The Upanishads, Part I — SBE Vol. 1 (trans. F. Max Müller, 1879)
English·1879–1910·trans. Georg Bühler & James Legge·271 passages
The text · part 9 of 13
The trunk is the twenty-fifth, and Prag4pati is the twenty-fifth. There are ten fingers on his hands, ten toes on his feet, two legs, two arms, and the trunk the twenty-fifth. He adorns that trunk, the twenty-fifth, by this hymn}, ;
Now this day consists of twenty-five, and the Stoma hymn of that day corisists of twenty-five: it becomes the same through the same. Therefore these two, the day and the hymn, are twenty-five, yea, twenty-five.
1 Cf. 1,1, 2,7; 1, 3. 5, 7-
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SECOND ADHYAYA.
First KuHanpA},
1. The two tvzkas, Rv. VIII, 68, 1-3, 4 tva _ratham yathotaye, and Rv. VIII, 2, 1-3, idam vaso sutam andha&, form the first (pratipad) and the second (anuéara) of the Marutvatiya hymn.
2. Both, as belonging to the one-day ceremonial?, are perfect in form. On that day much is done now and then which has to be hidden, and has to be atoned for. Atonement is rest, the one-day sacrifice. Therefore at the end of the year the sacrificers rest on this atonement as their rest. He who knows this rests firm, and they also for whom a Hotv? priest who knows this, recites this hymn °.
3. In the second verse of (the Pragatha ‘), indra nedtya ed ihi, pra sQ tira saétbhir ye ta ukthinas (Rv. VIII, 53, 5, 6), there occurs the word ukthinaZ, reciters of hymns®. Verily, this day (the mah4vrata) is an uktha (hymn), and as endowed with an uktha, the form of this day is perfect.
4. In the first verse (of another Pragdtha) the word vira, strong, occurs (Rv. I, 40, 3), and as endowed with the word vira, strong, the form of this day is perfect.
1 In the first adhyaya the two hymns to be recited by the Hotr? priest at the morning-libation (the agya and pra-uga sastra) have been considered. Now follows the Marutvatfya hymn, to be recited by the Hotr? priest at the noon-libation.
2 Taken from the Agnish/oma.
5 Cf. I, 1, 3, 7-8.
* All these Pragathas consist of two verses expanded into a trika.
® Hotradaya ukthinat sastrinah. e
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5. In the second verse (of another Pragdtha) the word suviryam, strength, occurs (Rv. I. 40, 1), and as endowed with the word suvirya, strength, the form of this day is perfect.
6. In the first verse (of another Pragdtha) the word ukthyam, to be hymned, occurs (Rv. I, 40, 5). Verily, this day is an uktha, and as endowed with an uktha, the form of this day is perfect.
7. In the (Dhayy4) verse agnir neta (Rv. III, 20,
4) the word vrztrahA, killer of Vtra, occurs. The killing of Vrztra is a form (character) of Indra, this day (the mah4vrata) belongs to Indra, and this is the (perfect) form of that day.
8. In the (Dhayy4) verse tvam soma kratubhiZ sukratur bhds (Rv. I, 91, 2) the word vvzsha', powerful, occurs. Powerful is a form (character) of Indra, this day belongs to Indra, and this is the (perfect) form of that day.
8. In the (Dhayy4) verse tvam soma kratubhiZ sukratur bhds (Rv. I, 91, 2) the word vvzsha', powerful, occurs. Powerful is a form (character) of Indra, this day belongs to Indra, and this is the (perfect) form of that day.
9. In the (Dhayy4) verse pinvanty apa (Rv. I, 64, 6) the word v4ginam, endowed with food, occurs. ~ Endowed with food is a form (character) of Indra, this day belongs to Indra, and this is the (perfect) form of that day.
10. In the same verse the word stanayantam, thundering, occurs. . Endowed with thundering is a form (character) of Indra, this day belongs to Indra, and this is the (perfect) form of that day.
11. In(the Prag4tha) pra va indraya brzhate (Rv.
VIII, 89, 3) (the word brzhat occurs). Verily, brzhat is mahat (great), and as endowed with mahat, great, the form of this day (mah4vrata) is perfect.
12. In (the Prag4tha) bszhad indraya gayata (Rv.
¢?
: Cf. I, 2, 2,14.
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VIII, 89, 1) (the word brzhat occurs). Verily, byzhat is mahat (great), and as endowed with mahat, the form of this day is perfect.
13. In (the Pragatha) nakiZ sud4so ratham pary 4sa na rtramad (Rv. VII, 32, 10) the words parydsa (he moved round) and na rtramad (he did not enjoy) occur, and as endowed with the words paryasta and ranti the form of this day is perfect 1.
He recites all (these) Pragathas, in order to obtain all the days (of the sacrifice), all the Ukthas%, all the Prish¢has’, all the Sastras‘, all the Pra-ugas’, and all the Savanas (libations).
SEconD KHawpa *. 1. He recites the hymn, asat su me garitah sdbhivegak (Rv. X, 27, 1), (and in it the word) satyadhvvitam, the destroyer of truth. Verily, that day
1 Because the performance of the Mah4vrata sacrifice moves the worshipper round to another world and gives him enjoyment. Comm. It is difficult to surpass the absurdity of these explanations. Na riramat means no one stopped the chariot of Sud4s. But even if it meant that no one rejoiced through the chariot of Sudas, it would be difficult to seé how the negative of enjoyment, mentioned in the hymn, could contribute to the perfection of a sacrifice which is to confer positive enjoyment on the worshipper.
2 The stotras following after the Yagfiayagiifya Saman, serving for the ukthya-kratus,
3 The stotras of the noon-libation, to be performed with the Rathantara, Brthat, and other SAmans.
‘ The sastras, recitations, accompanying the oblations of 4gya.
5 The pra-ugas, a division of sastras, described above.
* The type after which the Marutvatfya-sastra is to be performed is the Katurvimsa day. Hitherto (from 4 tva ratham to nakisz sudasaf), all that is taken over from the type to the modification, i.e. the Marutvatlya, has been explained. Now follow the verses which are new and peculiar to the Marutvatfya of the Mahévrata.
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is truth, and as endowed with the word satya, truth, the form of this day is perfect 1.
the Marutvatlya, has been explained. Now follow the verses which are new and peculiar to the Marutvatfya of the Mahévrata.
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is truth, and as endowed with the word satya, truth, the form of this day is perfect 1.
2. That hymn is composed by Vasukra. Verily, Vasukra is Brahman, and that day is Brahman. Thus he obtains Brahman by means of Brahman *.
3. Here they say: ‘Why then is that Marutvatiya hymn completed by the hymn of Vasukra?’ Surely because no other Azshi but Vasukra brought out a Marutvattya hymn, or divided it properly’. There fore that Marutvattya hymn is completed by the hymn of Vasukra.
4. That hymn, asat su me, is not definitely addressed to any deity, and is therefore supposed to be addressed to Pragapati. Verily, Pragdpati is indefinite, and therefore the hymn serves to win PragApati.
