O God Savitr?, thee they choose for their Brahman, their lord of prayer (Brzhaspati) |’ &c., ‘ Bréhaspati is Brahman to the gods, Ito the men!’ He (or, according
1 A shake-down of grass (astarazam, ?a blanket) is not forbidden. Paddh. on Katy. Sr. II, 1.
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to some, the sacrificer) further says, ‘O Lord of speech, protect the sacrifice !’ after which he betakes himself to the Brahman’s seat (south of the Ahavantya), and whilst [standing north of it, with his face turned eastward and] looking on it, he mutters: ‘ Avaunt ! unholy one (daidhishavya, lit. son of a re-married woman)! take thee away from here and seat thee on another’s seat who is less exalted (pakatara) than we!’ He takes one blade of grass from the seat and flings it towards south-west (the region of the Rakshas or evil spirits) with the formula: ‘Expelled is sin with him whom we detest!’ and then sits down with the formula: ‘Here I sit on the seat of Brzhaspati, at the command of the divine Savitr’! This I proclaim to the fire, this to the wind, this to the earth!’ Here he remains seated, with his face towards the Ahavantya fire, to watch the progress of the ceremony and give directions, whenever he is appealed to. When the full or newmoon sacrifice is performed for the first time, it should be preceded by the Anvarambhanfy4 offering, performed in much the same way as the Paurmamést, except that the oblations themselves consist of a rice cake on eleven potsherds for Agni and Vishau, a potful of boiled (rice) grains (aru) for Sarasvatt; and a rice cake on twelve potsherds for Sarasvat; the priest’s fee on this occasion consisting of a cow four years old, or a pair of cattle, instead of the Anvaharya mess. Katy. Sr. IV, 5, 22-23.
12. By way of his first act on the following morning he (the Adhvaryu priest) betakes himself to the water, and brings water forward!: for
1 He, in the first place, pours water into a jug [usually made of varama wood (Cratzeva Roxburghii), four-cornered, about a span or twelve fingers’ breadths deep and four fingers’ breadths square, and furnished with a handle], puts it down north of the GArhapatya fire, and touches it with the formula: ‘I, the existent, will operate with thee (?tva karishy4mi), Oexistent one!’ He then addresses himself to the Brahman: ‘O Brahman! shall I bring the water forward?’ and to the patron or sacrificer: ‘Sacrificer, restrain thy speech!’ The Brahman,—after muttering the mantra (as he does, with certain modifications, on similar occasions when his permission is asked in the course of the performance): ‘Lead on the sacrifice | gladden the deities !_ May the sacrificer be on the vault of heaven! Where the world of the seven pious Avshis is, thither do thou lead this sacrifice and sacrificer !’"—replies aloud : ‘ Hail (6m)! bring forward!’
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Where the world of the seven pious Avshis is, thither do thou lead this sacrifice and sacrificer !’"—replies aloud : ‘ Hail (6m)! bring forward!’
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water is (one of the means of) sacrifice. Hence by this his first act he approaches (engages in) the sacrifice ; and by bringing (water) forward, he spreads out (prepares) the sacrifice.
13. He brings it forward with those mysterious words (Vag. S. 1,6): ‘Who (or Prag4pati) joins (or yokes) thee (to this fire)'? He joinsthee. For what (or, for Prag&pati) does he join thee? For that (or him) he joins thee!’ For Prag4dpati is undefined? (mysterious); Prag&pati is the sacrifice: hence he thereby yokes (gets ready for the performance) Pragdpati, this sacrifice.
14. The reason why he brings forward water is, that all this (universe) is pervaded by water *; hence by this his first act he pervades (or gains) all this (universe).
15. And whatever here in this (sacrifice) the Hotv7z, or the Adhvaryu, or the Brahman, or the Agnidhra, or the sacrificer himself, does not succeed in accomplishing, all that is thereby obtained (or made good).
16. Another reason why he brings forward water is this: whilst the gods were engaged in performing sacrifice, the Asuras and Rakshas forbade (raksh)
1 «Ka (i.e. who? or Prag@pati) joins thee (i.e. places thee, O water, by the side of the Ahavantya fire)?(!)... Kasmai (i.e. for what purpose? or, for whom? or, for Pragdpati) does he join thee?(l)’ Mahfdh. Dark is the meaning of these words because of the ambiguity of ka, the interrogative pronoun, which speculative theology also takes for a mystic name of PragApati. Cf. XI, 5, 4,1 seq. ; Max Miller, History of Ancient Sanskrit Literature, p. 433.
2 Cf. also I, 6, 1, 20, where Sayama says that PragApati is anirukta, because he represents all deities.
5 A play on the word 4pas (ap), ‘ water,’ and the root 4p, ‘to obtain, to pervade.’
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them, saying, ‘Ye shall not sacrifice!’ and because they forbade (raksh), they are called Rakshas.
17. The gods then perceived this thunderbolt, to wit, the water: the water is a thunderbolt, for the water is indeed a thunderbolt; hence wherever it goes, it produces a hollow (or depression of ground); and whatever it comes near, it destroys (lit. it burns up). Thereupon they took up that thunderbolt, and in its safe and foeless shelter they spread (performed) the sacrifice. And thus he (the Adhvaryu priest) likewise takes up this thunderbolt, and in its safe and foeless shelter spreads the sacrifice. This is the reason why he brings forward water.
Thereupon they took up that thunderbolt, and in its safe and foeless shelter they spread (performed) the sacrifice. And thus he (the Adhvaryu priest) likewise takes up this thunderbolt, and in its safe and foeless shelter spreads the sacrifice. This is the reason why he brings forward water.
18, After pouring out some of it (into the jug) he puts it down north of the G4rhapatya fire. For water (ap) is female and fire (agni) is male; and the Gérhapatya is a house: hence a copulation productive of offspring is thereby effected in this house. Now he who brings forward the water, takes up a thunderbolt ; but when he takes up the thunderbolt, he cannot do so unless he is firmly placed; for otherwise it destroys him.
19. The reason then why he places it near the Garhapatya fire is, that the Garhapatya is a house, and a house isa safe resting-place; so that he thereby stands firmly in a house, and therefore in a safe resting-place: in this way that thunderbolt does not destroy him,—for this reason he places it near the Garhapatya fire.
20. He then carries it north of the Ahavantya fire’. For water is female and fire is male: hence
1 After the water has been brought forward by the Adhvaryu from the house of the Garhapatya fire, its technical name is Pranit&A,
Io SATAPATHA-BRAHMANA.
a copulation productive .of offspring is thereby effected. And in this way alone a regular copulation can take place, since the woman lies on the left (or north) side of the man.
