With ‘May the Sukra-sipping gods lead thee forward!’ the Adhvaryu walks out (of the cartshed); with ‘May the Manthin-sipping gods lead thee forward!’ the Pratiprasthaty2: thus they lead forward those two (libations) to the deities.
15. Behind the Ahavantya fire they put their (right) elbows together, and deposit (the cups) on the high altar: the Adhvaryu on the right hip, and the Pratiprasthatvz on the left—without quitting their hold of them—with ‘ Unassailable art even thus, no satisfactory sense, it seems to me, can be extracted from this line. When the Soma is mixed with milk or some other substance (as meal) two stalks of (kusa) reed-grass are laid on the cup, the accessory substance being then poured through them, Katy. IX, 6, 9-10.
1 In paragraphs 13-31 the libations from the Sukra and Manthin cups are anticipated. For their proper place in the actual performance, see note to IV, 3, 1, 1.
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thou!’ whereby they make the high altar unassailable by evil spirits; for they are about, in walking round it, to pass by the fire: hereby, then, they propitiate it, and so the fire does not injure them, while they walk round it on different sides}.
16. The Adhvaryu walks round ‘it (on the north side) with (V4g. S. VII, 13), ‘Abounding in heroes, producing heroes ’—for to this (libation) corresponds the eater, and the hero is the eater: hence he says, ‘Abounding in heroes, producing heroes !’—‘ encompass thou? the sacrificer with growth of wealth!’ By saying ‘Encompass thou the sacrificer with growth of wealth!’ he invokes a blessing upon the sacrificer.
17. And the Pratiprasthatz? walks round (on the south side) with (V4g. S. VII, 18), ‘ Abounding in creatures, producing creatures’—for to this (libation) corresponds the food, and the creatures, the people, are the food : hence he says, ‘ Abounding in creatures, producing creatures,—‘encompass thou the sacrificer with growth of wealth!’ By saying ‘Encompass thou the sacrificer with growth of wealth!’ he invokes a blessing on the sacrificer.
18. They step out (from the altar) after closing the two (cups with their hands): thereby they make them invisible; whence no one sees yonder sun and moon when they go forward (eastwards). Having gone round to the front (of the stake), they uncover (the cups), and offer them while standing in front: thereby they make them visible; whence every onep. 284 sees yonder sun and moon when they go backwards. Hence also no one sees the seed whichis cast forwards, but every one sees what is produced backwards.
1 The Petersburg Dictionary takes ‘vi-pari-i’ in the sense of ‘to turn round.” Cf. K4ty. IX,10,8; ‘vividham dakshina uttaratas 4a paribhogam ishyantau (!),’ Sayava.
sees yonder sun and moon when they go backwards. Hence also no one sees the seed whichis cast forwards, but every one sees what is produced backwards.
19. They put their elbows together behind the sacrificial stake, unless the fire should blaze up!; but if the fire blaze up, they may join their elbows in front of the stake,—the Adhvaryu with, ‘The Sukra (bright), uniting with the sky, with the earth, with the brightly shining;’ the Pratiprasthatyz with, ‘The Manthin, uniting with the sky, with the earth, with the manthin-shining.’ Thus they make these two (cups) the resting-places of the eyes, and join the two eyes together: whence these two eyes are joined together with bones all round’.
20. The Adhvaryu throws the unsprinkled stakechip outside (the altar) with, ‘Cast out is Sanda!’ and in like manner the Pratiprasthatvz with, ‘Cast out is Marka!’ Thus they drive away the two Asura-Rakshas before the offerings.
21. Thereupon the Adhvaryu throws the sprinkled stake-chip on the Ahavantya with, ‘Thou art the abode of the Sukra!’ and in like manner the Pratiprasthatvz with, ‘Thou art the abode of the Manthin!’ These two (chips), forsooth, are the kindlers of the eyes,—he kindles the eyes therewith ; whence these eyes are kindled.
22. Thereon he mutters (V4g. S. VII, 14), ‘May
1 The sacrificial stake stands immediately in front of the high altar and fire. ‘ Yadi tato ’gnir nodbadheta,’ Kazva text.