5. Once in the hymn (Rv. X, 27, 22) he defines Indra (indraya sunvat); therefore it does not fall off from its form, as connected with Indra.
6. He recites the hymn (Rv. VI, 17, 1) piba somam abhi yam ugra tarda&.
7. In the verse frvam gavyam mahi g7vzmana indra the word mahi, great, occurs. Endowed with the word mahat, the form of this day is perfect.
8. That hymn is composed by Bharadvaga, and Bharadvaga was he who knew most, who lived longest, and performed the greatest austerities among the Azshis, and by this hymn he drove away evil. Therefore if he recites the hymn of Bharadvaga,
1 The commentator endeavours to make the meaning more natural by taking in the word prahant4, he who kills the destroyer of truth. But considering the general character of these remarks, this is hardly necessary.
2 Cf. I, 1, 3, 3.
* By separating the first tr7ka from the second, and so forth.
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then, after having driven away evil, he becomes learned, long-lived, and full of austerities. .
9. He recites the hymn kay4 subha savayasah sanilaz (Rv. I, 165, 1).
10. In the verse 4 sdsate prati haryanty uktha (Rv. I, 165, 4) the word uktha occurs. Verily, that day (the mah4vrata) is uktha (hymn). Endowed with the word uktha, the form of this day becomes perfect.
11, That hymn is called Kay4subhtya'. Verily, that hymn, which is called Kaydsubhtya, is mutual understanding and it is lasting. By means of it Indra, Agastya, and the Maruts came to a mutual understanding. Therefore, if he recites the Kay4subhiya hymn, it serves for mutual understanding.
12. The same hymn is also long life. Therefore, if the sacrificer is dear to the Hotzz, let him recite the Kaydsubhiya hymn for him.
13. He recites the hymn marutvaz indra vvzshabo ranaya (Rv. III, 47, 1).
14. In it the words indra vrzshabha (powerful) occur. Verily, powerful is a form of Indra’, this day belongs to Indra, and this is the perfect form of that day.
15. That hymn is composed by Visvamitra. Verily, Visvamitra was the friend (mitra) of all (visva).
III, 47, 1).
14. In it the words indra vrzshabha (powerful) occur. Verily, powerful is a form of Indra’, this day belongs to Indra, and this is the perfect form of that day.
15. That hymn is composed by Visvamitra. Verily, Visvamitra was the friend (mitra) of all (visva).
16. Everybody is the friend of him who knows this, and for whom a Hotz? priest who knows this, recites this hymn.
17. The next hymn, ganish/#4 ugra% sahase turaya (Rv. I, 73, 1), forms a Nividdh4na’, and,
® The hymn consists of eleven verses. In the middle, after the sixth verse, nivids or invocations, such as indro marutv4n, are inserted, and therefore it is called a nividdhana hymn.
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according to the one-day (ekaha) ceremonial, is perfect in form. On that day much is done now and then which has to be hidden, and has to be atoned for (by recitation of hymns). Atonement is rest, the one-day sacrifice. Therefore at the end of the year (on the last day but one of the sacrifice that lasts a whole year) the sacrificers rest on this atonement as their rest.
He who knows this rests firm, and they also for whom a Hotvz priest who knows this, recites this hymn }.
18. These, if recited straight on, are ninety-seven verses*, The ninety are three Virag, each consisting of thirty, and then the seven verses which are over. Whatever is the praise of the seven, is the praise of ninety also.
1 With this hymn the Marutvatiya-sastra is finished. All the hymns from 4 tv4 ratham to asat su me garitar are simply taken over from the Xaturvimsa ceremonial, the rest are peculiar to the Mahfvrata day, the day preceding the Udayaniya or final day of the Gavamayana sattra, All this is more fully described in the fifth Aranyaka (V, 1, 1, 8), containing the Sfitras or rules of Saunaka, while the earlier Aranyakas are reckoned as Brahmamas, and are therefore mixed up with matters not actually required for the performance of the sacrifice.
? The first Stotriya and Anurfipa trikas= . . . 6 (1,2, 1, 1). The six Pragathas, each of 2 verses raised to 3 (but the text gives
19. By repeating the first and last verses three times each, they become one hundred and one verses.
20. There are five fingers, of four joints each, two pits (in the elbow and the arm), the arm, the eye, the shoulder-blade ; this makes twenty-five. The other three parts have likewise twenty-five each’. That makes a hundred, and the trunk is the one hundred and first.
21. Hundred is life, health, strength, brightness. The sacrificer as the one hundred and first rests in life, health, strength, and brightness.
The other three parts have likewise twenty-five each’. That makes a hundred, and the trunk is the one hundred and first.
21. Hundred is life, health, strength, brightness. The sacrificer as the one hundred and first rests in life, health, strength, and brightness.
22. These verses become Trishéubh?, for the noonday-libation consists of Trish¢ubh verses.
Tuirp Kuanpa 8,
1. They say: ‘What is the meaning of prenkha, swing ?’ Verily, he is the swing, who blows (the wind). He indeed goes forward (pra+inkhate) in these worlds, and that is why the swing is called prenkha.
2. Some say, that there should be one plank, because the wind blows in one way, and it should be like the wind.
3. That is not to be regarded.
4. Some say, there should be three planks, because there are these three threefold worlds, and it should be like them.
1 The left side as well as the right, and then the left and right side of the lower body. Thus we have twenty joints of the five toes, a thigh, a leg, and three joints, making twenty-five on each side.
® Approach the Trish/ubh metre of the last hymn. Comm.
* After having considered the Marutvatfya, he proceeds to consider the Nishkevalya. This has to. be recited by the Hotr? while sitting on a swing.
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5. That is not to be regarded.
-6. Let there be two, for these two worlds (the earth and heaven) are seen as if most real, while the ether (space) between the two is the sky (antariksha). Therefore let there be two planks.
7. Let them be made of Udumbara wood. Verily, the Udumbara tree is sap and eatable food, and thus it serves to obtain sap and eatable food.
8. Let them be elevated in the middle (between the earth and the cross-beam). Food, if placed in the middle, delights man, and thus he places the sacrificer in the middle of eatable food.
g. There are two kinds of rope, twisted towards the right and twisted towards the left. The right ropes serve for some animals, the left ropes for others, If there are both kinds of rope, they serve for the attainment of both kinds of cattle.
10. Let them be made of Darbha (Kusa grass), for among plants Darbha is free from evil, therefore they should be made of Darbha grass.
FourtuH KHawpa.
1. Some say: ‘Let the swing be one ell (aratni) above the ground, for by that measure verily the Svarga worlds are measured.’ That is not to be regarded.
2. Others say: ‘Let it be one span (prddesa), for by that measure verily the vital airs were measured.’ That is not to be regarded 1. .
3. Let it be one fist (mushd@i), for by that measure verily all eatable food is made, and by that measure
1 They rise one span above the heart, and they proceed one . span from out the mouth. Comm.
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all eatable food is taken; therefore let it be one fist above the ground.