21. Let nobody pass between the water (and the fire), lest by passing between them he should disturb the copulation which is taking place. Let him set the water down without carrying it beyond (the north side of the fire, i.e. not on the eastern side) ; nor should he put it down before reaching (the north side, i.e. not on the western side). For, if he were to put the water down after carrying it beyond,— there being, as it were, a great rivalry between fire and water,—he would cause this rivalry to break forth on the part of the fire; and when they (the priests and the sacrificer) touch the water of this (vessel), he would, by carrying it and setting it down beyond (the northern side), cause the enemy to rise (spirt) in the fire. If, on the other hand, he were to put it down before gaining (the northern side), he would not gain by it the fulfilment of the wish for which it has been brought forward. Let him therefore put it down exactly north of the Ahavantya fire.
22. He now strews sacrificial grass all round (the fires)', and fetches the utensils, taking two at a
Let him therefore put it down exactly north of the Ahavantya fire.
22. He now strews sacrificial grass all round (the fires)', and fetches the utensils, taking two at a
‘brought forward.’ On putting it down north of the Ahavantya, he covers the jug over with sacrificial grass. . 1 Katy. Sr. Il, 3, 6: ‘ Having strewn sacrificial grass around the fires, beginning on the east side,’ which the Comm. interprets: ‘He strews eastward and northward-pointed grass around first the Ahavantya, then the Garhapatya, and last the Dakshin4gni, beginning each time on the eastern side, and then moving around from left to right, and turning his right side towards the fire, so as to end on the north side’ (cf. Katy. IV, 13, 15). The Paddhati, on
I KANDA, I ADHYAYA, 2 BRAHMANA, I. II
time, viz. the winnowing basket and the Agnihotra ladle, the wooden sword and the potsherds, the wedge and the black antelope skin, the mortar and the pestle, the large and the small mill-stones. These are ten in number; for of ten syllables consists the Virdg (metre), and radiant (virdg)} also is the sacrifice : so that he thereby makes the sacrifice resemble the Vir4g. The reason why he takes two at a time is, because a pair means strength; for when two undertake anything, there is strength in it. Moreover, a pair represents a productive copulation, so that a productive copulation (of those respective objects) is thereby effected.
SEconD BRAHMANA,
1. Thereupon he takes the winnowing basket and the Agnihotra ladle ?, with the text (Vag. S. I, 6b): ‘For the work (I take) you, for pervasion (or accomplishment) you two!’ For the sacrifice is a work : hence, in saying ‘for the work you two, he says, ‘for the sacrifice.’ And ‘for pervasion you two,’ he says, the other hand, following Apastamba, interprets it to the effect that on the eastern and western sides he strews the grass with its tops turned northward, and on the southern and northern sides with the tops turned eastward.
1 Or, ‘and the sacrifice also is Virag,’ as the scholiast interprets the passage on the ground that at the performance of the Gyotishfoma 190 stotriy4 verses are used, and that this number is dividable by ten, the number of syllables in the Vir4g metre; cf. Weber, Ind. Streifen I, 36, note 4. See also X, 4, 3, 21, where the fire is identified with the virdg on the ground that there are ten fires, viz. eight dhishzya fires and the Ahavantya and G&rhapatya. In VIII, 4, 5, § virag is explained as ‘that which rules.’
* For the Agnihotra-havaaf? or ladle used for making the morning and evening milk-oblations, see note on I, 3,1,1. For the winnowing basket (sfrpa), see I, 1, 4, 19 seq.
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because he, as it were, pervades (goes through, accomplishes) the sacrifice.
or ladle used for making the morning and evening milk-oblations, see note on I, 3,1,1. For the winnowing basket (sfrpa), see I, 1, 4, 19 seq.
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because he, as it were, pervades (goes through, accomplishes) the sacrifice.
2. He then restrains his speech ; for (restrained) speech means undisturbed sacrifice; so that (in so doing) he thinks: ‘ May I accomplish the sacrifice!’ He now heats (the two objects on the Garhapatya), with the formula (V4g. S. I, 7a): ‘Scorched is the Rakshas, scorched are the enemies!’ or (Vag. S. I, 7b): ‘Burnt out is the Rakshas, burnt out are the enemies !’
3. For the gods, when they were performing the sacrifice, were afraid of a disturbance on the part of the Asuras and Rakshas: hence by this means he expels from here, at the very opening?’ of the sacrifice, the evil spirits, the Rakshas.
4. He now steps forward (to the cart *), with the text (Vag. S. I, 7c): ‘I move along the wide aérial realm. For the Rakshas roams about in the air, rootless and unfettered in both directions (below and above); and in order that this man (the Adhvaryu) may move about the air, rootless and unfettered in both directions, he by this very prayer renders the atmosphere free from danger and evil spirits.
5. It is from the cart that he should take (the rice required for the sacrifice). For at first the cart (is the receptacle of the rice) and afterwards this hall ;
1 Literally, ‘from the very mouth, which refers both to the mouth or hollow part of the two vessels (from which the enemies are, as it were, burnt out), and to the opening of the sacrifice. The same symbolical explanation is met with on the occasion of the heating of the sacrificial spoon, I, 3, 1, 5.
2 The cart containing the rice or barley, or whatever material _ may be used instead, stands behind (i.e. west of) the GArhapatya, fitted with all its appliances (except the oxen). K4ty. Sr. II, 3, 12. Rice-grains, as the most common material, will be assumed to constitute the chief havis (sacrificial food) at the present sacrifice.
1 KANDA, I ADHYAYA, 2 BRAHMANA, 8. 13
and because he thinks ‘what was at first (in the cart, and hence still unimpaired by entering the householder’s abode), that I will operate upon ;’ for that reason let him take (rice) from the cart.
6. Moreover, the cart represents an abundance; for the cart does indeed represent an abundance : hence, when there is much of anything, people say that there are ‘cart-loads’ of it. Thus he thereby approaches an abundance, and for this reason he should take from the cart.
6. Moreover, the cart represents an abundance; for the cart does indeed represent an abundance : hence, when there is much of anything, people say that there are ‘cart-loads’ of it. Thus he thereby approaches an abundance, and for this reason he should take from the cart.
7. The cart further is (one of the means of) the sacrifice; for the cart is indeed (one of the means of) sacrifice. To the cart, therefore, refer the (following) Yagus-texts, and not to a store-room, nor to a jar. The Zshis, it is true, once took (the rice) from a leathern bag, and hence, in the case of the Rishis, the Yagus-texts applied to a leathern bag. Here, however, they are taken in their natural application. Because he thinks ‘from (or, by means of) the sacrifice I will perform the sacrifice,’ let him, therefore, take (rice) from the cart.
8. Some do indeed take it from a (wooden) jar. In that case also he should mutter the Yagus-texts without omitting any; and let him in that case take (the rice) after inserting the wooden sword! under
1 The sphya is a straight sword (khadga) or knife, a cubit long, carved out of khadira wood (Mimosa Catechu). KaAty. Sr. I, 3, 33; 39- It is used for various purposes calculated to symbolically insure the safe and undisturbed performance of the sacrifice. On the present occasion it represents the yoke, by touching which (par. 10) the cart is connected with the sacrifice. At the close of the sacrifice also the offering spoons are, as it were, unyoked (or relieved of their duties), by being placed on the yoke, if the rice was taken from the cart; or on the wooden sword lying on the jar, if it was taken from the latter. See I, 8, 3, 26.
