ., vol. xiii, p. cxxi).
Stanza 5.
Cf. Tait. S. III, 3, 10, 1; AV. I, 3, 6. Sâyana, gavînike yonch pårsvavartinyau nirgamanapratibandhike nâdyau.
Stanza 6.
Cf. RV. V, 78, 7. 8; Sat. Br. XIV, 9, 4, 22; Våg. S. VIII, 28; Nirukta III, 15; Hir. Grih. II, 3, 1; Âpast. Mantrabr. II, II, 15; Bhår. Grih. I, 21; Baudh. Grih. Parisishta II, 2.
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I, 12.
COMMENTARY TO PAGE 7.
The history of the interpretation of this hymn is of uncommon interest, because it illustrates forcibly the particular closeness of relation between the hymns of the Atharvan and the practices reported in connection with them. Professor Weber, Indische Studien, IV, p. 405, translated the hymn under the caption 'Gegen hitziges fieber,' and, guided especially by the more immediate meaning of garâyugáh, 'the product of the placenta, afterbirth,' he thought that the hymn referred to puerperal fever, or the fever of a child. Ludwig, Der Rigveda, III, p. 343, surmised that the hymn was directed against inflammation, and Zimmer, Altindisches Leben, p. 390, refers to it in connection with the word vâta in the first stanza, which he would translate by 'wound;' he also identifies vâta with 'wound' etymologically. The compound vấtabhrâgâs in the first stanza, as he understands, means 'suffering from wound-fever.' But Zimmer's theory that the word våta ever means 'wound' has not sustained itself: vâta is 'wind in the body;' vâtîkritanasanî (VI, 44, 3) is 'destroyer of the disease which comes from wind (of the body);' cf. báta byádhi (vâtavyâdhi), 'diseases produced by wind (in the body),' in Wise's Hindu System of Medicine, p. 250, and see Contributions, Fourth Series, Amer. Journ. Phil. XII, p. 427.
In Seven Hymns of the Atharva-veda, 1. c., VII, pp. 469 ff., I presented a full discussion of the hymn, and, aided by the indications of the Kausika-sûtra, showed that the hymn referred to lightning, which is regarded as productive of certain diseases mentioned in the context, to wit, fever (cf. the word sokishâ in st. 2), headache, and cough. The pivotal word in the hymn is garâyugáh, and it is interesting to note why it is especially misleading. The first book of the Atharvan is a miscellaneous collec
1 Cf. the note there, at VI, 109, 3, and IX, 8, 20.
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tion of hymns containing for the most part, though not unfailingly, four stanzas each (cf. AV. XIX, 23, 1 ; Atharvanukramani I, 1, 13; Ath. Paris. 48, 9 and 10; Gop. Br. I, 1,8; Ind. Stud. IV, 433; XVII, 178). There is no definite order in the arrangement of the hymns within the book, but there appears a marked tendency to group together two or even three having the same or a similar subject. This concerns especially hymns JI-13. The eleventh is a charm for easy delivery in childbed. The last three stanzas end with the refrain, áva garayu padyatâm, ‘may the placenta come down ;' in addition to this the word garáyu occurs thrice more in the course of the last three verses. Now, there can be no doubt that the redactor placed our hymn (I, 12) after I, 11 simply because it begins with the word garayugáh'. This does not argue that he misunderstood the true nature of the hymn; on the contrary it is quite clear that he recognised its association with lightning, because he has placed after it I, 13, a hymn which is evidently a prayer to lightning (námas te vidyúte, &c.). He placed I, 12 after I, 11 simply because the word garayugáh offered as good a point of linkage as any other at hand, the fundamental difference in its value notwithstanding. But it is natural that European readers should have seized upon this erroneous suggestion, so as to be influenced by it in deciding the purpose of the hymn.
The native treatment of the hymn exhibits considerable divergence, owing to its duplex character. It is a hymn to lightning; and, on the other hand, the diseases attributed to lightning present even more salient and practical points, destined to be prominent in its designation and ritual application. So the Anukramani describes it as a yakshmanâsanam suktam, 'a hymn which cures consumption' (cf. the word kasás from cough' in st. 3); in the Ganamâlâ, Ath. Paris. 32, 7, it is one of the takmanâsanagana,
· Note the words stánah and stanayitnúr respectively, in VII, 10 and VII, 11, as the probable, and even more inane reason for the juxtaposition of the two hymns in the redaction.
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'a group of hymns designed to cure takman, fever' (cf. Kaus. 26, 1, note). Kausika employs it twice, presenting its two main characteristics. In 38, 1-7 it is used in a charm against thunderstorms, preceding the employment in a similar charm of AV. I, 13 and VII, 11, both of which are palpably hymns addressed to lightning. But in 26, 1-9 it is employed further in a performance which is distinctly described by Darila as a sirorogabhaishagyam, 'cure for headache' (cf. muñká sîrshaktyá in st. 3 a), and by Kesava as, atikâse sîrshaktisirovedanayam ka karmâni, rites against excessive cough and pains in the head.'
The latter practice is as follows: 1. While reciting AV. I, 12 (the priest) lets (the patient) drink of fat", honey, ghee, and sesame-oil. 2. (The patient), his head covered with a turban made of muñga-grass ? (saccharum munja roxburgiense), goes along carrying in his left hand parched grains in a sieve, from which he scatters it with his left hand. 3. (The patient then goes on, carrying) in his left hand the sieve and the turban, in his right hand a bowstring and an axe. 4. The (patient goes) in front of the priest who gives the orders. 5. On the spot where the disease seizes upon him he puts down the sieve and the turban. 6. And (also) the bowstring. 7. He returns home'. 8. (The patient) puts ghee up his nose. 9. (The priest) while supporting the patient's head with a staff (of bamboo) having five knots mutters (the hymn). The sense of these practices, obscure though they are in many
· Kesava, mâmsamedah.
* Kaus. maunga-prasna; Dârila, prasna ushnisham; Kesava, mauñga-induka (cf. indva in the Pet. Lex., and especially in Kaus. 26, 30).
Kaus. pūlyâni; Kes. lâgân. Symbolic scattering of the fever. • Kesava here is the least obscure of the commentators, vyâdhitam agre kritvå.
The text of the Satra is very obscure. One MS. of the text reads ávraganam; the rest, avragatam. Dârila has âvragam twice (see notes 7 and 10 on p. 71 of the edition); this may be for the participle âvragan, and has served as the basis of the translation.
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details, is clearly a symbolic act of drawing the disease out of the head, and depositing it where it is supposed to have come from; cf. the introduction to VI, 26. One is tempted, at first sight, to accuse the medicine man of the banalité of employing munga-grass simply because it puns with munká, 'release,' and this would be no more than Atharvanesque. Possibly, however, there is a little more contained in the practice. In Sat. Br. VI, 3, 1, 26 we have the following legend: 'Agni went away from the gods, he entered the munga-grass. Therefore that is hollow, and for that very reason it is as it were disfigured by smoke. The munga is the womb here of Agai.' In that case we have here the usual attractio similium. The munga is employed in drawing off the effect of lightning, because it is the natural home of fire (lightning). Cf. also Sat. Br. VI, 6, 1, 23.
Uncanny is the rite which the Kausika prescribes in connection with the hymn at 38, 1-7. It is directed against stormy weather, durdina, the relation of which to lightning, of itself obvious, is stated explicitly in the Harivamsa 9609, tumulam durdinam kâsîd vidyutstanayitnumat, 'and there arose a crashing storm accompanied by lightning and thunder.' The passage of the Sûtra may be translated as follows: 1. 'When one goes against a storm he faces it1 while reciting AV. I, 12. 2. Stanza by stanza (he faces the storm hurling) jets of water (against it). 3. (And he faces it) with a sword, a firebrand, and a club. 4. (And he faces it) naked while wiping his forehead. 5. Into a coal-pan which he has removed outside (of the house) he makes an oblation of (the leaves of) the horse-radish
1 Kesava, durdinam abhimukham upatish/hate.
udavagraih: the Brahmanas have innumerable times the expression vagro vâ âpah, e. g. Sat. Br. VII, 2, 1, 17.
* kishkuru (with variants) is unknown elsewhere, but Kesava in glossing it with laku/a-laguda is clearly well-informed. The word is doubtless identical with kishku, which the scholiast at Pank. Br. VI, 5, 12 glosses with danda.
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tree1 and pebbles. 6. He puts on (fagots of) the kera❜ and arka (calotropis gigantea) plants. 7. Beaten by the rain, with dishevelled hair 3, going thrice around a pit he quickly buries into it the arka-wood.' The symbolism of this performance is not altogether transparent; the use of the arka is doubtless founded upon a double entente: arka is 'flash of lightning,' and its cessation is coaxed by burying the arka-wood in the pit.
HYMNS OF THE ATHARVA-VEDA.
Stanza 1
a. For garayu-gá, 'born of the (cloud-)womb,' cf. abhra-gá in st. 3, and such expressions as vidyún meghásakhâ, 'the lightning whose companion is the cloud,' in the Suparnakhyâna 3, 2. The more literal meaning of the word is 'placenta-born,' an idea thoroughly Indic. Cf. Sat. Br. VI, 5, 3, 5, trivrid dhi pragátih pitâ mâtâ putros tho garbha ulbam garayu. Cf. also VI, 6, 1, 24. Professor Kern some years ago was good enough to impart to me his own somewhat different view: 'As to garâyugá-, I think that is what the Norse skalds called a kenning, an oratorical periphrasis of vatsa, and this is a veiled expression for lightning; cf. apâm vatsa as denoting the fire of lightning, and the srîvatsa, the lightning figure on the breast of Vishnu.' (Letter of May 10, 1887.)-For the epithet vrishan as applied to lightning see now my article on súshma, Contributions, Sixth Series, Zeitschrift der Deutschen Morgenländischen Gesellschaft, XLVIII, 565 ff. The entire passage has a good parallel in RV. IX, 74, 3, ĭse yo vrishtér itá usriyo vríshâ apám netấ yá itáûtir rigmlyah, where Soma is obviously compared with lightning.
b. The edition reads vátabhragâ(h), but the text is not absolutely certain, as Sâyana comments upon vâtavragâh*.
1 Dârila, sigrupatrâni.
2 Dârila, kerâparnîsti yâ surâsh/re pumdarîkesti; Kesava, paterakasamidhah.
pratilomakarshitas is explained in the light of keseshu karshitâ in the Mrikkhakafikâ 16, 25.
Sâyana refers the entire stanza to âditya, 'the sun.'
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Both readings are worthless; I have substituted in my article on the Seven Hymns, våta-abhra-gáh. It is refreshing to see for once an emendation rendered absolutely certain by a later discovery. The entire Pada presents the stereotyped four component parts of a storm, vata, abhra, stanayitnu, and vrishti; in this way they are catalogued in a variety of Vedic texts ; see the article on súshma just quoted, I. c., pp. 569-70.
C. Read tanvàrgugó with crasis of sandhi-hiatus. The juxtaposition of rigugo and rugán is of the punning order.
d. Read trayadha!.-Cf. the statements about Vishnu, who himself single passes through three regions, e.g. RV. VIII, 29, 7, trỉny éka urugâyó ví kakrame. Resting upon this parallelism I have taken ékam ogas as in apposition with the subject of the clause.
Stanza 2. a. sokís, the salient symptom of fever, AV. I, 25, 2, 4; V, 22, 2 ; VI, 20, 3.
o. I have translated anká as crook' and samanká synonymically as 'hook.' Both translations are purely tentative ; anká may mean 'hook,' and at present any rendering of samanká is an enfant perdu. The word occurs once more in the Atharvan, VI, 50, 1, apparently as the name of some pestiferous insect, or animal which destroys grain. I do not know how to mediate between the two uses of the word. Såyana, arkân ankanasîlån sûryasya anukaran samankan samañkanasilan samîpe vartamânân antarangan api parivärabhatån devân.
d. The text of the Samhità reads asyà, the Padapatha, asya. If the latter is correct in its interpretation, this is the only instince in the Rig and Atharvan-vedas of asya as a masculine. Looked at purely by itself asyå grábhîtå may stand for asyâ(2) grábhità, and this opens out the
'Cf. my article, On certain irregular Vedic subjunctives or imperatives, Amer. Journ. Phil. V, p. 27 (12 of the reprint).
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HYMNS OF THE ATHARVA-VEDA.
possibility that the stanza stood originally in some other connection where a feminine was appropriate.
Stanza 3.
The stanza, in accordance with its context, is employed in Kaus. 27, 34, along with the so-called mrigâra-sûktâni, in a more general remedial charm, designated by Dârila as a sarvabhaishagyam.
a. sîrshakti, probably for sîrshasakti with haplology; see Proceedings of the American Oriental Society, 1893 (Journal, vol. xvi), p. xxxv. The poet puns upon the word in Pâda d with sakatâm, although sakti is more likely to come from sang, rather than sak.
b. The masculine yó is difficult. I have referred it to the lightning (usriyo vrisha, or súshmah), which involves a considerable ellipsis, indicated by the parenthesis in the translation. But it seems to me possible to refer yó to kâsá(k) in Pâda a, and to translate more simply, 'Release him from headache, and also from cough, which has entered every joint of him.' Namely kás, feminine, jostles with its thematic pendant kâsá, masculine, in AV. V, 22, 10 and 11 (kâsa, instrumental feminine in 10; but kâsám, accusative masculine in 11). It requires no violent stretch of the grammatical imagination to suppose that the poet unconsciously has shifted his position from the feminine in Pâda a to its masculine doublet kâsá in Pâda b. The masculine form prevails in the classical period.
c. For súshmo, see the article on the word, cited above, where several close parallels to this passage are assembled.
I, 14. COMMENTARY TO PAGE 107.
The history of the interpretation of this hymn is of interest. Weber, Ind. Stud. IV, 408 (cf. also V, 218); Ludwig, Der Rigveda, III, 459; and Zimmer, Altindisches Leben, p. 314, translated and interpreted the hymn as a marriage-hymn. Zimmer thought that the stanzas were spoken at the end of the ceremony, as the bridegroom
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assumed charge of the bride. The present writer, following the indications of the practices connected with the hymn in the Kausika (36, 15-17), thought that it was a charm of a woman against a rival, and dealt with the hymn and the ritual in this sense in an article devoted to the subject in Seven Hymns of the Atharva-veda, Amer. Journ. Phil. VII, pp. 473-6. It is of interest to find now that Sayana construes the hymn in the very same spirit.
The proceedings in the Kaus. are somewhat as follows: 36, 15.'While reciting AV. I, 14, the wreath, pillow (?), tooth-brush, and hair (of the woman against whom the charm is undertaken are placed) into the skin of a cow slain by Rudra, or of a funeral cow, and buried in the cavity of a mortar under a pile of three stones? 16. The hymn is recited while the wreath is being ground up. 17. Three tufts of hair are tied (each) with a black thread (and buried under) a pile of three stones, the stones each alternately above (each tuft).' Then follows in Sûtra 18 a subsidiary rite for digging the 'fortune'up again (Kesava), saubhagyakaranam : 'Then one digs her fortune up with the formula, “That fortune of thine which they have buried into a pile of three stones, or four stones, that we now dig up, along with offspring and wealth.”'
Throughout the hymn and the ritual the spirit of fierce hatred manifests itself in allusions to the burial rites. Thus in the ritual the anustarani; in stanzas 1, 3, the word pitrishu, translated above with her relatives,' may also mean (with
The Satra bristles with difficulties; nishpramanda has been translated by 'pillow,' because Sâyana says, tadupabhuktamâlyakandukadantadhavanakesânâm... (ni)khananâdikarmâni. But the word nishpramanda is none too certain ; some MSS. and Kesava read nipramanda, and Dârila's comment on the word is unintelligible (krîdâyavargâgendukah; cf. pramanda=indukah, Kaus. 8, 17; 25, 11; 32, 29, and Kausika, Introduction, p. lii). I translate kosa by skin,' because Kesava says, î sânahatâ tasyâh karmaná s-Veshtya (the passage is not extracted in the edition). But cf. the word antahkosám in st. 4 C. Both Darila and Kesava explain îsanahatâ, ‘slain by Rudra,' as=gvarahata, ‘killed by fever.'
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double entente) 'among the Fathers or manes.' The first hemistich of the third stanza, considered by itself, might be readily interpreted as being uttered at the funeral of a maiden; indeed, it seems possible that material of this sort has been worked over for the occasion. The secondary employment of stanzas, composed primarily for the burial service, is possibly to be assumed for stanzas 2-4 of RV. VII, 55 (see Aufrecht, Ind. Stud. IV, 342), and for AV. II, 12, 7-8 (q. v.). The Anukramanî makes the following curious statement in regard to our hymn: namas te astu (I, 13), bhagam asya (I, 14), iti sûkte vaidyute dve ânushtubhe, prathamam vaidyutam param vârunam vo-ta yâmyam vâ, prathamena vidyutam astaud, dvitîyena tadartham yamam. There seems to be no reason for associating these hymns, nor for regarding I, 14 as having any relation to lightning'.
HYMNS OF THE ATHARVA-VEDA.
Stanza 1.
Pâdas a and c, apparently each hypermetric, may be restored by reading, with elision and crasis, bhágâsyâ, and mahabudhneva.
d. pitrishu,' with her relatives,' as stated more explicitly in st. 2. So also Sâyana. Cf. the words pitrishad and amâgúr in the lexicons. But there seems to be intended, too, an allusion to the manes, i. e. to death; cf. the introduction.
Stanza 2.
a, b. Sâyana, here and in the next stanza, refers rågan to Soma, supporting his hypothesis by a reference to RV. X, 85, 40, where Soma is said to have been the first to woo the maiden, being followed by Gandharva, Agni, and man. Cf. also Vas. Dharm. XXVIII, 5.
c, d. It depends upon circumstances whether the girl lives with her (widowed) mother, or her father, or, after the decease of her parents, with her brother; cf. for the latter contingency, AV. I, 17, 1.
Unless the word îsânahatâ, Kaus. 36, 15, has misled the author of that very late and bungling performance.
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Stanza 3.
8. Sayana comments upon kulapā instead of kulapá(k) of the Samhita and Padapatha.
d. The MSS. unanimously have this Pâda in the form á sîrshnah samopyåt (Padap., sam ópyât). Såyana emends to samopyât, commenting, sirasah samvapanât bhûmau sampatanåt, until her head sinks to the ground.' This coincides with the reading of the Paippalada, and is accepted by Shankar Pandit and Whitney; see Festgruss an Rudolf von Roth, p. yo. For the interchange between s and s, see our article in the Proc. Amer. Or. Soc., May, 1886 (Journal, vol. xiii, p. cxx). The text in this form might mean 'until she scatters from her head,' i. e. until she becomes bald.' Even after the authority of the Paippalâda I venture to repeat, very hesitatingly, my suggestion (Amer. Journ. Phil. VII, p. 476), that á sîrshnah késam ópyât may have been the original text of the Saunakiya-såkha. "Let her scatter her hair from her head,' or 'let her scatter the hair of her head,' either by growing bald, or as a sign of mourning (cf. Contributions, Second Series, Amer. Journ. Phil. XI, pp. 336 ff.). Opya as a noun is very strange, and sam +å + upyat (precative) would seem to require an expressed object in the accusative. We are reminded, too, of the expression késån prà vapanti, 'they let down their hair, AV. XIX, 32, 2, as a sign of mourning.
Stansa 4. a, b. The juxtaposition of Kasyapa and Gaya reminds one of Kasyapa of Gaya, who plays a conspicuous part in the Buddha legend. Asita is another worthy in the same narrative. See the words in the Pet. Lex., and cf. our note on IV, 20,7.
0. gầmi, in the broader sense of the word in the later language, 'female relatives of the householder.' Sayana, striyah ; cf. Nirukta III, 6.
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I, 16. COMMENTARY TO PAGE 65.
The Kausika, 47, 23-4, presents this hymn in the sixth book, devoted to the witchcraft practices (abhikârikani), as follows : 23. "While reciting AV. 1, 16 he who performs the practice collects ground lead, and puts it into the food (of his enemy), or upon the ornaments (upon his person). 24. With a staff, made from a decayed bamboo-reed, as long as an arm, and omamented”, he strikes (the enemy).' According to the Paribhasha-stra, Kaus. 8, 18, the word
lead' in these practices is to be construed very broadly, including both lead itself, river-lead' (i.e. according to the commentators, river-foam), iron-filings, and the head of a lizard. In Contributions, Third Series, Journ. Amer. Or. Soc. XV, pp. 157 ff., I have endeavoured to show that this class of practices is founded upon the famous legend of Indra and Namuki, in which Indra slays Namuki with the 'foam of the waters. The other substances seem to be substituted for practical reasons, being more easily obtained and more readily handled. They may, of course, have been regarded as available for this purpose for other reasons, that escape us. · The hymn has been translated by Weber, Ind. Stud. IV, 409; Grill 4, pp. I, 75. The Anukramanî describes the hymn as kâtanam, charm to chase away with,' and accordingly it figures in the series called kâtanagana in the Ganamâlâ, Ath. Paris. 32, 3 ; see Kaus. 8, 25 note.
Stanza 1. 8. In Åpastamba's Dharmasútra I, 11, 31, 21 we have: During the day the sun protects the creatures, during the night the moon. Therefore let him eagerly strive to protect himself on the night of the new-moon by purity, con
The term alamkrita here seems to mean technically 'anointed (with ghee); ' see Darila at Kaus. 48, 3, and cf. Kaus. 47, 40. 44.
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tinence, and rites adapted to the season.' Cf. also AV. IV, 36, 3; Tait. S. II, 2, 2, 2; Maitr. S. II, 1, 11. The accusative ratrim is not favoured by the metre, and we should expect rátryâm. Sâyana, sarvasyâm râtrau udasthuh uttishthanti.
I, 17.
COMMENTARY.
b. Sâyana reads bhragam for vrâgám, to wit: râtrim raganîm bhragam bhrâgamânâm; or again, bhrâgamânain purusham himsitum udasthuh. He repeats this reading when quoting the stanza in his comment on II, 9, 1. Cf. also the note on vätâbhragâh, I, 12, 16.
...
o. Sâyana takes turîya in the sense of 'fourth,' as alluding to the well-known legend of the three older brothers of Agni who were worn out in the sacrificial service before the present Agni; see RV. X, 51 and 52; Sat. Br. I, 2, 3, 1; Tait. S. II, 6, 6; Mahâbh. III, 222, 7=14214, &c. (cf. Ludwig, Der Rigveda, V, 504-5). But turfya is the equivalent of turá, e. g. RV. VIII, 52, 7.
Stanza 2.
For the uses of lead in the ritualistic texts, see Weber, 1. c., p. 410, and our article on Indra and Namuki, quoted above in the introduction.
Stanza 3.
For a full discussion of víshkandha, either some disease, or, as seems to us more likely, a kind of demon, see the note on II, 4, I.
I, 17.
COMMENTARY TO PAGE 22.
This charm against flow of blood is the only one of the kind in the Atharvan. Kesava specifies that it is employed against internal and external flow of blood and (excessive) menstruation, atha lohitam vahati sarîramadhye bahis ka
...
rudhiravrane... strîragasotipravartane bhaishagyam rudhirapravahe ka. The Kausika attaches to it the following performances at 26, 10-13: 'While reciting AV. I, 17 (the practitioner) strews dust and sand around (the wound) with a bamboo-staff containing five joints (accord
[42]
S
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ing to Kesava he places the staff upon the wound [cf. Kaus. 26, 9, samstabhya], and then strews the dust and sand '). 11. He ties on mud from a marsh? 12. He gives (the patient a solution of it) to drink. 13. He (also) gives (him) to drink a mixture of curds and ground sesame, along with four tips of millet-grass. The chief point of relation between the practices and the hymn is the application of a bandage or poultice of dust and sand which seems indicated in the fourth stanza with the words síkatávatî dhanûr.
The first stanza of the hymn is quoted with variants in Yaska's Nirukta, III, 4, from an unknown source ; the Anukramani designates the hymn as yoshiddevatyam. Previous translations by Weber, Ind. Stud. IV, 441; Ludwig, Der Rigveda, III, 508; Grill?, pp. 16, 76 ; cf. also Hillebrandt's Vedachrestomathie, p. 46.
Stansa L. In Yaska's Nirukta, III, 4, the stanza occurs in the following version: amûr yâ yanti gamayah sarvâ lohitavåsasah: abhratara iva yoshås tishthanti (Durga, tishthantu) hatavartmanah. Durga declares this to be an Atharvan-stanza, and says that the women are the blood-vessels (nådyah) which shall stand still, like brotherless maidens, debarred
1 The word pâmsusikatábhih, which I have translated as a copulative compound, dust and sand,' is regarded by the commentators as a descriptive. Darila, pâmsuvat slakshnadhalih sikata vâlukâ; Kesava, rathyâyâh påmsûn.
• It is not quite clear whether the armakapálika is tied on as an amulet or as a bandage upon the wound: usually badhnati is the terminus technicus for the tying on of an amulet. Nor are the commentators agreed as to the meaning of the word; Kes. kedaramriitika, and pankamrittika. But the word occurs also in Tait. Ar. V, 2, 13 (cf. also Tait. S. V, 1, 6, 2), and in the commentary on the Tait. Ar., p. 394, it is explained as potsherds deposited in the decayed portion of the village,' kiramtane girnagrâmadese avasthitâ bhåndâmsâh. Sâyana to our passage, sushkapankamrittika kedâramrittika vâ.
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from the samtânakarma and the pindadâna (ancestral rites) practised by the family of their husband. In AV. I, 14, 2 the girl who has lost her father and mother is depicted as living in the house of her brother. Cf. Roth's comment, p. 25, and Zimmer, p. 328. The exact point of the comparison is not quite clear, and Zimmer's translation of hatávarkas as 'deprived of support or protection' seems to import an occidental idea not in the text. See RV. I, 124, 7; IV, 5, 5, and especially the statement, nâ sbhràtrîm upayakheta, 'one may not marry a brotherless girl,' in the commentary on Nirukta III, 5; Manu III, 11; Yâgñavalkya 1, 53 ; Vasishtha XVII, 16 ; Gautama XXVIII, 20.
b. lohita, with double entente, 'red' and 'blood.'
c. Read abhrátareva ; the Anukramanî, upon the strength of the apparently additional syllable, designates the stanza as a bhurig.
Stansa 3. b. Ludwig rather whimsically translates sahásrasya hiranâm 'von den tausend gelben.' It would seem as though the stanza intends to bring out a distinction between hirã and dhamánî, the former being the smaller and the latter the larger blood vessels. Accordingly, 'veins' and 'arteries.' And yet in VII, 35, 2 (see the note there) both hira and dhamáni apparently have the more general sense of 'interior canals,' such as entrails, vaginal passage, and the like. Naturally, the knowledge of internal physiology is of the vaguest sort. For hira, see Aufrecht in Kuhn's Zeitschrift, III, 199; Weber, Omina und Portenta, p. 346.
Stanse 4. Our translation of this stanza derives its main support from the practices above, which seem to imply that sand is put upon or about the wound. Såyana gives the passage a totally different bent; he takes síkatávatî dhanur brihati as the designation of one of the canals in the body which contains the sand that results in calculi in the bladder, sikatå ragâmsi tadvatî nâdî, 'sikata, i.e. sand, the canal containing that.' He says, further, that it is the canal
S 2
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(nådi) which generates calculi (asmarî), and finally describes it more explicitly as a kind of canal crooked like a bow, and the seat of the urine,' dhanûr dhanurvad vakro můtrasayo nádiviseshah. And he quotes a similar statement from a Smriti, matrasayo dhanur vakro vastir ity abhidhiyate. It would seem accordingly that he imagines the bladder, or some similar vessel, capable as it is of producing sand or calculi, a fitting agent to stop the flow of blood-an interesting conceit at any rate! Grill thinks that the entire stanza is a later addition. But Kausika, at any rate, found it where it is, and the original diaskeuasis of the AV. postulates four or more stanzas for each hymn of the first book ; see Seven Hymns of the Atharva-veda, Amer. Journ. Phil. VII, 470 ff. Against this, there is only the deviation in the metre.
c. The Pâda is a formula ; see RV. I, 191, 6.
I, 18. COMMENTARY TO PAGE 109. Såyana, in the introduction to the hymn, describes the practices associated with it at Kaus. 42, 19-21 as designed to remove the blemishes of a woman afflicted with the evil characteristics mentioned in the samudrika-treatises. These blemishes are supposed to be on her face, hands, feet, and other members, mukhahastapâdadyangeshu sâmudrikoktadurlakshanayuktayah striyas taddoshanivrittaye. The samudrika-books (treatises on chiromancy) treat of both good and evil characteristics, for in his comment on st. I c he says, yâni samudrikasastra prasiddhani ... saubhagyakarani kihnâni santi. Cf. Pet. Lex. under 2. sâmudra, and Kesava to Kaus. 42, 19, sâmudrike strilakshanam vyakhyatam, and note also Kaus. 18, 38, samudra ity åkakshate karma.
The practices of the Kausika are as follows: 42, 19. While reciting AV. I, 18, the face of the woman afflicted
Cf. with these statements Sâyana's comment on vasti, I, 3, 6, dhanurákaro můtrâsayo vastir ukyate.
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with evil characteristics is sprinkled after each verse, commencing at the braid of hair at the right. 20. Having made an offering of chaff from a vessel made of the wood of a palasa-tree (butea frondosa), he pours the rest (of the chaff) after (the first oblation). 21. Chaff, husks, refuse of grain, and shavings are placed upon the heel of her left foot.'
There are good and evil characteristics (lakshmî = lakshana, cf. AV. VII, 115), and the main point of the practices is their removal by washing, and by placing all kinds of offal where it will easily drop from the person under treatment, and cause symbolically the removal of the bad points.
The hymn has been translated by Weber, Ind. Stud. IV, 411 ff. ; Ludwig, Der Rigveda, III, 498 (cf. also 338); and Geldner, Vedische Studien, I, pp. 313 ff., where the charm is interpreted erroneously as directed against the house-cat. Cf. our brief criticism in the Journ. Am. Or. Soc. XV, 153, note.
Stanga 1.
2. Sayana reads lakshmam for lakshmydm, commenting, asaubhågyakaram kihnam. To lalâmyàm he remarks, lalâme bhavam tilakasthånagatam.
d. The Pâda is hypermetric, unless we read pragâyârâtim with double sandhi. Ludwig would cure the passage by substituting nír for pragãyai, but the latter word seems guaranteed by AV. V, 25, 8, prągáyai tvã (två a) nayamasi, and possibly this is the original reading (cf. Geldner, 1.c., 314). In adhering to the traditional text I have supposed the meaning to be that she who has the character of an Arati is rendered fit for marriage and child-birth by the charm. Very problematic this is, to be sure. Sâyana takes pragayai with Pâda c, yâni ... saubhågyâni kihnâni ... tâni ... asmäkam pragayai ... bhavantu, . . . yâni pûrvam nihsâritâni asaubhagyakarâni kihnâni ... arâtim satrum ... pråpayāmah!
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Stansa 2. &. áranim is dr. dey., reminding us of árana, 'strange, áranya, 'waste, forest,' and aranyâni (-nî), the personified goddess of the forest, RV. X, 146. Sayana reads aranim, commenting, aramanım alakshmim daurbhâgyakaram kihnam ... yadvå aramanim sarvadà paryatanakarinîm artikarim va alakshmim. Shankar Pandit retains the reading of the MSS., såvishak (for såvishat in our edition), but Sayana reads savishat. Cf. the Våg. S. in the Kånvasâkhà X, 2, 1; XX, 1, 1 (= IX, 5; XVIII, 30 of the Mådhyamdina-såkha), and Weber, Ind. Stud. IV, 248, 412; XIII, 108. See also Åpast. Sr. XIII, 7, 13.
Stanse 4.
Såyana treats all these epithets as referring directly to a woman; we prefer to regard them as personifications of evil qualities, imagined as dwelling within the person whose characteristics are foul. Såyana, vrishasye-va dantâ yasyâh så vrishadati sthaladantà nâri . . . gaur iva sedhati gakkhatîsti gosedhå strî ... vikritam dhamati sabdâyate iti vidhamà, phůtkârådivividhasabdakarinî ... lalâmyam lalåmasthåne lalå taprânte bhavam ... vilidhyam viseshena lidham vilidham, vilidham iva sthitam kesânám prátilomyarūpam. Our rendering of vilidhyami is not at all certain.
I, 19. COMMENTARY TO PAGE 120. The hymn is one of a list of battle-charms, såmgråmikâni (sc. saktàni), rubricated in Kaus. 14, 7, and associated with ceremonies of a general character, preparatory to going to battle. The Ganamåla, Ath. Paris. 32, 13, has a similar list, somewhat more extensive, which is entitled aparágitagana: see the note at Kaus. 14, 7, and cf. the introduction to I, 2. The hymn is also employed against certain portentous occurrences, as when Brâhmanas carry arms (Kaus. 104, 3), when images of the gods dance, shake, laugh, sing, or indulge in other freaks (Kaus. 105, 1), or
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when a bull sucks a cow (Kaus. 113, 3). Cf. also Ath. Paris. 17, 2. The hymn has been translated by Weber, Indische Studien, IV, 413; cf. also Bergaigne et Henry, Manuel Védique, p. 134
Stangas 3, 4. These two stanzas are an expanded version of RV. VI, 75, 19. The latter part of that hymn contains suggestions which have been freely utilised in the battle-charms of the Atharvan.
I, 22. COMMENTARY TO PAGE 7. The proceedings of the practitioner, Kaus. 26, 14-21, are entirely symbolic; the main effort is to banish the yellow colour to yellow creatures and objects (the sun), where it properly belongs, and to derive for the patient redness from that quarter where it is peculiarly at home, namely a red bull; cf. RV. I, 62, 9, and Aufrecht in the introduction to his edition of the Rig-veda, vol. ii, p. xvii. The practices are as follows:
26, 14. While reciting AV. I, 22 (the priest) gives (the patient water) to sip, which is mixed with hair from (a red bull) the object mentioned in the mantra (st. 1). 15. And having poured (water) upon the back of the bull (he lets the patient drink it). 16. He ties on as an amulet upon the (patient) sitting upon the skin of a bull (the piece of skin) pierced by the peg with which it is fastened (when it is spread out)', after having steeped it in cow's milk and anointed it with the dregs of ghee. 17. He gives (the patient the milk) to drink. 18. He feeds (the patient) with
1 The words the piece of skin,' &c. are all of them a tentative rendering of sankudhânam, to which Darila, karmano vistârâya kilakabandhah sankusthapanam. Sâyana, in the introduction to the hymn, raktagokarmakhidramanim . . . tanmanibandhanam. Kesava, go raktakarmakhidramanim. Cf. also Kaus. 27, 29, to AV. III, 7, 1.
3 Cf. Kaus. 7, 15.
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porridge made of haridra (turmeric, or curcuma, a yellow plant), daubs him from head to foot both with the remnants of the porridge and (additional porridge) from which he has not eaten, (places him upon a couch), ties the (three birds) mentioned in the mantra 1 by their left legs to the foot of the couch, and washes (the patient) off (upon the birds). 19. He makes the patient step forward (after having first given him a stirred drink, mantha, in accordance with the paribhasha at Kaus. 7, 18). 20. He makes (the patient) address (with the hymn) the chattering (birds). 21. Having glued together with lac the hairs from the breast of the red bull) and getting them covered with gold (the patient ties that on as an amulet).'
Sayana in his introduction defines the purpose of the hymn as against heart disease and jaundice, hridrogakamiladirogopa santaye; Kesava advances a broader construction, according to which it cures in addition epilepsy and fainting (vismaya ?), apasmara-vismaya-hridroga-kamalakarohinakani bhaishagyani. Adalbert Kuhn, in Kuhn's Zeitschrift, XIII, 113 ff., has assembled from Greek, Roman, and Teutonic sources notions and practices analogous to those elaborated by Kausika. The principle that the yellow disease belongs by right to yellow objects, birds, and plants, is there again applied practically, with a touch, here and there, of similia similibus curantur. In addition to Kuhn's translation we note Weber's, Ind. Ştud. IV, 415 ff.; cf. also Ludwig, Der Rigveda, III, 343; Bergaigne et Henry, Manuel Védique, pp. 134-5; Zimmer, Altindisches Leben, p. 388; Wise, Hindu System of Medicine, 247 ff. (espe
The suka, ropanâkâ, and hâridrava mentioned in st. 4. Sâyana, in his introduction, sukakâshthasukagopîtanakâkhyânâm pakshinâm. Dârila defines haridravah by haridravarnâs kitakâh. Kesava, sukah kashtha(mu)sukam (1) ka gopitilakam ka. They seem to refer respectively to the parrot, the thrush, and the yellow wagtail, all doubtless birds prevailingly yellow. The yellow jaundice of the patient, accentuated by his coat of yellow curcuma, is washed down upon the yellow birds, where it belongs. Cf. the notes on st. 4, and the introduction to VII, 116.
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cially 249, where turmeric still appears prominent among the curative agencies). Stanzas similar to I, 22 occur, RV. I, 50, 11-12; Tait. Br. III, 7, 6, 22-23; Åpast. Sr. IV, 15, 1.
Stanza 1. b. For hriddyotá the RV., Tait. Br., and Åpast. Sr. have hridrogá (cf. Ridraga, Wise 321); see also AV. V, 20, 12; VI, 24, 1. Still another name is hridayamaya, AV. V, 30, 9; VI, 14, 1; 127, 3. For the root dyut, cf. AV. IV, 12, 2; XII, 3, 22: hrid-dyotá literally means 'heart-break;' Såyana takes it as 'heart-burning,' hridayam samtâ payati (cf. Lat. splendida bilis).
0. The Vedic Hindu is deeply impressed with the redness of the cow, which is contrasted with its white milk, RV. I, 62, 9, &c. 'O sage mir wie geht es zu, gibt weisse milch die rothe kuh.' Perhaps we have here, too, an allusion to the divine Rohita in the thirteenth book of the AV.; see Henry, Les Hymnes Rohitas, and our Contributions, Fourth Series, Amer. Journ. Phil. XII, 429 ff..
Stansa 2. The anacoluthon in Pâdas c, d, seems to be occasioned by ayám, which is a sort of vox media fit for both second and third persons singular. .
Stansa 3. a. I have followed Bergaigne and Henry, Manuel Védique, p. 135 note, in emending the unintelligible róhinir devatyä(h) to róhinidevatyä(h), 'the cows whose divinity is Rohini.' I differ from these scholars in co-ordinating it with gåvo, rather than supplying rikah; see the abovementioned Contributions, p. 437. Rohini is the female of Rohita, a personification of the red, ascending (ruh), ruling sun. The stanzas devoted to Rohini occur AV. XIII, 1, 22 ff. Sâyana's comment on Pädas a, b, is, devatyåh devatasu bhavah ... uktavarna (sc. rohinih) yah kâmadhenvådayo gåvah santi, uta api yâh manushyasam
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bandhinyo rohinîh rohinyah lohitavarnâ gâvah santi tâbhik ubhayavidhâbhir gobhih.
Stanza 4.
b. ropanákâ is glossed by Sâyana at RV. I, 50, 12 by sârikâ, 'thrush ;' Sâyana on our hymn, twice, kâshthasuka (harit pakshî: the word is not in the lexicons). Dârila at Kaus. 26, 20. haridravarnâs kitakâh (not in the lexicons; cf. kikkika, RV. X, 146, 2). Kesava, kâshtha(mu)sukam (!), and kâshthasu(sh)kakandana (! a kind of sandal). The commentators seem therefore to waver between a bird and a plant.
c. haridrava glossed by Sâyana at RV. VIII, 35, 7 by pakshin, but the same work at I, 50, 12, as also the scholiast at Tait. Br. III, 7, 6, 22, has haritâladrumeshu (a kind of tree!). Sâyana on our hymn, twice, gopîtanakâkhya haridvarnah pakshinah (gopîtanaka is not in the lexicons, but gopîta is 'wagtail'); Dârila, ib., pîtâs kitakâh; Kesava, twice, gopîtilakâ.
I, 23. COMMENTARY TO PAGE 16.
The practices connected with this and the next hymn are defined by the commentators as a cure for white leprosy, svetakushthâpanođanâya (Sâyana), svetakushthabhaishagyâni (Kesava). They are stated at Kaus. 26, 22– 24, as follows: 22. 'While reciting AV. I, 23 and I, 24 (the priest) having rubbed dung (upon the sores) until they are red, smears upon them the substances, mentioned in the mantras 1. 23. He cuts off the white (scurf). 24. (The patient?), having been covered, performs the rites to the Maruts.' The latter, described at Kaus. 41, 1-7, are
1 Kesava and Sâyana mention bhringarâga (eclipta prostata; note the pun between râga and ragani, &c. in I, 23, 1), haridra (yellow sandal, or yellow turmeric), indravârunî (colocynth), and nîlikâ. Dârila has a somewhat different statement, too corrupt to be reported here.
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primarily designed to produce rain, and their employment here, secondarily, may be intended to put the patient into a sweat. The point is problematic and not cleared up by the scholiasts.
The entire hymn is repeated with variants at Tait. Br. II, 4, 4, 1. 2. The third stanza of the next hymn is there added to the charm.
Both this and the next hymn have been translated by Weber, Ind. Stud. IV, pp. 416 ff.; Ludwig, Der Rigveda, III, 506, 509; Grill?, pp. 19, 77 ff.; cf. Wise, Hindu System of Medicine, pp. 258 ff.; Zimmer, Altindisches Leben, p. 391; and Bergaigne et Henry, Manuel Védique, p. 135. The Anukramani designates I, 23 as vânaspatyam, and I, 24 as åsurîvanaspatidevatyam.
Stanza 1. Sayana refers the adjectives dark, &c., to the plants, indicated by Kausika's commentators. The word ragani (as well as all others designating night) has also the meaning 'curcuma longa. Cf. the scholiast at Tait. Br. II, 4, 4, I, rañganakshame oshadhe ... atra haridrà raganisti kekit. The two meanings are blended with the idea of
rich in colour,' by virtue of which the word puns with ragaya.
Stansa 2. b. A considerable number of MSS., here as well as in 3 d, followed by Sayana, read prithak for préshat, which also makes good sense. The Tait. Br. also reads préshat.
. This seems to be addressed to the patient: his natural colour shall return to him. Grill takes offence at the parenthesis and proposes to refer sváh to the plant; cf. also Ludwig, and Bergaigne et Henry, 1.c., note. But the plants are of a colour different from the leper's spots (hence their virtue), and svál is inappropriate. Såyana, as in our translation, he rugna ... svakîyah pråg avasthito varnah.
Cf. Aufrecht, Festgruss an Otto von Böhtlingk, p. 3.
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And still more explicitly the scholiast at Tait. Br., dehasya svakîyah půrvasiddho varnah.
I, 24. COMMENTARY TO PAGE 16. For the application of the hymn in the ritual, and previous translations, cf. the introduction to I, 23. Stanza 3 is repeated at Tait. Br. II, 4, 4, 2.
Stansa 1.
Sâyana states the little legend (akhyâyika) as follows: The dark plant here in question was the gall (pitta, dosha) of the primordial bird suparna (garutmån). The Asuri (asuranån mâyå kåkana strî) engaged in battle with him and conquered. The gall captured in the battle she embodied into the form of trees (nîlî, and so forth). This neat story would commend itself at once but for the word gitā, which does not mean she conquered ' (Sây., gitavatî), but she was conquered.' The story is so pat as to tempt to the emendation gitvá, or (as Ludwig suggests) gitám. In general, of course, asura in the Atharvan, as elsewhere, stands for the hostile powers conquered by the Devas, e.g. AV. II, 27, 3. 4; IV, 19, 4; VI, 7, 2; VIII, 5, 3 ; IX, 2, 17. 18; X, 3, U1; 6, 22-8; XI, 5, 7; 10, 10. 15; XII, 1, 15. But a different tone prevails occasionally. In VI, 108, 3 the Asuras are said to know wisdom ; in VI, 100, 3 the ant (upagika), which is employed as an antidote against poison, is called the daughter of the Asuras; in II, 3, 3 ; VI, 109, 3 they dig remedies into the ground, and finally, in VII, 38, 2, the Asurî attracts to herself Indra from the company of the gods, so that, according to Kath. S. XIII, 5, he lives with the Asuras (cf. Ind. Stud. III, 479 ; V, 250, 453). The sense of Sayana's story is therefore not irrelevant. Note also that asuri itself is the name of a magic plant (cf. Magoun, Åsuri-kalpa, Amer. Journ. Phil. X, 165 ff.). If, on the other hand, gitá of the text is retained, it is hard to see how she possessed herself of the gall of the suparná, unless by way of revenge,
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or theft. Hence we have, hesitatingly, adopted the emendation gitva. A later transcriber, shocked by the imputation that the Asuri was victorious, might easily have made the change.
Weber, 1. c., p. 418, regards suparná as the sun and asuri as the night, who, having been conquered by the sun, withdraws into the forest and assumes the form of trees: 'Der vogel, der zuerst erstand, dessen gall’ du gewesen bist. Die Åsurî im kampf besiegt machte die bäuni' zu ihrer form. But there is scarcely any occasion here for a mythical eagle: the eagle and the boar naturally find plants, the one with his eye, the other with his snout (see II, 27, 2; V, 14, 1), and the legend must in some way rest upon this natural fact. This translation, too, establishes no connection between the first and second parts of the stanza. Very similarly Grill.
d. For vánaspátin the Paippalåda has vánaspatih in accordance with the common usage of the Brahmanas, e. g. asvo râpam kritvå, Tait. Br. III, 8, 12, 2; Åpast. Sr. V, 2, 4; krishno rūpam kritvå, Tait. 'Br. III, 7, 4, 8. See Delbrück, Altindische Syntax, p. 103 ; Pet. Lex. s. v. rûpa (column 421); Ind. Stud. XIII, 111. This makes a decidedly better construction : 'having assumed the form of a tree.' Ludwig, translating the Saunakîya-text, '(die Åsuri) hat es zur farbe der bäume gemacht,' and similarly Såyana,gayena labdham tat pittam rûpam kakre, oshadhyâtmana sevyam akāram akarshît, tad eva rūpam aha, vanaspatîn nîlyâdîn. I have followed their lead, though I am for my part unacquainted with any such construction of kar (with three accusatives ; note also the middle, kakre).
Stanza 2. a, b. Såyana treats idam as follows: idam suparnapittena nirmitam nîlyadikam, which corresponds with his and our interpretation of st. 1. In the later literature asuri is a branch of medicine; see the Pet. Lex. under åsurî 3) and manusha. The metre of the two Padas is irregular : idám kilasanasanam seems to be a gloss.
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Stanza 4. a. The European edition reads sâmã, which Ludwig puts forth as the title of the hymn. The Paippalåda, as also two of Shankar Pandit's MSS., have syamá (cf. sâmåka = syâmâka, Kaus. 8, 11); this is undoubtedly correct, and corresponds with ragani in I, 23, 1.
I, 25. COMMENTARY TO PAGE 3. The practice which Kausika reports for this hymn is similar in character, but totally different in detail from those connected with AV. V, 22 and VI, 20. The practising priest, according to Sûtra 26, 25, has an axe heated; then the axe is quenched in water, and the water thus heated is poured upon the patient: yad agnir iti parasum gapams tâpayati kvathayaty avasiñkati. Darila renders this quite clear, parasunå kvåthayaty udakam ... taptenodakena svasimkati roginam. The heated water is supposed doubtless to draw the heat of the fever out of the patient, as it flows from him (attractio similium). Kesava describes the performance as a gvarabhaishagyan, nityagvare velågvare satatagvare ekântaritagvare kâturthikagvare ka ritugvare ka; cf. stanza 4 c, d. Similarly Såyana in the introduction, aikâhikâdisitagvarasamtatagvaravelågvarâdisântaye. The hymn has been treated by Weber, Indische Studien, IV, 419 ff.; Grohmann, ib. IX, 384 ff. ; Ludwig, Der Rigveda, III, 511; Zimmer, Altindisches Leben, pp. 381, 384 ; Bergaigne et Henry, Manuel Védique, p. 136. It is quoted also at Kaus. 26, 1 note, as one of the takmanasanagana of the Ganamâlâ, Ath. Paris. 32, 7.
Stanza 1. The stanza is not quite clear. Sayana refers to the practices in the Satra, which are, of course, themselves based upon suggestions derived from the mantra. 'When Agni having entered the waters burned' refers doubtless to the circle of well-known legends that deal with Agni's escape to the waters. Two hymns of the Rig-veda, X, 51 and
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52, deal with this subject, and it is one of the stock-legends, with protean variations, in the Brahmanas (cf. Indische Studien, III, 467), e. g. Sat. Br. I, 2, 3, 1; 3, 3, 13-16; Tait. S. II, 6, 6, 1 ff.; VI, 2, 8, 4 ff. For later forms of the same legend, see Adolf Holtzmann's essay, Agni nach den Vorstellungen des Mahâbhârata, p. 11, and especially Mahâbh. III, 14214 ff.=222, 7 ff. The basis of these legends is the plain observation that lightning comes from the clouds, that is, the waters (cf. Nirukta VII, 23), and perhaps, again, that it strikes the water upon earth, and disappears in it. This again connects the takmán with lightning, which is conceived as a cause of fever, &c. See our introductions to V, 22, and I, 12. It is perhaps not going too far to suppose that the connection of fever with lightning is another way of saying that fever is associated especially with the rainy season, and that indeed seems to be the purport of the stanza: the period of the lightning is the time when the takmán originates. Cf. Grohmann, l. c., P. 403; Zimmer, 1.c., p. 384.
a. apo, the nominative for the accusative, especially in the AV., as conversely apáh the accusative appears as nominative; see Whitney's Sanskrit Grammar, § 393 a. The expression apo . . . pravísya, as in RV. X, 51, 1, pravivésithâ -páh.
b. dharma-dhritah with alliteration. The expression does not refer to pious men, as is assumed by Weber, Grohmann, and Zimmer; and that too, although their translation would seem to receive support from RV. X, 51, 5, éhi mánur devayúr yagñákâmah, 'come (O Agni), pious men desire to sacrifice.' The meaning of the first two Pâdas would according to this be as follows: When Agni hid himself in the waters, and men being thus deprived of the carrier of the sacrifice approached him humbly, with the purpose of inducing him to resume his functions1... But
1 Weber, l. c., to be sure, quite differently, refers the humble attitude of the pious to the dread of the supposed consequence of Agni's action, namely, the fever.
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dharma-dhritah cannot refer to men, and Ludwig is quite correct in his view, 'die erhalter der satzungen (die götter).' The dhárman is upheld by the gods; so, e.g. Vishnu is described as dhármani dhâráyan in RV. I, 22, 18; Indra as dharma-krit in VIII, 98, 1; cf. also the epithet dhritávrata as applied to Varuna at AV. VII, 83, 1. Reference is therefore made to the suppliant attitude of the gods, as they induce Agni by promises to come forth from the waters and attend to his business.
c. Weber translates tátra ... paramám ganítram'dort is hauptsächlich dein Entstehen,' and Grohmann and Zimmer adopt this very pregnant rendering. Ludwig, on the other hand, says, 'da war deine erste geburt.' It seems to me that neither translation is correct. The Pâda is formulaic; in RV. I, 163, 4 (the hymn to the horse, asvastuti) we have, yátrå ta khúh paramám ganítram, and Ludwig translates (902), wo man sagt, dass dein höchster geburtsort.' Cf. also paramé ganítre in X, 56, 1. The expression paramám ganitram, moreover, is the equivalent of paramé gánman in RV. II, 9, 3, which is contrasted with avaré sadhasthe. The former obviously refers to Agni, the lightning, and, as the takmán is the effect of that Agni, the same origin is assumed for him. Hence I have translated the expression by origin on high.'
Stansa 2. b. Literally, or whether thy origin is a splinter-seeking one,' a bold figure as applied to the takmán. But throughout this hymn the parallelism betw.er fire and the takmán is uppermost in the mind of the poet, and the phenomenon of Agni's growth, as he eagerly licks the split wood, is metaphorically transferred to his disease. Weber translates prettily, 'sei Splitterfeuer, züngelndes, dein geburtsort.' Zimmer, less vividly, oder wenn deine geburtsstätte glimmend ist.' Ludwig does not comment upon his obscure result, oder mag spitze stachel suchend (stechend) deine geburt sein;' he, at any rate, unnecessarily abandons the metaphor of the fire. Sâyana, sakalyam dâhyam kashthasamdham ikhati sakalyet agnih.
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c. I have left the word hrudu1 untranslated, as I have not been able to discover any basis for the existing translation, 'cramp,' which Weber, 1. c., p. 420, proposes, and Ludwig adopts. Weber's result is derived from etymological considerations of insufficient cogency, and the recorded symptoms of the takmán or the gvara fail to include cramps. The word occurs only in this hymn, in evident alliteration with haritasya, and I should not wonder if the word would yet turn out to have some connection with 'yellow.' For haritasya deva, see the note on V,
22, 2 a.
Stanza 3.
b. The takmán as a son of Varuna presents a snatch of that broader and deeper view of the origin of disease, according to which it is due to the violation of the laws of Varuna, who has in his charge the order of the universe, and punishes the sinner by his 'fetters' of disease, especially the dropsy; see, e. g. AV. IV, 16, 6, 7. In general, to be sure, the lower view prevails in the Atharvan: possession by demons, and the witchcraft of enemies, are the causes of sickness.
Stanza 4.
The metre is irregular: Pâda a, anushubh ; b and c, trishtubh; d, gagatî.
b. For rûrá, see the note on V, 22, 10 a.
...
c. yó anyedyúr . abhyéti (see also VII, 116, 2) refers to a fever which attacks, or becomes highest, every twentyfour hours; cf. perhaps the velågvara, mentioned by Kesava
1 Some MSS., according to Weber, read hrůdu, and Whitney, Index Verborum, s. v., reports also hadu, hrudru, and radu. Sâyana reads rudhuh (rohakah purushasarîre utpâdakah). Shankar Pandit notes still other variants.
I prefer this view to another suggested by Grohmann, 1. c., p. 406 ff., according to which the malarial takmán in marshy (i. e. watery) regions is especially pointed out. Varuna, being the god of the sea (water), this variety of takmán might thus be regarded as his son. This seems rather far-fetched.
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to Kaus. 26,25. Such is the interpretation of all authorities (Grohmann, p. 387; Zimmer, p. 382), and Wise, p. 232, describes the Anyegyuka (Susruta's anyedyushka) as follows: If the paroxysm of fever recurs at the same hour daily, it is called Anyegyuka.' It is therefore equivalent to the rhythmus quotidianus. Sayana, anyedyuh anyasmin paradine yah sîtagvarah abhyeti.-yó... ubhayadyúr abhyéti, 'he who returns for two successive days,' i.e with the implication that the next day (as we should say, the third day) is free from fever'. Grohmann, p. 388. and Zimmer, p. 382, identify this with the rhythmus quarta nus complicatus, a form of the disease in which the attacks repeat themselves on two successive days, the third day being exempt. This would remind us of the ekåntarita mentioned by Kesava, 1. c. But it seems to fit also the kâturthaka viparyaya. Wise, I. c., says, ' In Chaturthaka the paroxysms of this fever occur every fourth day. When the paroxysm continues for two days, the fever is that called Chaturthaka Bipargyaya.' None of these constructions, however, is certain. Såyana here says, ubhayadyuh ubhayasmin dvitîyes hani ... âyâti, and, still more explicitly at VII, 116, 2, yas ka ubhayedyuh (!) ubhayor divasayoh, atîtayor iti seshah, abhyeti, katurthikagvara ity arthah. This means a kind of fever that omits two days and returns on the third day, and would thus be identical with the tritiyaka, according to the current construction (see Pâda d). But see the Pet. Lex. under ubhayadyúh and ubhayedyúh.
d. For trltîyaka, see the note on V, 22, 13 a.
I, 34. COMMENTARY TO PAGE 99. This hymn belongs to a quite extensive class of Atharvan charms, the object of which is either to generate love in a person of the opposite sex, or restore alienated affection. In general, charms of this class are rubricated in the second
Cf. our not altogether certain interpretation of vitritfya, V, 22, 13 a.
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part of the fourth book of the Kausika (32, 28–36, 40). This is designated by the commentators as strîkarmani, women's rites,' and presents the greatest variety of practices connected with the life of women and their relations to men; see Kausika, Introduction, p. Ixv, and cf. the following hymns. Yet this particular hymn is not mentioned in the book in question, though it is otherwise worked up three times, Kaus. 38, 17; 76, 8. 9; 79, 10. In the first of these passages, 38, 17, the hymn is employed in a simple practice uttered by an intending disputant before entering upon a debate in the sabha or parishad, the village assembly :
While reciting AV. I, 34 he approaches the assembly from the north-east, chewing licorice.' The commentators do not quite agree as to the special purpose of the practice. Kesava says that it produces victory in disputation (vivåde gayakarmanam vidhih); Darila, more mildly, says that it is an expiatory performance to wipe out the guilt incurred in defeating an opponent (in debate), pratyarthagayadoshasamanam prayaskittam. Either of these manipulations of the hymn is reasonable if we regard kamini in stanza 5 as referring to the parishad or sabha ?, and there is therefore no absolute guarantee that the hymn had originally anything to do with sexual love. Cf. however II, 30, 1.
In Kaus. 76, 8. 9 the bridegroom, while reciting this hymn, ties to his little finger an amulet of licorice-wood (madugha), fastening it with thread coloured red with lac,
1 The MSS. have pratyarthagapa-, but this does not yield good sense. The correction was suggested by Professor Cowell in a kind note. Correct accordingly our treatment of the passage in Seven Hymns of the Atharva-veda, Amer. Journ. Phil. VII, 481 (p. 16 of the reprint).
* There is, too, a bare possibility that the fifth stanza is of later origin, especially if we attach any weight to the tradition that the first book of the AV. consisted of hymns of four stanzas each; see the introduction to I, 12 (p. 247). The meaning of that tradition seems, however, rather to be that each hymn consisted of at least four stanzas, or more, since many of them, in fact, consist of more.
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and placing it so that the amulet is on the outside of the finger, the knot within (the hand). In Satra 10 he leads the bride forth, and the amulet is, therefore, obviously intended to make him attractive to the bride. This involves the construction of the hymn which we have presented in our translation, i.e. the bridegroom, by means of the amulet, secures the love of the bride 1.
Once more, in Kaus. 79, 10, at the consummation of the marriage, a ceremony, involving this hymn, is enacted by the married couple. The bridegroom takes hold of the amulet of licorice (which he has put on previously, Kaus. 76, 8. 9), puts it into bull's grease, and while reciting the present hymn and AV. XIV, 2, 71. 72, they embrace one another. Kesava, more explicitly, states that the amulet is first ground up, madughamanim pishtvå aukshe? prakshipya abhimantrya parasparam varavadhvau samâlabhete. The purpose of the performance is not quite clear; it seems to be designed to render the affection mutual S. Cf. AV. II, 36, 7, and our discussion there.
The hymn has been translated by Weber, Ind. Stud. IV, 429 (cf. V, 218); Grill", pp. 52, 78. The Anukramani designates it as madughamanisäktam, 'the hymn of the amulet of licorice.'
· Dr. Haas in the Indische Studien, V, 386, makes the bridegroom fasten the amulet upon the bride's finger. There is nothing to indicate this proceeding, which is contrary to the context of the hymn. Dr. Haas, to be sure, erroneously refers the pratîka iyam vîrudh to AV. VII, 56, 2; hence he did not see that the bridegroom desires to make himself lovable in the sight of the woman (see I, 34, 5).
. For aukshe, see our note on II, 36, 7.
• Professor Weber in his translation of this passage, Ind. Stud. V, 401, takes madughamani to mean "hymen,' for reasons not apparent to me. I fancy that Kesava's pishtvá removes the possibility of such a construction, and the madughamaniprayaskitta quoted by the same scholar on p. 404, refers simply to the loss of the amulet here in question ; this is restored by making another amulet from the pâtudâru (devadâru)-tree.
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Stanza 1. Honey is the symbol of personal agreeableness from earliest times. Cf. e.g. RV. X, 40, 6, 'From you, O Asvins, the bee took honey in its mouth, as a woman goes (with honey in her mouth) to an assignation". The digging of the plant with honey is not to be taken too literally, as Sayana does, madhurupena khanitradina, or madhurena prakårena, but rather, with the influence of the sweetness of honey, prompting or supporting him who digs after the licorice-root.' Cf. AV. VII, 56, 2.
Stanza 2. The second half is a formula, being repeated almost literally at III, 25, 5 and VI, 9, 2; Pada d, at VI, 42, 3; 43, 3.
Stanga 4. 0, d. The passage contains an elliptic comparison, as indicated by the brackets in our translation. Without the ellipsis supplied there is no good sense: Weber, 'mich allein drum du lieben magst wie einen honigsüssen zweig ;' Grill, so sei denn ich das liebste dir, gleich einem honigsüssen zweig. But what human being regards a branch sweet as honey as the most precious possession ?
Stanza 5. a. The clinging sugar-cane is used here metaphorically for sweetness and attractiveness; no practice of this character is indicated anywhere.
c, d. The passage is a formula; see II, 30, 1; VI, 8, 1-3.
II, 3. COMMENTARY TO PAGE 9. The hymn is joined with I, 2 at Kaus. 25, 6-9, in a charm against excessive discharges from the body; see the treatment at I, 2. The particular part of Kausika's practices, which is based on our hymn, is contained in Satra
A different interpretation is suggested by Bergaigne, La syntaxe des comparaisons védiques (Mélanges Renier, p. 89).
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25, 7. It is founded upon the conception that ants are endowed with the faculty of producing water, and that, too, healing-water, wherever they appear, and consequently whenever they are applied as a remedy. Hence they are here given to the patient to be drunk in water. For fuller statements of this belief, see the introduction to VI, 100, and Seven Hymns of the Atharva-veda, Amer. Journ. Phil. VII, pp. 482-4.
The hymn has been translated by Weber, Ind. Stud. XIII, 138 ff. ; Ludwig, Der Rigveda, III, 507 ; Grill?, pp. 17, 79 ff. The Anukramani designates it as bhaishagyàyurdhanvantaridaivatam.
Stansa 1. b. The difficult word here is avatká. In the Paippalada XIX, 8, 2 (see Böhtlingk's lexicon 8. v.) occur the two hypermetric Pâdas, avatakam mama bheshagam avatakam parivákanam. Here the metre suggests emendation to avatka, but at the same time shows pretty clearly that the word is a derivative of avatá,' spring. Såyana is very misleading. Having in mind the performances of the Satra, he identifies avatká with muñgasirah in Kaus. 25, 6, and the mountain mentioned in the stanza with the Muñgavat, to wit: atra parvatasabdena muñgavân nâma parvato vivakshitah? . . . tasmât adah viprakrishtam yat prasiddham avatkam vyâdhiparihårena rakshakam muñgasirah avadhâvati avaruhya bhämau dhâvati. This involves an impossible rendering of avadhấvati, and leaves out of sight the possibility that this hymn may have nothing to do with the muñga-reed, being concerned rather with the healing water, procured by the ants; see the introduction.
0, d. The passage as it stands in the text, and our translation, can be sustained only on the supposition that the water is added to some other substance, not indicated in the stanza. Ludwig, feeling this difficulty, enends súbheshagam to súbheshago, so that you (the patient) may have a powerful remedy.' A simpler emendation is to change
· Cl. the note on V, 32, 5.
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ásasi to ásati, 'that do I make into a remedy for you, so that it may contain goodly remedy.' But the next stanza, as it stands, seems also to point to a mixed remedy; hence I have adhered to the text. Sâyana comments against sense and grammar.
Stanza 2. I have adhered to the unanimous reading of the MSS.; the Paippalåda offers no help, ad angå skatam (!) yad bheshagânite sahasram và gha yâni te (cf. also VI, 44, 2). The sense of the passage, as it stands, seems to be that all the remedial substances which are combined with the avatká are, after all, inferior in healing capacity to the avatká itself. This is much as Sayana construes it, tava sambandhỉni sagatîyâni satam . . . yâni ... bheshagani teshâm bheshagânâm madhye tvam uttamam utkrishtatamam asi. Ludwig and Grill emend te to me'dann wird's doch wohl geschehen, dass von meinen hundert Arzenei'n du selbst die allerbeste bist' (Grill). I am not convinced that this is right.
2. ad angá,'then surely;' kúvid anga,' yea, quite surely;' the latter phrase is a rhetorical question ('art thou) surely?' Cf. Yåska's Nigh. I, 3, and Nirukta IV, 15.
Stanza 3. Ele The Asuras, the demons, here either hide away the remedies by burying them deep in the ground (cf. VI, 109, 3), or they bury them for secure keeping, so that they may become available on occasion (cf. I, 24, 2). See in general the note on I, 24, 1.
b. aru(h)sranam is emended well by Ludwig to aru(h)sranam, from root srå, 'cook.' The Dhâtupåtha, 22, 22, has srå (sråyati) påke, and Sayana also avails himself of this root in one explanation of the word, aruh sråyati pakvam bhavati anena ; and (under st. 5), arusho vranasya påkanam. That is 'a remedy which causes the wound to ripen or heal.' We seem to have here the very source for the root srå of the Dhatupatha. For the interchange of the sibilants, see Bloomfield and Spieker, Proc. Amer. Or.
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Soc., May, 1886 (Journ., vol. xiii, pp. cxvii ff.). Possibly the word asravá may have had something to do with the change of -srâna to -srâna. d. Sayana reads asîsamat for anînasat ; cf. st. 4.
Stanza 4. For upagîkah, "ants,' see the introduction to VI, 100. Sayana, valmîkanishpadikå vamryah.
Stanza 6.
The stanza consists of 12 +11+31 syllables; the last word rakshásâm, obviously a gloss, is metrically superfluous. For Påda c, cf. I, 19, 1.
II, 4. COMMENTARY TO PAGE 37. The plant called gangidá illustrates very perfectly the absence of any boundary line between disease and demonology in the Atharvan. On the one hand it is employed against a variety of diseases, fever (takmán), internal sores (balása), and other minor manifestations, or symptoms, designated as gambhá, visará and vísarîka, ásarika, and prishtyåmayá (11, 4, 2; XIX, 34, 10), receiving therefore the epithet visvábheshaga, 'all-healing,' XIX, 35, 5; it is moreover the specific against theumatic troubles, if víshkandha and sámskandha (II, 4, 1 ff.; XIX, 34, 1. 5; 35, 1) shall turn out ultimately to have this meaning (see the note on st. I c). On the other hand it obviates all the dangers arising from hostile demons and sorceries, as is expressly stated in all the three hymns devoted to its praise (II, 4; XIX, 34 and 35). The plant is not mentioned outside of the Atharvan which, in lieu of description, indulges in the customary vague rhodomontades. The gods themselves have thrice produced the gangida, Indra has put strength into it, and (XIX, 34, 6) the seers of yore are said to have known it by the name of Angiras-a very pretty conceit, but for the fact that it harbours nothing more than a stolid pun (gangidas and ángirâs). From the Kausika and its commentaries we learn at least one thing that it is a tree. In the Satra, 8, 15, it occurs in a list of "holy' (sântah)
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trees, as is expressly stated by Kesava, atha såntavriksha ukyante. Därila at 8, 15; 42, 23 describes it as a white tree growing in the Dekkhan, argunah akala iti dakshinatyah; Kesava at 8, 15, and Såyana at II, 4, 1 say that it is familiar in Benares, vårânasyam prasiddhah. Sayana, in the introduction to our hymn, as also to AV. XIX, 34, has gangidavriksha, and in the commentary at XIX, 34, 1 he places the home of the tree in the north, uttaradese prasiddhah, all of which would seem to show that the tree is known in many parts of India.
The following is the literature on the gangids : Grohmann, Indische Studien, IX, 417 ff.; Weber, ib. XIII, 141; Zimmer, Altindisches Leben, p. 65.
The hymn II, 4 is employed, Kaus. 42, 23, in a practice which, according to Darila, is destined to drive away demons (pisåkakatana); according to Kesava—I state the text literally—it is, purushahave (cod. purusho have; cf. XIX, 34, 3) akaryakaranena vighnasamanakarma; and further, krityâdûshanarthe (cod. kritva-) apyâyati vighnasamanarakshakaranah vighnah viskandhe (!) yah (the latter passage is not printed in my extracts from that authority in the edition). The practice consists in tying on as an amulet the substance mentioned in the hymn: dirghầyutvậye-ti mantroktam badhnati. Darila says gangi. damanim, and Kesava more explicitly states that an amulet derived from the gangids be tied on with a thread of hemp, gangidamanin sanasâtrena badhvå sampâtyåsbhimantrya badhnati. The hemp refers to stanza 5, and it seems to me quite likely that Kesava is right in thus describing the association of the hemp with the gangida as altogether external. The hymn has been translated by Weber, Indische Studien, XIII, p. 140 ff.
Stanza 1. This hymn, as many others, begins with an irregular stanza, two trishtubh and two anushtubh Padas; cf. RV. VII, 103; AV. IV, 12; VI, 111, &c.
b. Sayana reads rakshamanah for dákshamanah.
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c. The meaning of víshkandha, I regret to say, is not clear. Both ancients and moderns have etymologised upon the word, and in all instances have arrived at the conclusion that the word refers to some disease. But the results, though consistent in the one point of disease, betray their weakness in differing as to its special nature. The scholiast at Tait. S. VII, 3, 11, 1-the only known occurrence of the word outside of the Atharvan literature (cf. also Gop. Br. I, 5, 25)-explains it by virûpa () skandhådyavayavá yasya tad vishkandham (sc. sarîram), 'the body whose members, shoulders, and so forth, are deformed is vishkandha. Sayana, at AV. I, 16, 3 (and similarly here) says, gatipratibandhakam rakshahpisåkadikritam vighnagâtam, a disease which hinders from walking, produced by Rakshas, Pisakas, &c., instigated by (some hostile) disturbance. The same fatuous authority, however, at XIX, 35, 5 says, vishkandham vislishtaskandham evamnamânam vâtavisesham mahårogam, vishkandha, a serious disease of that name, caused by wind (in the body), producing dislocation of the shoulders.' Professor Weber is the author of the modern interpretation of the word, 'drawing the shoulders apart, rheumatism' (see Indische Studien, IV, 410; XIII, 141; XVII, 215, and cf. the Pet. Lex. ; Zimmer, 1. C., 390; Grill”, p. 75). I have been struck by the fact that both Darila and Kesava in their comments upon Kaus. 42, 23; 43, 1. 2, the Satras which rubricate AV. II, 4 and III, 9, the principal sources of our knowledge of the vishkandha, omit all mention of disease of any kind. To begin with, these passages of the Satra are not part of the bhaishagyâni (Kaus. 25, 1–32, 27). Further, Darila speaks only of pisåkanâsanam and pisákakatanam, Kesava of vighnasamanam and vishkandhavighnasamano (manih). Observation has taught me that the commentators' knowledge of the practices is superior to their knowledge of the meanings of words-all India is in this regard an easy prey to its perverse etymological habits and I should think it
· I recommend a continuous reading of Yaska's Nirukta to any
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more conservative for the present to hold that vishkandha, as well as the opportunistic sámskandha at AV. XIX, 34, 5, are designations of hostile demoniac forces. One may easily be convinced, by examining, with the aid of Whitney's Index Verborum, all the passages in which the word occurs, that the latter meaning suits as well as the former. Of course the boundary-line between disease and possession by demons is an evanescent one in all Atharvan writings. The formation vishkandha, moreover, suggests vyámsa (RV. I, 32, 5, &c.) and vigrîva (RV. VIII, 4, 24), both of them designations of demons (cf. Weber, Ind. Stud. IV, 410). Thus it has seemed best to leave the word untranslated for the present.
Stanza 2. a. gambhá, convulsions, cramps, or colic.' The translation is reasonably certain. Weber, Ind. Stud. XIII, 142, describes the trouble as an infantile disease, perhaps teething; cf. also Zimmer, 1. C., 392, and Henry, Le livre VII de l'Atharva-véda, p. 53. The etymology of the word, and the epithet sámhanu, 'shutting the jaws,' at AV. VIII, 1, 16, seem to lend themselves at first sight to such an interpretation, but it is after all too narrow. Sayana, gambhât himsakåt krityådeh, yad vâ gambha iti dantaviseshasya akhya, rakshasadantaviseshakritát khadanât. See, however, his very different interpretation at VIII, 1, 16. At Kaus. 32, 1; 35, 15 occurs the word gambhagrihîta. Darila at 32, 1 defines it as gambho rakshah, tena grihîtah; according to Kausika and Kesava, the patient is an infant which is put to the mother's breast and fed with rice and fennel steeped in milk?. All this would still pass readily as a cure.of diseases connected with teething. But in Kaus. 35, 12-15 we have the following performance:
one who wishes to know how much grain may be found among the chaff. And Yaska is the high priest; how much worse are the epigonil
Kaus. gambhagrihîtâya (Kes. bâlakâya) stanam prayakhati, priyangutandulân abhyavadugdhân pâyayati.
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... garbhadrimhanani, gambhagrihîtâya ...syam trir udgrathya badhnati. losh tân anvrikam präsayati. syâmasikatabhih sayanam parikirati. The scene here is child-birth, the passage is part of the strîkarmani, women's rites' (32, 28–36, 40), and the gambhá has seized the baby or the foetus, either at the moment of birth, or prematurely. Hence the title of the ceremony, 'performances for steadying the womb or foetus.' According to Darila, the woman herself receives the treatment, being tied about with a threefold bowstring (gambhena grihito garbho yasyå striyah tasyâ gyam trigunâm kritvå badhnâti), fed with lumps of earth (gambhagrihîtâm [!] prâsayati), and having her bed strewed about with black sand. Here gambhá seems to refer to some irregular behaviour of the foetus ; cf. Wise, Hindu System of Medicine, pp. 423 (middle), and 421 (bottom), and the introduction to VI, 17. The word has at any rate no special connection with the teeth, as may be seen, too, from Tait. S. IV, 5, 11, 2.
Our translation of visará by 'tearing pain' (Sây. sarîravisaranat) is of the etymologising sort. The Pet. Lex., more cautiously, regards it as the name of a demon. Cf. vísarîka at XIX, 34, 10, which Sâyana glosses by viseshena himsakam.
Stanza 5. I am quite agreed with Kesava and Sayana (manibandhanasůtraprakritibhůtah) in not regarding the juxtaposition of the hemp with the gangidá as due to some biological relationship, or therapeutic virtue (cf. Weber, Ind. Stud. XIII, 142). The hemp represents the thread with which the amulet of gangida was tied on. A thread, or rope of hemp is mentioned also at Kaus. 25, 28; 72, 15. See the introduction to the hymn. The hemp, of course, comes from the sap of the furrow; gangida, the tree, from the forest.
Stanza 6. The same stanza with variants occurs at AV. XIX, 34, 4. The last Pâda is a formula, occurring in addition at IV, 10, 6; XII, 2, 13; XIV, 2, 67.
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II, 7. COMMENTARY TO PAGE 91. Sayana (and similarly Kesava) define the purpose of this hymn as a charm to obviate curses, evil eye, and danger from the attack of demons : laukikavaidikåkrosayor bråhmanasåpe krůrakakshuhpurushadrishtinipâte pisâkayakshâdibhaye. According to Kaus. 26, 35 the procedure consists in investing the person threatened with (an amulet made of) the substance mentioned in the mantra. The commentators define this as yavamani,'an amulet of barley?' The word yáva is not mentioned in the hymn, the nearest approach to it is sapatha-yopani, 'wiping out curses. As o and a va have almost identical phonetic values in the Veda (cf. our statement of the facts, Amer. Journ. Phil. V, pp. 25 ff.), we must suppose that yáva has been read by the ritualists out of the syllable yo- of yopanî; cf. too, the synonym sapatha-yávanî at IV, 17, 2, and the well-known formula yavo-si yâvaya-smad dveshah, 'barley art thou, ward off hatred from us' (Tait. S. I, 3, 1, 1; Sat. Br. III, 6, 1, 11; Hiranyak. Sr. IV, 2, 42, in addition to the places mentioned in Kausikasútra, index C). Upon this basis the word and the article yáva are suggested. The pun is so familiar as to leave no room for doubt in the mind of the Hindu acquainted with this style of literature. Cf. the introduction to VI, 91; and the note to IX, 2, 13.
The hymn has been translated by Weber, Ind. Stud. XIII, 148 ff.; Ludwig, Der Rigveda, III, 508 ; Grill?, pp. 24, 81 ff. The Anukramani, bhaishagyàyurvanaspatidaivatyam. Cf. also Sântikalpa 19%.
Stansa 1. At Åpast. Sr. VI, 20, 2 the stanza occurs in the following corrupt form : atharvyushtà devagata vidu khapathagambhanîh : âpo malam iva prânigann asmatsu sa pathâň adhi. Cf. II, 25, 4. 5.
· Sâyana, however, commenting on vîrúdh in st. 1, dürvâ yavo vâ. s Cited erroneously by Sâyana as Nakshatrakalpa.
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Stanza 2. b. We may note Grill's ingenious emendation of gamyah to gâmyah, an adjective from gaml. But no such form occurs. Cf. AV. II, 10, 1; RV. IV, 4, 5. Såyana, gâmyâh gâmih sahottpannå bhagini.
Stansa 3. A number of the attributes stated in this and the preceding stanzas are repeated at VI, 43, 1. 2; XIX, 32, 1. 3.7 in connection with the holy darbha-grass. The terms are too general and fabulous to permit definite conclusions as to the plant which the poet here has in mind.
Stansa 4. a. The MSS. are divided between the readings párî smấm (so our edition) and pári mám. I have followed Sâyana and Shankar Pandit in adopting the latter version.
C, d. The metre is irregular (Anukr. viråd uparish tadbrihati): c is a catalectic Pada; d has ten syllables, one of which may be suppressed by reading târshur.
Stanza 5. b. For the sentiment cf. Tait. År. II, 6, 2. Såyana, yah purushah suhârt ... tena suhridayena mitrena saha nah asmakam, sukham bhavatu iti seshah, we together with our friend shall be happy.' I am not convinced that this is correct. Are we to read, yah suhárt téna vayám saha ?
c. kákshurmantra, ‘he who bewitches with his eye,' also in XIX, 45, 1. Sayana separates kakshur from mantrasya, explaining the latter by guptam bhåshamanasya pisunasya, 'the calumniator who speaks secretly. But cf. the 'thousand-eyed curse' at VI, 37, 1; amitrakakshus at Kaus. 39, 11; and ghorám kákshus,' evil eye,' at IV, 9, 6; XIX, 35, 3.
II, 8. COMMENTARY TO PAGE 13. The word kshetriya is interpreted by the Atharvavedins quite unanimously as `inherited disease.' Three hymns,
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II, 8 and 10; III, 7 (cf. also IV, 18, 7; V, 30, 4), are designed to drive it out, and the Kausika rubricates all of them among the medical charms (bhaishagyâni), 26, 41–27,4; 27,7-8; 27, 29–31. Darila at 26, 43 defines it as 'family disease,' kaulo vyâdhih; Kesava at 27,41 as, pitriparyâgatah kshetriyarogah kushthakshayarogah grahanidoshah sarvasarîrasphotakårah ; similarly Sây.at II, 8, 1. The scholiast at Tait. Br. II, 5, 6, 3 (p. 628) has kshetram garbhasthanam tatrotpannatvåt, i.e. 'disease which has arisen while in the womb' (rather differently at II, 5, 6, 1, pp. 626-7). The practices connected with these hymns are obscure in detail, and their application is remote.
Kaus. 26, 41-27, 4 deals with our hymn, to wit: 41. While reciting AV. II, 8, 1 (the practitioner) washes the patient outside (of the house). 42. While reciting AV. II, 8, 2 (he washes him outside of the house) at dawn. 43. While reciting AV. II, 8, 3 he pulverises the plants mentioned in the stanza (see the translation), as also natural mud, and mud from an ant-hill, sews this up into the skin of a living animali (freshly slain), and fastens it (as an amulet upon the patient). 27, 1. While reciting II, 8, 4 he places a plough with its span of cattle over the head of the patient and pours water over it. 2. While reciting AV. II, 8, 5 he pours the dregs of ghee into (a vessel full of) water (placed) within an empty house. 3. He pours more (dregs of ghee) into an old ditch into which grass from the thatch of the house has been placed. 4. Placing the patient into this ditch he gives him of the water to drink, and rinses him with it.' The symbolism of these practices is not clear, but they seem at any rate to be built up on the derivation of the word kshetriya from kshetra in the sense of field,' rather than in the sense of womb. See especially the last
For gîvakoshanî see Kausika, Introduction, p. I. Other substances derived from living animals occur at Kâty. Sr. IX, 2, 16; Pâr. Grih. III, 7, 2.
* That is, he puts the patient under the plough with its span, vrishabhayuktasya halasya adhastâd vyâdhitam avasthấpya (Sâyana in the introduction to the hymn).
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stages of the performance, Satra 27, 1 (the plough and the span of cattle), and Sûtras 27, 3. 4, which aim to wash off the illness into the very ground, whence (according to this conception) it has been derived. And the hymn itself is redolent of fields, plants, ploughing, &c., and calls upon (st. 5) the lord of the field 1.' Thus Professor Weber was led repeatedly to look upon this hymn as a charm to counteract injuries to fields ? ; see Ind. Stud. V, 145 note ; XIII, 149; Nakshatra II, 292. And yet, I think, all this is mere play upon the two meanings of kshetra, 'field,' and
womb 3;' the poet, thinking that the disease derives its name from the field, conjures with the properties of the field, or, perhaps, adapts secondarily stanzas constructed originally for practices in the field.
The hymn has been translated by Weber, Ind. Stud. XIII, 149 ff.; and Ludwig, Der Rigveda, III, 513. The Anukramani describes it as vânaspatyam yakshmana sanadaivatyam.
Stanza 1. The last three Padas are repeated at III, 7, 4; the first half in VI, 121, 3. The point in all these cases is the supposed etymology of the constellation vikritau (later mûlabárhanî, and mdla) from vi krit, 'loosen ;' this enables the word to figure wherever there is question of the 'fetters' of disease. Cf. in general, Weber, Nakshatra II, 292, 310, 374, 389; Zimmer, pp. 356, 392. For an opposite construction of the function of the vikritau, see the note on VI, 110, 2.
See, however, the note on this expression below. : Cf. also Pânini V, 2, 92, and commentaries ; Ind. Stud. V, 145 note; XIII, 150 note; XVII, 208 note; Zimmer, 301 ff.
• Note especially the passage from Kath. S. cited by Weber, Ind. Stud. XIII, 150 note. The expression svakrila irine does not prove that a field is in the view of a performer. A spot where there is a natural rist in the ground is frequently, in witchcraft, made the theatre of the performance, without any such special end in view. Cf. the passages in the Pet. Lex., and the paribhasha to the abhikâra performances, Kaus. 49, 6.
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Stansa 2. B, b. I have translated ápa ukhatu transitively; cf. III,7,7; RV. I, 48, 8, &c. Weber and Ludwig, contrary to ordinary usage, take it intransitively : 'hinschwinden möge jetzt die nacht,' and 'weg geh mit ihrem liechte diese nacht.' Sayana, in agreement with our version,' the night at the time of dawn (ushalkälînå råtrî) shall chase away (vivâsayatu). In Pada b I read, for the same reason, with one of Shankar Pandit's MSS., ápokhatu for ápokhantu, making it govern abhikrltvarîh. Weber, die zauberspinnerinnen (mögen schwinden) hin;' Ludwig, weg gehn sollen die bezaubernden.' Sayana, retaining the plural, forces, it seems to me, the meaning of abhikrltvarîh in translating it by abhitah rogasåntim kurvânåh, working a cessation of disease all about.' And recognising the futility of the first, he also, alternatively, takes ápokhantu as an intransitive, . . . pisakyah apagakhantu! Cf. the note on III, 7, 7.
Stansa 3. a, b. According to our translation the words babhrór árgunakândasya qualify yavasya ; Kesava (and Såyana who repeats Kesava's substance) make the two words represent an independent plant: argunakashtham yavabusam tilapiñgikám ka ekatra trîni baddhyâ. And Darila also recognises three plants, the first of which he describes as babhruvarnasyå srgunasya tasya kanda sesham (1 for kândavisesham). According to these constructions the first substance is a branch from the tree (Sayana in commenting on the word in our stanza, argunakhyavrikshaviseshakâshthasya) arguna (terminalia arjuna). But the construction renders this extremely unlikely, and we prefer to render the text philologically.
b. The word te, 'thy,' would seem at first sight to refer to a field, and, as stated in the introduction, this would show that the poet here looks upon kshetriya as a derivative of kshetra, 'field,' and that he therefore introduces the paraphernalia of the field in his incantation. But this cannot stand against the ordinary value of the word, nor is it
[42]
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impossible to imagine the introduction of these substances simply on the ground of the supposed (etymological) derivation of the name of the disease. At any rate we have Kausika on our side.
stanza 5. 8. sanisrasåkshá is ån. dey. ; sanisrasá occurs once at AV. V, 6.4 as a designation of the intercalary month (cf. AV. XIII, 3, 8; Weber, Nakshatra II, p. 336 note). Our translation is conjectural and etymological ; the only support I find is in srastāksha (Susruta I, 115, 7), 'with sunken eyes.' Sayana leans with his full weight on the Kausika's employment of the stanza (27, 2; see the translation of it above), in which an empty house' figures, and he identifies the word with súnyagrihah (sanisrasyamânâni atisayena visramsamânâni visîryamânâni akshani gavakshadidvårani yeshâm te sanisrasåkshah, súnyagriha ity arthak), i.e. in brief, 'the decayed doors of the empty house.' Credat Judaeus! Does with sunken eyes' refer to the demon of the disease?
b. The difficulty is much increased by the unintelligible samdesyèbhyah which Sayana, who reads samdesebhyah, again identifies with the garatkhata,' the old ditch,' in the Satra, 27, 3.4: sam disyante tyagyante tadgatamridadânene sti samdesåh garadgartäh! The word seems to refer to some kind of evil (påpá) at AV. X, 1, 11. 12 ; in IV, 16, 8 (where it is contrasted with videsyà, 'foreign') it refers to the 'fetter of Varuna,' i. e. disease. Weber, den aufträg’ ausführenden verneigung sei ;' Ludwig, 'anbetung den zu beauftragenden (sich fügenden).' The entire stanza is highly problematic; its relation to the Satra very obscure.
II, 9. COMMENTARY TO PAGE 34. The disease which the hymn is designed to exorcise is, according to Darila, possession by the kind of demons called Pisaka. Kesava (followed by Sayana) describes it as due to brahmagraha, a word hitherto not quoted from any text, but reported by the lexicons as equal to brah
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marakshasa. The practices connected with the hymn at Kaus. 27, 5. 6 are as follows: 5. While reciting AV. II, 9 a talisman consisting of splinters (from ten kinds of wood is fastened upon the patient). 6. Ten friends (of the patient) while muttering the hymn rub him down. The commentators (cf. Kaus. 13, 5; 26, 40) understand the word såkala to mean'a talisman made of ten kinds of holy wood,' and these are derived from the list of holy trees catalogued at Kaus. 8, 15. Cf. also the splinters from the holy) kampilawood, Kaus. 27, 7 (see the introduction to II, 10), used against kshetriyá (hereditary disease). For similar Germanic uses of nine kinds of wood to allay disease, see Wuttke, Der Deutsche Volksaberglaube der Gegenwart, $$ 121, 538 ; Mannhardt, Baumkultus der Germanen, p. 18.
The hymn has been translated by Weber, Ind. Stud. XIII, 153 ff.; Ludwig, Der Rigveda, III, 506; Grill, pp. 8, 82 ff.; cf. also the author in Amer. Journ. Phil. VII, 478, and Bergaigne et Henry, Manuel Védique, p. 137. The hymn figures in the takmanâsanagana of the Ganamala, Ath. Paris. 32, 7 (see Kaus. 26, 1 note); the Anukramanî describes it as vanaspatyam yakshmanasanadaivatam. The Paippalåda presents the hymn, the stanzas arranged as follows: 1, 5, 4, 2, 3.
Stanza 1. The metre is irregular, parkti (Anukr., virât prastarapankti). The Paippalada has the first half as follows: dasavriksha muñkemam ahimsro gråhyås ka.
Stanza 8. a. For ádhitir the Paippalada reads adhitam. Sayana, the Vedas, which he has read formerly, or their meaning, which is to be remembered, he has recalled!' Cf. Khånd. Up. VI, 7. Ludwig emends adhîter, and translates 'from insensibleness he has come away,' but the translation conflicts with the meaning of adhi gå; cf. RV. II, 4, 8.
0, d. The Satra embodies the indefinite large numbers 100 and 1000 in the amulet of ten kinds of wood, and the
U 2
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.
ten friends (Brahmans according to the scholia) who attend the patient.
Stansa 4. The word kitim occurs only in this stanza, and is very problematic. The Pet. Lex. and Weber, sammeln ;' Ludwig, 'pflückung ;' Sayana, 'covering.' We are connecting the word with kinoti in the sense of arrange, build up,' having in mind the peculiar amulet or remedy dasavriksha,' consisting of ten woods,' in st. 1. The sense then would be that the gods have found out the magic arrangement of the woods, while the Brahmans contribute the practical knowledge of the woods which are endowed with the healing property. Cf. Grill's similar exposition.
Stansa 6. I have followed Sayana who, relying alternatively upon RV. II, 33, 4, and Tait. S. IV, 5, 1, 2, makes isvarah, lord,' the subject of the sentence, isvara eva he rugna tubhyam idanimtanabhishagrūpena bheshagani karotu. But the text of Påda d is awkward, and rendered somewhat doubtful by the Paippalada, whose version of c, d is, sa eva tubhyam bheshagam kakåra bhishagåti ka. Upon the basis of this reading Grill suggests for Påda d, krinavad bhishagåti ka. Ludwig suggests súki, Vedic accus. plur. neut. in agreement with bheshagani ; Weber, bhishágâm for bhishágå. Såyana thinks also of súkina for súkih. I have translated the unanimous text of the Saunakiya-school.
II, 10. COMMENTARY TO PAGE 14. The practice associated with this hymn at Kaus. 27, 7.8 is colourless : 7. While reciting AV. II, 10 (the practitioner) fastens upon the limbs (of the patient who has been placed) upon a cross-road splinters of kampîla-wood (crinum amaryllacee), and washes him off with (water
The favourite place to divest oneself of evil influences ; see the note in the introduction to VI, 111.
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dipped out) by means of a bunch of grass. 8. (Or) he sprinkles (him in the same way). Cf. the practices under II, 8. A closely parallel mantra-passage occurs at Tait. Br. II, 5, 6, 1-3; this the commentator on the authority of Baudhayana (see p. 628, bottom) connects with the ceremonies at the birth of a child (gatakarma). According to Baudh. Grih. II, 1 and 7, the child is bathed with these stanzas, and this prescription is borne out by Hir. Grih. II, 3, 10 ff., where the same stanzas are quoted. They occur also in Åpast. Mantrabr. II, 12, 6 (cf. Åpast. Grih. VI, 15, 4). This usage does not really conflict with the Atharvanic employment of the hymn, since it aims to free the child from diseases and troubles derived from the womb of the mother. The conception borders closely on that of original sin. That the Atharvavedins regarded the kshetriya in this hymn as a disease may be gathered from the employment of the hymn among the bhaishagyâni in the Kausika ; it figures also in the takmanasanagana, 'the list of hymns destructive of fever,' in the Ganamâlâ ; see Kaus. 26, 1 note.
The hymn has been translated by Weber, Ind. Stud. XIII, 156 ff., and Ludwig, Der Rigveda, III, 513.
Stansa 1. a. gamisamsá is equivalent to gâmyah sapáthah in II, 7,2; the word recurs at AV. IX, 4, 15, and Tait. Br. II, 5, 6, 3 (where it is glossed by klasyaprakhyåpakat). Sayana, bandhavo gamayah, apråptábhilashitanam tesham samsanat âkrosaganitât pâpåt.
Stansa 8. The sense of this and the following two stanzas is interrupted by the refrain ; Pada 3 b is in catenary construction with Påda 4 a. The other version of the hymn (Tait. Br.) does not exhibit the refrain, and the connection of the passages appears undisturbed.
a. Sayana reads vayodhåh for váyo dhâk, glossing it by vayasâm pakshinam dhâtå dhårayità.
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Stansa 8.
The stanza alludes to the well-known legend which makes the demon Svarbhanu smite with darkness (eclipse) the sun, who is then freed by Indra and Atri; see RV. V, 40, 5-9; Tait. S. II, 1, 2, 1 ; Kath. S. XII, 13; Sat. Br. V, 3, 2, 2; Pañk. Br. IV, 5, 1; XIV, 11, 14; XXIII, 16, 2; Sankh. Br. XXIV, 3. 4. The moralising cause of the sun's mishap, his enas (sin), is not expressed distinctly anywhere, nor is it to be taken au grand sérieux. By comparison it is treated as a disease, and, like disease or misfortune in general, ascribed to some moral delinquency, requiring expiation (pråyaskitti); cf. st. 1.
II, 12. COMMENTARY TO PAGE 89.
The essays on the interpretation of this hymn form an interesting chapter in the history of Vedic study, and we have devoted to the subject an article in the second series of our Contributions, Amer. Journ. Phil. XI, 330 ff., entitled 'On the so-called fire-ordeal hymn, AV. II, 12.' The hymn was first interpreted in the sense of a fire-ordeal by Emil Schlagintweit, in an address before the Royal Bavarian Academy in 1866, entitled Die Gottesurtheile der Indier ;' this interpretation was adhered to by Weber, Ind. Stud. XIII, 164 ff.; Ludwig, Der Rigveda, III, 445; Zimmer, p. 183 ff. ; cf. alco Kaegi, Alter und Herkunft des germanischen Gottesurtheils,' Festschrift zur Begrüssung der XXXIX. Versanimlung deutscher Philologen und Schulmänner in Zürich (1887), p. 51? The interpretation which is presented here is founded upon our above-mentioned article, where Kausika's significant employment of the hymn was first brought forward ; in essential agree
See also Stenzler, ‘Die Indischen Gottesurtheile,' Zeitschrift der Deutschen Morgenländischen Gesellschaft, IX, 661-82.
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ment with it is the translation and exposition in Grill*, pp. 47,85 ff.
The hymn is employed in the sixth book of the Kausika which professes to deal with abhikara, 'witchcraft.' At 47, 12 it is designated as the bharadvågaprayraska, 'the hewer, or cleaver of Bharadvåga' (the reputed author; cf. II, 12, 2): With the cleaver of Bharadvåga one cuts a staff for practices pertaining to witchcraft.' A staff so procured is then employed variously in Kaus. 47, 14. 16. 18; 48, 22. The direct ritual application of the hymn is indicated in Kaus. 47, 25–29, to wit: 25. While reciting the hymn II, 12, one cuts the foot-print of an enemy, as he runs in a southerlyl direction with a leaf from a parasu-tree". 26. He cuts three (lines) along (the length of the footprint of the running enemy), and three (lines) across (the same). 27. akshnaya samsthåpya 3. 28. He ties dust derived from the cut foot-print into a leaf of the palâsa-tree (butea frondosa), and throws it into a frying-pan. 29. If the dust crackles (in the pan) then (the enemy) has been overthrown.' The Satra then proceeds to prescribe still more elaborate and potent charms for the purpose of downing the enemy. Of any connection with the fire-ordeal the tradition makes no mention. There are points of contact between our hymn and RV. VI, 52 ; VII, 104. The Anukramani describes the hymn as nånadevatyam, composed by Bharadvága.
Stansa 1. d. Schlagintweit, may these be burned here, if I am burned.' So also Weber, Luu.. g, and Zimmer. Grill correctly, 'die sollen glühen jetzt, wenn ich erglühe.' Cf.
1 South is the region of Yama and the departed, i.e. of death.
? Or, with the blade of an axe. At any rate symbolically. The commentators differ as to the meaning of parasupalâ sena; see Kausika, Introd. p. li, bottom. Sâyana, as usual, follows Kesava. See also the note on Kaus. 30, 14 in the introduction to VI, 25.
"The text of this Satra is not altogether secure, its meaning and the scholia are obscure.
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RV. X, 34, 10; 95, 17; AV. XIX, 56, 5. Sayana, mayi abhikârake tapyamâne dikshåniyamena upavâsâdina klisyamâne sati tapyantâm samtapta bhavantu. That is, heaven and earth shall participate in the consecration (dîksha) of the performer for the sorcery-practices against his enemy. The appeal to heaven and earth in Påda a, and the misinterpreted fourth Pâda, are really the sole cause of the hypothesis of a fire-ordeal. An appeal to heaven and earth is in occidental minds associated inseparably with asseverations of innocence. A similar construction of it for India is apparently unwarranted.
Stansa 2. b. For Bharadvåga, see IV, 29, 5; XVIII, 3, 16; XIX, 48, 6; and Ludwig, Der Rigveda, pp. 128 ff.
d. Schlagintweit, der diesen (unsern) geist beschädigt (i.e. schwur bezweifelt).' Weber, 'wer diesen meinen sinn beschädigt, i.e. meinen schwur antastet, mein wort bezweifelt.' Ludwig, der diesen meinen sinn anklagt (verläumdet).' All these renderings are founded upon the theory of the fire-ordeal. Sayana, pūrvam sanmärgapravrittam manah mânasam hinasti. There is no lack of evidence that religious performances were at times the object of enmity and the butt of abuse; cf. stanza 6; RV. VI, 56, and Ludwig, Der Rigveda, IV, 219 ff.
Stanza 3. a. The first Påda is defective, but occurs in the same form in the Paippalada. It may be corrected by reading somapävan, somapâyin, somapå tvám, or the like. But Atharvan metres are so generally capable of improvement, that we are in danger of singing our own, rather than Atharvan hymns, when we apply ourselves to the task of improving them.
Stanga 4.
a. Professor Weber, 1. c., pp. 167-8, has assembled some interesting statements in reference to the connection of the
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number 80 with the fire-ritual. Sâyana attaches a certain significance to the number three, which he connects with the trikas of the Sâma-samhitâs. The number is solemn and formulary.
c. A clear instance of a Vedic parenthesis; cf. Aufrecht, Festgruss an Otto von Böhtlingk, pp. 2 ff. For ishtâpurtám, see Windisch, ib., pp. 115 ff. Cf. also RV. X, 14, 8; AV. III, 12, 8.
d. Schlagintweit supplies 'firebrand' in the last Pâda, and translates, 'nehme ich jenen (feuerbrand) an mich mit göttlicher inbrunst.' Weber, in still more direct adherence to the hypothesis of a fire-ordeal, supplies with amúm 'glühendes beil,' and translates, 'mit göttlicher gluth nehme ich diesen an mich.' Ludwig, 'jenen (den verläumder) erfasse ich mit der göttlichen glut.' Zimmer, 'halte ich jenen (? feuerbrand, ?axt) mit göttlichem griff.' Sâyana properly refers amúm to the enemy, and takes háras in the sense of krodha (háras etymologically θέρος; cf. II,
2, 2).
=
Stanza 5.
a. dîdhîthâm for dîdhiyâthâm. Sâyana, âdîpte bhavatam.
Stanza 6.
Recurs with variants at RV. VI, 52, 2; the connection there is less pregnant.
o. Sâyana differently, tapûmshi tâpakâni tegâmsi âyudhâni vâ vriganâni vargakâni bâdhakâni santu, i. e. 'may our zealous deeds or weapons be destructive to him.' Perhaps this is simpler.
Stanza 7.
This and the following stanza seem to be adapted from the funeral ritual (see Amer. Journ. Phil. VII, 476; XI, 335, 336 ff.). Such as they are they occur also in the same connection in the Paippalâda; cf. RV. X, 14, 13; 16, 2. Stanzas of this character lend themselves naturally to
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imprecation and incantation. Here the poet takes the offensive against the thwarting enemy.
a. For saptá prânắn, cf. Tait. Br. 1, 2, 3, 3. Shankar Pandit, on the basis of a considerable number of his MSS. (both Samhita and Padapå tha), reads manyáh for magñáh. So also Sayana, manyah dhamanyah kanthagatà nâdiviseshầh. The MSS. frequently write y for 8, especially in connection with nasals (anaymi and yunaymi for anagmi and yunagmi); cf. Maitr. S. I, 3, 35 (p. 42, note 4), and Ind. Stud. IV, 271 note. On general textual and exegetical grounds the reading magñáh is preferable.
Stansa 8.
Schlagintweit translates Padas c, d, (entweder) soll das feuer in deinen leib einkehren, (oder) deine rede gehe zu leben.' The sense he imagines to be: 'If the word of the accuser is true, then he shall remain unharmed ; if not he shall be injured by fire.' Essentially in the same spirit are Weber's, Zimmer's, and Kaegi's renderings. Cf. RV. X, 15, 14.
II, 14. COMMENTARY TO PAGE 66. It is regretable that this textually and exegetically difficult hymn is illumined but very little by its abundant employment in the practices of the Atharvavedins. In its more general aspects it figures as one of the katanani (sc. saktâni), 'hymns designed to chase away (demons and diseases),' at Kaus. 8, 25; next, it occurs in another cycle (gana) of hymns of a somewhat problematic character, called mrigårasûktâni or mrigarâni, 'purificatory hymns'(?), at Kaus. 9, 1 (cf. 27, 34). In this sense it is employed twice, Kaus. 72, 4; 82, 14, to purify the entrance to a house, nissalåm iti salanivesanam samprokshya. If we could only trust that punning juxtaposition of -sålâm and sålå-, it would remove one of the chief cruxes in its interpretation !
As regards its narrower application, it is associated distinctly with difficulty in bearing offspring: at Kaus. 34, 3-11 it is employed in a charm for preventing miscarriage ;
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at 44, 11 ff. it forms part of an elaborate practice to obviate sterility in cattle. The first of these practices is as follows: 34, 3. 'While reciting II, 14 (the practitioner) pours dregs of ghee into water (in tubs standing) in three huts which have doors to the east and doors to the west (cf. Kaus. 24, 3), in behalf of the woman afflicted with miscarriage, she being dressed in a black garment. 4. Additional (dregs of ghee he pours) upon lead placed into (the leaf of) a palasatree (butea frondosa). 5. Placing (the woman) over the lead he washes her (with the above-mentioned water). 6. Having deposited the black garment (where she has been washed) she goes. 7. The Brahman kindles the hut. 8. The same performances take place in the two easterly (huts)? in connection with materials brought on separately (for each hut). 9. He performs the practices with the branches, mentioned above, Sû. 1: he pours consecrated . water over her head as she is seated upon branches of simsapa (dalbergia sisu ; cf. Kaus. 8, 16] by the side of a body of water). 10. Having put down to the west of the fire two reeds upon a stalk (? kände ishîke), over the two doors (of the huts), he causes firewood derived from an udumbara-tree (ficus glomerata) to be put on the fire. 11. To the woman as she comes home last (of those returning?), cakes of rice, and ornaments of pramanda (cf. Kausika, Introduction, p. lii), anointed with the dregs of ghee, are given (cf. Kaus. 32, 29; 34, 1).'
At Kaus. 44, 1 ff. there is an elaborate practice of the expiatory kind (prayaskitta), in which a sterile cow is sacrificed to remove the blemish of sterility from the house. After the cow has been slain, '(the priest) while reciting II, 14 carries a firebrand (around her) thrice from right to left without moving the firebrand) around himself' (Su. 44, 21). Later on 'he stops her breath' while reciting II,
1 Cf. AV. I, 16, and the practices connected with it.
* The practices up to this point therefore have taken place in that one of the three huts furthest to the west.
* Extremely problematic; cf. dhấyine, Kausika, Introduction, p. li, and the scholiasts.
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14, 5 (SQ. 44, 15). All this is too general in character, and fails to cast light on the real difficulties of the hymn. Cf. also Ath. Paris. 17, 2. The Anukramani classifies it as sålågnidevatyam uta mantroktadevatyam. For previous translations, see Weber, Ind. Stud. XIII, 175 ff.; Ludwig, Der Rigveda, III, 522 ; Grill?, pp. 1, 89 ff.
Stansa 1. 8. The Påda might have better been left untranslated : the text is certainly corrupt, and especially dhisána, masculine, imbedded as it is in half a dozen feminines, is open to suspicion. The Paippalada has nissâlâm dhishnya dhishanam, and, since dhishnya means 'seat of the priest,' the suggestion arises that nis is to be separated from sålàm
(=sâlâm, 'house')', and is to be taken with nåsayâmah in · Påda d, making some such sense as the following: 'we
drive out from the house, from the seat of the priest (dhishnya), and from the fire-place (dhishana) 2. Cf. the use of the hymn in Kaus. 72, 4; 82, 14 above, and the Anukramani, sålågnidevatyam. But the construction of nir nasayåmah with the accusative of place from which is unheard of, and the change of all three words to ablatives would amount to an independent composition. Besides, the employment of the Kausika, and the statement of the Anukramani, just mentioned, may be due to a more or less conscious, punning perversion of the syllables sâlâm, for the purpose of extracting sålå, 'house,' from them. Grill composes a new Påda, nis sålåvrikyam dharshánim, 'out (do we drive) the bold Salâvrikî.' Weber, 'die dreiste, zähe, ausspringende (? correcting to dhishanam);' Ludwig--who entitles the hymn, Gegen die Salà?'-translates, 'die aus dem hause befindliche (die aus der så lå hölle gekommene ?) freche verlangende,' or, alternatively, 'hinaus die sala,' &c., and, once more, as a third possibility, aus dem haus hinaus die freche begerliche.' Sayana knows nothing about it:
1 Cf. I, 18, 1; VI, 14, 2. 3 Cf. Hillebrandt, Soma und verwandte Götter, 175 ff., 181.
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nissâla is either the name of a female demon, or såla a kind of a tree (vrikshaviseshah, tato nirgatâ nissâlâ).
b. Sâyana to ekavâdyấm, 'she who gives forth a single sound of gruff character.'
c. Kánda is the name of a demon, år. λey. in RV. and AV., but frequently mentioned elsewhere, especially in connection with Marka; see Sat. Br. IV, 2, 1, 4. 9. 10. 14. 20. Sâyana, kruddhasya ... pâpagrahasya.
d. sadanvâ, 'female demon,' seems to be connected with danu and dânavá. Sâyana follows Nirukta VI, 30 in explaining it as 'ever noisy,' sadâ nonûyamânâ.
COMMENTARY.
Stanza 2.
b. Sâyana takes áksha as 'gambling-house' (akshakrîdasthâna, dyûtasâlâ), and upânasá either as 'granary' (anasah samîpam upânasam dhânyagriham) or as 'wagon full of grain' (dhânyapûrnam sakatam). RV. X, 105, 4 does not render the word clear.
c. Nothing is known of the åπ. λey. magundî (Sâyana, kakana pisâkî); cf. Weber's combinations, l. c., p. 177.
Read duhitro (as in the dialects), and cf. our note on VII, 12, 1; also Ait. Br. VII, 13, 8.
Stanza 3.
a, b. The word adharád, 'below,' alludes with double entente to hell (adhama támâmsi). Sâyana, pâtâlaloko sti; cf. Zimmer, p. 420. This class of writings are fond of conjuring diseases and misfortunes upon others, strangers and neighbours; cf. AV. V, 22, 4 ff.; RV. X, 155; and the common formulary expression, anyáms te asmát tapantu hetáyah1 in the Yagus-texts.
Stanza 4.
The stanza occurs in another connection in the Paippalåda, and may not originally have stood here, since the
1
'Heiliger Sanct Florian,
Schütz unser haus zünd' andre an!'
Cf. Amer. Journ. Phil. XI, 345 ff.
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second book of the AV. in general consists of hymns of five stanzas.
a. Såyana glosses bhutapátir correctly, bhùtânam pålako rudrah. The word bhata here suggests more narrowly evil beings.'
d. Indro is metrically superfluous, and may be spared from the context. Anukramani, uparishtâdviråd brihati.
Stansa 6. a. I have taken kshetriyânâm in the sense which it ordinarily has in the AV. (II, 8 and 10; III, 7); Sayana, kshetrat parakshetrat matâpitrisarîråd ågatånam ... rogånâm. Weber and Ludwig, coming from the field.' Grill, ob ihr zum wild des Felds gehört.'
Stanza 6. b. In the MSS. the Padap. reads, ásúr gåshthàm iväsaran ; the edition emends gáshthâm to kashthâm, and we, with most translators and Sayana, read iväsaram. Sayana reads glashthâm, glossing, paridhavanena glânah san yatra tishthati så glashtha (goal,''resting-place'?). Cf. VI, 67, 1.
II, 25. COMMENTARY TO PAGE 36. The plant prisniparni (hemionitis cordifolia ; Såyana, kitraparni oshadhih) is here employed to off-set the activity of demons called kánva, of varied pernicious influence, but especially conceived as devourers of the embryo in the womb. According to Susruta I, 377, 7 it serves, mixed with milk, as a preventive against miscarriage (garbhasråve). Kesava, at Kaus. 26, 36, prescribes it as a far more general remedy, for one overtaken by misfortune, against miscarriage, still-birth, and demons of various sorts. Darila says it destroys the demons called pisáka. The practice at Kaus. 26, 36 consists in smearing the plant mixed with the dregs of ghee upon the patient. The hymn is one of a list of six grouped together at Kaus. 26, 33 for all sorts of diseases (Såyana in the introduction, sarvarogabhaisha
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gyakarmani), which the Ganamåla (Ath. Paris. 32, 24) describes as the ganakarmågano (! a list for collective practices). Kaus. 8, 25 mentions it further among the kâtanâni,'hymns with which demons are exorcised.'
The hymn has been translated by Weber, Ind. Stud. XIII, 187 ff.; Grill?, pp. 20, 92. The Anukramani describes it as vanaspatyam.
Stanza 4.
For -yópana in this and the next stanza, see Amer. Journ. Phil. XII, 414 ff. Cf. II, 7, 1.
II, 26. COMMENTARY TO PAGE 142. This is a hymn connected with a species of oblation (havis) !, whose object is to concentrate (samsråvyà) wealth and prosperity upon the sacrificer. Cf. I, 15 and XIX, 1. Our hymn aims at prosperity in the stable, and accordingly it is rubricated along with III, 14 ; VII, 75; VI, 11, 3, at Kaus. 19, 14. ff. in a series of stable-ceremonies' (goshthakarmâni), to wit: 19, 15. 'He (the owner) drinks the new milk of a cow that has thrown her second calf, mixed with the spittle (of the calf)? 16. He presents a cow (to the Brahman). 17. He pours out into the stable) a vessel full of water. 18. Having swept together the (previously moistened dung), placing his left hand upon it, he scatters half of it with his right hand. 19. Having placed lumps of excrement, bdellium, and salt into milk from a cow with a calf of a colour identical with hers, he buries (the mixture) behind the fire. 20. On the fourth morning he eats of it. 21. If the milk has turned 3, then (the performance) is a success.'
The hymn occurs also in the Paippalada ; it has been translated by Weber, Ind. Stud. XIII, p. 26 ff. ; Ludwig,
· Cf. the introduction to VI, 39. • Sâyana, vatsalálâmisritam. Cf. Khâd. Grih. III, 1, 47. 48.
• Cheap magic. The milk is sure to turn! Is vikrite to be emended to avikrite?
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Der Rigveda, III, 371; Grill?, pp. 64, 92 ff. Cf. also Bergaigne et Henry, Manuel Védique, p. 138. The Anukramani designates it as pasavyam, the author being Savitar.
Stanza 1. b. Vayu, the wind, the husband of the distant regions (II, 10, 4), who goes in every direction, is naturally regarded as the companion of the cattle, when away from homea truly poetic conception! Cf. Tait. Br. III, 2, 1, 4.
c. rûpadhéyâni is taken by the Pet. Lex. as a copulative compound, 'form and colour.' But the analogous bhagadhéya and nâmadhéya do not favour such a construction. Perhaps 'formation' is the safest rendering of the word. Cf. e. g. Tait. S. I, 5, 9, 1; Tait. Br. III, 8, 11, 2.
Stanza 2. 0, d. Sinivali, the goddess of the new-moon, and Anumati, the goddess of the full-moon, as representatives of the bright part of the month, are fit to illumine the way home. They also preside over the act of procreation; cf. Zimmer, P. 352. Såyana, unsupported by MS. authority, comments upon anugate instead of anumate.
Stanza 4. c. Poured together,' i. e. 'united, or accumulated. The translation is stiffer than the original, where sám siñkami and sámsiktah play upon one another.
Stanga 6. For the change of verb-form, cf. the note on II, 29, 5.
II, 27. COMMENTARY TO PAGE 137 The history of the interpretation of this hymn is told by the translator in Seven Hymns of the Atharva-veda, Amer. Journ. Phil. VII, 479 ff. It is of interest, because it marks very clearly the value and continuity of the Hindu
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·
tradition. It had been regarded previously by all interpreters as a charm against robbers of provisions, until the obviously correct conception of Dârila in his comment on Kaus. 38, 18 ff. was presented. The translation of this passage, along with the bracketed commentary, is as follows: 38, 18. While reciting AV. II, 27 (one approaches) the person against whom the debate is directed (from the north-east, while chewing) the root of the pârâ-plant1. 19. He addresses (with the charm his opponent). 20. He ties on (the pârâ-root as a talisman). 21. He wears (upon his head) a wreath of seven leaves (of the pâta).' Cf. also Santikalpa 17 and 192. Previous translations of the hymn: Weber, Ind. Stud. XIII, 190 ff.; Ludwig, Der Rigveda, III, 461; Grill, pp. 23, 93 ff. The Anukramanî designates the hymn as vânaspatyam.
II, 27.
COMMENTARY.
Stanza 1.
The Anukramanî defines the purpose of this stanza correctly by arinirogastvam aprârthayat, 'he desired absence of strength in the enemy.'
a. Sâyana, incorrectly, takes prás as a noun of agency, prashtaram vadinam; see, however, Kaus. 38, 24, prâsam âkhyasyan (Dâr. pratiprasnam akhyâsyan; cf. Vait. Sû. 37, 2; 38, 6). Neither this word nor prátiprâs and pratiprâsita (Kaus. 38, 18; Dârila, prativâdin) have any connection with root as, 'eat,' but are derivatives from the 'ask.' pras,
root
c. The construction of prasam prátiprâso gahi is not quite certain. Sâyana takes both as accusatives, 'the
1 The pârâ is, according to Sâyana at st. 4, identical with the later pâ/hâ (clypea hernandifolia); cf. Kaus. 37, 1; Rigvidhâna IV, 12, 1 (MSS. pâthâ). See Ind. Stud. XVII, 266 (the passage quoted from Apastamba is to be found Âpast. Grih. III, 9, 5). The word pârâ is doubtless, like other words for plants (apâmârga, arundhat?), etymologically suggestive; cf. the root pa/, 'tear.'-For the words supplied by Dârila, cf. Kaus. 38, 17.
* Erroneously quoted by Sâyana as Nakshatrakalpa. But in st. 7 he falls into line with pratikulaprasnarûpam vâkyam.
[42]
X
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debater and the counter-debaters strike.' We regard prátipråso as gen. sing. dependent upon prasam (cf. st. 7 a), in which case one should like to emend arasán in Påda d to arasấm (cf. Ludwig). If not, prátiprås is to be regarded as a collective, the opposition.' Possibly both are accusatives, overcome the debate and the debaters.'
d. arasản, with double entente, without sap or moisture (in their throats),' and without force.' Sayana, sushkakanthân.
Stansa 2. &, b. The same hemistich occurs at V, 14, 1; cf. I, 24, ). Sayana, suparnah ... vainateyah, i.e. Garutmant, Garuda. But there is no myth in all this: the eye of the eagle, and the nosing boar find the secret seat of the plant.
Stanza 3. Sayana, in the teeth of the Padapatha, comments both here and in the next stanza on tarîtave instead of stáritave. The Samhità may be construed either way.
Stanga 5. 2. såkshe (Samhita and Padapåtha), probably for såkshye (Sat. Br. I, 3, 3, 13); cf. our note on IV, 20, 7.
b. Sâyana glosses sâlâvrikán by aranyasvanah, in accordance with many other scholia, assembled by Weber, 1. c., p. 191. Doubtless jackals, as devourers of corpses, are meant.
Stanga 6. For gáláshabheshaga, see Contributions, Fourth Series, Amer. Journ. Phil. XII, 425 ff., and cf. especially AV. VI,
44, 3.
Stansa 7. d. Sayana, with some MSS., reads prasam for präsi (prâsam prashtâram vadinam mâm uttaram ... kuru).
II, 28. COMMENTARY TO PAGE 50. The hymn is counted in the Ganamåla, Ath. Paris. 32, 4, as one of a list 'calculated to bestow long life;' see Kaus. 54, 11 note. It is worked up more especially in the
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godana, the ceremony of shearing the first whiskers of a youth. Father and mother, while reciting the hymn, hand the boy over thrice to one another and feed him with dumplings, prepared with ghee (Kaus. 54, 13. 14). Cf. Sankh. Grih. I, 28, 15, and Åsv. Grih. I, 4, 4, where the related stanzas RV. IX, 66, 19-21 are rubricated, and, in general, Maitr. S. II, 3, 4; Tait. S. II, 3, 10, 3; Tait. År. II, 5. The Anukramanî designates it as garimayurdevatam,
devoted to the divinity which bestows life unto old age;' cf. Ludwig, Der Rigveda, III, 341. Previous translations by Weber, Ind. Stud. XIII, 192 ff.; Grill, pp. 48, 94 ff.
Stanza 1. b. The favourite formulary number for all possible varieties of death is one hundred and one : AV. I, 30, 3; III, 11, 5.7; VIII, 2, 27; XI, 6, 16. The Pada is hypermetric, and may be relieved by throwing out imám or anyé.
d. The play of words in mitra enam mitriyât cannot be reproduced in English ; cf. RV. IV, 55, 5.
Stanga 2. a. risada is not analysed by the Padapatha, being reproduced by most MSS. as risadah, by some as risada (dual, agreeing both with Mitra and Varuna ? cf. Våg. S. XXXIII, 72). Såyana takes it as nom. sg., himsakânâm attâ, and the scholiasts generally, beginning with Yåska, Nirukta VI, 14, though they differ in their etymological analysis, arrive at similar interpretations. Aufrecht, in Böhtlingk's Lexicon, VI, 305, and Grill, p. 95, take it to mean 'very distinguished,' the latter scholar comparing it with éplkvòns. One would fain look for dås, 'giving,' in the last part of the word. At Maitr. S. I, 10, 2 (p. 140, 1. 10)=Tait. S. I, 8, 3, 1, the expression marúto yagñáváhasah occurs as the version of marúto risadasah in Vâg. S. III, 44 ; this may be noted for future reference. I have surrendered the version of the native etymologists in favour of Aufrecht and Grill, though the latter has failed to convince me with his fascinating etymological combination.
X 2
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0, d. The relation of this hemistich to the preceding is obscure; it seems to have been introduced secondarily and loosely. Agni purifies life (RV. IX, 66, 19): so far he fits in with the preceding. But Agni also knows all the races of the gods (RV. IV, 2, 18=AV. XVIII, 3, 23): this, the major part of the hemistich, belongs to a different sphere of conceptions ; see the author in Journ. Amer. Or. Soc. XVI, 16 ff. Påda d is obviously formulary, being repeated literally in a different connection at IV, 1, 3. For vayúnâni, see Pischel, Vedische Studien, I, 295 ff.; Ludwig, Uber Methode bei Interpretation des Rigveda, pp. 31 ff. Sâyana, here as elsewhere, in accordance with Yaska, Nir. V, 14, &c., pragñanamai stat, iha tu så martlıyât pragñatavyâni vidvân, &c.
Stansa 3. b. The edition of Roth and Whitney has gánitvah, which is the Paippalada reading. Most MSS. used by Shankar Pandit read gan trâh; so also Sâyana, ganitrâh ganishyamânah. But ganitra is not quotable as an adjective: I accept the more recondite reading gánitvah.
Stanga 5. The last stanza occurs in Tait. S. II, 3, 10, 3; Maitr. S. II, 3, 4; Tait. År. II, 5, 1 (the last two with variants).
II, 29. COMMENTARY TO PAGE 47. The tenor of the hymn is vague, and it exhibits strong traces of patch-work, being compiled from a variety of sources. In the ritual it is applied chiefly as a remedial charm against a disease in which thirst plays a prominent rôle (trishnagrihîta ; cf. st. 4). It is described at Kaus. 27, 9-13, as follows: 9. While reciting II, 29 (the performer) at sunrise seats (the patient and a healthy person) back to back. 10. Having seated upon branches the patient with his face to the east, and the healthy person with his face to the west, having churned a stirred drink in a cup made of vetasa-reed by means of two (vetasa-reeds, used as) stirrers, upon the head of the person afflicted with thirst, he
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presents it to the person not suffering from thirst. 11. (Thus) to him he transfers the thirst. 12. (To the patient) he gives water (freshly) drawn to drink! 13. While reciting the second half of st. 6 he does as there stated (i.e. he covers them with one and the same garment, and lets them drink of the stirred drink).' The performance implies the transference (vaguely suggesting the modern transfusion) of the disease upon some friend or menial. Cf. Kaiyata to Pânini V, 2, 92, as cited by Weber, Ind. Stud. XIII, 159 note. In the Teutonic folk-practices, transference of disease takes place without knowledge of the healthy; cf. Wuttke, Der deutsche Volksaberglaube, $ 492 ff. The nature of the disease which harasses the patient with thirst is not stated; it is, of course, likely to have been febrile in character.
The hymn figures also at Kaus. 54, 18 in the kûdakarana, the ceremony of tonsure. This in its character as a lifegiving hymn (àyushya; cf. sts. 1, 2). The third stanza, a familiar Yagus-formula, is quoted at Vait. SG. 22, 16. Previous translations: Weber, Ind. Stud. XIII, 194 ff.; Ludwig, Der Rigveda, III, 493.
Stansa 2. The special quality of Agni as a bestower of life is alluded to very frequently, e.g. II, 13, 1; 28, 1; cf. the parallels cited in the introduction to the latter hymn. Påda d is repeated elsewhere, e. g. I, 10, 2 d.
Stanza 3 The stanza, quoted at Vait. Sû. 22, 16, is repeated with variants in Maitr. S. IV, 12, 3; Kåth. S. V, 2; Tait. S. III, 2, 8, 5; Kâty. Sr. X. 5, 3. The second hemistich also in Kath. S. XXXII, 2. In all these the difficult duals dhattam and saketasau are replaced by the singulars dadhâtu and sávarkasam (Kath. súvarkasam), and all these texts understand asír to be the nominative of the stem âsir, milk added to soma ;' see especially Vait. Sû. and Katy. Sr., 1.c. (âsiram
' Cf. stanzas 5 and 6 of the hymn.
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in the text of the Satra). This construction fails here, and we have, as also Sâyana (alternatively), and the former interpreters, taken asih from stem åsís, ' prayer.' The dual dhattam in Påda b seems to refer proleptically to dyavaprithivi in st. 4, as Sayana assumes without hesitation. The entire stanza is adapted secondarily; we must in such cases follow the adaptation sympathetically, not the original sense which is entirely out of keeping with the situation.
0. gayam in the MSS. (Samhita and Padapatha) seems to stand for gayan (the other versions samgáyan). Sayana takes gáyam as the noun, 'victory and lands obtaining,' &c. This, too, is possible.
d. For anyản sapátnân, cf. Nala, I, 13, 14; III, 2, and expressions like πολιτών και των άλλων ξένων, very common in Greek; see the author in Amer. Journ. Phil. VII, 101.
Stanga 5. The transition from the praying modal form in Pâdas a, b to the prophetic aorist in c, d, is a common one in the Atharvan, e.g. II, 26, 5.
Stanga 6. c, d. Cf. the Satra in the introduction above. It seems difficult to conceive this hemistich in any other connection than that indicated by the Sûtra. There it fits admirably. The patient and the healthy person clothed in the same garment assume a magically deceptive identity, like that of the Asvins", so that the disease passes from one to the other. And yet this may not be a sautra mantra, but an adaptation of materials, originally composed in a different connection for a different purpose! Sâyana, here as elsewhere, follows the Satra through thick and thin.
Stanga 7. a. Sayana says that Indra was struck by the demons, Vritra, &c., but does not refer to any particular narrative.
The Asvins, moreover, are the heavenly physicians, presumably conceived as being themselves free from disease. Thus both persons engaged in the practice are symbolically made healthy.
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Cf. RV. I, 32, 12. 14; Tait. S. VI, 5, 5, 2. Weber suggests that the mention of Indra's injury indicates that the patient's thirst is due to fever consequent upon wounds.
II, 30. COMMENTARY TO PAGE 100. The practices in the Kausika (part of the strîkarmani, 32, 28–36, 40) are stated at 35, 21. They seize upon and embody with rather delicate symbolism the comparisons and metaphors which naturally appear in such poems. The performances are, however, not built up upon this hymn alone, but upon three others, VI, 8, 9, and 102, as follows:
While reciting the four hymns just mentioned, he places between two chips, taken respectively from a tree and a creeper which embraces it, an arrow!, sthakara-powder*, salve, kushtha (costus speciosus), sweet-wood, and a stalk of grass which has been torn by the wind; he mixes them with melted butter and anoints (the woman he loves) 3.' Cf. the following stanzas of the hymns: VI, 8, 1; II, 30, 3; VI, 102, 3; II, 30, 1; and VI, 102, 2. The paraphernalia and emotions of love are concretely embodied in a mixture, and drastically transferred upon the woman.
Previous translations: Weber, Ind. Stud. V, 218; XIII, 197 ff.; Ludwig, Der Rigveda, III, 517; Grill, pp. 52, 97 ff. The Anukramani, kaminîmanos bhimukhîkaranakamah.
Stanza 1. b. The use of the root manth suggests the later manmatha, 'god of love.'
1 This represents, of course, Kama's, the love-god's, arrow. Cf. Weber, Ind. Stud. V, 225; XVII, 290.
* No less than four forms of this word occur, sthakara, sthagara, tagara (-rî), and takarf. It is a fragrant powder; see, e.g Tait. Br. II, 3, 10, 1-3; Gobh. Grih. IV, 2, 29.
s So Sâyana, striya angam anulimpet. Differently Kesava, angam samâlabhet rukyartham, i. e. 'he anoints himself so as to inake himself attractive.'
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d, e. The two Pâdas are formulary; see I, 34, 5; VI, 8, 1-3.
Stansa 2. a, b. Weber, Ludwig, and Grill regard kamina as dual, 'the loving pair. I have adopted this, and not followed Sayana in construing it as instrumental singular. The sense would then be, ‘if ye shall unite her with (me), her lover. The two Asvins, who woo Sarya for Soma (RV. X, 85, 8. 9. 14. 15), play here the part of gods of love ; cf. AV. XIV, 1, 35. 36 ; 2, 5. 6; VI, 102, 1. The anacoluthon between the two hemistichs is reproduced in the translation.
c. bhágaso, 'fortunes, good fortunes,' possibly with a double entente (bhága = yulva); cf. st. 5. The Påda, moreover, suggests secondary adaptation ; våm seems to refer primarily to the Asvins, your fortunes (i. e. the good fortune bestowed by you) have arrived.'
Stansa 3. The sense seems to be that the time of the birds' amorous chirping, when they call to one another to mate, is the proper time for the lover's call to his mistress. Weber, Ind. Stud. V, 219, and Ludwig suggest, however, that the cry of the birds is regarded as a good omen. Sayana, vaktum ikhavo bhavanti. In speaking of the arrow-point and the shaft, the poet has in mind the arrow as the weapon of the god of love; see III, 25, 1. 2; Ind. Stud. V, 225; XVII, 290; Zeitschr. d. Deutsch. Morgenl. Gesellsch. XIV, 40, 269.
Stanza 4. a, b. The entire mental condition of the maiden, and perhaps also her utterances, shall be altered : the passage is formulary. Sayana, 'by this the conflict between her speech and her thought is removed.'
c. Sâyana on visvarūpânâm,'having limbs full of faultlessness, and not previously enjoyed (in sexual love).' But the word may mcan simply of all sorts.'
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Stanza 5.
d. bhága here seems to be used in a double meaning ('fortune,' and 'vulva '); it is to be noted that Sâyana does not paraphrase the word. Cf. XX, 136, 5. The Anukramanî, dampati parasparam manograhanam akurutâm.
II, 31. COMMENTARY TO PAGE 22.
The Atharvan contains three charms against worms, II, 31 and 32; V, 23. The first of these seems to be of the general sort; the second is directed against worms in cattle; the third is intended to cure worms in children. We must not, in my opinion, suppose that the assumption of the presence of worms was preceded by acute diagnosis. Professor A. Kuhn, in his admirable treatise on the connection between Teutonic and Vedic medicinal charms (Zeitschrift für vergleichende Sprachforschung, XIII, pp. 49 ff.; 113 ff.), has shown that the greatest variety of diseases are regarded in the naive view of folk-medicine as due to the presence of worms (see pp. 135 ff.); doubtless similar conceptions are at the base of the Hindu formulas. This accounts for 'worms in the head' (II, 31, 4); 'the variegated worm, the four-eyed' (II, 32, 2), and the like. Cf. also Zimmer, Altindisches Leben, pp. 98, 393; Wise, Hindu System of Medicine, pp. 307, 348 ff.; and Mannhardt, Der Baumkultus der Germanen, pp. 12 ff. Less certain is the same scholar's view that the similarity of the conceptions in this matter points back to proethnic charms, since the equal endowment of the two peoples (Hindus and Germans) may of itself suffice to account for the parallel results. But I must say that the more modern scepticism
1 Cf. elsewhere, Tait. Âr. IV, 36; Âpast. Sr. XV, 19. 5; Gobh. Grth. IV, 9, 19; Mantrabrâhmana of the Sâma-veda II, 7; also Maitr. S. III, 14, 11; Tait. S. V, 5. 11, 1; Vâg. S. XXIV, 30; and the correlated hymn, RV. I, 191.
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which stoutly denies the possibility of such productions in Indo-European times is at the present time more dogmatic than is at all warranted by the evidence. It is likely a priori that some of these folk-notions had crystallised in prehistoric times; if there was an Indo-European people —some will deny even that-there was also a crude IndoEuropean folk-lore. Cf. also the introduction to IV, 12.
Kausika implicates this hymn in a rather elaborate and difficult practice, 27, 14-20, as follows: 14. While reciting AV. II, 31 he makes an oblation of black lentils', the kind of worms called alganduo and hanana, (all) mixed with ghee. 15. The young (of worms: Dârila, krimino balân 3) he winds about from right to left upon a black-spotted arrow (Dar., kalmashavarne sare), and then smashes (the arrows). 16. He roasts (the worms in the fire). 17. He then lays on (the worms with the arrow as firewood in the fire: Dar., tân bâlân sasaran). 18. With his left hand, his face turned to the south, he throws up dust and scatters it (over the patient, Kesava). 19. He (the patient) grinds up (the dust). 20. He then lays (ordinary) firewood on the fire.' The unsavoury practice, introduced by Kesava with the words arushi-udaragandulaka-bhaishagyány ukyante+, comports well with the fierce imprecation: the acts symbolise the destruction of the imaginary worms in the patient, and contain various allusions to the wording of the hymn.
The hymn has been translated by Kuhn, 1.c. 137; Weber, Indische Studien, XIII, 199 ff.; Ludwig, Der Rigveda, III, 323; Grills, pp. 6, 98. The Anukramanî describes the divinity to which the hymn is addressed as mahîdevatyam
The word khalvanga, thus translated, is not altogether clear. It is discussed in Kausika, Introduction, p. xlix.
* Thus, not alându; see Kausika, Additions and Corrections, and cf. the note on AV. II, 31, 3.
But Kesava very differently, govâla(m) kitritam sarasamdhyam pariveshtya, i.e. the hair of a cow's tail is wound about an arrow! Cf. Sätra 26, and the introduction to II, 32. Cf. also Kesava's explanation of Kaus. 29, 20. Sâyana follows Kesava.
• For gandulaka, cf. perhaps algandu, above, and in stanza 2.
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(cf. the word mahî in st. 1) uta kândram; its author is Kanva.
Stanza 1.
a. In RV. VII, 104, 22 = AV. VIII, 4, 22, Indra is called upon to crush the Rakshas as with a mill-stone: the present passage seems to realise the comparison, so that indirectly Indra's bolt (vágra) is in the mind of the poet; cf. also ásman and párvata in st. 19 of the same hymn.
d. Cf. the symbolic crushing of lentils in the practice, Kaus. 27, 14, where khalvanga takes the place of khálva; so also in Kaus. 27, 26 (cf. Kausika, Introduction, p. xlix). Kesava defines both khalvanga and khálva as krishnakanakah. Read here metri gratia kháluân. Cf. also V, 23, 8 c, d.
Stanza 2.
a. At V, 23, 6. 7 adrishta is an epithet of krimi; adrishta by itself is used substantivally in AV. VI, 52, 2 (= RV. I, 191, 4), and 3; cf. also RV. I, 191, 9 = AV. VI, 52, I and AV. V, 23, 6, where the sun is designated as the slayer, adrishtahán, of unseen (vermin); cf. Zimmer, p. 98. In AV. VIII, 8, 15 both drishtá and adrishta also occur as designations of vermin, and it seems quite likely that drishtá is an afterthought in the style of sura after asura ; diti after aditi, and the like.
b. The Paippalâda and Sâyana read kurîram for kururum; the latter defines it, kurîram gâlam tadvad antar avasthitam krimikulam.
c. The MSS., both of the hymn and the Sûtra, hesitate between the two writings algándu and alándu, and I had decided in the Additions and Corrections to the Kausika (p. 76, Sû. 14) in favour of algándu. This is the reading adopted by Sâyana and Shankar Pandit. In the Nâgarîcharacter the two forms are almost identical (lga is lâ as soon as the g-stroke is prolonged downward); hence the confusion. Sâyana, sonitamâmsadûshakân gantûn. Sâyana has salgân for salúnân. Here, as in st. 4 c, d, krímîn is obviously a gloss; the Anukramanî, uncritically, defines the metre of the stanza as uparishtâdvirâdbrihati.
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Stanza 3. a, b. The mighty weapon is the charm which is called outright 'thunderbolt' (vágra) in VI, 134 and 135. Perhaps the fire of the symbolic bolt is supposed to burn them (daná adūnal). The ritual (Satras 16 and 17, above) embodies the idea in practice, and we are not in the position to say but what this particular act was associated with the stanza from the start—a question of principle which seems destined for ever to divide the doctors. Såyana obviously has in mind paritapati in Sa. 16 in his gloss paritapta aparitaptâl.
0, d. To render doubly certain the complete destruction of the disease, even those which are prima facie already driven out are submitted to this phase of the charm.
Stanza 4. a, b. Read ánvântriam sîrshaniam átha u, &c. Cf. with this Mantrabrâhmana (of the Sama-veda) II, 7, 2, krimim ha vaktratodinam krimim antrânukårinam. Såyana (with some MSS.) reads pårshneyam, 'in the heel,' and Ludwig, rather arbitrarily, translates im Rücken,' as though pårshtheyam stood in the text.
0. avaskavá, like most of the names in the charm, is ån. dey. Weber, 1.c. 201, and Zimmer, p. 393, define it as 'he who peels, pares off.' Sayana, avaggamanasvabhåvam. By the side of vyadhvará (this form twice in VI, 50, 3) we have vyadvará in Sat. Br. VII, 4, 1, 27 (defined by the scholiast as adanasîlo dandasûkådih) and vyádvarî (with different accent) in AV. III, 28, 2%. One or the other is a folk-etymological modification : vyadhvará, 'piercing' and vyadvará, ' gnawing.' The Padapatha divides vi adhvará (most futile), and Ludwig in his translation of VI, 50, 3
So the vulgata. Sâyana and Shankar Pandit with most of his MSS. vyadvará. See the note there.
Here Sâyana reads vyadhvarî (duhkhahetur dushtamârgah tadvatî); see the note on the passage.
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has arrived at the same result, abseits vom wege' (Der Rigveda, III, 500). The same analysis in Sâyana to our stanza, vividhamârgopetam, nânâdvârâni kritvå tatra gakhantam.-krímîn here, as in 2 c, is a gloss, misunderstood by the Anukramani, as above.
Stanza 6. c. Sâyana reads te for yé and tanvas for tanyám.
II, 32. COMMENTARY TO PAGE 23. This charm against worms in cattle (Kesava, gokrimibhaishagyâni) elicits the following treatment in the Kausika 27, 21-26: '(The performer) chants the hymn at sunrise, and pronounces the name of the cow, “O thou, N. N." I At the end of the hymn, while exclaiming “the (worms) are slain," he throws darbha-grass (upon the cow). He goes through the same performance at noon. In the afternoon he (throws the darbha-grass) upon the cow, her face turned to the west. Having cut off a tuft of the (cow's) tail he continues as in Sūtra 14 (the performance in connection with AV. II, 31, which see).'
Charms closely related with this are found in Tait. År. IV, 36 (cf. Åpast. Sr. XV, 19, 5), where verses similar to stanzas 3 and 4 are employed to relieve the cow who yields the milk for the gharma, if she is sick with worms ; further in the Mantrabrahmana of the Sâma-veda II, 7 (see the Calcutta Journal Ushå, vol. i, fasc. 7), and in Gobh. Grih. IV, 9, 19. 20, where the stanzas of Mantrabr. are employed to destroy worms both in man and cattle.
The hymn has been translated by A. Kuhn, in Kuhn's
* Cf. Gobh. Grih. III, 8, 3; Lâty. Sr. III, 6, 3; and Kâty. Sr. XXVI, 5, 1, where idà is mentioned as the typical name of a cow.
• The implication is that in the preceding steps of the ceremony the cow's head is turned to the east; cf. Dârila, p. 77, note 7.
& The same work has also been printed in Serampore (saka 1794=A.D. 1872).
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Zeitschrift, XIII, 138 ff.; Weber, Indische Studien, XIII, 201 ff.; Ludwig, Der Rigveda, III, 500; Grill, pp. 7, 100; cf. also Hillebrandt's Vedachrestomathie, p. 47. The Anukramanî, adityadevatyam, anenos ktarshir (i.e. Kanva: cf. the introduction to II, 31) uktakriyam akarot.
Stansa 1. The removal of hantu in Påda i restores a good gayatri stanza (read, aditiah). The Anukramanî designates it as tripad bhuriggâyatri.
a. The rising sun and Ushas, the dawn, are especially calculated to dispel the evils associated primarily with night, and then, generally, misery and disease; cf. RV. I, 50, 11, 13; AV. I, 22, 1; V, 23, 6; IX, 2, 15; 8, 22; XIII, 1, 32.
Stanza 2. The stanza is repeated at V, 23, 9 with the variants trisîrshanam trikakúdam in Pâda 1; these readings combined show that the poet in designating the worms has in mind the demon Visvarapa who is familiarly known to have had three heads. Cf. also Mantrabr. II, 7, 2. krimim dvisîrsham argunam dvisîrsham ka katurhanum. Professor Kuhn, 1. c. 147, lays especial stress upon the agreement of the Vedic and Teutonic charms, in that they point out the colours of the worms.
2. Sâyana, visvarapam nânâkâram; Ludwig, 'den vollgestaltigen.' The epithet 'four-eyed' is originally at home with the four-eyed dogs of Yama, and is due, primarily, to some mythological conception; cf. our note on IV, 20,7. But in the view of the Hindus 'four-eyed' means
with spots over the eyes ;' see Contributions, Third Series, Journ. Amer. Or. Soc. XV, 165 note. Såyana,
katurnetram
b. The Pet. Lexs. render såránga by 'bunt, scheckig ;' Weber, 'schwärzlich;' Ludwig, bräunlich.' The native explanations of the word are stated by Prof. Weber, Indische Studien, VIII, 275.
0. The Pâda is a catalectic anushtubh.
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Stanga 3. The stanza recurs in V, 23, 10. The Tait. Ar. IV, 36, and Mantrabr. II, 7, 1. 2 have similar stanzas: atrinå två krime hanmi kanvena gamadagnina, visvävasor brahmana (Tait. År.); and, hatas te atrina krimir hatas te gamadagnina, gotamena tinikritostrâis va två krime brahmavadyam avadya. bharadvågasya mantrena samtinomi krime två (Mantrabr.) Reliance upon the great seers of the past is a common-place expression in charms and exorcisms; cf. e. g. I, 14, 4; IV, 20, 7.
c. Hillebrandt and Grill regard vah as a gloss. But it is written also in V, 23, 10, and its expulsion does not effect good metre, the final cadence being v--u.
Stansa 4. Recurs in V, 23, 11. The Tait. År. reads at IV, 36, hatah kriminâm râga, apy eshâm sthapatir hatah, atho måtå -tho pita, atho sthûra atho kshudråh, atho krishna atho svetåh, atho åsåtika 1 hatáh, svetâbhih saha sarve hatah; cf. also the next stanza of our hymn. For sthápati, see Weber, Ind. Stud. XIII, 202 ff.; Uber den Vågapeya, 9, 10 (769, 770), Sitzungsberichte der Königlich Preussischen Akademie, XXXIX (1892); Über die Königsweihe, p. 65 (Transactions of the same Academy, 1893). Sâyana, sakivah. The scholiast at Tait. År. has anyos pi ragavyatiriktah prabhuh. The etymologies suggested are unsatisfactory (see Pet. Lex. and Weber, 1.c.); it has occurred to me that possibly the word might be a loan-word with folketymological modification, being Avestan shoithrapaiti (cf. Achemenian khshatrapavan), 'satrap,' a word which later again finds its way into Indo-Scythian coins in the form
Scholiast, agatya sâtyamânâh asmábhir eva bâdhyamânâh. Cf, with this also Mantrabr. II, 7, 4. krimim indrasya bâhubhyâm avátkam patayâmasi, hatah krimayah sâsâtikah sanflamakshikâh. The scholiast defines sâsâtikâh by ăsâtikayâ (! for åsâtikayâ ?) saha vartamânâh.
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kshatrapa ; cf. Zeitschrift für die Kunde des Morgenlandes, III, 161; IV, 186, 200,
Stansa 6.
Repeated in V, 23, 12. The Mantrabr. II, 7, 3 presents a passage which concerns stanzas 4-6 of our hymn, hatah kriminam kshudrako hatå måtå hatá pita, athai-shâm bhinnakah kumbho ya eshâm vishadhầnakah.
a, b. Sâyana, without regard to the oxytone accent of vesás (nomen agentis), renders vesáso..párivesasah as follows, nivesasthânâni mukhyagrihah . . . paritah sthitah samîpagrihåh. Weber renders the two words by 'diener' and 'umdienenden;' Grill by 'hörige' and 'zugehörige;' Ludwig and Hillebrandt by "hörige' and 'der hörigen hörige.'
Stanza 6. The metre of the stanza is quite irregular; the Anukramanî describes it at katushpan nivridushnik. The first and third Pâdas are catalectic; in the second Pada yabhyam is yábhiâm, or the like; the fourth Pada may also be sustained as a catalectic anushtubh by substituting tava for te, or resolving te into tar or taya.
0, d. The Paippalåda reads, atho bhinadmi tam kumbham yasmin te nihatam (! for nihitam?) visham ; cf. also the parallel stanza RV. I, 191, 15. Såyana substitutes shukambham for kushumbham, and he has the support of some MSS. His comment is avayavavisesha, 'some part of the body.' Ludwig translates kushumbham by 'tail,' but the parallel passages of the Paippalåda and Mantrabr. obviously point to some word like 'receptacle.' This word as well as kusumbha and kusumbha, 'water-pitcher of hermits,' seem to me to be extensions of kumbha by popular etymology, introducing the influence of kosha, kosa, 'basket,' and perhaps in the case of kusumbha the stem sumbhá., 'purify.' Direct etymological analysis of such words is difficult because they become so readily the play-ball of kindred notions; cf. Weber, 1. c. 204.
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II, 33. COMMENTARY TO PAGE 44.
The commentators fitly treat this charm as a cure for all diseases (sarvabhaishagyam). The practices at Kaus. 27, 27–8 are of the simplest sort, and their symbolic relation to the hymn superficially obvious: 27. 'The stanzas of the hymn are recited over the patient while (fetters with which he has been bound) are being torn off. 28. He is sprinkled with water mixed with the dregs of ghee from a watervessel.' The hymn figures also in a list designed to bestow long life (àyushyagana) in the Ganamala, Ath. Paris. 32, 4; see Kaus. 54, 11 note. According to Sâyana the hymn is also a member of the anholingagana, 'a list characterised by (driving away) distress,' consisting of II, 33 ; III, II; IV, 13; V, 30; .X, 8. But the Ganamala, Ath. Paris. 32, 31, strings together a very different group under the same caption; see Kaus. 32, 27 note. Cf. also Vait. Sû. 38, 1; Ath. Paris. 33, 3.
The hymn recurs with variants, RV. X, 163 ; AV.XX, 96, 17-22 ; the first stanza at Pår. Grih. III, 6, 2. In its Rigveda form it constitutes also a part of the Âpast. Mantrabrahmana I, 17, 1-6, employed at Åpast. Grih. III, 9, 10; see Winternitz, Das Altindische Hochzeitsritual, p. 99. The many, often perplexing designations of the parts of the body are paralleled in the catalogues of the parts of the horse's body, at the horse-sacrifice, TS. V, 7, 11 ff. (cf. also I, 4, 36; VII, 3, 16); Maitr. S. III, 15, 1 ff.; Vâg. S. XXV, 1 ff. Cf. also AV. X, 2; XI, 8.
The hymns in question have been translated and compared with certain Teutonic charms by Adalbert Kuhn in his ever-charming work on 'Indische und germanische Segenssprüche,'Kuhn's Zeitschrift, XIII, 63 ff. These comparisons are of permanent interest for folk-psychology, even though the genetic relationship of the charms may be doubted. The Atharvan version has been rendered in addition by Weber, Ind. Stud. XIII, 205 ff.; for RV. X, 163 see Ludwig's and Grassmann's translations.
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Stansa 2.
a. Såyana here defines ushníhâbhyah etymologically as, ardhvam snigdhâbhyah raktádinå utsnätâbhyo và nâdibhyah, but at RV. snäyubhyah for nâdîbhyah. Cf. AV. VI, 134, 1 ; IX, 8, 21; X, 10, 20, and the schol. at Pånini III, 2, 59.
Stanza 3. b. hálikshnat is obscure: Sâyana, tatsambandhâd (tat refers to klomnáh) mâmsapindaviseshât, a ball of flesh adjoining the lungs.' The word may possibly be related to hira, 'canal, vein.'
Stansa 6. 0, d. The tautological use of bhasadyån and bhásadam is justified in the mind of the Atharvan poet, because it heightens the effect of the cumulative pun upon bhámsasah. RV. X, 163, 4 exhibits but two of these stems.
Stanza 7. d. kasyápasya vîbarhena (sc. brahmana). For Kasyapa, see the notes on I, 14, 4; IV, 20, 7.
II, 36. COMMENTARY TO PAGE 94. The practices associated with this hymn are part of the 'women's rites' (Kaus. 32, 28–36, 40), and they are pre: sented under the special rubric of pativedanâni (Kesava, patilabhakarmâni), 'practices by which a husband is obtained,' Kaus. 34, 12–16 (cf. also Kaus. 75, 7), as follows: 13. While reciting the hymn the maiden is given to eat a pudding of rice and sesame, such as is cooked for guests. 14. Upon an altar, made out of clay from a cave inhabited by animals (cf. stanza 4), are placed the substances recited in the hymn (gold, bdellium, &c.; cf. st. 7); these are anointed with the dregs of ghee, and given to the maiden
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at the door! 15. Having sacrificed by night rice and barley from a copper vessel to Gâmi?, the maiden walks forth with her right side turned towards (the vessel ; cf. st. 6). The maiden, having been washed and cleaned to the west of the fire, while stanza 5 of the hymn is being recited, is made to do what is told in the stanza (upon a ship) anointed with the dregs of ghee (i.e. she is made to ascend the ship). After that follow certain oracles to decide whether the maiden shall succeed in obtaining the husband or not.
The hymn has been translated by Weber, Ind. Stud. V, 219 ff.; XIII, 214 ff.; Ludwig, Rigveda, III, 476 ; Grill, pp. 55, 102 ff.; cf. also Zimmer, p. 306.
Stansa 1.
8. Literally, 'may a suitor come to our favour,' i. e. a suitor who shall gain our favour. Såyana, sobhanam buddhim à gamet ... kalyanim buddhim prâpya. Cf. Sankh. Grih. I, 6, 1 ff.; Åpast. Grih. I, 2, 16; 4, 1-2; Ind. Stud. V, 276, 291 ff.
b. The suitor comes with our fortune,' since the betrothal of a daughter is regarded in that light.
a. Sayama, samaneshu samanamanaskeshu ... yad và samânam manyamâneshu sahridayeshu.
d. Såyana reads usham for oshám, and glosses, asham Ushati rugati apanudati duhkhagåtam iti üsham sukhakaram.
Stanza 2. a, b. Cf. RV. X, 85, 40. 41, where Soma, Gandharva, and Agni are said to be the mythical first husbands of every maiden. Sayana has in mind the same passages, since he glosses brahma with gandharva, and identifies Aryaman with Agni, leaning upon the slender support of Åsv. Grih.
So that she may adorn and anoint herself with them. * The personified goddess of femininity, or maternity; Dârila, gâmika (?) måtrika. Cf. AV. V, 1, 4, and Kaus. 34, 20.
Y 2
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I, 7, 13. Cf. AV. XIV, 1, 31, which shows that sámbhritam alludes consciously to sambhalá in st. 1.
c. Dhâtar, the god of divine order and creation, just as the three gods in the first hemistich, is especially charged with the arrangement of marriage; see VI, 60, 3.
Stanza 4.
Sâyana, with one of Shankar Pandit's MSS., reads maghavân (mamhanîyabhogyapadârthayukta/), in agreement with âkharáh; also abhirâdhayantî, which he glosses by abhivardhayantî, yad vâ. . . putrapasvâdibhih samriddhâ bhavanti. For the juxtaposition of Indra and Bhaga, cf. VI, 82. For Bhaga in relation to matters of love, VI, 102, 3.
Stanza 6.
a, b. Judging from IV, 22, 3; V, 23, 2; X, 10, 11, the divinity addressed as 'lord of wealth' is Indra (Maghavan in st. 4).
c, d. The sense is: Every suitor who approaches her shall indicate his esteem, or admiration, so that the event shall not fail to result auspiciously. Cf. the symbolic realisation of this arrangement in Kaus. 34, 15, above.
Stanza 7.
a. Some MSS. read gúlgulu for gúggulu (Sâyana, dhûpanadravyaviseshah).
=
b. aukshá, 'balsam,' according to Sâyana pralepanadravyam. It seems to be simply 'bull's grease;' see the sloka quoted by Kesava at Kaus. 34, 14 (repeated by Sâyana on our passage), as also by Dârila, Kesava, and Ath. Paddh. at Kaus. 79, 9 (in elucidation of the word aukshe), and cf. our introduction to AV. I, 34. See also the analogous passage AV. VI, 102, 3, and aukshagandhi as the name of an Apsaras, IV, 37, 3.
c. For the plural pátibhyah, see Ind. Stud. V, 205 ff., 221. d. pratikâmaya is emended by the Pet. Lex. to pratikâmyaya (cf. sts. 5, 6, 8, and VI, 60, 3); Sâyana, enâm kanyâm kâmayamânam. The Paippalâda reads patikâmâya,
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which makes good sense, in order to obtain the love of a husband.'
Stansa 8. The second nayatu seems superfluous, derived, perhaps, from some parallel expression in which nayatu was the last word. The entire stanza is loosely connected with the hymn; the plant addressed seems to have no reference to the proceedings in hand. Cf. AV. III, 18.
III, 1. COMMENTARY TO PAGE 121. In accordance with our title for this and the following hymn is their designation in the ritual as mohanani (sc. sûktäni), charms for causing bewilderment;' see Kaus, 14. 17. With them go in the subsequent Satras (18-21) the following performances : 18. 'Chaff (of rice), underlaid with porridge, is sacrificed from a mortar. 19. (Or) in the same way small grain ? (is offered). 20. Twenty-one pebbles are shaken (in a winnowing-basket?) against the enemy). 21. (A pot of rice) is offered to the goddess Apvå.' The symbolism is obvious: the chaff or the small grain symbolises the dispersion of the enemy; the pebbles shaken against them the destructive attack of the sacrificing king. An offering is made to the goddess of evacuation (from the body). See the note on III, 2, 5. The present hymn has been rendered by Ludwig, Der Rigveda, III, 518; Weber, Ind. Stud. XVII, 180 ff. The Anukramanî, senamohanam.
Stansa 1. Agni, the fire, figures largely as the typical leader of the vanguard of armies, e.g. in the battle-hymn, RV. X, 84, 2, and in Tait. S. I, 8, 9, 1; Tait. Br. I, 7, 3, 4. A special 'army-fire,' senagni, is mentioned at Kaus. 60, 5, and in the
· Dârila, kanikvikâh; Kesava, kanikâh; Sâyana, kanikikâm.
Cf. Dârila and Kesava on the Sætra, and emend sûrye in both texts to sûrpe.
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scholion to Paraskara's Grihya-sâtra I, 10. The preparation of such a fire is described at Kaus. 16, 9 ff. Professor Weber, 1. c., suggests that the name of the war.god Kumara (Skanda) is in reality one of the manifestations (můrti) of Agni-Siva-Rudra ; cf. our introduction to XI, 2.
Stansa 2. Professor Aufrecht in Kuhn's Zeitschrift, XXVII, 219, advances very good reasons for believing that this stanza is constructed awkwardly out of Rig-veda reminiscences. Especially noteworthy is his emendation of amimrinan to ámîmridan,' they have taken pity,' in the light of RV. II, 29, 4; VI, 50, 5; X, 34, 3. Yet we must question whether the Atharvan versifex did really compose that ideal stanza, suggested by Aufrecht, or the more uncouth performance, handed over to us by the redactors. I incline to the latter view, and have rendered the text as reported unanimously in the Saunakiya-tradition, though fully conscious that ámimridan is the better reading in the abstract. The stanza puns upon marut and the base mrina.
Stanza 3.
The anacoluthon in the two hemistichs can be removed, as Sâyana does, by emending tán in Pâda c to tam. Maghavan in Pâda a, in reality goes with Indra in Påda c.
Stanza 4
Repeated with variants at RV. III, 30, 6. Sâyana comments upon the Rig variant prá sů ta (te), not upon prásůtah (Padapatha). In Pada d, I have emended (independently from Weber) vishvak satyám to vishvaksatyam, literally, having fulfilment away,' i. e.' bereft of fulfilment.'
"The Paippalada also has amîmrinan.
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III, 2. COMMENTARY TO PAGE 121. For the employment of the hymn in the practices, see the introduction to the preceding. Previously translated by Weber, Indische Studien, III, 183 ff.; cf. also Bergaigne et Henry, Manuel Védique, p. 139 ff. The Anukramani, senamohanam.
Stansa 5. Repeated with variants at RV. X, 103, 12. For the variants pratimoháyanti and pratilobháyanti see Contributions, Fourth Series, Amer. Journ. Phil. XII, 422 ff. The goddess Apvá (metrically apuvâ), 'impurity,' is a drastic embodiment of 'defecation from fear.' The enemy shall not contain themselves from fear. Cf. udarabhedi bhayam at Bhagavata Purana, III, 15, 33, and passages like Tait. S. VI, 2, 2, 5; 3, 2, 3. Yaska, Nirukta IX, 33, as restored by Weber, clearly explains the word in this way. See in general Ind. Stud. IX, 482; XVII, 184 ; and AV. IX, 8, 9.
III, 3. COMMENTARY TO PAGE 112. This and the following hymn are made the basis, at Kaus. 16, 30–33, of a performance that ensures the restoration of a king who has been driven out from his kingdom by a hostile king (pararågena, according to Darila), to wit: 30. 'In the domain of the kingdom, from which the king has been driven out, a rice-cake in the form of a couch (sayanavidham) is placed upon darbha-grass, and submerged in water. 31. A lump of earth taken from that
This reading is not quite certain : most MSS. of the Satra, and Darila read sayanavidhim. Kesava, however, and after him Sâyana, read senávidham (senâkâram), 'having the form of an army;' cf. for the interchange between aya and e our remarks in Amer. Journ. Phil. V, p. 27. Either reading makes good sense: the couch would symbolise permanent, peaceful possession of the kingdom; the army, its conquest by force of arms.
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(region) is spread over the fire-place!, and (the king) consumes a mess of porridge, mixed with milk. 32. The utensils are taken from the same place as the lump of earth. 34. On the morning of the fourth day (the king) eats the (submerged) rice-cake, and then he is called (to his kingdom).' Professor Weber remarks that an exiled potentate could scarcely expect to be restored by any more simple device. The symbolism of the practice is obvious : especially the bed and the clod of, earth from the native sod (heimathsscholle ') are suggestive. Cf. Kausika's rite at 16, 27. 28 in connection with AV. I, 9 (introduction). Stanzas i and 2 are rubricated at Vait. Su. 9, 2 and 30, 27. The hymn has been translated by Ludwig, Der Rigveda, III, 441 ff.; Weber, Indische Studien, XVII, 185; cf. also Bergaigne et Henry, Manuel Védique, p. 140 ff. The Anukramani, nânådevatyam utå ssgneyam.
Stansa 1. Agni figures here as the war-god, capable of bringing victory to the cause of the dethroned king. Cf. III, 1 and 2. With him are united the fighting Maruts who hitch up Agni that he may bring (vah) the king. Sayana, curiously, makes the king subject of ákikradat (cf. RV. X, 45, 4), the king calls (!) upon thee that he may again enter his kingdom.' In Pada d amúm is perhaps replaced by the name of the king, in the manner of the ritual; cf. e. g. Vâg. S. IX, 40; Tait. Br. III, 2, 3, 7.
Stansa 2. The stanza is difficult and full of double intent. The crucial word seems to us to be sautråmanya. This is a sacrifice originally devised by the gods to cure Indra from the effects of over-indulgence in soma ; see our Contributions, Third Series, Journ. Amer. Or. Soc. XV, 153 ff.; Oldenberg, Nachrichten von der Königlichen Gesellschaft
* The Sætra, gyotirayatanam; Darila, gyotisha âyatanam sthânam uttaravedim avakîrya.
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der Wissenschaften zu Göttingen, 1893, p. 342 ff. But secondarily this rite is also employed by an exiled king, who is also shaky, as it were (mankur iva kakâra, like the somatipata, Sat. Br. V, 4, 11, 13). Throughout this stanza Indra is both the god, and the dethroned king; the gods are the heavenly physicians (the Asvins and Sarasvatî), as well as the Brahmans who are engaged in the restoration of the king. We have therefore rendered sautrâmanya dádhrishanta by 'infuse courage with the sautråmani-sacrifice.' The veiled sense of the entire passage is : 'However far the king (Indra) is he shall come back to friendly relations with his people, when the priests (deváh) chant their songs and apply the sautråmanî to his restoration. Indra is the typical king, AV. IV, 6, 11; VI, 98, 1; Tait. S. II, 2, 11, 6; the Brahmanas are the human devas, times without end, Sat. Br. II, 2, 2, 6; Tait. S. I, 7, 3, 1 ; Maitr. S. I, 4, 6; Kaus. 6, 26; cf. Indische Studien, IX, 152; X, 16, 35, 36.
Stansa 3.
Varuna's relation to water appears here as in IV, 16, 3 (see the note there); Soma grows upon the mountains (Veda and Avesta). The sense is : Even if the exiled king is separated by mountain and sea from his people, let him quickly, untrammelled by such restraints, as an eagle, come to them.
Stansa 4. 2. The accent of havyám is suspicious : we should expect hávyam. It is either to be emended, or indicates that the Pada has been adapted from a different sphere. The eagle brings the soma from a distance to be offered to Indra. For such adaptations, cf. e. g. the hymn I, 2.
For the sautrâmanî in general, see Weber, Indische Studien, X. 349, and especially the same author's recent treatise, Über die Königsweihe (râgasûya),' in the Transactions of the Royal Academy at Berlin, 1893, p. 91 ff.
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Stansa 6.
d. We have rendered áva gamaya, 'render accepted," because the word does not mean elsewhere 'bring down' (Weber). Our authority is Darila on Kaus. 16, 27, avagamana= anuraga, 'affection ;' see the introduction to I, 9. Såyana, imam rågânam asmin râshtre bodhaya (similarly Ludwig).
III, 4. COMMENTARY TO PAGE 113. The Satra treats this hymn along with the preceding as a charm for the restoration of a king ; see the introduction to III, 3. Support for such a construction may be derived from st. 5. This, however, is not borne out by the text of the stanzas themselves. These are more general in character, and seem to indicate as their theme the election of a chief. See Ludwig, Der Rigveda, III, 250; Zimmer, Altindisches Leben, p. 162 ff. Note especially st. 2, and the play upon the word váruna (as if from root var, choose') in sts. 5, 6. The hymn has been translated by Ludwig, III, 252; Zimmer, p 164; Weber, Indische Studien, XVII, 190 ff.; cf. also Bergaigne et Henry, Manuel Védique, p. 141 ff. The Anukramani, aindram.
Stansa 1. The first hemistich is hypermetric, and Weber, Zimmer, and Bergaigne-Henry each differ in their attempts at restoration. We are not at all certain that this need is urgent : Pada a is a good gagatî-line, ending at úd ihi; for Pada b see Oldenberg, Die Hymnen des Rigveda, pp. 66, 67. If the pruning-knife must be used pátir in b is most easily spared, and a most natural interpolation.
a. gan is vox media, either injunctive, or perfect-aorist. The latter in its sense of prophetic aorist is in the Atharvan stylistically very close to the injunctive : often things desired are stated as having been already accomplished. Sce e.g. 1, 23, 4.
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Stanga 2. Recurs with marked variants at Tait. S. III, 3, 9, 2; Maitr. S. II, 5, 10.
Stangas 5, 6. The expression ayám rágå várunah in st. 5 a is too pointed to signify merely that king Varuna :' váruna is used here with false etymological intent as chooser;' the word plays upon the sense of ahvat, and vrinatâm in st. 2. Similarly várunaih in the next stanza means (Indra), with the remaining gods (Varuna, Mitra, &c.), all choosing the king, and again, with double entente: 'Come on, O king, thou hast come to an agreement with the leaders of thy people who are the electors' (cf. III, 5, 7). All this is thoroughly Atharvanesque.
Stansa 7. Cf. Vait. SQ. 13, 2, where this stanza is employed in connection with a personified Pathya Svasti, the wife of Pushan (ib. 15, 3), 'the prosperous path,' as an embodiment of success and well-being. Cf. also ib. 24, 8; 37, 20, and the Pet. Lex. under pathyà 3. In Pada d most MSS., both of the Samhita and Padapatha, read vasa, 'rule;' some MSS., Sâyana, and the Western authorities, vasa, 'dwell.' Cf. AV. XII, 4, 27. For the interchange of s and s, see the present writer in the Proc. Amer. Or. Soc., May, 1886 (Journ., vol. xiii, p. cxvii ff.). Cf. also the note on V, 19, 5.
III, 5. COMMENTARY TO PAGE 114.
The parna-tree figures in many sacerdotal performances, being identical with the palasa (butea frondosa). Its branches and especially its wood are employed directly, and in the form of utensils, at most sacrifices (cf. Zimmer, Altindisches Leben, p. 59); its sanctity is accentuated by myths which derive the plant directly from heaven, and that, too, in connection with the descent of the soma (cf. st. 4). A divine archer, who guards the soma, shoots at
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the eagle that robs the soma; the eagle looses a feather (parna), which alights upon the earth and becomes the parna-tree. See RV. IV, 26 and 27, and the extensive legendary material attaching thereunto, and cf. Adalbert Kuhn, Die Herabkunft des Feuers und des Göttertranks, pp. 148, 192 ; Contributions, Fifth Series, Journ. Amer. Or. Soc. XVI, 20, 24.
No very specific instructions are recorded in the ritual regarding the manipulation of the hymn. At Kaus. 19, 22, in the course of the so-called pushtikarmâni, 'practices designed to engender prosperity' (Kaus. 18, 19–24, 46), we have the mere statement that this and other hymns, dealing with amulets, are recited, while the amulet in question (mantrokta), after it has been steeped in sour milk and honey for three days (Kaus. 7, 19), is fastened on the person desiring its protecting influence!. Accordingly, the Åtharvanîya-paddhati (Kaus. 19, 1 note) mentions it in a long list of pushtika mantråh. Cf. also Såntikalpa 17, and 192 The Anukramanî describes it as saumyam (cf. st. 4) ... (etena) parnamanim uktarshir (i.e. Atharvan) astaut. Translated by Weber, Indische Studien, XVII, 194 ff.
Stansa 1. d. For áprayavan of the vulgata, read áprayâvam (gerund) with the Index Verborum; cf. XIX, 55, 1, and Våg. S. XI, 75.
Stanza 4. For the relation of the parna to soma, see the introduction above.
In Påda c Weber emends priyasam to bhriyasam, and Sâyana hovered on the edge of the same correction, priyasam bhriyasam dharayeyam. It is, however, not certain, for in Laty. Sr. III, 2, 10 (also Drâhyâyana) we have manas tanushu pipratah, parallel to manas tanúshu bibhratah, RV.
Sâyana, tegobalâ yurdhanâdipushtaye. : Cited erroneously by Sâyana as Nakshatrakalpa.
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X, 57,6; Våg. III, 56 ; Kaus. 89, 1; Tait. Br. II, 4, 2, 7. Nay, we have the passage with pipratah in another place in the
Tait. Br. (III, 7, 14, 3) itself, and it would seem, therefore, that pipratah (Pet. Lex. ' erhalten') has a meaning closely analogous to that of bibhratah.
Stansa 5. Both Weber and Sayana cite in illustration of the meaning "friend' for aryamán the passage Tait. S. II, 3, 4, 1, ‘he, verily, who gives, is a friend (aryamán).' Weber renders Pada d, über die gunst des freundes selbst,' a rendering which rather forces the meaning and position of utá.
Stangas 6, 7. The two stanzas prove conclusively that the hymn belongs to the sphere of practices connected with the consecration of a king, and the firm establishment of his royalty. The four classes of persons whose aid is regarded as desirable for the king belong to the so-called ratna, “jewels,' of the court, i. e. they are honoured and indispensable members of his household. Their number altogether is about a dozen, and according to Tait. Br. I, 7, 3, 1 ff., they are the 'givers and takers of royalty (rashtrasya pradâtârah, rashtrasyås pådåtårah). As a preliminary to the consecration of a king they must be conciliated, and an oblation is offered in the house of each. See for the entire subject Professor Weber's notes on the two stanzas, and his still more elaborate exposition of this interesting theme in his monograph, Über die Königsweihe, p. 19 ff.; cf. also Zimmer, Altindisches Leben, p. 252 ; Ludwig, Der Rigveda, III, 246, 249, 251.
7 a. Weber in the note on this passage, and Über die Königsweihe, p. 22 ff., presents serious evidence in favour of reading yé-rågano (árågano) for yé rágáno, 'they who make kings, though themselves not kings :' see Sat. Br. III, 4, 1, 7. 8; XIII, 2, 4, 18. Certainly this suits the character of the sûtá and grâmani better than the title rágå. Nevertheless minor potentates, influential in the choice of a greater king, may be alluded to here; cf. the expressions
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rágå várunah and várunaih in III, 4, 5. 6, and our note to the passage. Weber himself has not embalmed his suggestion in the translation, 'die kön' ge königsmacher auch.'
III, 6. COMMENTARY TO PAGE 91. The asvattha-tree (ficus religiosa) is a strong tree of hard wood whose branches grow into other trees, resulting in their destruction! On the other hand the union of the two trees is regarded as sexual (VI, 11), and emblematic of strength. In this hymn, as well as in the associated prac. tices, the asvattha is employed to destroy enemies. At Kaus. 48, 3-6, the hymn is worked up in the following sorcery-practice (abhikârika): 3. While reciting III, 6 (the performer) ties on as a talisman the substance mentioned in the hymn (i.e. wood from an asvattha-tree which has fastened itself upon a khadira-tree), after an oblation has
been poured upon it, and it has been anointed (with ghee). ... 4. As many enemies (as this practice is aimed at) so many
fetters, anointed with ingida-oil?, besmeared with the dregs (of that same oil ?), (the performer), having recited the hymn over them, (places) along with the threads 3 into a soma-vessel, and digs them into the vital spot* (of the enemies). 5. While reciting st. 8 of this hymn along with IX, 2, 4 (q. v.), he pushes off what is mentioned in the stanza (namely, a boat) by means of a branch (of the asvattha-tree). 6. While reciting st. 7 he causes (the fetters) to float down (the water).' The practices are not quite clear, nor do the commentators seem to understand them at all points. Cf. also Santikalpa 196.
Cf. Kath. S. XIX, 10, esha (sc. asvattho) vai vanaspatînâm sapatnaskhah.
* The oil of ingida takes the place of ghee (âgya) in witchcraft; see the paribhâshâ, Kaus. 47, 3, and cf. 14, 28; 25, 30.
Which threads ? Dârila, sâtrena sambandham kritva. * This presupposes an effigy of the enemy who is thus reached by proxy. Cf. 47, 51.
• Erroneously quoted by Sâyana as Nakshatrakalpa.
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The hymn has been translated by Kuhn, Die Herabkunft des Feuers ', p. 224; Weber, Ind. Stud. XVII, 204 ff.; Grill?, pp. 21, 104 ff.; cf. also Zimmer, Altindisches Leben, pp. 58, 257. The Anukramanî, vânaspatyasvatthadevatyam.
Stanza 1. Both asvattha and khadirá are masculines, i.e. males; hence the virility of the asvattha is, as it were, in the second power. The asvatthá, moreover, is intimately related with the production of fire (cf. Tait. Br. I, 1, 3, 9), being in fact an embodiment of the lightning. Hence its special fitness for aggressively hostile practices; see Weber's note, 1. c.
Stansa 2. b. Sayana reads vaibadha dodhatah without support from the MSS. (Samhità or Padapatha). We have adopted this emendation which is indeed self-evident in the light of st. 7. It is of interest to note that the Pet. Lexs., Weber, and Grill felt constrained to resort to the same remedy. The name 'displacer' for the asvattha becomes clear in the light of the natural history of the tree; see the introduction above, and Lassen, Indische Altertumskunde 1?, 304 ff. Sâyana takes vaibâdha as 'sprung from the vibådha, i e. the khadira,' the latter being so-called because it strikes with its thorns (kantakair bâdhate).
Stansa 3. a. Sâyana with the Paippalada reads nir abhinah (nirbhidya utpannossi); some of Shankar Pandit's MSS. (both Padapatha and Samhita) support this by reading nirábhinno (nih ábhinnah); cf. Påda c.
b. Sâyana, correctly, arnave antarikshe; cf. RV. VIII, 26, 17; TS. IV, 5, 11, 1.
c. Sâyana, the Paippalada, and some of Shankar Pandit's MSS., nir bhinddhi; cf. Pada a.
Stansa 4. a. Sâyana, the Paippalada, and some of Shankar Pandit's MSS., kárati.
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Stanza 7.
The stanza is repeated at IX, 2, 12 with the variant sấyakapranuttânâm for vaibâdhápranuttânâm. The similes in this and the next stanza are put into practice in the rites of the Sûtra; see the introduction above.
III, 7. COMMENTARY TO PAGE 15.
This hymn and the practices connected with it harbour the peculiar conception that the horn and the skin of the antelope have the power to drive out inherited disease. Kaus. 27, 29-31 we have the following performances : 29. 'While reciting AV. III, 7 (the practitioner) fastens (an amulet made from the horn of an antelope upon the patient), gives him (water) to drink, lets him rinse himself (with water), and at the time when the stars fade away (at dawn) he sprinkles him with water which has been warmed by quenching in it the kindled piece of antelope's skin pierced by the peg with which it is fastened (when it is spread out)1. 30. From a heap of undetermined measure he offers as much barley (cf. AV. II, 8, 3) as can be taken up by a single grasp (of the hand). 31. He gives food (to the patient).' The relation of the antelope and the practices to the kshetriyá are extremely obscure. Again as in II, 8 it seems to rest upon a rapprochement with kshetra, 'field,' at least if we trust the vague suggestion of the obscure stanzas, Våg. S. XXIII, 30. 31; Maitr. S. III, 13, 1; Tait. S. VII, 4, 19, 2; cf. also Tait. Br. III, 9, 7, 2; Sat. Br. XIII, 2, 9, 8. Here the antelope is said to eat grain (yád dharinó yávam átti; cf. yava in Kaus. 27, 30). But we are
1 The words 'he sprinkles him, &c.' to the end of the sentence are all of them a paraphrase with the help of the scholiasts of the words sankudhânagvâlena... avasinkati. For sankudhâna, see Kaus. 26, 16, as explained in the introduction to I, 22 (p. 263); for avagvâla, cf. also Kaus. 28, 2, in the introduction to IV, 6 (p. 374), and Kaus. 27, 33; 29, 8; 30, 8; 32, 10.
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attempting to explain obscurum per obscurius. Perhaps the swiftness of the animal (st. 1) symbolises the rapid removal of the disease. The skin of the antelope is used for an amulet at Kaus. 16, 3, the horn at Sat. Br. III, 2, 2, 20; Apast. Sr. X, 9, 17; Santikalpa 17, and 19. We must not forget, of course, that vishana, 'horn,' suggests ví shyati, 'loosen,' and that the entire employment of the horn may therefore be in its capacity as a 'loosener' of disease (cf. the introduction to VI, 44). The hymn puns freely upon these words; cf. sts. I, 2. In general there are many points of contact between Kausika's practices and the stanzas. The first two stanzas occur (with variants) at Åpast. Sr. XIII, 7, 16; the second ib. X, 10, 3. The hymn has been translated by Weber, Ind. Stud. XVII, 208 ff.; Grill", pp. 8, 105 ff. The Anukramani has, saptarkam yakshmanâsanadevatam uta bahudevatyam, anushtubham, bhrigvangirà adyabhis tisribhir harinam astaut, parayà (st. 4) târake, parayå (st. 5)-pah, parabhyâm (sts. 6, 7) yakshmanâsanam.
Stanza 1. 4. At Åpast. Sr. XIII, 7, 16 most MSS. read raghushyato, genitive of the participle raghushyant, but two MSS. report the reading of our text.
0, d. vishanaya vishûknam are in punning alliteration with one another and with vi shyati, 'loosen' (understood; cf. vishane vi shya in st. 2).
Stanza 2. b. For padbhís the Åpast. Sr., ib., reads padbhis; see our Contributions, Second Series, Amer. Journ. Phil. XI, 350 ff. (cf. also Sat. Br. XIII, 2, 7,6), and especially pp. 352–3, where we have endeavoured to prove that the expression with (four) feet' has come to have the general value of quickly, nimbly, briskly.' The fact that human beings have but two feet, the swifter animals four, is of far greater salience to the Hindu mind than to ours; cf. Maitr. S. I, 5, 10 (p. 78, l. 12), Ait. Br. III, 31, 13, and especially Tait. S. V, 4, 12, 1.
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c. Two of Shankar Pandit's MSS. have gulphitám for gushphitám; they are supported by Sayana (gulphitam gulphavad grathitam), and the unanimous reading of the MSS. at Åpast. Sr. X, 10, 3; XIII, 7, 16. Another variant of the word is gushtitam, Sat. Br. III, 2, 2, 20.
Stanza 3. b. The roof with four wings (sides)' alludes vaguely to the antlers of the antelope, compared with the roof upon a house; the exact meaning of paksha, as part of a house, is not clearly defined ; see our notes on AV. IX, 3, 4. 21. Sayana, katushkonam khadir iva. Possibly Grill is right in translating a roof which rests upon four posts ;' he thinks that the four feet of the animal (st. 2) are compared with posts.
Stanga 4. The stanza is closely parallel with II, 8, 1; see the discussion there.
Stansa 5. Parallel passages, at RV. X, 137, 6; AV. VI, 91, 3, mark the stanza as formulaic; its connection with the rest of the stanza is probably purely liturgical. The hymns of the third book are theoretically entitled to six stanzas only (or to six stanzas at least); see AV. XIX, 23, 3, and cf. the literature cited in Amer. Journ. Phil. VII, 470 (bottom).
Stanga 6. a. Weber translates åsutéh, through the act of propagation. This would comport well with hereditary disease, but does not accord with the use of the word and the root à su in general. Sayana, strikriyamanaya asutch, asůyate ásikyate ity asutir dravîbhůtam annam.
b, d. Note the alliteration between vyanasé and nåsayâmi.
Stanza 7. d. I have, very hesitatingly, construed ápa ... ukhatu transitively, in accordance with the usual force of the ex
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pression, and the close parallelism with II, 8, 2 c, d (cf. also VI, 83, 1), where kshetriyám is an accusative dependent upon ápa ... ukhatu. For the subject of the verb cf. sá in st. 1. Perhaps apavasé in Pâdas a, b is also to be taken transitively, when the constellations shine away (as they fade out in the morning the evil powers of night), &c.' Sâyana, as the Pet. Lex. s. v. ápa vas, construes all the derivatives from root vas in this stanza intransitively; cf. our note on II, 8, 2.
III, 9. COMMENTARY TO PAGE 67.
The hymn, one of the most perplexing in the AV., is directed against a variety of bodily disorders, or demoniacal forces, among which víshkandha and kabavá stand out most clearly. For víshkandha see our discussion in the introduction, and in the note on the first stanza of II, 4. The Kausika rubricates the hymn at 43, 1, 2, where Darila describes the performance as a pisåkanâsanam, Kesava (and Sâyana in his introduction) as a vighnasamanam, to wit: 43, 1. While reciting III, 9, an amulet of aralu (calosanthes indica, a tree) is fastened (to the sufferer) by a reddish brown thread (cf. st. 3); he is given a staff to carry (cf. st. 2), and he also carries a weapon? 2. He is fumigated with (the smoke of burning) grain-chaff.'
The hymn has been translated by Weber, Ind. Stud. XVII, 215 ff. The Anukramani designates it as dyåvaprithiviyam uta vaisvadevam.
Stansa 1.
a. The Pet. Lexs. and Weber see in karsápha and visaphá (both &n. dey.) the designations of certain demons or diseases (Weber, 'des Abmagernden, Durchdringenden '). Sayana operates on the same line by means of character. istic etymologies, karsaphasya (karasaphasya) krisasaphasya
1 The commentators prescribe that the staff shall be anointed with the dregs of ghee and then be polished off, as in Kaus. 23, 11. The same treatment is also prescribed for the weapon.
Z 2
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vå svåpadasya vyâghradeh, visaphasya vigatasaphasya spardhamânapurushakalasarpådeh vispashtasaphasya và krůragomahishadeh. But the statement that beneficent heaven and earth are father and mother of demons is startling '; the usual Atharvanic way is to say that heaven and earth are the parents of some curative plant: III, 23, 6; VIII, 7, 2, &c. There is nothing in the way of such an interpretation, and it is to be noted that the amulet of aralu-wood, Kaus. 43, 1 (see above), is not otherwise indicated in the hymn. I do not venture to decide.
Stanza 2.
a. Sayana with some MSS., both Samhitâ and Padapåtha, and the Paippalâda read asleshmanah for asreshmânah. Our translation is purely conjectural. Sayana depends upon the practices of the Satra: 'They (the people) carried the aralu-talisman, the staff, &c., being asleshmanah, i.e. unaffected (aslishtàh) by troubles, &c. ;' or, the gods, being free from phlegmatic diseases (sleshmopalakshitatridoshadushitasarîrarahitân), carried them.' The first of these suggestions, barring the precision of its application, appears to contain something of the truth.
Stansa 3. a. Sayana, quoting in support RV. II, 39, 4, and relying upon Bharatasvâmin's interpretation, renders khrlgalam by tanutrânam, protection of the body,' and Kausika's operations seem to render this quite likely: he prescribes the fastening of an amulet by a reddish-brown thread. But in the RV., khrigalesva visrásah, the word seems to mean crutch, support.
6. Sayana with some MSS., Samhita and Pada, and the Paippalada read sravasyám; kâbavá is explained characteristically as follows: kabuh karburavarnah krûrah prånî, tatsambandhi vighnah kåbavah.
It seems, however, to derive support from RV.I, 191, 6, which Sâyana quotes very aptly.
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d. bandhúrah, apparently plural of bandhúr, is hopelessly obscure ; our translation 'fastenings' is no better than Såyana's asmábhir baddhah, or his alternate bandhurâh asmåbhir dhåryamanah 'manidandådayah. The word ought to be identical with the stems vandhúr, RV. I, 34, 9 (trayo vandhúrah; cf. trivandhura), bandhúra, and vandhúra, 'the seat of a wagon.' The matter is complicated still further by bándhurå with discordant accent in st. 4.
Stanza 4. The basis of this translation is again very unstable owing to the word bándhura which is lexically and grammatically obscure. Såyana presents an entirely different result :
O ye people who desire glory (by conquering the enemy), but go into battle) bewildered as the gods by the wile of the Asuras, may your weapons (bandhura sambaddha dhrità khadgâdirûpå hetih !) destroy the kâbava as the ape the dog!'
Stanza 5. Sâyana upon the basis of many MSS. (both Samhita and Pada på tha) reads bhatsyami (badhnami). Shankar Pandit adopts this reading. In Påda d, Sayana with some MSS. reads karishyatha for sarishyatha ; cf. st. 4.
III, U. COMMENTARY TO PAGE 49.
This hymn, whose first four stanzas are essentially the same as RV. X. 161 = AV. XX, 96, 6-9, must have originally had the general value indicated by our title. But the Satra (Kaus. 27, 32–33) specialises, and directs its employment against grâmya (sc. vyâdhi), 'venereal disease,' (Darila, mithunasamyogat). Kesava prescribes it against children's diseases and venereal diseases (bâlarogagrihîte ka maithunadoshabhaishagyanyukyante ... maithunarågayakshmani bhaishagyam); Sâyana, against diseases of children, or disease contracted from women (balagraharoge nirantarastrîsamgatiganitayakshmani ka). The practices
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are as follows: 27, 32. 'While reciting the hymn the patient is given to eat a porridge containing rotten fish?. 32. He is taken to the forest, and (in the morning), when the constellations begin to fade, he is sprinkled with water which has been warmed by quenching in it burning sesame, hemp, cow-dung, and sacred firewood 8 (all gathered in the
forest).'
The hymn figures in the takmanâsanagana (Ath. Paris. 32, 7), and the dyushyagana (ib. 32, 4) of the Ganamâlâ ; see Kaus. 26, I note; 54, 11 note. See also 58, 11, and Vait. Sa. 38, 1. Stanza 4 is quoted in Ath. Paris. 189, 1. The Anukramanî, aindragnam ayushyam. The hymn has been translated by Weber, Ind. Stud. XVII, 231. There is no basis, as far as can be seen, for his caption, 'Bei schwerer Geburt.
Stanga 1. For the disease agñatayakshmá (cf. AV. VI, 127, 3), and rågayakshmá, see Wise, Hindu System of Medicine, p. 32 1 ff.; Grohmann, Ind. Stud. IX, 400 ; Zimmer, p. 375 ff.
Stanza 2. d. Most of Shankar Pandit's and, apparently, all of Roth and Whitney's MSS. read áspårsam. Sâyana, as the vulgata, áspårsham (prabalam karomi).
Stansa 3.
8. The divine attribute thousand-eyed,' predicated to Indra, Agni, Vishnu, &c. (see Pet. Lex. S. V. sahasråkshá), is here transferred to the powerful oblation. Cf. the note on IV, 20, 4*.
For pæiisapharf, see Kausika, Introduction, p. lii. . In order to wipe away the effects of the dissolute habits of the village (grâmya).
For gvâla, cf. Kaus. 27, 30 in our introduction to III, 7 (also Kaus. 28, 2; 29, 8). For sântâ, see Kaus. 8, 15. 16.
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Stanza 8.
The correlation of the hymn with diseases of children (Kesava and Sâyana) is based upon this stanza. Kausika, however, has other matters in mind.
III, 12.
COMMENTARY TO PAGE 140.
The hymn forms in the ritual a part of a gana or series entitled vâstoshpatîyâni (sc. sûktâni), 'hymns pertaining to Vâstoshpati, the lord of the homestead,' Kaus. 8, 23 ff. (see index B, p. 384, of the edition). More specifically it is employed in Kaus. 43, 8-11 as part of an extensive ceremony at the erection of a house entitled by the AtharvaPaddhati (see p. 118, note 11) as brihakkhâlâkarma, 'the great ceremony of house-building,' in distinction from a less elaborate ceremony at Kaus. 23, 1 ff., entitled laghusâlâkarma (see p. 61, note 12).
The performances at Kaus. 43, 3 ff. begin with an introductory rite in connection with AV. VII, 41, designed to remove obstacles in the way of the builder; apparently this is known by the special name of syenayâga, or syenegyâ. See the discussion of this somewhat obscure point in the fifth series of our Contributions, Journ. Amer. Or. Soc. XVI, p. 12. Then the materials for building are brought on, and the excavation for the house is made, and next the actual work of erection is accompanied by the recitation of the stanzas of our hymn, to wit: 43, 8. The hymn AV. III, 12 is recited while the (central post1) is being fixed and erected. 9. Having anointed it, the sixth stanza of the hymn is recited while the act stated in it is being performed (i. e. while the crossbeam is being placed upon the post). 10. Having taken a pitcher of water, and the fire, they enter the house while reciting the eighth stanza. 11. (The house) is rendered
So according to Dârila, madhyamasthûnâm; Kesava and Ath. Paddl., more generally, sâlâm. Cf. Hir. Grih. I, 27, 2, dvârasthûnâm ukkhrayati; also Âpast. Grih. VII, 17, 3.
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firm by reciting the two firm' stanzas (dhruvabhyâm, sts. 1 and 2). The ceremonies are concluded in Kaus. 43, 12-15 with sprinkling the house, the recitation of more mantras, an especial oblation to Vastoshpati, feeding the Brahmans, and final blessings.
The hymn has been treated by Ludwig, Der Rigveda, III, 463; Zimmer, p. 150 ff.; Weber, Ind. Stud. XVII, 234 ff.; Grill", pp. 59, 108 ff.; cf. also Hillebrandt, Vedachrestomathie, p. 45. The Anukramanî designates the hymn as sålåsaktam, and vâstoshpatisålådaivatam. Similar themes are treated in Åsv. Grih. II, 8; Pår. Grih. III, 4; Sankh. Grih. III, 2, 3; Hir. Grih. I, 27; Åpast. Grih. VII, 17; Åpast. Mantrabr. II, 15; Bharadvåga's Grih. II, 3; cf. Oldenberg, Sacred Books of the East, vol. xxix, pp. 92, 212, 345 ff.
Stansa 1. a, b. The words dhruvám and kshéme convey each the idea of good settlement, and sound foundation; cf. Våg. S. XVIII, 7; Tait. S. IV, 7, 3, 1, ksémas ka dhritis ka, and RV. I, 73, 4; VII, 88, 7, dhruvasu kshitishu. Hence the renderings of Ludwig, Weber, and Hillebrandt'im glücke, in frieden,' &c., do not quite catch the point. Cf. also AV. IV, 1, 4.
d. úpa sám karema seems to convey the idea of close union. In the only other passage quoted by the Pet. Lex. it refers to sexual intercourse, bhartaram upasamkaret (Brihat-Samhita 77, 26). Sâyana, vyavaharema.
Stanza 2. The wording of the stanza is formulaic. In Pår. Grih. II, 17, 9 Påda b is applied to the furrow of the field; see also the other Grihya-texts, cited in the introduction.
For sanrltavatî, 'full of abundance,' see Oertel in the Proceedings of the Amer. Or. Soc., May, 1891 (Journ., vol. XV, pp. xcv ff.), and our Contributions, Fifth Series, ib. XVI, p. 19. Ludwig, 'reich an trefflichkeit ;' Zimmer, 'reich an wonne;' Weber, 'reich an frohen liedern;' Hillebrandt, ' reich an lieblicher rede;' Grill, . reich an herrlichkeiten.'
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Stanza 3. Hillebrandt and Grill regard the first two Pädas as defective, but they are anushtubh, no poorer than many others in the AV. The Anukr., brihati.
. dharuni is in intentional relation with dhruva, hence 'a supporter ; ' cf. Tait. S. IV, 3, 7, 2. Grill, vielfassend, vielbergend;' Zimmer and Hillebrandt, geräumig.' The Pada is catalectic. . b. brihákkhandah, with broad roof. The translation is problematic, the word being &. dey. khándas does not by itself ever occur in the meaning 'roof' (khadis, khadman). Some support may be derived from st. 5 C, trinam váså nå, since in Hir. Grih. the roof is smoothed with a stanza containing the same Pàda. The words there used are khannam (sc. sålàm) abhimrisati. Sayana, prabhůtakhadana, mahadbhis khandobhir devair upetå vå. For påtidhânya ? of the text of the Saunakîya-sâkhå, the Paippalada reads patadhânyå; this underlies our translation. Cf. pariputeshu dhânyeshu, Manu VIII, 331, and perhaps also the expression krită dhânáh, RV. III, 35, 7.
d. Cf. Sankh. Grih. III, 3, 9, å syandantâm dhenavo nityavatsah. The majority of Shankar Pandit's MSS. (both Padapatha and Samhita) read aspandamanah.
Stansa 4. 0. Most MSS., and the editio princeps, read ukkhántu; Såyana, Shankar Pandit, with some MSS., and the Paippalåda, ukshántu, the basis of our translation. Again, our translation presupposes the reading udná for unna of the edition: the MSS. read utná (cf. VII, 45, 2 ; VII, 18, 1, and the Index Verborum, p. 67). The Paippalada, Shankar Pandit with some of his MSS., and Sayana have udná; cf. RV. I, 85, 5, (marútah) udábhir vy undanti bhúma.
· Sâyana, with desperate literalness, pūligandhopetagîrnadhânyayukta, endowed with evil smelling, old, grain l' Ludwig suggests pratidhânya or prâtidhânya, 'gut zu verschliessen.'
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d. For ni tanotu, cf. AV. VII, 90, 3 ; VII, 31, 3, and the plant nitatní, used to prevent the falling out of hair at AV. VI, 136, 1. Sayana, nitaram karotu.
Stansa 5.
8. The words mânasya patni are addressed directly to the house (sala), as may be gathered from IX, 3, 21; the house, after it is erected, is deified, since the weal or woe of its inhabitants are now dependent upon its behaviour. Sayana, mânanîyasya vâstupateh patni, 'O wife of Vástupati who is to be honoured ?!' Grill's etymological combinations are superfluous; his comparison of Zend nmâno-pathni and nmânô-paiti (Gâthic, demâna) contrary to phonetic law. Ludwig and Weber, "herrin des maasses; 'Ludwig at IX, 3,5 ff. (Der Rigveda, III, pp. 464-5), herrin des verweilens;' Zimmer and Hillebrandt,'genie des baues;' Grill,'hort der rast.'
b. Sayana reads nirmità for nimitâ.
Stanza 6. a, b. The expression a roha,'ascend,'harbours two double ententes, borrowed from other well-known events in life. First, sexual connection, in a manner similar to the union of the two sticks with which fire is churned (see e.g. VI, 11, 1, and cf. III, 6, 1); secondly, the various acts of ascending which form parts of the consecration of a king, the rågasuya (cf. Kaus. 17, 3. 9; AV. IV, 8). The rule of the king is indicated clearly in the next Pada (cf. AV. I, 10, 1), and in the anointing of the post, prescribed at Kaus. 43, 10. The word virágan in Pâda b, which we have rendered ruling,' again suggests the alternate meaning, shining;' cf. 'the shining roof' in AV. III, 7, 3. The vamsa is a very important part of the house ; sometimes it splits, and elaborate performances are prescribed in Kaus. 135 to meet that misfortune.
Still worse is the alternate interpretation, mîyamânam dhânyâdikam mânam tasya patni pålayitri.
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0, d. Both Pådas are hypermetric; the first may be mended by excluding grihấnam (so in our version), which seems to have crept in from st. 9c; the second by changing sárvavirah to súvirâh or sávîrah. The translators render upasattaro, erroneously, by 'inmates;' this is certainly incorrect, as may be gathered from Våg. S. XXVII, 2. 4, má ka rishad upasattá te agne; AV. II, 6, 2, má te rishann upasattaro agne. Såyana, upavadanakartarak, Ludwig, fancifully, nicht sollen dich verletzen die belagerer der häuser l'
Stanga 7. Occurs with many variants in the Grihya-sútras of Åsv., Pår., Sânkh., Hir., Åpast., Bharadvága, Mänava ; see the introduction, and Professor Kirste's edition of the Hiranyakesin, p. 54, notes.
b. The reading gágatà sahá, also in Hir. and Bhår. ; Man. has gagada saha ; Pår. gagadaih saha; the other texts show still greater differences. For gagat, see Zimmer, P. 150, and AV. IX, 3, 17. Oldenberg in the Sacred Books, vol. xxix, pp. 345, 395, and xxx, p. 205, renders both gagat and gagada by companion;' Ludwig, ‘mit dem lebenden ;' Weber, 'nebst allem was sich rührt.' The others, as above. Såyana, gamanasilena gavadinå saha.
0, d. Såyana has kumbhah which approaches the reading of Sankh., kumbhyah; and kalasîr, like Apast. and Bhår. The last seems preferable to kalásair of our texts; cf. the note on VI, 59, 2 b.
Stanza 8. In the Paippalåda this stanza is wanting here, appearing (with variants) in another hymn; Grill in his translation places it before stanza 7, without a statement of his motive. Cf. Kaus. 43, 10; Vait. SQ. 16, 1 (with the vikara, adhvaryo for nåri), and in general AV. IX, 3, 22, and Kaus. 66, 25.
0. Sayana reads patrîm and samindhi (samdiptân kuru). Shankar Pandit, with most of his MSS., reads imấm påtrin, referring imấm to the house.
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d. Weber emends, abhí ksharâty enân, but neither change is necessary. See II, 12, 4, ishtâpûrtám avatu nah.
HYMNS OF THE ATHARVA-VEDA.
Stanza 9.
Identical with AV. IX, 3, 23, and quoted frequently in the Atharva-Parisishtas (16; 19%, 3, &c.).
III, 13.
COMMENTARY TO PAGE 146.
The first six stanzas of this hymn recur in Tait. S. V, 6, 1, 2-4; Maitr. S. II, 13, 1, in connection with certain oblations of water (kumbheshtakâh, or apâm grahâh), and they are evidently originally at home in the Yagus-ritual. The etymological puns, heaped up in the first four stanzas, explain the various names of water quite in Nirukta and Brahmana-style. The seventh stanza does not occur in the Yagus-samhitâs; it is the one that is characteristically Atharvanic: it narrows down the general subject of the praise of the waters to the special subject in hand, the deflection of a river from its course 1. The Kausika, 40, 1-6, supplies the very interesting practices engaged in for the same purpose, to wit: 'I. He who desires that a river shall go a certain way, walks along that way, pouring out water, while reciting the present hymn. 2. He sticks up the (kinds of grass or reeds called) kâsa, dividhuvaka, and vetasa?. 3. While reciting st. 7 a, he places gold upon the mouth of the river (that is, the point from which the river shall branch into the desired channel). 4. With st. 7 b he ties a frog, striped like the reed-plant ishîkâ, through the arm-pits (pits of the forefeet) with two threads, one red and the other blue3 (and places him into the outlet). 5. With st. 7 c he envelopes
1 For its employment in the Vaitâna-sûtra, see the note on the
stanza.
For the explanation of these varieties of water-plants, see Dârila and Kesava. Sâyana, kâsasaivâlapa/erakavetasasâkhâk.
Cf. the introduction to VII, 116, and the notes on IV, 17, 4; VIII, 8, 24.
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the frog in an avaka-plant (blyxa octandra)? 6. With st. 7 d he pours water (over the frog)??
The symbolism of these performances is unmistakable: they anticipate the presence of the water with all its life. The gold (40, 3) reflects the golden-coloured, clear, pure waters '(AV. I, 33, 1: see also st. 6 of our hymn); the river grasses and reeds symbolise the river-vegetation. Above all the frog, securely tied so that he cannot leap away, and the water-bringing avakâ affiliate this practice with one of the most interesting practices of Vedic common life; see our article, On a Vedic group of charms for extinguishing fire by means of water-plants and a frog,' in the second series of Contributions, Amer. Journ. Phil. XI, 342 ff.
The hymn has been translated by Weber, Indische Studien, XVII, 240 ff.; cf. also Bergaigne et Henry, Manuel Védique, p. 143. The Anukramanî, vârunam (cf. Kaus. 40, 7), uta sindhvabdaivatam.
Stansa 1. The etymologies in this and the next three stanzas are dominated by that punning spirit which has made etymology by far the feeblest product of the linguistic endeavours of the Hindus. In the present instance, however, the derivation of nadî, 'river,' from nad, roar,' is likely enough. The mythological event alluded to is the well-known rush of the waters over the dead body of the (cloud-) dragon Vritra, slain by Indra; cf. e.g. RV. I, 32.
Stanga 2. Varuna (and Mitra) are also instrumental in procuring water, but it is rather the quiet streaming down of refresh
* Cf. Amer. Journ. Phil. XI, p. 349, and add Sat. Br. XIII, 8, 3, 13; Láty. Sr. III, 5, 13 ff.
3 Kaus. 40, 7-10 continues with an expiatory performance, consisting chiefly of oblations to Varuna, the god of the waters, in case this new watercourse should threaten the surrounding country with an inundation. The hymn is employed further with many others at Kaus. 41, 12 for sprinkling certain oblations, offered by one about to start upon a business tour. Cf. also Ath. Paris. 10.
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HYMNS OF THE ATHARVA-VEDA.
ing rain, than the storm-flood at the time of the monsoon. The notion of conquest by thunderbolts, as weapons used against demon serpents, is not present. See Bergaigne, La Religion Védique, III, 122 ff. (especially pp. 125-6). The root valg, which here represents the motion of the waters, seems to contain an almost playful touch: it is used of the gamboling of animals. The allusion to Indra's 'meeting of the waters as they went' is obscure. The Maitr. S. reads samprakyutå for yát préshita.
Stanza 3. b. The lexicons and the translators derive ávivarata from var, enclose.' Sayana, correctly, it seems to us, from var,
choose,' avivarata vritavân yushmân svåtmasåt kartum aikkhat. What sense is there in saying of Indra that he hindered the waters, and when did the waters flow against his will contre le gré d'Indra,' Bergaigne)? An obvious paradox. Soma is said, RV. IX, 94, 1, to purify himself by acting wisely in choosing the waters : apó vrinânáh pavate kaviyán; cf. also V, 48, 1. Indra here is said to appropriate the waters for his purpose, the benefaction of men.
Stanza 4. The exact mythic attitude of this stanza is not clear. Is Indra the subject of ápy atishthat or some god hindering, or trying to hinder ? Cf. RV. VIII, 6, 16: 'He, O Indra, who lay confining thy great waters, him didst thou smite.' Cf. also RV. I, 32, 12, where one god, or a certain god (devá ékah), resists Indra. The verb ápy atishthat means either to stand upon (so Sâyana, adhyatishthat), or stand in the way' (Pet. Lex.). We incline to the former view. The way in which the word mahîr in Pâda c is utilised is somewhat obscure: it seems to be brought in partly for the sake of furnishing an etymological basis (sit venia verbo) for the m of udakám, and partly (note the iti), to infuse a dash of archaism into the reminiscence.
Stanza 7. This seems to be distinctly ritualistic (sautra) in character. The calf may be the frog of the Sūtra above. Cf.
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also its use in Vait. Sû. 29, 13, for which see the introduction to VI, 106. The waters are cows, because the frog, the water-animal, is their child. Or the new river-bed may be the calf; cf. RV. III, 33, I.
III, 14.
COMMENTARY TO PAGE 143.
For the employment of the hymn in the ritual, see our introduction to II, 26. Cf. also Ath. Paris. 16. The Anukramanî, nânâdevatyam uta goshthadevatâkam. Previous translations: Ludwig, Der Rigveda, III, 469; Weber, Ind. Stud. XVII, 244 ff.; Grill2, pp. 64, 112 ff.
Stanza 1.
c, d. Sâyana defines ahargâtá by ahany-ahani gâyate. The expression occurs once more, V, 28, 12, and 'auspicious' comes very near to its sense. Its opposite is anahargâta, Sânkh. Sr. XIV, 51, 2-5, 'born on an unlucky day'= pâpanakshatre gâtah, Kaus. 46, 25, and elsewhere. Cf. Weber, Nakshatra, II, 314-15 note. Either it is, 'born on a good (punya) day,' or 'born by day in distinction from night' (cf. naktamgâtá, I, 23, 1). The word adrishta, II, 31, 2; RV. I, 191, 1 ff., &c., would then approach the opposite meaning. Cf. aharbhag and ahardrís. 'With the name' may mean 'with the kind, or species;' cf. V, 4, 8.
Stanza 3.
Both milk and honey are frequently added to the Soma. Hence the milk is here spoken of as honey, Soma being the middle term as it were. Cf. Hillebrandt, Soma und verwandte Götter, pp. 219, 238 ff.
Stanza 4.
b. sáke-va (Padap. sákâ iva) has occasioned unnecessary discussion. The word is not treated at all independently in the lexicons. The Western authorities generally regard it as acc. plur. neut. of sákrit, saknás, &c. Sâyana's sakâ
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makshikâ has good support in the literature. At Tait. S. V, 5, 12, 1; Maitr. S. III, 14, 13; Våg. S. XXIV, 32 the word occurs in connection with other animals (Mahîdhara, sakunti; Madhava, sakâ makshike ty eke, dirgha-karno mrigavisesha ity apare), and as the word is preceded or followed there by suka, 'parrot,' and sâri (see the note on st. 5), there is no doubt but what Sâyana has hit the point. I should not be surprised to find the sakâ identical with the krisa, mentioned at Kaus. 10, 2, along with suka and sârikâ. Cf. also Tait. S. V, 5, 18, 1, and commentary. Grill suggests an improbable remedy, sâkeva=sâka(m) iva or sâkâ iva, 'like vegetables' (cf. German, 'wie 's unkraut').
HYMNS OF THE ATHARVA-VEDA.
Stanza 5.
b. sârisakeva (Padap. sârisakâ iva) is doubtful. Sâyana, helplessly, kshanena sahasraso bhivardhamânâh prâziviseshâh; the suggestion seems incredible even from Sâyana. sâri (= sâri, sârikâ, and sârikâ) is a certain bird which, like the parrot (suka), imitates the human voice; see Tait. S. V, 5, 12, 1; Maitr. S. III, 14, 14; Vag. S. XXIV, 33. It appears there in connection with suka, 'parrot,' and sakâ (cf. st. 4). It seems hardly possible that our passage does not harbour these very two words, and accordingly I have emended to sârisukeva (= sârisukâh iva, with double sandhi). Cf. also Kaus. 10, 2. The translators have again endeavoured to find sákrit, saknás in the second part of the word. For further suggestions, all of which seem to me to be silenced by the considerations advanced in this and the preceding notes, see Grill, 1. c.
III, 15. COMMENTARY TO PAGE 148.
The Sûtra rubricates the hymn in various non-significant practices. At Kaus. 50, 12 the merchant, while reciting the hymn, sets up (or, loads up) his ware (or, his shop), after it has been anointed with the dregs of ghee. At 59, 6 the person who desires merchandise recites the hymn. Cf. Gobh. IV, 8, 19 ff.; Khâd. IV, 3, 7. The hymnn is also
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worked up in the comparatively late indramaha or indramahotsava festival, Kaus. 140, 16; Ath. Paris. 191; and sts. 7, 8, which are scarcely connected with the body of the hymn, are rubricated in Kaus. 70, 13. 14. The Anukramani, vaisvadevam utais ndrågnam; the author is panyakamo stharva.
Previous translations: Ludwig, Der Rigveda, III, 215; Zimmer, p. 258 ; Weber, Ind. Stud. XVII, 247 ff.; Grilla, pp. 69, 113 ff. Cf. also Hillebrandt's Vedachrestomathie, p. 38.
Stansa 1 Indra who gathers in the stakes at all contests (dhanagit, dhanamgaya) is their possessor (i såna), and hence in the position to bestow wealth (dhanada). The same attributes are given to Agni in various passages of the RV., justifying the appeal to him in the sequel (st. 3 ff.).
Stansa 2. The first two Pâdas are repeated in a different connection at VI, 55, 1; cf. Tait. S. V, 7, 2, 3.
Stansa 3. Cf. RV. III, 18, 3, where the stanza occurs in its proper connection. The word ikhámano doubtless suggested its adaptability for the present mixtum compositum.
Stanse 4.
The brackets about the two first Pâdas are designed to show the looseness of the connection with the rest; but there is no reason for doubting that they were put here by the Atharvan poet. They were put here because they speak of the 'far road which we have travelled. Såyana treats them as an independent (fourth) stanza, and then continues with the following divisions, thoroughly subversive of good sense: our 4 b-f and 5 a, b (six Pâdas)=5; our 5 c, d and 6 a, b=6; our 6 c, d=7; our 7=8; our 8=9.
8. Weber emends saránim to saránim, translating, 'Diesen Weg du glättestest uns, o Agni!'
Аа
[42]
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HYMNS OF THE ATHARVA-VEDA.
0. The Paippalâda reads, samrarânå havir idam gushantâm. But the plural is vague.
f. karitám and útthitam are rendered in accordance with Grill and Sayana, karitam akaritam vikrayâdikam utthitam tasmad vyavahärad utpannam labhayuktam dhanam. The other translators, flatly,'our going and our departure.'
Stanza 5.
d. deván is metrically superfluous: the sense, too, 'devas who shut off gain,' has an Avestan rather than a Vedic ring. The word is a gloss, suggested by devâh in Pada b.
Stangas 7, 8. The two stanzas seem to have no connection with the rest of the hymn. They are Yagus-formulas (st. 8, with variants in Tait. S. IV, 1, 10, 1; Maitr. S. II, 7, 7; Kath. S. XVI, 7; Våg. S. XI, 75), and are employed fittingly as puronuvâkyâ and yágyå in connection with a půrnâhuti at Kaus. 70, 13. 14, on the occasion of the ceremony of building the householder's fire (agnyâdhânam). The Atharvan tradition regards six stanzas as the normal number for the hymns of the third book (see AV. XIX, 22 and 23, and Ath. Paris. 46, 9. 10).
III, 18. COMMENTARY TO PAGE 107.
This hymn is a repetition with variants of RV. X, 145. The Anukramani there gives it the name indråny-upanishad (Shadgurusishya, indrânyrishikâ ; Sâyana, indrånyà arsham)". It constitutes also a part of the Apast. Mantrabrahmana I, 15, 1-6, and the stanzas are employed at A past. Grih. III, 9, 5. 6 (cf. Kaus. 33, 7; Gobh. Grih. II, 6,6 ff.) in a charm practised with the pâtà-plant (clypea
* Cf. for the relation of Indrânî to marital life, our Contributions, Sixth Series, Zeitschr. d. Deutsch. Morg. Gesellsch. XLVIII, 551 ff.; 579.
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hernandifolia ; cf. our introduction to II, 27). The practices of Kausika (36, 19-21) differ entirely from those of À pastamba. The plant which is used there is the bånaparni (so also Kaus. 36, 38). Darila glosses, sarapunkhâ ; Kesava, mâsikå (cf. Kausika, Introduction, p. liii)? It seems to have been suggested to the ritualist by the epithet uttâna parna in stanza 2, but Sâyana there has in mind again the på tå, since he quotes AV. II, 27, 4, and in his comment on st. 1 says outright, pâthakhyam oshadhim. Kausika's performance is as follows: 36, 19. While reciting III, 18, a bânåparnî-plant is mashed, mixed with a spray (of milk) from a red she-goat, and scattered round about the bed (of the rival woman). 20. While reciting stanza 6 a, a leaf (of the plant) is fastened beneath the bed. 21. While reciting stanza 6 b (a leaf) is thrown upon the (bed).' We would draw especial attention to the totally different employment of the stanzas in Åpast. Grih. III, 9, 5. 6, in illustration of the loose, subjective symbolism which governs their manipulation. The general purpose of the practice is, however, there the same as with Kausika.
The hymn has been translated by Weber, Ind. Stud. V, 222 ; XVII, 264 ff.; Zimmer, Altindisches Leben, p. 307. The Rigveda version by Ludwig (932) and Grassmann in their well-known works?; the version of the Åpast. Mantrabr. by Winternitz, Das altindische Hochzeitsrituell, p. 98. The Ath. Anukramanî, atharva - nena sûktena sapatnîpranuttyai vânâparnám oshadhim astaut.
Stanga 8.
8. Sayana here and at RV., uttânaparne uttânâni ardhvamukhâni parnäni patrâni yasyâh.
1 According to the Pet. Lex. the common name for this plant is umhâlî, similar to the indigo-plant; it is also known as sûryavamsî. Both bånâparnî and sarapunkhâ seem to mean 'having arrow-form leaves.'
3 The RV. version seems on the whole secondary to that of the AV.: dhama for nuda in st. 2 c; kuru for kridhi in 2 d.
Аа 2
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Stanza 4. c. I read ádha, 'now,' upon the basis of adhá in some MSS., Sâyana's adha, and with reference to átha in the RV. Most MSS. read adháh ('low shall be my rival,' &c.); this is the text adopted by the vulgata, and Shankar Pandit.
Stansa 5. A very similar stanza occurs XII, 1, 54; Sâyana is seduced by its pratika, ahám asmi sáhamâna(h), to confuse it with the present, and to suppose that Kaus. 38, 30 quotes it, instead of XII, 1, 54.
Stanza 6. The Sûtra does not place the plant about and upon the husband, but about and upon the rival. Sâyana follows through thick and thin. Åpast. Grih. III, 9, 6 correlates the stanza with the husband she embraces the husband with her arms,' with the stanza alluding to the word upadhâna (Mantrabr. I, 15, 6).
III, 23. COMMENTARY TO PAGE 97. This hymn furnishes the mantras for the well-known house-practice, called pumsavanam in the Grihya-sútras ? The Atharvanic form of it is described in Kaus. 35, 1-4, as follows: 1. Now the rites for producing a son. 2. (They are made) in behalf of the woman after she has laid aside the linen soiled by her menses, under a male constellation. 3. While reciting III, 23 an arrow is broken to pieces over her head, and (a piece of the arrow) is fastened (upon her as an amulet). 4. Into a cup made from a plough (the practitioner) puts milk of a cow which has a calf of a colour identical with her own, and rice and barley, mashes it up, adds to the mixture two adhyandà plants, or leaves from a great palåsa (butea frondosa) and a vidari (batatas pani
1 Cf. Sankh. I, 19. 20; Âsv. I, 13; Pâr. I, 14; Gobh. II, 6; Khâd. II, 2, 17 ff.; Hir. II, 2; Apast. VI, 14, 9.
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culata), and does with the mixture as in the case of the paidva-ceremony (i.e. he puts it up the right nostril of the woman with his right thumb; cf. Kaus. 32, 21, in the introduction to X, 4)'.
Stanzas 2-4 are repeated with variants in Sankh. Grih. I, 19, 6; stanzas 2, 4, 5 (entire or in part) in Hir. Grih. I, 25, 1. The hymn has been translated by Weber, Ind. Stud. V, 223; XVII, 285 ff.; Ludwig, Der Rigveda, III, 477 ff.; Zimmer, Altindisches Leben, p. 319. The Anukramanî, kândramasam uta yonidevatyam, brahma- nena putram prarthayad yonim abhishtùya pragåyå iti.
Stanza 2. d. Ten lunar months reconcile this statement with the biological facts; see Weber, Nakshatra, II, 313; Zimmer, 366.
Stanze 4. Hir. Grih. I, 25, 1, yâni prabhuni vîryany rishabhå ganayantu nah, tais tvam garbhini bhava ... prasûr dhenugå bhava. Särkh. Grih. I, 19, 6, purushah for rishabhah.
Stan za 5. 2. Ludwig, 'das praga patyam vollziehe ich dir ;' Zimmer, 'ich verschaffe dir Zeugungsfähigkeit;' Weber, 'ich thu dir an das Zeugungswerk' (Ind. Stud. XVII, 286); 'ich schaff dir Zeugungsfähigkeit' (ib. V, 224); Sâyana, pragàpatina ... nirmitam pragotpattikarain karma.
Stansa 6. Cf. VIII, 7, 2, and perhaps III, 9, 1. The plants are undefined ; see the Satra, and Sårkh. Grih. I, 19, 1; 20, 3. 4.
The complicated practice is not clear in every detail. For phâlakamasa and adhyande, see Kausika, Introduction, pp. lii and xlv, and Sänkh. Grih. I, 19, 1 ff. The Grihya-texts, cited in the preceding note, contain quite a number of parallels. There seems to be a cheap symbolism in the choice of the names of the two plants, adhyandâ : anda, “egg,' and vidarî : vi dar, 'burst, cleave.'
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III, 25. COMMENTARY TO PAGE 102. The practices of the Satra, Kaus. 35, 22–28, embody symbolically a large portion of the statements and similes of the hymn, to wit: 22. 'While reciting the hymn he (who wishes to subject a woman) pushes her with his thumb (cf. st. 1). 23. He puts on (the fire) twenty-one (pieces of kadi-wood)', with their thorns to the east (or forward; cf. st. 3), adorned (i.e. anointed with ghee), over which the hymn has been pronounced. 24. (Then he puts on the fire) the twenty-one tips of the kûdi, together with threads (which have been wound about them). 25. For a period of three days (literally, nights) he burns thrice each day kushtha (costus speciosus) dipped in butter. 26. Having put the mattress (?) of his couch face downward he sleeps upon it (three nights) 2. 27. He places warm water into a tripod, fastens 3 it to the foot (of his bed), and lies agitating it with his great toes. 28. By means of a bow which is dårbhyûsha (? cf. Kaus. 32, 8, in the introduction to VII, 74, and Kausika, Introduction, p. li), and has a bowstring of hemp, with an arrow whose barb is a thorn, whose plume is derived from an owl, whose shaft is made of black âla-wood (see Kausika, Introduction, p. xlvi), he
The word kûdî is to be supplied from the next Sætra. For kûdî=badarí, Christ's thorn,' see Kausika, Introduction, p. xliv. Dârila observantly sees in this practice the symbolic realisation of st. 3, ya plihanam iti lingât.
? This translation of the Sätra is a doubtful paraphrase of Kesava's and Sảyana's statements. The Sätra is: dîrghotpale svagrihya samvisati. Darila, mamkakese (!? mañkakam) adhah kritâ (? krilvâ) tatra samvisati; Kesava, khatvam adhomukhapalrikâm grihîtva ... svapiti ; Sâyana, kha/vâyâ adhomukhapattikam grihît vâ trirâtram svapiti. The practice refers symbolically to st. I b, do not hold out upon thy bed.' All this does not explain dîrghotpale; cf. the equally difficult utpale, Kaus. 36, 7 (see the introduction to IV, 5).
Read, apparently, with Sâyana and one MS. prabadhya- for prabaddha-.
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pierces the heart of an effigy' made of potter's clay' (ibid. p. xlvii). The last Sútra embodies st. 2.
For Kama in general as a cosmic force, see the introduction to IX, 2. For Káma as the god of love, Weber, Ind. Stud. V, 225; Muir, Original Sanskrit Texts, V, 407 ; Zimmer, p. 300. In both forms he is brought into close relation with Agni (fire); cf. Hir. Grih. I, 3, 7.
The hymn has been translated by Weber, Ind. Stud. V, 224; XVII, 290 ff. ; Muir, 1. c., p. 407; Ludwig, Der Rigveda, III, 516 ; Zimmer, p. 307; Grill?, pp. 53, 115 ff.; cf. also Bergaigne et Henry, Manuel Védique, p. 144. The Anukrainani, maitråvarunam kâmeshudevatåkam ka.
Stanza 1. b. Såyana reads drithåh, glossing, sayanavishayam adaram må kärshih, ‘have no regard for matters connected with the bed (sleep).'
Stansa 2. b. samkalpa, literally determination. Såyana, with naive picturesqueness, idam me syâd idam me syâd iti bhogavishayasamkalpanam. Cf. Tait. S. III, 4, 7, 3.
Stanza 4. c. Grill regards almanyuh as the equivalent of nirmanyuh, 'versöhnt.' The word seems, however, to have a slightly different meaning, lit. 'having laid down your pride or anger.' Sayana, nyakkritapranayakalahå.
Stanga 5.
0, d. The passage is formulary, being repeated at I, 34, 2 ; VI, 9, 2; Pada d is repeated at VI, 42, 3; 43, 3.
III, 28. COMMENTARY TO PAGE 145.
Contrary to modern superstitions which regard the birth of twins as auspicious, and prize animals born in pairs, the prevailing Hindu view is that the birth of twins is an
Cf. Kaus. 36, 14 in the introduction to VI, 130.
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ominous occurrence to be expiated by diverse performances, and that the cattle itself is, as a rule, to be given to the Brahmans. But there are not wanting indications that a favourable view of such events also existed, and one may suspect shrewdly that the thrifty Brahmans, who stood ever ready to gather in all sorts of odds and ends (cf. the elaborate oratio pro domo, XII, 4, in connection with the vaså), gave vigorous support to any tendency towards superstitious fear which might show its head in connection with such occurrences. Weber, Indische Studien, XVII, 298 ff., has assembled quite a number of passages which represent the Hindu attitude towards twins. Cf. also Tait. S. II, 1, 8, 4.
HYMNS OF THE ATHARVA-VEDA.
The hymn is rubricated thrice in the Kausika, in the thirteenth book, which is devoted to expiatory performances (prâyaskitti), in connection with all sorts of omens and portents. It is employed in chapters 109, 5; 110, 4; 111, 5, on the occasion of the birth of twins from cows, mares, asses, and women. The practices consist in cooking a porridge in the milk of the mother, offering ghee, pouring the dregs of the ghee into a water-vessel and upon the porridge. Then the animal and its young are made to eat of the porridge, to drink of the water, and they are also sprinkled with the same water. The mother is then given to the Brahmans, and in the case of the human mother a ransom 'according to her value, or, in accordance with the wealth (of the father),' is paid. Cf. Weber, Omina und Portenta, p. 377 ff.
The hymn has been translated by Weber, Indische Studien, XVII, 297 ff. The Anukramanî, yâminyam . . . brahmâ nena yaminîm astaut pasuposhanâya.
Stanza 1.
Since the mother of the twins was born under an arrangement which made a separate act of creation necessary for each individual, the birth of two at a time is apartú, 'unseasonable, portentous.' Pâda b is hypermetric and may be relieved in a measure by throwing out bhûtakrito, but
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even this does not yield good metre. In Pada d, riphati,
growling,' is not altogether certain. Sayana, upon the basis of the Dhâtupâtha (riph rinph, himsâyâm), renders it by bhakshayantî, eating. In Åpast. Sr. XII, 22, 7 the root occurs in the sense of rikh, likh, 'scratch,' which suits the context quite as well. For the interchange of gutturals and labials, see Contributions, Sixth Series, Zeitschr. d. Deutsch. Morgenl. Gesellsch. XLVIII, 557 note, and the note on XI, 2, 25.
Stanse 2. Cf. XII, 4, 5. 10–12. In Pada b, vyádvarî, 'devouring,' looks very well by the side of kravyád, 'flesh-eating. In the form vyadvará the word occurs also at Sat. Br. VII, 4, 1, 27, and the scholiast derives it from ad, 'eat. But at II, 31, 4; VI, 50, 3 (twice) we have vyadhvará!, and Sayana reads vyadhvarî in our stanza (causing misfortune, afflicted with an evil way'), duhkhahetur dushtamârgah tadvati. The two words are blended and diversified by popular etymology, and it may be that one of them only is original. Cf. the note on II, 31, 4.
Stansas 5, 6. The mother of twins is invited to enter the world of the blissful which is described in all its attractiveness, and yet, implicitly, is not desired, for the time being, by the owner of the cow. In yaminî, 'mother of twins,' there is a pun
fit for Yama, the god of heaven, and death :' this makes it still more appropriate that she shall go there. The first hemistich is formulaic: see VI, 120, 3. Cf. also XVIII, 2, 24; 3, 9.
III, 30. COMMENTARY TO PAGE 134. In Kaus. 12, 5 this hymn heads a gana or series of seven Atharvan charms (III, 30; V, 1, 5; VI, 64; 73; 74; 94 ; VII, 52), which are designated as sammanasyâni (sc. sûk
· Thus the vulgata. Shankar Pandit's edition with Sâyana and most MSS., vyadvará.
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HYMNS OF THE ATHARVA-VEDA.
tâni), designed to produce harmony.' The practices which are undertaken with them are stated in the sequel, Kaus. 12, 6-9, as follows: 6. 'Ajar full of water, anointed with the dregs of ghee, is carried about the (quarrelling) throng and poured out in their midst. 7. The same proceedings are undertaken with a jar full of brandy (sura). 8. (They who desire peace) are given to eat the pickled flesh of a young cow three years old. 9. Food, brandy, and water from the (public ?) drinking-place are anointed with the dregs of ghee (and consumed).' In justification of this translation, see the commentaries here, and at Kaus. 35, 19: the relation of the proceedings to the charm are not clear in every detail; see especially st. 6, and VI, 70, 1.
The hymn has been treated previously by Muir, Original Sanskrit Texts, V, 439; Metrical Translations, p. 139; Ludwig, Der Rigveda, III, 256, 516 ; Zimmer, p. 316; Weber, Ind. Stud. XVII, 306 ff.; Grill?, pp. 30, 116 ff.; Hillebrandt, Vedachrestomathie, p. 45. The Anukramanî designates the hymn as kândramasam sammanasyam, its author being Atharvan. The Atharvan abounds in such songs of harmony; they occur also outside of the Atharvan literature, e.g. RV. X, 191; Maitr. S. II, 2, 6; Kâth. S. X, 12 ; Tait. Br. II, 4, 4, 4 ff. See also the charm against family quarrels (kule kalahini) in Kaus. 97, and cf. in general Zimmer, p. 316.
Stanga 1. Sâyana reads sâmmanushyam in Pâda a, and aghnyâs in Pâda d.
Stanza 2. The opposite of this picture of peace is portrayed vividly at Sat. Br. IV, 1, 5, 3 ff., where a certain tribe is described as not living in peace: 'father fought with son, and brother with brother.' See also the story of Kyavana as told in the Gaiminîya-Brâhmana, Proc. Amer. Or. Soc., 1883 (Journal, vol. xi, p. cxlv): then neither did mother know son, nor son mother.'
b. Sâyana reads måtå for mâtrá.
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c. Our edition has santivấn ; Shankar Pandit and the Paippalada, santivâm, which is obviously the correct reading, and is at the base of Sayana's comment, sukhayuktâm.
Stansa 3. a. Sâyana reads dvishyat for dvikshat.
Stanxa 4. 8. Sayana, indradayas . .. vimatim na prâpnuvanti. Prof. Weber suggests that the gods here referred to are the Brahmans; this is not necessary since the gods are frequently endowed with human foibles : see the note on VI, 111, 3. The point is, that a charm, strong enough to prevent even the bickerings of the gods, will surely produce harmony among men.
Stanza 5. a. Sayana glosses gyáyasvantas by syeshthakanishthabhävena parasparam anusarantas, i.e. following one another. in the order of age, the younger after the older. Ludwig, p. 256, renders it vorzüglich ;' p. 516, überlegen. For kittinah I am tempted to suggest of the (same) mind,' cf. sahá kittám eshâm in AV. VI, 64, 2; RV. X, 191, 3; Maitr. S. II, 2, 6 (p. 20, l. 12): Tait. Br. II, 4, 4, 5.
b. Our translation of samrådháyantah agrees with Sâyana's, samânasamsiddhikâh, samanakâryâh.—'Going along the same wagon-pole,' i. e. pulling at the same wagon like a team.
d. Cf. Våg. S. VII, 25 C. The Pâda is hypercatalectic ; the Anukramani designates the stanza on this account as virådgagatî. Weber suggests sadhrîkin, by way of cure; Grill, the omission of vah, or a change to sadhrîko; cf. st. 7.
Stanza 6. The stanza is irregular (Anukr., prastarapankti), the second half being an anushtubh. Since stanzas 5 and 7 are connected by concatenation (Pada 5 d= 7 a), stanza 6 might be regarded as a very early intrusion. But Kausika employs it particularly for his practices (see above), and
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thus the criticism must be made for a very early period, to say the least. The stanza may, however, have stood in a different position in the hymn.
HYMNS OF THE ATHARVA-VEDA.
Stanza 7.
The stanza concatenates with 5; cf. e. g. the relation of RV. II, 38, 7 and 9, where st. 8 interrupts a similar relation.
b. Sâyana reads ekasnushtîn. On p. 256 Ludwig emends samvánanena to savanena, but on p. 516 he adheres to the text and translates it by 'versöhnungsspruch.' Sây., vasîkaranena anena sâmmanasyakarmanâ.
c. In RV. I, 71, 9, Mitra and Varuna are said to be guarding the amrita.
d. Ludwig on p. 516 emends saumanasó to saumanasám, but this is unnecessary if we remember that the leader or chief is referred to in gyâyas-, in st. 5 a, and eka-, in 7 b. Moreover at Tait. S. IV, 7, 3, 1, saumanasák, masc., is an abstract = saumanasám.
III, 31. COMMENTARY TO PAGE 51.
This extraordinary composition makes draughts upon a variety of mythological and philosophical (psychophysical) conceptions for the purpose of accentuating the desired separation from misfortune, and union with life. Accordingly each of its eleven stanzas ends in a refrain which states this desire distinctly. Further the hymn is divisible into two halves, the first of which (sts. 1-4) has for its key-note the subject of separation illustrated by cosmic examples; the second (6-11) illustrates union with the principles of life. The intermediate stanza is more problematic; it has been discussed by the translator in connection with his treatment of the marriage of Saranya in the third series of his Contributions, Journ. Amer. Or. Soc. XV, pp. 181 ff.
The principal employment of the hymn in the ritual is in connection with the initiation (upanayana) of the young Aryan into the Brahmanical community. At Kaus. 58, 3
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the hymn is recited in the presence of the young man, in connection with a list of kindred hymns. The last two stanzas are employed at Kaus. 24, 31, along with others, on the occasion of the solemn rising from a couch, at the ceremony of the full-moon of the month agrahayana. Cf. also Vait. Sû. 13, 10. The Ganamâlâ, Ath. Paris. 32, 6, counts this hymn as one of three which make up the papmagana and are pâpmahan ; see Kaus. 30, 17 note. Similarly the Anukramani (påpmahadevatyam). It has been translated by Weber, Ind. Stud. XVII, 306 ff.
Stanza 1. a. The MSS. read avritan, which Roth and Whitney have emended to akritan. Sayana reads vyavritam (viyogayatam), and takes devå correspondingly as vocative dual (devau asvinau). This reading with m I find also in the påpmagana of the Ganamâlâ, cited above, and one wonders whence it comes from. I would suggest the emendation avritran (avritram), literally the gods have separated themselves from old age.' The gods are agára,' free from old age,' and Agni is mentioned particularly RV. VI, 68, 9 (cf. Pada b). The middle passive of vi + vart in this sense governs the instrumental ; see Pet. Lex., vol. vi, col. 775. The metre, however, does not favour the suggestion.
Stanse 4. b. The paths are the heavenly paths, travelled by the gods (devayanâh); cf. III, 15, 2; VI, 55, 1; Tait. S. V, 7, 2, 3.
Stanza 5. Cf. RV. X, 17, 1; AV. XVIII, 1, 53. The passage as it appears here is doubtless the product of adaptation. Prof. Weber has interpreted it as an additional instance of thorough separation, the motif of the first four stanzas. According to his view Tvashtar is making preparations to marry his own daughter, and everybody (tout le monde) is scattering in consternation at the unholy proceeding. I have subjected Prof. Weber's construction to a detailed
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criticism in my essay quoted above. The chief difficulty is in ví yâti, which means 'pass through,' not 'go apart, scatter.' The passage seems to mean that the whole world on the occasion of the marriage of Tvashtar's daughter to Vivasvant-not to himself-pass through (a given point of observation) to witness the marriage. Thus they might illustrate separation from their ordinary places of abode. Or, a still more literal and philological translation of the passage would be: "Tvashtar is preparing a marriage for his daughter," thus saying (or noting) he (who? Tvashtar or Vivasvant?) passes through the entire world.' But the other versions read sám eti, and all the following stanzas (6-11) have for their theme union with the principle of life. Since, now, ví occurs no less than thirty times in the entire hymn, it is possible that sám has given place to it, and the passage would thus revert to its original meaning in RV. X, 17, 1; AV. XVIII, 1, 53. Sâyana takes ví yâti in the sense of going asunder, vahatum. . . prasthâpayati iti buddhya tasya avakâsam dâtum idam visvam bhuvanam prithivyantarikshâdirûpam vi yâti parasparam vigatam bhavati.
IIYMNS OF THE ATHARVA-VEDA.
Stanza 6.
a, b. Or, 'Agni bestows life's breaths.' Agni is frequently identified in the Upanishads with the breaths of life: see Maitri-Upanishad VI, 5. 9. 33; Prasna-Upanishad I, 7. Sâyana, the Agni of the belly, the cause of the digestion of food and drink.' Similarly the sun (cf. the next stanza) in Maitri-Up. VI, 1. 5; Prasna-Up. I, 5; II, 8; Tait. År. I, 14, 1.
Stanza 11.
For vrishtyód (Padapâtha, vrishtyä úd) read vrishty (h) úd with Roth, Zeitschrift d. Deutsch. Morgenl. Gesellsch. XLVIII, 684.
IV, 3. COMMENTARY TO PAGE 147.
At Kaus. 51, 1-6 the following practices are prescribed : 1. 'While reciting AV. IV, 3 (the shepherd) follows the cattle, (alternately) raising and digging into (the ground)
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a pole of khadira-wood (acacia catechu, a hard wood), which has been anointed with the dregs of ghee1. 2. He pours out water, sweeps together the (moistened dust) 2; then he offers, while walking, thrice to Indra milk of a cow with a calf of the same colour as herself. 3. He offers the bali (tribute offering) to the (four) regions. 4. He reveres each of the regions 3. 5. In the middle (between the four regions) he offers a fifth bali-offering. 6. The remainder he pours down (upon the ground).' The hymn is one of the raudragana in the Ganamâlâ, Ath. Paris. 32, 17; see Kaus. 50, 13 note. The Anukramanî accordingly designates it as raudram uta vyâghradevatyam. It has been translated by Ludwig, Der Rigveda, III, 499; Grill, PP. 33, 118 ff.
Stanza 1.
Sâyana suggests, very properly, that the man (purusha) in question is the robber mentioned below. Pâda d is difficult; Ludwig compares RV. I, 24, 7, which according to Geldner, Vedische Studien, I, 113 ff., refers to the banyan-tree (nyagrodha, vata). The branches of that tree take root anew, are nîkîna, or nihita, and therefore grow until they are out of sight (híruk, an antarhitanâmadheyam, a word for 'out of sight' according to Yâska's Naighantuka, III, 25). Prof. Roth, as quoted by Grill, p. 118, suggests an arrow, or spear, but the expression devó vánaspátir (cf. VI, 85, 1) is favourable to the other construction. Sâyana, helplessly, vanânâm adhishthâtâ devas tatrântarhito vartate tadvad vyâghrâdayo pi antarhitâ bhavantu.
1 The symbolism is transparent: he pierces the imaginary track of the dreaded hostile creatures, and thus pierces the creatures themselves.
8 According to Kesava and Sâyana he then places his left hand upon the dust and with his right scatters half of it. The words ninayanam samuhya refer back to the practice at Kaus. 19, 17. 18; see the introduction to II, 26, p. 303.
According to Kesava he recites in this connection AV. III, 26; cf. Kaus. 14, 25.
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Stanza 2. c. 'The rope full of teeth,' by familiar figure of speech, the serpent; cf. VII, 108, 1; XIX, 47, 7.8 (partially verbal parallelism with our stanza); Sat. Br. IV, 4, 5, 3.
Stansa 6. c. Literally, 'let him go on the falling down of the paths,' i.e. 'where the paths are precipitate.' Sayana arrives at a similar result, even though he handles his text very freely, sa ka pathâm madhye dhvamsena dhvamsakena kashtena margena apa gakhatu. Ludwig, wo die pfade abbrechen;' Grill, auf nächstem wege pack' er sich.'
Stanza 6. b. Sâyana reads api sîrshnah, glossing, sirasi bhava himsakah sringâdayah avayava api madhá bhavantu,'the destructive members of the body on the head, horns, &c., shall be dulled.'
c. All translations, including our own, are mere guesses. nimrúk, sunset,' is not found except in connection with the setting of the sun. Sayana's drishtivishayo na bhavati has suggested our 'out of sight shall go.' Grill has in mind the root mark, 'injure,' something like nimrikto, 'injured, destroyed ;' but there is no such word. godhá (Pet. Lex.
sinew ') is equally difficult. Sayana, 'a kind of wild beast.' As it has also the meaning large lizard,' we have said 'dragon,' a pure conjecture. Ludwig's 'in der tiefe soll das krokodil gehn' does not differ materially. Grill,‘mit lahmer sehne geh's zu grund.'
d. sasayúr (&t. dey.) mrigáh is also not clear. Såyana, the evil beast inclined to lie down. Ludwig, 'tief hinabspringend geht das wild. We have adopted with profound misgivings the translation of the Pet. Lex., Grill, and Zimmer (p. 79). The latter regards sasayúr as an epithet of the tiger (cf. sts. I, 3, 4, 7); cf., however, sasaghâtin, and sasáda, names of birds of prey. Prof. Roth, however, as quoted by Grill, holds now a different opinion, a bird of prey which swoops down from on high.'
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Stanza 7. a, b. Cf. VI, 56, 1; X, 4, 8, a similar formula calculated to regulate the snapping of the serpent's mouth. The Padapatha treats samyámah both times as a noun-compound, but it is easier to construe it as sam yamah, an injunctive aorist. The sense is the same. Såyana treats vi yamah also both times as a noun, samyamah samyamanam samyag vyaghràdînâm mantrasamarthyena niyamanam yad asti na ssau viyamah viruddhayamanam bhavati, &c. The passage seems to refer to the jaws of the wild beasts.
c, d. This may either refer to brahma, 'charm,' or to some plant or amulet, of which the Satra, to be sure, makes no mention. The hemistich is hypermetric, fairly curable by throwing out atharvanám. The Anukramani, kakummati garbhoparish tadbrihatî.
IV, 4. COMMENTARI TO PAGE 31. A characteristic mixture of pharmaceutical applications and drastic symbolism constitutes the practices of the ritual, Kaus. 40, 14 ff., as follows: 14. "The hymn IV, 4, and, in addition, the following mantra is recited : " Bulls have dug thee up, thou art a bull, o herb! Thou art a bull, full of lusty force; in behalf of a bull do we dig thee up!” During these recitals the plants ukkhushma and parivyâdha'are dug up with an iron instrument (Darila, a ploughshare). 15. Two decoctions are made from these plants, poured into milk, a drawn bow is placed into the lap, and then the decoctions are drunk 2. 16. (The same
"Darila and Kesava, ukkhushmå kapikakkhu (mucuna pruritus) parivyâdhah suravalakah (or, sükaravalakal); Sâyana „mentions only one plant, kapitthakam Alam, the root of feronia elephantum. For ukkhushmâ, cf. st. 4.
• We now correct Sätra 15 as follows, dugdhe phântâv adhigyam (sc. dhanur) upastha adhảya pibati. Cf. Kausika, Introduction, p. lviii ff. The symbolism is quite apparent; see stanzas 6 and 7 of the hymn.
[47]
Bb
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performance takes place) while he sits upon a stake or a pestle ' (generous suggestions! cf. VII, 90, 3). For hymns (and their collateral practices) dealing with the same subject, see VI, 72 ; 101 ; VII, yo; Kaus. 40, 16-18; 36, 35-7.
Stanza 1. The Gandharvas, the divine libertines (IV, 37, 11), who enjoy themselves in the company of the heavenly nymphs, the Apsaras, are peculiarly likely to stand in need, and have a knowledge of regenerating plants. Hence the Gandharva digs them up. But why should Varuna need an aphrodisiac? At VII, 90, 2, a charm for inhibiting the redundant sexual power of an enemy, the divine law of Varuna 'withers excessive fire.' The paradox may be only a seeming one. Varuna, as is well known, not infrequently appears in opposition to Indra, and his name even is occasionally, by etymological play (root var), assimilated to Vritra, the demon, whom Indra at RV. I, 32, 7 turns in a castrate (vádhri); cf. RV. IV, 42, 7; X, 124, 4. 5, and Bergaigne, La Religion Védique, III, 144 ff. Sayana does not comment upon this extraordinary imputation against Varuna, the most highly respected of all the gods.
Stansa 2. c. I have followed Sayana in regarding úd egatu as transitive, udvrittam karotu, and, utkrishtaviryayuktam karotu. Cf. the similar double use of the root úd ar (úd iyarti), and the simple root îr. The Pet. Lex., 'sich rühren, sich erheben.' This translation fits poorly for Påda c.
Stanza 3. a, b. Sâyana with some MSS. (Samhita and Pada pâtha) reads virohito for viróhato, and construes it as an epithet of the penis, putrapautrâdirūpena virohanasya nimittam pum
1 The first part of Sätra 16 in the edition is to be regarded with Kesava as an independent Stra. Kesava was not at hand until the body of the text was in print.
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vyañganam. The sense is changed very little. Our translation of abhítaptam iva-nati by 'exhales heat like a thing on fire' is somewhat uncertain, since ánati means 'breathe.' The Pet. Lexs., 'nach luft schnappen, lechzen;' accordingly 'longs for cooling like a thing on fire.'
Stanse 4. a, b. Sayana supplies îrayatu with úd. This is at least approximately correct, as may be learned from RV. X, 97, 8, úk khúshmå oshadhinâm gấvo goshthád ivess rate. The only question is whether the simple verb, rather than the causative, is to be supplied: "The fire of the plants &c. shall arise.' The ritual embodies with stereotyped symbolism the words úk khúshmâ in the plant ukkhushmå ; see the introduction.
c, d. Sâyana, supported by a few MSS., reads sampúshâm and tandvasam, glossing, samyak poshayitrinam oshadhînâm sambandhi yad vrishnyam vîryam asti tad asmin purushe tandvasam sarîrådhînam kritvå dhehi.
Stansa 7. Repeated at VI, 101, 3; cf. the practice, Kaus. 40, 15, above.
d. Sâyana, with one of Shankar Pandit's MSS., reads anu valgûyatá (nrityata manaså). The Pet. Lexs. and Whitney, Index Verborum, regard sádà as the instrumental of a &t. dey. sád, mounting. But such a root-abstract is naturally feminine, and the participle anavaglâyatâ is neuter, agreeing with pásaså supplied from Påda a. Sayana correctly takes sádå as ever.'
IV, 5. COMMENTARY TO PAGE 105.
The purpose of this hymn, regarded from within, is clear, and its position in the ritual in connection with one of the strikarmani (Kaus. 32, 28–36, 40) makes it certain that the Atharvavedins dealt with it in the light indicated by our
Bb 2
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title. Four of its stanzas (1, 3, 5, 6) appear in a different arrangement, and in connection with other material, in RV. VII, 55, and, as usual, the Atharvan recension smacks of adaptation to a particular purpose1. The Rigveda form itself, however, is open to the same suspicion; both versions may have draughted into service materials whose original connection in olden times (purâna) has passed out of sight. Professor Aufrecht, Ind. Stud. IV, 337 ff., presented as early as 1858 a peculiarly lucid interpretation of both hymns (cf. Zimmer, pp. 149, 308), and more recently Professor Pischel, Vedische Studien, II, 55 ff., has made a determined attempt-in our opinion unsuccessful-to vindicate the interpretation of the Rigveda version as undertaken by Shadgurusishya and the Brihaddevatâ. According to Pischel, Vasishtha entered the house of Varuna after he had fasted three days in order to steal food, and employed this charm to put all waking persons and dogs to sleep 2.
There is at any rate no question as to the purpose of the stanzas as arranged by the Atharvan diaskeuasts. Dârila describes it as maithunakaranavighnanâsakartar, 'removing obstacles in the way of an assignation.' The practices are stated at Kaus. 36, 1-4, as follows: 1. 'While reciting IV, 5 a sleeping-charm is performed. 2. The house is sprinkled with water from a vessel which has been anointed with the dregs of ghee, and the rest is poured upon the inside of the door. 3. The same act is repeated naked. 4. Then a mortar is addressed (with the hymn); next, the northern corner (of the house), the southernmost foot of the
8
HYMNS OF THE ATHARVA-VEDA.
1 Note especially asyai in st. 6 of the AV. for sárve in st. 5 of RV.; also sváptu for sástu (archaic) in the same stanzas.
2 Pischel argues that Brahmans are known to have committed thefts in later times (Mrikkhakafikâ 46, 10, &c.; see also Rigvidhâna I, 26, 2; Manu XI, 251). On the same principle it might be argued that Vedic Rishis acted as clowns (vidûshaka) and even cooks, as in modern times. Cf. also Pañk. Br. XXI, 11, 2.
Does the mortar symbolise the vulva, just as the pestle the membrum virile, Kaus. 40, 16 (see IV, 4, introduction)?
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woman's bed, and the ropes (of the bed).' The hymn is rubricated also in Ath. Paris. 8, 1, and it has been translated by Aufrecht, 1. c.; Grill2, pp. 53, 119 ff. The Anukramani, vårshabham.
COMMENTARY.
Stanza 1.
a. Having a thousand horns,' of Agni, RV. V, 1, Tait. Br. III, 7, 2, 7; AV. XIII, 1, 12 (cf. RV. V, 2, 9). Sâyana, both here and at RV. VII, 55, 7, suggests Surya, the sun; Aufrecht, 1. c., p. 344, the moon, the father of sorcery; Grassmann, in his translation of the Rigveda, I, 343, the starry heaven. In RV. I, 154, 6 the stars are said to be bhuűri-sringa, 'having many horns;' this seems to fortify Grassmann's view. Agni is also fitted for this epithet, since his flames and sparks may be viewed as horns. But fire (light) little befits the occasion.
Stanza 3.
c. Sâyana,
punyagandhayah
sobhanagandhayuktâh. Pischel, l. c., p. 57 ff., adduces proof that the Hindus of later times imagined that their women gave forth fragrance during intercourse; hence, that the women here mentioned are awaiting their lovers. This narrow construction of the word is hardly necessary in the light of Manu V, 130; Mârkandeya Purâna XXXV, 12, quoted by Pischel himself.
Stanza 5.
"
d. Sâyana, idam drisyamânam harmyam yatha darsanasaktisûnyam tathâ, as these premises, though seen, are (themselves) devoid of the power of seeing.'
IV, 6. COMMENTARY TO PAGE 25.
According to the commentators, Dârila, Kesava, and Sâyana, the performances for removing poison at Kaus. 28, 1-4 include the recitation of this as well as the next hymn (IV, 7). Kausika, however, rubricates only IV, 6, as follows: 1. 'While reciting IV, 6, in a low voice, and making
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obeisance to Takshaka', the patient is made to sip water and is sprinkled with water. 2. The same performance takes place with water into which has been put a branch of the krimuka-tree, which has been ground to pieces, and then the patient is sprinkled with water warmed by quenching in it a heated old garment, or a heated old skin of an antelope, or a heated wisp of a brooms 3. In a watervessel which has been smeared with the dregs of ghee a mixed drink is stirred by means of two arrows (whose points) have been daubed (with poison ; cf. st. 7), and whose points are upward * ; then lumps of earth are broken into it (while the hymns are being recited) stanza by stanza, and the mixture is drunk until vomiting takes place. 4. Then the patient is given to drink yellow curcuma in ghee (cf. IV, 7, 2, and especially 3).'
The hymn has been translated by Ludwig, Der Rigveda, III, 512.
Stanse 1. For the cosmogonic conception in the first hemistich, cf. Muir, Orig. Sanskrit Texts, 12, p. 21. In the Ramayana (cf. IV, 10, 22), the demon Råvana is represented as a
| Takshaka Vaisâleya, a serpent-god ; cf. Kaus. 29, 1; 32, 20; 56, 13, and Ind. Stud. I, 35.
? Darila, gîrnavâsah; Kesava, dunnakah, or dullakah. The passages are not given in the edition.
The Salra abounds in subtle syml:olic allusions. The krimukatree embodies the bow (kârmuka); cf. sts. 4, 6. The garment, and the old antelope-skin refer to IV, 7,6. For gvála cf. Kaus. 27, 29, in the introduction to III, 7. Darila glosses avakara by ukuralikâtrinâni; Kesava by ukaridikâ mârganikâtrinam; Sâyana has patitamârganikâsakalaih; cf. Kausika, Introduction, p. xlv, bottom.
For ürdhvaphalabhyâm see Kausika, Introduction, p. lii, s.v. phala. The poisoned arrow's with their points upward symbolise the flight of the poison away from the patient ; cf. sts. 4, 5.
Darila glosses rayidharanapindân by bhūmis tanmayân pindân. But Kesava (and Sâyana with him, as usual) has madanaphalani, 'fruit from the madana-plant.' And Kesava remarks anent this plant, yathả khardayati.
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Brahmana with ten heads. Såyana identifies the Brahmana with Takshaka, in accordance with the Satra, above.
Stansa 2. Cf. Vâg. S. XXXVIII, 26, and for the seven rivers, Max Müller, Chips from a German Workshop, I, 63; Muir, l. c., p. 490, note; Zimmer, Altindisches Leben, p. 21.
Stansa 3. The poison is evidently a plant (Sayana, kandavisha), since the cagle is constantly associated with the origin and functions of medicinal and magic plants ; see I, 24, 1; II, 27, 2; IV, 20, 3 ; V, 14, 1, and especially our note on IV, 20, 3. For amimadah in Pâda c, cf. madâvati in IV, 7, 4 a.
Stansa 4. o. The rendering of apaskambhá is mere conjecture. Neither the root skambh nor stambh occurs with the preposition ápa. The Pet. Lexs., and Zimmer, 1. c., p. 300, 'the fastening of the point upon the shaft of the arrow;' Ludwig, 'widerhaken.' Sayana has two explanations neither of which is satisfactory, apaskabhyate vidharyate antarikshe iti apaskambhah kramukavrikshah (cf. Kaus. 28, 2, above) tasya salyad sakalåt ... yadvå avaskabhyate dhanushi dhåryate iti apaskambho bânah. Our own tearing (arrow)' is based upon the supposition that apa + skambh may mean ‘uproot,' or the like, as opposite of skambh.
Stansa 5.
For the parts of the arrow as described here, sec Zimmer, 1. c., p. 300. Sâyana, pråñganât pralepât ... apashthât apakrishtavasthad etatsamgñåd vishopädânât. We have translated apåshthak khringat,' from its barbed horn,' deriving apashtha from the root as in ásti,'corner;' cf. ashthivantau, the knees.'
Sâyana ascends the dizziest height of absurdity in his rendering of kulmalat, to wit: kutsita prânimalâk ka yad
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udbhutam visham, 'the poison sprung from the filth of loathsome animals.'
Stansa 7. Såyana agrees with all Western authorities in deriving ápîshan from the root pish, to wit : aushadham apimshan. He glosses vishagiri by kandamælâdivishotpattihetuh parvatah.
IV, 7. COMMENTARY TO PAGE 26. The practices, Kaus. 28, 1-4, obviously refer to this hymn as well as IV, 6. See the introduction to the preceding hymn. Translations are offered by Ludwig, Der Rigveda, III, 201 ; Grill?, pp. 28, 121 ff. The Anukramani, vânaspatyam.
Stanza 1. All Western interpreters regard varanávati as a river ; cf., in addition to the authorities given above, Zimmer, Altindisches Leben, p. 20. Såyana, varanà nama vrikshaviseshah te asyåm santi. ti varanavati; cf. varaná (crataeva roxburghii), AV. VI, 85, 1; X, 3, 2 ff., where the same puns upon derivatives of the root var are displayed. The formation of the word varanávatî might be compared with sîtikâvatî and hladikávatî in RV. X, 16, 14=AV. XVIII, 3, 60; see our Contributions, Second Series, Amer. Journ. Phil. XI, p. 341 ff. Cf. also madávatî in st. 4 (cf. IV, 6, 3c), as a designation of the poisonous plant. varanávatî would then be the name of the curative plant, the antidote, 'affording protection.' But the ceremonies in the Satra (28, 1) begin with the use of water, and the appearance of vấr in Pâda a also points to the name of a river.
Stanza 2. d. Cf. RV. I, 187, 10; Åpast. Sr. XII, 4, 13. Cf. for this and the next stanza the ritual, above, Kaus. 28, 4.
Stansa 3. a. In deciding upon the meaning of tiryàm we have had in mind the evident concatenation of st. 2 with 3 a, b. The
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thought is continued, and, as is customary in catenary constructions, a new motif is added, tiryam (sc. vishám) in addition to the prakyàm, &c. of stanza 2. Since prákyam, &c. indicate directions, we have regarded tiryàm in the same light, i.e. as a variant of tiryáñk; cf. X, 2, 11. 24. 25. 28; 8, 19; XI, 4, 25; XV, 3, 6. Sâyana also attributes tiryam to vishám, but in the sense of secret, hidden,' tirobhavam prakhannatvena prayuktam. This rendering is certainly possible. The Western translators all err because they attribute the word to karambhám: Pet. Lexs. and Zimmer=tilya, 'made from sesame;' Ludwig, einen breiten kuchen;' Grill emends to atiriya (=ati + riya), overflowing.'
b. The vulgate reads pibasphâkám (Padapåtha in Whitney's Index, pîbah + phâkám). Shankar Pandit's MSS. read pîbaspâkâm (Padap. pîbah + pâkám); Sayana, pîvaspâkam, a rich mess.' For udarathlm, see RV. I, 187, 10. The Pet. Lexs., and Grill, dampfend ;' Ludwig, 'hochaufgegangen ;' Sâyana, ‘prosperous' (udriktårtiganakam). Our own translation, cheering,' is equally conjectural.
Stanza 5. Far from clear (cf. VI, 44, 1). Ludwig, wie einen wall (eine aufschüttung) um das dorf richten wir auf;' Grill, upon the basis of the Pet. Lex., 'als wie mit einer heeresschaar umstellen wir dich mit dem wort.' Såyana, 'the poison which is heaped up like a throng of people' (ganasamtham iva upakitam visham). He adds that the comparison with the throng suggests the power of the poison (grâmadrishtåntena vishasya prâbalyam uktam), and thus nearly meets our own rendering, which, to be sure, suggests the frequency of the poison, rather than its strength.
Stansa 6. a, b. The Sätra (28, 2) ought to be helpful here. Three articles are mentioned there, dûrsa, agina, and avakara, two of which are given here in the same terms. It would seem to follow that the third, avakara, is identical with pavasta,
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and accordingly Sâyana says outright, pavas taik pavanâya astaih sammarganîtrinaih. All this may be correct: the implication appears to be that the poisonous plant, itself worthless, is bartered for worthless things, stray wisps of broom-straw, old garments, and worn-out skin. But the word garat, 'old,' is not mentioned in the hymn, and the symbolism of the Sûtra is obscure; we cannot therefore regard all this as in any way secure. Moreover the difficult task of making this interpretation fit the only other occurrence of pavásta (dual, paváste), RV. X, 27, 7, remains. Sâyana quotes the passage and glosses the dual by dyâvâprithivi, here as well as in the RV.
HYMNS OF THE ATHARVA-VEDA.
Stanza 7.
Repeated at V, 6, 2 in an equally obscure connection. Sâyana, 'those enemies, O people, who were hostile to you in the witchcraft-practices which they performed, may they not by these practices injure our men here.'
IV, 8. COMMENTARY TO PAGE III.
This hymn is founded upon certain practices, well known in connection with the consecration of a king throughout the Vedic literature. Professor Weber has recently devoted to this subject a characteristically excellent treatise, ' Über die Königsweihe, den Râgasûya,' Transactions of the Royal Prussian Academy of Sciences, 1893. Two noteworthy performances are indicated in the hymn: the king is sprinkled with water, derived from holy rivers, and mixed with the essence of holy plants (sântyudakam: see Kaus. 17, 1, and 9, 1 ff.); and he steps upon a tiger-skin. Both practices figure prominently in the descriptions of the râgasûya in the Yagus-samhitâs, Brâhmanas, and Sûtras: see the index to Weber's treatise under 'salbung,' and 'tiger-fell.' The hymn reflects throughout the spirit of antique popular institutions, and a genuine appreciation of the dignity of royalty.
The Atharvan ritual presents it in connection with a
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double treatment of the râgasûya, either as a more solemn and elaborate priestly srauta-practice, or a more popular and direct grihya-practice. The former is given at Vait. Sa. 36, 1-13: it presents in a compendious form the practices current in other srauta-works, with particular attention to the chronology of the months. The sprinkling (abhishekaniya) and the tiger-skin figure as the prominent points. The more popular phase of the practice is stated in a double form at Kaus. 17, 1–29. The first (Kaus. 17, 1-10) is the simplest. Only the king and his chaplain (purohita) are here actively engaged : 1. 'While reciting the hymn he who is about to sprinkle a king prepares at the banks of a great river 1 "holy water” from the ingredients prescribed in st. 5; cf. Kaus. 9). 2. He causes a porridge to be cooked, and sprinkles the king who stands upon darbha-grass on the south-side of the vedi (called) parigrihya. 3. He seats the king upon a couch (placed) on a bull's skin. 4. They (the king and the purohita) fill for one another a water-vessel (with water). 5. They exchange them. 6. The Brahman says: "In common to us be the good we do, in cominon the bad.” 7. (The king says): "He (of us two) who shall do evil, his may the evil be; the good deed alone shall belong to both of us." 8. (The purohita) gives the porridge (to the king) to eat. 9. Then he causes him to mount a horse, and turn to the north-eastern direction (aparágita, “the unconquered ").
According to Dârila near the rivers Ganga, Yamuna, or Sarasvati.
: Darila, parigrihyâ parigrihyavedih parigrahanam, sa yogo (!). Cf. Tait. S. II, 2, 10, 5; Maitr. S. I, 6, 3 (p. 89, 1. 14); Apast. Sr. IV, 5, 4, and AV. XII, 1, 13.
I fail to see why Professor Weber (1. c., p. 140, note 5) ignores my obvious emendation of talpârshabham to talpa (i. e. talpe) ârshabham. The bull's skin takes here the place of the tiger-skin. The more elaborate ceremony (mahâbhisheka), described in the sequel (Kaus. 17, 11 ff.), brings in the tiger-skin. The present form of the râgasůya is the simple one' (laghu, laghvabhisheka), according to Kesava and Sayana.
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10. A thousand (cows), or a choice village, is the fee for the priest.'
HYMNS OF THE ATHARVA-VEDA.
The Kausika continues further with another mode of consecration for an ekarâga, 'sole ruler 1.' In this the tiger-skin takes the place of the bull's skin. Four princes and a number of servants and subjects participate in this. See Weber, 1. c., p. 141 ff.
The hymn has been translated by Ludwig, Der Rigveda, III, 458; Weber, 1. c., 139. By itself it figures as the abhishekagana in the Ganamâlâ, Ath. Paris. 32, 30.
Stanza 1.
c, d. The king is all-powerful. But there is yet another king, more powerful than he, death. Death is present in person now, as at all times, but he shall assent to the rule of the king.
Stanza 3.
This stanza recurs in a hymn to Indra, RV. III, 38, 4. The manly Asura is primarily Indra. Since Indra is the typical king (kshatriya), stanzas in praise of Indra lend themselves readily to adaptation to praises and beatification of royalty; cf. III, 1, 4; 2, 5, and elsewhere.
Stanza 4.
The tiger, as well as the lion (st. 7), is the king of animals : Sat. Br. V, 5, 4, 10; XII, 7, 1, 8; hence his skin is a mark of royalty. Control of the regions is a sine qua non of royalty; cf. e.g. Maitr. S. II, 1, 12, and the dig-vyâsthâpana-mantrâh at Tait. S. I, 8, 13, 1. 2; Tait. Br. I, 7, 7, 1. 2.
1 I am inclined to think that' sole ruler,' and not 'simple king,' as Weber (p. 141) renders it, is the meaning of ekarâga; cf. ekarag in Ait. Br. VIII, 15, 1 (scholiast, eka eva râgâ); AV. III, 4, 1; RV. VIII, 37, 3, and ekavrishá, AV. IV, 22, 1. 5, a hymn which is rubricated in the sequel of this description (Kaus. 17, 28). Kesava, moreover, introduces Sutra II with the words, mahâbhishekavidhim vakshyâmah. The entire passage Kaus. 17, 11-29 deals with this more pompous ceremony.
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See in general, Contributions, Fourth Series, Amer. Journ. Phil. XII, 432.
d. The heavenly waters are the very ones with which the king is consecrated. By a bold figure of speech they, as they are about to moisten him, are said to long for him !
Stansa 6. a. Some MSS. and Sayana read ábhi ... asrigan for ábhi ... asiñkan. Sayana glosses, abhimukhyena samisrigantu.
Stanza 7. c, d. The passage is not quite clear: subhúvah may refer to the waters, or to the attendant priests (so Såyana, sevakaganah). The word dvipínam harbours a double entente: dvipa is 'island. Vaguely, the position of the king, as he is surrounded by the consecrating water, suggests an island in the ocean.
IV, 9. COMMENTARY TO PAGE 61. The hymn is rubricated at Kaus. 58, 8 in a practice calculated to bestow long life upon the young Aryan, after he has been invested with the holy cord (cf. Hir. Grih. I, 11,5), to wit: 'While reciting IV, 9, an amulet of salve is fastened (upon the youth).' See also Sântikalpa 17 and 19!; Ath. Paris. 4, 1. A persistent tradition has it that the mountain Trikakud ("Three-peaks '), in more modern times Trikuta or Trikota, between the Penjab and the Himalayas, is the source from which the salve is derived. See the Pet. Lex. under âñgana, trikakud, and traikakuda, and Zimmer, Altindisches Leben, pp. 29, 69. The Anukramani describes the hymn as traikakudåñganadaivatam ; it has been translated by Ludwig, Der Rigveda, III, 507; Grill', pp. 35, 123 ff., and exhibits noteworthy points of contact with RV. X, 97.
Erroneously quoted by Sâyana as Nakshatrakalpa.
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Stansa L
b. The majority of Shankar Pandit's MSS. read akshyam; this he has taken into the text. Other MSS. read ákshyam. But there is also MS. authority for áksham, the reading of the vulgate, and Sâyana, who glosses it by kakshuh, 'eye.' But áksham does not mean 'eye,' and akshyam is otherwise unquotable. Nevertheless, we have translated akshyam, for the passage seems to be a tantalising reverberation of Sat. Br. III, 1, 3, 12. 'When Indra slew Vritra, he transformed that eye of his (Vritra's) into the mount Trikakud. The reason, then, why (ointment) from mount Trikakud (is used) is that he thereby puts eye into eye.' This seems to show that the ointment was applied about the eye, and apparently silences Professor Roth's objection, as reported by Grill, that this is too narrow a view of the usefulness of the ointment. Cf. also Maitr. S. III, 6, 3; Tait. S. VI, 1, 1, 5, which are equally pertinent.
Stansa 3. 0, d. The Paippalada reads, utå smritatvasyesssisha utâ ssah pitubhoganam. Påda e looks like an appendage ; cf. XIX, 44, 2.
Stens& 4. Cf. RV. X, 97, 12=Vâg. S. XII, 86. The difficult word of the stanza is madhyamasîr, all the renderings of which, both native and western, are mere conjectures. Såyana, here, either 'wind' (i.e. who dwells in the middle region), or, arir mitram arer mitram iti nîtisástroktamandalamadhyavartî rågå. The gloss at RV. is similar to the latter interpretation. Still more fanciful is Mahîdhara at Våg. S.
Stanga 5. Cf. II, 4, 2, and for the meaning of vishkandha, see the note on II, 4, 1.
Sâyana on st. 3, anakti kakshushî anene sti áñganam.
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Stanga 7. d. We have taken pūrusha in the sense which it frequently has in the Veda, namely, 'menial, servitor.' Cf. RV. X, 97, 4; AV. X. 1, 17; Sat. Br. VI, 3, 1, 22 ; and probably also RV. VI, 39, 5 (discussed erroneously by Pischel, Vedische Studien, I, 43). Ludwig,' und dein leben, o mensch ;' Grill, 'auch deinen lebensgeist, du mann!' Sayana reads půrushas with some MSS. (both Samhita and Padapatha), all of which, however, present the word as an enclitic without udatta. With the nominative the sense is, may I as thy servitor (O salve) obtain horses, &c.'
Stanza 8. For balása, see the discussion in the note on V, 22, 11. The poison of the serpent is considered as a disease; hence it is mentioned along with takmán and balása.
Stansa 9. Cf. Tait. År. VI, 10, 2; Hir. Grih. I, 11, 5.
IV, 10. COMMENTARY TO PAGE 62. The hymn is employed at Kaus. 58, 9 in connection with a practice for bestowing long life and prosperity upon the young Brahmanical disciple after the investiture: While reciting IV, 10 an amulet of pearl is fastened (upon the youth).' Cf. also Sântikalpa in the introduction to XIX, 34.
The hymn has been translated by Ludwig, Der Rigveda, III, 462 ; Grill?, pp. 36, 124 ff. Cf. also Pischel in Zeitschr. d. Deutsch. Morg. Gesellsch. XXXVI, 135 ff. The Anukramani, sankhamanisäktam.
Stanza 1. In this and the subsequent stanzas the fanciful sources of the pearl, some of which become commonplace in the later literature, are paralleled with great fidelity in the imaginations of Arabic and classical writers; see Pischel, 1.c. The glint on the surface of both pearl and shell
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suggests gold; and the changes are rung upon this comparison. See also Yaska's Nighantu I, 2, where krisana is put among the names for gold; cf. especially st. 6.
Stanza 2. a. Sayana, rokanânâm rokamânânâm bhâsvaranam nakshatrâdînâm. He has in mind, doubtless, the beautiful stanza RV. X, 68, 11, 'as a black steed with pearls, thus did the Fathers stud the sky with stars.'
Stansa 3.
b. For sadánväh, see our note on II, 14, 1 d.
Stanza 5. b. Såyana, 'from the body of Vritra, or from the cloud.' The latter alternative hits the point. According to the familiar Hindu notion, the pearl is a drop of rain, and thus it here breaks through the cloud, like the sun, itself a small sun.
Stansa 6. Pada a accounts for the presence of the word krisana among the names for gold, Yaska's Nigh. I, 2. With Påda c cf. RV. I, 35, 4. The extra fifth Påda is formulaic, and betrays its character as an appendage by the change of person (târishat); see the note on II, 4, 6.
Stansa 7. e. The MSS. available for the vulgate read kársanas; so also the majority of Shankar Pandit's MSS. The emendation of the Pet. Lex. to kärsanas is now substan. tiated by Sayana (kârsanah krisanasambandhi manih), and a minority of Shankar Pandit's MSS.
IV, 12. COMMENTARY TO PAGE 19. The purport of this hymn is manifest both from its wording, and its function in the ritual. It is to cure external lesions, and fractures of bones. The Kausika
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deals with it twice, 28, 5. 6, and 28, 14. The practice described in the former place is assigned by Kesava to the healing of broken bones, wounds, and flow of blood caused by weapons (asthibhange rudhirapravahe sastrabhighâtadau bhaishagyam). It consists in sprinkling the patient at dawn when the stars fade (with a decoction of the lâkshå-plant, Kesava adds), then giving him to drink a so-called prishataka', a mixture of ghee and milk (so Darila ; cf. Kaus. 49, 15), and finally anointing him with it: 28, 5. rohanisty avanakshatresvasiñkati. 6. prishâtakam påyayaty abhyanakti. At Kaus. 28, 14 the performance is very similar, läkshâlingâbhir (sc. rigbhir) dugdhe phântân påyayati,'while reciting the stanzas characterised by the mention of the läksha-plant (according to the commentators, AV. V, 5 in addition to our hymn) he gives the patient to drink a decoction (of the plant) in milk. Darila distinctly describes this as a cure for wounds (arusho bhaishagyam), while with Kesava the scope of the charm is broader, namely, 'against wounds from knives, clubs, stones, burns, in fact all wounds of the body.'
The name lákshâ, under which the plant addressed in this hymn goes consistently in the ritual books, does not occur in our hymn, but instead arundhati. In AV. V, 5, 7 the lâksha is mentioned-apparently a år. dey, in the Mantras --and it there appears distinctly as an alternate designation of the creeper called arundhati, or silakî, a parasitic plant which grows up on the stems of many trees (V, 5, 5), and which is otherwise described in the same hymn; cf. also Zimmer, Altindisches Leben, p. 67. Since the plant is employed to cure wounds (arus), the student of the Atharvan need hardly be warned that there is a punning symbolic connection between the disease and the simple ; cf. Darila's
For prishâtaka, see Gobh. Grih. III, 8, 1 ff.; Grihyasamgraha II, 59, and my note on the same, Zeitschr. d. Deutsch. Morgenl. Gesellsch. XXXV, p. 580.
s Possibly also róhanî; see the note on stanza 1. Sâyana at VI, 59, 1 explains arundhati as sahadevî (cf. the text of VI, 59, 2). [42]
сс
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statement, arusho bhaishagyam, at Kaus. 28, 14, and the doubtless conscious mention of arús and arundhati in V, 5, 4. 5 ; cf. also VIII, 7, 6. The word is, however, likely to be a-rundhati, a feminine present participle with a privative; so Sâyana at VI, 59, 2.
Adalbert Kuhn, Zeitschrift für vergleichende Sprachforschung, XIII, 58 ff. ; 151 ff., has compared the hymn with the Merseburg charm, and a considerable variety of related materials from German, Scandinavian, and English sources. And, having in view more particularly AV. V, 5,8. 9, he believes that the creeper was used primarily to heal the fractured limbs of horses—a construction which seems to me too narrow. Any kind of genetic connection between the Hindu and the German charm is none too certain, since the situation may have suggested the same expressions independently. Yet as a strongly-marked line in the folk-psychological character of the peoples in question, the parallels are extremely valuable and instructive. The hymn has also been translated by Ludwig, Der Rigveda, III, 508, and Grill?, pp. 18 and 125 ff.; cf. also Hillebrandt, Vedachrestomathie, p. 48. The Anukramanî designates the hymn as vânaspatyam, devoted to Vanaspati,' its author being Ribhu (cf. st. 7).
Stanse 1. a, b. I take it that the three occurrences of the word róhanî in the stanza are intended to convey the same word in at least a double meaning. The plant is a creeper growing upon trees, as is stated distinctly in AV. V, 5, 3, vrikshám-vriksham á rohasi,' every tree thou doest ascend.' The poet is very likely to have in mind this meaning of the root ruh in addition to the more direct one, 'cause to grow,' at least in connection with the first occurrence of the word. It seems necessary to construe one of the two róhanî in the first Pâda as a proper name ; Ludwig in his translation goes farther than that, and seems to take one of them as vocative, 'Rohanis, die wachsen macht,] bist du, o Rohani, &c.' The passage with its three identical nominatives has a parallel in the traditional text of XIX, 35, 1,
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gangidó-si gangidó rákshità -si gangidah (so the MSS.; the edition corrects to argirå asi gangida, &c.). The temptation in both cases is to change at least one of the nominatives to a vocative ; see the note on XIX, 35, 1. Grill translates the two róhanî in Pada a by two synonymic expressions, Verheilung wirkst du, ja du heilst. This simply veils the difficulty. It may be worth noting that the MSS. of the Kausika in quoting the hymn at 28, 5 read unanimously rohini; this is the reading of Sayana, and of the Paippalâda for all three occurrences of the word, and it suggests 'red,' a quality which is borne out by certain epithets of the plant, hiranyavarna, 'golden-coloured,' in V, 5, 6.7 ; sûryavarnâ, 'sun-coloured,' in V, 5, 6; sushmå, ' fiery,' in V, 5,7. The name of the plant, lâkshå, 'lac-dye'cf. the Pet. Lex. s. V. 2-also suggests 'red,' and this may be a third thought which runs through the mind of the versifex while composing the stanza. I attach no textcritical significance to the metre of the stanza (gayatri), which differs from that of sts. 2-5 on the one hand, and 6 and 7 on the other ; cf. e.g. RV. VII, 103; AV. II, 4; VI, 111, &c.
Stanza 2. b. I have reluctantly refrained from emending ásti to ásthi ?, 'bone.' The rather superfluous copula at the beginning of the Pâda is suspicious, and the translation of peshtram by 'bone'is not at all certain. Both the related pisitá and pest mean 'flesh, and that, not 'bone,' may be the meaning of peshtram. This fits here as well as at AV. VI, 37, 3, the only other place where the word occurs, and Hillebrandt in the vocabulary of his Vedachrestomathie states a similar view, 'losgeschlagenes stück fleisch, fleischfetzen,' although his derivation from the root pish, 'crush, separates needlessly our word from pisita and pesi. With this change, Pâdas a, b should be translated' what bone and flesh in thy person has been injured and burst, (may Dhâtar,
•
By way of illustrating the easy confusion of these two words we may mention that Sayana at IV, 10, 7 a, reads asti for ásthi.
CC 2
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&c.). Note, too, the parallelism which is thus established with Pâdas c, d in st. 3 (ásthi in both stanzas, and péshtram = mâmsásya). Sâyana comments upon preshtham instead of péshtram.
c, d. dhâtă in alliteration with dadhat.
HYMNS OF THE ATHARVA-VEDA.
Stanza 3.
Almost every feature of the detailed account of the parts of the body, here and in the following two stanzas, may be paralleled from the Teutonic charms, e.g. Kuhn, 1. c., p. 51:
'ben zi bena lid zi geliden
bluot zi bluoda sose gelimida sin.'
The Norwegian charm mentioned on the same page recites marrow, bones, and flesh :
'marv i marv, been i been, kjöd i kjöd.'
A charm from the Orkneys recites (1. c., p. 54):
'Sinew to sinew, joint to joint,
Blood to blood, and bone to bone, Attend thou in God's name!'
a. As the Pâda stands it is hypercatalectic. The Paippalâda omits te, which may have crept in from Pâda c. But even this leaves a bad final cadence: perhaps bhavatu is to be read dissyllabically (bhotu, in the manner of the Prâkrit hodu). For the metrical equivalence of ava and o, see the author's article, 'On certain irregular Vedic Subjunctives,' Amer. Journ. Phil. V, 25 ff. (p. 10 ff. of the reprint). Sâyana reads sam for sám in each of the four Pâdas.
Stanza 6.
The metre is very irregular; the Anukramanî describes the stanza as tripadâ yavamadhyâ bhuriggâyatrî, not a bad characterisation, as the middle Pâda is larger than the other two. By reading sottishtha we obtain a good octosyllabic Pâda a; b is a trishtubh, and c is a catalectic anushtubh (read ûrdhuák). Hillebrandt and Grill assume that this and the following stanza are later accretions, and both metre and sense seem to bear them out. But these matters are so
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very subjective! Ludwig does not construe Pada b as a comparison, but translates 'gutes rad, gute felge, gute nabe hat der wagen.' Evidently, he also has in mind an exoteric origin of the stanza.
Stansa 7. Cf. RV. VI, 54, 7. The stanza consists of two elevensyllable and two octosyllabic Padas. The first Pada may be righted by reading patituá, or possibly yadi va kartám, &c. (cf. yádi vâ in Pâda b). The Anukramanî baldly counts thirty-six syllables as they stand, without resolution, and designates the stanza as brihati.
0, d. The subject of sám dadhat seems to me (as to Grill) to be Dhâtar, the fashioner in st. 2; ribhů belongs to the comparison, as in X, 1, 8. The Ribhus are known to have constructed the chariot of the Asvins, but they are not counted among the divine physicians (Rudra, the Asvins, the waters, and Sarasvati). Kuhn and Ludwig make ribhů the subject of sám dadhat, but the former regards it as an epithet of Dhâtar.
IV, 16. COMMENTARY TO PAGE 88. Professor von Roth, who first treated this hymn in his well-known essay, entitled 'Abhandlung über den Atharvaveda' (Tübingen, 1856), remarks on p. 30: ‘There is no other hymn in the entire Vedic literature which presents divine omniscience in terms so emphatic, and yet this beautiful fabric has been degraded to serve as an introduction to an imprecation. One may surmise, however, in this case as well as in the case of many other parts of this Veda, that fragments of older hymns have been utilised to deck out charms for sorcery.'
We may remark, however, that the stanzas of this hymn do not occur in any other connection, and there is no tangible evidence that they were constructed for any other purpose than that before us. Certainly the Atharvavedins had nothing better in view, and accordingly the hymn is rubricated in the sixth book of the Kausika which is
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devoted to sorcery (abhikârika). At Kaus. 48, 7 the conjuring enemy, as he comes on, is met by the recital of this hymn; at 127, 3 the third stanza, in praise of Varuna, figures in an expiatory rite when the constellation, the seven Rishis' (the dipper), is ominously obscured by some nebulous mass, or comet (yatra dhumaketuh saptarshîn upadhupayati). The Anukramani describes the hymn as satyânritânvikshanasaktam, 'a hymn which searches out truth and untruth.'
There are many translations of the piece : Roth, l. C., pp. 29 ff. ; Zeitschr. d. Deutsch. Morg. Gesellsch. VII, 607; Max Müller, Chips from a German Workshop, I, 40 ff.; Muir, Original Sanskrit Texts, V, 63 ff. (cf. also II, 451); Metrical Translations, p. 163; Kaegi, Der Rig-veda?, p. 89 ff. (p. 65 ff. of Arrowsmith's translation); Ludwig, Der Rigveda, III, 388; Grillo, pp. 32, 126 ff.; cf. also Hillebrandt's Vedachrestomathie, p. 38 ff.; Bergaigne et Henry, Manuel Védique, p. 146 ff.
Stanza 1. Cf. Psalms xxxiii. 13; cxiii. 5; cxxxviii. 6; cxxxix. 2; Jer. xxiii. 23, and see for scriptural parallels to the next stanzas the notes to Kaegi's translation. Sâyana refers eshâm to the enemies; most translators, to the human race in general. We supply devấnám from devah in Pâda d. Some MSS. of the Padapatha read tâyát and kárat; the latter is adopted by Såyana, karanasîlam ka nasvaram ka vastu manyate.
Stansa 2. 8. Sayana explains váñkati by kautilyena pratårayati, leads astray by means of guile.' Cf. the formula, namo vañkate, parivaskate, stâyûnam pataye namah, Mait. S. II, 9, 3; Tait. S. IV, 5, 3, 1; Våg. S. XVI, 21, addressed as part of the satarudriya-litany to god Rudra in his capacity of master-thief (Mahîdhara also, vañkati pratârayati). The Paippalada reads, yas tish thati manasa yas ka vañkati, supporting in a measure Sayana's and Mahidhara's glosses.
b. The Padapatha reads nislấyan, a participle, not a
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gerund; pratánkam is left as an accusative dependent upon kar, a verb of motion. The meaning 'hiding-place' for pratáňka suits its only other occurrence, AV. V, 13, 8: 'the poison of all (serpents) who have run into their hidingplace is without force.' Cf. also pratákvan, Maitr. S. I, 2, 12; Tait. S. I, 3, 3, 1; Vâg. S. V, 32, and Pet. Lex. (epithet of a pit). Sâyana reads nilâyam, and glosses pratánkam with prakarshena krikkhragîvanam prâpya. The Paippalâda has pralâyam, absolutive, in the place of pratánkam.
IV, 16.
COMMENTARY.
Stanza 3.
c, d. The last two Pâdas foreshadow Varuna's later function as Neptune (apâm patih); cf. RV. II, 38, 8; AV. III, 3, 4; Maitr. S. II, 6, 8; Tait. S. I, 8, 12, 1; V, 6, 1, 1; Våg. S. X, 7, and Weber, Râgasûya, p. 44, note 1. The two oceans are the heavenly and earthly oceans; cf. RV. X, 136, 5; AV. XI, 2, 25; 5, 6.
Stanza 4.
Varuna's spies are the stars,' the eyes of night' (RV. X, 127, 1),' the beholders of men,' AV. XIX, 47, 3 ff. Cf. our Contributions, Third Series, Journ. Amer. Or. Soc. XV, p. 170.
Stanza 5.
b, c. Sâyana reads purastât for parástât, and construes sámkhyâtâ as the nom. of the stem samkhyâtar (pramânayitâ).
d. The Pâda is exceedingly difficult. ní minoti has the sanction of all MSS., and is apparently the reading of the Paippalâda also. The gamester throws down (ni vapati, Kaus. 41, 13) his dice, and it is implied here, of course, that it is done successfully, that the player obtains the stakes (kritam, see Pet. Lex., s. v. kritá 3 c), because Varuna cannot be otherwise than successful. As the player plants down these (successful dice) thus does Varuna establish these laws (tâni, sc. vratâni ?). Sâyana, who did not primarily influence our conclusion, in part approaches the same interpretation, tâni pâpinâm sikshâkarmâni tattatpâ
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HYMNS OF THE ATHARVA-VEDA.
pânusårena ni minoti ni kshipati ... yathả kitavah akshan åtmano gayártham nikshipati. The Pet. Lex. (V, 764; VII, 409) emends to ni kinoti and ví kinoti without real gain, tempting as the emendation is in the light of RV. X, 42, 9 = AV. VII, 50, 6, and AV. IV, 38, 2. Grill suggests ni minoti (or minâti) in the sense of 'reducing, causing to vanish the strength of men' (cf. Sâyana), but neither expression will bear such an interpretation (ní minâti does not occur). The translators offer the greatest variety of versions, without, as a rule, adhering closely to the text.
Stanga 6. Såyana reads visitåh and rushantah (so also the Paippalådal. For sinantu of the vulgate the MSS. have khinantu, khinattu, and sinantu (Sảyana, khinattu khindantu).
Stansa 7.
4. varuna is metrically superfluous, an obvious gloss.
c. The MSS. read sramsayitva and sramsayitva. Sayana, correctly, sramsayitvå (galodararogena srastam kritvå).
d. Sâyana, followed by Shankar Pandit, reads abandhah for abandhráh. The Pet. Lex. s. v. 2 kart, like a leaking tub wound about with rags' (to stop the leakage). Såyana, aseh kosa iva parikrityamânah (kriti khedane), 'like the broken sheath of a sword.'
Stanza 8. Literally, with Varuna who is fastened lengthwise, &c.' The word várunah could be well spared from all three Padas, if it were not for the metrical symmetry with the next stanza. Or it might be changed to the vocative varuna. For samâmyò and vyâmyè, cf. AV. XVIII, 4, 70: the words are clear. Ludwig and Sâyana erroneously connect them with âmaya, 'disease.' videsyà is naturally derived from videsa, 'foreign country ;' in that case samdesyà is an artificially formed opposite 'native, indigenous.' So Sâyana. Both words are &t. dey. An alternate possibility
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is to render samdesyà, 'subject to command ;' then videsya is 'exempt from command.' Or, again, each may be translated independently: samdesyà, subject to command;' videsyà, 'foreign :' their juxtaposition in a magic formula may be of the punning order. For samdesya, cf. our note on II, 8, 5 b. The divine and the human (noose of) Varuna refers either to divine and human disease (so, apparently, Sayana), or to diseases instigated by gods and men. The formula grovels in the lowest bathos of hocus-pocus.
IV, 17. COMMENTARY TO PAGE 69.
This and the two following hymns are addressed to the apâmârga-plant (achyranthes aspera). It is employed to ward off all kinds of evil and witchcraft, and its qualifications in that direction are guaranteed to the Atharvanic Hindu by its real or supposed etymology. The name is hardly ever mentioned without bringing in its trail the verb apa marg, 'to wipe out.' The pun assumes the most lively reality: diseases, enemies, demons, and sins are wiped out by its influence. See Zimmer, p. 66 ff.; our Contributions, Third Series, Journ. Amer. Or. Soc. XV, 161; Weber, Rågasûya, p. 18. Cf. also Sat. Br. XIII, 8, 4, 4.
The three hymns figure at Kaus. 39, 7 in a list which is almost identical with the krityâpratiharanani (sc. sûktâni), or the krityågana, a series of hymns designed to counteract sorcery, in the Ganamâlâ, Ath. Paris. 32, 2.
The Kausika, 39, 7-12, prescribes in connection with these hymns a lengthy procedure, which begins with the pouring of the great consecration' (mahåsåntim âvapate). Cf. Kaus. 39, 27; 43, 5; 44, 6; 46, 7; Sankh. Grih. V, 11, 2. The mahâsanti consists in pouring together 'holy water' (sântyudakam) during the recitation of the four ganas of hymns, described in Kaus. 8, 23-9, 6. The 'holy water' itself is prepared at Kaus. 9, 8 ff. with elaborate ceremonies, the chief of which is the placing of holy plants'
· Sâyana regularly glosses the word by sahadevi.
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(Kaus. 8, 16) into the water. Obviously the meaning of all these performances is purification, and the warding off of impure influences. Then follow in Satras 39, 8–12 a variety of rather complicated practices, too lengthy and obscure for exposition in this connection. They concern more narrowly some such hymn, belonging to the krityåpratiharanâni, as X, 1; see the introduction to that hymn. The fifth stanza of IV, 17 naturally figures in the duhsvapnanåsanagana, 'series of hymns calculated to drive away evil dreams,' of the Ganamåla ; see Kaus. 46,9, note.
The hymn has been translated by Zimmer, p. 66; Grilla, pp. 37, 130 ff. The Anukramanî, apâ mârgavanaspatidevatyam. Cf. also Ath. Paris. 18%, 4.
Stansa 2. a. Sayana with one MS. reads for sapathayávanîm the synonymous sapathayopanîm; cf. II, 7, 1.
b. The epithet punahsará does not somehow seem to me to be so clear as to the editors of the Pet. Lexs., Zimmer, and Grill. They render it by 'zurückgeschlagene blüthen habend.' This is based upon the statement at IV, 19, 7, 'thou didst grow backward, thou hast fruit which is turned backward' (cf. VII, 65, 1; Sat. Br. V, 2, 4, 20), and the epithets parakpushpî, pratyakpushpi, and pratyakpami in native lexical works. In RV. VII, 55, 3 punahsará is an epithet of the barking dog, 'running back and returning again (to the attack). The two other occurrences of the word, AV. VI, 129, 3; X, 1, 9, are not disposed of satisfactorily by the renderings of the Pet. Lexs. It seems to me that'attacking' or 'defending' is better, and that the word pratisara, 'defensive amulet?,' is closely related to it. Cf. Sat. Br. V, 2, 4, 20, and Seven Hymns, Amer. Journ. Phil. VII, 478 ff. Sâyana, similarly, punahpunah abhîkshnyena bahutaravyâdhinivrittaye sarati.
1 The pratisara turns the spell as a boomerang upon him who performs it. See AV. VIII, 5, 5, pratskih krilyâh pratisaraír agantu, and cf. the note on VIII, 5, 1.
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Stansa 3. Identical with I, 28, 3. The Pet. Lexs., Zimmer, and Grill regard müram = mûlam, “root (of an injurious plant).' Sayana, můrkhåpradam. Padas c, d perhaps rather, she who has taken in hand the (magic substances) created to rob strength...!
Stanza 4. Cf. V, 31, 1, and the note on Kaus. 39, 31. The unburned vessel seems to symbolise the fragility, destructibility (Sat. Br. XII, 1, 3, 23) of the person upon whom enchantments are practised. At Sat. Br. XIV, 9, 4, 11 = Brih. År. VI, 4, 12 it figures in a sorcery practice against a wife's paramour. The compound nilalohitá is also connected with sorcery from the first. It occurs in RV. X, 85, 28 = AV. XIV, 1, 26 = Apast. Mantrabr. I, 6, 8 (Åpast. Grih. II, 5, 23)=Baudh. Grih. I, 8; AV. VIII, 8, 24. The Atharvan ritual, Kaus. 16, 20 (rubricating AV. VIII, 8, 24d); 32, 17; 40, 4; 48, 40 ; 83, 4, leaves little room for doubt that in its view a dark blue and a red thread are here intended. This is also the tradition of Åpast. Grih. II, 5, 23, and similarly Sankh. Grih. I, 12, 8 prescribes, in connection with RV. X, 85, 28, a red and black cord upon which amulets are fastened. Only Baudh. I, 8 treats the compound as a symbolic representation of night and day; see Winternitz, Das Altindische Hochzeitsrituell, pp. 6, 12, 67. It is, of course, possible to conclude that this is the true source of the symbolism: day and night rendered concrete by these two colours. Såyana seems to have lost his grip upon Atharvan tradition when he says to our passage, 'the fire which is black from the rise of smoke and red from its flame.' Zimmer and Grill both co-ordinate nilalohité with amé pátre, 'an das ungebrannte' and 'am rotgebrannten,' obviously against the spirit of the Atharvan tradition. Cf. also the introduction to VII, 116, and Tait. S. IV, 5, 10, 1.
0. Raw meat is eaten by demons, and therefore realises symbolically their presence; see V, 29, 6; VIII, 6, 23.
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HYMNS OF THE ATHARVA-VEDA.
Stanza 5. Identical with VII, 23. I have translated abhvám by 'gruesomeness,' because it has occurred to me at various times that it, as well as abhú (cf. RV. X, 129, 3), is related to nábhas, fog, cloud,' being in the current terms of comparative grammar = ņbhụd-, and gbhú from root nebh. For this and the following two stanzas, cf. RV. V, 36, 3 ; VII, 1, 19 ff.
Stange 6. b. The clever emendation of the Pet. Lex. anapatyátâm, for anapadyátâm, as is the reading of the MSS. of the vulgate, is now authenticated by quite a number of Shankar Pandit's MSS., and Sâyana (apatyarâhityam); cf. the words apragástå and apragåstvá.
IV, 18. COMMENTARY TO PAGE 70. For the treatment of this hymn in the ritualistic texts, see the introduction to IV, 17. The hymn has been translated by Grill?, pp. 25, 131 ff.
Stanza 1. The Atharvanist loves to point to cosmic correspondences and harmonies as the foundation of his own righteous undertakings. This harmony furnishes the satyam, the unfailing basis (cf. ritam) for his own operations against the powers of evil. Professor Roth, as quoted by Grill, refers gyótih to the light of the moon (cf. gyotsna), thus establishing a closer parallelism between Padas a and b. I doubt whether the text will bear this strain. Sayana literally, the light of thee (the apâmarga-plant);' cf. IV, 19, 3. The night is frequently viewed as illumined, starry (RV. X, 127; AV. XIX, 47, 1; 49, 6. 8). b. krltvarîh either 'enchantments' or 'witches.'
Stansa 3. In our view the solution of the difficulty here lies in the assumption of a change of gender from yás in Påda b (the
CorrectNight' at the beginning of the stanza to · Light.'
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397
male sorcerer) to tásyâm (the witch) in Pâda c. The entire second hemistich describes the punishment of sorcerers, for which cf. V, 23, 13. If we were to change tásyam dagdhayam to tásmin dagdhé the sense would be obvious. Cf. V, 14, 6, yádi strî yádi vá púmân krityám kakára papmáne. Grill emends amá to âmáyâm (sc. sthâlyầm) with a result somewhat as follows: 'He who practises sorcery in an unburned vessel and then puts it upon the fire to bake, his magic vessel cracks as though hit by great stones.' Sayana deprives himself of possible helpfulness by reading dugdhayam for dagdháyâm (pratîkarena riktîkritâyám ... krityâyâm, upon his sorcery rendered impotent by the counter-charm').
Stansa 4. b. The vulgate's vlgrivam khapaya (Padapatha, vigrivẫn såpaya) is at the base of our rendering. Shankar Pandit's MSS. seem to read unanimously khâyaya (sayaya), 'lay.' Sâyana, kshấyaya (kshayam prâpaya). Cf. RV. VII, 104, 24.
Stansa 6. The first three Pådas are identical with the first three of V, 31, 11.
IV, 19. COMMENTARY TO PAGE 71. For the employment of this hymn in the ritualistic texts, see the introduction to IV, 17. It has been translated by Grill?, pp. 34, 132 ff. Cf. Zimmer, pp. 66–67.
Stanza 1. The sense of the first hemistich seems to be that the plant in its dual rôle of destroyer of enemies and protector of friends depletes and increases families or clans. Sâyana erroneously derives -krit from root kart, 'cut, to wit, satrûnam kartakah ... gåmayah sahagah satravah teshâm api kartayità asi. For Påda d, cf. VI, 14, 3 C.
Stanga 2. The words kánvena nârshadéna (RV. X, 31, 11) seem to be a gloss upon brâhmanéna ; cf. IV, 37, 1; VI, 52, 3, &c.
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Sayana regards the dm. dey. páryuktà as = páriyukta (viniyukta ssi); cf. our remarks on haplology, Proc. Amer. Or. Soc., April, 1893 (Journ., vol. xvi, p. xxxiv ff.). But pari yug is not quotable elsewhere. The stanza figures in one of the abhayagana of the Ganamåla ; see Kaus. 16, 8, note.
Stanga 4. The order of the statement here is really to be reversed : when thou, O plant, wast begotten as apâ mârga (wiping out'), then the gods drove out the Asuras with thee.
Stanza 5.
For 'thy father's name,' cf. the note on V, 5, 1. For pratyák, see pratyán and pratikînaphalas in st. 7, and the note on IV, 17, 2.
Stanga 6. A cosmogonic brahmodya, pressed into the service of incantation! Cf. Contributions, Third Series, Journ. Amer. Or. Soc. XV, 172 ff. We have presented a purely philological translation of the stanza without attempting to bend it to the situation any further than is warranted by the wording. Grill takes ásat in the sense of wrong,' and similarly Sayana, asatkalpam krityårūpam. But a glance at the word in Jacob's Concordance to the principal Upanishads reveals the subjective character of the proceeding. The ásat is simply chaos,' manipulated as one of the primary cosmic forces: the sat, tad, satyam, or ritam would apparently have done just as well. For kartáram in the sense of evil-doer,' cf. V, 14, 11.
IV, 20. COMMENTARY TO PAGE 68. The hymn is addressed to a magic plant which is supposed to impart the power to expose hidden demons, wizards, and their hostile practices. The attributes of the plant are not stated in the hymn with sufficient clearness to enable us to point out its place in the redundant Indian
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flora. The Kausika, 28, 7, mentions the name of the plant as sadampushpå ; this is glossed by Darila with trisamdhyâ and by Kesava with samdhyâ (probably a corruption of trisamdhya). The Sätra reads : à pasyatîsti sadampushpâ manim badhnâti, 'with AV. IV, 20 he ties on as an amulet the plant sadampushpå.' The plant is mentioned again along with others in a charm directed against witchcraft in 39, 6, and Sayana defines it in agreement with Kausika, he devi sadampushpåkhye oshadhe; cf. also sadapushpî in the lexicons. The plant seems to be the calotropis gigantea; cf. Karaka-samhità I, 4, 3. For amulets derived from the vegetable kingdom see Seven Hymns of the Atharva-veda, Amer. Journ. Phil. VII, 478, and for amulets in general Kaus. 7, 19. The hymn is rubricated further in the list of stanzas designated as katanâni (sc. suktåni), 'hymns to chase away with,' in Kaus. 8, 25, and the Ganamâlâ, Ath. Paris. 32, 4, adds it also to the three hymns which Kaus. 8, 24 describes as the måtrinâmâni (sc. sûktâni). The reason for this classification is the expression devy (oshadhe) in stanzas 1 and 2. See the note at Kaus. 8, 24, and cf. for the matrigana our remarks in the introduction to VI, III. The Anukramanî follows these secondary considerations, designating the hymn as mâtrinâmadaivatam, its author being Mâtrinâmarshi.
The hymn has been translated by Ludwig, Der Rigveda, III, 525, and Grill?, pp. 2, 133 ; cf. also Hillebrandt's Vedachrestomathie, p. 48.
Stansa 1. For the description of the plant in this stanza, cf. mâmpasya in VII, 38, 1, and see the introduction to VI, 139. I have upheld in my translation the text of the edition, guaranteed as it is by the unanimous tradition of the MSS. of the Saunakîya-sâkhâ. All corrections, including the important variant pasyasi for pasyati throughout the stanza in the Paippalada, seem to me in this instance to amount to the substitution of a better literary performance for a poorer one; they do not bring with them the proof that
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HYMNS OF THE ATHARVA-VEDA.
the priests of our school ever had any other text, or, what is more to the point, that the original versifex had composed differently. The merit of the Paippalâda's pasyasi is so obvious that it may be due to a conscious improvement on the part of its author. The metre of the stanza is irregular (Anukramanî, svarâg); the first Pâda is hypercatalectic, the third Pâda may be sustained by reading, with elision and crasis, dívântáriksham for dívam antáriksham. Hillebrandt's suggestion, accepted by Grill, that ád be thrown out seems to me unnecessarily violent.
a. Hillebrandt would restore the Pâda: pásyati práti pasyati; Grill (with the help of the Paippalâda), a pasyasi prá pasyasi, continuing with pasyasi throughout. Sâyana retains the third person, referring the stanza to the person who wears the amulet: he devi sadampushpâkhye oshadhe tvadvikâramanidhârako yam ganas tvatprasâdâd âpasyati âgâmibhayakâranam pratihartum gânâti, ' O goddess plant, sadampushpa by name, this person here, who wears an amulet fabricated out of thee, by thy favour perceives the cause of approaching danger, and knows how to repel it.' The emendation of práti to prá (Grill) is especially undesirable, as the same expression occurs in a closely parallel situation, AV. VII, 13, 2.
b. Grill suspects the second pasyati, and imagines oshadhe in its place.
d. The temptation to emend the vocative devi to the nominative devi is great. The sense then would be that the amulet itself sees all dangers. Grill, as we have seen above, adopts the Paippalâda reading pasyasi, is thus enabled to retain devi, and also obtains essentially the
same sense.
Stanza 2.
a. Read prithvih. The three heavens are well known; see, e. g. AV. V, 4, 3; VI, 95, I; XVIII, 2, 48; XIX, 39, 6 (cf. the note on V, 4, 3). For the three earths see RV. I, 108, 9; II, 27, 8; III, 56, 2; AV. VI, 21, 1, and Muir, Original Sanskrit Texts, V, p. 305, note; Zimmer, Altindisches Leben, p. 357; Bergaigne, La Religion Védique, I,
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239. Cf. also Yasna XI, 7: madhemê thrishvê ainhão zemô, in the middle third of this earth.'
Stanza 3.
a, b. divyásya suparnásya ... kanînika is rendered by Ludwig, 'dises himlischen adlers kleine tochter ;' by Grill, der Augenstern des Adlers, der am Himmel ist.' Sayana glosses suparná by garutmant, which suggests RV. I, 164, 46. Grill follows the Pet. Lex. (s. v. 2 a). a)] in regarding the divine eagle as the sun. But perhaps the lightning-fire is in the mind of the poet. At Våg. S. XVII, 72; XVIII, 51 ; Sat. Br. IX, 2, 3, 34; 4, 4, 3, the divinity addressed, suparno-si garutmân, is treated distinctly as Agni, and Mahidhara states this plainly. In Maitr. S. I, 2, 5; Vâg. S. IV, 32 ; Tait. S. VI, 1, 7, 3, 'the eye-ball (kanînika, kanînaka) of Agni's eye' is spoken of. The expression divya suparná may be the exact equivalent of diváh syéna, and that, I believe I have proved, is Agni, the lightning, personified as a divine eagle; see Contributions, Fifth Series, Journ. Amer. Or. Soc. XVI, 1 ff. The descent of this eagle, or the Gayatrî, as the Brahmanas have it, is frequently disturbed by a heavenly archer Krisânu who wounds the eagle, so that he loses a feather which falls to the earth, and grows up as a plant or tree. See Adalbert Kuhn, Die Herabkunft des Feuers und des Göttertranks, p. 148 (first edition). The use of the word suparná in our edition is, in my opinion, intended to convey a double entente, 'bird' and 'having beautiful leaves.' Cf. Tait. S. VI, 1, 1, 5, where Vritra's eye-ball (kanînika) flies away after he had been slain by Indra, and turns into salve (añganam). Ludwig does not comment upon his translation of kanînikå by 'kleine tochter, rather than "eye-ball;' it may possibly turn out correct when RV. X, 40, 9 yields up its meaning. We have there as follows: gánishta yóshå patayat kanînakó ví kás ruhan virudhah, a passage which suggests the situation in our stanza completely and yet vaguely. But it is interpreting obscurum per obscurius
Dd
[42]
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HYMNS OF THE ATHARVA-VEDA.
to bring the RV. stanza into play. Cf. also our note at V, 5, 8.
0. Såyana, gagadrakshârtham oshadhirûpena bhūmâv avatîrnâssi.
Stanza 4. 4. "The thousand-eyed god.' In X, 3, 3 an amulet derived from the varana-tree is designated as sahasraksha ; in XI, 2, 3. 7. 17; Sat. Br. IX, 1, 1, 6 Rudra is so called ; in IV, 28, 3 Bhava-Sarva ; in IV, 16, 4 Varuna's spies; in RV. I, 23, 3 Indra and Vậyu; in Tait. S. II, 3, 14, 4 Indra. Further, we have the thousand-eyed pâpman, evil,' in AV. VI, 26, 3; sapatha, 'curse,' in VI, 37, I. Grill fancies that the god of the plant here in question is meant, but this seems faint after the plant herself has been personified as a goddess, devy oshadhe, in st. 2. Perhaps rather Agni, said to be thousand-eyed' with especial frequency, is meant; see RV. I, 79, 12; Vâg. S. XVII, 71 (XIII, 47); Sat. Br. VII, 5, 2, 32 ; IX, 2, 3, 32; Apast. Sr. VI, 25, 10. Agni particularly chases away evil spirits, agni rákshâmsi sedhati, RV. VII, 15, 10; AV. VIII, 3, 26; Tait. Br. II, 4, 1, 6; agnir hi rakshasåm apahantâ, Sat. Br. XIV, 3, 1, II.
b. á dadhat. Zimmer, l. C., 204, construes this as an augmentless imperfect. In the Samhitâ the augmented form would not differ, adadhat. The sense is satisfactory either way.
6. Sayana comments upon tváyà instead of táyâ, as in st. 2.
d 'The Sûdra and the Årya,' i. e. every kind of person, as we should say in America 'black and white.' The phrase is formulaic, as may be seen from the compound südrâryâu (Mahîdhara, sûdravaisyau), Våg. S. XIV, 30; Sat. Br. VIII, 4, 3, 12. See in general Muir, Original Sanskrit Texts, II, 368; Ludwig, Der Rigveda, III, 212; Zimmer, 1. c., 117 ff., 204, 216, 435.
Stansa 5. a, b. rů páni and átmânam are antithetical: rûpâni, 'the outer forms of things ;' atmânam, 'thy own nature. It is
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a controlling characteristic of Vedic conceptions that the inner, true nature of any divinity, or instrument of power, must be understood in order to control its influence or power : ya evam veda, and ya evam vidvan in the Brahmanas are crystallisations of this idea ; cf. AV. I, 13, 3; VI, 46, 2; VII, 12, 2, &c.
0. sahasrakaksho, here, and XIX, 35, 3, as epithet of the plant gangida, is a vocative from a stem sahasra-kakshu. The beginnings of a stem kakshu, a pendant of kakshus in the ablative kakshos, RV. X, 90, 13. Transition forms between the us- and u-declensions (as also between the is- and i-declensions) are not uncommon in the Veda ; see Lanman, in the Journ. Amer. Or. Soc. X, 568 ff.
d. For the class of demons called kimidin, see AV. I, 7; 1, 28; II, 24; VIII, 3, 25; 4, 2; 6, 21; XII, 1, 50.
Stanza 6. For yâtudhấna, -ns, and pisâká, see the hymns I, 7 and 8.
Stanza 7. 8. Kasyapa is a name to conjure with in the Atharvan writings; amulets and charms handled by him are peculiarly powerful (e.g. 1, 14, 4 ; IV, 37, 1 ; VIII, 5, 14). He rises to the dignity of the supreme self-existing (svayam-bhû) being in AV. XIX, 53, 10; cf. also Tait. S. V, 6, 1, 1, and see the Pet. Lex. s. v. 2 b. He is also intimately related with forms of the sun, Surya and Savitar, as is stated expressly in Tait. År. 1,7,1; see also Tait. År. I, 8, 6, and compare Tait. S. V, 6, 1, 1 with AV. I, 33, 1 b. This fact may by itself account for the expression kasyápasya kákshur asi. In fact kasyápa is the sun as a tortoise, that creeps its slow course across the sky; cf. the conceptions of the sun as a hermit, and a Brahman disciple, XI, 5, introduction. Only we must not forget that these writings neglect no opportunity of being guided in their constructions by puns, even of the most atrocious sort, and kasyápa surely suggests pasyaka,' seer,' to the Atharvan mind, as is written distinctly in Tait. År. I, 8, 8, kasyapah pasyako
dd 2
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bhavati yat sarvam paripasyati. The name kasyápa is in some special relation to the Atharvan writings, not as yet fully cleared up; cf. the author in the Journ. Amer. Or. Soc. XI, p. 377.
HYMNS OF THE ATHARVA-VEDA.
"
b. The MSS. read katurakshak, but Sâyana fitly comments upon katurakshyah, the form as emended in Roth and Whitney's edition; cf. akshós for akshyòs in AV. V, 4, 10 (see the note). The four-eyed bitch' is Saramâ the mother of the two four-eyed dogs of Yama1, Syama and Sabala, which I have explained as the sun and the moon; see Journ. Amer. Or. Soc. XV, 163 ff. The epithet 'foureyed' seems possibly to be derived from the same view, namely the capacity of the two dogs to see both by day (the sun), and by night (the moon). The Paippalâda as quoted by Grill2, p. 135, makes the notable statement that 'the four-eyed dog (obviously the moon) overlooks by night the sphere of the night,' yatha svâ katuraksho râtrim naktâ tipasyati. In practice the fiction of a foureyed dog is materialised both by the Hindus and Iranians in the form of a dog with marks over the eyes; see my article, 1. c., p. 165, note 1, and Kaegi in the Philologische Abhandlungen für Heinrich Schweizer-Sidler, p. 64, note 57.
c. vîdhré, lit. 'in the clear sky;' Ludwig, 'im hellen;' Grill, 'heiteren tags.' sûryam iva is to be read as three syllables, as frequently elsewhere, either suryeva or suryam
va.
Stanza 8.
c. téna may be either masculine, referring to the divinity in st. 4, or neuter, agreeing with bráhma, 'charm.'
IV, 22. COMMENTARY TO PAGE 115.
The hymn is employed twice in the so-called râgakarmâni, 'the royal practices,' Kaus. 14-17. The first is characterised by the scholiasts, Kesava and Sâyana, as a battle-charm
In RV. I, 29, 3 the two messengers (dogs) of Yama are personified as females.
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(gayakarma, samgramagayârtham), and its rather colourless proceedings are as follows: 14, 24. While reciting IV, 22 and 23 he performs the ceremonies which culminate in the presentation (of the bow to the king).' These are described in Sutras 8-11 of the same chapter, to wit: 8. * An oblation of ghee and grits is poured out. 9. Upon a fire made of bows a bow is laid on as a fagot. 10. Likewise an arrow (is laid on) upon a fire made of arrows. 11. The bow (of the king), smeared with the dregs of the ghee, is presented to him.'
The other performance, Kaus. 17, 28-9, is part of the consecration of a chief ruler (ekaraga, Kaus. 14, 11; cf. ekavrishá in our hymn, sts. 1, 5, 6, 7). The special solemnities of the consecration have been absolved, but every morning the royalty of the king has to be renewed, to wit : 28. Every morning the hymn IV, 22 (or its first stanza ?) is recited to the king (by the purohita, the house-priest). 29. They (the king and the purohita) then perform the above-mentioned pouring of water (each into a vessel), and the exchange (of the vessels).' This refers to Satras 4 and 5 of the same chapter ; cf. the introduction to IV, 8, and Professor Weber's discussion of the passage in his treatise, Über die Königsweihe, p. 140 (Transactions of the Royal Prussian Academy, 1893). The hymn, further, is one of a cycle (gana) devoted to the gain of royal power (rashtrasamvarga), grouped together in the indramahotsava, Ath. Paris. 19, 1 (cf. Kaus. 140, 6, note). See also Ath. Paris. 4, 1 and 16. The fanciful analysis of the hymn by the Anukramani may be seen in Grill's introduction.
The hymn appears again in Tait. Br. II, 4, 7, 7 ff. ; it has been translated by Ludwig, Der Rigveda, III, 457; Zimmer, 165; Grill, 67, 135 ff.; cf. Hillebrandt's Vedachrestomathie, p. 43.
Stanza 1. The speaker is the purohita, the house-priest, or chaplain of the king; he figures prominently in all the ragakarmani, Kaus. 14-17.
b. Sayana with one of Shankar Pandit's MSS. reads
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HYMNS OF THE ATHARVA-VEDA.
vrisham ekavrisham, and glosses, sekanasamarthânām viryavatâm purushånâm madhye imam rågånam ... mukhyasektâram asahầyasůram ... kuru; cf. our note on III, 5, 7.
0. nír akshnuhi, lit. 'castrate,' continuing the picture of the preceding Påda : the king is to be a bull, his enemies castrated. Cf. RV. I, 33, 6; Sat. Br. IV, 4, 2, 13; XIII, 4, 2, 5, and the word mahânirashta. Ludwig, 'drive out;' Zimmer,' zerstreue ;' Såyana, samkukitaprabhâvân kuru.
d. Sâyana divides aham uttareshu, with the result, I (the purohita) put him among the highest rulers.' Cf. XII, 4, 50.
Stansa 2. 0. The Tait. Br. II, 4, 7, 7, the Paippalada, and Såyana read várshman, loc. sing. I see no cogent reason for giving up (with Zimmer, Hillebrandt, and Grill) the reading of our MSS., várshma.
IV, 28. COMMENTARY TO PAGE 158. Bhava and Sarva, two of the well-known forms (mûrti) of Rudra (cf. especially their epithet ugrá in sts. 3, 6, 7)', are implored by virtue of their cosmogonic powers to afford protection against calamity, and, with the familiar Atharvanic specialisation, to destroy sorceries and demons. The ritual, Kaus. 28, 8, regard the hymn as medicinal (sarvavyâdhibhaishagyam, 'a remedy for all diseases'). Seven cornucopias are made from (leaves of) the kampila (crinum amaryllacee), filled with water, and anointed with the dregs of ghee. With the right hand the water is poured upon the patient, and the cornucopias are thrown behind the patient. The connection between the prayer and the practice is not manifest. The hymn is rubricated also in takmanasanagana of the Ganamâlâ, Ath. Paris. 32, 7; see Kaus. 26, I, note. It has been translated by Muir, I. c., P. 332.
* See the introduction to XI, 2 for the Vedic texts, and the Western literature, dealing with this subject.
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Stanza 3.
b. The periphrastic expression stuvánn emi is so strange to the padakâra as to induce him to divide it into stuván nemi. Sâyana blunders still further, reading stuvan nemî (stuvan prasamsan nemah ardham balam asya stî-ti nemî).
·
407
Stanza 6.
a. mûlakrit, manipulator of roots,' is so characteristic a feature in sorcery-practice, as to give rise to specific prohibition of the act; see Vishnu-smriti XXV, 7; Manu IX, 290, and cf. Nârâyana on the latter passage in Bühler's translation of Manu, Sacred Books of the East, XXV, 394.
IV, 36. COMMENTARY TO PAGE 35.
The hymn is one of the kâtanâni (sc. sûktâni), 'hymns which drive away demons and diseases,' Kaus. 8, 25. The entire list (gana) is employed at Kaus. 25, 22, among the bhaishagyâni, 'remedial charms,' against bhûta and pisâka; the performance connected with the recital of the gana is identical with the so-called apanodanâni, ' practices to drive away,' described at Kaus. 14, 14 ff. They consist chiefly in burning chaff, spelt, offal of grain, and wood shavings, symbolizing, doubtless, rapid consumption or destruction.
The hymn has been translated by Ludwig, Der Rigveda, III, 526; Grill, pp. 3, 136 ff. The Anukramanî, satyaugasam âgneyam (cf. st. 1).
Stanza 3.
The first hemistich is not at all clear, âgaré being åπ. λey. and uncertain. We have taken it with the Pet. Lexs. and Ludwig as âgâra, and it is to be noted that two MSS. of Sâyana's commentary (Ś Kd) read agâro for âgaro. Cf. also agâra at Åsv. Grih. I, 7, 21. Sâyana etymologises, âgîryate samantâd bhagyate mâmsasonitâdikam atre-ti âgaro yuddharangah. Grill, supported by a more recent utterance of Roth, renders' unter rufen.' In that case âgará would be 'shouting to' (cf. âkrosa, Kesava, p. 327, and
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often elsewhere), pratikrosa, 'shouting back,' i.e. 'under shouting and counter-shouting.' We have taken amâvâsyà as an adjective=âmâvâsya, ' in the night of the new moon (Pânini IV, 3, 30. 31). Cf. our note on I, 16, 1. Sâyana aptly quotes from the Apast. Sr. the following passage: 'In the night of the new moon one shall offer to Agni, the slayer of Rakshas, a rice-cake in twelve cups.' Note the concatenation between this and the following stanza.
HYMNS OF THE ATHARVA-VEDA.
Stanza 5.
The sense is that the superior gods who vie with the sun (RV. I, 98, 1; 123, 12; V, 4, 4; IX, 27, 5) shall afford protection against the Pisâkas to man and beast.
Stanza 7.
Note the pun between pisâkah and saknomi, and the concatenation with the following stanza. For grama, see the note on VIII, 7, 11.
Stanza 9.
a. Sâyana with some MSS. reads lipitâh (upadigdhâ/ samkrântâh), and Whitney in the Index, guided perhaps by the pada-MSS., which read lapita without visarga, suggests lapitva. But the text seems well enough as it stands.
d. álpasayûn is uncertain: Sâyana, alpakâyâh. kitali, and we accordingly. Ludwig (c, d), 'mein ich, sind sie unglücklich, nur kurze zeit mer im volke verweilend' (cf. RV. I, 31, 2; III, 55, 6; IV, 18, 12).
IV, 37. COMMENTARY TO PAGE 33.
The plant agasring?', or, as it is called synonymously by Dârila, meshasringî, 'goat's horn' (Sâyana, again synonymously, vishânî), is the odina pinnata; see Zimmer, p. 68. The hymn is directed against Pisâkas, Apsaras, and Gan
In stanza 6 it has the additional obscure epithet arâtaki. Sâyana, arâ... âfayati ukkâtayati.
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dharvas, and, according to Dârila at Kaus. 28, 9-11, it is employed in a remedial charm against one possessed by Pisakas (pisâkagrihita). Kesava and Sayana, more broadly and correctly, sarvabhūtagrahabhaishagyam. The practices are stated as follows: 9. While pronouncing IV, 37 the practitioner takes pulverised sami (i.e. the pulverised leaves, or fruit, of the prosopis spicigera) from a basket (and puts it) into the food (of the patient)?. 10. (He puts it also) into the cosmetics (of the patient). 11. He scatters (the pulverised sami) around the house (of the patient)?' The hymn is also rubricated among the katanâni (sc. sûktâni) 'hymns to drive away with,' Kaus. 8, 25. Cf. Santikalpa 17 and 21 3.
Adalbert Kuhn, in Zeitschr. f. vergl. Sprachf. XIII, 118 ff., has translated this hymn and compared it with parallel conceptions in the Teutonic folk-lore. Especially good are the parallels drawn between the Apsaras, who, from the time of RV. X, 95 onwards, are engaged in enticing heroes and divine seers“, with the Germanic elfs who fascinate the wanderer at night with their dance. The hymn has also been rendered by Ludwig, Der Rigveda, III, 352.
Stanga 3. The description of the natural abode of the Apsaras in this and the following stanzas is in accord with the Brahmanical view from earliest times. Cf. the apya yósha. 'water-woman,' RV. X, 10, 4; Bergaigne, La Religion Védique, II, 35, 40,96; III, 65 ff.; A. Holtzmann, Zeitschr. d. Deutsch. Morg. Gesellsch. XXXIII,631 ff. The fanciful list of names embodies largely a superficial personification of fragrant cosmetics and ointments: bdellium, spikenard, fragrant salve, &c.
* According to Kesava and Sâyana he puts pulverised leaves of sami into a sami-fruit, and feeds the patient upon that. Cf. Kaus. 47, 23.
. As there is no mention of the samî in the hymn, one is almost tempted to identify the agasringî with it.
3 Shankar Pandit, erroneously, Nakshatrakalpa 17 and 21. • Cf. our note on VI, 111, 4.
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HYMNS OF THE ATHARVA-VEDA.
For aukshagandhi, cf. aukshám in our note on II, 36, 7, and in the introduction to I, 34; pramandant reminds us of pramanda, Kausika, Introduction, p. lii. See also Kuhn, 1. c., 127.
b. Böhtlingk, in his lexicon, proposes ávasvase, dative infinitive, 'to blow away.' Sâyana and the Paippalâda read iva svasam for avasvasam. The former glosses, sushthu naupreranakusalam yathâ titîrshavo ganâ upagakhanti.
f. Sâyana reads pratibaddhâ/ for prátibuddhâh (niruddhagataya/) in this and the subsequent stanzas.
Stanza 4.
We have adopted Shankar Pandit's arrangement of sts. 4-6, to wit: his st. 4 is made up of vulgata 4 a, b + 3 e, f, which is repeated by all his MSS.; his st. 5 is the rest of vulg. 4; and his st. 6 is vulg. 5+6. Sâyana does not insert the additional hemistich, but he also differs from the vulgate in his arrangement.
b. The Pet. Lex. suggests sikhandinîk, vocative, 'crested,' as an epithet of the Apsaras; cf. the same epithet of the Gandharva in st. 7. Sâyana simply 'peacocks.' We prefer the poetic figure: the crowns of the great trees are likened unto crests.
Stanza 7.
a. For the epithet ânrityaṭaḥ, cf. the parinrityatî apsarấ in IV, 38, 3.
Stanza 8.
o, d. The epithet avakâdá, 'devouring ávakâ-reeds' (blyxa octandra), is clear. The Gandharvas live on the shores of waters, and the ávakâ is the typical water-plant. See our Contributions, Second Series, Amer. Journ. Phil. XI, 342 ff. (especially 349 ff.); Roth, in Festgruss an Otto von Böhtlingk, p. 97 ff. Less certain is haviradá, 'devouring oblations.' The sense of the hemistich might be taken pregnantly: The Gandharvas who devour our oblation, though their natural food is the ávakâ-reed, &c. But
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I have in mind RV. X, 95, 16, where the Apsaras Urvasi exclaims that upon eating a drop of ghee her appetite was cloyed for ever (cf. Harivamsa 1377 ; Vishnu-purâna IV, 6, 28, and Geldner, Vedische Studien, I, pp. 263, 282). The Atharvan is reminiscent, and fond of generalising salient features of legends. It seems possible that the Gandharvas are substituted for the Apsaras who represent the Apsaras par excellence, Urvasi. Sâyana on the AV. evinces his customary and astonishing talent of dodging difficulties by means of bad variant readings, to wit: abhihradân abhigatahladân prâptagalasayân và.
Stanxa 10. Professor von Roth in Festgruss an Otto von Böhtlingk, pp. 97 ff., proposes to read gyotayamamakán (Padapåtha, gyotaya mamakán) as one word, and interprets the word in his inimitably ingenious manner as= pisâkadipika, • will o' the wisp, Jack o' lanthorn.' Yet we have adopted the simpler solution of the difficulty, proposed by Whitney in Festgruss an Rudolf von Roth, p. 91. He proposes syotayamânakán, comparing pravartamânaká, RV. I, 191, 16. In both cases the suffix ká is truly diminutive, indicating that the action of the verb is undertaken by a diminutive agent; cf. also avakarantika, AV. V, 13, 19 (see the note there), and the Mantrabrâhmana of the Sama-veda II, 7, 3, athaisshåm (sc. kriminâm) bhinnakah kumbhal. * Little shiner' would be the literal translation of gyotayamånakán, and Roth's comparison with the will o' the wisp may yet hold good.
Stanza 11. b. The epithet sarvakesaká reminds one of hairiness as a sign of sexual power, RV. I, 126, 7; X, 86, 16, a very suitable attribute of the Gandharva; cf. also kapi in vrishákapi in X, 86. But the word for 'hair' in both these passages is róma, while sarvakesaká naturally refers to the hair of the head; RV. X, 136, 6. Yet the two conceptions may be connected.
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HYMNS OF THE ATHARVA-VEDA.
IV, 38. COMMENTARY TO PAGE 149. Both the internal evidence of the stanzas themselves (including the metre), and their employment in the ritual prove the composite character of this hymn. The Anukramani, too, significantly describes the hymn as dvidevatyam. A gambling song of four stanzas is combined with cattle-charm of three stanzas, apparently for the purely formal reason that every hymn of the fourth book must consist of at least seven stanzas ; cf. AV. XIX, 23, 4; Gop. Br. I, 1, 8; Ath. Paris. 46, 9. 10; Ind. Stud. IV, 433 ; XVII, 178; Kausika, Introduction, p. xli. Sâyana is the only authority that makes a blend of the two parts. He comments upon yásâm rishabhó, &c., in st. 5, as follows: yâsâm apsarasâm ... sekanasamarthah patih.
A.
The practices connected with the gambling-song are reported at Kaus. 41, 10-13, as follows: 10. Under the constellation pūrva ashadhah the gambler digs a pit (in the gambling-house). Ji. Under the constellation uttara ashâdhåh he (again) fills up the pit. 12. He smoothes the place where the play takes place. 13. While reciting IV, 38, 1-4; VII, 50; and VII, 109 he throws dice which have been steeped (in curds and honey during the three nights (and days] beginning with the thirteenth day of the month; see Kaus. 7, 19).'
This part of the hymn has been rendered by Muir, Original Sanskrit Texts, V, 430; Ludwig, Der Rigveda, III, 454; Grill', pp. 71, 140 ff.; cf. also A. Holtzmann, Zeitschr. d. Deutsch. Morg. Gesellsch. XXXIII, 631 ff.
The name ashâdhâh means 'invincible.' Here, as frequenuy elsewhere, its symbolic suggestiveness is utilised to secure success or victory for the person who performs under the two constellations of that name; cf. Weber, Nakshatra, II, 374, 389.
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Stanza 1. Cf. Zimmer, pp. 283-5. The kritám, or the kritáni in Pada c (cf. sts. 2 c and 3 b), are either the winnings, or the winning numbers, or combinations, of the dice. Cf. Åpast. Sr. V, 1, 20.
Stanza 2. a. Sayana, vikinvatîm ekatra nirbâdhe koshthe trikaturån akshân viseshena samukkinvatim samghỉkurvatîm. Muir, who collects and scatters ;' Ludwig, die aufhäufende, zuschüttende.' These technical terms are very obscure: the scholiasts are untrustworthy because they have in mind different games and different times.
Stanza 3. Sâyana combines Pâdas e and f with 4 a, b, making his fourth stanza, and then continues as follows: 40, d + 5 a,b= 5; 50-f=6; 6=7; 7=8. His comment on this stanza is rendered very problematic through bad readings : âdadhånas for adadânâ ; seshantî (avaseshayanti) for sîshátî; prahân for prahấm. For parinrltyatî, cf. anrltyatah ... gandharvásya, IV, 37, 7. We have assumed with great reluctance that sîsháti is a desiderative participle from sâ=san, 'gain.'
Stanga 4. We read pramódate for pramódante with Sayana and two of Shankar Pandit's MSS., and blbhrati for bíbhrati. The anacoluthon in the second hemistich is thus easily removed.
B. The three stanzas are designated at Kaus. 21, 11 as karkipravådâh (sc. rikah), the stanzas that mention the word karki (cf. sts. 6, 7).' They are employed in a rite, designed, according to the scholiasts, to secure the prosperity of cattle (Sâyana, gopushtikarma; Kesava, gosånti), as follows: "The karkipravada stanzas are recited over a young cow, upon which are placed twelve halters, and which is anointed with the dregs of ghee. Then, while
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pronouncing Padas 7c and 7d, the things indicated in (these) mantras are done (i. e. fodder is given to the young cow, and she is fastened with the halters).' In consideration of these practices, and the statements of the stanzas themselves, we have thought that the purport of the hymn is a more special one, to wit, to secure the return of the young cows from pasture, and have formulated the caption accordingly. The stanzas are also employed at Kaus. 66, 13 at a so-called sava, or formal bestowal of the dakshina: a karkî (young white cow), together with an anúbandhya, a cow designed for the cattle-sacrifice, are given to the priests as a particular kind of reward.
This part of the hymn has been rendered by Ludwig, Der Rigveda, III, 455.
Stanze 5. Because the Tait. S. III, 4, 7, 1 mentions an Apsaras by the name of mariki, Sayana connects this stanza with the preceding gambling charm. The true sense seems to be that the cows which wander 'in den tag hinein' are in charge of the daily sun; as he comes daily without fail, so do the young cows return. But the text is vague and fanciful, marred moreover by an anacoluthon.
Stanza 6.
Sâyana explains karki by karkavarna subhrà iyam gauh. Accordingly we, 'white calf.'
V, 4. COMMENTARY TO PAGE 4. Next to the soma-plant the kushtha is one of the most valued members of the Vedic flora. According to the medical books it is costus speciosus, or arabicus. The word is not mentioned in the Rig-veda, but is common in the Atharvan where three hymns, V, 4; VI, 95; XIX, 39, are devoted to accounts of its origin and its healing properties. It is the prince of remedies, like unto the steer among domestic animals, and the tiger among the beasts of prey. Like the soma, his good friend and companion,
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he grows upon the mountains, especially upon the high peaks of the Himalaya. In fact both soma and kushtha came from the third heaven; the kushtha grew originally under that wonderful asvattha-tree (ficus religiosa), under whose shelter the gods themselves are accustomed to assemble. A pretty myth tells how a golden ship (soma, the moon ?), with golden tackle and oars, descends from heaven, and alights upon the Himavant mountains, bringing kushtha, the visible embodiment of the heavenly ambrosia. The use of the plant is varied, its effect most reliable. Hence it is designated as visvábheshaga, 'all-cure,' and visvadhavîrya, ' potent at all times.' Headache, consumption, and afflictions of the eye are cured by it. But especially it seems to have been regarded as the specific against fever (takmán) in all its forms. It seems to have been a fragrant plant since in AV. VI, 102, 3 it is employed in a love-charm in connection with salve, licorice, and spikenard. The kushtha itself must have been prepared as a salve, since in Kaus. 28, 13 the patient is anointed with a mixture of ground kushtha with butter ; cf. especially Kesava's gloss to the passage. Curiously enough in the later literature kushtha is the ordinary designation of leprosy, doubtless a species of euphemism; cf. Wise, Hindu System of Medicine, p. 258 ff. Excellent accounts of the kushthaplant are given by Grohmann, Indische Studien, IX, p. 419 ff., and Zimmer, Altindisches Leben, p. 63 ff.
The employment of this hymn in the Kausika-sūtra is of a general character: all the stanzas of the Atharvan which contain the word kushtha are classed together at 28, 13 as kushthalingâh (sc. rikah); while they are being recited the patient is anointed with kushtha, ground up with butter, which is rubbed in without pressure (apratîhâram: see Pet. Lex. s.v. har with prati, and Böhtlingk's Lexicon, vol. ii. p. 290 c). Darila describes this, quite precisely, as a cure for fever, while Kesava sets it up for a variety of diseases, rågayakshma (a kind of consumption; see Zimmer, 1. c., P. 375), headache, leprosy (kushtha), and pain in all limbs. The Ganamala, Ath. Paris. 32, 7, counts the hymn as
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takmanåsana, 'destructive of takman' (see Kaus. 26, 1, note), but the Anukramani describes it as yakshmana sanakushthadaivatyam, the author being Bhrigu-Angiras. The hymn has been translated by Grohmann, 1.c., 419 ff.; Zimmer, 1.c., 63 ff., and Grill, pp. 9, 141.
Stanza 2. b. Himavant is identical with Himalaya.
0. Professor Roth, cited by Grill in his note, suspects srutvá and suggests srutva. The latter seems more difficult, and I am at a loss to appreciate why the reputation of the kushtha among men might not be so stated.
Stanza 3. The entire verse is repeated in AV. VI, 95, 1; and with a single variant in XIX, 39, 6.
2. A tree as the seat of the gods occurs in RV. X, 135, 1, yasmin vrikshé supalåsé devalh sampibate yamah, the tree of beautiful foliage within which Yama drinks with the gods;' cf. also RV. I, 164, 20. 22, and Kuhn, Die Herabkunft des Feuers und des Göttertrankes!, pp. 126 ff.
b. tritîyasyam itó diví indicates the parallelism which this myth establishes between the kushtha and the soma. The asvattha-tree is elsewhere said to drip with soma (Kuhn, 1.c., 128). The same expression is employed for soma at Tait. S. VI, 1, 6, 1; Tait. Br. I, 1, 3, 10; III, 2, 1, 1; cf. our Contributions, Fifth Series, Journ. Amer. Or. Soc. XVI, 11; also the Pet. Lex. s.v. div. 1, c, and tridiva.
0, d. For amritasya kákshanam, cf. RV. I, 13, 5. The Pâda is replaced in AV. XIX, 39, 6.7 by tátah kúshtho agâyata ; the word avanvata is rendered variously: Roth, in Grill's note,' (dorthin) wollten haben ; 'Grohmann, p.421, * spendeten ;' Zimmer, p. 64, dort besassen ;' Grill, "dort ward den Göttern zu teil.'
Stanza 4. c. The vulgata here and at VI, 95, 2, which is a repetition of this stanza, reads púshyam. We have rendered
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pushpam, with some of the MSS., and Whitney, Index Verborum, s.v. If we retain púshyam the sense would not be changed materially; the two words are hopelessly blended, since the writing of Devanagarî MSS. in such a case is totally unreliable.
Stanga 5. a. The Anukramani designates the stanza as bhurig, on account of the apparently hypermetrical first Pada. This may be corrected so as to yield an anushtubh, either by crasis of pánthâna åsan, or by substituting the older form pántha(s). The former is the more conservative alternative, since the nominative plural pánthås does not occur in the Atharvan.
d. niravahan with its two prepositions indicates vividly the two chief features of the myth: nir," forth (from heaven);' â,'to (the mountain upon which it grows).'
Stanza 6. The stanza, both by its metre (gayatrî), and subject matter, betrays its character as an interruption of the mythological history of the kúshtha. It seems, too, in a measure, modelled after VI, 95, 3, with which it shares its last Påda. Nevertheless I would not go as far as Grill does, and print the stanza at the end of the hymn, because it may have been composed as a liturgical interruption of the mythological account. To say that it was inserted because of the assonance of a vaha in Pâda b with nirávahan in 5 d is begging the question, since this assonance may be part of the original endeavour. To be sure, the redactors of the Atharvan are quite capable of such bêtises, but they should not be charged with them except for good cause !
b. á vaha, 'restore,' literally, 'bring hither.' The word is not otherwise quotable in this sense. Similar expressions, however, are employed to indicate the restoration of a disturbed mind; here, perhaps, with reference to the delirious ravings of the fever-patient ; cf. púnar då, AV. VI, 111, 4, and perhaps a gå and úd gå, II, 9, 2. The sense [42]
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is fairly secure owing to its juxtaposition with nísh kar (cf. st. 10, and II, 9, 5, &c.).
Stanza 7. b. Cf. AV. XIX, 39, 5. 8 for sómasya sakhâ.
d. kákshushe,' to my eye,' not in the sense of the oculist, there being no implication of disease of the eye, as is the case in the expression upahatyám akshós in st. 10. The poet has in mind that eye with which 'to see the sun' (súryam drisé, drisaye sûryâya, or svår drisé) is the poetic prayer for life. This is quite clear. The eye here is that which finally does go to the sun, süryam kákshur gakkhatu, RV. X, 16, 3; cf. with this and the preceding Pâda the formula at the animal sacrifice, e.g. Ait. Br. II, 6, 13, 'may thy eye go to the sun; may thy breath unite with the wind.'
Stanza 8. c, d. námány uttamấni : literally, 'highest names;' cf. AV. XIX, 39, 2, where the names are stated with much
fancy.
Stanza 9. For the diction of this stanza, cf. AV. VI, 95, 3; XIX, 39, 3.4; and V, 22, 2; XIX, 34, 10.
Stanza 10. The stanza is rubricated separately as a member of the takmanâsanagana in the Ganamala ; see Kaus. 26, 1, note. The Anukramani designates it as ushniggarbhà nikrit (nivrit), because Påda b seems defective. By reading akshiós tanúvo the defect is remedied: akshós here, as well as in part of the MSS. at XIX, 60, 1, stands for akshyós with defective presentation of the sound-group kshy as ksh. See also IV, 20, 7, where all MSS. read katurakshas for katurakshyas. The case is the same as appears in mekshấmi for mekshyami, AV. VII, 102, 1; såkshe for sâkshye, II, 27,5; vibhunkshamâna- for -kshyamâna-, Kaus. 23, 9; 38, 26, and more remotely like sâmã for syâmâ, AV. I, 24, 4, and såmåka for syâmâka, Kaus.
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74, 16. Morphological deductions, such as Professor Hopkins, Amer. Journ. Phil. XIII, 21 ff., bases upon these defective writings, are therefore subject to the gravest suspicion. In general, Devanagarî MSS. must be watched very closely for the loss of y, especially if preceded by two consonants; cf. especially the hopeless confusion between the words arghya and argha.
V, 5. COMMENTARY TO PAGE 20. The only mention of this hymn in the practices of the Kausika is the one implied in 28, 14, läkshalingåbhir (sc. rigbhir) dugdhe phântân påyayati, where the commentators agree in presenting our hymn along with AV. IV, 12, as 'the stanzas characterised by the mention of the lâkshâplant.' For the practices connected with the plant that goes by the names Arundhatî, Silaki, Laksha (possibly also Rohani), see the introduction to IV, 12, and the note on its first stanza.
The hymn has been translated by Zimmer, Altindisches Leben, p. 67; Grill, pp. 10, 143 ; the last two stanzas by Kuhn, Zeitschrift für vergleichende Sprachforschung, XIII, p. 61. The Anukramanî designates it as läkshikam, 'pertaining to the lákshâ-plant.'
Stanza 1. a. The Atharvan poets signalise with great predilection their knowledge of the power of any substance which they employ by stating that this knowledge extends to the father, mother, and other relatives of the substance. Or, again, they indicate their control over any disease, or hostile force, by assuming the same knowledge of their kindred. Of the latter class are the boasts made in V, 13, 7; VI, 61, 1, and VII, 74, 1. The former class concerns plants exclusively. Dyaus, the heaven, and Prithivi, the earth, are father and mother of plants, III, 23, 6; VIII, 7, 2, and perhaps also III, 9, 1. Fanciful names are given to the parents of plants: I, 24, 3, sárûpå náma te mâtá sárûpo náma te pità (cf. Kaus. 26, 22, note); VI, 16, 1, vihálho náma
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te pită madávati nama te mâtă (of the plant âbayu, mustard); XIX, 39, 2, givalá nấma te måtá gîvantó nấma te pitá (of the plant kúshtha); V, 4, 9, uttamó nấma te pitá (of the same plant). The names of the ancestors in our stanza are peculiarly fanciful and heterogeneous.
0. silaki, only in this hymn ; cf. siláñgâlâ (silasiga +ala), VI, 16, 4; Kaus. 51, 161, 'a creeper or weed growing in grain-fields.' See Kausika, Introduction, p. xlv, and cf. also our note on st. 9 c.
Stansa 2. d. For nyáñkani, cf. nyáñkanam, AV. IV, 36, 6, and RV. VIII, 27, 18, where Sayara explains the word by nitaram gamanam.
Stansa 3. a. Cf. with this the designation of the plant in IV, 12, 1, róhani (róhini), and the note there.
b. kanyálå here and XIV, 2, 52; the suffix -lå with disparaging function as in vrishala.
0. gáyantî occurs also as the proper designation of a plant, equal to the common givanti : see the lexicons.
d. spáranî calls to mind Lat. pro-sper and spês, but sphira and the root sphai (I. E. sphêj) have a better claim upon these words.
Stanga 4. b. hárasa is translated by Zimmer, 'durch einen schlag (griff);' by Grill,' mit gewalt.' This is a possible alternative. There are two háras in the Veda, one from the root har, 'take,' and the other from ghar. The latter is Oépos; cf. Zeitschrift für vergleichende Sprachforschung, XXV, 80, 133 note, 168. Examples of the latter are AV. VIII, 3, 4 ff. ; XVIII, 2, 36.58; 3,71; XIX, 65 and 66 ; and especially II, 19, 2; 20, 2; 21, 2; 22, 2; 23, 2, where the word occurs in the series tápas, háras, arkls, sokls, and tégas.
i The MSS. of the Kausika read silâñgala with palatal s. By changing silâkî to silâkî we obtain the possible etymology she that creeps upon stones.'
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Stanza 7. For the epithets of the plant in this and the preceding stanza, see the note on IV, 12, I.
b. For sushme, see Contributions, Sixth Series, Zeitschrift der Deutschen Morgenländischen Gesellschaft, XLVIII, 565 ff.; for lomasavakshane, Pischel, Vedische Studien, I, 178.
d. Cf. V, 9, 7; RV. X, 16, 3; Ait. Br. II, 6, 13; Sat. Br. XIV, 6, 2, 13, &c.
Stansa 8. A, b. I have translated the passage with strict adherence to the text which is certainly not above suspicion. The Paippalada offers no help. Inasmuch as the father is mentioned, it seems likely that both parents are somehow contained in the passage, and the change from kânînó to kânîná has suggested itself to all translators (Pet. Lex., Zimmer, Grill). The first Pada would then be, Silaki by name art thou, daughter of a maiden.' I would draw attention here, as at IV, 20, 3, to RV. X, 40, 9, gánishta yóshå patayat kanînakó ví kás ruhan vîrúdhah (cf. also RV. X, 3, 2 and AV. XII, 3, 47 ?), where the origin of plants occurs somehow in connection with a woman and a kaninaká. But the passage is buried in obscurity for the present. If the emended kânîna is taken to refer to the mother of the plant, it would certainly seem natural to see in ágababhru the father. The word as it stands can be nothing but a vocative from a formally and lexically unquotable feminine agábabhra; Grill suggests the change to the nominative masculine agábabhrus, an emendation which Zimmer's translation also implies. Grill, too, thinks that the mother and father thus reconstructed for these passages must be identical with those in st. 1, namely, night and cloud-a conclusion which, in our opinion, is not at all coercive. He points out that night is designated in XIX, 48, 2 as 'mother,' and in XIX, 49, 1 as a blooming young woman (ishira yósha yuvatih); as regards agababhru he has in mind the goat of Pushan in his relation to sunset and
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dawn (cf. RV. VI, 55, 1, and Ludwig's note, vol. iv, 147). All this is possible, but excessively problematic.
c, d. The cloudy allusions of the preceding Pâdas are obfuscated further by the statement here that the plant has been sprinkled with the blood of the brown horse of Yama, an expression which may also harbour an allusion to night (cf. syåvî, RV. I, 71, 1; III, 55, 11; Naighantuka 1, 7). Elsewhere the horses of Savitar (RV. I, 35, 5), Agni (RV. II, 10, 2), Rudra (AV. XI, 2, 18) are designated as syävá. The Padapatha reads asná, 'by the mouth,' and Zimmer adopts this reading, against the Pet. Lex., Kuhn (p. 61), Whitney in the Index Verborum, and Grill. The Padapåtha itself has asnáh in the next stanza-an obvious inconsistency. I cannot rid myself of the impression that there is some connection between this and a statement in the Maitr. S. IV, 9, 19; Tait. År. IV, 29, asrinmukho rudhirena-bhyakto yamasya datah, the messenger of Yama bloody-mouthed, bedaubed with blood;' if so the brown horse of Yama may be a variant of the two dogs of Yama called syâma and sabala,' sun and moon,' or day and night' (cf. Contributions, Third Series, Journ. Amer. Or. Soc. XV, 163 ff.), and this would again lead back to the word rấtrî in st. 1. Non liquet. Grill : 'It is conceived that the plant has absorbed the blood of a divine animal with which it has been sprinkled, and has acquired thereby corresponding strength and virtue.'
Stanza 9. a, b. Zimmer: 'aus des rosses maul (cf. the preceding note) herausgefallen lief sie an die bäume;' Kuhn: 'vom blut des rosses hergeeilt, glitt sie sogleich den bäumen zu ;' Grill: 'entsprungen aus des pferdes blut lief diese zu den bäumen hin.' sámpatitâ is not altogether satisfactory; the Pet. Lex. translates it ' zusammengeflossen, zusammengeronnen. The entire picture is vague, and is not rendered less so by the next Pâda.
c. The meaning of this Påda is by no means established. It is formulary in character and always employed in connection with plants. In the oshadhistuti, RV. X, 97, 9;
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Vâg. S. XII, 83 the version is sîrah patatrinî sthana ; Tait. S. IV, 2, 6, 2; Maitr. S. II, 7, 13, sarah patatrínih sthana ; Kath. S. XVI, 13, sarah patatrínih stha ; Kap. S. XXV, 4, surah patatrínih sthana (so also a variant of Maitr. S.). Sâyana at RV. explains the word by saranasîlâh, while Mahîdhara at Vag. S. suggests no less than three other interpretations in addition to that of Sâyana, none of them usable. Note also sirá (pattrasira), RV. I, 121, 11, which may fairly claim relationship with this group; cf. also the expression apám asi sváså in st. 7. Kuhn, l. c., p. 61, had in mind sara in his translation beflügelt wurde sie ein pfeil. Certainly a 'winged brook' strains the limits of common sense. But I have no better suggestion to make. The word sară seems to contain a punning allusion to the name of the plant silâki.
V, 7. COMMENTARY TO PAGE 172. The Veda, especially the Atharvan, is much given to personify evil qualities as female divinities, e.g. nirriti, áråddhi, árti, arâyî, and particularly árati. The present hymn aims to appease the powers of avarice and grudge personified as Arâti; more particularly the poet has in mind the dakshina of the priest; that shall not be withheld, but shall accrue abundantly. Cf. st. 1; Kath. Up. I, 1. The Sastras expressly forbid the withholding of the dakshina, e.g. Vishnu-smriti LIV, 15. See also in general RV. X, 107; AV. V, 18; 19; XII, 5; Gop. Br. I, 5, 25. In the Atharvan rites our hymn figures in a variety of connections. At Kaus. 18, 14, in the course of the so-called nirritikarmani (18, 1-18), grain is offered to the goddess of misfortune while the hymn is being recited. At Kaus. 41, 8 a person about to engage in a business venture makes an offering (upadadhîta ") while pronouncing our hymn, as well as III, 20 and VII, 1. The intention is to remove obstacles.
For the meaning of this technical term, see Kesava to Kaus. 6 (p. 309 of the edition). The upadhâna according to this consists in offering one of thirteen different kinds of havis.
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Once more in Kaus. 46, 6 he who has a request to make, recites sts. 5–10 along with VII, 57, in order that his request shall not be refused. The hymn has been translated by Ludwig, Der Rigveda, III, 305; Grill, pp. 39, 145 ff.
Stansa 2. 2, b. purodhatsé, lit. 'dost make thy agent or purohita;' púrusha,'servant, minister;' parirapín, suggesting, prompting, advising ;' cf. XII, 4, 51.
Stansa 5. The sraddha is 'faith, religious zeal,' that makes the sacrificer liberal to the priests. Cf. Darila to Kaus. 46, 6. It is the same sraddhã which entered Nakiketas, Kåth. Up. I, 2 ff., to such an extent that he desired to be given himself as sacrificial reward to his priests. This zeal is naturally bestowed by the brown soma, i.e. in the course of solemn sacrifice, and through the inspiration that comes from the hymns (Vâk Sarasvati), sung while drinking the soma. The previous translations seem to me to miss the point wholly: Ludwig, 'den (anteil, den) ich verlange ... den soll heute Sraddhå finden.' But yám refers to the person supplicated, not to favours asked. Grill,' wen ich angehe mit dem spruch ... der werd heut inne mein vertraun, und nehm den braunen soma hin.' Cf. also Zimmer, p. 272.
Stansa 6.
d. The Pet. Lex. suggests for this single occurrence of práti hary the meaning 'verschmähen, zurückweisen,' though the word ordinarily means 'delight in, long for.' The passage seems to contain the euphemistic insinuation that Arâti when sufficiently cajoled is favourable to generosity. Or, those who desire to be generous must curry favour with Arâti; otherwise she frustrates their intentions. Cf. I, 8, 2.
Stanza 8. Arâti is here connected with nightmare. Her appearance as a naked woman recalls the German 'alp,' or 'mahre'
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which also manifests itself as a woman; see A. Kuhn, Zeitschr. f. vergl. Sprachf. XIII, 125 ff. For the spirit of this and the subsequent stanzas, cf. the description of the Apsaras, IV, 37.
V, 13. COMMENTARY TO PAGE 27. This charm against snake poison claims interest chiefly from its designations of serpents, mostly of obscure meaning, and reaching down to the bed-rock of folk-lore. Kausika's performances 29, 1-14 are very explicit : they follow the hymn stanza by stanza. But they are not as instructive as they might be owing to their symbolism, and their own obscurity. They begin with the performances in honour of Takshaka, described at 28, 1-4 in connection with IV, 6 and 7 (see the introduction to IV, 6), and continue with additional doings, based upon each stanza of our hymn. These will be referred to most profitably under the head of each separately. The hymn exhibits noteworthy points of contact with RV. I, 191.
Stansa 1. Cf. RV. I, 191, 7.11. We have translated saktám by what has been fastened ;' cf. RV. I, 191, 10. The Pet. Lex. s. V. sang 4), `inherent.'
Stansa 2. Kaus. 29, 2-4: With the second (stanza) the act of confining (the poison) takes place? 3. The (priest) walks about (the patient) towards the left (Kesava, savyam=
dvitîyaya grahanî. Dârila, katakabandha ity arthah, with the second stanza a rope is fastened (about the patient)'? Cf. agrabham, and grihnâmi in the mantra. The feminine gender of grahani is peculiar. We should expect' either grahanam, or dvitîyâ grahani. Kesava, visham na visarpati desasthitam bhavati sarîre na sarpati vishastambhanam bhavati.
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apradakshinam). 4. He fastens a bunch of grass to the border of the (patient's) tuft of hair.'
b. etásu, feminine, with reference to the numerous female reptiles in sts. 7 ff.
Stanza 3. Kaus. 29. 5: With the third (stanza) he drives the poison forth.' Kesava, damsåd visham anyatra gakkhati. In Pâda a, vrisha me rávah suggests perhaps the fire which is built to frighten away serpents; see RV. I, 94, 10; VII, 79, 4; X, 111, 2. At RV. X, 146, 2=Tait. Br. II, 5, 5, 6 vrishâravá is the designation of a croaking bird. Pâda d echoes RV. I, 191, 8: the rising sun symbolises the quiescence or destruction of all harmful powers.
Stanze 4. Kaus. 29, 6.7: 'While reciting the fourth stanza, along with VII, 88%, the (serpent's) bite is rubbed with grass, and the grass thrown upon the serpent. 7. (Or in the absence of the serpent he throws it) where the biting took place.' Cf. Kaus. 32, 25. The ceremony is an attempt at the complete realisation of the maộtra.
Stansa 6. Kaus. 29, 8: With the fifth stanza he sprinkles the poisoned person with water heated by quenching in it
1 The virtue of this manipulation rests apparently in the pun between stamba and the root stambh, 'fasten, confine '!
"Go away, thou art an enemy, an enemy surely art thou ! Thou hast mixed (thy) poison into poison, thou hast certainly mixed poison. To the serpent himself do thou go away. Him slay !' Cf. Ludwig, Rigveda, III, 511; Henry, Le livre VII de l'Atharva-véda, pp. 36, 106.
3 Kesava, pragvâlya, 'heating the bite with burning grass.' This is due to confusion of this performance with Kaus. 32, 24, damsma nitâpya.
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burning reeds from a thatch? mixed with grains of sesame.' For avagvåla, cf. Kaus. 27, 29 (introduction to III, 7); Kaus. 27, 33 (introduction to III, 11); 28, 2 (introduction to IV, 6). The punning symbolism which connects this practice with úpatrinya, and perhaps also álikah (as though it were valîka) in the mantra, represents the low-water mark of banale attempts to construct a practice upon the indications of the mantra. The names of the serpents in this and the following stanzas are for the most part very obscure (cf. Zimmer, pp. 94, 95): for kasrata, see X, 4, 14, for babhrú, VI, 56, 2. asitá is a more common designation, VI, 56, 2; VII, 56, 1, &c., and cf. the note on VI, 56, 2.
0. stâmānam, dr. dey., we have rendered as though it were sthà mánam (masculine !). Cf. our remarks on the interchange between surd aspirates and non-aspirates, Amer. Journ. Phil. XII, pp. 436 ff., and Roth in the Zeitschr. d. Deutsch. Morg. Gesellsch. XLVIII, 105 ff. The Pet. Lex. under stha + api suggests sråmánam, without interpreting the passage in this form.
Stanza 6.
Kaus. 29, 9: 'With the sixth (stanza) a bowstring taken from the notched end of the bow is fastened upon the patient.' Again, the vaguest kind of symbolism in reference to Pâda d. For taimâtá, see V, 18, 4. The rendering of ápodaka is very uncertain. Though in accord with the apparent meaning of the same word in st. 2, it jars here: we should rather expect another designation of serpents, 'one that does not live in the water (?).'
Stansa 7.
Kaus. 29, 10: "With the two next stanzas (7 and 8) the patient is given to drink water with the earth of a bee-hive.' (Kesava, however, madhůdvå pa=madhuvrikshamrittika). The relation of the practice to the stanzas is profoundly obscure. Cf. the note on V, 5, 1.
-- --------- · Cf. the introduction to VI, 24.
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HYMNS OF THE ATHARVA-VEDA.
Stansa 8. b. We are tempted to change the instrumental ásiknya to the ablative ásiknyah, 'born of the black serpent,' or born of the black night.'
c. For pratánkam, see our note on IV, 16, 2; cf. also XII, 1, 46 ; Sat. Br. VII, 4, 1, 28 (ye vâ - vateshu serate), and Ait. Br. VI, 1, 3.
Stanza 9. Kaus. 29, 11: With the ninth (stanza) the patient is given to drink water containing the excrement of a porcupinę. With a prick (of the porcupine) that has three white stripes he feeds meat to the patient?' Cf. the closely correlated RV. I, 191, 16.
a. The Pet. Lexs. and Zimmer, p. 82; translate karná by long-eared.' But has the porcupine long ears? I have preferred to think of his pricks (salalî) as giving rise to the somewhat fanciful adjective. The prickly porcupine may naturally not live on good terms with serpents, being hard to tackle.
b. avakarantikā, left untranslated by the Pet. Lexs., in the light of pravartamânakáh, RV. I, 193, 11, is obviously a diminutive participle; see our note on IV, 37, 10.
Stanga 10. Kaus. 29, 13: With the tenth (stanza) the patient is given water to sip' from a gourd.' This looks as though there was some connection in the mind of the Satrakara between tâbúva and alâbu. At any rate tabúva, and tastúval in the next stanza, seem to be a cure for poison. This and the next stanza are wholly problematic.
Stanza 11. Kaus. 29; 14: With the eleventh stanza he ties (a gourd) to the navel of the patient.' For tastúvam some MSS., according to Böhtlingk's lexicon, read tasrúvam.
Cf. Kaus. 10, 16, and the Grihya-sâtras, where the prick with three stripes figures frequently; see Stenzler's index, s. v. tryenî.
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V, 14.
COMMENTARY.
429
V, 14. COMMENTARY TO PAGE 77. The hymn is one of the krityâpratiharanâni, a series of hymns which counteract spells, given in the list at Kaus. 39, 7. See the introductions to IV, 17; V, 31; VIII, 5; X, 1, &c. The plant which figures prominently (sts. 1, 2, 4, 9) is not specified. It may be the apâ mârga, as in IV, 17-19; cf. the Anukramani, vânaspatyam. The hymn has been translated by Zimmer, p. 396 ff.; Grill?, pp. 26, 147 ff.
Stanga 1. The first hemistich is repeated at II, 27, 2; see the note there.
Stansa 9. In the course of the performances undertaken with the krityågana at Kaus. 39, 7-12 (cf. the introduction to IV, 17) this stanza is rubricated (Satra 11), preceded by the words krityaya-mitrakakshusha samikshan, which seems to be mantra, either entirely, or in part; cf. Darila and Kesava, p. 341. The sense of the Sûtra, as much else in the same passage, is very obscure.
Stansa 10.
2. As a son goes to his father, thus do thou, O spell, return to thy father, i.e. to him that has prepared thee.
c, d. Grill, following Roth's lead, reads bandhúm iva and translates, wie sich der flüchtling heimwärts kehrt, &c.' We do not feel constrained to accept the emendation. ava + kram ordinarily means overcome,' hence we have translated avakrâmî by one who overcomes. The comparison is as good, if not better. Zimmer, 'wie den Banden entfliehend eile zurück &c.'-a forced construction of the accusative, bandhám.
Stanza 11. A doubtful stanza in changed metre (gâyatrî). It may have slipped in because of mrigám iva in the next stanza.
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The sense seems to be: as surely as the antelope, shy though she be, mates with the buck, so surely shall the spell strike him who prepares it. Cf. IV, 4, 7=VI, 101, 3, and VII, 115, 2. But abhiskándam is &π. λey. we have followed Grill in referring it to the mounting buck. The Pet. Lex. regards it as a gerund, and Whitney, Index Verborum, emends to abhiskándan, a masculine participle, yielding a very problematic construction. Zimmer, 'wie die scheue Antilope, die Gazelle dem Angreifer (entflieht, so du, o Kranker, dem Zauber).'
V, 18. COMMENTARY TO PAGE 169.
The object of the two hymns V, 18 and 19 is clearly to present in the most drastic language the danger which arises from the oppression of Brahmans, and usurpation of their property 1. Especially the cow of the Brahman, given to him as his sacrificial stipend (dakshinâ; cf. XII, 4), is sacred and inviolable. The point is accentuated by the practices connected with them. The two hymns are rubricated at Kaus. 48, 13 ff. under the name brahmagavyau (i.e. the two brahmagavi-hymns). The practices are intended to compass the death of him that robs or slays the cow of a Brahman; they are as follows: 13. '(The Brahman) recites the two brahmagavi-hymns against (the robbers). 14. He recites them while the activity (of killing and cutting up the cow is being performed). 15. vikritati (Dâr. úvadhye havihkrite ty arthak). 16. (He recites the hymns) over the excrement within the entrails. 17. And
This is the agyeyatâ, 'freedom from oppression,' of the Brahman; cf. Weber, Ind. Stud. X, 60 ff.
2 Dârila and Kesava add to this the related hymn XII, 5 (mixed prose and verse).
Excessively doubtful; Dârila has the following as text and scholion: kah kriyâ anvâha, ûbadhye, dveshyam manasi (Cod. anasi) kritvâ saptamînirdesât. Cf. XII, 5, 39, where the excrement of the cow is described as fit for sorcery-practices.
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v, 18.
431
also at a burial-ground1. 18. Thrice he exclaims: "Slay those yonder." 19. While reciting the second (brahmagavî-hymn) he hides a stone in the excrement. 20. Twelve nights does he rest observing every vow (of the brahmakârin). 21. When the sun has risen twice (after the twelve days, the enemy) is laid low.' Cf. especially AV. XII, 4 and 5, and Sat. Br. XIV, 6, 7, 4= Brih. Ar. Up. III, 7, 1. The Anukramanî designates the two hymns as brahmagavidevatye.
Both hymns have been translated by Muir, Original Sanskrit Texts, 12, 285 ff.; Ludwig, Der Rigveda, III, 447 ff., 451 ff. (cf. also 154); Zimmer, 199 ff.; Grill 2, 41, 148 ff.; cf. also Hillebrandt's Vedachrestomathie, p. 42.
COMMENTARY.
Stanza 3.
Ludwig very ingeniously suggests the change of ma to ya at the beginning of Pâda c; this yields a more concinnate construction: 'Enveloped in her skin, as an adder with evil poison, sapless, unfit to be eaten is the cow of the Brahmana.' Shankar Pandit with all MSS., sa.
Stanza 4.
This and the following stanza, as also 8, 9, and 13 are in trishtubh metre, and bear no reference to the cow of the Brahman they deal with the Brahman himself. Ludwig, and Zimmer refer the verbs to the cow.
Muir,
Stanza 5.
b. ná kittất, lit. 'not as the result of thought;' cf. ákittyâ, V, 17, 12, and malváh, V, 18, 7.
Stanza 6.
b. The Paippalâda reads agneh priyatamâ tanûh, and the Pet. Lex. suggests agnéh priya tanur iva; cf. st. 14, and XII, 5, 41. 73.
c. Soma is the heir of the Brahman, i. e. Soma is benefited by the service of the priest; or, perhaps, Soma is
1 Dâr. smâsâne pâkasthâne ûbadhyavat.
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HYMNS OF THE ATHARVA-VEDA.
interested in the Brahman's cow (implied throughout the hymn), because her milk is mixed with Soma; cf. st. 14. See also Sat. Br. V, 4, 2, 3.
Stanza 7. Cf. RV. X, 85, 34. nihkhidam, lit. to throw out.' Professor Roth suggests ni-khsdam, to get down.' nihkhid is certainly dt. dey, and might be for nishkhid=ni-shkhid, re minding us of the MSS. of the Tait. S. which write khkhid in the interior of words (after augment and prepositions); see Ind. Stud. XIII, 106-7. But the statement, that the oppressor of Brahmans swallows the cow, and that he then cannot get her out again, because she sticks in his throat, is equally suitable.
Stanza 8. b. The expression nådiká dántás tápasâ : bhídigdhåh seems to me to contain a double entente, ‘his windpipe (shaft of the arrow), his teeth (points of the arrow), are bedaubed (like the arrow with poison) with holy fire.' A striking figure of speech, hardly to be misunderstood ! Muir, his windpipe is arrow-points smeared with fire;' Ludwig, die nadikå (speiseröre oder luftröre ?) die zähne vom tapah bestrichen ;' Zimmer, seine luftröhre mit Gluth bestrichne Pfeilspitzen;' Grill, die Luftröhr Pfeilspitze, in des Eifers Gluth getauchet.'
Stanza 10. d. vaitahavya, patronymic from vítáhavya, a proper name; cf. st. 11, and V, 19, 1. Zimmer, pp. 132, 200-1, translates the word by die aus habsucht opfernden,' and 'die opfergierigen,' but the word per se has no disparaging meaning ; cf. vítíhotra.
Stanga 11. 0, d. Ludwig, die der Kesarapråbandhå letztgeborene gebraten.? This involves the emendation of karamágám to karamagám (sc. vatsam, call'), and makes Kesarapråbandhå the name of a cow; cf. prathamaga. That cows
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had names may be seen from our introduction to II, 32, but this name, 'having her hair braided,' is clearly that of a woman. Apparently the iniquity of the Vaitahavyas reaches its height, when they do not spare the only goat of the poor woman. If the text were only as sound as the moral!
Stanga 12. 8. Cf. V, 19, 11, where the number 99 takes the place of 101. Both are formulaic.
Stanga 14. Cf. st. 6 and XII, 5, 4. 58.
c. hántábhísasténdras ought, in the light of stanza 6, to mean 'Indra slays the curser,' or 'Indra destroys curses.' Accordingly the Pet. Lex. proposes hántás bhísastim (cf. Whitney, Sanskrit Grammar?, $$ 271 d, 946); hántâ sbhísaster is equally possible (cf. 1. c., $ 1182 d). The text might possibly be sustained by reading hántà - bhísastâ (acc. plur. neut.). Ludwig takes both words as nominatives of tar-stems, Indra töter fucher.' Zimmer, still differently, reads hántás bhísastam.
d. For vedhás, cf. our note on I, 11, 1 b.
V, 19. COMMENTARY TO PAGE 171. For the employment of this hymn in the ritual, and other general considerations, see the introduction to V, 18.
Stanza 1. 0. Bhrigu is a typical name for an Atharvan priest ; cf. angirasa in st. 2; bhrigvangiras, like atharvârgiras, is a name of the Atharva-veda itself; see Kaus. 63, 3 ; 94, 3. 4. Like Atharvan and Angiras, the Bhrigu are connected with the production of fire ; cf. Ludwig, III, 140.
For the Sriñgayas, see Weber, Ind. Stud. I, 208 ff., 232; Ludwig, III, 154; Zimmer, 132 ; Weber, 'Episches im vedischen Ritual,' Sitzungsberichte der Königlich Preussischen Akademie, July 23, 1891, vol. xxxviii, p. 797 [42]
Ff
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HIYMNS OF THE ATHARVA-VEDA.
(p. 31 of the reprint). The legend which is alluded to here (and in V, 18, 10. II) is not to be found elsewhere. One may fairly question whether it is not, in a measure at least, trumped up in deference to a supposed etymology: -gaya in srlñgaya suggests 'conquer, oppress' (cf. giyáte in st. 6, and brahmagyásya in st. 7); the syllable srin (Padapatha srin-gaya) is not above the suspicion of having suggested sringin, ‘horned animal, RV. I, 32, 5, &c.; cf. the later writing sriñgaya, Vishnu-purana, &c. Note however Tait. S. VI, 6, 6, 2, and Sat. Br. XII, 9, 3, 1 ff., in both of which places the Sriñgayas come to grief.
Stang& 2. c. The text has ubhayādam, which we have emended (with Grill) to ubhayádann, 'having two rows of teeth.' The ram is ordinarily a harmless animal; but, just as he portentously devours a lioness at RV. VII, 18, 17, so he here appears armed with extra teeth, and capable of doing mischief. Possibly, however, ubhayādam is an accusative from ubhayáda = ubhayảdant, 'horse,' and 'the goat devoured the horse' is another way of marking the ominous destruction of the property of oppressors. Cf. RV. X, 90, 10, and the Pet. Lexs., s.v. ubhayatodant, ubhayatodanta, ubhayadant.
Stansa 3. b. I have accepted Professor Weber's not altogether certain emendation of suklám to sulkám (Ind. Stud. XVII, 304). This is based upon Muir's perfectly secure parallel correction at III, 29, 3 (Original Sanskrit Texts, V, 310) These two passages are the only ones upon which the Pet. Lex., S. V. 2 d, bases the meanings 'auswurf, schleim, rotz' for suklá; otherwise the word means 'white.' It must be conceded, however, that the reading sulkám disturbs the parallelism between Padas a and b, and that the construction of ish with the locative of the person from whom something is desired is strange. The text as it stands would yield, 'who threw slime upon him.'
0, d. This punishment broaches upon the later infernal
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fancies of the Mârkandeya-purâna; see Scherman, Romanische Forschungen, V, 539 ff.; Materialien zur Geschichte der Indischen Visionsliteratur (Leipzig, 1892), and Féer, Journal Asiatique, Eighth Series, vol. xx, p. 185 ff.; Ninth Series, vol. i, p. 112 ff.; cf. also Zimmer, 420 ff.
Stanza 4.
b. 'As far as she reaches or penetrates,' i. e. wherever she is distributed and eaten (?). Ludwig, 'wohin sie überhaupt gewandelt,' i. e. wherever she has been during her life-time. Zimmer (and similarly Grill), ' während sie noch unter dem beile zuckt.'
Stanza 5.
b. I read asyate for asyate with Zimmer and Grill; cf. V, 18, 3 d. See also the note on III, 4, 7, and Proc. Amer. Or. Soc., May, 1886 (Journ., vol. xiii, p. cxvii ff.).
Stanza 7.
The last word, brahmagyásya, is a gloss (Anukr. uparishrâdbrihatî). The cow is described as portentous, hence she forebodes destruction; cf. VIII, 6, 22.
Stanza 9.
c. The Pet. Lex., s. v. man with abhí, reads tád dhánam for sád dhánam. The emendation is not urgent.
d. Nârada is the typical interlocutor in the Purânas; in AV. XII, 4, 16. 24. 41 ff., he is especially engaged in procuring the brahmagavî.
Stanza 11.
Cf. V, 18, 12. For náva navatáyah, see Whitney, Sk. Gr.3 § 477 d.
Stanza 12.
A favourite method of imprecation in the Atharvan consists in threatening with the ceremonies of funeral, or even employing stanzas and formulas originally constructed for burial; cf. the introduction to I, 14, and the note on II, 12, 7. The present stanza, as well as sts. 13, and Ff2
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HYMNS OF THE ATHARVA-VEDA.
XII, 5, 47 ff., contain such threats against the oppressor of Brahmans ; cf. our Contributions, Second Series, Amer. Journ. Phil. XI, p. 336 ff. (especially pp. 339 ff.). In this stanza reference is made to the custom of tying a kūdi-plant (according to Dårila at Kaus. 21, 2. 13, &c.= badari, Christ's thorn ;' cf. Kaus. Introduction, p. xliv) to the dead, so that it trails after him and effaces the track of death : death shall not find the path again and turn upon his trail for further victims. Cf. Antoninus Liberalis 23, εξήπτε δε εκ της ουράς προς έκαστον ύλην, ώς αν τα ίχνη των Bowv apavion. To this rough embrace, symbolic of death, the oppressor is here assigned. See Roth in Festgruss an Böhtlingk, pp. 98-9; and the present translator, Amer. Journ. Phil. XI, 338 ; XII, 416.
Stanza 14. Cf. Åsv. Sraut. VI, 10, 2; Åsv. Grih. IV, 1, 16; Max Müller, ‘Die Todtenbestattung bei den Brahmanen,' Zeitsch. d. Deutsch. Morgenl. Gesellsch. IX, p. ii.
Stanza 16.
8. For the relation of Mitra and Varuna to rain, see Ludwig, Der Rigveda, III, 314.
o. Cf. VI, 88, 3; Khad. Grih. III, 1, 6; and Ludwig, 1. c., p. 256.
V, 20. COMMENTARY TO PAGE 130. The purpose of the hymn is obvious. At Kaus. 16, 1, it is rubricated along with VI, 126, 1, and accompanied by the following solemnities. All musical instruments are washed, dipped into a mixture which contains the fragrant substances tagara (powder of the tabernaemontana coronaria) and usira (the root of andropogon muricatus); they are next anointed with the dregs of ghee (cf. V, 21, 3), and finally the chaplain (purohita) of the king sounds them thrice and hands them over to the warriors as they go forth to battle. Cf. also Vait. Sa. 34, 11; Ath. Paris. 5, 4.
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V, 20.
COMMENTARY.
The hymn has been translated by Ludwig, Der Rigveda, III, 460 ff.; Grill2, pp. 68, 153 ff. Cf. Zimmer, p. 289. The Anukramanî, vânaspatyadundubhidevatyam sapatnasenâ parâgayâya devasenâvigayâya.
437
.
Stanza 1.
Cf. V, 21, 3. The Padapatha satvanâ-yán, 'going with,
or to, the warriors.' Grill, 'wann sie in den kampf ruft.' As regards the resonance of the wood, Tait. S. VI, 1, 4, 1 has the following pretty conceit: 'Vâk, speech, once upon a time escaped from the gods, and settled in the trees. Her voice still resounds in wooden instruments.'
Stanza 2.
=
a. druváya (cf. XI, 1, 12), with an obscure suffix váya, perhaps máya; cf. our remarks on the interchange of v and m in the Proc. Amer. Or. Soc., May, 1886 (Journ., vol. xiii, pp. xcvii ff.). Ludwig, 'an beiden hölzern nach beiden seiten befestigt.'
b. The MSS. read vâsitám, emended in the vulgate to vâsitám. This we have translated. Ludwig also adopts vâsitam, but renders 'losbrüllend wie ein stier auf die kühe.' Cf. VIII, 6, 12;.XI, 9, 22.
Stanza 3.
c. Possibly ví vidhya is to be read for vidhya (haplology; cf. Proc. Amer. Or. Soc., April, 1893; Journal, vol. xvi, p. xxxiv ff.); see I, 8, 2; VI, 66, 1; XI, 9, 23.
d. hitvấ grấmân, 'with broken ranks,' or, 'having abandoned the villages' (so Pet. Lex. and Ludwig).
Stanza 7.
c. For útpipânah, see our discussion, Contributions, Fourth Series, Amer. Journ. Phil. XII, p. 441 ff.
d. In the light of satruturya and vritratűrya one is
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HYMNS OF THE ATHARVA-VEDA.
tempted to read amitraturyâya, notwithstanding the metre. The sense would be the same in the end. svardhi (stem sv-ardhín), dr. dey., we have translated philologically 'having the good side;' cf. RV. II, 27, 15. The Pet. Lexs. and Grill, ein guter parteigenosse (kampfgenosse),' but the word is certainly a bahuvrihi. Ludwig's 'sinnend auf liecht (gewinn)' presupposes svar-dhih, but there is no reason for the loss of the visarga.
Stanza 8. 8. The metre suggests for dhibhíh the synonymous dhitibhih; cf. RV. I, 161, 7 with III, 60, 2. Likewise, vadási for vadåti would harmonise better with Påda b.
c. Ludwig takes sátvano as nominative of sátvana, ‘Indrafreund und held lass dich nennen.'
Stansa 9. Treated by Roth, Festgruss an Otto von Böhtlingk, p. 99. His translation implies that the drum heralds the return of the warriors after the battle, and announces the respective merits of the participants. This breaks the connection, and imports over-pregnant sense into Padas c, d, das verdienst sachverständig abschätzend (but vayúnâni vidvấn is a mere formula I), teile vielen lob aus im kriege,' i.e. 'für ihre haltung im kriege (for their conduct in battle). For dvirágá, cf. duellum, bellum.
Stanza 10. 0, d. A blurred comparison. The press-stones are placed over the skin into which the juice trickles, adhishávanam (sc. kárma) ? ; cf. Hillebrandt, Soma und verwandte Götter, p. 181 ff. They dance upon (beat down upon) the stems
· Note XII, 1, 41, åkrandó yásyâm vádati dundubhih, upon whom (sc. the Earth) resounds the roaring drum.'
adhishávanam by itself means the pressing-board, and so it may be understood here without altering the sense materially. Only the simile in that case is still further diluted.
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of the plant over the skin. Thus the drum-sticks beating upon the skin for victory, as it were, dance upon (beat upon) the booty. The Pet. Lex. and Grill change ádri to ádhri, apparently as though it were the MS. reading man könnte an eine verwechselung mit ádri denken,' Pet. Lex. S. v. ádhri). But there is no word ádhri, and according to the Index Verborum the MSS. read ádril. The expression grávà ádrih seems to be a composite phrase, press-stone;' cf. Hillebrandt, 1.c., 152 ff.
Stanza 12. c. For vidáthà nikskyat cf. RV. IV, 38, 4. It seems to mean like a leader (puroeta) attending to the troops.' Ludwig, der opferversammlungen gedenkend ;' cf. Der Rigveda, III, 259 ff. I believe that vidátha primarily means 'family;' cf. su-vidátra, 2. védana (pativédana), pári vid, &c.
V, 21. COMMENTARY TO PAGE 131. The practice connected with this hymn at Kaus. 16, 2. 3 is as follows: '(The purohita) while reciting the hymn makes an offering aloud, and swings the sacrificial spoon about high in the air . Then he sews a soma-branch upon (a piece) of the skin of an antelope, and fastens it (as an amulet) upon the king. The performance on high symbolises the shrill sound of the drum (cf. V, 20, 1); the amulet seems to be a blended, vague embodiment of the soma-shoot in V, 20, 10, and the antelope's skin in V, 21, 7. Stanza 12 of our hymn is rubricated in the aparågitagana of the Ganamâlâ, Ath. Paris. 32, 13. The hymn has been translated by Ludwig, Der Rigveda, III, 373-4.
Stanze 7.
b. The skin of the antelope seems thus to have been used for the covering of the drum just as the skin of the
Some of Shankar Pandit's MSS. do, however, read ádhri. : Dârila, ürdhvam parivartayan ... tomas ka ukkaih.
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HYMNS OF THE ATHARVA-VEDA.
cow (V, 20, 1; 21, 3). But the matter is not altogether clear, since in the Satra above the antelope's skin is combined with a soma-shoot. This points, rather, to some use of it either at the soma-pressing, or, perhaps, at some preparatory stage (diksha). The black antelope's skin is regularly employed at the dikshå; cf. Ait. Br. I, 3, 17; Lindner, Die Diksha, p. 27 ff.; Oldenberg, Die Religion des Veda, pp. 87, 399 ff.
Stanza 8. The first hemistich is altogether obscure. One may imagine that the poet desires to accentuate Indra's (and implicitly the king's) power by stating that the enemies are frightened at the beat of his feet, even when he is amusing himself; cf. Mahâbh. III, 14882, yadi prakridate sarvair devaik saha satakratuh, 'if (Indra), of hundredfold power, disports himself in the company of the gods.' The words khâyáyå sahá would naturally mean in the company of khaya,' and one is almost tempted to suspect sákyà (sákia), 'in the company of Sakî.' But it is possible to extract the meaning, the enemies are frightened at the beat of Indra's feet and at his shadow. Ludwig, 'mit denen Indra spilet mit dem fussgeräusch und seinem schatten' (!).
Stanza 9.
Ludwig, 'nur wie der laut einer bogensene sollen die dundubhi herschreien, von den heeren der feinde, welche besigt sind, und mit ihrer front nach allen weltgegenden gehn. But gyaghoshah is not a possessive compound, witness the accent, and the sense of abhí krosantu must be the same as that of abhí krand in V, 20, 2. 7; 21, 4-6.
Stanza 10. The picture is that of interference of the sun and its rays with the operations of the enemy. patsanginîr,' clogging their feet,' is not quite clear. Ludwig may be right in regarding it as an independent noun, 'schlingen,'traps ;' cf. Kaus. 16, 16.
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The word takmán is not mentioned at all in the Rigveda, but occurs very frequently in the Atharvan. Four hymns, I, 25; V, 22; VI, 20; VII, 116, are devoted exclusively to its curel; the word is mentioned frequently elsewhere in the Atharvan; and there are descriptions of diseases, such as are stated in AV. I, 12, which are very closely allied in character to the takmán, but the word is not mentioned in the text. The Ganamâlâ, the 32nd of the Atharva-Parisishtas, presents in its seventh paragraph a series (gana) of no less than nineteen hymns, supposed to be devoted to the cure of this disease (takmanâsana); see Kaus. 26, 1, note. Såyana to AV. XIX, 34, 10 explains takmán as follows: krikkhragivanakartaram yasmin sati krikkhrena givanam bhavati. Professor Roth in his famous tract, Zur Litteratur und Geschichte des Veda' (p. 39), published in 1846, thought that the takmán referred to leprosy because the name of the plant kúshtha (costus speciosus), the specific against takmán, is in the later medical writings also a designation of leprosy. Adolphe Pictet in an article entitled “Die alten Krankheitsnamen der Indo-Germanen, published in Kuhn's Zeitschrift, V, 337, thought he found etymological support for this view in Persian takhtah and Erse tachas, tochas, both of which refer to leprosy, or the like. Professor Weber, judging from the symptoms described in AV. I, 25, recognised fever as the chief feature of the takmán (see Indische Studien, IV, 119); after him Dr. Virgil Grohmann published in the same Journal, IX, 381 ff., a careful and exhaustive essay which corroborated Weber's view. This was still further supported by Professor Zimmer in his Altindisches Leben, p. 379 ff., and now Darila and Kesava, the commentators of the Kausika-sätra, everywhere gloss the word
* Cf. also the hymns to the kúshtha-plant, V, 4 and XIX, 39.
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by gvara'. The descriptions of gvara as offered by the Hindu medical Sâstras are such as to leave no doubt that the two diseases are essentially the same. Just as the word takmán is lost in the later literature, the word gvara is totally wanting in the Atharvan: the two words complement one another. Only one must not expect to find lucidly expressed diagnosis and consistent therapeutics in Atharvan writings; the descriptions are frequently vague, being blended with that of other diseases, and the treatment frequently symbolic. In many passages, moreover, the takmán is a person, and belongs to the same class of demoniacal manifestations as graha, amiva, rakshas, and the like.
Briefly, the disease is described as having for its chief symptom the change between heat and chills ; intermittency, arriving either every day at the same time, every third day, or omitting every third day?; jaundice, which suggests true malarial fever, especially during the rainy season; and the association with a variety of other diseases, some of which are none too clear in character. Headaches, coughs are alluded to unmistakably; in addition the diseases called balása (AV. IV, 9, 8; XIX, 34, 10), and his brother's son,' the pâmán (V, 22, 12). Almost all diseases in India show a tendency to be accompanied by febrile symptoms, and the frequency of malarial fevers is notorious. Susruta designates fever as the king of diseases;' fever is present when man comes into the world, and it is also present when he leaves the world. Gods and men alone survive its ravages (Susruta, Uttaratantra, chapter 39). No wonder, then, that the burning weapons of Takman are dreaded so much in the Atharvan. The effort is made to drive him out, either with polite words (I, 25; VI, 20); with potent charms (IX, 8, 6); or with plants used as specifics, especially the kúshtha (costus speciosus), which is
1 We may mention also that Dr. Muir translated the word by 'consumption :' Original Sanskrit Texts, IV, p. 280.
. Cf. AV. I, 25, 4; VII, 116, 2.
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therefore designated as takmanâsana (V, 4, 1. 2), and the gangida, an unexplained member of the Indian flora'. In V, 22 the gods, Agni, Soma, Varuna, the Ådityas, and the deified press-stones (pressing the soma) are appealed to for help. Cf. in addition to the authorities mentioned above, Edmund Hardy, Die Vedisch-Brahmanische Periode, p. 198, and, for detailed descriptions of fever and its treatment in the medical Sâstras, Wise, Hindu System of Medicine, p. 219 ff.
The treatment of AV. V, 22 in the ritual, Kaus. 29, 18. 19, is as follows :'(The priest) gives (the patient) gruel made of roasted grain to drink. The dregs (of the gruel) he pours from a copper vessel over the head (of the patient) into fire derived from a forest-fire?' The treatment is intensely symbolical, being based upon the attractio similium, with a touch of homoeopathy. The roasted grain represents heat and therefore fever; the copper vessel (lohitapâtra), with the other meaning of lohita, 'red,' in mind, again suggests heat and fever, and the forest fire, dávágni, figures in preference to ordinary fire because it is occasioned by lightning, and lightning is conceived as the cause of fever and its related diseases. See our treatment of AV. I, 12, and cf. Seven Hymns of the Atharva-veda, Amer. Journ. Phil. VII, 469 ff. (p. 4 ff. of the reprint). Note also the very parallel treatment which the fever patient undergoes at the hands of Kausika in 25, 26, in connection with AV.I, 25.
The hymn has been translated many times, either entirely or in part. See Roth, I. c., p. 38; Grohmann, Indische
Darila at Kaus. 8, 15, gangidos rgunah akala iti dâkshinâtyah. Kesava, ib., gangido vârânasyam prasiddhah. It is the name of a tree in any case; see XIX, 34 and 35.
• Kausika's language is of the most concise Sätra sort : 18 ... lâgân pâyayati. 19. dâve lohitapâtrena mürdhni sampâtân ânayati.
The translation above is with the help of Darila. The employment of the dregs after the act of âplavana is technical; see the Paribhâsha-sūtra Kaus. 7, 15. For the sampâta, see also Grihyasamgraha I, 113.
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Studien, IX, p. 381 ff. (especially pp. 411–12); Ludwig, Der Rigveda, III, 510; Zimmer, 1. C., pp. 380 ff.; Grill, pp. 12, 153 ff.; cf. also Hillebrandt, Vedachrestomathie,p.49. The Anukramani designates it as a takmanåsanadevatyam (sc. suktam); Bhrigu-Angiras are the authors.
Stanza 1. 2. Because the first Pada is a gagatî followed by three trishtubh Pädas the Anukramanî designates the stanza as a bhurig. It is possible, however, to obtain a trishtubh by reading ápabâdhatetáh with elision and crasis; cf. Roth in Kuhn's Zeitschrift, XXVI, 50 ff. I prefer to retain the gagatî, because it frequently appears in trishtubh stanzas, without the possibility of a change.
b. pâtádakshâh (stem pūtádakshas) is not easily rendered. Roth, 1.c., 'von unversehrter kraft;' the Petersburg lexicons, Grohmann, and Grassmann, 'von reiner gesinnung;' Hillebrandt, von geläuterter gesinnung;' Grill, 'lautern sinnes;' Ludwig, von geheiligter kraft;' Max Müller, Vedic Hymns, Sacred Books of the East, vol. xxxii, p. 493, 'endowed with pure strength.' But 'lautere gesinnung idealises over much, and pure strength' is vague. Perhaps after all our translation of tried skill or strength' comes nearest to the true sense of the original. Cf. RV. III, 1, 5, krátum punânáh kavibhih pavítraih,' purifying his intellect by wise means of purification. The epithets pâtá-daksha and ptá-dakshas are employed very frequently in connection with the Adityas, singly or collectively, and it is perhaps significant that Daksha is one of the Adityas.
d. Ludwig takes the words amuya bhavantu in their plainest sense, 'sollen nach jener seite hinweggehn.' But amuya frequently has a sinister, contemptuous meaning,
in that well-understood, suitable, evil manner;' it is a kind of euphemism like English 'gone,' German (slang) caput.' Cf. amuyá sáyanam, RV. I, 32, 8; pâpáyâ-muyá, RV. I, 29, 5, &c. ; and Grill's note, p. 155.
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Stanza 2. 8. In India malarial fever is frequently accompanied by jaundice ; cf. AV. VI, 20, 3, 'thou that makest all forms yellow,' and I, 25, 2. 3, where the takmán is designated as haritasya deva, 'the god of the yellow (colour).' Cf. Grohmann, ib. 393.
b. Between the expression agnir ivå: bhidunvan and the dâvâgni of the ritual practice (Kaus. 29, 19) there is a thread of symbolic connection. Cf. AV. I, 25, 2. 3 ; VI, 20, 1.
d. nyàn and adharán are synonymous to such an extent as to render it difficult to preserve the flavour of the original: literally, 'do thou go away down, or lower!'
Stansa 3. 8. For parusha and pårusheya, Ludwig reads arusha and ärusheya, and translates 'der rot ist von rotem'-an unnecessarily severe handling of the text.
b. avadhvamsá is át. dey., but the meaning is fairly clear; cf. the expression karnair avadhvams in the Pet. Lex., s.v. dhvams. The eruption (Grohmann, 394) produces roughness of the skin's surface, and the Hindus look upon such superficial changes as coming from without; cf. Contributions, Second Series, Amer. Journ. Phil. XI, 323 (5 of the reprint).
0. visvadhâvîrya would seem to refer to the kushthaplant, if we consult AV. XIX, 39, 10. But the ritual does not indicate its employment.
Stansa 4. a, b. Note the concatenation between this and the preceding stanza, effected by Pådas 3 d and 4 a. The expression námah kritvá indicates a polite modification of the power of the charm, calculated to engage the co-operation of the demon Takman himself. Pada a is trochaic; in b read krituá.
o. Literally, 'the fist-fighter of Sakambhara,' i.e. the champion carrier of excrement, or the chief of diarrhoea
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producing diseases: sakambhará seems to be the personification of abnormal evacuation.
Stanza 5. I do not consider the versifier incapable of a certain kind of punning intention in the choice of ethnic communities to which he would relegate the takmán: mahâvrishá, here, and elsewhere in the hymns, may suggest to him a very strong' tribe, better fitted to cope with the ravages of the disease; bálhika surely suggests to his mind bâhîka and bahis,'without,' i.e. not his own people?; and even můga. vant may suggest muñga-grass, the plant which figures among Kausika's remedies for the disease ; see the introduction to I, 12, and cf. muñgavant in Yaska's comment at Nirukta IX, 8, as the equivalent of mūgavant". Rigorous geographical deductions derived from the juxtaposition of these names are therefore to be avoided. They are, however, as also the Gandhari, Anga, and Magadha in the sequel, true ethnical designations; see Roth, Zur Literatur und Geschichte des Weda, p. 39; Zimmer, pp. 29, 129, 431, 433, and Weber's article, Über Båhlí, Bůhlîka,' Proceedings of the Berlin Academy of November, 1892, vol. xlvii, p. 985 ff.
a, b. Note the concatenation with 4 d.
0, d. The Anukramani designates the stanza as virât pathyà brihatî, but takmams is in all probability interpolated. Its removal ensures a fairly good anushtubh.-nyokara is ds. dey., its form being perhaps twisted in some measure in deference to the obvious pun with okas in a, b (gelegenheitsbildung '); it also suggests doubtless in its suffix the
1 Cf. especially, Zimmer, p. 433, top.
* The name mågavant, however, is typical for a region far distant; see Tait. S. I, 8, 6, 2; Våg. S. III, 61, and Sat. Br. II, 6, 2, 17, in all of which Rudra with his destructive bow is entreated to depart beyond the MQgavants : esha te rudra bhậgah ... tena svasena paro mūgavato stî shy avatatadhanvâ, &c. Here is thy share, o Rudra; provisioned with it go beyond the Magavants with thy bow strung, &c.'
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word kara, 'going.' Ludwig's translation is very literal,
wie gross du auch geboren bist, so gross bist du heimisch bei den Bahlikas.'
Stanza 6. 8, b. I really see no present possibility of translating the words vyåla vi gada vydrga ; everything suggested is mere guess-work. A brief history of the interpretation of the words may be given in lieu of any personal conviction as regards their meaning. vydla, according to the lexicons, means either 'malicious, wily,' or 'serpent,' or some other ferocious animal, any of which meanings might be given to the demon of a severe disease. Ludwig translates it 'schlange,' a rendering which is supported in a measure by vyånga, 'limbless ;' Grill and Hillebrandt prefer 'tückisch.' The text of the Samhita and the Padapatha both have ví gada, which is doubtless felt to be an imperative. Accordingly Ludwig translates it'sprich heraus ;' Grill in the first edition of his ‘Hundert Lieder,' pp. 11, 63, emended vi gadha, and rendered 'lass los.' Whitney in his Index Verborum, s.v. gad and vigada, as also in his 'Roots, VerbForms,' &c., under root gad suggests the reading vigada, vocative, and this is now accepted by Grill in the second edition, who renders it'stumm,' and Hillebrandt, s. v. vígada, who entertains the same view : etwa 'wort-, sprachlos. With this emendation in mind the word might also be translated 'O chatterer, referring to the delirium of the patient. One may be permitted, too, to consider the possibility that gada, 'sickness, is at the bottom of the word : vígada,' free from sickness' (euphemistic address to the demon of the disease); cf. Böhtlingk's Lexicon, s. v. In that case vigada would be synonymous with agadá, free from disease,' and this would remind us strongly of RV. X, 16, 6; AV. XVIII, 3, 55; Tait. Ar. VI, 4, 2, yát te krishnah sakuna atutóda pipilah sarpá utá và svấpadah, agnish tad visvad agadám krinotu, “If the black bird (vulture) has bitten thee, the ant, the serpent, or even the wild animal, may all-devouring Agni restore (agadám krinotu) that.' And further, we may remember that the
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kúshtha-plant, the specific against takmán, renders agadá a person suffering from takmán in AV. V, 4, 6; VI, 95, 3. vyárga again calls up a variety of possibilities. If we translate vyala by 'serpent,' we will not fail to remember that vyånga, 'limbless,' occurs in AV. VII, 56, 4 as an epithet of the serpent, and render accordingly. So Ludwig and Grill in the second edition. Hillebrandt more vaguely,
körperlos.' The Petersburg Lexicons, and Grill in the first edition, translate it by 'fleckig' (vi + añg), which might be justified by some symptom of the disease. Non liquet.With bhůri yâvaya we have supplied vágram from Pâda d.
0. nishtákvarîm with the following pun in mind : nish takmấnam (suva, or the like),' drive out the takman.' The word is år. dey., but fairly clear as a synonym of prakîrnâ !, pumskalî, vipravràginî, bahukårinî, &c. Such a person is correlated with the cross-roads; see the citations in our edition of the Grihyasamgraha II, 23, note 3 (Zeitschr. d. Deutsch. Morgenl. Gesellsch. XXXV, 573), and add Kaus. 37, 9.
Stanza 7. b. The etymology of bálhika in the mind of the poet (bâhîka 'externus;' cf. note on st. 5) accounts for parastarám ‘farther away. The statement may not be utilised for geographical purposes.
d. vîsva dhunůhi, shake her through as it were' with humorous intent. The symptom referred to is ague, and it is paralleled by the use of the root vip in st. 10 (cf. also IX,
8, 6).
Stanza 8. b. I have translated in accordance with the vulgata, bándhv addhi parétya, but not without a strong temptation to emend to bándhv ádhi parétya, and translate,'having passed over to thy kinfolk, the Mahåvrishas and the Mûgavants.' 'Eat your kinfolk' seems exceedingly crude even for the present production. The MSS. exhibit indigestible variants.
Schol. at Grihyasamgraha II, 22, grihe-grihe gamanasîlâ.
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d. anyakshetrani vâ imá seems to refer to other countries, nearer to the speaker than those mentioned in the stanza; perhaps, as Grill remarks, the Anga and Magadha mentioned in st. 14.
Stansa 9. The exact connection between the various statements made in this stanza is not easy to find. Perhaps as follows: Takman does not take pleasure in the other regions (near by), that is, he remains in the country of the person praying; therefore he seems to be implored not to damage him personally, but to seek out other victims. But (after all?) Takman has got himself ready and will go to the remotest region, that of the Balhikas, that being the final outcome announced by the priest in charge of the exorcism. Ludwig translates anyakshetré in andrer leib;' neither his, nor Grill's translation makes clear the sequence of thought.
b. The Pâda is formulaic=VI, 26, 1 b.
0. The translations of prarthas, our own included, are practically guess-work. The Pet. Lexicons, ausrüstung zur reise;' Ludwig, 'begirig nach der ferne;' Grill, in the same spirit, 'schon rüstet Takman sich zur reis ;' Hillebrandt,
bereitwillig.' I have translated simply upon the basis of the denominative prarthayati, ' desire, demand.' The metre demands pra-arthas.
Stanza 10. a. We have translated rûrá by deliriously hot.' In the Atharvan it occurs only as a form of the takmán (see st. 13, and I, 25, 4; VII, 116, 1, and cf. Tait. S. II, 5, 2, 3), but in the Tandya-Brahmana VII, 5, 10 it occurs as an epithet of Agni, and the scholiast is pretty nearly right in commenting, ruru iti sabda yamâno dahatîsti rurah. The word is indeed to be derived from the root ru,' howl,' and it expresses both the heat and delirium of the fever. For agnir rûrah, cf. also the mantra in Kaus. 71, 6, addressed to Agni, mà no ruroh, &c. Sâyana at AV. I, 25, 4, sitânantarabhāvine gvaraya.
b. For ávepayah, cf. the note on stanza 7 d. Read käså ávepayah.
og
[42]
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Stanza 11. b. We have not rendered balása by 'consumption,' with most of the authorities, on account of our distrust of the commentators: Mahîdhara at Vâg. S. XII, 97, kshayavyâdhi ... balam asyati kshipati, and Sayana at AV. XIX, 34, 10, balasya asanakartâram balakshayakârakam. The explanations are of the etymologising sort, and the utterances of the texts as gathered by Zimmer, p. 385ff., are not conclusive. The strongest evidence in favour of the identity or similarity of balãsa and consumption is the parallelism of VI, 14, 1 with V, 30, 9, but even that is not conclusive. Further, the formal parallelism with kilása, which means 'some kind of eruption, or leprosy, points to a similar conclusion, 'sore, or swelling,' for balása. Such, indeed, was Grohmann's view, Ind. Stud. IX, 396 ff. (cf. also Wise, Hindu System of Medicine, pp. 296 and 311), and we do not see that it is supported by a lesser array of intrinsic evidence. The question is still sub judice, and is not likely to be settled until the medical Sastras reveal their treatment of the disease more fully. We have therefore not undertaken to translate the word for the present. Ludwig renders it by 'dropsy,' upon what authority, we fail to see.—Note the masculine thematic form kâsám following closely upon the fem. käsa in st. 10 b; we may, of course, resort to a correction of the accent (kásam), but see our note on I, 12, 3 b. udyugá is án. dey., and might perhaps better have been left untranslated. We are permitting the word udyoga, exertion,' and Ludwig's rendering of udyugá by angestrengter husten' to entice us. Grill retains the original, mit Schwindsucht, Husten, Udyuga;' Zimmer, p. 384,'den Balâsa und den sich anschliessenden Kåsa.'
Stanza 12. 0. For påmán, see Grohmann, 1. c., p. 401 ff.; Zimmer, 1. c., p. 388, and Wise, 1.c., p. 261. The latter describes the disease in accordance with Karaka's teachings as follows: 'Small tubercles in great numbers of a dark or
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purplish hue with a copious bloody discharge accompanied with burning and itching. In the AV. the word is ån. dey. The schol. at Sat. Br. III, 2, 1, 31 renders påmá by vikarkikå, 'scurf, eruption.'
Stanza 13. 8. Zimmer, 1. C., 382, suggests upon rather slender evidence another explanation of trltîyaka, 'he who produces death after the third paroxysm.' Sâyana at AV. XIX, 39, 10 comments upon the traditional text sîrshalokám tritîyakam (which Roth and Whitney have emended in their edition to sîrshasokám trítîyakam), with the result, “Thy head (O kushtha-plant) is in the third heaven,' thus omitting an opportunity to tell us what tritîyaka is. At I, 25, 4, however, he has, tritiyadivase ágakkhate. Without doubt the takman tritîyaka is identical with gvara tritîyaka, Susruta II, 404, 7; 405, 14, tritîyakas tritîyeshni (pravartate), i.e. the rhythmus tertianus. Wise, l. c., p. 232, says, rather obscurely, 'When the fever returns at an interval of one day it is called Tritiyaka.'-vitritiya is ån. dey. and not altogether clear. Grohmann, l. c., p. 388, regards this as equivalent to the tertiana duplicata, consisting of daily attacks which, however, correspond in every other day as regards the time of day in which they take place, or as regards their intensity. But vitritîyá translated philologically means 'leaving aside the third day,' and there is no evidence to connect it with the tertiana duplicata. According to our construction the vitritîya would appear to be identical with the takmán of whom it is said, yo ... ubhayadyúr abhyéti, I, 25, 4 (see the note there), and VII, 116, 2.
b. sadamdi is probably the equivalent of the samtatagvara, or satata-gvara (Wise, 1. C., 231), a kind of fever which continues without interruption for a longer period, seven, ten, or twelve days, is then followed by an interval, and again occurs and remains for several days. Sayana at AV. XIX, 39, 10 blunderingly refers sadamdi to the kushthaplant, and renders it by sada rogânâm khandayita, 'the constant crusher of diseases.' He has in mind no doubt
G g 2
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the root 3. da, divide,' and in this sense it may be an epithet of the takmán, 'always cutting. The Pet. Lex. suggests derivation from 2. då, 'für immer fesselnd,' which is no less apt an etymology than the preceding. Zimmer's suggestion, I. c. 383, note, is ingenious and enticing. He would see in the word an abbreviation of *sadam-dina, made like madhyam-dina, and meaning therefore 'belonging to every day;' this etymology may perhaps now be supported by sadadi (adverb), 'commonly,' which occurs quite frequently in the Maitrayanî-samhita, I, 5, 12 (80, 18); I, 10, 9 (149, 15), &c.- såradá here, along with grasshma and vấrshika in the next Padas show that the takmán raged at various seasons; it seems, however, to be associated most persistently with the autumn, at least if we may trust the adjective visvásåradain AV. IX, 8,6 ; XIX, 34, 10. Wise, 1. c., p. 233, remarks: The type of fever varies according to the season of the year.'
Stansa 14. o. Read gánam iva as three syllables, either gáneva (cf. Roth, Kuhn's Zeitschrift, XXVI, 45 ff.), or gánam va, with reference to the Prakritic form.-sevadhím, i.e. they shall hold on to the takmán like a treasure, that he may not return.
V, 23. COMMENTARY TO PAGE 23. The practice connected with this hymn at Kaus. 29, 20 26 is an amplification of that described in Kaus. 27, 14-20 in conjunction with AV. II, 31, being supplemented by a distinct therapeutical treatment of the patient, as follows: 20. 'While reciting AV. V, 23 the practitioner uses the root of a (reed-grass called) karîra?, performing the rite described in connection with the arrow (at Kaus. 27, 15) upon a cer
Sâyana at AV. XIX, 34, 10 glosses the word with, sarvasya sarvadå vâ visaranakartaram!
• According to Kesava he lies it on as an amulet, but according to Kaus. 27, 14 he offers it as an oblation (guhoti).
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tain part of it? 21. The dust (which forms part of the performance in 27, 18) he takes from the village (using it the same way as in Kaus. 27, 18. 19). 22. He places (the sick child) upon the lap of its mother to the west of the fire, and with the bottom of a pestle (heated in the fire, and) greased with butter, he warms the palate (of the child) by thrice pressing upon it. 23. He anoints it with (a mixture of the leaves of a) horse-radish tree and butter. 24. He takes twenty-one (dried) usîra-roots (andropogon muricatus 3), pronounces over them the hemistich V, 23, 13 c, d, and performs upon them the acts mentioned therein (i.e. he mashes the roots and burns their surfaces with fire, Kesava). 25. He presents the usîra-roots (to the patient), 26. He pours water (upon the patient) along with the twenty-one (usîra-roots).' The practice is by no means clear in every detail, Sûtra 20 being especially obscure.
The hymn has been translated by Kuhn, Zeitsch. f. vgl. Sprachforsch. XIII, 140 ff., and Ludwig, Der Rigveda, III, 501. Cf. also Bergaigne et Henry, Manuel Védique, p. 148.
Stanza 1. Cf. VI, 94, 3. The meaning of the stem óta- (a uta-) is not altogether certain ; see Whitney, Roots, p. 11, under u,
proclaim.' But I do not see how the meaning of the stem can be derived from the root vå, weave,' and the preposition a (cf. the Pet. Lex. under 5. và), as Whitney suggests. Cf. Såyana in the note on VI, 94, 3. Heaven and earth are called upon in a general way to protect against enmity and trouble, cf. II, 12, 1, and especially VI, 3, 2. The
That is, according to Dârila and Kesava he winds the young of worms around a certain spot of the karîra-stalk (Dâr. karîraikadesam), mashes the stalk, roasts the worms in the fire, and places the stalk upon the fire (correct Dârila's vratapatyadadhâti simply to pratapaty adadhâti).
* Cf. Darila at 38, 5, sigrupatrâni.
* The roots are dried (gîrna, garant): see Darila to the passage, and the Paribhâsha-sūtra, Kaus. 8, 17. Darila to the latter passage describes them as an odorous substance (gandhadravyam).
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goddess Sarasvati is invoked perhaps as the heavenly physician ; Indra and Agni as driving away evil spirits. Cf. also the Mantrabrâhmana of the Sama-veda, II, 7, 4, krimim indrasya bâhubhyam aváñkam påtayami, and Indra's mill-stone, AV. II, 31, 1.
Stanga 2. b. Indra as king of the gods, like the earthly king, is the guardian of treasures ; cf. IV, 22, 3, where the king is called dhánapatir dhánânâm.
Stanga 8. 8. A parallel to worms in the eye, in Teutonic folklore, is cited by Prof. Kuhn, 1. c., p. 150. In the medical Såstras a disease of the eye is known under the name krimigranthi, 'sty;' this may be related to the disease which is here imagined rather fancifully.
0. 'The worm which gets to the middle of the teeth' is similarly described in the later medicinal works as krimidantaka, 'caries' (Pet. Lex.), and dantâda (krimi), Wise, p. 349; cf. also the krimidůshitam dantavarnam, by which the Rik-Prátisakhya XVII, 10 describes syâva ; see Regnier's edition, III, 189.
Stanza 4. For the fanciful descriptions of forms, colours, and names in this and the following stanzas, see Kuhn, 1. c., p. 147, and cf. the note on II, 32, 2.
c. The formula babhrús ka babhrúkarnas ka is repeated in VI, 16, 3c: the hymn is described by the commentators at Kaus. 30, i ff., as a charm against ophthalmia. It is there also implicated in a fanciful list of personified diseases.
d. For kóka, cf. VIII, 6, 2, where Sayana glosses the word by kakravaka.
Stansa 5. 2, b. For the epithets sitikáksha and sitibáhu, cf. Våg. S. XXIV, 2. 4. 7; Tait. S. V, 5, 20, 1; 6, 13, 1 ; Maitr. S. III, 3, 3. 5. 8.
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Stanza 6. See the notes on II, 32, 1 and 2, and cf. especially AV. VI, 52, 1=RV. I, 191, 9.
Stansa 7. a, b. All designations are obscure. The Kath. S. has a pendant yavasha, perhaps a popular modification of yévâsha, in deference to yava, barley ? ;' káshkasha, egatká, and sipavitnuká are år. dey. A natural explanation for egatká suggests itself,' active, mobile.'
Stanza 8. b. nadanimán, 'roaring, or buzzing. This, again, is dn. dey.
(c. mashmasha kri frecurs in the Kath. S. XVI, 7; the Maitr. S. II, 7, 7 (p. 84, 1. 3) has mrismrisâ (var. mrismrisa) in its place; the Tait. S. IV, 1, 10, 3, and some of the MSS. of the Våg. S. XI, 80 (supported by the Prátisâkhya, V, 37) read masmasa, an interesting onomatopoetic aggregation.
d. The Pâda is repeated at II, 31, 1.
Stansa o. With the exception of the first Pada this stanza is identical with II, 32, 2; so also the next three stanzas repeat, without change, II, 32, 3-5. See the notes there.
V, 30. COMMENTARY TO PAGE 59. The present hymn is of essentially the same character as VIII, 1 and 2, and its manipulation in the ritual texts, Kaus. 58, 3. 11, and the ayushyagana (Kaus. 54, 11, note), coincides with both of these. See the introduction to VIII, 1. Previous renderings by Muir, Original Sanskrit Texts, V, 441 ff. ; Ludwig, Der Rigveda, III, 494 ff.
Cr. Contributions, Fourth Series, Amer. Journ. Phil. XII, 429. note 2.
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Stanza 1. The first hemistich is verbose and obscure. Muir, ‘from thy vicinity, from thy vicinity, from a distance, from thy vicinity (I call) to thee;' Ludwig, without construing,
deine nähe nähe, deine ferne nähe.' We have taken the two Pâdas as quasi-intensive expressions, equivalent respectively to avátas te, and parâvátas te.
Stanza 2. Cf. for Pada b the Italian proverb :
Da chi mi fido, guarda mi, Dio, Da chi mi non, mi guarderd io.
Stanza 5. Cf. Ath. Paris. 4, 1. We have regarded the stanza, not without hesitancy, as a plea of the professional medicineman in behalf of his art, and against domestic remedial expedients (“hausmittelchen'). The expression pratyák sevasva looks as though it meant 'refuse with thanks,' and our rendering of sárgatah aims to reproduce the supposed satirical flavour of the passage.
Stansa 10. Cf. VIII, 1, 13, and the note on the passage.
Stansa 12. b. The construction of the Pâda is not quite clear. Ludwig, anbetung denen die zu den vätern führen;' Muir, 'reverence to the Fathers, and to those who guide us.' Both renderings are non-committal; we have in mind the dogs of Yama as the subject of utá yé náyanti.
Stanza 13. Cf. Ath. Paris. 13, 3.
V, 31. COMMENTARY TO PAGE 76. The hymn belongs to the krityåpratiharanâni, a series of hymns designed to repel spells. It is closely similar in character to X, 1, together with which it is employed in the
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practices described at Kaus. 39,7 ff. ; see the introduction to X, 1. The particular point of interest in this hymn is the full catalogue of animate and inanimate objects within which spells were instituted. It seems that these objects, through which the prosperity of an enemy was attacked, went in the ritual by the name of marmâni, vital spots;' see Kaus. 39, 28. 31. The notion appears to be that a man is vulnerable through his belongings as well as his own person. Cf. in general, Maitr. S. III, 3, 8 (106, 11); Tait. S. VI, 2, 11, 1; Sat. Br. III, 5, 4, 2.
Stanza 1.
For the entire stanza, cf. IV, 17, 4, and our notes there.
8. An unburned vessel figures also in a witchcraft practice, Sat. Br. XIV, 9, 4, 11 = Brih. År. Up. VI, 4, 12. The symbolic aspect of an unburned vessel, namely its fragility, is in evidence at Sat. Br. XII, 1, 3, 23; Manu III, 179. We would remark in passing that the Padapatha's yád yâmám kakrúr at VI, 116, 1 is to be emended to yády åmám kakrúr. Correct accordingly the Index Verborum.
Stanza 2. b. It is difficult to decide whether kurîrini refers to some individual animal,' a crested animal,' perhaps 'peacock,' or whether it is to be regarded as an epithet of goat' in Pada a. Geldner, Vedische Studien, I, 130, renders it'horned,' but this is based upon a misinterpretation of VI, 138, 2; see the note there. Cf. Zimmer, Altindisches Leben, p. 91.
Stanza 3. The solipeds, horse, ass, &c., have one hoof, and incisors above and below, in distinction from the animals called anyátodant, 'those that have incisors only in the lower jaw.' They are contrasted with the pasture-animals in the preceding stanza. See Zimmer, 1. c., pp. 74, 75.
Stanse 4. &, b. The meaning of amalayam and naråkyam (vânarâkyam ?) is problematic. Our translation is of the etymological
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HYMNS OF THE ATHARVA-VEDA.
sort, and the feminine gender of the words is difficult to account for. But the suggestion of the Pet. Lexs. that both are designations of plants does not commend itself. See the passages cited under amúlá.
Stanza 9. 0. mroká and nirdáhá are designations of two kinds of destructive fire; cf. XVI, 1, 3. Our rendering of both words is purely tentative.
Stansa 10. 0. maryadhirebhyah is very obscure. The Padapatha, marya-dhîrebhyah, as a compound. At Maitr. S. I, 4, 8 (56, 18) we have maryadhairyena, and the absence of the vriddhi of the first syllable suggests that maryà may be an independent word, the enclitic maryâ, for which see Pischel, Vedische Studien, I, 61 ff. We might then translate, The fool verily has prepared (the spell) against the wise. But Pischel's treatment of the word is not altogether convincing.
Stanza u. The first three Pâdas are identical with the corresponding Padas of IV, 18, 6.
Stansa 12. b. malín, 'he that practises witchcraft with the roots of plants :' malakriya, Vishnu XXV, 7; mülakarman, Manu IX, 290; XI, 64; Mahâbh. III, 233, 13=14660 ff. Cf. Winternitz, Das Altindische Hochzeitsrituell, p. 98.
VI, 2. COMMENTARY TO PAGE 66. The hymn is employed at Vait. Sa. 16, 13 in the course of the agnishtoma. The second stanza is made the pivot of a small charm against Rakshas (rakshobhaishagyam) at Kaus. 29, 27. While reciting AV. VI, 2, 2 the performer eats milk-porridge that has been cooked upon a fire built up of birds' nests.' The symbolic connection with the stanza is apparent.
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The hymn has been translated by Florenz, Bezzenberger's Beiträge, XII, 251.
Stanza 1. b. a dhâvata (cf. RV. VII, 32, 6) is not altogether clear. Sâyana, adhavanam nâma adabhyagrahârtham grihîtasya vasatîvarigalasya (cf. Vait. Sa. 16, 1)... yad vå... dasåpavitrena sarvatah sodhayata.
Stanza 3. The first hemistich is identical with RV. VII, 32, 8 a, b.
VI, 8. COMMENTARY TO PAGE 100. The rites connected with this charm are stated in the introduction to II, 30, above. The hymn has been translated by Weber, Ind. Stud. V, 261 ff.; Florenz, Bezzenberger's Beiträge, XII, 257; Grill?, pp. 54, 158 ff. The Anukramani designates it as kamâtmadaivatam.
Stansa 1. Cf. RV. X, 10, 13. The formulaic refrain occurs also at I, 34, 5; II, 30, 1.
Stanza 2. *Large birds, as they start to fly, beat the ground with their wings, unable, as it were, to get off. Thus the mind of the woman shall not be able to free itself from her lover.' See Professor Roth, as quoted by Grill, and cf. VI, 18, 3; 70, 1.
VI, 9. COMMENTARY TO PAGE 101. For the practices connected with this charm, see the introduction to 11, 30, above. Previous translations: Weber, Ind. Stud. V, 264 ff.; Florenz, Bezzenberger's Beiträge, XII, 10. The Anukramani, kâmâtmadaivatam.
Stanza 1. Cf. III, 25, 3. 4, and the spirit of that hymn in general.
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HYMNS OF THE ATHARVA-VEDA.
Stanga 2. The second hemistich is formulaic; see I, 34, 2 ; III, 25, 5; the last Pada at VI, 42, 3 ; 43, 3.
Stanga 3. a. Literally, 'whose relations are a licking,' i.e. 'whose young furnish constant occasion for licking.' Licking the young is typical for fond maternity, e. g. AV. V, 1, 4.
VI, 11. COMMENTARY TO PAGE 97. The hymn is employed in a ceremony calculated to ensure the birth of a male child (Kesava and Darila, pumsavanam) at Kaus. 35, 8-10, to wit: 8. While reciting the hymn a fire is churned from the (two kinds of wood samî and asvattha) mentioned in the hymn, the fire is thrown into ghee (prepared from the milk) of a cow with a male calf, and then the ghee is treated like the paidva (i. e., it is put with the right thumb up the nose into the right nostril of the pregnant woman) 9. (Casting the fire) into a stirred drink with honey it (the stirred drink) is given to the woman to drink. 10. (The fire) is surrounded with the wool of a male animal?, and the wool is tied (as an amulet) upon the woman.' The symbolism of these acts is in general very clear. In the act of churning the fire sami is the female, and asvattha the male; cf. Ad. Kuhn, Die Herabkunft des Feuers 1, p. 71 ff.; Zimmer, Altindisches Leben, pp. 58, 59.
The hymn has been rendered by Weber, Indische Studien, V, 264 ff. ; Ludwig, Der Rigveda, III, 477; Zimmer, 1. c.,
1 Cf. Kaus. 32, 21 in the introduction to X, 4.
? We emend krishnornabhih to vrishna ûrnabhih with double samdhi; cf. Kausika, Introduction, p. lviii ff. Some MSS. rcad vrishno-, and vishno-, and there is apparently no sense in black wool; on the other hand the wool of a male animal is exceedingly suggestive.
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VI, 12. COMMENTARY.
461 319; Florenz, Bezzenberger's Beiträge, XII, 260 ff. The Anukramani, retodevatyam uta mantroktadevatyam.
Stanza 1. b. The male child' is the fire, which plays, therefore, an important part in the practices stated above.
Stansa 2. d. Pragåpati, the god of procreation, is, of course, the prime authority in these matters ; they are, therefore, said to be of his dictation.
Stanza 3. Sinivali and Anumati are two of the personifications of the four phases of the moon. They all preside over the act of procreation, and special rites in their behalf are practised by those desirous of offspring. See Weber, l. c., p. 228 ff.; Zimmer, 1.c., p. 352.
VI, 12. COMMENTARY TO PAGE 28. According to the text of Kaus. 29, 28. 29 in our edition the performances connected with this hymn consist in quickly (sîbham) giving the patient honey to drink, and then continuing with the practices described in connection with IV, 6 at Kaus. 28, 2 ff.; see the introduction to IV, 6. But Kesava and Sayana (who regularly bases his presentation of the ritual upon Kesava) have madhukridam for Kausika's madhu sîbham'; Darila's full text is, mamdakam (broth') saktasya karmabhimantrya pâyayati. It seems likely, therefore, that madhusîbham is to be regarded as a compound meaning some kind of honey mixture. Shankar Pandit prints accordingly madhusîbham as a compound
Kesava reads also once, madhusâmtam. * For gapams ka, Kaus. 29, 29, Sâyana reads gapadims ka. This does not commend itself: since the passage refers to the rites described in Kaus. 28, 2 we should expect gapâdîni (sc. karmâni) ka.
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The hymn has been translated by Ludwig, Der Rigveda, III, 501 ff.; Florenz, Bezzenberger's Beiträge, XII, 262 ff. Cf. also Bergaigne et Henry, Manuel Védique, p. 149. The Anukramanî, takshakadaivatam (cf. Kaus. 28, 1; 29, 1, and the introduction to IV, 6).
HYMNS OF THE ATHARVA-VEDA.
Stanza 1.
Imperfect metaphors. In the second half the notion is that night puts a stop to all activity, and thus the physician stops the action of the poison. In Pâda c the notion seems to be that the hamsá is awake at night; cf. Zimmer, Altindisches Leben, p. 90. Sâyana takes hamsá in the sense of âtman, soul (cf. brahmán = paramahamsa), 'as the entire body, but not the soul, is at rest.' Perhaps hamsá is here, as frequently elsewhere, the sun. Can we trust the present poet to know that the sun is at work by night in another hemisphere? The sense would then be that every creature but the hamsá (i. e. the sun) is at rest. Cf. RV. X, 136, 5. Ludwig,' wie die nacht das übrige lebende tötet (? dhvansât),' or, 'as night separates the remaining living things from the sun (hamsa).'
Stanza 2.
c. âsanvát (Padap. âsan-vát) is aπ. λeу., literally 'that which has a mouth.' Sâyana, âsyayuktam. In effect the word seems to mean 'the present' ('that which can speak, or breathe?' highly and grotesquely poetic, if true). The Pet. Lex. suggests that it is either an obscure derivative of root as, 'be,' or a corruption of âsannam. Does it stand for asthanvát, corporeal;' cf. Avestan astvät? The change of asthan to âsan may have crept in from âsné in 3 d. Or possibly, åtmanvat. The Paippalâda has âsunvat.
Stanza 3.
c. Parushni is the name of a river: Zimmer, 1. c., p. 11. Sipâlâ seems to be a fanciful, typical river, or lake, named after the water-plant sîpâla, avakâ (blyxa octandra), ib., p. 71. The avakâ quenches fire, see Contributions, Second Series, Amer. Journ. Phil. XI, p. 342 ff. The entire stanza
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contains the statement that the poet with his song is sweetening all waters and (the plants of) the mountains. In the practice honey is added to water and other ingredients, as a potion for the invalida
.
VI, 14. COMMENTARY TO PAGE 8. For the nature of the disease balása, see our discussion in the note at V, 22, 11, and cf. VI, 127. This particular charm is defined by Kesava (and Såyana) as a sleshmabhaishagyam, 'cure for phlegm,' in agreement with the medical Sastras ; cf. Wise, Hindu System of Medicine, p. 311. We may suppose that it refers to some virulent swelling of the throat. The indications of the Kausika, 29, 30, are not helpful: the practice is purely symbolic. A reed is placed into the water (of a river) and then the patient is washed with water by means of a branch from a "holy' tree (Darila, sântavrikshasakalena ; cf. Kaus. 8, 15), so that the water flows down upon the reed. The perishable reed upon which the disease has been washed out of the patient is supposed to float away ; cf. sts. 3 c, d.
The hymn has been translated by Florenz, Bezzenberger's Beiträge, XII, 265 ff. The Anukramani, balasadevatyam.
Stanza 1. Cf. the parallel stanza, V, 30, 9, where very similar qualities are ascribed to consumption, yakshma. But we must not, on that account, go so far as to identify balása outright with yákshma.
&, b. Note the alliteration between asthi- and asthitam.
Stanza 2. 2, b. The Paippalada has krinomi for kshinomi. The Pet. Lex. suggests, most ingeniously, the reading nir ... akshnomi for nir ... kshinomi (cf. IV, 22, I, and for the sense in general III, 9, 2). But perhaps the dr. dey., nih kshinomi, 'remove, destroy, simply suggests the other verb by way of zeugma. Sâyana with the Paippalada
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escapes the difficulty by reading pushkaram, 'as a lotus that has grown up in a great lake thus it is torn up by the root.' Possibly this is the true solution. Cf. also VI,
HYMNS OF THE ATHARVA-VEDA.
127, 2.
c, d. Cf. RV.VII, 59, 12. The Paippalåda, mûlam ulvâlvo yatha.
Stanza 3.
b. Sâyana reads susukah, 'as a wild animal of that name (susuka) runs to a distance.' The word is not quotable. The Pet. Lexs., on the other hand, suggest that âsumga is the name of some bird. Neither suggestion commends itself.
c. For the reed that passes away in a year's time, cf. IV, 19, 1. On the other hand reeds grow profusely and quickly, VI, 137, 2. 3. Sâyana reads ita for ita.
VI, 16. COMMENTARY TO PAGE 30.
This hymn, full of hocus-pocus and singular diction, represents the extreme Atharvanesque manner, and for this reason alone is worth reproducing. All details are exceedingly obscure, and the rather full elaboration of it in the ritual is not very helpful. The commentators agree in regarding it as a charm against ophthalmia (akshirogabhaishagyam); the performances, Kaus. 30, 1-6, are as follows: 1. 'While reciting the hymn (an amulet derived from the mustard-plant), anointed with the dregs of mustard-oil1, is fastened (to the patient). 2. (And) the stem (of the mustard-plant) smeared with (mustard-oil is also fastened upon him as an amulet). 3. The leaf (of the mustard-plant) mixed (with the oil) is given (to the patient). 4. (Then) four fruits of the sâka-tree (tectona grandis) are given (to
1 We would now read sârshapatailasampâtam in accordance with the comments of Dârila, Kesava, and Sâyana. The latter sârshapatailena sampâtitam.
' Sâyana, sârshapatailena bhrishtam sarshapapatrasâkam kakshurogagrastâya prayakkhet.
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the patient). 5. A paste made from the sap of the plant is smeared (upon the eyes of the patient)? 6. (The patient) eats (of the sap).' We are permitted to judge from these practices that the mustard-plant, and perhaps other plants (the sâka-tree) are referred to in the hymn, but the identification is uncertain.
The fourth stanza is rubricated at Kaus. 51, 15. 16 in a practice that seems to be calculated to remove weeds from a field (alabheshagam). The practice consists in burying three tips of the silåñgala-plant (cf. Kausika, Introduction, p. xlv) into the middle of a furrow.
The hymn has been translated by Florenz, Bezzenberger's Beiträge, XII, 268 ff. The Anukramanî, mantroktadevatyam uta kändramasam.
Stanza 1. Sâyana reads avayo and anavayo, which he derives from avayati, eat,' and accordingly, with complete dependence upon the Sætra, 'O mustard that art being eaten, and, O mustard-stalk that art not eaten.' It must be admitted that there is a punning correlation between these two words and avayah in st. 2 d, which Sâyana renders, bhakshitam akaroh; it is quite likely, too, that abayu is more or less identical with the mustard-plant. But here our guesses end. Sayana glosses karambhám again after the Satra, sârshapatailamisrabhrishtam tatpatrasakam (Kaus. 30, 3).
Stanza 2. a, b. The mention by name of the father and mother of a plant is typical and formulaic; cf. the note on V, 5, 1. Shankar Pandit reads viháhlo ; Sayana, vihamlâkhyah kaskit pità. For madávatî, cf. IV, 7, 4, and the note on varanávati, IV, 7, 1.
c, d. For hi ná of the vulgata Shankar Pandit with the
Sâyana, mülakshfram abhimantrya vyâdhitasya akshini angyât.
For âla, see Kausika, Introduction, p. xlvii. But Sâyana reads annabheshagam, 'curing of food :' annasvastyayanakamah tisrah sasyavallîr abhimantrya kshetramadhye nikhanet. Cf. also Kesava.
[42]
нь
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HYMNS OF THE ATHARVA-VEDA.
majority of his MSS., both Samhita and Padapatha, reads hi na (both enclitic). The sense of the extremely obscure passage seems to be, that the plant does not consume itself in vain, but confers the benefits expected from it. So also Sâyana, åtmano hånim prâpyåspi paropakaraparo bhavasi, 'even when thou hast arrived at thy own destruction thou hast for thy highest aim the benefaction of others.'
Stansa 8. Sayana regards tauvilika as the name of a female demon that causes disease. And thus also babhrú and babhrúkarna are two personified rogaheta 1. We have rendered ailabah by 'howling one' (Sayana, rogaviseshah); better,
howl' (abstract): cf. XII, 5, 47. In Pâda d the Padapâtha reads nih ala as two separate words, and we have taken ala as a vocative. The word, according to Dârila to Kaus. 25, 18 (cf. the introduction to I, 3, p. 236), seems to mean 'a kind of weed.' Whitney in the Index Verborum suggests a verb nír ala from a root ål, comparing vy ala, V, 22, 6 (obscurum per obscurius). Såyana, he nirala etatsamgña roga, again regards the entire word as the name of a disease.
Stanza 4. All that we know of the names in this stanza is that they are plants, and, probably, compounds of ála (st. 3), though the Padapatha does not divide them as compounds ? At Kaus. 51, 16 silângâlâ occurs as the name of a plant (Kesava, sasyavalli; cf. Kausika, Introduction, p. xlv), and Sayana says, doubtless correctly, of all three, tisral samgñâs tisrinâm sasyavallinâm. But the true value of the formula seems beyond reach.
· Páda c is formulaic: it recurs at V, 23, 4c; see the note there.
3 alasa means 'dull, sluggish ;' for silângâlâ, cf. silâkt, V, 5, 1. 8. The MSS. of Kaus. 51, 16 read silângâlâ, suggesting the presence of the word sila, stone,' in the first member. Sâyana, saláñgala (sasyamañgarî).
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VI, 18. COMMENTARY.
VI, 17. COMMENTARY TO PAGE 98. The Kausika, 35, 12-15, has a performance entitled garbhadrimhanâni, performances for steadying the womb, or foetus,' which rubricates, in addition to our hymn, AV. V, 1, 1, and a mantra whose pratika is akyutå (probably the hymn given in full at Kaus. 98, 2). It is as follows: 35, 13, 'A bowstring, thrice knotted, is tied about (the foetus) that has been seized by convulsions. 14. (The woman) is fed upon lumps of earth. 15. Black pebbles are scattered about her couch. For the character of gambha, 'convulsions,' see the note on II, 4, 2, and cf. especially the references there given to Wise, pp. 421-3.
The hymn has been translated by Ludwig, Der Rigveda, III, 477; Florenz, Bezzenberger's Beiträge, XII, 269 ff. The Anukramanî, garbhadrimhanadevatyam.
VI, 18. COMMENTARY TO PAGE 106. The performances at Kaus. 36, 25 ff. involve the use of this hymn in company with VII, 45, and the third stanza of VII, 74. They picture a woman engaged in symbolic acts calculated to appease a jealous man, and to remove the jealousy from his body, to wit: 25. ‘The practising woman mutters the above-mentioned mantras against (the jealous) man, presents to him (a stirred drink with grits, Kaus. 7,7), and touches (his person). 26. With the first (of these hymns) she performs upon his body the act described in the hymn (i.e. she blows out fire held over his body ?). 27. While reciting VII, 45, 2 (see the stanza) [she gives him to drink] water, warmed by pouring it over a heated axe.' Soothing the jealous man, and the symbolic removal of the fire of his jealousy, are therefore the points of the practice.
Kesava, akyutâ dyaur iti. Darila, såkhântarîyasūktam. • Dârila, hridayesgninirvâpanam mantroktatvät. Kesava, kafipradese ... dhamati.
Hh 2
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468
HYMNS OF THE ATHARVA-VEDA.
The present hymn has been rendered by Weber, Indische Studien, V, 235 ff.; Ludwig, Der Rigveda, III, 514; Florenz, in Bezzenberger's Beiträge, XII, 270 ff.; Grill ?, pp. 28, 159 ff. The Anukramanî, îrshyåvinâsanadevatyam.
Stanza 3.. b. For manaskámn patayishnukám, cf. RV. I, 163, 11; VI, 9, 5. Ludwig renders patayishnukám by 'zu falle bringend,' but that would require pâtayishnukám, since the Vedas discriminate between the stems pătaya and pâtaya, the former being simple, the latter alone causative. Weber also causatively, 'was dir den sinn entfallen macht.'
d. nriter is untranslatable, though Ludwig renders the Pada, wie die erhitzung eines tänzers.' The Paippalâda reads triter; this supports in a measure Weber's and the Pet. Lexs.' emendation to driter, 'as heat from a pot,' or, 'as the exhalation from a (water-carrier's) skin. Similarly also Sâyana, with the approval of Shankar Pandit, yathâ driteh karmamayya bhastrikâyâh sakâsât tanmadhyavartinam Ashmânam svâsavad antahpuritam vâyum.
VI, 20. COMMENTARY TO PAGE 3. The Kausika offers by way of practice to be performed in connection with this charm a part of that reported for AV. V, 22. The exceedingly terse Sätra, 31, 7, agner ivesty uktam dåve, is to be translated,' With AV. VI, 20 he does what has been said in connection with the forest-fire,' i.e. according to Dârila, what is prescribed in Sûtra 29, 19 (and by implication also what is prescribed in 29, 18). Namely, he pours the dregs of gruel, which the patient has imbibed previously, from a copper vessel over his head into fire derived from a forest-fire. See the introduction to V, 22. The practice is again symbolic, aiming by attractio similium to obviate the symptoms of heat and fire incidental to the disease. The hymn has been translated by Ludwig, Der Rigveda, III, 511; Zimmer, p. 380; and Florenz, in Bezzenberger's Beiträge, XII, 273 ff.; and it is quoted also in the
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VI, 20. COMMENTARY.
469
takmana sanagana of the Ganamála, Ath. Paris. 32,7 (Kaus. 26, 1, note). The Anukramani designates it as yakshmanâsanadaivatam, and describes its authorship and purpose as follows: bhrigvangirâh ... anena mantroktan sarvan devân astaut.
Stanza 1. 8. A gagatî Pada may be construed if one syllable is suppressed. Probably agnér iva is to be read as three syllables with elision of r and crasis (cf. Pet. Lex., s. v. iva 4c), or by reading va in the manner of the Prâkrit. Florenz, l. c., makes different propositions. The Anukramani designates the stanza as atigagati.
sushmin is a derivative from súshma, whose fundamental meaning seems to be lightning,' from which 'strength' is derived secondarily; see Contributions, Sixth Series, Zeitschr. d. Deutsch. Morgenl. Gesellsch. XLVIII, 565 ff.
b. mattó vilápan; cf. the words unmaditó and lålapiti in AV. VI, 111, 1.
0. Ludwig and Florenz propose to emend avratás to avratám, because the epithet 'impious' does not seem to suit the takmán; cf. RV. I, 132, 4. A glance at AV. VII, 116, 2 exhibits the takmán with the same epithet under circumstances which admit of no doubt, showing the danger of subjective reasoning on matters connected with foreign folk-psychology. Ludwig renders 'irgend einen werklosen.'
Stanza 2. 2. Note the concatenation with Pada i d: tápurvadha in id suggests Rudra in 2 a, and takmáne is repeated.
0, d. The diction lapses into formulary prose, which does not however deter the Anukramanî from assigning the entire stanza to the metre kakummatî prastårapankti.
Stanza 3. The metre is very rough, according to the Anukramanî, satahpankti. Påda a is a trochaic anushtubh if we read sbhisokayishnur; b is a trishtubh; c is a hypercatalectic anushtubh; d a gagati.
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470
HYMNS OF THE ATHARVA-VEDA.
a, b. In close parallelism with V, 22, 2 a, b: see the note on the passage.
o. The epithet babhrú calls to mind Latin febris from febrv-is, which would then be the ' brown, sallow disease.'
d. The meaning of ványa, 'silvestris,' seems fairly certain. The Pet. Lex. suggests 'greenish,' in order to establish a parallelism with aruna and babhrú in the preceding Pada. Grohmann, 1. c., p. 385, translates 'dem wilden (wassergeborenen ?) Takman. If the word means 'forest-born' then it must refer to the malarial fever of the rainy season which is caused by the decay of the tropically prolific flora. Cf. the takmán várshika in AV. V, 22, 13. Living in wooded, ill-ventilated valleys is, according to Wise, l. C., p. 220, one of the causes of fever. Såyana, samsevyâya, 'to him that is to be adored.'
VI, 21. COMMENTARY TO PAGE 30. This interesting hymn is accompanied by equally interesting symbolic practices, at Kaus. 30, 8-10, part of which passage is unfortunately very obscure: 8. While reciting the hymn the person that desires the growth of hair (Sayana, kesavriddhikâmam) is rinsed off with water heated by burning plants that grow upon the earth under trees. 9. His head is rinsed off with an effusion prepared by heating dice in water. 10. (And also with an effusion prepared) from two nikata-plants ? (?).' The symbolism of the first practice is quite clear: as the head of the earth is clothed with plants (cf. st. 1), as the crown of the tree is full of leaves, so shall the person practising the charm be luxuriantly hirsute. But the dice (the fruit of the vibhitaka-tree) and the nikatà are left unexplained.
? Cf. the note on Kaus. 27, 29, in the introduction to III, a (p. 336, note).
* Very doubtful. Kesava, dâruharidraharidre (!) ka dvâbhyâm kvâthayitvå avasiñkati. Sâyana, haridrâkvâthodakena avasiñket. According to these authorities nikatâ would then be the yellow curcuma.
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VI, 24.
COMMENTARY.
471
The hymn has been translated by Florenz, Bezzenberger's Beiträge, p. 275 ff.; Grill, pp. 50, 160 ff. Cf. also Bergaigne et Henry, Manuel Védique, p. 150. The Anukramanî, kândramasam (cf. st. 2).
Stanza 1.
For the conception of the three earths, see the note on IV, 20, 2. Sâyana refers tvakó in Pâda c to the real earth, which is the skin of the other earths, tâsâm prithivînâm tvakah tvag iva upari vartamânâ yâ bhûmih tasyâh.
VI, 24.
COMMENTARY TO PAGE 12.
Rubricated at Kaus. 30, 13. Dârila prescribes it against dropsy; Kesava, more explicitly, as a cure for pain in the heart, dropsy and jaundice (cf. the introduction to I, 22). Kausika's performance is as follows: 'While reciting VI, 24 water is drawn from a stream along its current1; (the water is warmed with burning) grass from a thatch (and sprinkled upon the patient). It seems quite possible that the ritualist has in mind the particular disease dropsy: the water (Varuna's infliction) shall flow from the body like a running stream. The word hriddyota (st. 1) would accord with dropsy, since diseases of the heart are frequently associated with it. But st. 2 seems to point to a more general and vague conception on the part of the hymn, and accordingly we have expanded the caption. See also Kaus. 9, 2; 18, 3, note; 41, 14; Ath. Paris. 41, I.
The hymn has been translated by Florenz, Bezzenberger's Beiträge, XII, p. 279 ff.; Grill2, pp. 13, 161 ff.
1anvîpam: Pet. Lex. 'am wasser gelegen' (?). The word means 'along the course,' i. e. the water must not be drawn against the current. Cf. Maitr. S. IV, 4, 1, and Kesava, anulomam. The opposite of anvîpam is pratîpam, 'against the current.'
The supplied passages are indicated, it seems, by Kaus. 29, 8; see the note on V, 13, 5. Kausika is at times so terse as to render necessary the memorising of the entire Sûtra.
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472
HYMNS OF THE ATHARVA-VEDA.
Stanza 1. d. For hriddyota, see the note on I, 22, 1.
VI, 25. COMMENTARY TO PAGE 19. Adalbert Kuhn, in Zeitschrift für vergleichende Sprachforschung, XIII, 128 ff., treated the hymn under the head of Seven and seventy-fold disease,' comparing with it Germanic formulas directed against fever and other diseases; these are often described as being of seventy-seven varieties. Florenz, Bezzenberger's Beiträge, XII, 281 ff., suggests that some febrile disease, accompanied by eruptions, is in question. In Contributions, Second Series, Amer. Journ. Phil. XI, 327 ff., we assumed that the hymn with its ritual represent a charm against a disease, similar to the scrofulous swellings called apaklt (VI, 83; VII, 74, 1-2; 76, 1-2), and this is now fully corroborated by Kesava and Såyana who define the present charm as a cure for gandamâlâ, 'scrofula. Cf. also the interesting 'Manskunder' (mányáh and skándhyâh in sts. 1, 3 of the hymn), defined as 'tumours of the neck' in the previously quoted passage of Wise, Hindu System of Medicine, p. 316. The Anukramanî, mantroktamanyâvinâsanadevatyam.
The practices are stated at Kaus. 30, 14-16, as follows: 14. While reciting the hymn, fifty-five leaves of the parasu 1 (plant or tree?) are kindled by means of pieces of wood. 15. (The sap of the leaves) which has boiled forth into a cup is smeared with a stick of wood (upon the sores). 16. (The sores are then smeared) with a (pulverized) shell, and with the saliva of a dog, and subjected to the bites of leeches, gnats, and so forth (cf. Kesava's
The word parasởparnan is not altogether clear, Dârila's and Kesava's (gopåsalikâm?) glosses being corrupt. Kaus. 47, 25 presents the obviously parallel parasupala sa which Kesava glosses by parsuvrikshapatram, and this we have adopted as the sense here. But Darila at 47, 25 has kutharamukham, 'the blade of an axel' Cf. the note on Kaus. 47, 25 in the introduction to II, 12.
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VI, 26. COMMENTARY.
473
comment upon this Satra at Kaus. 31, 16, and our remarks in the above-cited Contributions, pp. 325-6).
Stanzas 1-3. d. The word vâkâh in the refrain is translated by Kuhn as 'swarms,' by the Pet. Lexs. and Florenz as 'buzzing.' But the apakít are not insects (see VI, 83). and Sayana's vakanîya doshâh designates the low water-mark of his hermeneutical capacity. As it seems impossible to retain the word, we may perhaps resort to the emendation pâkáh, remembering the well-known confusion in the MSS. of v and pl. The sense would then be 'may they (the tumours) pass away like the pustules of the apakít.' The implication would then be that the tumours in question are 'hard and large’ (Wise, 1.c., 316), and that the apakít are more easily brought to the point of breaking open.
VI, 26. COMMENTARY TO PAGE 163.
The ritual treats this as a remedial charm, fit to remove all diseases (sarvarogabhaishagyam). The performances, Kaus. 30, 17. 18, are as follows: By night the hymn is recited, parched grains of corn are poured into a sieve, and then cast away. On the next day three bali-offerings are thrown into the water for Sahasrâksha (the thousand-eyed divinity,' cf. st. 3), and (three) puddings of rice are thrown and scattered upon the cross-roads? The ceremony is symbolic for the most part: the sieve is always the tangible expression of passing through and out (cf. Kaus. 26, 2 in the introduction to I, 12), and general dispersion is the salient motif. The hymn is also rubricated in the Sântikalpa, chapter 15, in a rite directed against the goddess of
Cf. upolava and upolapa, Kausika, Introduction, p. xlviii. * Cf. the sentiment in st. 2 of the hymn: the cross-roads are the most convenient spot at which to part company. For the character of the cross-roads in general, see the nole on p. 519 in the introduction to VI, 111.
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474
HYMNS OF THE ATHARVA-VEDA.
misfortune (nirritikarma), and in the papmagana and the takmanâsanagana of the Ganamåla, Ath. Paris. 32, 7. 12 (cf. Kaus. 26, 1; 30, 17, notes). It has been translated by Florenz, Bezzenberger's Beiträge, XII, 282. The Anukramani, pâpmadevatakam.
Stanza 1. b. The Pâda is formulaic, being repeated at V, 22, 9 b.
Stanza 8. b. For the epithet sahasraksha, see the note on IV, 20, 4. 'Thousand-eyed' here refers to the power of infallibly spying out victims; cf. especially the thousand-eyed curse' at VI, 37, 1.
VI, 27. COMMENTARY TO PAGE 166. The pigeon as a bird of omen is well known in Teutonic mythology; cf. Gothic hrasvadubo, literally 'carcass-dove,' as the name of the turtle, and see Grimm, Deutsche Mythologie, p. 659 ff. The present hymn is the Atharvanic equivalent of RV. X, 165, 1-3, and the archaic locative ashtri in 3 b (cf. Ath. Prátisakhya I, 74) seems to indicate a certain superiority of the Atharvan text, which is, however, not borne out by 2 b and 3 c, whose Rig-vedic form is metrically preferable. Cf. Adbhuta-Brâhmana 6 and 8 (Weber, Omina und Portenta, pp. 325, 330); Hultzsch, Prolegomena zu des Vasantarága Sâkuna, p. 7. At Kaus. 46, 7 this and the two following hymns are recited while the 'great consecration' (mahâsânti) is being poured (cf. Kaus. 9, 6, note). The Anukramanî defines the three hymns as yâmyâny uta nairritâni. The present hymn has been treated by Florenz, Bezzenberger's Beiträge, XII, p. 282 ff.
Stanza 2. b. The RV., grihéshu for grihám nah. The Atharvan reading almost looks as though anâgá(1) were understood in the sense of ‘not arriving' (an-â-gåh). The accent of
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VI, 37.
the stem is both anâgás and ánâgas, and the Padapâtha does not divide it, thus apparently indicating its own doubt as to the character of the word. Sâyana, anaparâdhakah.
COMMENTARY.
475
VI, 29. COMMENTARY TO PAGE 166.
For the general character of this hymn and its treatment in the ritual, see the introduction to VI, 27. It has been treated by Florenz, Bezzenberger's Beiträge, XII, p. 287 ff.
VI, 32. COMMENTARY TO PAGE 36.
The practice connected with this hymn at Kaus. 31, 3 consists in digging a ditch near the fire, filling it with hot water, and in sacrificing into it a rice-cake after circumambulating it thrice and muttering the hymn. The hot water near the fire is doubtless emblematic of the wellknown properties of Agni as the most obvious enemy of spooks and uncanny hostile forces. Dârila, pisâkanâsanam. The hymn figures also in the kâtanagana, 'list of hymns with which (demons, &c.) are chased away' in the Ganamâlâ, Ath. Paris. 32, 3 (cf. Kaus. 8, 25, note). It has been translated by Florenz, Bezzenberger's Beiträge, XII, 291 ff. Stanga 2 See 2 DMG 47
Stanza 3.
The second hemistich is repeated at VIII, 8, 21. Sâyana renders gñâtáram by abhigñam svâminam, 'experienced master.' Ludwig, Der Rigveda, III, 528, bottom, ' der sie kennt.'
VI, 37. COMMENTARY TO PAGE 93.
The hymn is rubricated at Kaus. 48, 23-26, in practices designed to repel the sorcery-practices of enemies. A white lump (of earth)1 is given to a dog (cf. st. 3), an
1 So Kesava and Sâyana, svetamrittikâ.
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476
amulet of târkha1 is put on, an oblation (of ingida-oil, Kaus. 47, 3) is poured, and fagots (of vadhaka-wood, Kaus. 47, 13; cf. AV. VIII, 8, 3) are laid on the fire. The practice is based upon symbolic realisations of suggestions contained in the hymn 2.
HYMNS OF THE ATHARVA-VEDA.
Previous translations: Grill, pp. 25, 161 ff.; Florenz, Bezzenberger's Beiträge, XII, 297. The Anukramanî,
kândramasam.
Stanza 1.
a. For the epithet 'thousand-eyed,' see the note on IV, 20, 4, and especially VI, 26, 3. Sâyana identifies it outright with Indra, indrah sapathah sâpakriyâyâh kartâ.
Stanza 2.
d. The sentiment of this Pâda and of the first hemistich of the next stanza are worked up anew in VII, 59. That mantra is accompanied, Kaus. 47, 37, by an interesting practice: wood from a tree struck by lightning is put on the fire, to symbolise the destruction of the enemy by lightning.
Stanza 3.
c. péshtram may mean 'flesh' rather than 'bone,' in accordance with our note on IV, 12, 2. Sâyana reads peshtam (pishtamayam khâdyam). For ávakshâmam (Padapâtha, áva-kshâmam) we have ventured a new interpretation, 'down upon the ground,' from ava and kshâman 'ground.' Sâyana, avadagdham; Pet. Lex., 'abfindung' ('sop'); Grill, 'brocken;' Florenz, 'knochenrest;' Böht
According to Dârila 'an amulet consisting of a bone' (? asthikamani; cf. pésh/ram in st. 3); according to Kesava and Sâyana 'an amulet of palâsa-wood.' Cf. the mantra in Kaus. 13, 12.
2 Sâyana thinks that st. 3 is referred to in Kaus. 47, 37 under the pratîka, yó nah sápât. But the lightning is not mentioned in st. 3, but rather in st. 2. Hence the little hymn VII, 59 is doubtless the one intended at Kaus. 47, 37: it consists of sentiments contained in VI, 37, 3 and 2, and begins also with the words, yo nah sápât.
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VI, 38. COMMENTARY.
477
lingk's Lexicon, 'lean ;' Whitney in the Index Verborum shelters the word under the root ksham with áva. Cf. XI, 10, 23.
VI, 38. COMMENTARY TO PAGE 116. This and the next hymn are worked up in the course of the royal rites (râgakarmâni, Kaus. 14-17). The object of both the hymn and the practices connected with it is to endow a king with várkas, 'lustre,' and more particularly to transfer to him the várkas inherent in men, animals, and brilliant substances. The practice, Kaus. 13, 3-6, is as follows: While reciting VI, 38 and 39, hairs from the navel of a snataka', a lion, a tiger, a goat, a ram, a bull, or a king, are pasted together with lac, covered with gold, and fastened on as an amulct. Also an amulet prepared from the splinter of ten kinds of ("holy ') wood is put on (sce the introduction to II, 9). While reciting the same two hymns, and in addition III, 16; VI, 69, and IX, 1, the seven vital organs (of a lion or any of the other animals mentioned above), mixed with a mess of rice, are eaten. The relation of these performances to VI, 38 are obvious.
Both hymns are rubricated further in the course of the practices at the initiation of pupils to the study of the Vedas, Kaus. 139, 15, and they hold membership in the two varkasyaganas of the Ganamâlâ, Ath. Paris. 32, 10 and 27 (see Kaus. 12, 10 and 13, 1, notes). Cf. also Ath. Paris. 4, 1; 182, 12.
The two hymns have been translated by Ludwig, Der Rigveda, III, 240; Florenz, Bezzenberger's Beiträge, XII, 297 ff. The Anukramani : ime brihaspatidevatye varkaskâmah ... rishir apasyat.
A Brâhmana who has performed the ceremony of ablution, required on finishing the period of his disciplehood (brahmakârya), before entering the second period of his life, that of a householder (grihastha). This embodies in practice the word brâhmané in st. 38, 1 b.
* Dârila defines these as pâdamadhyâni nâbhihridayam můrdha ka.
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478
HYMNS OF THE ATHARVA-VEDA.
Stanza 1.
The relation of the two hemistichs of each stanza of the hymn is anacoluthic. It seems best in translation to supply some such expression as na astu from na étu in Pâda d.
b. The rendering of brâhmané by 'in the Brahmana' is rendered certain by the word snâtaka in the Sutra above. Florenz, erroneously, 'im Brahman Agni.'
d. The mention of Indra in all sorts of royal charms is due to the most prominent characteristic of the god, namely strength. Indra is the heavenly rågan, par excellence. His ever-shadowy mother also is personified strength. Indra is putráh sávasah and sávasah sûnúh (RV. VIII, 92, 14; IV, 24, 1). See Perry, Journ. Amer. Or. Soc. XI, 130 ff.; Contributions, Sixth Series, Zeitschrift der Deutschen Morgenländischen Gesellschaft, XLVIII, 548.
Stanza 2.
Cf. the related passage from the varkasya-hymn, IX, 1,
18.
Stanza 4.
a, b. Ludwig renders dundubhav ấyatâyâm 'in der pauke, der langezogen tönenden.' This receives a certain support from Sâyana, âtâdyamânâyâm, but we prefer to compare ayata as used of the tightened bowstring, e.g. XI, 2, 1. For púrushasya mâyáu, cf. XIX, 49, 4.
VI, 39. COMMENTARY TO PAGE 117.
For the employment of this hymn in the ritual, and previous translations, see the introduction to VI, 38. The keynote of the present hymn is yásas (cf. VI, 58), that of the preceding, várkas. The word yásas seems to be technically the name of the oblation which must have accompanied the recital of the hymn; see sts. I a and 2 a.
Stanza 1.
& Ludwig, 'als herrlichkeit gedeihe das havis (das yasohavis);' Florenz, 'zur ehr' gedeih das havis mir;' Sâyana,
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VI, 42.
COMMENTARY.
479
yasaso hetutvât. It seems difficult to construe yásas as a nominative, in co-ordination with hávis, but cf. the bhutám havís, VI, 781. We may, of course, either emend to yasohavír, or take yáso as an instrumental; cf. Lanman, Journ. Amer. Or. Soc. X, 562. But, I believe, the construction as it stands is technical.
b. Sâyana has for súbhritam the rather more acceptable reading suvritam (sushthu vartamânam).
Stanza 2.
a. yásobhir seems to refer directly to the havis in st. 1; see the introduction. Sâyana, evasively, kîrtibhik.
VI, 42. COMMENTARY TO PAGE 136.
According to the text of the mantra this is a charm to appease wrath in general. But the Kausika, 36, 28-31, Ideals with it in the course of the so-called 'women's rites (strîkarmâni, 32, 27-36 end), and the commentators are agreed in regarding it as an instance of conflict between two persons of opposite sex. According to Kesava and Sâyana the charm is practised by a woman against an angry man (her husband, or lover); Dârila, on the other hand, more naturally ascribes the acts to a man trying to appease an angry woman. These nicer specifications are therefore in all probability secondary. The practice is as follows: The person who desires to appease wrath takes up a stone while reciting st. 1. He places the stone upon the ground while reciting st. 2. He spits around the stone while reciting st. 3. Finally he lays an arrow on a bow while standing in the shadow (of the wrathful person). The last executes the sentiment of st. 1, with rather vague symbolism. The hymn is also recited, at Vait. Sû. 12, 13, by
1 So also abhîvarténa havíshâ, RV. X, 174, 1. Ordinarily these havís are accompanied by an adjective, e. g. samsrâvyàm havís, II, 26, 3; nairbâdhyàm havís, VI, 75, 1. Cf. also VI, 64, 2; VI, 87, 3, and Ludwig, Der Rigveda, III, 371 ff.
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480
HYMNS OF THE ATHARVA-VEDA.
one who is consecrated for the performance of the somasacrifice (dikshita), if he has been guilty of an outburst of wrath.
Previous translations by Ludwig, Der Rigveda, III, 515; Florenz, Bezzenberger's Beiträge, XII, 302 ff.; Grill, 29, 162. The Anukramanî, mantroktamanyudevatyam.
Stanza 3. The elaboration of this stanza in the Satra above shows how vaguely punning the connection of the two channels of literature, mantra and sútra, may be at times: the words abhi tishthâmi of the stanza seem to have suggested abhinishthivami in the Satra. Cf., e.g. Sankh. Grih. where the mantra word akshan, 'they have eaten,' is employed as though it meant aksham,' axle.' This is symbolism gone to seed, but we should err in supposing that the performers of the practices really misunderstood the mantras to that extent. It is the extreme outgrowth of the habit of consciously turning to immediate use, in any way at all, materials whose real value is something quite different, and whose true sense may have been well understood.
d. The Pâda is formulaic; see I, 34, 2; III, 25, 5; VI, 9, 2; 43, 3. The entire second hemistich is repeated in VI, 43, 3.
VI, 43. COMMENTARY TO PAGE 137. The magic power of darbha-grass (cf. XIX, 32) is here employed to appease wrath. According to Kaus. 36, 32, the grass is dug up in the manner prescribed at Kaus. 33, 9; cf. Kesava), and fastened on as a talisman. The Kausika, in working up this hymn among the women's rites ' (cf. the introduction to the preceding hymn), is committed to the view that the hymn deals with a conflict between a man and a woman. The text of the hymn, however, reveals no such specific purpose. The hymn has been translated by Florenz, Bezzenberger's Beiträge, XII, 303 ; Grill?, pp. 30, 162. The Anukramani, mantroktamanyusamanam.
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VI, 44. COMMENTARY.
481
Stansa 1. For Pâda b, cf. RV. VI, 75, 19. The text of Pâda c seems untenable. For vimanyukasya syám, Grill suggests vímanyukas ka syám, Florenz, vímanyuko ayám, either of which yields the sense of our translation. Possibly mánor vímanyukasyayám may be the true reading : 'the appeaser of wrath of the man that is free from wrath it is called ;' cf. Såyana, manyoh manyumatah purushasya.
Stansa 3. For the second hemistich, and for Påda d, cf. the note on
VI, 42, 3.
VI, 44. COMMENTARY TO PAGE 10. Darila does not state what disease this hymn and the practice at Kaus. 31, 6 are directed against. Kesava (and Såyana depending upon him) describes it as an apavadabhaishagyam, and his comment leaves no doubt that he regards it as a practice against calumniators. It looks as though this obvious misconstruction stood in some connection with the word apavâtåyåh in the Satra, which Kesava either fails to understand, or deflects by a pun into the channel of a usage with which neither hymn nor Satra had anything to do in the first instance. Unless indeed Kesava interprets the first stanza in the sense that the heavens, the earth, and all living beings have stood (stand), and that, therefore, the character of the person impugned will stand in spite of all aspersions. Or, again, the horn fallen by itself from the head of a cow, and that, too, a cow that has weaned her calf, symbolises, perhaps, the withdrawal of the good will of men. This might be employed homoeopathically to cure their hostility. Note also vishana, horn,' which suggests vi så, * loosen;' cf. VI, 121, 1. The practice is as follows: A horn
apavâde bhaishagyam ukyate, bahubhashanam adharme ka pravartane tasya apavâdah (1). [42]
ii
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482
HYMNS OF THE ATHARVA-VEDA.
that has been shed by a cow whose calf has been weaned ? is anointed with the dregs of ghee (is filled with water; the patient is given the water to drink, and is also sprinkled with it) while the hymn is being pronounced in a low voice (cf. Kaus. 28, 1). Obviously Kausika interprets vishanaka in st. 3 as 'horn,' and a horn that has curative power we have in III, 7, 2. 3 (cf. the Sútra in the introduction). But the statements in st. 3 seem to contain a fitting characterisation of a plant, and in this sense we have interpreted the passage in our Contributions, Fourth Series, Amer. Journ. Phil. XII, 426 ff. On the other hand, vishầnaká is a dn. dey., and may after all be only the diminutive of vishănâ, ‘horn,' III, 7, 2. 3 ; VI, 121, 1. This seems on the whole the more conservative view, although Kausika's gosringena may be due either to misunderstanding, or to conscious symbolic manipulation. At any rate the hymn itself is of no uncertain character : being a remedial charm, it takes its place among the bhaishagyakarmâni in the first part of the fourth book of the Kausika, and the terms for the diseases mentioned in it are fairly clear.
Previous translations by Ludwig, Der Rigveda, III, 509 (cf. also 321, 343); Florenz, Bezzenberger's Beiträge, XII, 304 ff. Cf. also Bergaigne et Henry, Manuel Védique, p. 151. The Anukramani, visvâmitramantroktadevatyam 2 uta vånaspatyam.
The MSS. of the text read apavâtâyâh. Darila apagatâyâh, which he explains by, apagatâ vatsavigalitasnehâ; cf. Kausika, Introduction, p. xlv. The opposite of apavâtâ is abhivata, Lâty. Sr. VIII. 5. 3. 'a cow that nourishes her calf.' Cf. abhivânyavatsa. 'a cow that gives suck to a strange calf, Ait. Br. VII, 2, 4 (cf. the commentary, p. 377 of Aufrecht's edition); apivânyavat sâ, Kaus. 80, 25; 82, 22 (our edition, erroneously, api vânyavatsâyâh), in the same sense; and nivânyavatsa (also nivânya) frequently in the Sat. Br. in the same sense (see Pet. Lex.). See also Ludwig's note on RV. VI, 67 (110), Der Rigveda, IV, p. 113.
s The word vísvam, not visvâmitra, occurs in st. 1. In st. 2 we have vásishtham. Some blundering manipulation of the two seems to have inspired the compiler of this fuuile tract.
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483
Stanza 1. The first hemistich is formulaic; see VI, 77, 1. Sayana, his general interpretation of the hymn notwithstanding, is not prevented from interpreting róga and asråva (st. 2) by rudhirasråva or raktasråva, 'flow of blood.' In the introduction to I, 2, he interprets åsråva more broadly as excessive discharge in general, diarrhoea, flow of urine, or of blood. The word vậtikritanásani (see the note on st. 3) tends to narrow down this more general construction in accordance with our caption, but we must beware of ascribing any too pointed diagnoses to these early physicians; it is quite possible that excessive discharges of all sorts were exorcised with this charm. For the use of the aorists, cf. Delbrück, Syntaktische Forschungen, II, 87.
Stanza 2.
Cf. II, 3, 2.
Stanga 3. A. For vishanaka, see the introduction. Possibly the word is identical with vishầnika, reported by the medical Sastras (cf. Wise, Hindu System of Medicine, p. 146), and the lexicographers, as the name of a plant.
e. Cf. Wise, 1.c., 250, báta byádhi (vâtavyâdhi), 'diseases produced by wind (in the body),' not wound,' as Zimmer has argued, Altindisches Leben, pp. 389 ff. Sayana divides våtîkritanasanî in two, vâti asråvasya rogasya soshayitrî ; kritanasani, kritam rogasya nidanabhatam dushkarma, tasya nåsayitrî. Cf. the note on VI, 109, 3, and the introduction to I, 12.
VI, 45. COMMENTARY TO PAGE 163. This hymn (along with the next) is directed against bad dreams, an application due, perhaps, in the first instance, to the chance expression, awake or asleep,' in st. 2. It may be the case, however, that evil thoughts were conceived as returning in the form of annoying dreams. The practice
Ii2
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HYMNS OF THE ATHARVA-VEDA.
at Kaus. 46, 9-10 is as follows: With VI, 45 and 46 the person that has an (evil) dream rinses his mouth. If he has had an excessively frightful dream he offers a cake of mixed grain, and deposits a second in the territory of an enemy. Kesava tells what constitutes an evil dream, mentioning the svapnâdhyâya, probably Matsya-purâna 242, as his authority. Cf. also Märkandeya-purâna 43 ; Vayupurana 19 ; Ait. Ar. III, 5, 16 ff. (Sacred Books, I, 262 ff.); Aufrecht, Zeitschr. d. Deutsch. Morgenl. Gesellsch., XXXII, 574; and Hultzsch, Prolegomena zu des Vasantaraga Såkuna, pp. 15 ff. Both hymns figure in the duhsvapnanasanagana of the Ganamála, Ath. Paris. 32, 8 (Kaus. 46, 9, note); cf. also Ath. Paris. 33, 1.
The present hymn has been translated by Ludwig, Der Rigveda, III, 443, and Florenz, Bezzenberger's. Beiträge, XII, 305 ff. The Anukramani, duhsvapnanâsanadevatyam.
Stansa 1. a. Såyana, contrary to the Padapâtha, reads manas påpa, 'O mind devoted to evil that hast become the cause of dreams ;' cf. the introduction. The text of the Pâda seems to be an Atharvanic contortion of RV. X, 164, 1 a, ápe-hi manasas pate.
Stanza 2. Cf. RV. X, 164, 3 with the variant asaså nihsáså sbhisáså ; Tait. Br. III, 7, 12, 4, åsáså nisáså yát parâsáså. The exact meaning of the words in our text is not easily definable ; Såyana transcribes them all by compounds of sasana= himsana, “injury. Ludwig leaves them untranslated, and regards them as various kinds of imprecations; but compare his version of the RV. words (927, vol. ii, p. 552). Florenz, durch unrecht verlangen, abweis, verwünschung.'
Stanga 3.
Cf. RV.X, 164, 4. Sayana identifies the lightly personified Praketas with Varuna. The word is indeed a frequent epithet of Varuna. But the patronymic Argirasa suits
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485
Brahmanaspati rather than Varuna (so Grassmann, II, 501); Ludwig refers it to Agni.
VI, 46. COMMENTARY TO PAGE 167. The hymn is employed along with VI, 45 in the practice described at Kaus. 46, 9. 10; see the introduction to the preceding hymn. The last two stanzas of the present hymn are employed further, in the case of peculiarly oppressive dreams, in a cumulative performance embracing the acts of Kaus. 46, 9. 10, as well as those of 46, 11. 12. The latter are undertaken in connection with AV. VII, 100 and 101: the dreamer turns over on his other side, and looks at real food if he has dreamt of eating food. Cf. also Ath. Paris. 8, 1; 33, 1.
The hymn has been translated by Ludwig, Der Rigveda, III, 498; Florenz, Bezzenberger's Beiträge, XII, 306.
Stanza 1. Varunânî is a variable term, either a personification of the waters (cf. Tait. S. V, 5, 4, 1), or of the night (see the passages in the Pet. Lex. under váruna i b, column 724, bottom). Here the latter function is in evidence ; cf. Ait. År. III, 4, 18. Araru is a personification of hostility and demoniac force ; cf. Tait. Br. III, 2, 9, 4.
Stansa 3. Cf. RV. VIII, 47, 17; AV. XIX, 57, 1. Sayana, mechanically, as one removes claws and other parts that have been injured by disease, or as wicked men transmit their debts by tradition (inheritance),' &c.
VI, 50. COMMENTARY TO PAGE 142. Kesava and Sayana, in their introductions to the ceremonies prescribed in connection with this hymn at Kaus. 51, 17-22, mention a long line of pestiferous insects, but the rare and unknown words in the hymn are not elucidated.
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HYMNS OF THE ATHARVA-VEDA.
The performances are as follows: 17. While the hymn is being recited, the performer walks about the grain-field, hacking a piece of lead with an iron instrument? 18. He scatters stones upon the field. 19. He ties a hair through the mouth of a tarda (insect) and buries him head downward into the middle of the field. 20. He performs the act which is to be done while walking 21. He offers a balioffering to Åså (“ region”), to Åsåpati (“lord of the regions"), to the two Asvins, and to Kshetrapati (“lord of the field ”). 22. On the day when he performs the ceremonies for these (divinities?) he shall remain silent up to the time of sunset.'
The hymn is catalogued also in the first abhayagana (cf. st. 1) of the Ganamåla, Ath. Paris. 32, 12 (cf. Kaus. 16, 8, note). It has been rendered by Ludwig, Der Rigveda, III, 499 ff.; Florenz, Bezzenberger's Beiträge, XII, 312 ff. The Anukramani, asvinam abhayakamah.
Stanza 1. The renderings of tardám and samankám are conjectured etymologically. For the latter, see the note on I, 12, 2 c.
Stanza 2. The name úpakvasa is not even etyinologically suggestive. Sayana reads apakvasah (a-pakvas), glossing, adagdhah santah.
For Kausika's ayasâ sîsam karshan Sâyana reads ayahsîsam gharshan, paraphrasing it by lohamayam sîsam gharshan. Possibly sîsam is to be changed to sîtâm: the performance would then consist in ploughing a furrow with an iron (plough) about the field. Cf. Kaus. 50, 17.
? Cf. Kaus. 51, 2 (in the introduction to IV, 3): “While walking he offers thrice to the Asvins (so Sâyana; cf. st. I of our hymn) milk of a cow with a calf of the same colour as herself.' Såyana reads for kâre, the word which we have rendered while walking,' karau. By transcribing kåre in Devanagarî, and adding a vertical line after the r, the partial ambiguity will appear. Sâyana's statement is, karum asvibhyam guhuyât. We are not convinced. Why should the MSS. of the Kausika write the diphthong au in this fashion in this instance, and never elsewhere?
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COMMENTARY
Stanza 3. The two compounds with pati are ambiguous. The final long å of the stems preceding may be due to Vedic (metrical) lengthening: in that case, 'lord of the tarda,' &c., is the proper rendering. So Sâyana. For vyadhvaráh Shankar Pandit's edition, with most MSS. and Sâyana, read vyadvaráh; cf. our notes on II, 31, 40; III, 28, 2.
VI, 56. COMMENTARY TO PAGE 151. The terms of the hymn indicate a charm against serpents, of the general sort", but Kaus. 50, 17-22 gives it a pragmatic turn; the practice is designed to keep serpents away from the premises : 17. "While reciting this hymn along with sundry other mantras, lines are scratched around the bed, the house, and the grain-field. 18. Grass that has been anointed with the dregs of ghee is fastened upon the door through a yoke-hole? 19. Dung from the entrails (of a cow) is crumbled (at the door). 20. It is dug into (the ground). 21. And laid on (the fire). 22. (The same performances as with the dung are undertaken with) the blossoms of the apâ mârga-plant (achyranthes aspera ; cf. the introduction to IV, 17), the hoofs(!) of the kudrîkî-tree 3, the roots of them being turned away * (from the ground, fire, &c.) 5.
The hymn is also rubricated (with others) at Kaus. 139, 8, in the course of practices preparatory to the study of
1 Cf. Kesava, sarpâdisvastyayanam.
Cf. AV. XIV, 1, 40; Kaus. 76, 12, and Indische Studien, V, 199, 387.
Very doubtful: the word is kudrîkîsaphân. Kesava, gudakipâdân, 'the feet of the gudaki (cocculus cordifolius '). Sâyana simply, gudůkim.
• The text, parâkînamQlân. Neither Kesava, nor Sâyana comments upon the word.
The aim of these performances is clear: the serpents are to be excluded by magic lines, and purifying substances and plants.
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HYMNS OF THE ATHARVA-VEDA.
the Vedas. Cf. also Vait. Sa. 29, 10; Ath. Paris. 19, 5. It has been translated by Ludwig, Der Rigveda, III, 502 : Grill?, pp. 5, 162 ff.
Stanza 1. The second hemistich recurs at X, 4, 8 (cf. also IV, 3, 7) without the formula námo devaganébhyah. This may therefore have been borrowed from the end of st. 2. The divine folks are the serpents themselves, cf. XI, 9, 2. 5. 26; 10, 5, and the sarpadevaganah, Våg. S. XXX, 8. See also Sat. Br. VII, 4, 1, 28.
Stansa 2. For different designations of serpents, see Zimmer, Altindisches Leben, pp. 94 ff. For asitá (Sảyana, krishnavarna) and tiraskiragi (Sayana, tiryag avasthità ... valayo yasya), see III, 27, 12; VII, 56, 1; X, 4, 5 ff.; XII, 3, 55 ff., and the note to the last-mentioned passage. See also the note on V, 13, 5, and TS. V, 5, 10, 1. 2. The Hindu commentators explain svaga als 'self-born.' Sayana, svayam eva gâyate kâranântaranairapekshyena utpadyate ; cf. the gloss, Tait. S. V, 5, 14, 1. The Pet. Lex., 'vivipara,' or 'the embracer.' Weber at Tait. S., 1. c., also derives it from svag, enfold.
Stanga 3. Cf. A. Kuhn, Zeitschrift für vergleichende Sprachforschung, XIII, 60.
The third Pâda may refer to the forked tongue of the serpent (Sâyana, sarpasya hi dve gihve). But perhaps, more likely, it is a strong way of saying, 'I shut up thy tongue,' continuing under the impetus of the first hemistich. Cf. Pada d.
VI, 57. COMMENTARY TO PAGE 19. The practices of the Kausika, 31, 11-15, contribute not a little towards the elucidation of this medicinal charm. In the hymn the disease is merely designated as the arrow of Rudra, but in the Sätra it is called akshata ; the remedy is akshatavranabhaishagyam (Kesava), and Sâyana explains
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VI, 57. COMMENTARY.
489
it as a 'wound without opening' (mukharahitavrana'); cf. also Darila at Kaus. 32, 11. 13. In Contributions, Second Series, Amer. Journ. Phil. XI, 321 ff., we have shown that the disease in question is a tumour or a boil, and in Contributions, Fourth Series, ib. XII, 425 ff., we have assumed on the basis of the ritual that the remedy designated in the hymn (st. 2) as gálashá, the particular remedy of Rudra, is identical with mätra, 'urine,' of the Satra? The practice consists in moistening the tumour with the foam of (cow's) urine, throwing the urine itself upon it;, next, washing it off, then, smearing it with scourings from the teeth, and with the pollen from bunches of grass. The disease is probably much the same as the gandamála,'scrofula ;' cf. AV. VI, 83 ; VII, 74; VII, 76, 4, and the introductions to these hymns.
The third stanza is rubricated in the list of purificatory mantras, Kaus. 9, 2 (cf. the brihakkhàntigana of the Ganamâld, Ath. Paris. 32, 26), and in a similar list, Kaus. 41, 14.
Stanza 1. c, d. The arrow here described is Rudra's arrow that inflicts disease. Fittingly, Rudra's own remedy the gålåsha is employed as a cure. The very rare word galashabheshaga occurs also in the Nîlarudra-Upanishad 3, esha ety aviraha rudro galashabheshagah (see Jacob's Concordance).
Stanza 2. For galasha Sayana reads four times galasha ; cf. our discussion of the forms of the word in Contributions, Fourth Series, 1. c., 425.
Stansa 3. c, d. Cf. RV. VIII, 20, 26; X, 59, 8–10. The last Pada
Kesava, yasya gandadushtasya rudhiram na vahati. * Professor Windisch, in a review of the above-mentioned essay (Literarisches Centralblatt, 1892, No. 51, col. 1836), refers to a treatise of E. Wilhelm, On the use of beef's urine' (Bombay, 1889). This is not at hand, but see Wise, Hindu System of Medicine, p. 117.
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HYMNS OF THE ATHARVA-VEDA.
is formulaic; see AV. XVIII, 5, 23, and note the variant, RV. X, 59, 8–10.
VI, 59. COMMENTARY TO PAGE 144. This hymn, obviously a cattle-charm, is employed, along with a great variety of other mantras, rather indifferently, at Kaus. 50, 13. The practice is that of a merchant who starts out upon his business : in Kaus. 50, 13 he offers 1 a variety of substances with the list of hymns in question. Cf. the introductions to III, 15; VI, 128, and XI, 2. It is rubricated further in the list of purificatory mantras, Kaus. 9, 2 (cf. the brihakkhântigana of the Ganamâlâ, Ath. Paris. 32, 26), and in a similar list, Kaus. 41, 14; it has been rendered by Grill?, pp. 65, 163. For the character of the plant arundhati, see the introduction to IV, 12.
Stanza 1. Sâyana defines arundhati as sahadevi, a common name for plants, but the interpretation is not to be trusted because he reads sahadevî for sahá devír in st. 2 b. Cf. the introduction to IV, 12. In Påda c, Grill emends váyase unnecessarily to avayase, 'was nicht erstarkt ist.' Sâyana, quite correctly, at the age beyond five years when weaned from the mother.' Cf. the quotations in the Pet. Lex. under 3. váyas 2); the passage, ekahầyanaprabhrity apankahảyanebhyo vayamsi, quoted from Åpastamba at Tait. Br. III, 12, 5, 9, is referred to by Sayana also.
Stanza 2. b. For sahá devír we read sahá devalr; cf. the reading kalasîr for kalásair in the note on III, 12, 7, and, more generally, the note on XII, 3, 32 C. Grill, similarly, the
The word upadadhîla there and elsewhere is a technical term, lay upon. Kesava, at the end of Kaus. 6 (see p. 309, middle, of the edition), defines it as the act of offering one of thirteen offerings (havîmshi), very varied in character ; cf. the word upadhâna in the Paribhâsha-sutra 8, 17.
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compound sahádevi (cf. XII, 4, 23); Såyana, sahadevyakhya arundhati abhilashitaphalasya avârayitri oshadhih (avarayitri=arundhatî).
Stanza 3. b. givala as epithet of arundhati occurs also, VIII, 7, 6. See the note there, and at XIX, 39, 3.
VI, 60. COMMENTARY TO PAGE 95. The prescription for the use of this hymn at Kaus. 34, 22–24 is to pour an oblation (of ghee) for Aryaman (in the morning) before the crows rise, and to place bali-offerings within the corners of the house. (The wooer is, then, sure to come) from the direction from which (the crows) come flying. The charm is, therefore, an oracle (pativedanam '); it is not employed in the marriage-ritual, Kaus. 75, where the actual arrival of the bridegroom is described, unless, indeed, it is implied in the word pativedanam (75,6). But the Paddhatis refer to Kaus. 34, 13, a rite performed in connection with AV. II, 36, rather than to our performance.
The hymn has been translated by Weber, Indische Studien, V, 236 ff.; Grill?, pp. 56, 164; Zimmer, Altindisches Leben, p. 306.
Stanza 1. a, b. Aryaman is the typical wooer or bridegroom ; cf. AV. XIV, 1, 34 (=RV. X, 85, 23). 39; 2, 5(=RV. X, 40, 12). Weber and Grill join puráståd to vishitastupah, with crest loosened in front;' Sâyana, 'from the east.' We are having in mind a bridal procession consisting of many wooers (cf. AV. XI, 8, 1. 2, and Kaus. 75, 13). See also Indische Studien, V, 380, bottom.
Stanza 2. d. The plural anyáh and the singular ásyati do not agree. Weber would read ayantu or ayanti; Grill, anya.
1 Cf. Kaus. 34, 12 ; 75, 6.
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HYMNS OF THE ATHARVA-VEDA.
The latter change results in the best metre. Sâyana, coolly, âyati prâpnuvanti.
VI, 64. COMMENTARY TO PAGE 136.
This hymn is rubricated in the gana, or series, entitled sâmmanasyâni in Kaus. 12, 5, and the practices are the same as those employed in connection with III, 30, above. The entire hymn is repeated with many variants in RV. X, 191, 2-4, in Maitr. S. II, 2, 6, and in Tait. Br. II, 4, 4, 4 ff. It has been translated by Ludwig, Der Rigveda, III, 372; Grill 2, pp. 31, 164; cf. also Zimmer, p. 175, and the wellknown translations of RV. X, 191.
Stanza 1.
a. The RV. and Tait. Br. read, sám gakkhadhvam sám vadadhvam; the Maitr. S., sám gakkhadhvam sám gânîdhvam.
d. Cf. Pank. Br. II, 2, 4; Âsv. Sr. II, 11, 10.
Stanza 2.
Of the four texts, cited above, no one has precisely the same readings, though the sense is essentially the same in all. For the samânám havíh, cf. the introduction to VI, 39, and the foot-note on VI, 39, 1.
Stanza 3.
d. All the texts read yátha vah súsaha-sati; the Padapâthas of the RV. and AV. resolve súsaha ásati. This leaves upon our hands a compound adverb súsaha, which I have translated 'perfectly in common.' Ludwig resolves susahâ asati, translating 'that you may have easy victory. It is possible, too, to ignore the Padakâra, and read sú sahá ásati, and translate again as we have done. I had thought also of emending yáthâ vásu sahấ sati, 'that you may have possessions in common,' and found later that the Padapâtha of the Maitr. S. had something similar in mind, reading, vasú sahá âsati. Cf. also the simple saha-sati at AV. VII, 36.
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VI, 70. COMMENTARY.
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VI, 70. COMMENTARY TO PAGE 144. Darila, Kesava, and Sayana explicitly define the performance in connection with this hymn at Kaus. 41, 18-20 as designed to effect harmony between cow and calf. Sayana, govatsayor anyonyavirodhasåntirape såmmanasyakarmani. Kausika himself designates the rite as vananam; cf. the note on the word apavâtà in the introduction to VI, 44 (p. 482, note).
The practice consists in washing the calf, sprinkling it with the cow's urine, leading it thrice around (the cow), and tying it (near her), while the hymn is being recited. It is then recited once more over the head and ears of the calf. The symbolic force of these acts is apparent. The hymn has been translated by Grillo, pp. 65, 165. The Anukramanî, aghnyam.
Stansa 1. a, b. Sayana, 'as meat is liked by the eater, as brandy is most welcome, and as dice are most welcome at the gaming-place. Grill connects mâmsám and súrâ rather too closely, “as surâ goes with meat.' But cf. RV. VII, 86, 6 ; AV. XIV, 1, 35. 36; XV, 9, 1, 2, where surâ and gambling are associated. All three, being forbidden fruit, inspire strong attachment in their devotees. Cf. the practices in the introduction to III, 30 (Kaus. 12, 6-9).
Stanza 3. The interrelation of the parts of the wheel are not clear : pradhi and upadhi may be respectively the outer felloe (Sayana, rathakakrasya nemih), and a second circular part closely joined to the felloe (Sâyana, nemisambaddhah aranam sambandhako valayah). They may be, respectively the tire (ordinarily pavi), and the felloe; or, the felloe, and some inner connective circle next to the felloe. We have, however, followed the Pet. Lex. and Zimmer, Altindisches Leben, p. 248, in regarding upadhi as the spokes, taken collectively. Sâyana takes nábhyam in this latter sense,
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HYMNS OF THE ATHARVA-VEDA.
nabhyam nâbhaye hitam rathakakramadhyaphalakam pradhåv adhi nemidese sambadhnåti.
VI, 71. COMMENTARY TO PAGE 196. An expiatory prayer (prayaskittam) to obviate any impropriety, such as greed and worldliness, on the part of the Brahman who receives gifts, or the absence of sacredness in the gift itself. At Kaus. 45, 17 it is recited along with other mantras upon the receipt of the dakshina ; at Kaus. 57, 29-30 the begging Brahman disciple offers, while reciting the hymn, the fruits of his mendicancy: the firewood which he has begged is put on the fire in the evening and in the morning, while reciting this hymn. At Vait. SQ. 4, 16 the Brahman consumes with it his share of the rice-cakes at the new-moon and full-moon sacrifices.
The hymn has been translated by Ludwig, Der Rigveda, III, 433; Grill?, pp. 66, 165. The Anukramarî, brahmå ssgneyam.
Stanga 8. This seems to be spoken by a non-Brahmanical sacrificer (yagamâna), to make sure that the fruits of his sacrifice shall not fail him. For the second hemistich the Dasa, Karmâni (paddhati) at Kaus. 57, 29 substitutes the second hemistich of VI, 53, 2.
VI, 73. COMMENTARY TO PAGE 135. This is one of the sâmmanasyâni (sc. suktåni), charms designed to produce harmony,' treated at Kaus. 12, 5 ff. See the introduction to III, 30 for the practices connected with these hymns. The charm seems to be undertaken by the patriarchal head of a community; cf. Sat. Br. IV, 1, 5, 3 ff. The hymn is rubricated also among the våstoshpatiyâni (sc. sûktâni),'hymns to Vastoshpati' (cf. st. 3, note), at Kaus. 8, 23, and note; the third stanza in the course of ceremonies connected with the building of a house, Kaus.
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23, 6. Cf. also the pushtika mantråh, in the note on Kaus. 19, I.
Stansa 2. c. The MSS. are divided between tấm krivayami, tấn khrî-, and tần sri- (Padapatha, tán srî-). The vulgate has tám khri-, emended in the Index Verborum to tấm sri-. Shankar Pandit adopts Sayana's rather vapid sivayâmi (tam vividhàm akûtim balam ka ... parasparasambaddhâm karomi).
Stansa 8. Both Pashan, the guardian of the distant ways, and Våstoshpati, the genius of home, are invited to co-operate with the person desiring adherents, in order to put a stop to dissension and disintegration.
VI, 74. COMMENTARY TO PAGE 135. This is one of the sammanasyani (sc. saktàni), "charms designed to produce harmony,' treated at Kaus. 12, 5. See the introduction to III, 30 for the practices connected with these hymns.
Stanza 2. d. The word srântám seems suspicious. Possibly såntám is intended 'with the peace of Bhaga.' The root sam is used with words for 'strife,' vigraha, Kathasaritsagara 56, 96; vaira, Mahâbh. XIV, 2509.
Stanza 8. Cf. Tait. S. II, I, II, 3, with the variant rudráh for ugrah (Sâyana = rudrah). Såyana explains trinaman as the threefold fire of the earth, lightning, and sun, or, as the threefold fire of the sacrifice (garhapatya, &c.). Cf. the gloss at Tait. S., 1.c.
VI, 75. COMMENTARY TO PAGE 92. This hymn is an abhikârika-hymn, and is, accordingly, rubricated twice in the sixth adhyâya of the Kausika, which is devoted to hostile (witchcraft) practices. The
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so-called samsthitahomâh, 'final oblations,' in the case of auspicious (sânta) performances, are undertaken while VII, 97 is being recited. Thus according to Kaus. 6, 3 (cf. also 3, 19, note). But in the case of âbhikârika-practices, according to the Paribhâshâ-sûtra 47, 10, a sinister turn is given to the samsthitahomâh by reciting the present hymn with them1. The more special practice attached to this hymn is at Kaus. 48, 29-31. The sacrificial straw is spread with the thumb. Reed-grass (or an arrow, sara?) is thrown upon it from baskets made of kadvindu 2. By means of a leaf of the red asvattha an oblation 3 (of ingida-oil; 47, 3), dashed with poison, is offered. There is no special rapport between the hymn and the ceremony.
Previous translations by Ludwig, Der Rigveda, III, 373; Grill 2, pp. 22, 165 ff. The Anukramanî, mantroktadevatyam aindram sapatnakshayakâmah. The entire hymn recurs with variants, and markedly different arrangement of the Pâdas, at Åpast. Sr. III, 14, 2; cf. also Tait. S. V, I, 10, 3 ff.
HYMNS OF THE ATHARVA-VEDA.
VI, 77. COMMENTARY TO PAGE 106.
This charm is obviously a patchwork of mantras of various original values. The first hemistich of stanza i is identical with VI, 44, I a, b. The second hemistich of st. 3 is also formulaic (cf. Vâg. S. XII, 8), and fits poorly into the present conception of the hymn. The second stanza (= RV. X, 19, 5) is clearly derived from a charm calculated to bring stray cattle home. As the hymn stands it would answer this purpose quite well, but the Kausika, 36, 5-9, as explained by the commentaries, treats it as a charm for capturing a runaway woman, or holding in check a woman
1 The oblations in the latter case, implicitly, are not of ghee, but of ingida-oil; cf. 47, 3.
Cf. 47, 1; Tait. S. II, 1, 5. 7. Our rendering of the år. λey. kadvindukosh/haih is conjectural.
This is the nairbâdhyam havís (st. 1). For these especially pointed havís, see the note on VI, 39, 1.
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VI, 77.
497
disposed to run away1. The proceedings consist in fastening a band down the cross-beam of the house and then fastening it to the middle post 2. Then the foot of the (woman's) bed is fastened to an utpala-plant (nymphaea) 3. Further it is fastened to an âkrishta. Finally sesame is offered by means of a coal-rake (âkarsha: cf. Dârila). The two words âkrishta and âkarsha both contain the root karsh with â, 'drag back;' cf. âkrishtimantra, 'charm for drawing a person to one's self,' Hitopadesa, book I, sloka 90. There can be no doubt as to the meaning of the performances: they are intended to hold fast, or to compel the return of a person that has gone off.
The hymn has been translated by Ludwig, Der Rigveda, III, 468, under the heading asvâh (' horses').
COMMENTARY.
Stanza 1.
For the use of the aorists in this and the following stanza, cf. Delbrück, Syntaktische Forschungen, II, 87. To our feeling presents would be preferable to the aorists, and we might perhaps have better so rendered. In Pâda d Sâyana supplies iva (luptopamam) with asvân, and striyam with atishthipam, in slavish adherence to the Sûtra. See the introduction.
Stanza 3.
Pâdas b, c are formulaic: cf. Våg. S. XII, 8.
1 Sâyana, palâyanasîlâyâh striyâ nirodhanakarmani. The position of the charm in the second part of the fourth adhyâya of the Sûtra, among the strîkarmâni (Kaus. 32, 28-36, end), shows that Kausika himself regards it as a practice concerning women.
2 The symbolism is obvious. For the parts of the house, cf. III, 12, 6, and the introduction to III, 12. See also Zimmer, Altindisches Leben, p. 153.
This is very doubtful. The word utpale here, as at Kaus. 35, 26 (see the introduction to III, 25), is very problematic. Sâyana has upale, 'to a stone.' Apparently a specious, easier reading.
⚫ Whatever that may be. Dârila, âkrishtah mâtrike-ti prasiddhâbhidhânas tasmin sayanapâdam badhnâti. See Pet. Lex. under mâtrikâ.
[42]
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HYMNS OF THE ATHARVA-VEDA.
VI, 78. COMMENTARY TO PAGE 96.
In the light of the words bhûténa (st. I a), and râshtréna (st. 2 b) it would seem as though this blessing related to the marriage of a royal personage (kshatriya). The central idea of this charm is the bhûtám havís, 'oblation that produces power;' cf. especially IV, 8, 1, and the yáso havís, 'oblation that yields glory,' VI, 39. The latter forms also part of the practices of a king (see the introduction to VI, 38). But there is nothing in the treatment of the hymn, Kaus. 78, 10. 14-16, to show that it refers to a royal couple, though that is not conclusive as regards its original intent. The practices consist in pouring the dregs of ghee upon the heads of the couple, after they have come home (a kind of consecration, abhisheka); in causing them to eat together of fluid food (rasa; cf. st. I d) and porridge; and, finally, in offering as much barley mixed with ghee as can be held in the two hands placed side by side.
The hymn has been translated by Weber, Indische Studien, V, 238; Ludwig, Der Rigveda, III, 371 ff.; Grill 2, pp. 57, 166. The Anukramanî to the first two stanzas, kandramasyau (cf. a pyâyatâm, st. 1; abhí vardhatâm, st. 2)... gâyâbhivriddhyai kandramasam astaud rayim ka dampatyor aprârthayat; to the third stanza, tvâshtrî.
Stanza 1.
a, b. For bhûténa the Paippalâda reads bhûtasya; Grill suggests bhûtyena. But the use of the noun in apposition, rather than the attributive adjective, seems to be idiomatic in connection with these pregnantly employed havís: see yáso havís, VI, 39, 1 (cf. the note there), and abhîvartám havís, RV. X, 174, 1. Weber regards Agni as the subject of a pyâyatâm; Sâyana, the bridegroom. The latter is correct, but it would seem as though the passage alluded to the moon (cf. the Anukramanî), the typical bridegroom; cf. RV. X, 85, 6 ff. = AV. XIV, 1, 6 ff.
d. The Paippalâda has så rasenâbhi vardhatâm. The rendering of the Pâda is not at all certain; the word rasena
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VI, 79. COMMENTARY.
499
(and payasa in st. 2) surely alludes to sexual sap (cf. RV. I, 105, 2): some such sense as 'he causes the wife to increase with his semen' is to be expected. But vardhatâm is not causative, and we have given a purely philological rendering. Cf. also RV.X, 174, 1d; AV. I, 29, 1 d. Weber,
das (weib) mög' umwachsen er mit kraft;' Ludwig, die soll er mit dem besten gedeihen machen (vardhatâm);' Grill, für's weib ... nehm er an zeugungskräften zu.'
VI, 79. COMMENTARY TO PAGE 141. The performance which accompanies this charm at Kaus. 21,7 consists in placing a stone upon a grain-bag (cf. st. 2 b), sprinkling it, laying upon it a handful of grain with each of the three stanzas, and letting (another person also) lay on (three hands full). The hymn is also rubricated at Vait. Sa. 31,4; Gop. Br. II, 4, 9, where nábhasaspáti is explained as vayu, 'wind, and deva samsphâna as aditya, “sun.' The Atharvaniya-paddhati (Kaus. 19, 1, note) counts the hymn among the pushtika mantrah, 'hymns that produce prosperity.' The hymn recurs with notable variants at Tait. S. III, 3, 8, 2–3; cf. also III, 3, 8, 6.
Stansa 1. o. The Padapatha does not analyse ásamâtim, either here or at RV. X, 60, 2. 51. The Pet. Lex. renders it by 'incomparable.' Böhtlingk, in the smaller lexicon, emends it to ásamarti, 'exemption from injury;' cf. ásamartyai in the passage cited above from the Tait. S. We with Sayana, måtir mânam parikkhedas tena saha vartata iti samâtih, tadvaiparîtyam asamâtih.
Stanga 3.
c. The Påda is formulaic: Tait. Br. III, 7, 5, 7, tasyàs te bhakshivanah syama ; Maitr. S. I, 4, 3; 5, 3. 10; Åpast.
1 The later tradition regards asamâti as a proper name; cf. Sâyana on RV., and Weber, Ind. Stud. X, 33.
KK 2
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500
HYMNS OF THE ATHARVA-VEDA.
Sr. IV, 13, 7, tasyås (tasya) bhaktivâno bhūyasma; cf. Whitney, Sanskrit Grammar?, § 462 d.
VI, 80. COMMENTARY TO PAGE 13. The subject matter of this hymn is identical with a Brâhmana legend, told at Maitr. S. I, 6, 9; Kåth. S. VIII, 1 ; Tait. Br. I, 1, 2, 4-6 (cf. also Sat. Br. II, 1, 2, 13–16). The substance of the story is that certain demons (asura) called kålakanga piled up a fire-altar in order to ascend by it to heaven. Indra joined them, adding a brick of his own. When they had climbed to heaven, Indra pulled out his brick and they tumbled down. They became spiders, all but two who flew up and became the two heavenly dogs. In our essay, 'The two dogs of Yama in a new role,' printed in the third series of Contributions, Journ. Amer. Or. Soc. XV, 163 ff.?, it has been shown that the two heavenly dogs, otherwise the two dogs of Yama, are the sun and the moon. The mythic character of the kålakanga is altogether uncertain. We have surmised (1. c., p. 169) that they are either the galaxy, or the stars in general, conceived as spiders. Possibly some especial group of stars, three in number (cf. st. 2 of our hymn), is intended.
All this is embalmed in the present hymn in a technical oblation (havis; cf. the note on VI, 39, 1) which is designated 'the majesty of the heavenly dog,' i. e. presumably, 'the majesty of the sun. This and an appeal to the three kâlakañga are the central points of the hymn, and the ritual, in a fashion altogether obscure, manipulates the prayer as a cure for paralysis (pakshahatabhaishagyam, Dârila and Kesava)? But the sense of the Sûtras, Kaus.
Cf. also the note on IV, 20, 7 b.
Cf. Wise, Hindu System of Medicine, pp. 253, 256. According to Sâyana, kâkakapotasyenâdipakshihatam, it would seem as though paralysis was supposed to be inflicted by strokes of the wings of crows, pigeons, eagles, and other birds (cf. also Kesava). Apparently purely symbolic: pakshin, 'winged, bird,' and paksha, side, half' (hemiplegia).
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501
31, 18. 19 is also not at all clear. With the help of the commentators some such practice as the following seems to be restorable. The paralysed part of the body is rubbed with earth taken from the footprint of a dog, while keeping in quick motion. Then the part is fumigated by burning an insect (taken from a dog). The dog-the word occurs only in the commentaries, not in the Satra itself-refers, of course, to the heavenly dog' in the mantra; the quick motion is opposed to the palsy of the patient; the use of the insect seems to symbolise the fate of the kâlakājēga, who in the legend become spiders. Cf. the article cited above, p. 166.
The third stanza is employed also in a nondescript fashion at Vait. Sa. 23, 20; Ath. Paris. 39, 1 (tadå gådividhi) and 42, 3 (snânavidhi). The hymn has been translated by Ludwig, Der Rigveda, III, 373.
Stanza 1 The stanza cannot be addressed to anything else but the sun, judging from the identity of its first hemistich with RV. X, 136, 4 a, b, which clearly refers to the sun (cf. Contributions, 1. c., pp. 167–8, and Tait. S. IV, 6, 3, 4, uksha samudro, &c.). Sâyana, along totally different lines : 'The bird, crow, pigeon, &c., looking down upon all beings with a desire to injure, flies down upon the limbs of men. In order to remove its injury we honour thee, O Agni, with the oblation, that is the majesty of the heavenly dog. Cf. the note on st. 3. Ludwig's rendering ignores te in Pâda d, 'des himlischen hundes grösse der möchten wir dienen mit disem havis.'
Stanza 3. Here even Sayana feels compelled to recognise the presence of the sun, he agne ... dyuloke tava adityatmanah sahasthanam.
VI, 81. COMMENTARY TO PAGE 96. The practice connected with this hymn at Kaus. 35, 11 is restricted to the tying on of the (bracelet) mentioned in the
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HYMNS OF THE ATHARVA-VEDA.
mantra. No ceremony of this sort is found in the Grihyasûtras (cf. Paraskara, 1, 13), and the word parihastá seems to occur here alone (cf. parihátaka in the Pet. Lex.). The hymn has been rendered by Ludwig, Der Rigveda, III, 477 ; Weber, Indische Studien, V, 239. Cf. also Bergaigne et Henry, Manuel Védique, p. 153.
Stanza 2. The second hemistich is exceedingly obscure: máryåde seems to be the vocative of maryáda, and our rendering is a pis-aller. The idea of 'limit' may refer to the confinement within the womb; cf. Sayana in the foot-note. The Pet. Lex., simply,' designation of an amulet.' If it could be construed as a locative singular masculine? (maryade for máryâde; cf. V, 1, 8) it might be translated within proper limits of time;' cf. shanmasamâryâdayâ, within six months,' Brihat-samhità 4, 24. The sense would then be that the child shall be born within ten months; see Pår. Grih. I, 16, 1; Sankh. Grih. I, 19, 6; Hir. Grih. I, 25, 1; II, 2, 5. Again, agame is not at all clear; it may possibly refer to the circular shape of the bracelet,' that comes back upon itself.'
Stanga 3. Aditi is the typical mother that desires a son; cf. RV. X, 72, 8; AV. VIII, 9, 21; Maitr. S. II, 1, 12; Sat. Br. III, 1, 3, 2. Nowhere else have we met with the statement that her desire was promoted by a bracelet furnished by Tvashtar. The latter, however, fashions the embryo in the womb; cf. Ludwig, l. c., p. 334.
VI, 82. COMMENTARY TO PAGE 95. In the Kausika the hymn is employed in a twofold manner. At 59, 11 a person who desires a wife sacrifices and
· Cf. Sâyana, maryâde maryâh maranadharmano manushyah tair âdîyâmâne svotpattyartham svîkriyamâne sthâne garbhâsaye he gâye tvam putram â dhehi, i. e. O woman, place a son into thy womb, the place appropriated by men for reproducing themselves!'
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503
prays with it to Indra. At 78, 10 the hymn is recited with sundry other mantras (cf. VI, 78) while dregs of ghee are being poured upon the heads of the bridal couple, after they have come home. The hymn has been translated by Weber, Indische Studien, V, 239 ff.; Ludwig, Der Rigveda, III, 470; Grill?, pp. 57, 167. The Anukramanî, aindram, composed by gåyåkåmo bhagah.
Stanza 2. The marriage of Sarya, the daughter of Savitar, to Soma, the moon, is the typical heavenly marriage. The Asvins acted as wooers. Cf. RV. X, 85, 6 ff.=AV. XIV, 1, 7 ff. ; Ait. Br. IV, 7, 1. For a large number of correlated passages, see Contributions, Third Series, Journ. Ainer. Or. Soc. XV, 186. To these may be added Maitr. S. II, 2, 7; IV, 2, 12; Kath. S. XI, 3 (Indische Studien, III, 467); Tait. Br. II, 3, 10, 1 ff. Suryå is probably identical with Ushas; the Asvins are frequently conceived as her husbands, rather than wooers in behalf of Soma.
Stanza 3. According to RV. VIII, 17, 10, Indra is conceived as having a long hook or rake with which he heaps together goods: here he is implored to furnish with its aid a wife (and, implicitly, property also). At II, 36, 6 he is addressed as 'lord of wealth. The word sakipate is to be taken here in its secondary, legendary sense, not in its primary sense, • lord of might;' cf. Contributions, Sixth Series, Zeitschr. d. Deutsch. Morgenl. Gesellsch. XLVIII, 548.
VI, 83. COMMENTARY TO PAGE 17. The two Petersburg Lexicons ; Adalbert Kuhn in Zeitschrift für vergleichende Sprachforschung, XIII, 155; Ludwig, Der Rigveda, III, 342, 500; Zimmer, Altindisches Leben, 54, 97; and Florenz, Bezzenberger's Beiträge, XII, 280 regarded the apaklt as a certain noxious insect. In Contributions, Second Series, Amer. Journ. Phil. XI,
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HYMNS OF THE ATHARVA-VEDA.
320 ff., we assumed for it the meaning sore, pustule, boil,' or the like, and this is now fully borne out by Kesava and Såyana who render the word by gandamålà, 'scrofula.' The apakít is a scrofulous sore, from root ki and apa, 'pick off;' cf. Lat. scabies, scabere, Germ. die schabe, schaben, Engl. scab. The word is identical with apakî in the medical Sastras. The hymn is rubricated along with the first part of VII, 76 at Kaus. 31, 16. 17 ; the practices prescribed are in part those undertaken in connection with VI, 25 (Kaus. 30, 16), for which see above: the sores are smeared with a (pulverised) shell, and with the saliva of a dog, and subjected to the bites of leeches, gnats, &c. The practice is then continued: rock-salt is ground up, placed upon the sore, and spat upon. Cf. the strikingly similar performances, reported by Wise, Hindu System of Medicine, P. 315, in connection with the cure of 'scrofulous swellings' (gandamålâ, apaki).
The second hemistich of st. 3 is accompanied by an independent practice at Kaus. 31, 20: it is identical with the one described in the introduction to VI, 57 for the cure of the akshata. And the fourth stanza, again, is prescribed against wounds (sores, arus) of unknown origin, at Kaus. 31, 21: the wound is sprinkled with "holy water' (såntyudaka), and, while the nature of the disease is revolved in the mind, with the dregs of ghee ?
The hymn has been translated by Ludwig, Der Rigveda, III, 500.
Sâyana, rudhiramokshârtham, to relieve the congestion by letting blood.
Kausika seems to express this in the curiously condensed statement, manasa sampâtavatâ (cf. the stanza). Sâyana (after Kesava) ágyam hutvà manasa samkalpya vrane sampâtân ânayet. Sâyana, by the way, connects st. 4 with the following hymn (VI, 84), which he supposes to be included in these performances. But VI, 84 appears in a totally different function at Kaus. 52, 3, of which Sâyana makes no mention. Cf. also Vait. SQ. 38, 1.
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505
Stanza 1. The conception that a disease fies forth from the patient occurs also at RV. X, 97, 13, 'O yakshma, fly forth, fly with the blue jay, fly with the current of the wind.' See. also AV. V, 30, 9; VI, 40, 3. The converse notion that sores fly on to the body occurs at AV. VII, 76, 4.
Stanza 3. Såyana, glauh varnaganito (Shankar Pandit, vrana-) harshakshayah ... galuntah gandamålodbhavavikårena tatratatra hastapâdådisamdhishu udbhůtân gadùn tasyati (!) upakshapayatî-ti gaduntah. Wise, I. c., p. 311, has, ‘Gilin. The swelling in this disease is like the swelling of a plum, not painful, but hard; and is produced by diseased phlegm, and blood.' Cf. gilayu,' a hard boil in the throat,' Pet. Lex. The correspondence with either is uncertain.
Stanza 4. The formula seems to correspond perfectly with its use in the practice (Kaus. 31, 21) above: whatever oblation suits thee, that do thou comfortably enjoy, while I am mentally making an offering with the auspicious svaha.
The disease is uncertain, hence the exact character of the offering is left undefined.
VI, 85. COMMENTARY TO PAGE 39. The varana-tree (crataeva roxburghii) is extolled very highly for its medicinal and magic qualities. See the longer hymn, X, 3, and cf. Zimmer, Altindisches Leben, p. 60 ff. Apparently the sole basis for this belief is the supposed derivation of the word from the root var, 'shut off;' cf. the similar puns upon ásvattha, khadira, tâgádbhanga, vádhaka at VIII, 8, 3; sará (srināti), vibhidaka (bhinatti) at Tait. S. II, 1, 5, 7, and many more. At Kaus. 26, 33. 37 the practice prescribed consists simply in tying on an amulet derived from the varana-tree. The hymn is also rubricated in the takmanâsanagana of the Ganamâlâ,
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HYMNS OF THE ATHARVA-VEDA.
Ath. Paris. 32, 7 (Kaus. 26, 1, note). The first hemistich of st. 2 recurs in a different connection, Kaus. 6, 17. In st. 3 b Sayana reads visvadhayanih for visvádha yatih.
VI, 90. COMMENTARY TO PAGE 11. It is far from easy to determine the exact disease which this charm aims to mitigate. The text of the hymn suggests rheumatism, but this presupposes perhaps too acute a diagnosis. At any rate it is some kind of sharp internal pain, either rheumatism, neuralgia, or colic, and that is the view of the ritualist. The hymn is rubricated at Kaus. 31,7, as follows: "While pronouncing VI, 9o a spear (-amulet)' is fastened upon him who suffers pain as if from a spear (or who has, as it were, a spear sticking in him).' Kesava describes the symptoms as follows: ạtha udare và hridaye và ý nge và sarvânge và sale utpanne. The disease sala, and he who suffers from it (sulin) are well known in the medical Sastras. Wise, Hindu System of Medicine, p. 341 ff., identifies it with colic (gastro-periodynia), and reports it as due to the deadly trisala or trident of Siva (Rudra). This seems to establish a fairly firm connection between the hymn (cf. st. 1) and the later medical tradition. In the Srauta-practices the hridayasûla, the spit upon which the heart of the sacrificial animal is roasted (Tait. S. VI, 4, 1, 4; Åpast. Sr. VII, 8, 3 ; 23, 10; 27, 15; XI, 25, 15; Sat. Br. III, 8, 5, 8; VỊ, 2, 2, 38; IX, 5, 4, 4s; Kâty. Sr. V, 11, 26; VI, 7, 14; 10, 1; Vait. SQ. 10, 22; Laty. Sr. V, 4, 6), is always connected symbolically with pain (hridayam sug rikhati): the connection between spear and pain is most natural.
The hymn has been translated by Grill?, pp. 14, 168. The Anukramani, raudram.
Stanza 2. 8. dhamánayah, perhaps, more broadly 'interior canals, or vessels ;' see the notes on I, 17, 3, and VII, 35, 2.
Kesava, salam lohamanih pâshano vå.
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VI, 92. COMMENTARY.
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VI, 91. COMMENTARY TO PAGE 40. The supposed etymology of yáva, 'barley,' from root yu, 'ward off,' is a fruitful source for the application of barley in charms to cure disease and ward off demons. See the introduction to II, 7. The present hymn consists of three loosely connected stanzas (st. 2=RV. X, 60, 11 ; st. 3=III, 7,5; RV. X, 137, 6), in praise of the barley and the waters ; the liturgical texts and the collateral practices define it as a cure for all diseases (sarvabhaishagyam). Kausika's rite (28, 17-20) avails itself of these indications, to wit: 17.
While reciting V, 9 and VI, 91 four portions of the dregs of ghee are poured into a pail of water. 18. Two (portions) are poured upon the earth (cf. V, 9, 2. 6. 7). 19. These two are gathered up again (into the afore-mentioned pail of water) and (the patient) is washed off with (the resulting mixture). 20. (And putting dregs of ghee into a pail full of barley') an amulet of barley ? is fastened (to the patient) while pronouncing the second of the two hymns (VI, 91).'
The hymn is rubricated also in the takmanâsanagana, Ath. Paris. 32, 7 (see Kaus. 26, 1, note); the Anukramani, yakshmanåsanadevatyam. It has been translated by Grills, pp. 14, 168.
Stanza 1. Cf. Zimmer, p. 237. vyaye (in relation to yáva) hazily satisfies the inordinate craving of the Atharvanist for puns. One wonders why yavayami is not worked in instead (cf. the introduction to II, 7).
VI, 92. COMMENTARY TO PAGE 145. The materials from which this hymn is compounded are, apparently, not original with the Atharvanist. St. 3 occurs with variants at RV. X, 56, 2; sts. 1, 2 in the writings of
sayave. Kesava, yavasahite udapâtre. The passage is not excerpted in our edition.
? Cf. Kaus. 19, 27 in the introduction to VI, 142.
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HYMNS OF THE ATHARVA-VEDA.
the White Yagur-veda: Vág. S. IX, 8. 9, and the corresponding passage of the Kanva-sakhà (each with independent readings); Sat. Br. V, 1, 4, 9. 10. The stanzas seem to belong in the first place to the vagapeya-ceremony; see Weber, Über den Vâgapeya, Sitzungsberichte der Königlich Preussischen Akademie der Wissenschaften, 1892, p. 788 (28 of the reprint). At Kaus. 41, 21-25 they are worked up in a ceremony which Därila designates as asvasya vidhikarma, Kesava and Sayana as asvasânti?. The ceremony consists in pouring dregs of ghee over the horse, after it has been bathed ; pouring more dregs of ghee upon (fragrant substances) that have been ground up, and been placed into a leaf; giving drink to the horse, washing it off, and scattering the ground substance upon it. Cf. also Vait. Sa. 36, 18; Ath. Paris. 4, 1; 15. The hymn has been rendered by Ludwig, Der Rigveda, III, 459.
Stanza 3. The variants of this stanza here, as compared with RV. X, 56, 2, betray themselves readily as secondary inspirations to suit the practical application of the hymn as a charm.
VI, 94. COMMENTARY TO PAGE 138. The key-note of this charm is the word sam-nam, 'to bend to one's will.' The idea is a common one, having assumed a somewhat stereotyped and technical character in the works of the Yagus and Brahmana literature; see, e.g. Maitr. S. I, 4, 14; Tait. S. III, 4, 4, 1; VII, 5, 23, 1; Tait. Br. III, 8, 18, 5; Pâr. Grih. I, 5, 9. In the Atharvan the hymn IV, 39 (cf. Kaus. 5, 8; 68, 37; 72, 37) is the most elaborate production of this sort. In the Kausika (12,5 ff.) the present hymn comes under the head of sâmmanasyäni (sc. saktâni), charms designed to procure harmony;' for the practices associated with these hymns, see the introduc
Kesava, 'horses are rendered by it consecrated, brilliant, safe from accidents, swift, healthy.'
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VI. 96.
509
tion to III, 30. The first two stanzas of this hymn recur at III, 8, 5. 6; the third is almost identical with V, 23, 1. Translated by Ludwig, Der Rigveda, III, 514.
COMMENTARY.
Stanza 2.
b. éte in the vulgata is a misprint (not accounted for in the Index Verborum because of the statement on p. 3). Shankar Pandit with all MSS., éta (Padapâtha, a ita), as in III, 8, 6.
Stanza 3.
For the stem óta (Padapâtha, a uta), cf. the note on V, 23, 1. Sâyana derives uta from the root vâ, to wit: ote âbhimukhyena samtate parasparam sambaddhe vå. But how about Sarasvatî in Pâda b?
VI, 96. COMMENTARY TO PAGE 44.
Dârila at Kaus. 31, 22-25 prescribes this charm for one seized by evil (pâpagrihîta). Kesava for the same, or for a dropsical person. Sâyana for one attacked by the curse of a Brahmana (brâhmanâkrose; cf. st. 2 a), or for a dropsical person. The stanzas and pâdas, however, betray the most undefined character, being compiled from various spheres (cf. RV. X, 97, 15. 16. 18; Tait. S. IV, 2, 6, 4 ; Vâg. S. XII, 90. 92; cf. also AV. VIII, 7, 28; XI, 6, 7; RV. X, 164, 3=AV. VI, 45, 2=Tait. Br. III, 7, 12, 4; Baudh. Dharmas. II, 4, 7, 18): the compilation is, in effect, a panacea. The practice of the Kausika consists in fumigating the sufferer with (the soma-branch) mentioned in the mantra (st. 1), which is burned, together with other plants; in giving him to drink a mixture of honey and udasvit (water and curds), a mixture of milk and udasvit, and, again, both these messes combined. The hymn is counted as one of the amholingagana (cf. st. 1) in the Ganamâlâ, Ath. Paris. 32, 32 (cf. Kaus. 32, 27, note); it has been translated by Ludwig, Der Rigveda, III, 506; Grill2, 38, 168. The Anukramani, vânaspatyam.
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HYMNS OF THE ATHARVA-VEDA.
Stanza 2. d. For devakilbishất, cf. the note on VIII, 7, 28.
VI, 97. COMMENTARY TO PAGE 122. This and the two following hymns figure among the 'battle-charms,' the samgrâmikani (sc. saktâni), or the aparâgitagana, as it is designated by the Ganamalà, Ath. Paris. 32, 13. The practices connected with the list are treated at Kaus. 14, 8-11. They consist in offering oblations of ghee and grits; placing bows as fagots upon a fire built of bows; next, placing arrows as fagots upon a fire built of arrows; and in the presentation (to the king by the chaplain, the purohita) of a bow that has been anointed with the dregs of ghee, and has been polished off. The entire list of hymns is further employed at the ceremonies connected with the beginning of the study of the Veda (upåkarma) at Kaus. 139, 7; the hymns VI, 97-99, at the indramaha-festival, Kaus. 140, 10.
Stanza 3. Repeated at XIX, 13, 6, and with variants, RV. X, 103, 6; SV. II, 1204 ; Maitr. S. II, 10, 4; Tait. S. IV, 6, 4, 2; Vag. S. XVII, 38. The stanza is primarily addressed to Indra, but Indra and king are at this stage of Vedic literature perfectly synonymous; cf. the note on III, 3, 2, and Ludwig, Der Rigveda, III, 251.
VI, 99. COMMENTARY TO PAGE 123. In the Kausika the hymn is employed along with, and in precisely the same situations as VI, 97; see the introduction there, and cf. also Vait. Sa. 18, 16. Previously translated by Grill?, pp. 18, 168 ff. The Anukramani, aindram.
Stanza 1. 0, d. Cf. RV. X, 128, 9, which suggests by its word adhirågám the possibility that ekagam in our stanza is some
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511
sort of a secondary product of ekarágám. But this is not favoured by the metre, and we may compare, in support of our rendering, ekaganman, as the designation of a king,
of singular birth,' quoted by the Pet. Lex. from the Trikândasesha.
Stanza 2. The first hemistich is formulaic; cf. I, 20, 2.
VI, 100. COMMENTARY TO PAGE 27. The equivalence of the word upagskå with upagshvikâ, upadiká, and upadipíka, and its meaning of 'ant,' was established by the present translator in 'Seven Hymns of the Atharva-veda,' Amer. Journ. Phil. VII, 482 ff. The upagīkå are a kind of ants, fancied to be endowed with the power of digging up beneficent, healing water : according to sts. 1, 2 the gods themselves furnished them with this quality. They are, accordingly, brought into contact with the bodies of poisoned persons in every possible manner. According to Kaus. 31, 26, a lump from an ant-hill is fastened (as an amulet) upon the poisoned person ; he is given some of it to drink (in water); is made to rinse his mouth with the same mixture; and is besmeared with a solution of it in warm water. Cf. also the introduction to II, 3. In addition to the numerous passages bearing upon this subject, that have been cited in the above-mentioned article, see also Våg. S. XXXVII, 4; Kâty. Sr. XXVI, 1,6 ; Tait. Br. I, 1, 3, 4; 2, 1, 3; Tait. År. IV, 2, 3 ; Åpast. Sr. V, 1, 7; XV, 2, 1; 16, 5; Ath. Paris. 67, 2 (cf. Weber, Omina und Portenta, p. 324); Yaska's Nighantavas III, 29 = Kautsavaya 67 (cf. Roth's Erläuterungen, p. 35); and the scholiast at Tait. S. I, 1, 3 (p. 19 of the edition of the Bibliotheca Indica). For upakika, &c., the Páli forms of the word, see Morris in the London Academy of Nov. 19, 1892, vol. xlii, p. 462.
i Cf. also dehikâ, uddehikâ, and upadehika, names of ants that throw up earth,' and see Grill", p. 81, note. And again, cf. utpå. dikâ (with variants), Pet. Lex. 8. v. utpadaka 3.
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HYMNS OF THE ATHARVA-VEDA.
The hymn has been translated by Ludwig, Der Rigveda, III, 511 (cf. also pp. 343, 507). See also Bergaigne et Henry, Manuel Védique, p. 153.
Stanza 1. c. The Pet. Lex. suggests three rivers named Sarasvati, or perhaps simply three rivers in general. But some personified group of divinities is more likely to be in the mind of the writer, probably three of the Apri divinities, Sarasvatî, Ida, Bharati. This conclusion was arrived at before inspecting Sâyana, who has, sarasvatyas trayîrûpâh', yad vâ idà sarasvati bhârati. See Oldenberg, Die Religion des Veda, p. 243.
Stansa 2. The vulgate erroneously emends upagîka(h) of the MSS. to upagika(k); cf. 'Seven Hymns &c.,' p. 483 (18 of the reprint). Såyana manipulates the text still further : he devâh vah yushmäkam sambandhinyah upagikâh ... nirudake sthâne ... udakam ... aksharayan.
VI, 102. COMMENTARY TO PAGE 101. For the practices connected with this hymn, see the introduction to II, 30, above. The rites of Kausika (35, 21) seek especially to realise in practice the similes of this hymn (sts. 2, 3). The Anukramani designates it as åsvinam, spoken by one who is abhisammanaskamah. It has been translated by Weber, Ind. Stud. V, 243 ff.; Grillo, pp. 54, 169 ff.
Stanga 1. The comparison seems to be derived from the practices in ploughing. Cf. RV. IV, 57, 4. 8; AV. III, 17, 5. 6. The Asvins play a part in agriculture; see RV. I, 117, 21.
Stanza 2. a, b. Both râgåsváh and prishtyam are problematic. Såyana, yathå asvasreshthah prishtyâm sankubaddhâm
Cf. Oldenberg, Zeitschr. d. Deutsch. Morgenl. Gesellsch. XXXIX, 54 ff.
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sabandhanaraggum lilaya akhidati unmalayati tadvat, 'as a noble horse uproots with ease the halter fastened to a peg.' Altogether unlikely. Roth, as quoted by Grill, and Böhtlingk's Lexicon, s.v. prishtyã, regard the latter as related to (in fact a feminine of) práshti, 'side-horse,' and accordingly we have translated, without any feeling of certainty. Cf. X, 8, 8. But prishtyä may possibly be identical with prishtiván (ásva), XVIII, 4, 10, the horse which carries burdens upon its back,' and rågåsváh simply the 'horse of the king. The point then would be that ordinary horses follow the royal stallion on expeditions, or processions.
0. The edition of Roth and Whitney reads trinma. But many MSS. read trinam; this is accepted by Whitney in the Index Verborum, and is rendered certain by Kaus. 35, 21.
Stansa 3. The ingredients of the love-mixture are worked up in the Kausika; the sweetwood figures especially in charms of this sort; cf. I, 34, 4. In Påda c Sâyana regards turó as a genitive of túr, agreeing with bhagasya, tvaramânasya saubhagyakarasya devasya.
VI, 105. COMMENTARY TO PAGE 8. The practice attached to this hymn in Kaus. 31, 27 is designated by Darila as a cure for coughs, and by Kesava as a cure for coughs and expectoration (kåse sleshmapatane ka). The Sútra is as follows: yatha mano sva diva ity arishtena, "While reciting AV. VI, 105 and VII, 107 he performs the practice prescribed (for the cure of the disease called arishta).' This latter disease seems to be a nervous trouble in the nature of epilepsy or St. Vitus dance (Dârila, arishtam ... angaspandanakalahalabhatâdi, see Kausika, Introduction, p. xlv). The practice according to Kaus. 28, 15 consists in making the patient take a few steps away from his house (Darila, kânikit padâni grihân nishkrämayati (cod. nisrâmayati]), after having previously, in accordance with the Paribhasha-sútras, Kaus. [42]
LI
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HYMNS OF THE ATHARVA-VEDA.
7, 18 and 7, 7 (cf. also Kes. at 28, 15; 31, 27), fed him with a churned drink and porridge. The patient, as he leaves his habitual place, is, doubtless, supposed to leave the disease behind him.
AV. VII, 107, which appears in company with the present hymn, is a formula, consisting of a single stanza, to wit, ‘May the seven rays of the sun bring down (the waters ?) from heaven: the waters, the floods of the sea, have caused thy pangs to leave thee (literally, have caused the point, or arrow, to fall out of thee).'
The hymn has been translated by Ludwig, Der Rigveda, III, 510; Zimmer, Altindisches Leben, p. 385; cf. also Hillebrandt, Vedachrestomathie, p. 50.
Stanga 1. b and sequel. The force of the adverbial suffix -mat is similar to that of dialectic -like in "quicklike' and similar expressions.
d. pravâyyàm, dr. dey., literally, the course along which the wind blows ;' see, e.g. RV. V, 83, 4, prá vátà vânti. Sâyana, pragantavyam avadhim; the Pet. Lexs., etwa ' Aüchtigkeit;' Zimmer, 'fittig ;' Ludwig, 'wehen ;' Hillebrandt, 'flugbahn.'
VI, 106. COMMENTARY TO PAGE 147. The present charm forms a link in a long chain of practices for quenching fire by means of water.plants (cf. důrvah in st. 1) and a frog (cf. the Vaitâna-sútra, below). This line of conceptions has been assembled and treated by the translator in Contributions, Second Series, Amer. Journ. Phil. XI, p. 342 ff., where the present hymn is also treated?. Allied with it most closely is the passage, RV.
1 The numerous passages assembled in that article may be supplemented further by Maitr. S. III, 3, 3. 6; Tait. S. V, 4, 2, 1; Sat. Br. IX, 1, 2,20 ff.; XIII, 8, 3, 13 ; Lâty. Sr. III, 5, 13 ff.; cf. also Indische Studien, IX, 414, and our introductions to III, 13 and VII, 116.
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X, 142, 7, 8; anent this, the Rigvidhana, IV, 11, 1, states that it is also employed against danger from conflagrations (agnibhaye sati); see Oldenberg, Zeitschr. d. Deutsch. Morgenl. Gesellsch. XXXIX, 79, and cf. Shadgurusishya (ed. Macdonell), p. 163.
The practices at Kaus. 52, 5-9 present the hymn in the somewhat general character of a samanam,'quieting force,' operative against danger from fire in the first place, but, further, intended to appease curses (mental fire) and to quiet the pain of one that has been burned by fire : 5. While reciting the present hymn a practice to quiet (fire) is performed within a pond 1. 6. (The same ceremony is performed) in a ditch dug inside of the house. 7. The house is covered with an avaka-plant (a water-plant, blyxa octandra; cf. the article cited above, p. 349). 8. To a person who is being cursed (a stirred drink and porridge ) are offered. A person who has been burned is washed (with water).' The third and second stanzas are employed, along with III, 13, 7 and XVIII, 3, 5 (6), at Vait. Sa. 29, 13, to scatter the fire upon the altar by means of a frog, an avaka-plant, and reed-plants; see our article, p. 345.
The hymn has been treated previously by Grill?, pp. 63, 170. The Anukramani, durvasaládevatyam.
Stanza 1. The důrva-plant, a kind of a millet (panicum dactylon), figures from early times (RV. X, 16, 13, &c.) in these firecharms; see our article, pp. 342-3, and Zimmer, Altindisches Leben, p. 70. The stanza is repeated with variants at RV. X, 142, 8.
Stanzas 2, 3. Cf. RV. X, 142, 7; Maitr. S. II, 10, 1; Tait. S. IV, 6, 1, 3; Våg. S. XVII, 7; Åsv. Sr. II, 12, 2. Pada 3 d occurs
According to Kesava water is poured into the pond, as a protection against fire
* Thus if we trust the Paribhâsha-sâtra, Kaus. 7, 7. But Sâyana (after Kesava), taptamashake divye tailâdikam abhimantrya sapathakartre (!) prayakhet.
112
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HYMNS OF THE ATHARVA-VEDA.
frequently in the Yagus-texts, &c., in the form agnir himasya bheshagam : Tait. S. VII, 4, 18, 2; Maitr. S. III, 12, 19; Våg. S. XXIII, 10; Åsv. Sr. X, 9, 2 ; cf. Tait. Br. III, 9, 5, 4. The present version seems adapted for the occasion.
VI, 109. COMMENTARY TO PAGE 21. The hymn is rubricated at Kaus. 26, 33 along with five others in a series which is designated ganakarmågana (!) by the Ganamâlâ, Ath. Paris. 32, 24. Its particular employment is indicated at 26, 38: the patient is given peppercorns to eat. Darila defines the practice as kshiptabhaishagyam, and Kesava (and Sâyana) clearly regard it as a cure for wounds. Cf. the note on st. 3.
The hymn has been translated by Ludwig, Der Rigveda, III, 509 ; Zimmer, Altindisches Leben, p. 389. Cf. also Bergaigne et Henry, Manuel Védique, p. 154.
Stanza 1. Sâyana has alternate renderings for kshiptabheshagi, and atividdhabheshagi, in effect, throwing aside, and suppressing (other) remedies.' Hardly probable: note the accents.
Stansa 3. 8. For the role of the Asuras in connection with curative plants, see the introduction to I, 24, and cf. especially II, 3, 3.
0. Zimmer, 1.c., p. 389, has endeavoured to show that vâti krita means 'produced by wounds.' Kesava (and Sâyana) here (not however at VI, 44, 3) seem to agree with this construction of the word. Såyana, in the introduction, must have this word in mind when he defines the charm as dhanurvata - kshiptavậtâdi - kritsnavâtavyâdhisântyartham, and he seems to take vâta in the sense of wound.' Yet we would adhere to the ordinary sense of vậta, 'wind of the body,' in the medical Sâstras; cf. Wise, Hindu System
* II, 7; 25; VI, 85; 127; VIII, 7.
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of Medicine, p. 250. Zimmer's quotation from Wise, p. 323, is based upon a misunderstanding of the English words. The words, or throw pieces of wood or stone,' mean that the consumptive shall not exert himself by throwing, not, that his consumption has been brought on by throws (on the part of some other person) of pieces of wood or stone.
VI, 110. COMMENTARY TO PAGE 109.
The Kausika, 46, 25, very intelligently, prescribes this charm for one born under an inauspicious constellation (pâpanakshatre gâtâya). The sense of the Sûtra is obscure1. The word mûlena refers to some performance undertaken elsewhere either under the constellation mûla'-this is identical with the vikritau, st. 2-, or 'with a root.' Curiously enough, it would seem as though this referred to some performance described in the Nakshatrakalpa, if we are to trust Kesava, who says: 'This rite is performed under the constellation mûla. He shall perform the rite mentioned in the Nakshatrakalpa . . . He eats milk-porridge over which dregs of ghee have been poured . . . In this rite sacrificial straw with the roots (samûla) is spread"; fagots with the roots attached are laid on the fire...' The entire practice according to Kesava (and Sâyana) consists in washing off and sprinkling (the child, or the parents), and in eating the above-mentioned porridge (cf. Kaus. 46, 26) 3.
The hymn has been treated by Weber, Die vedischen Nachrichten von den Nakshatra, II, 291; Ludwig, Der Rigveda, III, 431 (under the caption, 'Segensgebet für den opferer'); Zimmer, Altindisches Leben, p. 321.
1 The full text is, pratno hî ti pâpanakshatre gâtâya mûlena. Cf. Kaus. 1, 22. 23 and the scholiasts. Of course the word 'root' throughout symbolises the constellation mûla.
The practice thus coincides largely with that undertaken in connection with VI, 112 (see the introduction) and, since the word mûla occurs also in its first stanza, mûlena in Kaus. 46, 25 perhaps simply refers to the practices in Kaus. 46, 26 ff.
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HYMNS OF THE ATHARVA-VEDA.
Stanza 1.
Repeated with variants at RV. VIII, 11, 10; Tait. Âr. X, I (st. 69). In Pâda c Sâyana with these texts reads piprayasva (sarîram... pûraya) for piprayasva. The meaning of the latter is at any rate in doubt, either 'delight' (from root prî) or 'fill' (from root prâ 1).
Stanza 2.
For the character of the constellations gyeshthaghnî (thus, not gyaishthaghnî, the MSS.) and vikrĺtau, see Weber, Nakshatra, II, pp. 292, 310, 374, 389; Zimmer, 1.c., pp. 356, 392. In Pâda b (formulaic, see VI, 112, 1 b) the expression mûlabárhanât plays upon two alternate names of the vikritau, namely, mula, and mûlabárhanî 2. The name vikritau is here felt to be entanglers, ensnarers ;' elsewhere in the AV. and in other texts, the word is rather regarded auspiciously, 'they that loosen the bonds of disease,' and the like. See the note on II, 8, 1. The change of person in the second hemistich is noteworthy, but Agni seems to be the subject in both.
C
Stanza 3.
For vyâghré hni, cf. vyâghráu dántau VI, 140, 1. The tiger, thus early, typifies danger to life, as even to this day he claims thousands of victims annually in India.
VI, III. COMMENTARY TO PAGE 32.
The hymn is one of the three mâtrinâmâni (sc. sûktâni), 'hymns that contain the names of the mothers,' Kaus. 8, 24. They are II, 2 and VIII, 6 in addition to the present, and appear to have been so designated because they contain the words ápsaras (II, 2, 3. 5; VI, 111, 4), and mâtár (VIII,
So Whitney, doubtfully, in the Index Verborum, p. 195 b (cf. also 382). The form piprayasva is not quoted in the same author's Roots, Verb Forms, &c., either under prâ and prî (p. 102), or under pri (p. 100).
Cf. also the foot-note on VI, 112, 1 a, b.
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6, 1'); cf. Kausika, Introduction, p. lviii. The mâtrinâmâni are mentioned frequently in the Kausika (see Index B); the employment which bears most closely upon the sense of the present hymn is at Kaus. 26, 29–32, a rite which, according to the scholiasts, cures a person possessed by demons. Pulverised fragrant substances, mixed with ghee, are sacrificed, and the patient is anointed with what remains. The patient is next placed upon a cross-roads ?, a wicker-work of darbha grass, containing a coal-pan, upon his head; and upon the coal the previously mentioned fragrant substances are again offered. The patient going into a river against the current throws the same substances into a sieve), while another person from behind washes him off. Pouring more of the fragrant substances into an unburned vessel, moistening the substances (with ghee), placing the vessel into a three-footed wicker-basket made of muñga-grass he ties it to a tree in which there are birds' nests. The complicated ceremony is largely symbolic : it aims to purify, and indicate the passing out of the unhealthy conditions.
The hymn has been translated by Ludwig, Der Rigveda, III, 512; Zimmer, Altindisches Leben, p. 393; Grill ?, pp. 21, 170; cf. also Hillebrandt, Vedachrestomathie, P. 50 ; Wise, Hindu System of Medicine, p. 279 ff. The Anukramani, agneyam.
Stansa 1. The Anukramanî designates the first stanza as paranushtup trishtubh. A considerable variety of textual emendations, none of which seems warranted by the exigencies of the case, are suggested by Grill, p. 170. The stanza consists of three trishtubh Pâdas, the second of
Cf. also XII, 1, 60, and the introduction to IV, 20.
The favourite place to divest oneself of evil influences; cf. Kaus. 27, 7, in the introduction to II, 10; Kaus. 30, 18, in the introduction to VI, 26, &c. See in general Oldenberg, Die Religion des Veda, p. 267, and the index under kreuzweg.'
3 For the sieve, see the introduction to VI, 26.
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which is hypermetric, and seems to suggest a slurred reading of the five syllables preceding the caesura, perhaps ém yó baddháh for ayám yó baddhák (cf. Avestan aêm).
b. baddháh and súyatah may refer either simply, or with double entente to the mental condition of the patient, 'bound and checked by the fetters of the dementia.'
c. Zimmer, p. 393, 'dann wird er dir deinen antheil darbringen.' But ádhi kar does not seem to bear any such interpretation.
HYMNS OF THE ATHARVA-VEDA.
Stanza 3.
a. Zimmer renders devainasá by 'sin against the gods;' Ludwig, 'von befleckung (where is there a corresponding word in the original ?), sünde gegen die götter, der wansinnig.' It does not seem that the gods madden him that offends against them, a mere sight of them suffices: see Mahâbh. III, 14501, 'the man who, awake or asleep, beholds the gods quickly becomes mad; that is known as possession by the gods.' Our translation, too, preserves the parallelism between the first two Pâdas. Indeed, devainasá seems to mean outright 'the sins committed by the gods.' See the introduction to VI, 112, and Proc. Amer. Or. Soc., March, 1894 (Journal, vol. xvi), p. cxix ff., and cf. especially Âpast. Sr. XIII, 17, 9; Pañk. Br. I, 6, 10 (devakritasyai nasak). Thus also Sâyana, devakritam enas... devakritât påpâd upaghâtâd unmaditam. Cf., perhaps, also VIII, 7, 28.
b. Read yathanunmaditó for yadánunmaditó: the corruption is due to 1 d.
Stanza 4.
a. At AV. II, 2, 5 the Apsaras are designated as the mind-bewildering' wives of the Gandharvas; at Tait. S. III, 4, 8, 4, 'the Gandharvas and Apsaras render mad him that is mad.' In the sequel of the latter passage it is stated that it is necessary to quiet them (samayati, cf. st. 2 a). The expression púnar dâ is used in the sense of 'give back, give up possession,' rather than in the derived sense, ' make well, restore.' All this seems to be well founded in the early Hindu view; in RV. X, 11, 2 the Gandharvî and the
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VI, 112. COMMENTARY.
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woman of the waters (ápyà yóshana) perform a similar service : 'And the Gandharvi, the woman of the water, spake; when the reeds rustle may she protect my mind 1.' Primarily, the madness which the Gandharvas and Apsaras can cause, and which they are called upon to remove, is, in accordance with the general character of these divinities, the madness of love ; cf. the story of Urvasi and Purðravas (RV. X, 95, especially st. 14).
VI, 112. COMMENTARY TO PAGE 164. This and the following hymn reflect a cycle of legends to which the translator has devoted an article in the Proc. Amer. Or. Soc., March, 1894 (Journal, vol. xvi, p. cxix ff.), entitled, 'Trita, the scapegoat of the gods.' Without the light of the conceptions there alluded to the hymns are hardly intelligible, and a brief statement of them here will not be out of place. At Maitr. S. IV, 1, 9, it is stated that the gods did not find a person upon whom they might be able to wipe off from themselves the bloody part of the sacrifice, i.e. their guilt. Agni spat upon the waters, and successively three personages, Ekata, Dvita, and Trita, were born. The gods wiped off their guilt upon them; they in turn wiped themselves upon one who was overtaken by the rising sun, i.e. one over whom the sun had risen while he was asleep; this one wiped himself upon one who was overtaken by the setting sun; he upon one afflicted with brown teeth; he upon one with diseased nails ; he upon one that had married a younger sister, before the older was married ; he upon one whose younger brother had married before himself; he upon one who had married before his older brother; he upon one who had slain a man; he upon one who had committed an abortion. 'Beyond him who has committed an abortion the sin does not pass.' .
In Tait. Br. III, 2, 8, 9 ff. the same story is told with
* Cf. Pischel, Vedische Studien, I, 188. . Cf. Contributions, Third Series, Journ. Amer. Or. Soc. XV, 163; Fifth Series, ib. XVI, 3.
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HYMNS OF THE ATHAKVA-VEDA.
variants, the chief difference being that the culminating sin is the slaying of a Brahman : Beyond the slayer of a Brahman the sin does not pass.' Still other versions occur in the Kath. S. XXXI, 7; Kap. S. XLVII, 7 (cf. also Sat. Br. I, 2, 2, 8; Kâty. Sr. II, 5, 26; Mahîdhara to Våg. S. I, 23; Åpast. Sr. I, 25, 15); and similar lists of sinful personages are to be quoted from a variety of Sûtras, and later Smärta-texts ; see Delbrück, Die Indogermanischen Verwandtschaftsverhältnisse, in the Transactions of the Royal Saxon Society, vol. xi, nr. v, p. 578 ff. (200 ff. of the reprint); cf. also Zimmer, Altindisches Leben, p. 315. All those mentioned in the lists are obviously regarded as burdened with guilt (énas); and the legend clearly marks them as persons upon whom, therefore, the guilt of others may be unloaded.
In another version of the legend, Sat. Br. I, 2, 3, 1 ff., Trita and his two shadowy companions Ekata and Dvita roam about with Indra, and when the latter slays Visvarûpa, the son of Tvashtar, they are saddled with this crime, equivalent to the murder of a Brahman, because they knew about his going to be killed.' The truth is this : Indra's drastic performances upon the great variety of demons whom he slays, coupled as they are at times with wiles and treachery, have not failed to arouse the compunctions of a certain school of Vedic moralists (see, e.g. TS. VI, 5, 1, 1-3; Tait. Br. 1, 7, 1, 7.8; Pañk. Br. XII, 6, 8; XX, 15,6; Maitr. S. IV, 3, 4; 5, 6), and they have given rise to the notion of misdeeds on the part of the gods in general (devainasá, AV. VI, 111, 3; X, 1, 12). It was natural, now, that some personage closely associated with Indraa personage, moreover, who could be construed as subservient, or at least ancillary to him-should be picked out for the unenviable position. For this Trita seems fitted in an eminent degree. Trita is the double of Indra in his struggle with the demons (RV. I, 187, 1), or his coadjutor (RV. I, 52, 5; V, 86, 1; VIII, 7, 24, and especially X, 8, 8). Whether we regard him as the faded predecessor of Indra in the role of a demiurge, being, as it were, the Indo-Iranian
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Hercules (cf. the Avestan Thraêtaona Åthwya); whether we regard him as Indra's lieutenant (see the passages of the RV. just cited); or whether we follow Bergaigne, La Religion Védique, II, 326, 330, in viewing him as a divine sacrificer; in each case the moralising fancy, which would whitewash the cruelties incidental upon Indra's valued services, naturally alights upon Trita, and makes him bear the burden of his superior's misdeeds. And this again has been generalised so that in AV. VI, 113 the gods in general, without specification, are said to have wiped off their guilt upon Trita. He in his turn passes off his guilt upon the sinners among men.
The rites within which AV. VI, 112 and 113 are embedded in Kaus. 46, 26-9 have for their object the removal of the sin of him whose younger brother marries first, as also of the prematurely married younger brother. Symbolically the sin is again removed, this time to a non-living object, to wit: 'While reciting VI, 112 and 113 (the performing priest) ties fetters of muñga-grass upon the limbs of the parivitti and the parivividåna, as they sit at the edge of a body of water (a river), washes them by means of bunches of grass, and rinses them off. Placing other fetters upon the foam (in the river) he lets them flow away while reciting the hemistich, VI, 113, 2 c, d. And having entered the dwelling (the priest) sprinkles them while reciting all the hymns to the waters (see Kaus. 7, 4, note).
The treatment of the Kausika embraces but one aspect of the hymn, in employing it in connection with the ex
Dârila, 'the younger brother along with the unmarried older brother.' Kesava somewhat differently, an expiatory performance for him who marries, sets up the fire, and is consecrated for the soma-sacrifice, while the older brother is living. Cf. the sins of the paryâdhâtar and the paryâhita, the younger brother who sets up the fire, and the older brother who is passively implicated in the same sin ;' and the pariyashtar and the parishta, the younger brother who is consecrated for the sacrifice before the older, and the older brother who is passively implicated in the same sin.' See Delbrück, I. c., pp. 580-1 (203–3).
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piatory performances of the parivitta and the parivividåna. It seems that this is too narrow, and that the hymns were constructed to cover all the crimes in the catalogues connected with the legend of Trita, as mentioned above. This at least is in Kesava's mind; see the foot-note. Furtber, the text of both hymns (VI, 112, 3; 113, 2) states distinctly that the sins in question shall be wiped off upon the abor. tionist, the bhrůzahán, whose crime figures as a most shocking one at the end of the lists. This indicates that the entire list of sins is in the mind of the poet, even though he intends to direct his charm against some special part of them. Finally, the expression dvådasadha in VI, 113, 3, refers, in my opinion, again to the list of crimes which are stated variously as from 9-11 in number, the use of the numeral 12 being due to its formulary and solemn character. From all this it seems to me that the hymns have in mind at least all those sins that arise from the inversion of the order of precedence as between the younger and older brothers, and probably the rest also.
The hymns have been translated by Ludwig, Der Rigveda, III, 469, 444; Grill?, pp. 15, 171; Hardy, Die Vedischbrahmanische Periode, p. 201. Cf. also Zimmer's luminous allusion to VI, 113, Altindisches Leben, p. 315; and Bergaigne et Henry, Manuel Védique, p. 154. Ludwig introduces VI, 112 with the caption 'Heirat. Für vater mutter sohn,' and defines it (1. c., p. 470) as follows: 'Der bruder der vor seinem ältern geheiratet hat, oder (so the text) der ältere, der den jüngern früher hat heiraten lassen, hat dadurch trockenheit verursacht. Er wird gebunden, seine frau, sein kind, bisz der regen ihn erlöst.' Support for this statement is wanting, and the author has not defined his motives. Grill treats both hymns rather too vaguely under the caption ‘krankheit' (p. 8 ff.). The Anukramanî defines VI, 112 as agneyam ; VI, 113 as paushnam.
Stanza 1. a, b. Our reference of the pronoun ayám to the delinquent younger brother, the parivividâna or parivettar, while
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not altogether certain, seems better than Grill's to some disease, a conception which leads him to emend the word to iyám (sc. grâhih). Both Ludwig and Grill, moreover, refer gyeshthám to the father,' who, to be sure, is mentioned in st. 2 in a general way, along with the mother and the sons, 'release them all, father, sons, and mother.' This is simply another way of saying, 'release the entire family from the consequences of the sin committed by a single member. The point of the hymn is stated in the first Pada, and their rendering of gyeshthám causes them to miss it1
I do not know whether the selection of Agni as the helping agent is of the general sort, or whether it refers to the legends reported above, in all of which Agni plays a part. In the versions of the Maitr. S. and Tait. Br. Agni helps the gods to free themselves from their pollution, and he is introduced also in the narrative of the Sat. Br. But in general Agni chases away evil demons, protects against poverty, straits, and enmities (RV. IV, 11, 5); especially does he remove the consequences of sin, vy énâmsi sisratho vishvag agne (RV. IV, 12, 5).
c. Grâhi is the attack of disease personified as a female demon. Since the word is derived from the root grah, 'seize,' she is supposed to fetter the sick person (cf. the second stanza), and the medicine man's practices take the turn of freeing him froin them symbolically; see the Kausika above, and cf. RV. X, 161, 1; AV. II, 9, 1.
d. "May all the gods give thee leave,' i.e. may they support thee in thy undertaking, as e.g. Agni is supported by a train of gods when he drives out fever in AV. V, 22, 1.
The entire hemistich, however, may have been secondarily adapted to the present situation : gyeshthám vadhît reminds us of gyeshthaghni, the designation of a certain constellation (VI, 110, 2), and Pâda b repeats formulaically VI, 110, 2 b, which obviously alludes to the constellation mula. Cf. the introduction to that hymn and the note on its second stanza.
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Stanza 2.
b. The use of the number three is formulary and solemn. I see no possibility of pointing out any three persons of the family, especially subject to the consequences of the illegal marriage, since primarily only the parivitta and the parivividana are involved. The cataloguing of father, sons, and mother in Pâda d simply expands the notion contained in the solemn number three.
Stanza 3. a. For párivitta the Kausika (46, 26) substitutes the synonymous parivitti. Ludwig's suggested emendation to parivetta, 'the younger brother who marries before the older' (=parivividâna in the Kaus., l. c.), is unnecessary, since both brothers alike are affected by the sin, wherever these conceptions crop out, and the mention of the older is as appropriate as that of the younger ; cf. the monograph of Prof. Delbrück cited above, p. 578 ff. (200 ff.).
0. vimúko hi sánti is difficult to translate ; literally, they are loosenings,' i.e. the fetters are subject in their very nature to the charm instituted to loosen them. Grill, in his note, paraphrases prettily, but not quite in accordance with the situation, denn sie sind Stricke der Ausspannung.' Ludwig, rather vaguely, 'denn es sind die befreier da (oder: denn es ist regen gekommen).' Possibly vimúko is genitive singular, and the expression is to be rendered 'for they belong to release,' i.e. are subject to release. The poet sacrifices rigorous logic to the pun which is secured by introducing vimúko after vi mukantam. The word vimúko, moreover, foreshadows the statement about Pashan in Pada d, since he is designated in RV. I, 42, 1; VI, 55, I as vimúko nápât, the son of release,' i.e. 'the releaser' par excellence (cf. sáhaso nápåt, and the like), and in RV. VIII, as vimókana, 'the liberator.'
d. The Pâda is very characteristic in that it assigns quite definitely the conceptions at the base of the hymn to the cycle of ideas which are worked up in the legends reported
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in the introduction. Půshan is asked to wipe off (mrikshva, from root marg, the technical verb in those legends) the sin upon the abortionist (bhrûnahán), his sin being greatest: 'beyond him that has committed an abortion the sin does not pass ;' see Maitr. S. IV, 1, 9, and the corresponding passages of the Kathaka and Kapishthala Samhitas, as quoted by Prof. Delbrück, l. c., pp. 579 (201) ff. Cf. also VI, 113, 2 d.
VI, 113. COMMENTARY TO PAGE 165. For the conceptions at the base of this hymn, see the introduction to VI, 112. The statements here are more general than in the preceding, but the sins consequent upon the precedence of the younger brother are especially in the mind of the poet, at least if we trust the tradition of the ritual ; cf. the discussion of this point, above.
Stanza 1. b. It is not absolutely necessary to emend enam to enan (i.e. enad) with the Pet. Lex., s. v., trita b), and Grill, p. 171, since the masculine enam may refer to påpmânam, abstracted from påpman in 2 a. Read mamrige, and cf. Kühnau, Die Trishtubh-Jagati-Familie, pp. 69–71, and Oldenberg, Die Hymnen des Rig-veda, p. 477.
0, d. Read tua graấhir, in order to obtain a gagatî-pada in the midst of a trishtubh stanza, and cf. Oldenberg, 1. c., p. 115 ff. Note the pun between anasé and nâsayantu ; cf. III, 7, 6. Both Padas are repeated in st. 3.
Stanza 2. For the first hemistich, cf. Tait. Br. II, 2, 9, 2.
c. Cf. I, 8, 1; VI, 14, 3; X, 1, 10; 4, 20; RV. X, 155, 3.
d. The identity of Pâda d with VI, 112, 3 d elicits certain text-critical remarks from Dr. Grill, which are, to say the least, premature. The repetition of the Pada does not suffice for the basis of textual manipulations, and the
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appearance of Pashan, in addition to Agni, upon the scene is sufficiently accounted for by the suggestion of the root vi muk; cf. our note on VI, 112, 3 C.
Stanga 3. 8. The expression, deposited in twelve places is that which has been wiped off Trita,' contains a distinct reference in round number to the list of delinquencies, stated variously as being from ninc to eleven, through which Trita's sin passes as it is transferred among men, from one sin to another ; see the introduction above. Såyana makes out the count by counting the gods as one, the three Aptyas as three, and eight human sinners : he who is caught asleep by the rising sun, and seven others.
b. Read manushyaënasâni in accordance with the division of the Padapatha, or manushiyainasâni.
0, d. Identical with i c, d.
VI, 114. COMMENTARY TO PAGE 164. In accordance with the general character of its contents this hymn is employed, in connection with one or more of those following, on a considerable number of occasions. At Kaus. 46, 30-32 the entire anuvâka beginning with our hymn is employed in expiatory rite at the death of one's teacher; at 46, 33-35 in connection with an expiatory offering from one's store of grain and provisions ; at 46, 36-40 in connection with the discharge of one's debts on the death of the creditor 1. Still more secondary is the use of these hymns at Kaus. 60, 7; 67, 19 (here only VI, 114, 115, 117), in connection with the sava or brahmaudana, the solemn presentation of the priest's rewards; and at Vait. Sû. 22, 15; 23, 12; 30, 22; Sântikalpa 17, 18; Ath. Paris. 22, 4; 39, 11. Similar formulas to those contained
i So according to Dârila : Kesava and Sâyana with better reason perhaps restrict the recitation to VI, 117-119, three hymns that deal with debt (riná) explicitly.
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in this and the next hymn occur in RV. X, 37, 12; Maitr. S. III, 11, 10; IV, 14, 7; Våg. S. XX, 14-20; Tait. Br. II, 4, 4, 8; 6, 6, 1; Tait. Ar. II, 3, 1; 7, 3.
The hymn has been translated by Ludwig, Der Rigveda, III, 443; Grill?, pp. 45, 172. The Anukramani, vaisvadevam.
Stanza 1. For the designation of the Brahmans as gods, see the note on XII, 3, 38.
Stanza 3. a. médasvata (sc. pasuna); cf. Tait. S. VI, 3, 11,5. The point is felt by Sảyana who supplies pasuna. Not so Dårila at Kaus. 46, 30, note, medasvatá sruka-gyam guhoti. According to this construction it would be proper to emend to médasvatyä.
VI, 115. COMMENTARY TO PAGE 164. In general the employment of this hymn coincides with that of the preceding, as far as the Kausika and Vaitânasútra are concerned; see the introduction there. The additional employment in Vait. Sû. 8, 7, and (of st. 3) in 30, 23 is without special significance. See also Ath. Paris. 39, 11. For parallel passages in other texts, see the introduction to the preceding hymn. Previous translations by Ludwig, Der Rigveda, III, 443; Grill?, pp. 46, 172 ff.; cf. also Zimmer, Altindisches Leben, p. 182. The Anukramani, vaisvadevam.
Stanza 2. Sayana, on the strength of Tait. Br. III, 8, 18,5, suggests that bhatám and bhavyam may refer to this and the next world. Cf. VI, 12, 2; XI, 4, 20, and II, 28, 3.
VI, 120. COMMENTARY TO PAGE 165. The employment of this hymn in the ritual takes place on the same occasions as VI, 114 ; see the introduction to that hymn, and cf. Dârila's corrupt gloss on Kaus. 46, 30 [42]
Mm
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(note 5). Previous translations by Ludwig, Der Rigveda, III, 442; Grill, pp. 72, 173; cf. Muir, Original Sanskrit Texts, V, pp. 299, 41, 306. The Anukramani, mantroktadevatyam.
HYMNS OF THE ATHARVA-VEDA.
Stanza 1.
Cf. Maitr. S. I, 10, 3; IV, 14, 17; Tait. S. I, 8, 5, 3 ; Tait. Br. III, 7, 12, 4; Tait. År. II, 6, 8.
Stanza 2.
b. The Paippalâda has trâtâ for bhratâ, hardly an improvement in the light of the connection.
Stanza 3.
The first hemistich recurs at III, 25, 8 a, b; cf. Muir, l. c., 12, 385, note.
VI, 127. COMMENTARY TO PAGE 40.
The hymn is rubricated at Kaus. 26, 33 along with five others (II, 7; 25; VI, 85; 109; VIII, 7) in a series which the Ganamâlâ, Ath. Paris. 32, 24, designates as ganakarmâgana. In the sequel the Kausika prescribes its employment twice at 26, 34 it is recited while the patient is being anointed (with the powder obtained by pulverizing a chip of) palâsa-wood of the width of four fingers1; at 26, 39 it is employed while dregs of ghee are being poured upon the head of one afflicted with dropsy. Dârila regards both treatments as cures for dropsy; Kesava and Sâyana construct them more broadly as universal remedies 2. It would seem as though the chip of palâsa-wood (butea frondosa) is intended to reflect the kîpúdru in st. 2 of the hymn. A previous translation by Zimmer, Altindisches Leben, P. 386.
1 Sâyana, katurangulam palâsasakalam pishtvâ abhimantrya vyâdhitasarîram limpet.
Sâyana, galodaravisarpâdisarvarogabhaishagyârtham.
2
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For vidradhá, see Grohmann, Indische Studien, IX, 397; Zimmer, Altindisches Leben, p. 386; and Wise, Hindu System of Medicine, pp. 210, 284, 288, 362. Sâyana, vidaranasilasya vranaviseshasya. For balása, see the note on V, 22, 11. Not at all clear is lóhita: it is either 'flow of blood,' or 'inflammation.' Sâyana suggests both (visarpakaviseshasya nâma, yad vâ... rudhirasrâvâtmakasya rogasya). Cf. vilohitám IX, 8, 1; XII, 4, 4. Shankar Pandit and Sâyana read visálpakasya1; cf. their readings at XIX, 44, 2 (in the note on IX, 8, 2). Finally, the sense of pisitám, ordinarily 'flesh,' is by no means clear in this connection: we have taken it in the attenuated meaning 'piece, bit, speck.' The Pet. Lex. suggests that it is for *pishitam=pishtam, but that would be equally problematic in any such sense as is demanded by the connection. Sâyana, literally, nidânabhûtam dushtam mâmsam, i.e. (with a change of construction: accusative for genitive), 'the plant shall not leave the diseased flesh which is the root of the afore-mentioned diseases.' Very unlikely.
531
Stanza 2.
The mushkaú are likely to be bag-like swellings. According to Grohmann, 1. c., p. 399, Susruta designates certain swellings on the neck as mushkavat, 'similar to testicles.' Cf. also VI, 14, 2. In Pâda d sîpúdrur of the vulgata is faulty: the MSS. and Shankar Pandit read kîpúdrur; Sâyana, kîpadrur (etatsamgño drumaviseshah). The word occurs nowhere else; cf. the introduction.
Stanza 3.
The last two Pâdas may be an afterthought. For ágñâtam yakshmam the compound agñâtayakshmá occurs III, 11, 1=RV. X, 161, 1. Cf. Zimmer, l. c., p. 377, who tries
1 Sâyana, vividham sarpati nâdîmukhena sarirasya antarvyâpnotî ti visarpakah.
M m 2
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to define it—though by its very terms it is undefinable-as the name of a certain disease.
VI, 128. COMMENTARY TO PAGE 160. The present hymn, and the custom which it harbours, have been treated by the writer in Seven Hymns of the Atharva-veda,' Amer. Journ. Phil. VII, 484 ff. According to the indications of the ritual the hymn is in praise of sakadhūma, which, as a possessive compound, means 'he of the dung-smoke,' i.e.' he that prophesies from the smoke of cow-dung. The sakadhama predicts the weather for a person about to start on a journey ; see below. As weather-prophet he very naturally comes, like our 'Old Probabilities,' or 'weather-clerk,' to be regarded at the same time as controlling the weather for good or bad — in short, as a weather-maker. Control of the weather, as a delegated power, comes most naturally from the stars : hence these are said, in st. 1, to have made him their king.
In the Paribhasha-sâtra, Kaus. 8, 17, we have the clear statement that the sakadhẩma is an old Brahman. According to the Dasa Karmani, and the Atharvanîya-pad, dhati, at Kaus. 76, 19, one (or four) sakadhamas recite at a certain stage of the wedding-practices the sûryâ-hymn (RV. X, 85)' In Kaus. 50, 15. 16, in the course of the practices of a merchant about to start on an expedition, the merchant, while reciting this hymn, places lumps of dung (sakritpindân) upon the joints of a Brahman friend, and asks the sakadhûma: 'What sort of a day shall we have to-day?' He answers: 'A fair day, a very auspicious one?'
sûryăpâtham kurvanti. The sense of this expression is not altogether certain. It may mean simply, they read the sun,' i.e. for indications of weather. Kesava in the same place has vrishakapibrâhmanâh sûryam pathanti, a most curious statement. Does vrishâkapibráhmana mean 'sun-Brahmana, astrologer,' and does süryam reser to the vrishákapi-hymn, RV. X, 867
• Sâyana, sîghram kartukamah ... brahmanasya samdhisha gomayapindân nidhâya agnitvena samkalpya abhimantrya sütrokt. aprakârena prasnaprativakane kuryât.
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Once more the hymn is prescribed, Kaus. 100, 3, in a práyaskitti for an eclipse of the moon, probably on account of the prayer in the third stanza; cf. also Sântikalpa 15. For st. 3, see Kaus. 138, 8.
The hymn, with the addition of sundry other stanzas, is repeated in an appendix to the Nakshatrakalpa, and has been presented in our afore-mentioned article, p. 485 ff. ; cf. Weber's translation of it in his Omina und Portenta, P. 353. The vulgata form of the hymn has been rendered by Zimmer, Altindisches Leben, p. 353 ; cf. also Ludwig, Der Rigveda, III, 187.
Stansa 1.
Sâyana also defines sakadhůma as brâhmana, but in a roundabout way. Primarily, according to his view, it is the fire in which lumps of dung have been placed, and from which the smoke rises (sakritah sambandhi dhûmo yasminn agnau sa sakadhamah agnih). But agni (e.g. according to Tait. S. V, 2, 8, 2) is identical with brâhmana; cf. his words, agnitvena samkalpya, in the note abovel. In the brahmodya-stanza, RV. I, 164, 43=AV. IX, 10, 25, occurs the expression sakamáyanı dhûmám; this is paraphrased in Kâtyâyana's Sarvânukramanî and in Shadgurusishya's comment (pp. 11,97 of Macdonell's edition) by sakadhûma, 'dung-smoke.' Possibly 'the fire that gives forth dungsmoke' (cf. Haug in the Proceedings of the Bavarian Academy, 1875, II, p. 506) forms the true mythic background of these conceptions; the Brahman interpreter may be secondarily called sakadhứma. Weber, 1.c., surmises that it may be the first morning fire, kindled while the stars are still shining, and indicating by its rising or falling smoke the weather of the breaking day; cf. also the same author, Indische Studien, V, 257; X,65; Nakshatra, II, 272, note; 393.
1 Sâyana continues, tam sakadhûmam brâhmanam purâ nakshatrâni târakâh râgånam kandramasam akurvata. According to this the moon (fire) is the sakadhûma, the controller of the weather. This is good folk-lore: the Brahmana may be the moon's representative on earth.
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VI, 130. COMMENTARY TO PAGE 104. This and the following two hymns are accompanied at Kaus. 36, 13-14 by the following practices : 'Bean-loves' (mashasmarân; Kesava and Sayana simply beans,' måshân) are thrown (upon the head of the person whose love is desired ?). Then the points of arrows (sara) are kindled and are cast in every direction about the effigy (of the desired person), its face fronting towards the performer. The bean (masha) is doubtless regarded as inflammatory food (cf. the Pythagorean prohibition), since it is forbidden at the fasts preliminary to holy practices, along with honey, salt, meat, and brandy; see Kaus. 1, 32, and note (and frequently elsewhere): its fitness in a love-charm seems derivable from this notion. A similar practice with the effigy occurs at Kaus. 35, 28 (see the introduction to III, 25).
The hymn has been interpreted by Weber, Indische Studien, V, 244 ff.; Ludwig, Der Rigveda, III, 515; Grill, pp. 58, 174 ff.
Stanga 1. The pada-MSS. read råthasgite yînâm; Sayana substitutes dhînâm for this yînâm. But the text of the SamhitaMSS. justifies râthagiteyînâm 3. Weber, 1. c., p. 345, note, refers by way of illustration of the present epithets of the Apsaras to the names samgayanti (IV, 38, 1), ugragit, ugrampasya, and rashtrabhrit (VI, 118, 1, 2), and to the frequent warlike epithets of the Gandharvas, with whom they are associated closely (cf. e.g. Tait. S. III, 4, 7, 3). Grill, too daringly, emends to arthagitâm árthagitinâm, supporting his theory by a reference to IV, 38, where the
Thus according to the commentators : 131 and 132 are not otherwise rubricated.
* Thus Darila ; according to Kesava, upon his couch, house, or bed; according to Sâyana, on the ground which he walks.
• The hymn is wanting in the Paippalåda.
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Apsaras are implored for help in gambling. He supposes that they'gain their object' both in play and in love.
VI, 131. COMMENTARY TO PAGE 104. For the practices connected with this hymn, see the introduction to the preceding. Previous translations by Weber, Indische Studien, V, 244 ff.; Grill, pp. 58, 175 ff.
Stanga 2. Anumati is the goddess of favour and consent; cf. the play of words in anu manyasva (as in VII, 20). Åküti is the goddess of schemes. In XIX, 4, 2 she is called kittásya mata, 'mother of thought' ('the wish is father to the thought'). Cf. III, 8, 5; V, 8, 2, &c.
VI, 132. COMMENTARY TO PAGE 104. For the practices connected with this hymn, see the introduction to VI, 130. It has been translated by Weber, Indische Studien, V, 245, who supposes that it is the text of a brewing-charm (sudzauber), in which the person desirous of love boils some concoction that attracts irresistibly the coy beloved. But the absence of any such practice in connection with the hymn casts much doubt upon this interpretation. It seems rather to allude to some mythic touch (âkhyâyika). Såyana suggests that the gods either poured love into the water, to quench him, or that they placed him into the atmospheric waters as ruler of all lovers. Varuna in the refrain is, of course, in the position of lord or controller of those waters, and várunasya dhármana is not remote from the meaning' by the permission or order of Varuna.' The whole savours of the conception that the gods poured smará into the waters either by way of punishing him for his attacks upon themselves !, or in order
I Cf. the stories of their burning Kâma, 'love,' e. g. Muir, Original Sanskrit Texts, I', 112; IV, 364. Or is there still a different notion, namely that the fruitful waters are the natural seat of love?
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to quench him, and that the person practising the charm kindles him anew with the permission of Varuna.
Stanza 1. b. In Tait. S. III, 4, 7, 3, the Adhis, 'yearnings,' are personified as the Apsaras, the wives of Kâma, 'love,' the Gandharva.
Stanza 3. Indrânî is the goddess of successful and happy conjugal love ; see our Contributions, Sixth Series, Zeitschrift der Deutschen Morgenländischen Gesellschaft, XLVIII, 551 ff.
VI, 136. COMMENTARY TO PAGE 31. The plant nitatnî, she that takes root' (cf. the note on III, 12, 4 d, and Ait. Br. VII, 31, 3), is not mentioned elsewhere. In Tait. S. IV, 4, 5, 1 ; Kåth. S. XL, 4; Vishnu, LXVII, 7, the word designates a personification of one of the bricks of the fire-altar (ishtaka); in Tait. Br. III, 1, 4, 1, one of the stars of the constellation krittika. This and the next hymn are supplied with practices at Kaus. 31, 28, to wit: The fruit of (the plant) mentioned in the mantra (i. e. the nitatnî"), together with the plants gîvî and alaka , (are concocted into a solution) and poured (by the medicine-man) who is clothed in black and has eaten black food, in the early morning before the rise of the crows (upon the head of the person for whom the hair cure is undertaken). The exact virtue of these plants escapes
The scholiasts agree in defining this by kakamâkî. The word is not elsewhere quotable as the name of a plant, but is mentioned in Böhtlingk's Lexicon as a kind of spirituous liquor.
3 Cf. Kausika, Introduction, pp. xlv and I. Sâyana has givantî for gîvî, and bhringarâga for âlâkâ. On p. xlv we have written åláka, but Dârila has âlâkâ. On the other hand Böhtlingk's Lexicon, vol. 1, P. 294, mentions alikasalarke, 'calotropis gigantea.”
• That is sesame, beans, and the like ; cf. Kausika, Introduction,
p. xlix.
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our knowledge; the black colour symbolises, perhaps, the (black) hair.
The hymn has been translated by Zimmer, Altindisches Leben, p. 68 (cf. also p. 264); Grill3, pp. 50, 176. The Anukramani, vânaspatyam, by kesavardhanakâma Vîtahavya (VI, 137, 1).
b. For vriskáte the also Sâyana, khidyate.
COMMENTARY.
Stanza 3.
Pet. Lex. suggests vriskyáte. So Cf. the note on XII, 4, 12.
VI, 137. COMMENTARY TO PAGE 31.
For the employment in the ritual see the introduction to the preceding hymn. Previous translations by Ludwig, Der Rigveda, III, 512; Zimmer, Altindisches Leben, p. 68 (cf. also p. 264); Grill2, pp. 50, 176. The AnukramaӔ, as in the preceding.
Stanza 1.
No further trace of this curious, probably ad hoc, legend (âkhyâyika) has been found. Sâyana cites no parallels. Gamadagni is mentioned in connection with helpful charms at II, 32, 3; V, 28, 7; for Asita, cf. the note on I, 14, 4.
Stanza 2.
Zimmer renders abhîsunâ, with the finger;' so also Sâyana with the Naighantuka II, 4. 5, angulibhik. I do not feel altogether convinced that the Pet. Lex. (s. v. abhĭsu) is right in denying this meaning.
(
VI, 138. COMMENTARY TO PAGE 108.
Unsavoury and obscure is the performance associated with the recital of this hymn at Kaus. 48, 32-34. Urine and dung are put into the skin-bag that covers the tail of a calf, they are covered up with kakuka-fruits1, the entire
' For sepyâ,' skin of the tail,' see Kausika, Introduction, P. liv ; for kakuka, ibid. xlviii. The latter word, however, is explained by
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mess is crushed and dug into the ground. Next (Satra 33) the (same) skin-bag and a reed (are crushed and dug into the ground?). Finally (Satra 34) the reed is stuck into the skin-bag and again dug into the ground (?). The Sûtras are extremely brief, and the scholiasts do not make clear these performances which reach the lowest plane even of Atharvanic doings.
The hymn has been rendered by Weber, Indische Studien, V, 246 ; Ludwig, Der Rigveda, III, 470; cf. also Geldner, Vedische Studien, I, 131 ; Zimmer, Altindisches Leben, Index, p. 455 a. .
Stansa 1. d. The exact meaning of opasínam escapes us, owing to the complete absence of graphic representations. The lexicons, Weber and Zimmer, 'gelockt;' Ludwig, 'bezopft.' Sayana, as the scholiasts in general, derives opasá from the verb upasete, and arrives at the meaning 'one with female organs' (strîvyañganam). Geldner, 1.c., has gone peculiarly astray in comparing the cuckold and translating with horns,' since in Maitr. S. II, 7, 5=Tait. S. IV, 1, 5, 3= Våg. S. XI, 56 the goddess Sinîvali is described as sukapardä sukurîrå svopaså. All three epithets obviously refer to female methods of dressing the hair and the head. The notion here is that the eunuch shall develop hermaphroditic characteristics, and hence assume the head-gear of a woman. See stanzas 2 and 3, and cf. in addition AV. VIII, 6, 7'; IX, 3, 8; Åpast. Sr. X, 9, 5–7; Sat. Br. V, 1, 2, 14; 4, I, I; Kåty. Sr. XIV, 1, 14; XV, 5, 22. The opasá
Kesava in a very different way, namely, tasya (sc. vatsasya) vrishanaih, i. e., the skin containing the mûtrapurisham is covered up with the testicles of the calf.
The scholiasts say, marmani nikhanati (cf. Kaus. 47,51 ; 48, 4). The digging is supposed to take place, symbolically, in the vital spot of the rival.
* The dr. dry. tirîtín in this passage is doubtless identical with the later kiritin, and again refers to some feminine mode of dressing the head.
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seems to be some form of coiffure which has become at this stage of the literature a characteristic ornamentation of women; its primary meaning may have been horn,' but this is by no means rendered certain by Pañk. Br. XIII, 4,3 (upon which Geldner relies), since it may be figurative in that sense.
Stansas 2, 3. The exact meaning of kurtra (Sayana, kesagalam), kuririn (Sâyana, kurîråh kesah tadvantam kuru), and kúmba (Sâyana, ábharanam strînâm) is again uncertain, but they all refer to female head-gear.
VI, 139. COMMENTARY TO PAGE 102. The present charm is apparently addressed to a plant which is, however, not mentioned by name, unless nyastika be a proper noun. The hymn is rubricated, along with VI, 129 and VII, 38, at Kaus. 36, 12 : the person practising the charm digs up a suvarkala-plant", with the ceremonies pertaining to the digging up of plants (cf. Kaus. 33, 9. 16), fastens (its) white blossoms upon his head, and thus enters the village. Neither of the two other hymns (VI, 129 and VII, 38) defines the plant more specifically?: the exactitude of the Satra does not inspire confidence.
The hymn has been rendered by Weber, Indische Studien, V, 247 ; Ludwig, Der Rigveda, III, 515.
Stanga 1. For the formulaic numbers see the analogical parallels mentioned by A. Kuhn in Zeitschrift für vergleichende Sprachforschung, XIII, 133. The &t. dey. nyastika is
· Darila, suvarkalâ prasiddhå trisamdhyâsâdrisî (cf. the introduction to IV, 20); Kesava has sankhapushpi and sûryavelã (cf. sûryavallî); Sâyana, sankhapushpikâ, andropogon aciculatus.'
. Cf. however the epithet mâmpasya, VII, 38, 1, with the description in IV, 20, 1. This again points to the plant trisamdhyâ.
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obscure Kuhn and Ludwig incline to its construction as a proper noun, and that may be correct. Sâyana, ('the plant) that suppresses the characteristics of ill-luck.' Our rendering is etymological, and equally guess-work.
HYMNS OF THE ATHARVA-VEDA.
Stanza 3.
a. Most of Shankar Pandit's MSS. read samushpalá for samushyala. Sâyana also, samushpalâ samyak uptaphalâ sati. The Pet. Lexs. derive the word (a å. λeу.) from a root ush us, the weak form of vas, 'arousing love;' Ludwig, doubtfully, 'procuress.' We, with Weber (' zusammen uns brennend '), derive the word from ush, 'burn.' Everything is uncertain.
Stanza 5.
The hostility of the ichneumon and the serpent is known in Hindu literature from earliest to latest times1. The putting together of the serpent by the ichneumon refers perhaps to the cat-like antics of the animal over his prey. It is a lame comparison at the best.
VI, 140.
COMMENTARY TO PACE 110.
'When the upper two teeth come before the lower, then there is danger of death to the parents, and the following expiatory rite is prescribed,' says Kesava at Kaus. 46, 43-46. The performance consists in scattering or offering (rice, barley, or sesame: cf. Kaus. 7, 5); in making the child bite some of the kinds of grain indicated in the mantra (st. 2); in giving him some of the same grain cooked in 'holy water' (Kaus. 9, 8 ff.) to eat; finally, in making the parents eat of the same dish.
The hymn has been rendered by Zimmer, Altindisches Leben, p. 321; Grill2, pp. 49, 176 ff. (cf. also Weber, Indische Studien, V, 224; Ludwig, Der Rigveda, III, 343). These interpreters construe the hymn as a charm for avert
'Cf. Vâg. S. XXIV, 26, 32; Tait. S. V, 5, 12, 21.
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ing danger from the first pair of teeth in general, without reference to any irregularity in their appearance. Possibly this broader construction is the more original, Kausika's being a later refinement.
Stanza 1.
For vyāghraú, cf. the note on VI, 110, 3; for the combination Brahmanaspati (Brihaspati) Gâtavedas (Agni), the note on VII, 53, 1.
VI, 142. COMMENTARY TO PAGE 141. At Kaus. 24, 1, this hymn is recited while barley (or grain in general, yáva), mixed with ghee, is swept into a furrow in the grain-field by means of the plough; then (three) handfuls of seed are poured into the furrow)?, one with each stanza of the hymn, and these finally are covered (with earth). Stanza 3 is recited at Kaus. 19, 27, while an amulet of barley is being fastened on a person to ensure him prosperity (cf. Kaus. 28, 20 in the introduction to VI, 91). The hymn is one of the class designated by the Atharvaniya-paddhati (at Kaus. 19, 11) as pushtika mantrâh, 'stanzas that ensure prosperity.'
The hymn has been translated by Ludwig, Der Rigveda, III, 463 ; Zimmer, Altindisches Leben, p. 237; Grille, pp. 66, 177 ff. Cf. also Bergaigne et Henry, Manuel Védique, p. 156. The Anukramani, yavyam.
Stanza 1. c. Ludwig, and, independently, Aufrecht in Kuhn's Zeitschrift, XXVII, 218, read prinihi, fill,' for mrinîhí. Såyana, vrinîhi, which he also explains, with a change of a letter,' as prinîhi puraya. Sensible suggestions these, but they do not prove that the Saunakîya-poet did not make use of the bold yet natural figure of speech involved in mrinihi ('full unto bursting,'' zum bersten voll'). Cf. the note on III, 1, 2.
Cf. RV. VIII, 78, 10.
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HYMNS OF THE ATHARVA-VEDA.
Stanza 3. a. Sayana, upasadah upasattarah (cf. III, 12,6 c) upagantârah karmakarâh. This is essentially correct. The western translators take the word as an abstract noun, "stores ;' Ludwig, ansätze' (?' aufspeicherungen ').
VII, 9. COMMENTARY TO PAGE 159. The prayer is addressed to Pashan, the sun that watches over the ways, and is accompanied by characteristic practices at Kaus. 52, 12-14: They who seek lost property have their hands and feet washed and anointed; their right hands are then scoured, and they are started upon the search. The same performance is undertaken with dregs of the ghee, and the right hands are again scoured offi. Then twenty-one pebbles are thrown scatteringly upon a cross-roads. The last practice is an interesting instance of attractio similium : the scattering of the pebbles upon the cross-roads symbolises the lost objects, and at the same time counteracts their lost condition. The second stanza is enlisted in the first abhayagana, a series designed to secure immunity from danger, in the Ganamâlâ, Ath. Paris, 32, 12 (cf. Kaus. 16, 8). See also Vait. Sû. 8, 13. Stanza i is repeated in RV. X, 17, 6=Tait. Br. II, 8, 5, 3 ; st. 4 in RV. VI, 54, 9=Våg. S. XXXIV, 41=Tait. Br. II, 5, 5, 5. Previously rendered by Henry, Le livre VII de l'Atharvavéda, pp. 4, 52.
Stanza 4. Professor Henry cites the following interesting Alsatian charm :
Hailcher antonius von pâtuâ Schick mer was i verlôre hå
Ter teifel wert's en sîne kloye hå. Holy Antony of Padua, send to me what I have lost; the devil must have it in his claws.
1 The word nimrigya at the beginning of Satra 14 seems to belong to the end of Sätra 13.
: For the cross-roads, see the note in the introduction to VI, 111.
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VII, 11. COMMENTARY TO PAGE 142. The hymn is rubricated together with I, 13 at Kaus. 38, 8 in a somewhat obscure practice which concerns rather I, 13 than the present. It is employed once more at the upâkarma, the initiation to the study of the Veda, Kaus. 139, 8. Cf. also Sântikalpa 15. Previous translations by Ludwig, Der Rigveda, III, 463 ; Grill?, pp. 66, 178; Henry, Le livre VII de l'Atharva-véda, pp. 5, 54. The Anukramani, sarasvatam.
VII, 12. COMMENTARY TO PAGE 138. For the general aspects of the subject of this hymn, see Ludwig, Der Rigveda, III, 253 ff.; Zimmer, Altindisches Leben, 172 ff. Kesava prefaces his exposition of the short performance connected with this hymn at Kaus. 38, 27. 28 as follows, atha sabhågayakarmány ukyante, sabhåstambhanam karma gayakarma tadâ sabhâsadadharmådhikaranadi gåyate, here are told the performances which procure victory in the assembly; it is a rite which lends stability to the assembly, procures victory, then promotes the judicial acts, and so forth, of those who sit in the assembly. The practices are as follows: 38, 27. 'While reciting AV. VII, 12, the performer eats (a milk-porridge; cf. Kaus. 7, 6). 28. He takes hold of the pillars of the assembly-hall, and pays his respects to (the assembly-hall).'
The hymn is translated in Muir, Original Sanskrit Texts, V, 438; Ludwig, Der Rigveda, III, 253; Zimmer, 1. C., 173; Grill?, pp. 70, 178 ff.; Henry, Le livre VII de l'Atharvavéda, pp. 5, 55; cf. also Hillebrandt, Vedachrestomathie, p. 44. The Anukramani designates the entire hymn as sabhyam ; st. I as dvidevatyosta pitrya; st. 2 as sabhya; st. 3 as aindri; st. 4 as mantroktadevatyå.
Stanza 1. The metre of Padas a, b, d is irregular (Anukr., bhuriktrishtubh); a is catalectic, b hypercatalectic; but we may
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read duhitraú (cf. Amer. Journ. Phil. V, p. 27). Similarly d may be perfected by reading pitrah. d. For the appeal to the Fathers for help, cf. II, 12, 4.
Stanza 2. &. For vidmá of the Saunakîya school the Paippalada reads véda val, and Grill and Hillebrandt adopt this version for metrical reasons. But the metre is not really improved by the change.
b. narssh tâ, 'mirth' (cf. XI, 8, 24), refers to the social not the political side of the sabha, which, in addition to being the meeting of the council, is also the occasion and place for gaming (cf. AV. XII, 3, 46), and social intercourse (cf. RV. VI, 28, 6). The word, too, perhaps conveys a double entente, nar, 'man,' and sthå, 'place,' or suggests a quasi-superlative, 'most favourable to men.' Thus the variant form narlshthâ, Våg. S. XXX, 6, presents the effect of this kind of folk-etymology upon the word. Såyana (as if the word were a compound na-ríshtà), ahimsitâ parair anabhibhâvya.
VII, 13. COMMENTARY TO PAGE 93. - According to Kaus. 48, 35-36, the hymn is spoken against the enemies that are to be deprived of power, the second stanza while fixing one's regard upon them. Cf. also Sântikalpa 15%. The hymn has been rendered by Ludwig, Der Rigveda, III, 241 ; Grill?, pp. 23, 179; Henry, Le livre VII de l'Atharva-véda, pp. 5, 56. The Anukramanî, saumyam.
Stanza 2. Cf. Ludwig, 1. c., p. 265. That the sun takes away the strength of those who are asleep while it rises or sets, is a notion abundantly elaborated in connection with all holy practices. Such persons are designated as sûryâbhyudita, and sûryabhinimrukta (-mlukta, -mlupta), and they are
Quoted erroneously by Sâyana as Nakshatrakalpa.
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regarded as being guilty of one of the deadly' sins. See the writer in the Proceedings of the American Oriental Society, 1894 (Journal, vol. xvi, p. cxix), and cf. Maitr. S. IV, 1, 9; Tait. Br. III, 2, 8, 11; Ait. Br. I, 3, 14; Gobh. Grih. III, 3, 34; Åpast. Dh. II, 5, 12, 13. 14, and elsewhere.
VII, 35. COMMENTARY TO PAGE 98. At Kaus. 36, 33-34 there is a composite charm for preventing a woman from begetting a son, or from begetting offspring at all. If it is intended that a certain woman shall not beget a male son the hymn VII, 34 is recited; if she shall not beget a child at all the hymn VII, 35 is recited: in either case the urine of a she-mule is rubbed with two stone disks, and put into the food or the cosmetics of the woman. And the person practising the charm looks at the parting in the hair of the woman. The charm is full of symbolism. The she-mule is sterile : 'She-mules do not propagate'(Tait. S. VII, 1, 1, 3; Ait. Br. IV, 9, 1; cf. Adbhuta-brâhmana 7). The rubbing between two stones is symbolic castration. The eyes are fixed with evil intent upon the woman's parting in the hair (sîmanta): this seems to be the obverse of the sîmantonnayana, the well-known ceremony during a woman's pregnancy, intended to ensure successful issue. Cf. also Ath. Paris. 7.
The hymn has been translated by Ludwig, Der Rigveda, III, 477; and by Henry, Le livre VII de l'Atharvavéda, pp. 13, 67.
Stanga 1. The stanza seems hardly in touch with the remaining two, or with the construction imparted to the whole by the Satra. Ludwig omits it in his rendering of the hymn. Its sense, taken by itself, is that of a battle-song. Pâda b is identical with VII, 34, 1 b.
1.0 Agni, drive away the rivals of mine that are already born; drive away, O Gâtavedas, those that are not yet born. Place under my feet those that fight against me. May we, exempt from guilt, live in thy freedom l' [42]
Nn
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Stanza 2. The rendering of the words hirah and dhamánih is necessarily vague : see the note on I, 17, 3, and cf. VI, 90, 2. Ludwig, 'därme,' and 'adern.' Sâyana, very precisely, 'small veins,' and 'thick arteries. That may be the correct philological interpretation of the words, but in that case the stanza must have been originally constructed as a charm to stop flow of blood from the body.
VII, 36-37. COMMENTARY TO PAGE 96. Both stanzas are recited at the 'rites of the fourth day' (katurthîkarma), the performances immediately preceding the consummation of marriage. At Kaus. 79, 2 bride and bridegroom anoint one another while reciting VII, 36; at 79, 7 the bride' envelops the bridegroom in her robe while reciting VII, 37.
Previous renditions by Weber, Indische Studien, V, 248 ; Grill, pp. 55, 179; Henry, Le livre VII de l'Atharva-véda, pp. 13, 67. The Anukramani (VII, 36), mantroktåkshidevatyam; (VII, 37), lingoktadevatyam.
Stanza 1. a, b. The sense is: 'May our eyes with their brightness, our faces with their freshness, inspire us with love for one another!'
Stanza 2. For mánugâta, cf. XIV, 2, 41. The second hemistich is nearly identical with VII, 38, 4 c, d.
VII, 38. COMMENTARY TO PAGE 103. For the practices associated with this hymn, see the introduction to VI, 139. The charm is there undertaken by a woman, here by a man. It has been translated by
Not so the Paddhatis, vastrena s khâdayati tau, i.e. the priest envelops the two. But this is contrary to the context of the stanza.
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Weber, Indische Studien, V, 249; Ludwig, Der Rigveda, III, 515; Grill?, pp. 59, 179; Henry, Le livre VII de l'Atharva-véda, pp. 14, 68. The Anukramani, vânaspatyam.
Stanga 1. b. For måmpasyám, cf. IV, 20, 1, and note. The absolutely literal translation of the word is the plant that sees me;' but the formation is so artificial that it may also mean 'the he-sees-me-plant,' i. e., in effect, the plant that draws his attention towards me. The epithet abhirorudám suggests that the plant may in reality be so strongly scented as to draw tears.
Stanza 2. For legends of Indra's seduction by a female demon, see Sankh. Br. XXIII, 4; Kath. S. XIII, 5 (Indische Studien, III, 479; V, 249, 453); cf. the note on I, 24, 1.
Stanza 4.
The sense is: In this affair of our love my voice shall rule; thine shall rule in the assembly, where it is fitting that a man's voice shall be listened to. Pâdas c, d are nearly identical with VII, 37 c, d. Cf. Maitr. S. IV, 7,4 (p. 97, 1. 15).
VII, 45. COMMENTARY TO PAGE 107. For the practices connected with this hymn, see the introduction to VI, 18. It has been translated previously by Weber, Indische Studien, V, 250; Ludwig, Der Rigveda, III, 514; Grill?, pp. 29, 180; Henry, Le livre VII de l'Atharva-véda, pp. 16, 72 ff. The Anukrananî, îrshyapanayanam.
Stanza 1. There is no allusion in the ritual to any precious substances gotten from a distance. The description here
In this spirit Sâyana, mâm eva nârîm pasyat mamais vâs nukalam. But he offers also our rendering as an alternative, mâm eva patye pradarsayat.
Nn 2
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given would suit either saindhavam, 'salt,' or guggulu, 'bdellium' (cf. XIX, 38, 2). Perhaps, however, it simply tries to magnify the cost and potency of some ordinary substance (Kaus. 36, 25) by deriving it fictitiously from an unknown country far away.
HYMNS OF THE ATHARVA-VEDA.
Stanza 2.
Note the subtle symbolism of Kaus. 36, 27: the jealous man drinks water which has actually cooled the heated axe.
VII, 50. COMMENTARY TO PAGE 150.
For the practices associated with this hymn, see the introduction to the first part of IV, 38. Stanzas 1, 2, 5, 8,9 seem to have been composed directly with reference to the situation1: st. 3 (= RV. V, 60, 1); st. 4 (=RV. I, 102, 4); and stanzas 6. 7 (= RV. X, 42, 9. 10) are adapted secondarily to the purpose in hand; see the notes below. Previous renderings by Ludwig, Der Rigveda, III, 455; Zimmer, Altindisches Leben, p. 285; Grill2, pp. 71, 180; Henry, Le livre VII de l'Atharva-véda, pp. 18, 75 ff. Cf. also Muir, Original Sanskrit Texts, V, 430. The Anukramanî, aindram, composed by kitavabandhanakâmo-ngirâh (cf. st. 1).
Stanza 1.
d. badhyâsam is ambiguous. Sâyana reads vadhyâsam (hanishyâmi); the Anukramani, above, has in mind the root bandh, 'bind.' Of Western translators, Grill, 'fahn' (fangen); the rest, 'slay.'
Stanza 3.
Adapted from a hymn to the Maruts, RV. V, 60, 1 ; Maitr. S. IV, 14, 11; Tait. Br. II, 7, 12. 4. Pâda b contains the words ví kayat kritám nah, derived from the sphere of the gamester's speech. Note the word kritám in the preceding stanza.
1 In the case of the second stanza this is not altogether certain : it savours of the Maruts. One may imagine Indra as the speaker.
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Stanza 4. Adapted from an Indra-hymn ; cf. RV. I, 102, 4. The words vayám gayema ... bháre-bhare render the stanza usable on the present occasion.
Stanza 5. The words samlikhitam and samrúdham are hopelessly obscure. I have rendered samlikhitam as though it meant 'scratched clean,' 'cleaned out.' The rendering of sainrúdham is purely etymological. Sâyana, loke hi kitavah asmin pade pratikitavam akshasalâkâdibhih samrotsyâmî: ti ankân kurvanti tatrai sva ka samrundhanti. tådrisah pratikitavo stra sambodhyate, he kitava samlikhitam padeshu samyag arkân likhitavantam api tvậm agaisham ... samroddhâram api tvam agaisham gayâmi. yadvå samlikhitam samyag likhitam kihnitam padam abhilakshya tvam gayâmi, uta api ka samrudham ... tâdrisam sthanam abhilakshya tvâm gayâmi. The Pet. Lexs. regard both words as obscure termini of the game. Ludwig, ich hab dir abgewonnen das zusammengekratzte, ich hab dir abgewonnen das zusammengescharrte.' Grill, was du einstreichst, and, was du zurückbehieltst.' Henry, '(je t'ai) gratté de fond en comble (?), et j'ai gagné l'enjeu total (?).'
Stanga 6. Adapted from an Indra-hymn, RV. X, 42, 9=AV. XX, 89, 9 (cf. also RV. X, 43, 5), where the gamester and the game appear by way of comparison. In Pâda c, devákâmo is felt in our version to have the double sense 'loving play,' and 'loving the gods.' It may be questioned whether the same intention is present in the RV.
Stanza 7. Adapted from RV. X, 42, 10, &c.=AV. XX, 17, 10, &c. Its juxtaposition in the RV. with the preceding stanza, and the occurrence of gayema, have brought it into the Atharvan compilation.
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550
HYMNS OF THE ATHARVA-VEDA.
VII, 52. COMMENTARY TO PAGE 136. This hymn is catalogued in the gana or series called sâmmanasyâni in Kaus. 12, 5, and is accompanied by the practices described at AV. III, 30. It is rubricated further at Kaus. 9, 2, in the series designated by the Ganamåla, Ath. Paris. 32, 26, as the great sântigana. The first stanza of the hymn is found, with variants, Maitr. S. II, 2, 6 ; Tait. Br. II, 4, 4, 6. The hymn has been translated by Ludwig, Der Rigveda, III, 428 (cf. also p. 344); Grill?, pp. 31, 181 ff.; Henry, Le livre VII de l'Atharva-véda, pp. 19, 79. The Anukramanî designates it as sâmmanasyam åsvinam.
Stanza 1. The first stanza is described by the Anukramanî as kakummaty anushtubh, but the irregularity vanishes, if we read suébhiah ... áranebhiah. The Tait. Br.—but not the Maitr. S.--substitutes the classical forms svaih and áranaih, thus disguising the metre still further.
Stanza 2. a. Cf. the parallel Pada, RV. X, 30, 6 c.
b. The text as it stands 1 yields the following translation : 'may we not struggle with one another in fateful spirit.' But a suggestion of Grill seemed to me too fascinating to resist, he emends mánasâ daívyena to mánasádaivyena=mánasa adaivyena, and our translation presupposes this text. At RV. II, 23, 12 we have, ádevena mánasâ yó rishanyáti ...glghâmsati, "he who attacks in a spirit displeasing to the gods ... (and) desires to murder.' Prof. Henry's rendering, 'ne point lutter contre l'esprit divin,' though possible grammatically, imposes upon mánas
Shankar Pandit, with Sâyana and many MSS., reads yushmahi for yutsmahi. Sâyana, mâ viyukta bhūma. Another variant yukhmahi is nothing but a misspelling of yutsmahi; cf. Kausika, Introduction, p. Ixi, and variant forms like kaputsala and kapukhala (Böhtlingk's Lexicon).
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VII, 53.
551
the meaning of 'law, decree,' and the like, and has an un-Vedic flavour according to my judgment.
COMMENTARY.
c, d. Literally, 'may the noises not arise when there is frequent (continuous) slaughter ',' &c.
It is not at all clear what the day of Indra has to do with the cessation of carnage. Is it that Indra by fighting his battle removes all need of fighting enemies? Or, is the day of Indra simply the battle-day? The latter seems
more natural. The word áhani seems to harbour one of the inevitable puns, suggesting 'non-slaying,' i. e. perhaps 'the end of any need of fighting on the part of men.' See also Prof. Henry's careful discussion of the passage.
VII, 53. COMMENTARY TO PAGE 52.
The hymn belongs to the class of âyushyâni, 'hymns designed to prolong life;' cf. the âyushyagana, Ath. Paris. 32, 4, at Kaus. 54, 11, note, and the Anukramanî, âyushyam uta bârhaspatyam âsvinam. The ayushya-hymns are very uniform in character; the present one exhibits especially noteworthy points of contact with VIII, 1. Kaus. 55, 17 prescribes its employment, along with many more of a similar character, at the ceremony of investiture (upanayana). The seventh stanza, familiar in the Samhitâs and the ritual, is employed at Kaus. 24, 32 on rising from sleep during the âgrahâyanî, the spring-festival at the full-moon of the month agrahâyana, or mârgasîrsha. At Vait. Sû. 24, 4 it is spoken in stepping out of the bath (symbolic application as the sun rises from the celestial sea; cf. XI, 5, 26). Cf. also Kaus. 55, 15, note; 58, 18, note, and Ath. Paris. 43, I.
The hymn has been translated by Muir, Original San
Sâyana reads vinihrute, and glosses, kau/ilye nimitte ghoshâh vaimanasyanibandhanâh sabdâh . . . utthitâ mâ bhuvan, yadvâ bahulasabdena tamo vivakshyate . . . viseshena stainyâdikautilyanimitte bahule tamasi... ghoshâh mâ bhuvan.
' Cf. also Sântikalpa 17, 18, which is quoted by Sâyana erroneously as Nakshatrakalpa.
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HYMNS OF THE ATHARVA-VEDA.
skrit Texts, V, 443; Grill, pp. 15, 182 ff.; Henry, Le livre VII de l'Atharva-véda, pp. 20, 80 ff. Cf. also Ludwig, Der Rigveda, III, 341.
Stanza 1.
Repeated with variants at Våg. S. XXVII, 9; Maitr. S. If, 12, 5; Tait. S. IV, 1, 7, 4; Tait. År. X, 48 (Åndhraversion) Brihaspati and Agni are here one and the same divinity; see VI, 140, 1, and Bergaigne, La Religion Védique, I, 300 ; III, 84. 174. Agni figures prominently in the ayushya-hymns. See II, 28, 2; III, 11, 4; 31, 1. 6; VIII, 1, 11.
Stanza 3. Cf. VIII, 1, 1. 3. Påda b is a gagatî in the midst of trishtubh Padas, as frequently elsewhere. Read taấy. The Anukramani, bhurig.
Stanza 4. a, b. The Paippalâda reads, må två prâno hâsîd yas tve pravishto må spâno svahâya para gåt. For Pâda b, cf. Maitr. S. I, 6, 1 (p. 86, 1. 1): Tait. S. V, 7, 9, 1. Pada a is a trishtubh ; b a catalectic anushtubh. The Anukramani, ushnikgarbhå -rshỉ panktih. Problematic attempts at correction are made by Grill and Henry.
Stansa 7. Cf. RV. I, 150, 10, &c. See the index to v. Schroeder's edition of the Maitr. S., and the introduction to the present hymn.
VII, 56. COMMENTARY TO PAGE 29. A series of shallow therapeutical practices are prescribed by Kaus. 32, 5–7, to wit: 5.' While reciting the hymn (the patient is given to eat the sweetwood) mentioned in the mantra? 6. Natural mud, and mud from an ant-hill are
Cf. st. 2. Thus Kesava, gyeshthîmadhu=yashfimadhu (cf. the introduction to I, 34, and Kaus. 38, 17). Darila, madhâdvâpa, earth from a bee-hive' (cf. Kaus. 29, 10 in the note on V, 13, 7).
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VII, 56. COMMENTARY.
553
pulverised, (sewed up in the skin of a living animal [freshly slain) and fastened as an amulet upon the patient). 7. He is given to drink (yellow curcuma in ghee) ??
Stanza 5 is rubricated, along with sundry mantras against serpents and other disturbing forces, at Kaus. 139, 8, in the course of practices, preparatory to the study of the Vedas.
The hymn has been translated by Ludwig, Der Rigveda, III, 502 ; Grilla, pp. 5, 183 ff. ; Henry, Le livre VII de l'Atharva-véda, pp. 21, 82 ff. The Anukramani, man. troktavriskikadevatakam.
Stansa 1. For tíraskirągi and ásita, see the note on VI, 56, 2; for pridáku(cf. trápdalis, tópoalls, and népdos), see Zimmer, p. 94. Grill's sturdy attempt to determine the specific character of the pridáku yields no acceptable result. The meaning of kankáparvan, Scorpion' (? Sâyana, dainsakaviseshât), can merely be conjectured. Kesava and the Anukramanî describe the entire charm as a cure for the bite of scorpions, vriskikabhaishagyam. The Paippalâda has angaparvano. See kánkata, satinákankata, and prakarkatá, RV. I, 191, 1. 7.
Stansa 2.
Cf. I, 34, 1; VIII, 7, 12; RV. I, 191, 10. 13. madhůh, &n. dey., is apparently made for the occasion (type vadhů), to ensure completer assonance with the preceding madhu; the ordinary madhvi would be less agreeable. But the Atharvan presents quite a list of such feminines ; see Lanman, Noun-Inflection, pp. 402, 406.
Cf. Kaus. 26, 43, in the introduction to II, 8. Ants especially are a famous antidote against poison ; see the introduction to VI, 100, and cf. st. 7.
? Thus according to Dârila who refers to Kaus. 28, 4 (see the introduction to IV, 6, also a charm against serpents).
Sâyana, pardayati kutsitam sabdayati.
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554
HYMNS OF THE ATHARVA-VEDA.
Stanza 3.
a. For yáto dashtám, cf. the formulaic yato dashtali, Kaus. 28, 7; 32, 5 (see the note on V, 13, 4). The expression tripradamsín suggests asutrip, RV. X, 14, 12, &c.; Ludwig, 'bitter-zanig.'
Stanza 4.
Ludwig suggests krinoti for krinoshi, but this sort of anacoluthon is common in the Atharvan. The appeal to Brihaspati is natural as soon as we substitute Brahmanaspati, and remember that bráhma is the ordinary Atharvanic word for 'hymn.' Or, again, Brihaspati, as the companion and double of Indra and Agni, represents their constant hostility towards all vicious forces. Sâyana refers the stanza to the victim of the serpent: the contortions of his body and face are supposed to be described in the first hemistich, the cure in the second. Very plausible, but we are cautioned by such an expression as vritrám víparvam, RV. I, 187, 1, which is favourable to the construction of víparur as an epithet of the serpent.
Stanza 5.
In the Paippalâda these stanzas are wanting; they have the character of a production somewhat independent of the preceding stanzas. To such a view also points the separate quotation of this stanza (and the rest?) in the late (parisishta) chapter Kaus. 139 (see above, and cf. Kausika, Introduction, p. xxv ff.).
a. The Pet. Lexs. and Zimmer, p. 95, deal with sarkóta as a serpent, Grill and Henry as 'scorpion.' The former compares karkata and karkataka, 'crab,' but more significant seem to me to be karkota and karkotaká, both of which are mentioned as names of serpents. There is, however, in the mind of the Atharvan writer but little difference between both kinds of vermin (cf. AV. XII, 1,46; 4, 9. 15), and the description in the sequel favours the scorpion. Cf. for the interchange of s and k, Kuhn's Zeitschrift, XXV,
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VII, 64. COMMENTARY.
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125, Proc. Amer. Or. Soc., May, 1886 (Journal, vol. xiii, p. cxxi); see also Kuhn's Zeitschrift, XXIII, 94.
Stanse 6.
d. arbhaká (cf. pukhadhi in st. 8) suggests forcibly the kushúmbha of II, 32, 6; RV. I, 191, 15, and kumbha of the Sâma-veda Mantra-brahmana II, 7, 3. See the notes on II, 32, 5. 6. Ludwig, simply 'kleines ;' Grill, 'winziges ding;' Henry'menu (dard).'
Stanza 7. For the ants, cf. the introduction, and VI, 100; for mayůryah, RV. I, 191, 14, and Zimmer, p. 90.
VII, 64. COMMENTARY TO PAGE 167. At Kaus. 46, 47. 48 this hymn is recited while washing off a person who has been struck by something dropped by a black bird (crow, or the like). If he has been defiled 1 (by the mouth of the bird) a fire-brand is carried around him. The two performances refer respectively to the two stanzas of the hymn. Previous translations by Grill , pp. 41, 186; Henry, Le livre VII de l'Atharva-véda, pp. 25, 88; cf. Zimmer, Altindisches Leben, p. 88. The Anukramani, mantroktadevatyam uta nairritam.
Stanza 1.
The Paippalada in much the same sense, yad asmât krishnasakuner nishpatato na anase. Henry's criticism of the reading abhinishpátan of the text is over severe : Sayana, quite correctly, abhimukham ... âkâsamärgad avapatan. The Pâda is hyper-catalectic.
The MSS. upamrishtam and apamrishtam. Kesava, apamrishlam. Sâyana, avamrishtam; cf. avấmrikshat of the text. But Sâyana in the quotation of Kausika's text, apamrishtam.
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HYMNS OF THE ATHARVA-VEDA.
Stanza 2. b. The Paippalåda, mukhena nirrite tava. The bird of misfortune is identified with the goddess of misfortune herself.
VII, 65. COMMENTARY TO PAGE 72. Employed at Kaus. 46, 49 as a purificatory charm for cleansing one's self from evil deeds and defiling contact. Fagots derived from the apămârga-tree are placed into a fire built of wood from the same tree. For the apâ mârga, see in general the introduction to IV, 17. Stanzas 1, 2 are rubricated in the krityågana of the Ganamala, Ath. Paris. 32, 2 (see Kaus. 39, 7, note). Cf. also Ath. Paris. 19, 4. Previous translations by Grill?, pp. 38, 186; Henry, Le livre VII de l'Atharva-véda, pp. 25, 89. The Anukramanî, apâ mârgavîruddaivatam.
Stansa 1. For pratîkînaphala, see IV, 19, 7, and the note on IV, 17, 2. Sâyana, agråd ärabhya phalasya můlaparyantam åtmåbhimukham sparsane kantakaråhityadarsanât pratîkî. naphalatvam. The second hemistich is nearly identical with IV, 19, 7 c, d.
Stanza 2. c. Sayana, visvatomukha sarvatah prasritasâkhayukta. Perhaps, however, 'looking in every direction,' because the fruit turns one way, the branches another. The epithet is, too, of more general scope (fire and sun), and may refer to watchfulness against hostile influences.
Stanza 3.
Befouling contact with deformed persons is a standard subject in Vedic texts, and in the law-books : see Maitr. S. IV, 1, 9 (cf. the corresponding passages from the Kath. S. and the Kapishth. S.); Tait. Br. III, 2, 8, 11; Åpast. Sr. IX, 12, 11; Apast. Dh. II, 5, 12, 22; Gaut. XV, 16; Vas. I, 18; cf. the introductions to VI, 112 and 113, and
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VII, 74. COMMENTARY.
Delbrück, Die Indogermanischen Verwandtschaftsnamen, p. 201 ff.
557
VII, 70. COMMENTARY TO PAGE 90.
The following sorcery-practice (abhikâra) is associated with the present hymn (together with VI, 54) at Kaus. 48, 27-28. A counter-offering is made, hostile to the person who has built a fire (for offering) 1. Chaff is offered by means of a leaf of middling size 2. The offering of chaff is the typical hostile sacrifice (Kaus. 14, 15; 63, 7); the sacrifice to the gods is thus frustrated by a sacrifice to the Rakshas (see Ait. Br. II, 7, 1), who destroy the enemy (cf. st. 2, and Ludwig, Der Rigveda, III, 295).
The hymn has been rendered by Ludwig, ibid., p. 374; Grill2, pp. 46, 187; Henry, Le livre VII de l'Atharva-véda, pp. 26, 91. The Anukramanî, mantroktadevatyam uta syenadevatâkam (cf. st. 3). The hymn is largely identical with the passage Tait. Br. II, 4, 2, 1 ff.
Stanza 3.
a. Sâyana, mrityudûtau; the Pet. Lex., Mrityu and Nirriti. Possibly, Mitra and Varuna, the typical heavenly rulers.
VII, 74. COMMENTARY TO PAGE 18.
The hymn is tripartite, but no reason for the juxtaposition of sts. 3 and 4 with 1 and 2 can be found. Professor Henry's suggestions regarding this matter (Le livre VII de l'Atharva-véda, pp. 29, 95 ff.) are interesting. The norm of the seventh book is a single stanza for each hymn (cf. the quotations regarding this matter in the introductions to I, 12 and IV, 38), but, after all, some diaskeuastic convenience must be at the bottom of the grouping.
1 Cf. Tait. S. II, 2, 9, 4; Tait. Br. I, 7, 3, 7. Cf. madhyamaparnena, Maitr. S. I, 10, 20. the expression is uncertain.
The meaning of
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HYMNS OF THE ATHARVA-VEDA.
For the history of the interpretation of the apakit-hymns, see the introduction to VI, 83 (cf. also VI, 25 and VII, 76). The practice connected with this part of the hymn is described at Kaus. 32, 8-10, to wit: 8. With a bow made of bamboo, which is dårbhyasha? (? cf. Kaus. 35, 28 in the introduction to III, 25, and Kausika, Introduction, p. li), and has a bowstring made of black wool, with black arrows that have bunches of wool (tied ?) to their points (the pustules are hit), while the (two first stanzas of) the hymn are being recited. 9. With the fourth stanza (?)? the bow is brought near (the pustules) and they are hit (with the arrows). 10. (The patient is then washed off at the time when the stars fade away (at dawn) with water) which has been warmed by quenching in it a burning bunch of wool.' The arrow of bamboo in the practice symbolises the root (found by) the divine sage in st. 1 ; the flake of black wool embodies the statement in st. 2 d.
Stansa 1. Cf. for the colours mentioned here, VI, 83, 2. 3, and more generally I, 23 and 24.
Sâyana, dârbhůsha. ? This can hardly be the fourth stanza of the present hymn, which belongs to a totally different sphere. Kesava fuses VII, 74, 1. 2 with VII, 76, 1. 2, and thus obtains a hymn of four stanzas. As extraordinary as this seems it may yet be true, and we may note that VII, 76, 1. 2 are also endowed with independent individuality, being separated in the ritual from the remainder of the hymn. See the introduction to VII, 76. But the matter is rendered uncertain on account of Kaus. 31, 16, where we have apakita â susrasa iti, i.e. the pratîkas of VI, 83, and VII, 76, rubricated together. Kesava's hypothesis may be based upon a confusion of the two pralîkas apakitah (VI, 83), and apakitâm (VII, 74). Sâyana in his introducLion to VII, 76 makes this very blunder, reading, apatitâm â susrasah for Kausika's (31, 16) apakita â susrasah.
• For the rendering of this Satra, see Kaus. 27, 29 in the introduction to III, 7.
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VII, 76. COMMENTARY.
559
Stanza 3 is rubricated at Kaus. 36, 25 along with VI, 18 and VII, 45; see the introduction to VI, 18 for the practices against jealousy.
Stanza 4 is rubricated at Kaus. 1, 34 ; Vait. 1, 13. He who enters upon the performance of the new-moon and full-moon sacrifices recites the stanza while placing fagots upon the fire. Cf. also Ath. Paris. 10.
VII, 76. COMMENTARY TO PAGE 17. The hymn is tripartite, the first two parts being closcly related in subject matter. The third part (st. 6) appears in this connection for reasons - perhaps diaskeuastic — altogether obscure. The entire hymn has been rendered by Ludwig, Der Rigveda, III, 500 ; Henry, Le livre VII de l'Atharva-véda, pp. 30, 97 ff.
A.
For the history of the interpretation of the apakit-hymns, see the introduction to VI, 83 (cf. also VI, 25 and VII, 74). The practices connected with the first part of the hynin are described at Kaus. 31, 16-17, where it is rubricated along with VI, 83: see the introduction to that hymn. Sâyana blunderingly quotes the pratîka at Kaus. 31, 16 as apakitâm (! for apakita : VII, 74 for VI, 83); see the note to the introduction to VII, 74, p. 558.
Stanse 1.
8. Our purely verbal translation savours of mere verbiage. In Contributions, Second Series, Amer. Journ. Phil. XI, 324, we suggested, with a view to both metre and sense, á susráso susrastarâh, they fall off more easily than the easily falling one'(i.e. they fall off most easily)'. Professor
Ludwig, leichter stürzend als das leicht stürzende.'
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Henry, 1. c., p. 97, very justly points out that this leaves á in the air, and himself suggests, very ingeniously, á susráso - sisraso,' thou hast made fall those who fall easily.' This makes good sense, and fills out the metre. Yet I am not convinced the first person asisrasam, or the third, asisrasat, rather than the second person, asisrasah, would be in accordance with the ordinary tone of such incantations, and, after all, the parallelism of each of the remaining three Pâdas seems to demand an ablative dependent upon a comparative. Sâyana reads âsusrasah, and glosses, susrasah atyartham sravantyah sarvadâ pâyâdisravanasîlâh . . . åsusrasah å samantâd niravasesham sravanasîlâ bhavantu. The Paippalâda, nâmannasam svayamsrasann asatîbhyo vasattarâ! For the sense in general, cf. Bhagavadgîtâ I, 30, gandî - va sramsate hastât.
HYMNS OF THE ATHARVA-VEDA.
6
c. The word séhu is quotable in addition only Kâth. S. XXXIV, 12 (sehus ka plîhâ ka), where it obviously designates some part of the body. The Pet. Lexs., ' a certain dry substance;' Ludwig, 'rosin.' Professor Henry makes the Pâda over into arasad arasátarâ, but I cannot believe that our lectio difficillima is at fault. The Hindus must have associated dryness with this organ. Sâyana, sehok sehur nåma viprakîrnâvayavah atyantam nihsåras tūlâdirûpak, apparently, 'a substance whose parts are scattered exceedingly dry, having the form of cotton-wool, or the like.'
Stanza 2.
་
o. vigấman, 'a part of the body.' Sâyana, 'genital organs' viseshena gâyate apatyam atresti vigâmâ guhyapradesal. The Pet. Lexs., ' members of the body which are in pairs' this seems to be the meaning at Sat. Br. III, 6, 2, 1. Ludwig, 'ankle.'
B.
For the nature of the disease gayanya, and the general character of this charm, see Contributions, Second Series,
1
Sâyana at RV. VII, 50, 2, (vigăman párushi), vividhaganmani parushi.
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VII, 76. COMMENTARY.
561
Amer. Journ. Phil. XI, 320 ff. Kesava and Sâyana define the disease as rågayakshma, identifying it with the gâyénya in the story told at Tait. S. II, 3, 5, 1-3. The practice associated with this part of the hymn at Kaus. 32, 11 is very obscure; it seems to consist in tying on the patient an amulet consisting of the string of a lute; in tying on with (this) string some other part of a lute (?); and tying on three fragments of the vîrina-plant (andropogon muricatus) that have fallen down of themselves1. I am tempted to regard the gâyanya as syphilis, etymologically either congenital disease (root gan), or venereal disease (gâyâ, 'woman') 2: in that case the musical instruments may refer to the nautchgirls, and the disease is cured homoeopathically (attractio similium) and symbolically by the realisation of their presence by means of the amulets. Cf. in addition to the renderings mentioned above, Kuhn in Zeitschrift für vergleichende Sprachforschung, XIII, 155, and Zimmer, Altindisches Leben, p. 377.
Stanza 3.
Cf. Contributions, Second Series, 1. c., XI, 328 ff.; Fourth Series, 1. c., XII, 438 ff.; Johansson, Indogermanische Forschungen, II, 22; Zeitschrift für vergleichende Sprachforschung, XXXII, 435 ff. Sâyana explains talîdyà as follows, talid iti antikanâma, antike bhavam talîdyam asthisamîpagatam mâmsam. For nír astam (Padapâtha, ník ástam), which we correct to nír âstham, Sâyana reads nirhâh tam (nirharatu). Shankar Pandit accepts this read
1 Sâyana condenses the performance as follows, vînâtantrîkhandam vâdyakhandam sankhakhandam vâ sampâtya abhimantrya badhnîyât.
* Cf. Henry, l. c., p. 98. vîrina seems to allude to manhood. • Instances of the stem astha-, in addition to those quoted in Amer. Journ. Phil. XII, 438, are, sa te mâsthât, for sa te mâ sthât in Maitr. S. I, 1, 2 (von Schroeder's edition). The expression means 'he shall not hurl at thee.' The same expression at Tait. Br. III, 2, 2, 8, and Âpast. Sr. I, 4, 14. At Tait. Br. the formula is pronounced ahimsâyai, 'in order to be exempt from injury.' This favours the connection of astha- with the root as, 'throw.'
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HYMNS OF THE ATHARVA-VEDA.
ing because Sâyana 'has doubtless preserved the genuine reading. We can see nothing in this but an unusually clever emendation, which, however, leaves in tam an awkward remnant.
Stanza 4. For the conception of the flight of disease to and from the body, cf. RV. X, 97, 13; AV. VI, 83, 1. 2, and Amer. Journ. Phil. XI, 322-3. In the second hemistich we have emended ákshitasya to ákshatasya on the strength of the Sūtra and its commentators (e.g. Kaus. 31, 11). Sayana, on the other hand, reads sukshitasya for sukshatasya (akshitasya kirakalâvasthanarahitasya...sukshitasya kirakâlam avasthitasya). There can be no doubt that the indication of the Sûtra is to be preferred.
Stanza 5. The gâyânya is here personified as an evil being, the knowledge of whose nature or origin (perhaps with reference to the story in Tait. S. II, 3, 5, 2) confers exemption from his attacks. See the note on I, 2, 1. Note the fourfold alliteration in the first hemistich: it cannot be reproduced in translation.
For the ritual application of st. 6 (=RV. VI, 47, 6), sce Vait. Sû. 16, 14. In Pâda c, á vrishasva with double entente, 'manifest thy lusty strength ;' cf. the common formula, atra pitaro mâdayadhvain yathâbhågam avrishayadhvam (Kausika, Index C), with the same double meaning starting from the opposite point of view.
VII, 83. COMMENTARY TO PAGE 12. At Kaus. 32, 14-15 a hut is built at a point of land between two rivers that flow into one another, and in it the dropsical patient is washed by means of bunches of grass, and then rinsed off. For the meaning of the practice see the introduction to I, 10. At Kaus. 127,4 the hymn is
1 Cf. Kaus. 18, 22.
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recited, more secondarily, while an offering is made from an animal devoted to Varuna (cf. Sû. 2): the offering is part of a performance for obviating the evil consequences of the obscuration of the constellation, 'the seven Rishis' (ursus major), by a comet. Cf. also Vait. Sû. 10, 22; Nakshatrakalpa 14; Ath. Paris. 13, 3. The hymn is a mixtum compositum; st. 2 seems to belong originally to a different sphere (see the note), and its bearing here is not at all clear. The hymn has been rendered by Henry, Le livre VII de l'Atharva-véda, pp. 35, 104.
COMMENTARY.
Stanza 2.
See Vâg. S. VI, 22; Kâty. Sr. VI, 10, 5; Tait. S. I, 3, 11, 1; Tait. Br. II, 6, 6, 2; Maitr. S. III, 11, 10; Åsv. Sr. III, 6, 24; Sankh. Sr. VIII, 12, 11. The vulgate's
emendation of dhẩmno-dhâmno to damno-dâmno, as suitable as it is to the sense, is not supported by any of the parallel passages. Mahîdhara at Vâg. S. VI, 22 has much the same thing in mind, when he says, yasmâd-yasmât tvadîyapâsasamanvitât sthânât 1. All the parallel texts read sápâmahe for ûkimá, and in some iti is wanting after aghnya. Pâda c seems to contain the expression of an oath, or curse, which is regarded as sinful. According as iti after aghnyâ is read or omitted, it contains two oaths, or one oath. The passage savours of the notion that it is impious to take in vain the holy name of Varuna, or his waters. Sâyana, he âpah he aghnyâh iti he varuna iti yad ûkima yak khâpavâkyam avokâma, yak khâpavâkyavakanena pâpam ârgitam tasmâd api munkesti sambandhah... ato devatânâmadheyakîrtanarûpasapathakaranaganitapâpâd asmân mokaya. Cf. also the glosses to Vâg. S. and Tait. Br.
Stanza 3.
The stanza is repeated at RV. I, 24, 5; AV. XVIII, 4, 69; Maitr. S. I, 2, 18, &c. (see the index to the Maitr. S.). Cf. also Vait. Sû. 28, 17; Ath. Paris. 17, 2.
1 Sâyana here, sarvasmâd rogasthânât.
002
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HYMNS OF THE ATHARVA-VEDA.
Stanza 4. b. várună represents an awkward attempt to vary the diction : it might be designated as a rhetorical üha or vikâra. The true completion of the expression requires madhyamá.
VII, 115. COMMENTARY TO PAGE 168. The symbolic rites which attach themselves to this hymn are described in Kaus. 18, 16-18, to wit: 16. Having fastened a hook to the left leg of a raven, and a rice-cake to the hook (the performing priest), while reciting AV. VII, 115, 1, lets (the crow go) so that he does not return 1. 17. Having put on a blue garment, having covered that with a red one?, having wound about a white cloth (as a turban), while reciting the second stanza of the hymn, he sets down the turban by means of a hook, and with his left hand casts it, together with the hook, into the water. 18. While reciting the third stanza of the hymn (he throws) the covering 3 (red) garment into the water); while reciting the fourth stanza the (under, blue) garment.' Cf. also Sântikalpa 4 ; Ath. Paris. 33, 3.
The hymn, which is related to I, 18, has been translated
* This part of the performance executes in practice the statement in RV. X, 95, 14 where PurQravas threatens to fly away without returning, throwing himself into the lap of Nirriti, the goddess of misfortune; cf. nirrityabhimukho in Kesava's comment, and anâvritam iti prapatanaviseshanam in Dârila's, with the diction of the RV. stanza. The black bird is fit to shoulder the evil (attractio similium), as in AV. I, 22, 1. 4; Kaus. 26, 18.
. For the colours blue and red, cf. the introduction to VII, 116; the notes on IV, 17, 4; VIII, 8, 24; and Kaus. 32, 17; 40, 4; 48, 40. Cf. also nîlalohita in the Pet. Lex., and Winternitz, Das Altindische Hochzeitsrituell, pp. 6, 12, 23, 67.
8 I now propose to read triiîyayakhannam, i.e. triiîyaya akhannam, instead of tritiyayê khannam, in deference to akhâdya in SQ. 17. Even then the translation.covering garment' for âkhannam is problematic, and based upon our interpretation of Kesava's comment. It means naturally 'the covered (blue garment).'
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by Muir, Original Sanskrit Texts, V, 348; Ludwig, Der Rigveda, III, 499 (cf. also 338); Grill?, pp. 41, 187 ff. ; Henry, Le livre VII de l'Atharva-véda, pp. 45, 124. The Anukramani, sâvitram gâtavedasam.
Stanza 2. a. patayâlûr is dr. dey. Ludwig, die zum fall bringende (Lakshmi);' but note the short a in the first syllable: pâtáyâmi in the RV. is the causative of pat, not patayâmi, which is a simple present.
Stanza 3.
Rubricated at Ath. Paris. 7.
a. The number 101 is regularly inauspicious, occurring in connection with diseases, varieties of death, &c.; cf. AV. III, 9, 6; V, 18, 12; VIII, 2, 27; XI, 6, 16; XIX, 46, 5.
VII, 116. COMMENTARY TO PAGE 4. The chief interest of this charm against takmán is its reference to the ancient Hindu custom of quenching firehere its representative the fever-by a frog. I have elsewhere assembled from the Vedic writings a considerable number of passages which become intelligible in the light of this custom ; see my article entitled, 'On a Vedic group of charms for extinguishing fire by means of water-plants and a frog,' Contributions, Second Series, Amer. Journ. Phil. XI, 342 (24 of the reprint) ff.1 The role of the frog here is distinctly the same, and is especially significant for the identification of fire and fever which is indeed superficially obvious in all the hymns and practices connected with the takmán. The quaint performance of the Kausika-sætra, 32, 17, is as follows: namo rûrayesti sakunîn ive-shîkângimandûkam nilalohitâbhyâm sâtrâbhyain sakaksham baddhvâ?, 'while reciting AV. VII, 116, he does as in the case
See also the introduction to VI, 106. * Shankar Pandit's reproduction of this Satra, in the introduction to the hymn in Sâyana's commentary, is decidedly free.
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of the birds, i. e. he ties a frog that has stripes like reeds (upon his body) by means of a blue and a red thread by the arm-pits (to a low couch upon which the patient is made to recline, and besprinkles him).' In order to understand this difficult Sûtra we must follow the commentaries. Darila says, sakunin ive karoti, mantroktâni adhastalpe haritasůtrena savyaganghâsu baddhvesty a divat, 'He does as in the case of the birds, i.e., as in the performance indicated in Kaus. 26,18 with the words mantroktan adhastalpe, &c.' The practice in question centres about AV. I, 22, a charm directed against jaundice. In the course of it the patient is seated upon a couch beneath which the yellow birds are tied with a yellow thread by their left legs; then the patient is washed off, and his jaundice is supposed to settle upon the yellow birds where, as it were, it is naturally at home; see the introduction to I, 22. In accordance with that performance, Darila continues to expand and explain the suggestion of the practice in Sutra 32, 18, which is connected with the present hymn: ishikesva rekhả yasya sa ishikåñgih, tam nilasůtrena ? lohitena ka sütrenia saha kakshâbhyam baddhvå sakunîn iva karoti, 'he who has a line like a reed he is a reed-marked (frog); him he ties with a blue and a red thread by the arm-pits and treats as he does the birds. See also Kesava on the passage, and cf. Kaus. 40, 4; 48, 40.
From all these statements it becomes clear that the fever (Dârila, gvarabhaishagyam) is washed from the patient down upon the frog, but apparently with this difference, that the birds—homoeopathically as it were-take up the jaundice because they are themselves yellow, while the frog, allopathically, quenches the fever (fire) of the patient,
"The MSS. of Dârila read mantroktân; this appears in the edition as mantroktam, because I did not know at the time that the passage is a quotation of part of Kaus. 26, 18, which see.
. Cod. somewhat indistinctly tâtrîlasâtrena, obviously for tân nîlasâtrena, and that again for tam (sc. mandúkam) nilasâtrena, the plural tân being a corruption derived from the plural mantroktân in 26, 18.
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being himself cold and moist. I would also draw attention to RV. X, 166, 5, where in the course of a hostile charm occurs the expression, á vo mûrdhanam akramîm, adhaspadán ma úd vadata mandűkâ ivo-dakất, 'I have stepped upon your head; from under my feet do ye speak up to me like frogs from the water 1.' A touch of this idea also is perhaps worked up symbolically in the present practice, and even more clearly in the related performance at Kaus. 48, 40.
The combination of the colours blue and red is associated everywhere with hostile witchcraft. In RV. X, 85, 28= AV. XIV, 1, 26 (cf. Sânkh. Grih. I, 12, 8; Âpast. Grih. I, 5, 23) the bridal garment polluted during the consummation is spoken of as, nîlalohitám bhavati kritya-saktír vy àgyate, 'blue and black it is; the sorcery, the inherent (evil)", is driven out.' In AV. IV, 17, 4 (see our note on that stanza) a hostile charm is made in a blue-red vessel, and red and blue threads are spread out against enemies in AV. VIII, S, 24 (cf. Kaus. 16, 20). This sinister employment of red and blue renders it unlikely that the use of the same colours in German wedding-practices is in any way to be connected with the Hindu conception; see Weber, Indische Studien, V, 308, note 4; Winternitz, Das altindische Hochzeitsrituell nach dem Âpastambiya-Grihyasûtra (Imperial Academy of Vienna, vol. xl), p. 67; Hillebrandt, Mitteilungen der Schlesischen Gesellschaft für Volkskunde (1894-95), I, 39 ff. Why, now, is blue and red fit for Hindu sorcery practices? Is nîlalohita night and day?
COMMENTARY.
On the other hand it seems difficult to dissociate from the present practice the Bohemian frog-charm which Grohmann, l. c., reports as a cure against fever: 'In Bohemia the practice is to cure chills and fever (kaltes fieber) by catching a green frog at the time of the morning dews on the day preceding that of St. George. This is sewn into a bag which is hung about the neck of the patient without his
1 Cf. the Sûtra 26, 20 in connection with the jaundice cure, vadata (sc. sakunîn) upasthâpayati, and Kesava's comment thereon. • For âsaktí, see Ludwig's excellent remark, Der Rigveda, vol. v, p. 398.
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knowing its contents. Then the patient must pronounce the lord's prayer nine times on nine days before sunrise. On the ninth day he must go with prayer to the river, cast the bag into the water, and return home praying and without turning his face.'
The hymn has been translated and expounded by Grohmann, 1. c., pp. 386, 414; Zimmer, Altindisches Leben, p. 381; and Victor Henry, Le livre VII de l'Atharva-véda, pp. 45, 124. The hymn is quoted also as one of the takmanâsanagana in the Ganamâlâ, Ath. Paris. 32, 7 (Kaus. 26, 1, note).
HYMNS OF THE ATHARVA-VEDA.
Stanza 1.
As the verse stands the first half is hopeless prose, and yet the second half is a good gagati-pâda. Henry, 1. c., p. 125, makes the exceedingly ingenious and plausible suggestion that the first half consisted originally also of two gagatî-pâdas, and stood,
námo ruraya kyávanâya dhrishnave, námo rurẩya kódanâya dhrishnáve.
These were then by a species of haplology' fused, so as to yield námo rûraya kyávanâya kódanâya dhrishnáve. Still we would not go as far as Henry himself does, and make this reconstruction the basis of a translation, especially as either the word kyávanâya, or kódanâya (more probably the latter), might have entered the text as a gloss. The expulsion of either yields a good gagatî-pâda, and the tradition may at any rate be respected as long as it does not interfere with good sense.
a. For rûraya, see the note to V, 22, 10 a, and cf. I, 25, 4; for kódanâya, Shankar Pandit with Sâyana and some MSS. reads nódanâya.
6
b. pûrvakâmakrítvane is obscure. The Pet. Lexs. translate it, alte wünsche erfüllend;' Grohmann and Zimmer, 'nach altem tricbe thätig.' Grohmann supposes that the
1 For haplology in Vedic Sanskrit, see the author in the Proceedings of the American Oriental Society for 1893 (Journal, vol. xvi, p. xxxiv).
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COMMENTARY.
.
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word refers to the periodicity of the attacks of fever. Henry thinks that the word is to be divided as a compound into purva-kamakritvan rather than purvakâma-kritvan, and accordingly translates,' qui, des temps immémorial, agit à sa guise.' Sâyana, purvesham abhilashånám kartitre khettre, as if -kritvane were derived from root krit, cut.' The combination kamam kar occurs RV. X, 61, 6, kấmam krinvané pitári yuvatyám, when the father was satisfying his desire on the young daughter' (cf. stanza 7), and this, when strictly applied to the compound, might yield the result 'having formerly satisfied his (sexual) love,' i. e. 'the takmán due to (excessive) sexual intercourse.' According to Susruta sexual love (kâma) is one of the causes of fever (cf. Grohmann, p. 386, note). But we must not omit the comparison of the (itself doubtful) word pûrvakritvari, XII, 1, 14 C, which seems to mean'anticipating (wishes) by deeds. The present epithet may aim to conciliate the takmán by extravagant praise of this sort. I have, however, adopted the rather non-committal rendering, he who in the past fulfilled desires.' This may refer to excesses, or to willingness.
Stanza 2. For anyedyúh and ubhayadyúh, see the notes on I, 25, 4a ; for avratáh, the note on VI, 20, 1 C.
VIII, 1. COMMENTARY TO PAGE 53. This is an almost impassioned prayer for long life : the heavenly powers, the vital principles, and the human being for whom the prayer is made are implored alike to cooperate in bringing about the result. In the ritual the hymn figures therefore as an ayushyam (sc. sûktam), 'a hymn that bestows long life;' accordingly it holds membership in the dyushyagana of the Ganamâlâ, Ath. Paris. 32, 4 (Kaus. 54, 11, note; cf. also 139, 7). At Kaus. 55, 17 it is employed in the course of the investiture of the young Brahman with the holy cord ; at Kaus. 58, 3. 11 in certain special ceremonies (brahmanoktam, and rishihastah, SQ. 4)
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HYMNS OF THE ATHARVA-VEDA.
calculated to ensure longevity. Cf. also Sântikalpa 23?; Ath. Paris. 37, 2.
The hymn has been rendered by Muir, Original Sanskrit Texts, V, 443 ff.; Ludwig, Der Rigveda, III, 495 ff.; Henry, Les livres VIII et IX de l'Atharva-véda, pp. 1, 35 ff.
Stansa 1. The obeisance to death is in the nature of indemnification for the loss of his victim. For Pada b, cf. AV. VII, 53, 2-6 ; for Påda d, RV. X, 66, 2.
Stanza 2. The expression sómo amsumán has a double meaning that cannot be reproduced in translation. Soma (the moon) with his rays, or soma (the plant) with its shoots. The former meaning is likely to have been uppermost in the mind of the writer who is here dealing with personified gods. Cf. Hillebrandt, Soma, p. 300, note 3.
Stans& 6.
M. Henry points out very properly that Pådas a and c allude to the sun: as the sun ascends, so shall the young Brahman ascend to life, and mount the very chariot of the sun, in order to reach the zenith of his life. Såyana suggests the senses and the body. In Pada d Såyana has agirvih for girvih in Shankar Pandit's MSS. (the same MSS. at XIV, 1, 21 also read girvir for givrir). The sense with this reading is quite as good as that in the text: 'then without decaying thou shalt hold converse, &c.' The passage is formulaic; cf. AV. XIV, 1, 21; RV. X, 85, 27. For vidátham, cf. the note on V, 20, 12.
Stanse 8. The word ehi at the end of Pada c is metrically superfluous. Sayana seems to follow a redaction which does not exhibit it, since he neglects to comment upon it.
· Cited erroneously, as usual, by Sâyana as Nakshatrakalpa.
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Stanza 9.
a. Sâyana does not comment upon préshitau, but supplies (iti sesha) the verb bâdhatâm. The word is at any rate suspicious, being readily derivable from the language that belongs to the myth of the two dogs (cf. RV. X, 14, 11 b, 12b). Henry, after stating the difficulty very clearly, changes it to pîshatâm, fairly similar in sound, but quotable only at AV. IV, 6, 7, and not very suitable in meaning. We have retained préshitau, and have supplied 'go after' (ánu kar, RV. X, 14, 12 b) from sheer conservatism1, recognising, however, quite clearly that the original text is disfigured by reminiscences from the RV., and that some other word is very likely to have been thrown out by the glossarial préshitau.
Stanza 10.
Cf. the abhayagana of the Ganamâlâ, Ath. Paris. 32, 12, excerpted in Kaus. 16, 8, note.
Stanza 11.
Frequently rubricated in the Ath. Parisishtas: 13, 1; 15; 17, 1; 182, 1. 13. The fires in the waters are the lightning in the clouds; cf. RV. VIII, 43, 9, and the parallel
versions.
Stanza 13.
The adjectives and participles are momentarily personified in the manner of Roman divinities like Fabulinus, Edusa, Potina, and the like. Bodha and Pratibodha, Asvapna and Gâgrivi are said to be Rishis at AV. V, 30, 10, and Sâyana here speaks of all six personifications as Rishis.
Stanza 15.
Böhtlingk's lexicon, Whitney in the Index Verborum, and Sâyana (glossing the word by sammodâya) propose sammúde for samúde. As natural as this correction seems, it is nevertheless not unavoidable: samúd in the sense of
'The Paippalâda has the same word, préshitau.
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HYMNS OF THE ATHARVA-VEDA.
'conversation' makes excellent sense in the light of st. 6d and VIII, 2, 3 d. The word in either form is åt. dey.
Stanza 16. a. Sayana renders gambháh sámhanur by the Asura Gambha with shut teeth ?,' and it may be that nothing more specific than some such folk-lore notion is contained in the word. See, however, our full discussion of the word at AV. II, 4, 2. Ludwig, der zahn mit den kiefern.'
b. The rendering of the expression má gihvá (Padapatha, gihvá a) barhíh is mere guess-work. It would seem as though the words at any rate depicted some evil influence, parallel with gambha and támas in Påda a. Såyana, barhir iva âyâmavistaropetå uhyamânå gihvå rakshahprabhriteh samnbandhinî, 'the tongue of the Rakshas, or the like, spread wide as the sacrificial straw. Ludwig suggests, gihva âbarhîh, 'nicht (soll) die zunge an sich reissen. Henry, 'the tongue (of the fire) shall not gain hold of the barhis (but only of the libation)'-an unexpected ritual statement, unlikely in this connection, aside from the difficulty of supplying a fitting verb with the preposition a. The verb that is required is vidat (Pada a). Our rendering is based upon a compound gihvå-âbarhih : see the root 1. barh with å. Non liquet.
Stanza 19. For Pada b, cf.VIII, 2, 4; for c, d, Contributions, Second Series, Amer. Journ. Phil. XI, 336 ff.
Stanga 20. The stanza recurs with variants at RV. X, 161, 5, and AV. XX, 96, 10.
Stansa 21. Sâyana glosses vy dvât with vyaukkhat, thus obviously deriving the word from the root vas, "shine.' An extraordinary instance of grammatical insight in the midst of
He offers also alternately, samhatahanur gambliah asthuladanto mâ vindatu ... bhak sayitum.
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numberless inaptitudes. Whitney, in the Index Verborum, doubtfully suggests the same correct derivation.
VIII, 2. COMMENTARY TO PAGE 55. This hymn, like the preceding, is a prolonged prayer designed to ensure long life (@yushyam), and, accordingly, it is employed in the ritual on all occasions that demand the use of VIII, 1. But the last stanza (28) adds a special feature to the present hymn which it does not share with the preceding. From this it appears that the life-bestowing element which the poet has in mind is (an amulet of) the pûtudru-tree, and, accordingly, the hymn is employed independently, at Kaus. 58, 14 ff., in the ceremony of giving a name to a child (nâmakarana): (the child is placed upon the lap of the mother) and an uninterrupted stream of water (avikhinnâm; cf. ákhidyamânâm in st. I b) is turned upon it. Then an amulet derived from the patudru-tree is fastened upon it, and it is given drink. Individual stanzas of the hymn are employed in other ceremonies connected with the sacramental moments (samskâra) in the child's life: they will be noted below. Cf. also Sântikalpa 17. 19. 23.
The hymn has been translated by Muir, Original Sanskrit Texts, V, 447 ff.; Ludwig, Der Rigveda, III, 496 ff.; Henry, Les livres VIII et IX de l'Atharva-véda, pp. 4, 39 ff.
Stansa 1. a. Shankar Pandit's MSS., and Sảyana, read snúshtim for srushtim of the vulgate (cf. the note on III, 30, 7). Sâyana glosses, snushtim prasnutim ... upakramasva ... yadvâ kumarasya haste avikhinnâm udakadhârâm ninayed (cf. Kaus., above)... tasya snushtim. All this can only mean, insipidly, 'take hold of this heap of immortality
1 The Atharvanists gloss the word with devadâru (pinus deodora); so also the gloss at Âpast. Sr. VII, 5, 6. The Atharvanîyapaddhati at Kaus. 58, 15, sâla (vatica robusta). Cf. also pútadru and pîtudâru in the lexicons.
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(amrita);' but our own rendering (cf. VIII, 1, 7. 8) is problematic. The Pet. Lex. (s.v. srúshti), 'fasse vertrauen zum nichtsterben ;' Muir, 'this boon of immortality ;' Ludwig and Henry, 'this composition about immortality.' None of these renderings do justice to the meaning of srushti.
Stanza 6. For the character of the epithets in this stanza, see the notes on VIII, 7, 6; XIX, 39, 2.
Stanza 9. The second hemistich occurs in a different connection at Kaus. 97, 6, in a practice destined to restore peace in a quarrelling family. For Pâda d, cf. RV. X, 18, 4.
Stanza 11. b. For garam mrityum I read garámrityum ; cf. II, 13, 2; 28, 2. 4.
Stanza 12. This and the following stanza are again employed in a general way in course of the practices at Kaus. 97, 3; cf. the note on st. 9. See also Sântikalpa 15.
Stanga 14. Employed variously in the practices connected with childhood and youth: at the nirnayana, the ceremony of taking the child out of the house for the first time, Kaus. 58, 18; at the kudakarana, 'the making of the crest,' Kaus. 54, 17; cf. also the Paddhatis in the note on Kaus. 58, 17. For abhisrlyau, cf. Bergaigne, Études sur le lexique du Rig-véda, p. 108 ff.; Pischel, Vedische Studien, I, 53 ff. Sâyana reads adhisriyau (prâptastîke sríprade stâm).
Stanza 16. Cf. Kaus. 58, 17; Vait. SQ. 10, 6; Ath. Paris. 33, 4.
Stanza 17. See Kaus. 53, 19 (godâna); 55, 3 (upanayana); and also the Paddhatis at Kaus. 58, 17. Cf. AV. VI, 68.
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Stanza 18. Employed at the annaprâsana, the ceremony at which the child is given solid food for the first time, Kaus. 58, 19; cf. also 58, 17, note. For balása, see the note on V, 22, 11.
Stanza 20. See Kaus. 58, 20, and cf. 58, 17, note. Also Ath. Paris. 4, 4. For imám me, cf. AV. I, 10, 2 d; VIII, 2, 20 d.
Stanza 22. See Kaus. 58, 21, and cf. 58, 19, note.
VIII, 5. COMMENTARY TO PAGE 79. The hymn is addressed to an amulet made of the sraktya-tree, defined by the commentators with great unanimity as the tilaka-tree (clerodendrum phlomoides). A briefer hymn, II, 11, is addressed to the same amulet. The application of both in the ritual is of the general sort, and does not cast light upon the special properties of the tree, that fitted it for such use. Some etymological allusion, or other, is likely to have been considered in its application, perhaps a punning derivation, more or less vague, from srakti,'corner,' i. e. ' bristling. Cf. for the srâktya-amulet in general, Seven Hymns of the Atharva-veda, Amer. Journ. Phil. VII, p. 477 ff.
The hymn is rubricated at Kaus. 19, 22 among the pushtikarmâni, ‘rites which beget prosperity l' along with a list of others devoted to amulets. Nothing is prescribed there except the orthodox tying on of the amulet in accordance with the general rule laid down in the Paribhâshâ-sätra 7, 19. At Kaus. 39, 7 it is treated along with a list designed to repel witchcraft : see the introduction to IV, 17; cf. also Kesava at Kaus. 47, 9. Stanzas
1 The Atharvanîya-paddhati at Kaus. 19, I mentions it in a long list of push/ikâ mantrâh.
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18 and 19 are catalogued (Kaus. 25, 36, note) in the svastyayanagana ('stanzas productive of welfare') of the Ganamâlâ, Ath. Paris. 32, 11; st. 22 in the first of the two abhayagana, 'stanzas that procure freedom from danger,' Ath. Paris. 32, 12; see Kaus. 16, 8, note. Cf. also Sântikalpa 191; Ath. Paris. 6, 1.
HYMNS OF THE ATHARVA-VEDA.
The hymn has been rendered by Henry, Les livres VIII et IX de l'Atharva-véda, pp. 14, 50 ff.
Stanza 1.
In the prose literature (e. g. Sat. Br. VII, 4, 1, 33) pratisará is amulet.' Its literal meaning is 'going against, attacking,' and so it is ordinarily to be rendered. Sâyana, 'he that practises sorcery him it attacks.' In II, 11, 2 it is used synonymously with pratyabhikárana. Cf. also the note on IV, 17, 2. The Pet. Lex. and Zimmer, Altindisches Leben, explain the word in a different, it seems to me,
erroneous way.
Stanza 3.
In Pâda c, either ubhé or imé is metrically superfluous; the former, perhaps, is to be thrown out.
Stanza 4.
The term pratîvartá occurs only in this hymn (4 and 16). The Pet. Lex. renders it by 'in sich zurücklaufend ;' Zimmer, l. c., by 'cord;' Henry, 'knot.' Without doubt the word is closely synonymous with pratisará in the sense of assailing.' Sâyana, pratimukham vartayaty anena.
Stanza 9.
For the connection of the name Angiras with unholy (ângirasa abhikârika) practices, see the notes on XI, 4, 16, and X, 1, 6, and the introduction to this volume. For Pâda f, cf. VIII, 7, 15, and note the strained alliteration between navatím and nåvyäh. So also X, 1, 16.
1 Cited erroneously by Sâyana as Nakshatrakalpa.
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Stanga 11. The first three Pådas are repeated at XIX, 39, 4. In Pâda e, Sâyana has pratispâsinam (abhikaratah pratimukham bâdhakam, striking against the sorcerers'). The MSS. read antitam; the vulgate and the Index Verborum ánti tám. Sâyana offers both alternatives, antitam atyantasamnihitam, athavâ tam ... dveshtâram anti antike avidáma. Perhaps antikám is to be substituted in the text for ántitam. Sâyana understands the passage as follows: 'Him (the enemy) that we did seek, we have found lurking near by. But see Tait. S. V, 7, 3, 1, where pratispasá surely means 'guarding;' cf. also AV. VII, 38, 1.
Stanza 14. For Kasyapa, see the note on IV, 20, 7. In Pâda d, Sayana reads samsreshane and glosses in the battle which causes close contact (samsleshana) with one another.' Whether we accept this sensible emendation, or not, the meaning is clear.
Stanza 16. Pâda a may be improved into an anushtubh by throwing out the first yás två. The dikshấh and the yagñáh here referred to are of course unholy (abhikârika); cf. X, 1, II, and Kesava at Kaus. 47, 12. 14-16. Sâyana, dikshâbhih yagñiyair vágyamanådiniyamaviseshaih ... yagñaih himsasâdhanaih syeneshvâdibhir yagaih. The two hemistichs are loosely correlated (anacoluthon): we should expect mâ for tva in Pâdas a, b.
Stanza 17. Cf. Tait. S. V, 7, 3, 1; RV. X, 171, 4.
Stanza 18. The first hemistich is repeated at XIX, 20, 4 a, b.
· The syeneshu seems to be a witchcraft practice, otherwise unknown. The Ângirasakalpa, if it ever turns up, is likely to furnish the necessary information. [42]
PP
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578
HYMNS OF THE ATHARVA-VEDA.
Stanza 20. c, d. The passage is highly metaphorical. According to Pañk. Br. XIII, 9, 17, methi (methî) is the post to which cattle is fastened with a rope (rággu). The amulet with its cord (cf. II, 4, 5) seems to be likened to it: the tertium comparationis is the protective quality of each. As the cattle is secure when attached to the post, thus the presence of the amulet affords security. Possibly the passage is derived secondarily from a different practice and a different sphere of conceptions.
Stanza 22. Cf. RV. X, 152, 2, almost identical with this stanza.
VIII, 7. COMMENTARY TO PAGE 41. This compilation of stanzas in diverse metres, in praise of the curative qualities of plants, is analogous to the socalled oshadhi-stuti, RV. X, 97; Maitr. S. II, 7, 13; Tait. S. IV, 2, 6; Vâg. S. XII, 75-96. Its employment in the ritual is as a universal remedy (sarvabhaishagyam). At Kaus. 26, 33 it is rubricated along with five other hymns in a series (gana) which is styled ganakarmågana (!) in the Ganamâlâ, Ath. Paris. 32, 24. Its particular function is indicated at Kaus. 26, 40: while it is being recited an amulet consisting of chips from ten kinds of (holy) wood, described at Kaus. 27, 5 in connection with AV. II, 9 (cf. also Kaus. 13, 5), is fastened upon the patient. See the introduction to II, 9. At Vait. Sa. 30, 6, similarly, the hymn is employed while the curative surâ (spirituous liquor) for the sautrâmani-ceremony is being mixed with herbs. Cf. Contributions, Third Series, Journ. Amer. Or. Soc. XV, 153-154; Oldenberg, Nachrichten von der Königlichen Gesellschaft der Wissenschaften zu Göttingen, 1893, no. 9, p. 342 ff.; Weber, Rågasûya, p. 100 ff.
The hymn has been translated by Ludwig, Der Rigveda, III, 504 ff.; Henry, Les livres VIII et IX de l'Atharvavéda, pp. 20, 58 ff.
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Stanza 2.
c, d. Cf. III, 9, I and III, 23, 6 a, b, with which this hemistich coincides word for word. The ocean represents both the heavenly and terrestrial waters, from which the plants derive their nourishment and origin.
Stanza 4.
Cf. Zimmer, Altindisches Leben, p. 57. I agree with Professor Henry in assuming that no systematisation, however rudimentary, is intended: salient qualities are embalmed in epitheta ornantia. The same scholar's rendering of amsumátîk, 'pourvues de suc, pourvues de sôma,' is strained.
Stanza 6.
For arundhati, see the introduction to IV, 12. The first hemistich also at VIII, 2, 6: cf. VI, 59, 3; XIX, 39, 2. 3, and see the notes on the last-mentioned two stanzas. Professor Henry's explanation of nagha in naghârishẩm as agha, 'evil,' will probably appear unnecessary in the light of these notes. The solitary form pushyam is suspicious, since the MSS. confuse the syllables shya and shpa hopelessly; cf. st. 27, and the note on V, 4, 4.
Stanza 9.
This is an especial appeal to aquatic plants, the avakâ being the most characteristic representative of that class; cf. Zimmer, Altindisches Leben, p. 71; Contributions, Second Series, Amer. Journ. Phil. XI, 349 ff.
Stanza 10.
In Pâda d, kritya- in the vulgate is a misprint for krityâ-. For balâsa, see the note on V, 22, 11.
Stanza 11.
Rare herbs were doubtless bought, and brought from a distance. The word 'village' is characteristic, as being
PP 2
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HYMNS OF THE ATHARVA-VEDA.
the proper scene of Atharvanic performances; cf. IV, 36, 7; IX, 5, 19; XVIII, 2, 27 ; Ludwig, Der Rigveda, III, 28.
Stanza 12. d. gó-purogavam does not differ materially from expressions like gav-adi, and the like. The Pet. Lexicons, die Kuh zum Anführer habend,' and Henry's, '(la nourriture) à laquelle préside la vache,' are rather too literal and pregnant; they miss, perhaps, the idiomatic force of the expression.
Stanza 15. d. Cf. I, 8, 1; VI, 113, 2; VIII, 5, 9. The flowing water of the running stream shall carry them off.
Stanza 18. For a, b, cf. I, 10, 4; VIII, 2, 27, and our note on the first of these passages. Agni Vaisvånara seems to represent here the funeral fire. It would be convenient to read (with Henry) the vocative oshadhayo for the nominative. Ludwig construes mumukânáh as passive, losgegeben von Agni Vaisvånara.' But on what occasion does Agni confine the plants ?
Stanza 17. Cf. st. 24; VIII, 5, 9; XIX, 39, 5, and especially our note on XI, 4, 16. But it is questionable whether angirasîh is to be taken here in its ritualistic sense=âbhikarika, 'pertaining to witchcraft.'
Stanza 23. Cf. I, 24, 1; II, 27, 2; V, 14, 1, and the notes on the passages, for this and the following stanza. It is rather curious to find the serpents and their old time enemy the ichneumon (cf. VI, 139, 5) peacefully together, as discoverers of remedies. But the serpents here are mythic, not the poisonous individuals.
Stanza 24. b. ragháto is år. dey. The Pet. Lex. suggests plausibly raghávo, swift.' The flight of the heavenly eagle who
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robs the Soma, results in the growth of the parna-tree; cf. Ad. Kuhn, Die Herabkunft des Feuers (index s. v. parna). The eagle might therefore be said to be acquainted with the parna-tree. But the passages cited in the preceding note show that the keen sight of certain birds of prey fits them, in the mind of the poet, for the task of finding the rare and secreted plants.
Stansa 26. a, b. The human physicians in contrast from the divine doctors, Rudra, the Asvins, Sarasvati, &c.
Stanza 27. Cf. the Atharvanîya-paddhati and Dasa Karmani in the note on Kaus. 36, 5.
a, b. Cf. RV. X, 97,3; Maitr. S. II, 7, 13 (93, 5); Tait. S. IV, 2, 6, 1; Vâg. S. XII. 77.
c. Ludwig renders sammåtárah by vereinte mütter ;' Henry proposes to read sám mâtárah, as previously in AV. XIII, 2, 13 (see his Les Hymnes Rohitas, pp. 10 and 40), a very doubtful passage. The plants are called mothers, RV. X, 97, 4; Maitr. S. II, 7, 13 (93, 6); Tait. S. IV, 2, 6, 1; Vâg. S. XII, 77, but the word sainmâtárâ (dual) stands unquestioned at Maitr. S. II, 5, 4 (52, 1). I think that the text is to be sustained by all means : the sense is excellent. The plants, as though calves sucking the same mother, shall each yield the same sap, that heals disease ; cf. RV. VII, 101, 1, where duhre (as duhrâm here) is middle, not passive.
Stanza 28. Cf. RV. X, 97, 16. I have translated páñkasalád, &c., by ‘from a depth of five fathoms,' &c. This is not a little insipid. Perhaps, after all, Ludwig is correct : ' from him that wields five arrows,' &c. Cf. Sk. pañkasara, 'he who has five arrows,' as an epithet of Kâma.-devakilbishất,
sin against the gods,' or, perhaps, ‘sin committed by the gods.' This is conceived as being passed off (wiped off) on men. See VI, 111, 3; the introduction to VI, 112 and
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HYMNS OF THE ATHARVA-VEDA.
113; and Proc. Amer. Or. Soc., May, 1894 (Journ., vol. xvi, p. cxix ff.). Cf. especially Apast. Sr. XIII, 17, 9; Pañk. Br. I, 6, 10.
VIII, 8. COMMENTARY TO PAGE 117. This battle-song deals especially with the obstacles that are placed in the way of an advancing enemy. Traps and nets are constructed to capture and destroy: see stanzas 5 ff. The Kausika, 16, 9-20, rubricates a number of the stanzas among the practices of the king (râgakarmani, chapters 14-17), to wit: 16, 9. With stanza i (or rather the entire hymn) the fire is churned. 10. With stanza 2 a rotten rope is put down (upon the fire-place). 11. The fire is churned with (two sticks, one of) asvattha-wood, (the other of) badhaka-woodl. 12. With Padas c, d of stanza 2 the smoke of the fire is addressed. 13. With the same two Pâdas, beginning at the word agni, the fire (is addressed). 14. Upon this fire (which is removed) into the forest, sticks of wood that destroy enemies, namely, asvattha, badhaka, tagadbhanga, âhva, khadira, and sara ?, are placed. 15. The snares mentioned in Kaus. 14, 28: they are prepared of bhanga, “hemp" [bhang, "break!"], and muñga, "reed") are cast. 16. Hammers made out of asvattha-wood, and nets of hemp are placed. 17. (Also) staffs of badhaka-wood (bàdh, "oppress!"). 18. With the exclamation, “ Hail to these here” (st. 24 c), an offering is made for the friends (one's own army). 19. With the exclamation," Perdition to those yonder" (ibid.), an offering is made, with the left hand, of ingida-butter 3 into fire built out of badhaka-wood. 20. To the north of the fire a
· The symbolism of these acts is clear: the stench of the old rope (Dârila, gîrnaragpu) in the fire, and the etymological qualities of the two kinds of wood, delineated in st. 3, shall operate against the enemy, each in its own way.
* For the real and symbolic meanings of these names, see the notes on sts. 3-5.
Singida is the typical substance that takes the place of ghee (âgya) in hostile practices. See the Paribhâshâ-sûtra, Kaus. 47, 3.
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branch of red asvattha is fixed (in the ground), enveloped with a blue and a red thread, and then removed to the south while stanza 24 d is being recited.' The entire practice is redolent of fierce hostility: cf. in general the introduction (paribhasha) to the abhikârika (witchcraft) practices in Kaus. 47, 1 ff.
The hymn has been rendered by Ludwig, Der Rigveda, III, 527 ff. ; Henry, Les livres VIII et IX de l'Atharvavéda, pp. 23, 61 ff. Cf. also Muir, Original Sanskrit Texts, V, pp. 87, 405, note.
Stanse 1. The root manth is employed in connection with Indra's feats only on the occasion of his churning the head of the demon Namuki : the present statement is doubtless a reminiscence of that performance. See Contributions, Third Series, Journ. Amer. Or. Soc. XV, 156 ff. The Sútra, however, takes manth in its more common sense of churning a fire, and embodies it in a corresponding performance on the part of the ritualist: see the introduction above,
Stanse 2.
It may be reasonably doubted whether the ritual, which takes pâtiraggú in its literal and etymological sense (Kaus. 16, 10, above), has fathomed the meaning of the word. But it is a reasonable construction, and we are, for the present, driven to accept it. In the second hemistich amitra is metrically superfluous : it may readily have crept in as a gloss from st. 1 d.
Stansa 3. The plants are chosen with reference to the punning etymologies that may be extracted from them. Even the juxtaposition of asvattha and srinihi is intentional. For tâgádbhanga, see Kausika, Introduction, p. xliv. Its problematic accentuation (Padapatha, tâgádbhángal) is prob
For the blue and the red threads, see the note on the stanza.
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HYMNS OF THE ATHARVA-VEDA.
ably to be changed to tâgádbhanga (cf. Kaus. 16, 14). Etymologically the word means' breaking suddenly.' The plant vadhaka, badhaka (also vådhaka, bâdhaka) is defined by the commentators as girimâla, girimalaka, krimimalaka, karimålaka, itself of unknown meaning ; see Kausika, Introduction, p. xliv, and Pet. Lex., s. v. bâdhaka 2.
Stansa 4. a. The Pet Lex., s. v. parusha 2) a, endorsed by Henry, renders 'may the reed turn them into reeds, i.e. make them fragile as reeds. This is rendered very doubtful, because parushá does not elsewhere mean 'reed,' and because Darila at Kaus. 16, 14 renders ahva by palása. Ludwig, having at the time no access to the Satra, renders 'diser rauhen feinde schlachtruf mach er heiser,' which seems to us intrinsically and grammatically impossible. If any one should be sceptical about åhva in the list of firewoods, Kaus. 16, 14, the passage would then have to be rendered 'may (our) disjointed cry render the enemies disjointed,' or something similar. The Pâda is hypermetric, but Henry's suggestion that parushâhváh in the sense of 'parusha (reed) by name' is a gloss, deprives the passage of its subject, and its best point.
Stansa 6. d. Geldner, Vedische Studien, I, 140, renders ápåvapat by hat gefischt.' This is excellent sense, as far as the present passage is concerned, but conflicts with the natural etymology and the clearest instances of the occurrence of the word: AV. XIX, 36, 4 (Sâyana, apavapatu nâsayatu); Tait. S. III, 3, 7, 3.
Stansa 7. The second hemistich is hypermetric. Professor Henry proposes to eliminate satám and dásyûnâm, leaving perfect metre. Unfortunately such corrections suggest them
The word does not appear in the quotation of the stanza, Muir, l. c., p. 87.
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selves so frequently as to render one another nugatory. An uneasy sense is left that we all know how to make better verse-lines than those that have somehow got to be in vogue among the Atharvan writers; carried out to its full consequences this would eliminate one of the more marked peculiarities that render the Atharvan what it is. Doubtless the present translator has at times fallen into the same error.
Stanza 11. Cf. XI, 2, 19, where the matyám is also Bhava's weapon. Ludwig, here, 'entschluss (satyam ?)' but at XI, 2, 19 (p. 550) erfindung.'
Stanza 12. For the Sâdhyas, see Weber, Indische Studien, IX, 6 ff.; Muir, Original Sanskrit Texts, 1?, 10, note.
Stanzas 14, 16. The first hemistich of st. 14 is repeated at XI, 9, 24; see the note there. With it goes 15 a, b, as the second hemistich of XI, 9, 24. The phrases are formulaic, being worked over into prose form at Kaus. 73, 5. In 15 b the punyaganah are the sukritah, pious deceased,' who enjoy themselves with Yama and the Fathers. Cf. Journ. Amer. Or. Soc. XVI, 27.
Stanza 16. d. The meaning of kåtam is not altogether certain. The Pet. Lexs., Ludwig, and Henry, 'horn ;' this is unlikely because of Kaus. 16, 16: horns of asvattha-wood would be very strange. Geldner, Vedische Studien, I, 139, renders it by trap, which is tempting on account of the seeming parallelism of the two halves of the stanza. This is the rendering I had in mind in the treatment of the expression asvatthâni kutâni in Kaus. 16, 16. Dârila says unintelligibly, katam khâdânâm, and my comparison of the word khadà (according to Dârila at Kaus. 38, 7=svabhavagah gartah, 'a natural cavity') was undertaken in the belief that the word meant something like 'pitfall. But now
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HYMNS OF THE ATHARVA-VEDA.
I prefer to rely upon the expression, tasya na kûtena praghnanti in Sat. Br. III, 8, 1, 15 (cf. also Ait. Br. VI, 24, 12), rather than the general parallelism. Cf. Contributions, Sixth Series, Zeitschr. d. Deustch. Morgenl. Gesellsch. XLVIII, 546 ff.
Stansa 17.
o. The Pet. Lexs. take prisnibâhuh as an independent noun, a certain mythical being.' But fanciful colours are attributed with great predilection to Rudra and all his forms (see the introduction to XI, 2). Cf. the epithet 'gold-armed' in the Satarudriya, Våg. S. XVI, 17, and in general Muir, Original Sanskrit Texts, IV?, p. 322 ff. I have taken the word with sárva (nominative with vocative): cf. RV. IV, 50, 10.
Stanza 18. &. For ósham of the edition the MSS. present ásham. In the Index Verborum, p. 383, 1. I, the word is still further corrected to oshám, quickly. This leaves the genitive mrityór without governing word, and we have supplied 'fetter,' according to well-known parallels (mrityór pásam ?). One may also think of oshám in the sense of 'fire, agony' (of death).
c. Our translation of akshu is little more than a guess. It seems hard to acquiesce in Geldner's proposition (endorsed by Henry), Vedische Studien, I, 136, that akshu means
pole' (cf. sts. 5, 12), as long as this involves a 'thousandeyed pole' in AV. IX, 3, 8 (see the note there). However salient a pole may be in the construction of a house, the epithet sahasråkshá is decidedly far-fetched. Further, we should expect the reverse order in the compound (galaksha), since the poles are accessory in their rôle of supporters of the net! Non liquet.
Stanza 21. The second hemistich recurs at VI, 32, 3 (see the note there); cf. Zimmer, Altindisches Leben, p. 181. Perhaps
1 The word is not mentioned in Goldstücker's Sanskrit Lexicon.
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Ludwig's simple rendering of gñâtáram, der sie kennt,' is preferable.
Stanse 22. The remainder of the hymn is prose in the style of the Brâhmanas. The stanza is rubricated along with a number of others at Kaus. 15, II: the king and his charioteer are made to step upon the war-chariot, preparatory to battle. The renderings are necessarily problematic, owing to want of knowledge of the real properties of the chariot (cf. Zimmer, p. 251): the pákshasî which are compared with heaven and earth are themselves equal to ródasî, 'the two hemispheres,' an allusion doubtless intentional. For párirathyam I have followed Nîlakantha's gloss to parirathya, Mahabh. VIII, 1487, a very reasonable rendering. Ludwig, 'wagenrand.'
Stanza 24. Cf. Kaus. 16, 18-20 in the introduction above. From the time of RV.X, 85, 28 onwards' blue and red' are magic colours. At Våg. S. XVI, 47 ; Maitr. S. II, 9, 9; Tait. S. IV, 5, 10, 1, they are the colours of Rudra. Cf. AV. IV, 17, 4; the introduction to VII, 116; Kaus. 32, 17; 40, 4; 48, 40; 83, 4. See also the passages quoted by Winternitz, Das Altindische Hochzeitsrituell, p. 67, and especially Baudhayana's (I, 8) implied explanation of the two colours as representations of night and day, which probably forms the true basis of the conception.
IX, 1. COMMENTARY TO PAGE 229. The drink called mádhu, 'honey,' is associated from earliest times with the cult of the Asvins, and a more specific conception endows them with a honey-lash (mádhumatî káså or madhukasa), which instils sweetness, food, and strength into the sacrifice and into men. The allu
See Hillebrandt, Soma und verwandte Götter, p. 239 ff. Cf. also the madhubrâhmanam (madhukânda, madhuvidya), imparted to the Asvins by Dadhyañk: Sat. Br. IV, 1, 5, 18; XIV, 1, 1, 18 ff.; 5, 5, 17 ff.; Ind. Stud. I, 290; Sacred Books, XII, p. xxxiv.
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sions of the Rig-veda and the Srauta-literature to this honey-lash are of the incidental sort; neither the texts nor the commentaries elucidate the point in any way. The Atharvan, however, devotes to it an independent effort', and that too in the cosmogonic-theosophic style of mock profundity, which allows the writer to attribute to the honey-whip creative and sustaining power, and places men in the attitude of deeply speculative reverence towards it. The apotheosis of the honey-lash resembles therefore that of the úkkhishta, AV. XI, 7 (cf. the introduction there), or the manipulation in the Brahmanas of specific features of the sacrifice or sacrificial implements as divine beings.
The mythic or realistic background of the honey-lash is not at all manifest. The Pet. Lex., under madhukasa, suggests some implement with which the honey was beaten at the sacrifice, but the very slender use of the honey in the ritual (cf. Hillebrandt, 1. c., 241) fails to reveal either the act or the occasion. Henry, Les livres VIII et IX de l'Atharva-véda, p. 115, assumes an evident allegory of the lightning which whips the clouds and produces the rain.' This in itself very reasonable explanation is problematic because the whip belongs to Asvins, and their connection with natural phenomena of this sort does not accord with their character in general. And yet, certain allusions in the first ten stanzas of this hymn (cf. especially stanzas 10 and 20) seem to lend support to a construction not very far removed from this. At RV. V, 83, 3 Parganya sends his rain-messengers, as a charioteer who whips his horses with the lash. The patter and the streaming down of the rain (honey) may have suggested the comparison with the lash 2. Bergaigne, La Religion Védique, II,
HYMNS OF THE ATHARVA-VEDA.
1 Cf. RV. IX, 11, 2, where it is stated that the Atharvans mixed milk with honey.
2 Yâska's Nighantavas exhibit kasâ among the words for voice (vák); cf. Nirukta IX, 19. Sâyana at RV. I, 157, 4 has rain distinctly in his mind, but rather in reference to the word mádhumatyâ (madhu, udakanâma, Nigh. I, 12) than the word kasâ. Oldenberg, Die Religion des Veda, p. 209, note, denies this con
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433, has collected a sufficient number of passages in which the Asvins set the waters in motion, and cause the heavenly rivers to flow : madhukasă may therefore amount simply to the honey (the water) that lashes.'
In the Atharvan ritual the hymn is known as the madhusûktam, 'honey-hymn. Under this designation it is employed while mixing honey with milk in the course of the agnishtoma (Vait. SQ. 16, 12). In the Kausika and the subsidiary texts the hymn is simply a varkasyam (sc. suktam),
designed to bestow lustre' (cf. sts. 11-14, 16, 17); see Kaus. 10, 24 ; 12, 15; 13, 6, and the second varkasyagana. of the Ganamalâ, Ath. Paris. 32, 27 (Kaus. 12, 10, note).
Stanza 4 d. The great embryo which is mentioned here, and which figures in the sequel, is apparently described in st. 21 as a part of the honey-lash; in st. 5 the embryo is said to come from the honey-lash. The embryo suggests the lightning (fire', which seems therefore to be viewed here as a child of the waters, represented by the honey-lash, coinciding thus with the conception of the apám nápât (cf. Oldenberg, 1.c., pp. 99, 118 ff.). But the intolerable mysticism of sts. 5 ff. leaves everything in doubt.
Stanza 6. In Påda b kalásah may be thrown out as a gloss which disturbs the metre i gagatî). Cf. with Pâda c the statement of the use of the madhugraha, 'portion of honey,' which is given to the Brahmans, Katy. Sr. XI, 4, 17. 18; see Hillebrandt, Soma, p. 242.
Stanza 7. By a characteristic leap of fancy the fluid-yielding lash is now regarded as a milch-cow, and the rhetorical properties usually connected with her ecstatic praise are exploited. For Pada d, cf. XII, 1, 45; RV. IV, 42, 10; VI, 48, 11; VIII, 69, 10.
.
nection with the moisture of the clouds, and suggests the morning dew.
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HYMNS OF THE ATHARVA-VEDA.
Stanza 8.
Cf. AV. IX, 10, 6=RV. I, 164, 28, and AV. VIII, 9, 13. For the three gharmas (RV. VII, 33, 7), see the discussions of Geldner, Vedische Studien, II, 139; Henry, l. c., p. 68. I am disposed to think that there is here at least an allusion to the ritual gharma, either the hot milk, or the pot in which the hot milk is cooked; cf. Vâg. S. XXXVIII, 6 ff., and Haug, Vedische Räthselfragen, p. 40.
Stanza 9.
Cf. the interesting formula at Lâty. Sr. III, 5, 15, pîtâ upatishthanta âpo ye sâkvarâ rishabhâ ye svarâgas te arshantu te varshantu te krinvantv isham ûrgam râyasposham tad videya. The words sâkvarah and svaragas allude incidentally to the groups of sâman-stanzas of that name. In Pâda d apah may possibly be accusative (Whitney, Sanskrit Grammar2, § 393 a), co-ordinated with urgam.
Stanza 10.
b. Cf. Contributions, Sixth Series, Zeitschr. d. Deutsch. Morgenl. Gesellsch. XLVIII, 566.
Stanzas 11-13.
Rubricated at Vait. Sû. 21, 7, together with other formulas (VI, 47 and 48), designed for the three daily pressures of the soma. Cf. in general Bergaigne, Recherches sur l'histoire de la liturgie Védique, Journal Asiatique, vol. xiii (1889); Contributions, Fifth Series, Journ. Amer. Or. Soc. XV, 3 ff. More secondary is the employment of the stanzas, Kaus. 139, 15, at the introduction of the pupil to the study of the Vedas, which rests upon the occurrence of the word várkas in the stanzas. Cf. the first varkasyagana in the Ganamâlâ, Ath. Paris. 32, 10 (Kaus. 13, 1, note).
Stanza 14.
For vamsishiya, read vamsishîya with Whitney, Index Verborum; cf. Proc. Amer. Or. Soc., May, 1886 (Journ., vol. xiii, p. cxviii).
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Stanza 16. Identical with RV. I, 23, 24; AV. VII, 89, 2; X, 5, 47.
Stansa 18. Cf. XIV, 1, 35, and Hillebrandt, Soma, p. 251. In Vait. Sû. 30, 13, the stanza figures at the sautrâmanî-rite, as is suggested by the presence of the word súra. Cf. Contributions, Third Series, Journ. Amer. Or. Soc. XV, 148 ff. ; Oldenberg, Nachrichten der Göttingischen Gesellschaft der Wissenschaften, 1893, p. 342 ff.
Stanza 19. Repeated almost identically at VI, 69,2 ; cf. Hillebrandt, 1. c., p. 240.
Stanza 20. 0, d. In Pâda b diví seems to stand secondarily for adhi in st. 10. At any rate tam in Pâda c and sã in d seem to refer to bhůmyam in b. Very differently Henry in his note.
Stanza 21. This and the following sections are written in Brâhmanaprose. The present stanza seems to contain a mystic correlation of the parts of the lash with cosmic forces, all of which are obscure. For the embryo, cf. the note on st. 4. Here gárbha,' embryo,' seems to be a part of a real whip.
IX, 2. COMMENTARY TO PAGE 220. In the cosmogonic hymn, RV. X, 129, 4=AV. XIX, 52, 1, desire (kấma) is said to have been the first seed (product) of the mind,' which came from the one' after it had sprung into existence through creative fervour (tápas). In the philosophical hymns of the Atharvan, and in the disquisitions of the Upanishads, this Kâma, the creative desire (not sexual love, as in AV. III, 25), takes a place among the very numerous primeval cosmic forces, and appears as one form of the tentative monotheistic per
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sonifications of primeval force; it then does not differ materially from the one' (ekam), 'the being' (sat), and the more vigorously personalised Brahma, Pragâpati, Visvakarman, Svayambha, &c. The Greek mythology similarly connects Eros, the god of love, with the creation of the universe ; see Plato's Symposium 6. Of such hymns the Atharvan has two, XIX, 52, in addition to the present. Cf. Muir, Original Sanskrit Texts, V, p. 402 ff.; Scherman, Philosophische Hymnen, p. 76 ff.
The personification of Kama as a supreme being suggests very quickly his power to protect those who worship him, and to destroy the enemies of the worshipper. The Atharvan naturally rings the changes upon these more ordinary divine qualities : the personal Kâma is dealt with much in the same spirit as Agni, many of whose attributes are conferred upon him. For the relation of Kama to Agni, see Weber, Ind. Stud. V, 225 ff. In the ritual the entire hymn, as well as single stanzas of it, is degraded into ordinary witchcraft charms against enemies, without special significance: see Kaus. 49, 1; 48, 5; 24, 29, and cf. 46, 9, note; Vait. Sû. 24, 101. The hymn has been translated in full by Ludwig, Der Rigveda, III, 529; Henry, Les livres VIII et IX de l'Atharva-véda, pp. 84, 118 ff. More or less fragmentary translations are offered in the two works cited above; cf. also Hillebrandt's Vedachrestomathie, p. 40 ff.
Stanza 1. a, b. For the distinction between ghritá and ágya, see the Grihyasamgraha I, 106 (Zeitschr. d. Deutsch. Morgenl. Gesellsch. XXXV, p. 567).
Stanza 2. This and the following stanza are rubricated along with certain other mantras in the dulsvapnanâsanagana, a series of stanzas designed to obviate the effect of evil dreams, in the Ganamala, Ath. Paris. 32, 8. See Kaus. 46, 9, note.
Quoted in the Ath. Parisishtas (e. g. 10) as kamasûktam.
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b. Prof. Roth in the Pet. Lex., s. v. bhas, regards this passage as corrupt, and conjectures yasmâd bîbhatse yak ka nâ-bhinande, 'which I loathe and which I do not enjoy.' The motive of the correction, in addition to the poor metre, is the usual transitive use of abhí nand, 'take pleasure in,' and the like; this does not seem to me to warrant so complete a transformation of the text.
c. The Pâda is hypermetric, and may be normalised by reading munkâ for mužkâmi. But the imperative first sing. act. without ni is not elsewhere known in the Atharvan.
Stanza 3.
b. asvagátâ occurs but one other time, AV. XII, 5, 40, asvagátâ párihnutâ, a very obscure passage. The Pet. Lexs. translate 'heimatslosigkeit;' Ludwig, 'unfreiheit ' (cf. Der Rigveda, III, 284); Henry, 'dépendance.' The adjective ásvaga occurs in a closely parallel passage, XII, 5, 45, ásvagam ápragasam karoti; I would compare svastha and asvastha, 'well' and 'unwell;' svasthatâ and asvasthatâ,' well-being' and 'diseasedness.' For ávarti Vâg. S. XXX, 12 has ávariti, 'trouble' (Ludwig, 'verarmung'); cf. perhaps Avestan hamvareti of opposite meaning, ' defence, courage.'
Stanza 5.
Vâk Virâg (cf. Khând. Up. I, 13, 2) is the same Vâk who is designated RV. VIII, 100, 11, 'as the milch-cow whom the gods begot;' cf. AV. VIII, 9, 2, and Oldenberg, Zeitschr. d. Deutsch. Morgenl. Gesellsch. XXXIX, 54 ff. In Pâda d the metre is sensibly relieved by dropping pasávo (so also st. 16); nevertheless I should hesitate to correct, because the same RV. stanza states 'that multiform animals (pasával) speak her (vák).' The argument may, of course, be turned the other way, by assuming that pasávo is due to a reminiscence from that very stanza.
Stanza 9.
a, b. For indrâgnî, nominative for vocative, coupled with kama, vocative, cf. Delbrück, Altindische Syntax, p. 105.
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The dual number of the verb in the next Pâda may be due to the dual number of indrâgnî.
d. This seems to be the full form of the Pâda which occurs previously (st. 4) in a defective form.
HYMNS OF THE ATHARVA-VEDA.
Stanza 12.
The same stanza with one variant occurs in a different connection at III, 6, 7. This, as well as the next stanza, seems to be interpolated.
Stanza 13.
It is impossible to reproduce the chain of puns in this clap-trap stanza; yava-yấvâno, moreover, is somewhat ambiguous, as yâvan may come either from yu,' ward off' (so we, with Whitney in the Index Verborum), or yâ, 'go' (so Ludwig). The Pet. Lexs. do not analyse the word, simply translating it 'abwehrend.' Cf. in a general way the hymns II, 7; VI, 91.
Stanza 16.
Pâda a ends at trivárûtham (read sárma as three syllables); udbhú seems to be a gloss. Pâda b is hypermetric, and may be relieved by casting out bráhma and kritám (Henry). For Pâdas c, d, cf. st. 5 c, d, apparently the more original source of the passage.
Stanza 19.
At Îsâ Upanishad IV, the 'one' (ekam) is similarly lauded, nai-nad devâ âpnuvan pûrvam arshat (arsat). Cf. Ath. Paris. 48, 2.
Stanza 22.
Cf. Våg. S. XXIV, 25, 29; AV. II, 31, 2; VI, 50, 3.
Stanza 23.
Manyu is 'courage,' personified; cf. RV. X, 83, 84.
Stanza 25.
The purpose of the passage seems to be to ensure wholesome desires, fit and capable of realisation; evil thoughts,
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unfit for fulfilment, shall not trouble the suppliant. But dhiyah may refer perhaps to the hostile prayers of the enemy, which shall not injure him that prays to Káma.
IX, 3. COMMENTARY TO PAGE 193. The character of this hymn is such that its proper object did not reveal itself clearly, until its application appeared plainly stated in the Kausika. Zimmer, p. 153 (cf. the translation, p. 151 ff.), supposes that the hymn is a charm to free one's house from imaginary witchcraft practices, which have been placed as fetters upon it (cf. stanzas 5, 6, 24). Ludwig, Der Rigveda, III, 464 ff., translates the hymn under the title, 'Removal of a house,' without stating the precise situation; he comes very near the truth, yet misses the main point. Grills, pp. 60, 188 ff., fails to find any reason for a removal, and construes the hymn (just as III, 12) as a dedicatory ceremony after the erection, and before occupation. And Henry, Les livres VIII et IX de l'Atharvavéda, pp. 87, 121 ff., seems to underrate the significance of its employment in the Satra. He suggests that the hymn alludes to the building of a house, but accentuates the successive removals of the ancillary frame, the scaffolding, as the house advances from stage to stage.
The Kausika treats the hymn in 66, 22-30, and Kesava epitomises the treatment very well by designating the ceremony as sålåsavam, i.e. the solemn bestowal upon a priest of a house as dakshina. See his comment on Kaus. 64-66, especially page 365, lines 1, 2, and cf. also the introduction to XI, 1. The Kausika's rather elaborate treatment is as follows: SD. 22. 'While reciting AV. IX, 3, that which is about to be given along with the house is (placed) within (the house) covered up. 23. It is recommended, moreover, that the objects mentioned in the hymn (be given as additional gifts). 24. While reciting st. 18 the door is removed. 25. While reciting st. 22 they take up the water vessel and the fire and enter the house. 26. That (water-vessel) is anointed with the dregs (of ghee) after they have arrived
292
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within (the house), while the (entire) hymn is being recited. 27. Having sprinkled the house (with water) from the anointed water-vessel, having recited the stanzas (of the hymn) over it, having addressed (the recipient), the giver, being made to speak (what?), presents (the house). 28. (The recipient) while reciting st. 15 accepts it. 29. While reciting the first stanza he loosens the objects mentioned in the stanza?. 30. Addressing them with st. 24 he carries them off.'
The Anukramanî designates the hymn simply as sålàdevatyam. For previous translations see above.
Stansa 1.
One may imagine that the upamít is a vertical post, the pratimit a slanting support to hold the house in position, the parimít a crossbeam connecting the vertical posts; but no certainty can be reached in words which are likely to be technically flavoured. Cf. Kaus. 66, 29, above.
Stanza 2. Indra's double Brihaspati here slays Vala, as in RV. X, 67 and 68; cf. also II, 23, 18: II, 24, &c. Vala (Vritra) is often described as lying unloosened, undone, after Indra's attack; hence the comparison.
Stanza 3. o. The Påda may be rendered, more concisely, as a skilful butcher the joints (of an animal). Our rendering is based upon the conviction that the poet has in mind the ritual butcher. Cf. RV. I, 162, 18, 20, and Contributions, Sixth Series, Zeitschr. d. Deutsch. Morgenl. Gesellsch. XLVIII, 556. The point of the stanza is, of course, that the parts of the house shall not be damaged in the course of their transfer to the priest.
* Cf. Kaus. 63, 22, which also leaves some of the terms in this Sotra in the dark.
* The buttresses, supports, and connecting beams.
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Stanza 4. Again the terms are technical, and not at all clear. I have rendered paksha by side,' in deference to ulakapakshi (sc. sålâ) in Pânini, IV, 1, 55, and Mahabhåshya, IV, 29 b. Cf. AV. III, 7,3, kátushpaksham khadih (Sâyana, katushkonam), 'roof with four sides or facades ; ' see also st. 21 of our hymn. Zimmer and Grill, seitenpfosten ;' Ludwig, "zimmer ;' Weber in his comment on III, 7, 3 (Ind. Stud. XVII, 210), 'vierbeschwingtes dach;' Henry, chambranles.'
Stansa 8. c. For manasya pátni, see our comment on III, 12, 5.
Stanza 6. 2, b. The difficult expression in this hemistich is ranyâya (kam), which is a dr. dey. when accented with the svarita on the last syllable. Ordinarily the word is ránya, one of whose meanings when used as a noun is 'pleasure, joy.' This meaning is at the base of our translation for comfort;' but what are those ropes (sikyäni) which are tied within for comfort? Non liquet. The Pet. Lexs. and Zimmer give it up. Ludwig translates etymologically, 'dass die theile in ihrer lage verharren,' and Grill follows the suggestion up by proposing the emendation rámanâya. Henry, pour (te) maîtriser' (cf. his note). The real difficulty is with sikyäni, which is doubtless an obscure technical term.
0, d. The second half of the stanza, as it stands, disturbs the run of the metre (Anukr., pathyâpankti), and possibly needs correction. By dropping mânasya patni and úddhítå the last Påda is restored as sivá nas tanvè bhava, in accordance with similar expressions in I, 12, 4; VIII, 1, 5; 2,16. Cf. st. 21 c, d, e, which is similarly irregular, and also contains the expression mấnasya pátnim.
Stansa 7. The various designations of the house represent a fairly complete summary of the huts and other sheltered places
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which are needed in the larger Vedic (srauta) sacrifices ; see the Pet. Lex. under each, Zimmer, p. 154, and cf. especially Vâg. S. XIX, 18; Tait. S. III, 2, 4, 3. 4. The divergent metre of the stanza (8 + 8 + 12: Anukramani, paroshnih), and the interruption which it occasions in the account of the breaking up of the house, render it very suspicious. The bestowal of sacrificial epithets upon the house are obviously intended to enhance its value in the eyes of the recipient.
Stanza 8. Technical terms again render this stanza obscure. I imagine a covering of wicker-work, the openings in which suggest a thousand eyes, stretched across a beam and slanting down from it to both sides (vishûváti) in the manner of our roofs. The passage seems, perhaps, to harbour a comparison of the roof with the head and the head-dress of a woman (cf. opasá and vishûváti, and see the note on VI, 138,1). Professor Geldner, Vedische Studien, I, 136, renders the stanza : 'die in der mitte als diadem ausgespannte tausendäugige befestigte aufgesesetzte stange lösen wir durch besprechung. But what occasion is there for a pole with thousand eyes, i.e. countless holes ? Ludwig renders ákshum opasám by 'das löcherige geflecht;' Grill, 'das ausgespannte flechtennetz;' Zimmer, I. c., and p. 265, 'das netz das über den schopf (gespannt ist);' Henry,ʻle réseau tendu.'
Stanza 10. a. He that bestows a house in this world gets it back again in heaven. Ludwig, ‘in jener welt (soll) es ihm entgegenkommen.' Kausika's construction of the hymn renders the meaning very clear.
Stanza 15. At this point the recipient of the house (cf. Kaus. 66, 28, above) begins to see to it that the house shall produce for
"The employment at AV. VIII, 8, 18, of the root han, slay,' with akshugalábhyâm does not prove akshu to mean 'pole, club:' that which catches the enemy may be imagined to slay him ; cf. also st. 7. Sâyana at RV. I, 180, 5, divides á-kshu, 'not perishing.'
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him all expected benefits, and he does not hesitate to take his mouth full.' The picture is a vivid one.
c. Similar and yet different is RV. X, 121, 5, yó antárikshe rágaso vimấnah ; cf. also RV. VI, 7, 7; 69, 5; AV. IV, 25, 2.
e. The Pâda is de trop in form and sense (Anukr., tryavasânâ pañkapadâ stisakvari). If it originally stood here at all, it is spoken by an agent of the recipient who receives the house for him (tásmai). Or tásmai is an ethical dative, in the interest of him (the donor).'
Stanza 17. b. A bold and beautiful comparison this, between the house and night who gathers to her bosom all creatures. In the hymn to night, RV. X, 127, 5, we have: 'The throngs (of beings) have gone to rest, those who go on foot and fly by wing ; gone to rest have the preying eagles.' Cf. also AV. III, 12, 5. Grill applies the pruning-knife to this and the preceding Pada (11 +12: Anukr., prastarapankti), in order to exact two anushtubh Padas, trinair vásânà rấtri sva sálâ gagannivesani. This amounts to independent composition, not very good at that, since it leaves the first Påda, a good trishtubh, in bad shape.
Stanza 20 a, b. With vi gåyate and pragấyate, cf. vígâvati prágâvati in stanzas 13, 14.
Stanza 21. Ludwig here, as in st. 4, translates paksha by room :' das zweizimmerig, vierzimmerig, &c. gebauet wird;' the Pet. Lex., Zimmer, and Grill, 'pfosten.' But see the note on st. 4, and cf. Kaus. 135, 9 (P. 287, l. 5), ashtasthûno dasapakshah, showing that paksha and sthûrâ cannot both mean'pillar, post. The exact meaning of the word is after all not clear. Cf. Henry's note on the passage.
c. For agnir gárbhe, see Contributions, Fifth Series, Journ. Amer. Or. Soc. XVI, pp. 15, 16.
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Stansa 22. The expressions 'turned towards' imply friendly reception on the part of the house, and eagerness on the part of the future possessor ; hence at Kaus. 66, 25 the house is entered along with water and fire. Cf. III, 12, 8, and Kaus. 43, 10.
d. The waters and Agni are the door of the order, or the law of the universe, i. e. they are the primal elements. Hence Agni is styled frequently ritásya prathamagah, ritásya gárbhah ; ritásya dhůrshad; see Grassmann's Lexicon, under ritásya.
Stansa 28. Is identical with AV. III, 12, 9; see the note on the passage.
Stanza 24. According to Kaus. 66, 30 the house is actually carried off at this stage; the stanza offers especial security that Kausika construes the hymn aright. Cf. with his construction the rather forced interpretations of Grill, p. 192, and Henry, p. 128.
IX, 8. COMMENTARY TO PAGE 45. This is a charm against diseases in general (sarvabhaishagyam), without indication as to remedies, either in the form of drugs, or talismans. At Kaus. 32, 18. 19 the patient is taken hold of while the hymn is being recited. During the recital of the last two stanzas the sun is faced reverently. According to Sâyana at II, 33 the hymn is a member of the amholingagana, a series designed to drive away distress ;' see the introduction to II, 33.
The hymn has been translated by Zimmer, Altindisches Leben, p. 378 ff.; Henry, Les livres VIII et IX de l'Atharvavéda, pp. 105, 141 ff.
Stansa 1. For vilohitá, see the note on XII, 4, 4; for karnasula, Wise, Hindu System of Medicine, p. 287, and the introduction to VI, 90.
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Stansa 2. kánkůsha is a dr. dey, of unknown meaning. For visályaka, cf. sts. 5, 20, and VI, 127, 1. 3; XIX, 44, 2. In the last two hymns, and in the present hymn, Shankar Pandit reads visálpakah ; Sayana at VI, 127, visalpakah ; at XIX, 44, 2, visarpakah (vividham saranasîlo vranaviseshah,' a running wound'). See Zimmer, p. 386; and cf. Wise, p. 414.
Stanza 4. The rendering of pramóta (ån. dey.) is Zimmer's conjecture. It may be rendered 'dumb' with equal propriety and equal uncertainty. Cf. Sk. muka, Lat. matus. The Pet. Lex., 'eine bestimmte krankheit. All renderings are based upon the suggestion of the passage itself.
Stansas 6-8. For udvepáyati, cf. V, 22,7.10; for visvásárada, cf. XIX, 34, 10; for gavînike, 1, 3, 6; for balása, V, 22, 11. In st. 70 antár ángebhyo is suspicious, as is also antár átmáno in st. 9 c. Both are probably to be emended to antárangebhyo and antáråtmano (or possibly with oxytonesis, cf. Whitney, Sk. Gr.?, § 1289). Accordingly our translation.
Stansa 8. For a-pvá, “impurity' (par excellence), diarrhoea,' cf. the note on the goddess Apvà in III, 2, 5; for antár âtmáno, the note on antár ángebhyo in st. 7 c.
Stanza 11. Pada a is directly joined in sense to 10b: the bílam is identical with vastibilám, opening of the bladder,' in 1, 3, 8. The plain sense is that disease shall pass off in the form of urine from the bladder, in the form of faeces from the belly.
Stanga 19. The word madáyanti (not mâdáyanti; cf. pataya-, 'fall:' pâtáya-, 'fell') is not altogether clear. Perhaps 'madden'
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is nearer the truth. Böhtlingk,' betäuben;' Zimmer, 'lähmen.' Cf. the root ram in its two meanings of 'delight' and 'rest.'
Stanza 20.
For vidradhá, cf. Grohmann, Indische Studien, IX, 397; Zimmer, p. 386, and Wise, pp. 210, 284, 288, 362; for vâtîkârá, see Contributions, Fourth Series, Amer. Journ. Phil. XII, 427; the notes on VI, 44, 3; 109, 3, and the introduction to I, 12; for alagi (Wise, p. 296, alaghi 1), see Zimmer, p. 390. Henry's bâlagi is scarcely due to oversight: he seems to have in mind some children's disease, bâla-gi.
Stanza 21.
For ushahâbhyal, see the note on II, 33, 2.
Stanza 22.
For vidhú, 'beat,' cf. vidhukrânta, a designation of a certain musical bar. For the second hemistich, cf. the note on II, 32, 1.
X, I. COMMENTARY TO PAGE 72.
This hymn belongs to the class called krityâpratiharanâni, a series of hymns 'which repel sorceries or spells,' assembled in the list at Kaus. 39, 7. The practices associated with this group of hymns, Kaus. 39, 7-12, are obscure. They begin with 'the pouring of the great consecration' (see the introduction to IV, 17). The performer then takes the holy water obtained by the 'great consecration,' and at night takes off his shoes, puts on a turban, and proceeds to the place where the spell is supposed to have been instituted, sprinkling the holy water as he goes. A formula is recited indicating that the holy water is sprinkled for certain female personifications of holiness and beneficence (yatâyai, &c., Kaus. 39, 9). If no spell is found he casts away (the materials with which he is performing ??). The
1 Cf. also andhâlagî, Pet. Lex. and Wise, p. 412.
The holy water, or the turban? Dârila, samskârânâm apakshepah.
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next Sutra (11) is obscure; cf. the note on V, 14, 9. For Sutra 12, see Kaus. 35, 28 in the introduction to III, 25. Various single stanzas and Pädas of the hymn (200; 21 c, d ; 25; 32) are employed in other phases of witchcraft in Kaus. 39; see the index.
The hymn has been translated by Ludwig, Der Rigveda, III, 520 ff. Cf. the closely related hymn V, 31.
Stanza 1. The spell is in the nature of some terrifying, evil-working figure (bugbear, bogey, bogle; German popanz), not merely a magical rite. See the performances in the Satra, above.
Stanza 6. The first hemistich is not easy to render, owing to the plays upon the words, and their ad hoc personifications. It might be rendered, ‘Pratîkina (“ Back-hurler ") is our magic priest (angirasa), Adhyaksha (“Overseer") our officiator.' The word angirasa at any rate implies an allusion to that use of the word which couples it especially with witchcraft, and contrasts it with holy practices (atharvaná, sânta): see the introduction to this volume; the note on XI, 4, 16; and cf. VIII, 5, 9. Note also the pun between krityá(h) and âkrltya, and cf. V, 8, 7.
Stanza 8. Cf. IV, 12,7. Here, as there, ribhú may be either appellative, or refer to the mythic Ribhu.
Stanza 10. 8. The image of things floating down a river is employed with great predilection to indicate loss of power, harmlessness : e.g. I, 8, 1; VI, 113, 2; X, 4, 3.
Stanza 11. The gift of an outsider to the Fathers must either have been regarded as a defilement, or as an attempt to alienate their affection and protecting care. In Pada b the sacrifice is the hostile sacrifice as in VIII, 5, 15; the name of the
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enemy is frequently called out in hostile formulas and prayers, e.g. IV, 16, 9; Kaus. 47, 10. 22. For the difficult word samdesyât, here and in the next stanza, see the notes on II, 8, 5 b and IV, 16, 8.
Stanza 12.
For the conception of the sins of the gods, see the notes on VI, 111, 3; 113, 1, and Proc. Amer. Or. Soc., March, 1894 (Journal, vol. xvi), p. cxix ff. Ludwig's rendering, 'sin against the gods, and against the Fathers,' is perfectly admissible, but the other seems to us more pregnant and probable.
Stanza 15.
d. kurůtínî, translated by 'crowned with a crest,' is in truth a &π. λey. of unknown value. The Pet. Lexs. suggest its equivalence with kirîtín, 'ornamented with a diadem.' Cf. also kurira and kurîrín, the latter in the closely related hymn, V, 31, 2. Hemakandra also reports a word kurutin, 'horse,' and Ludwig, apparently on this basis, translates 'mit rossen.' The head of the bogey may have been ornamented in some fanciful way with a crest. But the point is altogether problematic. Cf. also tirîtín, VIII, 6, 7.
Stanza 18.
With the first hemistich cf. the little legend at Maitr. S. III, 8, 8 (106, 11); Tait. S. VI, 2, 11, 1; Sat. Br. III, 5,
4, 2.
Stanza 22.
The lords of the beings' allude to Rudra, who is called bhûtapáti; cf. Bhava and Sarva in the concatenating next stanza, and see the introduction to XI, 2.
Stanza 26.
b. Cf. the perfect parallel, Manu VIII, 44, yathâ nayati asrikpâtair mrigasya mrigayuh padam, 'as the hunter tracks the (wounded) animal by its drops of blood.'
Stanza 27.
A metaphorical description of the fate of him that practises witchcraft. The counter-charm (krityâpratiharana) is
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sure to prevail in the end. For pratyâdaya read pratyâdhaya with the Pet. Lex. and Roth, Zeitschr. d. Deutsch. Morgenl. Gesellsch. XLVIII, 681.
X, 4.
COMMENTARY.
X, 3. COMMENTARY TO PAGE 81.
At Kaus. 19, 22 there is a performance which is supposed to result in the fulfilment of every desire (Kesava, sarvakâma). It consists simply in reciting one of four hymns in praise of certain amulets, while fastening the amulet extolled in the hymn, after having steeped it for certain three nights in a mixture of sour milk and honey (in accordance with the Paribhâshâ-sûtra, Kaus. 7, 19). For the character of the amulet derived from the varana-tree, as treated by the Atharvan poet, cf. the introduction to VI, 85. The third stanza naturally figures in the duksvapnanâsanagana, a list of hymns designed to remove the effect of evil dreams, in the Ganamâlâ, Ath. Paris. 32, 8 (Kaus. 46, 9, note). Cf. also Sântikalpa 17 and 19. The hymn has been translated by Zimmer, Altindisches Leben, p. 60 ff.
Stanza 3.
b. For the epithet, 'thousand-eyed,' cf. the note on IV, 20, 4.
X, 4. COMMENTARY TO PAGE 152.
The central feature of this charm against serpents is the frequent allusion to the white horse of Pedu (Paidva): from earliest times onwards, this is said to be a slayer of serpents. For its mythic origin, see Bergaigne, La Religion Védique, II, 451-2, 498, who identifies it plausibly with the steed of the sun. In the practices of the Atharvan, Kaus. 32, 20 ff.1, some insect is substituted for the unattainable mythical horse 2. The hymn is employed at Kaus. 32, 20-25, as follows: 20. While reciting X, 4 the (person bitten) per
C
1 Cf. also Kaus. 35, 4. 8, and the introductions to VI, 11 and 17. Cf. Contributions, Third Series, Journ. Amer. Or. Soc. XV, 158; Kausika, Introduction, p. xliv ff.
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forms the rite to Takshaka (described at Kaus. 28, 1; see the introduction to IV, 6). 21. Having ground up the paidva”, he puts it with his right thumb up the nose in his right nostril. 22. If afraid of serpents he hides (the paidva) away in the seam of his garment. 23. While st. 25 of the hymn is being recited (the patient suffering from a snakebite) is rubbed from (his head) to the tips of his feet. 24. Having heated the bitten spot while reciting the last stanza of the hymn, he throws (the torch with which the heating is done) upon the serpent. 25. (In the absence of the serpent he hurls it upon the spot) where he was bitten.' The hymn is also cited, along with other mantras against serpents, at Kaus. 139, 8, in the course of practices preparatory to the study of the Veda. It has been translated by Ludwig, Der Rigveda, III, 520 ff.
Stanga 1. 0, d. apamá (the Padapåtha in perplexity, apa-má) seems untenable, unless we admit an irregular change of final as to â before r; cf. Joh. Schmidt, Die Pluralbildungen der Indogermanischen Neutra, p. 124 ff. We emend to apamó. årad and arishat (! with some MSS.) are prophetic aorists: lit.‘it has hit a post and come to grief.'
Stanza 2. a. The general sense of this passage seems fairly clear, . but it is full of obscure details, and the metre so much dis
turbed as to cast suspicion upon the text. The Pet. Lexs. identify tardnakam with tarunaka in darbhatarunaká, 'a young shoot of darbha-grass ;' it seems therefore best to place tarůnakam in apposition with darbháh. But it is not quite clear what kind of grass is meant, nor what it is meant to do. According to Ait. Br. VII, 33, 1; Sat. Br. III, 1, 2, 7, &c.; Åsv. Grih. IV, 6, 11, the darbha-shoots are employed in the ritual ; possibly its purificatory power is
The paidva is some kind of insect. Most clearly Kesava at Kaus. 32, 22, paidvam hiranyavarnasadrisah kitas kitrito và sa paidva ity ukyate.
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engaged against the serpents, as a flame which burns them. Or, perhaps the young darbha-grass in which the serpent lurks (cf. st. 13 d) is invoked against the serpent.
b. The horse of Pedu is meant, it seems: even its tail burns the serpents. For the unintelligible parushásya we are tempted to substitute arushásya, relying upon the oft emphasised whiteness (sveta) of Pedu's horse (RV. I, 116,6; 118, 9; 119, 10; X, 39, 10).
Stanza 3. c. Cf. st. 20, and I, 8, 1; VI, 14, 3; 113, 2 ; X, 1, 10; RV. X, 155, 3: things that float away on the water are harmless and powerless.
d. The vulgata reads vâr, enclitic; Whitney in the Index Verborum, vấr. But many MSS., both here and in the next stanza, have vår. According to Pischel, Vedische Studien, II, 74 ff., this is the true reading: injunctive of the s-aorist, second person singular (avårsham, avar, avår) from root. var, 'ward off, hinder, obstruct.' The sense would be, 'ward off the fierce poison of the serpent (so that it be) devoid of strength.' But in the next stanza vår would need to be construed as the third singular aorist indicative, he did ward off, &c.,' which renders this construction problematic. Perhaps the words vår ugrám, being metrically superfluous, are merely a gloss to vishám.
Stanza 4. Our rendering of the dr. dey. aramghusho is purely etymological, and very doubtful. Ludwig manipulates it as a proper noun. Perhaps it is the designation of some serpent-killing bird.
Stansa 5. For kasarnîla, the TS. 1,5, 4, 1 has kasarnirá (kâdraveya), as the name of a personified serpent-rishi. ratharví is a år. dey. of unknown connection. Ludwig suggests that the word means 'die die radform liebt.' Both are wanting in the list of serpent divinities, Pañk. Br. XXV, 15, 3.
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Stanza 8.
The first hemistich recurs at VI, 56, 1 c, d; cf. the note there.
Stanza 10.
a. aghâsvá seems here to be the designation of a serpent. In RV. I, 116, 6 aghasva with different (bahuvrîhi) accent seems to be Pedu, the possessor of the serpent-killing horse; cf. Bergaigne, 1. c., p. 451. The relation of the two is very obscure. For svaga and the subsequent designations of serpents, see the note on VI, 56, 2.
Stanza 22.
c. kândâvishám and kanáknakam are åπ. λey.; it is not even certain that the latter refers to a particular substance: the word may be an adjective qualifying kândâvishám. It seems to be an intensive formation from root kan.
Stanza 24.
a, b. taúdî and ghritákî seem to be fanciful names of plants, 'the piercer,' and 'dripping with ghee.' The latter is personified in many ways, as night (AV. XIX, 48, 6); Sarasvatî (RV. V, 43, 11); cf. ghritápâdî as an epithet of Ida (e. g. Sat. Br. I, 8, 1, 26).
Stanza 25.
Rubricated at Ath. Paris. 33, 3.
X, 6. COMMENTARY TO PAGE 84.
The chief interest of this rather banale production lies in the practice which it harbours. From st. 2 we gather that the hymn is addressed to an amulet prepared from the ploughshare. In st. 6 the amulet itself is spoken of as a ploughshare1, but in addition it is said to be 'strong khadira-wood' (acacia catechu). From Dârila at Kaus.
1 Cf. also the allusions to the ploughshare in sts. 12 and 33.
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35, 4, we may gather that there was a part of the ploughshare which was called the chin of the ploughshare' (phầlakibuka). This must have been made of wood, since of it might be made a vessel having the form of a soma-cup (Darila, ibidem). All doubt is dispelled by the same commentator's glosses on Kaus. 19, 22. 23 (p. 53, notes 10 and 12 of our edition). Here it is stated with direct reference to st. 6 of the present hymn, that 'the chin' of the plough was made of khadira-wood, and that an amulet fashioned out of khadira-wood in the likeness of the plough is the object extolled in the present hymn! The khadira is a very hard wood (cf. Zimmer, Altindisches Leben, p. 58); at Sat. Br. XIII, 4, 4, 9 it is said to be dâruna, 'hard,' and is compared with the bones of the body. The chin of the ploughshare can scarcely be anything else than the point of the instrument, and we are thus brought face to face with the primitive wooden plough. The metal ploughshare seems to have been known as well, if pavîra, AV. III, 17, 3; Våg. XII, 71; Tait. S. IV, 2, 5, 6; Maitr. S. II, 7, 12, has that meaning (cf. Zimmer, 1.c., p. 236). The appropriateness of the embodiment of the chin of the plough, made of khadira-wood,' into an amulet lies on the one hand in the character of the plough and the ploughshare as emblems of prosperity (cf. stanzas 12 2 and 33); on the other, in the qualifications of the khadira, the wood that chews up (khâd) the enemies' (cf. AV. VIII, 8, 3).
The hymn is rubricated at Kaus. 19, 22 ff. In Sa. 22 the amulet is tied on in the manner described at Kaus. 7, 19 (cf. the introduction to X, 3). In the obscure next Sutra (23) the four amulets : mentioned in Sûtra 22 seem to be passed along the cords (with which they are fastened) * by means of a chip of gold (cf. híranyasrag in st. 4); they are then bent, and put on each three times. In Sa. 24 a fire is
* Not so Kesava, khadirapalåsamanim, 'an amulet from the leaves of the khadira-tree.''
. Cf. the mantra in Kaus. 20, 5. · Dârila, uktamanes katasrah suvarnasragmanigatutvam nîtvå. • Cf. Sat. Br. XII, 3, 4, 2. [42]
RI
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built while reciting st. 35; in Sû. 25 the amulet is taken out of the substances in which it has (again) been steeped while reciting st. 29 (cf. Sa. 22), and (again) fastened while reciting st. 30. Cf. also Vait. SQ. 10, 2. 3, and Ath. Paris. 37, 1, rubricating stanzas i and 3. St. 4 is rubricated at Ath. Paris. 13, 1 ; st. 35 at 22, 3 ; 46, 2.
Stanza 6. The formula, yám ábadhnad brlhaspatih, which is repeated many times, indicates the presence of the purohita, the king's chaplain. As Brihaspati, the divine purohita, fastens the amulet upon the gods, so the king's chaplain serves the king.
Stansa 34 A delicate oratio pro domo. The significant words are yagñavardhana and sata dakshina (ishta and porta). The real meaning of the stanza is : 'as I, the priest, have by means of this amulet made thy sacrifice successful, thus do thou, the king, permit thyself to be inspired to reward me, the priest, by a gift of a hundred cows!'
XI, 1. COMMENTARY TO PAGE 179. The preparation of the brahmaudana, otherwise called savayagña (Sayana), or brahmaudanasava (odanasava in Sâyana's introduction to Tait. Br. II, 7, 7, page 772), is described at full length in Kaus. 60-63. It consists of the solemn combination of a soma-sacrifice with the cooking of a porridge for the Brahman's dakshina. Both the sacrificer and his wife (pátní) participate in the ceremonious details of the performance. The ceremony works up quite completely the stanzas of XII, 3, in addition to the present hymn. Wherever the ritual is suggestive or explanatory, its gist will be given in connection with the stanzas in question. There are, however, many signs of a secondary and forced employment of the stanzas in the ritual, and the stanzas themselves exhibit occasionally secondary changes which arouse the suspicion that their form and their grouping here are not altogether primary and original.
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Stanza 1. At Tait. S. VI, 5, 6, 1; Tait. Br. I, 1, 9, 1, the preparation of the porridge is correlated with a legend that tells of Aditi and the birth of her sons. Cf. the note on XII, 3, 11. Aditi in our hymn symbolises the pátnî, the wife of the sacrificer (yágamâna). According to Kaus. 60, 19, the stanza is spoken while both of them are engaged in churning the fire. The third Påda is defective: perhaps pūrve is to be inserted before bhatakrltah, if we consult VI, 133, 5; XII, 1, 39.
Stanza 2. According to Kaus. 60, 22 this stanza is addressed to the smoke as it rises from the churning-sticks. The third Påda reads, ádroghâvità (Padapatha, ádrogha avitâ : some MSS. avitåh) vákam ákkha, which the Paippalåda varies by reading, adroghà vîtâ vâtain matsa. Såyana comments, adrohakârinam sukaritrånam yagamânânâm avità rakshità vakam akkha mathyamânågneh stutyartham anukyamânâm rigrûpåm vàkam abhilakshya. The corresponding passage, RV. III, 29, 9, reads, ásredhanta itana vágam ákkha, and it, with the Paippalâda, suggests the reading ádroghå víta vágam ákkha, or ádrogha áveta, &c., the sense being the same in either case. This has been made the basis of our rendering: the Saunakîya-text scarcely yields sense.
Stanza 3. Kaus. 60, 23: The incipient fire is addressed with this stanza. For Pada d, cf. st. 11 d, and RV. IV, 50, 10 d.
Stanga 4. Kaus. 60, 24: The blazing fire is thus addressed. For Pada d, cf. I, 9, 2; XVIII, 3, 4; Våg. S. XII, 63.
Stanza 8. The text of Pada a seems forced. The Paippalada with marked improvement, tredha bhago nihito gâtavedah. Perhaps the words yah pura vo are imported from st. 15.
Rr 2
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In Pada d the Paippalåda reads imám, i.e. the sacrificer, for imám, the pátnî, the wife ; cf. st. 4 d. See Kaus. 61, 8, from which it would appear that three heaps of rice, from which the brahmaudana is to be prepared, are addressed with this stanza
Stanza 6. Kaus. 61, 9-11: With the share of grain that has been divided off for the fathers he performs a sråddha. With the one that has been divided off for men he feeds the Brahmans. The share that belongs to the gods he pours into a jar, with closed fist, or open palm, or with the hollow of his two hands (añgali); bending his right knee, turned to the north-east, or with his body inclined ; reciting stanza 6 (of this hymn).'
Stanza 7. According to Kaus. 61, 20, this stanza is recited while the rice is being poured into the mortar. Possibly the words úd ubga &c. are addressed to the mortar. The Paippalåda has enam for enâm; cf. st. 5. A comparison with st. 6 b still further suggests enån, establishing a natural antithesis between niko ny ubga in 6 b, and úd ubgai snân (sc. sagâtán) įn st. 7 b.
Stanga 8. Kaus. 60, 30: The sacrificial skin, its neck turned to the east, the hair turned upward (as usual in ritual performances), is spread out while reciting this stanza.
Stanza 9. Kaus. 61, 18 rubricates Påda a of this stanza along with XII, 3, 14: 'the mortar and pestle, and the scrubbed winnowing-basket are placed upon the skin. The Sútra seems to substitute mortar and pestle for the two pressstones. Pâda bis rubricated at 61, 22, along with XII, 3, 18, avahanti. Pâda d along with XII, 3, 19 at 61, 24, udû
Or perhaps even more primarily, the porridge ; 'the share of the gods this (Agni) shall bring over to them.' Cf., however, the feminine enam in st. 7 b.
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hantim (sc. patnîm anumantrayate). The construction of the second hemistich is not altogether clear. We have referred the action to the earth in st. 8. See also st. II. Sâyana refers it to the pátni (cf. Kaus. 61, 24, above), and construes imấm chiastically with pragấm, to wit: he patni avahananam kurvatî nibâdhasva imâm âtmîyâm pragâm hantum ye satravah vartante tân ni gahi. This is obviously forced. The construction of imam as imán (but Padapâtha, imam !), or its emendation to imám (sc. yágamânam) would render Sâyana's and Kausika's (61, 24) view more natural. Cf. the notes on sts. 5 and 7 for similar suggestions.
Stanza 10.
Kaus. 60, 19: grihâna grâvânâv ity ubhayam grihnâti. Sâyana, ardharkena ulûkhalamusalam avahananârtham patnim grâhayet1. Kaus. 61, 15-17: 'With the second hemistich (the priest) addresses the sacrificer, saying, "Choose three gifts." (The sacrificer) chooses the first wish, saying: "May I by this rite become superior." The wife chooses the other two gifts.' Sâyana, trayo varâh ity ardharkena nirvâpânânantaram varam vrinantau (sc. anumantrayate).
a. We have translated the doubtful &π. Aey. sakritau, for which the Paippalâda has the equivalent sayugau. Some MSS. used by Shankar Pandit have sukritau, an easier reading, suspicious on account of its facility.
Stanza 11.
Kaus. 61, 23: 'While reciting the first hemistich of this stanza along with the second hemistich of XII, 3, 19 (the sacrificer) takes hold of the winnowing-basket.' Kaus. 61, 25: With the second hemistich of this stanza and the first of XII, 3, 19 he addresses (the wife) as she winnows.' Aditi in the stanzas and the pátnî in the practice are regularly correlated; cf. st. 1. For Pâda d, cf. 3 d.
1 Sâyana obviously violates the sense of the stanza: patnîm grâhayet collides with grihâná... vîra in Pâda a.
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Stanza 12. Kaus. 61, 29: The winnowing is performed while this stanza is recited.
a. Our translation of upasvasé, 'while (the wind) blows,' i.e. in the draught,' is wholly conjectural. The Pet. Lexs. 'dröhnend.' Sayana, with many MSS., reads upasvase dhruvaye (for upasvasé druvaye of the editions), and comments as follows: dhruvaye dhruvåya sthiraya satyaphalaya karmane he tandulâh yushmân upasvase upa samîpe asvâsayâmi prabhatan karomi. Nothing usable may be derived from this manipulation of the stanza. For druvaye, see the note on V, 20, 2.
Stansa 13. Kaus. 60, 25: With stanza 13 he sends (the wife), guarded and ornamented, to fetch water.' Sâyana, udakam áharantim patnim sampreshayet. This act precedes in the ritual the winnowing, being one of the first features of the ceremonial
Stansa 14. Kaus. 60, 26–28: With the first Pada he addresses (the wife) as she brings the water (Såyana, prathamapadena agakkhantim patnim anumantrayate). With the second and third Pådas he calls upon the wife (to rise). With the words, "take the water-vessel,” she takes it.' But Sayana refers the action in the fourth Pada to the sacrificer himself: å tvâsgan yagñah iti padaikadesena galakumbhadâtrî patni kartåram preshayet, prati kumbham gribhaya iti ardhapadena patni galakumbham grâhayet kartaram.
a. Sayana regards the yoshitah súmbhamanah not as 'pure waters,' but as the women who bring them, sobhanalanıkârayuktà imå yoshitah udakahartryah striyah. But cf. sts. 17, 27.
b. Sayana reads tava samrabhasva, and the Paippalada tavah samrabhasva. The Pâda as it stands in the editions is not defective: yet tavásam sám rabhasva (haplographia) may have been the original reading. We have at any rate translated tavásam as an abstract.
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Stansa 15. Kaus. 60, 29: "(The sacrificer) puts (the vessel) down while reciting the first Pada.' Sảyana, prathamapádena galakumbham bhūmau nidadhyât. Kaus. 60, 34: With the remaining three Pâdas he places the water-vessel upon the skin. Cf. also Kaus. 61, 33.
a. Our rendering of Pada a leaves some misgivings. A more natural translation of it is, 'the share of food that has of yore been set aside for you.' But this leaves it hanging in mid-air.
Stansa 16. Kaus. 61, 31: The pot is placed upon the fire; cf. also Kaus. 2, 7.
Stansa 17. Kaus. 61, 34. 35: The purifying two blades of darbhagrass are placed over the pot, and water is poured in; cf. also Kaus. 2, 8. The Paippalâda read in Páda c, dadat pragam bahulâm åsan (pasûn 2) me.
Stanza 18. Kaus. 61, 36: With this stanza and XII, 3, 28 the grain is washed in water, and poured into the pot. Cf. also Kaus. 2, 9.
Stansa 19. Kaus. 61, 37: With this stanza and XII, 3, 29 the porridge is allowed to cook.
d. For paktvá in the vulgata, Shankar Pandit, following most of his MSS. and Sayana, reads paktá; this we have translated. Cf. also the Index Verborum, s. v. paktri. The corruption is due to st. 18 d. Note the alliteration.
Stanzas 21, 22. Kaus. 61, 41. 42: With stanza 21 and XII, 3, 35 the porridge is taken off the fire. With st. 22 the pot is turned to the right.
Stanza 28. Kaus. 61, 44 rubricates only the second hemistich, amsadhrim (some MSS. amsadrîm) ity upadadhati. The
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difficult word in the stanza is the dr. dey. which the vulgata presents in the form amsadhrím. The MSS. present in addition the forms amsaddhrîm, amsadrim, and amsaddrim. Shankar Pandit chooses amsadrsm; Sayana amsadhrîm, glossing as follows: amsân bhågân devamanushyapitrisambandhino dhårayatîsti amsadhrî tâm ... vedim. The only point that seems worth saving is the statement that the word refers to the vedi, not to the pot, as the Pet. Lexs. have it: 'vielleicht ein gefäss mit handhaben, henkeln auf beiden seiten.'
d. daivānam (sc. brâhmanânâm). Read perhaps devátânâm, metri gratia ; cf. st. 25, and III, 3, 2 ; VI, 13, 1; XII, 3, 38; Vâg. S. XV, 50.
Stanza 24. Kaus. 62, 1: With st. 24 and XII, 3, 36 the performance indicated in the mantra is made, i.e. the sruk is placed upon the altar (Sayana, srukain vedyâm sâdayet).
a. The feminine hástam is an opportunist formation, made to suit the feminine srúkam. Some MSS., the Paippalåda, and Sayana read hástam, a facile emendation which is, however, discredited by the universal reading dvitîyâm.
Stanza 25. Kaus. 63, 3: Four descendants of the Rishis who know the Bhrigu-Angiras texts (i. e. the Atharvan writings) are seated. Såyana, âsane upavesayet. Cf. also Kaus. 65, 13.
b. Sâyana, punar etån pra sîda prápnuhi. This meaning of pra sad is not well authenticated: perhaps "favour them' is the true sense.
Stanza 26. Not rubricated in the Kausika, but Sayana, in the introduction, supplies the action, katura arsheyân ritvigo yagamâna ähvayet. Not so, however, in the commentary upon the text, suhava sobhanâhvâna patni årsheyân ... punalpunar ähvayami. Whitney, in the Index Verborum, regards suhávå as instrumental with efficient call,' at III, 26, 6; VII, 47, 1; 48, 1, in addition to our passage. But if we
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compare AV. VII, 48, 1 with its parallel in RV. II, 32, 4, râkẩm ahám suhávâm (so RV.; suhávâ, AV.) sushṭutî huve, it seems hard to refrain from emending suhávâ in our stanza to suhávám = suhávân. This we have done, supported further by RV. VII, 44, 2; 82, 4; 93, I; X, 141, 4.
COMMENTARY.
Stanza 27.
Kaus. 63, 4: The action indicated in the stanza is performed. Sâyana, teshâm ritvigâm hastaprakshâlanârtham udakam dadyât. The stanza is nearly identical with VI, 122, 5; cf. also st. 17, and X, 9, 27.
Stanza 28.
Kaus. 62, 22: With stanza 28 and XII, 3, 50 he places gold upon the porridge (Sâyana, odane hiranyam nidadhyât). Kaus. 63, 5: With Pâda b and XII, 3, 53 he sets it aside (? Sâyana, îshat karshayet).
a. For the relation of light and gold, cf. I, 9, 2.
b. For pakvám kshétrât, cf. vrikshám pakvám, RV. III, 45, 4; pakva sakha, RV. I, 8, 8.
Stanza 29.
Kaus. 63, 6. 7: With Pâda a the chaff is poured into the fire (Sâyana, agnau tushân guhuyât). With Pâda b the refuse is swept aside with the left foot. The precise difference between túsha and kambika is not clear. Sâyana glosses the former by, brahmaudanârthatandulebhyah prithakkritân; both Kausika and Sâyana render kambuka by phalikarana. These indications we have followed. The fire obtains the more valuable and nutritious part of the refuse; Nirriti, the goddess of destruction, has the refuse pushed to her as a sop, uncannily, with the left foot.
Stanza 30.
Kaus. 63, 19. 20: Either with the entire hymn, or with the part of it that begins here, he first anoints the porridge with the dregs of ghee. Cf. especially st. 31.
a. I have taken the words sramyatah &c. as genitives
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singular, dependent upon viddhi. See Delbrück, Altindische Syntax, p. 159. Sâyana, as accusatives plural: dîkshårupam tapas tapyamânân, &c.
Stanza 31.
Kaus. 62, 15-17: With the first hemistich of our stanza and XII, 3, 45 he makes a cavity (for ghee) on the top of the porridge (Sâyana, gartam kuryât). The stanza is varied by substituting the word brahman for adhvaryo, if a priest other than the Adhvaryu is addressed. With the second hemistich of each of the two stanzas he floods the porridge with ghee.
Stanza 32.
For purîshinah Sâyana quotes to the point Tait. S. II, 6, 4,3 pragâ vai pasavah purîsham, pragayai-vai-nam pasubhih purîshavantam karoti. Cf. sts. 26 a, b; 25 d.
XI, 2.
COMMENTARY TO PAGE 155.
The hymn is addressed to Rudra (Siva-Agni), under the large variety of names or embodiments (mûrti) customary with that divinity. These vary from seven to nine in number, most of which, namely Rudra, Bhava, Sarva, Pasupati, Ugra (cf. also the word ise in st. 27, as reflecting the name Isâna 1), occur in the hymn either as full proper names, or as standing epithets. Connected lists of these names occur frequently, e. g. AV. XV, 5; Våg. S. XXXIX, 8.9; Kaush. Br. VI, 2 ff.: Sat. Br. VI, 1, 3, 10-17; Sânkh. Sr. IV, 18,5; Kaus. 51, 8; Pâr. Grih. III, 8, 6; Åsv. Grih. IV, 8, 19; Hir. Grth. II, 8, 6. 7; Mârkandeya-purâna, 52, 2 ff. cf. Weber, Ind. Stud. II, 302; XVII, 130; Omina und Portenta (Royal Academy of Berlin, 1858), p. 400 ff; Muir, Original Sanskrit Texts, IV2, 343, 403 ff.
The hymn is a prayer to Rudra, in his various aspects,
1 Sâyana cites the following versus memorialis: sarvam pasupatim ko gram rudram bhavam athe - svaram, mahâdevam ka bhîmam ka.
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for protection and mercy, and it is rubricated, accordingly, at Kaus. 50, 13. 14 in the course of the performances of a merchant who starts out upon his business. See the introductions to the hymns III, 15; VI, 59; and 128. Further, in a performance undertaken by a traveller in a lonely place, at Kaus. 51, 7 ff., and again, when an ominous bird of prey holding flesh in its beak alights, Kaus. 129, 3 (cf. stanzas 2, 24 of the hymn). See also Vait. Sû. 29, 10. The hymn figures also in the raudragana of the Ganamâlâ, Ath. Paris. 32, 17. It has been translated by Muir, Original Sanskrit Texts, IV2, 335 ff., and Ludwig, Der Rigveda, III, p. 549 ff.; cf. also Bergaigne et Henry, Manuel Védique, p. 157 ff.
Stanza 2.
The metrical tradition of the stanza is corrupt: avishyavah at the end of the first hemistich seems to belong to Pâda c, which ends at pasupate. Accordingly our translation. Sâyana, in Pâda b, reads, pampering his etymology, aviklabebhyah, and glosses, viklabâ adhrishtâh kâtarâs tadviparîtebhyah, 'to those who are the reverse of viklaba (cowardly),' i. e. 'bold;' cf. the note on XI, 9, 9.
Stanza 3.
Sâyana, ropayah ropayitryo mohayitryas tanvah. Cf. V, 30, 16, and Rudra's relation to diseases in st. 22. The epithet 'thousand-eyed' accentuates the relation between Rudra and Agni; see the note on IV, 20, 4.
Stanza 4.
One is tempted to emend antarikshâya in Pâda d to antarikshât, 'from the atmosphere reverence be to thee.' The change of the ablative to the dative may be due to st. 5 d, pratîkînâya te námah.
Stanza 7.
c. The MSS. read unanimously ardhakaghâtínâ, but there is no Ardhaka to slay. Sâyana, 'he whose habit it is to slay half of the (hostile) army,' an insipid pis-aller.
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A demon by the name of Andhaka is in the epics a familiar victim of Siva, who is styled andhakaghatin in Mahabhârata XII, 10356, and Siva is the later representative of Rudra. The Paippalada reads adhvagaghatin, 'the slayer of the wayfarer.' This suits admirably, since the hymn is intended as a prayer for protection against the dangers of a journey; cf. st. 4, and the practices (in the introduction). But its very suitableness lays it open to the suspicion of being an easy reading which shirks the difficulty involved in the less familiar ardhaka (andhaka).
Stanza 11. For the last Pada, cf. XI, 9, 7. 14; 10, 7, and our Contributions, Second Series, Amer. Journ. Phil. XI, 339 ff. The female mourners indicate, of course, the presence of death.
Stanza 12. b. The MSS. read sahasraghním, -ghnyám, and -ghní. The vulgate has adopted the impossible -ghním; Sayana, -ghnyám; and Shankar Pandit, -ghnf. We have translated the latter, as a locative singular from -hán, with háste, understood.
Stanza 18. Cf. X, 1, 26; Sat. Br. XIV, 4, 2, 18: padanî means 'tracking the steps,' not 'leading the steps' (Pet. Lex.), as may be seen especially in the passage of the Sat. Br., where vindate is the synonym of nî.
Stanza 14. b. The text has karato, not karatho : change the construction accordingly to the third person.
Stanzas 16, 17. St. 15 is formulaic: see, e.g. XI, 4, 7. St. 17 is rubricated in Ath. Paris. 33, 3.
Stansa 18. In the epic literature, Kesin is a demon slain by Krishna. In RV. I, 164, 44, three Kesin are mentioned: they are Agni, Surya, and Vayu; further, RV. X, 136 is a hymn to
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Kesin, the sun, typified as a solitary hermit (muni); see Contributions, Third Series, Journ. Amer. Or. Soc. XV, 167. Possibly the chariot of the sun is the object of Rudra's attack. The entire stanza may, however, be taken differently: ‘The crushing chariot of the long-haired (kesin, i.e. Rudra)... we approach first.' Sâyana advocates the construction which we have put into the text.
Stansa 24. Cf. XII, 1, 49. 51. In Pada a, váne may be a metrically superfluous gloss suggested by aranyáh. In Pada c, yakshám is not quite clear : "thy spirit,' or 'thy reflection, image.' Såyana adopts the hackneyed etymological explanation of the word, pügyam svarðpam.
Stanza 25. 2, b. Såyana, simsumâra is a kind of crocodile, agagara a kind of serpent, pulîkaya and the rest varieties of water animals.' The last word occurs in the form pulîkaya at Maitr. S. III, 14, 2 (between matsya and nåkra); in the corresponding passage, Våg. S. XXIV, 21, in the form kulipaya (Mahîdhara, galaga), and at Tait. S. V, 5, 13, 1 in the form kulikaya (commentary, bahupân matsyaviseshah). For the interchange between gutturals and labials, see Contributions, Sixth Series, Zeitschr. d. Deutsch. Morgenl. Gesellsch. XLVIII, p. 557, note? For the obscure ragasa (Padapatha, ragasah) Sâyana reads ragasâ (åtmiyena tegasa).
d. Many MSS. sárvån. Sayana with some MSS. reads sárvam for sárvân, the obviously correct form which we have in the vulgate.
Stanza 26. Though Rudra here threatens men with poison, he is elsewhere reported as himself drinking it. So clearly in the Bhagavata-purana X, 31, and apparently also RV. X,
1 Add the following possible cases of the correlation of gutturals and labials: riph=rikh; stupa=stuka; and cf. kapukkhala, 'backhair' (cf. Lat. caput), with kakubh, kakudh.
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136, 7, if we take visha in its ordinary sense. The translators here generally render it by 'water, fluid' (cf. st. 1 of the same hymn). See Muir, 1. c., IV', pp. 50, 320.
Stansa 27. o. The vulgata reads tásyai. This is corrected in the Index Verborum to tásmai. Some of Shankar Pandit's MSS. now exhibit this obviously correct reading, which is also the basis of Sâyana's comment.
Stanza 28. c. Parallels to this interesting passage, together with a valuable discussion of the position of sraddha, 'faith,' in the Veda, are presented in Ludwig's work, Der Rigveda, III, 263 ff.
Stanza 29. b. The stanza is repeated, RV. I, 114, 7; Våg. S. XVI, 15; Tait. S. IV, 5, 10, 2; the second Pada appears there in the more desirable form, má na úkshantam utá má na ukshitám, do not cause injury to our growing and grown up (children).' The Atharvan reading seems to be due to a misunderstanding of the meaning of the root uksh, as being derived from vah, 'carry. Sảyana, bhâravahanakshamam madhyavayaskam, the middle-aged man capable of carrying burdens,' and vakshatah (1) kritavahanavyâpårân. Ludwig, der uns faret ... die uns faren werden. Our own translation is a makeshift.
Stansa 30. b. The Pet. Lexs. and Muir translate asamsaktagilébhyah by 'devouring unchewed food.' We with Sayana and Ludwig.
XI, 4. COMMENTARY TO PAGE 218. In the Upanishads, prâná, ' breath,' is frequently identified with brahma and atmán. See, e.g. Kaushitaki Up. II, 1, 2 ; III, 2; IV, 20; Tait. Up. III, 3. Very frequently Agni and Sarya take the place of these abstractions, e. g. Maitri
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Up. VI, 1. 5. 9.33; Prasna Up. I, 5. 7. 8; II, 8. Prâna is the personified breath of life, itself at the base of all existence (Katha Up. VI, 2), and fits naturally into the system of monotheistic-pantheistic thought which from the earliest beginnings of Hindu literature runs in a parallel current with polytheism. A noteworthy feature of this hymn is the predication to Prâna of the qualities of a raingod (Parganya). As such he quickens the life of plants and animals, and the account of this action of his is pursued with a great deal of detail and repetition. Equally remarkable is the outspoken identification of Präna in sts. 21 and 22 with the sun in the form of the hamsá. This is a roundabout way of saying that prâná (åtmán) is identical with brahma, brahma. See Muir, Original Sanskrit Texts, V, 393 ff.; Scherman, Philosophische Hymnen aus der Rigund Atharva-veda-samhita, p. 69 ff., each of whom offers a partial translation.
In the ritual of the Atharvan the hymn figures as an ayushyam (sc. saktam), 'bestowing long life,' and therefore forms a part of the ayushyagana in the Ganamala, Ath. Paris. 32, 4 (see Kaus. 54, II, note). Cf. also Kaus. 139, 7. At Kaus. 55, 17 it is employed in the course of the investiture of the disciple with the holy cord; at Kaus. 58, 3. II in certain special ceremonies (brahmanoktam and rishihastah, Sa. 4), calculated to ensure longevity. The last stanza of the hymn is in our opinion constructed with this purpose directly in view : see the note on the passage. Cf. also Santikalpa 15, 19".
Stanza 2. The four component parts of a storm are wind, thunder, lightning, and rain; see our Contributions, Sixth Series, Zeitschr. d. Deutsch. Morgenl. Gesellsch. XLVIII, 569–70, and cf. especially the vâyú krandadishti, 'the wind hastening along with clamour' (RV. X, 100, 2). We have therefore assumed that kránda is the wind, 'the roarer,' par excellence. See also st. 15.
* Erroneously quoted by Sâyana as Nakshatrakalpa.
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Stangas 5, 6. Cf. Prasna Up. II, 10: When thou, O Prana, sprinklest the rain, then are these creatures full of joy ; (they think): “ food shall we have according to wish.”. Prâna here, as elsewhere in this composition, approaches closely to the character of Parganya ; see the hymn, RV. V, 83. For st. 5, cf. st. 17.
Stanza 7. The verse is formulaic; see, e. g. XI, 2, 15.
Stanza 11. Sâyana, 'by his going out he causes the death of all living beings.' For Påda b of this and the following stanza, cf. the similar sentiments assembled by Scherman, l. c., pp. 35, 59.
Stansa 18. The epithet anadván, ‘ox, suggests AV. IV, 11, where supreme divine power is attributed to an ox. See Muir, Original Sanskrit Texts, V, 399, and Jacob's Concordance, S. v. anaduh.
Stanza 18. In the ritualistic literature the terms atharvana and angirasa are differentiated, so that the former means "holy,' being the equivalent of sânta, while the latter means 'pertaining to sorcery,' being the equivalent of abhikârika. Cf. Kaus. 47, 2. 12 ; Vait. Sa. 5, 10; Gopatha-Br. I, 2, 18; Rig-vidhâna IV, 6,4. See Journ. Amer. Or. Soc. XI, 387 ff.; Amer. Journ. Phil. XI, p. 332, note; and the introduction to the present work. Especially in the passages quoted from the Vaitana-sätra and the Gopatha-Brâhmana this distinction is expressed clearly, and there seems to be no good reason to doubt that the writer here has it in mind. For angirasih (sc. oshadhih), see also AV. VIII, 5, 9; 7, 17. 24. Cf. also XIX, 39, 5.
Stanza 21. Sâyana explains hamsá, alternately, as either the sun, or breath. The latter, if it withdraws from man, produces
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death, and consequently annuls all distinctions of time. There can be no doubt that the former is the correct interpretation. The stanza contains a blend of two personifications of the sun. As hamsá the sun figures at AV. X, 8, 17; XIII, 3, 14; Tait. År. II, 15, 8; Tait. Br. III, 10, 9, 11'; cf. the words hamsa and paramahamsa in Jacob's Concordance to the principal Upanishads. The second conception of the sun underlies Pada a; it is that of the aga ekapad, or ekapada, for which see Roth, Yâska's Nirukta, Erläuterungen, p. 165; Bergaigne, La Religion Védique, III, p. 20 ff.; Henry, Les Hymnes Rohitas, p. 25. We would refer any one that doubts that aga ekapad is the sun to Tait. Br. III, 1, 2, 8, 'Aga Ekapad has risen in the east, delighting all beings. At his urging (prasavam) all the gods go,' &c.
Stanza 22. Såyana again suggests that the human body, with breath as the dominating force, is the subject of the stanza. The human body, consisting of skin, blood, and six other elements, is eight-wheeled, and held in position by one felloe, breath. Doubtless, the sun is again presented mystically. At AV. X, 8, 7 (cf. Muir, 1.c., I, 9; Ludwig, Der Rigveda, III, 395) the stanza occurs with the variant ékakakram for ashtákakram. In this form it is obviously a continuation of st. 21: we are at a loss to explain the mystic thought which underlies the change of eka to ashtà ; cf. ash tấkakra in AV. X, 2, 31. The stanza posits a theosophic riddle (brahmodya ; cf. Journ. Amer. Or. Soc. XV, 172 ff.); the second hemistich recurs in a different connection at AV. X, 8, 13.
Stanzas 24-26. The last three stanzas impart to the hymn the character of a conjuration, in accordance with its employment in the Kausika. See the introduction. In the last stanza apám gárbha is 'fire' (cf. RV. I, 164, 52; Tait. S. IV, 2, 3, 3), either the fire in the body, or, perhaps more probably, the fire of which the Brahman disciple takes care. See Sankh. [42]
SS
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Grih. II, 10; Åsv. Grih. I, 20, 1C-21; Par. Grih. II, 4, 1 ff.; Gobh. Grih. II, 10, 46.
XI, 5. COMMENTARY TO PAGE 214. This hymn has been subjected to the treatment of a number of prominent scholars : see Muir, Original Sanskrit Texts, V, 399 ff.; Ludwig, Der Rigveda, 111, 452 ff. ; Scherman, Philosophische Hymnen aus der Rig- und Atharva-veda-Samhità, p. 84 ff. ; cf. also Bergaigne et Henry, Manuel Védique, p. 161 ff. Neither of these scholars seems to us to state quite correctly the origin of this peculiar type of speculation. In our Contributions, Third Series, Journ. Amer. Or. Soc. XV, 167 ff., we have endeavoured to show that RV. X, 136 contains the glorification of the sun as a muni, a solitary ascetic: the present hymn may be understood best from a similar starting point. The sun, who contributes elsewhere many of his qualities to the speculations regarding the primeval principle of the universe, is here for the nonce imagined as a Brahmakârin, a Brahmanical disciple, engaged in the practice of his holy vows; next, by an easy transition, all the functions and powers of the Brahmakârin are made the basis of a momentary cosmogonic and philosophical account of the origin and existence of the universe. This allegory is carried out with all the feeble consistency that characterises Hindu speculations of this sort, and the more gladly so, as it offers a good opportunity for the apotheosis of Brahınanism, and the Brahmanic caste. The purely physical qualities of the sun peep out in a variety of stanzas, especially 1, 5, 6, 11, 23, and 26. Cf. the manipulation of the first stanza at Gop. Br. 1, 2, 1.
Stansa 3. Sâyana fitly quotes Âpastamba's Dharmasútra, I, 1, 1, 15-17. Cf. also Gautama 1, 8; Vishnu XXX, 44-45; Vasishtha II, 3-5; Manu II, 146-8. See also Kaus. 55, 18, note; Sat. Br. XI, 5, 4, 12.
Stanza 4. It is not easy to differentiate the synonyms prināti and
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piparti at the end of the two hemistichs. Sâyana, prināti parayati ... piparti purayati pâlayati vå. Ludwig and Scherman render piparti by fördern.'
Stanza 6. 0. This Pâda is peculiarly suggestive of the sun : cf. RV. X, 136, 5. In the preceding Pada the apparently trivial dîrghásmasruh, 'with long beard,' probably refers to the rays of the sun.
Stanza 7. For the identification of the brahma, or some kindred primeval principle, with Indra, cf. AV. X, 7, 29 ff. See also stanza 16.
Stanza 11. The two Agnis are explained by Sayana, correctly, we believe, as the fire of the sun and the terrestrial fire, eko sgnih anudyatsäryatmako vartate, aparah pârthivosgnih prithivyâ upari vartate. And further : 'The combined rays of this (terrestrial) fire and the sun, exceedingly strong in their fusion, expand upon heaven and earth.'
Stanga 12. Sayana regards Varuna (cf. stanzas 14, 15) as the subject of the first hemistich, abhikrandan ... megheshu stanitain gargitam kurvan syatingah (i Shankar Pandit; the MSS. have syamtigah) syetavarnam galapärnam praptah evambhůto varunah. There is no reason for thus separating the two hemistichs. Såyana is squeamish about endowing a Brahmakârin with a brihák khépah; but he enacts here the role of Pragàpati, and the predication of a penis is as natural as that of the more commonplace semen (rétas).
Stanza 13. d. Ludwig, ihr âgya ist der mensch, regen und wasser.' We have translated with Sayana. Cf. RV. X, 51, 8, ghritám kas pám púrusham kaússhadhînâm, which carries the note of a vague relationship with our passage, but does not remove the obscurity.
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Stanza 24. For bráhma bhrágat (again the sun), cf. Kaus. 97,8 (p. 253).
XI, 6. COMMENTARY TO PAGE 160. The hymn is rubricated, Kaus. 9, 2. 4, in the two so-called såntiganas (cf. Ath. Paris. 32, 26. 27). These are lists of purificatory hymns and stanzas, employed especially at the preparation of the sântyudaka, 'holy water' (Kaus. 9, 8 ff.). According to the Ganamåla, Ath. Paris. 32, 32 the hymn, with the exception of stanzas 7, 9, 22, and 23, which strike a different key, is a member of the amholingagana, a list of stanzas characterised by the presence of the word amhas, misfortune, calamity;' cf. Kaus. 32, 27. The chief interest of the hymn lies in the clear and fairly complete presentation of the pantheon of the time. This is very much on the plane of the Yagus-texts and the Brahmanas.
Stanza 9. For the group of divinities addressed in this stanza, see the introduction to XI, 2.
Stanza 14. For the use of the word bheshagấni as an equivalent of holy 'Atharvan charms, cf. Sankh. Sr. XVI, 2,9; Åsv. Sr. X, 7, 3; Pañk. Br. XII, 9, 10. See the introduction to the present volume.
Stanza 16. Zimmer, Altindisches Leben, p. 72, assumes that saha is the designation of a plant, and this view may be supported from the Hindu lexicographers. In the Index Verborum the word figures under the stem sáhas. Our rendering implies the adjective sáha, 'mighty.'
Stanza 17. The entire stanza and certain turns of its expression are formulaic; see III, 7, 9. 10, and cf. the Pet. Lex. under ártavá.
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Stangas 18, 20. The two are identical, except that sárvån and sárvabhih are substituted in 20, for vísvân and visvâbhih in 19. Cf. Kaus. 56, 13; 74, 3.
Stanza 23. The little story (akhyâyikå) here alluded to is not, to our knowledge, illumined by the rest of the literature. Matalî is mentioned once more, RV. X, 14, 3, in a totally different connection. Cf. Kaus. 58, 25, and Kausika, Index D, under the stanza.
XI, 7. COMMENTARY TO PAGE 226. The Vedic writings are extremely shifty in assigning to a first cause the creation and maintenance of the universe, in the course of their cosmogonic speculations. There are purely philosophical abstractions like sat (being) and asat (non-being), tad (that), eka (the only); cosmic forces like brahma, kåla (time), kama (love), prâna (breath); and personal creators like Pragâ pati, Purusha, Visvakarman, Hiranyagarbha, and Parameshthin. But further, in the course of the speculations of the Brâhmanas, universal or special cosmogonic power is attributed to all sorts of trivial circumstances, even down to the special features and implements of the sacrifice. The priestly power (cf. XI, 5), and the priestly activity, are made to stand for the cosmic force with which they aim to establish relations. Sâyana is quite right, therefore, in correlating the present hymn with such a statement as is made in Tait. Br. I, 1, 9, I (cf. also Mait. S. II, 1, 12), where divinities are born of the leavings of the brahmaudana (see XI, 1; XII, 3) which had been eaten by Aditi. The hymn is nothing but a momentary symbolic transfer of the divine, or pantheistic attributes to a certain ritualistic feature made prominent for the time being. The writer knows that he is simply transferring his most fulsome cosmogonic conceptions in order to accentuate a to him important ritualistic act, the consumption of the leavings of the sacrifice. The veil is thin; everything
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that is said here fits the brahma, or some other embodiment, and Sâyana boldly establishes the equation ukkhishta
brahma. Accordingly, too, in at least two stanzas (15, 16) the úkkhishta is personified as the masculine úkkhishtas, quite in the manner of the relation of the neuter bráhma to the masculine brahmán. We may note, however, that the road for this drastic transfer is opened in a measure by the philosophical position of the word anna, 'food.' This is a prominent link in the chain that unites man to the universe. See, e.g. Tait. Up. III, 3, and the stately array of passages in Jacob's Concordance to the principal Upanishads, s. v. The interest of the hymn lies rather in the attempt which it makes to exploit exhaustively the chief concerns of Brahmanical existence and belief. Except for its metrical form it belongs to Brâhmana literature. See Muir, Original Sanskrit Texts, vol. v, p. 396 ff., and Scherman, Philosophische Hymnen aus der Rig- und Atharva-veda-Samhitâ, p. 87 ff., where partial translations of the hymn are essayed.
HYMNS OF THE ATHARVA-VEDA.
Stanza 3.
d. The translation of Pâda d is mere guess-work. Since vrá means throng,' drá would seem to mean the converse; cf. the root drâ, 'run:' 'that which is assembled and that which is scattered,' i. e. 'that which is confined and that which is free,' or the like. Sâyana, vrah vârako varunah drah drâvakah amritamayah somah. The difficulty is increased by the appearance of another mystic monosyllable, nyáh in st. 4 a. The Pet. Lex. suggests that all three are artificial abbreviations.
·
Stanza 4.
a. This Pâda is again nearly hopeless. The vulgate reads drimha sthiró, and Whitney in the Index Verborum classifies drimha as an imperative. But an imperative is out of place in this hymn which is throughout descriptive. Shankar Pandit with the Padapâtha and Sâyana reads drimhasthiró as a compound (Sâyana, drimhanena sthirîkrito lokah). I have thought of dridhadrimhá(h), 'he who fastens that
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which is firm :' it is a mere guess. Cf. bhūmidrimhá, V, 28, 14; XIX, 33, 2. Sâyana glosses nyál by netârah,
leaders,' but we should then at least expect nyah with the circumflex. I have preferred the singular; cf. vráh and dráh in 3 d.
Stanza 5. Information regarding the great variety of terms connected with the liturgy and the sacrifice in this and the following stanzas is to be obtained every time from the Pet. Lex. For this stanza, cf. Ludwig, Der Rigveda, III, 25. For the obscure expression tán máyi in Pâda d, cf. sts. 12, 14, and srir máyi in st. 1.
Stanza 6. The beginning of the mahânâmnî-verses is given by Såyana, as follows: vidå maghavan vida gâtum anu samsisho disah (Ait. År. IV, 1). Cf. Proc. Berl. Acad. 1868, p. 244.
Stanza 11. b. The expression ubháyah sahá has been rendered, not without grave misgivings, upon Sayana's authority, ubhaya ity anena katûrâtrâdînâm dvigunitatvain vivakshitam.
Stanza 14. Three earths and three heavens are mentioned frequently; see Muir, Original Sanskrit Texts, vol. v, p. 304 ff., and the note on IV, 20, 2. Nine are unique.
Stanza 19. According to Såyana the mantras called káturhotarah are Tait. Ar. III, 1-5. Cf. the Pet. Lex. s. v.
Stanza 21. d. We have followed Sâyana, who reads samsritâh sritàh. The error which extends to the Padapatha seems to be due to the singulars áhitâ nihitä hita at the end of the next stanza.
XI, 9. COMMENTARY TO PAGE 123. Arbudi and Nyarbudi, two divinities, friends of Indra (indramedinau, sts. 4 and 18), are implored to help in battle, and destroy the enemy. These two are associated
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in XI, 9, and especially XI, 10 with a third, Trishamdhi, •Three-joints,' who is evidently the personification of a three-jointed weapon (vágrena trishamdhinâ in XI, 10, 3 and 27). Cf. the trishamdhi ishu, or the trikânda ishu, 'threejointed arrow,' in Ait. Br. I, 25, 5; III, 33, 5; Sat. Br. II, 1, 2, 9. Further, the employment of the two hymns (XI, 9 and 10) in the Kausika renders it possible to assume that all three divinities are personifications of peculiar weapons, or machines employed in the rough warfare of the time. The warlike practices in question (Kesava and Sayana, gayakarmâni) are described, Kaus. 16, 21-26, as follows:
21. 'With the two hymns, XI, 9 and 10 (the king's chaplain, the purohita), exhorts (the warriors) in accordance with the indications (of the hymns). 22. For sacrifice he employs “speckled gheel." 23. He next performs the practices which end with the act of handing over (the bow), and the practices of scattering (snares and traps in the way of the enemy). 24. Along with the scattered (snares, &c.) he places three-jointed weapons (trishamdhini), weapons that have the form of bolts (vagrarûpâni), and weapons that have the form of arbudi 3. 25. A white-footed (cow) is anointed with the dregs of ghee and fastened with a rope of darbha-grass to the staff which serves the king to rest upon (?). 26. A second (white-footed cow) is driven (toward the enemy).' The last two Sûtras bristle with
1 CF. XI, 10, 19, Speckled ghee' is ghee mixed with sour milk. See the Pet. Lex. s. v. prishadâgya.
• They are given in detail, respectively at Kaus. 14, 8-11 (cf. the introduction to VI, 97), and 14, 28-9.
: Dârila : The trishamdhîni are for cutting (khedâya), the vagrarûpâni are for breaking (bhedâya), the arbudirûpâni are for bringing to fall (pâlâya). To these vague statements may be added the following, vagrarûpâni pâmduramgakapalakartrikâ shashtikatushkam arbuder eva rûpam yeshâm vartulâni. And further all are made of brass, all are tied with ropes.' They would seem to be destructive instruments placed in the way of the enemies' attack. Sâyana explains trisamdhîni (!) as lohamayâni pâtrâni, 'brazen vessels.' Kesava offers nothing of consequence.
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difficulties. Såyana says sitipadim gâm, 'a white-footed cow,' but Darila at Kaus. 14, 22 (cf. AV. III, 19) has meshim, a white-footed she-goat.' At AV. XI, 10, 6 (see the note on the passage, and cf. also XI, 10, 20) a white-footed, four-footed arrow is spoken of; this seems to indicate that the white-footed animal is let loose as a symbolic arrow, to find its way into the camp of the enemy (scape-goat?): in this way Sútra 26 obtains sense. Further, the word upasānga is obscure. We have translated tentatively and doubtfully according to Darila's indication, visrâmanârthordhvagadandah; Kesava has simply rågño (Cod. rågñå) dandah ; Sayana, ' rågñas kihnitaketudande rahasyam badhniyât, he shall secretly tie (the cow) to the staff of the characteristic banner of the king.' The Pet. Lex. assumes for upâsanga the meaning 'vicinity,' but the word ordinarily means ' quiver.' Is there a 'staff of the quiver?'
We have no information in the Veda itself regarding Arbudi and Nyarbudi, aside from this and the next hymn. Sâyana says that they were serpents (see st. 5), the sons of that Serpent-Rishi Arbuda (Kådraveya, the son of Kadru), to whom tradition ascribes the composition of RV. X, 94 and 175; cf. Åsv. Sr. V, 12, 9. 23; X, 7. Four words are concerned in the elucidation of this matter, arbudá (arbuda), and nyarbuda, árbudi and nyårbudi, and their manifold meanings do not bridge over to our subject with any degree of firmness. Only one point I would suggest : the forms with the prefix ni are in all probability the result of a verbal misconstruction. Arbuda in the Rig-veda is a demon-serpent whom Indra is bound to slay. At RV. II, 11, 20 we have ny árbudam vâvridhânó astal, 'thou (Indra),having waxed mighty, didst prostrate Arbuda ;' similarly VIII, 32, 3, ny árbudasya vishtápam varshmấnam brihatás tira, pierce the high resting-place of great Arbuda;' cf. also I, 51, 6; II, 14, 4. I believe that nyàrbuda and nyàrbudi owe their intrinsically meaningless prefix ni to such verbal juxtapositions which could be easily misunderstood. A still greater curiosity is the friendly relation of Arbudi and Nyarbudi, as ancillary war-gods, with Indra, notwith
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standing Indra's hostility to Arbuda in the RV. Note also the apparent epithet of Indra, nardabuda, at TS. III, 3, 10, 1. Whether it is in any way connected with this cycle of ideas it is impossible to say.
The present hymn has been translated by Ludwig, Der Rigveda, III, 530-1.
Stanza 1. Såyana, Make manifest to the enemy our equipments for battle, so that fear shall arise in their minds. For udårán Sâyana proposes either demons in the air,' udgatan antarikshakarân rakshahpisâkâdîn, or fiery portents,' süryarasmiprabhavâ ulkadaya antarikshyå utpåtah. For amltrebhyah Ludwig proposes a different construction, 'make all that visible with the enemy,' i. e. may their weapons and plans not remain hidden from us !
Stanza 2. 6. For the construction of this Pâda (repeated in st. 26 c), cf. Delbrück, Altindische Syntax, p. 106.
0, d. The Padapatha reads sámdrishtà and gupta, neuters plural in agreement with mitráni. Såyana comments upon sámdrishtah and guptah, supplying 'warriors' with it: this does not change the sense. Ludwig, erblickt soll euer verborgenes werden, so vile unsere freunde sind, o Arbudi.' For the eliptic vocative singular, arbude, cf. stanzas 3 and 11.
Stanga 5. d. The word bhogébhih, 'with (thy) curves,' would seem to indicate that Arbudi is primarily a serpent; cf. RV. VI, 75, 14 ; Tait. S. II, 1, 4, 5. 6; V, 4, 5, 4. But it may also refer to some snare-like machine, similar to a serpent. Sayana, sarpasarîraih pariveshtaya.
Stanza 7. For women as mourners over the dead, and their conventional practices, see our essay on the subject, Contributions, Second Series, Amer. Journ. Phil. XI, 336 ff. Our
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explanation of kridhukarni, . with short (mutilated) ears,' is very doubtful, and on p. 340 of the essay just quoted I have asked whether the entire stanza does not perchance refer to demons of the battle-field. I do not place great confidence in Sâyana's naively ingenious explanation of kridhukarnî by short-eared, because all ear-ornaments have been removed.' Ludwig is relieved by making a proper name of the word.
Stanze 8. 8. The Pâda is problematic : our translation implies that the women, berest of their relatives who have fallen in battle, sit in a bent attitude longing for their lost kin. It would be possible to imagine another situation : with bent back the women who miss their relatives seek them on the battle-field, where Arbudi has pierced them. Sâyana offers nothing usable. Ludwig's translation is not clear,
die abreisst den rückenwirbel, während sie im geist den sohn sucht,' &c.
Stanza 9. Såyana presents futile etymologies for allklava' and gâshkamadá. Pada d, amitreshu samîkshayan is cut of construction, and superfluous: samîkshayan is in reality the nominative singular masculine of the participle (as in st. 6 b). The expression has assumed the character of a refrain (cf. stanzas 11 and 25), and is similar to the equally formulaic amítrebhyo drisé kuru, in stanzas 1, 15, 22, and 24.
Stanza 12. 0. Sâyana reads arugrâhaih (ûrûnâm grahanaih), and bâhuvankaih (bahunå vakrabandhanaih), i. e. 'with thy thighs and arms.' The parallelism is noteworthy, and Uru- may be the correct reading. Conversely, of course, Sâyana may have accentuated an incidental parallelism.
aliklabâh visishtaklaibyayukta viklabâh tadviparîtâ aliklabâh, viklabas are creatures afflicted by extraordinary impotence;' the converse of that are aliklabas (!); cf. the note on XI, 2, 2.
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Stanza 14. Cf. the essay quoted in the note on stanza 7 (especially p. 340, note). For pataúrâv of the vulgata, Shankar Pandit, following Sâyana and some MSS., has substituted patûrâv. Sâyana on Pâda b, urah vakshahsthalam patûrau tatpradesau (ka) âghnânâh. Here, doubtless, belongs too pâtûra in Tait. S. V, 7, 21, 2; 22, 1, a designation of a part of the body, described by the commentator as 'ribs in the back.' The translation of the dr. dey. aghårsnih in Pâda c is that of the Pet. Lex., and purely etymological. Sâyana, distressed by the grief due to the loss of their husbands' (aghena . . . årtah).
Stanza 15. a, b. All the matter pertaining to the female demons is extremely problematic. Såyana takes svánvatîh literally, 'accompanied by the dog Sårameya as a playmate.' He explains rūpakâh as 'ghostly armies which by the force of magic are perceptible in outline merely' (mâyâvasat kevalam rûpa måtrena upalabhyamânâh senârûpakâh). The word růpaka suggests the root rup, 'injure;' cf. XI, 2, 3.
0, d. Sâyana garbles his text, and comments as follows, pâtre antah madhye rerihatim punah-punar lihatim durnihitaishimim dushanikshiptam ikeantim vasân (!) gâm.
Stanza 16. a. Our rendering of khadŲre reflects simply our own and Sâyana's perplexity, důrabhatam kham khadúram (!) åkåse dûradese.
Stanza 22. Much in this is obscure and bizarre. Sâyana does not help much, except that he agrees with the Pet. Lexs. in reading -våsinal for -vásinah in Pada d ; see bastavasinah for bastavâsínah in VIII, 6, 12, and cf. V, 20, 2 b. Accordingly our rendering. The entire stanza seems to depict a blend of a human and demoniac army (das wilde heer'), altogether fit to strike terror into the heart of the enemy.
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Stanza 23. Sâyana: 'Trishamdhi is a certain god who routs armies, or designates a weapon, a club which has three joints;' cf. our remarks in the introduction to the hymn. The natural. istic basis of the quasi-divinity is (Rudra's) lightning.
Stanza 24. Even the trees and other vegetation, as well as animate beings, may exercise their powers to the destruction of the enemy, as is stated unambiguously in the closely parallel stanzas VIII, 8, 14. 15, where the arrangement of the first two hemistichs is a different one. Cf. also Kaus. 73, 5.
Stanza 25. For the loosely construed refrain at the end of this verse, see the note on stanza 9.
XI, 10. COMMENTARY TO PAGE 126. The hymn continues the subject of XI, 9, but the appeals for help to Arbudi and Nyarbudi are subordinated ; Tri. shamdhi is here the prominent figure : his momentous powers are engaged for the destruction of the enemy. For the employment of the hymn in the Atharvanic practices and the meaning of Trishamdhi, see the introduction to the preceding hymn, and the note on XI, 9, 23. It has been translated by Ludwig, Der Rigveda, III, 531 ff.
Stanza 1. For ketú, see the passages and the literature quoted by the Pet. Lex. s. v. 7); Muir, Original Sanskrit Texts, 12, p. 32, note 51. Both Sâyana and Ludwig render the word here, as in stanzas 2 and 7, by 'flag.'
Stanza 2. a, b. The vulgata, depending upon the Padapa tha, construes vedarágyam as a compound, it is difficult to say in what sense. We have taken îsám veda in the sense of a quasi periphrastic perfect (cf. Whitney, Sanskrit Gram
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mar2, § 1070, c). Similarly Sâyana, îsâm veda îsitavyatvena gânâtu (!). The word tríshamdhe is metrically superfluous and grammatically unassimilable: it has been omitted in our translation. At best it must be emended to trishamdhir. The construction of Pâda b is problematic; perhaps it is to be put with what follows, 'may the evil brood, &c., together with the red portents, &c.' The arunah ketávah are personified as evil forces in this hymn; see the matter referred to in stanza 1.
HYMNS OF THE ATHARVA-VEDA.
Stanza 6.
The sense of the first hemistich is extremely obscure. According to Dârila to Kaus. 16, 25, and Sâyana on our passage, the sitipadi is a cow. But this fails to accord directly with the verbs asyati, Kaus. 16, 26, and sám patatu in stanza 20 of our hymn: they point to some missile, an arrow, or the like, and accordingly we have saravyâ in the present stanza. But what is a 'white-footed, four-footed arrow?' We can merely refer back to the solution proposed in the introduction to XI, 9: apparently a white-footed cow is chased as a symbolic arrow into the camp of the enemy. Cf. Kaus. 14, 22 where likewise a sitipadî (Dârila, meshî) is let go (avasrigati, ordinarily employed with arrows). The latter Sûtra evidently relates to AV. III, 19, 8, 'fly forth, O arrow, after thou hast been hurled.' Sâyana reads in our stanza sam patatu for sám dyatu (dîyatu, 'fly'?), and evades the difficult' four-footed arrow by paraphrasing saravya as an adjective agreeing with gaúk, to wit, saravyâ sarûnâm bânânâm samûhah... sarasamhatirûpâ bhûtvâ (gauh) sam patatu satrûn samprâpnotu. This resembles our own tentative explanation.
Stanza 7.
Cf. the notes on XI, 9, 7. 14. Possibly female demons, or spectres rather than mourners are referred to. Sâyana refers dhamakshi and kridhukarni to the army of the enemy; this he supposes to be blinded by magic smoke, and bewildered by the noise of battle (alpasrotrâ patahadhvaninâ hatasravanâsâmarthyâ).
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Stanza 17. Identical with AV. V, 8, 6. See the diverse translations of the passage in Ludwig, Der Rigveda, III, pp. 439 and 532.
Stanza 18. c. The speckled ghee (ghee mixed with sour milk) is embodied in the practices of the Kausika, 16, 22 ; see the introduction to XI, 9.
Stanza 20. Cf. the discussion of sitipadi in the note on stanza 6.
Stanza 22. Sâyana explains ágman as vehicle,' rathadi yânam, which simplifies the sense. In Pâda d he reads, desirably, abhihitah, “bound,' for abhíhatah, 'slain.'
Stanza 25. c. kakagåkrita is år. dey. The Pet. Lexs., etwa 'zerfetzt;' Ludwig,' zerstäubt;' Sayana, kutsitagananå vilolagananâ vâ kritâ.
Stanza 26. 2. Read marma-viddhám. Suparnair is out of construction, and it seems natural to read suparna(1). But the Pada as it stands is hypermetric, and the expulsion of the word leaves a good trishtubh, ending at adantu. Then, to be sure, Pâda b is short by two syllables.
XII, 1. COMMENTARY TO PAGE 199. This hymn is one of the most attractive and characteristic of the Atharvan, rising at times to poetic conception of no mean merit, and comparatively free from the stock artificialities of the Vedic poets. The relation of the real, visible earth to man, animals, and plants preponderates over the remoter mythological and mystic conceptions. The hymn and its individual stanzas are employed in the ritual freely and in a considerable variety of aspects. Its chief use is at the agrahayanî-ceremonies, the concluding ceremonies of the rites devoted to serpents, undertaken on
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the full-moon day of the month Margasîrsha (Kaus. 24, 24 ff.). The so-called dridhikarmâni?,' rites for rendering houses, villages, &c., firm, or well-established' (Kaus. 38, 12 ff.), are also associated with this hymn, which on that occasion goes by the name of bhaumam (sc. sûktam). At Kaus. 98, 3 the hymn is employed in the course of the expiatory practices on the occasion of an earthquake. A considerable number of stanzas are worked up at the bhûsamskåra, the preparation of the ground for the fire-altar (vedi) in Kaus. 137. The Ganamâlâ, Ath. Paris. 32, 5 (see Kaus. 8, 23, note), counts it as one of the vâstoshpatîyâni (sc. saktåni), 'hymns addressed to the genius of the homestead ;' the Atharvanîya-paddhati at Kaus. 19, 1, enlists it among the stanzas that secure prosperity' (pushtika mantral). Cf. also Vait. Sû. 12, 6; Ath. Paris. 10; 41, 1. The uses of single stanzas, or groups of stanzas, will be stated in the notes on the same, below.
The hymn has been translated by Ludwig, Der Rigveda, III, 544 ff.
Stanza 2. Cf. Kaus. 137, 16. This and the preceding stanzas recur Maitr. S.IV,14,11. The reading badhyato in st. 2 a is scarcely tenable, though supported by some MSS. and Kaus. 137, 16. Many MSS. read madhyató, 'from the midst (of men).' The Maitr. S. has asambâdhả ya madhyató månavébhyah. As regards pravátah in 2 b, Prof. Pischel, Vedische Studien, II, 63 ff. (cf. Weber, Ind. Stud. IV, 407), seems to us well justified in claiming that pravát many times means 'river,' (root pru); nevertheless we must assume another pravát (pra-vát) in the sense assumed above, formed like ud-vát, ni-vát, &c. Cf. especially RV. VIII, 6, 34, &c. (Pischel, 1. c., p. 67).
Cf. Âsv. Grih. II, 3; Pâras. Grih. III, 2; Sânkh. Grih. IV, 17. 18; Gobh. Grih. III, 9; Khâd. Grih. III, 3, 6 ff.; Apast. Grih. VII, 19, 3 ff. ; 8 ff.; Hir. Grih. II, 17.
The reading of the word is not quite secure; see the critical note, Kaus. 38, 12, and cf. Kesava.
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Stanza 4. Cf. Kaus. 137, 17; Maitr. S. IV, 14, 11 (233, 15. 16). The Pet. Lex., vols. i. 269; v. 1001 (s. v. anya), explains ánya in Pâda c as 'inexhaustibleness. So also Ludwig. But the ordinary meaning of anya suffices as a pis-aller. Does the end of the word veil svapatyá, 'ownership ?'
Stanzas 5-7. Cf. Maitr. S. IV, 14,11 (233, 14; 234, 1 ; 233, 12), in part with important variants. Stanza 6 is rubricated at Kaus. 137, 28. For the expression bhūmim prithivím, cf. Avestan zăm perethvim, Yasna X, 4. Doubtless prithivî is still (or anew) felt as an adjective.
Stanza 8. For parallel statements, cf. the passages assembled by Muir, Original Sanskrit Texts, IV, 24 (note 58). Cf. also Ludwig, 1. c., p. 320.
Stanza 11. This and the next stanza are members of the svastyayanagana of the Ganamålå, Ath. Paris. 32, 11 (Kaus. 25, 36, note). Cf. also Ath. Paris. 10; 181, 1.
Stanga 13. Cf. Vait. SQ. 15, 8; Ath. Paris. 10. For parigrihnánti, cf. the parigrinyà (sc. vedi), Kaus. 17, 2, and, in addition to the passages cited in the Pet. Lex. (under pari grah 3), Tait. S. II, 2, 10, 5; Maitr. S. I, 6, 3 (89, 14); Åpast. Sr. IV, 5, 4.
Stanza 14. o. For půrvakritvari, cf. the note on pûrvakâmakrítvane, VII, 116, 1 b.
Standas 19-21. The connection of these stanzas with the body of the hymn is a loose one: Agni, not the earth, is their primary subject; cf. III, 21, 1. 2. See Kaus. 2,41 ; 120,5; 137, 30; cf. also Ath. Paris. 48, 2. [42]
Tt
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Stanza 22. d. Ludwig, von svadha (opferspeise wol = Iza) und speise.' We with Pet. Lex. (þeia Cáovou).
Stanzas 23-25. They are frequently cited in the Atharvan ritual as the gandhapravâdân (sc. rikah), stanzas that mention gandha (fragrance).' At Kaus. 13, 12 a king desirous of lustre is anointed with fragrant substances, the act being accompanied by the recital of these stanzas. Similarly Kaus. 54, 5 (cf. also 24, 24, note); Vait. SQ. 10, 5. The stanzas figure also in the second varkasyagana of the Ganamâlâ, Ath. Paris. 32, 27 (Kaus. 12, 10, note), and are cited frequently in the Atharva-parisish tas, 4, 1. 3. 4; 6, 2; 17, 2 ; 22, 3; 44, 1. In st. 23, gandhá and gandharvá(1) in alliteration.
Stansa 27. Cf. Vait. Sa. 2, 8.
Stanza 28. Cf. Kaus. 24, 33 ; Ath. Paris. 43, 3. Possibly ka is to be added to Påda b.
Stansa 29. Cf. Kaus. 3, 8; 24, 28; 90, 15; 137,40; Ath. Paris. 39, 16.
Stanza 30. See Kaus. 58, 7 (cf. 24, 24, note), and Vait. SQ. 12, 6, both in connection with purification of the body.
Stansa 31. Repeated with variants at Maitr. S. IV, 14, 11 (23.1, 16). This and the next stanza are members of the svastyayanagana of the Ganamålå, Ath. Paris. 32, 11 (Kaus. 25, 36, note).
Stanga 33. See Kaus. 24, 33; Vait. Sû. 27, 7.
Stansa 34. See Kaus. 24, 30. It is curious that this charming verse finds only secondary employment; it does not even figure among the duhsvapnanâsanani.
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Stanza 35.
See Kaus. 46, 51; 137, 12; Ath. Paris. 44, 1.
Stanza 36.
See Kaus. 137, 9 (cf. 137, 4, note). Cf. Tait. S. V, 7, 2, 4.
Stanza 41.
Stanzas 38-40.
Cf. Kaus. 24, 37 (cf. 24, 24, note); Vait. Sû. 10, 8; 15,4; Stanza 38 is. counted by the Atharvanîya-paddhati (Kaus. 19, 1, note) among the pushtikâ mantrâ.
22, I.
b. Cf. V, 20, 9, and the note.
Stanza 42.
643
See Kaus. 24, 38; 137, 24.
Cf. st. 61.
Stanza 44.
Cf. Kaus. 24, 39; Ath. Paris. 10, 18, 2.
Stanza 46.
See Kaus. 50, 17; 139, 8; Vait. Sû. 29, 10; Ath. Paris. 19, 5. Cf. also the raudragana of the Ganamâlâ, Ath. Paris. 32, 17 (Kaus. 50, 13, note). The root ginv in Pâda c, as in st. 3c, seems to be intransitive, contrary to ordinary usage.
Stanza 47.
Cf. Kaus. 50, 1; Ath. Paris. 19, 2. In Pâda d pánthânam is a metrically superfluous gloss.
Stanza 49.
For this and the next stanza, cf. Vâg. S. XXX, 8; Sat. Br. XIII, 2, 4, 2. 4. For Pâda a, see AV. XI, 2, 24, and note. In Påda c, ulá is quotable in addition only at Vâg. S. XXIV, 31; Maitr. S. III, 14, 2 (Mahîdhara, 'a kind of wild animal')'. Ludwig, 1. c., pp. 166, 548, regards it as an adjective, 'howling.' Ludwig, to rikshîkâ, 'bärin (?).'
1 Cf. alá, Tait. S. V, 5, 12, 1, defined by the commentator in a variety of ways, indicative of perplexity.
Tt 2
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Stanza 51.
Pâda b recurs at XI, 2, 24 b. Note the parenthesis inIn the same Pâda upavấm is a gloss, .
volved in Pâda e. disturbing the metre.
Stanza 52.
See Kaus. 24, 41; 137, 23.
Stanza 53.
See Kaus. 10, 20, in the rite for acquiring wisdom.
Stanza 54.
See Kaus. 38, 30. While reciting this stanza one who wishes to be victorious in debate approaches the assemblyhall from the north-easterly direction (aparâgitâ,' the unconquered' direction).
Stanza 58.
See Kaus. 24, 14; 38, 29. Recited by one who desires to please in the assembly: he addresses the assembly-hall with the mantra, and looks at it. Pâda b is obscure: cf. Kesava to 38, 29, yak kakshushâ pasyati tad vadan (Gammu MS. idam) vighâto na bhavati. Perhaps, 'when I look, then they delight in me.'
Stanza 59.
Sce Kaus. 24, 31 (cf. 3, 4, note).
Stanza 60.
For the 'mothers,' cf. the introduction to VI, 111. earth herself is 'mother,' st. 63.
Stanza 61.
See Kaus. 46, 52; 137, 13. 14. Cf. for Pâda a the brahmodya, Våg. S. XXIII, 9. 10. 45. 46; Sat. Br. XIII, 2, 6, 13; Maitr. S. III, 12, 19; Tait. S. VII, 4, 18, 1. 2; Tait. Br. III, 9, 5, 5, and the commentators. For the second hemistich, cf. st. 35.
Stanza 62.
See Kaus. 50, 10: a traveller starts on his journey.
Stanza 63.
See Kaus. 24, 27; 58, 19, note; Vait. Sû. 27, 8.
The
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XII, 3. COMMENTARY TO PAGE 185. This hymn treats of the brahmaudana, the preparation of the porridge for the Brahmans, more elaborately than XI, 1, with which it is worked up in Kaus. 60-63. See the introduction to XI, 1.
Stansas 1-4, The sacrificer, his wife, and children step upon a skin, and seat themselves around a vessel full of water. Kaus. 60,31 ff. : "With stanza 1 (the priest) makes (the sacrificer) step upon the skin. 32. The wife (follows, or takes hold of the husband) as he is calling? 33. With the third stanza ? he calls for his children ... 35. With stanza 4 they along with the children seat themselves around (a vessel containing water which has been placed upon the skin, Sätra 34).'
Stanza 1. an ihi is wanting in the Paippalada. The Påda is improved by throwing it out and reading púmân trisyllabically.
Stanza 2. édhas at the end of the third Pâda may perhaps be regarded as an instrumental : 'When Agni with his flame, &c.;' cf. Lanman, Noun-Inflection in the Veda, p. 562. The second hemistich seems to refer to widow-burning (cf. st. 17C, and RV. X, 18, 7). The word pakvát, rendered 'from the (cooked) porridge,' seems to harbour something of a double entente: 'from the cooked remains of the body, after it has been burned upon the funeral-pyre.' The well-cooked porridge anticipates symbolically the successful conclusion of life, to be followed by a happy life hereafter. Cf. also stanzas 7-9, 11, &c.
1 The translation of this Satra is by no means clear, and does not agree with Kesava's treatment, tatra hvayasva iti pádena patnim (Gammu MS. patni) ahvayîta.
? Kesava, with the third Pâda :' yâvantâv agre prathamam iti pâdena apatyâni anvâhvayîta. But how can tritiyasyâm mean with the third pada ?
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Stansa 4. We read gîvádhanyâh (accented) with some MSS. and RV. I, 80, 4. But the vocative is not impossible: 'around this living (father), ye (children) that refresh the living.' The children might be so called in the sense that they continue the life of the parents. In the fourth Påda vam gánitrî either refers to two children, or the parents : 'the mother (female) of the two parents.' See also the next stanza. våm could be easily corrected to vo.
Stangas 7–10. Kaus. 61, 1. 2: ‘While reciting stanza 7 the act indicated in the mantra is performed (i.e. they turn to the east). With the four mantras (7-10) they go around the water-vessel (turning towards each direction ?).'
Stanza 0. Cf. Kaushitaki-Upanishad 1, 2, 3, where it is said that all those who depart from this world go to the moon (soma), the moon being the door of the world of light. Therefore shall man and wife turn to Soma's region where the pious (sukrltak) departed dwell. Cf. upon this point, Contributions, Third Series, Journ. Amer. Or. Soc. XV, 168. In Pada d the double meaning of pakvá, alluded to in the note on st. 2, seems to gain special prominence : pakvá is at once the cooked porridge, and the cooked ashes of the deceased couple.
Stanza 10. a, b. Note the threefold play upon the word ud, in úttaram, uttarávat, and údiki.
c. The púrusha (cosmic man) is the pankti; that is to say, like the metre pankti he consists of five constituent parts. Cf. Ait. Br. II, 14, 7: "Man is composed of five parts, hair, skin, flesh, bones, and marrow. This statement about the púrusha appears to be solely for the purpose of bridging
* Kesava, prâkim-prâkîm iti katasrıbhir rigbhih pratidisam upatishthate mantroktam.
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over to the virág who is identified in the next stanza with the fifth direction, the nadir (dhruva).
Stanga 11. Kaus. 61, 3: 'While reciting the stanza (the sacrificers) face reverently every direction. Apparently the nadir, as it were, embraces all the other directions. For dhruvá as a designation of the fifth direction, see III, 26,5; 27,5, &c. Viråg obviously has reference to the metre of that name; she is, too, the daughter of Purusha (cf. Pet. Lex, under virág 3), who is said to be the metre pankti in st. 10. A complicated chain of symbolism.
c, d. Aditi is called upon to protect the porridge, for she is the cooker of the porridge, by distinction : cf. the legends in Maitr. S. II, 1, 12 ; Tait. Br. III, 7, 11, 2, and the note on XI, I, I.
Stansas 12, 13. According to Kaus. 61, 4 (cf. Kesava) the water-vessel is next, with stanza 12, taken from the skin and placed upon the ground, and the water contained in the vessel is used throughout the ceremony. The sacrificer and his wife doubtless come down from the skin ; hence (the earth) is called upon to embrace them, &c. In stanza 13 the water is implored to purify the sacrificial vessels from impure contact (as indicated by the Paribhåshå-sûtra, Kaus. 8, 14). For the connection of the non-Aryan dass with the sacrifice, see Ludwig, Der Rigveda, p. 212.
Stangas 14, 15. At Kaus. 61, 18 the mortar and pestle, and the scrubbed winnowing basket, are placed upon the (afore-mentioned) skin, while stanza 14, along with Pada a of XI, 1, 9, is being recited. Cf. the note on XI, 1, 9 for the substitution of mortar and pestle in the place of the two press-stones. With stanza 15 the pestle is placed upright (in the mortar : Kaus. 61, 21, musalam ukkhrayati). It is also rubricated in Ath. Paris. 10.
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Stanzas 16, 17. At Kaus. 61, 13. 14 the employment of stanzas 16 and 17 is prescribed, without adhering to their order in the Samhita : With stanza 16 the sacrificer, his wife, and children (såpatyau) touch the grain (which has previously been poured into a pot, Satra 11). With the second hemistich of stanza 17 the sacrificer takes hold of his wife's hand.'
Stanza 18. Judging from the Kausika's employment of the stanza the presence of real sacrificial cattle at this stage of the ceremony seems doubtful: the grain that goes to make the porridge seems to be likened to cattle ; cf. stanzas 18, 21. In Pada b the Paippalada reads medhasvân for gyótishman, in Pada c tam for tán; according to the Index Verborum most MSS. read tấm for tấn, but the present reading seems preferable.
Stanza 17. Stanzas which similarly promise the reunion of families in the next world are AV. VI, 120, 3; IX, 5, 27; XVIII, 3, 23. The second hemistich seems to come from the mouth of the departed, who perhaps is conceived to desire that his wife shall follow him to the funeral-pyre; cf. st. 2. These statements are, however, hardly definite enough to permit us to connect them with the formalised later rite of Suttee.
Stanza 18. This is rubricated along with XI, 1, 9 b at Kaus. 61, 22: avahanti, 'the pestle is beaten down (upon the grain).' As it comes down it smites and drives off the hostile powers, but at the same time, as in the case of the axe which slays the sacrificial animal (cf. Contributions, Sixth Series, Zeitschr. d. Deutsch. Morgenl. Gesellsch. XLVIII, 556), the fiction is kept up that it does not really injure the grain. The statement strengthens the impression that the grain is viewed in the light of sacrificial cattle, as in stanzas 16, 21.
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Stanza 18. For the employment of this stanza in the Sútra, see the notes on XI, 1, 11, and 9. The grain which is to form the porridge is addressed, as though it were the cooked porridge that spreads in the dish, and is enriched with ghee. The second hemistich shows this to be anticipatory, for the act of the stanza is the winnowing of the grain. Cf. stanza 53. In Pada c varshávriddham shows that the basket is made of reeds, not of dead wood; cf. Zimmer, Altindisches Leben, p. 238.
Stansas 20, 21. Kaus. 61, 26–28 : . With stanza 21 the wife as she removes (the husks) is addressed. With stanza 20 the husband and wife touch (the husks) after they have been removed. With part of stanza 20 d (the grain) is again poured into the winnowing-basket. There is no mention of the preparation of soma which is suggested by amsởn in stanza 20 c: the word must therefore refer to some part of the ceremony which the Sätra ignores, unless the grain is figuratively called soma.
Stanza 20.
The meaning of the first hemistich is far from clear. The Brâhmana is either the priest (cf. XX, 2, 3), or some holy text. Perhaps sámmità brahmanena means 'have been measured out by the Brâhmana ;' cf. stanzas 28 and 33.
Stanza 21. It seems again as though the animals here refer to the grain, as in stanzas 16 and 18: the grain is varied in colour; the porridge when cooked is solid in colour. In Pâda c the Padapatha reads tấm, but we have taken tám=tấn.
Stanzas 22-24. Kaus. 61, 31: 'With stanza 22 the pot is anointed.' As the Sútra does not rubricate the next stanza (23), where the anointing is mentioned, by itself, we must understand
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that stanza 23 is included in the quotation. With stanza 24 he places fire about (the pot). In st. 22 d brahmana seems to be a gloss.
Stansa 26. Kaus. 61, 34. 35: With this stanza and XI, 1, 17 the two purifying blades of darbha-grass are placed over the pot, and water is poured upon the grain.'
Stangas 28, 29. Cf. XI, 1, 18. 19, and see the notes there for the practices that go with the stanzas.
Stanza 30. Pâda a may be addressed either to the fire, or some officiating person, perhaps the wife. In Pada b the singular atmanam is peculiar : the word seems, either to have reached the extreme limit of pronominal usage, or, as we have translated, refers to the interior of each grain of corn, which is to be penetrated by the water. In Påda d the Paippalåda has pradiso yathaimâm, upon the basis of which we would propose pradíso yáthes máh,' according to these regulations. Or, perhaps, the Pâda is to be rendered (with the same emendation): 'measured was the grain as these regions of space (were measured).' It is possible, too, to imagine pradiso as a verb, and read pradiso yáthe-mám in still closer accord with the Paippalàda, 'as thou didst order this (woman).' The word pradiso is mentioned under pradís in Whitney's Index Verborum for this passage.
Stangas 31, 32. Kaus. 61, 38–40. A barhis (seat of darbha-grass) is prepared for the porridge: with 31 a the sickle is handed over to him who shall cut the grass, with part of 31 b he cuts it, with 32 the grass is strewn. Cf. Kaus. 1, 24. 25; 8,11.
Stanza 31. d. ámanyutå (Padapatha, ámanyutâh) is to be regarded either as a homophonous instrumental from the abstract
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ámanyutå (better amanyútà), or a denominative participle in ta (Whitney, Sk. Gr.?, § 1170 b). The latter is the more probable construction. Possibly, however, we must read ámanyu táh, without anger they,'amanyu being an adverb. The word yasam in Påda c seems indeed to demand tah in Pâda d.
Stanga 32. c, d, The Paippalåda has, tatra devâh saha devair visantu, and dakshinato for ritúbhir. Pâda c stands sorely in need of correction : we propose tásmin devaih sahá devír visantu. But for the metre tásmin devah sahá devibhir visantu would be even simpler. Cf. in a general way VI, 59, 2, note.
Stansa 33. Kaus. 61, 43. A wooden platter is placed upon the barhis. In Pada c tváshtrà is used consciously for táshtra : the conceptions of the earthly carpenter, and the heavenly carpenter, Tvashtar-sukrit and rûpakrit are his standing epithets—are blended into one. The difficult word in this stanza is vánaspate, which along with the statements in the first three Pâdas (agnishtomá) seem to refer originally to the yūpa, the post to which the sacrificial animal is tied. See, e.g., Sat. Br. III, 6, 4, 1 ff. There is no occasion here, as far as can be seen, for a yūpa, and Kausika makes no mention of one. It looks very much as though a stanza concerned with the yûpa had been secondarily adapted. Similarly at Kaus. 15, II our stanza figures in connection with a chariot, which is also secondary.
Stansa 34. Kaus. 62, 9. The porridge is put down to the west of the fire. The meaning of the sixty autumns,' as indeed the sense of the entire passage, is extremely obscure; cf. stanzas 41, 42. The point of the stanza may again lie in the double meaning of pakvá (cf. stanza 2): in sixty years, that is at the end of his life, the sacrificer shall reach heaven by the pakvá, in the double sense of the porridge he has offered to the Brahmans, and the cooked ashes of the funeral-pyre.
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Stanza 35.
Employed along with XI, 1, 21 at Kaus. 61, 41; see the note on XI, 1, 21, and cf. Vait. Sû. 10, 9. In the order of the Sûtra this stanza precedes stanza 34. Cf. XVIII, 3, 29.
Stanza 36.
Employed along with XI, 1, 24 at Kaus. 62, 1 ff.; see the note on XI, 1, 24. The ladle is placed upon the altar, and in the sequel the porridge is dipped out, as indicated in the second hemistich of the present mantra (cf. Kaus. 62, 6. 7). See also AV. IV, 14, 7.
Stanzas 37, 38.
Kaus. 61, 45. 46. With stanza 37 the porridge is covered with ghee; with stanza 38 the porridge is addressed. Both acts in the Sûtra precede correctly and naturally the dipping out of the porridge, indicated in stanza 36. In stanza 38 the mighty eagle seems to be the sun which shines upon the porridge; cf. XIII, 2, 32. 33. Both devah and devátâbhik seem to refer to the Brâhmanas: the acting priests shall give the porridge to the priests for whom the porridge is prepared as a fee. Cf. Muir, Original Sanskrit Texts, I*, 262; Weber, Indische Studien, X, 35, and see Kaus. 6, 26 ff.
Stanza 39.
Kaus. 62, 11 ff. With stanza 39 the act indicated in the stanza is performed (i e. both husband and wife place the porridge in one dish?). The wife takes hold of the husband. The subsequent performances are undertaken while husband and wife have hold of one another.' In Pâda a the second parak which is rather superfluous may perhaps be emended to pate, corresponding to gâye in Pâda b.
"
Stanza 40.
b. We read asmat for asmát to correspond with asyah in Påda a man and wife are correlated.
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Stansa 41. Kaus. 62, 18: 'With stanzas 41 and 44 juices are poured upon (the porridge).' The fourth Pada which is identical with 34 a (see its explanation there) seems out of place; it may have crept in owing to 42 a. In Pada b amrltasya nábhayah may mean, 'the navels of immortality.'
Stanza 42. Kaus. 62, 10 : With this stanza the porridge is divided into three sections.' Cf. XI, 1, 6, and the corresponding passage, Kaus. 61, 8-11. In Påda a 'the treasure' is the porridge itself; cf. st. 34.
Stansa 48. Kaus. 62, 14: With this stanza the fire is carried around (the porridge).' Cf., e.g., RV. VII, 15, 10; AV. VIII,
3, 26.
Stanza 46. Employed along with XI, 1, 31 at Kaus. 62, 15. 17; see the note at XI, 1, 31. In Pada d the rare singular angiraso is to be changed to the adjective angirasó, or, equally well, to the vocative plural angiraso.
Stanga 46. The three stanzas beginning here are quoted in the course of another version of the brahmaudana practices (Kaus. 67 and 68), in Sätra 68, 27. The devátáh in Pada a are again, in all likelihood, the Brahmanas; cf. st. 38.
Stansa 47. b. The passage may perhaps be rendered, and (so does) my wife at my doing and instigation. The second hemistich is evidently spoken by the priest in a sort of response to the speech of the sacrificer in the first two Padas.
Stanza 48. a. adhâró is very doubtful: the Pet. Lex., “rückhalt'(?). Perhaps support, or protection in guilt' is nearer to the true sense. Perhaps, again, an emendation to adharmo, lawlessness,' would not lead too far afield.
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Stanse 49. Kaus. 62, 18. 19. A cow and utensils for milking are placed to the north of the fire, the cow is milked during the recitation of a certain hymn, and the milk poured upon the porridge. Pâda a is short by two syllables : supply kárma, or the like?
Stanzas 50, 51. Kaus. 62, 22. 23: With stanza 50 (and XI, 1, 28) gold is placed upon (the porridge); with stanza 51 a homespun garment accompanied by gold is put down in front of it.' These, of course, are additional gifts (pièce de résistance).
Stanga 50. Ordinary fire in wood, lightning in the (cloud-)waters, and the fire of the heavenly luminaries, are reflected in the gold, presented by him that cooks the porridge: in giving the gold he becomes luminous, illustrious. Cf. I, 9, 2; XI, 1, 28.
Stanza 51. Since all animals have skins, nay even the porridge has a self-made garment, it is fit that the Brahman should also have one. In Pâda c kshatréna seems to mean covering,' and it may stand for khatrena from khad, cover,' though khatra ordinarily means 'umbrella. Cf. the variants ahikshetra and ahikshatra for ahikhatra, mushroom,' i. e. 'serpent's umbrella.'
Stanza 52. Kaus. 63, 1. 2: With this stanza they clothe themselves in the same garment. A second garment (which they put on) becomes a garment (that carries off) evil: that, according to some authorities, is given to a human being of the lowest character.' Cf. Kaus. 18, 1. 4, where a black garment (krishnakailam), symbolic of misfortune, is put on, and afterwards dropped into the water, in order that the misfortune may depart.
Stanza 53. Cf. the note on XI, 1, 28. For Pâdas c, d, cf. stanzas 19 a, b. The point of the stanza is not altogether clear: it
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seems as though the smoke rising from the porridge (the earth) symbolises a cloud, and thus procures rain.
Stansa 34. At Kaus. 63, 8 other chaff of grain (phalikarana in Satra 7) is thrown into the fire) while reciting this stanza.'
Previously, in Sûtras 6 and 7, similar substances (tusha and kambaka) have been thrown into the fire, and cast aside with the left foot; see the note on XI, 1, 29. The stanza is extremely obscure, and I have lost confidence in the interpretation of it advanced in Contributions, Sixth Series, Zeitschr. d. Deutsch. Morgenl. Gesellsch. XLVIII, 576. Its purpose seems to be, rather, to cause the fire to blaze up anew, perhaps, in order to drive away demons. As the sky can assume different colours, and, especially in the morning, can drive away its blackness for the brightness of the dawn (Pada c), so the fire may be enlivened unto redness by sacrificing (chaff) into it. RV. X, 3, 1 d is almost identical with our Pâda c. The Paippalâda, suitably to the metre, reads åtmany in Pâda b, and rusantîm in c; for ápågait, see the passage in the Contributions, cited above.
Stanza 55 ft. With the remaining stanzas the bestowal of the brahmaudana and the concomitant gifts takes place (Kaus. 63, 22). The series of formulas beginning here are closely related to the sarpâhuti, AV. III, 27 ; Maitr. S. II, 13, 21; Tait. S. V, 5, 10, 1 ff. ; cf. Weber, Indische Studien, XVII, 295 ff. For the names of the serpents, see the notes on VI, 56 ; VII, 56, and Zimmer, Altindisches Leben, p. 94 ff. The expression gará mrityáve in the third line of the formula reminds us of the bahuvrîhi garamrityu, XIX, 24, 8 ; 26, 1; 30, 1. This suggests here a tatpurusha garâmrityú,
death from old age;' the passage would then mean, 'may he lead us to death from old age.' In stanza 59 the association of Vishnu with the dhruvá dis is remarkable: we should expect the ardhvá. For the association of Indra (not Yama) with the southern direction, see Weber, l. c., P. 296.
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XII, 4. COMMENTARY TO PAGE 174. The hymn is an elaborate plea of the Brahmans for one of the numerous sources of income which they managed to devise. Especially all sorts of ominous occurrences are set down as occasions for expiatory performances (pråyaskitti), at which the performing Brahman comes in for his dakshina (see the thirteenth book of the Kausika), and every kind of irregularity in the birth of a domestic animal is amended by ceremonies in which the animal finally expiates its own existence by going over into the possession of the Brahman. See, for instance, AV. III, 28, and Kaus. 109-111. A cow which after a certain time (see st. 16) is discovered to be sterile (vask) is viewed in this light: she belongs to the Brahmans, and the present hymn recounts in picturesque language, accompanied by fierce threats, the urgency of passing her on to the Brahmans whom nothing hurts. Similarly in Tait. S. II, 1, 2, 2, a sterile sheep is said to be cattle for the gods' (i.e. in effect, for the Brahmanas); cf. also Tait. Br. I, 2, 5, 2, and see in general Weber, Ind. Stud. X, 61 ff. In Kaus. 44 and 45 the ceremonies for slaughtering a vaså are described; it seems according to 45, 17 that they are wound up by giving the animal away. The present hymn is rubricated in Kaus. 66, 20 along with X, 10; nothing is stated except that she is bestowed upon the Brahmans, after having been solemnly sprinkled while the hymns are recited. Cf. in general Ludwig, Der Rigveda, III, 272, and the same scholar's translation of the hymn, ibid. 448 ff. The metre of this composition is regular anushtubh; this, together with the style and contents, betrays the late character of the hymn.
Stanza 1. The parenthetic expression,' and they have noted her,' is admonitory: the Brahmans do not fail to know that a sterile cow exists; they are sure to claim their own! Ludwig suggests abhatsata or abhantsata for ábhutsata, and those who have bound her,' but there is no relative pronoun, and the sense resulting is strained.
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Stanza 3. . For kûtá, cf. Geldner, Vedische Studien, I, 138. asya seems to refer to gấvah, understood from the context.
b. kåtám ardati is difficult: kätám is unquestionably a Prâkritic form for kartám, AV. IV, 12, 7 (cf. similarly kévate, RV. VI, 54, 7). For ardati one would expect some word for 'fall,' or 'push,' but the word means 'burst, go to pieces.' Perhaps kätám is the subject, 'the deep ground bursts' (cf. RV. IV, 17, 2; AV. XIX, 9, 8, descriptive of earthquakes), but this does not quite do justice to kâtám.
d. The Paippalâda has for dîyate the preferable reading giyate, ‘his property is wrung (from him).' For the interchange of the sound-groups di and gî (dy and gy), see the writer in Amer. Journ. Phil. VII, 482.
Stanza 4. a. vilohitá, designation of some disease, also IX, 8, 1; perhaps, 'flow of blood from the nose.' Henry, Les livres VIII et IX de l'Atharva-véda, pp. 105, 142, 'décomposition du sang. Both translations are purely etymological, but we may note that the word occurs in connection with other ailments of the head at IX, 8, 1. Cf. also 16hita VI, 127, 1, note.
C, d. The passage is not quite clear. sámvidyam, &r. dey., may mean 'possession.' Ludwig, 'name.' At any rate there seems to be an attempt to etymologise upon, or explain, vasá as a derivative from the root vas, 'control :' the character of the vasá, quasi'controller,' is such that she cannot be deceived (duradabhná). We should expect ukyate for ukyase: the Paippalâda also reads ukyase. The Pet. Lexs. translate duradabhna (also st. 19), by 'getting the better of gates,' i.e. not to be confined.' This is ingeniously improbable, and contrary to the more usual rendering of the perfect passive participle. The prefixes dur- and a- represent a double negative for emphasis; the word is a stronger version of dů-dábha. Stanza 4 may be suspected of having stood originally [42]
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after 5, because its second hemistich seems to summarise the statements made in the remaining three hemistichs of the two stanzas.
HYMNS OF THE ATHARVA-VEDA.
Stanza 5.
b. viklíndu, år. λey., perhaps 'catarrh;' cf. vikleda (root klid), 'moisture.'
d. Ludwig emends ya to yân, but the feminine is unobjectionable (supply, dhenuh, or the like).
Stanza 6.
For the custom of marking cattle, see Zimmer, Altindisches Leben, p. 234. The sense of â sku is not quite certain. For Sat. Br. I, 2, 1, 5. 8, Böhtlingk's Lexicon renders it 'durch stochern zerkleinern;' Eggeling, Sacred Books, XII, 33, 'pull towards oneself;' Pet. Lex., 'divide off.' For a vriskate, see the next note.
Stanza 12.
c, d. If we compare a vriskanti in st. 28, and Sat. Br. XII, 1, 3, 22, it seems possible that the passive a vriskyate must be substituted in one or another case (stanzas 6, 12, 26, 34) for a vriskate; cf. the parallel roots skyut and skut, and the note on VI, 136, 3. The Pet. Lex. s. v. suggests the same correction for a number of passages in other texts. The dative manyáve, in that case, involves zeugma: here the middle of the same verb, in the sense of 'infringe upon,' is certainly required, as is shown by st. 51.
Stanza 16.
For Narada in this and several of the following stanzas, see the note on V, 19, 9.
Stanza 18.
The sense is as follows: Though he did not perceive her udder, because a young and sterile cow is deficient in this mark of prospective maternity, yet when he gives her away, she becomes a fruitful source of blessings.
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Stanza 22. d. The cow belongs not even to every ordinary Brâhmana, but only to him that knows all her mystic properties ; cf. the numberless occurrences in the Brahmanas of the expressions, ya evam veda, &c., and ya evam vidvån, &c.
Stanga 28. The divinities that belong to the earth are in all probability the Brâhmanas themselves; cf. the note on XII, 3, 38. The stanza betrays sharp competition between the Brâhmanas.
Stansa 24. c, d. Ludwig proposes to read either vidván for vidyân, or narada for nãradah. Neither seems necessary: vidyât is the optative of narration, a moderated form of categorical statement. A better way to ease the construction is to read sá ha for sahá in Pâda d.
Stansa 27. The statement is significant: it seems as though stanzas of a more antique and floating character respecting the vasá existed prior to the Atharvan redaction. For vaset read, of course, vaset with the Index Verborum ; cf. the note on III, 4, 7.
Stanzas 29, 30. d. Ludwig suggests gighâmsasi, and this is correct as far as the change of the third person to the second person is concerned. The attraction of the proper third person in st. 30 has operated. But I have furthermore changed both stems to gigâmsa- from the root gam: the sense is much simplified. In st. 30 d read yakñyaya with the Index Verborum.
Stanza 31. Cf. the interesting parallel stanza Sat. Br. III, 4, 2, 7. It may be questioned whether the real gods are supposed to mediate between the vasã and the Brahmans, or whether deva and brahmán are used synonymously. Cf. the notes on st. 23 and st. 40.
UU 2
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HYMNS OF THE ATHARVA-VEDA.
Stansa 32.
a, b. The call svadha is the ordinary and typical exclamation in connection with formulas addressed to the Fathers, in distinction from svâ hâ, the call to the gods. The construction of the hemistich involves a zeugma. If we compare expressions like á súryâya vriskyate, Tait. Br. II, 1, 2, 10; á vriskyantâm áditaye durévâh, RV. X, 87, 18, it would seem as though the datives pitríbhyo and devátåbhyah are to be construed with ná á vriskyate (vriskate), derived from the sense of Påda 4 ; cf. also st. 28 d. See in general the note on st. 12.
Stanza 38. Brihaspati is the divine representative of the Brahmans: he undertakes to collect the debt incurred by the un. righteous owner of the vasá from his descendants by causing the priests to dun them for the debt.
Stanga 41. For viliptyám (MSS. also viliptîm) the Paippalåda has vilaptim (for vilapatîm ?). Neither form seems to suggest anything usable. Perhaps viluptî, 'miscarrying,' a derivative of vilupta, destroyed,' in the neuter dead offspring' is the true reading, of which the extant forms are perplexed popular etymologies (viliptî, 'soiled ;' vilapatî, 'whining '). Only it does not appear clear why viluptî should have been misunderstood ; hence the suggestion is very problematic.
Stanza 42. c. The Paippalada reads tấn for tấm: 'And Narada replied to them'-a more facile reading.
Stanzas 43-47. There seems to be considerable disorder in the arrangement of these stanzas. We should naturally expect 47 immediately after 43. This may have been displaced by 44: the concordance of kásya(k) in 43, and viliptyáh in 44
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(cf. viliptî ya in the otherwise identical st. 46) renders stanza 44 suspicious. The original order, throwing out 44, may have been 43, 47, 46, 45.
XIII, 1. COMMENTARY TO PAGE 207. The thirteenth book of the Atharvan consists of four hymns devoted to the worship of a divinity called Rohita, and his female Rohini. There can be no doubt that the red' sun and his accompanying female, who in the course of the literature is designated as Ushas, Suryâ, Sûrya Sâvitrî, or Dyu', are primarily in the mind of the poet. Rohita accordingly is identified with Agni (stanzas I, 11. 12), Sûrya (stanzas 1, 32. 45; 2, 1) and other manifestations of the sun? But there is also another equally obvious side to the composition: it represents an allegorical exaltation of a king (râga) and his queen (mahishî). The heavenly Rohita and his female are called upon to protect and exalt the king and queen; the names of the divinities, róhita and róhini, are felt by the Atharvan poet to furnish especially good ground for calling upon them to undertake this protection, since they afford an inexhaustible mine for puns with words that mean "rise, ascend' (cf. st. 4 a). In the royal ceremonies (râgakarmâni) the king frequently ascends (â ruh, or å kram), a throne, or skin, or horse; the act, of course, symbolises every time the moral ascendency of the potentate. Cf. Vait. Sû. 36, 7; Kaus. 17, 3. 9. 13. 22 ; Ait. Br. VIII, 6, 12; and the râgasûya at Vâg. S. X, 1 ff.,
Cf. Contributions, Third Series, Journ. Amer. Or. Soc. XV, 186.
? The word 'identified' is perhaps too strong. The composition of this book is by no means a unit ; it is indeed at times very difficult to see upon what ground the various stanzas have been compiled evidently with the main purpose of glorifying Rohita. But at any rate the compiler finds it especially natural to adapt stanzas in praise of other sun-divinities, and to glide over into the diction familiar to them. At Kaus. 24, 42 rohita is explained directly as the sun (aditya). Another relation of Rohita is Agni with two red steeds (rohitâbhyâm), Lâty. Sr. I, 4, 2 ff.
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where the verb â ruh occurs with especial frequency. In general the relationship of many stanzas of the present hymn with those in vogue at the râgasûya, the ceremonies at the consecration of a king, is very close; they have been collected and discussed in our remarks on the Rohita-book; see the article cited below.
In the Tait. Br. II, 5, 2, 1-3 a considerable number of the stanzas at the beginning of this hymn recur with variants which betray the fact that the Taittirîya-version is older and better than that of the Atharvan1. The commentator (p. 600) explains the rohita as the horse employed at the asvamedha, the horse-sacrifice, and we may regard it as possible that certain stanzas in this compilation were originally composed for this purpose (cf. the note on st. 22).
The hymns of book XIII are designated at AV. XIX, 23, 232, and Kaus. 99, 4 as rohitâni (sc. sûktâni). Neither the Kausika, nor the Vaitâna, each of which rubricates individual stanzas, contributes anything of consequence towards the elucidation of the hymn. In Ath. Paris. 13, 2 (Hiranyagarbhavidhi) the first two hymns of the book are employed. This is distinctly a royal rite, intended to ward off all evil (sarvapâpanodana). Stanzas 1, 12; 2, 36. 37 are employed in another rågakarma, called the Ghritâvekshanam, Ath. Paris. 8, I. Nowhere is there anything calculated to define these hymns more narrowly.
The present hymn has been rendered by Ludwig, Der Rigveda, III, 536 ff.; cf. also Muir, Original Sanskrit Texts, V, 395 ff. The entire Rohita-book has been translated and expounded by Henry, Les Hymnes Rohitas (Paris, 1891); cf. Contributions, Fourth Series, Amer. Journ. Phil. XII,
AV. XIII, I, AV. 4 in Tait. I; Tait. 3; AV. 8 in Tait. 2; AV. 10 in Tait. 2.
Cf. Indische Studien, IV, 433.
At Kaus. 99, 4 the rohita-hymns are addressed to the sun during an eclipse.
I in Tait. Br. II, 5, 2, 1; AV. 3 in Tait. 3; AV. 5 in Tait. 1; AV. 6 in Tait. 3; AV. 7 in
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429 ff.; Regnaud, Le Rig Veda et les Origines de la Mythologie Indo-Européenne, p. 315 ff.
Stanza 1. In Pâda d the Tait. Br. reads nah for tva; the latter seems due to secondary adaptation. The stanza in its Atharvan form clearly bespeaks protection for a king from Rohita. Its first hemistich is addressed, very secondarily, at Kaus. 49, 18, in a witchcraft-practice to a sinking ship.
Stanza 3. The appearance here of a stanza that deals with Indra and the Maruts is not as arbitrary as it may seem to be at first sight. In a certain sense Pâda 3 a is in catenary construction with 2 b. The Maruts are the vis, the people; Indra is the typical king. And, with a quick turn in the second hemistich of the present stanza, Rohita again suggests the king, who listens to the people (the vis, the Maruts): the word svadusammudah conveys between the lines the prayer, 'so that they (the people) shall be delighted with the sweet gifts of royalty.'
Stanza 4. Cf. XIII, 3, 26 d, and the introduction, for the alliterations in Pâda a. The Taittirîya version of Pâda c, tábhih sámrabdho avidat shád urvih, has correct metre, and the aorist third singular avidat is in accord with the tenses and numbers of the verbs immediately following. Ludwig evades the syllepsis in the plural avindan, rendering, von disen (frauen) erfasst haben die sechs weiten ihn aufgefunden.'
Stanza 5. The present stanza, together with 4 a, b, exhibits a very pronounced allusion to practices akin to the râgasuya ; cf. the dig-vyâsthapana-mantrâh, Tait. $. I, 8, 13, 1-2, and see for details our article cited above, p. 432. For the form Ästhan (asthat), ib. 438 ff. Cf. the first abhayagana of the Ganamâlâ, Ath. Paris. 32, 12 (Kaus. 16, 8, note).
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Stanza 6.
The Taittirîya version again has the mark of priority (agá ékapâd for agá ékapâdah). The agá ékapâd is certainly the sun; cf. Tait. Br. III, 1, 2, 8, the one-footed goat (with double entente, "driver," and again, "non-born"1) has risen in the east, delighting all gods; at his urging all the gods go.' Cf. the note at XI, 4, 21.
Stanza 10.
The gâyatrî, the rhythmic measure of Agni, is his representative upon earth (cf. RV. I, 61, 8; Journ. Amer. Or. Soc. XVI, 9). The assimilation of Rohita and Agni, which appears frequently in the sequel, begins here. Note the variants, Tait. Br. II, 2, 5, 2.
Stanza 11.
d. Repeated at RV. X, 123, 8 d, where the Pâda appears to be secondary, since the word rûpáni, supplied here from Pâda b, is there wanting. Cf. similarly the inferiority of RV. VI, 58, I a to Tait. Âr. I, 10, 1 (3a).
Stanza 12.
c. tvâ is metrically superfluous, and hardens the sense. Without it,' he shall not abandon me, lest I abandon (him).' Our rendering of nåthitó, 'when implored,' is uncertain: ordinarily (e.g. III, 1, 2) it means 'in distress.' The sense would then be, may I not in distress abandon thee.'
·
Stanza 14.
c. Repeated in st. 37 d. The rendering is conjectural owing to the obscurity of the word magmáni, which occurs here only. Cf. RV. I, 143, 4.
Stanza 15.
=
c. I am inclined to think that Ludwig is correct in emending the aπ. λey. ushnihâksharó to ushuíhâksháro ushwíhá aksháro, and in rendering aksháro by om (the pranava); cf. Sânkh. Sr. I, 1, 36 (pranavo ye yagâmahe vashatkâral). For other suggestions, cf. Henry's careful discussion in his note (l. c., p. 27 ff.).
1 Cf. Bergaigne, La Religion Védique, III, 23.
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Stanza 16.
The five stanzas beginning here are rubricated at the godâna-ceremony, the trimming of the youth's beard at the time of puberty, Kaus. 54, 10. Their connection with the rest of the hymn problematic. In stanza 18 d Rohita, as a variant of Agni in 17 d, is mentioned, and this alone may have induced the diaskeuasts to place the entire series here.
Stanza 17.
This and the next two stanzas exhibit the word vâkaspati. They, along with other stanzas containing the same word, are known in the ritual (Kaus. 41, 15) as vâkaspatilingâh (sc. rikah), and are employed at practices designed to ensure gain in business, while addressing the rising sun.
d. The word parameshthin seems to refer for the nonce to the young man, who, during the moment of his consecration, assumes in the exorbitant language of his environment the rôle of the lord on high.
Stanza 18.
According to the Index Verborum the MSS. read nau for no (both times?).
Stanza 21.
Here begin the stanzas devoted to Rohini. Cf. RV. I, 39, 6; VIII, 7, 28. Both these passages have the nominative rohitah, so that he himself appears as the side horse, the speckled mares or cows of the sky being the main draught-animals. The Atharvan form smacks of adaptation, decidedly. For, apparently, Rohita is here in the car, and the speckled female is the side-horse. The gloss on this stanza, Kaus. 24, 42. 43, which states distinctly that róhita is the sun, príshatî the sky (dyu), conceives of the latter as a cow1, rather than a mare, as one would expect in the case of the female of the red steed. This is quite
1 The stanza is cited by the Ath. Paddhati (Kaus. 19, 1, note), as one of the push/ikâ mantrâh.
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in accord with the usual description of the dawn; cf. RV. I, 113, 2 ; V, 64, 7; 80, 2-4.
Stanza 22. The word sûrí, very common as a masculine, is here, and here alone, feminine. It seems chosen, with conscious straining, for the purpose of alluding to Sûryâ, the female of the sun. We should not forget in this connection the fact that there is another Rohinî, the constellation of that name, corresponding to another male divinity of light, the moon ; see Tait. S. II, 3, 5, 1; Tait. Br. III, 1, 1, 2; 4, 2 (cf. also Tait. S. I, 1,7, 7). It is not unlikely that the existence of one of these pairs stimulated the completion of the other. These notions are plastic, and elusive in their multiplicity.
Stanza 23. Cf. the similar mantra, Vait. Sa. 36, 27. For a possible relation of this stanza and the rohini-episode of the hymn to a certain part of the ceremonies at the horse-sacrifice, see our above-cited essay, p. 435 ff.
Stanza 25. This and the next stanza are recited at the kitråkarma, a rite designed to procure prosperity, during the full moon of the month kaitra ; see Kaus. 18, 25.
Stanza 27. Addressed at the âgyatantra, Kaus. 137, 10, to him that constructs the fire-altar (vedi). The adjectives páyasvatim, &c., refer doubtless primarily to the earth, the cosmic altar (cf. st. 46).
Stanza 31. b. For utpípânam, cf. our discussion, 1.c., 441 ff.
Stanga 32. c. The Paippalada reads rasmibhih for ásmanâ ; this suggests rasmina, 'with his ray,' but the singular instrumental is rare, and in this connection doubtful.
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Stanza 33.
The Virâg is another personification of the shining female heaven (dawn), and the male sun is viewed here as her calf rather than her husband. The 'bull of prayers' again must refer to the sun it seems to mean 'he to whom prayers are chiefly directed,' a conception which is fortified immediately by the epithet sukráprishtha, which I take to be an equivalent of sómaprishtha (st. 12). In Pâda c it would seem natural to read ghriténâktám, 'anointed with ghee,' for ghriténârkám, establishing thus a certain balance between this expression and bráhma sántam in Pâda d. But the construction of abhí ark with two accusatives is secure, e.g. AV. VII, 14, 1; 72, I, and at Tait. Br. II, 8, 8, 9c we have, tám arkaír abhy àrkanti vatsám. Each reading seems equally good under the circumstances.
Stanza 39.
d. The Paippalâda reads vipasyantam for vipaskítam ; the reading is not favoured by the metre, and seems in every way inferior.
Stanza 40.
a. The text as it stands can hardly be sustained. The Paippalâda reads, devo devam arkayasi. Henry, without a knowledge of this, emends to devó devấn arkayasi; cf. our remarks, 1. c., p. 437. We have finally accepted this in our rendering the extant Saunakîya reading must have arisen on the basis of the reading devó devámmarkayasi with anticipatory anusvâra.
Stanza 41.
A cosmic charade (brahmodyam)=AV. IX, 9, 17, and RV. I, 164, 17 (with the variant antáh for asmín in Pâda d). The subject of the riddle is the dawn. Her calf is the sun, as in st. 33. The disappearance of the dawn at sunrise is depicted prettily, though rather mystically in the second hemistich. The meaning of Pâda d is that though a cow she does not beget her calf in this earthly herd: her calf
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is heavenly. Cf. Haug, Vedische Räthselfragen und Räthselsprüche, p. 24, for other explanations that seem to us decidedly strained.
Stansa 42. Another, profoundly mystic, charade, essentially identical with IX, 10, 21 and RV. I, 164, 41. Whatever the independent solution may be (cf. Haug, l. c., p. 47 ff.), the presence of the stanza here seems to be in some way due to the word padá in 41 b. There the word indicates the part of the body; here, with characteristic jugglery, the metrical.foot.' The varying light or rays (feet) of the dawn may have suggested the metres with their varying feet, even if the brahmodyam was not really constructed primarily with a view to the answer' dawn.' It has at any rate no direct bearing upon Rohita, and seems to appear here by way of expanding the laudation of the female divinity of the preceding stanza.
Stanse 45.
Beginning here Sarya appears in the role of a cosmic sacrificer, and the elements of the sacrifice familiar in the liturgies are boldly projected into the visible universe. With all the extravagance of the fancies they are on the whole intelligible, and at times not wanting in beauty.
Stanza 56. Employed at Kaus. 49, 26 in a conjuration against an enemy. Påda b, un tpos töv ñdcov quixeiv, Hes. 'Epyà xal quépal 725.
XIX, 26. COMMENTARY TO PAGE 63. The hymn is not employed in the Kausika ?. It is quoted by Sayana from the Sântikalpa 17?, as follows: agneh pragâtanı iti sûktena âgneyîm agnibhaye sarvakåmasya ka. This Såyana expounds, iti vihitâyâm âgneyyâkhyâyâm
Cf. Kausika, Introduction, p. xl. • Sâyana regularly substitutes Nakshatrakalpa for Såntikalpa.
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mahâsântâu hiranyanirmitam kundalâdikam abhimantrya badhniyât. According to this he who is afraid of fire, or desires everything in general, performs 'the great rite of consecration for Agni, and puts on earrings and so forth, made of gold. For mahâsanti, see Kaus. 39, 27; 43, 5; 44, 6; 46, 7, and the note on Kaus. 9, 5. Sâyana further quotes Såntikalpa 19, in which the hymn is again rubricated : agneh pragatam pari yad dhiranyam iti hiranyam agneyyâm, and comments, karnamadhye khidravad dhiranyakundalam ity arthah. Once more the hymn is rubricated in the Tulâpurusha, Ath. Paris. II, 1, along with other mantras: agne gobhil, agnesbhyâvartin (Kaus. 72, 13), agneh pragâtam iti sampâtân udapâtra ânîyâ-bhishekakalaseshu ninayet. The performances are secondary throughout. The hymn has been translated by Grill?, pp. 49, 192 ; the Anukramanî designates it as ágneyam hairanyam.
Stanza 1. Cf. Tait. Br. I, 2, 1, 4; Åpast. Sr. XIV, 11, 2. In Pâda c enam refers either to mani or some other masculine designation of a jewel. Sâyana, hiranyarûpam padártham arhati.
Stansa 2.
For pragávanto mánavah, see Bhagavadgita X, 6. The majority of the MSS. read ishiré for ishiré, and Whitney, Index Verborum,and Roots of the Sanskrit Language, seems to derive the word from ish, send.' Sayana, îshire prâptavantah.
XIX, 34. COMMENTARY TO PAGE 38. The hymns, AV. XIX, 34 and 35, are not rubricated in either of the Sûtras, Kausika or Vaitâna, and this is in accordance with the general character of the nineteenth book as a paralipomenon in the text of the Saunaka school; see Kausika. Introduction, p. xl ff. According to the Sântikalpa 17 and 19, both hymns are employed in a mahâsânti, 'great consecration' (cf. Kaus. 9, 6, note), pertaining to Våyu, the wind. In reference to this Sâyana has the sol
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lowing: pañkamesnuvâke dvadasa suktåni, tatra 'gangido ssi' iti prathamadvitiyabhyam saktabhyam våyavyâm vâtavatyäyâm'i iti (Sântikalpa 17 ?) vihitâyâm våyavyakhyâyam mahâsântau gangidavrikshanirmitam manim badhnîyât, tathå nakshatrakalpe (! for såntikalpe) sûtritam, " "vâtåg gâtah" (IV, 10) iti sankham várunyâm, "gangido ssi gangido rakshita -si” (XIX, 34) iti gangidam våyavyâyâm'iti (Såntikalpa 19). A number of stanzas have been commented upon by Zimmer, Altindisches Leben : see the index, p. 457.
Stanza 1. a, b. The text of our translation of the first two Pâdas is that of the vulgate. This differs from the MS. reading so much as to amount to an independent composition on the part of the editors. They read, angirâ (cf. st. 6) asi gangida rákshitåssi gangida ; the MSS. unanimously present, gangidòssi gangidó rákshitâ ssi gangidáh. I am far from feeling that the editors have restored the ancient text. The difficulty with the MS. reading is the absence of any adjective or noun gangids with appellative meaning, and the cumulation of nominatives. The latter difficulty is paralleled closely by AV. IV, 12, 1, and it would seem almost as though in both passages the nominative had assumed the function of vocative. Neither difficulty exists for Sâyana, who translates the second gangidó as vocative and paraphrases the first as an agent noun, as follows: he gangida mane gangido-si yato gåtânâm krityânâm krityâkritâmn ka nigaranakartâ ssi (one MS. nigirana-) ato gangida ity ukyate ... gam girati iti gangirah ... yad vâ gangamyate satrûn bâdhitum iti gangidah. I must say that I do not think it impossible that the original text had in mind some pun on the root gar, 'swallow,' in connection with the first gangida, or perhaps some other root, say, gâgri, 'wake.' The latter suggestion would yield good
My copy of the Sântikalpa reads vâta vâryâdyam. ? Shankar Pandit, erroneously, here and in the following quotation, substitutes Nakshatrakalpa for Sântikalpa.
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sense, the first gangidó, 'wakeful,' being parallel with rákshitâ in the second Päda.
Stanza 2. a. The MSS. at the basis of Roth and Whitney's edition read gâgritsyas tripañkâsîh, and the editors, inspired doubtless by RV. X, 34, 8, have emended akshakrityás tripankâsîh, 'the sorceries with dice, fifty-three in number. But the parallelism of the Rig-veda passage is every way doubtful (Zimmer, Altindisches Leben, p. 284; Weber, Über die Königsweihe, Transactions of the Royal Prussian Academy of Sciences, 1893, p. 72 of the reprint); the bold emendation is at any rate not warranted by any too desperate condition of the text. The majority of the MSS. used in Shankar Pandit's edition (both Samhita and Padapâtha) have gâgritsyás, which the editor, with Sâyana, has changed to ya(1) grltsyas; this might mean the thieving female demons' (Sâyana, yâ gritsyah gardhanasila yâs ... krityâh); cf. gritsâh at Vâg. S. XVI, 25, and Mahîdhara's scholium. Notwithstanding that gritsyas is the unanimous lectio difficillima of the MSS., perchance yet destined to be sustained, I have restored simply yảh krityáhl; cf. for the juxtaposition of kritya and krityâkrlt (Påda b), AV. IV, 17, 4; V, 14, 3. 4. 5. 8. 10. 12. 13; X, 1, 6. 31; XIX, 45, 1. The Padapâtha divides tripañka-asih, 'devouring fifteenfold,' which would comport well with the reading grltsyas. The meaning consisting of fifty-three' assumed for pañkasá, 2. in the Pet. Lex., in our translation, and by Sâyana (tryadhikapañkâsatsamkhyâkâh), thus rests upon a fragile basis; perhaps the Pada pâtha is right; or, perhaps, the word means simply 'fifteenfold,' an adjectivised tripañka-sas, with the well-known adverbial suffix -sas, 'fold'
Sâyana describes the krityã concretely as a figure, or the like, made of mud, wood, &c., mriddârvadinâ nirmitapullalyâdi.
Cf. the Avestan fractional numeral adjectives thrishva- 'a third,' kathrushva-'a fourth,' &c., which, in our opinion, are adjectivised locatives plural, thrishu, &c., that which is in three.'
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c. The MSS. of the vulgate read sárvân vinaktatégaso, for which the edition substitutes vinashta-. This is Såyana's reading (vinashtategasah hataviryân), and with a slight alteration (vinishta-) that of one of the MSS. used by Shankar Pandit. The latter recites all the readings of his manuscripts ; they are (besides vinakta-), bhanakti, bhinakti, minaktu, vinakti, and vinaktu. He has chosen the last, making the Pada, sárvấn vinaktu tégasah, may (the gaigidá) expel all strength' (note, however, the ordinarily neuter gender of tégas). We prefer the text of the editio princeps and Sayana.
Stansa 8. a. Sâyana, abhikaratâ utpåditam nadam dhvanim, 'the noise got up by the person practising witchcraft (against any one);' cf. Kesava's purushahava in the introduction to II, 4 (p. 281). The MSS., Samhitâ and Padapatha, read kritrim anna-adám!
b. Our translation of saptá visrásah by seven debilitating (charms)' is a purely etymological conjecture; cf. expressions like visrastânga, lax of limb,' visrastaketana, lax in mind, and the like. Sâyana, visramsanah ... mordhanishtheshu nâsârandhradvaya-kakshurgolakadvaya-srotrakhidradvaya-mukhakuhara-rûpeshu saptasu khidreshu abhikaratå utpâditâ sapta nishyandâh, i.e.' discharges from the seven openings of the head, induced by one practising witchcraft.'
Stanse 4. The same stanza with variants occurs at AV. II, 4, 6.
Stansa 5. c. The text of the vulgate has sâsahé, a reading which is now supported by one of the MSS. at the base of Shankar Pandit's edition. The MSS. in general have sâsaha, Padapâtha sasaha, each with a considerable variety of accentuations. Sâyana comments upon the following text for Pâdas c, d, vishkandham ogasâ saha samskandham oga ogaså. For his explanation of v/shkandha, see the note on II, 4, 1 c (p. 282); his comment upon sámskandha is as
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follows: yena rogena skandhah samnatah samlagno bhavati sa rogah samskandhan. This etymological rendering coincides with that in the minds of the occidental interpreters: the Pet. Lex., 'name of a demon or disease;' Böhtlingk,
name of a disease ;' and Zimmer, 1.c., p. 391, 'contracting the shoulders, a disease.' See, however, our note on II, 4, 1 c (p. 283).
Stanza 6. 2. The MSS. of both Samhita and Padapatha read trishtvá; we with both editions trish två. Såyana, trishu lokeshu avasthânâya.
c. The name ángirås for the plant seems to be trumped up to pun with gangidas.
Stanza 8. a. Roth and Whitney's edition reads, átho yada samabhavo, the basis of our translation : the MSS. have átho padá ná bhagavo (Padapatha, átho iti padá ná bhagaval). Shankar Pandit, upon the basis of Sâyana's comment, restores áthos padâna bhagavah. The explanation is, he upada na upâdiyate svîkriyate krityânirharanâdivyâ pâreshv iti upadânah. The meaning seems to be something like
thou who art pressed into service for the purpose of driving out sorceries.' I do not believe in either the restoration, or the explanation.
c. I have again translated the text as restored by Roth and Whitney (cf. XIX, 35, 1). The MSS. of the Samhita read purã ta ugrá grasata (upa), and those of the Padapâtha are divided in reading ugrál and ugra. With the latter we might have the following sense, formerly a fierce (female demon ?) ate of thee.' Sâyana, te tvâm (!) ugrâh prâninah purâ grasate bhakshayanti (I plural). I feel by no means certain that the vulgate has restored the original text.
Stanza 10. 2. ásarîka and vísarîka are translated upon the basis of their etymology simply. Sâyana, asarîkam sarvato himsakam etannåmânam rogam tatha visarîkam viseshena [42]
xx
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himsakam etannâmânam ka balâsam. our note on II, 4, 2 (p. 284).
b. For balasam, see the note on V, 22, 11. c. For visvásâradam, see the note on V, 22, 13.
HYMNS OF THE ATHARVA-VEDA.
To vísarîkam, cf.
XIX, 35. COMMENTARY TO PAGE 39.
For the employment of this hymn in the ritual texts, see the introduction to XIX, 34. Sâyana defines it as gangidamanibandhane. It has been translated by Grohmann, Indische Studien, IX, p. 418 ff.; and Zimmer, Altindisches Leben, p. 65.
Stanza 3.
a The MSS., both Samhitâ and Padapâtha, read durhardah sámghoram kákshuk, and Sâyana explains the otherwise unknown compound sámghoram by atyantakrûram. I have refused the text as emended by Roth and Whitney (durhấrdas tvám ghorám); cf. IV, 9, 6.
b. agamam, 'I have approached' with sinister intention; Sâyana, âgatam (!) hantum prâptam. But several MSS. read adabhan (for âdábhan ?), 'destroying,' and this is worth considering. Grohmann and Zimmer translate agamam as an adjective, 'der herzutritt,' 'den herantretenden.'
c. For sahasrakaksho, see the note on IV, 20, 5.
e. The extra Pâda, making a pankti out of the anushiubh, is rather suspicious. The MSS. read gangidáh; we, with the vulgate, gangida; cf. the note on XIX, 34, I.
Stanza 4.
c. The majority of the MSS., both of the Samhitâ and the Padapâtha, read bhavyad. Both editions follow the minority of the MSS. in adopting the regular bhávyâd.
Stanza 5.
a. The edition of Roth and Whitney has yé krítvano, an emendation of yáh krishnávo of the MSS., both Samhitâ and Padapâtha. Sâyana comments upon yá rishnávo (devair nishpâditâh . . . gantâro himsakâh purushâ), and
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this reading has been adopted by Shankar Pandit. I know not how to improve upon the suggestion of the occidental editors.
b. The western editors have restored yá utó mártyebhyah, the basis of our translation. The MSS. have yá utó vabhritenyàh (vabhritenyák), and vabhrithenyàk. Sâyana's text has yá utó vavrité-nyáh, upon which he comments as follows, ye anye manushyâdipreritâ bâdhakâ vavrite vavritire (! why does he comment, in the teeth of the grammar, upon the plural, instead of the singular, which would make equally good sense?). Shankar Pandit has adopted Sâyana's text.
XIX, 38. COMMENTARY TO PAGE 40.
The matter of this little hymn, the guggulú or bdellium, has been made the subject of an exhaustive investigation by Lassen, Indische Alterthumskunde, 12, 339; cf. also Zimmer, Altindisches Leben, p. 28. Sâyana here defines it as, surabhi ghrânasamtarpako gandhak; cf. also his comment at II, 36, 7. The ritual of the Kausika makes no mention of the hymn, but it is rubricated in an unimportant way in Ath. Parisishtas 4, 3. 41; 17, 2. A previous translation is that of Grill2, pp. 39, 193. The Anukramanî, mantroktagugguludevatâkam.
Stanza 1.
In most of the MSS. the bracketed hemistich forms the first half of st. 12; next, the last hemistich of our first stanza, together with the first of st. 2, makes up the second; and, finally, the second hemistich of our st. 2 figures independently as a third stanza. Some MSS., however, make one stanza of the three last hemistichs (a tryavasânâ, sc. rik). The bracketed passage is obviously secondary, though it stood in its present place at the time of the composition
1 Cf. the introduction to XIX, 39, note.
2 Thus also both editions.
X X 2
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of the Parisishtas. It seems to have been attracted to its present place by the word yakshmâh in st. 2 a of the text.
2. For arundhate, see IV, 12; V, 5; VI, 59, in these translations. Sâyana overcomes the embarrassing presence of the word by turning it into a verb, rodham na kurvanti na pîdayanti (!), and Whitney in the Index, in the same vein, emends the word to arundhata, though it is followed by the present asnute. The MSS. with accent, árundhate.
f. The MSS. have, mriga ásvå ive- rate, which we have translated. Roth and Whitney emend mrigád résyå ives rate, 'as antelopes flee from the wild beast.'
XIX, 39. COMMENTARY TO PAGE 5. Neither the Kausika, nor Darila and Kesava, make any mention of this hymn, though it might, but for the commentaries, be understood to be included in the kushthalingâh (sc. rikah) in Kaus. 28, 13. It is not, moreover, included in the takmanâsanagana of the Ganamâlâ, Ath. Paris. 32, 7: see Kaus. 26, 1, note. Its failure to appear in the latter is fortuitous, since the Ganamâlâ, like other Atharvan Parisishtas, draws freely upon the nineteenth book; Kausika's silence, on the other hand, is in accord with the general attitude of this Sûtra towards the nineteenth (and twentieth) books of the Samhitâ ; see Kausika, Introduction, p. xl. Sâyana in his introduction to the hymn says that the hymn is employed in the Râtrîkalpa, on the occasion when incense of kushtha is offered to whom?) in connection with AV. XIX, 34, etu devah iti shashtham sûktam (sc. pankamesnuvâke) asya ràtrîkalpe kushthapradâne viniyogah purvasaktasamaya (XIX, 38) uktah.
The hymn has been translated by Ludwig, Der Rigveda, III, 198 ff.; cf. also Zimmer, Altindisches Leben, Index, p. 457 b. For the nature of the kushtha, see the introduction to V, 4.
1 The quotation occurs neither in the Pishlarâtryâh Kalpa (Ath. Paris. 6), nor in the Ârâtrika (Ath. Paris. 7), but in the Purohitakarma (Ath. Paris. 4, 4), where it is quoted together with XIX, 38.
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Stanza 2. b, c. The two Pâdas are translated in accordance with the text of the edition, which emends the MS. readings with great ingenuity, as follows: naghamaró naghârisho ná ghâyám púrusho rishat. For the two syllables nagh, the MSS. everywhere present nadyă; so also Shankar Pandurang Pandit's MSS. of the text with Sâyana's commentary, and the Padapåtha (nadya). The Devanagarî MSS. confuse badly, in the case of doubtful words, the characters for dya and gha; see, e.g. the writings vamdya for vamgha, Kaus. 8, 14, and apâdya for apâgha, 36, 22; 42, 22 ; 82, 4. Thus far the emendation seems therefore well founded, an impression which is strengthened by Sâyana's abortive attempts to get sense out of nadyå by correlating it with nadî,‘river,' and even worse. As regards naghârisho of the edition, Shankar Pandit's MSS. waver between nadyârishó, nadyayushó, and nadyayůshó, and the Padapâtha between nadya-risháh and nadya-áyushah; the element ayusha seems to be due to a secondary effort to contrast the word with mâra in the preceding, and thus strain sense out of it. The formation naghårisha is guaranteed by AV. VIII, 2, 6; 7,6, where it is also an epithet of a curative plant. By the side of púrusho rishat the MSS. have also púrushorshat and púrusho rishat (Padapatha : púrushah rishat, and púrushah rishat). These emendations may be regarded as a specimen of the best that can be done with the corrupt text of the nineteenth book.—'Three names hast thou,' i.e. na-gha-mará (forsooth-not-death '), and na-gha-risha ("forsooth-not-harm'), in addition to the ordinary name kúshtha. This refers to varieties of the plant (cf. V, 4, 8), which, in the common manner of the Atharvan, justify opportunistic formations, coined with the freest fancy, and expressive of salient qualities.
Stanza 3. a. givala, 'vivida,' quickening,' or 'full-of-life,' is the honorific epithet of an independent plant (AV. VI, 59, 3 ; VIII, 2, 6; 7,6), probably the arundhati (see the introduc
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tion to IV, 12). The Atharvan has a way of formulating qualities as father, mother, brother, &c. of the object they are attributed to; see the note on V, 5, 1.
b. I have not followed the edition in emending givantó, the unanimous reading of the MSS., to gîvaló. A glance at VIII, 2, 6; 7, 6 shows givalấm by the side of givantim; and givanta, givantî, gîvantika are sufficiently authenticated as names of remedial plants. The emendation seems entirely groundless. For another father of the plant, see V, 4, 9 b.
Stanza 4.
a. Cf. VIII, 5, 11; V, 4, 9 a, b, and also I b. The fulsome praise in the manner of kathenotheism. When another plant is employed the expressions are no less exorbitant; cf. e.g. VI, 15, 1.
Stanza 6. a. The MSS. have trih sambubhyo angirebhyas, or angireyebhyas, for which the vulgate substitutes boldly, trir bhrigubhyo ářgirobhyas. I have followed it, not without some misgivings, in translating angirobhyas; the text, however, may possibly disguise some patronymic derivative of angiras. Såyana comments upon ángireyebhyas, with the words, angirasâm apatyabhatebhyah sâmbubhyah. But I could not go so far as to substitute trir bhrígubhyo for trih sámbubhyo, the lectio difficilior, apparently for the reason merely that the Bhrigu and Angiras are frequently mentioned together. Sâmbu and especially its patronymic Sâmbavya are well authenticated, the latter being a schoolname of a sautra-sâkhâ. The Sâmbavya-grihyasútra is a version closely related to the Sankhayana-grihyasútra ; cf. Indische Studien, XV, 4 and 154.
e. sâkám sómena tishthati (cf. V, 4, 7 b): both sóma and kúshtha are mountain-plants; the former has the epithet girish tha, ' dwelling upon the mountain,' RV. IX, 18, 1, &c., and the mountains are called sómaprishtha,'having soma upon their backs,' AV. III, 21, 10. For kushtha as a mountain-plant, see V, 4, 1; VI, 95, 3.
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Stanza 6. The same stanza at V, 4, 3; VI, 95, 1; with the variant fourth Pâda, deváh kúshtham avanvata ; see the notes at V, 4, 3. In Shankar Pandit's edition with Sâyana's commentary the last four Pâdas of the preceding stanza are here added at the end, as a refrain.
stanzà 7. The same stanza at V, 4, 4; VI, 95, 2, with pushpam (púshyam) for kákshanam in Pâda 3, and deváh kúshtham avanvata in Pâda 4; see the notes at V, 4, 4. In Mr. Pandit's edition the same refrain as in the preceding stanza.
stanza 8. a, b. It seems difficult to abstain from comparing with this passage certain features of the well-known legend of Manu and the flood. In the Sat. Br. I, 8, 1, 6 the northern mountain upon which Manu's ship settled is styled 'Manu's descent,' manor-avasarpanam, and in the version of the flood-legend in the Mahâbhârata I, 12795 (cf. also the Matsyopakhyâna 49) it is called nau-bandhana. If the vulgate is correct in its restoration of the word skshvâko to íkshvâkor in the next stanza (9), 'the ancestor of Ikshvåku,' i.e. Manu, may be imagined as landing with his ship upon the mountain, and finding the remedy. The Rig-veda, II, 33, 13, speaks of pure, most wholesome, and strengthening remedies which 'Father Manu' chose, and it seenis altogether likely that the two independent legends should blend here in the mind of the poet, and that he should have in mind when speaking of the descent of his golden heavenly ship upon the Himalaya the very spot where Manu descended. Nevertheless it may be fairly questioned whether nâvaprabhrámsana here is a proper name, and does not mean simply,' where the (heavenly) ship descended.' The character of the word as a compound is not at all secure. The majority of the MSS. of the Samhità read navaprabhrámsanam with two accents, and one of Shankar Pandit's MSS. has nấvah prabhráinsanam. The MSS. of
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the Padapâtha are divided between ná ava-prabhrámsanam and ná áva pra-bhrámsanam. At any rate the ship which brings down the kúshtha (Soma, the moon ?), and Manu's ship, may have nothing to do with one another except their mutual suggestion. Pâda a seems to have stood originally, yátra nâváh prabhrámsanam. See Weber in Kuhn and Schleicher's Beiträge zur vergleichenden Sprachforschung, IV, 288; Grohmann, Indische Studien, IX, 423; Zimmer, l. c., p. 30; Eggeling, Sacred Books of the East, vol. xii, p. 218, note.
HYMNS OF THE ATHARVA-VEDA.
Stanza 9.
a. We have not translated the text of the vulgate, yám tvâ véda purva íkshvâkor, a by no means certain restoration, since the MSS. of the Samhitâ have íkshvâko (ishvâko), and those of the Padapâtha íkshvâkah (íshvâkak). Sâyana comments upon the nominative, purâtana ikshvâkû râgâ, and that presupposes a more natural reading, yám tvâ véda purva íkshvâkur, the one adopted for our version. Although this handles the text more severely, I could not get myself to feel certain that purva íkshvâkoh could mean 'the ancestor of Ikshvâku,' as useful as this result is for the current interpretation of the preceding stanza1.
b. The text is doubtful, the MSS. read kushtha kâmyàl (kâmyah). Accordingly Sâyana takes kushtha as vocative and translates kâmyal as a patronymic, 'the son of Kâma.' I could not follow him, but the treatment of the words in the vulgate as a compound, kushthakâmyà, 'women fond of kushtha,' is also doubtful. Perhaps the use of the plants in unguents (AV. VI, 102, 3) is in the mind of the poet. Professor Whitney in the Index Verborum assumes a nominative singular masculine kushthakâmyàs. Ludwig, 'der den kushtha liebt (besser, der sohn derer, die den kushtha liebt).'
c. The text as translated is, yám vâyasó yám mâtsyás.
1
Ludwig in the same sense suggests putrá íkshvâkor, 'the son of Ikshvâku.' But why should this lectio facillima have been completely lost?
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The MSS. have yám vâ váso (or vaso) yám átsyas. Såyana, moreover, comments upon yamasyah, as follows: yamasya åsyam iva âsyam yasya sa tâdriso (vasah) etannâmâ devo veda. Mâtsya is the name of a royal sacrificer in Sat. Br. XIII, 5, 4, 9, and of a Rishi skilled in special practices in Tait. Br. I, 5, 2, 1; and Vayasa, though not quotable as a proper name, might yet be such a one. But vâyasá ordinarily means 'large bird,' and mâtsya suggests mátsya, 'fish.' I see nothing good to be done with this suggestion. The translation of the Pâda is altogether problematic.
Stanza 10.
8. The vulgate emends sirshalokám to sîrshasokám,'that burns the head' inadvertently omitted in the text). To be convinced, we need but watch Sâyana's contortions, when once he is misguided by the traditional text. He refers sîrshalokám to the kushtha-plant instead of the takmán: 'your head (O kushtha) is in the third heaven.' But every epithet in Pâdas a, b refers to the takmán, as may be seen by comparing V, 22, 13 ; see the note to the passage.
b. For sadamdí, see the note on V, 22, 13 b. hayana either sums up the varieties of the takmán which are described in V, 22, 13 as sârada, gralshma. and vấrshika, and would then have to be translated 'occurring through the year ;' or it means simply 'yearly,' i. e. occurring (at a given time) every year ;' cf. visvásârada at IX, 8, 6; XIX, 34, 10. Involuntarily one thinks, too, of Zend zayana, 'winter' (Yasna 64, 20, Yasht 13,8), and asks whether Vedic hâyaná does not primarily mean winter' and 'wintery;' afterwards poetically 'year' and 'yearly.' Then hâyaná here might be added as a fourth variety of the takmán to the såradá, graíshma, and vấrshika. Scarcely probable.
c. For visvadhâvîrya, see V, 22, 3.
XIX, 53. COMMENTARY TO PAGE 224. This and the following hymn, being theosophic and cosmogonic in character, play no part in the practices of the Atharvan, except that they are recited (under the
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designation kâlasůkta) along with the kâmasûkta (AV. IX, 2), and the purushasûkta (AV. XIX, 6=RV. X, 90) in the tenth Atharva-parisishta; the Bhumidâna. Sâyana has the following statement in his introduction to this and the following hymn: 'kâlo asvo vahati' iti sûktadvayasya sauvarnabhůmidåne ágyahome viniyogah, uktam hi parisishte, anvârabhyåstha guhuyât kâmasaktan kâlasûktam purushasúktam (Ath. Paris. 10, 1).
The hymn has been treated many times: Muir, Original Sanskrit Texts, V, 407; Ludwig, Der Rigveda, III, 191; Monier Williams, Indian Wisdom, p. 25; Lucian Scherman, Philosophische Hymnen aus der Rig- und AtharvaVeda-Sanhita (Strassburg, 1887), p. 78 ff. ; Grill, pp. 73, 193 ff.; cf. also Hillebrandt's Vedachrestomathie, p. 41. The Anukramanî ascribes the authorship of the hymn to Bhrigu, and defines stanzas 6-10 as, mantroktasarvatmakakåladevatyå anushtubha iti.
Stanza 1. 8. Sâyaria imagines the seven rays as being tied to the mouth, neck, and feet of the steed, and explains them as being the six seasons, each of two months, the thirteenth (lunar) month of the intercalary year being the seventh'. This is the same explanation as is offered by Sâyana at RV. I, 164, 2 for sápta yuñganti, and Sảyana to our passage offers further in support of his interpretation RV. I, 164, 15, where the thirteenth month is probably described ; see Haug, Vedische Räthselfragen und Räthselsprüche, p. 23 (Proceedings of the Bavarian Academy, 1876). Sâyana here, as well as at RV. I, 164, 2, suggests the seven rays of the sun (cf. AV. VII, 107 ; X, 8, 9; XIII, 3, 10) as an alternate explanation, relying upon Yâska's Nirukta IV, 27. The occidental interpretations of this expression
For the thirteenth month, see Sat. Br. II, 2, 3, 27, and Professor Eggeling's note on his translation, Sacred Books, vol. xii, p. 321, note 6. Also, especially, Professor Weber's learned note in Die vedischen Nachrichten von den Nakshatra,' II, p. 336, no:e.
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none of them satisfactory-are enumerated by Scherman, pp. 78, 81, and Grill, p. 193. I am inclined to believe in the kinship of our passage with RV. I, 164, 2, and also in a semi-lucid blending of the attributes of time with those of the sun. Cf. AV. XIII, 2, 39, where Rohita, a form of the sun, is identified with time; see Henry, Les Hymnes Rohitas, pp. 13, 44, and Contributions, Fourth Series, Amer. Journ. Phil. XII, p. 430. The Maitri-Upanishad states distinctly that the sun is the source of time, sûryo yonih kâlasya (VI, 14).
b. sahasraksha is an attribute of a great variety of divinities, and it does not, therefore, contribute to the definition of the passage, see the note on IV, 20, 4; Sâyana, sahasrakiranopetah, i.e. the sun. agára and bhåriretah are attributes of the two Ushas at AV. VIII, 9, 12. The latter, in the RV., only of heaven and earth; the former, again, of an almost complete assortment of divinities. One must not be too insistent with a later Atharvan production, the poet makes draughts upon the entire stock of mythic and cosmogonic ideas; the poetic past is his kâmadhuk; he cares not for nicety of distinction.
c. Sâyana: ‘The Rishis mount (i. e, control) time,' svâdhînam kurvanti, svâdhînakâlâ bhavanti.
Stanza 2. 8. The MSS. have kakrấn which Roth and Whitney emend to kakrá; Shankar Pandit adheres to the MS. reading. Sảyana comments upon kakrå nu vahati (sapta ritùn anu anukramena . . . dhârayati). The seven wheels occur again at RV. I, 164, 3. 12, where Sâyana refers them to the seven modes of subdividing the year. But the scholiast to the present passage, again, as in st. 1, has in mind the seven seasons (sapta ritûn), i.e., the six seasons and the intercalary month. A wagon with seven wheels occurs also at RV. II, 40, 3, where it is employed by Soma and Půshan to carry the gods. Cf. also the Brihaddevata, IV, 32.
b. Sayana comments upon amritam tany akshah, to wit:
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asya akshah tanu samtatam sūkshmam amritam amaranadharmakam avinasyaram tattvam.
c. The MSS. have amgát, amgat (enclitic), and anyát. Shankar Pandit relying upon Sâyana adopts añgat, which the latter renders by añgan ... vyaktîkurvan. I do not see how we can well escape Roth and Whitney's emendation to arván in the light of pratyán in the next stanza, and in that case it seems desirable to supply vahati, carrics,' from Pâda a. But we may render also, 'he turns towards all these beings.' Muir, 'he is at present all these worlds ;' Grill, 'er fährt herbei mit jenen wesen allen ;' Ludwig, 'er (fährt) herwärts alle dise welten ;' Scherman, 'er (fährt) herwärts kommend alle diese wesen.'
d. All translators, except Scherman, render îyate as a verb of motion (Sayana, in gatau); Scherman, 'Kala wird als der erste gott angefleht.' Cf. Tait. Br. III, 12, 9, I, rigbhih parvâhne divi deva îyate (schol. gakkhati), yagurvede tishthati madhye ahnah, sâmavedenås stamaye mahîyate. Read seyate with crasis.
Stanza 3. a. Ludwig explains the full jar as the sun: Sâyana, better, as the year with its days and nights, months and seasons. The Pâda is an irregular gagatî (read půrnáh as three syllables).
b. The MSS. of the vulgate, sántah, which is emended to sántam. Shankar Pandit gives santál (accent !) as the reading of both Samhita and Padapatha ; Sâyana translates it by 'good men,' satpurushâh. The emendation can be avoided : 'him we see being in many places'
c. Ludwig, 'er (führt) hinweg alle dise welten ;' Scherman, 'er (Kala) [fährt] zurückgewandt alle diese Wesen.' The Pâda is antithetical to st. 2 c, and indicates decay and death as over against life and growth. Cf. Mait. Up. VI, 14 (end), ‘From Time all beings flow, from Time they grow, and into Time they set.' Possibly we may render, 'he turns away from all these beings.'
So also Ludwig here, but in the almost identical passage, XIX, 54, 6, 'wird angefleht.' It seems impossible to decide.
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Stanza 4. a, b. In both Pâdas the caesura is after evá, the passage before the caesura being defective; the first Pâda is a gagatî. Grill, p. 195, by way of amending the metre, goes far in the direction of composing the Pâdas anew. Ludwig reads sán for sám in both Padas, and his suggestion is supported by one of Shankar Pandit's MSS. of the Padapåtha. He translates: 'er allein ist, und als solcher hat er die welten gebracht, er allein ist, und als solcher kam er um alle welten herum.'
c. The caesura again after the first three syllables.
Stanza 6. The metre is irregular, especially in the first Påda : the Anukramanî, nivrit (nikrit) purastâdbrihatî. Read prithvir in Pâda b, and possibly divåganayat in Pâda a.
b. The 'three earths' are meant; see IV, 20, 2, and our note on the same. Sâyana, sarvaprânyâdhârabhůtah prithivih; he also quotes RV. I, 108, 9.
c. The MSS., both Sanhita and Padapatha, kâlé ha. I follow Roth and Whitney in reading kâléna.
d. The MSS. unanimously, havís tishthate, which is emended by the same editors to ha ví tish thate. In this they were forestalled by Såyana, vi tishthate viseshena åsritam vartate. Grill, auf grund des Käla steht es fest,' a translation that seems less probable than ours.
Stansa 6. a. The MSS. have bhutím which Roth and Whitney have changed to bhůmim. Sâyana also comments upon bhùtim, but he approaches closely to the value of bhûmim, bhavanavag gagat. We with the vulgate.
Stanza 7. In Tait. År. IX, 3-6=Tait. Up. III, 3 ff. the funda. mental principles prâna, manas, vigñana (similar to nấma in this stanza), and ananda are described ; cf. especially the expression, anandåd dhy eva khalv imâni bhûtâni
gtone
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gâyante with the second half of our stanza. AV. XI, 4, 4 ff., and Scherman, l. c., p. 71. tion of nâma in philosophical cosmogony, cf. III, 12, 7.
Stanza 8.
For discussions of tápas and bráhma, see Scherman, l. c., p. 2 (note on RV. X, 129, 3), and Grill, p. 196, both containing references to previous efforts in behalf of these words. Sâyana well translates tápas by, gagatsarganavishayam paryâlokanam. In explanation of gyéshtham he has, hiranyagarhhâkhyam tattvam. His translation for brahma is mechanical: sângo vedah, 'the Veda and its Angas.' For Pâda d, cf. our notion of Father Time.'
(
See also
For the posialso Tait. År.
Stanza 9.
d. Parameshthin is one of the numerous designations of the supreme being, almost monotheistic in character, which serves to form a transition stage from the earlier polytheism to the pantheism of the Upanishads. Essentially the same idea is incorporated above in the term gyéshtha, which Sâyana fitly explains as hiranyagarbha, 'golden embryo,' another embodiment of the same idea. Similarly visvakarman, 'fabricator of the universe,' svayambhû, self-existing;' cf. the next stanza, and AV. X, 7, 17.
Stanza 10.
·
d. Kasyapa is a divine being identical or parallel with Pragâpati. This style of literature is likely ever to have in mind the pun of the Tait. År. I, 8, 8, kasyapah pasyako bhavati, Kasyapa is a seer,' and this leads to the suspicion that the name is merely a personification of the sun; cf. our note on AV. IV, 20, 7. The epithet 'self-existing ' must not be taken too literally: svayambhu is one of the many names of the supreme being (see the preceding note), and as such is mentioned along with the others. Muir, 1. c., p. 408, note, suggests in the light of this passage the unlikely theory that, 'this word must therefore be regarded as not necessarily meaning anything more than one who
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687
XIX, 54.
comes into existence in an extraordinary and supernatural manner.'
COMMENTARY.
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 (gâyatrî) Pâdas. But a better division of the remainder of the hymn results if we add two Pâdas of the third stanza (making a pańkti), fuse the remaining two Pâdas 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 stanza1-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 bhûtám bhavyam ka putró aganayat púrak (one of Shankar Pandit's Pada-MSS. púrâ). Roth and Whitney emend, kâlé ha bhûtám bhávyam ka mántro aganayat pura. We adopt this text with the exception of mántro, for which we have retained the original putró. Sâyana reads and
1 Not so in Shankar Pandit's MSS. of the text, where the arrangement is that of the vulgata, except that the last two trish/ubh Pâdas are added to stanza 5, making it to consist of six Pâdas.
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688
HYMNS OF THE ATHARVA-VEDA.
comments, kâlenai va pitrâ prerakena putrah pragâpatik bhûtam, &c.
Stanza 3.
Made up of st. 3 c, d and 4 a, b in the MSS. With it cf. Tait. Br. III, 12, 9, 1 and AV. XIX, 6, 13=RV. X, 90, 9=Vâg. S. XXXI, 7=Tait. Âr. III, 12, 4.
C
c (=4 a in the MSS.). The MSS. read kâló yagñám sám airayan; one MS. of the Padapâtha corrects airayan to airayat, as also Sâyana, who reads and comments, samairayat udapâdayat. Shankar Pandit adopts this reading, and it is at the base of our translation. Roth and Whitney, on the other hand, restore kâlé yagñám sám airayan, which is the text translated by all our predecessors.
Stanza 4.
Made up of 4 c, d and 5 a, b of the MSS.
c (=5 a of the MSS.). Sâyana reads devó for divó, which leaves kâlé to depend upon ádhi tishthatak, to wit: angirâ nâma devah... so yam atharvâ atharvavedasrash/â devas ka kåle svaganake adhi tishthati. Shankar Pandit adopts Sâyana's text.
Stanza 5.
Made up of 5 c, d and 6 of the vulgata.
b. vídhritîk is translated by Sâyana futilely, lokadhârakân. Muir's ordinances' is untenable in the light of the remaining occurrences of the word (cf. Pet. Lex.); Ludwig,' die reinen vidhriti (zwischenräume, weltgegenden).' Scherman cites Khând. Up. VIII, 4, I and AV. IV, 35, I in support of the rendering 'zwischenräume.' Perhaps 'boundaryline' comes nearest to the sense of the original. d. For îyate, cf. the note on XIX, 54, 2 d.
XX, 127. COMMENTARY TO PAGE 197.
The Vedic hymns furnish the germs of a not inconsiderable part of the themes of the later epic narratives, notably in the Mahâbhârata and the Purânas. Especially the dânastutis, 'gift-praises,' either independent hymns, or
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xx, 127. COMMENTARY.
689
stanzas at the end of hymns, lauding the generosity of kings or sacrificers to the officiating Brahmans, appear as preliminary stages in the development of epic narratives in praise of warlike kings and heroes. Closely allied with these are the so-called gåthà nârâsamsyah1, stanzas which sing the praises of men,' slokas which occur in the Brahmana-texts, dealing with this theme in exorbitant terms. The Brahmanical authorities agree in assigning the so-called kuntâpa-hymns, XX, 127-136, to this kind of literature, and the opening stanza of XX, 127 leaves no room for doubting their correctness. The Ait. Br. VI. 32 ff.? works up the material of the kuntâpa-hymns at the sattras, the 'soma-sessions,' or prolonged soma-sacrifices, at which seventeen priests perform their functions. See Roth, Über den Atharva-veda (Tübingen, 1856), p. 6 ff.; Max Müller, History of Sanskrit Literature, p. 493 ; Haug's translation of the Ait. Br., p. +30 ff., and Weber, Episches im vedischen Ritual, Proceedings of the Royal Prussian Academy, July 23, 1891, XXXVIII, p. 770 ff. (p. 4 ff. of the reprint).
AV. XX, 127 consists of four pieces, dealing with different themes ; the ritual employs each of them distinctively under the names nårâsamsî, raibhî, pârikshitî, and kâravyà. Two of these names, nârâsamsî and raibhî, occur as early as RV. X, 85, 6; Tait. S. VII, 5, 11, 2. Quite a number of the stanzas of kunta pa-hymns are quoted in the Brâhmanas, exhibiting essentially the same textual corruption as the Atharvan version. The Sânkh. Sr. XII, 14 ff. exhibits them in full: AV. XX, 127= Sankh. Sr. XII, 14-17.
Sometimes gâthâh (indragathah) and nârâsamsyah are differentiated, being mentioned separately, Tait. S. VII, 5, 11, 2; Kaush. Br. XXX, 5; Ait. Br. VI, 32, 3. 25; Sat. Br. XI, 5, 6, 8; Âsv. Grih. III, 3, 1 ff.; Yâgħav. I, 45. The Brihaddevatâ, III, 154, states explicitly that the nârâsamsî-verses are of the nature of dânastutis.
s Cf. also Kaush. Br. XXX, 5; Sânkh. Sr. XII, 14; Âsv. Sr. VIII, 3, 7 ff.; Vait. SQ. 32, 19 ff.; Gop. Br. II, 6, 12 ff. [42]
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HYMNS OF THE ATHARVA-VEDA.
A.
The first three stanzas, known in the ritual (Ait. Br. VI, 32, 4 ff. ; Kaush. Br. XXX, 5; Gop. Br. II, 6, 12) as the nârâsamsyah (sc. rikah), contain a dânastuti. Their application, especially in the Ait. Br., contributes nothing to their elucidation. At Tait. S. VII, 5, II, 2 the commentator defines them as manushyavishayâkhyânaparâ rikah, 'stanzas devoted to the narration of human affairs.' But nârâsamsá can scarcely fail to allude in some manner to nârâsámsa (Agni); cf. the next two parts.
Stanza 1. The Rusamas are praised as liberal bestowers of dakshina in RV. V, 30, 12-15; cf. also RV. VIII, 3, 12 ; 4, 2. See Zimmer, p. 129. The stanza is quoted Åsv. Sr. VIII, 3, 10; Sânkh. Sr. XII, 14, 1.
Stanza 2. Cf. Sânkh. Sr. XII, 14, 2 ; RV. VIII, 5, 37; 6, 48; 46, 22; and Pischel, Zeitschr. d. Deutsch. Morgenl. Gesellsch. XXXV, 712. The second hemistich is textually corrupt and obscure. The sense seems to be that the chariot presented by Kaurama as part of the dakshina is so high that it seems to just dodge the heavens which in their turn flee from its contact. I read Yshamânå(Iz) with the Pet. Lex., and Whitney in the Index. The MSS. have îshámânâ(h); the edition (shamâna(). The word upasprisah I have taken as an ablative from the abstract upaspris, 'touch, contact. The Pet. Lex, takes it as an adjective, 'the touching heavens as they recede.' The text of Sânkh. Sr. XII, 14, 2 has gihîlate for gihîshate.
B. The next three stanzas are known in the ritual as raibhyah (sc. rika)); see Ait. Br. VI, 32, 7 ff.; Kaush. Br. XXX, 5; Gop. Br. II, 6, 12. At Tait. S. VII, 5, 11, 2 the commentator explains them as referring to Rebha (Agni), rebhah sabdakrid agnih tadvishayå rikah ; Sâyana at Ait.
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xx, 127. COMMENTARY.
691
Br.-where, as well as at Gop. Br., the treatment of them suggests nothing_defines them more vaguely as rebhasabdopeta rikah. Agni is unquestionably spoken of as rebhá, e. g. RV. I, 127, 10; VI, 3, 6; 11, 3; it is therefore not easy to decide whether he, the divine chanter, is addressed here, or whether the poet, the human chanter, is urged to perform his function. I incline to the former view, having in mind especially the parallelism of st. 4 with RV. III, 6, 2. The text is very corrupt.
Stanza 4. Cf. Sänkl. Sr. XII, 15, 1, and RV. III, 6, 2, divás kid agne mahina prithivyá vakyántâm te váhnayah saptágihvâh, by the greatness (Ludwig, 307, along the greatness) of heaven and earth may thy seven-tongued flames disport themselves, O Agni!' For kshuró bhurigor, cf. the interesting kshuro bhrigvân, Tait. S. IV, 3, 12, 3 (bhrigvân for bhurigvân, not in the lexicons), and Pischel in Vedische Studien, 1, 240, 243.
Stanza 5. Cf. Sankh. Sr. XII, 14, 4. I have translated rebhấso of the MSS.; the edition has the vocative rebhåso. The text of the second hemistich is very corrupt; its emended form in the edition is at the base of our rendering.
Stanza 6.
Cf. Sankh. Sr. XII, 14, 5, with important variants. ,
C. The next four stanzas are known in the ritual as the pârikshityah (sc. rikal); see Sânkh. Sr. XII, 17; Ait. Br. VI, 32, 10 ff.; Kaush. Br. XXX, 5; Gop. Br. II, 6, 12. The Ait. Br. and Gop. Br. advance as one of two expositions the theory that Agni is parikshit, since he lives about among the people, and the people live around him.' The text itself admits of no doubt: Agni Vaisvanara, the typical god of Brahmanical piety (Sat. Br. I, 4, 1, 10-18), is a kindly ruler among men, and his presence secures the
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692
HYMNS OF THE ATHARVA-VEDA.
prosperity of the golden age. In the later legends Parikshit is propagated variously as a terrestrial king.
Stanza 7.
Cf. Sankh. Sr. XII, 17, 1. In Pâda d we have translated a srinotâ of the edition; the MSS. read a sunótâ (cf. the Prakrit root su, 'hear ').
Stanza 10.
The first hemistich is problematic, the comparison of the overflow of the grain with the bursting forth of the light is bold, nay bizarre. The MSS. do not read svàh, as does the edition with Sânkh. Sr. XII, 17, 4. Perhaps sváh is to be read instead of svah (cf. Bloomfield and Spieker in the Proc. Amer. Or. Soc., May, 1886; Journ., vol. xiii, p. cxvii ff.): 'On the morrow the ripe barley bursts forth from the opening of the ground,' i. e. grain planted to-day ripens on the morrow. The second hemistich occurs in a different connection at Vait. Sû. 34, 9; here also the MSS. read edhati for edhate, as emended in the edition.
D.
The last four stanzas are designated in the ritual as kâravyâh (sc. rikah), ' referring, or pertaining to the poet;' see Sânkh. Sr. XII, 15, 2-4; Ait. Br. VI, 30, 16 ff.; Kaush. Br. XXX, 5; Gop. Br. II, 6, 12. The expositions contain nothing but a worthless pun with derivatives of the root kar, 'make.' The general sense of the stanzas is clear. Stanza 12 occurs with variants at Hir. Grih. I, 22, 9; Pår. Grih. I, 8, 10; Gobh. Grih. II, 4, 6 (pratîka); SV. Mantra-br. I, 3, 13.
Stanza 14.
d. For the skilfully emended káno dadhishva, cf. Geldner, Studien zum Avesta, p. 58 ff.; Roth, Zeitschr. d. Deutsch. Morgenl. Gesellsch. XLVIII, 110.
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I. INDEX OF SUBJECTS.
Abhayagana, a list of hymns that
secure immunity from danger, pages 398, 486, 543, 571, 576,
663. abortion, and abortionist, 165, 521,
524, 527. adaptation of mantras, lxiii, 297, 365,
372, 380, 484,525 n, 541, 548-9,
563, 665. adhvaryu-priest, 184, 243; cf. ritvig. Aditi, 50-1, 97, 166, 179, 181, 183,
186, 206, 212, 502, 610, 613,
629, 647. Aditya, 126-7, 192, 499, 661 n. Adityas (plural), 6, 12, 55, 57, 89,
116, 119, 135, 161, 163, 191,
230, 443-4. adrishta, and drishta, designations of
worms, 315, 351. Aga Ekapad, and Ekapada, 208, 625,
664. Agastya, a sage, 23-4, 33. Agni, 1, 3, 12, 14, 18, 24, 32, 35-6,
40, 42-3, 47-9, 50, 52-3, 55-6, 58, 60, 64-5, 75, 77-81, 85, 90, 94, 104-5, 109-10,112-3, 116-7, 120–2, 126, 128, 134-5, 139, 141, 146-9,151, 154,160, 163-6, 170, 173, 175, 179-80, 182, 184-5, 188, 190, 192, 194-5, 201, 205, 208-11, 231-2, 326, 231, 241, 249, 254, 270-2, 308-9, 323, 325-6, 328, 342, 353, 359, 365, 373, 402, 408,432,443, 447, 449, 454, 475,478,485, 498, 501, 518, 525, 528, 533, 545 n, 552, 554, 580, 592, 600, 613 n, 620, 622, 627, 641, 645, 661, 664, 690, 691; Agnis, two, 216; cf. Gârbapatya, Gâtavedas, and Vaisvanara.
agnihotra-sacrifice, 84, 122, 145,
227. agnishtoma-sacrifice, 189, 236, 458,
589. âgrahầyani-ceremony, 365, 551, 639. Åkati, a goddess, 104, 535. algandu, designation of worms, 22,
314-5. âligi, designation of a serpent, 28;
cf. viligi. aliklava, designation of birds of prey,
124, 155. All gods (visve devah), 6, 33, 39, 103,
105, 113, 116, 119, 184. alliteration, 273, 345, 388, 576, 642,
646, 663; cf. puns, and double
meaning. amholingagana, designation of certain
lists of mantras, 321, 509, 600,
628. amrita (ambrosia), 4, 6, 10, 26, 43,
53, 86, 135, 141, 147, 163, 185,
190, 229. Amsa, a divinity, 160. amulet of the antelope's skin and · horn, 336; of aralu, 339; of the
asvattha-tree, 334 ; of barley, 285, 507, 541, 546; of a bracelet, 96; of darbha-grass, 480 ; defensive, 394, 576; of the hairs of a Brahman, 477; of the gangida-tree, 281,669; of gold, 63, 668; of herbs, 42; of karîragrass, 452; of khadira-wood in the shape of a ploughshare, 84 ff., 608; of krishnala-berries, 239; of licorice, 275, 276; of a lute-string, 561; to cause micturation, 236; of mud, 287; of mud sewn up in the skin of a newly-slain animal, 553; of
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694
HYMNS OF THE ATHARVA-VEDA.
muñga-grass, 234; of the parna. tree, 114, 332; of the para-plant, 305; of pearl, 62, 383; of the pQtudru-tree, 573; of the sadampushpa-plant, 339; of salve, 381; of the skin of a bull pierced by a peg () 263; of the sraktya-tree, 79, 575; of a spear, 506; of târkha, 476; of ten kinds of holy wood, 34, 291 ff., 477, 578; of a thread that is red, 67; of the varana-
tree, 81, 402, 505, 605. Andhaka (Ardhaka), 155, 619. Angas, a people, 2, 446, 449. anger, charms against, 136 ff.,
479 ff. Angiras and Angirasa, mythic per
sonages, xxx ff., 38, 43, 73, 80, 86, 89, 119, 127-8, 161, 163, 171, 191, 225, 280, 433, 484, 576, 673, 678; special meaning in contrast with Atharvan and Åtharvana, xviii ff., xxi ff., xxiii ff., xxxi, 219, 576, 580, 603,
624. Angirasab, designation of the Atharva
veda, xviii, xxxi; cf. Atharvân
girasab, Bhrigvangirasah. annaprâsana, ceremony at the first
feeding of a child, 575. antelope, buck, 32; horn of, 15, 336;
skin of, 132, 215, 336, +39. ants (and earth from an ant-hill,
cure poison), 27, 234, 287, 511, 552 ff.; produce water ( pissant'), 9, 278; devour scorpions,
30. Anumati, a female divinity, 98, 104,
109, 143, 173, 304, 461, 535. Apam napât, a divinity, 589. . aphrodisiaca, 370. Åprî-hymns, 228. Apsaras and Apsarà, 32, 80, 104, 119,
125-6, 149, 160, 202, 205, 225, 329, 324, 370, 408 ff., 414, 425, 518, 520-1, 534-6; names of,
33, 409 ff., 534. Aptyas, three water-divinities, 52 1 ff. Apva, divinity of evacuation from
fright, 122, 325-7, 601; cf.
Sakambhara. Araru, a divinity, 167, 485. Arâti, demon of avarice and grudge,
15, 57, 82, 109, 172 ff., 187, 261, 423.
Araya and Arâyî, male and female
demons, 66, 69, 70, 162, 205. Arbudi, name of a battle-divinity,
123 ff., 631 ff.; cf. Nyarbudi. Ardhaka (Andhaka), 155,619. arka and arka-songs, 112, 226. arrow, of love, 102, 358; parts of,
432; poisoned, as a homoeopathic cure for poison; whitefooted, four-footed,' 127, 129;
-wounds, charm against, 120. arteries, 11, 22, 259. Arya, 68, 72, 402. Aryaman, 30, 94-5, 99, 109, 143,
160, 243, 323, 333, 491. Asâ and Asâpati, divinities, 486. Asita, a sage, 31, 107, 255. assembly and assembly-hall, 136,
138, 191-2, 206; charm to obtain influence in, 134 ff., 138,
543 ; spell in, 76. assignation, charm at, 105, 371. astrologers and fortune-tellers, 1. Asura (sing.), 111, 241, 380 (Indra);
Asurî (fem.), 16, 103 (Siren), 268 ff.; Asuras (plural), 9, 11, 21, 27, 62, 67, 71, 79, 80, 82-3, 83-6, 127-8, 137, 199, 215, 221-3, 268, 279, 341, 398, 500,
516, 572. Asvins, 48, 52, 85, 95, 100-1, 112-13,
142, 160, 200, 229 ff., 310, 312, 329, 389, 486, 503, 512, 581,
587-9. Atharvan and Atharvana, mythic
sages, xxx ff., 148, 225, 588 n, 688 ; Atharvans (plural), 33, 86, 161; special meaning in contrast with Angiras and Angirasa xviii ff., xxij ff., xxxi, 219, 603, 624; derivatives from the stem atharvan, xxiv; schools, relation of to one another, Ixi;
teachers, xlii, lviii. Atharvangirasab, designation of the
AV., xvii, xxx, xxxii, xlvii, 433;
cf. Angirasab, Bhrigvangirasab. Atharva-veda, names of and their
meanings, xvii; position of in Hindu literature, xxviii; in the RV., xxx ff.; in the Saunakiyasamhita, xxxi ff.; in the sruti in general, xxxiii; in the Tait. S., xxxvi; in the Sat. Br., xxxvi; in the Tait. Br., xxxvii; in the Upanishads, xlff.; in the Grihya
353, 4; "on), 27, 2, an anishini
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INDEX OF SUBJECTS.
sûtras, xliii ff.; in the law-books, xlv ff.; in the Mahâbh., li ff.; in classical literature in general, liv ff.; in Gaina and Bauddhatexts, lvi; in its own ritual literature, lvii; relation of to the trayî vidyâ, xxxi, xxxv, Ivi ff.; srauta-practices in, lxx. Atri, a sage, 23-4, 294, 319. Atrin, devouring demon, 37, 62, 64-5.
attractio similium, 241, 249, 270, 443, 468, 542, 561, 564; cf. homoeopathy.
auksha, a salve, 276, 324, 410; cf. the next.
Aukshagandhi, name of an Apsaras,
33, 324, 410.
avarice against priests condemned, 423.
Balhikas, a people, 2, 446, 449. bali-offerings, 367, 473, 491. balsam, 94.
barber, 57.
barley, 13, 40, 43, 57, 87, 110, 162, 204, 219, 232, 540; as an amulet, 285; with water as a universal remedy, 507. battle-charins (sâmgrâmikâni), xliiin,
xliv, 117 ff., 33, 262, 404, 510, 545, 582; addressed to Arbudi and Nyarbudi, 631 ff.; to Trishamdhi, 637; -fire 325; -machines, 632-4.
695
Bhishag Atharvana in contrast with Ghora Ångirasa, xxi. Bhrigu, a mythic personage, xxx ff., xxxii, xxxiv, 171, 433Bhrigvangirasab, designation of the Atharva-veda, xxvi, 433,616; cf. Angirasab and Atharvângirasab. bhûsamskâra, a ceremony, 640. birds of prey, 124-9, 155, 157, 205;
nests, fire made of, 458; ominous and defiling, 82, 166 ff., 186.
bdellium (guggulu), 94, 303, 322,324, 409, 548; healing properties of, 40, 675; cf. Guggulû. beans, 110, 536 n; inflammatory, 534; 'bean-loves,' 534. beasts of prey, 155-7, 161. Bhaga, a god, 33, 53, 94-5, 101, 135, 140, 160, 173, 204, 312-13, 324, 495.
Bharadvaga, a sage, 89, 295 ff., 319; -pravraska, 'cleaver of Bharadvaga,' designation of a staff used in witchcraft, 295. Bharatasvâmin, a scholar, 340. Bhâratî, a female divinity, 512. Bhava, a god, 56, 75, 118-9, 155 ff., 175, 402, 406, 585, 604, 618. Bheda, a royal sacrificer, 179. bheshagâni, designation of the auspicious parts of the Atharvaveda, xviii, xxi, xxxi ff., 628.
Bishkalâ, 99, 245. 'biting rope' (serpent), 147, 368. 'black food,' 536.
blood, charms against the flow of, 22,
45, 174, 234, 257, 385, 483, 531. blue and red (threads), magic colours,
69, 120, 348, 395, 564, 566-7, 583, 587.
boar (finds plants), 43, 77, 137, 306. bodily characteristics, auspicious and evil, 109, 168, 260, 564.
bracelet, as an amulet to secure conception, 96, 501-2. brahma, spiritual exaltation (neut.), 87, 199, 202, 208, 211, 215-7, 220, 224-6, 623, 627-30, 686. brahma-graha and brahma-râkshasa,
designations of demons, 290-1. Brahmalarin (Brahmanic disciple),
deified and glorified, 214, 626. Brahman, the god, 94, 127, 592. Brahmana, cosmic, 25. Brahmanaspati, a divinity: see Brihaspati.
brâhmanoktam (ceremony), 569,623. Brahman-priests, designated as gods,
529, 616,652, 659; as thieves (?), 372; prayers in the interest of, 169 ff.; invective against oppressors of, 169 ff., 430 ff., 522; inviolableness of their cows, 169 ff., 430 ff.; as fourth priests in the Vedic sacrifices, lviii, lxii, lxv, lxviii.
brahmaudana (Brahman's porridge), preparation of, 179 ff., 185 ff., 528, 610, 645 ff., 653. Brahma-veda, designation of the Atharva-veda, xxvii, xliii n, lix, lxii ff.
brahmodya, Vedic charades, lx, lxiv, 398, 625, 644, 667-8. brandy (surâ), 84, 231, 362, 493, 534, 578, 591; cf. liquer.
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696
HYMNS OF THE ATHARVA-VEDA.
breath of life, deified, 318 ff., 622 ff.,
629; cf. Prâna. bridal couple, love charms spoken
by, 96, 546; cf. wedding. Brihaspati (Brahmanaspati), a god,
xxiii, 29, 32, 44, 47, 49, 50, 52, 63, 65, 79, 85 ff., 110, 119, 126-8, 135, 140, 143, 160, 163, 178, 193, 211, 213, 485, 541,
552, 554, 596, 610, 660. Brihatsaman, a Brahman, 171. broom-straw (?), 26. brotherless maidens, 22, 258. bull's skin, 379 ff. burial ground, practices at, 77, 431. business, practices preparatory to,
148, 349 n, 352, 490, 532, 619.
saptarshayab, 52, 161, 179 ff.,
390, 563. cosmogonic hymns, 199 ff. couch, symbolic of possession, 327. cows, charm to secure their return,
150, 414; of the Brahmans in violable, 169 ff., 430 ff.; kicking of sinful, 214; slain by Rudra (isanahata), 253; and calves attached to each other, 108, 144, 190, 493 ; with a calf of the same colour, 240, 303,
356, 367; cf. cattle. creators, ten, 226. creeper, symbol of a loving woman,
100. cross-roads, 292, 448, 473, 519, 542;
cf. fork of the road. curses, charms to obviate them, 91,
93, 385, 556.
Calamity, protection against, 158,
406; charm against, addressed to the Vedic pantheon, 160, 628; cf. misfortune.
Calumpee cou: misfort pantheaddresses
calumny, charm against, 481. castration, 406, 545. cattle, charms for their prosperity,
142 ff., 303, 351, 412 ff., 490; charm to restore strayed, 150, 496; marking of, 174, 658; naming of, 317; sacrifice of, 226, 228; worms in, 317; cf.
cows. cave of animals, 322. chariot, divine, 120; -builder, 144;
cf. wagon. child-birth, ceremonies at (gâta
karma), 293. chiromancy (sâmudrika), 260. cleft ground, scene of witchcraft,
288 n. conception, charm to secure it, 96,
501. consecration: see king; for the
soma-sacrifice, 498. consecration, great :' see maha
sânti. constellation, lucky, 110; unlucky,
109, 517; charm for a child born under an unlucky, 109, 517; male, 356; fading away of (symbolic fading of disease), 16. Names of: ashâdbåb, 412; gyeshtbaghnî, 109; mala and mülabarbani, 288, 517-8, 525; vikritau, 13, 15, 110, 288,517-8;
Daksha, 444. Dânavas, 85. dancing sprites, 33, 149, 410, 413. danger, protection from, 155 ff., 160,
618 ff. dâsî, non-Aryan servant-woman:
see slave-girl. Dasyus, 67, 83, 86, 203, 222. death, from hunger and thirst, 69;
niessengers of (cf.dogs of Yamı), 118; of a teacher, expiation of, 528; personified as a teacher,
316; tracks of effaced, 436. debate, charm to secure success in,
137, 275, 304 ff., 644. debts, discharge of, 528. defilement by black birds, 167, 555. demons, charms to drive thein away,
I ff., 33-9, 64 ff., 66, 290, 298, 339, 407-8, 669 ff.; female,
varieties of, 636, 638. Deshtri, a goddess that guides, 219. desires, charms for their fulfilinent:
desit See wishes.
81, 86, 94-5,
Dhâtar, a god, 20, 54, 81, 86, 94-5,
126, 160, 324, 387, 389. dice, 88, 116, 144, 149-51, 169, 391,
470, 493; ill-luck at, 69; cf.
gambling. dikshâ, consecration for sacrifice,
227. directions, and regions of space, 14,
39, 86, 161, 203, 223, 225, 380, 647, 650, 655; enuinerated, 188,
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INDEX OF SUBJECTS.
697
192, 196; four, 120, 156, 199, 206, 216, 222, 367; five, 113, 162; six, 68, 207, 222; intermediate, 120, 212, 223; distant regions, 304; distances, three, 92; of heaven and earth, 99; north-eastern direction (apara
gitâ), 305, 379, 644. disaffected people, loyalty of re
stored, 240. discord: see strife. diseases, charms against, 1 ff. Enu
meration of: abscess (vidradha), 40,47,531,602; agrâtayakshma,
unknown disease,' 40, 342,531; ague, 448; akshata (tumour), 488, 562; alagi, 602; apakit (scrofula), 17 ff., 472 ff., 503, 558-9; arishta, 513; asarika, 280, 637; asrâva (excessive discharges), 483; balâsa, 2, 8, 39, 40, 42, 46, 57, 61, 280, 383, 442, 450, 463, 531, 575, 601, 674; blood, flow of, 40, 531, 657; breaking disease,' 38; of children, 341, 343; colic, 11, 283, 506; constipation, 10, 233, 235; consumption, 49, 247, 415, 443 n, 450, 463; convulsions, 37, 55, 283, 467; cough, 2, 7, 8, 247-8, 442, 513; deformity, 72; demons of disease, 33-9, 339; diarrhoea, 46, 233, 325, 327, 445, 483, 601; discharges, excessive, 8 ff., 277, 481, 672; dropsy, 11 ff., 42, 89, 241, 450, 471, 509, 530, 562; ear-ache, 40, 44-5; epilepsy, 264, 513; of the eye, 5, 12, 34, 30, 40, 47, 415, 454, 464; fever (takman; cf. takmanâsana), of all sorts, i ff., 39, 46, 60, 157, 218, 233, 246, 270, 273 ff., 280, 415, 441-2, 445, 451, 468, 470, 569, 676, 681; fractures (cf.wounds), 19, 384 ; galunta (swelling), 17, 505; gambha, 280, 283, 467, 572 ; gâyânya (tumour), 17, 560-1; gout (in heels and toes), 12; grâhi (fit, seizure): see the word; head-ache (sîrshakti), 5, 7, 45-6, 248, 252, 415, 442, 637; heart-disease, 7, 12, 40, 264, 471; hemiplegia, 500 n; hereditary disease (kshetriya), 13 ff., 47, 67, 386 ff., 293, 303,
336; inflammation, 531; jaundice, 7, 8, 46, 61, 263, 442, 445, 471, 566; leprosy (kilâsa), 16, 266, 415, 441, 450; mania: see the word; of nails, 521; neuralgia, 40, 45-7, 506; på man (eruption), 3, 442, 450; paralysis, 13, 500; prishtyâmaya, 280; râgayakshma, king's evil' (syphilis ?), 342, 415, 561; rheumatism, 282, 506; samskandha (disease or demon), 38, 280, 283, 672; scrofula and scrofulous sores (cf. apakit), 17 ff., 472, 488 ff., 503 ff., 558-9; spasm, 2; St. Vitus dance, 573; transmission of, 47, 309; of teeth, 24, 72, 454, 521; tumours, 17, 19; udyuga, 450; vatikára, vâtikrita (inflation, winds), 1o, 22, 246, 483, 516, 602; venereal disease, 341; viklindu, 174, 658; vilohita, 600, 657; visara, visarika, 280, 284, 673; visarpaka (visalpaka), 531, 601; visbkhanda (cf. samskandha), 37-9, 61, 65, 67, 157, 280, 282, 339, 382, 672; worms in all parts of the body, 22-24, 313 ff.; worms in children, 23, 452; wounds (cf. fractures), 20-1, 419, 516; yakshma, 247,
291, 337, 416,463, 468,505,507. dogs, 106 (watch-dog?); as beasts
of prey, 129; heavenly (sun and moon), 13, 500 ; bitch, foureyed, 68; of Rudra, 158; of Yama (messengers, four-eyed), 54, 59, 60, 167, 318, 404, 422,
500, 571. double meaning, 238, 250, 254, 259,
306, 313, 346, 381, 386, 544, 549, 645, 664; cf, alliteration
and puns. dreams, evil, 12, 61, 69, 82, 167,
221, 394, 483 ff., 592, 605,642. dridhikarmâni, a ceremony, 640. driveling woman, 109. Druh, demon of deceit, 14-5. drum (hymns to), 117, 130 ff., 204,
436 ft.; spell in, 77. Dvita, a water-god, 521-2. dwelling, mistress of,' 140, 194-5,
346; cf. house. Dyu, a sky-god, 50; female of Sarya,
661, 665.
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698
HYMNS OF THE ATHARVA-VEDA.
Eagle, 16, 77, 132, 137, 146, 190,
306; finds healing plants, 306, 375; heavenly (lightning), 68,
241, 401, 581. ears of cattle, pierced, 174, 658. earth, mother of plants, 235; god
dess, 180, 199 ff., 639 ff.; lump of (curative), 234, 287, 475, 552; froin a bee-hive, 427; from a mole-hill, 427; -quake, 640; carths, three in number, 30, 68, 400, 471, 631, 686; earths, nine
in number, 228, 631. eclipse of moon, 533; of sun, 294,
662 n. effigy, human, in witchcraft, 72, 359,
534. Ekata, a water god, 521–2. elephant, 76, 116, 144, 195 (female),
202. enema, 236. enemies, charms against, 89, 92-3,
325, 334, 484, 544, 557. eunuch, 108, 130, 538. evil, charms against, 163, 509; eye,
61, 91, 285-6, 474 (cf. pâpmagana); deposited in a garment, 654 ; qualities, personified as divinities, 423; thoughts, elimination of, 594. Cf. sin.
sharma Agni, 66.19, 208; in
eun. charms 1285-6, 47 in a safied as
Gami, a goddess, 323. Gandhari, a people, 2, 446. Gandharvas, 31, 33-4, +3, 80, 119,
125-6, 160, 202, 205, 210, 214, 225, 229, 254, 323, 370, 408 ff., 413, 520-1, 534, 536 ; names of,
534; Gandharvi, 520-1. Gârhapatya (Agni), 165, 167. Garuda and Garutmant, 25, 268 ff.,
306, 401; cf. eagle, Gâtavedas (Agni), 18, 54, 57, 64-5,
83, 88, 98, 106, 110, 116, 121, 149, 168, 180, 183, 208, 541,
545 n ; (Aditya), 127. gathâ nârâsamsyab, a class of man
tras, 689. Gaya, a sage, 107, 255. gayatri, a metre, 112, 208; in relation
to Agni, 664. gharma, 119; three gharmas, 230,
590. Ghora Angirasa in contrast with
Bhishag Atharvana, xxi. gifts, prayer at the receipt of, 196;
praise of him that bustow's them (danastuti), 197, 688; three,
181, 613. glory, prayer for, 117, 478; cf. lustre. goat-footed woman, 109. godâna-ceremony, 307, 574, 665. gods, ageless, 365; sinful: see sin;
sleepless, 200. gold, 94, 116, 183, 192, 196, 264,
322, 348, 384, 477, 617, 65+,
668 ff.; as an amulet, 63. golden age, 198, 692. golden ship (soma, the moon?), 4,
6, 415, 680. Gotama, a sage, 319. gourd used in charm against ser
pents, +28. Grâhi (fit, seizure), a female demon,
15, 34, 49, 57, 165, 187, 525. grain, charm to produce increase
of, 141, 499; expiatory offering
of, 528. grâmayâgin, -yagaka, and pûgaya
gñiya, an inferior kind of priest,
xl n, li, 580. greed and worldliness, expiation of,
494. Guggulū, an Apsaras, 33; cf. bdellium.
27-4, 612, ourity agains; 25;
Fathers, 10, 54, 59, 60, 73, 87, 119,
126, 138, 161-2, 166, 170-1, 175, 180, 183-4, 186, 196, 223, 229, 254, 384, 456, 544, 585,
603-4, 612, 660. fire, charın for security against, 147,
514; battle-fire (senâgni), 325; in a battle-charm, 121; digestive (gatbarâgni), 242; forest-fire,
107, 443, 468; funeral-fire, 77. fish and fishermen, 154. five peoples (aces), 92, 201, 204. fork of the road, 163; cf. cross-roads. fortune, charm to procure it, 253. frog (symbol of water and coolness),
4, 348, 350, 514-5, 565.. funeral practices in sorcery and
imprecations, 254, 297, 435; funeral-fire, spell in, 77; funeral cow (anustarani), 253.
Gamadagni, a sage, 23-4, 31, 319. Gambling, gamester, and gambling.
place, 76, 88, 144, 149-50, 191, 391, 412, 544, 5+8; cf. dice.
Hair, charms to promote the growth
of, 30 ff., 470, 536.
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INDEX OF SUBJECTS.
699
hamsa, a bird (the sun), 28, 462. haplology, 398. happy kingdom, 198, 692. hâridrava, yellow wagtail, 8, 266. harmony, agreement, peace, charms
to secure them (sâmmanasyâni), xxix, xliv n, 134 ff., 492, 494-5, 508, 550 ; between cow and
Hrudu, designation of fever, 3, 273. human sacrifice, ransomed, 360. hundred and one, 50, 162, 168, 170,
307, 433, 565; cf. ninety-nire. husband, charms to obtain one
(pativedanâni), 94-5, 217, 322,
491. hymns of the Atharva-veda, arrange
ment ot, 247.
calf, 493
havis (technical), 479, 492, 496 n,
498, 500. health, charms to secure it, 44-5,
49 ff. heat, fever cured by (attraction),
270. heavens, three, 68, 400, 416, 631;
nine, 228, 631; cf. oceans,
nine. hell (nethermost darkness), 177, 191,
211, 221-3, 242, 301. hemp (fastens amulets), 37, 162, 281,
284, 582. herald, 131. hermit, personification of the sun,
403. Himavant-mountains (Himalaya),
4-6, 12, 61, 415, 679. Hiranyagarbha, the supreme, god,
629, 686. holiness and beneficence, female
personifications of, 602. holy work thwarted, 89; "holy
water, 379, 393, 504, 540. homoeopathy, 264, 443, 481, 506,
", 566; cf. attractio similium. honey, mixture of, for guests, 84 ;
symbol of agreeableness, 277 (cf. licorice, and sugar-cane); honey-lash of the Asvins, hymn
to, 229, 587. hook, to rake in wealth with, 503. horse, charm to endow it with
swiftness, 145, 507; of Pedu, 152 ff., 605, 607 (cf. Pedu, and Paidva-ceremony); sacrifice of,
662, 666; of Yama, 21, 422. hostile powers, charm for exposing
hidden, 398. house, prayers and practices at the
building of, 140, 343, 494 ; parts of, 140, 193 ff., 343, 343, 497, 596-8; purification of the entrance of, 298; presented as a gift to Brahmans, 193, 595, 598; removal of, 193, 595; varieties of, 597.
Ichneumon (and serpent), 43, 103,
540, 580; cf. porcupine. Idà, a goddess, 512. Ikshvâku, a king, 6, 679-80. Indra, 18, 22, 24, 32-4, 38-9, 48-9,
51, 53-5, 58, 63-6, 71, 75, 77-81, 85, 89-92, 95, 103, 105-6, 108, 112-17, 119-23, 125-33, 136-40, 143, 145-6, 148-9, 151-3, 160, 162–3, 169-70, 173, 179, 183, 188, 192-3, 195-6, 198, 200-1, 203-4, 207, 210, 213-15, 217, 221-3, 226, 231, 241, 256-7, 268, 280, 294, 311, 315, 324, 328-9, 331, 342, 34950, 353, 367, 370, 380, 402, 433, 440, 454, 476, 478, 500, 503, 522, 547-9, 551, 554, 583, 596, 627, 633, 655, 663; Indra Brahmanaspati, 163; seduced by an Asurî, 103, 268, 547; his mother, 116, 478. Cf, Magha
van, and Sakra. indramaha and-mahotsava, a festival,
353, 405, 510. Indrâni, 105, 354, 536; indrânya
ârsham, and indrâny-upanishad,
354.
ingida, and ingida-oil, used in sorcery,
334, 476, 496, 582. insects, in the field, 142,485; poison
ous, 29. intercalary month and year, 682-3. inundation, charm to prevent, it,
349 n. investiture with the holy cord
(upanayana), 240, 364, 381, 383,
551, 569, 574, 623. Isâna, a god, 253 n, 618. ishra-purtam, 297.
Jackal, 306. jealousy, charms against, 18, 106 ff.,
467, 547, 559. jewels' of the king's court, 333.
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700
HYMNS OF THE ATHARVA-VEDA.
kitrakarma, a ceremony, 666. krisa, designation of a bird, 352. Krisânu, a heavenly archer, 401. kshatram, represents the Atharvan
and its practices (?), xxv. Kshetrapati, a divinity, 486. küdåkarana, a ceremony, 309, 574. Kumâra, a god, 326; cf. Skanda. kuntâpa-hymn, 197, 688. Kuru, a country, 198.
Kabava (demon ?), 67, 339-40. kairâta, designation of a serpent, 38,
427; cf. Kirâta-maiden. Kâla (time) personified, 224 ff., 629,
681, 687. kâlakanga, three (heavenly phenome
non), 13, 500. Kâma, love personified, 102, 175,
220 ff., 311, 359, 591, 629, 682;
myth of, 535. kanaknaka, designation of poison,
154, 608. Kanda, a demon, 66, 301. kânda-poison, 154, 608. Kandra, and Kandramas (moon-god),
10, 17, 85, 120, 128, 161. kankaparvan (scorpion), 29, 553. Kanva, demon of disease, 36, 302;
name of a sage, 23-4, 33, 71,
315, 318-9, 397. karavyâb, designation of certain
stanzas, 689 ff. karki, designation of a white calt
150, 413-4. karsapha (a demon ?), 67, 339. kasarnila (kasarnira), designation of
a serpent and serpent-rishi, 152,
607.
Kasyapa, a sage, 33, 45, 80, 107,
225, 255, 322, 577, 686; eye of (the sun), 68, 403 ; Kasyapas
(plur.), 210. katurihî-karma, a wedding-practice,
276, 546. Kaurama, a tribe, 197. Kesaraprabandha, a woman, 170,
432. Kesin, a divinity, 157, 620. kilala, a sweet drink, 206. Kimidin, a kind of demon, 64, 68,
205, 238, 403. king, practices pertaining to the, li,
In ff., 404, 477 (cf. sovereign power); consecration of (râgasûya), 111, 226, 239, 333, 346, 378, 405, 661, 663; election of, 113, 330; restoration of an exiled, 112, 327, 330; inarriage of, 498; charm to ensure him superiority, 115, 404; compared with Indra, 112; with a leopard, 112; with a lion and tiger, 115; and purohita, mutual rites be.
tween, lxi, 379. kinswoman, curse of, 14. Kirâta-maiden, 153; cf, kairata.
Lakshmi, 261, 565. Lalâmî (woman with spot on the
forehead), 109, 261-2. lash (whip), parts of, 231 ff., 591. lead, in sorcery, 65, 256 ff., 299. legends, 268 ff., 270 ff., 535, 537,
604, 629, 679. leopard, 112. licking the young, sign of affection,
101. licorice (imparts attractiveness, and
persuasiveness), 99, 101, 275–6, 311, 415, 552; cf. honey, and
sugar-cane. lightning, 193; charm to protect
grain from, 142, 543; cause of fever, &c., 7, 246; cures fever (attraction), 271; as 'honey
lash,' 588. lion, 112, 115-6, 139, 132, 205, 380,
477. liquor, 141, 144; cf. brandy, and
kilala. locust, 142. longevity, charms and prayers to
secure it, 49 ff., 52, 55-6, 58, 60, 114, 239 n, 306, 309, 321, 342, 418, 455, 551-2, 569 ff.,
573, 623, 668. lost property, charm to find it, 159,
542. lotus, lotus-root, 147, 236. love-charms, 99 ff., 103 ff., 274, 311,
358, 415, 459, 512, 534 ff., 539. lustre and strength, charms to secure
them, 116, 477, 642.
Madhubrahmana, 587 n. madhugraha, 589. madhusûkta, 589. Magadha, a country and tribe, 3,
446, 449. Maghavan (Indra), 94, 121, 151,
324.
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INDEX OF SUBJECTS.
701
magic identification of two persons, mourners, female, 55, 124-5, 127, 310.
156, 634, 638. Magundî, daughters of (demons), 66, mrigârasûktâni, designation of cer301.
tain hymns, 252, 298. Mahadeva (Rudra), 133.
Mrityu, death personified, 133. mahânâmni-verses, 226, 631.
Mügavant, a tribe, 1, 2, 446, 448. mahâsânti,' great consecration,' 393, mule, symbolic of sterility, 110, 446, 448, 474, 602, 669.
545 Mahâvrisha, a tribe, 1, 3.
Muñgavant, a mountain, 278. maiden, mythical first husbands of, mustard against ophthalmia, 464.
323. male child, rite for begetting one Nabhasaspati, a god, 142, 499.
(pumsavana), 97, 356, 460. nadi, river,' etymology of, 349. mania, charms to secure it, 32, 417, nakedness of man, 192. 518.
Nakiketas, 424. Manmatha, god of love, 311.
Naladî, name of an Apsaras, 33. Manu, 67, 96, 679.
name-giving (nâmakarana), cereManyu, wrath personified, 223, 594. mony of, 573. Maríki, an Apsaras, 414.
Namuki, a demon, liv, 256-7, 583. Marka, a demon, 301.
Nârada, a sage, 172, 175 ff., 435,658, marks of the body, good and evil: 660.
see bodily characteristics. nârâsannsí, designation of certain married couple, blessing for, 96, stanzas, 689 ff. 546.
Nardabuda, 634; cf. Nyarbudi. marrows, eight, 90.
Nârshada, a patronymic, 397; cf. Maruts, 48, 53,90,104,112-3,121-2,
Nrishad. 126, 132, 135, 140, 146, 151, new-moon, night of, fit for sorcery, 183-4, 188, 207, 230, 266, 328, 256, 408. 548, 663.
new-moon and full-moon sacrifices, Mâtali, 162, 629.
559. Mâtarisvan, 53, 205, 216, 219. Night, personified, 20. matrinâmâni and matrigana, desig- ninety-nine, 172, 433; cf. hundred
pation of certain mantras, 399, and one. 518-9; cf. mothers.
nirnayana-ceremony, 574. Mâtsya, a sage, 6, 681.
Nirriti, demon of destruction and messengers of death, two, 167; cf. misfortune, 14 ff., 36, 49, 52–3, dogs.
57, 82, 90, 92, 166 ff., 173, 183, metal-worker, 114.
187, 423, 474, 556-7, 564, 617. metres, 112, 186, 208-9, 327, 345, Nissâlâ, a female demon (), 66, 664.
300. micturation towards the sun, sinful, nîvid-formulas, 328. 314, 668.
Nrishad, a sage, 71; cf. Nârshada. miscarriage, charms to prevent it, Nyarbudi, a battle-god, 123 ff., 631 ff.; 97-8, 398, 302.
cf. Nardabuda, and Arbudi. misfortune, removal of, 364 ; cf. calamity.
Oceans, nine, 328; cf. heavens, Mitra, 10, 37, 39, 50-1,91, 102, 105,
nine. 109, 113, 16, 122, 126, 153, ominous birds, charms against, 166, 160, 172, 175, 195, 310-1, 216, 474 ff., 619; ominous sneezing,
331, 349, 436, 557. mixed grain, spell in, 76.
oracles, 243, 295, 303, 323, 491. mole, 142; mole-bill, earth from, ordeals, with fire, 294 ff.
ox (anadvân), apotheosized, 624. mosquitoes, buzzing of, 36. mothers,' divinities, 644 ; cf. ma- Paidva-practice, 357, 460, 605 ff.; trinâmâni,
cf. Pedu, and horse of Pedu.
82.
427.
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702
HYMNS OF THE ATHARVA-VEDA.
who prac and 530, 52321,
978673"plant, : dhanna), epiz-2,
panaceas, 40-1, 252, 302, 321, 406,
473, 507, 509, 530, 578, 600. pañkakalpa, and -kalpin, a priest
who practices Atharvan sorc.ry,
xxviii, liii. pankti, a metre, 186, 209, 212. pantheon, Vedic, addressed in prayer,
160, 628. panther, 116. påpmagana, a certain list of mantras,
474 Parameshtbin, the supreme god, 80,
84, 308-10, 215, 225, 629, 665,
686. Parganya, a rain-god, 8, 10, 43, 52,
116, 153, 161, 200, 304, 233-6,
588, 623-4. parigrihyâ, designation of a fire-altar
(vedi), 379, 641. Parikshit, a king (Agni), 197 ff.,
691 ff. parikshitî, designation of certain
stanzas, 689 ff. parrots, 8, 144, 264 n. parturition, charm to make it easy,
99, 242. Parushni, a river, 29, 462. Pasupati, a form of Rudra, 155 ff.,
161, 618. Pathya Svasti, a divinity that pro
tects travel, 331; cf. roads. pea-hen (devours serpents), 30, 555. pearl and its shell as an amulet, 62,
383 ff. pebbles, 250. Pedu, a king, 152 ff., 605, 607; cf.
horse, and Paidva-ceremony. physician, social position of, xxxix,
xlviii, I, liv; divine, 389, 454. pigeon, bird of omen, 474. Pila, name of an Apsaras, 33. pindadâna, a ceremony, 259. Pisâkas, a class of demons, 34-7,
57-8, 65, 68, 187, 190, 205, 281-2, 290, 302, 339, 407-9,
475; Pisâki, the female, 301. plants and trees, in general, as heal
ing agents, 41 ff., 44, 578; used in sorcery, xix; against a rival woman, 107; to deprive of virility, 108; arouses love, 102-3; five kingdoms of, 162; names of their fathers and mothers, 419, 421. Names and epithets: abayu (mustard ?), 30, 465; adhyanda, 356; agasringi (me
shasringi), 33, 408; âhva, 118; 582, 584; âla, 30, 236, 358; alâkî, 536; alasala, 30; amalâ (?), 457; apâmârga, 69 ff., 305 n, 393 ff., 429, 487, 556; arâtaki (agasringi), 33; arka-tree, 250; arundhatî, 19-21, 40-1, 144, 289, 305 n, 385, 419, 490-1, 579, 676-7; âsuri-tree, 267; asvattha-tree, 4, 6, 21, 33, 43, 91, 97, 117, 334 ff., 415-6, 460, 496, 505, 582 ff., 585; avakareed, 33-4, 42, 349, 410, 462, 515, 579; bamboo (staff of), 248, 256-7; bânâparni, 355 ; banyan -tree (nyagrodha), 21, 33, 147, 367; barley: see the word; beans : see the word; camphor, 236 n; curcuma, yellow (haridra), 374; darbhagrass, 43, 137, 152-3, 162, 241, 286, 317, 480, 519, 606, 615; dark plant, cures leprosy, 16, 267, 270 ; dhava-tree, 31; "displacer' (vaibâdha), epithet of the asvattha-tree, 91-2, 335; dividhuvaka (reed), 348; dûrva-plant (millet), 147, 258, 515; even-colour,' epithet of a plant to cure leprosy, 16; gangida-tree, 37-9, 280 ff., 403, 443, 670 ff.; gayanti, 420 ; ghritåki (?), 154, 608; givalâ, 5, 41, 56, 491, 677; givanta, 5, 678; gîvanti, 41, 56, 420, 536 n; givi, 536; gourd, 428; haridra : see curcuma ; haritaki, "gallnut,' 236 n; induka=pramanda, 236 n; kadvindu (reed?), 496; kâkamâkî (?), 536 n; kampila and kâmpila, 240, 292, 406; karîra (reed), 452 ; kâsa (reed), 348; kerâ-tree, 250 ; khadiratree, 21, 84, 91, 118, 334 ff., 367, 505, 582, 608; khalva and khalvanga, lentils,' 314-5; kipudru-tree, 40, 530 ff.; krimukatree, 374; krishnala - berries, 239; kudi-plant, 172, 358; kudriki-tree (guduki), 487; kushtba-plant, 'costus speciosus,' 4 ff., 101, 311, 358, 414-5, 436, 441 ff., 448, 451, 676; lâkshâ,
lac,' 19-21, 385, 387, 419; madâvati, an epithet, 26, 30, 374-5, 465; mâmpasya, an epi
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INDEX OF SUBJECTS.
703
Brahmans, preparation of, 179ff., 185 ff., 610 ff., 645 ff.; porridge
man, 240 n. portentous occurrences, 262. post, sacrificial, 201, 203, 213. Pragâpati, 31, 55, 84, 97-8, 126, 138,
149, 161, 179, 194, 204, 206, 213-9, 224-8, 230-2, 461, 592,
627, 629, 686. Praketas (Angirasa), a divine per
sonification, 163, 484. Pramandanî, an Apsaras, 33, 410;
cf. pramanda, under plants. Prâna: see breath of life. Pratîkîna (Angirasa), a divine per
sonification, xxiv, 73, 603. pratyangirasa, counter-witchcraft,'
pratyang sxiv ; cf. angiras brother,
Prisni, a forth), personiforocure it,
thet, 399; millet : see durva; muñga-grass, 9,234-5, 242, 248, 278, 519, 523; mustard, 464: naghamâra and nagharisha, epithets of the kushtba-plant, 5, 41, 56, 677; nârâkî (?), 457; nikarâ (?), 470; nilâgalasala, 30; nirdahantî, xix; nitatni, 31, 346, 536; nyastikî (?), 539; palasatree, 295, 299, 356, 530, 584; parasu (tree, or plant ?), 295, 472; parivyâdha-plant, 369; parna-tree, 331 ff., 581; pâtâplant, 137, 305, 354; pâvika = ula, 236 n; pepper, 21, 516; plaksha-tree, 21; pramanda, 236, 253 n, 410; prisniparni, 36, 302; pûtika, 236; pûtudrutree, 58, 573; reeds (vetasa), various sorts of, 308, 348, 464 ; rice: see the word; rohani, 19, 385-6; sadampushpâ, 67, 399; sahadevi, 490 ; saivala, a water- plant, 245; saka-tree, 464; sami, a creeper, 97, 409, 460; sankhapushpî, 539 n; sara- punkhâ, 355 ; sesame : see the word; sigru-tree, 250, 453; silaki, 20-1, 385, 419 ff.; silângâlâ, 30, 420, 465-6; sims- apa, 299; soma, the plant, 6, 43-4; sraktya-tree, 79, 575; sûryavallî,539n; suvarkalâ, 539; syâmà (sâmâ), a black plant, 270; tâgadbhanga-tree, 118, 505, 582 ff.; târkba=palasa, 476 ; taudi (plant ?), 154, 608; tilaka-tree, 575; trisamdhyâ, 399, 539 n; udumbara-tree, 299; ukkbushmâ-plant, 369; ula, 205, 236 ; wsîra, 436, 453; utpala (?), 497 ; vadhaka-tree, 118,476, 505, 582, 584; varana- tree, 39, 81, 505; vibhîdaka- tree (vibhitaka), 470, 505; vibhindant, and vibhindati, 71; vidarî, 356; vihalha, 30, 465; vîrina, 561; vishậnaka (?), 10,
482 ff. plough and ploughshare, 84, 287 ff.,
356, 608-9. poison, charms against, 25 f
42, 154, 373 ff., 511. porcupine, hostile to serpents, 28,
428; cf. ichneumon. porridge (gruel), 36, 30; for the
precedence of younger brother,
expiation of, 164, 521. pridâku, a kind of serpent, 553. Prishâtaka, mixture of ghee and
milk, 385. Prisni, a goddess, 43, 132, 207. Prithivi (earth), personified, 8, 50. prosperity, charms to procure it,
140 ff., 332. protection from sorcery and hostility,
prayer for, 575. pügayag niya : see grâmayagin. puns, 95, 97, 116-8, 146, 153, 194,
205-6, 216, 218, 221, 225, 232, 243-4, 247 n, 249, 251-2, 266 n, 267, 280, 285, 287-8, 298, 322, 326, 336–7, 348 ff., 361, 370, 385, 393, 403, 408, 426 n, 427, 434, 446, 448, 480-1, 497, 505, 507, 518, 527, 551, 561 n, 575, 582-3, 594, 603, 609, 657, 661, 670, 673, 692 ; cf. alliteration,
and double meaning. purâna, ancient legends, 228. purification of the body, 642. purîkaya (with variants), a water
animal, 157, 621. purodása, sacrificial rice-cake, 120,
177. purohita (chaplain of the king), 128 ;
office and character of, lviii, Ixi, Ixii ff.; relation of to the Atharva-veda, lxvii; relation of to the Brahman (fourth priest),
Ixviii. Purûravas, a mythical king, 521,
564 n. Purusha, cosmic man, 186, 216, 629,
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704
HYMNS OF THE ATHARVA-VEDA.
646-7; hymn to (purushasûkta),
XXX, 682. Püshan, 99, 116, 135, 143, 159-60,
165, 198, 243-4, 331, 421, 495, 526-8, 542.
rohitani (sc. sûktâni), designation of
the hymns to Rohita, 662. roots, practices with, xliii n, i, liv,
407, 458. ropânâkâ, thrush, 8, 264 n, 266. rope full of teeth (serpent), 368. rotten fish, cures certain diseases,
342. rotten grain, 345. rotten rope in battle-practices, 117,
582. Rudra, 3, 10, 11, 19, 37, 66, 80, 120,
138, 144, 155 ff., 161, 179, 253, 302, 326,389-90, 401, 406, 422, 446 n, 488–9, 495, 506, 581, 586, 604, 618-9, 621, 637; Ru
dras (plural), 119, 135, 161. runaway woman, charm to capture
her, 106, 496. Rûpakas, certain phantoms, 125,
636. rûra, epithet of takman (fever), 273,
449, 568. Rusamas, a people, 197, 690.
Races of men (peoples), five, 92,
201, 204. ragasa (a water-animal ?), 157, 621. raghat (falcon ?), 43, 580. raibhî, designation of certain stanzas,
689 ff.; cf. Rebha. rain-charm, addressed to the Maruts,
267. Rakshas (demons), 9, 32-4, 36-8,
42, 57, 62, 66, 69, 71, 80, 90, 96, 125-6, 163, 187, 190, 205, 282-3, 315, 408, 442, 458, 557,
572. ratna, 'jewels of the king's court,
333 raudragana, designation of certain
mantras, 367, 619, 643. Råvana, a demon, 374. raw meat, eaten by demons, 395;
spell in, 76. razor and strop (kshuro bhrig vân),
197, 691. Rebha (Agni), 690. rectum, 47, 234. red colour, cures jaundice, 263. revatî-stanzas, 208. Ribhus, a kind of divinities, 20, 73,
231, 389, 603. rice, 43, 57, 87, 110, 204, 219, 232,
540. Rik, 161, 204, 225-6, 229. rishihasta, a certain ceremony, 569,
623. Rishis, personifications of qualities,
571 ; seven : see constellations. rita, order of the universe, 15, 228. ritvig, a priest, 204 ; ct. adhvaryu. rival, woman's incantation against,
107, 253, 355. river, charm for conducting it into
a new channel, 146, 348 ; navi
gable, 74, 8o. roads, divinities of, 113 ; cf. Pathyâ
Svasti. robbers, charm against, 147. Rohini, designation of female divi-
nities, 7, 207, 210, 265, 661 ff.,
665-6. Rohita, a sun-god, 207 ff., 265,
661 ff., 683.
Sacrifice, of an enemy frustrated,
90, 557; expiation of imperfections in, 164, 528; human (ransomed), 360; leavings of (ukkbishra) apotheosized, 226 ff., 588,629 ff.; sacrifices and liturgical terms catalogued, 326 ff., 631; sacrificial post (yupa), 201, 203, 213; sacrificial seat (sadas),
203, 210. Sadânváb, demons, 62, 66–7, 301, - 384. Sådhyas, certain divine beings, 119, . 585. Sahasråksha, a god, 473; cf.thousand
eyed. saka-bird, 143, 351 ff. Sakadhûma (weather-prophet), 160,
9
532.
Sakambhara, personification of ab
normal evacuation, 1, 445; cf.
Apva. Saki, Indra's female, 95, 125-6, 440,
503. Sakra, 117-8, 203; cf. Indra, Ma.
ghavan, and Mahâdeva. sakvari-stanzas, 157, 208. sâlâsava, ceremony of giving away a
house, 595; cf. house, and sava. Sâlâvrikas, jackals, 138, 306. salt (rock-salt), 303, 504, 534, 548.
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INDEX OF SUBJECTS.
salve (ângana), 61, 101, 311, 381, 401, 409, 415.
Sâman, 161, 204, 226-7, 229; singers of, eighty-three, 89. Sâmbu (Angiras), and Sâmbavya, 6, 678. samsrâvya (havis), 303. samsthitahomâb, final oblations, 496. samtânakarma, a certain rite, 259. sâmudra and sâmudrika (chiromancy), 260.
Saramâ, 404; cf. dogs of Yama. Sârameya, 636; cf. dogs of Yama. Saranyú, marriage of, 364. Sarasvati, 23, 32, 139, 173, 329, 389, 424, 454, 512, 581; Sarasvatis, three, 27, 512.
sâri-birds (sârikâ), 144, 266, 352. sarkota: see scorpion. sarpâhuti, a certain ceremony, 655. Sarva, a god, 56, 75, 119, 155 ff., 161, 175, 402, 406, 604, 618. sasayur mrigab, a wild animal (?),
368.
Satarudriya, a litany, 586. satra-offerings, 204, 207. sautrâmazi-sacrifice, 112, 328, 578,
591.
sava and savayagña (solemn bestowal of dakshina), 414, 528, 595, 610; cf. sâlâsava.
Savitar, a god, 32, 48-9, 54, 79, 80, 85, 95, 109, 111, 123, 140, 143, 149, 160, 168, 210, 212, 221, 403, 422, 503.
scorpion (sarkota), 29, 30, 153,
553.
sea-animals and monsters, 157, 621. seasons, five, 209; six, 203; and their lords, 162.
seduction of Indra by an Asurî, 103,
268, 547.
serpents (snakes), charms against, 151 ff., 425, 461, 487, 552 ff., 605; rites to on the full-moon day of the month Mârgasirsha, 640; names and varieties of, 27-9, 152-4, 192, 193, 425, 427, 488, 553, 608, 655; as gods, 43, 119, 126, 162 (cf. Takshaka); rope full of teeth, 147. sesamum, sesame-oil, as a remedy, and against demons, xlviii, 13, 64, 110, 238, 248, 258, 427, 540. seven priests, 204; seven Rishis: see constellations.
[42]
shavings of wood, 236, 261. shepherd's charm against wild beasts and robbers, 147, 366.
705
ship of fortune, 94; golden, 4, 6, 415, 680 (soma, the moon?). shouting, hostile, 408. sieve (scatters disease symbolically), 248, 473, 519. sîmantonnayana, a ceremony, 545. sin, expiation and prayer for remission of, 122, 163 ff., 165; 'deadly sins,' 521 ff., 545; mental, 163; 'original,' 293; sins of relatives, 59, 82; sins of the gods, 73, 363, 520 ff., 581, 604. Cf. evil.
Sindhu (Indus), a river, 12, 40, 62,
107.
Sinîvâlî, a goddess, 98, 143, 304, 461, 538.
Sipâla, a river, 29, 462. Siva, a god, 326, 506, 620. Skanda, a god, 326; cf. Kumâra. slave-girl, 2, 174, 186, 448, 647. sleeping-charm, 106, 372. sneezing, ominous, 82. soma, three daily pressings of, 590; midday-pressing of, 562; rape of, 241; king of the plants, 55. Cf. ship.
Soma, a god, 1, 5, 14, 30, 32, 53, 62, 65, 75, 79, 85, 90, 94, 103, 112,117, 122-3, 133, 135, 147-9, 154, 161, 170, 175, 183, 186, 188-9, 193-5, 216, 222, 250, 254, 312, 323, 329, 350, 431, 443, 503, 570.
sons, rite for begetting them: see male child (pumsavana). sorcerers and sorceries, charms and practices against, xxii, 13, 38, 42, 58-9, 61, 64-5, 82, 159, 237-8, 280, 285, 393 ff., 403, 475, 495, 592, 602; consecration for, 296.
soshyanti-karma, a ceremony, 243. sovereign power, prayer for, 207, 661; cf. king.
sowing of seed, blessing during, 141, 541.
speckled ghee, 129, 632, 639. spectres and spooks, 5, 6, 125-6. spells (kritya), charms to counteract
Ꮓ Ꮓ
them, 70 ff., 393, 429, 456, 556, 602, 604; objects living and lifeless into which they are put
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706
HYMNS OF THE ATHARVA-VEDA.
(marmâni, 457), 69, 72, 74, 76-7; spell-figures of mud, wood, &c.,
671 n. spies of Varuna, 88, 391, 402; cf.
thousand-eyed spies. spikenard, 101, 415. splinters of wood, 292. spot on the forehead of a woman,
109. spring-water, cures excessive dis
charges (homoeopathy), 9, 12,
277, 471. sraddha, defined as faith and works,
424. srauta-practices in the Atharva-veda,
Ixx. Sriñgaya, a people, 171, 433 ff. stable, rites for prosperity in : see
cattle. staff for witchcraft, 295. stars, Varuna's spies, 391. sterile cows, necessity of giving
them to the Brahmans, 174 ff., 360, 656 ff.; varieties of, 178 ff.; sterility, charm to cause it, 98, 545; sterility of cattle obviated,
299. sthakara-powder (with variant forms).
311, 436. sthapati, derivation of, 319. storm, four component parts of, 2
623; charm against, 248 ff. streams, navigable, 74, 8o. strife, charms to allay it, 135
362. St. Vitus dance, 513. submission to one's will, charm to
bring it about, 138, 508. success, prayer and practice to obtain
it, 116, 239. Sudra, 68, 72, 402; -women, 2. sugar-cane, symbolic of attractive
ness, 100, 277; cf. honey, and
licorice. suitor, 94. sun, personified as aga ekapad, 625,
664; as an eagle, 652; as a hamsa-bird, 28, 462, 623-5; as a hermit, 403, 621, 626; as a Brahman disciple, 214, 403, 626 ff.; as Rohita (cf. the word), 661 ff.; as a tortoise, 403; sun and moon as two heavenly dogs (dogs of Yama), 13, 404, 500 ; related to time, 683, 686; to brahma, 628; sun-charades, 212,
220 (stanza 21; cf. brahmodya); sun's steed, personified as the
white horse of Pedu, 605. Sunabsepa, legend of, 241. Suparna: see Garuda and Garutmant. Sûrya, 10, 17, 31, 47, 53, 60, 85,
103, 116, 160, 203, 205, 21012, 214, 373,403, 620, 622, 668; sûrya-sûkta, 243 n; Surya, the sun-female (Savitri), 95,
202, 312, 503, 661, 666. Sashan (Sûsbana), a divinity of
parturition, 99, 243-5. svaga, designation of a serpent, 152. 3, 193. Svarbhânu, demon of eclipses, 294. svastyayanagana, a certain list of
mantras, 641. Svayambhû, the supreme being, 592,
686. syenayaga, or syenegyâ, a certain
rite, 343. syeneshu, a witchcraft practice,
577 n. symbolism, 236, 240-1, 243 n, 248
9, 261, 263, 277, 287, 311, 321, 324-5, 327 n, 355, 357 D, 367 n, 369, 371-2, 374, 407, 412, 425, 427, 443, 445, 457, 460, 467-8, 470, 473, 476, 479, 481, 497, 500 m, 501, 519, 537, 545, 548, 551, 558, 561, 564, 567, 583 n.
Tâbuva, a remedy against snake
poison, 28, 428; cf. tastuva. tagara: see sthakara. taimâta, designation of a serpent, 28,
169. takmanâsana and takmana sanagana,
a series of hymns against fever and kindred diseases, 247, 291, 293, 342, 406, 416, 418, 441, 443-4, 469, 474, 505, 507, 568,
676 ; cf. fever. Takshaka (Vaisaleya), a serpent-god,
374, 425, 462, 606. tapas (creative fervour), 199, 204,
208, 214-7, 224-5, 228, 686. tarda (tarda), an insect of the field,
142, 486. tastuva, a remedy against snake
poison, 38, 428; cf. tâbuva. Tauvilika, a certain female demon
of disease, 30, 466. teeth, diseases of, 24, 72, 454, 521;
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INDEX OF SUBJECTS.
707
expiation of irregular appear- cessive, 234; retention of, 10, ance of, 110, 540.
233, 235; cf, micturation. ten friends (Brahmans), 291-2. urugalà, a serpent, 28. theosophic hymns, 199 ff.
Urvasi, a divine female, 411, 521. thieves, 198, 205.
Ushas (Aurora), 31, 161, 318, 503, thirst, charm against, 308.
661. thirty-three gods, 187. thousand-eyed divinities and objects, Vågapeya-ceremony, 226, 508.
68, 82, 88, 93, 155, 157-8, 163, vagha, designation of an animal, 224, 286, 342, 402-3, 473-4, 223; vagbâ, its female, 142. 476, 586, 598, 605, 619, 683; Vaisaleya: see Takshaka, cf. Sahasraksha.
Vaisvânara (Agni), 12, 54, 58, 80, Thraêtaona Åthwya, an Avestan 149, 197, 200, 242, 580, 691. divinity, 523; cf. Trita.
Vaitahavya, a people, 170-1, 432 ff.; Three-named (Agni), 135, 495.
cf. Vitahayya. tiger, 111, 115-6, 205, 368, 380, 477, Vâk (speech personified), 120, 437;
518; tiger-like day, 110; tiger- Vảk Sarasvati, 173, 424; Vâk like first teeth, 110; tiger-skin, Virág, 221, 593; Vâkaspati, the 111, 378 ff.
lord of speech, 209, 665. Time, personified: see Kâla.
Vala, a cloud demon, 193, 596; cf. tonsure, ceremony of preparation : Vritra. see küda karana.
Varanâvati, a river, 26, 375. tortoise, personification of the sun, varkasyagana, designation of certain 403.
mantras, 477, 589-90, 642. transference of disease, 47, 309. Varuna, a god, 1, 3, IC-2, 14, 27, traps and nets in battle, 118-9, 582, 30-1, 37, 40, 42, 44, 48, 50-1, 632.
63, 65, 86, 88, 91, 102, 105, 109, traveller's charm, 644.
112-4, 116, 122, 133, 135, 146, treachery, protection against, 88, 152-3, 160, 172, 175, 188, 193, 389.
195, 210-1, 216, 231, 241-2, 273, Trikakud, a mountain, 61-2, 381.
290, 329-31, 334, 349, 370, Trishamdhi, a battle-god, 126 ff., 390 fi., 402, 436, 443, 484-5, 632, 637 ff.
535-6, 557, 563, 627; Varunas Trita, a divine being, 165, 521-2, (plural), 113; Varunânî, his 528.
female, 167, 485. Tvashtar, a god, 18, 48, 51, 96-7, vasâ : see sterile cow.
143, 146, 160, 189, 365-6, 502, Vasava (Indra), 95; cf. Vasu. 522, 651.
vashat-call, 84, 99, 128, 209, 243. - twin-calves, expiation of their birth, Vasishtba, a sage, 372; relation of to 145, 36o.
the Atharva-veda, lv ff., Ixv.
Våstoshpati, genius of homestead, Udasvit, a certain mixture of food, 135, 343 ff., 494-5, 640. 509.
Vasu, a class of deities, 55, 89, 116, Ugra, a god (Rudra), 156 ff., 618.
119, 121, 135, 161, 230; cf. ukkbishta, apotheosis of: see sacrifice. Vâsava unburned vessel, sorceries with, 69, Vâta, god of wind, 85 ff., 89, 153, 75, 395, 397, 457
161, 319; cf. Vayu. upagika (with many variants), a Vâyasa, a sage, 6, 681.
certain kind of ant, 268, 280, Vayu, personification of the wind, 511.
51, 54, 128, 140, 142, 304, 402, upak vasa, a certain field-insect, 142, 499, 620, 669; cf. Vata.
Veda, practices preparatory to the upatrinya, a kind of serpent, 28, study of, xliv, 233, 477, 487, 427
510, 543, 590, 606; relation of urine, as a cure for sores, 19, 489; the three Vedas to the AtharRudra's remedy, 138, 306; ex van, xxxi ff., XXXv ff., li ff., lv ff.,
Z Z 2
486.
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708
HYMNS OF THE ATHARVA-VEDA.
Ixi; Vedic literary categories,
Xxxv ff. vedi, fire-altar, 200; cf. parigrihyâ. veins, 22, 259. vermin in the field, exorcism of,
142, 485; cf. worms. vigrîva, a demon, 70. viligi, designation of a serpent, 28;
cf. âligi. village, the scene of Atharvan per
formances : see gråmayâgin. Virág, a female divinity, 80, 110,
186, 211, 215-6, 219, 221, 593,
647, 667. virility, charm to increase it, 31,
369; charm to deprive a man
of it, 108, 537. visapha (a demon ?), 67, 339. Vishnu, a god, 80, 89, 160, 193, 200,
221, 251, 342, 655. visikha, a demon, 70. Visvakarman, the supreme god, 206,
209, 592, 629, 686. Visvarüpa, son of Tvashtar, 318,
522. Visvavasu, a demon, 319. Vîtahavya, a people, 31; cf. Vaita
havya. Vivasvant, a god, 57, 160, 366. vomiting as a cure for poison, 374. vrishâkapi-Brahmans, 533 n. Vritra, a cloud-demon, 18, 40, 62-3,
79, 81, 91-2, 95, 121, 126, 129, 158, 303, 310, 349, 370, 382, 384, 596; his eye becomes mount Trikakud, 382.
wedding, charms used at, 502, 546;
ceremony at the consummation, 276, 546; of a royal personage,
498. weeds, charm to remove them, 465. wheel, parts of, 493. white-footed arrow, 633, 638; cow
or she-goat, ibid. wife, charm to obtain one, 95, 502 ff.;
of the sacrificer, 180 ff., 185 ff., 610 ff., 645 ff.; wives of the
gods, 162, 167. wild beasts, charm against, 147, 366. will o' the wisp, 411. wishes, charm for obtaining one's,
xlvii, 605; three wishes, 181,
613. wolf and calves, 174; wolves and
sheep, 132, 151. woman, of the waters, 621; truant,
charm to bring her back, 106, 496; women with evil bodily characteristics, 109, 260; fond of the kushtba-plant, 6, 680; sleeping women, described, 105; charms pertaining to women (strikarmâni), 94 ff., 275, 311,
371, 479-80. womb, performances for steadying
it, 284, 467. worms of all sorts, in human beings
and animals, 22-4, 323, 314 tiny 351.
Wagon, parts of, 587; cf. chariot. washerman, 188. waters (divine), 14-5, 161; water,
healing, 40-1, 48; produced by ants, 27; as a remedy against jealousy, 107; for the conse- cration of a king, 111; -animals, varieties of, 157, 621; -plants, 514, 579; -skin, 107; -sprites,
409. weather - prophet, propitiation of,
159, 532.
Yagus, 161, 204, 225-6, 229. Yakshas, a kind of divinities, 161. Yama, god of death, 37, 44, 52, 54,
57, 59, 60, 90, 107, 110, 118, 161, 167, 177, 185-6, 192, 195, 318, 361, 404, 416, 422, 456, 500, 585, 655; horse of, 21;
cf. dogs of Yamna. Yamuna, a river, 62. yâtu, yâtuvid, and yâtudhana: see
sorcerers and sorceries, yellow birds and objects for the
cure of jaundice, 264. younger brother's precedence over
an older, expiation of, 164, 523.
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II. INDEX OF HYMNS IN THE ORDER
OF THE ATHARVA-VEDA..
PAGES
V
, 14
, 15, 139 • • i69, 43o • • រៗ រ, 483 • • I go, 36 • • 1 31, +39 • • I, 44 • • }, a • •9, 4 • • 76, 156 · · 66, 48
foo, 49 • • loi, 139 • • 97, 46o • • 8, 46 • • 8, 465 · · 3, 461
PAGES l, a · · 8,333
3 • • io, 35 1 • • 64, a}
• 65, 139 • • 6, 139 · · , a • • 99, 14 • • 1, 36 • • Io7, aa
6, a6 • • ១រ, A57 • • og, a6o • • ao, a6a
• • 1, 168 13 , 6, 266 a · · 6, a68
• }, ano 31 • •99, 174 3 • •9, Tៗ + • • 37, 8o
gI, as 13, 286
34, ago lo · · 4, aya
89, 294 · · 66, ay8 • • 36, 3oa · · a, ao} · · 31, 3o4 • so, zo6
• • 47, 3o8 ao , oo,
• •a, 33 • • }, 31 • • , Sai
• • 94, 31a III, I . . ia, a
a · · a1, 327 3
a, a
PAGES Ill, 4 • • 3, 33o
• • 14, 33 6 . 9, 334 1 • • , 336
· · 67, 39 • • 49, 34 · · 49 33 · · I 6, 348 • 43, 35 • • 48, 3a · · io, 35$ · · 97, 36 • • Ioa, 38 • • 13, 39 • • 1 34, 36i
• •s, 364 3 • • 11, 366
• 3, 369 • • io, 37 · · 35, 37 3 • • 16, 376 • • Iii, 378 • 6, 38 · · 6a, 383 • • 9, 18+
88, 389 · · 69, 393 8. •o, 396
• • I, 397
.68, 398 aa• • II, 4o4
• • 8, 406
• • 35, Ao7 37 , 33, jo8
• • 49, ipa • • +, 44
• • ao, 19 1 • • 72, +}
• • 1,45 1 2 3
• • Io6, 67 • •3, 168 • • 39, 47o • • a, . • • 19, 41a . 63, 473 · · i66, 44 • • 166, 75 • • 46, 475
93, 475 • • 1 i6, 477 • • II, 478 • • 136,479 • • 187, 48o • • Io, 48 • • 168, 485
• i67, 485 • • , 485 • • 5, 487
19, 488 • • 144, 49o • • 95, 19
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710
VI, 64
70
71
73
74
75
៩៨៩២២៖ តឥតទគ្គ 3 S S 9 ៗ ដ P = 1
85
96
97
99
100
102
105 106
109
110
III
112
113
114
115 120
PAGES
136, 492
. 144, 493
. 196, 494
. 135, 494
• 135, 495
92, 495
106, 496
96, 498
. 141, 499 13, 500
96, 501
•
•
.
•
.
•
•
44, 509
. 122, 510
. 123, 510
27, 511
101, 512
8, 513
147, 514
21, 516
•
•
•
HYMNS OF THE ATHARVA-VEDA.
•
•
95, 502
17, 503 39, 505
11, 506
40, 507
145, 507
138, 508
109, 517
32, 518
164, 521
165, 527
164, 528
164, 529 165,529
VI, 127
128
130
131
132
136
137
138
139
140
142
VII, 9
II
12
13
35
36
37
38
45
50
52
53
56
64
65
70
74
76
83
115
116
VIII, I
PAGES
40, 530 160, 532
. 104, 534
. 104, 535
. 104, 535
31, 536
• 31, 537 108, 537
. 102, 539
110, 540
141, 541 159, 542
XI, 142, 543
138, 543
•
•
•
•
•
•
.
93, 544
98, 545
96, 546
96, 546
103, 546
107, 547
150, 548
136, 550
52, 551
29, 552
167, 555
72, 556
90, 557
18, 557
17, 559
12, 562
168, 564
4, 565
53, 569
VIII,
IX,
X,
XII,
2
5
7
8
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1
2
3
8
1
3
46
I
2
4
6
7
9
10
I
3
4
XIII,
I
XIX, 26
34
35
38
39
53
54
XX, 127
PAGES
55, 573
· 79, 575
41, 578 117, 582
229, 587
. 220, 591
.
·
•
•
179, 610
155, 618
218, 622 214, 626 160, 628 226, 629 123, 631
. 126, 637
199, 639
185, 645
•
•
•
•
•
•
•
193, 595
45, 600
·
72, 602 81, 605 152, 605 84, 608
•
174, 656
207, 661
5, 676
224, 681
. 225, 687
. 197, 688
63,668 38, 669 39, 674
40, 675
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ADDITIONS AND CORRECTIONS.
Page 2,
stanza 7: For the Mûgavants as the type of a distant people, see Sat. Br. II, 6, 2, 17.
P. 5, stanza 2: read 'na-gha-mâra' for 'na-ghâ-mâra.'
P. 6, stanza ro: insert the words 'that burns the head' after 'takman.' P. 16, hymns I, 23 and 24: for symbolic removal of leprosy by the sacrifice of a white cow, see Kâty. Sr. XV, 3, 37.
P. 20, stanza 6: read 'felloe' for 'feloe.'
P. 28, stanzas 10, 11: cf. Weber, Proceedings of the Berlin Academy, 1896, pp. 681 ff., 873 ff.
P. 37, line 8: read' did' for 'do.'
P. 44, bottom: read 'II, 33' for 'II, 32.'
P. 49, title: read 'âyushyâni' for 'âyushyâni.'
P. 64, title: read 'âbhikârikâni ' for 'âbhikârikâni.'
P. 70, stanza I: read 'Light' for 'Night.'
P. 84, in the title of X, 6: read' of an amulet 'for 'of amulet.'
P. 100, line 10: insert the words 'woman, shalt love,' after 'thou.'
P. 136, hymns VI, 42 and 43: cf. Sat. Br. XI, 6, 1, 13.
P. 173, line 2: read' dost' for 'didst.'
P. 178, stanza 44: insert ' O Brihaspati' after ' viliptî.'
P. 190, line 6 read' stirring-stick' for 'stirring stick.'
P. 238, stanza 2: cf. Baudh. Dh. II, 8, 15, 4; Vishnu-smriti LXXIII, 11. P. 239, in the second line of the introduction to I, 9: read 'consecration' for 'coronation.'
P. 253, note: 'nishpramanda-dantadhâvana' may mean 'tooth-wash without the fragrant substance pramanda.' A symbolic interpretation of nishpramanda, 'bereft of delight,' seems to be implied with double meaning.
P. 307, stanza 1: cf. Susruta I, 22, 10.
P. 531, stanza 1: for vidradhá cf. RV. IV, 32, 23 (Ludwig's commentary, vol. v, p. 93); AV. IX, 8, 20; Roth, Nirukta, Erläuterungen, p. 42 ff.
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TRANSLITERATION OF ORIENTAL ALPITALET'S ADOPTED FOR THE TRANSLATIONS
OF THE SACRED BOOKS OF THE EAST.
MISSIONARY ALPHABET.
CONSONANTS
Sanskrit.
Lead
Pehlerl
Persian
Arabic
Hebrew. Chinese.
II Clau
III Class
Gutturales. 1 Tenuis ........ 2 aspirata .... 3 Media ......... 4 , suspirata........1 5 Gutturo-labialis . ...
rora
6 Nasalis ..........
(ng)
53 (ng) (ar(n)/ eu leo ho)
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:::::
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.
.
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7 Spiritus asper..
lenis ......... 9 . asper faucalis ....
lenis faucalis ... 11 asper fricatus .. 12 , lenis fricatus ... Gutturales modificatae
(palstales, &o.) 13 Tenuis ........ 14 » Aspirata ....... 15 Media .......... 16 » aspirata ....
→ Nasalis ...
.
713
:: ww:

