Satapatha Brahmana

SR No.: 011120
Original Sutra Author: N/A
Author: Max Muller, Julius Eggeling
Publisher: Oxford
Publication Year: 1987
Total Pages: 433
Language: English
Classification: Book_English
File Size: 36 MB

Page 33

VIII KÂNDA, I ADHYÂYA, I BRÂHMANA, 9.
7
the Svâra the Antaryâma,'-from out of the Svâra-saman he fashioned the Antaryâma-graha ,
from the Antaryâ ma the Pañka dasa,'-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 Bharadvậga, doubtless, is the mind ;-'vâga' means 'food,' and he who possesses a mind, possesses (bharati) food, 'vậga ;' therefore the Rishi Bharadvága 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, II, where a stâra-sâman is prescribed in case the Udgâtrıs have previously committed an excess in their chanting. The last tristich of the Mâdhyandına-pavamânastotra of the Agnishtoma, the Ausana-saman (to Sâma-v., vol. 1, pp. 27-29), is chanted in this way, probably in order to make good the excess committed in the preceding triplet, the Yaudhagaya (il, 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 'padânusvârân ;' whilst those with which the musical syllables "hâ-i' are used with a similar effect, are called "hâıkârasvârân.' As an instance of the former, the Ausana (Sama-v., vol. 111, p. 81) is adduced, and of the latter the Vâmadevya (, 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 saman; cf. Pañk. Br. X, 12, 2, where the Udgîtha is to be so treated to make up for the preceding Piastāva, chanted without a Stobha. Sacrificial calls such as the 'Svâhâ' and Vashat' are also modulated in this way,' ıb. VII, 3, 26, XI, 5, 26