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(the jar). He does so, thinking ‘where we want to yoke, there we unyoke;’ for from the same place where they yoke, they also unyoke.
g. (Like) fire, verily, is the yoke of that very cart; for the yoke is indeed (like) fire: hence the shoulder of those (oxen) that draw this (cart) becomes as if burnt by fire. The middle part of the pole behind the prop represents, as it were, its (the cart’s) altar’; and the enclosed space of the cart (which contains the rice) constitutes its havirdhA4nam (receptacle of the sacrificial food) 2.
10. He now touches the yoke, with the text (Vag. S. I, 8 a): ‘Thou art the yoke (dhur); injure (dharv) thou the injurer! injure him that injures us! injure him whom we injure!’ For there being a fire in the yoke by which he will have to pass when he fetches the material for the oblation, he thereby propitiates it, and thus that fire in the yoke does not injure him when he passes by.
11. Here now Arumi said: ‘Every half-moon ° I destroy the enemies.’ This he said with reference to this point.
11. Here now Arumi said: ‘Every half-moon ° I destroy the enemies.’ This he said with reference to this point.
1 The pole of an Indian cart consists of two pieces of wood, joined together in its forepart and diverging towards the axle. Hence, as Saya#a remarks, it resembles the altar in shape, being narrower in front and broader at the back, the altar measuring twenty-four cubits in front and thirty cubits at the back. At the extreme end of the pole a piece of wood is fastened on, or the pole itself is turned downwards, so as to serve as a prop or rest (popularly called ‘sipoy’ in Western India, and ‘ horse’ in English).
* The havirdh4na (-manzdapa) is a temporary shed or tent erected on the sacrificial ground for the performance of the Somasacrifice, in which the two carts containing the Soma-plants are placed. These carts themselves, however, are also called havirdhana. Cf. IV, 6, 9, roseq.; III, 5, 3, 7.
* Le. at the time of the new and the full moon. Schol.
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12, Thereupon, whilst touching the pole behind the prop, he mutters (Vag. S. I, 8b-ga): ‘To the gods thou belongest, thou the best carrying one, the most firmly joined’, the most richly filled, the most agreeable (to the gods), the best caller of the gods!’ ‘Thou art unbent, the receptacle of oblations; be thou firm, waver not!’ Thus he eulogises the cart, hoping that he may obtain the oblation from the one thus eulogised and pleased. He adds (V4g. S. I, 9 b), ‘ May thy Lord of Sacrifice not waver!’ for Lord of Sacrifice is the sacrificer, and it is for the sacrificer, therefore, that he thus prays for firmness.
13. He now ascends (the cart by the southern wheel), with the text (Vag. S. I,gc): ‘May Vishvu ascend thee!’ For Vishzu is the sacrifice; by striding (vi-kram) he obtained for the gods this all-pervading power (vikr4nti) which now belongs to them. By his first step he gained this very (earth), by the second the aérial expanse, and by the last step the sky. And this very same pervading power Vishzu, as sacrifice, by his strides obtains for him (the sacrificer).
14. He then looks (at the rice) and (addressing the cart) mutters (V4g. S. I, 9d): ‘Wide open (be
1 Sasni-tama (?‘ the most bountiful’); sasni is explained by Mahfdhara (in accordance with Yaska, Nir. V, 1) by samsn&ta, from sn, ‘to purify, cleanse,’ or from sn4 (snai), ‘to envelop, wrap round ;’ hence ‘cleanest or purest,’ or ‘most firmly secured by being tied (with thongs, &c.)’ The latter was probably the meaning connected with the word in this sacrificial formula ; though the correct derivation is no doubt from san, ‘to acquire, gain,’ and ‘to bestow’ (Roth, Nirukta notes, p. 52). In modern Indian carts the yoke is fastened on to the pole by a string.
3 Papritama, ‘ most filled with rice,’ &c. Schol.
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thou) to the wind!’ For wind means breath; so that by this prayer he effects free scope for the air of the (sacrificer’s) breath.
52). In modern Indian carts the yoke is fastened on to the pole by a string.
3 Papritama, ‘ most filled with rice,’ &c. Schol.
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thou) to the wind!’ For wind means breath; so that by this prayer he effects free scope for the air of the (sacrificer’s) breath.
15. With the text (V4g. S. I, 9e), ‘Repelled is the Rakshas!’ he then throws away whatever (grass, &c.) may have fallen on it. But if nothing (have fallen on it), let him merely touch it. He thereby drives away from it the evil spirits, the Rakshas,
16. He touches (the rice), with the text (Vag. S. I, 9 f), ‘Let the five take!’ for five are these fingers, and fivefold also is the sacrifice’; so that he thereby puts the sacrifice on it (the cart).
17. He then takes (the rice), with the text (Vg. S.I, 10a, b): ‘At the impulse (prasavana) of the divine Savitvz, I take thee with the arms of the Asvins, with the hands of Pfshan, thee, agreeable to Agni!’ For Savitvz is the impeller (prasavit7z) of the gods: therefore he takes this as one impelled by Savitz. ‘With the arms of the Asvins,’ he says, because the two Asvins are the Adhvaryu priests (of the gods). ‘With the hands of Pdshan,’ he says, because Pashan is distributer of portions (to the gods), who with his own hands places the food before them. The gods are the truth, and men are the untruth: thus he thereby takes (the rice) by means of the truth.
1 According to Sayama, because there are five kinds of oblations (havish-pankti) at the Soma-sacrifice. Cf. Ait. Br. II, 24, with Haug’s translation. Compare also the distinction of five different parts in the victim at animal sacrifices: Sat. Br. I, 5, 2, 163; Ait. Br. II, 14; III, 23; and the five kinds of victims, viz. man, horse, bullock, ram, and he-goat: Ath. V. XI, 2, 9; Sat. Br. I, 2, 3, 6.7; VI, 2,1, 6.18; VII, 5, 2,10; Taitt. S. IV, 2,10; AKAand. Up. II, 6, 1.
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18. He now announces (the oblation) to the deity (for whom it is intended). For when the Adhvaryu is about to take the oblation, all the gods draw near to him, thinking, ‘My name he will choose! my name he will choose !’ and among them who are thus gathered together, he thereby! establishes concord.
19. Another reason for which he announces (the oblation) to the deity, is this: whichever deities are chosen, they consider it as an obligation that they are bound to fulfil whatever wish he entertains whilst taking (the oblation) ; and for that reason also he announces it to the deity. After taking the oblations (to the other deities) in the same way as before?,—
20. He touches (the rice that is left), with the text (Vag. S. I, 11 a): ‘For existence (or, abundance,— I leave) thee, not for non-offering*!’ He thereby causes it to increase again.