Page #1257

MISSIONARY ALPHABRT.
Sanskrit.
Zend.
CONSONANTS
(continued).
Pehlevi.
Persian
Irabic.
Hebrew. Chinese.
I Class.
11 Class
III Class
714.
18 Semivocalis .......
init.
:: 3 : :3 :
- solina 8:
1:0
:
19 Spiritus asper ...... 20 „ lenis ........
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mollis 1 .....
mollis 2..... 33 Spiritus asper 1 .... , asper 2 .......
lenis ........ asperrimus 1....!. Asperrunus 2 ....1.
ΤΗ
TRANSLITERATION OF ORIENTAL ALPIIABETS
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.
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Page #1258

of any of
:-:::::
Dentales modificatae
(lingualos, &c.) 38 Tenuis ........ 39 „ aspirata ....... 40 Media ............ 41 , aspirata ....... 42 Nasalis ............ 43 Semivocalis ....... 44 „ fricata ... 45 , diacritica .... 46 Spiritus asper ........ 47
lenis .........1
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.
!
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:8::M
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3:1:: :::: ::
::94: :
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FOR THE SACRED BOOKS OF THE EAST.
.
Labiales. 48 Tenuis .......... 49 aspirata ....... 50 Media ....... 51 „ aspirata .. 52 Tenuissiina.......... 53 Nasalis .....
asalis ............ 54 Semivocalis ......... 55
» aspirata ..... 56 Spiritus asper....
, lenis ..... 58 Anusvåra ........... 59 Visarga ............
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.
....
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::-:23:::
B
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715

Page #1259

MISSIONARY ALPHABET.
Sanskrit.
Pehlevi
Zend.
Perslan.
VOWELS.
Arabic.
llebrew. Chinese.
I Class
II Class
III Class.
1
.
.
716
fin.
:::
ini
S
:
*
:..A!:17
OF THE
1 Neutralis ...... 2 Laryngo-palatalis. 3 » labialis .. 4 Gutturalis brevis ....... 5 „ longa ... 6 Palatalis brevis . ... 7 , longa ..... 8 Dentalis brevis .... 9 longa ........ 10 Lingualis brevis ....... 11 longa ....... 12 Labialis brevis ........ 13 » longa ........ 14 Gutturo-palatalis brevis ...
„ longa ... é (ai) Diphthongus gutturo-palatalis di 17
ei (ei)
oi (ou) 19 Gutturo-labialis brevis ... . O
longa .... 10(au) 21 Diphthongus gutturo-labialis au 22
eu (èu) 23
Jou(šu)
Velib : : : :net ::iby ::
:-:::::-::::::: 111:::vydo b : : : :|-4:::::::::::::
:::d ::::::
1
20: :: 29: 6 :::::
Ele) Fir
: : : ***
TRANSLITERATION OF ORIENTAL ALPHABETS.
18
20
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24 Gutturalis fracta ....... 25 Palatalis fracta ........ 26 Labialis fracta ........ 27 Gutturo-labialis fracta ....!
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Page #1260

