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IV KANDA, 6 ADHYAYA, 4 BRÂHMANA, 1.
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let him seize a (victim) for Agni; for it is befitting that at the Agnishtoma (Agni's praise ') he should seize a victim for Agni. If it be an Ukthya sacrifice, let him seize as the second (victim) one for Indra and Agni, for the hymns (uktha)' belong to Indra and Agni. If it be a Shodasin sacrifice, let him seize as the third (victim) one for Indra; for the Shodasin (graha) is Indra. If it be an Atirâtra, let him seize as the fourth (victim) one for Sarasvatt; for Sarasvati is Vâk (speech), and Vâk is a female, and so is râtri (fem., 'night') female. Thus he duly distinguishes between the sacrificial performances. Such are the three manners (of animal offering): he may perform in whichever manner he pleases. Two victims must needs be seized,—for Särya he seizes the second on the Vishuvant day, and for Pragâ pati at the Mahâvrata.
Fourth BRÂHMANA. 1. Then as to the Mahâvratiya (graha). Now when Pragàpati had created the living beings, his
That is, the hymns of the Rig-veda, the single collections of which begin with the hymns to Agni, followed by those to Indra. The 'ukthâni' here can scarcely refer to the three additional sastras of the Ukthya sacrifice, as they are composed of hymns to Indra - Varuna, Indra-Brihaspati, and Indra - Vishnu respectively. Asv. Sr. VI, 1; Ait. Br. III, 50. Cp. IV, 3, 5, 14.
* The drawing of this cup forms part of the performance of the last but one day of the Gavâm ayana, the so-called Mahâvrata (great vow) day, on which the following particulars are supplied by Katyayana XIII, 2, 16 seq. The particular form of sacrifice prescribed for the day is the Agnishtoma. A victim to Pragâpati is to be immolated. The Mahâvratîya-graha is drawn as an additional libation (like the Atigrâhyas, IV, 5, 4, 2). The signal for the chanting of the Prishtha-stotras is given by (a Brâhman) play. ing, with a rattan plectrum, on a harp with a hundred strings of
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