4. They say: ‘Let him mount the swing from east to west, like he who shines; for the sun mounts these worlds from east to west.’ That is not to be regarded.
span from out the mouth. Comm.
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all eatable food is taken; therefore let it be one fist above the ground.
4. They say: ‘Let him mount the swing from east to west, like he who shines; for the sun mounts these worlds from east to west.’ That is not to be regarded.
5. Others say: ‘Let him mount the swing sideways, for people mount a horse sideways’, thinking that thus they will obtain all desires.’ That is not to be regarded.
6. They say: ‘Let him mount the swing? from behind, for people mount a ship from behind, and this swing is a ship in which to go to heaven.’ Therefore let him mount it from behind.
7. Let him touch the swing with his chin (44ubuka). The parrot (suka) thus mounts a tree, and he is of all birds the one who eats most food. Therefore let him touch it with his chin.
8. Let him mount the swing with his arms*. The hawk swoops thus on birds and on trees, and he is of all birds the strongest. Therefore let him mount with his arms.
9. Let him not withdraw one foot (the right or left) from the earth, for fear that he may lose his hold.
10. The Hotrz mounts the swing, the Udgatrz the seat made of Udumbara wood. The swing is masculine, the seat feminine, and they form a union. Thus he makes a union at the beginning of the uktha in order to get offspring.
1 Here we have clearly riding on horseback.
2 While the swing points to the east, let him stand west, and thus mount.
* The fore-arms, from the elbow to the end, the aratnt. Comm.
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11. He who knows this, gets offspring and cattle.
12. Next the swing is food, the seat fortune. Thus he mounts and obtains food and fortune.
13. The Hotrakas (the PrasAstvz, Brahmazékkhamsin, Potr?, Neshéri, Agntdhra, and A&éhavaka) together with the Brahman sit down on cushions made of grass, reeds, leaves, &c.
14. Plants and trees, after they have grown up, bear fruit. Thus if the priests mount on that day altogether (on their seats), they mount on solid and fluid as their proper food. Therefore this serves for the attainment of solid as proper food}.
15. Some say: ‘Let him descend after saying vashaf*,’ That is not to be regarded. For, verily, that respect is not shown which is shown to one who does not see it ®.
16. Others say: ‘Let him descend after he has taken the food in his hand. That is not to be regarded. For, verily, that respect is not shown which is shown to one after he has approached quite close.
17. Let him descend after he has seen the food. For, verily, that is real respect which is shown to one when he sees it. Only after having actually
1 One expects ishah before firga/, but it is wanting in both text and commentary, and in other MSS. also.
® The word by which the Hotr? invites the Adhvaryu to offer _ the oblation to the gods. The descending from the swing belongs, 3 of course, to a later part of the sacrifice.
also.
® The word by which the Hotr? invites the Adhvaryu to offer _ the oblation to the gods. The descending from the swing belongs, 3 of course, to a later part of the sacrifice.
* It is supposed that the Hotr7 rises from the swing to show respect to the sacrificial food, when it is brought near. But as it is not brought near, immediately after the Hoty? has finished his part with the word vasha/, the food could not see the Hotr? rise, and this mark of respect, intended for the food, would thus be lost.
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seen the food (that is brought to the sacrifice), let him descend from the swing.
18. Let him descend turning towards the east, for in the east the seed of the gods springs up?. Therefore let him rise turning towards the east, yea, turning towards the east.
THIRD ADHYAYA.
First Kuawpa.
1. Let him begin this day? with singing ‘ Him,’ thus they say.
2. Verily, the sound Him is Brahman, that day also is Brahman. He who knows this, obtains Brahman even by Brahman.
3. As he begins with the sound Him, surely that masculine sound of Him and the feminine Rik (the verse) make a couple. Thus he makes a couple at the beginning of the hymn in order to get offspring *. He who knows this, gets cattle and offspring.
4. Or, as he begins with the sound Him, surely like a wooden spade, so the sound Him serves to dig up Brahman (the sap of the Veda). And as a man wishes to dig up any, even the hardest soil, with a spade, thus he digs up Brahman.
5. He who knows this digs up, by means of the sound Him, everything he may desire.
6. If he begins with the sound Him, that sound is the holding apart of divine and human speech.
1 Should it be devaretas sampragfyate, or devaretasam pragayate? * The Nishkevalya-sastra, of the noon-libation; cf. I, 2, 2, 1. ® Cf. I, 2, 4, 10,
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Therefore, he who begins, after having uttered the sound Him, holds apart divine and human speech '.
SECOND KHawpa.
1. And here they ask: ‘ What is the beginning of this day?’ Let him say: ‘Mind and speech?’
2. All desires dwell in the one (mind), the other yields all desires.
3. All desires dwell in the mind, for with the mind he conceives all desires.
4. All desires come to him who knows this.
5. Speech yields all desires, for with speech he declares all his desires.
6. Speech yields all desires to him who knows this.
7. Here they say: ‘Let him not begin this day with a Ak, a Yagus, or a Sdman verse (divine speech), for it is said, he should not start with a Rik, a Yagus, or a SAman 3,’
8. Therefore, let him say these Vy4hv%tis (sacred interjections) first.
9. These interjections Bhtis, Bhuvas, Svar are the three Vedas, Bhfs the Azg-veda, Bhuvas the Yagur-veda, Svar the Sdma-veda. Therefore (by
1 Human speech is the ordinary speech, divine speech that of the Veda. Thus between the hymns, or the divine speech, and the ordinary language of conversation the sound Him is interposed as a barrier.
Therefore (by
1 Human speech is the ordinary speech, divine speech that of the Veda. Thus between the hymns, or the divine speech, and the ordinary language of conversation the sound Him is interposed as a barrier.
’ Mind, to think about the hymns which have to be recited; speech, to recite them without a flaw.
* It is doubtful whether ney4d rita and apagakéhet can have this meaning. However, what is intended is clear, viz. that the priest, even after having uttered the sound Him, should not immediately begin with verses from the Vedas, but should intercalate the three syllables bhfir bhuva/ svar, or, if taken singly, bhfs, bhuvas, svar.
[3] Np. 178 intercalating these) he does not begin simply with a Rk, Yagus, or Saman verse, he does not start with a Rzk, Yagus, or Saman verse.
Tuirp Kuanpa.
1. He begins with tad, this, (the first word of the first hymn, tad id Asa). Verily ‘this, this’ is food, and thus he obtains food.
2. Pragdpati indeed uttered this as the first word, consisting of one or two syllables, viz. tata and tata (or tat), And thus does a child, as soon as he begins to speak, utter the word, consisting of one or two syllables, viz. tata and tata (or tat). With this very word, consisting of tat or tatta, he begins.
3. This has been said bya Ashi (Rv. X,71, 1)?:—
4. ‘O Brzhaspati, the first point of speech ;’"— for this is the first and highest point of speech.
5. ‘That which you have uttered, making it a name ;'—for names are made by speech.
* Tata and tata are used both by children in addressing their parents, and by parents in addressing their children. If tat is call.d the very same word, eva is used in the sense of iva.