SACRED BOOKS OF THE EAST
TRANSLATED BY VARIOUS ORIENTAL SCHOLARS
AND EDITED BY F. MA X MÜLLE R. This Series is published with the sanction anul co-operation of the Secretary of
Stale for India in Council.
**
-
BBPORT presented to the ACADÉMIE DES INSCRIPTIONS, May 11,
1888, by X. BRIEST BBIAN. M. Renan présente trois nouveaux une seconde, dont l'intérêt historique et volumes de la grande collection des religieux ne sera pas moindre. M. Max “Livres sacrés de l'Orient" (Sacred Müller & su se procurer la collaboration Books of the East!, que dirige à Oxford, des savans les plus éminens d'Europe et avec une si vaste érudition et une critique d'Asie. L'Université d'Oxford, que cette si sûre, le savant associé de l'Académie grande publication honore au plus haut des Inscriptions, M. Max Müller, ... La degré, doit tenir à continuer dans les plus première série de ce beau recueil, com- larges proportions une cuvre aussi philoposée de 24 volumes, est presque achevée. sophiquement conçue que savamment M. Max Müller se propose d'en publier exécutée.'
EXTRAOT from the QUARTERLY RIVIEW. .We rejoice to notice that a second great edition of the Rig Veda, can comseries of these translations has been an- pare in importance or in usefulness with nounced and has actually begun to appear. this English translation of the Sacred The stones, at least, out of which a stately Books of the East, wbich has been devised edifice may hereafter arise, are here being by his foresight, successfully brought so brought together. Prof. Max Müller has far by his persuasive and organising deserved well of scientific history. Not power, and will, we trust, by the assist a few minds owe to his enticing words ance of the distinguished scholars he has their first attraction to this branch of gathered round him, be carried in due study. But no work of his, not even the time to a happy completion.' Professor 3. HARDY, Inaugural Lecture in the University of Freiburg, 1887.
Die allgemeine vergleichende Reli- internationalen Orientalistencongress in gionswissenschaft datirt von jenem gross- London der Grundstein gelegt worden artigen, in seiner Art einzig dastehenden war, die Übersetzung der heiligen Bücher Unternehmen, zu welchem auf Anregung des Ostens' (the Sacred Books of the Max Müllers im Jahre 1874 auf dem East).
Th. Hon. ALBERT 8. G. CAINING, 'Words on Bdsting Boligions." •The recent publication of the “Sacred a great event in the annals of theological Books of the East" in English is surely literature.'
Orford AT THE CLARENDON PRESS
LONDON: HENRY FROWDE
OXFORD UNIVERSITY PRESS WAREHOUSE, AMEN CORNER, E.C.
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SACRED BOOKS OF THE EAST:
FIRST SERIES. VOL. I. The Upanishads.
Translated by F. Max Müller. Part I. The KhândogyaUpanishad, The Talavakâra-upanishad, The Aitareya-âranvaka. The Kaushitaki-brâhmana-upanishad, and The Vâgasaneyisamhitâ-upanishad. 8vo, cloth, ios. 6d. The Upanishads contain the philosophy of the Veda. They have become the foundation of the later Vedanta doctrines, and indirectly of Buddhism. Schopenhauer, speaking of the Upanishads, says:
In the whole world there is no study so beneficial and so elevating as that of the Upanishads. It has been the solace of my life, it will be the solace of my death.'
[See also Vol. XV.] VOL. II. The Sacred Laws of the Åryas,
As taught in the Schools of Âpastamba, Gaulama, Vâsishtha, and Baudhayana. Translated by GEORG BÜHLER. Part I. Åpastamba and Gautama. Second Edition. Svo, cloth, 1os. 6d. The Sacred Laws of the Aryas contain the original treatises on which the Laws of Manu and other lawgivers were founded.
(See also Vol. XIV.]
VOL. III. The Sacred Books of China.
The Texts of Confucianism. Translated by JAMES LEGGE. Part I. The Shů King, The Religious Portions of the Shih
King, and The Hsiâo King. 8vo, cloth, 125. 6d. Confucius was a collector of ancient traditions, not the founder of a new religion. As he lived in the sixth and fifth centuries B.C. his works are of unique interest for the study of Ethology.
[See also Vols. XVI, XXVII, XXVIII, XXXIX, and XL.] VOL. IV. The Zend-Avesta.
Translated by JAMES DARMESTETER. Part I. The Vendidad.
Second Edition. 8vo, cloth, 145. The Zend-Avesta contains the relics of what was the religion of Cyrus, Darius, and Xerxes, and, but for the battle of Marathon,
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· EDITED BY F. MAX MÜLLER.
might have become the religion of Europe. Il forms to the present day the sacred book of the Parsis, the so-called fire-worshippers. Two more volumes will complete the translation of all that is left us of Zoroaster's religion.
[See also Vols. XXIII and XXXI.) VOL. V. Pahlavi Texts.
Translated by E. W. West. Part I. The Bundahis, Bahman
Yast, and Shâyast lâ-shầyast. 8vo, cloth, 125. 6d. The Pahlavi Texts comprise the theological literature of the revival of Zoroaster's religion, beginning with the Sassanian dynasty. They
are important for a study of Gnosticism. VOLS. VI AND IX. The Qur'an.
Parts I and II. Translated by E. H. PALMER. 8vo, cloth, 215. This translation, carried out according to his own peculiar views of the origin of the Qur'an, was the last great work of E. H. Palmer,
before he was murdered in Egypi. VOL. VII. The Institutes of Vishnu.
Translated by JULIUS JOLLY. 8vo, cloth, ios. 6d. A collection of legal aphorisms, closely connected with one of the oldest Vedic schools, the Kathas, but considerably added to in later
time. Of importance for a critical study of the Laws of Manu. VOL. VIII. The Bhagavadgitâ, with The Sanatsugâtiya, and The Anugitâ.
Translated by KashINATH TRIMBAK TELANG. 8vo, cloth,
ros. 6d. The earliest philosophical and religious poem of India. It has been
paraphrased in Arnold's Song Celestial.' VOL. X. The Dhammapada,
Translated from Pâli by F. Max MÜLLER; and
The Sutta-Nipâta, Translated from Pâli by V. FAUSBÖLL; being Canonical Books of the Buddhists. 8vo, cloth, 1os. 6d. The Dhammapada contains the quintessence of Buddhist morality. The Sutta-Nipata gives the authentic teaching of Buddha on some of the fundamental principles of religion.
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SACRED BOOKS OF THE EAST:
VOL. XI. Buddhist Suttas.
Translated from Pâli by T. W. RHYS DAVIDS. 1. The Mahaparinibbana Suttanta; 2. The Dhamma-kakka-ppavattana Sutta. 3. The Tevigga Suitanta; 4. The Âkankheyya Sutta ; 5. The Ketokhila Sutta; 6. The Mahâ-sudassana Suttanta ;
7. The Sabbâsava Sutta. 8vo, cloth, 1os. 6d. A collection of the most important religious, moral, and philosophical
discourses taken from the sacred canon of the Buddhists. VOL. XII. The Satapatha-Brâhmana, according to the Text of the Madhyandina School.
Translated by Julius EGGELING. Part I. Books I and II. 8vo, cloth, 125. 6d. A minute account of the sacrificial ceremonies of the Vedic age. It contains the earliest account of the Deluge in India.
[See also Vols. XXVI, XLI.) VOL. XIII. Vinaya Texts.
Translated from the Pali by T. W. RHYS DAVIDS and HERMANN OLDENBERG. Part I. The Patimokkha. The Mahavagga, I-IV. 8vo, cloth, 1os. 6d. The Vinaya Texts give for the first time a translation of the moral code of the Buddhist religion as settled in the third century B.C.
[See also Vols. XVII and XX.] VOL. XIV. The Sacred Laws of the Âryas,
As taught in the Schools of Âpastamba, Gautama, Vâsishtha, and Baudhayana. Translated by GEORG BÜHLER. Part II.
Vâsishtha and Baudhayana. 8vo, cloth, 10s. 6d. VOL. XV. The Upanishads.
Translated by F. Max MULLER. Part II. The Katha-upanishad, The Mundaka-upanishad, The Taittiriyaka-upanishad, The Brihadâranyaka-upanishad, The Svetâsvatara-upanishad, The Prasña-upanishad, and The Maitrậyana-brahmana-upanishad.
8vo, cloih, ios. 6d. VOL. XVI. The Sacred Books of China.
The Texts of Confucianisın. Translated by James Legge. Part II. The Yî King. 8vo, cloth, 1os. 6d."
[See also Vols. XXVII, XXVIII.) VOL. XVII. Vinaya Texts.
Translated from the Pâli by T. W. Rhys Davids and HERMANN OLDENBERG. Part II. The Mahâvagga, V-X. The Kullavagga, I-IlI. 8vo, cloth, ros. 6d.
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EDITED BY F. MAX MÜLLER.
VOL. XVIII. Pahlavi Texts.
Translated by E. W. West. Part II. The Dâdistân-î Dînîk and The Epistles of Mânûskîhar. 8vo, cloth, 125. 6d.
VOL. XIX. The Fo-sho-hing-tsan-king.
A Life of Buddha by Asvaghosha Bodhisattva, translated from Sanskrit into Chinese by Dharmaraksha, A.D. 420, and from
Chinese into English by SAMUEL BEAL. 8vo, cloth, 1os. 6d. This life of Buddha was translated from Sanskrit into Chinese, A.D. 420. It contains many legends, some of which show a certain similarity to the Evangelium infantiae, &c.
VOL. XX. Vinaya Texts.
Translated from the Pali by T. W. Rhys Davids and HERMANN OLDENBERG. Part III. The Kullavagga, IV-XII. 8vo, cloth, 1os. 6d.
VOL. XXI. The Saddharma-pundaríka; or, The Lotus of the True Law.
Translated by H. Kern. 8vo, cloth, 125. 6d. • The Lotus of the true Law,' a canonical book of the Northern Buddhists, translated from Sanskrit. There is a Chinese transla
tion of this book which was finished as early as the year 286 A.D. VOL. XXII. Gaina-Satras.
Translated from Prakrit by HERMANN JACOBI. Part I. The Akârânga-Sätra and The Kalpa-Sätra. 8vo, cloth, 1os. 6d. The religion of the Gainas was founded by a contemporary of Buddha. It still counts numerous adherents in India, while there are no Buddhists left in India proper.
[See Vol. XLV.) VOL. XXIII. The Zend-Avesta.
Translated by JAMES DARMESTETER. Part II. The Sîrôzahs,
Yasts, and Nyayis. 8vo, cloth, 1os. 6d. VOL. XXIV. Pahlavi Texts.
Translated by E. W. West. Part III. Dinâî MainôgKhirad, Sikand-gůmânîk Vigâr, and Sad Dar. 8vo, cloth, los. 6d.
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SACRED BOOKS OF THE EAST:
SECOND SERIES.
VOL. XXV. Manu.
Translated by GEORG BÜHLER, 8vo, cloth, 219. This translation is founded on that of Sir William Jones, which has been carefully revised and corrected with the help of seven native Commentaries. An Appendix contains all the quotations from Manu which are found in the Hindu Law-books, translated for the use of the Law Courts in India. Another Appendix gives a synopsis of parallel passages from the six Dharma-sūtras, the other Smritis, the Upanishads, the Mahabharata, &c.
VOL. XXVI. The Satapatha-Brâhmana.
Translated by JULIUS EGGELING. Part II. Books III and IV.
8vo, cloth, 125. 6d. VOLS. XXVII AND XXVIII. The Sacred Books of China.
The Texts of Confucianism. Translated by JAMES LEGGE. Parts III and IV. The Lî Ki, or Collection of Treatises on the Rules
of Propriety, or Ceremonial Usages. 8vo, cloth, 255. VOL. XXIX. The Grihya-Sätras, Rules of Vedic Domestic Ceremonies.
Part I. Sânkhâyana, Asvalâyana, Pâraskara, Khâdira. Translated by HERMANN OLDENBERG. 8vo, cloth, 125. 6d. These rules of Domestic Ceremonies describe the home life of the ancient Aryas with a completeness and accuracy unmatched in any other literature.
Some of these rules have been incorporated in the ancient Law-books. VOL. XXX. The Grihya-Satras, Rules of Vedic Domestic Ceremonies.
Part II. Gobhila, Hiranyakesin, Âpastamba. Translated by HERMANN OLDENBERG. Apastamba, Yagña-paribhasha-sûtras.
Translated by F. Max MÜLLER. 8vo, cloth, 125. 60. VOL. XXXI. The Zend-Avesta.
Part III. The Yasna, Visparad, Âfrînagân, Gâhs, and Miscellaneous Fragments. Translated by L. H. MILLS. 8vo, cloth, 125. 6d.
VOL. XXXII. Vedic Hymns.
Translated by F. MAX MÜLLER. Part I. 8vo, cloth, 18s. 6d.
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EDITED BY F. MAX MÜLLER.
VOL. XXXIII. The Minor Law-books.
Translated by Julius Jolly. Part I. Nárada, Briñaspati.
8vo, cloth, 1os. 6d. VOL. XXXIV. The Vedânta-Satras, with the Commentary by Sankarâkârya. Part I.
Translated by G. THIBAUT. 8vo, cloth, 125. 6d. VOLS. XXXV AND XXXVI. The Questions of King Milinda.
Translated from the Pâli by T. W. Rhys DAVIDS.
Part I. 8vo, cloth, 1os. 6d. Part II. 8vo, cloth, 125. 6d. VOL. XXXVII. The Contents of the Nasks, as stated in the Eighth and Ninth Books of the Dinkard.
Part I. Translated by E. W. West. 8vo, cloth, 155. VOL. XXXVIII. The Vedanta-Sätras. Part II. 8vo,
cloth, with full Index to both Parts, 125. 6d. VOLS. XXXIX AND SL. The Sacred Books of China.
The Texts of Taoism. Translated by James Legge. 8vo,
cloth, 215. VOL. XLI. The Satapatha - Brâhmana. Part III.
Translated by Julius ÉGGELING. 8vo, cloth, 125. 6d. VOL. XLII. Hymns of the Atharva-veda.
Translated by M. BLOOMFIELD. 8vo, cloth, 21s. VOLS. XLIII AND XLIV. The Satapatha-Brâhmana. Parts IV and V.
[In preparation.] VOL. XLV. The Gaina-Sutras.
Translated from Prakrit, by HERMANN JACOBI. Part II. The Uttarâdhyayana Sætra, The Sûtrakritânga Sætra. 8vo, cloth,
I2s.6d. VOL. XLVI. Vedic Hymns. Part II. 8vo, cloth, 145. VOL. XLVII. The Contents of the Nasks. Part II.
[In preparation.] VOL. XLVIII. VOL. XLIX. Buddhist Mahâyâna Texts. Buddha
karita, translated by E. B. COWELL. Sukhâvatî-vyûha, Vagrakkhedikâ, &c., translated by F. MAX MÜLLER. Amitâyur-DhyanaSaira, translated by J. TAKAKUSU. 8vo, cloth, 125. 6d.
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RECENT ORIENTAL WORKS.
Anecdota Oxoniensia. ...
ARYAN SERIES. Buddhist Texts from Japan. I. Vagrakkhedikâ ; The Diamond-Cutter.
Edited by F. Max Müller, M.A. Small 4to, 35. 6d.
One of the most famous metaphysical treatises of the Mahâyâna Buddhists. Buddhist Texts from Japan. II. Sukhâvati-Vyûha : Description of Sukhávatî, the Land of Bliss.
Edited by F. MAX Müller, M.A., and Bunyiv Nanjio. With two Appendices: (1) Text and Translation of Sanghavarman's Chinese Version of the Poetical Portions of the SukhavatiVydha; (2) Sanskrit Text of the Smaller Sukhâvatî-Vyaha. Small 4to, 75. 6d. The editio princeps of the Sacred Book of one of the largest and most influential secis of Buddhism, numbering more than ten millions of followers
in Japan alone. Buddhist Texts from 7apan. III. The Ancient Palm
Leaves containing the Pragña-Paramitâ-HridayaSûtra and the Ushnisha-Vigaya-Dharani.
Edited by F. Max Müller, M.A., and BUNYIU NANJio, M.A. With an Appendix by G. BÜHLER, C.I.E. With many Plates. Small 4to, 1os.
Contains facsimiles of the oldest Sanskrit MS. At present known. Dharma-Samgraha, an Ancient Collection of Buddhist Technical Terms.
Prepared for publication by Kenjiv KASAWARA, a Buddhist Priest from Japan, and, after his death, edited by F. Max
MÜLLER and H. Wenzel. Small 410, 75. 6d. Kâtyâyana's Sarvânukramant of the Rigveda.
With Extracts from Shadgurusishya's Commentary entitled Vedârıhadîpika. Edited by A. A. MacDonell, M.A., Ph.D. 16s.
Orford AT THE CLARENDON PRESS
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KS
UC-NRLF
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THE
SACRED BOOKS OF THE EAST
[43]
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HENRY FROWDE, M.A. PUBLISHER TO THE UNIVERSITY OF OXFORD
LONDON, EDINBURGH, AND NEW YORK
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12,26,41
THE
SACRED BOOKS OF THE EAST
TRANSLATED
BY VARIOUS ORIENTAL SCHOLARS
AND EDITED BY
F. MAX MÜLLER
VOL. XLIII
Orford
AT THE CLARENDON PRESS
1897
(All rights reserved]
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RESE
Oxford
PRINTED AT THE CLARENDON PRESS
BY HORACE HART, M. A. PRINTER TO THE UNIVERSITY
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THE
SATAPATHA-BRAHMANA
ACCORDING TO THE TEXT OF THE
MÅDHYANDINA SCHOOL
TRANSLATED BY
LIUS EGGELING
PART IV
BOOKS VIII, IX, AND X
R:"CITY
Orford
AT THE CLARENDON PRESS
1897
(AU rights reserved ]
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66 ๆ 94%
V.V3
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CONTENTS
INTRODUCTION
.
PAGE xiii
.
.
.
.
.
.
.
,
22
EIGHTH KÂNDA. The Building of the Sacred Fire-altar (continued). First Layer (continued):
Prânabhrit (6 sets of 10 each)
Lokamprinâ . . . . . . . Second Layer :
Asvini (5). Ritavyâ (2) Vaisvadevi (5). . . Prânabhrit (5) . . . Apasyâ (5) . . . . . . Khandasyå (19)
Lokamprina Third Layer :
Svayamâtrinna (1 Disyâ (5) Visvagyotis Ritavyâ (4) . Prânabhrit (10) Khandasya (36) Vålakhilya (14)
Lakamprina . . . . . . . Fourth Layer :
Stoma (18) : Sprit (10) . . . . . . . . .
66
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viii
CONTENTS.
PAGE 70
83, 87
Ritavyâ (2) . . . . Srishti (17) . . . . .
Lokamprina Fifth Layer :
Asapatna (6) . . Khandasyâ, or Virág (4 sets of
each) Stomabhågå (29) Nakasad (5) . . Pañkakûdâ (5). Khandasya (10 sets of 3 each). . . Garhapatya hearth (8) Punaskiti (8) . . . Ritavyâ (2 Visvagyotis Lokamprina (1) Vikarnî (1) . . Svayamâtrinnâ (1) . .
Sâmans sung thereon.
Scattering of roo chips of gold on altar · Symbolical meaning of layers : :
· 103 · 109 · 117 · 119
125 129
131
· 141
142 • 145 : 146 : . 147
:
NINTH KÂNDA. Satarudriya .
150, 156 Oblations on three enclosing-stones .
.
158 Avatâna (unstringing) libations. . . . . 163 Pratyavaroha (redescending) libations.
164 Sprinkling of altar . . . .
. 169 Throwing of stone towards Nirriti's quarter. . . 171 Taking possession of the bricks, as milch cows. . 172 Drawing of frog, lotus-flower, and bamboo-shoot across the altar . . . .
174 Såmans sung round the altar
177 Day of Preparation for Soma-sacrifice
181 Libations on Svayamâtrinna .
: 182 Sprinkling of altar with sour curds, honey and ghee
Pravargya . . . . . . . . 187 Leading forward of Agni to the Altar . .
188 Oblations of ghee on udumbara logs. Lifting of log, setting forth, Apratiratha hymui . 191
184
189
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CONTENTS.
200
213
229
PAGE Setting up of variegated stone on Âgnidhra site . . 195 Mounting of Fire-altar .
198 Milk-offering on firebrand. Laying down of, and putting logs on, Ahavaniya fire · 202 Oblations thereon . . . . .
• 204 Installation and Consecration of Agni.
207 Cakes to Vaisvânara and Maruts.
207 Vasor dhârâ, or shower of wealth Ardhendra and Graha oblations.
216 Yagñakratus . . . .
217 Oblations to Stomas and age-grades.
217 Kalpa (prospering) libations
220 Vågaprasaviya libations . . .
223 Pártha libations . .
. .
225 Consecration of Sacrificer.
226 Rashtrabhrit oblations Oblations on head of chariot .
233 Yoking of chariot with oblations of air
235 Runmati (lightsome) oblations.
237 Arkasvamedha-samtati oblations.
239 Preparatory Rites of Soma-sacrifice .
241 Building of Dhishnya hearths . . .
• 241 Agnîshomiya (animal) sacrifice.
· 245 Oblations to Regions ,
· 245 Oblations to Divine Quickeners (devasů) .
246 Pasupurodåsa-offering
248 Sutyâ, or Day of Soma-sacrifice.
249 Agniyoga, or yoking of Fire-altar Pressing and offering of Soma. Unyoking of Fire-altar Milk for fast-food Samishtayagus oblations . . . Udayaniyâ, and offering of barren cow Cake to Orderer (Pragâpati and the sun) . . . Oblations to goddesses Anumati, Râkâ, Sinivali and
Kuha . . . . . . . . 264 Pasupurodâsa and concluding ceremonies of offering
of barren cow . . . . . . . 265 Vaisvakarmana oblations . . . . . . 266 Payasyâ-offering to Mitra and Varuna . . . . 270
249
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X
CONTENTS.
Rules for a repeated Agnikayana Propitiatory hymn to Indra and Agni.
TENTH KANDA.
The Mystery of the Fire-altar
The triad-Fire-altar, Mahad uktham, and Mahâvrata.
Parimâd sâmans
Pragâpati made immortal
Layers of altar partly mortal and partly immortal. Agnikayana includes all sacrifices
Contraction and expansion of wings of altar (bird)
Dimensions of Fire-altar
Sevenfold and hundred and onefold altars
Time for building the altar.
Number of Upasad-days
Pragâpati, the Altar and the Year (Time)
The metres in relation to Pragâpati
Dhira Sataparneya and Mahâsâla Gâbâla on the
knowledge of Agni
Âruni on the mystery of the Arka
•
Mystic import of the Yagus
The sacred fire, the Arka, the one Akshara, the great Brahman
Pragapati, the year, is Agni, and King Soma, the
•
•
moon
Trayî vidyâ (the Vedas)
Pragâpati, the year, as Death
The Sacrificer is Pragâpati, and immortal
Numbers of bricks in layers
·
•
•
The Fire-altar, the universe
Kusri Vâgasravasa on the construction of the altar Asvapati Kaikeya on the nature of Vaisvânara
Session of a thousand years Mystic import of Agni, the Fire-altar
The gold plate and gold man as sun and the man in the sun
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Death, the man in the right eye, and the man in the sun Mind, the ultimate cause of the universe
.
.
.
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281
281
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296
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CONTENTS.
PAGE
398 400
402
The Agni-like, Arka-like, Uktha-like Purusha .. The true Brahman, the Self, the golden Purusha . The sacrificial horse (Pragâpati), the universe . . 401 Death, the ultimate cause. Death, the Arka and Asvamedha, conquered by
knowledge . . . . . . . · 404 Corrections . . . . . . . . . 405
Transliteration of Oriental Alphabets adopted for the Trans
lations of the Sacred Books of the East . . . 407
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INTRODUCTION.
THE present volume completes the exposition of the Agnikayana, or construction of the sacred Fire-altar. Whilst to the general reader the section of the Brâhmana treating of this ceremony, and extending over no less than five of its fourteen kändas-or rather more than one-third of the whole—will probably appear the least inviting part of the work, a special interest attaches to this ceremony, and the dogmatic explanation of its details, for the student of Indian antiquity. The complicated ritual of the Firealtar, as has been pointed out before ", does not seem to have formed part of the original sacrificial system, but was probably developed independently of it, and incorporated with it at a comparatively recent period. There seems, indeed, some reason to believe that it was elaborated with a definite object in view, viz. that of making the external rites and ceremonies of the sacrificial cult the practical devotional expression of certain dominant speculative theories of the time. As a matter of fact, the dogmatic exposition of no other part of the sacrificial ceremonial reflects so fully and so faithfully as that of the Agnikayana those cosmogonic and theosophic theories which form a characteristic feature of the Brahmana period. In the present work, that section commences with a cosmogonic account so elaborate as is hardly to be met with anywhere else in the Bråhmana literature; and throughout the course of performance the symbolic import of its details is
See part i, introduction, p. xxxi.
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xiv
SATAPATHA-BRAHMANA.
explained here, as in other Brahmanas, on the lines of those cosmogonic speculations.
When, towards the close of the period represented by the Vedic hymns, inquiring minds began to look beyond the elemental gods of the traditional belief for some ulterior source of mundane life and existence, the conception of a supreme, primordial being, the creator of the universe, became the favourite topic of speculation. We accordingly find different poets of that age singing of this uncreate being under different names,--they call him Visvakarman, the 'All-worker'; or Hiranyagarbha, the 'golden Embryo'; or Purusha, the Person'; or Ka, the 'Who?'; or the heavenly Gandharva Visvâvasu, 'All-wealth'; or Pragàpati, the Lord of Creatures.' Or they have recourse to a somewhat older figure of the Pantheon, likewise of abstract conception, and call him Brahmanaspati, the Lord of prayer or devotion; a figure which would naturally commend itself to the priestly mind, and which, indeed, in a later phase of Hindu religion, came to supply not only the name of the abstract, impersonal form of the deity, the world-spirit, but also that of the first of its three personal forms, the creator of the Hindu triad. Amongst these and other names by which the supreme deity is thus designated in the philosophic hymns of the Rik and Atharva-veda, the name of Pragåpati, the Lord of Creatures or generation, plays a very important part in the immediately succeeding period of literature, viz. that of the Brâhmanas.
In the so-called Purusha-hymn (Rig-veda X, 90), in which the supreme spirit is conceived of as the Person or Man (Purusha), born in the beginning, and consisting of whatsoever hath been and whatsoever shall be,' the creation of the visible and invisible universe is represented as originating from an 'all-offered' sacrifice ? (yagña) in which the Purusha himself forms the offering-material (havis), or, as one might
1 Cf. Rig.veda X, 22, 2.
• That is to say, a sacrifice at which not only portions of the sacrificial dish, or the victim, are offered up to the deities, but where every single part of it is offered.
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INTRODUCTION.
XV
say, the victim. In this primeval-or rather timeless, because ever-proceeding-sacrifice, Time itself, in the shape of its unit, the Year, is made to take its part, inasmuch as the three seasons, spring, summer, and autumn, of which it consists, constitute the ghee, the offering-fuel, and the oblation respectively. These speculations may be said to have formed the foundation on which the theory of the sacrifice, as propounded in the Brâhmanas, has been reared. Pragâpati, who here takes the place of the Purusha, the world-man, or all-embracing Personality, is offered up anew in every sacrifice; and inasmuch as the very dismemberment of the Lord of Creatures, which took place at that archetypal sacrifice, was in itself the creation of the universe, so every sacrifice is also a repetition of that first creative act. Thus the periodical sacrifice is nothing else than a microcosmic representation of the ever-proceeding destruction and renewal of all cosmic life and matter. The theologians of the Brahmanas go, however, an important step further by identifying the performer, or patron, of the sacrifice—the Sacrificer—with Pragâpati; and it is this identification which may perhaps furnish us with a clue to the reason why the authors of the Brâhmanas came to fix upon Pragâpati' as the name of the supreme spirit. The name 'Lord of Creatures' is, no doubt, in itself a perfectly appropriate one for the author of all creation and generation; but seeing that the peculiar doctrine of the Purusha-sukta imparted such a decisive direction to subsequent dogmatic speculation, it might seem rather strange that the name there chosen to designate the supreme being should have been discarded, only to be employed occasionally, and then mostly with a somewhat different application'. On the other hand, the term 'Pragâpati' was manifestly a
'In its original sense it occurs at the beginning of the Agnikayana section, VI, 1, 1, 2-6, in connection with what might almost be regarded as an exposition of the Purusha-säkta. The seven original purushas out of which the Purusha comes to be compacted, are apparently intended to account for the existence of the seven Rishis (explained in the Brahmanas as representing the vital airs) prior to the creation of the one Purusha. It would scem that they themselves previously composed the as yet uncorporeal Purusha.
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xvi
SATAPATHA-BRÂHMANA.
singularly convenient one for the identification of the Sacrificer with the supreme Lord of Creatures'; for, doubtless, men who could afford to have great and costly sacrifices, such as those of the Srauta ceremonial, performed for them if they were not themselves Brâhmans, in which case the term might not be inappropriate either-would almost invariably be 'Lords of Creatures,' i.e. rulers of men and possessors of cattle, whether they were mighty kings, or petty rulers, or landed proprietors, or chiefs of clans. It may be remarked, in this respect, that there is in the language of the Brahmanas a constant play on the word
prąga' (progenies), which in one place means 'creature' in general, whilst in another it has the sense of people, subjects,' and in yet another the even more restricted one of offspring or family.'
How far this identification of the human Sacrificer with the divine Pragå pati goes back, and whether, when first adopted, it was applied at once to the whole of the sacrificial system, or whether it rather originated with a certain restricted group of ritualists in connection with some limited portion of the ceremonial such as the Agnikayana, and became subsequently part and parcel of the sacrificial theory, it would probably not be easy to determine. As regards the symbolic connection of the Sacrificer himself with the sacrifice, there can at any rate be no doubt that it was an essential and an intimate one from the very beginning of the sacrificial practice. When a man offers to the gods their favourite food, it is in order to please them and to gain some special object of his own,-either to make them strong and inclined for fighting his battles, and to secure their help for some undertaking of his or against some danger by which he is threatened ; or to deprecate their wrath at some offence he knows or fancies he has committed against them; or to thank them for past favours, with an eye, it may be, to new and still greater favours to come. Gradually, however, the connection becomes a subtler and more mystic one; the notion of substitution enters into the sacrifice: it is in lieu of his own self that man makes the
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INTRODUCTION,
xvii
offering. This notion is a familiar one to the theologians of the Brahmanas, either in the sense that the oblation is sent up to the gods in order to prepare the way for the Sacrificer, and secure a place for him in heaven; or in the sense that along with the burnt-offering the human body of the Sacrificer is mystically consumed, and a new, divine body prepared to serve him in the celestial abodes. Intimately connected with this latter notion we find another, introduced rather vaguely, which makes the sacrifice a mystic union in which the Sacrificer generates from out of the Vedi (f.), or altar-ground, his future, divine self. In this respect Agni, the offering-fire, also appears as the mate of Vedi"; but it will be seen that Agni himself is but another form of the divine and the human Pragàpati.
With the introduction of the Pragapati theory into the sacrificial metaphysics, theological speculation takes a higher Alight, developing features not unlike, in some respects, to those of Gnostic philosophy. From a mere act of piety, and of practical, if mystic, significance to the person, or persons, immediately concerned, the sacrifice in the esoteric view of the metaphysician, at least-becomes an event of cosmic significance. By offering up his own self in sacrifice, Pragåpati becomes dismembered ; and all those separated limbs and faculties of his come to form the universe,-all that exists, from the gods and Asuras (the children of Father Pragåpati) down to the worm, the blade of grass, and the smallest particle of inert matter. It requires a new, and ever new, sacrifice to build the dismembered Lord of Creatures up again, and restore him so as to enable him to offer himself up again and again, and renew the universe, and thus keep up the uninterrupted revolution of time and matter. The idea of the dismembered Pragapati, and of this or that sacrificial act being required to complete and replenish him, occurs throughout the lucubrations of the Brâhmanas; but in the exposition of the ordinary forms of sacrifice, this element can hardly be considered as
See 1, 2, 3, 15-16. From the woman Vedi (otherwise representing the eartb) creatures generally are produced ; cf. III, 5, 1, II.
[43]
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SATAPATHA-BRAHMANA.
one of vital importance ; whilst in the Agnikayana, on the contrary, it is of the very essence of the whole performance. Indeed, it seems to me by no means unlikely that the Purusha-Pragâpati dogma was first practically developed in connection with the ceremony of the Fire-altar", and that, along with the admission of the latter into the regular sacrificial ceremonial, it was worked into the sacrificial theory generally. In the Agnikayana section (Kândas VI-X), as has already been stated ", Sandilya is referred to as the chief authority in doctrinal matters, whilst in the remaining portions of the Brâhmana, that place of honour is assigned to Yågñavalkya. Now, it may be worthy of notice, in connection with this question of the Pragapati dogma, that in the list of successive teachers 3 appended to the Agnikayana section, the transmission of the sacrificial science or rather of the science of the Fire-altar, for the list can only refer to that section is traced from Sandilya upwards to Tura Kåvasheya, who is stated to have received it from Pragâpati; the Lord of Creatures, on his part, having received it from the (impersonal) Brahman. Does not this look almost like a distinct avowal of Sândilya and his spiritual predecessors being answerable for having introduced the doctrine of the identity of Pragâpati and the sacrifice into the sacrificial philosophy? If such be the case, the adaptation of this theory to the dogmatic explanation of the other parts of the ceremonial, as far as the Satapatha-Brahmana is concerned, might be supposed to have been carried out about the time of Samgîvî-putra, when the union of the two lines of teachers seems to have taken place. But seeing that the tenth Kânda, called the Mystery, or secret doctrine, of the Fire-altar, was apparently not at first included in the sacrificial canon of the Vaga
VI, 2, 2, 21, .This performance (of the Agnikayana) assuredly belongs to Pragâpati, for it is Pragâpati he undertakes (to construct) by this performance.'
* Part i, introduction, p. xxxi.
• For this Vamsa, as well as that appended to the last book of the Brâhmana, see ibid. p. xxxiii, note I.
* Ibid. p. xxxiv; Max Müller, History of Ancient Sanskrit Literature, P. 437.
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INTRODUCTION.
xix
saneyins', the mystic speculations in which that section so freely indulges would seem to have been left apart from the regular canon, along with other floating material which was not considered suitable for practical purposes, or indispensable for an intelligent appreciation of the hidden import of the sacrificial rites.
Once granted that the real purport of all sacrificial performances is the restoration of the dismembered Lord of Creatures, and the reconstruction of the All, it cannot be denied that, of all ceremonial observances, the building of the great Fire-altar was the one most admirably adapted for this grand symbolic purpose. The very magnitude of the structure ;-nay, its practically illimitable extent, coupled with the immense number of single objects-- mostly bricks of various kinds of which it is composed, cannot but offer sufficiently favourable conditions for contriving what might fairly pass for a miniature representation of at least the visible universe. The very name 'Agni,' by which the Fire-altar is invariably designated, indicates from the very outset an identification of cardinal importancethat of Pragàpati with Agni, the god of fire, and the sacrifice. It is a natural enough identification; for, as Pragâpati is the arch-sacrificer, so Agni is the divine sacrificer, the priest of the sacrifice. Hence the constantly occurring triad-Pragapati, Agni, and (the human) Sacrificer. The identity of the altar and the sacred fire which is ultimately to be placed thereon is throughout insisted upon. Side by side with the forming and baking of the bricks for the altar takes place the process of shaping and baking the fire-pan (ukha). During the year over which the building of the altar is spread, the sacred fire is carried about in the pan by the Sacrificer for a certain time each day. In the same way as the layers of the altar are arranged so as to represent earth, air, and heaven, so the fire-pan is fashioned in such a way as to be a miniature copy of the three worlds'. But, while this identity is never lost sight of, it is not an absolute
Ibid. p. xxxii.
See X, 2, 3, 17-18; 2, 4, I seqq.; 4, 3, 5-8. • VI, 5, 2, I seq.; VII, 1, 2, 7-9.
b
2
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SATAPATHA-BRAHMANA.
one, but rather one which seems to hold good only for this special sacrificial performance. Though it may be that we have to look upon this identification as a serious attempt to raise Agni, the divine priest, to the position of a supreme deity, the creator of the universe, such a design seems nowhere to be expressed in clear and unmistakeable terms. Nor are the relations between the two deities always defined consistently. Pragâpati is the god above all other gods; he is the thirty-fourth god, and includes all the gods (which Agni does likewise); he is the three worlds as well as the fourth world beyond them. Whilst, thus, he is the universe, Agni is the child of the universe, the (cosmic) waters being the womb from which he springs ? Whence a lotus-leaf is placed at the bottom of the fire-altar to represent the waters and the womb from which AgniPragâ pati and the human Sacrificer are to be born. Agni is both the father and the son of Pragâpati: 'inasmuch as Pragâ pati created Agni, he is Agni's father; and inasmuch as Agni restored him, Agni is his father 3! Yet the two are separate; for Pragâpati covets Agni's forms,--forms (such as I sâna, the lord; Mahân Devah, the great god; Pasupati, the lord of beasts) which are indeed desirable enough for a supreme Lord of Creatures to possess, and which might well induce Pragå pati to take up Agni within his own self. Though, in accordance with an older conception, Agni is still the light or regent of the earth, as Vayu, the wind, is that of the air, and the sun that of the heavens ; it is now explained that really these are but three forms of the one Agni,--that Agni's splendour in heaven is Aditya, that in the air Våyu, and that on earth the (sacrificial) fire 4. When Pragâpati is dismembered, Agni takes unto himself the escaping fiery spirit of the god; and when he is set up again, Agni becomes the right arm, as Indra becomes the left one, of the Lord of Creatures. Upon the whole, however, the peculiar relations between the two gods may perhaps be defined best in accordance with the
1 IV, 6, 1, 4. • VI, 1, 2, 26.
• VI, 8, 2, 4-6. * VI, 7, 4, 4; VII, 1, 1, 22-23
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passage already referred to :-Agni is created by Pragàpati, and he subsequently restores Pragåpati by giving up his own body (the fire-altar) to build up anew the dismembered Lord of Creatures, and by entering into him with his own fiery spirit, —'whence, while being Pragậpati, they yet call him Agni.
The shape adopted for the altar is that of some large bird-probably an eagle or a falcon-flying towards the east, the gate of heaven. Not that this is the form in which Pragapati is invariably conceived. On the contrary, he is frequently imagined in the form of a man, and symbolic features are often applied to him which could only fit, or would best fit, a human body. But, being the embodiment of all things, Pragâpati naturally possesses all forms; whence the shape of a four-footed animal is likewise occasionally applied to the altar! It was, doubtless, both traditional imagery and practical considerations which told in favour of the shape actually chosen. Pragâ pati is the sacrifice and the food of the gods; and Soma, the drink of immortality and at the same time the Moon, is the divine food or offering kar' étoxnv, the uttamam havis $, or paramåhuti, or supreme oblation: hence Pragå pati is Soma. But Soma was brought down from heaven by the bird-shaped Gayatri ; and the sacrifice itself is fashioned like a bird 6. In one passage ?, certain authorities are referred to as making the altar (Agni) take the form of a bird in order to carry the Sacrificer to heaven; but the author himself there insists dogmatically on the traditional connection of the altar with Pragàpati : that it was by assuming that form that the vital airs became Pragapati 8; and that in that
See, for instance, VIII, 1, 4, 3.
IV, 1, 1, 2. • Rég-veda IX, 107, 1.
Sat. Br. VI, 6, 3, 7. . See, for instance, VI, 2, 2, 16; X, 4, 2, 1. • IV, 1, 2, 25.
IVI, 1, 2, 36; cf. XI, 4, 1, 16. • This can only refer to the cosmological statement at the beginning of the same Kanda, where the seven Rishis, or vital airs, are said to have combined to form the bird-shaped Purusha or Pragâpati. Though nothing is said there of their having themselves been shaped like birds, this might perhaps be inferred from the use of the term purusha' with reference to them. In the Purushasakta nothing whatever is said of a birdlike form, either in regard to the Rishis,
b 3
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form he created the gods who, on their part, became immortal by assuming the birdlike form-and apparently flying up to heaven, which would seem to imply that the Sacrificer himself is to fly up to heaven in form of the bird-shaped altar, there to become immortal. It is not, however, only with the Moon, amongst heavenly luminaries, that Pragâpati is identified, but also with the Sun; for the latter, as we have seen, is but one of the three forms of Agni, and the fire on the great altar is itself the Sun1; whilst the notion of the sun being fashioned like a bird flying through space is not an unfamiliar one to the poets of the Vedic age. More familiar, however, to the authors of the Brâhmanas, as it is more in keeping with the mystic origin of Pragâpati, is the identification of the latter, not with the solar orb itself, but with the man (purusha) in the sun, the real shedder of light and life. This gold man plays an important part in the speculations of the Agnirahasya 2, where he is represented as identical with the man (purusha) in the (right) eye-the individualised Purusha, as it were; whilst his counterpart in the Fire-altar is the solid gold man (purusha) laid down, below the centre of the first layer, on a gold plate, representing the sun, lying itself on the lotusleaf already referred to as the womb whence Agni springs. And this gold man in the altar, then, is no other than Agni-Pragâpati and the Sacrificer: above him-in the first, third, and fifth layers-lie the three naturally-perforated bricks, representing the three worlds through which he will have to pass on his way to the fourth, invisible, world, the realm of immortal life. We thus meet here again with the hallowed, old name of the Lord of Being, only to be made use of for new mystic combinations.
y
1
As the personified totality of all being, Pragâpati, however, not only represents the phenomena and aspects of space, but also those of time, he is Father Time. But just as, in the material process of building up the Fire-altar, the infinite dimensions of space require to be reduced to or the Purusha; the latter being, on the contrary, imagined in the form of a gigantic man. X, 5, 2, I seqq.
VI, 1, 2, 20; 3, 1, 15.
1
SATAPATHA-BRAHMANA.
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finite proportions, so, in regard to time, the year, as the lowest complete revolution of time, is taken to represent the Lord of Creation :-he is Father Year; and accordingly Agni, the Fire-altar, takes a full year to complete. And, in the same way, Agni, the sacrificial fire, from the time of his being generated in the fire-pan, as the womb, requires to be carried about by the Sacrificer for a whole year, to be matured by him before the child Agni can be born and placed on the Fire-altar. The reason why the Sacrificer must do so is, of course, that Agni, being the child of the universe—that is of Pragåpati and the Sacrificer,-the latter, at the time when the fire is kindled in the fire-pan, has, as it were, to take Agni within his own self!, and has afterwards to produce him from out of his own self when mature.
But whilst, in regard to Agni-Pragapati, the year during which the altar is erected represents the infinitude of time, to the mortal Sacrificer it will not be so until he shall have departed this life ; and, as a rule, he would probably not be anxious there and then to end his earthly career. Nor is such 'an effort of renunciation demanded of him, but, on the contrary, the sacrificial theory holds out to the pious performer of this holy ceremony the prospect of his living up to the full extent of the perfect man's life, a hundred years; this term of years being thus recognised as another unit of time, so to speak, viz. that of a complete lifetime. Yet, be it sooner or be it later, the life of every creature comes to an end ; and since time works its havoc on all material existence, and carries off generation after generation, the Supreme Lord of generation, Father Time, as he is the giver of all life, so he is likewise that ender of all things-Death. And so the Sacrificer, as the human counterpart of the Lord of Creatures, with the end of his present life, becomes himself Death,-Death ceases to have power over him, and he is for ever removed from the life of material existence, trouble, and illusion, to the realms of light and everlasting bliss.
VII, 4, 1, 1.
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And here we get the Supreme Lord in his last aspect; nay, his one true and real aspect, in which the Sacrificer will himself come to share,—that of pure intellectuality, pure spirituality,-he is Mind : such is the ultimate source of being, the one Self, the Purusha, the Brahman. The author of the Mystery of Agni attempts to reveal the process of evolution by which this one true Self, through sacrifice carried on by means of the Arka-fires of his own innate fervour and devotion, comes to manifest himself in the material universe; and as the sum total of the wisdom of Sandilya-he urges upon the searcher after truth to meditate on that Self, made up of intelligence, and endowed with a body of spirit, a form of light, and an etherial nature,... holding sway over all the regions and pervading this All, being itself speechless and devoid of mental affects ;-and bids him believe that even as a grain of rice, or the smallest granule of millet, so is the golden Purusha in the heart; even as a smokeless light, it is greater than the sky, greater than the ether, greater than the earth, greater than all existing things; that Self of the spirit is my Self: on passing away from hence I shall obtain that Self. And, verily, whosoever has this trust, for him there is no uncertainty.'
As the practical application of the Agni-Pragåpati mystery to the sacrificial ritual consists mainly in the erection of the Fire-altar and the ceremonies connected with the firepan, which fell almost entirely within the province of the Adhvaryu priest, it is naturally in his text-books, in the Yagur-veda, that the mystic theory has become fully elaborated. Yet, though the two other classes of priests. the Hotris and Udgâtris', take, upon the whole, a comparatively subsidiary part in the year's performance symbolising the reconstruction of the Lord of Creatures, they have found another solemn opportunity, subsequently to the completion of the Fire-altar, for making up for any
- They take part, however, in such ceremonies as the doing homage to the completed Fire-altar by means of the Parimads; cf. p. 288, note a of this volume.
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INTRODUCTION.
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shortcomings in this respect, viz. the Mahavrata, or Great Rite.
The brick altar, when complete, might apparently be used at once for any kind of Soma-sacrifice?; but whether, if this were to be merely a one-day performance, it might be made a Mahảvrata day (in which case it must be an Agnishtoma), seems somewhat doubtful? As a rule, however, at any rate, the Mahâvrata was performed in connection, not with an ekâha or ahina, but with a sacrificial session (sattra); and since sacrificial sessions, it would seem, could only be undertaken by Brahmans who would at the same time be the Sacrificers—or rather Grihapatis (masters of the house or householders) as the Sattrins are calledand their own officiating priests, the Mahavrata would thus generally, if not invariably, be reserved for Brâhmans 8. Indeed, in our Brahmana (IX, 5, 2, 12-13) the rule is laid down that no one may officiate for another person at the Agnikayana, the Mahåvrata (såman), and the Mahad Uktham; and dire consequences are predicted in the case of any one who does so ;– for, indeed, these (rites) are his divine, immortal body; and he who performs them for another person, makes over to another his divine body, and a withered trunk is all that remains.' And, though other authorities are then referred to who merely prescribe, as a penance for those who have officiated at these ceremonies for others, that they should either perform them for them. selves or cause others to perform them again, the author
Our Brahmana, X, 2, 5, 16, says that, if a man cannot press Soma for a year, he should perform the Visvagit Atirâtra with all the Prishthas, and at that performance he should give away all his property. These, bowever, were doubtless by no means the only alternatives.
* See, however, Sâyana on Ait. Âr. V, 1, 1, 1, where it is distinctly stated that the Mahâvrata may either be performed as an Ekâha, or as part of either an Ahina, or a Sattra.-Katyâyana, XVI, 1, 2, lays down the rule that (though the building of an altar is not a necessary condition for the performance of a Soma-sacrifice) it is indispensable in the case of a Soma-sacrifice performed with the Mahávrata.
* That is to say, as Sacrificers. Persons of other castes of course took part in the proceedings of this day. In the various accounts of these proceedings, no alternative ceremonies seem anywhere referred to in case the Sacrificers themselves belong to different castes.
de Mahá vrata's indispensable in osary condition for
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adheres to his opinion that there is no atonement for such an offence. There can be no doubt, however, that the Agnikayana, at any rate, was not restricted to the Brâhmanical order?; and this passage, if it does not merely record a former sacrificial practice, has probably to be understood in the sense that one must not officiate for another at an Agnikayana which is to be followed by a Soma-sacrifice with the Mahâvrata. If the Sattra performed was one of the shortest kind, viz. a Dvadasâha, or twelve days' performance-consisting of a Dasaratra, preceded and followed by an Atiratra—the Mahâvrata was inserted, it would seem, between the Dasaratra and the final Atirâtra. Usually, however, the Sattra, like the Agnikayana, lasted a full year; the favourite form being the Gavâm ayanam,' arranged, in accordance with the progress of the sun, in two halves, an ascending and a descending one, divided by a central day, the Vishuvat. The Mahâvrata was performed on the last day but one of the year, the day before the final Atirâtra, being itself preceded (as it was in the case of the Dvadasaha) by a Dasarâtra, or ten days' performance. Now, the chief feature of the Mahâvrata day is the chanting,-in connection with a special cup of Somajuice, the Mahâvratîya-graha-of the Mahâvrata-sâman, as the Hotri's Prishtha-stotra at the midday service; this chant being followed by the recitation of the Mahad Uktham, or Great Litany, by the Hotri. The special feature, however, of these two ceremonies, which recalls the mystic Agni-Pragàpati doctrine, is the supposed birdlike form of both the chant and the litany. The Lord of Creatures, as the embodiment of all things, also represents the 'trayi vidya,' or sacred threefold science, the Veda. Accordingly, the Stomas (hymn-forms) of the single Sâmans (chanted
See, for instance, Sat. Br. VI, 6, 3, 12-15, where directions are given as to certain alternatives of performance at the initiation ceremony in case the Sacri. ficer is either a Kshatriya, or a Purohita, or any other person. The ceremonies connected with the consecration of the Sacrificer (IX, 3, 4, I seqq.) point chiefly to a king. * See p. 282, note 5 of the present volume.
See notes to pp. 110-113 of this volume.
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verses) composing the Stotra or hymn of praise (the Mahâvrata-sâ man), on the one hand, and the verses and metres of the recited litany, on the other, are so arranged and explained as to make up the different parts of a bird's body. It need scarcely be remarked that, whilst in the case of the altar the task of bringing out at least a rough resemblance to a flying bird offered no great difficulties, it is altogether beyond the capabilities of vocal performances such as the chant and the recitation of hymns and detached verses. But the very fact that this symbolism is only a matter of definition and make-believe, makes it all the more characteristic of the great hold which the Pragâpati theory had gained upon the sacerdotal mind.
The question as to whether these compositions themselves might seem to show any signs of comparatively recent introduction of this symbolism requires further investigation before it can be answered. Of the Mahâvrata-sâman we have virtually a single version, with only indications of certain substitutions which may be made in the choice of texts and tunes; the parts of the bird's body represented by the single Samans being in the order-head, right wing, lest wing, tail, and trunk. Of the Mahad Uktham, on the other hand, we possess two different versions, those of the Aitareya and the Sânkhâyana schools of Rig-veda theologians. Both of them start with the hymns representing the trunk of the bird ; but otherwise there is so marked a difference between them, both as to arrangement and the choice of verses and hymns, that it seems pretty clear that, whilst there must have existed already a certain traditional form of the litany when these two schools separated, it was not yet of a sufficiently settled character to prevent such serious discrepancies to arise as those exhibited by the two rituals. This point being, however, of too technical a nature to be entered upon in this place, its further investigation must be reserved for some other opportunity.
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SATAPATHA-BRAHMANA.
EIGHTH KÂNDA.
THE BUILDING OF THE SACRED FIRE-ALTAR
(continued).
THE CONSTRUCTION OF THE FIRST LAYER (continued).
REESE LIBRAR
OF THE
UNIVE CITY
FIRST ADHYAYA. FIRST BRAHMANA.
1. He lays down the Prânabhritah (breathholders)': now, the Prânabhritah being the vital
The construction of the first of the five layers of the altar which, as far as the special bricks are concerned, is now nearing its completion, may be briefly recapitulated here. The altar (agni) is constructed in the form of a bird, the body (âtman) of which consists of a square, usually measuring four man's lengths, or forty feet (Indian c. 30 ft. Engl.) on each side. The ground of the 'body' having been ploughed, watered, and sown with seeds of all kinds of herbs, a square mound, the so-called uttaravedi, measuring a yuga (yoke 7 ft. Ind.) on each side, is thrown up in the middle of the 'body,' and the whole of the latter then made level with it. In the centre of the 'body' thus raised, where the two 'spines'connecting the middle of each of the four sides of the square with that of the opposite side-meet, the priest puts down a lotus-leaf, and thereon the gold plate (a symbol of the sun) which the Sacrificer wore round his neck during the time of initiation. On this plate he then lays a small gold figure of a man (representing Agni-Pragâpati, as well as the Sacrificer himself), so as to lie on his back with the head towards the east; and beside him he places two offering-spoons, one on each side, filled with ghee and sour curds
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SATAPATHA-BRAHMANA.
airs, it is the vital airs he thereby bestows upon (Agni). He lays them down in the first layer ;that which is the first layer is the forepart (groundpart) of Agni : it is thus in front that he puts into Agni) the vital airs, whence there are (in creatures) these (orifices of the) vital airs in front.
respectively. Upon the man he then places a brick with naturallyformed holes in it (or a porous stone), a so-called Svayam-âtrinnâ (self-perforated one), of which there are three in the altar, viz. in the centre of the first, third, and fifth layers, supposed to represent the earth, air, and sky respectively, and by their holes to allow the Sacrificer (in effigy) to breathe, and ultimately to pass through on his way to the eternal abodes. On this stone he lays down a plant of dûrvâ grass, with the root lying on the brick, and the twigs hanging down-meant to represent vegetation on earth, and food for the Sacrificer. Thereupon he puts down in front (east) of the central stone, on the spine,' a Dviya gus brick ; in front of that, on both sides of the spine, two Retahsik; then in front of them, one Visvagyotis; then again two Ritavyâh; and finally the Ashâdha, representing the Sacrificer's consecrated consort. These bricks, each of which is a pada (foot, Ind.) square, occupy nearly one-third of the line from the centre to the middle of the front side of the body' of the altar. South and north of the Ashâdha, leaving the space of two bricks, he places a live tortoise, facing the gold man, and a wooden mortar and pestle respectively. On the mortar he places the uk hâ, or fire-pan, filled with sand and milk; and thereon the heads of the five victims, after chips of gold have been thrust into their mouths, nostrils, eyes, and ears. At each of the four ends of the two 'spines' he then puts down five Apasyah bricks, the middle one lying on the spine itself, with two on each side of it. The last set of five bricks, those laid down at the north (or left) end of the cross-spine,' are also called Khandasyâh by the Brahmana. He now proceeds to lay down the Pranabhritah, meant to represent the orifices of the vital airs, in five sets of ten bricks each. The first four sets are placed on the four diagonals connecting the centre with the four corners of the body of the altar, beginning from the corner (? or, according to some, optionally from the centre), in the order S.E, N.W., S.W., N.E.; the fifth set being then laid down round the central stone at the distance (or, on the range) of the retahsik bricks. See the diagram at p. 17.
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VIII KÂNDA, I ADHYÂYA, I BRÂHMANA, 4.
3
2. He lays them down by ten and ten, for there are ten vital airs; and even though 'ten-ten' may mean many times, here they mean only ten. Five times he puts on ten (bricks) each time; for it is those five (kinds of sacrificial) animals he bestows, and there are ten vital airs in each animal : upon all of them he thus bestows the vital airs. He lays down (the bricks) so as not to be separated from the animals : he thus bestows vital airs not separated from the animals. He lays them down on every side: on every side he thus bestows on them (orifices of) the vital airs.
3. And again why he lays down the Pranabhritah. From Pragâpati, when relaxed (by producing creatures), the vital airs departed. To them, having become deities, he spake, 'Come ye to me, return ye unto me that wherewith ye have gone out of me!' - Well then, create thou that food which we will await here looking on!'— Well then, let us both create!'-—So be it!'--So both the final airs and Pragâpati created that food, these Prânabhrit (bricks).
4. In front (of the altar) he lays down (ten bricks',the first) with (Våg. S. XIII, 54), “This one in front, the Existent,'-in front, doubtless, is Agni ; and as to why he speaks of him (as being) in front,' it is because they take out the fire (from the Gârhapatya) towards the front, and attend on Agni towards the front? And as to why he says the
1 Whilst standing in front (east) of the altar, he puts down the first set of ten bricks on the line from the south-west corner (or right shoulder) of the altar towards the centre. The formulas with which each set of ten bricks are deposited are spread over three paragraphs, the first of which gives that of the first brick, the second those for two to eight, the third for the last two. · Viz. in taking out the fire from the Garhapatya and transferring
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existent (bhuva), Agni is indeed the existent, for it is through Agni that everything exists (bha) here. Agni, indeed, having become the breath, remained in fronti: it is that very form ? he now bestows (on Agni).
5. [The others with],'His, the Existent's son, the Breath,'—from out of that form, fire, he (Pragåpati) fashioned the breath ;- Spring, the son of the breath,'—from out of the breath he fashioned the spring-season 9 ;— The Gayatri, the daughter of the Spring,'—from out of the spring-season he fashioned the Gayatri metre;- From the Gayatri the Gayatra,'—from out of the Gâyatri metre he fashioned the Gâyatra + hymn-tune;- From the Gayatra the Upåmsu,'—from out of the Gayatra hymn - tune he fashioned the Upâmsu-graha 5 ;
it to the Ahavanîya, as well as in approaching the sacrificial fire for offerings. It should also be borne in mind that the altar (agni) is built in form of an eagle flying towards the east, or front.
See VII, 5, 1, 7, 'The breath is taken in from the front back. wards.' - In the text 'prano hâgnir bhQtva purastat tasthau,' I take prânah' to be the predicate.
' At VII, 4, 1, 16, the vital air is called Pragapati's (Agni's) pleasing form (or part).
For a similar connection of the East with the Gayatri, the Rathantara, the Trivrit, the Spring, and the Brahman (priesthood) see V, 4, 1, 3, (part iii, p. 91).
• The Gayatra-sâman is the simplest, and by far the most common of all hymn-tunes. It is especially used in connection with the trivrit-stoma, or nine-versed hymn, and is invariably employed for the Bahishpavamâna-stotra. It is also the tune of the first triplet both of the Mâdhyandina and Arbhava-pavamâna; as well as for all the four Âgya-stotras.
See part ii, pp. 238 seqq., where this soma-cup is repeatedly connected with the Gayatrî. Though its pressing is performed by three turns of eight, eleven, and twelve beatings respectively, representing the three chief metres, it is expressly stated (IV, 1, 1, 14)
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VIII KANDA, I ADHYAYA, I BRAHMANA, 6. 5
From the Upâmsu the Trivrit,'-from out of the Upâmsu-graha he fashioned the nine-versed hymn-form;-'From the Trivrit the Rathantara,'-from out of the Trivit-stoma he fashioned the Rathantara-prishtha '.
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6. The Rishi Vasishtha 2,-the Rishi Vasishtha, doubtless, is the breath: inasmuch as it is the chief (thing) therefore it is Vasishtha (the most excellent); or inasmuch as it abides (with living beings) as the best abider (vastri), therefore also it is Vasishtha. By thee, taken by Pragâpati,'that is, by thee, created by Pragâpati,'-'I take breath for my descendants (and people)!'therewith he introduced the breath from the front. Separately he lays down (these ten bricks): what separate desires there are in the breath, those he thereby lays into it. Only once he settles them3: he thereby makes it one breath; but were he to settle them each separately, he assuredly would cut the breath asunder. This brick is trivrit (threefold): the formula, the settling, and the sûdadohas, that is threefold, and threefold is Agni,-as great as
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that he who is desirous of obtaining holiness, should press eight times at each turn.
For this and the other Prishtha-sâmans see part iii, introd. pp. xvi, xx seqq.
2 In Taitt. S. IV, 3, 2, 1, this formula is connected with the preceding one,' from the Rathantara (was produced) the Rishi Vasishtha.' Similarly in the corresponding passages of the subsequent sets of bricks.
4
The sâdana, or settling, consists in the formula, By that deity, Angiras-like, lie thou steady!' being pronounced over the bricks. See VI, 1, 2, 28.
For the sûdado has verse, the pronunciation of which, together with the 'settling,' constitutes the two necessary (nitya) ceremonies, see part iii, p. 307.
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SATAPATHA-BRAHMANA.
Agni is, as great as is his measure, so much he lays down (on the altar) by so doing.
7. And on the right (south) side !, with (Våg. S. XIII, 55), “This one on the right, the allworker,'—the all-worker (visvakarman), doubtless, is this Vâyu (the wind) who blows here, for it is he that makes everything here; and because he speaks of him as (being) 'on the right, therefore it is in the south that he blows most. Vâyu, indeed, having become the mind, remained in the right side (of the body): it is that form (part) he now bestows (on Agni).
8. His, the all-worker's child, the Mind,'— from out of that (all-working) form, the wind, he fashioned the mind;—the summer, the son of the mind,'—from out of the mind he fashioned the summer season 2;—'the Trishtubh, the daughter of Summer,'—from out of the summer season he fashioned the Trishtubh metre ;-'from the Trishtubh the Svåra tune,'—from out of the Trishtubh metre he created the Svâra hymn-tune 3;— from
1 Whilst standing on the right (south) side of the altar he lays down the third set of ten Pranabhritah, viz. those on the diagonal from the south-west corner (or right thigh) towards the centre. Whilst, in the actual performance, these bricks are only laid down after those referred to in paragraphs 1-3 of the next Brahmana, the author, in his explanation of the formulas, follows the course of the sun from left to right.
? For a similar combination of the south with the Trishubh metre, the Brihat-sâman, the Pankadasa-stoma, the summer season, and the Kshatra, see V, 4, 1, 4 (part iii, p. 91).
Svâra-sâman is called a chanted verse which has no special concluding nidhana, or finale, but in which the svarita (circumflex), or first rising then falling pitch (e.g., f-g-f) of the final vowel, takes the place of the finale ; whence 'svâra' is often explained by svaranidhana,' i.e, having the svara (svarita) for its nidhana. See
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VIII KANDA, I ADHYAYA, I BRAHMANA, 9.
7
the Svåra the Antaryâma,'-from out of the Svâra-sâman he fashioned the Antaryâma-graha ;— 'from the Antaryâma the Pañkadasa,'-from out of the Antaryâma-cup he fashioned the fifteenversed hymn-form;-'from the Pañkadasa the Brihat,'-from out of the Pañkadasa-stoma he fashioned the Brihat-prishtha.
9. 'The Rishi Bharadvâga,'-the Rishi Bharadvåga, doubtless, is the mind;-'vâga' means 'food,' and he who possesses a mind, possesses (bharati) food, 'vâga;' therefore the Rishi Bharadvâga is the mind. By thee, taken by Pragâ pati,'-that is, 'by thee, created by Pragâpati;'-'I take the mind for my descendants!'-therewith he introduced the mind from the right side. Separately he lays down (these ten bricks): what separate desires there are in the mind, those he thereby lays into it. Only once he settles them: he thereby makes it one mind; but were he to settle them each separately,
Pank. Br. IX, 3, 11, where a svâra-sâman is prescribed in case the Udgâtris have previously committed an excess in their chanting. The last tristich of the Mâdhyandina-pavamânastotra of the Agnishioma, the Ausana-sâman (to Sâma-v., vol. ii, pp. 27-29), is chanted in this way, probably in order to make good the excess committed in the preceding triplet, the Yaudhagaya (ii, pp. 25, 26), in which each verse is chanted with three nidhanas, one at the end, and two inserted inside the sâman. Lâty. Srautas. VI, 9, 6, the svâra-sâmans thus treated are called 'padânusvârâni;' whilst those with which the musical syllables 'hâ-i' are used with a similar effect, are called 'hâikârasvârâni.' As an instance of the former, the Ausana (Sâma-v., vol. iii, p. 81) is adduced, and of the latter the Vâmadevya (iii, p. 89). It is not only the final syllable of a sâman, however, that may be modulated in this way, but also that of a musical section of the såman; cf. Pank. Br. X, 12, 2, where the Udgîtha is to be so treated to make up for the preceding Prastâva, chanted without a Stobha. Sacrificial calls such as the 'Svâhâ' and 'Vashat' are also modulated in this way,' ib. VII, 3, 26; XI, 5, 26.
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SATAPATHA-BRÂHMANA.
he assuredly would, cut asunder the mind. This brick is threefold: the meaning of this has been explained.
SECOND BRÂHMANA. 1. And at the back (western part of the altar), with (Vag. S. XIII, 56), 'This one behind, the all-embracer;'—the all-embracer, doubtless, is yonder sun, for as soon as' he rises, all this embracing space comes into existence. And because he speaks of him as (being) 'behind,' therefore one sees him only when he goes towards the back (west). The Sun, indeed, having become the eye, remained behind : it is that form he now bestows (on Agni).
2. 'His, the all-embracer's child, the Eye,'from out of that (all-embracing) form, the Sun, he fashioned the eye ;-'the rains, the offspring of the eye,'—from out of the eye he fashioned the rainy season ;-'the Gagati, the daughter of the rains,'—- from out of the rainy season he fashioned the Gagati metre;—' from the Gagati the Riksama,'—from out of the Gagatî metre he fashioned the Riksama hymn-tune ? ;-'from the Riksama
Or, perhaps, only when' (yada-eva).
No explanation of this sâman has been found anywhere. Sayana, on the corresponding formula, Taitt. S. IV, 3, 4, 2 (where the term is spelt rikshama), merely remarks that it is a kind of saman. The meaning of the term 'similar to a rik' would seem to indicate a hymn-tune involving little, or no, modification of the text chanted to it. At V, 4, 1, 5 it is the Vairapa-saman which (together with the Gagats, the Saptadasa-stoma, the rainy season, and the Vis) is in this way connected with the West. Now the textual parts of the Parkanidhanam Vairûpam (Sama-v., vol. v, pp. 387, 575-6), ordinarily used as a prishtha-saman, show
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VIII KÂNDA, I ADHYAYA, 2 BRÂHMANA, 4.
9
the Sukra -- from out of the Riksama-saman he fashioned the Sukra-graha ;-' from the Sukra the Saptada sa,'—from out of the Sukra cup he fashioned the seventeen-versed hymn-form ;— from the Saptadasa the Vairūpa,'— from out of the Saptadasa-stoma he fashioned the Vairūpa-prishtha.
3. “The Rishi Gamadagni,'—the Rishi Gamadagni, doubtless, is the eye: inasmuch as thereby the world of the living (sagat) sees and thinks, therefore the Rishi Gamadagni is the eye.— By thee, taken by Pragâ pati,'—that is, 'by thee, created by Pragâpati,'— I take the eye for my descendants,' therewith he introduced the eye from behind. Separately he lays down (these ten bricks): what separate desires there are in the eye those he thereby lays into it. Only once he settles them: he thereby makes this eye one; but were he to settle them each separately, he assuredly would cut the eye asunder. This is a threefold brick: the meaning of this has been explained.
4. And on the left (upper, north) side, with (Vág: S. XIII, 57), 'This, on the upper side, heaven,' -in the upper sphere, doubtless, are the regions (quarters); and as to why he speaks of them as being on the upper (left) side,' the regions, indeed,
hardly any modifications on the original verses (Sâma-v., vol. ii, p. 278), even less so indeed than the simple Vairûpa-saman (Sama-v., vol. i, p. 572), and possibly 'riksama' (if it does not apply to a whole class of sâmans) may be another name for the Vairûpa (of which there are two other forms, Sâma-v., vol. I, pp. 425, 438) in its simplest form. The Vairûpa, in its prishtha form, would in that case, indeed, have originated from the Riksama-saman. It is true, however, that there is no special connection between the other Prishtha-samans and the respective hymn-tune with which they are symbolically connected in the foregoing formulas.
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SATAPATHA-BRAHMANA.
are above everything here. And as to why he says, 'heaven (or, the light),' the regions, indeed, are the heavenly world (or world of light). The regions, having become the ear, remained above: it is that form he now bestows (on Agni).
5. 'Its, heaven's, child, the Ear,'--from out of that form, the regions, he fashioned the ear ;—'the autumn, the daughter of the ear,'-—from out of the ear he fashioned the autumn season ;-'Anushtubh, the daughter of the autumn,'—from out of the autumn season he fashioned the Anushtubh metre;'from the Anushtubh the Aida,'-from out of the Anushtubh metre he fashioned the Aidasâman';-' from the Aida the Manthin,'--from out of the Aida-sâman he fashioned the Manthin cup ;-'from the Manthin the Ekavimsa,'—from out of the Manthi-graha he fashioned the twentyone-versed hymn-form ;– from the Ekavimsa the Vairaga,'—from out of the Ekavimsa-stoma he fashioned the Vairaga-prishtha.
6. “The Rishi Visvâmitra,'—the Rishi Visvamitra (all-friend'), doubtless, is the ear: because therewith one hears in every direction, and because there is a friend (mitra) to it on every side, therefore the ear is the Rishi Visvâmitra.—' By thee, taken by Pragâ pati,'--that is, 'by thee, erected by Pragrâpati ;'-—'I take the ear for my descendants,'
Aida-sâmans are those samans which have the word 'ida' for their nidhana, or chorus. Such sâmans are, e.g. the Vairûpa (Sâma-v., vol. v, p. 387) and the Raurava (iü, 83!, the latter of which forms the central såman of the Madhyandina-pavamâna-stotra. What connection there can be between the Aida and the Vairaga-prishtha (Sâma-v., vol. v, p. 391; cf. vol. I, pp. 814-5) it is not easy to see. In Sat. Br. V, 4, 1, 6 the North is connected with the Anushrubh, the Vairaga-saman, the Ekavimsa and the autumn.
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VIII KANDA, I ADHYAYA, 2 BRAHMANA, 8. II
-therewith he introduced the ear from the left (or upper) side. Separately he lays down (these bricks): what separate desires there are in the ear, those he thereby lays into it. Only once he settles them : he thereby makes the ear one; but were he to settle them each separately, he assuredly would cut the ear asunder. This is a threefold brick: the meaning of this has been explained.
"
7. Then in the centre, with (Vâg. S. XIII, 58), 'This one, above, the mind,'-above, doubtless, is the moon; and as to why he speaks of him as (being) 'above,' the moon is indeed above; and as to why he says, the mind,' the mind (mati), doubtless, is speech, for by means of speech everything thinks (man) here1. The moon, having become speech, remained above: it is that form he now bestows (on Agni).
8. 'Its, the mind's, daughter, Speech,'-from out of that form, the moon, he fashioned speech ;— 'Winter, the son of Speech,'-from out of speech he fashioned the winter season;- Pankti, the daughter of Winter,'-from out of the winter season he fashioned the Pankti metre;-'from the Pankti the Nidhanavat,'-from out of the Pankti metre he fashioned the Nidhanavat-sâman 2;—
2
'from the Nidhanavat the Agrayana,'-from
out of the Nidhanavat-sâman he fashioned the
Âgrayana cup-'from the Agrayana the Trinava and Trayastrimsa,'-from out of the Âgrayana-graha he fashioned the thrice-nine-versed and the three-and-thirty-versed hymn-forms;
-
1 Or, perhaps, one thinks everything here.
2 That is a sâman which has a special nidhana, or chorus, added at the end (or inserted in the middle) of it.
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I 2
SATAPATHA-BRAHMANA.
'from the Trinava and Trayastrimsa the Sako vara and Raivata,'—from out of the Trinava and Trayastrimsa-stomas he fashioned the Sâkvara and Raivata-prishthas?
9. 'The Rishi Visvakarman,'--the Rishi Visvakarman (the all-worker'), doubtless, is Speech, for by speech everything here is done: hence the Rishi Visvakarman is speech :- By thee, taken by Pragàpati,'—that is, 'by thee, created by Pragâpati; '-'I take speech for my descendants,'— therewith he introduced speech from above. Separately he lays down (these bricks) : what separate desires there are in speech, those he now lays into it. Only once he settles them: he thereby makes speech one; but were he to settle them each separately, he assuredly would cut speech asunder. This is a threefold brick : the meaning of this has been explained.
10. This, then, is that same food which both the vital airs and Pragâpati created: just so great indeed is the whole sacrifice, and the sacrifice is the food of the gods.
11. He lays them down by ten and ten,-of ten syllables consists the Virág (metre), and the Virág is all food: he thus bestows on him (Agni) the whole food. He puts them down on every side: on every side he thus bestows the whole food on him. And verily these same Virág (verses) sustain those vital airs, and inasmuch as they sustain (bhri) the vital airs (prâna) they are called Prânabhritah.
"For these Prishtha-sâmans see part iii, introd. pp. xx-xxi. In V, 4, I, 7 the upper region is symbolically connected with the Pankti metre, the Sákvara and Raivata-samans, the Trinava and Trayastrimsa-stomas, and the winter and dewy seasons.
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VIII KANDA, I ADHYAYA, 3 BRAHMANA, 3. 13
THIRD BRAHMANA.
1. As to this they say, 'What are the vital airs (prânza), and what the Prânabhritah?'-The vital airs are just the vital airs, and the Prânabhritah (holders of the vital airs) are the limbs, for the limbs do hold the vital airs. But, indeed, the vital airs are the vital airs, and the Prânabhrit is food, for food does uphold the vital airs.
2. As to this they say, 'How do all these (Prânabhrit-bricks) of him (Agni and the Sacrificer) come to be of Pragâpati's nature?'-Doubtless in that with all of them he says, 'By thee, taken by Pragâpati' it is in this way, indeed, that they all come to be for him of Pragâpati's nature 1.
.
2
3. As to this they say, 'As they chant and recite for the cup when drawn, wherefore, then, does he put in verses and hymn-tunes before (the drawing of) the cups?'-Doubtless, the completion of the sacrificial work has to be kept in view;-now with the opening hymn-verse the cup is drawn; and on the verse (rik) the tune (sâman) is sung: this means that he thereby puts in for him (Agni) both the verses and hymn-tunes before (the drawing of) the cups. And when after (the drawing of) the cups there are the chanting (of the Stotra) and the recitation (of the Sastra): this means that thereby he puts in for him both the stomas (hymn-forms) and the prishtha (sâmans) after (the drawing of) the cups 3.
1 Or, come to be (Agni-) Pragâpati's (prâgâpatyâ bhavanti).
In laying down the different sets of Prânabhrit-bricks the priest is said (in VIII, 1, 1, 5; 8; 2, 2; 5; 8) symbolically to put into the sacrificial work (or into the altar, Agni) both verses or metres (as Gâyatrî, Trish/ubh, &c.) and hymn-tunes (as Gâyatra, Svâra, &c.).
It is not quite clear whether this is the correct construction of
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SATAPATHA-BRAHMANA.
4. As to this they say, 'If these three are done together—the soma-cup, the chant, and the recitation,-and he puts in only the soma-cup and the chant, how comes the recitation also in this case to be put into the sacrificial work) for him ??' But, surely, what the chant is that is the recitation ? ; for on whatsoever (verses) they chant a tune, those same (verses) he (the Hotri) recites thereafter 3 ; and in this way, indeed, the Sastra also comes in this case to be put in for him.
5. As to this they say, 'When he speaks first of three in the same way as of a father's son“, how, then, does this correspond as regards the rik and sâman?' The sâman, doubtless, is the husband of the
the text, especially as, in the paragraph referred to in the last nole, it is not only the metres and tunes that are supposed to be put in along with the Pranabhritah, but also the stomas and prishthasamans.
Only soma-cups (graha) and hymn-tunes (sâman) and hymnforms (stoma) are specially named in connection with these bricks, but no sastras.
? Every stotra, chanted by the Udgâtris, is followed by a sastra recited by the Hotri or one of his assistants.
: Most chants (stotra) consisting of a single triplet (e.g. the Prishtha-stotras at the midday service) have their text (stotriyatrika) included in the corresponding sastra recited by the Hotri, or one of the Hotrakas; it being followed, on its part, by the recitation of an analogous triplet (anurupa, similar or corresponding,' i.e. antistrophe) usually commencing with the very same word, or words, as the stotriya.
• As in the case of the first (south-west) set of bricks, VIII, 1, 1, 4-6, he puts down the first four with "This one, in front, the existent,'His, the existent's son, the breath,' 'Spring, the son of the breath,' and. The Gâyatrî, the daughter of spring,'-implying three generations from father to son (or daughter). In the formulas of the remaining bricks of each set referring to the metres (or verses, rik) and hymn-tunes (sâman) the statement of descent is expressed more vaguely by, 'From the Gayatri (is derived, the Gâyatra,' &c.
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VIII KÂNDA, I ADHYÂYA, 3 BRÂHMANA, 8.
15
Rik; and hence were he also in their case to speak as of a father's son, it would be as if he spoke of him who is the husband, as of the son: therefore it corresponds as regards the rik and sâman. 'And why does he thrice carry on the generation from father to son) ?'-father, son, and grandson : it is these he thereby carries on; and therefore one and the same (man) offers (food) to them.
6. Those (bricks) which he lays down in front are the holders of the upward air (the breath, prâna); those behind are the eye-holders, the holders of the downward air (apâna) 2; those on the right side are the mind-holders, the holders of the circulating air (vyâna); those on the left side are the ear-holders, the holders of the outward air (udâna); and those in the middle are the speech-holders, the holders of the pervading air (samâna).
7. Now the Karakâdhvaryus, indeed, lay down different (bricks) as holders of the downward air, of the circulating air, of the outward air, of the pervading air, as eye-holders, mind-holders, earholders, and speech-holders; but let him not do this, for they do what is excessive, and in this (our) way, indeed, all those forms are laid (into Agni).
8. Now, when he has laid down (the bricks) in
At the offerings to the Fathers, or deceased ancestors, oblations are made to the father, grandfather, and great-grandfather; see II, 4, 2, 23.
? Sâyana, on Taitt. S. IV, 3, 3, explains 'prâna' by 'bahihsamkârarapa,' and apâna' by 'punarantahsamkârarûpa ;' see also parti, P. 120, note 2; but cp. Maitry-up. II, 6; H. Walter, Hathayogapradipika, p. xviii. Beside the fifty bricks called Prânabhritah,' the Taittirfyas also place fifty Apânabhritah in the first layer of the altar.
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SATAPATHA BRAHMANA.
front, he lays down those at the back (of the altar); for the upward air, becoming the downward air, passes along thus from the tips of the fingers ; and the downward air, becoming the upward air, passes along thus from the tips of the toes : hence when, after laying down (the bricks) in front, he lays down those at the back, he thereby makes these two breathings continuous and connects them ; whence these two breathings are continuous and connected.
9. And when he has laid down those on the right side, he lays down those on the left side ; for the outward air, becoming the circulating air, passes along thus from the tips of the fingers?; and the circulating air, becoming the outward air, passes along thus from the tips of the fingers ? : hence when, after laying down (the bricks) on the right side, he lays down those on the left side, he thereby makes these two breathings continuous and connects them; whence these two breathings are continuous and connected.
10. And those (bricks) which he lays down in the centre are the vital air; he lays them down on the range of the two Retahsik (bricks), for the retahsik are the ribs, and the ribs are the middle: he thus lays the vital air into him (Agni and the Sacrificer) in the very middle (of the body). On every side he lays down (the central bricks) *: in every part he thus
'? Or, perhaps, the fingers and toes. The same word (anguli), having both meanings, makes it difficult exactly to understand these processes. The available MSS. of Harisvâmin's commentary unfortunately afford no help.
That is to say, he lays down the fifth set round the (central) Svayamârinna, on the range of the two Retahsik bricks. It is,
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VIII KÂNDA, I ADHYAYA, 3 BRAHMANA, 10.
17.
lays vital air into him; and in the same way indeed that intestinal breath (channel) is turned all round
however, not quite clear in what particular manner this fifth set of ten bricks is to be arranged round the centre so as to touch one another. The two Retahsik bricks, occupying each a space of a square foot north and south of the spine, are separated from the central (Svayamâtrinna) brick by the Dviyagus brick a foot square. The inner side of the retahsik-space would thus be a foot and a half, and their outer side two feet and a half, distant from the central point of the altar. The retahsik range, properly speaking, would thus consist of a circular rim, obtained by drawing two
THE CENTRAL PART OF THE FIRST LAYER.
RIT.
-
--Dvo
A
RIT.
concentric circles round the centre, with diameters of one and a half and two and a half feet respectively. On this rim (allowing for the corners of the bricks jutting out) room would have to be found for twelve bricks of a foot square, viz. the two retahsik, already lying on the eastern side, south and north of the spine, and ten prânabhrits. The way in which these latter were arranged would probably be this: on each of the three other sides two bricks were laid down so as to join each other in a line with the respective
spine,' similarly to the two reta hsik bricks on the east side; and the four remaining bricks would then be placed in the four comers- the twelve bricks thus forming, as nearly as could be, a circular rim. In the construction of the altar, this retahsik range is determined by a cord being stretched from the centre to the east end of the altar, after the special bricks of the first layer have
[43]
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SATAPATHA-BRAHMANA.
the navel. He lays them down both lengthwise and crosswise', whence there are here in the body (channels of) the vital airs both lengthwise and crosswise. He lays them down touching each other: he thereby makes these vital airs continuous and connects them; whence these (channels of the) vital airs are continuous and connected.
.
FOURTH BRAHMANA.
1. Now some lay down (these bricks) so as to be in contact with the (gold) man, for he is the vital air, and him these (bricks) sustain; and because they sustain (bhri) the vital air (prâna), therefore they are called 'Prânabhritah.' Let him not do so: the vital air is indeed the same as that gold man, but this body of his extends to as far here as this fire (altar) has been marked out. Hence to what
been laid down, knots being then made in the cord over the middle of each of the special bricks. The retahsik range is consequently ascertained, in subsequent layers, by a circle drawn round the centre, with that part of the cord marked by the central and the retahsik knot for the diameter. The foregoing diagram shows that portion of the first layer which contains the continuous row of special bricks laid down first, viz. Svayamâtrinnâ, Dviyagus, two Retahsik, Visvagyotis, two Ritavyâ, and Ashâdhâ; and further the central (or fifth) set of ten prânabhritah, placed round the central brick on the range of the retahsik.
1 Each special brick is marked on its upper surface with (usually three) parallel lines. Now the bricks are always laid down in such a way that their lines run parallel to the adjoining spine, whence those on the east and west sides have their lines running lengthwise (west to east), and those on the north and south sides crosswise (north to south). As to the four corner bricks there is some uncertainty on this point, but if we may judge from the analogy of the second layer in this respect, the bricks of the south-east and north-west corners would be eastward-lined, and those of the northeast and south-west corners northward-lined.
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VIII KÂNDA, I ADHYAYA, 4 BRAHMANA, 3.
19
ever limb of his these (breath-holders) were not to reach, that limb of his the vital air would not reach ; and, to be sure, to whatever limb the vital air does not reach, that either dries up or withers away: let him therefore lay down these (bricks) so as to be in contact with the enclosing stones; and by those which he lays down in the middle this body of his is filled up, and they at least are not separated from him.
2. Here now they say, 'Whereas in the formulas) “ This one, in front, the existent—this one, on the right, the all-worker—this one, behind, the all-embracer—this, on the left, heaven-this one, above, the mind"—they (these bricks) are defined as exactly opposite the quarters, why, then, does he lay down these (bricks) in sidelong places ? ?' Well, the Pranabhritah are the vital airs; and if he were to place them exactly opposite the quarters, then this breath would only pass forward and backward; but inasmuch as he now lays down these (bricks) thus defined in sidelong places, therefore this breath, whilst being a backward and forward one, passes sideways along all the limbs and the whole body.
3. Now that Agni (the altar) is an animal, and (as such) he is even now made up whole and entire, those (bricks) which he lays down in front are his fore-feet, and those behind are his thighs; and those
1 That is to say, why does he not place them at the ends of the spines, but at the corners of the (square) body, i.e. in places intermediate between the lines running in the direction of the points of the compass? When speaking of the regions, or quarters, it should be borne in mind that they also include a fifth direction, viz. the perpendicular or vertical line (both upward and downward) at any given point of the plane.
C 2
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SATAPATHA-BRAHMANA.
which he places in the middle are that body of his. He places these in the region of the two retahsik (bricks), for the retahsik are the ribs, and the ribs are the middle, and that body is in the middle (of the limbs). He places them all round, for that body extends all round.
4. Here now they say, 'Whereas in the first (four) sets he lays down a single stoma and a single prishtha each time, why, then, does he lay down here (in the centre) two stomas and two prishthas ?' Well, this (central set) is his (Agni's) body: he thus makes the body (trunk) the best, the largest, the most vigorous of limbs"; whence that body is the best, the largest, and most vigorous of limbs.
5. Here now they say, 'How does that Agni of his become made up whole and entire in brick after brick ? '-Well, the formula is the marrow, the brick the bone, the settling the flesh, the sûdadohas the skins, the formula of the purisha (fillings of earth) the hair, and the purisha the food: and thus indeed that Agni of his becomes made up whole and entire in brick after brick.
6. That Agni is possessed of all vital power : verily, whosoever knows that Agni to be possessed of all vital power (@yus), attains his full measure of life (âyus).
7. Now, then, as to the contraction and expansion (of the body). Now some cause the built (altar) in this way? to be possessed of (the power of) contraction and expansion : that Agni indeed is an animal ;
Or,-better, larger, and more vigorous than the limbs. • Viz. by touching, or stroking along, the layer of the altar, and muttering the subsequent formulas.
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VIII KÂNDA, I ADHYAYA, 4 BRAHMANA, 10.
21
and when an animal contracts and expands its limbs, it develops strength by them.
8. [Vâg. S. XXVII, 45] “Thou art Samvatsara,—thou art Parivatsara,-thou art Idâvatsara,—thou art Idvatsara,—thou art Vatsara, -May thy dawns prosper'!--may thy days and nights prosper!--may thy half-months prosper!-- may thy months prosper! — may thy seasons prosper!-may thy year prosper!For going and coming contract and expand thyself! – Of Eagle-build thou art: by that deity, Angiras-like, lie thou steady?!'
9. Satyayani also once said, 'Some one heard (the sound) 3 of the cracking wings of the (altar) when touched with this (formula): let him therefore by all means touch it therewith!'
10. And Svargit Nâgnagita or Nagnagit, the Gândhâra, once said, 'Contraction and expansion surely are the breath, for in whatever part of the body there is breath that it both contracts and expands; let him breathe upon it from outside when completely built: he thereby lays breath, the (power of) contraction and expansion, into it, and so it contracts and expands.' But indeed what he there said as to that contraction and expansion, it was only one of the princely order who said it; and assuredly were they to breathe upon it from outside a hundred
Or, perhaps,'may the dawns chime in (fit in) with thee !' ? For this last part of the formula (by that deity,' &c.), the socalled settling-formula, see part iii, p. 307, note 1.
Harisvâmin (Ind. Off. MS. 657) seems to supply sabdam ;' the sound of the cracking being taken as a sign of the powersul effect of the formula. Unfortunately, however, the MS. of the commentary is hopelessly incorrect.
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SATAPATHA-BRAHMANA.
times, or a thousand times, they could not lay breath into it. Whatever breath there is in the (main) body that alone is the breath: hence when he lays down the Prânabhritah (breath-holders), he thereby lays breath, the (power of) contraction and expansion, into it; and so it contracts and expands. He then lays down two Lokamprinâ (bricks) in that corner': the meaning of them (will be explained) further on ?. He throws loose earth (on the layer): the meaning of this (will be explained) further on s.
THE SECOND LAYER. SECOND 'ADHYAYA. First BRÂHMANA. 1. He lays down the second layer. For now the gods, having laid down the first layer, mounted it.
Viz. in the south-east corner, or on the right shoulder, of the altar. From these two lokamprinâs (or space-fillers) he starts filling up, in two turns, the still available spaces of the body' of the altar, as also the whole of the two wings and the tail. For other particulars as to the way in which these are laid down, see VIII, 7, 2, I seqq. The 'body' of an ordinary altar requires in this layer 1028 lokamprinâs of three different kinds, viz. a foot (Ind.), half a foot, and a quarter of a foot square, occupying together a space of 321 square feet, whilst the 98 special (yagushmali) bricks fill up a space of 79 square feet. Each wing requires 309 lokamprinas of together 120 square feet; whilst the tail takes 283 such bricks, of together 110 square feet. The total number of lokamprinâs in the layer thus amounts to 1929 of all sizes, equal to 671 square feet. If (as is done in Kâty. Srautas. XVII, 7, 21) the 21 bricks of the Gârhapatya (part iii, p. 304) are added to this number, the total number of lokamprinâs is 1,950. Similarly, in the second, third, and fourth layers; whilst the last layer requires about a thousand lokamprinâs more than any of the others, viz. 2,922, or, including the special hearths, 3,000. The total number of such bricks required-including the 21 of the Garhapatya-amounts to 10,800. Cp. Weber, Ind. Stud. XIII, p. 255. See VIII, 7, 2, I seq.
3 See VIII, 7, 3, i seq.
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But, indeed, the first layer is this (terrestrial) world : it is this same world which, when completed, they mounted
2. They spake, 'Meditate ye!'—whereby, doubtless, they meant to say, 'Seek ye a layer! Seek ye (to build) from hence upwards !' Whilst meditating, they saw this second layer: what there is above the earth, and on this side of the atmosphere, that world was to their mind, as it were, unfirm and unsettled.
3. They said to the Asvins, 'Ye two are Brahmans and physicians : lay ye down for us this second layer!'-—'What will therefrom accrue unto us?'
Ye two shall be the Adhvaryus at this our Agnikityä.'—'So be it!'—The Asvins laid down for them that second layer: whence they say, 'The Asvins are the Adhvaryus of the gods.'
4. He lays down (the first Åsvini" brick, with
The main portion of the special bricks of the second layer consists of five, or (if, for the nonce, we take the two southern sets of half-bricks as one of four sets of four bricks each, or of together sixteen bricks, each measuring a foot square, placed on the range of the retahsik bricks so as to form the outer rim of a square measuring five feet on each side, and having in the middle a blank square of nine square feet. Each of the four sides of the retahsik rim contains a complete set of four bricks; but as there are five bricks on each side, the one in the left-hand corner looking at them from the centre of the square) is counted along with the adjoining set. Each set, proceeding from left to right (that is, in sunwise fashion), consists of the following bricks,-âsvinî, vaisvadevi, pranabhrit, and a pasya, the last of these occupying the corner spaces. The southern bricks consist, however, of two sets of half-bricks (running with their long sides from west to east), counted as the second and fifth set respectively. The eastern and western bricks are laid down so that their line-marks (which, in the case of the bricks of the second and fourth layers, are of an indefinite number) run from west to east; whilst those of the southern
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SATAPATHA-BRAHMANA.
Vâg. S. XIV, 1), “Thou art firmly-founded, firmly-seated, firm!' for what is steadly and settled, that is firm. Now that world was to their minds, as it were, unfirm and unsettled: having thereby made it firm, steady, they (the Asvins) went on laying down (bricks).-Seat thee fitly in thy firm seat!'—that is, 'Seat thee fitly in thy steady seat;'-'enjoying the first appearance of the Ukhya,'—the Ukhya, doubtless, is this Agni ; and that first layer is indeed his first appearance: thus, 'enjoying that.'-'May the Asvins, the Adhvaryus, settle you here!' for the Asvins, as Adhvaryus, did lay down (this brick).
and northern ones run from south to north. All the five bricks of each class, beginning with the asvin is, are laid down at the same time, proceeding again in sunwise fashion (east, south, &c.); the
THE CENTRAL PART OF THE SECOND LAYER.
a4
RIT.
wr-ro.
RIT.
as
lost a
order of the procedure being only interrupted by the two Rita vya bricks being laid down, immediately after the placing of the five âsvinî, exactly over the two ritavyâs of the first layer, that is to say in the fifth (easterly) space from the centre, north and south of the spine. The only other special bricks of the second layer are nineteen va yasyâs placed at the four ends of the two spines, viz. four in the east, and five in each of the other quarters.
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5. [The second Åsvinî he lays down, with Vâg. S. XIV, 2], 'Nest-like, fat, wise,'-a nest, as it were, is indeed the second layer1;-seat thee in the soft seat of the earth!'-the second layer, no doubt, is the earth: thus, 'Sit on her pleasant seat!'-' May the Rudras, the Vasus sing thy praises!'-that is, May those deities sing thy praises!'-'Replenish them, O Brahman, for happiness!'that is, Favour them, O Brahman, with a view to happiness. May the Asvins, the Adhvaryus, settle thee here!' for the Asvins, as Adhvaryus, did lay down (this brick).
6. [The third Âsvini brick he lays down, with Våg. S. XIV, 3], 'By thine own powers seat thee here, a holder of powers,'-that is, ' By thy own energy seat thee here;'-'in the gods' favour for high joy!' that is, 'for the favour of the gods, for great joy2;'-'be thou kind, as a father to his son!'-that is, 'As a father is gentle, kind, to his son, so be thou kind!'-'rest thou readily accessible with thy form!'-the form, doubtless, is the body thus, rest thou with readily accessible body!' -May the Asvins, the Adhvaryus, settle thee here!' for the Asvins, as Adhvaryus, did lay down (this brick).
C
'This comparison doubtless refers to the way in which the central portion of the special bricks of this layer are arranged so as completely to enclose an empty space in the middle. In the first layer there was, no doubt, a similar enclosure of bricks as the retahsik range, but the central space was not left quite empty. In the end, however, the empty spaces are in both cases filled up by space-fillers.'
The author seems to take 'rana' as an adjective (=ramanîya), as does Mahîdhara, who interprets the formula as meaning 'for the gods' great, cheerful happiness.'
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SATAPATHA-BRAHMANA.
7. [The fourth Åsvini he lays down, with Vâg. S. XIV, 4]. Thou art the earth's soil-cover,'the first layer, doubtless, is the earth, and this, the second (layer) is, as it were, its soil-cover (purisha)'her sap', in truth,'—that is, 'her essence, in truth,'
- May the All-gods sing thy praises !'-that is, "May all the gods sing thy praises !'-'Seat thee here, laden with stomas, and rich in fat!'-whatever hymn-forms he will be spreading (constructing) thereon by them this (brick) is laden with stomas ? ;
-'Gain for us by sacrifice wealth (dravina, pl.) with offspring (adj. sing.)!'—that is, 'Gain for us, by sacrifice, wealth (dravinam, sing.) with offspring !' --May the Asvins, the Adhvaryus, settle thee here!' for the Asvins, as Adhvaryus, did lay down (this brick).
8. These (bricks) are those regions (quarters); he places them on the range of the two retahsik (bricks), for the retahsik are these two (worlds) : he thereby places the regions within these two (worlds), whence there are regions within these two (worlds). He lays down (these bricks) in every direction : he thus places the regions in all (the four) directions, whence the regions are in all directions. [He places them] on all sides so as to face each other 3: he thereby
The word 'apsas, which western philologists usually take to mean 'cheek,' is here apparently connected with 'ap,' water.
· Literally, having stomas on her back. Mahidhara interprets stoma-prishtha' by 'possessed of stomas and Prishthâs.' Sâyana, on Taitt. S. III, 7, 2, 7, by (Prishtha-)stotras performed with stomas.
8 Samyarik' may either mean 'tending to one and the same point,' or 'running in the same direction, parallel to each other.' It is probably in the former sense that we have to take it here, though not quite literally, but in so far as the line-marks of these
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makes the regions on all sides face each other, and hence the regions on all sides face each other. He lays (the bricks) down separately, settles them separately, and pronounces the sûdadohas over them separately, for separate are the regions.
9. He then lays down the fifth regional (or Åsvini brick). Now that region is the one above ?; and that same region above, doubtless, is yonder sun: it is yonder sun he thus places thereon. He places this (brick) within the southern regional one? : he thus places yonder sun within the southern region, and therefore he moves within the southern region.
10. [He lays it down, with Vâg. S. XIV, 5]. I settle thee upon the back of Aditi,'-Aditi doubtless is this (earth): it is upon her, as a foundation, that he thus founds him (Agni) ;-'the holder
bricks, if continued towards the centre of the altar, intersect one another. As applied to the quarters this meaning would then modify itself to that of facing each other.' On the other hand, it is quite possible that the meaning of tending in the same direction' is the one intended; and it would in that case probably apply to the fact that the sets opposite to each other have their line-marks running in the same direction, or are parallel to each other; and this meaning would seem to be implied to the quarters where the author supports his argument by the fact that the wind blows, and the rain falls, in the same direction in all the four quarters (VIII, 2, 3, 2; 5). It is curious that the expression is used by the author in connection with the âsvini, prânabhrit, and apasyâ, but not with the vaisvadevi, the line-marks of which all meet in one central point, which is not the case with the others. At VIII, 3, 1, 11, on the other hand, it is used again in connection with the Disyâ bricks, which, in the third layer, occupy exactly the same spaces as the Vaisvadevis do here.
1 Or, that direction is the one upward (from here).
* That is to say, he places it immediately north of the southern åsvini, so as to fill up the unoccupied, inner half of the space (of a foot square).
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SATAPATHA-BRAHMANA.
of the air, the supporter of the regions, the ruler of beings,'--for he (the sun) is indeed the holder of the air, the supporter of the regions, and the ruler of beings ;-'thou art the wave, the drop, of water,'—the wave, doubtless, means the essence ;-Visvakarman is thy Rishi!'-Visvakarman (the all-shaper), doubtless, is Pragâ pati : thus, • Thou art fashioned by Pragâpati.'— May the Asvins, the Adhvaryus, settle thee here!' for the Asvins, as Adhvaryus, did lay down (this brick).
11. Now as to why he lays down these Asvini (bricks). When Pragâpati had become relaxed (disjointed), the deities took him and went away in different directions. Now what part of him there was above the feet and below the waist, that part of him the two Asvins took and kept going away from him.
12. He said to them, Come to me and restore unto me that wherewith ye have gone away from me!'—'What will accrue to us therefrom?'--'That part of my body shall be sacred unto you!'- So be it!' so the Asvins restored that (part) unto him.
13. Now these five Âsvini (bricks) are that same (part) of his (Agni's) body; and when he now puts them into this (layer of the altar), he thereby restores to him what (part) of his body these (bricks) are: that is why he puts them into this (layer).
14. `Thou art firmly founded, firmly seated, firm,' he says, for whatsoever is steady and established that is firm. Now that part of his (PragâpatiAgni's) body was, as it were, unsteady, unfirm ; and having made it steady and firm they (the Asvins) restored it to him.
15. “Nestlike, fat, wise,' he says, for this indeed
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is as a nest for his body.— By thine own powers seat thee here, a holder of powers,' he says, for they did make that (part) of him powerful. Thou art the Earth's soil-cover,' he says, for that (lower part) of his body is, as it were, in connection with the soil-cover. At the range of the Retahsik (he places the bricks),—the Retahsik are the ribs, for level with the ribs, as it were, is that (part) of his body. He places them on every side, for on every side the Asvins restored that (part) of his (Pragậpati's) body.
16. He then lays down two Rita vyâ' (seasonal bricks) ;-these two, the Ritavyâ, are the seasons (ritu): it is the seasons he thus bestows thereon. [He lays them down, with Vâg. S. XIV, 6], Sukra and Suki, the two summer-seasons;'—these are the names of these two : it is with their names that he thus lays them down. There are two bricks, for a season consists of two months. He settles them once only: he thereby makes (the two months) one season.
17. And as to why he lays down these two in this (layer) :-this Agni (fire-altar) is the year, and the year is these worlds. Now that part of him which is above the earth and below the atmosphere, is this second layer; and that same part of him (Agni, the year,) is the summer season. And when he lays down those two in this (layer), he thereby restores to him (Agni) that part of his body which these two are: this is why he lays down these two (bricks) in this (layer).
"These two bricks are placed exactly upon the two Ritavyás of the first layer, that is, in the fifth space from the centre; see p. 1, note 1.
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SATAPATHA-BRAHMANA.
18. And, again, as to why he lays down these two in this (layer). This fire-altar is Pragâpati, and Pragâpati is the year. Now that (part) of him which is above the feet and below the waist is this second layer; and that same part of him is the summer season. Thus when he lays down those two in this (layer), he thereby restores to him that (part) of his body which these two are: this is why he lays down these two (bricks) in this (layer).
SECOND BRÂHMANA. 1. He then lays down the Vaisvadevi (All-gods' bricks). For this second layer is that one which the Asvins at that time laid down for them (the gods); and by laying it down they became everything here whatsoever there is here.
2. The gods spake, “The Asvins have become everything here: think ye upon this as to how we also may share in it!' They said, “Meditate ye (kit)!' whereby, no doubt, they meant to say, 'Seek ye a layer (kiti)! seek ye in what way we also may share in it!' whilst meditating, they saw these Vaisvadevi (All-gods') bricks.
3. They said, The Asvins have become everything here: with the help of the Asvins let us lay down (bricks) along with the Asvins' layer!' With the help of the Asvins they accordingly laid down (bricks) along with the Asvins' layer, whence they call this the Asvins' layer. Hence the end of these (bricks) is the same as that of the former ones; for they laid them down with the help of the Asvins along with the Asvins' layer.
4. And, again, as to why he lays down the All
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gods' (bricks). These indeed are those same All-gods who saw this second layer, and who came nigh with that life-sap: it is them he thereby bestows, that is, all these creatures. He lays them down in the range of the Retahsik; for the Retahsik are these two (heaven and earth): within these two (worlds) he thus places creatures; whence there are creatures within these two (worlds). He places (bricks) on every side : he thus places creatures everywhere, whence there are creatures everywhere. He places them alongside of the regional ones!: he thus places creatures in the regions (quarters); whence there are creatures in all the (four) quarters.
5. And, again, as to why he lays down the Allgods' (bricks). When Pragâ pati had become relaxed, all creatures went forth from the midst of him, from that birth-place of theirs. When that (central part) of his body had been restored, they entered him.
6. Now the Pragâpati who become relaxed is this very Agni (fire-altar) that is now being built up; and the creatures who went forth from the midst of him are these same All-gods' bricks; and when he lays these down, he causes those creatures, which went forth from the midst of him, to enter him. In the range of the Retahsik (he places the Vaisvadevi bricks), for the Retahsik are the ribs, and the ribs
1 The Âsvini (or Disyâ) bricks were placed in a circle round the centre, at the distance of a foot from where the central brick (Svayamâtrinna) was placed in the first layer,-that is to say, in the third place from the centre. They were, moreover, placed in the second space (or at the distance of half a foot) from the two spines, see p. 23, note 1. The five Vaisvadevis are then placed alongside of the Asvinîs, so as to fill up the 'first spaces,' that is to say, to lie on the spines themselves; each of the two half-foot bricks laid down in the south being, as it were, halved by the spine.
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SATAPATHA-BRAHMANA.
are the middle: he thus causes the creatures to enter him in the very middle. He places them on all sides : on all sides he thus causes the creatures to enter him.
7. And, again, as to why he lays down the Vaisvadevi (bricks). At that time, when that (part) of his body had been restored, Pragâpati desired, “May I create creatures, may I be reproduced !' Having entered into union with the seasons, the waters, the vital airs, the year, and the Asvins, he produced these creatures; and in like manner does this Sacrificer, by entering into union with those deities, now produce these creatures. Hence with all (of these bricks, the word) sagush (in union with ') recurs.
8. [He lays down the Vaisvadevi bricks, with Vâg. S. XIV, 7], 'In union with the seasons,'—he thereby produced the seasons, and having entered into union with the seasons he produced (creatures) ;- in union with the ranges,'--the ranges, doubtless, are the waters, for by water everything is ranged (distributed or produced) here: having entered into union with the waters he produced (creatures); — in union with the gods,'— he thereby produced the gods,—those who are called
gods?;'-'in union with the life-sustaining gods,'— the life-sustaining gods, doubtless, are the vital airs, for by the vital airs everything living here is sustained; or, the life-sustaining gods are the metres, for by the metres (sacred writ) everything living is sustained here; having entered into union with the vital airs he produced creatures ;
· Lit. what they (viz. the Vedic hymns, according to the commentator) call gods:-Yat kimkid ity eva vedavádá akakshate.
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'for Agni Vaisvanara,'-Agni Vaisvånara 'be. longing to all men '), doubtless, is the year: having entered into union with the year he produced creatures ;—May the Asvins, the Adhvaryus, settle thee here!'-having entered into union with the Asvins he produced creatures.
9. 'In union with the Vasus,' he says on the right side: he thereby produced the Vasus ;-'in union with the Rudras,' he says at the back : he thereby produced the Rudras ;-'in union with the Adityas,' he says on the left side: he thereby produced the Adityas ;-'in union with the Allgods,' he says upwards: he thereby produced the All-gods. These (bricks) have the same beginning and end, but are different in the middle : as to their having the same beginning and end, it is because having become united with the deities in front and behind, he produced creatures ; and as to their being different in the middle, it is that each time he produced different creatures from within him.
Third BRAHMANA. 1. He then lays down the Prânabhrit (bricks). For at that time the gods said, “Meditate ye!' whereby, doubtless, they meant to say, 'Seek ye a layer !' Whilst meditating, they saw even that layer, the wind: they put it into that (fire-altar), and in like manner does he (the priest) now put it therein.
2. He lays down the Prânabhrits, - wind, doubtless, is breath: it is wind (air) he thus bestows upon him (Agni). On the range of the Retahsik (they are placed); for the Retahsik are these two (worlds): it is within these two (worlds) that he thus places the wind; whence there is wind within these two (worlds).
[43]
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.
SATAPATHA-BRAHMANA.
He places them on every side: he thus places wind on all sides, whence the wind is everywhere. [He places them so as] on every side to run in the same direction!: he thus makes the wind everywhere (to blow) in the same direction, whence, having become united, it blows from all quarters in the same direction. He lays them down alongside of the regional (bricks) 2: he thereby places the wind in the regions, whence there is wind in all the regions.
3. And, again, as to why he lays down the Prânabhrits ;- it is that he thereby bestows vital airs on these creatures. He places them so as not to be separated from the Vaisvadevis : he thereby bestows vital airs not separated from the creatures. [He lays them down with, Vâg. S. XIV, 8), ‘Preserve mine up-breathing! Preserve my down - breathing! Preserve my throughbreathing! Make mine eye shine far and wide! Make mine ear resound!' He thereby bestows on them properly constituted vital airs.
4. He then lays down the Apasyà (bricks). For the gods, at that time, spake, ‘Meditate ye !' whereby, doubtless, they meant to say, 'Seek ye a layer!' Whilst meditating, they saw even that layer, rain :
" That is, the bricks placed in opposite quarters, run in the same direction; see p. 26, note 3
? The Prânabhrits are placed beside the Vaisvadevis so as to be separated from them by the respective section of the angkas or
spines' (dividing the square .body' of the altar into four quarters). Each Vaisvadevt would thus be enclosed between an Asvini and a Pranabhrit; but whilst the Asvini and Vaisvadevi are placed in the same section (or quarter) of the altar, the Pranabhrit comes to lie in the adjoining section, moving in the sunwise direction from left to right.
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VIII KÂNDA, 2 ADHYAYA, 3 BRAHMANA, 6. 35
they put it into that (fire-altar) and in like manner does he now put it therein.
5. He put on the Apasyâs; for rain is water (ap); it is rain he thereby puts into it (the altar; or into him, Agni). On the range of the Retahsik (he places them), for, the Retahsik being these two (worlds), it is on these two (worlds) that he thereby bestows rain, whence it rains therein. He places them on every side: he thus puts rain everywhere, whence it rains everywhere. [He places them] so as everywhere to run in the same direction': he thereby bestows rain (falling) everywhere in the same direction, whence the rain falls everywhere, and from all quarters, in the same direction. He places them alongside of those referring to the wind 2: he thereby puts rain into the wind, whence rain follows to whatever quarter the wind goes.
6. And, again, as to why he lays down Apasyâs, he thereby puts water into the vital airs. He places them so as not to be separated from the Prânabhrits he thus places the water so as not to be separate from the vital airs. Moreover, water is food: he thus introduces food not separated from (the channels of) the vital airs. [He lays them down with, Våg. S. XIV, 8], 'Make the waters swell! Quicken the plants! Bless thou the two-footed! Protect the four-footed! Draw thou rain from the sky!' He thereby puts water that is made fit, into those (vital airs).
See p. 26, note 3.
The five Apasy â bricks are placed immediately to the right of the Prânabhrits (looking towards the latter from the centre of the altar), so as to fill up the four remaining spaces between the four sets of bricks on the range of the Retahsik.
D 2
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SATAPATHA-BRÂHMANA.
7. He then lays down the K'handasyâ' (bricks);for the gods, at that time, spake, Meditate ye!' whereby, doubtless, they meant to say, 'Seek ye a layer!' Whilst meditating, they saw even that layer, cattle (or beasts): they put it therein, and, in like manner, does he now put it therein.
8. He lays down the Khandasyås; for the metres (khandas) are cattle: it is cattle he thus puts into it (or, bestows on him, Agni). On every side (he places them): he thereby places cattle (or beasts) everywhere, whence there are cattle everywhere. He places them alongside of the Apasyâs : he thus establishes the cattle on (or, near) water, whence cattle thrive when it rains.
9. And, again, as to why he lays down Khandasyâs. When Pragàpati was relaxed, the cattle, having become metres, went from him. Gayatri, having become a metre, overtook them by dint of her vigour; and as to how Gayatri overtook them, it is that this is the quickest (shortest) metre. And so Pragâpati, in the form of that (Gayatri), by dint of his vigour, overtook those cattle.
10. (He lays down four in front, with, Våg. S. XIV, 9],. The head is vigour,'— Pragâpati, doubtless, is the head : it is he that became vigour ;-Pragâ pati the metre,'- Pragâpati indeed became a metre.
11. 'The Kshatra is vigour,'--the Kshatra, doubtless, is Pragâpati, it is he that became vigour; —'the pleasure-giving metre,'—what is unde
1 These are otherwise called Vayasyâ (conferring vigour, or vitality), each formula containing the word vayas, vitality, force.' There are nineteen such bricks which are placed on the four ends of the two 'spines,' viz. four on the front, or east end of the spine proper, and five on the hind end of it as well as on each end of the *cross-spine.'
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fined that is pleasure-giving; and Pragâpati is undefined, and Pragâpati indeed became a metre.
12. 'Support is vigour,'-—the support, doubtless, is Pragâpati : it is he that became vigour ;-'the over-lord the metre,'-the over-lord, doubtless, is Pragâpati, and Pragâpati indeed became a metre.
13. 'The All-worker is vigour,'—the Allworker, doubtless, is Pragàpati : it is he that became vigour;-'the highest lord the metre,'--Pragậpati, the highest lord, doubtless, is the waters, for they (the waters of heaven) are in the highest place : Pragâpati, the highest lord, indeed became a metre.
14. These then are four kinds of vigour, and four metres; this (makes) eight,--the Gayatri consists of eight syllables: this, assuredly, is that same Gayatri in the form of which Pragâpati then, by his vigour, overtook those cattle; whence they say of worn-out cattle that they are overtaken by vigour (or, age), and hence (the word) vigour' recurs with all (these bricks). And those cattle which went away from him (Pragâpati) are these fifteen other (formulas) : the cattle are a thunderbolt, and the thunderbolt is fifteenfold: whence he who possesses cattle, drives off the evildoer, for the thunderbolt drives off the evildoer for him. And in whatever direction, therefore, the possessor of cattle goes, that he finds torn up by the thunderbolt.
Fourth BRAHMANA. 1. 'The he-goat is vigour?,'—the he-goat he overtook by his vigour ;-'gapless the metre,'
Mahîdhara, in accordance with the explanation added by the Brahmana to this and the corresponding formulas in the succeeding paragraphs, takes 'vayas' as a defective instrumental (vayasa). It is, however, very doubtful whether such an interpretation of the formula was intended by the author of the Brahmana.
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the gapless metre, doubtless, is the Ekapada: in the form of Ekapada (metre) the goats indeed went forth (from Pragâpati).
2. “The ram is vigour,'-the ram he overtook by his vigour ;-'ample the metre,'—the ample metre, doubtless, is the Dvipada : in the form of the Dvipadâ the sheep indeed went forth.
3. 'Man is vigour,'--the man he overtook by his vigour ;- slow the metre,'--the slow metre, doubtless, is the Parkti : in the form of the Parkti the men indeed went forth.
4. “The tiger is vigour,'—the tiger he overtook by his vigour;—'unassailable the metre,'— the unassailable metre, doubtless, is the Virág, for the Virág is food, and food is unassailable ; in the form of the Virág the tigers indeed went forth.
5. .The lion is vigour,'—the lion he overtook by his vigour ;-'the covering the metre,'—the covering metre, doubtless, is the Atikkhandas, for that covers (includes) all metres : in the form of the Atikkhandas the lions indeed went forth. And so he places undefined metres along with defined beasts.
6. The ox is vigour,'—the ox he overtook by his vigour ;—'the Brihati the metre,'—in the form of the Brihati the oxen indeed went forth.
7. 'The bull is vigour,'—the bull he overtook by his vigour ;—'the Kakubh the metre,'-in the form of the Kakubh the bulls indeed went forth.
8. The steer is vigour,'—the steer he overtook by his vigour;—'the Satobrihati the metre,'
-in the form of the Satobrihat the steers indeed went forth.
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9. The bullock is vigour,—the bullock he overtook by his vigour ;-'the Pańkti the metre,' -in the form of the Pankti the bullocks indeed went forth.
10. “The milch cow is vigour,'—the milch cow he overtook by his vigour ;-'the Gagati the metre'-in the form of the Gagati the milch cows indeed went forth.
11. •The calf of eighteen months is vigour,' -the calf of eighteen months he overtook by his vigour ;-'the Trishtubh the metre,'-in the form of the Trishtubh the calves of eighteen months indeed went forth.
12. The two-year-old bull is vigour,'—the two-year-old bull he overtook by his vigour ;—'the Virág the metre,'-in the form of the Virág the two-year-old kine indeed went forth.
13. The bull of two years and a half is vigour,'—the bull of two years and a half he overtook by his vigour ;—'the Gayatri the metre,'-- in the form of the Gayatri the kine of two years and a half indeed went forth.
14. 'The three-year-old bull is vigour,the three-year-old bull he overtook by his vigour; -'the Ushnih the metre' in the form of the Ushnih the three-year-old kine indeed went forth.
15. •The four-year-old bull is vigour,'—the four-year-old bull he overtook by his vigour ;-'the Anushtubh the metre,'— in the form of the Anushtubh the four-year-old kine indeed went forth.
16. These then are those very beasts which Pragậpati overtook by his vigour. The animal he (the priest) mentions first, then vigour, then the
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metre, for having hemmed them in with vigour and the metre, he put them into himself, and made them his own; and in like manner does he (the sacrificer) now hem them in with vigour and the metre, and put them into himself, and make them his own.
17. Now that animal is the same as Agni : (as such) he is even now made up whole and entire. Those (bricks) which he places in front are his head; those on the right and left sides are his body, and those behind his tail.
18. He first lays down those in front, for of an animal that is born the head is born first. Having then laid down those on the right (south) side, he lays down those on the left (north) side, thinking,
Together with its sides this body shall be born.' Then those behind, for of (the animal) that is born the tail is born last.
19. The metres which are longest, and the animals which are biggest, he puts in the middle: he thus makes the animal biggest towards the middle; whence the animal is biggest towards the middle. And the animals which are the strongest he puts on the right side: he thus makes the right side of an animal the stronger; whence the right side of an animal is the stronger.
20. The fore and hind parts he makes smallest ; for inasmuch as those (bricks in front) are only four in number, thereby they are the smallest ; and inasmuch as here (at the back) he puts the smallest animals, thereby these are the smallest : he thus makes the fore and hind parts of an animal the smallest, whence the fore and hind parts of an animal
See p. 35, note 3.
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are the smallest ; and hence the animal rises and sits down by its fore and hind parts. He then lays down two Lokamprina (bricks) in that corner : the significance of them (will be explained) further on?. He throws loose earth on the layer : the significance of this (will be explained) further ons
THE THIRD LAYER. Third ADHYÂYA. First BRÂHMANA. 1. He lays down the third layer. For the gods, having laid down the second layer, now ascended it; but, indeed, they thereby completed and ascended to what is above the earth and below the atmosphere.
2. They spake, 'Meditate ye!' whereby, indeed, they meant to say, 'Seek ye a layer! Seek ye (to build) upwards from hence!' Whilst meditating, they saw the great third layer, even the air: that world pleased them.
3. They said to Indra and Agni, ‘Lay ye down for us this third layer!' - What will accrue unto us therefrom?'-'Ye two shall be the best of us !'
-So be it!' Accordingly Indra and Agni laid down for them that third layer ; and hence people say, 'Indra and Agni are the best of gods.'
4. He accordingly lays it down by means of Indra and Agni, and settles it by means of Visvakarman“,
1 Whilst, in laying down the Lokamprinâs of the first layer, he started from the right shoulder (or south-east corner) of the altar (see p. 22, note 1), in this layer he begins from the right hip (or south west-corner), filling up the available spaces, in two turns, in sunwise fashion. ? See VII, 7, 2, 4 seq.
See VIII, 7, 3, I seq. * For the connection of these deities with the third layer, and the
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for indeed Indra and Agni, as well as Visvakarman, saw this third layer: this is why he lays it down by means of Indra and Agni, and settles it by means of Visvakarman.
5. And, again, as to why he lays it down by means of Indra and Agni, and settles it by means of Visvakarman. When Pragâpati had become relaxed (disjointed), the deities took him and went off in different directions. Indra and Agni, and Visvakarman took his middle part, and kept going away from him.
6. He said to them, 'Come ye to me and restore ye to me wherewith ye are going from me!'-—'What will accrue unto us therefrom?'-'That (part) of my body shall be sacred unto you!'-'So be it!' So Indra and Agni, and Visvakarman restored that (part) unto him.
7. Now that central Svaya m-âtrinnå (naturallyperforated brick)' is that very (part) of his body ;when he now lays down that (brick), he thereby restores to him that (part) of his (Pragapati's) body which this (brick represents) : this is why he now lays down that (brick).
8. (Vag. S. XIV, 11), O Indra and Agni, make ye fast the brick so as not to shake!' as the text so the sense ;-'with thy back thou forcest asunder the earth, and the sky, and the air;' for with its back this (brick) indeed forces asunder the earth, and the sky, and the air.
9. [Våg. S. XIV, 12), ' May Visvakarman settle
air, see also VI, 2, 3, 3. Visvakarman is likewise the deity by which the Visvagyotis-brick, representing Vayu (the wind), the regent of the air-world, is settled; see VIII, 3, 2, 3.
See part iii, p. 155, note 8.
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thee,' for Visvakarman saw this third layer ;-'on the back of the air, thee the wide, the broad one!' for this (brick) indeed is the wide and broad back of the air ;-'support thou the air, make fast the air, injure not the air!' that is, 'support thou thine own self (body), make fast thine own self, injure not thine own self!'
10. For all up-breathing, and down-breathing, and through-breathing, and out-breathing!' for the naturally-perforated (brick) is the vital air, and the vital air serves for everything here ;—for a resting-place and moving-place!' for the naturally-perforated (brick) is these worlds, and these worlds are indeed a resting-place and a movingplace ;-May Vayu shelter thee!' that is, 'May Vâyu protect thee !'-'with grand prosperity!' that is, 'with great prosperity ;'-'with most auspicious protection!'—that is, 'with what protection is most auspicious.' Having settled it?, he pronounces the Sudadohas over it; the meaning of this has been explained. He then sings a sâman : the meaning of this (will be explained) further on s.
11. He then lays down (five) Disya (regional bricks)“. Now the regional ones, doubtless, are
Viz. by the concluding formula,. With the help of that deity, Angiras-like, lie thou steady!' see part iii, p. 301, note 3.
• Viz. Vâg. S. XII, 55 (Rig-veda S. VIII, 69, 3), 'At his birth the well-like milking, speckled ones mix the Soma, the clans of the gods in the three spheres of the heavens.' See part iii, p. 307, note 2.
3 VIII, 7, 4, I seq.
• The five Disyâs are placed on the spines in the four directions at the retahsik range, just over where the five Vaisvadevi bricks were placed in the second layer (see the sketch, p. 24). Between them and the central (naturally-perforated) brick there is thus an
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the regions: it is the regions he thus bestows (on the air-world). And these are those same regions not separated (from the air) wherewith Vâyu on that occasion stepped nigh: it is them he thereby bestows. But prior to these same (bricks) he lays down? both the bunch of Darbha grass and the clod-bricks; and these (disyâs) being yonder sun, he thus places yonder sun over the regions, and builds him up upon (or, in) the regions. But were these (laid down) at the same time (as the bunch of grass and the clod-bricks), they would be outside (of the altar); and outside of the womb (foundation), indeed, is that sacrificial work regarding the fire-altar which is done prior to the lotus-leaf“. When he
empty space a foot square, and the two southern Disyâs are halfbricks lying north and south of each other.
See VI, 2, 3, 4. The second naturally-perforated brick represents the air-world with which Vayu, the wind, is most closely associated.
? That is to say, he laid them down on the site of the altar, before the first layer was commenced, viz. the darbha-bunch in the centre of the body' of the altar, where the two spines (anůka) in. tersect each other (VII, 2, 3, I seqq.); and the clod-bricks (logeshtaka) on the four ends of the two spines (VII, 3, 1, 13 seqq.), that is, in the middle of each of the four sides of the square of which the 'body' consists.
& The symbolic interpretation here seems somewhat confused, inasmuch as the Disyâs, which are now apparently identified with the sun, have just been stated to represent the regions. At VI, 7, 1, 17 the sun was represented as the central point of the universe to which these three worlds are linked by means of the quarters (as by the strings of a scale). The clod-bricks, on the other hand, were indeed, in VII, 3, 1, 13, identified with the regions (quarters); and the bunch of grass, being laid down in the centre, might be regarded as marking the fifth region, that upwards from here. Cf. IX, 5, 1, 36.
The lotus-leaf is placed in the centre of the altar when the first layer is about to be laid down. See VII, 4, 1, 7 segg., where
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now brings and lays down these (bricks), he thereby establishes them in the womb, on the lotus-leaf, and thus these (bricks) are not outside the fire-altar). He lays them down so as not to be separated from the naturally-perforated one; for the middle ? naturally-perforated one is the air : he thus places the regions so as not to be separate from the air. Subsequently 3 (to the central brick he lays them down): subsequently to the air he thus sets up the regions. In all (four) directions he places them: he thus places the regions (quarters) in all directions, whence the regions are in all (four) directions. [He places them) on all sides so as to face each other: he thereby makes the regions on all sides face each other, and hence the regions on all sides face each other.
12. And, again, as to why he lays down the regionals. The regions, doubtless, are the metres—the eastern region being the Gayatri, the southern the Trishtubh, the western the Gagati, the northern the Anushtubh, and the upper region the Parkti ;and the metres are animals, and the middlemost layer is the air : he thus places animals in the air,
it is explained as representing the foundation of the fire-altar, or rather, the womb whence Agni is born.
That is, not separated therefrom by other special bricks; though the full space of one brick is left between the Disyâs and the central brick. Perhaps, however, 'anantarhila' here means immediately after.
? That is, the second of the three svayam-âtrinnâs, the one in the third layer.
Uttara seems here and elsewhere to have a double meaning, viz. that of subsequent, and upper, or left, inasmuch as looking towards these bricks from the centre of the altar, they are placed to the left of the particular section of the anūkas.
See p. 26, note 3. "The metres are commonly represented as cattle.
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and hence there are animals that have their abode in the air
13. And, again, as to why he lays down the regionals. The regions, doubtless, are the metres, and the metres are animals, and animals are food, and the middlemost layer is the middle: he thus puts food in the middle (of the body). He places them so as not to be separated (by special bricks) from the naturally-perforated one; for the naturally-perforated one is the vital air : he thus places the food so as not to be separated from the vital air. Subsequently (to the central brick he lays them down): subsequently to (or upon) the vital air he thus places food. On the range of the Retahsik (he places them): the Retahsik being the ribs, and the ribs being the middle (of the body), he thus places the food in the middle of this (Agni's body). On every side he places them: from everywhere he thus supplies him, with food.
14. (He lays them down, with, Vâg. S. XIV, 13), 'Thou art the queen, the Eastern region ! Thou art the far-ruler, the Southern region ! Thou art the all-ruler, the Western region ! Thou art the self-ruler, the Northern region ! Thou art the supreme ruler, the Great region!' these are their names: he thus lays them down whilst naming them. Separately he lays them down, separately he settles them, and separately he pronounces the Sadadohas over them, for separate are the regions.
* That is all (four-footed) animals that dwell on, not in, the earth. The Gayatri metre, at any rate, is also represented as a bird which fetches the Soma from heaven, but it is not the air as such that is intended here, but the face of the earth.
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SECOND BRAHMANA. 1. He then lays down a Visvagyotis (all-light brick). Now the middle Visvagyotis is Vâyu ?, for Vayu (the wind) is all the light in the air-world: it is Vâyu he thus places therein. He places it so as not to be separated from the regional (bricks) : he thus places Vâyu in the regions, and hence there is wind in all the regions.
2. And, again, as to why he lays down the Visvagyotis,—the Visvagyotis, doubtless, is offspring (or creatures), for offspring indeed is all the light: he thus lays generative power (into that world). He places it so as not to be separated from the regional ones :: he thus places creatures in the regions, and hence there are creatures in all the regions,
3. [He lays it down, with, Våg. S. XIV, 14), May Visvakarman settle thee!' for Visvakarman saw this third layer 3 ;—'on the back of the air, thee the brilliant one!' for on the back of the air that brilliant Vayu indeed is.
4. 'For all up-breathing, down-breathing, through-breathing,'—for the Visvagyotis is breath,
The three Visvag yotis bricks, placed in (the fourth easterly place from the centre of) the first, third and fifth layer respectively, are supposed to represent the regents of the three worlds earth, air and sky—which these three layers represent, viz. Agni, Vayu and Aditya (Sarya). See VI, 3, 3, 16.
* Though, properly speaking, the Visvagyotis lies close to only one of the Disyâs, viz. the eastern one, it may at any rate be said to lie close to the range of the Disyâs. Here, too, the sense
immediately after, not separated from them in respect of time, would suit even better.
* See VIII, 3, 1, 4 with note.
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and breath indeed is (necessary) for this entire universe ;-'give all the light !'—that is, give the whole light;'— Våyu is thine over-lord,'-it is Vayu he thus makes the over-lord of that (layer and the air-world). Having settled it, he pronounces the Sadadohas over it: the significance of this has been explained.
5. He then lays down two Ritavyâ (seasonal? bricks) ;—the two seasonal onos being the same as the seasons, it is the seasons he thus places therein.[Vâg. S. XIV, 15), 'Nabha and Nabhasya, the two rainy seasons,' these are the names of those two (bricks): it is by their names he thus lays them down. There are two (such) bricks, for a season consists of two months. He settles them once only: he thereby makes (the two months) one season. He places them on avaka-plants and covers them
THE CENTRAL PART OF THE THIRD LAYER.
RIT.
WID
2
RIT
1 These two Ritavyâs are placed beside (east of) the Visvagyotis, one north of the other, just over those of the first and second layers, that is to say, in the fifth space from the centre. In the present case, however, these bricks are only of half the usual thickness; two others, of similar size, being placed upon them.
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with avaka-plants ; for avaka-plants mean water : he thus bestows water on that season, whence it rains most abundantly in that season.
6. Then the two upper ones, with (Vâg. S. XIV, 16), 'Isha and Urga, the two autumnal seasons,' —these are the names of those two (bricks): it is by their names he thus lays them down. There are two (such) bricks, for a season consists of two months. He settles them only once: he thereby makes (the two months) one season. He places them on avaka-plants, for the avaka-plants mean water : he thus bestows water before that season, whence it rains before that season. He does not cover them afterwards, whence it does not likewise rain after (that season).
7. And as to why he places these (four bricks) in this (layer),--this fire-altar is the year, and the year is the same as these worlds, and the middlemost layer is the air (-world) thereof; and the rainy season and autumn are the air (-world) thereof: hence when he places them in this (layer), he thereby restores to him (Agni) what (part) of his body these (formed), this is why he places them in this (layer).
8. And, again, as to why he places them in this (layer),—this Agni (the fire-altar) is Pragâpati, and Pragâpati is the year. Now the middlemost layer is the middle of this (altar), and the rainy season and the autumn are the middle of that (year): hence when he places them in this (layer), he thereby restores to him (Agni-Pragàpati) what part of his
As in the case of the live tortoise, in the first layer ; see VII, 5, I, II with note— Blyxa octandra, a grassy plant growing in marshy land (" lotus-flower,” Weber, Ind. Stud. XIII, p. 250).'
[43]
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body these (formed), this is why he places them in this (layer).
9. There are here four seasonal (bricks) he lays down in the middlemost layer; and two in each of the other layers,-animals (cattle) are four-footed, and the middlemost layer is the air: he thus places animals in the air, and hence there are animals that have their abode in the air.
10. And, again, why there are four,-animals are four-footed, and animals are food; and the middlemost layer is the middle (of Agni's body): he thus puts food in the middle.
11. And, again, why there are four, antariksha ' (air) consists of four syllables, and the other layers (kiti) consist of two syllables; hence as much as the air consists of, so much he makes it in laying it down.
12. And, again, why there are four, this Agni (altar), doubtless, is an animal: he thus makes the animal biggest towards the middle; whence an animal is biggest towards the middle.
13. There are here four Ritavyâs, the Visvagyotis being the fifth, and five Disyâs,—this makes ten: the Virâg consists of ten syllables, and the Virâg is food, and the middlemost layer is the middle;-he thus puts food in the middle (of the body). He lays them down so as not to be separated from the naturally-perforated one', for the naturally-perforated one is the vital air: he thus places the food so as not to be separated from the vital air. Subsequently (to the central brick) he lays them down: sub
That is to say, the three sets of bricks are not separated by any others from the Svayamâtrinnâ.
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VIII KANDA, 3 ADHYAYA, 3 BRAHMANA, I. 51 sequently to (or upon) the vital air he thus places food.
14. He then lays down the Prânabhrit1 (bricks); -the Prânabhrits (breath-holders), doubtless, are the vital airs: it is the vital airs he thus lays into (Agni's body). There are ten of them, for there are ten vital airs. He places them in the forepart (of the altar), for there are these vital airs in front,-with (Vâg. S. XIV, 17), 'Protect my vital strength! protect mine up-breathing! protect my downbreathing! protect my through-breathing! protect mine eye! protect mine ear! increase my speech! animate my mind! protect my soul (or body)! give me light!'-He lays them down so as not to be separated from the seasonal ones, for the vital air is wind: he thus establishes the wind in the seasons.
THIRD BRAHMANA.
2
1. He then lays down the Khandas yâ2 (metres' bricks). Now the metres are cattle, and the middlemost layer is the air: he thus places cattle in the air, whence cattle have their abode in the air.
'The ten Prânabhrits are placed-five on each side of the spine-either along the edge of the altar, or so as to leave the space of one foot between them and the edge, to afford room for another set of bricks, the Vâlakhilyâs.
The thirty-six Khandasyâ bricks are laid down, in three sets of twelve each, along the edge of the body of the altar where the two wings and the tail join it; six bricks being placed on each side of the respective spine. At the back the bricks are not, however, placed close to the edge separating the body from the tail, but sufficient space is left (a foot wide) for another set of bricks to be laid down behind the Khandasyâs.
E 2
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2. And, again, as to why he lays down Khandasyâs,—the metres are cattle, and cattle are food, and the middlemost layer is the middle (of Agni, the altar): he thus places food in the middle (of Agni's body).
3. He lays them down by twelves,—for the Gagati consists of twelve syllables, and the Gagati is cattle, and the middlemost layer is the air : he thus places cattle in the air, whence cattle have their abode in the air.
4. And, again, why (he lays them down) by twelves,—the Gagati consists of twelve syllables, and the Gagati is cattle, and cattle is food, and the middlemost layer is the middle: he thus places food in the middle. He places them so as not to be separated from the Prânabhrits: he thus places the food so as not to be separated from the vital airs; subsequently to them he places them) : he thus bestows food after (bestowing) the vital airs.
5. (He lays down the right set, with, Vag. S. XIV, 18], 'The metre Measure;'--the measure (ma), doubtless, is this (terrestrial) world, for this world is, as it were, measured (mita);—'the metre Foremeasure!'—the fore-measure (prama), doubtless, is the air-world, for the air-world is, as it were, measured forward from this world ;—The metre Countermeasure,'—the counter-measure (pratima), doubtless, is yonder (heavenly) world, for yonder world is, as it were, counter-measured in the air ;-. The metre Asrivayas,'—'asrivayas,' doubtless, is food: whatever food there is in these worlds that is 'asriyayas.' Or, whatever food (anna) Aows (sravati) from these
'That is, made a counterfeit, or copy, of the earth.
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worlds that is 'asrivayas.' Hereafter, now, he puts down only defined metres.
6. 'The Paikti metre! the Ushnih metre! the Brihati metre! the Anushtubh metre! the Virág metre! the Gayatri metre! the Trishtubh metre! the Gagati metre!' these eight defined metres, including the Virág, he puts down.
-[The back set, with, Våg. S. XIV, 19), “The metre Earth! the metre Air! the metre Heaven! the metre Years! the metre Stars! the metre Speech! the metre Mind! the metre Husbandry! the metre Gold! the metre Cow! the metre Goat! the metre Horse!' he thus puts down those metres which are sacred to those particular deities. The left set, with, Vâg. S. XIV, 20], 'The deity Fire! the deity Wind! the deity Sun! the deity Moon! the deity Vasavah! the deity Rudrah! the deity Adityâh! the deity Marutah! the deity Visve Devâh! the deity Brihaspati! the deity Indra! the deity Varuna!'—these deities, doubtless, are metres: it is these he thus lays down.
7. He lays down both defined and undefined (metres). Were he to lay down such as are all defined, then the food would have an end, it would fail; and (were he to lay down) such as are all undefined, then the food would be invisible, and one would not see it at all. He lays down both defined and undefined ones : hence the defined (certain) food which is eaten does not fail.
8. These then are those (sets of) twelve he lays down,—that makes thirty-six, and the Brihati consists of thirty-six syllables: this is that same Brihatî, the air, which the gods then saw as a third
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layer. In that (brihati set of bricks) the gods come last (or, are highest).
9. And, again, as to why he lays down these bricks. When Pragâpati became relaxed, all living beings went from him in all directions.
10. Now that same Pragâpati who became relaxed is this very Agni (fire-altar) that is now being built up; and those living beings which went from him are these bricks: hence when he lays down these (bricks), he thereby puts back into him (Pragâpati-Agni) those same living beings which went from him.
11. Now when he first lays down ten (Prânabhrits), they are the moon. There are ten of these,-the Virág consists of ten syllables, and the Virág is food, and the moon is food. And when subsequently he lays down thirty-six (Khandasyâs), they are the halfmonths and months—twenty-four half-months and twelve months: the moon, doubtless, is the year, and all living beings.
12. And when the gods restored him (PragapatiAgni), they put all those living beings inside him, and in like manner does this one now put them therein. He lays them down so as not to be separated from the seasonal (bricks): he thus establishes all living beings in the seasons.
Fourth BRÂHMANA. 1. He then lays down the Vâlakhilyas ;-the Valakhilyâs, doubtless, are the vital airs: it is the vital airs he thus lays (into Agni). And as to why they are called Valakhilyâs,—what (unploughed piece of ground lies) between two cultivated fields is called
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‘khila ;' and these (channels of the) vital airs' are separated from each other by the width of a horsehair (våla), and because they are separated from each other by the width of a horse-hair, they (the bricks) are called Valakhilyâs.
2. He places seven in front, and seven at the back. When he places seven in front, he thereby restores to him those seven (organs of the) vital airs here in front.
3. And those seven which (he places) behind he thereby makes the counter-breathings to those (first breathings); and hence by means of (the channels of) these breathings he passes over the food which he eats with those (other) breathings.
4. And, again, as to why he places seven in front, - there are seven (channels of the) vital airs here in the front part (of the animal) 2—the four upper and lower parts of the fore-feet, the head, the neck, and what is above the navel that is the sixth, for in each limb there is a vital air: this makes seven vital airs here in front; it is them he thus lays into him (Agni-Pragåpati).
5. And as to what seven (bricks) he places behind,—there are seven vital airs here in the back part-the four thighs and knee-bones, the two feet, and what is below the navel that is the seventh, for in each limb there is a vital air: this makes seven vital airs here at the back; it is them he thus lays into him.
6. [He lays them down, with, Vâg. S. XIV,21,22), 'The head thou art, the ruler! steady thou
Or, these bricks representing the vital airs. : Or, in the upper part of man.
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art, steadfast! a holder thou art, a holdi'"A guider, a ruler! a guider thou art, a guide! steady thou art, a steadier!' he truly bestows steady vital airs unto him.
7. And, again, as to why he lays down the Valakhilyås,-it was by means of the Valakhilyâs that the gods then ranged over these worlds, both from hence upwards and from yonder downwards ; and in like manner does the sacrifice now, by means of the Valakhilyas, range over these worlds, both from hence upwards and from yonder downwards.
8. By 'The head thou art, the ruler!' they stepped on this (terrestrial) world; by "Steady thou art, steadfast!' on the air-world; by 'A holder thou art, a hold!' on that (heavenly) world. -
For life-strength (I bestow) thee! for vigour thee! for husbandry thee! for prosperity thee!' There are four (kinds of) four-footed (domestic) animals, and (domestic) animals are food: by means of this food, these four four-footed animals, they (the gods) established themselves in yonder world; and in like manner does the Sacrificer now by means of this food, these four four-footed animals, establish himself in yonder world.
9. That was, as it were, an ascent away from hence; but this (earth) is a foothold: the gods came back to this foothold; and in like manner does the Sacrificer now come back to this foothold.
10. By 'A guider, a ruler!' they stepped on that (heavenly) world ; by 'A guider thou art, a guide!' on the air-world; by 'Steady thou art, a steadier!' on this (terrestial) world.—'For sap (I bestow) thee! for strength thee! for wealth thee! for thrift thee!'— There are four four-footed (domestic)animals,
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VIII KÂNDA, 3 ADHYAYA, 4 BRAHMANA, 14. 57
and (domestic) animals are food : by means of this food, these four four-footed animals, they (the gods) established themselves in this world; and in like manner does the Sacrificer, by means of this food, these four four-footed animals, establish himself in this world.
11. Now as to the restoration (of Pragâpati-Agni). Those eleven bricks he lays down', which (constitute) that first anuvâka ?, are the air and this body (of Agni, the altar). And as to why there are eleven of these, it is because the Trishtubh consists of eleven syllables, and the air is of the trishtubh nature. And the sixty subsequent (bricks) are Vâyu, Pragâpati, Agni, the Sacrificer.
12. Those which he places in front are his head : there are tens of them, because there are ten vital airs, and the head is (the focus of) the vital airs. He places them in front, because the head (of an animal) is here in front.
13. And those which he places on the right (south) side are that (part) of him which is above the waist and below the head. And those at the back are that (part) of him which is above the feet and below the waist. Those on the left (north) side are the feet themselves.
14. And the seven (Vâlakhilyâs) which he places in front are these seven vital airs here in the forepart (of an animal): it is these he thus puts into
That is to say, the first eleven bricks of the third layer, viz. one svayamåtrinnâ, four disyâs, one visvagyotis, and four ritavyâs.
. The formulas used with these bricks, Vâg. S. XIV, 11-16, constitute the first anuvâka of the texts relating to the third layer (XIV, 11-22).
3 Viz, ten Pranabhrits, see VIII, 3, 2, 14.
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him (Agni). He places them so as not to be separated from those ten (Prânabhrits): he thereby puts in vital airs that are not separate from the head.
15. And the seven he places at the back (of the altar) are those seven vital airs behind : it is these he thereby puts into him. He places them so as not to be separated from those twelve (Khandasyâs): he thereby puts into him vital airs that are not separate from the body. That same Váyu-Pragapati is turned round in all directions in this trishtubhlike air; and when he lays down the third layer, having made up both Vậyu (the wind) and the air, he thereby adds them to himself. He then puts down two Lokamprinâ (space-filling bricks) in that corner 1: the significance of them (will be explained) further on. He throws loose earth (on the layer): the significance of this (will be explained) further ons
THE FOURTH LAYER. Fourth ADHYÂYA. First BRÂHMANA. 1. He lays down the fourth layer. For the gods having laid down the third layer, now ascended; but, the third layer being the air ; it was the air which, having completed it, they ascended.
2. They spake, ‘Meditate ye!' whereby, indeed,
Whilst, in laying down the Lokamprinâs of the first and second layers, he started from the south-east and south-west corners respectively, in the third layer he starts from the left hip (or north-wes corner) of the altar; filling up the available spaces in two turns, in sunwise fashion. Cf. p. 22, note 1; and p. 41, note i.
. See VIII, 7, 2, 4 seq. 3 See VIII, 7, 3, I seq.
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they meant to say, 'Seek ye a layer! Seek ye (to build) from hence upwards!' Whilst meditating, they saw that fourth layer, (to wit) what is above the air and below the heavens; that world was to their minds, as it were, unstable and unsettled.
3. They said to the Brahman, 'We will lay thee down (or, set thee up) here!'-'What will therefrom accrue to me?'--Thou shalt be the highest of us!'—'So be it!' They accordingly laid the Brahman down here, whence people say that the Brahman is the highest of gods. Now, by this fourth layer these two, heaven and earth, are upheld, and the fourth layer is the Brahman, whence people say that heaven and earth are upheld by the Brahman. He lays down the Stomas (hymn-forms)?: the stomas being the vital airs, and the Brahman also being the vital airs, it is the Brahman he thereby lays down.
4. And, again, as to why he lays down the Stomas. The gods, at that time, said to Pragâ pati, 'We will lay thee down here !'—'So be it!' He did not say, What will therefrom accrue unto me?' but whenever Pragâ pati wished to obtain anything from the gods, they said, 'What will therefrom accrue to us ?' And hence even now if a father wishes to obtain anything from his sons, they say, 'What will there
i This refers to the first eighteen bricks of the fourth layer; but as the names of the bricks (ishtaka, f.) are invariably of the feminine gender, it is doubtful whether stoma (m.), in this case, is meant as the designation of these bricks, or merely as their symbolical analogon. In the former case, one would rather, from the analogy of other bricks, expect some such term as 'stomya.' To the first four of them Mahîdhara, on Vâg. S. XIV, 23, applies the epithet mrityumohini, or confounders of death.'
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from accrue unto us?' and when the sons (wish to obtain anything) from the father, he says, 'So be it!' for in this way Pragâpati and the gods used of old to converse together. He lays down the Stomas: the stomas being the vital airs, and Pragâpati also being the vital airs, it is Pragâpati he thus lays down.
5. And, again, as to why he lays down the Stomas. Those vital airs, the Rishis?, that saw this fourth layer?, and who stepped nigh with that essential element (of the altar), are these (vital airs): it is them he now lays down. He lays down the Stomas :—the stomas being the vital airs, and the Rishis also being the vital airs, it is the Rishis he thus lays down.
6. And, again, as to why he lays down the Stomas. When Pragàpati had become relaxed (disjointed), the gods took him and went away. Vậyu, taking that (part) of him which was above the waist and below the head, kept going away from him, having become the deities and the forms of the year.
7. He spake to him, 'Come to me and restore to me that wherewith thou hast gone from me!''What will therefrom accrue unto me?'-'That part of my self shall be sacred unto thee!'-'So be it!' thus Väyu restored that unto him.
8. Those eighteen (bricks ?) which there are at
· See VI, 1, 1, 1; VII, 2, 3, 5. . See VI, 2, 3, 7. 8.
* These eighteen bricks, representing the Stomas, or hymnforms, are laid down in the following order. At each end of the spine (running from west to east) one brick, of the size of the shank (from knee to ankle), is placed, with its line-marks running from west to east; the eastern one being placed north, and the western one south, of the spine. Thereupon an ordinary brick, a foot square, is placed
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VIII KÂNDA, 4 ADHYAYA, I BRAHMANA, 10.61
first, are that very (part) of his (Pragậpati's) body; and when he places them in this (layer), he thereby restores to him that (part) of his body which these (form): therefore he places them in this (layer). He lays down the Stomas: the stomas being the vital airs, and Vayu (the wind) also being the vital airs, it is Vayu he thus lays down.
9. In front he lays down one, with (Vâg. S. XIV, 23), 'The swift one, the Trivrit!'he therewith lays down that hymn-form which is trivrit (threefold, or thrice-three-versed). And as to why he calls it
the swift one, it is because this, indeed, is the swiftest of stomas. But the swift threefold one, doubtless, is Vâyu: he exists in these three worlds. And as to why he calls him the swift one, it is because he is the swiftest of all beings : being (or, in the form of). Vậyu it remained in front, — it is that form he now lays down.
10. [The back one, with), 'The bright one?, the Pañkadasa !' he therewith lays down that
at the southern end of the cross-spine,' so as to lie on the spine (though not apparently exactly in the middle, but so that only onefourth of the brick lies on one side of the spine) with its line-marks running from south to north; and a second brick of the same size is placed on the north, but so as to leave the full space of another such brick between it and the northern edge of the altar. Behind (west of the front brick, fourteen half-foot bricks are then laid down, in a row from north to south, seven on each side of the
spine.
I The formulas of the first four of these stoma) bricks are not given here (in paragraphs 9-12) in the order in which the bricks are actually laid down, viz. E. W. S.N., but in the order E. S. N. W.; cp. Kâtyây. Srautas. XVII, 1o, 6-9. For a symbolic explanation of this change of order see VIII, 4, 4, I seq.
? Or, perhaps,'the angry one. The author of the Brahmana, however, evidently connects 'bhânta' with the root 'bha,' to shine.
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hymn-form which is fifteenfold (fifteen-versed). And when he calls it 'the bright one,' it is that the bright one is the thunderbolt, and the thunderbolt is fifteenfold. But the bright, fifteenfold one, doubtless, also is the Moon : he waxes during fifteen days, and wanes during fifteen days. And as to his calling him 'the bright one,' the Moon indeed shines: being the Moon it remained on the right side,-it is that form he now lays down.
11. [The left (north) one, with], 'The (aerial) space, the Saptadasa!' he therewith lays down that hymn-form which is seventeenfold. And as to his calling it 'the space,'—the (aerial) space is Pragâpati, and the seventeenfold one is Pragâ pati. But indeed the seventeenfold space also is the year : in it there are twelve months and five seasons. And as to his calling it space, the year indeed is space : being space, it remained on the left side, - it is that form he now lays down.
12. [The right (south) one, with], 'The upholder, the Ekavimsa!'he therewith lays down that hymnform which is twenty-one-fold. And as to his calling it'the upholder,'—the upholder means a foothold, and the Ekavimsa is a foothold. But indeed the twenty-one-fold upholder also is yonder sun: to him belong the twelve months, the five seasons, these three worlds, and yonder sun himself is the upholder, the twenty-one-fold. And as to his calling him 'the upholder,'—when he sets everything here holds its peace: being the sun, it remained at the back, -it is that form he now lays down; and the forms of the year he lays down.
13. 'Speed, the Ashtâda sa !'he therewith lays down that hymn-form which is eighteenfold. Now,
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speed, the eighteenfold one, doubtless, is the year : in it there are twelve months, five seasons, and the year itself is speed, the eighteenfold. And as to his calling it ‘speed,' the year indeed speeds all beings : it is that form he now lays down.
14. 'Heat, the Navadasa !'he therewith lays down that hymn-form which is nineteenfold. But heat, the nineteenfold one, doubtless, is the year: in it there are twelve months, six seasons, and the year itself is heat, the nineteenfold. And as to his calling it 'heat,' the year indeed burns all beings: it is that form he now lays down.
15. Victorious assault, the Savimsa!' he therewith lays down that hymn-form which is twentyfold. But victorious assault, the twentyfold one, doubtless, is the year : in it there are twelve months, seven seasons, and the year itself is victorious assault, the twentyfold. And as to why he calls it
victorious assault, the year indeed assails all beings : it is that form he now lays down.
16. Vigour, the Dvavimsa!' he therewith lays down that hymn-form which is twenty-two-fold. But vigour, the twenty-two-fold one, doubtless is the year : in it there are twelve months, seven seasons, the two, day and night, and the year itself is vigour, the twenty-two-fold. And as to why he calls it 'vigour,' the year is indeed the most vigorous of all existing things: it is that form he now lays down.
17. The array, the Trayovimsa!'he therewith lays down that hymn-form which is twentythree-fold. But array, the twenty-three-fold one, doubtless, means the year: in it there are thirteen months, seven seasons, the two, day and night, and the year itself is the array, the twenty-three-fold.
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And as to his calling it array, the year is indeed arrayed over all beings: it is that form he now lays down.
18. · The womb, the Katurvimsa!'he therewith lays down that hymn-form which is twenty-fourfold. But the womb, the twenty-four-fold one, doubtless, is the year: in it there are twenty-four half-months. And as to his calling it the womb;' the year is indeed the womb of all beings : it is that form he now lays down.
19. 'The embryos, the Pañkavimsa!'he therewith lays down that hymn-form which is twentyfive-fold. But the embryos, the twenty-five-fold one, doubtless, is the year : in it there are twenty-four half-months, and the year itself is the embryos, the twenty-five-fold. And as to his calling it 'the em. bryos,'—the year, as an embryo, in the shape of the thirteenth month, enters the seasons : it is that form he now lays down.
20. 'Strength, the Trinava!'he therewith lays down that hymn-form which is thrice ninefold. And as to his calling it'strength,'—strength (ogas) means the thunderbolt (vagra), and the Trinava is a thunderbolt. But strength also means the year: in it there are twenty-four half-months, the two, day and night, and the year itself is strength, the thrice-ninefold. And as to his calling it'strength,' the year indeed is the strength of all beings : it is that form he now lays down.
21. Design, the Ekatrimsa!'he therewith lays down that hymn-form which is thirty-one-fold. But design, the thirty-one-fold, doubtless, means the year : in it there are twenty-four half-months, six seasons, and the year itself is design, the thirty-one-fold. And
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as to his calling it 'design,' the year indeed designs (makes, forms) all beings: it is that form he now lays down.
22. The foundation, the Trayastrimsa!'he therewith lays down that hymn-form which is thirtythree-fold. And as to why he calls it the foundation,' the thirty-three-fold is indeed a foundation. But indeed the foundation, the thirty-three-fold, also is the year: in it there are twenty-four halfmonths, six seasons, the two, day and night, and the year itself is the foundation, the thirty-three-fold. And as to his calling it 'the foundation,' the year is indeed the foundation of all beings: it is that form he now lays down.
23. 'The range of the ruddy one, the Katustrimsa!' he therewith lays down that hymn-form which is thirty-four-fold. But the range of the ruddy one (the sun), the thirty-four-fold one, doubtless, is the year : in it there are twenty-four half-months, seven seasons, the two, day and night, and the year itself is the range of the ruddy one, the thirty-fourfold. And as to his calling it the range of the ruddy one,' the range of the ruddy one, doubtless, means supreme sway, and the thirty-four-fold one means supreme sway: it is that form he now lays down.
24. The firmament, the Shattrimsa!' he therewith lays down that hymn-form which is thirtysix-fold. But the firmament, the thirty-six-fold one, doubtless, is the year: in it there are twenty-four half-moons, and twelve months. And as to why he calls it the firmament' (nâkam), it is because there is no pain (na akam) for whosoever goes there. And the firmament indeed is the year, the heavenly world is the year: it is that form he now lays down.
[43]
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25. ‘The revolving sphere, the Ashtakatvarimsa!' he therewith lays down that hymn-form which is forty-eight-fold. But the revolving sphere, the forty-eight-fold, doubtless, is the year: in it there are twenty-six half-months, thirteen months, seven seasons, and the two, day and night. And as to his calling it the revolving sphere,' from the year all creatures indeed are evolved : it is that form he now lays down.
26. “The stay, the Katushtoma!'he therewith lays down the chant of praise consisting of four stomas! And as to his calling it the stay, -stay means support, and the Katushtoma is a support. But the stay, the Katushtoma, doubtless, is Vâyu (the wind), for he sings from all those four quarters. And as to his calling him the stay,'--stay means support; and the wind indeed is the support of all beings : it is that form he now lays down. The wind he places first and last : by the wind he thus encloses all these beings on both sides.
27. These, then, are eighteen bricks he lays down; this makes two Trivrits,—the Trivrit being breath, and breath being wind, this layer is Vayu.
28. And as to why there are eighteen,—the year is eighteenfold: twelve months and six seasons. And Pragâpati indeed is the year, Pragâpati is eighteenfold : as great as Agni is, as great as is his measure, so great he makes it when he lays it down.
SECOND BRÂHMANA. 1. He then lays down the Spritah> (freeing For particulars on the Katushtoma, see note on XIII, 1, 3, 4.
The ten Spritah are placed in close connection with the preceding set;-vize at the front and back ends of the spine, two
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bricks). For when that (part) of his body had been restored, Pragâpati became pregnant with all beings whilst they were in his womb, evil, death, :: seized them.
2. He spake to the gods, 'With you I will free all these beings from evil, from death'!'-'What will accrue unto us therefrom?'-' Choose ye!' said he.
'Let there be a share for us!' said some to him. 'Let lordship be unto us!' said others. Having bestowed a share on some, and lordship on others, he freed all beings from evil, from death; and inasmuch as he freed (spri) them, therefore (those bricks are called) 'Spritah.' And in like manner does this Sacrificer, by bestowing a share on some, and lordship on others, now free all beings from evil, from death; and hence (the word) 'spritam (freed)' recurs with all of them.
3. [He lays them down, with, Vâg. S. XIV, 2426], Agni's share thou art, Diksha's lordship!' -Dikshâ, doubtless, is Speech: having bestowed a share on Agni, he bestows lordship on Speech ;'the Brahman is freed; the Trivrit-stoma!' by means of the thrice-threefold hymn-form he freed
bricks, exactly corresponding in size to those already lying there, are placed south and north of these respectively. Similarly two bricks, a foot square, are placed on the 'cross-spine' immediately north of the two stoma-bricks lying there. The remaining six bricks are then placed behind the row of fourteen 'stomas' in the front part of the altar, three on each side of the spine.
1 Or, from that evil, death.
In the case of the first four Spritah, as in that of the corresponding Stomas (see p. 61, note 1), while the bricks themselves are laid down in the order E. W.N.S., the order in which the formulas are given in paragraphs 3-6, is that of E.N.S. W.-Cp. Kâty. Srautas. XVII, 10, 11-14. For a symbolical explanation of this change of order, see VIII, 4, 4, I seq.
F 2
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the Brahman (priesthood) for living beings from evil, from death.
4. Indra's share thou art, Vishnu's lordship!'-Having bestowed a share on Indra, he bestowed lordship on Vishnu;-'the Kshatra is freed; the Pañkadasa-stoma!'-by means of the fifteenfold hymn-form he freed the Kshatra (nobility) for living beings from evil, from death.
5. The man-viewers' share thou art, the creator's lordship!'-the man-viewers, doubtless, are the gods: having bestowed a share on the gods, he bestowed lordship on the creator;-'the birthplace is freed, the Saptadasa-stoma!'-the birthplace, doubtless, is the peasantry: by means of the seventeenfold hymn-form he frees the peasantry for living beings from evil, from death.
6. 'Mitra's share thou art, Varuna's lordship!'—Mitra, doubtless, is the out-breathing, and Varuna the down-breathing: having bestowed a share on the out-breathing, he bestowed lordship on the down-breathing;-'heaven's rain, the wind is freed; the Ekavimsa-stoma!'-by means of the twenty-one-fold hymn-form he frees both rain and wind for living beings from evil, from death.
7. 'The Vasus' share thou art, the Rudras' lordship!'-having bestowed a share on the Vasus, he bestowed lordship on the Rudras;—'the fourfooted is freed, the Katurvimsa-stoma!'-by means of the twenty-five-fold hymn-form he freed the four-footed for living beings from evil, from death.
8. 'The Adityas' share thou art, the Maruts' lordship!'-having bestowed a share on the Ådityas, he bestowed lordship on the Maruts;-'the
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embryos are freed, the Pañkavimsa-stoma!'by means of the twenty-five-fold hymn-form he freed the embryos for living beings from evil, from death.
9. 'Aditi's share thou art, Pashan's lordship!'- Aditi, doubtless, is this (earth): having bestowed a share on her, he bestowed lordship on Pashan,-'vigour is freed; the Trinava-stoma!' by means of the thrice-ninefold hymn-form he freed vigour for living beings from evil, from death.
10. "God Savitri's share thou art, Brihaspati's lordship!'-having bestowed a share on the god Savitri, he bestows lordship on Brihaspati ;'the facing quarters are freed, the Katushtoma!'-by means of the chant of praise consisting of four stomas he freed all the (four) quarters for living beings from evil, from death.
11. 'The Yayas' share thou art, the Ayavas' lordship!'—the Yavas, doubtless, are the first (light) fortnights, and the Ayavas the latter (dark) fortnights, for these gain (yu) and obtain (a-yu) everything here !: having bestowed a share on the first fortnights, he bestowed lordship on the latter fort. nights ;-'the creatures are freed, the Katus. katvarimsa-stoma!'—by means of the forty-fourfold hymn-form he freed all creatures from evil, from death.
12. 'The Ribhus' share thou art, the Allgods' lordship!'-having bestowed a share on the Ribhus, he bestowed lordship on the Visve-Devah ;
This is clearly a fanciful etymology. If yava' and 'ayava,' in the sense of the bright and dark fortnights, are really genuine terms, it is more likely that they are derived from y u, 'to keep off,'--the bright half of the moon being looked upon as capable of averting evil spirits, and the dark half as the reverse of this.
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'the living being is freed, the Trayastrimsastoma!'-by means of the thirty-three-fold hymnform he freed all living beings from evil, from death; and in like manner does the Sacrificer, by means of the thirty-three-fold hymn-form, now free all living beings from evil, from death.
13. These, then, are ten bricks he lays down,-the Virag consists of ten syllables, and Agni is Virag (wide-shining); there are ten regions, and Agni is the regions; there are ten vital airs, and Agni is the vital airs as great as Agni is, as great as is his measure, by so much he thus frees all these creatures from evil, from death.
:
14. He then lays down two Ritavyâs1 (seasonal bricks); the seasonal ones being the same as the seasons, it is the seasons he thus lays down ;-with (Våg. S. XIV, 27), 'Saha and Sahasya, the two winter-seasons!' These are the names of those two, it is with their names he thus lays them down. There are two such bricks, for a season consists of two months. Only once he settles them: he thus makes (the two months) one season.
15. And as to why he places these two (bricks) in this (layer), this Agni (fire-altar) is the year, and the year is these worlds: what part thereof is above the air, and below the sky, that is this fourth layer, and that is the winter-season thereof; and when he places these two in this (layer), he thereby restores to him (Pragâpati-Agni, the year and fire-altar) what part of his body these two (constitute). This is why he places these two in this (layer).
1 These are placed over the Ritavyâs of the preceding layers, viz. in the fifth place to the east of the centre, south and north of the spine.
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16. And, again, as to why he places these two in this (layer),—this Agni is Pragậpati, and Pragâpati is the year: what (part) of him there is above the waist, and below the head, that is this fourth layer, and that is the winter-season of him (or, of it, the year). And when he places these two in this (layer), he thereby restores to him what part of his body these two (constitute). This is why he places these two in this (layer).
THIRD BRÂHMANA. 1. He then lays down the Srishtis? (creations). For Pragàpati, having freed all beings from evil,
1 The seventeen Srishlis are to be placed round the centre, along the retahsik range, in such a way that nine bricks lie south THE CENTRAL PART OF THE FOURTH LAYER.
(Seventeen srishi and two ritavyâ.)
RIT.
RIT.
S
and eight bricks north, of the spine ; and that five bricks form the southern side, and four bricks each of the three other sides. Whilst the bricks of the south side are further specified as consisting of a brick, a foot square, lying on the cross-spine, being flanked on both sides by half-foot bricks, and these again by square bricks ; no particulars are given regarding the other sides. Most likely, however, as indicated in the accompanying sketch, four square bricks, two on each side of the cross-spine, are to form the left (north) side, whilst the front and hind sides are to consist of two
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SATAPATHA-BRÂHMANA.
from death, he now desired, “May I produce creatures, may I procreate!'
2. He spake unto the vital airs, Together with you, I will here bring forth creatures !'—Wherewith shall we sing praises ? ?'— With me and with your
square bricks lying north and south of the spine, and flanked by hall-foot bricks.
That is, to the deities representing the vital airs, viz. the regions, &c.' Mahîdh.
Professor Delbrück, in his Altindische Syntax, pp. 136, 257, 265, takes 'stoshyâmahe' in this passage in a passive sense— by whom shall we be praised ?' I think, however, that this is a mistake, and Harisvâmin's commentary certainly takes it in the same sense as I have done; and, indeed, the paragraphs which follow seem to me to make it quite clear that no other interpretation is possible. Pragâpati is about to perform the 'srishhis,' i.e. the creation of living beings by means of sacrifice (his own self). He requires the assistance of the Pranas (vital airs) in order to produce creatures endowed with breath, and he also appeals to the three most prominent of them in their capacity as Rishis (VI, 1, 1, 1 seq.) to officiate as his (Udgâtri) priests. They ask, "Wherewith shall we sing praises ?' and he answers, With me and with your own selves.' The wherewith,' according to Harisvâmin, refers both to the 'stotriyâ' verses to be used, and to the deities of the srishtistotras. That the former, at all events, is indeed the case, a glance at the subsequent paragraphs shows, where the stotriyâs are identified with the vital airs, and, when their number (ten) becomes exhausted, with parts of the year (Pragâpati), and of his (the Sacrificer's, or Pragâpati's) body. As regards the deities whom Harisvâmin considers to be likewise implied, this also is by no means improbable, though I must confess that it did not occur to me, before I looked at the commentary. In the Udgâtri's text-books, the chanting of stotras is usually interpreted as symbolising the production of food' (cf., for instance, Tandya-Br. I, 3, 6, 'annam karishyâmy annam pravishyâmy annam ganayishyâmi'), whilst here it seems identified with the production of life, or breath itself (cf. ib. 6, obrihaspatis två yunaktu devebhyah prânaya &c.'); and, accordingly, in Sat. Br. X, 3, 1, 1, 7, the principal vital air, the breath proper, is called 'praganana-prâna.'
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VIII KÂNDA, 4 ADHYAYA, 3 BRÂHMANA, 7.
73
selves!' - So be it!' So they sang praises both with the vital airs and with Pragâpati; and whatsoever the gods do, that they do with praise, thatpraise being sacrifice—they do with sacrifice. Hence (the words) 'they sang praises' recur with all (these bricks).
3. [They lay them down, with, Våg. S. XIV, 28– 31], With one they sang praises,'—the one, doubtless, is speech: it is with speech they then sang praises ;-'creatures were conceived,'creatures indeed were now conceived ;-Pragapati was the lord!'—Pragâpati indeed was now the lord.
4. With three they sang praises,'—there are three vital airs: the out-breathing, the up-breathing, and the through-breathing : it is with them they then sang praises;—'the Brahman was created,'— the priesthood indeed was now created;— Brahmanaspati was the lord!' Brahmanaspati indeed was now the lord.
5. With five they sang praises,'—what (four) vital airs there are here, with mind as a fifth : it is with them they then sang praises ;—the living beings were created,'—the living beings indeed were now created ;—'the lord of beings was the lord!'—the lord of beings indeed was now the lord.
6. With seven they sang praises,'—what seven vital airs there are here in the head: it is with them they then sang praises ;— the seven Rishis were created,'—the seven Rishis indeed were now created; the creator was the lord!'--the creator indeed was now the lord.
7. With nine they sang praises,'—there are nine vital airs, seven in the head, and two downward
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SATAPATHA-BRAHMANA.
ones: it is with them they then sang praises ;—the Fathers were created,'—the Fathers indeed were now created ;-'Aditi was the ruler!'-Aditi indeed was now the ruler.
8. With eleven they sang praises,'— there are ten vital airs, and the trunk is the eleventh: it is therewith they then sang praises ;-'the seasons were created,'—the seasons indeed were now created ;'the seasonal periods were the lords!'—the seasonal periods indeed were now the lords.
9. With thirteen they sang praises,'—there are ten vital airs, and two feet, and the trunk is the thirteenth: it is therewith they then sang praises ;'the months were created,'-the months indeed were now created;—'the year was the lord!'the year indeed was now the lord.
10. With fifteen they sang praises,'—there are ten fingers, four fore-arms and upper arms, and what is above the navel is the fifteenth: it is therewith they then sang praises ;—the Kshatra was created,'—the nobility indeed was now created ;'Indra was the lord!'—Indra indeed was now the lord.
11. With seventeen they sang praises,'— there are ten toes, four thighs and shanks, two feet, and what is below the navel is the seventeenth: it is therewith they then sang praises ;-'the tame animals were created,'—the tame animals indeed were now created ;— Brihaspati was the lord!'Brihaspati indeed was now the lord.
12. With nineteen they sang praises,'there are ten fingers, and nine vital airs: it is with these they then sang praises ;-'the Sadra and Arya were created,'--the Sadra and Arya indeed
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VIII KÂNDA, 4 ADHYAYA, 3 BRÂHMANA, 17. 75
were now created ;-'the day and night were the rulers !'—the day and night indeed were now the rulers.
13. With twenty-one they sang praises,'there are ten fingers, ten toes, and the trunk is the twenty-first: it is therewith that they then sang praises ;—the one-hoofed animals were created,'—the one-hoofed animals indeed were now created ;– Varuna was the lord !'—Varuna indeed was now the lord.
14. With twenty-three they sang praises,'— there are ten fingers, ten toes, two feet, and the trunk is the twenty-third: it is therewith they then sang praises ;—'the small animals were created,'the small animals indeed were now created ;
Pashan was the lord!'— Pashan indeed was now the lord.
15. With twenty-five they sang praises,'there are ten fingers, ten toes, four limbs, and the trunk is the twenty-fifth : it is therewith they then sang praises ;—' the wild animals were created,' --the wild animals indeed were now created ;
Vàyu was the lord!'--Váyu indeed was now the lord.
16. With twenty-seven they sang praises,' - there are ten fingers, ten toes, four limbs, two feet, and the trunk is the twenty-seventh : it is therewith they then sang praises ;— Heaven and Earth went asunder,'-heaven and earth indeed now went asunder ;-'the Vasus, Rudras and Ådityas separated along with them: they indeed were the lords!' and they indeed were now the lords.
17. "With twenty-nine they sang praises;'
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SATAPATHA-BRAHMANA.
there are ten fingers, ten toes, and nine vital airs : it is with these they then sang praises ;—the trees were created,'—the trees indeed were now created; -Soma was the lord,'--Soma indeed was now the lord.
18. With thirty-one they sang praises,' - there are ten fingers, ten toes, ten vital airs, and the trunk is the thirty-first: it is therewith they then sang praises ;-'the creatures were created,' — the creatures indeed were now created ;-—'the Yavas and Ayavas were the lords,'—the bright and dark fortnights indeed were now the lords.
19. With thirty-three they sang praises,'there are ten fingers, ten toes, ten vital airs, two feet, and the trunk is the thirty-third : it is therewith they then sang praises ;—the living beings lay quiet,'—all living beings now indeed lay quiet;—
Pragâ pati, the supreme, was the lord!'Pragâpati, the supreme, indeed was now the lord.
20. These, then, are seventeen bricks he lays down,—the year, Pragâpati, is seventeenfold, he is the progenitor : it is thus by this seventeenfold year, by Pragâpati, the progenitor, that he caused these creatures to be generated. And what he generated, he created; and inasmuch as he created (srig), therefore they are called creations (srishti). Having created them, he made them enter his own self: and in like manner does the Sacrificer now cause these creatures to be generated by that seventeenfold year, by Pragâpati, the progenitor; and having created them, he makes them enter his own self'. On the
' That is, he makes them pass into his own power, makes them
his own.
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VIII KÂNDA, 4 ADHYAYA, 4 BRÂHMANA, 2.
77
range of the Retahsik (he lays down these bricks): the Retahsik being the ribs, and the ribs the middle (of the body), it is in the very middle that he causes these creatures to enter him. He lays them on all sides : from all sides he thus makes these creatures to enter him.
Fourth BRÂHMANA. 1. Now, then, as to the order of proceeding. That (brick) which contains the Trivrit (thricethreefold stoma) he places in front, that containing the twenty-one-fold (stoma) at the back, that containing the fifteenfold (stoma) on the right (south) side, that containing the seventeenfold (stoma) on the left (north) side.
2. Now when the one containing the Trivrit had been laid down, Death lay in wait for Pragâpati in the one (on the south side) containing the fifteenfold (stoma), thinking, 'After that he will lay down this one: I will here seize upon him!' He (Pragàpati) was aware of him, and having seen him, he walked round and laid down (at the back) the (brick) containing the twenty-one-fold (stoma). Death came thither, and he (Pragâpati) laid down the one (on the south side) containing the fifteenfold (stoma). Death came to the fifteenfold one, and he (Pragâpati) laid down the one on the north side) containing the seventeenfold (stoma). It was here that he put down and confounded Death; and in like manner does the Sacrificer now put down and confound all evils.
1 That is, in the laying down of these bricks. For the order followed in laying down the bricks, see also p. 67, note 2.
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SATAPATHA-BRAHMANA.
3. Then as to the subsequent (bricks). Alongside of the one (in front) containing the Trivrit he lays down one containing the Trivrit; alongside of that (at the back) containing the Ekavimsa (he lays down) one containing the Ekavimsa; alongside of that (on the south, or right, side) containing the Pañkadasa (he lays down) one containing the Saptadasa; alongside of that (on the north, or left, side) containing the Saptadasa (he lays down) one containing the Pañkadasa. And because he thus changes in laying them down', therefore they (the bricks) are of diverse stomas; and because these stomas are then otherwise with regard to the former ones, therefore also they (the bricks) are of diverse stomas. And in this way the gods laid them down, and otherwise the Asuras; whereupon the gods succeeded, and the Asuras came to naught he who knows this, succeeds of himself, and his hateful enemy comes to naught.
4. Now, this Agni (fire-altar) is an animal, and he is made up (restored) here whole and entire. His head is the two (bricks) containing the Trivrit; and as to why these two are such as contain the Trivrit, -the head is threefold (trivrit). There are two of them, because the head consists of two bones (kapâla). He lays them down in front, for this head is in the front (of the animal).
5. The two (behind) containing the Ekavimsa are the foundation (the feet). And as to why these are such as contain the Ekavimsa,-the Ekavimsa is
1 The Sanskrit text, as usual, makes our gerundial clause the principal clause: 'because he lays them down in changing them.'
On the south side a Sprit representing the Saptadasa is placed immediately north of a stoma (brick) representing the Pažkadasa; and vice versâ on the north (left) side.
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VIII KÂNDA, 4 ADHYAYA, 4 BRÂHMANA, 8.
79
a foundation. There are two of them, because the foundation is a pair (of feet). He places them behind, because this foundation (the hind-feet) is behind.
6. The two containing the Pañkadasa' are the arms (or fore-feet). And as to why these are such as contain the Pañkadasa,-the arms are fifteenfold. There are two of them, because these arms are two. He places them on the sides, because these two arms are at the sides.
7. The two containing the Saptadasa are food. And as to why they are such as contain the Saptadasa, -food is seventeenfold. There are two of them, because 'anna' (food) has two syllables. He lays them down close to those containing the Pañkadasa : he thus puts the food close to the arms. Those containing the Pañkadasa are on the outside, and those containing the Saptadasa on the inside: he thus encloses the food on both sides by the arms.
8. And those he places in the middle are the body (trunk). He places them on the range of the Retahsik (bricks), for—the Retahsik being the ribs, and the ribs being the middle (of the body)—this body is in the middle (of the limbs) 2. He places them in every direction, for this body (extends) in every direction. And as to what other (space) there is besides this, that is left over ;-and what is left over for the gods, that is these metres ;-and as to these
1 Viz. the southern one of the two on the south (right) side, and the northern one of the two on the north (left) side.
* Atha ya madhya upadadhâti sa åtmâ, tâ retahsikor velayopadadhâti-prishtayo vai retahsikau, madhyam u prishtayo madhyato hy ayam atmå. Here the two clauses with 'vai' are inserted to substantiate the reason introduced by 'hi.
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metres, they are cattle;—and as to cattle, they are (objects of) good fortune;—and as to these (objects of) good fortune, they are yonder sun: he is that one to the south of them.
9. Now some lay down these (rows of bricks 1) immediately after the two containing the Trivrit, saying, 'They are the tongue and the jaws: those fourteen are the jaws, and those six are the tongue.' Let him not do so they cause a redundancy,-it would be just as if one were to put two other jaws to the already existing jaws, as if one were to put another tongue to the already existing tongue. That (brick) wherein the head is indeed (includes) the jaws and the tongue.
10. Now some lay down (these bricks) in the intermediate (south-eastern) space of it (the altar), saying, 'This is the sun: we thus place yonder sun in that direction.' Let him not do so: surely there are those other rites by which he places him in that (direction).
11. Some, again, lay them down on the right
1 Viz. the row of fourteen bricks lying behind the two front bricks, and the row of six bricks again placed behind these. It will be remembered that only the northern one of the two front bricks was laid down at first, and that then three others were placed in the different directions, after which the row of fourteen was laid down behind the front one; and similarly the laying down of the second front brick was separated from that of the second row by the laying down of three other bricks in the different quarters.
In that case, the two shank-sized bricks are laid down in the south-east corner, and the rows of smaller bricks are placed to the north of them. See Kâty. Srautas. XIV, 10, 4.
See, for instance, VI, 7, 3, 9 where the Ukhya Agni, representing the sun, is held up by the Agnikit (sacrificer) in the south-easterly direction. The south-east corner is sacred to Agni.
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VIII KÂNDA, 4 ADHYAYA, 4 BRAHMANA, 12.
81
(south ") side, saying, 'We thus place these signs of good fortune (punyå lakshmi) on the right side :' whence he who has a mark 2 (lakshman) on his right side is said to have good luck (punya-lakshmika), and on the left side in the case of a woman 3; for the woman has her position on the left side (of the man): therefore it is done thus. But let him place them in front; for where the head is there are also the jaws and the tongue: and thus he places the signs of good fortune at the head (or, in the mouth, mukhatah), whence they say that he who has a (peculiar) mark in his mouth * has good luck.
12. This, indeed, is Brahman's layer: inasmuch as they (the gods) laid down the Brahman", therefore it is Brahman's layer. It is Pragâpati's layer: inasmuch as they laid down Pragậpati", it is Pragâpati's layer. It is the Rishis' layer: inasmuch as they laid down the Rishis?, it is the Rishis' layer. It is Vâyu's layer : inasmuch as they laid down Vâyu 8, it is Vayu's layer. It is the Stomas' layer: inasmuch as they laid down the hymn-forms, it is the Stomas'
1 In that case, they are laid down north of the two bricks lying on the southern end of the cross-spine, first the row of fourteen, and then, north of these, the row of six.
. Yasya dakshinapârsve lakshanam kâyasya vâ varne vå kimtarâtmakam (?) bhavati; comm.
* This clause is rather abrupt, and is, moreover, hardly logical. It is not clear whether it is the two southern bricks that are compared with the woman, or the bricks to be placed alongside of them on the north (left) side.
• Viz. such as an excess of sharp teeth (incisors)-yasya mukhalakshanam dakshinadamshtrâtirekâdi bhavati; comm. * See VIII, 4, 1, 3.
• See VIII, 4, 1, 4. See VIII, 4, I, 5.
& See VIII, 4, 1, 8. • See VIII, 4, 1, 4 seq.
[43]
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layer. It is the layer of the vital airs: inasmuch as they laid down the vital airs', it is the layer of the vital airs. Hence, whatsoever one may know, that comes to be included in the ancestry, in the kinship 2 of this layer. He then lays down two Lokamprinâs (space-filling bricks) in that corner 3: the significance of these (will be explained) farther on *. He throws loose soil thereon: the significance of this (will be explained) farther on ".
-
THE FIFTH LAYER.
FIFTH ADHYAYA. FIRST BRAHMANA.
1. He lays down the fifth layer. For now, having laid down the fourth layer, the gods mounted it,— having completed what is above the air, and below the sky, they mounted it.
2. They spake, 'Meditate ye (ketay)!' whereby, doubtless, they meant to say, 'Seek ye a layer (kiti)! Seek ye from hence upwards!' Whilst meditating, they saw that fifth layer, the far-shining heaven: that world pleased them.
3. They desired, 'Would that we could make that world foeless, undisturbed!' They spake, 'Think ye upon this, how we shall make this world
1 See VIII, 4, I, 5.
Or, in the (symbolic) meaning. The literal reading of the clause is, Thereby this layer of his becomes possessed of an ancestry and kinship (or mystic sense).'
• Viz. in the north-east corner, or on the left shoulder, whence, in two turns, the available spaces of the altar are filled up. In laying down the Lokamprinâs of the first three layers he started from the south-east, the south-west, and the north-west corners respectively. Cf. p. 22, note 1; p. 41, note 1; p. 58, note 1. See VIII, 7, 3, 1 seq.
• See VIII, 7, 2, 4 seq.
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VIII KÂNDA, 5 ADHYAYA, I BRÂHMANA, 6.
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foeless, undisturbed!' They spake, ‘Meditate ye!' whereby, indeed, they meant to say, 'Seek ye a layer! Seek ye how we shall make this world foeless, undisturbed !'
4. Whilst meditating, they saw these Asapatnâ (“foeless') bricks; they laid them down, and by means of them they made that world foeless, undisturbed ; and because by means of them they made that world foeless, undisturbed, these are called) Asapatnâs. And in like manner does the Sacrificer, by laying them down, now make that world foeless, undisturbed. On all (four) sides he lays them down : on all sides he thus makes that world foeless, undisturbed. He places them on the other side: he thereby makes that whole world foeless, undisturbed.
5. He then lays down the Virâgs: (far-shining bricks): this Virág, indeed, is that far-shining (virág) fifth layer which the gods saw. He lays them down by tens: the Virág (metre) consists of ten syllables, and this layer is 'virág.' He places them on every side; for he who shines (rules) in one direction only, does not shine far and wide, but whosoever shines in all directions, he alone shines far and wide.
6. And as to why he lays down those Asapatnâs. Now at that time, when that (part) of his body had been restored, evil beset Pragâ pati on every side. He saw those foeless bricks, and laid them down, and by means of them he drove off evil, for foe means evil; and because, by means of them he drove off the foe, evil, therefore they are (called) foeless' (bricks).
'For particulars respecting these, also called Khandasyah, see VIII, 5, 2, 1, seq.
G2
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SATAPATHA-BRAHMANA.
7. And what the gods did, the same is done now. Evil, indeed, does not now beset this (Sacrificer), but when he now does this, it is that he wants to do what the gods did; and he thereby drives off whatever evil, whatever foe besets him; and because, by means of them, he drives off the foe, evil, therefore they are (called) the 'foeless' (bricks). He places them on every side: he thereby drives off the foe, evil, on every side. He places them on the other side: from his whole self he thereby drives off the foe, evil.
8. He lays down (one) in front", with (Vâg. S. XV, 1), O Agni, drive away the foes of ours that are born, drive back those unborn, O knower of beings! cheer us, kindly and unfrowning! may we be in thy threefold-sheltering, steadfast protection!' as the text so the sense. Then behind, with (Vâg. S. XV, 2), 'With might drive away the foes of ours that are born,
The first four of the five Asapatnâs are laid down near the four ends of the spines (in the order east, west, south, north); their exact place being the second space on the left side of the spine (in looking towards them from the centre), that is to say, the space of one (? or half a) foot being left between them and the respective spine. Their position thus is the same as those of the Asvinîs in the second layer (see p. 31, note 1) except that these were placed on the Retahsik range instead of at the ends of the spines. The line-marks of these four bricks run parallel to the respective spines. The fifth Asapatna is thus laid down north of the southern one, so as to leave the space of a cubit (about a foot and a half) between them. These latter two Asapatnâs are full-sized bricks (one foot square), and not half-sized, as were the two southern Asvinîs. Moreover, whilst the southern Asapatná has its line-marks running parallel to the adjoining cross-spine (south to north), the fifth Asapatná has them running from west to east (? as well as from south to north).
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VIII KANDA, 5 ADHYAYA, I BRAHMANA, 12. 85
drive back, O knower of beings, those unborn! cheer us with kindly feeling! may we prevail! drive off our foes!' as the text so the sense.
9. That which is (placed) in front is Agni, and that behind is Agni: with Agni he (Pragâpati) then drove away evil both in front and in the rear; and in like manner now does the Sacrificer with Agni drive away evil both in front and in the rear.
10. Then on the right (south) side, with (Vâg. S. XV,3), 'The sixteenfold Stoma, vigour, wealth!' The Trishtubh consists of eleven syllables, and-the air being of Trishtubh nature-there are (in the air) four quarters. The thunderbolt is fifteenfold, and yonder sun is the sixteenfold wielder of that thunderbolt with that thunderbolt, with that Trish/ubh, he (Pragâpati) drove away evil in the south; and in like manner does the Sacrificer, with that thunderbolt, with that Trishtubh, now drive away evil in the south.
II. Then on the left (north) side, with, 'The forty-four-fold Stoma, lustre, wealth!' The Trishtubh consists of forty-four syllables, and the thunderbolt is of Trish/ubh nature: with that fortyfour-fold thunderbolt, with that Trishtubh, he (Pragâpati) drove away evil in the north; and in like manner does the Sacrificer, with that thunderbolt, with that Trish/ubh, now drive away evil in the north.
12. Then in the middle (the fifth), with, 'Agni's soil-cover thou art!'-the fourth layer indeed is the Brahman, and the Brahman is Agni, and this, the fifth layer is, as it were, the (soil-)cover of that (fourth layer); 'his sap, in truth: may the Allgods sing thy praises! Seat thee here, laden with Stomas, and rich in fat! Gain for us, by
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sacrifice, wealth with offspring!' as the text so the sense.
13. This one he lays down with its line-marks running eastward and crosswise 1; for by that one Praga pati then cut out the root of evil, and in like manner does this (Sacrificer) now thereby cut out the root of evil. On the right (south) side (from the centre he places it), for the thunderbolt has a string * on the right side ;-inside the one in the southern quarter, for it is for the sake of extension that he leaves that space.
14. The one which (lies) in front is the outbreathing, the one at the back the off-breathing: by the out-breathing he (Pragàpati) then drove away evil in front, and by the off-breathing in the rear; and in like manner does the Sacrificer now by the out-breathing drive away evil in front, and by the off-breathing in the rear.
15. And the two on both sides of the spine) are the two arms : whatever evil there was sideways of him, that he drove away with his arms; and in like manner does this Sacrificer now drive away with his arms whatever evil there is sideways of him.
That is to say, crosswise, or marked in the opposite direction to the Asapatna brick near it, viz. to the one placed east of the southern end of the cross-spine which (like all bricks placed between shoulder and thigh) has its line-marks running from south to north. The fifth Asapatna, lying immediately north of that southern one, thus has its line-marks parallel, not (as one would expect to the cross-spine, but to the further removed spine.
? This is a doubtful rendering of udyama,' which is accepted by the St. Petersb. Dict. for 'shad-udyâma,' at VI, 7, 1, 16, 18; whilst in the present case 'dakshinata-udyâma' seems to be taken by it to mean 'southward erected, southward drawn (aufgespannt).' Ud. yâma, in the sense 'extension,' might mean a protruding part, serving as a handle.
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16. The soil-bedded onel means food: whatever evil there was above him, that he (Pragå pati) drove away by means of food; and in like manner does the Sacrificer now, by means of food, drive away whatever evil there is above him.
17. And, verily, whenever he, knowing this, breathes out, he thereby drives away the evil which is in front of him; and when he breathes backward, he thereby (drives away) that which is in the rear; and when he does work with his arms, he thereby (drives away) that which is sideways of him; and when he eats food, he thereby (drives away) that (evil) which is above him : at all times, indeed, even while sleeping, does he who knows this drive away evil. Hence, one must not speak ill of him who knows this, lest one should be his evil (enemy).
SECOND BRÂHMANA. 1. He then lays down those Khanda syâs (relating to the metres). For Pragàpati, having freed himself from evil, death, asked for food; hence, to this day, a sick man, when he gets better, asks for food; and people have hope for him, thinking, 'He asks for food, he will live.' The gods gave him that food, these (bricks) relating to the metres; for the metres are cattle, and cattle are food. They (the metres) pleased him, and inasmuch as they pleased (khand) him they are (called) metres (khandas).
2. He lays them down by tens,—the Virág consists of ten syllables, and all food is 'virâg'
1 That is, the fifth Asapatna, which has a bed or layer of loose soil (purisha) spread under it.
· The Khandasyâ or Virág bricks are laid down at the end of the spines, ten in each quarter.
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(shining, or ruling): he thus bestows all food on him. On all (four) sides he places them: from all sides he thus bestows food on him.
3. [He lays them down, with, Vậg. S. XV, 4. 5), •The Course metre,'--the 'course' metre, doubtless, is this (terrestrial) world ;-'the Expanse metre,'—the 'expanse' metre, doubtless, is the air ; 'the Blissful metre,'—the 'blissful' metre, doubtless, is the sky ;-'the Encircler metre,'— the 'encircler' metre, doubtless, is the regions ;-'the Vestment metre,'— the 'vestment' metre, doubtless, is food ;-' the Mind metre,'—the 'mind' metre, doubtless, is Pragâpati; 'the Extent metre,' --the 'extent' metre, doubtless, is yonder sun.
4. The Stream metre,'—the 'stream' metre, doubtless, is the breath ;—'the Sea metre,'-the 'sea' metre, doubtless, is the mind ;-'the Flood metre,'—the 'flood' metre, doubtless, is speech ;'the Kakubh (peak) metre,'--the 'Kakubh'metre, doubtless, is the out(and in)-breathing;-'the Threepeaked metre,'—the 'three-peaked' metre, doubtless, is the up-breathing ;-'the Wisdom metre,'— the 'wisdom' metre, doubtless, is the threefold science ;-'the Arikupa metre,'—the · Arikupa 1 ' metre, doubtless, is the water ;-'the Aksharapankti metre, -the Aksharapankti (row of syllables) metre, doubtless, is yonder (heavenly). world ;'the Padapankti metre,'—the Padapankti (row of words or steps) metre, doubtless, is this (terrestrial) world ;—'the Vish târapankti metre,'—the Vishtârapankti (row of expansion) metre, doubtless, is the regions;—'the Bright Razor metre,'--the 'bright
'A word of doubtful meaning (? drinking its own windings).
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razor' metre, doubtless, is yonder sun ;-'the Vestment metre, the Investment metre,'—the 'vestInent' metre, doubtless, is food, and the 'investment' metre is food.
5. The Uniting metre,'—the ‘uniting' metre, doubtless, is the night ;-'the Separating metre,' -the 'separating' metre, doubtless, is the day ;'the Brihat metre,'--the 'brihat' (great) metre, doubtless, is yonder world ;-'the Rathantara metre,'-the 'rathantara' metre, doubtless, is this world ;-—'the Troop metre,'--the 'troop' metre, doubtless, is the wind ;-'the Yoke metre,'—the
yoke'metre, doubtless, is the air ;-'the Devourer metre,'--the devourer' metre, doubtless, is food ;'the Bright metre,'--the bright'metre, doubtless, is the fire ;-'the Samstubh metre, the Anushtubh metre,'--the 'samstubh' metre, doubtless, is speech, and the 'anushtubh' metre is speech ;'the Course metre, the Expanse metre,'--the meaning of this has been explained.
6. 'The Strength metre,'—the 'strength' metre, doubtless, is food ;-'the Strength-maker metre,' the strength-maker' metre, doubtless, is Agni (the fire) ;-'the Striver metre,'—the 'striver' metre, doubtless, is yonder world ;-'the Ample metre,'the 'ample' metre, doubtless, is this world ;-'the Cover metre,'the 'cover' metre, doubtless, is the air;-'the Unclimbable metre,'—the 'unclimbable' metre, doubtless, is yonder sun ;-'the Slow metre,'
-the 'slow' metre, doubtless, is the Parkti ;-'the Ankânka metre,'--the ankanka' metre, doubtless, is water.
1 Another word of doubtful meaning ( winding-winding).
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7. Now of those which he lays down in front, the first is the out (and in)-breathing, the second the through-breathing, the third the up-breathing, the fourth the up-breathing, the fifth the through-breathing, the sixth the out-breathing, the seventh the outbreathing, the eighth the through-breathing, the ninth the up-breathing, and the tenth, in this case, is the Sacrificer himself: this same Sacrificer, being raised and firmly established on this Virág (brick), made up of breath, lays down (bricks) extending both backward and forward, for the breathings move both backward and forward.
8. And of those on the right (south) side, the first is Agni (fire), the second Vayu (the wind), the third Åditya (the sun), the fourth Aditya, the fifth Vayu, the sixth Agni, the seventh Agni, the eighth Vâyu, the ninth Aditya, and the tenth, in this case, is the Sacrificer himself: this same Sacrificer, being raised and firmly established on this Virág, made up of deities, puts on (bricks) extending both hitherwards and thitherwards, for those gods move both hitherwards and thitherwards.
9. And of those behind, the first is this (terrestrial) world, the second the air, the third the sky, the fourth the sky, the fifth the air, the sixth this world, the seventh this world, the eighth the air, the ninth the sky, and the tenth, in this case, is the Sacrificer himself: this same Sacrificer, being raised and firmly established on that Virág, made up of the worlds, lays down (bricks) extending both hitherwards and thitherwards ;-whence these worlds extend both hitherwards and thitherwards.
10. And of those on the left (north) side, the first is the summer, the second the rainy season, the
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third the winter, the fourth the winter, the fifth the rainy season, the sixth the summer, the seventh the summer, the eighth the rainy season, the ninth the winter, and the tenth, in this case, is the Sacrificer himself: this same Sacrificer, being raised and firmly established on that Virág, made up of the seasons, lays down (bricks) extending both hitherwards and thitherwards ;-whence those seasons move both hitherwards and thitherwards?
11. And, again, those which he lays down in front are the vital airs. There are ten of them, for there are ten vital airs. He places them in the front part, for these vital airs are in the front part.
12. And those on the right (south) side are the deities,-Agni, the Earth, Vậyu, the Air, Aditya, the Sky, Kandra (the moon), the Stars, Food, and Water.
13. And those behind are the regions (quarters),four regions, four intermediate regions, the upper region, and this (earth).
14. And those on the left (north) side are the months,—two spring-months, two summer-months, two months of the rainy season, two autumn-months, and two winter-months.
15. And, again, the first ten are this (terrestrial) world, the second the air, the third the sky. By the first set of ten they (the gods) ascended this (earth), by the second the air, by the third the sky; and in like manner does the Sacrificer now, by the first set of ten, ascend this (earth), by the second the air, and by the third the sky.
16. This, then, is, as it were, an ascent away from
That is to say, they come and go.
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here; but this earth) is the foundation: the gods came back to this (earth), the foundation ; and in like manner does the Sacrificer now come back to this (earth), the foundation. And that last set of ten is this world: hence, even as (takes place) that start from the first set of ten, so from the last; for this is the same,--those two sets of ten (the first and last) are this (terrestrial) world.
17. Now these are forty bricks and forty formu. las,—that makes eighty, and eighty (asiti) means food": thus whatever he now says that he makes to be food, astti, and gives it him, and thereby gratifies him (Agni).
THIRD BRÂHMANA. 1. He then lays down the Stomabhagâ (praisesharing bricks). For at that time Indra set his mind upon that food of Pragâpati, and tried to go from him. He spake, 'Why dost thou go from me ? why dost thou leave me?'-'Give me the essence of that food: enter me therewith!'—So be it!' so he gave him the essence of that food, and entered him therewith.
2. Now he who was that Pragâpati is this very Agni (the fire-altar) that is now being built up; and that food is these Khandasya (bricks); and that essence of food is these Stomabhâgâs; and he who was Indra is yonder Aditya (the sun): he indeed is the Stoma (hymn of praise), for whatsoever praises they sing, it is him they praise thereby,—it is to that same Stoma he gave a share; and inasmuch as
· The author apparently connects 'asîti' with the root'as,' to eat.
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he gave a share (bhâga) to that Stoma, these are (called) Stomabhâgâs.
3. [He lays them down, with, Våg. S. XV, 6. 7], By the ray quicken thou the truth for truth!' -the ray, doubtless, is that (sun), and ray is food; having put together that (sun) and the essence thereof, he makes it enter his own self ;— by the starting, by the law, quicken the law!'—the starting, doubtless, is that (sun), and the starting also means food: having put together that (sun) and the essence thereof, he makes it enter his own self; -- by the going after, by the sky, quicken the sky!'--the going after, doubtless, is that (sun), and the going after also means food; having put together that (sun) and the essence thereof, he makes it enter his own self. Thus whatever he mentions here, that and the essence thereof he puts together and makes it enter his own self: By such and such quicken thou such and such !'-. Such and such thou art: for such and such (I deposit) thee!'
By the lord, by strength, quicken strength!' thus they (the bricks) are divided into three kinds, for food is of three kinds.
4. And as to why he lays down the Stomabhagas. Now the gods, having laid down the far-shining layer, mounted it. They spake, “Meditate ye!' whereby, doubtless, they meant to say, 'Seek ye a layer!' Whilst meditating, they saw even the firmament, the heavenly world, and laid it down. Now that same firmament, the heavenly world, indeed is the same as these Stomabhâgâs, and thus in laying down these, he lays down the firmament, the heavenly world.
5. The first three (bricks) are this (terrestrial)
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world, the second (three) the air, and the third (three) the sky, the fourth the eastern, the fifth the southern, the sixth the western, and the seventh the northern regions.
6. These twenty-one bricks, then, are these worlds and the regions, and these worlds and the regions are a foundation, and these worlds and the regions are twenty-one : whence they say, 'the Ekavimsa (twenty-one-fold) is a foundation.'
7. And the eight bricks which remain over are the Gayatri consisting of eight syllables; but the Gayatri is the Brahman, and as to that Brahman, it is yonder burning disk: it burns, while firmly. established on that twenty-one-fold one, as on a foundation, whence it does not fall down.
8. Now some lay down a thirtieth (Stomabhågå), with, 'Beautifully arrayed, quicken thou the kshatra for the kshatra!' saying, 'Of thirty syllables is the Virág (metre) and this layer is virag (far-shining). But let him not do so : they (who do so) exceed (this layer so as not to be) amounting to the twenty-one-fold, and to the Gayatrf; and that undiminished Virag, doubtless, is the world of Indra: in the world of Indra they raise a spiteful enemy of equal power (to Indra), and thrust Indra out of the world of Indra. And at his own sacrifice the Sacrificer assuredly is Indra: in the Sacrificer's realm they raise for the Sacrificer a spiteful enemy of equal power, and thrust the Sacrificer out of the Sacrificer's own realm. But, surely, that fire which they bring hither is no other than this Sacrificer: by means of his foundation it is he who is the thirtieth (brick) in this (layer).
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Fourth BRAHMANA. 1. He lays them down on the range of the Ashadha; for the Ashâdha is speech, and this (set of bricks ?) is the essence (of food): he thus lays into speech the essence of food ; whence it is through (the channel of) speech that one distinguishes the essence of food for all the limbs.
2. And, again, as to why (on the range) of the Ashâdhà ;—the Ashâdha, doubtless, is this earth), and the Stomabhagas are yonder sun: he thus establishes yonder sun upon this earth as a firm foundation.
3. And, again, why (on that) of the Ashådhå ;the Ashâdha, doubtless, is this earth), and the Stomabhâgås are the heart: he thus lays into this (earth) the heart, the mind : whence on this (earth) one thinks with the heart, with the mind. He lays them down on every side: he thus places the heart, the mind everywhere; whence everywhere on this (earth) one thinks with the heart, with the mind. And, moreover, these (bricks) are lucky signs: he places them on all sides; whence they say of him who has a (lucky) sign (lakshman) on every (or any) side that he has good luck (punyalakshmika).
4. He then covers them with loose soil; for loose soil (purisha) means food, and this (set of bricks) is the essence (of food): he thus makes it invisible, for invisible, as it were, is the essence of food.
5. And, again, as to why (he covers it) with loose
Or, this fire-altar.
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soil;-loose soil, doubtless, means food, and this (set of bricks) is the essence: he thus joins and unites the food and its essence.
6. And, again, as to why with loose soil ;-the Stomabhâgâs are the heart, and the loose soil is the pericardium: he thus encloses the heart in the pericardium.
7. And, again, as to why with loose soil ;-this fire-altar is the year, and by means of the soilcoverings of the layers he divides it: those first four layers are four seasons. And having laid down the Stomabhâgâs, he throws loose soil thereon : that is the fifth layer, that is the fifth season.
8. Here now they say, 'Since the other layers conclude with Lokamprinâs (space-filling bricks), and no space-filler is laid down in this (layer): what, then, is the space-filler therein ?' The space-filler, surely, is yonder sun, and this layer is he; and this is of itself' a space-filling layer. And what there is above this (layer) up to the covering of soil that is the sixth layer, that is the sixth season.
9. He then throws down the loose soil. Thereon he lays down the Vikarni and the naturally-perforated (brick); he bestrews them with chips of gold, and places the fire thereon: that is the seventh layer, that is the seventh season.
10. But, indeed, there are only six of them; for as to the Vikarni and the Svayam-âtrinnâ, they belong to the sixth layer.
11. And, indeed, there are only five of them,-on the other (layers) he throws down the loose soil with a prayer, and here (he does so) silently: in that
Or, and he (the sun) himself.
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respect this is not a layer. And the other layers end with space-fillers, but here he lays down no space-filler : in that respect also this is not a layer.
12. And, indeed, there are only three of them, - the first layer is this very (terrestrial) world; and the uppermost (layer) is the sky; and those three (intermediate layers) are the air, for there is, as it were, only one air here: thus (there are) three, or five, or six, or seven of them.
Sixth ADHYAYA. FIRST BRÂHMANA. 1. He lays down the Nâka sads (firmament-seated bricks): the firmament-seated ones, assuredly, are the gods. In this (layer) that whole fire-altar becomes completed, and therein these (bricks are) the firmament (nåka), the world of heaven: it is therein that the gods seated themselves; and inasmuch as the gods seated themselves on that firmament, in the world of heaven, the gods are the firmament-seated. And in like manner does the Sacrificer, when he lays down these (bricks), now seat himself on that firmament, in the world of heaven.
2. And, again, why he lays down the Nâkasads. Now at that time the gods saw that firmament, the world of heaven, these Stomabhâgâs? They spake,
1 The central portion of the fifth layer is here characterised as symbolically representing the firmament, the blue canopy of heaven, and the region of bliss beyond it. The outer rim of this central structure is formed by a continuous ring of twenty-nine Stomabhâ gå (st) bricks representing, it would seem, the horizon on which the vault of heaven rests. There is some doubt as to the exact manner in which this ring of bricks is to be arranged. According to Kaly. Srautas. XVII, 11, 10, fifteen bricks are to be placed south (and fourteen north) of the anûka, or spine (running through the
[43]
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* Think ye upon this, how we may seat ourselves on that firmament, in the world of heaven!' They spake,
centre from west to east). As regards the southern semicircle, the fifteen bricks are to be distributed in such a way that eight fall within the south-easterly, and seven into the south-westerly, quadrant. Some such arrangement as that adopted in the diagram below would seem to be what is intended. It will be seen that this arrangement includes two half-size bricks in the south-easterly
THE CENTRAL PART OF THE FIFTH LAYER.
st
np
D
.
st
a
1
npa
Y
пр np
st
quadrant, the one lying immediately south of the spine,' and the other immediately east of the cross-spine.' It is an awkward fact, however, that one of the commentators on the Satra referred to, states that there are to be two half-foot bricks, (one) on each side of the spine—that is, as would seem, the cross-spine.' I cannot but think, however, that this must be a mistake, as otherwise it would seem to make the construction of a continuous ring impossible. Inside this ring, on the adjoining range (viz. the Ritavya
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'Meditate ye! seek ye a layer!' whereby, indeed, they said, 'Seek ye this, how we may seat ourselves on this firmament, in the world of heaven!'
3. Whilst meditating, they saw these bricks, the Nâkasads, and placed them on (the altar): by means of them they seated themselves on that firmament, in the world of heaven; and inasmuch as through them they seated themselves (sad) on that firmament (nâka), in the world of heaven, these are the Nâkasad (bricks); and in like manner does the Sacrificer, when he lays down these (bricks), now seat himself on that firmament, in the world of heaven.
range, being the fifth range from the centre, see the diagram of the first layer, p. 17), five Nâkasads (n) are placed on the spines, with the exception of the eastern one, which is to be placed in the second space north of the spine, that is to say, a foot from it (so as to leave space between it and the spine for the left Ritavyâ; cf. VIII, 7, 1, 11, with note). In the south two half-sized bricks are laid down instead of one full-sized one. All these five bricks are of half the usual thickness so as to allow five others, the Pankakâdâs (p), being placed upon them. Of the khandasyâs, or bricks representing the metres, only three sets (of three bricks each, viz. a full-sized one flanked on either side by a half-sized one) fall within the circle formed by the stomabhâgâ-ring, viz. the trish/ubhs (t), gagatis (g), and anush/ubhs (a). The remaining space in the centre is now filled up by the Gârhapatya hearth, consisting of eight bricks. Thereon is placed a second layer of eight bricks exactly corresponding to the first, and called Punaskiti. This pile (marked by hatching in the sketch) thus rises above the fifth layer by the full depth of a brick. He then lays down the two Ritavyâs (rit) just within the ring on the east side; and the Visvagyotis (v), representing the sun, immediately west of them. Having now filled up the available spaces of the layer with Lokamprinâs, and scattered loose soil on it, he finally lays down two perforated bricks (marked in the sketch by cross-hatching), the Vikarni and the Svayamâtrinnâ, so that the latter lies exactly in the centre, and the former immediately north of it, over the 'cross-spine.'
H 2
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4. He places them in the (four) quarters; for that firmament, the world of heaven, is the quarters : he thus establishes them in the world of heaven. On the range of the Ritavyâs (he places them); for the Ritavyâs (seasonal bricks) are the year, and the world of heaven is the year: it is in the world of heaven he thus establishes them. Within the Stomabhâgås (he places them);. for this is the firmament, the world of heaven: it is therein he thus establishes them.
5. In front he lays down one, with (Våg. S. XV, 10), Queen thou art, the Eastern region,' for a queen indeed the eastern region is ;-'The divine Vasus are thine overlords',' for the divine Vasus are indeed the overlords of that region ;-'Agni is the repeller of shafts,' for Agni, indeed, is here the repeller of shafts ;—The Trivrit-Stoma may uphold thee on earth!' for by the threefold hymn(-form) this one is indeed upheld on earth ;'The Agya-sastra may support thee for steadiness' sake?!' for by the Agya-sastra it is indeed supported on earth for steadiness' sake ;-'the Rathantara-sâman for stability in the air!' for by the Rathantara-sâman it is indeed established in the air ;– May the Rishis, the first-born, magnify: thee among the gods!'—the Rishis, the first-born, doubtless, are the vital airs 4, for they are the first-born Brahman 5;—'with the measure, the width of the sky!'—that is, 'as great as the sky is, so much in width may they broaden thee !'
Or, perhaps, the Vasus are thy divine overlords ;' but see paragraph 9.
. Lit. for unwaveringness (so as not to totter). • Lit. broaden, widen. • See VI, 1, 1, 1; VII, 2, 3, 5.
* See VI, I, I, 8.
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'And he, the upholder, and the overlord,'— these two are speech and mind, for these two uphold everything here; -'may they all, of one mind, settle thee, and the Sacrificer, on the back of the firmament, in the world of heaven!' as the text, so its import.
6. Then on the right (south) side (he lays down one 1), with (Vâg. S. XV, 11), 'Wide-ruling thou art, the southern region,' for wide-ruling indeed is that southern region;-'The divine Rudras are thine overlords,' for the divine Rudras are indeed the overlords of that region;-'Indra is the repeller of shafts,' for Indra, indeed, is here the repeller of shafts-The Pañkadasa-stoma may uphold thee on earth!' for by the fifteenfold hymn it is indeed upheld on earth;-'The Praüga-sastra may support thee for steadiness' sake!' for by the Prauga-sastra it is indeed supported on earth for steadiness' sake; 'the Brihat-sâman for stability in the air!' for by the Brihat-sâman it is indeed established in the air;-May the Rishis, the first-born, magnify thee among gods. . .!' the import of this (and the rest) has been explained.
7. Then behind (he lays down one), with (Vâg. S. XV, 12), All-ruling thou art, the western region,' for all-ruling indeed is that western region; 'The divine Adityas are thine overlords,' for the divine Adityas are indeed the overlords of that region; Varuna is the repeller of shafts,' for Varuna, indeed, is here the repeller of shafts ;— 'The Saptadasa-stoma may uphold thee on
(
1 That is, the southern of the two half-sized ones to be placed in this quarter.
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earth!' for by the seventeenfold hymn it is indeed upheld on earth;- The Marutvatiya-sastra may support thee for steadiness' sake!' for by the Marutvatiya-sastra it is indeed supported on earth for steadiness' sake ;—the Vairapa-sâ man for stability in the air!' for by the Vairapa-saman it is indeed established in the air ;—May the Rishis, the first-born, magnify thee among the gods ...!' the import of this has been explained
8. Then on the left (north) side (he lays down one), with (Vậg. S. XV, 13), 'Self-ruling thou art, the northern region,' for self-ruling that northern region indeed is ;-'The divine Maruts are thine overlords,' for the divine Maruts are indeed the overlords of that region ;-'Soma is the repeller of shafts,' for Soma, indeed, is here the repeller of shafts ;-'The Ekavimsa-stoma may uphold thee on earth!' for by the twenty-one-fold hymn this one is indeed upheld on earth ;— The Nishkevalya-sastra may support thee for steadiness' sake!' for by the Nishkevalya-sastra it is indeed supported on earth for steadiness' sake ;'the Vairåga-så man for stability in the air!' for by the Vairaga-saman it is indeed established in the air ;— May the Rishis, the first-born, magnify thee among the gods ...!' the import of this has been explained.
9. Then in the middle (he lays down one'), with (Våg. S. XV, 14), 'The sovereign mistress thou art, the Great region !' for the sovereign mistress that great region indeed is ;-'the All-gods are
? That is, he lays down a half-sized brick immediately north of the southern one, and thus in the direction of the centre from that brick.
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thine overlords,' for the All-gods are indeed the overlords of that region ;-'Brihaspati is the repeller of shafts,' for Brihaspati, indeed, is here the repeller of shafts ;—'The Trinava- and Trayastrimsa-stomas may uphold thee on earth;'for by the twenty-nine-fold and thirty-three-fold hymns this one is indeed upheld on earth ;-'The Vaisvadeva- and Âgnimâruta-sastras may support thee for steadiness' sake!' for by the Vaisvadeva-and Ågnimâruta-sastras it is indeed supported on earth for steadiness' sake ;-May the Rishis, the first-born, magnify thee among the gods ...!' the import of this has been explained
10. Thus much, indeed, is the whole sacrifice, and the sacrifice is the self of the gods : it was after making the sacrifice their own self that the gods seated themselves on that firmament, in the world of heaven; and in like manner does the Sacrificer now, after making the sacrifice his own self, seat himself on that firmament, in the world of heaven.
11. He then lays down the Pañkakadà ('fiveknobbed') bricks; for the Nakasads are parts of) the sacrifice, and so indeed are the Pañkakûdâs the sacrifice: the Nakasads are these four sacrificial priests together with the Sacrificer as the fifth ; and the Pañkakadás are the Hotras. Now the Hotras are additional (to the officiating staff, or to the Hotri) and whatever is additional is an excrescence (kada); and hence, as they are five additional (bricks), they are (called) Pañkakudàs .
1 That is, the offices of Hotrakas, or assistants to the Hotri.
· These bricks would seem to have had some kind of protuberances or bulgings (kuda), or perhaps tufts, resembling a man's crest-lock or top-knot (kuda). Possibly, however, these five bricks,
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12. And, again, as to why he lays down the Nakasad-Pañkakādas ;—it is for the sake of completeness; for the Nâkasads are the self, and the Pañkakudas the mate, and this, the mate, doubtless, is one half of the self; for when one is with his mate', then he is whole and complete.
13. And, again, as to why he lays down the Nakasad-Pañkakudàs ;—the Nakasads are the self, and the Pañkakadàs are offspring (or subjects) %. Now progeny is something additional to the self, and whatever is additional is an excrescence; and hence, as they are five additional ones, they are (called) Pañkakadás.
14. And, again, as to why he lays down the Nakasad-Pañkakadás;—the Nâkasads are the regions, and the Pañkakadás, too, are the regions : what five regions there are on this side of yonder sun, they are the Nâkasads, and those which are on the other side are the Pañkakadàs. Now those regions which are on the other side of yonder sun are additional, and what is additional is an excrescence (kuda): and hence, as they are five additional ones, they are called Pañkakādas.
15. And, again, as to why he lays down the Pañkakůdâs. Now, at that time the gods were afraid lest the fiends, the Rakshas, should destroy
being placed on the top of the Nakasads, are themselves here represented as something additional. Such, at any rate, seems to be the definition of the term given in the text above and in parag. 13. The MS. of the commentary reads, 'kâyasya vai tat påvargitam (!) sa küdah kesapungah.'
'This, doubtless, is here the meaning of mithunam; and similarly in 1, 7, 2, 11, we ought to translate, The vasha kåra is the mate of those two (anuvâkyâ and yagyá).'
. See paragraph 21.
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VIII KANDA, 6 ADHYAYA, I BRAHMANA, 16. 105
these worlds of theirs from above. They put those protectors over these worlds, to wit, those shafts and missiles; and in like manner does the Sacrificer now put those protectors over these worlds, to wit, those shafts and missiles.
16. He places one in front, with (Vâg. S. XV, 15), 'This one in front, the yellow-haired one,'Agni, no doubt, is in front; and as to his saying of him as (being) in front,' it is because they take him out (of the Gârhapatya hearth) towards the front, and attend upon him towards the front1; and as to why he calls him yellow-haired, it is because Agni is, as it were, yellow;-'the sun-rayed one,' for Agni's rays are like those of the sun;-'and Rathagritsa and Rathaugas, his commander and his chieftain,' the two spring-months are these two ;'and the nymphs Puñgikasthalâ and Kratusthala-quarter and intermediate quarter,' said Mâhitthi; but army and battle these two are ;'mordacious beasts the shaft, manslaughter the missile,'-inasmuch as they fight in army and battle, those mordacious beasts are the shaft; 'manslaughter the missile,'-inasmuch as they slay one another, manslaughter is the missile;-' to them be homage!' it is to them he pays homage;-'be they gracious unto us!' they are indeed gracious to him;-'he whom we hate, and he who hates us,
1 See p. 3, note 2.
That is, 'skilled in chariot (-fight),' and 'mighty in chariot (-fight).'
The meaning of these names is rather obscure: the symbolical explanations army and battle' might seem to point to some such meanings as 'grounded on heaps' and 'grounded on intelligence (or plan).'
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him we put into their jaws!' whomsoever he hates, and whoever hates him, him he puts into their jaws. 'N. N. I put into their jaws,' thus he may name him whom he hates, and thereafter he will not be there any more. Let him disregard this also, for indeed marked out of himself is he whom he who knows this hates.
17. Then on the right (south) side (he places one), with (Våg. S. XV, 16), 'This one on the right, the all-worker,' the all-worker is this Vâyu (the wind) who blows here, for he makes everything here; and because he speaks of him as (being) 'on the right,' therefore it is in the south that he blows most ;-'and Rathasvana (chariot-noise) and Rathekitra (glorious on the chariot), his commander and chieftain;' these are the two summermonths ;- and the two nymphs, Menakâ and Sahaganyâ, -' quarter and intermediate quarter,' said Mâhitthi ; but these two are heaven and earth;—'Goblins the shaft, demons the missile;' for goblins indeed are here the shaft (weapon), and demons the missile ;—to them be homage ...!' the import of this has been explained.
18. Then behind (in the west, he lays down a brick), with (Vâg. S. XV, 17), 'This one behind, the all-embracer,'—the all-embracer, doubtless, is yonder sun ; for as soon as he rises all this embracing space comes into existence; and because he speaks of him as (being) 'behind,' therefore one sees him only when he goes towards the back (west); and Rathaprota (fixed on the chariot) and Asamaratha (of matchless chariot), his commander and chieftain ;' these are the two rainy months ;-'and the nymphs Pramlokantt (the setting one) and
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VIII KÂNDA, 6 ADHYÂYA, I BRÂHMANA, 20. 107
Anumlokanti (the rising one),'—'quarter and intermediate quarter,' said Måhitthi, but they are day and night, for these two set and rise; 'tigers the shaft, snakes the missile,' for indeed tigers are here the shaft, and snakes the missile ;-'to them be homage ...!' the import of this has been explained.
19. Then on the left (north) side (he places one), with (Våg. S. XV, 17), 'This one on the left, of everflowing blessings;' on the left is the sacrifice; and as to why he speaks of it as 'on the left,' it is because the sacrifice is performed from the left (north) side; and as to why he speaks of it as 'of ever-flowing blessings (samyadvasu),' they do indeed flow together (samyanti) to the sacrifice, thinking, this is a blessing;'-'and Tårkshya and Arishtanemi, his commander and chieftain,' these are the two autumn-months; and the inymphs Visvakt (the all-inclined) and Ghritaki (the ghee-inclined),'--' quarter and intermediate quarter,' said Mähitthi, but they are the vedi (altar) and the offering-spoon, for the altar is all-inclined', and the offering-spoon is ghee-inclined ;—'water the shaft, wind the missile,'-water indeed is here the shaft, and wind the missile, for from this side it blows hot, and from that side cold;' to them be homage ...!' the import of this has been explained.
20. Then in the middle (he lays down one), with (Våg. S. XV, 19), "This one above, the boonbestower ?,' the one above, doubtless, is Parganya (the rain-god); and when he speaks of him as (being)
That is, extending in every direction, or open (common) to all. Lit..he whose boons are (bestowed) hitherwards.'
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above,' it is because Parganya is indeed above; and when he calls him the boon-bestower, it is because from there the boon, rain, food for creatures, is bestowed hitherwards ;-'and Senagit (the conqueror of armies) and Sushena (leader of a fine army), his commander and chieftain,' these are the two winter-months; --'and the nymphs, Urvast and Půrvaskitti,'-—'quarter and intermediate quarter,' said Mâhitthi, but they are oblation and dakshina (priest's sacrificial fee) ;-'thunder the shaft, lightning the missile,' for indeed thunder is here the shaft, and lightning the missile ;-'to them be homage ...!' the import of this has been explained.
21. These, then, are the shafts and missiles which the gods then put as protectors over these worlds, and as to offspring (or subjects ), they are the commander and chieftain ; and as to the mates, they are those nymphs, having thus become complete with offspring and with mates, the gods seated themselves on that firmament, in the world of heaven; and in like manner does the Sacrificer, having become complete with offspring and a mate, now seat himself on that firmament, in the world of heaven.
22. Now, these are ten (Nakasad-Pañkakûdà) bricks he lays down ;-of ten syllables the Virág consists, and this layer is virag (far-shining). There are, however, only five of them, for he lays them down by two and two. And, verily, they are prayers for prosperity to Agni (the fire-altar). He places them in the last layer, for this, the last, layer is the end of Agni: it is thus at the end that he
See paragraph 13.
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109
pronounces the prayers for prosperity to Agni. There are five of them, for at the sacrifice there are five prayers for prosperity? Between (each) two he throws loose soil, for these two bricks being fires, he does so fearing lest these two fires should blaze up together. And, moreover, loose soil means food : it is thus by means of food that he brings about concord between them.
23. Now, then, as to the order of proceeding. Having laid down (a brick) in front, he lays down those on the right, behind, on the left, and in the middle. Then the upper ones: having first laid down one in front, he lays down those on the right, on the left, in the middle, and behind. And, indeed, the world of heaven is entered from below, for the gods, having at that time, closed up these worlds on all sides, entered the world of heaven from below; and in like manner does the Sacrificer now, having closed up these worlds on all sides, enter the world of heaven from below.
SECOND BRAHMANA. 1. He lays down Khandasyâs (bricks pertaining to the metres). Completed now was the entire
1 Viz. for long life, offspring, cattle, social distinction, and a seat in heaven ;- see the Säktavāka I, 9, 1, 12 seqq.
The Khandasyås represent the principal metres, the formulas used in laying down the bricks being composed in the respective metres. They consist of ten sets of three bricks each, representing the ten metres, and an additional (thirty-first) brick representing the Atikhandas, or redundant metre. Each of the ten sets consists of a central brick of full size (a foot square) placed on one of the two spines, and flanked on the two sides not in contact with the spines by two half-size bricks, viz. :- 1. gayatrî at the east end of the spine'; 2. trish/ubh on the Retahsik range (joining the
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Agni (fire-altar). He now wished for distinction1; for, indeed, heretofore he was not equal thereto, that he should sustain distinction; whence people here say even to this day, 'This one is not equal to sustain distinction, either in regard to kingship or to headmanship.' The gods bestowed on him this distinction, these Khandasyâs; for the metres (Khandas) are cattle, and cattle are food, and (a position of) distinction is food.
2. He lays down triplets, for the beast is threefold-father, mother, son; and, embryo, amnion, chorion; and food also is threefold-ploughing, rain, seed. One of them is an Atikhandas 2 (excessive metre); for even whilst being one, that one is beyond all the metres. And as to that distinction, it is this great hymn of praise; and as to this great hymn of praise, it is these Khandasyâs.
IIO
Gârhapatya on the front, or east, side); 3. gagati, on the Retahsik range (joining the Gârhapatya on the west side); 4. anush/ubh, immediately behind (west) of the preceding set; 5. brihatf, immediately in front (east) of the Ashâdhâ range (on which the ring of Stomabhâgâs lies); 6. ushnih, immediately behind (west of) the Gayatris; 7. kakubh, immediately in front of the brihatî bricks; 8. pankti, at the right (south) end of the 'cross-spine'; 9. padapankti, at the left (north) end of the 'cross-spine'; 10. the single atikhandas, immediately in front (east) of the fifth Asapatnâ (see p. 84, note 1); 11. (three) dvipa dâ at the back, or west, end of the 'spine.'
That is, a position of honour, or dignity (srf).
By the metres, here and in the sequel, we have to understand bricks laid down with verses of the respective metres (Vâg. S. XV, 20 seq.).
That is, the so-called Great Litany (mahad uktham) recited, by the Hotri, in response to the Mahâvrata-sâman, or Chant of the Great Rite, at the midday service of the last but one day-the so-called Mahâvrata day-of the sacrificial session called 'Gavâm ayanam,' or 'cows' walk.' The Great Litany consists of numerous
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VIII KÂNDA, 6 ADHYÂYA, 2 BRÂHMANA, 3. III
3. Gayatri verses are the head thereof, Trishtubh verses the body, Gagati verses the spine, and Parkti verses the wings; and of each of those Kakubh verses he takes four syllables', and adds them to
hymns, and some detached verses and prose formulas; the whole matter recited being stated to amount to as many syllables as would make up a thousand Brihati verses (of thirty-six syllables each) - or 36,000 syllables in all. From an analysis I have made of the Mahad uktham (or Brihad uktham, as it is also called) as contained in MS. Ind. Off. 1729 D, I find it very difficult to check the accuracy of this statement; my own calculation yielding somewhere about 37,200 syllables. By leaving out of account the prose formulas, as well as certain repetitions, this gross amount might, however, be reduced to something approximating the stated number of syllables; and, indeed, the calculation was probably not meant to be a strictly accurate one. Cf. II, 3, 3, 19, 20 (where read Litany, instead of Chant), part ii, p. 430. See also IX, 1, 1, 44; 3, 3, 19; 5, 2, 12.
1 The three Kakubh verses (Vág. S. XV, 38-40) consist each of. three pâdas, of eight, twelve, and eight syllables respectively, making together twenty-eight syllables. In muttering these verses, whilst laying down the Kakubh bricks, he is to omit four syllables from the middle pâda of each verse (so as to make it equal to the other two padas), and mutter the words thus omitted at the beginning of the verse (XV, 47) used in laying down the Atikhandas brick. The syllables omitted make up complete words in each case, viz. 'bhadra râtih' at the beginning of the middle pâda of the first verse, vritratûrye' at the end of the middle pâda of the second verse, and 'ava sthira' at the beginning of the second pâda of the third verse. The remaining portions of the Kakubh verses consist each of twenty-four syllables, or a Gayatri verse. The references here made to the different parts of the Mahad uktham are not quite clear, and seem to point to a somewhat different arrangement of that sastra from that known from the Aitareyâranyaka and the Sânkhâyana-sätra. The head, indeed, consists of Gayatri verses, viz. Rig-veda I, 7, either the whole, or, according to some, only certain verses of it; the first three, or nine, verses also forming the opening triplet, or triplets, of the Mahâvrata-saman, the chanting of which precedes the recitation of the Great Litany.--For the trunk (åtman) consisting of trishtubh verses, see p. 113, note 1, The Pańkti verses, on the other hand, said to form the wings, would seem to be Rig-veda VIII, 40 (consisting of mahapanktis),
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the Atikhandas: that is just (what makes) that Atikhandas (excessive metre). The others result in Gayatris : this is just that fourscore of Gâyatris 1, the Brihatis (make up) the Barhata one, and the Ushnihs the Aushniha one. And as to the Vasa hymn?, the two half-verses, the Aindragna (hymn), and the insertion, they are Atikhandas; and as to
which in the Aitareya arrangement forms the thighs, whilst Sânkhayana makes it part of the tail; and the Gagatîs here referred to as constituting the spine would seem to be X, 50, which immediately follows the hymn just referred to, and is not otherwise identified with any special part of the body. The MSS. of Harisvâmin's commentary are unfortunately hopelessly corrupt in this place.
The Great Litany begins with seven sets of hymns and verses, meant symbolically to represent certain parts of Agni-Pragâpati's bird-shaped body which the ceremony is intended to reconstruct, viz. the trunk, neck, head, the roots (sinews) of the wings, the righ and left wings, and the tail, between each two of which the so-called Sadadohas verse (Rig-veda VIII, 69, 3), meant to represent the vital air pervading the body, is inserted, as it also is between (and before) the succeeding parts. In the first place there follow three eighties of triplets (or, 3 sets of 240 verses each) in the Gayatri, Brihati and Ushnih metres respectively. Then comes the Vasa hymn representing the belly, and finally a course of recitations (beginning with hymn VIII, 40) forming the thighs. For the part which the number eighty plays in the Agnikayana ceremony, see Weber, Ind. Stud. XIII, P. 167. The term for eighty,' viz. 'asîti,' gives rise to a constant etymological play. Sayana, on Aitareyâranyaka I, 4, 3, 1, takes it in the sense of 'food' (cf. above, VIII, 5, 2, 17); whilst the Aranyaka itself takes it in that of 'obtainment':-yad evâsmin loke yaso, yan maho, yan mithunam, yad annadyam, ya 'pakitis tad asnavai, tad apnavâni, lad avarunadhai, tan me 'sad iti.
9 This is the hymn Rig-veda VIII, 46, ascribed to Vasa Asvya, and remarkable for the variety of metres in which the different verses are composed. In the Aitareya recension of the Mahad uktham (which is followed in the MS. of this sastra referred to in the preceding notes) only the first twenty verses are recited, but verse 15 being divided into two verses, a dvipada and an ekapadá, they are thus made to consist of twenty-one verses.
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the Nada-verse', the Sadadohas, the pâda-appendages, and whatever Anushtubh matter there is, they make up the Anushtubhs.
4. Dvipada verses are the feet. Thus much is the great hymn of praise, and the great hymn of praise means distinction: the gods bestowed upon him (Agni) all that distinction, and so does this (Sacrificer) bestow upon him all that distinction.
5. And, again, as to why he lays down the Khandasyâs. The gods at that time saw that firmament, the world of heaven, to wit, those Stomabhâgås, and entered it. Of those entering, Pragâpati entered
i The Nada-verse, Rig-veda VIII, 69, 2 (in the ushnih metre) deriving its name from its first word 'nadam,' plays a peculiar part in the recitation of the Great Litany. The opening set of recitations, representing the trunk, consists of twenty-two trishtubh verses; these are recited in such a way that after each pâda (or quarter of a verse) one of the four pâdas of the Nada-verse is inserted. The chief object of this insertion seems to be a metrical one, viz. that of making each two padas (trishtubh = eleven, and ushnih = seven syllables) to form half a brihatî verse (eighteen syllables), the whole Litany being computed by brihati verses. Moreover, of v. 3 of the first Trish/ubh hymn of this set (Rig-veda X, 120) only the first two pâdas are recited at this stage (whilst the remaining two are recited in different places later on), and this half-verse is followed by a brihatî and a satobrihatî pâda (VII, 32, 23 C, and VI, 46,2 c), after which the recitation proceeds with verse 4 of the first hymn. This seems to account for one of the two half-verses here referred to, whilst the other would seem to be VII, 20, I a, b, recited later on in the sastra. Cf. Prof. F. Max Muller's translation of Aitareyâr., Sacred Books of the East, vol. i, p. 181 seqq.-The Aindragna hymn is VIII, 40, 1-9; 11; 12, being the first hymn of the portion representing the thighs. It consists of ten mahapankti verses (6 X 8 syllables)-each of which is split up into two Gayatrî verses (3 x 8 syllables)—and one trishtubh verse. The chief anushrubh verses are those of Rig-veda I, 11, 1-8, which are recited in a peculiar way (towards the end of the sustra), the last pâda of each verse interchanging with the first pada of the next verse.
[43]
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last; and thus Pragậpati is the same as these Khandasyâs.
6. Gayatris are his head; and as to its being Gayatris, it is because the head is of Gayatri naturel. There are three, for the head is threefold. He places them on the forepart (of the altar), for the head (of the animal or bird) is in front.
7. Trishtubhs are the chest : he places them on the range of the two Retahsik; for the Retahsik are the ribs, and the ribs lie against the chest.
8. Gagatis are the hips; at whatever distance from the naturally-perforated (central) brick he places the Trishtublis in front, at the same distance from it he places the Gagatis behind; for that naturally-perforated brick is this vital air in the middle (of the body), and as far from that vital air as the chest is in front, so far are the hips behind.
9. Anushtubhs are the thighs: he places them close to the Gagatis, and thereby places the thighs close to the hips.
10. Brihatis are the ribs, Kakubhs the breast-bone. The Brihatis he places between the Trishtubhs and Kakubhs, whence these ribs are fastened on both sides, on the breast-bone and the costal cartilages ?
11. Ushrihs are the neck: he places them close to the Gayatris, and thereby places the neck close to the head.
12. Panktis are the wings: and as to their being
1 Either because the Gayatri is the foremost and noblest of metres (whence its symbolical connection with the priestly office and caste), and the one used for the first stoma at the Soma-sacrifice; or on account of its being best adapted for singing. For the threefold nature of the head, as consisting of skin, bone, and brain, see XII, 2, 4, 9.
$ That is, on both sides of the chest; see XII, 2, 4, 11, with note.
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Panktis, it is because the wings are of Pankti (fivefold) nature. He places them sideways, for these wings are sideways. Whatever metre is larger that he places on the right side: he thus makes the right half of the animal the stronger, and hence the right side of an animal is the stronger.
13. An Atikhandas is the belly; for the metres are cattle, and cattle are food, and food is (what fills) the belly, because it is the belly that eats the food : hence when the belly gets the food, it becomes eaten and used up. And inasmuch as this (brick) eats (atti) the metres (khandas), the cattle, it is called Attikhandas, for Attikhandas is really what is mystically called Atikhandas; for the gods love the mystic.
14. A (brick) covered with loose soil is the womb. These two he lays close to each other, for the belly and the womb are close to each other. They are connected with loose soil, for loose soil means flesh, and both the belly and the womb are connected with flesh. The former is an Atikhandas, the latter a soil-bedded one (purishavati), for the belly is higher, and the womb lower.
15. He places them so as to extend eastwards, for in an easterly direction this Agni (fire-altar) is built; and, moreover, in one moving forward, both the belly and the womb are moving forward. Outside the Stomabhâgâs (he places them), for the Stomabhâgâs are the heart, and the heart is highest, then (coines) the belly, then the womb.
16. He places them south of the naturally-perforated (brick). Now, in the first layer, he places
· Or, as one tending (iying) eastwards.
I 2
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both the belly and the womb north of the naturallyperforated one ?; for that naturally-perforated one, indeed, is what this vital air in the middle (of the body) is: he thus places the belly and the womb on both sides of that (central) vital air, and hence the belly and the womb are on both sides of that central vital air.
17. The Dvipadâs are the feet (the stand);—and as to its being Dvipadas (verses of two feet), it is because the feet are a pair. There are three (such verses), for a stand 2 (tripod) is threefold. He lays them down at the back, for the feet are at the back (of the body).
18. That body of his (Agni) is well-made ;-and, indeed, for whomsoever they thus make that body of his so as to be well-made, he becomes possessed of that body of his as a well-made one; but for whomsoever they make it otherwise than that, for him they make that body of his so as to be ill-made, and he becomes possessed of an ill-made body.
19. It is with reference to this that these two sâma-nidhanas (finales of sâman-hymns) are uttered, - The light (is) in the highest heaven of the gods,' and, “The gods (are) in the highest heaven of the
According to VII, 5, 1, 38, the fire-pan is supposed to represent the belly, and the mortar the yoni; and these two were, in the first layer, placed north of the svayam-atrinnâ, or naturally-perforated brick, so as to leave the space of a full brick between them and that central brick of the layer; cf. VII, 5, 1, 13. In the sketch of the central part of the first layer (p. 17), the two northernmost bricks, marked p, represent the fire-pan and mortar.
? That is, the feet and back part of the body, or the tail, the latter, in a sitting bird, forming, as it were, a third foot or support to the body.
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light;'—for when on that occasion the gods were entering (heaven), Pragâpati was the last to enter : that is why he says, The light (is) in the highest heaven of the gods.' And as to why he says, “The gods (are) in the highest heaven of light,' the light, doubtless, is this Agni (the fire-altar), and it is on his highest layer that all the gods have thus entered: this is why he says, ' The gods are in the highest heaven of light.'
THIRD BRAHMANA.
1. He lays down the Garha patya. For the gods, having obtained this much, thought they had succeeded. They spake, 'Whereby have we succeeded in this ? '—' By means of the Garhapatya,' they said ; 'for, after building the Gårhapatya' and mounting thereon, we saw the first layer, from the first (we saw) the second, from the second the third, from the third the fourth, from the fourth the fifth, and from the fifth this one.'
2. They spake, ‘Think ye upon this, how there may be success here for us !' They spake, 'Meditate ye (kit)!' whereby, indeed, they meant to say,
Seek ye a layer (kiti)! seek ye whereby there may be success here for us!
3. Whilst meditating, they said this : ‘Let us bring this one here and put it on (the fire-altar)!' Having brought this (Gârhapatya) here, they put it
? For the building of the separate Gårhapatya hearth, on which the sacred fire was transferred from the Ukhá (fire-pan), see part iii, p. 298 seq.; its sketch, p. 302. A similar hearth is now built on the fifth layer of the Ahavanîya fire-altar.
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on. They disputed about it:-in the front part (of the fifth layer) the Vasus, on the right side the Rudras, on the hind part the Adityas, on the left side the Maruts, and above it the Visve Devâs said, 'Here let us lay it down ! here let us lay it down!'
4. They spake, 'Let us lay it down in the middle: when laid down in our midst, it will belong to all of us. They laid it down in the middle (of the fifth layer), and thus they laid that success into the self (or the body of the altar) ;-in the middle (they laid it): they thus laid that success into the very middle of (Agni's and their own) self. And in like manner does the Sacrificer, when he lays down the Gârhapatya, lay that success into (his own) self; and (by laying it down) in the middle, he lays that success into the very middle of the self.
5. And, again, as to why he lays down the Gårhapatya. The Gârhapatya, doubtless, is food, and this built Agni is an eater: it is to the eater he thus offers that food ;-in the centre (he lays down the Garhapatya): in the very middle (of the body) he thus lays food into him.
6. And, again, as to why he lays down the Gârhapatya. The world of the gods, doubtless, is the Vedi (altar-ground); but that (original Gârhapatya) is built up outside the Vedi : thus, when he brings it here and lays it down (on the fire-altar), he then establishes it (or him, Agni) on the Vedi, in the world of the gods.
7. And, again, as to why he lays down the Garhapatya. The lotus-leaf', doubtless, is a womb, but
· For the lotus-leaf, which is the first thing laid down in the centre
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that (Gârhapatya) is built up outside the womb, and outside of the womb indeed takes place that performance regarding the fire-altar which takes place prior to the (laying down of the) lotus-leaf: thus, when they bring it (the Gârhapatya) here and lay it down, he then establishes it in the womb, on the lotus-leaf; and thus indeed it is not outside. Eight bricks he lays down: the significance of this has been explained'. He builds it up with the same formulas and in the same order, for this one is the same as that (former Gârhapatya Agni): he thus brings it (or him) here and lays down.
8. He then lays down the Punaskiti. Now at that time the gods, having built the Gârhapatya, did not find success therein; for the Gârhapatya pile is a womb, and success in a womb consists in seed, in generative power; and in this womb they saw no seed, no generative power.
9. They spake,' Think ye upon this, how we may lay seed and generative power into this womb!' They spake, 'Meditate ye!' whereby, indeed, they meant to say, 'Seek ye a layer! seek ye that we may lay seed and generative power into this womb!'
10. Whilst meditating, they saw this Punaskiti, and put it on (the Gârhapatya), and thereby laid seed and generative power into this womb;-in the centre (they placed it): they thus laid seed and
of the altar-site on which the (Âhavanîya) altar is to be raised, see VII, 4, 1, 7 seqq. The Gârhapatya had been built previous to that (VII, I, I, I seqq.).
1 See VII, 1, 1, 19 seqq.
The Punaskiti (re-piling) is a second pile or layer of eight bricks corresponding exactly to the first, and placed thereon.
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generative power into the very middle of this womb. And in like manner does the Sacrificer now, when he lays down the Punaskiti, lay seed and generative power into this womb;-in the centre (he lays it down): he thus lays seed and generative power into the very middle of this womb.
11. Now some lay it down on the hind part of the bird-like altar), because it is from the hind part that seed is introduced, to wit) on the juncture of the tail (and the body), for it is from (the part near) the tail that seed is introduced. Let him not do this, for they who do this lay seed and generative power outside the womb; but let him rather place it in the centre : he thus lays seed and generative power right into the womb.
12. He lays down eight bricks, - the Gayatri (metre) consists of eight syllables, and Agni (the fire-altar) is of Gayatri nature: as great as Agni is, as great as is his measure, so great he thus introduces him in the form of seed. Five times he settles' it,- of five layers consists the fire-altar, five seasons make a year, and Agni is the year : as great as Agni is, as great as is his measure, by so much he thus introduces him in the form of seed. Eight bricks he 'settles' five times, that makes thirteen, -thirteen months make a year, and there are thirteen 'layerfillings' of the altar : as great as Agni is, as great as is his measure, so great he thus becomes.
13. And as to why he lays down the Punaskiti. Now, in laying down the Gârhapatya (hearth) upon the Åhavaniya, he surely does what is improper ; but when he lays down the Punaskiti he thereby brings this Agni (or altar) that has been built, and builds it up again thereon; and because he again
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(punas) builds up (ki) that (Agni) already built, therefore (this is called) Punaskiti.
14. Now some lay down the Garhapatya on the hind part, and the Punaskiti on the front part (of the built altar), for these two are the Åhavaniya and the Gârhapatya, and these two fires are (placed) in this way?. Let him not do this, for the Garhapatya is this (terrestrial) world, and the Ahavaniya is the sky; and above this (earth) surely is yonder (sky); let him therefore place it (the Punaskiti) on the top of that (Gårhapatya).
15. And as to why he lays down both the Gârhapatya and the Punaskiti. These two, doubtless, are the Vedi and the Uttaravedi (high-altar) of Agni. Now those two former (altars of this kind) which he throws up? belong to the Soma-sacrifice, but these belong to the fire-altar; and when, after laying down these two, he deposits Agni (the fire) thereon, then he establishes him both on the Vedi and the Uttaravedi.
16. And, again, as to why he lays down the Punaskiti. This, doubtless, is a repeated sacrifice (punaryagña), and higher (than the ordinary sacrifice) is this worship of the gods: he thus sets up a repeated sacrifice, and the higher worship of the gods; and the repeated sacrifice inclines (accrues) to him.
17. And, again, as to why he lays down the
In the ordinary sacrifices the Gârbapatya hearth is placed behind (west of), and the Ahavanîga on the front (or east) end of, the Vedi.
* That is, at the performance of an ordinary Soma-sacrifice. For the vedi and uttaravedi on that occasion, see III, 5, 1, I seq.; 12 seqq. (part ii, p. ui seqq.)
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. Punaskiti. This (altar), doubtless, is that same Agni whom in the beginning the vital airs, the Rishis, made up1. He now builds him up again; and inasmuch as he again (punas) builds up (ki) that (Agni) already built, therefore also it is (called) Punaskiti.
18. [He lays down the first brick, with, Vâg. S. XV, 49], 'With what fervour the Rishis entered upon the sacrificial session,' he thereby means those Rishis (the vital airs);-kindling the fire and gaining the light,'-that is, 'kindling the fire, and gaining the heavenly world; '-'upon that firmament I place the Fire,'-the firmament, doubtless, is the heavenly world;—whom thinkers call the straw-spreader,'-the thinkers (or men) are they who are wise; and 'straw-spreader' he says, because he (Agni) has ever the (sacrificial) straw spread for him.
19. [The second brick, with, Vâg. S. XV, 50], 'With our wives let us follow him, O gods! with our sons and brothers, or our golden treasures; that is, 'let us follow him with our all;'-'gaining the firmament in the world of righteousness;—the firmament, doubtless, is the heavenly world: thus, 'gaining the heavenly world in the world of righteousness; '-' above the third luminous back of the sky,'-for this, indeed, is the third luminous back of the sky where this (Agni) now burns 2.
1 See part iii, p. 143.
That is, on this altar where the fire will soon be burning. It seems also to refer to the sun burning over the third heavenas the counterpart of the Agni of the fire-altar.
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1
20. [The third brick, with, Vâg. S. XV, 51], 'Unto the centre of speech did he mount, the nimble,' -for this, indeed, is the centre of speech where he now is built up; and 'the nimble (bhuranyu),' that is, 'the sustainer 1 (bhartar);'-'this Agni, the good lord, the heedful,'-that is, 'this Agni, the lord of the good, the heeding one;'-established upon the back of the earth, he the brilliant,'-that is, 'established on the back of the earth, the shining one;'-'let him tread under foot any hostile!'-that is, 'let him tread under foot all evildoers.'
21. [The fourth brick, with, Vâg. S. XV, 52), 'This Agni, the most mettlesome bestower of strength,'-that is, 'the most vigorous bestower of strength;'-'may he glow a thousandfold, unremitting, that is, 'may he shine a thousandfold, not unheedful;'-'blazing in the middle of the sea,'-the sea, doubtless, means these worlds: thus, shining in these worlds; '-'go forth to the divine abodes!'—that is, 'go forth to the heavenly world!'
22. [The fifth brick, with, Vâg. S. XV, 53], 'Gather ye together! draw ye nigh together!'-he thereby says to those Rishis, 'Gather ye him together! draw ye nigh to him together!'-' Make ye Agni's paths to lead to the gods!'--as the text so the meaning;-making the parents
1 That is, the sustainer of the world (gagad-bhartar), according to Mahîdhara; an etymological play on the word 'bhuranyu.'
? The texts have 'agne,' O Agni! the verbal form 'krinudhvam' being explained by Mahîdhara as an irregular singular form for krinu,' (make thou). The verse seems, however, corrupt.
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young again,'—the young parents, doubtless, are speech and mind, and these two fires also are speech and mind ; 'in thee hath he spun out this thread,'-he thereby means that thread (of the sacrifice) which has been spun out by the Rishis.
23. [The sixth brick, with, Vag. S. XV, 54), 'Awake, O Agni, and be watchful!'-he thereby says to this Agni, Wake thou over this one', and watch thou over him!'--'Wish and fulfilment, meet ye and he together?!'-as the text, so the meaning ;-Upon this, the higher seat,' — the higher seat, doubtless, is the sky ;-'sit ye down, O All-gods, and the Sacrificer!'-he thereby makes the Sacrificer sit down together with the Visve Devas.
24. [The seventh brick, with, Vâg. S. XV, 55), • Whereby thou carriest a thousand, whereby, O Agni, all wealth,'—for that, indeed, is his most acceptable power whereby he carries a thousand, and all wealth ;-'thereby lead thou this sacri. fice of ours unto the light to go to the gods!'
—that is, thereby lead thou this our sacrifice to the heavenly world to go to the gods.'—The eighth brick, with, Våg. S. XV, 56), “This is thy natural womb...;'-the meaning of this has been ex
· The author (not Mahfdhara) seems rather to take udbudhyasva' in a transitive sense (wake thou him'), as Mahîdhara certainly does the second imperative pratigâgrihi,' 'make him (the Sacrificer) carefull'
• The text has the 2nd person dual, which Mahidhara explains by the 3rd dual (yagamanena saba samsrishte bhavatâm— May the two become united with the Sacrificer'), because of the nominative ishtâpârve,' instead of the vocative.
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plained1. Eight bricks he lays down: the meaning of this also has been explained 2.
SEVENTH ADHYAYA. FIRST BRAHMANA.
1. He lays down two Ritavyâ (seasonal bricks). The seasonal (bricks) are the same as these seasons: it is the seasons he thereby lays down. And, indeed, the seasonal ones are everything here, for the seasonal ones are the year, and the year is everything here he thus lays down everything here. And generative power they also are, for the seasonal ones are the year, and the year means generative power: it is generative power he thus lays down (or bestows on Agni and the Sacrificer).
2. And, again, as to why he lays down seasonal (bricks), the seasonal (ones) are the nobility and these other bricks are the peasantry: he thus places the nobility as the eater among the peasantry. He lays down (some of) them in all the layers: he thus places the nobility as the eater among the whole people 3.
3. And, again, as to why he lays down seasonal (bricks), this fire-altar the year, and it is joined together by means of the seasonal (bricks): he thus makes the year continuous, and joins it together, by means of the seasons. These (formulas of the seasonal bricks) begin in a different way, but end in the same way; for the seasons were created, and, when created, they were different.
4. They spake,' While being thus, we shall not be
1 Viz. VII, 1, 1, 28.
Or, he places the chieftaincy in
2 Viz. VII, I, I, 32. every clan.
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able to procreate : let us unite with our forms!' They united in each single season with their forms, whence there is in each single season the form of all the seasons. As to their (formulas) beginning in a different way, it is because they were created different (or separately); and as to their ending in the same way, it is because they united with their
forms.
5. He lays them down, with (Vâg. S. XV, 57), *Tapa and Tapasya, the two dewy seasons,'— these are the names of these two : it is thus by their names that he lays them down. Tapa (the burner), doubtless, is yonder sun : from him these two seasons are not separated ; and inasmuch as these two seasons are not separated from him, they are called Tapa and Tapasya.
6. ‘Agni's coupling-link thou art,'—this firealtar is the year, and it is joined together by means of the seasonal (bricks) : he thus makes the year continuous, and joins it together by means of the seasons ;— May Heaven and earth fit into one another! may the waters and plants fit into each other!'-he thereby makes everything here to fit in by means of the seasons : May the fires fit into one another, each singly, working harmoniously together for my supremacy!'for these single bricks are the same as those fires : he thus says this so that they may fit in with each other for the supremacy of those two seasons ;
whatever fires there are, at one with each other, within these two, Heaven and Earth;'— as the text is, so is its meaning ;-'let them draw
1 Or, all this universe.
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VIII KÂNDA, 7 ADHYAYA, I BRÂHMANA, 9. 127
together, fitting in with the two dewy seasons, even as the gods draw together unto Indra;'that is, 'even as the gods are drawing together round Indra, so may they draw together for supremacy round these two seasons.' Two bricks there are, because the season consists of two months. Only once he 'settles' them : he thereby makes the season to be one.
7. And as to why he now lays down these two ;this fire-altar is the year, and the year is these worlds: the fifth layer of this (altar) is the sky, and the dewy season of this (year) is the sky; and when he now lays down these two (bricks), he thereby restores to his (Agni's) body what these two are thereto : this is why he now lays down these two (bricks).
8. And, again, as to why he now lays down these two ;—this Agni (the fire-altar) is Pragâpati (the lord of generation), and Pragâpati is the year : the fifth layer is his (Agni's) head, and the dewy season is its (the year's) head; and when he now lays down these two (bricks), he thereby restores to his (or its) body what these two are thereto : this is why he now lays down these two (bricks).
9. He lays down the two seasonal ones prior to the naturally-perforated one and to the Visvagyotis; for the last naturally-perforated one is the sky', and the last Visvagyotis ? (all-light brick) is
For the symbolic meaning of the three svayam-âtrinnâs, as the central bricks of the first and third layers, and the one lying on the centre of the fifth layer, see part iii, p. 155, note 8.
. On the three Visvagyotis bricks, placed in the same layers, as representing the gods Agni, Vâyu and Aditya respectively, see VI, 3, 3, 16; 5, 3, 3.
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the sun: he thus places the seasons on this side of the sky and the sun ; whence the seasons are on this side thereof. But generative power there also is in these seasonal bricks)": he thus places generative power on this side of the sky and the sun; whence procreation takes place only on this side of them, but stationary, indeed, is procreation beyond them, for just as many gods as there were of old, so many there are now.
10. Now, the (first) two seasonal (bricks) he lays down subsequently to the first naturally-perforated one, and to the first Visvagyotis; for the first naturally-perforated one is this (earth), and the first Visvagyotis is Agni : thereupon he places the seasons, whence the seasons are upwards from this (earth). But generative power there also is therein: he thus places generative power above this (earth); whence procreation only takes place above (upon, not under) this (earth).
11. Let him not derange these (seasonal bricks) 2 lest he should derange the seasons, for deranged are
"Or, But these (bricks) also are (or mean) generative power, cf. paragraph 1.
That is, he is not to shift them from their proper place, but place each subsequent pair exactly on those laid down before, As a matter of fact, however, these two bricks (if we determine their site by mere calculation) would seem, in the fifth layer, to lie by half a foot further away from the central point, than the Ritavyás of the other layers do. This is owing to the fact that whilst, in the layers in which a Svayamátrinnâ lies in the middle, only one half of these central bricks lie on the east side of the central point, in the present layer the eastern portion of the Gårhapatya (occupying the central part of the layer) consists of full-sized bricks. This discrepancy of half a foot was probably made good by some space being left, which was afterwards filled up with earth; unless, indeed, the Svayamâtrinnâs, as apparently natural stones, were allowed to somewhat exceed the ordinary size of bricks.
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129
the seasons for him who dies : hence, in whatever place he lays down the first two, there let him lay down all.
12. But the seasonal (bricks), indeed, are also these (three) worlds : by the (different) layers he thus builds up these worlds one above the other. And the seasonal (bricks), indeed, are also the nobility: by the (different) layers he thus builds up the nobility above (the peasantry). And the seasonal ones, indeed, are also the year: by the (different) layers he thus builds up the year. Let him not thereafter place over them any other brick with a sacrificial formula, lest he should place the peasantry above the nobility.
13. Now these same (bricks) are indeed steppingstones, for by means of the seasonal (bricks) the gods then stepped over these worlds, both from hence upwards and from above downwards: and in like manner does the Sacrificer now, by means of the seasonal (bricks), step over these worlds, both from hence upwards and from above downwards.
14. Now, the Karakâdhvaryus lay down here yet other 'stepping-stones'; but let him not do so, for they do what is redundant, and these are indeed (all) the stepping-stones.
15. He then lays down a Visvagyotis (all-light brick) ;—the last Visvagyotis, doubtless, is the sun, for in yonder (celestial) world the sun, indeed, is 'all the light': it is the sun he thereby sets up.
16. And, again, as to why he lays down a Visvagyotis :—the Visvagyotis, doubtless, means progeny, for progeny indeed is all the light :-he thus lays generative power into it (or into him, Agni and the Sacrificer).
[43]
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17. He lays down the Visvagyotis prior to the naturally-perforated one;-for the last naturallyperforated one is the sky, and the last Visvagyotis is the sun he thus places the sun on this side (below) the sky, whence he burns only on this side thereof. But there also is generative power therein: he thus places generative power on this side of the sky, whence procreation takes place only on this side thereof.
18. Now the (first) Visvagyotis he lays down subsequent to the first naturally-perforated one; for the first naturally-perforated one is this (earth), and the first Visvagyotis is Agni: he thus sets up Agni upwards from this (earth), whence the fire blazes upwards from here. But there also is generative power therein he thus places generative power above this (earth), whence procreation only takes place above this (earth).
19. And the (second) Visvagyotis he lays down subsequent to the second naturally-perforated one (in the third, or central) layer; for the second naturally-perforated one is the air, and the second Visvagyotis is Vâyu (the wind): he thus places the wind in the air, whence that wind (has his abode) in the air.
20. These (three) then are the lights; and when he lays down these (three Visvagyotis bricks) in this way, he thereby sets up those same lights so as to face each other; and hence the fire blazes upwards from this (earth), and yonder sun shines downwards, and that wind blows sideways in the air.
21. [He 'settles' the Visvagyotis, with, Vâg. S. XV, 58], 'May Paramesh thin settle thee'-for Parameshthin saw this fifth layer;-'on the back
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of the sky, thee, the luminous one!'-for on the back of the sky is yonder luminous sun.
6
22. For all out-breathing, and off-breathing, and through-breathing,'-for the Visvagyotis is the breath, and breath, indeed, is (necessary) for everything here; 'bestow thou all the light!'-— that is, 'bestow thou the whole (or every) light;' -Surya is thine overlord,'-he thereby makes Surya (the sun) its overlord. Having 'settled' it, he pronounces the Sûdadohas on it: its (symbolical) meaning has been told1.
23. Now, these (bricks) are indeed stepping-stones, for by means of the Visvagyotis (bricks) the gods then stepped over these worlds, both from hence upwards, and from above downwards: and in like manner does the Sacrificer now, by means of the Visvagyotis, step over these worlds, both from hence upwards, and from above downwards.
24. Now, the Karakâdhvaryus lay down here yet other 'stepping-stones'; but let him not do so, for they do what is redundant, and these are indeed the stepping-stones.
SECOND BRAHMANA.
1. He then lays down a Lokamprinâ 2 (spacefilling brick); the Lokamprinâ, doubtless, is yonder
1 For this verse see part iii, p. 307, note 2; for its symbolic meaning (as the breath, or vital air) VII, 1, 1, 15; 26. See also VIII, 7, 3, 21, where the verse itself is explained.
In laying down the Lokamprinâs of the fifth layer, he begins, as in the first layer, from the right shoulder, or the south-east corner, of the altar, but so that in this case the first 'space-filler' is laid down, not at the corner, but a cubit to the west of it. Starting from that spot, he fills up the available spaces, in two turns, moving in the sunwise fashion.
K 2
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sun,
for he fills these worlds: it is thus yonder sun he thereby sets up. He lays down this (Lokamprinâ) in all the (five) layers, for those layers are these (three) worlds1: he thus places the sun in (all) these worlds, whence he shines for all these worlds.
2. And, again, as to why he lays down a Lokamprinâ, the Lokamprinâ, doubtless, is the nobility (or chieftaincy), and these other bricks are the peasants (or clansmen): he thus places the nobility (or chieftain), as the eater, among the peasantry. He lays it down in all the layers: he thus places the nobility, as the eater, among the whole peasantry (or in every clan).
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3. Now this is only a single (brick): he thus makes the nobility (or the chieftaincy) and (social) distinction to attach to a single (person). And what second (such brick there is) that is its mate, -a mate, doubtless, is one half of one's own self, for when one is with a mate then he is whole and complete (thus it is laid down) for the sake of completeness. With a single formula he lays down many bricks: he thereby endows the nobility pre
1 Rather, the first, second, and third layers are the three worlds.
At VI, 1, 2, 25 Tândya was made to maintain that the Yagushmatîs, or bricks laid down with special formulas, were the nobility, and that the Lokamprinâs, laid down with one and the same formula, were the peasants, and as the noble (or chieftain) required a numerous clan for his subsistence, there should be fewer of the former kind of bricks, than the established practice was. This view was however rejected by the author of the Brahmana, and here, in opposition to that view, the Lokamprinâ is identified with the nobility, and the Yagushmatis with the clan.
The common formula used with these bricks, and from which they derive their name-beginning as it does 'Lokam prina,' 'Fill the space !' see parag. 6-is pronounced once only after every ten such bricks, and after any odd ones at the end.
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VIII KÂNDA, 7 ADHYÂYA, 2 BRÂHMANA, 5. 133
eminently with power', and makes the nobility more powerful than the peasantry. And the other (bricks) he lays down singly, with separate formulas: he thereby makes the peasantry less powerful than the nobility, differing in speech, and of different thoughts (from one another).
4. The first two (Lokamprinas) he lays down in that (south-east) corner: he thereby places yonder sun in that quarter : from this (earth) he follows him (the sun) from that (place) there ? ; from this (earth) he follows him from that (place) there; from this (earth) he follows him from that (place) there; from this (earth) he follows him from that (place) there.
5. And in whatever place he lays down the first two (bricks), let him there lay down alongside of
? In the translation of VII, 5, 2, 14 (part iii, p. 404), the passage 'having taken possession of the man by strength,' which was based on a wrong reading (see Weber, Berl. Cat. II, p. 69), should read thus: having pre-eminently endowed man with power' (or, perhaps, having placed him above (others) in respect of power,' St. Petersb. Dict.)
! I do not know whether atas' might be taken here in the sense of thither,' or whether it goes along with 'tasmât, merely strengthening it. The meaning in either case would seem to be this. In the first turn of filling up the empty spaces he first moves along from the south-east corner (the point where the sun rises) to the back or west end of the spine (the place where the sun sets) and the central brick; and having thus, as it were, touched the earth again, he proceeds from there in the same sunwise fashion, filling up the north part of the altar until he reaches the east end of the spine, and there, as it were, touches the earth once more. In the second turn he again begins (with the second brick) in the south-east, and repeals the same process, in filling up the south part of the altar, and completing at the southeast corner. The laying down of the Lokaniprinks would thus be supposed to occupy the full space of two days and two nights.
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them the last two (bricks): for otherwise) having once revolved round these worlds, that sun would not pass by them. Let him lay down the two last alongside the two first by reaching over them: he thus causes that sun to pass by these worlds; and hence that sun revolves incessantly round these worlds again and again (from left) to right.
6. [He lays them down, with, Vâg. S. XV, 59), 'Fill the space! fill the gap!'—that is, 'fill up the space! fill up the gap;'—and lie thou steady!'
--that is, “and lie thou firm, settled !'—'Indra and Agni, and Brihaspati, have settled thee in this womb;' that is, 'Indra and Agni, and Brihaspati, have established thee in this womb.' Thus (he establishes them) by an anushtubh verse; for the Anushtubh is speech, and Indra is speech, and the
space-filler' is Indra. He does not settle them, for that (sun) is unsettled. He pronounces the Sadadohas on them, for the Sadadohas is vital air: he thus makes him (Agni) continuous and joins him together by means of the vital air.
7. Here now they say, 'How does that Lokamprinâ become of unimpaired strength ?' Well, the Lokamprinâ is yonder sun, and he assuredly is of unimpaired strength. And the Lokamprinâ also is speech, and of unimpaired strength assuredly is speech.
8. Having laid down those (bricks) possessed of (special) sacrificial formulas, he covers (the altar) with the Lokamprinâ; for the bricks possessed of formulas mean food, and the Lokamprina means the body: he thus encloses the food in the body, whence food enclosed in the body is the body itself.
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9. Those (bricks) possessed of formulas he places on the body (of the altar) itself, not on the wings and tail : he thus puts food into the body; and whatever food is put into the body that benefits both the body and the wings and tail; but that which he puts on the wings and tail benefits neither the body, nor the wings and tail.
10. On the body (of the altar) he places both (bricks) possessed of formulas and Lokamprinās; whence that body (of a bird) is, as it were, twice as thick. On the wings and tail (he places) only Lokamprinâs, whence the wings and tail are, as it were, thinner. On the body (of the altar) he places them both lengthwise and crosswise, for the bricks are bones : hence these bones in the body run both lengthwise and crosswise. On the wings and tail (he places them so as to be) turned away (from the body), for in the wings and tail there is not a single transverse bone. And this, indeed, is the difference between a built and an unbuilt (altar): suchlike is the built one, different therefrom the unbuilt one 1
11. The Svayamåtrinnà (naturally - perforated brick) he encloses with Lokamprina (bricks); for the naturally-perforated one is the breath, and the 'space-filler' is the sun: he thus kindles the breath by means of the sun, whence this breath (of ours) is warm. With that kind of brick) he fills up the whole body : he thereby kindles the whole body by means of the sun, whence this whole body (of ours) is warm. And this, indeed, is the difference between one that will live and one that will die :
1 That is, one not properly built.
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he that will live is warm, and he that will die is cold.
12. From the corner in which he lays down the first two (Lokamprinâs) he goes on filling up (the altar) by tens up to the Svayamâtrinnâ. In the same way he goes on filling it up from left to right behind the naturally-perforated one up to (the brick on) the cross-spine 1. He then fills it up whilst returning to that limit 2.
13. The body (of the altar) he fills up first, for of (a bird) that is produced, the body is produced first, then the right wing, then the tail, then the left (wing) that is in the rightward (sunwise) way, for this is (the way) with the gods, and thus, indeed, yonder sun moves along these worlds from left to right.
:
14. The Lokamprinâ, doubtless, is the same as the vital air; he therewith fills up the whole body (of the altar): he thus puts vital air into the whole body. If he were not to reach any member thereof, then the vital air would not reach that member of him (Agni); and whatever member the vital air does not reach, that, assuredly, either dries up or withers away: let him therefore fill up therewith the whole of it.
15. The wings and tail he builds on to the body, for the wings and tail grow on to the body; but were he first to lay down those (bricks) turned away (from the body), it would be as if he were to take a limb from elsewhere and put it on again.
This would seem to be the Vikarnî (see VIII, 7, 3, 9 seqq.) which, however, like the central Svayamâtrinnâ, is only to be laid down after the layer has been levelled up.
Viz. to the east end of the 'spine.'
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16. Let him not lay down either a broken (brick) or a black one; for one that is broken causes failure, and sickly is that form which is black: Lest I should make up a sickly body,' he thinks 1. Let him not throw aside an unbroken (brick), lest he should put what is not sickly outside the body. Whatever (bricks), in counting from the dhishnya hearths, should exceed a Virág, and not make up another, such (bricks) indeed cause failure: let him break them and throw them 3 (ut-kir) on the heap of rubbish (utkara), for the heap of rubbish is the seat of what is redundant: thus he thereby settles them where there is the seat of that which is redundant.
17. Now, then, of the measures of the bricks. In the first and last layers let him lay down (bricks) of a foot (square), for the foot is a support; and the hand is the same as the foot. The largest (bricks) should be of the measure of the thigh-bone, for there is no bone larger than the thigh-bone. Three layers should have (their bricks) marked with three lines, for threefold are these worlds; and two (layers
'Here, as so often before, the effect to be avoided is expressed by a clause in oratio directa with 'ned'; the inserted clause with 'vai' indicating the reason why that effect is to be dreaded. To adapt the passage to our own mode of diction, we should have to translate:-Let him not lay down either a broken brick or a black one, lest he should form a sickly body; for a brick which is broken comes to grief, and what is black is of sickly appearance. In the next sentence of the translation, the direct form of speech has been discarded.
2 The pâda of the Virág consists of ten, and a whole Virâg stanza of thirty (or forty), syllables. Hence the number of the bricks is to be divisible by ten.
Or, perhaps, dig them in.
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may consist) of (bricks) marked with an indefinite number of lines, for these two layers are the flavour, and the flavour is indefinite; but all (the layers) should rather have (bricks) marked with three lines, for threefold are all these worlds.
18. Now, then, of the location of (special) bricks. Any (special) brick he knows, provided with a formula, let him place in the middle (third) layer ; for the middle layer is the air, and the air, doubtless, is the location of all beings. Moreover, bricks with (special) formulas are food, and the middle layer is the belly: he thus puts food into the belly.
19. Here, now, they say, 'Let him not lay down (such special bricks) lest he should do what is excessive.' But he may, nevertheless, lay them down; for such bricks are laid down for the fulfilment of special) wishes, and in wishes there is nothing excessive. But let him rather not lay them down, for just that much the gods then did.
Third BRAHMANA. 1. He now throws loose soil (on the layer); for the loose soil means flesh: he thus covers him (Agni) with flesh. [He does so] after having laid down the bricks ;-the bricks are the bone : he thus covers the bone with flesh.
2. He also strews it on (the place where lies) the naturally-perforated (brick), for the naturally-perforated one means vital air, and the loose soil
1 Âvapana has also the meaning of throwing in, insertion,' which is likewise understood here, whilst further on in this paragraph (the air is the avapanam of all beings') it can scarcely have this meaning something injected). Cf. IX, 4, 2, 27.
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means food: he thus puts food into the channels of) the vital air. In that manner? he covers the whole body (of the altar); whence the food which is put into (the channels of) the vital air benefits the whole body, extends over the whole body.
3. ‘Let him not strew it on (the place of) the naturally-perforated one,' say some, “lest he should stop up (the channels of) the vital airs, for the naturally-perforated one is the vital air. Let him, nevertheless, strew it, for the vital airs are sustained by food, and whoever eats no food his (channels of the) vital airs grow up (and close): hence he for whom they act thus, comes to exist in yonder world even like a dry, hollow tube. Let him, therefore, by all means strew (loose soil) on (the place of) the naturally-perforated one.
4. Having strewed it on the svayamâtrinna (place) he goes on covering (the altar) from the (brick) on the cross-spine up to the enclosing-stones. In the same way he goes on covering it from left to right behind the naturally-perforated one up to the one on the cross-spine again.
5. The body (of the altar) he covers first, for of (a bird) that is produced, the body is the first to be produced; then the right wing, then the tail, then the left wing : that is in the rightward (sunwise) way, for this is (the way) with the gods.
6. Now this loose soil, indeed, is the vital air ; he therewith covers the whole body : he thus puts vital air into the whole body. And, assuredly, whatsoever member thereof he should not reach, that member of him (Agni) the vital air would not
- Or, therewith (with loose soil).
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reach; and whatever member the vital air does not reach that either dries up or withers away: let him, therefore, cover it entirely therewith.
7. [He scatters the loose soil', with, Vâg. S. XV, 56; Rig-veda I, 11, 1], 'They all have magnified Indra,' for all beings, indeed, magnify Indra;— 'the voices, him, of ocean-wide extent,'-he thereby alludes to his greatness;-'the foremost of charioteers,' for of charioteers he is the greatest charioteer; the lordly lord of viands,' -viands mean food: thus, the lordly lord of food.' With this anushubh verse addressed to Indra he scatters it; for the loose soil belongs to Indra: that (layer of) loose soil is one half of Agni (the firealtar), the (other) half is the collection of bricks.
•
8. Here, now, they say, 'Whilst he lays down the bricks with all kinds of metres, and with (verses addressed to) all deities, he now scatters (the soil) with a single (verse) addressed to a single deity,how is this one half of Agni?' Indra, surely, is equal to all the gods; hence in that he scatters it with a (verse) addressed to Indra, this (soil) is one half of Agni. And as to its being (done) with an anushubh verse, the Anushubh is speech, and all metres are speech thereby also it is one half.
140
9. He then lays down the Vikarni and Svayamâtrinnâ (bricks),—the Vikarni is Vâyu (the wind), and the last naturally-perforated one is the sky: he thus sets up both the wind and the sky. He lays them down as the last (highest), for wind and sky are the highest; and close together, for wind and
1 Taking it from the edge of the Kâtvâla or pit, cf. VII, 1, 1, 36.
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sky are close together. The Vikarni he lays down first : he thereby places the wind on this side of the sky; whence that wind blows only on this side (thereof).
10. And, again, as to why he lays down the Vikarni. When, on that (former) occasion, they make the horse smell (the pile of bricks of) the (first) layer, then yonder sun strings these worlds to himself on a thread. Now that thread is the same as the wind; and that wind is the same as this Vikarnt: thus when he lays down the latter, then yonder sun strings to himself these worlds on a thread.
11. And, again, as to why he lays down the Vikarni and the Svayamâtrinnâ; the Vikarni, doubtless, is vital power, and the naturally-perforated one is vital air: he thus bestows both vital power and vital air. He lays them down as the two last (highest bricks), because vital power and vital air are the two highest (endowments); and close together, because vital power and vital air are closely (bound) together. The upper (northern) Vikarni he lays down first 2: he thereby encloses the vital air on both sides in vital power.
12. (He lays it down, with, Våg. S. XV, 62; Rigveda VII, 3, 2], When, like a snorting steed, that longeth for the pasture, he started forth from the great enclosure, then the wind fanned his flame, and black then was thy path;'—for when the wind fans his (Agni's) flame,
1 See VII, 3, 2, 13.
Asuttaram' means both northern and higher,' so pûrvam' means both 'first' and 'eastern,' hence, by a whimsical play on these double meanings, on both (or two) sides.'
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then his path does become black. With a trishtubh verse he lays it down, because Vâyu (the wind) is of trishtubh nature; with one relating to Agni, because it is Agni's performance; with an undefined one, because Vâyu is undefined. And as to his saying the wind,' Vâyu indeed is the wind.
13. He then lays down the Svayamåtrinnå, with (Vag. S. XV, 63), 'I seat thee in the seat of the vital power,'—the vital power, doubtless, is yonder (sun), and his seat this is ;-'the animating,'—for he (the sun) aninates all this universe ;-'in the shadow,'--for in his shadow all this universe is ;‘in the heart of the sea,'— for this, indeed, is the heart of the (aerial) sea ? ;-'the radiant, the luminous,'—for radiant and luminous is the sky; 'thou that illumines the sky, the earth and the wide air;'--for thus, indeed, does he (the sun) illumine these worlds.
14. May Parameshthin settle thee,' -- for Parameshthin saw this fifth layer 2.
15. And, again, as to why he lays it down by means of Parameshthin. When Pragâ pati had become disjointed, the deities took him and went off in different directions. Parameshthin took his head, and kept going away from him.
16. He spake to him, 'Come to me and restore unto me that wherewith thou hast gone from me!' - What will therefrom accrue to me?'-'That part of my body shall be sacred to thee!'—'So be it!' So Parameshthin restored that to him.
17. Now that last self-perforated (brick) is just
· The topmost naturally-perforated brick represents the heavens. . See VI, 2, 3, 5; 10.
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that part of him (Pragâ pati-Agni); and when he now lays it down in this place, he thereby restores to him what part of his body this is : that is why he lays it down in this place.
18. 'On the back of the sky, thee, the wide and broad one!'-for this (top of the altar) is indeed the back of the sky, and it is both wide and broad';— Sustain thou the sky! make firm the sky! injure not the sky!'--that is, 'Sustain thy self, make firm thy self, injure not thy self (body)!'
19. For all out-breathing, off-breathing, through-breathing, up-breathing!'—the naturally-perforated (brick) is the vital air, and the vital air truly serves for everything here ;—'for a resting-place, for a moving-place!'-the naturally-perforated (bricks) are these worlds, and these worlds are the resting-place and the movingplace ;-May Surya guard thee,'—that is, ' May Surya protect thee,'—'with mighty well-being,'— that is, 'with great well-being; '-'with the safest roof!'--that is, with whatever roof (abode) is the safest.
20. Separately he lays them down, for separate are wind and sky; and once only he settles' them: he thereby makes them the same, for vital power and vital air are the same. They are both of them stones and both of them naturally-perforated; for vital power and vital air are the same. He then pronounces the Sadadohas over them,—the Sadadohas means vital air; he thus makes them
Though, in the text of the formula, the adjectives are feminine, and evidently refer to the brick, the author here makes them neuter, referring them to 'prishtham,' the back (of the sky).
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continuous, joins them together by means of the vital air.
21. 'Those his well-like milking ones 1,'a well (sada) means water, and milking means food ;-—'the speckled ones mix the Soma,'—the speckled (cow) means food ;-'at the birth of the gods,'—the birth of the gods is the year ;-'the tribes,'—the tribes (vis), doubtless, are the sacrifice, for all beings are ranged (vishta)? under the sacrifice ;-'in the three spheres of the heavens,'the three spheres of the heavens, doubtless, are the (three) pressings (of Soma): he thus means the pressings. With an anushtubh verse (he performs this rite), for the Anushtubh is speech, and speech (includes) all vital airs; and by means of speech, that is vital air, he thus makes these two (bricks) continuous, and joins them together. This same Sadadohas, whilst being a single (verse), extends over all the bricks, whence—the Sûdadohas being the vital air—this vital air, whilst being one only, extends over all the limbs, over the whole body.
Fourth BRÂHMANA. 1. On the (three) naturally-perforated (bricks) he (the Sacrificer) sings sâmans; for the naturallyperforated ones are these (three) worlds; and they
Part iii, p. 307, note 2, the following translation of this difficult and obscure verse was proposed :- At his birth the welllike milking, speckled ones mix the Soma (draught), the clans of the gods in the three spheres of the heavens.'
? Literally, have entered, or settled. At XIV, 8, 13, 3, the same etymological word-play occurs, only 'food (anne)' being substituted for sacrifice (yagñe'; where the St. Petersb. Dict. takes 'vishta' in the sense of entered, i.e. contained.'
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are just these (ordinary) stones. The gods, having laid them down, saw them as such: that they were dry stones.
2. They spake, ‘Think ye upon this, how we may lay sap, the means of subsistence, into these worlds!' They spake, 'Meditate ye!!. whereby, doubtless, they meant to say, 'Seek ye a layer! seek ye how we may lay sap, the means of subsistence, into these worlds!'
3. Whilst meditating, they saw these samans (hymn-tunes), and sang them; and by means of them they laid sap, the means of subsistence, into these worlds; and in like manner does the Sacrificer now, when he sings these sâmans, lay sap, the means of subsistence, into these worlds.
4. Over the naturally-perforated ones he sings them: the naturally-perforated ones being these worlds, it is into these worlds that he thereby lays sap, the means of subsistence.
5. He sings (the tunes) on the (mystic) words Bhûs, Bhuvas, Svar';-bhus (earth), doubtless, is this world, bhuvas is the air-world, and svar (light) is yonder world: into these worlds he thereby lays sap, the means of subsistence.
6. They have different preludes, and the same finale ; and as to their having different preludes, it
These hymn-tunes are given, Sâm. Ved. V, p. 487, in the way in which they are here to be chanted. They consist entirely of the respective words, separated four times by musical interjections (stobhas) inserted between them, ending with the common finale: thus, (1) bhûh-bhûh-hoyi-bhûh-hoyi-bhûh-hå-Uvâ-e-suvargyotî-h; (2) bhuvah-bhuvah-hoyi-bhuvah-ha-ava-e-suvargyoti-h; (3) suvâh-suvah-hoyi-suvah-hoyi-suvah-hâ-üvâ-e-suvargyoti-h. Along with these, as to be chanted on the same model, are given, (4) the 'satyam saman,' beginning satyâm-satyam-hoyi' &c., and
[43]
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is because they (the gods) saw them separately; and as to their having the same finale (nidhana), it is because there is only one foundation, only one finale to the sacrifice-even heaven: therefore they have 'svar-gyotis (heaven-light)' for their finale.
7. He then bestrews him (Agni, the fire-altar and Agni's body) with chips of gold. Now that whole Agni had been completed, and the gods bestowed on him immortality, that highest form; and in like manner does this one now bestow upon him that highest, immortal form.
8. And, again, as to why he bestrews him with chips of gold. Now on that former occasion he first lays into him that pleasing form, the gold plate and the (gold) man 2; and he now decks him all over with a pleasing form.
9. With two hundred (chips he bestrews him) each time,-two-footed is the Sacrificer, and Agni
(5) the 'purusha-saman,' beginning 'purushâh-purusha-hoyi' &c.; which are similarly chanted by the Sacrificer at the beginning of the first layer, when laying down the lotus leaf (part iii, p. 363, where note I should be corrected in accordance with the present note), and the gold man (ib. p. 369, where the note requires likewise to be corrected), as the 'kitre gâyati,' he sings on the bright one,' of the text cannot refer to the Kitra-sâman' there referred to. Cf. Lâty. S. I, 5, 8.-In regard to these samans (hymnverses), the text might lead one to suppose that they only consist of two, instead of the usual four parts (omitting the intermediate Udgîtha and Pratihâra, cf. part ii, p. 310 note). The sâman being, however, sung by the Sacrificer himself, the usual distinction into parts to be performed by different chanters was probably dispensed with.
That is, the Sacrificer bestows it on Agni; with probably, however, the double entente, 'this Adhvaryu priest bestows it on the Sacrificer.'
* See VII, 4, 1, 10 seq.; 15 seq.
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is the sacrificer: as great as Agni is, as great as is his measure, with so much he thus bestows upon him immortality, that highest form. Five times (he strews),-five-layered is the altar, five seasons make a year, and Agni is the year: as great as Agni is, as great as is his measure, with so much he thus bestows upon him immortality, that highest form. With a thousand (chips he bestrews him),-a thousand means everything: with everything he thus confers upon him immortality, that highest form.
10. First (he scatters them) at the back whilst standing with his face towards the east; then on the left (north) side towards the south; then in front whilst facing the west; then, having gone round the back, from the south whilst facing the north: this is from left to right (sunwise), for that is (the way) with the gods. Then, having gone round, (he scatters chips) at the back whilst standing with his face to the east, for in this way that former performance of him1 took place.
II. [He scatters, with, Vâg. S. XV, 65], 'The fore-measure of a thousand thou art,—The counter-measure of a thousand thou art,The up-measure of a thousand thou art,The thousandfold thou art,-For a thousand thee!' a thousand, doubtless, means everything: thus, 'Everything thou art,-thee for everything!'
12. Now, then, the consideration of the layerfillings. The first layer is this (terrestrial) world; and the filling of soil means cattle: thus, in
1 Viz. of Agni (and the Sacrificer). The ceremony alluded to was the fivefold libation of ghee offered on the gold man (representing Agni and the Sacrificer), see VII, 4, 1, 34-35.
L 2
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covering the first layer with a filling of soil he covers this (terrestrial) world with cattle.
13. The second layer is the air, and the filling of soil means birds: thus, in covering the second layer with a filling of soil, he covers (fills) the air with birds.
14. The third layer is the sky, and the filling of soil means stars; thus, in covering the third layer with a filling of soil, he covers the sky with stars.
15. The fourth layer is the sacrifice, and the filling of soil means sacrificial gifts: thus, in covering the fourth layer with a filling of soil, he covers the sacrifice with sacrificial gifts (to the priests).
16. The fifth layer is the Sacrificer, and the filling of soil means progeny (or subjects): thus, in covering the fifth layer with a filling of soil, he covers (abundantly supplies) the Sacrificer with progeny (or subjects).
17. The sixth layer is the heavenly world, and the filling of soil means the gods : thus in covering the sixth layer with a filling of soil, he fills the heavenly world with gods.
18. The seventh layer is immortality,—that is the last (layer) he lays down, and thus bestows immortality as the highest thing of all this (universe): therefore immortality is the highest thing of all this (universe); therefore the gods are not separated therefrom ; and therefore they are immortal. Thus much as to the deity".
19. Now, as to the Self (body). The first layer is the legs, and the downward flowing vital air; and
1 That is, so much as to the objects to which the different parts of the altar are sacred or dedicated.
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the filling of soil is the flesh: thus, in covering the first layer with a filling of soil, he covers that (part) of his (Agni's) body with flesh. [He does so] after laying down bricks, and bricks mean bone: he thus covers the bone with flesh. He does not cover (the altar-site) below (the first layer), whence these vital airs are not closed up below; but he covers it above, and thereby covers that (part) of his body above with flesh; and hence that (part) of his body above, being covered with flesh, is not visible.
20. The second layer that (part of the body) which is above the legs and below the waist; and the filling of soil is flesh: thus, in covering the second layer with a filling of soil, he covers that (part) of his body with flesh. [He does so] after laying down bricks, and bricks mean bone: he thus covers the bone with flesh. He places them on a filling of soil, and covers them with a filling of soil: he thus covers that (part) of his body on both sides with flesh; whence that part of his body, being on both sides covered with flesh, is not visible.
21. The third layer is the waist itself; the fourth layer is that (part of the body) which is above the waist and below the neck; the fifth layer is the neck, the sixth layer is the head, and the seventh layer is the vital airs. This he lays down as the last (or highest): he thus makes the vital airs the highest of all this (universe), and hence the vital airs are the highest thing of all this (universe). He places it on a filling of soil; and the filling of soil means flesh; he thus covers (the channels of) the vital airs with flesh. He does not cover it above whence these (channels of the) vital airs are not closed up above.
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NINTH KÅNDA.
THE BUILDING OF THE SACRED FIRE-ALTAR
(continued).
SATARUDRIYA LUSTRATION, INSTALMENT AND CONSECRATION OF FIRE, AND SOMA-SACRIFICE.
FIRST ADHYAYA. FIRST BRÂHMANA,
THE SATARUDRIYA. This solemn and awful ceremony consists of 425 oblations to Rudra, the representative of the fearful aspects of life and nature, accompanied by appropriate formulas addressed to the various forms of the terrible god, and his associates, with a view to appeasing their wrath. These formulas make up a complete kânda (XVI) of the Vagasaneyi-samhita, and constitute a special Upanishad. Though only a few of the formulas are actually referred to in the text of the Brâhmana, the different portions of which this dismal litany consists are otherwise alluded to, and for this reason, as well as on account of its intrinsic interest, as doubtless reflecting, to a considerable extent, the popular belief in demoniac agencies to which man is constantly exposed, a complete translation of the Satarudriya formulas is here given. For a German translation of the Taittirîya recension of the text, with the various readings of the Kathaka and Vagasaneyin versions, see A. Weber, Ind. Stud. II, p. 14 seqq.
I. 1. Reverence, O Rudra, be to thy wrath; and to thine arrow be reverence; and to both thine arms be reverence! 2. What auspicious form there is of thine, free from terror and boding of evil, with that most propitious form look down upon us, O mountain-dweller! 3. The shaft thou bearest in thy hand to hurl, O mountain-dweller, make it harmless, O protector of mountains, injure not man nor beast! 4. With auspicious speech we call upon thee, O mountain-dweller, that all these living beings of ours may
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be healthy and of good cheer! 5. May he plead for us as our intercessor, the first divine physician: crushing all serpents, turn thou aside all practices of witchcraft! 6. That tawny one, and the ruddy and the brown one, the auspicious—the Rudras that hover around him by thousands in the quarters: their wrath do we deprecate. 7. That one who glideth downwards (the sun) bloodred and blue-necked—the cowherds have seen him and the waterbearers (f. the clouds) have seen him-be he gracious unto us, when seen! 8. Reverence be to the blue-necked, thousand-eyed showerer; and what henchmen there are of his, to them do I render homage. 9. Loose thou the string from the ends of thy bow; and cast away the arrows in thy hand, O holy one! 10. Stringless be the bow of the coil-braided one, and arrowless his quiver ! may his arrows be futile, and empty his scabbard ! 11. With that plague-repelling weapon in thy hand, with thy bow, protect us, O best of showerers, on all sides! 12. May the shaft of thy bow spare us on all sides, and far from us lay down that quiver of thine! 13. Unstringing the bow, and breaking off the points of thy shafts, be thou gracious and well-disposed unto us, O thousand-eyed lord of a hundred quivers ! 14. Reverence be to thine unstrung weapon, the powerful one; and reverence be to thine arms and to thy bow! 15. Neither our full-grown, nor our little one, neither the virile, nor the unborn, neither our father strike thou, nor our mother: harm not our dear bodies, O Rudra! 16. Neither to our children, and our children's children, nor to our life, neither to our kine nor to our horses do thou injury! smite not our shining warriors : with offering we ever invoke thee, O Rudra!
II. 17. Reverence be to the golden-armed leader of hosts, and to the lord of regions be reverencel reverence be to the green-haired trees, and to the lord of beasts be reverence! reverence be to the grass-hued shining one, and to the lord of roads be reverence! reverence be to the gold-locked wearer of the sacred cord, and to the lord of the strong-bodied be reverence! 18. Reverence be to the dusky smiter, and to the lord of food be reverencel reverence be to Bhava's weapon, and to the lord of moving creatures be reverencel reverence be to the strung-bowed Rudra, and to the lord of fields be reverencel reverence be to the inviolable charioteer, and to the lord of forests be reverence! 19. Reverence be to the ruddy architect, and to the lord of trees be reverence! reverence be to the ubiquitous producer of wealth, and to the lord of plants be reverencel reverence be to the wise merchant, and to the lord of forest retreats be reverencel reverence be to the loud-noised crier,
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and to the lord of wanderers be reverence! 20. Reverence be to the onward-rushing one with his weapon) levelled everywhere, and to the lord of beings be reverencel reverence be to the victorious smiter, and to the lord of victorious (hosts) be reverencel reverence be to the matchless swordsman, and to the lord of thieves be reverence! reverence be to the prowling rover, and to the lord of the forest be reverence! 21. Reverence be to the tricking arch-trickster, and to the lord of pilferers be reverence! reverence be to the wellquivered swordsman, and to the lord of robbers be reverence ! reverence be to the slaying spearmen, and to the lord of pillagers be reverencel reverence be to the night-walking sword-wielders, and to the lord of cut-throats be reverence !
III. 22. Reverence be to the turbaned mountaineer, and to the lord of spoilers be reverence I reverence be to shooters of arrows, and to ye bowmen be reverencel reverence be to the bow-stretching, and to ye that fix the arrow be reverencel reverence be to ye that pull (the bow), and to ye that hurl be reverence! 23. Reverence be to ye that shoot, and to ye that pierce be reverencel reverence be to ye that sleep, and to ye that wake be reverence! reverence be to ye, the lying, and to ye, the sitting, be reverence! reverence be to ye, the standing, and to ye, the running, be reverence! 24. Reverence be to gatherings, and to ye, lords of the gathering, be reverencel reverence be to horses, and to ye, masters of horses, be reverencel reverence be to the victorious (armies), and to ye that smite be reverencel reverence be to the serried (hosts), and to ye that crush be reverence! 25. Reverence be to the troops, and to ye, chiefs of troops, be reverencel reverence be to the bands, and to ye, chiefs of bands, be reverence! reverence be to sharpers, and to ye, chiefs of sharpers, be reverencel reverence be to the unshapen, and to ye, the all-shaped, be reverence! 26. Reverence be to armies, and to ye, leaders of armies, be reverence! reverence be to chariot-fighters, and to ye, the chariotless, be reverencel reverence be to car-fighters, and to ye, charioteers, be reverence! reverence be to the adult, and to ye, children, be reverence!
IV. 27. Reverence be to carpenters, and to ye, wheelwrights, be reverence! reverence be to potters, and to ye, blacksmiths, be reverence! reverence be to the jungle tribes, and to ye, fishermen, be reverence ! reverence be to dog-keepers, and to ye huntsmen be reverence! 28. Reverence be to dogs, and 10 ye masters of dogs be reverence! reverence be to Bhava and to Rudral reverence be to Sarva and to Pasupati (lord of beasts)! reverence be to Nîlagriva
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(the blue-necked) and to Sitikantha (the white-throated)! 29. Reverence be to him of the coiled hair and to the shaven-haired one! reverence be to the thousand-eyed and to the hundredbowed one! reverence be to the mountain-dweller and to the bald one! reverence be to the chief of showerers and to the arrow-shooter! 30. Reverence be to the short and the dwarfish one! reverence be to the tall and the old onel reverence be to the full-grown and the growing onel reverence be to the topmost and first one! 31. Reverence be to the swift and agile one! reverence be to the fast and nimble onel reverence be to the surging and roaring one! reverence be to the river-dweller and the isle-dweller!
V. 32. Reverence be to the eldest and to the youngest! reverence be to the firstborn and to the afterborn! reverence be to the middlemost and to the abortive (?) one! reverence be to the hindmost and to the bottommost one! 33. Reverence be to him dwelling in the air-castles, and to him in the magic cord-ring ! reverence be to him who is in Yama's (death's) power, and to him who liveth in safety! reverence be to him in the height of his fame. and to him who is at his endl reverence be to him on the tilled land, and to him on the threshing-floor! 34. Reverence be to him dwelling in the wood, and to himn in the jungle! reverence be 10 the sound and to the echol reverence be to him of the swift army, and to him of the swift chariot ! reverence be to the hero and the shatterer! 35. Reverence be to the helmeted and the armoured one! reverence be to the mailed and the cuirassed one! reverence be to the famous one, and to the leader of the famous army! reverence be to him dwelling in the drum, and to him in the drumstick! 36. Reverence be to the bold, and the deliberate one! reverence be to the swordsman, and to the quiver-bearer! reverence be to the sharp-shafted and the armed one! reverence be to the well-armed one, and to the wielder of a goodly bow !
VI. 37. Reverence be to him dwelling in the stream, and to him on the road! reverence be to him in the mere (?), and to him in the pool ! reverence be to him in the ditch, and to him in the lake! reverence be to him in the river, and to him in the pond! 38. Reverence be to him dwelling in the well, and to him in the bank! reverence be to him in the clouded sky (?), and to him in the heat of the sun! reverence be to him in the cloud, and to him in the lightning ! reverence be to him in the rain, and to him in the drought! 39. Reverence be to him dwelling in the wind, and to him in the storm-cloud (1)! reverence be to him dwelling in the house, and to the guardian of the house! reverence be to Soma
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and Rudra ! reverence be to the dusky and the ruddy one! 40. Reverence be to the propitious one, and to the lord of beasts! reverence be to the terrible and fearful one! reverence be to the near-hitter and the far-hitter! reverence be to the slayer and the slaughterer! reverence be to the gold-haired trees! reverence be to the deliverer !
VII. 41. Reverence be to the gentle and the friendly one ! reverence be to the peaceful and pleasing onel reverence be to the kindly and the kindliest!
VIII. 42. Reverence be to him who is on the further shore, and to him on the near shorel reverence be to him who ferrieth over, and to him who bringeth ashorel reverence be to him dwelling in the ford, and to him on the bank! reverence be to him dwelling in the sward, and to him in the foam! 43. Reverence be to him dwelling in the sand, and to him in the current! reverence be to him dwelling in the stony and to him in habitable places I reverence be to the coil-haired and to the straight-haired (?) onel reverence be to him dwelling in barren land, and to him on the beaten track ! 44. Reverence be to him dwelling in the cow-pen, and to him in the cattle-shed! reverence be to him dwelling in the couch, and to him in the house! reverence be to him dwelling in the heart, and to him in the whirlpooll reverence be to him dwelling in the well, and to him in the abyss ! 45. Reverence be to him dwelling in what is dried up, and to him in what is green! reverence be to him dwelling in the dust, and to him in the mist! reverence be to him dwelling in the copse, and to him in the shrubl reverence be to him in the ground, and to him in the gully! 46. Reverence be to him dwelling in the leaf, and to him in the leaf-fall (sere leaf)! reverence be to the growler, and to the smiter! reverence be to the snatcher, and to the repeller ()! reverence be to the arrow-makers, and to ye bow-makers | Reverence be to ye, the sparkling hearts of the gods! reverence be to the discriminating, reverence to the destructive, reverence to the irremovable !
IX. 47. Chaser, lord of the (Soma) plant! blue-red cleaver I fright and hurt not these people and these cattle: let none of us sicken! 48. These prayers we bring before the mighty Rudra, the coilbraided smiter of heroes, that there may be safety for the two-footed and the four-footed, and that everything in this village may be healthy and thriving. 49. That friendly form of thine, O Rudra, friendly and ever healing, friendly and healing to the stricken: therewith be gracious unto us that we may live! 50. May the shaft of Rudra spare us, and the ill-will of the violent and malevo
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lent one: unstring the strong (bow) from (hurting) our patrons, O showerer (of gifts), and be gracious unto our children and our children's children! 51. Be thou kindly and well-disposed towards us, O kindliest chief of showerers, lay down thy weapon on the highest tree, and putting on the hide come and join us, bearing the spear! 52. O blood-red scatterer, reverence be unto thee, holy one, let those thousand shafts of thine lay low another than us ! 53. The thousandfold thousand shafts of thine arms—turn thou away their heads from us, O holy lord! 54. What countless thousands of Rudras there are upon earth, their bows do we unstring (and cast away) at a thousand leagues. 55. The Bhavas in this great sea, the air: their bows do we unstring at a thousand leagues. 56. The blue-necked, white-throated Rudras seated in the sky: their bows do we unstring at a thousand leagues. 57. The bluenecked, white-throated Sarvas dwelling below the earth : their bows do we unstring at a thousand leagues. 58. The grass-green in the trees, the blue-necked, blood-red ones: their bows do we unstring at a thousand leagues. 59. They who are the chiefs of spirits, hairless and coil-braided : their bows do we unstring at a thousand leagues. 60. They who are the guardians of roads, food-bearers, life-fighters (?): their bows do we unstring at a thousand leagues. 61. They who haunt the bathing-places, wielders of spear and sword: their bows do we unstring at a thousand leagues. 62. They who strike men at their meals, and in their cups those that drink: their bows do we unstring at a thousand leagues. 63. What Rudras are scattered over the regions, so many and more: their bows do we unstring at a thousand leagues.—64. Reverence be to the Rudras dwelling in the sky, whose arrows the rain is! to them (I stretch) ten (fingers) eastward, ten southward, ten westward, ten northward, ten upward: to them be reverence! may they be gracious unto us and help us: whomsoever we hate, and whosoever hateth us, him we cast into their jaws! 65. Reverence be to the Rudras dwelling in the air, whose arrows the wind is! to them (I stretch) ten (fingers) eastward, ten southward, ten westward, ten northward, ten upward: to them be reverence! may they be gracious unto us and help us : whomsoever we hate, and whosoever hateth us, him we cast into their jaws! 66. Reverence be to the Rudras dwelling upon earth, whose arrows food is ! to them (I stretch) ten (fingers) eastward, ten southward, ten westward, ten northward, ten upward: to them be reverence! may they be gracious unto us and help us: whomsoever we hate, and whosoever hateth us, him we cast into their jaws!
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1
1. He then performs the Satarudriya offering! This whole Agni has now been completed: he now is the deity Rudra. Upon him the gods bestowed that highest form, immortality. Flaming he there stood longing for food. The gods were afraid of him lest he should hurt them.
2. They spake, 'Let us gather together food for him therewith we will appease him!' They gathered for him that food, the Sântadevatya 2, and thereby appeased him; and inasmuch as they thereby appeased (sam) the god (deva), it is called Sântadevatya;-Sântadevatya, doubtless, is here called mystically 'Satarudriya 3,' for the gods love the mystic. And in like manner does this Sacrificer now bestow upon him that highest form, immortality. Flaming he there stands, longing for food. He gathers for him that food, the Sântadevatya, and thereby appeases him.
3. He offers wild sesamum seeds. He (Agni) grows when he is being built up: he grows for (the consumption) of every kind of food. And wild sesamum seeds represent both kinds of food, the cultivated as well as the wild-growing: inasmuch as they are sesamum seeds they are a cultivated (kind of food), and inasmuch as they ripen on unploughed land they are wild-growing; he thus satisfies him with both kinds of food, the cultivated as well as the wild-growing.
1 Or, here, in this (atra), in the shape of this (altar) on which the fire is to be deposited.
2 That is, that whereby the deity is propitiated or appeased.
› A fanciful etymology of Sata-rudriya, as if it were sânta (propitiated) + rudriya, instead of 'that which relates to a hundred Rudras'; cf. paragraph 7.
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4. He offers by means of an arka-leaf1,-the Arkatree (Calotropis gigantea) is food: he thus gratifies him with food.
5. He offers on (three) enclosing-stones :-these enclosing-stones are the (three) Agnis; and thus it is over Agni himself that these oblations of his become offered.
6. And as to why he performs the Satarudriya offering. When Pragâpati had become disjointed, the deities departed from him. Only one god did not leave him, to wit, Manyu (wrath): extended he remained within. He (Pragâpati) cried, and the tears of him that fell down settled on Manyu. He became the hundred-headed, thousand-eyed, hundredquivered Rudra. And the other drops that fell down, spread over these worlds in countiess numbers, by thousands; and inasmuch as they originated from crying (rud), they were called Rudras (roarers). That hundred-headed, thousand-eyed, hundred-quivered Rudra, with his bow strung, and his arrow fitted to the string, was inspiring fear, being in quest of food. The gods were afraid of him.
7. They spake unto Pragâpati, 'We are afraid of this one, lest he should hurt us!' He spake, 'Gather food for him, and appease him therewith!' They gathered for him that food, the Satarudriya (offering), and thereby appeased him; and inasmuch as they thereby appeased (sam) the hundred-headed (satasirsha) Rudra, it is called Satasîrsharudrasamaniya, -and satasirsharudrasamaniya, doubtless, is what
1 That is to say, the leaf is used in lieu of the ordinary offeringspoon. Whilst making continual oblations on one of the three stones from this leaf, held in his right hand, the priest holds a piece of arka wood in his left hand. Mahidh. on Vâg. S. XVI, 1.
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they mystically call Satarudriya, for the gods love the mystic. And in like manner does this (Sacrificer) now gather for him that food, the Satarudriya, and appease him thereby. . 8. He offers gavedhuka flour; for from the place where that deity lay disjointed, gavedhukâ plants (coix barbata) sprang forth : he thus gratifies him by his own portion, by his own life-sap.
9. He offers by means of an arka-leaf; for that tree sprang from the resting-place of that god : he thus gratifies him by his own portion, by his own life-sap.
10. He offers on (three) enclosing-stones, for the enclosing-stones are the hair, and neïther poison nor anything else injures one at the hair. He offers whilst standing on the left (north) side of Agni (the altar), with his face to the north ; for in that region lies the house of that god ?: it is thus in his own region that he gratifies him, in his own region he contents him with offering.
11. The first Svâhâ (hail') he utters on the knee-high one, -what is knee-high is, as it were, below, and below, as it were, is this (terrestrial) world: he thus gratifies those Rudras who entered this world.
12. Then on the navel-high one,—what is navel
1 The site of the altar is enclosed within a continuous line of 261 parisrits, about half a foot in width, running along its edge. Their height is indeterminate, with the exception of three of them, dug in at the back (west) corner of the left wing, of which one is to reach up to the knee, the second up to the navel, and the third up to the mouth; each of the latter two standing to the left (north) of the preceding one.
I See I, 7, 3, 20, with note. Agni, in the form of the formidable Rudra (who is to be kept at a distance), is referred to.
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high is, as it were, the middle ; and the middle, as it were, is the air-world: he thus gratifies those Rudras who entered the air-world.
13. Then on the one reaching up to the mouth, what reaches up to the mouth is, as it were, above, and above, as it were, is yonder world: he thus gratifies those Rudras who entered yonder world. [He does so] with Svâhâ,--the Svâhâ is food : with food he thus gratifies them.
14. [He offers, with, Vâg. S. XVI, 1], 'Reverence, o Rudra, be to thy wrath !' he thereby does reverence to that wrath which remained extended within him ;-'And to thine arrow be reverence, and to both thine arms be reverence!' for it was by his arrow and his arms that he was inspiring fear.
15. That god who became the hundred-headed (Rudra) is the chief (kshatra'), and those others who originated from the drops are the peasants (clansmen): those peasants in the first place assigned to that chief this as his special share, to wit, this first chapter of formulas ?, and gratified him thereby. And in like manner does this (Sacrificer) now assign this to him as his special fore-share, and gratify him thereby. Hence this (section) is addressed to a single deity, to Rudra; for it is him he thereby gratifies.
16. There are here fourteen formulas,-thirteen months are a year, and Pragàpati is the fourteenth;
Literally, the ruling power. . The first anuvâka of kanda XVI of the Vâg. S. consists of sixteen verses; which of these the fourteen referred to in the next paragraph are is not clear to me.
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and Pragâpati is Agni : as great as Agni is, as great as is his measure, with so much food he thus gratifies him. 'Reverence! reverence!' he says ;-reverence being sacrifice, it is by sacrifice, by reverence, that he thus reveres him. Therefore he must not mention any one unworthy of sacrifice, for it would be just as if he were to say to him, 'Sacrifice be to thee!'
17. He then makes offering to those forming pairs : Reverence to so and so ! reverence to so and so!' It is as if he were to say, 'Thou, N. N., and this one, do not ye two injure us!' for in no wise does a man who is known and appealed to 2 injure us.
18. (Vâg. S. XVI, 17], 'Reverence be to the golden-armed leader of hosts, and to the lord of regions be reverence!' for he (Rudra-Agni) is ~ indeed the golden-armed 3 leader of hosts, and the lord of regions. And in that everything in this second chapter of formulas applies to one and the same deity, thereby he gratifies that (god Rudra), and makes the chief to have a share in the people (or the clan): hence whatever belongs to the people`, in that the chieftain has a share. And those (Rudras) that spread over these worlds, countless, by thousands 6, they are the deities to whom he now offers.
19. He thus makes offering to the tribes (of Rudras), for it was those tribes, those Rudras, that spread, and wheresoever they are there he thereby gratifies them. And thus, indeed, (he gratifies) those tribes of Rudras; and, men being after the
That is from Vâg. S. XVI, 17 seqq. . Or, who is appealed to as being known to us, i.e. in terms showing that he is known to us.
That is, aureis brachiis instructus. • Pragâyâ yad dhanam asti, Sây. See paragraph 28.
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manner of the gods, therefore also these tribes of men : tribe after tribe he thus gratifies them.
20. Now some of these (formulas) have ‘reverence' on both sides, and others on one side only ;-more terrible and more unappeased, indeed, are those (Rudras) that have 'reverence' on both sides : on both sides he thereby appeases them by sacrifice, by reverence.
21. With (each set of) eighty (formulas) he utters the Svâhâ !,-on the first anuvâka, and on eighty, and on eighty; and the formulas which follow as far as the 'unstringing '-formulas (Vâg. S. XVI, 54-63),-eighties mean food : by means of food he thus gratifies them.
22. He thus mutters these formulas (the last four of Våg. S. XVI, 46), 'Reverence be to you, the sparkling (hearts of the gods)!' for this is his favourite resort, either as a dear son or the heart : hence whenever he should be in fear of that god (Rudra), let him offer with those mystic utterances, for he draws nigh unto the favourite resort of that god, and so that god does not injure him.
23. 'Reverence be to you, the sparkling 3,
The calculation here, as so often in regard to metres, is rather a loose one. Anuvâka I, consisting of sixteen verses, is taken as amounting to the first fourscore formulas ; anuvâkas II and III, consisting of ten kandikäs (each of which is calculated to consist of eight mantras), constitute the second fourscore; anuvâkas IV and V again form the third fourscore; anuvâkas VI-VIII (save the last four formulas, see parag. 22), the sourih fourscore; and from there to the 'unstringing '-formulas, that is, from within XVI, 46 to 53, the fifth fourscore. At the end of each eighty formulas be is to utter one Svaha (sakrit svẫhakarah, Sây.).
* An etymological play on the word 'asiti,' as if derived from as, to eat. 3? Or; scatterers, sprinklers (kirika), root kri. The author of the [43]
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for those (Rudras) produce (kar) everything here,― 'hearts of the gods!'-Agni, Vâyu and Âditya (fire, wind and sun), these truly are the hearts of the gods;- Reverence to the discriminating!'for those (gods) discriminate everything here;— 'Reverence to the destructive!'-for those (gods) destroy whom they wish to destroy;-' Reverence to the irremovable!'-for those (gods) are not (to be) removed from these worlds.
-
24. He then mutters those that follow (Vâg. S. XVI, 47 seq.), Chaser! lord of the (Soma) plant!'-that (god) is indeed a repeller, for he chases away whom he wishes to chase away;'lord of the plant'-that is, 'lord of the Somaplant;'-' O blue-red cleaver';'-these are names and forms of him: he thus gratifies him by calling him by his names;-frighten and hurt not these people and these cattle! let none of us sicken!' as the text, so the sense.
25. That god (Rudra) is the kshatra (ruling power; chieftainship or chief); and for that chief these peasants set apart this special fore-share, to wit, that first section (of formulas); and now he (the Sacrificer) sets apart for him that after-share, and thereby gratifies him; and hence this (section) also belongs to a single deity, to wit, to Rudra; for it is him he thereby gratifies.
Brahmana, on the other hand, evidently takes it in the sense of 'maker, producer.'
'Thus ('Zerspalter') daridra is probably correctly interpreted (from root 'dar,' to split) by Prof. Weber; whilst the commentators take it in its ordinary sense of 'poor' (i.e. without an assistant, Mahîdh.); blue-red Rudra is called inasmuch as he is the 'nîlakantha' blue-necked, and red all over the rest of his body.
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26. These are seven formulas,--of seven layers the fire-altar consists, and the year consists of seven months, and Agni is the year : as great as Agni is, as great as is his measure, by so much food he thus gratifies him. These two kinds (of formulas) amount to twenty-one,—the twelve months, the five seasons, these three worlds, and yonder sun as the twentyfirst (make up) this amount.
27. He then offers (the libations of the)'unstringing'-formulas! For at that time the gods, having gratified those (Rudras) by that food, unstrung their bows by means of these 'unstringing'-formulas; and in like manner this (Sacrificer), having gratified them by that food, now unstrings their bows by means of these 'unstringing'-formulas; for with an unstrung bow one injures no one.
28. Here now he says 'at a thousand leagues,' for a thousand leagues is the farthest distance; and he thus unstrings their bows at what is the farthest distance.
29. And, again, as to why he says ‘at a thousand leagues,'-a thousand leagues means this Agni (firealtar), for neither this way nor that way is there any other thing greater than he; and it is when he makes offering in the fire that he unstrings their bows at a thousand leagues.
30. 'Countless thousands,-in this great sea'—thus, wheresover they are, there he unstrings their bows.
· Viz. Våg. S. XVI, 54-63: What countless thousands of Rudras there are upon earth, their bows do we unstring at a thousand leagues.-The Bhavas that are in this great sea, in the air, their bow do we unstring at a thousand leagues.' Thus each formula ends with the unstringing 'refrain.
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31. There are ten of these 'unstringing'-offerings he makes-the Virág consists of ten syllables, and Agni is Virág (widely-shining or ruling); there are ten regions, and Agni is the regions; there are ten vital airs, and Agni is the vital airs : as great as Agni is, as great as is his measure, by so much he thus unstrings their bows.
32. He then offers the descending(series of oblations). For then (in the preceding oblations) he ascends these worlds upwards from hence: this is, as it were, an ascent away from here. But this (earth) is a firm resting-place : the gods returned to this resting-place; and in like manner does the Sacrificer now return to this restingplace.
33. And, again, as to why he descends. Then (in the preceding oblations) he goes after those (gods), gratifying (propitiating) them. From thence he now recovers his own self unto life; and so does he by that self of his attain all vital power.
34. And, again, as to why he descends. He then in the preceding oblations) gratifies those Rudras from hence upwards; he now does so again from thence hitherwards.
35. [Vâg. S. XVI 64), 'Reverence be to the Rudras dwelling in the sky,--he thereby does reverence to those Rudras who are in yonder world; —'whose arrows the rain is,' for the rain is
1 Vâg. S. XVI, 64-66. In making these three oblations to the Rudras in the sky, the air, and on earth respectively, the procedure is the reverse from that described in paragraphs 11-13, viz. first on the enclosing-stone which reaches up to his mouth, then on that reaching up to his navel, and lastly on that reaching up to his knee.
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indeed their arrows, and by the rain they injure whom they wish to injure.
36. [Vâg. S. XVI, 65], 'Reverence be to the Rudras dwelling in the air,'-he thereby does reverence to those Rudras who are in the air;'whose arrows the wind is,' for the wind is indeed their arrows, and by the wind they injure whom they wish to injure.
37. [Vâg. S. XVI, 66], Reverence be to the Rudras dwelling upon earth,'- he thereby does reverence to those Rudras who are in this (terrestrial) world; whose arrows food is,' for food is indeed their arrows, and by means of food they injure whom they wish to injure.
38. To them (I stretch) ten (fingers) forwards, ten to the right, ten backwards, ten to the left, ten upwards','-of ten syllables consists the Virâg, and Agni is Virâg; there are ten seasons, and Agni is the seasons; there are ten vital airs, and Agni the vital airs: as great as Agni is, as great as is his measure, with so much food he thus gratifies them.
39. And as to why he says 'ten-ten,'-there are ten fingers in the joined hands 2: he thus makes reverence to them in each direction; and hence he who is frightened places his hands together;-'To them be reverence!'-he thus does reverence to them;-May they be gracious unto us!'-they thus are gracious unto him;-'whomsoever we hate, and whosoever hateth us, him we cast into their jaws!'-thus he casts into their jaws
1 These words, as well as the spaced words in the next paragraph, are added to each of the three formulas in paragraphs 35-37.
The joining of the hollow of the hands, by placing the tips of the fingers together, is a sign of reverence.
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whomsoever he hates, and whosoever hates him. He may say, 'So-and-so I cast into their jaws !' naming him whom he hates, and then he has no longer any hold upon him. But let him take no notice of this (injunction), for indicated of himself is he whom he who knows this hates.
40. In three turns he descends,—Agni is threefold: as great as Agni is, as great as is his measure, by so much food he thus gratifies them. With "Svâhâ' (he makes offering), for the Svâhâ is food: with food he thus gratifies them. Thrice (in three turns) he ascends from hence upwards,—that makes six: the significance of this has been explained?.
41. And as to why he descends in three turnsit is because he ascends in three turns : thus in as many turns as he ascends, in so many turns does he descend
42. He then throws that arka-leaf? into the pit; for it is therewith that he performs that sacrificial work sacred to Rudra, and that same (leaf) is inauspicious; he now puts it away, lest any one should tread on this inauspicious (leaf), and suffer injury thereby: hence (he throws it) into the pit. And, again, as to why (he throws it) into the pit,--the pit, doubtless, means the fire, and thus that fire consumes it. Now as to the (symbolic) correspondence.
43. As to this they say, 'How does this Satarudriya of his attain to (conformity with) the year, and Agni ? how does it correspond to the year, to
1 Of objects numbering six, the seasons commonly occur, e.g. VI, 7, 1, 16.
. See paragraph 4. According to Katy. Srautas. 18, 1, 6 both offering-utensils (the arka-leaf and the arka-stick) are thrown into the pit.
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Agni ?' Well, this Satarudriya includes three hundred and sixty (formulas); and (other) thirty, and thirty-five. Now, as to the three hundred and sixty which there are, so many are there days in the year : thereby it obtains the days of the year. And as to the thirty (formulas) which there are, they are the thirty nights of the month : thereby it obtains the nights of the month : thus it obtains both the days and nights of the year. And as to the thirty-five (formulas) there are, they are the thirteenth month', (Agni's) self,— the body (consists of) thirty (limbs), the feet of two, the breath of two (in-breathing and off-breathing), and the head is the thirty-fifth: so much is the year. And in this way this Satarudriya of his attains to (conformity with the year, Agni, and corresponds to the year, Agni. And, indeed, in the Sândila firealtar as many bricks with formulas attached to them are placed in the middle, for these bricks are indeed the same as these different Agnis (invoked in the Satarudriya); and thus these Agnis of his come to have oblations offered to them separately by means of the Satarudriya.
44. As to this they say, 'How does this Satarudriya of his attain to (conformity with) the Great
As Prof. Weber, Die vedischen Nachrichten von den Nakshatra,' p. 298, points out, this passage points to a six years' period of intercalation, since, in counting 360 days in the year, the remainder accumulates in six years to an intercalary month of thirty-five days (or thirty-six according to Sat. Br. X, 5, 4, 5); and accordingly in Vâg. S. XXX, 15, and Taitt. Ar. IV, 19, I, the names of the six years of such a period of intercalation are mentioned; while a five years' period and the names of the respective years are more frequently referred to.
• Viz. twenty fingers and toes, the upper and lower arms, the thighs and shanks, and the hands.
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Litany1?-how does it correspond to the Great Litany?' Well, those twenty-five formulas which there are on both sides of the eighties, they are the twenty-five-fold body3; and where the body (of the altar-bird) is, that (includes) the head, and the wings and tail. And what eighties (of formulas) there are (in the Satarudriya), thereby indeed the (corresponding) eighties (of the Mahad uktham) are obtained, for by eighties the Great Litany is recited. And what there is (in the Satarudriya) after the eighties that is for him the same as what there, in the Great Litany, is after the eighties; and in this way this Satarudriya
For the mahad uktham, or Great Litany, recited on the Mahâvrata day, see p. 110, note 3. According to Sâyana, however, this does not refer to the Mahad uktham, or Great Litany, itself, but to its Stotra, the Mahâvrata-sâman (cf. note on X, 1, 1, 5), by the chanting of which it is preceded, and which, like the Great Litany itself, is represented as being composed of the different parts of Agni-Pragâpati's bird-shaped body. Now, that part of the chant which corresponds to the god's trunk (âiman) is the only part of this Stotra which is chanted in the Pankavimsastoma, or twenty-five-versed hymn-form, which, indeed, is the characteristic Stoma of the Mahâvrata day, all other Stotras of that rite being chanted in that form. It is, however, doubtful to me whether it is not rather the opening part of the Great Litany itself representing the trunk that is here referred to, and which, indeed, consists of twenty-five verses; cf. F. Max Müller, Upanishads, I, p. 183. Besides, it has always to be borne in mind that the particular arrangement of the Great Litany which the authors of the Brâhmana had before them, may have differed in some respects from those known to us.
See p. 112, note 1.
That is, the body with its twenty-four limbs, viz. the two arms, two legs, and the twenty fingers and toes.
• According to Sâyana, the Pankavimsa-stotra, chanted after the Mahad uktham, is here referred to. See p. 111, note 1. Sâyana takes it to refer to the prose formulas at the end of the Sastra, which, he says, represent the mind (buddhi) of Pragâpati.
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of his attains to (conformity with) the Great Litany; in this way it corresponds to the Great Litany.
SECOND BRÂHMANA. 1. He then sprinkles him (Agni-Rudra, the firealtar). For the gods, having now appeased him by the Satarudriya, thereby appeased him still further; and in like manner does this (Sacrificer), now that he has appeased him by the Satarudriya, still further appease him thereby.
2. With water he sprinkles him!, -water is a means of appeasing (soothing): he thus appeases him thereby. He sprinkles him all over ; he thus appeases him all over. Thrice he sprinkles,-threefold is Agni: as great as Agni is, as great as is his measure, with so much he thus appeases him.
3. And, again, as to why he sprinkles him,—that Agni (the fire-altar), doubtless, is these worlds : by water he thus encompasses these worlds, by the ocean, indeed, he encompasses them. On every side (he sprinkles the altar): hence the ocean flows round these worlds on every side. From left to right (he sprinkles): hence the ocean flows round these worlds from left to right.
4. For safety from injury it is the Agnidh who sprinkles, for the Agnidh is the same as Agni, and no one injures his own self. From a stone (he sprinkles), for from the rock water springs forth;from the arm-pit, for from the arm-pit water springs forth;—from the right arm-pit?, for from the right arm-pit water springs forth.
1 Or rather, he pours water on it (the altar). ? That is, from the lower (or hindmost) point where the right
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5. [He sprinkles the stone, with, Vag. S. XVII, 1], 'The food that is lying in the rock, in the mountain,'--for that food, water, is indeed contained in the rock, in the mountains ;-'the drink that is gathered from waters, plants and trees,' --for from all that that drink is indeed gathered ;'that sap and food bring ye unto us, O Maruts, as bountiful givers !'—for the Maruts are the rulers of the rain. With 'In the rock is thy hunger,' he (after watering the altar) sets down (the pitcher on the stone): he thus lays hunger into the stone, whence the · stone is not fit for eating. But hard also is the stone, and hard is hunger: he thus puts the hard along with the hard. With, “In me thy food!' he takes up (the pitcher): he thereby takes up the food into his own self. Thus (he does) a second and a third time.
6. Having (finally) set down the pitcher, he perambulates thrice (the altar); for when (in sprinkling) he walks all round it, he, as it were, makes light of him (Agni-Rudra). He now makes amends to him, for (his own) safety.
7. And, again, as to why he perambulates it,-he then (in sprinkling the altar) goes after him' (AgniRudra): thereupon he now recovers his own self unto life, and so does he by that self of his obtain all vital power.
8. Thrice he perambulates it, for thrice he walks round it (whilst sprinkling): thus as many times as he walks round it, so many times does he perambulate it.
wing joins the body of the altar. He there places a stone, from which he begins the sprinkling of the altar.
1 See IX, 1, 1, 33.
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9. Having thereupon put that stone into the water-pitcher, they throw it in that (south-western) direction, for that is Nirriti's region: he thus consigns pain to Nirriti's region.
10. For at that time, the gods, having appeased him by the Satarudriya and the water, thereby drove out his pain, his evil; and in like manner does this (Sacrificer) now, after appeasing him by the Satarudriya and the water, cast away his pain, his evil.
11. Outside the fire-altar he throws it; for this fire-altar indeed is the same as these (three) worlds: he thus puts pain outside these worlds;-outside the sacrificial ground (vedi); for the Vedi is this (earth): he thus puts pain outside this earth.
12. Whilst standing at the right thigh of the Vedi, with his face to the east, he throws it southwards, with, 'Let thy pain enter him whom we hate!' and thus its pain enters whomsoever he hates. He may say, 'Let thy pain enter so-andso!' naming him whom he hates, and then he has no longer any hold upon him; but let him take no notice of this, for indicated of himself is he whom he who knows this hates. If it? should remain unbroken, let him bid (the Pratiprasthâtre) to break it; for only when it is broken, the pain enters him whom he hates. They return (to the altar) without looking back: they thus leave pain and evil behind without looking back to them.
13. Having returned, he makes the bricks his own
· The burning heat of the fire, and all physical and mental suffering.
% Viz. the stone, or the pot, according to others; cf. Kâty. Srautas. XVIII, 2, 5-8. According to Prof. Weber the stone is meant to represent the hungry greed of the fire.
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milch cows; for the gods, having now appeased him (Agni-Rudra) by the Satarudriya and the water, and having driven out his pain and evil, returned (to the altar) and made the bricks their own milch cows; and in like manner does this (Sacrificer) now, after appeasing him by the Satarudriya and the water, and casting off his pain and evil, return and make the bricks his own milch cows.
14. And some say, 'Let him make them his own whilst sitting, for sitting one milks the cow.' But let him rather make them his own standing; for that fire-altar is these worlds, and these worlds are, as it were, standing. And, moreover, one is stronger whilst standing.
15. [He does so], whilst standing (near the right thigh of the altar) with his face towards the north-east; in front stands that cow by the Sacrificer with her face towards the west (back), for from the right side they approach the cow which stands with its face towards the back (west).
16. And wherever he reaches (whilst stretching his arms over the altar), there he touches and mutters this formula (Vâg. S. XVII, 2), 'Let these bricks be mine own milch cows, O Agni!' for Agni rules over this making of cows, whence he addresses Agni out of so many deities;- One, and ten1.... and a hundred thousand millions, and a billion;'-for the one, to wit, one and ten, is the lowest quantity, and the other, to wit, a hundred thousand millions, and a billion, is the highest quantity; thus, having comprehended them by the
The intervening numbers here omitted increase by multiples
of ten.
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lowest and the highest quantity, the gods made them their own milch cows; and in like manner does this (Sacrificer), having thus comprehended them by the lowest and the highest quantity, make them his own milch cows. Hence also he need not care to make many (cows) his own', for in yonder world that (Sacrificer), by means of the Brahman (holy writ), the Yagus, will make many (cows) his own. And in that he carries on the numbers) uninterruptedly, thereby he carries on, without interruption, his objects of desire.
17. And as to why he makes the bricks his own milch cows,—this fire-altar is speech, for with speech it is built up; and when he says, 'One, and ten, ... and a hundred thousand millions, and a billion,''one' is speech, and a hundred thousand millions is speech, and a billion is speech : it is Speech herself that the gods thereby made their own milch cow; and in like manner does the Sacrificer thereby make Speech herself his own milch cow. And in that he carries on (the numbers) uninterruptedly, thereby it is Speech herself that he carries on :'Let these bricks be mine own milch cows, O Agni, hereafter in yonder world! He thereby makes them his own milch cows in this world, and he also makes them his own milch cows in yonder world ; and thus they are profitable to him in both worlds, in this one and in the other.
18. (Vâg. S. XVII, 3], . The seasons ye are,'— for these (bricks) are indeed the seasons ;-lawsustaining,' that is, 'truth-sustaining;'-'be ye season-abiding, la w-sustaining!'—for the bricks
'? That is to say, he need not touch the altar more than once.
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are the days and nights, and the days and nights indeed abide in the seasons ;-'fat-showering, honey-showering,'—he thereby makes them fatshowering and honey-showering for himself.
19. The widely-shining by name,'--for the gods then called those bricks to them by their names, and in the same way in which they called them, they turned unto them; but the 'space-fillers' alone stood with averted faces discharging water, having no names applied to them. They called them by the name 'the widely-shining,' and they turned unto them. Hence, each time he has laid down ten bricks, he addresses them with the spacefilling (verse)': he thereby makes them widelyshining (virág), for the Virág (metre) consists of ten syllables :-'wish-milking, never-failing' - he thereby makes them wish-milking and never-failing.
20. He then draws a frog, a lotus-flower, and a bamboo-shoot across (the central part of the altar). For the gods having now appeased him by the Satarudriya and the water, and having driven out his pain and evil, thereby still further appeased him; and in like manner does this (Sacrificer), now that he has appeased him by the Satarudriya and the water, and driven out his pain and evil, still further appease him thereby. In every direction he draws them: he thus appeases him everywhere.
21. And, again, as to why he draws them across. Now, in the beginning, when the Rishis, the vital airs, made up that Agni ?, they sprinkled him with water : that water dripped off and became the frogs.
? That is with the verse Våg. S. XII, 54, beginning Lokam prina,' Fill thou the space;' see part iii, p. 153 note.
. See VI, 1, 1, 1-5.
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22. They (the waters) said to Pragậpati, Whatever moisture we had, has gone down. He said, *This tree shall know it!'-he shall know (vettu), he shall taste it (sam vettu)—that one, indeed, they mystically call 'vetasa' (bamboo), for the gods love the mystic. And because they said, 'Down (avâk) has gone our moisture (ka),' they became avâkkâs ;'avâkkâs,' they mystically call 'avakâs (lotuses),' for the gods love the mystic. These, then, are those three kinds of water, to wit, the frog, the lotus-flower, and the bamboo-shoot : by means of these three kinds of water he appeases him.
23. And, again, why he draws them across it ;when he (Agni, the fire-altar) is built up, he is being born, and he is born for every kind of food; and these are every kind of food, to wit, the frog, the lotus-flower, and the bamboo-shoot, for these, indeed, are animals, water, and trees : with all this food he gratifies him.
24. With the frog, on the part of animals, whence, of animals, the frog is the one affording least subsistence, for he is used up ;-with the lotus-flower, on the part of water, whence of the kinds of water (plants), lotus-flowers are those affording least subsistence, for they are used up;-and with the bamboo-shoot, on the part of trees; whence, of trees, the bamboo is the one affording least subsistence, for it is used up.
25. Having tied them to a cane, he, in the first place, draws them eastwards along the right (south) part of the body of the) altar inside the enclosing
Thus, or essence (rasa), according to Sâyana ; cf. X, 6, 5, 1. The word 'ka' has, however, also the meaning joy.'
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stones, with (Vâg. S. XVII, 4), With the lotusflower of the ocean we encompass thee, O Agni: be thou bright and propitious unto us!' that is, 'With the waters of the ocean we appease thee.'
26. Then northwards along the hind part (of the altar), with (Vâg. S. XVII, 5), With an outer vesture of cold we encompass thee, O Agni: be thou bright and propitious unto us!'-that part of the cold which is frozen hard is an outer vesture of cold: thus, 'By the frozen part of cold we appease thee!
27. Then eastwards along the left (north) part, with (Vag. S. XVII, 6), “Upon the earth, into the reed, into the rivers descend thou, O Agni, thou art the biler of waters: with them, come thou, O she-frog, and make the sacrifice brightcoloured and propitious for us!' as the text, so the meaning.
28. Then southwards along the forepart, with (Våg. S. XVII, 7), 'Thou art the receptacle of waters, the abode of the ocean: let thy darts burn others than us! unto us be thou bright and propitious!' as the text, so the meaning. He first draws them thus, then thus, then thus, then thus: that is from left to right, for so it is with the gods.
29. Over the body (of the altar) he draws them
1 That is, the heat' which is considered the chief property of the bilious humour.
9 The procedure in this case is an exact counterpart of the ploughing of the altar-site, for which see VII, 2, 2, 8-12, with notes. Hence also the verbs expressive of the two actions are closely analogous, viz. vikrishati and vikarshati.
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first, for of (the bird, or Agni) that is born the body is born first, then the right wing, then the tail, then the left wing : that is from left to right, for so it is with the gods.
30. Over the wings and tail he draws them in the direction of the body (self): he thus lays calmness into his own self;—from the further end (he draws) hitherwards : he thus lays calmness into his own self from the further end hitherwards. The right wing, with (Vâg. S. XVII, 8), “O bright Agni, with thy light, (with thy dainty tongue, O god, bring hither the gods, and worship them)!' The tail, with (Våg. S. XVII, 9), 'O bright and shining Agni, (bring hither the gods to our sacrifice and our offering)!' The left wing, with (Våg. S. XVII, 10), 'He who with bright and glittering light (shineth upon the earth, as the dawns with their glow, who, the ever young, speeding, as in the race, in the battle, of the steed, thirsteth not in the heat). •Bright,' he says each time, for whatever is kindly and propitious is bright: he thus propitiates him thereby.
31. With seven (formulas) he draws them acrossthe altar consists of seven layers, and seven seasons are a year, and Agni is the year : as great as Agni is, as great as is his measure, with so much he thus crosses him. Having thrown the cane on the heap of rubbish;
32. [The Adhvaryu] then sings hymns round it (the altar);—for therein that whole Agni is completed; and the gods laid into him that highest form, immortality; and in like manner does this (Sacrificer) thereby lay into him that highest form, immortality. Sâman-hymns are (used), for samans are vital airs,
[43]
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and the vital airs are immortality: immortality, that highest form, he thus lays into him. On every side he sings around it : everywhere he thus lays immortality, that highest form, into him.
33. And, again, as to why he sings sâman-hymns round about it;—the gods then desired, 'Let us make this body of ours boneless and immortal. They spake, 'Think ye upon this, how we may make this body of ours boneless and immortal!' They spake, 'Meditate (kit) ye!' whereby indeed they meant to say, 'Seek ye a layer (kiti)! seek ye how we may make this body of ours boneless and immortal!
34. Whilst meditating, they saw those såmanhymns, and sang them round about it, and by means of them they made that body of theirs boneless and immortal; and in like manner does the Sacrificer, when he sings the sâman-hymns round about it, make that body of his boneless and immortal. On every side he sings : everywhere he thus makes that body of his boneless and immortal. Standing he sings, for these worlds stand, as it were; and whilst standing one doubtless is stronger. He sings, after uttering (the syllable).'him,' for therein the sâman-hymn becomes whole and complete.
35. He first sings the Gayatra hymn", for the Gâyatri metre is Agni : he thus makes Agni his
1 The Gayatra-saman is the hymn-tune composed on the verse called 'the Gayatri,' par excellence, or. Såvitrî' (tat savitur varenyam, Rig-veda III, 62, 10), which plays an important part in the religious life of the Hindu. The verse, as figured for chanting, is given, Sâma-v. Calc. ed. vol. v, p. 601. On the present occasion, according to Låty. Sr. I, 5, 11, a different text, viz. Sâma-v. II, 8, 14 (Rig-veda IX, 66, 19, agna ayûmshi pavase), is to be sung to this tune.
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head, and that head of his (or of him, Agni) he thus makes boneless and immortal.
36. The Rathantara ? (hymn he sings) at the right wing; for the Rathantara is this (earth), and this (earth), doubtless, is the most essential (rasatama) of these worlds, for it is in her that all these essences (rasa) are contained, and 'rasantama,' indeed, they call mystically, 'rathantara,' for the gods love the mystic: he thus makes this (earth) his right wing, and that right wing of his he thus makes boneless and immortal.
37. The Brihat? (hymn he sings) at the left wing ; the Brihat (great), doubtless, is the sky, for the sky is the greatest (of worlds) : he thus makes the sky his (Agni's) left wing, and that left wing of his he thus makes boneless and immortal.
38. The Vâmadevya' (hymn he sings) on the body (of the altar); for the Vâmadevya is the breath, and the breath is air (vậyu, the wind), and he, Vâyu, doubtless, is the self (body) of all the gods : he thus makes the air (wind) his body, and that body of his he thus makes boneless and immortal.
39. The Yagñayagñiya 1 (hymn he sings) near the tail;—the Yagñayagñiya, doubtless, is the moon; for whenever a sacrifice becomes completed ?, the essence of its oblations goes up to him (the moon);
1 The Rathantara, Brihat, Vâmadevya, and Yagitâyagñiya tunes are apparently to be sung here on their original texts (Sâma-v. II, 30, 31, abhi två sûra nonumah; II, 159, 160, tvam id dhi havâmahe; II, 32, 33, kaya nas kiura a bhuvat; and II, 53, 54, yagħâ-yagñâ vo agnaye), though hardly in their elaborate setting, as performed in chanting.
It should be remembered that the chanting of the Yagñayagñiya (or Agnishtoma)-sâman marks the completion (samstha) of the ordinary (Agnishtoma) Soma-sacrifice.
N 2
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and inasmuch as sacrifice after sacrifice (yagña) goes up to him, the moon is the Yagñâyagñiya: he thus makes the moon his (Agni's) tail, and that tail of his he thus makes boneless and immortal.
40. He then sings the heart of Pragâpati1;—the heart assuredly is yonder sun, for he (the sun) is smooth, and the heart is smooth; he is round, and the heart is round. On the body (of the altar) he sings, for the heart is in the body;;-at the armpits, for the heart is in (the vicinity of) the armpit ;—
'The Pragâpati-hridaya, or Pragâpater hridayam, as figured for chanting, is given, Sâma-v. Calc. ed. vol. ii, p. 499. It consists of the words, imâh pragâh pragâpate(r) hridayam pragârûpam agîgane, with inserted stobhas and modulations. It is followed by a simpler form, which is perhaps the one used on the present occasion.
Viz. on the place where the right wing joins the body of the altar. According to other authorities, the Syaita hymn-tune is likewise to be sung near the left arm-pit (or, according to Sândilya, at the place where the Adhvaryu mounts the altar). For other variations, see Weber, Ind. Stud. XIII, p. 276. I do not think that the ritual of the White Yagus, in omitting the left arm-pit, shows any gap or inconsistency, since the right arm-pit is marked out, not for any bodily parallelism, but for the simple reason that it is supposed to indicate the position of the heart. Whilst all the other places on which hymns are sung are essential parts of the bird Agni, the arm-pit is not an essential part, but is merely indicative of the central organ of the body. Lâty. I, 5, 11 seqq. supplies the following directions, apparently implying a somewhat different order of procedure from that followed in our text: He passes along the south, and whilst standing (east of the altar) with his face towards the west, he sings the Gâyatra at the head. Returning, he sings the Rathantara at the right wing. Going round behind, he sings the Brihat at the left wing. Going back, and standing behind the tail, with his face towards the east, he sings the Yagñâyagiya. The Vâmadevya he sings at the right, and the Pragâpati-hridaya at the left, arm-pit. Then follow different views held by different teachers.With this ceremony, by which homage is paid to the different parts of Agni-Pragâpati's body, compare the similar, but more elaborate, ceremony of the Parimâdah at the Mahâvrata, X, 1, 2, 9 with note.
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at the right armpit, for the heart is nearer thereto 1: he thus makes the sun his (Agni's) heart, and that heart of his he thus makes boneless and immortal.
41. He sings about offspring (pragâ) and Pragâpati (the lord of creatures and procreation);—when he sings about offspring, he lays the heart into offspring; and when he sings about Pragâpati, he lays the heart into Agni.
42. And, again, as to why he sings about offspring and Pragâpati;-this Agni, doubtless, both offspring and the lord of offspring, and hence, when he sings about Agni, he lays the heart both into the offspring and into the lord of offspring.
43. These (hymns) are the immortal bricks; he lays them down last (highest) of all:-he thereby makes immortality the highest thing of all this (universe), and hence immortality is the highest thing of all this (universe). Let none other but the Adhvaryu sing; for these (hymns) are bricks, and he (Agni, the fire-altar) would be built up in the wrong way, were any other than the Adhvaryu to sing.
SECOND ADHYAYA.
FIRST BRAHMANA. DAY OF PREPARATION FOR SOMA-SACRIFICE.
1. On the day of preparation, early in the morning, when the sun has risen, he releases his speech.
'That is, by taking the auricles as parts of the heart.
According to Lâ/y. I, 5, 1 seq., it is the Prastotri who sings these sâmans. A similar conflict of competence in this respect is referred to not only in regard to detached sâmans (cf. Kâty. IV, 9, 6-9), but even in regard to such solemn performances as the chanting of the Mahâvrata-sâman (cf. note on X, 1, 1, 5).
Vi-kita, in this sense, appears to be a arrag λeyóμevov. Sâyana seems to have read vigita (parâbhûta, defeated) instead.
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Having released his speech, he takes clarified butter, in five ladlings, and throws five chips of gold thereon. Then these three (materials), sour curds, honey and ghee, are poured together, either into a dish, or a pot with a wide mouth ; and he puts a handful of sacrificial grass thereon.
2. He then mounts the fire-altar, with (Vâg. S. XVII, 11), 'Homage be to thy heat, thy fire?! homage be to thy Aame!'--for that Agni has now been completely restored, and he now is equal to injuring whomever he might wish to injure; and whomever he injures, he injures either by his heat, or by his fire, or by his fame; in this way he does not injure him thereby (etaih); 'Let thy darts burn others than us! unto us be thou bright and propitious!' as the text, so the sense.
3. Having mounted the altar, he makes the libation of fivefold-taken ghee on the naturallyperforated (brick): the significance of this has been explained
4. On the naturally-perforated (brick) he makes the libation-the naturally-perforated one is the breath: into (the channel of) the breath he thus puts food.
5. And, again, as to why he offers on the naturally-perforated one ;-this (brick) is an uttaravedi (high-altar) of Agni (the fire-altar); and that former libation which he makes 8 belongs to the
Or, 'Homage be to thy burning (consuming) fire l' as Mahidhara takes 'harase sokishe,' and perhaps also the Brahmana, though 'etaih,' used in reference to Agni's weapons, would rather seem to indicate a plurality of them.
. See VII, 2, 3, 4; VIII, 6, 3, 15. • See III, 5, 2, 9-11; the libation of ghee there offered on the
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Soma-sacrifice, but this one belongs to the fire-altar; this he now offers.
6. On that (former) occasion he makes the libation whilst looking at the gold; for distinct is what one sees, and distinct was that high-altar; and thrown down?, indeed, are (the gold chips) on this occasion, and indistinct is what is thrown down, and indistinct is this high-altar.
7. With the Svâhâ-call he makes the libation on that (high-altar), for distinct (manisest) is the Svâhâ, and distinct is that high-altar; but with the Vet-call (he offers) on this (brick), for indistinct is the Vet-call, and indistinct is this high-altar. With ghee (they offer), for with ghee they offer on the high-altar ;-with fivefold-taken (ghee), for with fivefold-taken (ghee) they offer on the high-altar ;by turns (he makes the libations), for by turns 2 they make the libations on the high-altar.
8. [He offers, with, Våg. S. XVII, 12, a-c resp.), "To the man-seated, vet!'—the man-seated one, doubtless, is the breath, and men mean human beings: he thereby gratifies that fire (or Agni), the breath, which is in human beings;—'To the waterseated, vet!'-he thereby gratifies the fire which is in the waters;—'To the barhis-seated, vet!'—he
uttara-vedi being preparatory to the leading forward of the fire to the high-altar.
Each time he has poured out some of the ghee on one of the comers, or in the centre, of the stone; he throws one of the chips of gold thereon, without looking at it.
That libation was made crosswise first on the right shoulder, then on the left thigh, then on the right thigh, then on the left shoulder, and finally in the centre, of the (navel of the) highaltar. In the same way he offers crosswise on the svayamâtrinnå brick.
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thereby gratifies the fire which is in plants 1;-'To the wood-seated, vet!'-he thereby gratifies the fire which is in trees;-To the heaven-winning, vet!'-the heaven-winning one is this Agni (kitya): it is this Agni he thereby gratifies.
9. And as to why he says, 'To the man-seated, vet! To the water-seated, vet!' &c., these are names of this Agni: these names he thereby pleases. By means of the oblation he makes them a deity: for whatever deity the oblation is prepared, that deity (they are), not that deity for whom it is not prepared. And, in calling them by their names, he also thereby places those fires along with this fire.
10. These are five oblations he offers,-the firealtar consists of five layers, the year of five seasons, and Agni is the year: as great as Agni is, as great as is his measure, with so much food he thus gratifies him.
11. He then sprinkles him (Agni, the fire-altar) with the sour curds, honey and ghee; when he is built up, he is born, and he is born for every (kind of) food; and these, to wit, sour curds, honey and ghee, are every (kind of) food: with every (kind of) food he thus gratifies him. Everywhere (he sprinkles the altar): everywhere he thus gratifies him with every (kind of) food.
12. And, again, as to why he sprinkles him;here that Agni has been built up complete: on him the gods now bestowed the highest (or last) form; and in like manner does this (Sacrificer) now bestow on him the highest (or last) form; but form means
1 Inasmuch as 'barhis' is the sacrificial grass spread over the vedi, or altar-ground.
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food, and these, to wit, sour curds, honey and ghee, are the most excellent kind of food : this, the most excellent form he thus bestows upon him as his highest (property). Everywhere he sprinkles, even outside the enclosing-stones; everywhere he thus bestows on him the highest form ;-by means of sacrificial grass-stalks (he sprinkles), for they are pure and meet for sacrifice; by means of their tops (he sprinkles), for the top (is sacred) to the
gods.
13. And, again, as to why he sprinkles them;-of old, when the Rishis, the vital airs, joined him together, they made that'sagarabdlya' (oblation) his special fore-share, and, when he had been built up, they made this (sprinkling) his after-share: thus, in sprinkling him, he gratifies those Rishis, the vital airs, who, when he (Agni) had been built up, made this his after-share. With sour curds, honey and ghee (he sprinkles): the significance of this has been explained.
14. [He sprinkles, with, Våg. S. XVII, 13, 14], •The gods of the gods, the worshipful of the worshipful,'—for they (the vital airs) are indeed the gods of (among) the gods, and the worshipful of the worshipful ;—'who draw nigh unto the yearlong share,' for they do indeed draw near to this their year-long share ;-'not eaters of oblations, -at this offering of sacrificial food,'--for the vital airs, indeed, are not eaters of oblations;— may themselves drink of the honey and the ghee!'
1 That is, the oblation (made on the bunch of sacrificial grass placed in the centre of the freshly ploughed altar-site, where the furrows meet) with the formula (Vâg. S. XII, 74) beginning 'sagør abdo.' See VII, 2, 3, 8.
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that is, should themselves drink of this honey and ghee.
15. “The gods who attained godhead over the gods,'—for these gods have indeed attained a divine state over the gods ;-'who are the forerunners of this holy work,'—the holy work is this fire-altar (and sacrifice), and they are the forerunners thereof;—'without whom no dwellingplace becometh pure;' for without the vital airs no dwelling-place becomes purel;-'they are not on the backs of the sky and the earth,'--that is, they are neither in the sky nor on earth: whatever breathes therein they are.
16. With two (verses) he sprinkles,-two-footed is the Sacrificer, and the Sacrificer is Agni: as great as Agni is, as great as is his measure, with so much he thus sprinkles him.
17. He then descends again (from the altar), with (Våg. S. XVII, 15), 'Givers of in-breathing, givers of off-breathing,'--for this Agni who has been built up is all these breathings; were he not to utter at this time this (declaration of) self-surrender, then that (Agni) would possess himself of those breathings of his (the Sacrificer's); but now that he gives utterance to this self-surrender, that (Agni) does not possess himself of those breathings of his; 'Givers of in-breathing, givers of off-breathing, givers of through-breathing, givers of lustre, givers of room'-he thereby says, 'A giver of this thou art to me,'-'let thy darts burn
It is doubtful in what sense the author understands this part of the verse. Mahidhara takes it to mean, without whom no body moves.'
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others than us! unto us be thou bright and propitious!'-as the text, so the meaning.
18. Having returned (to the hall-fire) he proceeds with the (forenoon performance of the) Pravargya and Upasad?; and having performed the Pravargya and Upasad, he hands to him (the Sacrificer) the fast-food or semi-fast-food. He then (proceeds) with the (afternoon performance of the) Pravargya and Upasad, and having obtained the object for which he puts the (Pravargya-) cauldron on the fire, he sets out (the apparatus of) the Pravargya.
19. Let him set it out on an island; for, when heated, that (cauldron) is suffering pain; and were he to set it out on this (earth) its pain would enter this (earth); and were he to set it out on water, its pain would enter the water; but when he sets it out on an island, then it does not injure either the water or this (earth): in that he does not throw it into the water, it does not injure the water; and in that the water goes all round it—water being a means of soothing—it does not injure this earth;—let him therefore set it out on an island.
20. But let him rather set it out on the fire-altar; for that fire-altar is these worlds, and the enclosingstones are the waters;—so that when he sets it out on the fire-altar, he indeed sets it out on an island.
21. And, again, as to why he sets it out on the fire-altar;—that fire-altar is these worlds, and those Pravargya (vessels) are Agni (fire), Vayu (wind), and Aditya (sun): hence, were he to set them out in any other place than the fire-altar, he would place those gods outside these worlds; but in that he sets them
For the Pravargya, see part i, p. 44 note; and the Upasads, part ii, p. 104 seq.
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out on the fire-altar, he places those gods in these worlds.
22. And, again, as to why he sets it out on the fire-altar, the Pravargya is the head of the sacrifice, and this built-up fire-altar is the body: hence were he to set it out in any other place than the fire-altar, he would place that head away from that (body), but in that he sets it out on the fire-altar, he, having put together that body of him (Agni), restores the head to it.
188
23. The first Pravargya (vessel) he sets out close to the naturally-perforated (brick);—the naturallyperforated one is the breath, and the Pravargya is the head, and this built-up Agni is the body: he thus connects and puts together the head and the body by means of (the channel of) the breath. Having set out the Pravargya as is the way of its setting out,
SECOND BRAHMANA.
LEADING FORWARD OF AGNI TO THE FIRE-ALTAR.
1. Having returned to the (Gârhapatya') in order to take forward the fire, he offers oblations, and puts on pieces of firewood. For now that Agni was about to go forward (to the fire-altar), the gods regaled him with food, both with oblations and pieces of firewood; and in like manner does this (Sacrificer), now that he (Agni) is about to go forward, regale him with food, both with oblations and pieces of firewood. He takes (ghee) in five ladlings: the meaning of this has been explained.
1 That is, the newly-built Gârhapatya-hearth (part iii, p. 302) on which the Ukhya fire has been deposited.
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2. He then takes (ghee) in sixteen ladlings?, - Pragâpati consists of sixteen parts, and Pragâpati is Agni: he thus regales him with food proportionate to his body; and the food which is proportionate to the body satisfies and does no injury; but that which is excessive does injury, and that which is too little does not satisfy. He takes (the oblations) in the same offering-ladle, for one and the same (Agni) is he whom he regales therewith. With two (verses) addressed to Visvakarman he offers; for this Agni is Visvakarman (the all-worker): it is him he thereby gratifies. Three oblations he offers,-threefold is · Agni: as great as Agni is, as great as is his measure, with so much food he thus regales him.
3. He then puts on the pieces of firewood: this is as if, after regaling some one, one were to attend upon him. They are of udumbara (ficus glomerata) wood; for the Udumbara is food and sap: with food and sap he thus regales him. They are fresh (green), for that part of trees which is fresh is uninjured and living: he thus regales him with what is uninjured and living in trees. They are soaked in ghee; for ghee is sacred to Agni: with his own portion, with his own sap he thus regales him. They remain the whole night in it, for there they become imbued with sap. Three pieces of wood he puts on-threefold is Agni: as great as Agni is, as great as is his measure, with so much food he thus regales him.
4. And, again, as to why he offers those oblations;—now that he (Agni) was about to go forward,
"That is, he ladles sixteen sruva-spoonfuls of ghee into the sruk or offering-ladle.
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the gods restored (recruited) him beforehand with food, with these oblations; and in like manner does this (Sacrificer), now that he (Agni) is about to go forward, restore him beforehand with food, with these oblations.
5. He takes (ghee) in five ladlings, for fivefold divided is that vital air in the head,—the mind, speech, the breath, the eye, and the ear,-he thus lays that fivefold divided vital air into this head. [He offers it, with, Vâg. S. XVII, 16), 'Agni, with sharp flame, (may destroy every demon! Agni gaineth wealth for us)' thus with a (verse) containing (the word) 'sharp': he therewith sharpens his head so as to become sharp.
6. He then takes (ghee) in sixteen ladlings : eight vital airs, and eight limbs',—this (the symbolical) amount. He takes it in the same spoon, for, indeed, the vital airs and the limbs are in the same body. Separately? he offers : he thereby makes a distinction between the vital airs and the limbs. With two (verses) addressed to Visvakarman he offers: Visvakarman is this Agni, it is him he thus puts together. Three oblations he offers,—threefold is Agni: as great as Agni is, as great as is his measure, with so much food he thus restores him. With seventeen verses (he offers) », — Pragâpati is seventeenfold, and Pragâpati is Agni: as great as Agni is, as great as is his measure, with so much he thus restores him.
1 Viz. the upper and fore-arms, the thighs and legs.
That is, he offers this ladleful (obtained by sixteen ladlings with the dipping-spoon) in two separate libations (ahuti) or, according to Kåty., in two halves.
Viz. Vâg. S. XVII, 17–32 (sixteen verses, eight for each oblation) and verse 16 (given above) used with the oblation of five ladlings.
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With (ghee) taken in twenty-one ladlings (he offers the two oblations),—there are twelve months, five seasons, these three worlds, and yonder sun as the twenty-first : this is the (symbolical) amount (or, correspondence).
7. And, again, as to why he puts the pieces of firewood on; the gods having set him up wholly and completely, now regaled him with this food, these pieces of firewood; and in like manner does this (Sacrificer), now that he has set him up wholly and completely, regale him with this food, these pieces of firewood. They are of udumbara wood, and fresh, and remain for a whole night (being) soaked in ghee: the significance of this has been explained. (He puts them on, with, Våg. S. XVII, 50-52], 'Upwards lead thou him, O Agni!... Forward lead thou him, O Indra!... In whose house we make offering...,' as the text, so the meaning. Three pieces of firewood he puts on-threefold is Agni: as great as Agni is, as great as is his measure, with so much food he thus regales him. Three oblations he offers,—that makes six: the significance of this has been explained.
THIRD BRÂHMANA. 1. He (the Adhvaryu) then gives orders (to his assistant, the Pratiprasthầtri), 'Lift the log?! hold up the underlayer!'-[To the Hotri], 'Recite for
1 Viz. a burning piece of wood taken from the Garhapatya hearth to serve as the new Ahavanîya on the great fire-altar. The Gârhapatya fire, it will be remembered, was the Ukhya Agni, or the sacred fire carried in a pan (ukha) by the Sacrificer during his time of initiation (dîksha) lasting for a year (or some other definite period), till, at the end of that period, at the beginning of the Pråyaniya, or opening-offering, it was transferred from the pan to the newly-built Gârbapatya hearth.
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Agni as he is taken forward !'—'Agnidh, follow up with the single sword (-line)!'— Brahman, mutter the Apratiratha (hymn)!'
2. For at that time, as the gods were about to come up in order to perform this sacrifice, the Asuras, the mischievous fiends, tried to smite them from the south, saying, Ye shall not sacrifice! ye shall not perform the sacrifice!'
3. The gods said to Indra, 'Thou art the highest and mightiest, and strongest of us : do thou hold those fiends in check!'— Let the Brahman (n.) be my ally!' he said. — So be it!' They made Brihaspati his ally, for Brihaspati is the Brahman (the priesthood); and having had the Asuras, the mischievous fiends, chased away in the south by Brihaspati and Indra, they spread this sacrifice in a place free from danger and devilry.
4. Now what the gods did then, that is done on this occasion. Those fiends, it is true, have now been chased away by the gods themselves, but when he does this, he does so thinking, ‘I will do what the gods did;' and having had the Asuras, the mischievous fiends, chased away in the south by Indra and Brihaspati, he performs this sacrifice in a place free from danger and devilry.
5. As to that Indra, he is that Apratiratha (irresistible hymn); and as to that Brihaspati, he is the Brahman (priest): thus, when the Brahman mutters the Apratiratha (hymn) he (the Sacrificer), having the Asuras, the mischievous fiends, chased away in the south, by Indra and Brihaspati, performs this sacrifice in a place free from danger and devilry. This is why the Brahman mutters the Apratiratha (hymn, Väg. S. XVII, 33-44; Rigv. S. X, 103, 1-12).
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6. “The swift (Indra), sharpening (his weapon), like a terrible bull,'—these are twelve suitable (verses) relating to Indra,—a year consists of twelve months, and Agni (the fire-altar) is the year : as great as Agni is, as great as is his measure, by so much he drives off the Asuras, the mischievous fiends, in the south. With trishtubh? (verses he does so),—the Trishtubh is the thunderbolt: by the thunderbolt he thus drives off the Asuras, the mischievous fiends, in the south. They amount to twenty-two Gayatris', and thus they relate to Agni, for this is Agni's performance.
7. He then takes him up in the form of a burning piece of firewood), with [Våg. S. XVII, 53], ‘Upwards may the All-gods bear thee, o Agni, by their thoughts!...' the meaning of this has been explained?
8. They then go forward, with (Vág. S. XVII, 54-58), “May the divine regions, the goddesses, protect the sacrifice!'—The gods and the Asuras, both of them sprung from Pragâpati, were contending for the regions, and the gods wrested the regions from the Asuras; and in like manner does the Sacrificer now wrest the regions from his hateful rival. Divine' he says, and thereby makes them divine for himself;—'may the goddesses protect the sacrifice,' that is, 'may the goddesses protect this sacrifice!'—'keeping off want and ill-will,'— want is hunger: thus, 'keeping off hunger;'-'grant
The trishtubh verse consists of 4 X 11 syllables, hence the twelve verses of together 528 syllables. The gâyatri verse, on the other hand, consists of 3 x 8 syllables; and twenty-two such verses would thus consist of altogether 528 syllables. 9 Viz. VI, 8, 1, 7.
[43]
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ing to the lord of the sacrifice a share in wealthaffluence,' that is, 'granting to the lord of the sacrifice a share in wealth and in affluence;' 'may the sacrifice be founded on wealth-affluence!' —that is, 'may the sacrifice be founded on wealth and affluence!'
9. Glorifying on the kindled fire,'—the glorifying one is the Sacrificer;—'the hymn-winged,' for hymns are his wings ;-'taken,'—that is, 'held;' -'praiseworthy,'—that is, 'worthy of worship;''(when) they sacrificed, encircling the heated cauldron,'—for they did sacrifice, whilst encircling the heated (Pravargya) cauldron ; 'when the gods offered the sacrifice with food,'--for the gods did offer this sacrifice with food.
10. “To the divine, fostering upholder,'— for he, Agni, is the divine upholder, the most fostering ;-'he, the approacher of gods, the well-disposed, of a hundred draughts,'-for he is indeed an approacher of the gods, and well-disposed, and possessed of a hundred draughts;-'encircling, the gods drew nigh unto the sacrifice,'—for encircling him (Agni), the gods drew nigh to the sacrifice ;-'the gods stood ready to perform the cult unto the gods,'—the cult, doubtless, is the sacrifice, thus, 'the gods stood ready to perform the sacrifice to the gods.'
11. 'The welcome oblation slaughtered by the slaughterer' to sacrifice;'—that is, 'wishedfor, much wished-for;'—'where the fourth sacrifice goeth to the offering,'—the Adhvaryu first mutters the formulas, the Hotri afterwards recites
· Mahîdhara takes 'samita' to stand for samitra.'
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the verses, the Brahman mutters the Apratiratha (hymn) on the south side; this (set of verses), then, is the fourth sacrifice ;-'may the prayers, the blessings favour us?!'—that is, 'may both prayers and blessings favour us!'
12. "The sun-rayed, golden-haired Savitri ever lifted up the light in front,'—this Agni, doubtless, is yonder sun, and that sun-rayed, goldenhaired Savitri in front ever lifts up that light;
-'at his behest Pashan goeth, the wise,'— Pashan, doubtless, means cattle, and they indeed start forth at his (Agni-Surya's) behest;—'viewing all beings as their guardian,'—for he indeed views everything here, and he is the protector of all this world.
13. Now, the gods thereby (viz. by these five verses) wrested from the Asuras the five regions which are on this side of yonder sun, and then ascended them; and so does the Sacrificer now wrest them from his hateful rival, and then ascend them. And by means of them the gods reached this place, and in like manner does this (Sacrificer): by means of them reach this place :.
14. He then sets up a variegated stone ;-the
17 Or, May they favour our prayers and blessings !' These verses are rather enigmatical. .
* The author of the Brâhmana connects ‘udayam' with ‘yam,' Mahîdhara with 'yâ' (udayân for udayât).
s? Or, reach that place; Sâyana, in the first instance, takes it to mean as far as this place' (from beyond the sun down to the end of the air); but in the second instance, he takes it as referring to the particular spot on the sacrificial ground near which this part of the ceremonial is performed, viz. the Âgnidhra's fire-shed (as representing the air), south of which the Adhvaryu lays down a variegated stone close to the 'spine.'
O 2
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variegated stone, doubtless, is yonder sun: it is thus yonder sun that is set up. It is variegated, for by means of its rays that disk is variegated. He sets it up between the Âhavantya and the Gârhapatya; for the Garhapatya is this (terrestrial) world, and the Ahavaniya is the sky: he thus places him (the sun) between these two worlds, whence he shines between these two worlds.
15. On the Agnidhra range1 (he places it), for the Agnidhra's fire-shed is the air; he thus places it in the air, whence that (sun) has the air for his seat. Halfway (between the two fires he places it); for that (sun) is halfway from this (earth).
16. This (stone) is the breath,-he thus puts the breath into the body; and it is the vital power,-he thus puts vital power into the body; it is food, for it is vital power, and vital power is indeed food. It is a stone, for a stone is firm: he thus makes the vital power firm. It is variegated, for food is variegated (varied).
17. He sets it up (with, Vâg. S. XVII, 59, 60), 'Measuring he keeps in the middle of the sky,' -for that (sun) indeed keeps measuring in the middle of the sky;-'filling the two worlds and the air,' for even in rising he fills these (three) worlds;—' he scans the all-reaching, the butter-reaching,'he thereby means the offering-ladles and the offeringgrounds; between the front and back lights,' -that is, between this world and that one; or that (fire-altar) which is here at this moment being built, and that which was there built at first.
1 That is, where the Âgnîdhra shed and hearth will afterwards have to be erected (see IX, 4, 3, 5-6) on the northern edge of the Vedi, midway between the Gârhapatya and Âhavanîya fire-places.
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18. “The showering ocean, the ruddy bird,'— for he' (the sun) is indeed a showering ocean, and a ruddy bird, hath entered the seat of his easterly father,'—for he indeed enters that seat of his easterly' father;—'the many-hued rock set up in the middle of the sky,'—for that variegated stone is indeed set up in the middle of the sky;'hath traversed and guardeth the two ends of the atmosphere;'—for in traversing he guards the ends of these worlds.
19. With two (verses) he sets it up;-two-footed is the Sacrificer, and the Sacrificer is Agni : as great as Agni is, as great as is his measure, with so much he thus sets him (the sun, Agni) up. With trishtubh (verses he sets him up),- for that (sun) is related to the Trishtubh. He does not 'settle' (the stone), for unsettled is that (sun); nor does he pronounce the Sadadohas over it ;—the Sadadohas means the breath, and that (sun) is the breath, and why should he put breath into (or on the breath ? Having deposited it in such a way that it is not lost ;
20. They now approach (the fire-altar, with, Vâg. S. XVII, 61-64), “They all have magnified Indra,'—the meaning of this has been explained 2. 'Let the god-invoking sacrifice lead hither, let the favour-invoking sacrifice lead hither (the gods)!'—both god-invoking and favour-invoking indeed is the sacrifice;- let Agni, the god, make offering and lead hither the gods!' that is, 'may
· Thus Mahfdhara here takes 'půrva,' and apparently also the author of the Bråhmana; the easterly father being the Ahavaniya, and hence the sky. In the formula it would rather seem to mean former, old.' · See VIII, 7, 3, 7.
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SATAPATHA-BRAHMANA.
198
Agni, the god, both make offering and bring hither the gods!'
21. 'The creation of strength hath upheaved me with upheaval, and Indra hath laid low mine enemies by subdual,'-as the text, so the meaning.
22. May the gods advance the Brahman both by upheaval and subdual; and may Indra and Agni scatter asunder mine enemies!'-as the text, so the meaning.
23. Now, the gods thereby (viz. by these four verses) wrested from the Asuras the four regions which are above yonder sun, and then ascended them; and in like manner does the Sacrificer thereby wrest them from his hateful enemy, and then ascend them. And by means of them the gods then attained to that place; and in like manner does this (Sacrificer) by means of them attain thither.
24. They then mount the fire-altar, with (Vâg. S. XVII, 65-69), 'By Agni ascend ye to the firmament!'-the firmament, doubtless, is the heavenly world: thus, by means of this Agni (fire-altar) ascend ye to that heavenly world!'-' holding the Ukhya in your hands,'-for the Ukhya (the fire in the pan) they do hold in their hands'; 'having gone to the back of the sky, to heaven, keep ye mingling with the gods!'-that is, 'having gone to the back of the sky, to the heavenly world, keep ye mingling with the gods!'
1 Viz. inasmuch as the firebrand now being carried forward to the great fire-altar, where it is henceforth to serve as Âhavaniya, was taken from the Gârhapatya fire, which itself is identical with the Ukhya Agni, or fire carried about by the Sacrificer in the Ukhâ, or pan, during his period of initiation. See p. 191, note 1.
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IX KÂNDA, 2 ADHYAYA, 3 BRÂHMANA, 28.
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25. 'Go thou forth to the eastern quarter, knowing!'--the eastern quarter, doubtless, is Agni's: thus,‘To thine own quarter go thou forth, knowing!
- be thou Agni's fore-fire here, O Agni! that is, 'Of this Agni (kitya) be thou, O Agni, the fore-fire?!'—'Shine thou, illumining all regions!'—that is, 'shine thou, illuminating every · region!'-'Grant thou food to our iwo-footed and four-footed one!' he thereby invokes a blessing.
26. From the earth have I ascended the air; from the air have I ascended the sky;' — for from the Garhapatya they go to the Agnidhriya, and from the Agnidhriya to the Åhavaniya ;—'from the sky, the back of the firmament, have I gone to heaven, to the light;'—that is, 'from the sky, the back of the firmament, have I gone to the heavenly world.'
27. 'The heaven-going look not round, they ascend the heaven, the two worlds,'—those who go to the heavenly world do not indeed look round 2; 'the wise who performed the all-sustaining sacrifice,'--for that sacrifice is indeed all-sustainings, and they who perform it are indeed wise.
28. 'Go forward, Agni, first of the godwardgoing,'-he thereby says to this Agni (that is carried forward), 'Go thou forward, as the first of these godward-going ones;'—'the eye of the gods
Mahîdhara takes "puro'gni' in the sense of fore-goer (puras agre angati gakkhati).
? That is, according to Mahîdhara, they think not of their sons, cattle, &c.
* Thus Mahîdhara takes visvatodhára;''flowing in every direction' (visvato + dhârå), St. Petersb. Dict.
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and of mortals,'—for this (Agni) is indeed the eye of both gods and men ;-'they who love to sacrifice together with the Bhrigus,'--that is, 'sacrificing together with the Bhrigus,'—'let the offerers go unto heaven, haill'—that is,'may the offerers
go to the heavenly world, hail!' · 29. Now, the gods thereby (viz. by these five
verses) wrested from the Asuras the five regions which are in yonder world, and then ascended them; and so does the Sacrificer thereby wrest them from his hateful enemy, and then ascend them. And by means of them the gods attained thither, and so also does this (Sacrificer) by means of them attain thither.
30. He then makes offering on that (firebrand);for now that he (Agni) had arrived the gods thereupon gratified him with food, this oblation; and in like manner does this (Sacrificer), now that he (Agni) has arrived, thereupon gratify him with food, this oblation. With milk from a black (cow) which has a white calf (he makes offering); the black (cow) with a white calf is the night, and her calf is yonder sun: he thus regales him with his own share, with his own relish. On it (the firebrand, he offers) while it is held above (the naturally-perforated brick); for above (everything) is he whom he thereby gratifies. By means of the milk-pail (he offers), for with the milk-pail milk is given away.
31. And, again, as to why he makes offering upon it. That (Âhavaniya) fire is the head of the sacrifice, and milk means breath: he thus puts breath into the head. He should make the offering so that it (the milk) flows on the naturally-perforated (brick); -the naturally-perforated one is breath, and this
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IX KÂNDA, 2 ADHYÂYA, 3 BRÂHMANA, 34.
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(milk) is vital sap: he thus connects and puts together the head and the breath by means of vital sap. [He pours it out, with, Vag. S. XVII, 70, 71), "Night and Dawn, of one mind, unlike in form,' -the meaning of this has been explained'.
32. 'O Agni, thousand-eyed !--through the chips of gold? Agni is indeed thousand-eyed ; hundred-headed,'—inasmuch as, at that time, he was created as the hundred-headed Rudra ;-thine are a hundred out-breathings, and a thousand through-breathings,'his indeed are a hundred out-breathings and a thousand through-breathings who is hundred-headed and thousand-eyed ;-'thou art the master of wealth,'--that is, thou art the master of all wealth ;'-'to thee, our strength, do we give honour!'-he (Agni) is indeed the strength*: it is him he thereby gratifies.
33. With two (verses) he makes offering thereon, - two-footed is the Sacrificer, and the Sacrificer is Agni: as great as Agni is, as great as is his measure, with so much he thus makes offering to him.
34. He then lays it (the firebrand) down, with (Vág. S. XVII, 72, 73), 'A well-winged bird thou art,'-for on that former occasion he, by means of the fashioning-formula, fashions him into a well-winged bird"; that well-winged bird he builds up, and having fashioned that well-winged bird, he finally sets him down ;—'seat thee on the back
· Viz. VI, 7, 2, 2.
See IX, 2, 1, 1. * See IX, 1, 1, 6.
• ? Or, that (firebrand) is indeed food (väga). Mahîdhara interprets this part of the formula thus : To thee do we give food (vägaya for vågam).
* See VI, 7, 3, 5 seq.
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of the earth, fill the air with thy shine, prop the sky with thy light, and uphold the quarters by thy lustre!'- for that one (Agni) indeed does all this.
35. 'Receiving offering, kind-faced, in front,' --that is, 'receiving offering, kind-faced for us, in front;'-'seat thee, O Agni, aright in thine own seat!'-for this (fire-altar) is his (Agni's) own seat: thus, 'do thou rightly seat thee in it!'-'in this higher abode,'—the higher abode, doubtless, is the sky ;-sit ye down, the All-gods and the Sacrificer!'—he thus establishes the Sacrificer together with the All-gods. With two (verses) he deposits it: the significance of this has been explained, with the Vashat-call: the significance of this (will be explained) farther on.
36. He then puts pieces of firewood thereon; for now that he (Agni) had arrived, the gods thereupon gratified him with food, both pieces of firewood and oblations; and in like manner does this (Sacrificer), now that he has arrived, thereupon gratify him with food, both pieces of wood and oblations.
37. He first puts on one of samf-wood (acacia suma). For at that time, when this oblation had been offered, he (Agni) was enkindled and blazed up. The gods were afraid of him, lest he might injure them. They saw this samt tree, and therewith appeased him; and inasmuch as they appeased (sam) him by that sami, it is (called) Samt; and in like manner this (Sacrificer) now appeases him by means of that sami (wood), -just with a view to appeasement, not for food.
38. [He puts it on, with, Våg. S. XVII, 74), “I desire the manifest favour of the admirable
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1x KÂNDA, 2 ADHYAYA, 3 BRÂHMANA, 40. 203
Savitri, enjoyed by all men; that great cow of his, the thousand-streamed, teeming with milk, which Kanva was wont to milk;'--for Kanva indeed saw her, and she, the thousand-streamed, milked him all his wishes (objects of desire); and in like manner does the thousand-streamed one now milk to the Sacrificer all his objects of desire.
39. He then puts on one of vikankata (flacourtia sapida) wood—the significance whereof has been explained—with (Vág. S. XVII, 75), 'To thee give we honour, O Agni, in the highest home;'-— his highest home, doubtless, is the sky ;-'to thee give we honour, in hymns of praise, in the lower abode;'—the lower abode, doubtless, is the air ;-'the birth-place whence thou hast arisen do I worship,'--that is, this is his (Agni's) own birth-place: that I worship;' - 'on thee, when kindled, offerings are poured forth;'—for when he (the fire) is kindled, they make offerings on him.
40. He then puts on one of udumbara (ficus glomerata) wood ;-the Udumbara means strength and sap: with strength and sap he thus gratifies him. It has forking branches',--forking branches mean cattle: with cattle, as food, he thus gratifies him. If he cannot get one with bifurcate branches, let him take up a globule of sour curds and put it on (the wood): that globule of sour curds which supervenes is a form of cattle. With the virag (verse, Våg. S. XVII, 76; Rig-veda VII, 1, 3),
1 Weber, Ind. Stud. XIII, 281, takes 'karnakavat' to mean one that has a knot-hole;' but Deva's explanation, karnako dvitîyasakhodbhedah,' probably means nothing else than showing the appearance of a second branch,' or 'one in which a second branch (side branch) has struck out.'
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Kindled, blaze forth, O Agni, before us, (with inexhaustible flame, O youngest! perpetual viands accrue unto thee!):—he puts it on ;-the Virág means food: with food he thus gratifies him. Three pieces of wood he puts on-threefold is Agni: as great as Agni is, as great as is his measure, with so much food he thus gratifies him.
41. He then offers oblations,—this is just as if, after serving food to some one, one gives him something to drink. With the dipping-spoon (sruva) he offers the first two, with the offering-ladle (sruk) the last (oblation); (the first) with (Våg. S. XVII, 77),
O Agni, may we, with hymns and thoughts, speed this day this (sacrifice) of thine, even as a steed, as a noble, heart-stirring deed!'--that is, 'whatever heart - stirring hymn is thine, may I speed (perform) that for thee. With a pankti (verse) he offers,—of five feet consists the Parkti, of five layers the fire-altar, five seasons are a year, and Agni is the year: as great as Agni is, as great as is his measure, with so much food he thus gratifies him.
42. He then offers (the second oblation), the one for Visvakarman,Visvakarman (the all-worker) is this Agni: it is him he thereby gratifies --with (Vág. S. XVII, 78), “Thought I offer, with mind and ghee,'- that is, 'The thought of these (priests and Sacrificer) I offer with mind and ghee;'--that the gods come hither,'—that is, that the gods may come hither;'-'enjoying their offeringmeal, the holy-minded,'—that is, the true-minded; -'to Visvakarman, the lord of all existence, I offer,'--that is, 'to that Visvakarman who is the lord of all that here exists I offer; '-'every day the
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IX KÂNDA, 2 ADHYAYA, 3 BRAHMANA, 46. 205
unimpaired oblation,'-that is, 'always the uninjured oblation.'
43. He then offers a full (-spoon) oblation,—the full means everything: with everything he thus gratifies him.
44. [He offers, with, Vâg. S. XVII, 79], 'Thine, O Agni, are seven logs,'-logs mean vital airs, for the vital airs do kindle him;-'seven tongues,'this he says with regard to those seven persons which they made into one person1;-'seven Rishis,'-for seven Rishis they indeed were;-seven beloved seats, this he says with regard to the metres, for his seven beloved seats are the metres ;-'sevenfold the seven priests worship thee,'-for in a sevenfold way the seven priests indeed worship him; the seven homes,' he thereby means the seven layers (of the altar);-'fill thou!'-that is, 'generate thou;'-'with ghee,'-ghee means seed: he thus lays seed into these worlds;' svâhâ!'-the svâhâ (hail!) is the sacrifice; he thus at once makes everything here fit for sacrifice.
45. 'Seven' he says each time,-of seven layers the fire-altar consists, and of seven seasons the year, and Agni is the year: as great as Agni is, as great as is his measure, with so much he thus gratifies him. Three oblations he offers,-threefold is Agni: as great as Agni is, as great as is his measure, with so much food he thus gratifies him. Three logs he puts on, that makes six: the significance of this has been explained.
46. Standing he puts on the logs, bones, and bones stand, so to speak.
1 See VI, I, I, I seq.
the logs are Sitting he
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offers the oblations,oblations are the flesh, and the flesh sits (lies), so to speak. The logs are inside (the fire), and the oblations outside, for the bones are inside, and the flesh is outside.
47. Now, then, as to the (mystic) correspondence (or, amount). Six he offers before the leading forward of the fire), and six afterwards; with six (formulas) they proceed up to the variegated stone; with two he lays down the variegated stone; with four they proceed as far as the fire-altar; with five they mount the fire-altar: that makes twentynine, and the oblation itself is the thirtieth. With two (verses) he deposits the fire,—that makes thirty-two, and of thirty-two syllables consists the Anushtubh : such, then, is this Anushtubh.
48. And this one (Anushtubh) they bring hither from those three Anushtubhs which they make up on the Gârhapatya'; and inasmuch as they bring this (therefrom) hither, thereby this whole Agni (fire-altar) becomes completed. But now he was not yet fit to eat food a.
49. He said to Agnis, ‘By thee I will eat food!'So be it!' Hence it is only when they bring him hither, that this (kityâgni) becomes fit to eat food, to eat oblations.
50. Moreover, they say, 'It is Pragâpati himself who takes this (Agni) as his dear son to his bosom;? and verily, whosoever so knows this, takes thus a dear son to his bosom.
* See VII, 1, 2, 16-19. · Literally, he was not equal thereto that he should eat food.
· That is, the Kityâgni (fire-altar) said to the Agni (fire) about to be led forward.
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IX KÂNDA, 3 ADHYAYA, I BRAHMANA, 2. 207
51. And, again, as to why they bring it here,the Agni (fire-altar) which is built up here is the same as those seven persons which they made into one person; and that excellence and life-sap of them which they concentrated above, that is the fire which they now bring here,-hence, when they now bring it here, they concentrate above (in the head) that excellence and life-sap which belonged to those seven persons,-that is his (Agni's) head, and this built-up fire-altar is the body: having thus completed his body, he restores the head to it.
THIRD ADHYAYA. FIRST BRAHMANA. INSTALLATION AND CONSECRATION OF AGNI.
1. He then offers the Vaisvânara (cake). That Agni has now been completely restored; he now is that deity, (Agni) Vaisvânara (belonging to all men): to him he offers this oblation, and by the oblation he makes him a deity, for for whatever deity an oblation is prepared that is a deity, but not one for whom no (oblation) is prepared. It is one of twelve potsherds: twelve months are a year, and Vaisvânara is the year.
2. And, again, as to why he offers the Vaisvânara (cake), it is as the Vaisvânara that he is about to produce that Agni: on that former occasion, at the initiation-offering 1, he pours him out in the form of seed; and what the seed is like that is poured
1 Cp. VI, 6, 1, 6. Whilst the initiation-offering of the ordinary Soma-sacrifice consists only of a cake on eleven potsherds to Agni and Vishnu, that of the Agnikayana requires two further oblations, viz. a cake on twelve potsherds to Vaisvânara, and a rice-pap with ghee to the Âdityas; cf. part iii, p. 247 note.
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into the womb, such like (is the child that) is born; and inasmuch as there he pours out Vaisvânara in the form of seed, therefore he now is born as Vaisvânara. Silently, it is (performed) there, for there seed (is implied) in the sacrifice, and silently seed is infused; but distinctly on the present occasion, for distinct (manifest) is the seed when born.
3. Now, that Vaisvânara is all these worlds : this earth is the All (visva), and Agni is its man (nara); the air is the All, and Vayu (the wind) is its man (ruler); the sky is the All, and Aditya (the sun) is its man.
4. And these worlds are the same as this head, - this (lower part of the head) is the earth, the plants (being) the hair of its beard : this is the All, and Agni is Speech, he is the man. That (speech) is at the top thereof, for Agni is on the top of this (earth).
5. This (central part of the face) is the air, whence it is hairless, for hairless, as it were, is the air; it is this All, and Vâyu (the wind) is the breath, he is the man; he is in the middle thereof, for the wind is in the middle of the air.
6. The sky is the (upper part of the) head, and the stars are the hair ; it is the All, and Aditya (the sun) is the eye, he is the man : it is in the lower part of the (upper) head, for the sun is below the sky. Vaisvânara is the head thereof, and this built-up Agni (the altar) is the body : thus, having completed his body, he restores the head thereto.
7. He then offers the (cakes) to the Maruts;
Or, rather, in a low voice, the name of the deity being pronounced in an undertone while the oblation is poured into the fire; see VI, 6, 1, 11, No special formula is, however, used on either occasion,
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IX KÂNDA, 3 ADHYAYA, I BRÂHMANA, 11.
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the Maruts' (cakes) are the vital airs : he thus puts the vital airs into him (Agni). [He does so] after offering the Vaisvânara ; for the Vaisvânara is the head: he thus puts vital airs into the head.
8. That (Vaisvânara oblation) is a single one, for single, as it were, is the head; the others (viz. the Mârutas) are seven in number, of seven potsherds each; and though 'seven-seven' means 'many times,' here it is only seven?: he thus places seven vital airs in the head.
9. That (Vaisvânara oblation) is (performed in a) distinct (voice), for the head is distinct; but indistinct the other (oblations), for indistinct, as it were, are the vital airs. Standing he offers the former, for the head stands, so to speak; sitting the others, for the vital airs are, so to speak, seated.
10. Now, the first two Maruta (oblations) he offers are these two vital airs (in the ears): he offers them in the middle of the Vaisvânara (oblations), for these two vital airs are in the middle of the head.
11. And the second pair are these two (vital airs
See VIII, I, I, 2. Also VI, 5, 3, 11, where the translation should be altered accordingly.
In baking the cakes, the Vaisvânara is placed on the centre of the fire, and the first two Maruta cakes are placed north and south of it, then the following pair of cakes behind the first, but more closely together, and behind these the third pair, still more closely together, and finally the last cake forming, as it were, the apex of a phalanx of Maruta cakes (or wind-deities) protecting (that of) Agni Vaisvânara. In offering the cakes a similar method is to be followed; except that the first pair of Maruta cakes may be offered, not in the fire itself, but on the previously flattened out Vaisvânara cake lying on the fire. Whilst the Kâtîya-sútra (XVIII, 4, 23) admits this as an alternative mode (though not very clearly expressed), our passage seems to require it as the only possible mode. Both the Vaisvânara and the Mâruta cakes are offered whole.
[43]
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in the eyes); he offers them closer together, for closer together, as it were, are these two vital airs.
12. And the third pair are these two (vital airs in the nostrils). He offers them closer together, for closer together, as it were, are these two vital airs. The one to be recited in the forest 1 is speech: it is to be recited in the forest, for by speech one gets into much terrible (trouble).
13. And, again, as to why he offers the Vaisvânara and Mårutas,—the Vaisvânara is the ruling power (chieftaincy), and the Mârutas are the clan : he thus sets up both the chief and the clan. The Vaisvânara he offers first: thus, having set up the chief, he sets up the clan. : 14. The former is a single (oblation): he thus makes the ruling power (chieftaincy) to attach to a single (person), and (social) distinction to attach to a single (person). The others are numerous : he thus bestows multiplicity on the clan.
15. The former is offered in a) distinct (voice), for the ruling power is something distinct, so to speak; and the others are indistinct, for indistinct, so to speak, is the clan. Standing he offers the former, for the ruling power (the chief) stands, so to speak; and sitting (he offers) the others, for the clan sits, so to speak.
16. The former he offers with the offering-ladle,
1 Aranyes nükya' is the technical term applied to the odd, or seventh, Mâruta oblation. According to Sâyana it is so called after an anuvâka of the Samhita, to be recited only in the forest. Possibly, however, it is to the particular formula (Våg. S. XXXIX, 7), also called 'vimukha' ( to be pronounced with averted face), and containing the names of the seven most terrible Maruts, that the name applies.
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IX KANDA, 3 ADHYAYA, I BRAHMANA, 21. 211
when the Vashat is uttered, with both an invitatory formula (anuvâkyâ) and an offering-formula (yâgyâ); with the hand the others sitting, with the Svâhâ-call: he thus makes the clan subservient and obedient to the chieftain.
17. As to this they say, 'How do these (Mâruta oblations) also come to be offered for him by the offering-ladle, at the Vashat-call, and with invitatory and offering formulas?' Well, the first three feet of those seven-footed Mâruta (verses), being a three-footed Gâyatri, are the invitatory formula, and the last four, being a four-footed Trishtubh, are the offering-formula. The one is the bowl, and the other the handle (of the offering-ladle), and the Svâhâ-call is the Vashat-call: in this way, then, these (Mâruta oblations) also become offered for him by the offering-ladle, at the Vashat-call, and with invitatory and offering-formulas.
18. And the first Mâruta (cake) which he offers on the right (south) side, is the seven (rivers) which flow eastwards. It is one of seven potsherds, for there are seven of those (rivers) which flow eastwards.
19. And the first (cake) which he offers on the left (north) side, is the seasons; it is one of seven potsherds, for there are seven seasons.
20. And the second (cake) which he offers on the right side, is animals; it is one of seven potsherds, for there are seven domestic animals. He offers it close to the preceding one (representing the rivers): he thus settles animals near water.
21. And the second (cake) which he offers on the left side, is the seven Rishis; it is one of seven potsherds, for the seven Rishis are seven in number.
P 2
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He offers it close to the preceding one: he thus. establishes the seven Rishis in the seasons.
22. And the third (cake) which he offers on the right side, is the vital airs; it is one of seven potsherds, for there are seven vital airs in the head. He offers it close to the preceding one: he thus puts the vital airs so as to be close to (not separated from) the head.
23. And the third (cake) which he offers on the left side, is the metres; it is one of seven potsherds, for there are seven metres increasing by four (syllables respectively). He offers it close to the preceding one : he thus places the metres close to the Rishis.
24. And the Aranye-nakya is the seven (rivers) which flow westwards; it is one of seven potsherds, for there are seven of those (rivers) which flow westwards. It is that downward vital air of his. That Aranye.nûkya belongs to this Pragâpati; for the forest (aranya) is, as it were, concealed, and concealed, as it were, is that downward vital air ; whence those who drink of these (downward flowing) rivers become most vile, most blasphemous, most lascivious in their speech. Whenever he here speaks of them as belonging to the Maruts, he makes them food for him (Agni) and offers it to him, and gratifies him thereby.
25. That Vaisvânara (cake), doubtless, is yonder sun, and the Mâruta (cakes) are those rays. They are of seven potsherds each, for the troops of the Maruts consist of seven each.
? Probably, inasmuch as the Maruts (and the Mâruta oblations) represent the clansmen who are considered the legitimate 'food' or the chief, Agni Vaisvanara.
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26. He offers (the first Maruta cake), with (Vâg. S. XVII, 80), The clear-lighted, and the bright· lighted, and the true-lighted, and the light, and the clear, and the law-observing, and the sinless one!'—these are their names: having completed that disk (of the sun, in the shape of the Vaisvânara), he bestows those rays on it by calling them by their names.
SECOND BRAHMANA. THE SHOWER OF WEALTH AND OTHER OBLATIONS. 1. Thereupon he (the Sacrificer%) offers the Vasor dhârâ. That whole Agni has now been completed, and he is here the Vasu (good one): to that Vasu the gods offered this shower (dhâra), whence it is called “Vasor dhârâ 8;' and in like manner this (Sacrificer) offers to him this shower, and gratifies him thereby.
2. And, again, as to why he offers the 'Vasor dhârâ ;'--this is his (Agni’s) Abhisheka"; for the
1 That is, after offering all the seven Mâruta cakes, the formulas of the last six of which (Vág. S. XVII, 81-85; XXXIX, 7) are not given in the Brahmana. At the end the Adhvaryu mutters the verse XVII, 86, and thereupon he either makes the Sacrificer mutter (or mutters himself) verses 87-99 in praise of Agni. Käty. Sr. XVIII, 4, 25; 26.
9 Thus, according to Katy. XVIII, 5, 1 (the Adhvaryu, according to Weber, Ind. Stud. XIII, p. 283).
• It would rather seem to mean 'stream, or shower, of wealth ;' cf. paragraph 4.
• That is, the consecration ceremony, in which the king is sprinkled' with sacred water, or, so to speak, anointed. The Vasor dhârâ,' or 'shower of wealth,' consisting of an uninterrupted series of 401 libations to Agni (through which all the powers of the god are to be secured to the Sacrificer), is intended as the
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gods, having now completed him wholly and entirely, showered upon him those wishes (or, objects of desire), this Vasor dhârâ ;' and in like manner does this (Sacrificer), now that he has completed him wholly and entirely, shower upon him those wishes, this Vasor dhârâ. With ghee taken in five ladlings, and an offering-ladle of udumbara wood (he offers): the significance of this has been explained.
3. [He offers it] after offering the Vaisvânara (cake)—for the Vaisvânara is the head, and food is taken in from the head (downwards); and, besides, it is from the head (downwards) that he who is anointed is anointed ;-and after offering the Mâruta (cakes), for the Mârutas are the vital airs, and through the channels of) the vital airs food is eaten; and, besides, it is at the openings of) the vital airs that he who is, anointed is anointed.
4. And, furthermore, it is offered) upon the Aranyesnûkya 2; for the Aranye-nukya is speech, and it is through the channel of) speech that food is eaten; and, besides, it is with speech that he who
equivalent of that ceremony for the consecration of Agni as king; and, indeed, as a kind of superior consecration ceremony for the (royal) Sacrificer himself, more potent than the Râgasûya and Vâgapeya. There is thus to be noticed here the same tendency as elsewhere of exalting the efficacy of the Agnikayana, and of making it take the place of the whole of the ordinary sacrificial ceremonial.
1 When anointed, or consecrated, the king is first sprinkled from the front and then from behind, and finally rubbed all over, with the consecrated water; see V, 4, 2, I seq.
? That is, as soon as the Adhvaryu has put the Aranye : näkya cake in the fire the Sacrificer begins to pour the ghee on it with a large offering-ladle of udumbara wood, and the Adhvaryu begins to mutter the formulas.
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is anointed is anointed. And everything here is wealth (vasu), for all these (cake-offerings) are (connected with special) wishes ?; and in order that this shower, be it of milk or of ghee, (may be) fraught with wealth, this oblation of ghee is thus offered for the beginning; and inasmuch as this shower is fraught with wealth, it is called 'shower of wealth.'
5. He (as it were) says, “This is mine, and that is mine;'—that is, 'Herewith I gratify thee, and therewith ;-herewith I anoint thee, and therewith ;' or, 'Give me this, and that!' And as soon as that shower reaches the fire, that prayer is fulfilled.
6. Now the gods, having gratified him (Agni) by this food, or by these objects of desire ?, and having anointed him by this shower of wealth, solicited from him these objects of desire 3; and having received offering, and being gratified and anointed, he granted them these objects of desire; and in like manner this (Sacrificer), having gratified him by this food, and by these offerings of desire, and anointed him with this shower of wealth, now solicits from him these objects of desire; and having received offering, and being gratified and anointed, he (Agni) grants him these objects of desire. In order to avoid discontinuance, he each time embraces two wishes,even as one would connect those living away from one another,—thinking, 'In this way shall they prosper by sacrifice!'
7. The gods now spake, ‘Through whom shall we receive these objects of desire ?'— By our own
Or, all these (objects) for which offerings are made are objects of desire. ? Or, perhaps, for (prompted by) these objects of desire.' Or, asked him these wishes (boons).
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self,' they said; for the sacrifice is the self of the gods, and so is the sacrifice that of the Sacrificer; and when he says, 'By the sacrifice they shall prosper!' he means to say, 'By my own self they shall prosper!'
8. In twelve (things) he causes them to prosper1, the year consists of twelve months, and Agni is the year: as great as Agni is, as great as is his measure, by so much food he thus gratifies him, and by so much food he thus consecrates him. In fourteen he causes them to prosper; in eight he causes them to prosper; in ten he causes them to prosper; in thirteen he causes them to prosper.
9. He then offers the Ardhendra (libations);the ardhendras are everything here: he thus gratifies him (Agni) with everything, and with everything he thus consecrates him.
10. He then offers (the libations relating to) the Grahas; the grahas (cups of soma, offered to
That is, he makes the objects of desire mentioned in the formulas used during the Vasor dhârâ, accrue to himself, or turn out well for himself. The formulas usually contain the names of twelve such objects (in six pairs), those in XVIII, 1 being-(may) strength and gain, endeavour and attempt, thought and wisdom, sound and praise, fame and hearing, light and heaven, prosper for (or accrue to) me by sacrifice!' In XVIII, 4, however, fourteen objects are enumerated, in XVIII, 15 (and 27) eight, in XVIII, 23 (and 26) ten, in XVIII, 28 thirteen.
Literally, 'the half-Indra ones,' the technical term for the formulas of three sets of libations (XVIII, 16-18), in which three sets of twelve deities are named, each pair of whom consists of Indra coupled with some other deity, thus 'May Agni and Indra, Soma and Indra, &c., prosper for (or accrue to) me by sacrifice!'
Viz. inasmuch as Indra represents the ruling power, and everything submits to him (III, 9, 4, 15); or inasmuch as Indra and Agni are the whole universe (IV, 2, 2, 14).
These are three sets of libations (still forming part of the con
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the deities), doubtless, are sacrifice: by sacrifice, by food, he thus gratifies him; and by sacrifice he thus consecrates him.
THIRD BRAHMANA.
1. He then offers these Yagñakratus? (sacrificial rites), with,‘May the Agni and the Gharma (prosper) for me!'—by these sacrificial rites he thus gratifies him, and by these sacrificial rites he thus consecrates hin.
2. He then offers (the libations relating to the Uneven Stomas?:—for the gods, having now obtained their desires, by means of the uneven Stomas went up to heaven; and in like manner does the Sacrificer, now that he has obtained all his desires, by means of the uneven Stomas go up to heaven.
3. Now this (set runs) up to the thirty-threeversed (hymn-form), for the Trayastrimsa is the last of the uneven Stomas: at the last the gods thus
tinuous Vasor dhârâ,' or 'wealth-stream '), the formulas of which (XVIII, 19-21) enumerate each six pairs of cups of Soma (graha) and of sacrificial implements.
1 These are two sets of libations in the formulas of which (XVIII, 22; 23) objects connected with special sacrifices' are enumerated. Thus, of the first pair, 'Agni and Gharma,'' Agni,' according to Mahîdhara, represents either the Agnikayana or the Agnishtoma (ordinary Soma-sacrifice); whilst the 'Gharma (cauldron) stands for the Pravargya offering (part i, p. 44 note).
* The formula of this set of libations (XVIII, 24) enumerates the seventeen uneven numbers (in the feminine gender) from i to 33, repeating the second number of each pair, so as to be the first number of the next pair (thus, I and 3, 3 and 5, &c.). These numbers are meant to represent the corresponding Stomas, consisting of an uneven number of verses, up to the Trayastrimsa, or thirty-three-versed hymn-form.
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went up to heaven; and in like manner does the Sacrificer thereby at the last go up to heaven.
4. He then offers (those relating to the Even (Stomas)";—for the metres then said, 'The uneven stomas are worn out, by means of the even ones we will go up to heaven!' By means of the even stomas they went up to heaven; and in like manner does the Sacrificer thus, by means of the even stomas, go up to heaven.
5. This (set runs) up to the forty-eight-versed (hymn-form), for the Ashtakatvarimsa is the last of the even stomas : at the last the metres thus went up to heaven; and in like manner does the Sacrificer thereby at the last go up to heaven.
6. He says, “May the One and the Three (prosper) for me!'-'May the Four and the Eight (prosper) for me!'-even as one climbing a tree would climb up by taking hold of an ever higher branch, so is this. And as to why he offers the Stomas,—the stomas are food: it is with food he thus consecrates him.
7. He then offers (the libations relating to) the Age-grades (of cattle),-age-grades mean cattle: it is by cattle, for his food, that he thus gratifies
i The formula of this set of libations (XVIII, 25) enumerates the twelve quadruples of 4 (in the feminine gender), from 4 to 48 (again repeating each number, except the first and last), as representing the Stomas consisting of an even number of verses, up to the Ashtâkatvarimsa, or forty-eight-versed hymnn-form.
• The two formulas relating to these two sets of libations (XVIII, 26; 27) contain respectively five and four pairs of teams of cattle of different ages, beginning with 'tryavi and tryavi,' an eighteenmonths bull and an eighteen-months cow;' and ending with a bullock and a milch cow.'
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him; and by cattle, for his food, he thus consecrates
him.
8. He then offers whilst mentioning names ';for the gods, having obtained all their wishes, now gratified him directly; and in like manner does the Sacrificer, having obtained all his wishes, now gratify him directly. 'To Strength, hail! to Gain, hail!'- these are his (Agni's) names: it is by mentioning his names that he thus gratifies him.
9. There are thirteen of these names,-a year consists of thirteen months, and the layers and fillings of the fire-altar amount to thirteen : as great as Agni is, as great as is his measure, with so much he thus gratifies him. And as to why he offers while mentioning names,-it is thus in mentioning his (Agni's) names that he consecrates him.
10. He then says, 'This is thy realm; a supporter and sustainer art thou for the friend : for sustenance, for rain, for the lordship of creatures (do I consecrate) thee;' - sustenance, doubtless, means food, and rain means food : by food he thus gratifies him.
11. And when he says, “This is thy realm; a supporter and sustainer art thou for the friend : for sustenance, for rain, for the lordship of creaturesthee!' this is to say, 'This is thy kingdom ; thou art consecrated (anointed)! thou art thy friend's supporter and sustainer: for our sustenance art thou, for rain unto us art thou, for our lordship of
This set of thirteen libations (XVIII, 28) is offered to the months Vaga, Prasava, &c., here apparently considered as mani. festations of Agni (the year). Each name is followed by 'svâhå (hail!);' and the last of these dedicatory formulas is followed by the special benedictory formula, referred to in paragraph 10.
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creatures art thou!' They thereby entreat him,
For all this art thou unto us : for all this have we consecrated thee!' And therefore people thus entreat a human king who has been consecrated.
12. He then offers the Prospering: (libations);the prospering (libations) are the vital airs : it is the vital airs he thus puts into him.—May the vital strength prosper by sacrifice! may the vital air prosper by sacrifice! ... He thus puts proper vital airs into him.
13. Twelve prospering (libations) he offers, -a year consists of twelve months, and Agni is the year: as great as Agni is, as great as is his measure, by so much he thus puts proper vital airs into him. And as to why he offers the prospering (libations),the prospering (libations) are vital airs, and the vital airs are the immortal element: with the immortal element he thus consecrates him. .
14. He then says, 'The Stoma, and the Yagus, and the Rik, and the Saman, and the Brihat, and the Rathantara,'—this, doubtless, is the triple science, and the triple science is food: it is with food he thus gratifies him, and with food he thus consecrates him ;—'to the heavenly light we gods have gone, we have become immortal,'for he indeed goes to the heavenly light, and becomes immortal ;-Pragâ pati's children have we become!'—for he indeed becomes Pragâpati's child,—'vet! svâhâ !'--the Vet-call, doubtless, is
1 This final set of twelve ( sixteen) libations is called thus (kalpa), because, in the formulas used with them (Vág. S. XVIII, 29), the verb 'klip (to prosper, to be right and proper)' is repeated each time. At the conclusion of these twelve formulas the priest mutters the final benediction given in full in paragraph 14.
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esoterically the same as the Vashat-call, and either with the Vashat-call, or the Svâhâ-call is food offered to the gods : he thus gratifies him by both the Vashat and the Svâhâ, and also consecrates him by both of them. He now throws the offering-ladle after the ghee into the fire) lest what there is anointed with ghee should remain outside of the fire.
15. Now as to this same shower of wealth, the body (from which it flows) is the sky, the udder the cloud, the teat the lightning, and the shower (of ghee) is the (rain-) shower : from the sky it comes to the cow.
16. Its body is the cow, its udder the (cow's) udder, its teat the (cow's) teat, its shower the shower (of milk): from the cow (it comes) to the Sacrificer.
17. Its body is the Sacrificer, its udder his arn, its teat the offering-ladle, its shower (of milk) the shower of (ghee): from the Sacrificer (it goes) to the gods; from the gods to the cow, from the cow to the Sacrificer: thus circulates this perpetual, never-ending food of the gods. And, verily, for whosoever knows this, there will thus be perpetual, never-ending food. Now as to the (mystic) correspondence.
18. As to this they say, 'How does this wealthshower of his obtain (conformity with) the year, and Agni ? how does it correspond to the year, to Agni?' Well, this shower of wealth consists of three hundred and sixty (libations), and of (other) six, and of thirty-five. Now, the three hundred and sixty which there are so many being the days in the year,—thereby it obtains the days of the year. And what six there are,—the seasons being
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six in number,—thereby it obtains the nights of the seasons: thus it obtains both the days and nights of the year. And what thirty-five there are, they are the intercalary) thirteenth month ', and that is the body,—the body (consists) of thirty (limbs), the feet of two, the breath of two (in-breathing and up-breathing), and the head is the thirty-fifth : so much is the year; and thus that shower of wealth of his obtains (conformity with) the year, and Agni; and thus it corresponds to the year, to Agni. And so many are the bricks with special formulas which are placed in the centre of a Sândila fire-altar; for these bricks indeed are the same as these different Agnis 2; and thus these Agnis of his come to have oblations offered to them separately by means of the shower of wealth.
19. As to this they say, 'How does this shower of wealth of his attain to (conformity with the Great Litany, how does it correspond to the Great Litany?' Well, the first nine formulas of this shower of wealth are the threefold 8 head; and the forty-eight which follow are the twenty-four-fold wings *; and the twenty-five which follow are the twenty-five-fold body); and the twenty-one which follow are the tail, as the twenty-first 8; and the
1 See p. 167, note 1.
? Viz. the different forms, or powers, of Agni, to which the 401 libations are offered. See IX, 1, 1, 43, where the very same calculations are applied to the Satarudriya.
* See p. 114, note 1.
• Paksha, wing, also means half-month, fortnight, of which there are twenty-four in the year.
• See p. 168, note 3. . Apparently in addition to the fingers and toes (? of monkeys),
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thirty-five which follow are the Vasa (hymn); and by the eighties (of verses) which follow those eighties (of the mahad uktham) are obtained, for by eighties the Great Litany is counted; and what there is after the eighties, that to him (corresponds to) what, in the Great Litany, there is after the eighties"; and thus this shower of wealth of his attains to (conformity with) the Great Litany, and corresponds to the Great Litany.
Fourth BRÂHMANA. 1. He then offers the Vâgaprasaviya? (set of fourteen libations),-' vâga' (strength, sustenance) means food (anna): it thus is an 'anna-prasaviya' for him, and it is food he thereby raises (pra-sa) for him (Agni).
2. For the gods, now that they had gratified him by that food, and consecrated him by those objects of desire, (to wit) by that stream of wealth, hereby gratified him once more; and in like manner does this (Sacrificer), now that he has gratified him by that food, and consecrated him by those objects of desire, that shower of wealth, hereby gratify him once more.
See pp. 110, note 3 ; 112, n. I; 113, n. I. ? That is, oblations capable of promoting or quickening strength (or food,- våga); see part iii, p. 37 (where read Vâgaprasavîya). While the formulas of the first seven of these oblations are the same as those used for those of the Vâgapeya (see V, 2, 2, 5-11), the formulas of the last seven of these oblations are Vâg. S. XVIII, 30-36 (for the first of which, being the same as IX, 5, see VI, 1, 4, 4).
* This seems to be in apposition to both that food,' and those objects of desire.'
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. 3. And, again, as to why he offers the Vågaprasaviya. This, to be sure, is his (Agni's) Abhisheka. For, the gods, having gratified him by that food, and consecrated him by those objects of desire, (to wit) by that shower of wealth, then by this (offering) consecrated him once more; and in like manner does this (Sacrificer), having gratified him by that food, and consecrated him by those objects of desire, that shower of wealth, hereby consecrate him once more.
4. It consists of (seeds of) all (kinds of) plants,— that which consists of all plants is all food : he thus gratifies him with all food, and with all food he thus consecrates him. Let him set aside one of these kinds of food, and not eat thereof as long as he lives. With an udumbara (ficus glomerata) cup? and an udumbara dipping-spoon (he offers) : the significance of these two has been explained. They are both four-cornered,—there are four quarters: he thus gratifies him with food from every quarter, and by means of food from every quarter he thus consecrates him.
5. And, again, as to why he performs the Vâgaprasaviya ;—he thereby gratifies those same deities who have been consecrated by this very rite of consecration by which he is now about to be consecrated, and, thus gratified by offering, they grant him permission (to perform) this rite of consecration, and, permitted by them, he becomes consecrated; for only he becomes king whom the (other) kings allow to assume the royal dignity, but not he whom
"Or, pan. It has a handle, and serves on this occasion in place of the offering-ladle as well as for anointing the Sacrificer.
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they do not (allow to do so). Thus when he offers in the fire he consecrates Agni, and when he offers to these deities, he gratifies those gods who rule over this consecration ceremony.
6. And, indeed, he offers here also the Pârthal (oblations) ;– for the gods now desired, ‘May we be consecrated even on this occasion by all the rites of consecration!' They were indeed consecrated on this occasion by all the rites of consecration; and in like manner is the Sacrificer on this occasion consecrated by all the rites of consecration.
7. Now these Pärtha (oblations) are the Vagaprasaviya of the Râgasůya; and by offering these (oblations) he is consecrated by the Râgasûya ; and the first seven of the succeeding fourteen (Vâgaprasaviya oblations) are the Vâgaprasaviya ceremony of the Vâgapeya: thus, by offering these he is consecrated by the Vâgapeya. And what other seven there are, they belong to Agni (or, the Agnikayana): by offering these, he is consecrated by the Agni-consecration.
8. He first offers those of the Râgasûya, then those of the Vâgapeya; for by performing the Râgasůya one becomes king (râga) and by the Vâgapeya emperor (samråg), and the position of king is (obtained) first, and thereafter that of
In the same way as, at the Râgasûya, six Pârtha oblations were offered before, and as many immediately after, the Consecration ceremony, or 'anointment' (see part iii, p. 8: seq.), so also on the present occasion, except that, between the first six Pârthas and the consecration ceremony, the Vâgaprasavîya set, referred to in the preceding paragraphs, is inserted.
? For these seven oblations, see V, 2, 2, 6-11. Only the second set of seven thus is peculiar to the Agnikayana.
[43]
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emperor': hence after performing the Vâgapeya, one could not perform the Rågasûya,,it would be a descent, just as if one who is emperor were to become king.
9. Those (seven Vågaprasaviya oblations) of the fire-altar he offers last, for the Agni-consecration indeed is (equal to all those rites of consecration, and he who is consecrated by the Agni-consecration rite becomes everything, king and emperor : therefore he offers those of the fire-altar last of all.
10. He then anoints him on a black antelope skin,--for the black antelope skin is (a symbol of) the sacrifice: it is thus at the sacrifice that he anoints him. On the hairy side (of the skin),- for the hairs are the metres : on the metres he thus anoints him. On the left (north) side of the firealtar he anoints him): the significance of this (will be explained) further on. On (the skin laid down) with the neck-part towards the front, for that (tends) godwards.
11. Some, however, anoint him on the right (south) side of the fire-altar, on the ground that it is from the right side that food is served, and that they thus anoint him from the food-side. But let him not do so, for that (southern) region belongs to the Fathers, and quickly he goes to that region whom they anoint in that way.
12. And some, indeed, anoint him on the Åhavaniya, on the ground that the Åhavaniya is the world of heaven, and that they thus anoint him in the world of heaven. But let him not do so, for that (Ahavaniya, the fire-altar,) is his (the Sacrificer's)
See V, 1, 1, 12.
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divine body, and this (Sacrificer, or Sacrificer's real body) is his human one: they thus attach that divine body of his to this his mortal body, if they anoint him in this way.
13. Let him anoint him on the left (north) side and nowhere else, for that north-eastern region belongs to both gods and men: they thus anoint him whilst seated and established in his own region, for he who is established in his own seat suffers no injury.
14. One who has gained a position in the world should be anointed sitting, for one who has gained a position is seated, so to speak;-and one who is striving to gain one standing, for one who wishes to gain a position, stands, so to speak. On a hegoat's skin should be anointed one desirous of prosperity, on a black-antelope skin one desirous of spiritual lustre, on both (kinds of skins) one desirous of both that (skin) he spreads north of the tail (of the fire-altar) with its hair uppermost and its neck-part towards the east.
15. Close to the enclosing-stones': inasmuch as the black-antelope skin is close to the enclosingstones, so that divine body of his is consecrated on the black-antelope skin; and inasmuch as he is consecrated whilst keeping hold of the fire-altar he is not cut off from that divine consecration (of the Fire).
16. He anoints him after making offering on the fire-altar, for that (altar) is his divine body, and
1 Sâyana takes 'âsprishtam parisritah' to mean 'lightly touched (just touched) by an enclosing-stone.' The participle would rather seem here to have an active meaning, like 'anvârabdha' in the same paragraph.
Q 2
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this (Sacrificer himself) is his human one; and the gods indeed were first, and thereafter the men : therefore, after making offering, he anoints him with what remains over of that same (offeringmaterial). He then throws the dipping-spoon after (the oblations into the fire).
17. Placing himself near the (Sacrificer's) right arm, he then anoints him ?, with (Vâg. S. XVIII, 37), “At the impulse of the divine Savitri, I anoint thee, by the arms of the Asvins, by the hands of Půshan, by the support of Sarasvati Vâk, the supporter, by the universal sovereignty of Agni!'--for Sarasvati is Vâk (speech), and hers is all this support. Impelled by Savitri, he thus anoints him by all this support of Sarasvati Vâk, the supporter, and by the universal sovereignty of Agni. Here he throws the cup (into the fire), lest what is anointed (with offering material) should remain outside the fire.
18. He anoints him in the middle of the Pârtha oblations, for the Partha oblations are the year: he thus places him in the middle of the year. Six he offers before, and six after the consecration ceremony), for there are six seasons : by the seasons he thus encloses (guards) him who is consecrated on both sides. Brihaspati is the last of the first (six ), and Indra the first of the
That is, with the remainder of the mess of different kinds of seed mixed with milk and water.
· That is, by sprinkling him with the liquid, or pouring it on him.
* The formulas of the twelve Partha oblations are the same as those used on the occasion of the Râgasûya (V, 3, 5, 8. 9), the sixth of which is To Brihaspati haill' and the seventh To Indra hail !
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last (six),—Brihaspati is the priesthood (or priestly office), and Indra is the nobility (or political power): by the priesthood and the nobility he thus encloses him who is consecrated on both sides.
Fourth ADHYAYA. FIRST BRÂHMANA.
1. He then offers the Rashtrabhrit (realmsustaining) oblations ;—the realm-sustainers, doubtless, are the kings, for it is they that sustain realms. These deities, indeed, have been consecrated by this same consecration ceremony by which he (the Sacrificer) is now to be consecrated : it is them he thereby gratifies, and thus gratified by offering, they grant him permission (to perform) this consecration ceremony, and, permitted by them, he is consecrated; for only he becomes king whom the (other) kings allow (to assume) the royal dignity, but not he whom they do not allow to assume it). And inasmuch as the kings sustain realms, and these gods are kings, therefore Realm-sustaining (oblations are performed).
2. And, again, as to why he offers the Realmsustaining (oblations). From Pragâpati, when dismembered, couples went forth, in the form of Gandharvas and Apsaras; and he, having turned into a chariot, enclosed them, and having enclosed them, he took them to himself and made them his own; and in like manner does this (Sacrificer), thereby enclosing them, take them to himself and make them his own.
3. Now that Pragâpati who was dismembered, is this very Agni who is here being built up; and
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those couples which went forth from him, are these same deities to whom he now makes offering.
4. He makes offering to the Gandharvas and Apsaras, for in the form of Gandharvas and Apsaras they went forth (from Pragâpati). But the Gandharvas and Apsaras also busy themselves with sweet scent (gandha) and beauteous form (rûpa ), whence if any one goes to his mate he cultivates sweet scent and a beautiful appearance.
5. He offers pairs (of oblations), for birth originates from a pair; and he alone is (ruler of) a kingdom who propagates offspring, but not he who does not propagate offspring. And inasmuch as couples sustain the realm, and these deities consist of couples, these (oblations are called) Realm-sustainers. With ghee taken in twelve ladlings (he offers), and there are twelve of these oblations: the significance of this has been explained.
6. To the male (deity) he makes offering first, then to the females : he thereby endows the male pre-eminently with power? To a single male he makes offering, and to many females, whence even a single man has many wives. To the male (deity) he makes offering both with the Vashat-call and the. Svâhâ-call, to the female (deities) only with the Svâhâ : he thereby endows the male pre-eminently with power.
7. [He offers, with, Vâg. S. XVIII, 38-43). The
1 This is apparently intended as an etymological explanation of the two names; Apsaras being taken as derived from 'apsas,' in the sense of beauty. Cf. Weber, Ind. Stud. XIII, p. 135, note 3.
? Or, perhaps, 'he places the male above the female) in respect of power;' see p. 133, note i.
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law-upholding, law-abiding,'—that is, the truthupholding, truth-abiding, - 'Agni is the Gandharva: his Apsaras are the plants,'--for as a Gandharva, Agni, indeed, went forth with the plants as the Asparas, his mates,— Delights (mud) by name,'— the plants are indeed delights, for everything here delights in plants ;—may he protect this our priesthood and nobility: to him Hail! Våt! To them (fem.) Hail!' The meaning of this has been explained
8. “The Close-knit,' — yonder sun is indeed close-knit, for he knits together the days and nights ;—'all-wealthy,'--for that (sun) indeed is every kind of wealth ;— Sûrya is the Gandharva: his Apsaras are the sun-motes;'--for as a Gandharva, the sun, indeed, went forth with the sunmotes as the Apsaras, his mates,— Mobile (àyu) by name,'—for moving together, as it were, the sun-motes float;-'may he protect this our priesthood and nobility, —the meaning of this has been explained.
9. The most blessed,'—that is, the most worthy of worship,—'sun-rayed' — for like the sun's are the moon's rays ;-Kandramas (the
In accordance with the preceding paragraph, that part of the formula which relates to the male deity, viz. 'The law-upholding, law-abiding Agni is the Gandharva-may he protect this our priesthood and nobility: to him Svâhâ ! Vât!' is to be uttered first, and the first oblation to be offered at the call . Vâl,' i.e. Vashal, 'may he (Agni) carry it to the gods) !' Then that part relating to the female deities is uttered, after which the second oblation is offered. In the same way the other five formulas are to be treated. See Mahîdhara's remarks on the present formula.
? Â-yuvânâh, literally holding to each other,' a wrong etymology of 'âyu,' 'lively.
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moon) is the Gandharva: his Apsaras are the stars; for as a Gandharva the moon, indeed, went forth with the stars as the Apsaras, his mates ;-- 'Luminous (bhekuri) by name; '-light-giving (bhâkuri1) these, indeed, are called, for the stars give light; may he protect this our priesthood and nobility!' the meaning of this has been explained.
10. 'The Agile,'-that is, the swift, 'all-expansive, for the wind (air), indeed, makes up all this expanse; 'Vâta (the wind) is the Gandharva: his Apsaras are the waters,- for as a Gandharva the wind, indeed, went forth with the waters as the Apsaras, his mates;-Viands (ûrg) by name,'-the waters, indeed, are called 'ûrgah,' for food is produced from the waters;-may he protect this our priesthood and nobility!' the meaning of this has been explained.
11. 'The beneficent, well-winged,'-beneficent (bhugyu 2) indeed is the sacrifice, for the sacrifice benefits all beings,-' Yagña (the sacrifice) is the Gandharva: his Apsaras are the offeringgifts, for as a Gandharva the sacrifice, indeed, went forth, with the offering-gifts as the Apsaras,
This etymological explanation of 'bhekuri' is doubtful. 2 The real meaning of bhugyu in this passage is very doubtful; while it usually means 'flexible,' the St. Petersburg Dictionary here tentatively assigns to it the meaning 'adder.' Whether the author of the Brahmana really connects it with 'bhug (bhunakti)," 'to enjoy, benefit' (instead of with 'bhug,' 'to bend '), or whether the explanation is merely meant as an etymological play of words, is not clear. Mahîdhara indeed derives it from the former root, in the sense of 'to protect.' The order of the words 'yagno vai bhugyuh' would properly require to be rendered by-The 'bhugyu' doubtless is the sacrifice.
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his mates ; — Praises (stâvâ) by name,'—the offering-gifts are indeed praises, for the sacrifice is praised for offering-gifts; and whosoever gives an offering-gift (to priests) is praised;— may he protect this our priesthood and nobility!' the meaning of this has been explained.
12. 'The lord of creatures, the all-worker,'— Pragâpati (lord of creatures) is indeed the all-worker, for he has wrought all this (universe);—'Manas (the mind) is the Gandharva: his Apsaras are the hymn-verses and hymn-tunes,'—as a Gandharva, the Mind indeed went forth, with the hymnverses and hymn-tunes as the Apsaras, his mates ;*Wishes (eshti) by name,'—the hymn-verses and hymn-tunes are indeed wishes, for by verses and tunes people pray, 'May this accrue unto us! may it fare thus with us !'—'may he protect this our priest and nobility!' the meaning of this has been explained.
13. He then makes an offering on the Head of the Chariot;—this, indeed, is that very rite of consecration,-and by that he is now consecrated, - which this (Sacrificer) is permitted to perform by those deities with whose permission he is consecrated'; for he alone becomes king whom the (other) kings allow (to assume) the royal dignity, and not he whom (they do) not (allow to assume it). With ghee taken in five ladlings (he offers), and this is offered as five oblations : the significance of this has been explained.
14. On the head (or front part of the chariot the
· The construction of the text (occurring again at IX, 4, 4, 8) is rather irregular.
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offering is made), for it is from the head (downwards) that he who is anointed is anointed, whilst it is held above (the Åhavaniya), for above (others) is he who is thus anointed ;—with the same formula (repeated each time), for one and the same (person) is he who is thus anointed;—whilst taking round (the chariot-head) in every direction' : on every side he thus is anointed.
15. And, again, as to why he makes offering on the head of the chariot ;-it is because this chariot is yonder sun; for it was by assuming that form that Pragâpati enclosed those couples, and took them to himself, and made them his own; and in like manner does this (Sacrificer) thereby enclose them, and take them to himself, and make them his own. Whilst it (the chariot-head) is held above (the fire, he offers), for above (others) was he who, enclosing those couples, took them to himself, and made them his own ;—and with the same formula, for one and the same is he who, by enclosing those couples, took them to himself, and made them his own.
16. [He offers each time, with, Vâg. S. XVIII, 44], O Lord of the world, Lord of creatures!' – for this (Agni), indeed, is the lord of the world, and the lord of creatures ;-'thou whose dwellings are on high, or here below,'—both on high and
1 The body (or 'nest,' seat-part) of the chariot is shifted sunwise round the fire on the great altar, so that the fore-part keeps over the fire where the Adhvaryu's assistant holds it, and in each of the four directions, as well as in the centre of the fire, the Adhvaryu offers a libation of ghee, whilst facing the chariot-head. According to a comment on the respective rules (Kâty. XVIII, 5, 17-20) alluded to by Prof. Weber (Ind. Stud. XIII, p. 286), the fore-part of the chariot would, however, seem to be taken off the seat-part; the latter being carried round the fire as the oblations are made.
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here below, indeed, are his dwellings ;-'to this priesthood and this nobility of ours,'—for this Agni is both the priesthood and the nobility,'grant thou mighty protection, hail!'—that is, 'grant thou powerful protection !'
SECOND BRÂHMANA. 1. He then offers (three) oblations of air ;-this fire-altar is these (three) worlds, and the oblations of air are wind : he thus places the wind into these worlds, and hence there is wind here in these worlds.
2. He takes (the air) from outside the Vedi; for that wind which is in these worlds is already contained in this (fire-altar), and he now puts into it that wind which is beyond these worlds.
3. From outside the Vedi (he takes it),—for the Vedi is this (earth), and the wind which is on this (earth) is already contained in this (fire-altar): he now puts into it the wind which is beyond this (earth).
4. By his two hollow hands (he takes it), for only in this way is the catching of that (wind brought about). With the Svâhâ-call (he offers), for he offers just under the shafts (of the chariot),—this chariot is yonder sun: he thus places the wind on this side of the sun, and hence that one blows on this side thereof.
5. (He offers, with, Våg. S. XVIII, 45), 'Thou art the cloudy ocean,'—the cloudy ocean, doubtless, is yonder world (of the sky),—'the giver of moisture,'—for that (wind) indeed gives moisture : he thus bestows on this (fire-altar) the wind which is in yonder world ;—' blow thou kindly and propitiously upon me, hail!'--that is, 'blow favourably and gently upon me!'
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6. 'Thou art the stormy (region), the troop of the Maruts,'—the stormy (region), the troop of the Maruts, doubtless, is the air-world: he thus bestows on this (fire-altar) the wind which is in the air-world ;-' blow thou kindly and propitiously upon me, hail!'- that is, 'blow favourably and gently upon me!'
7. 'Thou art the one affording protection and worship,'—the one that affords protection and worship, doubtless, is this (terrestrial) world : he thus bestows upon this (fire-altar) the wind which is in this world ;-blow thou kindly, and propitiously upon me, hail!'--that is, 'blow favourably and gently upon me!'
8. With three (formulas) he offers,—three are these worlds, and threefold is Agni: as great as Agni is, as great as is his measure, with so much he thus puts air into these worlds.
9. And as to why he offers the oblations of air : he thereby yokes that chariot of his ; for it was thereby that the gods yoked that chariot for (the obtainment of) all their wishes, thinking, By it, when yoked, we shall obtain them;' and by that yoked (chariot) they indeed obtained their wishes ; and in like manner does the Sacrificer thereby yoke that chariot of his for (the obtainment of) all his wishes, thinking, By it, when yoked, I shall obtain them;' and by that yoked (chariot) he indeed obtains all his wishes.
10. He yokes it with the oblations of air ?,—the oblations of air are the vital airs : it is thus with the
That is, these oblations are, as it were, to represent the team of the chariot.
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vital airs he yokes it! With three (oblations) he yokes it,—there are three vital airs, the outbreathing, up-breathing, and through-breathing : it is with these he thus yokes it. Just below the shaft (he offers), for just below the shaft the horse is yoked ;-with his hands, for by the hands the horse is yoked ;-in moving round ?, for in moving round the horse is yoked.
11. The right yoke-horse he puts to first, then the left yoke-horse, then the right side-horse: for thus it is (done) among the gods, otherwise in human (practice). Let him not yoke that (chariot 9) again, lest he should yoke again the yoked one; but let him give away the vehicle, thinking, 'I shall reap the benefit of the yoking of it.' They carry it as far as the Adhvaryu's dwelling, holding it right upwards, for above is that (Agni). He presents it to the Adhvaryu, for it is he that performs therewith. Let him, however, (not) assign it to him (till) the time of the offering-gifts.
12. He then offers the 'Lightsome l'oblations.
1 Or, he supplies him (Agni).
? According to Kâty. Sr. XVIII, 6, 1, 2, the Adhvaryu first takes a double handful of air from beyond the east side of the Vedi, and offers it below the right (south) shaft; then from beyond the north side to be offered up below the left shaft, and lastly from beyond the south side to be offered below the shaft where the right sidehorse would be yoked. In each case the girth (or yoke-tie) is to be carried round in the same way as if a real horse were yoked.
Sayana takes it to mean that horse'; and according to Kâty. Sr. XVIII, 6, 3-5, the carriage is to be carried to the Adhvaryu's house, and, at the time when the dakshinâs are presented to the priests, it is to be given to that priest along with three horses. The Brâhmana, however, does not seem to mention the horses.
• Literally, of the yoked one. * These oblations are here called 'runmati,' because the three
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For now the whole Agni was completed; he now wished for brilliance (ruk), and the gods, by means of these lightsome (oblations), endowed him with brilliance; and in like manner does this (Sacrificer) now endow him therewith.
SATAPATHA-BRAHMANA.
13. And, again, as to why he offers the lightsome oblations. When Pragâpati was dismembered, his brilliance departed from him. When the gods restored him, they, by means of these lightsome oblations, endowed him with brilliance; and in like manner does this (Sacrificer) endow him therewith.
14. [He offers, with, Vâg. S. XVIII, 46-48], 'O Agni, what lights of thine in the sun...,' 'O ye gods, what lights of yours are in the sun...'_' 1'-'Bestow thou light upon our priests, (work thou light in our kings, light in our people and Sûdras, bestow light upon me by thy light)!' He thus says 'light' each time,-light is immortality: it is immortality he thus bestows upon him.
15. He then offers one relating to Varuna. That whole Agni has now been completed, and he now is the deity Varuna: it is to him that he offers this oblation, and by the oblation he makes him (Agni) a deity, for that one alone is a deity to whom offering is made, but not that one to whom (offering is) not (made). With a verse addressed to Varuna (he offers): he thus gratifies him by his own self, by his own deity.
16. And, again, as to why he offers one relating
verses used with them contain the word 'ruk,' being prayers for the bestowal of light.
1 These two verses had already been used in laying down the Dviyagus bricks; see VII, 4, 2, 21.
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to Varuna. When Pragâpati was dismembered, his strength departed from him. When the gods restored him they, by this (oblation), bestowed strength upon him; and in like manner does this (Sacrificer) bestow it upon him. With a verse addressed to Varuna (he offers),-Varuna is the ruling power, and ruling power means strength : it is thus by strength that he bestows strength upon him.
17. (He offers, with, Vâg. S. XVIII, 49). 'For this I appeal to thee, worshipping thee with prayer,'—that is, 'For that I beseech thee, worshipping thee with prayer ;'-'for this the Sacrificer imploreth thee with offerings,'—that is, for this, this Sacrificer implores thee with offerings ;''without wrath listen thou here, O Varuna!' —that is, ' without anger listen thou here to us, O Varuna!'-'take not our life from us, O farruler!'—he thereby gives utterance to a surrender of his own self.
18. He then offers the Arkâsva medha-santatii oblations. The light (arka), doubtless, is this fire (Agni), and the Asvamedha (horse-sacrifice) is yonder sun,—when created, these two were separate: by means of these oblations the gods drew them together and connected them; and in like manner does this (Sacrificer), by means of these oblations, now draw them together and connect them.
19. (He offers, with, Vâg. S. XVIII, 50), Heaven-like heat, hail!'—the heat, doubtless, is yonder sun; he thus establishes yonder sun in Agni.
20. 'Heaven-like flame, hail!'-the flame is
* That is, the joining together of the fire and the horse-sacrifice.
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this Agni : he thus establishes this Agni in yonder sun.
21. 'The Heaven-like shining one, hail!'the shining one, doubtless, is yonder sun: he places him again up there.
22. Heaven-like light, hail!'—the light is this Agni: he places him again here (on the firealtar).
23. 'The heaven-like Surya, hail!'--Surya, doubtless, is yonder sun : he thus places yonder sun highest of all this (universe), whence he is the highest of all this (universe).
24. These are five oblations he offers,—the firealtar consists of five layers, a year of five seasons, and Agni is the year : as great as Agni is, as great as is his measure, with so much he thus draws together and connects those two.
25. And as to why he says, 'Heaven-like heat, hail! heaven-like flame, hail!'—these indeed are names of this fire: he thereby gratifies these, and by the offering he makes them a deity; for only that one is a deity to whom an oblation is offered, but not that to whom it is not offered. Moreover, by naming them, he thus places them on this fire-altar.
26. These are five oblations he offers,—the firealtar consists of five layers, and the year of five seasons, and Agni is the year : as great as Agni is, as great as is his measure, by so much food he thus gratifies him.
27. Now as to the insertion of (any other) oblations. If he should know any oblation supplied with a brâhmana (dogmatic explanation) let him offer it at
Or, location, proper place; cf. p. 138, note 1.
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this time; for it is for (the obtainment of his) wishes that he yokes this chariot, and whatsoever oblation he offers on this occasion he offers as one that is (to be) fulfilled.
28. As to this they say, 'Let him not offer (any additional oblations), lest he should do what is excessive. Let him, nevertheless, offer them; for it is for (special) wishes that these oblations are offered, and in wishes there is nothing excessive.
THIRD BRÂHMANA. PREPARATORY RITES OF THE SOMA-SACRIFICE. 1. Having now returned (to the hall), he, at the proper time, throws up the Dhishnyas? (firehearths)—these hearths are fires : he thus builds up fire-altars. They are the clansmen, and the built-up fire-altar is the chieftaincy: he thus sets up both the chieftaincy and the clan. The former (altar) he builds up first, then these (hearths): thus he sets up the clan after setting up the chieftaincy.
2. That (fire-altar) is a single one: he thus makes the chieftaincy to attach to a single (person), and (social) distinction to attach to a single (person). The others are numerous : he thus bestows multiplicity on the clan.
A Soma-sacrifice being about to be performed on the newly erected fire-altar, now properly consecrated, all the necessary preparatory business and ceremonial enjoined for such a sacrifice have now to be gone through in the way detailed in part ii of this translation. The author here only alludes to those points in the Soma-ritual in regard to which the present performance offers any special feature either additional to, or modificatory of, the ordinary ceremonial. The construction of the Dhishnyas, or fire-hearths of the different priests (for which see part ii, p. 148, note 4), is one of these points.
[43]
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3. That (fire-altar) consists of five layers, the others of a single layer : he thus endows the chieftain (or, ruler) pre-eminently with power, and makes the chieftain more powerful than the clan (or people). Upwards he builds that one: he thus builds the ruling power upward by (social) layers; sideways the others : he thus makes the clan obedient to the chieftain from below.
4. That one he builds up both with the Yagushmati (bricks laid down with a special formula), and with the Lokamprinâ (or space-filling ones, laid down with a common formula); the others with the space-filling one alone: he thus endows the chieftain pre-eminently with power, and makes the chieftain more powerful than the clan, and the clan less powerful than the chieftain.
5. And when he builds up these (hearths) only with the space-filling one, the Lokamprinâ being the nobility '-he thereby places the chieftain, as the eater, among the clan. He builds up (dhishnyahearths) both of the Soma-sacrifice ?, and of the firealtar; first those of the Soma-sacrifice, and then those of the fire-altar : the significance of this has been explained. Whatever Soma-hearth he (merely) throws up (at the Soma-sacrifice), that he (now) builds up. The Âgnidhriya he builds first, for that
1 See p. 132, note 2.
% There are eight dhishnya-hearths at the Soma-sacrifice, two of which, the Agnidhrîya and Mârgâliya, were raised north and south of the cart-shed (havirdhana), whilst the others (viz. those of the Hotri, &c.) were raised inside the Sadas along its eastern side They were merely mounds of earth covered with sand, whilst the additional hearths (of the fire-altar) now to be erected are partly built of bricks.
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one he throws up first (at the Soma-sacrifice); (he does so) whilst sitting to the right (south) of it: the significance of this has been explained ?
6. On this (Agnidhriya) he puts eight bricks,the Gayatri consists of eight syllables, and Agni is of Gayatra nature : as great as Agni is, as great as is his measure, so great he thus builds him up. The variegated stone 2 is the ninth of them : there are nine vital airs-seven in the head and two downward ones—it is these he thus puts into it. The fire which is placed on the erected (hearth) is the tenth ;—there are ten vital airs ", and the Agnidhra is the middle (between the Gårhapatya and Ahavaniya fires): he thus puts the vital airs in the middle of it; for the vital airs, being in the middle of the body, move along it in this direction, and in that direction.
7. Twenty-one he places on the Hotriya (hearth), and there are twenty-one enclosing-stones : the significance of this has been explained.
8. Six (he places) on the Mârgâliya,-these are the six seasons, the Fathers; for the seasons, the
1 See VII, 1, 1, 21 seq., where the way in which the bricks of the Gârhapatya hearth are laid down is described in detail.
* When Agni was led forwards from the Garhapatya to be installed on his newly built altar, as the Ahavaniya or offering fire, a variegated stone, meant to represent the sun, was deposited near the place (on the northern edge of the Vedi) where the Âgnidhra shed and hearth would afterwards have to be erected; see IX, 2, 3, 14-19.
3 That is, including the central one, the outlet of which is the navel; cf. VIII, 1, 3, 1o.
• The numbers of bricks and enclosing-stones are the same as for the Gârbapatya hearth, for which (with their symbolic meaning) see VII, 1, 1, 32-35.
R2
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Fathers”, indeed, heaped up (a rampart) round that (fire) from the south. This one lies to the south of those (other hearths) ,—this (Agnidhriya) he lays down in this way (direction), and these (other hearths) in this way, and that one (the Fire-altar) in this way: he thereby makes the peasantry look towards the chieftain.
9. He then encloses these (hearths) by enclosingstones ;—the enclosing-stones are the waters : it is thus by water that he surrounds them? He merely lays them down all round, for those of the waters which flow in a hollow (channel) are the chieftain, and these stray waters are the clansmen; thus, when he encloses that (great fire-altar) by a dug-in (row of stones), he thereby adds power to power, and surrounds (protects) power by power; and when he merely lays down those (enclosing-stones of the hearths) all round, he thereby adds clansman (or clan) to clansman, and surrounds (protects) clansman by clansman 4. As many bricks with special formulas as
Sâyana refers to a passage in the Taittirîyaka, according to which a dying man is changed to whatever season he dies in, whence the six seasons are the representatives of all the deceased ancestors. Since the Fathers reside in the southern region it is from that quarter that, by laying down the bricks, they are supposed to raise a rampart for the Mârgâlîya fire.
3 Viz. on the southern edge of the Vedi, exactly south of the Agnidhriva, whilst the other dhishnyas run in a line from north to south to the left of the space between the Agnidhrîya and Mârgâlîya. The other hearths, together with the great fire-altar occupying the eastern part of the Vedi, would thus, as it were, face the Mârgâlîya in a semicircle. See the plan of the Sacrificial ground, part ii, p. 475.
. That is, as the earth is surrounded by the ocean (VII, 1, 1, 13), or a stronghold by a moat.
· Viz. inasmuch as the fire-altar and the Ahavaniya fire on it, as
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there are (in each hearth) so many enclosing-stones there are (in each); for with that (fire-altar) there are as many enclosing-stones as there are such bricks in it1: he thus makes the clan obedient and subservient to the chief.
10. He then scatters a layer of earth on (each of) these (hearths): the significance of this has been explained 2. Silently (he scatters it), for indistinct is the clan (or people). Then, after the cake-offering of the Agnishomiya (animal sacrifice), he prepares the propitiatory oblations to the Regions; that fire-altar is the regions: it is to them he offers these oblations, and thus by offering makes them a deity, for only that one is a deity to whom an oblation is offered, but not that to whom it is not offered. There are five (such oblations), for there are five regions.
II. As to this they say,-Let him prepare this
well as the dug-in circle of enclosing-stones, are identified with the ruling power; whilst the dhishnyas as well as the circles of stones lying loosely around them represent the clan.
1 This is not clear to me: whilst there are 395 such bricks with special formulas in the five layers of the great altar, it is enclosed by only 261 parisrits; see p. 158, note 1. Besides there are no 'yagushmatî' bricks in these hearths, but only 'lokamprinâs'; one would therefore expect 'ishtakâs' (bricks) for 'yagushmatyas' the first time (cf. comm. on Kâty. Sr. XVIII, 7, 13). The Hotri's hearth contains twenty-one bricks, the Brâhmanâkkhamsin's eleven, the Mârgâlîya six, and the others eight bricks; and in each case the common formula, 'Lokam prina, &c.' (see VIII, 7, 2, 6), is pronounced once after every ten bricks, and after any odd bricks remaining over at the end. Cf. Kâty. Sr. XVIII, 6, 8 seq.
See VIII, 7, 3, I seq.
He does not use any such formula as that used in covering each layer of the great altar with earth; see VIII, 7, 3, 7.
See part ii, p. 199, note 2 (where the reference at the end should be to IV, 2, 5, 22).
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offering (ishti) so as to consist of material for ten oblations; this (offering) is (performed) with all the stomas and all the prishtha (sâmans)1; and there are (used in it) all the metres, all the regions, all the seasons and this Agni (the fire-altar) is all this: he thus, by the (amount of) offering material (taken out for the ishti), makes (Agni) the deity2; for only that one is the deity for whom the oblation is prepared, not one for whom it is not prepared. There are (in that case) ten (oblations),—the Virâg (metre) consists of ten syllables, and Agni is virâg (far-shining, or far-ruling); there are ten regions, and Agni (the fire-altar) is the regions; ten vital airs, and Agni is the vital airs: as great as Agni is, as great as is his measure, with so much food he thus gratifies him.
12. But, indeed, he may also take out these oblations for the Divine Quickeners 3; for these are the deities which become consecrated by this consecration ceremony by which he is now to be consecrated: it is them he thus gratifies, and gratified by offering they permit him (to perform) this consecration ceremony, and with their permission he is
See part iii, introduction, p. xx seq.
As Sâyana points out, the Taittirîyas make Agni the deity of this ishi, the invitatory formulas (puro-nuvâkyâ) of the different havis (oblations) naming him each time with different epithets relating to different metres, stomas, prishthas, and seasons. Cf. Taitt. S. I, 8, 4: Taitt. Br. I, 8, 19.
For these eight deities (Savitri Satyaprasava, Agni Grihapati, &c.), to whom offering is made at the Abhishekanîya or Consecration ceremony of the Râgasaya, between the chief oblation of the animal cake-offering (Pasupurodâsa) and its Svishtakrit, whilst the whole of the Pasupurodâsa is again performed in the middle of the animal sacrifice, see part iii, p. 69 seq.
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consecrated; for only he becomes king whom the (other) kings allow (to assume) the royal dignity, but not he whom they do not (allow to assume it). And inasmuch as these deities are consecrated (quickened) by this consecration ceremony and quicken him for this consecration, they are (called) the Divine Quickeners.
13. These (deities) come to have two names, as he who is consecrated by the rite of consecration comes to have two names; for the very rite of consecration for which he is quickened, and by which he is consecrated (quickened), is his second name1.
14. There are eight (such deities),—the Gâyatri consists of eight syllables, and Agni is of Gâyatra nature as great as Agni is, as great as is his measure, by so much food he thus gratifies him.
15. As to this they say,-He ought not to offer (any of) these oblations, lest he should do what is excessive. Let him nevertheless offer them; for these oblations are offered for (the obtainment of special) wishes, and in wishes there is nothing excessive. And whatsoever oblation he offers after the Pasupurodása (the cake-offering connected with the animal sacrifice), that is placed inside the animal victim itself as its sacrificial sap2. He offers both kinds (of oblations), those of the Soma-sacrifice and those of the fire-altar (or Agnikayana), first those of the
That is to say, for example, he who has performed the Vâgapeya is called Vâgapeya-yâgin, Sây.
? These oblations, as well as those of the Pasupurodâsa, inserted as they are in the middle of the animal offering,-just after the offering of the omentum of the victim,-are supposed to supply to the victim its sacrificial sap or essence which was taken out of it in the shape of the omentum. See III, 8, 3, 2.
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Soma-sacrifice, and afterwards those of the fire-altar : the purport of this has been explained. In a loud voice the Pasupurodâsa offering (is performed), in a low voice these (additional oblations), for they are an ishti2. With the Pasupurodâsa he (the Adhvaryu) says, 'Recite!-Urge!' and with these (oblations), Recite !-Worship' for they are an ishți.
There
is the same Svishtakrit and the same idâ (for these oblations). The (Devasú) deities have received offering, and the Svishtakrit (of the Pasupurodâsa) has not yet been attended to ",
-
"
That is, in the formulas the name of the deity to whom the oblation is offered is pronounced in a loud voice.
2 That is, a 'kâmyesh,' or offering for the obtainment of some special object, which has to be performed in a low voice; see I, 3, 5, 10.
Or, 'Pronounce the offering-prayer!' For these two latter calls (anubruhi!-yaga!), by which the Adhvaryu calls on the Hotri to pronounce the invitatory prayer (anuvâkyâ or puro-nuvâkyâ) and the offering-prayer (yâgyâ) respectively, at ishis, see I, 5, 2, 8-10 and I, 5, 3, 8; and for the first two (anubrûhilpreshya!), by the former of which the Adhvaryu calls on the Hotri to recite the invitatory prayer; whilst by the latter he calls on the Maitrâvaruna to 'urge' (or 'prompt') the Hotri to pronounce the offering-prayer at the animal sacrifice, see III, 8, 1, 4 with note (where attention might have been called to the difference that exists between the ishi and the animal sacrifice in regard to the formula by which the Adhvaryu calls for the recitation of the offering-prayer). In regard to this point there is, however, a difference of opinion between the Mâdhyandina and the Kânva schools, the latter using for the Pasupurodâsa on this occasion, as well as on that of the Râgasuya, the same calls as those of the inserted ishis; cf. Kâty. Sr. XV, 4, 18-20.
For the Svish/akrit, or oblation to Agni, 'the maker of good offering,' offered after the chief oblations, see I, 7, 3, I seq.; for the ida-oblation (and invocation of Idâ), I, 8, 1, 1 seq.
The tentative meaning assigned to 'asamavahitam,' 'not in immediate connection with (the Svish/akrit),' can scarcely be right. The clause seems simply to mean that the (pârvâbhisheka) touching
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16. He then touches it (the fire-altar) with (the formula of) the preliminary consecration (Vág. S. IX, 39. 40), ‘May Savitri quicken thee for (powers of) quickening'!... This (man), O ye (people), is your king; Soma is the king of us Brâhmanas!'-he thereby excludes the Brâhmanas (from the power of the king) and makes them such as are not to be fed upon (by the king).
Fourth BRÂHMANA. AGNIYOGANA, OR YOKING OF THE FIRE-ALTAR; AND
SOMA-SACRIFICE. 1. Then, early next morning ?, when about to bespeak the morning prayer 3, he yokes the Firealtar, thinking, With it, when yoked, I shall obtain ;' and by it, when yoked, he obtains all wishes. He
of the altar is to take place, as in the case of the (preliminary) consecration at the Râgasûya, immediately after the oblations to the Divine Quickeners, and before the Svishtakrit oblation of the Pasupurodása has been performed. See V, 3, 3, 10, where a somewhat similar expression is used. One might have some doubt as to whether, both here and at the Râgasaya, there is any Svishtakrit at all to these Devasū-havimshi, or whether the statement, There is the same svishtakrit and the same ida,' applies not to them merely, but to them and the Pasupurodâsa. If this latter alternative were the correct one, we should, however, expect that something had been said on this point in connection with the Devasů oblations of the Râgasya; and moreover the nature of the two oblations seems too different for such a partial identification, requiring as they do different praishas,' or calls, in the Svishtakrit (viz.'yaga' the one, and 'preshya' the other); see also IX, 5, 1, 40, and note 3, P. 248; also Kâty. Sr. V, 11, 23-24.
i For the complete formulas, see V, 3, 3, II, 12. ? That is, on the first Sutya, or pressing-day.
That is, by calling on the Hotri to Recite to the gods, the early coming !' see III, 9, 3, 10, with note thereto giving particulars regarding the Prâtaranuvāka.
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yokes it prior to the whole performance, so that all that is done thereafter is laden on that yoked (altar-cart).
2. He yokes it on the enclosing-sticks, for those enclosing-sticks are fires ': it is with fires he thus yokes the fire-altar.
3. Having touched the middle enclosing-stick ?, he mutters this formula (Vâg. S. XVIII, 51), 'The Fire I yoke with might, with ghee !'-might means strength : thus, 'The fire I yoke (furnish) with strength, with ghee; '--'the heavenly bird, great in vigour,'—for that (fire-altar) is indeed a heavenly bird, and great in vigour, in smoke 3 ;—Thereby we will go to the region of the bay, rising unto the light, beyond the highest firmament!'The firmament, doubtless, is the heavenly world : thus, ‘Thereby we will go to the region, of the bay (horse, the sun) mounting up to the heavenly world, beyond the highest firmament.'
4. Then on the southern (right) one, with (Vâg. S. XVIII, 52), ‘By these never-decaying, feathered wings of thine wherewith thou repellest the demons, O Agni, may we fly to the world of the righteous whither the erst-born seers went of old !'he thereby alludes to those Rishis t.
See the ritual legend, I, 3, 3, 13 seq. ? That is, the one along the hind (or west) side of the Ahavanîya fire on the great altar, being the base of the triangle formed by the three enclosing-sticks. The order in which they are touched is the same as that in which they were laid down.
• Mahidhara actually takes smoke (dhūma)' here to be intended as the literal meaning of vayas.'
• Viz. the seven Rishis, identified with the seven vital airs which came to constitute the first Purusha (Agni-Pragapati), and hence the bird-shaped fire-altar. See VI, 1, 1, I seq.
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5. Then on the northern (left) one, with (Vâg. S. XVIII, 53), 'The potent drop, the faithful eagle, the golden-winged bird, the active (bhuranyu),'—golden means immortal: thus, 'the immortal-winged bird, the bearer (bharti); '— 'the mighty is seated in the firm seat: homage be to thee, injure me not!'-he thereby gives utterance to a surrender of his own self.
6. Now that middle formula is the body, and the two on both sides thereof are the wings (of the birdshaped altar): hence these two allude to 'wings',' for these two are the wings.
7. With three (formulas) he yokes it,-threefold is Agni as great as Agni is, as great as is his measure, with so much he thus yokes him.
8. And when he has pressed the king (Soma) he offers in the fire. This, indeed, is that very rite of consecration (or pressing)—and by that he is now consecrated (or pressed)—which this (Sacrificer) is permitted to perform by those deities with whose permission he is consecrated 3; for he alone becomes king whom the (other) kings allow (to assume) the royal dignity, and not he whom (they do) not (allow to assume it). Now when he offers in the fire he thereby consecrates (anoints) Agni, and that divine body of his, being consecrated by Soma, becomes consecrated by the nectar of immortality. And he himself drinks (thereof): he thereby conse
In the first formula the word for 'bird (eagle)' is 'suparna,' literally the well-winged (well-feathered) one.'
2 This refers to the libations made from the several cups (grahas), the contents of which are afterwards consumed by the priests (and Sacrificer); cf. part ii, p. 316, note I.
For the same irregular construction, see IX, 4, 1, 13.
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crates himself, and this self (body) of his, being consecrated by Soma, becomes consecrated by the nectar of immortality.
9. Having offered in the fire (or, on the fire-altar), he drinks (Soma), for that (fire-altar) is his (the Sacrificer's) divine body', and this (Sacrificer's real body) is his human one; and the gods indeed were first, and afterwards men : therefore, having offered (Soma) in the fire, he drinks (thereof).
10. Having now obtained the wish for (the accomplishment of) which he yokes it (the altar), he unyokes it when about to bespeak the Yagñàyagñiya stotra ?,for the Yagñayagñiya is the heavenly world, and it is for the attainment of that (world) that he yokes it: thus (he unyokes it) after obtaining the wish for which he yoked it.
11. It is prior to the Stotra that he unyokes it :were he to unyoke after the Stotra, he would pass beyond that world and lose it; but when he unyokes prior to the Stotra, he unyokes forthwith after reaching the world of heaven.
12. He unyokes it on the enclosing-sticks, for it
See IX, 3, 4, 12.
The Yagñayagiya (or Yagñayagñîya) stotra is the last and characteristic chant of the Agnishtoma mode of Soma-sacrifice, whence it is more properly called Agnish/oma-saman; the Yagñayagñiya, properly speaking, being the verses, Sâma-v. II, 53, 54, chanted to a particular tune, and generally (though not always) used for the closing chant of the Agnishtoma.
• That is, because the Yagñayagñiya marks, as it were, the end of the (Agnishtoma) Soma-sacrifice, and anything performed thereafter is, so to speak, outside the sacrifice, or beyond it. Kâty. Sr. XVIII, 6, 17 calls it Agnimâruta stotra, i.e. the chant belonging to the Agnimâruta-sastra (which has to be recited by the Hotri after that chant); cf. part ii, p. 369 note.
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is on the enclosing-sticks that he yokes it, and at whatever place (of the body) people yoke a horse there they also unyoke it.
13. Having touched it (the fire) at the two joints", he mutters these two formulas,—thus two formulas equal in power three enclosing-sticks,—with (Vâg. S. XVIII, 54), "The sky's head thou art, the earth’s navel, [the essence of the waters and plants, the life of all, the amplę refuge (?): homage be to the path!]' on the right, and with (55), 'On the head of the All dost thou keep standing, [in the (aerial) ocean is thy heart, in the waters thy life: bestow water, send the water-store (cloud),—from the sky, from the cloud, from the air, from the earth, favour us with rain!]' on the left (joint),-thus with two (verses) containing the word) 'head,' for this is indeed its head; and containing (the words) 'in the waters 2': that Yagñâyagñiya doubtless is Agni Vaisvânara's chant of praise, and water is (a means of) appeasing,—therefore (he touches them) with two (verses) containing (the words)—the waters.'
14. With two (verses) he unyokes it,—two-footed is the Sacrificer, and Agni is the Sacrificer: as great as Agni is, as great as is his measure, with so much he thus unyokes him. With three (verses) - he yokes,—that (makes) five,—the fire-altar consists of five layers, the year (of) five seasons, and Agni is
1 That is, at the two points where the right (southern) and left (northern) enclosing-sticks (forming the two sides of the triangle, the apex of which lies east of the centre of the fire) meet the western enclosing-stick (as the base of the triangle).
* The first verse, in point of fact, contains the genitive case of the waters.'
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the year: as great as Agni is, as great as is his measure, so great is this.
15. Now, some yoke it (the fire-altar) at a Prayaniya ' Atirâtra, and unyoke it at an Udayaniya, saying, 'The unyoking, surely, is a certain form of completion, and why should we perform a form of completion prior to the completion (of the sacrifice) ?' But let him not do this, for day by day this sacrifice is performed, and day by day it comes to completion; day by day he yokes that (altar) for the attainment of the heavenly world, and day by day he thereby attains the heavenly world : let him therefore yoke it day by day, and unyoke it day by day.
16. And, indeed, it would be just as if, at the Prâyaniya Atirâtra, after reciting the kindlingverses, he were to say, 'Hereafter, at the Udayaniya, I shall recite (them again)!' Let him therefore yoke (the altar) day by day, and unyoke it day by day.
17. And on this point, Sandilya, indeed, having enjoined on the Kaňkatlyas the day-by-day per
For the Prayanîya ishti (to five deities) of the ordinary Agnishtoma, see part ii, pp. 47, 48, note. In the present case a special Soma-sacrifice of the Atirâtra type would seem to take its place, just as the Pavitra, an Agnishtoma Sonia-sacrifice, at the Râgasaya, took the place of the ordinary Anvârambhaniya ishti (or opening offering); see part ü, p. 42. In the same way there would apparently be a special Udayanfya Soma-sacrifice; whilst our author would have the ceremonies of yoking and unyoking of the fire-altar performed on the very day (or days) of the Somasacrifice, that is to say, he would have the ordinary Prayanîyeshti and Udayaniyeshfi performed as parts of the principal Soma-day (or days, if there are to be more than one).
* Or, therefore, as Sâyana takes it. If the Udayaniya were a special Soma-sacrifice, the Sâmidhenis (part i, p. 102 seq.; ii, p. 13, note 3) would have to be recited anew.
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formance, went on his way, saying, 'Day by day they shall yoke for you, and day by day they shall unyoke!' Let him therefore yoke day by day, and unyoke day by day.
FIFTH ADHYAYA. FIRST BRAHMANA.
1. Now, then, as to the taking of milk as fastfood the initiated should take milk for his fastfood. Once upon a time the nectar of immortality departed from the gods.
2. They said, 'Let us seek for it here by toil and penance!' They sought for it by toil and penance. Having become initiated, they were living on fastmilk, for penance it is when, after becoming initiated, one lives on fast-milk. They heard the sound of it.
3. They said, 'It is indeed coming nearer: let us practise penance still further!' They resorted to three teats: they saw it.
4. They said, 'It is indeed coming nearer : let us practise penance still further!' They resorted to two teats they saw it still nearer.
5. They said, 'It is indeed coming nearer: let us practise penance still further!' They resorted to one teat: it came nigh unto them, but they could not lay hold of it.
6
6. They said, It has indeed come nigh unto us, but we cannot lay hold of it: let us undergo the whole (practice of) penance!' On the day of preparation they underwent entire abstention from food; for the whole (practice of) penance it is when one abstains from food: let him therefore eat nothing on the day of preparation.
7. On the morrow, having laid hold of it and pressed it (the Soma), they offered (of it) in the fire,
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and thereby bestowed immortality upon Agni. And he, Agni (the fire-altar), indeed, is the body of all the gods; and hence, when they bestowed immortality on Agni (the fire-altar), they bestowed immortality on their own selves, and thereby the gods became immortal.
8. Now that same nectar of immortality is Soma. And even to this day the Sacrificer seeks for it by toil and penance; having become initiated he lives on fast-milk; for penance it is when, after being initiated, one lives on fast-milk; he hears the sound of it, saying, 'On such and such a day the buying (will take place ')!'
9. He resorts to three teats (of the cow): he sees it. He resorts to two teats : he sees it nearer by. He resorts to one teat: it comes nigh to him, but he cannot lay hold of it. He undergoes entire abstinence from food; for the whole (practice of) penance it is when one abstains from food : let him therefore eat nothing on the day of preparation.
10. And, on the morrow, having laid hold of it, and pressed it, he offers (of it) in the fire, and thereby bestows immortality on Agni. He then drinks (of it), and thereby bestows immortality on his own self, and becomes immortal; for this, assuredly, is immortality to man when he attains the whole (perfect) life: and so, in truth, he attains the whole life by this self of his.
11. When he has offered in the fire, he drinks (Soma); for that (fire-altar) is his divine body, and this (Sacrificer's own body) is his human one ; and
· That is, the buying of the Soma plants, for which see part ii, p. 69 seq.
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the gods were first, and then men: therefore he drinks (Soina), after offering in the fire.
12. Now, then, the discussion of the Samishtayagus (oblations). The gods and the Asuras, both of them sprung from Pragâpati, entered upon their father Pragâpati's inheritance, to wit, speech-truth and untruth, both truth and untruth : they, both of them, spake the truth, and they both spake untruth ; and, indeed, speaking alike, they were alike.
13. The gods relinquished untruth, and held fast to truth, and the Asuras relinquished truth, and held fast to untruth.
14. The truth which was in the Asuras beheld this, and said, Verily, the gods have relinquished untruth, and held fast to truth : well, then, I will go thither!' Thus it went over to the gods.
15. And the untruth which was in the gods beheld this, and said, “Verily, the Asuras have relinquished truth, and held fast to untruth : well, then, I will go thither!' Thus it went over to the Asuras.
16. The gods spake nothing but truth, and the Asuras nothing but untruth. And the gods, speaking the truth diligently, were very contemptible, and very poor : whence he who speaks the truth diligently, becomes indeed very contemptible, and very poor ; but in the end he assuredly prospers, for the gods indeed prospered.
17. And the Asuras, speaking untruth diligently, throve even as salt soil ?, and were very prosperous : whence he who speaks untruth diligently, thrives indeed, even as salt soil, and becomes very pros
.
Both salt (V, 2, 1, 16; VII, 1, 1, 6) and saline soil (VII, 3, 1, 8) mean cattle.
[43]
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perous; but in the end he assuredly comes to naught, for the Asuras indeed came to naught.
18. Now that same truth, indeed, is this threefold lore1. The gods said, 'Now that we have made up the sacrifice, let us spread out this truth!'
2
19. They prepared the Initiation-offering. But the Asuras became aware of it, and said, 'Having made up the sacrifice, the gods are now spreading out that truth: come, let us fetch hither what was ours!' The Samishtayagus of that (offering) was not yet performed, when they arrived: whence people offer no Samishtayagus for that sacrifice. The gods, espying the Asuras, snatched up the sacrifice, and began doing something else. They (the Asuras) went away again, thinking, 'It is something else they are doing.'
3
SATAPATHA-BRAHMANA.
20. When they had gone away, they (the gods) prepared the Opening-offering. But the Asuras
'That is, the Veda, and hence the sacrificial ritual as the sole end for which the three collections of hymn-verses (rik), hymntunes (sâman), and sacrificial formulas (yagus) were made.
The verb 'tan,' 'to spread,' is the regular expression for the 'performing' of the sacrifice,-a figure of speech taken from the spreading out of a web, in which literal sense it has to be taken here. See III, 1, 3, 6, where the injunction is given that no Samishtayagus should be performed for the Dîkshanîyeshfi, 'lest he who has put on the garment of initiation should reach the end of the sacrifice before its completion; for the Samishtayagus is the end of the sacrifice.' It should be remembered that the initiationoffering, however essential, is merely a preliminary ceremony of the Soma-sacrifice, at the end of which latter sacrifice nine Samishlayagus oblations are offered (IV, 4, 4, I seq.) instead of the single one offered at the ordinary haviryagña. The term signifies the formula (yagus) of the completed offering (samishra).' 429, makes this last clause one thing they have underThis can hardly be right.
• Prof. Delbrück, Altind. Syntax, p. part of the Asuras' speech or thoughts, taken to do, and another they are doing.'
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IX KÂNDA, 5 ADHYAYA, I BRAHMANA, 22. 259
became aware of this also. The Samyos (formula) of that (offering) had been pronounced, when they arrived; whence that sacrifice ends with the Samyos1. The gods, espying the Asuras, snatched up the sacrifice, and began doing something else. They went away again, thinking, 'It is something else they are doing.'
21. When they had gone away, they (the gods), having bought and driven about the king (Soma), prepared the guest-offering for him. But the Asuras became aware of this also. The Idâ of that (offering) had been invoked, when they arrived; whence that sacrifice ends with the Ida. The gods, espying the Asuras, snatched up the sacrifice, and began doing something else. They went away again, thinking, 'It is something else they are doing.'
22. When they had gone away, they (the gods) spread out (performed) the Upasads. When they had recited three kindling-verses, and no more, they made offering to the deities, but laid out* no fore-offerings and no after-offerings on either side of the sacrifice, for they were in too great haste at that time; whence at the Upasads, when he has recited three kindling-verses, and no more, he
1 See III, 2, 3, 23, where it is stated that the Prâyanîya of the Soma-sacrifice is to end with the Samyos (or Samyuvâka, for which see part i, p. 254 seq.); the Patnîsamyâgas (and Samishtayagus) of the ordinary ishti being thus omitted.
For the Âtithya, see part ii, p. 85 seq. It is shorn of the after-offerings (in addition to the Patnîsamyâgas and Samishtayagus).
For the Upasads, see part ii, p. 104 seq.
That is, performed; but the verb (ut-sâdaya, 'to set out, or in order') is used purposely, as if laying out for display,-so as to be in keeping with the 'spreading out' of the sacrifice.
S 2
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SATAPATHA-BRAHMANA.
makes offering to the deities, but lays out no foreofferings and no after-offerings on either side of the sacrifice.
260
23. On the day of preparation they slaughtered the Agnishomiya victim. But the Asuras became aware of this also. The Samishtayagus oblations of this (offering) had not yet been offered, when they arrived; whence people offer no Samishtayagus for this animal(-offering). The gods, espying the Asuras, snatched up the sacrifice, and began doing something else. They went away again, thinking, It is something else they are doing.'
24. On the next morning after they had gone away, they (the gods) spread out (performed) the morning-service (of the Soma-sacrifice). But the Asuras became aware of this also. As much as the morning-service had been performed of it, when they arrived. The gods, espying the Asuras, snatched up the sacrifice, and began doing something else. They went away, thinking, 'It is something else they are doing.'
25. When they had gone, they (the gods) spread out the midday-service. But the Asuras became aware of this also. As much as the midday-service had been performed of it, when they arrived. The gods, espying the Asuras, snatched up the sacrifice, and began doing something else. They went away, thinking, 'It is something else they are doing.'
26. When they had gone, (the gods) went on with the animal-offering of the Soma-sacrifice 1.
The portions from the Savanîya pasu, which is slain during the morning-service, continue being cooked until the eveningservice, when they are offered. See IV, 2, 5, 13; and part ii, P. 357, note.
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IX KÂNDA, 5 ADHYAYA, I BRÂHMANA, 30. 261
But the Asuras became aware of this also. As much of this animal-offering as is done (at the evening-service) had been done, when they arrived. The gods, espying them, snatched up the sacrifice, and began doing something else. They went away, thinking, 'It is something else they are doing.
27. When they had gone away, they (the gods) spread the evening-service and completed it; and by completing it they obtained that whole truth. Then the Asuras went down?. Then the gods prevailed, and the Asuras came to naught. And, indeed, he who knows this, himself prevails, and his spiteful enemy comes to naught.
28. The gods said, “Those sacrifices of ours which are half-completed, and leaving behind which we went off ,--think ye upon this, how we may complete them!' They said, ' Meditate. ye !' whereby, indeed, they meant to say, 'Seek ye how we may complete these sacrifices!'
29. Whilst meditating, they saw these Samishtayagus (oblations), and offered them, and thereby completed those sacrifices; and inasmuch as thereby they completed (samsthapaya) them, they are 'samsthitayagus '; and inasmuch as thereby they sacrificed completely (sam-yag ), they are 'samishtayagus.
30. Now there are nine such (incomplete) sacri
Literally, leapt down (from their high station). ? That is, which we left behind us when we went off.
3 CF. IV, 4, 4, 6. For whatever deities this sacrifice is performed, they all are thereby sacrificed-to together' (sam-ishta); and because, after all those (deities) have been 'sacrificed-to together, he now offers those (libations), therefore they are called Samishtayagus. See also I, 9, 2, 26, with note thereto.
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fices, and there are nine samishtayagus-oblations ?; and by offering these, he completes those sacrifices. He offers both kinds, those of the Soma-sacrifice, and those of the Agni(-kayana),-first those of the Soma-sacrifice, and afterwards those of the fire-altar: the significance of this has been explained.
31. Two he offers of the fire-altar,-two-footed is the Sacrificer, and Agni is the Sacrificer: as great as Agni is, as great as is his measure, with so much he thus completes the sacrifice. (He offers them, with, Vâg. S. XVIII, 56, 57), "Sacrifice hath been offered up by the Bhrigus ...;'-May Agni who hath received sacrifice and oblation speed our offered meat!'
32. These two amount to eleven,—the Trishtubh consists of eleven syllables, and the Trishtubh means strength: it is strength he thus imparts to the Sacrificer.
33. And, again, as to why there are eleven,—the Trishtubh consists of eleven syllables, and Indra is of trishtubh nature, Indra is the self (soul) of the sacrifice, Indra is the deity ?: he thus finally establishes the sacrifice in him who is the self, the deity of the sacrifice.
34. Having performed the Samishtayagus-oblations, they betake themselves to the expiatory bath (avabhritha 3). Having come out from the bath,
1 That is to say, the same nine Samishtayagus-oblations which are performed at the end of the Soma-sacrifice (IV, 4, 4, I seq.). At the end of these, however, two additional such oblations are offered on the present occasion.
• See I, 4, 5, 4, 'Indra is the deity of (this ?) sacrifice;' IV, 4, 2, 16, Indra is the leader of the sacrifice. The first of the nine Samishtaya gus-oblations of the Soma-sacrifice is offered to Indra.
See IV, 4, 5, I seq.
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IX KÂNDA, 5 ADHYAYA, I BRAHMANA, 36. 263
and performed the Udayaniya (concluding oblation)', he, after the animal cake of the offering of the barren cow, prepares oblations for the goddesses.
35. For now Pragâpati, having gained his end, thought himself quite perfect. Establishing himself in the quarters he went on ordering (or creating) and disposing everything here; and inasmuch as he went on ordering and disposing, he is the Orderer. And in like manner does the Sacrificer, establishing himself in the quarters, order and dispose everything here.
3
36. And, again, as to why he prepares these oblations. This Agni (the fire-altar) is the quarters (regions), and these he lays down beforehand (in the shape of) the bunch of Darbha grass and the clod-bricks; the Prânabhrits in the first layer, the whole of the second, the whole of the third, and the whole of the fourth (layers); and of the fifth
1 See IV, 5, I, I seq.
For this offering to Mitra and Varuna, see IV, 5, 1, 5.
The bunch of Darbha grass is placed in the centre of the newly ploughed altar-site; see VII, 2, 3, I seq.
The four logesh/akâs (clods of earth), being placed at the ends of the two 'spines,' represent the four quarters, marking as they do the centre of the east, south, west, and north sides of the altar-site, sown with seeds of all kinds; see VII, 3, 1, 13 seq. The bunch of Darbha grass, placed in the centre, would thus represent the fifth region, viz. the one above.
Though the Prânabhrits are said to represent, not the regions, but the (channels of the) vital airs, they are placed in rows along the diagonals of the square body of the altar, thus marking, as it were, the intermediate regions; whilst the fifth set is placed in a circle round the centre. See VIII, I, I, I seq.
The bricks of these layers are all of them supposed to be marked by their position to relate to the regions or quarters.
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SATAPATHA-BRAHMANA.
2
layer the Asapatnâs, Nâkasads and Pañkakûdâs 1‚·these kept going out upwards (from Pragâpati, the altar). Pragâpati was afraid of them, thinking, 'Whilst moving away, these will go beyond this universe. Having become the Orderer, he went round them and established himself in them.
37. Now the same as that Orderer is yonder sun; and that which was the farthest gone of the regions is that in which that (sun) shines firmly established.
38. And the same as that Orderer is this cake to the Orderer on twelve potsherds. On twelve potsherds (it is), the year is (of) twelve months, Pragâpati is the year, and Pragâpati is the Orderer. And that one which was the farthest gone of the regions is the same as these previous oblations,-- a pap to Anumati, a pap to Râkâ, a pap to Sinivali, and a pap to Kuha: when he prepares these oblations, he thereby establishes him (Pragapati) in that which was the farthest gone of the regions. That (cake) he offers whole, for the completeness of that (Pragâpati).
39. These are goddesses, for they are the regions,
For the Asapatnâs, laid down near the ends of the spines, to drive off evil in all four quarters, see VIII, 5, 1, 1; for the other two kinds of bricks, expressly identified with the regions, see VIII, 6, I, I seq.
That is, the altar was so full of regions that they escaped at the top.
These deities are supposed to be personifications of the four phases of the moon; whilst Prof: Weber (Ind. Stud. XIII, p. 29c) would also take the Orderer (dhâtri)—by the Brâhmana identified with the sun-to represent the moon. On Sinîvalî (identified with Vâk, VI, 5, 1, 9), see also A. Kuhn, Zeitschr. f. v. Sprachf. II, p. 120; Weber, Ind. Stud. V, 230. Anumati is identified with the earth, V, 2, 3, 4.
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IX KÂNDA, 5 ADHYAYA, I BRÂHMANA, 41.
265
the regions are the metres, and the metres are deities; and that Ka is Pragâpati ; and inasmuch as they are goddesses (devi) and Ka, they are
devikah?' There are five of them, for there are five regions.
40. As to this they say, 'He should not offer these oblations, lest he should do what is excessive.' Let him nevertheless offer them; for these oblations are offered for the fulfilment) of (special) wishes, and in wishes there is nothing excessive. And whatever oblation is offered after the cake of the animal-offering that is placed inside the victim itself as its sacrificial sap. He offers both kinds (of oblations), those of the Soma-sacrifice and those of the Agni(-kayana), to wit, first those of the Somasacrifice, and then those of the fire-altar: the significance of this has been explained. The cakeoffering of the animal sacrifice is (performed) in a loud voice, and these (five oblations) in a low voice, for they are an ishti?. With the Pasupurodâ sa he (the Adhvaryu) says, "Recite !-Urge!' and with these (oblations), 'Recite !—Worship!' for they are an ishti 3. There is the same Svishtakrit, and the same Ida 4
41. Of that same animal-offering (of the barren cow) they perform the Samishtayagus-oblations ; they enter the expiatory bath with the heart-spit • ;
This is an etymological quibble resorted to in order to account for the oblation to Pragapatî as one of the oblations of the goddesses (deviki). See p. 248, note 1.
See ibid., note 2. . That is, for these five oblations which are inserted between the chief oblations and the Svishtakrit of the Pasupuroda sa; as above, IX, 4, 3, 12 seq.
- For this expiatory ceremony, called the Salâvabhritha (spit
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SATAPATHA-BRÂHMANA.
for this animal-offering is the end. Having proceeded with the heart-spit ;
42. And having returned (to the fire-altar), he performs the oblations to Visvakarman ;- This Agni(-kayana) indeed (includes) all sacrificial rites (visvâni karmâni); and all these its rites have been performed in this (agnikayana): he now gratifies them, and makes them a deity by means of an offering of sacrificial food; for only that one is a deity, for whom an oblation is prepared, but not one for whom it is not (prepared). Moreover, this Agni is Visvakarman (the all-worker): it is him he thereby gratifies.
43. And, again, as to why he offers the Vaisvakarmana (oblations)'. For the fire-altar there is both a beginning and an end: the Savitra ? (formulas) are the beginning, and the Vaisvakarmana (oblations) the end. Were he to offer only those to Savitri, and not those to Visvakarman, it would be as if he made only a beginning and no end; and were he to offer only those to Visvakarman, and not those to Savitri, it would be as if he made only an end and no beginning. He offers both of them, and thus makes both a beginning and an end.
44. There are eight of those (Såvitra), and so (there are eight of) these : thus he makes the end
bath), and marking the conclusion of an ordinary (nirůdha) animal sacrifice-not one belonging to the Soma-sacrifice-as well as of the offering of a sterile cow, see part ii, p. 215.
Or, perhaps, formulas; the verses used along with the oblations being ascribed to Visvakarman. In any case, however, these oblations are offered to Agni, as the Visvakarman, or all-worker (visvakartri), or in the case of Agni=Agnikayana) as including all works (or sacrificial performances).
? See VI, 3, 1, 1 seq.; part iii, p. 190 seq.
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IX KÂNDA, 5 ADHYAYA, I BRÂHMANA, 47.
267
(the same) as the beginning. The Svâhâ-call is the ninth of those ?, and so it is of these : thus he makes the end as the beginning. The oblation (âhuti) is the tenth of those, and so it is of these : thus he makes the end as the beginning. On that occasion he offers the oblation continuously so as not to stop the seed, the sacrifice there being seed ;-on this occasion (he offers) with the dipping-spoon at the Svâhâ-call, for manifest is the seed when it is
born.
45. [He offers, with, Våg. S. XVII, 58–65). What hath flowed from out of the will, or the heart, or was gathered from the mind, or the eye, after that go ye forward,--to the world of the righteous whither the first-born seers went of old!'he thereby means those Rishis 3.
46. 'Unto thee, O (heavenly) seat, I commit this treasure which the knower of beings shall bring thithert! Here the lord of the sacrifice will go after you: acknowledge yeo him in the highest heaven!'-as the text, so the meaning.
47. 'Acknowledge him, O ye gods, seated
i See VI, 3, 1, 21.
? The Savitra formulas accompany eight libations, which form, however, only one single continuous offering (âhuti) with one svâhâ-call.
: For the seven Rishis, identified with the vital airs, the first existing beings, see VI, 1, I, I seq
* Mahîdhara (and apparently Sâyana) seems to supply yagamânam' to 'etam,' and construe thus : Unto thee, O heavenly sent, I commit this (Sacrificer), which treasure Gâtavedas shall bring thither.'
5 0 gods, honour ye him (the Sacrificer)!' Mahîdhara ; but perhaps the Rishis are addressed in this second line. Mahîdhara takes 'atra' (here') along with 'parame vyoman'-'in this highest heaven.'
cond line. Mahadhara
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in the highest heaven, know ye his form ! When he cometh by the godward paths, reveal ye unto him the fulfilment of his wishes!'-as the text, so the meaning.--Awake, O Agni, and be watchful!...'--'Whereby thou carriest a thousand, ...'-the meaning of these two has been explained.
48. With grass-bunch and enclosing-stick, with spoon, altar-ground and grass-cover, with verse of praise, lead thou this our sacrifice unto heaven, to go unto the gods!' that is,
with these outward forms of our sacrifice make it go to the heavenly world !'
49. “What gift, what bounty, what fulfilment, what offering-presents there are of ours, --Agni Vaisvakarmana shall deposit them in heaven with the gods!'--that is, 'whatever we give, seasonably or unseasonably, that this firealtar of Visvakarman shall place in the heavenly world!'
50. 'Where the streams of honey and ghee are never-failing,--there, in heaven, Agni Vaisvakarmana shall place us with the gods !'as the text, so the meaning ?
51. Eight Vaisvakarmana (oblations) he offers,the Gâyatri consists of eight syllables, and Agni is of Gâyatra nature: as great as Agni is, as great
· See VIII, 6, 3, 23. 24.
9 The meaning of the verse is, however, far from certain. The above is Mahîdhara's interpretation, except that he takes 'yâh' to mean and what (other) streams there are.' It might, however, also mean-What streams of honey and ghee of ours are never-failing anywhere-Agni Vaisvakarmana shall deposit them in heaven with the gods I'-in which case due reward for sacrifice would be prayed for.
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IX KÂNDA, 5 ADHYAYA, I BRÂHMANA, 5.3.
269
as is his measure, by so much food he thus gratifies him.
52. When he has performed the Vaisvakarmana (oblations), he gives a name' (to the fire of the altar); for when any one has been born sound and safe, they give a name to him, and now this (Agni) has indeed been born sound and safe.
53. Having given a name to him, he reverently approaches him ; for this (Sacrificer) builds him with his (own) whole self, and were he not to give utterance now to this surrender of his own self, he (Agni) would now take away his (the Sacrificer's) self; but when he now gives utterance to this surrender of his own self, he (Agni) does not take away his self. [He approaches the fire] with the Anush/ubh verse (Vág. S. XVIII, 67), 'What fires of the five races of men there are upon this earth,—thou art the chiefest of them: quicken us unto life!'-the Anushtubh, doubtless, is speech, and all the metres are speech 2: he thus makes amends to him (Agni) by all the metres. Having stood by the fire, and lifted : it, and churned it out, he offers the completing oblation“.
According to VI, 1, 3, 20, the newly built Agni is to be called Kitra,' the Bright one. ? Or, are Vâk, the Veda, cf. IV, 6, 7, I seq.
Or,'having mounted it;'--that is to say, he heats the churningsticks (arani) at the altar-fire, betakes himself with them to the old (Gârhapatya) fire-place; churns out' the fire, and offers on the fire thus produced.
• The Udavasânîya-ishti, consisting of a cake on five potsherds for Agni (or a libation of ghee taken in five ladlings for Vishnu), is the same as for the Soma-sacrifice, IV, 5, 1, 13. But whilst there it is followed at once by the evening) Agnihotra, or oblation of milk regularly performed twice a day; on the present occasion an additional oblation is performed.
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SATAPATHA-BRAHMANA.
54. He then offers a dish of clotted curds to Mitra and Varuna1. Now he who performs this (Agni-kayana) rite comes to be with the gods; and these two, Mitra and Varuna, are a divine pair. Now, were he to have intercourse with a human woman without having offered this (oblation), it would be a descent, as if one who is divine would become human; but when he offers this dish of clotted curds to Mitra and Varuna, he thereby approaches a divine mate 2: having offered it, he may freely have intercourse in a befitting way.
55. And, again, as to why he offers this dish of clotted curds to Mitra and Varuna. When Pragâpati was released, the seed fell from him. When the gods restored him, they, by means of this dish of clotted curds, put seed into him; and in like manner does this (Sacrificer) thereby put seed into him.
270
56. Now that Pragâpati who became released is this very fire-altar which is here being built; and the seed which fell from him is this dish of clotted curds of Mitra and Varuna; for Mitra and Varuna are the in-breathing and up-breathing, and the inbreathing and up-breathing fashion the infused seed. A dish of clotted curds it is, because seed is milk; and sacrifice it is, because sacrifice is the seed of sacrifice. In a low voice it is (offered), for silently seed is shed. At the end (of the sacrifice) it is (offered), for from the end seed is introduced.
The same payasyâ-oblation is performed at the Dâkshâyana modification of the new and full-moon sacrifice (II, 4, 4, 10 seq.); see also the Sânnâyya of the new-moon sacrifice (part i, p. 178, note 4) which is the same dish.
Or, he enters into a divine union.
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IX KÂNDA, 5 ADHYÂYA, I BRÂHMANA, 61. 271
57. They proceed with the whey' of that (dish of clotted curds). At this (oblation of whey) he gives a dakshina (sacrificial gift): 'Let him give a pair of hornless he-goats,' so (they say);-Only by assignment, I think :' said Mähitthi. And, verily, this libation of the fire-builder flows away as a libation of Soma which one offers on a (fire) without bricks.
58. He need only lay down the naturally-perforated (bricks) 3 ; for the naturally-perforated ones are these worlds; and this built fire-altar is the same as these worlds.
59. He need only lay down the seasonal (bricks) ; for the seasonal ones are the year, and this built fire-altar is the year.
60. He need only lay down the all-light (bricks); for the all-light (bricks) are those deities“, and this built fire-altar is those deities.
61. He need only lay down the Punaskiti; for this is a repeated sacrifice (punar-yagña), it is a later (higher) worship of the gods: it is thus a repeated sacrifice and the higher worship of the gods he thereby arranges, and the repeated sacrifice inclines to him —so (they say), but let him not do this,
"The whey (vagina) is offered to the (divine) Coursers, i.e. the regions or quarters; see II, 4, 4, 22-25. "The meaning of this passage is not quite clear to me
The three Svayamâtrinnâs in the centre of the first, third, and fifth layers represent the three worlds. These, and the subsequent injunctions, refer to one who, subsequent to the Agnikayana, wishes to perform a Soma-sacrifice, without being able to repeat the Agnikayana itself. Kâty. Sr. XVIII, 6, 33.
• See VI, 3, 3, 16; 5, 3, where the three Visvagyotis bricks are said to represent Agni, Vayu (wind), and Aditya (sun) respectively.
. Though there is nothing in the text to show where this quota
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for, indeed, whenever Agni is placed on the built (altar), this whole Agni passes into that very brick 1: thus whenever he offers in the fire, then these oblations of his will be offered even as would be his oblations, when offered on a complete Sândila firealtar built up with wings and tail.
62. And, indeed, he who carries about Agni ? becomes pregnant with all beings, and with all the gods; and he who builds him when he has not been carried about for a year kills all beings in the form of an embryo. But, surely, he who kills a human embryo, is despised, how much more then he who kills him (Agni), for he is a god : 'Let no one become an officiating priest for an (Agni) who has not been carried about for a year,' said Vâtsya, 'lest he should be a participator in the killing of this, a god's seed 8!'
tion begins, it would seem, from Kâtyâyana's rules, that it runs from the beginning of paragraph 58,-XVIII, 6, 33. In case of inability to perform a second) kityâ, at a repeated Soma-sacrifice, (he may lay down) one or other kind of the Svayamâtrinnas, Visvagyotishas, or Ritavyâs; 34. The Punaskiti; 35. Or no building (at all a second time); 36. Because the (Agni) Kitya has become the Ahavanîya.
I That is (as would seem from Sayana's interpretation), into the Ähavaniya fire, considered as the last brick of the altar; and hence the Sacrificer's offering-fire will for ever thereafter remain for him the Kitya Agni.
? During the time of initiation (dikshâ), which, if at all possible, is to last for a year, the Ukhya Agni has to be carried about by the intending Sacrificer, for at least part of each day, in the fire-pan (ukhâ), suspended in a sling from his neck; the pan-fire being afterwards transferred to the newly built Garhapatya and thence to the great fire-altar, to serve as the Kitya Agni, or the Ahavanîya fire. See VI, 7, 1, 12 seq.
In the original this last clause is in the first person, or in the oratio directa, from the point of view of him who is asked to officiate
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63. A six-month (Agni) is the last 1 he may build,' they say, 'for six-month embryos are the last that live when born. If he were to recite the Great Litany on one not carried for a year, he should recite (only) the eighties of verses; for something incomplete is (the Agni) not carried for a year, and something incomplete are the eighties of verses. But, indeed, he would only still further pull asunder that (Agni, already) pulled asunder 3 ; and, indeed, whether he (Agni) be carried for a year, or not carried for a year, he (the Hotri) should recite the whole of the Great Litany.
64. Now Sandilyâyana was once upon a time sojourning in the eastern region. Daiyâmpati said to him, 'Sândilyâyana, how is Agni to be built? For, indeed, we are loth to carry him for a year, and yet we wish to build him.'
65. He said, 'Let him by all means build him by whom he has previously been carried for a year ; for that, that (Agni) alone he builds as one that has been carried * (as a child in the womb).'
66. And, indeed, let him by all means build who
as a priest, hence-Let no one become an officiating priest ..., thinking, Lest I should be a participator .....
1 That is to say, he must have been carried about for at least six months; and embryos less than six months old cannot live.
? This is so for the reason that the Mahad uktham consists of more than the eighties of verses; see IX, 3, 3, 19. One might feel inclined to include this whole sentence in the preceding quotation.
s That is, already too much attenuated, by being made as large as one a year old (?).
• Sâyana remarks, that this reply does not restrict the building of the fire-altar to one who has carried the fire for a full year, but only discountenances the building in the case of one who has only carried it for a few days (?).
[43]
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intends to press Soma for a year, for he, manifestly, supports him by food (in the shape of) those libations.
67. And, indeed, let him by all means build who offers the Agnihotra for a year, for he who offers the Agnihotra indeed supports him (Agni, the fire).
68. And, indeed, let him by all means build who was born a year (after conception); for Agni is the breath: it is thus him (Agni) he holds. And, indeed, as the breath, he enters into the infused seed, and takes possession of it; and inasmuch as he takes possession (vid) of every one that is born (gâta), he is Gatavedas. Wherefore by all means let even one who knows this build him as one ever carried (within him). And, indeed, if one who knows this either drinks (Soma), or offers drink to any one else, these libations of his will be offered even as would be his libations, when offered on a complete Sândila fire-altar built up with wings and tail.
SECOND BRÂHMANA.
1. Indra saw this seven-versed (hymn, suitable) for making good what is deficient", for reducing what is redundant, and for perfecting what is imperfect. And, indeed, after building the fire-altar, one is (still) apt to get into trouble, or to stumble, or what not. Now, when Syâparna Så yakâyana heard this, he ventured upon this performance.
2. Now, there is here a perfecting of three things, - the perfecting of the fire-altar, the perfecting of
"Viz. in the building of the fire-altar ; literally, for the obtainment of the deficient.
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3. Thus, when he reverently stands by (the altar) with this (hymn), everything is thereby made good for him that, knowing or unknowing, he either does in excess, or does not carry to the end, in this building of the altar-in short, whatever was not secured for him. And whatever wish there is in that anushtubh verse”, that he secures even now; and, moreover, he thereby keeps off the fiends, the Rakshas, from this sacred work, and they do not wreck him, whilst uttering imprecations. Wherefore one who knows this may readily build a fire-altar even for an enemy, for he is able to gain the better of him.
4. (He approaches reverently the fire-altar", with, Vág. S. XVIII, 68-74), 'For mighty strength that smiteth Vritra, and for victory in battle, we call thee hither, O Indra!''O much-invoked Indra, crush thou the handless Kunâru, lurking here, together with the Dânus; and with might smite thou the footless Vritra, the ever-growing mocker!' thus he reverently stands by (the fire) with the first two (verses) relating to the slaying of Vritra. For now the gods, having warded off Vritra, evil, performed this rite freed from evil; and in like manner does the Sacrificer, having warded off Vritra, evil, now perform this rite freed from evil.
· Literally, obtained. ? Viz. the first of the seven verses (Rig-veda III, 37, 1).
According to Kâty. Sr. XVII, 7, 1, this ceremony should take place on the completion of each layer, after it has been covered with loose earth; cf. paragraph 11.
T 2
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5. "Scatter thou our scorners, O Indra'!''Like a terrible, creeping beast, dwelling in the mountains, hast thou come from the farthest distance: having sharpened thy pointed, piercing thunderbolt?, O Indra, beat thou off the foes, and scatter the spurners!' thus with the second two (verses) relating to (Indra) Vimridhs. For now the gods, having warded off the spurners, evil, performed this rite freed from evil ; and in like manner does the Sacrificer now, having warded off the spurners, evil, now perform this rite freed from evil.
6. May Agni Vaisvânara come forward from afar to our help, to hear our hymns of praise !'—'Sought after in the sky, sought after on earth, Agni, sought after, hath entered all the plants: Agni Vaisvânara, sought after, may guard us from injury by day and by night!' thus with the third two (verses) relating to (Agni) Vaisvânara. For now the gods, having, by Vaisvânara, burnt out evil, performed this rite, freed from evil; and in like manner does the Sacrificer now, by Vaisvânara, burn out evil, and perform this rite freed from evil.
7. May we obtain this wish, O Agni, with thy help! may we obtain, O wealthy one, · wealth with abundant heroes! striving for
strength, may we obtain strength; may we obtain undecaying glory, O thou 'ever-young!' thus with one (verse) containing wishes. For now
For the complete verse, see IV, 6, 4, 4. . Thus Mahidhara. s That is, the repeller of spurners, or enemies.
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the gods, having, by the six-versed (hymn), warded off evil, made once for all, by the one wish-holding (verse), all (objects of) wishes their own; and in like manner does the Sacrificer now, having, by the sixversed (hymn), warded off evil, make once for all, by the one wish-holding (verse), all wishes his own.
8. It is (a hymn) of seven verses, the fire-altar consists of seven layers, and there are) seven seasons, seven regions, seven worlds of the gods, seven stomas, seven prishtha (sâmans), seven metres, seven domestic animals, seven wild ones, seven vital airs in the head, and whatever else there is of seven kinds, relating to deities and relating to the self,— all that he thereby secures. They become equal to the Anushtubh?, for the Anushtubh is speech, and it is by speech that he secures for him (Agni) all that which is not yet secured for him.
9. “Let him approach (the fire-altar) with an eightversed (hymn)!' say some ;—'with (Vâg. S. XVIII, 75), “We thereby offer unto thee thy wish, reverently approaching thee with open hands: with holiest mind and peaceful thought offer thou sacrifice unto the gods as priest, O Agni!" thus with a second wish-holding one,-and the seven foregoing ones, that makes eight,--the Gayatri consists of eight syllables, and Agni is of Gâyatra nature: as great as Agni is, as great as is his measure, by so much he thus secures for him
The seven verses consist of two Gayatrîs (twenty-four syllables each), four Trishtubhs (forty-four each), and one Anushtubh (thirtytwo syllables). Whilst the two Gâyatrîs are sixteen syllables short of two Anush/ubhs, the four Trish/ubhs have forty-eight syllables in excess of four Anushtubhs. Hence the seven verses consist of 8 x 32 syllables, or eight Anushtubhs.
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whatsoever is not yet secured for him; and thus, moreover, the two deities' receive the same amount) for their share.' Let him, however, not do so, for surely those seven (verses) are (equal to) eight anushtubh (verses), and thus he even therein obtains whatever wished-for object there is in the eightversed (hymn).
10. With (verses) addressed to Indra and Agni he approaches (the fire);—the fire-altar belongs to Indra and Agni: as great as Agni is, as great as is his measure, by so much he thus gains for him whatever has not been gained for him. And Indra and Agni are all the gods, and the fire-altar belongs to (or Agni is) all the deities: as great as Agni is, as great as is his measure, by so much he thus gains for him whatever has not been gained for him.
11. Now some make this (hymn) the opening rite of every performance, saying, 'Freed from evil, we must perform this sacred work!' And others, indeed, say, 'Let him approach reverently (each) layer when it is covered with soil, for therein that (layer) becomes whole and complete. Let him, then, do as he chooses. So much as to the building; now as to the non-building.
12. Verily, there are three oceans,—the Fire-altar (being the ocean) of Yagus-formulas, the Mahâvrata (-sâman) 2 that of Sâmans (hyinn-tunes), and the Mahad uktham (Great Litany 3) that of Rik (verses). Whoever performs these (three rites) for another
· Viz. Indra and Agni, having each four verses addressed to them. * See p. 282, note 5.
See p. 110, note 3; p. III, note 1.
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person causes these oceans to dry up for himself, and after them, thus drying up, the metres ? dry up for him; and after the metres the world; and after the world his own self; and after his own self his children and cattle: indeed, he who performs these for another person becomes poorer day after day.
13. And he who, not having performed these (rites) for another person, were to officiate in the performance even of all other sacrifices, for him the metres again replenish themselves from out of those oceans, and after the metres the world, and after the world his own self, and after his own self his children and cattle : indeed, he who does not perform those rites for another person, becomes more prosperous day after day. For, indeed, these (rites) are his divine, immortal body; and he who performs them for another person, makes over to another his divine body, and a withered trunk is all that remains.
14. Now, some (say), 'Having performed them for another person, they either perform them for themselves or cause them to be performed again : this is the atonement.' But let him not do this, for it would be as if one were to water a withered trunk; it would rot and die: let him know that there is no atonement for such an one.
15. And Sândilya once upon a time said— Tura Kavasheya once built a fire-altar for the gods at Kåroti. The gods asked him, 'Sage, seeing that they declare the building of the fire-altar not to be conducive to heaven, why then hast thou built one ?'
16. He said, “What is conducive to heaven,
1 That is, the Vedic texts.
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and what is not conducive thereto ? The Sacrificer is the body of the sacrifice, and the officiating priests are the limbs; and, surely, where the body is there are the limbs; and where the limbs are there is the body. And, verily, if the priests have no place in heaven, then the Sacrificer has none, for both are of the same world. But let there be no bargaining as to sacrificial fees, for by bargaining the priests are deprived of their place in heaven.'
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TENTH KÅNDA.
THE MYSTERY OF AGNI, THE FIRE-ALTAR.
First Adhyâya. First BRÂHMANA.
1. In the first place that Agni (the Fire-altar), the year, is built !; thereafter the Great Litany (mahad uktham) is recited 2. When Pragâpati became relaxed, the vital fluid flowed upwards 3.
2. Now, that Pragâpati who became relaxed is the year; and those joints of his which became relaxed are the days and nights.
3. And that Pragâpati who became relaxed is this very Fire-altar which here is built ; and those joints of his, the days and nights, which became relaxed are no other than the bricks ;-thus, when he lays down these (in the layers of the altar), he thereby restores to him those joints of his, the days and nights, which had become relaxed : and thus
Or, possibly, 'that Agni is built in a year, as paragraph 4 might seem to suggest. Sâyana, however, takes it in the above sense,-eshosgnih Samvatsaratmakah purastât pûrvam kîyate. The Agnikayana, when properly performed, requires a full year, whence Agni-Pragâpati is constantly identified with the year and the seasons.
According to Sayana, the intermediate Mahâvrata-saman (see note 1, p. 283), chanted prior to the recitation of the Mahad uktham. is likewise implied here.
* Thus- urdhvalokam agakkhat-Sâyana takes 'agram.'
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it is even in this (building of the altar) that this Yagus is built up' and secured (for Pragâpati).
4. And that vital fluid (essence) of his which flowed upwards (became) the Great Litany: it is in quest of that vital Auid that (the priests) go by means of the Rik and Saman. And when the Yagus marches in front in this (quest)?, it is in order to fetch something that that (Veda) goes— even as (one might say), “That one thing there is mine, I will fetch it, so does that Yagus go in front (or forward). That (vital Auid) they obtain in the course of a year 3
5. The Adhvaryu takes (draws) it by means of the Graha (Soma-cup); and inasmuch as he thereby takes (grah) it, it is (called) Graha". The Udgâtri puts the vital fluid into it by means of the (sâman of the) Great Rite (mahâvrata "); but, indeed, the
i Viz. inasmuch as yagus-formulas have to be used with the laying down of many of the bricks (the so-called 'yagushmatîs'). Whilst, in the case of the Rik and Saman, other rites are necessary to secure them for the restored Pragâpati, the Yagus is secured for him in the very act of building up his body, the fire-altar.
? The Adhvaryu priest has to do all the practical work connected with the sacrificial performance, the building of the altar, &c.; and inasmuch as it is with yagus-formulas he does so throughout, the Yagus is said here to take the lead; cf. X, 3, 5, 3.
Viz. by means of the sacrificial session of sacrificing, chanting, and reciting, called 'Gavâm ayanam' (procession of the cows), lasting for one year, on the last day but one of which the Mahavrata, or Great Rite, is performed.
• The particular cup of Soma here referred to is the Mahavratiyagraha, the special cup of the Great Rite; cf. X, 4, 1, 12 seq.
The central feature of the Mahâvrata consists in the chanting, at the mid-day service-as the Hotri's Prishtha-stotra-of the so-called Mahâvrata-saman. It consists of five different parts which,- like those of which the Mahad uktham, recited after it, is
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(sâman of the) Great Rite is (equivalent to all these (other) såmans (hymn-tunes) : it is thus by means of all the hymn-tunes that he puts the vital fluid therein. The Hotri puts the vital fluid therein by means of the Great Litany; but, indeed, the Great Litany is the same as all these rik (hymnverses) : it is thus by means of all the hymn-verses that he puts the vital fluid into it (the Soma-cup).
composed, -are considered as representing different parts of AgniPragâpati's body, viz. : 1. Gayatra-sâman, representing the head; it is chanted in the trivrit-stoma (nine-versed hymn-form) and consists of the triplets, Sama-v. II, 146-8 (= Rig-veda I, 7, 1-3: indram id gâthino brihat), II, 263-5 (indro dadhiko asthabhir), and II, 800-2 (ud ghed abhi srutamagham); though, according to others, the Sâma-triplets corresponding to Rig-veda I, 7, 1-9 may be chanted instead. 2. Rathantara-sâ man (Sâma-v. II, 30-1), representing the right wing, chanted in the Pankadasastoma, or fifteen-versed form. 3. Brihat-sâman (II, 159-60), the left wing, in the Saptadasa-stoma, or seventeen-versed form. 4. Bhadra-sâman (on II, 460-2; cf. Calc. ed., vol. v, p. 402), the tail, in the Ekavimsa, or twenty-one-versed form. 5. Râganasâman (on II, 833-5; cf. Calc. ed., vol. v, p. 449), the body (âtman), in the Pañkavimsa-stoma, or twenty-five-versed form; instead of this the Vâmadevya-sâman (on II, 32-4) may be chanted in the pankanidhana form (Calc. ed., vol. v, p. 451).-The chanting of this Stotra is preceded by the singing of thirteen samans, called parimâdah (see X, 1, 2, 8), followed by certain ceremonies—buckling armour on a nobleman, driving in a sunwise direction round the sacrificial ground, shooting arrows at two ox-hides, beating of drums, &c.-apparently symbolising the driving off of evil spirits from the sacrifice, or a combat for the possession of the light of) the sun. The chanting itself is, according to some authorities, performed by the Udgâtris, whilst, according to others, all the priests (except the Holri, for whom the Maitrâvaruna acts), as well as the Grihapati, or Sacrificer, take part in turn in the singing of the sâmans; the Prastotri and Pratihartri, assistants of the Udgâtri, joining in with the successive performers in the Nidhanas, or finales.
1 See p. 110, note 3; p. 112, note 1. During his recitation of the Great Litany, the Hotri is seated on a swing, the Adhvaryu
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6. When those (Udgâtris) chant (the stotra), and when he (the Hotri) recites (the sastra) afterwards, then he (the Adhvaryu) offers that (vital fluid, in the form of Soma) unto him (AgniPragâpati) at the Vashat-call; and thus this vital fluid enters him. For, indeed, they do not see it to be the Great Rite that lies there being praised, nor the Great Litany, but it is Agni alone they see; for Agni is the self (body), and thus those two, the Rik and the Saman, enter him in the form of the vital fluid; and thus they both enter (join) the Yagus.
7. Now, that Agni (fire-altar) consists of pairsthe first layer and the second, and the third and fourth ; and of the fifth layer the fire which is placed on the built (altar) is the mate. And, indeed, this body consists of pairs.
8. The thumbs (and great toes, 'angushtha,' m.) are males, and the fingers and toes ( anguli,' f.) females; the ears ('karna,' m.) are males, and the eyebrows (bhra,' f.) females; the lips ('oshtha,' m.) are males, and the nostrils (nâsika,' f.) females; the teeth ('danta,' m.) are males, and the tongue ('gihvâ,' f.) is a female : indeed the whole (body) consists of pairs, and with this body, consisting of pairs, that (vital fluid) enters this Agni (the fire-altar), consisting of pairs !
9. This, then, is the entering therein ;-even thus, indeed, he (Agni) consists of pairs ? ; but in this
making his responses whilst standing on a plank, and the Hotri's assistants being seated on bundles of grass.
Or, with this body as a mate it thus enters this Agni, its mate; literally, with this body forming one of a (productive) pair, it thus enters this Agni, forming one (i. e. the other) of a pair.
• That is, he has in him the generative energy. Apparently
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way also he consists of pairs :-the fire-altar here built up is no other than this speech, for with speech it is built up; and the fire which is placed on the built (altar) is the breath; and the breath (prâna,' m.) is the male, the mate, of speech ('vâk,' f.). And, indeed, this body is speech ; and the breath which is in the body is its mate : with this mated body that (vital Auid) thus enters into the mated Agni.
10. This also is the entering therein ;—there is indeed no fear of him (Agni) being without offspring to whosoever thus knows these two, the body and Agni, to be a pair ; but, indeed, this body is food, as is said by the Rishi (Rig-veda X, 107, 7), *The Dakshina winneth food which is our own self (breath).'
11. Now, this food, when eaten, becomes of two kinds,—that part of it which is immortal (remains) above the navel : by the upward vital airs it moves upwards and enters the air; but that part of it which is mortal tends to move away: it passes beyond the navel, and, having become twofold, enters this (earth), as urine and faeces. Now that which enters this (earth) enters the fire-altar 1 built here; and that which enters the air enters that fire which is placed on the built (altar). This also is the entering therein.
SECOND BRÂHMANA. 1. Pragâpati was desirous of gaining these worlds. He saw this bird-like body, the Fire-altar: he
mithuna,' m. has also the sense of paired,''mated,' i.e. 'one who has his complement or mate,' and so perhaps here.
1 Viz. inasmuch as the altar is built on the earth, and the latter forms its foundation. Comm.
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fashioned it, and thereby gained this (terrestrial) world. He saw a second bird-like body, the (chant of the) Great Rite1: he fashioned it, and thereby gained the air. He saw a third bird-like body, the Great Litany1: he fashioned it, and thereby gained the sky.
2. This built Fire-altar, doubtless, is this (terrestrial) world, the Great Rite the air, and the Great Litany the sky all these, the Fire-altar, the Great Rite, and the Great Litany, one ought therefore to undertake together, for these worlds were created together; and as to why the Fire-altar is built first, it is because of these worlds this (terrestrial) one was created first. Thus with regard to the deity.
3. Now with regard to the body. The Fire-altar is the mind, the (chant of the) Great Rite the breath, and the Great Litany speech: all these one ought therefore to undertake together, for mind, breath, and speech belong together; as to why the Fire-altar built first, it is because the mind is prior to the breathings.
4. The Fire-altar, indeed, is the body (trunk), the Great Rite the breath, and the Great Litany speech all these one ought therefore to undertake together, for body, breath, and speech belong together; and as to why the Fire-altar is built first, it is because of him who is produced the trunk is produced first.
5. The Fire-altar, indeed, is the head, the Great Rite the breath, and the Great Litany the body:
The Mahâvrata-sâman and the Mahad uktham, as we have seen (p. 282, note 5; p. 111, note 1), are constructed so as to correspond to the different parts of the bird-like Agni-Pragâpati.
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one ought therefore to undertake all these together, for head, breath, and body belong together; and as to why the Fire-altar is built first, it is because of him who is born the head is born first; and hence, whenever all these are undertaken together the Great Litany, indeed, is accounted the highest (âtamâm)', for the Great Litany is the body (or self, âtman).
6. As to this they say, 'If all these are difficult to obtain together, what (means of) obtaining them is there?'-In the Gyotishtoma (form of the) Agnishtoma 2: let him perform offering with the Gyotishtoma Agnishtoma.
7. In this Gyotishtoma Agnishtoma the Bahishpavamâna (stotra) is (in) the Trivrit (stoma)— that is the head of the rite; the two other Pavamânas are (in) the Pañkadasa and Saptadasa (stomas) they are the two wings; the Hotri's
1 The combination 'âtamâm khyâyate' is, as it were, the superlative of â-khyâyate;' cf. anutamâm gopâyati, X, 5, 2, 10; and Delbrück, Altind. Syntax, p. 194.
"
The Agnish/oma may be performed in three different modes, according to the variation of stomas (or hymn-forms) employed for the stotras (or chants). In the Gyotish/oma the order of stomas is that set forth in paragraph 7, viz.: a. Bahishpavamânastotra in the Trivrit (nine-versed); b. Agya-stotras, and c. Mâdhyandina-pavamâna-stotra, in the Pankadasa (fifteen-versed); d. Prishtha-stotras, and e. Ârbhava-pavamâna-stotra, in the Saptadasa (seventeen-versed); and f. Agnish/oma-sâman (Yagñâyagniya) in the Ekavimsa (twenty-one-versed) stoma, or hymn-form. In the Goshtoma, on the other hand, the succession of stomas is a. Pažkadasa, b. Trivrit, c. d. Saptadasa, e. f. Ekavimsa; and in the Ayushioma: a. Trivrit, b. Pankadasa, (c. d.) Saptadasa, (e. f.) Ekavimsa. Cf. part ii, p. 402, note 4; for the scheme of Stotras (and Sastras), ib. p. 325, note 2. The Agnish/oma is singled out here for the reason that the Mahâvrata-day takes the form of an Agnish/oma sacrifice.
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Ågya (stotra) is (in) the Pañkadasa, the Prishtha (stotra in) the Saptadasa, and the Yagñâyagñiya (stotra in) the Ekavimsa (stoma)—they are the tail.
8. Now these two, the Pañkadasa and Saptadasa, have thirty-two hymn-verses : twenty-five of these are the twenty-five-fold body 1; and the seven which remain over are the Parimad (sâmans), for these are the cattle (or animals), (for) cattle are sporting all around us (pari-mâd 2)—thus much, then, is the
See p. 168, note 3. * Sâyana takes 'parimad' here in the sense of a source of pleasure all around'-parito harshahetavah. --The Parimadah are thirteen Samans sung (not chanted, in the proper sense of the word) by the Udgâtri, his two assistants joining merely in the Nidhanas or chorus-like passages. They are given, figured for chanting, in the Aranyagana of the Sama-veda (Calc. ed., ii, p. 387 seq.). This performance takes place immediately after the Adhvaryu has given the sign for, and the Udgâtri yoked,' the Mahavrata-stotra or saman (i.e. the Hotri's Prishthastotra of the Great Rite),or, according to some authorities, before either the 'yoking,' or the Adhvaryu's summons, and thus serves as an introduction to the central and chief element of the Great Rite, the Mahavratasaman. According to the ritual symbolism, these preliminary samans are intended to supply the newly completed Pragapati with hair (feathers) and nails; but the performance would rather seem to be a solemn mode of doing homage (upasthanam) to the different parts of the bird-like altar and the sacrificial ground; thus corresponding to a similar, though simpler, ceremony performed on the completion of the fire-altar in its simplest form, as described at IX, 1, 2, 35-43. On the present occasion the ceremony is performed in the following order: 1. near the head of the altar (the Ahavanîya fire) he sings the Prâna (breath; ' Sâma-v., vol. ii, p. 436); 2. near the tail the Apâna (downward-breathing, ii, p. 437); 3. 4. near the right and left wing the two Vratapakshau (ii, p. 438); 5. near the left armpit the Pragâpati-hridaya ('heart of Prag.,' ii, p. 499); 6. near the Kâtvala or pit, the Vasishthasya Nihava (Sâma-v., vol. v, p. 602); 7. near the Agnîdhra hearth the Satrasyarddhi (success of the sacrificial session,' ii, p. 465); 8. 9. in front and behind the Havirdhâna carts, the Sloka and Anusloka (i, pp.
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Great Rite: thereby he obtains the Great Rite even in this (Agnishtoma).
9. And the Hotri recites seven metres—each subsequent one-versed (metre) increasing by four (syllables)---with the Virág as an eighth : these (eight) consist of three eighties and forty-five syllables. Now by the eighties thereof the eighties (of the mahad uktham) 1 are obtained, for the Great Litany is counted (or recited) by eighties (of triplets); and of the forty-five (syllables which remain) twenty-five are this twenty-five-fold body ? ; and where the body is there, indeed, are (included) the head, and the wings and tail; and the twenty (syllables which remain are the insertion 3 ;-thus much, then, is the Great Litany: thereby he obtains the Great Litany even in this (Agnishtoma). All these (three) are indeed obtained in the Gyotishtoma Agnishtoma: let him, therefore, perform offering with the Gyotishtoma Agnishtoma.
THIRD BRÂHMANA. 1. Pragâpati created living beings. From the out- (and in-) breathings he created the gods, and from the downward breathings the mortal beings; and
887-9); 10. towards the Mârgâlîya the Yâma (ii, p. 461); 11. 12. in front and behind the Sadas, the Ayus, and Navastobha (ii, pp. 450-51); 13. in front of the Gârhapatya the Risyasya sâman (ii, p. 324).
See p. 112, note 1. • Viz. the body, as consisting of the ten fingers, the ten toes, the arms and legs, and the trunk.
s Towards the end of the Mahad Uktham, in the portion representing the thighs, nine trishtubh verses (Rig-veda III, 43, 1-8, and X, 55, 5) are inserted as an 'åvapanam.'
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above the (mortal) beings he created Death as their consumer.
2. Now, one half of that Pragâpati was mortal, and the other half immortal : with that part of him which was mortal he was afraid of death; and, being afraid, he became twofold, clay and water, and entered this earth).
3. Death spake unto the gods saying, 'What has become of him who has created us ?'—' Being afraid of thee, he has entered this (earth),' they said. He spake, 'Let us search for him, let us gather him up for I shall not injure him. The gods gathered him from out of this (earth): that part of him which was in the water, they gathered as water, and that which was in this (earth, they gathered) as clay. Having gathered together both clay and water, they made a brick, whence a brick consists of both clay and water.
4. And, indeed, these five forms (bodily parts) of him are mortal, the hair on the mouth, the skin, the flesh, the bone, and the marrow; and these are immortal—the mind, the voice, the vital air, the eye, and the ear.
5. Now, that Pragàpati is no other than the Firealtar which is here built up, and what five mortal parts there were of him, they are these layers of earth ; and those which were immortal they are these layers of bricks.
6. The gods spake, 'Let us make him immortal!' Having encompassed that mortal form by those immortal forms of his, they made it immortal-the layer of earth by means of two layers of bricks: in like manner the second, the third, and the fourth (layers of earth).
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7. And having laid down the fifth layer (of bricks), he (the Adhvaryu) scatters earth on it; thereon he lays the Vikarni and the Svayamâtrinnâ, scatters chips of gold, and places the fire: that is the seventh layer, and that (part) is immortal; and in this way, having encompassed that mortal form of his by those two immortal forms, they made it immortal,the layer of earth by means of two layers of bricks. Thereby, then, Pragâpati became immortal; and in like manner does the Sacrificer become immortal by making that body (of the altar) immortal.
8. But the gods knew not whether they had made him complete, or not; whether they had made him too large, or left him defective. They saw this verse (Vâg. S. XVIII, 76), 'The seat-hiding Agni, Indra, god Brahman, Brihaspati, and the wise All-gods may speed our sacrifice unto bliss!'
9. Of this (verse) one part is Agni's, one part Indra's, and one part the All-gods';-with that part thereof which is Agni's they made up that part of him (Pragâpati) which is Agni's, and with Indra's (part) that which is Indra's, and with the All-gods' (part) that which is the All-gods': in this very (firealtar) they thus made him up wholly and completely.
10. And when he stands by (the altar, worshipping it) with this (verse), he thereby secures (makes good) all that part of him (Pragâpati) which, whether he knows it or not, he either does in excess or insufficiently in this (fire-altar),—whatever has not been secured for him. The 'seat-hiding' (verse) is an Anush/ubh, for the Anushtubh is speech, and the seat-hider is speech: it is by speech that he
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secures for him what was not secured for him. "Let him approach (the altar with this verse) when he has covered a layer with earth,' say some, 'for then that (layer) becomes whole and complete.'
Fourth BRAHMANA. 1. Now, at the beginning, Pragâpati was (composed of) both these, the mortal and the immortalhis vital airs alone were immortal, his body mortal : by this sacrificial performance, and by this order of proceeding, he made his body uniformly undecaying and immortal. And in like manner is the Sacrificer (composed of) both the mortal and the immortal—his vital airs alone are immortal, his body mortal: by this sacrificial performance, and by this order of proceeding, he makes his body uniformly undecaying and immortal.
2. He lays down the first layer,—this, doubtless, is his out- (and in-) breathing?, and it is an immortal (element), for the out-breathing is something immortal : this, then, is an inmortal layer. He then scatters loose soil thereon,—this, doubtless, is his marrow, and it is a mortal (element), for the marrow is mortal: he establishes it on that immortal (element), and thereby this part of him becomes immortal.
3. He lays down the second layer,-this, doubtless, is his downward breathing, and it is an immortal (element), for the downward breathing is something immortal : this, then, is an immortal layer. He thus encompasses that mortal (element) on both
1 That is, the breath-proper, of the mouth and nose, passing upward into the air from the middle of the body.
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sides by an immortal one, and thereby that part of him becomes immortal. He then scatters loose soil thereon,—this, doubtless, is his bones, and it is a mortal (element), for the bone is mortal: he establishes it on that immortal (element), and thereby this part of him becomes immortal.
4. He lays down the third layer,—this, doubtless, is his through-breathing !, and it is an immortal (element), for the through-breathing is something immortal: this, then, is an immortal layer. He thus encompasses that mortal (element) on both sides by an immortal one, and thereby that part of him becomes immortal. He then scatters loose soil thereon,—this, doubtless, is his sinews, and it is a mortal (element), for the sinew is mortal: he establishes it on that immortal (element), and thereby this part of him becomes immortal.
5. He lays down the fourth layer,--this, doubtless, is his upward breathing ?, and it is an immortal (element), for the upward breathing is something immortal: this, then, is an immortal layer. He thus encompasses that mortal (element) on both sides by an immortal one, and thereby that part of him becomes immortal. He then scatters loose soil thereon,—this, doubtless, is his flesh, and it is a mortal (element), for flesh is mortal: he establishes it on that immortal (element), and thereby this part of him becomes immortal.
6. He lays down the fifth layer,—this, doubtless,
The Vyâna, through-breathing, or circulating air, is the vital air which serves the upward air (or out- and in-breathing, prâna) and downward air (apâna). Maitryup. II, 6 (Cowell).
? Or, outward breathing, That which belches forth or keeps downwards the food eaten or drunken, this is the udana ;' Cowell, ib.
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is his central (or pervading) breathing !, and it is an immortal (element), for the central breathing is something immortal : this, then, is an immortal layer. He thus encompasses that mortal (element) on both sides by an immortal one, and thereby that part of him becomes immortal. He then scatters loose soil thereon,- this, doubtless, is his fat, and it is a mortal (element), for the fat is mortal : he establishes it on that immortal (element), and thereby this part of him becomes immortal.
7. He lays down the sixth layer,—this, doubtless, is his voice, and it is an immortal (element), for the voice is something immortal : this, then, is an immortal layer. He thus encompasses that mortal (element) on both sides by an immortal one, and thereby that part of him becomes immortal. He then scatters loose soil thereon,—this, doubtless, is his blood and his skin, and it is a mortal (element), for blood is mortal, and skin is mortal: he establishes it on that immortal (element), and thereby this part of him becomes immortal.
8. These, then, are six layers of bricks, and six layers of earth, that makes twelve,--the year (consists of) twelve months, and Agni is the year : as great as Agni is, as great as is his measure, with so much did Pragâpati then make his body uniformly undecaying and immortal; and in like manner does the Sacrificer now make his body uniformly undecaying and immortal.
9. Having then laid down the Vikarni and Svayamâtrinnā, he scatters chips of gold, and places
1 The Samâna (equalizing air) distributes the digested pieces through the limbs.' Maitryup. II, 6 (Cowell).
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the fire thereon: Pragâpati then finally made a golden form for his body; and inasmuch as (he did so) finally, this was the final form of his body; whence people speak of the golden Pragâpati?' And in like manner does the Sacrificer now finally make a golden form for his body; and inasmuch as (he does so) finally, this is the final form of his body; and hence, whether they know this or not, people say that the Agnikit (he who has built an altar) is born in yonder world as one made of gold ?.
10. Now, on this point, Sândilya and Saptarathavâhani, teacher and pupil, were once disputing with one another: 'This is his form,' said Sândilya ; his hair,' said Saptarathavâhani.
11. Sândilya said, 'Surely, there is a hairy form (as well as) a hairless form : his form it certainly is;' and this, indeed, is as Sândilya has said : when it (the altar) is completely built, Agni is led forward ; and after he has been led forward, logs of woods are offered as oblations.'
12. By means of (the channel of) the out- (and in-) breathing the gods eat food, and Agni (the sacrificial fire) is the out-breathing of the gods; whence it is in front (of the sacrificial ground) that offering is made to the gods, for by means of the (channel of the) out-breathing the gods eat food. By means of the down-breathing men eat food, whence food
Apparently an allusion to Hiranyagarbha, the golden germ, or the golden egg (XI, 1, 6, 1), from which the Purusha, creator of the universe, arose. Cf. also Aitareyâr. II, 1, 3, with Sâyana's commentary.
. Såyana assigns to "hiranmaya' the meaning of a colour resembling gold' (hiranyasamânavarnak).
3 See IX, 2, 3, 36 seq.
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is introduced into men (from the front) towards the back, for by their down-breathing men eat food.
13. Here, now, they say, 'He who has built an altar must not eat of any bird, for he who builds a fire-altar becomes of a bird's form ; he would be apt to incar sickness: the Agnikit therefore must not eat of any bird.' Nevertheless, one who knows this may safely eat thereof; for he who builds an altar becomes of Agni's form, and, indeed, all food here belongs to Agni: whosoever knows this will know that all food belongs to him.
14. Here, now, they say, 'What is done here in (the building of) the altar, whereby the Sacrificer conquers recurring death ?' Well, he who builds an altar becomes the deity Agni; and Agni (the fire), indeed, is the immortal (element);—the gods are splendour: he enters splendour; the gods are glory: he becomes glorious whosoever knows this.
FIFTH BRAHMANA. 1. This built fire-altar, in truth, (includes all these sacrifices :—when he slaughters an animal victim, that is the Agnyâdheya (establishment of the sacred fires)?; when he collects the materials for the fire-pan, that constitutes the oblations of the Agnyâdheya ; when he performs the initiation,
· Though no animal sacrifice takes place at the Agnyâdhâna, the latter, as the fundamental ceremony pre-supposed by all subsequent sacrificial performances, is here compared with the immolation of five victims (VI, 2, 1, 15 seg.) which, taking place as it does on the Upasavatha, or day of preparation, i.e. the day before the Soma-sacrifice on the newly built fire-altar, is, as it were, a preliminary ceremony.
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that is the Agnihotra ; and when the initiated puts two logs on (the fire)', these are the two oblations of the Agnihotra.
2. He puts them on in the evening and in the morning, for in the evening and in the morning the Agnihotra oblations are offered ;—with one and the same formula, for with one and the same formula the two Agnihotra oblations are offered ? Then the driving about (of the fire in the pan ), and the taking down (to the water) of the ashes, these two (constitute) the New and Full-moon offerings; and when he builds the Gârhapatya hearth “, that is the Káturmâsya (seasonal offerings); and what takes place from (the building of) the Gârhapatya up to the (sowing of) all-herb (seed", that constitutes) the ishtis ®, and what takes place after the all-herb (sowing) and prior to (the building
" This refers to the two samidhs (kindling-sticks) put on the Ukhya Agni,-one in the evening, and one in the morning,-after the ashes had been cleared out of the fire-pan (ukha); see VI, 6, 4, I seq.
? Both in the evening and in the morning two libations of milk are offered (the pûrvâhuti and the uttaráhuti), but only the first is offered with a formula, the evening formula being, 'Agni is the light, the light is Agni, hail!' whilst the morning formula is, 'Surya is the light, the light is Surya, hail!' See II, 3, 1, 30. For alternative formulas— With the divine Savitri, with the Night (or Dawn, respectively) wedded to Indra, may Agni (or Indra, respectively) graciously accept, haill' see II, 3, 1, 37. 38.
See VI, 8, 1, 1 seq. Sâyana takes it to refer to the Agnipranayana, or leading forward of the fire to the fire-altar; but that would not fit in well with the ceremony next referred to, viz. the removal of the ashes of the Ukhyâgni, or fire in the pan; for which see VI, 8, 2, I seq.
• VII, 1, 1, I seq. • Viz. on the newly ploughed altar-site, see VII, 2, 4, 13 seq. 6 That is, offerings for the fulfilment of some special wishes.
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of) the layers, that is the animal sacrifices ?; and the Vishnu-strides ? which are (performed) at these sacrifices are just these Vishnu-strides; and what muttering of formulas there is that is the Vatsapra 3.
3. The first layer is the Soma-sacrifice; the second the Râgasůya as prior to the consecrations *; the third the Vâgapeya; the fourth the Asvamedha (horse-sacrifice); and the fifth the Agnisava 6. Then the sâmans he sings around the built (altar) are the Mahâvrata(-saman); the Udgâtri's preliminary muttering (of the text of his chants) on that occasion is the Satarudriya; the shower of wealth' the Great Litany; and what takes place subsequent to (the singing of the sâmans, and prior to the shower of wealth, that is the Hotri's preliminary muttering on that occasion; and what takes place after the shower of wealth is the Grihamedhas 6 (house-sacrifices). Such are all the sacrifices: these he secures by (building) the fire-altar.
· That is, animal sacrifices performed independently of other ceremonies, 2 See VI, 7, 2, 12 seq.
See VI, 7, 4, I seq. • That is, the ceremonies connected with the Vágaprasaviya oblations, V, 2, 2, 4 seq.; and the devasa-havînshi, or oblations to the Divine Quickeners (by whom the king is supposed to be first consecrated), V, 3, 3, 1 seq.
• See IX, 3, 4, 7. 9. It is strange that the Agnisava should be mentioned here, as it is said to be confined to the Agnikayana. It would seem that some independent ceremony, such as the Brihaspatisava (consecration of Brihaspati, cf. V, 2, 1, 19; and part iii, introd. p. xxiv seq.), may be referred to.
. Sâyana identifies these with the offerings of sacrificial sessions (sattra), during which the Sacrificer is indeed called the Grihapati, or master of the house ; see IV, 6, 3, 5 seq.; and part ii, p. 97, note 1.
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4. Now, then, as to the powers (conferred by the performance) of sacrifices. Verily, he who (regularly) performs the Agnihotra eats food in the evening and in the morning (when he comes to be) in yonder world, for so much sustenance is there in that sacrifice. And he who performs the New and Full-moon sacrifice (eats food) every half-month ; and he who performs the Seasonal sacrifice (does so) every four months; and he who performs the animal sacrifice (twice a year, eats food) every six months; and the Soma-sacrificer once a year; and the builder of the fire-altar at his pleasure eats food every hundred years, or abstains therefrom '; for a hundred years is as much as immortality ?, unending and everlasting : and, verily, for him who knows this, there shall thus be immortality, unending and everlasting; and whatever he as much as touches, as it were, with a reed, shall be for him immortal, unending and everlasting.
SECOND ADHYAYA. First BRÂHMANA. 1. Pragâ pati was desirous of going up to the world of heaven; but Pragâpati, indeed, is all the (sacrificial) animals 8man, horse, bull, ram, and
1 That is to say, the food eaten the first time will sustain him for a hundred years, after which time he may, or may not, take food, being sure of everlasting life and a godlike nature.
Or, perhaps, for so long lasts the Amrita (the food of the immortals);-agnim kitavân purushas tu satasamkhyâkeshu samvatsareshu teshu kâmam aparimitam asnâti yato yâvantah satam samvatsaras tâvad amritam devatvaprapakam anantam aparimitam annam bhavati. Say.
* See VI, 2, I, 15 seq.
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he-goat:- by means of these forms he could not do so. He saw this bird-like body, the fire-altar, and constructed it. He attempted to fly up, without contracting and expanding (the wings), but could not do so. By contracting and expanding (the wings) he did Ay up: whence even to this day birds can only fly up when they contract their wings and spread their feathers.
2. He measures it (the fire-altar) by fingerbreadths; for the sacrifice being a man', it is by means of him that everything is measured here. Now these, to wit, the fingers, are his lowest measure: he thus secures for him (the sacrificial man 2) that lowest measure of his, and therewith he thus measures him.
3. He measures by twenty-four finger-breadths ,the Gayatri (verse) consists of twenty-four syllables, and Agni is of Gayatra nature 4 : as great as Agni is, as great as is his measure, by so much he thus measures him..
4. He contracts 6 (the right wing) inside on both
The sacrifice, being the substitute of (the sacrificing) man, is represented as identical with the Sacrificer, its measurements being taken from his body and stature; see part i, p. 78, note 1.
• Or,- for it, viz. the fire-altar, representing both Agni-Pragapati and the Sacrificer: hence this assumed identity has to be borne in mind to understand the symbolic speculations of the Brahmana.
This measure (24 anguli) is equal to one 'aratni' or cubit; 12 anguli being equal to a 'vitasti' or span (of thumb and little finger, or from wrist to tip of middle finger).
• See VI, 1, 1, 15; 1, 3, 19. • Or, he draws in, draws together (upasamQhati).
.
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1
1
sides by just four finger-breadths, and expands it outside on both sides by four finger-breadths: he thus expands it by just as much as he contracts it; and thus, indeed, he neither exceeds (its proper size) nor does he make it too small. In the same way in regard to the tail, and in the same way in regard to the left wing.
5. He then makes two bending-limbs in the wings, for there are two bending-limbs in a bird's
1 That is, on both sides of that part of the wing which joins the body of the altar he draws in by four finger-breadths the two long sides of the wing, thus changing the parallelogram into a trapezium, without altering the superficial area of the wing. On the plan of the altar given in part ii, p. 419, the effect of this manipulation on the wings and tail is indicated by pointed lines.-Sâyana remarks, -ubhayatah pakshasya pârsvadvaye, antaratah kityâgner madhyadese katurangulam upasamûhati samkarshati pravesayatîty arthah; bâhyatah agnimadhyâd bâhyadese katurangulam vyudûhati, ante vivardhayati.
Or, he draws out, or draws asunder (vyudûhati).
3 Literally 'outbendings' (nirnâma)-'Schwunggelenke' (springlimbs), St. Petersb. Dict.-This 'bending-limb' would seem to include the two inner segments of the (solid part of the) wingthose corresponding to the upper and fore-arm of man-as well as the adjoining and connecting joints or articulations, which portions may be taken roughly as forming the inner third of the wing when covered with feathers. The 'bending-limb' would thus derive its name from its 'bending,' or drawing, the wing 'out' from the body. Sâyana, however, explains it by 'nitarâm namati,' 'that which bends down,' as if it were formed from the prep. 'ni' instead of 'nis.' The manipulation to which this part of the wing is to be subjected is, however, not quite easy to understand from the description, and the commentary affords very little assistancevitritîya iti pakshabhâgam tredhâ vibhagya antare tritiyabhâge nirnâmakaranam .; etâm srutim apekshyaivâpastambenoktam, 'vakrapaksho vyastapukkho bhavati, paskât prâń (!) udûhati, purastât pratyuduhati, evam eva hi vayasâm madhye pakshanirnâmo bhavatîti vigiâyate' iti.
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wings. In one-third (of each wing he makes them), for the bending-limbs are in one-third of the bird's wings;—in the inner third?, for the bending-limbs are in the inner third of a bird's wings. He expands (each of these limbs) in front? by just four finger-breadths, and contracts it behind by four finger-breadths; he thus expands it by just as much as he contracts it; and thus, indeed, he neither exceeds (its size), nor does he make it too small.
6. On that bending-limb he places one brick : he thereby gives to it that single tube (tubular organ) which joins on to 3 (the body) from the bendinglimb of the flying bird. Then here (on the left wing).
7. He then makes the wings crooked, for a bird's wings are crooked; he expands them behind by just four finger-breadths, and contracts them in front by four finger-breadths +: he thus draws them out by
1 That is, the third part of the wing adjoining the body.
• That is, at the front edge of the wing of the flying bird, that which cuts through the air. The joint between the second and third segments of the wing, when expanded, would protrude, whilst on the opposite side of the wing the tops of the feathers would somewhat recede; but I am not sure whether this is what is referred to in these indications.
Literally, which lies beside, or close to (upasete, viz. the body, as it would seem) from the bending-limb. The brick is apparently meant to represent symbolically the bone of the upper segment, or some tubular organ by which the vital air is supposed to enter the wing from the body. Sâyana remarks,-pakshipakshamadhyagatanâditvena prasamsati, .. kityâgneh pakshamadhye ekâm nâdim eva nihitavân bhavati.
• Comm.-katurangulamâtram paskâdbhâge uddhati vikarshati, purastâdbhâge katurangulamâtram samdhati samkarshati; evam krite vakratvam bhavati. Cf. Â pastamba's directions in note 3 of last page. I fail to see, however, in what respect this manipulation differs from that referred to in paragraph 5; and whether the
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just as much as he draws them in; and thus, indeed, he neither exceeds its size) nor does he make it too small.
8. He now gives to it (the altar) the highest form'. This Agni had now been completely restored, and the gods conferred upon him this highest form ; and in like manner does this (Sacrificer) confer upon him this highest form : he makes a thousand bricks marked with straight lines, a thousand marked this way (from left to right), and a thousand marked that way (from right to left).
9. And when he has laid down the fifth layer, he measures out the altar in three parts, and on the central part he places the one thousand bricks marked with straight lines: he thereby gives to it those straight plumes of the bird pointing backwards (with their tops, and covering it) from head to tail.
10. On the right side he then lays down the one thousand (bricks) marked thus (from left to right) : he thereby gives to it those curved plumes on the right side of the bird 2.
II. On the left side he then lays down the one thousand (bricks) marked thus (from right to left): he thereby gives to it those curved plumes on the left side of the bird. With a thousand (bricks he does it each time)-a thousand means everything: .
vakratvam' refers to the irregular shape, or to the curved nature, of the wings.
That is, he gives to it the last finish. ? Or, perhaps, those soft feathers of the bird curved towards the right. Sâyana as above- dakshinatah dakshinapakshe ityâlikhita dakshinâvrita ishtakah; uttaratah uttarasmin pakshe ityalikhitah savyâvrita ishtakâ upadadhyât.
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with everything (required) he thus confers that highest form upon him (Agni);-with three thousand -Agni is threefold: as great as Agni is, as great as is his measure, with so much he thus confers the highest form upon him.
SECOND BRAHMANA.
1. Now the one person which they made out of those seven persons1 became this Pragâpati. He produced living beings (or offspring), and having produced living beings he went upwards, he went to that world where that (sun) now shines. And, indeed, there was then no other (victim) meet for sacrifice but that one (Pragâpati), and the gods set about offering him up in sacrifice.
2. Wherefore it is with reference to this that the Rishi has said (Vâg. S. XXXI, 16, Rig-veda X, 90, 16), 'The gods offered up sacrifice by sacrifice, for by sacrifice they did offer up him (Pragâpati), the sacrifice; these were the first ordinances:'-for these laws were instituted first ;'these powers clung unto the firmament,'-the firmament is the world of heaven, and the powers are the gods: thus, 'Those gods who offered up that sacrifice shall cling to the world of heaven ;'
3. 'Where first the perfect gods were,'-the perfect gods, doubtless, are the vital airs, for it is they that perfected him in the beginning when they
1 Literally, those seven persons which they made into one person. See VI, I, I, I seq.
It is difficult to see what meaning the author assigns to 'sâdhya' applied to minor classes of deities.
See VI, I, I, I.
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were desirous of becoming that (body of Pragapati "); and even now, indeed, they do perfect (him). Rig-veda X, 149, 3]—'Thereafter this other became meet for sacrifice by the abundance of the immortal world,'—for thereafter, indeed, other things here--whatsoever is immortalbecame fit for sacrifice.
4. 'Savitri's well-winged eagle verily was first born, and he was according to his ordinance,'—the well-winged eagle, doubtless, is Pragâpati, and Savitri is that (sun): thus, 'In accordance with his (the sun's) law he indeed (comported himself).'
5. He indeed consists of seven persons, for that Person : consisted of seven persons ;-to wit, the body of four, and the wings and tail of three, for of four the body of that person consisted, and of three his wings and tail.
6. He measures it (the altar) by the man with upstretched arms 8 ; for the sacrifice is a man, and by him everything here is measured; and that is his highest measure when he stands with upstretched arms: he thus secures for him what is his highest measure, and therewith he then measures it. And what (space) there is over and above that when he is raised on the forepart of his foot, that he secures by the enclosing-stones; and hence he
· Tad eva bubhushanta iti, prânâh svayam api prágâpatyâtmanå (? pragâ patyâtmâno) bhavitum ikkhantah. Sây.
. See VI, 1, 1, 3-6.
$ That is to say, wherever he speaks of man's lengths, the height to which a man reaches with his upstretched arms is understood; the particular man who supplies this (relative) standard of measure being the Sacrificer.
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should dig a line for the enclosing-stones outside (the altar-ground).
7. Two cubits he gives to the two wings: he thereby lays strength into the wings. And the wings are (the bird's) arms, and by means of the arms food is eaten: it is thus for the sake of food that he gives them that space; and when he gives two cubits to the two wings, it is because food is taken from the distance of a cubit.
8. To the tail he gives a span: he thus lays strength into the support, for the tail is the support. The span means the hand !, and by means of the hand food is eaten: it is thus for the sake of food that he gives it that space; and when he gives a span to the tail, he thereby settles him (Agni) in the midst of) food; and when he gives less (space) to this (part of the body), it is because he thereby settles him in (the midst of) food & But, indeed, so much does this (the bird's wing) measure, and so much this (the bird's tail), and hence when he thus measures them, it is for the sake of securing for him that (natural measure).
THIRD BRAHMANA.
1. Now this Vedi (altar-ground, viz. the Mahavedi of the Soma-sacrifice) is just that (right) measure for the Vedi of the sevenfold 3 (fire-altar).
The span of thumb and little finger is taken to be equal to the distance from the wrist to the tip of the middle finger.
? That is to say, he makes him so as to occupy but small space, and to be surrounded by abundant food.
& That is, measuring seven times the length of a man standing with upstretched arms.
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Having fixed upon (the place for) the sacrificial ground, he enters the Patnisâla' by the front (east) door, and having thrown up (the ground) for the Gârhapatya, he sprinkles it with water. From the raised (site) of the Gårhapatya he strides seven steps eastward. From there he measures off a fathom 2 towards the east, and having, in the middle thereof, thrown up (the ground) for the Åhavaniya, he sprinkles it with water. From the front part of the fathom he strides three steps eastward : that is the end of the Vedi 3.
2. Now, there are here, including the fathom (as one), eleven steps 4 between the end of the Vedi and the (original) Gârhapatya ;-the Trishtubh consists
.
1 That is, the wife's ball,'—the sacrificial hall or shed, usually called Prâkînavamsa or Pragvamsa, measuring 20 cubits by 10 (part ii, p. 3, note 2), in which the original fires and vedi of ishtis are enclosed at the Soma-sacrifice; see the plan, part ii, p. 475.
* A fathom (vyâma) is the space between the tips of the two middle fingers of a man standing with outstretched arms, this being considered the man's height. In this paragraph, the author roughly recapitulates the main dimensions of the sacrificial ground used for ishhis, which will also be required for the present purpose. The dimensions here supplied will give about the distance of eight steps between the centres of) the Gârhapatya and Âhavanîya fires required by I, 7, 3, 23. In the middle of the space of a fathom here alluded to as the easternmost space of the hall, the (original square) Âhavanîya is laid down, but this ultimately makes way for the new circular Gârhapatya hearth built of bricks and having the whole of this 'fathom' for its diameter.
That is, the hindmost (western) point of the easterly line of the) Mahâvedi of the Soma-sacrifice, where the peg, called 'antahpâtya,' is driven in, being three steps east from the post of the front door of the Prakinavamsa and hence three steps from the future circular Gârhapatya hearth built of bricks).
Literally, these are (ten) steps, having the fathom as an eleventh (space or step).
X 2
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of eleven syllables, and the Trishtubh is a thunderbolt, and the Trishtubh means strength : it is thus by the thunderbolt, and by strength, that the Sacrificer from the very first drives off the fiends, the Rakshas, from the mouth of the sacrifice.
3. This is the womb of the Vedi, for it was from that womb that the gods begat the Vedi. And that (space of a) fathom which was (marked off), is the womb of the Gârhapatya', for it was from that womb that the gods begat the Gârhapatya; and from the Gârhapatya the Xhavaniya.
4. From the (western) end of the Vedi he measures off the Vedi a thirty-six steps long eastward, thirty (steps) broad behind, and twenty-four (steps broad) in front,--that makes ninety. This, then, is the Vedi measuring ninety steps: thereon he lays out the sevenfold Fire-altar.
5. As to this they say, 'How does this sevenfold (Person, the fire-altar,) correspond to this Vedi (measuring ninety steps)?' Well, there are these
1 That is, the brick-built Garhapatya of the Agnikayana on which the Ukhya Agni, having been carried about by the Sacrificer for a year, is transferred from the fire-pan (ukhâ), and from which afterwards the fire of the great altar is derived. This new Garhapatya has been raised on the site of the old (square) Ahavanîya (the so-called 'saládvárya' or hall-door fire), on which the fire in the pan, the Ukhya Agni, was kindled (esha ahavanîyo vakshyamânâyâs kayanamahâveder gârhapatyo bhavati; Sây.). The pan containing this fire was then placed half a fathom south of the centre of the old Ahavanîya, and hence so as to stand quite close to the brick-built Garhapatya raised in its place, and forming a circle with a diameter of one fathom. Thus this space of a fathom' is here quite correctly referred to as the original source of the fires of the Agnikayana.
. For the dimensions of the Mahảvedi here referred to see part ii, p. III seq.
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ten vital airs in a man1, four limbs, and the trunk as the fifteenth; in the same way in the second, and in the same way in the third (man),—in six men this makes ninety; and one man remains over. Now, (that seventh) man is fivefold-hair, skin, flesh, bone, and marrow (fat), and this Vedi also is fivefold-the four regions (quarters), and the body (of the altar) as the fifth: thus this sevenfold (altar) does indeed correspond to this Vedi.
6. Now, some, intending to construct higher forms (of altars), increase (the number of) these steps and this fathom accordingly, saying, 'We enlarge the womb in accordance therewith ;'-but let him not do so; for the womb does not enlarge along with the child that has been born 3, but, indeed, only as long as the child is within the womb, does the womb enlarge, and so long, indeed, the growth of the (unborn) child here (lasts).
7. Indeed, those who do it in that way, deprive this Father Pragâpati of his due proportions; and they will become the worse for sacrificing, for they deprive Father Pragâpati of his due proportions.
That is, in the first of these seven persons or men, making up the sacrificial man (yagña-purusha), Pragâpati; that first man being the Sacrificer himself, as supplying the standard for these
measures.
That is, the fifth region, situated in a vertical direction, this being represented by the fire-altar which rises upwards.
Somewhat differently Professor Delbrück, Altind. Syntax, p. 444, 'The womb does not grow in proportion with the embryo produced therein.'
The argument of the author apparently is, that the planned enlargement of the fire-altar is an enlargement of the child Agni, after he has been born, and does not involve an increased size of the original sacrificial ground of the Prâkînavamsa.
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As large as this Vedi 1 of the sevenfold (fire-altar) is, fourteen times as large he measures out the Vedi of the one hundred and one-fold (altar).
8. He now measures off a cord thirty-six steps ? (yards) long, and folds it up into seven (equal) parts: of this he covers (the space of) the three front (eastern) parts (with bricks), and leaves four (parts) 3 free.
9. He then measures (a cord) thirty steps long, and lays it sevenfold : of this he covers three parts (with bricks) behind, and leaves four (parts) free!.
1 That is, of course, the Mahâvedi on which the (ordinary) firealtar is raised, and which is enlarged in proportion to the size of the altar. The intermediate sizes of the fire-altar between the two extremes here alluded to increase each by four square 'man's lengths' (the man being measured with upstretched arms), or by one man's length on each side of the body of the altar; the largest possible altar thus measuring, tot man's lengths on each side.
? A step, or pace (prakrama) is equal to 3 feet (pada), a foot measuring 12 finger-breadths (angula),- these measures being, however (at least theoretically), relative to the Sacrificer's height.
* That is to say, he stretches the cord along the ground from the (western) 'end of the Vedi' eastwards, and marks off on the ground three-sevenths of the cord on the eastern side, that part of the Vedi being afterwards covered by the brick-built altar, whilst the remaining space behind is required for the Sadas and Havirdhana sheds, &c. If we take the Mahâvedi to be 108 feet long (=36 prakramas) this would allow 15$ feet for each part, or some 46 feet for the length of the part to be covered with bricks, and this measure, being equal to seven man's lengths, would allow 64 feet for a man's length (including the upstretched arms). Between the altar and the front (eastern edge of the Vedi a space of one foot is, however, to be left.
+ That is, he stretches the cord across (north to south) and marks off the three central divisions of it as forming the hind side of the altar (leaving two-sevenths of the string free on either side). This gives 12f (out of 90) feet for each part, or 384 feet for the back, or western, side of the altar.
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10. He then measures (a cord) twenty-four steps long, and lays sevenfold of this he covers three parts in front (with bricks), and leaves four (parts) free1. This, then, is the measuring out of the Vedi. 11. Now as to the (other) forms of the fire-altar. Twenty-eight man's lengths long (from west to east) and twenty-eight man's lengths across is the body (of the altar), fourteen man's lengths the right, and fourteen the left wing, and fourteen the tail. Fourteen cubits (aratni) he covers (with bricks) on the right, and fourteen on the left wing, and fourteen spans (vitasti) on the tail. Such is the measure of (an altar of) ninety-eight man's lengths with the additional space (for wings and tail).
12. He now measures a cord of three man's lengths, and lays it sevenfold of this he covers (the space of) four parts (with bricks) on the body (of the altar); and three parts on the wings and tail.
13. He then measures one three cubits long, and lays it sevenfold: of this he covers (the space of) three parts on the right, and three on the left wing, and leaves four (parts) free.
14. He then measures one a span long, and lays it sevenfold of this he covers (the space of) three parts on the tail, and leaves four (parts) free. In this way does this one hundred and one-fold (Agni) correspond to this Vedi.
15. As to this they say, 'When thirteen man's lengths are over, how is it that these do not deviate
This gives 10 (out of 72) feet for each part, or 30 feet for the front, or eastern, side of the altar. The measurements here given are intended as a refinement on the usual square shape of the fire-altar.
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from the right proportions (of the altar)? ?' Well, what right proportions there were in the case of that seventh man's length, these same proportions (also apply) to all these (redundant man's lengths).
16. And they also say, 'When Pragâpati had formed the body he filled it up with these (redundant lengths) wherever there was anything defective in it; and therefore also it is rightly proportioned.
17. As to this some say, 'The first time they construct a simple (altar 9), then the one higher by one (man's length), up to the one of unlimited size.' Let him not do so.
18. Sevenfold, indeed, Pragâpati was created in the beginning. He went on constructing (developing) his body, and stopped at the one hundred and one-fold one. He who constructs one lower than a sevenfold one cuts this Father Pragâpati in twain: - he will be the worse for sacrificing as one would be by doing injury to his better. And he who constructs one exceeding the one hundred and one-fold one steps beyond this universe, for Pragàpati is . this universe. Hence he should first construct the sevenfold (altar), then the next higher up to the one hundred and one-fold one, but he should not construct one exceeding the one hundred and one
Or, from the right total (sampad) which the altar ought to obtain. By paragraph, the altar is to be made fourteen times as large as the sevenfold one; and the latter being said to be in exact proportion with Pragâpati (in paragraph 3), the larger aliar would thus show an excess of thirteen man's lengths over the rightly proportioned altar.
? Viz. in paragraph 5. 3 That is, one of a single man's length on each side.
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fold one, and thus, indeed, he neither cuts this Father Pragâpati in twain, nor does he step beyond this universe.
FOURTH BRAHMANA.
1. Pragâpati, indeed, is the year, and Agni is all objects of desire. This Pragâpati, the year, desired, May I build up for myself a body so as to contain Agni, all objects of desire.' He constructed a body one hundred and one-fold; and in constructing a body one hundred and one-fold, he built up for himself a body so as to contain Agni, all objects of desire, and himself became all objects of desire; there was not one object of desire outside of him whence they say, 'The year (includes) all objects of desire;' for, indeed, outside the year there is no object of desire whatever.
2. And in like manner does the Sacrificer now, by constructing a body (of the altar) one hundred and one-fold, build for himself a body so as to contain Agni, all objects of desire: he becomes all objects of desire, and not one object of (his) desire is outside of him.
3. Now this year is the same as yonder sun; and he is this one hundred and one-fold (Agni);-his rays are a hundredfold, and he himself who shines
'Literally, May I build for myself a body (self) with a view to (abhi) Agni; or, perhaps, 'He builds (a body) so as to become (Agni);' in which case abhi' of 'abhisamkinute' would have the same force as in 'abhisampadyate.' See, however, X, 2, 5, 9-12, where Sâyana explains it by 'yo yah kâmah tam sarvam âtmânam abhilakshya sampâditavân bhavati'—'He brings about (accomplishes) all that desire for his body.'
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yonder, being the one hundred and first, is firmly established in this universe; and in like manner does the Sacrificer now establish himself in this universe by constructing for himself a body a hundred and one-fold.
4. And, indeed, the one hundred and one-fold passes into (becomes equal to) the sevenfold one; for yonder sun, whilst composed a hundred and one-fold, is established in the seven worlds of the gods, for, indeed, there are seven worlds of the gods,—the four quarters and these three worlds : these are the seven worlds of the gods, and in them that (sun) is established. And in like manner does the Sacrificer now establish himself in the seven worlds of the gods by constructing for himself a body a hundred and one-fold.
5. And, again, as to how the one hundred and one-fold (altar) passes into the sevenfold one :· yonder sun, composed of a hundred and one parts,
is established in the seven seasons, in the seven stomas (hymn-forms), in the seven prishtha (-samans), in the seven metres, in the seven vital airs, and in the seven regions; and in like manner does the Sacrificer now establish himself in this universe (or, on everything here) by constructing for himself a body one hundred and one-fold.
6. And, again, as to how the one hundred and one-fold passes into the sevenfold one :-yonder sun, composed of a hundred and one parts, is established in the seven-syllabled Brahman, for the Brahman (holy writ or prayer) indeed consists of seven syllables,—'rik' is one syllable, 'yaguh' two, and 'sâma' two; and what other Brahman there is that is just the 'brahman' of two syllables-this
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seven-syllabled Brahman is the universel : therein that (sun) is established ; and in like manner does the Sacrificer now establish himself in the sevensyllabled Brahman by constructing for himself a body one hundred and one-fold.
7. Therefore, also, they lay down around (the altar) sets of seven (bricks) each time, and hence the one hundred and one-fold passes into the sevenfold one; and, indeed, the sevenfold one passes into the one hundred and one-fold.
8. Sevenfold, indeed, Pragâpati was created in the beginning. He saw this body composed of a hundred and one parts—fifty bricks in the Prânabhrits?, and fifty sacrificial formulas, that makes a hundred, and the 'settling' and sûdadohas-formula are the two one hundred and first, these two are one and the same, for when he has settled '(a brick), he pronounces the sadadohas-formula over it: by means of this one hundred and one-fold body he gained that conquest and obtained that success; and in like manner does the Sacrificer, by means of this one hundred and one-fold body, gain that conquest and obtain that success. And thus, indeed, the sevenfold (altar) passes into the one hundred and one-fold: that which is a hundred and one-fold is sevenfold, and that which is sevenfold is a hundred and one-fold. So much as to the forms (of altars).
