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IV KÂNDA, 3 ADHYAYA, 3 BRÂHMANA, 5.
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4. These, then, are five grahas he draws ; for that midday Pavamâna chant is a thunderbolt : hence it is a fifteenfold five-hymned chant ', for the thunderbolt is fifteenfold ?. He is so by means of these five grahas (cups of Soma 3): for five are these fingers, and with the fingers he hurls (the thunderbolt).
5. Indra hurled the thunderbolt at Vritra; and having smitten Vritra, the wicked, and safety and peace being secured", he led forth the dakshinas (gifts to priests). Wherefore now also, when they (the Udgâtris) chant the midday Pavamâna, and safety and peace are secured, the dakshinâs are led forth. And so, forsooth, does he now by means of those five cups of Soma hurl the thunderbolt at the wicked, hateful enemy, and having smitten Vritra, the wicked, and safety and peace being
1 The Mâdhyandina-pavamâna-stotra, Sâmav. II, 22-29, is made up of three hymns (sūkta), consisting of three gayatri (22-24), two brihatî (and satobrihati, 25, 26), and three trish/ubh verses (27-29) respectively. These are chanted in such a way as to produce five Sâman hymns (i.e. a hymn of three verses), viz. the gâyatri triplet is chanted twice, in the Gayatra and Amahîyava tunes;—the brihatî-satobrihatî couplet is likewise chanted twice, in the Raurava and Yaudhagaya tunes, the two verses being as usual (by the repetition of certain pâdas) made into three. These, with the addition of the trishtubh hymn, chanted in the Ausana tune, make five Sâman hymns of three verses each, or altogether fifteen verses (pankadasastoma).
Or consists of the fifteenfold (chant), as Sâyana takes it. Regarding the connection between the pañkadasa-stoma (the characteristic stoma of the midday pressing) and Indra (the deity of the inidday pressing), see part i, introd. p. xviii.
s Perhaps 'graha' has here a double meaning, viz. that which is taken, a draught, cup of Soma,' and the laker, se zer.'
. See p. 289, note 4.
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