? The verse is cited to confirm the meaning of tat, the first word of the first hymn (tad id 4sa), as explained before. It was said that tat was the first name applied to a child. Now, according to Asvalayana Grthya-sfitra I, 16, 8, a name is given to a child at the time of its birth, a name which no one knows except father and mother, till the time when he is initiated by a Guru. This is called the abhivadanfya name. In allusion to this custom it is said here that tata is the secret name of the child, which becomes publicly known ata later time only. Of course the interpretation of the verse in that sense is unnatural, but quite in keeping with the general character of the Aranyaka. I doubt whether even the commentator understood what was intended by the author, and whether the gods who enter the body are supposed to know the name, or whether the name refers to these gods, or, it may be, to tad, the Brahman.
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6. ‘ That (name) which was the best and without a flaw ;—for this is the best and without a flaw.
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6. ‘ That (name) which was the best and without a flaw ;—for this is the best and without a flaw.
7. ‘That which was hidden by their love, is made manifest ;\—for this was hidden in the body, viz. those deities (which enter the body, Agni as voice, entering the mouth, &c.); and that was manifest among the gods in heaven. This is what was intended by the verse.
Fourtuy Kuawpa}.
1. He begins with: ‘That indeed was the oldest in the worlds ?;’—for that (the Brahman) is verily the oldest in the worlds.
2. ‘Whence was born the fierce one, endowed with brilliant force ;’"—for from it was born the fierce one, who is endowed with brilliant force.
3. ‘When born he at once destroys the enemies;’— for he at once when born struck down the evil one.
4. ‘He after whom all friends rejoice;’—verily all friends are the creatures, and they rejoice after him, saying, ‘ He has risen, he has risen®.’
5. ‘Growing by strength, the almighty*;’—for he (the sun) does grow by strength, the almighty.
6. ‘He, as enemy, causes fear to the slave;’—for everything is afraid of him.
7. ‘Taking the breathing and the not-breathing;' — this means the living and the lifeless.
8. ‘Whatever has been offered at feasts came to thee;’—this means everything is in thy power.
9. ‘All turn their thought also on thee®;’—thisp. 180 means all these beings, all minds, all thoughts also turn to thee.
* He now explains the first hymn of the Nishkevalya, which is called the Ragana,
* Rv. X, 120, 1. ® The sun and the fire.
* Rv. X, 120, 2. 5 Rv. X, 120, 3.
10. ‘When these two become three protectors ;'— i.e. when these two united beget offspring.
11. He who knows this, gets offspring and cattle.
12. ‘Join what is sweeter than sweet (offspring) with the sweet (the parents) ;"—for the couple (father and mother) is sweet, the offspring is sweet, and he thus joins the offspring with the couple.
13. ‘And this (the son, when married) being very sweet, conquered through the sweet ;’—i.e. the couple is sweet, the offspring is sweet, and thus through the couple he conquers offspring 3.
14. This is declared by a Réshi*: ‘Because he (Pragdpati) raised his body (the hymn tad id Asa or the Veda in general) in the body (of the sacrificer)’ (therefore that Nishkevalya hymn is praised); —i.e. this body, consisting of the Veda, in that corporeal form (of the sacrificer).
15. ‘Then let this body indeed be the medicine of that body;’—i. e. this body, consisting of the Veda, of that corporeal form (of the sacrificer).
16. Of this (the first foot of Rv. X, 120, 1) the eight syllables are Gayatrt, the eleven syllables are Trish¢ubh, the twelve syllables are Gagatt, the ten syllables are Virag. The Virag, consisting of ten syllables, rests in these three metres *.
17. The word purusha, consisting of three syllables, that indeed goes into the Virag*.
1 All these are purely fanciful interpretations.
The Virag, consisting of ten syllables, rests in these three metres *.
17. The word purusha, consisting of three syllables, that indeed goes into the Virag*.
1 All these are purely fanciful interpretations.
* Not to be found in our Sakha of the Rig-veda.
® These metres are obtained by a purely arbitrary counting of syllables in the hymn tadid&sa, which really consists of Trishfubh verses.
‘ If we simply count syllables, the first and second feet of the
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18. Verily, these are all metres, these (Gayatri, Trish¢ubh, Gagati) having the Virag as the fourth. In this manner this day is complete in all metres to him who knows this.
FirtH KuHawpa,
-
1. He extends these (verses) by (interpolating) the sound’, Verily, the sound is purusha, man. Therefore every man when he speaks, sounds loud, as it were.
2. At the end of each foot of the first verse of the hymn tad id 4sa, he inserts one foot of the second verse of hymn Rv. VIII, 69, nadam va odatinadm, &c. Thus the verse is to be recited as follows :
Tad id 4sa bhuvaneshu gyesh¢sam pu nadam va odatindm,
Sadyo gagiiano ni rivati satrin pati vo aghnyandm,
Anu yam visve madanti im4s sho dhenfinam ishudhyasi.
first verse consist of ten syllables only, the fourth of nine or ten. In order to bring them to the right number, the word purusha is to be added to what is a Virdg, i.e. to the first, the second, and fourth feet. We thus get:
tad id 4sa bhuvaneshu gyesh/Zam pu yato gagfia ugras tveshanrimzo = ru sadyo gagiiano ni rivAti satrin anu yam visve madanti mas shah. Cf. Ait. Ar. V, 1, 6.
1 The sound, nada, is really a verse beginning with nadam, and which is interpolated after the syllables pu ru shat.
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In nadamw va odatindm (Rv. VIII, 69, 2), odati? are the waters in heaven, for they water all this; and they are the waters in the mouth, for they water all good food.
3. In nadam yoyuvatinim (Rv. VIII, 69, 2), yoyuvatt are the waters in the sky, for they seem to inundate ; and they are the waters of perspiration, for they seem to run continually.
4. In patim vo aghnya4ndm (Rv. VIII, 69, 2), aghnyé are the waters which spring from the smoke of fire, and they are the waters which spring from the organ.
5. In dhenfn4ém ishudhyasi (Rv. VIII, 69, 2), the dhenu (cows) are the waters, for they delight all this; and ishudhyasi means, thou art food.
6. He extends a Trish¢ubh and an Anusht¢ubh *. Trish¢ubh is the man, Anush/ubh the wife, and they make a couple. Therefore does a man, after having found a wife, consider himself a more perfect man.
6. He extends a Trish¢ubh and an Anusht¢ubh *. Trish¢ubh is the man, Anush/ubh the wife, and they make a couple. Therefore does a man, after having found a wife, consider himself a more perfect man.
7. These verses, by repeating the first three times, become twenty-five. The trunk is the twenty-fifth, and Pragdpati is the twenty-fifth’. There are ten fingers on his hands, ten toes on his feet, two legs, two arms, and the trunk the twenty-fifth. He adorns that trunk as the twenty-fifth. Now this day consists of twenty-five, and the Stoma hymn of that day consists of twenty-five: it becomes the same
' The nasal pluta on iti is explained as pddaprattkagrahane *tyantamAdararthak. Cf. Ait. Ar. II, 1, 4, 3.