Or, perhaps, all this taken together) is the sevenfold Brahman.'
s In the first layer ten Pranabhrit bricks were placed along the diagonals in each of the four corners of the body of the altar (or in the intermediate quarters), and as many round the centre.
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FIFTH BRÂHMAXA. 1. Now as to the building itself. He builds between the two (performances of the) Upasads?. For at that time the gods were afraid lest the fiends, the Rakshas, should destroy that (Agni's body) of theirs (built) there? They saw these strongholds, the Upasads, to wit, these worlds, for these worlds are indeed strongholds. They entered them, and having entered them, they completed that body in a place free from danger and devilry; and in like manner does the Sacriñcer now, after entering these strongholds, complete this body in a place free from danger and devilry.
2. And, again, as to why he builds between the Upasads. At this time the gods were afraid lest the fiends, the Rakshas, should destroy that (Agni's body) of theirs (built) there. They saw these thunderbolts, the Upasads, for the Upasads indeed are thunderbolts: they entered them, and, having entered them, they completed that body in a place free from danger and devilry; and in like manner does the Sacrificer now, after entering those thunder
· The Upasads (or sieges) are performed twice a day on at least three days (the regular number for ordinary one day's Soma-sacrifices) intervening between the end of the Diksha (initiation) and the day of the Soma-sacrifice; see part ii, p. 105, note 1. On the first day the first layer is built between the two performances (whilst the final preparation of the altar-site, as well as the building of the Gârhapatya altar and the installation of the Ukhya Agni thereon, takes place before the morning performance of the Upasads), and on the second day the remaining layers are built.
? For the construction in the oratio directa, see part iii, p. 34, note 2.
Or, they went into their shelter (pra-pad).
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bolts, complete this body (of Agni) in a place free from danger and devilry.
3. And the Upasads also are the fervour1 in the sacrifice, for they are indeed fervour; and inasmuch as it is built (ki) in fervour (tapas) it is called 'Tâpaskita.' As long as they perform the Upasads so long (do they perform) the Pravargya3: (if) it is for a year that they perform the Upasads, it is for a year (they perform) the Pravargya.
4. The Upasads, indeed, are the days and nights, and the Pravargya is the sun: he thus establishes yonder sun on the days and nights, whence he is established on the days and nights.
5. And if there are twenty-four (Upasad-days), there being twenty-four half moons-the Upasads
1Or, austere devotion, see III, 4, 4, 27, where fasting during the Upasad days is recommended as calculated to promote religious fervour. There is also, however, the primary meaning 'heat' implied, whence the 'heating' of the cauldron (gharma=epμós) at the Pravargya (representing the sun) is connected with the Upasads.
That is, the fire-altar used at the sacrificial period (ayana) called Tâpaskita, which generally requires a full year (360 days) for the performance of the Upasads (as do also the Dîkshâ before them, and the performance of the Soma-sacrifice after them); cf. XII, 3, 3, 10 seq.; Kâty. XIV, 5, 1.-Âsval. XII, 5,9; Kâty. XXIV, 5, 7, however, mention a Tapaskita which only requires four months for each of the three periods, or a year altogether, whilst the maximum duration is by Âsv. fixed at thirty-six years (twelve for each period); and by Kâty. at three years for the Upasads and a year for each of the two other ceremonies.
See part ii, p. 104.
Sâyana does not specify what sacrificial performance is intended as requiring twenty-four Upasad-days, but merely says that they are required 'kratuviseshe,' at some special kind of sacrifice. At all events, the Sacrificer would be at liberty to adopt that number of Upasad-days instead of the minimum of days prescribed, if he hoped to derive special benefit therefrom.
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are the half-moons, and the Pravargya is the sun : he thus establishes yonder sun on the half-moons, whence he is established on the half-moons.
1_
6. And if there are twelve (Upasad-days) 1there being twelve months-the Upasads are the months, and the Pravargya is the sun: he thus establishes yonder sun on the months, whence he is established on the months.
7. And if there are six (Upasad-days)—there being six seasons-the Upasads are the seasons, and the Pravargya is the sun: he thus establishes yonder sun in the seasons, whence he is established in the seasons.
8. And if there are three (Upasad-days)—there being these three worlds-the Upasads are these three worlds, and the Pravargya is the sun: he thus establishes yonder sun in these worlds, whence he is established in these worlds.
9. Now, then, the inquiry as to the earth-layers of the altar-pile. One month (the building of) the first layer (of bricks takes), and one month the layer of earth 2,—so long desire (lasts) in the spring season (of two months): he thus builds for himself a body so as to obtain all of whatever desire there is in the spring season.
For an ordinary Ekâha, or one day's Soma-sacrifice, the Upasads may be performed for twelve days instead of the usual three days (Kâty. VIII, 2, 40). It is also the regular number of day's for Ahînas (ib. XIII, 1, 1; Âsv. IV, 8, 15) and for most sattras.
That is, when the Upasads last for a whole year, as at the Tâpaskita.
3 That is, by building for his Soma-sacrifice an altar the body of which requires a whole year in being laid down, as it does in the Tâpaskita.
• Translated literally, the sentence would run thus: 'Thus as
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10. One month the second (layer of bricks takes), and one month the layer of earth,- -so long desire (lasts) in the summer season: he thus builds for himself a body so as to obtain all of whatever desire there is in the summer season.
II. One month the third (layer of bricks takes), and one month the layer of earth,-so long desire (lasts) in the rainy season: he thus builds for himself a body so as to obtain all of whatever desire there is in the rainy reason.
12. One month the fourth (layer of bricks takes), and one month the layer of earth,— -so long desire (lasts) in the autumn season: he thus builds for himself a body so as to obtain all of whatever desire there is in the autumn season.
13. And of the fifth layer (of bricks) he lays down the Asapatnâ and Virâg (bricks) on the first day, and of the Stomabhâgâs one each day: these he 'settles' together once, and pronounces once the sûdadohas-formula over them 1. For a month they silently apply the earth-layer for the Stomabhâgâs, for so long desire (lasts) in the winter season: thus he builds for himself a body so as to obtain all of whatever desire there is in the winter season.
14. One month the sixth (layer of bricks takes),
much desire as there is in the spring season-he builds for himself a body so as to obtain all that (desire). Only the building of an altar (body) for a whole year ensures the full fruition of sensual pleasures supplied during the year.
That is, these three kinds of bricks-the five Asapatnâs, and forty Virâgs being laid down on the first day, and of the twenty-nine Stomabhâgâs one each day,-the three kinds of bricks thus take one month in being laid down, after which the 'sâdanam' and 'Sûdadohas' (cf. part iii, p. 301, note 3) are performed upon
them.
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and one month the layer of earth,--so long desire (lasts) in the dewy season : he thus builds for himself a body so as to obtain all of whatever desire there is in the dewy season. So long, indeed, desire (lasts) in the twelve months and the six seasons : he thus builds for himself a body so as to obtain all of whatever desire there is in the twelve months and . the six seasons.
15. And in addition to these there are three days !, to wit, the day on which he performs the Satarudriya offering, the day of preparation, and the day on which the Soma is pressed. When they perform the Upasad on these days, these (days) are the days and nights of that (thirteenth, or intercalary) month : and when they perform) the Pravargya, he thereby establishes yonder sun also in that (seventh) season,
—so long, indeed, desire (lasts) in the thirteen months and the seven seasons : he thus builds for himself a body so as to obtain all of whatever desire there is in thirteen months and seven seasons.
16. For a year Soma should be pressed,—the year is everything, and the one hundred and one-fold (altar) is everything : by means of everything he thus gains everything. Should he be unable (to press Soma) for a year, he should perform the Visvagit Atirâtra with all the Pri
1 Viz. after the twenty-eight days of the twelfth month two days remain to make up the year, so that the (first) Sutya day (pressing day) takes place after the expiry of a full year.
? The Visvagit, as usually performed, is an Agnishtoma sacrifice, the twelve Stotras of which are chanted in three different stomas or hymn-forms, viz. the first four in the trivrit (nine-versed), the next four in the pañkadasa (fifteen-versed), and the last four in the saptadasa (seventeen-versed) stoma. For the stotriya-texts see
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shthas ', and at that (sacrifice) he should give away all his property 2 ; for the Visvagit (all-conquering) Atirâtra with all the Prishthas means everything, and all one's property means everything, and the one hundred and one-fold (altar) means everything : by means of everything he thus gains everything.
Sixth BRÂHMANA.
1. The one hundred and one-fold Pragâ pati, doubtless, is the year, and thereto belong days and
Tândya-Br. XVI, 5, I seq. It is closely united with the Abhigit Soma-day-the stotras of which are performed in four stomas, viz. three in each of those used for the Visvagit, and the last three in the ekavimsa, or twenty-one-versed, stoma— with which it may, indeed, be combined in one and the same performance; and both form part of the sacrificial session called Gavâm ayanam (part ii, p. 427). The Visvagit (as well as the Abhigit) may, however, also be performed as an Atirâtra instead of Agnishtoma, and in that case the sequence of Slomas is entirely different, their order being as follows: the first four stotras are performed in the first four stomas (trivrit, panikadasa, saptadasa, ekavimsa); the next four stotras in the four stomas beginning with the second stoma (up to trinava), and the next four stotras in the four stomas beginning with the third stoma (up to trayastrimsa). Of the three Ukthastotras, the first is performed in the trinava, and the two others in the ekavimsa; the Shodasin in its own (ekavimsa) form; the night-chants in the pankadasa; and the twilight-chant in the trivrit-stoma. See Tândya-Br. XX, 9.
1 On sarvaprish/ha' Soma-days, see part iii, introduction, pp. xx seq.
* As an equivalent for one's' whole property (sarvavedasa, sarvasva), Kâtyâyana (XXII, 2, 26.27) enumerates 'cows, oxen, ploughs, sacks of corn (or corn-sacks), pairs of slaves, waggons, animals for riding, houses (or sheds), and couches.' For other similar enumerations, see A. Weber, Omina and Portenta (Abb. of Berl. Acad. 1858), p. 398.
[43]
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nights, half-months, months, and seasons. The days and nights of a month are sixty, and in the month, doubtless, the days and nights of the year are obtained; and there are twenty-four half-months, thirteen months, and three seasons (of four months) --that makes a hundred parts, and the year itself is the one hundred and first part.
2. By the seasons it is sevenfold,—six seasons (of two months), and the year itself as the seventh part. And he who shines yonder is the light of that year: his rays are a hundredfold, and the (sun's) disk itself is the one hundred and first part.
3. By the regions it is sevenfold, -the rays which are in the eastern region are one part, and those in the southern are one, and those in the western are one, and those in the northern are one, and those in the upper (region) are one, and those in the lower (region) are one, and the disk itself is the seventh part.
4. Beyond this (year) lies the wish-granting world ; but the wish-granting one is the immortal (element): it is thus the immortal that lies beyond this (year, temporal existence); and that same immortal (element) is that very light which shines yonder.
5. Now that same boon (the immortal light), bright with wealth, he, Savitri (the sun), distributes among the distributed creatures, and among plants and trees, too; and to some, indeed, he gives more of it, and to some less; and they to whom he gives more of it live longest, and they to whom he gives less live less long.
6. It is regarding this that it is said in the Rik (I, 22, 7; Vâg. S. XXX, 4), 'The distributer of wealth, the bright boon, we invoke, Savitri, the beholder of men.' And that is the full
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(measure of) life, for it is long, it is unending ?; and when people here say, May thy life be long ! mayest thou reach the full (extent of) life!' it is as much as to say, “May that world, may that (immortal light) be thine !'
7. It is Vâk (Speech) that, seeing it, speaks (thus). That same (immortal light), indeed, is to be obtained either by the one hundred and one-fold (altar), or by a life of a hundred years: whosoever builds a one hundred and one-fold (altar), or whosoever lives a hundred years, he, indeed, obtains that immortality. Therefore, whether they know it, or whether they do not, people say, 'The life of a hundred years makes for heaven.' Hence one ought not to yield to his own desire and pass away before (he has attained) the full extent of life, for (such shortening of one's life) does not make for the heavenly world 2; and these are indeed the worlds, to wit, the days and nights, the half-moons, moons, and seasons, and the year.
8. Those who pass away in the years below twenty are consigned to the days and nights as their worlds; and those who (pass away) in the years above twenty and below forty, to the half-moons ; and those who (pass away) in the (years) above forty and below sixty, to the months; and those who (pass away) in the (years) above sixty and below
Thus Sâyana—tad etat sarvam ayur iti sarvapadasyârtham kha, dîrgham anantam hi.
? Literally, 'conducive to the world,' or, perhaps, conducive to a place (in yonder world).' Sâyana interprets it by-his death is
alokyam,' that is, not procuring the world consisting of immortality. Some such meaning as. (such conduct) is not world-winning' seems to be implied by the words which follow.
Y 2
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eighty, to the seasons; and those who (pass away) in the (years) above eighty and below a hundred (are consigned) to the year; and he alone who lives a hundred years or more attains to that immortal (life).
9. Only by many sacrifices, indeed, is a single day, or a single night (of life) gained; and only he who builds the one hundred and one-fold (altar), or he who lives a hundred years, is certain of his attaining to that immortal (life). But he, indeed, builds a one hundred and one-fold (altar) who carries him (Ukhya Agni) for a year: hence one should only build (an altar for) such an (Agni) who has been carried for a year. Thus much as to the deity.
10. Now as to the sacrifice. When he measures out those one hundred and one men (man's lengths) with upstretched arms, that is a one hundred and one-fold (altar) in form, and a sevenfold one in respect of its layers: the layers contain six seasonal? (bricks) and the fire (or altar) itself is the seventh form.
11. And, indeed, it is a hundred and one-fold in respect of bricks,—the first fifty bricks and the last fifty ? which are (laid down) make a hundred forms (parts); and the bricks which are laid down between (those two sets) are the one hundred and first form.
1 The five layers contain five sets of two such bricks, each representing the two months of the respective season ; except the third layer, which contains four such bricks, only, however, of half the thickness of the others.
According to Sayana, this refers to the fifty Pranabhrits in the first, and to the forty Virágs, five Nakasads, and five Pankakûdâs in the fifth layer.
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12. And, having the Yagus for its light, it is a hundred and one-fold in respect of the Yagus (formulas),--the first fifty and the last fifty which are (used) make a hundred forms ; and the Yagus which are used between them are the one hundred and first form. In this way also the sevenfold one becomes a hundred and one-fold, and whosoever knows this obtains even by the sevenfold one whatever wish there is both in a life of a hundred years and in the one hundred and one-fold (altar).
13. In this way, indeed, all sacrifices up to the Agnihotra are a hundred and one-fold by way of verses, formulas, words, syllables, rites, and hymntunes; and whosoever knows this obtains by every sacrifice whatever wish there is either in a life of a hundred years, or in the one hundred and one-fold (altar), or in the sevenfold one. Thus much as to the sacrifice.
14. Now as to the body. There are these four sets of five fingers and toes, the two-wrist and elbow?,—the arm, the shoulder-blade, and the collarbone,—that makes twenty-five; and in the same way (each of) these other limbs,—that makes a hundred parts, and the trunk itself is the one hundred and first part. As regards the sevenfold state this has been explained .
Y
· That is, according to Sâyana, all Soma-sacrifices,-ekâhas, ahînas, sattras, &c. In this case we should perhaps translate,
down to the Agnihotra,' that being the simplest kind of Somasacrifice.
* This meaning is assigned by Sâyana to'kalkushi' (=manibandhâratnî); it cannot mean here the two wrists' (? kalyusha,' Mon. Will. Dict.), as both must be parts of the same limb.
9 Viz. X, 2, 2, 1. 5 (VI, 1, 1, 1 seq.).
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15. And, having the vital air for its light, it is a hundred and one-fold by the vital airs limb by limb, for there is vital air in each limb : whosoever knows this obtains, even by his knowledge, whatever wish there is in a life of a hundred years, or in the one hundred and one-fold (altar), or in the sevenfold one, or in all sacrifices; for he has obtained a body perfected by all the sacrifices.
16. Now, there are these three fivefold (objects), the year, the fire, and man: their five forms are food, drink, well-being !, light, and immortality. Whatever food there is in the year, that is its food; whatever water, that is its drink; its well-being is the night, for in the night, as in well-being (contentment or goodness), all beings dwell together?; its light is the day, and its immortal element the sun. Thus much as to the deity.
17. Now as to the sacrifice. Whatever food is placed on the fire, that is its food, and whatever water, that is its water; its well-being is the enclosing-stones, for they are of the nature of nights 3; its light the (bricks) with special formulas, for they are of the nature of days; and its immortal
Or, perhaps, goodness, excellence (sri). ? According to Sâyana, this is an etymological play on the word sri' (well-being, contentment, peace), as connected with the verb sri'--sriyanti nivasanty asmin kala iti râtrih srîsabdavákya. Cf. II, 3, 1, 3, where, with the Kanva, we have to read, ilita hi sere (serate, K.) samgânâh'-'for (when the sun has set) those who are at variance with one another lie quiet (together).
Viz. inasmuch as they enclose the altar, and protect it on all sides. Cf. VII, 1, 1, 12 seq., where the enclosing-stones are said to represent the womb in which the embryo Agni is contained; and are also compared with the ocean which flow's round the earth like a protecting moat.
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element the fire, for that is of the nature of the sun. Thus much as to the sacrifice.
18. Now as to the body. Whatever food there is in man, that is his food; whatever water, that is his water; his well-being (safety, strength) is the bones, for they are of the nature of enclosing-stones; his light the marrow, for that is of the nature of the yagushmati (bricks); his immortal element the breath, for that is of the nature of fire;-and, indeed, people say, 'The breath is fire, the breath is the immortal.'
19. Now, hunger ceases through food, thirst through drink, evil through well-being (goodness), darkness through light, and death through immortality; and, in truth, whosoever knows this from him all these pass away, and he conquers recurring death, and attains the whole (perfect) life. And let him hold this to be immortality in yonder world and life here below. Some, indeed, hold it to be breath, saying, 'The breath is fire, the breath is the immortal ;' but let him not believe this, for something uncertain is breath. And regarding this it has also been said in the Yagus (Vâg. S. XII, 65), • That (bond) of thine I unloose, as from the middle of Ayus (life) :' let him therefore hold it to be immortality in yonder world, and life here below, and thus, indeed, he attains the whole life.
THIRD ADHYAYA. First BRÂHMANA. 1. The Gâyatri is the breath (of Pragâpati, the altar), the Ushnih the eye, the Anushtubh the voice, the Brihati the mind, the Pankti the ear; the Trishtubh is that generative breath ; and the Gagati
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that downward breathing ;—these are the seven metres increasing by four (syllables) each”, which are produced in Agni (the fire-altar).
2. "The Gayatri is the breath,'--thus, whatever power, whatever vigour there is in the breath that is this one thousand ; and to the breath, indeed, this vigour belongs ; for were the breath of him who builds it to pass away, this fire-altar, assuredly, would not be built: by this its form that (altar) becomes built (so as to contain) a thousand Gayatris.
3. 'The Ushnih is the eye,'—thus, whatever power, whatever vigour there is in the eye that is this one thousand; and to the eye, indeed, this vigour belongs, for were the eye-sight of him who builds it to pass away, this fire-altar, assuredly, would not be built: by this its form that (altar) becomes built (so as to contain) a thousand Ushnihs.
4. 'The Anushtubh is the voice,'—thus, whatever power, whatever vigour there is in the voice that is this one thousand; and to the voice, indeed, this vigour belongs, for were the voice of him who builds it to pass away, this fire-altar, assuredly, would not be built: by this its form that (altar) becomes built (so as to contain) a thousand Anushtubhs.
5. 'The Brihati is the mind,'—thus, whatever power, whatever vigour there is in the mind that is this one thousand; and to the mind, indeed, this vigour belongs, for were the mind of him who builds it to pass away, this fire-altar, assuredly,
"The Gayatri verse consists of twenty-four syllables; and each of the following increases by four syllables, the Gagatî consisting of 4 x 12, or forty-eight syllables.
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would not be built: by this its form that (altar) becomes built (so as to contain) a thousand Brihatis.
6. The Pankti is the ear,'—thus, whatever power, whatever vigour there is in the ear that is this one thousand; and to the ear, indeed, this vigour belongs, for were the power of hearing of him who builds it to pass away, this fire-altar, assuredly, would not be built: by this its form that (altar) becomes built (so as to contain) a thousand Panktis.
7. “The Trishtubh is that generative (life-giving) breath,'-thus, whatever power, whatever vigour there is in that breath, that is this one thousand ; and to that breath, indeed, this vigour belongs, for were that breath of him who builds it to become disordered, this fire-altar, assuredly, would not be built: by this its form that (altar) becomes built (so as to contain) a thousand Trish/ubhs.
8. 'And the Gagati is that downward breathing,'thus, whatever power, whatever vigour there is in that breathing, that is this one thousand; and to that breathing, indeed, this vigour belongs, for were that breathing of him who builds it to become disordered, this fire-altar, assuredly, would not be built : by this its form that (altar) becomes built (so as to include) a thousand Gagatis.
9. Now, these seven metres which increase by four (syllables) successively, and are firmly established in one another, are those seven vital airs' in man, firmly established in one another : thus, by
· Viz. those enumerated in the preceding paragraphs, including those passing through the eye, ear, &c.
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as much as the number of metres he utters has that (altar) of him who knows this, prayers uttered upon it in metre after metre, or hymns chanted, or sastras recited, or (bricks) laid down upon it.
SECOND BRAHMANA. 1. As to this they say, 'What metre and what deity are the head of the fire-altar ?' The metre Gayatri and the deity Agni are its head.
2. "What metre and what deity are its neck ?' The metre Ushrih and the deity Savitri are its neck.
3. What metre and what deity are its spine?' The metre Brihati and the deity Brihaspati are its spine.
4. What metre and what deity are its wings?' The metres Brihat and Rathantara and the deities Heaven and Earth are its wings.
5. What metre and what deity are its waist ?' The metre Trishtubh and the deity Indra are its waist.
6. What metre and what deity are its hips ?' The metre Gagati and the deity Aditya (the sun) are its hips.
7. What metre and what deity are the vital air whence the seed flows?' The metre Atikhandas and the deity Pragâ pati.
8. 'What metre and what deity are that downward vital air?' The metre Yagñayagñiya and the deity Vaisvânara.
9. 'What metre and what deity are the thighs ?' The metre Anushtubh and that deity, the Visvedevâh, are the thighs.
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10. 'What metre and what deity are the knees?' The metre Pankti and that deity, the Maruts, are the knees.
II. 'What metre and what deity are the feet?' The metre Dvipadâ and the deity Vishnu are the feet.
12. 'What metre and what deity are the vital airs?' The metre Vikhandas and the deity Vâyu (the wind) are the vital airs.
13. 'What metre and what deity are the defective and redundant parts?' The metre (of the verse) wanting a syllable (or syllables) and that deity, the waters, are the defective and redundant parts. This, then, is the knowledge of the body (of the altar), and suchlike is the deity that enters into this body; and, indeed, there is in this (sacrificial performance) no other prayer for the obtainment of heavenly bliss'.
THIRD BRAHMANA.
1. Dhira Sâtapar neya once on a time repaired to Mahâsâla Gâbâla. He said to him, 'Knowing what, hast thou come to me?'-'Agni (the fire) I know.'-'What Agni knowest thou?'-'Speech.''What becomes of him who knows that Agni? '— 'He becomes eloquent,' he said, 'speech does not fail him.'
Atrâgnau lokyatâyai punyalokâvâptaye anyâ uktavyatiriktâ âsîh prârthanâ nâsti. Sâyana.
Literally, one who keeps a large house, a lord. Sâyana, however, treats it as a proper name.
That is, with what knowledge.'
• Or, perhaps, possessed of a good voice. To be 'vâgmin' is
1
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2. “Thou knowest Agni,' he said ; 'knowing what (else) hast thou come to me?'-'Agni I know.'—
What Agni knowest thou ?'—* The Eye.'-'What becomes of him who knows that Agni ?'-—He becomes seeing,' he said; "his eye does not fail him.'
3. 'Thou knowest Agni,' he said ; 'knowing what hast thou come to me?'--'Agni I know.' — What Agni knowest thou ?'—'The Mind.'—'What becomes of him who knows that Agni ?'--' He becomes thoughtful,' he said; "his mind does not
fail him.'
4. Thou knowest Agni,' he said ; 'knowing what hast thou come to me?'—'Agni I know.'— What Agni knowest thou ?'- The Ear.'-- What becomes of him who knows that Agni?'—'He becomes hearing,' he said ; his ear does not fail him.'
5. 'Thou knowest Agni,' he said ; 'knowing what hast thou come to me?'—' Agni I know.'—What Agni knowest thou ?'—'The Agni who is everything here, him I know.'-On (hearing) this said, he stepped down to him and said, “Teach me that Agni, sir!'
6. He said,—Verily, that Agni is the breath ; for when man sleeps, speech passes into the breath, and so do the eye, the mind, and the ear; and when he awakes, they again issue from the breath. Thus much as to the body.
7. Now as to the deity. That speech verily is Agni himself; and that eye is yonder sun; and that
enumerated among the necessary qualifications of the officiating priest by Lâty. I, 1, 6, where the commentator, however, explains the term either as 'ready of speech (vaktum samarthar),' or as using correct, or elegant, speech (samskritavak).'
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mind is that moon; and that ear is the quarters; and that breath is the wind that blows here.
8. Now, when that fire goes out, it is wafted up in the wind (air), whence people say of it,' It has expired; for it is wafted up in the wind. And when the sun sets it enters the wind, and so does the moon; and the quarters are established in the wind, and from out of the wind they issue again. And when he who knows this passes away from this world, he passes into the fire by his speech, into the sun by his eye, into the moon by his mind, into the quarters by his ear, and into the wind by his breath ; and being composed thereof, he becomes whichever of these deities he chooses, and is at rest.
Fourth BRAHMANA. 1. Svetaketu Âruneya?, once upon a time, was about to offer sacrifice. His father said to him,
What priests hast thou chosen to officiate ?' He said, “This Vaisva vasavya here is my Hotri.' He asked him, “Knowest thou, Brâhmana Vaisvâvasavya,
2. The four great (things)?'— I know them, sir,' he said.—' Knowest thou the four great ones of the great ?'—'I know them, sir,' he said.— Knowest thou the four rites (vrata) ?'—'I know them, sir,' he said. — Knowest thou the four rites of rites?'-- I know them, sir,' he said. — Knowest thou the
1 Literally, it has blown out, or up.'
That is, grandson of Aruna (Aupavesi), and son of (Uddálaka) Aruni (II, 3, 1, 31. 34; IV, 5, 7, 9).
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four relating to Ka1?'-'I know them, sir,' he said. -'Knowest thou the four deepest of those relating to Ka?' I know them, sir,' he said.-' Knowest thou the four flames ?'-'I know them, sir,' he said. Knowest thou the four flames of flames?''I know them, sir,' he said.
3. 'Knowest thou the Arka ?'-' Nay, but thou wilt teach us, sir!'-' Knowest thou the two Arkaleaves?'' Nay, but thou wilt teach us, sir !'— 'Knowest thou the two Arka-flowers?'' Nay, but thou wilt teach us, sir!'-' Knowest thou the two pod-leaves of the Arka ?'-' Nay, but thou wilt teach us, sir!'-'Knowest thou the two coops' of the Arka?'' Nay, but thou wilt teach us, sir !'— 'Knowest thou the Arka-grains?'-' Nay, but thou wilt teach us, sir!'-' Knowest thou the bulge of
6
8
1
Sâyana takes 'kya' to mean 'those useful to, or pleasing to (hita), Ka, i.e. Pragâpati.'
Literally, the four Kya of the Kya.' For more symbolical speculation on these terms, see X, 4, 1, 4.
Or, fires (arka), used of the sun, the fire and the lightning, as well as of the Arka plant. Sâyana, however, here explains 'arkâh' by 'arkanîyâh,' 'worthy of being praised, or honoured.'
That is, the Arka plant (Calotropis gigantea), apparently so called (='arka,' lightning) from the wedge-like shape of its leaves. Cf. IX, 1, 1, 4, where the leaf is used in offering the Satarudriya oblations. The other meanings of 'arka,' especially that of 'flame, fire,' however, are likewise implied in these mystic speculations.
Or, simply, 'Thou wilt tell us, then (atha vai), sir.'
? Or, the pods, sheaths; arkakosyau kosyâkâre phale (or putake). Sâyana.
7? Or, 'seas' (samudra). Sâyana explains it as two opened 'lip-parts' at the top of the Arka-pod (arkakosâgre vidalitaush/habhagau).
"That is, according to the St. Petersb. Dict., 'the globular, cakeshaped, hardened cicatrix of the Calotropis gigantea.' Sâyana
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the Arka ?'—'Nay, but thou wilt teach us, sir !'
Knowest thou the root of the Arka ?'- Nay, but thou wilt teach us, sir !
4. Now, when he said, 'Knowest thou the four great things)? Knowest thou the four great of the great ?'—the great one is Agni (the fire), and the great (thing) of that great one are the plants and trees, for they are his food ; and the great one is Vâyu (the wind), and the great (thing) of that great one are the waters, for they are his (the wind's) food; and the great one is Aditya (the sun), and the great thing) of that great one is the moon, for that is his food ; and the great one is Man, and the great (thing) of that great one is cattle, for they are his food :-these are the four great things, these the four great of the great ;—these are the four rites, these the four rites of rites;—these are the four relating to Ka, these the four deepest relating to Ka ;-these are the four flames, these the four flames of flames.
5. And when he said, 'Knowest thou the Arka ?' he thereby meant man ;— Knowest thou the two Arka-leaves ?' he thereby meant his ears ;
Knowest thou the two Arka-flowers ?' he thereby meant his eyes ;— Knowest thou the pod-leaves of the Arka ?' he thereby meant his nostrils ;* Knowest thou the two coops of the Arka ?' he thereby meant his lips ;— Knowest thou the Arkagrains ?' he thereby meant his teeth ;— Knowest thou the bulge of the Arka ?' he thereby meant his tongue ;— Knowest thou the root of the Arka ?'
explains it by, 'arkakosamadhye vistarena (? v. I. gihvâstârana-) vartamânâ tali'
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he thereby meant his food. Now that Arka, to wit, man, is Agni; and verily, whoso regards Agni as the Arka and the man, in his (altar-) body that Agni, the Arka, will be built up even through the knowledge that 'I here am Agni, the Arka.'
Fifth BRAHMANA. 1. Now, the Yagus, indeed, is he who blows here, for even whilst passing along he (Vậyu, the wind) generates (vivifies) everything here, and after him passing along everything is generated : this is why the Yagus is no other than Vâyu.
2. And the course ? (gah) is this space, to wit, this air , for along this space it (the wind) courses ; and the Yagus is both the wind and the air-the
yat' and the 'gâh'—whence (the name) Yagus. And the 'yat' (that which goes) is this (Adhvaryu), for when he 'goes' on (performing), the Rik and Sâman carry that Yagus established on the Rik and Sâman. Hence the Adhvaryu performs his work with the very same Grahas (cups of Soma), (while) there are each time * different stotras (chants) and sastras (recitations) : it is just as if, after driving with a first pair (of horses), one drives with a second
pair.
1.Guh' would rather seem to mean 'the urger, or speeder.'
2 Yad idam antariksham,' perhaps, with the double sense'this air is the "yat (the going, moving thing)"-made use of in the sequel. The construction, however, is not quite clear. Sâyana explains: ayam evâkâso gur iti; gu iti sautro dhâtur gatyarthah; yad idam pratîyamânam antariksham asti tad eva gür iti; yad evokyate--etam âkâsam anulakshya gavate, vâyur gakkhati, vâyugavamadakarana-vâg gûr âkâsah.
• Or, whence (the name) Yagus, to wit, this (Adhvaryu). • That is, in different Soma-sacrifices.
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3. Now Agni is in front ? (puras), for placing Agni in front (of them) these creatures attend upon him; and the sun is motion (karana), for as soon as he rises everything here moves about. Such is the Yagus with the preparatory performance (puraskarana 4) as regards the deities.
4. Now as regards the body. The Yagus is the breath, for whilst moving (yat) it generates (vivifies) everything here, and along with the moving breath birth takes place here: hence the Yagus is the breath.
5. And this course (sah) is space—this space which is inside the body-for along this space it (the breath) courses ; and the Yagus is both the breath and space,-the 'yat' and the 'grah': hence 'yagus.' And the ‘yat' (moving) is the breath, for the breath moves.
6. The Yagus, indeed, is food, for by food one is produced, and by food one moves. And food carries along that Yagus established on food, whence even different food is introduced into the same (channel of the) breath.
7. And the Mind is in front (puras), for the mind is the first of vital airs; and the eye is motion (karana), for it is in accordance with the eye that this
* Literally, apparenily, 'The in-front is Agni.'
. This term, literally, 'moving in front,' seems virtually to imply the entire manual work connected with the sacrifice, and which, along with the muttering of the Yagus-formulas, forms the official duty of the Adhvaryu. It would thus include all the sacrificial performances prior to the muttering of a Yagus, as the finishing or consecratory rite. For a somewhat similar discussion, see IV, 6, 7, 20. 21. The commentary introduces the present discussion thus: atha brâhmanâparanâmadheyasya puraskaranasabdasya pûrvavan nirvakanapurahsaram adhidaivam artham aha.
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body moves. Such is the Yagus with the preparatory performance, firmly established both as regards the deity and the body; and, indeed, whosoever thus knows this Yagus with the preparatory performance to be firmly established both as regards the deity and the body,
8. He, indeed, reaches successfully the end of the sacrifice, unscathed and uninjured: he who knows this becomes the first, the leader (pura-etri), of his own people, an eater of food (i.e. prosperous), and a ruler.
9. And if any one strives to become a rival 1 among his own people to one who knows this, he does not satisfy his dependants ; but, indeed, only he satisfies his dependants, who is faithful to that one and who, along with him, strives to support his dependants.
10. And this is the greatest Brahman (n., mystic science), for than this there is no thing greater ; and, he who knows this, being himself the greatest, becomes the highest among his own people.
11. This Brahman has nothing before it and nothing after it 3; and whosoever thus knows this Brahman to have nothing before it and nothing
? Or, tries to make opposition, as Sâyana takes it-yah purushah sveshu madhye evamvidam uktavidyam gânânam purusham pratibubhushati (!) prātikālyam akaritum ikkhati.
Thus 'anu-bha' is taken by the St. Petersb. Dict. ('to serve, be helpful to'), and by Sâyana-yas tv evamvidam anukülayet sa poshyân poshayitum saknoti.'
s Sâyana seems to take aparavat' in the sense of it has (only) something after it'-srashtavyagagadrúpâparavat-and the use of the word 'aparapurushâh (descendants)' immediately after might indeed seem to favour that interpretation.
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after it, than he there is no one higher among his equals in station; and ever higher will be the descendants that spring from him. Wherefore, if any one would be greater than he, let him reverentially approach the regions in front (to the eastward) of that one in this way, and he will do him no injury?.
12. But, indeed, the mystic import (upanishad) is the essence of this Yagus ; and thus, if, with ever so small a yagus-formula, the Adhvaryu draws a cup of Soma, that (essence) is equal to both the Stotra and the Sastra, and comes up to both the Stotra and the Sastra: hence, however small the essence (flavour) of food, it benefits (renders palatable) the whole food, and pervades the whole food.
13. Satiation (contentment), doubtless, is the successful issue thereof (to wit, of food, and the Yagus): hence when one is satiated by food he feels like one who has succeeded. And joy, the knowledge thereof (viz. of the essence, the mystic import), is its soul (self); and, assuredly, all the gods are of joyful soul; and this, the true knowledge, belongs to the gods alone,--and, indeed, whosoever knows this is not a man, but one of the gods.
The NSS. of the commentary (I. O.613. 149) are unfortunately not in a very satisfactory condition :-sa yo haitad iti, evam upâsîtety arthah; yadi vedituh sakâsât gyayasah purushasya sadbhâve tada svayam bâdhyo bhavatîty a sankya tasmâd adhikapurushâd adhikam (akhâdikất B) [vastu disyopâsîtavyam (!) ity âha, yossmag gyâyân iti; yadi asmâd upâsakât yosdhikah syât tarhi tasmâd adhikât, om. B] disah pûrvâ ity upâsîta ; tatah gyâyaso s pi gyâya-upâsane svasyâdhikyât bâdhako nâstîty arthah. The commentary would thus seem to take it to mean that by showing reverence to something before, or higher than, his rival, he would turn aside his schemes.
Z 2
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14. And Priyavrata Rauhinayana, knowing this (truth), once spake unto the blowing wind, • Thy soul is joy: blow thou either hither or thither!' and so, indeed, it now blows. Wherefore, if one desire to invoke any blessing from the gods, let him approach them with this, Your soul is joy,-my wish is such and such : let it be fulfilled unto me!' and whatever the wish he entertains, it will be fulfilled to him ; for, assuredly, he who knows this attains this contentment, this successful issue, this joy, this soul.
15. This Yagus is silent’, indistinct; for the Yagus is the breath, and the breath is of silent (secret) abode; and if any one were to say of that (Adhvaryu) who pronounces (the Yagus) distinctly,
He has uttered distinctly the indistinct deity : his breath shall fail him!' then that would, indeed, come to pass.
16. And, assuredly, he who knows the indistinct (secret) manifestation of this (Yagus) becomes manifest in fame and glory. Silently the Adhvaryu draws the cup of Soma with the (muttered) Yagus, and, when drawn and deposited, it becomes manifest;—silently he builds the fire-altar with the Yagus, and, when built and completed, it becomes manifest ;-silently he takes out (material for) the oblation with the Yagus, and, when cooked and ready (for offering), it becomes manifest : thus, whatever he performs silently, when performed and completed, it becomes manifest. And, assuredly, he who thus knows this secret manifestation of this
1 Or, thine own self, thy nature—tavâtmâ svarūpam. Sâyana. ? That is, pronounced in an undertone, muttered.
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(Yaçus) becomes manifest in fame, and glory, and sanctity; and quickly, indeed, he becomes known: he becomes the Yagus itself, and by the Yagis people call him?
Fourth Adhyâya. First BRÂHMANA. 1. When the gods restored the relaxed Pragapati, they poured him, as seed, into the fire-pan (ukhâ) as the womb, for the fire-pan is a womb. In the course of a year they prepared for him this food, to wit, the fire-altar built here, and enclosed it in a body; and, being enclosed in a body, it became the body itself; whence food, when enclosed in a body, becomes the body itself.
2. In like manner does the Sacrificer now pour his own self (or body), as seed, into the fire-pan as the womb, for the fire-pan is a womb. In the course of a year he prepares for it (his self) this food, to wit, the fire-altar here built, and encloses it in a body, and, being enclosed in a body, it becomes the body itself; whence food, when enclosed in a body, becomes the body itself.
3. He places him (the Ukhya Agni, on the firealtar) with Vaushat?!' for 'vauk' is he (Agni),
1 Yagushaivainam akakshata iti gñatrigñeyayor abhedopa karena tasya vidusha eva yaguh tasya vyavaharyatvam bhavatîty arthah. Sayana.
See IX, 2, 3, 35, where it was stated that the fire should be laid down with the Vashat-call (vaushall') uttered after the two verses, Våg. S. XVII, 72. 73. Here, as at I, 7, 2, 21, the sacrificial call, vaushal'- for 'vashat,' apparently an irregular subjunctive aorist of vah': 'may he bear (the oblation to the gods)!'is fancifully explained as composed of 'vauk' (i.e. vâk, speech), and 'shat,' six.
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and 'shat (six)' is this six-layered food: having prepared it, he offers it to him as proportionate to this body, for food which is proportionate to the body satisfies, and does not injure it; but when there is too much, it does injure it, and when there is too little, it does not satisfy it.
4. Now that Arka ? (flame) is this very fire which they bring here; and the Kya? is this his food, to wit, the fire-altar built here: that (combined) makes the Arkya? in respect of the Yagus. And the Great one (mahân) is this (Agni), and this vrata 3 (rite) is his food : that makes the Mahâvrata (sâman) in respect of the Sâman. And 'uk' is this (Agni), and tha' his food,—that combined) makes the Uktha (sastra, recitation)" in respect of the Rik. Thus, whilst being only one, this is accounted threefold.
5. Now Indra and Agni were created as the Brahman (priesthood) and the Kshatra (nobility) : the Brahman was Agni and the Kshatra Indra. When created, the two were separate. They spake,
Whilst being thus, we shall be unable to produce creatures (people): let us both become one form!' The two became one form.
6. Now those two, Indra and Agni, are the same as these two, to wit, the gold plate and the (gold) man 0 : Indra is the gold plate, and Agni the man.
See X, 3, 4, 2 seq. ? That is, what relates to the Arka (the Fire, or Agnikayana).
. That is, here, the Mahad uktham, or Great Recitation of the Mahâvrata day.
• Perhaps with the implied sense of fast-food,' fast-milk,' the milk taken by the Sacrificer during the initiation as his only food.
• For the gold plate worn by the Sacrificer whilst carrying about
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They are made of gold : gold means light, and Indra and Agni are the light; gold means immortal life, and Indra and Agni mean immortal life.
7. It is these two, Indra and Agni, that they build up. Whatever is of brick that is Agni : whence they bake that (part) by fire, and all that is baked by fire is Agni. And what filling of earth there is (in the altar) that is Indra : whence they do not bake that (part) by fire, lest it should be Agni, and not Indra. Thus it is these two, Indra and Agni, that are built up.
8. And the two become that one form, to wit, the fire which is placed on the built (altar), and hence those two, by means of that form, produce creatures. Now Agni, indeed, is this single brick ?, and into this the whole Agni passes: this, indeed, is the perfection of bricks,-it is that one syllable (akshara)
vauk,' it is this into which the whole Agni passes, and which is the perfection of syllables.
9. It is this that the Rishi saw when he said, I praise what hath been and what will be, the Great Brahman, the one Akshara,—the manifold Brahman, the one Akshara; for, indeed, all the gods, all beings pass into that Akshara (imperish
the Ukhya Agni, and ultimately deposited on the lotus-leaf in the centre of the altar-site before the first layer is laid down, see VI, 7, 1, I seq.; VII, 4, 1, 10 seq. For the gold man placed on the gold plate, VII, 4, 1, 15 seq. Whilst the gold man was indeed identified with Agni-Pragapati, as well as with the Sacrificer, the gold plate was taken throughout as representing the sun.
According to Sayana, this one brick is the syllable (akshara,' which also means the imperishable, indestructible') 'vauk' contained in the Vaushal,' uttered when the sacred fire is placed on the newly-built altar.
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able element 1): it is both the Brahman and the Kshatra; and the Brahman is Agni, and the Kshatra Indra ; and the Visve Devâh (all the gods) are Indra and Agni. But the Visve Devah (the All-gods) are also the peasantry : hence it is Priesthood, Nobility, and Peasantry.
10. And, indeed, Syâparna Sayakayana, knowing this, once said, 'If this my sacrificial performance were complete, my own race would become the kings (nobles), Brâhmanas, and peasants of the Salvas; but even by that much of my work which has been completed ? my race will surpass the Salvas in both ways; '--for this (Agni, the firealtar), indeed, is (social) eminence and fame, and an eater of food?
Aksharam avinasvaram sarvagatam và brahma sakkidanandaikarasam. Sâyana.
? Or, perhaps-but since so much of my work has been completed, my race will thereby surpass the Salvas. Cf. Delbrück, Altind. Syntax, p. 266.
• Sâyana takes this as intended to explain the 'in both ways' of the quotation, viz. in regard to 'srî' (social distinction on the one hand, and to 'yasas' (fame) and food (material prosperity) on the other. There is, however, nothing in the text to favour any such grouping of the distinctive objects of aspiration associated with the three classes (varnatrayâtmakatvam upagîvya karmanah, srîyaSOs nnädalakshanam phalam. Sâyana), or with men generally (cf. Aitareyâr. I, 4, 2, 10). Perhaps it means both in an intellectual and material point of view. The Syâparnas seem to have been a rather self-assertive family of priests. The Aitareya Brahmana tells the following story about them (VII, 27):—Visvantara Saushadmana, setting aside the Syâparnas, got up a sacrifice without them. The Syâparnas, becoming aware of this, came to the sacrifice and sat them down inside the sacrificial ground. On seeing thern, Visvanlara said, “There sit those doers of evil deeds, those speakers of foul language, the Syâparnas: turn them out; let them not sit inside my sacrificial ground I'_'So be it!' they said, and
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11. And regarding this, Sândilya, having instructed Vâmakaksha yana', said, 'Thou wilt become eminent, famous, and an eater of food (rich);' and, indeed, he who knows this becomes eminent, famous, and an eater of food.
12. And this Agni is no other than Pragâpati.
turned them out. In being turned out, they cried aloud, 'At a sacrifice of Ganamegaya, son of Parikshit, performed without the Kasyapas, the Asitamrigas from amongst the Kasyapas won the Soma-drink from the Bhatavîras (who were officiating). In them they had heroic men on their side: what hero is there amongst us who will win that Soma-drink?'-'Here is that hero of yours, said Rama Margaveya. Rama Mârgaveya was a Syâparniva, learned in sacred lore. When they rose to leave, he said, king, will they turn out of the sacrificial ground even one so learned as me?'- Whoever thou art, what knowest thou, vile Brahman?'When the gods turned Indra away because he had outraged Tvashtri's son Visvarûpa, and laid low Vritra, and thrown devotees before the jackals, and slain the Arurmaghas, and retorted on Brihaspati (the teacher of the gods)-then Indra was deprived of the Soma-cup; and along with him the Kshatriyas were deprived of the Soma-cup. By stealing the Soma from Tvashtri, Indra obtained a share in the Soma-cup, but to this day the Kshatriyas are deprived of the Soma-cup: how can they turn out from the sacrificial ground one who knows how the Kshatriya race can be put in possession of the Soma-cup from which they are deprived?' - Knowest thou (how to procure) that drink, O Brahman?'I know it indeed.'--'Tell us then, O Brâhman?'—'To thee, O king, I will tell it,' he said. Ultimately the Syâparnas are reinstated in their sacrificial duties. Cf. R. Roth, Zur Litteratur und Geschichte des Weda, p. 118. At VI, 2, 1, 39, Syâparna Sayakayana was stated to have been the last who was in the habit of immolating five victims instead of two, as became afterwards the custom.
In the succession of teachers of the doctrine of the fire-altar, given at the end of the present Kanda, Vâmakakshayana is said to have received his instruction from Vâtsya, and the latter from Såndilya, who, in his turn, received it fr
Cf. Weber, Ind. Stud. I, p. 259.
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The gods, having restored this Agni-Pragâpati, in the course of a year prepared this food for him, to wit, this Mahâvratiya cup of Soma.
13. The Adhvaryu draws it by means of a cup, and inasmuch as he draws (grah) it it is (called) a draught (graha, cup of Soma). The Udgâtri (chanter), by the Mahâvrata (sâman), puts flavour (vital sap) into it; and the Mahâvrata (saman) being (composed of) all those (five) samans, he thus puts flavour into it by means of all såmans (hymntunes). The Hotri puts flavour into it by means of the Great Recitation; and the Great Recitation being (composed of) all those Rik-verses : he thus puts flavour into it by all the Rik-verses.
14. And when they chant the hymn, and he (the Hotri) afterwards recites (the sastra), he (the Adhvaryu) offers that (cup of Soma) to him (AgniPragâpati) as the Vashat-call is uttered. Now 'vauk' is this (Agni), and 'shat' this sixfold food ? : having prepared it, he offers it to him as proportionate to his body; for food which is proportionate to the body satisfies, and does not injure it; but when there is too much, it does injure it, and when there is too little, it does not satisfy it.
15. Now that Arka (flame) is this very fire-altar
· Viz. the Mahad uktham (see p. 110, note 3), preceded by the chanting of the Mahavrata-såman (see p. 382, note 5).
That is, according as it is flavoured by the six different 'rasas' (Alavours or tastes)—sweet (madhura), sour (amla), salt (lavana), pungent (katuka), bitter (tikta), and astringent (kashấya). Thus according to Sâyana; but see also paragraph 3, where the sixfold nature of the food is identified with the six-layered altar. Perhaps both explanations are intended to apply.
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built here; and the Kya is this his food, to wit, the Mahâvratiya-graha: that (combined) makes the Arkya in respect of the Yagus. And the Great one (mahân) is this (Agni), and this rite (vrata) is his food: that makes the Mahâvrata in respect of the Sâman. And 'uk' is this (Agni), and 'tha' his food that makes the (Mahad) Uktha in respect of the Rik. Thus, whilst being only one, this is accounted threefold.
:
2
16. And this Agni Pragâpati, the year1 the Sâvitra (oblations) are one half thereof, and the Vaisva-karmana (oblations) the (other) half; the Sâvitra are eight digits (kalâ 3) thereof, and the Vaisvakarmana (the other) eight; and that which is performed between them is the seventeenfold Pragâpati. Now what a digit is to men that a syllable (akshara) is to the gods.
17. And loma (hair)' is two syllables, 'tvak (skin)' two, asrik (blood)' two, 'medas (fat)' two, 'mâmsam (flesh)' two, 'snâva (sinew)' two, 'asthi (bone)' two, maggâ (marrow)' two, that makes sixteen digits; and the vital air which circulates therein, is the seventeenfold Pragâpati.
18. These sixteen digits convey the food to that vital air; and when they take to conveying no food to it, then it consumes them and departs (from the body): hence he who is hungry here, feels very
C
'Or, perhaps, this Pragâpati-Agni is the year.
For these two sets of formulas and oblations, see IX, 5, 1, 43 and note.
A 'kalâ' is the sixteenth part of the moon's diameter, and then a sixteenth part generally.
Pronounce 'tu-ak.'
For five of these parts of the body, see X, 1, 3. 4.
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restless, consumed as he is by his vital airs; and hence he who suffers from fever becomes very thin, for he is consumed by his vital airs.
19. Now for that seventeenfold Pragâpati they prepared this seventeenfold food, the Soma-sacrifice : those sixteen digits of his are these sixteen officiating priests,-one should not, therefore, take a seventeenth priest lest one should do what is excessive ;-and what vital sap there is here—the oblations that are offered—that is the seventeenfold food.
20. And when they chant the hymn, and when he (the Hotri) afterwards recites (the sastra), he (the Adhvaryu) offers to him that food as the Vashatcall is uttered. Now 'vauk’ is this (Agni), and 'shat' this sixfold food: having prepared it, he offers it to him as proportionate to his body; for food which is proportionate to the body satisfies, and does not injure it; but when there is too much it does injure it, and when there is too little, it does not satisfy it.
21. Now that Arka (flame) is this very fire-altar built here ; and the Kya is this his food, to wit, the Soma-sacrifice : that combined) makes the Arkya in respect of the Yagus. And the Great one (mahân) is this (Agni), and this rite (vrata) is his food : that makes the Mahâvrata in respect of the Sâman. And 'uk' is this (Agni), and tha' his food : that makes the (Mahad) Uktha in respect of the Rik.
Thus, whilst being only one, this is accounted threefold. With this food he went upwards ; and he who
* This prohibition is probably directed against the Kaushitakins, who recognise a seventeenth officiating priest, the Sadasya, who seems to have taken no other part in the sacrificial performance except sitting in the Sadas as the permanent custodian thereof.
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went upwards is yonder sun, and that food wherewith he went up is that moon.
22. He who shines yonder is indeed that Arka (flame), and that moon is his food, the Kya : that (combined) makes the Arkya in respect of the Yagus. And the Great one (mahân) is this (Agni), and this rite (vrata) is his food : that makes the Mahâvrata in respect of the Sâman. And 'uk' is this (Agni), and 'tha' his food : that makes the (Mahad) Uktha in respect of the Rik. Thus, whilst being only one, this is accounted threefold. Thus much as to the deity.
23. Now as to the body. The Arka (flame), doubtless, is the breath (vital air), and the Kya is its food : that makes the Arkya in respect of the Yagus. And the Great one (mahân) is this (Agni), and this rite (vrata) is his food : that makes the Mahâvrata in respect of the Sâman. And 'uk'is this (Agni), and 'tha' his food : that makes the (Mahad) Uktha in respect of the Rik. Thus, whilst being only one, this is accounted threefold. And, indeed, that (Agni) is that (sun) as to the deity, and this (breath) as to the body.
SECOND BRAHMANA. 1. Verily, Pragâpati, the year, is Agni, and King Soma, the moon. He himself, indeed, proclaimed (taught) his own self to Yagñavakas Râgastambâyana, saying, 'As many lights as there are of mine, so many are my bricks.
2. Now in this Pragâpati, the year, there are seven hundred and twenty days and nights, his lights, (being) those bricks; three hundred and sixty
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enclosing-stones1, and three hundred and sixty bricks with (special) formulas. This Pragâpati, the year, has created all existing things, both what breathes and the breathless, both gods and men. Having created all existing things, he felt like one emptied out, and was afraid of death.
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3. He bethought himself, ' How can I get these beings back into my body? how can I put them back into my body? how can I be again the body of all these beings?'
4. He divided his body into two; there were three hundred and sixty bricks in the one, and as many in the other: he did not succeed 2.
5. He made himself three bodies,-in each of them there were three eighties of bricks: he did not succeed.
6. He made himself four bodies of a hundred and eighty bricks each: he did not succeed.
7. He made himself five bodies,-in each of them there were a hundred and forty-four bricks : he did not succeed.
8. He made himself six bodies of a hundred and twenty bricks each: he did not succeed. He did not develop himself sevenfold 3.
9. He made himself eight bodies of ninety bricks each he did not succeed.
10. He made himself nine bodies of eighty bricks each he did not succeed.
1 See X, 4, 2, 27 with note.
2 Na vyâpnot, intrans., 'he did not attain (his object),' cf. vyâpti, in the sense of 'success';-(svayam teshâm âtmâ bhavitum) asamartho bhavat. Sâyana.
3 Or, did not divide sevenfold, na saptadhâ vyabhavat,—saptadhâvibhagam na kritavân. Sâyana.
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11. He made himself ten bodies of seventy-two bricks each : he did not succeed. He did not develop elevenfold.
12. He made himself twelve bodies of sixty bricks each : he did not succeed. He did not develop either thirteenfold or fourteenfold.
13. He made himself fifteen bodies of forty-eight bricks each: he did not succeed.
14. He made himself sixteen bodies of forty-five bricks each: he did not succeed. He did not develop seventeenfold. .
15. He made himself eighteen bodies of forty bricks each : he did not succeed. He did not develop nineteenfold.
16. He made himself twenty bodies of thirty-six. bricks each: he did not succeed. He did not develop either twenty-one-fold, or twenty-two-fold, or twenty-three-fold.
17. He made himself twenty-four bodies of thirty bricks each. There he stopped, at the fifteenth ; and because he stopped at the fifteenth arrangement there are fifteen forms of the waxing, and fifteen of the waning (moon).
18. And because he made himself twenty-four bodies, therefore the year consists of twenty-four half-months. With these twenty-four bodies of thirty bricks each he had not developed (sufficiently). He saw the fifteen parts of the day, the muhûrtas?,
· Literally, shifting (about of the bricks of the allar), de velopment.
9 The day and night consists of thirty muhûrtas, a muhûrta being thus equal to about forty-eight minutes or four-fifths of an hour,
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as forms for his body, as space-fillers (Lokamprinās). as well as fifteen of the night; and inasmuch as they straightway (muhu) save (trai), they are (called) 'muhûrtâh'; and inasmuch as, whilst being small, they fill (půr) these worlds (or spaces, 'loka ') they are (called)' lokamprinah.'
19. That one (the sun) bakes everything here, by means of the days and nights, the half-moons, the months, the seasons, and the year; and this (Agni, the fire) bakes what is baked by that one : 'A baker of the baked (he is),' said Bharad våga of Agni ; for he bakes what has been baked by that (sun).'
20. In the year these (muhůrtas) amounted to ten thousand and eight hundred : he stopped at the ten thousand and eight hundred.
21. He then looked round over all existing things, and beheld all existing things in the threefold lore (the Veda), for therein is the body of all metres, of all stomas, of all vital airs, and of all the gods : this, indeed, exists, for it is immortal, and what is immortal exists; and this (contains also) that which is mortal.
22. Pragâpati bethought himself, “Truly, all existing things are in the threefold lore: well, then, I will construct for myself a body so as to contain the whole threefold lore.'
23. He arranged the Rik-verses into twelve thousand of Brihatis, for of that extent are the
1 The Lokamprinâ bricks contained in the whole fire-altar amount to as many as there are muhûrtas in the year, viz. 10,800; see X, 4, 3, 20.
2 The Brihatî verse, consisting of 36 syllables, this calculation makes the hymns of the Rig-veda to consist of 36 x 12,000= 432,000 syllables.
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verses created by Pragàpati. At the thirtieth arrangement they came to an end in the Parktis; and because it was at the thirtieth arrangement that they came to an end, there are thirty nights in the month; and because it was in the Panktis, therefore Pragàpati is pânkta' (fivefold). There are one hundred-andeight hundred ? Panktis.
24. He then arranged the two other Vedas into twelve thousand Brihatis,-eight (thousand) of the Yagus (formulas), and four of the Sâman (hymns) —for of that extent is what was created by Pragâpati in these two Vedas. At the thirtieth arrangement these two came to an end in the Parktis; and because it was at the thirtieth arrangement that they came to an end, there are thirty nights in the month ; and because it was in the Panktis, therefore Pragâpati is 'pânkta. There were one hundredand-eight hundred ? Panktis.
25. All the three Vedas amounted to ten thousand eight hundred eighties (of syllables) 8; muhůrta by muhůrta he gained a fourscore (of syllables), and muhůrta by muhárta a fourscore was completed
26. Into these three worlds, (in the form of) the
The Pankti consists of five pâdas (feet) of eight syllables each. . That is to say, 10,800 Panktis, which, as the Pankti verse has 40 syllables, again amount to 432,000 syllables.
: The three Vedas, according to the calculations in paragraphs 23 and 24, contain 2 x 432,000 = 864,000 syllables, which is equal to 80 x 10,800. On the predilection to calculate by fourscores, see p. 112, note 1.
• That is, within the year, for the year has 360 x 30 = 10,800 muhârtas, which is just the amount of eighties of which the three Vedas were said to consist. I do not see how any division of the muhârta' itself into eighty parts (as supposed by Professor Weber, Ind. Streifen, I, p. 92, note 1) can be implied here. [43]
Aa
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SATAPATHA-BRAHMANA. fire-pan!, he (Pragâpati) poured, as seed into the womb, his own self made up of the metres, stomas, vital airs, and deities. In the course of a half-moon the first body was made up, in a further (half-moon)
the next (body), in a further one the next, --in a year · he is made up whole and complete.
27. Whenever he laid down an enclosing-stone ?, he laid down a night, and along with that fifteen muhůrtas, and along with the muhůrtas fifteen eighties (of syllables of the sacred texts) 3. And whenever he laid down a brick with a formula (yagushmatt), he laid down a day , and along with that fifteen muhûrtas, and along with the muhůrtas fifteen eighties (of syllables). In this manner he put this threefold lore into his own self, and made it his own; and in this very (performance) he became the body of all existing things, (a body) composed of the metres, stomas, vital airs, and deities; and having become composed of all that, he ascended upwards; and he who thus ascended is that moon yonder.
28. He who shines yonder (the sun) is his founda1 On the construction of the Ukha, as representing the universe, see VI, 5, 2 seq.
The number of parisrits' by which the great altar is enclosed is only 261; but to these are usually added those of the other brick-built hearths, viz. the Garhapatya (21) and the eight Dhishnyas (78),—the whole amounting to 360 enclosing-stones, or one for each day (or night) in the year.
• According to paragraph 25, a fourscore of syllables was completed in each muhûrta; and day and night consist of fifteen muhûrtas each.
• See IX, 4, 3, 6, where the number of Yagushmati bricks is said to be equal to that of the parisrits, or enclosing-stones - with, however, 35 (36) added for the intercalary month, hence altogether 395 (396); cf. X, 4, 3, 14-19.
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·
tion, (for) over him he was built up ?, on him he was built up : from out of his own self he thus fashioned him, from out of his own self he generated him.
29. Now when he (the Sacrificer), being about to build an altar, undergoes the initiation-rite--even as Pragâpati poured his own self, as seed, into the fire-pan as the womb,-so does he pour into the firepan, as seed into the womb, his own self composed of the metres, stomas, vital airs, and deities. In the course of a half-moon, his first body is made up, in a further (half-moon) the next (body), in a further one the next,-in a year he is made up whole and complete.
30. And whenever he lays down an enclosingstone, he lays down a night, and along with that fifteen inuhârtas, and along with the muhůrtas fifteen eighties (of syllables). And whenever he lays down a Yagushmati (brick), he lays down a day, and along with that fifteen muhůrtas, and along with the. muhurtas fifteen eighties (of syllables of the sacred texts). In this manner he puts this threefold lore into his own self, and makes it his own ; and in this very (performance) he becomes the body of all existing things, (a body) composed of the metres, stomas, vital airs, and deities; and having become composed of all that, he ascends upwards.
31. And he who shines yonder is his foundation, for over him he is built up, on him he is built up: from out of his own self he thus fashions him, from out of his own self he generates him. And when
.
1 Viz. inasmuch as the round gold plate, representing the sun, was laid down in the centre of the altar-site, before the first layer was built. Sâyana.
Аа 2
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he who knows this departs from this world, then he passes into that body composed of the metres, stomas, vital airs, and deities; and verily having become composed of all that, he who, knowing this, performs this sacrificial work, or he who even knows it, ascends upwards.
THIRD BRAHMANA. 1. The Year, doubtless, is the same as Death, for hel it is who, by means of day and night, destroys the life of mortal beings, and then they die : therefore the Year is the same as Death; and whosoever knows this Year (to be) Death, his life that (year) does not destroy, by day and night, before old age, and he attains his full (extent of) life.
2. And he, indeed, is the Ender, for it is he who, by day and night, reaches the end of the life of mortals, and then they die : therefore he is the Ender, and whosoever knows this Year, Death, the Ender, the end of his life that (Year) does not reach, by day and night before old age, and he attains his full (extent of) life.
3. The gods were afraid of this Pragâpati, the Year, Death, the Ender, lest he, by day and night, should reach the end of their life.
4. They performed these sacrificial rites—the Agnihotra, the New and Full-moon sacrifices, the Seasonal offerings, the animal sacrifice, and the Soma-sacrifice : by offering these sacrifices they did not attain immortality.
5. They also built a fire-altar,—they laid down
1 Father Time, Pragâpati.
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unlimited enclosing-stones, unlimited Yagushmati (bricks), unlimited Lokamprinâ (bricks), even as some lay them down to this day, saying, 'The gods did so.' They did not attain immortality.
6. They went on praising and toiling, striving to win immortality. Pragâpati then spake unto them, 'Ye do not lay down (put on me) all my forms; but ye either make (me) too large or leave (me) defective: therefore ye do not become immortal.'
7. They spake, 'Tell thou us thyself, then, in what manner we may lay down all thy forms!'
8. He spake, 'Lay ye down three hundred and sixty enclosing-stones, three hundred and sixty Yagushmati (bricks), and thirty-six thereunto; and of Lokamprinâ (bricks) lay ye down ten thousand and eight hundred; and ye will be laying down all my forms, and will become immortal.' And the gods laid down accordingly, and thereafter became immortal.
9. Death spake unto the gods, 'Surely, on this wise all men will become immortal, and what share will then be mine?' They spake, 'Henceforward no one shall be immortal with the body: only when thou shalt have taken that (body) as thy share, he who is to become immortal either through knowledge, or through holy work, shall become immortal after separating from the body.' Now when they said, 'either through knowledge or through holy work,' it is this fire-altar that is the knowledge, and this fire-altar that is the holy work.
10. And they who so know this, or they who do this holy work, come to life again when they have died, and, coming to life, they come to immortal life. But they who do not know this, or do not do this
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holy work, come to life again when they die, and they become the food of him (Death) time after time.
11. But when he builds the fire-altar, he thereby gains Agni, Pragapati, the Year, Death, the Ender, whom the gods gained; it is him he lays down, even as the gods thus laid him down.
12. By the enclosing-stones he gains his nights; by the Yagushmati (bricks) his days, half-moons, months, and seasons; and by the Lokamprinas the muhârtas (hours).
13. Thus the enclosing-stones, supplying the place of nights, are made the (means of) gaining the nights, they are the counterpart of the nights: there are three hundred and sixty of them, for there are three hundred and sixty nights in the year. Of these, he lays twenty-one round the Gârhapatya, seventyeight round the Dhishnya hearths, and two hundred and sixty-one round the Ahavaniya.
14. Then the Yagushmatt (bricks with special formulas):-the grass-bunch, the (four) clod-bricks, the lotus-leaf, the gold plate and man, the two spoons, the naturally-perforated (brick), the důrvâ-brick, the (one) dviyagus, two retahsik, a visvagyotis, two seasonal ones, an ashâdha, the tortoise, the mortar and pestle, the fire-pan, the five victims' heads, fifteen apasyâs, five khandasyâs, fifty prânabhritsthese ninety-eight are (in) the first layer.
15. Then the second (layer) :-five asvinis, two seasonal ones, five vaisvadevis, five prânabhrits, five apasyâs, nineteen vayasyås—these forty-one are (in) the second layer.
16. Then the third (layer) the naturally-perforated one, five regional ones, a visvagyotis, four seasonal ones, ten prânabhrits, thirty-six khandasyâs,
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17. Then the fourth (layer):-first eighteen, then twelve, then seventeen-these forty-seven are (in) the fourth layer.
18. Then the fifth (layer):-five asapatnâs, forty virâgs, twenty-nine stomabhâgâs, five nâkasads, five pañkakudas, thirty-one khandasyâs, eight (of) the Gârhapatya hearth, eight (of) the Punaskiti, two seasonal ones, a visvagyotis, a vikarni, a naturallyperforated one, the variegated stone, the fire which is placed on the altar-these one hundred and thirty-eight are (in) the fifth layer.
19. All these make three hundred and ninety-five. Of these, three hundred and sixty, supplying the place of days, are made the (means of) gaining the days, they are the counterpart of the days: There are three hundred and sixty of them, for there are three hundred and sixty days in the year. And for the thirty-six (additional days) which there are the filling of earth (counts as) the thirty-sixth; and twenty-four thereof, supplying the place of halfmoons, are made the (means of) gaining the halfmoons, they are the counterpart of the half-moons. And the (remaining) twelve, supplying the place of months, are made the (means of) gaining the months, they are the counterpart of the months. And, lest the seasons should be wanting, these (twelve bricks), by two and two (taken) together, supply the place of seasons.
1 Namely, in an intercalary month. The layers of loose soil have to be counted in for the reason that only 35 yagushmatis remain after taking away the 360.
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20. And as to the Lokamprina (space-filling bricks), supplying the place of muhůrtas (hours), they are made the (means) of gaining the muhartas, they are the counterpart of the muhůrtas: there are ten thousand and eight hundred of them, for so many muhartas there are in the year. Of these, he lays down twenty-one in the Gârhapatya (altar), seventyeight in the Dhishnya-hearths, and the others in the Ahavaniya. So many, indeed, are the (different) forms of the year: it is these that are here secured for him (Pragâ pati, the Year), and are put on him.
21. Now, some wish to get this total amount in the Ahavaniya itself, arguing, 'Those are different brick-built fire-altars: why should we here in the Âhavaniya altar) take into account those laid down there (in the Gårhapatya and Dhishnyas) ?' But let him not do so. There are, indeed, ten of these fire-altars he builds--eight Dhishnyas, the Åhavaniya and the Gârhapatya--whence they say, 'Agni is Virág (wide shining or ruling),' for the Virág (metre) consists of ten syllables : but, surely, all these (altars and hearths) are looked upon as only one, as Agni ; for it is merely forms of him that they all are,-even as the days and nights, the half-moons, the months, and the seasons (are forms) of the year, so are they all forms of him (Agni).
22. And, assuredly, they who do this put those forms of his outside of him, and produce confusion between the better and the worse; they make the peasantry equal and refractory to the nobility. Surely, on the Agnidhriya he places the variegated,
· Viz, of 10,800 Lokamprinâs. • Viz. the Gårhapatya and Dhisbnya hearths.
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stone1, and that he takes into account: why, then, taking that into account, should he not take others into account? That (altar) by which they ward off Nirriti, evil, is the eleventh.
23. As to this they say, 'Why, then, do they not take into account here those (of Nirriti's altar)?' Because he makes no offering on them, for it is by offering that a brick becomes whole and complete.
24. As to this they say, 'How are these (bricks) of his laid down so as not to be excessive?' Well, these (bricks) are his (Agni's) vital power, and man's vital power is not excessive. Thus whosoever, knowing this, performs this holy work, or he who but knows this, makes up this Pragâpati whole and complete.
FOURTH BRAHMANA.
1. When Pragâpati was creating living beings, Death, that evil, overpowered him. He practised austerities for a thousand years, striving to leave evil behind him.
2. Whilst he was practising austerities, lights went upwards from those hair-pits of his; and those lights are those stars: as many stars as there are, so many hair-pits there are; and as many hair-pits as there are, so many muhûrtas there are in a (sacrificial performance) of a thousand years.
3. In the one-thousandth year, he cleansed himself all through; and he that cleansed all through is this wind which here cleanses by blowing; and that evil which he cleansed all through is this body.
1 See IX, 2, 3, 14-17; 4, 3, 6. 'That is, the pores from which the hairs spring.
See VII, 2, 1, I seq.
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But what is man that he could secure for himself a (life) of a thousand years?? By knowledge, assuredly, he who knows secures for himself (the benefits of a performance) of a thousand years.
4. Let him look upon all these bricks as a thousandfold: let him look upon each enclosing-stone as charged with a thousand nights, each day-holder ? with a thousand days, each half-moon-holder with a thousand half-moons, each month-holder with a thousand months, each season-holder with a thousand seasons, each muharta-holder with a thousand muhûrtas, and the year with a thousand years. They who thus know this Agni as being endowed with a thousand, know his one-thousandth digit; but they who do not thus know him, do not even know a one-thousandth digit of him. And he alone who so knows this, or who performs this sacred work, obtains this whole and complete Pragå patean Agni whom Pragâpati obtained. Wherefore let him who knows this by all means practise austerities * ; for, indeed, when he who knows this practises austerities, even to (abstention from) sexual intercourse, every (part) of him will share in the world of heaven.
1 Tasmai sahasrasamvatsaragivanaya ko và manushyah saknuyat; manushyavadhih satam ato gîvato manushyena sahasrasamvatsarah praptum arakyat. Sây.
* That is, the majority of Yagushmati bricks, viz. 360 of them, whilst the remaining ones are supposed to stand in lieu of halfmoons, months, and seasons; see X, 4, 3, 19.
s Viz. the Lokamprinâ bricks; see X, 4, 3, 20. • Or, religious fervour (meditation).
• Or, as Sayana seems to interpret it, that austerity will gain for him all his (Agni's thousandfold perfection) and the heavenly world (), 'etat tapah agnes tadavayavânâm ka sahasratmakatvarûpam karoti tasmak ka svargalokaprâptir bhavatîty arthah.
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5. It is regarding this that it is said in the Rik (I, 179, 3), Not in vain is the labour which the gods favour; for, in truth, for him who knows there is no labouring in vain, and so, indeed, the gods favour this every (action) of his1.
FIFTH BRAHMANA.
1. Now the doctrines of mystic imports. The Sâkayanins hold that 'Agni is Vâyu (the wind);' but some say that 'Agni is Âditya (the sun).' And either Sraumatya, or Hâlingava, said, 'Agni is no other than Vâyu: wherefore the Adhvaryu, when he performs the last work3, passes into that (wind).'
2. And Sâtyâyani said, 'Agni is no other than the Year; his head is the spring, his right wing the summer, his left wing the rainy season, his middle body (trunk) the autumn season, and his tail and feet the winter and dewy seasons- -Agni is speech, Vâyu breath, the sun the eye, the moon the mind, the quarters the ear, the generative power water*, the feet (and tail) fervour, the joints the months, the veins the half-moons, the silver and gold feathers
1 Evam vidvân yat kurute tat sarvam yad yasmâd devâ avanti. Sây. ' Athânantaram upanishadâm rahasyârthânâm âdesâ upadesâ vakshyante. Sây. - Prof. Oldenberg (Zeitsch. of G. Or. S., 50, p. 457 seq.) takes 'upanishad' in the sense of 'worship.'
That is, the concluding rites of the sacrifice,-tasmâd adhvaryuh yadâ uttamam yagñasamâptilakshanam karma karoti, tadaitam eva vâyum apyeti, tathâ hi, samishrayagurhome devâ gâtuvido gâtum vittvâ gâtum ita manasaspata iti mantre vâki, svâhâ vâte dhâh svâhâ, iti vâyau dhâranam uktam. Sây. See IV, 4, 4, 13, where the sacrifice (though not the Adhvaryu priest) is consigned to the wind by means of the Samishrayagus formulas.
• Note the change in the relative position of subject and predicate from here.
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the days and nights: thus he passes over to the gods. Let him know, then, that Agni is the Year; and let him know that it is thereof' he consists.
3. And Kelaka Sandilyayana said, 'Let him know that the three layers containing the naturallyperforated (bricks) are these worlds, that the fourth (layer) is the Sacrificer, and the fifth all objects of desire; and that it is these worlds, and his own self and all his objects of desire he compasses.'
✓
FIFTH ADHYAYA. FIRST BRÂHMANA. 1. The mystic import of this Fire-altar, doubtless, is Speech; for it is with speech that it is built: with the Rik, the Yagus and the Sâman as the divine (speech); and when he (the Adhvaryu) speaks with human speech, 'Do ye this! do ye that!' then also it (the altar) is built therewith.
2. Now, this speech is threefold—the Rik-verses, the Yagus-formulas, and the Sâman-tunes;—thereby the Fire-altar is threefold, inasmuch as it is built with that triad. Even thus, then, it is threefold; but in this respect also it is threefold, inasmuch as three kinds of bricks are put into it—those with masculine names, those with feminine names, and those with neuter names; and these limbs of men also are of three kinds—those with masculine names, those with feminine names, and those with neuter names.
1 That is, of the objects enumerated before.
9 That is, the first, third, and fifth layers. By the fourth and fifth layers mentioned immediately after, we have not of course to understand the real fourth and fifth layers, but the two making up the five layers (viz. the second and fourth).
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3. This body (of the altar), indeed, is threefold; and with this threefold body he obtains the threefold divine Amrita (nectar, immortality). Now all these (bricks) are called 'ishtakå (f.),' not 'ishta- ! kah (m.),' nor 'ishtakam (n.) : thus (they are called) after the form of speech (vâk, f.), for everything here is speech—whether feminine (female), masculine (male), or neuter—for by speech everything here is obtained. Therefore he settles' all (the bricks) 1 with, “Angiras-like lie thou steady (dhruvâ, f.)!' not with, “Angiras-like lie thou steady (dhruvah, m.)!' or with, Angiras-like lie thou steady (dhruvam, n.)!' for it is that Speech he is constructing.
4. Now, this speech is yonder sun, and this (Agni, the Fire-altar) is Death: hence whatsoever is on this side of the sun all that is held by Death ; and he who builds it (the Fire-altar) on this side thereof, builds it as one held by Death, and he surrenders his own self unto Death ; but he who builds it thereabove, conquers recurring Death, for by his knowledge that (altar) of his is built thereabove.
5. This speech, indeed, is threefold—the Rik. verses, the Yagus-formulas, and the Sâman-tunes : the Rik-verses are the orb, the Sâman-tunes the light, and the Yagus-formulas the man in the sun); and that immortal element, the shining light, is this lotus-leaf*: thus, when he builds up the Fire-altar
See VI, 1, 2, 28; VII, 1, 1, 30. · Viz. the lotus-leaf deposited in the centre of the altar-site, before the first layer is laid down, see VII, 4, 1, 7 seqq., where, however, it is represented as symbolising the womb whence Agni (the fire-altar) is to be born.
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after laying down the lotus-leaf, it is on that immortal element that he builds for himself a body consisting of the Rik, the Yagus, and the Saman; and he becomes immortal.
SECOND BRÂHMANA.
1. Now, that shining orb is the Great Litany, the Rik-verses: this is the world of the Rik. And that glowing light is (the hymn of) the Great Rite, the Sâman-tunes : this is the world of the Sâman. And the man in yonder orb is the Fire-altar, the Yagus-formulas : this is the world of the Yagus.
2. It is this threefold lore that shines, and even they who do not know this say, 'This threefold lore does indeed shine;' for it is Speech that, seeing it, speaks thus.
3. And that man in yonder (sun's) orb is no other than Death; and that glowing light is that immortal element: therefore Death does not die, for he is within the immortal; and therefore he is not seen, for he is within the immortal '.
4. There is this verse :- Within Death is immortality,'—for below death is immortality ;'founded on Death is immortality,'--for established on that man in the sun) the immortal shines ?;-—'Death putteth on the radiant,'-the
* Mrityurûpah purusho - mritarûpe rkishy antar vartate, ... mrityoh purushasya amritam amritarûparkir adhikaranam mandalam &hitam pratishthitam. Sayana. :$Antaram mrityor amritam ity avaram hy etan mrityor amritam' ity adina, avaram adhastadbhavam amritam purushah
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radiant one (vivasvant), doubtless, is yonder sun, for he irradiates (vi-vas) day and night; and it is him that (Death) puts on, for on every side he is surrounded by him ;-Death's self is in the radiant,'—for the self (body) of that man indeed is in that orb: such, then, is that verse.
5. Now, that orb is the foundation (foothold) of both that light and that man; whence one must not recite the Great Litany for another , lest he should cut away that foothold from beneath his own self ; for he who recites the Mahad Uktham for another, indeed cuts away that foothold from beneath his own self: wherefore the (professional) singer of praises (sastra) is greatly despised, for he is cut off from his foothold. Thus in regard to the deity.
6. Now as to the sacrifice. That shining orb is the same as this gold plate (under the altar) 2, and that glowing light is the same as this lotusleaf (under the altar); for there are those (divine)
parastâd ity arthasiddhah; anena amritamadhyavartitvam uktam ity arthah; dvitîyapâdagatâmritapadenârkir adhikaranam mandalam ukyate, tat purushe pratishthitam tapati, tena hi tasya mandalasya gagatprakasakatvam asti. Sây. But for this interpretation, one might have rendered the first pâda by, 'Close unto death is immortality,' for after death comes immortality.
I Cf. Aitareyâr. V, 3, 3, 1, 'No one but a dikshita (initiated) should recite the Mahâvrata (sastra); and he should not recite it at a (Mahâvrata) unless it be combined with the building of) a firealtar; neither should he do so for another person, nor at a (sacrificial session lasting) less than a year,' so say some; but he may recite it for his father or for his teacher, for in that case it is recited on his own behalf.
* In these symbolical identifications, one might also take the relative clause to be the predicate, not the subject, of the sentence; the former usually preceding the latter.
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waters, and the lotus-leaf is water?; and that man in yonder orb is no other than this gold man in the altar): thus, by laying down these in the firealtar), it is that (divine) triad he constructs. And after the consummation of the sacrifice it rises upwards and enters that shining (sun): one need not therefore mind destroying Agni, for he is then in yonder (world) 8. Thus, then, in regard to the sacrifice.
7. Now as to the self (body). That shining orb and that gold plate are the same as the white here in the eye; and that glowing light and that lotusleaf are the same as the black here in the eye; and that man in yonder orb and that gold man are the same as this man in the right eye.
1 Though the sun itself does not consist of water, he at any rate floats along a sea of water ; cf. VII, 5, 1, 8, 'For that indeed is the deepest of waters where yonder sun shines ;' and there are waters above and below the sun, VII, 1, 1, 24; and the sun is encircled by 360 navigable streams, and as many flow towards it, X, 5, 4, 14.Sayana, on the other hand, takes it to mean, 'for that (light) is water,' inasmuch as the sun's rays produce the rain,-arkisho hy âpah süryakiranânâm eva vrishtikartrikatvat karyakâranayor abhedena arkir va apa ity uktam. Possibly this may be the right interpretation.
* See VII, 4, 1, 8, where the lotus-plant is said to represent the (cosmic) waters, whilst the earth is a lotus-leaf floating on the waters.
• According to Sâyana, he is so in the shape of both the sun and the Sacrificer's body or self,- yatossminn agnim kitavân paratradityo bhavati, ato-gnim parihantum nâdriyeta, kitam agnim ishtakâviseshena nâsayitam âdaram na kuryât, kutah, eshosgnir amutra bhavati, paraloke yagamânasarîrâtmanotpadyate; yad vå parihantum praptum sprashhum ity arthah, kityâgnisparsane doshasravanât. Sâyana, thus, is doubtful as to how Agnim parihantum'is to be taken, whether it means 'to injure the altar (? or extinguish the fire) by some brick,' or to knock against (touch) the altar. The St. Petersb. Dict. takes it in the sense of 'to extinguish the fire,'
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8. The Lokamprina (space-filling brick) is the same as that (gold man in the sun) 1: it is that (brick) which this entire Agni finally results in %. Moreover, this man (or person) in the left eye is the mate of that one in the right eye and in the sun); and a mate is one half of one's own self, for when one is with a mate he is whole and complete: thus it (the second man) is for the sake of completeness. And as to there being two of these (persons in the eyes), a pair means a productive couple: hence two Lokamprinâs are laid down each time, and hence they set up the layer by two (kinds of bricks).
9. Now, that person in the right eye is the same as Indra, and (that other person is) the same as Indrâni: it is for the sake of these two that the gods made that partition (between the eyes), the nose ; whence he (the husband) should not eat food in the presence of his wife 6; for from him (who
but it might also, perhaps, mean to destroy the fire-altar' by taking it to pieces.
1 On the identification of the sun with the Lokamprinâ on the ground that the former fills these worlds (lukân pûrayati), see VIII, 7, 2, 1.
Or, finally comes to; viz. inasmuch as it is by the placing of the Lokamprinâ bricks that the altar is completed (Sây.); and inasmuch as Agni passes into the sun.
• Purusho mithunam yoshid ity etasmin mithunam hy átmano ardham ardhabhagah, ardho va esha âtmano yat patniti taittirfyasruteh. Say.
When the layers are filled up with space-fillers,' two Lokamprinâs are first laid down in one of the four corners, and from them the available spaces are then filled up, in two turns, in the sunwise direction; cf. p. 22, note i.
5 Cf. I, 9, 2, 12, whenever women here eat, they do so apart from men;' where the use of the 'gighalsanti' (swallow their
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does not do so) a vigorous son is born, and she in whose presence (the husband) does not eat food bears a vigorous (son) :
10. Such, indeed, is the divine ordinance;-amongst men princes keep most aloof', and for that reason a vigorous (son) is born to them; and of birds the Amrita vâka (does so, and she) produces the Kshiprasyena?
11. Those two (persons in the eyes) descend to the cavity of the heart 3, and enter into union with each other; and when they reach the end of their union, then the man sleeps,-even as here on reaching the end of a human union he becomes, as it were, insensible", so does he then become, as it were,
-
food)-as against asnîyât in our passage-is not meant disrespectfully, but as the regular desiderative of 'ad' (Pân. II, 4, 37), for which no doubt asisishanti' (Sat. Br. III, 1, 2, I might have been used.
? Or, 'act most in secrecy.' Sâyana explains it: manushyânâm madhye râganyabandhavo : nutamam gopayanti atyartham rahasyatvena kurvanti tasmat teshu viryavân putro gâyate. The St. Petersb. Dict., on the other hand, takes it in the sense of 'they protect most of all;' though it is difficult to see how the protection' afforded by princes or rulers could have any bearing on men taking their food apart from their wives. If the above interpretation i right we may compare anu-gup' in the sense of 'to conceal’ See, however, the next note, where Sâyana takes 'gopâyati' in the sense of observes (that law),' which might also have suited here. Princes, having their seraglio, would naturally have less occasion for coming into contact with their wives at mealtime than men of lower stations of life. On the superlative of the preposition, see p. 287, note 1.
'? The swift eagle,-vayasâm pakshinam madhye amritavâkâ nâma pakshigâtir etad vratam gopayati, atah sâ kshipram sîghragâminam syenam nâma pakshinam ganayati. Sây.
| Hridayasyâkâsam daharam prâpya. Sây.
• That is, "unconscious,' with something of indifferent, apathetic,' implied:-Loke mânushasya maithunasyântam galvas sam
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3
12. Therefore let him, who knows this, sleep, for it makes for heaven 2: he thereby, indeed, makes those two deities enjoy their dear wish, union. And one should not therefore forcibly 3 awaken him who sleeps, lest he should hurt those two deities whilst enjoying their union; and hence the mouth of him who has been asleep is, as it were, clammy, for those two deities are then shedding seed, and from that seed everything here originates, whatsoever exists.
13. Now, that man in yonder orb (of the sun), and that man in the right eye truly are no other than Death; his feet have stuck fast in the heart, and having pulled them out he comes forth; and when he comes forth then that man dies: whence T they say of him who has passed away, 'he has been cut off .'
1
4
14. And, indeed, he is the breath (prâna), for it is he (the man in the eye) that leads forward (pranayati) all these creatures. These vital airs (prâna) are his own (sva); and when he sleeps (svapiti) then
vidâ agânâneva nrâ strî bhavati (marg. corr. agânânâv eva strîpurushau bhavatah) evam tadâ tayor mithunabhâve (? mithunâbhâve) purusho samvida iva bhavati. Sây.
1 Viz. because it is the union of Indra and Indrânî.
2 Or, perhaps, it is the usual practice (lokyam), as the St. Petersb. Dict. takes it.
3 Dhureva pîdayaiva na bodhayet, na prabuddham kuryât, dhûrvater himsârthat kvipi tâblope râpam. Sây.
? His (life) has been cut off; or, his (life-string) has been severed. Sâyana (unless there is an omission in the MS.) does not explain 'kâkhedy asya,' but seems to take 'pretam' (passed away) as the word on which the stress lies:-tasmâd imam pretam ity âhuh, prapûrvâd eteh ktapratyaye rûpam; katham, akshipurushanirgame purushasya maranam.
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these vital airs take possession of him as his own (svâ api-yanti): hence (the term) 'svâpyaya (being taken possession of by one's own people),' 'svâpyaya' doubtless being what they mystically call 'svapna (sleep),' for the gods love the mystic.
15. And when he is asleep, he does not, by means of them, know of anything whatever, nor does he form any resolution with his mind, or distinguish the taste of food with (the channel of) his speech, or distinguish any smell with the channel of) his breath ; neither does he see with his eye, nor hear with his ear, for those (vital airs) have taken possession of him. Whilst being one only, he (the man in the eye) is numerously distributed among living beings : whence the Lokamprinâ (representing the man in the sun), whilst being one only in kind), extends over the whole altar; and because he (the man in the eye) is one only, therefore (the Lokamprina) is one.
16. As to this they say, 'One death, or many ?' Let him say, 'Both one and many;' for inasmuch as he is that (man in the sun) in yonder world he is one, and inasmuch as he is numerously distributed here on earth among living beings, there are also many of them.
17. As to this they say, 'Is Death near or far away?' Let him say, 'Both near and far away;' for inasmuch as he is here on earth in the body he is near, and inasmuch as he is that one in yonder world he also is far away.
18. Regarding this there is the verse,- Con
'Or, they keep within him, they nestle in him,-apiyanti prâpnuvanti, aliyanta ity arthah. Sây.
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cealed in food he, the immortal, shineth at the flowing together of vital saps ;'-yonder shining orb is food, and the man in that orb is the eater: being concealed in that food, he shines. Thus much as to the deity.
19. Now as to the body. This body indeed is food, and that man in the right eye is the eater: being concealed in that food he shines.
20. That same (divine person), the Adhvaryus (Yagur-veda priests) serve under the name of Agni' (fire-altar) and 'Yagus,' because he holds together (yug) all this (universe)"; the Khandogas (Sama-veda priests, chanters) under that of 'Sâman,' because in him all this (universe) is one and the same (samâna)?; the Bahvrikas (Rig-veda priests, Hotars) under that of Uktham,' because he originates (utthâp) everything here; those skilled in sorcery, under that of 'sorcery (yâtu),' because everything here is held in check (yata) by him; the serpents under that of 'poison;' the snake-charmers under that of 'snake;' the gods under that of.Org (strengthening food);' men under that of 'wealth ;' demons under that of 'mâyå (magic power);' the deceased Fathers under that of 'svadha (invigorating draught);' those knowing the divine host under that of divine host;' the Gandharvas under that of 'form (rapa 3);' the Apsaras under that of fragrance (gandha),'-—thus, in whatsoever form they serve him that indeed he becomes, and, having become that,
Esha purusha idam sarvam gagad yunakti sarvatra svayam samgata iti. Sây.
Etasmin paramâtmani kârane sarvam karya gåtam samânam it. Sây.
The characteristic attributes of the Gandharvas and Apsaras are evidently exchanged in the text as it stands; cf. IX, 4, 1, 4.
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he is helpful to them; whence he who knows should serve him in all these (forms), for he becomes all that, and, having become all that, he is helpful to him.
21. Now this Agni (fire-altar) consists of three bricks, the Rik being one, the Yagus another, and the Sâman another: whatever (brick) he lays down here with a rik (verse) that has the gold plate for its foundation; whatever (brick he lays down) with a yagus (formula) that has the (gold) man for its foundation; and whatever (brick he lays down) with a sâman (hymn-tune) that has the lotus-leaf for its foundation. Thus he consists of three bricks.
22. And, indeed, these two, to wit, that gold plate and that lotus-leaf join that (gold) man, for both the Rik and the Sâman join the Yagus; and so he also consists of a single brick.
23. Now, that man in yonder orb (of the sun), and this man in the right eye, are no other than Death; and he becomes the body (self) of him who knows this: whenever he who knows departs this world he passes into that body, and becomes immortal, for Death is his own self.
THIRD BRAHMANA.
1. Verily, in the beginning this (universe) was, as it were, neither non-existent nor existent; in
1 Viz. inasmuch as the (round) gold plate (representing the sun) is deposited in the centre of the altar-site, before the first layer is constructed. In the same way the other two objects.
2 Sâyana seems to construe this somewhat differently: sa esho gnir yagurâtmako dhidaivam mandalamadhyavartî adhyâtmam dakshinâkshivartî purusho mrityurûpah.
› Sâyana seems to take 'iva' here in the sense of it often has to be taken, especially in negative sentences.
eva,' as indeed
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the beginning this (universe), indeed, as it were, existed and did not exist : there was then only that Mind.
2. Wherefore it has been said by the Rishi (Rig-veda X, 129, 1), “There was then neither the non-existent nor the existent;' for Mind was, as it were, neither existent nor non-existent.
3. This Mind, when created, wished to become manifest, -more defined', more substantial : it sought after a self (body) 2. It practised austerity:: it acquired consistency 4. It then beheld thirty-six thousand Arka-fires o of its own self, composed of mind, built up of mind : mentally alone they were established (on sacrificial hearths) and mentally
1 Niruktataram niruktam sabdanirvâkyam. Sây.
• Sâyana also allows the interpretation, after its source, or cause,) the (supreme) self,' -âtmânam svakâranam paramâtmânam svasvarūpam va s nvaikkhat. What seems, indeed, implied in these esoteric lucubrations, is that meditation on the infinite is equivalent to all ceremonial rites which are supposed to be incessantly performed for one so engaged, even during his sleep (paragraph 12).
8 I. e. intense meditation (paryâlokanam), Sây.?' it became heated.'
• Sâyana apparently takes 'prâmurkhat' in the sense of became great, or important,'— samukkhritam babhava.
Sâyana here takes arka' in the sense of arkaniya (worthy of veneration), as, indeed, he did several times before; though once he seems to call them 'agnyarkâh,' as being the highest, merely speculative or immaterial form of sacrificial fires or fire-altars (dhyeyâ agnayah); cf. X, 3, 4, 3 seq.- The 36,000 fires are calculated so as to be equal to the number of days in the life of the perfect man living a hundred years (X, 2, 6, 9); there being thus for each day of his life a (spiritual) sacrificial fire, a mental exercise or discipline, as Sâyana expresses it,-tatraikasmin dine (âgneyâ ?) manovrittih.
The text has everywhere the instrumental 'manasa,' which would imply either the agent, the instrument, or the material, as the case might be.
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SATAPATHA-BRAHMANA. built up?; mentally the cups (of Soma) were drawn thereat; mentally they chanted, and mentally they recited on (near) them,—whatever rite is performed at the sacrifice, whatever sacrificial rite there is, that was performed mentally only, as a mental performance, on those (fires or fire-altars) composed of mind, and built up of mind. And whatever it is that (living) beings here conceive in their mind that was done regarding those (mental Agnis?):--they establish them on the hearths) and build them up (as firealtars); they draw the cups for them; they chant on (near) them and recite hymns on them, -of that extent was the development of Mind, of that extent its creation,-so great is Mind : thirty-six thousand Arka-fires; and each of these as great as that former (fire-altar) was.
4. That Mind created Speech. This Speech, when created, wished to become manifest,-more defined, more substantial: it sought after a self. It practised austerity: it acquired consistency. It beheld thirty-six thousand Arka-fires of its own self, composed of speech, built up of speech : with speech they were established, and with speech built up; with speech the cups were drawn thereat; with speech they chanted, and with speech they recited on them—whatever rite is performed at the sacrifice, whatever sacrificial rite there is, that was
1 That is, the ceremonies of Agnyâdhana (establishment of the sacrificial fire) and Agnikayana (building of the fire-altar) were performed by means of these fires. Sâyana remarks that these rites were performed by the same 'beings (bhQtâni),' which are mentioned immediately after, as would, indeed, appear to be the case from paragraph 12.
• Yat kim ka bhätäni manasa dhyâyanti vâkâ vadanti taih samkalpavadanádibhir eva teshâm agninâm karanam. Sây.
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performed by speech alone, as a vocal performance, on those (fires) composed of speech, and built up of speech. And whatever beings here speak by speech that was done regarding those (fires): they establish them and build them up; they draw the cups for them; they chant on them and recite hymns on them,- of that extent was the development of Speech, of that extent its creation,—so great is Speech: thirty-six thousand Arka-fires; and each of these as great as that former (fire-altar) was.
5. That Speech created the Breath. This Breath, when created, wished to become manifest,—more defined, more substantial: it sought after a self. It practised austerity: it acquired consistency. It beheld thirty-six thousand Arka-fires of its own self, composed of breath, built up of breath : with breath they were established, and with breath built up; with breath the cups were drawn thereat; with breath they chanted and with breath they recited on them,—whatever rite is performed at the sacrifice, whatever sacrificial rite there is, that was performed by breath alone, as a breathing-performance, on those (fires) composed of breath, and built up of breath. And whatever beings · here breathe with breath that was done regarding those (fires) :they establish them, and build them up; they draw the cups for them; they chant on them and recite hymns on them, -of that extent was the development of Breath, of that extent was its creation,—so great is Breath : thirty-six thousand Arka-fires; and each of these as great as that former (fire-altar) was.
6. That Breath created the Eye. This Eye, when created, wished to become manifest,-more
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defined, more substantial: it sought after a self. It practised austerity: it acquired consistency. It beheld thirty-six thousand Arka-fires of its own self, composed of the eye, built up of the eye : by means of the eye they were established, and by means of the eye built up; by the eye the cups were drawn thereat; by means of the eye they chanted and recited hymns on them,—whatever rite is performed as the sacrifice, whatever sacrificial rite there is, that was performed by the eye alone, as an eyeperformance, on those (fires) composed of eye, and built up of the eye. And whatever beings here see with the eye that was done regarding those (fires) : they establish them and build them up; they draw the cups for them; they chant on them and recite hymns on them, of that extent was the development of the Eye, of that extent its creation,—so great is the Eye: thirty-six thousand Arka-fires ; and each of these as great as that former (firealtar) was.
7. That Eye created the Ear. This Ear, when created, wished to become manifest,-more defined, more substantial: it sought after a self. It practised austerity: it acquired consistency. It beheld thirtysix thousand Arka-fires of its own self, composed of the ear, built up of the ear: by means of the ear they were established, and by means of the ear built up; by the ear the cups were drawn thereat; by means of the ear they chanted and recited hymns on them,—whatever rite is performed at the sacrifice, whatever sacrificial rite there is, that was performed by the ear alone, as an ear-performance, on those (fires) composed of ear, and built up of the ear. And whatever beings here hear with the ear
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that was done regarding those (fires) :-they establish them and build them up; they draw the cups for them; they chant on them and recite hymns on them,-of that extent was the development of the Ear, of that extent its creation, so great is the Ear: thirty-six thousand Arka-fires; and each of these as great as that former (fire-altar) was.
8. That Ear created Work, and this condensed itself into the vital airs, into this compound, this composition of food"; for incomplete is work without the vital airs, and incomplete are the vital airs without work.
9. This Work, when created, wished to become manifest,-more defined, more substantial : it sought after a self. It practised austerity: it acquired consistency. It beheld thirty-six thousand Arkafires of its own self, composed of work, built up of (or by) work : by work they were established, and by work built up; by work the cups were drawn thereat; by work they chanted and recited hymns on them,—whatever rite is performed at the sacrifice, whatever sacrificial rite there is, that was performed by work alone, as a work-performance, on those (fires) composed of work, and built up of work. And whatever beings here work by work that was done regarding those (fires) ;—they establish them and build them up; they draw the cups for them; they chant on them and recite hymns on them,-of that extent was the development of Work, of that
Sâyana explains 'samdegham annasamdeham' by 'annaprânâsrayam sarîram,'—svayam asamdeham asarîram sat karma prânânnayor anyonyasahakaryâd abhivriddhim vyatirekam makhyenäha, akritsnam &c. Sâyana would thus take 'samdegha' as equivalent to the later deha' (body), and in no depreciatory sense.
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extent its creation, so great is Work: thirty-six thousand Arka-fires; and each of these as great as that former (fire-altar) was.
10. That Work created the Fire,-Fire, doubtless, is more manifest than Work, for by work (sacrificial performance) they produce it, and by work they kindle it.
11. This Fire, when created, wished to become manifest,-more defined, more substantial : it sought after a self. It practised austerity': it acquired consistency. It beheld thirty-six thousand Arkafires of its own self, composed of fire, built up of fire: with fire they were established, and with fire built up; with fire the cups were drawn thereat ; with fire they chanted and recited hymns on them ;whatever rite is performed at the sacrifice, whatever sacrificial rite there is, that was performed with fire alone, as a fire-performance, on those (fires) composed of fire, and built up of fire. And whatever fire beings here kindle that was done regarding those (fires) :—they establish them and build them up; they draw the cups for them; they chant on them and recite hymns on them,-of that extent was the development of Fire, of that extent its creation,—so great is Fire: thirty-six thousand Arka-fires ; and each of these as great as that former (fire-altar) was.
12. These fires (altars), in truth, are knowledgebuilt ; and all beings at all times build them for him who knows this, even whilst he is asleep: by knowledge alone these fires (altars) are indeed built for him who knows this.
Or, fervid devotion; though perhaps the physical sense of 'it became heated' would suit better here.
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FOURTH BRAHMANA.
1. Verily, this (brick-)built Fire-altar (Agni) is this (terrestrial) world:-the waters (of the encircling ocean) are its (circle of) enclosing-stones; the men its Yagushmatis (bricks with special formulas); the cattle its Sûdadohas1; the plants and trees its earth-fillings (between the layers of bricks), its oblations and fire-logs 2; Agni (the terrestrial fire) its Lokamprinâ (space-filling brick);-thus this comes to make up the whole Agni, and the whole Agni comes to be the space-filler; and, verily, whosoever knows this, thus comes to be that whole (Agni) who is the space-filler.
2. But, indeed, that Fire-altar also is the air :the junction of heaven and earth (the horizon) is its (circle of) enclosing-stones, for it is beyond the air that heaven and earth meet, and that (junction) is the (circle of) enclosing-stones; the birds are its Yagushmati bricks, the rain its Sûdadohas, the rays
1 That is, either the food obtained by the milking of the drink of immortality (amritadohânnam), or the verse Rig-veda VIII, 69, 3 (tå asya sûdadohasah, &c.) pronounced over the 'settled' brick, and supposed to supply vital air to the different parts of AgniPragâpati's body (whence it is also repeated in the Brihad Uktham between the different parts of the bird-like body; cf. p. 112, note i). Sây.
2 Sâyana seems to interpret this in two different ways,―oshadhivanaspataya eva purîshâhutisamittrayarûpâ etasya purîshâhutisamittrayarûpatvam uttaratra spash/îkarishyate; atha (vâ) yad dikshu ka rasmishu kânnam tat purîsham tâ ahutayas tâh samidhah.
3 See X, 5, 2, 8. Viz. 'inasmuch as all become fit for their work by being provided with fire.' Sây.
Or, the word-filler, the ruler of the world (lokâdhish/hâtri).
Sây.
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of light its earth-fillings, oblations and fire-logs; Vậyu (the wind) is its space-filler ; thus this comes to make up the whole Agni, and the whole Agni comes to be the space-filler; and, verily, whosoever knows this, thus comes to be that whole (Agni) who is the space-filler
3. But, indeed, that Fire-altar also is the sky :the (heavenly) waters are its enclosing-stones, for even as a case 1 here is closed up so are these worlds (enclosed) within the waters; and the waters beyond these worlds are the enclosing-stones ;-the gods are the Yagushmati bricks; what food there is in that world is its Sadadohas; the Nakshatras (lunar mansions) are the earth-fillings, the oblations and the fire-logs; and Aditya (the sun) is the spacefiller ;-thus this comes to make up the whole Agni; and the whole Agni comes to be the space-filler ; and, verily, whosoever knows this, thus comes to be that whole (Agni) who is the space-filler.
4. But, indeed, that Fire-altar also is the sun :the regions are its enclosing-stones, and there are three hundred and sixty of these?, because three hundred and sixty regions encircle the sun on all sides ;—the rays are its Yagushmati bricks, for there are three hundred and sixty of these 3, and three hundred and sixty rays of the sun; and in that he establishes the Yagushmatis within the enclosingstones thereby he establishes the rays in the regions. And what is between the regions and the rays, is its Sadadohas; and what food there is in the regions and rays that is the earth-fillings, the oblations and
Or, as (the valves, or shells, of) a pod are closed up. ? See p. 354, note 2.
* See IX, 4, 3, 6.
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the fire-logs; and that which is called both 'regions' and 'rays' is the space-filling (brick) :—thus this comes to make up the whole Agni; and the whole Agni comes to be the space-filler; and, verily, whosoever knows this, thus comes to be that whole (Agni) who is the space-filler.
5. But, indeed, that Fire-altar also is the Nakshatras :—for there are twenty-seven of these Nakshatras, and twenty-seven secondary stars accompany each Nakshatra,—this makes seven hundred and twentył, and thirty-six in addition thereto. Now what seven hundred and twenty bricks there are of these, they are the three hundred and sixty enclosing-stones and the three hundred and sixty Yagushmati bricks; and what thirty-six there are in addition, they are the thirteenth (intercalary) month, the body of the altar); the trunk 8 (consisting of) thirty, the feet of two, the channels of the) vital airs of two 4, and the head itself being the (thirty-fifth and) thirty-sixth,—and as to there being two of these, it is because 'siras' (head) consists of two syllables; -and what (space) there is between (each) two
:1 7.
.
On this inaccurate calculation (the real product being 729), resorted to in order to get a total amount equal to the number of Yagushmatî bricks (756), see A. Weber, Nakshatra, II, p. 298.
* That is, Nakshatras considered as the bricks of which the firealtar is constructed. The latter being identical with the year, the 720 bricks represent the days and nights of the year.
• Thus Sâyana (madhyadeha),—the atman (in that case, however, the whole body) is usually represented as consisting of twentyfive parts. Here the thirty parts would probably be the trunk, the head, the upper and fore-arms, the thighs and shanks, and the fingers and toes.
• Viz. inasmuch as eyes, ears, and nostrils are in pairs. Sây.
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Nakshatras that is the Sûdadohas; and what food there is in the Nakshatras that is the earth-fillings (between the layers of bricks), the oblations and the fire-logs; and what is called 'nakshatras' that is the space-filling (brick):-thus this comes to make up the whole Agni, and the whole Agni comes to be the space-filler; and, verily, whosoever knows this, thus comes to be that whole (Agni) who is the space-filler.
SATAPATHA-BRAHMANA.
6. Now, these (amount to) twenty-one Brihatis1; and the heavenly world being the twenty-one-fold one and the Brihat (the great one)-this (altar) thus comes to be equal to the heavenly world, and to the twenty-one-fold Stoma (hymn-form)' and the Brihati metre.
7. But, indeed, that Fire-altar also is the Metres; for there are seven of these metres, increasing by four syllables; and the triplets of these make seven hundred and twenty syllables, and thirty-six in addition thereto. Now what seven hundred and twenty bricks there are of these, they are the three hundred and sixty enclosing-stones and the three hundred and sixty Yagushmatts; and what thirty-six there are in addition, they are the thirteenth month, and the body (of this altar),the trunk (consisting of) thirty, the feet of two,
1 The Brihatî verse consisting of 36 syllables, this makes a total of 756 syllables, or the same amount as that of the days and nights of the year, plus the days (36) of the intercalary month.
Viz. inasmuch as the sun is 'the twenty-first,' cf. 3, 5, II; VI, 2, 2, 3 svargas tv âditya iti surake(tu) rûpo vâ lokah svargah ekavimsatisamkhyâpurakah. Sây.
The seven metres, increasing by four syllables from 24 up to 48, consist together of 252 syllables, and hence the triplets of them amount to 756 720 +36 syllables.
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the vital airs of two, and the head itself being the (thirty-fifth and) thirty-sixth ; and as to there being two of these, it is because 'siras' consists of two syllables.
8. Now the first ten syllables of this Brihatt, consisting of thirty-six syllables, make an Ekapadá of ten syllables; and the (first) twenty make a Dvipadâ of twenty syllables ; and the (first) thirty a Virág? of thirty syllables; and the (first) thirty-three a (Virág) of thirty-three syllables ; and the (first) thirty-four a Svarâgs of thirty-four syllables ; and in that this fire-altar is built with all metres thereby it is an Atikhandas", and (so) indeed are all these bricks. And the three syllables ‘ishtaka (brick)' are a Gayatri tripadá, whence this Agni is Gâyatra ; and the three syllables 'mrid' (clay) and `âpah' (water) & also are a Gayatri tripadâ: thereby also he is Gayatra. And what is between (each two) metres is the
1 The Ekapada is a verse consisting of a single pâda, and the Dvipada one of two padas, whilst verses in the ordinary metres consist of three or four pâdas.
* The Virág is a metre consisting of 1 to 4 (usually 3) decasyllabic pâdas; the one consisting of four such pâdas being, however, commonly called Pankti. Besides this, the principal, Virág, there is, however, another consisting of 3 pâdas of 11 syllables each.
: This name, which is here applied to a verse of 34 syllables, was in VII, 4, 1, 9 used of a verse of 10+10+11+11 = 42 syllables (Våg. S. XI, 29); cf. Weber, Ind. Stud. VIII, p. 63.
• That is, an over-metre, excessive metre, consisting of more than 48 syllables. The fire-altar, being built up with all the metres (viz. with the Khandasyå bricks, representing the metres, cf. VIII, 3, 3, I seqq.), would thus far exceed the latter number.
? Thus Sâyana : kityâgnir atikhanda iti yat tena sarvâ ishtaka atikhandomayya ity uktam. . That is, the materials used for making bricks. [43]
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Sadadohas; and the food which is in the metres is the earth-fillings, the oblations, and the fire-logs; and what is called 'metres,' that is the spacefilling (brick) :—thus this comes to make up the whole Agni; and the whole Agni comes to be the space-filler ; and, verily, whosoever knows this, comes to be that whole (Agni) who is the space-filler.
9. Now, these (amount to) twenty-one Brihatis; and—the heavenly world being the twenty-one-fold and the Brihati-this (altar) thus comes to be equal to the heavenly world, and to the twenty-one-fold Stoma and the Brihati metre.
10. But, indeed, that Fire-altar also is the Year,— : the nights are its enclosing-stones, and there are three hundred and sixty of these, because there are three hundred and sixty nights in the year; and the days are its Yagushmati bricks, for there are three hundred and sixty of these, and three hundred and sixty days in the year; and those thirty-six bricks which are over are the thirteenth month, the body (of the year and the altar), the half-months and months, -(there being) twenty-four half-months, and twelve months. And what there is between day and night that is the Sadadohas; and what food there is in the days and nights is the earthfillings, the oblations, and the fire-logs; and what is called days and nights' that constitutes the space-filling (brick) :-thus this comes to make up the whole Agni, and the whole Agni comes to be the space-filler; and, verily, whosoever knows this, thus comes to be that whole (Agni) who is the space-filler.
· Viz. those required to make up the 756 Yagushmatis.
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Y
11. Now, these (amount to) twenty-one Brihatis; and the heavenly world being the twenty-one-fold and the Brihati-this (altar) thus comes to be equal to the heavenly world, and to the twenty-one-fold Stoma and the Brihati metre.
12. But, indeed, that Fire-altar also is the body,the bones are its enclosing-stones, and there are three hundred and sixty of these, because there are three hundred and sixty bones in man; the marrow parts are the Yagushmati bricks, for there are three hundred and sixty of these, and three hundred and sixty parts of marrow in man; and those thirty-six bricks which are over, are the thirteenth month, the trunk, the vital air (of the altar),-in his body there are thirty parts", in his feet two, in his vital airs two, and in his head two,-as to there being two of these, it is because the head consists of two skull-bones. And that whereby these joints are held together is the Sadadohas; and those three whereby this body is covered—to wit, hair, skin, and flesh-are the earth-fillings; what he drinks is the oblations, and what he eats the fire-logs; and what is called the body, that is the space-filling (brick) :thus this comes to make up the whole Agni, and the whole Agni comes to be the spacefiller; and, verily, whosoever knows this, thus comes to be that whole (Agni) who is the space-filler.
13. Now, these (amount to) twenty-one Brihatis; and the heavenly world being the twenty-one-fold and the Brihati—this (altar) thus comes to be equal to the heavenly world, and to the twenty-one-fold Stoma and the Brihati metre.
See p. 383, note 3.
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14. But, indeed, that built Agni (the fire-altar) is all beings, all the gods; for all the gods, all beings are the waters, and that built fire-altar is the same as those waters ? ;-the navigable streams (round the sun) are its enclosing-stones, and there are three hundred and sixty of these, because three hundred and sixty navigable streams encircle the sun on all sides; and the navigable streams, indeed, are also the Yagushmati bricks, and there are three hundred and sixty of these, because three hundred and sixty navigable streams flow towards : the sun. And what is between (each) two navigable rivers is the Sadadohas; and those thirty-six bricks which remain over are the same as that thirteenth month, and the body (of this altar, the waters ^,) is the same as this gold man.
15. His feet are that gold plate and lotus-leaf(that is) the waters and the sun's orb 6-are his feet; his arms are the two spoons, and they are Indra and Agni; the two naturally-perforated (bricks) are this earth and the air; and the three Visvagyotis (all-light) bricks are these deities–Agni, Vâyu, and
• 1 Viz. inasmuch as they are the foundation and ultimate source of the universe; cf. VI, 8, 2, 2. 3; and everything is contained therein, X, 5, 4, 3.
· Viz. inasmuch as the built Agni is the same as the sun, and the sun is surrounded by water; cf. p. 368, note 1.
8 It is not clear whether these rivers are meant to be different ones from those flowing round the sun, or whether they are the same as 'washing against the sun.
* Athokteshu paryayeshv agnyavayava - trayodasamâsâtmika âmà agnyatmany dhyeyênâm apâm âtmety arthai. Sây.
• That is, in regard to the sacrifice, the gold plate and lotus-leaf are his feet, and in regard to the deity, the waters and the sun's disk. Sây. They are, nevertheless, counted as four.
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Aditya, for these deities, indeed, are all the light; and the twelve seasonal (bricks) are the year, the body (of the altar, and the gold man); and the five Nâkasads and five Pañkakadás are the sacrifice, the gods; and the Vikarnt the (third) Svayamatrinna and the variegated stone"; and the fire which is deposited (on the altar ) is the thirty-fifth; and the formula of the Lokamprina (brick) 2 is the thirtysixth ;--that (gold man), indeed, the body of the altar) is the end of everything here 8: he is in the midst of all the waters, endowed with all objects of desire for all objects of desire are the waters *; whilst possessed of all (objects of) desires he is without desire, for no desire of anything (troubles) him.
16 Regarding this there is this verse-By knowledge they ascend that (state) where desires have vanished?: sacrificial gifts go not thither 8, nor the fervid practisers of rites without knowledge;'-for, indeed, he who does not know this does not attain to that world either by sacrificial gifts or by devout
For this stone, which was deposited near the Ägnidhrîya shed, and afterwards placed in the Âgnîdhra hearth, see p. 243, note 2. * See VIII, 7, 2, 6.
See X, 5, 2, 6-8. • Sa eva . . . shastrimsadishtakâmayo hiranmayah purusha atma sarvabhQtadevâtmanam apam agngåtmana dhyeyânâm madhye vartate. Sây.
6 Sayana does not explain this last sentence.
• Only by knowledge is such a body (self) to be obtained by all, not by bundreds of religious performances.' Sây.
? Yatra svarQpe kâmis sarve parågatå vivrittâh (nivritták) svayam akamam ity arthah, tad atmasvar@pam vidyaya svarapena Broanti fpnuvanti Sây.
Sâyana takes'daksbila' as instrumental, in accordance with the comment offered by the Brahmana, which, however, is probably not meant as a close grammatical explanation.
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practices, but only to those who know does that world belong.
17. The welkin is the earth-fillings (between the layers of brick); the moon the oblations; the Nakshatras (lunar mansions) the fire-logs,-because the moon resides in (or with) the Nakshatra, therefore the oblation resides in the fire-wood: that', indeed, is the food of the oblation, and its support; whence the oblation does not fail (na kshiyate), for that is its food and its support. And what are called 'the gods' they are the space-filling (brick); for by (naming) the gods everything here is named.
6
18. It is regarding this that it is said by the Rik (X, 12, 3), The All-gods have gone after this thy Yagus,' for all beings, all the gods, indeed, become the Yagus here. Thus this whole Agni comes to be the space-filler; and, verily, whosoever knows this, thus comes to be that whole (Agni) who is the space-filler.
390
19. Now, these (amount to) twenty-one Brihatis; and the heavenly world being the twenty-one-fold and the Brzhatt-this (altar) thus comes to be equal to the heavenly world, and to the twenty-one-fold Stoma and the Brihati metre.
FIFTH BRAHMANA.
1. Kusri Vâgasravasa once built a fire-altar. Susravas Kaushya then said to him, 'Gautama, when thou wert just now building up Agni, didst thou build him with his face forward, or backward, or downward, or upward?
Viz. the staying (of the moon) in, or with, the Nakshatras, whose name is then made use of for a fanciful etymology.
2 That is, Kusri Gautama, (son and) disciple of Vâgasravas.
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2. 'If perchance thou hast built him looking forward, it would be just as if one were to offer food from behind to one sitting with averted facel: he thereby will not receive thy offering.
3. 'And if thou hast built him looking backward, wherefore, then, hast thou made him a tail
behind ?
4. And if thou hast built him with his face downward, it would be just as if one were to put food on the back of one lying with his face downward : he surely will not receive thy offering.
5. 'And if thou hast built him with his face upward--surely, a bird does not fly towards heaven with its face turned upward ?: he will not carry thee to heaven, he will not become conducive to heaven for thee.'
6. He said, 'I have built him with his face forward; I have built him with his face backward ; I have built him with his face downward; I have built him with his face upward : I have built him in all directions.'
7. When he lays down the (gold) man with his head forward (eastward), and the two spoons (with their bowls) forward }, thereby he (Agni) is built looking forward ; and when he lays down the tor
1 The oblations are offered by the Adhvaryu whilst standing south, or south-west, of the fire, with his face turned towards northeast,--hence Agni, looking eastwards, would not see the food offered him.
• Yady agnir uttanas kitas tarhi yatha uttanam vayah pakshi svayam âkâsam utpatitum na saknoti kim utânyam purusham dvábhyam pakshâbhyâm grihitvotpatitum na sakta iti ... tvám kitavantam svargam lokam prâpayitum na saknoty uttâna kayanâd ity artbah; abhivakshyatîti vahah prapane Iriti syapratyaye rûpam. Sây.
See VII, 4, 1, 15. 16.
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toise with its head backward (westward), and the victims' heads turned backward, thereby he is built looking backward; and when he lays down the tortoise with its face downward, and the victims' heads with their faces downward, and the bricks with their faces downward?, thereby he is built looking downward ; and when he lays down the (gold) man with his face upward, and the two spoons (with their open bowls) turned upward, and the mortar turned upward, and the fire-pan turned upward, thereby he is built looking upward; and when he lays down the bricks whilst moving round (the altar) in every direction, thereby he is built (looking) in all directions.
8. Now, the Koshas, whilst driving about, once drove up: to an Agni with his head pulled out. One of them said, “The head (siras) means excellence (srl): he has pulled out his excellence, he will be deprived of his all!' and so indeed it hap pened to him
9. And another said, “The head means the vital airs : he has pulled out his vital airs, he will quickly go to yonder world !' and so, indeed, it happened to him.
i See VII, 5, 1, 1.
. Ishtakanâm ni Htvenopadhânam nama rigukekhädakshinapasavyatryâlikhitâdilekhânâm uparibbâge darsanam. Sây. The broad side of the bricks not marked with lines is thus looked upon as their face.
• That is to say, according to Sayara, whilst going about officiating at sacrifices, they built the altar in that way at some one's house.
• That is, with a head built on to the altar on the front side of the body; see the diagram of the syenakiti in Burnell's Cat of Vedic MSS. (1870), p. 29.
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10. Upwards, indeed, he (Agni) is built up, to wit, (in the shape of) the grass-bunch, the clod-bricks, the lotus-leaf, the gold plate and man, the two spoons, the naturally-perforated one, the grass-brick, the Dviyagus, the two Retaksik, the Visvagyotis, the two seasonal bricks, the Ashådha, and the tortoise ; and that fire which is placed on the altar-pile, assuredly, is then most manifestly his (Agni's) head : let him therefore not pull out (the head).
Sixth ADHYÂYA. First BRÂHMANA. 1. Now at the house of Aruna Aupavesi? these came once together,--Satyayagña Paulushi, Mahâsâla Gabala, Budila Asvatarâsvi, Indradyumna Bhallaveya, and Ganasärkarâkshya. They took counsel together regarding (Agni) Vaisvânara, but did not agree as to Vaisvânara
2. They said, “There is that Asvapati Kaikeya who knows Vaisvanara thoroughly': let us go to him!' They went to Asvapati Kaikeya. He ordered for them separate dwellings, separate honours, separate Soma-sacrifices each with a thousand gifts. In the morning, still at variance with one another, they
KPåndogyop. V, 17, where another version of this story occurs, has here the name of Aruna's son, Uddalaka Aruni; and, instead of Maharala Gåbala, it has Prakinasala Aupamanya.
Sâyana takes this to mean, 'he (Aruna) was unable to instruct them in regard to Vaisvanara,'-50 runas teshâm satyayag nådînâm pañkânåm vaisvånaravidyâm bodhayitum na samiyâya samgatah sakto nábhavat,---probably, however, samiyaya' is better taken impersonally there was no agreement between them'), as is done by the St. Petersb. Dict. ; though Khând. XI, 3 favours Sâyana's view.
*Sayana takes samprati' in its ordinary sense of now. The knowledge of Vaisvânara implied here, according to Sâyana, means the knowledge of the supreme deity (paramesvara).
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came again to him, with fuel in their hands ', saying, We want to become thy pupils.'
3. He said, 'How is this, venerable sirs, when ye are learned in the scriptures, and sons of men learned in the scriptures ?' They replied, “Venerable sir, thou knowest Vaisvânara thoroughly : teach us him!' He said, 'I do indeed know Vaisvanara thoroughly : put your fuel on (the fire), ye are become my pupils 2.'
4. He then said to Aruna Aupavesi, 'O Gautama, as whom knowest thou Vaisvânara 3?'-'As Earth only, O king;' he replied.— Yea,' he said, 'that indeed is Vaisvânara, the foundation; and because thou knowest the Vaisvânara Foundation (pratishtha) therefore thou art firmly established (pratishthita) with offspring and cattle ; and, verily, he who knows that Vaisvânara Foundation, repels Death and attains all life. But, in truth, these are only the feet * of Vaisyânara, and thy feet would have withered away, hadst thou not come hither; or the feet would be unknown to thee, hadst thou not come hither.'
5. He then said to Satyayagña Paulushi, 'O Prakinayogya, as whom knowest thou Vaisvânara ?'
"That is, in the way in which pupils approach their teacher.
? Literally, 'Ye have entered (my tuition);' upetâ stha upasina bhavatha. Sây. s Or, perhaps, what Vaisvânara knowest thou?'
Pratishtha' (rest, foundation) also commonly means "the feet.'
It is not quite clear whether the words or the feet, &c.' really (as Sâyana takes them) form part of the king's speech, or whether they are merely meant as explanatory of the latter part of the king's remarks. If Sayana be right, the words the feet would be unknown by thee,' seem to admit of a double meaning, viz. 'thou wouldst
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- As Water only, O king;' he replied.— Yea,' he said, 'that indeed is the Vaisvânara Wealth ; and because thou knowest that Vaisvânara Wealth, therefore thou art wealthy and prosperous; and, verily, he who knows that Vaisvânara Wealth, repels death and attains all life. But, in truth, this is only the bladder of Vaisvânara, and thy bladder would have failed thee, hadst thou not come hither ; or the bladder would be unknown to thee, hadst thou not come hither.'
6. He then said to Mahâsâla Gâbâla, ‘O Aupamanyava, as whom knowest thou Vaisvânara ?'— * As Ether only, Oking,' he replied.—' Yea, he said, that, indeed, is the Vaisvânara Plenteous ; and because thou knowest Vaisvånara Plenteous, therefore thou art plentiful in offspring and cattle ; and, verily, he who knows that Vaisvånara Plenteous, repels death and attains all life. But, in truth, this is only the trunk of Vaisvânara, and thy trunk would have failed thee, hadst thou not come hither; or the body would be unknown to thee, hadst thou not come hither.'
7. He then said to Budila Åsvataråsvi, 'O Vaiyaghrapadya, as whom knowest thou Vaisvânara ?'* As Air (wind) only, O king ;' he replied.— Yea,' he
have become footless,' or 'not even Vaisvânara's feet would have been known by thee;' though in the latter sense some particle such as 'eva' might have been expected. Såyarra, however, seems to take these words in yet another sense (if, indeed, he had not another reading before him),-vaisvânarasyâgñânât pâdau te tava viparîtagrahino amlâsyatâm amlanau gamanâsamarthâv abhavishyatâm yadi mâm nâgamishyah; ittham doshaparyavasanayuktam ekadesagñanam eva nävasesha ity âha, padau te viditâv iti vaisvanarasya pâdamâtram tvaya viditam na tu kritsno vaisvânarah; atah sadhv akarshir yat tvam âgato -sity abhiprayah.
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said, that indeed is the Vaisvânara of divers courses; and because thou knowest that Vaisvânara of divers courses, therefore divers rows of cars follow thee; and, verily, he who knows that Vaisvânara of divers courses, repels death, and attains all life. But, in truth, this is only the breath of Vaisvânara, and thy breath would have failed thee, hadst thou not come hither; or the breath would be unknown to thee, hadst thou not come hither.'
8. He then said to Indradyumna Bhallaveya, O Vaiyaghrapadya, as whom knowest thou Vaisvânara ?'—'As Sun only, O king,' he replied.* Yea,' he said, "that indeed is the Vaisvânara of Soma's splendour?; and because thou knowest the Vaisvånara of Soma's splendour, therefore that Somajuice never fails to be consumed and cooked in thy house; and, verily, he who knows that Vaisvånara of Soma's splendour, repels death, and attains all life. But, indeed, this is only the eye of Vaisvanara, and thine eye would have failed thee, hadst thou not come hither; or the eye would be unknown to thee, hadst thou not come hither.'
9. He then said to Gana Sarkaråkshya, O Sayavasa, as whom knowest thou Vaisvanara?'
As Heaven only, o king,' he replied.— Yea,' he said, 'that indeed is Vaisvânara Pre-eminence; and because thou knowest the Vaisvânara Pre-eminence, therefore thou art pre-eminent among thine equals; and, verily, he who knows that Vaisvånara Pre
* Or, perhaps better, ' of Soma's fire.' The Krândogya-upanishad has. Sutegas (of beautiful splendour, or light),' instead of 'suta
tegas.'
· According to Sâyana, this refers to the cooking, or baking, of the cakes (purodâsa) connected with the Soma-sacrifice.
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eminence repels death, and attains all life. But, indeed, this is only the head of Vaisvânara, and thy head would have failed thee, hadst thou not come hither; or the head would have been unknown to thee, hadst thou not come hither.'
10. He said to them, “Ye then, knowing different Vaisvanaras, have been feeding on different kinds of food; but verily, the well-beknown gods have attained, as it were, the measure of a span'; but I will so tell them unto you that I shall make them attain no more nor less than the measure of a span.'
11. Pointing at the head he said, “This, indeed, is the Vaisvânara Pre-eminence;'-pointing at the eyes he said, “This, indeed, is the Vaisvânara of Soma's splendour ; '-pointing at the nostrils he said, This, indeed, is the Vaisvânara of divers courses ;'pointing at the space in the mouth he said, 'This, indeed, is the Vaisvânara Plenteous ;'-pointing at the water in the mouth he said, 'This, indeed, is the Vaisvânara Wealth ;'-pointing at the chin he said, 'This, indeed, is the Vaisvânara Foundation.'
* Sâyana apparently takes this thus: but the gods, knowing well that (essential element) which is merely of the space of a span, have become successful;yat tv evam yathoktāvayavaih priihivîpâdâdibhir dyumûrdhântair avayavair visishtam ekam vastu tat prâdesamâtram prâdesapramânam iva devâh suviditah samyag gñatavanto sbhisampannâh praptaphalâ babhůvur ity arthah. Though this interpretation looks very plausible, the accent of súvidita' would scarcely admit of the word being taken as a bahuvrihi compound. In the words which follow, Sâyana takes them (enân)' to refer to the bodily parts of Vaisvânara, identified with the imperfect doctrines of the king's disciples. It is, indeed, quite possible that the gods' are here identified with the special Vaisvânaras, the unity of whom, in the one Purusha, or Ātman (self), the Brahmana endeavours to inculcate.
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SATAPATHA-BRAHMANA.
This Agni Vaisvânara is no other than the Purusha ; and, verily, whosoever thus knows that Agni Vaisvânara as Purusha-like, as established within the Purusha, repels death, and attains all life; and, verily, Vaisvânara does no harm to him that speaks of him.
SECOND BRÂHMANA. 1. Now, indeed, there is this twofold thing, to wit, the eater and that which is eaten ?; and when this pair meets it is called the eater, and not the eaten.
2. Now that eater is the same as this Agni (the fire and fire-altar); and whatever they assign to him is his assignments; and these assignments (âhiti) are mystically called oblations (âhuti), for the gods love the mystic.
3. And the eater, doubtless, is the sun, and his assignments (offerings) are the moon, for the moon is assigned to the sun ?. Thus much as to the deity.
4. Now as to the body. The eater, doubtless, is the breath, and its assignments are food, for the food is consigned to (the channel of) the breath. Thus much as to Agni.
5. Now as to the Arka (flame). The Arka, doubtless, is Agni; and his joy are the oblations, for the oblations are a joys to Agni.
? Or, as Sâyana takes it,—this (world) is twofold, the eater and the eaten.
? The moon here would seem to be considered as serving for food to the sun, as it does to the gods. The commentary is not very explicit on this point,-taskyâhutayas (!) kandramâh kandramasam hy aditya adadhatîty anena kandramasa aditye adhânâd âdhititvam pratipâditam.
3.Kam’ is used adverbially well,'—they do him good, they please him.
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X KÂNDA, 6 ADHYÂYA, 2 BRÂHMANA, 11. 399
6. And the Arka, doubtless, is the sun; and his joy is the moon, for the moon is a joy to the sun. Thus much as to the deity.
7. Now as to the body. The Arka, doubtless, is the breath, and his joy is food, for food is a joy to the channel of) the breath. Thus much as to the Arka.
8. Now as to the Uktha (song of praise). The uk,' doubtless, is Agni, and his 'tham'is oblations, for by oblations Agni rises (ut-thâ, i.e. blazes up).
9. And the 'uk,' doubtless, is the sun, and his tham' is the moon, for by the moon the sun rises. Thus much as to the deity.
10. Now as to the body. The 'uk,' doubtless, is the breath, and the 'tham' is food, for by food the breath rises (increases). Thus much as to the Uktha. That Agni-like, Arka-like, Uktha-like one is the same as the Purusha; and, verily, the enemy withers away of whosoever, knowing this, thus serves that Agni-like, Arka-like, Uktha-like Purusha.
11. The fire, indeed, is kindled by the breath, the wind by the fire, the sun by the wind, the moon by the sun, the stars by the moon, and the lightning by the stars? :-so great, indeed, is the kindling both in this and in yonder world; and, verily, whosoever knows this is enkindled to that full extent both in this and in yonder world.
Agnir prânena dîpyate, prânavâyor abhâve alpatve agner dipanam nâsti; agninâ vâyur dipyate vâyunâdityo - vashtambhamatrena tad dipanam; âdityena kandramâh prabhâmso gyolihsâstrasiddhah; râtrau nakshatrani kandramaså prakâsante diva hi mahattarena sûryaprakâsena tirobhūtatvan na tada prakåsah; nakshatrair vidyut prakasyate. Sây.
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400
SATAPATHA-BRÂHMANA.
THIRD BRÂHMANA. 1. Let him meditate upon the 'true Brahman.' Now, man here, indeed, is possessed of understanding !, and according to how great his understanding is when he departs this world, so does he, on passing away, enter yonder world.
2. Let him meditate on the Self, which is made up of intelligence, and endowed with a body of spirit, with a form of light, and with an etherial nature, which changes its shape at will, is swift as thought, of true resolve, and true purpose, which consists of all sweet odours and tastes, which holds sway over all the regions and pervades this whole universe, which is speechless and indifferent ? ;even as a grain of rice, or a grain of barley, or a grain of millet, or the smallest granule of millet, so is this golden Purusha in the heart; even as a smokeless light, it is greater than the sky, greater than the ether, greater than the earth, greater than all existing things ;—that self of the spirit (breath) is my self : on passing away from hence I shall obtain that self. Verily, whosoever has this trust 4, for him there is no uncertainty. Thus spake Sândilya, and so it is 6.
i Or, will, purpose,- kratumayah, kratur niskayodhyavasaya evam eva nânyathety avivakshitapratyayah, tadâtmako - yam purusho gîvah. For this chapter (the Sândilyavidya) see Khandogyop. III, 14 ('man is a creature of will,' Prof. Max Müller).
Anâdaram asambhramam (without mental affects). Sây.
That is, of the brilliance of gold (suvarnasamânategâh). Sây. • Or, thought, knowledge (buddhih), as Sâyana supplies.
* Sâyana takes this along with so spake Såndilya,'—ity evam etad âha sma uktavân sândilyo nâmarshir iti. The final 'iti' seems to be intended to indicate that Sandilya's opinion is adopted by the Brâhmana.
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X KÂNDA, 6 ADHYAYA, 4 BRÂHMANA, 1.
401
FOURTH BRAHMANA. 1. Verily, the dawn is the head of the sacrificial horse 1, the sun its eye, the wind its breath, Agni Vaisvânara (the fire belonging to all men) its open mouth. The year is the body of the sacrificial horse, the sky its back, the air its belly, the earth the under part of its belly, the quarters its flanks, the intermediate quarters its ribs, the seasons its limbs, the months and half-months its joints, the days and nights its feet, the stars its bones, the welkin its flesh, the sand its intestinal food, the rivers its bowels, the mountains its liver and lungs, the herbs and trees its hair, the rising sun the forepart, and the setting sun the hindpart of its body, the lightning its yawning, the thundering its whinnying, the raining its voiding urine, and speech its voice. The day, indeed, was produced as the Mahiman (cup) before the horse, and its birthplace is in the eastern sea. The night was produced as the Mahiman (cup) behind (or after) it, and its birth-place was in the western sea : these two Mahiman (cups), indeed, came to be on both sides of the horse. As Haya (steed) it carried the gods, as Vagin (racer) the Gandharvas, as Arvan (courser) the Asuras, as Asva (horse) men. The sea, indeed, is its kindred, the sea its birth-place.
That is, of Pragâpati, in the form of a horse. For this and the next chapters see the beginning of the Kanva recension of the Brihad-aranyakopanishad.
? This is the name of two gold cups used at the Asvamedha; cf. XIII, 2, 11, 1 seq.; 5, 2, 23.
[43]
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402
SATAPATHA-BRAHMANA.
FIFTH BRÂHMANA. 1. Verily, there was nothing here in the beginning: by Death this (universe) was covered, by hunger, for Death is hunger. He created for himself this mind, thinking, “May I have a soul.' He went on worshipping. Whilst he was worshipping the waters were produced. Verily, to me worshipping (ark) water (kam) has been produced,' thus (he thought): this, indeed, is the Arka-nature of the Arkya?; and, verily, there is joy (kam) for him who thus knows the Arka-nature of the Arkya.
2. The Arka, doubtless, is the waters; and the cream (froth) which was on the waters was compacted, and became this earth. Thereon he wearied himself, and the glow and essence (sweat) of him thus wearied and heated developed into Fire.
3. He made himself threefold—(Agni being onethird), Aditya one-third, and Vayu one-third : that is this threefold breath. The eastern quarter was his head, this and that (intermediate quarters) are his fore-feet, the western quarter his tail, this and that (intermediate quarters) his thighs, the southern and northern quarters his flanks; the sky his back, the air his belly, and this (earth) his chest :-on the waters he was established any and everywhere, and so indeed is he established who knows this.
4. He desired, 'May a second self be produced for me.' By his mind he entered into union with speech,—(to wit) Death with hunger : the seed which was produced became the year, for theretofore there was no year. For as long as the year he (Death) carried him (within him), and at the end of
* See X, 3, 4, 3 seq.; 4, 1, 4. 15. 21 seq.
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X KÂNDA, 6 ADHYAYA, 5 BRÂHMANA, 7.
403
that time he produced him. He opened his mouth (to devour) the new-born one, and he (the child) cried 'bhân'; thus speech was produced.
5. He bethought him, 'Surely, if I kill him, I shall gain but little food 2' By that speech and that soul of his he created all this (universe) whatsaever there is,—Rik (hymn-verses), Yagus (formulas), Sâman (hymn-tunes), metres, sacrifices, men, and beasts. And whatsoever he created he set about devouring; and because he eats (ad) everything, hence the name 'Aditi'; and, verily, he who thus knows the nature of Aditi becomes an eater of everything, and all food becomes his.
6. He desired, “May I again sacrifice by yet another sacrifice.' He wearied himself and practised austerity. From him, thus wearied and heated, glory and vigour departed; and glory and vigour, indeed, are the vital airs. The vital airs having departed, that body of his began to swell. The mind was yet in the body ;
7. He desired, “May this (body) of mine be sacrificially pure: may I thereby be possessed of a self!' Thereupon the horse (asva) was produced; and because that which was swelling : (asvat) became pure (medhya) therefore the name Asvamedha (belongs to that sacrifice). He, indeed, knows the Asvamedha who thus knows him *.
Viz. Pragâpati, the year; Agni, the Purusha, the Self. * Or, I shall lessen my food (which would have become more abundant if the child had been allowed to live and grow).
• The commentaries on the Brihad-aranyakop. take this together with the preceding clause,—and because that (body) was swelling (asvat), therefore the horse (asva) was produced. • Viz. Agni-Pra gâpati, or Death, in the form of the horse.
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404
SATAPATHA-BRAHMANA.
8. He bethought him of leaving it unrestrained 1. At the end of a year he slaughtered it for his own self, and made over the (sacrificial) animals to the deities: therefore they slaughter the consecrated (victim) as one that, in its nature as Pragâpati, represents all the deities. But the Asvamedha, in truth, is he that shines yonder (the sun), and the year is his body. The Arka is this Fire, and these worlds are his bodies. These two are the Arka and Asvamedha; but these, indeed, become again one deity, to wit, Death. And, verily, whosoever knows this, conquers recurrent Death, and Death has no hold on him: Death is his own self; he attains all life, and becomes one of those deities.
9. Now the line of succession (of teachers). The same as far as Sâmgiviputra. Sâmgiviputra (received it) from Mândûkâyani, Mândûkâyani from Mândavya, Mândavya from Kautsa, Kautsa from Mâhitthi, Mâhitthi from Vâmakakshâyana, Vâmakakshâyana from Vâtsya, Vâtsya from Sândilya, Sândilya from Kusri, Kusri from Yagñavakas Ragastambâyana, Yagñavakas Ragastambâyana from Tura Kâvasheya, Tura Kavasheya from Pragâpati, Pragâpati from Brahman (n.). Brahman is the self-existent: reverence be to Brahman!
1 For the construction, see IX, 5, 1, 35; on the negative form of the gerund (tam anavarudhyaivâmanyata) with a direct object, see Delbrück, Altindische Syntax, § 264.
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CORRECTIONS.
Page 66, 1. 11, and note 1, The Katushtoma is such an arrangement of the
Stotras of a Soma-sacrifice in which the Stomas (or hymn-forms) employed increase successively by four syllables. See notes on XI, 5, 2, 9;
XIII, 3, 1, 4.(sic!). P. 279, line 7. Perhaps this passage had better be translated thus,-And he
who, without having performed these (rites), should officiate even for
another person in the performance of any other sacrifices ... P. 296, L 3 from bottom. Read, -Upavasatha. P. 394-98, paragraphs 4-9; II. Read,-repels recurrent death.
» 1. 5 from bottom. Read, -tasyahutayas (!).
PART III. Introduction, page xii, line 27. Read,-pasubandha. P. xvi, 1. 11 of notes. After-Syaita-såman, add (II, 161-2). P. xviii, 1. 33. In Sat. Br. V, 5, 3, 4, the Shodasin is distinctly mentioned as
forming part of the Kesavapantya Atiratra. P. xviii, 1. 4 of notes. Read, - form' instead of from.' P. xxv, note. Add, So also Sat. Br. V, 3, 4, 12; 4, 3, 2. P. 38, 1. 1. Read,- Vågaprasaviya. P. 62, l. 33. Read,---(as it undoubtedly does in V, 4, 3, 18; as well as
savyashtha, in Atharva.v. VIII, 8, 33). » end of note. Add-In Sat. Br. V, 4, 3, 23, sanigrahitri certainly means
charioteer. P. 113, 1. 8. The chant here alluded to is the first (or Hotri's) Prishtha-stotra,
for which see part ii, p. 339. The Abhishekantya being, however, performed on the Ukthya, not on the Agnishtoma, model, this stotra, on the present occasion, consists of the Brihat-s&man (see Introduction,
pp. Xvi, note 2 ; xxvi). P. 136, 1. 4 Read, -Barhishadak. P. 140. last line of text. For Ârani' read Âruni.' P. 169, 1. 18. Read, — Those kindling-sticks .... P. 171, 1. 2. Read, Ashadhi. P. 103, 1. 10. Read, -vak' (voice). P. 365, note 3. In the passage of the Ait. Br. referred to, the Vishavat day is
the central day of an Ekavimsarátra, or twenty-one days' performance. P. 352, 1. 10. Read, sand' for 'seed.' P. 360, note 1. Add,--See also VIII, 7, 3, 19, where that thread is identified
with the wind, P. 363, note 1. The reference is wrong; for the real Satya-saman. see part iv,
p. 145, note 1. . 67, 1. 34. In the opposite direction, i.e. in the direction away from us.
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406
SATAPATHA-BRAHMANA.
P. 369, note 1. The reference is wrong; for the real Kitra-såman, see part iv,
P. 145, note 1. P. 379, 1. 10. Read,--the breath serves everything here.
» 1. 20. For this Såman, based on the word 'bhus,' see part iv, p. 145,
note I. P. 404, 1. 15. Read, -having pre-eminently endowed the man with power,
he sets him up. CF. VIII, 7, 2, 3. P. 415, 1. 4. Read,-XIII, 53.
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TRANSLITERATION OF ORIENTAL ALPHABETS ADOPTED FOR THE TRANSLATIONS
OF THE SACRED BOOKS OF THE EAST.
MISSIONARY ALPHABIT.
CONSONANTS.
Sanskrit
ad.
Pehlerl
Persian
Arabic. Hebrew. Chinese
I Class
11 Class
111 Class
Gutturales. 1 Tenuis ....... 2 , aspirata ..... 3 Media ........... 4 , aspirata ....... 5 Gutturo-labialis .....
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lenis faucalis .. , asper fricatus .. 12 „ lenis fricatus..
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TRANSLITERATION OF ORIENTAL ALPHABETS. 407
: : : : :
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(palatales, &o.) 13 Tenuis........... 14 , aspirata ..... 15 Media .......... 16 , aspirata ........ 17 . Nasalis ..
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MISSIONARY ALPHABRT.
Sanskrit.
Zand.
Peblerl.
Persian
CONSONANTS
continued').
Arabic.
Hebrew. Chinese
I Class
11 Class
III Class
408
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asper 2 ... , lenis ......
asperriinus 1.. .. wperriini. 2 ..
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:: Pu 2: :,::- ::39 1:01:13:32:033 ::31 :9, 1.- 97 :: 3:49
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TRANSLITERATION OF ORIENTAL ALPHABETS
* - 0 :: vỏ: 4 : 33 ::::
DH
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WP
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Dentales modificatae
(linguales, &c.) 38 Tenuis ........... 39 „ aspirata ..... 40 Media .......... 41 ~ aspirata ...... 42 Nasalis .......... 43 Semivocalis ...... 44 , fricata ... 45 , diacritica .. 46 Spiritus asper ...... 47
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Labiales. 48 Tenuis .......... 49 aspirata ..... 50 Media .......... 51 „ aspirata ... 52 Tenuissima........ 53 Nasalis .......... 54 Semivocalis ....... 55
aspirata .. 56 Spiritus asper...... 57 , lenis .......
58 Anusvåra ........... 159 Visarga ............
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FOR THE SACRED BOOKS OF THE EAST. 409
**0801:1.
eri -::L: 0 06::-:::
1 4..:::*:*A
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MISSIONARY ALPHABET.
VOWELS.
Sanskrit.
Zend.
Pehlevi.
Persian
Arabic. Hebrew. Chinese.
I Class Il Class.
111 Class.
nn.
410
winit.
HEER
1 Neutralis .......... 2 Laryngo-palatalis 3 » labialis 4 Gutturalis brevis ... 5 „ longa .... 6 Palatalis brevis .... 7 , longa ..... 8 Dentalis brevis .....
9 , longa ..... 10 Lingualis brevis .... 11
longa ..... 12 Labialis brevis ....... 13 , longa ........ 14 Gutturo-palatalis brevis .. 15
longa .. 16 Diphthongus gutturo-palatalis ai
ci (či) 18
viðu) Gutturo-labialis brevis ....10
► longa .... (au) 21 Diphthongus gutturo-labialis au
::::90: : Yol::::9 Voli:::
UNIVESITY
OF THE BESE LIBRA
::::28::: 32: 2::::::::::
::: yli b : : :lan ::::::::::::: HO:lori : : :|-|: : : :1--:::::::
TRANSLITERATION OF ORIENTAL ALPHABETS.
BRAR
(ai)
17
ei, ei
»
(au)
sw (au)
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22
ou (ou) ..
23 24 Gutturalis fracta .. 25 Palatalis fracta .. 26 Labialis fracta .. 27 Gutturo-labialis fracta.
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OXFORD
PRINTED AT THE CLARENDON PRESS
BY HORACE HART, M. A. PRINTER TO THE UNIVERSITY
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SACRED BOOKS OF THE EAST
TRANSLATED BY VARIOUS ORIENTAL SCHOLARS
AND EDITED BY
THE RIGHT HON. F. MAX MÜLLER.
*.* This Scries is published with the sanctiou and co-operation of the Secretary of
Stale for India in Council.
LBPORT presented to the AOADÍXIS DBS ITSORIPTIOTS. Yu 11.
1883, by X. BLIEST LEMAI. M. Renan présente trois nouveaux une seconde, dont l'intérêt historique et volumes de la grande collection des religieux ne sera pas moindre. M. Max “Livres sacrés de l'Orient" (Sacred Müller a so se procurer la collaboration Books of the East), que dirige à Oxford, des savans les plus éminens d'Europe et Avec une si vaste érudition et une critiquc d'Asie. L'Université d'Oxford, que cette si süre, le savant associé de l'Académie grande publication honore au plus hant des Inscriptions, M. Max Müller.... La degré, doit tenir à continuer dans les plus première série de ce beau recueil, com larges proportions une cuvre aussi philoposée de 24 volumes, est presque achevée. sophiquement conçue que savamment M. Max Müller se propose d'en publier exécutée.'
EXTRAOT from the QUARTERLY RIVIBW. .We rejoice to notice that a second great edition of the Rig Veda, can comseries of these translations has been an pare in importance or in usefulness with nounced and has actually begun to appear. this English translation of the Sacred The stones, at least, ont of which a stately Books of the East, which has been devised edifice may hereafter arise, are here being by his foresight, successfully brought so bronght together. Prof. Max Müller has far by his persuasive and organising deserved well of scientific history. Not power, and will, we trust, by the assist a few minds owe to his enticing words ance of the distinguished scholars he has their first attraction to this branch of gathered round him, be carried in due study. But no work of his, not even the time to a happy completion.' Professor E. XARDY, Inangaral Lecture in the University of Freiburg, 1887.
Die allgemeine vergleichende Reli- internationalen Orientalistencongress in gionswissenschaft datirt von jenem gross- London der Grundstein gelegt worden artigen, in seiner Art einzig dastehenden war, die Ubersetzung der heiligen Biicher Unternehmen, zu welchem auf Anregung des Ostens' (the Sacred Books of the Max Müllers im Jahre 1874 auf dem East). Tho Hon. ALBERI S. G. OANNIIG, 'Words on Bdsting Religions.'
The recent publication of the "Sacred a great event in the annals of theological Books of the East" in English is surely literature.'
Oxford AT THE CLARENDON PRESS
LONDON: HENRY FROWDE OXFORD UNIVERSITY PRESS WAREHOUSE, AMEN CORNER, E.C.
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SACRED BOOKS OF THE EAST:
FIRST SERIES VOL. I. The Upanishads.
Translated by F. Max MÜLLER. Part I. The KhandogyaUpanishad, The Talavakara-upanishad, The Aitareya-aranyaka, The Kaushitaki-brâhmana-upanishad, and The Vagasaneyisamhita-upanishad. Second Edition. 8vo, cloth, ros. 6d. The Upanishads contain the philosophy of the Veda. They have become the foundalion of the later Vedanta doctrines, and indirectly of Buddhism. Schopenhauer, speaking of the Upanishads, says: . In the whole world there is no study so beneficial and so elevating as that of the Upanishads. It has been the solace of my life, it will be the solace of my death.'
(Sec also Vol. XV.] VOL. II. The Sacred Laws of the Åryas,
As taught in the Schools of Âpastamba, Gautama, Vâsishtha, and Baudhayana. Translated by GEORG BÜHLER. Part I.
 pastamba and Gautama. Second Edition. 8vo, cloth, 1os. 6d. The Sacred Laws of the Åryas contain the original treatises on which the Laws of Manu and other lawgivers were founded.
[See also Vol. XIV.] VOL. III. The Sacred Books of China.
The Texts of Confucianism. Translated by JAMES LEGGE. Part I. The Sha King, The Religious Portions of the Shih
King, and The Hsiao King. Second Edition, 8vo, cloth, 12s.6d. Confucius was a collector of ancient traditions, not the founder of a new religion. As he lived in the sixth and fifth centuries B.C. his works are of unique interest for the study of Ethology.
[See also Vols. XVI, XXVII, XXVIII, XXXIX, and XL.] VOL. IV. The Zend-Avesta.
Translated by JAMES DARMESTETER. Part I. The Vendidad.
Second Edition. 8vo, cloth, 145. The Zend-Avesta contains the relics of what was the religion of Cyrus, Darius, and Xerxes, and, but for the battle of Marathon,
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EDITED BY F. MAX MÜLLER.
might have become the religion of Europe. It forms to the present day the sacred book of the Parsis, the so-called fire-worshippers. [See also Vols. XXIII and XXXI.]
VOL. V. Pahlavi Texts.
Translated by E. W. WEST. Part I. The Bundahis, Bahman Yast, and Shayast lâ-shâyast. 8vo, cloth, 12s. 6d.
The Pahlavi Texts comprise the theological literature of the revival of Zoroaster's religion, beginning with the Sassanian dynasty. They are important for a study of Gnosticism.
[See also Vols. XVIII, XXIV, XXXVII, and XLVII.]
VOLS. VI AND IX.
Parts I and II. 8vo, cloth, 215.
The Qur'ân.
Translated by E. H. PALMER. Second Edition.
3
This translation, carried out according to his own peculiar views of the origin of the Qur'an, was the last great work of E. H. Palmer, before he was murdered in Egypt.
VOL. VII. The Institutes of Vishnu.
Translated by JULIUS JOLLY. 8vo, cloth, 10s. 6d.
A collection of legal aphorisms, closely connected with one of the oldest Vedic schools, the Kathas, but considerably added to in later time. Of importance for a critical study of the Laws of Manu. VOL. VIII. The Bhagavadgitâ, with The Sanatsugâtiya, and The Anugitâ.
Translated by KASHINATH TRIMBAK TELANG. Second Edition. 8vo, cloth, 10s. 6d.
The earliest philosophical and religious poem of India. It has been paraphrased in Arnold's 'Song Celestial!
VOL. X. The Dhammapada,
Translated from Pâli by F. MAX MÜLLER; and
The Sutta-Nipâta,
Translated from Pâli by V. FAUSBÖLL; being Canonical Books of the Buddhists. Second Edition. 8vo, cloth, 10s. 6d.
The Dhammapada contains the quintessence of Buddhist morality. The Sutta-Nipáta gives the authentic teaching of Buddha on some of the fundamental principles of religion.
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SACRED BOOKS OF THE EAST:
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Translated from Pâli by T. W. Rhys DAVIDS. 1. The Mahaparinibbana Suttanta; 2. The Dhamma-kakka-ppavattana Sutta. 3. The Tevigga Sultanta; 4. The Akankheyya Sutta; 5. The Ketokhila Sutta; 6. The Mahâ-sudassana Suttanta;
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discourses taken from the sacred canon of the Buddhists. VOL. XII. The Satapatha-Brâhmana, according to the Text of the Madhyandina School.
Translated by Julius EGGELING. Part I. Books I and II. 8vo, cloth, 125. 60. A minute account of the sacrificial ceremonies of the Vedic age. Il contains the earliest account of the Deluge in India.
See also Vols. XXVI, XLI, XLIII, and XLIV.] VOL. XIII. Vinaya Texts.
Translated from the Pâli by T. W. Rhys DAVIDS and HERMANN OLDENBERG. Part I. The Pâtimokkha. The Maha vagga, I-IV.
8vo, cloth, ios. 6d. The Vinaya Texts give for the first line a translation of the moral code of the Buddhist religion as settled in the third century B.C.
(See also Vols. XVII and XX.] VOL. XIV. The Sacred Laws of the Aryas,
As taught in the Schools of Apastamba, Gautama, Vâsishtha, and Baudhayana. Translated by GEORG BÜHLER. Part II.
Vâsishtha and Baudhayana. 8vo, cloth, ios. 6d. VOL. XV. The Upanishads.
Translated by F. MAX MULLER. Part II. The Kalha-upanishad, The Mundaka-upanishad, The Taittirîyaka-upanishad, The Brihadâranyaka-upanishad, The Svetâsvatara-upanishad, The Prasia-upanishad, and The Maitrayana-brahmana-upanishad.
Sicond Edition. 8vo, cloth, ros. 6d. VOL. XVI. The Sacred Books of China.
The Texts of Confucianism. Translated by JAMES LEGGE. Part II. The Yi King. 8vo, cloth, ros. 6d.
(See also Vols. XXVII, XXVIII.] VOL. XVII. Vinaya Texts.
Translated from the Pâli by T. W. Rhys Davids and HERMANN OLDENBERG. Part II. The Maha vagga, V-X. The Kullavagga, I-III. 8vo, cloth, ios. 6d.
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EDITED BY F. MAX MÜLLER.
5
VOL. XVIII. Pahlavi Texts.
Translated by E. W. West. Part II. The Dâdistân-î Dînik and The Epistles of Mânûskihar. 8vo, cloth, 125. 6d.
VOL. XIX. The Fo-sho-hing-tsan-king.
A Life of Buddha by Asvaghosha Bodhisattva, translated from Sanskrit into Chinese by Dharmaraksha, A.D. 420, and from
Chinese into English by SAMUEL BEAL. Svo, cloth, ros. 6d. This life of Buddha was translated from Sanskrit into Chinese, A.D. 420. It contains many legends, some of which show a certain similarity to the Evangelium infantiae, &c.
VOL. XX. Vinaya Texts.
Translated from the Pali by T. W. Rhys Davids and HERMANN OLDENBERG. Part III. The Kullavagga, IV-XII. 8vo, cloth, 1os. 6d,
VOL. XXI. The Saddharma-pundarika; or, The Lotus of the True Law.
Translated by H. Kern. 8vo, cloth, 125. 6d. The Lotus of the True Law,' a canonical book of the Northern Buddhists, translated from Sanskrit. There is a Chinese Translation of this book which was finished as early as the year 286 A.D.
VOL. XXII. Gaina-Satras.
Translated from Prakrit by HERMANN JACOBI. Part I. The
 kârânga-Sätra and The Kalpa-Sätra. 8vo, cloth, 1os. 6d. The religion of the Gainas was founded by a contemporary of Buddha. It still counis numerous adherents in India, while there are no Buddhists left in India proper.
[See Vol. XLV.)
VOL. XXIII. The Zend-Avesta.
Translated by JAMES DARMESTETER. Part II. The Sîrôzahs,
Yasts, and Nyayis. 8vo, cloth, 1os. 6d. VOL. XXIV. Pahlavi Texts.
Translated by E. W. WEST. Part III. Dina-1 MainôgKhirad, Sikand-gûmânik Vigar, and Sad Dar. 8vo, cloth, 1os. 6d.
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6
SACRED BOOKS OF THE EAST:
SECOND SERIES. VOL. XXV. Manu.
Translated by GEORG BÜHLER. 8vo, cloth, 21s.
This translation is founded on that of Sir William Jones, which has been carefully revised and corrected with the help of seven native Commentaries. An Appendix contains all the quotations from Manu which are found in the Hindu Law-books, translated for the use of the Law Courts in India. Another Appendix gives a synopsis of parallel passages from the six Dharma-sutras, the other Smritis, the Upanishads, the Mahabharata, &c.
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Translated by JULIUS EGGELING. Part II. Books III and IV. 8vo, cloth, 12s. 6d.
VOLS. XXVII AND XXVIII. The Sacred Books of China. The Texts of Confucianism. Translated by JAMES LEGGE. Parts III and IV. The Lî Ki, or Collection of Treatises on the Rules of Propriety, or Ceremonial Usages. 8vo, cloth, 255. VOL. XXIX. The Grihya-Sutras, Rules of Vedic Domestic Ceremonies.
Part I. Sankhâyana, Âsvalâyana, Pâraskara, Khâdira. Translated by HERMANN OLDENBERG. 8vo, cloth, 12s. 6d. VOL. XXX. The Grihya-Sutras, Rules of Vedic Domestic Ceremonies.
Part II. Gobhila, Hiranyakesin, Âpastamba. Translated by HERMANN OLDENBERG. Apastamba, Yagña-paribhâshâ-sûtras. Translated by F. MAX MÜLLER. 8vo, cloth, 12s. 6d.
These rules of Domestic Ceremonies describe the home life of the ancient Aryas with a completeness and accuracy unmatched in any other literature. Some of these rules have been incorporated in the ancient Law-books.
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Part III. The Yasna, Visparad, Âfrînagân, Gâhs, and Miscellaneous Fragments. Translated by L. H. MILLS. 8vo, cloth, 12s. 6d.
VOL. XXXII. Vedic Hymns.
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EDITED BY F. MAX MULLER.
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Translated by G. THIBAUT. 8vo, cloth, 12s. 6d. [See also Vol. XXXVIII.]
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Translated from the Pâli by T. W. RHYS DAVIDS. Part I. 8vo, cloth, 10s. 6d. Part II. 8vo, cloth, 12s. 6d.
VOL. XXXVII. Pahlavi Texts.
Translated by E. W. WEST. Part IV. Nasks, as stated in the Eighth and Dinkard. 15s.
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Part IV. Books VIII,
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VOL. XLVI. Vedic Hymns. Part II. 8vo, cloth, 14s. VOL. XLVII. Pahlavi Texts.
Translated by E. W. WEST. Part V. Marvels of Zoroastrianism. 8s. 6d.
VOL. XLVIII. The Vedanta-Sutras, with Râmânuga's Sribhâshya.
Translated by G. THIBAUT.
[In the Press.]
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RECENT ORIENTAL WORKS.
Anecdota Oxoniensia.
ARYAN SERIES.. Buddhist Texts from Japan. I. Vagrakkhedika ; The Diamond-Cutter.
Edited by F. MAX MÜLLER, M.A. Small 4to, 3s. 6d.
One of the most famous metaphysical treatises of the Mahayana Baddhists. Buddhist Texts from Japan. II. Sukhâvatf-Vyaha : Description of Sukhấvatî, the Land of Bliss.
Edited by F. MAX MÜLLER, M.A., and BuxyIU NANJIO. With two Appendices: (1) Text and Translation of Sanghavarman's Chinese Version of the Poetical Portions of the SukhâvatîVyQha; (2) Sanskrit Text of the Smaller Sukhávatî-VyQha. Small 4to, 75. 6d. The edilio princeps of the Sacred Book of one of the largest and most influential sects of Buddhism, numbering more than ten millions of followers
in Japan alone. Buddhist Texts from Japan. III. The Ancient Palm
Leaves containing the Pragña-Paramita-HridayaSútra and the Ushrisha-Vigava-Dharani.
Edited by F. Max Müller, M.A., and BUNYIU Nanjio, M.A. With an Appendix by G. BÜHLER, C.I.E. With many Plates. Small 4to, ios.
Contains facsimiles of the oldest Sanskrit MS. at present known. Dharma-Samgraha, an Ancient Collection of Buddhist Technical Terms.
Prepared for publication by Kenjiv KASAWARA, a Buddhist Priest from Japan, and, after his death, edited by F. MAX
MÜLLER and H. WENZEL. Small 4to, 73. 60. Kâtyâyana's Sarvânukramant of the Rigveda.
With Extracts from Shadgurusishya's Commentary entitled
Vedârthadipikâ. Edited by A. A. MACDONELL, M.A., Ph.D. 165. The Buddha-Karita of Asvaghosha.
Edited, from three MSS., by E. B. Cowell, M.A. 125. 6d. The Mantrapāțha, or the Prayer Book of the Apastambins.
Edited, together with the Commentary of Haradatta, and translated by M. WINTERNITZ, Ph.D. First Part. Introduction, Sanskrit Text, Varietas Lectionis, and Appendices. Small quarto, Tos, 6d.
Oxford AT THE CLARENDON PRESS
LONDON: HENRY FROWDE OXFORD UNIVERSITY PRESS WAREHOUSE, AMEN CORNER, E.C.
-
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Google
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NYPL RESEARCH LIBRARIES
3 3433 08185865 0
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The New York Public Library Astor, Lenox & Tilden Foundations
The R. Heber Newton
Collection
Presented by His Children * 1931 *
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THE
SACRED BOOKS OF THE EAST
dup. to
Be Kept
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HENRY FROWDE, M.A. PUBLISHER TO THE UNIVERSITY OF OXPORD
LONDON, EDINBURGH, AND NEW YORK
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THE
SACRED BOOKS OF THE EAST
TRANSLATED
BY VARIOUS ORIENTAL SCHOLARS
AND EDITED BY
F. MAX MÜLLER
VOL. XLIV
Orford AT THE CLARENDON PRESS
1900
( All rights resepies
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THE NEW YORK PUBLIC LIBRARY
537827 À
ATCP, LENOYAD TILDEN FUIudai NS
R 1931 L
Oxford PRINTED AT THE CLARENDON PRESS
BY HORACE HART, M.A. PRINTER TO THE UNIVERSITY
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THE
SATAPATHA-BRAHMANA
ACCORDING TO THE TEXT OF THE
MADHYANDINA SCHOOL
TRANSLATED BY
JULIUS EGGELING
PART V
BOOKS XI, XII, XIII, AND XIV
Orford
AT THE CLARENDON PRESS
1900
(All rights reserved]
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CONTENTS.
PAGE
INTRODUCTION
.
.
.
.
.
.
.
xiii
ELEVENTH KÂNDA. The Full and New-Moon Sacrifice (Supplementary Remarks).
Time of Sacrifice Additional oblations to Indra Vimridh and Aditi . 5 Expiatory oblations (to Agni, Indra, Vishnu) at New Moon 7 Birth of Pragâpati from golden egg. . . . 12 He creates Gods (Agni, Indra, Soma, Parameshthin)
and Asuras . . . . . . . Sacrifice representing universe and man . . . Brahman (n.), the origin and immortal element,
of gods and universe . Sacrifice, the Year . . . . . . . The Agnihotra (esoteric doctrines
The Brahmakarin Uddálaka Aruni and Svaidâyana. .
Saulvāyana and Ayasthuna. The Mitra vinda Sacrifice . .
Sri dismembered. . .
Puräravas and Urvasi . . The Seasonal Sacrifices (Kâturmâsya). .
Saukeya Prakinayogya and Uddálaka Âruni on the
Agnihotra . . . . . . . The Upanayana, or Initiation of the Brâhmanical Student
The Savitri formula . . . . . . 87 The Satâträtra Sattra.
The Morning-Litany (prâtaranuvâka) of the Atirálra 92 The Svadhyâya, or Daily Study of the Veda . . . 95
The three Vedas, or triple science . . . 102
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viii
CONTENTS.
PAGE 105
108
..
The Adábhya Cup of Soma
. Varuna and his son Bhrigu (on future states of
existence). . . . . . . . Ganaka of Videha on the Agnihotra . Yâgñavalkya and Sâkalya (on the gods and the supreme deity). . .
. The Animal Sacrifice, of two kinds
The Sacrificial stake (ypa) . The Victim and its deity. . The King of the Kesin and his Samrag-cow .
115
118
.....
123 127
131
•
178
197 200
•
TWELFTH KÂNDA. The Sacrificial Session (Sattra) . .
. . 135 Man, the Year . . .
. . 144 The Tapaskita Sattra .
. 171 Expiatory Ceremonies of the Agnihotra The going out of one of the fires .
187 The death of the Agnihotrin . .
The burying of the dead body. . . Expiatory Oblations of Soma-sacrifice.
205 The Sautrâmant . . . .
· 213 Namuki slain by Indra. . . . . 216, Preparation of the Surâ-liquor . . . . Oblations of milk and Surâ . .
· 231 Oblations to the Fathers . .
. 234 The Asvina, Sarasvata, and Aindra cups . . . 245 Indra assisted and healed by the Asvins and Saras
vatî . . . . . . . . 223, 249 Consecration of Sacrificer
. 249 Cakes to Indra, Savitri, and Varuna
. 247, 260 The Avabhritha, or purificatory bath
. . 264 Kakra Sthapati performs Sautrâmani for Dushtaratu
Paumsâ yana . . . . . . . 269
THIRTEENTH KÂNDA. The Asvamedha, or Horse-sacrifice .
Fettering and sprinkling of Horse . . Stokîyâ oblations . . . . .
. . .
. 274 . 276 . 280
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CONTENTS.
282
289
• 298
322
PAGE Prakrama oblations . . Three cake-offerings to Savitri
284 Dhriti oblations . . . .
285 Lute-playing by Brahmana and Råganya
285 Diksha, or Initiation . Vaisvadeva oblations
289 Audgrabhana oblations.
291 First Soma-day (Agnishloma) . . . . Annahomas (food oblations).
296 Second Soma-day (Ukthya).
Fettering of victims . . . . . . 298 Bahishpavamâna-stotra.
304 Setting free of the wild victims.
. . 307 Sacrificer drives with Horse to pond of water and back 311 Horse anointed and adorned by Sacrificer's wives 312 Brahmodya of Hotri and Brahman . . . . 314 Sprinkling of Horse by Adhvaryu (and Sacrificer)316 Killing of Horse on cloths and plate of gold . . 320 Wives led up to circumambulate and fan the Horse . Mahishi addresses the Horse . . . . . 323 Priests' colloquy with wives .
• 324 The Knife-paths made with needles. The two Mahiman Cups of Soma
327 The Chanting of the Katushtoma .
329 Aranyes näkya oblations. Svishtakrit oblations of blood .
337 Oblations to the Deaths.
340 Asvastomiya oblations
341 Dvipadá oblations. .
• 342 Expiatory Offerings . . . . . . 345
Right time for performing the Asvamedha . . 347 Preliminary Ceremonies :- the mess of rice. . . 348 Sacrificer and wives pass the night in the sacrificial . hall . . . . . .
. 349 Offering to Agni Pathikrit - the mouth of the Sacrifice 350 Offering to Pashan . . . . . . . 352 Leading up of the Horse, assisted by its noble keepers. 353 Three Såvitra offerings (performed daily for a year). 355 Brâhman lute-player sings three gåthâs. · · 356 Horse and keepers sent to range the quarters. . 359
•
326
336
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X
CONTENTS.
The Pâriplava Akhyâna,
or revolving legend Prakrama and Dhriti oblations Râganya lute-player sings three gâthâs Dîkshâ, or Initiation (at end of year) Sutyâ-days
The set of twenty-one sacrificial stakes
The chanting of Gotama's Katush/oma
The Sastras and Stotras of the Central (Ekavimsa)
.
day.
The animal sacrifices of that day
The Adhrigu litany
The Mahishi and the Horse
•
Colloquy of priests, chamberlain and women Brahmodya of priests
The first Mahiman Cup of Soma The offering of the omenta (vapâ) The second Mahiman Cup of Soma The Stotras of the third (Atirâtra) day
Various Arrangements of the Asvamedha Chants Offering of barren cows.
Animal sacrifices performed in following year The Purushamedha, or Human Sacrifice
Animal sacrifices
The (symbolical) human victims Purusha-Narayana litany (Purusha-sûkta).
Traidhâtavt offering
Uttara-Nârâyana litany
Enumeration of the human victims
The Sarvamedha, or All-Sacrifice. The ten Sutyâ-days thereof Funeral Ceremonies
•
Burial-ground (smasâna). Locality of the tomb
Form and size of the tomb
.
Digitized by
361-370
363
364
371
372
373
375
•
•
·
•
•
•
421
421
424
428
Preparation (sweeping, ploughing, sowing) of the site 429
Depositing of charred bones
433
Arranging of bones limb by limb
434
Body completed by bricks, like bird-shaped altar
435
Height of sepulchral mound
435
Driving in of pins marking site of mound
436
•
.
PAGE
•
•
377
382
385
386
386
388
391
392
394
395
396
402
402
403 404
407
410
412
412
413
417
418
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CONTENTS.
PAGE
Furrows, dug south and north, filled with (milk and)
water . . . . . . . . 437 Passing the northern ones on three stones thrown in
by each . . . . . . . . 437 Purification by Apâmârga plants and bath . . 438 Home-going, and offering to
hmat on housefire. . . . . . . . 439 Depositing of clod midway between grave and village 440
FOURTEENTH KÂNDA.
The Pravargya . . . .
. : 441 Sacrificial session performed by the gods at Kuru
kshetra . . . . . . . . 441 Vishnu excels and becomes overweening . . . 442 Bowstring, gnawed by ants, cuts off his head. . 442 The names "Gharma, Pravargya, Mahavira, Samrag' explained . . . .
. . 442 Vishnu's body divided between the gods.
. 443 Dadhyark Atharvana warned by Indra not to teach
the sweet doctrine . . . . . . His head cut off by Indra, and restored by the Asvins 445 Rule of abstinence observed when teaching the · Pravargya . . . . . . . 446 Collecting materials for making the Mahavira pot . 447 Pragapati, as the boar Emůsha, raises the Earth : 451 The making of the Mahavira vessels in shed . .
453 The fumigating and baking of the vessels . . 456 Depositing of vessels and implements in front of
Gårhapatya . . . . . . . 458 The Hotri's recitation , Sprinkling of pot with lustral water. The Mahâvîra's (imperial) Throne-seat south of Âha
vaniya . . . . . The pot anointed with ghee . . . . . 462 The pot set down on mound upon burning reed
sheaths . . . . . . . . The Sacrificer invoking blessings upon the earth . 464 Pieces of Vikankata wood laid round, and a gold
plant upon the pot. . . . . . 466
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xi
CONTENTS.
of
PAGE Fanning of the fire with three pieces of antelope-skin
till aglow. . . . . . . . 467 Revering of the heated pot with the Avakâsa verses. 469 Offering of the first Rauhina cake . . . . 472 Samråg-cow tied and milked.
. 474 The pot lifted from the fire and placed on the tray. 476 Cooling of pot with goat's milk; and pouring in of
cow's milk · · · · · · · 477 Oblations made by(muttering) the (twelve) wind-names 478 Pouring of spilt milk and ghee from tray into pot . 481 Oblation to Asvins. .
. . 482 Anumantrana to the rising milk
. . 484 Mahâvîra pot placed on mound . Offering of the steeped Vikankata chips (to Pashan, &c.) Pouring of remaining milk from pot into tray. . Offering of the second Rauhina cake . . . Sacrificer drinks the remaining Gharma . . Cleansing, and performance of Upasad . . . 490 Rules for priests as to how and for whom to perform
the Pravargya . . . . . . . 490 Pravargyotsadana, or setting out of the implements 493 Kindling of bundles of faggots, and offering thereon . 494 Procession led by Prastotri singing a Sâman . 496 Arrangement of apparatus in form of human body. 498 Singing of Varshahara-saman and departure . . Mode of performance at continued Soma-sacrifices. 502 Dakshinas, or sacrificial fees . . . . . 503 Expiatory ceremonies in case of breaking of pot . 504
Laudation of Pravargya . . . . . INDEX TO PARTS III, IV, AND V (Vous. XLI, XLIII, AND XLIV) 511 Additions and Corrections . . .
..591
501
Transliteration of Oriental Alphabets adopted for the Trans
lations of the Sacred Books of the East . . . 593
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INTRODUCTION.
THE present volume completes the theoretic exposition of the sacrificial ceremonial, and thus brings us to the end of our task. The remaining six chapters of the last book of the Brahmana form the so-called Brihad-aranyaka, or great forest-treatise, which, as one of the ten primitive Upanishads, is included in Professor F. Max Müller's translation of those old theosophic treatises, published in the present series. The portion of the work contained in this volume forms practically a continuation of the first five kândas, the intervening five books being devoted to the consideration of the Agnikayana, or construction of the sacred brick-altar, which had come to be recognised as an important preliminary to the Soma-sacrifice. The circumstances which seem to have led to this somewhat peculiar distribution of the different sections of the work have been explained in the introduction to the first volume of the translation. As was there shown, the inclusion of the Agnikayana in the sacrificial system of the Vågasaneyins, or theologians of the White Yagus, appears to have resulted in a definite settlement of the sacrificial texts of the ordinary ritual, as contained in the first eighteen adhyâyas of the Vagasaneyisamhita, as well as of the dogmatic explanation of that ritual as given in the first nine kändas of the Satapathabrahmana. Considerable portions of the remaining sections of both works may have been, and very likely were already in existence at the time of that settlement, but, being excluded from the regular ceremonial, they were naturally more liable to subsequent modifications and additions than
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xiv
SATAPATHA-BRAHMANA.
those earlier sections which remained in constant use. Whilst the tenth kända, included in the preceding volume of the translation, consisted of speculations on the sacred fire-altar, as representing Purusha-Pragapati and the divine body of the Sacrificer—whence that book is called the Agnirahasya, or mystery of the fire-altar—the present volume contains the supplementary sections connected with the sacrificial ceremonial proper.
The eleventh and twelfth kândas are mainly taken up with additional remarks and directions on most of the sacrifices treated of in the first four kändas, especially with expiatory ceremonies and oblations in cases of mishaps or mistakes occurring during the performance, or with esoteric speculations regarding the significance and mystic effect of certain rites. In this way the eleventh book deals with the New and Full-moon sacrifices; the Seasonal offerings (XI, 5, 2), the Agnihotra (XI, 5, 3; 6, 2), the Soma-sacrifice (XI, 5, 5; 9), and the Animal-sacrifice (XI, 7, 2-8, 4); whilst the twelfth kânda treats of the Gavâm ayanam'or most common sacrificial session lasting for a year, thus offering a convenient subject for dilating upon the nature of Pragå pati, as the Year, or Father Time ;-of additional expiatory rites for Soma-sacrifices (XII, 6), and of the Sautrâmani, consisting of oblations of milk and spirituous liquor, supposed to obviate or remove the unpleasant effects of any excess in the consumption of Soma-juice (XII, 7-9). Though supplementary notes and speculations on such ceremonial topics cannot but be of a somewhat desultory and heterogeneous character, they nevertheless offer wel. come opportunities for the introduction of much valuable and interesting matter. It is here that we find the famous myth of Purúravas and Urvasi (XI, 5, 1); and that of Bhrigu, the son of Varuna, vividly illustrating the notions prevalent at the time regarding retribution after death (XI, 6, 1); as also the important cosmogonic legend of the golden egg from which Pragàpati is born at the beginning of the evolution of the universe (XI, 1, 6). Of considerable interest also are the chapters treating of the way in which
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the dead body of the pious performer of the Agnihotra, or daily milk-offering, is to be dealt with (XII, 5, 1-2); of the initiation and the duties of the Brâhmanical student (XI, 3, 3 ; 5, 4); and, last not least, of the study of the Vedas (XI, 5, 6-7) and their subsidiary texts amongst which we meet, for the first time, with the Atharvangiras as a special collection of texts recommended for systematic study.
With the commencement of the thirteenth kânda, we enter once more upon a regular exposition of a series of great sacrifices like those discussed in the early books; the first and most important of them being the Asvamedha, or Horse-sacrifice. Like the Râgasaya, or inauguration of a king, the Asvamedha is not a mere sacrifice or series of offerings, but it is rather a great state function in which the religious and sacrificial element is closely and deftly interwoven with a varied programme of secular ceremonies But whilst the Rågasûya was a state ceremonial to which any petty ruler might fairly think himself entitled, the Asvamedha, on the contrary, involved an assertion of power and a display of political authority such as only a monarch of undisputed supremacy could have ventured upon without courting humiliation; and its celebration must therefore have been an event of comparatively rare occurrence. Perhaps, indeed, it is owing to this exceptional character of the Asvamedha rather than to the later origin of its ritual and dogmatic treatment that this ceremony was separated from the Râgasûya which one would naturally have expected it to succeed. It is worthy of remark, in this respect, that, in Kâtyåyana's Anukramani to the Vågasaneyi-samhità, the term 'khila,' or supplement, is not applied to the Asvamedha section 2 (Adhy. XXII-XXV), while the subsequent sections are distinctly characterised as such. As a matter of fact, however, the Asvamedha has
Cf. Taitt. Br. III, 8, 9, 4,-parâ vâ esha sikyate yo sbalo ssvamedhena yagate :- Verily, poured away (dislodged) is he who, being weak, performs the Asvamedha;' Âp. Sr. XX, 1, 1,'a king ruling the whole land (sârvabhauma) may perform the Asvamedha ;-also one not ruling the whole land.'
Cf. Weber, History of Indian Literature, p. 107; Max Müller, History of Ancient Sanskrit Literature, p. 358.
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received a very unequal treatment in the different rituals. Of the two recensions of the Brahmana of the Rig-veda priests, the Aitareya-brahmana takes no account whatever of the Horse-sacrifice, whilst its last two books (VII, VIII) generally regarded as a later supplement, though probably already attached to the work in Pånini's time—are mainly taken up with the discussion of the Rågasûya. The Kaushîtaki-brahmana, on the other hand, passes over both ceremonies, their explanation being only supplied by the Sankhayana-sútra, along with that of some other sacrifices, in two of its chapters (15 and 16), composed in Brahmana style, and said to be extracted from the Maha-Kaushitaki-brâhmana'. In the principal Brahmana of the Saman priests, the Pañkavimsa-brâhmana, the Asvamedha, as a triratra, or triduum, is dealt with in its proper place (XXI, 4), among the Ahînas, or several days' performances. As regards the Black Yagus, both the Kathaka and the Maitrầyanî Samhità give merely the mantras of the Asvamedha ?, to which they assign pretty much the same place in the ritual as is done in the White Yagus. In the Taittirîya-samhita, on the other hand, the mantras are scattered piecemeal over the last four kândas; whilst, with the exception of a short introductory vidhi-passage, likewise given in the Samhita (V, 3, 12), the whole of the exegetic matter connected with this ceremony is contained, in a continuous form, in the Taittirîya-brâhmana (VIII and IX). Lastly, in the Vaitana-sútra of the Atharva-veda-doubtless a comparatively late work, though probably older than the Gopatha
1 Besides the two chapters referred to, nothing more than quotations are known of this work. Possibly, however, the difference between it and the Kaushitaki-bråhmana consisted merely of such supplements which would thus be very much of the same character as the last two parkikås of the Aitareya. brahmana, except that they never became so generally recognised.
Though this circumstance seems to favoar the supposition of the more recent ritualistic treatment of the Asvamedha, it may not be out of place to notice that, in the Maitrayant Samhita, the Asramedha section is followed by several Brabmana sections; amongst them that of the Râgasůya which is not found in the Kåthaka at all. Sat. Br. XIII, 3, 3, 6, calls the Asvamedha an' utsannayagia'; but it is not quite clear what is meant thereby, seeing that the same term is applied to the Katurmäsyäni, or Seasonal offerings (II, 5, 2, 48).
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brahmana _the Asvamedha is treated immediately after the Rågasuya, and followed by the Purushamedha and Sarvamedha; these four ceremonies being characterised at the end as the Kshatriya's sacrifices * (medha).
With regard to the earliest phase of Vedic religion, there is no direct evidence to show that the horse-sacrifice was already at that time a recognised institution. Two hymns of the Rig-veda (I, 162; 163), it is true, relate to that sacrifice, but they evidently belong to the latest pro. ductions of that collection, though still sufficiently far removed from the time of the oldest of the ritual works just referred to. Seeing, however, that animal sacrifices generally are not alluded to in the Riksamhita", whilst there is every reason to believe that they were commonly practised from remote antiquity, this absence of earlier positive evidence regarding the horse-sacrifice cannot be taken as proving the later origin of that institution. As will be seen further on, there are sufficient indications to show that even human sacrifices were at one time practised amongst the Aryans of India, as they were amongst their
See Professor M. Bloomfield's paper on The Position of the Gopathabrahmana in Vedic Literature,' Journ. Am. Or. Soc., vol. xix.
. Cf. Mabábh. XIV, 48, where these four sacrifices are specially recommended by Vyasa to Yudhishthira as worthy of being performed by him as King.
• Possibly also, the hymn Rig-veda I, 164 (Ath.-v. IX, 9, 10)-on which see P. Deussen, Allg. Geschichte der Philosophie, I, 1, p. 105 seq.-may have been placed after the two Asvamedha hymns to supply topics for the priests' colloquy (brahmodya) at the Asvamedha. Cf. XIII, 2, 6, 9 seqq. ; 5, 2, II seqq. The fact that the Asvamedha is not treated of in the Aitareya-brahmana cannot, of course, be taken to prove the later origin of the hymns referred to, though it might, no doubt, fairly be used as an argument in favour of assuming that those parts of the Asvamedha ceremonial in which the Hotri takes a prominent part were probably not introduced till a later time.
Haug, Ait. Br. I, introd., p. 12 seqq., argues against the assumption of a comparatively late origin of the hymn I, 162; but his argument meets with serious lexical and other difficulties.
S We may lcave out of account here one or two vague allusions, such as X, 155, 5 these have led around the cow (or ball) and have carried around the fire; with the gods they have gained for themselves glory : who dares to attack them ?' The question also as to whether the so-called Aprf-hymns, used at the fore-offerings of the animal sacrifice, were from the very beginning composed for this purpose, cannot be discussed here.
[44]
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European kinsmen. The fundamental idea which underlay this practice doubtless was the notion that man, as the highest attainable living being, could not but be the most acceptable gift that could be offered to the gods, and, at the same time, the most appropriate substitute for the human Sacrificer himself. For the same reason no doubt only domesticated animals were considered suitable for sacrifice; and amongst these the horse was naturally looked upon as ranking next to man (Sat. Br. VI, 2, 1, 2), although considerations of practical expediency and even of social distinction might prevent its use for ordinary sacrificial purposes.
In the speculations of the Brahmanas, a deep mystic significance is attached to the Horse-sacrifice. In the last two chapters of the 'Mystery of the Fire-altar' (Sat. Br. X, 6, 4, 1; 4), the Asvamedha-i. e. the sacrificial horse itself—is coupled with the Arka, the mysterious name of the sacred fire, as the representative of Agni-Pragå pati, the Sun. The horse-sacrifice is called the bull (XIII, 1, 2, 2), and the king (XIII, 2, 2, 1), of sacrifices, just as the horse itself is the highest and most perfect of animals 1 (XIII, 3, 3, 1 ; Taitt. Br. III, 8, 7; 8, 9, 1); the horse selected for sacrifice, in particular, being said to be worth a thousand cows (XIII, 4, 2, 1). The connection of the sacrificial horse with the lord of creatures' is, of course, fully accounted for by the theory of the identity of the sacrifice generally with Purusha-Pragàpati, discussed in the introduction to part iv of this translation. The sacrificial horse accordingly belongs to Pragapati, or rather is of Pragàpati's nature (prågapatya); nay, as the Taitt. Br. (III, 9, 17, 4) puts it, it is a form of Pragapati himself (pragapate rậpam asvah), and is, of all animals, the one most conformable (anurupatamak) to Pragâpati. Hence also, in the cosmogonic account at the commencement of the Agnikayana section (VI, 1, 1, 11), the horse is represented as having originated, immediately after the Brahman (sacred lore) and Agni, directly from the
1 They (the Massagetae) worship the sun only of all the gods, and sacrifice horses to him; and the reason for this custom is that they think it right to offer the swiftest of all animals to the swiftest of all the gods.' Herod. I, 116.
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egg produced by Pragàpati from the cosmic waters; whilst, according to other accounts (VII, 5, 2, 6; XIII, 3, 1, 1), the horse originated from Pragâpati's eye. But, since the offering also represents the offerer himself, or rather his divine self awaiting him in the other world (XI, 1, 8,6; 2, 2,6), the sacrificial horse is also identified with the Sacrificer (yagamano và asvah, Taitt. Br. III, 9, 17, 4) who thereby obtains the fellowship of the Lord of creatures and a place in his world (ib. III, 9, 20, 2).
Besides Pragàpati, there is, however, another deity who lays claim to the possession of the sacred steed; for the horse is Varuna's sacrificial animal (Sat. Br. V, 3, 1,5; VI, 2, 1, 5; Taitt. Br. III, 9, 16, 1); nay, Varuna is even the lord of all one-hoofed cattle (Våg. S. XIV, 30; Sat. Br. VIII, 4, 3, 13). This connection of the horse with Varuna seems natural enough, seeing that this god, as the king of heaven and the upholder of the law, is the divine representative of the earthly king ; whence the Ragasaya, or coronation-ceremony, is called Varuna's consecration (Sat. Br. V, 4, 3, 21; cf. II, 2, 3, 1). For this reason the barley also is sacred to Varuna' (XIII, 3, 8, 5); and accordingly, during the same ceremony, the king offers a barley-mash to Varuna, in the house of his Sûta, or charioteer and herald; a horse being the sacrificial fee for this offering (V, 3, 1, 5). In the Vedic hymns, this association of the god Varuna with the noble quadruped finds a ready, if rather commonplace, explanation in a common natural phenomenon: Varuna's horse is none other than the fiery racer who pursues his diurnal course across the all-encompassing arch of heaven, the sphere of Varuna ?, the all-ruler. It is ih the
Dr. Hillebrandt, Varana und Mitra,' p. 65, is inclined to refer this connection to Varuna's character as the god of waters and the rains, as favouring the crops and fertility generally.
? Whilst it may be a matter of opinion whether, with Professor Brugmann (Grandr. II, p. 154), we have to take the original form of this name to be
vorvanos,' or whether the 'u' of the Sanskrit word is merely due to the dulling influence of the preceding r (cf. taruna, dhåruna, karuna), the etymological identity of 'varunas' and oupavós is now probably questioned by few scholars. The ethical attributes of this mythological conception seem to
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form of the horse that the Sun is thus lauded in the hymn Rig-v. I, 163, recited by the Hotri on the second Somaday of the Asvamedha, after the horse has been led up to the sacrificial stake, and to the slaughtering-place1:-1. 'When, first born (just born), thou didst neigh, uprising from the sea, or from the vapoury region, the falcon's wings and the deer's feet-praiseworthy greatness was innate in thee, O steed!'... 4. Three fetterings2, they say, are thine in the sky, three in the waters, three within the sea; and like unto Varuna, O steed, dost thou appear to me, where, they say, thy highest birth-place is.' And since, as in these verses, the upper regions commonly present themselves to the eye of the Vedic singer under the semblance of a heavenly sea, Varuna also comes to be looked upon as the divine representative of the waters; whilst the horse, for the same reason, is supposed to have sprung from the waters. Of any connection of the sacrificial horse with Pragâpati, on the other hand, as of the Pragâpati theory of the sacrifice generally, clearly shadowed forth in the Purusha-sûkta, and so decidedly dominant during the Brahmana period, no trace is to be found in the earlier hymns. Indeed, if we have any right to assume that the horse-sacrifice was known and practised in the earlier times, it can scarcely be doubted that King Varuna must have been the deity to whom this victim was chiefly consecrated.
The close and natural relations between the sun and the heavens find their hallowed expression in the divine duad Mitra and Varuna. Though, judged by the number of
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me to find a sufficiently intelligible explanation without resorting to outside influence to account for them. Indeed, Dr. Hillebrandt's 'Varuna und Mitra' gives a fairly complete and satisfactory account of this figure of the Indian pantheon in all its relations.
1 See Sat. Br. XIII, 5, 1, 17, 18.
'That is, probably, three halting-places (? the points of rising, culminating, and setting). Perhaps also the three statements are merely meant as an emphatic repetition of one and the same locality-the sky, the sea of waters; though, possibly, three different strata of the upper region may be intended. Professor Ludwig, on the other hand, takes 'trini bandhanâni' in the sense of three fetters,' and Professor Hillebrandt, 1. c., in that of three relations (or connections, Beziehungen).'
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hymns addressed to them, singly or jointly, this pair of deities occupies a somewhat subordinate position in the Vedic pantheon, there is reason to believe that it formed a more prominent feature of a phase of belief lying beyond the period reflected in the hymns of the Rig-veda. Judging from the peculiar character of these deities, one might indeed be inclined to claim for the people that formed religious conceptions such as these a long period of peaceful dwelling and normal intellectual growth. If such was the case, the occupation of the land of the seven rivers and the gradual eastward drift certainly proved a turning-point in the development of this Aryan people. But, in any case, the decided change of climate1, and the close contact with aboriginal tribes of inferior culture, could hardly fail, along with the changed conditions of life, to influence considerably the character of the people, and to modify their religious notions and intellectual tendencies. As, in their struggles against hostile tribes, the people would naturally look to leaders of deed and daring rather than to mild and just rulers, so the violent war of elements, periodically convulsing the heavens in these regions, after long and anxious seasons of heat and drought, and striking awe and terror into the minds of men, might seem to them to call for a heavenly champion of a different stamp than the evenheaded and even-tempered Varuna,—it would need a divine leader of dauntless, and even ferocious, spirit to fight the worshipper's battle against his earthly and unearthly foes. Such a champion the Vedic Aryans indeed created for themselves in the person of Indra, the divine representative, as it were, of their warlike kings, and the favourite subject of their song. And side by side with him, and sharing with him the highest honours-nay, even taking precedence of him-we find the divine priest, Agni, the deified fire of sacrifice, as representing the all-pervading, all-supporting
Whilst the climate of Baluchistan is regulated, as in Europe, by the succession of four seasons, the climate of the districts east of the Indus, as of India generally, shows the characteristic threefold division of rainy, cool, and hot seasons (S. Pottinger, Beloochistan, p. 319 seqq.).
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light of heaven ; just as we found Mitra, the sun, by the side of Varuna, the god of the all-encompassing heaven. Not as if Agni and Indra had ever entirely superseded Mitra and Varuna. On the contrary, all these gods continue to share, in a greater or less degree, the affections of the Vedic singers; and as regards Varuna and Indra in particular, their relations are well expressed by Vasishtha when he says (Rig-v. VII, 82, 2; 5), that the one (Varuna) is' samråg'(universal ruler, overlord); and the other (Indra) ‘svarâg' (self-ruler, independent lord);—and that, ever since the time when these two, by their power, created all the beings in the world, Mitra serves Varuna in peace, whilst the mighty (Indra) goes forth with the Maruts in quest of glory. Even in the sacrificial ritual, Mitra and Varuna continue to play an important part, seeing that one of the priests—the Maitråvaruna-is named after them, that they receive various oblations, and that at the end of every Somasacrifice at least one sterile cow is offered to them, apparently as an expiatory victim, for shortcomings in the sacrifice, thus accentuating once more the ethical character of these deities. It is thus not to be wondered at that, whilst Agni and Indra are most commonly referred to in the Brahmanas as the divine representatives of the Brahman and Kshatra, or the spiritual and the political powers—the high priest and king-respectively, the very same is the case as regards Mitra and Varuna ®; and the Maruts, representing the common people, are accordingly associated with Varuna,
1 Taitt. S. VI, 6, 7, 4, explains this offering as symbolically smoothing down the sacrifice torn up by recited verses and chanted hymns, even as a field, torn up by the plough, is levelled by a roller ('matya,' taken however by Sây. in the sense of cow-dong '). The Sat. Br. does not allude to the expiatory character of the offering, but there can be no doubt that it is of an essentially piacular significance. It need scarcely be mentioned that the avabbrithe,' or lustral bath, at the end of Soma- and other sacrifices, is distinctly explained (II, 5, 2, 46; IV, 4, 5, 10) as intended to clear the Sacrificer of all guilt for which he is liable to Varuna. Cf. Taitt. Br. III, 9, 15, 'At the lastral bath he offers the last oblation with “To Gambaka hail !" for Gumbaka is Varana : he thus finally frees himself from Varuna by offering.
See, for instance, Sat. Br. IV, 1, 4, 2; V, 3, 2, 4; IX, 4, 2, 16; Maitr. S. IV, 5, 8; Taitt. Br. III, 1, 2, 7 (kshatrasya råga Varuro sdhirigar).
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as their king or ruler (Sat. Br. II, 5, 2, 34), just as they are with Indra (II, 5, 2, 27). One might thus expect that Indra would claim the same special connection1 with the sacrificial horse as that which is conceded to Varuna. The reason why this is not the case probably is that, in the Brahmana period, the notion of the horse having, like the sun, originated from the cosmic waters had become as firmly established as was the traditional connectionnay, even identity of Varuna with the element of water
generally.
As regards Varuna's and Pragâpati's joint connection with the sacrificial horse, the Taitt. S. (II, 3, 12, 1) records the following legend which may perhaps have some bearing on this point:-Pragâpatir Varunâyâsvam anayat, sa svâm devatâm ârkhat, sa pary adîryata, sa etam vârunam katushkapalam apasyat, tam nir avapat, tato vai sa varunapâsâd amukyata, Varuno vâ etam grihnâti yo-svam pratigrihnâti, yavato svân pratigrihnîyât tâvato vârunâñ katushkapâlân nir vaped, Varunam eva svena bhagadheyenopa dhâvati, sa evainam varunapâsân muñkati :-' Pragâpati led up the horse to Varuna: he (thereby) impaired his own godhead, and became racked all over with dropsy. He beheld that four-kapala (cake) sacred to Varuna, and offered it, and thereupon was freed from Varuna's noose; for Varuna seizes him who takes (receives) a horse,-as many horses as one takes so many four-kapâla (cakes) one ought to offer to Varuna: one (thereby) hastens up to Varuna with his (V.'s) own share, and he (V.) frees him from Varuna's noose.'
The interpretation of this legend presents, however, some difficulties. Dr. Hillebrandt, 'Varuna und Mitra' (p. 64), translates the first sentence by-'Pragâpati führte dem
1 Since all the gods are concerned in the Asvamedha-whence the horse is called 'vaisvadeva'-Indra would of course have a general interest in it. Indra is also associated with the horse in so far as he is said to have first mounted it, Rig-veda I, 163, 2, 9. Indra's two bays (hart) of course belong to a different conception.
Âpo vai Varunak, Maitr. S. IV, 8, 5.
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Varuna das Ross fort "'-'Pragâpati led the horse away from Varuna': this would undoubtedly make better sense, but, unfortunately, the construction of 'nî' with the dative in this sense would involve a decided solecism. Sâyana, on the other hand, takes it in the same sense as we have done, and he explains that it is just by giving away the horse whose deity he himself is that Pragâpati forfeits his godhead2. He feels, however, afterwards constrained to assign to 'pratigrihnâti' the causal force of 'he causes it to be taken, he gives it away,' which is clearly impossible. But whatever the correct interpretation of the opening clause may be, it seems at all events clear that the sacrificial horse is represented in the legend as undergoing a change of ownership from the one deity to the other.
When one compares the ceremonial of the Asvamedha, as expounded in the Brahmana, with the ritual indications contained in the two hymns already referred to, one is struck by the very marked contrast between the two. For whilst, on the central day of the Asvamedha alone, the ritual requires the immolation of not less than 349 victims bound to twenty-one stakes (p. 311, n. 1)—not counting two sets of eleven Savanîya victims (p. 383, n. 3) subsequently added thereto-the hymns (I, 162, 2-4; 163, 12) seem only to mention two victims, viz. the horse itself, and a he-goat. This latter animal which is to precede the horse when led to the sacrificial ground (and stake), and to
'This, no doubt, might possibly be taken to mean 'Pragâpati led away the horse for Varuna,' but Dr. Hillebrandt could hardly have meant it in this sense, since his argument apparently is that the horse (like Varuna himself) represents the aqueous element, and that thus, by taking to himself the horse, Pragâpati incurs dropsy. The exact point which interests us here, viz. the relation between Pragâpati and Varuna as regards the sacrificial horse, lies outside Dr. Hillebrandt's inquiry.
* In Dr. Hillebrandt's interpretation, it is also not quite easy to see in what way Pragâpati, by carrying off Varuna's horse, impaired-griff an,' attacked, assailed-his own godhead. One might possibly refer' svâm' to the horse, but this would make the construction rather harsh. The verb 'nt' here would seem to refer to the leading up of the sacrificial horse to the offering-ground, either for being set free for a year's roaming, or for sacrifice, for both of which acts the verb 'ud-â-n?'-i. e. to lead up the horse from the water where it was washed-is used (Sat. Br. XIII, 4, 2, 1; 5, 1, 16).
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be slaughtered first in order to carry the welcome news of the sacrifice to the gods, is in one place referred to as Pashan's share, and in another as going forward to the dear seat of Indra and Pushan? Sânkhayana (Srautas. XVI, 3, 27-30), however, takes these statements of the Rishi to refer to two different he-goats, both of which he includes amongst the victims tied to the horse's limbs, viz. one, sacred to Pushan, tied to the forehead, and another, sacred to Indra and Pashan, fastened to the navel, of the horse 2. The corresponding paryangya' victims recognised by the Maitrayanî Samhità (III, 13) and the White Yagus (Vág. S. XXIV, 1), on the other hand, are a black-necked he-goat for Agni, tied to the forehead, and a black or grey (syåma) one, bound to the navel, and consecrated by the one authority to Pushan, and by the other to Soma and Pushan. But, curiously enough, the Taittirîya school (Taitt. Br. III, 8, 23; Âp. Sr. XX, 13, 12) recognises not only Sankhayana's two victims, but also the one for Agni; whilst in regard to the other victims also it differs considerably from the other schools of the Yagur-veda. Seeing, then, that there is so little agreement on these points even amongst different branches of the same Veda, one can hardly escape the inference that, in this respect at least, there was no continuity of ritual practice since the time of those two hymns. As regards the other points therein alluded to, the he-goat and horse are referred to
Rig-veda S. I, 162, 2. When, held by the mouth (by the bridle), they lead round the offering of the (horse) covered with rich trappings, the allcoloured he-goat goes bleating in front right eastwards to the dear seat of Indra and Půshan. 3. This he-goat, fit for all the gods, is led in front of the swift horse as Pashan's share ; like (?) the welcome cake, Tvashtri promotes it, along with the steed, to great glory. 4. When thrice the men duly lead around the horse meet for offering along the way to the gods, then the he-goat walks first, announcing the sacrifice to the gods. ... 16. The cloth which they spread (for the horse to lie upon) and the upper cloth and the gold, the halter, the steed, the shackle-these they bring up as acceptable to the gods.'-1, 163, 12. Forth came the swift steed to the slaughter, musing with reverent mind; his mate, the he-goat, is led in front; and behind go the wise singers.'
According to the Taittiriyas, this second he-goat is tied to the cord surrounding the horse's limbs somewhere above the deck of the horse.
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as being led round thrice in accordance with the sacred ordinance. Now, this ceremony is quite foreign to the later practice in animal sacrifices. Sâyana accordingly takes it to refer to the rite of paryagnikarana,' or carrying fire round the victims1; but the text of the passage evidently does not admit of such an interpretation; and, besides, in Rig-v. X, 155, 5, the sacrificial cow is apparently referred to as first being led round, and then fire being carried round it. It is therefore more probable that the victims were in the first place made to circumambulate the fire, or the fire and stake combined.
Further, the allusion to the pasu-purodasas, or cakes offered in connection with the victims, as well as to the two cloths and the piece of gold placed on the ground, as they are in the later practice, for the dead horse to lie upon, might seem to suggest that even then this sacrifice was not performed in quite so simple a manner, but somewhat more in accordance with the later ceremonial than the scanty allusions in the hymns might lead one to suppose. At all events, however, we shall probably not be far wrong in assuming that, from the very beginning, the performance of the horse-sacrifice must have had connected with it a certain amount of ceremonial of a purely secular and popular character. Even at the time of the fully developed ritual this was almost certainly the case to a larger extent than would appear from the exposition of it given in the Brâhmanas and Sutras which, indeed, are mainly concerned with the religious side of the ceremonial. For this reason considerable interest attaches to the description of the horse-sacrifice given in the Asvamedhika-parvan of the Mahabharata in which much greater stress is laid on the popular and chivalrous aspect of this religious observance. Though this epic account manifestly emanates from a much later period, it seems, upon the whole, to present the
1 See p. 307, note 5.
It has even been supposed to be merely a condensed version of a comparatively modern work ascribed to Gaimini, the (Asvamedha-parvan of the) Gaimini-Bharata.
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traditional features of this royal ceremony, embellished no doubt by all the exercise of that poetic fancy to which the occasion so readily lends itself.
On the completion of the great war between the Pandava and Kaurava princes, Yudhishthira, having reascended the throne of his fathers, resolves on performing the horse-sacrifice, as calculated to cleanse him of all guilt incurred by the slaughter of his Kaurava kinsmen. Having been initiated on the day of the Kaitra full-moon (beginning of spring), 'the king, clad in a linen (? silk) garment and the skin of a black antelope, bearing a staff in his hand, and wearing a gold wreath, and a round gold plate 2 round his neck, shone like a second Prągåpati at the holy cult. The chosen steeds, of black and white colour like the black buck, is then led up, and is set free by the sage Vyasa himself; and that model of knightly perfection, Arguna, the king's second brother, is appointed to guard the priceless victim during its year's roaming. He accordingly starts after it on his chariot yoked with white steeds, attended by a picked body-guard“, amidst the rejoicings and fervent blessings of all Hastinåpura-men, women, and children. Thus followed by its martial escort, the noble steed roams at will over the lands
· Vyåsa remarks to Yudhishthira (XIV, 2071), 'For the Asvamedha, O king of kings, cleanses away all ill-deeds: by performing it thou wilt without doubt become free from sin.' Cf. Sat. Br. XIII, 3, 1, 1, 'Thereby the gods redeem all sin, yea, even the slaying of a Brahman they thereby redeem; and he who performs the Asvamedha redeems all sin, be redeems even the slaying of a Brahman.' As a rule, however, greater stress is laid in the Brahmana on the efficacy of the ceremonial in ensuring supreme sway to the king, and security of life and property to his subjects.
'The 'rukma' is borne by the Agnikit, or builder of a fire-altar, which is required for the Asvamedha; cf. VI, 7, 1, 1.
• It is carefully selected by charioteers and priests, Mahâbh. XIV, 2087.
• Whilst, aecording to the Brahmana (XIII, 4, 2, 5), the body of keepers' is to consist of 100 royal princes clad in armour, 100 noblemen armed with swords, 100 sons of heralds and headmen bearing quivers and arrows, and 100 sons of attendants and charioteers bearing staves; the epic gives no details, except that it states that a disciple of Y&ghavalkya, skilled in sacrificial rites, and well-versed in the Veda, went along with the son of Prithå to perform the propitiatory rites, and that many Brahmanas conversant with the Veda, and many Kshatriyas followed him at the king's behest.'
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over which sovereign sway is claimed by the Pandava king—to wit, the whole of India from sea to sea-first pressing eastwards towards the sea, then turning southwards along the eastern shore as far as the extreme point of the peninsula, and finally northwards again, on its homeward way, along the western coast. Time after time the determined attempts to impede its progress, or even to capture and retain it as a precious trophy and token of national independence, are successfully repelled by the dauntless son of Prithâ; but, mindful of his brother's injunctions, he spares the lives of the kings and princes who oppose him, and, having obtained their submission, he invites them to attend the sacrifice of the horse at Hastinåpura. On the other hand, not to take up the challenge implied in the progress of the horse was considered a sign of weakness or cowardice. Thus the king of Manipura is censured severely by Arguna for receiving him meekly, accompanied only by Brâhmans and with presents to offer to the intruder, being told that he had lamentably fallen away from the status of a Kshatriya, and acted the part of a woman. At length tidings of the approach of the horse reach the king, and forthwith preparations are made for getting ready the sacrificial ground, and to provide accommodation, on a right royal scale, for the numerous guests expected to witness the ceremonial. Specimens of all available species of animals are brought together to serve as victims' along with the sacred horse ; and dialecticians,
Probladinates 6008
1 That is, real or symbolic, only the domesticated animals being offered, whilst the wild ones are set free after the ceremony of paryagaikarana.' Amongst these animals the poet curiously enough also mentions (XIV, 2542) vriddhastriyah,' which Pratâpa Chandra Rây translates by old women.' This is of course impossible; if it is not a wrong reading, it has doubtless to be taken in the sense of old female kine),' probably the (21) barren cows offered at the end of the Asvamedha to Mitra-Varuna, the Visve Deval, and Brihaspati (XIII, 5, 4, 25) being intended. In its enumeration of the victims, the Taitt. Samhita (V, 6, 31) indeed mentions' vairagi purushi,' taken by the commentator to mean 'two human females consecrated to Virág.' If it be for this or a similar purpose that the 'vriddha-striyal' were intended, we may refer to Taitt. Br. 111, 9, 8, where it is distinctly stated that the man' and the wild animals are to be released as soon as the 'paryagnikaranam' has been performed on them. But no 'man' being mentioned amongst the victims, Sayana
einem
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eager to vanquish one another, foregather to discuss the nature and origin of things. At last Arguna arrives, and, having met with an enthusiastic welcome, he takes repose like a seafaring man who has reached the shore after crossing the ocean.' Then commences the performance of the sacrifice, the general outline of which, as sketched in the epic ?, fairly corresponds to the ordinary ceremonial ; the chief points of difference being the form and material of the altar, which is described as three-cornered, like the heavenly bird Garuda, and as being composed of a trunk,' measuring eighteen cubits, and made, like the wings, of gold bricks,the structure thus shining like the altar of Daksha Pragâ pati. The sacrifice over, a great public festival ensues for which mountains of food and sweetmeats, rivers of spirituous and other beverages, and lakes of ghee' are provided, and the feasting goes on through day and night till every one has had his fill,-a festival, indeed, of which the poet remarks people continued to talk to his day.
From the fanciful narrative of Arguna's martial exploits whilst following his precious charge, one could not of course venture to draw any conclusion as to the kind of adventures the sacred horse might have met with, at the time of the Brâhmana, during the period of its roaming at large. As a rule, however, the closely-watched animal would probably not range very far from the place where the sacrifice was to be performed ; and though its body of guardians were not permitted at any time to force it to retrace its steps, they could have had little difficulty in keeping it within a certain range of grazing. Indeed, on the occasion of King Dasaratha's Asvamedha”, described in the first canto of the Ramayana, no mention whatever is made of
takes the purusham'here to refer to the 'vairagi purushi' mentioned in the Samhita. Perhaps, however, this passage has rather a wider sense, referring to human victims generally at any sacrifice.
Draupadi's Asva-apasa mvesanam is referred to, but no further particulars are mentioned
? The king's object, in performing the sacrifice, was to obtain the birth of a son. Cf. Sat. Br. XIII, 1, 9, 9, 'for from of old a hero was born to him who had performed the (Asyamedha) sacrifice.' .
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anything having happened to the horse during its time of grace. The expedient mentioned in the Brahmana (XIII, 4, 2, 5) that a hundred worn-out horses should be sent along with the horse to keep it company would doubtless, as a rule, prove a sufficient check; but seeing that neither the Taitt. Brâhmana nor Sarkhayana alludes to this expedient, it is probably meant as a practical suggestion rather than as a positive injunction. That the horse intended for sacrifice was by no means always safe from violent assaults: is clear from the directions given in the Brahmanas as to what should be done in the event of foes getting possession of it. Even more pointed, in this respect, are the stanzas quoted in our Brâhmana (XIII, 5, 4, 21. 22),-'Satânîka Satragita seized a sacrificial horse in the neighbourhood, the sacrifice of the Kasis, even as Bharata (seized that) of the Satvats. The mighty Satânîka having seized, in the neighbourhood, Dhritarashtra's white sacrificial horse, whilst roaming at will in its tenth months, the son of Satrágita performed the Govinata (form of) sacrifice.' As a rule, however, the fortunes of the roaming horse would doubtless depend largely on personal circumstances. Whilst a strong ruler who had already made his power felt amongst his neighbours would probably run little risk of having his consecrated victim kidnapped even though it were to stray beyond its master's boundaries, a prince of greater pretensions than resources might find it very difficult to secure the safety of his horse even if it kept well within the territory over which he ruled. In any case, however, the capture of the noble beast would doubtless
1 Whilst cattle-lifting generally, such as formed the object of the invasion of the land of the Matsyas by the Trigartas (as related in the Virâta-parven), was probably a practice pretty prevalent from ancient times, the stealing of the sacrificial horse would offer an additional temptation, from the political point of view, on account of the exceptional character of the animal as the symbol of its master's claim to paramountcy.
• Sat. Br. XIII, 1, 6, 3; Taitt. Br. III, 8, 9, 4.
• One might feel inclined to take this specification of that month as implying the existence, at the poet's time, of the practice of confining the horse in a pen or shed (made of Asvattha palings) during the last two months, mentioned Taitt. Br. III, 8, 12, 2.
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cause not a little bad blood, and might lead to complications and struggles not less serious than those occasioned by Vasishtha's cow, or, in Irish legend, by the brown bull of Queen Medb (Mab) of Connaught.
I
Whilst the epic account of the Asvamedha thus presents an instructive, though extravagant, illustration of possible occurrences during the preliminary period of the sacrifice, some items of the ceremonial on which further information might have been acceptable are altogether ignored in it. Two of these at least one might have expected to find mentioned there, seeing that they are of special interest to Kshatriyas, viz. the practice of a Brahmana and a Kshatriya lute-player singing1, morning and night, stanzas composed by themselves in honour of the king; and the so-called 'revolving legend' (XIII, 4, 3, 1 seqq.) related by the Hotri, in a ten days' cycle all the year round. It is especially in regard to this latter point that the statements of the ritualistic works might with advantage have been supplemented. During the ten days' cycle a different god, or some mythic personage, is assumed, on each successive day, to be king, having some special class of beings assigned to him as his subjects, and a certain body of texts as his Veda from which a section is then recited. But from the particulars given it even remains uncertain whether any legend connected with the respective deity was actually related; whilst regarding the form and nature of some of the specified texts-such as the sarpavidya (snakescience), devaganavidya (demonology), mâyâ (or asuravidyâ, magic art)—we really know next to nothing. Nay, even regarding the Itihâsas and Purânas, likewise figuring as distinct texts, additional knowledge would by no means be unwelcome. And though regarding some of the divinities referred to the Hotri might easily have made up some kind of short tale, others would have required some
1 See XIII, 1, 5, I seqq.; 4, 2, 8 seqq.; Taitt. Br. III, 9, 14. In connection with the 'revolving legend,' the conductors of bands of lute-players seem to have sung additional stanzas in which the royal Sacrificer was associated with pious kings of old; see XIII, 4, 3, 3.
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exercise of ingenuity, unless he had at his disposal materials other than those accessible to us. As a rule, however,
legends of this kind would seem to have been of the - simplest possible description, as may be gathered from the
particulars regarding the 'Nârâsamsâni,' or recitals in praise of (pious) men, which, according to Sânkhåyana (XVI, 11), take the place of the 'revolving legend' in the ten days' cycle of the Purushamedha. The Hotri's recitals on that occasion consist simply of certain verses, or hymns, of the Rig-veda, generally celebrating the liberality shown by some patron to his priest, preceded by a brief statement merely consisting, it would seem, of a prose paraphrase of the respective verses recited thereafter. This latter set of recitations and legends thus consists entirely of matter taken from, or based on the Rig-veda, which is indeed the proper source for the Hotri priest to resort to for his utterings. The recitations required for the Asvamedha, on the other hand, consist of matter drawn not even from the three older Vedas alone, but also from the Atharvans and Angiras whose names combined usually make up the old designation of the hymns and spells of the Atharva-veda, whilst they are here taken separately as if still representing two different collections of texts ;-nay, the materials, as we have seen, are even drawn from other, probably still later, sources. This circumstance, added to the fact that the texts of the Black Yagus make no mention of this item of the ceremonial?, might well make one suspect its comparatively late introduction into the Asvamedha ritual; though even this would not, of course, make it any the less strange that no allusion should be made, in the epic account, to this by no means the least interesting feature of the performance. One must, however, bear in mind that the poet's mind was evidently more intent on telling about the wonderful deeds
It is hardly likely that some of the texts mentioned (devagangvidya, sarpavidyâ, &c.) refer merely to portions of the Vedic texts.
• The singing of stanzas in honour of the king, by a Brahmana and a Kshatriya, with the accompaniment of lutes, on the other hand, does form part of the Taittiriya ritual. Taitt. Br. III, 9, 14.
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of the semi-divine bowman in foreign lands than on recording the regularly recurring rites performed, in the meantime, at home in the presence of the royal sacrificer himself. Even in cases where the horse was kept within a convenient distance from the sacrificial compound all the year round, its warders, themselves partly of royal blood, could hardly have had an opportunity of attending the performance of these rites; though the popular character of some of these rites, as well as certain expressions used in connection with the 'revolving legend,' would lead one to suppose that they were meant to be witnessed by at least representatives of the various classes of the population.
The ritual arrangements of the Purushamedha, or human sacrifice, of which the Brahmana treats next, seem to have been developed out of those of the Asvamedha. Its first three Soma-days are essentially the same as the three days of the horse-sacrifice, except as regards the difference of victims on the second day. To these the authorities of the White Yagur-veda--and apparently also those of the Black Yagus add two more days, whilst the Sankhảyana-sætra, on the other hand, recognises but one additional day. Like the Vaitâna-sûtra, Sankhâyana also differs from the other authorities in giving an entirely different character to the central feature of this performance, inasmuch as he makes it a real human sacrifice instead of a merely symbolic one. A peculiar interest thus attaches to this difference of theory, seeing that it involves the question as to how far down the practice of human sacrifices can be traced in India 3. That such sacrifices were prac
1 Whilst the three Sanhitas contain do section relating to the Purushamedha, the Taittirya-brâhmana (I11, 4) enumerates the (symbolic) human victims in much the same way as does the Vågasaneyi-sambitá (see the present vol. p. 413 seqq.); and the Âpastamba-sâtra makes the performance similar to what it is in the White Yagus texts. The Vaitâna-sâtra of the Atharva-veda also makes it a five days' performance.
· Like the chapter on the Asvamedha, that on the Purushamedha is stated to be taken from the Maha-Kansbitaki-brâhmana.
. On this question see especially A. Weber, Zeitsch. d. D.M.G. 18, p. 262 ff., repr. in Indische Streifen, II, p. 54 ff.
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tised in early times is clearly shown by unmistakable traces of them in the ritualistic works; but in this respect India only shares a once almost universal custom. The question, then, which chiefly interests us here is whether or not this practice was still kept up at the time with which we are here concerned. Now, as regards the texts of the Yagur-veda—that is, the text-books of the sacrificial priest κατ' εξοχήν-it seems pretty clear that they no longer recognise the sacrifice of human beings; and the same may be said of the remaining ritualistic literature with the exception of the two works above referred to with regard to this particular sacrifice. The points bearing on this question, being very few in number, may be briefly reviewed here.
First as regards the story of Sunah sepa which is recited at the Râgasûya sacrifice!, and has been several times treated before? King Hariskandra, being childless, prays to Varuna to grant him a son, vowing to sacrifice him to the god. A son is born to him, and is called Rohita; but, in spite of the god's repeated demands, the fulfilment of the vow is constantly deferred; till at last the youth, having been invested in armour, is told of the fate awaiting him. He, however, refuses to be sacrificed, and escapes to the forest. The king thereupon is seized with dropsy; and the son, hearing of this, hastens homeward to save his father. On the way he is met by Indra who urges him to wander, and he accordingly does so for a year. The same is repeated five different times. In the sixth year, the prince, while wandering in the forest, comes across a starving Bråhman, Agigarta, who lives there with his wife and three sons, and who consents to sell him one of his sons for a hundred cows to serve him as a ransom to Varuna. The Brahman wishing to keep his eldest son, whilst the mother refuses to part with the youngest, the choice falls upon
See part iii, p. 95. • Cl. Max Müller, History of Ancient Sanskrit Literature, p. 108 ff.; M. Haug, Aitareya-brâhmana, II, p. 460 ff.; R. Roth, Weber's Ind. Stad. I, 475 ff.; II, 112 ff.
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the second boy, called Sunahsepa. Rohita now returns to his father who, having been told of the transaction, then proposes to Varuna to offer the Brâhman youth in lieu of his son; and the god, deeming a Brâhman better than a Kshatriya, consents to the exchange, and orders the king to perform the Rågasuya sacrifice, and to make the youth the chief victim on the Abhishekanîya, or day of consecration. Four renowned Rishis officiate as offering-priests; but when the human sacrifice is to be consummated, no one will undertake to bind the victim. The boy's own father, Agigarta, then volunteers to do so for another hundred cows; and subsequently he even undertakes to slay his son for a similar reward. But when the poor lad sees his own father coming towards him, whetting his knife, and becomes aware that he is really to be slain, as if he were not a man,' he bethinks himself of calling upon the gods for help; and by them he is successively referred from one to another, till by uttering three verses in praise of Ushas, the Dawn, he is released from his fetters, whilst the king is freed from his malady. Subsequently one of the four priests, the royal sage Visvâmitra, receives Sunahsepa as his son, conferring upon him the name of Devarata (Theodotos), and refuses to give him up to Agigarta; and when the latter calls on his son to return to him, and not to desert his ancestral race, he replies, 'What has never been found even amongst Sudras, thou hast been seen with a knife in thy hand, and hast taken three hundred cows for me, O Angiras !' And on his father avowing his guilt, and promising to make over the cattle to him, he again replies, 'He who has once done wrong will commit another sin; thou hast not abandoned the ways of a Sudra : what thou hast done is irremediable'; and is irremediable,' echoes Visvamitra, who then formally adopts him as his son.
This legend ", so far from bearing witness to the existence
1 The earliest reference to the myth or story of Sunahsepa is in Rig-veda I, 34, 11-13; V, 2, 7, where he is apparently alluded to as having been actually
C 2
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of human sacrifices as a generally recognised practice, at the time when it originated, would rather seem to mark: this particular case as an exceptional one. For, if it were not so, how comes it that the king's four high-priests-who, if any, must have been looked upon as thorough masters of the sacrificial science-should have refused to assist in the immolation of the human victim ordered by the deity, leaving it to be accomplished by the sullied hands of the wretched father? But there is another feature of the story which cannot but strike one as very peculiar. Why should the childless king pray for the birth of a son only to make a sacrifice of him? He has been told to do so by the holy sage Narada: is one then to understand that the sage's advice, as well as Varuna's consent, is given merely to try the king's faith and truthfulness? If so, the case is similar to that of Abraham's sacrifice in the land of Moriah, only that the king's faith proves less intense and exalted-perhaps more humanly faint-hearted-than that of the Jewish patriarch. But the most striking feature of the legend doubtless is the part played in it by the unnatural father; and this feature seems indeed to impart to the tale something of the character of an allegorical representation of the contrast between a barbarous (and perhaps earlier) and a more civilised phase of life and moral feeling. In this respect two points deserve to be noticed, viz. the coarseness of the synonymous names (dog's tail') of the three sons of the Brâhmans; and the fact that the latter belongs to the Angiras stock, a name intimately associated with super
rescued from the stake, or from (three) stakes to which he was bound either for sacrifice, or, as Roth prefers, for torture.
In the Sabhâparvan of the Mahabharata (II, 6275 seqq.), as was first pointed out by Lassen, Krishna accuses Garâsandha, king of Magadha and K'edi, residing at Mathura, of having carried off numerous vanquished kings and princes to his city, and keeping them confined in his mountain stronghold with a view to afterwards sacrificing them (at his Ragasûya) to the lord of Uma (Rudra); adding subsequently (v. 864) that the immolation of men was never seen at any time.'
* His own name. Agigarta,' on the other hand, is taken by the St. Petersburg Dictionary to mean 'one who has nothing to swallow,' and would thus be merely descriptive of his condition of lise.
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stitious rites on the one hand, and with the ritual of the fire-altar? on the other.
Now, it is exactly in connection with the building of the fire-altar that the clearest, and most unmistakable trace of an old practice of human sacrifices-or rather of the slaying of men for sacrificial purposes-occurs. In laying down the bottom layer of the altar, the pan which had been used by the Sacrificer for carrying about the sacred fire for a year is built into this layer, with heads of the five recognised sacrificial animals :-man, horse, ox, sheep, and goat-put therein, in order to impart stability to the altar (Sat. Br. VII, 5, 2, 1 seqq.). In a previous passage of the Brâhmana* (I, 2, 3, 6 seq.) where the relative value of non-animal offering-materials and the five sacrificial animals is discussed, it was stated that, whilst the gods were making use of one after another of these animals, the sacrificial essence gradually passed from one to the other, thus rendering the previous one useless for sacrifice, until it finally passed into the earth whence it entered the rice and barley afterwards used for sacrificial dishes. The general purport of this passage would seem to be to indicate a gradual tendency towards substituting the lower for the higher animals, and ultimately vegetable for animal offerings; though, as a matter of fact, animals continued of
· Viz, in their connection with the Atharva-veda. In Mahâbh. V, 548-51 Angiras praises Indra by means of Atharvavedamantraik.' Cf. Weber, Ind. Stud. I, p. 297.
Both in making the fire-pan (ukhå) and in laying down the bricks of the fire-altar, the expression 'angirasvat' (as in the case of Angiras) frequently occurs in the formulas; cf. VI, 1, 2, 38; 3, 1, 38 ff.; 4, 1, 1 ff.
All that is said in the Brabmana regarding the headless bodies of the five victims is (VI, 2, 1, 7 seqq.) that Pragâpati, having cut off the heads, and put them on (the altar, i.e. on himself), plunged four of the trunks into the water, and brought the sacrifice to a completion by offering) the he-goat (not a hegoat, as translated), and that he subsequently gathered up the water and mud clay) in which those corpses had lain, and used them for making bricks for the altar. The view that the other four bodies should likewise be offered is rejected by the author, who rather seems to suggest that they should be allowed to float away on the water.
A very similar passage occurs in Ait. Br. VI, 8, on which cp. Max Müller, History of Ancient Sanskrit Literature, p. 420.
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course to be commonly sacrificed in later times. Now as regards the heads of the five victims, the author subsequently (VI, 2, 1, 37 seqq.) makes some further remarks which go far to show that his previous statements referred only to the traditional practice which, however, was no longer in use in his own day, and had probably not been so for generations past. He mentions various expedients adopted by some priests with a view to keeping up at least some semblance of the old custom, - viz. either by procuring real heads from some source or other, or by using heads made of gold or clay ; but they are summarily dismissed as profane and fraudulent counterfeits; and the author then remarks somewhat vaguely and diplomatically that one may slay those five victims as far as one may be able (or inclined) to do so, for Pragâpati was the first to slaughter them, and Syâparna Sâyakåyana the last, and in the interval also people used to slaughter them; but at the present day people slaughter only (one of) those two, the (he-goat) for Pragâpati, and the one for Vayu;' after which he proceeds to explain in detail the practice then in ordinary use. Later on (VII, 5, 2, 1 seqq.), the Brâhmana expounds in the usual way the formulas used in the traditional, and theoretically still available procedure, though in the actual performance perhaps only the formulas relating to the particular heads ? used would be muttered.
While Yâgñavalkya thus, at least in theory, deals rather cautiously with this feature of the traditional custom, the theologians of the Black Yagus : take up a somewhat bolder position. Indeed it is evidently against this older school of ritualists that some of the censure of our Brâhmana is directed. For though they too allow, as an alternative practice, the use of a complete set of five heads, they make
1 This doubtless is what is meant (cf. Kâty. XVI, 1, 38); and atha' at the beginning of VI, 2, 2, 6 ought accordingly to have been taken in the rather unusual sense of or' (? or rather), instead of then.' Cf. VI, 2, 2, 15.
• According to Âp. Sr. XVI, 17, 19–20, however, even if there is only one bead (that of Vayu's he-goat) all the formulas are to be pronounced over it.
The Maitr. Samhita, however, does not scem to refer to this particular point in its Brahmana sections.
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no mention of a man being killed for this purpose, but enjoin that a dead man's head is to be bought for twenty-one beans', which is then to be laid against an ant-hill with seven holes in order to again supply it with the seven 'vital airs of the head'; whereupon three stanzas relating to Yama are to be sung round about it to redeem it from the god of death. Besides the four animals, there is also to be a he-goat sacred to Pragå pati, the offering of which is to complete the animal sacrifice? In this school also, the ordinary practice, however, is to kill only a he-goat for Vayu Niyutvat, and to use its head for putting it in the pan placed in the bottom layer of the altar. As regards the Rig-veda ritual, the Kaushitaki-brahmana, as Prof. Weber has pointed out, leaves a choice between a he-goat for Pragapati and one for Vayu; whilst the Sâökhayana-sútra, curiously enough, again adds the alternative course of using the set of five heads.
The same scholar has drawn attention to another rite in the sacrificial cerenionial which seems to him to show clear traces of human sacrifice. At the purificatory bath at the end of the Asvamedha, the Sacrificer is to be purged of any guilt he may have committed against Varuna by an oblation made to Gumbaka (Varuna) on the bald head of a man possessed of certain repulsive features, whilst standing in the water. To these particulars,-as given in the present work (XIII, 3, 6, 5), the Taitt. Brahmana (III, 9, 15), and Kâtyâyana's Sûtra (XX, 8, 16), -Sânkhâyana (XVI, 18)
1 Or, according to Âpastamba, for seven beans; the head to be that of a Kshatriya or a Vaisya killed either by an arrow-shot or by lightning, and apparently to be severed from the body at the time of purchase (which, as Professor Weber rightly remarks, is a merely symbolic one). As, however, the particulars given by Åpastamba are not mentioned in the older works, they may not unlikely have been introduced by him to meet some of the objections raised by the Vågasaneyins to whose views he generally pays some attention. Otherwise the transaction might seem rather suspicious.
• Taitt. S. V, 1, 83, indeed, seems to speak of the other four animals being set free after fire has been carried round, so that their sacrificial use would be merely symbolical. Whether in that case only the bead of the one animal would be used, or the man's head along with it, seeins doubtful.
"Cl. Taitt. S. V, 5.
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again adds further particulars, viz. that the man is to be a Brâhmana of the Atreya family, bought (or hired) for a thousand cows, and that he is to enter the river till the water flows into his mouth. Now Prof. Weber is of opinion that this ceremony would be meaningless if the man were not actually drowned. I fail, however, to see the necessity of this assumption, seeing that even a purely symbolical interpretation of the ceremony will give it all the significance of the real act. That the Yagus texts contain nothing that could make one suspect that the man was actually drowned is beyond doubt ; but even Sârikhayana's statement that the water is to flow into his mouth is probably only meant to suggest the nearness and semblance of death by drowning. Otherwise the oblation could hardly have been performed in anything like a decent form. Besides,
Sânkhåyana further states that, after the completion of the oblation, 'they drive him (the man) out, thinking that the guilt of the village-outcasts is (thereby) driven out 1' Here the verb.nih-sidh'could hardly have been used if the man was to be driven farther into the water. What is meant is probably that the man was to be driven out from the water and possibly also from the village, to live an anchorite's life in the forest.
If now we turn our attention to the Purushamedha, or "human sacrifice' proper, we find that the Yagus texts, as far as they deal with this ceremony at all?, treat it as
1 The compound nihshiddhapåpmânah (apagrâmâh)'may possibly be meant in the sense that the evil deeds of the outcasts are driven out (prevented from troubling the peace of the village); Káty. XX, 8, 17-18, however, states that when the Sacrificer has stepped out (of the water), evil-doers enter (to bathe in the water) without having performed any other) rites, and that they are then said to be purified by the Asvamedha.
* Besides the description of the ceremony in the present work (XIII, 6, 1-2, 20), only the Taittiriya-brahmana (III, 4) seems to refer to it, enumerating merely the would-be victims who, according to A pastamba, as quoted by Sâyana, are eventually set free. Professor Weber's suggestion that they may possibly at one time have been intended to be all of them slaughtered can hardly have been meant seriously. One might as well suppose that, at the Asvamedha, all the evil-doers' who, according to Kâtyâyana, are to bathe in the river, were meant to be drowned.
One mich all of the
vil-doers.
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a purely symbolical performance. A large number of men and women, apparently intended to represent all classes of the community, are bound to eleven sacrificial posts, and after the necessary rites, concluding with the 'paryagnikarana '-or the carrying of fire round the oblations--have been performed on them, they are one and all set free ; the sacrifice then proceeding with the offering of the set of eleven animal victims. That the ceremony in this form, with its pedantically elaborate array of symbolic human victims, cannot possibly lay claim to any very great antiquity is self-evident; the only question is whether it has not come to take the place of some other form of human sacrifice. Now, after the foregoing statement of facts, it would be idle to deny that the existence, at one time, of a simple form of human sacrifice is not only quite possible, but is indeed highly probable; and it would be no more than might be expected, if such a practice should eventually have revolted the moral sense of the more refined classes of the community, just as it happened, little more than a hundred years ago, in the case of the scarcely less odious practice of the burning of witches in Christian lands.
The practice of human sacrifices seems, however, to receive evidence of a yet more direct and unmistakable kind than the facts hitherto mentioned, from the ceremonial of the Purushamedha, as set forth in the Sânkhayana and Vaitâna Sûtras. If this evidence has been reserved here to the last, it is because there seems reason to believe that, in the form in which it is presented in those works, the sacrifice was never actually performed, and probably never meant to be performed, but that we have here to do with a mere theoretical scheme intended to complete the sacrificial system. The importance of the subject makes it, however, desirable that we should take a somewhat closer view of the procedure of the human sacrifice,' as laid down in those two Satras.
When the practice became generally recognised that the Sacrificer (and priests) should eat a portion of the offered victim, this alone would, as Professor Weber suggests, have tended to make human sacrifices impracticable.
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Sankh. XVI, 10, 1. Pragâpati, having offered the Asvamedha, beheld the Purushamedha : what he had not gained by the Asvamedha, all that he gained by the Purushamedha l; and so does the sacrificer now, in performing the Purushamedha, gain thereby all that he had not gained by the Asvamedha. 2, 3. The whole of the Asvamedha ceremonial (is here performed); and an addition thereto. 4-8. First oblations to Agni Kama (desire), A. Dåtri (the giver), and A. Pathikrit (the path-maker)... 9. Having bought a Brahmana or a Kshatriya for a thousand (cows) and a hundred horses, he sets him free for a year to do as he pleases in everything except breaches of chastity. 10. And they guard him accordingly. 11. For a year there are (daily) oblations to Anumati (approval), Pathyå Svasti (success on the way), and Aditi. 12. Those (three daily oblations) to Savitri 2 in the reverse order. 13. By way of revolving legends (the Hotri recites) Narasamsâni ...XVI, 11, 1-33 enumerate the Narasamsâni 3, together with the respective Vedic passages.—XVI, 12, 1-7. There are twenty-five stakes, each twenty-five cubits long ...; and twenty-five Agnîshomîya victims. 8. Of the (three) Asvamedha days the first and last (are here performed). 9-11. The second (day) is a paikavimsa-stoma one ... 12. The Man, a Gomriga, and a hornless (polled) he-goatthese are the Prâgapatya 4 (victims). 13. A Bos Gaurus, a Gayal, an elk (sarabha), a camel, and a Mâyu Kimpurusha (2 shrieking monkey) are the anustaranáh. 14-16. And the (other) victims in groups of twenty-five for the twenty-five seasonal deities ... 17. Having made the adorned Man smell (kiss) the chanting-ground, (he addresses him) with the eleven verses (Rig-v. X, 15, 1-11) without 'om,' — Up shall rise (the Fathers worthy of Soma), the lower, the
1 The Asvamedha section of the same work begins:-Pragapati desired, May I gain all my desires, may I attain all attainments.' He beheld this three days' sacrificial performance, the Asvamedha, and took it, and offered with it; and by offering with it be gained all his desires, and attained all altainments. ? See XIII, 4, 2, 6-17.
See p. xxxii. See XIII, 2, 2, 2 seqq.
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higher, and the middle ones. 18. The Åprî verses are 'Agnir mrityuh'... 20. They then spread a red cloth, woven of kusa grass, for the Man to lie upon. 21. The Udgâtri approaches the suffocated Man with the chant of) a Såman to Yama (the god of death).-XVI, 13, 1. The Hotri with (the recitation of) the Purusha Narayana (litany). 2. Then the officiating priests—Hotri, Brahman, Udgåtri, Adhvaryu-approach him each with two verses of the hymn (on Yama and the Fathers) Rig-v. X, 14, Revere thou with offering King Yama Vaivasvata, the gatherer of men, who hath walked over the wide distances tracing out the path for many' 3-6. They then heal the Sacrificer (by reciting hymns X, 137 ; 161 ; 163 ; 186; 59; VII, 35). 7-18. Ceremonies analogous to those of the Asvamedha (cf. XIII, 5, 2, 1 seqq.), concluding with the Brahmavadya (brahmodya).-XVI, 14, 1-20. Details about chants, &c. : the fourth (and last) day of the Purushamedha to be performed like the fifth of the Prishthya-shadaha.
Vait. S. XXXVII, 10. The Purushamedha (is performed) like the Asvamedha ... 12. There are offerings to Agni Kåma, Dâtri, and Pathikrit. 13. He causes to be publicly proclaimed, Let all that is subject to the Sacrificer assemble together!' 14. The Sacrificer says, “To whom shall I give a thousand (cows) and a hundred horses to be the property of his relatives? Through whom shall I gain my object ?' 15. If a Brâhmana or a Kshatriya comes forward, they say, 'The transaction is completed.' 16. If no one comes forward, let him conquer his nearest enemy, and perform the sacrifice with him. 17. To that (chosen man) he shall give that (price) for his relatives. 18. Let him make it be publicly known that, if any one's wife were to speak , he will seize that man's whole property, and kill herself, if she be not a Brahmana woman. 19. When, after being bathed and adorned, he (the man) is set free, he (the priest) recites the hymns A.V. XIX, 6; X, 2.—20. For a year (daily) offerings to Pathyå Svasti, Aditi, and
I That is, as it would seem, with a view to dissuading her husband from offering himself as a victim.
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Anumati. 21. At the end of the year an animal offering to Indra-Půshan. 22. The third day is a Mahávrata. 23. When the man') is bound to the post, he repeats the three verses, 'Up shall rise' ...; and when he is unloosened, the utthapani-verses. 24-26. When he is taken to the slaughtering-place (the priest repeats) the harini. verses; when he is made to lie down, the two verses, 'Be thou soft for him, O Earth'; and when he has been suffocated, (he repeats) the Sahasrabâhu (or Purusha Narayana) litany, and hymns to Yama and Sarasvati - XXXVIII, 1-9 treat of the subsequent ceremonies, including the recitation, by the Brahman, of hymns with the view of healing the Sacrificer.
Now, even a slight consideration of the ritual of the Purushamedha, as sketched out in these two works, must, I think, convince us that this form of human sacrifice cannot possibly be recognised-any more than the one propounded in the Satapatha and Taittirîya Brahmanasas having formed part of the traditional sacrificial ceremonial; and that, in fact, it is nothing more than what Sankhayana appears to claim for it, viz. an adaptation, and that a comparatively modern adaptation, of the existing Asvamedha ritual. Indeed, it seems to me by no means unlikely that the two different schemes of the Purushamedha originated at about the same time, and that they were intended to fill up a gap in the sacrificial system which seemed to require for Man, as the chief sacrificial animal, a more definite and, so to speak, a more dignified place in the ceremonial than was up to that time accorded to him. The circunstance that the account of this sacrifice, as given in the Sankhayana-sútra, presents some of the ordinary features of Brahmana diction, and that it is indeed actually assigned by the commentary to the Maha-Kaushitaka, should not be allowed to weigh with us, since this is most likely done for the very purpose of securing for this scheme some sort of authoritative sanction of respectable
Dr. Garbe, in his translation, makes this and the subsequent rules reser (erroneously I think) to the animal victims of rule 21.
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antiquity'. For seeing that the older ritualistic works know nothing of it, it seems sufficiently evident that this human sacrifice could not possibly have been rite performed in Sankhayana's time, since no proper priest-no genuine Adhvaryu and Udgåtri, at all events—could have been found to perform it. And, indeed, it can scarcely be without significance that the Atharva-sútra is the only other work which recognises the ceremony; and that nearly all the hymns and verses used in connection with the immolation of the human victim are taken from the Atharvan and the tenth mandala of the Rik. Nay, the very fact that, in both Sûtra works, this sacrifice is represented as being undertaken, not for the great object of winning immortal life, but for the healing of the Sacrificer's bodily infirmities, might seem sufficient to stamp the ceremony as one partaking more of the nature of the superstitious rites of the Atharvan priests than of that of the great sacrifices of the traditional Srauta ritual.
If thus we find it impossible to recognise the Purushamedha as a genuine member of the sacrificial system, this is still more the case as regards the Sarvamedha, or all-sacrifice, a ten days' performance which includes amongst its component parts, not only the Purushamedha, but also the Asvamedha, the Vågapeya, and the Visvagit with all the Stomas and Prishthas,-it thus being the very ceremonial performance that might seem calculated to fitly crown the edifice of the sacrificial theory. As regards the ritualistic treatment of this sacrifice, the number of authorities dealing with it shows a further diminution from that of the Purushamedha. For whilst the Satapatha-brâhmana agrees with the Sarkhayana and Vaitana Sûtras on the general features of its ritual—with the exception, of course, of the radical difference as to the character of the human sacrifice-the Taittiriya-brahmana, which gave at least the list of the symbolic victims of the Purushamedha, is altogether silent on the Sarvamedha; this ceremony being,
1 On this and other passages referred to the Maha-Kaushitaka, cp. Professor Aufrecht's judicious remarks, Ait. Br., p. v.
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however, dealt with in some of the Satra works connected with the Black Yagus.
The concluding chapter of the thirteenth kânda contains a valuable and interesting account of the preparation of the burial-place or sepulchral mound, and the interment of the charred bones previously preserved, in an urn or jar, for some indefinite period since the burning of the dead body. Of especial interest, in this account, is the statement that the bones, when committed to the grave, are to be arranged in accordance with their natural position, the spaces between them being then filled up with bricks in such a way as to present, as in the case of the fire-altar, a fancied resemblance to the shape of a bird. It is difficult to see what explanation could be offered for this feature of the obsequies, except a vague belief in some form of future resurrection.
The fourteenth kända, up to the beginning of the Brihadâranyaka, is entirely taken up with the exposition of the Pravargya, an important, though optional and subsidiary, ceremony performed on the Upasad-days of Soma-sacrifices. Whilst the central feature of this sacrificial performance consists of a ceremony of an apparently simple and unpretending character, viz. the preparation of a hot draught of milk and ghee, the Gharma, which the Sacrificer has to take, after oblations have been made thereof to various deities, the whole rite is treated with a considerable amount of mystic solemnity calculated to impart to it an air of unusual significance. A special importance is, however, attached to the rough clay pot, used for boiling the draught, and manufactured and baked in the course of the performance itself; it is called Mahåvîra, i. e, the great man or hero, and Samråg, or sovereign lord, and is made the object of fervid adoration as though it were a veritable deity of well-nigh paramount power.
Although the history of this ceremony is somewhat obscure, the place assigned to it in the Soma-ritual would lead one to suppose that its introduction must have taken place at a time when the main procedure of the Somasacrifice had already been definitely settled. This con
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clusion is also borne out by the position taken up towards this ceremony by the authorities of the Black Yagur-veda. For whilst the Maitrậyaniya Samhità gives at least the formulas used for it, the Kathaka, on the other hand, takes no notice whatever of it, and the Taittiriya school only deals with it in its Åranyaka. Nevertheless, this ceremony can boast of a respectable antiquity, seeing that it is treated of at some length in the Brahmanas of the Rik-viz. Ait. Br. I, 18–22; Kaush. Br. VIII, 3-7; and this circumstance alone might almost seem to justify the inference that it was in that very school of ritualists that this item of the sacrificial ceremonial was first elaborated. It is very doubtful, however, whether such an inference would find any support in the dogmatic explanation of the ceremony offered by some of the theologians of the Rig-veda. At the end of the Pravargya section, in a passage which has a somewhat disconnected appearance, and seems hardly in consonance with previous dogmatic explanations, the Aitareya - brâhmana makes the secret import of the ceremony to be that of a mystic union of the gods resulting in the generation of a new, divine body for the Sacrificer. This explanation, having been previously adopted by Haug and Garbe, was recorded without question in a note to part ii (p. 104) of this translation. Further consideration of this matter has, however, convinced me that the theory referred to fails altogether to account for the origin of the ceremony, as well as for important points in its performance which find a ready explanation in the theory applied to it by the present work, as well as by the Taittirîya-Aranyaka and the Kaushitaki-brâhmana. For seeing that the main object of sacrificial performances generally is the reconstruction of Pragâ pati, the personified universe, and (the divine body of) the Sacrificer, it is difficult to see why, for this latter purpose, a new and special ceremony should have been thought necessary; and, besides, the rejected theory, if it is at all to account for the high honour rendered to the Mahavira pot, would almost involve the recognition of a form of Linga-worship which surely would require very much stronger evidence than the isolated and
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(to my mind) somewhat suspicious passage on which this theory is based.
Now, as regards the rival theory underlying the exposition of the Pravargya, as given in the Satapatha-brâhmana, it makes the Mahâvîra pot a symbol of the sun, whilst the hot milk draught represents the divine flood of life and light with which the performer of the ceremony becomes imbued. These symbolic interpretations, whatever we may think of them otherwise, certainly adapt themselves admirably to the general sacrificial imagery. As the sun is the head of the universe-or, in figurative language, the head of Pragâpati, the world-man-so its earthly, and earthen, counterpart, the Mahâvîra. pot, is the head of Vishnu, the sacrificial man, and the Sacrificer; and this ceremony is thus performed in order to complete the universe and sacrifice, as well as the divine body of the Sacrificer, by supplying them with their head, their crowning-piece, so to speak; and to imbue them with the divine essence of life and light. For this purpose the theory rather ingeniously avails itself of certain myths vaguely alluded to in the Rig-veda, according to which (X, 171, 2) Indra cut off the head of Makha (here identified with Vishnu, the sacrifice and the sun-god); and (I, 116, 12; 117, 22; 119, 9) Dadhyañk, the son of Atharvan, was fitted by the Asvins with a horse's head, and this hippocephalous creature then communicated to them the Madhu, or sweet thing,—that is, as would appear, the sweet doctrine of the Soma, the drink of immortality. This symbolism readily explains some points connected with the Pravargya ceremony, for which no obvious reason seems otherwise to suggest itself. For one thing, it accounts for the deep reverence shown to the Gharma vessel, which, in fact, is no other than the giver of light and life himself; whilst the optional character of the ceremony explains itself from the fact that the Soma-cup, of which the Sacrificer will subsequently partake, might of itself be expected to supply him with the blessings which he hopes to derive from the Pravargya. And, finally, it also becomes clear why the Pravargya must not form part of a man's first performance of a Soma
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sacrifice. For the Pravargya, as we have seen, is performed on the preliminary days of the Soma-sacrifice, before the pressing of the Soma has taken place; and it obviously is only after he has actually partaken of the Soma-drink, and has thereby potentially put on immortality,' that he can partake of the Gharma, and thus become imbued with the celestial light? The dogmatical explanation of this ceremony thus puts, as it were, the finishing touch to that strange allegory by which the Indian theologians sought to make the sacrificial ceremonial a practical illustration of that unity of the All which speculation had been striving to compass since the days when the emptiness of the Vedic pantheon had dawned upon the thinking mind, and when critically inclined bards ventured to sing of the national god ? : 'Not for a single day hast thou fought, nor hast thou any enemy, O Maghavan : illusion is what they say concerning thy battles ; no foe hast thou fought either to-day or aforetime.'
As regards the optional and somewhat recondite character of the Pravargya ceremony, it is probably not without significance that the section dealing therewith is combined with the speculative Brihadåranyaka so as to make up with it the last book of the Bråhmana,—the Aranyaka-kanda, or forest section. Such, at least, is the case in the Mâdhyandina text, where the Pravargya section occupies the first three adhyâyas of the last (fourteenth) book; whilst the Kånva text presents a slight difficulty in this respect. What passes generally as the seventeenth (and last) kända of that version, consists of the Brihadåranyaka; whilst the sixteenth kända begins with the section on funeral rites, corresponding to the last
The Kaushitaki-brahmana (VIII, 3), on the other hand, seems to justify the prohibition on the ground that, prior to the first complete Soma-sacrifice, the body of the Sacrifice (and Sacrificer) is incomplete, and therefore not ready to receive its head, in the shape of the Pravargya. Hence also the same work allows the Pravargya to be performed at the first Soma-sacrifice of one who is thoroughly versed in the scriptures, since such a one is himself the body, or self, of the sacrifice.
. See XI, 1, 6, 10.
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(eighth) adhyâya of kânda XIII of the Madhyandina recension, and is stated to include also the Pravargya section (Madhy. XIV, 1-3). Now it is a strange fact that the six adhyâyas of the Brihadaranyaka (XIV, 4-9 in the Madhyandina text) are counted 3-8 in the Kanva text,-a circumstance which manifestly can only be explained by the Pravargya section being taken to form the first two adhyâyas of the last book of that version. This, indeed, is probably implied in the remark added to the description of a MS. of the Kânva text in the catalogue of the MSS. of the Sanskrit College, Benares (p. 44), according to which Pravargyakândasya patrâni' are 'bhinnapramânâksharâni,' --that is, the leaves of the Pravargya section have a special pagination' (? i. e. they are numbered independently of the section on funeral rites preceding them).
And now my task is done, and I must take leave of this elaborate exposition of the sacrificial ordinances of Indian theology. For well-nigh a score of years the work has
dragged its slow length along,' and during that time it has caused me-and, I doubt not, has caused some of my readers, too-not a few weary hours. In the early stages of the work, my old teacher, Professor Albrecht Weber, than whom no one is more deeply versed in the intricacies of the sacrificial ritual, wrote to me: 'You have undertaken a difficult, a most difficult task; and I can only hope that your courage and patience will not fail you before you are through with it.' And, indeed, I must confess that many a time I felt as if I should never be able to get through my task ; and but for Professor Max Müller's timely exhortations and kindly encouragement, the work might perhaps never have been completed. 'I know,' he once wrote to me, you will thank me one day for having pressed you to go on with your work ;' and now I do indeed thank him most sincerely and with all my heart for the kindness and patience he has shown me these many years. But, strange to say, now that the work is completed, I feel as if I could not do without working at it; and certainly, if
1 Cf. A. Weber, Satapatha-brâhmana, p. xi.
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a second edition could ever have been required of a work of this kind, it would have found me ready once more to work my way through the bewildering maze of rites; and I know only too well that I should have to correct many a mistake, and could improve many an awkwardly expressed passage. In conclusion, a word of cordial thanks is due to the staff of the University Press, whose patience must often have been severely tried in the course of the printing of this work, and who, by the excellence of their presswork, and by their careful supervision, have materially lightened my task, and saved me much tedious and irksome labour.
J. EGGELING. EDINBURGH, December 30, 1899.
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SATAPATHA-BRÂHMANA.
ELEVENTH KÅNDA.
THE FULL AND NEW-MOON SACRIFICE.
First ADHYÂYA. First BRAHMANA. 1. Verily, Pragapati, the Sacrifice, is the Year: the night of new moon is its gate, and the moon itself is the bolt of the gate.
2. And when one lays down the two fires at new moon", —even as one would enter a stronghold by the gate, when the gate is open, and would thence reach the world of heaven, so it is when one lays down the fires at new moon.
3. And if one lays down the fires under a (special) asterismo,-just as if one tried to enter a stronghold, when the gate is closed, in some other way than through the gate, and failed to get inside the stronghold, so it is when one lays down the fires under an asterism: let him therefore not lay down the fires under an asterism.
4. On the same day on which that one (the moon) should not be seen either in the east or in the west,
· For the performance of the Agnyâdhâna, or setting up the sacrificial fires, see part i, p. 274 seqq.
* For the Nakshatras, or lunar mansions, under which the Agnyâdhậna may be performed, see II, 1, 2, I seqq., and especially 8 II, 1, 2, 19, where the practice of regulating the time of the ceremony by the Nakshatras is discouraged.
[44]
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let him fast, for it is then that he (the moon) comes to this world', and on that (day) he abides here (on the sacrificial ground).
5. And all the gods abide (here), all the spirits, all the deities, all the seasons, all the Stomas (hymnforms), all the Prishthas, and all the metres.
6. And, verily, it is for all the gods, for all spirits, for all deities, for all seasons, for all Stomas, for all Prishthas, and for all metres that the fires of him are laid down who lays them down at new moon: he should therefore lay them down at new moon.
7. He may lay down the fires on the new moon which falls in the (month) Vaisâkha, for that coincides with the Rohini (asterism); for the Rohini means the self, offspring and cattle3: he thus becomes established in a self, in offspring and cattle. But, indeed, the new moon is the form of the Agnyâdheya let him therefore lay down the fires at new moon; let him perform the preliminary ceremony1 at full moon, and the initiation ceremony at new
moon.
SECOND BRAHMANA.
I. Now when they spread (and perform) the sacrifice, they kill it; and when they press out king Soma, they kill him; and when they 'quiet' and cut up the victim, they kill it,-it is by means of the mortar and pestle, and by the two mill-stones that they kill the Haviryagña (grain-offering).
1 See I, 6, 4, 5.
For the six Prishtha-sâmans, see part iii, introd., p. xx seqq. See II, 1, 2, 6. 7.
• For the Anvârambhanfyâ-ish, lit. 'taking-hold offering,' see part ii, p. 40, note 1.
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XI KÂNDA, I ADHYAYA, 2 BRÂHMANA, 6.
3
2. And having killed the sacrifice, he pours it, as seed, into the fire as its womb, for, indeed, the fire is the womb of the sacrifice, from out of it it is produced : let him therefore perform those ten oblations? for which the Vashat is uttered.
3. And, indeed, this sacrifice is the blowing (wind): he blows here, as it were, as a single one, but when he has entered into man, he is divided into ten parts ;—with the vital airs thus distributed, it (the sacrifice) is born from out of its womb, the fire : this is that Virág of ten syllables, this is that perfection, the sacrifice.
4. There may, however, be nine (oblations)?;—he thus forms a defective (lesser, lower) Virág with a view to production; for from the lessers, indeed, creatures are produced here: this is that perfection, the sacrifice.
5. But there may be one additional (oblation)“, – that one remains over for Pragâpati: this is that perfection, the sacrifice.
6. And there may be two additional (oblations)",
These ten oblations of the New and Full-moon sacrifice (as the model for Haviryagñas generally), as enumerated by Sâyana, are (a) at full moon-five fore-offerings, two butter-portions, two cake-offerings to Agni, and Agni-Soma, and a low-voiced offering to Agni-Soma, (6) at new moon-five fore-offerings, two butterportions, a cake to Agni, a low-voiced offering to Vishnu, and an offering of (sweet and sour) milk, or Sânnâyya, to Indra.
Viz. inasmuch as, according to Sayana, at the Full-moon sacrifice the offering to Agni-Soma only takes place in the case of one who is a Soma-offerer. I find, however, no authority for this.
s Or, from the lower part (nyûna); cf. II, I, I, 13; 5, I, 20.
• That is, if the oblation to Agni Svish/akrit (part i, p. 199 seqq.) is taken into account.
According to Sayana, the second additional offering is the oblation of clotted ghee to Vanaspati (the lord of the forest, or
B 2
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-a productive pair consists of two: thus a productive pair is produced; this is that perfection, the sacrifice.
7. And there may be three additional ones',a productive pair consists of two, and that which is produced is the third : this is that perfection, the sacrifice.
8. And there may be four additional ones',-as the one so the four. There are these three worlds : these worlds he thus gains by three (oblations); and Pragâpati, indeed, is the fourth beyond these worlds: by the fourth (oblation) he thus gains Pragàpati, this is that perfection, the sacrifice.
9. That (sacrifice) which is defective in two (oblations) is indeed defective, it is not a sacrifice; and that which is excessive in respect of five (oblations) is indeed excessive, it is not a sacrifice : this is that perfection as regards the ten, the twenty, thus up to a thousand".
10. Verily, they who perform the Full and Newmoon sacrifice, run a race. One ought to perform it during fifteen years ;-in these fifteen years there are three hundred and sixty full moons and new
the tree, i.e. the sacrificial stake, or Soma) at the animal sacrifice. Cf. part i, p. 208.
1 These three oblations, according to Sâyana, are the three after-offerings to the Barhis, to Nárásamsa, and to Agni), see part i, p. 230 seqq.
9 Viz. either the Svishtakrit and the three after-offerings; or the four Patnîsamyâgas (to Soma, Tvashtri, the wives of the gods, and Agni Grihapati), cf. part i, p. 256 seqq.
* That is, if it includes only eight oblations, see paragraph 4.
• That is, counting every ten (oblations) one Virág, or metrical pâda of ten syllables.
* Viz. running along, as they do, with the revolutions of the moon and the sun.
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XI KÂNDA, I ADHYÂYA, 3 BRÂHMANA, 1. 5
moons; and there are in a year three hundred and sixty nights: it is the nights he thus gains.
11. He should then offer for another fifteen years; in these fifteen years there are three hundred and sixty full moons and new moons; and there are in a year three hundred and sixty days: it is the days he thus gains, and the year itself he thus gains.
12. Now, indeed, the gods were at first mortal; and only when they had gained the year they were immortal; for the year is everything, and the imperishable means everything: thereby then accrues to him imperishable merit, the imperishable world.
13. He who, knowing this, offers (the Full and New-moon sacrifice) for thirty years, becomes one of the race-runners, whence one ought to offer sacrifice for not less than thirty years. But if he be a performer of the Dâkshayana sacrifice', he need only offer for fifteen years, for therein that perfection is brought about, since he performs (every month) two Full-moon and two New-moon offerings, and thus that perfection is indeed brought about therein.
THIRD BRAHMANA.
1. When he has performed the Full-moon sacrifice, he prepares an additional (cake) for Indra Vimridh (the repeller of scorners), and offers it in accordance with the procedure of an ishti2; and when he has performed the New-moon sacrifice, he prepares an additional rice-pap for Aditi3, and offers it in accordance with the procedure of an ishti.
1 For this modification of the New and Full-moon sacrifice, see part i, p. 374 seqq.
That is to say, after the model of the Full-moon sacrifice. * See part i, p. 375, where read Aditi' for 'Âditye.'
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2. And as to why, after performing the Full-moon sacrifice, he prepares (a cake) for Indra Vimridh, it is because Indra is the deity of the sacrifice; but the chief oblation of the Full-moon sacrifice belongs to Agni and Soma, and nothing is offered there with the formula .To Indra (I offer) thee!' Hereby then that oblation comes to be shared by Indra, and so does the sacrifice come to be shared by Indra. And as to why (he offers) with ‘To (Indra) Vimridh!' it is that by the Full-moon sacrifice he slays all scorners (mridh), all evil spirits.
3. And as to why, after performing the New-moon sacrifice, he prepares a pap for Aditi,—that moon doubtless is the same as King Soma, the food of the gods: when on that night he is not seen either in the east or in the west, the oblation becomes, as it were, uncertain and unfirm. Now Aditi is this earth, and she, indeed, is certain and firmly established : thereby, then, that oblation of his becomes certain and firmly established. Such, then, is the reason why he prepares additional oblations; now as to why he should not prepare them.
4. When, after performing the Full-moon sacrifice, he prepares an additional (cake) for Indra Vimridh, he does so in order that his sacrifice should become shared in by Indra, for every sacrifice belongs to Indra. But inasmuch as every sacrifice belongs to Indra, thereby that oblation of his, and that sacrifice, is already shared in by Indra.
5. And when, after performing the New-moon sacrifice, he prepares an additional pap for Aditi, – surely the New-moon sacrifice is itself an additional one; for by the Full-moon sacrifice Indra slew Vritra, and for him who had slain Vritra, the gods
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7
then prepared that additional oblation, the Newmoon sacrifice : why, then, should he prepare an oblation to be added to an additional offering ? Let him, therefore, not prepare the additional oblations.
6. When, after performing the Full-moon sacrifice, he afterwards prepares another oblation; and when, after performing the New-moon sacrifice, he afterwards prepares another oblation, he rises and defies his malicious enemy; and, indeed, unassailed and undisturbed is the prosperity of him who at full moon performs the Full-moon sacrifice, and at new moon the New-moon sacrifice?.
7. For by performing the Full-moon sacrifice at full moon, and the New-moon sacrifice at new moon, the gods forthwith dispelled evil, and were forthwith reproduced; and, verily, he who, knowing this, performs the Full-moon sacrifice at full moon, and the New-moon sacrifice at new moon, forth with dispels evil, and is forthwith reproduced. If he offer an additional oblation, let him give a sacrificial fee (to the priests); for no oblation, they say, should be without a dakshina; and for the Full and New-moon sacrifices there is that dakshina, to wit, the Anvaharya (mess of rice). Thus much as to the additional oblations; now as to the sun) rising over him.
FOURTH BRAHMANA. 1. Now, some people enter upon the fast when
That is, he who performs these sacrifices without additional oblations :-atah paurnamâsyayam amavasyam ka darsapůrnamâsayågåv eva kartavyau, nânyat kimkid dhavir anunirvâpyam, Sây. Whilst favouring this view, the author, however, also admits the other as ensuring the same benefits.
* See part i, p. 49, note 1. • As, for the Full-moon offering, the Sacrificer should enter on
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they (still see the moon, on the fourteenth day of the half-month), thinking, Tomorrow he will not rise,'-either on account of clouds or not having ascertained properly, they enter upon the fast, and
in the morning) he rises over him. Now if he (the moon) should rise on (the material for) the oblation being not yet taken out, then that approved (procedure is followed) and the same fasting-observance. The sour curds from last night's milking they use for coagulating the sacrificial food"; they let the calves join (their mothers), and drive them away again?.
2. In the afternoon he drives them away with the parna-branch; and as there that approved oblation of the New-moon offering is prepared) so here. But if he should not care to undergo (again) the fastingobservance, or if (the moon) were to rise over the material for) the oblation already taken out, then let him do otherwise : having properly cleansed the ricegrains of the husks, he cooks the smaller ones as a cake on eight potsherds for Agni Dàtri(the Giver).
3. And the sour curds (from the milk) milked on the day before (he prepares) for Indra Pradâtri
the fast at the very time of full moon (I, 6, 3, 34), so, for the New-moon offering, he should do so at the time when the last sign of the moon has disappeared, cf. I, 6, 4, 14.
Literally, they make it the means of coagulating the havis; that is to say, they put the sour-milk (of last night's milking) into the milk obtained from the milking of this, the second, day so as to produce the sour curds required on the next, or offering-day. See I, 6, 4, 6 seq. ;-pürvedyuh sâyamdugdham payo yad dadhy âtmanâ vidyate parasmin divase punah karaniyasya såyamdoharipasya havisha åtankanårtham kuryuh, Sây.
See 1, 7, 1, I seq. The milk of the evening milking will be required for the sour curds and whey to be mixed with the sweet (boiled) milk of the following morning in the preparation of the Sânnayya.
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XI KÂNDA, I ADHYAYA, 5 BRÂHMANA, 1.
9
(the Bestower); and those (larger) rice-grains! he cooks in boiled fresh milk as a pap for Vishnu Sipivishta (the Bald); for a pap it is whenever ricegrains are thrown into milk or sour curds).
4. And as to this being so, it is because that moon is no other than King Soma, the food of the gods ;—he (the Sacrificer) at that time sought to secure him, and missed him: Agni, the Giver, gives that (moon) to him, and Indra, the Bestower, bestows that one upon him; Indra and Agni give that (moon, Soma) as a sacrifice to him, and that sacrifice given by Indra and Agni he offers. And as to why (he offers) to Vishnu, the Bald, it is because Vishnu is the sacrifice; and as to why to the Bald (sipivishta),
-it is that his missing him whom he sought to secure is the bald part (? sipita) of the sacrifice, hence to the Bald one. And on this occasion he should give (to the priests) as much as he is able to give, for no oblation, they say, should be without a dakshink. And let him observe the fast just on the day) when he (the moon) does not rise.
FIFTH BRÂHMANA. 1. He observes the fast thinking, 'To-day is the day of new moon *;' and then that (moon) is seen in
According to Kâty. Srautas. XXV, 4, 40, the rice-grains are sorted in three different sizes; those of medium size being used for Agni Dâtri, the largest for Indra Pradâtri, and the smallest for Vishnu Sipivishta.
That is, at the time of new moon when Soma is supposed to stay on earth.
3 The native dictionaries also assign the meaning affected by a skin-disease' to 'sipivishta.'
• Amâvâ syâ, lit. the night of their (the sun and moon's) staying together.
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the west. But, indeed, he (the moon) is that heavenly dog: he watches the Sacrificer's cattle (to seize them), and that would not be good for cattle if amends were not made to them1; and through fear of that 'downcoming moon',' as they think him to be,—
2. They steal away into the shade. And therefore, indeed, people call that burning pain 'svalukita' (dog's clutch); and therefore they also call that
one
10
6
3. The hare in the moon. Soma, the food of the gods, indeed, is the moon: at full moon they press him; and in the subsequent half of the month he enters the waters and plants; and, the cattle feeding on the water and the plants, he then during that night (of new moon) collects him from the cattle.
4. He keeps the fast thinking, 'To-day is the day of new moon;' and then that (moon) is seen in the west, and the Sacrificer departs from the path of sacrifice. As to this they say, 'What should one do when he has departed from the path of the sacrifice? Should he sacrifice, or should he not sacrifice?' He should certainly sacrifice, for there is no other way out of it: day after day that (moon) rises larger. Having performed offering after the manner of the New-moon sacrifice, he takes out material for an additional offering either on the same, or on the following day.
5. There are three chief oblations for this (offering), (he prepares) a cake on eight potsherds for
1 Aprâyaskittikrite (or -kritah),-? in the case of (the owner) who did not make amends to, and quiet, them.
• Avakrishto nikrishtas kandramâ avakandramasah, Sây.
Sâyana takes this to mean that for this reason the moon is called 'sasáňka,' 'he who is marked with a hare.'
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XI KÂNDA, I ADHYAYA, 5 BRÂHMANA, II. II
Agni Pathikrit (the path-maker), one on eleven. potsherds for Indra Vritrahan (the slayer of Vritra), and a cake on twelve potsherds for Agni Vaisvânara.
6. Now as to why he prepares (an oblation) for Agni Pathikrit,-it is that Agni, being the maker of the path, leads the Sacrificer (back) to the path of sacrifice, from which he now departs.
:
7. And as to why to Indra Vritrahan,-Vritra is sin with the help of Indra, the slayer of Vritra, he thus slays sin, Vritra, which ever keeps him from well-being, from virtue, and from the good work this is why he (offers) to Indra Vritrahan.
8. And as to why he prepares a cake on twelve potsherds for Agni Vaisvânara,-when Indra had slain Vritra, he burnt him completely by means of Agni Vaisvânara, and thereby burnt all his (Vritra's) sin; and in like manner does that (Sacrificer) now, after slaying sin, Vritra, with the help of Indra Vritrahan, burn him, and all that sin of his, by means of Agni Vaisvânara; and, verily, not the slightest sin remains in him who, knowing this, performs this offering.
verses.
9. For this (offering) there are seventeen kindlingHe offers to the deities in a low voice, and makes any (verses) he pleases his invitatory and offering-formulas. In like manner (those of) the two butter-portions and the two formulas of the Svishtakrit.
10. A bow with three arrows he gives as dakshinâ; for with the bow a dog is driven away: he thus drives away that (dog, the moon) when he gives a bow with three arrows as dakshinâ.
11. A staff he gives as dakshinâ; for with a staff
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a dog is driven away: he thus drives away that (dog) when he gives a staff as dakshinâ. This, indeed, is the prescribed dakshinâ; but he may give anything else besides, of such other (objects meet for) dakshinâs as may be at his disposal. This, doubtless, is an offering relating to cattle: he may perform it even though (the moon) was not seen (at his New-moon sacrifice).
SIXTH BRAHMANA.
1. Verily, in the beginning this (universe) was water, nothing but a sea of water. The waters desired, 'How can we be reproduced?' They toiled and performed fervid devotions', when they were becoming heated, a golden egg was produced. The year, indeed, was not then in existence this golden egg floated about for as long as the space of a year.
2. In a year's time a man, this Pragâpati, was produced therefrom; and hence a woman, a cow, or a mare brings forth within the space of a year; for Pragâpati was born in a year. He broke open this golden egg. There was then, indeed, no restingplace: only this golden egg, bearing him, floated about for as long as the space of a year.
3. At the end of a year he tried to speak. He said 'bhah': this (word) became this earth;— 'bhuvah': this became this air;-'svah': this became yonder sky. Therefore a child tries to
1 Or, they toiled and became heated (with fervid devotion). For this cosmological legend, see J. Muir, Original Sanskrit Texts, iv, p. 24.
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XI KÂNDA, I ADHYÂYA, 6 BRÂHMANA, 9.
13
speak at the end of a year, for at the end of a year Pragâpati tried to speak.
4. When he was first speaking Pragåpati spoke (words) of one syllable and of two syllables; whence a child, when first speaking, speaks (words) of one syllable and of two syllables.
5. These (three words consist of) five syllables : he made them to be the five seasons, and thus there are these five seasons. At the end of the (first) year, Pragâpati rose to stand on these worlds thus produced ; whence a child tries to stand up at the end of a year, for at the end of a year Pragàpati stood up.
6. He was born with a life of a thousand years: even as one might see in the distance the opposite shore, so did he behold the opposite shore (the end) of his own life.
7. Desirous of offspring, he went on singing praises and toiling. He laid the power of reproduction into his own self. By (the breath of) his mouth he created the gods: the gods were created on entering the sky; and this is the godhead of the gods (deva) that they were created on entering the sky (div). Having created them, there was, as it were, daylight for him; and this also is the godhead of the gods that, after creating them, there was, as it were, daylight (diva) for him.
8. And by the downward breathing he created the Asuras : they were created on entering this earth. Having created them there was, as it were, darkness for him.
9. He knew, Verily, I have created evil for myself since, after creating, there has come to be, as it were, darkness for me. Even then he smote
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them with evil, and owing to this it was that they were overcome; whence people say, 'Not true is that regarding (the fight between) the gods and Asuras which is related partly in the tale and partly in the legend; for it was even then that Pragâpati smote them with evil, and it was owing to this that they were overcome.'
10. Therefore it is with reference to this that the Rishi has said, 'Not for a single day hast thou fought, nor hast thou any enemy, O Maghavan : illusion is what they say concerning thy battles; no foe hast thou fought either to-day or aforetime.'
11. Now what daylight, as it were, there was for him, on creating the gods, of that he made the day; and what darkness, as it were, there was for him, on creating the Asuras, of that he made the night they are these two, day and night.
12. Pragâpati bethought himself, 'Everything (sarva), indeed, I have obtained by stealth (tsar) who have created these deities:' this became the 'sarvatsara,' for 'sarvatsara,' doubtless, is the same
as
'samvatsara (year).' And, verily, whosoever thus knows samvatsara' to be the same as 'sarvatsara',' is not overcome by any evil which, by magic art, steals upon him (tsar); and whosoever thus knows samvatsara' to be the same as C vatsara,' overcomes against whomsoever he practises magic art.
" sar
13. Pragâpati bethought himself, 'Verily, I have created here a counterpart of myself, to wit, the year;' whence they say, 'Pragâpati is the year;' for he created it to be a counterpart of himself:
1 Or, whosoever knows the 'all-stealing' power of the year.
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XI KÂNDA, I ADHYAYA, 6 BRÂHMANA, 17.
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inasmuch as 'samvatsara (year);' as well as 'Pragapati,' consists of four syllables, thereby it (the year) is a counterpart of him.
14. Now, these are the deities who were created out of Pragàpati-Agni, Indra, Soma, and Parameshthin Pragâ patya.
15. They were born with a life of a thousand years: even as one would see in the distance the opposite shore, so did they behold the opposite shore of their own life.
16. They went on singing praises and toiling. Then Parameshthin, son of Pragàpati, saw that sacrifice, the New and Full-moon offerings, and performed these offerings. Having performed them, he desired, 'Would I were everything here!' He became the waters, for the waters are everything here, inasmuch as they abide in the furthest place ; for he who digs here on earth finds indeed water ; and, in truth, it is from that furthest place, to wit, from yonder sky that he' rains, whence the name Parameshthin (abiding in the furthest, highest place).
17. Parameshthin spake unto his father Pragapati, 'I have discovered a sacrifice which fulfils wishes : let me perform this for thee!'—'So be it!' he said. He accordingly performed it for him. Having sacrificed, he (Pragàpati) desired, “Would I were everything here!' He became the breath (vital air), for breath is everything here : Pragapati is that breath which blows here (the wind); and whatsoever knows that it is thus he blows is his (Pragàpati's) eyesight; and whatsoever is endowed
· Viz. Parganya, the rain-god, according to Såyana. • Viz. officiating as his, Pragåpati's, priest.
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with breath is Pragâpati. And, verily, whosoever thus knows that eyesight of Pragâpati becomes, as it were, manifest.
18. Pragâpati spake unto his son Indra, 'Let me perform for thee this wish-fulfilling sacrifice which Parameshthin has just performed for me.'-'So be it!' he said. He accordingly performed it for him. Having sacrificed, he (Indra) desired, 'Would that I were everything here!' He became speech (vâk), for speech is everything here; whence they say, 'Indra is Vâk.'
19. Indra spake unto his brothers Agni and Soma, 'Let me perform for you this wish-fulfilling sacrifice which our father Pragâpati has just performed for me.'-'So be it!' they said. He accordingly performed it for them. Having sacrificed, those two desired, 'Would that we were everything here!' One of them became the eater of food, and the other became food: Agni became the eater of food, and Soma food; and the eater of food, and food, indeed, are everything here.
20. These five deities, then, performed that wishfulfilling sacrifice; and for whatever wish they sacrificed, that wish of theirs was fulfilled; and, verily, for whatever wish one performs that sacrifice, that wish of his is fulfilled.
21. When they had sacrificed they beheld (discovered) the eastern quarter, and made it the eastern (front) quarter; as it now is that eastern (front) quarter: therefore creatures here move in a forward direction, for they (the gods) made that the front quarter. 'Let us improve it' from here!'
1 Or, perhaps, raise it, bring it nearer. The St. Petersb. Dict.
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XI KÂNDA, I ADHYAYA, 6 BRAHMANA, 23.
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they said, and made it to be strength. ‘May we see this strength!' they said; and it became yonder sky?
22. They then beheld the southern quarter, and made it the southern quarter; and it now is that southern (right, dakshina) quarter : whence the dakshina (cows) stand to the south (of the altar) >, and are driven up from the south, for they made that the southern one (dakshina). 'Let us improve it from here !' they said, and made it to be space. May we see this space!' they said; and it became this air, for that (air) is space; for even as the resting-place here in this world is clearly the earth, so the resting-place there in yonder world is clearly this air ; and because, whilst being here on earth, one does not see that space, therefore people say, “That space (or, yonder world) is invisible.'
23. They then beheld the western quarter, and made it (to represent) hope, -wherefore it is only when", after going forwards (to the east), one
takes ‘upa-kurute' here in the sense of to cherish (hegen, pflegen);' Professor Delbrück, Altind. Syntax, p. 238, doubtfully in that of 'worship, revere (verehren); '--enam pråkim disam upetya itah param kurvìmahi karyantaram sigemahi, Sây.
The particle .khalu' might perhaps be rendered by 'really, 'or—'could we but see it,' were it but (really) visible to us.'
· That is, it was moved up to them. * See IV, 3, 4, 14.
• It seems hardly possible to take 'yad-tena' here in the usual causal sense, --it is only because (or, inasmuch as) one obtains (one's object) after going forwards that one goes to the western quarter. What is implied, in any case, is that first some hope, or desire, is conceived the accomplishment of which is only brought about by a forward movement, or by action; and that success in attaining the object sought for is followed by the conception of fresh desires. For the same force of yad-tena' (when—then) see XI, 3, 3, 4-6..
[44]
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obtains (his object) that he goes (back) to that (western) quarter; for they (the gods) made that (quarter to represent) hope. 'Let us improve it from here !' they said, and made it to be prosperity (or distinction). May we see this prosperity !'they said; and it became this earth, for this (earth) is indeed (the source of) prosperity; whence he who obtains most therefrom becomes the most prosperous.
24. They then beheld the northern quarter, and made it the waters. Let us improve it from here!' they said, and made it (to represent) the law, for the waters are the law: hence whenever the waters come (down) to this (terrestrial) world everything here comes to be in accordance with the law; but whenever there is drought, then the stronger seizes upon the weaker, for the waters are the law.
25. These then are eleven deities !,—there are five fore-offerings, two butter-portions, the Svishtakrit, and three after-offerings :
26. These are eleven offerings,-it was, indeed, by these offerings that the gods gained these worlds, and these quarters; and in like manner does this (Sacrificer), by these offerings, gain these worlds, and these quarters.
27. And the four Patnfsamyâgas are the four intermediate quarters; and, indeed, it was by the four Patnfsamyâgas that the gods gained the intermediate quarters; and by means of them this (Sacrificer) now gains the intermediate quarters.
· Viz. the four quarters and the objects enumerated as represented by them.
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28. And as to the Ida,—thereby the gods gained food ; and in like manner does this (Sacrificer) thereby gain food. This, then, is the completeness of the New and Full-moon sacrifices as regards the gods.
29. Now as to the body:-there are in man these five breathings, not including the eyes; they are the five fore-offerings, and the two butter-portions are the eyes.
30. The Svishtakrit is the same as this downward breathing; and because he offers that (oblation), as it were, apart from the other oblations', therefore all the breathings recoil from that breathing; and because for the Svishtakrit he cuts portions from all the sacrificial dishes, therefore everything that enters these (channels of the other) breathings meets in (the channel of) that breathing.
31. The three after-offerings are the three male organs ; and that which is the chief after-offering is, as it were, the chief organ. “He should offer it without drawing breath 3,' they say, 'for thus it becomes unfailing for him.'
32. He may, however, draw breath once, for that (organ) has one joint; but if it were jointless, it
See , 7, 3, 21, where I would now translate, He offers apart (sideways), as it were, from the other oblations,—the oblation to Agni Svishtakrit being poured out on the north side of the fire, so as not to come in contact with the chief oblations and the butterportions.
* That is, including the testicles.
'Or, rather,--at the third after-offering (viz. that 10 Agni Svishtakrit),—the Hotri should (according to some authorities) pronounce the offering-formula, which is considerably longer than those of the two other offerings, without making a pause; whilst others allow him to pause once.
C2
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either would only stand erect, or it would hang down; whilst now it both becomes erect and hangs down: he may therefore draw breath once.
33. The four Patnisamyâgas are the two arms (or front legs) and the two thighs—the support, in fact"; and the Idà is this vital air (in the centre); and inasmuch as that (Idâ) is not offered in the fire, but remains as unburnt, therefore this (central) vital air is undivided.
34. The invitatory and offering-formulas are the bone, and the offering-material is the flesh. The invitatory and offering-formulas are (in) measured metre, whence the bones of a fat and a lean person are alike: but inasmuch as he takes now more, now less, offering-material, therefore the flesh of a fat person is fat, and the flesh of a lean person is lean. This sacrifice he performs to any deity he pleases and for whom there is a sacrificial dish.
35. Now, these are offerings from which nothing must be omitted ; but were one to omit anything of them, it would be as if he were to break off some limb, or knock out some (channel of the) vital air. Other oblations, indeed, are either added to or omitted.
36. These, then, are sixteen offerings, for man consists of sixteen parts, and the sacrifice is the Man (Purusha): hence there are sixteen offerings.
SEVENTH BRÂHMANA. 1. Now there, on the occasion of the entering on the fast, it is said, 'If he does not eat, he becomes
Båhudvayam drudvayam katvarah patnisamyâgâh, atas te pratishthâtmakâh; ayam eva madhyamal prâna idă, Sây.
· See I, 1, 1, 9. 10.
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consecrated to the Fathers'; and if he does eat he eats whilst passing over the gods ;' and, in this respect, they lay down the rule, 'Let him therefore eat what grows in the forest.'
2. If he eats cultivated plants he eats the sacrificial essence of the offering-cake ; and if he eats forest plants he eats the essence of the barhisa; and if he eats aught of trees he eats the essence of the fuel (for the sacrificial fire); and if he drinks milk he consumes the essence of the Sannayya 8; and if he drinks water he consumes the essence of the lustral waters * ; and if he eats nothing he becomes consecrated to the Fathers.
3. As to this they say, 'What course of procedure is there?' Well, let him, on those two nights (of full and new moon), himself offer the Agnihotra : inasmuch as, after offering, he takes food he does not become consecrated to the Fathers, for that (libation) is an offering; and inasmuch as he performs that offering in his own self he does not eat of those sacrificial essences.
4. Now all the nights concentrate themselves in these two nights: all the nights of the waxing moon concentrate in the night of full moon, and all the nights of the waning moon concentrate in the night of new moon; and, verily, for him who, knowing this, offers (the Agnihotra) himself on the day of
That is, he would be liable to die, and join the departed ancestors.
• The layer of sacrificial grass spread on the Vedi, serving as a seat for the deities to whom offering is made.
. For this dish, prepared of sweet and sour milk, and offered at the New-moon sacrifice, see part i, p. 178, note 4.
• For the Pranitåh, see I, 1, 1, 12.
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the entrance on the fast, offering is always made by himself
EIGHTH BRÂHMANA. 1. Now, the gods and the Asuras, both of them sprung from Pragàpati, once strove together. Then the Asuras, even through arrogance, thinking, ‘Unto whom, forsooth, should we make offering ?' went on offering into their own mouths. They came to naught, even through arrogance : wherefore let no one be arrogant, for verily arrogance is the cause of ruin
2. But the gods went on offering unto one another. Pragàpati gave himself up to them, and the sacrifice became theirs; for, indeed, the sacrifice is the food of the gods.
3. Having given himself up to the gods, he created that counterpart of himself, to wit, the sacrifice: whence people say, 'The sacrifice is Pragàpati;' for he created it as a counterpart of himself.
4. By this (Full and New-moon) sacrifice he redeemed himself from the gods. Now when he (the Sacrificer) enters on the fast, he thereby gives himself up to the gods, even as Pragâ pati thereby gave himself up to the gods. Let him therefore endeavour to pass that night (with his mind) completely restrained s, in the same way as he would
That is to say, even though on other nights the Agnihotra were performed for him by a priest, it would always count as being per. formed by himself.
• See V, 1, 1, 1. 2.
• Professor Delbrück, Altind. Syntax, p. 350, takes this injunction, and apparently also the illustration, to refer to sexual intercourse. Cf. I, I, I, II.
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proceed with (material for) an oblation, for he becomes an oblation to the gods.
5. And when (on the following day) he performs the sacrifice, then he redeems himself by sacrifice from the gods, even as Pragâpati thereby redeemed himself : when he takes out the material for (the chief) sacrificial dish, he redeems the sacrifice by the material for the sacrificial dish; the sacrificial dish (he redeems) by the invitatory formula, the invitatory formula by the portion cut (from the sacrificial dish), the portion by the offering-formula, the offeringformula by the Vashat-call, and the Vashat-call by the oblation. His oblation itself is still unredeemed, -
6. And that sacrifice of his is like a tree with its top broken off. He redeems the oblation by the Anvähårya (mess of rice) ?; and because he thereby supplies (anv-a-harati) what is wanting in the sacrifice, therefore it is called Anvähårya. Thus, then, that entire sacrifice of his comes to be redeemed; and that sacrifice becomes the Sacrificer's self in yonder world. And, verily, the Sacrificer who, knowing this, performs that (offering of) redemption comes into existence in yonder world with a complete body.
Second ADHYÂYA. FIRST BRAHMANA. 1. Verily, man is born thrice, namely in this way :-first he is born from his mother and father ; and when he to whom the sacrifice inclines performs offering he is born a second time; and when he dies, and they place him on the fire, and when he
See part i, p. 49, note i.
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thereupon comes into existence again, he is born a third time;—wherefore they say, “Man is born thrice.'
2. He (the Hotri) recites those eleven kindlingverses !,- there are these ten vital airs in man, and the body in which these vital airs are established is the eleventh,—so great, indeed, is man: he thus causes him to be born complete. And what comes after the kindling-verses that is the foundation : thus, having caused him to be born, he establishes him.
3. There are nine utterances of impulsion (or quickening) ?,—there are these nine vital airs in man: he thereby causes him to be born a second time; and the (Adhvaryu's) call and (the Âgnidhra's) response 8 are the foundation. And when there, on the occasion of the throwing 4 (of the grass-bunch
See part i, p. 95 seqq. * According to Sâyana, this refers either to the formula by which the Adhvaryu calls on the Hotri to recite the kindling-verses, and which, he says, consists of nine syllables (samidhyamânâyânubrûhi); or to nine preliminary formulas (forming a nigada) pronounced by the Hotri before the performance of the fore-offerings, see I, 5, 2, I seqq. These latter formulas are probably those intended by the author; the former formula being the less likely to be referred to, as, in its above form of nine syllables, it is indeed allowed to be used optionally by the Apastambasūtra, but not by the authorities of the white Yagus, who use the formula '(Hotar) Agnaye samidhyamânâyânubrQhi;' see Sat. Br. I, 3, 5, 2. 3.
• Viz. the two calls — Om sråvaya' and `Astu sraushat,' see part i, p. 132, note.
The word 'srishn' usually means 'creation,' but in accordance with the primary meaning of the verb 'srig,' it apparently refers here (as Sâyana seems to think) to the throwing of the anointed Prastara, as the representative of the Sacrificer, into the Ahavanfya fire, thus insuring for the Sacrificer his despatch to, and renewed life in, the heavenly world. With reference to
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into the fire), birth is spoken of, he thereby causes him to be born a third time: on this occasion the Patnisamyâgas are the foundation.
4. For thrice, indeed, man is born, and it is just in this way that he causes him to be born thrice from the sacrifice. Of those eleven (kindling-verses) he recites thrice the first and last :
5. This makes fifteen kindling-verses, there are two libations of ghee (âghâra ), five fore-offerings, the Idà, three after-offerings, the Säktavaka, and Samyorvåka —that makes thirteen oblations. And when there, at the Patnisamyågas, he takes up at the same time (the two spoons); and the Samishtayagus * :
6. That makes fifteen oblations:—for these fifteen oblations those fifteen kindling-verses (serve, as it were, as) invitatory formulas; and for these invitatory formulas these (serve as) offering-formulas-whatever formula (is used) there (at those oblations) and what Nigada (is used at the invocation of the Idå ") that is of the form of offering-formulas. Thereby, then, those oblations of his come to be supplied with invitatory formulas through those kindling-verses ; and through those oblations those invitatory formulas come to be supplied with both offering-formulas and oblations.
this throwing of the grass-bunch into the fire (I, 8, 3, 11 seq.; 9, 2, 19) some of the Sätras use, indeed, the verbsrig,' cf. Hillebrand, Das Altindische Neu- und Vollmondsopfer, p. 146.
See part i, p. 356 seqq. * See part i, p. 124 seqq. : Part I, p. 236 seqq.
• See I, 9, 2, 19; 25 seqq. • See part i, p. 222 seqq.
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SECOND BRÂHMANA. 1. He recites a gayatri invitatory formula?: the gâyatri consisting of three feet, these worlds being three in number, it is these worlds the gods thereby established.
2. He offers with a trishtubh (verse): the trishtubh consisting of four feet, and cattle being four-footed, it is cattle the gods thereby established in these established worlds.
3. The Vashat-call consists of two syllables (vaushat): man being two-footed, it is two-footed man they thereby established among the established cattle.
4. Two-footed man, then, is established here among cattle. In like manner this (Sacrificer) establishes thereby the worlds; and in the established worlds he establishes cattle, and among the established cattle he establishes himself: thus, indeed, is that man established among cattle, who, knowing this, offers sacrifice.
5. And when he offers, after the Vashat has been uttered,--that Vashat-call being yonder shining (sun), and he being the same as Death S-he thereby consecrates him (the Sacrificer) after death, and causes him to be born from out of it, and he is
* The anuvákyås recited prior to the principal oblations (pradhåna-havis) are in the gayatri metre; whilst the yagyás (referred to in the next paragraph), at the end of which the Vaushat! is uttered and the oblation poured into the fire, consist of trish/ubh verses; cf. I, 7, 2, 15.
· These inserted clauses with vai' supply the reason for what follows, not for what precedes, them.
* See X, 5, 1, 4.
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delivered from that death. And the sacrifice, indeed, becomes his body: thus, having become the sacrifice, he is delivered from that death, and all his chief offerings are thereby delivered from that death?
6. And, verily, whatever offering he there performs, that offering becomes his body in yonder world; and when he who knows this departs this world then that offering, being behind him, calls out to him, 'Come hither, here I am, thy body;' and inasmuch as it calls out invokes, ähvayati), it is called 'ahuti' (offering or invocation).
THIRD BRÂHMANA. 1. Verily, in the beginning, this (universe) was the Brahman (neut.)? It created the gods; and, having created the gods, it made them ascend these worlds: Agni this (terrestrial) world, Vậyu the air, and Surya the sky.
2. And the deities who are above these he made ascend the worlds which are above these ; and, indeed, just as these (three) worlds and these (three) deities are manifest, so are those (higher) worlds and those (higher) deities manifest—(the worlds) which he made those deities ascend.
3. Then the Brahman itself went up to the sphere beyond. Having gone up to the sphere beyond, it considered, “How can I descend again into these worlds?' It then descended again by means of these two-Form and Name. Whatever has a name,
Viz. inasmuch as the oblation is made with the Vashat. ? On this speculative myth, see John Muir, Orig. S. Texts, vol. v, pp. 387-89.
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that is name; and that again which has no name, and which one knows by its form, 'This is (of a certain) form,' that is form: as far as there are Form and Name so far, indeed, extends this (universe).
4. These, indeed, are the two great forces of the Brahman; and, verily, he who knows these two great forces of the Brahman becomes himself a great force.
5. These, indeed, are the two great manifestations1 of the Brahman; and, verily, he who knows these two great manifestations of the Brahman becomes himself a great manifestation. One of these two is the greater, namely Form; for whatever is Name, is indeed Form; and, verily, he who knows the greater of these two, becomes greater than he whom he wishes to surpass in greatness.
6. In the beginning, indeed, the gods were mortal, and only when they had become possessed 2 of the Brahman they were immortal. Now, when he makes the libation to Mind -form being mind, inasmuch as it is by mind that one knows, 'This is form'— he thereby obtains Form; and when he makes the libation to Speech-name being speech, inasmuch as it is by speech that he seizes (mentions) the name he thereby obtains Name;-as far as there are Form and Name, so far, indeed, extends this whole (universe): all this he obtains; and-the
1 Or, phantasmagories, illusive representations.
The use of 'âp' with the instrumental (brahmanâ âpuh) is peculiar,—brahmana vyâptân, Sây.
• The two libations (âghâra) of ghee, forming the first oblations of an ishi, made on the newly kindled fire, are offered to Mind and Speech respectively; cf. part i, p. 124 seqq.
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all being the imperishable-imperishable merit and the imperishable world thus accrue to him.
7. There, on the occasion of the offering to Agni", it has been told how the sacrifice then pleased the Rishis, and how they performed it. Now, when the Rishis were performing the sacrifice, the Gandharvas came nigh to them. They looked on, thinking, 'Here, surely, they have done too much, -here they have done too little.' And when their sacrifice was completed, they pointed it out to them, saying, “Here, surely, ye have done too much, here ye have done too little.'
8. Now, wherever they had done too much it was like a hill; and wherever they had done too little it was like a pit.
9. Now, when he pronounces the Samyos (allhail and blessing), he touches (the earth) with (Vag. S. II, 19), O Sacrifice, homage be unto thee: mayest thou complete thy course up to the success of the sacrifice and up to mine own right offering !'Wherever in the course of the sacrifice) he has committed any excess, he makes amends for it by doing homage ; and wherever he has left anything defective, it ceases to be defective by his saying, 'up to. In saying, “Mayest thou complete thy course up to the success of the sacrifice,'--success being whatever in the sacrifice is neither defective nor excessivehe thereby makes amends for both of these (mistakes); and in saying, "Mayest thou complete thy
Sayana explains this by 'adhânakarane'; but the passage referred to occurs I, 6, 2, 3. 4, in connection with the first butterportion (ágyabhaga), that of Agni.
• Or, perhaps, the altar; see I, 9, 1, 29.
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course up to mine own right offering,'-right offering being whatever in the sacrifice is neither defective nor excessive-he thereby also makes amends for both of these (mistakes); and thus that sacrifice of his comes to be performed as one that is neither defective nor excessive by whosoever, knowing this, thus touches (the earth): let him therefore touch it just in this way. But, indeed, those Gandharvas were Yavamân (rich in barley), the winnowing-basket; Uddâlavân (rich in paspalum frumentaceum), husbandry; and Antarvan (the pregnant), grain ?
Fourth BRÂHMANA. 1. The full moon, doubtless, is the same as that burning (sun), for he, indeed, is full day by day; and the new moon (darsa) is the same as the moon, for he appears (dars), as it were.
2. But they also say inversely, 'The full moon is the same as the moon, for after the filling up of the latter there is the night of full moon;' and the new moon (darsa) is the same as that burning (sun), for the latter appears, as it were.
3. The full moon, indeed, is this (earth), for she is, as it were, full; and the new moon is yonder sky, for yonder sky appears (or, is seen), as it were.
4. The full moon, indeed, is the night, for this
1 On these names, Sâyana merely remarks,-te gandharvah sürpâdibhavam âpannâ babhūvuh, yavamân ityâdyås teshâm samgiâh.-Mahîdhara, on the other hand, on Vág. S. II, 19, makes them to be five names, Yavamat, Surpa (n.), Uddalavat, Krishi (f.), and Dhânântarvat. This is very improbable ; the last name, especially, being accented on the first syllable, showing it to be two words.
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night is, as it were, full; and the new moon is the day, for this day appears, as it were. This, then, is the theory regarding the full and new moon in respect of the gods.
5. Then as to the body. The full moon is the up-breathing, for it is by the up-breathing that this man is, as it were, filled; and the new moon is the out (and in)-breathing, for this out-breathing appears, as it were: thus, the full and new moon are these two, the eater and the giver of food.
6. The out (and in)-breathing (the mouth) is the eater of food, for by means of the out (and in)breathing this food is eaten; and the up-breathing is the giver of food, for by the up-breathing: this food is given to him.
7. The full moon is the mind, for full, as it were, is this mind; and the new moon is speech, for this speech appears, as it were. Thus these two are clearly the full and new moon, as regards the body; and inasmuch as on the day of fasting he eats the (food) suitable for eating on the vow, he thereby clearly gratifies these two in regard to the body; and on the morrow (he gratifies them) as gods by sacrifice.
8. As to this they say,- Seeing that no offeringmaterial is taken out" for the full moon," nor any offering-material "for the new moon," and seeing that he does not say, "Recite the invitatory formula for the full moon,” nor "Recite the invitatory for
1 The udåna is explained by Sâyana as the breath passing (up into the head, and through the nose.
* The prâna is the breath of the mouth.
* That is, by (the vital air of the head (hence of the eyes, ears, &c.).
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mula for the new moon;" nor "Recite the offeringformula for the full moon," nor "Recite the offeringformula for the new moon,” how, then, is offering made to this full and new moon ?' Well, when he makes a libation of ghee to the Mind-the full moon being the Mind – he thereby makes offering to the full moon; and when he makes a libation of ghee to Speech-the new moon being Speech - he thereby makes offering to the new moon: and thus offering is made by him to the full and new moon.
9. Now, some prepare two messes of rice, one for Sarasvat on the full moon, and one for Sarasvati on the new moon, saying, "We thus clearly make offering to the full and new moon. But let him not do this; for Sarasvat is the Mind, and Sarasvati is Speech; and thus, in making libations of ghee to these two, offering is made by him to the full and new moon : let him therefore not prepare these two messes of rice.
10. As to this they say, 'Surely, he who performs the Full and New-moon offerings becomes a (mere) utterer of the Agur?; for, when he has performed
Or, one who has only had the Âgur-formulas uttered for him (by the priests). Âgur is the technical term of two formulas, viz. of the formula . (Agnim) yaga' (recite the offering-formula to Agni, or to whatever deity offering is made), by which the Adhvaryu calls on the Hotri to recite; and of the formula Ye yagámahe (Agnim),' by which the Hotri introduces the yâgyâ, or offering-verse. At the Soma-sacrifice the former formula is modified to 'Hotâ yakshat,' uttered by the Maitråvaruna priest. See Haug, Transl. of Ait. Br., p. 133, note.-In comparing these Âgur-formulas with the performances of the Full and New-moon offerings, the author thus seems to imply that, just as the utterance of these formulas is merely the preliminary to the oblation itself, so each fortnightly
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the Full-moon offering, he knows that he will perform the New-moon offering; and when he has performed the New-moon offering, he knows that he will again perform the Full-moon offering; thus when he goes to the other world he goes thither as an utterer of the Ågur: how, then, does he become one who has not (merely) uttered the Ågur?' Well, when, on both occasions, he makes those two libations of ghee (to Mind and Speech), then his Full and New-moon offerings become complete ; and he goes to the other world after his Full and New-moon offerings are completed, and thus becomes one who has not (merely) uttered the Ågur.
Fifth BRAHMANA. 1. And, verily, even on this occasion', they slaughter the sacrificial horse (Asvamedha) as a sacrifice to the gods: of this (New and Fullmoon sacrifice) they say, 'It is the original (normal) Asvamedha;' and that (real Asvamedha), indeed, is just the other (modified one); for, indeed, the Asvamedha is the same as the moon.
performance is only the preliminary to the next performance; but that the Sacrificer never actually completes the sacrifice. Sâyana, on the other hand, takes 'âgârtin' to mean 'one who has formed a resolution (águrta, âguranam=samkalpa);' and native dictionaries, indeed, give 'âgur' as a synonym of 'pratigita' (promise, agreement; Zuruf, Zusage). But, even if this were the right meaning of the word, the general drift of the passage would remain the same, viz. that such a sacrificer would ultimately die as one who had merely promised or intended to offer sacrifice, without his having actually performed it, or brought it to a proper conclusion, and thus without reaping the ultimate benefit from it, viz. citizenship in the heavenly abodes.
· Viz. in performing the Full and New-moon sacrifice, for which all the benefits accruing from the Asvamedha are here claimed.
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2. As to this, they say, 'For each foot of the sacrificial horse they offer an oblation;'-when he performs the Agnihotra in the evening and morning, he offers two oblations in the evening, and two in the morning that makes four oblations: thus— the horse being four-footed-an oblation is offered for each of its feet.
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3. As to this, they say, 'On the starting off of the horse he performs an offering; for the moon, doubtless, is the same as King Soma, the food of the gods: when, during that night (of new moon), he does not appear either in the east or in the west, then he comes to this world, and starts for this world 2.
4. Now, when he performs the New-moon sacrifice, he thereby performs the (same) offering (as) on the starting of that (horse), and when he performs the Full-moon sacrifice he slaughters the sacrificial horse itself, and, having slaughtered it, he presents it to the gods. The other (real) horsesacrifice they indeed perform (only) a year after (the starting offering), but this month (of the Full and New-moon sacrifice), revolving, makes up a year thus the sacrificial horse comes to be slaughtered for him year after year.
1 According to Âsv. X, 6, 2 seqq., having chosen the horse to be sacrificed, he performs two ish/is, to Agni Mûrdhanvat and Pushan; whereupon he sets free the horse, and for a year performs three ishfis daily at the three pressings, viz. to Savitri Satyaprasava, Prasavitri, and Asavitri.
'Or, he disappears in this world; the same verb (vi-vrit) being used for the disappearance as for the starting off of the horse when set free.
The syntactic construction of the last two sentences is that frequently alluded to before, viz. that of parenthetic causal clauses.
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5. Verily, then, for him who, knowing this, offers both the Agnihotra and the Full and New-moon sacrifices, they slaughter the sacrificial horse month by month; and month by month the Asvamedha is offered for him, and his Agnihotra and Full and New-moon sacrifices come to pass into the Asyamedha.
Sixth BRÂumana. 1. The Pranità water, doubtless, is the head of the sacrifice'; and when he leads forward the Pranità water, it is the head of the sacrifice he thereby forms, and he should know that it is that head of his own that is then being formed.
2. The fuel, indeed, is its breath (of the mouth), for it is by the breath that everything here is kindled (animated) that has breath and moves twinkling with its eyelids : let him know that it is he himself that is that fuel.
3. The kindling-verses, indeed, are its spine : let him therefore say (to the Hotri) regarding them, • Recite for me, making them, as it were, continuous ? ;' for continuous, as it were, is this spinal column. And the two libations of ghee are its mind and speech, Sarasvat and Sarasvati 8 : let
1 Yagtta, the sacrifice, is here, as so often, to be understood as the abstract representation of the victim (here the horse), as well as of the Purusha, -i.e. Pragâ pati, and the Sacrificer.
The kindling-verses, being in the Gayatri metre, consist of three octosyllabic pâdas each. Whilst after each verse a kindlingstick (samidh) is thrown into the fire by the Adhvaryu, the Hotri does not make any pause in his recitation at this point, but he does so after the second pâda of each verse, thus connecting the last påda with the first two pådas of the next verse. * See XI, 2, 5, 9.
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him know that the two libations of ghee are his mind and speech, Sarasvat and Sarasvati.
4. The five fore-offerings are these its five (outlets of the) vital airs in the head ;-the first foreoffering is its mouth, the second the right nostril, the third the left nostril, the fourth the right ear, and the fifth the left ear. And inasmuch as at the fourth fore-offering he pours together (the ghee), therefore this ear is, on the inner side, connected by a channel (with the other). The two butterportions are the eyes : let him know that these are his own eyes.
5. And that cake which is offered to Agni is its right flank; and the low-voiced offering is its heart; and inasmuch as they perform this in a low voice, this heart is, as it were, in secret.
6. And that cake which is offered to Agni and Sonia (at full moon), or Indra's Sånnayya (at new moon), is its left flank; the Svishtakrit is that part between its shoulders; and the (Brahman's) foreportion” is the poison?
7. And when he cuts off the fore-portion,-even as there they cut out what was injured* in Pragâpati, so do they now thereby cut out what in this (body) is clogged and hardened, and affected by Varuna :
See 1, 5, 3, 16.
· See I, 7, 4, 10 seqq. | Instead of visham,' the MS. of Sâyana's commentary reads dvishan' (hater, enemy), which is explained as meaning 'satrubuddhi'; the cutting out' of the fore-portion being compared with the annihilation of enemies (satrunirasanârtham),--all this is, however, manifestly fanciful. What is intended would seem to be the poison (real or figurative) caused by the enemies' (or Rudra's, or Varuna's) shafts, in accordance with the myth regarding Pragapati and his daughter, I, 7, 4, I seqq.
• Literally, what was pierced (by an arrow), cf. I, 7, 4, 3. 9.
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let him know that, as there they cut out what was injured in Pragàpati, so they now cut out what in him is clogged and hardened and affected by Varuna.
8. The Ida, indeed, is the belly: even as there, at (the invocation of) the Ida' they cut off portions (and put them) together, so now food of all kinds is put together in the belly.
9. The three after-offerings are these its three downward breathings; and the Saktavâka and Samyorvåka its arms (or fore-feet); the four Patnisam. yágas the four supports—the two thighs and the two knee-bones; and the Samishtayagus is the two (hind) feet.
10. These are twenty-one offerings;—two libations of ghee, five fore-offerings, two butter-portions, and Agni's cake: this makes ten; Agni and Soma's lowvoiced offering, Agni and Soma's cake, the Agni Svishtakrit, the Ida, three after-offerings, the Saktavâka, the Samyorváka, further his seizing (the two spoons) at the same time there at the Patnisamyågas, and (last) the Samishtayagus.
11. These are twenty-one offerings,—there are twelve months and five seasons in a year; and three worlds—that makes twenty; and yonder burning (sun) is the twenty-first-that is the goal, that the resting-place: he thus reaches that goal, that restingplace.
12. Now, as to this Âruni said, 'Every halfmonth, indeed, I become a sharer of the same world with yonder sun: that is the perfection of the Full and New-moon sacrifices which I know.'
See I, 8, 1, 12 seqq.
See I, 9, 2, 19. · Saishå sûryarûpaiva gatih gantavyabhômih; eshaiva pratishtha kritsnaphalasyåsrayah, Såy.
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13. As to this they ask, “Who is the better one, the self-offerer, or the god-offerer ?' Let him say, 'The self-offerer;' for a self-offerer, doubtless, is he who knows, 'This my (new) body is formed by that (body of Yagña, the sacrifice), this my (new) body is procured thereby. And even as a snake frees itself from its skin, so does he free himself from his mortal body, from sin; and made up of the Rik, the Yagus, the Saman, and of offerings, does he pass on to the heavenly world.
14. And a god-offerer, doubtless, is he who knows, I am now offering sacrifice to the gods, I am serving the gods,'—such a one is like an inferior who brings tribute to his superior, or like a man of the people who brings tribute to the king : verily, he does not win such a place (in heaven) as the other.
SEVENTH BRÂHMANA. 1. The Sacrifice is the Year; and, verily, sacrifice is offered at the end of the year of him whoso knows that the sacrifice is the year; and all that is done in the year comes to be gained, secured, and won for him.
2. The officiating priests are the seasons; and, verily, sacrifice is offered at the end of the seasons of him whoso knows that the officiating priests are the seasons; and all that is done in the seasons comes to be gained, secured, and won for him.
3. The oblations are the months; and, verily, sacrifice is offered at the end of the months of him whoso knows that the oblations are the months ;
Upadhiyate upasthaprate, Sây.
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and all that is done in the months comes to be gained, secured, and won for him.
4. The oblation-vessels are the half-months; and, verily, sacrifice is offered at the end of the halfmonths of him whoso knows that the oblation-vessels are the half-months; and all that is done in the half-months comes to be gained, secured, and won for him.
5. The two attendants are the day and night; and, verily, sacrifice is offered at the end of the day and night of him whoso knows that the two attendants are the day and night; and all that is done in the day and night comes to be gained, secured, and won for him.
6. The first kindling-verse is this (earth), the second the fire, the third the wind, the fourth the air, the fifth the sky, the sixth the sun, the seventh the moon, the eighth the mind, the ninth speech, the tenth fervid devotion, and the eleventh the Brahman; for it is these that kindle all this (universe), and by them all this (universe) is kindled, whence they are called kindling-verses.
7. Thrice he recites the first (kindling-verse): by reciting it the first time he gains the eastern region, by the second time he gains the southern region, and by the third time he gains the upper region.
8. And thrice he recites the last(verse): by reciting it the first time he gains the western region, by the second time he gains the northern region, by the third time he gains this same (earth as a) resting-place;
Sâyana seems to take the two attendants (pariveshtri, preparers or servers-up of food) to mean the pair of fire-tongs (dhrishti): ye pariveshana-sadhane dhrishai tayor ahoratrabuddhim vidhatte.
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and by those (kindling-verses) he thus gains these worlds, and these regions.
9. The first libation of ghee is the sacred law, and the second the truth; and, verily, he secures for himself law and truth, and whatsoever is to be gained by law and truth all that he now gains.
10. The first fore-offering is brilliance, the second honour, the third fame, the fourth holy lustre, the fifth food (prosperity).
11. After the first fore-offering let him utter (the anumantrana'), “May I become brilliant;' after the second, “May I become honoured ;' after the third, “May I become glorious ;' after the fourth, May I become endowed with holy lustre;' after the fifth, “May I become prosperous ;'-and, verily, whosoever knows this becomes brilliant, and honoured, and glorious, and endowed with holy lustre, and prosperous.
12. Now, Svetaketu Âruneya”, who knew this, said once,' To him who will thus know that glory of the fore-offerings, people will in days to come be flocking from all sides as if wishing to see some great serpent.'
13. The first butter-portion, doubtless, is the past, and the second the future: verily, he secures for himself both the past and the future; and whatever is to be gained by the past and the future, all that he now gains.
Each of the offering-formulas of the Prayagas has after it the anumantrana "might is speech, might is energy, in me the inbreathing and off-breathing ;' which, according to our paragraph (and Katy. III, 3, 5), is to be supplemented by these special prayers.
• See X, 3, 4, 1, with note.
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14. The cake offered to Agni is the Brahman (priesthood); and, verily, whosoever knows Agni's cake to be the priesthood secures for himself the priesthood; and whatever is to be gained by the priesthood all that he now gains.
15. The low-voiced offering is the Kshatra (nobility); and, verily, whosoever knows the low-voiced offering to be the nobility secures for himself the nobility; and whatever is to be gained by the nobility all that he now gains. And inasmuch as some perform the low-voiced offering, and others do not, therefore people speak (give information) to the noble both in a loud voice and in a low voice.
16. The second cake is the Vis (people); and, verily, whosoever knows the second cake to be the people secures for himself the people; and whatever is to be gained by the people all that he gains. And inasmuch as Agni's cake and the low-voiced offering come first therefore the priesthood and nobility are established upon the people.
17. The Sånnàyya? is royal dignity; and, verily, whosoever knows the Sånnayya to be royal dignity secures for himself royal dignity; and whatever is to be gained by royal dignity all that he gains. And inasmuch as some pour sweet and sour milk) together, and others do not, therefore the royal dignity both (combines) together and (keeps) asunders.
18. The Svishtakrit is fervid devotion; and, verily, whosoever knows the Svishtakrit to be fervid devo
I For this sacrificial dish of the New-moon sacrifice, prepared from fresh milk and sour curds, see part i, p. 178, note 4.
? That is, they prepare the Sânnayya.
• That is to say, different kings either combine or keep separate from each other.
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tion secures for himself fervid devotion; and whatever is to be gained by fervid devotion all that he now gains.
19. The fore-portion is the place (in heaven); and, verily, whosoever knows the fore-portion to be the place (in heaven) secures for himself the place (in heaven); and whatever is to be gained by the place (in heaven) all that he now gains; and, indeed, he does not by ever so little fall from his place, for it is by ever so little that in yonder world men fall from their place; and whosoever knows this does not fall from his place however much evil he may have done.
20. The Idå is faith ; and, verily, whosoever knows the Idâ to be faith secures for himself faith, and whatever is to be gained by faith all that he now
gains.
21. The first after-offering is the thunderbolt, the second the hail-stone, the third the (heavenly) firebrand (meteor).
22. After the first after-offering let him utter (the anumantrana), 'O thunderbolt, smite N. N.!' (naming) him whom he hates; after the second,
O hail-stone, smite N. N.!' after the third,' O firebrand, smite N. N.!'
23. And if such a one dies suddenly, then, indeed, it is that after-offering, the thunderbolt, that smites him; and if he is, as it were, covered with outflowing (blood), then it is that after-offering, the hail-stone, that smites him; and if he is, as it were, covered with scorching, then it is that after-offering, the (heavenly) firebrand, that smites him.
24. Such is the bolt of the sacrifice: it was by that bolt, indeed, that the gods overcame the Asuras;
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and in like manner does the Sacrificer who knows this overcome his wicked, spiteful enemy.
25. And if the sacrifice were to end with afterofferings, then it would end with the thunderbolt, the hail-stone, and the (heavenly) firebrand : therefore the sacrifice of the gods ends either with the Idà or with the Samyos.
26. By the fore-offerings, indeed, the gods reached the world of heaven. The Asuras tried to get thither after them; and by the after-offerings they (the gods) drove them back: thus, when the after-offerings are performed, the Sacrificer drives back his wicked, spiteful enemy.
27. The fore-offerings, indeed, are the out-breathings', and the after-offerings the off-breathings: wherefore the fore-offerings are poured out in a forward direction', for that is the form of the out-breathing; and the after-offerings (are poured out) in a backward direction, for that is the form of the off-breathing. The after-offerings, indeed, are the Upasads of the
That is, the breath (out and in-breathing) of the mouth (prâna), in comparing which with the fore-offerings (prayaga) the stress is laid on the preposition 'pra.'
According to Kåty. III, 2, 18 seqq., the five prayâga libations are to be made either on the part of the fire burning the brightest, or so that each subsequent libation is poured further east of the preceding one.
• According to Kâty. III, 5, 10, the three anuyaga libations are to be made on the forepart, the middle, and the back (western) part of a burning log respectively.
• For the three days' libations, called Upasadah (homages or sieges), at the Soma-sacrifice, see part ii, p. 104 seqq. I do not quite understand the reference to the 'backward direction' (pratyagapavargatvam vopasad-dharmah, Såy.) of the Upasads, unless it be that the libations are offered to Agni, Soma and Vishnu, who are compared with the point, barb and socket (?) of an arrow
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Full and New-moon sacrifices, whence they are performed in a backward direction after the manner of the Upasads.
28. The Säktavaka is the completion; and, verily, whosoever knows the Suktavaka to be the completion secures for himself the completion; and whatever is to be gained by the completion all that he now gains : he obtains the completion of his (full) lifetime.
29. The Samyorvāka is the resting-place; and, verily, whosoever knows the Samyuvaka to be the resting-place secures for himself a resting-place; and whatever is to be gained by a resting-place all that he now gains : he reaches a resting-place.
30. The gods fortified the Patnfsamyâgas by a mound from behind', and placed a couple thereon for the sake of procreation : thus when the Patntsamyâgas are performed, he places a couple thereon for the sake of procreation ; for, indeed, after the procreation of the gods offspring is produced, and offspring is produced by pair after pair (of men and beasts) for him who knows this.
31. The Samishtayagus is food; and, verily, whosoever knows the Samishtayagus to be food secures for himself food; and whatever is to be gained by food all that he now gains.
32. The Sacrificer is the Year; and the Seasons officiate for him. The Ågnidhra is the Spring,
respectively (III, 4, 4, 14), or that in filling the spoons with ghee, the procedure is the reverse of that usually followed (III, 4, 4, 7.8).
The Patnîsamyâgas (by which offering is made to Soma, Tvashtri, and Agni, along with the wives of the gods) are performed on the Gârbapatya fire, and hence at the back (western) part of the sacrificial ground where the Sacrificer's wife is seated. For the symbolical import of the rite see I, 9, 2, 5.
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whence forest-fires take place in spring, for that is a form of Agni. The Adhvaryu is the Summer, for summer is, as it were, scorched; and the Adhvaryu comes forth (from the sacrificial ground) like something scorched! The Udgâtri is the Rainy season; whence, when it rains hard, a sound as that of a chant is produced. The Brahman is the Autumn; whence, when the corn ripens, they say, • The creatures are rich in growth (brahmanvat).'
The Hotri is the Winter, whence in winter cattle waste away, having the Vashat uttered over them. These, then, are the divinities that officiate for him ; and even if Aishåvirâh' were to officiate for him, let him think in his mind of those divinities, and those deities, indeed, officiate for him.
33. Now, as to that balance, the right (south) edge of the Vedi 8. Whatever good deed man does that is inside the Vedi; and whatever evil deed he does that is outside the Vedi. Let him therefore sit down, touching the right edge of the Vedi; for, indeed, they place him on the balance in yonder world; and whichever of the two will rise that he will follow, whether it be the good or the evil. And, verily, whosoever knows this, mounts the balance even in this world, and escapes being placed on the balance in yonder world; for his good deed rises, and not his evil deed. 1 Viz. from his constant attendance on the sacrificial fires.
According to Sâyana, Eshavira is the name of a Brahmanical family held in general contempt. See Weber, Ind. Stud. I, p. 228.
• That is, the altar-ground covered with sacrificial grass, serving as a seat for the gods.
• Literally, will force down (the other). On this ordeal see E. Schlagintweit, Die Gottesurtheile der Indier, Nachträge ; A. Weber, Ind. Streifen I, p. 21; II, p. 363.
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THIRD ADHYAYA. FIRST BRAHMANA. THE AGNIHOTRA.
1. Verily, the Agnihotri cow is the speech of the Agnihotra, and her calf is its mind. Now these two, mind and speech, whilst being one and the same, are, as it were, distinct from each other: therefore they tie up the calf and its mother with one and the same rope; and the fire1, indeed, is faith, and the ghee truth.
2. Now, as to this Ganaka of Videha once asked Yagnavalkya, 'Knowest thou the Agnihotra, Yagnavalkya?'-' I know it, O king,' he said. -'What is it?'' Milk, indeed.'
3. If there were no milk, wherewith wouldst thou sacrifice?'—'With rice and barley.'—' If there were no rice and barley, wherewith wouldst thou sacrifice?'-'With what other herbs there are.'— 'If there were no other herbs, wherewith wouldst thou sacrifice?'-'With what forest herbs there are.'
-'If there were no forest herbs, wherewith wouldst thou sacrifice?'-'With fruit of trees.'-'If there were no fruit of trees, wherewith wouldst thou sacrifice?'-' With water.'-'If there were no water, wherewith wouldst thou sacrifice?'
4. He spake, 'Then, indeed, there would be nothing whatsoever here, and yet there would be offered the truth in faith.'-'Thou knowest the Agnihotra, Yagñavalkya: I give thee a hundred cows,' said Ganaka.
5. Concerning this point there are also these
That is, according to Sâyana, the fire, or heat, produced by the rope. Instead of 'tega eva sraddhâ,' one would rather expect 'sraddhaiva tegah!'
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verses :— Knowing what', does the offerer of the Agnihotra stay away from his house ? how is his wisdom (manifested) ? ? how is he kept up by his fires : ?'—whereby he means to say, 'How, then, is there no staying away from home on his part *?'
6. “He who is the swiftest in the worlds", that wise one is found staying abroad: thus (is manifested) his wisdom, thus he is kept up by his fires ;' -he thereby means the mind : it is owing to his mind that there is no staying away from home on his part.
7. When, having gone far away, he heedeth not there his duty, wherein is that offering of his offered; (and wherein) do they, at his house, perform the offering of the progress ?'-that is to say,— When, having gone far away, he there heeds not his duty, wherein does that offering of his come to be offered ?'
8. “He who waketh in the worlds and sustaineth all beings, in him that offering of his is offered, (and in him) do they, at his house, perform the offering
"That is, according to Sâyana, -What form of Agnihotra does he recognise, when he goes to stay abroad?
• That is,—How does he show his knowledge of the sacred obligation that one ought to perform the Agnihotra regularly twice a day for life?
. That is to say, How is the continuity in the constant attendance to his sacred fires kept up by him?
Literally, 'How is non-staying abroad (brought about)?' that is to say,-How, though having to stay abroad, does he ensure the spiritual benefits of remaining at home? or, as Sâyana puts it, How is the fault of staying abroad, avoided ?-asya pravasato yagamanasya anapaproshitam pravâsadoshâbhâ vah.
Or, among (or in) beings. Såyana supplies 'yagamânah' to 'yo gavishthan,'
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of the progress ;'-he thereby means the breath ; whence they say, 'The Agnihotra is breath.'
SECOND BRAHMANA. 1. Verily, whosoever knows the six pairs in the Agnihotra, has offspring born to him by pair after pair, by all generations. The Sacrificer and his wife-this is one pair: through it his Agnihotra would be possessed of a wife,—May I obtain this pair!' he thinks! The calf and the Agnihotra-cow —this is another pair: through it his Agnihotracow would become possessed of a male calf, — May I obtain this pair!' he thinks. The pot and the coals--this is another pair; the offering-spoon and the dipping-spoon-this is another pair; the Åhavaniya fire and the log—this is another pair; the libation and the Svâhâ-call-this is another pair: these, doubtless, are the six pairs in the Agnihotra ; and he who thus knows them, has offspring born to him by pair after pair, by all generations.
THIRD BRAHMANA. 1. The Brahman delivered the creatures over to Death, the Brahmakârin (religious student) alone it did not deliver over to him. He (Death) said, 'Let me have a share in this one also.'-'Only the night on which he shall not bring his 8 fire-wood,' said (the Brahman). On whatever night, therefore, the Brahmakârin does not bring fire-wood, that
1 Or, perhaps, it (the Agnihotra) thinks.
* Prof. Delbrück, Altind. Syntax, p. 260, doubtless rightly takes the middle form (@harâtai) here to imply for his own self,' i.e. for his own protection from death.
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(night) he passes1 cutting it off from his own life: therefore the Brahmakârin should bring fire-wood, lest he should pass (his nights) cutting off (as much) from his life.
2. He who enters on a Brahmakârin's life, indeed, enters on a long sacrificial session: the log he puts on the fire in entering thereon is the opening (offering), and that which (he puts on the fire) when he is about to bathe is the concluding (offering); and what (logs) there are between these, are just his (logs) of the sacrificial session. When a Brahmana enters on a Brahmakârin's life
3. He enters beings in four parts: with one fourth part (he enters) the fire, with another part death, with another part his religious teacher; and his fourth part remains in his own self.
4. Now, when he brings a log for the fire, he redeems that fourth part of his which is in the fire; and having cleansed it, he takes it to his own self, and it enters him.
3
5. And when, having made himself poor, as it were, and become devoid of shame, he begs alms, then he redeems that part of his which is in death;
1 Or, perhaps better,—that (night) he keeps cutting off from his life, in which case the verb 'vas' would be construed with the gerund in much the same way as 'sthâ' commonly is. This construction would suit even better the second passage (without the object 'tâm') at the end of the paragraph. In any case we have to understand that, during every night passed with his teacher without his having brought fire-wood, he cuts off a night, or day, from (the latter end of) his life. Cf. Delbrück, Altind. Syntax, pp. 260, 334, 405.
That is, prior to his leaving the house of his teacher and returning to his own family.
'Samskritya utkrishtam kritvâ, Sâyana.
[44]
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and, having cleansed it, he takes it to himself, and it enters him.
6. And when he does the teacher's bidding, and when he does any work for the teacher, he redeems that part of his which is in the teacher; and, having cleansed it, he takes it to himself, and it enters him.
7. Let him not beg alms after he has bathed (at the end of his studentship), for by bathing he drives off beggary, and drives off hunger from his kinsmen and his deceased ancestors, 'Let him who knows this beg alms only from her in whom he has the greatest confidence ',' they say, 'for that makes for heaven.' And should he find no other woman from whom alms could be begged, he may even beg from his own teacher's wife, and thereafter from his own mother. The seventh (night) should not pass by for him without begging: him who knows this and practises this all the Vedas enter; for, verily, even as the fire shines when kindled, so does he, after bathing, shine, who, knowing this, lives a Brahmakârin's life.
FOURTH ADHYAYA. FIRST BRAHMANA.
I. Now Uddâlaka Arunis was driving about*, as a chosen (offering-priest), amongst the people of
1 That is, from whom he is perfectly sure of getting something. Sâyana, however, takes it in the sense of 'from whom he feels sure he will get most,'-Sa brahmakârî yasyâ eva bhikshitâyâh striyah sakâsâd bhuyish/ham bahutaram annam labhyata iti slâgheta tâm bhikshetety âhuh, Sây.
* That is, after leaving his teacher's house and returning home. For another version of this legend see Gopatha-Brahmana I, 3, 6. See also Prof. Geldner's translation in Pischel and G.'s Vedische Studien II, p. 185.
Prof. Geldner takes 'dhâvayâm kakâra' in a causal sense
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the northern country. By him a gold coin was offered; for in the time of our forefathers a prize used to be offered by chosen (priests) when driving about, for the sake of calling out the timid i to a disputation. Fear then seized the Brâhmanas of the northern people :
2. This fellow is a Kurupañkala Brahman, and son of a Brahman-let us take care lest he should deprive us of our domain: come, let us challenge him to a disputation on spiritual matters.' - With whom for our champion ?'_' With Svaidâyana.' Svaidâyana, to wit, was Saunaka.
3. They said, 'Svaidâyana, with thee as our champion we will fight this fellow. He said, "Well, then, stay ye here quietly: I will just make his acquaintance ?' He went up to him, and when he had come up, he (Uddalaka) greeted him saying,
er verursachte einen Anflauf' (he caused people to crowd together, or to come to him in crowds). Sayana, however, takes it in the same sense as we have done,-artvigyâya vritah sann udagdesân gagama. The Gopatha-Br., further on, has the remark 'sa vai gotamasya putra ûrdhvam vrito dhâvît' (!).
It is by no means certain whether the interpretation of the paragraph as here adapted is the right one. Prof. Geldner takes it thus, — He (Udd.) had taken a gold piece with him; for in times of old the chosen (priests) who caused a crowd to gather round them, used to take a single gold piece with them with a view to their proposing a riddle (or problem) whenever they were afraid.' The Gopatha-Br. has a different reading, which is likewise far from clear :-tasya ha nishka upåhito babhůva, upavádâd bibhyato yo må brâhmano s nûkâna upavadishyati tasmå etam pradásyâm îti;-by him a gold coin was offered (? by him a gold plate had been put on, i.e. was wom round the neck) being afraid of obloquy (?): I shall give this to any learned Brahman who will speak up against me,' thus (he thought). ? Or, I'll just find out what kind of man he is.
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"Svaidâyana !'—'Halloo, son of Gautama!' replied the other, and straightway began to question him.
4. He alone, O son of Gautama, may drive about amongst people as chosen (offering-priest), who knows in the Full and New-moon sacrifices eight butter-portions (offered) previously, five portions of sacrificial food in the middle, six (portions) of Pragàpati, and eight butter-portions (offered) subsequently.
5. 'He alone, O son of Gautama, may drive about amongst people as chosen (priest), who knows from the Full and New-moon sacrifices? whereby it is that creatures here are born toothless, whereby they (the teeth) grow with them, whereby they decay with them, whereby they come to remain permanently with them; whereby, in the last stage of life, they all decay again with them; whereby the lower ones grow first, then the upper ones; whereby the lower ones are smaller, and the upper ones broader; whereby the incisors are larger, and whereby the molars are of equal size.
6. 'He alone, O son of Gautama, may drive about amongst people as chosen (priest), who knows from the Full and New-moon sacrifices, whereby creatures here are born with hair; whereby, for the second time, as it were, the hair of the beard and the arm-pits and other parts of the body o grow on them; whereby it is on the head that one first
Literally, who knows that (element) in the Full and New-moon sacrifices whereby ...
• The word .durbîrinâni' is of doubtful meaning, the etymology proposed by Sâyana having little claim to being seriously considered. In the St. Petersb. Dict. the meaning 'bristly' is assigned to it, as applied to the hair of the beard.
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becomes grey, and then, again, in the last stage of life, one becomes grey all over.
7. He alone, O son of Gautama, may drive about amongst people as chosen (priest), who knows from the Full and New-moon sacrifices whereby the seed of the boy is not productive, whereby in his middle age it is productive, and whereby again in his last stage of life it is not productive ;—
8. And he who knows the golden, brilliantwinged Gâyatri who bears the Sacrificer to the heavenly world.' Then he (Uddâlaka) gave up to him the gold coin, saying, 'Thou art learned, Svaidâyana; and, verily, gold is given unto him who knows gold;' and he (Svaidâyana), having concealed it', went away. They asked him, How did that son of Gautama behave?'
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9. He said, 'Even as a Brahman, and the son of a Brahman: the head would fly off of whosoever should (dare to) challenge him to a disputation 2.' They then went away in all directions. He (Uddâlaka) then came back to him, with fire-wood
1 Sâyana takes 'upaguhya' in the sense of 'having embraced (him),' that being the meaning the verb has in classical Sanskrit ; -tam Svaidâyanam upaguhya âlingya Uddâlakas tasmât sthânân niskakrâma nishkrântavân. The Gopatha-Br. has 'tad upayamya (having taken it) instead. Svaidâyana evidently did not wish the other Brahmans to know that he had had the better of the Kurupaйkâla.
* ? Or, to catechize him; Brahmâ svayam vedâdyah brahmaputro brahmishthasya Gotamasya putra ity etad yathâvrittam eva, api tu yah purusha enam Uddâlakam upavalheta pradhânam sreshthyam (?sreshtham) kuryât-varha valha prâdhânya iti dhâtuh-asya purushasya mûrdhâ vipatet, alpagñânasya âdhikyena viparyayagrahanât tannimitta-sirahpatanam bhavatîty arthah, Sây. -- Prof. Geldner translates,' He must rack his brains (muss sich den Kopf zerbrechen) who wants to outdo him in questions (überfragen).'
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in his hand", and said, 'I want to become thy pupil.'—'What wouldst thou study?'—' Even those questions which thou didst ask me-explain them to me!' He said, 'I will tell them to thee even without thy becoming my pupil.'
10. And he then spoke thus to him :-The two libations of ghee, the five fore-offerings, and, eighth, Agni's butter-portion—these are the eight butterportions (offered) previously. Soma's butter-portion, being the first of the portions of sacrificial foodfor Soma is sacrificial food,-Agni's cake, AgniSoma's low-voiced offering, Agni-Soma's cake, and (the offering to) Agni Svishtakrit—these are the five portions of sacrificial food in the middle.
11. The fore-portion, the Idâ, what he hands to the Agnidh ?, the Brahman's portion, the Sacrificer's portion, and the Anvâhârya (mess of rice)-these are the six (portions) of Pragầpati. The three after-offerings, the four Patnfsamyâgas, and, eighth, the Samishtayagus—these are the eight butterportions (offered) subsequently.
12. And inasmuch as the fore-offerings are without invitatory formulas?, therefore creatures are born here without teeth ; and inasmuch as the chief oblations have invitatory formulas, therefore they (the teeth) grow in them; and inasmuch as the after-offerings are without invitatory formulas, therefore they (the teeth) decay in them; and inasmuch as the Patnisamyagas have invitatory formulas;
"That is, as a pupil (brahmakârin) would to his teacher.
• Viz. the shadavatta,' or share consisting of six 'cuttings,' for which see 1, 8, 1, 41 with note.
3 With these oblations there is no puros nuvâkyâ, but only a yagya, or offering-formula.
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XI KÂNDA, 4 ADHYAYA, I BRÂHMANA, 14.
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therefore they (the teeth) come to remain permanently with them; and inasmuch as the Samishtayagus is without invitatory formula, therefore they all decay again in the last stage of life.
13. And inasmuch as, after uttering the invitatory formula, he offers with the offering-formula, therefore the lower (teeth) grow first, then the upper ones; and inasmuch as, after uttering a gâyatri verse as invitatory formula, he offers with a trishtubh verse ?, therefore the lower (teeth) are smaller, and the upper ones broader; and inasmuch as he pours out the two libations of ghee in a forward direction ?, therefore the incisors are larger ; and inasmuch as the two samyâgyås s are in the same metre, therefore the molars are of equal size.
14. And inasmuch as he spreads a cover of sacrificial grass (on the Vedi), therefore creatures here are born with hair; and inasmuch as he for the second time, as it were, spreads the Prastara-bunch“, therefore, for the second time, as it were, the hair of the beard and the arm-pits, and other parts of the body grow; and inasmuch as at first he only throws the Prastara-bunch after (the oblations into the fire), therefore it is on the head that one first becomes grey; and inasmuch as he then throws after it all the sacrificial grass of the altar-ground, therefore,
Whilst the gâyatri verse consists of 3 x 8 syllables, the trishubh has 4 X11 syllables.
? That is, pouring the second into the fire at a place immediately to the front, or eastward, of the first.
That is, the invitatory and offering-formulas used for the oblation to Agni Svishtakrit ; see part i, p. 307, note 1.
. For this bunch taken from the sacrificial grass before it is spread on the altar-ground, and symbolically representing the Sacrificer, see I, 3, 3, 4 seqq.; and part i, p. 84, note 2.
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in the last stage of life, one again becomes grey all
over.
1
15. And inasmuch as the fore-offerings have ghee for their offering-material, a boy's seed is not productive, but is like water, for ghee is like water; and inasmuch as, in the middle of the sacrifice, they sacrifice with sour curds and with cake, therefore it is productive in his middle stage of life, for thick-flowing, as it were, is (that havis), and thickflowing, as it were, is seed; and inasmuch as the after-offerings have ghee for their offering-material, it again is not productive in his last stage of life, and is like water, for ghee, indeed, is like water.
16. The Vedi (altar-ground), doubtless, is the Gâyatri the eight butter-portions (offered) previously are her right wing, and the eight butterportions (offered) subsequently are her left wing: that same golden, brilliant-winged Gâyatri, indeed, bears the Sacrificer who knows this to the heavenly world.
SECOND BRAHMANA.
1. Now, then, as to the taking up of the two offering-spoons. Now, in this respect, some people,
That is, at the New-moon sacrifice, with the Sânnâyya, or mixture of sour curds with sweet boiled milk. The 'iti' after 'purodâsena' is taken by Sâyana in the sense of 'ka'; and though this cannot be accepted, it is not very easy to see what force it can have here.
2 At the time when the sacrificial food (havis) is to be placed on the Vedi, the two offering-spoons, guhû and upabhrit, are filled with ghee, and then placed, the former on the Prastara-bunch (lying on the Vedi) with the bowl towards the east, and the latter north of it on the grass-cover of the Vedi; a third spoon, the dhruvâ, being again placed north of the upabhrit. The first libation of ghee (âghâra) is made from the dipping-spoon (sruva); but when about
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thinking themselves clever, take up the (guhd) with the right, and the upabhrit with the left (hand); but let him not do so; for if, in that case, any one were to say of him, 'Surely, this Adhvaryu has made the Sacrificer's spiteful enemy equal to him, and able to cope with him,' then that would indeed be likely to come to pass.
2. Let him rather do it in this way ;-having taken the guhd with both hands, let him lay it down on the upabhrit; there is no question about this : it is good for (securing) cattle and life. Let him take them up without clinking them together, — were he to let them clink together, insecurity of property would befall the Sacrificer: let him, therefore, take them up without clinking them together.
3. Now as to the stepping past (the Vedi). By a thunderbolt, indeed, one Adhvaryu scatters the Sacrificer's cattle, and by a thunderbolt another drives them together for him. Now that Adhvaryu, doubtless, scatters the Sacrificer's cattle by a thunderbolt, who steps past with his right (foot)' when he is
to make the second libation, as also prior to each of the two butterportions, to the first of the five fore-offerings, as well as before each of the chief offerings (when, however, portions of the respective sacrificial dishes are added to the ghee in the guhd), the Adhvaryu takes up the two spoons in the manner mentioned, viz. holding them together with both hands so as to be parallel to each other, the bowl of the guhd being just above that of the upabhrit without touch. ing it. While thus holding them he goes forward to the Ahavaniya, and, after the other necessary rites, pours the oblation from the guhů, over the spout of the upabhrit, into the fire. At the fourth foreoffering the ghee contained in the upabhrit is for the first time made use of, half of it being poured into the guhů for the last two fore-offerings, whilst the remainder is used for the after-offerings.
When the Adhvaryu betakes himself from his place behind the Vedi (on which the sacrificial material is laid out) to the Ahavanîya
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about to call (on the Agnidhra) for the Sraushat, and with his left (foot) when he has called for the Sraushat; and that (other) one drives them together for him who steps past with his left (foot) when he is about to call for the Sraushat, and with his right (foot) when he has called for the Sraushat; for he does indeed drive them together for him.
4. Now as to the holding (of the spoons). In this respect, some people, thinking themselves clever, hold the two spoons whilst stretching forward both arms; but let him not do so, for if, in that case, any one were to say of him, 'Surely, this Sacrificer has made two spears of his arms: he will become a spear-holder,' then that would indeed be likely to come to pass. But that (navel is the channel of the) central breathing: let him therefore hold (the spoon) by lowering them to that (breathing).
5. Now as to calling for the Sraushat? : there are six (modes of) calling for the Sraushat,—the descending, the level, the ascending, the feeble, the outward-tending, and the inward-tending.
6. Now the descending mode, indeed, it is when he begins in a high tone and concludes in a low tone : whoever should wish that any one should be poorer,
in order to perform an offering, he is to proceed in such a way as constantly to keep his left foot before the right one; whilst in returning to his place he keeps the right foot before the left. Of the two ways of procedure mentioned in the paragraph, the second way is thus the right one.
1 Whilst the Adhvaryu is standing by the side of the Ahavaniya, ready to make the offering, he holds the spoons to his navel till the moment when he has to pour the oblation into the fire.
• The Adhvaryu's call is om sråvaya' (make him hear ) whereupon the Agnîdhra responds 'astu sraushal' (yea, may he hear!).
· Viz. any one for whom he (the Adhvaryu) performs a sacrifice,
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let him begin for him in a high tone and conclude in a low tone; and he will thereby become poorer.
7. And the level one, indeed, it is when he concludes in the same tone in which he has begun : whoever should wish that any one should be neither more prosperous nor poorer, let him conclude for him in the same tone in which he has begun ; and he will thereby become neither more prosperous nor poorer.
8. And the ascending one, indeed, it is when he begins in a low tone and concludes in a high tone: whoever should wish that any one should be more prosperous, let him begin for him in a low tone and conclude in a high tone; and he will thereby become more prosperous.
9. And the feeble one, indeed, it is when he calls for the Sraushat in a thin, long-drawn, toneless way: is, in that case, any one were to say of him, 'Surely, this Adhvaryu has made the Sacrificer feeble, and submissive to his spiteful enemy,' then that would indeed be likely to come to pass.
10. And the outward-tending (bahih-sri) one, indeed, it is when he opens his lips wide and utters his call at a high, toneless pitch : tone being prosperity, he thereby puts prosperity (srl) outside (bahis) himself, and becomes hungry (poor).
11. And the inward-tending (antah-sri) one, indeed, it is when he closes his lips, and utters his call at a loud, toneful pitch : tone being prosperity, he thereby puts prosperity (sri) inside (antah) himself, and becomes an eater of food (rich).
in case he (the priest) thinks he has not been treated liberally enough by his patron, or for some other reason.
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12. Having kept back (the tone) deep in the breast, as it were, let him (keep up the middle pitch of) the Brihat (saman) in both (words 'om srâvaya), and finally leave off at a high pitch; there is no question about this: it is good for (securing) cattle and life.
13. Now as to the oblation. In this respect, some people, thinking themselves clever, having turned down the spoon eastwards, and poured out the oblation, turn it round and place it over the upabhrit. But let him not do this; for if, in that case, any one were to say of him, Surely, this Adhvaryu has made the Sacrificer dependent on, and submissive to, his spiteful enemy,' then that would indeed be likely to come to pass.
14. And some, having turned down the spoon sideways, and poured out the oblation, turn it round and place it over the upabhrit. But let him not do so; for if, in that case, any one were to say of him, 'Surely, this Advaryu has stopped the oblations by (following) the wrong way, he (the Sacrificer) will either be shattered, or become worm-eaten,' then that would indeed be likely to come to pass.
15. Let him rather do it in this way :-having turned down the spoon eastwards, and poured out the oblation, let him carry it up in the same way and place it over the upabhrit ;—there is no question about this : it is good for (securing) cattle and life.
16. One Adhvaryu, indeed, burns the oblations, and another satisfies the oblations; and that Adhvaryu, assuredly, burns the oblations who, having offered ghee, offers portions (of sacrificial dishes): indeed, it is with reference to him that an invisible voice has said, 'Surely, this Adhvaryu burns the oblations. And he, indeed, satisfies them who
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having offered ghee, offers sacrificial portions, and finally again offers ghee thereon: such a one certainly satisfies them; and, these (oblations) having been satisfied, the gods fill gold cups (for him) ?
17. Concerning this, Yagñavalkya said ?, When, after making an underlayer (of ghee), and cutting portions (from the sacrificial dish), he bastes them (with ghee), then, indeed, he satisfies them; and, they being satisfied, the gods fill (for him) gold cups & Now Saulva yana was Adhvaryu to those who had Ayasthuna · for their Grihapati 6.
18. He said, “Surely, this sacrificial session is supplied with lean cattle and scanty ghee; and yet this one, forsooth, thinks himself a Grihapati !'
19. He (Ayasthuna) said, 'Adhvaryu, thou hast insulted us; and there now are those two spoons which, for a whole year, thou hast not been able to take up (in the proper manner): if I were to instruct thee in (the use of) them, thou wouldst become multiplied in offspring and cattle, and wouldst lead (the Sacrificer) to heaven.'
20. He said, “Let me become thy pupil. He answered, 'Even now, indeed, art thou worthy of being instructed), who hast been our Adhvaryu for a year: I will teach thee this even without thy
1 Tâsâm samtriptânâm âhutínâm bhoktaro devâh prîtåh santo hiranmayân hiranyavikârâms kamasân yagamânâya dâtum yena purayante, Sây.
• Cf. I, 7, 2, 7-10; and part i, p. 192, note 1, where the procedure is explained. * One would expect an 'iti' here.
According to Sa yana, Ayasthuna is the name of a Rishi. • Literally, 'house-lord' or householder—the title of the Sacrificer at sacrificial sessions.
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becoming my pupil.' And so, indeed, he taught him that taking up of the two spoons as we have here explained it: hence one ought only to make one who knows this his Adhvaryu, and not one who does not know it.
THIRD BRÂHMANA.
The MITRAVINDA SACRIFICE. 1. Pragapati was becoming heated (by fervid devotion), whilst creating living beings. From him, worn out and heated, Sri(Fortune and Beauty) came forth. She stood there resplendent, shining, and trembling? The gods, beholding her thus resplendent, shining, and trembling, set their minds upon her.
2. They said to Pragậpati, 'Let us kill her and take (all) this from her. He said, 'Surely, that Sri is a woman, and people do not kill a woman, but rather take (anything) from her (leaving her) alive.'
3. Agni then took her food, Soma her royal power, Varuna her universal sovereignty, Mitra her noble rank, Indra her power, Brihaspati her holy lustre, Savitri her dominion, Pashan her wealth, Sarasvati her prosperity, and Tvashtri her beautiful forms.
4. She said to Pragậpati, Surely, they have taken (all) this from me!' He said, 'Do thou ask it back from them by sacrifice!'
That is, gods, men, &c., Sây. • Sâyana apparently takes lelâyanti' in the sense of allembracing' (from lîyate, to nestle against), ---dîpyamânâ avayavaih sobhamânâ bhragamânâ sarvam gagat svalegasâ prakâsayanti svakîyena tegahpungena sarvam âslishyanti atishthat sthitavati.
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5. She perceived this offering with ten sacrificial dishes—a cake on eight potsherds for Agni, a pap for Soma, a cake on ten potsherds for Varuna, a pap for Mitra, a cake on eleven potsherds for Indra, a pap for Brihaspati, a cake on twelve or eight potsherds for Savitri, a pap for Půshan, a pap for Sarasvati, and a cake on ten potsherds for Tvashtri.
6. She invited them by means of this invitatory formula,— May Agni, Soma, Varuna, Mitra, Indra, Brihaspati, and the thousandfoldbestowing Savitri,-May Půshan, for our Sacrifices, unite us with cattle, Sarasvati with favour, Tvashtri with beautiful forms!' They accordingly made their appearance again.
7. By this offering-formula she then approached them in inverted order (beginning) from the last :May Tvashtri grant me forms, and the bountiful Sarasvati, and Pashan good fortune, and may Savitri bestow gifts on me, and Indra power, and Mitra noble rank, and Varuna, and Soma and Agni!' They were ready to restore them to her.
8. She perceived these additional oblations:* May Agni, the food-eater, the food-lord, bestow food upon me at this sacrifice, svâhâ !' Agni, taking the oblation, departed and restored her food to her.
9. May Soma, the king, the lord of kings, bestow royal power upon me at this sacrifice, svâhâ !' Soma, taking the oblation, departed and restored her royal power to her.
10. May Varuna, the universal sovereign, the lord of universal sovereigns, bestow universal sovereignty upon me at this sacrifice,
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svâhâ!' Varuna, taking the oblation, departed and restored her universal sovereignty to her.
II. 'May Mitra, the Kshatra (nobility), the lord of the Kshatra, bestow noble rank upon me at this sacrifice, svâhâ!' Mitra, taking the oblation, departed and restored her noble rank to her.
12. May Indra, the power, the lord of power, bestow power upon me at this sacrifice, svâhâ!' Indra, taking the oblation, departed and restored her power to her.
13. 'May Brihaspati, the Brahman (priesthood), the lord of the Brahman, bestow holy lustre upon me at this sacrifice, svâhâ!' Brihaspati, taking the oblation, departed and restored her holy lustre to her.
14. May Savitri, the kingdom, the lord of the kingdom, bestow the kingdom upon me at this sacrifice, svâhâ!' Savitri, taking the oblation, departed and restored her kingdom to her.
15. May Pushan, wealth, the lord of wealth, bestow wealth upon me at this sacrifice, svâhâ!' Pushan, taking the oblation, departed and restored her wealth to her.
16. May Sarasvati, prosperity', the lord of prosperity, bestow prosperity upon me at this sacrifice, svâhâ!' Sarasvati, taking the oblation, departed and restored her prosperity to her.
17. May Tvashtri, the fashioner of forms,
1 I read 'pushtih' instead of 'pushЛm.' Sâyana takes it thus,— whatever prosperity Sarasvatî, the lord of prosperity, took from me, may he bestow that prosperity upon me!
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the lord of forms, bestow cattle with form 1 upon me at this sacrifice, svâhâ !' Tvashtri, taking the oblation, departed and restored her cattle with (beautiful) form to her.
18. These, then, are ten deities, ten sacrificial dishes, ten offerings, ten presents to priests,-the Virág consists of decad after decad (of syllables), and the Virág (shining one) is Sri (beauty, prosperity): he thus establishes (the Sacrificer) in the Virág, in prosperity and food.
19. For this (sacrifice) there are fifteen kindlingverses 8: he offers to the deities in a low voice s. There are five fore-offerings, three after-offerings, and one Samishtayagus. The (formulas of the) two butter-portions contain the word 'affluence':(Rig-veda S. I, 1, 3), “Through Agni may hė obtain wealth and affluence day by day, famous and abounding in heroes;'-(Rig-veda S. I, 91, 12), 'An increaser of the house, a remover of trouble, a procurer of wealth, an augmenter of affluence, a kind friend be thou unto us, O Soma!' The two formulas of the Svishtakrit contain the word 'thousand':-(Rig-veda S. III, 13, 7), 'Grant thou unto us wealth, a thousandfold, with offspring and affluence, and glorious manhood, O Agni, most excellent and never
Sâyana supplies 'visishfân,' -cattle endowed with form. ? That is, the ordinary number of sâmidhenis at an ishti, viz. eleven verses, the first and last of which are recited three times each. See part i, p. 102, note 1; P. 112, note 1.
. That is, the formulas-with the exception of the final 'om' of the invitatory formulas, and the introduction 'ye yagâmahe' and the final 'vaushat' of the offering-formulas are pronounced in a low voice.
[44]
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failing!'-(Rig-veda S. III, 13, 6), ‘Favour thou our prayer, as the best invoker of the gods for our hymns: blaze up auspiciously for us, wind-fanned, O Agni, the dispenser of a thousand bounties!'
20. Now, indeed, it was Gotama Râhûgana who discovered this (sacrifice). It went away to Ganaka of Videha, and he searched for it in the Brâhmanas versed in the Angas? (limbs of the Veda), and found it in Yâgñavalkya. He said, 'A thousand we give thee, O Yågñavalkya, in whom we have found that Mitravinda. He finds (vind) Mitra, and his is the kingdom, he conquers recurring deaths and gains all life, whosoever, knowing this, performs this sacrifice; or whosoever thus knows it.
Fourth BRÂHMANA. 1. Now, as to the successful issue of the sacrificial food. Now, indeed, there are six doors to the Brahman »,—to wit, fire, wind, the waters, the moon, lightning, and the sun.
2. He who offers with slightly burnt sacrificial food, enters through the fire-door of the Brahman;
? That is, the Vedângas, ie. the limbs, or supplementary sciences, of the Veda.
That is to say, his approaching death will deliver him once for all from mundane existence and its constantly repeated round of birth and death.
• That is, of the impersonal) world-spirit.
• In the text the two words are not compounded, but stand in apposition to each other (with the fire as the door of B.), with, however, much the same force as a compound word. Cf. XII, 2, 1, 2 gadham (eva) pratishtha (a foothold consisting of a ford), and ib. 9 gâdha-pratishtha, 'ford-foothold.'
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and, by entering through the fire-door of the Brahman, he wins his union with, and participation in the world of, the Brahman.
3. And he who offers with sacrificial food that has fallen (on the ground) enters through the winddoor of the Brahman; and, by entering through the wind-door of the Brahman, he wins his union with, and participation in the world of, the Brahman.
4. And he who offers with uncooked sacrificial food, enters through the water-door of the Brahman ; and, by entering through the water-door of the Brahman, he wins his union with, and participation in the world of, the Brahman.
5. And he who offers with slightly browned sacrificial food, enters through the moon-door of the Brahman, and, by entering through the moondoor of the Brahman, he wins his union with, and participation in the world of, the Brahman.
6. And he who offers with browned sacrificial food, enters through the lightning-door of the Brahman, and, by entering through the lightningdoor of the Brahman, he wins his union with, and participation in the world of, the Brahman.
7. And he who offers with well-cooked sacrificial food, enters through the sun-door of the Brahman; and, by entering through the sun-door of the Brahman, he wins his union with, and participation in the world of, the Brahman. This, then, is the successful issue of the sacrificial food, and, verily, whosoever thus knows this to be the successful issue of the sacrificial food, by him offering is made with wholly successful sacrificial food.
8. Then, as to the successful issue of the sacrifice. Now, whatever part of the sacrifice is incomplete
F 2
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(nyûna) that part of it is productive for him1; and what is redundant in it that is favourable to cattle; and what is broken (disconnected) 2 in it that makes for prosperity; and what is perfect in it that is conducive to heaven.
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9. And if he think, 'There has been that which was incomplete in my sacrifice,' let him believe, 'That is productive for me: I shall have offspring produced (in men and cattle).'
10. And if he think, 'There has been that which was redundant in my sacrifice,' let him believe, 'That is favourable to cattle for me: I shall become possessed of cattle.'
II. And if he think, 'There has been that which was disconnected in my sacrifice,' let him believe, 'That makes for my prosperity: Prosperity, surrounded by splendour, fame and holy lustre, will accrue to me.'
12. And if he think, 'There has been that which was perfect in my sacrifice,' let him believe, That is conducive to heaven for me: I shall become one of those in the heavenly world.' This then is the successful issue of the sacrifice; and, verily, whosoever thus knows this to be the successful issue of the sacrifice, by him offering is made by a wholly successful sacrifice.
FIFTH ADHYAYA. FIRST BRAHMANA.
1. The nymph Urvast loved Purûravas, the son of Idâ. When she wedded him, she said,
See XI, 1, 2, 4;-tad asya yagñasya pragananam pragotpattisâdhanam.
'Sâyana's explanation of the term 'samkasuka' (? broken, affected with gaps) is not available owing to an omission in the MS. Ind. Off. 1071.
'King Pururavas, of the lunar race of kings, is considered the
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Thrice a day shalt thou embrace ? me; but do not lie with me against my wills, and let me not see thee naked, for such is the way to behave to us women.'
2. She then dwelt with him a long time, and was even with child of him, so long did she dwell with him. Then the Gandharvas 8 said to one another,
For a long time, indeed, has this Urvast dwelt among men: devise ye some means how she may come back to us. Now, a ewe with two lambs was tied to her couch : the Gandharvas then carried off one of the lambs.
3. ‘Alas,' she cried, 'they are taking away my darling -, as if I were where there is no hero and no man!' They carried off the second, and she spake in the selfsame manner.
4. He then thought within himself, “How can that be (a place) without a hero and without a man where I am ?' And naked, as he was, he sprang
son of Budha (the planet Mercury, and son of Soma). On this myth (based on the hymn Rig-veda S. X, 95) see Prof. Max Müller, Oxford Essays (1856), p. 61 seqq. ; (reprinted in Chips from a German Workshop, II, p. 102 segg.); A. Kuhn, Herabkunst des Feuers und des Göttertranks, p. 81 segg. (2nd ed. p. 73 seqq.); Weber, Ind. Streifen I, p. 16 segg.; K. F. Geldner, in Pischel and Geldner's Vedische Studien I, p. 244 seqq.; cf. H. Oldenberg, Religion des Veda, p. 253.
1 Vaitasena dandena hatád, -vaitaso dandah pumvyañganasya nâma; uktam hi Yåskena, sepo vaitasa iti pumspragananasyeti (Nir. III, AI), Sây.
: Akamầm kamarahitâm guratibhildsharahitâm a mâm mà sma nipadyêsai nigrihya mâm prâpnuyên, Sây.
3 The Gandharvas are the natural companions and mates of the Apsaras, or nymphs.
Literally, 'my son,'-madîyam putratvena svikritam uranadvayam, Tây.
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up after them: too long he deemed it that he should put on his garment. Then the Gandharvas produced a flash of lightning, and she beheld him naked even as by daylight. Then, indeed, she vanished : 'Here I am back,' he said, and lo! she had vanished! Wailing with sorrow he wandered all over Kurukshetra. Now there is a lotus-lake there, called Anyatahplakshâ: He walked along its bank ; and there nymphs were swimming about in the shape of swans 2.
5. And she (Urvasi), recognising him, said, “This is the man with whom I have dwelt.' They then said, 'Let us appear to him!'-' So be it!' she replied; and they appeared to him
6. He then recognised her and implored her (Rig-veda X, 95, I), 'Oh, my wife, stay thou, cruel in mind + : let us now exchange words! Untold, these secrets of ours will not bring us joy in days to
Cf. C. Gaedicke, Der Accusativ im Veda (1880), p. 211. Previous translators had assigned the words 'punar emi' (1 come back) to Urvasi; and in view of the corresponding passage in paragraph 13, the new interpretation is just a little doubtful.
The text has 'âti,' some kind of water-bird-galakarapakshiviseshah, Sây.-(probably Gr. mora; Lat, anas, anat-is; Anglo-S. æned, Germ. Ente).
. That is, they became visible, or rather recognisable to him by showing themselves in their real forms,-pakshirapam vibaya svakîyena rûpena pradur babhúruh, Sây.-In Kalidasa's plays, both Urvast and Sakuntala become invisible by means of a magic veil (tiraskarint, 'making invisible') with which has been compared the magic veil by which the swan-maidens change their form. A. Weber, Ind. Stud. I, p. 197; A. Kuhn, Herabkunft, p. 91.
• Manasa tishtha ghore,- possibly it may mean, o cruel one, be thou constant in (thy) mind;' or, as Kuhn takes it, 'pay attention, o cruel one.' Sâyana, however, takes it as above.
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come;'-'Stop, pray, let us speak together!' this is what he meant to say to her.
7. She replied (X, 95, 2), 'What concern have I with speaking to thee? I have passed away like the first of the dawns. Purdravas, go home again : I am like the wind, difficult to catch ;'-—'Thou didst not do what I had told thee; hard to catch I am for thee, go to thy home again!' this is what she meant to say.
8. He then said sorrowing (X, 95, 14), “Then will thy friend 1 rush away : this day never to come back, to go to the farthest distance: then will he lie in Nirriti's 8 lap, or the fierce wolves will devour him ;'- Thy friend will either hang himself, or start forth ; or the wolves, or dogs, will devour him!' this is what he meant to say.
9. She replied (X, 95, 15), 'Purûravas, do not die! do not rush away! let not the cruel wolves devour thee! Truly, there is no friendship with women, and theirs are the hearts of hyenas" ;'
* This is a doubtful rendering (Max Müller; Gespiele, A. Weber) of sudeva,'-Göttergenoss (the companion of the gods), Kuhn;
dem die Götter einst hold waren' (he who was formerly favoured by the gods), Grassmann; Sudeva, Ludwig.
? Or, will fall down (Max Müller, Weber); sich in's Verderben stürzen (will rush to his destruction), Kuhn;- forteilen (hasten away), Grassmann; verloren gehen (get lost), Ludwig; sich in den Abgrund stürzen, Geldner; mahâprasthanam kuryât' (he will set out on the great journey, i.e. die), Sayana. The Brâhmana seems to propose two different renderings,-to throw oneself down (bang oneself), or, to start forth.
Nirriti is the goddess of decay or death. • The meaning of salâvrika,' also spelled 'sâlåvrika' ( housewolves), is doubtful; cf. H. Zimmer, Altindisches Leben, p. 8. Prof. Weber, Ind. Stud. I, p. 413, makes the suggestion that wehrwolves' may be intended.
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'Do not take this to heart! there is no friendship with women: return home!' this is what she meant to say.
10. (Rig-veda X, 95, 16), 'When changed in form, I walked among mortals, and passed the nights there during four autumns1 I ate a little ghee, once a day, and even now I feel satisfied therewith 2-This discourse in fifteen verses has been handed down by the Bahvrikas. Then her heart took pity on him.
II. She said, 'Come here the last night of the year from now: then shalt thou lie with me for one night, and then this son of thine will have been born.' He came there on the last night of the year, and lo, there stood a golden palace! They then
1 The words 'râtrîh saradas katasrah' may also be taken in the sense of four nights of the autumn' (Max Müller, A. Kuhn). It needs hardly to be remarked that 'nights' means days and nights, and 'autumns' years.-Sâyana takes the passage in the sense of 'four delightful (râtrîh ramayitrîh) autumns or years.'
• Literally, I walk (or go on, keep) being satisfied therewith. Prof. Geldner, however, takes it in an ironical sense, 'das Bischen liegt mir jetzt noch schwer im Magen' ('even now I have quite enough of that little').
That is, the theologians of the Rig-veda. As Prof. Weber points out, the hymn referred to, in the received version, consists not of fifteen but of eighteen verses, three of which would therefore seem to be of later origin (though they might, of course, belong to a different recension from that referred to by the Brahmana).
* Or, according to Prof. Geldner, 'Then he touched her heart (excited her pity).'
• Literally, the yearliest night, i. e. the 360th night, the last night of a year from now, or, this night next year: it is the night that completes the year, just as 'the fifth' completes the number ‘five,’—samvatsaratamim samvatsarapuranim antimâm râtrim, Sây. Cf. Delbrück, Altind. Syntax, p. 195.
• Hiranyavimitâni hiranyanirmitâni saudhâni, Sây.
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said to him only this (word)', 'Enter!' and then they bade her go to him.
12. She then said, 'To-morrow morning the Gandharvas will grant thee a boon, and thou must make thy choice. He said, 'Choose thou for me!'-She replied, 'Say, Let me be one of yourselves !' In the morning the Gandharvas granted him a boon; and he said, 'Let me be one of yourselves !'
13. They said, 'Surely, there is not among men that holy form of fire by sacrificing wherewith one would become one of ourselves. They put fire into a pan, and gave it to him saying, ' By sacrificing therewith thou shalt become one of ourselves. He took it (the fire) and his boy, and went on his way home. He then deposited the fire in the forest, and went to the village with the boy alone. [He came back and thought] 'Here I am back;' and lo! it had disappeared ? : what had been the fire was an Asvattha tree (ficus religiosa), and what had been the pan was a Samt tree (mimosa suma). He then returned to the Gandharvas.
14. They said, “Cook for a whole year a mess of rice sufficient for four persons; and taking each time three logs from this Asvattha tree, anoint them with ghee, and put them on the fire with
1 Thus also A. Kuhn, and Sayana, tato hainam ekam Ukur etat, prapadyasveti,-enam Purêravasam tatratya gana idam ekam Okuh, Sây - The word 'ekam' might also be taken along with 'enam' (Max Müller, Weber, Geldner),-' they said this to him alone (? they bade him enter alone without his attendants).
See above, paragraph 4 and note I on p. 70. According to the other interpretation we should have to translate :-He then deposited the fire in the forest, and went to the village with the boy alone, thinking, 'I (shall) come back.' (He came back] and lol it had disappeared.
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verses containing the words “log” and “ghee": the fire which shall result therefrom will be that very fire (which is required).'
15. They said, 'But that is recondite (esoteric), as it were. Make thyself rather an upper arani 1 of Asvattha wood, and a lower arani of Sami wood: the fire which shall result therefrom will be that very fire.
16. They said, “But that also is, as it were, recondite. Make thyself rather an upper arani of Asvattha wood, and a lower arani of Asvattha wood : the fire which shall result therefrom will be that very fire.'
17. He then made himself an upper arani of Asvattha wood, and a lower arani of Asvattha wood; and the fire which resulted therefrom was that very fire: by offering therewith he became one of the Gandharvas. Let him therefore make himself an upper and a lower arani of Asvattha wood, and the fire which results therefrom will be that very fire : by offering therewith he becomes one of the Gandharvas.
Second BRÂHMANA. THE SEASONAL SACRIFICES (Kâturmåsya). 1. By means of the Seasonal sacrifices, Pragàpati fashioned for himself a body. The sacrificial food for the Vaisvadeva? sacrifice he made to be this
That is, a churning-stick used for producing fire; see part i, p. 275; P. 294, note 3
The Vaisvadeva, or first of the four seasonal sacrifices, requires the following oblations :- 1. a cake on eight potsherds to Agni; 2. a pap to Soma; 3. a cake on twelve or eight potsherds to
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right arm of his; the oblation to Agni thereof this thumb; that to Soma this (fore-finger); and that to Savitri this (middle finger).
2. That cake (to Savitri), doubtless, is the largest, and hence this (middle finger) is the largest of these (fingers). That (oblation) to Sarasvatt is this (third) finger; and that to Pushan this (little finger). And that (oblation) to the Maruts is this joint above the hand (the wrist); and that to the Visve Devâh is this (elbow'); and that to Heaven and Earth is this arm: this (oblation) is indistinct', whence that limb also is indistinct 3.
3. The Varuna praghâsa offerings are this right leg, the five oblations which this has in common (with the other Seasonal offerings) are these five toes; and the oblation to Indra and Agni is the knuckles: this (oblation) belongs to two deities
Savitri; 4. a pap to Sarasvati; 5. a pap to Pushan-these first five oblations recur at all seasonal offerings;-6. a cake on seven potsherds to the Maruts; 7. a dish of clotted curds to the Visve Devâh; 8. a cake on one potsherd to Heaven and Earth.
1 It would rather seem that what is intended here by 'samdhi' is not the joints themselves, but the limbs (in the anatomical sense) between the articulations. Similarly in 'trishandhi' in parag. 7.
That is to say, it is a low-voiced offering, the two formulas, with the exception of the final Om and Vaushat, being pronounced in a low voice. All cakes on one potsherd are (except those to Varuna) of this description; Kâty. Sr. IV, 5, 3; Âsv. Sr. II, 15, 5; cf. Sat. Br. II, 4, 3, 8.
'That is, not clearly defined; the word 'dos,' which is more usually restricted to the fore-arm, being also used for the whole arm, and even the upper arm.
The Varunapraghâsâh, or second seasonal sacrifice, has the following oblations:-1-5. the common oblations; 6. a cake on twelve potsherds to Indra and Agni; 7. 8. two dishes of clotted curds for Varuna and the Maruts respectively; 9. a cake on one potsherd for Ka (Pragâpati).
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whence there are these two knuckles. That (oblation) to Varuna is this (shank); that to the Maruts this (thigh); and that (cake) to Ka is this back-bone: this (oblation) is indistinct, whence that (back-bone) is indistinct.
4. The offering to (Agni) Anikavat (of the Sakamedhâh'), doubtless, is his (Pragâpati's) mouth, for the mouth is the extreme end (anika) of the vital airs; the Sâmtapaniyâ (pap) is the chest, for by the chest one is, as it were, confined (sam-tap); the Grihamedhiya (pap) is the belly—to serve as a foundation, for the belly is a foundation; the Kraidina oblation is the male organ, for it is therewith that (man) sports (krid), as it were; and the offering to Aditi8 is this downward breathing.
5. The Great Oblation, indeed, is this left leg,the five oblations which it has in common (with the other Seasonal offerings) are these five toes; and the oblation to Indra and Agni is the knuckles : this (oblation) belongs to two deities whence there are
1 The Såka med hâ h, or third seasonal sacrifice, consists of the following oblations :- 1. a cake on eight potsherds to Agni Anikavat; 2. 3. paps to the Marutah Samtapanah and Marutah Grihamedhinah; 4. a cake on seven potsherds to the Marutah Kridinah; 5. a pap to Aditi. Then follows the Great Oblation consisting of 6-10, the five common oblations; 11. a cake on twelve potsherds to Indra and Agni; 12. a pap to Mahendra; and 13. a cake on one potsherd to Visvakarman. Then follows the Pitriyagña.
• Or, according to Sâyana, one gets oppressed or heated on account of the close proximity of the heart and the digestive fire,uraså hridaya-sambandhậg gatharasannivesak ka samtâ pana-vishayatvam.
"This offering of a cake to Aditi, mentioned in Kâty. Sr. V, 7, 2, is not referred to in the Brahmana's account of the Sakamedhåh, see II, 5, 3, 20.
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these two knuckles. The (oblation) to Mahendra is this (shank); that to Visvakarman this (thigh): this (oblation) is indistinct, whence this (thigh) also is indistinct.
6. The Sunâstriya1, doubtless, is this left arm,— the five oblations which it has in common (with the other Seasonal offerings) are these five fingers; the Sunâsiriya is that joint of his above the hand; that (oblation) to Vâyu is this (elbow); that to Surya this arm this (oblation) is indistinct, whence this (limb) also is indistinct.
7. Now these Seasonal offerings are tripartite and furnished with two joints, whence these limbs of man are tripartite and furnished with two joints. Two of these four (sacrifices) have each three indistinct (low-voiced) oblations; and two of them have two each 3.
8. At all four of them they churn out the fire,
1 The Sunâsiriya, or last Seasonal offering, consists of-1-5. the common oblations; 6. the Sunâsîrîya cake on twelve potsherds; 7. a milk oblation to Vâyu; 8. a cake on one potsherd to Surya.
'The Seasonal offerings are performed so as to leave an interval of four months between them; the fourth falling exactly a year after the first; hence the whole performance consists, as it were, of three periods of four months each, with two joints between them ;corresponding to the formation of the arms and legs.
* Of the five oblations common to the four sacrifices, one-viz. the cake to Savitri-is a low-voiced offering (Kâty. Sr. IV, 5, 5; Âsv. Sr. II, 15, 7), as are also the one-kapâla cakes of which there is one in each sacrifice. According to Sâyana the first and last Seasonal sacrifices have only these two Upâmsuyâgas, whilst the second and third have each one additional low-voiced oblation, but he does not specify them. This is, however, a mistake, as Kâtyâyana, Sr. IV, 5, 6. 7, states distinctly, that the two additional lowvoiced oblations are the Vaisvadevi payasyâ in the first, and the oblation to Vâyu in the last, Kâturmâsya.
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whence (the draught animal) pulls with all four limbs. At two of them they lead (the fire) forward", whence it (the animal) walks on two (feet at a time) Thus, then, Pragapati fashioned for himself a body by means of the Seasonal sacrifices; and in like manner does the Sacrificer who knows this fashion for himself a (divine) body by means of the Seasonal sacrifices.
9. As to this they say, 'The Vaisvadeva oblation (should have) all (its formulas) in the Gayatri, the Varunapraghâsâh all in the Trishtubh, the Great Oblation all in the Gagati, and the Sunâsiriya all in the Anushtubh metre, so as to yield a Katushtomas.' But let him not do this, for inasmuch as (his formulas) amount to these (metres) even thereby that wish is obtained.
10. Now, indeed, (the formulas of) these Seasonal offerings amount to three hundred and sixty-two Brihati verses*: he thereby obtains both the year 6
According to Sâyana this refers to the first and last Seasonal sacrifices, inasmuch as there is no uttaravedi required for these, and hence only the simple leading forward of the fire to the Ahavaniya hearth; whilst the commentary on Kåty. V, 4, 6, on the contrary, refers it just to the other two, because a double leading forth takes place there.
? Or, as Sayana takes it, man walks on two feet.
: The Katushtoma, properly speaking, is the technical term for such an arrangement of the Stotras of a Soma-sacrifice by which they are chanted on stomas, or hymn-forms, increasing successively by four verses. Two such arrangements (of four and six different stomas respectively) are mentioned, one for an Agnishtoma sacrifice, and the other for a Shodasin. See note on XIII, 3, 1, 4.
• These 362 Brihatt verses (of 36 syllables each) would amount to 13,032 syllables; and, verses of the four metres referred to amounting together to 148 syllables, this amount is contained in the former 88 times, leaving only eight over; so slight a discrepancy being considered of no accoun
That is, a year of 360 days; and if, as is done by Sâyara (in
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and the Mahavrata?; and thus, indeed, this Sacrificer also has a twofoldfoundation, and he thus makes the Sacrificer reach the heavenly world, and establishes him therein.
THIRD BRÂHIMANA. 1. Saukeya Prakinayogya came to Uddalaka Åruni for a disputation on spiritual matters, thinking, 'I desire to know the Agnihotra.'
2. He said, 'Gautama, what like is thy Agnihotra cow ? what like the calf? what like the cow joined by the calf ? what like their meeting? what like (the milk) when being milked? what like when it has been milked? what like when brought (from the stable)? what like when put on the fire? what like when the light is thrown on it*; what like when water is poured thereto? what like when being taken off (the fire) ? what like when taken off? what like when
accordance with the calculations in Book X), the year is identified with the fire-altar, a mahâvedi containing 360 Yagushmatî bricks.
Sâyana reminds us that the Mahâvrata-så man consists of five parts in five different stomas (Trivrit, &c., see part iv, p. 282, note 4), the verses of which, added up (9, 15, 17, 25, 21), make 87, which amount is apparently, in a rough way, to be taken as identical with that of 88 obtained in note 4 of last page.
· Viz, inasmuch as the total amount of Brihatts (362) exceeds by two the number of days in the year.
• Sâyana takes 'brahmodyam agnihotram' together, in the sense the sacred truth' regarding (or, in the form of the Agnihotra, - ágnihotravishayam brahmodyam brahmatattvasya rupam pratipådyate yena tad vividishảmi tadvishayam vedanekkhâm karishyamityådinâbhipråyenâgatah. Unless 'brahmodyam' could be taken as an adjective, I do not see how it is possible to adopt Sâyana's interpretation.
• For letting the light of a burning straw fall on the milk to see whether it is done, see II, 3, 1, 16.
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being ladled out?? what like when ladled out? what like when lifted up (to be taken to the Ahavaniya)? what like when being taken there? what like when held down ??
3. "What like is the log thou puttest on ? what like the first libation? why didst thou put it down (on the Vedi )? why didst thou look away (towards the Gârhapatya") ? what like is the second libation ?
4. Why, having offered, dost thou shake it (the spoon)? why, having cleansed the spoon all round (the spout), didst thou wipe it on the grass-bunch ? why, having cleansed it a second time all over, didst thou place thy hand on the south (part of the Vedi)? why didst thou eat (of the milk) the first time, and why the second time? why, on creeping away (from the Vedi), didst thou drink (water) ? why, having poured water into the spoon, didst thou sprinkle therewith? why didst thou sprinkle it away a second time, and why a third time in that (northerly) direction ? why didst thou pour down water behind the Ahavanfya ? why didst thou bring (the offering) to a close ? If thou hast offered the Agnihotra knowing this, then it has indeed been offered by thee;
· Viz. by the dipping-spoon (sruva) into the ladle (agnihotrahavanî), see II, 3, 1, 17.
• Whilst taking the oblation to the Âhavanîya, he holds the spoon level with his mouth, except when he is in a line between the two fires, when for a moment he lowers the spoon so as to be level with his navel.
* This refers to the putting down of the spoon containing the milk on the grass-bunch prior to the second libation; cf. II, 3, 1, 17. One might also translate, “what is that (or does it mean) that thou didst put it down ?'
• Thus Sâyana, -apaikshishthâh gårbapatasyaikshanam kri tavan asi.
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but if (thou hast offered it) not knowing this, then it has not been offered by thee.'
5. He (Uddâlaka) said, 'My Agnihotra cow is Ida, Manu's daughter1; my calf is of Vâyu's nature; the (cow) joined by the calf is in conjunction therewith; their meeting is the Virâg; (the milk) when being milked belongs to the Asvins, and when it has been milked, to the Visve Devâh; when brought (from the stable) it belongs to Vâyu; when put on (the fire), to Agni; when the light is thrown on it, it belongs to Indra and Agni; when water is poured thereto it belongs to Varuna; when being taken off (the fire), to Vâyu; when it has been taken off, to Heaven and Earth; when being ladled out, to the Asvins; when it has been ladled out, to the Visve Devâh; when lifted up, to Mahâdeva; when being taken (to the Ahavantya), to Vâyu; when held down, to Vishnu.
6. 'And the log I put on (the fire) is the restingplace of the libations; and as to the first libation, I therewith gratified the gods; and when I laid down (the spoon with the milk), that belongs to Brihaspati; and when I looked away, then I joined together this and yonder world; and as to the second libation, I thereby settled myself in the heavenly world.
7. 'And when, having offered, I shake (the spoon), that belongs to Vâyu; and when, having cleansed the spoon all round (the spout), I wiped it on the grass-bunch, then I gratified the herbs and trees;
1 See the legend, I, 8, 1, 1 seqq.
That is, according to Sâyana, 'the sky allied with Vâyu, the wind,'-vâyunâ samsrishtâ dyauh.
[44]
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and when, having cleansed it a second time all over, I placed my hand on the south (part of the altarground), then I gratified the Fathers"; and when I ate (of the milk) the first time, then I gratified myself; and when (I ate) a second time, then I gratified my offspring; and when, having crept away (from the altar-ground), I drank (water), then I gratified the cattle; and when, having poured water into the spoon, I sprinkled therewith, then I gratified the snake-deities; and when (I sprinkled) a second time, then (I gratified) the Gandharvas and Apsaras; and when, a third time, I sprinkled it away in that (northerly) direction, then I opened the gate of heaven; and when I poured down water behind the altar, then I bestowed rain on this world; and when I brought (the sacrifice) to a close, then I filled up whatever there is deficient in the earth.'—*This much, then, reverend sir, we two (know) in common ?,' said (Saukeya).
8. Saukeya, thus instructed, said, 'I would yet ask thee a question, reverend sir.'--'Ask then, Praktnayogya !' he replied. He (Saukeya) said, 'If, at the time when thy fires are taken out, and the sacrificial vessels brought down, thou wert going to offer, and the offering-fire were then to go out, dost thou know what danger there is in that case for him who offers ?' 'I know,' he replied; before long the eldest son would die in the case of him who would
* The departed ancestors are supposed to reside in the southern region.
• He bhagavann Uddalaka bhavatoktam etat sava (7 saha) nav avayoh saha sabitam samânam ekarûpam iti Saukeyo ha bhuktavân (hy uktavân) anyaprasnam darsayitam prastauti, Saukeyo għapta iti, Sây.
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not know this; but by dint of knowledge I myself have prevailed.' — What is that knowledge, and what the atonement ?” he asked. The breath of the mouth has entered the upward breathing-—such (is the knowledge); and I should make the offering in the Gårhapatya fire-that would be the atonement, and I should not be committing that sin.'-- • This much, then, reverend sir, we two (know) in common,' said (Saukeya).
9. Saukeya, thus instructed, said, 'I would yet ask thee a question, reverend sir.'— Ask then, Pråktnayogya!' he replied. He said, 'If, at that very time, the Gårhapatya fire were to go out, dost thou know what danger there is in that case for him who offers ?'-'I know it,' he replied; 'before long the master of the house would die in the case of him who would not know this; but by dint of knowledge I myself have prevailed.'—'What is that knowledge, and what the atonement ?' he asked.-The upward breathing has entered the breath of the mouth-this (is the knowledge); and I would make the offering on the Ahavaniya-this would be the atonement, and I should not be committing that sin.'—'This much, then, reverend sir, we two (know) in common,' said (Saukeya).
10. Saukeya, thus instructed, said, 'I would yet ask thee a question, reverend sir.'-'Ask then, Praktnayogya !' he replied. He said, 'If, at that very time, the Anvähâryapakana fire were to go out, dost thou know what danger there is in that case for him who offers ?'— I know it,' he replied ; 'before long all the cattle would die in the case of him who would
1 That is, the Sacrificer himself.
G2
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not know this; but by dint of knowledge I myself have prevailed.' - What is that knowledge, and what the atonement ?' he asked.—'The through-breathing has entered the upward breathing-this is the knowledge); and I would make the offering on the Gårhapatya fire—this is the atonement; and I should not be committing that sin.'—This much, then, reverend sir, we two (know) in common,' said (Saukeya).
11. Saukeya, thus instructed, said, 'I would yet ask thee a question, reverend sir.'-—'Ask, then, Prâkinayogya !' he replied. He said, 'If, at that very time, all the fires were to go out, dost thou know what danger there is in that case for him who offers?'
- I know it,' he replied; 'before long the family would be without heirs in the case of him who would not know this; but by dint of knowledge I myself have prevailed.'— What is that knowledge, and what the atonement ?' he asked.—Having, without delay, churned out fire, and taken out an offering-fire in whatever direction the wind might be blowing, I would perform an offering to Vayu (the wind): I would then know that my Agnihotra would be successful, belonging as it would to all deities; for all beings, indeed, pass over into the wind, and from out of the wind they are again produced'. This would be the atonement, and I should not be committing that sin. —This much, then, reverend sir, we two (know) in common,' said (Saukeya).
12. Saukeya, thus instructed, said, 'I would yet ask thee a question, reverend sir.'—'Ask then, Prakt
" At the time of dissolution (layakale) they pass into the wind; and at the time of creation (srishtikale) they are again created, Sây.
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nayogya!' he replied. He said, 'If at that very time all the fires were to go out, when there should be no wind blowing, dost thou know what danger there would be for him who offers ?'-'I know it,' he replied ; 'unpleasant things, indeed, he would see in this world, and unpleasant things in yonder world, were he not to know this; but by dint of knowledge I myself have prevailed.'—'What is that knowledge, and what the atonement ?' he asked. — Having, without delay, churned out fire, and taken out an offering-fire towards the east, and sat down behind it, I myself would drink (the Agnihotra milk) : I should then know that my Agnihotra would be successful, belonging as it would to all deities, for all beings, indeed, pass into the Brâhmana', and from the Brahmana they are again produced. That would be the atonement; and I should not be committing that sin.'—'And, verily, I did not know this,' said (Saukeya).
13. Saukeya, thus instructed, said, 'Here are logs for fuel : I will become thy pupil, reverend sir.' He replied, If thou hadst not spoken thus, thy head would have flown off: come, enter as my pupil!''So be it,' he said. He then initiated him, and taught him that pain-conquering utterance, Truth : therefore let man speak naught but truth $.
1 Viz. as the representative of the Brahman, or world-spirit.
? Yadaivam nâvakshyah yadaivam agitânam nåvishkaroshi te mardha vyapatishyat, mQrdhâ(va)patanam svagnânaprakatanenâtrabhavatah parihritam iti, Sây. - Prof. Delbrück, Altind. Syntax, P. 366, takes vi-pat' in the sense of-(thy head would have) flown asunder, or burst ; which is indeed possible; cf. XI, 4, 1, 9.
Cf. F. Max Müller, 'India, what can it teach us ?' p. 65 seqq.
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Fourth BRAHMANA. THE UPANATANA, OR INITIATION OF THE BRÂHMANICAL
STUDENT 1. 1. He says, 'I have come for Brahmakarya?:' he thereby reports himself to the Brahman. He says, 'Let me be a Brahmakârin (student) :' he thereby makes himself over to the Brahman. He (the teacher) then says, What (ka) is thy name?'—now Ka is Pragàpati: he thus initiates him after making him one belonging to Pragå pati.
2. He then takes his (right) hand with, ‘Indra's disciple thou art; Agni is thy teacher, I am thy teacher, O N. N.!'—now these are two most high and most powerful deities: it is to these two most high and most powerful deities he commits him; and thus his disciple suffers no harm of any kind, nor does he who knows this s.
3. He then commits him to the beings :-To Pragâ pati I commit thee, to the god Savitri I commit thee;'-now these are two most high and most important deities: it is to these two most high and most important deities he commits him; and thus his disciple suffers no harm of any kind, nor does he who knows this.
1 With this chapter compare Paraskara Grihyasätra II, 2, 17 seqq.; Âsvalåyana Grihyasūtra I, 30 seqq.; Särkhayana Gribyastra II, 1 segg.
? That is, for religious (theological) studentship : I have come to be a student.' - Sayana takes the aorist. âgâm' in an optative sense ‘may I enter (or obtain),'-brahmakârino bhåvo brahmakaryam tad ågåm prâpnuyam.
* Vidusho spy ctat phalam aha, na sa iti, evam uklárthan yo veda gånâti so spy artim na prâpnotfty arthah, Sây.
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4. To the waters, to the plants I commit thee,' he thus commits him to the waters and plants. To Heaven and Earth I commit thee,' he thus commits him to these two, heaven and earth, within which all this universe is contained. To all beings I commit thee for security from injury,'-he thus commits him to all beings for security from injury; and thus his disciple suffers no harm of any kind, nor does he who knows this.
•
5. Thou art a Brahmakârin,' he says, and thus commits him to the Brahman;-'sip water!'water, doubtless, means ambrosia: 'sip ambrosia ' is thus what he tells him ;-'do thy work!'-work, doubtless, means vigour : 'exert vigour' is thus what he tells him;-'put on fuel!'-'enkindle thy mind with fire, with holy lustre!' is what he thereby tells him; do not sleep1!'-'do not die' is what he thereby says to him;-sip water!'-water means ambrosia: 'sip ambrosia' is what he thus tells him. He thus encloses him on both sides with ambrosia (the drink of immortality), and thus the Brahmakârin suffers no harm of any kind, nor does he who knows this.
6. He then recites to him (teaches him) the Sâvitri;-formerly, indeed, they taught this (verse) at the end of a year 3, thinking, 'Children, indeed, are
1 'Do not sleep in the daytime!' Pâr., Âsv.
* For this verse, also called the Gayatrî (Rig-veda S. III, 62, 10), see II, 3, 4, 39.
3
Sayana takes this in the sense of 'some only teach this (formula) a year after (or, after the first year),'-purâ pârvasminn upanayanâd urdhvabhavini samvatsarakâle tite sati tâm etâm gâyatrîm anvâhuh, kekid âkâryâ upadisanti.
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born after being fashioned for a year': thus we lay speech (voice) into this one as soon as he has been born.'
7. Or after six months, thinking, 'There are six seasons in the year, and children are born after being fashioned for a year : we thus lay speech into this one as soon as he has been born.'
8. Or after twenty-four days, thinking, 'There are twenty-four half-months in the year, and children are born when fashioned for a year : we thus lay speech into this one as soon as he has been born.'
9. Or after twelve days, thinking, There are twelve months in the year, and children are born when fashioned for a year: we thus lay speech into this one as soon as he has been born.'
10. Or after six days, thinking, “There are six seasons in the year, and children are born when fashioned for a year: we thus lay speech into this one as soon as he has been born.
II. Or after three days, thinking, “There are three seasons in the year, and children are born when fashioned for a year : we thus lay speech into this one as soon as he has been born.'
12. Concerning this they also sing the verse, By laying his right hand on (the pupil), the teacher becomes pregnant (with him) : in the third (night) he is born as a Brahmana with the Sâvitrt? Let him,
'Literally, made equal, or corresponding, to a year, -Samvatsarâtmanâ kâlena samyak parikkhinnah khalu garbhå vyaktavayavah santah pragâyante utpadyante; ata upanayanânantaram alåryasamipe garbhavad avakkhinnas taduktaniyamanât samvatsarakala eva punar gâyate, Sây.
• Âkäryo mânavakam upanfya samspavartina tena garbhi bhavati garbhavån bhavati, kim kritva, atmîyam dakshinam hastam sishya
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however, teach a Brâhmana (the Savitri) at once, for the Brâhmana belongs to Agni, and Agni is born at once?: therefore, he should teach the Brâhmana at once.
13. Now some teach an Anushtubh Sâvitri, saying, · The Anushtubh is speech : we thus lay speech into him. But let him not do so; for if, in that case, any one were to say of him, 'Surely, this (student) has taken away his (the teacher's) speech: he will become dumb;' then that would indeed be likely to come to pass : let him therefore teach him that Gayatri Sâvitri.
14. And some recite it to him while he (the student) is standing or sitting on (the teacher's) right side; but let him not do this ; for if, in that case, any one were to say of him, 'Surely, this (teacher) has born this (student) sideways, he will become averse to him ;' then that would indeed be likely to come to pass; let him therefore recite it in a forward (easterly) direction to the student) looking at him towards the west.
15. He (first) recites it by pâdas 2: there being three breathings, the out-breathing, the up-breathing and the through-breathing; it is these he thus lays into him ;—then by half-verses: there being these
mastaka adhaya nikshipya; sa garbharûpo mâxavakas trifyasyam râtrau vyatitâyâm gâyate âkâryâd utpadyate, gâtas ka âkâryenopadishtaya savitrya sahita san brâhmano bhavati savitrîrûpam ka brahmâdhita iti brâhmana iti vyutpattih, brâhmanagatitvam asya sampannam ity arthah, Sây.
1 Viz. immediately on the churning-sticks' being set in motion.
* The Gayatri (Såvitri) consists of three octosyllabic pâdas, forming two half-verses of two and one pâda respectively; whilst an Anushtubh (Savitri) would consist of four octosyllabic pâdas, two of which make a half-verse.
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two (principal) breathings, the out-breathing and the up-breathing', it is the out-breathing and the upbreathing he thus lays into him ;-then the whole (verse): there being this one vital air (in man), he thus lays the whole vital air into the whole of him.
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16. As to this they say, 'When one has admitted a Brahmana to a term of studentship, he should not carry on sexual intercourse, lest he should generate this Brâhmana from shed seed; for, indeed, he who enters on a term of studentship becomes an embryo.'
17. And concerning this they also say, ' He may nevertheless do so, if he chooses; for these creatures are of two kinds, divine and human,-these human creatures are born from the womb, and the divine creatures, being the metres (verses of scripture), are born from the mouth: it is therefrom he (the teacher) produces him, and therefore he may do so (have intercourse) if he chooses.'
18. And they also say, 'He who is a Brahmakârin should not eat honey, lest he should reach the end of food, for honey, doubtless, is the utmost (supreme) essence of plants.' But Svetaketu Âruneya, when eating honey, whilst he was a student, said, 'This honey, in truth, is the remainder (essential part) of the triple science (the Vedas), and he, indeed, who has such a remainder, is an essence.' And, indeed, if a Brahmakârin, knowing this, eats honey, it is just as if he were to utter either a Rik-verse, or Yagusformula, or a Sâman-tune: let him therefore eat freely of it.
'That is, the breath of the mouth, and that of the nostrils.
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Fifth BRÂHMANA. The SATÂTIRÂTRAM, OR SACRIFICIAL SESSION OF A
HUNDRED ATIRÂTRA-SACRIFICES. 1. Now, when the gods were passing upwards to the world of heaven, the Asuras enveloped them in darkness. They spake, 'Verily, by nothing else save a sacrificial session is there any way of dispelling this (darkness): well, then, let us perform a sacrificial session!
2. They entered upon a sacrificial session of a hundred Agnishtoma (days), and dispelled the darkness as far as one may see whilst sitting ; and in like manner did they, by (a session of) a hundred Ukthya (days), dispel the darkness as far as one may see whilst standing.
3. They spake, 'We do indeed dispel the darkness, but not the whole of it: come, let us resort to Father Pragàpati.' Having come to Father Pragapati, they spake, Reverend sir, when we were passing upwards to the world of heaven the Asuras enveloped us in darkness.
4. "We entered upon a sacrificial session of a hundred Agnishtomas, and dispelled the darkness as far as one may see whilst sitting.; and in like manner did we dispel the darkness as far as one may see whilst standing : do thou teach us, reverend sir, how, by dispelling the Asuras and darkness, and all evil, we shall find (the way to the world of heaven!'
5. He spake, 'Surely, ye proceeded by means of two sacrifices, the Agnishtoma and Ukthya, which do not contain all Soma-rites ? ;-enter ye upon · Viz. neither the Shodasin which, to (the twelve stotras, and
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a sacrificial session of a hundred Atirâtras: when ye have thereby repelled the Asuras and darkness, and all evil, ye shall find the world of heaven.'
6. They entered upon a sacrificial session of a hundred Atirâtras; and, having thereby repelled the Asuras and darkness, and all evil, they found (the way to the world of heaven. In their first fifty days? the night-hymns reached into the day, and the day-hymns into the night.
7. They spake, Verily, we have got into confusion and know not what to do: come, let us resort to Father Pragàpati!' Having come to Father Pragậpati, they spake (the verses), 'Our night-hymns are (chanted) in daytime, and those of the day at night: Osage, being learned and wise, teach thou us who are ignorant (how to perform) the sacrifices!'
8. He then recited to them as follows, 'A stronger, pursuing, has, as it were, driven a great snake from its own place, the lake: therefore the sacrificial session is not carried through
9. 'For your Asvina (sastra), being recited, has indeed driven the morning-litany from its place 2.'—
sastras of the Agnishtoma, and) the fifteen chants of the Ukthya, adds a sixteenth; and the Atirâtra which has thirteen additional chants (and recitations), viz. three nocturnal rounds of four chants each, and one twilight-chant, followed by the Asvinasastra, recited by the Hotri. No account is here taken of either the Atya gnishtoma of thirteen chants, or the Aptoryama, which, to those of the Atirätra, adds four more chants. Cf. part ii, p. 397, note 2.
Or, perhaps, rather, in their days prior to the fiftieth (arvåkpåtkâseshav ahahsu), St. Petersb. Dict.
* The Asvina-sastra, with the recitation of which, by the Hotri, the Atirâtra concludes, takes the place, and is, indeed,
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• What ye, being wise, have unwise-like driven from its place, take ye up that gently through the Prasåstri, reciting so as not to disturb ' (the Hotri).'
10. They spake,How, then, reverend sir, is (the Åsvina-sastra properly) recited and how is the recitation not disturbed ?' He spake, When the Hotri, in reciting the Asvina-sastra, reaches the end of the Gayatra metre of the Agneya-kratu ļ, the Pratiprasthàtris should carry round the Vasatsvart water-, and bespeak the Prâtar-anuvâka for the Maitråvaruna (seated) between the two Havirdhana (carts containing the offering-material). The Hotri recites (the Asvina-sastra) in a loud voice, and the other (the Maitråvaruna) repeats (the morninglitany) in a low voice, only just muttering it : in this
merely a modification of the Prâtar-anuvâka, or morning-litany (see part ii, p. 229, note 2), by which an ordinary Soma-sacrifice is ushered in. Like it, its chief portion consists of three sections termed kratu, of hymns and detached verses addressed to the
early-coming' deities, Agni, Ushas and the two Asvins. The whole is to consist of not less than a thousand Brihatîs, that is to say, the whole matter is to amount to at least 36,000 syllables. For a full account of this Sastra, see Haug's Transl. of Ait. Br., p. 268.
Whilst the Hotri is reciting the Âsvina-sastra, his first assistant, the Prasastri (or, as he is more commonly called, the Maiträvaruna), is to repeat the Prâtar-anuvâka in a low voice.
• The hymns and detached verses of each of the three sectionsthe Âgneya., Ushasya- and Âsvina-kratu—of the Asvina-sastra (as of the Prâtar-anuvâka) are arranged according to the seven principal metres-gayatri, anush/ubh, trishtubh, brihati, ushnih, gagali, and pankti--forming as many subdivisions of the three sections.
• That is, the first assistant of the Adhvaryu priest; the latter having to respond (pratigara) to the Hotri's calls (see part ii, P. 326, note 1) at the beginning and end of the Sastra, and to sit through the recitations (III, 9, 3, 11).
• See III, 9, 2, 13 seqq.
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way he does not run counter to (the Hotri's) speech by (his own) speech, nor metre by metre.
II. When the Pråtar-anuvâka has been completed, he (the Pratiprasthâtre), having offered, at their proper time, the Upåmsu and Antaryama cups ?, presses out the straining-cloth and puts it in the Dronakalasa S. And when ye have performed the offering of the cups of) fermented Soma , and returned (to the Sadas), ye should drink the fermented Soma (remaining in those cups). Having then, in the proper form, completed the “ tail of the sacrifice," and taken up the cups of Soma (drawn) subsequent to the Antaryâma', and offered the oblation of drops", as well as the Santani-oblation?, ye should perform the Bahishpavamâna chant, and enter upon the day (-performance).'
12. Concerning this there are these verses :With four harnessed Saindhava (steeds) the sages left behind them the gloom—the wise gods who spun out the session of a hundred sacrifices.
13. In this (sacrificial session) there are, indeed, four harnessed (steeds),—to wit, two Hotris and two Adhvaryus.— Like unto the artificer contriving spikes to the spear, the sages coupled the ends of
* Yathayatanam eva prakritau yasmin kåle hayeta tathaiva butv3, Sây.
See IV, 1, 1, 22 segg. ; 1, 2, 21 segg. * See II, 1, 2, 3, with note thereon.
• That is, having, after the completion of the Asvina-sastra, offered to the Asvins some of the Soma that has been standing over the previous day.'
Viz. the Aindravåyava, Maiträvaruna, &c., see IV, 1, 3, 1 seqq. • See IV, 2, 5, 1 seqq.
Called 'savanasantani' (? i.e. continuity of pressing) by Katy., XXIV, 4, 1.
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two days now the Dânavas, we know, will not disorder the sacrificial thread of them stretched out by us. They leave undone the work of the previous day, and carry it through on the following day,— difficult to be understood is the wisdom of the deities: streams of Soma flow, interlinked with streams of Soma!-Even as they constantly sprinkle the equal prize-winning steeds, so (they pour out) the cups full of fiery liquor in the palace of Ganamegaya.' Then the Asura-Rakshas went away.
2
SIXTH BRAHMANA.
THE STUDY OF THE VEDA.
1. There are five great sacrifices, and they, indeed, are great sacrificial sessions,- -to wit, the sacrifice to beings, the sacrifice to men, the sacrifice to the Fathers, the sacrifice to the gods, and the sacrifice to the Brahman.
:
2. Day by day one should offer an oblation to beings thus he performs that sacrifice to beings. Day by day one should offer (presents to guests) up to the cupful of water: thus he performs that
us.
1 Sâyana construes,- we know the extended sacrificial thread of these (days), and the Dânavas (Asuras) do not henceforth confound In that case the order of words would be extremely irregular. * Kâsh/habhritah, âgyantâ (1) kâshthâni tâni bibhratîti kâshthabhritah svâdasam (? khândasam) pârvapadasya hrasvatvam, âgidhavanam kritavato hayân asvân, Sây. According to this authority the general meaning of the verse is that even as the (king's) horses, when they have performed their task, have sweet drinks poured out on (? to) them, and thus obtain their hearts' desire, so the gods, by performing a sacrificial session of a hundred Atirâtras, in accordance with Pragâpati's directions, dispel the darkness and gain the world of heaven.
• Or perhaps, from a cupful of water onwards,-aharahar dadyâd
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sacrifice to men. Day by day one should offer with Svadhâ up to the cupful of water1: thus he performs that sacrifice to the Fathers. Day by day one should perform with Svâhâ up to the log of firewood 2 thus he performs that sacrifice to the gods.
3. Then as to the sacrifice to the Brahman. The sacrifice to the Brahman is one's own (daily) study (of the Veda). The guhû-spoon of this same sacrifice to the Brahman is speech, its upabhrit the mind, its dhruvâ the eye, its sruva mental power, its purificatory bath truth, its conclusion heaven. And, verily, however great the world he gains by giving away (to the priests) this earth replete with wealth, thrice that and more-an imperishable world does he gain, whosoever, knowing this, studies day by day his lesson (of the Veda): therefore let him study his daily lesson.
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4. Verily, the Rik-texts are milk-offerings to the gods; and whosoever, knowing this, studies day by day the Rik-texts for his lesson, thereby satisfies the gods with milk-offerings; and, being satisfied, they satisfy him by (granting him) security of
iti manushyân uddisya odapâtrât udakapâritam pâtram udapâtram udakapâtrâvadhi yad odanâdikam dadyât sa manushyayagña ity arthah, Sây. Cf. J. Muir, Orig. Sanskrit Texts, vol. iii, p. 18 seqq.
1 In making offering to the (three immediately preceding) departed ancestors, water is poured out for them (to wash themselves with) both at the beginning and at the end of the ceremony; see II, 4, 2, 16; 23; II, 6, 1, 34; 41, where each time it is said that this is done 'even as one would pour out water for (a guest) who is to take (or has taken) food with him;'-pitrín uddisya pratyaham svadhâkârena annâdikam udapatraparyantam dadyât, Sây.
'Apparently the log of wood placed on the Gârhapatya after the completion of the offering.
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possession', by life-breath, by seed, by his whole self, and by all auspicious blessings; and rivers of ghee and rivers of honey flow for his (departed) Fathers, as their accustomed draughts.
5. And, verily, the Yagus-texts are ghee-offerings to the gods; and whosoever, knowing this, studies day by day the Yagus-texts for his lesson thereby satisfies the gods with ghee-offerings; and, being satisfied, they satisfy him by security of possession, by life-breath, by seed, by his whole self, and by all auspicious blessings; and rivers of ghee and rivers of honey flow for his Fathers, as their accustomed draughts.
6. And, verily, the Saman-texts are Soma-offerings to the gods; and whosoever, knowing this, studies day by day the Saman-texts for his lesson thereby satisfies the gods with Soma-offerings; and, being satisfied, they satisfy him by security of possession, by life-breath, by seed, by his whole self, and by all auspicious blessings; and rivers of ghee and rivers of honey flow for his Fathers, as their accustomed draughts.
7. And, verily, the (texts of the) Atharvângiras are fat-offerings to the gods; and whosoever, knowing this, studies day by day the (texts of the) Atharvârgiras for his lesson, satisfies the gods with fat-offerings; and, being satisfied, they satisfy him by security of possession, by life-breath, by seed, by his whole self, and by all auspicious blessings; and rivers of ghee and rivers of honey flow for his Fathers, as their accustomed draughts.
· Aprâptasya phalasya prâptir yogah tasya paripälanam kshemah, Sây.
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8. And, verily, the precepts', the sciences, the dialogue, the traditional myths and legends, and the Nârâsamst Gâthâs are honey-offerings to the gods; and whosoever, knowing this, studies day by day the precepts, the sciences, the dialogue, the traditional myths and legends, and the Nârâsams! Gâthâs, for his lesson, satisfies the gods with honey-offerings; and, being satisfied, they satisfy him by (granting him) security of possession, by life-breath, by seed, by his whole self, and by all auspicious blessings; and rivers of ghee and rivers of honey flow for his Fathers, as their accustomed draughts.
1 The Anusâsanâni, according to Sâyana, are the six Vedângas, or rules of grammar, etymology, &c.
By vidyâh, according to Sâyana, the philosophical systems, Nyâya, Mîmâmsâ, &c., are to be understood. More likely, however, such special sciences as the 'sarpavidyâ' (science of snakes) are referred to; cf. XIII, 4, 3, 9 seqq.
' Vâkovâkyam, apparently some special theological discourse, or discourses, similar to (if not identical with) the numerous Brahmodya, or disputations on spiritual matters. As an example of such a dialogue, Sâyana refers to the dialogue between Uddâlaka Aruni and Svaidâyana Gautama, XI, 4, 1, 4 seqq.
Itihasa-purâna: the Itihâsa, according to Sâyana, are cosmological myths or accounts, such as 'In the beginning this universe was nothing but water,' &c.; whilst as an instance of the Purâna (stories of olden times, purâtanapurushavrittânta) he refers to the story of Purûravas and Urvast. Cf. Max Müller, History of Ancient Sanskrit Literature, p. 41.
Or, the Gâthâs and Nârâsamsîs. Sâyana, in the first place, takes the two as one, meaning 'stanzas (or verses) telling about men;' but he then refers to the interpretation by others, according to which the Gâthâs are such verses as that about 'the great snake driven from the lake' (XI, 5, 5, 8); whilst the Nârâsamsîs would be (verses 'telling about men') such as that regarding Ganamegaya and his horses (XI, 5, 5, 12). On Aitareyår. II, 3, 6, 8, Sâyana quotes 'prâtah prâtar anritam te vadanti' as an instance of a Gâthâ.
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9. Now, for this sacrifice to the Brahman there are four Vashat-calls 1,-to wit, when the wind blows, when it lightens, when it thunders, and when it rumbles whence he who knows this should certainly study when the wind is blowing, and when it lightens, or thunders, or rumbles, so as not to lose his Vashat-calls; and verily he is freed from recurring death, and attains to community of nature (or, being) with the Brahman. And should he be altogether unable (to study), let him at least read a single divine word; and thus he is not shut out from beings.
SEVENTH BRAHMANA.
1. Now, then, the praise of the study (of the scriptures). The study and teaching (of the Veda) are a source of pleasure to him, he becomes readyminded, and independent of others, and day by day he acquires wealth. He sleeps peacefully; he is the best physician for himself; and (peculiar) to him are restraint of the senses, delight in the one thing, growth of intelligence, fame, and the (task of) perfecting the people". The growing
That is, the call Vaushat!' with which, at the end of the offering-formula, the oblation is poured into the fire.
That is, when the rumbling of distant thunder is heard; or, perhaps, when there is a rattling sound, as from hail-stones.
Hardly, should only study,-adhîyîtaiva.
4
Or, from (the world of) spirits (?).
'Or, as Sâyana takes it to mean, of intent, undistracted mind,yuktam avikshiptam ekâgram mano yasya sa yuktamanâh.
• Sâyana seems to take 'ekârâmatâ' in the sense of 'remaining always the same,'-eka eva sann â samantâd bhavatîty ekârâmas tasya bhâvah.
"Or, perfecting the world,―tadyukto yo lokas tasya paktih paripâko bhavati, Sây.
537827 A
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intelligence gives rise to four duties attaching to the Brahmana-Brâhmanical descent, a befitting deportment, fame, and the perfecting of the people; and the people that are being perfected guard the Brahmana by four duties - by (showing him) respect, and liberality, (and by granting him) security against oppression, and security against capital punishment.
2. And, truly, whatever may be the toils here between heaven and earth, the study (of the scriptures) is their last stage, their goal (limit) for him who, knowing this, studies his lesson: therefore one's (daily) lesson should be studied.
3. And, verily, whatever portion of the sacred poetry (khandas) he studies for his lesson with that sacrificial rite', offering is made by him who, knowing this, studies his lesson: therefore one's (daily) lesson should be studied.
4. And, verily, if he studies his lesson, even though lying on a soft couch, anointed, adorned and completely satisfied, he is burned (with holy fire 2) up to the tips of his nails, whosoever, knowing this, studies his lesson: therefore one's (daily) lesson should be studied.
5. The Rik-texts, truly, are honey, the Samantexts ghee, and the Yagus-texts ambrosia; and, indeed, when he studies the dialogue that (speech and reply) is a mess of milk and a mess of meat.
1 The study of the Veda being the sacrifice of the Brahman,' the reading of a portion is, as it were, a special rite, or form of offering, belonging to that sacrifice. Såyana, on the other hand, takes it to mean that the student performs, as it were, the particular rite, or offering, to which the portion be reads may refer. It may, indeed, be implied, though it certainly is not expressed in the text.
• Thus A. Weber, Ind. Stud. X, p. 112 ;-sarirapidanena tapastapto bhavati, Sây.
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6. And, indeed, he who, knowing this, studies day by day the Rik-texts for his lesson, satisfies the gods with honey, and, thus satisfied, they satisfy him by every object of desire, by every kind of enjoyment.
7. And he who, knowing this, studies day by day the Sâman-texts for his lesson, satisfies the gods with ghee; and, being satisfied, they satisfy him by every object of desire, by every kind of enjoyment.
8. And he who, knowing this, studies day by day the Yagus-texts for his lesson, satisfies the gods with ambrosia ; and, being satisfied, they satisfy him by every object of desire, by every kind of enjoyment.
9. And he who, knowing this, studies day by day the dialogue, the traditional myths and legends, for his lesson, satisfies the gods by messes of milk and meat; and, being satisfied, they satisfy him by every object of desire, by every kind of enjoyment.
10. Moving, indeed, are the waters, moving is the sun, moving the moon, and moving the stars; and, verily, as if these deities did not move and act, even so will the Brâhmana be on that day on which he does not study his lesson: therefore one's (daily) lesson should be studied. And hence let him at least pronounce either a Rik-verse or a Yagus-formula, or a Sâman-verse, or a Gåthâ, or a Kumbya ?, to ensure continuity of the Vrata ?.
'A .Kumbyâ,' according to Sayana, is a Brâhmana-passage explanatory of some sacrificial precept or rite (vidhyarthavâdâtmakam brâhmana-vákyam); whilst, on Aitareyår. II, 3, 6, 8, the same commentator explains it as a verse (rig-visesha) conveying some precept of conduct (Skårasiksharpa), such as brahmakäryasyaposånam karma kuru, divâ må svåpsîh,' &c. Cf. Prof. F. Max Muller's transl., Upanishads I, p. 230, note 3. - ? This is in keeping with the mystic representation of this and
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SATAPATHA-BRAHMANA.
EIGHTH BRAHMANA. 1. Verily, in the beginning, Pragàpati alone was here. He desired, “May I exist, may I be generated.' He wearied himself and performed fervid devotions: from him, thus wearied and heated, the three worlds were created—the earth, the air, and the sky.
2. He heated these three worlds, and from them, thus heated, three lights (gyotis) were producedAgni (the fire), he who blows here (Vayu), and Sarya (the sun).
3. He heated these three lights, and from them, thus heated, the three Vedas were produced—the Rig-veda from Agni, the Yagur-veda from Vayu, and the Sâma-veda from Sarya.
4. He heated these three Vedas, and from them, thus heated, three luminous essences were pro
the preceding chapters which represent the daily study of the scriptural lesson as a sacrifice continued day by day. The student, as the sacrificer, has accordingly, during the sacrifice (that is, during the period of his study of the Vedas, or for life), as it were, to limit his daily food to the drinking of the Vrata-milk, which rule he obeys symbolically by reciting such a verse or formula.
'? Sâyana takes 'sukra' here in the sense of 'flame, light' (vyâhritir@pâni tegâmsi); whilst the St. Petersb. Dict. assigns to it the meaning of 'sap, juice' (Saft, Seim, cf. next note). Ait. Br. V, 32, contains a very similar passage in which the same process of evolution is set forth :-Pragapati first creates the three worlds, earth, air, and heaven. From them, being heated by him, three lights (8yotis) are produced—Agni from the earth, Vậyu from the air, and Aditya from the sky (or heaven). From them, being heated, the three Vedas are produced—the Rig-veda from Agni, the Yagur-veda from Vâyu, and the Sâma-veda from Aditya. From the Vedas, being heated, three flames (sukra, luminaries, Haug) are produced-Bhůh from the Rig-veda, Bhuvah from the Yagur.
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XI KÂNDA, 5 ADHYÂYA, 8 BRÂHMANA, 6.
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duced—'bhah' from the Rig-veda, 'bhuvah' from the Yagur-veda, and 'svar' from the Sâma-veda. And with the Rig-veda they then performed the work of the Hotri priest, with the Yagur-veda the work of the Adhvaryu, and with the Sâma-veda the work of the Udgâtri; and what luminous essence there was in the threefold science, therewith the work of the Brahman priest then proceeded.
5. The gods spake unto Pragâpati, 'If our sacrifice were to fail, in respect of either the Rik, or the Yagus, or the Sâman, whereby should we heal it?'
6. He spake, 'If (it were to fail) in respect of the Rik, ye should take ghee by four ladlings and offer it in the Garhapatya fire with 'Bhah!' and if in respect of the Yagus, ye should take ghee by four ladlings and offer it in the Agnidhriya-or in the Anvâhâryapakanas in the case of a Haviryagñawith 'Bhuvah!' and if in respect of the Saman, ye should take ghee by four ladlings and offer it in the Ahavaniya with Svar!' But if it should not be known (where the mistake has occurred), ye should make offering in the Ahavaniya after utter
veda, and Svar from the Sâma-veda. From these in the same way are produced three sounds (or letters, varna), a, u and m, which being combined yield the syllable 'Om.' Cp. J. Muir, Original Sanskrit Texts, vol. iii, p. 4.
Here Sâyana also seems to take sukra' in the sense of pure, essential part '- nirmalam rûpam sâratvalâmsah (!).
. That is, the Dakshinagni. At the Haviryagña (of which class of sacrifices, performed in the Prâkînavamsa hall, the full and new moon serves as model) there is no Âgnidhriya, which is, however, required for the Soma-sacrifice. See the plan in part ii, P. 475.
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ing rapidly all (the three sacred words ): thus one heals the Rig-veda by the Rig-veda”, the Yagurveda by the Yagur-veda, and the Sama-veda by the Sâma-veda ;—even as one would put together joint with joints, so does he put together (the broken part of the sacrifice) whoever heals it by means of these three sacred words). But if he heals it in any other way than this, it would be just as if one tried to put together something that is broken with something else that is broken, or as if one were to apply some poison as lotion to a broken part". Let him therefore appoint only one who knows this (to officiate as) his Brahman, and not one who does not know this.
7. As to this they say, 'Seeing that the work of the Hotri is performed with the Rig-veda, that of the Adhvaryu with the Yagur-veda, and that of the Udgåtri with the Sama-veda, wherewith then is the work of the Brahman (performed) ?' Let him reply, 'With that threefold science.'
According to Sâyana, offering would be used with the formula • Bhur bhuvah sval, svâhâ !'
· Viz. by the word 'bhah,' representing that Veda.
• Yatha khalu loke bhagnam hastapadádiparva tatsannihitenånyena parvanâ purusha ya samdadhyât samsleshayet, evam evanena vyâhritigåânena tat tad avedoktam prabbrishtam angam punah sahitam bhavati, Sây.
.? Or, as if one were to put some fluid into some broken (vessel; or, on some broken part),-yatha simena bhagnena anyak khîrnam bhagnam vastu samdhitset sandhâtum ikkhet; yathả và sirne garam bhaktåvayave garam abhinidadhyât prahdattipeta (? prakshipet), Sây.
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XI KÂNDA, 5 ADHYAYA, 9 BRÂHMANA, 5.
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Ninth BRÂHMANA.
THE ADÂBHYA-Graha. 1. Now, the Amsu (cup of Soma)', indeed, is no other than Pragàpati; and it is the body of this (sacrifice), for Pragâpati, indeed, is the body. And the Adàbhya? (cup of Soma) is no other than speech. When he draws the Amsu-cup, and then the Adâbhya-cup, he thereby constructs the body of this (sacrifice) and then establishes that speech therein.
2. And, indeed, the Amsu is also the mind, and the Adabhya speech; and the Amsu is the outbreathing, and the Adâbhya the up-breathing; and the Amsu is the eye, and the Adâbhya the ear: these two cups they draw for the sake of wholeness and completeness.
3. Now; the gods and the Asuras, both of them sprung from Pragâ pati, were contending,—it was for this very sacrifice, for Pragàpati, that they were contending, saying, 'Ours he shall be! ours he shall be !'
4. The gods then went on singing praises, and toiling. They saw this cup of Soma, this Adâbhya, and drew it: they seized upon the (three) Somaservices, and possessed themselves of the whole sacrifice, and excluded the Asuras from the sacrifice.
5. They spake, 'Surely, we have destroyed (adabhama) them;' whence (the cup is called) Adabhya ;
- they have not destroyed (dabh) us;' whence also (it is called) Adabhya. And the Adâbhya
See IV, 1, 1, 2; 6, 1, 1. . See part ii, p. 424, note 1.
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being speech, this speech is indestructible, whence also it is (called) Adâbhya; and, verily, in like manner does he who knows this possess himself of the whole sacrifice of his spiteful enemy, and exclude and shut out his spiteful enemy from all participation in the sacrifice.
6. Into the same vessel with which he draws the Amsu1 he pours water from the Nigråbhyâh”, and therein puts those Soma-plants : with (Våg. S. VIII, 47),
7. Thou art taken with a support: for Agni I take thee, possessed of the Gayatri metre!'—the morning-service is of Gâyatrt nature: he thus possesses himself of the morning-service ;*For Indra I take thee, possessed of the Trishtubh metre!'-the midday-service is of Trishtubh nature: he thus possesses himself of the midday-service;- 'For the Visve Devâh I take thee, possessed of the Gagati metre!' -the evening-service is of Gagati nature: he thus possesses himself of the evening-service ;-—'The Anushtubh is thy song of praise;'-whatever is subsequent to the (three) services ", that is of Anushtubh nature: it is thereof he thus possesses
See IV, 6, 1, 3 seq.
That is, the water originally taken from the Pranîtå water, and poured into the (square) Hotri's cup (made of Udumbara wood), to be used for moistening the Soma-plants.
• For the Adábhya he puts three Soma-plants into the Hotri's cup.
• According to Katy. XII, 6, 15, this portion of the formulathe upayama,' or support—is repeated before the formulas of each of the three plants, hence also before 'For Indra ...,' and 'For the Visve Devâh ..!
o Viz. the Ukthyas, Shodasin, &c., in forms of Soma-sacrifice other than the Agnishtoma,
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XI KANDA, 5 ADHYÂYA, 9 BRÂHMANA, II. 107
himself. He does not press this (batch of Somaplants) lest he should injure speech (or, the voice of the sacrifice), for the press-stone is a thunderbolt, and the Adâbhya is speech.
8. He merely shakes the (cup with the) plants with (Vag. S. VIII, 48), 'In the flow of the streaming (waters) I waft thee! in the flow of the gurgling I waft thee! in the flow of the jubilant I waft thee! in the flow of the most delightsome I waft thee! in the flow of the most sweet I waft thee!' These doubtless are the divine waters: he thus bestows sap on him (Pragapati, the sacrifice) by means of both the divine and the human waters which there are.
9. 'Thee, the bright, I waft in the bright,'for he indeed wafts the bright one in the bright;in the form of the day, in the rays of the sun;'-he thus wafts it both in the form of the day and in the rays of the sun.
10. [Vâg. S. VIII, 49], ‘Mightily shineth the towering form of the ball,'-for mightily indeed shines that towering form of the ball, to wit, yonder burning (sun); the bright one, the leader of the bright one, Soma, the leader of Soma,'he thereby makes that bright (sun) the leader of the bright (Soma), and Soma the leader of the Soma; what indestructible, watchful name there is of thine, for that do I take thee;'for this, to wit, speech, is indeed his (Soma's) indestructible (adâbhya), watchful name: it is thus speech he thereby takes for speech.
11. Then, stepping out (from the Havirdhâna shed 1) to (the Âhavantya), he offers with, 'O It is there that the Soma-plants are kept.
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Soma, to this thy Soma, hail!'-he thus offers Soma to Soma, and so does not throw speech into the fired. He breathes over gold 2: the meaning of this is the same as there on the occasion of the Amsu). He gives as many presents (to the priests) as for the Amsu-graha.
12. He then puts the Soma-plants back on the heap of plants in the Havirdhana) with (Våg. S. VIII, 50), ‘Enter thou gladly Agni's dear seat, O divine Soma!-Enter thou willingly Indra's dear seat, o divine Soma!-As our friend enter thou, O divine Soma, the dear seat of the Visve Devah!' On that former occasion he possessed himself of the three) Soma services : he now restores them again, and causes them to be no longer used up; and with them thus restored they perform the sacrifice.
Sixth ADHYAYA. FIRST BRÂHMANA. 1. Now, Bhrigu, the son of Varuna, deemed himself superior to his father Varuna in knowledge S. Varuna became aware of this : 'He deems himself superior to me in knowledge,' he thought.
2. He said, 'Go thou eastward, my boy; and
· Though the Adâbhya-graha, that is, the water in which the three Soma-plants are contained, and which alone is offered, has been identified with speech, the wording of the formula is such as to protect (the faculty of) speech from being burned in the fire.
? Just as, after the offering of the Amsu-graha, he smelled at (or breathed over) a piece of gold fastened to (> or contained in) the spoon, see IV, 6, 1, 6 seqq.
On this legend, see Prof. Weber, Indische Streifen, I, p. 24 seqq., where the scenes here depicted are taken to be reflections of the popular belief of the time as to the punishments awaiting the guilty in a future existence.
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XI KÂNDA, 6 ADHYAYA, I BRAHMANA, 4. 109
having seen there what thou shalt see, go thou southwards; and having seen there what thou shalt see, go thou westward; and having seen there what thou shalt see, go thou northward; and having seen there what thou shalt see, go thou toward the northern of those two intermediate quarters in front, and tell me then what thou shalt see there.'
3. He then went forth from thence eastward, and lo, men were dismembering men, hewing off their limbs one by one, and saying, 'This to thee, this to me!' He said, 'Horrible! woe is me! men here have dismembered men, hewing off their limbs one by one!' They replied, 'Thus, indeed, these dealt with us in yonder world, and so we now deal with them in return.' He said, 'Is there no atonement for this?''Yes, there is,' they replied.' What is it?' Thy father knows.'
4. He went forth from thence southward, and lo, men were dismembering men, cutting up their limbs one by one, and saying, 'This to thee, this to me!' He said, 'Horrible! woe is me! men here have dismembered men, cutting up their limbs one by one!' They replied, 'Thus, indeed, these dealt with us in yonder world, and so we now deal with them in return.' He said, 'Is there no atonement for this?'-'Yes, there is,' they replied.'What is it?'-'Thy father knows.'
That is to say, in the north-easterly direction. Prof. Weber seems to take it in the sense of the northern one of the two regions intermediate between the two (regions) first referred to. This, however, makes no sense.
I think, with Prof. Delbrück, Altind. Syntax, p. 404, that the instrumental 'purushaik' stands in lieu of the accusative; this construction being adopted in order to avoid the double accusative and consequent ambiguity.
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5. He went forth from thence westward, and lo, men, sitting still, were being eaten by men, sitting still! He said, “Horrible! woe is me! men, sitting still, are eating men, sitting still!' They replied, 'Thus, indeed, these have dealt with us in yonder world, and so we now deal with them in return.' He said, 'Is there no atonement for this ? '-'Yes, there is,' they replied.—'What is it?'—'Thy father knows.
6. He went forth from thence northward, and lo, men, crying aloud, were being eaten by men, crying aloud! He said, 'Horrible! woe is me! men, crying aloud, here are eating men, crying aloud !' They replied, 'Thus, indeed, these dealt with us in yonder world, and so we now deal with them in return.' He said, “Is there no atonement for this ? '— Yes, there is,' they replied.—'What is it?'—'Thy father knows.
7. He went forth from thence toward the northern of those two intermediate quarters in front, and lo, there were two women, one beautiful, one overbeautifull: between them stood a man, black, with yellow eyes, and a staff in his hand. On seeing him, terror seized him, and he went home, and sat down. His father said to him, 'Study thy day's lesson (of scripture): why dost thou not study thy lesson ?' He said, "What am I to study ? there is nothing whatever.' Then Varuna knew, He has indeed seen it!'
8. He spake, “As to those men whom thou
According to Sâyana 'ati-kalyani' means 'not beautiful (asobhana), ugly. Perhaps its real meaning is one of past beauty,' one whose beauty has faded.
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XI KÂNDA, 6 ADHIYÂYA, I BRÂHMANA, 13.
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sawest in the eastern region being dismembered by men hewing off their limbs one by one, and saying, “This to thee, this to me!” they were the trees: when one puts fire-wood from trees on (the fire) he subdues the trees, and conquers the world of trees.
9. 'And as to those men whom thou sawest in the southern region being dismembered by men cutting up their limbs one by one, and saying, “This to thee, this to me!” they were the cattle ; when one makes offering with milk he subdues the cattle, and conquers the world of cattle.
10. 'And as to those men thou sawest in the western region who, whilst sitting still, were being eaten by men sitting still, they were the herbs : when one illumines (the Agnihotra milk) with a straw!, he subdues the herbs, and conquers the world of herbs.
11. 'And as to those men thou sawest in the northern region who, whilst crying aloud, were being eaten by men crying aloud, they were the waters : when one pours water to (the Agnihotra milk), he subdues the waters, and conquers the world of waters.
12. 'And as to those two women whom thou sawest, one beautiful and one over-beautiful,-the beautiful one is Belief: when one offers the first libation (of the Agnihotra) he subdues Belief, and conquers Belief; and the over-beautiful one is Unbelief: when one offers the second libation, he subdues Unbelief, and conquers Unbelief.
13. 'And as to the black man with yellow eyes,
See II, 3, 1, 16.
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who was standing between them with a staff in his hand, he was Wrath: when, having poured water into the spoon, one pours (the libation into the fire), he subdues Wrath, and conquers Wrath; and, verily, whosoever, knowing this, offers the Agnihotra, thereby conquers everything, and subdues everything.'
SECOND BRAHMANA.
1. Now, Ganaka of Videha once met some Brahmanas who were travelling about', to wit, Svetaketu Âruneya, Somasushma Sâtyayagi, and Yâgñavalkya. He said to them, 'How do ye each of you perform the Agnihotra ?'
2. Svetaketu Aruneya replied, 'O great king, I make offering, in one another, to two heats, neverfailing and overflowing with glory.'-'How is that?' asked the king. Well, Aditya (the sun) is heat to him I make offering in Agni in the evening; and Agni, indeed, is heat: to him I make offering in the morning in Aditya "'—'What becomes of him who offers in this way?' asked the
1 Or, driving about (and officiating at sacrifices); see XI, 4, 1, 1. For a translation of this story see Max Müller, History of Ancient Sanskrit Literature, p. 421 seqq.
1Âdityam sâyamkâle agnâv anupravishtam guhomi havishâ tarpayâmi; athâgnir api gharmah, sa prâtar âdityam anupravisati, tam agnim prâtahkâle âditye sthitam havishâ prînayâmi, Sây.-At II, 3, 1, 36, instead of 'In the evening he offers Surya in Agni, and in the morning he offers Agni in Sûrya'-we ought probably to translate,-In the evening he makes offering to Surya in Agni, and in the morning he makes offering to Agni in Surya.' The commentary there would admit of either rendering :-Agnir gyotir, iti mantrena guhvad agnâv eva santam sûryam guhoti, tathâ ka gyotihsabdah sûryavakanah; prâtahkâle tu sûrye santam agnim guhoti.
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XI KÂNDA, 6 ADHYAYA, 2 BRÂHMANA, 5.
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king.—' He verily becomes never-failing in prosperity and glory, and attains to the fellowship of those two deities, and to an abode in their world.'
3. Then Somasushma Sâtyayagñi said, 'I, O king, make offering to light in light.'-How is that?' asked the king.—'Well, Aditya is light: to him I make offering in Agni in the evening; and Agni, indeed, is light: to him I make offering in Åditya in the morning. '-—'What becomes of him who offers in this way?'— He verily becomes lightsome, and glorious, and prosperous; and attains to the fellowship of those two deities, and to an abode in their world.'
4. Then Yågñavalkya said, When I take out the fire (from the Gârhapatya), it is the Agnihotra itself, I thereby raise? Now when Aditya (the sun) sets, all the gods follow him; and when they see that fire taken out by me, they turn back. Having then cleansed the (sacrificial) vessels, and deposited them (on the Vedi), and having milked the Agnihotra cow, I gladden them, when I see them, and when they see me.'-'Thou, O Yågñavalkya, hast inquired most closely into the nature of the Agnihotra,' said the king; 'I bestow a hundred cows on thee. But not even thou (knowest) either the uprising, or the progress, or the support, or the contentment, or the return, or the renascent world of those two (libations of the Agnihotra).' Thus saying, he mounted his car and drove away.
5. They said, 'Surely, this fellow of a Råganya has outtalked us : come, let us challenge him to
1 Yad yada ahavaniyam gârhapatyad aham uddharâmi tat tadânim kritsnam angopangasahitam agnihotram eva udyakkhami Advahami, Sây.
[44]
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a theological disputation !' Yagñavalkya said, “We are Brâhmanas, and he is a Råganya : if we were to vanquish him, whom should we say we had vanquished? But if he were to vanquish us, people would say of us that a Râganya had vanquished Brâhmanas : do not think of this!' They approved of his words. But Yâgñavalkya, mounting his car, drove after the king). He overtook him, and he (the king) said, Is it to know the Agnihotra, Yagñavalkya ? 'The Agnihotra, O king !' he replied.
6. Well, those two libations, when offered, rise upwards: they enter the air, and make the air their offering-fire, the wind their fuel, the sun-motes their pure libation : they satiate the air, and rise upwards therefrom.
7. "They enter the sky, and make the sky their offering-fire, the sun their fuel, and the moon their pure libation : they satiate the sky, and return from there.
8. 'They enter this (earth), and make this (earth) their offering-fire, the fire their fuel, and the herbs their pure libation: they satiate this (earth), and rise upwards therefrom.
9. 'They enter man, and make his mouth their offering-fire, his tongue their fuel, and food their pure libation : they satiate man; and, verily, for him who, knowing this, eats food the Agnihotra comes to be offered. They rise upwards from there.
10. “They enter woman, and make her lap their offering-fire, her womb the fuel,- for that (womb) is called the bearer, because by it Pragàpati bore creatures, and the seed their pure libation : they satiate woman; and, verily, for him who, knowing this, approaches his mate, the Agnihotra comes to
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be offered. The son who is born therefrom is the renascent world: this is the Agnihotra, Yagñavalkya, there is nothing higher than this.' Thus he spoke; and Yagñavalkya granted him a boon. He said, “Let mine be the (privilege of) asking questions of thee when I list, Yagñavalkya !' Thenceforth Ganaka was a Brahman.
THIRD BRAHMANA, 1. Ganaka of Videha performed a sacrifice accompanied with numerous gifts to the priests. Setting apart a thousand cows, he said, “He who is the most learned in sacred writ amongst you, O Brâhmanas, shall drive away these (cows) 1!'
2. Yâgñavalkya then said, 'This way (drive) them!' They said, 'Art thou really the most learned in sacred writ amongst us, Yagñavalkya ?' He replied, 'Reverence be to him who is most learned in sacred writ! We are but hankering after cows ?
3. They then said (to one another), Which of us shall question him?' The shrewd Såkalya said, 'I!' When he (Yagñavalkya) saw him, he said, 'Have the Brâhmanas made of thee a thing for quenching the firebrand, Sâkalya ?'
4. He said, 'How many gods are there, Yagñavalkya ?'—'Three hundred and three, and three thousand and three,' he replied.— Yea, so it is !' he said. "How many gods are there really, Yagñavalkya ?'—'Thirty-three.'— Yea, so it is !' he said.
* One might also construe,—These are yours, O Brahmanas: he who is the most learned in sacred writ shall drive (them) away. Cf. Delbrück, Altind. Syntax, pp. 251, 363.
* Gokama eva kevalam vayam smah bhavâmah, Sây. * See XIV, 6, 9, i seqq.
I 2
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How many gods are there really, Yagñavalkya ?'"Three.'—Yea, so it is !' he said. "How many gods are there really, Yâgñavalkya ?'—'Two.'
Yea, so it is !' he said. "How many gods are there really, Yagñavalkya ?'—'One and a half.' -Yea, so it' is!' he said. "How many gods are there really, Yâgñavalkya ?'—'One.'-'Yea, so it is!' he said. Who are those three hundred and three, and three thousand and three ?'
5. He replied, “These are their powers, but thirty-three gods indeed there are.'— Who are those thirty-three ?'— Eight Vasus, eleven Rudras, and twelve Adityas,—that makes thirty-one; and Indra and Pragàpati make up the thirty-three.'
6. 'Who are the Vasus ?'-'Agni, the Earth, Vậyu (the wind), the Air, Aditya (the sun), Heaven, the Moon, and the Stars :—these are the Vasus, for these cause all this (universe) to abide (vas), and hence they are the Vasus.'
7. Who are the Rudras ?'—'These ten vital airs in man, and the self (spirit) is the eleventh : when these depart from this mortal body, they cause wailing (rud), and hence they are the Rudras.'
8. Who are the Adityas ?'--'The twelve months of the year : these are the Âdityas, for they pass whilst laying hold on everything here; and inasmuch as they pass whilst laying hold (â-da) on everything here, they are the Adityas.'
9. Who is Indra, and who Pragâpati ?'—'Indra, indeed, is thunder', and Pragapati the sacrifice.' What is thunder?'—'The thunderbolt.'—What is the sacrifice ?'—'Cattle.'
Sayana takes 'stanayitnu' in the sense of thunder-cloud,' – stanayitnuh stananasilo gargan parganya ity arthah.
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10. Who are those three gods ?'—* These three worlds, for therein all the gods are contained.'
Who are those two gods ?'--'Food and breath (life).'— Who is the one and a half ?'—' He who is blowing here? (Vậyu, the wind).'-—'Who is the one god?'_Breath.'
11. He (Yågñavalkya) said, 'Thou hast gone on questioning me beyond the deity?, beyond which there must be no questioning : thou shalt die ere such and such a day, and not even thy bones shall reach thy home!' And so, indeed, did he (Såkalya) die; and robbers carried off his bones, taking them for something else? Wherefore let no man decry' any one, for even (by) knowing this, he gets the better of himo.
* XIV, 6, 9, 10, the use of adhyardha (having one half over) in connection with the wind is accounted for by a fanciful etymology, viz. because the wind succeeds (or prevails) over (adhy-ardh) everything here.
? That is, as would seem, Pragâ pati, cf. XIV, 6, 6, 1, where Yaghavalkya tells Gârgf how one world is woven and rewoven' on another, the last being that of Pragâpati, which was woven on that of the Brahman; and when Gargi asks him as to what world the Brahman-world was woven on, he gives the same reply as here, viz. that there must be no questioning beyond that deity (Pragâpati).
s Prof. Weber, Ind. Streisen, I, p. 21, connects this feature with the belief in a strictly personal existence after death prevailing at the time of the Brahmana, which involved, as a matter of great moment, the careful collection of the bones after the corpse had been burnt, with a view to their being placed in an earthen vessel and buried.-Cf. Asval. Grihyas. IV, 5, I seqq.; Kâty. Sr. XXI, 3, 7 seqq. See also J. Muir, Orig. Sanskrit Texts, vol. v, p. 316.
• That is, mistaking them for gold or some other valuable substance, comm., -anyan manyamânâh suvarnâdidravyatvena gânantah.
• Or, revile,' as the St. Petersb. Dict. takes it. Possibly, however, 'upa-vad' has here the sense of to speak to,' i.e.'to question or lecture some one.'
• The commentary is partly corrupt and not very intelligible :
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SATAPATHA-BRAHMANA.
SEVENTH ADHYÂYA. First BRAHMANA.
The Animal SACRIFICE ! I. He performs the animal sacrifice. Now the animal sacrifice means cattle: thus, when he performs the animal sacrifice (pasubandha, the binding of the animal), it is in order that he may be possessed of cattle. Let him perform it at his home, thinking, 'I will bind (attach) cattle to my home.' Let him perform it in the season of abundant fodder, thinking, ‘I will bind to myself cattle in a season of abundant fodder. For, whilst he is offering?, the · Sacrificer's fires become worn out, and so does the Sacrificer, along with the worn-out fires, and along with the Sacrificer his house and cattle.
2. And when he performs the animal sacrifice, he renews his fires, and so, along with the renewal of his fires, does the Sacrificer (renew himself), and along with the Sacrificer his house and cattle. And beneficial to life, indeed, is that redemption of his
Yasmâd evam tasmad iti goshu kathârdpena tattvanikristi)m upetya vâdi na bhavet, sva (svayam) api tu evamvit paro bhavati, uktaprakårena yah.pranasvarūpam gânâti tam vidvamsam upetya tatparyena savå (? &tmana) yukto bhaved ity arthah, Sây. Cf. Weber, Ind. Stud. V, p. 361, note.-Prof. Delbrück, Altind. Syntax, p. 528, takes 'paro bhavati' in the sense of he becomes one of the other side, or shore,' i.e. he dies.
Whilst a full account is given in the third Kanda (part ii, p. 162 seqq.) of the animal sacrifice performed on the day before the Soma-sacrifice, the Brâhmana, in the last two adhyâyas of the present Kanda, touches on certain features in which the performance of the animal sacrifice of the pressing-day differs from that of the preceding day.
• Viz. the Agnihotra every morning and evening.
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own self1; for whilst he is offering the Sacrificer's fires long for flesh; they set their minds on the Sacrificer and harbour designs on him. In other fires people do indeed cook any kind of meat, but these (sacrificial fires) have no desire for any other flesh but this (sacrificial animal), and for him to whom they belong.
3. Now, when he performs the animal offering he thereby redeems himself—male by male, for the victim is a male, and the Sacrificer is a male. And this, indeed, to wit, flesh, is the best kind of food : he thus becomes an eater of the best kind of food. Let not a year pass by for him without his offering ; for the year means life: it is thus immortal life he thereby confers upon himself.
SECOND BRÂHMANA. 1. Now there is one animal sacrifice of the Haviryagña orders, and another of the order of the Somasacrifice. Of the Haviryagña order is that at which he (the Adhvaryu) brings him fast-food“, leads water
I That is, the ransoming of one's own life from the sacrificial fires, by offering an animal victim to them in lieu of his own self.
. That is, in ordinary, culinary fires.
. That is, the offering of the Agnîshomiya he-goat which takes place on the day before the press-day (see part ii, p. 162 seqq.); whilst the Savanîya-pasubandha is performed on the day of the Soma-sacrifice itself; the victim being slaughtered during the morning-service, and the flesh-portions cooked during the day and offered at the evening-service (cf. part ii, p. 313, note 3; p. 356, Dote 3).
* That is, milk from the Vratadughå cow (which may be mixed with some rice or barley; III, 2, 2, 14), the only food to be taken by the Sacrificer during his dikshâ, or period of initiation in this case on the day before the Soma-sacrifice.
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forward', and pours out a jarful of water, and at which (the Sacrificer) strides the Vishnu-strides 8; and of the order of the Soma-sacrifice is that (animal sacrifice) at which these (rites) are not performed.
2. Concerning this they ask, “Is the animal sacrifice an ishti or a great (Soma-) sacrifice ?'— A great sacrifice,' let him say; 'for in that (other) case* thou hast made the animal sacrifice an ishti, and shattered it.' Thus he should say to him.
3. Its fore-offerings are the morning-service ", its after-offerings the evening-service, and its sacrificial cake the midday-service.
4. Now, some bring up the Dakshinas (presents to the priests) when the omentum has been offered?;
That is, the so-called 'pranîtâh' used for sacrificial purposes generally, and especially for supplying what is required for pressing the Soma. Cf. the comm. on Kâty. VI, 7, 19, where the
pranîtâpranayana' is expressly referred to as a necessary element of the performance of the Agnsshomiya.
For the pouring out of the water on the south side of the Vedi, at the end of the Haviryagña, see I, 9, 3, i seqq.
* The Sacrificer intercepts with his hands some of the water poured out, touches his face therewith, and then strides the three Vishnu-strides; cf. I, 9, 3, 8 seqq.
• Viz. in case of the animal sacrifice being performed on the Haviryagna or Ishri model; which, strictly speaking, would involve the use of no other offering-material except milk, ghee, and dishes made of cereals.
The usual order of subject and predicate would require the translation, the morning-service is its fore-offerings,' which would hardly be in accordance with the author's reasoning.
• For the pasu-purodâsa, III, 8, 3, 1 seqq.
7 That is, prior to the offering of the animal cake' (pasupurodâsa), whilst the presentation of the dakshinas-a head of cattle, or a milch-cow, or some other desirable object--according to Katy. VI, 7, 29, should take place after the offering of the Ida, which marks the end of the Pasu-purodâ sa-ishti.
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but let him not do so, for if, in that case, any one were to say of him, 'Surely, this (Sacrificer) has brought the Dakshinâs outside of the vital airs (or, of life), he has not strengthened his vital airs : he will become either blind, or lame, or deaf, or paralyzed on one side;' then that would indeed be likely to come to pass.
5. Let him perform it in this way:-when the Ida of the cake-offering has been invoked, he should bring up the Dakshinas; for to Indra belongs this vital air in the centre (of the body): by means of the Dakshinas he thus strengthens this vital air in the centre (of the body); and to Indra also belongs the midday Soma-service, and at the midday-service the Dakshinâs are brought up: therefore he should bring up the Dakshinâs after the invocation of the Idâ of the cake-offering.
6. Here now they say, 'Seeing that the want of the purificatory bath in the case of the initiated is improper, Adhvaryu, when didst thou initiate him?' Well, let them sustain him till the purificatory bath, -to wit, the Adhvaryu, the Pratiprasthâtri, the Hotri, the Maitrâvaruna, the Brahman, and the
Sâyana supplies' ganah,' the people;' but possibly the text of the commentary may be corrupt in this place. The author's meaning would seem to be that, as there is no purificatory bath at the end of the animal sacrifice performed on the Soma-day, the Sacrificer's strength is to be kept up by the Shaddhotri formula (representing the six priests themselves) which will carry him as far as the purificatory bath at the end of the Soma-sacrifice. I am, however, far from sure that this is the real meaning of the passage. The Shaddhotri is performed at the animal sacrifice of the pressingday) shortly after the beginning of the ceremonies connected with the Pasubandha, viz. immediately after the yüpâhuti, see part ii, p. 162 seqq.
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Agnidhra, for it is through these that this (formula) is called 'shaddhotri?': having rapidly muttered that
shaddhotri,' he offers, performing either one or five oblations of ghee?,—The heaven is hiss back, the air his body, O Vâkaspati, by his limbs he gave rise to the sacrifice, by his forms to the earth; by his flawless voice and his flawless tongue to the god-gladdening invocation, Hail!' This, indeed, is his initiation.
7. As to this they say, 'Seeing that the want of the purificatory bath in the case of the initiated is improper, Adhvaryu, when didst thou take him down to the purificatory bath ?' Well, when they perform with the heart-spit*, that is his purificatory bath.
8. Madhuka Paingya once said, 'Some perform the animal sacrifice without Soma, and others do so with Soma. Now, Soma was in the heavens, and Gâyatri, having become a bird, fetched him; and inasmuch as one of his leaves (parna) was cut off,
That is, one containing (mentioning), or requiring, six offeringpriests, the number required for the animal sacrifice.
In either case the offering consists of five ladlings of ghee; and in the case of a single oblation, according to Sayana, a different dipping-spoon (sruva) would seem to be used for each ladling; unless, indeed, ekaikena sruvena' mean with one sruvafull each.' According to Kâty. VI, 1, 36, the formula is merely run through mentally.'
• Sâyana interprets thy back'; and he apparently supplies prâpnoti' at the end of the first half-verse, whilst 'airayat' he takes to stand for the second person singular.
• That is, when the heart is roasted on the spit prior to its being offered ; see III, 8, 3, 16. This use of the spit is to take the place of the purificatory bath, the technical term of which is spit-bath' (sûlavabhritha), the spit being on that occasion buried at the point where the dry and the moist meet,' see III, 8, 5, 8-10.
* Either a leaf of Soma or a feather of Gayatri was cut off by an
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that was how the Parna-tree arose :' such, indeed, is (the passage in) the Brahmana that is told. And some, it is true, perform the animal sacrifice without Soma, and others with Soma; for he who makes the sacrificial stake other than of Palasa wood, performs the animal sacrifice without Soma; and he who makes the sacrificial stake of Palasa performs the animal sacrifice with Soma : therefore let him make his sacrificial stake of Palasa wood.
THIRD BRAHMANA.
1. Such a (sacrificial stake) as has much substance! is not auspicious to cattle, whence he who desires to have cattle should not make such a one his sacrificial stake: but such a one as .is of little hardness is auspicious to cattle, whence he who desires to have cattle should make such a one his sacrificial stake.
2. And such a one as, while being crooked, has a top like a spit, is called “kapotie'; and whoever makes such a one his sacrificial stake certainly goes to yonder world before his full measure of life: therefore let no one wishing for long life make such a one his sacrificial stake.
arrow shot by an archer pursuing Gâyatri, and, on its falling to the earth, a Palasa, or Parna, tree (Butea frondosa) sprang forth, see III, 3, 4, 10.
That is, as would seem, made of very hard wood. It cannot mean 'pithy,' because at XIII, 4, 4, 9, the Khadira (acacia catechu), a tree of very hard, solid wood, is mentioned as " bahusara.'
• Either that which has a pigeon (sitting) on it' (kapotin, viz. yapa), or, as Sâyana takes it, fem. of 'kapota,'-a female pigeon ; i.e. a tree too much pointed at the top.
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3. And such a one as is bent at the top, and bent outwards' in the middle, is a type of hunger (poverty); and if any one makes such a one his sacrificial stake, his dependants will certainly be hungry; therefore let no one wishing for food make such a one his sacrificial stake. But such a one as is bent at the top and bent inwards in the middle, is a type of food (prosperity): therefore let him who wishes for food make such a one his sacrificial stake.
124
FOURTH BRAHMANA.
1. Now, when he who is about to perform an animal sacrifice makes a stake one cubit long, he thereby gains this (terrestrial) world; and when (he makes) one two cubits long, he thereby gains the air-world; and when he makes one three cubits long, he thereby gains the heavens; and when he makes one four cubits long, he thereby gains the regions. But, indeed, that sacrificial stake of the (ordinary) animal sacrifice is either three or four cubits long, and one that is above that belongs to the Somasacrifice.
2. As to this they say, 'Should he offer the butterportions or not?'-'Let him offer them,' they say; for the two butter-portions are the eyes of the sacrifice, and what were man without eyes?' For as long as a co-sharer is not bought off by (receiving) a share of his own, so long does he consider himself not bought off; but when he is bought off by a share of his own, then, indeed, he considers himself bought
That is, as would seem, bent to the opposite side from that towards which the top tends.
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off: when the Hotri, on that occasion', recites, 'Endow the Rakshas with blood!' he buys him off by (assigning to him) a share of his own.
3. For on that occasion the anguish of the victim, in being slaughtered, becomes concentrated in the heart, and from the heart (it flows) into the spit. Thus, if they (were to cook the animal together with the heart, the anguish would again spread all over the animal: let him therefore cook it (the heart) after spitting it from the side on a stick.
4. He makes an underlayer of ghee (in the offering-ladle): this he makes a type of the earth; he then puts a chip of gold thereon: this he makes a type of fire; he then puts the omentum thereon: this he makes a type of the air ; he then puts a chip of gold thereon: this he makes a type of the sun; and what (ghee) he pours upon it, that he makes a type of the heavens. This, then, is that fiveportioned omentum,-fivefold is the sacrifice, fivefold the sacrificial animal, and five seasons there are in the year: this is why the omentum consists of five portions.
Viz. at the time when the victim is cut up. Cf. Ait. Br. II, 7,Endow ye the Rakshas with blood !' he says; for by (assigning to them) the husks and the sweepings of the grain the gods deprived the Rakshas of their share in the Haviryagña, and by the blood (they deprived them) of that in the great (Soma-) sacrifice : thus by saying, 'Endow ye the Rakshas with blood l'he dispossesses the Rakshas of the sacrifice by assigning to them their own share.The Adhvaryu then smears a stalk of grass with the blood with,
Thou art the Rakshas' share,' throws it on the heap of rubbish, and treads on it with, Herewith I tread down the Rakshas,' &c. Cf. III, 8, 2, 13-15.
? See III, 8, 5, 8. . Or, cuttings; see III, 8, 2, 26.
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Eighth Adhyâya. First BRÂHMANA. 1. Verily, even as this cart-wheel, or a potter's wheel, would creak' if not steadied, so, indeed, were these worlds unfirm and unsteadied.
2. Pragâpati then bethought him, 'How may these worlds become firm and steadied ?' By means of the mountains and rivers he stablished this (earth), by means of the birds and sun-motes? the air, and by means of the clouds and stars the sky.
3. He then exclaimed, “Wealth!'-now, wealth 3 (mahas) means cattle, whence they (cattle) thrive (mahiyante 4) exceedingly in the homestead of one who possesses many of them; and this (Sacrificer), indeed, possesses many of them, and in his homestead they do thrive exceedingly. Wherefore, if people were either to forcibly drive him from his home, or to bid him go forth, let him, after performing the Agni-hotra, approach (the fires) saying, 'Wealth'; and he becomes firmly established by offspring and cattle, and is not deprived of his home.
· Sayana apparently takes 'krand' in the sense of 'to shake, or wabble,'--' even as a cart-wheel or some other wheel, not standing on the ground for want of the wooden rest (alambana-kashtha, ? axle-pin) or some other thing, would wabble (hvalet).' What Sâyana means to say, probably, is that the verb used by the author expresses the effect of the action intended.
* Or, sun-beams (rasmi), as Såyana takes 'marîki'; cf. Weber, Ind. Stud. IX, p. 9, note.
Or, joy ;-cp. II, 3, 4, 25, which would seem to be the passage referred to in the present paragraph.
• Or, perhaps, they enjoy themselves, gambol,' as the St. Petersb. Dict. takes it. Differently, again, Sâyana,-yata ebhih pasubhir mahîyate (he thrives ?), ata ete mahah.
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SECOND BRAHMANA.
1. Verily, there are four kinds of fire, the one laid down, the one taken out, the one taken forward, and the one spread (over the three hearths). Now, that which is laid down is this very (terrestrial) world; that which is taken out is the air-world, that which is taken forward is the sky, and that which is spread is the regions. And that which is laid down is Agni, that which is taken out is Vâyu (the wind), that which is taken forward is Âditya (the sun), and that which is spread is Kandramas (the moon). And that which is laid down is the Gârhapatya, that which is taken out is the Åhavaniya, that which is taken forward is the (fire) they lead forth eastwards from the Ahavantya; and that which is spread is the one they take northwards for the cooking of the victim, and that (used) for the byofferings: let him therefore perform the animal sacrifice on a fire taken forward.
THIRD BRAHMANA.
1. Here, now, they say, 'To what deity should this victim belong?'-'It should belong to Pragapati,' they say; 'for it was Pragâpati who first saw it: therefore it is to Pragâpati that this victim should belong.'
2. And they also say, 'To Surya (the sun) that victim should belong;'-whence it is that cattle are tied up when he (the sun) has set: some of them
1 See III, 8, 3, 18; 8, 4, 9, with note.
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they tie up' in their respective stables, and others just flock together :-'therefore, they say, “it is to Surya that this victim should belong.'
3. And they also say, 'To Indra and Agni that victim should belong; for behind these two deities are (all) the other gods ;—if one who is afflicted sacrifices, those two (gods) sustain him; and if one sacrifices with (a desire for) abundance ?, they sustain him: therefore it is to Indra and Agni that this victim should belong.'
4. The animal sacrifice, indeed, is the breath, whence, as long as one lives, no other has power over his cattle, for they are tied to him.
5. Pragâpati said to Agni, ‘I will perform sacrifice with thee: I will lay hands upon thee (as a victim).' - Nay,' said he, 'speak unto man!' He said to man, 'I will perform sacrifice with thee: I will lay hands upon thee.'— Nay,' said he, 'speak unto the cattle!' He said to the cattle, I will perform sacrifice with you: I will lay hands. upon you.'
Nay,' said they, 'speak unto the moon! He said to the moon, 'I will perform sacrifice with thee: I will lay hands upon thee.'— Nay,' said he, 'speak unto the sun!' He said to the sun, ‘I will perform sacrifice with thee: I will lay hands upon thee.' 'So be it!' said he; 'but seeing that those liked it not (to be slaughtered), what, then, shall become mine that now is with these 3 ?'-'What
Or, perhaps, cattle are shut up—some of them they shut up. s? Thus, apparently, Sâyana :—Anye tv indragnyoh sarvadevatapradhânyât svoddesena yâgam kritavatâm krimenârtinâsak(atvyán mahatah (? mahasah) präpakatvâk ka pasur aindrågna iti.
• Eteshâm svabhūtam vastu kim labdham bhavet, Sây.
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soever thou mayest desire,' he said. — So be it,' he replied. He laid hands upon him, and this is that animal of his seized (for sacrifice). When slaughtered, it swelled, and by means of those Åpri-hymns, he appeased it'; and inasmuch as, by means of these Åpri-hymns, he appeased it, they are called Åpris. And let him, for that reason, say of the slaughtered animal, 'Let it lie for a moment!' As great as the world is which he gains by performing the horsesacrifice, so great a world does he gain by this (animal sacrifice).
6. The (wind of the) eastern region breathed over that (dead victim), saying, “Breathe forth!' and thereby laid the breath (of the mouth) into it; the southern region breathed over it, saying,
Breathe through!' and thereby laid the throughbreathing into it; the western region breathed over it, saying, 'Breathe off!' and thereby laid the offbreathing into it; the northern region breathed over it, saying, Breathe up!' and thereby laid the up-breathing (of the nostrils) into it; the upper region breathed over it, saying, 'Breathe all about!' and thereby laid the circulating breathing into it. Therefore, regarding a new-born son, let him say to five Brâhmanas, before the navel-string has been cut, Breathe over him in this way?!' But if he should be unable to obtain them he may even
See III, 8, 1, 2 (with note), where å-pri'is apparently taken by the Brâhmana in the sense of to fill up.
? The Brâhmans having been placed in the direction of the respective quarters, the father makes one after the other breathe upon the child,--the first from the east and the child's head, the second from the right side, &c., in sunwise succession; the fifth (whose position is not specified) breathing right duwn upon the child.
[44]
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himself breathe over him whilst walking round him; and that (son of his) attains the full measure of life and lives to old age.
7. He (the sun) took unto himself Agni's breath ; whence that (fire) does not blaze unless fanned or kindled, for its breath has been taken from it; and, verily, he who knows this takes away the breath of life from his spiteful enemy.
8. He took to himself Vâyu's form; whence people hear it (the wind), as it were, shaking, but do not see it, for its form has been taken from it; and, verily, he who knows this takes away the form of his spiteful enemy.
9. He took to himself man's thought; whence people say, 'The divine thought protect thee, man's thought me!' for his thought has been taken from him; and, verily, he who knows this takes away the thought of his spiteful enemy.
10. He took to himself the eye of cattle; whence, even whilst seeing clearly, as it were, they do not know. anything, but only know what it is when they smell at it, for their eye has been taken from them; and, verily, he who knows this takes away the eye of his spiteful enemy.
11. He took to himself the moon's shine; whence of these two (sun and moon), though being similar, the moon shines much less, for its shine has been taken from it; and, verily, he who knows this takes away the shine from his spiteful enemy. And inasmuch as he took these away (â-da), he (the sun) is called Aditya.
· Viz. a hundred years, Sây. See X, 2, 6, 9; part iv, introd.,
p. xxii.
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Fourth BRAHMANA. 1. Now, once upon a time, a tiger killed the samråg-cowl of those (who were sacrificing) with (the king of the) Kesin as their Grihapati ? He (the king :) said to his fellow-sacrificers, What atonement is there for this ?' They replied, *There is no atonement for this: Khandika Audbhâri alone knows an atonement for it; but he certainly desires as much as this, and worse than this “, (to happen) to thee.'
2. He said, 'Charioteer, put to my horses; I shall drive thither: if so be he will tell me, I shall succeed (with my sacrifice); but if he will have me die, I shall be shattered along with the shattered sacrifice.'
3. Having put to the horses, he drove off, and
That is the cow which supplies the milk for the Pravargya; this milk, when heated, being called 'gharma (heat)' or 'samråg (sovereign king).' See part ii, p. 104, note 3.
2 Grihapati, or house-lord, master of the house, is the title of the principal sacrificer at a sacrificial session (sattra).-According to Sâyana, the Kesinah were a race of nobles (râgånał), who, on this occasion, were performing a 'sattra,' and are therefore styled
householders' (grihapati);— kesino nama rågånah sattrayagam anutishthanto grihapataya asuh. Sâyana thus takes-kesi-grihapatayah,' not as a bahuvrihi, but as a tatpurusha (karmadhâraya, 'the Kesin householders ') which would, however, require the accent on the second member of the compound.—Though all those taking part in a sacrificial session ought to be Brahmans, the rule does not seem to have been strictly observed. Cf. part iv, introd., p. xxv; Weber, Ind. Stud. X, pp. 26; 94.
Grihapatishu pradhanabhůtah kesirågah, Sây. • That is, that even a greater misfortune should happen to thee,-atyantam påpayuktam govadhâdidoshayuktam ity arthah,
Sây.
K
2
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came thither. When he (Khandika) saw him, he said, 'Seeing that there are those skins on deer, we break their ribs and cook them: the skin of the black antelope is attached to my neck is it with thoughts such as these that thou hast dared to drive over to me?'
4. 'Not so,' he replied; 'a tiger has killed my samrâg-cow, reverend sir; if so be thou wilt tell me, I shall succeed; but if thou wilt have me die, I shall be shattered along with the shattered sacrifice.'
5. He said, I will take counsel with my counsellors 4.' Having called them to counsel, he said, 'If I tell him, his race, not mine, will prevail here',
Sayana makes Khandika the subject of this last verb :-- sa ha ratham asvaih samyogya Khandikasamipam yayau; so spi Khandikah kesinam âgagama, gatva ka vivaktam ( viviktam) Kesinam pratikhyâya nirâkritya sadayam eva prathamam uvâka. He thus seems not to allow here to yâ' the meaning of 'to drive,' but to take 'yayau' in the sense of he went thither. It might, of course, also mean "he set off.'
? Sâyana apparently takes ' prati-khya' in the sense of to refuse admittance to, to reject,' abweisen.' Sayana's comment on this passage is as follows:
4 0 Kesin, the skin of the cow that yields the gharma-milk is worn by thee on the neck : those (i.e. suchlike) skins, indeed, are (i.e. are seen) on deer; and having broken (i.e. torn to pieces) the “prishti" (i.e. the small-sized does) amongst them we cook them: that blackantelope skin is fastened on my neck. Khandika having spoken thus, the king said, 'No, this is not my intention.'
• Literally, those that should be consulted, whom further on Sâyana calls 'âptâh' or trusty men.
o Or, perhaps, the people here (the Kesins) will become his, not mine; cf. Delbrück, Altind. Syntax, pp. 32; 141 (two different renderings). Sayana, on the other hand, takes praga,' not in the sense either of family' or 'people,' but in that of '(sacred) knowledge'perhaps with reference to the threefold science (the Veda) as the
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but I shall gain the (other) world; and if I do not tell him, my own race, not his, will prevail here, but he will gain the (other) world. They said, 'Do not tell him, reverend sir, for, surely, this (the earth) is the Kshatriya's world?' He replied, 'Nay, I will tell him : there are more nights ? up yonder.
6. And, accordingly, he then said to him, — Having offered the Spritis 3, he (the Adhvaryu) should say, “Drive up another (cow)!” and that one should be thy samråg-cow 4'— '[Having offered with,] "From the moon I take thy mind, hail!From the sun I take thine eye, hail!—From the wind I take thy breathings, hail!-From the regions I take thine ear, hail!-From the waters I take thy blood, hail!-From the earth
thousandfold progeny of Vâk, speech (cf. IV, 5, 8, 4; 6, 7, 3; V, 5, 5, 12)—which Khandika would thus lose, whilst, by imparting the sacred knowledge, he would gain a seat in heaven.
Sâyana's comment is not very intelligible, the MS. being more than usually corrupt on this last page :-evamvidhe virodha udbhavitê sati te âptâ ûkuh, he bhagavo vidyam mâ vokah, kshatriyasya loko na bhavishyatîti; nanu tavânusayah (appanage, domain, following) sa tasya nâsti; ayam và va ayam eva khalu kshatriyasya lokas tasmât sauspatrâter () evam ukte sati sadvekenarâpatra bhavânti (!) ato vakshyâmy evety uvâka.
* That is, days, - by giving up a brief life of earthly power and glory, he gains eternal life.
* That is, oblations performed with a view of taking hold (spri)' of something ; cf. Kâty. Srautas. XXV, 6, 11. 12.
• The particle 'iti' here causes some difficulty of construction which would be removed by the latter clause being taken as part of the Adhvaryu's speech; though Kâtyâyana, it is true, does not recognise it as such. Perhaps, however, Khandika's speech ends here, and what follows up to that one shall be thy samråg-cow' has to be taken as a ritualistic insertion, in which case the final iti' would have some such meaning as having been told thus.'
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I take thy body, hail!” let him then say, “Drive up another (cow)!” and that one shall be thy samrågcow!' He then departed from thence, and, verily, members of the Kesin race are born here even to this day.
Sayana takes this thus :— Thus instructed, Kesin disappeared (or, passed away, vanished, utsasáda vinashtar) from that region (tato desât) '-after which there is a lacuna in the MS. Perhaps, however, it is Khandika, rather than Kesin, to which this refers, he (and his race) then, indeed, passed away from that region, whilst the Kesins flourished.
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TWELFTH KÅNDA.
THE SACRIFICIAL SESSION (SATTRA).
First ADHYAYA. FIRST BRÂHMANA. 1. Verily, this sacrifice is the same as this blowing (wind): it is that they wish to secure who take the vow of initiation for a year. Of them the Grihapati is initiated first ; for the Grihapati is this (terrestrial) world, and upon this world everything here is established; and so, indeed, are his fellowsacrificers established in the Grihapati: it is thus after they have become established on a firm foundation that they are initiated.
2. He (the Adhvaryu) then initiates the Brahman (priest). Now the Brahman is the moon, and the moon is Soma, and plants belong to Soma 8 : he thus connects the plants with this (terrestrial) world. Therefore no other person should be initiated between those two; for, assuredly, were any one else to be initiated between those two, he would separate (tear up) the plants from this (terrestrial) world, and they would be liable to dry up: let therefore no other person be initiated between those two.
3. He then initiates the Udgatri. Now, the Udgâtri is the thunder-cloud, and from the thundercloud rain is produced: he thus connects the rain
· Viz. the wind as the vital air pervading man; see paragraph 11. ? He, as well as the first three priests, is initiated by the Adhvaryu.
* Soma is the king of plants, whence these are called 'somarâgii,' II, 3, 4, 4; V, 4, 2, 3; Rig-veda S. X, 97, 8.
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with the plants. Therefore no other person should be initiated between those two; for, assuredly, were any one else to be initiated between those two, he would separate the rain from the plants, and (the cloud) would be liable to lack rain: let therefore no other person be initiated between those two.
4. He then initiates the Hotri. Now, the Hotri1 is Agni in respect of the deity, and speech in respect of the body; and rain is food: he thus connects both Agni (fire) and speech with food. Therefore no other person should be initiated between those two; for, assuredly, were any one else to be initiated between those two, he would separate fire and speech from food, and (people) would be liable to starve: let therefore no other person be initiated between those two.
SATAPATHA-BRAHMANA.
5. The Pratiprasthâtri then initiates the Adhvaryu. Now, the Adhvaryu is the mind, and the Hotri is speech: he thus connects mind and speech with one another. Therefore no other person should be initiated between those two; for, assuredly, were any one else to be initiated between those two, he would separate mind and speech, and (people) would be liable to perish: let therefore no other person be initiated between those two.
6. He then initiates the Brahmanâkhamsin for the Brahman, for under him the former is. He then initiates the Prastotri for the Udgâtri, for under
1 Viz. as the offering-priest kar' ox, he who, by the recitation of his 'invitatory' and 'offering' verses, like Agni, draws the gods to the offering, and causes them to graciously accept it.
The Adhvaryu is the head of the sacrifice (IV, 1, 5, 16); and, as the mind, he marches in front. See also III, 2, 4, II. 'Mind goes before Speech (prompting her), "Speak thus! say not this!"''
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XII KÂNDA, I ADHYAYA, I BRÂHMANA, 10. 137
him the former is. He then initiates the Maitravaruna for the Hotri, for under him the former is. These four the Pratiprasthâtri initiates.
7. The Neshtri then initiates the Pratiprasthàtri for the Adhvaryu, for under him the former is. It is after the fitting out of these nine that the others are fitted out; for there are nine vital airs : he thus lays the vital airs into them; and so they attain the full term of life, and so they do not depart this world before their (full) term of life.
8. He then initiates the Potri for the Brahman, for under him the former is. He then initiates the Pratihartri for the Udgâtri, for under him the former is. He then initiates the Akhâvâka for the Hotri, for under him the former is. These four the Neshtri initiates.
9. The Unnetri then initiates the Neshtri for the Adhvaryu, for under him the former is. He then initiates the Agnidhra for the Brahman, for under him the former is. He then initiates the Subrahmanyâ for the Udgâtri, for under him the former is. He then initiates the Gràvastut for the Hotri, for under him the former is. These four the Unnetri initiates.
10. Either a Snataka, or a Brahmakârin, or some one else who is not initiated, then initiates the Unnetri; for they say, 'No pure one should purify. This is the regular order of initiations ;
"Or, after getting them ready, or prepared (klipti).
* That is, one who has completed his course of theological study (brahmakarya), and has taken the bath (snata) marking the end of that course, and his return to the bosom of his family. See above, pp. 48-50 (esp. XI, 3, 3, 7).
• Literally, the initiation in the regular succession.
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SATAPATHA-BRÂHMANA. and, assuredly, only when, knowing this, they become initiated, they make ready the sacrifice even whilst being initiated, and along with the getting ready of the sacrifice security of property accrues to the performers of the sacrificial session (Sattra); and, along with the accruing of security of property to the performers of the session, security of property also accrues to that district in which they perform the sacrifice.
11. Now, the Unnetri is initiated last of these, and when they come out from the purificatory bath it is he that comes out first; for the Unnetri is the vital air: he thus lays vital air into them on both sides; and so they attain the full term of life, and so they do not depart this world before their (full) term of life. This is the regular order of initiation : and, assuredly, he should become initiated only where such as know this become initiated.
SECOND BRÂHMANA. 1. Verily, from out of faith the gods fashioned the initiation, from out of Aditi the opening (sacrifice 2), from out of Soma the buying (of Somaplants), from out of Vishnu the guest-offering, from out of the sun the Pravargya, from out of the Svadhả (the food of departed ancestors) the Upa
· That is to say, when they become initiated in accordance with this knowledge.
For the Prâyanîyesha of the ordinary Soma-sacrifice, see part ii, p. 47 segg. For the subsequent ceremonies, cf. the table of contents of the same part. They are here alluded to for the reason that they are essential parts of every day's performance during the year's session.
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sads, from out of Agni and Soma the day of fasting, and from out of this world the opening Atirâtral.
2. From out of the year (they fashioned) the Katurvimsa day, from out of the priesthood the Abhiplava (shadaha), from out of the nobility the Prishthya (shadaha) , from out of Agni the Abhigit, from out of the waters the Svarasaman days, from out of the sun the Vishuvat,—the Svarasâman days have been told ;-from out of Indra the Visvagit,—the Prishthya and Abhiplava have been told;—from out of Mitra and Varuna the Go and
1 The Prayanîya Atirâtra is the first day of the sacrificial session called Gavâm ayanam, the performance of which lasts a year, and includes the following sacrificial periods and days (cf. part ii, p. 427): -
Prayanîya Atirâtra, or opening day. Katurvim sa day, an Ukthya, all the stotras of which are in
the katurvimsa-stoma. 5 months, each consisting of 4 Abhiplava shadahas, and
i Prishthya shadaha (=30 days). 3 Abhiplavas and i Prishthya. , 28 days which, with the Abhigit day (performed with all two opening days, the stomas).
complete the sixth 3 Svarasaman days.
month. VISHUVAT, or Divâkîrtya day (Ekavimsa-stoma). 3 Svarasấman days.
28 days which, with the Visvagit day (performed with all two concluding days, the prishthas).
complete the seventh i Prishthya and 3 Abhiplavas. month. 4 months, each consisting of i Prishthya shadaha and four
Abhiplava shadahas. 3 Abhiplava shadahas (18 days). i Goshloma (Agnishloma).
30 days (twelfth month). I Âyushłoma (Ukthya). 1 Dasarâtra (10 days). Mahâ vrata day (Agnish/oma).
Udayanîya Atirâtra, or concluding day.
For the difference between these two sacrificial periods of six days, see part iü, introd., p. xxi, note 2.
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SATAPATHA-BRAHMANA.
Âyus', from out of the Visve Devâh the Dasarâtra, from out of the regions the Prishthyashadaha of the Dasarâtra, from out of these worlds the Khandoma days.
3. From out of the year (they fashioned) the tenth day, from out of Pragâpati the Mahâvrata, and from out of the world of heaven the Udayaniya Atirâtra :-such was the birth of the Year; and, verily, whosoever thus knows that birth of the Year becomes more (and more) glorious to (the end of) it, he becomes possessed of a (new) body, he becomes the Year, and, as the Year, he goes to the gods.
THIRD BRAHMANA.
1. Now, when they are initiated they indeed offer sacrifice to the deities Agni and Vishnu: they become the deities Agni and Vishnu, and attain to fellowship and co-existence with Agni and Vishnu.
2. And when they perform the opening sacrifice they indeed offer sacrifice to the deity Aditi: they become the deity Aditi, and attain to fellowship and co-existence with Aditi.
3. And when they proceed with the buying (of Soma-plants) they indeed offer sacrifice to the deity Soma: they become the deity Soma, and attain to fellowship and co-existence with Soma.
For the differences between the three modes of chanting the Stotras of the Agnish/oma and Ukthya Soma-sacrifices-viz. Gyotishioma, Gosh/oma, Ayush/oma-see part iv, p. 287,
note 2.
* The Dasarâtra, or central ten days of the Dvâdasâha (twelve days' period), consists of a Prishthya shadaha, three Khandoma days (of the Ukthya order), and a final (tenth) Atyagnish/oma day called Avivákya.
For the Sacrificer as father Time, see part iv, introd., p. xxii.
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XII KANDA, I ADHYAYA, 3 BRAHMANA, 9. 141
4. And when they perform the guest-offering they indeed offer sacrifice to the deity Vishnu : they become the deity Vishnu, and attain to fellowship and co-existence with Vishnu.
5. And when they perform the Pravargya-offering1 they indeed offer sacrifice to the deity Aditya: they become the deity Âditya, and attain to fellowship and co-existence with Aditya (the sun).
6. And when they enter upon the Upasads they indeed offer sacrifice to those very deities 2 who (receive oblations) at the Upasads: they become those deities, and attain to fellowship and co-existence with those deities.
7. And when they perform the animal sacrifice to Agni and Soma they indeed offer sacrifice to the deities Agni and Soma: they become the deities Agni and Soma, and attain to fellowship and co-existence with Agni and Soma.
8. And when they perform the opening Atirâtra (of the sacrificial session) they indeed offer sacrifice to those deities, the Day and Night: they become those deities, the Day and Night, and attain to fellowship and co-existence with the Day and Night.
9. And when they enter upon the Katurvimsa day they indeed offer sacrifice to that deity, the Year: they become that deity, the Year, and attain to fellowship and co-existence with the Year.
1 See XIV, 1-3; and part ii, p. 104, note 3.
2 Viz. Agni, Soma, and Vishnu; cf. part ii, p. 105, note 1. See part ii, p. 162 seqq.
Viz. inasmuch as the Atirâtra includes both a day and a night performance.
Viz. both because this is the real opening day of the year's session, and because Pragâpati (as the Purusha and the Year) is 'katurvimsa' or 'twenty-four-fold' (e. g. VI, 2, 1, 23).
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SATAPATHA-BRAHMANA.
10. And when they enter upon the Abhiplavashadaha they indeed offer sacrifice to those deities, the Half-months and Months: they become those deities, the Half-months and Months, and attain to fellowship and co-existence with the Half-months and Months.
11. And when they enter upon the Prishthyashadaha they indeed offer sacrifice to those deities, the Seasons: they become those deities, the Seasons, and attain to fellowship and co-existence with the Seasons.
142
12. And when they enter upon the Abhigit (day) they indeed offer sacrifice to the deity Agni: they become the deity Agni, and attain to fellowship and co-existence with Agni.
13. And when they enter upon the Svarasâman (days) they indeed offer sacrifice to that deity, the Waters: they become that deity, the Waters, and attain to fellowship and co-existence with the Waters.
14. And when they enter upon the Vishuvat (day) they indeed offer sacrifice to the deity Aditya : they become the deity Âditya, and attain to fellowship and co-existence with Aditya. The Svarasâmans have been told.
15. And when they enter upon the Visvagit (day) they indeed offer sacrifice to the deity Indra: they become the deity Indra, and attain to fellowship and co-existence with Indra. The Prishthya and Abhiplava (shadahas) have been told.
16. And when they enter upon (the performance of) the Go and Ayus (stoma) they indeed offer sacrifice to the deities Mitra and Varuna: they
1 See p. 140, note 1.
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become the deities Mitra and Varuna, and attain to fellowship and co-existence with Mitra and Varuna.
17. And when they enter upon the Dasarâtra they indeed offer sacrifice to that deity the Visve Devâh: they become that deity, the Visve Devâh, and attain to fellowship and co-existence with the Visve Devâh.
18. And when they enter upon the Prishthyashadaha of the Dasarâtra they indeed offer sacrifice to those deities, the Regions : they become those deities, the Regions, and attain to fellowship and co-existence with the Regions.
19. And when they enter upon the Khandomas they indeed offer sacrifice to those deities, these Worlds: they become those deities, these Worlds, and attain to fellowship and co-existence with these Worlds.
20. And when they enter upon the tenth day (of the Dasarâtra) they indeed offer sacrifice to that deity, the Year: they become that deity, the Year, and attain to fellowship and co-existence with the
Year.
21. And when they enter upon the Mahâvrata they indeed offer sacrifice to the deity Pragâpati : they become the deity Pragâpati, and attain to fellowship and co-existence with Pragâpati.
22. And when they enter upon the concluding Atirâtra (of the sacrificial session), then, indeed, having gained the Year, they establish themselves in the world of heaven. And were any one to ask them, 'To what deity are ye offering sacrifice this day? what deity are ye? with what deity do ye dwell ?' let them name of those (deities) the one to whom they may be nearest in the performance of the Sattra). And,
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SATAPATHA-BRAHMANA.
verily, such (sacrificers) are seated (sad) in the good' (place), for they are for ever seated among the good deities; and the others are mere partakers in the sacrificial session 2; and if any one were, during a sacrificial session, to speak evil of such initiates as know this, let them say to him, 'We cut thee off from those deities;' and he becomes the worse, and they themselves become the better for it.
23. That same year contains three great rites (mahâvrata): the great rite on the Katurvimsa day, the great rite on the Vishuvat day, and the great rite on the Mahâvrata day itself. Now, those of old used, indeed, to enter upon (perform) that (year's session) with three great rites, and they became glorious, truth-speaking, and faithful to their vow; but if nowadays any (sattrins) were to perform it on this wise, they assuredly would crumble away even as a jar of unbaked clay would crumble away if water were poured into it. They (who do so) perform too much that (object) of theirs is gained by truth, by toil, by fervid devotion, by faith, by sacrifice, and by oblations.
FOURTH BRAHMANA.
1. The Year, indeed, is Man;-the opening (prâyantya) Atirâtra is his feet, for by means of their
'Or, in the true, abiding (place)-sati.
? That is, those who perform a sacrificial session (sattra) without their possessing the esoteric knowledge regarding the several ceremonies, set forth in the preceding paragraphs, are mere 'sattrasadah' (i. e. merely 'sitting through the sacrificial session') whilst those possessing that knowledge are 'sati sadah.'
That is, more especially, the chanting of the Mahâvrata-sâman, for which see part iv, p. 282, note 5.
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feet (men) go forward (prayanti): that part of them which is white is of the form of the day, and that which is black is (of the form) of the night; the nails are of the form of herbs and trees. The Katurvimsa day is the thighs, the Abhiplava the breast, and the Prishthya the back.
2. The Abhigit is this right arm, the Svarasaman days these three (openings of the) vital airs on the right side, the Vishuvat the head, and the (second period of) Svarasâman days these three vital airs on the left side.
3. The Visvagit is this left arm,--the Prishthya and Abhiplava have been told,—the Go and Ayus those downward vital airs; the Dasaratra the limbs, the Mahâvrata the mouth ; and the concluding (udayantya) Atirâtra is the hands, for by means of the hands (men) move (reach) upwards (udyanti): that part of them which is white is of the form of the day, and that which is black is of that of the night; and the nails are of the form of the stars. Thus that year is established in respect of the body; and, verily, whosoever thus knows that year to be established in respect of the body, establishes himself by means of offspring and cattle in this, and by immortality in the other, world.
SECOND ADHYÂYA. First BRÂHMANA. 1. Verily, those who become initiated for (a sacrificial session of) a year cross an ocean : the Prayaniya Atiratra is a flight of steps ?, for it is by means of a flight of steps that one enters (the water); and
1 Viz. the right eye, ear, and nostril.
Or, a descent, a passage leading down to a bathing-place. [44]
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when they enter on the Prayanlya Atirätra it is just as if they were entering the ocean by a flight of steps.
2. The Katurvimsa day is (in the form of) a foothold, a shallow place, such a one as (where the water reaches) either to the arm-pits or to the neck, whence, having rested, they enter (the deep water).
The Abhiplava is (a spot) suitable for swimming ; and so is the Prishthya suitable for swimming
3. The Abhigit is a foothold, a shallow place, such a one as (where the water reaches) either to the arm-pits, or to the neck, whence, having rested, they come out (of the water). The first Svarasâman is thigh-deep, the second knee-deep, the third knuckledeep. The Vishuvat is a foothold (in the form of) an island. The first (Svarasaman) with reversed Sâmans is knuckle-deep, the second knee-deep, and the third thigh-deep.
4. The Visvagit is a foothold, a shallow place, such a one as (where the water reaches) either to the arm-pits or to the neck, whence, having rested, he enters (the deep water again). The Prishthya is suitable for swimming, and so is the Abhiplava, and so are the Go and Ayus, and so is the Dasarâtra.
5. The Mahâvrata is a foothold, a shallow place, such a one as (where the water reaches) either to the arm-pits or to the neck, whence, having rested,
i Gadham eva pratishtha, -it may be remarked that this is just the form in which an appositional compound is analyzed by native grammarians, as if it were 'gadha-pratishtha,' a foothold which is just a ford, a ford-foothold, as indeed it is written in paragraph 9. Cf. p. 66, note 4.
• Or, bathe,—“prasnâti,' indeed, would really seem to mean here he swims forward.'
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XII KÂNDA, 2 ADHYAYA, I BRÂHMANA, 9.
147
they step out (of the water). The Udayaniya (concluding) Atiratra is a flight of steps, for it is by a flight of steps that people step out (of the water): thus, when they perform the Udayaniya Atirâtra, it is just as if, having entered the sea by a flight of steps, they were to step out of it by a flight of steps.
6. Regarding this they say, 'How many Atiratras are there in the year, how many Agnishtomas, how many Ukthyas, how many Shodasins, how many Shadahas ?'-Two Atirâtras, a hundred and six Agnishtomas, and two hundred and forty Ukthyas,-thus in the case of those who perform the Svarasamans as Ukthyas.
7. But in the case of those who perform them as Agnishtomas, a hundred and twelve Agnishtomas, two hundred and thirty-four Ukthyas, twelve Shodasins, and sixty Shadahas. This, then, is how the year is obtained.
8. There are twelve months in the year, and their vital energy and power are the Prishthas; and by performing the Prishthas month by month, they obtain, in monthly portions', that vital energy of the year.—' And how do they obtain the vital energy of the thirteenth intercalary) month?' Well, subsequent to the Vishuvat day they perform the Visvągit Agnishtoma with all the Prishthas ?, and thus indeed they obtain the vital energy of the thirteenth month.
9. Now, concerning this, Svetaketu Åruneya, ? Lit, by the month, i.e. by monthly instalments; cf. TandyaBr. IV, 2, 9.
On Soma-days with all the (six) Prishtha-samans, see part iii, introd., p. xxi.
L2
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knowing this, once said, 'I am now going to get myself initiated for one year. His father, looking at him, said, 'Knowest thou, long-lived one, the fordingfootholds of the year ? '-'I know them,' he replied, for, indeed, he said this as one knowing it.
SECOND BRAHMANA. 1. Here, now, they say, 'Whereby are the Abhiplavas possessed of light (gyotis) on both sides ?,
1 The difference between the Abhiplava-shada ha and the Prishthya-sha daha was thus explained in part iii, introd., p. xxi, note 2 :- In both kinds of shadaha, the Prishtha-stotras (at the Madhyandina-savana) are performed in the ordinary way--viz. either in the Agnishtoma or the Ukthya way (see ib., p. xvi, note 2, as the correct reference is);—but whilst, in the Abhiplavashada ha, the Rathantara and Brihat-sâmans are used for the Holri's Prishtha-stotra on alternate days, the Prishthya-shadaha requires a different Prishtha-saman on each of the six days. The two kinds of shadahas also differ entirely in regard to the sequence of Stomas prescribed for the performance of the Stotras.' It is this difference in the sequence of Stomas' which is referred to in our passage. On the six days of the Abhiplava-sha daha, the sequence of Stomas (the first four of which, viz. Trivrit, Partkadasa, Saptadasa, and Ekavimsa, are only used) varies from day to day in this way: 1. Gyotishtoma; 2. Goshtoma; 3. Ayushtoma; 4. Goshtoma ; 5. Âyushtoma ; 6. Gyotishłoma (for the difference between these, see part iv, p. 287, note 2). It will thus be seen that the Abhiplava has the gyotih (stoma)' on both sides, on the first and the last days. For the Hotri's Prishtha-stotra on these successive days the Raihantara-saman and Brihat-såman are used; and, as the Goshtoma and Ayushtoma are Ukthya-days, the usual practice which requires the Brihat-sâman for such days, is not followed; just as the final Gyotishtoma in this case requires the Brihat-saman. -As regards the Prishthya-shadaha, each successive day requires for its stotras a single Stoma, in the ascending order : Trivrit, Pañkadasa, Saptadasa, Ekavimsa, Trinava, Trayastrimsa ; --a different Prishtha-saman being used for the Hotri's Prishtha
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XII KÂNDA, 2 ADHYAYA, 2 BRÂHMANA, 4.
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and the Prishthya of light on one side only ?' Well, the Abhiplavas are these worlds, and these worlds are indeed possessed of light on both sidesthrough the fire on this side, and through the sun on yonder side ; and the Prishthya is the seasons, and the seasons are indeed possessed of light on one side only: he who burns yonder (the sun) is their light.
2. Verily, those two wheels of the gods, established on the Prishthya', revolve crushing the Sacrificer's evil ; and, indeed, if during a sacrificial session any one speaks evil of such initiates as know this, those two wheels of the gods cut off his head : the (chariot-) seat is the Dasarâtra, and the two wheels are the Prishthya and Abhiplava.
3. Concerning this they say, “Seeing that the two wheels (of a cart) are alike, and those stomas unlike, how are those stomas one after another performed alike for him ?' Let him reply, 'Thereby, that there are six of the one, and six of the other.'
4. Let him make the Prishthya and Abhiplava two warps 3,' said Paingya; 'let him make their stotra on each of the six days. Here only the first day has the same Stoma at the beginning, as the Gyotishtoma, -whence it has gyotis' on one side only.
This prishthyapratishthite' looks rather strange,- perhaps the correct reading is 'prishthapratishthite,' established on the prishtha-samans'; unless, indeed, pratishthita' has to be understood here to refer to the Abhiplava, as the established, or ordinary, Shadaha, which doubtless would make the best sense,-those two wheels of the gods, the Prishthya and the established (Abhiplava-) shadaba.'
? Or, as we would rather say, whilst revolving, crush the Sacrificer's evil.
• ? Or, possibly, two kinds of threads, those of the warp and the woof (or weft), which are combined into one web. The St. Petersh.
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Stotras and Sastras run together :' inasmuch as he makes them run together, these (channels of the) vital airs, though separate from one another, run together, with one and the same aim', into a common web; but were he not to make them run together, the Sacrificer would be liable to perish; and liable to perish, indeed, is one who is either blind or deaf.
5. The Agnishtomas amount to nine in a month ®; -now, there are nine vital airs: it is the vital airs he thus lays into them (the Sacrificers); and thus they attain the full term of life, and so, indeed, they do not depart this world before the (full) term of life.
6. And the Ukthyas (amount) to twenty-one ;now, there are twelve months in the year, five seasons, and three worlds, that makes twenty, and he who burns yonder (the sun) is the twenty-first,
Dict., on the other hand, takes 'tantra' here in the sense of model form, type,'-and, indeed, the one meaning constantly passes into the other. The MS. of the comm. is too corrupt to be of much use.
1 This is a doubtful rendering of 'ekoti.' Though, doubtless, the juxtaposition of ekoti' and 'samânam atim' cannot be accidental, the word 'Oti' may probably have a different derivation and meaning in the two occurrences. Cf. Kern, Saddharmapundarika, introd., p. xvii ; Journ. of the Påli Text Society, 1885, pp. 32-38.
During five complete months of the first half, and four complete months of the second half, of the year four Abhiplavashadahas and one Prishthya-shadaha are performed. Now, the six days of the Abhiplava-shadaha consist of 1. Agnishtoma; 2-5. Ukthyas; 6. Agnishtoma; and those of the Prishthya-shadaha of 1. Agnishtoma; 2. 3. Ukthya; 4. Shodasin; 5. 6. Ukthya. For the four Abhiplavas and the one Prishthya of each month this, accordingly, gives nine Agnishtomas, twenty Ukthyas, and one Shodasin (counted, however, as an Ukthya in paragraphs 6 and 7).
The reason why the Sun is so often referred to as the twentyfirst or twenty-one-fold, is not easy to discover. Possibly it may be from the fact that the Vishuvat day, or central day of the great session and the longest day of the year, is identified with the Sun,
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XII KÂNDA, 2 ADHYÂYA, 2 BRÂHMANA, 8.
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- that consummation (he attains), and by that consummation he ascends month by month to the world of heaven, and gains, in monthly portions, the world of heaven, and the twenty-one-fold Stoma, and the Brihatt metre 1.
7. The Agnishtomas amount to thirty-four in a month &-for the obtainment of all the gods; for there are thirty-three gods, and Pragâpati is the thirty-fourth. And there is one Ukthya with the Shodasin (stotra); for the Ukthya means food, and the Shodasin vital strength.
8. By means of that food and vital strength the gods obtained all their desires, and secured all their desires; and in like manner does this (Sacrificer), by means of that food and vital strength, obtain all his desires, and secure all his desires : with a view to that object he who is initiated for (a sacrificial session of) a year should therefore perform the Prishthya and Abhiplava (-shadahas).
and that this day is Aanked on both sides by ten special days which together with the central day, form a special group of twenty-one days. But, on the other hand, it may be exactly the other way, viz. that this central group was made one of twenty-one days because of the already recognised epithet of Aditya as the 'ekavimsa.' Cf. A. Hillebrandt, Die Sonnwendfeste in Alt-Indien, p. 6 seq.
Here the twenty-one Ukthyas are symbolically identified with the twenty-one-versed hymn-form; and the nine Agnishtomas (of paragraph 5) with the Brihatî metre which consists of four pådas of nine syllables each.
* This number is evidently arrived at by counting the twenty Ukthyas as Agnishtomas (hence 9+20), and adding thereto five more Agnishtomas obtained by the calculation referred to in paragraph 12 (see note thereon), according to which the characteristic Stotras and Sastras of the Ukthya make one additional Agnisbloma in every four Ukthyas. The Shodasin, thus, is not taken into account in this calculation.
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9. Now, the Adityas and the Angiras, both of them sprung from Pragâpati, were contending together saying, 'We shall be the first to reach heaven, we shall be the first!'
10. By means of four Stomas, four Prishthas1, and light (simple) hymn-tunes, the Adityas sailed across to the heavenly world; and inasmuch as they sailed (abhi-plu) to it, they (these six-days' periods) are called Abhiplava.
11. By means of all the Stomas, all the Prishthas, and heavy (complicated) hymn-tunes, the Angiras, coming after (the gods), as it were 3, touched (reached) the heavenly world; and inasmuch as they touched (spris) it, it (this six-days' period) is called Prishthya*.
12. It is a six-days' Abhiplava, because it consists of six days; or a five-days' Abhiplava, because it consists of five days, for the last day is the same as the first; or a four-days' Abhiplava, for there are four Stomas (used) in it-the thrice-threefold (trivrit), the fifteen-versed, the seventeen-versed, and the twenty-one-versed one; or a three-days' Abhiplava, for it is of three orders-Gyotis, Go, and
1 Besides the Rathantara and Brihat, used on alternate days for the Hotri's Prishtha-stotra at the Abhiplava, the Vâmadevya and Kâleya-sâmans, used on each day for the Maitrâvaruna's and Akkhâvâka's Prishtha-stotras, seem to be counted here as making up the four Prishtha-sâmans of the Abhiplava-shadaha. For the four Stomas, see p. 148, note.
See ib., and part iii, introd., p. xxi.
The 'iva' would seem here (as, indeed, pretty frequently) to have the meaning of 'eva,' 'indeed,' thus-coming considerably after (the gods). Cf. Ait.-Brâhm. IV, 17, 5, where the Angiras are said to have reached heaven sixty years after the Âdityas.
This etymology is of course not meant to be taken seriously, the word 'prishthya' being derived from 'prishtha,' 'back' (XII, 1, 4, 1).
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XII KÂNDA, 2 ADHYAYA, 2 BRÂHMANA, 15.
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Åyus ? ; or a two-days' Abhiplava, for there are two Såmans (used) in it-the Brihat and the Rathantara?; or a one-day's Abhiplava, for it is performed with the Stomas of a one-day's (Somasacrifice 3). Twelve Stotras and twelve Sastras of the four Ukthyas are in excess they make a seventh Agnishtoma, and thus the Agnishtomas amount to seven.
13. Now, Proti Kausâmbeya Kausurubindi dwelt with Uddalaka Aruni as a religious student. The teacher asked him, “My son, how many days did thy father consider that there are in the year?'
14. “Ten,' he replied. — Ten, indeed,' he said ; 'for the Virág consists of ten syllables, and the sacrifice is of Virág nature ;
15. But how many are there really ?'—Nine,' he replied.—Nine, indeed,' he said ; 'for there are nine vital airs, and by means of the vital airs the sacrifice is performed ;
See p. 148, note; part iv, p. 287, note 2. ? These two principal Prishtha-samans are used on alternate days of the Abhiplava-shadaha for the first (or Holri's) Prishthastotra at the midday-service.
Viz. with the four Stomas used at the ordinary Agnishtomasacrifice.
• Whilst the Agnishtoma includes twelve Slotras and twelve Sastras, the Ukthya-sacrifice has three additional (Uktha Stotras and Sastras, which in the four Ukthya days of the Abhiplavashadaha make up another twelve chants and twelve recitations.
• That is, either a descendant of Kusâmba; or, as Harisvamin takes it, a native of the city Kausâmbi; cf. Weber, Ind. Stud. I, p. 193.- Prakrishtabhūpati-kosâmbinivâsi-kusurabindasyâpatyam ; MS. comm.
• Harisvåmin applies to the father the epithet 'mahayagãika,' or performer of the great sacrifices.
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16. But how many are there really ?'—' Eight;' he replied.—'Eight, indeed,' he said ; 'for the Gayatri consists of eight syllables, and the sacrifice is of Gayatri nature;
17. But how many are there really ?'—'Seven,' he replied.—'Seven, indeed,' he said ; 'for there are seven metres (successively) increasing by four (syllables), and by means of the metres the sacrifice is performed ;
18. But how many are there really ? '_ Six,' he replied.—Six, indeed,' he said ; 'six seasons make up a year, and the sacrifice is the year; and one and the same day are those two, the opening and concluding (Atirâtra ");
19. But how many are there really?!:— Five,' he replied. — Five, indeed,' he said ; 'the sacrifice is fivefold; the sacrificial animal is fivefold *; there are five seasons in the year, and the sacrifice is the year;
1 In the scheme of the Gavâm ayanam, given above (p. 139, note 1), there is one day in excess of the year, viz. either the central Vishuvat day (XII, 2, 3, 6) or the final Atiratra ; but by making this latter day identical with the opening Atirâtra, Uddalaka would seem to bring the whole within the compass of one year of six seasons. In the next paragraph, on the other hand, the same result is obtained by the identification of the second and the last but one days of the session. Another, and perhaps more probable, explanation of Uddalaka's calculation would, however, be this. In the scheme of the sacrificial session there occur, as not included in the different sacrificial groups or periods (the shadabas, svarasamans, &c.), seven special days--the opening and final Atirâtras, the Katurvimsa and Mabâvrata days, and the Abhigit, Vishuvat, and Visvagit days. These seven days he here successively reduces to six and five days. The further reduction of this number by the identification of the Prishthya and Abbiplava, as well as of the Svarasaman days, requires no explanation. Cf., however, the Addenda.
* For the parkta' nature of the sacrifice, see III, 1, 4, 19. 20; XIII, 2, 5, 1, for the five kinds of sacrificial animals, VI, 1, 2, 32 seqq.
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XII KÂNDA, 2 ADAYÂYA, 3 BRÂHMANA, 1.
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and one and the same day are those two, the Katurvimsa and the Mahâvrata ;
20. But how many are there really ?'—'Four,' he replied.-- Four, indeed,' he said ; 'animals are four-footed, and animals constitute a sacrifice; and one and the same day are those two, the Prishthya and Abhiplava ;
21. But how many are there really ?'— Three,' he replied. — Three, indeed,' he said ; there are three metres, three worlds ; and the (Soma-) sacrifice consists of three services, and one and the same day are those two, the Abhigit and Visvagit ;
22. But how many are there really?'—*Two,' he replied.—'Two, indeed,' he said ; 'for man is two-footed, and the sacrifice is man; and one and the same day are the Svarasâmans ;
23. But how many are there really?'—' One,' he replied.-'A day, indeed,' he said ; 'the whole year is just that day after day :'—this is the mystic import of the year; and, verily, whosoever thus knows this mystic import of the year grows more (and more) glorious up to the end of) it; he becomes possessed of a (new) body, he becomes the year, and in the shape of the year he joins the gods.
THIRD BRAHMANA. 1. That year, doubtless, amounts to a Brihati, there are two shadahas (12) of winning days *; the
Prof. Oldenberg (Zeitschr. d. Deutschen Morg. Ges., vol. 50, p. 460) takes 'upanishad' in the sense of worship'—this is the worship to be offered to the year.' Perhaps meditation' might be the more appropriate rendering :- this is the form in which the year should be meditated upon.' Cf. X, 4, 5, 1; 5, 1, 1.
· The term 'árkshyat' is apparently a future participle of a-arg;'
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two, Prishthya and Abhiplava (12); the Go and Äyus, and the Dasarâtra (ten days) that makes thirty-six; for the Brihat consists of thirty-six syllables, and by means of the Brihat the gods strove to reach heaven, and by the Brihat they did gain heaven; and in like manner does this one, by means of the Brihati, now strive to reach heaven, and thereby gain heaven; he who knows this secures for himself whatever wish there is in the Brihati.
2. And as to the Katurvimsa day, it is the same as either the seventh or the ninth (day) of the Dasarâtra? From out of the Abhiplava the Prishthya is formed, from the Prishthya the Abhigit,
hence calculated to procure, or win.' The Ait.-Br. has akshyat instead. The two Shadahas (or periods of six days), here counted as such days, would seem to include the six Svarasaman days, and the special named days scattered over the session (the opening and concluding Atirâtra being apparently counted as one).
1 Katurvimsa day is one in which the Katurvimsa-stoma, or twenty-four-fold hymn-form, is exclusively used in the chanting of the Stotras. The one usually denoted by that term is the second day of the Gavam ayanam. In the Dasarâtra, or ten-days' period, there is, however, likewise a day in which the Katurvimsa-stoma is used exclusively. That period consists of a Prishthya-shadaha (six days), three Khandoma days, and a final Atyagnishtoma, called Avivákya. The three Khandoma days (i.e. days fashioned after metres) have assigned to them as their exclusive Stomas the twentyfour-fold, the forty-four-fold, and the forty-eight-sold hymn-forms respectively; the first of them, or the seventh day of the Dasaratra, being thus a K'aturvimsa day. But in the second half of the year's session the regular order of the days of the minor sacrificial periods --the Shadahas and Svarasamans-is reversed, the last day being performed first; and according to this paragraph the same is optionally to be the case in regard to the three Khandoma days, the Katurvimsa day being taken either first or last (see, bowever, parag. 9). Cf. also Haug, Ait.-Br., Transl., p. 347, note (where, in l. 3, read Dasaratra instead of Dvadasaha).
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XII KANDA, 2 ADHYAYA, 3 BRAHMANA, 5. 157
from the Abhigit the Svarasâmans, from the Svarasâmans the Vishuvat, from the Vishuvat the Svarasâmans, from the Svarasâmans the Visvagit, from the Visvagit the Prishthya', from the Prishthya the Abhiplava, from the Abhiplava the Go and Âyus, and from the Go and Ayus the Dasarâtra.
3. And that Mahâvrata is a winning-day, for its Stoma is the Pañkavimsa, and a metre does not collapse from (excess or deficiency of) a syllable— neither from one nor from two (syllables); neither does a Stoma by (an excess of) one hymn-verse 2.
4. Prior to the Vishuvat they perform first the Abhiplava, and afterwards the Prishthya, for the Abhiplava represents the sons, and the Prishthya the father; whence in early life the sons subsist on (the resources of) their father. Subsequent to the Vishuvat they perform first the Prishthya, and afterwards the Abhiplava; whence in later life the father subsists on (the resources of) his sons; and, verily, the sons of him who thus knows this subsist on him in early life, and he subsists on his sons in later life.
5. Here, now, they ask, 'If he were to die after entering on the Katurvimsa day, how does he become one who has not merely (uttered) the Âgur
1 Here, the order of Abhiplava and Prishthya followed in the first half of the year is reversed.
The author apparently claims for the pankavimsa-stoma, or twenty-five-versed hymn-form, the same efficacy as for the katurvimsa-stoma, the hymn-form of what is practically the first day of the sacrificial session (cf. Tândya-Br. XXV, 1, 1, where it is called Katurvimsam prâyanîyam), and which by the number of its stotriyâ-verses, being that of the half-months in the course of the year (24), is supposed to represent the whole year; cf. Ait.-Br. IV, 12.
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formula ?' Let him say, “In that they then perform the Opening Atirätra, thereby (he becomes such a one).'
6. As to this they ask, “Seeing that there are the twelve months of the year, and that one day, to wit, the Vishuvat, is in excess, does this belong to those (months) that go before or to those that follow ?' Let him say, ' Both to those that go before and to those that follow ;' for the Vishuvat is the body (trunk) of the year, and the months are its limbs ; and where the body is there are (or, that includes) also the limbs, and where the limbs are there is also the body; and neither is the body in excess of the limbs, nor are the limbs in excess of the body : and thus, indeed, that (day) belongs both to those (months) that go before and to those that follow.
7. But, indeed, that year is a great eagle: the six months which they perform prior to the Vishuvat are the one wing, and those which they perform subsequent thereto are the other; and the Vishuvat is the body; and, indeed, where the body is there are also the wings, and where the wings are there is also the body; for neither is the body in excess of the wings, nor are the wings in excess of the body: and thus, indeed, that (day) belongs both to those (months) that go before and to those that follow.
8. As to this they ask, “Seeing that for six months prior to the Vishuvat they perform Stomas tending upwards, and for six (months) reversed
See XI, 2, 5, 10 with note. The Katurvimsa day is, as it were, a promise on the part of the Sacrificer to perform the sacrificial session; whilst the Prayaniya Atiratra not only represents the actual entering on the performance, but, as it were, implies the Udayanîya Atirätra (XII, 2, 2, 18).
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(Stomas), how are these latter performed so as to tend upwards ?' Let him say, 'In that they perform that Dasarátra as one with upward tending Stomas, thereby they do so. Now, the Mahâvrata did not yield itself to the gods saying, "How is it, ye have performed the Vishuvat with upward tending hymns, and me with reversed ones?'
9. The gods said, 'Try ye to find out that sacrificial performance which has upward tending Stomas, and whereby we may gain this.' They saw that Dasarâtra with upward tending Stomas after the manner of the year: what Prishthya-shadaha there is in it that is the seasons, the (three) Khandomas are these worlds, and the tenth day is the year. Thereby they gained this (Mahầvrata), and it yielded itself to them; and, verily, the Mahâvrata yields itself to him who so knows this.
10. And in this way, indeed, there is an ascent of days :-by means of the Opening Atirâtra they ascend the concluding Atirâtra, by means of the Katurvimsa the Mahavrata, by means of an Abhiplava a subsequent Abhiplava, by means of a Prishthya a subsequent Prishthya, by means of the Abhigit the Visvagit, by means of the Svarasåmans the subsequent Svarasämans—but that one day is not ascended, to wit, the Vishuvat: and, verily, he who thus knows this ascends to the state of) one more glorious, and no one inferior to him ascends (to be equal) to him.
11. And in this way, indeed, there is a descent of days :-the Prayaniya Atirâtra descends to the Katurvimsa day, the Katurvimsa day to the Abhiplava, the Abhiplava to the Prishthya, the Prishthya to the Abhigit, the Abhigit to the Svarasåmans, the
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SATAPATHA-BRAHMANA.
Svarasâmans to the Vishuvat, the Vishuvat to the Svarasâmans, the Svarasâmans to the Visvagit, the Visvagit to the Prishthya, the Prishthya to the Abhiplava, the Abhiplava to the Go and Âyus, the Go and Ayus to the Dasarâtra, the Dasarâtra to the Mahâvrata, the Mahâvrata to the Udayaniya Atirâtra, the Udayaniya Atirâtra to the world of heaven, to the resting-place, to plenty.
12. Such, indeed, are the wilds and ravines of sacrifice, and they (take) hundreds upon hundreds of days' carriage-drives; and if any venture into them without knowledge, then hunger or thirst, evil-doers and fiends harass them, even as fiends would harass foolish men wandering in a wild forest; but if those who know this do so, they pass from one duty to another, as from one stream into another, and from one safe place to another, and obtain well-being, the world of heaven.
13. As to this they say, 'How many onward, and how many backward days are there? Well, those which are performed once each are onward days, and those which are performed repeatedly are backward days: let him at least consider these 1 as backward ones, for in accordance with the course of the Shadahas he himself moves.
160
FOURTH BRAHMANA.
1. The Year, indeed, is Man;-the Prâyantya Atirâtra is his breath, for by means of the breath men go forward (prayanti); and the Ârambhantya
1 Or, 'meditate upon these' (? worship these); see p. 155,
note I.
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(opening) dayis speech, for by means of speech men undertake (arabh) whatever they do undertake.
2. The Abhiplava-shadaha is this right hand ? This little finger) is the first day thereof,—this (upper joints) is its morning-service, this (middle joint) its midday-service, and this (lower joint) its eveningservice : it is in place of the Gayatri, whence this (little finger) is the shortest of these (fingers).
3. This (third finger) is the second day,—this (upper joint) is its morning-service, this (middle joint) its midday-service, and this (lower joint) its evening-service: it is in place of the Trishtubh, whence this (third finger) is larger than this (little finger).
4. This (middle finger) is the third day,—this is its morning-service, this its midday-service, and this its evening-service: it is in place of the Gagati, whence this is the largest of these (fingers).
5. This (fore-finger) is the fourth day,--this is its morning-service, this its midday-service, and this its evening-service: it is in place of the Virág ; for the Virág is food, whence this (fore-finger) is the most food-eating of these (fingers).
· Hereby the Katurvimsa day would seem to be meant (as, indeed, it is also taken by Harisvamin), see p. 157, note 3; p. 167, note 1.
The right hand is apparently taken here to represent the four limbs--the arms and legs. In Sanskrit the terms for finger and toe (as for thumb and large toe) are the same.
"That is, apparently the bone joining the palm; though possibly the one forming the extreme end of the finger may be intended. But inasmuch as the morning-service has five stotras as compared with the two of the evening-service the former might be expected to be compared with the larger of the two bones.
• Prof. Weber, Pratigasura, p. 97, refers to II, 4, 2, 18, where, in bis opinion, the passage '(thus) they ladle out (food) for men' (44)
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6. This (thumb) is the fifth day,—this is its morning-service, this its midday-service, and this its evening-service : it is in place of the Parkti, for the Pankti is broad", as it were, whence this (thumb) is the broadest of these (fingers).
7. This (right arm) is the sixth day,-this forearm 2) is its morning-service, this (upper arm) its midday-service, and this (shoulder-blade) its eveningservice: it is in place of the Atikhandas, whence this (arm) is larger than those (fingers). That day is a Gayatri one, whence this shoulder-blade is the shortest: this Abhiplava-shadaha (extends) in this, in this, in this, and in this, directions; and the Prishthya is the body (trunk).
8. Now, as to this, Paingya, knowing this, said, • The Abhiplavas leap about (plavante), as it were, and the Prishthya stands (stha) , as it were; for
points to the fore-finger as the finger used most in eating. This is not improbable, though Sâyana, as well as the commentary on Kâty. IV, 1, 10, it is true, does not interpret the passage in that way.
Viz. inasmuch as it consists of five pâdas,-instead of three, as in the case of the Gayatri, or four, as in that of the others.
? Thus also Harisvâmin (hardly, the palm; but see p. 161, note 3).
3 Viz. in the direction of the two arms and the two legs. There being, in nine of the twelve months of the year, four Abhiplavas and one Prishthya in each month, the two kinds of sixdays' performances as regards numbers, certainly offer an analogy to the limbs and the body.'
• This etymological quibble seems to refer to the fact that the Abhiplavas are performed before the Prishthya in the first half of the year, and after them in the second half; though the same feature of change might, vice versâ, be applied to the Prishthya. It is possible, however, that the author may refer here to other characteristic features of the two kinds of Shadahas; and it cannot be denied that the Abhiplava days are liable to much greater change than the Prishthya days. The constant change in the
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this (man) leaps about, as it were, with his limbs, and he stands, as it were, with his body.'.
9. The Trivrit (stoma) is its head, whence that (head) is threefold (trivrit)-skin, bone, and brain.
10. The Pankadasa (fifteen-versed hymn-form) is the neck-joints,- for there are fourteen of these (joints), and the vital force is the fifteenth ; hence by means of that (neck), though being small, man bears a heavy burden: therefore the Pañkadasa is the neck
11. The Saptadasa (seventeen-versed hymn-form) is the chest; for there are eight gatru?' on the one
sequence of stomas' in the Abhiplava has already been referred to (p. 148, note I). Another source of change, in the Abhiplava, is the peculiar way in which the Brahmasaman (or Brâhmanâkhamsin's Prishthastotra) is varied from day to day. For, whilst during the months preceding the Vishuvat day, the Abhîvarta tune is used for this stotra on each day, but with different Pragatha verses chanted thereto from day to day; during the second half of the year, on the other hand, the same text (Sâma-veda II, 806) is used throughout, whilst its tune is varied from day to day. Since in the second half of the year the order of the days of the Prishthya-shadaha must be reversed, whilst this is optionally the case as regards the Abhiplava, this feature can hardly be referred to here.
1 The grîvân' thus, as far as man is concerned, include not only the seven cervical vertebrae, but also the upper seven dorsal vertebrae, being those to which the true ribs are attached. It is worth remarking, however, that in large birds such as the eagle, the neck itself consists of fourteen vertebrae.
The St. Petersb. Dict. takes 'gatru' in the sense of tuberculae costarum,' or tubercles of the ribs, the projections near the 'heads'. of the ribs where these join the spinal vertebrae; this conjectural meaning being based on VIII, 6, 2, 10, where the ribs are said to be fastened on both sides to the kîkasâh (? sternum) and the gatravah. Against this conjecture (as the Dict. remarks) is the circumstance that the gatravah are here said to form part of the chest; and, besides, the tubercle of the rib is not a separate bone, and would hardly be likely to be specially singled out in this
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side, and eight on the other, and the chest itself is the seventeenth therefore the Saptadasa (stoma) is the chest.
12. The Ekavimsa (twenty-one-versed hymn-form) is the belly, for inside the belly there are twenty 'kuntâpa ',' and the belly is the twenty-first: therefore the Ekavimsa (stoma) is the belly.
13. The Trinava (thrice nine-versed hymn-form) is the two sides (pârsva);-there are thirteen ribs (parsu) on the one side, and thirteen on the other 3, and the sides make up the thrice ninth therefore the Trinava (stoma) is the two sides.
14. The Trayastrimsa (thirty-three-versed hymn
connection. Perhaps, therefore, the gatravah may rather be the costal cartilages connecting the seven true ribs with the sternum, and along with them the ligament of the collar-bone where it joins the sternum; in which case the former passage would have to be understood in the sense that the ribs are on both (the right and left) sides fastened on to the costal cartilages and (through them) to the 'kîkasah,' the breast-bone, or rather the several bones or plates of which the sternum consists, as articulated with the clavicles and the true ribs. It is possible, however, that 'kîkasâh' may have a different meaning from that here assigned to it, in acc. with the St. Petersb. Dict. Indeed, one would expect the 'kîkasâh' and 'gatravah' on different ends of the ribs.
The meaning of 'kuntâpa' is likewise doubtful. The St. Petersb. Dict. suggests that certain glands may be intended thereby; but possibly the term may refer to the transverse processes (forming spikes, so to speak; cf. kunta) on both sides of the ten lower spinal vertebrae below the vertebra of the last true rib,-i. e. of the five lower dorsal, and the five lumbar vertebrae.
? The clavicle, or collar-bone, would thus seem to be classed along with the ribs. Rather peculiar, in the anatomical phraseology employed in the Brahmana, is the collateral use of 'parsu' and 'prish' for 'rib'; and it is by no means clear that there is no distinction between the two terms. In connection with the Retahsik bricks the term 'prishfi' seems to be invariably used,cf. VIII, 6, 2, 7, as against ib. paragraph 10 (parsu).
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form) is the spine; for there are thirty-two 'karůkara' of that (spine), and the spine itself is the thirty-third therefore the Trayastrimsa (stoma) is the spine.
:
15. The Abhigit is the same as this right ear; the first Svarasâman is this white part of the eye, the second the black part, and the third the pupil; the Vishuvat is the nose, the first backward Svarasâman is this pupil of the eye, the second the black, and the third the white part thereof.
16. The Visvagit is the same as this left ear; the Prishthya and Abhiplava have been told; the Go and Åyus are the two downward breathings which there are (in the body); the Dasarâtra the limbs, the Mahâvrata is the mouth; and the Udayaniya Atirâtra the up-breathing, for by means of the upbreathing men go upwards (ud-yanti): such is that year as established in the body; and, verily, whosoever thus knows that year as established in the body, establishes himself by offspring and cattle in this, and by immortality in the other, world.
THIRD ADHYAYA. FIRST BRAHMANA.
1. 'Seeing that all this threefold universe keeps passing into one another, O Bâlâki, how is it that
This is another term, the exact meaning of which is somewhat doubtful. The St. Petersb. Dict. takes 'karûkara' to refer to the vertebrae of the spinal column; and if that be correct, the term would seem to include not only the twenty-four joints of the backbone down to the last lumbar vertebrae, but also the appendages of the spine, viz. the sacrum with its five, and the coccyx with its four pieces: this, it is true, yields thirty-three, instead of thirty-two, parts, but it seems scarcely possible in any other way-as, for instance, by taking into account the epiphysial plates between the vertebrae, along with the latter-to arrive at a total approximating that mentioned in the above passage.
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these,—to wit, the sacrifice, Man, and Pragàpati, do not exceed one another ?
2. Seeing that the upward Stomas follow the sacrifice, fitting themselves by repetitions with Såmans, how do they enter man, and how do they become united with the vital airs ?
3. The Prayaniya Atirâtra, the Katurvimsa day, the four Abhiplavas, and the Prishthya (shadaha):how do these enter man, and how do they become united with the vital airs ?
4. Fitted out with the Abhigit, the Svarasämans join the Vishuvat on both sides :-how do these enter man, and how do they become united with the vital airs ?
5. Setting out with the Trivrit, fitted out with the (Pañkadasa and) Saptadasa, and ending with the Trayastrimsa ; with (the series of stomas increasing) successively by four (syllables ) :-how do these enter man, and how do they become united with the vital airs?'
6. The Trivrit is his head, the Pañkadasa his neck; and the chest, they say, corresponds to the Saptadasa ; the Ekavimsa they make the belly, and
· The Trivrit, or nine-versed stoma, is, however, followed by the Pafkadasa, or fifteen-versed stoma—the thirteen-versed form not being in ordinary use--and these are succeeded by the Saptadasa (17), Ekavimsa (21), &c. Possibly, however, this last sentence may refer to the six days of the Prishthya-shadaha for which the stomas consisting of 9, 15, 17, 21, 27 and 33 verses respectively are used. On the Abhigit day, each of the first four stomas is used in succession for three stotras, the four hymn-forms thus making up the twelve stotras of the Agnishtoma. On the Visvagit day, on the other hand, only three stomas are used the Trivrit, Pankadasa, and Saptadasa-four stotras being assigned to each of these three hymn-forms.
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the two sides, by means of the Trinava, correspond to the ribs.
7. The Abhiplavas on both sides (of the Vishuvat) are his arms, the Prishthya is the back,- -so say the wise; and his spine the Brahmanas fashion in the year by means of the (series of stomas increasing) successively by four (syllables).
8. The Abhigit and Visvagit are his ears; and his eyes, they say, correspond to the Svarasâmans; the Vishuvat, they say, is the breath of the nostrils and the Go and Âyus are those two downward breathings.
;
9. The Dasarâtra they call his limbs, and the Mahâvrata the Brahmanas fashion (arrange) so as to be the mouth in the year1;-the Supreme Self has entered into that year endowed with all stomas and with all sâmans: having fashioned him alike with the body, the sage is seated free from pain 2 on the heights of the ruddy one (the sun).
'Though the Mahavrata day is actually the last day but one of the one year's sacrificial session, whilst the Katurvimsa day is the second, these two days mark really the end and beginning of the year, whilst the nominal first and last days of the sessional performance may be considered as consisting of mere preliminary and concluding (winding-up) rites. The above symbolic identification of the Mahâvrata with the mouth of Agni-Pragâpati, the Year, might thus lead one to suppose (as, indeed, is done by Prof. Hillebrandt, Die Sonnwendfeste in Alt-Indien, p. 11) that if two such annual sessions were immediately to succeed each other, the Mahâvrata and Katurvimsa would fall on one and the same day. The Mahâvrata, representing (at least symbolically) the winter-solstice, would thus mark both the end and the beginning of two successive solar periods.
2
Literally, with unborn pain (or, with the pain of one unborn).
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SATAPATHA-BRAHMANA.
SECOND BRAHMANA. 1. The Year is Man':- Man'is one unit, and year' is another, and these now are one and the same ;—there are in the year the two, day and night, and in man there are these two breathings, and these now are one and the same ;—there are three seasons in the year, and these three breathings in man, and these (two) now are one and the same ;
samvatsara (year)' consists of four syllables, and so does 'yagamâna (sacrificer), and these (two) now are one and the same ;-there are five seasons in the year, and these five breathings in man, and these (two) now are one and the same ;-there are six seasons in the year, and these six breathings in man, and these (two) now are one and the same ;—there are seven seasons in the year, and these seven breathings in man, and these (two) now are one and the same.
2. There are twelve months in the year, and these twelve breathings in man, and these (two) now are one and the same;—there are thirteen months in the leap-) year, and these thirteen (channels of) breathings in man, the navel being the thirteenth, and these two) now are one and the same;—there are twenty-four half-months in the year, and this man is twenty-four-fold, being possessed of twenty fingers and toes and four limbs; and these (two) now are one and the same ;—there are twentysix half-months in the leap-) year, and this man is twenty-six-fold, the two feet making up the twentysix; and these (two) now are one and the same.
3. And there are three hundred and sixty nights
· Or, the man, identified with the Sacrificer.
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in the year, and three hundred and sixty bones in man, and these (two) now are one and the same ;there are three hundred and sixty days in the year, and three hundred and sixty parts of marrow in man, and these (two) now are one and the same.
4. And there are seven hundred and twenty days and nights in the year, and seven hundred and twenty bones and parts of marrow in man, and these (two) now are one and the same.
5. And there are ten thousand and eight hundred muhârta' in the year; and fifteen times as many kshipras' as there are 'muharta'; and fifteen times as many.etarhi' as there are 'kshipra'; and fifteen times as many 'idâni' as there are 'etarhi'; and fifteen times as many breathings as there are 'idani'; and as many spirations as there are breathings ? ; and as many twinklings of the eye as there are spirations, and as many hair-pits as there are twinklings of the eye, and as many sweat-pores as there are hair-pits; and as many sweat-pores as there are so many drops it rains.
6. Concerning this, Varkali, knowing this, once said, 'I know the raining cloud extending over the whole earth, and the drops of that rain.'
7. It is with reference thereto that this verse is told, -Whilst whirling round, be it standing, or sitting, or even sleeping, how often does man, otherwise than from toil, breathe and expel the air regularly 2 by day and night?
8. And in answer thereto this verse is told, -
Perhaps the distinction between prâna' and 'ana' here is that of out-breathing and in-breathing.
• Or, uniformly (gleichmässig). The St. Petersb. Dict. here takes samena' in the sense of exactly.'
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SATAPATHA-BRAHMANA.
Inasmuch as man is what is measured a hundred hundred and eight hundred, therefore they say :-0 often does man regularly? breathe and expel the air by day and night.
THIRD BRÂHMANA. 1. The gods were once performing the initiation ceremony for a (sacrificial session) of a thousand years. When five hundred years had passed with them, everything here was worn out-to wit, Stomas, and Prishthas, and metres (texts).
12. The gods then perceived that unexhausted element of the sacrifice, and by means of that unexhausted element they obtained what success there was in the Veda ; and, verily, for him who thus knows this, the Vedas are unexhausted, and the work of the officiating priests is performed with the unexhausted threefold science.
3. Now, this is that unexhausted element of the sacrifice :-0-srâvaya, astu sraushat, yaga, ye yaga mahe, and vaushats. In these five utterances there are seventeen syllables :-o-sråvaya consists of four syllables, astu sraushat of four syllables, yaga of two syllables, ye yagåmahe of five syllables;
4. And the Vashat-call consists of two syllables. This is the seventeenfold Pragapati, as established in the deity and in the body, and, verily, whosoever thus knows that seventeenfold Pragå pati, as established in the deity and in the body, establishes himself by offspring and cattle in this, and by immortality in the other, world.
See note 2 on p. 169. For these sacrificial calls, see part i, p. 142, note 2.
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5. The gods then spake, 'Find ye out that sacrificial performance which shall be a substitute for one of a thousand years; for what man is equal thereto that he could get through with a performance of) a thousand years ?'
6. They saw the Visvagit with all the Prishthas? to be an accelerated Soma-feast in lieu of the Prishthya-shadaha, for there are those (same) Stomas, those Prishthas, and those metres.
7. They saw the Prishthya-shadaha to be an accelerated Soma-feast in lieu of the Dvadasâha, for there are those (same) Stomas, those Prishthas, and those metres ?.
8. They saw the Dvâda sâha to be an accelerated Soma-feast in lieu of (a session of) a years, for there are those (same) Stomas, those Prishthas, and those metres.
9. They saw the (session of a) year to be an accelerated Soma-feast in lieu of the Tåpaskita, for there are those (same) Stomas, those Prishthas, and those metres.
10. They saw the Tåpaskita to be an accelerated Soma-feast in lieu of the thousand years' performance, for there are those (same) Stomas, those Prishthas, and those metres.
11. He passes a year with the rites of initiation,
For such a day's performance with all the Prishtha-såmans, see part iii, introd., p. xx seq.
* The Dvadasâha, or twelve-days' performance, includes a Prishthya-shadaha as its second to seventh days.
* The one year's session includes a Dasarâtra, or ten-days' performance, forming the central part of the Dvadasâha; and the first and last days of the latter being, like those of the Gavam ayanam, a pråyaniya and udayaniya Atiratra.
See part iv, p. 317, note 2.
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a year with the Upasads, and a year with the pressings of Soma.
12. When he passes a year with the rites of initiation he thereby secures for himself the first part of the performance of a thousand years; and when he passes a year with the Upasads he thereby secures for himself the central part of the performance of a thousand years; and when he passes a year with the pressings he thereby secures for himself the last part of the performance of a thousand years.
13. Twelve months he passes with the rites of initiation, twelve with the Upasads, and twelve with the pressings, that makes thirty-six. Now the Brihati (metre) consists of thirty-six syllables, and by means of the Brihati the gods strove to reach heaven, and by means of the Brihatt they indeed attained heaven; and in like manner does this one, by means of the Brihatt, now strive to reach heaven, and by means of the Brihat he indeed attains heaven; and whatever object of desire there is in the Brihatt, that he thereby secures for himself.
14. But, indeed, there is that triad that is performed together, the Agni (fire-altar), the Arkya, and the Mahad Uktham (great litany). When he passes a year with the rites of initiation, and a year with the Upasads, thereby the Agni and the Arka are secured by him; and when he passes a year with the pressings, thereby the Mahad Uktham is secured by him this, then, to wit, the Tâpaskita, is the substitute for the performance of a thousand years, and this, to wit, the Tâpaskita, conduces to the procreation of
creatures.
FOURTH BRAHMANA.
1. Pragâpati once upon a time spake unto Purusha
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Narayana, 'Offer sacrifice! offer sacrifice!' He spake, Verily, thou sayest to me, "offer sacrifice ! offer sacrifice!" and thrice have I offered sacrifice : by the morning-service the Vasus went forth, by the midday-service the Rudras, and by the eveningservice the Ådityas ; now I have but the offeringplace?, and on the offering-place I am sitting.'
2. He spake, • Offer yet sacrifice! I will tell thee such a thing that thy hymns shall be strung as a pearl on a thread, or a thread through a pearl.'
3. And he spake thus unto him, 'At the (chanting of the) Bahishpavamâna, at the morning-service, thou shalt hold on to the Udgatri from behind, saying, “Thou art a falcon formed of the Gayatri metre,—I hold on to thee: bear me unto well-being!”
4. 'And at the midday Pavamâna thou shalt hold on to the Udgåtri from behind, saying, “Thou art an eagle formed of the Trishtubh metre,- I hold on to thee: bear me unto well-being !”
5. 'And at the Arbhava-pavamâna, at the eveningservice, thou shalt hold on to the Udgåtri from behind, saying, “Thou art a Ribhu formed of the Gagat metre, -I hold on to thee: bear me unto well-being!”
6. 'And at the close of each pressing thou shalt mutter, “In me be light, in me might, in me glory, in me everything!”
7. Now light, indeed, is this (terrestrial) world. might the air-world, glory the heavens, and what other worlds there are, they are everything (else).
8. And light, indeed, is Agni, might Váyu (the
'? That is to say, those deities have taken possession of everything else. Cf. J. Muir, Orig. Sansk. Texts, vol. v, p. 377.
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wind), glory Åditya (the sun), and what other gods there are they are everything.
9. And light, indeed, is the Rig-veda, might the Yagur-veda, glory the Sama-veda, and what other Vedas there are they are everything.
10. And light, indeed, is speech, might the breath, glory the eye, and what other vital airs there are they are everything.
11. Let him know this :-'All the worlds have I placed within mine own self, and mine own self have I placed within all the worlds ; all the gods have I placed within mine own self, and mine own self have I placed within all the gods; all the Vedas have I placed within mine own self, and mine own self have I placed within all the Vedas; all the vital airs have I placed within mine own self, and mine own self have I placed within the vital airs.' For imperishable, indeed, are the worlds, imperishable the gods, imperishable the Vedas, imperishable the vital airs, imperishable is the All: and, verily, whosoever thus knows this, passes from the imperishable unto the imperishable, conquers recurrent death, and attains the full measure of life.
Fifth BRAHMANA. 1. Of old, indeed, they were wont to seize this victim as one dedicated to Savitri, but now they seize it as one dedicated to Pragâpati, saying, 'Savitri, in truth, is the same as Pragậpati.' It is therefore after having thrown together the (sacrificial) fires that they ought to perform this (animal) sacrifice on the Grihapati's own fires, thinking, ‘May we also have a share in this tail (of the victim) wherewith they are now making offering together to the wives
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(of the gods).' They then perform the initiation ceremony whenever they choose.
2. Here now they say, “They ought to have separate hearths; and if one of the initiates were to be taken ill let him stay aside offering the Agnihotra. If he gets well again, they bring (the fires) together and invite him to join them; but if he dies they burn him by his own (three) fires without an (ordinary) fire for (burning) a dead body; and the other sacrificers sit (through the sacrificial session);-such at least is the performance in the case of one who keeps up his sacrificial fires; but, indeed, they have their hearths in common : the theological explication of this is the same as in regard to the preparatory ceremonial 2.'
3. They also say, 'Seeing that the performers of a year's session become initiated for a year, how does their Agnihotra come to be uninterrupted ?' Let him reply, 'By the fast-milk.'
4. They also say, 'Seeing that the performers of a year's session become initiated for a year, how does their Full-moon oblation come to be uninterrupted ?' Let him reply, 'By the ghee and the sacrificial cake.'
5. They also say, 'Seeing that the performers of a year's session become initiated for a year, how does their New-moon oblation come to be uninterrupted ?' Let him reply, By the sour curds and the cake.'
1 This is the regular procedure in accordance with Grihya rites, cf. Âsv. Griby. IV, 2, 11–13; whilst Pâraskara, III, 10, 11, merely says, with the domestic fire they burn him who has established his (sacred) fire.'
* For the 'puraskarana,' see part iv, p. 337, note 2.
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6. They also say, 'Seeing that the performers of a year's session become initiated for a year, how does their offering to the Fathers come to be uninterrupted?' Let him reply,'By the Aupasana (rites").'
7. They also say, 'Seeing that the performers of a year's session become initiated for a year, how does their offering of firstfruits come to be uninterrupted ?' Let him reply, ‘ By Soma's pap?'
8. They also say, 'Seeing that the performers of a year's session become initiated for a year, how do their seasonal offerings come to be uninterrupted ?' Let him reply, By the Payasya 3'
9. They also say, 'Seeing that the performers of a year's session become initiated for a year, how does their animal sacrifice come to be uninterrupted ?' Let him reply, ‘By the animal and the cake
10. They also say, 'Seeing that the performers of a year's session become initiated for a year, how
1 Viz., by those rites which, during the time for which the Sacrificer is initiated, may be performed on his domestic (Âvasathya or Aupâsana) fire. Cf. Käly. I, 1, 20. 21. Whether the domestic offerings to the Fathers (srâddha) may be so performed seems doubtful.
* For the ordinary performance of the Âgrayaneshti, see part i, p. 370 seqq. According to Kâty. IV, 6, 11 seq. the performance of a year's sattra is to mark the time at which the offering of firstfruits would otherwise have taken place by using new grain for his vrata-food, as well as for two Rauhina cakes at the Upasads, and for the cakes offered in the animal sacrifice of the Soma days; and that a pap of new syâmâka (millet) is to be offered to Soma at the proper season (during the rains, or autumn), and a pap of bamboo grain in summer.
For this dish, made by the addition of fresh boiled milk to sour curds, see part i, p. 381, note 2.
· That is, by the animal offered on each successive Soma day, and the (savanîya) purodâ sas offered subsequently; cf. IV, 2,5,14–22.
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does their Soma come to be uninterrupted ?' Let him reply, ‘By the Soma-pressings.'
11. It is thus that these sacrificial rites enter into the year; and, verily, whosoever thus knows this entering of the sacrificial rites into the year becomes a sharer in the heavenly world.
12. In the year there should be known to be uniformity :-one Atirâtra they perform before, and one after, the Vishuvat; fifty-three Agnishtomas they perform before, and fifty-three after, the Vishuvat; one hundred and twenty Ukthya days they perform before, and one hundred and twenty after, the Vishuvat,—thus at least in the case of those who perform the Svarasâmans as Ukthyas.
13. And in the case of those who (perform them) as Agnishtomas, they perform fifty-six Agnishtomas before, and fifty-six after, the Vishuvat; one hundred and seventeen Ukthya days they perform before, and one hundred and seventeen after, the Vishuvat; six Shodasins they perform before, and six after, the Vishuvat; thirty Shadahas they perform before, and thirty after, the Vishuvat:-such, then, is the uniformity of that (year), and, verily, he who thus knows this goes through a course of sacrificial performance which is uniform, and not ineffectual, neither defective nor redundant.
"That is, counting the Prâyanîya Atirâtra, Katurvimsa, Abhigit, and three Svarasamans as one six-days' performance, before the Vishuvat; and the three Svarasamans, the Visvagit, Goshtoma, Âyushtoma, four days of the Dasarâtra (preceding and succeeding the central Shadaha), the Mahâvrata, and Udayanîya Atirâtra as two six-days' performances after the Vishuvat.
[44]
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Fourth ADHYÂYA. FIRST BRÂHMANA. EXPIATORY CEREMONIES IN CONNECTION WITH THE AGNIHOTRA.
1. Verily, they who perform an Agnihotra enter upon a long sacrificial session :-the Agnihotra, indeed, is a sacrificial session ensuring death in old age', for people are set free from it either by old age or by death.
2. Here, now, they say, 'If either a team (yukta) were to drive through, or people were to walk to and fro, between the two fires of such a one performing an Agnihotra, and (being thus) a performer of a long session, what rite and what expiation would there be in that case ?' He may, indeed, perform an expiation, and also offer an ishti; but let him disregard it, for he who lays down his two fires doubtless spreads himself all over these worlds.
3. His Gârhapatya is this (terrestrial) world, his Anvâhâryapakana (or southern fire) the air-world, and his Åhavaniya yonder (heavenly) world; and freely, indeed, birds, both combined (yukta) and single, pass to and fro in these worlds; and even if a whole crowd were to pass through between his fires, let him know that no harm and no hurt will come to him.
4. But, surely, there are three unclean animals, a vicious boar, a vicious ram?, and a dog : if any
1 Literally, as would seem, old-age-deathed' (garâmarya), or perhaps,'having old age for its extreme limit (marya).' The author apparently takes it in the former sense, though interpreting the compound in his own way.
According to Molesworth's Dictionary, 'edaka' and 'memdha,' in Marathi, mean both 'ram,' but the former 'is ordinarily under
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one of these runs about between (the fires) whilst the Agnihotra-offering is put on (the fire), what rite and what expiation would there be in that case?' Well, some poke out the ashes from the Gârhapatya, and keep throwing it down from the Âhavantya, with this verse (Rig-veda I, 22, 17), 'Here Vishnu strode ',' saying, 'Vishnu is the sacrifice: by the sacrifice we thus continue the sacrifice, and with ashes we bestrew its track.' But let him not do it in this way, for if, in that case, any one were to say of him, 'Surely this (priest) has scattered about the Sacrificer's ashes: he will soon scatter his last ashes, the chief's household will be wailing,' then that would indeed be likely to come to pass.
5. Let him proceed in this way:-Having taken either a bowl of water, or a pot of water, let him go on pouring it out from in front of the Gârhapatya up to the Ahavantya, with this verse, 'Here Vishnu strode;' for Vishnu being the sacrifice, he thus continues the sacrifice by the sacrifice; and whatever is injured or unpropitiated in the sacrifice, for all that the water is the means of propitiation, and by water, as a means of propitiation, he thus propitiates it. Such, then, is the rite performed in that case.
6. They also say, 'If any one's Agnihotra (milk) were to be spilled whilst he gets it milked, what rite and what expiation would there be in that
stood of a ram trained to fight, or suffered to live long enough to
obtain horns.'
1 See III, 5, 3, 13.
? Or, thrown in (viz. into the pot, or urn). According to Âsv. Grthy. IV, 5, I seqq., it is, however, only the bones which are collected and placed in the urn.
N 2
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case?' Having touched (the spilled milk) with the (formula of) expiation for spilling, and poured water on it, let him make offering with what (milk) is left. But if the bowl were to be turned upside down, or if it were to break, let him touch (the spilled milk) with the (formula of) expiation, and, having poured water on it, let him make offering with what other (milk) he can procure.
7. Now, in case there should be a spilling (of milk), let him touch it with, “It hath been shed, it hath been implanted: birth hath ensued;' for when (seed) is shed then it is implanted ; and when it is implanted then birth takes place. And, indeed, this (earth) is a womb, and the milk is seed : he thus implants seed in that womb, and forth with that shed seed of him who so knows this is born forth. And, indeed, it rains from yonder sky, and herbs and trees are produced here on earth; and seed flows from man and animals, and therefrom everything here is generated : let him therefore know that abundant production has accrued unto him, that he will be multiplied in offspring and cattle, and that he will become inore prosperous.
8. And in case there should be a breaking (of the vessel), let him pour out a bowlful or potful of water, and, indeed, whatever is injured or unpropitiated in the sacrifice, for all that water is the means of propitiation, and by water, as a means of propitiation, he thus propitiates it. He does so with these utterances, 'Bhûr bhuvah svar (earth, air, sky);' for these utterances are all-expiatory':
i Or, perhaps,—these (great) utterances are used with the Sarvaprayaskittam' (libation for expiating every mistakc). Accord ing to Kâty. XXV, 1, 10, five verses are also to be muttered after
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he thus makes expiation with all this (universe). Having collected the potsherds let him throw them to where the ashes have been removed. This, then, is the rite performed in that case.
9. They also say, 'If any one's Agnihotra-cow were to lie down whilst being milked, what rite and what expiation would there be in that case?' Well, some make her get up by means of the Yagus-formula, 'The divine Aditi hath risen,'Aditi, doubtless, is this (earth):-thus saying, 'It is this (earth) we thus raise for him;'-life hath she bestowed upon the lord of sacrifice,' thereby saying, 'It is life we thus bestow upon this (Sacrificer);''giving unto Indra his share,' thereby saying, 'It is Indra's power we thus bestow upon him;'-'and unto Mitra and Varuna,'-Mitra and Varuna, doubtless, are the in-breathing and the up-breathing: -thus saying, 'It is the in and up-breathing we thus bestow upon him.' At this offering he should present that (cow) to a Brahmana whom he does not intend to visit (thus they enjoin) saying, 'It was, indeed, after perceiving the Sacrificer's suffering and evil that she lay down: we thus fasten the suffering and evil on this (Brahmana) 2.'
181
the libation with the three 'great words.' As regards the libation itself, it is to be made in the Gârhapatya with 'bhân,' in the Dakshinâgni with 'bhuvah,' and in the Ahavanîya with 'Svah'; cf. ib. sûtra 13.
The commentators on Kâty. XXV, 1, 15 are divided in interpretation of this passage; whilst some take it in the above (and most natural) sense, others take it to mean-to the Brahmana who will not be coming again to his (the Sacrificer's) house.
The reason why a Brâhman is thus chosen to serve as scapegoat doubtless is that his holy nature is supposed to be proof against such evil influences (cf. Weber, Ind. Stud. X, p. 64).
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10. But on this point Yagñavalkya said, 'Surely, the cow turns from them as from faithless ones, and they smite the offering with trouble; let him rather do it in this way :-Let him make her get up by pushing her with a staff. And, indeed, as in the case of one driving about here, his horse, or his mule, or his ox yoked (to the car) might become weary, and, by its being urged forward by means of a staff or a goad, he completes the way he wishes to accomplish, even so does he, by that (cow) being urged forward by means of a staff or a goad, attain that heavenly world which he desires to reach.
11. And Aruni, indeed, said, His Agnihotracow, assuredly, is the sky, her calf is that blowing (wind), and the Agnihotra-vessel is this earth). And, verily, the Agnihotra-cow of him who knows this does not perish, for how could yonder (sky) perish ? Neither does the calf of the Agnihotracow of him who knows this perish, for how could that (wind) perish? Nor does the Agnihotra-vessel of him who knows this break to pieces, for how could this (earth) break to pieces ? The rain-cloud showers down blessings: let him therefore think, “Unable to bear my glory and greatness, she (the Agnihotra-cow) has lain down: I shall become more glorious." Let him keep her for himself1: he thereby takes glory (prosperity) to himself, thus spake Åruni. This, then, is the rite performed in that case.
12. They also say, 'If any one's Agnihotra-cow were to low whilst he gets it milked, what rite and
* That is, he is not to give the cow to a Brahmana; cf. Kâty. XXV, 1, 17.
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Let
what expiation would there be in that case?' him pluck a bunch of grass and make her eat thereof. This is the rite performed in that case.
SECOND BRAHMANA.
1. They also say, ' If any one's Agnihotra-cow were to milk blood, what rite and what expiation would there be in that case?' Let him say 'Disperse!' and having made a stirring-spoon, let him order the Anvâhârya-pakana fire to be enclosed; and having boiled that (blood) thereon, let him silently offer it in an undefined (indistinct) way', for Pragâpati is undefined, and the Agnihotra is sacred to Pragâpati; and the undefined also means everything: he thus makes atonement with everything. At this offering he should give that (cow) to a Brahmana whom he does not intend to visit; for, indeed, she who milks blood milks it after perceiving the Sacrificer's suffering and evil: he thus fastens that suffering and evil upon this (Brahmana). Let him then make offering with what other milk he can procure: by that which is not unsound he thus throws out what is unsound in the sacrifice. This, then, is the rite performed in that case.
2
2. They also say, 'If any one's Agnihotra-milk were to become impure whilst being milked, what rite and what expiation would there be in that case?' Now some think that it should be offered
1 According to Kâty. XXV, 2, 2, it is to be offered on hot cinders of the Dakshinâgni with the formula, 'To Rudra, hail !'
'Or rather, perhaps,—if anything impure were to get (to fall) into any one's Agnihotra-milk; cf. XII, 4, 2, 9.
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(arguing that) it is ready (for offering), and it would be improper if it were not offered; and that the gods have no loathing for anything. But the gods have indeed loathings :- let him rather proceed in the following way. Having shifted some hot cinders from the Gârhapatya, let him silently pour that (milk) on these hot cinders. He then pours water thereon, and thus secures (ập) it by means of the water (&p). Let him then make offering with what other (milk) he can procure. This, then, is the rite performed in that case.
3. They also say, 'If any one's Agnihotra-milk were to become impure after he has had it milked, what rite and what expiation would there be in that case ?' Let him shift back the coals which were shifted away (from the fire) and on which he was going to put the Agnihotra-milk); and let him then pour it silently on these hot cinders. He then pours water thereon, and secures it by means of the water. Let him then make offering with what other (milk) he can procure.
4. They also say, “If any one's Agnihotra-milk were to become impure after being put on the fire, what rite and what expiation would there be in that case ?' Let him offer it silently on the coals which were shifted away from the fire), and on which it had been placed : thus it is both offered and not offered; for inasmuch as he offers it on those (hot coals) it is offered, and inasmuch as he extinguishes it along with them it is not offered. He pours water thereon, and secures it by means of the water. Let him then make offering with what other (milk) he can procure.
5. They also say, 'If the Sacrificer were to die
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-
-
when the Agnihotra-milk has been put on the fire, what rite and what expiation would there be in that case?' Having enclosed it, let him pour it out: and such, indeed, they say, is the expiation (in that case) for every Haviryagña. This, then, is the rite performed in that case.
6. They also say, 'If any one's Agnihotra-milk were to be spilled after being ladled out into the offering-spoon, what rite and what expiation would there be in that case ?' Let him touch it with the (formula of) atonement for spilling, and, having poured water thereon, let him make offering with what (milk) there is left. And if the spoon be turned upside down, or if it were to break, let him touch (the spilled milk) with the (formula of) atonement for spilling, and, having poured water thereon, let him make offering with what (milk) is left in the pot.
7. Now some go back (to the Gårhapatya) and make offering with what (milk) is left in the pot; but let him not do this, for, indeed, that Agnihotra is conducive to heaven, and if any one, in that case, were to say of him, Surely, this one has descended again from the heavenly world: this (offering) will be in no wise conducive to heaven for him,' then that would indeed be likely to come to pass.
8. Let him rather do it in this way :-let him sit down there and then, and let them ladle out and bring to him what (milk) there is left in the pot. Now some perplex him, saying, 'Surely, this (milk) is the remainder of an offering ; surely, this is exhausted : offering should not be made thereof;' but let him give no heed to this; for, surely, when that (milk) is of unexhausted strength it is used for
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curdling the offering-material 1: let them therefore ladle out and bring to him what (milk) there is left in the pot; and if there should not be any in it, let him put on the fire what other (milk) he can procure; and when he has made the light fall on it?, and poured water to it, and taken it off (the fire),—then on that (former) occasions he (the Adhvaryu) says, “I will ladle out* ;' but on the present occasion let them ladle it out in the way it is (there) ladled out and bring it to him; and let him by all means make offering therewith. This, then, is the rite performed in that case.
9. They also say, “If any one's Agnihotra-milk were to become impure after it has been ladled into the offering-spoon, what rite and what expiation would there be in that case?' Now some think it should be offered, on the ground that it is ready (for offering), and it would be improper if it were not offered, for the gods have no loathing for anything. And some fill it to overflowing and let it flow off$;but let him not do this; for if, in that case, any one were to say of him, ‘Surely, this (priest) has poured away the Agnihotra : this Sacrificer will be poured away,' then that would indeed be likely to come to pass. Let him rather do it in this way :- let him put
Literally, they make it the means of curdling the havis ;-cf. XI, 1, 4, 1, where the sour milk from last night's milking is so used. In the same way the milk not used for the Agnihotra might have served for curdling next morning's milk.
* Viz. by means of a lighted straw, cf. II, 3, 1, 16.
• Viz. at the evening-offering of the Agnihotra; the Sacrificer then replying, 'Om, ladle out!' At the morning-offering the Adhvaryu says, 'I ladle out,' instead. Cf. part i, p. 331, note 1.
• Or, shall I ladle out?' as the Paddhati on Kåty. IV, 14,8 takes it. $ That is to say, they let the impure matter flow off.
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fuel on the Åhavaniya, and, having shifted some hot cinders away from the Ahavaniya, let him silently pour it on these hot cinders. He then pours water on it, and secures it by means of the water; and let him then make offering with what other (milk) he can procure. This, then, is the rite performed in that case.
10. They also say, "If it were to rain upon (uparishtât) any one's Agnihotra-milk when it has been ladled into the offering-spoon, what rite and what expiation would there be in that case?' Let him know, 'Light (or sap) has come to me from above (uparishtât); the gods have helped me : I shall become more glorious;' and let him by all means make offering therewith. This, then, is the rite performed in that case.
THIRD BRAHMANA. 1. They also say, "If the fire were to go out after the first libation has been offered, what rite and what expiation would there be in that case ?' Having thrown down (on the fire-place) any log of wood he may find lying near by ', let him offer thereon, saying, 'In every (piece of) wood there is a fire,' for, indeed, there is a fire in every (piece of) wood. But if his heart should at all misgive him, he may offer upon gold; for gold, doubtless, is Agni's seed; and the father is the same as the son, and the son is the same as the father : he may therefore offer upon gold. This, then, is the rite performed in that case.
2. They also say, 'If, after being taken out (from the Garhapatya), the Ahavaniya were to go out
· Pratyâsanno visatîti prativesah samipastbah, comm.
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before the Agnihotra (has been offered), what rite and what expiation would there be in that case?' Let him take it out (again) from the Gârhapatya (and bring it) forward, and, having laid it down (on the Åhavaniya hearth), let him offer the Agnihotra thereon. And were it to go out again and again, after being taken out even a hundred times, let him take it out (again) from the Gârhapatya, and, having laid it down, let him offer the Agnihotra thereon. This, then, is the rite performed in that case.
3. They also say, 'If the Gârhapatya were to go out, what rite and what expiation would there be in that case?' Well, some churn it out from a firebrand, saying, 'Whereby man's (body) is destroyed in the end, it is therefrom he desires the expiation of this (mishap). Let him, however, not do this ; but let them proceed by taking either a firebrand, or a piece from a firebrand;-let him do it in this way:having taken a coal from a firebrand, let him crumble it on the two churning-sticks, for (in this way) he obtains both that desire which is contained in the (fire) churned out of a firebrand, and that which is contained in (the fire churned out from) the churningsticks. This, then, is the rite performed in that case.
4. They also say, 'If they take out fire for any one and put it with (the burning Åhavaniya) fire, what rite and what expiation would there be in that case?' When uniting, these two (fires), if unappeased, would indeed be liable to burn up the Sacrificer's family and cattle: let him therefore utter upon them the text (Våg. S. XII, 57, 58),
Unite ye two, and get ye on together, loving, radiant, well disposed, dwelling together for food and drink !—Together have I brought
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your minds, together your rites, together your thoughts: O Agni Purishya, be thou the overlord, and bestow thou food and drink upon our Sacrificer!' He thereby bespeaks peace on the part of those two for the safety of the Sacrificer's family and cattle.
5. But if his heart should at all misgive him, let him prepare a cake on eight potsherds to Agni Agnimat (the fire possessed of a fire). The course of procedure thereof (is as follows) :-he should recite seventeen kindling-verses; the two butterportions relate to the slaying of Vritra'; the samyágyas ? are two Virag verses; and the invitatory and offering formulas (of the chief oblation) are as follows :-(the anuvâkyâ, Rig-veda S. I, 12, 6), "Agni is kindled by Agni, he, the sage, the youthful house-lord, the tongue-mouthed bearer of oblations;' and the yâgya, 'For thou, O Agni, art kindled by Agni, priest, as thou art, by a priest, friend by friend. He thereby bespeaks peace on the part of those two, for the safety of the Sacrificer's family and cattle. This, then, is the rite performed in that case.
6. They also say, 'If any one's Gârhapatya were to go out when the Åhavaniya has not gone out, what rite and what expiation would there be in that case?' Now, some take (a new fire) out from that same (Ahavanfya hearth, and carry it) forwards 3,
That is, their Anuvâkyâs refer to Vritrahan. ? That is, the anuvâkyâ (invitatory formula) and yâgyâ (offeringformula) recited for the oblation to Agni Svishtakrit. Cf. XIII, 4, 1, 13 note.
• That is to say, they make the stin burning Ahavanîya their Gårhapatya and take out a new offering-fire which they lay down on a place to the eastward of the former Ahavaniya (the former
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saying, 'The fires are the vital airs: it is the vital airs we thus take up for him.' But let him not do this, for if, in that case, any one were to say of him,
Surely this one has obstructed the forward vital airs ? : this Sacrificer will die,' then that would indeed be likely to come to pass.
7. And some, indeed, take (the Åhavaniya) back (to the Gårhapatya ?), saying, “These two are the out-breathing and the up-breathing.' But let him not do this; for conducive to heaven, indeed, is the Agnihotra ; and if, in that case, any one were to say of him, 'Surely, this one has descended again from the heavenly world : this (offering) will be in no wise conducive to heaven for him,' then that would indeed be likely to come to pass.
8. And some, indeed, churn out another Gârhapatya; but let him not do this, for if, in that case, any one were to say of him, 'Surely, this one has raised a spiteful enemy from out of the fire : : speedily a spiteful enemy will be raised to him; he (the Sacrificer) will weep* for him who is dearest to him,' then that would indeed be likely to come to pass.
9. And some, again, extinguish (the Åhavaniya fire) and churn out another ;-let him not yield to a desire for this; (for if, in that case, any one were to
Dakshinâgni being likewise transferred to a place south of the first third of the line between the new Gârbapatya and Ahavaniya, Kåty. XXV, 3, 5 comm.).
1? Or, has forced them forward.
* That is, they take the burning Ahavaniya fire back to the Gârhapatya hearth, and then take out therefrom a fresh Âhavaniya.
· Viz. inasmuch as he takes out a new Āhavanîya from the newly kindled Gârhapatya, and puts it on the still burning Âhavanîya fire.
* Harisvâmin takes 'rotsyati' as from 'rudh'-rodhena maranam lakshyate, mârayishyatîty arthah.
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XII KÂNDA, 4 ADHYAYA, 4 BRÂHMANA, 1.
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say of him'), 'He has caused to be extinguished even what was left him : no heir will remain to him,' then that would indeed be likely to come to pass.
10. Let him rather proceed thus :-having lifted the two fires on the two churning-sticks?, let him betake himself northwards, and, having churned out (the fire), let him remain there offering; for in this way he passes no censure on any one, and towards night offering is made by him at his new restingplace.
FOURTH BRÂHMANA. 1. And, in the morning, having taken out the ashes, and smeared (the fire-places) with cow-dung, he lifts the two fires on the churning-sticks, and returns (to the offering-ground). Having then churned out the Garhapatya, taken out the Åhavaniya, and brought the Anvâhârya-pakana (to the southern hearth), he should prepare a cake on eight potsherds to Agni Pathikrit (the path-maker). The course of procedure thereof (is as follows) :he should recite those same seventeen kindling-verses; the two butter-portions relate to the slaying of Vritra s; the samyâgyâs are two Virag verses 8; and the invitatory and offering formulas are as follows: -(the anuvákyà, Rig-veda VI, 16, 3), 'For thou, most wise Agni, divine disposer, readily knowest the ways and paths at sacrifices; and the yâgyâ (Rig-veda X, 2, 3), We have entered upon the path of the gods to carry on what we can do: the wise Agni shall sacri
1 There seems here to be an omission in the printed text, though MS. Ind. Off. 311, it is true, has the same reading.
• That is, by holding the sticks a moment near the fires. 3 See notes on XIII, 4, 1, 13.
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fice, he shall be the priest, he shall order the sacrifices and their seasons;' for Agni is the path-maker, the guide of paths: he, verily, guides him upon the path of sacrifice. This, then, is the rite performed in that case.
2. They also say, “If any one's fires were to come in contact with each other, what rite and what expiation would there be in that case?' If this burning (fire) were to come (to the other) from behind, he may know that light has come to him from beyond ; that the gods have helped him, and that he will become more glorious. But if his heart should at all misgive him, let him prepare a cake on eight potsherds for Agni Viviki (the discerning). The course of procedure thereof is as follows) :-he should recite those same seventeen kindling-verses; the two butter-portions relate to the slaying of Vritra; the samyâgyâs are two Virag verses; and the invitatory and offering formulas are as follows: -(the anuvâkyâ, Rig-veda VI, 6, 3), “Thy brilliant, wind-sped flames, bright Agni, spread in every direction: the divine ninefold destroyers overpower the woods, boldly crushing them;' and the yagya (Rig-veda V, 8, 3), “The tribes of men glorify thee, Agni, the discerning knower of offerings, and most liberal dispenser of treasures; thee, O wealthy one, dwelling in secret, yet visible to all, loudsounding offerer of sacrifice, glorying in ghee!' And if any one should desire to rid himself of his spiteful enemy, let him, with that object in view, perform this offering, and he verily will rid himself of him. This, then, is the rite performed in that case.
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Page #1970

