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X KÂNDA, I ADHYÂVA, I BRÂHMANA, 5.
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(sâman of the) Great Rite is (equivalent to all these (other) såmans (hymn-tunes): it is thus by means of all the hymn-tunes that he puts the vital fluid therein. The Hotri puts the vital fluid therein by means of the Great Litany; but, indeed, the Great Litany is the same as all these rik (hymnverses) 1: it is thus by means of all the hymn-verses that he puts the vital fluid into it (the Soma-cup).
composed,-are considered as representing different parts of AgniPragâpati's body, viz.: 1. Gayatra-sâ man, representing the head; It is chanted in the trivrzt-stoma (nine-versed hymn-form) and consists of the triplets, Sama-v II, 146–8 (= Rzg-veda I, 7, 1-3: indram id gâthino brzhat), II, 263-5 (indro dadhiko asthabhir), and II, 800-2 (ud ghed abhi srutamagham), though, according to others, the Sâma-triplets corresponding to Rzg-veda I, 7, 1-9 may be chanted instead. 2 Rathantara-sâ man (Sâma-v II, 30-1), representing the right wing, chanted in the Pankadasastoma, or fifteen-versed form. 3. Brzhat-sâman (II, 159-60), the left wing, in the Saptadasa-stoma, or seventeen-versed form. 4. Bhadra-saman (on II, 460–2; cf. Calc. ed., vol. v, p. 402), the tail, in the Ekavimsa, or twenty-one-versed form. 5. Râganasâman (on II, 833-5; cf. Calc ed , vol. v, p. 449), the body (âtman), in the Pañkavimsa-stoma, or twenty-five-versed form; instead of this the Vamadevya-sâman (on II, 32-4) may be chanted in the pañkanıdhana foim (Calc. ed., vol v, p. 451).—The chanting of this Stotra is preceded by the singing of thu teen samans, called parimâdah (see X, 1, 2, 8), followed by certain ceremonies-buckling armour on a nobleman, driving in a sunwise direction round the sacrificial ground, shooting arrows at two ox-hides, beating of drums, &c -apparently symbolising the driving off of evil spirits from the sacrifice, or a combat for the possession of the light of) the sun.
The chanting itself is, according to some authorities, performed by the Udgâtres, whilst, according to others, all the priests (except the Hotri, for whom the Maitrâvaruna acts), as well as the Grıhapatı, or Sacrificer, take part in turn in the singing of the sâmans; the Prastotrz and Pratıhartri, assistants of the Udgâtri, joining in with the successive performers in the Nidhanas, or finales.
See p. 110, note 3; p. 112, note 1. During his recitation of the Great Litany, the Hotri is seated on a swing, the Adhvaryu
