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INTRODUCTION.
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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.
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