XII KÂNDA, 4 ADHYAYA, 4 BRAHMANA, 4.
193
3. If, however, this burning (fire) were to come from this side, he may know that he will overcome his spiteful enemy; that he will become more glorious. But if his heart should at all misgive him, let him prepare a cake on eight potsherds for Agni Samvarga (the despoiler). The course of procedure thereof (is as follows) —he should recite those same seventeen kindling-verses; the two butter-portions relate to the slaying of Vritra, the samyâgyâs are two Virág verses; and the invitatory and offering formulas are as follows :-(Rig-veda VIII, 75, 15; Vâg. S. XI, 71), ‘From the far region cross thou over to the near: protect thou that wherein I am!' and the yâgyâ (Rigveda VIII, 75, 12), 'Desert us not in this great strife, like as the bearer of a load: win thou the spoil (sam vargam gaya), win riches thou!' And if any one desire to despoil his spiteful enemy, let him, with that object in view, perform this offering, and he verily will despoil him. This, then, is the rite performed in that case.
4. They also say, 'If the lightning were to burn any one's (sacrificial fire), what rite and what expiation would there be in that case?' Let him know that light has come to him from above; that the gods have helped him, and that he will become more glorious. But if his heart should at all misgive him, let him prepare a cake on eight potsherds for Agni Apsumat (abiding in the waters). The course of procedure thereof (is as follows) :he should recite those same seventeen kindlingverses; the two butter-portions relate to the slaying of Vritra; the samyâgyâs are two Virag verses; and the invitatory and offering formulas are as follows:
[44]
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-(Rig-veda VIII, 43, 9; Vâg. S. XII, 36), 'In the waters, O Agni, is thy seat; as such thou clingest to plants: being in (their) womb, thou art born again;' and the yâgyâ (Vâg. S. XII, 37), Thou art the child of the herbs, the child of the trees, the child of all that is, O Agni, thou art the child of the waters;'-he thereby bespeaks peace on the part of those two (fires) for the safety of the Sacrificer's family and cattle. This, then, is the rite performed in that
case.
5. They also say, 'If any one's fires were to come in contact with impure (profane) fires, what rite and what expiation would there be in that case?' Let him prepare a cake on eight potsherds for Agni Suki (the bright),-the course of procedure thereof (is as follows): he should recite those same seventeen kindling-verses; the two butter-portions relate to the slaying of Vritra; the samyâgyâs are two Virag verses; and the invitatory and offering formulas are as follows:-(Rig-veda VIII, 44, 21), 'Agni of brightest work, the bright priest, the bright sage, brightly he shineth with offering fed;' and the yâgyâ (Rig-veda VIII, 44, 17), 'Up rise thy flames, the bright, the pure, the shining, thy lights, O Agni;'-he thereby bespeaks peace to those two (kinds of fires) for the safety of the Sacrificer's family and cattle. This, then, is the rite performed in that case.
6. They also say, 'If the sun were to set on any one's Âhavaniya not yet having been taken out, what rite and what expiation would there be in that case?' Verily, those rays (of the sun) are the Allgods: they go from him, and that (Agnihotra) fails
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XII KÂNDA, 4 ADHYAYA, 4 BRÂHMANA, 7.
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him, because the gods go from him; and after that failure-whether he know it or know it not-those two (fires) say, 'He (the sun) has set on his unlifted (fire).' In such a case let him proceed thus :having fastened a piece of yellow gold to a plant of darbha grass, let him order it to be taken towards the back (west): thus it is made of the form of him who shines yonder; and that (sun) being the day, it is made of the form of the day. And darbha plants are a means of purification 1: he thus purifies it thereby. Having then kindled some firewood, let him order it to be taken forward (to the Âhavanfya hearth). A Brâhmana descended from a Rishi should take it out, for a Brahmana descended from a Rishi represents all the deities: it is thus with the help of all the deities that he causes it (the fire) to succeed. Having laid it down, he returns, and having placed ghee on the Gârhapatya, taken it off, purified it and looked down on it?, he takes ghee by four ladlings, and, having seized a log, he hastens up to the front; and, having put the log on the Ahavaniya, he bends his right knee, and offers with, 'To the All-gods; hail!' Even as one would call (back) to him a Brâhmana staying at one's dwelling, when he goes away offended, by (presenting him with) a cow longing for the bull, so he thereby calls to him the All-gods; and they indeed acknowledge, and
1 Viz. inasmuch as they are used as strainers; see I, 1, 3, 5; cf. also part i, p. 84, note 2.
i Whilst, on ordinary occasions, in clarifying butter for offering, the priest would first make the lady of the house look down on the ghee taken from the fire, before he himself (or the Sacrificer) does 80 (1, 3, 1, 19; 26); on the present occasion-as at offerings to the Fathers (Kâty. II, 7, 4 comm.)—the priest alone does so.
02
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turn to, him. This, then, is the rite performed in that case.
7. They also say, 'If the sun were to rise over any one's Ahavaniya not having been taken out, what rite and what expiation would there be in that case ?' Verily, those rays are the All-gods; and, having dwelt there, they now go from him, and that (Agnihotra) fails him, because the gods go from him; and after that failure-whether he know it or know it not—those two (fires) say, 'He (the sun) has risen on his unlifted (fire). In such a case let him proceed thus :-having fastened a piece of white gold (silver) to a plant of darbha grass, let him order it to be taken towards the front: thus it is made of the form of the moon; and, the moon being the night, it is made of the form of the night. And darbha plants are a means of purification : he thus purifies it thereby. Having then kindled some firewood, let him order it to be taken after (the piece of silver). A Brâhmana descended from a Rishi should take it out, for a Brâhmana descended from a Rishi represents all the deities : it is thus with the help of all the deities that he causes it (the fire) to succeed. Having laid it down, he returns, and, having placed ghee on the Gârhapatya, taken it off, purified it and looked down upon it, he takes ghee in the same way as it was taken before, and, having seized a log, he hastens up to the front; and, having put the log on the Ahavaniya, he bends his right knee and offers with, ‘To the All-gods, hail!' The import is the same as before; and, verily, no hurt and no harm of any kind befalls where that expiation is made. This, then, is the rite performed in that case.
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XII KÂNDA, 5 ADHYÂYA, I BRÂHMANA, 3. 197
FIFTH ADHYAYA. FIRST BRÂHMANA. CEREMONIES IN CONNECTION WITH THE DEATH OF THE AGNIHOTRIN.
1. They also say, 'If that performer of a long sacrificial session-to wit, he who (regularly) offers the Agnihotra-were to die whilst staying abroad, are they to sacrifice for him or not?' Now, some indeed think that (his Agnihotra) should be offered till they get home?; but let him not do so, for that (fire) does not submit thereto that they should offer to it, as for the burning of a dead body: it is rather to sacrifice and oblations that it submits, and, unable to endure it, it stays by him with impatience.
2. And some, indeed, say, 'They (the fires) should lie in the very same condition, kept up (with fuel) but without offering being made on them;' but let him not do so, for that (fire) does not submit thereto that they should kindle it as for the burning of a dead body: it is rather to sacrifice and oblations that it submits, and, unable to endure it, it stays by him with impatience.
3. And some, indeed, having lifted the two fires
? Prof. Delbrück, Altind. Syntax, p. 430, takes 'âgantoh' in the sense, —' (thinking) he may still come;' but cf. Kâty. XXV, 8, 9 with comm., according to which, in case of an Agnihotrin dying away from home, his people are-if the place of his death be somewhere near his home to take the body there; but if it be far from home, they are to kindle a fire by churning' and burn the body, and having collected the bones and taken them home, they are there to perform the punardâha, or second cremation ; and in either case the Agnihotra is to be performed regularly for the deceased, in the evening and morning, till the body or the bones arrive at the house (grihâgamanaparyantam). The force of iti' here evidently is,- (thinking,) 'we will do so until the home-coming.' Harisvâmin rightly resolves 'ågantoh' by 'â agantoh.'
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on the churning-sticks, lay them down, and churn it (the new fire) out on his being brought (home); but let him not do so, for that (fire) does not submit thereto that they should churn it out as for the burning of a dead body: it is rather to sacrifice and oblations that it submits, and, unable to endure it, it stays by him with impatience.
4. Let him rather proceed thus :-let him bid them seek for a cow suckling an adopted calf, and let him make offering with milk from her; for tainted is that milk which comes from a cow suckling an adopted calf, and tainted is the Agnihotra of one who is dead: by thus removing the tainted by the tainted, he becomes more glorious.
5. Concerning this there also is a simile :—if two smashed cars were to (be made to) unite there would be at least one (fit) for driving.
6. The procedure of this same Agnihotra (is as follows) :—He causes her to be milked whilst eastward invested 1; for, sacrificially invested, one gets (the Agnihotra-cow) milked for the gods, but in the case of the Fathers it is done thus.
7. He does not put (the milk) on the (burning) coals 2; for were he to put it on coals he would be doing (what is done) for the gods: having shifted some hot cinders from the Gårhapatya towards the right (south) side, he puts it thereon, and thus makes it to be sacred to the Fathers.
1 That is, wearing the Brahmanical cord over the right shoulder, and under the left arm; instead of over the left shoulder, and under the right arm as is done at the sacrifice.
* For boiling the milk for the Agnihotra burning coals are shifted northwards from the Gårhapatya, and the pot placed thereon; see part i, p. 330, note.
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XII KANDA, 5 ADHYAYA, I BRAHMANA, 11. 199
8. He does not cause the light (of a burning straw) to fall upon it, nor does he pour water to it; for were he to make the light fall on it, and to pour water to it, he would be doing (what is done) for the gods. He does not take it off thrice, setting it down each time1; for were he take it off thrice, setting it down each time, he would be doing (what is done) for the gods: only once he takes it off drawing it downwards2, and thus makes it to be sacred to the Fathers.
9. He does not say, 'I will ladle out!' nor does he ladle out (the milk) four times; for were he to say 'I will ladle out!' and were he to ladle out four times, he would be doing (what is done) for the gods: only once he silently turns it upside down (into the spoon), and thus makes it to be sacred to the Fathers.
10. He does not take it (to the Âhavaniya) whilst holding a kindling-stick over (the handle of the spoon); for were he to take it (there) whilst holding a kindling-stick over it, he would be doing (what is done) for the gods: he takes it whilst holding (a billet) underneath, and thus makes it to be sacred to the Fathers.
11. He does not pass along the north side of the Gârhapatya, for were he to pass along the north
1 When a spoonful of water has been added to the Agnihotramilk, and the light of a burning straw again thrown on it, the pot is taken up three several times and put down each time further north on the hot ashes; see part i, p. 331, note I.
That is, down from the ashes-towards the south (where the Fathers, or departed ancestors, are supposed to reside), whilst in the case of the ordinary Agnihotra he would be shifting the pot more and more upwards, or northwards. Cf. Kâty. XXV, 8, 10. See part i, p. 331, note 4.
See XII, 4, 2, 8.
• Possibly we ought to translate,-he does not go to the north side of the Gârhapatya (but to the south side)—that is, if he makes
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side of the Gârhapatya he would be doing (what is done) for the gods: he passes along the south side of the Gârhapatya, and thus makes it to be sacred to the Fathers.
12. And that sacrificial grass which (ordinarily) is lying with its tops towards the north he lays so as to have its tops towards the south, and thus makes (the offering) to be sacred to the Fathers. And having put a kindling-stick on the Âhavaniya, and bent his left knee, he silently turns (the ladle) once upside down (pouring the milk into the fire) and thus makes it to be sacred to the Fathers. He neither shakes (the spoon) upwards', nor wipes it, nor does he eat (the milk left in the spoon), nor does he throw it out: he thus makes it to be sacred to the Fathers.
13. They also say, 'If that performer of a long sacrificial session—to wit, he who (regularly) offers the Agnihotra—were to die whilst staying abroad, how would they supply him with his fires ?' Well, some, having burnt him, bring (the bones) home and make the fires smell him as he is brought; but let him not do this, for this would be as if he were to seek to cause the seed implanted in one womb to be born forth from another womb. Having brought home the bones, let him throw them on a black antelope skin, and arrange them in accordance with man's form, and having covered them with wool and sprinkled with ghee, let him by burning unite him
two oblations, not only on the Ahavaniya, but also on the Garhapatya (as well as on the Dakshinagni), in which case the Adhvaryu would be standing north (or rather north-west) of the fire. Cf. Kâty. IV, 14, 22–25.
Ordinarily, after the second libation, the priest twice jerks the spoon upwards, and then lays it down on a bunch of grass.
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XII KÂNDA, 5 ADHYÂYA, 2 BRÂHMANA, I.
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with his fires : he thus causes him to be born from his own (maternal) womb.
14. And some, indeed, burn him in (ordinary) fire (procured) in the village; but let him not do this, for such fire is a promiscuous eater, an eater of raw flesh: it would be capable of devouring him completely, together with his sons and his cattle.
15. And some, indeed, burn him in a forest-fire; but let him not do this; for such fire is unappeased : it would be capable of burning him up together with his sons and his cattle.
16. And some, indeed, burn him in a firebrand; but let him not do this; for such fire belongs to Rudra : it would be capable of destroying him together with his sons and his cattle.
17. And some, indeed, build up a funeral pile in the midst of the (three) fires, and, by burning him, unite him with his fires, thinking, 'There,—to wit, in the midst of his fires,-assuredly is the Sacrificer's abode.' But let him not do this; for if in that case any one were to say of him, 'Verily, this one has caused a cutting up in the middle of the village : the cutting up of him will speedily come about 1 : he will weep for his dearest;' then that would indeed be likely to come to pass.
SECOND BRAHMANA. 1. Now, Naka Maudgalya once said, 'If he believe the Sacrificer to be about to die, let him take
1 The burning of the dead body seems to be compared here with the cutting up of the victim which is done outside the sacrificial ground. Harisvamin, indeed, takes 'grama' here, not in the sense of village,' but in that of agnisamgha'-in the midst of the set of sacrificial fires- which, if it were possible, would certainly make the comparison even more striking.
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up the two fires in the churning-sticks, and, having churned out (a new fire), let him continue offering (the Agnihotra) at whatever place may have commended itself to him for the immolation". And if the Sacrificer should then depart this world, -
2. Let him build a pile for him? in the midst of his fires, and, by burning him, unite him with his fires.' But let him not do this; for, verily, that (fire) does not submit thereto that they should make offering to it as for the burning of a dead body: it is rather to sacrifice and oblations that it submits, and, unable to endure it, it stays by him with impatience.
3. He should rather proceed thus :—let him bid them seek three pots, and, having put therein either (dried) cowdung or straw, let him place them separately on the (three) fires; and let them then burn him by means of the fires produced from that blaze: in this way he is indeed burned by these) fires, though not visibly, so to speak.
4. Wherefore, also, it has been said by the Rishi (Vág. S. XIII, 454), “The Agni who was born from Agni, from the pain of the earth or be it of the sky; whereby Visvakarman begat
Literally, at any place at which the cutting up may have commended itself to him (to take place). Whether this cutting up' is here to be taken figuratively of the burning of the corpse (dâhasthâne, Harisvâmin), or of the sacrifice of a barren cow, which may be performed in such a case, or of both, is not quite clear.
. The construction would rather seem to be,- let him build him (i. e. the dead body) up as a pile amidst his fires.
: The real meaning of sumbala' is not known,-acc. to the St. Petersb. Dict., some material which readily takes fire, such as straw or oakum. Harisvâmin takes it in the former sense,--trinâny alpa samsthitâni. Cf. Kâty. XXV, 7, 12 (? dried cotton fibre or pods).
• Cf. VII, 5, 2, 21.
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XII KANDA, 5 ADHYAYA, 2 BRAHMANA, 7. 203
living beings, him, O Agni, may thy wrath spare!' As the verse, so its explanation.
5. Now, in the first place, he cleanses him of all foul matter, and causes the foul matter to settle on this (earth); for this (earth) is indeed foul matter: he thus consigns foul matter to foul matter. For, indeed, from that intestine of his, filled with foul matter, when it is burnt, a jackal is produced: (hence he removes it), 'lest a jackal should be produced.' But let him not do this, or his family will be liable to starve. Having washed him out inside, he anoints him with ghee, and thus makes it (the body) sacrificially pure.
6. He then inserts seven chips of gold in the seven seats of his vital airs; for gold is light and immortality: he thus bestows light and immortality on him.
7. Having then built a pile for him in the midst of his fires, and spread out a black antelope skin with the hairy side upwards, and the neck-part towards the east, he lays him down thereon with the face looking upwards, and puts the guhû-spoon filled with ghee on his right, and the upabhrit on his left hand, the dhruvâ on the breast, the Agnihotra-ladle on the mouth, two dipping-spoons on the nostrils, two prâsitra-haranas1 on the ears, the cup used for carrying forward the lustral water on the head, two winnowing-baskets at the sides, on the belly the vessel used for holding the cuttings (of the ida), filled with clotted ghee, the wedge (yokepin) beside the male organ, two mallets beside the testicles, and behind them the mortar and pestle,
That is, two bowls used for holding the Brahman's 'foreportions'; see part i, p. 69, note 4.
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the other sacrificial vessels between the thighs; and the wooden sword on the right hand.
8. Thus supplied with the sacrificial weapons (implements), that Sacrificer passes on to that place which has been won by him in heaven, even as if one who fears spoliation were to escape it; and, verily, those fires (which are) to be enkindled (will) lovingly touch him, even as sons lovingly touch their father when he comes home after staying abroad, and make everything ready for him?
9. If the Gârhapatya were to reach him first, one may know that the permanent fire has reached him first: that he will permanently establish himself, and that those behind him will permanently establish themselves in this world.
10. And if the Âhavantya were to do so, one may know that the foremost fire has reached him first: that he has been foremost in conquering the (other) world, and that those behind him will be foremost in this world.
11. And if the Anvähâryapakana were to do so, one may know that the food-eating fire has reached him first : that he will eat food, and that those behind him will eat food (be prosperous) in this world.
12. And if they all (were to reach him) at the same time, one may know that he has conquered a blessed world. Such, then, are the distinctions in this respect.
13. This, then, is that offering of the Sacrificer's body which he performs at the end: from out of that place which has been won by him in heaven he arises immortal in the form of an oblation.
That is, they make everything comfortable for him, make him feel at home :-prakrishtam evainam svarge kalpayanti pratishthitam; nityasthitatvật pratishtha gârbapatyah; comm.
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XII KÂNDA, 6 ADIIYÂYA, I BRÂHMANA, 2.
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14. Whatever stone and earthen (vessels of the deceased) there are they may be given to a Brahmana?; but, verily, he who accepts them is regarded as a remover of corpses. Let them rather throw these (vessels) into the water, for the waters are the foundation of all this (universe): he thus establishes him firmly on the waters.
15. Either a son (of the deceased), or a brother, or some other Brâhmana then performs that offering?, with (Vâg. S. XXXV, 22), From out of him thou (O Agni) art born: from out of thee let this N. N. be born again into the heavenly world, hail!' They then go away without looking back, and touch water.
Sixth Adhyâya. First BRÂHMANA.
EXPIATORY OBLATIONS OF SOMA-SACRIFICE. 1. Verily, Pragâpati, the sacrifice, is King Soma; and these deities to whom he offers, and these oblations which he offers, are forms of him.
2. If any part of the sacrifice were to fail, let him make an oblation with regard to that same deity for whom he may have intended (that part),-on the Ahavaniya, if it is during the initiation and the
According to Kâty. XXV, 7, 32, 33 the stone and earthen implements are to be thrown into the water; and metal ones may optionally be given to a Brâhman (or likewise be thrown into the water).
According to Katy. XXV, 7, 34-37 a sterile cow may be offered prior to (or along with) the burning of the body: in which case the victim is to be killed by a blow behind the ear, and its kidneys are to be placed in the deceased's hands, whilst his face is to be covered with the omentum or membrane enclosing the intestines. The final offering referred to in the above passage consists of an oblation of ghee.
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Upasads; on the Ågnidhra, if it is at the Somapressing ;-for whatever joint of the sacrifice fails, that breaks; and whichever then is the deity in that (part of the sacrifice) through that deity he heals the sacrifice, through that one he makes the sacrifice complete again!
3. If, however, the sacrifice, resolved upon in his mind, were not to incline to him ?, let him perform an oblation with, “To Parameshthin hail!' for Parameshthin (the most high) he (Soma 3) then is : he repels evil, and the sacrifice inclines to him.
4. And if the sacrifice, bespoken by his speech, . were not to incline to him, let him perform an oblation with, 'To Pragâ pati hail!' for Pragâpati (the lord of creatures) he then is: he repels evil, and the sacrifice inclines to him.
5. And if any one's (people), having gone in quest of the King (Soma), do not come back bringing · (Soma-plants), let him perform an oblation with,
To the plant hail !' for the plant he then is: he repels evil, and the sacrifice inclines to him.
6. And if, when acquired, (his Soma) were to meet with any mishap, let him perform an oblation with, 'To Savitri hail!' for Savitri he then is : he repels evil, and the sacrifice inclines to him.
7. And if during the initiation (his Soma) were
Cf. IV, 5, 7, 6. 9 That is to say, if untoward circumstances were to arise threatening to prevent the intended Soma-sacrifice. The mental resolve (samkalpa), on the part of the Sacrificer, is the first act in the performance of a sacrifice.
Or, it (the sacrifice), as Harisvâmin takes it. • That is, after he has announced his intention to perform a Soma-sacrifice, by saying 'Somena yakshye,' 'I will sacrifice by means of Soma.'
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Page #1984