2 That is, the cups represent the sockets of the eyes, and the libations the eyes themselves. Perhaps, however, we ought to translate, ‘whence these eyes are joined together (so as to be) on both sides of the bone,’ the sacrificial stake representing the bone or bridge of the nose. See paragraph 25.
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we be the preservers of thine unbroken manhood and prosperity, O divine Soma!’ This is the benediction of that performance : he thereby invokes a blessing.
23. He then calls (on the Agntdh) for the Srausha/, and says, ‘Urge thou for Indra the Soma-draughts brought forward, the pure, sweet-flowing, of the morrow’s morning feast!’ As the Vasha‘ is uttered, the Adhvaryu offers; then the, Pratiprasthatrz; then the cup-bearers (4amas4dhvaryu).
24. Those two offer while standing in front (of the fire); for these two (libations) are the eyes: thus they put those eyes in the front; and hence these eyes are in the front.
25. They offer while standing on both sides of the stake; for what the nose is, that is the sacrificial stake: hence these two eyes are on both sides of the nose.
25. They offer while standing on both sides of the stake; for what the nose is, that is the sacrificial stake: hence these two eyes are on both sides of the nose.
26. Being consecrated by Vasha/, these two (libations) are offered with a prayer. Now it is because the entire Savana is offered after these two (libations) that they attain to this (distinction)!; and the reason why the entire Savana is offered after them, is that they are most distinctly PragApati’s own: for they are the eyes, and the eye is the truth, and PragApati is the truth ;—this is why the entire Savana is offered after them.
27. He offers with, ‘This is the first consecration, assuring all boons: he isthe first, Varuza,
* “And because these two (libations), having been consecrated by Vashas, are offered with a mantra, therefore they attain this (distinction) that the entire Savana is offered after them; and the reason why the entire Savana is offered after them, is that these two are its eyes,’ &c.
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Mitra, Agni;—he is the first, Byzhaspati, the wise: tothat Indra offer ye the liquor, Hail?!’
28. Now when he offers with, ‘This is the first— he is the first,’ it is just as with cast seed; for the eyes doubtless are formed first*: hence he offers with, ‘ This is the first—he is the first.’
29. He then gives directions :—‘ Let the Hotv7’s cup advance! let the Brahman’s, the Chanters’, the Sacrificer’s (cups) advance! Ye cup-bearers of the fire-priests *, approach and fill up (the cups) with pure Soma!’—this is a composite direction. Having gone round (to behind the high altar) the Pratiprasthatzz pours his residue (of Soma) into the Adhvaryu’s (Sukra) vessel; whereby he makes the food pay tribute to the eater. The Adhvaryu pours it into the Hotvz’s cup for drinking ; because the draught belongs to the utterer of the Vasha¢; for the Vashat is the breath, and that breath has, as it were, departed from him while uttering the Vasha¢. Now the draught is breath: thus he puts that breath back into him.
30. And the reason why they do not take those
1 Or, according to Mahidhara, ‘ To that Indra offer ye the liquor with Svahal? The Pratiprasth4tr? makes his libation after the Adhvaryu. The K4ézva texts read, ‘When the Vasha/ has been uttered, the Adhvaryu offers, then the Pratiprasth4trs, then the others offer;’ and, according to Katy. IX, 11, 2, the Kamas4dhvaryus make libations from the cups of the nine Kamasins (see note 2, next page) with, ‘This to Indra’ at the Vasha/, and ‘This to Agni’ at the Anu-vasha/. These libations are evidently referred to in paragraph 31.
® ? Sasvad dha vai retasa# siktasya sambhavatas fakshushf eva prathame sambhavatas tasmad v evam gapati; Kamva rec.
5 ‘Sadasydnam hotrazam.’ The subordinate priests to whom the dhishzyas (except that of the Hotrz) belong, both those in the Sadas and the Agnidhra. See page 148, note 4.
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5 ‘Sadasydnam hotrazam.’ The subordinate priests to whom the dhishzyas (except that of the Hotrz) belong, both those in the Sadas and the Agnidhra. See page 148, note 4.