* Tad id 4sa is a Trishfubh, nadam vahk an Anush/ubh.
5 Cf. I, 1, 2, 7; I, 1, 4, 21.
p. 183
through the same. Therefore the two, the day and the hymn, are twenty-five.
SixtH Kuawopa,
This is an exact repetition of the third khamda. According to. the commentator, the third khanda was intended for the glory of the first word tad, while the sixth is intended for the glory of the whole hymn.
SEVENTH KuHawpa.
1. He begins with the hymn, Tad id 4sa bhuvaneshu gyeshtham (Rv. X, 120). Verily, gyesh¢ha, the oldest, is mahat, great. Endowed with mahat the form of this day is perfect.
2. Then follows the hymn, T4m su te kirtim maghavan mahitva (Rv. X, 54), with the auspicious word mahitva.
3. Then follows the hymn, Bhfya id vavvzdhe viry4ya (Rv. VI, 30), with the auspicious word virya.
4. Then follows the hymn, Nvzz4m u tv4 nvztamam gobhir ukthai# (Rv. I, 51, 4), with the aus- Picious word uktha.
5. He extends the first two pddas, which are too small, by one syllable (Rv. X, 120, 1a, and Rv. VIII, 69, 2a)%, Into the small heart the vital spirits are placed, into the small stomach food is placed. It
1 The number is obtained as follows:
1. Tad id 4sa (Rv. X, 120)= . . 9 verses 2, Tam su te kirtim (Rv. X, 54)= . 6 y»
3. Bhfya id vavridhe (Rv. VI, 30)= 5»
4. Nrinim u tva (Rv. I, 51, 4)= 3»
* Cf I, 1, 2, 9.
p. 184
serves for the attainment of these desires, He who knows this, obtains these desires.
6. The two feet, each consisting of ten syllables (Rv. X, 120, 1 a, b), serve for the gaining of both kinds of food’, of what has feet (animal food), and what has no feet (vegetable food).
7. They come to be of eighteen syllables each®. Of those which are ten, nine are the prazas (openings of the body)’, the tenth is the (vital) self. This is the perfection of the (vital) self. Eight syllables remain in each. He who knows them, obtains whatever he desires.
Eicutu Kuawpa.
1. He extends (these verses) by (interpolating) the sound‘. Verily, breath (praza) is sound. Therefore every breath when it sounds, sounds loud, as it were.
This is the perfection of the (vital) self. Eight syllables remain in each. He who knows them, obtains whatever he desires.
Eicutu Kuawpa.
1. He extends (these verses) by (interpolating) the sound‘. Verily, breath (praza) is sound. Therefore every breath when it sounds, sounds loud, as it were.
2. The verse (VIII, 69, 2) nadam va odattndm, &c., is by its syllables an Ushzih5, by its feet an Anush¢ubh*. Ushzwih is life, Anush¢ubh, speech. He thus places life and speech in him (the sacrificer.)
3. By repeating the first verse three times, they
1 Because Virag, a foot of ten syllables, is food.
a Rv. X, 120, ra=. . 10 Rv. VIII, 69, 2a= . q
Syllable pu= . . 1
p. 18
* Seven in the head and two in the body; sapta vai sirshany4s prana dvAv avaiAav iti.
‘ Cf. I, 3, 5, 1.
* Each pada has seven syllables, the third only six; but a seventh syllable is gained by pronouncing the y as i. Comm.
* Because it has four padas.
1 ARANYAKA, 3 ADHYAYA, 8 KHANDA, 8. 1185
become twenty-five. The trunk is the twenty-fifth, and Prag4pati is the twenty-fifth, There are ten fingers on his hands, ten toes on his feet, two legs, two arms, and the trunk the twenty-fifth. He adorns that trunk as the twenty-fifth. Now this day consists of twenty-five, and the Stoma hymn of that day consists of twenty-five: it becomes the same through the same. Therefore the two, the day and the hymn, are twenty-five. This is the twenty-fifth with regard to the body.
4. Next, with regard to the deities: The eye, the ear, the mind, speech, and breath, these five deities (powers) have entered into that person (purusha), and that person entered into the five deities. He is wholly pervaded there with his limbs to the very hairs and nails. Therefore all beings to the very insects are born as pervaded (by the deities or senses) !.
5. This has been declared by a Avshi (Rv. X, 114, 8):—
6. ‘A thousandfold are these fifteen hymns ;’—for five arise from ten 2.
7. ‘As large as heaven and earth, so large is it ; —verily, the self (givatman) is as large as heaven and earth.
8. ‘A thousandfold are the thousand powers ® ;’—p. 186 by saying this the poet pleases the hymns (the senses), and magnifies them.
1 The commentator takes this in a different sense, explaining atra, there, as the body pervaded by the person, yet afterwards stating that all beings are born, pervaded by the senses.
3 The commentator explains ukth4, hymns, as members or organs. They are the five, and they spring from the ten, i.e. from the five elements (earth, water, fire, wind, and ether), forming part of the father and mother each, and therefore called ten, or a decade. Dasatah is explained by bhftadasakat.
* The application of the senses to a thousand different objects.
g. ‘As far as Brahman reaches, ‘so far reaches speech ;’—wherever there is Brahman, there is a word; and wherever there is a word, there is Brahman, this was intended.
p. 186
by saying this the poet pleases the hymns (the senses), and magnifies them.
g. ‘As far as Brahman reaches, ‘so far reaches speech ;’—wherever there is Brahman, there is a word; and wherever there is a word, there is Brahman, this was intended.
10. The first of the hymns among all those hymns has nine verses. Verily, there are nine prazas (openings), and it serves for their benefit.
11. Then follows a hymn of six verses. Verily, the seasons are six, and it serves to obtain them.
12. Then follows a hymn of five verses. Verily, the Pankti consists of five feet. Verily, Pankti is food, and it serves for the gaining of proper food.
13. Then follows a tristich, Three are these threefold worlds, and it serves to conquer them.
14. These verses become Brzhatis!, that metre being immortal, leading to the world of the Devas. That body of verses is the trunk (of the bird represented by the whole sastra), and thus it is. He who knows this comes by this way (by making the verses the trunk of the bird) near to the immortal Self, yea, to the immortal Self?
Each foot of the Trishfubh has eleven syllables, to which seven are added from the Nada hymn. This gives eighteen syllables for each pada. Two padas therefore give thirty-six syllables, and this is a Brzhatf. In this manner the twenty-three verses of the hymns yield forty-six Brzhatis. Comm.
® He obtains a birth among the gods by means of this Mahavrata ceremonial, if performed with meditation and a right understanding of its hidden meaning.
p. 187
FOURTH ADHYAYA.
First Kuawpa.