XII KÂNDA, 6 ADHYAYA, I BRAHMANA, 13.
207
to meet with any mishap, let him perform an oblation with, 'To Visvakarman hail!' for Visvakárman he then is: he repels evil, and the sacrifice inclines to him.
8. And if (his Soma) were to meet with any mishap in regard to the (cow) given in exchange for the Soma, let him perform an oblation with, "To Pashan hail!' for Pashan he then is: he repels evil, and the sacrifice inclines to him.
9. And if (his Soma) were to meet with any mishap when forthcoming for the 'purchase, let him perform an oblation with, “To Indra and the Maruts hail !' for Indra and the Maruts he (Soma) then is: he repels evil, and the sacrifice inclines to him.
10. And if (his Soma) were to meet with any mishap whilst being bargained for, let him perform an oblation with, 'To the Asura hail!' for the Asura he then is: he repels evil, and the sacrifice inclines to him.
11. And if (his Soma) were to meet with any mishap after he has been bought, let him perform an oblation with, 'To Mitra hail!' for Mitra he then is: he repels evil, and the sacrifice inclines to him.
12. And if (his Soma) were to meet with any mishap whilst seated on (the Sacrificer's) lap!, let him perform an oblation with, 'To Vishnu Sipivishta hail!' for Vishnu Sipivishta he then is : he repels evil, and the sacrifice inclines to him.
13. And if (his Soma) were to meet with any mishap whilst being driven about, let him perform
* See III, 6, 3, 4. This particular ceremony is rather out of place here, as in its regular order it should come after paragraph 15.
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Page #1985

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an oblation with, ‘To Vishnu Narandhisha hail!' for Vishnu Narandhisha he then is : he repels evil, and the sacrifice inclines to him.
14. And if (his Soma) were to meet with any mishap when he has reached (the hall), let him perform an oblation with, ‘To Soma hail!' for Soma he then is: he repels evil, and the sacrifice inclines to him.
15. And if (his Soma) were to meet with any mishap when seated on the throne, let him perform an oblation with, ‘To Varuna hail !' for Varuna he then is: he repels evil, and the sacrifice inclines to him.
16. And if (his Soma) were to meet with any mishap whilst staying in the Ågnidhra, let him perform an oblation with, 'To Agni haill' for Agni he then is: he repels evil, and the sacrifice inclines to him.
17. And if (his Sona) were to meet with any mishap whilst staying in the Havirdhana, let him perform an oblation with, 'To Indra hail!' for Indra he then is: he repels evil, and the sacrifice inclines to him.
18. And if (his Soma) were to meet with any mishap whilst being taken down (from the car), let him perform an oblation with, ‘To Atharvan hail!' for Atharvan he then is: he repels evil, and the sacrifice inclines to him.
19. And if (his Soma) were to meet with any mishap when thrown down (on the pressing-board) in the shape of) the Soma-stalks, let him perform an oblation with, 'To the All-gods hail!' for the All-gods he then is: he repels evil, and the sacrifice inclines to him.
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Page #1986

XII KÂNDA, 6 ADHYAYA, I BRÂHMANA, 26. 209
20. And if (his Soma) were to meet with any mishap whilst being invigorated (moistened), let him perform an oblation with, .To Vishnu Å prita på haill' for Vishnu Å pritapà (the protector of the appeased) he then is: he repels evil, and the sacrifice inclines to him.
21. And if (his Soma) were to meet with any mishap whilst being pressed, let him perform an oblation with, 'To Yama hail !' for Yama he then is: he repels evil, and the sacrifice inclines to him.
22. And if (his Soma) were to meet with any mishap whilst being gathered together 1, let him perform an oblation with, 'To Vishnu haill' for Vishnu he then is: he repels evil, and the sacrifice inclines to him.
23. And if (his Soma) were to meet with any mishap whilst being purified (strained), let him perform an oblation with, To Vayu haill' for Väyu he then is: he repels evil, and the sacrifice inclines to him.
24. And if (his Soma) were to meet with any mishap when purified, let him perform an oblation with, 'To Sukra hail!' for Sukra (the clear one) he then is: he repels evil, and the sacrifice inclines to him.
25. And if (his Soma) were to meet with any mishap when mixed with milk, let him perform an oblation with, 'To Sukra hail!' for Sukra he then is: he repels evil, and the sacrifice inclines to him.
26. And if (his Soma) were to meet with any
See III, 9, 4, 19, Thrice he presses, and thrice he gathers (the beaten plants) together ..
[44]
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Page #1987

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mishap when mixed with barley-meal, let him perform an oblation with, 'To Manthin hail!' for Manthin (Soma mixed with meal) he then is: he repels evil, and the sacrifice inclines to him.
27. And if (his Soma) were to meet with any mishap when drawn into the cups, let him perform an oblation with, 'To the All-gods hail!' for the All-gods he then is: he repels evil, and the sacrifice inclines to him.
28. And if (his Soma) were to meet with any mishap when ready for the libation, let him perform an oblation with, 'To Asu hail!' for Asu (the breath of life) he then is: he repels evil, and the sacrifice inclines to him.
29. And if (his Soma) were to meet with any mishap whilst being offered, let him perform an oblation with, 'To Rudra hail!' for Rudra he then is he repels evil, and the sacrifice inclines to him.
30. And if (his Soma) were to meet with any mishap when he has returned 1, let him perform an oblation with, 'To Vâta hail!' for Vâta (the wind) he then is he repels evil, and the sacrifice inclines to him.
31. And if, after being looked at, (his Soma) were to meet with any mishap, let him perform an oblation with, To Nrikakshas hail!' for Nrikakshas (man-viewing) he then is: he repels evil, and the sacrifice inclines to him.
32. And if (his Soma) were to meet with any mishap whilst being consumed, let him perform an oblation with, 'To Bhaksha hail!' for Bhaksha
1 Viz. to the Havirdhâna where the cups from which libations have been made are deposited on the mound (khara); cf. III, 1,
2, 24.
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Page #1988

x11 KÂNDA, 6 ADHYÂYA, I BRÂHMANA, 38. 211
(drink) he then is: he repels evil, and the sacrifice inclines to him.
33. And if (his Soma) were to meet with any mishap when contained in the Nára samsa (cups "), let him perform an oblation with, 'To the Narasamsa Fathers hail!' for the Nârâsamsa (manpraising) Fathers he then is: he repels evil, and the sacrifice inclines to him.
34. And if (his Soma) were to meet with any mishap when ready for the purificatory bath?, let him perform an oblation with, To the Stream hail!' for a stream he then is: he repels evil, and the sacrifice inclines to him.
35. And if (his Soma) were to meet with any mishap whilst being taken down (to the water), let him perform an oblation with, 'To the Sea hail!' for a sea he then is: he repels evil, and the sacrifice inclines to him.
36. And if (his Soma) were to meet with any mishap when immersed, let him perform an oblation with, 'To the Flood haill' for a flood he then is: he repels evil, and the sacrifice inclines to him.
37. These, then, are the thirty-three oblations he performs; for there are thirty-three gods, and Pragapati is the thirty-fourth : with the help of all the gods he thus heals the sacrifice, and with the help of all the gods he inakes it complete again.
38. The Brahman (superintending priest) himself should perform them, and no other than the Brahman; for the Brahman sits on the right (south)
See part ii, p. 154, note 1. • The pressed-out Soma-husks are taken down to (and thrown into the water where the Sacrificer is to bathe, see IV, 4, 5, I seqq.
P2
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Page #1989

212
SATAPATHA-BRAHMANA.
side of the sacrifice, and protects the sacrifice on the right side. If, however, the Brahman should not know (these formulas and oblations), any one who knows them may perform them; but (let him do so) after applying for leave to the Brahman, and with his permission. Now as to the meaning of these (formulas). Vasishtha knew the Virag': Indra coveted it.
39. He spake, 'Rishi, thou knowest the Virág: teach me it!' He replied, “What would therefrom accrue to me?'- I would teach thee the expiation for the whole sacrifice, I would show thee its form.' -He replied, 'Well, but tell me, if thou wert to teach me the expiation for the whole sacrifice, what would become of him to whom thou wouldst show its form ?'- Verily, he would depart from this world to the heaven of the living.'
40. The Rishi then taught Indra that Virág ;but the Virág, they say, is this (earth), whence he who possesses most thereof is the most powerful.
41. And Indra then taught the Rishi this expiation from the Agnihotra up to the Great Litany. And formerly, indeed, the Vasishtkas alone knew these utterances, whence formerly only one of the Vasishtha family became Brahman; but since nowadays anybody (may) study them, anybody (may) now become Brahman? And, indeed, he who thus knows these utterances is worthy to become
That is, the ‘far-shining,' or 'far-ruling' (metre). • Professor Delbrück, Altindische Syntax, p. 570, takes this clause thus : and therefore even now he who remains of them (i.e. of the Vasishtha family) is (? becomes) Brahman. This rendering takes, however, no account of the 'tu'; and, indeed, it will hardly fit in with the relative clause which precedes it.
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Page #1990

XII KÂNDA, 7 ADHYÂYA, I BRÂHMANA, I. 213
Brahman, or may reply, when addressed as ' Brahman 1!'
SEVENTH ADHYÂYA. First BRÂHMANA.
THE SAUTRÂMANT!. 1. Indra slew Tvashtri's son, Visvarðpa. Seeing his son slain, Tvashtri exorcized him (Indra), and
1 That is to say, when, as superintending priest, he is addressed by another priest asking whether he may now begin some performance, or informing him that he is about to do so, he may give the desired direction. Such applications by the other priests begin with O Brahman !' cf. XIII, 1, 2, 4; and part i, p. 22, note 2.
? The Sautrâmani is usually classed as one of the seven divisions of the Haviryagfia, though, in reality, it is much more than that; its peculiarity consisting in a combination of the ordinary features of the Havirya gita, or ishi (cf. XII, 7, 2, 21), with those of the animal sacrifice, whilst a third important element, viz. libations of spirituous liquor, imparts to it a certain resemblance, and doubtless an intended resemblance, to the Soma-sacrifice. Of this sacrifice we have already met with a variation in connection with the Rågasaya (cf. part iii, p. 129 seq.), that form being usually called the Karaka-Sautramani, as being adopted from the ritual of the Karaka-adhvaryus; whilst the form described in the remaining portion of the present Kanda is, according to Laty. Sraut. V, 4, 20, called Kaukili Sautrâmani (cf. Asv. Sr. III, 9, 9 comm.; Weber, Ind. Stud. III, p. 385). The name itself is derived from
sutrâman,' i.e. 'the good guardian,' as which Indra is worshipped in this sacrifice (cf. V, 5, 4, 1 seq.). The whole performance takes four days, during the first three of which the Sura-liquor is prepared and matured, and offerings of a rice-pap to Aditi, and a bull to Indra are performed; whilst the main sacrifice takes place on the fourth day—the day of either full moon or new moon-the chief oblations offered on that day being three cups of milk, and as many of Sura-liquor, to the Asvins, Sarasvati, and Indra respectively; of three animal victims to the same deities; and of thirtythree libations of fat gravy, or liquid fat (vasá), obtained from the cooking of the victims, and offered by means of bull's hoofs used as cups. At the end of the sacrifice, a third bull is offered to Indra in his form of Vayodhas (giver of life), together with another pap
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Page #1991

214
SATAPATHA-BRAHMANA.
brought Soma-juice suitable for witchery', and withheld from Indra. Indra by force drank off his Soma-juice, thereby committing a desecration of the sacrifice. He went asunder in every direction, and his energy, or vital power 2, flowed away from every limb.
2. From his eyes his fiery spirit Aowed, and became that grey (smoke-coloured) animal, the hegoat; and what (flowed) from his eyelashes became wheat, and what (flowed) from his tears became the kuvala-fruit
(karu) to Aditi and an oblation of curds to Miira and Varuna. No mention is made of the Agnishomîya he-goat usually offered on the day preceding the Soma-pressing, the first bull offered to Indra probably taking its place on this occasion, whilst the bull to Indra Vayodhas would seem to take the place of the sacrifice of a barren cow (to Mitra and Varuna) which usually takes place at the end of a Soma-sacrifice. In an interesting variation (Sautramana-yagña), described in Sânkh. Sr. XIV, 12–13, and performed as a real (Agnish/oma) Soma-sacrifice, the final animal sacrifice indeed is that of a barren cow to Indra Sutrâman; only iwo other victims-a reddish he-goat to the Asvins and a ewe to Sarasvati - being mentioned.
Exposed (liable) to witching,' Delbrück, Altindische Syntax, P. 401.
* Virya' (virile power) is constantly used to explain ‘indriya.'
• The words 'kuvala, badara, and karkandhu' are the names of three varieties of the jujube, or fruits of Zizyphus Jujuba, for a description of which see the comm. on Kâty. Sr. XIX, 17 segg. According to Stewart and Brandis' Forest Flora of North-West and Central India (p. 87), this species varies exceedingly, in the shape and size of the fruits, the shape and tomentum of the leaves, and general habit;' the Zizyphi of North India want more investigation on the spot.' ... 'Lakh is produced on this tree in Sindh, the Panjab, and Central India. The bark is used as dye-stuff; the root is a febrifuge in native pharmacy. A gum exudes from the trunk; and in Kangra a wild silkworm lives on the tree, the silk of which was much employed formerly to tie the barrel to the stock of the matchlock. But the tree is mainly cultivated for its fruit,
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Page #1992

XII KÂNDA, 7 ADHYAYA, I BRÂHMANA, 9. 215
3. From his nostrils his vital power flowed, and became that animal, the ram; and what (flowed) from the phlegm became the Indra-grain, and what moisture there was that became the badara-fruit'.
4. From his mouth his strength flowed, it became that animal, the bull; and what foam there was became barley, and what moisture there was became the karkandhu-fruit
5. From his ear his glory flowed, and became the one-hoofed animals, the horse, mule, and ass.
6. From the breasts his bright (vital) sap Aowed, and became milk, the light of cattle; from the heart in his breast his courage flowed, and became the talon-slaying eagle, the king of birds.
7. From his navel his life-breath flowed, and became lead,—not iron, nor silver; from his seed his form flowed, and became gold; from his generative organ his essence flowed, and became parisrut (raw fiery liquor); from his hips his fire Aowed, and became surå (matured liquor), the essence of food.
8. From his urine his vigour flowed, and became the wolf, the impetuous rush of wild beasts; from the contents of his intestines his fury flowed, and became the tiger, the king of wild beasts; from his blood his might flowed, and became the lion, the ruler of wild beasts.
9. From his hair his thought flowed, and became millet; from his skin his honour flowed, and became the asvattha tree (ficus religiosa); from his flesh his force flowed, and became the udumbara tree (ficus glomerata); from his bones his sweet drink flowed, which is more or less globose on the wild and commoner sorts, and ovoid or oblong on the cultivated and improved kinds.'
· See note 3 on preceding page.
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Page #1993

216
SATAPATHA-BRAHMANA.
and became the nyagrodha tree (ficus indica); from his marrow his drink, the Soma-juice, flowed, and became rice: in this way his energies, or vital powers, went from him.
10. Now at that time he (Indra) had to do with Namuki, the Asura. Namuki bethought him, 'He has been undone once for all: I will seize upon his energy, his vital power, his Soma-drink, his food. By (taking) that Surå-liquor of his he seized upon his energy, or vital power, his Soma-drink, his food. He lay there dissolved. The gods gathered around him, and said, “Verily, he was the best of us; evil has befallen him: let us heal him!'
11. They said to the two Asvins, 'Ye are Brahman physicians : heal ye this one!' They replied, 'Let there be a guerdon for us!' They spake, “That he-goat there shall be your guerdon. They said,
So be it!' and hence the smoke-coloured (he goat) is sacred to the two Asvins.
12. They (the gods) said to Sarasvati, Verily, thou art healing medicine: heal thou this one!' She replied, 'Let there be a guerdon for me!' They spake, 'That ram there shall be thy guerdon!' She said, 'So be it!' and therefore the ram is sacred to Sarasvati.
13. They then spake, 'Verily, there is even now as much in him (Indra) as that bull: that one shall belong to him himself. They said, 'So be it!' and therefore the bull is sacred to Indra.
14. The two Asvins and Sarasvati, having taken the energy, or vital power, from Namuki, restored them to him (Indra), and saved him from evil. *Truly, we have saved him from evil so as to be well-saved (sutrata),' they thought, and this became
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Page #1994

XII KÂNDA, 7 ADHYAYA, 2 BRÂHMANA, 4. 217
the Sautrâmant: and this is the (saving) nature of the Sautrâmant—it saves the self from death, and repels evil for whosoever thus knows that (saving) nature of the Sautrâmant. There are (for this sacrifice) thirty-three Dakshinas (presents to priests), for thirty-three were the gods who healed him : whence they say, 'Dakshinas are healing medicine.'
SECOND BRÂHMANA. 1. Verily, his fiery spirit, his energy, or vital power, depart from him whom Soma purges either upwards or downwards.
2. As to this they say, 'Truly, the Soma-juice is the Brâhmana's food; and, indeed, it is not owing to Soma when a Brâhmana vomits Soma; and he who vomits Soma is one who, whilst being fit to (gain) prosperity, does not gain prosperity, and who, whilst being fit to (gain) cattle, does not gain cattle, for Soma is cattle.'
3. Let him seize for sacrifice that grey (he-goat) of the Asvins, the ram of Sarasvati, and the bull of Indra ; for the Asvins are the physicians of the gods, and it is by them that he heals this (Sacrificer); and Sarasvati is healing medicine, and it is with her help that he prepares medicine for him; and Indra is energy (indriya), or vital power, and it is with his help that he bestows energy, or vital power, on this (Sacrificer).
4. The two Asvins, indeed, are the eyesight,
According to Katy. XIX, 1, 4, the Sautrâmanî may also be performed by one who finds himself in the unfortunate position here referred to; as also (acc. to ib. 3) by a king wbo has been deprived of his kingdom.
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Page #1995

218
SATAPATHA-BRAHMANA.
fiery spirit; and inasmuch as there is a victim) sacred to the Asvins, he (the priest) bestows eyesight, fiery spirit, on this (Sacrificer). And the ear also (he thereby bestows on him), for one and the same are the eye and the ear.
5. Sarasvati is the breath, vital power; and inasmuch as there is (a victim) sacred to Sarasvati, he bestows breath, vital power, on this (Sacrificer). And the off-breathing also (he thereby bestows on him), for one and the same are the breath (of the mouth) and the off-breathing.
6. Indra is speech, strength; and inasmuch as there is a victim) sacred to Indra, he bestows speech, strength, on this (Sacrificer); 'and mind also, for one and the same are speech and mind.
7. He-goats are sacred to the Asvins, ewes to Sarasvati, and cows (and bulls) to Indra,' they say: if these animals are sacrificed, he, by means of those deities, gains those (three) animals.
8. There is a mare with a foal 1: the one-hoofed (animal),glory, he thereby secures (for the Sacrificer?). There are hairs of wild beasts, for the purpose of securing the wild beasts ;—there are hairs of wolf : vigour, the impetuous rush of wild beasts, he thereby secures ;-there are hairs of tiger : courage, the sway of wild beasts, he thereby secures ;—there are hairs
According to XII, 9, 2, 11, a milch cow with her calf are given as dakshina for the two paps offered to Aditi, whilst a mare and foal, according to XII, 7, 2, 21, are the fee for the offering of the three victims; though Katyayana, it is true, makes no mention of this dakshina.
• Or, perhaps, he (the Sacrificer) secures for himself; but see paragraph 15, asmai avarunddhe.
Hairs of a wolf, tiger, and lion are put into the cups of spirituous liquor from which libations are made.
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Page #1996

XII KÂNDA, 7 ADHYÂYA, 2 BRÂHMANA, 12. 219
of lion: might, the rule of wild beasts, he thereby secures.
9. There are grains of rice and grains of millet, grains of wheat and kuvala jujubes, Indra-grain and badara jujubes, grains of barley and karkandhu jujubes, malted rice and barley': both cultivated and wild-grain food he thereby secures; and by means of both kinds of food he duly lays energy and vital power into his own self.
10. With lead he buys? the malted rice, with (sheep's) wool the malted barley, with thread the (fried) rice-grain,—that lead is a form of both iron and gold, and the Sautrâmant is both an ishtioffering and an animal sacrifice, so that he thereby secures both of these.
11. With wool and thread : he buys,—this, to wit, wool and thread, is women's work; and work, indeed, means energy, or vital power, and this latter is extinct in women: he thus secures (for the Sacrificer) that energy, or vital power, which is extinct in women.
12. Here now, other Adhvaryus buy the malted rice with lead from a eunuch, saying, “That is that*; for the eunuch is neither woman nor man, and the
That is, rice and barley grain that has germinated, and subsequently become dry.
As on the occasion of the purchase of Soma-plants (part i, P. 63 seq.), the bargain is effected near the antahpâtya-peg at the back of the Vedi, where an ox-hide is spread for the purpose ; the Adhvaryu asking the seller, Seller of Surâ and Soma, hast thou Surâ and Soma for sale ?'
• Thus“ůrna-sūtram' is to be resolved, according to Kâty. XIX, 1, 18; the wool being used for buying malted barley, and the thread for buying fried rice.
. That is, one is the same as the other.
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Page #1997

220
SATAPATHA-BRAHMANA.
Sautrâmant is neither an ishti-offering nor an animal sacrifice.' But let him not do so, for the Sautrâmant is both an ishti and an animal sacrifice, and the eunuch is something unsuccessful among men: they who do this thus place failure into the very mouth (opening) of the sacrifice. Let him rather buy them from a vendor of Soma, for the Sautrâmani is Soma: he thus puts a form of Soma into the very mouth of the sacrifice so as to secure the sacrifice.
13. There is a pot (kumbhi) perforated with a hundred holes, for in many ways did that (Soma) flow out of (Indra); and a hundred-sized also, indeed, is the sacrifice: it is the sacrifice he thereby secures. There is a bowl (sata"): it is the real (or good) thing (sat) he thereby secures. There is a dish (kapya) for him to secure food. There is a filter, for they cleanse him, (the Sacrificer, by this offering). There is a tail (-whisk) for turning away evil. There is gold for him to secure form (or colour); it weighs a hundred (grains), for man has a life of a hundred (years) and a hundred energies: life, and energy, vital power, he thus lays into his own self.
14. There is an asvattha (ficus religiosa) vessel: honour he thereby secures. There is an udumbara (ficus glomerata) one: force he thereby secures. There is a nyagrodha (ficus indica) one: sweet drink he thereby secures. There are (earthen) pots (sthålf): the food of the earth he thereby secures.
15. There are supernumerary3 (vessels) of palása
1 For the use of this pot, see note on XII, 8, 1, 8.
* See XIL, 8, 3, 14. 15.
"
At III, 7, 2, 1. a, I would also now translate 'upasaya' by supernumerary' or 'additional':-there are eleven stakes, and a twelfth, rough-hewn, supernumerary one, &c.
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Page #1998

