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VIII KÂNDA, I ADHYAYA, 2 BRÂHMANA, 4.
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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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