1. Next comes the Sidadohas! verse. Sidadohas is breath, and thereby he joins all joints with breath.
2. Next follow the neck verses. They recite them as Ushzih, according to their metre *
3. Next comes (again) the Sfidadohas verse. Sddadohas is breath, and thereby he joins all joints with breath.
4. Next follows the head. That is in GAyatrt verses. The Gayatri is the beginning of all metres’; the head the first of all members. It is in Arkavat verses (Rv. I, 7, 1-9)4. Arka is Agni. They are nine verses. The head consists of nine pieces. He recites the tenth verse, and that is the skin and the hairs on the head. It serves for reciting one verse more than (the nine verses contained in) the Stoma’®.
1 The Nishkevalya-sastra is represented in the shape of a bird, consisting of trunk, neck, head, vertebrae, wings, tail, and stomach. Before describing the hymns which form the neck, another hymn has to be mentioned, called Sfdadohas, which has to be recited at the end of the hymns, described before, which form the trunk. S(dadohas is explained as ‘ yielding milk,’ and because that word occurs in the verse, the verse is called Sfdadohas. It follows on the Nada verse, Rv. VIII, 69, 3. Cf. Ait. Ar. I, 5,1, 7.
2 They occur in another sakh4, and are to be recited such as they are, without any insertions. They are given by Saunaka, Ait. Ar. V, 2, 1.
It follows on the Nada verse, Rv. VIII, 69, 3. Cf. Ait. Ar. I, 5,1, 7.
2 They occur in another sakh4, and are to be recited such as they are, without any insertions. They are given by Saunaka, Ait. Ar. V, 2, 1.
5 It was created from the mouth of Prag4pati.
* They are called so, because the word arka occurs in them.
5 The chanters of the S&ama-veda make a Trivrit Stoma of this hymn, without any repetitions, leaving out the tenth verse. The reciters of the Rig-veda excel them therefore by reciting a tenth verse. This is called atisamsanam (or -na).
p. 188
These form the Trivzzt Stoma and the Gayatrt metre, and whatever there exists, all this is produced after the production of this Stoma and this metre. Therefore the recitation of these headhymns serves for production.
5. He who knows this, gets offspring and cattle.
6. Next comes the Sfidadohas verse. Verily, Sddadohas is breath, and thereby he joins all joints with breath.
7. Next follow the vertebrae! (of the bird). These verses are Virag (shining). Therefore man says to man, ‘Thou shinest above us;’ or to a stiff and proud man, ‘ Thou carriest thy neck stiff’ Or because the (vertebrae of the neck) run close together, they are taken to be the best food. For Virag is food, and food is strength.
8. Next comes the Sidadohas verse. Sfidadohas is breath, and thereby he joins all joints with breath.
1 Vigavas may be a singular, and the commentator seems to take it as such in his first explanation. The text, t4 virdgo bhavanti, proves nothing, because it could not be sa virégo bhavanti, nor even sa virad bhavati. Possibly the word may occur in both forms, vigu, plural vigavak, and vigavak. In a somewhat similar way we find griva and griv4A, folia and la feuille. On p. 109, the commentator speaks of vigavabhaga, and again, p. 110, pakshamflarfipa vigava abhihité#. He, however, explains its meaning rightly, as the root of the wings, or rather the lower bones of the neck. Griva’, plural, were originally the vertebrae of the neck. The paragraph, though very empty, contains at least some interesting forms of language. First vigu, vertebrae, then the participles duta and samb&/hatama, and lastly the verb pratyaé, the last probably used in the sense of to bring near, to represent, with the superlative adverb annatam4m (P4z. V, 4, 11), i.e. they are represented as if they brought the best food.
p. 189
SECOND Kuanpa.
1. Next follows the right wing. It is this world (the earth), it is this Agni, it is speech, it is the Rathantara’, it is Vasish¢ka, it is a hundred *. These are the six powers (of the right wing)*. The Sampata hymn (Rv. IV, 20) serves indeed for obtaining desires and for firmness. The Pankti verse (Rv. I, 80, 1) serves for proper food.
2. Next comes the Sadadohas verse. Sddadohas is breath, thereby he joins all joints with breath.
These are the six powers (of the right wing)*. The Sampata hymn (Rv. IV, 20) serves indeed for obtaining desires and for firmness. The Pankti verse (Rv. I, 80, 1) serves for proper food.
2. Next comes the Sadadohas verse. Sddadohas is breath, thereby he joins all joints with breath.
3. Next follows the left wing. It is that world (heaven), it is that sun, it is mind, it is the Bvzhat, it
1 Rathantara is the name of the whole number of hymns to be recited at this part of the sacrifice. It was made by Vasish/fa, and consists of one hundred verses.
These hymns and verses are given Ait. Ar. V, 2, 2; 1. Here we also learn that hymn Rv. IV, 20, is called Samp4ta, and that the last verse is a Pankti.
5 The six powers are earth, Agni, speech, Rathantara, Vasish/fa, and a hundred.
p. 190
is Bharadvaga, it is a hundred’. These are the six powers (of the left wing). The Samp4ta hymn (Rv. IV, 23) serves indeed for obtaining desires and for firmness. The Pankti verse (Rv. I, 81, 1) serves for proper food.
4. These two (the right and the left wings) are deficient and excessive*. The Brzhat (the left wing) is man, the Rathantara (the right wing) is woman. The excess belongs to the man, the deficiency to the woman. Therefore they are deficient and excessive.
5. Now the left wing of a bird is verily by one feather better, therefore the left wing is larger by one verse.
1 The hundred verses are given Ait. Ar. V, 2, 2, 5.
1. Stotriya, tvim id dhi (Rv. VI, 46, 1). - 2 (3)
2. Anurfpa, tvam hy ehi (Rv. VIII, 61,7) . 2 (3)
3. Tam u shéuhi (Rv. VI, 18) . . - 15
4. Suta it tvam (Rv. VI, 23) . . . * 10°
5. Vrisha mada (Rv. VI, 24) : ’ 10
6. Ya ta Oti# (Rv. VI, 25). 9
7. Abhfr ekah (Rv. VI, 31) 5
8. Apdrvya (Rv. VI, 32) . 5
9. Ya ogishthah (Rv. VI, 33) 5
10. Sam ka tve (Rv. VI, 34) 5
11. Kada bhuvan (Rv. VI, 35) . 5
12. Satra madasaf (Rv. VI, 36) 5
13. Arvag ratham (Rv. VI, 37) 5
14. Ap4d (Rv. VI, 38) . . 5
15. Katha mah4n (Rv. IV, 23) mo 99 (101)
16. Indro madaya (Rv. I, 81, 1) I 100 (102)
Though there are said to be roo verses before the Pankti (No. 16), I can get only 99 or ror. See the following note.