XII KÂNDA, 7 ADHYAYA, 2 BRÂHMANA, 18. 221
wood: the pala sa (butea frondosa) is the Brahman (holy writ, holiness, the priesthood): it is by the Brahman that he gains the heavenly world. There are two feathers of a talon-slaying (bird)?: courage, the sway of birds, he thereby secures. There are thirty-six of these objects), for the Brihatt consists of thirty-six syllables, and cattle are related to the Brihati: by means of the Brihatt he thus secures cattle for him.
16. As to this they say, 'The victims have one set of deities, and the cakes another set of deities : this is an improper performance ; how does it become right and proper ?' To Indra belongs the last of the victims, and to Indra the first of the cakes; and Indra, indeed, is energy (indriya), or vital power: through (Indra's) energy he thus confers on him energy, or vital power; and through (Indra's) energy he secures energy, or vital power.
17. There is a cake to Savitri for him to become impelled by Savitri; and one to Varuna, for it is Varuna that seizes him who is seized by evil: through Varuna he thus delivers him from Varuna's power ;-it is the final (cake): he thus delivers him finally from Varuna's noose.
18. Indra's (cake) is one on eleven potsherds, in order that he may secure (Indra's) energy, or vital
For the use of the two feathers of an eagle, see XII, 7, 3, 22. * The rule (as laid down in III, 8, 3, 1) is that the Pasu-purodása, or animal cakes, offered after the animal portions, should belong to the same deities to whom the victims are sacred. On the present occasion this is, however, not the case ; for while the three sacrificial animals of the main performance belong to the Asvins, to Sarasvati and Indra, the three cakes are offered to Indra, Savitri, and Varuna respectively.
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power; for the Trishtubh consists of eleven syllables, and the Trishtubh is energy, or vital power.
19. Savitri's (cake) is one on twelve potsherds, for there are twelve months in the year, and the year means constantly existing food : from the year he thus secures for him food.
20. Varuna's (cake) is one on ten potsherds, for the Virag consists of ten syllables, and Varuna is Virág (the widely ruling), the lord of food : through Varuna he thus secures food for him. In the middle (of the sacrifice) they proceed with (the offering of) these cakes, for the centre means their (mother's) womb: he thus causes them to be produced from their own (mother's) womb.
21. A mare with a foal is the sacrificial fee, for such a (mare) produces both the horse and the mule, and the Sautrâ mani is both an ishti-offering and an animal sacrifice: thus it is so in order that he may secure both of these.
THIRD BRÂHMANA. 1. By means of the Sura-liquor Namuki, the Asura, carried off Indra's (source of) strength, the essence of food, the Soma-drink. He (Indra) hasted up to the Asvins and Sarasvati, crying,
I have sworn to Namuki, saying, “I will slay thee neither by day nor by night, neither with staff nor with bow, neither with the palm of my hand nor with the fist, neither with the dry nor with the moist !" and yet has he taken these things from me : seek ye to bring me back these things!'
2. They spake, 'Let us have a share therein, and we will bring them back to thee.'—'These things
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(shall be) in common to us,' he said, 'bring them back, then!'
3. The Asvins and Sarasvatt then poured out foam of water (to serve) as a thunderbolt, saying, 'It is neither dry nor moist;' and, when the night was clearing up, and the sun had not yet risen, Indra, thinking, 'It is neither by day nor by night, therewith struck off the head of Namuki, the Asura.
4. Wherefore it has been said by the Rishi (Rig-veda S. VIII, 14, 13), With foam of water, Indra, didst thou sever the head of Namuki, when thou wert subduing all thine enemies.' Now, Namuki is evil : having thus, indeed, slain that evil, his hateful enemy, Indra wrested from him his energy, or vital power. Let him who has an enemy perform the Sautrâmani: he thereby slays that evil, his hateful enemy, and wrests from him his energy, or vital power. In his (Namuki's) severed head there was the Soma-juice mixed with blood. They loathed it. They perceived that (means of) drinking separately (one of) the two liquids,— King Soma, the drink of immortality, is pressed?; '- and having thereby made that (Soma) palatable, they took it in (as food).
5. With (Våg. S. XIX, 1), 'Thee, the sweet (liquor I mix) with the sweet (Soma),' he compounds (the ingredients for the preparation of) the Surâ-liquor ?, and makes it palatable ;—'the strong
Vâg. S. XIX, 72 seq. On the myth cp. Muir, O.S.T., vol. v, p. 94. . The preparation of the Sura is described in Kâty. XIX, I, 20–21 and comms., and by Mahîdhara on Våg. S. XIX, 1, in the following way. Having purchased (a) malted rice (sashpa), malted barley (lokma), and fried rice (lågåh), and (b) various vegetable substances (called with the generic name of nagnahu) serving as spices and ferments, such as the bark of Vatica robusta, three
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with the strong,' he thereby bestows energy on him (the Sacrificer);-'the immortal with the immortal,' he thereby bestows · life on him ;'the honeyed with the honeyed,' he thereby bestows flavour to it (the liquor);—'I mix with the Soma,' he thereby makes it (the Sura-liquor) a form of Soma.
6. 'Thou art Soma: get thee matured for the Asvins! get thee matured for Sarasvati! get thee matured for Indra Sutraman!' for these were the deities who first prepared that sacrifice, and with their help he now prepares it; and, moreover, he thereby provides these deities with their share. He distils it with a view to (its being like) the Somapressing. For three nights it remains standing, for the Soma remains standing for three nights after it has been bought: he thus makes it a form of Soma.
myrobalans (nutmeg, areca-nut, and cloves), ginger, hog-weed, &c., he takes them into the fire-house, and pounds the two lots separately. He then prepares two gruels or mashes of rice and millet respectively, adding more water than is ordinarily used, puts them on the fire till they boil over, and catches the overflowing water in two separate vessels. He then adds thereto one-third part of the (still separate) pounded malted rice and barley and fried rice (or one-sixth part into each vessel), and likewise one-half of the spice (or one-fourth part into each vessel): this mixture, called masara (serving both as malt and as flavouring matter), is allowed to dry and is then pounded. One-half of the remaining pounded malted rice and barley and fried rice, as well as the whole of the remaining spices, is then, in equal parts, added to the two mashes, which are thereupon poured into a large vessel, after which the pounded' mâsara' is mixed with the compound whilst the above formula is pronounced; and the pot is deposited in a hole dug in the south-western corner of the fire-shed (sala), where it remains standing for three days (and nights), during which the milk of one, two, and three cows respectively, and the remaining quantities of malted and fried grain are gradually added to it (see XII, 8, 2, 8-10).
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7. There are two Vedis' (altar-grounds),—Two worlds in truth there are, they say, 'the world of the gods, and the world of the Fathers. One (of the Vedis) is in the north, and the other in the south, for the world of the gods is in the north, and the world of the Fathers in the south: by the northern one he secures the world of the gods, by the southern one the world of the Fathers.
8. There are both milk and Surâ-liquor; for milk is Soma, and the Sura-liquor food : through the milk he secures the Soma-drink, and through the Sura-liquor food. And milk is the nobility (chieftaincy), and Surá-liquor the peasantry (clan); the milk he purifies after purifying the Sura-liquor : he thus produces the nobility from out of the peasantry, . for the nobility is produced from out of the peasantry.
9. With (Våg. S. XIX, 3), Purified by Vậyu's · The two Vedis are prepared, in front of the Âhavanîya, by the Adhvaryu and Pratiprasthâtri respectively in a way similar to those required for the Varunapraghâsâh, see part i, p. 392, note. There is some space between them, but not more than will allow a seat to stand on both Vedis (XII, 8, 3, 6). The dimensions of the northern altar-ground) are in accordance with those of the mahavedi (measuring thirty-six prakramas or steps long, twenty-four on the hind (west) side, and thirty-six (or thirty) on the front (east) side), except that the unit of measure, in this case, is one-third prakrama,- the area being thus equal to one-ninth of the maha vedi (some authorities, however, making it one-third). Behind the two Vedis two mounds (khara) are thrown up for the three cups of milk, or three cups of Surâ-liquor respectively, to be deposited thereon. On the northern Vedi an uttara-vedi (high-altar), occupying about one-third of its area, is prepared, on which a sacrificial fire (taken from the Āhavaniya) is afterwards laid down for the use of the Adhvaryu in making libations from the cups of milk; another fire being laid down on the southern mound for the use of the Pratiprasthầtri in making libations from the cups or Surâ-liquor.
[44]
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purifier is the backward-flowing, exceeding swift Soma,' he purifies (the liquor ') in the case of one purged by Soma : in a suitable manner he thus purifies him (the Sacrificer);—Indra's faithful companion:' whatever energy, or vital power, had passed away from him with that (Soma), that he now restores to him.
10. With, 'Purified by Vâyu's purifier is the forward-flowing, exceeding swift Soma,' he purifies (the liquor) in the case of one who has vomited Soma : in a suitable manner he thus purifies him (the Sacrificer);—Indra's faithful companion:' whatever energy, or vital power, had passed away from him with that (Soma), that he now restores to him.
11. With (Våg. S. XIX, 4), 'She purifieth thy liquor,' he, for prosperity, purifies (the Surâ) in the case of one wishing for prosperity ;-'thy Soma, she, the daughter of Sarya:' the daughter of Sarya (the sun) assuredly is Faith, and by faith that (liquor) becomes Soma-juice, and by faith he makes it to be Soma-juice ;-'with the perpetual tail,' for with a tail-whisk that (liquor) is purified.
12. With (Våg. S. XIX, 5), 'The Brahman
This performance thus takes place on the fourth day. Behind the mound of the southern Vedi a hole is dug, and an ox-hide spread over it. On this skin the unstrained liquor (parisrat) is either poured, a fine strainer (made of bamboo) being then laid thereon so that the clear liquor percolates through the holes, and the dregs remain below; or the strainer is placed on the skin, and the unstrained liquor is poured on it so as to allow the clear liquor to flow through on the skin. The liquor is then poured into a pan (sata), and further purified by a whisk of cow and horse-hair being drawn through it, or the liquor being strained through the hair.
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and Kshatra he purifieth,' he purifies the milk1: he thus produces the Kshatra from out of the Brahman, for from out of the priesthood the nobility is produced;-'the fiery spirit and energy;' fiery spirit and energy, vital power, he thus bestows on him;-'with the Surâ the Soma,' for with the Surâ-liquor is Soma;-'the juice, is distilled,' for from the distilled the juice is obtained; 'for joy,' to joy (intoxication), indeed, the Soma-juice contributes, and to joy also does the Surâ-liquor: he thus secures both the joy of the Soma, and the joy of the Surâ ;-'with the pure juice, O god, satiate the deities!' that is, 'with the pure juice satisfy thou the deities;'-'with sap bestow thou food on the Sacrificer,' sap and food he thereby bestows on the Sacrificer. The cups of milk are taken first, then the cups of Surâliquor: he thereby makes the peasantry obedient to the nobility.
13. With (Vag. S. XIX, 6), 'Yea, even as the owners of barley cut their barley...,' (the Adhvaryu) fills (three) cups of milk,-barley-stalks are Soma-stems, and milk is Soma-juice: by means of Soma he thus makes it Soma-juice. With a single (verse) he fills them: singly and solely on the Sacrificer he thus bestows prosperity, for milk is prosperity.
14. With (Vâg. S. XIX, 7), 'Separately, indeed, a seat, acceptable to the gods, hath been prepared for you two,' he fills the (three) cups
1 This takes place on the northern Vedi, by means of a wooden (reed) vessel and a strainer of goat's and sheep's hair.
For the complete verse, see V, 5, 4, 24.
Q 2
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of Sura-liquor ; for separate, indeed, are the Somajuice and the Sura-liquor; and 'acceptable to the gods' he says, because these two are indeed acceptable to the gods; and 'separately a seat hath been prepared' he says, because there are two altargrounds ;-'do not ye mingle in the highest heaven!' he thereby keeps him (the Sacrificer) from evil ;—'the potent Surå-liquor thou art,' he thereby makes Surâ to be Surâ ;-'and this is Soma,' he thereby makes Soma to be Soma;
entering thine own seat, injure me not l'he thereby turns it (the Surâ-liquor) away to its own seat for his own safety. With a single (verse) he fills them: singly and solely on the Sacrificer he thus bestows fame, for the Sura-liquor is fame.
15. Verily, the cups of milk are the nobility (chieftaincy), and the cups of Sura-liquor are the peasantry (clan): thus, were he to draw (the cups) without interlinking them, he would detach the peasantry from the nobility, and the nobility from the peasantry, and would cause confusion between the higher and lower, and a failure of the sacrifice. He draws them so as to be interlinked', and thereby combines the peasantry with the nobility, and the nobility with the peasantry, for the prevention of confusion between the higher and lower, and for the success of the sacrifice.
16. And the cups of milk are the vital airs, and the cups of Surâ-liquor the body: thus, were he
That is to say, in drawing the cups he draws alternately a cup of milk, and a cup of Surâ; Kåty. Sr. XIX, 2, 21. According to ib. 22, the three cups of milk may, however, be drawn first, and then the cups of liquor.
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to draw (the cups) without interlinking them, he would detach the body from the vital airs, and the vital airs from the body, and the Sacrificer would be liable to perish. He draws them so as to be interlinked, and thereby combines the body with the vital airs, and the vital airs with the body; and, indeed, he also lays vital power (or life) into him whence he who has performed the Sautrâmani, and even he who thus knows this, attains the full (measure of) life.
17. And the cups of milk are Soma, and the cups of Surâ-liquor food: thus, in that both cups of milk and cups of Surâ-liquor are taken, he indeed secures for himself both the Soma-drink and food.
18. And the cups of milk are cattle, and the cups of Surâ-liquor food: thus, in that both cups of milk and cups of Surâ-liquor are taken, he indeed secures for himself both cattle and food.
19. And the cups of milk are domestic animals, and the cups of Surâ-liquor wild animals: thus, in that both cups of milk and cups of Surâ-liquor are taken, he indeed secures for himself both domestic and wild animals. And he mixes the cups of milk with both cultivated and wild-growing (fruit), whereby both cultivated and wild-growing food is secured to the domestic animals.
20. As to this they say, 'In that there are those wild beasts, this is a form of that cruel deity; and if he were to mix the cups of milk with hairs of those beasts, he would thrust the cattle into the mouth of Rudra, and the Sacrificer would be without cattle: let him not mix them, or cattle would not be secured by him, for Rudra is the ruler of animals.' The cups of Surâ-liquor alone he mixes with hairs of those
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beasts : he thus puts into the Surà what belongs to Rudra, whence by drinking Sura-liquor one becomes of violent (raudra) mind; and on the wild beasts alone he thus directs Rudra's shaft so as to insure safety to the domestic animals; and cattle are secured by him and he does not thrust the cattle into the mouth of Rudra.
21. [Våg. S. XIX, 10; 11,] 'That dysentery which spareth both the tiger and the wolf, the winged eagle and the lion, may it spare this (Sacrificer) trouble !-Whereas, as a child, joyfully sucking, I chafed my mother, so now, O Agni, I become freed from my debt: unharmed by me are my parents.'
22. With two eagle-feathers, the Adhvaryu and Pratiprasthâtri purify the Sacrificer, turned towards the east behind the altar-ground, both upwards and downwards,—this is a form of the in-breathing and the upward breathing: the in-breathing and the upward breathing he thereby secures; for both upwards and downwards this breath passes along the body. With (Våg. S. XIX, 11), Uniting ye are: unite me with happiness!' he touches the cups of milk : with prosperity and fame he thereby endows him. With, 'Disuniting ye are: disunite me from evil!' he touches the cups of Sura-liquor: he thereby keeps him from evil.
· That is, behind the maha-vedi, near the antahpâtya-peg, where the purchase of the ingredients for the preparation of the Surà had taken place.
• Cf. V, 1, 2, 18, where the same two formulas are used whilst the Soma and Sura-cups are first held together, and then withdrawn from each other; and the terms 'samprik' and 'viprik' were accordingly taken in a passive sense, 'united' and 'disunited ;'
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Eighth ADHYÂYA. First BRÂHMANA. 1. Now, when Indra's energies, or vital powers, departed from him, the gods restored them by means of this very sacrifice. Both cups of milk and cups of Sura-liquor are filled : they thereby restore to him his energies, or vital powers. On the northern fire they offer (from) the cups of milk, and thereby provide him with the bright liquor, with the Soma-drink.
2. He (the Adhvaryu) offers (of the three cups of milk) with (Våg. S. XIX, 32), 'By their devo. tions the buffalos quicken the sacrifice,'—the buffalos, doubtless, are the officiating priests, and devotion is sacrifice: through the priests he causes the sacrifice to prosper, and through the sacrifice the sacrificer 2 ;-'the barhis-seated one, supplied with Surâ and goodly heroes,' supplied with Surà, indeed, is this barhis-seated sacrifice, to wit, the Sautrâmant : by means of the barhis (the sacred grass on the Vedi), and the sacrifice, he causes him to prosper ;- 'they who bestow Soma,'—they thus bestow the Soma-drink upon him ;-' with the deities in heaven,'—they thus place him with the deities in heaven ;-'may we enjoy ourselves,'—the Soma-juice, indeed, con
whilst here the active sense seems preferable, the term 'viprik' probably referring to the tendency of fiery liquor for producing broils.
' Or, cause him to prosper, render him successful by means of the liquor; MS. I. O. 311 reads 'samardhayanti.'
? Or, perhaps, he provides the sacrifice with priests, and the Sacrificer with sacrifice. For obvious reasons the first two pâdas of the verse have been transposed in the translation.
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duces to joy, and so does the Sura-liquor : both the joy of Soma and the joy of Surâ he thus secures ;
worshipping Indra with good hymns of praise!'—for the hymn of praise is food for the gods, and the sacrifice also is food : by sacrifice, by food, he thus makes him successful. Having sacrificed, they drink (of the milk), and thereby increase what is prosperous with him.
3. He drinks, with (Vág. S. XIX, 34), “The (Soma) which the Asvins (brought away) from Namuki, the Åsura,'--for the two Asvins indeed brought away that (Soma-juice) from Namuki ;
and Sarasvati distilled for the sake of Indra's strength,'—for Sarasvati indeed distilled it for the sake of Indra's strength ;-'that clear, sweet draught,'—for clear and sweet indeed is that draught, Soma ;-King Soma I now drink, -it is thus king Soma that comes to be drunk by him. The cups of Sura-liquor they offer (from) on the southern fire ?, and thereby keep him (the Sacrificer) from evil 8.
4. He (the Pratiprasthâtri) offers (libations from the cups of Sura-liquor“), with (Våg. S. XIX, 33), What essence there is of thine, gathered from the plants,' for this Surâ-liquor, indeed, is the essence
For particulars as to the persons who partake of the respective cups of milk and Sura-liquor, see XII, 8, 2, 22 segg.
i That is, on the fire of the southern of the two special Vedis, see p. 225, note.
Viz. inasmuch as the libations of liquor are not made on the offering-fire proper, the (northern) Ahavaniya, where the oblations from the cups of milk are made.
These cups are of the same kind as those used for the draughts of Soma, being made of palasa-wood, and resembling mortars in shape; cf. part ii, p. 259, note 1, towards the end.
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of both the waters and the plants: by the essence of both the waters and the plants he thus causes him to prosper ;-'the strength of the Somajuice together with the Sura- liquor,'— he thereby secures what strength there is in the Somajuice and in the Surâ-liquor ;-' by that exhilarating drink quicken thou the Sacrificer,'—that is, 'by that exhilarating drink gladden thou the Sacrificer ;'-'Sarasvati, the Asvins, Indra, and Agni,'-by deities he (the priest) thus causes the sacrifice to prosper, and by deities and sacrifice the Sacrificer. Having made the offering, they drink (the liquor), and thereby cause to prosper what is unprosperous with him.
5. He drinks, with (Våg. S. XIX, 35), "Whatever is mingled herewith of the juicy Soma,' --he thereby secures for him the essence (juice) of the effused (extracted) and the infused (Soma);'which Indra drank with eagerness,'—for Indra, indeed, drank it with eagerness ;—'that (essence) thereof (I drink) with propitious mind,'—for unpropitious, as it were, to a Brahmana is that drink, the Surâ-liquor: having thus made it propitious, he takes it to himself;— King Soma I drink,'-it is thus king Soma that comes to be drunk by him.
6. Here, now, other Adhvaryus hire some Râganya or Vaisya with the view that he shall drink that (liquor); but let him not do this; for, indeed, this Soma-drink falls to the share of the fathers and grandfathers of whoever drinks (the liquor s) on
For the distinction between suta' and 'âsuta' (not asuta'), cf. XII, 8, 2, 12.
• According to Katy. Sr. XIX, 3, 15, some authorities, however,
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this occasion. Having shifted three coals of the southern fire to outside the enclosing-stones, he may there offer (of the liquor) with these (three) utterances (Vag. S. XIX, 36) :
7. "To the Svadhâ-loving Fathers be Svadhâ, adoration !' he thereby places the Fathers with the Svadhâ in the world of the Fathers.—'To the Svadhà-loving grandfathers be Svadha, adoration !'he thereby places the grandfathers with the Svadha in the world of the grandfathers.—'To the Svadhâ-loving great-grandfathers be Svadhâ, adoration !'he thereby places the greatgrandfathers with the Svadhâ in the world of the great-grandfathers.
8. Having fetched water, he pours it into the cups) with, The Fathers have drunk :' he thereby bestows food on them;—'the Fathers have enjoyed themselves :' he thereby causes them to enjoy themselves ;—the Fathers have become satisfied:' he thereby satisfies them ;'may the Fathers cleanse themselves!' he thereby purifies all of them from the first downwards, for the Sautrâmani is a means of purifications.
think the inhaling of the fumes of the liquor to be sufficient for this purpose.
1 The coals are to be placed on the south side of the southern fire, from north to south, and the libation from the Asvina cup is made on the northernmost coal, that from the Sarasvata cup on the central one, and that from the Aindra cup on the southern one. According to Katy. XIX, 3, 17, and Mahfdhara on Vág. S. XIX, 36, this is a fourth alternative of disposing of the liquor (in favour of the Fathers), the others being actual drinking, or smelling it, or hiring some one to drink it.
* At XII, 7, 2, 13 a perforated pot (with a hundred holes) was mentioned as being used at this sacrifice. According to Katy. Sr.
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9. By three implements of purification he purifies,—three in number are these worlds : by means of these worlds he thus purifies him.
10. With 'pâvamânt? (verses)' they purify; for påvamânts are a means of purification: by a means of purification they thus purify him.
11. With three (verses) they purify each time, there are three vital airs, the in-breathing, the upbreathing, and the through-breathing : it is by means of these that they purify him.
12. With nine (verses) they purify,—there are nine vital airs : by means of the vital airs they purify him, and when purified they establish him again in the vital airs.
13. They purify by means of a (goat's hair and sheep's wool) strainer,—such a strainer doubtless is a form (symbol) of goats and sheep: by means of goats and sheep they thus purify him.
14. They purify by means of a tail-whisk,—such a tail-whisk doubtless is a form of kine and horses : with kine and horses they thus purify him.
XIX, 3, 20, and Mahfdhara on Våg. S. XIX, 37, use is made of this pot at this juncture in much the same way as is described in V, 5, 4, 27 seqq.; viz. two poles are driven into the ground north and south of the southern fire, and a bamboo stick laid thereon : on a string fastened to this stick the pot, containing a tail-whisk (for straining) and a piece of gold, is then made to hang over the fire, and the remains of the Surá-liquor poured into it; and whilst it trickles through into the fire, the priest makes the Sacrificer pronounce the verses Våg. S. XIX, 37-44, 52-60, addressed to the different kinds of departed ancestors.
1 That is, verses recited at the Soma-sacrifice whilst the Somajuice is clarifying; the term being usually confined to the verses of hymns of the ninth mandala of the Riksamhita, whence indeed most of the verses used on this occasion (Våg. S. XIX, 37–44) are taken.
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15. They purify by means of gold,—that (metal), to wit, gold, doubtless is a form of the gods: by means of a form of the gods they thus purify him.
16. They purify him by means of Surâ-liquor, for the Surâ is purified: they thus purify him by that which is purified; and even as the liquor, whilst being purified, is cleared of impure matter1, so is that Sacrificer thereby freed from all evil who, knowing this, performs the Sautrâmant, or who even knows this.
17. Here, now, they ask, 'Is the Sautrâmant to be performed, or is it not to be performed, seeing that (in any case) they continuously repel from him all evil?' As to this Revottaras Sthapati Pâtava Kakra once said, 'Even after making the surrender, one ought certainly to perform the sacrifice; for the Sacrificer is the body of the sacrifice, and the officiating priests are its limbs; and wherever the body is pure there the limbs also are pure; both of them, indeed, purify him, and both of them repel the evil from him: therefore even after making the surrender (of one's own self) one ought certainly to sacrifice.'
18. But, indeed, those who perform at the southern fire, go down to the world of the Fathers. He offers an oblation of ghee: ghee being (material of) sacrifice, it is by sacrifice that they establish themselves in the sacrifice.
19. He (the Sacrificer) offers, with (Vâg. S. XIX, 45), 'The Fathers who, one in form and one in mind, live in Yama's realm,-may their world,
The term 'balkasa' (apparently connected with 'valkala') would seem to mean vegetable matter, esp. chaff or husks. The comm. explains it by 'kidisa' (? kilbisha or kiknasa).
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the Svadhâ, adoration, and sacrifice prosper among the gods!' he thereby commits the Fathers to Yama, and he also conquers the world of the Fathers. Having, all of them, invested themselves sacrificially 1, they betake themselves to the northern fire, for the northern fire2 is this (terrestrial) world3: they thus establish themselves in this world. He offers an oblation of ghee: ghee being sacrifice, it is from out of the sacrifice that they establish themselves in the sacrifice.
20. He (the Sacrificer) offers, with (Vâg. S. XIX, 46), 'Mine own (people) who are one in form and one in mind, living among the living,may their fortune prosper with me, in this world, for a hundred years!' he thereby secures the good fortune of his own people, and he also confers long life on them. Whilst they hold on to each other, he (the Adhvaryu) offers milk, for milk is vital air and food: in the vital air, in food, they thus finally establish themselves.
21. He offers, with (Vâg. S. XIX, 47), 'Two paths for mortals have I heard of, (that of the Fathers and that of the gods'),'-'two paths
'That is, by shifting their Brâhmanical cord so as to hang across the breast from the left shoulder to the right hip.
That is, the fire on the uttara-vedi of the northern of the two special Vedis, see p. 225, note.
They are supposed to return to the earth from the world of the Fathers below.
Not only is the second pâda of the verse omitted here (as also in MS. I. O. 311), but the construction of the first half of the verse is also rather peculiar, the most natural rendering being, 'Two paths of the Fathers have I heard of, (those) of the gods and of men.' The same verse occurs Riks. X, 88, 15 (with the reading 'dve srutf' instead of 'dve sritî'), where Grassmann translates,
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indeed there are,' they say, 'those of the gods and of the Fathers,'-'thereon all that liveth here passeth,' for thereon, indeed, everything living here passes;—'what there is between the father and the mother,'—the father, doubtless, is yonder (sky), and the mother is this (earth): by means of these two he leads the Fathers to the world of heaven. He (the Sacrificer) alone drinks what is left from the offering ?: to himself alone he thus takes prosperity, for milk is prosperity.
22. He drinks it, with (Vâg. S. XIX, 48), 'May this oblation be productive for me,'—for productive indeed it is, whether it be milk or Soma ;'possessed of ten heroes,'—the ten heroes, doubtless, are the vital airs : vital airs he thus takes to himself;— possessed of all the troops,' --all the troops, doubtless, are the limbs : it is limbs he thus takes to himself; -'for well-being: breathwinning,'—the breath of life he thus wins ;-'racewinning,'—a race (offspring) he thus wins;—'cattlewinning,'—cattle he thus wins;--'place-winning,'
-for it is for a place (in heaven) that he sacrifices : it is that he gains ;-'safety-winning,'--the (place of) safety, doubtless, is the heavenly world: in the heavenly world he thus finally establishes himself;May Agni raise for me abundant offspring,
Two paths there are, so the Fathers have told me, passable for gods and men;' whilst Ludwig takes it in the way just referred to. The above interpretation is that of Mahîdhara, who refers to Sat.Br. I, 9, 2, 3; whilst Sâyana (on Riks.) seems to take the two paths to be that of the Fathers and gods, and that of men (pitrinam devânâm kotâpi martyânâm ka dve sruti dvau mârgau); though he afterwards calls them'devayâna' and 'pitriyana.'
· That is to say, the milk which remains in the pot (ukha), from which the milk used for the oblation was taken.
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and bestow ye upon us food, milk, and seed!' it is to those (priests) who offer for him that he thus says, 'Bestow ye all this upon me!' By means of gold they cleanse themselves?; for gold is immortal life: in immortal life they thus finally establish themselves.
SECOND BRÂHMANA. 1. Pragàpati created the (Soma-)sacrifice. He took it and performed it. When he had performed it, he felt like one emptied out. He saw this sacrificial performance, the Sautrâmant, and performed it, and then he was again replenished; and, indeed, he who performs the Soma-sacrifice is, as it were, emptied out, for his wealth, his prosperity is, as it were, taken from him.
2. Having performed a Soma-sacrifice one ought to perform the Sautrâmant: as a cow that has been milked would replenish again, even so, indeed, does he replenish himself,—he replenishes himself by offspring and cattle; and, verily, he who, knowing this, performs the Sautrâmant, or he who (even) knows this, establishes himself in this world, and wins the heavenly world.
3. As to this Suplan Sârñgaya asked Pratidarsa Aibhavata?, Seeing that neither does one
Káty. Sr. XIX, 3, 27, 'Over the kâtvåla (pit) they cleanse themselves, with their wives, putting gold between ;' that is to say, whilst the water is poured on their hands a piece of gold is held between, over which the water flows.
9 Cf. II, 4, 4, 3-4, where the latter is called Pratidarsa Svaikna (king of the Svikna), whilst the former, after studying with him, is said to have been called Sahadeva Sarfigaya.
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become initiated, nor are Soma-shoots' thrown down (to be pressed), how then does the Sautrâmani become a Soma-sacrifice ?'
4. He replied, “The observance of the fast, assuredly, is the head of the sacrifice, and the initiation its body. And the truth, doubtless, is of the form of the fast-observance, and faith of that of the initiation. And mind is of the form of the Sacrificer, and speech of that of the sacrifice.'
5. Thus, when he enters upon the fast-observance, he thereby restores the head to the body of the sacrifice, and he puts truth into faith, and the Sacrificer into the sacrifice.
6. Therefore at this sacrifice (the Sautrâmani) the fast-observance? is the initiation. Now, the fastobservance is a male, and the initiation a female; and the truth is a male, and faith a female; and the mind is a male, and speech a female; and the Sacrificer is the male to his wife, whence wherever there is a husband there is a wife: and at the very outset of the sacrifice he thus sets up couples with a view to production.
7. And, indeed, those (materials) are the Somashoots at this sacrifice,' they say, 'to wit, the malted rice, the malted barley, and the fried rice.'
8. The malted rice 3, indeed, is of the form of the
1 The Somâmsava iva' would seem to have here the force of Soma-shoots proper,' only substitutes (milk and liquor) being used instead.
That is to say, the observance of the fast-by which the Sacrificer during the four days of the performance of the Sautrâmani, lives solely on the remains of the Agnihotra-takes the place of the ordinary initiation of the Soma-sacrifice, there being no Diksha at the Sautrâmani.
The malted rice, malted barley, and fried rice, referred to in
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morning-pressing, for the morning-pressing is this (terrestrial). world, and the latter relates to the Asvins, and Åsvina milk he pours (into the Suraliquor) the first night: he thus provides him (the Sacrificer) with the morning-pressing—with its own world, with its own deity, with its own forma
9. And the malted barley is of the form of the midday-pressing, for the midday-pressing is the air, and the latter relates to Sarasvati, and the Sârasvata milk he pours into the Sura) the second night: he thus provides him with the middaypressing—with its own world, with its own deity, with its own form.
10. And the fried rice is of the form of the evening-pressing, for the evening-pressing is the sky, and the latter relates to Indra, and Aindra milk he pours (into the Surà) the third night: he thus provides him with the evening-pressing—with its own world, with its own deity; with its own form.
11. The milk of one (cow) he pours (into the Surâ) the first night, the milk of two the second
this and the next two paragraphs, refer to the remnants of these materials, not used at first in the preparation of the Surâ, and amounting to one-third of the original quantity of each; these being added successively during the three nights during which the Surâ has to mature; cf. p. 223, note 2.
Or, he renders him, the Sacrificer (or, perhaps, it, the sacrifice), successful by means of the morning-pressing.
. The literal translation would seem to be,-he thus provides him with the respective (sva) world, with the respective deity, and with the respective form,-(hence) with the morning-pressing. It may be remarked, however, that the deities here connected with the three services (the Asvins, Sarasvati, and Indra) are not those elsewhere associated with them (Vasus, Rudras, and Adityas, IV, 3, 5, 1; or Agni, Indra, Visve Devâh, XI, 5, 9, 7).
• Viz. inasmuch as it is full of moisture (saras).
[44]
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night, and the milk of three the third night: he thus provides him with the pressings, in accordance with their forms, and in accordance with their deities.
12. With (Vág. S. XIX, 2). 'Hereof pour ye to the juice,' he pours in (the milk) for the sake of (conformity with) the Soma-pressing ;-'(to) the Soma who is the supreme offering,'--for this, to wit, Soma, is indeed the supreme offering (-material): he thus makes it to be the supreme offering ;-'the manly one who hath rushed into the waters,' for both with water and between it is he (Soma) indeed pressed out;-'I have pressed out Soma by stones,' for by means of stones Soma is indeed pressed out: it is thus by means of stones he presses it out for the sake of (conformity with) the Soma-pressing.
13. As to this they say, 'That Sautrâmant, surely, is of the form of both effused (extracted) and infused ? (Soma);—to wit, that essence of both water and plants, the milk, is of the form of the effused (Soma); and that essence of food, the liquor, is of the form of infused (Soma): by both (kinds of) pressings he thus expresses it, by both pressings he secures it.
14. As to this they say, 'Seeing that the Somajuice is pressed out by stones, how as to the Sautramani ?' Let him reply, 'By the directions 3 and the
1 The 'enam'must refer to the Sura-liquor, treated as identical with Soma.
* I do not quite understand the distinction between suta' and "asuta'; cf. XII, 8, 1, 5; unless the former be the pure Somajuice, and the latter that mixed with other ingredients.
• The 'praisha' are the directions by which the Maitrâvaruna calls on the Hotri to recite the offering-formulas (cf. part ii, p. 183, note 2). For the fore-offerings of the three victims, these directions are given, Våg. S. XXI, 29-40. They all commence with Hota
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Apri-verses;' for the directions (praisha) are in the Brihatt (metre), and the pressing-stones are of bårhata nature: by means of stones the Somajuice is indeed pressed out, and by means of stones he now presses it out for the sake of (conformity with) the Soma-pressing.
15. All (the praishas) contain (the word) payas' (milk), for in the form of milk Soma is (here) pressed?; they all contain (the word) Soma,' for the sake of (conformity with) the Soma-pressing ; they all contain (the word) 'parisrut' (spirituous liquor), for in the form of spirituous liquor Soma is (here) pressed; they all contain (the word) 'ghrita' (ghee), for this—to wit, ghee-doubtless is manifestly a form of the sacrifice: he thus makes it to be manifestly a form of the sacrifice; they all contain (the word) 'madhu' (honey), for this to wit, honey-is manifestly a form of Soma : he thus makes it to be manifestly a form of Soma.
16. They all refer to the Asvins?, for the sake of healing-power s; they all refer to Sarasvati, for the obtainment of food; they all refer to Indra, for the obtainment of energy, or vital power.
17. And, again, as to why they all refer to the Asvins, all of them to Sarasvati, and all of them to Indra,—these, indeed, were the deities who first
yakshat' (may the Hotri worship !), and end with 'payah somah parisruta ghritam madhu vyantv ágyasya hotar yaga' (milk, Soma, with parisrut-liquor, ghee, honey,-may they partake of the butter, Hotri worship I).
? ? Literally, 'by (way of) milk'-or, perhaps, by the admixture of milk-Soma is (here, as it were) produced.'
? In all the directions referred to, the three deities are named.
. The two Asvins are the physicians of the gods. Cf. IV, 1, 5, 8 seqq.; XII, 7, 2, 3.
R 2
·
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prepared this sacrifice (the Sautrâmanî): with the help of these deities he thus prepares it; and, besides, he also provides these deities with a share.
18. The invitatory and offering formulas are made continuous 1, and relate to the same deities,for the sake of continuity and uninterruptedness of the race (offspring). All of them relate to the Asvins, all of them to Sarasvati, and all of them to Indra: the significance of this is the same as before.
19. The Åpri-formulas are anushubh verses; for the Anushubh is speech, and with speech Soma is pressed he thus presses it with speech, for the sake of (conformity with) the Soma-sacrifice. All of them relate to the Asvins, all of them to Sarasvati, and all of them to Indra: the significance of this is the same as before.
20. The anupraishas (after-directions) are in the
244
3
1 This refers to the puro nuvâkyâs and yâgyâs of the oblations of omentum (vapâ) of the three victims. For these formulas the three verses, Vâg. S. XX, 67-69, are used in such a way that verse I forms the anuvâkyâ, and verse 2 the yâgyâ, of the Asvins' oblation; verse 2 the anuvâkyâ, and verse 3 the yâgyâ, of Sarasvatf's oblation; and verse 3 the anuvâkyâ, and verse 1 the yâgyâ, of Indra's oblation. In each of the three verses all the three deities are mentioned. In exactly the same way the three verses, XX, 70-72, are used as the anuvâkyâs and yâgyâs of the three pasupurodâsas; and 73-75 as those of the chief oblations (havis) of meat-portions.
The Aprîs (propitiatory verses, cf. part ii, p. 185) are the offering-formulas (yâgyâ) of the eleven (or twelve) fore-offerings (prayâga) of the animal sacrifice. Those used on the present occasion are the twelve verses given, Vâg. S. XX, 55-66; there being on this occasion (in the second and third places) foreofferings both to Tanûnapât and Narâsamsa. In each of these verses, again, all three deities are referred to.
I do not exactly know what formulas are thereby referred to.
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gâgata metre; for the Gagatt is this (earth), and by means of her Soma is pressed: by means of her he thus presses it for the sake of (conformity with) the Soma-pressing. All of them relate to the Asvins, all of them to Sarasvati, and all of them to Indra: the significance of this is the same as before.
21. This Sautrâmant, then, is manifestly a Somasacrifice; and were the Sacrificer alone to drink (the liquor), it would be either an ishti-offering, or an animal sacrifice; but, for the sake of conformity (of the liquor) to the Soma, all the priests drink thereof, for all the priests drink of the Soma-juice.
22. The Adhvaryus1 drink (the contents of) the Åsvina (cup), for the Asvins are the Adhvaryus of the gods: they thus consume each his own share in his own abode.
23. The Hotri, Brahman, and Maitrâvaruna (drink that) of the Sârasvata (cup), for the Hotri is the voice of the sacrifice, the Brahman its heart, and the Maitrâvaruna its mind: they thus consume each his own share in his own abode.
24. The Sacrificer drinks (that of) the Aindra (cup), for this sacrifice, the Sautrâmani, belongs to Indra, and even now he who sacrifices has his abode along with Indra: he thus consumes his own share in his own abode.
25. The Åsvina cup, indeed, is the eye, the Sârasvata one the vital air, and the Aindra one
It can hardly be the praishas of the anuyâgas (Vâg. S. XXI, 48-58), as these are not in the gagatî, but in the (ârshî) trish/ubh metre; though certainly each of them contains the names of the three deities.
Viz. the Adhvaryu, and his two assistants, the Pratiprasthâtri and Agnîdh. Cf. XII, 8, 1, 3 seqq.
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speech. From the Åsvina (cup) he pours (the remains) into the Sarasvata one, whereby he combines his eye with the vital airs; from the Sarasvata (cup) into the Aindra one, whereby he combines his vital airs with his speech, and also establishes his vital airs in (the channel of) speech, whence all the vital airs are established on speech.
26. Three (men) drink the Åsvina (cup), to wit, the Adhvaryu, Pratiprasthätri, and Agnidh; for this eye is threefold-the white, the black, and the pupil : he thus bestows on him the eye in accordance with its form.
27. Three (drink) the Sarasvata (cup), the Hotri, Brahman, and Maitrâvaruna ; for threefold divided is this vital air—the in (and out)-breathing, the up-breathing, and the through-breathing: he thus bestows on him the vital air in accordance with its form.
28. Singly the Sacrificer drinks the Aindra (cup), for single is that distinction of the vital airs, speech : singly and solely to himself does he take that distinction, speech; whence he who has performed the Sautrâmant becomes singly and solely the most distinguished among his own people, and so does even he who knows this.
29. The officiating priests (ritvig), doubtless, are the seasons (ritu), and the draughts (of liquor) are the months ;-six priests drink, for there are six seasons : by means of the priests he thus secures the seasons.
30. There are twelve draughts?, and twelve
1 Viz. inasmuch as three priests Dartake of each of the first two cups of milk, and of the first two cups of Sura-liquor, and each priest drinks twice.
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months: by means of the draughts he thus secures the months. The priests drink again and again by turns, whence the seasons and months succeed one another by turns.
31. The thirteenth draught the Sacrificer takes, for, indeed, that thirteenth month is manifestly the year itself: it is this he secures by obtaining (that draught). And, indeed, the Sautrâmani is the same as the year, and by means of this he wins everything, and secures everything for himself.
32. There are three victims, for three in number are these worlds : it is these worlds he thereby secures, -to wit, this (terrestrial) world by that of the Asvins, the air by that of Sarasvati, and the sky by that of Indra: he thus wins and secures these worlds for himself in accordance with their (peculiar) form and deity.
33. There are three sacrificial cakes, for there are three seasons: it is the seasons he thereby secures - to wit, the summer by that of Indra, the rainy season by that of Savitri, and the winter by that of Varuna: he thus wins and secures the seasons for himself in accordance with their (peculiar) form and deity.
34. There are six cups (of milk and liquor), for there are six seasons: it is the seasons he thereby secures,—to wit, the spring and summer by the two Å svina (cups), the rainy season and autumn by the two Sarasvata ones, and the winter and dewy season by the two Aindra ones: he thus wins and secures the seasons for himself in accordance with their form and deity.
35. The invitatory and offering formulas are made continuous, and relate to the same deities
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for the sake of the continuity and uninterruptedness of the seasons. They are all of them invitatory formulas and all offering-formulas !, whence all the seasons pass onwards, and all of them return. All (the formulas) are first, all of them intermediate, and all of them last, whence all the seasons are first, all of them intermediate, and all of them last. All the cups have two (formulas, an) invitatory and (an) offering-formula, this is of the form of day and night : it is the day and the night he thus secures for himself; whence both the seasons and the months are established on day and night.
36. The Sautrâmani, truly, is the same as the year, and the same as the moon; and the Sacrificer is manifestly the sun: his vedi (altar-ground) is this earth, his uttara-vedi the air, his barhis the sky, his officiating priests the quarters, his fuel the trees, his ghee the waters, his oblations the plants, his fire Agni himself, his samsthå (the particular form of sacrifice) the year-and, indeed, everything here, whatever there is, is the year; whence he who has performed the Sautrâmant wins everything, and secures everything for himself.
THIRD BRÂHMANA. 1. Tvash tri, seeing his son slain, brought Soma suitable for witchery, and withheld from Indra. Indra, committing a desecration of the sacrifice, by main force drank off his (Tvashtri's) Soma-juice. He went asunder in every direction, from his mouth and vital airs his excellence and fame passed
i See p. 244, note 1, where it is shown that each of the three verses serves successively as puros nuvákya and as yâgyâ.
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away, and entered the cattle, whence cattle are one's fame: and famous, indeed, is he who, knowing this, is consecrated by the Sautrâmani.
2. The two Asvins and Sarasvati then prepared for him this sacrifice, the Sautrâmani, for the purpose of healing him, and thereby consecrated him : thereby he became the highest of gods, and so does he who is consecrated by that (offering) become the highest among his own people.
3. He consecrates him on a black antelope skin; for the black antelope skin is the sacrifice ?: it is at the sacrifice he thus consecrates him; on the hairy side (of the skin), for the hair is the metres : it is on the metres (or sacred writ) he thus consecrates him.
4. On a throne-seat he consecrates him, for imperial dignity is seated (established) on a throneseat: by means of imperial dignity he thus causes him to attain imperial dignity.
5. It is made of udumbara wood, for the udumbara (ficus glomerata) is strength: for the sake of strength he thus is consecrated. It is knee-high, for knee-high is this (terrestrial) world, and it is for (the rule of) this world that the Kshatriya is consecrated; and the ruler (kshatra) indeed he becomes who is consecrated by the Sautrâmant: therefore it is knee-high, and of unlimited size horizontally (in width and depth), -
6. For the throne-seat means royal dignity, and of unlimited prosperity is royal dignity. It is covered with plaited reed-work, for reed-grass is meet for sacrifice. Two of its feet stand on the
Literally, sprinkled, i.e. anointed, with the 'vasa,' or fat gravy obtained from the cooking of the sacrificial animals.
* See part i, p. 23, note 3.
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northern, and two on the southern altar-ground', for the northern vedi is this (terrestrial) world, and the southern one the world of the Fathers : he thus consecrates him for both worlds.
7. Concerning this, Gauriviti Sâktya, knowing this, once said, 'Like rulers ?, assuredly, we shall be in yonder world !' Perhapss it was Rishabha Yâgñatura, king of the Svikna, who had told him so.
8. He places the throne-seat, with (Vág. S. XX, 1), 'Thou art the womb of the Kshatra, thou art the navel of the Kshatra!' for it indeed is the womb and navel of the Kshatra (ruling power).
9. He then spreads the black antelope skin thereon, with, May it not injure thee! do not
· For the two special Vedis, see p. 225, note 1. S A kind of Kshatriyas,' Delbrück, Altind. Synt., p. 494.
. For this or some such meaning (probably'-German, 'wohl' or vielleicht ') which seems to me to suit best the use of sasvat' in the Brahmanas, see part iii, p. 98, note 2.-Thus, at I, 2, 3, 2, I would now translate and perhaps it was Trita who slew him, Indra at all events was exonerated from that (guilt), for he is a god. Similarly, I, 8, 1, 4, 'perhaps it was a ghasha, for that (fish) grows best (fastest); ' II, 2, 1, 2, If, on the other hand, that oblation were not offered up in him, he would perhaps burn either the Adhvaryu, or the Sacrificer.' Somewhat peculiar is the passage, I, 6, 3, 10, where sasvat occurs both in the relative and in the demonstrative clause, and where we can hardly translate otherwise than If, perchance, he had said, “Grow thou, the foe of Indra !” he (Vritra) would perhaps have slain Indra.'-Hätte er vielleicht (etwa) gesagt: Wachse, du Feind Indras l' so würde er (Vritra) vielleicht (? gewiss) Indra erschlagen haben.-If this be the right interpretation of these passages, they would have to be transferred, in the St. Petersb. Dict., from meaning b () to c, where vielleicht' would have to be added, as it certainly suits better than' gewiss' (most likely) the last of the foregoing passages, at all events. The comm. explains' sasvat' by 'bahukritvah.'
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injure me!' for the black antelope skin is the sacrifice: (thus it is spread) for the safety of the sacrifice and his own self.
10. He then mounts it, with a verse to Varuna (Våg. S. XX, 2), for Varuna is the king of the gods: by means of his own deity he thus consecrates him ?,-'He hath sat down, the up holder of the sacred law, Varuna, in the home-steads, for supreme rule, he the wise!'
11. He then throws down a gold and a silver plate (beneath his feet, the silver one beneath the left foot) with, Protect (me) from death!' (the gold one beneath the right foot with,)
Protect (me) from lightning!' The Virag, doubtless, is the rain, and of this there are these two terrible forms, lightning and hail ; of these the gold plate is of the form of lightning, and the silver one of that of hail : against these two deities he affords protection to him, whence he who has performed the Sautrâmant has no fear of these two deities, as he also who thus knows this.
12. He consecrates him by sprinkling him with the fat gravy of the sacrificial animals, for the gravy of the animals means excellence : with that excellence, the essence of cattle, he thus sprinkles him. But that gravy is also the highest kind of food : with the highest kind of food he thus sprinkles him.
13. There are hoof-cups (of gravy), for on hoofs cattle support themselves : he thus causes him to obtain a support. There are thirty-three (such)
· Cf. V, 4, 4, 5, where the verse is explained.
? Or, on the bead, according to others. The plates are of the usual round shape.
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cupfuls, for thirty-three in number are all the deities by means of all the deities he thus consecrates him. He offers them with gagati verses, for animals are of gågata (movable) nature: by means of the Gagati he thus secures cattle for him. With sixteen verses (Vâg. S. XIX, 80-94) he offers, for animals are of sixteen parts: he thus bestows excellence (or prosperity) on him part by part.
14. With lead the wise, with wool and thread' the sages weave the web, the sacrifice: the Asvins, Savitri, Sarasvati, and Varuna healed the form of Indra 2' Each time he has offered two (cupfuls) together, he pours the residue into a bowl (sata): he thereby establishes the days and nights, the half-months, the months, and the seasons in the year, and hence these days and nights, half-months, months, and seasons are established (contained) in the year.
15. The bowl is made of reed, for the reed has its birth-place in the waters, and the waters are all the deities: by means of all the deities he thus consecrates him.
16. A rubbing down (of the Sacrificer) with all manner of sweet-smelling substances takes place (before sprinkling him with fat), for such a rubbing down with all manner of sweet-smelling substances means supreme fragrance: with fragrance he thus consecrates (anoints) him.
17. He sprinkles him (with the fat gravy) in front while (himself) looking towards the back (west), for
1 See p. 219, note 3.
Only the first pâda of this, the first of the sixteen verses, is given in the text. Regarding the allusions in this verse, see XII, 7, 1, 10 seqq.; 2, 17; 7, 3, 3.
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from the front food is visibly eaten. On every side (he sprinkles him) whilst moving round: he thus bestows food on him from all quarters, whence food is secured from all quarters by him who has performed the Sautrâmani, or even by him who thus knows this.
18. With a formula to the Asvins he sprinkles him first, then with one to Sarasvati, then with one to Indra : it is by means of these deities he thus consecrates him. Now, some consecrate him by means both of these deities and those utterances, 'bhah, bhuvah, svar,' 'for,' say they, 'these utterances (" earth, air, heaven") mean all this (universe) : it is by means of all this (universe) we thus consecrate him.' Let him, however, not do so, but let him only consecrate him by means of those deities, for those deities, indeed, are all this (universe).
19. He consecrates him prior to the Svishtakrit (offering), for the Svishtakrit is the Kshatra : he thus consecrates him by means of the Kshatra (or, by a Kshatriya). And he consecrates him between the oblation to the Lord of the Forest ? and the
According to Kâty. Sr. XIX, 4, 14-17, he sprinkles him up to the mouth, letting it flow down on all four sides; and with each sprinkling he pronounces one of the formulas, first, the Såvitra one, Vâg. S. XX, 3, 'At the impulse of God Savitri (I consecrate) thee by the arms of the Asvins, and the heads of Pashan !' followed by the Asvina one, with the healing medicine of the Asvins I sprinkle thee for energy and holy lustre !' and the Sarasvata one, with the healing medicine of Sarasvati I sprinkle thee for vigour and food!' Then a fourth time with a formula referring to all the deities (or with the three great utterances), or with the Aindra text, 'With Indra's power I sprinkle thee for strength, for excellence, and for fame!'
* For this oblation, see III, 8, 3, 33; IV, 5, 2, 11; in both cases it is followed immediately by the oblation to Agni Svishtakrit.
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Svishtakrit, for the lord of the forest (or the tree) is Soma, and the Svishtakrit (maker of good offering) is Agni: he thus consecrates him after encompassing him by Agni and Soma; whence both those who know, and those who do not, say, 'A Kshatriya is the consecrator of a Kshatriya ?
20. They then lift him upknee-high, then navelhigh, then as high as the mouth; for the Vågapeya doubtless is the same as the consecration, and the Sautrâmant is a consecration; and even as there, at the Vâgapeya, he (the Sacrificer) mounts the sacrificial stake 3, like that is this rite.
21. As to this they say, 'But, surely, he who is consecrated by the Sautrâmani moves away from this world. Well, he descends again upon the black antelope skin, and, the black antelope skin being the sacrifice, he thus finally establishes himself on the sacrifice.
22. [He descends, with Vag. S. XX, 10,]'Firmly I establish myself in the Kshatra (lordship), in royal sway,'-in lordship and royal sway he thus establishes himself so as not to lose lordship and royal sway ;-'firmly in horses I establish
Kshatriyo râgło s bhishektā bhavati, půrvam hi rågaiva vriddhah kumâram kâbhishiñkatīty arthah; comm.
* According to Katy, Sr. XIX, 4, 19-21, the Adhvaryu first touches him, with (Vâg. S. XX, 4), Thou art Ka, thou art Katama,
-10 Ka theel and the Sacrificer replies, 'O thou of good fame ! O most propitious one ! O true king!' and touches his limbs one after another with XX, 5-9.
* See part iii, p. 32 (V, 2, 1, 9 seqq.).
• That is, when the throne-seat has been lowered again, he rises from it and stands on the deer-skin.
6 The function of prati' here seems to be to strengthen the preposition in the verb 'prati-tishthâmi.'
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myself, and in kine,'-in the midst of horses and kine he thus establishes himself so as not to lose horses and kine;-'firmly in the limbs I establish myself, and in the body,'-in the limbs. and in the body he thus establishes himself so as not to lose his limbs and his body;-'firmly in the vital airs I establish myself, and in prosperity, in the vital airs and in prosperity he thus establishes himself so as not to lose the vital airs and prosperity;-'firmly in heaven and on earth I establish myself, and in the sacrifice,'-he thus establishes himself in these two, heaven and earth, within which is all this (universe).
23. He then sings a Sâman (hymn-tune), for the Sâman means lordship (kshatra): with lordship he thus consecrates him; or the Sâman means imperial sway by means of imperial sway he thus causes him to attain imperial sway. And, indeed, the
Sâman is the essence of all the Vedas: he thus consecrates him with the essence of all the Vedas.
24. He sings it on a brihatt verse, for established on the Brihatf, as his excellence and foundation,
According to the commentator on Kâty. XIX, 5, 1, the Brahman sings, whilst Lâty. V, 4, 16-19 gives directions from which the Udgâtri would seem to be expected to perform this duty. When the Sacrificer is being anointed, the Udgâtri is to step between the (northern and southern) fires and, as soon as he is called upon by the Adhvaryu, he is to commence the Sâman. It would probably depend on the Brahman's previous studies, whether or not he was sufficiently conversant with the complicated details of the hymnology.
Viz. Vâg. S. XX, 30 (Riks. VIII, 89, 1), 'To Indra, O Maruts, sing ye the great (hymn), most destructive to Vritra, whereby the promoters of sacred rites produced the light, the wakeful god for the god.'
1
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that sun shines! : he thus establishes him on the Brihatt, as his excellence and foundation.
25. He sings it on a brihatt verse relating to Indra, for this sacrifice, the Sautrâmant, belongs to Indra, and even now he who sacrifices has Indra for his support: he thus consecrates him on his own support (or resting-place).
26. And as to why (these hymns) are called bracers ?;' it is because by means of these Samans the gods braced Indra up to energy, or vital power : in like manner do the officiating priests, by means of these Sâmans, brace the Sacrificer up to energy, or vital power. 'Samsravase, visravase, satyasravase, sravase 3'-these are the Samans: they proclaim
! Professor Weber, Ind. Stud. VIII, p. 42, refers to a parallel passage in Tândya-Br. VII, 4, 7-By means of the Bahishpavamâna (of the morning service) the gods carried off Aditya, the sun, to heaven; but he did not stop there. At midday they then fixed him by means of the Brihati, and for this reason the Brihati metre is used for the Pavamâna-stotra at the midday service.'
Literally, sharpeners or sharpenings (samsâna). * These words-apparently meaning 'for fame all round, for fame far and wide, for true fame, for fame' (or, perhaps, for hearing, or, rather, being heard of all round,' &c.) are used to form the finales (nidhana) in which all the priests are to join; cf. Sâmav., Calc. ed., I, pp. 533-4, where the figured text is given. According to Kâty. XIX, 5, 4-5; Lâty. V, 4, 19, the words,
samgityai, vigityai, satyagityai, gityai' (for complete victory, victory far and wide, &c.), and "sampushtyai, vipushtyai, &c. (for complete prosperity, &c.), are to be used instead, in the case of a Kshatriya and Vaisya respectively, either optionally or neces sarily. Though these four words are here, and elsewhere, spoken of as so many different Sâmans, only the last of them (sravase ) forms the finale of a Sâman in the ordinary sense of the word; the others being merely combined with certain musical ejaculations, or expletives (stobhas). All the four Samans' begin with the same phrase (varying only in the verb) sam två hinvanti (rinanti,
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him in these worlds. There are four finales, for there are four quarters : they thus establish him in all the quarters. All (the priests) join in the finale: with one mind they thus bestow excellence upon him.
27. As to this they say, 'Seeing that this Sâman is sung, wherein then does the recitation (uktha) of this Sâman consist, and what is its foundation ; for unsuccessful is what is chanted unless it be followed by a recitation ?
28. 'Thrice eleven are the gods;' this, indeed, is the recitation' belonging to that Sâman, this its foundation
29. Or he (the Adhvaryu) takes a thirty-third cupful (of gravy), with (Våg. S. XX, 11-12"), 'Thrice
tatakshur, sisanti) dhîtibbih,' i.e. they make thee up (or urge thee on) with prayers,' serving as a kind of prelude (prastava) the single words of which are given among the Stobhas (Sâmav., Calc. ed., II, p. 522, last line), as, indeed, the words 'samsravase,' &c., themselves are (ib., p. 520). In the first three Samans this phrase is followed by the finale consisting of the respective characteristic word preceded by the Stobha 'auhova.' In the last Sâman, on the other hand, the introductory phrase is followed by the choral setting of the verse Brihad indraya gâyata' (see p. 255, n. 2), which, in its turn, is followed again by the first phrase, with a slightly modified modulation, ending with 'auhova sravase.' Whilst joining in the finale, the priests, according to Láty. V, 4, 17, are to lay their hands on the head of the Sacrificer.
1 According to Kâty. Sr. XIX, 4, 24; 5, 8 seq.; 7, i seq., the thirty-third libation of gravy is taken with the text, XX, 32, 'yo bh@tanam adhipatih (he who is the over-lord of creatures),' &c.; whilst, on the conclusion of the Sastra, or Hotri's recitation, the Sacrificer offers the libation from that last cup with XX, 11-12, and drinks the remainder with XX, 13. The Sastra, recited in response to the Sâman, consists of the section of eleven verses, Våg. S. XX, 80-90, the first and last verses of which are recited thrice; whilst the 'âhâva' (somsavom, 'let us praise, om l') is inserted by him before each triplet of the remaining nine verses. The two verses used whilst the Sacrificer offers (XX, 11-12) are likewise recited by the
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eleven are the gods,'-for there are indeed thrice eleven gods;-'three-and-thirty, bountiful,'for there are thirty-three gods;-'with Brihaspati for their Purohita,'-Brihaspati is the Brahman (n.): he thus means to say, ' With the Brahman for their Purohita (family-priest);'-'at the impulse (sava) of the god Savitri,'-that is, 'impelled by the god Savitri;'-'may the gods protect me through the gods!' for the gods indeed consecrate him through the gods.
30. The first with the second,'-for the first (gods, on earth) consecrate him along with the second ones (in the air);-'the second with the third,'for the second ones consecrate him along with the third ones (in the sky);-'the third with the truth,'-for the third ones consecrate him with the truth; the truth with the sacrifice,'-for the truth consecrates him with the sacrifice ;-'the sacrifice with sacrificial texts,'-for the sacrifice consecrates him with sacrificial texts ;-sacrificial texts with hymn-tunes,'-for sacrificial texts (yagus) consecrate him along with hymn-tunes ;'hymn-tunes with hymn-verses,'-for hymntunes consecrate him along with hymn-verses (rik); -'hymn-verses with invitatory verses,'-for hymn-verses consecrate him along with invitatory verses;-'invitatory verses with offeringverses,' for invitatory verses consecrate him along with offering-verses;-offering-verses with Vashat-calls,'-for offering-verses consecrate him
"
Hotri, as a 'nivid,' being either added at the end of the Sastra, or inserted before the ninth or tenth verse; the whole recitation thus consisting of seventeen verses.
1 Mahîdhara takes the instrumental throughout as a sociative (saha satyena).
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along with Vashat-calls ;—Vashat-calls with oblations,'--for Vashat-calls consecrate him along with oblations ;-May the oblations render successful my wishes ! bhah! svåhå!'-having thus consecrated him by means of those deities from first to last, he thus, by means of oblations, renders all his wishes successful. Having then solicited an invitation from the officiating priests, he (the Sacrificer) drinks' (the remains of the cup of vasa), for the officiating priests are the seasons: it is thus in the seasons that he solicits an invitation.
31. He drinks it, with (Vâg. S. XX, 13), My hair is endeavour, my skin submission and approach, my flesh inclination, my bone wealth, and my marrow submission,'--for he who is consecrated by the Sautrâmant enters the worlds and among the deities; he now has himself invited amongst them, and thus he arises in the other world) complete, with a whole body, and with (all) limbs.
NINTH ADHYAYA. FIRST BRAHMANA. 1. Verily, from this sacrifice the mano is born;
According to Kåty. XIX, 5, 9, the priests themselves first smell the remainder of the fat gravy, with the text (XX, 34), 'The protector of my breath thou art,' &c. Cf. also XIV, 2, 2, 42, with note.
The use of prayati' in this sense (here and Vág. S. XVIII, 1) is peculiar; being apparently derived from pra-yam,' one would expect it to have some such meaning as 'offer, gift.' This and the other predicates, according to Mahîdhara, are to show the state of feeling of beings towards the (royal) Sacrificer. The repetition of 'anati' (bowing, prostration, submission) is strange. A strong alliterative cadence is noticeable in the verse.
? Hardly return' here; rather, perhaps, attaining to the other worlds),' or, possibly, 'the turning to him, gathering round him (of the people).' • ? Or, he now calls these to himself in the meantime. That is, the Purusha, Agni-Pragậpati; and the Sacrificer.
S2
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and whatever food a man consumes in this world, that (food), in return, consumes him in yonder world. Now this sacrifice is performed by means of spirituous liquor, and spirituous liquor (parisrut) is not to be consumed by a Brahmana : he thus is born from that which is not (to be) consumed, and the food does not, in return, consume him in yonder world. Therefore this (sacrifice), the Sautrâmani, is a Brâhmana's sacrifice'.
2. The malted rice is the same as his (the man's) hair, the malted barley his skin, the fried rice his flesh, the filtering-cloth his bones, the mash his marrow, the raw liquor (parisrut) his life-sap (serum), the seasoning (and fermentative substances) his blood, the milk his seed, the mature liquor (sura) his urine, and the impure matter the contents of the stomach.
3. Indra's cake is his heart, that of Savitri his liver, that of Varuna his lung, the asvattha and udumbara vessels his kidneys, the nyagrodha one his bile, the pan (sthalt) his intestines, the supernumerary (vessels) his bowels”, the two eagle feathers 3 the milt, the throne-seat his navel, the pot his rectum, the (pan) perforated with a hundred holes, the male organ,--and inasmuch as that (pan) is much perforated, therefore that organ is much divided,—the bowl (sata) is his mouth, the strainer
1 That is, because to a man of another caste the spirituous liquor would not be 'anadya,' but consumable, and hence it would consume him in the other world.
. The two terms 'antrâni' and 'gudâh' are usually taken as synonymous; the latter term probably means the lower or larger intestines ; cf. Våg. S. XIX, 86.
See XII, 7, 3, 22.
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his tongue, the dish (kapya) his anus, the tail (whisk) his bladder.
261
4. And the sacrificial animal of the Asvins is his limbs, that of Sarasvati his trunk, Indra's bull his form, whence they say that man's form (wealth) is kine, the gold (plate) is his vital strength; it is of the weight of a hundred (grains), whence man has a life of a hundred (years).
5. The two cups of the Asvins are his eyes, and the ground wheat and kuvala (jujubes) his eyelashes; the two cups of Sarasvati are his nostrils, and the ground Indra-grain and badara (jujubes) the hair in his nostrils; the two cups of Indra are his ears, and the ground barley and karkandhu (jujubes) the hair of his ears and his eyebrows.
6. And the hairs of wolf are the hair on his abdomen and that below; and the hairs of tiger are the hair on his chest and that of his armpits; and the hairs of lion are the hair of his head and his beard.
7. There are three sacrificial animals, for this body of man consists of three parts: it is the body he thereby wins (in heaven) for him ;-what is below the navel (hewins) by that of the Asvins, what is above the navel and below the head by that of Sarasvati, and the head itself by that of Indra: both as to its (bodily) form and as to its deities he thus delivers his own self from death, and makes it immortal.
8. There are three sacrificial cakes, for this life of man consists of three parts: it is life he thereby wins for him;-the early life (he wins) by that of Indra, the middle (part of) life by that of Savitri, and the last (part of) life by that of Varuna: both as to its (bodily) form and as to its deities he thus delivers his life from death, and makes it immortal.
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9. There are six cups (of milk and liquor), for there are these six (channels of) vital airs in the head: it is the vital airs he thereby wins for him ; his eyes (he wins) by the two (cups) of the Asvins, his nostrils by those of Sarasvati, and his ears by those of Indra: both as to its (bodily) form and as to its deities he thus delivers his own self from death, and makes it immortal.
10. The invitatory and offering-formulas are made continuous !, and relate to the same deities - for the continuity and uninterruptedness of the vital airs. They are all of them invitatory formulas and all offering-formulas, whence all the vital airs pass onwards and all of them backwards. All (the formulas) are first, all of them intermediate, and all of them last, whence all the vital airs are first, all of them intermediate, and all of them last. All the cups have two (formulas, an) invitatory and (an) offering-formula, - this is of the form of the in (and out)-breathing and the up-breathing : it is the inbreathing and the up-breathing he thus secures for himself, and therefore all the vital airs are established on the in-breathing and the up-breathing.
11. Verily the Sautrâmant is this body (of man) : the Sacrificer is the mind, (that is) speech manifestly; the vedi (altar-ground) is the trunk, the uttara-vedi (high-altar) offspring, the barhis (grass-covering) cattle, the officiating priests the limbs, the fuel the bones, the ghee the marrow, the fire the mouth, the oblation is food, and the concluding rite is life, whence he who has performed the Sautrâmant attains life.
See p. 244, note 1.
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12. And, verily, these two men that seem to be in the eyes, they belong to the Asvins, and the black in the eye) belongs to Sarasvati, and the white to Indra ; and in that, when the victim of the Asvins is being (offered), he makes offering to these deities in common, thereby he puts those (parts of the body) together and takes them to himself.
13. Indra, assuredly, is the mind, Sarasvati speech, and the two Asvins are the ears. Now, whatever one thinks in his mind of that he speaks with his speech, and what he speaks with his speech that one hears with one's ears: thus, in that, when the victim of Sarasvati is being (offered), he makes offering to these deities together, thereby he puts these (parts of the body) together and takes them to himself.
14. Indra, assuredly, is the breath, Sarasvati the tongue, and the two Asvins the nostrils; and inasmuch as through the channel of) the breath (prana) one introduces (prâ-nt) food into himself that is the reason of its being (called) 'prana.' By means of the tongue one distinguishes the essence (taste) of food, and the nostrils, indeed, are the path of the breath; and in that, when the victim of Indra is being (offered), he makes offering to these deities in common, thereby he puts those (parts of the body) together and takes them to himself.
15. Indra, assuredly, is the heart, Savitri the liver, and Varuna the lung; and in that, when Indra's cake is being (offered), he makes offering to these deities in common, thereby he puts those (parts of the body) together and takes them to himself.
16. Savitri, assuredly, is the breath, Varuna the
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through-breathing, and Indra the generative organ; and whatever food one eats by means of (the channel of) the breath through that he breathes with his through-breathing, and by means of the generative organ he sheds the essence of food as seed; and in that, when Savitri's cake is being (offered), he makes offering to these deities in common, thereby he puts those (parts of the body) together and takes them to himself.
17. Varuna, assuredly, is the womb, Indra the seed, and Savitri the generator of the seed; and in that, when Varuna's cake is being (offered), he makes offering to these deities in common, thereby he puts those (parts of the body) together and takes them to himself. And whosoever thus knows this comes into being along with these deities, and is born again (so as to be) along with these deities; he increases in offspring and cattle; he becomes firmly established in this world, and wins the heavenly world, whosoever, knowing this, performs the Sautrâmant, or whosoever thus knows this.
SECOND BRAHMANA.
1. Having performed the sacrifice they betake themselves to the purificatory bath; for after a Soma-sacrifice they do betake themselves to the purificatory bath, and the Sautrâmant is the same as the Soma (sacrifice).
2. [He plunges the mash-pot into the water, with Vag. S. XX, 14-181,] 'Whatever contumely
1 Of the first three verses the text quotes only the first pâda, the rest having been supplied in the translation.
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against the gods, O divine gods, we have committed, from that sin may Agni deliver me; may he deliver me from all trouble!'- he thereby delivers him from the sin committed against the gods. Whether by day, whether by night we have committed sins, from that sin may Vayu deliver me; may he deliver me from all trouble!'-he thereby delivers him from whatever sin he commits by day and night. Whether waking, whether in sleep we have committed sins, from that sin may Surya deliver me; may he deliver me from all trouble!'-what is awake is men, and what is asleep is the Fathers : he thus delivers him from guilt against men and Fathers.
3. “Whatever sin we have committed in the village, in the forest'—for either in the village or in the forest sin is committed: therefrom he delivers him ;-'whatever in the assembly'-from the sin of the assembly he thereby delivers him ;-'whatever in our organs of sense'—from the sin against the gods he thereby delivers him ;—'whatever against the Sudra or the Arya, whatever against the right of any one, thereof thou art the expiation,'—from all that sin he thereby delivers him.
4. That weswear by the Inviolable Waters', by Varuna, therefrom deliver us, O Varuna!' -he thereby delivers him from sin against Varuna.[He then immerses the pot, with Vag. S. XII, 18;
1 Cf. III, 8, 5, 10, where the text varies slightly— That they say, we swear by the Inviolable (cows, or waters), by Varuna, therefrom deliver us, O Varuna I'
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19,] 'O laving bath, laving thou glidest along,' -the bath, indeed, is that whirlpool (now produced) in the water, and that indeed is either Varuna's son or brother: it is him he thereby praises;-'with the help of the gods have I expiated1 the sin committed against gods,' he thereby expiates the sin committed against gods;-'with the help of mortals that committed against mortals,— he thereby expiates the sin committed against mortals;-'preserve me, O God, from injury from the fiercely-howling (demon)!' whereby he means to say,' Protect me against all inflictions!'
5. 'In the ocean, in the waters, is thy heart,'for the ocean is the waters, and water is sap: with that sap he thus supplies him ;-'may the plants and waters unite with thee!'-he thereby supplies him with both kinds of sap, that which is in plants, and that which is in water.-He goes two steps northward from out (of the water); for as much as the step is the briskness in man: with what briskness there is in him he thus leaves evil behind him.
"
6. With, May the waters and plants be friendly unto us!' he takes water in his joined hands; for water is a thunderbolt: he thus makes a covenant with the thunderbolt;-and with, 'May they be unfriendly unto him who hateth us, and whom we hate!' let him sprinkle it in whatever direction he who is hateful to him may be, and he thereby discomfits him.
7. With (Vâg. S. XX, 20), 'As one set free (is liberated) from the stake, as he who sweateth
1 Cf. II, 5, 2, 47; IV, 4, 5, 22, where the formula has 'ava ayâsisham' (correct,-'with the help of the gods have I wiped out the sin committed against the gods') instead of 'ava yakshi.'
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(is cleansed) from filth by bathing, as the ghee is purified by the strainer, so may the waters cleanse me from sin l'he causes his garment to float away: even as one would pluck out a reed from its sheath, so he plucks him from out all evil. He bathes, and (thereby) drives the darkness (of sin) from himself.
8. [He comes out', with Vâg. S. XX, 21,] From out of the gloom have we risen,' gloom is evil: it is gloom, evil, he thus keeps away;—'beholding the higher light”,'—this (terrestrial) world is higher than the water: it is on this world he thus establishes himself;— God Surya, with the gods, the highest light,'-Sarya, the highest light (gyotis), is the heavenly world: it is in the heavenly world he thus finally establishes himself. He walks along without looking back, and approaches the Ahavaniya -
9. With (Våg. S. XX, 22), 'Along the waters have I gone this day,'—the essence of the waters he thereby secures for himself;—'with their essence have we united,'—the essence of the waters he thus takes to himself;—'rich in sap, O Agni, have I come: do thou unite (supply) me with splendour, with offspring, and with wealth!'he thereby invokes a blessing.
10. With (Våg. S. XX, 23), A kindler thou art:
Having put on fresh garments, the Sacrificer and his wife are led out by the Unnetri, the mantra being muttered at the same time; and they then return with the priests to the offeringground, whilst the Amatriyâ-bymn (on Rig-veda S. VIII, 48, 3, 'we have drunk Soma ...') is sung: see part ii, p. 385, note 2 ; Kâty. Sraut. X, 9, 7.
Mahidhara takes 'svar' in the sense of 'svarga,' heaven; whilst the Brahmana seems rather to take it as referring to the earth or dry land on which the Sacrificer now steps.
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may we prosper'!' he takes a kindling-stick, for a kindler of Agni (the fire) the kindling-stick indeed is. With, ‘Enkindling thou art, fire thou art: lay thou fire into me!' he puts the kindling-stick on the Åhavaniya : he thereby kindles the fire, and, thus kindled, it kindles him with fire (energy)?
11. Being about to offer a pap to Aditis, he prepares it: Aditi being this (earth), he who offers Aditi's (pap) performs the sacrifice on this (earth), and by offering firmly establishes himself thereon. The sacrificial fee is a milch cow (with calf): the milch cow being this earth), he milks out from the latter all his desires. The calf he gives away at the former (pap-offering to Aditi“), and the mothercow at the latter; for when a calf sucks the mothercow, the latter gives milk when she is given away, and from her, when given away, he thus milks all his desires.
12. As to this they say, 'Surely, he who goes down to the water for the purificatory bath falls away from this world!' Well, when he has come out from the bath, he offers a dish of curds to Mitra and Varuna ; now Mitra is this (terrestrial) world,
1 The text of the formula .edhos sy edhishîmahi' is evidently meant to suggest a connection (real or alliterative) between edha' (root indh') and the final verb (root edh').
. According to Katy. XIX, 5, 20, and Mahîdhara, he now offers on the kindling-stick an oblation of ghee, with the text, Vág. S. XX, 23, Hither come the earth, the dawn, the sun, and all this world.
* See p. 213, note 2.
• This offering takes place at the beginning of the performance of the Sautrâmanî, cf. Katy. Sr. XIX, 1, 5-10. The dish of curds which according to this paragraph is to follow the second pap to Aditi, may, according to Katyâyana, be offered before it.
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Varuna yonder world, and the dish of curds is what there is here between (those two): thus, when he offers the dish of curds to Mitra and Varuna, he establishes himself in these worlds. And Mitra, indeed, is the in-breathing, Varuna the off-breathing, and the dish of curds the food : thus when he offers the dish of curds to Mitra and Varuna, he finally establishes himself in the vital air, in food.
THIRD BRAHMANA. 1. Now, Dushtaritu Paumsâ yana had been expelled from the kingdom which had come down to him through ten generations; and the Sriñgayas also expelled Revottaras Pâtava Kâkra Sthapati.
2. He said to Dushtaritu Paumsâ yana, 'I will perform the Sautrâmant for thee, and will confer upon thee that dominion over the Sriñgayas.'—'So be it!' he replied. So he performed it for him.
3. Now Balhika Pratipiya, the Kauravya king, heard (people say) this— There is that Dushtaritu Paumsåyana who has been expelled from the kingdom which has come down to him through ten generations : for him that Kâkra Sthapati wants to perform the Sautrâmant and to confer upon him the dominion over the Sriñgayas.'
4. He said, 'I will just tell him that if he wants to confer dominion upon him, he will indeed exclude him from dominion.' He came to him at that particular time (of the sacrifice) when the cups (of milk and liquor) are drawn.
5. He said, 'Sthapati Kâkra, they say, Surá-liquor must not be offered in the Åhavaniya-fire, nor anywhere else than in the Ahavaniya: if thou offerest
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Surå-liquor in the Åhavaniya thou wilt cause social confusion and a repetition in the sacrifice', and if anywhere else than in the Åhavaniya thou wilt exclude him (the king) from dominion, and wilt neither place him in dominion, nor confer dominion upon him.'
6. He replied, 'I shall not offer Sura-liquor in the Åhavanfya nor anywhere else than in the Åhavaniya : thus I shall not cause social confusion nor a repetition in the sacrifice, and shall not exclude him from dominion; I shall place him in dominion, and shall confer dominion upon him.'
7. He said, 'How, then, wilt thou do it?' He then told him this :At first, indeed, that Yagña (sacrifice, m.), the Sautrâmani, was with the Asuras. He went forth towards the gods. He came to the waters, and the waters welcomed him, whence people welcome a better man when he comes to them. They said to him, 'We pray thee, come, reverend sir!'
8. He said, 'Nay, I am afraid : lead ye me forward!' _ 'Whereof art thou afraid, reverend sir ?' they asked.—'Of the Asuras,' he said. -
Be it, then !' they said. The waters led him forward, whence he who is the protector leads forward him who is afraid ; and inasmuch as the waters led him forward (pra-nt) therefore the waters (themselves) are 'led forward :' this is the reason why they are (called) Pranitàh ; and, verily, firmly established is he who thus knows that nature of the Praniták.
? Probably inasmuch as the cups of milk are offered there previously.
For this jarful of consecrated water, used at the sacrifice, see part i, PP. 9, note; 265.
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9. Now, the fore-offerings had been performed, but the fire had not been carried round? (the oblations), when the Asuras came after him. By means of the circumambient fire the gods shut out their hostile rivals, the Asuras, from Yagña (the sacrifice); and in like manner does this one now, by means of the circumambient fire, shut out his spiteful enemy from the sacrifice.
10. Verily, that Åhavaniya is the womb (seat) of the gods, and those two fires 2 on either side thereof are its immortal wings: thus, when they perform the sacrifice on the Ahavanfya, they indeed perform the sacrifice for the gods in the womb of the gods; and, verily, the continued sacrifice inclines to him, and the sacrifice is not cut off from him who thus knows this, or for whom, knowing this, this sacrificial rite is performed.
11. On the northern fire they offer (libations from) the cups of milk, on the northern fire they cook the sacrificial animals : the sacrificial animals, whilst being mortal, he thus places in the immortal womb, and them that are mortal he causes to be born (again) from out of the immortal womb; and, verily, whosoever thus knows this, or he for whom, knowing this, this sacrificial rite is performed, wards off the recurring death of his cattle, and the sacrifice is not cut off from him.
12. On the southern fire they offer (libations from) the cups of Sura-liquor, near the southern fire
On the ceremony called "paryagnikaranam,' see part i, p. 145, note; part ii, p. 187, note.
* See p. 225, note 1. Properly speaking, the two fires of the two special Vedis are in front (or, rather, north-east and south-east) of the Ahavaniya.
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they purify (the liquor) with triple strainers: the Fathers, whilst being mortal, he thus places in the immortal womb, and them that are mortal he causes to be born (again) from out of the immortal womb; and, verily, whosoever thus knows this, or he for whom, knowing this, this sacrificial rite is performed, wards off the recurring death of the Fathers, and the sacrifice is not cut off from him.
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13. Now, inasmuch as these two fires are taken from the Ahavaniya, they are Âhavaniyas (offeringfires), and inasmuch as they do not again reach the Âhavaniya, they are not Âhavaniyas he thereby obtains both kinds of oblations, that which is (offered) on the Âhavaniya, and that which is (offered) on what is not an Âhavaniya-both what
is offered and what is not offered.
He (Balhika Prâtiplya) then went home, and said, 'It is not so (as we had thought): that kingdom of the Sriñgayas now belongs to Dushtaritu;-in such and such a manner has that Kâkra Sthapati this day performed at the sacrifice.'
14. On the northern fire they thus perform the rites of the sacrificial animals, the (animal) cakes, and the cups of milk, and what other (rite) there is it is the gods, in the world of the gods, he thereby gratifies, and, thus gratified, they gratify him, and he wins the world of the gods.
15. In the southern fire they offer (libations from) the cups of Surâ-liquor, near the southern fire they purify (the liquor) with triple strainers: it is the Fathers, in the world of the Fathers, he thereby gratifies, and, thus gratified, they gratify him, and he wins the world of the Fathers.
16. Verily, the Sautrâmant is the same as the
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body, whence it is clearly) defined, for defined is the body. And (Indra) Vayodhas (the bestower of strength) is the world, whence he is undefined', for undefined is the world. The Sautrâmant is the body (trunk), and the Aindra (victim) and (the one to) Vayodhas ? are the two arms; and inasmuch as there are those two animal offerings on both sides (of the Sautrâmant), therefore these two arms are on both sides of the body. And as the sacrificial animal, so the sacrificial stake; and inasmuch as there are those two stakes on both sides of the stake of the Sautrâmani (bull of Indra), therefore these two arms are on both sides of the body 8.
1 The term 'vayodhas' is said to be undefined inasmuch as, though it is meant to apply to Indra, the name of this god is not mentioned along with it in the formulas.
. During the performance of the Sautrâmanî proper (on the fourth day) three victims are immolated, a he-goat to the Asvins, a ram to Sarasvati, and another bull to Indra. But at the beginning of the whole performance either before or after the first pap to Aditi (cf. XII, 9, 2, 11)--a bull is sacrificed to Indra ; and at the end-after the second pap to Aditi and the dish of curds to Mitra and Varuna (see p. 252, note 4)- another animal sacrifice is performed to Indra Vayodhas. The sacrificial stakes for the first and last of the three victims sacred to Indra, are to be placed north and south of that of Indra's second bull, the one sacrificed as part of the Sautrâmant proper.
• The object of identifying different ceremonial acts and features with certain parts of the body is of course to impress upon the mind of the Sacrificer the efficacy of the Sautramani in securing to him a new, complete body for the other life.
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SATAPATHA-BRAHMANA.
THIRTEENTH KÂNDA.
THE ASVAMEDHA, OR HORSE-SACRIFICE.
PRELIMINARY CEREMONIES'. First ADHYAYA. First BRÂHMANA. 1. He (the Adhvaryu) cooks the priests' mess of rice?: it is seed he thereby produces. Having greased a rope with the ghee which is left over 3, he takes it; for ghee is (a type of) fiery spirit, and the horse is sacred to Pragâpati+: he thus endows Pragapati with fiery spirit. Impure, and unfit for sacrifice, indeed, is that (animal), to wit, the horse.
2. The rope consists of darbha grass (poa cynosuroides) ;-for darbha stalks • are a means of purification: he thus purifies that (horse), and immolates it as one purified and meet for sacrifice.
3. Now, when the horse was immolated, its
1 The ceremonies treated of in the first six chapters (brâhmanas) refer to the setting apart of the horse for its sacred office, a year before the sacrifice, and to the intervening period during which the horse is allowed to roam about, though under careful super. vision.
For further particulars regarding this opening ceremony of the sacrifice see XIII, 4, 1, 1 seqq.
· Viz. from the ghee used for greasing the four dishes of cooked rice.
• Or, the horse is of the nature of Pragâpati. • See above, p. 195, note 1.
• That is, as would seem, Pragapati in the form of a horse, see part iv, introd., p. xiv seqq.
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seed went from it and became gold': thus, when he gives gold (to the priests) he supplies the horse with seed.
4. Pragàpati produced the sacrifice. His greatness departed from him, and entered the great sacrificial priests. Together with the great priests he went in search of it, and together with the great priests he found it: when the great priests eat the priests' mess of rice, the Sacrificer thereby secures for himself the greatness of the sacrifice. Along with the priests' mess of rice he presents gold (to the priests); for the mess of rice is seed, and gold is seed: by means of seed he thus lays seed into that (horse, and Sacrificer). It (the gold 4) weighs a hundred (grains); for man has a life of a hundred (years), and a hundred energies: it is life, and energy, vigour, he lays into his own self. At midday he takes Vasativart water of four kinds; it is brought together from the (four) quarters, for food is in (all) the (four) quarters, and water is food: by means of food he thus secures food for him.
* Pragâpati is Agni, and gold is Agni's seed, cf. II, 1, 1, 5; III, 3, 1, 3 &c.
• That is, the Asvamedha sacrifice, and thus the immolation (or emptying out) of his own self, so to speak.
• That is, the four principal officiating priests, Brahman, Hotri, Adhvaryu, and Udgâtri. Cf. VIII, 4, 3, 1 segg, where it is the vital airs that, in their capacity as Rishis, assist Pragâ paui in the first sacrifice.
* That is to say, each piece of gold weighs as much. According to Katy. XX, 1, 6 he is to give to the priests 4000 cows and as many Satamâna coins.
. For this water used for the Soma-sacrifice where, however, it is taken from a cistern, or some course of flowing water, see part ii, p. 222 seqq.
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SATAPATHA-BRÂUMANA.
SECOND BRÂHMANA. 1. Now, unsuccessful in the sacrifice, assuredly, is what is performed without a formula. (With Våg. S. XXII, 2,) “This rope did they take, at the first age of the truth, (the sages, at the rites: it hath been with us at this Soma-sacrifice, declaring the course in the gaining of the truth],' he takes the halter of the horse in order to supply a formula for the success of the sacrifice. It (the rope) is twelve cubits long, -twelve months make a year : it is the year, the sacrifice!, he secures.
2. Concerning this they say, 'Is the rope to be made twelve cubits long, or thirteen cubits long?' Well, that year is the bull among the seasons, and the thirteenth (or intercalary) month is an excrescence of the year; and this Asvamedha is the bull among sacrifices; and inasmuch as the bull has an excrescence (hump), one may add on a thirteenth cubit to the rope as an excrescence to this (Asvamedha) : even as the bull's hump is attached ? (to his back), suchlike would this be.
3. [He puts the halter on the horse, with Våg. S. XXII, 3, 4,] 'Encompassing: thou art -
1 OT, possibly, it is for the space of a year that he secures the sacrifice, but see part iv, introduction, p. xxiii. . Lit., spread out.
Some such meaning as this (or perhaps encompassed, en. circled') seems to be assigned by the author to abhidhåh,' with evident reference to abhidhânt,'halter,' from abhi-dha,''to fasten, enclose.' The St. Petersburg Dict., on the other hand, takes it in the sense of naming, denoting' (? inasmuch as the borse gives the name to the horse-sacrifice); whilst Mabidhara explains it by that which is named or praised.'
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therefore the offerer of the Asvamedha conquers all the quarters '-'the world thou art,'-the world he thus conquers;-'a ruler thou art, an upholder,'-he thus makes him a ruler and upholder; go thou unto Agni Vaisvânara,'he thus makes him go to Agni Vaisvânara (the friend of all men); of wide extent,'-he thus causes him to extend in offspring and cattle ;'consecrated by Svâhâ (hail!),'-this is the Vashat-call for it;-'good speed (to) thee for the gods!'-he thus makes it of good speed for the gods;-'for Pragâpati,'-the horse is sacred to Pragâpati: he thus supplies it with his own deity.
2
4. But, verily, he who fetters the horse without announcing it to the Brahman and the gods is liable to incur injury. He addresses the Brahman (the superintending priest) by saying, 'O Brahman, I will fetter the horse for the gods, for Pragâpati: may I prosper therewith!' and having made the announce
In epic times the Arvamedha is commonly performed by kings who have been successful in the 'digvigaya,' or conquest in all quarters.
''Vasha'' is the sacrificial call uttered by the Hotri at the end of the 'yâgyâ,' or offering-verse of a regular oblation (âhuti) as distinguished from minor libations, such as homas and aghâras, which require no 'yâgyâ,' and for which the sacrificial call-marking the pouring out of the libation into the fire-is 'svâhâ!' The meaning of 'vasha' is doubtful; but it would seem to be connected either with the root 'vaksh,' to grow, to wax, or with 'vah,' to bear; and would thus mean either may it prosper!' or 'may he (Agni) bear it (to the gods)!' By the mention of the Svâhâ in our formula the horse is, as it were, marked as dedicated to the gods.
Or, perhaps, he causes it to succeed by means, or with the help, of its own deity.
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ment to the Brahman, he ties up the horse, and thus incurs no injury. Fetter it for the gods, for Pragâpati : prosper thou therewith!' thus the Brahman urges him, and supplies it (the horse) with its own deity. He then sprinkles it (with water): the (symbolic) meaning of this is the same as before!
5. He sprinkles it, with (Vâg. S. XXII, 5), 'I sprinkle thee (so as to be) acceptable to Pragâ pati,'--for Pragâ pati is the most vigorous of the gods : it is vigour he bestows on it, whence the horse is the most vigorous of animals.
6. 'I sprinkle thee, acceptable to Indra and Agni;'--for Indra and Agni are the most powerful of the gods : it is power he bestows on it, whence the horse is the most powerful of animals.
7. 'I sprinkle thee, acceptable to Vayu,'-- for Våyu is the swiftest of gods : it is speed he bestows on it, whence the horse is the swiftest of animals.
8. 'I sprinkle thee, acceptable to the Allgods,'—for the All-gods are the most famous of gods: it is fame he bestows on it, whence the horse is the most famous of animals.—'I sprinkle thee, acceptable to all the gods.'
9. Concerning this they say, 'Seeing that the horse is sacred to Pragâpati, wherefore (does he say)," I sprinkle thee" for other deities also ?' Well, all the gods are concerned in the horse-sacrifice;
' For the sprinkling of (the material for) oblations see I, 1, 3, 6 seq.; and an animal victim in particular, III, 7, 4, 3.
According to Kâty. XX, 1, 37, he goes with the horse to stagnant water, and there sprinkles it. It would seem that the horse stands in the water during this ceremony.
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when he says, 'I sprinkle thee for all the gods,' he makes all the gods take a concern in the horsesacrifice; whence all the gods are concerned in the horse-sacrifice. But his wicked enemy seeks to lay hold of him who performs the horse-sacrifice, and the horse is a thunderbolt ;-having killed the foureyed dog, he — with Undone is the man! undone is the dog!'-plunges & it under the horse's feet: it is by means of the thunderbolt
Mahfdhara explains parah' by parâbhâtah, adhaspadam nitah,' i. e. defeated, laid low. Perhaps it may mean, 'Away is the man, away the dog!' As given in the Vâg. Samh., this is only the last part of the formula, pronounced by the Sacrificer; whilst during the killing of the dog, he is made to say, “Whosoever seeketh to slay the steed, him Varuna besetteth.'--According to Kâty. XX, 1, 38 segg., the priest says to an Ayogava (the offspring of a Sûdra father and a Vaisyå mother)or, to a lewd man, according to others— Kill the four-eyed dog!' whereupon the man kills a dog by means of a club of Sidhraka wood; and (the priest ?), by means of a rattan hoop (? or mat, kata, comm. kataka), makes the dead dog float beneath the horse. According to the comment. on Kâty. XX, 1, 38, in case a four-eyed dogi.e. a (two-faced) one 'yasya dve mukhe' and hence looking in the four (intermediate) directions (vidis), Sây.-is not available (!). a dog with marks about the eyes should be used. The mention of the four-footed' dog in the formula is, however, doubtless meant merely symbolically, as representing evil threatening the Sacrificer from every quarter.
• Harisvâmin seems to connect this with the sprinkling of the horse itself-prokshanam suna upaplåvanam ukyate-perhaps in the sense that the water flowing down from the sprinkled horse would soak the dog, in which case the horse would apparently be supposed to stand on the dry ground. See, however, comm. on Käty. XX, 2, 2, Svânam asvasyâdhahpradese galamadhye plåvayati târayati.' The offerings of drops' to be performed immediately after this ceremony might seem to be offered with reference to the drops of water flowing from the horse, and as it were falling outside the sacrifice; but see paragraph 5.
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he thus stamps him down; and the wicked enemy does not lay hold of him.
THIRD BRAHMANA. 1. Even as some of the havis (offering-material) may be spilled before it is offered, so also (part) of the victim is here spilled in that they let loose the sprinkled (horse) before it is slain. When he offers the Stokiyâs (oblations of drops), he offers that (horse) as a complete offering '-so as to make good any spilling ? ; for unspilled is any (part of the offered (material) that is spilled. A thousand (oblations of drops) he offers for the obtainment of the heavenly world, for the heavenly world is equal in extent to a thousand.
2. Concerning this they say, "Were he to offer measured (a specified number of oblations), he would gain for himself something limited :' he offers unspecified (oblations) for the obtainment of the unlimited. And indeed Pragàpati spake, *Verily, upon the oblations of drops I establish the Asvamedha, and by it, when established, I pass upward from hence.'
3. [He offers, with Vâg. S. XXII, 6,] To Agni, hail!'--to Agni he thus offers it (the horse 3);'to Soma, hail!'— to Soma he thus offers it ;-to the joy of the waters, hail!'-to the waters he thus offers it;—to Savitri, hail!'-to Savitri
Cf. I, 1, 4, 3; 3, 3, 16 seqq.; IV, 2, 5, 1 seqq. ? Lit., for non-spilling, i.e. to neutralise any spilling that may have taken place.
s Harisvâmin seems rather to lay the stress on the direct object :-agnaye param evasvam guhoti na kevalam agyam. The context, however, does not admit of this interpretation.
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he thus offers it-to Vâyu, hail!'-to Vâyu (the wind) he thus offers it;-'to Vishnu, hail!'-to Vishnu he thus offers it;-'to Indra, hail!'to Indra he thus offers it; to Brihaspati, hail!' -to Brihaspati he thus offers it; 'to Mitra, hail!' to Mitra he thus offers it;-'to Varuna, hail!'-to Varuna he thus offers it:-so many, doubtless, are all the gods: it is to them he offers it. He offers them straight away' for the obtainment of the heavenly world, for straight away, as it were, is the heavenly world.
4
4. But, verily, he who offers the oblations straight away, would be liable to fall (pass) right away': he turns back again, and establishes himself in this (terrestrial) world. And this indeed he (Pragâpati) has declared to be the perfection of the sacrifice, so as to prevent falling away (spilling), for unspilled is what is spilled of the offered (material).
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5. And even as some of the offering-material may be spilled before it is offered, so also (part) of the
1
According to Kâty. XX, 2, 3-5, he offers either a thousand oblations, or as many as he can offer till the dripping of the water from the horse has ceased. For every ten oblations he uses the formulas here given, after which he begins again from the beginning. The 'straight on' apparently means that he is neither to break the order of the deities, nor to offer more than one oblation at a time to the same deity.
That is, he would die; 'praitîty arthah,' Comm. The St. Petersburg Dict., on the other hand, takes 'îsvarah pradaghah' in the sense of liable to fall down headlong' (abstürzen).
That is, by commencing the ten oblations again from the beginning.
Viz. repetition of performance,-etâm eva ka sa pragâpatir âvrittimattâm yagñasya samsthitim (uvâka). On repetitions in the chanting of stotras, see III, 2, 5, 8; cf. also XII, 2, 3, 13.
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victim is here spilled in that they let loose the sprinkled (horse) before it is slaughtered. When he offers (the oblations relating to) the Forms? (rapa), he offers that (horse) as one that is wholly offered, so as to make good any spilling; for unspilled is what is spilled of the offered (material). With (Våg. S. XX11,7-82), 'To the Hin-call, hail! to the (horse) consecrated by Hin, hail!...'
1 These forty-nine oblations performed after the letting loose of the horse, are called Prakramas (i.e. steps, or movements); cf. XIII, 4, 3, 4; Kâty. XX, 3, 3.-Harisvâmin remarks, asvaripânâm hinkârâdînâm nishkramanâtmikâ (!) rQpåkhyâ âhutaya ukyante, tâ evâtra prakramâ iti vakshyante.
* These (rather pedantic) formulas, all of them ending in svâha,' occupy two Kandikâs of the Samhita, consisting of 24 and 25 formulas respectively :-1. To the hiňkâra, svâhâ I 2. To the one consecrated by 'hin' hail ! 3. To the whinnying one, hail] 4. To the neighing, hail ! 5. To the snorting one, hail ! 6. To the snort, haill 7. To smell, hail! 8. To the (thing) smelled, hail! 9. To the stabled one, hail! 10. To the resting one, hail! 11. To the clipped one, hail! 12. To the prancing one, hail ! 13. To the seated one, haill 14. To the lying one, hail ! 15. To the sleeping one, haill 16. To the waking one, hail! 17. To the groaning one, hail! 18. To the awakened one, hail! 19. To the yawning one, hail! 20. To the untethered one, haill 21. To the upstarting one, hail! 22. To the standing one, hail! 23. To the starting one, bail I 24. To the advancing one, hail 1—25. To the trotting one, bail! 26. To the running one, hail! 27. To the bolting one, hail! 28. To the flighty one, hail! 29. To the geeho, haill 30. To the one urged on by geeho, haill 31. To the prostrate one, hail ! 32. To the risen one, haill 33. To the swift one, haill 34. To the strong one, hail! 35. To the turning one, hail! 36. To the turned one, hail! 37. To the shaking one, hail! 38. To the shaken one, hail ! 39. To the obedient one, hail! 40. To the listening one, hail ! 41. To the looking one, hail ! 42. To the one looked at, hail! 43. To the out-looking one, haill 44. To the winking one, hail! 45. To what it eats, hail! 46. To what it drinks, hail ! 47. To the water it makes, haill 48. To the working one, hail I 49. To the wrought one, hail !
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(he offers them); for these are the forms (qualities) of the horse: it is them he now obtains.
6. Concerning this they say, 'The Forms are no offering: they should not be offered. But, indeed, they also say, “Therein assuredly the horse-sacrifice becomes complete that he performs (the oblations relating to) the Forms: they should certainly be offered.' And, indeed, one puts that (Sacrificer) out of his resting-place, and raises a rival for him when one offers for him oblations elsewhere than in the fire ?, where there is no resting-place.
7. Prior to the (first) oblation to Savitris, he (the Adhvaryu) offers, once only, (the oblations relating to) the Forms 8 in the Åhavaniya, whilst going rapidly over the formulas): he thus offers the oblations at his (the Sacrificer's) resting-place, and raises no rival for him. He offers at each opening of sacrifice 4, for the continuity and uninterrupted performance of the sacrifice.
8. Concerning this they say, "Were he to offer
According to Katy. XX, 3, 3, the Prakramas are to be offered in the Dakshinagni; but our Brahmana, whilst mentioning, at XIII, 4, 3, 4, both that fire, and the horse's footprint as optional places of offering, there as well as here decides in favour of the Abavaniya; whence Harisvâmin remarks :-anyatrågner iti anvâhåryapakane vâsvapade vâ parilikhite vakshyamânakalpântaranindå.
• See XIII, 1, 4, 2.
"That is to say, without repeating them, when he has come to the end, as he did in the case of the oblations of drops. Nor are they to be repeated day after day throughout the year, as some of the other offerings and rites are.
• Viz., according to Harisvâmin, at (the beginning of the dikshariyâ, prayariya, atithyâ, pravargya; the upasads, agnishomiya, sutya, avabhritha, udayanîyâ, and udavasântya offerings (ishi). This view is, however, rejected by the author.
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at each opening of sacrifice, he would be deprived of his cattle, and would become poorer. They should be performed once only: thus he is not deprived of his cattle, and does not become poorer. Forty-eight (oblations) he offers ;-the Gagati consists of forty-eight syllables, and cattle are of Gågata (movable) nature: by means of the Gagati he (the Adhvaryu) thus wins cattle for him (the Sacrificer). One additional (oblation) he offers, whence one man is apt to thrive amongst (many) creatures (or subjects).
FOURTH BRAHMANA. 1. Pragapati poured forth the life-sap of the horse (asva-medha)?. When poured forth, it went straight away from him and spread itself over the regions. The gods went in quest of it. By means of offer ings (ishti) they followed it up, by offerings they searched for it, and by offerings they found it. And when he performs ishtis, the Sacrificer thereby searches for the horse (asva) meet for sacrifice ? (medhya).
2. They (the ishtis 8) belong to Savitri; for Savitri is this (earth): if any one hides himself thereon, if any one goes elsewhere“, it is on this
Or, as it might also be translated, Pragâpati produced (created) the Asvamedha. ? Or, for the horse full of life-sap; or, simply, the sacrificial horse.
Viz. three oblations of cakes on twelve kapalas to Savitri Prasavitri, Savitri Asavitri, and Savitri Satyaprasava respectively. For particulars see XIII, 4, 2, 6 seqq.
• Harisvâmin seems to take this in the sense of who moves about elsewhere in another sphere),' and mentions, as an instance, a bird which flies in (? up into) the air-pakshyâdir antarikshe gakkhati—but is ultimately caught on earth.
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(earth) that they find him; for no one (creature), whether walking erector horizontally (like an animal), is able to go beyond it. Their belonging to Savitri thus is in order to find the horse.
3. Concerning this they say, 'Surely the horse disappears when it goes straight away; for they do not turn (drive) it back!' Now when he performs the Dhriti offerings in the evening-dhriti (keeping) meaning peaceful dwelling, and the night also meaning peaceful dwelling it is by means of peaceful dwelling that he keeps it; whence both men and beasts rest peacefully at night. And when he performs offerings in the morning, he seeks that (horse); whence it is in daytime that one goes to seek for what is lost. And again when he offers the Dhritis in the evening, and the (Savitri) ishtis in the morning, it is security of possession the Sacrificer thereby brings about, whence security of possession is brought about for the subjects where this sacrifice is performed.
Fifth BRÂHMANA. 1. But, indeed, distinction, royal sway, departs from him who performs the horse-sacrifice; and when a man attains to distinction, the lute is played to him. Two Brahmanical lute-players sing (and play) for a year; for that to wit, the lute—is a form (attribute) of distinction : it is distinction they thus confer upon him.
" See XIII, 4, 2, 16.
· The four Dhritis are performed on the Ahavaniya after sunset on the first day; cf. XIII, 4, 3, 5. For the four formulas used with these oblations ('here is joy,' &c.), see XIII, 1, 6, 2.
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2. Concerning this they say, “Were both to be Bråhmanas who sing, noble rank (or political power) would depart from him; for hemto wit, a Brâhmana -is a form of the priestly office; and the nobility takes no delight in the priestly office (or priesthood).
3. And were both to be Raganyas (nobles), spiritual lustre would depart from him; for he-to wit, the Råganya-is a form of noble rank, and spiritual lustre takes no delight in noble rank.' One of those who sing is a Brahmana, and the other a Råganya; for the Brahmana means priestly office, and the Râganya noble rank: thus his distinction (social position) comes to be guarded on either side by the priesthood and the nobility.
4. Concerning this they say, 'Were both to sing by day, his distinction would be apt to fall away from him: for that-to wit, the day—is a form of the priestly dignity; and when the king chooses he may oppress (despoil) the Bråhmana, but he will fare the worse (or, become the poorer) for it.
5. And if both (were to sing) at night, spiritual lustre would fall away from him; for that—to wit, the night-is a form of the nobility, and spiritual lustre takes no delight in the nobility. The Brahmana sings by day!, and the Râganya at night*; and thus, indeed, his distinction comes to be guarded on either side by the priesthood and the nobility
6. Such sacrifices he offered,-such gifts he gave!' such are the topics about which) the
Viz. at the fore-offerings of the three cake-offerings (ishtis) to Savitri, whilst staying in the south part of the sacrificial ground.
• Viz. during the performance of the Dhritis after sunset. • The 'iti' at the end belongs to the following paragraph.
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Brahmana sings1; for to the Brahmana belongs
the fulfilment of wishes 2: it is with the fulfilment of wishes he (the Brâhmana) thus endows him (the Sacrificer). Such war he waged, such battle he won!' such (are the topics about which) the Raganya sings; for the battle is the Râganya's strength it is with strength he thus endows him. Three stanzas the one sings, and three stanzas the other, they amount to six,-six seasons make up a year he thus establishes (the Sacrificer) in the seasons, in the year. To both of them he presents a hundred; for man has a life of a hundred (years), and a hundred energies; it is vitality and energy, vital power, he confers upon him.
SIXTH BRAHMANA.
1. [The Adhvaryu and Sacrificer whisper in the right ear of the horse, Vag. S. XXII, 193] 'Plenteous by the mother, strengthful by the father,'-its mother, doubtless, is this (earth), and its father yonder (sky): it is to these two he commits it; a horse thou art, a steed thou art,' he thereby instructs it, whence clever subjects (or children) are born to him;—'a courser (atya) thou art, a charger thou art,' he therewith leads it beyond (ati), whence the horse goes beyond (surpasses) other animals, and whence the horse attains to pre-eminence among animals;—'a runner thou art, a racer thou art, a prize-winner thou
1 Cf. XIII, 4, 2, 8.
• The author apparently takes 'ishtâpurta' in the sense of either 'sacrifice and fulfilment,' or 'the fulfilment of (the objects of) sacrifice.' Cf. Weber, Ind. Stud. IX, p. 319; X, p. 96.
See XIII, 4, 2, 15.
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art,'—in accordance with the text is (the meaning of) this ;-'a male thou art, well-disposed towards man thou art,'—this is with a view to its (or, his) being supplied with a mate ;-Speedy thou art called, Child thou art called,'-this is the horse's favourite name: by its favourite name he thus addresses it; whence even if two enemies', on meeting together, address one another by name, they get on amicably together.
2. Go thou along the way of the Adityas!' —to the Adityas he thus makes it go.— Ye divine guardians of the quarters, protect this horse, sprinkled for sacrifice to the gods!'-the guardians of the quarters are a hundred princes born in wedlock : to them he commits it;-' here is joy: here let it rejoice !-here is safe keeping, here is its own safe keeping, hail!' For a year he offers the (four Dhriti) oblations 2– (amounting to) sixteen nineties, for they are the horse's chains, and it is therewith alone that he chains it; whence the horse when let loose returns to its chain : (they amount to) sixteen nineties*; for these (oblations of safe keeping) are the horse's chain, and it is therewith alone that he chains it, whence the horse, when let loose, does not (entirely) abandon its chain.
3. Verily, the Asvamedha means royal sway: it is after royal sway that these strive who guard the horse. Those of them who reach the end become
"Harisvâmin, perhaps rightly, takes 'amitrau' in the sense of amitrayoh putrau,' the sons of two enemies.' • See note on XIII, 4, 3, 5.
Or, place of confinement, stable,-'bandhanasthanam.' Harisv. • That is, four times 360.
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(sharers in) the royal sway, but those who do not reach the end are cut off from royal sway. Wherefore let him who holds royal sway perform the horse-sacrifice; for, verily, whosoever performs the horse-sacrifice, without possessing power, is poured (swept) away.--Now, were unfriendly men to get hold of the horse, his sacrifice would be cut in twain, and he would become the poorer for it. A hundred men clad in armour guard it for the continuity and uninterrupted performance of the sacrifice; and he will not become the poorer for it; (but if it be lost) they should fetch another (horse), and sprinkle it: this is the expiation in that case.
SEVENTH BRAHMANA.
THE INITIATION OF THE SACRIFICER. 1. Pragàpati desired, 'Might I perform a horsesacrifice 1?' He toiled and practised fervid devotion. From the body of him, when wearied and heated, the deities departed in a sevenfold way: therefrom the Dikshå (initiation) was produced. He perceived those Vaisvadeva? (oblations). He offered
· Or, "might I make offering with the life-sap of the horse?' the natural, as well as the technical, meaning of the term 'asvamedha' being generally understood in these speculations,
· The oblations offered prior to the initiation-here, as at any Soma-sacrifice--are called Audgrabhana (elevatory) oblations. On the present occasion he, in the first place, performs, on each of the first six days of the Dikshâ, the four oblations of this kind offered at the ordinary Soma-sacrifice (for which see III, I, 4, I seqq.); whilst on the seventh day he offers, instead of these, the six corresponding oblations of the Agnikayana (which forms a necessary element of the Asvamedha), see VI, 6, 1, 15-20; for a further and final oblation offered on all these occasions, see p. 292, note 1. He then performs on each day three additional oblations
[44]
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them, and by means of them he gained the Diksha : and when the Sacrificer offers the Vaisvadeva (oblations) it is the Dikshâ he thereby gains. Day after day he offers them: day after day he thus gains the Dikshå? Seven of them he offers ; for seven were those deities that departed (from Pragâ pati); it is by means of them that he (the priest) gains the Dikshå for him.
2. But, indeed, the vital airs depart from those who exceed (the duration of) the Diksha. For
(increased to four on the last day) which are peculiar to the Asvamedha, and vary from day to day in respect of the deities to whom they are offered. But whilst, in the Srautasätras, these special oblations are likewise called Audgrabhana (Kâty. XX, 4, 2-10), the author here applies to them the term Vaisvadeva, owing apparently to the fact of their being offered, not to the Visve Devâh properly speaking, but to different deities. In the dogmatic explanation of the Audgrabhanas of the ordinary sacrifice, reference was also made (at III, 1, 4, 9) to the Visve Devâh, but only incidentally. Harisvâmin, indeed, points out that the designation Vaisvadeva refers in the first place to the invocations (Våg. S. XXII, 20) used with these special oblations (as is, indeed, evident from paragraph 2; cf. also part ii, p. 20, note I); and the total of seven applied to them does not therefore refer here (as it does in paragraph 4) to the four ordinary and the three special Audgrabhana oblations, but to the series of dedicatory formulas relating to the latter oblations, as explained p. 291, note 1; and, of course, by implication, to the oblations themselves.
Though the Initiation only becomes perfect by the Sacrificer being girded with a hempen zone, whilst kneeling on a double black-antelope skin, and by a staff being handed to him (III, 2, 1, 1-32); on the present occasion, the Sacrificer is on each day, after the performance of the Audgrabhana oblations, at least to sit down on the antelope skin; whilst on the seventh and last day of the Dikshaniyeshti, the remaining ceremonies take place, after which those of the Agnikayana, viz. the placing of the Ukhâ, or fire-pan, on the fire and the putting of thirteen fire-sticks in the pan (VI, 6, 2, 1 seqq.), &c.
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seven days they observe it; for there are seven (outlets of) vital airs in the head, and the Diksha is the vital airs: it is by means of the vital airs he gains the Diksha, the vital airs, for him. He makes offering by dividing (each) deity into three parts?; for the gods are of three orders ?, and of three orders are these worlds: he thus establishes himself in these worlds in prosperity and vital power.
3. They amount to one and twenty (single invocations and oblations),-there are twelve months, five seasons, these three worlds, and yonder sun as the twenty-first,—that is the divine ruling-power, that is the glory: that supreme lordship, that summit of the fallow one (the Sun), that realm of light he attains.
4. Thirty Audgrabhanas: he offers -of thirty syllables the Virág (metre) consists, and the Virág means all food : thus (he offers) for the obtainment of all food. Four Audgrabhanas he offers (on each day), and three Vaisvadevas;—they amount to seven; for there are seven vital airs of the head, and the Diksha is the vital airs : by means of the vital airs he thus gains the Dikshå, the vital airs,
The kandika XXII, 20 is made up of seven parts, each of which consists of three distinct invocations addressed to the same deity; the seven deities addressed in the whole formula being Ka, Pragậpati, Aditi, Sarasvati, Pashan, Tvashtri, and Vishnu; whilst the three invocations to Ka, for instance, are Kaya 'sváhå Kasmai svâhâ ! Katamasmai svâhâ l' Cf. XIII, 1, 8, 2 seqq.
? Viz. either the Vasus, Rudras, and Adityas (cf. IV, 5, 7, 2); or those of the sky, the air, and the earth, headed by Surya, Váyu, and Agni respectively.
* That is, the four Audgrabhanas of the ordinary Soma-sacrifice offered on each of the seven days of the Dikshâ, and two more added thereto on the seventh day.
U 2
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for him. A full (-spoon)-oblation he offers last for the sake of invigoration and union.
EIGHTH BRAHMANA.
1. Pragâpati poured forth the life-sap of the horse. When poured forth, it weighed down the rik (hymn-verse) and the sâman (hymn-tune). The Vaisvadeva (offerings) upheld that (Asvamedha): thus, when he offers the Vaisvadevas, it is for the upholding of the Asvamedha.
2. With (Vâg. S. XXII, 20), 'To Ka hail! To the Who hail! To the Whoever hail!' he makes the one relating to Pragâpati the first (or chief one), and thus upholds (the Asvamedha) by means of the deities with Pragâpati as their chief.
3. 'Hail, meditation (we give) unto him meditated upon! Hail, the mind unto the Lord of creatures! Hail, thought unto him, the known!' what the mystic sense of the former (utterances) was that it is here.
1 For a full discussion of this final Audgrabhana oblation, the only one, it would seem, offered with the regular offering-spoon (guha) filled by means of the dipping-spoon (sruva), see III, 1, 4, 2; 16-23; cf. also VI, 6, 1, 21.
2 See p. 289, note 1. It is here taken to be represented by the Yagus-asvamedham yagurâtmakavigrahavantam srishtavân, Harisv.-the larger number of sacrificial formulas used at the performances being too heavy for the recited and chanted texts.
Mahîdhara takes 'âdhim âdhîtâya' in the sense of 'âdhânam prâptâya' (who has obtained a consecrated fire); and 'manah pragâtaye' in the sense of 'manasi vartamânâya p.' (to P. who is in our mind); and 'kittam vigñâtâya' in the sense of 'sarveshâm kittasâkshine' (to the witness, or knower, of all men's thoughts).
Harisvâmin probably is right in supplying 'vyâhritînâm;' though possibly 'devatânâm' (deities) may be understood.
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4. •To Aditi hail! To Aditi, the mighty, hail! To Aditi, the most merciful, hail!' Aditi, doubtless, is this (earth): it is by her that he upholds it.
5. 'To Sarasvati hail! To Sarasvati, the pure, hail! To Sarasvati, the great, hail!' Sarasvati, doubtless, is speech : by speech he thus upholds it.
6. 'To Pashan hail! To Pashan, the protector of travellers, hail! To Pashan, the watcher of men, hail!' Půshan, doubtless, is cattle: by means of cattle he thus upholds it.
7. .To Tvashtri hail! To Tvashtri, the seminal, hail! To Tvashtri, the multiform, hail!' Tvashtri, doubtless, is the fashioner of the couples of animals : by means of forms he thus upholds it.
8. •To Vishnu hail! To Vishnu, the protector of what grows', hail! To Vishnu, the bald, hail!' Vishnu, doubtless, is the sacrifice: by sacrifice he thus upholds it. With (Vág. XXII, 21), • Let every mortal espouse the friendship of the divine guide, ...,' he offers last of all a full (-spoon)-oblation; for the full-offering is this (earth): he thus finally establishes himself on this (earth).
The meaning of ' nibhayapa' is doubtful; Mahfdhara explains it by 'nitaram bhôtvá matsyadyavatâram kritvå pâti.' Perhaps it may mean 'condescending protector,' though one expects a direct object with 'pa.'
3 The word “sipivishta,' as applied to Vishnu, is likewise of doubtful meaning. The native dictionaries assign both the meaning 'bald' and 'leprous' (or, affected with skin-disease) to it; whilst the first part 'sipi' is taken variously by commentators as meaning cattle,' or 'ray,' or 'water,' or 'living being.'
See III, 1, 4, 18; VI, 6, 1, 21; and p. 294, note 1.
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NINTH BRÂHMANA. 1. [Våg. S. XXII, 22"] 'In the priestly office (brahman) may the Brâhmana be born, endowed with spiritual lustre (brahmavarkasa);' on the Brahmana he thereby bestows spiritual lustre, whence of old the Brahmana was born as one endowed with spiritual lustre ?
2. `In the royal order may the Râganya be born, heroic, skilled in archery, sure of his mark, and a mighty car-fighter:' on the Råganya he thereby bestows the grandeur of heroism, whence of old the Råganya was born as one heroic, skilled in archery, certain of his mark, and a mighty car-fighter.
3. The milch cow:' on the cow he thereby bestows milk: whence of old the cow was born as one yielding milk.
4. 'The draught ox:' on the ox he thereby bestows strength, whence of old the ox was born as a draught (animal).
5. The swift racer:' on the horse he thereby bestows speed, whence of old the horse was born as a runner.
6. 'The well-favoured woman:' on the woman
1 These formulas are muttered after the thirteen samidhs have been put in the ukhå, or fire-pan. See p. 290, note I.
Whence formerly a Brahmana was at once born as Brahmavarkasin (whilst now he must study),' Delbrück, Altindische Syntax, p. 287. Perhaps, however, 'pura' has bere (as it certainly has in the following paragraphs) the force of agre'-at the beginning, from the first, from of old.
' I take 'sauryam mahimånam' here (and 'gaitram mabimânam' in paragraph 7) to stand in apposition to one another, with something of the force of a compound word. See above, p. 66, note 4.
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he thereby bestows beautiful form, whence the beautiful maiden is apt to become dear (to men).
7. 'The victorious warrior:' on the Râganya he thereby bestows the grandeur of victoriousness', whence of old the Râganya was born as one victorious.
•
8. The blitheful youth:' he, indeed, is a blitheful (or, sociable) youth who is in his prime of life; whence one who is in his prime of life is apt to become dear to women.
9. May a hero be born unto this Sacrificer!' on the Sacrificer's family he thereby bestows manly vigour, whence of old a hero was born to him who had performed the (Asvamedha) sacrifice.
10. 'May Parganya rain for us whensoever we list!'-where they perform this sacrifice, there Parganya, indeed, rains whenever they list;-'may our fruit-bearing plants ripen!'-there the fruitbearing plants indeed ripen where they perform this sacrifice;-'may security of possession be assured for us!'-where they perform this sacrifice there security of possession indeed is assured; whence wherever they perform this (Asvamedha) sacrifice, security of possession becomes assured to the people.
SECOND ADHYAYA. FIRST BRAHMANA. THE FIRST SOMA-DAY (AGNISH TOMA).
1. Pragapati assigned the sacrifices to the gods; the Asvamedha he kept for himself. The gods
1 See note 3, p. 294.
There are three Sutyâs, or Soma-days, at the Asvamedhaviz. an Agnish/oma, an Ukthya, and an Atirâtra-the most im
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said to him, 'Surely, this—to wit, the Asvamedhais a sacrifice: let us have a share in that also. He contrived these Anna-homas (food-oblations) for them: thus when he performs the Annahomas, it is the gods he thereby gratifies.
2. With ghee he makes offering, for ghee is fiery mettle: by means of fiery mettle he thus lays fiery mettle into him (the horse and Sacrificer). With ghee he offers; for that—to wit, ghee—is the gods' favourite resource: it is thus with their favourite resource he supplies them.
3. With parched groats he makes offering; for that to wit, parched groats—are a form of the gods': it is the gods he thus gratifies. .
4. With grain he makes offering; for this-to wit, grain-is a form of the days and nights 2 : it is the days and nights he thus gratifies.
5. With parched grain he makes offering; for this—to wit, parched grain-is a form of the Nakshatras 8 (lunar asterisms): it is the Nakshatras
portant of which is the central day. The first day offers no special features, as compared with the ordinary Agnishtoma; except that the stotras are chanted on the katushtoma' model (see note to XIII, 3, 1, 4); and that the animal sacrifice of this day requires twenty-one sacrificial stakes, with twice eleven victims, two of which are tied to the central stake; see note on XIII, 2, 5, 2. The offerings referred to in the present Brahmana, are performed, not during the day itself, but during the following night, as a preliminary to the important features of the second Soma-day.
Viz., according to the commentary, because of the (particles of) groats being connected with each other.
. The commentary does not explain this comparison. It would seem to suit better the parched grain.
3 Viz. on account of the capability (samarthatvät) of the (raw) grains ; but whether this is meant to refer to their power of germinating and growing is not explained.
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he thus gratifies. He offers whilst mentioning names, with (Vág. XXII, 23–33), 'To the in- (and out-) breathing hail! to the off-breathing hail'l'... he thus gratifies them by mentioning their names. (Vág. S. XXII, 34), "To one hail! to two hail! ... to a hundred hail! to a hundred and one hail!' He offers in the proper order : in the proper order he thus gratifies them (the gods). He performs oblations successively increasing by one ?, for single, indeed, is heaven : singly he thus causes him (the Sacrificer) to reach heaven. Straight aways he offers in order to the winning of heaven; for straight away, as it were, is heaven.
6. But, verily, he who offers the oblations straight
* These eleven anuvâkas consist of altogether 149 such short dedicatory formulas-addressed to the vital airs, the regions, the waters, wind, fire, &c.-each ending with "svâhâ (hail).' These are followed, in anuvâka 34, by formulas addressed to the cardinal numbers from 1 to 101; succeeded by two formulas addressed to the dawn and to heaven respectively,—all of these again ending with 'svaha.' The Annahomas themselves, offered by the Adhvaryu's assistant, the Pratiprasthâtri, are not, however, limited to any number ; but their performance is to be continued throughout the night in such a way that each of the four threehours' watches of the night is to be taken up with as many oblations of one of the four kinds of offering materials—in the order in which they are enumerated in the text-as can be got into the space of three hours. The formulas addressed to the cardinal numbers-(which are on no account to extend beyond 101)-are apparently supposed amply to suffice to fill up the time till dawn, when the Adhvaryu makes an oblation of ghee to the Dawn, followed by one to Heaven (or the realm of light) after sunrise.
? That is, in offering with the formulas addressed to the cardinal numbers.
• That is to say, without repeating any formula, or commencing again from the beginning, when the whole series is exhausted.
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away', is liable to fall (pass) right away. He does not go beyond a hundred and one: were he to go beyond a hundred and one, he would deprive the Sacrificer of his vital power. He offers a hundred and one, for man has a life of a hundred (years), and his own self is the one hundred and first: he thus establishes himself in a self (or body), in vital power. With 'To the Dawn hail! to Heaven hail!' he offers the two last oblations; for the dawn is the night, and heaven (the realm of light) is the day it is day and night he thus gratifies.
7. As to this they say, 'Were he to offer both either by day or by night, he would confound day and night with one another 2. With 'To the Dawn hail!' he offers before the sun has risen, and with 'To Heaven hail' when it has risen, to avoid confusion between day and night.
SECOND BRAHMANA.
THE SECOND SOMA-DAY (UKTHYA).
1. Verily, this-to wit, the Asvamedha-is the king of sacrifices. But, indeed, the Asvamedha is the Sacrificer, (for) the sacrifice is the Sacrificer: when he (the priest) binds victims to the horse (or, at the horse-sacrifice), he then, indeed, takes hold $ of the sacrifice at the sacrifice.
2. 'A horse, a hornless he-goat, and a Gomriga
4
1 That is, without stopping.
2 There is no 'iti' here; and the quotation, therefore, may perhaps extend to the end of the paragraph.
Arabhate prâpnoti, comm.; it might also be rendered by 'he enters upon the sacrifice.'
This (and the identical passage XIII, 5, 1, 13) looks like a quotation, as if quoted from Vâg. S. XXIV, 1; where are
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these they bind to the central stake: thereby, indeed, he (the priest) sharpens the front of his (the Sacrificer's) army, whence the front of the king's army is sure to become terrible.
3. A black-necked (he-goat), sacred to Agni, in front (of the horse) to its forehead: the original (hall) fire he makes it, whence the king's hall-fire is sure to be (efficient)3.
likewise found the references to the other victims and their places, in paragraphs 2-9. Possibly, however, the 'iti' may be used here with a kind of 'deiktic' force (cf. the similar use in XIII, 2, 8, 1); if, indeed, it does not simply refer to 'gomriga,' i.e. the animal called Gomriga' (lit. 'bovine deer'), regarding which see note on XIII, 3, 4, 3.-Though the victims to be immolated on this day are first dealt with in this and the following Brahmanas, their slaughter only takes place at the usual time at every Soma-sacrifice, viz. after the Sarpanam (XIII, 2, 3, 1 seqq.), the chanting of the Bahishpavamâna Stotra, and the drawing of the Âsvina-graha. On the present occasion these ceremonies are preceded by the drawing of the Mahiman cups of Soma (see XIII, 2, II, I seqq.); whilst the chant is followed by the driving up of the victims, and the putting to of the horse, and the driving to the water, treated of in XIII, 2, 6, I seqq.
1 Harisvâmin takes this to mean that he makes the (sacrificial) horse, i.e. the king, alone the head of the army,-râgabhutam apy asvam senâmukham ekam karotîty arthah.
According to the comments on Vâg. S. XXIV, 1, and Kâty. XX, 6, 4, a rope is wound round the horse's body in the same way as it is done with a bottle-gourd (lagenaria vulgaris), and it is to this rope that these so-called 'paryangyâh (circumcorporal),' or victims surrounding the (horse's) body, would then be tied.
The commentator explains 'bhâvuka' by 'sâdhur bhavati;' and he adds that this is important inasmuch as numerous magic rites, such as rites for insuring success and averting evil (sântikapaushika), and incantations (âbhikârika) are performed thereon. It is the name here assigned to this, the Avasathya, fire, viz. 'pûrvâgni' or, original fire-with its secondary meaning 'front-firewhich is seized upon by the author for symbolically identifying it with the victim fastened in front (or to the front) of the horse.
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4. An ewe, for Sarasvati, beneath the (horse's) jaws: he thereby makes women to be dependent, whence women are sure to be attendant upon man.
5. Two (he-goats), black on the lower part of the body, for the Asvins, (he ties) to the front legs : he thereby lays strength into the front legs, whence the king is sure to be strong in the arm
6. A dark-grey (he-goat) for Soma and Pashan at the (horse's) navel: a foothold he makes this one; for Pashan is this (earth): it is thereon he establishes himself.
7. A white one and a black one, for Sûrya and Yama, on the flanks: a suit of armour he makes those two; whence the king, clad in mail, performs heroic deeds.
8. Two, with shaggy hind thighs, for Tvashtri, to the hind legs : he lays strength into the thighs, whence the king is sure to be strong in his thighs.
9. A white one, for Vayu, to the tail,—an elevation he makes this one, whence people in danger betake themselves to an elevated place : ;-a cow wont to cast her calf, for Indra, the ever active, in order to associate the sacrifice with Indra;-a dwarfish one for Vishnu ; for Vishnu is the sacrifice: it is in the sacrifice he (the Sacrificer) thus finally establishes himself.
10. These, then, are the fifteen 'paryangya' (body-encircling) * animals,—for fifteenfold is the
Mahidhara takes adhorâma' to mean'white-coloured on the lower part of the body.'
• The word “bâhu' means both 'arm' and 'front leg."
3 That is, a mountain, a palace, high ground, &c., comm. (* vâyur hi skandhasyokkhrita ity abhiprayah').
. Here the encircled horse itself, and the other two victims
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thunderbolt, and the thunderbolt means manly vigour with that thunderbolt, manly vigour, the Sacrificer now repels evil from in front1 (of the sacrifice).
II. And fifteen (victims), indeed, are (bound) to each of the other (stakes);-for fifteenfold is the thunderbolt, and the thunderbolt means manly vigour with that thunderbolt, manly vigour, the Sacrificer now repels evil on both sides (of the sacrifice).
12. As to this they say, 'Does he really repel evil by these?' And, indeed, he does not make up the complete Pragâpati, and does not here gain everything.
13. Let him rather bind seventeen animals to the central stake; for seventeenfold is Pragâpati, and the Asvamedha is Pragâpati,-thus for the
tied directly to the central stake, are improperly included in the term 'paryangya.'
' Viz. inasmuch as the sacrificial stake to which the horse is tied (and hence the victims fastened thereto) is the so-called 'agnishtha' stake, or the one standing opposite to (directly in front of) the Âhavanîya fire.
Viz. inasmuch as these other stakes stand in a line to the north (left) and south (right) of the central stake. Whilst, in the case of a simple 'ekâdasin?' (cf. III, 7, 2, 1 seqq.) there would be five stakes on each side of the central one, at the Asvamedha there are to be twenty-one stakes, or ten on either side of the central stake. See XIII, 4, 4, 5 seqq.
• These seventeen victims do not include the twelve paryangyas which are tied to different parts of the horse's body, but only to those which are actually tied to the central stake,-viz. the horse and its two immediate neighbours (paragraph 2), then twelve victims (enumerated Våg. S. XXIV, a, beginning with three victims of different shades of red, rohita), and lastly two beasts belonging to two sets of eleven victims finally superadded to the sets of fifteen victims tied in the first place to the stakes. Cf. note on XIII, 2, 5, 2,
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obtainment of the
Asvamedha. And sixteen
1
(victims he binds) to each of the other (stakes), for of sixteen parts (kalâ) consists all this 1 (universe); all this (universe) he thus gains.
"
14. How is he to appease these?' they ask. 'Let him appease them with the Bârhaduktha verses, "Enkindled, anointing the lap of the faithful (f.)...;" for Brihaduktha, the son of Vâmadeva, or Asva, son of Samudra, saw these very (verses) to be the âpri-verses of the horse: it is by means of these we appease it,' so they say. But let him not do so; let him appease it with the Gâmadagna verses; for Gamadagni is Pragâpati, and so is the Asvamedha: he thus supplies it with its own deity; let him therefore appease (the victims) with the Gâmadagna verses*.
15. Now some make the invitatory-formulas and the offering-formulas (to be pronounced) separately for the 'paryangyas,' saying, 'For these we find (formulas) for the others, on account of not finding any, we do not use them. Let him not do so;
2
1 Regarding this division into sixteen parts, as applied to man, the animal, and the universe, see Weber, Ind. Stud. IX, p. III with note.
Or, 'what Âprfs (appeasing verses) is he to pronounce over them?' These verses are pronounced as the offering-formulas (yâgyâ) at the fore-offerings of the animal sacrifice. See part ii, p. 185, note 1.
Viz. Vâg. S. XXIX, 1-11.
Viz. Vâg. S. XXIX, 25-36, beginning, Enkindled in the house of man this day, a god, thou worshippest the gods, O Gâtavedas.'
The commentator takes this to mean that, inasmuch as these paryangyas-here improperly including the horse itself and the two other victims of Pragâpati at the central stake-are assigned to commonly invoked deities, formulas relating to these would easily
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for the horse is the nobility (chieftain), and the other animals are the peasantry (clan); and those who do this really make the peasantry equal and refractory to the nobility; and they also deprive the Sacrificer of his vital power. Therefore the horse alone belongs to Pragâpati?, and the others are sacred to the gods: he thus, indeed, makes the peasantry obedient and subservient to the nobility; and he also supplies the Sacrificer with vital power.
16. The slaughtering-knife of the horse is made of gold, those of the 'paryangyas' of copper, and those of the others of iron; for gold is (shining) light, and the Asvamedha is the royal office: he thus bestows light upon the royal office. And by means of the golden light (or, by the light of the gold), the Sacrificer also goes to the heavenly world; and he, moreover, makes it a gleam of light shining after him, for him to reach the heavenly world.
17. But, indeed, the horse is also the nobility; and this also—to wit, gold-is a form (symbol) of
be found; whilst in the case of the other twelve victims tied to the central stake (see p. 301, note 3), as well as those of the other stakes—though they, too, are assigned to definite deities--some of their deities (as in the case of three a year and a half old heifers assigned to Gayatri, Vâg. S. XXIV, 21), are such as to make it difficult to find suitable formulas for them :--eteshâm asvâdînâm pragâpatyâdikâyâgyânuvákyâs tâh kim iti na prithak kurmah; itareshâm rohitâdînâm na vindama), tryavayo gayatryâdayo devatás taddevatyás ka durlabhå lakshanopeta yagyanuvâkyå ity abhiprâyah.
The invitatory-formula and offering-formula are, however, pronounced once for the paryangyas' (including the horse) in common, whilst a second pair of formulas are used for the other victims in common.
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the nobility: he thus combines the nobility with the nobility.
18. And as to why there are copper (knives) for the 'paryangyas,'—even as the non-royal kingmakers, the heralds and headmen, are to the king, so those 'paryangyas' are to the horse; and so, indeed, is this—to wit, copper—to gold : with their own form he thus endows them.
19. And as to why there are iron ones for the others,-the other animals, indeed, are the peasantry, and this-to wit, iron—is a form of the peasantry: he thus combines the peasantry with the peasantry. On a rattan mat (lying) north (of the Ahavaniya) they cut the portions of the horse(-Alesh); for the horse is of anushtubh nature, and related to the Anushtubh is that (northern) quarter: he thus places that (horse) in its own quarter. And as to (his doing so) on a rattan mat-the horse was produced from the womb of the waters', and the rattan springs from the water : he thus causes it to be possessed of its own (maternal) womb.
THIRD BRAHMANA. 1. Now, the gods did not know the Pavamâna at the Asvamedha to be the heavenly world, but the horse knew it. When, at the Asvamedha,
See VI, I, I, II (V, 1, 4, 5).
Pavamâna is the name of the pressed Soma while it is clarifying. Hence the first stotra of each of the three Savanas of a Soma-day-chanted after the pressing of the Soma and the drawing of the principal cups—is called Pavamâna-stotra. Whether by the term 'Pavamâna' here the clarifying Soma is alluded to, as well as the stotra—which alone the commentator takes it to mean, and to which the second mention certainly refers-must remain
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they glide along with the horse for the Pavamâna (-stotra), it is for getting to know (the way to) the heavenly world; and they hold on to the horse's tail, in order to reach the heavenly world; for man does not rightly know (the way to) the heavenly world, but the horse does rightly know it.
2. Were the Udgåtri to chant the Udgitha?, it would be even as if one who does not know the country were to lead by another (than the right) way. But if, setting aside the Udgatri, he chooses
doubtful. The commentator, it would seem, accounts for this identification of the Pavamâna-stotra with heaven by the fact that the second day of the Asvamedha is an ekavim-sa day (see XIII, 3, 3, 3; Tandya-Br. XXI, 4, 1), i.e. one on which all the stotras are performed in the twenty-one-versed hymn-form; and that the Sun is commonly called 'ekavimsa,' the twenty-first, or twenty-one-fold. The particular chant intended is that of the morning pressing, viz. the Bahishpavamâna, or outside-Pavamåna-stotra, so-called because at the ordinary one-day's Soma-sacrifice, it is chanted outside the Sadas. But, on the other hand, in the case of Ahina-sacrifices, or those lasting from two to twelve days, that stotra is chanted outside only on the first day, whilst on the others it is done inside the Sadas. An exception is, however, made in the case of the Asvamedha, which requires the morning Pavamâna, on all three days, to be performed in its usual place on the north-eastern part of Vedi, south of the Katvala.
For the noiseless way of sliding or creeping from the Sadas, and returning thither, and approaching the different Dhishnyas, or fire-bearths, see part ii, p. 299, note 2. As has already been stated, it is only after the chanting of the Bahishpavamâna that the victims are driven up to the offering place.
* It is from this, the principal part of the Såman, or chanted verse (cf. part ii, p. 310, note), that the Udgâtri takes his name; this particular function of his being, on the present occasion, supposed to be performed by the whinnying of the horse. After this they make the horse step on the chanting-ground, apparently either as a visible recognition of the part it has been made to play, or because the horse thereby is made to go to heaven with which the Bahishpavamâna was identified.
[44]
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the horse for (performing) the Udgftha, it is just as when one who knows the country leads on the right way: the horse leads the Sacrificer rightly to the heavenly world. It makes Hin",' and thereby makes the Saman itself to be 'hin': this is the Udgitha. They pen up mares, (and on seeing the horse) they utter a shrill sound: as when the chanters sing, such like is this. The priests' fee is gold weighing a hundred (grains): the mystic import of this has been explained s.
FOURTH BRÂHMANA. 1. Pragå pati desired, Would that I might gain both worlds, the world of the gods, and the world of men.' He saw those beasts, the tame and the wild ones; he seized them, and by means of them took possession of these two worlds: by means of the tame beasts he took possession of this (terrestrial) world, and by means of the wild beasts of yonder (world); for this world is the world of men, and yonder world is the world of the gods. Thus when he seizes tame beasts he thereby takes possession of this world, and when wild beasts, he thereby (takes possession) of yonder (world).
2. Were he to complete (the sacrifice) with tame ones, the roads would run together, the village
On the mystic significance of this ejaculation (here compared with the neighing of the horse) in the sacrifice, and especially in the Såman, see I, 4, 1, 1 seqq.; II, 2, 4, 12. * XII, 7, 2, 13.
The commentary remarks that by 'roads' here is meant those walking on them-as, in that case, peace and security would reign, men would range all the lands :-adhvabhir atradhvastha lakshyante; ksheme sati manushyâh sarvån desân samkareyur ity abhiprayah.
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boundaries of two villages would be contiguous ?, and no ogres?, man-tigers, thieves, murderers, and robbers would come to be in the forests. By (so doing) with wild (beasts) the roads would run asunders, the village-boundaries of two villages would be far asunder“; and there would come to be ogres, man-tigers, thieves, murderers, and robbers in the forests.
3. As to this they say, 'Surely that—to wit, the forest (beast)—is not a beast (or cattle), and offering should not be made thereof: were he to make offering thereof, they would ere long carry away the Sacrificer dead to the woods, for forest (or wild) beasts have the forest for their share; and were he not to make offering thereof, it would be a violation of the sacrifice.' Well, they dismiss them after fire has been carried round them 5: thus, indeed, it is
1 Harisvâmin takes 'samantikam' in the sense of near' and construes it with 'grâmayoh' (as he does 'vidaram' in the next paragraph)-the two village-boundaries would be near (far from) the two villages;' but see I, 4, 1, 22, where samantikam (and IX, 3,1, II, where 'samantikataram ') is likewise used without a complement; as is 'viddram'in I, 4, 1, 23.
• Harisvâmin takes rikshîka' to mean 'a bear,'-rikshå eva rikshikah.
: Hardly, as the commentary takes it, they would become blocked up,' and people would have to stay in their own country :adhvânah pärvadesådayo vikrameyur viruddham krâmayeyuh (), svadesa eva manushyâh samkareyur na desântare spy antarâlânâm.. bhinnatvád akshematvâk ka vidůram grâmayor grâmântau syâlâm.
• Viz. because, for want of security and peace, the villages would be few and far between,-aksheme hi sati pravirala grama bhavanti, comm.
On the paryagnikaranam' or circumambulation of an oblation in accordance with the course of the sun, whilst holding a firebrand in one's hand, see part i, p. 45, note; part ii, p. 187, note.
X 2
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neither an offering nor a non-offering, and they do not carry the Sacrificer dead to the forest, and there is no violation of the sacrifice.
4. He completes (the sacrifice) with tame (beasts), -father and son part company?, the roads run together, the village-boundaries of two villages become contiguous, and no ogres, man-tigers, thieves, murderers, and robbers come to be in the forests.
FIFTH BRAHMANA. 1. Pragå pati poured forth the life-sap of the horse (asva-medha); when poured forth it went from him. Having become fivefold ?, it entered the year, and they (the five parts) became those half-months 8. He followed it up by means of the fifteenfold (sets of victims 4), and found it; and having found it, he took possession of it by means of the fifteenfold ones; for, indeed, they—to wit, the fifteenfold (sets) are a symbol of the half-months, and when he seizes the fifteenfold ones, it is the
1 Or, they exert themselves in different directions,—that is, as the commentator explains, because in peace they would not be forced to keep together, as they would have to do in troublous times. He, however, seems somehow to connect 'vy avasyatan' with the root "vas':- ksheme hi sati pitäputráv atra vi prithag vasatah; aksheme tu sambaddhav apy etàv atra vasatan.-Whilst in this passage the verb would hardly suggest an estrangement between father and son, this is distinctly the case in the parallel passage, Taitt. Br. III, 9, 1, 2, where, however, this contingency is connected with the completion of the sacrifice, not, as here, with tame, but with wild beasts.
? Or the Pankti metre, consisting of five octosyllabic pâdas. · · Viz. as consisting of thrice five days.
• See above, XIII, 2, 2, 11.
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2. Concerning this they say, 'But, surely, the year is not taken possession of by him who spreads out (performs sacrifice for) a year in any other way than by means of the Seasonal sacrifices'.' The Seasonal sacrifices, doubtless, are manifestly the year; and when he seizes the Seasonal victims 2, he then manifestly takes possession of the year. 'And, assuredly, he who spreads out the year in any other way than with the (victims) of the set of eleven (stakes) is deprived of his offspring (or
3
On this point, cp. II, 6, 3, 1.- Verily, imperishable is the righteousness of him who offers the Seasonal sacrifices; for such a one gains the year, and hence there is no cessation for him. He gains it in three divisions, he conquers it in three divisions. The year means the whole, and the whole is imperishable (without end). Moreover, he thereby becomes a Season, and as such goes to the gods; but there is no perishableness in the gods, and hence there is imperishable righteousness for him.'
The Kâturmâsyas are the victims enumerated Våg. S. XXIV, 14-19. The first six of them are the last (of the set of fifteen) bound to the thirteenth stake; whilst the remaining victims make up all the seven sets of fifteen victims bound to remaining stakes (14-21) -thus amounting to 121 domesticated animals, cf. XIII, 5, 1, 13, seq. In counting the stakes the central one is the first, then follows the one immediately south, and then the one immediately north of it, and thus alternately south and north. The reason why the name 'Kâturmâsya ' is applied to the victims here referred to is that the deities for whose benefit they are immolated are the same, and follow the same order, as those to whom (the chief) oblations are made at the Seasonal sacrifices (viz. the constant onesAgni, Soma, Savitri, Sarasvati, Pushan, and special ones, see II, 5, 1, 8-17; 5, 2, 7-16; 5, 3, 2-4; 5, 4, 2-10; 6, 1, 4-6; 6, 2, 9; 6, 3, 4-8).
That is to say, he who seeks to gain the year by immolating only the Seasonal victims, and the sets of fifteen victims, and does not offer likewise the victims of the set (or rather two sets) of eleven
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subjects) and cattle, and fails to reach heaven.' This set of eleven (stakes), indeed, is just heaven!, and the set of eleven (stakes) means offspring (or people) and cattle; and when he lays hands on the (victims) of the (two) sets of eleven (stakes) he does not fail to reach heaven, and is not deprived of his offspring and cattle.
3. Pragâpati created the Virag; when created, it went away from him, and entered the horse meet for sacrifice. He followed it up with sets of ten ?
stakes. These two sets of eleven victims, tied to the twenty-one stakes (two being tied to the central stake), are to constitute the regular 'savanîyâh pasavah' of the pressing-days of the Asvamedha ; and in XIII, 5, 1, 3, and 5, 3, 11, the author argues against those who (on the first, and third days) would immolate only twentyone such victims, all of them sacred to Agni. As regards the second day, the author does not mention these particular victims, but this can scarcely be interpreted as an approval of twenty-one such victims, even though the number twenty-one certainly plays an important part on that day-seeing that Kâtyâyana, XX, 4, 25, makes the two sets of eleven victims the rule for all three days. For the third day, on the other hand, the author of the Brahmana (XIII, 5, 3, 11) actually recommends the immolation of twenty-four bovine victims as 'savanîyâh pasavah.' The deities of the first set of eleven victims (as perhaps also of the second set of the first day) are the same as those of the ordinary "ekâdasini' (see III, 9, 1, 621; and Våg. S. XXIX, 58), whilst the second set (of the second day, at all events) has different deities (Vâg. S. XXIX, 60). On the central day these victims are added to the sets of fifteen victims bound there to each of the twenty-one stakes; the mode of distribution being the same as on the other two days, viz., so that the first victim of each set—that is the one devoted to Agni-is bound to the central stake, whilst of the remaining twenty victims one is assigned to each stake.
1 Viz. inasmuch as the stakes stand right in front (to the east) of the sacrificial fire and ground, and the Sacrificer would thus miss the way to heaven if he were not to pass through the ekadasini.'
· The Virág metre consists of (three) decasyllabic pådas
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(beasts). He found it, and, having found it, he took possession of it by means of the sets of ten : when he seizes the sets of eleven (beasts), the Sacrificer thereby takes possession of the Virag. He seizes a hundred, for man has a life of a hundred (years) and a hundred energies: vital power and energy, vigour, he thus takes to himself.
4. Eleven decades' he seizes, for the Trishtubh consists of eleven syllables, and the Trishtubh means energy, vigour : thus it is for the obtainment of energy, vigour. Eleven decades he seizes, for in an animal there are ten vital airs, and the body (trunk) is the eleventh : he thus supplies the animals with vital airs. They belong to all the gods for the completeness of the horse (sacrifice), for the horse belongs to all the gods. They are of many forms, whence beasts are of many forms; they are of distinct forms, whence beasts are of distinct forms.
Sixth BRÂHMANA. 1. (He puts the horse to the chariot”, with Vâg. S. XXIII, 5], 'They harness the ruddy bay,
After the (349) domesticated animals have been secured to the stakes, sets of thirteen wild beasts are placed on the twenty) spaces between the twenty-one) stakes, making in all 260 wild beasts. From the 150th beast onward (enumerated Vâg. S. XXIV, 30-40) these amount to 111 beasts which here are called eleven decades; the odd beast not being taken into account, whilst in paragraph 3 above the first ten decades are singled out for symbolic reasons. These beasts are spread over the twelfth only the last seven beasts of which belong to the first decade) and following spaces.
Along with the sacrificial horse three other horses are put to the chariot, with the formula Vâg. S. XXIII, 6. Previously to this, however, the Hotri recites eleven verses in praise of the horse (cf. XIII, 5, 1, 16). Both the horses and the chariot are decorated
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moving (round the moveless: the lights shine in the heavens);'—the ruddy bay, doubtless, is yonder sun: it is yonder sun he harnesses for him, for the gaining of the heavenly world.
2. Concerning this they say, 'Surely, the sacrifice goes from him whose beast, when brought up, goes elsewhere than the vedi (altar-ground).' (Let him, therefore, mutter Våg. S. XXIII, 7,] Singer of praise, make that horse come back to us by that path!'-the singer of praise, doubtless, is Vậyu (the wind): it is him he thereby places for him (the Sacrificer) on the other side, and so it does not go beyond that.
3. But, indeed, fiery mettle and energy, cattle, and prosperity depart from him who offers the Asvamedha.
4. With (Vág. S. XXIII, 8), “May the Vasus anoint thee with the Gâyatra metre!' the queen consort anoints (the forepart of the unharnessed horse) ;-ghee is fiery mettle, and the Gayatri also is fiery mettle: two kinds of fiery mettle he thus bestows together on him (the Sacrificer).
5. With, 'May the Rudras anoint thee with the Traishtubha metre!' the (king's) favourite wife anoints (the middle part) :-ghee is fiery mettle, and the Trishtubh is energy: both fiery
with gold ornaments. The Adhvaryu then drives with the Sacrificer to a pond of water to the east of the sacrificial ground (an indispensable feature in choosing the place of sacrifice), and having driven into the water he makes him pronounce the formula XXIII, 7, When the wind hath entered the waters, the dear form of Indra, do thou, singer of praise, make that horse come back to us by that path ;' whereupon they return to the sacrificial ground.
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mettle and energy he thus bestows together on
him.
6. With, ‘May the Adityas anoint thee with the Gågata metre!' a discarded wife 1 (of the king) anoints (the hindpart) ;-ghee is fiery mettle, and the Gagati is cattle: both fiery mettle and cattle he thus bestows together on him.
7. It is the wives that anoint (the horse), for they—to wit, (many) wives--are a form of prosperity (or social eminence): it is thus prosperity he confers on him (the Sacrificer), and neither fiery spirit, nor energy, nor cattle, nor prosperity pass away from him.
8. But even as some of the offering-material may get spilled before it is offered, so (part of) the victim is here spilled in that the hair of it when wetted comes off. When they (the wives) weave pearls (into the mane and tail) they gather up its hair. They are made of gold : the significance of this has been explained. A hundred and one pearls they weave into (the hair of) each part 3; for man has a life of a hundred (years), and his own self (or body) is the one hundred and first: in vital power, in the self, he establishes himself. They weave them in (each) with (one of) the (sacred utterings) relating to Pragåpati, ‘Bah! bhuvah! svar (earth, air,
1 That is, a former favourite, but now neglected; or, according to others, one who has borne no son.
* The fourth and lowest wife of the King the Pâlâgali (cf. XIII, 4, 1, 8; 5, 2, 8), though present at the sacrifice, does not take part in this ceremony, probably on account of her low-caste origin, as the daughter of a messenger, or courier.
* Viz. either the mane on both sides, and the tail, or the hair of the head, the neck (mane) and the tail ; each of the ladies apparently taking one of these parts.
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heaven)!' for the horse is sacred to Pragapati : with its own deity he thus supplies it. With,
Parched grain, or parched groats ?-in grainfood and in food from the cow'—he takes down the remaining food 1 (from the cart) for the horse : he thereby makes the (king's) people eaters of food (prosperous) ;-'eat ye, gods, this food! eat thou, Praga pati, this food!' he thereby supplies the people with food.
9. Verily, fiery spirit and spiritual lustre pass away from him who performs the Asvamedha.
The Hotri and the Brahman engage in a Brahmodya? (theological discussion); for the Hotri relates to Agni, and the Brahman (priest) to Brihaspati, Brihaspati being the Brahman (n.) : fiery spirit 3 and spiritual lustre he thus bestows together on him. With the (central) sacrificial stake between them, they discourse together; for the stake is the Sacrificer* : he thus encompasses the Sacrificer on both sides with fiery spirit and spiritual lustre.
10. (The Brahman asks, Vâg. S. XXIII, 9,] Who is it that walketh singly?'-it is yonder sun, doubtless, that walks singly, and he is spiritual
1 Viz. the material left over after what was taken for the Annahomas, XIII, 2, I, I seqq.
For a similar discussion between the four priests, prior to the offering of the omenta, see XIII, 5, 2, II seq.
Tegas' is pre-eminently the quality assigned to Agni. • It must be remembered that the sacrificial horse here represented by the stake is identified with both Pragâpati and the Sacrificer.
5 The actual replies to the questions in Våg. S. XXIII, 9 and II, are contained in the corresponding verses ten and twelve; being given here in an expository way, with certain variations and
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lustre: spiritual lustre the two (priests) thus bestow on him.
11. Who is it that is born again?'-it is the moon, doubtless, that is born again (and again) : vitality they thus bestow on him.'
12. "What is the remedy for cold?'—the remedy for cold, doubtless, is Agni (fire): fiery spirit they thus bestow on him.
13. 'And what is the great vessel?'--the great vessel, doubtless, is this (terrestrial) world: on this earth he thus establishes himself.
14. [The Hotri asks the Brahman, Vâg. S. XXIII, 11,] “What was the first conception?'
—the first conception, doubtless, was the sky, rain: the sky, rain, he thus secures for himself.
15. Who was the great bird 1?'—the great bird, doubtless, was the horse: vital power he thus secures for himself.
16. Who was the smooth one?'--the smooth one (pilippila), doubtless, was beauty (srt 2): beauty he thus secures for himself.
occasional explanatory words (such as 'vrisha,' rain, in paragraph 14). The answers to the first four questions are supposed to be given by the Hotri, and the last four by the Brahman.
This is the meaning assigned here to vayas' by Mahîdhara; but the other meaning of 'vayas,' viz. 'youthful vigour, or age, (generally),' would seem to suit much better, or at least to be implied. And Harisvâmin accordingly takes it in the sense of vârdhakam' (old age, or long life). Mahîdhara, moreover, identifies the horse with the horse-sacrifice, which, in the shape of a bird, carries the Sacrificer up to heaven. On this notion cp. part iv, introduction, pp. xxi-xxii.
Instead of srîh,' the answer given to this question in Vâg. S. XXIII, 12 was 'avih' which would either mean the gentle, kindly one,' or 'the sheep (f.),' but which Mahîdhara (in the former sense)
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17. Who was the tawny one?'-the two tawny ones, doubtless, are the day and the night': in the day and night he thus establishes himself.
SEVENTH BRAHMANA. 1. When the victims have been bound (to the stakes), the Adhvaryu takes the sprinkling-water in order to sprinkle the horse. Whilst the Sacrificer holds on to him behind, he (in sprinkling the horse) runs rapidly through the formula used at the Somasacrifice ?, and then commences the one for the Asvamedha.
2. [Vág. S. XXIII, 13,] ‘May Vậyu favour thee with cooked kinds of food 3,'—Vayu (the wind) indeed cooks it * ;—'the dark-necked one with he-goats,'--the dark-necked one, doubtless,
takes as (an epithet of) the earth which he also takes 'srî' to mean in the above passage of the Brahmana; whilst to the drag aeyouevov
pilippilâ'he assigns the meaning slippery' (kikkana) as applying to the earth after rain (? deriving it from the root lip,' to smear, anoint). Harisvämin, on the other hand, takes 'pilippilâ ' to be an onomatopoetic word, in the sense of '(glossy), beautiful, shining':rūpânukaranasabdo-yam bahurâpâvilå (? bahurûpânvita) uddyotavatî; and he adds :-srîmîmtratuh(? stir mantre tu) avih pippaloktau (?) så tu srîr eveti brâhmane vivritam, katham, iyam va avih prithivî, så ka srih, stir vâ iyam iti vatanât. Cf. VI, 1, 2, 33.
Here the original text in Vâg. S. XXIII, 12, has simply the pisangilâ was the night.' Mahîdhara explains' pisangilâ' by pisamgila,' beauty-devouring,' inasmuch as the night swallows, or conceals, all beauty (or form). Neither this nor the other explanation (=pisanga, ruddy-brown) suits the day; but Harisvåmin, who does not explain the name, remarks that the night here is taken to include the day. Cf. XIII, 5, 2, 18.
? Viz. Vág. S. VI, 9; see III, 7, 4, 4-5. * The author seems to take 'pakataih' in the sense of 'cooking.' • Viz. inasmuch as it causes the fire to blaze up, comm.
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is Agni (the fire); and the fire indeed cooks it (the horse) together with the he-goats.
3. 'The Nyagrodha with cups,'— for when the gods were performing sacrifice, they tilted over those Soma-cups, and, turned downwards, they took root, whence the Nyagrodhas (ficus indica), when turned downwards (nyak), take root (roha ').
4. 'The cotton-tree with growth,'—he confers growth on the cotton-tree (salmalia malabarica), whence the cotton-tree grows largest amongst trees.
5. 'This male, fit for the chariot,'-he supplies the chariot with a horse, whence the horse draws nothing else than a chariot.
6. 'Hath come hither on his four feet,'therefore the horse, when standing, stands on three feet, but, when harnessed, it pulls with all its feet at one and the same time.
7. May the spotless Brahman protect us!' -the spotless Brahman (m.), doubtless, is the moon:
? Or, whence the Nyagrodhas grow downwards. This refers to the habit of the Indian fig-tree, of sending down from the branches numerous slender roots which afterwards become fresh stems. Cp. the corresponding legend in Ait. Br. VII, 30, told there by way of explaining why Kshatriyas, being forbidden to drink Soma, should drink the juice extracted from the descending roots of the Indian fig-tree. Another reason why the Indian fig-tree (also called
vata') is here connected with the priests' Soma-cups (kamasa), is that this is one of the kinds of wood used in making those cups (cf. Katy. I, 3, 36 comm.).
According to Stewart and Brandis, Forest Flora, p. 31, the cotton-tree (or silk-cotton tree) is a very large tree of rapid growth, attaining a height of 150 ft., and a girth of 40 ft.
• Lit. 'the non-black Brahman,' explained as one who has no black spots; though it is difficult to see why the moon should be favoured with this epithet.
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to the moon he thus commits it;- Reverence to Agni!'-to Agni he thus makes reverence.
8. [Vâg. S. XXIII, 14,] 'Trimmed up is the car with the cord,'-with cord one indeed completes the car', whence a car, when enveloped (with cords 2), is very handsome.
9. 'Trimmed up is the steed with the rein,' -with the rein one indeed completes the horse, whence the horse, when curbed by the rein, looks most beautiful,
10. 'Trimmed up in the waters was the water-born,'-the horse, indeed, has sprung from the womb of the waters: with its own (mother's) womb he thus supplies it;-'Brahman (m.), with Soma for his leader,' he thus makes it go to heaven with Soma for its leader.
11. [Vâg. S. XXIII, 15,] 'Thyself, fit out thy body, O racer,'-'Take thyself the form which thou wishest,' he thereby says to him;-make offering thyself,'-sovereign rule (independence) he thereby confers on it;-'rejoice thou thyself,' -'enjoy (rule) thou thyself the world as far as thou wishest,' he thereby says to him;-'thy glory is not to be equalled by any one!'-with glory he thereby endows the horse.
12. [Våg. S. XXIII, 164,] 'Thou shalt not die
1 In Indian vehicles the different parts are held together by cords. For a drawing see Sir H. M. Elliot, The Races of the N.W. Provinces of India, II, p. 342. The word for 'cord' and 'rein' is the same in Sanskrit.
• Paryutah=pariveshțito raggubhih, comm.; hardly 'hung all round (with ornaments),' as the St. Petersb. Dict. takes it.
See V, 1, 4, 5; VI, I, I, II.
The first two pâdas of this verse form the first half-verse of Rig-veda S. I, 162, 21.
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here, neither suffer harm,'-he thereby cheers it ;-'on easy paths thou goest to the gods,'he thereby shows him the paths leading to the gods;—'where dwell the pious, whither they have gone,'-he thereby makes it one who shares the same world with the pious;-'thither the god Savitri shall lead thee,'-it is, indeed, Savitri that leads him to the heavenly world.—Whilst whispering ? 'I sprinkle thee, acceptable unto Praga pati,' he then holds (the sprinkling water) under (its mouth).
13. [Vag. S. XXIII, 17,] 'Agni was an animal; they sacrificed him, and he gained that world wherein Agni (ruleth): that shall be thy world, that thou shalt gain,-drink thou this water!'-—' As great as Agni's conquest was, as great as is his world, as great as is his lordship, so great shall be thy conquest, so great thy world, so great thy lordship,' this is what he thereby says to him.
14. Vậyu was an animal; they sacrificed him, and he gained that world wherein Vayu (ruleth): that shall be thy world, that thou shalt gain,-drink thou this water!'-'As great as Vâyu's conquest was, as great as is his world, as great as is his lordship, so great shall be thy conquest, so great thy world, so great thy lordship,' this is what he thereby says to him.
MT
Cp. I, 4, 5, 12: Hence whatever at the sacrifice is performed for Pragapati, that is performed in a low voice (under the breath); for speech would not act as oblation-bearer for Pra gâpati.' Pragâ pati, as representing generation, is often spoken of as "undefined' or unexpressed (secret)'; and so is what is muttered in a low voice.
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15. 'Sürya was an animal; they sacrificed him, and he gained that world wherein Sarya (ruleth): that shall be thy world, that thou shalt gain,-drink thou this water!' - As great as Sarya's conquest was, as great as is his world, as great as is his lordship, so great shall be thy conquest, so great thy world, so great thy lordship,' this is what he thereby says to him. Having satisfied the horse, and consecrated again the sprinkling water, he sprinkles the other victims : thereof hereafter.
Eighth BRAHMANA. 1. Now the gods, when going upwards, did not know (the way to the heavenly world, but the horse knew it: when they go upwards with the horse, it is in order to know (the way to the heavenly world. A cloth, an upper cloth, and gold,' this is what they spread out for the horse ? :
? The iti' seems superfluous; Harisvâmin explains it by 'etat trayam.' For a similar use of the particle, see XIII, 2, 2, 1.
? That is, they spread them on the ground for the horse to lie upon. Differently St. Petersb. Dict., 'they spread over the horse;' but see Kâty. XX, 6, 10 comm.; and Harisvâmin :-vaso yad antardhânâyâlam, adhivåso yad åkkhådanâyâlam, tak ka vâsasa upari staraniyam, tayor upari biranyam nidheyam, tasmims traye enam adhi upari samgħapayanti ;-and he then remarks that these three objects here do not take the place of the stalk of grass which, in the ordinary animal sacrifice, is thrown on the place where the victim is to be killed and cut up (III, 8, 1, 14; Käty. VI, 5, 1516), but that the stalk is likewise put down on this occasion. Similarly the comm. on Kâtyâyana, where it is stated that the stalk of grass (or straw) is first laid down, and then the others thereon. Indeed, as was the case in regard to the stalk of grass-representing the barhis, or layer of sacrificial grass on the vedi--so bere the fourfold underlayer is intended to prevent any part of the sacrificial material (havis)-the victim in this case—from being spilt. The
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thereon they quiet (slay) it, as (is done) for no other victim; and thus they separate it from the other victims.
2. When they quiet a victim they kill it. Whilst it is being quieted, he (the Adhvaryu) offers (three) oblations', with (Vag. S. XXIII, 18), 'To the breath hail! to the off-breathing hail to the through-breathing hail!' he thereby lays the vital airs into it, and thus offering is made by him with this victim as a living one 2.
3. With, 'Ambâ! Ambikâ! Ambâlikâ! there is no one to lead me,'-he leads up the (four)
upper garment (or cloth) must be sufficiently large to allow its being afterwards turned up so as to cover the horse and the queen
consort.
1 Prior to these, however, he offers the two 'Paripasavya,' i. e. 'oblations relating to the victim,'-or, perhaps, 'oblations performed in connection with the carrying of fire round the victim,' for this last ceremony is performed for all the victims (whereupon the wild beasts placed between the stakes are let loose) before the killing of the horse. See III, 8, 1, 6-16.
For the symbolic import of this, see III, 8, 2, 4.
These are just three variants used in addressing a mother (Mutter, Mütterchen, Mütterlein), or, indeed, as here, any woman (good lady! good woman!). Acc. to Kâty. XX, 6, 12, this is the formula which the assistant priest (the Neshiri, or, according to others, the Pratiprasthâtri, cf. Kâty. VI, 5, 27-28) makes the king's wives say whilst leading them up to the slain horse to cleanse it. It is, moreover, to be preceded by the formula used, at this juncture, at the ordinary animal sacrifice, viz. 'Homage be to thee, O wide-stretched one, advance unresisted unto the rivers of ghee, along the paths of sacred truth! Ye divine, pure waters, carry ye (the sacrifice) to the gods, well-prepared! may ye be well-prepared preparers!' (III, 8, 2, 2-3). The words Ambâ!' &c. are, according to Mahîdhara, addressed by the women to one another. The latter part of the formula as given in the Vâg. Samh. (viz. ' the horse sleeps near Subhadrika, dwelling in Kâmpîla') is apparently
[44]
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wives 1: he thereby has called upon them (to come), and, indeed, also renders them sacrificially pure.
4. With (Vág. S. XXIII, 19), We call upon thee, the host-leader of (divine) hosts, O my true lord !' the wives walk round' (the horse), and thus make amends to it for that (slaughtering): even thereby they (already) make amends to it; but,
rejected (? as antiquated, or inauspicious) by the author of the Brâhmana. The ceremony of lying near the dead horse being looked upon as assuring fertility to a woman, the formula used here is also doubtless meant to express an eagerness on the part of the women to be led to the slaughtered horse, representing the lord of creatures, Pragâpati. On this passage compare the remarks of Professor Weber (Ind. Stud. I, p. 183), who takes the formula to be spoken by the queen consort to her three fellow-wives; and who also translates the words 'na mâ nayati kas kana' (nobody leads me) by 'nobody shall lead me (by force to the horse ; but if I do not go) the (wicked) horse will lie near (another woman such as) the (wicked) Subadhrá living in Kâmpila.'—Harisvåmin's commentary on this passage is rather corrupt, but he seems at all events to assume that each of the four wives apostrophizes the others with the above formula (probably substituting their real names for the words 'amba,' &c.) :-lepsam ( lipsâm) tavad esha patnîvaktrakah (patnivaktratah) prâpnoti, katham, ekaikå hi patni itarâs tisra âmantrya seshåh paridevayamanâ drisyate, he ambe he ambike he ambâlike yâyam apunya nishpadotv asya (?) samîpam, sa ka pakshapati kutsito - svako mayi yushmäkam sasasti meva (1) subhadrikâm kampilavâsinim ida (? iha) surūpām na tu mâm kaskit tatra nayatîti; sasastîty eva vartamânasâmîpye vartamânavad (Pån. III, 3, 131) ity asannasevane drashlavyah. - This barbarous ceremony was evidently an old indigenous custom too firmly established in popular practice to be easily excluded from the sacrificial ritual. That it had nothing to do with Vedic religion and was distasteful to the author of the Brahmana is evident from the brief way in which he refers to it, and from the far-fetched symbolic explanations attached to the formulas and discourses.
1 Viz. from their ordinary place near the Garhapatya he leads them whilst holding jars of water in their hands.
Apahnuvate vismaranty evâsmai etat pradakshinavartanena samgħapapam unnayanti, comm.
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indeed, they also fan1 it. Thrice they walk round 2; for three (in number) are these worlds: by means of these worlds they fan it. Thrice again they walk round3,-that amounts to six, for there are six seasons: by means of the seasons they fan it.
5. But, indeed, the vital airs depart from those who perform the fanning at the sacrifice. Nine times they walk round; for there are nine vital airs vital airs they thus put into their own selves, and the vital airs do not depart from them. I will urge the seed-layer, urge thou the seedlayer!' (the Mahisht says '); - seed, doubtless, means offspring and cattle: offspring and cattle she thus secures for herself. [Våg. S. XXIII, 20,] 'Let us stretch our feet,' thus in order to secure union. 'In heaven ye envelop yourselves' (the Adhvaryu says),-for that is, indeed, heaven where they immolate the victim: therefore he
1 Thus Harisvâmin :-dhuvate dhûnane(na) upavâgayanti, evam asvam râgânam iva vyaganair etat, they shake themselves,' St. Petersb. Dict.; and, indeed, it is doubtless by the flutter of the garments produced in walking round first one way and then another, that the fanning is supposed to be produced.
Viz. in sunwise fashion (pradakshinâ), that is so as to keep the object circumambulated on one's right side.
Viz. in the opposite, the 'apradakshinam' way, as is done in the sacrifice to the departed ancestors. They do so with the text, 'We call upon thee, the dear Lord of the dear ones, O my true lord!'
Viz. another three times in the sunwise way. Having completed their circumambulation, the king's wives cleanse the horse's apertures of the vital airs (mouth, nostrils, eyes, &c.), as the Sacrificer's wife did at the ordinary animal sacrifice (III, 8, 2, 4), which they do with the text, 'We call upon thee, the treasurelord of treasures, O my true lord!'
Cf. III, 5, 2, I seqq.
Y 2
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speaks thus. May the vigorous male, the layer of seed, lay seed!' she says in order to secure union.
NINTH BRAHMANA.
1. But, indeed, that glory, royal power, passes away from him who performs the Asvamedha.
2. [The Udgâtri1 says concerning the king's favourite wife, Vâg. S. XXIII, 26,] Raise her upwards, the Asvamedha, doubtless, is that glory, royal power: that glory, royal power, he thus raises for him (the Sacrificer) upward.
3. Even as one taking a burden up a mountain,'-glory (pomp), doubtless, is the burden of royal power: that glory, royal power, he thus fastens on him (as a burden); but he also endows him with that glory, royal power.
4. And may the centre of her body prosper,' -the centre of royal power, doubtless, is glory: glory (prosperity), food, he thus lays into the very centre of royal power (or, the kingdom).
5. As one winnowing in the cool breeze,'the cool of royal power, doubtless, is security of
The colloquy between the men and women, referred to in paragraphs 1-8, would seem to go on simultaneously. The verse addressed by the Hotri to the king's discarded wife, Vâg. S. XXIII, 28, is omitted by the Brahmana, as are also the verses spoken in reply by the women (with their attendants), and closely resembling those of the men in tone and wording. According to some authorities it is the attendant women alone who reply, not the king's wives. Kâty. XX, 6, 20.
Mahidhara takes the objective pronoun to refer to the Vâvâtâ, whilst Harisvâmin, on the other hand, supplies some such word as 'sâfikâm.'
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possession : security of possession he procures for him.
6. [The Adhvaryu addresses one of the attendant maids, Vag. S. XXIII, 22,] .That little bird,' — the little bird, doubtless, is the people (or clan), - *which bustles with (the sound) “ahalak,”'- for the people, indeed, bustle for the behoof of) royal power,-thrusts the "pasas" into the cleft, and the "dharaka” devours it,'—the cleft, doubtless, is the people, and the 'pasas' is royal power ; and royal power, indeed, presses hard on the people ; whence the wielder of royal power is apt to strike down people.
7. [The Brahman addresses the queen consort, Vág. S. XXIII, 24,] Thy mother and father,'— the mother, doubtless, is this (earth), and the father yonder (sky): by means of these two he causes him to go to heaven ;-'mount to the top of the tree,'—the top of royal power, doubtless, is glory: the top of royal power, glory, he thus causes him to attain ;-'saying, "I pass along," thy father passed his fist to and fro in the cleft,'— the cleft, doubtless, is the people; and the fist is royal power; and royal power, indeed, presses hard on the people; whence he who wields royal power is apt to strike down people'.
8. [The chamberlain addresses the king's fourth wife, Våg. S. XXIII, 30,] When the deer eats the corn,'—the grain (growing in the field), doubtless, is the people, and the deer is royal power : he
· The Mahishỉ : Thy mother and father are playing on the top of the tree like thy moutb when thou wilt talk: do not talk so much, Brahman !
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thus makes the people to be food for the royal power, whence the wielder of royal power feeds on the people; - 'it thinks not of the fat cattle,'—whence the king does not rear cattle ;'when the Sudra woman is the Arya's mistress, he seeks not riches that he may thrive!,'-hence he does not anoint the son of a Vaisya woman.
9. But, indeed, the vital airs pass from those who speak impure speech at the sacrifice. [The queen consort having been made to rise by her attendants, the priests and chamberlain say, Vag. S. XXIII, 32, Rig-v. S. IV, 39, 6,] The praises of Dadhikrâvan have I sung, (the victorious, powerful horse: may he make fragrant our mouths, and prolong our lives!),'--thus they finally utter a verse containing the word 'fragrant': it is (their own) speech they purify?, and the vital airs do not pass from them.
TENTH BRÂHMANA. 1. When they prepare the knife-paths, the Sacrificer makes for himself that passage across, a bridge, for the attainment of the heavenly world.
2. They prepare them by means of needles; the needles, doubtless, are the peoples (clans), and the Asvamedha is the royal power : they thus supply him with people and royal power combined. They are made of gold: the meaning of this has been explained.
Mahîdhara interprets,—then he (her husband), the Sadra, does not wish for wealth, but is unhappy.
• That is to say, they make amends for any breaches of decorum committed in the preceding colloquy.
• Viz. because of the large number and the small size (insignificance) of the needles, or wires, (and the common people), comm.
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3. Three kinds of needles are (used), copper ones, silver ones, and gold ones ;—those of copper, doubtless, are the (principal) regions (of the compass), those of silver the intermediate ones, and those of gold the upper ones: it is by means of these (regions) they render it fit and proper. By way of horizontal and vertical (stitches') they are manyformed, whence the regions are many-formed; and they are of distinct form, whence the regions are of distinct form.
ELEVENTH BRÂHMANA. 1. Pragâ pati desired, 'Would that I were great, and more numerous !' He perceived those two Mahiman (greatness) cups of Soma at the Asvamedha; he offered them; and thereby, indeed, became great and more numerous : hence whosoever should desire to become great, and more numerous, let him offer up those two Mahiman cups of Soma at the Asvamedha; and he indeed becomes great and more numerous.
2. He offers them on both sides (before and after) the omentum ;-the Asvamedha, doubtless, is the Sacrificer, and that Mahiman (cup) is the king : it is with royal dignity he thus encompasses him on both sides. Some gods have the svâhâ-call ("hail') in front, and the other gods have the svâhâ-call behind 2: it is them he thus gratifies. With ‘Hail
"It is doubtful what word, if any, has to be supplied here, perhaps it means, by way of their being in sewing) horizontal and vertical. The commentary is silent on this passage.
· The formula uttered whilst the first Mabiman cup is offered runs thus (Vág. S. XXIII, 2): 'What greatness of thine there hath
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to the gods!' and 'To the gods hail!' he makes offering by means of the king (Soma) on both sides of the omentum: he thereby gratifies those gods who are in this world, and those who are in the other, and thus gratified, both these kinds of gods lead him to the heavenly world.
THIRD ADHYAYA. FIRST BRAHMANA.
1. Pragâpati's eye swelled; it fell out: thence the horse was produced; and inasmuch as it swelled (asvayat), that is the origin and nature of the horse (asva). By means of the Asvamedha the gods restored it to its place; and verily he who performs the Asvamedha makes Pragâpati complete, and he (himself) becomes complete; and this, indeed, is the atonement for everything, the remedy for everything. Thereby the gods redeem all sin, yea, even the slaying of a Brahman they thereby redeem; and he who performs the Asvamedha redeems all sin, he redeems the slaying of a Brahman.
2. It was the left eye of Pragâpati that swelled: hence they cut off the (meat) portions from the left
been in the day and the year; what greatness of thine there hath been in the wind and the air; what greatness of thine there hath been in the heavens and the sun, to that greatness of thine, to Pragâpati, hail, to the gods !' whilst that of the second Mahiman cup runs thus (XXIII, 4): What greatness of thine there hath been in the night and the year; what greatness of thine there hath been in the earth and the fire; what greatness of thine there hath been in the Nakshatras (lunar asterisms) and the moon, to that greatness of thine, to Pragâpati, to the gods, hail!' cf. XIII,
5, 2, 23; 3, 7.
1 See XIII, 3, 5, 3 seq.
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side of the horse, and from the right side of other victims.
3. There is a rattan mat, for the horse was produced from the womb of the waters, and the rattan springs from the water : he thus brings it in connection with its own (maternal) womb.
4. The Katushtoma' is the form of chanting (on
1 The term Katushtoma originally apparently means a sacrificial performance, or succession of chants, in which four different Stomas, or hymn-forms, are used. Hence, in Tandya-Br. VI, 3, 16, the name is applied to the ordinary Agnishtoma, for its twelve Stotras, or chants, require the first four normal Stomas (Trivrit, Parkadasa, Saptadasa, Ekavimsa). The term has, however, assumed the special meaning of a hymnic performance, the different Stomas of which (begin with the four-versed one, and) successively increase by four verses (cf. XIII, 5, 1, 1). In this sense, two different forms of Katush/oma are in use, one being applicable to an Agnishtoma, the other to a Shodasin, sacrifice. Whilst this latter form requires only four different Stomas (of 4, 8, 12, 16 verses resp.) and thus combines the original meaning of katushtoma' with its special meaning, the Agnishtoma form, used on the first of the three days of the Asvamedha, requires six Stomas, ascending from the four-versed up to the twenty-four-versed one. In regard to this latter occasion, Sâyana on Tandya-Br. XXI, 4, 1, curiously enough, seems to take katushtoma' in its original senses, since he speaks of this first day of the Asvamedha as an Agnishtoma with four Stomas, beginning with Trivrit; whilst on ib. XIX, 5, I seq. he gives the correct explanation. As to the distribution of the six Stomas over the chants of the first day, see XIII, 5, 1, 1. The katushtoma has, however, another peculiarity, which, in Laty. S. VI, 8, 1 (or at least by the commentator Agnisvâmin thereon), is taken as that which has given its name to this form of chanting, viz. that each stotra performed in it is chanted in four, instead of the ordinary three, paryayas or turns of verses (see part ii, p. 310 note). The Bahishpavamâna-stotra is to be performed on three anushtubh verses (consisting each of four octosyllabic pâdas) which, however, by taking each time three pâdas to make up a verse, are transformed into four verses, constituting at the same time the four paryâyas of the Stotra. As regards the exact
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the first day); for a bee tore outi (a piece of) the horse's thigh, and by means of the Katushtoma form of chanting the gods restored it: thus when there is the Katushtoma mode of chanting, it is for the completeness of the horse. The last day is an Atirâtra with all the Stomas with a view to his obtaining and securing everything, for an Atirâtra with all the Stomas is everything, and the Asvamedha is everything.
SECOND BRAHMANA. 1. Now this (Sacrificer), having conquered by means of the supreme Stoma—the Katushtoma, the Krita among dice *,-on the next day establishes
text to be used there seems to be some doubt, Sâmav. S. II, 366-8 (pavasva vågasätaye) being mentioned by Sayana on Tandya-Br. XXI, 4, 5; whilst on XIX, 5, 2 he gives S. V. II, 168-70 (ayam pasha rayir bhagal as the text to be used-but apparently only when the performance is that of an ekâha (one day's sacrifice) proper, instead of one of the days of an âhîna sacrifice, as is the case in the three days' Asvamedha. As regards the Agya-stotras to be chanted on the eight-versed Stoma, the text of each of them consists of three gayatri-verses: these are to be chanted in four turns (paryâya) of two verses each, viz. either 1 and 2, 2 and 3, 1 and 2, 2 and 3 ;-or i and 1, 1 and 2, 2 and 2, 3 and 3 ;-or I and 1, 1 and 1, 2 and 2, 3 and 3 ;-or i and 1, 2 and 2, 2 and 2, 3 and 3). By similar manipulations the subsequent Stomas are formed.
Or, wounded, as Sâyana takes 'â bribat,' on Tândya-Br. XXI, 4, 4 (vranam kakâra).
• The Atirâtra sarvastoma is arranged in such a way that the six principal Stomas are used successively first in the ascending, and then again in the descending, or reversed, order as is explained in XIII, 5, 3, 10.
'For this and the other names of the dice, see part üi, p. 106, note I.
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himself on the Ekavimsa', as a firm foundation : from the Ekavimsa, as a firm foundation, he subsequently ascends to the next day, the seasons; for the Prishtha (-stotras) are the seasons, and the seasons are the year: it is in the seasons, in the year, he establishes himself.
2. The Sakvart? (verses) are the Prishtha (-stotra of the second day): there is a different metre for each (verse), for different kinds of animals, both domestic and wild ones, are immolated here on each (day). As to the Sakvari (verses) being the Prishtha, it is for the completeness of the horse (sacrifice) 3; and different kinds of animals are immolated on different (days), because different stomas are performed on the different (days of the Asvamedha).
Though applying in the first place to the second day of the Asvamedha, as an Ukthya sacrifice which is at the same time an Ekavimsa day, i. e. one the stotras of which are all chanted in the twenty-one-versed hymn-form, Ekavimsa, the twenty-first or twentyone-fold, as is clear from XIII, 3, 3, 3, here also refers to the sun, of which it is a common epithet (cf. part iii, p. 265, note 2, also XIII, 4, 4, II). This solar name seems to be derived from the fact that the sun is also identified with the central day of the year, the Vishuvant day, which is considered the central day of a twentyone days' sacrificial performance-having one prishthya-shadaha, an Abhigit (or Visvagit day resp.) and three svarasaman days before and after it ;-see p. 139, note; and A. Hillebrandt, Die Sonnwendfeste in Alt-Indien, p. 6 seqq.
% That is to say, the so-called Mahânâmni verses (Sam. V. ed. Bibl. Ind. II, p. 371), chanted on the såkvara-såman (see part iii, of this transl., introd. p. XX, note 2), are to be used for the Hotri's Prisbtha-stotra. For this purpose the Rathantara-saman is ordinarily used in the Agnishtoma, and the Brihat-sâman in the Ukthya, form of sacrifice.
* The commentator takes this as an allusion to the potent' (sakvara=sakta) nature of the verses.
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3. As to this they say, 'These-to wit, goats and sheep and the wild (beasts)-are not all animals ? ; but those—to wit, the bovine (victims)—are indeed all animals. On the last day he immolates bovine (victims), for they– to wit, bovine (victims)—are all animals : he thus immolates all animals. They are sacred to the All-gods ?, for the completeness of the horse, for the horse is sacred to the All-gods. They are many-formed (or, many-coloured), whence animals are many-formed; and they are of distinct forms (or colours), whence animals are of distinct forms.
THIRD BRAHMANA. 1. Inasmuch as there are three Anushtubh verses 3 (on the first day), therefore the horse, when standing, stands on three (feet); and inasmuch as they are made into) four Gayatri verses, therefore the horse, when stepping out, scampers off on all (four) feet. For that Anushtubh, doubtless, is the highest metre, and the horse is the highest of animals; and the Katushtoma is the highest of Stomas: by means of what is highest he thus causes him (the Sacrificer) to reach the highest position.
2. The Sakvart verses are the (Hotri's) Prishtha (of the second day): there is a different metre for
That is to say, they do not fitly represent all kinds of animals, as the highest kind of animals, the bovine cattle, may be said to do. The argument as to the 'sarve pasavah' is, of course, suggested by the 'asvasya sarvatvaya' of the preceding paragraph; and to bring out the parallelism, one might translate,-these. ... are not complete animals.
? See XIII, 5, 3, 11.
3 Tbat is, for the Bahishpavamâna-stotra of the Katushtoma, see P. 329, note,
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each (verse), for different Stomas are performed on each (day). And as to the Sakvart verse being the Prishtha (-stotra), it is for the completeness of the horse (sacrifice).
3. The central day is an Ekavimsa one, for the Ekavimsa is yonder sun, and so is the Asvamedha : by means of its own Stoma he thus establishes it in its own deity.
4. The Vamadevya is the Maiträvaruna's Sâman”; for the Vamadevya is Pragå pati, and the horse is of Pragâpati's nature : he thus supplies it with its own deity.
5. The Parthurasma is the Brahma-samano; for the horse is restrained by means of reins : (rasmi), but when unrestrained, unchecked, and unsteadied, it would be liable to go to the furthest distance: thus when the Pârthurasma is the Brahma-saman, it is for the safe keeping of the horse.
6. The Samkriti - is the Akhåvaka's Saman ;
1 That is, the hymn-tune of the second Prishtha-stotra chanted for the Maiträvaruna (who responds thereto by the recitation of the second Nishkevalya-sastra): the Maha-Vamadevya on the text kaya nas kitra a bhuvat' (S. V. II, 32-34; figured for chanting in Bibl. Ind. ed. III, p. 89) is ordinarily used for this stotra both in the Agnish/oma, and in the Ukthya, form of sacrifice.
. That is, the tune of the third, or Brahmanakhamsin's, Prishtha. stotra. For the såmans commonly used for this stotra see part i, p. 434, note 1. The Parthurasma-saman may be chanted on either of the texts Samav. II, 352-4 (figured ed. Bibl. Ind. vol. V, p. 395) or II, 355-7 (figured vol. V, p. 483). It is the latter text which is to be used on the present occasion. On the legendary origin of this såman (which is said to represent strength,' and therefore to be appropriate to a Råganya) see Tandya-Br. XIII, 4, 17.
* Or, is fastened by means of a rope.
• The Samkriti-såman is used with the texts Sámav. II, 663-4 (figured ed. Bibl. Ind. V, p. 407), II, 669–70 (ib. p. 482, wrongly
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that Asvamedha, indeed, is, as it were, a disused sacrifice, for what is performed thereof, and what is not? When the Samkriti is the Akhåvåka's Sâman, it is for (bringing about) the completeness of the horse (sacrifice). The last day is an Atirâtra with all the (six) Stomas, in order to his (the Sacrificer's) obtaining everything, for an Atirâtra with all the Stomas is everything, and the Asvamedha is everything.
7. The fire-altar is the twenty-one-fold one, the Stoma the twenty-one-fold one, and there are twentyone sacrificial stakes; even as bulls or stallions 3 would clash together, so do these Stomas“, the
called Samgati), and II, 679–81 (ib. p. 515). It is probably the second of these texts that is to be used here, as it is also used for the same stotra on the second day of the Garga-trirâtra.
Cp. the corresponding passage, Taitt. S. V, 4, 12, 3, that Asvamedha, indeed, is a disused sacrifice, for, say they, who knows if the whole of it is performed or not?' Perhaps, however,
utsanna-yagña' rather means a decayed sacrifice,' i. e. one which has lost (or in the usual performance is apt to lose) some of its original elements; whence the Samkriii' tune is to be used for the purpose of making up the lost parts. Part of the commentary in this passage is not clear to me:-ukkaihkalapagrâmâdau siddhasthâne satrasthito granthato srthatas ka yat yagfia utsannayagħa esha yah asvamedhah katham utsanna ity ata aha, kim vâ hîti, yasya dharmåh pūrvayonau purvayuge) prayugyante tesham kimkit kalau kriyate kimkin na kriyate, tatas ka samkritir akhåvâkasama bhavati.
* That is, an altar measuring twenty-one man's lengths on each of the four sides of its body.
& The commentary seems to take both rishabha' and 'vrishan' here in the sense of bulls,' but cp. Taitt. Br. III, 8, 21, 1, yatha vå asva varshabhâ và vrishanah sam sphureran'-'even as if male horses or bulls were to clash together.'
• That is, not only the twenty-one-fold Stoma, but also the other two twenty-one-fold objects, looked upon as Stomas (lit. ' means of praise').
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twenty-one-versed, run counter to one another : were he to bring them together, the Sacrificer would suffer harm, and his sacrifice would be destroyed.
8. There may, indeed, be a twelvefold altar, and eleven stakes. When the altar is a twelvefold one-twelve months being a year-it is the year, the sacrifice, he obtains. When there are eleven stakes, then that Virág (metre), the Ekadasint', is contrived; and that which is its eleventh (stake) is its teat: thereby he milks it.
9. As to this they say, 'If there were a twelvefold altar, and eleven stakes, it would be as if one were to drive on a cart drawn by one beast.' There are the twenty-one-fold altar, the twenty-one-fold Stoma, and twenty-one stakes : that is as when one drives with side-horses.
10. That twenty-one-fold one, indeed, is the head of the sacrifice; and, verily, he who knows three heads on the Asvamedha, becomes the head of kings. There are the twenty-one-fold altar, the twenty-one-fold Stoma, and twenty-one stakes: these are the three heads on the Asvamedha; and, verily, he who thus knows them becomes the head of kings. And, indeed, he who knows the three tops on the Asvamedha, becomes the top of kings ;there are the twenty-one-fold altar, the twenty-onefold Stoma, and twenty-one stakes: these, indeed, are the three tops on the Asvamedha; and, verily, he who thus knows them becomes the top of kings.
· Viz. the set of eleven (stakes), here represented as a cow; but in order to assimilate it to the Virág, or metre consisting of ten syllables, the eleventh stake is made the teat or udder of the cow,
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Fourth BRÂHMANA. 1. Verily, the horse is slaughtered for all the deities: were he to make it one belonging to Pragàpati (exclusively), he would deprive the deities who are co-sharers of their share. Having made ghee (to take the part of) portions (of the horse's body) he makes oblations to the deities in mentioning them one by one with (Vâg. S. XXV, 1-9), 'The Grass (I gratify) with the teeth, the Lotus with the roots of the hair, ...:' the deities who are co-sharers he thus supplies with their share. When he has offered the Aranye nakya (oblations) ?, he offers the last oblation to
1 These oblations of ghee, apparently amounting to 132,are made, after the principal flesh-portions have been offered, viz. in the interval between the ghee oblation to Vanaspati (the lord of the forest, or the plant, Soma) and the Svishtakrit oblation, for which see part ii, pp. 208–9; each formula, as a rule, containing the name of some divinity, and that of some part of the body of the horse supposed to be represented by the ghee (by four ladlings of which the offering spoon is filled each time). Mahîdhara, apparently in accordance with the Brahmana, supplies 'prînâmi (I gratify) with each (complete) formula which then concludes with svåhå (hail)! According to other authorities, however, these formulas are each to be divided into two separate dedicatory formulas : To the Grass hail! To the Teeth hail!' &c.—The last of the 132 oblations (with the formula, .To Gumbaka, hail !') is, however, withheld for the present to be offered (or perhaps the formula alone is to be muttered) at the end of the purificatory bath (avabhritha) towards the end of the sacrifice on the third day.
The term 'aranye - nükya' (' to be recited in the forest ') we met before (IX, 3, 1, 24) as applying to the last of seven cakes offered to the Maruts immediately after the installation of Agni (the sacred fire) on the newly-built altar. The formula used for that cake is the so-called Vimukha-verse, Våg. S. XXXIX, 7. This
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Heaven and Earth; for all the gods are established in heaven and on earth : it is them he thereby gratifies. Now the gods and the Asuras were contending together.
2. They (the gods) spake, We are the Agnayah Svishtakritah' of the horse (sacrifice); let us take out for ourselves a special share: therewith we shall overcome the Asuras.' They took the blood for themselves in order to overcome their rivals : when he offers the blood to the Svishtakrits, it is in order to overcome (his own) rivals; and the spiteful rival of him who knows this is undone by himself.
3. The first oblation (of blood) he offers ? in the
verse is followed in the Samhitâ by a series of twenty formulas (ib. 8-9) of a similar nature to those referred to in the preceding note (i. e. consisting each of a deity and a part of the body of the horse-Agni I gratify with the heart,' &c.), and these again by forty-two expiatory formulas ("To the hair, hail!' &c., ib. 1013), ending with, To Yama, hail! To Antaka (the Ender), hail! To Death, hail! To (the) Brabman, bail! To Brahmanslaying, hail! To the All-gods, haill To Heaven and Earth, hail l' These sixty-two formulas are used with as many ghee-oblations, which are to be performed immediately after the 1319t of the previous set of oblations. Prior, however, again to the last of the forty-two expiatory oblations, (viz. the one made with To Heaven and Earth, haill') there is another set of sixteen oblations (XIII, 3, 6, I seqq.), the so-called 'Asvastomiya ahutayah' or oblations relating to the Stomas of the horse (sacrifice),' each of which has a complete couplet for its offering-formula (Vâg. S. XXV, 24-39). To all these three sets of oblations the term aranyes nûkya' is here extended by the author. At the end of the third set this succession of ghee-oblations is concluded with the last expiatory oblation, that to Heaven and Earth; whereupon the ordinary flesh-oblation to Agni Svishtakrit is performed.
* I.e. the (three) fires, the makers of good offering. · The formula for each of these three special blood-oblations
[44]
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throat (gullet) of the Gomrigal; for Gomrigas are cattle, and the Svishtakrit is Rudra : he thus
offered immediately after the ordinary Svishtakrit oblation, and being, in fact, the special Svishtakrit of the Asvamedha-is
Agnibhyah svishtakridbhyah svâhâ, i.e. to the (three) Agnis, the makers of good offering, hail!'
1 Gomriga' is usually taken by the commentators, and in our dictionaries, as another name of the Gavaya,' variously called Gayâl, Bos Gavaeus, Bos frontalis, or Bos cavifrons, a species of wild cattle found in various mountain districts of India (especially on the eastern boundaries of Bengal, and in Malabar, as also in Ceylon), and frequently domesticated amongst the hill-tribes, by whom it is valued for its flesh and milk (cf. Colebrooke's paper, As. Res. VIII, p. 511 seqq.). The Gavaya itself is, however, as Colebrooke remarks, confounded by some Sanskrit writers with the 'Risya,' which he takes to be the buck of the painted, or whitefooted (or slate-coloured) Antelope, the Portax pictus (or Antelope picta), also called by the vernacular names of Nilgau or (Mahr.) Nilgây, whilst the female is called 'rohit' in Sanskrit. All these three animals occur amongst the wild animals to be used as quasi-victims, but ultimately released on the second day of the Asvamedha; and I am inclined to think that they are three different animals. To show that the Risya and the Gavaya cannot be the same animals, Colebrooke already refers to the fact that three Risyas (consecrated to the Vasus) and three Gavayas (to Brihaspati) occur as victims side by side in Vågasaneyisamhitâ XXIV (27 and 28); and in the same way a Gomriga, sacred to Pragapati and Vayu, is mentioned immediately after, ib. 30; whilst another, sacred to Pragâpati, was, as we saw, one of the two animals tied along with the horse to the central stake (see XIII, 2, 2, 2). Taitt. S. II, 1, 10, 2, treating of the sacrifice of a Gomriga to Väyu, remarks that it is neither a domestic animal (or cattle, pasu) nor a wild one; and Sayana explains it as a cross between a female deer (or antelope, mrigi) and a bull that has gone with his cows to graze in the forest; whilst, on Taitt. Br. III, 8, 20, 5, he leaves one to choose between its being a vicious bull (dhûrto balivardal), dangerous to men, or an animal
of mixed breed, sprung from a cow and a male gazelle or antelope (goharinayoh, or possibly, from parent beasts of the bovine and antelope species). In this latter passage, the editor
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shields the cattle from Rudra, whence Rudra does not prowl after the cattle where this oblation is offered at the Asvamedha.
4. The second oblation? he offers on a horsehoof; for the one-hoofed (animals) are cattle, and the Svishtakrit is Rudra: he thus shields the cattle from Rudra, whence Rudra does not prowl after the cattle where this oblation is offered at the Asvamedha,
5. The third oblation he offers in an iron bowl; for the people (subjects) are of iron, and the Svishtakrit is Rudra : he thus shields the people from Rudra, whence Rudra does not prowl after the cattle where this oblation is offered at the Asvamedha.
Fifth BRÂHMANA.
1. Verily, there are deaths 3 connected with all the worlds; and were he not to offer oblations to them, Death would get hold of him in every world :
of the Brahmana (in the list of contents, p. 53) takes it to mean
wild cattle (Nilagão gomriga, erroneously explained as a cross between a deer and a cow' which would be a probable enough explanation, if the Risya were not the Nilgau; whilst otherwise the animal might belong to some other species of bovine antelopes no longer found in India.
1 Whilst the first of these oblations must take place immediately after the ordinary Svishtakrit of the animal sacrifice, the second may be postponed till after the after-offerings'; and the third till after the Patnisamyågas. See also XIII, 5, 3, 8 seq.
? That is, their value-as compared with that of the king or nobles, and the Brahmanas-is that of iron, compared with that of gold and silver; cp. XIII, 2, 2, 19.
• That is, according to Sảyana, on Taitt. Br. III, 9, 15, 1, causes of death, such as diseases, &c.
22
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when he offers oblations to the Deaths', he wards off Death in every world.
2. Concerning this they say, 'If, in offering, he were to name them all, saying, "To such ? (a death) hail! To such a death) hail!” he would make that manifold death his enemys, and would give himself over to Death. Only one oblation he offers to one of them, with, .To Death, hail!' for there is indeed but one Death in yonder world, even Hunger 4: it is him he wards off in yonder world.
3. A second oblation he makes with, ‘To Brahmanslaying, hail !' for, doubtless, a murder other than the slaying of a Brahman is no murder ; but that-to wit, the slaying of a Brahman-is manifestly murder: he thus manifestly wards off Death 6.
The oblations referred to in this Brahmana ($$ 1-4) occur towards the end of the second set of 'aranye snûkya' oblations mentioned above, p. 336, note 2, where the formulas are given. According to Taitt. Br., 1.c., however, these final oblations are to be performed—like that to Gumbaka (Varuna)at the time of the purificatory bath, which, indeed, may also he intended by our Brahmana, though Katyayana and Mahidhara seem to offer no indications to that effect. It is clear that these final oblations must have formed the subject of considerable discussion among the early ritualists.
· That is, according to Sâyana (Taitt. Br.). To death in the shape of disease, to death in the shape of poverty, &c. Harisvamin, on our passage, has merely, Amushmai pitrilokaya mrityave'-'To death in the shape of) the world of the Fathers, which is not very clear.
Or, perhaps, he would make himself many a death-enemy (bahum mrityum amitram kurvita), the two nouns being taken as in apposition to each other; cf. p. 146, note 1.
• See X, 6, 5, 1.
• Or, he thus wards off what is manifestly Death (Death in person).
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4. Mundibha Audanya' it was who discovered this atonement for the slaying of a Brahman; and when one offers the oblation to the Brahmahatya he prepares a remedy for the slayer of a Brahman by satisfying Death himself with an oblation, and making a protection ? for him the slayer). At whosoever's Asvamedha, therefore, this oblation is offered, even if in after-times 8 any one in his family kills a Brahman, he thereby prepares a remedy (expiation) for him.
Sixth BRAHMANA 1. When the horse was slaughtered, the life-sapwent out of it; it became the Asvastomiya (set of oblations): when he offers the Asvastomiya (oblations) he indeed supplies the horse with life-sap.
2. He performs it with ghee; for ghee is life-sap, and the Asvastomiya is life-sap: by means of life
" That is, according to Harisvâmin, the son of Udanya (Odana, St. Petersb. Dict.), Taitt. Br. III, 9, 15, 3, has Mundibha Audanyava (i.e. the son of Udanyu, Sây.) instead. The Taitt. Br., besides, makes the crime to be expiated here to be, not 'brahmahatya,' but 'bhrAnahatya,' the killing of an embryo. Såyana, however, there allows to bhräna' optionally its later meaning of 'a Brahmana versed in the three Vedas and the sacrificial art (kalpa),' and the Taitt. Br. itself, at all events, takes this oblation to bhrûnabatya' to atone likewise for the slaying of a Brahmana.
• Harisvâmin explains paripânam' by parisish/am vânantam pånam' (?); whilst Sayana, in Taitt. Br., takes it in the sense of
sarvatah pátram,' i.e. having made the Sacrificer a thoroughly worthy person.
• Harisvâmin here unwarrantably takes 'apari: hu' in the sense of in past times.'
• Or, sacrificial essence. • See p. 336, note 2.
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sap he thus puts life-sap into it. He performs with ghee, for that—to wit, ghee-is the favourite resource of the gods : he thus supplies them with their favourite resource.
3. Having performed the Asvastomiya (set of) oblations, he offers the Dvipadas 1; for the Asvastomiya is the horse, and the Dvipada is man, for man is two-footed (dvipad), supported on two (feet): he thus supplies him with a support
4. Concerning this they say, 'Is the Asvastomiya to be offered first, or the Dvipada ?' The Asvastomiya, surely, is cattle, and the Dvipada is man: inasmuch as he performs the Dvipadâs after performing the Asvastomiya, man subsequently establishes himself amongst cattle.
5. Sixteen Asvastomiya oblations he performs, for animals (cattle) consist of sixteen parts 8: that is the measure of cattle, and he thus supplies cattle with their (right) measure. Were he to offer either less or more, he would deprive cattle of their (right) measure. Sixteen he offers, for cattle consist of sixteen parts: that is the measure of cattle, and he thus supplies cattle with their (right) measure. He offers no other as a final oblation 3: were he to offer another as a final oblation, he would lose
1 The formulas of the six dvipadás—i.e. (verses) consisting of two pâdas--are found Vâg. S. XXV, 46-47.
? See XII, 8, 3, 13; for a highly artificial explanation of the sixteen parts of the man Pragapati, probably intended here, X, 4, 1, 17. Elsewhere those of animals are explained as including head, neck, trunk, tail, the four legs and eight claws; see Weber, Ind. Stud. IX, p. 111, note.
This would seem to be directed against the practice of performing the oblation to Heaven and Earth immediately after the Asvastomiyâs, see p. 336, note 3.
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his support. The Dvipadás he offers last, for Dvipadâs are a support: he thus finds a support (establishes himself). With, 'To Gumbaka hail!' he offers, at the purificatory bath, the last oblation"; for Gumbaka is Varuna : by sacrifice he thus manifestly redeems himself from Varuna. He offers it on the head of a white-spotted , baldheaded (man) with protruding teeth 8 and reddish brown eyes; for that is Varuna's form : by (that) form (of his) he thus redeems himself from Varuna.
6. Having stepped out (of the water) he prepares twelve messes of cooked rice for the priests, or performs twelve ishtis. Concerning this they say,
These—to wit, ishtis-are a form of sacrifice: were he to perform ishtis, the sacrifice would be ready to incline towards him; but he would become the worse for it, for, surely, of exhausted strength now are the metres (offering formulas) of him who has performed the Soma-sacrifice ;-how could he make use of them so soon ? For when the sacrifice is complete, Våk (speech and sacred writ 4) is wholly gained, and, being gained, it now is exhausted in strength, and, as it were, wounded and mangled; but sacrifice is speech : hence he should not make use of it.'
See p. 336, note 1. '? Or, pale. Sayana, on Taitt. Br. III, 9, 15, 3, explains *sukla' by kitrin' (? having white spots, or affected with white leprosy). Harisvä min does not explain the word.
• Harisvâmin explains viklidha' by dantura,' i.e, one who has projecting teeth; whilst Sâyana, 1.c., explains it by either "given to perspiring (svedanasilasarfra),' or 'moist-bodied (? leprous, or, old, in bodily decay, viklinnadeha).'
• Cf. V, 5, 5, 12 that triple Veda is the thousandfold progeny of Våk.'
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7. Having stepped out (of the water) he should certainly prepare twelve messes of rice for the priests; for cooked rice is Pragå pati, and Pragapati is the year, Pragâ pati is the sacrifice: it is the year, the sacrifice, he thus gains, and the sacrifice becomes ready to incline towards him, and he does not become the worse for it.
SEVENTH BRAHMANA. 1. Verily, this is the sacrifice called Strengthful : wherever they worship with this sacrifice, everything indeed becomes strong.
2. Verily, this is the sacrifice called Plenteous : wherever they worship with this sacrifice, everything indeed becomes plentiful.
3. Verily, this is the sacrifice called Obtainment: wherever they worship with this sacrifice, everything indeed becomes obtained.
4. Verily, this is the sacrifice called Distinction: wherever they worship with this sacrifice, everything indeed becomes distinct'.
5. Verily, this is the sacrifice called Severance : wherever they worship with this sacrifice, everything indeed becomes severed.
6. Verily, this is the sacrifice called Foodabounding: wherever they worship with this sacrifice, everything indeed becomes abounding in food.
7. Verily, this is the sacrifice called Sapful :
"Svakarmagu bhâgena sthapitam (? confined respectively to its own functions), comm.
• Harisvâmin supplies 'akâryebhyah'-is kept away from what it is forbidden to do, or from what is not one's business.
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wherever they worship with this sacrifice, everything indeed becomes rich in sap (or drink).
8. Verily, this is the sacrifice called Abounding in holiness : wherever they worship with this sacrifice, the Brâhmana is born as one rich in holiness.
9. Verily, this is the sacrifice called Excelling in hitting: wherever they worship with this sacrifice, the Râganya is born as one excelling in hitting (the mark).
10. Verily, this is the sacrifice called the Long (wide) one: wherever they worship with this sacrifice, a wide tract of forest-land will be provided.
11. Verily, this is the sacrifice called Fitness : wherever they worship with this sacrifice, everything indeed becomes fit and proper.
12. Verily, this is the sacrifice called Support (foundation): wherever they worship with this sacrifice, everything indeed becomes supported (firmly established).
Eighth BRÂHMANA.
EXPIATORY OFFERINGS 1. Now, then, of the expiations. If the sacrificial horse were to couple with a mare, let him in addition prepare a milk (oblation) to Vayu;—Vậyu doubtless is the transformer of seeds, for Vayu (the wind) is the vital air, and the vital air is the transformer
"That is, as would seem, either as a protection from neighbouring countries, or as room for spreading, and as pasture-land. Cf., however, XIII, 2-4, 2, 4, where, as in Ait. Br. III, 44; VI, 23,. such a belt of jungle is referred to as a source of danger to the inhabitants of a country.
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of seeds: by means of seed he thus puts seed into it.
2. And if disease were to befal it, let him in addition prepare a pap to Pashan, for Pashan rules over beasts (cattle); and, indeed, he thereby gratifies him who owns cattle and rules over cattle; and it (the horse) thereby indeed becomes free from disease.
3. And if sickness without (visible) injury were to befal it, let him in addition prepare for (Agni) Vaisvanara a cake on twelve potsherds, with the earth serving for potsherds 2; for Vaisvånara is this (earth): he thereby gratifies this (earth), and it (the horse) becomes free from disease.
4. And if an eye-disease were to befal it, let him in addition prepare a pap to Surya ;—the Sun, doubtless, is the eye of creatures, for when he rises everything here moves: by means of the eye (of the world) he thus bestows the eye upon it. And as to why it is a pap (karu), it is because by means of the eye this self (body or mind) moves (kar).
5. And if it were to die in water, let him in addition prepare a barley pap to Varuna, for Varuna seizes him who dies in water: he thereby thus gratifies that very deity who seizes it, and, thus gratified, he approves his slaughtering another (horse), and he slaughters it as one approved by that (deity). And as to why it is (prepared) of barley, it is because barley belongs to Varuna.
6. And if it were to get lost, let him in addition
i Viz, such as fever, comm.
* That is, spreading them on the earth, or on clods of earth, comm.
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perform an ishi with three sacrificial dishes-a cake on one potsherd for Heaven and Earth, a milk (oblation) for Vayu, and a pap for Surya;-for whatsoever is lost, is lost within heaven and earth; and the wind blows upon it, and the sun shines upon it; and nothing whatever is lost out of (the reach of) these deities. And even by itself1 this (ishti) is the recoverer of what is lost; and even if any other thing of his were to get lost let him perform this very offering, and he verily finds it. And if enemies were to obtain the horse, or if it were to die (either in any other way) or in water 2, let them bring another (horse) and consecrate it by sprinkling: this, indeed, is the expiation in that
case.
FOURTH ADHYAYA. FIRST BRAHMANA.
1. Pragâpati desired, 'Would that I obtained all my desires! would that I attained all attainments!' He beheld this three days' Soma-sacrifice, the Asvamedha, and took possession of it, and sacrificed with it by sacrificing therewith he obtained all his desires, and attained all attainments; and, verily, whosoever performs the Asvamedha sacrifice obtains all his desires, and attains all attainments.
2. Concerning this they say, 'In what season is the beginning (to be made)?'-'Let him begin it in summer,' say some, 'for summer is the Kshatriya's season, and truly this-to wit, the Asvamedha-is the Kshatriya's sacrifice.'
3. But let him rather begin it in spring; for
1 That is, even independently of the horse-sacrifice. 'That is to say, if it were to die by getting drowned, or in any other way.
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spring is the Brahmana's season, and truly who soever sacrifices, sacrifices after becoming, as it were, a Brâhmana: let him therefore by all means begin it in spring.
4. And six days, or seven days, before that fullmoon of Phålguna, the officiating priests meet together—to wit, the Adhvaryu, the Hotri, the Brahman, and the Udgåtri ; for under these the other priests are.
5. The Adhvaryu prepares for them a priest's mess of rice sufficient for four persons: the meaning of this has been explained. Four bowlfuls, four double handfuls, four handfuls: twelvefold this istwelve months are a year, and the year is everything, and the Asvamedha is everything—thus it is in order to his gaining and securing everything.
6. Those four priests eat it: the meaning of this has been explained. He (the Sacrificer) gives to them four thousand (cows) in order to his gaining and securing everything, for a thousand means everything, and the Asvamedha is everything. And (he gives them) four gold plates weighing a hundred (grains): the meaning of this has been explained
7. The Adhvaryu then, hanging a gold ornament (nishka) round him, makes him mutter (Våg. S. XXII, 1), 'Fire thou art, light and immortality,' — for gold, indeed, is fire, light“, and
'Or, along with these, included in them (are the assistant priests).
See XIII, 1, 1, 1; 4 (cf. II, 1, 4, 4). • XII, 7, 2, 13.
• Perhaps Mabidhara is right in taking 'suknm' here in the sense of seed' (Agner viryam); cf. II, 1, 1, 5; XIII, 1, 1, 4.
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immortality: fire (fiery mettle), light (brilliance), and immortality he thus bestows upon him ;'protector of life, protect my life!' he thereby bestows life (vital strength) upon him. With a view to commencing the sacrifice, he then says to him, 'Restrain thy speech !' for the sacrifice is speech.
8. Four (of the king's) wives are in attendancethe consecrated queen, the favourite wife, a discarded wife, and the Pâlâgalt', all of them adorned and wearing gold ornaments (neck-plates) with the view of the completeness of conjugal union. With them he enters the hall of the sacrificial fires—the Sacrificer by the eastern, the wives by the southern, door.
9. When the evening-offering has been performed, he lies down with his favourite wife behind the Gârhapatya hearth, with his head towards the north. At the same place the other (wives) also lie down. He lies in her lap without embracing her“, thinking, May 1, by this selfrestraint, reach successfully the end of the year!'
10. When the morning offering has been performed, the Adhvaryu performs a full-offering 6 with a view to his (the Sacrificer's) gaining and securing everything, for the full means everything, and the Asvamedha is everything. At this (offering) he releases speech by (bestowing) a boon,
See p. 313, note 2. . That is the evening performance of the Agnihotra. 3 Tad eva tatraiva, comm. • Sosntarorů asamvartamânah sete.
. For particulars regarding the půrnâhuti,' or oblation of a spoonful of ghee, see part i, p. 302, note 2.
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saying, 'I grant a boon to the Brahman (priest) :' (this he does) with a view to his gaining and securing everything, for a boon is everything, and the Asvamedha is everything.
11. The gold ornament which is attached to his (neck) he then gives to the Adhvaryu : in giving it to the Adhvaryu he secures to himself immortal life, for gold means immortal life.
12. For the object of (gaining) the road, and in order not to lose the mouth (mukha) of the sacrifice, he then prepares an ishti-offering to Agni. For, indeed, all the deities have Agni for their mouth, and in the Asvamedha are (contained) all objects of desire: "Having, at the outset (mukhatah), gratified all the gods, may I obtain all my desires!' so he thinks.
13. For this (offering) there are fifteen kindlingverses 2; for fifteenfold is the thunderbolt, and the thunderbolt means vigour: with the thunderbolt (of) vigour the Sacrificer thus from the first repels evil. The two butter-portions relate to the slaying of Vritra S, with a view to the repelling of evil, for
i Viz. a cake (on eight kapalas) to Agni Pathikrit, the pathmaker'-or, according to Asv. Sr. X, 6, 3, to Agni Mardhanvat ( forming the head,' so called from the formulas used containing the word 'head).' For a similar special offering to the same deity see XII, 4, 4, 1 (cf. XI, 1, 5, 5).
• See part i, p. 95 seqq. (especially I, 3, 5, 5–7).
* The two Agyabhagas, or butter-portions to Agni and Soma. are said to be . Vritra-slaying' (vârtraghna), or to relate to the slaying of Vritra, when their anuvâkyâs, or invitatory formulas, are the two verses Rig-veda VI, 16, 34 (agnir vritrâni ganghanat, May Agni slay the Vritras'), and I, 91, 5 (tvam somâsi satpatis tvam rågota vritraha, 'Thou, O Soma, art the true lord, thou art the king and the slayer of Vritra,' &c.). This is the case at the Fullmoon sacrifice, whilst at the New-moon sacrifice the two butter
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Vritra is evil. [The verses, Våg. S. XIII, 14, 15,] 'Agni, the head, the summit of the sky...!! and 'Be thou the leader of the sacrifice and the realm of space (whither thou strivest with auspicious teams: thy light-winning head hast thou raised to the sky, and thy tongue, O Agni, hast thou made the bearer of the offering),' pronounced in a low voice, are the anuvâkyâ and yâgyâ of the chief oblation. The one contains (the word) .head,' the other (the verb)
to be,'--for the head, assuredly, is he that shines yonder : thus it is in order to secure him (the Sun); and as to why (the other) contains (the verb) to be,' —he thereby secures that which is the real, truly existent). The Samyâgyâs? are two virágverses 3; for that-to wit, the Virag—is the metre portions are said to be 'vridhanvant,' or relating to growth,' because the anuvâkyâs used on that occasion are two verses containing forms of the root vridh, 'to grow,' viz. VIII, 44, 12 (agnih pratnena manmana ... kavir viprena vâvridhe, Agni has grown strong by the old hymn,-as the wise one by the priest') and I, 91, II (Soma girbhish två vayam vardhayamo vakovidah ...,
O Soma, we magnify thee (make thee grow) by our songs, skilful in speech'). In the same way the one or the other form is used in different ishtis. At I, 6, 2, 12, the translation, the two butterportions should be offered to the Vritra-slayer (Indra)' should therefore be altered to the two butter-portions relate to the slaying of Vritra' (or, are Vritra-slaying ').
See VII, 4, 1, 41. · That is, the two formulas used with the oblation to Agni Svishtakrit.
: Whilst the normal performance of an ishti requires two trishtubh-verses (Rig-veda X, 2, 1; VI, 15, 14; cf. part i, p. 202, notes 2 and 3) for the invitatory and offering formulas of the oblations to Agni Svishtakrit, two virág-verses are frequently prescribed, certain verses of the Virág-hymn Rig-veda VII, 1, being chiefly used for this purpose; e. g. v. 3 as the anuvákya, and v. 18 as the yagya for the Svishtakrit of the oblation to Aditi at the
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belonging to all the gods, and all objects of desire are (contained) in the Asvamedha : 'Having gratified all the gods, may I obtain all my desires!' so he thinks. The sacrificial fee is gold weighing a hundred (grains): the meaning of this has been explained.
14. He then prepares a (pap) for Pashan, for Pashan is the overlord of roads: he thus secures successful progress to the horse. But Pashan is also this earth): he thus makes this (earth) its guardian, for neither injury nor failure befals him whom this (earth) guards on the way; and this (earth) he thus makes its guardian.
15. For this offering) there are seventeen kindling-verses', for the obtainment of the Asvamedha, for Pragapati is seventeenfold, and the Asvamedha is Pragâpati. The two butter-portions are possessed of 'growth ?,' even for the growth of the Sacrificer. [The verses, Våg. S. XXXIV, 41, 42,] Pashan, in thy sway we [shall never suffer harm, we (who) here are singers of thy praises],' and 'The hymn (?) lovingly composed by desire of praise hath reached - ---------
--- --- --- Âdhâna (see part i, p. 307, note 3), and the Dikshaniyeshdi; and v. 14, 15 as yagya and anuvâkyå of the Svishtakrit of the Prâyanîyeshti. It is doubtless the two former verses, commonly employed at special ishhis (cf. part i, p. 164, note 3), which are to be used on the present occasion.
See part i, p. 112, note 1. 9 That is, they are performed with two invitatory formulas containing the verb 'to grow, see p. 350, note 3. Whilst our Brahmana thus prescribes the two invitatory formulas used for the butter-portions of the New-moon sacrifice, Asvalâyana (Sr. X, 6,6) prescribes two verses containing the verb 'as' (or 'bha'), viz. Rig-veda V, 13, 4, tvam agne sapratha asi; and I, 91, 9, soma yas te mayobbuva atayah santi dâsushe tábhir nosvita bhava
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the guardian of every path: (may he, Pashan, grant unto us draughts of light (?), and fulfil our every prayer !'), pronounced in a low voice, are the anuvâkyâ and yâgyâ of the chief oblation. The one contains (the word) 'sway,' the other (the word) 'path'; for sway is vigour: (thus it is) in order to his gaining and securing vigour; and as to why (the other) contains (the word) 'path' he thereby secures successful progress to the horse. The invitatory and offering formulas of the Svishtakrit are two anushtubh verses ?; for the Anushtubh is speech, and Pragâ pati is speech, and the Asvamedha is Pragâ pati : thus it is for the obtainment of the Asvamedha. The priests' fee consists of a hundred garments, for that—to wit, the garmentis man's outward appearance, whence people (on seeing) any well-clad man, ask, “Who can this be?' for he is perfect in his outward appearance: with outward appearance he thus endows him. There are a hundred of them, for man has a life of a hundred (years), and a hundred energies : life, and energy, vigour, he thus gains for himself.
SECOND BRAHMANA. 1. Whilst this (offering to Pashan) is being performed, the horse, having been cleansed, is led upbeing one which is marked with all colours, or which is perfect in speed, worth a thousand (cows), in its prime, and without its match under the right-side yoke.
1 Viz. according 10 Âsv. Sr. X, 6, 7,-Rig-veda I, 45, 6 (tvam kitrasravastama) and V, 25, 7 (yad vâsishtham yad agnaye). * Thus Harisvâmin,—'anyebhyo dakshinadhuryebhya utkrish
A a
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2. And as to its being one marked with all colours, it is for the sake of his (the Sacrificer's) obtaining and securing everything, for colour (outward appearance) is everything, and the Asvamedha is everything. And as to its being perfect in speed, it is for the sake of his obtaining and securing vigour, for speed is vigour. And as to its being worth a thousand (cows), it is for the sake of his obtaining and securing everything, for a thousand means everything, and the Asvamedha is every thing. And as to its being in its prime, it is for the sake of his obtaining unlimited vigour, for such a one that is in the prime (of youth) increases to unlimited vigour. And as to its being without its match under the right-side yoke, it is for the sake of his obtaining yonder (sun), for that (horse) indeed is he that shines yonder, and assuredly there is no one to rival him.
3. As to this, Bhållaveya, however, said, 'That horse should be of two colours, black-spotted ', for that (horse) was produced from Pragâpati's eye, and this eye is of two colours, white and black; he thus endows it with its own colour.'
4. But Satyayag ñi said, 'That horse should be of three colours, its forepart black, its hindpart white, with a wain for its mark in front;-when its forepart is black it is the same as this black of the eye; and when its hindpart is white it is the same as this white of the eye; and when it has a wain for its mark in front, that is the pupil : such
tah;' hardly one which finds no (worthy) yoke-fellow' (St. Petersb. Dict.).
1 Or, black with some other colour.
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Whichever
a one, indeed, is perfect in colour'.' of these, then, should be ready at hand, either a many-coloured one, or one of two colours, or one of three colours with a wain for its mark, let him slaughter it but in speed it should certainly be perfect.
5. In front (of the sacrificial ground) there are those keepers of it ready at hand,-to wit, a hundred royal princes, clad in armour; a hundred warriors armed with swords; a hundred sons of heralds and headmen, bearing quivers filled with arrows; and a hundred sons of attendants and charioteers, bearing staves; and a hundred exhausted, worn out horses amongst which, having let loose that (sacrificial horse), they guard it.
6. He then prepares an (ishti) offering to Savitri3 -a cake on twelve potsherds to Savitri Prasavitri-thinking, 'May Savitri impel this my sacrifice!' for Savitri (the sun), indeed, is the impeller (prasavitri).
7. For this (offering) there are fifteen kindling
1 One would expect an 'iti' here.
Or, furnished with bundles of arrows,-ishuparshinah, for which Kâty. XX, 2, 11, has 'kalâpinah' (=sarâvapanabhastrâvantah schol.). Harisvâmin explains it as if it were equivalent to 'ishuvarshinah,' 'showering arrows.'
Harisvâmin takes 'kshâttra' as the body of revenue-officers (tax-gatherers, &c.), 'âyavyayâdhyakshasamûhah.'
That is, according to Harisvâmin, over twenty-four years old; his explanation being based on the etymology of 'nirashfam' as 'outside the eight' (viz. characteristics of age in horses, each of which is supposed to hold good for three years).
The three ishás to Savitri, treated of in paragraphs 6-17, as well as the proceedings subsequent thereto, are repeated every day during the twelvemonth during which the sacred horse is allowed to roam about.
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verses; and the two butter-portions relate to the slaying of Vritra". [The verses, Rig-veda V, 82,9; VII, 45, 1], 'He who calleth forth all these beings (with his call, may he, Savitri, quicken us)!' and `May the divine Savitri come hither, treasure-laden, (filling the air whilst driving with his steeds; holding in his hand many things meet for man; and laying to rest and awakening the world),' pronounced in a low voice, are the invitatory and offering formulas of the chief oblation. Those of the Svishtakrit are two virág-verses. The priests' fee is gold weighing a hundred (grains): the meaning of this has been explained.
8. Whilst the fore-offerings of this (ishti) are being performed, a Brâhman lute-player, striking up the uttaramandrà (tune *), sings three strophes composed by himself (on topics * such as), Such a sacrifice he offered, -Such gifts he gave :' the meaning of this has been explained.
9. He then prepares a second (offering)--a cake on twelve potsherds to Savitri Åsavitri-thinking, ‘May Savitri propel this my sacrifice!' for Savitri, indeed, is the propeller (åsavitri).
1 See p. 350, note 3.
See p. 351, note 3. Or, touching the uttaramandrá lute, - literally, the upper deep' one, i.e. perhaps one the chords of which are pitched in the upper notes of the lower key. Cf. Scholl. on Kâty. XX, 2, 8 uttaramandra ka gâyanaprasiddhå; - uttaramandra-samgitayam vinâyâm. Harisvâmin does not explain the term.
• Taitt. Br. III, 9, 14, 3 mentions three topics—one for each stanza, ---viz. 'thus (such and such gifts) thou gavest, thus (by such and such sacrifices) thou didst sacrifice, thus thou didst cook (i.e. with such and such food thou didst regale the priests).'
6 See XIII, 1, 5, 6.
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10. For this (offering) there are seventeen kindling-verses; and the two butter-portions are possessed of that which is?: the (truly) existent he thereby obtains. [The verses, Rig-veda V, 82, 5; VII, 45, 3,] 'All troubles, o divine Savitri, (keep from us, do thou send us that which is good)!' and 'May that mighty god Savitri (the lord of treasure, send us treasure; shedding wide-spread lustre, may he bestow upon us the joys of mortal life)!' pronounced in a low voice, are the invitatory and offering formulas of the chief oblation. Those of the Svishtakrit are two anushtubh verses %Silver is the priests' fee,--for the sake of variety of colour, and also for the sake of the horse's) going outside and not going away. It weighs a hundred (grains), for man has a life of a hundred (years), and a hundred energies : it is life, and energy, vigour, he thus secures for himself.
11. Whilst the fore-offerings of this (ishti) are being performed, a Brahman lute-player, striking up the uttaramandrå (tune), sings three strophes composed by himself (on topics such as), 'Such a sacrifice he offered,-Such gifts he gave :' the meaning of this has been explained.
12. He then prepares a third (offering)—a cake
That is, their anuvákyâs contain forms of the root as' (or 'bha'), to be; cf. p. 352, note 2. . See XIII, 4, 1, 15, p. 353, note 1.
Viz. going outside the sacrificial ground, and yet not running away from its keepers,—this, according to the text, would be symbolically expressed by the gold (which was given as the priests’ fee for the first offering) giving place to silver at the second offering, but coming in again at the third.
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on twelve potsherds to Savitri Satyaprasava (of true impulse'); for that, indeed, is the true impulse which is Savitri's: 'May he impel with true impulse this my sacrifice!' so he thinks.
13. For this (ishti) there are again seventeen kindling-verses. The two butter-portions are possessed of 'wealth ?,' with a view to his obtaining and securing vigour, for wealth is vigour (strength). (The verses, Rig-veda V, 82, 7; IV, 54, 4,] The all-divine, true lord (we hope to gain this day by our hymns, Savitri of true impulsion),' and 'Indestructible is that (work) of the divine Savitri, (that he will ever sustain the whole world: whatever he, the fair-fingered, bringeth forth over the extent of the earth and the expanse of the sky, that is truly his own,' pronounced in a low voice, are the invitatory and offering formulas of the chief offering. Those of the Svishtakrit (he makes) the regular ones ?, thinking, 'Lest I should depart from the path of sacrifice :' he thus finally establishes himself in the well-ordered sacrifice. Trishtubhverses they are for the sake of his gaining and securing (Indra's) energy, vigour, for the Trishtubh is the vigour in Indra. The priests' fee is gold weighing a hundred (grains): the meaning of this has been explained s.
14. Whilst the fore-offerings of this (ishti) are
· That is, their invitatory formulas contain the word rayi' (wealth). What particular verses are intended here, I do not know.
Viz. the trishtubb-verses Rig-veda X, 2, 1; VI, 15, 14; see p. 351, note 3
. XII, 7, 2, 13.
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being performed, a Brâhman lute-player, striking up the uttaramandra (tune), sings three strophes composed by himself (on topics such as), 'Such a sacrifice he offered,Such gifts he gave :' the meaning of this has been explained.
15. When this (offering) is completed, the Adhvaryu and the Sacrificer rise, and whisper in the horse's right ear (Vág. S. XXII, 19), ' Plenteous by thy mother, strengthful by thy father ...!' the meaning of this has been explained'. They then set it free towards the north-east, for that, to wit, the north-east-is the region of both gods and men: they thus consign it to its own region, in order to its suffering no injury, for one who is established in his own home suffers no injury.
16. He says, 'Oye gods, guardians of the regions, guard ye this horse, consecrated for offering unto the gods!' The (four kinds of) human guardians of the (four) regions have been told, and these now are the divine ones, to wit, the Åpyas, Sadhyas, Anvadhyas 2 and Maruts; and both of these, gods and men, of one mind, guard it for a year without turning (driving) it back. The reason why they do not turn it back, is that it is he that shines yonder,--and who, forsooth, is able to turn him back? But were they to turn it back, everything here assuredly would go backward (go to ruin): therefore they guard it without turning it back.
17. He says, 'Ye guardians of the quarters, those who go on to the end of this (horse-sacrifice) will
· See XIII, 1, 6, 1 seqq., 3, 7. 1-2 seqq. : On these divine beings see Weber, Ind. Stud. IX, p. 6, note.
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become (sharers of) the royal power, they will become kings worthy of being consecrated; but those who do not go on to the end of this (sacrifice) will be excluded from royal power, they will not become kings, but nobles and peasants, unworthy of being consecrated : do not ye therefore be heedless, and keep it (the horse) from water suitable for bathing and from mares! And whenever ye meet with any kind of Brahmanas, ask ye them, “O Brahmanas, how much know ye of the Asvamedha ?” and those who know naught thereof ye may despoil; for the Asvamedha is everything, and he who, whilst being a Brâhmana, knows naught of the Asvamedha, knows naught of anything, he is not a Brâhmana, and as such liable to be despoiled. Ye shall give it drink, and throw down fodder for it; and whatever prepared food there is in the country all that shall be prepared for you. Your abode shall be in the house of a carpenter of these (sacrificers'), for there is the horse's restingplace.
THIRD BRAHMANA. 1. Having set free the horse, he (the Adhvaryu) spreads a cushion wrought of gold (threads) south of the Vedi : thereon the Hotri seats himself. On the right (south) of the Hotri, the Sacrificer on a gold stool® ; on the right of him, the Brahman
* Thus Harisvâmin,--tesham ka yagamânânâm madhye rathakaro yas tasya grihe yushmakam vasatah. The plural is probably meant as including the subjects of the king (cf. XI, 8, 4, 1), and the villages within reach of which the horse will roam.
? At XI, 5, 3, 4; y 'kärka' seems to mean a bunch or pad of grass, used as a seat. In the present instance it is explained as
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and Udgâtri on cushions wrought of gold; in front of them, with his face to the west, the Adhvaryu on a gold stool, or a slab of gold.
2. When they are seated together, the Adhvaryu calls upon (the Hotri), saying, 'Hotri, recount the beings: raise thou this Sacrificer above the beings 1!' Thus called upon, the Hotri, being about to tell the Pâriplava Legend, addresses (the Adhvaryu), 'Adhvaryu!'-'Havai hotar!' replies the Adh
varyu.
3. 'King Manu Vaivasvata,' he says;-'his people are Men, and they are staying here;'
a seat with feet (sapâdam âsanam, ⚫ or as a seat or stool which has the kûrkåkriti, ? i.e. with a pad on it). 10 the king is surrounded by his sons and ministers.
Schol. on Kâty. XX, 2, 19), appearance of a pad (pitham According to Asv. Sr. X, 6,
'Or, perhaps, 'raise this Sacrificer above (or, up to) the things of the past;' but see paragraph 15.
* That is, the 'revolving, recurrent, or cyclic legend,' so called because it is renewed every ten days during the year.
• Harisvâmin explains this interjection, as if it were 'hvayai'= pratihvayai, 'I will respond, I am ready to respond;' and, though this is probably a fanciful explanation, the arrangements made on this occasion are clearly such as to suggest a studied resemblance to the call and counter-call of the two priests on all occasions of a solemn utterance of sacrificial formulas, or the recitation of hymns, as at the Prâtaranuvâka (part ii, p. 226 seqq.). Kâty. XX, 3, 2, accordingly, calls it the Adhvaryu's 'pratigara,' or response. Âsv. Sr. X, 6, 13 makes the Adhvaryu's answer 'ho hotar'; and Sankh. Sr. XVI, 1 'hoyi hotar.'
The Hotri's utterances on the ten days of the revolving period (as set forth in passages 2-14) occur also, with some variations of detail, in the manuals defining the Hotri's duties, viz. the Âsvalâyana (X, 7) and Sankhâyana (XVI, a) Sutras (whilst the works of the Taittiriyakas seem to have nothing corresponding to this performance). Both Sûtras omit 'râgâ' each time. Asvalâyana, moreover, omits also the 'iti' along with it, because he does not interrupt the formula by an insertion, as is done here (ity âha)
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householders, unlearned in the scriptures, have come thither 1: it is these he instructs ;—The Rik (verses) are the Veda': this it is ;' thus saying, let him go over a hymn of the Rik, as if reciting its Masters of lute-players have come
and in the Sânkh. S. (iti prathame, &c.). Gârgya Narayana, on Asv. X, 7, 1, takes the opening words 'prathame (&c.) shani' to form part of the formulas :-'on the first day Manu Vaivasvata (is king); but it is clear from the other two authorities that this cannot have been intended by the author of that Sätra.—The commentator on Sânkh. S. XVI, 2 remarks, Manur Vaivasvato râgety-evam-âdikam akhyanam pariplavák hyam prathamâhany âkashte ... tasya rågño manushyâ visah pragas ta ima ásate sdyâpi svadharman na kalanti,' thus apparently taking 'rågå' to form part of the formula, or rather of the topic of which the legend to be recited was to treat. This commentary thus apparently assumes that the legend begins with Manur Vaivasvato ragâ '; and that the subsequent clause leads on to the recitation of the Vedic text that is to follow (cf. note on paragraph 8);—though possibly this latter clause (as Professor M. Müller seems to take it) may only be an argumentative one, giving the reason why the householders are to be instructed. Cf. M. Müller, Hist. of Anc. Sansk. Lit., p. 37 seqq.
1. Householders should be brought thither' (i.e. should be made to join this performance); Âsv.-sätra. Sankh. has merely thereby he instructs householders.' Grihamedhinah are those who regularly perform the five great domestic sacrifices (mahayagña).
Or, more closely, the Veda is the, or consists of, Rik (verses). Sänkh. S. reads "riko vedah' (the Veda of the Rik, gen. sing.) instead of 'rikah' (nom. pl.), and in the subsequent paragraph also, it repeats the word 'veda' (Yagurveda, Atharvaveda, Angiraso vedas).
: That is, as would seem, -as if he were to recite it (or, as when he recites it) in the course of the ordinary sacrificial performance-as in Sastras, the Prâtaranuvâka, &c. The text would, however, also admit of the translation-thus saying, let him go over (the legend) as if he were reciting a hymn of the Rik,' but it is not quite easy to see how a similar interpretation would suit subsequent paragraphs (11-14). Moreover, both Âsv. and Sankh. omit vyåkakshåna iti,' and read .nigadet,' 'let bim recite (a hymn),'
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4. Having called (on the masters of lute-players), the Adhvaryu performs the Prakrama oblations, either on the southern fire, or on a footprint of the horse, after drawing lines round it-whichever is the practice there; but the former is the established rule.
instead of 'anudravet (let him run, or go, over=anupûrvam ukkârayet, Harisv.). Yet, the commentary on Sânkh. supplies the 'iva,' explaining as he does, 'sûktam kimkid âkakshâna ivânuvadet;' from which (if it is not simply quoted from our Brahmana) it would almost seem as if he, too, thought of the legend rather than a hymn of the Rik. The verb 'vyâ-kaksh,' as against 'ni-gad,' seems to imply a clear articulation-perhaps even with all the stops or pauses, at the end of every half-verse, or pâda, as the case might be. Sâyana (on Taitt. Br. II, 2, 1, 4; 2, 6) explains 'vyâkakshita' by 'vispashtam ukkârayet (or, pathet).' The available MS. of Harisvâmin's commentary on our text is, as usual, incorrect, but as far as it goes, it seems to favour the recitation of the legend at this place,-vyâkakshâna iti vâkyasas kidan (r. khindan) agais kâbhidad (?) ity arthah,'-which I take to mean that he is to pause after each sentence, as he would do when reciting a hymn.
'That is, according to Harisvâmin,-'Compare this Sacrificer in song with the old righteous kings.' Kâty. XX, 3, 8 refers to these latter as 'râgarshis,' or royal sages-in which case the recitation of the legend itself would only come in here.
For the formulas used with this series of forty-nine oblations, see XIII, 1, 3, 5 with notes thereon.
That is to say, according to Harisvâmin, the course of procedure laid down in XIII, 1, 3, 7, according to which these oblations are to be made on the Âhavanfya, and not either on the southern fire, or on a footprint of the horse.
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5. Prior to the (first) offering to Savitri he offers, once only, the (oblations relating to the) Forms in the Åhavanfya fire, whilst going rapidly over (the formulas). And in the evening, whilst the Dhritis (oblations for the safe keeping of the horse) are being offered, a Râganya lute-player, striking up the uttaramandrå (tune) south (of the vedi), sings three stanzas composed by himself (on topics such as),
Such war he waged, -Such battle he won :' the meaning of this has been explained.
6. And on the morrow, the second day, after those (three) offerings to Savitri have been performed in the same way, there is that same course
That is to say, the Prakramas which are only performed on the first day of the year, whilst the three oblations to Savitri are repeated each day.
* See XIII, 1, 4, 3; 6, 2. These oblations are made just prior to the evening performance of the Agnihotra, when the Ahavaniya has been got ready for the latter. The Taittirîyakas seem to make these four oblations on the horse's feet at the place where the keepers pass the night (viz. the carpenter's house) during the greater part of the year; and only in the last month, when a stable of Asvattha wood has been put up for the horse near (or on) the offering-ground, these oblations take place on the Ahavaniya. See comm. on Taitt. Br. III, 8, 12 (p. 609; cp. p. 700). , At III, 9, 14 (p. 703), on the other hand, it is stated that the Råganya's singing is to take place in the evening at the time of the Doriti-homas.
Taitt. Br. III, 9, 14, 4, again mentions three topics, one for each stanza-viz. 'thus (i. e. in the same way as Pritha, Bharata, Bhagiratha, Yudhishthira &c., comm.) didst thou overpower (the enemies), thus (i. e. surrounded by heroic warriors, fighting on elephants, steeds, chariots, and on foot, with bows and arrows, spears, swords, &c.) didst thou battle, thus didst thou fight such and such batule (i.e. like Yudhishthira, Dushyanta, &c., having engaged in a battle attended by thousands of great heroes, thou, armed only with thy sbarp sword, didst slay the king of Kashmir, Magadha, Pundra, &c., comm.).'
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of procedure. ‘Adhvaryu!' he (the Hotri) says. — Havai hotar!' replies the Adhvaryu.— King Yama Vaivasvata", he (the Hotri) says, “his people are the Fathers, and they are staying here; '-old men have come thither: it is these he instructs ;— The Yagus-formulas are the Veda : this it is;' thus saying, let him go over a chapter (anuvâka) of the Yagus , as if reciting it. The Adhvaryu calls in the same way (on the masters of lute-players), but does not perform the Prakrama oblations.
7. And on the third day, after those (three) offerings have been performed in the same way, there is that same course of procedure. 'Adhvaryu!' he (the Hotri) says.— Havai hotar!' replies the Adhvaryu.—King Varuna Aditya,' he says ; 'his people are the Gandharvas, and they are staying here; '-handsome youths have come thither : it is these he instructs;— The Atharvans are the Veda: this it is;' thus saying, let him go over one section (parvan) of the Atharvans, as if reciting
When the comm. on Sånkh. S. remarks, Yamo Vaivasvato râgety aheti divitiya evâhani Satapathe darsanât,' this would seem to refer to the addition of either 'raga,' or 'ahani,' but not to any legend of Y. V., since such a one does not occur in this work; though various passages in the Rik might no doubt have sufficed to construct some such legend as would have served on this occasion.
* The same commentator refers to the Âsvamedhika' as the section to be recited, -prakaranát,' because of the treatment (therein of this subject).
Instead of 'atharvanam ekam parva,' the Sânkh. S. has 'bheshagam (medicine),' which the commentator—against the opinion of those who take it to mean the hymn Rig-veda X, 97 (treating of the magic powers of herbs) makes a special work of the Atharvanikas; whilst the Âsv. S. reads ' yad bheshagam nisântam
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it. The Adhvaryu calls in the same way (on the masters of lute-players), but does not perform the Prakrama oblations.
8. And on the fourth day, after those (three) offerings have been performed in the same way, there is the same course of procedure. 'Adhvaryu!' he (the Hotri) says.-—Havai hotar!' replies the Adhvaryu.—King Soma Vaishnava?,' he says;
his people are the Apsaras, and they are staying here;'-handsome maidens have come thither : it is these he instructs ? ;—The Angiras are the Veda : this it is ;' thus saying, let him go over one section of the Angiras , as if reciting it. The Adhvaryu calls in the same way (on the masters of luteplayers), but does not perform the Prakrama oblations.
9. And on the fifth day, after those (three) offerings have been performed in the same way, there is the same course of procedure. ‘Adhvaryu!' he (the Hotri) says.—Havai hotar!' replies the
syât tan nigadet '— let him tell some approved medicine (i. e. some specific, or charm against disease).'
1 The comm. on Sânkh. S. remarks, Somo Vaishnava iti katurthe; Somo Vaishnavo râgeti Satapathasruteh; pratikagrahanâny etâni.' This seems to show clearly that he takes this as merely the opening words of the legend. Here, again, his words can hardly be taken to refer to a legend regarding Soma in the Satapatha-Brahmana.
3.Yuvatîh sobhanâ upadisati, tasyaitah (? tasyaitâbhyak) sabbayam anyâsâm apravesåt,' comm. on Sânkh. S., because no other (Apsaras) but these come to his court.
* The Sânkh. S. has let him recite the Ghora'-which the commentator again takes to be the title of a special work of the Atharvans—whilst the Asv. S. reads let him recite some approved ghora (magic spell or operation).'
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Adhvaryu.—King Arbuda Kadraveyal' he says; "his people are the Snakes, and they are staying here;'—both snakes and snake-charmers ? have come thither : it is these he instructs ;-'The Sarpavidya (science of snakes) is the Veda: this it is;' thus saying, let him go over one section of the Sarpavidya 8 as if reciting it. The Adhvaryu calls in the same way (on the masters of luteplayers), but does not perform the Prakrama oblations.
10. And on the sixth day, after those three) offerings have been performed in the same way, there is the same course of procedure. ‘Adhvaryu!' he (the Hotri) says.—Havai hotar!' replies the Adhvaryu.—King Kubera Vaisravana,' he says; his people are the Rakshas, and they are staying here;'-evil-doers, robbers “, have come thither : it
1. Arbudah Kadraveyo râgety aheti sruteh (thus also on the name of the next king),' comm. on Sânkh. S.
· Lit. '(men) knowing about snakes '-which the comm. on Âsv. S. explains by those knowing the Kâsyapiya and other treatises (tantra) on venoms.' Instead of the conjunctive double .ka,' the Sankh.S. has a single 'va'-the snakes, or (rather) snake-charmersand Âsv. S. an explanatory 'iti'—the snakes, i.e. snake-charmers.
The Sånkh. S. has, let him recite the Sarpavidya' (i. e. either the Gårudà or Kankanfyà sarpavidya, as the comm. explains); the Asv. S. let him recite the Visbavidya (science of venoms).'
• The etymology and exact meaning of selaga' is doubtful :here, again, whilst 'pâpakritah' is added either appositionally, or attributively (wicked selagas), the Sänkh. S. adds it by means of va,' and the Åsv. S. by 'iti'-both apparently meant in an explanatory sense. The Ait. Br., on the other hand, has VII, 1, selagå vå påpakrito vâ;' and VIII, 11, 'nishådå vå selagå vå påpakrito vâ.' The comm. on Åsv. S. explains selaga' by 'maddened by a snake ;' the comm. on Sänkh. S. by selagåh senyågåyanyah(?) papakito và mlesâu.”
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is these he instructs ;—The Devaga navid ya' (demonology) is the Veda: this it is ;' thus saying, let him go over one section of the Devaganavidya, as if he were reciting it. The Adhvaryu calls in the same way (on the masters of lute-players), but does not perform the Prakrama oblations.
11. And on the seventh day, after those (three) offerings have been performed in the same way, there is the same course of procedure. 'Adhvaryu!' he (the Hotri) says. — Havai hotar!' replies the Adhvaryu.— King Asita Dhânva?,' he says; 'his people are the Asura; and they are staying here; '-usurers have come thither: it is these he instructs ;-Magicis the Veda: this it is;' thus saying, let him perform some magic trick. The Adhvaryu calls in the same way (on the masters of lute-players), but does not perform the Prakrama oblations.
12. And on the eighth day, after those (three) offerings have been performed in the same way, there is the same course of procedure. 'Adhvaryu!' he (the Hotri) says.—' Havai hotar!' replies the
That is, the science, or knowledge of the divine (or supernatural) beings. The Sänkh. S. has, 'the Rakshovidya is the Veda, ... let him recite the Rakshovidya'-on which the commentator remarks
prasiddhaiva kuhukurūpå rakshovidyeti.' (?='kubakarûpa,' cheats, or deceitful imps). Asv. S. has yat kimkit pisikasamyuktan nisántam,'' some approved (spell or operation ?) connected with the Pisakas, or demons.'
. Sankh. S. has Asita Dhânvana.'
- The two Sotras read Asuravidyâ ' -asuravidyendragáladina tannirdesân mâyâm api kâmkit kuryâd angulingåsarûpåm ('a trick by sleight of hand,' M. Maller), comm. on Sânkh. S. On indragålavidyâ' ('magic art, trickery'), cf. Dasakum., p. 25, I. 12. The association of the black art with the usurer or money-lender (kusidin) is rather curious.
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Adhvaryu.—King Matsya Sammada ",' he says ;
his people are the water-dwellers, and they are staying here;'—both fish and fishermen ? have come thither : it is these he instructs;—'the Itihasa 8 is the Veda: this it is;' thus saying, let him tell somę Itihasa. The Adhvaryu calls in the same way (on the masters of lute-players), but does not perform the Prakrama oblations.
13. And on the ninth day, after those (three) offerings have been performed in the same way, there is the same course of procedure. 'Adhvaryu!' he (the Hotri) says.—' Havai hotar!' replies the Adhvaryu.—King Târkshya Vaipasyata *;' he says; "his people are the Birds, and they are staying here;'-both birds and bird-catchers have come thither : it is these he instructs ;-' the Puranais the Veda: this it is;' thus saying, let him tell some Purana. The Adhvaryu calls
1 Matsyah Sammada ity ashtame, Matsyah Sâmmado râgeti sruteh pratîkagrahanam etat,' comm. on Sankh. S.
9. Gatisambandhena matsyavido va, mainikan påthinâ diviseshavi. kalpân vidanti ye tân vå,' comm. on Sânkh. S.
8 Regarding the Itihasa (cosmogonic account) and Purana (ancient legend), see p. 98, note 4. The Âsv. S. connects the Itihasa with the ninth, and the Purâna with the eighth day. Itibâsam & kakshita, itihåsavedasya prihagbhävena darsanât, comm. on Sankh. S.
• Âsv. S. has Tárkshya Vaipaskita. Tärkshyo Vaipasyalo rágety kheti pratika(m) sruteh, comm. on Sânkh. S.
o Lit., men acquainted with the science of birds (vâyovidyika). The two Satras, on the other hand, here identify the birds with brahmakarinah,' or religious students.
According to the comm. on Sankh. S., it is the Vayupurâna (puranam vâyuproktam) that is to be recited (from), and not the hymn Rigveda X, 130 ( tasya vedaikadesatvât '). This hymn is probably referred to in this connection chiefly on account of the passage yagħe gâte purâne' in verse 6. [44]
Bb
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in the same way (on the masters of lute-players), but does not perform the Prakrama oblations.
14. And on the tenth day, after those (three) offerings have been performed in the same way, there is the same course of procedure. 'Adhvaryu! he (the Hotri) says._' Havai hotar!' replies the Adhvaryu.— King Dharma Indra!,' he says, 'his people are the Gods, and they are staying here;'learned srotriyas (theologians), accepting no gifts , have come thither : it is these he instructs; "the Saman (chant-texts) are the Veda: this it is;' thus saying, let him repeat: a decade of the Såman. The Adhvaryu calls in the same way (on the masters of lute-players), but does not perform the Prakrama oblations.
15. [In telling] this revolving (legend), he tells all royalties, all regions, all Vedas, all gods, all beings; and, verily, for whomsoever the Hotri, knowing this, tells this revolving legend, or who soever even knows this, attains to fellowship and communion with these royalties, gains the sovereign rule and lordship over all people, secures for himself all the Vedas, and, by gratifying the gods, finally establishes himself on all beings. This very same legend revolves again and again for a year; and inasmuch as it revolves again and again, therefore
1 Dharma Indra iti dasame, Dharma Indro râgety âheti Satapathe pratikadarsanat,' comm. on Sånkh. S.
• The two Satras still further qualify them as 'young stotriyas who accept no gifts,' manu(shya )deva hi ta ity abhiprâyât,' comm. on Sänkh.; cp. Sat. Br. II, 2, 2, 6, 'ye brâhmarah sustuvämso snů kánås te manushyadevah.'
: The text has brûyat,' let him say;' whilst the two Satras read sâma gåyåt,' 'let him sing a Sâman' (“yat kimkid anindyam evásvámedhikam vâ prakaranåt,' comm. on Sänkh. S.).
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it is (called) the revolving (legend). For thirty-six ten-days' periods he tells it,—the Brihatt (metre) consists of thirty-six syllables, and cattle are related to the Brihati metre: by means of the Brihati he thus secures cattle for him.
FOURTH BRÂHMANA. 1. When the year has expired', the Dikshå (initiation) takes place. After the slaughtering of the victim sacred to Pragâpati ?, the (ishti) offerings : come to an end. Some, however, say, 'Let him offer (them) on the fires of his Purohita (courtchaplain). But why should one who is initiated make offering? There are twelve Dikshå (days), twelve Upasad (days) and three Sutyas (Soma-days), that amounts to the thrice-ninefold (stoma); but the thrice-ninefold, indeed, is a thunderbolt, and the horse is the nobility (kshatra), and the Råganya is the nobility; and political power (kshatra) is won by the thunderbolt : thus he wins political power by means of the thunderbolt.
2. When the Initiation-offering has been completed, and Speech released in the evening, masters
1 Viz. from the day of the setting free the horse, not from that of the mess of rice cooked for the four priests.
* That is, according to the comm., the he-goat offered to Pragapati (along with one, or five, to Väyu) in connection with the building of the fire-altar (which is required for the Asvamedha), see part iii, DD. 165 seqq., 171 segg. The building of the altar, generally occupy ing the space of a year, is apparently compressed on this occasion within the time of the Diksha and Upasads.
Viz. the three ishtis to Savitri performed daily throughout the year.
• One would expect here the middle (sprinute) instead of the active (sprinoti); cf. Delbrück, Altind. Syntax, p. 259.
Bb 2
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of lute-players have come thither: these the Adhvaryu calls upon, 'Masters of lute-players,' he says, sing ye of this Sacrificer along with the gods!' and they accordingly sing of him in that manner
(
3. Day by day, after speech has been released, when, on the completion of the Agnishomiya (animal sacrifices), the Vasativart (water) has been carried round' (the sacrificial ground). The reason why they thus sing of him along with the gods is that they thereby make him share the same world with the gods.
4. On the Sutyâ-days (they sing of him) along with Pragâpati in the same way day by day, after the Vasativart (water) has been carried round, and the Udavasânîyâ (offering) has been finally completed. The reason why they thus sing of him
1 See part ii, p. 222 seqq. Whilst there the offering of a hegoat to Agni and Soma took place on the Upavasatha, or day before the Sutyâ or Soma-day, on the present occasion these preliminary animal sacrifices would also seem to be performed on each day from the completion of the Dikshâ up to the Upavasatha day inclusive (?i.e.on the Upasad days, cf. Kâty. Sr. XX. 3, 9; 4, 21). Moreover, though technically called Agnîshomiya, the sacrifice-on the Upavasatha day, at all events (XIII, 4, 4, 11)-is not one of a single he-goat sacred to Agni and Soma, but a set of eleven victims distributed over the central eleven stakes (of which twenty-one are required on the Soma-days) in the manner explained in III, 9, I, I seqq.
That is, at the end of each of the three Soma-sacrifices, see part ii, p. 454. The Udavasânîya (completing offering) takes place before the carrying round of the sacred water (ib. p. 389 seqq.). According to Kâty. XX, 3, 10-11, however, this singing of the Sacrificer's praises along with those of Pragâpati is to take place not only at the juncture specified in the text, but also at the beginning of the animal sacrifice of the Soma-days, that is, as would seem, prior to the slaying of the victims, at the morning pressing. The wording of our text seems hardly to admit of this interpretation.
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along with Pragâpati is that they thereby finally make him share the same world with Pragàpati.
5. There are twenty-one sacrificial stakes, all of them twenty-one cubits long. The central one is of raggudala ? wood; on both sides thereof stand two 8 pitudâru (deodar) ones, six of bilva wood (Aegle Marmelos)—three on this side, and three on that,-six of khadira (Acacia Catechu) woodthree on this side, and three on that,-six of pala sa (Butea frondosa) wood-three on this side, and three on that.
6. Then as to why these stakes are suchlike. When Pragâpati's vital airs had gone out of him, his body began to swell; and what phlegm there was in it that flowed together and burst forth from inside through the nose, and it became this tree, the raggudâla, whence it is viscid, for it originated from phlegm: with that form (quality) he thus endows it (the stake). And as to why it is the (stake) standing by the fire, it is because that one is the centre of the stakes, and that nose is the centre of the channels of the) vital airs: he thus puts it in its own place.
7. And what watery (liquid) fire, and what fragrance there was, that flowed together and
1 That is, the so-called .agnishtha,' standing by (or opposite) the (Ahavaniya) fire.' Cp. p. 301, note 1.
? The raggudala (or râggudala, Sây. on Taitt. Br. III, 8, 19, 1) or 'sleshmâtaka' is the Cordia Myxa or C. latifolia, from the bark of which according to Stewart and Brandis, Forest Flora of N.W. and Centr. India) ropes (raggu) are made, whence doubtless the above, as well as its scientific name, is derived; whilst the adhesive viscid pulp is used as bird-lime.'
3 That is, one on each side, right and left.
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burst forth from the eye, and became that tree, the pitudaru ; whence that (wood) is sweet-smelling, since it originated from fragrance, and whence it is inflammable, since it originated from fire: with that quality he thus endows it. And because these two (pitudâru stakes) are on the two sides of the central one, therefore these two eyes are on the two sides of the nose: he thus puts those two in their own place.
8. And what' kuntåpa ',' what marrow there was, that flowed together, and burst forth from the ear, and became that tree, the bilva; whence all the fruit of that (tree) is eatable * inside, and whence it (the tree, or wood) is yellowish, for marrow is yellowish : with that quality he thus endows it. The two (sets of) pitudaru (stakes) stand inside, and the bilva ones outside, for the eyes are inside, and the ears outside: he thus puts them in their own place.
9. From his (Praga pati's) bones the khadira was produced, whence that (tree) is hard and of great strength, for hard, as it were, is bone : with that quality he thus endows it. The bilva (stakes) are
See p. 164, note 1. It would certainly seem to be something connected with the spinal cord.
• According to Stewart and Brandis, the Aegle Marmelos is cultivated throughout India, and valued for its fruit, which is globose, oblong, or pyriform, 2 to 5 in. diam., with a smooth, grey or yellow rind, and a thick, orange-coloured, sweet aromatic pulp.' The flowers are stated to be greenish white, and the wood light-coloured, mottled with darker wavy lines and small lightcoloured dots.'
* The wood of Acacia Catechu is described as dark red, and extremely hard and durable, and hence not liable to be attacked by white ants, and not touched by Teredo navalis; being much used for pestles, seed-crushers, cotton-rollers, wheel-wright's work, ploughs, bows, spear and sword-handles.
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inside, and the khadira ones outside, for inside is the marrow, and outside the bones : he thus puts them in their own place.
10. From his flesh the palasa was produced, whence that (tree) has much juice, and (that) red juice !, for red, as it were, is flesh: with that quality he thus endows it. The khadira (stakes) are inside, and the pala sa ones outside, for inside are the bones, and outside is the flesh: he thus puts them in their own place.
11. And as to why there are twenty-one (stakes), twenty-one cubits long,—twenty-one-fold, indeed, is he that shines yonder 2—there are twelve months, five seasons, these three worlds, and yonder sun is the twenty-first, and he is the Asvamedha, and this Pragâpati. Having thus completely restored this Pragàpati, the sacrifice, he therein seizes twenty-one Agnishomiya victims: for these there is one and the same performance, and this is the performance of the day before (the first Sutya).
Fifth ADHYÂYA. First BRAHMANA.
THE STOTRAS AND SASTRAS OF THE SOMA-DAYS. 1. Then, on the morrow, there is (used) Gotama's Stoma (form of chanting) successively increasing by four (verses) 3: the Bahishpavamâna thereof is on four, the Ågya (stotras) on eight, the Mâdhyandina Pavamâna on twelve, the Prishtha (stotras) on
1.From natural fissures and incisions made in the bark (of Butea frondosa) issues during the hot season a red juice, which soon hardens into a ruby-coloured, brittle, astringent gum, similar to kino, and sold as Bengal kino. Stewart and Brandis.
* See p. 331, note 1. • Regarding the Katushtoma, see p. 329, note 1.
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sixteen, the Årbhava Pavamâna on twenty, and the Agnishtoma-saman on twenty-four (verses).
2. Now, some make its Agnishtoma-saman a Saman of four (verses), saying, 'It is neither an Agnishtoma, nor an Ukthya'' If they do so, let him (the Hotri),
According to the practice here referred to, the Agnishtomasaman would not consist merely of the one triplet (usually Sâmav. II, 53-4, i.e. the so-called ya gñayagãiya triplet) ordinarily used for it, but of four different Sämans, inasmuch as three of the triplets which may be used for the Uktha-stotras (of the Ukthya and other sacrifices) are added to that yag tyaghiya triplet. In that case, however, the latter is not chanted to its own 'yagñayagiriya 'tune, but the Vâravantiya tune is used for all the four triplets. This practice is somewhat vaguely referred to in Tandya-Br. XIX, 5, 10-11. One Saman (tune), many metres (texts): therefore one (man) feeds many creatures. Verily, the Agnishtoma (sâman) is the self, and the metres (hymn-texts) are cattle: he thus secures catile for his own self. It is neither an Ukthya nor an Agnishtoma (sacrifice), for cattle are neither (entirely) domestic nor wild (viz. because though kept "in the village," they also freely graze "in the forest"). Here the passage One Saman, many metres,' according to the commentary, refers to the Våravantîya tune as being employed, on this occasion, for the texts of the Yagñlâyaghiya, the Såkamasva (II, 55-57, here the Calc. ed., by mistake, calls the second tune figured for chanting, like the first, Sakamasva, instead of Varavantiya), the Saubhara (II, 230-2, where the Calc. ed., by mistake, omits the name Vâravantiya), and the Tairaska (II, 233-5; curiously enough, the Tairaska is not mentioned, in Laty. Sr. VIII, 9-10, amongst the Såmans that may be used for the third-or the Akkhavaka's-Uktha, but Såyana, on Såmav. II, 233, states distinctly, "tairaskam tritiyam uktham '). Whilst, as Uktha-stotras, the last three texts would usually be chanted in the ekavimsa, or twentyone-versed form, in the present instance, as part of the katushtoma, they would be chanted (along with the Yagnâ yagñîya) in the twentyfour-versed form. Thus, though an Agnisbloma sacrifice, inasmuch as it has twelve stotras, yet it is not a regular one; neither is it an Ukthya, because the Ukthas are not chanted as so many Stotras, followed by the recitation of separate Sastras. In the Âsv. Sr. X, 6, different alternatives are proposed for the chanting of the Agnish
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after reciting the Stotriya" (strophe) together, recite the Anurūpa (strophe) together : the Rathantara Prishtha-saman?, the Sastra containing the Rathantara (text), and the Agnishtoma sacrifice--thereby he makes sure of this world.
3. "There are twenty-one Savaniya : victims, all of them sacred to Agni: for these there is one and the same performance,' so say some; but, indeed, he should immolate two sets of eleven (victims), with the view of his obtainment of whatever desired object there may be in (victims) belonging to a set of eleven.
4. When the Agnishtoma is completed, and the Vasativari water carried round, the Adhvaryu performs the Annahomas: (oblations of food): the import of these has been explained. With twelve
loma-sâman in the Gotamastoma (i. e. Katushtoma) antarukthya' and the corresponding Sastra, including apparently the employment of the Yagñayagalya-saman either for all the four triplets, or for the Yagñâyagiliya triplet alone with the respective Såmans used for the other triplets ; different modes of recitation being thereby implied with regard to the Stotriya and AnurQpa pragathas.
For the Agnimâruta-sastra, recited by the Holri after the chanting of the Agnishtoma-saman, and containing, amongst various hymns and detached verses, the triplet which forms the text of the Stotra, i. e. tbe'Stotriya pragatha,' as well as a corresponding antistrophe, the 'Anurûpa pragatha,' see part ii, p. 369 note. On the present occasion, however, this constituent element of the Sastra would have to include the triplets of all the four Sầmans, as well as four 'antistrophes' which are thus recited together.'
. Or, Prishtha-stotra, viz. the first stotra of that name at the midday-service, for which that Saman is used in the Agnishtoma sacrifice (part ii, p. 339, note 2).
. That is, victims sacrificed on the Sutyas, or Soma-days. Two complete sets of eleven such victims are, however, required on each of the three days, see p. 309, note a.
* See XIII, 2, 1, 1 seqq., and p. 297, note i.
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Anuvâkas (Vâg. S. XXII, 23-34), 'To the inbreathing hail! To the off-breathing hail!' ... (he offers)-twelve months are a year, and the year is everything, and the Asvamedha is everything thus it is for his obtaining and securing everything.
5. The central day is an ekavimsa day'; for the twenty-one-fold is yonder sun, and he is the Asvamedha by means of his own Stoma he thus establishes him in his own deity,-therefore it is an ekavimsa day.
6. And, again, as to why it is an ekavimsa day;man is twenty-one-fold-ten fingers, ten toes, and the body (self) as the twenty-first: by means of that twenty-one-fold self he thus establishes him in the twenty-one-fold (day) as on a firm foundation, -therefore it is an ekavimsa day.
7. And, again, as to why it is an ekavimsa day;— the ekavimsa, assuredly, is the foundation of Stomas, and manifold is that ever-varying performance which takes place on this day, and it is because he thinks that that manifold and ever-varying performance which takes place on this day, shall take place so as to be established on the ekavimsa as a firm foundation, that this is an ekavimsa day.
-
8. Now, as to the morning-service of this day. The Hotri, having recited as the Agya (hymn 2) in the Pankti (metre) 'Agni I think on, who is good..., recites thereto the one of a one-day's
1 That is one on which all Stotras are chanted in the 'ekavimsa' Stoma, or twenty-one-versed hymn-form.
Viz. Rig-veda V, 6, forming the special feature of the Âgyasastra
at the Asvamedha.
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Soma-sacrifice. And the Barhata Praüga and the Madhukhandasa one he recites both together in triplets-(this being done) for the obtainment of the objects of desire which may be contained) both in the Barhata and the Madhukhandasa Praüga. The morning-service is (thus) set right.
9. Then as to the midday-service. For the obtainment of the Asvamedha, the atikhandas (verse, II, 22, 1), 'In the three troughs the buffalo drank the barley-draught,' is the opening verse of the Marutvatiya (sastra); for outstanding, indeed, is this atikhandas (hypercatalectic verse) amongst metres, and outstanding is the Asvamedha amongst sacrifices. This (verse), being recited thrice, amounts to a triplet, and thereby he obtains the object of desire which (may be contained) in the triplet. “Here, O good one, is the pressed plant' (Rig-veda VIII, 2, 1-3) is the 'anukara' (sequent triplet): this same (triplet) is the constant
1 Viz. the Âgya-sākta, Rig-veda III, 13, forming the chief part of the Hotri's Âgya-sastra, or first Sastra of the Agnishtoma, for which see part i, p. 327 note.
? The Barhata Prauga, or Praüga-sastra in the Brihatî metre, being the one recited on the fifth day of the Prishthya-shadaha (Âsv. Sr. VII, 12, 7), and consisting of the seven different triplets, addressed to as many different deities,-is to be recited also on this occasion; and along with it (or rather, intertwined with it, triplet by triplet) the ordinary Prauga-sastra of the Agnishtoma, made up of the two hymns Rig-veda I, 2 and 3 which are ascribed to Madhukhandas, and consist of nine and twelve verses, or together seven triplets. I do not understand why Harisvåmin mentions Våyur agregâh' (? Våg. S. XXVII, 31) as being the first triplet of the Madhukhandasa Praüga, instead of I, 2, 1-3'vayav å yåhi darsata.'The Pratga is the Hotri's second Sastra of the morning-service, being preceded by the chanting of the first Âgya-stotra; see part ü, p. 325.
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connecting link of the one-day's sacrifice! Having recited both the pankti (verses, I, 80, 1-16) Here in the Soma-draught alone (the Brahman gave thee strength); and the six-footed ones (VIII, 36, 1-7) The patron thou art of the offerer of Soma,' he inserts the Nivid in the (hymn) of the one-day's sacrifice. Thus as to the Marutvatiya (-sastra).
10. Then as to the Nishkevalya (-sastra ). The Mahânâmnt (verses) are the Prishtha (-stotra); and he recites them along with the anurapa (verses) and pragatha (-strophes), for the obtainment of all the objects of his desire, for in the Mahânâmnis, as well as in the Asvamedha, are contained all objects of desire. Having recited the pankti verses (1, 81, 1-9) Indra hath grown in ebriety and strength,' and the six-footed ones (VIII, 37, 1-7) *This sacred work didst thou protect in
See part ii, p. 337, where the same triplet forms the anukara of this Sastra at the Agnishtoma. It is followed there by the Pragathas VIII, 53, 5-6; I, 40, 5-6 (read thus ! each two counting as one triplet); three Dhâyyå verses, and the Marutvatîya Pragathas VIII, 89, 3-4 (!). These are to be followed up, on the present occasion, by the two hymns I, 80, and VIII, 36, after which the Indra hymn X, 73, the chief part of the normal Marutvatîya Sastra, is to be recited, with the Nivid formula inserted after the sixth verse.
* That is, the Sastra succeeding the chanting of the first, or Hotri's, Prishtha-stotra (see part ii, p. 339). Whilst, however, in the one-day's sacrifice, the Rathantara (or the Brihat) saman is used for that stotra, the Mahânâmni verses (see part iii, introd. p. xx, note 2), with the Såkvara tune, are to be used as the Stotriyâs on this occasion, and are therefore likewise to be recited by the Hotri as Stotriya-pragathas (cf. Asv. VII, 12, 10 seqq.), to be followed up by the antistrophe (anurûpa)—here consisting of the triplets 1, 84, 10-12; VIII, 93, 31-3; I, 11, 1-3-and the Såma-pragatha, VIII, 3, 1-2.
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fights with Vritra,' he inserts the Nivid in the (hymn) of the one-day's sacrificed. The middayservice is (thus) set right.
11. Then as to the evening-service. The atikhandas verse (Vág. S. IV, 25), Unto that god Savitri within the two bowls (do I sing praises 2),' is the opening verse 8 of the Vaisvadeva (-sastra 4): the mystic import thereof is the same as of the former (atikhandas verse). The Anukara • (Rig-veda I, 24, 3-5), 'Unto (abhi) thee, (the lord of treasures), O god Savitri, (ever helpful we come for our share ...);' contains (the word) abhi,' as a form (sign) of victory (abhibhäti). Having recited the Savitra (triplet, VI, 71, 4-6), *Up rose this god Savitri, the friend of the house ...,' he inserts the Nivid in the (hymn) of the one-day's sacrifice. Having recited the four verses to Heaven and Earth (IV, 56, 1-4), “The mighty Heaven and Earth, the most glorious, here ...,' he inserts the Nivid in the (hymn I, 159) of the one-day's sacrifice. Having recited the Årbhava (hymn, IV, 34), 'Ribhu, Vibhvan, Indra, Våga, come ye to this our sacrifice ...,
· Viz. after the eighth verse of the hymn Rig-veda I, 32, the chief part of the normal Nishkevalya-sastra.
For the complete verse see III, 3, 2, 13. * This verse is again recited thrice, and thus takes the place of the ordinary opening triplet.
• For this Sastra, recited after the Ârbhava-Pavamâna-stotra, see part ü, p. 361.
• Âsv. Sr. X, 10, 6 prescribes the ordinary anukara V, 82, 4-7; whence Såyana on I, 24, 3 (-5) offers no indication of the ritualistic use of that triplet on this occasion.
• Viz. IV, 54, before the last verse of which the Nivid is inserted.
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he inserts the Nivid in the (hymn, I, III) of the one-day's sacrifice. Having recited the (hymn, V, 41) to the All-gods, 'Who is there righteous unto you, Mitra and Varuna? ...,' he inserts the Nivid in the (hymn, I, 89) of the one day's sacrifice. Thus as to the Vaisvadeva (-sastra).
12. Then as to the Agnimâruta'. Having recited the (hymn, VI, 7) to (Agni) Vaisvanara, 'The head of the sky, and the disposer of the earth..., he inserts the Nivid in the (hymn, III, 3) of the one-day's sacrifice. Having recited the (hymn, V, 57) to the Maruts, 'Hither, O Rudras, come ye united with Indra ...,' he inserts the Nivid in the (hymn, I, 87) of the one-day's sacrifice, Having recited the nine verses (VI, 15, 1-9) to Gâta vedas, This guest of yours, the earlywaking ...,' he inserts the Nivid in the (hymn, I, 143) of the one-day's sacrifice. And as to why the (hymns) of the one-day's sacrifice are used for inserting the Nivid, it is for the sake of his (the Sacrificer's) not being deprived of a firm foundation, for the Gyotishtoma is a foundation.
13. For this (day) there are those sacrificial animals—' A horse, a hornless he goat, and a Gomriga ®,' fifteen 'paryangyas': the mystic import of these has been explained. Then these wild onesfor spring he seizes (three) kapiñgalas , for summer sparrows, for the rainy season partridges : of these
1 Viz. the final Sastra of the evening-service, preceded by the chanting of the Agnishtoma-saman; see part i, p. 369. • See p. 398, note 4; P. 338, note 1.
The Kapingala' is a kind of wildfowl, apparently of the quail or partridge species—a hazel-cock, or francoline partridge. Some of the later authorities, however, identify it with the kalaka'
ildfowl, apparently doe. Some
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14. Then those (victims) for the twenty-one (stakes). He seizes twenty-one animals for each of the (eleven) deities of the Seasonal offerings 2; for as many as there are gods of the Seasonal offerings so many are all the gods; and all objects of desire are in the Asvamedha: 'by gratifying all the deities I shall gain all my desires,' so he thinks. But let him not proceed in this way.
15. Let him seize seventeen victims for the central stake, in order that he may gain and secure every('cuculus melanoleucus'). With regard to some of the wild animals referred to in the corresponding section of the Vâg. S., the commentator Mahîdhara significantly remarks (Vâg. S. XXIV, 20; cf. Kâty. XX, 6, 6 scholl.) that the meaning of such names as are not understood must be made out with the help of quotations (nigama), Vedic vocabularies (nighantu) and their comments (nirukta), grammar (vyâkarana), the Unâdivritti, and dictionaries.
1 Viz. XIII, 2, 4, 1 seqq. It is not easy to see why the text should break off abruptly with the birds representing the rainy season. For autumn there are to be (three) quails, for winter 'kakara,' and for the dewy season 'vikakara.' Then follow, to the end of the 260 wild animals, a long series of divinities to each of which (or sometimes to allied deities) three animals are consigned. Thirteen of these wild animals are placed on each of the twenty spaces between the twenty-one stakes.
'Or, perhaps, for the (eleven) deities of the Seasonal offerings he seizes twenty-one animals for each (stake); which would certainly simplify the distribution of those animals. Regarding the victims actually consecrated to the deities of the Kâturmâsya offerings, see p. 309, note 2.
* This does not include the twelve 'paryangyas' tied to the horse's limbs, but only the horse and two other victims sacred to Pragâpati, and twelve of a long series of beasts, of which three are dedicated to each successive deity (or allied group of deities). To these are afterwards added Agni's two victims belonging to the two sets of eleven victims (of the other twenty of which one is assigned to each of the other stakes).
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SATAPATHA-BRAHMANA.
thing, for the seventeenfold is Pragàpati, and the seventeenfold (stoma) is everything, and the Asvamedha is everything ;—and sixteen at each of the other (stakes) in order that he may gain and secure everything, for everything here consists of sixteen parts, and the Asvamedha is everything. Thirteen wild (beasts) he seizes for each intermediate space, in order that he may gain and secure everything, for the year consists of thirteen months, and the Asyamedha is everything.
16. Now, prior to the (chanting of the) Bahishpavamâna, they (the assistants of the Adhvaryu) bring up the horse, after cleansing it; and with it they glide along for the Pavamâna: the mystic import of this has been explained. When the Bahishpavamâna has been chanted, they make the horse step on the place of chanting : if it sniffs, or turns away, let him know that his sacrifice is successful. Having led up that (horse), the Adhvaryu says, 'Hotri, sing praises!' and the Hotri sings its praises ? with eleven (verses, Rig-veda I, 163, 1-11),
17. "When, first born, thou didst neigh...thrice (he praises) with the first, and thrice with the last (verse), these amount to fifteen,-fifteenfold is the thunderbolt, and the thunderbolt means vigour : with that thunderbolt, vigour, the Sacrificer thus from the very first repels evil: thus, indeed, it is to the Sacrificer that the thunderbolt is given in
1 XIII, 2, 3, 1.
• The mode of recitation is similar to that of the kindlingverses (likewise eleven, brought up, by repetitions of the first and last, to fifteen), viz. by making a pause after each half-verse, but without adding the syllable 'om' thereto. Âsv. Sr. X, 8, 5.
• Harisvåmin explains tad vai' as standing for 'sa vai' (lingavyatyayena)-viz. that fifteenfold thunderbolt.
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order to smite for him whoever is to be smitten.[Rig-veda I, 163, 12. 13], 'The swift racer hath gone forward to the slaying...-'The racer hath gone forward to the highest place...'
18. Having omitted these two (verses), he inserts the hymn (I, 162), 'Never (shall forget us) Mitra, Varuna, Aryaman, Ayu...,' in the Adhrigu (litany). Some, however, insert this verse (I, 162, 18), Thirty-four (ribs) of the steed, akin to the gods, (doth the knife hit)...,' before the (passage,' twenty-six are its) ribs,' thinking lest they should place the holy syllable 'om' in the wrong place, or lest they should suggest the plural by a singular. Let him not proceed thus, but let him insert the hymn as a whole.-'The swift racer hath gone forward to the slaying...-The racer hath gone forward to the highest place...'
1
On this recitation, consisting of a lengthy set of formulas, addressed to the slaughterers, see part ii, p. 188, note 2. The whole of the formulas are given Ait. Br. II, 6-7. The hymn, according to Âsv. X, 8, 7, is to be inserted either before the last formula of the litany, or somewhat further back-viz. before the formula 'shadvimsatir asya vankrayas,' 'twenty-six are its ribs '—whilst our Brahmana rather allows the alternative of the eighteenth verse of I, 162 being inserted at the latter place,-unless, indeed, the insertion in that case is to be made immediately before the word ' vankrayah' which is scarcely likely.
* Harisvâmin seems to take this to mean that as this verse is of the same nature as the formulas of the Adhrigu litany, he is to treat it as such, as otherwise, in reciting he would have to pronounce 4 om' after that verse, which is not done after those formulas.
Or, the plurality by the individual. Owing to the corrupt state of the MS., the commentator's explanation of this passage is not clear. He seems, however, at any rate, to take the 'plural' to refer to the formula 'shadvimsatir asya vankrayas,' where apparently 'eshâm has to be substituted for asya' on this occasion, as many victims are immolated, and the ribs of a plurality of beasts are thus indicated, whilst in verse eighteen of the hymn, on the
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386
SATAPATHA-BRAHMANA,
SECOND BRÂHMANA. 1. Having uttered these two (verses), he pronounces what remains of the Adhrigu. 'A cloth, an upper cloth, and gold,' this is what they spread out for the horse!: thereon they 'quiet' (slaughter) it. When the victims have been 'quieted,' the (king's) wives come up with water for washing the feet,-four wives, and a young maiden as the fifth, and four hundred female attendants.
2. When the foot-water is ready, they cause the Mahishi to lie down near the horse, and cover her up with the upper cloth, with 'In heaven ye envelop yourselves,'—for that indeed is heaven where they immolate the victim ..., 'May the vigorous male, the layer of seed, lay seed!' she says for the completeness of union.
3. Whilst they are lying there, the Sacrificer addresses the horse (Våg. S. XXIII, 21), ‘Utsakhya ava gudam dhehi!' No one replies to him, lest there should be some one to rival the Sacrificer.
4. The Adhvaryu then addresses the maiden, Hey hey maiden, that little bird ...'-The maiden replies to him, 'Adhvaryu ! that little bird ...'
5. And the Brahman addresses the Mahishi, *Mahishi, hey hey Mahishi, thy mother and father mount to the top of the tree...'--She has a hundred daughters of kings attending upon her : these
contrary, only the ribs of one horse (thus forming a kind of unit) are referred to; and if that verse were recited, along with the whole hymn, before the final formula which refers to all the victims, the necessary connection would be interrupted.
i See XIII, 2, 8, 1,
• Nirayatyasvasya sisnam mahisby upasthe nidhatte 'vrisbå vägi retodhå reto dadhâtv'iti mithunasyaiva sarvatvaya.
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reply to the Brahman, Brahman, hey hey Brahman, thy mother and father play on the top of the tree...'
6. And the Udgâtri addresses the favourite, Vâvâtå, hey hey Vâvâtà, turn upwards !' She has a hundred noble-women (râganyà) attending upon her: these reply to the Udgåtri, 'Hey hey Udgåtri, turn upwards!'
7. And the Hotri says to the discarded wife, • Parivriktå, hey hey Parivriktà, when large meets small in this amhubhedi...'-She has a hundred daughters of heralds and head-men of villages attending upon her : these reply to the Hotri,
Hotri, hey hey Hotri, when the gods favoured the lalåmagu...'
8. Then the chamberlain addresses the fourth wife, Pålågali, hey hey Pålâgali, when the deer eats the corn, one thinks not of the fat cattle...'-She has a hundred daughters of chamberlains and charioteers attending upon her: these reply to the chamberlain,
Chamberlain, hey hey chamberlain, when the deer eats the corn, one thinks not of the fat cattle...'
9. These speeches, the derisive discourses, indeed are every kind of attainment, and in the Asvamedha all objects of desire are contained: By every kind of speech may we obtain all objects of our desire' thus thinking, they cause the Mahishi to rise. Those (women) then walk back in the same way as they had come; and the others finally utter the verse containing (the word) 'fragrant' (Rig-v. IV, 39, 6), "To Dadhikràvan have I sung praises...'
10. For, indeed, life and the deities depart from those who at the sacrifice speak impure speech : it is their speech they thereby purify so that the deities may not depart from the divine service,
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388
SATAPATHA-BRAHMANA.
Now (some) put the omentum of the Gomriga and that of the hornless he-goat upon the horse and then take it (to the Ahavantya), saying, 'The horse
has no omentum.' Let him not do so: of the horse he should certainly take the fat; the (omenta of the) others are normal.
II. When the omenta have been roasted, and when they have performed (the oblations) with the Svâhâs1, and returned to the back (of the sacrificial ground), they hold a Brahmodya (theological discussion) in the Sadas. Having entered by the front door, they sit down at their several hearths.
2
12. The Hotri asks the Adhvaryu (Vâg. S. XXIII, 45), 'Who is it that walketh singly?...' He replies to him (ib. 46), 'Surya (the sun) walkth singly...'
13. The Adhvaryu then asks the Hotri (Vâg. S. XXIII, 47), 'Whose light is there equal to the sun?...' He replies to him (ib. 48), 'The Brahman (n.) is the light equal to the sun...'
14. The Brahman then asks the Udgâtri (Våg. S. XXIII, 49), 'I ask thee for the sake of knowledge, O friend of the gods [if thou hast applied thy mind thereto: hath Vishnu entered the whole world at those three places at which offering is made unto him?]' and he replies (ib. 50), 'I too am at those three places [at which he entered the whole world:
1 See III, 8, 2, 21-23.
For a similar discussion between the Brahman and Hotri, prior to the binding of the victims to the stakes, see XIII, 2, 6, 9 seqq.
For the complete verse, comprising four questions, see XIII, 2, 6, 10-13; the answers being given there in the form of explanations.
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daily do I, with the one body', go round the earth, the sky, and the back of yonder sky].'
15. The Udgåtri then asks the Brahman (Vâg. S. XXIII, 51), 'Into what (things) hath the Spirit entered, [and what (things) are established in the spirit? this, O Brahman, we crave of thee: what answer dost thou give unto us thereon?]' and he replies (ib. 52), 'Into five (things) hath the spirit entered, and they are established in the spirit: this I reply unto thee thereon; not superior in wisdom art thou (to me).'
16. When this (verse) has been uttered, they rise and betake themselves from the Sadas eastwards to the Sacrificer. Having come to him, seated in front of the Havirdhâna (shed), they sit down in their several places.
17. The Hotri then asks the Adhvaryu (Vâg. S. XXIII, 53), 'What was the first conception?...' and he replies (ib. 54), 'The sky was the first conception...'
18. The Adhvaryu then asks the Hotri (ib. 55), 'Who, pray, is the tawny one (pisangila)? [who is the kurupisangila? who moveth in leaps? who creepeth along the path ?]' and he replies (ib. 56), 'The tawny one is the uncreated (night)"; [the kurupisangilâ is the porcupine; the hare
'Or, with the one limb (ekenângena) which Mahidhara takes to mean 'with the mind, in mind.' Possibly 'asya' may have to be taken together with it—' with the one body of his (Vishnu's).'
'Or, man (purusha). The five things, according to Mahîdhara, are the vital airs, or breathings.
That is, behind the uttaravedi, according to Kâty. XX, 7, 12. • See XIII, 2, 6, 14 seqq. 'Mahîdhara takes 'aga' (the eternal) here as meaning either the
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SATAPATHA-BRAHMANA.
moveth in leaps; the snake creepeth along the path]'
19. The Brahman then asks the Udgåtri (Våg. S. XXIII, 57), “How many kinds are there of this (sacrifice), how many syllables? how many oblations? how often is (the fire) enkindled ? The ordinances of sacrifice have I now asked of thee: how many priests offer in due form?)' and he replies (ib. 58), 'Six kinds there are of this (sacrifice), a hundred syllables, [eighty oblations, and three kindling-sticks; the ordinances of sacrifice do I declare unto thee: seven priests offer in due form}'
20. The Udgâtri then asks the Brahman (Våg. S. XXIII, 59), 'Who knoweth the navel of this world ? [who heaven and earth and the air? who knoweth the birth-place of the great Sun? who knoweth the Moon, whence it was born?” and he replies (ib. 60), 'I know the navel of this world, [I know heaven and earth and the air; I know the birth-place of the great Sun, and I know the Moon, whence it was born
21. The Sacrificer then asks the Adhvaryu (Våg. S. XXIII, 61), 'I ask thee about the farthest end of the earth, [I ask where is the navel of the world; I ask thee about the seed of the vigorous steed; I ask thee about the highest seat of speech];' and he replies (ib. 62), *This altar-ground is the farthest end of the earth; (this sacrifice is the navel of the world; this Soma-juice is the seed of the vigorous
night, or Mâyâ ; cf. XIII, 2, 6, 17. Perhaps, however, agamay mean 'goat' here.
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XIII KÂNDA, 5 ADHYAYA, 2 BRÂHMANA, 23. 391
steed; this Brahman (priest) is the highest seat of speech]'
22. Verily, this is the complete attainment of speech, to wit the Brahmodya, and in the Asvamedha all desires are contained : 'By means of all speech may we obtain all our desires! so (they think).
23. When the colloquy has been held, the Adhvaryu enters the (Havirdhana), and draws Pragapati's (first) Mahiman cup (of Soma) in a gold vessel. The Puroruk formulathereof is (Våg. S. XXIII, 1; Rig-v. X, 121, 1), 'The golden germ was first produced ... And its Puros nuvâkyà is (Våg. S. XXIII, 63), 'Of good nature, self-existent at first (within the great ocean: I verily place the right germ whence is bor'n Pragâ pati).'May the Hotri offer to Pragàpati : (of the Mahiman Soma (cup); may he relish, may he drink the Soma! Hotri, utter the offeringformula !]' is the Praisha (ib. 64). The Hotri utters the offering-formula (ib. 65), 'O Pragâ pati, none other than thee hath encompassed all these forms...;' and as the Vashat is pronounced, he (the Adhvaryu) offers with (Våg. S. XXIII, 2), 'What greatness of thine there hath been in the day, and the year, (what greatness of thine there hath been in the wind and the air; what greatness of thine there hath been in the heavens and the sun, to that greatness of thine, to Pragâ pati, hail, to the gods 8!]' He does not repeat the Vashat, for he offers the cup of Soma all at once.
"That is, the preliminary formula, or formulas, preceding the upayâma' (Thou art taken with a support...'). • See V, 4, 2, 9.
* See XIII, 2, II, 2 with note.
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392
SATAPATHA-BRAHMANA.
THIRD BRAHMANA.
THE VAPA-OFFERINGS.
1. Now as to the offering of the omenta. 'They should proceed with them singly up to the omentum of the Vaisvadeva (victim); and when the omentum of the Vaisvadeva has been offered, they should thereupon offer the others,' said Satyakâma Gåbâla; 'for, doubtless, the All-Gods (Visve Devâh) are all (sarve) the gods: it is in this way he gratifies them deity after deity.'
2. 'When the omentum of the Aindrâgna (victim) has been offered, they should thereupon offer the others,' said the two Saumapa Mânutantavya; 'for, doubtless, Indra and Agni are all the gods: it is in this way he gratifies them deity after deity.'
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3. When the omentum of the (victim) sacred to Ka has been offered, they should thereupon offer
1 Whilst there are amongst the victims immolated on the second day, several others consecrated to the Visve Devah, Indra and Agni, and Ka,-the Vaisvadeva, Aindrâgna, and Kâya victims, referred to in this and the following two paragraphs, belong to the Kâturmasya, or Seasonal victims, being amongst those tied to the fourteenth and sixteenth stakes. Though the text speaks only of one Vaisvadeva &c. victim, there are really three such victims in each case. According to the views referred to in these paragraphs (cf. comm. on Kâty. XX, 7, 23), the omenta of all the preceding victims (from the 'paryangya' onwards) up to the beginning of the Kâturmâsyas, would be offered together after (or along with) the vapâs of those of the respective victims (Vaisvadeva &c.) specified in these paragraphs; and along therewith the vapâs of all the subsequent Seasonal victims. The deities to which this heap of omenta would be offered, would thus be either the Visve Devâh, or Indra and Agni, or Ka, as representing all the deities. Arv. S. X, 9, 7, assigns the omenta of all the victims, except the three Prâgâpatya ones, to the Virve Devâh.
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393
the others,' said Sailali; 'for, doubtless, Ka is Pragàpati, and behind Pragapati are all the gods : it is in this way he gratifies them deity after deity
4. 'Having gone through the twenty-one deities of the Seasonal? (victims), let them proceed by divid. ing (the omenta) into twenty-one parts?' said Bhallaveya; 'for as many as there are Seasonal deities so many are all the gods: it is in this way he gratifies them deity after deity.'
5. 'Let them proceed (with the omenta) singly and not otherwise,' said Indrota Saunaka; why, indeed, should they hasten? It is in this way he gratifies them deity after deity.' This, then, is what these have said, but the established practice is different therefrom.
6. Now Yåg ña valkya said, 'They should proceed simultaneously with the (omenta) of Pragapati's: (victims), and simultaneously with those consecrated to single gods : it is in this way that he gratifies them deity after deity, that he goes straightway to the completion of the sacrifice, and does not stumble.'
7. When the omenta have been offered, the Adhvaryu enters (the Havirdhana shed) and draws
See p. 309, note 2. • According to this view, the omenta of all the victims after the three first (Pragậpatya) ones,—i.e. beginning from the paryangya' animals (see p. 299, note 2) up to the end of the Kåturmasya, or Seasonal victims, which are the last of the domesticated animals
-would be put together in one heap and divided into twenty-one portions, which would then be offered to the first twenty-one deities of the Seasonal offerings, that is to say, to those of the Vaisvedeva, Varuxapraghåsa, Säkamedha, and Mahâ havis offerings, thus omitting the deities of the Pitryeshń and the Sunäsiriya offerings.
* That is the first three victims, viz. the horse, the hornless hegoat, and the Gomriga.
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394
,
SATAPATUA-BRÂHMANA.
Pragapati's second Mahiman cup of Soma in a silver vessel. The Puroruk thereof is (Våg. XXIII, 3), He who by his greatness hath become the one king of the breathing and blinking world, and who here ruleth over the two-footed and the four-footed: to the god Ka (Who?) will we pay homage by offering]' The Anuvákyâ and Yagyå are interchanged so as to ensure) unimpaired vigour, and the Praisha (direction to Hotri) is the same (as that of the first cup). As the Vashat is uttered, he offers with (Våg. S. XXIII, 4), 'What greatness of thine there hath been in the night, and the year, [what greatness of thine there hath been in the earth and the fire; what greatness of thine there hath been in the Nakshatras and the moon, to that greatness of thine, to Pragapati, to the gods, hail]' He does not repeat the Vashat: the significance of this has been explained.
8. Of the blood of the other victims they make no sacrificial portions ; of (that of) the horse they do make portions 8. Of (the blood of) the others + they make portions on the south side, of (that of) the horse on the north side (of the altar); of (the blood of) the others he makes portions on (a mat of) plaksha (ficus infectoria) twigs, of (that of) the horse on rattan twigs.
* By simple repetition this would be impaired. · See XIII, 2, 11, with note. See XIII, 3, 4, 2-5.
• This would be an alternative view. According to the scholl. on Katy. XX, 8, 1-3, this would seem to refer to the other Praga. patya victims, in which case one would, however, expect the dual here, as there are only two of them besides the horse.
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XIII KÂNDA, 5 ADHYAYA, 3 BRÂHMANA, 11. 395
9. But concerning this, Satyayag ñi said, “They may indeed do it in either way, only one must not depart from the (right) path. But the former, indeed, is the established practice. The sacrifice (of the second day) is an Ukthya : thereby he causes the air-world to prosper. The last day is an Atirâtra with all the Stomas, for him to obtain and secure everything, for the Atirätra with all the Stomas is everything, and the Asvamedha is everything.
10. Its Bahishpavamâna (stotra) is in the Trivrit (9-versed Stoma), the Agya (stotras) in the Pañkadasa (15-versed), the Madhyandina-pavamana in the Saptadasa (17), the Prishthas in the Ekavimsa (21), the Tritiya Pavamâna in the Trinava (27), the Agnishtoma-saman in the Trayastrimsa (33), the Ukthas in the Ekavimsa (21), the Shodasin in the Ekavimsa, the night (chants) in the Pañkadasa, the Sandhi (twilight chant) in the Trivrit (9). Whatever Sastra is (recited) for the second day of the Prishthya Shadaha that is (used at) the Atirâtra sacrifice ; thereby he causes yonder (heavenly) world to prosper.
11. 'There are twenty-one Savanlya victims, all of them consecrated to Agni, and there is one and the same performance for them,' so say some; but let him rather immolate those twenty-four bovine (victims ?) for twelve deities, -twelve months are a year, and the year is everything, and the Asya
* In the same way Âsv. S. X, 4, 8 lays down the rule that the Sastras of the second day are those of the fifth day of the Vyddha Prishthya-shadaha; cf. above, XIII, 5, 1, 7 seqq.
· See XIII, 3, 2, 3.
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SATAPATHA-BRAHMANA.
medha is everything: thus it is for the sake of his obtaining and securing everything.
Fourth BRÂHMANA. DIFFERENT ARRANGEMENTS OF THE CHANTS OF THE ASVANEDHA.
1. Now, Indrota Daivåpa Saunaka once performed this sacrifice for Ganamegaya Parikshita, and by performing it he extinguished all evil-doing, all Brahman-slaughter; and, verily, he who performs the Asvamedha extinguishes (the guilt incurred by) all evil-doing, all Brahman-slaughter.
2. It is of this, indeed, that the Gathå (strophe) sings,—“In Åsandivat!, Ganamegaya bound for the gods a black-spotted, grain-eating horse, adorned with a golden ornament and with yellow garlands.'
3. [There are] those same first two days ", and a Gyotis 8 Atirâtra : therewith (they sacrificed) for Bhimasena ;-those same first two days, and a Go Atiratra : therewith (they sacrificed) for Ugrasena ;-those same first two days, and an Ayus Atiratra : therewith (they sacrificed) for Srutasena. These are the Parikshitiyas“, and it is of this that the Gathå sings,—The righteous Parikshitas, performing horse-sacrifices, by their righteous work did away with sinful work one after another.'
· Lit., (in the city, nagare, Harisvâmin) possessed of a throne. Cf. Ait. Br. VIII, 21. * Viz., as stated before, an Agnisbloma and an Ukthya.
As to the difference between the Gyotis, Go, and Âyus forms of the Agnishtoma sacrifice, see part iv, p. 387, note 2.
• That is, according to Harisvimin (and the Gåtba), the brothers of (Ganamegaya) Parikshita, though one would rather have thought of his sons, the grandsons of Parikshit.
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XIII KÂNDA, 5 ADHYAYA, 4 BRÂHMANA, 7. 397
4. Those same first two days, and an Abhigit 1 Atirâtra,--therewith Para Atnara, the Kausalya king, once sacrificed : it is of this that Gâthâ sings, --Atnara's son, the Kausalya Para, Hairanyanabha, caused a horse, meet for sacrifice, to be bound, and gave away the replete regions.'
5. Those same first two days, and a Visvagit? Atirâtra,--therewith Purukutsa, the Aikshvåka king, once on a time performed a horse(daurgaha)sacrifice, whence it is of this that the Rishi sings (Rig-v. IV, 42, 8),— These, the seven Rishis, were then our fathers when Daurgaha ? was bound.'
6. Those same first two days, and a Mahâvrata : Atirâtra, – therewith Marutta Åvikshita, the Ayogava king, once performed sacrifice; whence the Maruts became his guards-men, Agni his chamberlain, and the Visve Devâh his counsellors : it is of this that the Gatha sings,— The Maruts dwelt as guards-men in Marutta Åvikshita's house, Agni as his chamberlain, and the Visve Devåh as his counsellors.' And, verily, the Maruts become the guards-men, Agni the chamberlain, and the Visve Devåh the counsellors of him who performs the horse-sacrifice.
7. Those same first two days, and an Aptoryama+ Atirâtra, -it was therewith that Kraivya, the Pañkala king, once performed sacrifice, — for Krivis they formerly called the Pañ kâlas: it is of this that the Gatha sings,— At Parivakra, the
· Regarding the Abhigit and Visvagit, see part iv, p. 320, note 2.
• Såyana, differently from our Brahmana, takes Daurgaha as the patronymic of Purukutsa (son of Durgaha).
See part iv, p. 283, note 5. • See part iii, introd. p. XX.
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SATAPATHA-BRAHMANA.
Påñkala overlord of the Krivis seized a horse, meet for sacrifice, with offering-gifts of a hundred thousand (head of cattle).'
8. And a second (Gatha),-'A thousand myriads there were, and five-and-twenty hundreds, which the Brahmanas of the Pañkalas from every quarter divided between them.'
9. The Agnishtoma in the Trivrit (stoma); the Ukthya in the Pañkadasa; and the third day, with the Uktha (stotras), in the Saptadasa; the Shodasin (stotra) in the Ekavimsa, the night (stotras) in the Pañkadasa, and the Sandhi (stotra) in the Trivrit, this is the (sacrifice) resulting in the Anushtubh?: it is therewith that sacrifice was performed by Dhvasan Dvaitavana, the king of the Matsyas, where there is the lake Dvaitavana ; and it is of this that the Gatha sings,— Fourteen steeds did king Dvaitavana, victorious in battle, bind for Indra Vritrahan, whence the lake Dvaitavana (took its name).'
10. The (three) Pavamâna (stotras) in the Katurvimsa (stoma), and (those performed) by repetitions : in the Triyrit; the Pavamânas in the Katuskatvårimsa (44-versed stoma), and (those performed) by repetitions in the Ekavimsa ; the Pavamânas in
1 Viz. inasmuch as, according to Harisvâmin, all the Stotras amount together to 798 verses, which make twenty-five anushrubh verses (of 32 syllables each) or thereabouts.
• That is to say, all the remaining nine stotras of this, the Agnishtoma, day, the so-called Dhuryas, viz. the Âgya-stotras, the Prishihastotras, and the Agnishtoma-saman, in all of which the respective Stoma is obtained by repetitions of the three stotriya-verses.
. In this, the Ukthya, day, this includes also the three Ukthastotras, as being, as it were, the Dhuryas of the Hotri's assistants
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XIII KÂNDA, 5 ADHYÂYA, 4 BRÂHMANA, 15. 399
the Ashtakatvarimsa (48), and (those performed) by repetition in the Trayastrimsa (33) up to the Agnishtoma-saman, the Uktha (stotras) in the Dvâtrimsa (32), the Shodasin in the Ekavimsa, the night (stotras) in the Pañkadasa, and the Sandhi (stotra) in the Trivrit:
11. Suchlike is Vishnu's striding !, -it was there with that Bharata Dauhshanti once performed sacrifice, and attained that wide sway which now belongs to the Bharatas: it is of this that the Gatha sings,-Seventy-eight steeds did Bharata Dauhshanti bind for the Vritra-slayer on the Yamuna, and fifty-five near the Ganga.'
12. And a second (Gåthâ),--Having bound a hundred and thirty-three horses, meet for sacrifice, king Saudyumni, more shifty, overcame the other shiftless ones.'
13. And a third,—' At Näda pit?, the Apsaras Sakuntalå conceived Bharata, who, after conquering the whole earth, brought to Indra more than a thousand horses, meet for sacrifice.'
14. And a fourth *, – The greatness of Bharata neither the men before nor those after him attained, nor did the five (tribes of) men, even as a mortal man (does not touch) the sky with his arms.'
15. With the Ekavimsa-stoma Rishabha Yågña
(cf. part iii, introd. p. xiv seqq.); whilst in the directions regarding the next day they are not included, as requiring a different Stoma.
Just as there are here wide intervals between the Stomas, so Vishnu, in his three strides, passes over wide distances, comm.
This, according to Harisvâmin, is the name of Kanva's hermitage. Cf. Leumann, Zeitsch. d. D. M.G., XLVIII, p. 81.
• Cf. Ait. Br. VIII, 23; Weber, Ind. Stud. I, p. 202. • That is, using the 21-versed form throughout the three days.
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tura, king of the Sviknas, performed sacrifice: it is of this that the Gâthâ sings,— When Rishabha Yagñatura was sacrificing, the Brahman-folk, having received wealth at the Asvamedha, divided the offering-gifts between them.'
16. With the Trayastrimsa-stoma Sona Satrasâha, the Påñkala king, performed sacrifice: it is of this that the Gâtha sings,—When Satrásâha performs the horse-sacrifice, the Trayastrimsa (stomas) come forth as (Taurvasa) horses, and six thousand mail-clad men'.
17. And a second (Gåtha),—'At the sacrifice of thee, Koka's father, the Trayastrimsa (stomas) come forth, each as six times six thousands (horses), and six thousand mail-clad men.'
18. And a third, — When Såtrâsâha, the Pånkala king, was sacrificing, wearing beautiful garlands, Indra revelled in Soma, and the Brâhmanas became satiated with wealth.'
19. Satânika Sâtrâgita performed the Govinata (form of Asvamedha), after taking away the
1 This seems to be Harisvâmin's interpretation of the verse :torvaså asvá gyeshthe tam api srigyeran iti () trayastrimså stoma udgakkhanti, sa hi Sonas trayastrimsan eva stoman trishy api divaseshu prayunkte nângân iti te udgakkkanttty aha, shat tu sahasrani varminâm râgaputrânám kavakinam asvapalânâm udirata iti vartate varshe prâptâ eva drashtavyâh. The St. Petersb. Dict, on the other hand, construes 'trayastrimsah' along with shat sahasrani'=6033 (horses of mail-clad men). This interpretation seems to me to involve serious difficulties. The use of those Stomas doubtless is supposed to result in the advantages here enumerated.
* Koko nama nathah, ke te asvå udirata iti prathamayam gâthagam uktam tad atrapy anuvartate; tesham tatra parimanam noktam atra shaltrimsad asvasahasrani rakshinam anukarabhūtány udgakkhantîty aha; trayastrimsas kodirate shad dhi(?) varminan padânetasu (?) gakkhanuiti. Haris våmin.
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XIII KÂNDA, 5 ADHYAYA, 4 BRÂHMANA, 23. 401
horse of the Kasya (king); and since that time the Kasis do not keep up the (sacrificial) fires, saying, 'The Soma-drink has been taken from us.'
20. The mode (of chanting) for this (Govinata form) is :--the Pavamâna (stotras) in the Katurvimsa (stoma), and (those chanted) by repetitions in the Trivrit ;—the Pavamânas in the Katuskatvårimsa, the Agya (stotras) in the Ekavimsa, the Ukthas ' in the Trinava, the Prishthas in the Ekavimsa ;-the Pavamânas in the Shattrimsa (36-versed), and (those chanted) by repetitions in the Trayastrimsa (33) up to the Agnishtoma-saman, the Ukthas in the Ekavimsa, the Shodasin in the Ekavimsa, the night (stotras) in the Pankadasa, and the Sandhi (stotra) in the Trivrit.
21. It is of this that the Gatha sings - Satânika Satragita seized a sacrificial horse, in the neighbourhood, the sacrifice of the Kåsis, even as Bharata (seized that) of the Satvats.'
22. And a second,—The mighty Satânika, having seized, in the neighbourhood, Dhritarashtra's white sacrificial horse, roaming at will in its tenth month, Satânika & performed the Govinata-sacrifice.'
23. And a fourth 8, – The greatness of the Bharatas neither the men before nor those after them attained, nor did the seven (tribes of) men, even as a mortal man (does not touch) the sky with his flanks.'
1 Why these are here put before the Prishthas, is not clear. • Perhaps we ought here to read Sätragita.'
• Unless the Gåtha in the preceding paragraph (being in the Trish/ubh metre) is really counted as two, the author seems here purposely to have omitted a verse. Possibly, however, it may mean, the fourth,' viz. referring to paragraph 14. (44)
. Dd
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.
SATAPATHA-BRÅHMAXA.
24. Now as to the sacrificial gifts. Whatever there is towards the middle of the kingdom other than the land, the men, and the property of the Brahmana, of that the eastern region belongs to the Hotri, the southern to the Brahman, the western to the Adhvaryu, the northern to the Udgâtri; and the Hotrikas share this along with them.
25. When the Udayaniya (completing offering) is finished, he seizes twenty-one barren cows, sacred to Mitra-Varuna, the Visve Devâh, and Brihaspati, with the view of his gaining those deities. And the reason why those sacred to Brihaspati come last is that Brihaspati is the Brahman (n.), and he thus establishes himself finally in the Brahman.
26. And as to their being twenty-one of them, the twenty-one-fold is he who shines yonder: twelve months, five seasons, these three worlds, and yonder sun as the twenty-first-this consummation (he thereby obtains).
27. When the Udavasântyà (closing offering) is completed, they give, for a sacrificial gift, four women, with a maiden as the fifth, and four hundred female attendants according to agreement.
28. And during the following year he performs the animal sacrifices of the seasons,—six (victims) sacred to Agni in the spring, six to Indra in the summer, six to Parganya, or to the Maruts, in the rainy season, six to Mitra and Varuna in the autumn, six to Indra and Vishnu in the winter, and six to Indra and Brihaspati in the dewy season,-six seasons are a year: in the seasons, in the year, he thus establishes himself. These amount to thirtysix animals,--the Brihati (metre) consists of thirtysix syllables, and the heavenly world is established
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XIII KANDA, 6 ADHYAYA, I BRAHMANA, 3. 403
upon the Brihati: and thus he finally establishes himself, by means of the Brihati metre, in the heavenly world.
SIXTH ADHYAYA. FIRST BRAHMANA.
THE PURUSHAMEDHA, OR HUMAN SACRIFICE.
1. Purusha Nârâyana desired, 'Would that I overpassed all beings! would that I alone were everything here (this universe)!' He beheld this fivedays' sacrificial performance, the Purushamedha, and took it', and performed offering therewith; and having performed offering therewith, he overpassed all beings, and became everything here. And, verily, he who, knowing this, performs the Purushamedha, or who even knows this, overpasses all beings, and becomes everything here.
2. For this (offering) there are twenty-three Dikshâs, twelve Upasads, and five Sutyâs (Somadays). This, then, being a forty-days' (performance), including the Dikshâs and Upasads, amounts to a Virâg, for the Virag consists of forty syllables: [Vâg. S. XXXI, 5.] 'Thence3 Virâg (f.) was born, and from out of Virâg the Purusha.'
That is, according to Harisvâmin, he brought its powers into play, and accomplished all his desires:-tatsâdhanâny upâpâdayat, tenâyam yaganena samfhitam sakalam sâdhitavân ity arthah.
The Virág-verse consists of decasyllabic pâdas, the most common form of the verse being one of three pâdas (or thirty syllables), whilst here the one consisting of four pâdas is alluded to, and Virâgverses of one and two pâdas likewise occur. There is also a parallel form of the Virâg-metre consisting of (usually three) hendeca-syllabic pâdas.
That is, from the Purusha; cf. Rig-v. S. X, 90, 5.
Dd 2
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SATAPATHA-BRAHMANA.
This, then, is that Virág, and from out of that Virag he (the Sacrificer) generates the Purusha, the Sacrifice.
3. Now these (forty days) are four decades; and as to there being these four decades, it is for the obtainment of these worlds, as well as of the regions: by the first decade they' obtained even this (terrestrial) world, by the second the air, by the third the sky, and by the fourth the regions (quarters); and in like manner does the Sacrificer, by the first decade, obtain even this (terrestrial) world, by the second the air, by the third the sky, and by the fourth the regions—and, indeed, as much as these worlds and the regions are, so much is all this (universe); and the Purushamedha is everything: thus it is for the sake of his obtaining and securing everything.
4. On the Upavasatha (day) there are eleven victims sacred to Agni and Soma: the performance for these is one and the same. There are eleven stakes, the Trishtubh (verse) consists of eleven syllables, and the Trishtubh is a thunderbolt, and the Trishtubh is vigour: with the thunderbolt, with vigour, the Sacrificer thus from the first repels evil.
3
5. On the Sutyâ (days) there are the (Savantya) victims of the set of eleven (stakes), the Trishtubh consists of eleven syllables, and the Trish/ubh is a thunderbolt, and the Trishtubh is vigour: with the thunderbolt, with vigour, the Sacrificer thus from the first repels evil.
2
Harisvåmin supplies 'pârve purushâh' (? former men, or the first seven purushâh, the seven Rishis).
That is, the day before the Soma-sacrifice. See III, 7, 2, I seqq.
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6. And, again, as to why there are (the victims) of the set of eleven (stakes): it is for the sake of his obtaining and securing everything, for the set of eleven (stakes) is everything, since the set of eleven (stakes) is Pragâpati, and Pragâpati is everything, and the Purushamedha is everything.
7. Now this Purushamedha is a five-days' sacrificial performance-the sacrifice is fivefold, the victim is fivefold, and five seasons are a year: whatsoever of five kinds there is, either concerning the deity or the self (body), all that he thereby obtains.
8. The first day thereof is an Agnishtoma; then (follows) an Ukthya, then an Atirâtra, then an Ukthya, then an Agnishtoma: this (sacrifice) thus has light (gyotis) on both sides, and an Ukthya on both sides (of the central Atirâtra).
9. It is a five-days' (sacrifice), like a barley-corn in the middle; for the Purushamedha is these worlds, and these worlds have light on both sidesthrough Agni (the sacrificial fire) on this side, and through Aditya (the Sun) on the other: therefore it has light on both sides. And the Ukthya is food, and the Atirâtra the body (self); and because there are these Ukthyas on both sides of the Atirâtra, therefore this body is surrounded by food. And that Atirâtra which is the largest of them is in the middle, it is thereby that it (the body, or sacrifice) is like a barley-corn (yava) in the middle; and, verily,
'Viz. an Agnish/oma form of the Gyotish/oma order of sacrifice. Cf. part iv, p. 287, note 2.
* That is, becoming larger towards the middle, inasmuch as the Ukthya is as far as Stotras and Sastras, and cups of Soma are concerned a larger sacrifice than the Agnish/oma; and the Atirâtra is the largest form of all.
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SATAPATHA-BRÅHMANA.
whosoever knows this repels (yu) his hateful enemy: • He alone exists, not his hateful enemy, thus they say of him.
10. The first day is for it this same (terrestrial) world, and the spring season also is this its (terrestrial) world; and the second day is what there is above this (terrestrial) world and below the air, and the summer season also is that (part) of it; and the central day is its air, and the rainy and autumn seasons also are its air; and the fourth day is what is above the air, and below the sky, and the winter season also is that (part) of it; and its fifth day is the sky, and the dewy season also is its sky: thus as to the deities.
11. Then as to the body. The first day is its feet, and the spring season also is its feet; and the second day is what is above the feet, and below the waist, and the summer season also is that (part) of it; and the central day is its waist, and the rainy and autumn seasons also are its waist; the fourth day is what is above the waist and below the head, and the winter season also is that (part) of it; and the fifth day is its head, and the dewy season also is its head :-thus these worlds, as well as the year and the (sacrificer's) self, pass into the Purushamedha for the obtainment and securing of everything, for, indeed, these worlds are everything, and the year is everything, and the self is everything, and the Purushamedha is everything.
* It should be borne in mind here that the sacrifice (Pragapati) is identical with the Sacrificer on the one hand, and with the year on the other.
• Or, as to the self, viz. of Pragâpati (and the Sacrificer), which the sacrifice is supposed to reproduce.
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XIII KÂNDA, 6 ADHYAYA, 2 BRÂHMANA, 3. 407
SECOND BRAHMANA.
1. And as to why it is called Purushamedha :The stronghold (pur) doubtless is these worlds, and the Purusha (spirit) is he that blows here (the wind), he bides (sl) in this stronghold (pur): hence he is the Purusha. And whatever food there is in these worlds that is its 'medha,' its food; and inasmuch as this is its 'medha,' its food, therefore it is called) Purushamedha. And inasmuch as at this (sacrifice) he seizes 2 men (purusha) meet for sacrifice (medhya), therefore also it is called Purushamedha.
2. He seizes them on the central day, for the central day is the air, and the air is the abode of all beings; and, indeed, these victims are also food, and the central day is the belly: he thus puts food in the belly.
3. He seizes them by decades for the obtainment
That is, he (symbolically) immolates them. • The statement in paragraphs 3 and 4, according to which there are eleven decades of human victims, does not refer to the . actual distribution of victims over the eleven stakes, but it is apparently made purely for symbolical reasons (viz. with reference to the Virág and Trish/ubh metres), and is probably based on the way in which the victims are enumerated in the Vågasaneyi-samhitâ, XXX, 5-22 (see the Translation at the end of this chapter, where they are, however, numbered according to the stakes). There the first eleven Kandikâs (5-15) are made up of the names and deities of ten victims each, hence together of eleven decades; whilst of the subsequent Kandikâs-k. 16 consists of twelve, ks. 17-21 of ten each, and k. 22 of twelve victims. The actual mode of distribution over the several stakes is that referred to in paragraphs 5-8, viz. the first forty-eight victims are tied to the central stake, after which eleven victims are tied to each of the other ten stakes. After these, amounting to 158 victims, the Samhita
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SATAPATHA-BRAHMANA.
408
of all food, for the Virâg consists of ten syllables, and the Virag is all food'.
4. Eleven decades he seizes;-the Trish/ubh consists of eleven syllables, and the Trish/ubh is the thunderbolt, and vigour: with the thunderbolt, with vigour, the Sacrificer thus repels evil from within him.
5. Forty-eight he seizes at the central stake;the Gagati consists of forty-eight syllables, and cattle are of Gågata (movable) nature: by means of the Gagatt he (the priest) secures cattle for him.
6. Eleven at each of the others;-the Trishtubh consists of eleven syllables, and the Trishtubh is the thunderbolt, and vigour: with the thunderbolt,
enumerates twenty-six additional victims, which, according to Mahidhara (cf. Kâty. XXI, 1, 10), are to be added to the eleven victims of the second stake,-viz. fourteen victims dedicated to various socalled deities; eight victims, sacred to Pragâpati and belonging neither to the Sûdra nor to the Brahmana castes; and finally four more victims, characterised in exactly the same way as the eight preceding ones. It will be seen that of these twenty-six victims only the first set of (eight) Prâgâpatya victims are referred to in the Brahmana, and that as the victims seized last of all. This circumstance clearly characterises the last four victims of the Samhitâ as not recognised by the Brahmana; and seeing that all four of these are such as have already occurred amongst the previously enumerated victims (though there assigned to different divinities) they must be considered (as they are by Prof. Weber, Ind. Streifen, I, p. 68) as having been added to the list of the Samhitâ subsequently to the composition of the Brahmana. A similar inference will probably apply to the fourteen victims preceding the eight Prâgâpatya ones, though all that can be urged against them is that they are not referred to in the Brahmana.
'Hardly, and all food is virág (widely ruling or shining). In double clauses with a middle term, such as this, the position of subject and predicate seems often reversed in the second clause (cf. for instance, XIII, 8, 1, 4).
* See note 2 on p. 407.
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with vigour, the Sacrificer thus repels evil from about him.
7. Last of all he seizes eight ;-the Gayatri consists of eight syllables, and the Gåyatri is the Brahman (n.): he thus makes the Brahman to be the ultimate thing of this universe, whence they say that the Brahman is the ultimate thing of this universe.
8. These (eight) are sacred to Praga pati, Pragâpati assuredly is the Brahman, for Pragâpati is of the nature of the Brahman': therefore they are sacred to Pragàpati.
9. When about to bring up the victims, he offers those three oblations to Savitri, with (Våg. S. XXX, 1-3), God Savitri, (speed the sacrifice, speed the lord of sacrifice unto his share)!"May we obtain that glorious light of the God Savitri, (who shall inspire our prayers)!'.
-'All troubles remove thou from us, O God Savitri; bestow unto us what is auspicious!' He thus pleases Savitri, and thus pleased with him, he (Savitri) impels (speeds) those (sacrificial) men, and he seizes them impelled by that (Savitri).
10. For the priesthood he seizes a Brahmana, for the Brahmana is the priesthood: he thus joins priesthood to priesthood ? ;-for the nobility he seizes a Råganya, for the Råganya is the nobility : he thus joins nobility to nobility ;-for the Maruts (he seizes) a Vaisya, for the Maruts are the clans (peasants): he thus joins peasantry to peasantry ;
That is, of the divine spirit, the world-soul, of which Pragapati is, as it were, the personification, or phenomenal representative.
* Or, he perfecta, completes, the priesthood by adding to it a member of) the priesthood.
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SATAPATHA-BRAHMANA.
for (religious) toil (he seizes) a Sadra, for the Sadra is toil : he thus joins toil to toil ;-according to their particular form he thus supplies these divinities with victims, and, thus supplied, they supply him with all his objects of desire.
11. He makes offering with ghee, for ghee is fiery mettle: by means of fiery mettle he thus endows him (the Sacrificer) with fiery mettle. He makes offering with ghee, for that—to wit, ghee is the dear resource of the gods: he thus supplies them with their dear resource, and, thus supplied, they supply him with all his objects of desire.
12. By means of the Purusha Narayana (litany), the Brahman priest (seated) to the right (south) of them, praises the men bound (to the stakes) with this sixteen-versed (hymn, Rig-v. X, 90, Våg. S. XXXI, 1-16), 'The thousand-headed Purusha, thousand-eyed, thousand-footed? ...;'-thus (he does) for the obtainment and the securing of everything, for everything here consists of sixteen parts, and the Purushamedha is everything: in thus saying, 'So and so thou art, so and so thou art,' he praises and thereby indeed magnifies him (Purusha); but he also thereby speaks of him, such as he is. Now, the victims had had the fire carried round them, but they were not yet slaughtered,
13. Then a voice ? said to him, ' Purusha, do not
For a complete translation of this hymn, the Purusha-säkta, see J. Muir, Orig. Sanskrit Texts, vol. i, p. 9 seqq. Çp. also part iv, introduction, p. xiv.
3. A bodiless voice,' comm.; cf. XI, 4, 2, 16 where likewise 'an invisible voice' is introduced censuring the priest who burns the oblations. Perhaps, however, Våk may be intended from whom Pragâpati, in the beginning, produced the waters ; cf. VI, 1, 1, 4.
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consummate (these human victims?): if thou wert to consummate them, man (purusha) would eat man.' Accordingly, as soon as fire had been carried round them, he set them free, and offered oblations to the same divinities, and thereby gratified those divinities, and, thus gratified, they gratified him with all objects of desire.
14. He makes offering with ghee, for ghee is fiery mettle: with fiery mettle he thus bestows fiery mettle upon him.
15. He concludes with those of the set of eleven (stakes),--the Trishtubh consists of eleven syllables, and the Trishtubh is the thunderbolt, and vigour : with the thunderbolt, with vigour, the Sacrificer thus repels evil from within.
16. The Udayaniyê (concluding oblation) having been completed, he seizes eleven barren cows, sacred to Mitra-Varuna, the Visve Devåh, and Brihaspati , with the view of winning these deities. And as to those of Brihaspati being last,-Brihaspati truly is the Brahman (n.), and thus he finally establishes himself in the Brahman.
"Thus (i. e. do not go through with this human sacrifice) the commentator, probably correctly, interprets samsthåpaya (instead of do not kill,' St. Petersb. Dict., though, practically, it would, of course, come to the same thing),—Purusha, etân purusha. pasûn må samtishapah, udannayadikany angâny eshâm må kritha ity arthah; yadi samsthâpayishyasi tatah seshabhakshầnukarena loke #pi purushah purusham bhakshayishyati tak käyuktam ity abhipråyah. In the same way the verse ought accordingly to have been translated in III, 7, 2, 8.
. That is, he offers with the formulas. To the Brahman, hail! to the Kshatra, haill &c., running through the whole series of so-called divinities of the released victims.
· Viz. three for each of the first two deities, and five for Brihas
pati,
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.
SATAPATHA-BRAHMANA.
17. And as to why there are eleven of them, the Trishtubh consists of eleven syllables, and the Trishtubh is the thunderbolt, and vigour: with the thunderbolt, with vigour, the Sacrificer thus repels evil from within. The Traidhatavf is the final offering (Udavasânlyà) : the mystic import is the same (as before ').
18. Now as to the sacrificial fees. What there is towards the middle of the kingdom other than the land and the property of the Brahmana, but including the men, of that the eastern quarter belongs to the Hotri, the southern to the Brahman, the western to the Adhvaryu, and the northern to the Udgåtri; and the Hotrikas share this along with them.
19. And if a Brahmana performs the sacrifice, he should bestow all his property in order to obtain and secure everything, for the Brahmana is everything, and all one's property is everything, and the Purushamedha is everything.
20. And having taken up the two fires within his own self?, and worshipped the sun with the Uttara-Narayana (litany, viz. Vág. S. XXXI, 1722), let him betake himself to the forest without looking round; and that (place), indeed, is apart from men. But should he wish to live in the village, let him take up again the two fires in the churning-sticks, and having worshipped the sun with the Uttara-Narayana (litany) let him dwell at his home, and let him offer such sacrifices as he may
· Viz. as set forth V, 5, 5, 6 seqq.
• Viz. by thrice inhaling the heat (or smoke) emitted by the fires. Cf. Mânava-Dh. VI, 38; Baudhåyana-Dharmas, II, 17, 26.
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be able to afford. But, indeed, this (sacrifice) is not to be imparted to any and every one, lest one should impart everything to any and every one, for the Purushamedha is everything; but one may only impart it to one who is known to him, and who is versed in sacred writ, and who may be dear to him, but not to any and every one.
THE (SYMBOLICAL) VICTIMS OF THE PURUSHAMEDHA'.
I. 1. To the priesthood (he consecrates) a Brahmana-2. To the nobility a Kshatriya-3. To the Maruts a Vaisya-4. To penance (hardship, tapas) a Sudra-5. To darkness a thief6. To hell a man-slayer-7. To evil a eunuch-8. To barter an unchaste woman (ayobhût)-9. To desire a harlot (pumskalů)— 10. To the shriek (atikrusha) a minstrel (mâgadha)-11. To dancing a herald (bard, sûta)—12. To singing an actor (sailûsha)— 13. To the law a counsellor (sabhâkara)—14. To joking a timorous man-15. To fun (narma) a chatterer-16. To laughter (hasa) an artizan (kâri, ? singer of praises)-17. To pleasure (ânanda) a woman's friend-18. To enjoyment a maiden's son-19. To skill a wheelwright-20. To perseverance a carpenter-21. To heat (tapas) a potter-22. To craft a mechanic-23. To handsome form a jeweller-24. To beauty a barber-25. To the arrow-shot an arrow-maker-26. To the weapon a bow-maker-27. To work a bowstring-maker-28. To fate a rope-maker-29. To death a huntsman-30. To the end (antaka) a dog-keeper-31. To rivers a fisherman (paungishtha)-32. To the ogress (of waste lands) a
1 Comp. Prof. Weber's German translation (Zeitschr. D. M. G., XVIII, p. 262 seqq.; Indische Streifen, I, p. 76 seqq.), where the variants from the Taitt. Br. and the explanations of the commentaries are given. Not a few of the terms used (some of which are, indeed, explained in a different way by the commentators) are, however, still of doubtful meaning. Våg. S. XXX, 5-22.
? The patronymic, or matronymic, of this, 'âyobhava' is said to be the son of a Sudra from a Vaisya woman.
* Or, as Mahidhara takes 'subhe vapam,' to well-being the seedsower-einen Sämann dem Gedeihen, Weber.
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SATAPATHA-BRAHMANA.
Nishada '-33. To the man-riger (* werwolf) a mono-maniac34. To the Gandharvas and Apsaras a roving outcast (vrátya) --35. To the teams (? prayug) a madman—36. To serpents and demons a blockhead (? apratipad)-37. To dice a gambler-38. To impassibility: a non-gambler-39. To the devils (pisakas) a female cane-worker (basket-maker)-40. To the hobgoblins (yâtudhâna) a female worker in thorns-41. To intercourse a gallant42. To the house a paramour-43. To trouble an unmarried elder brother whose younger brother is married—44. To calamity a younger brother married before his elder brother-45. To failure the husband of a younger sister whose elder sister is unmarried 46. To reparation an artiste in embroidery-47. To agreement a female practiser of love-spells—48. To garrulity (prakåmodya) an attendant.
II. 1. To colour a devoted adherent—2. To strength a giver of gifts—3. To excrescences a hunchback-4. To merriment a a dwarf-5. To the doors a lame one-6. To sleep a blind one -7. To injustice a deaf one-8. To the means of purification (? purging) a physician-9. To knowledge a star-gazer-10. To desire of learning one who asks questions—11. To the desire of adding to one's knowledge one given to ask questions about (everything).
III. 1. To the bounds (of land or propriety) an arbitrator 2. To ruins an elephant-keeper—3. To speed a groom-4. To thrift a cowherd-5. To vigour a shepherd-6. To fiery mettle a goatherd-7. To refreshment (food) & cultivator of the soil 8. To the sweet beverage (? nectar) the distiller of liquor-9. To happiness the guardian of a house—10. To prosperity a possessor of wealth-II. To superintendence an assistant doorkeeper.
IV. 1. To the light a gatherer of fire-wood-2. To brilliance
· One of the wild aboriginal tribesmen. . ?fryatâ, lit. the state of one requiring to be roused. '?'envy' St. Petersb. Dict. (aråddhi).
• The meaning of 'utsåda' is doubtful; it might be removal, only the etymological meaning of 'ut-sad' having probably suggested the combination.
Mahidbara takes 'sråma' in the sense of one affected with ophthalmia (cf. srâva): in both senses the association of ideas is intelligible, though apparently (as in other cases) of a jocular nature.
Or, the assistant of a charioteer, according to Mah, and Say. (cf. V, 3).
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a fire-kindler-3. To the sun's sphere a sprinkler (anointer of a king)
-4. To the highest heaven a distributer (of portions)-5. To the world of the gods a carver (of portions)—6. To the world of men a scatterer (? seasoner")—7. To all the worlds a pourer out (of drink) -8. To decay and murder a churner -9. To the (animal) sacrifice (or, sacrificial essence) a washer-woman-10. To concupiscence a female dyer-11. To quarrelling one of a thievish disposition.
V. 1. To manslaughter an informer-3. To discrimination a doorkeeper-3. To oversight an assistant doorkeeper -4. To strength (cf. II, 2) an attendant-5. To plenty a servant-6. To the pleasant one speaking pleasantly—7. To security one mounted on a horse-8. To heaven (svarga loka) a dealer out of portions (cf. IV, 5)-9. To the highest heaven a distributer (of portions ; cf. IV, 4)-10. To wrath one who makes iron red-hot-11. To anger an absconder (? a yielder, coward).
VI. 1. To application a yoker-2. To grief one ready to attack-3. To peaceful dwelling an unyoker-4. To up-hills and down-hills one standing on three legs (of firm character)-5. To bodily form a haughty one ( 6. To virtue a woman who prepares unguents—7. To calamity (cf. I, 44) a woman who makes scabbards
-8. To Yama (the god of death) a barren woman-9. To Yama one who bears twins-10. To Atharvan one who has miscarried11. To the samvatsara (the first year of the five years' cycle) one in her courses.
VII. 1. To the parivatsara (the second year) one who has not yet borne children-2. To the idávatsara (the third year) one who transgresses (the matrimonial bonds) 3. To the idvatsara (the fourth year) one who oversteps (the bounds of propriety4. To the vatsara (the fifth year) one who is worn out-6. To the year a gray-haired one-6. To the Ribhus a furrier-7. To the Sadhyas a tanner-8. To the lakes a fisherman (dhaivara)-9. To stagnant (waters) a boatsman-10. To pools a Bainda -11. To reedmarshes one living on dried meat (or fish).
Mahidhara takes prakaritri' in the sense of vikshepiri'; Sây. in that of sower of discord.'
? Sây. makes 'upasektri' a composer of feuds (!). pa stirrer up of discord,' Sây. • Thus also Mahîdhara; charioteer, Sây.; cf. III, 11. • Yams, Taitt. Br.
• According to Mahîdhara, a wild tribesman (inhabitant of the jungle); 'one living by the net,' Sây.
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SATAPATHA-BRAHMANA.
VIII.
1. To the opposite bank a 'mârgâra ''—2. To the near bank a fisherman (kevarta)-3. To shallows an Ânda '—4. To uneven (? deep) places a fisher (mainâla)-5. To sounds (svana) a Parnaka-6. To caverns a Kirâta (woodman)—7. To mountainridges a Gambhaka -8. To the mountains a Kimpurusha -9. To loathing a Paulkasa-10. To colour a worker in gold (cf. I, 23)— 11. To the balance (pair of scales) a merchant.
416
IX. 1. To the latter part of the evening one exhausted-2. To all beings (spirits) a leper (sidhmala)-3. To good fortune a wakeful one-4. To ill-fortune a sleepy one-5. To trouble (cf. I, 43) a newsmonger-6. To adversity a spiritless one-7. To collapse a waster-8. To the king of dice a gambler (cf. I, 37)9. To the Krita (-die) one who takes advantage of mistakes in the game-10. To the Tretâ (-die) one who plays on a (regular) plan'-11. To the Dvâpara (-die) one who plans to over-reach (his fellow-player).
11
X. 1. To the Âskanda 10 (-die) a post of the gaming-room 2. (cf. I, 29) one who ' approaches' a cow-3. To the end (antaka, cf. I, 30) a cow-slayer-4. To hunger one who goes begging of one cutting up a cow-5. To evil-doing a Karaka-teacher-6. To evil (cf. I, 7) a robber-7. To the echo a reviler-8. To the noise a
The son of a mrigâri (? huntsman),' Mahidhara; 'one who catches fish with his hands,' Sây.
2 According to Mahfdhara, the maker of 'bandhanâni (? strings, or dams);'-according to Sây., one who catches fish by means of dikes.
* ? A Bhilla (Bheel, mountaineer, woodman);-one catching fish by means of feathers (parna), Sây.
4
Apparently a man of a voracious, flesh-eating tribe. Apparently low, despicable man.
• Explained as one of very low birth, or more particularly, as the son of a Nishâda from a Kshatriya woman.
7 Lit. a cutter away (? a spendthrift).
Thus Mahidhara explains âdinavadarsa'; 'one who works for his fellow-player's ruin,' St. Petersb. Dict.
• The terms 'kalpin' and 'adhikalpin' are of doubtful meaning
arranger' and 'head-arranger,' Weber.
10 Lit. 'the assailer,' apparently another name for the die usually
4
called Kali. On these dice see part iii, p. 106, note I.
" Explained as a jocular expression for the habitual frequenter of the gambling-house.
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growler-9. To the end (anta) a babbler-10. To the endless a dumb one-11. To articulate sound (sabda) a drum-beater.
XI. 1. To festive joy a lute-player-2. To the cry a fluteplayer-3. To the confused (noise) a conch-blower-4. To the forest a forester-5. To broken woodlands one who watches woods on fire—6. To fan (narma I, 15) a harlot (I, 9) . To laughter an artizan (I, 168. To the sea-monster (?) a mottled woman' (*) -9-11. To power a village-headman, an astrologer, and a herald (? abhikrosaka).
XII. (Added to those at the second post) :-1-3. To dancing (1, 11) a lute-player (XI, 1), a hand-clapper, and a flute-player (XI, 2) -4. To pleasure (I, 17) a musician–5. To fire a fat man6. To the earth a cripple-7. To the wind a Kándála (outcast) -8. To the air a staff-dancer -9. To the sky a bald-headed one-10. To the sun a yellow-eyed one-11. To the stars one of variegated colour-13. To the moon a leprous one (kilasa, cf. IX, 2)
-13. To the day a light-coloured one with yellow eyes—14. To the night a black one with yellow eyes. He then seizes these eight misshapen ones—15. One who is too tall-16. One too short17. One too stout-18. One too lean-19. One too light-coloured
20. One too black-21. One toa bald—32. One with too much hair :-these (are to be) neither Sadras nor Brahmanas, and are sacred to Pragapati ;—23. A minstrel (mågadha, I, 10)-34. A harlot (pumskalt, cf. I, 9)—35. A gambler (1, 37)36. A eunuch (1,7):these (also are to be) neither Sadras nor Brâhmanas, and are sacred to Pragàpati.
SEVENTH ADHYÂYA. FIRST BRÂHMANA.
THE SARVAMEDHA, OR ALL-SACRIFICE. 1. Brahman Svayambhu (the self-existent, n.) was performing austerities 8. He said this much,
· St. Petersb. Dict. conjectures To lust a sportive woman (? dancer or singer).'
• Vamsanartin' explained by Mahfdhara as one who practises dancing by means of a bamboo-staff (vamsena nartanasila); by Sây. as one who makes his living by dancing on the top of a bamboo-staff (vamsågranrittagivin); hardly a 'family-dancer,' Monier-Williams. • Cf. J. Muir, Orig. Sanskrit Texts, vol. v, p. 372. [44]
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• Verily, there is no perpetuity in austerities; well, then, I will offer up mine own self in the creatures, and the creatures in mine own self. And, accordingly, by offering up his own self in the creatures, and the creatures in his own self, he compassed the supremacy, the sovereignty, and the lordship over all creatures; and in like manner does the Sacrificer, by thus offering all sacrificial essences 1 in the Sarvamedha, compass all beings, and supremacy, sovereignty, and lordship. :
2. Now this Sarvamedha is a ten-days' (Soma-) sacrifice, for the sake of his gaining and winning every kind of food, for the Virág consists of ten syllables, and the Virág is all food. At this (sacrifice) he builds the greatest possible fire-altar, for thisto wit, the Sarvamedha — is supreme amongst all sacrificial performances: by means of the supreme (sacrifice) he thus causes him (the Sacrificer) to attain supremacy.
3. The first day thereof is an Agnishtut Agnishtoma”, for the sake of his gaining and winning all the gods, for the Agnishtut Agnishtoma is Agni; and all the gods have Agni (the sacrificial fire) for their mouth. The cups of Soma thereat pertain to Agni, and so do the Puroruk: formulas pertain to Agni, in order that everything should pertain to Agni.
1 Or, all kinds of victims (medha).
* That is, a one-day's Soma-sacrifice (ekâha) of the Agnishsoma order, arranged so as specially to promote the praise of Agni. In the same way the next three ekâhas are intended to bonour special deities.
That is, the formulas preceding the 'upayama' ('Thou art taken with a support, &c.,' cf. part ii, p. 259, note 1) or formula with which the cup of Soma is drawn.
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XII KÂNDA, 7 ADHYÂYA, I BRÂHMANA, 9. 419
4. The second day is an Indrastut Ukthya, for the sake of his gaining and winning all the gods, for Indra is all the gods. The cups of Soma thereat pertain to Indra, and so do the Puroruk formulas pertain to Indra, in order that everything should pertain to Indra.
5. The third day is a Saryastut Ukthya, for the sake of his gaining and winning all the gods, for Surya is all the gods. The cups of Soma pertain to Surya, and so do the Puroruk formulas pertain to Sarya, in order that everything should pertain to Sarya
6. The fourth day is a Vaisvadeva, for the sake of his gaining and winning all the gods, for the All-gods (Visve Devâh) are all the gods. The cups of Soma pertain to the All-gods, and so do the Puroruk formulas pertain to the All-gods, in order that everything should pertain to the Allgods.
7. The fifth day is a central Åsvamedhika? one.: at this (sacrifice) he seizes a horse meet for sacrifice, for the sake of his gaining the sacrificial essence of the horse.
8. The sixth day is a central Paurushamedhika! one : at this sacrifice) he seizes men meet for sacrifice, for the sake of his gaining the sacrificial essence of man.
9. The seventh day is an Aptoryâma, for the sake of his gaining all kinds of Soma-sacrifices: at this (sacrifice) he seizes all kinds of (victims) meet for sacrifice, both what is animate and what is
* That is, an Ukthya sacrifice, cf. p. 259, note 2; XIII, 5, 1, 5 seqq. · That is, an Atirätra, cf. XIII, 6, 1, 9.
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inanimate. Of those with omenta he offers the omenta, and of those without omenta they throw down pieces cut out of the skin', and of herbs and trees they do so after cutting them up,every kind of food of both the dry and the fresh he offers, in order to gain every kind of food. Everything he offers, and to every one he offers in order to gain and to win everything. The omenta having been offered at the morning-service, and in the same way the oblations at the eveningservice,
420
10. The eighth day is a Trinava one, for the Trixava (stoma) is the thunderbolt, and by means of the thunderbolt, indeed, lordship (kshatra) is gained: by means of the thunderbolt he thus gains lordship.
11. The ninth day is a Trayastrimsa one3, for the sake of his gaining a foothold, for the Trayastrimsa (stoma) is a foothold.
12. The tenth day is a Visvagit Atirâtra with all the Prishthas, for the sake of his gaining and winning everything, for the Visvagit Atirâtra with all the Prishthas is everything, and the Sarvamedha is everything.
13. Now as to the sacrificial fees: whatever there is towards the middle of the kingdom other than the property of the Brahmana, but including land and
1 Lit., ' after cutting (pieces) out of the skin they throw down.' ⚫ That is, one on which the Trinava (thrice-nine-versed) Stoma is used in chanting.
That is, one on which the thirty-three-versed hymn-form is used.
For a Soma-sacrifice with all the Prishtha-sâmans, see part iii, introd. p. xx seqq. On the two kinds of Visvagit ekâhas, the Agnish/oma and the Atirâtra Visvagit, see part iv, p. 320, note 2.
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men, of that the eastern quarter belongs to the Hotri, the southern to the Brahman, the western to the Adhvaryu, and the northern to the Udgâtri; and the Hotrikas share this along with them.
421
14. Visvakarman Bhauvana once performed this sacrifice, and having performed it he overpassed all beings, and became everything here; and verily he who, knowing this, performs the Sarvamedha, or who even knows this, overpasses all beings, and becomes everything here.
15. It was Kasyapa who officiated in his sacrifice, and it was concerning this that the Earth' also sang the stanza;-‘No mortal must give me away; thou wast foolish, Visvakarman Bhauvana: she (the earth) will sink into the midst of the water; vain is this thy promise unto Kasyapa.'
EIGHTH ADHYAYA. FIRST BRAHMANA. FUNERAL CEREMONIES.
I. They now do what is auspicious for him. They now prepare a burial-place (smasâna 3) for him,
1 Or, the ground, which Visvakarman Bhauvana gave away as sacrificial fee. On this legend cp. Ait. Br. VIII, 21; J. Muir, Orig. Sanskrit Texts, vol. i, p. 456; vol. iv, p. 369.
• The commentator is at pains to show that 'atha' here has not the force of thereupon '-that is after the performance of the Sarvamedha-but that of introducing a new topic ('Now, they do...); and that therefore the directions about to be given are by no means intended to apply only to one who has performed the Sarvamedha, or even to the Agnikit, or builder of a fire-altar, but also to others.
* Yâska (Nir. III, 5) resolves this word into 'sman' (body) + 'sayana' (couch); whilst Prof. Weber, Ind. Stud. I, p. 189, proposes 'asman' (stone) + 'sayana' (couch). The smarâna, or burial-place, sepulchre, is constructed in the form of a tumulus, or grave-mound.
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(to serve him) either as a house or as a monument; for when any one dies, he is a corpse (sava), and for that (corpse) food (anna) is thereby prepared, hence
savanna,' for, indeed, savanna' is what is mystically called 'smasåna.' But 'smasáh' also are called the eaters amongst the Fathers, and they, indeed, destroy in yonder world the good deeds of him who has had no sepulchre prepared for him: it is for them that he prepares that food, whence it is
smasånna,' for 'smasånna' is what is mystically called 'smasåna.'
2. Let him' not make it too soon (after the deceased man's death) lest he should freshen up his sin; but let him make it a long time after, as thereby he obscures the sin ;—and when people do not even remember the years (that have passed ), as thereby one causes the sin to pass into oblivion. If they do remember,
1 Viz. the Sacrificer, the performer of the funeral rites, being the next of kin.
. This is the way in which the scholiasts interpret the corresponding rule, Kåty. Sr. XXI, 3, 1 (pitrimedhah samvatsarasmritau), instead of when they do not remember it (even once) for years, be brings it about that the sin is forgotten, even in case they should remember it,' as Prof. Delbrück, Altind. Syntax, p. 351 translates the passage. For the subject of the verb 'they remember it,' Prof. Delbrück supplies 'pitarah,' i.e. the dead man's deceased ancestors, instead of the living people, which seems rather improbable. The comment is very corrupt, but it makes at least some allusion to people's talk':-na srutih srutyabhâvas (tâm) tens kirakaranena agham påpakaranam gamayati, kirát smasanam kurvasraranam (? kurvatah sravanam) ganavådospi na srinotîty (1) arthal.
In this way Harisvâmin, as well as the scholiasts on Käty. XXI, 3, 2, construes the clause with the next paragraph, and it is difficult to see how otherwise any satisfactory sense could be extracted from it. At the same time, it can evidently only qualify the first specification of time, as the others will apply in any case.
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3. Let him make it in uneven years, since the uneven belongs to the Fathers; and under a single Nakshatra ', since the single Nakshatra belongs to the Fathers; and at new-moon, since the new-moon is a single Nakshatra ;--for he (the Sacrificer) is a single (person); and in that all the beings dwell together during that night, thereby he obtains that object of desire which is (contained) in all Nakshatras.
4. Let him make it in autumn, for the autumn is the Svadha, and the Svadha is the food of the Fathers : he thus places him along with food, the Svadha ;-or in the month of) Mâgha, thinking,
Lest (mâ) sin (agha) be in us; -or in summer (nidagha), thinking, ‘May thereby be removed (nidha) our sin (agha)!'
5. Four-cornered (is the sepulchral mound). Now the gods and the Asuras, both of them sprung from Pragàpati, were contending in the (four) regions (quarters). The gods drove out the Asuras, their rivals and enemies, from the regions, and, being regionless, they were overcome. Wherefore the people who are godly make their burial-places four-cornered, whilst those who are of the Asura nature, the Easterns and others?, (make them)
That is, a lunar mansion consisting of a single star, such as Kitra and Pushya in contra distinction to such in the dual, as Punarvasů and Visakhe, and to those in the plural number, as the Krittikas). As regards the symbolic connection of the uneven number with the deceased ancestors, the commentator reminds us of the fact that it is the father, grandfather, and great-grandfather who represent the Fathers.--The only available MS. of the commentary (Ind. Off. 149) terminates at this place.
Yå åsuryah pråkyâs tvad ye tvat parimandaláni (smasânâni kurvate),—Prof. Weber, Ind. Stud. I, p. 189, takes this in the sense of part of the prákya, the asuryah pragåh of them (hence probably
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round, for they (the gods) drove them out from the regions. He arranges it so as to lie between the two regions, the eastern and the southern', for in that region assuredly is the door to the world of the Fathers through the above he thus causes him to enter the world of the Fathers; and by means of the (four) corners he (the deceased) establishes himself in the regions, and by means of the other body' (of the tomb) in the intermediate regions: he thus establishes him in all the regions.
6. Now as to the choosing of the ground. He makes it on ground inclining towards the north, for the north is the region of men: he thus gives him (the deceased) a share in the world of men; and in that respect, indeed, the Fathers share in the world of men that they have offspring; and his (the deceased man's) offspring will, indeed, be more prosperous.
7. Let him make it on ground inclining towards the south,' they say, 'for the world of the Fathers inclines towards the south: he thus gives him a share in the world of the Fathers.' Let him not do so, however, for, indeed, such a one is an opening tomb, and certainly another of these (members of the dead man's family) quickly follows him in death.
the non-Aryan portion of them), have round smasâna.' J. Muir, Orig. Sansk. Texts, vol. ii, p. 485, takes no account of the words 'tvad ye tvat. For our rendering of these words, cp. V, 3, 2, 2 sûdrâms tvad yâms tvat, Sudras and others,' or 'Sudras and suchlike people.'
That is to say, its front side is towards the south-east. Cp. p. 428, note 4.
⚫ That is, by means of the sides of the grave which are to face the intermediate points of the compass.
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8. And some, indeed, say, 'Let him make it on a counter-cutting in ground inclined towards the south, for such (a tomb) indeed becomes rising sin?' But one must not do so, for indeed such (a burial place) alone becomes rising sin which one makes on ground inclining towards the north.
9. On any level (ground) where the waters, flowing thither from a south-easterly direction, and coming to a stand-still, will, on reaching that (north-westerly) quarter, without pressing forward", join imperishable water', on that (ground) one may make (the tomb); for, water being food, one thereby offers food to him from the front towards the back; and, water being the drink of immortality, and that region between the rising of the seven Rishis 6 and the setting of the sun being the quarter of the living, one thereby bestows the drink of immortality upon the living :--and such a one, indeed, is a closing tomb; and verily what is good for the living that is also good for the Fathers.
1 This is meant as a literal rendering of pratyarsha. What is intended thereby would seem to be either a cutting made into southward sloping ground, in such a way as to make the cut piece of ground rise towards the south, or perhaps such a part of the southward inclined ground as naturally rises towards the south. The St. Petersburg Dict. suggests 'steep bank (escarpment), or side (of a hill).' Kâty. XXI, 3, 15 (kakshe) seems also to imply some kind of hollow ground, surrounded by bushes and trees.
? That is, apparently, lightened, or improving, sin.
• It might also mean, in a south-easterly direction, but the comparison with food introduced into the mouth from the front (east) and the specification of the opposite direction evidently point to the above meaning.
• That is, without urging forward the standing water which they join, but quickly flowing into it.
* That is, apparently, such a lake as never dries up. . That is, Ursa major, the Great Bear, or Charles's Wain,
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10. Let him make it in a pleasant (spot), in order that there should be pleasure for him; and in a peaceful (spot), in order that there should be peace for him. He must not make it either on a path, or in an open space, lest he should make his (the deceased's) sin manifest.
11. Whilst being secluded it should have the sun shining on it from above!: in that it is secluded one hides his sin; and in that it has the sun shining on it from above-yonder sun being the remover of evil-he, indeed, removes the evil from him, and he also causes him to be endowed with the radiance of the sun.
12. Let him not make it where it would be visible from here , for assuredly it is beckoning, and another of these (members of his family) quickly follows (the deceased) in death.
13. Let there be beautiful objects : at the back, for beautiful objects mean offspring : beautiful objects, offspring, will thus accrue to him. If there be no beautiful objects, let there be water either at the back or on the left (north) side, for water is indeed a beautiful object; and beautiful objects, offspring, will indeed accrue to him.
14. He makes it on salt (barren) soil, for salt means seed; the productive thus makes him partake in productiveness, and in that respect, indeed, the
-
"That is, it should be in a place where at midday the rays of the sun do not fall obliquely on it, Kâty. XXI, 3, 15 comm. ? That is, from the village, cf. Kâty. XXI, 3, 18.
Or, beautiful ground (kitra). According to the comments on Káty. XXI, 3, 23 this means that the site of the grave should be so chosen that there are at the back (or west) of it, either woods of various kinds, or ground diversified by woods, hills, temples (1) &c.
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Fathers partake in productiveness that they have offspring: his offspring assuredly will be more prosperous.
15. On such (ground) as is filled with roots, for to the Fathers belongs the (sod) filled with roots ;-it is (sod) of virina (Andropogon muricatus) and other grasses, for thus the Fathers' share in this earth) is not excessive !; and he also thereby makes (the deceased's) sin to be restricted ?
16. Let him not put it near (where grows) BhQmipåsa?, or reeds, or Asmagandha“, or Adhyanda, or Prisniparni (speckled-leaf,' Hemionitis cordifolia); nor let him make it near either an Asvattha (Ficus religiosa), or a Vibhitaka (Terminalia bellerica), or a Tilvaka (Symplocos racemosa), or a Sphargaka (Diospyros embryopteris), or a Haridru (Pinus deodora), or a Nyagrodha (Ficus indica), or
1 Whilst their share would have been excessive, if all the ground covered with vegetation were assigned to them. It is also worthy of note that Kâty. Sr. XXV, 7, 17, in enumerating the plants which are to be removed from the site of the funeral pile, mentions (apparently in the place of our Bhâmipåsa) the Visakha, explained by the commentator as identical with 'dürva'; and Sir H. M. Elliott, Races of the N. W. Province of India, II, p. 303, remarks, on the Dab grass (Agrestis linearis, or Cynodon dactylon), that its tenacity whenever it once fixes its roots has caused it to be used in a common simile when the attachment of Zamindårs to their native soil is spoken of
? Apparently lit. binding (itself),' ? i.e. either restricted in quantity, or limited to his own person, not transmitted to his son. Cf. XIII, 8, 3, 10. It can hardly be taken in the sense of binding the sin.'
Literally, 'Earth-net,' apparently some troublesome creeping plant corresponding to our rest-harrow (Ononis arvensis or spinosa), or couch-grass (Triticum repens), but of tropical dimensions.
• Lit. .rock-smell,' perhaps identical with Asvagandhå (lit.' horsesmell,' Physalis flexuosa).
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any other (trees) of evil name, so as to avoid (such) names from a desire of good luck.
17. Now as to the order of procedure. For an Agnikit (builder of a fire-altar) one makes the tomb after the manner of the fire-altar; for when a Sacri. ficer builds a fire-altar he thereby constructs for himself by sacrifice a (new) body for yonder world; but that sacrificial performance is not complete until the making of a tomb; and when he makes the tomb of the Agnikit after the manner of the firealtar, it is thereby he completes the Agnikitya.
18. One must not make it (too) large lest he should make the sin (of the deceased) large. 'Let him make it as large as the fire-altar without wings and tail,' say some, for like that of the fire-altar is this his (the Sacrificer's) body.'
19. But let him rather make it just of man's size : he thus leaves no room for another; -broader (variyas) behind, for what is (left) behind is offspring : he thus makes the (dead man's) offspring more excellent 3 (variyas);—and broader on the left (north or higher, uttara) side, for the later (uttara)
· The commentator, on Kâty. XXI, 3, 20, and Vag. S. XXXV, 1, instances the sleshmântaka (antiphlegmatic,' i.e. Cordia latifolia or myxa) and the kovidåra (bad for splitting,' Bauhinia variegala; which, according to Stewart and Brandis, shows vertical cracks in the bark).
• The grave being constructed in such a way that the four corners lie in the direction of the four quarters, the back, or west side of the grave would really mean the side facing the north-west.
* Or, perhaps, more extended, more numerous or prosperous.
• In reality, the north means here the side facing the north-east. The side of the tumulus is to form a quadrilateral, of which the two sides intersecting each other at the north corner, are to be longer than the two which intersect at the south corner ; viz each of the
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are offspring : he thus makes the offspring more excellent. Having attended to this, he encloses it with cords twisted (and extended) in the non-sunwise way'; for the sacrificial) performance connected with the Fathers is done in the non-sunwise way.
20. He then bids them cut out (the earth). He should cut it out to whatever extent he intends to raise (the sepulchral mound), but let him rather cut it out so as to be just of man's size : he thus leaves no room for another. For, on the one hand ?, the Fathers are the world of plants, and amongst the roots of plants they (are wont to) hide ; and, on the other”, (he does so) lest he (the deceased) should be separated from this (earth).
SECOND BRÂHMANA. 1. Now, some bank up (the sepulchral mound) after covering up (the site). The gods and the Asuras, both of them sprung from Pragâpati, were contending for the possession of) this (terrestrial) world. The gods drove out the Asuras, their rivals and enemies, from this world; whence those who
former is to measure one man's length plus 97 angulas (thumb's breadths), and each of the latter one man's length minus et angulas. See comm. on Vág. S. XXXV, 1.
That is, by twisting or spinning the strands from right to left, or contrary to the son's course. The cord is extended round the grave from right to left (east, north, west, south) by means of pegs driven into the ground at the four corners; see XIII, 8, 4, 1.
'I do not see how the usual force of 'atho'-viz. that of introducing a new element or argument either analogous, or not quite conformable, to what precedes (cf. Delbrück, Altind. Syntax, p. 513) can apply to this double use of the particle. The two
atho seem to introduce the reasons for his digging up the ground, and for his not digging up more than a man's size.
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are godly people make their sepulchres so as not to be separate (from the earth), whilst those (people) who are of the Asura nature, the Easterns and others, (make their sepulchral mounds) so as to be separated (from the earth), either on a basin or on some such thing.
2. He then encloses it by means of enclosingstones: what those enclosing-stones (round the fire-hearths) are, that they are here. With a formula he sets up those, silently these: he thus keeps separate what refers to the gods and what refers to the Fathers. With (an) undefined (number of stones he encloses it), for undefined is yonder world.
3. He then sweeps that (site) with a palása (Butea frondosa) branch-what the sweeping (signified) on that occasion, that it does) here—with (Våg. S. XXXV, 1), 'Let the niggards avaunt from hence, the perverse scorners of the gods!'he thereby expels from this world the niggards, the perverse haters of the gods, the Asura-Rakshas;
-'it is the place of this Soma-offerer,' for he who has performed a Soma-sacrifice is a Somaofferer ;'(an abode) distinguished by lights, by days, by nights,'—he thereby makes him to
' I take the 'kama 'to be a shallow stone basin or trough, either solid or consisting of masonry (bricks) in the manner of our stones lined graves.
• Cf. VII, 1, 1, 12 seq..The enclosing-stones are the womb: he thus encloses the seed here sown in a womb... And, again, the Garhapatya hearth is this (terrestrial) world, and the enclosing stones are the waters: he thus surrounds this world with water.'
· Viz. in building the Garhapatya bearth (VII, 1, 1, 11 seqq.); no such sweeping taking place in preparing the site for the Ahavaniya (VII, 3, 1, 7).
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be of the world of the seasons, the days and nights ;
4. 'May Yama grant him an abode;'-for Yama has power over the abode in this earth), and it is him he solicits for an abode therein for this (dead man). He throws out this (branch) to the right (south), the other to the left (north) side: he thus keeps the divine separate from what belongs to the Fathers.
5. He (the Adhvaryu) then yokes (the team) to the plough on the south side,-some say on the north side: he may do as he chooses. Having given the order, saying, 'Yoke !'he (the Sacrificer) utters the formula (Våg. S. XXXV, 2), 'May Savitri vouch safe for thy bones a place in the earth!'-Savitri now indeed vouchsafes a place in the earth for his (the deceased man's) bones;—'Let the oxen be yoked therefore!' for it is indeed for this work that the oxen are yoked.
6. It is a team of six oxen,-six seasons are a year: on the seasons, on the year, as a firm foundation, he thus establishes him. Having turned round (the plough) from right to left”, he ploughs the first furrow with (Våg. S. XXXV, 3), “May Vayu purify!' along the north side (along the cord) towards the west *; with, “May
1 Viz, that used in sweeping the Gårbapatya, VII, 7, 1, 5.
"That is, having driven the plough round from the south side to the north, in the non-sunwise direction (i. e, keeping the sepulchral site on the left hand side).
. In ploughing the site of the fire-altar, the first furrow was drawn along the south side from west to east; and then, in sunwise fashion, from the south-west corner round along the west, north, and east sides ; see VII, 2, 2, 9 seqq.
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Savitri purify!' along the west side towards the south; with, With Agni's lustre!' along the south side towards the east; with, With Surya's brilliance!' along the front side towards the north.
7. Four furrows he ploughs with a formula: he thereby establishes him in whatever food there is in the four quarters. And (as to why it is done) with a formula, certain, assuredly, is the sacrificial formula (yagus), and certain are these quarters.
8. He then ploughs across the body (of the sepulchral site) —he thereby establishes him in whatever food there is in the year'-silently with (an) undefined (number of furrows), for undefined is yonder world.
9. Having performed the work for which he has put the team to that (plough), he now unfastens it: 'Let the oxen be unyoked!' he says, for it is for that work that the oxen were yoked. To the right (south) side: he removes this (plough and team), to the left (side) any other: he thus keeps the divine separate from what belongs to the Fathers.
THIRD BRÂHMANA. 1. He then sows (seed) of all (kinds of) herbs: what the all-herb (seed signified) on that occasion, that (it does) here. With many (verses *) he sows
* The Sacrificer's body (trunk) or self, like that of Pragapati, is as usual identified with the year (Father Time).
• Or rather to the south-west side, whilst at the Agnitayana (VII, 2, 2, 21) it was done towards the north-east.
• Viz. that it means food of every kind, see VII, 2, 4, 14.
• Viz. with fifteen verses (VII, 2, 4, 15 seqq.) of which the one here used formed part (part iii, p. 340, note a, verse 5).
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that (former seed), with a single one this,-he thus keeps the divine separate from what belongs to the Fathers, with (Våg. S. XXXV, 4), 'On the Asvattha tree is your abode, on the Parna dwelling is made for you, (possessed of cattle shall ye be, when ye save the Man) :' for long life he thereby prays for these (the Sacrificer's family), and accordingly each subsequent one of them dies of old age 1
2. He then pours out that (jarful of bones 4); for this earth is the foundation : on this (earth), as a foundation, he thus establishes him. Before sunrise (he does so), for, in secret, as it were, are the Fathers, and in secret, as it were, is the night; in secret, indeed, he does this, (but) so that the sun) should rise over him doing it: on both day and night he thus establishes him.
3. [He does so, with Våg. S. XXXV, 5-6,] May Savitri deposit thy bones in the mother's lap,'-Savitri thus deposits his bones in the lap of the mother, this earth ;-'0 Earth, be thou propitious unto him!'he thus says this in order that this (earth) may be propitious to him.-In the deity Pragâ pati I place thee, in the world nigh unto the waters, O N. N., therewith he mentions the name (of the deceased); for nigh to
1 That is, they die of old age, just as do the herbs now sown to which the verse is, of course, addressed in the first place. Cf. Mahidhara on Vag. S. XII, 79.
On burning the dead body, immediately after death, the calcined bones were carefully collected and kept in an earthen vessel; cf. p. 117, note 3.
• Or, in a place near water. The Samhità adds (either before or after the dead man's name), "May he (Prag&pati) burn away our sin l'
(44)
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the water, indeed, is this (terrestrial) world: he thus places him in the deity Pragapati, in the world nigh unto the water.
4. He then says to some one, Proceed in that (southern) direction without drawing breath, and, having thrown down the jar, return hither without looking behind thee!' He then mutters (Våg. S. XXXV, 7), 'O Death, go away another way, what second way there is of thine other than the path of the gods?; I call unto thee that hast eyes and hearest: hurt not our family nor our men!' for long life he thereby prays for these, and accordingly each subsequent one of them dies of old age.
5. He then arranges him (the dead man) limb by limb, with (Våg. S. XXXV, 8-9), 'Propitious be the wind unto thee, propitious the heat of the sun; propitious be the bricks; propitious be the fires unto thee, and may the earthly ones not scorch thee!-May the regions fit themselves to thee, and may the waters be most kind unto thee, and the rivers; and kind also the air: may all the regions fit themselves to thee!'-he thereby makes every thing fit itself to him, and be auspicious for him.
6. Now thirteen unmarked bricks, measuring a foot (square), have been made: they are just like those bricks in the fire-altar. Those (altar bricks) he lays down with a formula, silently these: he thus keeps the divine separate from what belongs to the Fathers. · Viz. the pitriyâna,' or path of the Fathers. See 1, 9, 3, 2.
That is, not marked with lines, as those of the fire-altar are. As to the use of pebbles, instead of bricks, in the case of one who has not performed the Agnikayana, see XIII, 8, 4, 11.
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7. There are thirteen of them,-thirteen months are a year : on the seasons, on the year, he thus establishes him, as on a firm foundation.
8. They measure a foot (square),—the foot is. a foundation: a foundation he thus prepares for him. Unmarked they are, for in secret, as it were, are the Fathers, and in secret, as it were, is what is unmarked: he thus secretes what is in secret
9. One of them he places in the middle, with the front side towards the east: this is the body (trunk) ;-three in front, fitted to the position of) the head : that is the head ;-three on the right: that is the right wing (side) ;-three on the left: that is the left wing ;-three behind: that is the tail. Thus this his body, furnished with wings and tail, is just like that of Agni (the fire-altar).
10. He then bids them bring some soil from a cleft in the ground, for thus the Fathers' (share) in this earth) is not excessive; and he also thereby makes the (dead man's) sin to be restricted? And some, now, dig in that intermediate (south-eastern) quarter, and fetch it from there; and others, again, do so towards the south-west, and fetch it northwards from there: he may do as he chooses.
11. Let him not make it (the sepulchral mound) too large, lest he make the (deceased's) sin large. For a Kshatriya he may make it as high as a man with upstretched arms, for a Brahmana reaching up to the mouth, for a woman up to the hips, for a Vaisya up to the thighs, for a Sadra up to the knee; for suchlike is their vigour.
12. But let him rather make it so as to reach
* See XIII, 8, 1, 15.
Ff 2
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below the knee: he thus leaves no room for another. While that (mound) is being made, they hold a bundle (of reed grass) to the left (north, uttaratah) of it,--that is offspring : they thus hold the (deceased's) offspring upwards (uttaratah). Do not let him throw it down either after holding it up, or after bringing it; but let him set it up in the house': he thus sets up offspring in the house.
13. Having prepared it, he sows barley grain (yava), thinking, ‘May they ward off (yavaya) sin from me!' He covers it over with Avaka-plants ' in order that there may be joy (or moisture, ka) for him ; and with Darbha grass (Poa cynosuroides) he covers it for the sake of softness.
Fourth BRAHMANA, 1. They now fix pegs round it 3,-a Palåsa (Butea frondosa) one in front,-for the Palása is the Brahman (n.): he thus makes him go to the heavenly world with the Brahman for his leader ;-a Sami (Prosopis spicigera) one on the left (north corner), in order that there may be peace (sam) for him ;a Varana (Crataeva Roxburghii) one behind, in order that he may ward off (våraya) sin from him ;
* That is, fix it so as to stand upright, by means of a bamba stick to which it is tied. Cf. Kâty. XXI, 3, 37 comm.
• Blyxa (or Vallisneria) octandra (Roxburghii), a grass-like plant with sword-shaped leaves (A. K. Naime, The Flowering Plants of Western India, p. 318), growing freely on the margins of tanks. Cf. VII, 5, 1, 11; IX, 1, 2, 32 (where read · Avaka-plant' instead of lotus-flower').
• According to Katy. St. XXI, the pegs are driven in immediately after the measuring, and prior to the sweeping, of the site of the tumulus; and this must certainly be the case, seeing that the cords by which the site is enclosed (XIII, 8, 1, 19) are fastened to the pegs.
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and a Vritra-peg' on the right (south corner) for sin not to pass beyond.
2. On the right (south) side they then dig two somewhat curved (furrows), and fill them with milk and water,-these, indeed, are two inexhaustible streams (that) flow to him in the other world ;-and seven (they dig) on the left (north) side, and fill them with water, for sin not to pass beyond, for indeed sin cannot pass beyond seven rivers :
3. They* throw three stones each into the northern furrows), and pass over them, with (Våg. S. XXXV, 10; Rig-v. X, 53, 8): 'Here floweth the stony one: hold on to each other, rise, and cross over, ye friends: here will we leave behind what unkind spirits there be, and will cross over to auspicious nourishments;' -as the text so its import.
4. They cleanse themselves with Apåmârga plants 8—they thereby wipe away (apa-marg) sin—
· The exact meaning of vritra-sanku' is doubtful. Kâty. Sr. XXI, 3, 31 has deha-sanku' instead, to which the commentary assigns the rather improbable meaning of 'stone-pillar,' in favour of which he refers to IV, 3, 5, 15 of our Brahmara-Soma, in truth, was Vritra : the mountains and stones are his body;' whence he makes 'vritra'='asman' (stone).
Or narrow trenches or ditches-kuhile karsha, Kâty. XXI, 4, 20. They are apparently semicircular, probably with their open part towards the grave.
• These seven furrows are straight, running from west to east; thus separating the grave from the north, the world of men.
• That is, the Adhvaryu and the members of the Sacrificer's family.
Lit. cleansing-plants' or wiping-plants,' Achyranthes aspera ; also called the burr-plant (Birdwood), a common hairy weed sound all over India, and much used for incantations and sacrificial purposes.
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with (Vag. S. XXXV, 11), 'O Apå mårga, drive thou away from us sin, away guilt, a way witchery, away infirmity, away evil dreams!' -as the text so its import.
5. They bathe at any place where there is water. With (Våg. S. XXXV, 12), 'May the waters and plants be friendly unto us!' he takes water with his joined hands,- for water is a thunderbolt: with the thunderbolt he thus makes friendship,--and with,
Unfriendly may they be unto him who hateth us, and whom we hate!' he throws it in the direction in which he who is hateful to him may be, and thereby overthrows him. :
6. And if it be standing water, it makes their (the bathers') evil stop; and if it flows, it carries away their evil. Having bathed, and put on garments that have never yet been washed, they hold on to the tail of an ox !, and return (to their home),- for the ox is of Agni's nature: headed by Agni they thus return from the world of the Fathers to the world of the living. And Agni, indeed, is he who leads one over the paths (one has to travel), and it is he who leads these over.
That is to say, one of them takes hold of the tail, whilst the others follow in single file, each holding on to the one walking in front of him. Prof. Weber, Ind. Stud. IX, p. 21, note, refers to the somewhat analogous practice of tying to the left arm of a dead man the tail of the anustarani-cow slain at the funeral sacrifice, whereby the deceased is supposed to be led safely-across the river Vaitarani (Styx): see Sây. on Shadv. Br., as quoted Ind. Stud. I, p. 39; cf. also Colebrooke, Misc. Essays, second ed., p. 199–to the world of the Fathers. According to Katy. XXI, 4, 24 the ceremony of taking hold of the tail is performed with the verse, Våg. S. XXXV, 13, 'For our well-being we hold on to the ox, sprung from Surabhi : even as Indra to the gods, so be thou 2 saving leader unto us!'
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7. They proceed (towards the village) muttering this verse (Vág. S. XXXV, 14), 'From out of the gloom have we risen'...-from the gloom, the world of the Fathers, they now indeed approach the light, the sun. When they have arrived, ointments for the eyes and the feet are given them : such, indeed, are human means of embellishment, and therewith they keep off death from themselves..
8. Then, in the house, having made up the (domestic) fire, and laid enclosing-sticks of Varana wood round it, he offers, by means of a sruva-spoon of Varana wood, an oblation to Agni Ayushmat, for Agni Ayushmat rules over vital power : it is of him he asks vital power for these (the Sacrificer's family). [Vâg. S. XXXV,16,]'Thou, Agni, causest vital powers to flow: (send us food and drink, and keep calamity far from us),' serves as invitatory formula
9. He then offers, with (Våg. S. XXXV, 17), 'Long-lived be thou, O Agni, growing by offering, ghee-mouthed, ghee-born: drinking the sweet, pleasant cow's ghee, guard thou these, as a father does his son, hail!' he thus says this so that he (Agni) may guard and protect these (men).
10. The sacrificial fee for this (ceremony) consists of an old ox, old barley, an old arm-chair with headcushion, this at least is the prescribed Dakshina, but he may give more according to his inclination. Such, indeed, is the performance) in the case of one who had built a fire-altar.
1 See XII, 9, 3, 8. • I.e. imbued with vital power, long-lived.
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II. And in the case of one who has not built a fire-altar, there is the same mode of selecting the site (for the sepulchral mound) and the same performance save that of the fire-altar. 'Let him use pebbles (instead of bricks') in the case of one who keeps up a sacrificial fire,' say some, 'they are just what those pebbles used at the Agnyâdheya are "' 'Let him not use them,' say others; 'surely they would be liable to weigh heavily upon one who has not built a fire-altar.' Let him do as he
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pleases.
12. Having fetched a clod from the boundary, he deposits it (midway) between (the grave and the village), with (Vâg. S. XXXV, 15), 'This I put up as a bulwark for the living, lest another of them should go unto that thing: may they live for a hundred plentiful harvests, and shut out death from themselves by a mountain!'-he thus makes this a boundary between the Fathers and the living, so as not to commingle; and therefore, indeed, the living and the Fathers are not seen together here.
1 See XIII, 8, 3, 6.
* See II, 1, 1, 8 seqq.
Viz. the Adhvaryu, according to Mahîdhara on Vâg. S. XXXV, 15. According to Kâty. XXI, 4, 25, this ceremony takes place whilst they are on their way back from the grave to the village; as indeed appears from the order in which the formula used appears in the Vâg. Samhitâ. It is difficult to see why the author should not have given it in its right place, unless it was done with a view to a good conclusion to the Kânda, or because he really wished it to be done after the performance of the offering. It is scarcely necessary to assume that this Kandikâ is a later addition, perhaps based on the Kanva recension.
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FOURTEENTH KÅNDA.
THE PRAVARGYA.
First ADHYAYA. First BRÂHMANA. 1. The gods Agni, Indra, Soma, Makha, Vishnu, and the Visve Devåh, except the two Asvins, performed a sacrificial session ?
2. Their place of divine worship was Kurukshetra. Therefore people say that Kurukshetra is the gods' place of divine worship: hence wherever in Kurukshetra one settles there one thinks, 'This is a place for divine worship;' for it was the gods' place of divine worship.
3. They entered upon the sessions thinking, ‘May we attain excellence! may we become glorious ! may we become eaters of food!' And in like manner do these (men) now enter upon the sacrificial session thinking, 'May we attain excellence! may we become glorious! may we become eaters of food !'
4. They spake, 'Whoever of us, through austerity, fervour, faith, sacrifice, and oblations, shall first compass the end of the sacrifice, he shall be the most excellent of us, and shall then be in common to us all.' 'So be it,' they said.
5. Vishnu first attained it, and he became the
For this legend, see J. Muir, Orig. Sansk. Texts, vol. iv, p. 134. • Litu, they were sitting (for the session): "ås' (like sad') is here used in its technical sense, and not in its ordinary sense 'to sit, to be ' ;- They were [there. They said)' J. M.
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most excellent of the gods; whence people say, • Vishnu is the most excellent of the gods.'
6. Now he who is this Vishnu is the sacrifice; and he who is this sacrifice is yonder Aditya (the sun). But, indeed, Vishnu was unable to control that love of) glory of his; and so even now not every one can control that (love of) glory of his.
7. Taking his bow, together with three arrows, he stepped forth. He stood, resting his head-on the end of the bow. Not daring to attack him, the gods sat themselves down all around him.
8. Then the ants said these ants (vamrt), doubtless, were that (kind called) 'upadika '''What would ye give to him who should gnaw the bowstring?'--'We would give him the constant) enjoyment of food, and he would find water even in the desert: so we would give him every enjoyment of food.'—' So be it,' they said.
9. Having gone nigh unto him, they gnawed his bowstring. When it was cut, the ends of the bow, springing asunder, cut off Vishnu's head.
10. It fell with (the sound) ghrin'; and on falling it became yonder sun. And the rest of the body) lay stretched out (with the top part) towards the east. And inasmuch as it fell with (the sound) 'ghrin,' therefrom the Gharma' (was called); and inasmuch as he was stretched out (pra-vrig), therefrom the Pravargya (took its name).
11. The gods spake, Verily, our great hero
That is, a certain species of ants that are supposed to find water wherever they dig. Cf. Weber, Ind. Stud. XIII, p. 139.
That is, the draught of hot milk boiled in the Mahavira pot, and hence often used as a synonym for the latter or the Pravargya.
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(mahân virah) has fallen:' therefrom the Mahavira pot (was named). And the vital sap which flowed from him they wiped up (sam-mrig) with their hands, whence the Samrag1.
12. The gods rushed forward to him, even as those eager to secure some gain (will do). Indra reached him first. He applied himself to him limb after limb, and encompassed him, and, in encompassing him, he became (possessed of) that glory of his. And, verily, he who knows this becomes (possessed of) that glory which Indra is (possessed of).
13. And Makha (sacrifice), indeed, is the same as Vishnu hence Indra became Makhavat (possessed of makha), since Makhavat is he who is mystically called Maghavat, for the gods love the mystic.
14. They gave to those ants the enjoyment of food; but, indeed, all food is water, for it is by moistening (the food) therewith that one eats here whatever one does eat.
15. This Vishnu, the (Soma-) sacrifice, they then divided amongst themselves into three parts: the Vasus (received) the morning-pressing, the Rudras the midday-pressing, and the Adityas the third pressing.
16. Agni (received) the morning-pressing, Indra
1 That is, emperor, or lord paramount, as the Pravargya is named, in the same way as the Soma-plant (and juice) is styled King.
'Cf. IV, 1, 3, 5. The construction is hardly so irregular as it is represented there.
That is, he enclosed him (in his own self), he took him in (gobbled him up).
I. e. 'the mighty (lord),' an epithet of Indra.
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the midday-pressing, and the Visve Devah the third pressing
17. The Gayatri (received) the morning-pressing, the Trishtubh the midday-pressing, and the Gagati the third pressing. The gods went on worshipping and toiling with that headless sacrifice.
18. Now Dadhyañk Åtharvana knew this pure essence!, this Sacrifice, — how this head of the Sacrifice is put on again, how this Sacrifice becomes complete.
19. He then was spoken to by Indra saying, 'If thou teachest this (sacrificial mystery) to any one else, I shall cut off thy head.'
20. Now this was heard by the Asvins,— Verily, Dadhyañk Åtharvana knows this pure essence, this Sacrifice,-how this head of the Sacrifice is put on again, how this Sacrifice becomes complete.'
21. They went up to him and said, 'We two will become thy pupils.'—What are ye wishing to learn ?' he asked. — This pure essence, this Sacrifice,-how this head of the Sacrifice is put on again, how this Sacrifice becomes complete,' they replied.
22. He said, 'I was spoken to by Indra saying, If thou teachest this to any one else, I shall cut off thy head;' therefore I am afraid lest he should indeed cut off my head : I cannot take you as my pupils.'
23. They said, 'We two shall protect thee from him.'— How will ye protect me?' he replied.They said, 'When thou wilt have received us as thy
· Viz. the Madhu (honey') or sweet doctrine of the Pravargya, or pot of boiled milk and ghee.
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pupils, we shall cut off thy head and put it aside elsewhere; then we shall fetch the head of a horse, and put it on thee: therewith thou wilt teach us ; and when thou wilt have taught us, then Indra will cut off that head of thine; and we shall fetch thine own head, and put it on thee again. - So be it,' he replied.
24. He then received them (as his pupils); and when he had received them, they cut off his head, and put it aside elsewhere; and having fetched the head of a horse, they put it on him: therewith he taught them; and when he had taught them, Indra cut off that head of his; and having fetched his own head, they put it on him again.
25. Therefore it is concerning this that the Rishi has said (Rig-v. I, 116, 12), “That Dadhyañk Åtharvana, with a horse's head, anywise spake forth unto you two the sweet doctrine:'-'Unrestrainedly he spoke this,' is what is thereby meant.
26. One must not teach this to any and every one, since that would be sinful, and lest Indra should cut off his head; but one may only teach it to one who is known to him, and who has studied sacred writ, and who may be dear to him, but not to any and every one.
27. He may teach it to one dwelling with him (as a pupil) for a year; for the year is he that shines yonder, and the Pravargya also is that (sun): it is him he thereby gratifies, and therefore he may teach it to one dwelling with him for a year.
28. For three nights he keeps the rule (of abstinence); for there are three seasons in the year, and the year is he that shines yonder, and the Pravargya also is that one: it is him he thereby
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gratifies, and therefore he keeps the rule for three nights.
29. Hot' (water) he sips, thinking, 'I will teach it as one practising austerities.' He teaches it whilst abstaining from flesh-food, thinking, I will teach it as one practising austerities;'
30. And whilst not drinking out of earthen (vessels); for whatever untruth (man) speaks on this (earth) is, as it were, immixed with her: therefore (one should do so) whilst not drinking out of earthen (vessels);
31. And whilst not coming into contact with Sûdras and remains of food; for this Gharma is he that shines yonder, and he is excellence, truth, and light; but woman, the Sûdra, the dog, and the black bird (the crow), are untruth: he should not look at these, lest he should mingle excellence and sin, light and darkness, truth and untruth.
32. And, verily, he that shines yonder is glory; and as to that glory, Aditya (the sun), that glory is just the sacrifice; and as to that glory, the sacrifice, that glory is just the Sacrificer; and as to that glory, the Sacrificer, that glory is just the officiating priests; and as to that glory, the officiating priests. that glory is just the sacrificial gifts: hence, if they bring up to him a dakshinâ he must not, at least on the same day, make over these (objects) to any one else lest he should make over to some one else that glory which has come to him; but rather on the morrow, or the day after: he thus gives it away after having made that glory his own, whatever it be-gold, a cow, a garment, or a horse.
1 During the performance of the Pravargya ceremony boiling water has to be used whenever water is required.
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33. And, verily, he who either teaches or partakes of this (Pravargya), enters that life, and that light.
The observance of the rule thereof (is as follows). Let him not cover himself (with a garment) whilst the sun shines, lest he should be concealed from that (sun). Let him not spit whilst the sun shines, lest he should spit upon him. Let him not discharge urine whilst the sun shines, lest he discharge it upon him. For so long as he shines, so great he (the sun) is: thinking, 'Lest I should injure him by these (acts),' let him take food at night, after striking a light, whereby it is made to be a form of him who shines yonder. But on this point Åsuri used to say,-One rule the gods indeed keep, to wit, the truth : let him therefore speak nothing but the truth,
SECOND BRÂHMANA.
THE MAKING OF THE Pot. 1. He equips (the Mahåvira) with its equipments ;-inasmuch as he equips it therewith from this and that quarter, that is the equipping nature of the equipments (sambhâra): wheresoever anything of the sacrifice is inherent, therewith he equips it?
2. He gets ready a black antelope-skin,--for the black antelope-skin is the sacrifice 3 : it is at the
See part i, p. 276, note 1. Here, as formerly, it has not been thought desirable to adhere throughout to the technical rendering of sam-bhri'
Pravargya being masculine, the original would, of course, have him' here and throughout, the ceremony (just like the sacrifice in general) being indeed looked upon as a person.
• See part i, p. 23, note 2. In making the Gharma, or Mahavira,
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sacrifice he thus prepares (the pot);-with its hairy side (upwards),- for the hairs are the metres : on the metres he thus prepares it ;-(spread out) on the left (north) side 1,--for the north is the quarter of men ;-on (the skin) with its neckpart to the east, for that (tends) towards the gods.
3. With a spade (he digs out the clay), for the spade is a thunderbolt, and the thunderbolt is vigour: with vigour he thus supplies and completes it (the Pravargya).
4. It is made of Udumbara (Ficus glomerata) wood, for the Udumbara is strength :: with strength, with vital sap, he thus supplies and completes it.
5. Or of Vikankata (Flacourtia sapida) wood; for when Pragâpati performed his first offering, a Vikankata tree sprang forth from that place where, after offering, he cleansed (his hands); now an offering is a sacrifice, and (consequently) the Vikarkata is
pot, on the present occasion, the order of proceeding is to a considerable extent the same as that followed at the Agnikayana, in providing the materials for, and making, the fire-pan, for which, see VI, 3, 3, I seqq. Cf. also the Âpastamba Srautas. XV, with Garbe's Translation and Notes, Journal of Germ. Or. Soc., vol. xxxiv.
That is, immediately north of the lump of clay (previously prepared by a potter) and the other objects to be used for making the Mahavira pot, which have been previously deposited near the antahpâtya peg marking the middle of the west or hinder side of the Mahâvedi.
* The locative, instead of the accusative, is rather strange here. As it stands, the locative is evidently parallel to 'yagñe' and 'khandahsu,' and one has therefore to supply-he collects (prepares) the Pravargya, viz. by putting the lump of clay and the other objects thereon.
See VI, 6, 3, 7 seqq.
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the sacrifice: with the sacrifice he thus supplies and completes it.
6. It is a cubit long, for a cubit means the (fore-) arm, and with the arm strength is exerted : it (the spade) thus is composed of strength, and with strength he thus supplies and completes it.
7. He takes it up, with (Vâg. S. XXXVII, 1), 'At the impulse of the god Savitri, I take thee by the arms of the Asvins, by the hands of Pashan: thou art a woman;'—the import (of this formula) is the same as before !
8. Having placed it in his left hand, he touches it with the right, and mutters (Våg. S. XXXVII, 2), "They harness the mind, and they harness the thoughts, the priests of the priest, of the great inspirer of devotion; the knower of the rites alone hath assigned the priestly offices: great is the praise of the god Savitri;'-the import of this is the same as before
9. He then takes the lump of clay with the (right) hand and spade on the right (south) side, and with the (left) hand alone on the left (north) sides, with (Vág. S. XXXVII, 3), 'O divine Heaven and Earth,'-for when the sacrifice had its head cut off, its sap flowed away, and entered the sky and the earth : what clay (firm matter) there was that is this (earth), and what water there was that is yonder (sky); hence it is of clay and water that the Mahavira (vessels) are made: he thus supplies and
See I, 1, 2, 17; VI, 3, 1, 38 seq. . See III, 5, 3, 11-12.
. Between the two actions referred to in paragraphs 8 and 9, the digging up of the clay takes place, and hence the spade, or trowel, has changed hands. Cf. VI, 4, 2, 2. [44]
Gg
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completes it (the Pravargya) with that sap; wherefore he says, 'O divine Heaven and Earth,'•May I this day compass for you Makha's head,'— Makha being the sacrifice, he thus says,
May I this day accomplish for you the head of the sacrifice; '-'on the Earth's place of divine worship,'—for on a place of divine worship of the earth he prepares it ;– for Makha thee! for Makha's head thee!'-Makha being the sacrifice, he thus says, ' For the sacrifice (I consecrate) thee, for the head of the sacrifice (I consecrate) thee.'
10. Then an ant-hill ? (he takes, and puts on the skin), with (Vág. S. XXXVII, 4), «Ye divine ants,'--for it was they that produced this : just in accordance with the way in which the head of the sacrifice was there cut off, he now supplies and completes it with those (ants);-'the firstborn of the world,'— the firstborn of the world, doubtless, is this earth 8 : it thus is therewith that
The pronouns in this and the subsequent corresponding formulas (vâm, vah, te) are taken by Mahîdhara as accusatives ("te' according to him standing for 'tvậm ') to which he supplies * âdâya'-'having taken you, may I this day compass Makha's head.' The pronouns are certainly somewhat awkward, as they can scarcely be taken as genitives of material-of you, of thee.
• See VI, 3, 3, 5, where 'valmîkavapa' is qualified by 'sushira,' hollow. The comm. on Käty. XXVI, 1, 2 explains' valmikavapa' as the vapa (omentum)-like inner lump (? surrounded by a kind of net) of an ant-hill : in the present case, this substance is likewise placed on the black antelope-skin to be mixed with the clay.
. Whilst in the text of the formula this word must be taken as being plural .prathamagåh,' the Brahmana (making use of the Sandhi-form) treats it as if it were singular 'prathama gå.' Mabidhara also, apparently influenced by the Brahmana, explains, the earth is the firstborn of creatures, and, from their connection with it, ants also are called firstborn.'
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he supplies and completes it;-'may I this day compass for you Makha's head on the Earth's place of divine worship :-for Makha thee! for Makha's head thee!'—the import of this is the same as before.
11. Then (earth) torn up by a boar (he takes), with (Våg. S. XXXVII, 5), 'Only thus large was she in the beginning,'—for, indeed, only so large was this earth in the beginning, of the size of a span. A boar, called Emůsha, raised her up, and he was her lord Pragàpati : with that mate, his heart's delight, he thus supplies and completes him ? ;-may I this day compass for you Makha's head on the Earth's place of divine worship: for Makha thee! for Makha's head thee!' the import of this is the same as before.
12. Then Adara” (-plants), with (Våg. S.XXXVII, 6), 'Indra's might ye are,'—for when Indra encompassed him (Vishnu) with might, then the vital sap of him, thus encompassed, flowed away; and he lay there stinking, as it were. He said, *Verily, after bursting open (à-dar), as it were, this vital sap has sung praises :' thence Adara (-plants originated); and because he lay there stinking (puy), as it were, therefore (they are also called) Patika ; and hence, when placed on the fire
? That is, he supplies Pragâpati (and hence also his counterpart, the Sacrificer) with the Earth, his mate. See J. Muir, Orig. Sansk. Texts, vol. I, p. 53 ; vol. iv, p. 27; and cp. Taitt. I, 10, 8, where the earth is said to have been uplifted by a black boar with a thousand arms.
* At IV, 5, 10, 4 we met with this plant-here also called Patika, and explained, by the comm. on Kâty., as= the flowers (1) of the Rohisha plant (Guilandina, or Caesalpinia, Bonducella)--as a substitute for Soma-plants.
G g 2
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as an offering, they blaze; and hence also they are fragrant, for they originated from the vital sap of the sacrifice. And inasmuch as Indra, on that occasion, encompassed him with might, therefore he says, “Indra's might ye are; '-'may I this day compass for you Makha's head on the Earth's place of divine worship: for Makha thee! for Makha's head thee!' the import of this is the same as before.
13. Then goat's milk ;-—for when the sacrifice had its head cut off, its heat went out of it, where from the goat was produced : it is with that heat? that he thereby supplies and completes it ;—with, 'For Makha thee! for Makha's head thee!' the import of this is the same as before.
14. These, then, are the five equipments with which he equips (the Pravargya),-fivefold is the sacrifice, and fivefold the victims, and five seasons are in the year, and the year is he that shines yonder, and the Pravargya also is that (sun): it is him he thus gratifies. These (objects), thus brought together, he touches with, 'For Makha (I consecrate) thee! for Makha's head thee!' the import of this is the same as before.
15. Now there is an enclosed space ? on the north
1 Thus perhaps suk' should also have been rendered at VI, 4, 4, 7, where it is used in connection with the ass.
Viz. a space five cubits square enclosed with mats on all sides, and with a door on the east side, the ground being raised in the middle so as to form a mound covered with sand (cf. III, 1, 2, 3) The object of this enclosed space is to prevent any unauthorised person (such as the Sacrificer's wife, and people uninstructed in the scriptures) from seeing the manufacturing of the Mahîvira (during which the door is kept closed), as well as the completed pot.
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side: whilst proceeding towards that (shed) they mutter (Vâg. S. XXXVII, 7; Rig-v. I, 40, 3), “May Brahmanaspati go forward !'-Brahmanaspati (the lord of devotion) doubtless is he that shines yonder, and the Pravargya also is that one: it is him he thus gratifies; hence he says, May Brahmanaspati go forward;'-'may the goddess Gladness go forward !'--for the goddess Gladness she (Vâk ) is ;-'unto the hero, kindly to men and the dispenser of fivefold (offerings),'-— he thereby praises and magnifies it (the Pravargya),
- unto the sacrifice may the gods lead us!'he thereby makes all the gods its guardians.
16. It is an enclosed space ;—for at that time the gods were afraid, thinking, 'We hope that the fiends, the Rakshas, will not injure here this our (Pravargya):' they accordingly enclosed for it this stronghold, and in like manner does this (Sacrificer) now enclose for it this stronghold.
17. He then deposits (the sambhåras ) on the mound with, 'For Makha thee! for Makha's head thee!' the import of this is the same as before. He then takes a lump of clay and makes the Mahavira (pot) with, 'For Makha thee! for Makha's head thee,'—the import of this is
The place is to the north of the antakpâtya peg, the black antelopeskin being spread to the south of it (and immediately north of the materials used in making the pot).
Thus Mahidhara, on Våg. S. XXXIII, 89. ? Vîra,' apparently an allusion to 'Mahå-vîra' (great hero), the name of the pot used at the Pravargya.
• Viz. as placed on the black antelope-skin which is carried northwards to the enclosed place by the Adhvaryu and his assistants taking hold of it on all sides.
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the same as before ;—a span high ', for the head is, as it were, a span high ;-contracted in the middle ?, for the head is, as it were, contracted in the middle. At the top he then draws it out (so as to form) a spouts of three thumbs' breadths (high): he thereby makes a nose to this (Mahavira, or Pravargya). When it is complete, he touches it with (Våg. S. XXXVII, 8), “Makha's head thou art,'--for it indeed is the head of Makha Saumya (the Soma-sacrifice). In the same way (he makes) the other two (Mahavira pots “); silently two milking-bowls (pinvana"), and silently two Rauhina-plates.
18. Verily this sacrifice is Pragâpati, and Pragàpati
That is, from bottom to top, a belt (mekhala) running round it at the distance of three thumbs' breadths from the top (Mabidhara, and comm. on Kåty.). This top part above the belt-here simply called 'mouth, whilst in the Apast. Sr. XV, 2, 14 it is called "back' (sânu)-ends in a hole for pouring the liquid in and out
That is, for taking hold of it (mushtigrahanayogyam, comm. on Kâty.).
8 Mukha,' for which Katy. XXVI, 1, 16 has cásekana 'explained by the commentator as a hole (garta ; comm. on Åsv. Gribyas. IV, 3 bila), apparently serving as the mouth, or open part of the vessel which seems to be otherwise closed. The edge of the hole would seem to protract sufficiently from the surface to suggest a similarity to the nose. In making the vessel, it seems first to be left solid, the open part which is to hold the milk being then hollowed out by means of a reed from the top hole to the depth of less than the upper half, the remainder remaining solid. Cf. Âsv. Sr. XV, 3, 4
* Only the first of the three pots is, however, actually used; unless it gets broken by accident.
• According to the comm. on Kâty. Sr., these vessels are of the form of the (hand-shaped) bowl of an offering-ladle (sruk, cf. parti, p. 67, note 2).
• The Rauhina-kapålas are two round, flat dishes for baking the Rauhina cakes on.
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is both of this, defined and undefined, limited and unlimited 1. Whatever one does with a Yagus formula, by that one makes up that form of him (Pragàpati) which is defined and limited ; and whatever one does silently, by that one makes up that form of him which is undefined and unlimited: verily, then, whosoever, knowing this, does it on this wise, makes up that whole and complete Pragapati. But he also leaves over a lump of spare (clay) for expiations.
19. He then smooths & it by means of Gavedhuka grass (Coix barbata),—for when the sacrifice had its head cut off, its vital sap flowed away, and therefrom those plants grew up: with that vital sap he thus supplies and completes it ;-with,
For Makha thee! for Makha's head thee!' the import of this is the same as before. In the same way the other two (Mahâvira pots.) ; silently the two milking-bowls, silently the two Rauhina-plates.
20. He then fumigates these (vessels) with (Vâg. S. XXXVII, 9), “With dung of the stallion, the impregnator, I fumigate thee,'—for the
? Cf. J. Muir, Orig. Sansk. Texts, vol. v, p. 393, where a passage is quoted from Prof. Cowell's translation of the Maitri-Upanishad (VI, 3), “There are two forms of Brahma, the embodied (mûrta) and the unembodied (amûrta): the former is unreal (asatya), the latter real (satya).' -Cf. Sat. Br. VI, 5, 3, 7.
* The Sätras use the verbs slakshnayati, slakshnîkurvanti' (to make smooth, or soft), and this, I think, must indeed be the meaning of‘hinv. It would also suit very well the passage III, 5, 1, 35, where it is said that the Vedi is a woman, and that, by sprinkling the former with water, one makes her smooth' for the gods. The polishing of the vessels is done by rubbing them with Gavedhukå grass, whether with the spike, stem, or leaves is not specified.
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stallion is an impregnator, and the impregnator means vigour: with vigour he thus supplies and completes it,-'on the Earth's place of divine worship: for Makha thee, for Makha's head thee!' the import of this is the same as before. In the same way (he fumigates) the other two (Mahâvira pots); silently the two milking-bowls, and silently the two Rauhina-plates.
21. He then bakes them, for what is baked belongs to the gods. He bakes them by means of bricks, for they it was that did so on that occasion: just in accordance with the way in which the head of the sacrifice was there cut off, he now supplies and completes it with those (bricks). But, indeed, let him bake them with anythings whereby they may become properly baked. Having laid down the fuel for baking, he puts down the Mahavira (pot), with, 'For Makha thee, for Makha's head thee!' the import of this is the same as before. In the same way the other two Mahavira (pots); silently the two milking-bowls, silently the two Rauhinaplates. By day he should bury them in the hole), and by day he should take them out, for the day belongs to the gods.
That is, when the Ukhâ was baked, cf. VI, 5, 4, 1; or, perhaps,-they it was that the gods) made at this juncture. The former translation is more in accordance with what follows, though one would expect'etad' to mean' at this time.' . That is, without using bricks (?).
Viz, in a square hole dug for the purpose east of the Gårbapatya; the pot being then placed bottom upwards on the burning material, dry berbs, wood, &c. According to Âsv. St. XV, 3, 30 such materials are to be used as, whilst being burnt, dye red.
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22. He takes out the first pot) with (Vâg. S. XXXVII, 10), 'For the righteous one (I take) thee,'—the righteous one, doubtless, is yonder world, for the righteous one means truth ; and he that shines yonder is the truth, and the first Pravargya is that (god): it is him he thus gratifies, and therefore he says, 'For the righteous one (I take) thee.'
23. With, 'For the efficient one thee' (he takes out the second pot),--the efficient one (sâdhu), doubtless, is he (Vayu, the wind) that purifies here by blowing, for as a permanent one (siddha) he blows through these worlds; and the second Pravargya is that (god): it is him he thus gratifies, and therefore he says, 'For the efficient one (I take) thee.'
24. With, 'For a good abode thee!' (he takes out the third pot),--the good abode, doubtless, is this (terrestrial) world, for it is in this world that all creatures abide; and the good abode also is Agni (fire), for Agni abides with all creatures' in this world; and the third Pravargya is that (god): it is him he thus gratifies, and therefore he says,
For a good abode thee.' Silently (he takes out) the two milking-bowls, and silently the two Rauhinaplates.
25. He then pours goat's milk upon them $ (the
The accusative with .kshi' (to inhabit) is rather peculiar here. ? As the pots are, however, standing with their open parts upwards, on sand north of the hole in which they were baked, it would chiefly be inside that they would receive the milk, being thereby cooled (cf. VI, 6, 4, 15). According to Apastamba, sand is in the first place heaped up around them in the sunwise fashion, i.e. keeping them on the right side whilst strewing it.
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first) with, 'For Makha thee! for Makha's head thee!' the import of this is the same as before. In the same way the other two; silently the two milking-bowls, and silently the two Rauhinaplates.
26. And, verily, whosoever either teaches, or partakes of, this (Pravargya) enters that life, and that light: the observance of the rule thereof is the same as at the creation.
THIRD BRÂHMANA. 1. Now at the time when he there proceeds with the guest-meal, he who intends to perform the Pravargya, prior to the Upasads s, spreads Kusa grass with its tops directed towards the east, in front of the Gårhapatya, and places the vessels thereon in pairs -,--the Upayamani (tray) and the Mahâyira (pot), the pair of lifting-sticks, the
That is to say, as would seem,-even as, in creating the universe, Pragâ pati reconstructs his body, or constructs himself a new body, so the Sacrificer, in keeping up the observance of the Pravargya, constructs himself a new body for the future life.
? That is, at the Soma-sacrifice, of the preliminary day (upavasatha) of which the guest-meal to, or hospitable reception (âtithya) of, King Soma forms part see part ii, p. 85 seqq.). The assumption here is, that the performance of the Pravargya takes place on that day before the Pressing-day, whilst in reality it has been performed for at least two days before that.
* See III, 4, 4, 1. The Upasads are performed twice daily, for at least three days, up to the day before the Soma-sacrifice; and if the Pravargya is to be performed likewise, it precedes immediately each performance of the Upasad. Cf. also XIV, 3, I, I with note.
• Prior to this, the doors of the sålå are to be closed, to keep the Mahavira from being seen; see p. 452, note 2. The entire performance of the Pravargya indeed has to be kept secret from the eyes of unauthorised persons.
The ‘parfsásau ' (also called 'saphau,' XIV, 2, 1, 16) are two
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two milking-bowls, the two Rauhina-plates, the two offering spoons for the Rauhina (cakes), and whatever other implement) there is,-these make ten, for the Virág consists of ten syllables, and the sacrifice is Virág: he thus makes this to be equal to the Virág, the sacrifice. And as to their being in pairs,-a pair means strength, for when two take hold of each other they exert strength; and a pair (couple) means a productive union: with a productive union he thus supplies and completes it.
2. Then the Adhvaryu takes the (lustral) sprinkling water, and, stepping up, says, 'Brahman, we shall proceed : Hotri, sing praises !' for the Brahman is seated on the right (south) side as the guardian of the sacrifice: to him he thus says, 'Sit thou undistracted: we are about to restore the head of the Sacrifice;' and Hotri, sing praises !' he says, because the Hotri is the sacrifice: he thus thereby says to him, 'Restore the head of the sacrifice!' and accordingly the Hotri begins to recite
3. [Våg. S. XIII, 3,] 'The Brahman, firstborn from afore 1,—the Brahman, doubtless, is yonder
pieces of wood or laths apparently fastened together by a kind of clasp (or a cord) at one end, so as to serve the purpose of a pair of tongs (parisäsau samdamsâkârau, comm. on Katy. XXVI, 2, 10) for taking up the Mahavira pot, which must not be handled in any other way. According to Haug, Ait. Br., Transl., p. 51, they are placed underneath the pot in lifting it, but this seems very improbable, seeing that, at the end of the sacrifice, the Adhvaryu, by means of them, turns the pot upside down so as to pour the remainder of its contents into the offering spoon (see Katy. XXIV, 6, 17 with comm.); nor could the blackened pot in that way be cleansed properly and placed on the supporting tray (XIV, 2, 1, 16–17).
For the complete verse, see VII, 4, 1, 14. For the complete
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sun, and he is born day by day from afore (in the east); and the Pravargya also is that (sun): it is him he thus gratifies, and therefore he says, • The Brahman (n.), firstborn from afore.' He then sprinkles (the vessels): the import of this is the same as before !
4. He sprinkles (the chief Mahâvira) with ( âg. S. XXXVII, 11), 'For Yama thee!'-Yama, doubtless, is he who shines yonder, for it is he who controls (yan) everything here, and by him everything here is controlled ; and the Pravargya also is that (sun): it is him he thus gratifies, and therefore he says, For Yama (I sprinkle) thee.'
5. “For Makha thee!'-Makha, doubtless, is he who shines yonder, and the Pravargya also is that one: it is him he thus gratifies, and therefore he says, ' For Makha thee.'
6. 'For Sûrya's heat thee!'--Sarya, doubtless, is he who shines yonder, and the Pravargya also is that one : it is him he thus gratifies, and therefore he says, 'For Sarya's heat thee.'
7. Having taken out a post? by the front door (of the sâlâ), he drives it into the ground on the south side (of the sala 9), so that the Hotri, whilst singing praises, may look upon it; for the Hotri is the sacrifice, and he thereby restores the sacrifice to this (earth), and she causes the Gharma (milk) to rise. series of texts recited by the Hotri, see Ait. Br. I, 19 seqq.; Âsv. Sr. IV, 6. 1 Viz. he makes the vessels sacrificially pure (1, 3, 3, 1).
? For tying the cow that is to furnish the milk for the Gharma. Near it a peg is driven into the ground to tie the goat to whose milk is to be used afterwards.
* That would be, south of the southern door (Âpast. XV, 6, 13).
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8. Having turned round the Emperor's throneseat' in front of the Ahavaniya, he places it south thereof, and north of the King's (Soma's) throneseat?, so as to face the east.
9. It is made of Udumbara wood, for the Udumbara means strength : with strength, with vital sap, he thus supplies and completes it (the Pravargya).
10. It is shoulder-high, for on the shoulders this head is set : he thus sets the head upon the shoulders.
11. It is wound all over with cords : of Balvaga grass (Eleusine indica). When the sacrifice had its head cut off, its vital sap flowed out, and thence these plants grew up: with that life-sap he thus supplies and completes it.
12 And as to why he places it north (of Soma's seat),-Soma is the sacrifice, and the Pravargya is its head; but the head is higher (uttara): therefore he places it north (uttara) of it. Moreover, Soma is king, and the Pravargya is emperor, and the imperial dignity is higher than the royal : therefore he places it north of it'.
1 The Pravargya is styled samråg,' or universal king, emperor ; as distinguished from King Soma, for whose seat, reaching only up to the navel, see III, 3, 4, 26 seqq. (Cf. also that of the Ukhya Agni, which is only a span high, VI, 7, 1, 1, 12 seqq. For a similar attribution of imperial dignity (samragya)—as well as royal dignity (rågyato him who is consecrated by the Sautramani (where the seat used is knee-high), see XII, 8, 3, 4 seqq.
: Âpast. XV, 6, 10 places it in front (east) of the seat for Soma. • Cf. XII, 8, 3, 6.
• According to Katy. XXVI, 2, 17 (ậpast. XV, 6, 11), the black antelope-skin is then spread over the seat, and the two unused Mahâvfra pots (as well as the reserve piece of clay and the spade, Katy.) placed thereon.
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13. And when the Hotri recites this (verse, Rig-v. V, 43, 7), 'Whom the priests anoint, as if spreading him ...,' he anoints that Mahavira which is to be used, all over with ghee, with,
May the god Savitri anoint thee with honey!' for Savitri is the impeller of the gods, and honey means everything whatever there is here: he thus anoints it (or him) all over with everything here, and Savitri, as the impeller, impels it for him,—this is why he says, "May the god Savitri anoint thee with honey!'
14. Now sand has been strewed ? on the north side of it: below that he (previously) throws (a plate of) white golds, with, Protect it from contact with the earth!' For at that time the gods were afraid lest the Rakshas, the fiends, might injure that (Pravargya) of theirs from below; and that, to wit, gold, being Agni's seed, it (serves) for repelling the fiends, the Rakshas. But, indeed, the Earth also was afraid of this lest this (Pra. vargya), when heated and glowing*, might injure
Kâty. XXVI, 2, 4 refers to the pot as containing ghee (ágyavant),' which the comm. takes to mean "filled with consecrated ghee;' whilst Âpast. XV, 7, 5 leaves the option between greasing it (añg) and filling it (abhipûr) with ghee. It would doubtless, at all events, be abundantly greased inside.
North of the Garhapatya and the Abavanfya in the sala two mounds (kbara) are formed, covered with (or consisting of) sand. The one north of the latter fire is here alluded to.
3 That is, a silver plate weighing a hundred grains,
• Though 'taptah' and 'susukânal' are here translated as if they were actually co-ordinate predicates, I am not sure whether we should not rather take the passage to mean, that this glowing one, when heated; or rather, this one when heated so as to be glowing. Cf. XIV, 2, 1, 18; 3, 1, 14, where I prefer to subordinate one of the participles to the other.
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her: he thus keeps it separate from her. White it is, for white, as it were1, is this earth.
15. And when the Hotri recites this (verse, Rig-v. I, 36, 9), 'Sit thee down: thou art great...,' sheaths of reed-grass are kindled on both sides, and throwing them (on the mound), he puts (the Mahâvtra pot) thereon. When the sacrifice had its head cut off, its life-sap flowed away, and therefrom these plants grew up: with that life-sap he thus supplies and completes it.
16. And as to why they are kindled on both sides: he thereby repels the Rakshas, the fiends, from all the quarters. Whilst this (pot) is being heated, the (Sacrificer's) wife covers her head, thinking, 'Lest this one, when heated and glowing, should rob me of my eyesight,' for it indeed becomes heated and glowing.
17. He puts it on with, 'Flame thou art, glow thou art, heat thou art;'-for the Gharma is he who shines yonder, and he indeed is all that: it is him he thus gratifies, and therefore he says, 'Flame thou art, glow thou art, heat thou art.'
18. He (the Sacrificer) then invokes blessings on this (earth), for the sacrifice is this (earth): it is thus (whilst being) on her that he invokes blessings, and she fulfils them all for him.
1 I read, 'ragateva'; cf. the corresponding 'harinîva hi dyauh,' XIV, 1, 3, 29.
That is, by dividing the sheaths in the middle lengthwise, and lighting both halves in the Gârhapatya fire.
According to Kâty. XXVI, 3, 5 he makes a span (of thumb and index) or spreads his hand with the palm downwards-over the pot whilst muttering the respective formulas; apparently changing the position of the hand according to the point of the compass referred to in the formula.
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.
19. [Vâg. S. XXXVII, 12,] Unmolested thou art in front (in the east),'--for unmolested by the Rakshas, the fiends, indeed, this earth) is in front;-'in Agni's over-lordship,'-he thus makes Agni her over-lord for the warding off of the fiends, the Rakshas ;-'grant thou life unto me!'-he thus secures life for himself, and accordingly he attains the full (term of) life.
20. Possessed of sons towards the south,'in this there is nothing hidden, so to speak ;-'in Indra's over-lordship,'-he thus makes Indra her over-lord for the warding off of the fiends, the Rakshas ;-'grant thou offspring unto me!'he thus secures offspring and cattle for himself, and accordingly he becomes possessed of sons and of cattle.
21. 'Well to live on behind (towards the western region),'-in this there is nothing hidden, so to speak ;-'in god Savitri's over-lordship;' -the god Savitri he thus makes her over-lord for the warding off of the fiends, the Rakshas ;'grant thou eyesight unto me!'-he thus secures eyesight for himself, and accordingly he becomes possessed of eyesight.
22. 'A sphere of hearing towards the north,'—'causing (sacrificial calls) to be heard ?,' is what he thereby means to say ;-'in the creator's over-lordship,'--the creator he thus
· Or, calling for the 'sraushat'; cf. part i, p. 131, note 2. The masculine form of the participle is somewhat peculiar as the term it is meant to explain refers to the earth. It has probably to be understood in the sense of, where he (viz. the Adhvaryu) calls for the sraushat.' Mahîdhara explains the term '&sruti' by 'where they, the priests, utter the sacrificial calls,' i.e. 'meet for sacrifice.'
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makes her over-lord for the warding off of the fiends, the Rakshas;-'grant thou prosperity (increase) of wealth unto me!'-wealth, prosperity, he thus secures for himself, and accordingly he becomes wealthy and prosperous.
23. 'Disposition above,'-' disposing' above' is what he thereby means to say;-'in Brihaspati's over-lordship,'-Brihaspati he thus makes her over-lord for the warding off of the fiends, the Rakshas;-'grant me vigour!'-vigour he thereby secures to himself, and accordingly he becomes vigorous, strong.
24. On the right (south) side (of the Mahâvira) he (the Sacrificer) then makes amends by (laying down) the hand with the palm upwards, with, 'Shield me from all evil spirits!' whereby he means to say, 'Protect me from all troubles!' When the sacrifice had its head cut off, its lifesap flowed away, and went to the Fathers, but the Fathers are three in number 2: it is with these that he thus supplies and completes it (the Pravargya).
25. Thereupon, whilst touching her (the earth)3,
1 Here the masculine gender can hardly be understood otherwise than in the sense where (Brihaspati, or Brahman) disposes on high.' Mahidhara takes no notice of this interpretation of the Brahmana, but explains 'vidhriti' as either one who upholds (dhârayati) in an especial manner,' or where the offering spoon, &c., is held upwards (uparishtâd dhriyate,- ? who holds it upwards),' -an explanation which can hardly commend itself.
This specification of the number seems to have no other object but that of limiting the general term of Fathers,' or deceased ancestors, to the specific signification it has at the Srâddha, where offering is made to the father, grandfather, and great-grandfather. According to Kâty. XXVI, 3, 8, he does so whilst spanning the earth north of the Mahavira pot.
[44]
Hh
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'Thou art Manu's mare,' for, having become a mare, she (the earth) indeed carried Manu, and he is her lord, Pragâpati: with that mate, his heart's delight, he thus supplies and completes him (Pragapati, the Pravargya, and Sacrificer).
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26. He then lays pieces of (split) Vikankata wood round (the Mahâvira), two pointing to the east', with (Vâg. S. XXXVII, 13), Hail! be thou encompassed by the Maruts!'-the call of 'hail!' he places first, and the deity last; for the call of 'hail!' is he who shines yonder, and the Pravargya also is that (sun): it is him he thus gratifies; and hence he places the call of 'hail!' first, and the deity last.
27. 'Be thou encompassed by the Maruts,' he says; for the Maruts are the (common) people: he thus surrounds the nobility by the people, whence the nobility here is surrounded on both sides by the people. Silently (he lays down) two pointing to the north, silently (again) two pointing to the east, silently two pointing to the north, silently two pointing to the east.
28. He makes them to amount to thirteen, for there are thirteen months in the year, and the
1 That is, along the north and the south sides of the pot, on the burning sheaths of reed grass; or rather on hot cinders heaped thereon. Kâty. XXVI, 3, 9. They would partly serve the purpose of the ordinary (three) enclosing-sticks; and Âpast., indeed, calls them 'paridhi.'
'Literally, the call of 'hail!' (svâhâ-kâra) he makes to be the nearer, and the deity the farther.
That is, along the west and the east sides of the pot. According to Apast. Sr. XV, 8, 1-4, two pieces of wood are laid down alternately by the Adhvaryu and the Pratiprasthâtri, the last pieces being then laid down (on the south side) by the former priest.
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year is he who shines yonder, and the Pravargya also is that (sun): it is him he thus gratifies, and hence he makes them to amount to thirteen.
29. He then places a gold plate (weighing a hundred grains) on the top (of the pot), with,
Protect it from contact with the sky!' For at that time the gods were afraid lest the Rakshas, the fiends, might injure that (Pravargya) of theirs from above; and that-to wit, gold -being Agni's seed, it (serves) for repelling the fiends, the Rakshas. But, indeed, the Sky also was afraid of this lest this (Pravargya), when heated and glowing, might injure it: he thus keeps it separate therefrom. It is yellow, for yellow, as it were, is the sky.
30. He (the Adhvaryu) then fans (the fire) thrice by means of (three) fans', whilst muttering, Honey!' each time; for honey means breath : he thus lays breath into it.. Three (fans) there are, for there are three breathings, the out (and in)-breathing, the up-breathing and the through-breathing: it is these he thus lays into it.
31. They then fan it thrice in the non-sunwise way. When the sacrifice had its head cut off, its life-sap flowed away, and went to the Fathers,the Fathers being three in number 8 : with them he thus supplies it.
32. But, indeed, the breathings depart from those who perform the fanning at the sacrifice. They
They consist of pieces cut from the black antelope-skin (with black and white hair, according to Âpast. XV,5,12), fastened to sticks,
* That is, the Adhvaryu, Pratiprasthåtri, and Agnidh then take each one of the fans, and move round the fire whilst keeping it on thetr left side (the Agnidh going in front). . See p. 465, note 2.
Hh2
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fan again thrice in the sunwise way,—this makes six; and six in number are these breathings (vital airs) in the head : it is these he thus lays into it, They cook the two Rauhixa (cakes). When a blaze is produced, he takes off the gold (plate).
33. And when the Hotri recites this (verse, Rig-v. I, 112, 24), 'Successful, O Asvins, make ye our voice,' the Adhvaryu steps up, and says, • The Gharma is aglow?' If it be aglow, he may know that the Sacrificer will become more prosperous; and if it be not aglow, he may know that he will become poorer ; and if it be neither aglow nor the reverse, he may know that he (the Sacrificer) will become neither more prosperous nor poorer : but indeed (the pot) should be fanned so (long) as to be aglow.
34. And, verily, whosoever either teaches, or partakes of, this (Pravargya) enters that life, and that light: the observance thereof is the same as at the creation?.
That is, apparently, red-hot, glowing (sukita), or perhaps, entirely ablaze, enveloped in dames-outside as well as inside, owing to the ghee with which it was greased all over ; hence hardly, 'bestrahlt' (illumined, shone upon), as the St. Petersb. Dict. takes it: cf. susukana, XIV, 2, 1, 18; 3, 1, 14. According to Apas t. Sr., the three priests, having completed their circumambulation, sit down on the east, south, and north side respectively, and continue to fan the pot, at the same time oiling it with ghee, until the pot is ablaze, when the Adhvaryu takes off the gold plate. According to Kâty., on the other hand, the Pratiprasthåtri proceeds with the baking of the cakes, whilst the Adhvaryu sprinkles the pot with gbee each time that the Hotri, in his recitation, utters the syllable 'om' at the end of a verse. Before the last verse, the twenty-fifth, of the same hymn concluding the first part of the recitation, a special verse, IX, 83, 3, is inserted. Âsv. Sr. IV, 6, 2-3.
. See p. 458, note I.
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FOURTH BRAHMANA.
1. Now, when the Adhvaryu here steps up and says, 'The Gharma is aglow,' they step up and revere it (the Mahâvtra) with the Avakâsa1; but the 'avakâsa' are the vital airs: it is thus the vital airs he lays into it. Six of them step up to it, for six in number are these vital airs in the head: it is these he thus lays into it.
2. [Våg. S. XXXVII, 14,] The child of the gods,' the child (garbha) of the gods, in truth, is he that shines yonder, for he holds (grabh) everything here, and by him everything here is held; and the Pravargya also is that (sun): it is him he thus gratifies, and therefore he says, 'The child of the gods.'
"
3. The father of thoughts,'-for he (the sun) is indeed the father of thoughts;-'the lord of creatures, for he is indeed the lord of creatures.
4. The god hath united with the god Savitri, for the god (the Mahâvira) has indeed united with the god Savitri (the sun);-'with Surya he shineth,'-for (equally) with Surya (the sun) he has indeed shone.
5. [Vâg. S. XXXVII, 15,] 'Agni hath united with Agni,'-for Agni (fire) has indeed united with Agni; 'with the divine Savitri,'-for with the divine Savitri he has indeed united;-'with Surya
Avakása (looks, or possibly, apertures) is the technical designation of the verses Våg. S. XXXVII, 14-20 a.
* Viz. the Sacrificer and the priests with the exception of the Prastotri.
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he hath shone,'-for with Sarya he has indeed shone.
6. Hail! Agni hath united with his heat,' for Agni has indeed united with his heat; the call of hail he places first, and the deity last: the significance of this is the same as before ;—'with the divine Savitri,'--for with the divine Savitri he has indeed united ;—with Surya he hath shed light,'--for with Sarya he has indeed shed
light.
7. These, then, are three 'avakåsa,'—for there are three vital airs, the in (and out)-breathing, the up-breathing, and the through-breathing : it is thereby that he lays it (the vital air) into him.
8. [Vâg. S. XXXVII, 16,] 'The sustainer of the sky, and of heat upon earth, shineth forth,'- for as the sustainer of the sky, and of heat on earth, that (sun, and Mahavira) indeed shines forth ;-'the divine sustainer of the gods, he, the immortal, born of heat,'-for he is indeed the divine sustainer of the gods, the immortal one, born of heat ;-'grant unto us speech, devoted to the gods!'-speech doubtless is worship: he thus means to say thereby, 'bestow upon us worship whereby we shall please the gods!'
9. (Våg. S. XXXVII, 17; Rig-v. I, 164, 31; X, 177, 3.] 'I beheld the guardian, the neverresting?'—he who shines yonder is indeed the guardian, for he guards everything here; and he does not lie down to rest : therefore he says, 'I beheld the guardian, the never-resting;'
· Or, as Mahfdhara and Sâyana take it, the never-falling.
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10. 'Wandering on paths hither and thither,' -for he indeed wanders hither and thither on the divine' paths;—'arraying himself in the gathering and the radiating,'—for he indeed arrays himself in the gathering (converging) and the radiating regions, or rays ;—'he moveth to and fro within the spheres,'—for again and again he wanders moving within these worlds.
11. [Våg. S. XXXVII, 18,]'O lord of all worlds, O lord of all thought, o lord of all speech, O lord of every speech !' that is, 'O lord of all this (universe); '—'Thou art heard by the gods, O god Gharma, as a god, guard thou the gods!' in this there is nothing hidden, so to speak.
12. Give thy countenance hereafter to the divine feast of you two,'-it is with regard to the two "Asvins that he says this, for it was the Asvins that then restored the head of the sacrifice: it is them he thus pleases, and therefore he says, "Give thy countenance hereafter to the divine feast of you two.'
13. 'Honey to the two lovers of honey! honey to the two longing for honey!'-for Dadhyank the Atharvana indeed told them (the Asvins) the Brâhmana called Madhu (honey), and this is their dear resource: it is by means of that (dear resource) of theirs that he approaches them, and therefore he says, 'Honey to the two lovers of honey! honey to the two longing for honey!'
14. [Vâg. S. XXXVII, 19,] 'To the heart
One might expect daivaih pathíbhik' or 'devash patbsbhih, which Mahidhara explains by devamärgain.'
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(I consecrate) thee, to the mind thee, to the sky thee, to the sun thee: going upwards take thou the sacrifice to the gods in heaven!' in this there is nothing hidden, so to speak.
15. [Vâg. S. XXXVII, 20,] Thou art our father: be thou our father!'--for he who shines yonder is indeed the father, and the Pravargya is that (sun): it is him he thus gratifies, and therefore he says, 'Thou art our father: be thou our father!'--' Reverence be unto thee: injure me not!'- it is a blessing he thereby invokes.
16. Thereupon he uncovers the head of the (Sacrificer's) wife, and makes her say whilst she is looking at the Mahavira, 'Together with Tvashtri will we serve thee: (bestow thou sons and cattle upon me! bestow thou offspring upon us! may I remain unscathed together with my husband!)'—the Pravargya (m.) is a male, and the wife is a female : a pro-, ductive pair is thus produced.
17. And, verily, whosoever either teaches, or partakes of, this (Pravargya) enters that life, and that light: the observance thereof is the same as at the creation !
SECOND Adhyâya. First BRÂHMANA. THE BOILING OF THE GHARMA, AND THE OFFERINGS. 1. He now offers (the first of) the two Rauhina (cakes) :-(Våg. S. XXXVII, 21), ‘May the day
See p. 458, note 1. * According to the Sätras and the Taitt. Âr., the southern cake
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be pleased with its brightness, the welllighted with its light, hail!' with this text both (cakes are offered) in the morning ;-May the night be pleased with its brightness, the well-lighted with its light, hail!' with this text both (cakes are offered) in the evening.
2. And as to why he offers two Rauhina (cakes), -the two Rauhinas doubtless are Agni and Aditya (the sun), for by means of these two deities sacrificers ascend (ruh) to heaven.
3. And, indeed, the Rauhinas are also day and night, and the Pravargya is the sun: he thus encompasses yonder sun by the day and the night, whence he is encompassed by the day and the night.
4. And, indeed, the Rauhinas are also these two
is offered at this juncture of the performance, whilst the northern one is offered later on (see XIV, 2, 2, 41). For both cakes one and the same text is used, viz. the first of the two here mentioned at the morning performance, whilst the second is used at the alternoon performance. The cakes, being one-kapala ones (the two
rauhinahavani' ladles serving as kapâlas), must be offered entire. Cf. Kâty. XXVI, 4, 14 ; 6, 18; Àpast. XV, 10, 10; 11, 5; 12, 7; Taitt. Âr. IV, 10, 4. Though our Brâhmana expresses itself in a rather peculiar way, its statement, here and at XIV, 2, 2, 41, is perhaps meant to imply the same mode of procedure. If this is the case, the two paragraphs would mean,-at this juncture of the two performances he offers the two southern (northern, at XIV, 2, 2, 41) cakes,-the two cakes (the southern and the northern one of the morning performance requiring the first, and those of the afternoon performance the second, text. It is not impossible, however, that the author intends a different mode of procedure or wishes to leave it purposely vague. If we were to read 'rauhinam' for
rauhinau,' the text would be more in accordance with the practice prescribed in the Sätras. Cf. also Mahidh. (on Våg. S. XXXVII, 21) where read 'rauhinau' instead of 'pravargyau '-who adopts the procedure here explained.
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worlds, and the Pravargya is the sun: he thus encompasses yonder sun by these two worlds, whence he is encompassed by these two worlds.
5. And, indeed, the Rauhinas are also the two eyes, and the Pravargya is the head: he thus places the eye in the head.
6. He now takes a rope, with (Vâg. S. XXXVIII, 1), 'At the impulse of the divine Savitri, I take thee, with the arms of the Asvins, with the hands of Pûshan: Aditi's1 zone thou art;'-the mystic import of this is the same as before 2.
7. He then calls the cow, whilst stepping behind the Gârhapatya (Vâg. S. XXXVIII, 2), ‘Idâ, come hither! Aditi, come hither! Sarasvati, come hither!' for the cow is Idâ, and the cow is Aditi, and the cow is Sarasvatt. And he also calls her by her (real) name, with these (formulas), ‘N. N.3, come hither!' thus thrice.
8. When she comes, he lays (the rope) round her (horns), with (Vâg. S. XXXVIII, 3), 'Aditi's zone thou art, Indrânt's head-band;'-for Indråni is Indra's beloved wife, and she has a most variegated head-band: 'that thou art' he thereby means to say, and that he indeed thereby makes it to be.
9. He then lets the calf to it (to suck), with, 'Pushan thou art,'-Pushan, doubtless, is he that blows here (the wind), for that one supports
1 The edition omits' adityai,' and reads 'devebhyas' for 'devasya.' See I, 2, 4, 4; 3, 1, 15.
As, for instance, Dhavalf, or Gangå.
• Or nourishes, makes grow, inasmuch as it brings about rain (Mahidhara).
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(push) all this (universe); and the Pravargya also is that (wind): it is him he thus pleases, and therefore he says, 'Pashan thou art.'
10. He then leads it (the calf) away' with, 'Afford (milk) for the Gharma!' for the Gharma, doubtless, is that fluid which this (cow) lets flow : he thus means to say thereby, 'Allow her a share!'
11. He then causes it to flow into the milkingbowl, with (Vág. S. XXXVIII, 4), 'Flow for the Asvins!'-with regard to the Asvins he thus says this, for it was the Asvins who restored the head of the sacrifice: it is them he thus pleases, and therefore he says, 'Flow for the Asvins!'
12. 'Flow for Sarasvati!'-Sarasvati, doubtless, is Speech, and with speech the Asvins then restored the head of the Sacrifice: it is those (Asvins) he thus pleases, and therefore he says, 'Flow for Sarasvati!'
13. 'Flow for Indra!'--for Indra is the deity of the sacrifice, and it was indeed by him who is the deity of the sacrifice that the Asvins then restored the head of the sacrifice: it is them he thus pleases, and therefore he says, 'Flow for Indra!'
14. The (spilt) drops he then consecrates with, Hail, possessed of Indra! hail, possessed of Indra !' for Indra is the deity of the sacrifice : he thus pleases him who is the deity of the sacrifice, and therefore he says, “Hail, possessed of Indra! hail, possessed of Indra!' Thrice he says it, for threefold is the sacrifice. The call of 'hail!' he places first, and the deity last : the significance of this is the same as before.
'Whilst the calf is sucking, he secures the cow by tying together her hind legs.
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15. He then touches her udder !, with (Våg. S. XXXVIII, 5; Rig-v. I, 164, 49), 'This everflowing, grateful udder of thine,'—that is to say, “This udder of thine placed in secret ?;''treasure-giving, wealth-granting, bountiful, —that is to say, 'which is a giver of treasures, a granter of wealth, and precious; '-—' whereby thou furtherest all desirable things,'-that is to say, 'whereby thou supportest all the gods and all creatures ;'—'O Sarasvati, move that hither for us to suck, 'Sarasvati, doubtless, is Speech, and so is this (cow) which yields the Gharma milk; and Speech is worship: thus he means to say, 'Grant us worship whereby we may please the gods.' He then steps up to the site of the Gârhapatya with, 'I pass along the wide aerial realm,' the mystic import of this is the same as before,
16. He then takes the two lifting-sticks, with (Våg. S. XXXVIII, 6), “The Gayatri metre thou art,—the Trishtubh metre thou art'he thus takes them with both the Gayatri and the Trishtubh metres ;-'with heaven and earth I encompass thee,'--for the two lifting-sticks are indeed these two, heaven and earth : and the
'Or, one of the teats (stanam); according to Mahidhara, the part is used for the whole; and the Kårva recension indeed reads stanân' (the teats); cf. Kâty. XXVI, 5, 7, comm.
• The author apparently derives 'sasaya' (? perennial, inerhaustible) from si,' to lie, sleep, as does Mahfdhara.
· Viz. as at I, 1, 2, 4. — According to Kåty. XXVI, 5, 10 seq. the Hotri says, 'Arise, Brahmanaspati l' whereupon the Adhvaryu rises ; and the Hotri again calling, 'Hasten up with the milk!' be steps up to the Gårhapatya.
• See p. 458, note i.
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Pravargya is the sun: he thus encompasses yonder sun within these two, heaven and earth. Thereupon (having lifted up the pot) he sweeps it clean with a branch of reed grass: the mystic import of this is the same as before.
17. He then puts it on the 'supporting' tray1 with, 'By the air I support thee,'-for the 'supporting' tray is the air, since everything here is supported by the air; and the 'supporting' tray also is the belly, for all food and drink here is supported (held) by the belly: therefore he says, 'By the air I support thee.'
18. He then pours in the goat's milk; for that (Mahavira pot) when heated, becomes glowing: he thus soothes it, and when soothed he pours the cow's milk into it
19. With, O Indra and ye Asvins!'-for Indra is the deity of the sacrifice, and he thus pleases him who is the deity of the sacrifice; and 'Ye Asvins' he says, because the Asvins at that time restored the head of the sacrifice, and it is them he thus pleases: therefore he says, 'O Indra and ye Asvins!'
20. Of bees' honey'-this is indeed honey;'drink ye the Gharma (hot draught),'-that is to say, 'drink ye the liquor;'-'ye true ones,'those (deities) are indeed true (vasu), for it is
"
'The 'upayamanî' is apparently a kind of bowl, or hollow tray of hard (udumbara) wood, somewhat larger than the (bowls of the) spoons or ladles used on this occasion, and, indeed, also itself used as such.
* Whilst the Adhvaryu was milking the cow into the earthen bowl (pinvana), his assistant, the Pratiprasthâtri, silently milked a goat tied to the peg.
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they that maintain (vå saya) all this (universe);'worship ye, våt!' thus this comes to be for him as if it were offered with the Vashat-call.
21. 'Hail to Sarya's ray, the rain-winner'!' ---for one of the sun's rays is called 'rain-winner,' whereby he supports all these creatures: it is that one he thus pleases, and therefore he says, 'Hail to Surya's ray, the rain-winner!' The call of hail he places first, and the deity last: the significance of this is the same as before .
22. And, verily, whosoever either teaches, or partakes of, this (Pravargya) enters that life, and that light: the observance thereof is the same as at the creation
SECOND BRÂHMANA. 1. And when the Hotri recites this (verse), Let Brahmanaspati go forward, let the goddess Sunritâ go forward,'--the Adhvaryu, stepping forward, makes offering (by muttering) the windnames. For at this time the gods were afraid lest the Rakshas, the fiends, might injure that (Pravargya) of theirs in the middle (of the sacrifice): they offered it with the Svâhâ-call before its being taken to) the Ahavaniya, being thus offered they offered it (again) in the fire; and in like manner does this one now offer it with the Svâhâ-call before
According to Taitt. Âr. IV, 8, 4; Âpast. XV, 10, 2, this formula is addressed to the steam rising from the Mahâvîra pot-it being accordingly modified to 'I offer thee to Sarya's ray, the rain winner.'
• XIV, 1, 3, 26. • See p. 458, note 1,
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(its being taken to) the Åhavaniya, and being thus offered he offers it (again) in the fire.
2. (Vág. S. XXXVIII, 7) To the wind Ocean (I offer) thee, hail!'—the (aerial) ocean (samudra) indeed is he who blows here, for from out of that ocean all the gods and all the beings issue forth (samud-dru): it is to him (Vậyu, the wind) he thus offers it, and therefore he says, 'To the wind Ocean (I consecrate) thee, hail !'
3. To the wind Flood-thee, hail!'—the flood (sarira) indeed is he who blows here, for from out of that flood all the gods and all the creatures come forth together (saha frate): it is to him he thus offers it, and therefore he says, 'To the wind Flood—thee, hail!'
4. "To the wind Unassailable thee, hail! To the wind Irresistible—thee, hail!'-unassailable and irresistible indeed is he who blows here: it is to him he thus offers it, and therefore he says, “To the wind Unassailable—thee, hail ! To the wind Irresistible—thee, hail!'
5. "To the wind Favourable—thee, hail! To the wind Ogress-ridder-thee, hail!'favourable and an ogress-ridder indeed is he who blows here: it is to him he thus offers it, and therefore he says, 'To the wind Favourable-thee, hail ! To the wind Ogress-ridder—thee, hail !
6. (Våg. S. XXXVIII, 8,] To Indra, accompanied by the Vasus and Rudras, (I offer) thee, hail!'-Indra indeed is he who blows here: it is to him he thus offers it, and therefore he says, • To Indra—thee;' and when he says, 'accompanied by the Vasus and Rudras,' thereby he allows a share to the Vasus and Rudras along with Indra ; and,
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moreover, it is thereby made to be like the morning Soma-pressing, and the midday-pressing ?
7. 'To Indra, accompanied by the Adityas, -thee, hail!'-—Indra indeed is he who blows here: it is to him he thus offers it, and therefore he says, "To Indra—thee;' and when he says, 'accompanied by the Ådityas,' thereby he allows a share to the Ådityas along with Indra; and, moreover, it is made like the evening-pressing '.
8. 'To Indra, the slayer of the evil-minded, --thee, hail!'--Indra indeed is he who blows here: it is to him he thus offers it, and therefore he says, *To Indra-thee;' and as to his saying, to the slayer of the evil-minded,' the evil-minded one being an enemy, he thereby means to say, .To Indra, the slayer of enemies,-thee!' This is his (Indra's) special share: even as there is a share for a chief?, so is this his (share) apart from the (other) gods.
9. 'To Savitri, accompanied by the Ribhus, the Vibhus (lords), and the Vagas (powers),thee, hail!'-Savitri (the sun) indeed is he who blows here: it is to him he thus offers it, and therefore he says, 'To Savitri, accompanied by the Ribhus, the Vibhus, and the Vågas,-thee!' He thus allows a share therein to all the gods along (with Savitri).
10. •To Brihaspati, accompanied by the All-gods,-thee, hail!'-Brihaspati indeed is he who blows here: it is to him he thus offers
See III, 4, 5, 1, where it is stated that the morning-pressing belongs to the Vasus, the midday-pressing to the Rudras, and the third pressing to the Adityas.
• Or, for the best (or eldest brother). Cf. III, 9, 4, 9.
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it, and therefore he says, “To Brihaspati—thee;' and when he says, 'accompanied by the All-gods,' he thereby allows a share therein to all the gods along (with Brihaspati).
1. [Vâg. S. XXXVIII, 9,] 'To Yama, accompanied by the Argiras and the Fathers, thee, hail!'-Yama indeed is he who blows here: it is to him he thus offers it, and therefore he says, "To Yama--thee;' and as to his saying, 'accompanied by the Angiras and the Fathers,'-when the sacrifice had its head cut off, its life-sap flowed away, and went to the Fathers,—the Fathers being three in number': thus it is to these he thereby allows a share along (with Yama).
12. These are twelve names,--twelve months are in a year, and the year is he that shines yonder, and the Pravargya also is that (sun) : thus it is him he thereby pleases, and therefore there are twelve (names).
13. He then pours (the spilt milk and ghee) from the tray into the Mahavira (pot) with, 'Hail to the Gharmal'—the Gharma (hot draught) is he who shines yonder, and the Pravargya also is that (sun): thus it is him he thereby pleases, and therefore he says, 'Hail to the Gharma!'--the call of 'haill' he places first, and the deity last: the significance of this is the same as before s
14. When it has been poured in, he mutters, ‘Hail, the Gharma to the Fathers!' When the sacrifice had its head cut off, its life-sap flowed
See XIV, 1, 3, 36.
* See p. 465, note 2.
(44)
ji
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away, and went to the Fathers—the Fathers being three in number: it is these he thus pleases. The call of 'hail !'he places first, and the deity last; the significance of this is the same as before. · 15. He recites no anuvákyà (invitatory) formula, for once for all the Fathers have passed away: therefore he recites no anuvákya. Having stepped across', and called (on the Agnidhra) for the Sraushat”, he (the Adhvaryu) says (to the Hotri),
Pronounce the offering-formula (yágya) of the Gharma ;' and on the Vashat-call being uttered he offers—
16. With (Våg. S. XXXVIII, 10), ‘All regions (hath he worshipped), seated in the south,'that is to say, 'every region (has he worshipped), seated on the south ;'-'all gods hath he worshipped here,'--that is, 'every god has he worshipped here;'-'of the sweet Gharma, consecrated by Svåhà (hail !), drink ye, O Asvins!' -with regard to the Asvins he says this; for the Asvins restored the head of the sacrifice: it is them he thus pleases. The call of 'hail !'he places first, and the deity last: the significance of this is the same as before.
17. And, having offered, he (thrice) shakes (the Mahavira) upwards, with (Våg. S. XXXVIII, 11),
In heaven place thou this sacrifice! this sacrifice place thou in heaven!'--for the Gharma (hot milk-draught), the sacrifice, is yonder sun, and he indeed is 'placed' in the heavens, is
· Viz. past the Ahavaniya, along its back (or western) side, to the south side of the fire.
* See part i, p. 132, note; III, 4, 4, 11 seqq.
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established in the heavens: it is thus him he thereby pleases, and therefore he says, 'In heaven place thou this sacrifice! this sacrifice place thou in heaven!' On the repetition of the Vashat, he offers
18. With, 'Hail to Agni, worthy of sacrifice!'-this is in lieu of the Svishtakrit (offering), for Agni is the maker of good offering;-may blessing result from the sacrificial texts!' for by the sacrificial texts that (sun) is established (as the Mahavira) in this world: thus it is them he thereby pleases. The call of 'hail!' he places first, and the deity last: the significance of this is the same as before.
19. The Brahman (priest) pronounces the anumantrana (formula of consecration); for the Brahman is the best physician among the officiating priests: thus he heals this sacrifice by means of him who is the best physician among the priests.
20. [He does so, with Vâg. S. XXXVIII, 12,] 'O Asvins, drink ye the Gharma!'-with regard to the Asvins he says this, for the Asvins restored the head of the sacrifice: it is them he thus pleases.
21. 'The hearty' one with daily" favours,'
1 The exact meaning of 'hârdvânam' is doubtful. Mahîdhara analyses it by 'hard' = 'hrid' + 'vâna,' blowing, going, hence 'heart-wafting, going to the heart dear to the heart.' The St. Petersb. Dict, takes the word to be 'hârd-van,' in the sense of 'herzstärkend' (heart - sustaining, invigorating- ? literally, 'possessed of heartiness'). The Taitt. Ar. has 'I 'hârdivanam instead. The author of the Brahmana apparently considers the term as obscure, and uses this circumstance for his own symbolic purposes.
"
Perhaps the author means to characterise also the epithet I i 2
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this is indistinct, for Pragâpati is indistinct (undefined), and the sacrifice is Pragâpati: Pragâpati, the sacrifice, he thus heals;
SATAPATHA-BRAHMANA.
22. To the web-weaver,'-the web-weaver, doubtless, is he that shines yonder, for he moves along these worlds as if along a web; and the Pravargya also is that (sun): thus it is him he thereby pleases, and therefore he says, 'To the web-weaver'
23. 'To Heaven and Earth be reverence!' he thus propitiates heaven and earth, within which everything here is contained.
24. Thereupon the Sacrificer (mutters),-the Sacrificer being the sacrifice, he thus heals the sacrifice by means of the sacrifice;
25. [Vag. S. XXXVIII, 13,] 'The Asvins drank the Gharma,'-he says this with regard to the Asvins, for the Asvins restored the head of the sacrifice: it is them he thus pleases.
26. 'Heaven and Earth have approved of it,' he says this with regard to heaven and earth, within which everything here is contained ;'may gifts accrue here!'-whereby he means to say, 'may there be riches for us here.'
27. The rising (milk) he then consecrates by the anumantrana, 'For freshness swell thou!'
'ahar-diva' (lit. 'day-daily,' cf. Germ. tagtäglich; Aberdonian 'dailyday') as obscure. Mahidhara takes it to mean 'relating to morning and evening,' as applying to the two performances of the Pravargya.
1 They approved of it by saying 'Well done'; Mahîdh.
* That is, as would seem, he speaks the anumantrana in order to consecrate whatever milk might have been spilled in bubbling over. Possibly, however, he is to do so at the time when the pot bubbles over (though the 'atha' would rather be out of place in that case). The Taittiriyas differ somewhat on this point of the performance.
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-whereby he means to say, 'For rain ...;'for vigour swell thou!'—he thereby means the vigour, the life-sap, which results from the rain ;-'for the Brahman swell thou!'-he thereby means the priesthood ;-'for the Kshatra swell thou!'-he thereby means the nobility ;'for Heaven and Earth swell thou!'-he thereby means these two, the heaven and the earth, within which everything here is contained.
28. When it rises upwards, it rises for (the benefit of) the Sacrificer; when on the front side, it does so for the gods; when on the right (south) side, it does so for the Fathers; when at the back (west side), it does so for the cattle; when on the left (north) side, it does so for (the Sacrificer's) offspring : in any case no fault is incurred by the Sacrificer, for it always rises upwards ; and in whatever direction it rises in that it rises. When the drops cease,
29. He steps out towards the north-east with, A well-supporting support thou art,'—he who shines yonder is indeed a support, for he supports everything here, and by him everything here is supported; and the Pravargya also is that (sun): thus it is him he thereby pleases, and therefore he says, 'A well-supporting support thou art.'
30. He then places (the Mahavira) on the mound with, 'Incapable of injuring, preserve thou our powers !'— Not angry', preserve our wealth,'
After the Gharma-milk has been offered, the Pratiprasthåtri fills the Mahavfra pot, whilst it is held over the fire, with boiled sour curds and whey (dadhi), whilst muttering the text, 'The Asvins drank the Gharma . . .,' and with the texts, 'For freshness swell thou,' &c.
I The author apparently takes ameni' in the sense of amanyu.'
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is what he thereby means to say ;—'preserve the priesthood, preserve the nobility, preserve the people!'-—' preserve all that, is what he thereby means to say.
31. He then offers by means of the pieces of (split) wood ?,—the pieces of wood being the vital airs, it is the vital airs he thus bestows upon him ;
32. With (Vâg. S. XXXVIII, 15), 'Hail to Pashan, to the cream!'- Pushan, doubtless, is he who blows here, for he (the wind) supports (push) everything here; and the breath also is that (wind): it is breath he thus bestows upon him, whence he says, 'Hail to Pashan, to the cream!' The call of 'hail!' he places first, and the deity last : the significance of this is the same as before. Having offered by means of the first piece) he leans it against the middle enclosingstick ? (paridhi).
33. 'Hail to the pressing-stones!'-the pressing-stones being the vital airs, it is the vital airs he thus bestows upon him. Having offered (with the second stick) he leans it against the middle enclosing-stick.
34. ·Hail to the sounding-holes'!'--the
The St. Petersb. Dict. assigns to it the meaning 'not shooting, incapable of shooting
For these pieces of wood, or large chips, of Vikankata wood (Flacourtia sapida) which were laid round the pot, see XIV, 1, 3, 26. They are dipped into the remains of the hot milk and ghee, the liquid adhering to them being then offered.
· That is, that one of the three fresh sticks enclosing the fire which is laid down first, along the back, or west side, and forms the base of a triangle the apex of which points eastwards. Cf. I, 3. 4, I seqq.
* This meaning is, by the St. Petersb. Dict., assigned to 'prati-rava'
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sounding-holes (pratirava), doubtless, are the vital airs, for everything here is pleased (pratirata) with the vital airs: it is the vital airs he thus bestows upon him. Having offered (with the third stick) he leans it against the middle enclosingstick.
35. “Hail to the Fathers, (seated) upon the Barhis, and drinking the Gharma!'-even without offering he secretes (this, the fourth stick) under the barhis of the south part (of the vedi ) whilst looking towards the norths. When the sacrifice had its head cut off, its life-sap flowed away, and went to the Fathers—the Fathers being three in number: it is them he thus pleases. And
(otherwise echo '), the proper term for the sounding-holes being
upa-rava,' cf. III, 5, 4, 1, where they are likened to the eyes and ears, as channels of the vital airs.
If this rendering (St. Petersb. Dict.) of Ordhvabarhis' is correct-the term being apparently based on the Fathers' epithet 'barhishadah,' seated on the barbis' (sacrificial grass-covering of the altar-ground the force of ardhva' in the compound is very peculiar. Mahîdhara takes it in the sense of having their barhis pointed upwards,' i. e. towards the east, the peculiar feature of the barhis in the present case-as far as the participation of the Fathers in the drinking of the Gharma is concerned-being its having the tops of the grass-stalks turned to the east instead of to the south, as is the case in all ceremonies relating to the Fathers. The term "ardhvabarhis might possibly mean'having their (Special) barhis above,' i. e. in the world of the Fathers, where they would be supposed to partake of the libations of hot milk; whilst yet another suggested by the next paragraph) would be that of
having the barhis above them;' which would, however, be more appropriate if the secreting of the stick under the barhis applied to the present, instead of the next one.
• The comm. on Katy. XXVI, 6, 14 calls this part of the barhis *atithyabarhis' (?).
. And accordingly, without looking at it.
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as to why he does not look at it.--once for all the Fathers have passed away.
36. `Hail to Heaven and Earth!'-heaven and earth being the out (and in)-breathing and the up-breathing, it is the out and up-breathing he thus bestows upon him. Having offered (with the fifth stick) he leans it against the middle enclosing-stick.
37. 'Hail to the All-gods!'—the Visve Devåk being the vital airs, it is the vital airs he thus bestows upon him. Having offered (with the sixth stick) he leans it against the middle enclosing-stick.
38. (Vag. S. XXXVIII, 16,] Hail to Rudra, praised by the Rudras'!'-even without offering (with this, the seventh stick), he, looking southwards, hands it to the Pratiprasthàtri, and the latter throws it outside (the offering-ground) northwards to the north of the hall, for this is the region of that god : he thus gratifies him in his own region. And as to why he does not look at it, he does so thinking, 'Lest Rudra should do me harm.'
39. There are seven of these oblations, for seven in number are these (channels of the) vital airs in the head: it is these he thus bestows upon him.
40. He then pours (the remaining milk and ghee) from the Mahavira into the supporting-tray with, Hail, light with light!'--for light indeed the milk was in the one (vessel), and light it is in the other, and these two lights thus unite with each other. The call of 'hail!'he places first, and the deity last : the mystic import of this is the same as before.
"Or, 'having his praises sung by the chanters,' as Mabidhara takes rudrahti.'
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41. He then offers (the second of) the two Rauhina ? (cakes) with, May the day be pleased with its brightness, the well-lighted with its light, hail!'--the mystic import of this is the same as before ;-'may the night be pleased with its brightness, the well-lighted with its light, hail!'-the mystic import of this is the same as before.
42. He then hands to the Sacrificer the remainder of the Gharma. He, having solicited an invitation (to the meal), drinks it with, Offered is the honey unto Agni, the greatest of Indras,'
Offered is the honey unto Agni, the most powerful,' he thereby means to say ;-'let us eat of . thee, god Gharma: reverence be unto thee, injure us not!'-a blessing he thereby invokes.
43. Now, on the south side sand has been strewn; there they cleanse themselves 8: in this there is the
1 Viz. XIV, 2, 1, 1. · Viz. at the hands of the officiating priests, by saying to each, Invite me, N. N.!' whereupon each of them replies, 'Thou art invited. Cf. XII, 8, 3, 30. According to Âpast. Sr. XV, 11, 12, the priests and the Sacrificer partake of the residue in the order -Hotri, Adhvaryu, Brahman, Pratiprasthålri, Agnidh, and Sacrificer; or, optionally (ib. 14), only the Sacrificer drinks of it, whilst the priests merely smell it. Cf. the eating of the whey (of clotted curds). II, 4. 4. 25. to which the present eating of the remains is stated, by Kâty. XXVI, 6, 20, to be analogous; whilst the offering is said to be on the model of the Agnihotra.
The usual place to do so is over the pit (kâtrála), cf. III, 8, 2, 30; XII, 8, 1, 22 ; whilst the utensils are cleaned in the Mârgâliya. On the present occasion a mound of sand (or covered with sand) the so-called ukkhishta-khara '(mound of remains)-is raised in the south part of the sålå, close to the mat or hurdle forming its wall, just east of the southern door. According to Kâty. XXVI, 6, 21 seqq., Āpast. XV, 12, i seqq., the Mahavira and the remaining
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same significance as in the Margallya. The pieces of wood he throws into the fire. They then proceed with the Upasad. And thus the head of the sacrifice has been set right in the very same manner in which the Asvins then restored it.
44. One must not perform the Pravargya at one's first Soma-sacrifice, since that would be sinful, and lest Indra should cut off his head; but at the second or the third (Soma-sacrifice); for at first the gods went on worshipping and toiling with the headless sacrifice, therefore he should do so) at the second or the third (sacrifice). Moreover, it will become heated and ablaze ;
45. And were he to perform the Pravargya at the first Soma-sacrifice, that (Mahavira) of his, when heated and ablaze, would burn up his family and cattle, and also his life, and the Sacrificer would be liable to perish: therefore (let him perform it) at the second or third (sacrifice).
46. Let him not perform the Pravargya for any and every one, lest he should do everything for every one, for the Pravargya is everything; but let him only perform it for him who is known, or to whoever may be dear to him, or who has studied sacred writ: by means of the study of sacred writ he would thus gain it.
47. One may perform the Pravargya for a thousand (head of cattle) ', for a thousand means everything, and that (Pravargya) is everything. One may
apparatus are then in solemn fashion (carried round in front of the Ahavaniya, and) placed on the throne-seat, and consecrated (or appeased) by being sprinkled with water.
1 That is, at a sacrifice for which this constitutes the sacrificial fee.
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perform it for all the Sacrificer's) property; for all one's property means everything, and this (Pravargya) is everything. One may perform it at a Visvagit with all the Prishthas '; for the Visvagit (all-conquering day) with all the Prishthas means everything, and this (Pravargya) is everything. One may perform it at the Vågapeya (and) Rågasûya, for such a ceremony) means everything. One may perform it at a sacrificial session, for the session means everything, and this (Pravargya) is everything. These are (the occasions for) his performances of the Pravargya, and (let him perform it) nowhere else but at these.
48. Here now they say, Seeing that the Pravargya is headless, whereby, then, does the Agnihotra become possessed of a head for him ?' Let him say, "By the Ahavaniya.'—How the New and Full-moon sacrifices ?' Let him say, 'By the ghee and the cake.'— How the Seasonal sacrifices ?' Let him say, “By the oblation of clotted curds ??— How the animal sacrifice ?' Let him say, ' By the victim and the cake.'-'How the Somasacrifice ?' Let him say, 'By the Havirdhầna $.'
49. And they also say,—when the sacrifice had its head cut off, the gods on that occasion restored it as the hospitable reception * (of King Soma), and verily for him who so knows this offering is not made with any headless sacrifice whatever.
" See p. 139, note 1 ; and XII, 3, 3, 6. . For the ‘payasya' see part i, p. 178, note 4; p. 381, note 3.
$ That is, the cart or carts on which the offering-material (including the Soma-plants) is contained, as also the shed in which they are placed.
• See III, 2, 3, 20; 4, 1, 1.
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50. And, again, they say, “Seeing that at the sacrifice they lead forward the Pranità(water), wherefore do they not lead it forward on this occasion ?' Well, this—to wit, the Pranità (water)
- being the head of the sacrifice, and the Pravargya also being its head, (he does so thinking, 'Lest I cause the head to be overtopped by a head.
51. And, again, they say, 'Seeing that elsewhere there are fore-offerings and after-offerings, where fore are there not any on this occasion ?' Well, the fore-offerings and after-offerings being the vital airs, and so also the Avakåsas", and the pieces of wood, (it is so) lest he should cause the vital airs to be overtopped by vital airs.
52. And, again, they say, 'Seeing that elsewhere they offer two butter-portions, wherefore does he not offer them on this occasion ?' Well, those two-to wit, the butter-portions-being the eyes of the sacrifice, and so also the two Rauhina (cakes)—it is so) lest he should overtop eye by eye.
53. And, again, they say, 'Seeing that they make offering to the gods by means of wooden (vessels), wherefore does he offer this (Gharma) by means of one made of clay ?' When the Sacrifice had its head cut off, its life-sap flowed away and entered the heaven and the earth. Now this (earth) is clay, and yonder (sky) is water; and the Mahavira (vessels) are made of clay and water : thus he supplies and completes it (the Pravargya) with that
life-sap.
54. But if it were made of wood, it would be
See part i, p. 9, note.
See p. 469, nole 1.
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burnt; and if of gold, it would dissolve ; and if of copper, it would melt; and if of stone, it would burn the two handling-sticks; and that (Gharma) itself submitted to that (earthen vessel) : therefore it is by means of an earthen one that he offers it.
55. And, verily, whosoever either teaches, or partakes of, this (Pravargya) enters that life, and that light : the observance thereof is the same as at the creation ?
THIRD ADHYÂYA. First BRÂHMANA.
THE SETTING OUT OF THE PRAVARGYA. 1. Now, on the third, or the sixth, or the twelfth day, having combined (the two performances of) the Pravargya and Upasads 3, he 'sets out the Pravargya, for set out (removed), as it were, is this head (from the trunk). Having gathered together all around its (the Mahavira pot), they
See p. 458, note 1. ? That is, according to whether there are three, six, or twelve Upasad days to the particular form of Soma-sacrifice about to be performed. On each of these days there would be two performances of the Upasads,--and in case the Pravargya is to be performed-as many performances of that sacrifice.
On the day before the Soma-sacrifice, the two performances of the Pravargya and the Upasads are combined and gone through in the forenoon, instead of the forenoon and afternoon as is otherwise the case. Katy. XXVI, 7, 1 does not refer to the performance of the Pravargya on this day, but merely remarks that at the end of the Upasads (i. e. of the combination of the Upasads, comm.) the removal of the Pravargya' takes place. Âpast. XV, 12, 4-6, on the other hand, states distinctly that the total number of performances of the Pravargya is to be double that of the Upasad days.
• The setting out' (utsadana) of the Pravargya is the technical phrase for the removal and orderly laying out in the form of a man) of the apparatus used for the Pravargya ceremony.
. After collecting the implements they take them out of the sala
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meet together upon the Vedi in the Sala, (entering) by the front door.
2. The Âgnidhra then brings three bundles of faggots to the Åhavaniya, and kindling one of them, he offers (thereon) whilst holding it on a level with (the Sacrificer's) mouth. When the sacrifice had its head cut off its heat went out of it, and entered these worlds: it is with that heat he thus supplies and completes it.
3. And as to why (it is held) on a level with the mouth, - well, what is level with the mouth is, as it were, above; and above, as it were, is yonder (heavenly) world : thus he thereby supplies and completes it (the Pravargya) with that heat which had entered yonder world.
4. (He offers, with Vâg. S. XXXVIII, 18.] •What heavenly fire of thine there is, O Gharma,'—just the fire which is heavenly ;what is in the Gayatri and in the Havir.
and lay them down near the Antahpâtya peg at a few steps from the front door (whilst Apast. makes them to be put on the throneseat placed north of the Ahavaniya).
1 According to the comm. on Käty. XXVI, 7, 4, it is the Adhvarya who-after ladling four times into the offering-spoon-distributes this ghee successively over the three bundles of sticks,-viz. pouring some upon the first two whilst they are held, at the specified height over the  havanîya fire, by the Agnidh (who immediately after the offering throws them into the fire), and upon the third after it has been held knee-high by the Agnidh, and then thrown into the fire by the Adhvaryu. According to Âpastamba, who makes the Pratiprasthåtri and Adhvaryu the two performers, the third portion of the ghee is offered on the bundle of sticks whilst it is still held knee-high over the fire. As noted by Kâtyâyana, the ceremony is analogous (though reversed as regards the order of height) to the offering on the three enclosing-stones at the Satan driya ceremony, IX, 1, 1, 5 seqq.
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dhâna,'-just that which is in the Gâyatri (metre) and Havirdhana (shed);-'may that (fire) of thine increase and become firm: to that (fire) of thine, hail!' in this there is nothing hidden, so to speak.
5. Then, having kindled the second (bundle), he offers (thereon) whilst holding it navel-high; for in the middle, as it were, is what is navelhigh, and in the middle, as it were, is the air-world: thus he thereby supplies and completes it with that heat which had entered the air-world.
6. 'What fire of thine is in the air,'-just the fire which is in the air; what is in the Trishtubh and in the Ågnidhra,'-just that which is in the Trishtubh (metre) and Âgnidhra (fire-shed);-may that (fire) of thine increase and become firm: to that (fire) of thine, hail!' in this there is nothing hidden, so to speak.
7. Then, having put the third (bundle) on the fire, he offers on it whilst sitting; for below, as it were, is he who is sitting; and below, as it were, is this (terrestrial) world: thus he thereby supplies and completes it with that heat which had entered this (terrestrial) world.
"
8. What fire of thine is in the earth,'just that fire which is in the earth;-'what is in the Gagati and in the Sadas,'-just that which is in the Gagatt (metre) and the Sadas (shed); may that (fire) of thine increase and become firm: to that (fire) of thine, hail!' in this there is nothing hidden, so to speak.
9. He (the Adhvaryu) then steps out', with
Viz. out of the sâlâ, with the Sacrificer's wife in front of him,
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(Vág. S. XXXVIII, 19), 'Thee (we will follow) for the protection of the Kshatra,'-for he who shines yonder is indeed the divine ruler : 'for the protection of this human ruler,' he thereby means to say ;-'guard thou the Brahman's body!'—that is to say, 'preserve thou the Brahman's person (atman); '-'Thee (we will follow) as a stay for the Vis,'—the Vis (people, clan) doubtless is the sacrifice : "for the safety of the sacrifice,' he thus means to say ;—'we will follow to new prosperity, -it is for the safety and the stability of the sacrifice that he says this.
10. He then says (to the Prastotri), 'Sing the Såman!' or "Recite the Saman!' but let him rather say, 'Sing the Saman!' for they indeed sing the Såman. When he sings the Såman it is in order that the fiends, the Rakshas, should not injure these
---
-
and followed by the others. According to Âpast. XV, 13, 4, the Pratiprasthâtri now leads the Sacrificer's wife within the enclosure; and whilst attendants carry away the objects not immediately connected with the Pravargya ceremony (post, peg, strings, sand, &c.), the Adhvaryu places the throne-seat (with the chief vessels) 90 as to stand with two feet on the Vedi; and with the other two outside it, and calls on the Prastotri to sing the Saman. This (as is usual in chanting) is done three times—the Adhvaryu, however, repeating his summons each time--and each time all of them (including the Patni) sing or utter a special finale,--the first time in the sâlâ, the second time midway between the sala and the Uttaravedi, and the third time when they have arrived behind the Uttaravedi; the finales corresponding to the formulas of this paragraph, viz.— For the protection (or protector) of heaven (wc follow thee 1'-'For the protection of the Brahman-thee I'For the protection of the self-thee!'
It should be borne in mind that the Mahavfra by which they are supposing themselves to be led now, is looked upon as a symbol of the sun.
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outside the sacrifice, the body; for the Såman is a repeller of the fiends, the Rakshas.
11. He sings it on a (verse) relating to Agni, for Agni is the repeller of the Rakshas. On an Atikkhandas (verse) he sings it, for that—to wit, the Atikkhandas (redundant metre) is all metres, therefore he sings it on an Atikkhandas (verse).
12. He sings', 'Agni burneth, encountereth with flames, Ahâvo! Ahà vo1!'-it is thus he repels the fiends, the Rakshas, from here.
13. They walk out (from the sacrificial ground) northwards ?, along the back of the pit and the front side of the Âgnidhra (fire-house)—for this is the gate of the sacrifice-and proceed in whatever direction from there water is (to be found).
14. Let him 'set out' that (Pravargya) on an island; for, when heated, it becomes burning-hot 3; and were he to set it out on this (earth), its heat would enter this (earth); and were he to set it out on water, its heat would enter the water; but when he sets it out on an island-thus, indeed, it does not injure either the water or this earth), for inasmuch as he does not throw it into the water, it does not injure the water; and inasmuch as the water flows all round it-water being a means
1 The same Sâman is sung when they betake themselves to the expiatory bath at the end of the Soma-sacrifice, cf. IV, 4, 5, 8 where the stobha had better be altered to 'ahâvo' (though the Sandhi in the text is the same as of ahavas '). As on that former occasion, all the priests, as well as the Sacrificer, join in the finale.
* In doing so, they take the Pravargya-vessels and implements along with them.
Hardly 'is suffering pain,' as it was taken at IX, 2, 1, 19; though susu kâ na' and 'suk' evidently refer to internal heat, or passion, cf. p. 464, note 4, p. 468, note 1.
[44]
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of soothing-it does not injure this (earth): let him therefore set it out on an island.
15. But let him rather set it out on the Uttaravedi'; for the Uttara-vedi is the sacrifice, and the Pravargya is its head: he thus restores to the sacrifice its head.
16. The first Pravargya (pot) he sets out so as to be close to (the front side of) the navel (of the Uttara-vedi), for the northern (upper) navel is the voice, and the Pravargya is the head: he thus places the voice in the head.
17. [He does so, with Våg. S. XXXVIII, 20,] 'The four-cornered,'-four-cornered, indeed, is he who shines yonder, for the quarters are his corners therefore he says, 'Four-cornered';—
18. Mighty navel of the divine order,'the divine order being the truth, he thereby means to say, 'The mighty navel of the truth;'-'that mighty one (be) unto us of all life,' -' that mighty one (be) unto us (a bestower) of the complete (term of) life,' he thereby means to say ';
1 Kâtyâyana only lays down the rule that, in the case of the sacrifice not being accompanied with the building of a fire-altar, the Pravargya apparatus should be removed to the Uttara-vedi; whilst, in the case of one who likewise performs the Agnikayana, he would doubtless follow the indication already laid down in the Brahmana, IX, 2, 1, 19; viz. that the pot may be removed to an island, but should rather be deposited on the fire-altar (in which case, however, the 'setting out' of the apparatus would apparently have to be deferred till after the performance of the Soma-sacrifice). Âpastamba treats of the Uttara-vedi as the place where the implements are to be deposited, but finally he allows an option of other places, including an island, but not the fire-altar.
The words 'sa nah sarvâyuh saprathâh,' being here used as explanatory of 'sa no visvâyuh saprathâh,' have probably got by mistake into the Samhitâ.
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19. —'from the hatred, from the guile,'-in this there is nothing hidden, so to speak;—' of him of another law, let us free ourselves!'-another law, indeed, is his (Pravargya's and the Sun's), and another that of men': therefore he says, 'Of him of another law, let us free ourselves.' In this way the other two (pots are placed) east of it: this is threefold, for the head is threefold a
20. In front thereof (he places) the reserve (lump of) clay, whereby he puts flesh upon it (Pravargya); on the two sides thereof the two lifting-sticks, whereby he gives two arms to it; and on the two sides yet further away the two Rauhina offering-ladles, whereby he gives two hands to it.
21. On the left (north) side (he places) the spade, for there is its place of rest; on the right (right) side the imperial throne, for there is its place of rest; on the left side the black antelope-skin, for there is its place of rest; on all sides (save the front side) the fans, for, the fans being the vital airs, he thereby bestows vital airs on it; there are three of them, for there are three vital airs, the out- (and in-) breathing, the up-breathing, and the through-breathing: it is these he thus bestows on him.
22. He then puts the cords and halter on the supporting-tray, and places (the latter) behind (the
1 The author evidently understands the text more in accordance with Mahîdhara's interpretation which makes anyavratasya' to refer to the Supreme Spirit (paramåtma) whose law, or ways, are different from men's, and construes it with 'saskima' (we serve, are devoted, to that righteous one). The preceding part of the halfverse he would thus take independently of this :-'Away hatred ! away guile !' · Viz. consisting of bone, skin, and hair.
Kk 2
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navel) with its point towards the east: a belly he thus gives to it. On the two sides thereof the two milking-bowls (pinvana): two testicles he thereby gives to it, for by means of his testicles the male overflows (pinv). Behind (them he places) the post and peg: whereby he gives two thighs to it; behind (them) the two Rauhinaplates, whereby he gives two knees to it; and as to their being single plates, it is because these knees consist, as it were, of single plates (bones). Behind (them) the two poking-sticks (dhrishti), whereby he gives two feet to it, for with the feet one strikes out boldly (dhrishtam). On the left side the two mounds 1 used in the performance, for there is their place of rest; on the right side the Mârgåltya ?, for there is its place of rest.
23. He then pours milk into that (chief pot), with (Vāg. S. XXXVIII, 21), 'This, O Gharma, is the contents of thy bowels,'—the contents of the bowels being food, it is food he thus puts into it;— Grow thou, and fill out thereby!'in this there is nothing hidden, so to speak ;'and may we ourselves grow, and fill out!'-it is a blessing he thereby invokes.
24. Let him not pour in all (the milk), lest the food should turn away from the Sacrificer.-He leaves over half of it or more; and on that same afternoon he pours it to the fast-milk, and hands it to the Sacrificer: thereby he bestows food upon
· That is, the sand used for them, and brought thither in vessels.
That is, the sand of the mound of remains' (ukkhishtakhara), see p. 489, note 3.
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the Sacrificer, and thus, indeed, food does not turn away from the Sacrificer.
25. He then sprinkles it (the Pravargya apparatus) with water: water being a means of appeasement, he thus appeases it; he sprinkles it all over : all over he thus appeases it; three times he sprinkles, for threefold is the sacrifice.
26. He then says (to the Prastotri), 'Sing the Varshahara Saman!'-the fallow stallion' (vrisha harih) doubtless is he who shines yonder, and the Pravargya also is that (sun): it is thus him he thereby pleases, and therefore he says, 'Sing the Vârshầhara Saman?!'
27. They then cleanse themselves at the pit. With (Vâg. S. XXXVIII, 23), “May the waters and plants be friendly unto us,' he takes water in his joined hands; for water is a thunderbolt: he thus makes a covenant with the thunderbolt;and with, May they be unfriendly unto him who hateth us, and whom we hate!' let him sprinkle it in whatever direction he who is hateful to him may be, and he thereby overthrows him.
28. He (the Sacrificer) then steps out towards the north-east, with (Vâg. S. XXXVIII, 24), 'From out of the gloom have we risen,'-gloom is
Or, bull.— The Våg. S. (XXXVIII, 22) here inserts the verse Rig-v. IX, 2, 6, to be used during the sprinkling,—The fallow stallion hath whinnied-or, the fallow bull hath roared-the mighty one, beautiful as Mitra, the water-holding vessel hath shone like unto the sun. The italicised words, evidently added to suit the Mahåvira vessel, are wanting in the Rik.
• Katy. XXVI, 7, 36 (doubtless in accordance with another såkhâ) also prescribes here the Ishfhotrîya Saman.
·
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evil : it is gloom, evil, he thus drives away ;'beholding the higher light,'--this (terrestrial) world is higher than the water : it is on this world he thus establishes himself;-'God Sarya, with the gods, the highest light,'-Sarya, the highest light, is the heavenly world: it is in the heavenly world he thus finally establishes himself. He walks along without looking back, and puts a log of wood on the Ahavaniya', with (Vâg. S. XXXVIII, 25). ' A kindler thou art, fire thou art: lay thou fire into me!' it is a blessing he thereby invokes.
29. And at a continued pressing of Soma they also perform the Gharma of curds and whey (Dadhi-gharma),—for Soma is the sacrifice, and the Pravargya is its head: he thus restores to the sacrifice its head,-at the midday-pressing, for that
-to wit, the midday-pressing—is Indra's special pressing : he thus pleases him in his own share ;when the Madhyandina-pavamâna has been chanted, for the Madhyandina-pavamâna is the breath: it is breath he thereby lays into him ;—with the Agnihotra-ladle, for the Agnihotra is the mouth of sacrifices : he thus puts a mouth in the head.
30. On its being brought, he says, 'Hotâr, speak what thou hast to speak !' for the Hotri speaks on this occasion. Then, stepping up, he says,
Cooked is the offering-food;' for cooked, indeed, it is. Having stepped across (behind the Ahavaniya), and called for the Sraushat, he says, • Pronounce the offering-formula!' and offers on the Vashat being uttered. When the Vashat is
· The Sacrificer's wife (according to another såkhâ) also silently puts one on the Gårhapatya fire.
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repeated, he brings the draught, and hands it to the Sacrificer.
31. Having solicited an invitation? (and received an answer from the priests), he drinks of it, with (Vág. S. XXXVIII, 27), “May there be in me that great energy;-a great energy, indeed, is he who shines yonder ;-'in me the fitness, in me the intelligence,'-fitness and intelligence he thus secures to himself;—'the Gharma of triple fires shineth,'—for this Gharma of triple fires indeed shines ;-'together with the shining light,'—for together with the shining light (the sun) it indeed is ;-'together with the fire, the Brahman,'—for together with the fire, the Brahman, it indeed is ;-(Våg. S. XXXVIII, 28), 'The seed of the milk hath been brought,'—for this is indeed the seed of the milk that has been brought ;-'may we obtain the milking thereof year after year!'-it is a blessing he thereby invokes. They then cleanse themselves at the pit : the significance of this is the same as before.
32. Now, then, as to the sacrificial gifts. The gold plate he gives to the Brahman; for the Brahman is seated, and gold is settled glory: therefore he gives the gold plate to the Brahman.
33. And that cow which yielded the Gharmamilk he gives to the Adhvaryu; for scorched, as it were, is the Gharma, and the Adhvaryu comes forth (from the sacrificial ground) like something scorched : : therefore he gives it to the Adhvaryu.
34. And that cow which yielded the Sacrificer's
· See p. 489, note 2. * Lit., lying, i. e. not standing or moving. • Cf. XI, 2, 7, 32.
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fast-milk he gives to the Hotri; for the Hotri is the sacrifice, and the Sacrificer also is the sacrifice: therefore he gives it to the Hotri.
35. And that cow which yielded the fast-milk for the (Sacrificer's) wife he gives to the chanters, for it is they, the Udgatris, that do, as it were, the wife's work on this occasion: therefore he gives it to the chanters.
36. And, verily, whosoever either teaches, or partakes of, this (Pravargya) enters that life, and that light : the observance thereof is the same as at the creation!
SECOND BRAHMANA.
EXPIATORY CEREMONIES. 1. Now this—to wit, the sacrifice-is the self of all beings, and of all gods : after its successful consummation the Sacrificer prospers in offspring (or, people) and cattle; but he whose Gharma (pot) is shattered is deprived of his offspring and cattle. In that case there is an expiation.
2. He offers an oblation of a full (spoon of ghee); for the full means everything : with everything he thus heals whatever has been unsuccessful in the sacrifice.
3. (He offers, with Vâg. S. XXXIX, 1,] ‘Hail to the vital airs with their over-lord!'-the over-lord of the vital airs, doubtless, is the mind (soul), for in the mind all the vital airs are established: it is thus by means of the mind that he thereby heals whatever has been unsuccessful in the sacrifice.
See p. 458, note 1.
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4. To the Earth hail!'-the earth, doubtless, is a place of abode for all the gods: it is thus by means of all the deities that he heals whatever has been unsuccessful in the sacrifice.
5. 'To Agni hail!'-Agni, doubtless, is the self of all the gods: it is thus by means of all the deities that he heals whatever has been unsuccessful in the sacrifice.
6. To the Air hail!'-the air, doubtless, is a place of abode for all the gods: it is thus by means of all the deities that he heals whatever has been unsuccessful in the sacrifice.
7. 'To Vâyu hail!'-Vâyu (the wind), doubtless, is the self of all the gods: it is thus by means of all the deities that he heals whatever has been unsuccessful in the sacrifice.
8. To the Sky hail!'-the sky, doubtless, is a place of abode for all the gods: it is thus by means of all the deities that he heals whatever has been unsuccessful in the sacrifice.
9. 'To Surya hail!'-Surya (the sun), doubtless, is the self of all the gods: it is thus by means of all the deities that he heals whatever has been unsuccessful in the sacrifice.
10. [Vâg. S. XXXIX, 2,] 'To the Regions hail!'-the regions, doubtless, are a place of abode for all the gods: it is thus by means of all the deities that he heals whatever has been unsuccessful in the sacrifice.
II. 'To Kandra hail!'-Kandra (the moon), doubtless, is the self of all the gods: it is thus by means of all the deities that he heals whatever has been unsuccessful in the sacrifice.
12. To the Nakshatras hail!'-the Nak
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shatras (lunar asterisms), doubtless, are a place of abode for all the gods : it is thus by means of all the deities that he heals whatever has been unsuccessful in the sacrifice.
13. "To the Waters hail!'—the waters, doubtless, are a place of abode for all the gods: it is thus by means of all the deities that he heals whatever has been unsuccessful in the sacrifice.
14. 'To Varuna hail!'-Varuna, doubtless, is the self of all the gods : it is thus by means of all the deities that he heals whatever has been unsuccessful in the sacrifice.
15. "To the Navel hail! To the Purified onel hail!'—This is undefined, for undefined is Pragâpati, and Pragâ pati is the sacrifice: it is thus Pragâpati, the sacrifice, he thereby heals.
16. These are thirteen oblations,- for there are thirteen months in the year, and the year is Pragapati, and Pragâpati is the sacrifice: it is thus Pragâpati, the sacrifice, he thereby heals.
17. (Våg. S. XXXIX, 3,] ‘To the Voice hail!'-a mouth he thereby gives to it;-'to the Breath hail! to the Breath hail!'-two nostrils (a nose) he thereby gives to it;-'to the Eye hail! to the Eye hail!'--two eyes he thereby gives to it;-'to the Ear hail! to the Ear hail!'-two ears he thereby gives to it.
18. These are seven oblations,—now seven in number are these vital airs in the head: it is them he thereby gives to it. He offers a last oblation of a full (spoon),—the full means every
Mahîdhara takes 'pūta' in the sense of the purifier (sodhaka)' and apparently the name of a god (as he does also the Navel (nâbhyai devatâyai)).
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XIV KÂNDA, 3 ADHYÂYA, 2 BRÂHMANA, 23. 507
thing: with everything he thus heals whatever has been unsuccessful in the sacrifice, -
19. With (Vâg. S. XXXIX, 4), “The mind's purpose,'-by the mind, indeed, everything is gained here: by the mind he thus heals whatever has been unsuccessful in the sacrifice;
20. "The truth of speech may I freely obtain,'-by speech everything is gained here: by speech he thus heals whatever has been unsuccessful in the sacrifice ;-'may the form of cattle, the essence of food, fame, and prosperity accrue unto me, hail!'-a blessing he thereby invokes.
21. Thereupon, having pounded that spare (clay), and mixed it with powdered clay, he makes (a pot) in proper form, and bakes it in proper form for the purpose of the 'setting out'; and let him perform the sacrifice) with whichever of the two reserve (pots) may be firm.
22. The Pravargya, indeed, is the year; for the year is everything, and the Pravargya is everything: when it is placed on the fire then it is spring; when it is burning-hot then it is summer; when it is flowing over then it is the rainy season ;-but, indeed, when the rains overflow, all the gods and all beings subsist thereon; and, verily, the rains overflow for him who thus knows this.
23. The Pravargya, indeed, is these worlds, for these worlds are everything, and the Pravargya is everything: when it is placed on the fire then it is this (terrestrial) world; when it is burninghot then it is the air-world; and when it flows over then it is yonder (heavenly) world ;—but,
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SATAPATHA-BRAHMANA.
indeed, when yonder world overflows, all the gods and all beings subsist thereon ; and, verily, yonder world overflows for him who thus knows this.
24. The Pravargya, indeed, is those deities— Agni, Vayu, and Aditya; for those deities are everything, and the Pravargya is everything: when it is placed on the fire then it is Agni; when it is burning-hot then it is Våyu (the wind); and when it flows over then it is Aditya (the sun);-but, indeed, when yonder sun overflows, all the gods and all beings subsist upon him; and, verily, yonder sun overflows for him who thus knows this.
25. The Pravargya, indeed, is the Sacrificer, his own self, his offspring (or people) and cattle; for the Sacrificer is everything, and the Pravargya is everything: when it is placed on the fire then it is his own self; when it is burning-hot then it is his offspring; and when it flows over then it is his cattle ;-but, indeed, when the cattle overflow (with milk) all the gods and all beings subsist thereon; and, verily, the cattle overiow for him who thus knows this.
26. The Pravargya, indeed, is the Agnihotra, for the Agnihotra is everything, and the Pravargya is everything: when it (the Agnihotra milk) is put on the fire then it is the (Gharma) placed thereon ; when it is ladled out then it is the burning-hot (Gharma); and when it is offered then it is the overflowing (Gharma);-but, indeed, when the Agnihotra overflows all the gods and all beings subsist thereon; and, verily, the Agnihotra overflows for him who thus knows this.
27. The Pravargya, indeed, is the New and Fullmoon sacrifices; for the New and Full-moon sacrifices
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are everything, and the Pravargya is everything: when it (the havis) is put on the fire then it is the (Gharma) placed thereon; when it is standing ready then it is the burning-hot (Gharma); and when it is offered then it is the overflowing (Gharma);but, indeed, when the New and Full-moon sacrifices overflow all the gods and all beings subsist thereon; and, verily, the New and Full-moon sacrifices overflow for him who thus knows this.
28. The Pravargya, indeed, is the Seasonal sacrifices, for the Seasonal sacrifices are everything, and the Pravargya is everything: when it (the havis) is put on the fire then it is the (Gharma) placed thereon; when it is standing ready then it is the burning-hot (Gharma); and when it is offered then it is the overflowing (Gharma);-but, indeed, when the Seasonal sacrifices overflow then all the gods and all beings subsist thereon; and, verily, the Seasonal sacrifices overflow for him who thus knows this.
29. The Pravargya, indeed, is the Animal sacrifice, for the Animal sacrifice is everything, and the Pravargya is everything: when it (the meat) is put on the fire then it is the (Gharma) placed thereon; and when it is standing ready then it is the burninghot (Gharma); and when it is offered then it is the overflowing (Gharma);-but, indeed, when the animal offering overflows all the gods and all beings subsist thereon; and, verily, the animal offering overflows for him who thus knows this.
30. The Pravargya, indeed, is Soma, for Soma is everything, and the Pravargya is everything: when it is poured out then it is the (Gharma) placed on the fire; when it is drawn (into the
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cups) then it is the burning-hot (Gharma); and when it is offered then it is the overflowing (Gharma);—but, indeed, when Soma overflows all the gods and all beings avail themselves thereof; and, verily, Soma overflows for him who thus knows this; and, verily, no sacrifice whatever is offered without the Pravargya for him who thus knows this.
31. And, verily, whosoever either teaches, or partakes of, this (Pravargya) enters that life, and that light: the observance of the rule thereof is the same as at the creation.
See p. 458, note 1.
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INDEX TO PARTS III, IV, AND V.
(KÂNDAS V–XIV.)
.ba
abhigit, Soma-day, Part IV, page
321 n. abbiplava-shadaha, III, introd. xxi;
V, 148; is the established (regular) shadaba, 149 ; used by Adityas when contending with Angiras, 152; etymology, 152,
163. abhisheka, III, 68; the 'Vasor
dhârâ' and Vagaprasaviya oblations performed on completed fire-altar are a consecrationceremony superior to the ordinary one, IV, 213 seq.; and including the consecration of both
Râgasūya and Vågapeya, 325. abhishekaniya, III, introd. xxvi;
68 seq.; stotras of, 69. abhivarta-saman, III, 16. abhri (spade), lies on left side of
Ahavaniya, III, 199; made of
bamboo, 199. adabhya-graha, is speech, up-breath
ing, ear, V, 105; etymology,
105-7. adara, plants, how produced, V, 451;
patika, 451; they are fragrant
and blaze up in fire, 452. adhrigu, litany, V, 385-6. adhvan, ghee-offering to, in the
house of the courier, III, 64. Adhvaryu, seated towards east, III,
108; his fee at Dasapega a golden mirror, 119; their fee a sterile cow for pah kabila oblation to Mitra-Varuna, 191; spreads the sacrifice, 142; his fee at Sautrâmani three garments; the Asvins the Adhvaryus of the gods, IV, 23; sings the
Sâmans over the completed altar, 181; in drawing the Somacup he takes Pragåpati's vital fluid, 282; must pronounce his Yagus indistinctly, 340; is summer whence he is as if scorched, V, 45; how he is to step past the vedi when calling or having called for the sraushat, 578; initiated by Pratiprasthầtri for sattra, as the mind, 136; they drink the Åsvina cup of Sautråmanî, the Asvins being the Adhvaryus of the gods, 245;
is scorched, as it were, 503. Aditi, by sixteen syllables gains the
shodasa-stoma, 111, 40; karu to, 60; is this earth, 60, 378; V, 6, 181,293; the wife of the gods, III, 60; urusarma (of wide shelter), 90; Aditi and Diti, 93; prayugâm havis (pap), 135; reddishwhite cow pregnant with calf her victim at oblation of teams, 125; is speech, 237; offers firepan to her sons, the gods, 238; gives (dad) everything here, 378; back of Aditi (the earth), IV, 27; Aditi and Pashan, connected with trinava-stoma, 69; ruler of the Fathers, 74;-(additional) pap at New moon, V, 5, 6; paps
at Sautrâmani, 213 n., 268. Aditya (the sun), even rising burns
up plants, 111, 78; how created, 148; his union with sky, 149; with him the Adityas placed in sky, 150; is the Agni on the altar, 152, 194; with Paramesbobin connected with sky,
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189; is space-filler, 189; regent of sky, 304, (286); a thunderbolt, 208 ; Agni, Vâyu, and Aditya all the light, 210; none other than the width of the sky can contain him, 216, 364; placed upwards from here in the east, 233, 275; is the truth, 265; thetwenty-first, or twenty-onefold, 265, 308; IV, 62, 163; V, 37, 291; was Agni's protector against the Rakshas, III, 366; is the hook (âsangana) to which the worlds are fastened by means of the quarters, 269; encompassed by the two worlds, 971; is the fire on Ahavaniya, (fire-altar), 309; is the vigour that went from Pragåpati, 312; white horse his representative, 359; kisses all creatures by his rays, 359; strings these worlds to himself on a thread (the wind), 360; IV, 141; is settled on earth by his rays, III, 365; is the Brahman, firstborn in front (east), 366; man (purusha) in his disk (mandala), 367; looks downward and gives warmth by his rays, 367; like a drop leaping to the sky and the earth, 368; moves round these worlds from left to right, 400; the brilliant face (front) of the gods, 408; he is (sûrya) the soul of everything that moves and stands, 408 ; is the all-embracer (7 all-expander, all-opener) and becomes the eye, IV, 8; is the upper region, 27; is placed within the southern region, 27; the sustainer of air and regions, and ruler of beings, 28; when he sets everything holds its peace, 62; is the sixteenfold wielder of the (fifteenfold) thunderbolt, 85; is the extent (vyakas), 88; is a bright razor (kshura bhrâga), 89; (unclimbable, 89); Agni, Vayu, and Aditya move hitherwards and thitherwards, 90 ; is Indra, 92; all hymns are in praise of him, 92; has the earth as his foundation, 95; the all-embracer, connected with the west, 106; burns only on this side of
the sky, 130; the luminous Aditya is on the back of the sky, 131; shines for all the three worlds, 132; passes by these worlds and revolves incessantly round them from left to right, 134, 136; is the vital power (âyus), 142 ; animates all this universe, which is in his shadow, 142; Agni, Våyu, and Aditya are the hearts of the gods, 162; is the heart of AgniPragapati, the altar and universe, 180; Agni, Vâyu, and Aditya are the Pravargya (vessels), 187; in the air, half-way between the two worlds, 196; keeps measur. ing in the middle of the sky, and even in rising fills the three worlds, 196; isa showering ocean, and a ruddy bird, 197; travers ing guards the ends of these worlds, 197; connected with the Trishtubh, 197; Aditya the man (nara) of the sky as (part of) the All (visva), 208; is the eye, 208; is the highest of all the universe, 240 ; is the Dhâtri (orderer), 264; is the year and the one hundred and one-fold Agni (fire-altar), 313; his rays are a hundredfold, 313, 322; is established in the seven worlds of the gods, 314; is Agni (Pragàpati), ascended to heaven, 349; is the Arka, 349; Agni considered as Aditya, 363, triad Agni, Aditya, Prána -are the eater, the Arka, the Uktha, the Purusha, 398, 399; Aditya one of the six doors to the Brahman, V, 66, 67; to Aditya offering is made in Agni at Agnihotra, 113 seq. ; slaughtered by Pragâpati as sacrificial animal, and consequently endowed with certain powers, 128 seq.; Agni, Aditya, Vayu are light, might, glory (fame), 173; the Sacrificer is Aditya, 248 ; Aditya is the divine Kshatra, the glory (srî), the supreme lordship, the summit of the fallow one, the realm
of light, 291;-cf.Varuna Aditya. aditya-namâni (përthâni), III, 83.
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INDEX TO PARTS III, IV, AND V.
Adityas, by fifteen syllables gain pankadasa-stoma, III, 40; animal offering to (instead of to Aditi), 126; twelve, born from Vâk, 149; placed with Aditya in the sky, 150; fashioned the sky by means of Gagatî, 234; pap at dîksha of Agnikayana, 247;-produced, IV, 33; Adityas and Maruts, connected with embryos and the pankavimsa-stoma, 68; Vasus, Rudras, and Adityas separated and were the lords when heaven and earth separated, 75; lords of the western region, 101; connected with Varuna, saptadasastoma, &c., 101; Vasus, Rudras, Adityas, Maruts, Visve Devâb build on different sides of altar (E. S. W. N. Upper), 118;-the twelve Adityas enumerated, V, 116; Adityas and Angiras contending for getting first to heaven, 152; arise by performance of third pressing, 173; the sacrificial horse to go the way of the Adityas, 288; consecrate king by the Gagatî, 313; obtain the part of Vishnu, the sacrifice, corresponding to the evening-pressing, 443; Indra, with Vasus, Rudras, and Adityas, receives offering of gharma, 479-80.
Agâtasatrava. See Bhadrasena. Agâtasatru, king of Kâsî, III, 141. age-grades (vayâmsi), oblations re
lating thereto, forming part of Vasor dhârâ, IV, 218. âghâra (libation of ghee), III, 172. Ágigarta, father of Sunabsepha, III, 95. Agni,by one syllable gains the breath, III, 40; is all deities, 44; the lower end, 44; the sacrifice, 45; gold his seed, and the fee for his oblations, 45, 59; is fiery spirit or brightness (tegas), 46, 82; with Indra smites the Rakshas, 51; is Varuna and Rudra, 51; the giver, 54; Vaisvânara, twelvekapâla cake to, 57; Anikavat, eight-kapâla cake to, 58; Agni Grihapati, eight-kapala cake of quick-grown rice, 69, 89;
[44]
513
pârtha-oblation to, 82; to him belong shoulder-pieces of yoke, 101; rathavimokanîya-oblation to,101; Agni Dharmanaspati, 112; assists Varuna, 113; at upasad eight-kapâla cake to, 118; pankabila ditto on east part of vedi,1 20, 121; fee is gold, 121; prayugâm havis, eight-kapâla cake, 125; Pragapati-Agni,the Purusha,144; the Brahman (triple science) in Agni's mouth, 146; etymology (agri), 146; is trivrit, the altar consisting of nine substances, 147; gâyatra, 148, 161; union with earth, 148; with Agni the Vasus placed on earth, 150; restores Pragapati, hence Pragâpati called Agni, 151, 152; Agni Kitya. 151 seq.; is the sun (as an Aditya), 152; Pragâpati's son and father, 154; is speech, 154; becomes a bird to bear sacrifice to sky, 157; his eight or nine forms (Rudra, Sarva, Pasupati, Ugra, Asani, Bhava, Mahân devab, Isâna, Kumâra), 159, 160; is all bright (kitra) things, 161, 369; his forms coveted by Pragapati, 161; he-goat slain for him, 162; home prepared for him by slaying animals (and preparing food), 165; five Agnis (layers), 165; is this earth, 169; is the (ten) regions, 183; is Savitri, 191; Virâg, 196; Agni the cattle, went away from the gods, and is searched for, 196 seq.; is cattle (animals), 197; is threefold, 197; enters seed, 198; regent of earth, 204, 286; Agni, Vayu, and Aditya are all the light, 210; (the fire) belongs to Indra and Agni, 212, 253; is Aditya, 216; the child of the two worlds, 224; the seaborn child of the waters, 226; a conqueror, overpowering in battle, 259; burns up the evil (enemies) of the gods, 259; is the brahman and kshatra, 260; born from Dyaus, 272; nourished by day (dawn) and night, 273; shining moves between heaven and earth, 273; is sap and substance in this world,
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278; golden-handed (?), 283; distributed in many ways, 284; overthrows Pûru, the Asura, in battle, 292; his splendour in the heavens is Aditya, 304; that on earth this fire, 304; that in the air the wind, 304; Agni Purishya, the son of the earth, 311; Agni the mouth of the gods, 312; his glory (sravas) and vigour is the smoke which announces him in yonder world, 349; son of heaven and earth, 350; leading forward of Agni, 356 seq.; went away from the gods and entered the water, 360; Agni found by a white horse (Pragâpati) on a lotusleaf, 360; Agni scorches him, 360; Agni the repeller of all evil, 360; taken up by Agnikit into his own self, 362; is the rakshas-killing light, 372; takes away Pragâpati's fiery spirit (tegas) to the south, 374; becomes Pragâpati's right arm, 374; Agni Vaisvânara, Aditya, creeps as a tortoise over the three worlds, 392; Agni yavishtba, 413;-is Pragâpati, IV, introd. xvii seq.; the divine Sacrificer, and priest of the sacrifice, xix; the child of the universe, xx; Agni, Aditya, and Vâyu his three forms, xx; Agni the altar, a bird carrying the sacrifice to heaven, xxi; is attended to in front (of the altar), 3; is the existent (bhuva), 4; through Agni everything exists, 4; becomes the breath, 4; from fire breath fashioned, 4; Agni Vaisvânara is the year, 33: connected with priesthood and trivrit-stoma, 67; is Virâg, regions and vital airs, 70; is the Brahman (deity), 85; Agni, Vâyu, and Aditya move hitherwards and thitherwards, 90; connected with Vasus, trivrit, agya-sastra, rathantara, 100; protector of the east, 101, (105); his rays like those of the sun, 105; has distinction (sri) bestowed upon him by the gods, 113; lord of the good, 123; his paths lead to
the gods, 123; his path becomes black, when fanned by the wind, 141, 142; in his immortal form is Rudra, 156; Agni, Vâyu, and Aditya are the hearts of the gods, 162; nothing greater than Agni, the fire-altar, 163; the Rudras invoked in the Satarudriya are Agnis, 167; the fire-altar is speech,173; is the head of AgniPragâpati,the altar and universe, 178, 179; is offspring and the lord of offspring, 181; injures by his heat, fire, and flame (baras, sokis, arkis), 182; in men, water, plants, trees,183,184; Agni, Vâyu, and Aditya are the Pravargya (vessels), 187; leading forward of Agni, 188 seq.; regaling him with food (sixteen ladlings of ghee), 189; Agni is Visvakarman, 189, 190; is the eye of gods and men, 200; created as the hundred-headed Rudra, 201; is thousand eyed, 201; is a well-winged bird, 201; seated on the back of the earth he fills the air with his shine, props the sky with his light, and upholds the quarters by his lustre, 202; the fire-altar his seat, 202; oblation to (Agni) Visvakarman, 204; taken by Pragâpati to his bosom as his own son, 206; Agni, the firealtar, is the Purusha, made up of seven purushas, the fire being his head, 206, 207; Agni the man (nara) of the earth as (part of) the All (visva), 208; is speech, 208; Agni's universal sovereignty, 228; Agni as Gandharva, with the plants as Apsaras his mates, 231; lord of the world and lord of creatures whose dwellings are on high and here below, and who is both brahman and kshatra, 234, 235; Agni, when completed and consecrated, becomes a deity, Varuna, 238; Agni, the firealtar, is a heavenly bird, 250; one potent drop (indu), the faithful eagle, the golden-winged bird, 251; Agni Vaisvakarmana, 268; name to be given to the fire on the altar, 269; the
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INDEX TO PARTS III, IV, AND V.
515
iefest men, 2° 40, 375; is the
chiefest of the fires of the five kya, Mahad uktham, 172; Agni, races of men, 269; Agni Vai- Vậyu,and Aditya are light, might, svânara, verses to, 376; Agni glory (fame), 173; Agni Viviki, the gods' prâna, 295; is all expiatory eight-kapâla cake at objects of desire, 313; the Agnihotra, 192; Agni Samvarga, nature of Agni as the vital airs, ditto cake, 193; Agni Apsumat, 331-3; Agni and Indra created ditto, 193; Agni Suki ditto, as brahman and kshatra, 342; 194; the first of the ten deities they joined each other as the ('all the gods') receiving oblations gold man and the gold plate, of drops, 280; Agni the dark342; they are the light and necked, 316; Agai sacrificed as immortal life, 343; they are animal victim, 319; Agni as the the fire-altar, Agni what is chamberlain of king Marutta, baked by fire (bricks) and Indra 397; oblation to Agni Ayushthe purîsha, 343; Agni and mat, 439; is the good abode, Indra are the Visve Devåb, and 457; is the self of all the gods the three are brahman, kshatra, (and regent of the earth), 505. and vis, 344; is Pragapati, 345; Agnidh, ox his fee at Dasapeya, III, Agni (-Pragapati), on ascend- 119; gold for pafkabila oblation, ing, is Aditya, 349; the vital 121; bullock for Sautrâmani, breath, 349; Agni considered as 142;-sprinkles fire-altar with Vaya or as Aditya, or as the water to appease it, IV, 169; is year, 363; as speech, 364; as Agni, 169; follows the fire with Death, 365; the direction in the single sword (-line), 192. which' Agni (the fire-altar) is Ágnidhra (=Agnidh), same as Agni, to look, 390 seq. ; (Agni) Vai- III, 122; is the spring season, v, svånara, views regarding his 44; is under the Brahman, 137. nature, 393 seq.; is the Purusha, Agnidhra, n. (fire-shed), is the air, 398; triad-Agni, Åditya. Prâna IV, 196; associated with Trish-are the eater, the Arka, the tubh, V, 495; between it and Uktha, the Purusha, 398, 399; kât vâla is the gate of sacrifice, -Agni Dâtri, eight-kapâla cake 497. at New moon, V, 8; Agni Agnidhriya, III, 97; taken out of Pathikrit, expiatory eight- Gârhapatya, 365; is the wind kapâla cake at New moon, To; in the air, 315, 317; the throughditto at Agnihotra, 191; at breathing, 317; prepared first Asvamedha, 350; Agni Vaisva- of dhishnya hearths, IV, 342; nara, ditto twelve-kapala one, at Agnikayana built of eight 11; Agni created out of Praga- bricks, 243. pati with a life of a thousand Agnihotra, both oblations offered years, 15; Agni and Soma with the same formula, IV, become eater and food, 16: 297; the offerer of the AgniAgni created by the Brahman hotra, in the other world, eats and placed on earth, 27; takes food in the morning and evenSri's food and receives (mitra- ing, 299, 325; to be offered by vinda) oblation (eight - kapala the Sacrificer himself on new cake), 62-65; Agni (fire) one of and full moon, V, 91; the the six doors to the Brahman, four oblations are what, in 66; Agni the teacher of the the Asvamedha, are those to brahmakârin, 86; evolved from the horse's feet, 34, 35; the earth, and from him the esoteric theories on Agnihotra, Rig-veda, 102; to Agni offering 46 seq.; how performed when is made in Aditya at Agnihotra, staying abroad, 47; six couples 11 2 seg.; Agni's breath taken by in Agnibotra, 48; disputation the sun, whence fire has to be about Agnihotra, 79 seq., Ita fanned, 130; triad- Agni, Ar- seq.; speculations on the effect
Ll 2
bh, vi associated), Ishan, is
pagears me peated by the 27 mitra
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of the two oblations, 114; expiations of mishaps, 178 seq. ; Agnihotra a long sattra terminating with death or old age, 178; Agnihotra cow and calf are speech and mind, 46; the sky and wind, 182; Agnihotra cow is Aditi, the earth, 181; Agnihotra is conducive to heaven, 190; directions in case of Agnibotrin dying whilst from home, 197 seq. ; is the mouth
of sacrifices, 502. Agnikayana, III, introd. xxvi,
xxvii, 143 seq.; is a uniform (comprehensive) ceremony, 343; IV, introd. xiji seq.; includes all sacrificial rites, IV, 266; shown in detail, 296 seq. ; not to be performed
for another, 279. Agnikit, is born in the other world
as one made of gold, IV, 295; must not eat of the flesh of any bird (say some), 296; he becomes of Agni's form and all food be- longs to him, 296; he becomes the deity Agni, and hence immortal, 296; in the other world eats food every hundred years
or not at all, 299. Agnikitya, a supernumerary (special)
rite, III, 346. agnikshetra, preparation of (plough-
ing, &c.), III, 325 seq. ågnimâruta-sastra, connected with
Brihaspati, the Visve Devab, the upper region, &c., IV, 103; on second day of Asvamedha,
127; three different modes of its performance, IV, 287; V, 140; the stotras and sastras of Gyotishtoma Agnishtoma forma bird, hence equal to Mahâvratasâman and Mahad uktham, IV, 287, 289; a hundred and six or a hundred and twelve in the
year's session, V, 147. Agnishtoma-saman, III, introd. xiii
seq., 12; IV, 252; on first day
of Asvamedha, V, 376. Agnishtut Agnishtoma, V, 418. Agni-Soma, eleven-kapala cake to,
III, 45, 56, 69; animal offering
to, 68; cake at Full moon, V, 6. Agni-Vishnu, eleven-kapâla cake to,
III, 44, 54; ditto at diksha of
Agnikayana, 247. agniyogana (yoking of fire-altar),
IV, 249 seq. Agnyâdhâna, not to be performed
under special nakshatras; but at new moon (of Vaisakha or
other), V, 1, 3. &grayana-graha, III, 6; produced
from nidhanavat-sîman, and from it the trinava and trayas
trimsa, IV, 11. âgrayaneshti, offering of first-fruits,
instituted by the gods, III, 46. âgur, formulas, V, 32, 157. ågürtin, V, 32; 33 n. ágyabhaga, at animal sacrifice, V,
124. agya-sastra, connected with Agni,
the Vasus, the east, trivrit, and
rathantara, IV, 100. Ahavaniya; (saladvarya) set up on
cart, 111, 104; head of sacrifice, 333; (in ukhâ) sacrificer's divine body, 262; if it goes out, is again taken out of Garbapatya, 265; is the sun (or heavenly Agni), 309; its hearth is the sky, its fire the sun and moon, 315; is the world of the gods, 344; the sky, IV, 196; V, 178; or fire-altar, is the Sacrificer's divine body, IV, 226; place for, 307; atonement for Åhavaniya going out, lest the eldest son die, V, 82; ditto for Agnihotra fire going out, 187 seq.; is the (immortal) womb of the gods, 271.
V, 382.
âgnimâruta-stotra (=yagiâyaghiya),
IV, 252 n. Agni-nâmâni (pârthâni), III, 82, Agninetrab (devah), seated in east,
III, 148. Agni-Pashan, eleven-kapâla cake to,
III 55. Agnirahasya, IV, 281 seq. Agnisava, IV, 298. Agnishomiya, animal offering, IV,
245; is without Samishrayagus, 260; twenty-one at Asvamedha, 372, 375; eleven at Purusha
medha, 404. Agnishtoma, III, introd. xii seq.;
victim of, 11 ; the stomas used,
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9 370 -oblation to, 111, 15 ; is
by's in visokin Pata) la.
ahina, III, introd. xix, xx. âhuti, oblation, etymology, V, 27. Aibhávata. See Pratidarsa. aida-saman, produced from the anush-
rubh, and from it the manthin
(graha), IV, 10; how chanted, ib. Aikshvaka. See Purukutsa. Aindravâyava-graha, III, 6. air (antariksha), its union with Vàyu,
III, 148; connected with Indragni, Visvakarman, and Vậyu, 188; heals what is injured and torn in the earth, 221; air. world fashioned by Rudras by means of trishtubh, 234; the home of the waters, 416; supported by the sun, IV, 28; is of trishtubh nature, 57; is the expanse (varivas), 88; is the lower abode, 203; three obla- tions of air (or wind, vata) on chariot, thereby yoking it, 235; air, space, invisible, V, 17; steadied by birds and sun-motes (? sunbeams), 126; connected with Sarasvati, 241; is a place
of abode for all the gods, 505. airs, vital. See prâna. Aishavira, a family of priests, V, 45. Akkbâvâka, cart laden with barley
and yoked with ox his fee at Dasapeya, III, 119; is under
Hotri, V, 137 akshara, III, 158; part of speech,
103; (the imperishable) is the one brick constituting Agni, the great Brahman into which
all beings pass, IV, 343. aksharapankti metre, is the hea
venly world, IV, 88. akshâvâpa (keeper of dice) one of
king's rat nåni, III, 63, 107. akshậvapana, III, 64. Aktâkshya, ill, 153. all-herb seed, sown on site of burial
ground, V, 432. alms, begging of, by Brahmakârin,
V, 49, 50. altar. See fire-altar. amâvâsyâ, the night of the sun and
moon's staying together; new
moon, V, 9. amba, ambika, ambâlika, V, 321. amrita, the nectar of immortality.
See immortality. amritavaka, a certain bird, (keeps
most apart of birds), produces the kshiprasyena (quick eagle),
V, 370. Amsa, partha-oblation to, III, 82. amsu-graha, drawing of, III, 5; is
Pragàpati, the body of the sacrifice, the mind, the out-breath
ing, the eye, V, 105, 106. anaddha-purusha (sham-man), III,
197, 206; looked at, 227. afgali, joining of hands, a sign of
reverence, IV, 165. Angiras, is the breath, III, 254;
Angiras and Adityas contending for getting first to heaven, V, 152; the Veda of the Apsaras, 366; with Yama and the Fathers receive offering of
Gharma, 481. anika, 111, 58. anîkavat, III, 58. animal, domestic, seven kinds of,
possessed by Maruts, JII, 40; five sacrificial, 162; delight near fire, 164; are Agni, 197; horse, ass, and he-goat, search for Agni, 198, 204-206; consists of body and vital air, 193; born with bones, though not introduced with bones into womb, 254; mounted on its middlebody from left side, 361; having received the foetus standing, gives birth whilst lying down, 363; left side of well-filled animal more raised than right, 400; do not diminish, being established in the womb, 401; are the vital airs, 402; the kimpurusha, gaura aranya, gavaya, ushtra, sarabha unfit for sacrifice and not to be eaten by Brahmana, 413; of animals the head born first, IV, 40; biggest about the middle, 40, 50; the right side the stronger, 40; there are animals in the air, 46; are food, 46; four-footed (live) in the air, 50; four kinds of four-footed domestic animals, 36; four-footed, connected with Vasus and Rudras, freed from death through the katurvimsa-stoma, 68; tame, ruled over by Brihaspati, 74; one-hoofed, ruled over by Varuna, 75; small, ruled over by
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SATAPATHA-BRÂHMANA.
Půshan, 75; wild, ruled over by Vayu, 75; threefold (father, mother, child; or embryo, amnion, chorion), 110; seven domestic animals, 211, 377; seven wild ones, 277; five (sacrificial) -man, horse, bull, ram, he-goat, 299; by these Pragâpati could not attain heaven, 300; Pragapati the one proper sacrificial animal, 304; sacrificial animal is Pragàpati, and represents all deities, 404; draught animal pulls with all four limbs, V, 78; walks on two feet at a time, 78; one-hoofed originates from Indra's ear, 215; are sixteenfold, 252; tame and wild ones bound at Asvamedha, 306; if so, gain earth and heaven respectively,
306; the wild ones set free, 307. animal-brick (cattle-brick), III, 155,
166, 187. animal sacrifice (pasubandha), III,
introd. xii; to Vâyu and Pragapati, 171 seq.; chief oblations of, 175; consists of omentum, animal cake and chief oblations, 180; a. s. of Soma-day (savaniya pasu), IV, 260; the performer of it eats food every six months in the other world, 299; esoteric remarks on, V, 118 seq.; is a ransoming of one's own self, 118; should be performed at least once a year, 119; either of the haviryagia, or the Somasacrifice order, 119; is a great Soma-sacrifice, not an ishri, 120; with or without Soma, 122, 123;
Kâturmâsya animal sacrifice,402. animal victim, five, III, 156; their
heads, 164; heads placed in fire-pan in first layer, 400; ropes of unequal length, 166; now only two slaughtered, 171; by male victims the Sacrificer ransoms himself, V, 119;-to whom does it belong? (Pragåpati,
Sürya, Indra-Agni), 127, 128. anirukta, III, 110, 179; V, 506. ankánka (metre), is water, IV, 89. anna-homa, III, 37; V, 295, 377. anointment, of Sacrificer, at Râga.
sûya (on tiger skin), III, 80; at Agnikayana (on black ante
lope skin), IV, 226; (on skin of he-goat), 127; by Soma and the nectar of immortality, 231; with fat gravy at Sautramari (on black antelope skin), V,
250 seq., 252. ant (vamrî and upadîka), gnaw Vish
nu's bowstring, obtain the taste of food, and find water where they dig, V, 442; are the firstborn of the world (?) 450; ant-hill, III, 206; is this earth, 207; used for the clay of Pra
vargya vessels, V, 450. antariksha (air), etymology, III, 318;
IV, 30. Antarvat, a Gandharva, V, 30. antaryâma-graha, III, 6; produced
from svåra-saman, and from it
the pañkadasa-stoma, IV, 7. antelope skin, black, sign of initia
tion, III, 186; is the sacrifice, 215, 266; IV, 226; V, 249, 447; its hair the metres, III, 255, 266; V, 249, 448; is the earth, III, 216; the seat of the good work, 219; therein gold plate sewn, 266; anointing of Sacrificer on, IV, 226; used in burning dead body, V, 200, 303; for
consecration at Sautrâmani, 249. anumantrana, V, 40, 42, 483, 484. Anumati, eight-kapala cake to, III,
42; is this earth, 44; a garment the fee, 44; pap to her, (the extreme end of) one of the four
regions, IV, 264. Anumlokantî, the Apsaras, is an in
termediate quarter (N. W.),
or the night, IV, 107. anupraisha, V, 244. anusâsana, precepts (? the Vedangas),
to be studied, V, 98. Anushtubh, connected with north,
autumn, vairâga, ekavimsastoma, III, 91; produced from the autumn, and from it the aida-saman, IV, 10; in the form of it four-year-old kine produced, 39; is the northern region, 45; is speech, 89, 144, 277 ; of thirty-two syllables, 206; is the voice (of Pragapati), 327, 328; what takes place after the three savanas is of Anushrubh nature, V, 106; the horse is of
belona, 2706
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anuvalor related ature, 3
Anushrubh nature, 304; Anush
tubh related to the north, 304. anuvâk ya, is in the Gayatri metre,
V, 26. anuyaga, eleven, III, 183; are thun
derbolt, hail, and (heavenly) fire
brand, V, 42, 43. Anvadhyas, the guardians of one of
the four regions, V, 359. anvähârya, mess of rice, the dakshina
at Darsapürnamasa, V, 7; ety-
mology, 23. Anvâhârya-pakana fire, atonement
for its going out lest his cattle die, V, 83; is the air, 178; blood milked by Agnihotra cow to be boiled on enclosed Anva
hârya, 183. anvâkbyâna, old tale, regarding bat
tles between gods and Asuras,
not true, V, 14. anvārambhaniyeshri, III, 42 n.; of
Agnyâdhầna at preceding full-
moon, V, 2. Anyata bplakshâ, a lake in Kurukshe-
tra, visited by swan-maidens,
V, 70. apab, etymology, III, 146. apâmarga (achyranthes aspera),
thereby the gods wiped away the Rakshas, III, 52; of a backward effect, 54; used for cleansing one's self after a
burial, V, 437. apâ mârga-homa, 111, 52. apâna, downward air, becomes the
upward air, IV, 16. apâna-bhrit, the eye-sustainer, IV,
15. apasyå bricks, III, 388; laying down
of them in first layer, 413 seq. ; are waters, 413; iv, 2; of second layer, 23, 34 seq.; are
rain, 34. apendra, III, 130. apradakshinam (apasalavi), V, 323,
467. apratiratha, is Indra, IV, 192; hymn
muttered by Brahman, as the
fire is led forward, 192. ápri verses, twelve, III, 169, 173;
for sautrâmani, V, 244. Apsaras,-from Pragàpati couples
issue in the form of Gandharvas and Apsaras, IV, 219; Gandbarvas and Apsaras made offer
ing to in râshtrabhrit oblations, 230 seq.; Gandharvas and Apsaras affect sweet scent (gandha) and beauteous form (nipa apsas), 230; and worship the divine Purusha under these forms, 373 ; changed into swans, V, 70 ; Soma Vaishnava their king, the Angiras their Veda,
366. åpti, (twelve) formulas and oblations,
III, 29. Åptoryâma, III, introd. xiii, xix
xxiii; V, 419; Atirâtra, 397. Åpyas, the guardians of one of the
four regions, V, 359. arani, two, V, 74. aranye s nákya, the odd cake to Ma
ruts, IV, 310; (extended), V, 336; is speech, IV, 210; the seven rivers flowing westwards,
212; belongs to Pragâpati, 212. Arbhava-pavamâna, of Vâgapeya,
III, 9. Arbuda Kadraveya, king of snakes,
V, 367. ardhendra oblations of ghee, to Indra
coupled successively with one other deity (Agni and Indra, &c.), forming part of the Vasor
dhara, IV, 216. Arguna, mystic name of Indra, II1,99. arikupa (metre) is the water, IV, 88. Arishtanemi, the chieftain (grâmani)
of the sacrifice (or the north), is the second autumn month,
IV, 107. arka, flame, the four, IV, 334 seq.;
is the fire on the fire-altar, 342; the fire-altar (Agni-Pragapati), 346, 348; is Aditya; the vital air, 349; the Arka is Agni, Aditya, Prana, the Purusha, 398, 399; the Arka-nature of the Arkya, 402; is the waters, 402; Arka and Asvamedha, be
come Death, 404. arka (calotropis gigantea), is food,
IV, 157; leaf used for offering to Rudra with, 157; thrown into the pit (kâtvåla), 166; the arka sprang from Rudra's place of rest, 158; is inauspicious and hence must not be trodden upon, 166; arka flowers, leaves, &c., 334 seq.
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SATAPATHA-BRAHMANA.
arka (7 hymns of praise), food for the
gods, V, 232. arkâsvamedhasamtati, oblations, IV,
239. arkis, -haras, sokis, arkis (heat, fire,
flame), of Agni, IV, 38a. årkshyat, V, 155 n. Arkya, is the fire (Agni-Pragapati)
and the food thereof, IV, 342 seq.; the Arka-nature of the Arkya, 403; triad - Agni, Ar
kya, Mahad uktham, V, 172. arm, exerts strength, 111, 200; strok-
ing arms of king, 88; is fifteenfold, IV, 79; food is eaten therewith, 306; arms and legs consist of twenty-five parts each, 325; parts of arm, W, 75, 77;
the different parts, 162. arm-pit, from it water springs, IV,169. arrow, three, III, 88; arrow's
range=Pragapati's width, 17; Pragàpati's height, 25; arrow's width, 236; arrow is strength,
236. årsheyam (ancestry), III, 190. ártava (? seasonal period), the ruler
D68. a briests, BD
arsheya ( Seasonal , 74.outama),
Aruna Aupavesi, (Gautama), a
teacher, IV, 393, 394. Aruneya. See Svetaketu. Åruni, betwitches Bhadrasena Aga
tasatrava, III, 140; his view on Darsapürnamåsa, V, 37; on Agnihotra expiation, 182; cf.
Uddâlaka. arvan, horse, carries the Asuras, IV,
401, Årya, and Südra, ruled by day and
night, IV, 74; sadra woman
the Arya's mistress, V, 326. Aryaman, his path above upper region,
III, 59, 132; pârtha-oblation
to, 83. Asamaratha, Aditya's chieftain (grå
mani), is the second rainy month,
IV, 106. asandi. See throne-seat. Åsandîvat, a city, V, 396. Asani, a form and name of Agni, is
the lightning, III, 160. asapatna, bricks, of fifth layer, IV,
83 seq. ashadba (ishraka), the earth, III,
154, 387; IV, 95; conn. with Savitri,111, 190; made by Sacri
ficer's wife, 190; forming of, by the mahishỉ, 238; is speech, 239, 387; IV, 95; etymology, III, 387; is the vital airs, 388; laying down of, 388, 389; is the
mahishi, 391; IV, 2. ashes, the foul part (pâpman) of food
eaten by Agni, 111, 261; thrown out in the evening and morning, 261; taken to the water, 293 ; some of it brought back
and put in the pan, 294, 295. ashtâdasa-stoma, is speed, and the
year, IV, 63. ashtåkat värimsa-stoma, the revolving
sphere, the year, IV, 66; the
last of the even stomas, 218. ashrami, eighth day after full moon,
sacred to Pragapati, III, 180;
is a joint of the year, 180. Asita Dhânva, king of the Asuras,
V, 368. Asitamrigas, a branch of the Kasyapa
family of priests, win the Somadrink from the Bhůtaviras, IV,
345 n. asman, etymology, III, 148. asrîvayas, a metre, is all food, IV, 52. ass (rasabha) how created, III, 147;
substitute for cow and sheep, 197; he-ass doubly impregnates, 197; searches for Agni, 204, 205; is addressed, 124; imbued with burning (pain), 325; represents
Vaisya and Sadra, 227. Asuras, arrogance and defeat of, III,
I; repulsed by Indra and Brihaspati in the south, IV, 192; contend with the gods for the regions, 193; hold to untruth, and the gods to truth, 257; serve the divine Purusha as Mâyâ, 373; carried by horse Arvan, 401; created from the downward breathing of Pragâpati, V, 13; smitten with evil and darkness, 13, 14; the tales of their fights with the gods not true, 14; through arrogance offer into their own mouths and come to naught, 22; contend with the gods for Pragapati, the sacrifice, 105; Asita Dhanva their king, magic art their Veda, 368; Asuravidya, 368 n.; driven from the regions, 423; from the
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eartb, 439; people of Asura nature (the Easterns and others) make their burial-places round, 423; and line them with stone,
430. asuta and suta, V, 247 n. Åsuri, on truth, V, 447. asva, etymology, III, 146; V, 328. Asvamedha, lil, introd. xxvi; a su
pernumerary (special) rite, 246; is the sun, IV, 239, 404; how produced, 403 ; Arka and Asvamedha become Death, 404; the Darsapürnamasa the original (normal) Asvamedha, V, 33; Asvamedha the moon, 33, 34; performance, 274 seq.; is the bull among sacrifices, 276; wealth (1 distinction), royal sway, departs from him who performs the Asvamedha, 285; means royal sway, 288; Asvamedba performed by Pragâpati, 289; from of old a hero was born to the performer of the Aswamedha, 295; where they perform it, Parganya rains whenever they list, and security of possession is assured to the people, 295; the Asvamedha Pragâpati reserves for himself, assigning the other sacrifices to the gods, 195; is the king of sacrifices, 298; the victims tied to the stakes, 298 seg.; is the royal office, 303; a disused sacrifice, 334; belongs to all the deities, 336; is a Kshatriya's sacrifice, hence commenced in summer, 347; but rather in
spring, 347. Asvapati Kaikeya, a king and theolo
gian, 1V, 393. Asva Samudri, V, 302. asvastomiyâ, oblations, V, 337, 341. Asvatarásvi. See Budila. asvattha (ficus religiosa), leaves used
for salt-bags, III, 33; tree on which the Maruts stayed, 34, 84; branch broken off by itself used for making a bowl, 67; consecration vessel, for a Vaisya to sprinkle with, made thereof, 84; originates from Indra's skin, (and honour), V, 215; means honour, 320; not to stand near
a grave, 427; is the abode (of
plants?), 433. asvina-graha, ill, 6. åsvina-sastra, III, introd. xviii, xx. Asvinau, by two syllables gain two
footed men, III, 40; twokapala cake to, 62; are twins, 62; reddish-white he-goat their victim at Sautrâmani, 129; cure Indra from the effects of overdraught of Soma, 132; drink Soma with Namuki, 135; twokapâla cake at Sautrâmani for healing, 137; lay down the second layer of altar, as physicians and Brâhmanas, IV, 23, 30; are the Adhvaryus of the Agnikity and the gods, 23; took the part of Pragapati below waist and above feet which is sacred to them, 28; became everything here, 30; (with the help of Sarasvati) they heal Indra, when his vital energy is taken from him by Namuki, v, 216, 223; the he-goat their guerdon, 216; are the physicians of the gods, 217; he-goat immolated to them, 317; are the eyesight, and fiery spirit, 217, 218; she-goats sacred to them, 318; bring the Soma (plant) from Namuki which Sarasvati then distils, a 3a; connected with the earth (and the morning-pressing), 241, 247; possess healing-power (bhaishasya), 243; are the Adhvaryus of the gods, 245; connected with spring and summer, 247; together with Sarasvati they prepare the Sautrâmant to heal Indra, 249; Asvinau, Sarasvati, and Indra are everything here, 253; and have a share in the gharma, 475; two he-goats black (7 white) on lower part of the body their victims at Asvamedha, 300; restore Dadhyank Atharvana's head after becoming his pupils, 444, 445 ;
475 asvini, regional bricks, IV, 23 seq.;
what part of the body they
represent, 28. Atharvan, is the breath, Ill, 217;
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SATAPATHA-BRAHMANA.
the Atharvans the Veda of the
Gandharvas, V, 365. Atharvangiras, the study of their
texts, V, 97. &ti, an aquatic bird, V, 70. atigráhya-grahâb, III, 6. atikkbandas, comprises all metres,
III, 104; V, 497; the covering (including) metre in form of which the lions were produced, IV, 38; beyond all metres,
110, 385. Atiratra, ill, introd. xiii, xvii-xx,
xxiii; confusion of its såmans in session of a hundred Atirâtras, V, 92; two in the year's session, 147; Atirâtra with all the sto-
mas, 330, 333, 395. atirikta-stotra, III, introd. xx, xxii. âtithya (guest-offering), ends with
the Idà, IV, 259; is the head
of the (Soma-) sacrifice, V, 491. Atnara, Atnära. See Para. Atyagnishtoma, III, introd. xiji;
last day of Atirâtra, avivákya,
xvii. Audanya (son of Udanya). See
Mundibha. Audbhari. See Khandika. audgrabhana-oblations, III, 249; at
Asvamedha, V, 289 seq. Aupamanyava. See Mahâsåla. Aupavesi. See Aruna. Aupavi Gânasruteya, descends to
earth from upper region, III,
2, 3. ausana-sâman, how chanted, IV, 7. austerities. See tapas. autumn, produced from the ear, and
from it the anushrubh, IV, 10; consists of months Ísha and Urga, 49; rainy season and autumn are the air-world and the middle of the year, 49; in autumn creatures are brahman
vat (i rich in growth), 45. avabhritha, III, 185; at the animal
sacrifice, V, 121; at Sautramani,
264. avakà plants, placed below and above
tortoise, III, 392 ; means water, 393; IV, 49; below and above the lower ritavyå bricks of third layer, IV, 48; drawn across the altar to appease it, 174; etymology, 175; afford least
subsistence, 175; sepulchral mound covered therewith, V,
436. avakåsa, formulas, V, 469; are the
sital airs, 469, 492. avatána, "upstringing' formulas and
oblations, IV, 163. avi (ewe), is this earth, III, 156;
victim, 156; created from Pragapati's ear, 403 ; sacred to Varuna, 411; is the skin of (supplies a covering for) the two-footed and four-footed, 411; fashioned first of forms by
Tvashtri, 411. avid-formulas, III, 89. Avikshita. See Marutta. avis, III, 89. âvitta, III, 89. avivákya, III, introd. xvii. axle, demoniacal voice in, III, 291. Ayasthûna, a performer of a sattra,
V, 61. Ayavas,-Yavas and Ayavas the
former and latter fortnights, connected with creatures generally, and the katuskatvarimsastoma, IV, 69; the lords of
creatures, 76. Ayogava. See Marutta. Ayus, is Agni, III, 323. Åyushtoina, form of Agnishtoma,
IV, 287.
Bahishpavamâna, of Vågapeya, III,
8; of Abhishekaniya, 69; at Asvamedha, is heaven, V, 305, 306; when chanted outside,
305. bahvrika, theologians of the Rig
veda, V, 72. Bâlâki, V, 165. balance, the right edge of the vedi is
a balance in which the Sacrificer
is weighed, V, 45. Balbika, Prâtipiya, a Kauravya king,
V, 259. balvaga, grass used for winding round
throne-seat, V, 461. bamboo. See reed. barefooted, consecrated king never
stands barefooted on earth, 111,
129. Bårhaduktha, Apri-verses, V, 303. Barhaspatya pap, III, 21, 28, 36. barhis, is the sky, V, 248.
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atory oblations to be made therewith, 103, 104; are allexpiatory, 180; some perform the sprinkling of the Sacrificer
with these at Sautrâmani, 253. bhůta, living being, existing thing
( spirit) – freed from death through trayastrimsa - stoma, connected with Ribhus and Visve Devâb, IV, 70; the bhàtânam patib their lord, 73; Pragåpati Parameshtbin their lord, 76, 350, 354; daily offer.
ings to them, V, 95. bhätânâmpatib (Pragåpati, the
year), husband of Ushas, III,
158; IV, 73 Bbütavîra, a family of priests, IV,
345 n.
barley-corn, V, 405. barren, wife possessed with Nirriti,
III, 65. bath, purificatory, V, 438. beasts, wild (svâpada, tiger, &c.),
spring from Soma flowing from
lower opening, III, 131. bee, wounds the horse's thigh, V,
330. Belief and Unbelief, as two women
with a man (Wrath) between
them, V, 111, 112. belly, gets and eats the food, IV,
115; food of all kind meets
together there, V, 37. Bhadrasena Agatasatrava, bewitched
by Aruni, III, 141. Bhaga, pârtha-oblations to, III, 83. bbâgadugha, carver or tax-gatherer,
111, 62; one of the ratninab, 63. Bhâllaveya, V, 354, 393; cf. Indra-
dyumna. Bharadvaga, rishi, III, introd. xiv;
is the mind, 107; etymology,
107. Bharadvága, a teacher, IV, 353. Bbarata, is Pragâpati, Ill, 292;
Bharata Daubsbanti, son of Sakuntala, performed the Asvamedha, V, 399; seizes the sacrificial horse of the Satvats,
401. Bharatas, the throne of, III, 105;
Bharatas, V, 399, 401. Bhauvana. See Visvakarman. Bhava, a form and name of Agni, is
the rain-cloud (parganya), III,
160. Bheshaga, (medicine) a work of the
Atharvanikâb, V, 365 n. Bhîmasena, performs Asvamedha, V,
396. Bhrigu Vâruni, sent out by his father
Varuna to gain knowledge, V,
108 seq. Bhrigus, one is to sacrifice along with
them, IV, 200; sacrifice was
offered by them, 362. bhrunahatya, V, 341. bhub, bhuvab, svar,--saman on, IV,
145; are the three worlds, 145; the first words spoken by Pragåpati,V,12; the five syllables made by Pragâpati the five seasons, 13; luminous essences evolved from triple science, 103; expi
Bhūti, goddess of prosperity, homage
paid to her, III, 324. bhuvab. See bhab. bifurcate. See forking. bilva (Aegle Marmelos), V, 374. birds, --how created, IÍÍ, 148; when
born, body produced first, IV, 136, 139; flesh not to be eaten by Agnikit (say some), 296; contract and expand their wings and tail, 300 seq.; the little bird which bustles with 'abalak,' V, 325; birds the people of Tarkshya Vaipasyata, the
Purana tleir Veda, 369. bird-like body, is the fire-altar, IV,
285; takes Pragàpati to heaven,
300. black, is sickly, IV, 137. blood, oblations of, v, 394. boar, produced from ghee, III, 102;
boar and cow friendly together, 103 ; shoes of boar's skin, 102; vicious boar (durvarába) unclean, V, 178; earth torn up by boar,
used for Pravargya vessels, 451. body, founded on the mind, III,
270; linked to food by the (channels of the) vital airs, 270; is kindled by the sun, and hence warm, IV, 135; produced before wings and tail, 136; has thirty limbs, 167, 211; is twenty-five-fold, 168, 221; if immortal, is boneless, 178; the fire-altar, Mahâvrata, and Mahad uktham are the Sacrificer's
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SATAPATHA-BRÂHMANA.
divine, immortal body, 779; consists of couples, 284; consists of five mortal parts (hair, skin, flesh, bone, marrow) and five immortal parts (mind, voice, breath, eye, ear), 290; the immortal parts are the vital airs, 292; body (fifteenfold, 309; fivefold, 309); consists of 101 parts and has as many vital airs, 325, 326; parts constituting (Pragapati's)body, 347; of thirty parts, 383, 387; body of dead man how to be treated, V, 201 seq.; body of man is of
three parts, 261. bone,-bricks are Agni's bones, IV,
20; bones run both lengthwise and crosswise in the body, 135; in wings and tail of birds no transverse bone, 135; is one of the mortal parts of the body, 178; bones are the 'sri' (goodness, strength) of men, 326; are the enclosing-stones, hence 360 of them, 387; V, 169; bones of fat and lean persons are alike, V, 20; bones of dead man are collected, 117, 443 n.; brought home,arranged on black antelope skin and burnt, 200; buried, 433; arranged like bird's
body, 435. boon, choosing of, III, 105. bow, strung, III, 87; is the Råganya's
strength (virya), 89; with three arrows given as sacrificial fee, V, 11; Vishnu's bow and three
arrows, 442. brahmahatya, redeemed by Asva
medha, V, 328; atonement for
it, 340, 341. Brahmakårin, not delivered to Death,
V, 48; cuts off a night from his life by not bringing firewood, 48, 49; his life a sacrificial session, 49; begging alms, 49, 50; brings firewood to teacher, 53, 54, 85; initiation of Brahmakârin, 86 seq.; teacher, by laying his right bandon him, becomes pregnant with him, and in the third night he is born as a Brahmana with the Savitri, 88; whether allowed to eat honey or not, 90; may initiate the Unnetri, 137.
brahmatarya, religious studentship,
V, 86 seq. Brahman (n.), is Brihaspati, III, 3,
21.; IV, 192; (prayer), III, 31; (priesthood) connected with the east, Gayatri, Rathantara, Trivrit, spring-season, 91; the Brahman (trayi vidya) first created, 145, 146; is the foundation of everything, 145; is Agni's mouth, 146; Pragapati is the whole Brahman, 353; constitutes the fourth layer of altar, IV, 59; (priesthood) delivered from death through the trivrit-stoma, 67; Brahmanaspati itslord, 73; is Agni, 85; Agni created as the Brahman, 342; the firstborn Brahman, the Rishis, 100; the Brahman, the Yagus, its power in the other world, 173; (holy writ) seven-syllables (rik, yagus, sâman, brahman), 314; (mystic science) the greatest, 338; established as the vis, V, 41;- is the highest of gods, IV, 59;. upholds heaven and earth, 59; is the vital airs, 59; is Pragàpati, 59, 60; is the Gåyatri, and the sun's disk, 94; is the universe, 315; the imperishable) akshara, the one brick (of) Agni into which all beings pass, 343; the true Brahman is the Purusha, 400; the universe in the beginning was the Brahman who created the gods, V, 27; the Brahman, having placed the deities in the three worlds and in the higher worlds, went to the sphère beyond these, whence it descended again by means of its manifestations Form and Name, 27; only on being possessed of the Brahman the gods became immortal, 28; delivers creatures to Death, except the Brahmakârin, 48; six doors to the Brahman, 66 seq. ; sacrifice to Brahman (study of the Veda), 95 seq.; is a light equal to the sun, 388; the ultimate thing of the universe, 409; Brahman Svayambhu, performs austerities, 417; offers himself up in the
, 388 $ a light of the nice to
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creatures, and the creatures in his own self, 418; is the first
born, yonder sun, 459. Brahman (m.), priest, mounts cart
wheel, III, 21; beats the drum, 24; presented with gold honeycup, 29; gets gold sataminas as fee for protecting sacrifice in south, 108; (V, 211); his fee at Dasapeya twelve heifers with first calf, ili, 119; bull his fee for pafikabila-oblation to Indra, or brown ox for ditto to Soma, 121; white-backed bullock for Brihaspati's ditto pap, 122; neither performs, nor chants, nor recites; yet gets gold satamâna, 141; is the entire sacrifice, 185; as representative of Brihaspati mutters Aprati. ratha hymn whilst Agni is led forward, IV, 192; is the autumn, V, 45; uses the whole trayî vidya, 104; initiated for sattra (as moon and plants), 135; if he does not know certain rites he may allow another to act for him, 211, 212; formerly they had to be of the Vasishtba family, 312; is the heart of the sacrifice, 245; one fettering the sacrificial horse without an. nouncing it to Brahman is liable to incur injury, 277; the spotless Brabman, is the moon, 317, 318; (? Pragapati), is the horse, 318; boon granted to him, 350; is the highest seat of speech, 391; the guardian of the sacrifice, 459; the best physician amongst
priests, 483 ; is seated, 503. Brahmana (m.), not to be fed upon,
having Soma for his king, III, 72, 95; IV, 249; sprinkling of king from palåsa vessel, III, 83; sprinkles him in front, 94; comes after king, 96; is stronger than king, 110; is followed by the three other castes, 227; Brahmana and Kshatriya never go behind Vaisya and Sadra, 227; into him, as the representative of the Brahman, all beings pass and are reproduced there. from, V, 85; effect of the study of the Veda on him, 99 seq.;
not to engage with Râganya in disputation, 114; as the scapegoat receives the Sacrificer's pain and evil, 181; the Brâhmana descended from Rishis, represents all deities, 195, 196; Brâhmana, if going away offended, is presented with a cow longing for a bull, 195; Brâhmana accepting earthen vessels of dead man, is a remover of corpses, 305; the Soma his drink, 217; not to drink raw spirituous liquor, 260; is a form of the priestly office, 286; king can oppress him, but fares the worse for it, 286, to the Brâhmana belongs the fulfilment of wishes, 287; was of old born endowed with spiritual lustre, 294; every Sacrificer becomes a Brahmana, 348; Brâhmana knowing nothing of the Asvamedha, may be
despoiled, 360. brâhmana (n.), mystic sense, or dog
matic explanation of an oblation,
IV, 340. Brahmanakkbamsin,-bull his dak
shinå at Dasapeya, III, 119; is under the Brahman priest, V,
136. Brahmanaspati, lord of the priest
hood, IV, 73; is the sun, V,
453. brahmaudana, priests' mess of rice,
V, 274 ; is seed, 375, 348. brahmodya, theological disputation,
V, 79; between Brahman and Hotri, 314; all priests, 388
390. breast-bone, IV, 114. breath. See prâna. brick. See ishtaka. Bribaduktba Vâmadevya, V, 302. brihad vakas, III, introd. xv. Brihaspati, gains Pragâpati and as
cends to upper region, now his own, III, 2, 59, 122; is the Brahman (priesthood), 3, 21; IV, 192, 229; V, 258,314; wild rice-pap on seventeen plates, III, 21, 28; afraid of the earth and vice versa, 34; with Brihaspati's rulership the Sacrificer is consecrated at Vågapeya, 39; by eight syllables gains Gayatri,
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si
40; pap to Brihaspati, 59; is Purohita of gods, 59; V, 258; white-backed bullock his fee, III, 59; his the smaller and broken rice-grains, 67; (i is Varuna, 68); pap of wild rice to Brihaspati Vak, 70; pârthaoblation to Brihaspati, 82; IV, 228; assists Varuna, III, 113; samsrip-oblation (pap), 116; pañkabila (pap) on centre of Vedi, 120, 121; white-backed bullock fee to Brahman for Brihaspati's oblation, 132; pra- yügâm havis (pap), 125; Savitri and Brihaspati connected with the regions and the katushroma, IV, 69; ruler of tame animals, 74; protector of upper region, 103; connected with Visve Devâb, trinava and trayastrimsastomas, &c., 102, 103; as Brahman assists Indra Apratiratha in fighting the Asuras, 192; takes Sri's holy lustre and receives (mitravinda) pap, V, 6265; the eighth of the ten deities (all the gods') receiving oblations of drops, 281; offering of barren cows, 402, 401; Brihaspati, with the Visve Devâb, receives offering of Gharma,
480 ; is the wind, 480. Brihaspati-sava, III, introd. xxiv,
Xxv, 4; the same as Vågapeya,
34. Brihati, metre,--the fire-altar be
comes like it, III, 219; is the year, 310; consists of thirtysix syllables, 318; in the form of it oxen were produced, IV, 38; is the air, 53; a thousand brihatis, 11; is the mind (of Pragâpati), 327, 328; 12,000 make up the whole Rik, 352; twenty-one brihatîs, as the measure of the universe, 384- 387; the katurmâsya formu- las amount to 362 brihatis, and hence to the year and Mahavrata, V, 78; by it the gods reached heaven, 156, 172; the Tâpaskita-sattra amountsthereto, 172; cattle related thereto, 221; the pressing-stones are of brihatî nature, 343.
bribat-saman, III, introd. xv, avi,
xx-xxiii; connected with Indra, XV; with Kshatra, &c., 91 ; produced from palladasa-stoma, IV, 7; (brihak kbandas) is heaven, 19; connected with Indra, the Rudras, the south, &c., 10r; sung over completed
fire-altar, is the sky, 179. brihat-stotra, Vâgapeya-saman, III,
II. Budila Asvatarà svi Vaiyaghrapadya,
a teacher, IV, 393. bull, liberated as fee for Agni-Soma
cake, III, 45; fee for Indragni cake, 46; dark-grey, fee for Pushan's trishamyukta, 56; brown, for Soma's, 56 ; is the Prag å pati of cows, 58; belongs to Indra, 60; spotted, 61; fee for oblation to Maruts, 61; sacrificial animal, 162, 165 seq.; slaughtered for Indra, 162; eight-hoofed, 177; (uksban) is vigour, produced in the form of the Kakubh, IV, 38; two-yearold (dityavab) produced in the form of the Virág, 39; other ages of other metres, 39; originates from Indra's mouth, V, 215; has
an excrescence (hump), 276. burial-place (smasâna), V, 431 seq.;
four-cornered, 423; is made round by people of Asura nature, the Easterns and others, 423, 424; the site for it, 424 seq.; size, 428, 435; ploughing of site, 431.
calf, year and a half old, is vigour,
produced in the form of the trishtubb, IV, 39; white calf of
black cow, 200, carpenter, his house is the resting
place of the sacrificial horse and
its keepers, V, 360. cart. See chariot. castes, four, do not vomit Soma, III,
131. cattle, belong to Pashan, III, 55;
(Rudra, 53); are purisha, 301; represented by the kbandasya (metre-) bricks, IV, 36; thrive when it rains, 36; become metres, 36; Pragapati, in the shape of Gayatri, overtakes the
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cattle, 37; thrive exceedingly in the homestead of him who possesses many of them, V, 136; their eye taken by the sun, whence they only know things by smelling, 130; bovine cattle
represent all animals, 333. chamberlain. See kshattri. chanting-place, of bahishpavamâna-
stotra, V, 305. chariot, -race, introd. xxiv, 17 seq.;
taken down from stand and turned, III, 18, 98; with three horses, warrior and charioteer, 50, 102; gads driving on, 289; placed north of fire with pole to the east, 290; offering made on head of chariot, IV, 233; chariot shifted sunwise round the fire on the brick-altar, 234; is the sun, 235; by oblations of air the gods yoked the chariot for the obtainment of all their wishes, 236; two smashed chariots joined together, V, 198; made complete by means
of cords, 318. charioteer, not to get down from
chariot along with king, III,
104. child, born with bead first, III, 233;
in womb grows by warmth, 254; tries to speak and stand up at the end of a year, V, 13; first speaks words of one or two syllables, 13; born after being
fashioned for a year, 88. circumambulation, (thrice) of altar
(to atone for ordinary walking round), IV, 170; of sacrificial horse (by the king's wives), V,
372, 323. clavicle. See collar-bone. clay, produced from foam, III, 147,
157; lump of, is Agni, 206 seq.; ditto for Pravargya vessels, V,
coin. See gold coin. cold, is the body of him about to
die, IV, 136. collar-bone, classed with the ribs,
V, 164. colour (outward appearance), is
everything, V, 354. commander of army. See senâni. conception, one born a year after
conception may perform Agnikayana without having carried the Ukhya Agni for a year,
IV, 274. consecration. See anointment. copper, piece of, put in mouth of
eunuch, III, 90; melts, V, 493. cord, is Varunic, III, 222, 236; cf.
rope. costal cartilages, IV, 114. cotton tree, (salmalia malabarica),
the highest tree, V, 317. couch, no sleeping on during initia
tion, III, 185. counter-charm, III, 53, 371. couples, sustain the realm, IV, 230. courier. See palâgala. cow, dakshina for first-fruits, III,
46; her Varunic nature, 51; yoke-trained cow dakshinå for Indraturiya, 51; belongs to Rudra, 52; dakshina for oblation to Aditi, 60; cow-raid, 98; cow and boar friendly together, 103; means these worlds, 156; has four nipples, 237; most fit to yield a livelihood, 237; when milked out is worn, 257; (or bull) created from Pragàpati's breath, 401; is (the supplier of) food, 406; not to be injured, 406; milch cow (dhenu) is vigour, produced in the shape of the gagatî metre, IV, 39; the bricks of altar made such, 172; milked by sitting person, 172; milk of black cow, with white calf, offered to Agni about to be laid on fire-altar, 200 ; black cow and white calf are night and sun, 200; cow of plenty, seen and milked by Kanva, 203; offering of barren cow (to Mitra-Varuna), 263-265; brings forth within a year, V, 12; cow suckling a strange calt, her milk used for offering in case of an
clod-bricks, are the regions, III,
345, 348; vital sap, 345; IV, 44; clod of earth deposited midway between a grave and
the village, V, 440. cloud, originates from smoke, III,
85; is the udder whence the
shower of wealth' flows, IV, 231.
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Agnihotrin dying, 198; cow, wont to cast her calf, victim of Indra at Asvamedha, 300; barren cows immolated, 402, 411; tail of barren cow tied to the left arm of a dead man, 438 n.;
of Pravargya, see gharmaduha. Cow-dung, smeared over fire-site,
V, 191; used for burning dead
body, 203. creation, III, 145 seq.; nine primary
substances, 147. creator. See Dhâtri. creatures (pragâ), produced from
Pragâpati, the sacrifice, III, 40; in all quarters, IV, 31; Pragå- pati their lord, 73; Yavas and
Ayavas their lords, 76. crosswise, offering made on Svaya
måtrinnâ of completed altar,
IV, 183. crow, is untruth, V, 446. cubit, means the (fore-Jarm, V, 449. curds and whey, sour curds. See
dadhi. cushions, wrought of gold threads,
for the priests to sit on, V, 360,
361. dadhi, sour curds, is life-sap, III,
374; belongs to Indra, 375; a form, or the life-sap, of the earth-world, 389, 390; mixed with honey and ghee, for sprink- ling completed fire-altar, IV, 182 seq. ; globule of sour curds put on Samidh, as a form of
cattle, 203. dadhigharma, V, 502. Dadhikra, III, 27. Dadhikrävan, III, 27; V, 326. Dadhyafik Atharvana, is speech, III,
318; knew the pure sacrificial essence (the Madhu), 444; is decapitated by Indra, and res
tored by the Asvins, 443, 444. Daivåpa. See Indrota. Daiyampâti, instructed by Sandilya.
yana, IV, 273. Dakshầyana, form of Full and New
moon sacrifice, to be performed
for fifteen years, V, 5. dakshina (sacrificial gift), (cows), the
way along which they pass, III, 99, IOT;--dakshina as Apsaras, the Gandharva Yagna's mates,
IV, 232; the sacrifice is praised for them, 233; Do bargaining for, as depriving the priests of their place in heaven, 280; wins food, 285; no oblation without dakshina, V, 7: stand south of altar, 17; time for bringing them up at animal sacrifice, 120; are healing medicine, 217; is the glory, 446; must not be given away by the priest, at least not on the same day,
446. Dànava (Asuras), V, 95. dandavadha, IIT, 108. darbha-grass, bunch of, put on
ploughed Agnikshetra, III, 332; contains food and drink, 332; grew up from waters loathing Vritra, 332; IV, 44; handful put on mixture of ghee (with gold chips), sour curds and honey for sprinkling therewith (with the tops) on completed fire-altar, 182; a means of purification, V, 195, 274; piece of gold tied thereto and taken westwards (as the sun), 195; ditto of silver, taken eastwards (as the moon), 196; rope tbereof for tying sacrificial borse, 274; sepulchral mound covered
therewith, 436. . darkness, after the creation of the
darkness, 111, 319e offerer there in
Darsapürnamasa, the offerer thereof
eats food every half-month in the other world, IV, 299; esoteric remarks on, V, 1 seq. 52 seq.; to be performed for thirty years (twice 360 full and new moons) thereby gaining the 360 days and nights of the year, 4, 5; first performed by Parameshtbin Prägâpatya, 15; after him Pragapati, indra, Agni, and
Soma, 15, 16. Dasapeya, III, introd. xxvi; requires
special offering-place, 68, 113 seq.; etymology, 114; an Agni
shtoma, 18. Dasaratha, king of Ayodhya, III,
97. Dasarâtra, V, 140; last day of,
called avivákya, III, introd. xvii; compared to the seat (or
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370.
body) of a chariot, the two 266; different deities and meshadabas being the wheels, V, tres identified with parts of the 149, 155 n. 159.
body, 330, 331; the ultimate dative of purpose, III, 198.
deity not to be questioned beDaubsbanti. See Bharata.
yond, V, 117. daurgaha, V, 397.
Devaganavidya, the Veda of Rakshas, dawn, precedes the sun, III, 273.
V, 368. day, a separater, IV, 89; originates devasa (divine quickeners), offerings
from the light emitted by the to, III, 69, 72; IV, 346. gods when created, V, 14; the dewy season, consists of the months (one) day (after day) is the Tapa and Tapasya, IV, 126; year, 155.
which are supreme, 126, 127; day and night, nourish Agni, III, is the sky, 127; is the year's
(271), 273; encompass the uni- head, 127. verse, 287; days and nights are dhậmakbad, seat-hiding (?) verse, IV, endless, 352; rulers of Arya 291. and Sudra, IV, 74, 75; are Dhânva. See Asita. Pragâpati's joints, 281; are Dharma Indra, king of the gods, V, forms of Brahman and Kshatra, V, 286.
Dhatri (creator), connected with dead man, his bones arranged in gods generally, and the Vis, IV, bird-form, V, 435.
68; lord of the seven Rishis, Death, seizes creatures whilst in 73; is Pragàpati, 363; the sun,
Pragâpati's womb, IV, 67; 264 ; offering of twelve-kapala created above (mortal) beings cake to, 264. as their consumer, a90; searches Dhîra Sataparneya, instructs Mahafor the half-mortal) Pragàpati sâla Gåbâla on the nature of who has entered the earth, 290; Agni, IV, 331. is the year, 356 seq.; he is the dhishana, III, 243. ender, 356; has only the body dbishnya hearths, III, 317, 318; for bis share, 357; those who preparation of, IV, 341; are do not become immortal come the clansmen to the fire-altar, to life again and become the as chief, 241; consist of a single food of Death time after time, layer, 242; only with lokam358; Agni as Death, 365; Death prinâ bricks, 242; enumeration is immortal, and the man in the of, 242 n.; eight, 360. sun, 366; Death is both the dhrishti, fire-tongs, V, 39 n., 500. man in the sun and that in the Dhritarashtra, V, 401. right eye, 371, 374; is both one dhriti, four oblations offered every and many, being the man in evening of preliminary year of the sun, he is numerously dis- Asvamedha, V, 285, 288, 364. tributed on earth among crea- dhruva-graha, III, 11. tures; whence also both near Dhvasan Dvaitavana, king of the and far away, 372; Death be- Matsyas, performed the Asvacomes the self of him who medba, V, 398. knows, and makes him immortal, dice, game at, III, 106, 112; V, 330. 374; Death, hunger, being alone dikshâ, III, 68; at Agnikayana to in the beginning, creates Mind, last a year, 181; insignia of, 402; Arka and Asvanedha be- 185; of Agnikayana, 246 seq.; come Death, 404; creatures is speech, IV, 67; springs from delivered to him, except Brah- faith (sraddha), 138; is the makârin, V, 48; deaths take body of the sacrifice, 240; of place in any world, 339; ob
seven days at Asvamedha, V, lations to Deaths, 340.
290 seq. ; twelve, 371; is the deity, only he is a deity to whom vital airs, 291; twenty-three
offering is made, IV, 238, 246, days at Purushamedha, 403. [44]
Mm
the sun, bon earth am both near.
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dîkshanîyeshri, III, 44; IV, 258;
without samishrayagus, 258. disam aveshtayab, III, 120. disya, regional bricks, in first layer,
III, 188 seq.; in second layer (=asvini), IV, 31 seq.; in third layer, 43 seq.; are the regions and the sun, 43, 44; are the
metres, 45. Diti (and Aditi), viewed by Mitra
and Varuna, III, 93. dog, the moon is the heavenly dog,
watching the Sacrificer's cattle (to seize them) and coming down at new moon, V, 10; dog's clutch (svalukita), a burning pain, 10; dog driven away by bow or staff, 11, 12; an unclean animal, 178; four-eyed dog lilled at Asvamedha and plunged under horse's feet, 279; dog is
untruth, 446. driba, (driva), arrow, III, 88. drops, oblation of. See stokîya. drought, produces a lawless con
dition, V, 18. drums, seventeen put up, III, 23;
one beaten by Brahman priest,
34. durva, grass (and brick), III, 187,
379; is cattle, 379; etymology, 380; is the kshatra, breath and vital sap, 380; grows up joint by joint, knot by knot, 381; spreads and branches out by
a hundred shoots, 381; IV, 2. Dushtaritu Paumsầyana, a king, V,
269, 272. Dvadasâha, opening Atirâtra of, III,
introd. xix. Dvaitavana. See Dhvasan. dvâpara, die, III, 107. dvâvimsa-stoma, is vigour, the year,
IV, 63. dvipada, the ample metre in the form
of which sheep were produced, IV, 38; of twenty syllables,
385 ; offering of, V, 343. Dviyagus brick, is this earth, seen
by Indragni, III, 381; is the Sacrificer, 381; his human body, 382; laying down of, 383 ; is the hip of Agni, the
sacrificial animal, 400; IV, 2. Dyaus, gives birth to Agni, III,
272.
Eagle. See syena, suparna. ear, one of the five vital airs (of the
head), III, 402; as the regions, is the child of heaven, IV, 10; from it autumn is produced, 10; is Visvamitra (all-friend), 10; introduced from the left (or upper) side, 11; is one only, 11; sustained by the upward vital air (udana), 15; one of the five divisions of vital air in the head, 190; the ear evolved from the eye, and from it work, 378, 379; the two ears connected by channel, V, 36; what is thought by mind is spoken by speech, and heard by the ear, 263; Adhvaryu and Sacrificer whispering in the (right)
ear of the horse, 287. earth, three of them, III, 27;
afraid of consecrated Brihaspati and vice versa, 34; ditto of Varuna, 103; union with Agni, 148 ; (bhůmi) a foundation, 147, 158; (prithivî) the broad, 148, 158; is the Gâyatri, 148; connected with Pragapati and Agni, 187; created as one consisting of eight syllables, 2 32; fashioned by Vasus by means of Gayatri, 233; navel of the earth, 258; a firm resting-place, 278; sur rounded by ocean, 301; is circular, 309; the mother of Agni Purishya, 311; is Pragâ pati's Garbapatya, 314; after its creation, darkness was everywhere, 319; Pragâ pati its begetter, 346; spread on waters like a lotus leaf, 364; is Agni's womb, 364; is established on truth, 364; is the truth, the most certain of worlds, 364; sheds seed upwards in the form of smoke (steam) which becomes rain, 383; bears everything breathing, 387; is measured out, fashioned (mità); is the course (eva), IV, 88; on earth one thinks with the heart, and the mind, 95; is the most substantial (rasatama) of worlds, 179; is the right wing of Agni-Pragåpati, the altar and universe, 179; steadied by mountains and
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rivers, V, 116; is the Kshatriya's world, 133; connected with the Asvins, 241; is higher than the water, 267; he who hides himself, or goes elsewhere, is ultinately found on the earth, 284, 285; no creature, walking erect or horizontally, can go beyond it, 285; is the great vessel, 315; in the beginning of the size of a span, 451; raised up by boar Emüsha (Pragapati, her husband), 451; is a good abode on which all creatures abide, 457; is white, as it were, 463; her over-lords (Agni, Indra &c.), 464 seq.; becomes a mare and carries Manu, her lord (Pragâpati), 466; is a place of abode for all
the gods, 505. east, connected with priesthood &c.,
III, 91; Agni's region, 206; IV, 199; is towards the gods, III, 215, 355; IV, 226; is the Gayatri, IV, 45; is a queen, 46, 100; the Vasus its lord, 100; protected by Agni, 10o; con- nected with trivrit-stoma, âgyasastra, and rathantara-saman, 100; is strength and the sky, V, 16, 17; the region of the gods,
485. easterns. See prakya. eater, the, is Agni, Aditya, the breath,
IV, 398. egg. See golden egg. eight, symbolical significance, IV,
190. eighteenfold, is the year, IV, 66. eighty (asiti), means food, IV,
112, 161; of formulas (to the
Rudras), 161, 333. ekâdasini, of sacrificial stakes, V,
301 n., 309; is heaven, 310; offspring and cattle, 310; a
virág, 335, 404, 405. ekapada, the gapless metre in the
form of which goats were produced, IV, 38; of ten syllables,
385. ekatrimsa-stoma, is design, the year,
IV, 64. ekavimsa, the twenty-first or twenty
one-fold, is the sun, III, 263, 308; IV, 69; V, 331, 333, 334,
M
335, 378, 402; produced from manthi-graha, and from it the
vairâga-saman, IV, 10. ekavimsa-stoma, connected with
Anushrubh &c., III, yr; at morning - service of Kesavapaniya, 127; is the upholder (a foot-hold), the sun, IV, 62; through it, connected with Mitra Varuna, rain and wind freed from death, 68; the foundation (the feet), 78; connected with Soma, the Maruts, north &c., 102 ; second day of Asvamedba an ekavimsa-day, V, 378; the
foundation of Stomas, 378. ekoti, V, 150. elevation (high-lying ground), people
in danger take thereto, V, 300. embryonic water of calving cow,
III, 78. embryos, freed from death through
paikavimsa-stoma, connected with Adityas and Maruts, IV,69;
killer of embryo is despised, 272. Emdsba, the boar (Pragâpati) raises
the earth (his wife), V, 451. enclosing-stones. See parisrit. enemies (or enemies' sons), when
meeting, get on well together on addressing one another by
name, V, 288. entrail (vrikala), if not cleansed of
contents in dead body, a tiger springs therefrom when burnt,
V, 203, (215). Eshavíra, a family of priests, V, 45 n. etarhi, one-fifteenth part of a kshipra,
V, 169. eunuch, long-haired, III, 90; malted
rice bought from him, V, 219;
is neither man nor woman, 219. eva, at least, IV, 19 (u eva). exorcism, IV, 171. eye, food flowed from eye of fallen
Pragàpati, 111, 312; one of the five vital airs (of the bead), 402; there is always water in it, 416; produced from the sun, and from it the rain, IV, 8; is the Rishi Gamadagni, 9; introduced from behind, 9; is one only, 9; sustained by the downward vital air (apâna), 15; one of the five divisions of vital air in
the head, 190; the man in the m 2
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SATAPATHA-BRAHMANA.
(right) eye is the man in the sun and the gold man of the altar, 368; he is the same as Indra, and has a mate in the left eye, who is Indråni, 369; the two persons descend to the cavity of the heart and enter into union, and at the end of their union the man sleeps, 370; from the union of these two divine persons all that exists originates, 371; the man in the right eye (and in the sun) is Death, his feet stick fast in the heart, and on his pulling them out and coming out, he dies, 371; that man in the eye is the vital air and leads forward all creatures, 377; whilst being one only he is numerously distributed among creatures, 372 ; the eye evolved from breath, and from it the ear, 377, 378; what were man without eyes, V, 124; white, black, and pupil, 165, 346, 354; white and black, 354; by means
of it the body moves, 346. faggots, three bundles of, lighted
and offered upon whilst held at
different heights, V, 494. faith,-truth in faith, V, 46; the
initiation sprung from faith,
138. falcon. See syena. fanning, of the sacrificial horse, by
the king's wives, V, 323; of the (Pravargya) fire, by the Adh
varyu and his assistants, 467. fast-milk, living on, is penance (tapas),
IV, 256; milk of three, two, one teat during days of initiation, and of none on day of
preparation, a56. father, is gentle and kind to his son,
IV, 25; when asked for any. thing by his sons, says 'So be it,' 60; takes his dear son to his bosom, 206; sons in early life subsist on father, the reverse in later life, V, 157; returning from abroad is received kindly by sons, 204 ; father and sons
part in time of peace, 308. Fathers, the hollow is sacred to
them, III, 31; are the clansmen, with Yama for their chief, 299; Aditi their ruler, IV, 74; the south their region, 226; are the six seasons, 243; be who does not eat becomes consecrated to the Fathers (dies), V, 20, 21; daily offering of the svadbâ to them, 95, 96; sacrificial practices appropriate to offerings to Fathers, 198 seq.; the world of the Fathers is in the south, 225; the sura-liquor of the Sautrâmani falls to the share of the Fathers of him who drinks it, 233; those who perform on southern fire, go down to the world of the Fathers, 236; live in Yama's realm, 236, 237; the path of the Fathers and that of the gods by one of which all living beings have to pass, 237, 238; are asleep, 265; placed in the immortal womb, 272 ; are the subjects of Yama Vaivasvata, the Yagus their Veda, 365; the uneven number, and the single nakshatra belong to them, 433; the door to their world is in the south-east, 434; their world inclines towards the south, 424; to them belongs the sod) filled with roots, 427; they are the world of plants, and hide among the roots of plants, 429 ; not seen together with the living, 440; three in number, 455; with Yama and the Angiras, re
ceive offering of Gharma, 481. female, lies on left side of male, III,
199; injures no one, 202; after
birth conceives again, 311. fever, one suffering therefrom is
consumed by his vital airs, IV,
fifteen, IV, 74, 309. fifteenfold, is the thunderbolt, III,
413; IV, 85; V, 384; the arm,
IV, 79; the neck, V, 163. fig-tree, Indian. See Nyagrodhas. finale. See nidhana. fingers (and toes), have a common
connecting link (or limb), III, 417; consist of four parts each, IV, 325; the different
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fingers, V, 75; the different
fingers and their joints, 161. finger-breadth, the lowest measure,
IV, 300; thereby fire-altar
measured, 300. fire, when it goes out it is wafted up
in the wind, IV, 333; Fire evolved from Work, 380; is the womb of the sacrifice, V, 3; is one of the six doors to the Brahman, 66; sacrificial fires only desire flesh of victims and the Sacrificer, 119; four kinds of fires, (three worlds and the regions; Agni, Vayu, Aditya, Kandramas), 127; there is a fire in every piece of wood, 187; circumambient fire shuts out the Asuras, 271; carried round
victims, 307. fire-altar (agni); the way in which
it is mounted (like a horse), III, 361; building of, 363 seq. ; a four-footed animal, iv, 19; con- traction and expansion (of animal's body), 20 seq.; of eagle-build, 31; is the year and the three worlds, 29; constructed so as to extend (fly) eastwards, 115; Agni its head, the earth its right, the sky its left wing, Vâyu (the air, vital air) its body, the moon its tail, the sun its heart, 178-80; the Sacrificer's divine body, 216, 256; the body of all the gods, 256; substitutes for complete fire-altars at repeated Soma- sacrifices, 271; is an ocean of Yagus, 778; Fire-altar, Mahå- vrata and Mabad uktham are the Sacrificer's divine, immortal body, 379; is a bird-like body, 285; is the earth, the mind, the trunk, the head, 286; is measured by finger-breadths, 300; the sevenfold, 306; for this a vedi of ninety steps, 308; different forms of, from sevenfold to one hundred and onefold (the latter of which is to be fourteen times that of the former), 309 seq.; by building a smaller fire-altar, one curtails Pragàpati, and by one larger than the largest one exceeds
the universe, 312; the hundred and onefold contains all objects of desire, is the year, and the sun, 313; it is equal to the sevenfold one, 314; is built between the two performances of the upasads, 316; each layer of bricks and earth takes (or represents) a month to build, 318; the hundred and onefold the normal one (?), 321 seq.; it gains the immortal light, 323; it is a sevenfold one by its layers, 324; the fire (altar) is fivefold (by food, drink, excellence, light, and immortality), 326; is the food prepared for Pragapati and becomes the body itself, .341; is the man in the sun, 366; is the earth, air, sky, the sun, the nakshatras, the metres, the year, the body, all beings and all gods,
381-390. firebrand, belongs to Rudra, V, 301. fire-pan. See ukha. firmament (naka), is the heavenly
world above the Virág (layer), IV, 93, 100; is the regions, 100; in the world of righteousness (sukrita) above the third luminous back of the sky, 123; the heavenly world, the back of the sky, 198; the heavenly world beyond the highest fire-altar,
250, 304. first-fruits, offering of. See Agraya
weshti. fivefold, is the animal sacrifice, V,125;
the Asvamedha becomes so, 308. flax, forms amnion of Agni's womb,
Alax, forms 53; foul sturinginitiation of
flesh, not to be eaten during initiation,
III, 185; of fat person fat, of lean lean, V, 20; is the best
kind of food, 119. foam, produced from water, III,
147, 157 food, kinds of, given to Sacrificer,
III, 36; one kind to be renounced by him, 37; satisfies if proportionate to body, 260, 330; IV, 189; to food the body is bound by the vital airs, III, 270; is taken in from the front (mouth) backward, 401; the resort of the waters, 416; the
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SATAPATHA-BRÂAMANA.
funeral pile, V, 201, 202, 203. furrow, what it yields, III, 329; are
the vital airs, their meetingplace speech (voice), 333.
purisha is Agni's food, IV, 10; is seventeenfold, 79; whilst eating food one drives away evil that is above him, 87; is asked for by sick man when he gets better, 87; is of three kinds, 93; its essence is invisible, 95; threefold (ploughing, rain, seed), 110; benefits the body only if put in the body, 133; put in a channel of) the vital air benefits the whole body, 139; are sustained by food, 139; they close up if food is not eaten, 139; is the arrow of the Rudras of the earth, 165; sour curds, honey, and ghee are every kind, or the best kinds, of food, 184, 185; is variegated (varied), 196; is served from the right side, 226; is of two kinds, immortal and mortal, 285; food taken by the arm at a cubit's distance, 306; food, when enclosed in the body, becomes the body itself, 341; the food consumed by man in this world consumes him in
the other, V, 260. food-brick, 111, 155, 166. foot, is a support, IV, 137. foot-print of the horse, offered upon,
V, 363. forest-fires, take place in spring,
V, 45. forking, (bifurcated) branches, of
udumbara samidh, IV, 203;
mean cattle, 203. form,-hair and form, IV, 295; form
and name, the two forces of the Brahman (the former being the stronger), V, 27, 28; oblation to
Forms, see prakrama. fortnight (paksha), the former and
latter, called Yavas and Ayavas,
IV, 69, 76. forty-four-fold, is the trishtubh and
thunderbolt, IV, 85. frog, drawn across the altar, to
appease it, IV, 174; arose from the water dripping off the altar,
174. Full and New-moon sacrifice. See
Dar sapürnamåsa. fumigation, of pan, III, 240; of
Pravargya vessels, V, 455, 456. funeral ceremonies, V, 421 seq.
Gåbala. See Mahårála, Satyakama. gågata, of Gagati nature, cattle (ani
mals), V, 252, 284, 313. Gagati, gained by Visve Devab, III,
40; connected with Visve Devab &c., 91; of twelve syllables, 169; of forty-eight, 183; is the earth, 169, 183; V, 245; all the metres, III, 169, 183; the triple science, 193; gains these worlds from above hitherwards, 281; produced from rainy season, and from it the riksama-saman, IV, 8; in the shape of it milch cows were produced, 39; is the western region, 45; cattle, 52; V, 313; is the Brahman, and the sun's disk, IV, 94; is the downward breathing (of Pragåpati), 327-329; a Rbhu of the Ga. gat metre (the årbhava-paramana) bearing the Sacrificer to bliss, V, 173; thereby the Adityas consecrate the king,
313 Gamadagna, apri-verses, V, 303. Gamadagni, rishi, is the eye, IV, 9;
is Pragàpati, V, 302. Ganaka, of Videba, questions Yâgtia
valkya as to Agnihotra, V, 46; obtains Mitravinda sacrifice from Yågħavalkya, 66; questions Brahmanas regarding Agnihotra, 113 seq. ; teaches Yågfavalkya, 114; becomes Brahman, 115; has a sacrifice performed with 1,000 cows as
dakshina, 113. Ganamegaya Parikshita, IV, 345 n.;
cups of fiery liquor poured out in his palace, V, 95; performs
Asvamedha, 396. Gana Sarkaråkshya (Sayavasa), a
teacher, IV, 393, 396. Gånasrutega. See Aupåvi. Gåndhåra (Nagnagit), IV, 21. Gandharva, the heavenly, thought
cleansing, III, 5; is yonder sun, Savitri, 195;-twenty-seven of thein, 19; were the first to yote the horse, 20; from Pragapati
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couples issue in the form of Gandharva and Apsaras, IV,229; Gandharva and Apsaras made offering to in rashtrabhrit oblations, 230 seq.; Gandharva and Apsaras affect sweet scent (gandha) and beauteous form (rupa =apsas), 230; and worship the divine Purusha under those forms, 373; carried by horse Vägin, 401; three Gandharvas (Yavamat, Uddalamat, Antarvat) point out to the Rishis imperfec- tions in their sacrifice, V, 29, 30; get the Apsaras Urvasî back from Purüravas, 69; produce a flash of lightning, 70; teach Puraravas how to produce a sacred fire, to become one of themselves, 73.; the people of king Varuna Aditya, the Atharvans
their Veda, 365. garbha, of prishtba - saman, III,
introd. xx seq. Gårhapatya, thence fire of ukha is
taken, III, 263; if it goes out, is produced by churning, 264 ; building of, 298 seq.; outlines of hearth, 302; is Agni himself, 309; is the earth, 309; IV, 196; V, 178; the world of men, III, 344 ; ascended by the gods, 319; on the fifth layer of the fire-altar, IV, 99, 117 seq.; is food, 118; Garhapatya bearth is a womb, 119; is the vedi, 121, 307; the original Ahavaniya (of the hall) is the womb in which the gods begat the Garhapatya of Agnikayana, 308; from it the Åhavanîya is born, 308; atonement for Gârhapatya going out, lest master of the house die, V, 83 ; ditto for going
out at Agnihotra, 188 seq. garment, made to float away, in
avabhritha, V, 267; a hundred garments the priests' fee, 353; garments man's outward appear.
ance, 353. Garutmat. See suparna. Gâtavedas, etymology, IV, 274. gatha, V, IOI, 326 seq. ;-cf. Nara
samsi-gåthåb. gåtru, V, 163 n. gaura, III, 410.
Gauriviti Säktya, V, 250. Gautama. See Kusri, and Aruna. Gavam ayanam, a sattra, V, 139 seg.;
deities of, 140 seq.; the three great rites of it (Katurvimsa,
Vishavat, Mahâvrata), 144. gavaya, V, 338. gavedhuka seed (coix barbata), is
refuse, III, 51, 71; used for oblation to Rudra, 51, 63, 71, 158 ;-grass used for smoothing
newly-made vessel, V, 455. gâyatra, Agni, III, 148, 161; IV,
277, 300; (kbandas) is Agni, IV,
178. gâyatra-saman, produced from Ga
yatri, and from it the upåmsugraha, IV, 4; when used in stotras, 4; sung over completed
and appeased altar, is Agni, 178. Gayatrî, is Agni's metre, III, 31;
Brihaspati's, 40; connected with the brahman, &c., 91; is the earth, 148; how produced, 158; of twenty-four syllables, 167; IV, 300; is the vital air, 111, 167, 218, 253; produced from spring season, and from it the gâyatrastoma, IV, 4; in the shape of it two and a half year old kine were produced, 39; is the eastern region, 45; the breath (of Pragapati), 327; Gayatri tripadá, 385; the golden, brilliant-winged Gayatri who bears the Sacrificer to heaven, V, 53; is the vedi, 56; Gayatri in bird's shape fetches Soma from heaven, 122; a falcon of the Gayatri metre (the bahishpavamâna)bearing the Sacrificer to bliss, 173; thereby the Vasus consecrate the king, 312; is
fiery mettle, 312. generation, threefold (father,mother,
son), 111, 240; only takes place above the earth, IV, 128; is stationary, on the other side of the sky and sun, 128 ; only on
this side of the sky, 130. generative power, is immortal, III,
354 ; is only on this side of the
sky and sun, IV, 128. gharma, hot draught of milk and
ghee, V, 442; is the sun, 463, 481; revered as the lord of all
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SATAPATHA-BRAHMANA.
410.
worlds, and of thought and speech, 471, 489; is cow's milk
(and ghee), 475. gharmadugha (samråg-cow), is Idâ,
Aditi, Sarasvati, v, 474 ; is bound by its horns, 474; is given
to Adhvaryu, 503. ghee, in consecration water, III,
79; is seed, 211 &c.; the lifesap of the universe, of waters and plants, 333 ; a form, or the life-sap, of the air, 390; with gold chips in it offered on completed fire-altar, IV, 182; mixed with sour curds and honey for sprinkling on ditto, 182 seq. ; belongs to Agni, 189; is fiery mettle, V, 274, 396, 312; is the
gods' favourite resource, 296, Ghora, a work of the Atharvans, V,
366 n. ghosha (roar), pârtha-oblation to,
III, 82. ghritâki, the apsaras, is an inter
mediate region (? N.W.), or
the offering-spoon, IV, 107. girdle, sign of initiation, III, 185. go, ox, III, 119. goat, (he-), means Pragậpati, III,
35; brings forth thrice a year, 35; (aga) how created, 147, 173 ; he-goat sacrificial animal, 162, 165 seq.; slaughtered for Agni, 162; for Pragâpati, 171; searches for Agni, 204, 205 ; addressed, 225; represents Brâhmana, 237 ; is the form of all cattle, 230; sprung from Pragàpati's head, 245; from his voice, 402; eats all kinds of herbs, 245 ; produced in form of ekapadá metre, IV, 38; the grey smoke-coloured) animal originates from Indra's eyes, V, 214; hornless he-goat one of the three chief victims in Asvainedha, 298; produced from the
heat in Makha's head, 452. goat's hair, cut off, III, 229; mixed
with clay, 230. goat's milk, 111, 245; used for cool
ing Pravargya vessels, V, 452,
457, 477. goat's skin, of he-goat, III, 35. gods, offer to one another, III, 1;
are thirty-three (or four), 9, 79; V, 258; slay Vritra, III, 48; smite the Rakshas and gain universal conquest, 49; sweep away the Rakshas, 52; obtained possession of man by trishamyukta, 54 ; love the mystic (mysterious), 144 seq. ; created from (Pragåpati's) upper vital airs, 150; saw second layer of altar, 189, 190; were produced from out of these worlds, 239; are threefold, 239; wives of gods placed fire-pan in lap of the earth, 242; wives of gods are the plants, 242 ; gods make food of whoever hates them and give it to Agni, 259; Ahavaniya is the world of the gods, 344; their life is longer than man's, 344; one must do as the gods did, 357; become the truth, 363; have their birthplace in the east (the Abavaniya), 389; order: Agni (and Diksha), Indra and Vishnu, gods generally and creator, Mitra and Varuna, Vasus and Rudras, Adityas and Maruts, Aditi and Pushan, Savitri and Brihaspati, Yavas and Ayavas, Ribhus and Visve Devâb, IV, 67-69; gods generally (manviewers) connected with the creator (Dhâtri) and the Vis, 68; become complete through offspring (or subjects) and mates, seat themselves on the firmament, in heaven, 108; entered heaven from below, 109; draw together round Indra, 127; are just as many now as there were of old, 138; Agni, Vâyu, Aditya, the hearts of the gods, 161; gods holding to truth, and Asuras to untruth, 257; created from the breath (pråra), 189; seven worlds of the gods, 377; (the three worlds and four quarters), 314; are of joyful soul, 339: the true knowledge belongs to them alone, and he who knows it is not a man, but cne of the gods, 339; were first mortal, and only after gaining the year,
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became immortal, V, 5; created from Pragâ pati's breath of the mouth, 13; the tales of their fights with the Asuras not true, 14; created by the Brahman, and placed in the three worlds and those above them, 37; were mortal, and only on being possessed of the Brahman, became immortal, 28; daily offering to them with svâbâ, 96; contend with the Asuras for Pragâpati, the sacrifice, 105; number of gods (8 Vasus, 11 Rudras, 13 Adityas, Indra, Pragapati), 115 seq. ; the one god, Prâna, 117; the world of the gods in the north, 225; the path of the Fathers, and that of the gods, by one of which all living creatures have to pass, 237, 238;
all the gods' enumerated as ten, 280, 281; are of three orders, 291; did not know the way to heaven, 320; Dharma Indra their king, the Saman their Veda, 370; reside on earth, in the air, the heavens, the regions, the nakshatras, the waters, 505, 506; Agni, Vayu, Sürya, Kandra, Varuna are the
Self of the gods, 505, 506. gold, is immortal life, III, 35, 84,
93, 265; IV, 343; V, 239; gold tbreads woven in strainers, 111, 84; its uses, 141; produced from ore, (147), 138; is immortal, 203; is light, 366; IV, 343; V, 103, 303; immortality, V, 147, 203; is Agni's seed, 187; a piece of it tied to darbha plant and taken westward (as the sun), 195; originates from Indra's seed, 215; a piece of it used for purifying the surå at Sautrâmani, 220, 235, 236; sacrificers and priests cleanse themselves by means of piece of gold held over kâtvåla, 239; originates from seed of immolated horse (Pragàpati), 375; (satamana) piece given as fee with brahmaudana at beginning of Asvamedba, 375; by means of the golden light Sacrificer goes to heaven, 303; is a form
of the Kshatra, 303; is fire, light, immortality, 348; as dakshina, 356, 358; gold stools and cushions, 360, 361; slab of gold as seat, 361; repels the Rakshas (as Agni's seed), 467; dissolves (melts), 493; is lying
(settled) glory, 503. gold brick, III, 155, 166. gold chips, thrust into the organs
of) the victims' heads, III, 403-404; fire-altar bestrewed with 5 and 200, IV, 146 seq. ; make Agni thousand-eyed, 201; some thrown into ghee for oblation on svayamåtrinna of) completed altar, 182; these chips complete making Pragapati's body immortal, 291, 294 ; seven inserted in the seven openings of vital airs of dead body before being burnt, V,
203. gold coin (nishka) worn as prize, V,
(51), 53. golden egg, produced from the pri
mordial waters, V, 12; floated about for a year, as the only
resting-place, 12. gold man (purusha), laid on gold
plate in first layer, III, 366; is Pragàpati-Agni, 366; the Sacrificer, 368, 387; when laid down, one must not walk in front of him, 369; two offeringspoons his arms, 373; covered and viewed by Sacrificer whom he represents, 375, 376; is the Sacrificer's divine body, 382; his body co-extensive with altar, IV, 18, 146; gold nian and gold plate are Agni and Indra, 342; is the man in the sun, and both are the man in the right eye, 368; is the foundation of the Yagus, as one of the only three bricks of which
the altar consists, 374. gold plate, III, 35; trodden upon
by consecrated king, 9a; with 100 holes, 93; (gold piece) on gaming - ground offered upon, 112; hung round Agnikit's neck, 265; is the truth and Aditya, 365; with twenty-one knobs, the sun's rays, 265; means vital
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SATAPATHA-BRÂHMANA.
tiated first (being the earth),
135. grivab. See neck. groats, parched, are a form of the
gods, V, 296. guda prâna, intestinal vital air, IV,
17. guest-offering, III, 355. guhů. See spoon. Gumbaka (Varuna), V, 340, 343. Gyotishtoma, form of Agnishtoma,
IV, 287.
energy and vigour, 266; sewn up in antelope skin, 266; worn over navel, 267; is Pragàpati's vigour which went out of him and became the sun, 212, 213; put down on lotus-leaf in centre of altar-site under first layer, 364; IV, 146; gold plate and gold man are Indra and Agni, 342; gold plate is the orb of the sun, and both are the white of the eye, 367, 368; is the foundation of the Rit, as one of the only three bricks of which the altar consists, 374; gold and silver plates beneath feet of Sacrificer whilst consecrated at Sautråmani, V, 251; the two there represent lightning and hail, 251; placed on top of Pravargya pot, 467; given to Brahman priest, 503 ;
cf. nishka. gomriga, one of the three chief
victims at Asvamedha, V, 298,
338. Goshtoma, form of Agnishtoma, IV,
287. Gotama Râhügana, originator of Mi-
travindå sacrifice, V, 66. Gotama's Stoma (Katushtoma), V,
375. go-vikartana, huntsman (?), one of
the king's ratnâni, III, 63. govinata, form of Ajvamedha, V,
400, 401. graha (cup of Soma), after their
drawing chanting of stotra and recitation of sastra, IV, 13; is the draught of Pragapati's vital
fluid, 282. graha oblations of ghee relating to
Soma cups and implements, forming part of the Vasordhårà,
IV, 216. grain, are a form of day and night,
V, 296; parched grain, a form
of the Nakshatras, 296. Grámani (headman), one of the ra
tninab, III, 60; is a vaisya, 61;
III. Gråvastut priest, is made the Hotri,
V, 137 grave. See burial-place. great region. See upper region. Grihapati, III, 158; V, 131; ini
hail, a terrible form of rain, V, 251. hair, of lion, wolf, tiger thrown on
flesh-portions of Sautrâmaxi, III, 132; ditto in cups of Sura, V, 318; these are a form of Rudra, 229; purisha formulas are Agni's hair, IV, 30; hair and form, 295; how the hair grows and gets grey, V, 52, 55;
comes off when wetted, 313. hair-pit,- from Pragapati's hair-pits
the stars originate, IV, 361; as many as there are twinklings
of the eye, V, 169. Hairanyanabha. See Para. Hâlingava, a teacher, his view of the
nature of Agni, IV, 363. hand, laid down, palm upwards, for
protection, V, 465. haras,-haras, sokis, arkis (heat, fire,
flame) of Agni, IV, 182. hare, in the moon, V, 30; leaps in
bounds, 390. haridru (deodar tree), not to stand
near a grave, V, 427. Hariskandra, father of Rohita, 111,95. havirdhana, associated with Gayatri, haviryagha, killed by mortar and
pestle, V, 2; as distinguished
from the Soma-sacrifice, 119. haya, horse, carries the gods, IV,
401. hazel-cock (kapisgala), springs from
Visvarûpa's head, 111, 130. head, of child born first, III, 233;
IV, 287; ditto of animals, iv, 40, (287); human head is placed on ukhâ, III, 311; is the birth-place of the vital airs, 396; measures a span, if fourcornered, contracted in the middle, 396; is (the focus) of
V, 494.
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the ten vital airs, IV, 57; is threefold, and consists of two kapalas, 78, 387; is of Gayatri nature, and threefold, 114; fivefold vital air of head (mind, speech, breath, eye, ear), 190; becomes 'sharpened,' 190; threefold (skin, bone, brain), V, 163, 499; three heads of the Asva. medha, 335; is a span high, con
tracted in the middle, 454. headman. See King-makers. heart, on earth one thinks with
one's heart and mind, IV, 95; Agni, Vâyu, Aditya the hearts of the gods, 162; is round and smooth, 180; is near the right
arm-pit, 180, 181; is secret, V, 36. heaven, a counterfeit (pratima) of
the earth, IV, 52; is single, V, 297; by means of the golden light the Sacrificer goes to hea
ven, 303. heaven and earth, when they sepa-
rated, the Vasus, Rudras, and Adityas separated and became the lords, IV, 75; propitiatory cake on one kapala, when sacrificial horse, or anything else, is lost, 347; with Sürya and Vayu, 347; between them everything is contained, V, 484; are the
out- and up-breathing, 488. heavenly world, above the Virág,
is the firmament, IV, 93; is the firmament, 100, 304; and the regions, 100; is the year, 100; is entered from below, 109; the heavenly world, the light, is entered from the sky, from the back of the firmament, 199; those going there do not look round, 199; heavenly world beyond the highest firmament, 250; the world where the sun shines, 304; is the place of) safety, V, 238; Kshatriyas remain Kshatriyas in the other world, 250; is equal in extent to a thousand, 280; lies 'straight
away,' 281, 297. hemp, layer of it put in fire-pan, as
the chorion, III, 257; hempen sling for gold plate worn round
Agnikit's neck, 266. herald. See King-makers.
him, makes Såman complete, IV,
178; is the Saman, V, 306. hiranya, etymology, III, 367. Hiranyagarbha, is Pragàpati and
Agni, III, 172; came first into existence, 388;-IV, introd. xiv,
295 n. hita, 111, 151. honey, used with consecration water
as the essence (flavour) of water, III, 78; not to be eaten during initiation, 186; a form, or the life-sap, of the sky, 390; mixed with sour curds and ghee for sprinkling on completed fire-altar, IV, 182 seg.; the remainder (or essence) of the triple science and therefore may be eaten by Brahmakârin, V, 90; not, according to others, 90; a form of Soma,
343; means breath, 467. honey-cup. See madhugraha. hoof-cup, thirty-three of fat gravy
offered at Sautramani, V, 252. horn, of black antelope, III, 96. horse, asva, produced from the
water, III, 19; V, 304, 318; stands lifting one foot on each side, 111, 19; sprinkling of horses for race, 19; right horse yoked first, 19; horses smell Brihaspati's oblation, 22, 28; Varuna's sacrificial animal, 60; how created (etymology of asva), 146; sacrificial animal, 162, 165 seq.; slaughtered for Varuna, 162; is hornless and with mane, 177; its halter lies round the mouth, 198; is the sun, 199, 308, 359; searches for Agni, 204, 205; whilst running shakes itself, 207; steps on lump of clay, 307; is a thunderbolt, 209; the most highlyfavoured of animals, 209; horse's footprint offered upon, 212; borse is addressed, 324; represents kshatra, 217; sacred to Pragapati, 240; white horse led in front of the bricks of the first layer being carried forwards, 359; is made to step on altarsite from the north, 359; smells the first layer of bricks, 359, 361; IV, 141; white horse
shat place
Shatriya
orld,
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SATAPATHA-BRAHMANA.
his fee at Sautrâmani three milch cows, 142; is Agni, 319; black antelope skin his own place, 319; the guardian of undisturbed rites, 219; follows behind the bricks of first layer carried forward, defending it from behind, 358; is winter, V, 45; the six botris (priests generally), 121; initiated for sattra, as Agni and speech, 136; is the voice of the sacrifice, 245; is
the sacrifice, 459, 460, 504. Hotrîya hearth, of Agnitayana,
of twenty-one bricks, and as
many enclosing-stones, IV, 243. householder (gribamedhin) un
learned in scriptures, V, 362. hunger, death is hunger, IV, 402;
YOpa bent at top, and bent outwards in middle, is a type
of hunger, V, 134. hungry, hungry man is consumed
by his vital airs, IV, 347, 348.
(Pragapati) finds Agni on lotusleaf, ill, 360; the white horse scorched by Agni, whence its mouth is scorched, and it is apt to become weak-eyed, 360; whoever seeks Agni in the shape of a white horse finds him, 360; horse led round on prepared altar-site towards sunset, 361; created from Pragâ pati's eye, 402; V, 328; is the speed of the wind, III, 405; the onehoofed animal, 410; yoked (tied) below shaft, iv, 337; right horse first by gods, the left by men, 237; carries (draws) men, 401; the sea its birth-place, 401- 403; sacrificial horse (Pragapati, the Purusha), 401; prize- winning horses constantly sprinkled (?), V, 95; sacrificial horse sacred to Pragapati, 277, 278; horse the most vigorous, powerful, famous, and the swiftest of animals, 278; is a thunderbolt, 379; sacrificial horse generated by sky and earth, 387; synonyms of horse, 287; when let loose returns to its chain, 288; born from of old as a runner, 394; is the kshatra, 303 ; of Anushrubh na ture, 304; sacrificial horse put to chariot, 311; is the great bird, 315; is trimmed up with the reins, 318; is Brahman (m.), 318; knows the way to heaven, 320; lying down near sacrificial horse insures fertility, 322; is sacred to the All-gods, 332; horse stands on three feet, but scampers off on all four, 332; is the highest (noblest) of animals, 332; worth 1000 cows, 353;
steps on chanting-place, 384. horse-dung, seven balls of, used for
fuinigation, III, 240; V, 455. horse-hoof, oblation on, V, 339. hotrâ, the seven, are the regions,
III, 368. Hotri priest, seated towards the
west, III, 108; gold plate his fee at Dasapeya, 119; piebald bullock his fee for pafkabila oblation to Visve Devâb, 122; Hotri means abundance, 142;
34875
Ida, mother of PurGravas, V, 68;
Manu's daughter is the Agni
hotra cow), 81. ida, invocation of, III, 41, 113; IV,
348; is food, V, 19; the central
air, 20; is faith, 43. idam, III, 143:-(ida) one-fourteenth
part of an etarbi, V, 169. idavatsara (third year of cycle), IV,
21. idvatsara (fourth year of cycle), IV,
21. immortal, is the food that is baked,
III, 164; immortal body is boneless, IV, 178; immortal bricks are the six Sảmans sung over the completed altar, 180; going to the heavenly light and becoming immortal and Pragapati's children, 110; the immortal light is distributed amongst beings by Savitri, 322; the immortal light (and life) to be gained by the hundred and onefold altar or by a life of a hundred years, 323, 324; the body is not immortal, being the share of death, 357; after separating from the body one becomes immortal, be it by knowledge or holy work (the
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fire-altar); coming to life again, one attains immortal life, 357; the Amrita threefold, 365; by performing the animal sacrifice once a year-the year being life-one gains immortal life,
V, 119. immortality, is light (ruk), III, 383;
IV, 238; man's highest form, IV, 147, 177; the highest thing in the universe, 148, 181; is the vital airs, 178; the nectar of immortality (Soma), the Agnikit consecrated therewith, 251, 252; the nectar of immortality, Soma, departs from the gods and is recovered by penance, 255, 256; the immortality bestowed on Agni and Sacrificer, 256; beyond the year lies the wisho granting world, the immortal (immortality) which is the light (arkis) that shines yonder, 322; it is to the other world what
life is to this, 327. impure speech, if used, the vital airs
pass away, V, 326. Indra, performed Vågapeya and won
everything, III, 3; is the kshatra, 3, 59; IV, 329; is the Sacrificer, III, 13, 54; by eleven syllables gains the Trishtubh, 40; slays Vritra by cakeoffering, 45; is energy and vital power, 46,82; generative power, 46; with Agni smites the Rakshas, 51; eleven-kapala cake to, 59; bull his sacrificial animal, 60; Indra syeshtba, pap of red rice to, 70; by anointing Indra, the gods guide him past his enemies, 74; by drinking Soma, Indra becomes a tiger, 81, 92; pårtha-oblation to, 82; calls on Maruts staying on Asvattha tree, 84; Indra Vriddhasravas, 89; kills Namuki, 92; mystically called Arguna, 99; ratbavimo kaniya oblation to, 102; Indra Visaugas, 109; assists Varuna, 113; samsrip-oblation (eleven-kapåla cake), 116; partkabila oblation on south part of vedi, 120, 121; fee a buli, 122; slays Visvarûpa, Tvashtri's son, 130; Indra Sutraman, 135;
eleven-kapâla cake at Sautramani, 136, 137; is the central vital air, 143 ; etymology (indh) 'the kindler,'143; is breath, 154; bull slaughtered to him, 162 ; repels Vritra, 179; afraid of Vritra not being killed, enters the waters, 365; takes away Pragàpati's vigour (ogas) to the north, 374; becomes Pragapati's left arm, 374 ; sour curds (dadhi) belong to him, 374; ruler of the kshatra, IV, 74; is Aditya, 92; Indra's heaven is the undiminished virag, 94; ousted from this world by wrong sacrificial procedure, 94; protector of the south, 101; connected with Rudras, pa kadasastoma, praüga-sastra, brihatsâman, 101; the gods draw together round Indra, 127; magnified by all beings, 140; the greatest of charioteers, 140; to him belongs the 'purisha' of the altar, 140; equal to all the gods, 140; Indra the highest, mightiest, and strongest of gods, assisted by Brihaspati, fights the Asuras, 192; is Apratiratha (irresistible car-fighter), 192; of trishtubh nature, 262; the deity of the sacrifice, 262; Indra Vimridh, verses to, 376; Agni and Indra created as brahman and kshatra, 342; they join each other as gold man and gold plate, 343; they are the light and immortal life, 343; they are the firealtar (Agni the bricks, Indra the purîsha), 343; for killing Vritra, &c., is deprived of the Soma-drink, and Kshatriyas with him, 345, n. ;-Indra Vimridh, (additional) cake at Fullmoon, V, 5, 6; Indra slays Vritra by Full-moon offering, 6; Indra Pradâtri, clotted curds for, at New-moon, 8; Indra Vritrahan, expiatory elevenkapala cake at New-moon, II; statements regarding his battles mere illusion, 14; Indra created out of Pragápati with a life of a thousand years, 15; Indra
Brihasrongest wishest,
firsuras,
ree, vills
Argunan to,
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SATAPATHA-BRAHMANA.
becomes speech, 16; takes Srî's power and receives (mitravinda) oblation (eleven-kapâla cake), 62-65; brahmakarin his disciple, 86; Indra is the thunder(-cloud), the thunder being the thunderbolt, 116; covets Vasishtba's (knowledge of the) Virág, 212; slays Visvarûpa, and drinks Tvashtri's Soma, 213 seq., 248; has his Somadrink and vital energy taken from him by Namuki, and is restored by the Asvins, 216; bull immolated to him at Sautrâmanî, 217; cows sacred to him, 218; Indra's cake of eleven kapalas to win his energy, 222, 223; slays Namuki with foam of water, 223; drinks separately the Soma from the mixture of Soma and blood in Namuki's head, 223; Indra Sutråman, 224; connected with the sky (and the third pressing), 241, 247; with summer, 247; with winter and dewy season, 247; heated by Asvins and Sarasvatî by means of the Sautrâmanî, 249; Asvins, Sarasvati, and Indra are everything here, 253; and have a share in the gharma, 475; the seventh of the ten deities ('all the gods') receiving oblations of drops, 281; a cow wont to cast her calf his victim at Asvamedha, 300; Dharma Indra, king of the gods, 370; draws his glory by taking in Vishnu (Makta) whence he is Makhavat (Maghavat), 443; decapitates Dadhyak Atharvana, 444; offering made at Pravargya to Indra, with the Vasus, Rudras, and Adityas, 479, 480; is the wind, 479. Indra-Agni, lay down third layer
of fire-altar, IV, 41; the best (chiefest) of gods, 41; fire-altar belongs to them, 278; the most powerful of gods, V, 278; are all the gods, 392. Indra-Brihaspati, animal sacrifice to, V, 402. Indradyumna Bhâllaveya (Vaiyâghrapadya), a teacher, IV, 393, 396.
Indrâni, Indra's beloved wife, V, 474.
Indra-Pushan, karu to, III, 55. Indra-Soma, karu to, III, 56. Indrastut Ukthya, V, 419. Indraturîya offering-cake to Agni, karu to Varuna and (gavedhuka) to Rudra, and sour curds to Indra-III, 50, 51. Indra-Vishnu, karu to, III, 54; (traidhâtavi) twelve-kapâla cake at Sautramani, 138; connected with kshatra and pankadasastoma, IV, 68; animal sacrifice to, V, 402. indriya, III, 116, 143.
Indrota Saunaka, V, 393; Indrota Daivâpa Saunaka, 396. intercourse, sexual, is an Agnihotra offering, V, 114.
intestine. See entrail. irina, III, 43.
iron, is the vis, V, 304; iron bowl, oblation in, 339. Isâna, a form and name of Agni, is the sun, III, 160.
Isha, first autumn-month, IV, 49. ishtaka (brick) yagushmatîand lokam
prinâ (nobility and peasantry), III, 153; formulas of settling (sådana), 153, 154; five kinds, 155, 166; head of, 155; are Agni's limbs, 156; made of clay and water, 164, 210; etymology, 164; amriteshtakâ and anriteshtaka, 171; sharp-edged thunderbolts, 357; are all creatures, 359; special ishtakâ marked with lines, parallel to spine, IV, 18; are the bones, 20, 135; number of, 50; are the creatures that went out of Pragâpati, 54; size and markings, 137; become milch cows, 172; are Pragåpati's joints, the days and nights, 281; made up of Pragâpati's body, 290; three thousand additional marked bricks constituting the highest form of the bird's form and plumage, 303; the one brick, Akshara, Agni, the Brahman, 343; are Pragapati's lights, 349 seq.; bricks are threefold in respect of gender (sex), 364 seq.; the fire-altar consists of three bricks, Rik,
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Yagus, and Saman, having for their foundations the gold plate, the gold man, and the lotus-leaf,
374 ; on tomb, V, 434, 435. ishsapürta, V, 287 n. ishti, (i.e. kâmyeshri) performed in
a low voice, IV, 248. island, neither earth nor water, V,
497. itihasa, legend regarding battles be
tween gods and Asuras not true, V, 14; to be studied, 98; is the Veda of water-dwellers,
369. itihasa-purana, to be studied, V, 98.
joy (ânanda), is the soul (of know
ledge and life), IV, 339, 340. jujube (fruit of Zizyphus Jujuba),
three varieties of, used in the
Sautramani, V, 214, 215, 219. Ka, Pragapati, III, 173, 175, 221;
V, 86; IV, introd. xiv; the four rites relating to Ka, IV,
334 seq. Kådraveya. See Arbuda. Kaikeya. See Asvapati. Kakra. See Revottaras. Kakubb metre, in tbe form of it bulls
were produced, IV, 38; is the
prana, 88. kâleya-saman, III, introd. xvi. kali, die, III, 107; dominant over
the other dice, 108. Kalpa (prospering) oblations, with
which the Vasor dhârà con-
cludes, IV, 220. kâma, III, 163. kamasa cups, III, 114. Kämpila, V, 311, 321. kâmyeshri, performed in a low voice,
IV, 348 n. kandramas. See moon. Kankatîyas, instructed by Sandilya
in the sacrificial art of the fire
altar, IV, 254. Kanva, saw the cow of plenty and
milked her, IV, 303 ; his her-
mitage Nådapit, V, 399. kapala,potsberd, of broken ukha, III,
363. kapott (kapotin), a particular form
of a tree, 123. kapya, a dish, V, 220. Karakadhvaryu, IV, 15, 129.
Karakab, III, 171, 175. Karoti, -there Tura Kåvasheya built
a fire-altar, IV, 279. kârshmarya (gmelina arborea), a
Rakshas-killing tree, III, 373. karůkara ( vertebra), V, 165. Kasya (of the Käsis), V, 401. Kavyapa, all creatures descended
from him, III, 390; officiates at Sarvamedha of Visvakarman, V, 421;--the Kasyapas, a family of
priests, IV, 345 n. katurdasa-stoma, gained by Vasus,
III, 40. kâturmasya, seasonal offerings, insti.
tuted by the gods, III, 47; he who offers them eats food, every four months, in the other world, IV, 299; - esoteric remarks upon them, V, 74 seq.; by them Pragâpati fashioned for himself a body, 74 ; amount to the year and the Mahâvrata, 78; are the year, 309; kâturmasya victims at Asvamedha, 309, 383; seasonal
animal sacrifices, 402. katurvimsa, first day after opening
day) of Sattra and formerly one of the three great rites' of the year, V, (139), 144, 156,
167. katurvimsa-stoma, is the womb, the
year, IV, 64; through it, connected with Vasus and Rudras, the four-footed are freed from
death, 68. katushtoma, is the stay, support,
Vayu, IV, 66; connected with Savitri and Brihaspati, frees the quarters from death, 69; V, 78, 329; is the Krita among dice, 330; the highest of stomas,
332; Gotama's Stoma, 375. katuskatvarimsa - stoma, connected
with Yavas and Ayavas, frees creatures from death, IV, 69; is trishtubb (4 and 11) and
thunderbolt, 85. katustrimsa-stoma, is the range of
the ruddy one (sun), the year,
IV, 65. kâtvåla (pit), is the same in cubit
extent) as Agni (fire-altar), III, 309; arka-leaf thrown in, 166; is fire, 166; is the place for cleansing, V, 489 n.; between
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• SATAPATHA-BRÂHMANA.
111, Agni, isher, his
seg,
it and the Ågnidhra is the gate
of sacrifice, 497. Kauravya. See Balhika. Kausalya, V, 397. Kausâmbeya, (? a native of Kau
sâmbi). See Proti. Kaushya. See Susravas Kaushya. Kausurubindi. See Proti. Kavashega. See Tura Kavasheya. keepers, of sacrificial horse, V,
355. Kelaka Sândilyâyana, a teacher, his
views regarding Agni, IV, 364. Kesavapaniya, III, introd, xxvi, 126
seq.; stomas of the three savanas (ekavimsa, saptadasa, pankadasa), 127; may conclude the Râgas@ya, 129; Shodasin forms part of Kesavapaniya
Atirâtra, IV, 405. Kesin, a noble race, as performers
of a Sattra, V, 131; exist to
this (the author's) day, 134. khadira (acacia catechu), throne
seat thereof at Abhishekaniya, III, 105; is the bone, V,
373-375. kbandasyå bricks, are the metres
and cattle, III, 414; IV, 2;of second layer, IV, 36 ;-of third layer, 51 seq. ;-of fifth layer, 87 seq., 92, 99, 109 seq.;
are Pragå pati, 114. Khandika Audbhári, a Kshatriya,
skilled in sacrificial matters, V,
131. kbandoma days, V, 156 n. khara (mounds), III, 10; V, 452 n.,
485, 489. khila (unploughed ground) between
two cultivated fields, IV, 54. kikasåb, breast-bone, V, 164 n. kim-purusha, III, 409. kine, are man's form (wealth), V,
230; kings both combine and keep asunder, V, 41; can oppress the Brahmars, but fares the worse for it, 286; when clad in mail performs heroic deeds,
300; cannot rear cattle, 326. King-makers, the non-royal, heralds
and headmen, V, 304. king's brother, III, 110. king's son. See rågaputra. kiti, layer of altar, five, III, 150,
191; IV, 147, 204 ; seven, III, 349, 253, 358; IV, 305; five, six, or seven, IV, 96; or three, 97; -- by whom 'seen,' and what their ancestry, III, 186 seq., 190; are the seasons, IV, 96;-are sacrificial food, whence the first is sprinkled with ghee, III, 356; the first is
led forward' on red ox-hide, 256, 257; – building of first layer, 363 seq. ; is the earth and the spring season, and the feet, 386; IV, 1 seq. ; plan, 17; -second layer, 22 seq.; seen by the gods and laid down by Asvins, 23; plan, 34 ; is nestlike, 25; is the space between earth and air; and the summerseason, 29; the part between feet and waist, 30;-third layer, 41 seq.; seen by the gods, laid down by Indra and Agni, and settled by Visvakarman, 41; plan, 48; is the air, and rainy season and autumn, 49; is the belly, 138; the waist, 149 ;-- fourth layer, 58 sec.; is the Brahman, 59; upholds heaven and earth, 59; is the space between air and heaven, and the winter-season, 70; the part between waist and head, 71; between waist and neck, 149; plan, 71; is the larger of the Brahman, Pragàpati, the Rishis, Vayu, the Stomas and vital airs, 81, 82; fifth layer, 82 seq. ; is the shining (virag) heaven, 82; the fifth (including sixth and seventh) is the head and dewy season, 127; plan, 98; the fifth is the neck, the sixth the head, the seventh the vital airs, 149;-symbolical meanings
261.
king, che lawiest he iso; kinated by
king, he and srotriya upholders of
the law, III, 106; if weaker than priest he is stronger than his enemies, 110; king, when consecrated, is entreated by people (for blessings), IV, 230; only he becomes king whom other kings allow to assume royal dignity, 234, 229, 233, 247; are realm-sustainers, 229; maintains his rule by offspring,
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111, 30.
of layers, 147, 148; ditto as saman, pafkadasa-stoma, sumregards the bodily parts, 148, mer, III, 91; (political power) 149; the layers of brick are concentrated in one, 248; conthe immortal, and those of nected with Indra-Vishnu, and earth the mortal, parts of Praga- freed from death through paftpati's body, 290; the mortal kadasa-stoma, IV, 68; Indra ones enclosed in the im- its lord, 74; is the eater among mortal, and made immortal, the people, 125, 132, 242; 290, 291; the seven layers, 291; attaches to a single individual, how the six layers of brick, and
132, 241; stands, as it were, six of earth, correspond to the 210 ; is built up by (social) vital airs and the mortal parts layers, 242; Indra created as of the body respectively, 292 Kshatra, 342; established on the seq. ; each layer of bricks and Vis, V, 41; produced from out earth takes (or represents) one of the Vis, 225; produced from month, 318.
out of the Brahman, 227; not kitra, name of Agni, III, 161; IV, to be detached from the Vis, 269 n.
228; Sacrificer consecrated by kitra-sâman, III, 369 (corr. IV, 146). the Kshatra (a Kshatriya), 253, kitya, III, 151 seq.
254; takes no delight in the klipti, (six) formulas and oblations, priestly office, 286; spiritual
lustre takes no delight in the knee, consists of two plates (bones), Kshatra, 286.
V, 500 ;-knee-high, IV, 158; kshatra-dbriti, III, introd. xxvi, 129. V, 249; lifting of sacrificer on Kshatriya (cf. råganga), and Vis, III, throne-seat, 254.
100; followed by the other knife, for slaughtering the horse is three castes, 226; Brâhmana
made of gold, that of paryangyas and Kshatriya, never walk beof copper, and that of the others hind Vaisya and Sudra, 327; of iron, V, 303.
Kshatriya and Purohita alone knife-paths, V, 326.
complete, 259; are everything, knowledge, superior to brick-built 260;-Kshatriya destroys ene
altars, IV, 380; by knowledge mies and raises his relations, one ascends to where all desires 260; grants settlement with have vanished, and all sacri- approval of clan, 299; deprived ficial gifts and mere rites do not of the Soma-drink, IV, 345 n.; attain, 389.
his world is the earth, V, 133; Koka, son of king Sona, V, 400.
remain Kshatriya in heaven, 250; Kosha, a priestly race, IV, 392 ; cf. Kshatriya consecrates KshaSusravas Kaushya.
triya, 254 ; whilst sacrificing Kraivya, the Paakala king, performed becomes a Brâhmana, 348.
the Asvamedha, at Parivakra, kshattri, chamberlain, one of the V, 397.
ratninab, 111,61; is a prasavitri, krånta, one of Vishnu's steps, III, 61 ; addresses the Pâlâgali, V, 96.
387. Kratust hala, the Apsaras, is an in- kshetrapati,-prayugam havis (pap)
termediate quarter (? N.E.), or to, 111, 125. (Agni's) battle, IV, 105.
kshipra, one-fifteenth part of a mukrimuka tree, how produced, III, hårta, V, 169.
254; wood red and sweet, 254; kshipra-syena (? the quick eagle), has no ashes, 255.
produced from the amritavaka, krita, dice, III, 107; V, 330.
IV, 370. Krivi, old name for Paf kåla, V, 397. kshuma (v. 1. kshupa), name of an krivi (vv. II, kavi, krayi), III, 98.
arrow, III, 88. Kshatra, nobility, connected with Kubera Vaisravana, king of the South region, trishtubh, brihat- Rakshas, V, 367.
Nn
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SATAPATHA-BRAHMANA.
Kuha, pap offered to her, (the ex
treme end of) one of the four
regions, IV, 264. Kumâra (the boy, Agni), born from
Ushas, III, 159, 160. kumbhî, pot, III, 270 ; perforated
with a hundred holes, V, 320,
234 n. kumbyà (7 an explanatory passage),
V, 101, kuntapa, V, 164 n., 374. kurka, a (gold) stool for Sacrificer,
V, 360. karma, etymology, III, 390; the
same as kasyapa, 390. Kurukshetra,-Purûravas wanders
about in Kurukshetra, V, 70; is the gods' place of divine
worship, 441. Kuru-pañkala, III, 194; V, 51. kurupisangilà, V, 389, 390. kusa-grass, garment made thereof,
worn for purification, III, 31;
is pure, 32, 356. Kuri Vâgasravasa (Gautama), a
teacher, IV, 345 n., 390. kya, (belonging to Ka), IV, 334
seq.; is the food of Agni, 342 seq., 347 seq.
299; gains the immortal light, heaven, 323; therefore one must not shorten one's life, 323; consequences of shorter lives, 323, 324; it requires many sacrifices to gain one day or one night (of life), 324; life is to this world what immortality is to the other, 327; those who do not become immortal coine to life again, and become the food of Death time after time, 357, 358; retribution in future
lite, V, 109 seq. lifting-sticks (saphau or parisâsau),
V, 458; are heaven and earth, 476; therewith Pravargya pot
is lifted, 477. light (ruk), is immortality, III, 383;
IV, 238. lightning, is the teat whence the
shower of wealth' flows, IV, 221 ; one of the six doors to the Brahman, V, 66, 67; a terrible
form of rain, 261. lightsome (runmati) oblations, (to
Agni and Varuna), IV, 237-239. limbs, dependent on vital airs, ilí,
151; IV, 19;-thirty of the body, IV, 167, 222; are tripartite and furnished with two
joints, V, 77. lines, three drawn round for pro
tection, III, 312; on bricks,
IV, 137. lion, produced from Soma flowing
from Indra's nose, III, 131; is vigour, produced in the form of
the atikkbandas metre, IV, 38. liquid,--the means of drinking off
one of two liquids mixed to
gether, V, 223. liquor, spirituous. See parisrut, sara. logeshrakâ (clod-bricks), III, 345. loka, space and world, III, 18o. lokamprina, brick, is the peasantry,
III, 153 ;-of Gârhapatys, 308; -their number on fire-altar, IV, 41; two laid down in corners and thence filling up of layer, 22, 41, 58, 82 ;-is the sun, 96, 131, 134, 135; the nobility, 132, 242; is the body, 134; the vital air, 131; when made milch cows by the gods, stand with averted faces, having received
ladder (nisrayanî), leant against sa
crificial post and mounted by
Sacrificer and wife, III, 32. lakshman, mark,-is lucky on right
side of (body of) man, or left side of woman, IV, 81; mark in mouth lucky, 81; lucky on
any side, 95. layer, of altar. See kiti. lead, piece of, put on tiger's skin and
kicked off, III, 91; compared with gold, 92 ; originates from Indra's navel, V, 215; with lead malted rice bought at Sau-
trâmani, 219. league, a thousand, the farthest dis-
tance, IV, 163. leg,-arms and legs consist of
twenty-five parts each, IV, 325;
parts of leg, V, 75. life,--of gods longer than men's, III,
344; life (@yus) and vital air the highest (endowments), IV, 144; life (@yus, vitality) the same as vital air, 143; is food, 196; life of a hundred years is immortality,
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547
100g
thin eaven, V, 34.iant, us seq
no names, 174; therefore called Madhu, the sweet doctrine (brâh
virág,' 174; 10,800 in fire- mana), V, 444 n., 471. altar (10,701 in Åhavanîya, 21 Madhu, first spring-month, III, 386. Garhapatya, 78 dhishnyas), 357, madhu-graha, III, 11; held by 360; it is the gold man in the Vaisya or Råganya, 29; presun, and the one brick (? ak
sented to the Brahman priest, shara) in which the fire-altar 29. results; also the man in the eye, Madhuka Paingya, remark on animal whence two lokamprinâs are sacrifice, 122. laid down, 369; Agni the one Mâdhyandina-pavamâna (at Vâgalokampriná, 381.
peya), III, 8. long-haired man eunuch), III, 9, 90. Mâgha, month suitable for erecting lost thing, recovered by offering of sepulchral mound, V, 423.
to Heaven and Earth, Vậyu, maghavat=makhavat, V, 443. and Sürya, V, 347.
Mahadeva, V, 81. lotus-fower, and plant, - golden Mahad ukiham, IV, introd. xxv; in
flower as fee, III, 115 seq.; bird's shape, xxv; 110 seq.; its leaves a symbol of sky and (? a different recension, In n., stars, its seed-stalks of the air, 168 n.); the Satarudriya acand its suckers of the earth, counted to be equal to it, 168, 117; lotus plant means the 273 ; an ocean of riks, 278; not waters, 364.
to be recited for another, 279, lotus-leaf, placed on antelope skin, 367; fire-altar, Mahad ukthain,
NII, 215; is speech, 215; the and Mahâvrata are the Sacrisky, 216; the womb, 222; ficer's divine, immortal body, placed on Ahavaniya site, 343; 279;-281 seq., originated from Agni found on lotus-leaf by the vital fuid (rasa) of Pragawhite horse (Pragâpati), 360; pati's dismembered body, 282; lotus-leaf as womb, laid down in ihe Hotri thereby puts Pragacentre of altar-site under first pati's vital fluid into the Somalayer, 363; means water and cup, 283; it is equivalent to all earth spread out thereon, 364; the riks, 283; is a bird-like (pushkara), the essence of wa- body, 286 ; is the sky, speech, ters, made a stronghold by the the body, 286; thereby the gods for Indra, 365; represents Hotri puts flavour into the the waters, Agni's maternal Mahâvratiya cup, 346; is the womb, IV, introd. xx; marks orb of the sun, 366; triad, Agni, the commencement (womb) of Arka, Mahad uktham, V, 172; altar, 44, 118, 119; is the im
-cf. uktha. mortal light, 365; is the light mahânâmni verses, III, introd. xx, of the sun, and both are the xxi. black of the eye, 367, 368; is Mahân Devab, a forin and name of the foundation of the sâman as Agni, is Pragâpati, III, 160. one of the only three bricks of mahas (wealth, or joy), as a formula which the altar consists, 374.
pronounced after the Agnihotra, lute, - played to one is a form (sign)
of wealth (? distinction), V, 285; Mahâsâla Gâbâla, instructed by a Brâhmana and a Râganya play Dhîra Sataparneya on the nature the lute and sing praises of of Agni, IV, 331, 393; (? the Sacrificer at Asvamedha, 285 same as Prâkinasala Aupaseq., 356 seq.
manya), 393 n., 395. lute-players, masters of, V, 362 seq., Mahavira pot (Vishnu and the Sun), 372.
etymology, V, 443; making of,
447 seq.; its form, 454; anointed Madhava, second spring-month, III, with ghee, 462; is revered (as 386.
the sun), 469. Nn 2
, nounced at
na distinction), v son
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Mahâvrata, IV, introd. xxv seq.; 110, 168; the last day (before concluding day) of Gavâm ayanam, and formerly one of the three great rites of the Sattra, V, (139), 144, 167. Mahâvrata-sâman, in bird's shape, IV, introd. xxvi, 110; an ocean of sâmans, 278; not to be chanted for another, 279, 367; fire-altar, Mahâvrata and Mahad uktham are the Sacrificer's divine, immortal body, 279; thereby the Udgâtri puts Pragâpati's vital fluid into the Soma-cup, 282; is equivalent to all (other) sâmans, 283; composition of (Gâyatra, Rathantara, Brihat, Bhadra, and Ragana-sâmans), 282, 283; is a bird-like body, 286; is the air, breath, 286; the vrata of the great one (Agni), 342; thereby the Udgâtri puts flavour into the Mahâvratiya cup, 346; is the light of the sun, 366. mahâvratîya-graha, IV, introd. xxvi,
282; by offering it, the Adhvaryu puts the vital fluid into Pragâpati, 284; is Pragâpati's food, 346; is offered with 'vaushat,' 202, 346. mâhendra-graha, belongs to Indra, III, 13, 17;-drawing of, 41, 81, 113. mahiman, two Soma-cups (drawn for Pragâpati) at Asvamedha, day and night, IV, 401; V, 327; mahiman, is royal power, 327; the first drawn in gold vessel, 391; the second in silver vessel, 394. mahishi, first wife, III, 238; lies down near the sacrificial horse, V, 386; addressed by Brahman, 386.
SATAPATHA-BRAHMANA.
Mâhitthi, III, 175; IV, 105-8, 271. maiden, beautiful maiden is apt to be loved (by men), V, 295; given as dakshina, 402. Maitrâvaruna, his hearth, III, 80, 81; sterile cow his fee at Dasapeya, 119; is under Hotri. V, 137; is the mind of the sacrifice, 245. maitråvaruna-graha, III, 6. Makha, is the sacrifice, III, 233; Vishnu, V, 443; his head re
stored, Saumya, 454.
male, is pre-eminently endowed with power, IV, 230; m. organ, (of three parts), V, 19; has one joint, 19.
malt, of rice and barley, V, 219,
450 seq.;- Makha
223 n., 240.
man,-is skinless, III, 32; men be
long to Vishnu, 54; lives up to a hundred years, 93, 135, 405; V, 261, 275; has a hundred powers or energies, III, 93, 135; V, 275; is born into a (future) world made by him, III, 181; the sham-man his sacrificial substitute, 197; is a fathom high, 309; is Pragâpati, 309; man's life shorter than the gods', 344; tends upwards by his vital airs, 368; is not held down by food and breath, 379; man's human form is clay, 382; men have their birthplace in the west (the Gârhapatya), 389; man created from Pragapati's mind (manas), 402; is the first and strongest of animals, 402; is produced in the shape of the pankti, IV, 38; (male) is lucky if marked on right side, 31; single man has many wives, 230; man with upstretched arms the measure for the fire-altar, 305; that is his highest measure, 305; fivefold (by food, drink, excellence, light, and immortality), 326, 327; when man dies he, by his five vital airs, passes into fire, sun, moon, the quarters, and the wind, and becomes one of them, 333; must not eat food in the presence of his wife, 369; man at the end of sexual union becomes apathetic and sleeps, 370; is king Soma, V, 6; of sixteen parts, 20; man is born thrice (through birth, sacrifice, and death), 23, 24; daily offering to men (by entertaining guests), 95; black, yellow-eyed man (Wrath) between women (Belief and Unbelief) in North-East quarter, 110-112; man's thought taken by sun (whence saying, the divine
two
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549
thought protect thee, not man's thought!'), 130; man as the year (year's sattra), 144, 145, 168 seq.; man does not know clearly the way to heaven, 305; men the subjects of Manu Vai.
vasvata, the Rik their Veda, 362. man in the eye. See eye. man in the sun, See sun. manas. See mind. manthin (graha), III, 6; puroruk
formula of, 111; produced from aida-saman, and from it the
ekavimsa-stoma, IV, 10. Manu, is Pragåpati, III, 250; car
ried by the earth (his wife, a
mare), V, 466 Manu Vaivasvata, king of men, V, 361. Mânutantavya. See Saumapa. Manyu, the one god who did not
abandon Pragàpati, IV, 157; be-
comes Rudra, 157. mare, brings forth within a year, V,
12; mare with foal the dakshina at Sautrâmanî, 218, 222; mares enclosed to make the sacrificial
horse whinny, 306. Margaliya hearth, at Agnikayana
constructed of six bricks (the seasons, the Fathers), IV, 243;
used for cleansing, V, 490. mark, on body. See lakshman. marrow,—the formula used in laying
down the brick is the marrow, IV, 20; is the light of man's body, 327; is the Yagushmati bricks, hence 360 parts of mar-
row in the body, 387; V, 169. marud-netråb (deváb), seated in the
north, III, 49. Maruts,-(uggeshab) offering of ste
rile cow to, III, 13; are the peasantry (vis), 13, 34,61; staying on Asvattha tree, 34,84; by seven syllables gain the domestic animals, 40; seven-kapala cake to, 61; rathavimokaniya oblation, 101; dappled cow their victim at oblation of teams, 125; Adityas and Maruts connected with embryos, and paflkavimsa-stoma, IV, 68; lords of the north, 102; connected with Soma, ekavimsa - stoma, nishkevalya - sastra, vairåga - saman, 102; Vasus, Rudras,
Adityas, Maruts, Visve Devâb, build on different sides of altar (E. S. W. N. Zen.), 118; rule over rain, 170; seven cakes of seven kapâlas to them, 208 seq.; these are the vital airs (of Vaisvânara, the head), 209; they are the vis, 210; their cakes offered to sitting, 210; with the hand, with Svähà (without a proper anuvâkya and yâgyà), 211; are the rays of the sun, 212; the stormy (region), the troup of the Maruts, is the air, 236; are the guardians of one of the four regions, V, 359; Maruts, as guards-men of king Marutta, 397 ; animal sacrifice to, 402; Maruts, as the people, surround
the (samrâg) Pravargya, 466. Marutta Åvikshita, the Ayogava
king, performed the Asvame
dha, V, 397. marutvatîya-sastra, connected with
Varuna, the Adityas, the west, &c., IV, 101, 102; on second
day of Asvamedha, V, 379, 380. mate, makes man complete, IV, 132;
is one half of one's self, 132. Matsya Sammada, king of water
dwellers, V, 369 ; cf. Dhyasan. Maudgalya. See Naka Maudgalya. Mâyâ,-as such, Asuras serve the
divine Purusha, IV, 373. Menakâ, the Apsaras, is the southern
Manyo, ndon Press 157 nin a geshin
is the marrow:
diuina D
Menakâ, the Apsaraven, IV, 106.wah
metres,-connected with the Brah
man, &c., III, 91; Gayatri, Trishrubh, Gagati, Anushrubh, 201-202; immortal metres, 203; identified with the white and black hair of the black antelope skin, the rik and sâman, 266; mounting of those four metres (representing the worlds), 276, 277; are vital sap, 352; the oceanic (samudriya) metre, 352; the seven, 353; IV, 277, 314; looseness in calculating, 111, 353; are life-sustaining gods, IV, 32; the cattle become metres, 36; different kinds of metres, 36 seq.; are cattle, 45; and food, 87; the eight defined and the undefined ones, 53, 88 seq.; etymology, 87; the kbandasya
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SATAPATHA-BRAHMANA.
bricks representing the ten principal metres, 109, 110; seven, increasing by four (syllables), 212; these are the seven vital airs, 327-9; the different metres and deities identified with parts of body, 330, 331; do not fail by excess or deficiency of one or two syllables,
V, 157. milch-cow,--the bricks of altar are
made such, IV, 172; in the other world one will get many such by the Brahman, the Yagus, 173 ; with calf given as dakshina for Aditi's pap at Sautramani,
V, 268. milk,-used with consecration-water,
111,78; is breath (life), 245; laid in female, 345, 311; milk from black cow which has a white calf, offered to Agni, about to be laid down on fire-altar, IV, 200; milk is breath, 200; is vital sap, 201; milk (cups of) at Sautrâmani represents Soma, and the Kshatra, V, 325, 328; cups of milk there to Asvins,
Sarasvati and Indra, 240, 241. milking-bowl (pinvana), made, V,
454 seq. ; milked into, 475. milking-pail (dohana),-milk offered
from it, IV, 200. millet, originates from Indra's hair,
V, 215. mind (soul, manas), - everything
gained by it, III, 100; union of Mind and Speech, 149; is Sarasvat, 398; is the foundation of the body, 270; the first of vital airs, 402; in it all the vital airs are established, 402; originates from Våyu, in right side of body, IV, 6; from it the summer is produced, 6; is one only, 7; is the moon, 11; from it speech is produced, 11; sustained by the circulating vital air (vyâna), 15; is the fifth to the four vital airs, 73; mind (-metre) is Pragàpati, 88; one of the five divisions of vital air in the head, 190; Manas as Gandharva, with Riks and Samans as Apsaras, his mates, 233; Mind alone existed in the be
ginning, 375; thence the other four vital airs (speech, breath, the eye, the ear), and after them work and fire, were evolved each one from the preceding one by worshipping with its thirtysix thousand Arka-fires, 375 seq.; Mind preceded and created by Death, hunger, 402; the libations to Mind and Speech(Sarasvatand Sarasvatî) are such to Full and New moon, V, 28, 31, 32, 35; Sacrificer is mind, manifested in speech, 262; what is thought in mind is spoken by speech, and heard by ear, 263; is the overlord of vital airs, 504; all is
gained thereby, 507. mithuna, not to take place during
diksha, III, 185; or prior to
maitråvaruna curds, 186. Mitra,-- by one syllable gains trivrit
stoma, III, 40; is the Brahman, 67; to him belongs wood broken off by itself, and naturally produced butter, 67; the larger ricegrains, 68; what is cooked by hot steam, 68; injures no one but is every one's friend, 68; Mitra Satya, pap of namba seed to, 71; prayugam havis (pap), 125; Mitra is the breath, 230; (together with the Vasus) mixes the clay, 231; is the wind, 245; theout-breathing (pråra), IV,68; takes Sri's noble rank (ksbatra) and receives (mitravinda) oblation (pap), V, 63-5; the ninth of the ten deities (all the gods') receiving oblation of drops,
281. Mitra-Brihaspati, a pap to, III, 66;
are the path of the sacrifice, 67. Mitra - Varuna, - are anointed as
kings by the gods, III, 73; to them the Råganya belongs by his arms, 88, 93; are dhritavratau (upholders of the sacred law), 89; mount the chariot and thence behold Aditi and Diti, 93; are the directors (prasâstârau), 99; dish of clotted curds (payasya) to them, 105, 186; (padkabila) dish of clotted curds (payasya) on north part of vedi, 130, 121; Adhvaryu's fee
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for it sterile cow, 122;-are the out-breathing (prana) and upbreathing (udâna), 122; V, 181; connected with rain and wind, and the ekavimsa-stoma, IV, 68; payasya to, is a divine mate for Sacrificer (since prior to it he must not touch woman), 270; this payasyâ is seed, put into Pragâpati, 270; are this and the other worlds, V, 268; the prâna and apâna, 269; offering of barren cows, 402; seasonal animal sacrifice, 402, 411. mitrâvaruna-netrâb (devâb), seated in the north, III, 49. Mitravindâ, form of sacrifice (ten
oblations), V, 62 seq. month,-twelve or thirteen in the year, III, 119; a thirteenth, 182; has sixty days and nights, 184; the year their ruler, IV, 74; the thirteenth is Agni's trunk, 167; the thirteenth is the year itself, V, 247; is an excrescence of the year, 276. moon, slain when set at liberty, III, 45; is Vritra and Soma, 45; (Kandramas) how created, 149; is seed, 149; the Visve Devâb placed with moon in the quarters, 150; is Pragâpati, 178; dwells on earth at new-moon, 178; slaughtered by the gods at full-moon, 178; is Vritra, 178; one of Agni's forms, 230; is the hook or point to which the year is linked by the seasons, 269; created with the regions, 286; sun and moon Pragâpati's eyes, the moon the eye on which he lay, hence much closed up, 313; is Soma's highest glory in the heavens, and causes him to be celebrated there, 355; is mind, and becomes (or gives birth to) speech, IV, 11; is the year and all living beings, 54; is the (thunderbolt and) paЯkadasastoma (because of its waxing and waning fifteen days), 62; is the tail of Agni-Pragâpati, the altar and universe, 179; the essence of oblations goes up to the moon, 179; (Kandramas), as Gandharva, with the stars as
551
Apsaras, his mates, 232; when the moon sets it enters the
wind, 333; is Aditya's (AgniPragapati's) food, 349; is king Soma, 349; V, 6, 9, 10; is the ascended Pragâpati-Sacrificer, made up of all existing things, IV, 354; is the bolt of the gate of sacrifice, V, 1; the heavenly dog watching the Sacrificer's cattle (to seize them), 10; the hare-marked one, 10; full and new moon variously identified, 30 seq.; moon (Soma) is the Asvamedha, 33, 34; the moon, one of the six doors to the Brahman, 66, 67; his light taken by the sun, 130; represented by piece of silver tied to a darbha plant and taken eastwards, 196; is born again and again, 315; the type of vitality, 315; is the spotless Brahman (masc.), 317, 318; Kandra (the regent of the regions or of the Nakshatras?) is the Self of the gods, 505.
mortals, created from lower (down
ward) vital airs, III, 150; IV, 289. mortar and pestle, put in first layer,
III, 393-396; mean food, 393 seq.; the mortar is the womb, the pestle the sisna of the Agnianimal, 400; IV, 2. mother, bears son on her lap, III, 232. mouth, peculiar mark in mouth is
lucky, IV, 81; (parisrit) reaching up to mouth, 159; lifting of sacrificer on throne-seat up to the mouth, V, 254. mrityumohini, the first four stoma
bricks of fourth layer, IV, 59 n. muhurta, a fifteenth part of the day (and a thirtieth part of day and
10,800 in the year, 352; 169; in each muhurta a fourscore of syllables completed to make up the trayî vidya, Pragapati's body, IV, 353; consists of fifteen kshipras, V, 169. Mundibha Audanya, discovers atonement for slaying of Brahmana, V, 341. muйga-grass, layer of it put in firepan, as the womb, 111, 251.
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SATAPATHA-BRAHMANA.
nabhas, the first rainy month, IV, 48. nabhasya, the second rainy month,
IV, 48. Nådapit (Kanva's hermitage), V, 399. nada-verse, IV, 113. nadîpati, III, 75. Nagnagit, -Svargit Nagnagit (or
Naynagita), the Gândhâra (a
råganyabandhu), IV, 31. Naka Maudgalya, a teacher, V, 201. nâkasad, bricks of fifth layer, are
the gods (seated on the firmament), IV, 97 seq.; are the four priests with the Sacrificer, 103; are the (Sacrificer's) Self,
104; the regions, 104. nakshatra, III, 19; Agnyâdhâna not
to be performed under a special pakshatra, V, 1; single nakshatra, 423; are a place of abode to all the gods, 505; (Kandra, or Varuna? their re
gent), 505, 506. nâmba (amba) seed, growing on un
ploughed ground, III, 71. name, giving of, frees from evil,
III, 159; oblations to names (of Agni) forming part of the Vasor dhârâ, IV, 319; he who is consecrated (anointed) comes to have two names, 247; form and name, as two forces of the Brahman, the former being the
stronger, V, 27, 28. nameless finger, III, 221, 294 Namuki, an Asura, killed by Indra,
III, 92; drinks Soma with the Asvins, 135; takes Indra's Soma-drink and vital energy, V, 216; wins Indra's source of strength by means of the Suraliquor, 212; is slain by Indra with foam of water, being neither dry nor moist, neither staff nor bow, neither palm nor fist, 233; is evil, 323; in his severed head was Soma-juice mixed with blood, 333; the Asvins bring away the Soma from him, and Sarasvati distils
(presses) it, 232. Nârâsamsi-Gâthâb, to be studied,
V, 98. Narayana,-Purusha Narayana, ex
horted by Pragâpati to sacrifice, V, 172, 173.
naudhasa-saman, III, introd. xvi. navadasa-stoma, is heat and the year,
IV, 63. navel, goes all round, III, 86; navel
of the earth is the place where ukhả is standing), 258; gold plate worn by Agnikit over navel, 267; sun stands over narel of the earth (or sky), 267; below navel is seed, 267; part of animal above navel is sacrificially pure, 267; immortal part of vital air is above navel, 267; the intestinal (channel of) vital air round about the navel, IV, 17; navel-high (parisrit), 158; the food above the navel is immortal, below mortal, 285; navel-high, lifting of Sacrificer
on throne-seat, V, 254. neck (grivab), consists of fourteen
joints, V, 163. needle,-copper, silver and gold ones
(or wires) used for making the
knife-paths,' V, 326, 327. Neshtri, draws cups of Sura, III,
10; leads forth patni, 31; garment his fee at Dasapeya, 119; is under Adhvaryu, v, 137; Neshtri (or Pratiprasthầtri)
leads up the king's wives, 321. netting (sikya), for carrying the
Ukhya Agni, III, 268; is the regions, 268; with six strings of reed grass, 369; is the sea
sons, 269. New and Full-moon sacrifice. See
Darsapürnamasa. new moon,-thence the sacrifice is
spread, III, 180; the night of new moon is the gate of the sacrifice, V, 1; then the moon comes down to this world, 2; new moon an additional offering in honour of Indra for having slain Vritra (at full moon), 6,
7; is a single nakshatra, 423. nidhana,- prastáva and nidhana, IV,
145, 146. nidhanavat-saman, produced from
pankti, and from it the âgra
yana-graha, IV, 11. night, is a uniter, IV, 89; is the
goodness (well-being) of the year, as then all beings dwell together, 326; originates from
our of alt fulla tra, 433iv,
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553
the darkness arising from the Asuras when created, V, 14;
means peaceful dwelling, 285. nigrâbhyâb (water used for moisten
ing Soma-plants), V, 106; are
the divine waters, 107. nilakant ba, IV, 162 n. nineteen, IV, 74. ninety-sixteen nineties (of dhriti
oblations) are the horse's chain,
V, 288. nipples, on fire-pan, III, 237. Nirriti (evil, corruption), oblation of
spilled rice to, III, 43; is this earth, 43, 322; pap of black rice split by finger-nails, 65; her bricks and altar, 319 seq.; to her belong husks, 320; is black, 320; south-west her region, 320; her bricks laid down in a cleft of ground or natural hollow, or where no plants grow, 321; Nirriti visits him who does not offer Soma, 321; is sharp-edged, 321; binds with an iron band, 322 ; of one mind with Yama and Yami (Agni and the earth), 322; the awful goddess, 322; the sling sacred to her, 323; in the direction of Nirriti's region (S.W.) stone is thrown (thereby expelling all heat and suffering
from the world), IV, 171, 361. nishka, worn by Sacrificer round his
neck, V, 338; given to Adhvar-
yu, 350. nishkevalya-stotra and - sastra, be-
long to Indra, III, 13,81; connected with Soma, the Maruts, north, &c., 102; on second day
of Asvamedha, V, 380. niyut (team of Vayu), is the up
breathing (udana), III, 173,
177. north, connected with Anushtubh,
autunın, &c., III, 91; is Rudra's region, 97; IV, 158; V, 488; northwards Sacrificer and wile ascend the sacrificial post, III, 32; northwards he puts the Ukhya Agni on the chariot, 290; palåsa branch thrown out northwards, 299; thither he relegates decline, sickness, 348; hungry people live in that
region, 348; horse and ram most plentiful in the north region, 404; is the anushrubh, IV, 45; the Maruts its lords, 102 ; Soma its protector, 102; connected with ekavimsa-stoma, nishkevalya-sastra,vairåga-saman, 102; self-ruling, 46, 102; north side of altar offering-place to Rudra, 158; is the waters and the law, V, 18; is the region of men, 448; the region of the Sacrificer's) offspring (or subjects,
people), 485. north-east, standing towards, Praga
pati creates creatures, III, 252, 276; is the quarter of gods and men, 252; IV, 227; there is the gate of heaven, III, 252; in that direction one offers libations and leads up the dakshinâs, 252; towards northeast, the Agnikit stands whilst holding the Ukhya Agni up towards the east, 272 (275), and north-east, 280; the Vishnustrides made in that direction, 376; animals let loose towards north-east, 239; ditto oxen after ploughing the agnikshetra, 331; ditto white horse, 359; the
direction of the sun, V, 485. nose, a partition between the eyes,
and the persons therein (Indra
and Indrånî), IV, 369. nostrils, are the path of breath
(prana), V, 263. number, the highest and lowest, IV,
172. nyagrodha (ficus indica), therefrom
consecration vessel for a friendly Râganya to sprinkle, III, 83; originates from Indra's bones (and sweet drink), V, 215, 216; means sweet drink, 220; takes root when turned downwards, 317; not to stand near a grave, 427.
oblations, are flesh, IV, 206. ocean, lord of rivers, III, 75; flows
round the earth from east southwards, 301; is a moat, 301; flows round, and encompasses these worlds, IV, 169; flows from left to right, 169; the
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SATAPATHA-BRAHMANA.
cloudy ocean, the sky, 235; three of Yagus, Saman, and Rik (Agni, Mahâvrata and Mahad uktham), 278; the year's sattra likened to the crossing of an ocean, V, 145 seq.; (the aerial),
is the wind, 479. offspring, is all the light, III, 239. ogress-ridder, is the wind, V, 479. ointment, for eyes and feet, V, 439. old ox, old barley, and old arm-chair,
as fee for oblation to Agni
Ayushmat after burial, V, 439. omentum. See vapa. one, is speech, IV, 73. ore, produced from stone, 111, (147),
158. ox, tired out by drawing the cart,
III, 257; is Agni, 355; ox will do for (white) horse in leading forward Agni, 360; (pashtbavâh) is vigour, produced in the shape of the brihatî metre, IV, 38; born from of old as a draught animal, V, 294; holding on to the tail of an ox, while return
ing home from burial, 438. ox-hide, red, for the layers of bricks
to be put on, III, 355; Râganya shoots arrow's at two ox-hides,
IV, 283 n. padapankti (metre), is the earth, IV,
pailabila pap, consisting of five ob
lations, III, 120. paikadasa-stoma, gained by Adityas,
III, 40; connected with Kshatra, &c., 91; at evening service of Kesavapaniya, 127; produced from antaryâma-graha, and from it the bribat-prishiba, IV, 7; is bright, the thunderbolt, and the moon, 62; through it, connected with Indra and Vishnu, the Kshatra is freed from death, 68; is the arm, 79; connected with Indra, the Ru
dras, the south, &c., for. parkakuda, bricks of the fifth layer,
IV, 99, 103 seq.; are the hotrâs, 103; etymology, 103: are the (Sacrificer's) mate, 104 ; offspring, 104; the regions beyond the sun, 104; shafts and missiles protecting the worlds,
104, 105. Pankála, formerly called Krivis, V,
397 ; cf. Sona. parkavatiya offering, III, 48. pankâvattiya, III, 48. parkavimsa-stoma, is the embryos,
the year, IV, 64; through it, connected with Adityas and Maruts, embryos are freed from
death, 69. pankedbmiya, III, 48. pankti metre, connected with sâkvara
and raivata-sâmans, &c., 111, 91; produced from winter, and from it the nidhanavat-saman, IV,u; is the slow metre, in the form of which men were produced, 38; ditto bullocks (anaduh), 39; is the upper region, 45; consists of five feet; is the ear (of Pragåpati), 327-329; of 10,800 pankti consists the whole Rik, and of as many the Yagus (7,200) and Saman (3,600),
353, 353. Para Atnâra Hairanyanabha, king
of Kosala, performed the Asva
medha, V, 397. Parameshtbin, - Parameshtbin and
Aditya connected with the sky, the third svayam-atrina, and fifth layer, III, 188, 190; Pragapati Parameshtbin, lord of beings (bhůta), IV, 76; Parame
88.
pail. See milking-pail. Paingya, remark of his on the shad
ahas, V, 162; cf. Madhuka. palâgala, courier, one of the ratninab,
II1, 64; to him belong skincovered bow, leathern quiver,
and red turban, 64. pâlâgali, addressed by chamberlain,
V, 387. palâ sa, (butea frondosa), is the Brah
man, III, 53, 83, 258; V, 221; consecration vessel therefrom, for Brahmana to sprinkle, III, 83; resin of palasa for boiling water, 229; palása is Soma, 329, 258; site of Gârhapatya swept with palâsa branch, 298; not the Åhavaniya, 343; sacrificial stake to be made thereof, V, 133, 373-375; palâsa branch for sweeping burial-place, 430; palâsa peg, 436.
188 Str thes
1985 brame
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shtbin takes Pragậpati's head which is sacred to himself, 142; Parameshtbin Pragâpatya created out of Pragàpati with a life of a thousand years, V, 15; the first who performed New and Full-moon offering, 15; performs it for Pragâpati, as a wish- granting sacrifice, 15; is the heavenly waters ( Parganya) in
the highest place, 15. Parganya, rain-cloud and rain-god,
is Bhava (Agni), III, 160 ; gods become like him, 377; licks the ground and strokes the plants, 277; scarcely born, lights up everything, 278; is beyond the reach of our arms, 278; does not rain in the region where kimpurusha, &c., are, 412; is the boon-bestower, the upper region, IV, 107; animal
sacrifice to Parganya, V, 402. paridhi, enclosing-sticks, — on the
middle one the yoking or un- yoking of the fire-altar is performed, IV, 250, 252; round
tomb, V, 430. Parikshita. See Ganamegaya. Parikshitîya, V, 396. parimad (såmans), preceding the
mahâvrata-saman, IV, 283 n.; are cattle, 288; how performed,
288 n. paripasavya, oblations, V, 321. pâriplava legend, V, 361 seq. parissa. See lifting-stick. parisrit (enclosing-stone),--are the
womb of the fire, 111, 301, 344; the waters (ocean), 301; iv, 187, 244; are the bones, III, 302 ; twenty-one for Gârhapatya, (301), 308, 344, 359 ; offering to Rudra on three of them (the three Agnis), IV, 157; anointing takes place close to enclosing - stones, 227 ; parisrit of dhishnya bearths, are merely laid down, 244; are the clansmen, 344; represent the additional height obtained by man (with upstretched arms) standing on tiptoe, 305; a line dug for them outside (the altar. ground), 306; are of the nature of nights (protective), 326; are
the nights of the year, Pragåpati's body, 354, 358; three hundred and sixty for fire-altar, (261 of Åhavaniya ; 21 Gårhapatya; 78 Dhishnyas), 357358; are the waters encircling
the earth (the fire-altar), 381. parisrut (immature liquor), 111, 9,
131, 133; originates from Indra's generative organ, V, 215; not to be consumed by Brâh
mana, 260. Parivakra, a city in Pankåla, V, 397. parivatsara (second year of cycle),
IV, 21. parivriktà, discarded wife, addressed
by Hotri, V, 387. pariyagña, enclosing sacrifices, III, 4. parna,-branch, driving away the
calves therewith at new moon, V, 8; - tree originated from fallen feather of Gayatrî, (or leaf of Soma), 122; tree in
the abode (of plants?), 433. pârtha-oblations, twelve at Ra
gasûya, III, 81; twelve at Agnikayana, IV, 225; are the
year, 228. pârthurasma-saman, V, 333. partridge (tittiri), springs from Vis
varûpa's head, 111, 130. paryagnikarana, V, 307. paryangya, victims, at Asvamedha,
V, 299 D. paryaya, 111, introd. xviii. pasu, etymology, III, 162; cf. victim. Pasupati, a form and name of Agni,
İ11, 159; is the plants, 159. pasu-purodasa, III, 136, 137, 173,
175; IV, 245, 247, 248; their object, 247 n.; directions (praishas), 265; should belong to the deities to whom the victims
are devoted, V, 221. Parava. See Revottaras. path,-two paths, that of the Fathers,
and that of the gods, V, 237, 238. Pâthya, the bull, is the mind, 111, 218. patni. See Sacrificer's wife. patnisâlâ, IV, 307. patnîsamyaga, their symbolic import,
V, 44.
Paulushi. See Satyayagña. Paumsâyana. See Dushtarîtu. paurushamedhika, the central (day),
V, 419.
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SATAPATHA-BRAHMANA.
eep's
clotte vil, itle
pavamâna - stotra, - (bahish - pava
mâna) is heaven, V, 305, 306. pavamâni-verses, V, 235. pavitra, a Soma-sacrifice, 111, introd.
xxvi, 42. pavitra, strainer, filter,-gold weaved
therein, 111, 84 ; (of goat's hair
and sheep's wool), V, 235. payasyà (dish of clotted curds), .to
Mitra and Varuna, III, 105, 186,
120; is the essence of cattle,105. pearls, 101 ; gold pearls woven into
hair of sacrificial horse, V, 313. pebble, (gravel) produced from sand,
III, (147), 158; used instead of bricks for the sepulchral mound
of a non-Agnikit, V, 440. phålguna,-full moon of second phâl
guna is the first night of the
year, III, 179; V, 348. pilippila i smooth, glossy), V, 315, 316. pisangilâ (7 tawny), V, 316, 389. pitadaru (deodar), V, 373, 374. Pitarab, --somavantab, barhishadab,
agnishvâttâb, libations of Surå
to, III, 136; cf. Fathers. pitcher, with a hundred or nine
holes, III, 135. plaksha (ficus infectoria), mat of, V,
394. plants, grow three times a year
(spring, rainy season, autumn), III, 340 ; shoot out a hundredfold and a thousandfold, 340; plants as Apsaras, the Gandharva Agni's mates, IV, 231; delighted
in by every one, 231. plough (sîra), yoking of, III, 326;
etymology, 336; of udumbara wood, 326; its cords of mugga
grass, 326. poison, in Pragàpati's body (from
Rudra's shaft), V, 36. pond, water from, III, 77. pool, water from, III, 76. porcupine, V, 390. post, sacrificial, See yüpa. Potri, garment his fee at Dasapeya,
, 119; is under the Brahman priest, V, 137. pradakshinam (prasalavi), V, 323, 468. Pragâ pati, seventeen victims to,
III, introd. xxiv, 14; is the sacrifice and food of the gods, 1; lord of speech, 5; seventeenfold, 8; IV, 190, 347; V, 352;
the thirty-fourth god, III, 9, 79; man is nearest to bim, 15; means productiveness, 15; is the sacrifice and the year, 30, &c.; he who offers Vågapeya becomes Pragâpati's child, 32; Pragapati delivers creatures from Varuna's noose, 47: Pragapati - Agni, the Purusha, 144: Pragâpati becomes relaxed and is restored by Agni, hence called Agni, 151, 152; is Agni's father and son, 153, 154; Agni's father, 360 ; bhätânâm patib (the year), husband of Ushas, 158; is Mahân Derab (Agni), 160; covets Agni's forms, 161; is all the metres, 169; a be-goat slaughtered for him, 171; Pragapati is hornless, 171; twentyone-fold, 172 ; one half of him is Vâyu and one half Pragapati, 175; is the moon, 178; the eighth day after full - moon sacred to Pragapati, 180; Pragapati (and Agni) connected with the earth and the first svayamatrinnå, 187, 190; is these worlds and the quarters, 193; harnesses the mind, 193; the inspirer of devotion, 194; he is the immortal one, and the gods his sons, 194; digs for Agni, 215; is undefined, 215; both the defined and the undefined, 341; V, 455; the manlyminded, III, 284; is both gods and men, 290; after producing creatures, becomes relaxed, and is restored by the gods, 312; without him there was no firm foundation, 312; is food, 312; the vital air that went from him is Vayu; his lost vigour is Aditya, 312; his downward vital air is the fire on earth, the air his body, the wind in the air is the vital air in his body, the sky his head, the sun and moon his eyes, 313; Pragapati is the begetter of the earth, 346; is the whole Brahman (n.), 353; Pragå pati becomes a white horse and finds Agni on a lotus-leaf, 360; is the Man, 366; the vital air his pleasing form, 367;
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Agni and Indra take away his fiery spirit and vigour, 374 ; they become his arms, 374 ; his hair becomes the herbs, 380 ;-IV, introd. xiv seq.; his dismemberment the creation of the universe, xv; is the Sacrificer, ib.; the Arch-sacrificer, xix; the one god above all other gods, xx; the thirty-fourth, xx; V, 151, 311; the food of the gods (Soma), IV, introd. xxi; Father Time or Father Year, xxii seq.; is Death, xxiii; is the Rishi Visvakarman, IV, 28, 37; Pragàpati, the highest lord (parameshtbin), becomes a metre, 37; in the form of Gayatri overcomes cattle, 37; in the air Pragàpati is Vâyu, 57, 58; is the Brahman (n.), 59, 60; is (aerial) space, and the saptadasastoma, 62; becomes pregnant with living beings (bhůta), 67; Pragâpati Parameshibin, the lord of living beings (bhůta), 76; the progenitor (praganayitri), 76; is the mind (-metre), 88; enters heaven last of gods, 113, 117; consists of sixteen parts (kala), 189; takes Agni, as his dear son, to his bosom, 106; those going to the heavenly light and becoming immortal become Pragâpati's children, 220 ; from him couples issue in the form of Gandharvas and Apsaras, and he, becoming a chariot, encloses them, 229, 234; Pragapati Vis. vakarman, who has wrought the universe, 233; is Dhâtri, 263; one half of Pragàpati mortal, and the other immortal, 290, 292; becomes clay and water, and enters the earth, afraid of Death, 290; is recovered in the formi of bricks, 290; is built up so as to become immortal, 291; his body in partof Agni's, Indra's, and the All-gods' nature, 291; he (by chips of gold) finally makes his body of golden form, 395; Pragậpati is the sacrificial) animals-man, horse, bull, ram, he-goat, 299; Pragapati goes up to the world where the sun
shines, and becomes the one sacrificial animal, 304; is Savitri's well-winged eagle, 30;; Father Pragâpati requires his due proportions, 309; Pragapati's body contains Agni, all objects of desire, 313: poured,
as seed, into the ukha, 341; is . Agni, 345; Pragapati, the year,
and his lights, 349 seq.; Pragapati, the year, has created all existing things, 350 ; to encompass all beings he divides himself into different bodies, 350 seq.; Pragâpati's body contains (or consists of) the threefold science, 352; Pragâpati and Sacrificer, being composed of all existing things, on ascending, become the moon, and the sun is their foundation, being generated out of their own selves, 354, 355 ;-Pragapati, the sacrifice, is the year, V, 1; the Purusha, Pragâpati, born in a year, from a golden egg, 12; his first words, bl.ah, bhuvab, svar,' 12; born with a life of a thousand years, 13: Pragapati smites the Asuras with evil and darkness, 13, 14; Pragậpati, by the Full and New.moon sacrifice, becomes the vital air and Vậyu, 15; Pragapati is everything endowed with breath, 16; gives himself up to the gods and creates the sacrifice as a counterpart of himself, 32; Pragåpati and his daughter, 36 n.; poison in his body, 36; Sri issuing from him, 62; brahma karin committed to him, 86; Father Pragapati resorted to by the gods for advice, 91 seq.; Pragapati alone in beginning, from him the three worlds, 102; the seventeenfold Pragâpati, what he consists of (as regards the trayi vidya), 170; exhorts Purusha Narayana to sacrifice, 172 ; victim before initiation for Sattra, formerly to Savitri, now to Pragàpati, 174; Pragapati, the sacrifice, is king Soma, 105 seq.; by producing the sacrifice he lost his greatness which went
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to the great sacrificial priests, 275; the most vigorous of gods, 278; Pragâpati performs Asvamedha, 289; is the chief (inukha) of deities, 292 ; victim to Pragâpati, 371; is the Brahman (n.), 409; Manu Pragapati carried by the earth (his wife,
a mare), 466. Pragâpati-hridaya (Pragâpater hri
dayam), a såman sung over the
completed altar, IV, 180. prâgvamsa, IV, 307 n. Prakinasala Aupamanya, a teacher,
IV, 393 n.; (?) is the same as
Mahåsala Gabâla, 393 n., 395 1. pråkinavamsa, IV, 307 n. Prakînayogya. See Satyayagña,
Saukeya. prakrama, step, movement, forty
nine oblations to forms of the
horse, V, 282, 363, 364. Prakyas, being of Asura nature,
make their burial-places round, V, 423; and line them with
stone, 430. Pramlokanti, the Apsaras, is the
western quarter, or the day,
IV, 106, 107. prâna (vital air), water therein, III,
184; nine, 93, 196, 218, 296; (seven of head and two downward ones), IV, 243; V, 150; ten, III, 174, 297; IV, 51, 165, 243, 246; V, 24; three, III, 218, 385 ; six, 270: were the Rishis, 143; are good for all beings, 151; is Pragapati, 192; the sruva, 192; are the thoughts, 193; are Agni, 196; is Mitra, 230; immortal part of vital air is above navel, the mortal part passes by and away from the navel, 267; link the body to food, 270; are the divine inspirers, 305; three downward vital airs, 315; the three compared with the three fires, 317; Duinber of vital airs in body uncertain, 331; food for them placed in mouth, 332, 388; seven vital airs in the head, 340, 403 ; seven in each victim (or its head), 403; is Pragâpati's pleasing form, 367; belongs to the whole universe,
385; is taken in from the front backwards, 391; is the male, the mate of speech, 391; the head is the birth-place of all the vital airs, 396; the five (of the head) - mind (soul), eye, breath (prawa), ear, voice (speech), 402; depart from Pragapati, IV, 3; create food with Pragapati, 3 ; springseason produced from breath, 4; the Rishi Vasisbaba is breath, 5; are connected and one, 5; five (prana, apana, vyâna, udana, samâna), 15; prâna becomes the apâna, 16; intestinal vital air (guda prana), 17; run in body both lengthwise and crosswise, 18; must reach every limb, 19; pass not only backward and forward but everywhere, 19; contracts and expands the body and limbs, 21; are life - sustaining gods, 32; up, down, and through-breathing, 34, 47; ditto and out-breathing, 43; breath necessary for all, 48; separated from each other by the width of a horsehair (vâla), 55 ; seven in front (upper half of man), 55, 57; seven counter-breathings behind, 55, 58; one in each limb, 55; ten focussed in the head, 57 ; out-breathing (prana) is Mitra, the down - breathing (apâna) Varuna, 68; three (prâna, udâna, vyâna), 73; four prâna, with mind as the fifth, 73; seven in the head, the seven Rishis, 73; nine, 73; ten with the âtman as the eleventh; 74 ; prana and apana, 86; prana, vyana, udana, go, 237; V, 246; pass backwards and forwards, IV, 90 ; prâna, apâda, vyâna, 131, 186; V, 89, 90; is kindled by the sun, and hence is warm, IV, 135; without vital air a limb would shrivel up, 136, 140; prâna, apana, vyana, udana, 143; they are the same as vital power (ayus), 143; the highest thing in universe, 149; are the immortal element, 178, 327; (prâna, apâna), 167; are the gods of the gods, 185;
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down girs.vital sana,
246 ina and . 263; 62: food
no food
are not eaters of oblations, 185; without them no dwelling-place becomes pure, 186; they are neither in the sky nor on earth, but whatever breathes therein, 186; connects head with body, 188; in the head fivefold (mind, speech, breath, eye, ear), 190; (prâna, breath) is one of the five divisions of vital air (prâna) in the head, 190; eight" limbs and eight prânas, 190; vital airs kindle (the body), 105; the vital airs are the immortal part of the body, 292; how they are represented in the layers of the altar (Pragâpati's body), 292 seq.; by the prâna gods eat food, by the apâna men, 295; are the perfect (sâdhya, blessed) gods, 304; vital air is the light of the body, 326; a hundred and one in the body, 326; is not the immortal element, but something uncertain, 327; are the seven metres, 327-330; vital airs consume him who is hungry and feverish,347,348; breath evolved from speech, and from it the eye, 377; triad-Agni, Aditya, Prâna---are the eater, the Arka, the Uktha, the Purusha, 398, 399 ;-Vâyu, on entering man, is divided into the ten vital airs, V, 3; âsya, 'the breath of the mouth,'--therefrom the gods created, 13; from the down- ward breathing (avâna) the Asuras, 13; downward breath- ing abhorred by other breathings, but in it everything that enters the others meets, 19; prana (breath of mouth) is the eater of food, udana (of the nose) fills man, and (of the eyes, ears, &c.) is the giver of food, 31; prâna and apâna move in a forward and a backward direction respectively, 43; pråna entering udâna and reversely, 83; vyâna entering uda - na, 84; central prâna belongs to Indra, 121; with five breathings (prana, vyâna, apana, udana, samana) five Brahmanas (or the father himself) to breathe over
child (before navel-string has been cut) to ensure long life, 129, 130; two downward (avâna) breathings and udâna (by which men rise, ud-yanti), 165; two, five, six, seven, twelve, or thirteen, 168 ; prâna and ana, each equal to the twinkling of the eye, 169; 10,800 breathings of man in day and night, 170; prâna and udâna, moving downward and upward, 230; all vital airs established on speech, 246; all vital airs established on prâna and udâna, 262; etymology (pra-ni), 263; nostrils are the path of prâna, 263; food eaten by prâna is pervaded by vyâna, and its essence shed as seed, 264; vital airs of him who speaks impure speech pass away, 326; the mind (soul) their over
lord, 504. pranabhrit, bricks, are the vital
airs, IV, 1; how placed, 2; laid down by tens, 3; etymology, 12; are the limbs, 13;-of second layer, 23, 33 seq. ;-ten of third layer, 51; are the moon (being food as making
up a virág), 54. pranitab, lustral water, is the head
of the sacrifice, V, 35, 492; at the hariryagña, 119; etymology,
270. prasalavi. See pradakshinam. prastava,- prastà va and nidhana, IV,
145, 146. Prastotri, a horse his fee at Dasapeya,
III, 119; under Udgåtri, V, 136. prâtaranuvāka, III, introd. xviii;
IV, 249; of Atirâtra superseded by Asvina-sastra, but is to be repeated in a low voice by
Maitråvaruna, V, 92, 93. Pratidarsa Aibhâvata (king of the
Svikna), as authority on the
Sautramanî, V, 239. Pratihartri, priest, is under Udgâtri,
V, 137. Prâtipiya. See Balhika. Pratiprasthầtri, III, 111; gold mir
ror his fee at Dasapeya, 119; is under Adhvaryu, V, 137; offers the cups of Sura-liquor on the Southern of the two
rátra trodne
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Eastern fires, 232; Pratipra- sthâtri (or Neshtri) leads up the
king's wives, 321. pratishtba (stand), is threefold (tri
pod), IV, 116. praüga-sastra, connected with Indra,
the Rudras, the South, &c., IV,
101. Pravargya, III, 355 ; IV, 187; 'set.
ting out,' IV, 187; V, 493 seq.; Pravargya vessels are Agni, Vâ- yu, and Aditya, IV, 187; the head of the Sacrifice, 188; performed as long as the Upasads, 317; is the sun, 317; V, 445; on Satarudriya day, day of preparation, and sutya day, IV, 320;-performance, V, 441 seqq.; time of performance, 458; is VâyuPashan, 475; when performed, 490 seq.; combined with Upasad, 493; is the year, the worlds (and Agni, Vâyu, and Sûrya), the
Sacriticer, &c., 507 seq. prayaga, mystic significance of, V, 40. prayana, III, 305. prayanîya offering, III, 325; ends
with the Samyos, IV, 258, 259;
-Prayaniya Atirâtra, 254. prayu âm havimshi (twelve oblations
of teams), III, 123 ; for yoking
the seasons, 123. prelude. See prastava. pressing-stones, (grâvan), are of
Brihatî nature, V, 243; the
vital airs, 486. priests, officiating, are the limbs of
the Sacrifice, IV, 280; V, 236; are of the same world as the Sacrificer, IV, 280; must not bargain for dakshinas, 280; sixteen, 348; the order in which these are initiated for a sattra, V, 135 seq.; messes of rice for them, 343; the quarters (regions) parcelled out between them, 401, 413, 420;- priest's mess
of rice, see brahmaudana. prishtba-saman, six, III, introd. XX
xxiii; V, 148 0.; seven, IV,
277, 314. prishtba-stotra, III, introd. xvi, xx
seq., 333, 376; are the seasons,
V, 331. prisbtbya-graha, belongs to Agni,
Indra, and Surya, 111, 6.
prishtbya-shadaha, III, introd. xxi;
V, 148; used by Angiras wben contending with Adityas, V,
152; etymology, 152, 163, Prithin Vainya, consecrated first of
men, III, 81. Priyavrata Raubinayana, directs the
wind, IV, 340. procreation. See generation. prospering-oblations. See kalpa. Proti Kausåmbeya Kausurubindi,
residing as religious student
with Uddâlaka Åruni, V, 153. prushva (mist, moisture, or hoar
frost), III, 77. punaryagra, IV, 121. punaskiti, on fifth layer of fire-altar,
IV, 99, 119 seq.; is seed and generative power, 119; etymo logy, 121; on what part of the altar to be laid, 121 ; is the uttaravedi, 121; as substitute
for complete altar, 271. Puñgikasthalà, the Apsaras, is the
(eastern) quarter, or (Agni's)
army, IV, 105. Purana (stories of old time), to be
studied, V, 98; the Veda of
birds, 369. puraskarana, IV, 337 purastâd bhagab, iii, 333; IV, 185;
cf. uddhåra. purisha, III, 201; its formulas are
Agni's hair, itself his food, IV, 20; corering of soil, 26; is food, 95, 96, 139; is the pericardium, 96; is flesb, 138, 149; vital air, 139; belongs to Indra, 140; is one half of the altar, 140; symbolical meaning of its layers (1st cattle, and birds, 3rd stars, 4th sacrificial gifts, 5th progeny and subjects, 6th gods), 147
seq.; earth to earth,' V, 303. Purishya (Agni, the altar), III, 201;
favourable to cattle, cattle-loving, 206, 214; (? rich, plentiful), 310; Agni Purishya, the son of
the Earth, 311. pârnâhuti, III, 42; V, 504. Purohita, one of the ratninab, III,
59; anoints (sprinkles) king in front, 94; hands the sphya to consecrated king, 110; Kshatriya and Purohita alone complete, 259; are everything, 260;
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fee for oblation to Püshan, 56, 63; pârtha-oblation to Pashan, 82; Poshan Visvavedas (all. possessing), 89; assists Varuna, 113; samsrip oblation (pap) to, 116; prayugâm havis (pap), 125; is this earth, 205; V, 352; Aditi and Pashan connected with trinava-stoma, IV, 69; rules over small animals, 75; is cattle, 195; V, 293; takes Sri's wealth and receives (mitravinda) oblation (pap), V, 62-65; protector of travellers, 293 ; watcher of men, 293; expiatory pap, 346; lord of roads, 352,
353; is (Vayu) the wind, 474. pushkara, etymology, III, 365. patika. See âdâra.
quarters. See regions. queen, one of the ratninab, III, 60;
lies down near sacrificial horse, V, 332.
is perfect in sanctity and power, 260; his fire used by king for
offering during dîkshấ, V, 371. Půru, an Asura-Rakshas, overthrown
by Agni in battles, III, 292. Purukutsa, the Aikshvaka, per
formed the Asvamedha, V, 397. Purûravas, son of Ida, -Purúravas
and Urvasi, V, 68 seq.; wanders about in Kurukshetra, 70; be
comes a Gandharva, 74. purusha, — seven purushas (the
seven Rishis) made into one, ÌII, 144 ; IV, 205;-the Purusha, 304, 305; is Pragâpati-Agni, III, 144;-(man) a sacrificial animal, 162, 165 seq.; slaughtered for Visvakarman, 162; has twenty-four linibs, 167; twenty- one parts, 172 ; hornless and bearded, 177; Purusha, IV, introd. xiv seq. ; (man in the sun, and in the eye, the gold man), xxii; this divine person (in sun, and eye) is variously served as Agni, Saman, Uktham, &c., IV, 373; (Agni) Vaisvânara is the Purusba, 398; the Agnilike, Arka-like, Uktha-like Purusha, 399; is the true Brahman, 400; Purusha Pragapati, born from golden egg, V, 12; Purusha Narayana exhorted by Pragapati to sacrifice, 172, 173; is established in five things, 389; Purusha Narayana, 403; Purusha born from Virág, and Virág from Purusha, 403; purushas (men) as victims, 407
seq.;-cf. sun, eye. Purushamedha, III, introd. xxvi;
V, introd. xxi seq., 403 seq.; five
sutyás, 405; etymology, 407. Purusha-Nårâyana (litany), V, 410;
cf. purusha. purusha-saman, (III, 369); IV, 146. purusha-sûkta, IV, introd. xiv. půrvabhisheka, IV, 349. Purvakitti, the Apsaras, in an inter
mediate (? upper) quarter, or
the dakshina, iv, 108. Pashan, by five syllables gained the
five regions, III, 40; pap to, 53, 63; lord of cattle, 55; V, 346; represents productiveness, III, 56; dark grey bullock the
race. See chariot race. Råganya, shoots seventeen arrows'
ranges, III, 25; word of four syllables, 25; takes part in chariot race, 19; holds honeycup and cup of Sura, 29; sprinkles king from nyagrodha vessel, 83; the bow his strength (virya), 89; ten Râganyas drink of Sacrificer's cup, 114; armoured Råganya driving round sacrificial ground, shooting arrows at two ox-hides, IV, 283 n.; not to be engaged with in disputation by Brahmanas, V, 114; hired by some to drink the Sura-liquor, 233; a form of the kshatra, 286; battle is his strength, 287; the grandeur of heroism bestowed on him, 294, 295; born (from) of old as one heroic and victorious, skilled in archery, certain of his mark, and a mighty carfighter, 294, 295; unfit to be consecrated (king), 360; Ra
ganya lute-player, 364 seq. rågangabandhu, IV, 21; keep most
apart (i from their wives in eating) whence a vigorous son is born to them, 370; Ganaka
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SATAPATHA-BRAHMANA.
of Videha called thus, V, 113.
rågaputra, a hundred princes born in wedlock to be the guardians of the sacrificial-horse, V, 288; those who reach the end of the
year's keeping become sharers in the royal sway, 288, 289. Ragastambayana. See Yagnavalas
Ragastambayana.
Ragasiya, III, introd. xi, xxiv-xxvi; belongs to king and makes him king, III, 4; inferior to Vâgapeya, 4; IV, 225; performance, III, 43 seq.; is Varuna-sava, 76; a supernumerary (special) rite, 246. raggudâla (Cordia Myxa) V, 373, 374.
Ráhugama. See Gotama Râhûgana. Raikva, III, 107. rain, from clouds arising from smoke (steam), III, 185; from smoke sent up by the earth, 383; falls both on ploughed and unploughed land, 336; represented by the apasya bricks, IV, 34; falls everywhere in the same direction, 35; is in the wind, 35; falls abundantly in the rainy season, not in autumn, 49; rain and wind, connected with Mitra-Varuna, freed from death through ekavimsa-stoma, 68; is the arrows of the Rudras in the sky, 164; is ruled over by Maruts, 170; produces a well-ordered state of society, V, 18; sounds like a chant, 45; rain-drops, as many as sweatpores, hair-pits, and twinklings of the eye, 169; hail and lightning two terrible forms of it, 251; the sky, rain, the first conception, 315. rainy season, produced from the eye, and from it the Gagati, IV, 8; consists of months Nabhas and Nabhasya, 48; rainy season and autumn are the air-world, and the middle of the year,
49.
raivata (and sâkvara) -sâman, is a prishtba-sâman, III, introd. xxi, xxii; connected with pankti, trayastrimua, &c., 91; sâkvara
and raivata produced from trinava and trayastrimsa, IV, 12; connected with Brihaspati, Visve Devâb, the upper region, &C, 103.
Râka, pap offered to her, (the extreme end of) one of the four regions, IV, 264.
Rakshas, safety from, III, 45; suck out creatures, 49; smitten by Indra and Agni, 51; swept away by the gods, 52; kept by continuous libation from coming after the gods, 191; kept off from south, and sacrifice spread in place free from danger and devilry, 199; seek to hinder the gods from sacrificing, 357; are the associates of the night, 361; rakshas-killing counter-charm, 53, 371, 372; repelled by thunderbolt, 372; harass those wandering in a wild forest, V, 160; Kubera Vaisravana their king, the Devaganavidya their Veda, 367, 368.
rakshovidyâ, V, 368 n. ram, sacrificial animal, III, 162, 165 seq.; slaughtered for Tvashtri, 162; is vigour, IV, 38; vicious ram (aidaka) an unclean animal, V, 178; originates from Indra's
nose, 215. Råma, son of Dasaratha, III, 97. Råma Mârgaveya, one of the Syå
parna family of priests, IV, 345 n. rampart, threefold, III, 212, 213. râshtrabhrit oblations, at (consecration of) Agnikayana, IV, 229. rasmi, rein, III, 101. Rathagritsa, Agni's commander-inchief (senani), is the first springmonth, IV, 105. rathantara-sâman, III, introd. xiv, xv; connected with Agni, xv; with the brahman, &c., 91; at kesavapaniya used for first prishiba and for sandhi-stotra, 127; produced from trivit, IV, 5; (rathantara-kbandas is the earth, 89); connected with Agni, the Vasus, east, trivrit and agyasastra, 100; sung over completed altar, is this earth, 179; etymology, 179. Rathaprota, Aditya's commander-in
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IV, 105.
chief, is the first rainy month, the world by Visve Devâb, 235; IV, 106.
are both inside and outside of Rathasvana, Vàyu's commander-in- these worlds, 235; by them
chief, is the first summer month, the worlds are fastened to the IV, 106.
sun, 269; created with the Rathaugas, Agni's chieftain (grå- moon, 286; are between these mani), the second spring month, two worlds, 349; IV, 26; are
the upper sphere, IV, 9; above rathavimokaniya oblation, III, 101. everything, 10; are the heavenly Rathekitra, Vayu's chieftain (gra- world, to; become the ear,
mani), is the second summer 10; are in all four directions, month, IV, 106.
26; face each other, 27; are ratna-bavimshi (ratninâm havîmshi), supported by the sun, 28; III, 58 seq.
names of the five regions (East ratninab, III, 65; do homage to queen, South far-ruler, West king, 108.
all - ruler, North self-ruler, râtri (night performance), III, 127. Great-region supreme ruler), râtri-paryâyåb, III, 13.
46, 1oo seq. ; freed from death rattan (vetasa), mat used to cut the through katushroma, connected
sacrificial horse on, V, 304, 329, with Savitri and Brihaspati, 394 ; rattan grows in water, 69; encircling (paribha), 88; 304, 329.
are the firmament, the heavenly rauhina, plates. V, 454 seq.; cakes, world, 100; five on this side of
cooked, 468; offered, 472, 489; the sun, 104, 195, 200 ; five on they are Agni and Aditya; day the other side of the sun, 104, and night, heaven and earth, 200; four on the other side 473, 474.
(?), 198; five propitiatory obRauhinayana. See Priyavrata.
lations to the five) regions raurava-saman, is an aida-sâman, IV, (disâm avesbti), 345; how laid 10.
down in the several layers, 263, realm, sustained by kings, IV, 329; 264;created by the five gods by couples (offspring), 230.
Parameshsbin, Pragapati, Indra, red, includes all colours, III, 355.
Agni, Soma, V, 16 seq. ; guarreed (muñga), entered by Agni, dians of the four regions are
III, 198; is Agni's womb, 200; the Åpyas, Sadhyas, Anvadhyas, (vetasa) rattan branch drawn and Maruts, 359; parcelled out across altar to appease it, IV, 174; between the priests, 402, 412, plucked out from its sheath, 420; are a place of abode to V, 267; a bundle held up- all the gods, and Kandra their wards while sepulchral mound regent (), 505. is raised, and afterwards put up regional bricks. See disya, and in the house, 436; sheaths of
ásvini. reed grass kindled, 463.
renunciation, of one kind of food region (quarter), — five, III, 40, for life, III, 337; IV, 314.
108; IV, 346; four, III, 203; retabsik, bricks,-two, are these two six, 268; seven, IV, 277; nine, worlds, III, 383; IV, 26; are III, 196, 296; ten, 183, 297; the testicles, III, 384; are the IV, 164, 146; ruled over by ribs of Agni, the sacrificial aniPashan, III, 40; ascent of, mal (bird), 400; IV, (a), 16; 91; connected with the Brah- their range (or rim), 17, 23, 26. man, &c., 91; how created, retribution in future life, V, 109 seg. 149; are parts of Vayu-Praga Revottaras Sthapati Parava Kakra, pati, 152; are Agni, 183; (short Sthapati Kåkra, or Kåkra connected with Vâyu, and Sthapati), priest and teacher, V, third layer of altar, 188; heal 336, 269. what is injured, 221; put in Ribhu,- Ribhus and Visve Devab
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SATAPATHA-BRAHMANA.
connected with beings (bhata) and trayastrimsa - stoma, IV, 69; - a Ribhu of the Gagat (Gagati) metre (is the arbhavapavamâna) bearing the Sacrificer to bliss, V, 173; Savitri, with Ribhus, Vibhus, and Vågas,
receives offering of Gharma, 48o. ribs, are the middle of the body, IV,
20, 31, 32; fastened on breastbone and costal cartilages, 114;
-parsu and prishri, V, 1640. rice, different kinds of, III, 69-70;
originates from Indra's marrow
(and Soma-drink), V, 216. Rik, was in Vritra, III, 138; part of
triple Veda, 139, 141; thereon the Sâman is sung, IV, 13; wife of Såman, 14; Rits and Sâmans as Apsaras, the Gandharva Manas' mates, 233; they are wishes, as thereby one prays, 333; by the Mahad uktham it enters Pragâ pati as his vital fluid, 284; consists of 12,000 Brihatis, 10,800 Panktis, 352,353; a hymn to be recited of
the Rik, the Veda of men, V, 362. riksama-saman (? vairapa-saman, or
such as are merely sung, not chanted), produced from Gagatî, and from it the Sukra-
graha, IV, 7. Rishabha Yagñatura, king of the
Sviknas, V, 250, 399, 400. Rishi,—were the non-existent, III,
143; the vital airs, 143, 333; IV, 60, 100, 185; etymology, III, 143 ; saw the fourth layer of altar, 189, 190; have a foreshare in Agni, 333; the seven Rishis are the seven vital airs in the head, IV, 73; Dhâtri their lord, 73; the first-born Brahman, 100; Rishis spin the thread (of the sacrifice), 134; first made up (constructed) the fire-altar, 174, 185 ; the seven purusbas made into one purusha were the seven Rishis, 205; established in the seasons, 312; the last-born Rishis, 250, 267;-have mistakes in their sacrifice pointed out to them by Gandharvas, V, 29; the seven (Ursa major), 425.
rishika, bear or ogre, V, 307. ritavyà, seasonal bricks, are the
seasons, III, 386; IV, 29; the three worlds, 129; the nobility, 129; stepping-stones for the gods and Sacrificer to ascend and descend the worlds, 129; the two of first layer are the spring months, Madhu and Madhava, III, 386; IV, 3;two of second layer, 14 ; are the summer months, Sukra and Suki, 29;two lower of third layer, the two rainy months Nabhas and Nabhasya, 48; the two upper, the autumn months Isha and Urga, 49:two of fourth layer, the winter months Saha and Sabasya, 70;
-two of fifth layer, 99, 125 seq., are the dewy months Tapa
and Tapasya, 126. rite. See vrata river,-seven flowing eastwards, IV,
211; seven flowing westwards (identified with downward vital air), 312; those drinking thereof become most vile, blasphemous,
and lascivious of speech, 212. Rohini, the nakshatra, falls on new
moon of month Vaisakha, V, 2. Rohita, son of Hariskandra, III, 95. rope, of darbha grass, for tying
horse, greased with ghee, v, 374; twelve (or thirteen) cubits
long, 276. royal dignity, means unlimited pros
perity, V, 349. rubbing down of Sacrificer with
fragrant substances, at Sautra
mani, V, 252. Rudra, is Agni, III, 51, 64; gave
dhukå pap to, 51, 63; rules over beasts, 52, 105; bankers after killed cow, 63; Rudra Pasupati, gavedbuka pap to, 70; the North his region, 97; IV, 158; V, 488; Rudra Suseva (most kindly),111,110; a formand name of Agni, 159; Satarudriya, IV, 150 seq.; is Agni in his immortal form, 156; oblations of wild sesamum, on an arka leaf, to, 156; was originally Mangu, 157; etymology, 157; V, 116; hundred - beaded, thousand -
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corresponding to the midday pressing, 443; Indra, with Vasus, Rudras, and Adityas, receives offering of Gharma,
479, 480. ruga, an arrow, III, 38. runmati, oblations to Agni and
Varuna, IV, 237–239. rupa, form, - oblations to forms.
See prakrama.
eyed, hundred - quivered, IV, 157; oblations of gavedhuká flour on an arka leaf, 158; is the Kshatra (whilst the Rudras are the Vis), 159, 162; the golden-armed leader of hosts, 160; worshipped with mystic utterances, 161 ; Agni created as the hundred-headed Rudra, 201; his shaft piercing Pragà. pati's body, V, 36 n.; the ruler of animals, 229; by hairs of lion, wolf, and tiger being put in cups of Surâ representing wild animals, Rudra's shaft is only directed against these, and be spares domestic cattle, 230; consecrates king by the Trish
tubh, 313. Rudras, by fourteen syllables gain
katurdasa-stoma,I11,40; eleven, born from Våk, 149; placed in the air with Vayu, 150; kindle the sun, 231; Vasus (with Mitra) and Rudras mix the clay, 231; fashion air-world by means of trishrubh, 234; Rudras and Vasus sing praises of (bricks in) second layer, IV, 25; how produced, 33; Vasus and Rudras connected with embryos and katurvimsa - stoma, 68; Vasus, Rudras and Adityas separate, and are the lords when heaven and earth separate, 75; connected with Indra, &c., 101; the lords of the south, 101; Vasus, Rudras, Adityas, Maruts, Visve Devåb build on different quarters of the altar (E.S.W.N.Zen.), 118; of earth, air, and sky, 158-159; originate from drops of oblations, 159; are the Vis (whilst Rudra is the Kshatra), 159; are spread by thousands over these worlds, 168; in tribes (gâtäni), 160; the arrows of the Rudras of sky, air and earth are rain, wind and food, 164, 165; the Rudras invoked in the Satarudriya are Agnis, 167; the eleven Rudras enumerated, V, 116; arise by performance of midday pressing, 173; obtain the part of Vishnu, the sacrifice,
Sacrifice, path of, not to be swerved
from, III, 14; V, 10; west (to east?) path of sacrifice, 111,347; sacrifice is happiness, 351; performed from the left (north) side, IV, 107; of ever-flowing blessings, 107; all beings are settled in the sacrifice, 144; has only one finale, heaven, 146; is all-sustaining, 199; they who perform it are wise, 199; Yagña as Gandharva, with the Dakshinas, as Apsaras, his mates, 232; comparative efficacy of sacrifices, 299; is a Man, 300, 305; Pragàpati, the Sacrifice, is the Year, V, 1; 38; the fire its womb, 3; is a counterpart of Pragapati, 13; becomes the Sacrificer's body, 23, 37; bolt of the sacrifice (yagnameni), 42; the successful issue of the sacrifice, 66-68; the five great (mahayagħa), 95; sacrifice is cattle, 116; animal sacrifice fivefold, 125; like a forest with desert places and ravines, the sacrifice not to be entered without knowledge, 160; (true) form of sacrifice ensures entrance to the heaven of the living, 312; is devotion, 231; a web, 252; the navel of the earth, 390; passage between Agnidhra and Katvala is the gate of the sacrifice, 497 ; sacrifice is the self of all beings,
504. Sacrificer, is Indra, III, 13; 18; at
Vagapeya sprinkled with remains of offering material, 38; the child of the earth, 125; he is Agni, 212; is really intended to be born in heaven, 345; is Pragàpati, Agni, the sacrifice,
saven and are the Adityas
Rudra and for earth Rudraslo
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SATAPATHA-BRAHMANA.
IV, introd. xv seq.; carried to heaven by, or flying there in shape of, birdlike altar, IV, introd. xxi seq.; becomes Death, xxiii; ousted from his realm (yagamânaloka) by wrong sacrificial procedure, IV, 94; is the fire on fire-altar, 94; sits down with the Visve Devåb on the higher seat (in the sky), 124; is established with Visve Devab, 301; the fire-altar, Mahâvrata, Mahad uktham, bis divine immortal body, 279; is the body of the sacrifice, 280 ; V, 236; in entering on the fast he gives himself up to the gods, and by the sacrifice he becoines an oblation to the gods by which he redeems himself from them, V, 26; 27; and is freed from sin, 38; Sacrificer dying whilst away from home, 197 seq.; when about to die, 101 seq. ; when dead, goes to the place won by him in heaven, 304; symbol- ically placed in heaven, provided with the Soma-drink, 231; drinks Aindra cup at Sautra. mani and has his abode with Indra, 245; is Aditya, 348; re- quests invitation from priests for partaking of cup (of vasa), 259; arises in the other world with a complete bodyand all limbs,259; by means of the golden light (or a gleam of light shining after him) goes to heaven, 303; with Vâvâta and other wives, 349; whilst sacrificing becomes a
Brahmana, 348. Sacrificer's wife, led forth by
Neshtri, III, 31; puts on garment of Kusa grass, 32; discarded when without son, 65; Sacrificer's wives sprinkle the horse, V, 313; they weave pearls into its hair, 313; they cleanse sacrificial horse, 321-323; walk round it, 322,333; fan it, 333; the four wives in attendance at sacrifice, 349 ;-she is made to look upon the Maha
víra, 472. sacrificial post. See Yapa.
sådana, settling of bricks, III, 154;
sådana and súdadobas, 301, 305
seq. ; 379; V, 5. sadas, associated with Gagati, V, 495. sadasya, a seventeenth priest re
cognised by the Kaushitakins,
IV, 348 n. sadhyas, the guardians of one of the
four regions, V, 359. sagata, III, 107, 111. sagûrabdiya, oblation on the darbha
bunch on freshly plougbed altarsite, is Agni's fore-share, (111,
333, 333); IV, 185. sagush, IV, 32. saha, the first winter-month, IV,
70. Sabaganya, the Apsaras, is an inter
mediate quarter (S.E.), or the
earth, IV, 106. sahasradakshina, III, 140. sahasya, the second winter-month,
IV, 70. Sailali, V, 393. Saindhava (horses), are the Hotris
and Adhvaryus, V, 94. Sakalya, chosen to quench the fire
brand Yaghtavalkya, V, 115; questions beyond the deity (Pragapati-Brahman) and dies
in misery, 117. såkayanins, their doctrine regard
ing the nature of Agni, IV,
363. Såktya. See Gauriviti. Sakuntala, the Apsaras, mother of
Bharata, V, 399. såkvara (and raivata) saman, a
prishuba-saman, 111, introd. XXxxii; connected with Pankti, Trinava, &c., 91; såkvara and raivata produced from trinava and trayastrimsa, IV, 12; connected with Brihaspati, Visve Devâb, the upper region, &c.,
103. sakvari (verses), V, 331, 333. sâlâ, III, 117. salâvrika (or sålåvrika), hyena),
V, 71. salt, means cattle, III, 33, 299;
seventeen bags (asvattba leaves) thrown up by peasants to Sacrificer, 34 ; scattered over Gårhapatya site, 299; is the amnion of the fire, 302, 344 ; salide soil
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on, 302, 303; samidh means
vital air, 205. sâmidhenî, twenty-four, III, 167;
twenty-one, 172; seventeen, 174; eleven, the first and last of which
recited thrice, V, 25, 39. samishtayagus, III, 185; nine (eleven)
at Agnikayana Soma-sacrifice, IV, 257 seg. ; not performed at Dikshaniyeshti, &c., 258 seq.; at etymology, 261; the nine to complete the nine incomplete offerings, 261 seq.; is food,
V, 44:
means cattle, 343; is seed, V,
426. Salva, a people, IV, 344 Sâman, ill, introd. xiii seq. ; was
in Vritra, 138;-(= vàginam sâman) sung by Brahman, 23; part of triple Veda, 139, 141; is sung on the rik, IV, 13; the husband of the Rik, 14; -samans sung on svayamâtrinnas, 144; are sap (rasa) laid into the worlds, 145; on bhab bhuvab svar, 145 ; six Sâmans sung (by Adhvaryu) over appeased altar, 177 seq.; are the vital airs, 177; make body boneless and immortal, 178; those six Samans are in mortal bricks, 181; Riks and Samans as Apsaras, the Gandharva Manas' mates, 233; are wishes, as one prays with them, 233; by the Mahâvrata-saman the Såman (veda) enters Pragâ pati as his vital fluid, 284; Saman (veda) consists of 4,000 briha- tîs, and Yagus and Saman of (7,200 and 3,600) 10,800 paiktis, 353; saman sung (by Brahman) at Sautrâmani, the Sâman representing lordship (kshatra) or imperial sway, V, 255; is the essence of all the Vedas, 255; is the Veda of the gods, 370; a decade of it recited, 370; sung at pravargyotsådana, 496; drives
off the Rakshas, 496. samanabbrit (holders of the pervad-
ing air) are the speech-sustain-
ers, IV, 15. sama-nidhana, IV, 116. sambhâra, III, 36; V, 447. Samgivi-putra, IV, introd. xviii. samgrahîtri, charioteer, one of the
ratninab, III, 62, 104. sami (acacia suma), a samidh of, IV,
302; etymology, 302; for appeasement, not for food, 202 ;
peg on tomb, V, 436. samidh, eleven, III, 259; twelve for
Kshatriya and Purohita, 259; three udumbara ones, soaked in ghee, put on the fire prior to its being led forward, IV, 189; are Agni's food, 191, 202; three (Jami, vikankata, udumbara) put
samkriti-sâman, V, 333. Sammada. See Matsya. samråg, is Pravargya, V, 443 ; his
throne-seat, 461. samråg-cow (of Pravargya), killed
by a tiger, atonement, V, 131
seq.; cf. gharmadugha. sâmragya imperial dignity), III,
introd. xxiv; represented by throne-seat at Sautrâmani, V,
249. samratsava, III, introd. xxv. samsrip-oblations, III, 114 seg. samstbâ, III, introd. xi; the samstha
is the year, V, 348. samstubh (metre), is speech, IV, 89. Samudri (son of Samudra). See
Asva. samudriya - metre, III, 352 (cf.
samudra - metre, = the mind,
IV, 88). samvatsara, (?) year of cycle, IV, 21;
etymology, V, 14. samyank, IV, 26, 27. Samyos, makes good all imperfections
in sacrifice, V, 29;-samyorvaka,
a resting-place, 44. sand (sikatâ), produced from clay,
III, 158; scattered over saline soil on Garhapatya site, 300 ; on Ahavaniya site, 344; is the ashes of Agni Vaisvanara, 300; his seed, 300, 302, 311; emptied fire-pan filled with it, 311 ; on uttara-vedi, 349; two kinds, black and white, 352; is the lost part of the Brahman (Pragâpati), 353; is unnumbered, unlimited, 353; number of sand grains, 353; represents bricks with formulas, 353; the sediment of water, 416.
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SATAPATHA-BRAHMANA.
sandhi-stotra, Ill, introd. xviii, xix,
12; is trivrit at Kesavapaniya,
137. Sandila, fire-altar, IV, 167, 272, 272,
374. Sândilya, III, 414; IV, introd. xviii,
instructs the Kankatîyas, IV, 254, 379; disputing with his pupil Saptarathavabani, 295 instructs Vâmakaksha yaxa, 345; his doctrine of the Brabman,
400.
Sândilyâyana, instructs Daiyâmpati,
IV, 273; cf. Kelaka Såndilya
yana, 364. sântadevatya, the same as satarud
riya, IV, 156. sap, vital (rasa), unites head and
breath (vital air), IV, 201. sapha. See lifting-stick. saptadasa-stoma, III, introd. xxiii;
connected with Vis, &c., 91; used at Dasapeya, 118; at midday- service of Kesavapaniya, 127; produced from sukra - graha, and from it the vairûpa-saman, IV, 9; is space, Pragàpati, the year, 62; connected with gods generally and the creator, frees the Vis from deatb, 68; is food, 79; connected with Varuna, the Adityas, the west, &c.,
IOI, 102. Saptarathavahani, disputing with his
teacher Sändilya, IV, 295. sapti, leader or side-horse, III, 20, 21. Sarasvat, is the mind, III, 398; V,
32, 35. Sarasvata wells, III, 398. Sarasvati, victim to, II, introd.
xviii, xxiv; is Vak, 39, 80, 398; V, 32, 35, 293, 476; pârthaoblation to, III, 83; assists Varuna, 113; samsrip-oblation (pap), 115; prayugam havis (pap), 125; ewe with teats in dewlap her victim at Sautramani, 139; cures Indra of effects of Soma, 135; with
Indra, whence she gets the ram for her guerdon, 216, 223; ram immolated to her, 217; ewes sacred to her, 218; sbe distils the Soma (plant) brought away from Namuti by. the Asvins, 232; connected with the air and the middaypressing), 241, 247; bestows food, 243; connected the rainy season and autumn, 247; together with the Asvins she prepares the Sautrâmani to heal Indra, 249; Asvins, Sarasvatî and Indra are everything here, 253; have a share in the Gharma, 475; an ewe her victim at Asvamedba, 300; assists the Asvins in restoring the head of
Makha, 475. Sarasvati, river, water from it used
for coronation of king, III, 73. sârathi, III, 62. sarira, etymology (sri), III, 144. Sarkarakshya. See Gana. Sarigaya. See Suplan. sarpana, III, 114; with the horse, to
the Pavamâna-stotra, V, 305. sarpanama-formulas, III, 369; ety
mology, 370. sarpavidyā, the Veda of snakes, V,
367. Sarva, form and name of Agni, III,
159; is the waters, 159. Sarvamedha, III, introd. xxvi; V.
417 seq.; a ten-days' sacrifice,
418. Sarvaprishtba, III, introd. xxii; IV,
346. sarvastoma, IV, 146. sarvavedasa, sarvasva (all one's pro
perty), -substitutes in giving it
away, IV, 321 n. sastra, III, introd. xii; attended by
Sacrificer, 41; is the Sacrificer's subjects, 41; same as stotra, IV, 14; (professional) reciter is despised, 367; (uktha) without it, the stotra is in vain,
V, 257. sasvat, III, 98; V, 250 n. sata, a bowl (of reed), V, 230, 252. satamâna, round (gold) plate, III,
104; presented to Brahman, 141; fee for bahishpavamâna of Asvamedha, V, 306.
effects ati val's supported Agni-
sarvata bowl (of reeds la
crificer is anointed at Agnikayana, IV, 228; takes Sri's prosperity (pushti) and receives (mitravindå) oblation (pap), V, 63-65; is healing medicine, and assists the Asvins in curing
plate, III,
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INDEX TO PARTS III, IV, AND V.
Satânika Sâtrâgita, performed the Asvamedha, V, 400, 401. Sâtaparneya. See Dhîra Sâtaparneya.
Satarudriya, IV, 150 seq.; etymology, 156, 157; amounts to the year, 166, 167; to the Mahad uktham, 168, 320. satasârsha-rudra-samanîya, IV, 157. satâtirâtra session, V, 91 seq. satobrihati metre, in the form of it steers were produced, IV, 38. Sâtrâgita. See Satânîka. Sâtrâsâha. See Sona. Sattra, sacrificial session, hundred Agnishtomas, Ukthyas, Atirâtras, V, 91, 135 seq.; performance of a year's Sattra is like the crossing of an ocean, 145 seq.; of a thousand years, and its substitutes, 170 seq. Sattrin,-whether to have separate
of a
or common hearths, V, 175; if taken ill, keep apart and offer Agnihotra, 175; in case of death, Sattrin to be burnt by his own fires, 175. Satvats, V, 401. Satyakama Gâbâla, V, 392. satya-sâman, III, 361, 363 (corr. IV, 146).
Satyayagna Paulushi (Prâkînayogya), a teacher, IV, 393, 394. Satyayagi, V, 354, 395; cf. SomaSushma Sâtyayagi. Satyayani, IV, 21; his view as to the nature of Agni, 363. Saukeya Prâkinayogya, in disputation with Uddálaka Aruni, V, 79 seq. Saulvâyana, an Adhvaryu priest, V, 61.
Saumapa Mânutantavya, V, 392. Saunaka. See Svaidâyana, Indrota. Sausromateya. See Ashâdbi. Sautrâmani, III, introd. xxvi, 129
seq.; castrated bull the fee, 137; a draught mare, 138; a sattra, III, introd. xii, 140; performance, V, 213 seq.; is both an ishri and an animal sacrifice, 220; is Soma, 220; by Sautråmani one's enemy is overcome, 223; should be performed after each Somasacrifice to replenish one's self,
569
239; becomes (or is) a Somasacrifice, 240, 245, 264; belongs to Indra, 245; is the year, 247, 248; is the moon, 248; prepared by Asvins and Sarasvatî to heal Indra, 249; a Brahmana's sacrifice, 260; is the body of man (Sacrificer), 262; YagЯa, the Sautrâmani, at first with the Asuras, went over to the gods, 270. savana, the three (Soma-pressings), of Gâyatri, Trishtubh, and Gagatî nature, are devoted to Agni, Indra, Visve Devâb respectively, V, 106, 443, 444; (Asvins, Sarasvatî, Indra), 241; (Vasus, Rudras, and Adityas),
-
241 n., 443.
Savanîya victims, on first day of As
vamedha, V, 377; on third, 395. savimsa-stoma, is victorious assault, the year, IV, 63.
sâvitra, formulas and libations, III,
190, 196; IV, 266; are one half of the year, 347; an Anushrubh one (not approved of), V, 89. Savitri, the impeller, speeder, III,
2, 61; preliminary oblation to, 4; by six syllables gained the six seasons, 40; twelve or eight- kapâla cake, 61, 115; ditto of fast-grown rice, 69; Savitri Satyaprasava, 69, 109; pârtha - oblation, 82; assists Varuna, 113; samsrip-oblation (twelve or eight-kapala cake), 115; prayugam havis (ditto), 125; ditto cake at Sautrâmani, 136; saw the Sâvitra formulas, 190; is Agni, 191; poured out as seed, 192; is the mind, 193; (the dappled steed) with his rays (reins) measures out earth and regions, 195; is yonder sun, 195; the heavenly Gandharva, 195; he who chooses his friendship chooses glory and prosperity, 251; Savitri and Brihaspati, connected with the regions and the katushtoma, IV, 69; the sun-rayed, golden haired Savitri raises the light, 195; is the guardian of all beings, 195; Savitri, the sun's well-winged eagle, is Pra
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SATAPATHA-BRAHMANA.
gåpati, 305; distributes the immortal light among creatures, plants and trees, more or less, and, along with it, more or less life, 322; takes Sri's dominion, and receives (mitravinda) oblation (eight or twelve-kapala cake), V, 62, 65 ; brahmakarin committed to him, 86; victim before initiation for Sattra, formerly to Savitri, now to Pragapati, 174 ; Savitri's cake is on twelve kapalas, to win the food of the year, 212; connected with the rainy season, 247; receives oblation at Sautramani (for having assisted in healing Indra), 252; the fourth of the ten deities (all the gods') receiving oblations of drops, 280; three ishtis to Savitri Prasavitri, Savitri Asavitri, Savitri Satyaprasava, 284; Savitri is this earth, 284; takes the sacrificial horse to heaven, 319; cake (on twelve kapalas) to Savitri Prasavitri, 355; ditto to Savitri Asaritri, 356; ditto to Savitri Satyaprasava, 358; three oblations to Savitri, 409; deposits the dead man's bones in the earth, 433; Savitri, with the Rebhus, Vibhus, and Vagas, receives offering of gharma,
480; is the wind, 480. sâvitri, the sacred (Gayatri) formula,
taught to Brahmalarin at once,
formerly after a year, V, 87, 89. savyashtbri (savyastha, savyesbibri,
savyeshtba), III, 62, 102. Sâyakâyana. See Syâparna. Sâyavasa. See Gana. science,-sciences (vidyâb) to be
studied, V, 98. See triple
science. sea, the womb of waters, III, 416. seasons, six, III, 31, 310, 351; IV,
228; V, 387; ruled over by Savitri, III, 40; connected with the metres, castes, såmans, stomas, 91; the five bodily parts of Pragâpati, 152 ; seven, 249, 358; IV, 177, 211, 277, 314; the six seasons fasten the year to the moon, III, 269; are the Visve Devâb, 311 ; three sea
sons of growth (spring, rainy season, autumn), 340; by sea. sons the age of embryo and man is computed, 386; consist of two monibs, 386; IV, 29; the Artava their rulers, 74; they move hitherwards and thitherwards (come and go), 91; five, 120; in each season there is the form of all of them, 126; everything fits in with its place by means of the seasons, 125; are (? rise) upwards from this earth, 138; are deranged for him who dies, 129; seven or five, 163; the six seasons are the Fathers, 243; a dying man changes to the season be dies in, 244 n.; - originated from the words 'bhub, bhuvab, svar,' V, 13; the sun is their light, 149; are continuous, all first, all intermediate, all last, 248; the year is the bull among the
seasons, 276. seed (retas), produced from whole
body, III, 349; white and speckled, 351; moist, 352; is twenty-five-fold (or twentyfifth), 353; possessed of vital air, otberwise becomes putrid, 354; is virile power, 354 ; cast silently, 358; IV, 308; shed only by testiculati, III, 384; when productive, V, 53, 56; after seed is implanted, birth takes place, 180; from seed of man and animal everything is generated, 180; the essence of food, 264; of the sacrificial horse (Pragapati) becomes gen
erated, 375. self-surrender. See surrender. Senagit, Parganya's commander-in
chief (in the upper region), is
the first winter month, IV, 108. serpents, are the worlds, III, 369;
different kinds of, 370 ; great serpent an object of wonder,
V, 40. sesamum, oblations of wild sesamum
to Rudra, IV, 156. seven, IV, 277, 314. seventeen, IV, 74. seventeenfold, is Pragapati, III, 8,
79; V, 384; Bribaspati-Praga.
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INDEX TO PARTS III, IV, AND V.
571
sitting,-one who has gained a posi
tion in the world is anointed
sitting, IV, 227. six, its symbolic meaning, III, 268,
six, it , 69 Tis Adityaa thud, v,252
i formira oblike the
shodomos para panahon ni
pati, III, 21, 22; man, 174; Pragâpati, space, IV, 62; Pragapati, the year, 76; food, 79; the
chest, V, 163. shadaha, sixty in the gavam ayanam,
V, 147; the two kinds (Pria shtbya and Abhiplava) are two revolving wheels of the gods, crushing the sacrificer's evil, 149; The two kinds to be worked into each other like the threads of one web, 149; alter
nate in sattra, 162 n. shaddbotri formula, V, 121. shastrimsa-stoma, is the firmament,
the year, IV, 65. sheep (see avi, and ram ;) pro
duced in the form of dvipada metre, IV, 38; with sheep's wool malted barley bought at
Sautrâmani, V, 319. shodasa-stoma, gained by Aditi, 111,40. shodasin (sacrifice), III, introd. xvi
seq., xxiii; victims of, 13; forms part of Kesavapaniya Atirâtra, IV, 405; twelve in the year's
session, V, 147. shodasi-graba, belongs to Indra,
III, 6. shodasi-stotra, III, 127. shoes, of boar-skin, III, 102; he
who has performed Râgasuya is never to stand on ground
without shoes, 129. sick man, when he gets better, asks
for food, IV, 87. sickle, the crops go nigh to, III, 327. side, right side of animal the
stronger, IV, 115. silk-cotton tree. See cotton tree. silver, piece of, tied to a darbha plant
and taken eastwards (as the moon), V, 196; gold and silver plates (lightning and hail) beneath feet of Sacrificer whilst consecrated at Sautrâmari, 251; as dakshina, 357; silver plate
inserted under sand, 462. Sinivali, is Våk, III, 231; pap to
her, (the extreme end of) one
of the four regions, IV, 264. sipita, (? bald part), V, 9. Sipivishta, ( bald), Vishnu, V, 9. siras, etymology (sri, sri), III, 144,
145, 401. sisna, man sports therewith, V, 76.
sixteenfold, is Âditya as the wielder
of the fifteenfold thunderbolt, IV, 85; animals (cattle), V, 252;
man, animal, universe, 303 n. sky (dyaus), union with the sun
(Aditya), III, 149; connected with Parameshthin and Aditya, 188; is the waters, 216; fashioned by the Adityas by means of Gagati, 234; udder of, is the waters, 284; is Pragâpati's head, 313, 317; sheds seed in the form of rain produced by smoke (steam), 383; the seat of the waters, 416; is blissful (sambhQ), IV, 88; above the third luminous back of the sky is the world of righteousness (sukrita), 129; is the left wing of the Agni-Pragapati, the altar and universe, 179; is the bigher abode, 209; the highest home, 203; steadied by clouds and stars, V, 126; connected with Indra, 241; the sky, rain, the first conception, 315, 389; is, as it were, yellow, 467; is a place of abode for all the gods,
505. slaughtering-knife. See knife. sleep, not to be disturbed, as during
it the union of the two divine persons in the eyes takes place, IV, 371; mouth of him who has been asleep is clammy, 371; in sleep man's functions cease,
372, sloka (noise, praise), pârtha-oblation
to, III, 82. smasâna. See burial-place; ety
mology, V, 423. smoke, is the breath of the sacrifice,
III, 340; is seed shed by the earth, and becomes rain, 383;
is the vigour of fire, IV, 250. snake, is neither worm, nor non
worm, III, 90; are the people of Arbuda Kadraveya, the Sar
pavidyå their Veda, V, 367. Snataka, 'may initiate the Unnetri
priest, V, 137.
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SATAPATHA-BRAHMANA.
meincely Pollables Bap to,
Tasvins and 32; the the gods
226; contributes to joy intoxication), 127; sukra somapîtha, 231; sukra madhumat, 232; taken from Indra by Namuki, and brought away again by the Asvins and distilled by Sarasvatî, 222, 233; the second of the ten deities all the gods' receive oblations of drops, 280; Soma Vaishnava, king of the Apsaras, 366; Soma is the seed of the vigorous steed, 390; king
Soma's throne-seat, 461. Soma-netrab (devåb), seated above,
Somalil, 4 dan pahite Commiremorca).
Soma juice le bought itation,
1817 ins... 342
343 342 shabled.
sokis,-haras, sokis, ar kis (heat, fire,
flame) of Agni, IV, 182. Soma, the moon, III, introd. xxviii;
means truth, light, 8; glory, 56; princely power (kshatra), 82; by four syllables gained fourfooted cattle, 40; pap to, 56; brown bull is of his nature, 57; Soma Vanaspati, pap of syâmâka millet to, 70; Soma, king of Brahmanas, 72, 95; pârthaoblation to Soma, 82; tigerskin his beauty, 81, 92; rathavimokanîya-oblation to, 102; assists Varuna, 113; (upasad) pap to, 118; (paikabila) pap on south part of veda, 120, 121; fee to Brahman, brown ox, 122; prayugâm havis (pap), 125; Soma withheld from Indra, 130; Soma juice flows from Indra, 131; Soma bought at new moon after year's initiation, 181; is paramâhutib, 258; the blowing wind (Vayu), 343; the vital airs, 342; the breath, 354; life-sap, 342; buying, driving about, &c., 342; is the drop, 405; the imperishable, 405; is Pragâpati, sv, introd. xxi; rules over trees, IV, 76; protector of the north, 102; connected with Maruts, ekavimsa-stoma, nishkevalya-sastra, vairâga-saman, 102; the nectar of immortality, 251, 252 ; with Agnikayana, Soma to be pressed for a year, 320; is the moon, 349; V, 6, 9, 10; pressed at full moon, and in the subsequent half-month enters waters and plants, 10; Soma created out of Pragapati with a life of a thousand years, 15; Agni and Soma become eater and food, 16; Soma, the moon, is the Avvamedha, 33, 34; takes Sri's royal power and receives (mitravinda) oblation (pap), 62-65; fetched from heaven by Gayatrí in bird's shape, 123; Pragapati, the sacrifice, is king Soma, 205 seq.; one purged by Soma offers the Sautramani, 217 seq. ; is the drink of the Brâhmana, 217; is Indra's faithful companion,
Soma-Rudra, pap to, cooked with
milk from white cow with white calf, III, 65; they removed darkness from the sun (Surya),
66. Soma-sacrifice, interlinked with
Agnikayana, III, 343; the performer of it eats food once a year in the other world, IV, 299; is (Pragàpati's) seventeenfold food, 348; as distinguished
from baviryagña, V, 119. soma-samstha, sii, introd. xi, xii. Somasushma Satyayagi, disputation
on Agnihotra at Ganaka's house,
V, 112, seg. somatipavita, III, 139; somatiputa,
V, 336. somavámin, III, 119; V, 217, 226. soma-vendor, malted rice bought
from him at Sautrâmari, v,
220, son,--sons treated kindly by father,
IV, 25; when asked by father to do anything, say what will therefrom accrue to us?' 59; dear son a favourite resort, 161; taken by father to his bosom, 206; sons in early life subsist on father, the reverse in later life, V, 157; father returning from abroad is received kindly by his sons, 204; father and son part in time of peace,
308. Sona Satrásâha, king of Paritala, per
formed the Asvamedha, V, 400. sounding-holes, are the vital airs,
V, 487. South, connected with Kshatra, &c.,
III, 91; kine and goats most
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INDEX TO PARTS III, IV, AND V.
plentiful in south region, 404; is the trishtubh, IV, 45; is virág (wide-ruling), 46, 101; the Rudras its lords, 101; Indra its protector, 101; connected with paйkadasa-stoma, praüga-sastra, and brihat-sâman, 101; connected with Vâyu, 106; region of Fathers, 226; V, 485; is space and the air, V, 17. South-east, Ukhya Agni (the sun) held up towards, III, 280; sacred to Agni, IV, 80; the sun is placed there, 133; in that region is the door to the world of the Fathers, V, 424. sowing, of all kinds of herb-seeds on agnikshetra, III, 337.
space (aerial expanse) is Pragâpati the year, and the Saptadasa stoma, IV, 62.
spade, is a thunderbolt, V, 448; of udumbara or vikankata wood, 448.
sparrow (kalavinka), springs from Visvarupa's head, III, 130. speech (voice), lord of, is Pragapati, III, 5; based on vital air, 151; is the sruk, 192; world of speech, 145, 192; there is a keen edge to it on one or both sides, 200; speaks truth and untruth, divine and human, 200; consists of vâk (voice) and akshara (syllable), 203; is a spade, 215; is of three kinds, rik, yagus and sâman; or low, half-loud and loud, 239; is healing medicine, 341; by speech the gods conquered the Asuras and drove them out of the universe, 387; the breath is the male, or mate, of speech, 391; a vital air, 402; produced from mind (and the moon), and from it the winter, IV, 11; is the Rishi Visvakarman, 12; sustained by the pervading vital air (samâna), 15; made by the gods their milch-cow, 173; one of the five divisions of vital air in the head, 190; by speech one gets into trouble, a10; speaks both truth and untruth, 257; Agni as Speech (the trayî vidya), 364 seq.; is the sun,
573
365; evolved from mind, and from it breath, 376, 377; the libations to Mind and Speech, (Sarasvat and Sarasvatî) are such to the Full and New moon, V, 28, 31, 32, 35;-single of vital airs, 246; mind is manifested as speech, 262; what is thought in mind is spoken by speech and heard by ear, 263; by mind and speech all is gained, 507. sphûrgaka, tree, not to stand near a grave, V, 427.
sphya (sacrificial wooden sword),
handed to consecrated king, III, 110; gaming-ground prepared therewith, 11I. spinal column, is continuous, V, 35.
spoon, (cf. sruk, sruva), taking up of the two offering-spoons (guhû and upabhrit), V, 56; not to clink together, 57, 60, 61. spring-season, connected with east, gayatri, &c., III, 91; is the earth, 386; consists of months Madhu and Mâdhava, 386; produced from breath, and from it the Gâyatri, IV, 4; in spring forestfires occur, V, 45; the Brâhmana's season, 348. sprinkling, of Sacrificer with re
mains of (prasavanîya) offeringmaterial at Vâgapeya, III, 38; of fire-altar with water, IV, 169, 174; of completed fire-altar with mixture of dadhi, honey and ghee, as Agni's after-share, 185; of sacrificial horse with water, V, 278, 316. sprit, bricks of fourth layer, IV, 66 seq.; free creatures from death, 67. spriti, oblations, V, 133.. Sraumatya, a teacher, his view of the nature of Agni, IV, 363. Sraushar, different modes and tones
in uttering it, V, 57 seq.; its five formulas are the unexhausted element of the sacrifice, 170;-482, 502. sri, excellence, III, 144, 163, 392; distinction (social eminence), IV, 110, 132, 241; V, 285, 313; goodness (?), 326, 327; prosperity, V, 18, 59; beauty, 315.
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SATAPATHA-BRAHMANA.
Sri, goddess of beauty and fortune,
springs from Pragâpati, and is
despoiled by the gods, V, 62. Sriñgaya, a people, V, 269. Srishti, bricks of fourth layer, IV,
71 seq. ; ? throwing of prastara (sacrificer) into the fire, V, 24;
creation (), 458. Srotriya, is an upholder of the sacred
law, III, 106. sruk (offering-spoon), is speech,
III, 192; the two serving as Agni's (the golden man's) arms, 373 ; of udumbara for Vasor
dhårâ, IV, 214. Srutasena, performs Asvamedha, V,
396. sruva, (dipping-spoon), thrown east
ward or northward, III, 53; is breath, 192; two oblations
there with, IV, 204. staff, as sacrificial fee, V, 11, 13. stake, sacrificial. See Yûpa. stambayagus, III, 325. standing, one is stronger than sitting,
IV, 172, 178; he who has not yet gained a position (but is striving to gain it) is anointed
standing, 237. stars (nakshatra), how created, III,
149; are the lights of righteous men who go to heaven, 244; are the hair (of the world-man), IV, 288; as Apsaras, the Gandharva Kandramas' mates, 232; are lightsome (bhâkuri), 232; originate from Pragâpati's hair.
pits, 361. steer (rishabha) is vigour, produced
in the form of the satobribati
metre, IV, 38. step, is the briskness in man, V, 266. sthali, cauldron, III, 370. sthapati (governor), III, 111. Cf.
Revottara. sticks, striking king with, III, 108. stobha, Ill, introd. xxiii. stokîyâ, oblations of drops, a thou.
sand to ten deities, V, 279, 280, Stoma-are laid down as bricks in
fourth layer, IV, 59; are the vital airs, 61; are food, 118; oblations relating to the Uneven and Even stomas, forming part of the Vasor dhårå, 317, 318; seven, 277, 314; do not fail by
excess or deficiency of one stotriya, V, 157; increasing by
four (verses), 166, 167. stomabhaga, bricks of fifth layer,
are the essence of food, IV, 92 seg.; are the firmament (nâka), 93, 97; the first twenty-one are the three worlds and four regions; the last eight are the Brahman, the disk of the sun,
94; are the heart, 96, 99, 115. stone,-hunger is laid into it, hence
it is hard and not fit for eating, IV, 170; put in water-pitcher and through it in Nirriti's region, 171; it should break there, 171; variegated stone set up whilst Agni is led forward, 195; is the sun, 196; is the vital air and vital power, 196; is put into the Agnidhriya dhishxya,
243, 360. stool, gold, for Sacrificer, and Adh
varyu, V, 360, 361. stotra, III, introd. xii seq.; attended
by Sacrificer, 41; is the Sacrificer's own self, 41; stotras of Abhishekaniya, 69; the same as the sastra, IV, 14; connected with the production of food
(life), 72. stotriya-trika, IV, 14. stronghold, threefold, III, 213. sû, 'to animate, speed,' III, 2. Subhadrika, dwelling' in KSmpila,
V, 321. Subrahmanyà, priest, is made the
Udgâtri, V, 137. sfidadohas, and sådana, III, 301,
305, &c.; is the breath, 302,
354; IV, 5. Sidra, -Arya and Südra ruled by day
and night, IV, 74, 75; Sudra woman as the Arya's mistress,
V, 326; Sudra is untruth, 446. Suk, heat, pain, suffering, IV, 171;
V, 497 n. Suki, second summer month, IV, 29. Sukra, first summer month, IV, 29. Sukra-graba, III, 6; puroruk formula
of, 111; produced from niksama-saman, and from it the
saptadasa-stoma, IV, 8. Säktavāka, a completion of the
sacrifice, V, 44. salavabhritha, v, 132.
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575
web-weathe Palhesting gua gods,
summer-season, connected with the
South, Trishrubh, &c., 111, 91; produced from the mind, and from it the Trishtubh, IV, 6; consists of months Suki and Sukra, 29; is the part between earth and atmosphere, 29; is scorched, V, 45; the Kshatriya's
season, 347. Sun, twenty or twenty-first-fold,
III, 265; IV, 163; V, 37, 291, 305; there is a man in the sun's disk (mandala), III, 367; its disk is the Brabman, and the Gayatri, IV, 94; is smooth and round, 180; its disk is variegated, 196; when the sun sets it enters the wind, 333; is a baker of the baked, 352; is the foundation of Pragâ pati and the Sacrificer, and generated out of their own self, 354, 355 ; the sun-its orb, light, and man
is the triple science, the Mahad Uktham, Mahâvrata, and Fire-altar, 366; the man in it is Death, who is immortal, 366; its orb is the gold plate and the white of the eye; its light the lotus-leaf and the black of the eye; its man the gold man (in the altar) and the man in the right eye, 367, 368; is the goal, the resting-place, V, 37; the towering form of the bull, 107; (Aditya) slaughtered as an animal victim by Pragâpati, and consequently endowed with certain powers, 128 seq.; represented by piece of gold tied to darbha plant and taken westwards, 195; established on the Brihati, 255, 256; walks singly, 314; is spiritual lustre, 314, 315; not rivalled by any one, 354; no one able to turn him back, 359; is a remover of evil, 436; originates from Vishnu's head when cut off, 442; whilst the sun shines the performer of Pravargya is to wear no garment, nor to spit, nor to discharge urine, 447; is Brahmanaspati, 453; is the truth, 457; the Brahman (n.), 460; Yama, 460; Makha, 460; is
the child (garbha) of the gods, 469; the lord of creatures, 469; the sustainer of sky and gods, 470; the never-resting guardian, 470; is the father, 472; is a web-weaver, 484; the quarters are its corners, 498; is the fal
low stallion, 501. Sun and Moon (suryakandramasau),
are Pragâpati's eyes, 111, 113. Sunabsepha, legend of, III, 95, 109. Sunâsirya, seasonal offering, III, 48;
Sunasîrîya, part of Pragâ pati's
body, V, 77; oblations of, 77 n. sun-motes, III, 79, 80; as Apsaras,
the Gandharva Sürya's mates, IV, 231; they float clinging
together, 231. sun-rain, III, 76. sun-rays, are the Visve Devâb, V, 196. sunwise motion, III, 359 ; leads to
the gods, 372, 373. Suparna, eagle (or falcon), Savitri's
(garutmat) Suparna, (is Pragapati), IV, 105; a Suparna of The Trishrubh metre is the madhyandina-pavamâna) bearing the Sacrificer to bliss, V,
173. Suplan Sârâgaya, V, 239. surâ, cups of, III, 8; mean untruth,
&c., 8, 9; drawn by Neshtri, 10; one of them held by Vaisya or Râganya, 29; oblation of, 133 ; offered to Fathers from pitcher with a hundred, or nine, holes, 136; originates from Indra's hips, V, 215; preparation of surâ, 223, 224; it means food, and the Vis, 225; contributes to joy intoxication), 227, 228; is the essence of waters and plants, 233; gladdens the Sacrificer, 333; is drank by him and priests, being unpropitious for a Brahmana, 233, 245; others make a Råganya or Vaisya drink it, 233; it falls to the share of the Fathers of him who drinks it, 233; purifies the Sacrificer whilst itself is purified,
with. origina: prepaeans foods
236.
surrender (parida), of one's self, IV,
186, 239, 251, 269; V, 236. Sürya, as Gandharva, with the sun
motes, as Apsaras, his mates,
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SATAPATHA-BRAHMANA.
IV, 231; is the highest of all the universe, 240; created by the Brahman and placed in the sky, V, 27; evolved from the sky, and from him the Samaveda, 102; Sürya's daughter purifies the Soma with tailwhisk, 226; she is Faith, 226; Sürya, the highest light, is heaven, 267; sacrificed as animal victim, 320; expiatory pap, 346, 347; is the eye of creatures, 346; Sürya, Váyu, and Heaven and Earth, 347; walks singly, 388; one of his rays is the rainwinner, 478; is heaven, the highest light, 502; (regent of the sky) is the self of the gods,
505. Süryakandramasau, are Pragàpati's
eyes, III, 313. Süryastut Ukthya, V, 419. Sushena, Parganya's chieftain (gra
mani) in the upper region, is the second winter month, IV,
108.
Susravas Kaushya, a teacher, IV,
391. Sata, one of the ratninab, III, 60; is
the spiriter (sava), 60-62; 11. suta and åsuta, V, 341 n. Svadha, as such the Fathers wor.
ship the divine Purusha, IV, 373; the Father's food, V, 96- 98, 234; the autumn is the
Svadha, 423. svadhyâya, the study of one's daily
lesson of the scriptures, V, 100
seq. svaha, therewith logs are conse
crated, III, 261; is food, IV, 159; is distinct (definite), 183;
is the Vashat, 277. Svaidâyana, a Saunaka, and northern
Brâhmana, defeats Uddalaka
Aruni, V, 50 seq. svar,--cf. bhab. svarag, metre, III, 364; of thirty-
four syllables, IV, 385. svåra-sâman, produced from Trish-
rubh, and from it the Antaryama-graha, IV, 6, 7; how
chanted, ib. svara-sâman days, performed either
as Agnishtonias or as Ukthyas, V, 147.
Svarbhanu, an Asura, smites the sun
with darkness, 111, 65, 406. Svargit Nâgnagita, or Nagoagit, the
Gåndhåra, a rågangabandhu,
IV, 21. svayam-åtrinâ brick, represents the
three worlds, III, 155; the first belongs to Pragâpati, 187, 378; second to Indragnî and Visvakarman, 188; third to Parameshtbin, 188;-laying down of first, as earth, food, and vital air, 377; the lower vital air, 399; IV, 2; the second (in the third layer) is the middle part of the body and its vital air, 42; the air, 44, 45; the third (in the fifth layer), 96, 99; the vital air in the middle of the body, 114, 116, 140 seg.; obla. tions thereon, 182; is an uttaravedi, 182; svayamåtrinrás as
substitutes for fire-altar, 271. Svetaketu Aruneya, has sacrifice
performed for him by Vaisvávasarya, IV, 333; his view regarding the fore-offerings, V, 40; regarding the nature of honey, 90; disputation on Agoihotra at Gapaka's house, 112 seq. ; questioned by his father regarding the fording-footholds
of the year, 147. Svikna. See Pratidarsa, Rishabha. Svisbtakrit, performed between two
oblations, III, 40; the same for kâmyeshlis, IV, 248; is fervour (tapas), V, 41; the Kshatra, 153; three oblations of blood at Asvamedha, 337, 338; is
Rudra, 338. swan maidens, V, 70. sweat-pores, as many as there are
hair-pits and rain-drops, V, 169. Syaita-saman, III, introd. xvi; sung
by some over completed altar,
IV, 18o. syâma, III, 14. syâmaka, millet, III, 70. Syaparna, a people, IV, 344 n.;
Syâparna Sayakấyana, 111,171;
IV, 274, 344. syena, falcon or eagle, one of the
Gayatri metre is the bahishpavamâna) bearing the Sacrificer to bliss, V, 173; the talon
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577
slaying syena, the king of birds, 267 seq. ; represents the earth, originates from Indra's heart, 267 ; of udumbara wood, 267; 215; with two feathers of syena V, 249; represents imperial the sacrifice is purified (swept up dignity, 349; royal dignity, 349; and down) at Sautrâmani, 330. the womb and navel of the
Kshatra, 350; throne-seat, of tail,-twenty-one-fold, IV, 222; con- Pravargya, the samråg, 461; of
traction and expansion of bird's udumbara, shoulder-high, 461; tail, 301 seq. ;-tail whisk as wound with grass-cords, 461. purifier, V, 230, 235.
thunderbolt, is fitteenfold, III, 413; Tandya, III, 153.
the (sixteenfold) sun (Aditya) tanu, (five bodily parts), III, 152.
is its wielder, IV, 85; has a Tapa, the first dewy season, IV, sling (or handle) on its right 126; is the sun, 126.
side, 86; Indra drives off the tapas, (austerities to be practised: Asuras therewith, 193; is the
of him who does so every part thunder, V, 116. shares in the world of heaven, tiger, skin of, used at consecration IV, 362; there is no perpetuity ceremony of Ragasüya, III, in it, 418.
81; is Soma's beauty, 81, 92; tâpaskita, (the fire-altar used at the produced in the shape of the
sacrificial session of that name), virág metre, IV, 38; is vigour, IV, 317; substitute for a session 38; springs from entrail of of a thousand years, V, 177 seq.; dead body, if not cleaned out amounts to a Brihati, 172.
before being burnt, V, 203; Tapasya, the second dewy season, springs from Indra's entrails, IV, 126.
215. Tårkshya, the commander-in-chief tilvaka, tree, not to stand near
of the sacrifice (or north), is the a grave, V, 427. first autumn month, IV, 107; tongue, distinguishes the essence Tärkshya Vaipasyata, king of taste, flavour) of food, V, 363. birds, V, 369.
tooth,-how teeth grow and decay, târpya, II1, 85.
V, 52, 54. teacher, of brahmatárin, whether to top-of grass-stalks is sacred to
carry on sexual intercourse, or the gods, IV, 185. not, V, 9o.
tortoise (karma), how created, III, testicles, V, 500.
147; a living one placed in first thighs, joined to body at upper end, layer, 389; is the life-sap of these
III, 306; thigh-bone the largest worlds, and these worlds thembone, IV, 137.
selves, 389; the lower shell thirteen, IV, 74.
the earth, the upper one the thirty-limbs of body, IV, 167.
sky, and what is between is the thirty-one, IV, 76.
air, 389; is anointed with dadhi, thirty-three, IV, 76; V, 164.
honey, and ghee, 389; is the thousand, - means everything, IV, same as the sun (Aditya), 390 ;
147, 304; V, 348;-the benefits is the vital air, 391; Agni Vaisof a life of 1,000 years, how to vânara, Aditya, creeps over the be gained, IV, 362.
three worlds in the shape of thread, with it fried rice-grain is a tortoise, 392; the lord of the bought at Sautråmanf, V, 219
waters and the bull of bricks, threefold, the, belongs to gods, III, 392 ;-how laid down on the 21.
altar, IV, 2. throne-seat, of udumbara, for con- traidhâtavi, offering at Sautrâmani,
secration at Vågapeya, III, 35; III, 139; at Purushamedha, V, of khadira at Abhishekaniya, 412. 105; rising from, 138; thereon trayastrimsa (-stoma), connected Ukhya Agai placed and carried, with pahkti, raivata, &c., III, (44]
Рp
udumbara, for 95;
11.30
stoma), connecten,
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SATAPATHA-BRAHMANA.
91; trixava and trayastrimsa, produced from the agrayana and from them the såkvara and raivata-samans, IV, 11, 12; is a foundation, the year, 65; connected with Ribhus and Visve Devâb, frees living beings (bhůta) from death, 70; is connected with Brihaspati, the Visve Devåb, the upper region, &c., 103 ; last of the uneven stomas, 117; trayastrimsa day,
420. trayf vidya, III, 139; (the brahman)
first created, 145, 192; is all the metres, 193; consists of hymns, tunes, and prayers, 196; dug out by the gods from the mindocean, 415; (stoma, yagus, rik, saman, brihat, rathantara) is food; mentioned in final benediction of the Vasor dhara consecration, IV, 320; is the truth, 258; the (Soma)-sacrifice, 26r; contains all existing things, 352 ; Pragapati's body contains (or consists of) it, 352; consists of 10,800 eighties of syllables, 353; is Speech, and Agni (the fire-altar), 364 seq. ; is the universe, 403; constitutes the (new, divine) body of the Sacrificer, V, 38; evolved from Agni, Vayu, and Surya, and from it the luminous essences bhab, bhuvab, svar, 103, 103 ; the Brahman priest to use the trayi vidya, 104; is the unexhausted element of the sacri
fice, 170. trayodasa-stoma, gained by Vasus,
III, 40. tragovimsa-stoma, the array, the
year, IV, 63. trees, all except udumbara side with
the Asuras against the gods, III,
256; ruled over by Soma, IV,76. tretâ, die, 111, 107. trikakubb (metre), is the udana, IV,
88. trinava-stoma, connected with Pank
ti, sâkvara, &c., III, 91; with trayastrimsa produced from the âgrayana-graha, and from them the sâk vara and raivata-sâmans, IV, 11, 12; is strength, the
year, 64; connected with Aditi and Poshan, 69; connected with upper region, Brihaspati, Visve Devåb, &c., 102, 103; is the two sides (fanks), V, 164;
trinava day, 420. tripära, III, 83. triple science. See trayi vidya. trishamyukta, offerings, III, 54, 56. trishtubh, gained by Indra, III, 40;
is vigour, strength (virya), 64; is the one rule which the gods keep, 447; IV, 262,308; V, 311, 312; connected with kshatra, &c., III, 91; is the body, self, 167, 218, 253; produced from the summer, and from it the svåra-såman, IV,6; year-and-abalf-old calves produced in the form of it, 39; is the south, 45; the air of trishtubh nature, 57; Vayu connected with it, 142; is the thunderbolt, 193, 308; connected with the sun, 197; of eleven syllables, 308; is the generative breathing (of Pragapati), 327-379; an eagle of the trishtubh metre (midday Pavamâna) bearing the Sacrificer to bliss, V, 173; thereby the Ru
dras consecrate king, 312, trivrit-stoma, gained by Mitra, III,
40; connected with brahman, &c.,91; produced from upâmsugraha, and from it the Rathantara, IV, 5; the swiftest of stomas, 61; is Våyu, 61; is breath, 66; through it (connected with Agni) the priesthood delivered from death, 67; is the head, 78; connected with Agni, the Vasus, the east, agya
sastra, rathantara siman, 100. truth, remaining with the gods, and
untruth with Asuras, IV, 257; he who holds to it, though first poor, in the end prospers, 257; truth in faith, V, 46; conquers
pain, always to be spoken, 85. Tura Kávasheya, IV, introd. xviii;
builds fire-altar at Kåroti, iv,
379. Tvashtri, assists Varuna, III, 113;
rules over living forms, 113, 115; (samsrip) ten-kapåla cake to, 115; prayugam havis (ten
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INDEX TO PARTS III, IV, AND V.
kapâla cake), 125; his son Visvarupa, 130; V, 213; ram slaughtered for him, III, 162; fashioned first the sheep, 411; takes Sri's forms and receives (mitravinda) oblation (ten - kapâla cake), V, 62-65; practises mystic rites on Indra and excludes him from the Somadraught, 213 seq.; 248; Tvashtri, the seminal, is multiform, 293; fashioner of the couples of animals, 293. twenty-five, IV, 75. twenty-five-fold, is seed, III, 353; is the body, IV, 168, 222. twenty-four-fold, is man, III, 167; the wing (paksha), IV, 222; Pragâpati, the year, V, 141. twenty-nine, IV, 75. twenty-one, IV, 75, 191; V, 150. twenty-one-fold (or twenty-first), is man, III, 172; (stoma) the sun, 127, 265; IV, 163; , 37, 150 (cf. note), 305 note, 333, 335; the tail, IV, 222; the belly, V, 164; the altar, &c., 334, 335; the head of the sacrifice, 335. twenty-three, IV, 75. twinkling of the eye, as many as there are spirations, and hairpits, V, 169.
udâna, becomes the vyâna, IV, 16; (breath of the nose) fills man, V, 31. udânabhrit (holders of the upward air), are the ear-sustainers, IV,
15.
udavasânîyeshri, III, 115, 139; IV, 269. udayaniya (Atirâtra), IV, 254. Uddâlaka Aruni, son of (Aruna) Gautama, a KurupaЯkala Brahmana, [IV, 333 n., 393 n.;] V, 50 seq.; in disputation with Saukeya Prâkinayogya, 79 seq.; teacher of Proti Kausurubindi, 153. Uddâlavat, a Gandharva, V, 30. udder, in one third of cow, III, 237. uddhâra, share,-purastâd-, uparishibât, IV, 162.
579
the vital fluid into Pragâpati, the altar, IV, 282; is the rainy season, V, 45; initiated for Sattra (as being the thundercloud and rain), 135; holding on to him from behind, 173; not to chant the Udgitha of bahishpavamâna at Asvamedha, 305; isthefriend of the gods, 388; the Udgâtris dò, as it were, the Patni's work at the sacrifice, 504. udgîtha,-of bahishpavamâna at Asvamedha performed by the horse, V, 305.
Udgâtri priest, seated towards north,
III, 109; gold wreath his fee at Dasapeya, 119; by means of the Mahâvrata (sâman) he puts
udumbara (ficus glomerata), means substance, food, III, 35, 36, &c.; strength, life-sap, 373; used for throne seat at Vagapeya, 35; for food-vessel, 36; for consecration water-vessel, 73, 80; ditto for the king's kinsman to sprinkle from, 83; branch hidden in wheel-track, 104; how produced, 256; sides with the gods, whilst all other trees do so with the Asuras, 256; contains the vital sap of all other trees, 256, (267), 394; produces fruit (thrice a year) equal to that of all other trees, 257; is always moist, 257; udumbara jar used for sowing seed on Agnikshetra, 337; etymology, 395; samidhs of, IV, 189, 191; samidh with forking branches, 203; offering-ladle of, for vasor dhârâ, 214; originates from Indra's flesh (and force), V, 215; means strength, force, 220, 448. uggiti, formulas and oblations, III,
40.
Ugra, form and name of Agni, III, 159; is Vayu, 160.
Ugrasena, performs Asvamedha, V, 396.
ukhâ, fire-pan,-materials collected for, III, 180; belongs to Pragapati, 180; eight parts of, 180; thereinto the Sacrificer pours his own self, 180; represents the three worlds, 210, 233 seq.; 313; fashioning of, 233 seq.; is a cow, 237; is Agni's self (body), 239; is the Sacrificer's own self, 251; baking of pan, 252 seq.; instructions in case
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SATAPATHA-BRAHMANA.
of its breaking, 263; ditto in case of fire therein going out, 263; etymology (ut-khan), 270; filled with sand and milk, 310, 311; not to be looked at when empty, 310; placed on mortar in first layer, 396-398; is the belly of the animal Agai, 400; shaping and baking of it side by side with the building of firealtar, IV, introd. xix; a representation of the three worlds, ib.; is placed on the mortar, a; Pragâ pati and Sacrificer are poured therein as seed into the womb, 341; therein, as the three worlds, Pragàpati pours
his own self, 354. Ukhya Agni, III, 263, 265; is held
up towards east, 272, (275); towards south-west and north- east, 280 ; carried about for a year, 269; placed on chariot and driven about, 190 seq. ; poured on Garbapatya, 310; IV, 191 n. ; 308 n.; by building an altar without carrying him for a year one kills all beings in the form of an embryo, 272; one must not officiate at such a sacrifice, 272 ; relaxations of rule, 273, 274; only one who has carried Agni for a year attains immortal life, 334; placed on
fire-altar with vashat,' 202, 341. ukkbishtakbara, V, 489 n., 500. uktha, III, introd. xiv-xvi; (=ma
had uktham), the food of Agni, IV, 342; the uktha is Agni, Aditya, Prana, the Purusha,
399; (= sastra), V, 257. uktha-stotra, 111, intrąd.xiv seq., 127. ukthya-graha, IIÍ, 11. Ukthya sacrifice, III, introd. xiv
xvi; victims of, 12; two hundred and forty, or two hundred and thirty-four in a year's session,
V, 147. uldkhala, etymology, III, 395. unbelief and belief, as two women
with a man, (wrath) between
them, V, 111-113. uneven, belongs tothe Fathers, V,423. universe, in the beginning was nei
ther existent, nor non-existent, IV, 374; is Mind alone, 375;
is only Death, hunger, which creates Mind, 402; universe originally was nothing but a sea of water, V, 13; in the beginning
was the Brahman, 27. Unnetri, priest, initiated last for
sattra by non-initiated Snataka
or Brahma tarin, V, 137. upstringing (formulas). See ava
tâna. untruth, - remaining with Asuras,
and truth with the gods, IV, 257; be who speaks untruth, though first flourishing, comes to nought in the end, 257; women, the südra, the dog and the blackbird (crow) are un
truth, V, 446. upabhrit. See spoon. upabita, III, 151. upamsu-graha, 111, 6; is the mouth
of the sacrifice, 53; produced from gayatra-saman, IV, 4; from
it the trivrit, 5. upanayana, initiation of Brahmani
cal student, V, 86 seq. upanishad (mystic import), the
essence of the Yagus, IV, 339; regarding the nature of Agni,
363 seq.; V, 155. uparishad bhagab, IV, 185; cf.
uddhara. Upasad, III, 116, 118,355; IV, 187;
with three kindling-verses, and without prayagas and anuyagas, IV, 259; the two performances are two strongholds between which the fire-altar is built, 316; are the fervour in the sacrifice, 317; are day and night, and Pravargya the sun, 317; three, six, twelve, or twenty-four Upasado days, or a year, 317, 318; on Satarudriya-day, day of preparation, and sutya-day, 320; like afterofferings of a backward direction, V, 43; twelve Upasad-days at Asvamedha, 377; ditto at Purushamedha, 403; is com
bined with Pravargya, 493. apasaya, supernumerary, V, 230 n. upasthana, of fire on fire-altar, IV,
269 ; with seven-versed Aindra
hymn, 274, 275. upayag, by-offering, eleven, 111, 163. upayamanî, (supporting) tray, V,
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581
458; is the air, the Pravargya pot placed thereon, 477, 481,
488. upper (or great) region,-is the sun,
IV, 27; the pankti, 45; sovereign mistress (adhipatni), 46, 102 ; the Visve Devab its lords, 102; connected with Brihaspati, the trinava, and trayastrimsa stomas, the såkvara, and raivata sâmans, 102, 103; a boon-bestower, is Praganya,107;
is the Sacrificer's region, 485. Orga, second autumn month, IV, 49. Urvasi, an Apsaras,- is the upper
region, or the oblation, IV, 108;
Urvasi, and Purravas, V, 68 seq. Ushas, wife of Bhätânam patib (Pra-
gipati, the year), III, 138. ushxih,-in the form of it three-and-
a-half-year old kine produced, IV, 39; is the eye (of Praga
pati), 327-328. ushxisha, turban, III, 86. usurer (money-lender), V, 368. utkara, heap of rubbish, is the seat
of what is redundant (super
fuous), IV, 137 utsådana,-of Pravargya, IV, 187;
V, 493 seq. utsarga, formulas of removal (of dis
tress), III, 408. uttaramapdrå (tune or lute), V, 356. uttara-nârayara (litany), V, 412. uttara-vedi (high, or upper, altar), is
the sky, iii, 349; the womb, 349; the air, V, 348; on the uttara (northern) vedi, 235; used for setting out the Pravargya vessels, 498; its navel is
the voice, 498. vâga (food, race, strength), III, 204. Vága, --Savitri, with Ribhus, Vibhus,
and Vaga, receives offering of
gharma, V, 480. Vågapeya, III, introd. xi, xxiii seq.;
by offering it one ascends to upper region, 2, 3; to the light, 33; becomes immortal, 33; wins Pragàpati, 3; it belongs to Brahmana and Råganya, 3; by offering it one becomes samråg, 4; it is superior to Rägastiya, 4; IV, 225; number seventeen prevails thereat, III,
8; etymology, 13 seq.; is a supernumerary (special) rite,
346. vågapeya-graha, belongs to Indra,
TI1, 6; five such, 8. vågapeya-saman, Ill, introd. xxiii,
II, 12. vågaprasaviya, (seven) oblations as
Vâgapeya, III, 37; with remains thereof Sacrificer sprinkled at Vågapeya, 38; (fourteen) oblations (of all-herb-seed) at Agnikayana, IV, 323 seq. ; are
all food, 324. Váguravasa. See Kusri Vâga.
srarasa. vághat, III, 318, 323. vagin, horse, carries the Gandharvas,
IV, 401. vaginam saman, III, 23. vai, meaning of, III, 198. Vainya. See Prithin. Vaipasyata. See Târkshya. vairâga-saman, III, introd. xx, xxii,
xxiii; connected with Anushrubh, eka vimsa-stoma, autumn, 91; produced from ekavimsa-stoma, IV, 10; connected with Soma,
Maruts, north, &c., 103. vairūpa-såman, III, introd. xx, xxii;
connected with vis, Gagati, &c., 91; (?) = riksama-saman, IV, 8, 9; is an aida-sâman, 10; connected with Varuna, the
Adityas, the west, &c., 102. vaisakha, month, new moon of, coin
cides with the nakshatra Rohini,
V, 3. Vaishnava. See Soma Vaishnava. Vaisravarra. See Kubera Vaisravana. Vaisvadeva, seasonal offering, 111,47;
part of Pragapati's body, V, 74; oblations, 74 n.; at Asvamedha (to Ka, Pragapati, Aditi, Sarasvati, Pashan, Trashtri, Vishnu),
289 seq. ; 293 seq. vaisvadeva-sastra, connected with
Brihaspati, the Visve Devåb, the upper region, &c., IV, 103; on second day of Asvamedha,
V, 381. vaisvadevi (åmiksha), III, 108;
bricks, iv, 23, 30 seq. ; repre
sent creatures, 31. vaisvakarmasra, formulas and ob
lations (corresponding to the
&
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SATAPATHA-BRAHMANA.
Såvitra ones), IV, 266; Agni Vaisvakarmana, 268; are the
second half of the year, 347. Vaisvânara, twelve-kapala cake to,
III, 57; Vaisvânara is the year, 57,170; prayugam havis (twelve- kapala cake), 135; pasupuroatása, 170; twelve-kapala cake at diksha of Agnilayana, 247; Vaisvanara is all the fires, 248; is Agni, 248; is the Kshatra, 248; the Garhapatya is Agni Vaisvânara, 300; the year, IV, 33, 207; twelve-kapåla cake which makes Agni Vaisväpara a deity after being set up on firealtar, 107; etymology, 208; is the Kshatra, 210 ; is the sun, 212; views regarding bis nature, 393 seq. ; is the Purusha, 398; expiatory cake, V, 346; Vaisva
nara is this earth, 346. Vaisvavasavya, officiates to Sveta
ketu Aruneya, and is examined by his patron's father (Uddalaka
Aruni), IV, 333. Vaisya, takes part in chariot race,
III, 29; holds honey-cup and cup of sura, 29; sprinkles king from asvattha vessel, 84; hired by some to drink the suraliquor, V, 233; son of Vaisya
woman not anointed, 326. Vaivasvata. See Manu, Yama. Vaiyaghrapadya. See Budila, and
Indradyumna. Våk, victim to, III, 15; (Sarasvati)
the leader, 39, 80; (Brihaspati) Vak, pap of wild rice to, 70 ; the triple Veda the thousandfold progeny of Vak, 140; out of her Pragàpati produced the waters, 145, 192; union with mind (manas), 149; bears the eight Vasus, eleven Rudras, twelve Adityas, and the Visve Devåb, 149; Val, the voice, speaks to a span's distance, 300; is part of speech, 203; is a mahishi (consecrated queen),
239;-cf. Sarasvati Våk. vákovák yam, dialogue, to be studied,
V, 98. valakhilya, bricks of the third layer
are the vital airs, 54 seq. ; etymology, 55; by means of
them the gods ranged over these worlds upwards and downwards,
56. Vamadevya, son of Vâmadeva. See
Brihaduktha. vâmadevya-saman, III, introd. xvi,
12, 274; how chanted, IV, 7; sung over completed altar, is the breath (vital air) and Vayu,
179; is Pragàpati, V, 333. Vâmatakshayana, 111, 314; instruct
ed by Sárdilya, IV, 345. . vapa,- of five cuttings (portions), V,
125; vapå offering on second day of Asvamedha, 391 seq.; victims with and without rapa,
420. vâr, etymology, III, 146. varana wood, peg of, V, 436; enclos
ing-sticks, 439; sruva-spoon,
439. våravantîya-saman, III, introd, xir
xxi; used for Agnishtoma-saman on first day of Asyamedha, V,
376. Varkali, V, 169. vârshåhara, sâman, V, 501. vårtraghna, are the ágyabhāgas, V,
350. Varuna, by ten syllables gains Virág,
III, 40; his noose, 47, 57, 380; Varuna is Agni, 51; (? Brihaspati, 68); barley pap to, 57, 60; to Varuna belongs the black, hence black cloth the fee for oblation to Varuna, 58; knot sacred to Varura, 58; is the spiriter (sava) of gods, 60; the horse his sacrificial animal, 60; to Varuva belongs what is hewn by axe and what is churned, 67; what is cooked by fire, 68; what grows in ploughed ground, 71; the flowing water that does not flow, 76; the garment of initiation (at Abhishekaniya), 87; Varuxa Dharmapati, barley pap to, 71; Varusa consecrated king, 98, 103; upholder of the sacred law, 106; Varuxa Satyaugas, 109; on being consecrated Varuna's lustre (bbargas) departs from him, 113; assists himself, 113; samsrip-oblation (barley pap) to, 116; seizes creatures, 116; prayugim havis
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INDEX TO PARTS III, IV, AND V.
583
varunic nature, of cow, III, 51. varunya, III, 57. vasa, hymn, IV, 112, 223. vâsa (? desirable or submissive), III,
(pap) to, 125; barley pap at Sautramani, 136, 137; Varuna is the injurer, 137; horse slaughtered for him, 162; to him belongs the sling, 279, 280; the sheep sacred to him, 411; Mitra and Varuna, out-breathing and down-breathing, connected with ekavimsa-stoma, IV, 68; rules over one-hoofed animals, 75; protector of the west, roI; connected with the Adityas, saptadasa-stoma, marutvatîyaJastra, vairûpa-sâman, 101, 102; runmatî (lightsome) oblation to, 238; is Agni (when completed and anointed), 238; is the kshatra, 239; Varuna and horse, V, introd. xix seq.; part of Pragapati's body affected by Varuna, 36; takes Sri's sovereign power and receives (mitravindâ) oblation (ten-kapâla cake), 62, 65; sends out his son Bhrigu to improve his knowledge, 108 seq.; through (a cake to) Varuna one delivers one's self from Varuna's power and noose, 221; Varuna's cakes of ten kapâlas, for Varuna is Virâg, the lord of food, 222; connected with winter, 247; upholder of the sacred law, 251; is the king of the gods, 251; receives oblation in Sautråmant (for assisting in healing Indra), 252; swearing by the inviolable waters a sin against Varuna, 265; Varuna's son or brother is a whirlpool, 266; the last of the ten deities ('all the gods') receiving oblations of drops, 281; Varuna Gumbaka, 343; propitiatory barley pap, 346; Varuna seizes upon the drowned, 346; barley sacred to him, 346; Varuna Aditya, king of the Gandharvas, 365; (the regent of waters, ? and Nakshatras) is the self of the gods, 503, 506. Varuna-praghâsâb, seasonal offering, III, 47; part of Pragâpati's body, V, 75; oblations of, 75 n. varuna-sava, III, introd. xxv, 76, 103. Vâruni. See Bhrigu.
77.
vasatîvarî water,-at Asvamedha of four kinds, from the four quarters, 275.
Vashar, uttered with ten oblations of the Darsapurnamâsa, V, 3; is the sun and Death, and by it the Sacrificer is regenerated and delivered from death, 26; produces wasting away of cattle in winter, 45;-277 note. Vasishtba, the Rishi, is breath, IV,
5; his (knowledge of the) Virâg coveted by Indra, V, 212; formerly only one of his family could become Brahman priest,
212.
Vasor dhârâ, shower of wealth, IV,
213 seq.; is Agni's Abhisheka (consecration), 213; its mystic meaning, 221 seq.; corresponds to year and Mahad uktham,
221, 222.
Vasu, dwelling in the air, III, 103,
281.
Vasus, by thirteen syllables gain the
trayodasa-stoma, III, 40; eight Vasus produced from Vâk, 149; placed on earth with Agni, 150; (with Mitra) mix the clay, 231; fashioned this earth-world by means of Gayatri, 233; Rudras and Vasus sing praises of (brick in) second layer, IV, 25; how produced, 33; Vasus and Rudras, connected with the four-footed and the katurvimsa-stoma, 68; Vasus, Rudras, and Adityas separated, and were the lords when heaven and earth separated, 75; connected with Agni, &c., 100; the lords of the east, 100; Vasus, Rudras, Adityas, Maruts, and Visve Devâb build on different quarters of altar E. S. W. N. U., 118; the eight Vasus enumerated, V, 116; arise by performance of morning pressing, 173; consecrate the king by the Gayatra metre, 312; obtain the part of Vishnu, the sacrifice, corresponding to
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the morning - pressing, 443; Indra, with Vasus, Rudras, and Adityas, receives offering at
Pravargya, 479, 480. vậta. See wind. vatsapra, hymn and rite, III, 361,
283; an unyoking-place, 286. vatsara, (fifth year of cycle), IV, 21. Vâtsya, a teacher, IV, 272, 345 n. vaushat, etymology, IV, 341, 346;--,
forms part of the unexhausted element of the sacrifice (and
trayi vidya), V, 170. vâvâta, addressed by Udgâtri, V, 387. vayasyà, bricks in second layer,
IV, 24. Vậyu, how created, III, 148 ; his
union with the air, 148; and the regions, 188; with him the Rudras in the air, 150; is the released Pragapati, 152; Vâyu Niyut vat, 173; the out-breathing, 173; one half of Pragapati, 175 ; regent of the air, 304, (210, 286); Agni, Vågu, and Åditya, are all the light, 210; goes along by the breath of the gods, 221; is the vital air that went out of Pragapati, 312; is Visvakarman (the maker of everything), IV, 6; blows most in (from) south, 6; becomes the mind, in right side of body, 6; wind produced by the pranabhrits, 33; everywhere between the two worlds, 34; runs everywhere in the same direction, 34; is in the regions, 34; wind has rain in it, 35 ; overlord of the air world, 48; is Pragâpati (of the air), Agni, the Sacrificer, 57, 58; takes the part of Pragapati between head and waist, 60; becomes the deities and the forms of the year, 60; is the trivrit-stoma, and the swiftest, 61; the support of all beings, 66; encloses all beings, 66; rules over wild animals, 75 ; Agni, Vayu, and Aditya move hitherwards and thitherwards, 90; the allworker (visvakarman), in the south, 106; blows sideways in the air, 130; wind and sky the highest, and close together,
140, 141; is only on this side of the sky, 141; is the thread by which the sun strings the worlds to himself, 141; is of trishrubh nature, 142; Agni, Vâyy, and Åditya are the hearts of the gods, 162; is the self (body) of all the gods, 179; is the body (âtman)of Agni-Pragapati, the altar and universe, 179; Agni, Vayu, and Aditya are the Pravargya (vessels), 187: Våyu is the man (para) of the air as (part of the All (visva), 208; is the breath, 208 ; Agui considered as Vâyu, 363; Väyu, the one wind, when entering man is divided into ten parts, V, 3; Pragapati becomes vital air, and Vàgu, 15; created by the Brahman and placed in the air, 37; Vậyu one of the six doors to the Brabman, 66, 67; offering for expiation to Vâyu in the direction in which the wind blows, 84; all beings at death) pass over into the wind, and from thence are again produced, 84; is evolved from the air, and from him the Yagurveda, 103 ; Vậyu's form taken by sun, whence wind is invisible, 130; Agni, Vâyu, and Aditya are light, might, glory (fame), 173; the swiftest of gods, 278; the fifth of the ten deities (all the gods') receiving oblation of drops, 281; is a singer of praises, 312; Vậyu cooks the food, 316; sacrificed as animal victim, 319; expiatory milk oblation, 345, 347; Vayu is the transformer of seed, 345; Vayu, Sarya, and Heaven and Earth, 347; is Pashan, since he supports (push) everything, 474 ; (regent of the air) is the
self of the gods, 505. Veda, triple (yagus, rik, såman), III,
139, 140, 141; the thousandfold progeny of Våk, 140; the three Vedas (cf. trayi vidya), consist of 10,800 eighties of syllables, IV, 353; study of the Veda, V, 95 seq.; beneficial effects thereof, 99 seq. ;
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-
585
11
Rik, Yagus and Såman are light,
might and glory (fame), 174. vedi, is this earth, wil, 345, 349;
IV, 235; V, 248; is the world of the place for gods, IV, 118; measuring of vedi (for fire- altar), 30 seq.; (mahâvedi) equal to vedi of sevenfold fire-altar, 306; vedi of ninety steps (for the sevenfold fire-altar), 308; is fivefold, 309; right edge of vedi a balance in which the Sacrificer is weigbed, V, 45; is the golden, brilliant-winged Gayatri who bears the Sacrificer to heaven, 56; how to step past it, 57 seg.; two vedis at Sautramani, 125; is the farthest end of the earth,
390. vet, sacrificial call, is indistinct (in
definite), IV, 183; used with oblation of ghee (with gold chips in it), on completed firealtar, 183; used (with 'svâbâ') after final benediction of Vasor dhårâ consecration, 320; with
vashat,' or 'svaha,' is food
offered to the gods, 221. vetasa (bamboo), etymology, IV,
174; cf. reed. vibhitaka nut, used as dice, III, 106;
tree, not to stand near a grave, Vibhus, -Savitri, with Ridhus, Vi
bhus, and Vagas, receives offer
ing of Gharma, V, 480, victim, animal, is Pragàpati, and re
presents all deities, IV, 404; number of, at Asvamedha, v, 309 seg.; is quieted (killed), 331; human (symbolic), 407; set free, 411; enumerated, 413
seqg. vikankata, (flacourtia sapida), is the
thunderbolt, III, 53; bow produced, 256, 448; pieces laid round Pravargya pot, representing the Maruts, V, 466; the
vital airs, 486. vikarni, brick in sixth or seventh
layer, IV, 96, 99, 140 seq.; is Vayu, 140; is vital power (âyus),
141, 291. vikramana, one of Vishnu's steps,
III, 96,
vikranta, one of Vishnu's steps, III,
96. vikriti, (fashioning) formula, III,
383. village-boundaries, contiguous in
time of peace, V, 306, 307. vimita,shed, put upon gaming ground,
III, 11. virág, bricks of fifth layer, IV, 83. Virág, metre, gained by Varuna, 111,
40; of ten syllables, 183, 196; V, 403 n.; is Agni, III, 196; is food, IV, 50, 204; all food, IV, 12, 87; V, 408, 418; the unassailable metre in form of which tigers were produced, IV, 38; also two-year-old kine, 39; is food, 50, 204; of thirty syllables, 94, 385; the undiminished Virag is Indra's heaven, 94; the ten vital airs are the Virág, the sacrifice, V, 3; possessed by Vasishtba, and coveted by Indra, 212; is the earth,212; created by Pragapati, enters the sacrificial horse, 310; born from the Purusha, and the Purusha from Virag, 403 (peasantry, clan), food for the noble, III, 13; connected with west, Gagati, vairpa-saman, saptadasa-stoma, rainy season, 91; connected with the gods generally, and the creator, is freed from death through saptadasa-stoma, IV, 68; less powerful than nobility, and differing in speech and thought from each other, 133; is the sacrifice, 144; sits as it were, 210; is indefinite, 310, 345; speak to the kshatra now in a loud, now in a low voice, V, 41; obedient to the kshatra, 227; not to be equal and refractory, but obedient and subservient,
to kshatra, 303. Vishxu, by three syllables gained
the three worlds, III, 40; is the upper end of the gods, 44 ; the sacrifice, 45, 113; V, 179; three-kapâla cake, or pap to, II1, 54; men belong to him, or are of his nature, 34; three steps (strides), 96, 261, 375; by Visbru, Pragàpati created
V, 437.
100.
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SATAPATHA-BRAHMANA.
the worlds, 276, 286; assists Varuna in recovering his lost vigour, 114; (upasad) threekapåla cake, or pap, 118; as embryo a span long, 135, 155, 360, 268; Vishnu Sipivishta, pap of rice and fresh milk at New moon, V, 9; the sixth of the ten deities (all the gods ') receiving oblations of drops, 381; Vishnu nibhQyapa, Sipivishta, 193; a dwarfish animal his victim at Asvamedha, 300; enters the world in three places, 388; first reaches end of sacrificial session, and attains excellence among gods, 441; is the sacrifice, 442; unable to control his ambition, 441; with his bow and three arrows, 443; his head is cut off, and becomes the sun, 442; is divided into three parts (the pressings of the Soma-
sacrifice), 443. Vishnu-strides, a feature of the
haviryagña, V, 120. vishtârapankti (metre), is the regions, vishtâyråga, III, 50, 53. vishtbayragin, III, 123. vishtuti, Iil, introd. xxii. Vishuvat, central day of Gavâm aya
nam, and formerly one of the three 'great rites of the year's sattra, V, (139), 144; is in ex
cess of the year, 158. visvadeva-netrab, (devâb), seated in
the west, III, 49. Visvagit Atirấtra, with all the prish
tbas and giving away of all one's property, a substitute for a year of Soma-pressing (with Agnikayana), IV, 320, 321; V,
420, 491. visvagyotis (bricks) are (all the light),
Agni, Vayu, and Aditya, respectively, III, 210, 239; making of, 239; mean offspring, progeny, 239, 385; IV, 129; laying down of the first (Agni), III, 384; is breath, 385; IV,2; Agni, 130; that of third layer, Våyu, 47, 130; is offspring, 47; is breath, 47; the fifth layer, 99, 129; possessed of generative power, 129; is the sun, 130;
ishran 88 timer more of
is breath, 131; Sürya its lord,
131. Visvakarman, the purusha (man)
slaughtered for him, III, 162; Visvakarman and Indrågni connected with the air and the second svayamåtrina, 188, 190 ;-IV, introd. xiv; is Vayu, 6, 106; the Rishi Visvakarman is speech, 13; he is Pragapati, 28, 233; settles the third layer of altar, 41, 47; is Agni, 189, 190, 204 ; oblation to, 204; is the lord of all that exists, 204 ; eight oblations to (Agni) Visvakarman corresponding to the Savitra oblations, 266; Vis. vakarman Bhauvana performs Sarvamedha, and promises the
earth to Kasyapa, 421. Visvati, the Apsaras, is the northern
quarter, or the vedi, IV, 107. Visvamitra, rishi (All-friend), is the
ear, IV, 10. Visvantara Saushadmana, IV, 344 n. Visvarupa, the three-headed son of
Tvashtri, slain by Indra, III,
130; V, 313. Visvävasu, the Gandharva, IV, introd.
xiv. Visve Devåb, by twelve syllables
gained Gagati, III, 40; paidabila oblation (pap) on west part of vedi, 110, 111; piebald bullock the Hotri's fee, 111; animal offering to them (instead of to Maruts), 126; born from Vak, and placed with the moon in the quarters (regions), 150; they and Brihaspati no special class of deities, 150; put the quarters in the world, 235; are the seasons, 311; sing praises of (bricks in) second layer, IV, 26; produced, 33; Ribhus and Visve Devâb connected with living beings (bhůta) and trayastrimsa-stoma, 69; are the lords of the upper region, 103, 103; connected with Brihaspati, &c., 103; Vasus, Rudras, Adityas, Maruts, Visve Devâb, build on different sides of altar (E. S. W.N. U.), 118; sit down with the Sacrificer on the higher seat (in the sky), 134; are Indra and
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587
Agni, and the three are brahman, kshatra, and vis, 344; the most famous of gods, V, 278; are all the gods, 392; the counsellors of king Marutta, 397; offering of barren cows, 402, 411; Visve Devab, except the Asvins, 441; with Brihaspati, receive offering of gharma, 480 ;
are the vital airs, 488. vital airs. See prâna. vital power, vitality (àyus). See
life. vrata, rite (of abstinence), III, 185;
(fast-milk), 262; the four rites, and rites of rites, IV, 333 seq.; 342; entering upon at New moon, V, 7 seq.; vrata (food) brought at haviryagña, 119; is
the head of the sacrifice, 340. vratadugha, cow, given to Hotri and
Udgâtris, V, 504. vridhanvant, V, 351. Vritra, slain by Indra by means of
cake-offering, III, 45; by Fullmoon offering, V, 6; is the moon, III, 45; slain by gods, 48, 49; rik, yagus, and saman were in him, 138; his retreat shattered by Vishnu, 139; repelled by Indra, 179; waters loathing him, 332; verses relating to the slaying of Vritra,
IV, 375; is evil, sin, V, 11. vritra-sanku (peg), V, 437. vyähriti, mystic utterance, used with
offerings to Rudra, IV, 161. vyana, becomes the udána, IV, 16. vyanabhrit (holders of the circulating
air) are the mind-sustainers,
IV, 15. vyushti-dvirätra, III, introd. *xvi,
129. wain, as the mark of a sacrificial
horse, V, 354. walking round altar (in sprinkling),
means slighting it, IV, 170; made good by circumambula
tion, 170. warm, is tbe body of him who is to
live, IV, 136. water (apab), different kinds of, for
consecration, 111, 73 seq. ; produced out of Vik, 145, 192; from Pragàpati, 157; heals what
is injured, 220; the waters the udder of the sky, 284; the foundation of the universe, 293 ; therefrom the universe was produced, 194; water first made of this universe, 363 ; are unsettled, 301; waters beyond and below the sun, 305; jarful of water poured out as a thunderbolt to clear himself of all evil (nirriti), 324; three jarfuls poured on every four of sixteen furrows of Agnikshetra, 335; three additional ones on whole of Agnikshetra, 336; is the sky, 343; there is water not only in the channels of the vital airs, but in the whole body, 337; are the tenth, 363; whenever water (rain) flows everything that exists is produced, 363; possess self-rule, 364; the deepest place of the waters is where the sun burns, 391; are founded on the mountains (rocks), 405; the eye is their abode, the ear their goal, the sky their seat, the air their home, the sea their womb, sand their sediment, 416; is food, IV, 35; is the vital airs, 35; waters of heaven) are in the highest place, 37; sprinkling of firealtar with water, 169; springs forth from rock, 169; is contained in rock, in the mountains, 170; waters as Apsaras, the Gandharva Vâta's mates, 332; food is produced from them, 232 ; universe originally nothing but a sea of water, V, 12; is everything, even in the farthest place, being Parameshtbin, 15; water one of the six doors to the Brahman, 66, 67; the waters the foundation of the universe, 105; swearing by the inviolable waters, sin against Varuna, 265; waters as the third of the ten deities (all the gods') receiving oblations of drops, 380; water thrown for exorcising, 438; the waters a place of abode to all the gods,
and Varuna their regent, 306. water-dwellers (fish and fishermen),
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subjects of Matsya Sammada, the
Itihasa their Veda, V, 359. well-water, III, 77. west, connected with vis, Gagati,
&c., III, 91; west ( to east) path of sacrifice, 347; is the Gagati, IV, 45; all-ruling (samråg), 46, 101; the Adityas its lords, 101 ; Varuna its protector, 101; connected with saptadasa-stoma, marutvatîyasastra, vairûpa-så man, 101; the all-embracer is Aditya, 106; is hope, distinction (prosperity) and the earth, V, 17, 18; the
region of cattle, 485. wheat, headpiece of sacrificial post
made of, III, 31; is touched
by sacrificer, 32. wheel, mounted by Brahman priest,
III, 32; of cart and potter,
creaks if not steadied, V, 126. whey (vagina), of the Maiträvaruri
payasyå, offering of, IV, 271;
dakshina given therewith, 371. whirlpool, water from, III, 76. wife, is one half of husband, III,
32; intercourse with, kept secret, 229; the husband must not eat food in her presence in order that she may bear a vigorous son, IV, 369, 370; (many) wives a sign of (social)
eminence, V, 313. wind (våta), cf. Vayu; - connected
with Varuna, by rain freed from death through ekavimsa-stoina, IV, 68; is Vâyu, 142; is the arrows of the Rudras of the air, 165; Vâta as Gandharva with the waters as Apsaras, his mates, 232; three oblations of wind on chariot, thereby yoking it, 235; is on this side of the sun, 335; also in the other world, 335; and in this (terrestrial) world, 236; windnames uttered, V, 478; is the (aerial) ocean, flood, 479; is unassailable and irresistible, 479; an Ogress-ridder, 479; identified with (aerial) ocean, flood; Indra, Savitri, Brihaspati, and Yama, 479-81; Püsban, 486; is irresistible, an ogressridder, 479.
wing, of altar, crackling of, IV, 21;
is of pańkti nature (or fivefold), 115; twenty-one-fold, 221; contraction and expansion of, 300 seq.; has a bending link, 301; is crooked (i curved), 302; wings are the bird's arms, 306; the immortal wings of the
Åhavaniya, V, 271. winter, produced from speech, and
from it the pankti, IV, 11; consists of months Saba and Sahasya, 70; is the space between air and heaven, and the part of body between waist and head, 70, 71; frog, avakâ plant, and bamboo three forms of it, 175;
in winter cattle waste away, V, 45. wish,-in wishes nothing is excessive,
IV, 241, 247, 265. wolf, springs from Soma flowing
from ears, III, 131; from lo
dra's urine, V, 215. woman, impure part of, below navel,
III, 32: "fair-knotted, fairbraided, fair-locked her perfect form, 232; on left side of man, IV, 81; lucky if marked on left side, 81; brings forth within a year, V, 12; two women (Belief and Unbelief) in N.E quarter with black yellow-eyed man (wrath) between them, 110, in; has beautiful form bestowed upon her, 395; given
as dakshina, 402; is untruth 446. womb, lies close to belly, IV, 115;
lower than belly, 115; enlarges with the child before it is born, not after, 309; is the bearer because Pragapati by it bore
creatures, V, 114. wood, two kinds of (cut by axe and that
found on the ground), III, 257. wood-brick, III, 155, 166. work (karman), evolved from the
ear, and from it fire, IV, 379. worlds, the, are the heavenly abodes
(of the gods), III, 195; fastened to the sun by means of the quarters, 269; the two, are round, 271; ascent of the (worlds and) metres, 276–278; they are strung on a thread and joined with Aditya, 360; from them is born both what exists
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INDEX TO PARTS III, IV, AND V.
and what exists not, 366; glide along like serpents, 369; are the resting-place, and movingplace, 143; seven worlds of the gods, 277; the three worlds and four quarters, 314; were created together, 286; three and those above them in which are placed the deities higher than Agni, Vayu, Surya, V, 27; the Brahman is the sphere beyond these higher worlds, 27; how they were steadied by Pragâpati, 126; have light on both sides (sun and fire), 149; the three worlds (earth, air and heaven) are light,might and glory respectively, 173; two, those of the Gods and the Fathers, 225. Wrath, as black, yellow-eyed staffbearing man, between two women, Belief and Unbelief, V, III, 112.
Yaga. See sacrifice. yagiakratu, oblations of ghee relating to special sacrifices (Agni and Gharma, &c.), forming part of the Vasor dhârâ, IV, 217. yagfapukkba, III, introd. xx. YagЯatura. See Rishabha. Yaghavakas Ragastambâyana, to him Pragapati revealed himself, IV,
349.
Yagnavalkya, IV, introd. xviii; questioned by Ganaka as to Agnihotra, V, 46; on the way in which the oblation is to be treated, 61; found by Ganaka to know the Mitravindâ sacrifice, 66; in disputation on Agnihotra at Ganaka's house, 112 seq.; taught by Ganaka, 114; claims prize as most learned in sacred writ, 115; on Agnihotra expiation, 182; on offering of omenta, 393. yagiâyagiiya-sâman, III, introd.
589
Yagus, was in Vritra, III, 138; part of triple Veda, 139, 141; the Brahman, the Yagus, its power in the other world, IV, 173; the firealtar the ocean of Yagus, 278; is built up with the fire-altar, 282; marches in front in quest of Pragâpati's vital fluid, 282; is Vayu, 336; the breath, 337; (yat-gb), 337; the mystic import (upanishad) its essence, 339; is silent (muttered), indistinct, 350; he who knows the mystic science becomes the Yagus and is called thereby, 341; Yagus consists of 8,000 brihatts, and Yagus and Sâman of 10,800 (7,200 and 3,600 resp.) panktis, 353; is the one brick of which the fire-altar consists, 374; all beings, all the gods become the Yagus, 390; what is performed without a yagus, is unsuccessful, V, 276. yagushmati, bricks, are the nobility,
III, 153; placed on the body of the altar, 348; number of, IV, 22; are the peasantry, 132, 133; is food, 134; any special (extra) one to be placed in middle layer, 138; none in the dhishaya hearths, 242, (?) 244; are the days of the year, Pragapati's body, 354; three hundred and ninety-six in fire-altar, 357; enumerated as to layers, 358, 359.
yagya, is to be in the trishtubh metre, 26.
xiv, 274; sung over completed altar, is the moon, IV, 179; is the heavenly world, 252; is Agni Vaisvânara's chant of praise, 253; on first day of Asvamedha, V, 376. yag#opavitin, sacrificially invested,
V, 237.
Yama, III, 49; rules over the
settlements of the earth, and grants it to Sacrificer, 298; is the kshatra, 299; Yama and Yami (Agni and Earth) of one mind with Nirriti, 322; the Fathers live in his realm, V, 236, 237; rules over, and grants, abode in the earth, 431; is the sun, 460; Yama,with Angiras and Fathers, receives offering of Gharma,481; -Yama Vaivasvata, king of the Fathers, 365.
yamanetrâb (devâb), seated in the south, III, 49.
yaudhagaya - saman, chanted with three nidhanas, IV, 7.
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SATAPATHA-BRAHMANA.
590
Yavamat, a Gandharva, V, 30. Yavas and Ayavas, the light and dark fortnights, connected with creatures generally and the katuskatvârimsa-stoma, IV, 69; the lords of creatures, 76. yâvat-tâvat, as long as, III, 244. year, is seventeenfold (twelve months
and five seasons), III, 174; twice in the year food is ripened, 244; is fastened to the moon by means of the seasons, 369; -its part in the sacrifice (as Father Time), IV, introd. xv seq.; is the fire-altar and the three worlds, IV, 29; is Agni Vaisvânara, 33; is space, 62; speeds all beings, 63; burns up all beings, 63; assails all beings, 63; the most vigorous of all things, 63; is arrayed (spread) over all things, 64; is the womb of all beings, 64; as an embryo, in the shape of the thirteenth month, enters the seasons, 64; is the strength of all beings, 64; it forms all beings, 65; is the foundation of all beings, 65; is the range of the ruddy (sun) and holds the supreme sway, 65; is the firmament (nâka), heaven, 65; all creatures are evolved from it, 66; is eighteenfold, 66; ruler of the months, 74; is generative power, 125; made continuous by the seasons, 125; contains all objects of desire, 313; is the same as the sun, 313; be
yond the year lies the wishgranting world which is immortality, 322; is fivefold (viz, food, drink, excellence, light, and immortality),326,327; its divisions and lights, 351 seq.; is death, 356 seq.; Agni as the year, how corresponding to each other, 363; produced from the union of Death's mind and speech, 402; -Pragâpati, the sacrifice, is the year, , 1, 38; only after gaining the year the gods become immortal, 5; the year is the imperishable world, 5; created by Pragâpati as a counterpart of himself, 14; the year (year's sattra) as man, 144, 145, 168 seq.; is that (one) day after day, 155; amounts to a Brihati, 155; is the bull among seasons, 276.
yoke, measure of uttaravedi, III, 349;-yoke-pin, distance of throw of, III, 123.
yoking, first of the right, then of the left, ox, III, 291, 327. youth (blitheful), in the prime of life, is apt to become dear to women, V, 295.
yupa, sacrificial post, eight-cornered,
III, 31; wrapt up in seventeen clothes, 31; with a wheaten head-piece, 31; seventeen cubits long, 31; mounted by Sacrificer and his wife, 32; V, 254; remarks on material, form, and size of yûpa,V,123,124; twentyone, 373, 383.
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ADDITIONS AND CORRECTIONS.
Page 13, paragraphs 7, 8. We have probably to translate-the gods were
created on its reaching heaven, -they were created on its entering this
earth. P. 45, par. 33, lines 6, 11. Read, in the balance. P. 60, I. 19. Read,--Adhvaryu. P. 76, note 3. Read, -offering of a pap to Aditi. P. 91, par. 4, 1. 4. Read, -did we, by one of a hundred Ukthyas, dispel the
darkness. P. 107, par. 10, 11. a, 3. Read,-form of the bull. P. 108, note 3. Add, -Cf. also Hillebrandt, Varung und Mitra,' p. 68 seq. P. 130, par, 9, 11. 2, 3. Read, — The divine thought protect thee, not man's
thought! P. 136, par. 6, 1. 2. Under him :-Harisvâmin explains 'anu' by anvåbhakta,'
"participating after him,' cf. XIII, 5, 4, 14. P. 149, note 1. The commentary takes prishthyapratishthite' in the sense of
established on the prishthya,' inasmuch as, in the first half of the year. he begins each month with the Abhiplave, and ends with the Prishthya, which is the stronger (balavattara, cf. XII, 2, 2, 16), and therefore 'åtma.
pratishthita.' P. 155, note 2. The MS. of the commentary is corrupt- An-pürvasyakriyate
sa tarinadayah sah bhadragamam vakkhasthåne evadhikshipayati na pra
desantara kvartata ity arthah. P. 279, note 1, 1. 3 from below. Read, -'four-eyed' dog. P. 334, note 1. Utsanna' probably meansdetached'; cf. II, 5, 2, 48. P. 397, par. 6, 1. 3. For whence, read, and then.
PART IV. P. 30, par. 5, l. 5. Read,-skin. P. 25, note 1, 1. 4. Read,- on the retaksił range. P. 48, par. 5, 1. 4. Read,-Nabhas and Nabbasys. P. 55, par. 4, 1. 5. Read, -the seventh. P. 103, par. II. After 'sake,' add,-'The Så kvara and Raivata samans
for stability in the air!' for by the Såkvan and Raivata såmans it
is indeed established in the air. P. 108, 1. 8. Read - Pärvakitti. P. 163, 1. 3. Read, -of seven seasons. P. 168, Dote 4. Delete,- According to ... referred to. P. 170, pars. 6-8. Real,-circumambulates. P. 192, par. 5, 1. 2. Read, -irresistible warrior. P. 333. par. 2, 1. 3. Read, shower of wealth. P. 295, L 1. Instead of, then,-read, thereby. P. 312, par. 18, 1. 9. Read, -exceeds this universe. P. 313, 1. 3. Read, nor does he exceed this universe. P. 325, par. 14. Read, -There are these five fingers (and toes) each consisting of four parts.
Note 1. Delete,—that being the simplest kind of Soma-sacrifice.-- Så yana indeed must mean--all Soma and other sacrifices, down to the
Agnihotra ;-hardly, all sacrifices concluding with the Agnihotra. P. 337, note 2. Read,-moving in front,' or 'previous performance.' P. 352, par. 13, 1. 3. Read, -thousand Brihatis. P. 389, i. 9. Perhaps we ought to translate-that (gold man), indeed, is the end,
the self, of everything here (or, of this universe). Cf. J. Muir, Orig. Sansk. Texts, vol. v, p. 389.
Par. 16, 1. 3. Read,- they ascend to where desires have vanished. P. 393, par. I, 1. 4. Read, -Gana Sirkarikshya.
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TRANSLITERATION OF ORIENTAL ALPHABETS ADOPTED FOR TIE TRANSLATIONS OF THE SACRED BOOKS OF THE EAST.
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593