1 Viz. by calling out the names, since, without this being done, quarrels would arise among the deities as to whom the offering might be intended for, Mahtdh.
S. I, 11 a): ‘For existence (or, abundance,— I leave) thee, not for non-offering*!’ He thereby causes it to increase again.
1 Viz. by calling out the names, since, without this being done, quarrels would arise among the deities as to whom the offering might be intended for, Mahtdh.
* Viz. as in the case of the oblation to Agni, and substituting the name of the respective deity in the formula used above (par.17), ‘Thee, agreeable to (Agni)!’ The oblations prescribed for the full-moon sacrifice are a cake on eight potsherds for Agni, and one on eleven potsherds for Agni and Soma: for each of these cakes he takes four handfuls from the cart [and throws them into the Agnihotra ladle lying on the winnowing basket which he holds with his left hand. With each of the first three handfuls of each of the two oblations he repeats the above text, whilst the fourth handful is thrown in silently. After the oblation for Agni is taken, he pours it from the ladle into the winnowing basket s0 as to lie on the southern side; and then takes out the oblation for Agni- Soma, which is afterwards poured into the basket so as to lie north of the first heap]. Katy. Sr. II, 3, 20-21 and Scholl.
* Thus Mahfdhara (i.e. ‘to serve for future oblations, or as food for the priests’). Perhaps the meaning is, ‘For a (divine or human) being thee, not for the evil spirit!’ Cf. St. Petersburg Dict. s. v. bhata.
(13) Cc
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21. He now (whilst seated on the cart) looks towards east, with the text (Vag. S. I, 11 b): ‘ May I perceive the light!’ For that cart being covered up, its eye is thereby, as it were, affected with evil. Light, moreover, represents the sacrifice, the day, the gods, and the sun; so that he thereby perceives this same (fourfold) light.
22. He then descends (from the cart), with the text (Vag. S. I, r1c): ‘ May those provided with doors stand firm on the earth!’ Those provided with doors are the houses: for the houses of the sacrificer might indeed be capable of breaking down behind the back of his Adhvaryu, when he walks forward (from the cart) with the sacrifice, and might crush his (the sacrificer’s) family. By this (text), however, he causes them to stand firmly on this earth, so that they do not break down and crush (his family) ; for this reason he says: ‘ May those provided with doors stand firm on the earth!’ He then walks forward (north of the Garhapatya fire), with the text (Vag. S. I, 11 d), ‘I move along the wide aérial realm ;’ the application of which is the same (as before; see par. 4).
S. I, 11 d), ‘I move along the wide aérial realm ;’ the application of which is the same (as before; see par. 4).
23. In the case of one (viz. householder) whose GAarhapatya fire they (the priests) use for cooking oblations, they place the utensils in the Garhapatya (house) ; and let him (the Adhvaryu) in that case put (the winnowing basket with the rice) down at the back (or west) side of the Garhapatya. But in the case of one whose Ahavantya they use for cooking oblations, they place the utensils together in the Ahavantya; and let him in that case put it (the rice) down at the back of the Ahavantya. He should (in either case) do so, with the text (Vag. S. I, 11 e),‘On the navel of the earth I place thee!’ forp. 19 the navel means the centre, and the centre is safe from danger: for this reason he says, ‘On the navel of the earth I place thee!’ And further, ‘In the lap of Aditi (the boundless or inviolable earth)!’ for when people guard anything very carefully, they commonly say that ‘they, as it were, carried it in their lap;’ and this is the reason why he says, ‘In the lap of Aditi!’ And further, ‘O Agni, do thou protect this offering!’ whereby he makes this oblation over for protection both to Agni and to this earth: for this reason he says, ‘O Agni, do thou protect this offering!’
Tuir>D BRAHMANA.
1. He now prepares two strainers (pavitra)’, with the text (V4g. S. I, 12 a): ‘ Purifiers (or strainers, pavitra) are ye, and belonging to Vishzu!’ For Vishzu is the sacrifice; so that he thereby says, ‘You belong to the sacrifice.’
2. Two there are of them: for means of cleansing (pavitra) is this (wind) which here ventilates (pavate); and this, it is true, ventilates as one only; but on entering into man, it becomes a forward and a backward one, and they are these two, to wit, the praza (breathing out) and the ud4na (breathing up or in)*% And as this (clarifying process) takes place
1 These strainers (or clarifiers) are to consist of two blades of Kusa grass, with unbroken or undecayed tops, and without buds on them ; and they must be severed from their roots by means of other Kusa blades, so as to be of equal length (viz. one pradesa, or span of thumb and fore-finger, long). Katy. Sr. II, 3, 31.
2 Thus Sdyana here takes the terms prAna (idapingaladinad?dv4ra4 bahir nirgaééhan pranah pran) and ud4na (tathaiva dvara punar antaf pravisan pratyan). In Ait. Br. II, 29, and AA&nd. Up. I, 3, 3, prada, apdna, and vy4na are mentioned as the c2p. 20 in accordance with the measure of that (process of breathing), therefore there are two (strainers).
3. There may also be three: for the vy4na (or pervading vital air)! is a third (kind of breathing) ; but in reality there are only two. Having then strained the sprinkling water? with these two (strainers), he sprinkles with it. The reason why he strains it with the two (strainers) is this:
3. There may also be three: for the vy4na (or pervading vital air)! is a third (kind of breathing) ; but in reality there are only two. Having then strained the sprinkling water? with these two (strainers), he sprinkles with it. The reason why he strains it with the two (strainers) is this:
4. Vritra in truth lay covering all this (space) which here extends between heaven and earth. And because he lay covering (v7z) all this, therefore his name is Vrztra.
5. Him Indra slew. He being slain flowed forth stinking in all directions towards the water; for in every direction lies the ocean. And in consequence of this, some of the waters became disgusted, and, rising higher and higher, flowed over: whence (sprung) these grasses (of which the strainers are made) ; for they represent the water which was not putrified. With the other (water), however, some three vital airs; where pr4za is taken by Professors Haug and Miller as ‘in-breathing’ (‘respiration’ or ‘expiration,’ Réer), and ap4na as ‘out-breathing’ (‘inspiration, Réder). Five vital airs are generally enumerated (Sat. Br. IX, 2, 2, 5); but theological speculation evidently considered these bodily processes a very convenient source of symbolism, as we find mention made in the Sat. Br. of six (XIV, 1, 3, 32); seven (III, 1, 3, 21; XIII, 1, 7, 2); nine (I, 5, 2, 5); and ten (XI, 6, 3, 7) breaths or vital airs.
* He pours water into the Agnihotra ladle (in which some of the awn of the rice remains), and after cleaning it with the two strainers, he sprinkles with it. Katy. II, 3, 33 seq. The details of this process are given in par. 6 seq.
p. 2
matter has become mixed up, inasmuch as the putrid Vvztra flowed into it. This he now removes from it by means of these two strainers; whereupon he sprinkles with the (sacrificially) pure water. This is the reason why he strains it through them.