* The right wing is deficient by one verse, the left wing exceeds by one verse. I count 99 or ror verses in the right, and 100 or 102 in the left wing.
p. 1
6. Next comes the Sfidadohas verse. Sfdadohas is breath, and thereby he joins all joints with breath.
* The right wing is deficient by one verse, the left wing exceeds by one verse. I count 99 or ror verses in the right, and 100 or 102 in the left wing.
p. 1
6. Next comes the Sfidadohas verse. Sfdadohas is breath, and thereby he joins all joints with breath.
7. Next follows the tail. They are twenty-one Dvipad4 verses', For there are twenty-one backward feathers in a bird.
8. Then the Ekavimsa is the support of all Stomas, and the tail the support of all birds*.
9. He recites a twenty-second verse. This is made the form of two supports. Therefore all birds support themselves on their tail, and having supported themselves on their tail, they fly up. For the tail is a support.
10. He (the bird and the hymn) is supported by two decades which are Virag. The man (the sacrificer) is supported by the two Dvipadas, the twentyfirst and twenty-second. That which forms the bird serves for the attainment of all desires; that which forms the man, serves for his happiness, glory, proper food, and honour.
11. Next comes a Sfidadohas verse, then a Dhayy4, then a Sddadohas verse. The Sfdadohas is a man, the Dhayy4 a woman, therefore he recites the Dhayy4 as embraced on both sides by the Sfdadohas. Therefore does the seed of both, when it is effused, obtain oneness, and this with regard to the
, These verses are given Ait. Ar. V, 2, 2, 9. . Imé nu kam (Rv. X, 157) 5 2. A yahi (Rv. X,172) «. - 4 3. Pra va indrdya &c. (not in the Sakalya-samhit&) 9 4. Esha brahmé &c. (not in the Sakalya-samhité) 3
* The other Stomas of the Agnish/oma are the Trivrit, Pafizadasa, Saptadasa, the Ekavimsa being the highest. Cf. I, 5, 1, 3.
p. 21
p. 192
woman only. Hence birth takes place in and from the woman. Therefore he recites that Dhayyé in that place}. Tuirp Kuanpa.
1. He recites the eighty tristichs of GAyatrts*. Verily, the eighty G4ayatrt tristichs are this world (earth). Whatever there is in this world of glory, greatness, wives, food, and honour, may I obtain it, may I win it, may it be mine.
2. Next comes the Sfidadohas verse. Stdadohas verily is breath. He joins this world with breath.
3. He recites the eighty tristichs of Brvzhatts. Verily, the eighty Brzhati tristichs are the world of the sky. Whatever there is in the world of the sky of glory, greatness, : wives, food, and honour, may I obtain it, may I win it, may it be mine.
4. Next comes the Sidadohas verse. Sfidadohas verily is breath. He joins the world of the sky with breath.
5. He recites the eighty tristichs of Ushvih. Verily, the eighty Ushzih tristichs are that world, the heaven. Whatever there is in that world of glory, greatness, wives, food, and honour, also the divine being of the Devas (Brahman), may I obtain it, may I win it, may it be mine.
6. Next comes the Siidadohas verse. Sfdadohas verily is the breath. He joins that world with breath, yea, with breath.
Whatever there is in that world of glory, greatness, wives, food, and honour, also the divine being of the Devas (Brahman), may I obtain it, may I win it, may it be mine.
6. Next comes the Siidadohas verse. Sfdadohas verily is the breath. He joins that world with breath, yea, with breath.
1 Asmin vigavabhage. Comm. 2 These and the following verses form the food of the bird. Comm. The verses themselves are given by Saunaka in the fifth
Aranyaka.
p. 193
FIFTH ADHYAYA.
First Kuawpa.
1. He recites the Vasa hymn!, wishing, May everything be in my power.
2. They (its verses) are twenty-one *, for twentyone are the parts (the lungs, spleen, &c.) in the belly.
3. Then the Ekavimsa is verily the support of all Stomas, and the belly the support of all food.
4. They consist of different metres. Verily, the intestines are confused, some small, some large.
5. He recites them with the prazava’, according to the metre‘, and according to rule’. Verily, the intestines are according to rule, as it were; some shorter, some longer.
6. Next comes the Sidadohas verse. Sfdadohas verily is breath. He joins the joints with breath.
7. After having recited that verse twelve times he
+ | Having recited the verses which form the body, neck, head, wings, and tail of the bird, also the food intended for the bird, he now describes the Vasa hymn, i.e. the hymn composed by Vasa, Rv. VIII, 46. That hymn takes the place of the stomach, which receives the food intended for the bird. Cf. Ait. Ar. V, 2, 5. In I, 5, 2, 4 it is called a Nivid.
2 Verses 1-20 of the Vasa hymn, and one Sfidadohas.
* Pranfvam means ‘with prasava,’ i.e. inserting Om in the proper places.
* According as the metres of the different verses are fixed by Saunaka, Ait. Ar. V, 2, 5, who says that verse 15 is Dvipada, and that the last four words, nfinam atha, form an Ekapada.
5 According to rule, i.e. so that they should come right as Asvalayana has prescribed the recitation of Dvipada and Ekapada verses, In a Dvipada there should be a stop after the first foot, and Om at the end of the second. In an Ekapada there should be Om at the beginning and at the end.
[3] oOp. 194 leaves it off there. These pravas are verily twelvefold, seven in the head, two on the breast, three below. In these twelve places the prasas are contained, there they are perfect. Therefore he leaves it off there’.
8. The hymn indragnt yuvam su nak (Rv. VIII,
40) forms the two thighs (of the bird) belonging to Indra and Agni, the two supports with broad bones.
9. These (verses) consist of six feet, so that they may stand firm. Man stands firm on two feet, animals on four. He thus places man (the sacrificer), standing on two feet, among four-footed cattle.
10. The second verse has seven feet, and he makes it into a Gayatrt and Anush¢ubh. GéAyatrt is Brahman, Anushéubh is speech; and he thus puts together speech with Brahman.
He thus places man (the sacrificer), standing on two feet, among four-footed cattle.
10. The second verse has seven feet, and he makes it into a Gayatrt and Anush¢ubh. GéAyatrt is Brahman, Anushéubh is speech; and he thus puts together speech with Brahman.
11. He recites a Trish¢éubh at the end. Trishéubh is strength, and thus does he come round animals by strength. Therefore animals come near where there is strength (of command, &c.); they come to be roused and to rise up, (they obey the commands of a strong shepherd.)
Sreconp Kuanpa.
1. When he recites the Nishkevalya hymn addressed to Indra (Rv. X, 50), pra vo mahe, he inserts a Nivid? (between the fourth and fifth verses). Thus he clearly places strength in himself (in the sastra, in the bird, in himself).
2. They are Trish¢ubhs and Gagatts.
1 He repeats the Sadadohas verse no more. Comm. * Sentences like indro devak somam pibatu.
p. 195
3. There they say: ‘Why does he insert a Nivid among mixed Trishéubhs and Gagatis!?’ But surely One metre would never support the Nivid of this day, nor fill it: therefore he inserts the Nivid among mixed Trishéubhs and Gagatts.
4. Let him know that this day has three Nivids: the Vasa hymn is a Nivid, the VAlakhilyas? are a Nivid, and the Nivid itself is a Nivid. Thus let him know that day as having three Nivids.