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MISSIONARY ALPRABNT.
CONSONANTS
Nohler
Persian
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DH
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Dentales modificatae
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FOR THE SACRED BOOKS OF THIE EAST.
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596
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SACRED BOOKS OF THE EAST
TRANSLATED BY VARIOUS ORIENTAL SCHOLARS
AND EDITED BY
THE RIGHT HON. F. MAX MULLER.
... This series is published with the sanction and co-operation of the Secretary of
State for India in Council.
BRYOBT presented to th. AOADINIS D38 INHORIPTIOIT8, yo 11.
1883, by X. BBIEST BAAN. M. Renan présente trois nouveaux une seconde, dont l'intérêt historique et volumes de la grande collection des religieux ne sera pas moindre. M. Max “Livres sacrés de l'Orient" (Sacred Müller a su se procurer la collaboration Books of the East), que dirige à Oxford, des savans les plus éminens d'Europe et avec une si vaste éradition et une critique d'Asie. L'Université d'Oxford, que cette si sare, le savant associé de l'Académie grande publication honore au plus haut des Inscriptions, M. Max Müller.... La degré, doit tenir à continuer dans les plus première série de ce beau recueil, com larges proportions une ceuvre aussi philoposée de 24 volumes, est presque achevée. sophiquement conçue que savamment M. Max Müller se propose d'en publier exécutée.'
BITRACT from the QUARTERLY BIVIIW. We rejoice to notice that a second great edition of the Rig Veda, can comseries of these translations has been an- pare in importance or in usefulness with nounced and has actually begun to appear. this English translation of the Sacred The stones, at least, out of which a stately Books of the East, which has been devised edifice may hereafter arise, are here being by his foresight, successfully brought so brought together. Prof. Max Müller has far by his persuasive and organising deserved well of scientific history. Not power, and will, we trust, by the assist a few minds owe to his enticing words ance of the distinguished scholars he has their first attraction to this branch of gathered round him, be carried in due study. But no work of his, not even the time to a happy completion.' Professor 2. HARDY, Inangaral Leoture in the University of Freiburg, 1887.
Die allgemeine vergleichende Reli- internationalen Orientalistencongress in gionswissenschaft datirt von jenem gross- London der Grundstein gelegt worden artigen, in seiner Art einzig dastehenden war, die Übersetzung der heiligen Bücher Unternehmen, zu welchem auf Anregung des Ostens' (the Sacred Books of the Max Müllers im Jahre 1874 auf dem East). Th. Ion. ALBBBT 8. G. GATTING, Words on Budsting Religions.'
The recent publication of the "Sacred a great event in the annals of theological Books of the East" in English is surely literature.'
Orford AT THE CLARENDON PRESS
LONDON: HENRY FROWDE OXFORD UNIVERSITY PRESS WAREHOUSE, AMEN CORNER, E.C.
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SACRED BOOKS OF THE EAST:
FIRST SERIES. VOL. I. The Upanishads.
Translated by F. MAX MULLIR. Part I. The Khandogya. upanishad, The Talavakara-upanishad, The Aitareya-aranyaka, The Kaushitaki-brahmana-upanishad, and The Vagasaneyisamhita-upanishad. Second Edition. 8vo, cloth, ros. 6d. The Upanishads contain the philosophy of the Veda. They have become the foundation of the later Vedanta doctrines, and indirectly of Buddhism. Schopenhauer, speaking of the Upanishads, says:
In the whole world there is no study so beneficial and so elevating as that of the Upanishads. It has been the solace of my life, it will be the solace of my death.'
(See also Vol. XV.) VOL. II. The Sacred Laws of the Åryas,
As taught in the Schools of Âpastamba, Gautama, Vásishtha, and Baudhayana. Translated by GEORG BOHLER. Part I.
A pastamba and Gautama. Second Edition. 8vo, cloth, ras. 6d. The Sacred Laws of the Aryas contain the original treatises on which the Laws of Manu and other lawgivers were founded.
[See also Vol. XIV.]
VOL. III. The Sacred Books of China.
The Texts of Confucianism. Translated by JAMES LEGGE. Part I. The Sha King, The Religious Portions of the Shih
King, and The Hsiâo King. 8vo, cloth, 12s. 6d. Confucius was a collector of ancient traditions, not the founder of a new religion. As he lived in the sixth and fifth centuries B. C. his works are of unique interest for the study of Ethology.
(See also Vols. XVI, XXVII, XXVIII, XXXIX, and XL.] VOL. IV. The Zend-Avesta.
Translated by James DARMESTETER. Part I. The Vendidad.
Second Edition. 8vo, cloth, 145. The Zend-Avesta contains the relics of what was the religion of Cyrus, Darius, and Xerxes, and, but for the battle of Marathon,
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EDITED BY F. MAX MÜLLER.
might have become the religion of Europe. It forms to the present day the sacred book of the Parsis, the so-called fire-worshippers.
(See also Vols. XXIII and XXXI.) VOL. V. Pahlavi Texts.
Translated by E. W. West. Part I. The Bundahis, Bahman
Yast, and Shầyast lå-shayast. 8vo, cloth, 125. 6d. The Pahlavi Texts comprise the theological literature of the revival of Zoroaster's religion, beginning with the Sassanian dynasty. They are important for a study of Gnosticism.
[See also Vols. XVIII, XXIV, XXXVII, and XLVIL] VOLS. VI AND IX. The Qur'ân.
Parts I and II. Translated by E. H. PALMER. 8vo, cloth, 21s. This translation, carried out according to his own peculiar views of the origin of the Qur'an, was the last greal work of E. H. Palmer, before he was murdered in Egypt
VOL. VII. The Institutes of Vishnu.
Translated by JULIUS JOLLY. 8vo, cloth, 1os. 6d. A collection of legal aphorisms, closely connected with one of the oldest Vedic schools, the Kathas, but considerably added to in later
time. Of importance for a critical study of the Laws of Manu. VOL. VIII. The Bhagavadgitâ, with The Sanatsugåtiya, and The Anugita.
Translated by KASHINATH TRIMBAK TELANG. Second Edition. 8vo, cloth, ros. 6d. The earliest philosophical and religious poem of India. It has been
paraphrased in Arnold's Song Celestial.' VOL. X. The Dhammapada,
Translated from Páli by F. MAX MÜLLER; and
The Sutta-Nipâta, Translated from Páli by V. FAUSBOLL; being Canonical Books of the Buddhists. Second Edition. 8vo, cloth, ros. 6d. The Dhammapada contains the quintessence of Buddhist morality. The Sutta-Nipata gives the authentic teaching of Buddha on some of the fundamental principles of religion.
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SACRED BOOKS OF THE EAST:
VOL. XI. Buddhist Suttas.
Translated from Páli by T. W. Rhys Davids. 1. The Mahaparinibbâna Suttanta; 2. The Dhamma-kakka-ppavattana Sutta. 3. The Tevigga Suttanta; 4. The Akankheyya Sutta; 5. The Ketokhila Sutta ; 6. The Mahâ-sudassana Suttanta;
7. The Sabbâsava Sutta. 8vo, cloth, ros. 6d. A collection of the most imporlant religious, moral, and philosophical
discourses taken from the sacred canon of the Buddhists. VOL. XII. The Satapatha-Brahmana, according to the Text of the Madhyandina School.
Translated by Julius EGGELING. Part I. Books I and II. 8vo, cloth, 125. 6d. A minute account of the sacrificial ceremonies of the Vedic age. Il contains the earliest account of the Deluge in India.
(See also Vols. XXVI, XLI, XLIII, and XLIV.] VOL. XIII. Vinaya Texts.
Translated from the Pali by T. W. Rhys DAVIDS and HERMANN OLDENBERG. Part I. The Pâtimokkha. The Mahavagga, I-IV. Svo, cloth, ros. 6d. The Vinaya Texts give for the first time a translation of the moral code of the Buddhist religion as settled in the third century B.C.
(See also Vols. XVII and XX.) VOL. XIV. The Sacred Laws of the Åryas,
As taught in the Schools of Apastamba, Gautama, Vàsishtha, and Baudhayana. Translated by GEORG BÜHLER. Part II.
Vâsishtha and Baudhầyana. 8vo, cloth, 1os. 6d. VOL. XV. The Upanishads.
Translated by F. Max MULLER. Part II. The Katha-upanishad, The Mundaka-upanishad, The Taittiriyaka-upanishad, The Brihadaranyaka-upanishad, The Sveta svatara-upanishad, The Prasta-upanishad, and The Maitrayana-brahmana-upanishad.
8vo, cloth, Ios. 6d. (*** Vol. XV can only be supplied as part of a complete set of the First Series.] VOL. XVI. The Sacred Books of China.
The Texts of Confucianism. Translated by JAMES LEGGE. Part II. The Yi King. 8vo, cloth, ros. 6d.
(See also Vols. XXVII, XXVIII.) VOL. XVII. Vinaya Texts.
Translated from the Pali by T. W. Rhys DAVIDS and HERMANN OLDENBERG. Part II. The Mahavagga, V-X. The Kullavagga, I-III. 8vo, cloth. ros. 6d.
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VOL. XVIII. Pahlavi Texts.
EDITED BY F. MAX MÜLLER.
Translated by E. W. WEST. Part II. The Dâdistân-î Dînîk and The Epistles of Mânûskîhar. 8vo, cloth, 12s. 6d.
VOL. XIX. The Fo-sho-hing-tsan-king.
A Life of Buddha by Asvaghosha Bodhisattva, translated from Sanskrit into Chinese by Dharmaraksha, A.D. 420, and from Chinese into English by SAMUEL BEAL. 8vo, cloth, 10s. 6d. This life of Buddha was translated from Sanskrit into Chinese, A. D. 420. It contains many legends, some of which show a certain similarity to the Evangelium infantiae, &c.
VOL. XX. Vinaya Texts.
Translated from the Pâli by T. W. RHYS DAVIDS and HERMANN OLDENBERG. Part III. The Kullavagga, IV-XII. 8vo, cloth, 10s. 6d.
VOL. XXI. The Saddharma-pundarika; or, The Lotus of the True Law.
Translated by H. KERN. 8vo, cloth, 12s. 6d.
The Lotus of the True Law,' a canonical book of the Northern Buddhists, translated from Sanskrit. There is a Chinese translation of this book which was finished as early as the year 286 A.D.
VOL. XXII.
5
Gaina-Sutras.
Translated from Prâkrit by HERMANN JACOBI. Part I. The Âkârânga-Sutra and The Kalpa-Sutra. 8vo, cloth, 10s. 6d.
The religion of the Gainas was founded by a contemporary of Buddha. It still counts numerous adherents in India, while there are no Buddhists left in India proper.
[See Vol. XLV.]
VOL. XXIII. The Zend-Avesta.
Translated by JAMES DARMESTETER. Part II. The Sîrôzahs, Yasts, and Nyayis. 8vo, cloth, 10s. 6d.
VOL. XXIV.
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SACRED BOOKS OF THE EAST:
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Translated by Georg BÜHLER. 8vo, cloth, 215. This translation is founded on that of Sir William Jones, which has been carefully revised and corrected with the help of seven natire Commentaries. An Appendix contains all the quotations from Manu which are found in the Hindu Law-books, translated for the use of The Law Cour/s in India. Another Appendix gives a synopsis of parallel passages from the six Dharma-sútras, the other Smritis,
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EDITED BY F. MAX MÜLLER.
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[In the Press.] VOL. XLIX. Buddhist Mahåyåna Texts. Buddha
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RECENT ORIENTAL WORKS.
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ARYAN SERIES. Buddhist Texts from Japan. I. Vagrakkhedikâ ; The Diamond-Cutter.
Edited by F. MAX MÜLLER, M.A. Small 4to, 38. 6d.
One of the most famous metaphysical treatises of the Mahayana Buddhists. Buddhist Texts from Fapan. II. Sukhâvati-Vyaha : Description of Sukhåvati, the Land of Bliss.
Edited by F. Max MÜLLER, M.A., and BUNYIU NANJIO. With two Appendices: (1) Text and Translation of Sanghavarman's Chinese Version of the Poetical Portions of the SukhavatiVyûha ; (2) Sanskrit Text of the Smaller Sukhâvatf-Vyûha. Small 4to, 75. 6d. The editio princeps of the Sacred Book of one of the largest and most influential sects of Buddhism, numbering more than ten millions of followers
in Japan alone. Buddhist Texts from Japan. III. The Ancient Palm
Leaves containing the Pragña-Paramitá-HridayaSatra and the Ushnisha-Vigaya-Dharani.
Edited by F. Max MÜLLER, M.A., and BUNYI NANJIO, M.A. With an Appendix by G. BÜHLER, C.I.E. With many Plates. Small 4to, 1os.
Contains facsimiles of the oldest Sanskrit MS, at present known. Dharma-Samgraha, an Ancient Collection of Buddhist Technical Terms.
Prepared for publication by KENJIU KASAWARA, a Buddhist Priest from Japan, and, after his death, edited by F. MAX
MÜLLER and H. WENZEL. Small 4to, 75. 6d. Kâtyâyana's Sarvânukramant of the Rigveda.
With Extracts from Shadgurusishya's Commentary entitled
Vedârthadîpika. Edited by Ă. A. MACDONELL, M.A., Ph.D. 16s. The Buddha-Karita of Asvaghosha.
Edited, from three MSS., by Ě. B. Cowell, M.A. 125. 6d. The Mantra pāțha, or the Prayer Book of the. Apastambins.
Edited, together with the Commentary of Haradatta, and translated by M. WINTERNITZ, Ph.D. First Part. Introduction, Sanskrit Text, Varietas Lectionis, and Appendices. Small quarto, ros. 6d.
Oxford AT THE CLARENDON PRESS
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