6. He strains it, with the text (V4g. S. I, 12 b): ‘ By the impulse of Savitzz I purify thee with this flawless purifier (or ventilator, pavitra), with the rays of the sun!’ For Savitvz is the impeller (prasavitvz) of the gods, so that he strains this (water) as one impelled by Savitrz. ‘ With this flawless purifier (ventilator, pavitra),’ he says, because this (wind) which here ventilates (or purifies, pavate) is a flawless purifier. ‘ With the rays of the sun,’ he says, because they, the rays of the sun, are certainly purifying; and for this reason he says, ‘With the rays of the sun.’
‘ With the rays of the sun,’ he says, because they, the rays of the sun, are certainly purifying; and for this reason he says, ‘With the rays of the sun.’
7. Having taken it (the water with the ladle) in his left hand, he makes it spirt upwards with his right hand, and eulogises and glorifies it, with the text (Vag. S. I, 12): ‘Shining (or divine) waters! ye the first-going, the first-drinking? ones!’ For the waters are shining; and for this reason he says, ‘Shining waters!’ ‘ First-going,’ he calls them, because they flow towards the sea and are therefore going in front (or forwards). ‘ First-drinking,’ he calls them, because they are the first that drink of king Soma? and are therefore ‘drinking first.’ And further: ‘Forward now lead this sacrifice 3,
1 Agrepuvahk; Mahfdhara allows to it the alternative meaning first- purifying.’
* «Because, for the sake of extracting the juice from the Somaplants, water is poured on them, so that the water drinks of the juice before the gods do.’ Say. .
5 Te. ‘carry the sacrifice through without hindrance.’ Mahidh.
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forward the Lord of Sacrifice, the liberal, god-loving Lord of Sacrifice!’ whereby he says, ‘ Well (lead) the sacrifice, well the sacrificer!’
8. And further (Vag. S. I, 13 a): ‘You Indra chose (for his companions) in the battle against Vritra!’ For Indra, when he was battling with Vritra, did choose them (the waters) and with their help he killed him; and for this reason he says, ‘You Indra chose in the battle against Vvztra!’
g. ‘You chose Indra in the battle against Vvztra!’ for they, too, chose Indra when he was battling with Vritra, and with them he killed him: therefore he says, ‘You chose Indra in the battle against Vzztra !’
1o. And further (Vag. S. I, 13d): ‘ Consecrated by sprinkling are ye!’ With these words he makes ‘amends to them?. He then sprinkles the (first) oblation*. One and the same meaning applies to the (whole process of) sprinkling, viz. he thereby makes sacrificially pure that (which he sprinkles).
11. He sprinkles, with the text (Vag. S. I, 13 e): ‘Thee, agreeable to Agni, I sprinkle!’ Thus for whichever deity the oblation is intended, for that one he thereby renders it sacrificially pure. When he has in the same way as before sprinkled (all) the oblations,—
12. He then sprinkles the sacrificial vessels *,
1 He, in the first place, sprinkles the sprinkling water in the ladle with itself; and the guilt incurred in the act of consecrating it with itself, that is, with something unconsecrated, is made amends for by the accompanying formula, Say. Similarly Mahfdhara: ‘The unconsecrated (water) cannot consecrate other (water).’
® Before doing so he asks the Brahman’s permission (cf. p. 7, note 1), ‘O Brahman! shall I sprinkle the oblation?’ when the latter, after muttering the mantra, ‘Sprinkle the sacrifice! gladden the deities,’ &c., gives the permission by ‘Om! sprinkle!’ Paddh. on Katy. II, 3, 36.
p. 7, note 1), ‘O Brahman! shall I sprinkle the oblation?’ when the latter, after muttering the mantra, ‘Sprinkle the sacrifice! gladden the deities,’ &c., gives the permission by ‘Om! sprinkle!’ Paddh. on Katy. II, 3, 36.
* According to some authorities the vessels are placed togetherp. 23 with the text (V4g. S. I, 13 g), ‘Be ye pure for the divine work, for the sacrifice to the gods!’ for it is for the divine work, the sacrifice to the gods, that he consecrates them. ‘Whatever, that belongs to you, the impure have defiled by touching, that I hereby purify for you!’ For whatever belonging to them some impure one—either a carpenter or some other impure person—has on this occasion desecrated by touching, that he thereby renders sacrificially pure for them by means of the water; and therefore’ he says, ‘Whatever, that belongs to you, the impure have defiled by touching, that I hereby purify for you!!’ Fourtu BrAHMANA.
1. He now takes the black antelope skin*, for completeness of the sacrifice. For once upon a time the sacrifice escaped the gods, and having become a black antelope roamed about. The gods having thereupon found it and stripped it of its skin, they brought it (the skin) away with them.
on one heap, and are then consecrated together by one sprinkling. According to others, each vessel must be consecrated Separately Katy. Sr. II, 3, 39.
1 After he has done the sprinkling, he puts the remaining water away in some place where nobody is allowed to walk [as between the prait4s and the Ahavantya; or (according to Apastamba) before, or east of, the G&rhapatya, since nobody is allowed to pass between the Garhapatya and Ahavaniya. The two strainers also remain in the sprinkling water]. Katy. Sr. II, 3, 40.
* The skin of the black antelope may be regarded as one of the symbols of Bréhmanical worship and civilisation. Thus it is said in Manu II, 22-23: ‘That which lies between these two mountain ranges (the Himalaya and the Vindhya), from the eastern to the western ocean, the wise know as Aryavarta (the land of the Aryas). Where the black antelope naturally roams about, that should be known as the land suitable for sacrifice; what lies beyond that is the country of the Mle&&Aas (barbarians).’
p. 24
2. Its white and black hairs represent the Az£verses and the SAman-verses; to wit, the white the SAman and the black the Az£; or conversely, the black the SA4man and the white the Azé. The brown and the yellow ones, on the other hand, represent the Yagus-texts.
2. Its white and black hairs represent the Az£verses and the SAman-verses; to wit, the white the SAman and the black the Az£; or conversely, the black the SA4man and the white the Azé. The brown and the yellow ones, on the other hand, represent the Yagus-texts.
3. Now this same threefold science is the sacrifice; that manifold form, that (varying) colour of this (science) is what is (represented by) this black antelope skin. For the completeness of the sacrifice (he takes the skin): hence the rite of initiation (for the Soma-sacrifice) is likewise performed on the black antelope skin ;—for the completion of the sacrifice: hence it is also used for husking and bruising (the rice) on, in order that nothing of the oblation may get spilt; and that, if any grain or flour should now be spilt on it, the sacrifice would still remain securely established in the sacrifice. For this reason it is used for husking and bruising upon.