5. Then follow the hymns vane na v4 (Rv. X,
29) and yo gata eva (Rv. II, 12). In the fourth verse of the former hymn occur the words anne samasya yad asan mantsh4Z, and they serve for the winning of proper food.
6. Then comes an insertion. As many Trish¢ubh and Gagatt verses®, taken from the ten Mandalas and addressed to Indra, as they insert (between the two above-mentioned hymns), after changing them into Bvzhatts, so many years do they live beyond the (usual) age (of one hundred years). By this insertion age is obtained.
7. After that he recites the Sagantya hymn, wishing that cattle may always come to his offspring.
8. Then he recites the Tarkshya hymn‘. TArkshya is verily welfare, and the hymn leads to welfare. Thus (by reciting the hymn) he fares well °.
1 According to the Prakriti of the Agnish/oma they ought to be all Trishfubhs. Comm.
% These hymns occur in the eighty Brshatt tristichs.
* From the Samhit&, which consists of ten thousand verses. Comm.
‘ Rv. X,178. Tarksha Garuda being the deity of the hymn, it is called Tarkshya,
* Cf. I, 6, 3, 13-
p. 196
9. Then he recites the Ekapad4 (indro visvam vi ragati), wishing, May I be everything at once, and may I thus finish the whole work of metres.
Comm.
‘ Rv. X,178. Tarksha Garuda being the deity of the hymn, it is called Tarkshya,
* Cf. I, 6, 3, 13-
p. 196
9. Then he recites the Ekapad4 (indro visvam vi ragati), wishing, May I be everything at once, and may I thus finish the whole work of metres.
1o. In reciting the hymn indram visva avtvrtdhan (Rv. I, 11) he intertwines the first seven verses by intertwining their feet*. There are seven prazas (openings) in the head, and he thus places seven prazas in the head. The eighth verse (half-verse) he does not intertwine*, The eighth is speech, and he thinks, May my speech never be intertwined with the other prazas. Speech therefore, though dwelling in the same abode as the other pramas, is not intertwined with them.
11. He recites the Virag verses‘. Verily, Virag verses are food, and they thus serve for the gaining of food.
12. He ends with the hymn of Vasishéha®, wishing, May I be Vasish¢ha!
13. But let him end with the fifth verse, esha stomo maha ugréya vahe, which, possessing the word mahat, is auspicious,
14. In the second foot of the fifth verse the word dhuri occurs. Verily, dhu% (the place where the horse is fastened to the car) is the end (of the car). This day also is the end (of the sacrifice which lasts a whole year)*. Thus the verse is fit for the day.
1 The Ekapada forms the last metre in this ceremony.
* The first and last half-verses of the hymn are not to be intertwined. Of the remaining fourteen half-verses he joins, for instance, the fourth foot of the first verse with the second foot of the second verse, and so on. Comm.
> Because nothing more follows. Comm.
* Rv. VII, 22, 1-6. 5 Rv. VII, 24.
* The last day is the udayanfyatiratra. Comm.
p. 197
15. In the third foot the word arka is auspicious.
16. The last foot is: ‘Make our glory high as heaven over heaven.’ Thus wherever Brahmanic speech is uttered, there his glory will be, when he who knows this finishes with that verse. Therefore let a man who knows this, finish (the Nishkevalya) with that verse.
Tuirp KyHanpa},
1. Tat savitur vvzmtmahe (Rv. V, 82, 1-3) and ady4 no deva savitar (Rv. V, 82, 4-6) are the beginning (pratipad) and the next step (anuéara) of the Vaisvadeva hymn, taken from the Ekaha ceremonial and therefore proper *.
2. On that day* much is done now and then which has to be hidden, and has to be atoned for. Atonement is rest, the one-day sacrifice. Therefore at the end of the year the sacrificers rest on this atonement as their rest. He who knows this rests firm, and they also for whom a Hotzz priest who knows this, recites this hymn.
3. Then (follows) the hymn addressed to Savitvz, tad devasya savitur varyam mahat (Rv. IV, 53). Verily, mahat, great, (in this foot) is the end‘. This day too is the end. Thus the verse is fit for the day.
? After finishing the Nishkevalya of the noon-libation, he explains the vaisvadevasastra of the third libation.,
IV, 53). Verily, mahat, great, (in this foot) is the end‘. This day too is the end. Thus the verse is fit for the day.
? After finishing the Nishkevalya of the noon-libation, he explains the vaisvadevasastra of the third libation.,
* The norm of the Mah4vrata is the Visvagit, and the norm of that, the Agnishfoma Ek&ha. The verses to be used for the Vaisvadeva hymn are prescribed in those normal sacrifices, and are here adopted.
® Cf. Ait. Ar. I, 2, 1, 2.
* Nothing higher than the great can be wished for or obtained. Comm.
p. 198
4. The hymn katara pfrv4 katara parayoh (Rv. I, 185), addressed to DyAvapr‘thivt, is one in which many verses have the same ending. Verily, this day also (the mah4vrata) is one in which many receive the same reward. Thus it is fit for the day.
5. The hymn anasvo gato anabhisur ukthyad (Rv. IV, 36) is addressed to the Azbhus.
6. In the first verse the word tri (4akra%) occurs, and trivat? is verily the end. This day also is the end (of the sacrifice). Thus the verse is fit for the day.
7. The hymn asya vamasya palitasya hotud (Rv. I, 164), addressed to the Visvedevas, is multiform. ’ This day also is multiform*. Thus the verse is fit for the day.
8. He recites the end of it, beginning with gaurir mimaya (Rv. I, 164, 41).
9. The hymn 4 no bhadr&& kratavo yantu visvatak (Rv. I, 89), addressed to the Visvedevas, forms the Nividdh4na, taken from the Ekaha ceremonial, and therefore proper.
10. On that day much is done now and then which has to be hidden, and has to be atoned for. Atonement is rest, the one-day sacrifice. Therefore at the end of the year the sacrificers rest on this atonement as their rest. He who knows this rests firm, and they also for whom a Hotz? priest who knows this, recites this hymn.
11. The hymn vaisvanaraya dhishaz4m ritavridhe (Rv. III, 2) forms the beginning of the Agnimaruta. DhishawA, thought, is verily the end, this day also is the end. Thus it is fit for the day.
1 All who perform the ceremony obtain Brahman. Cf. § 12.
* The third wheel, in addition to the usual two wheels, forms the end of a carriage, as before the dhué, cf. I, 5, 2,14. This day also is the end.
* Consisting of Vedic hymns and dances, &c. Comm.
1 ARANYAKA, 5 ADHYAYA, 3 KHANDA, 14. 199
12, The hymn prayagyavo maruto bhragadvzshéayak (Rv. V, 55), addressed to the Maruts, is one in which many verses have the same ending. Verily, this day also is one in which many receive the same reward. Thus it is fit for the day?
13. He recites the verse gdtavedase sunavama somam (Rv. I, 99, 1), addressed to Gatavedas, before the (next following) hymn. That verse addressed to GAtavedas is verily welfare, and leads to welfare. Thus (by reciting it) he fares well*