4. He thus takes the black antelope skin, with the text (Vag. S. I, 14a): ‘Bliss-bestowing (sarman) art thou!’ For £arman (‘hide’) is the name of that (skin of the) black deer used among men, but sarman (bliss) is (that used) among the gods; and for this reason he says, ‘ Bliss-bestowing art thou!’ He shakes it, with the text (Vag. S. I, 14 b), ‘Shaken off is the Rakshas, shaken off are the enemies!’ whereby he repels from it the evil spirits, the Rakshas. He shakes it whilst holding it apart from the vessels!; whereby he shakes off whatever impure matter there may have been on it.
1 According to some exegetes the Adhvaryu himself must step beyond (i.e. aside from) the vessels when he shakes the skin; according to others, he should not move, but only hold the skin
p. 25
5. He spreads it (on the ground with the hairy side upwards, and) with its neck-part turned to the west!, with the text (Vag. S. I, 14.c): ‘The skin of Aditi art thou! May Aditi acknowledge thee!’ For Aditi is this earth, and whatever is on her, that serves as a skin to her: for this reason he says, ‘The skin of Aditi art thou!’ And ‘may Aditi acknowledge thee!’ he says, because one who is related (to another) acknowledges (him). Thereby he establishes a mutual understanding between her and the black antelope skin, (thinking) ‘they will not hurt each other. While it is still being held down with his left hand,—
6. He at once takes the mortar with his right hand, fearing lest the evil spirits, the Rakshas, might rush in here in the meantime. For the priest (brahmama) ? is the repeller of the Rakshas: therefore, whilst it is still being held down with his left hand,—
7. He puts the mortar (on it), with the text (Vag. S. I, 14 d, e): ‘A wooden stone (adri) art thou!’
apart from the vessels, so that no impure matter should fall on them. Some also maintain that the skin should only be shaken once, whilst others think it should be done three times. Cf. Katy. Sr. II, 4, 2. Schol.
S. I, 14 d, e): ‘A wooden stone (adri) art thou!’
apart from the vessels, so that no impure matter should fall on them. Some also maintain that the skin should only be shaken once, whilst others think it should be done three times. Cf. Katy. Sr. II, 4, 2. Schol.
1 Special mention is here made of this feature, since as a rule (Katy. I, 10, 4) the skin is spread with its neck-part turned eastwards. He lays it down on the north side of the sacrificial ground, either west of the utkara (the mound formed by the earth dug out in constructing the altar, and by other rubbish) or exactly north of the Garhapatya. Schol. on Katy. II, 4, 3.
* Only a Brahman can perform sacrifice. If, as is permitted in certain ceremonies, a Kshatriya or Vaisya officiates, he, as it were, becomes a Brahman (and is addressed as such) for the occasion, by means of the diksh4, or rite of initiation. Cf. Sat. Br. III, 2, 1,39; XII, 4, Ty 3-p. 26 or ‘A broad-bottomed stone (grdvan) art thou!’ For, just as there (in the Soma-sacrifice) they press king Soma out with stones (gravan), thus here also he prepares the oblation (haviryag#a) by means of the mortar and pestle, and the large and small mill-stones'!. Now ‘stones (adrayah)’ is the common name of these, and therefore he says, ‘a stone art thou.’ And ‘wooden,’ he calls it, because this one (the mortar) really is made of wood ?. Or, he says, ‘a broad-bottomed stone (gr4van) art thou,’ because it is both a stone and broad-bottomed. He adds: ‘May Aditi’s skin acknowledge (receive) thee!’ whereby he establishes a mutual understanding between it (the mortar) and the black antelope skin, thinking: ‘they will not injure each other.’
8. He then pours the (two portions of ) rice (from the winnowing basket into the mortar), with the text (Vag. S. I, 15 a): ‘Thou art the body of Agni, thou the releaser of speech!’ For it is (material for) sacrifice, and hence (by being offered in the fire) it becomes Agni’s body. ‘The releaser of speech,’ he adds, because he now releases that speech which he restrained when he was about to take the rice (from the cart). The reason why he now releases his speech, is that the sacrifice has now obtained a firm footing in the mortar, that it has become diffused ; and for this reason he says, ‘the releaser of speech!’
’ Here, as in I, 5, 2, rr (haviryag#e ’tha saumye ‘dhvare), we have the simple division of the Srauta-sacrifices into oblations (of ghee, milk, rice, barley, &c.) and libations (of Soma). More usually the pasubandhu, or animal-sacrifice, is added as a third division. See also I, 7, 2, ro.
* The mortar (ulfkhala) and pestle (musala) are to be made of very hard wood, viz. both of varaza wood (Cratega Roxburghii), or the mortar of palasa wood (Butea Frondoga), and the pestle of
p. 27
See also I, 7, 2, ro.
* The mortar (ulfkhala) and pestle (musala) are to be made of very hard wood, viz. both of varaza wood (Cratega Roxburghii), or the mortar of palasa wood (Butea Frondoga), and the pestle of
p. 27
9. Should he, however (by some accident), utter any human sound before this time, let him in that case mutter some Az& or Yagus-text addressed to Vishnu'!; for Vishzu is the sacrifice, so that he thereby again obtains a hold on the sacrifice, and penance is thereby done by him (for not keeping silent), He adds: ‘For the pleasure of the gods I seize thee!’ for the oblation is taken with the intention ‘that it shall gladden the gods.’
10. He now takes the pestle, with the text (Vag. S. I, 14 b), ‘A large, wooden stone art thou!’ for it is a large stone, and made of wood, too. He thrusts it down, with the text (Vag. S. I, 14.c), ‘Do thou prepare this oblation for the gods?! do thou prepare it thoroughly!’ thereby saying, ‘Get this oblation ready for the gods! get it quite ready!’
11. He then calls the Havishkvzt® (preparer of the sacrificial food), ‘ Havishkvt, come hither ! Havishkvzt, come hither!’ The Havishkv7t* no doubt is speech, so that he thereby frees speech from khadira wood (Acacia Catechu). The former is to be of the height of the knee, and the latter three aratnis (cubits) long. Schol. on Katy. I, 3, 36; M. Muller, Die Todtenbestattung bei den Brahmanen, Zeitsch. der D. Morg. Ges. IX, p. xl.
’ Katy. Sr. II, 2, 6-7 lays down the general rule, that if the Brahman or Adhvaryu (and according to some, the sacrificer also) by some slip were to utter any sound during the time for which restraint of speech (vag-yama) is enjoined, they must atone for the transgression by muttering some mantra addressed to Vishau, such as the couplet (Vag. S. V, 38, 41), ‘ Widely, O Vishau, stride |’ &c., or the formula (ib. I, 4), ‘O Vishnu, preserve the sacrifice |’
* Or ‘for the god,’ ‘for the goddess,’ as the case may be.
’ Or, he pronounces the havishkrzt formula, see next note. According to Katy. Sr. II, 4, 13 he calls out three separate times.
* Havishkrzt denotes not only the person that prepares the oblation, but also this formula by which that person is called.
28 SATAPATHA-BRAHMANA.
restraint. And speech, moreover, represents sacrifice}, so that he thereby again calls the sacrifice to him.
12. Now there are four different forms of this call, viz. ‘come hither (ehi)!’ in the case of a Braéhman ; ‘approach (4gahi)!’ and ‘hasten hither (Adrava)!’ in the case of a Vaisya and a member of the military caste (raganyabandhu’); and ‘run hither (Adh4va)!’ in that of a Sfdra. On this occasion he uses the call that belongs to a Brahman, because that one is best adapted for a sacrifice, and is besides the most gentle: let him therefore say, ‘come hither (ehi) !’
On this occasion he uses the call that belongs to a Brahman, because that one is best adapted for a sacrifice, and is besides the most gentle: let him therefore say, ‘come hither (ehi) !’
13. Now in former times it was no other than the wife (of the sacrificer) who rose at this (call, to act) as Havishkrzt; therefore now also (she or) some one (priest)® rises in answer to this call. And at the time when he (the Adhvaryu) calls the Havishkvit, one of the priests‘ beats the two mill-stones.
1 Viz. in the shape of the sacrificial formulas.
* This inversion of the order of the second (or Kshatriya) and third (or Vaisya) castes is rather strange. The Satras of Bharadv., Apast., and Hirany. assign the same formulas to the several castes as here. Cf. Hillebrandt, Neu- und Vollmondsopfer, p. 29.
® According to the Schol. on Katy. Sr. II, 4, 13, either the wife of the patron or the Agnfdhra (the priest who kindles the fire) acts as Havishkrit. Mahidh. on Vag. S. I, 15 includes the patron (sacrificer) himself, unless yagam4naf patnf is a misprint for yagamanapatni. According to Apastamba, ‘ either a maidservant or the wife grinds; or the wife threshes and the Sfidra woman grinds’ (cf. Schol. on Katy. Sr. II, 5, 7). Similarly Bharadv. and Hirany.; cf. Hillebrandt, p. 38, n.2. Similar cases of differences between the ritualistic practices of the present time and those of former times are very frequently alluded to in the ritualistic books; and are of especial interest, as they afford some insight into the gradual development of the sacrificial ceremonial. Cf. Weber, Ind. Stud. X, 156 seq.
* Viz. the Agntdhra, whilst seated north of the expansion
p. 29
The reason why they produce this discordant noise, is this:
14. Manu was in possession of a bull. Into him had entered an Asura-killing, foe-killing voice; and by his snorting and roaring the Asuras and Rakshas were continually being crushed. Thereupon the Asuras said to one another: ‘ Evil, alas! this bull inflicts upon us! how can we possibly destroy him ?’ Now Kilata and Akuli were the two priests (brahman) of the Asuras.
15. These two said, ‘God-fearing, they say, is Manu: let us two then ascertain!’ They then went to him and said: ‘Manu! we will sacrifice for thee!’ He said: ‘Wherewith?’ They said: ‘With this bull!’ He said: ‘So be it!’ On his (the bull's) being killed the voice went from him.
16. It entered into Man4vt, the wife of Manu; and when they heard her speak, the Asuras and Rakshas were continually being crushed. Thereupon the Asuras said to one another: ‘ Hereby even greater evil is inflicted on us, for the human voice speaks more!’ Kiléta and Akuli then said: ‘God-fearing, they say, is Manu: let us then ascertain!’ They went to him and said: ‘Manu! we will sacrifice for thee!’ He said: ‘Wherewith ?’
Thereupon the Asuras said to one another: ‘ Hereby even greater evil is inflicted on us, for the human voice speaks more!’ Kiléta and Akuli then said: ‘God-fearing, they say, is Manu: let us then ascertain!’ They went to him and said: ‘Manu! we will sacrifice for thee!’ He said: ‘Wherewith ?’
(vih4ra) of the fires ; he strikes with the wedge (samy4, a stick of khadira wood, usually some six or eight inches long, used for placing under the lower grindstone on the north side, so as to make it incline towards east) twice the lower and once the upper grindstone. Schol. on Katy. Sr. II, 4, 15.
1 This bull of Manu has been compared by Dr. Kuhn (Zeitschrift fiir Vergl. Sprachf. IV, 91 seq.) with the Minotaur of the Greeks. Cf. also J. Muir, Original Sanskrit Texts, vol. i. p. 188 seq.; and Professor Weber's Translation of the first Adhy4ya, Ind. Streifen, I, p. 50.
p. 30
They said: ‘With this thy wife!’ He said: ‘So be it!’ And on her being killed that voice went from her.
17. It entered into the sacrifice itself, into the sacrificial vessels; and thence those two (Asura priests) were unable to expel it. This same Asurakilling, foe-killing voice sounds forth (from the millstones when they are beaten with the wedge). And for whomsoever that knows this, they produce this discordant noise on the present occasion, his enemies are rendered very miserable.
18. He beats the mill-stones with the wedge, with the text (V4g. S. I, 16 a): ‘A honey-tongued cock (kukku/¢a ') art thou (O wedge)!’ For honeytongued indeed was he (the bull) for the gods, and poison-tongued for the Asuras: hence he thereby says: ‘What thou wert for the gods, that be thou for us!’ He adds: ‘Sap and strength do thou call hither! with thy help may we conquer in every battle!’ In these words there is nothing that is obscure.
19. Thereupon? he (the Adhvaryu) takes the winnowing basket, with the text (Vag. S. I, 14b): ‘ Rain-grown art thou!’ For rain-grown it is indeed, whether it be made of reeds or of cane or of rushes, since it is the rain that makes these grow.
1 Mahfdhara offers the following etymological derivation of this word: 1. from kva kva, ‘ where? where?’ [‘ He who, wishing to kill the Asuras, roams about everywhere, crying ‘where, where are the Asuras?’]; 2. from kuk, ‘a hideous noise,’ and ku/, ‘to spread;’ or 3. one who, in order to frighten the Asuras, utters a sound resembling that of the bird called kukku/a (cock). Professor Weber translates it by ‘ Brtiller’ (roarer, crier).
* Viz. when the rice has been husked (by the Havishkr#t in the mortar). Schol. on Katy. Sr. II, 4, 16.
r
p. 31
Professor Weber translates it by ‘ Brtiller’ (roarer, crier).
* Viz. when the rice has been husked (by the Havishkr#t in the mortar). Schol. on Katy. Sr. II, 4, 16.
r
p. 31
20. He then pours out the (threshed) rice (from the mortar into the winnowing basket), with the text (Vag. S. I, 16): ‘ May the rain-grown acknowledge (receive) thee!’ For rain-grown also are these (grains), whether they be rice or barley, since it is the rain that makes them grow. By these words he establishes an understanding between them and the winnowing basket, in the hope ‘that they will not injure each other.’
21. He now winnows (the rice), with the text (Vag. S. I, 16d): ‘Cleared off is the Rakshas! cleared off are the evil-doers!’ The husks (which have fallen on the ground) he throws away ', with the text (Vag. S. I, 16 e), ‘Expelled is the Rakshas!’ for those evil spirits, the Rakshas, he thereby expels.
22. He then separates (the husked grains from the unhusked), with the text (Vag. S. I, 16 f): ‘May the wind separate you!’ For it is that wind (which is produced by the winnowing) which here purifies (or blows, pavate); and it is the wind that separates everything here (on earth) that undergoes separation: therefore it also separates here those (two kinds of grain) from each other. Now when they are undergoing this process, and whilst he is separating? (the husked, so as to drop them into a pot),—
‘ He puts them into the central one of the potsherds for the Agni cake, and throws them on the utkara, or heap of rubbish (cf. p. 25, note 1). Schol. on Katy. Sr. II, 4, 19. Before he proceeds with his work, he has to touch water; cf. p. 2, note 2.
* He separates them whilst holding the mouth of the winnowing basket sideways or horizontally, and makes the husked ones fall into the pot. Schol. on Katy. Sr. II, 4,20. According to the Paddhati, he now puts the unhusked once more into the mortar and threshes them again, and then pouring them back into the basket, repeats the same process.
p. 32
23. He addresses (those in the pot) thus (Vag. S. I, 16g): ‘May the divine Savitrz, the goldenhanded, receive you with a flawless! hand!’ By this he says: ‘May they be well received!’ He then cleans them thrice *?; for threefold is the sacrifice.
24. Here now some clean them with the formula: ‘For the gods get clean! for the gods get clean!’ But let him not do so: for this oblation is intended for some particular deity; and if he were to say, ‘For the gods get clean!’ he would make it one intended for all the deities, and would thereby raise a quarrel among the deities. Let him therefore do the cleaning silently!
SEconp ADHYAYA. First BRAHMANA.
1. Now the one (viz. the Agntdhra) puts the potsherds on (the Garhapatya fire); the other (viz. the Adhvaryu) the two mill-stones (on the black antelope skin): these two acts are done simultaneously. The reason why they are done simultaneously (is this) :
SEconp ADHYAYA. First BRAHMANA.
1. Now the one (viz. the Agntdhra) puts the potsherds on (the Garhapatya fire); the other (viz. the Adhvaryu) the two mill-stones (on the black antelope skin): these two acts are done simultaneously. The reason why they are done simultaneously (is this) :
2. The head of this sacrifice is (represented by) the rice-cake*: for those potsherds (kap4la), no doubt, are to this (rice-cake) what the skull bones (kap4la) are to the head, and the ground rice isp. 33 nothing else than the brain. Now this (combination of skull and brain) certainly forms one limb: ‘Let us put that (which is) one together! Let us make it one!’ thus they think; and therefore the two acts are done simultaneously.
1 Viz. with the fingers joined together so as not to allow any grains to fall to the ground. Mahfdh.
3 By removing the minute husks and grains (kaa) he makes the husked grains (tazdula) free from dust and shiny (this is apparently done by repeated winnowings). Schol, on Katy. Sr. II, 4, 22.
* This idea was no doubt suggested by the derivation of the word purod&s (rice-cake), from puras, ‘before, in front, at the head,’ and d4s, ‘to offer’ (see I, 6, 2, 5); the double meaning of kap4la (shell or cup and skull) being made use of to complete the simile.
3. He who puts the potsherds on (the fire), takes the shovelling-stick (upavesha), with the text (Vag. S. I, 17a): ‘Bold (dhvzshd¢i) art thou!’ For since with it he, as it were, attacks the fire boldly, therefore it is called dhvzsh¢i'. And since with it he touches (the coals) at the sacrifice, since with it he attends to (upa-vish) this (Garhapatya fire), therefore it is called upavesha.
4. With it he shifts the coals to the fore-part? (of the khara or hearth-mound), with the text (Vag. S. I,17b): ‘O fire! cast off the fire that eateth raw flesh! drive away the corpse-eating one!’ For the raw flesh-eating (fire) is the one with which men cook what they eat; and the corpse-eating one is that on which they burn (the dead) man: these two he thereby expels from it (the G4rhapatya).
5. He now pulls toward himself* one coal, with the text (Vag. S. I, 17¢): ‘ Bring hither that (fire) which maketh offerings to the gods!’ He thinks: ‘On that (fire), which makes offerings to the gods, we
1 The upavesha, or dhr#sh/i, is made of fresh varama or palasa wood, a cubit (aratni) or span (vitasti) long; one of its ends having the shape of a hand (hast4krvti), to serve as a coal shovel; cf. Mahfdh. and Schol. on Katy. I, 3, 36; II, 4,26. Dhriésh/i is apparently derived from the root dhr/sh, ‘ to be bold.’
* The burning coals have been hitherto lying on the western side of the G&rhapatya hearth, and as this side, which has been well heated by this time, will be used for the potsherds to be put on, he shifts the coals to the eastern or fore-part of the hearth.
* Viz. to the centre of the cooking-place.
{12] D
p. 34
* Viz. to the centre of the cooking-place.
{12] Dp. 34 will cook the oblations! on that one we will perform the sacrifice!’ and for this. reason he pulls (one of the coals) toward himself.
6. On it he places the central potsherd?, For
1 In Y4giika Deva’s commentary on Katy. II, 4, 37, full explanations are given regarding the manner of arranging the potsherds (kap4las) on which the sacrificial cakes are spread, and which vary in number and shape. The Adhvaryu is first to describe a circle, the diameter of which is six angulas (an angula or thumb’s breadth = about ? inch). This circle he then divides into three parts by drawing across, from west to east, two parallel lines at a distance of two angulas from one another, so as to make the two outer (or southern and northern) segments of equal size. The middle division he then covers with three equal square potsherds (measuring two anhgulas on each side), by laying down first the central one, then the one behind or west of it, and lastly the front or eastern one. He then lays down another (the fourth) south of the first or central one; after which he divides the still remaining potsherds equally between the southern and the northern segments, or, in case of that number being uneven, assigns the odd potsherd to the southern division. Thus, in the present case, where in the first place a cake on eight potsherds is to be offered to Agni; after laying down the three intermediate ones and the fourth, or central one of the southern division, he dgides the remaining four equally between the southern and northern segments, beginning, in laying them down, in the south-east corner, and moving around from right to left, so as to end in the north-east. Similarly in the case of the cake on eleven potsherds for Agnfshomau, after laying down the first four potsherds, he assigns four of the remaining seven to the southern, and three to the northern division. Thus with cakes requiring an uneven number of potsherds, the number of those of the southern division exceeds that of the northern one by two; and in the case of an even number, by one only. 'This is the rule applying to cakes requiring at least six potsherds. When one potsherd only is required, it is to be of the size of a hand; when two, they are to form a circle divided into two equal parts by a line drawn from south to north; when three, the circle is divided into three sections from south to north; when four or five, it is divided into two halves from west to east; and in the one case three potsherds are placed in the southern and one (of half-moon shape) in the northern half; in the other case three in the northern and two in the southern division, The potsherds,