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two (cups) behind', but do so take the other cups, is that those two are the eyes. The residue (of Soma), then, he pours into the Hotvz’s cup.
31. They now fill up the cups of the fire-priests. For those residues? are remains of oblations, insufficient for offering: he now fills them up again, and thus they become sufficient for offering: therefore they fill up the cups of the fire-priests.
32. Thereupon they make the fire-priests offer together*. Now the fire-priests combined convey
1 That is, to the Sadas, for the priests to drink from.
* Viz. the residues in the Aamasas of the Hotrakas. The filling (by the Unnetr?/ of the cups of the Kamasins—Hotr7, Brahman, Udgatrs, (and Sacrificer) ; Prasdstrz, Brahman4khamsin, Potr?, Neshéri, and Agnidhra; that of the AéAavaka remains empty for the present— takes place before the libations from the Sukra and Manthin grahas. Their cups are filled by the Unnetr? with Soma-juice from the Pitabhrt, with an ‘underlayer’ and final ‘sprinkling’ or ‘ basting’ of ‘pure’ Soma from the Drovakalasa. Previous to the filling, the Adhvaryu calls on the Maitravaruza to ‘ recite to (those cups) being drawn,’ the latter then reciting the hymn, Rig-veda I, 16, while the cups are filled. When the Srausha# is about to be pronounced by the Agnidh for the Sukra and Manthin libations, the cup-bearers lift (udyam) the cups, and, after the Pratiprasthatr?' has made his libation, they also pour some Soma-juice into the fire. The cupbearers of the first four Kamasins do so twice (and then take their cups back to the Sadas), the others only once. Thereupon the cup-bearers of these last five—the so-caJled Hotrakas, or subordinate Hotr#s—are summoned again, and their cups having been filled up with ‘pure’ Soma, the Adhvaryu makes, after the Srausha/, two more libations from each at the Vasha/ and Anuvasha/ respectively. For the offering-formulas and Anuvasha/k4ras, see Asv. V, 5, 18-19. Holding the Agnidh’s cup in his hand, he then goes to the Sadas and sits down facing the Hotrz, whereupon they drink together the Soma in the dvidevatya cups.
® The phrase ‘hotraA (fem.) samy4gayanti’ is apparently analogous to the ‘ patni# samy4gayanti’ [they perform the Patnisamy4gas, or, make the wives (of the gods) participate in the sacrifice] of thep. 288 the sacrifice to the gods,—it is them he thereby satisfies together, thinking, ‘Satisfied and pleased they shall convey the sacrifice to the gods:’ therefore they make the fire-priests offer together.
33. When (the libation of) the first, or last? firepriest has been offered, he addresses them (Vag. S. VII, 15), ‘Let the priests’ offices be satisfied, they that have obtained a good sacrifice of — sweet drink; they that are well-pleased, when they have obtained good offering with Sv4h4!’ for this is the satisfaction of the priests’ (offices). Thereupon he approaches (to the Hotv7’s hearth) and sits down with his face to the west, with ‘The Agnidh hath sacrificed!’ for on this occasion the Agnidh sacrifices last of those that sacrifice : hence he says, ‘The Agnidh hath sacrificed.’
SEconD BRAHMANA,
1. The Agrayama graha, forsooth, is his self (body, trunk), and as such it is his all; for this self is one’s all. Therefore he draws it by means of this (earth), for of her is the bowl?, and with a bowl he draws this (libation) ; and this (earth) is all, as this
Haviryagiia. See part i, p. 256. Indeed Mahidhara identifies the hotras with the metres of the offering-formulas, thus treating them as a kind of deities.
1 The order of the dhishya-priests is (1. Hotrz), 2. Prasdstr7 (Maitravaruna), 3. Brahmandkhamsin, 4. Potrt, 5. Neshérz, 6. Akhavaka—the fires of all of whom are in the Sadas—and 7. the Agnidh (in the Agnidhra fire-house). The A##avaka, however, is for the present excluded from offering.
2 Viz. inasmuch as the bowl is made of clay,—asy4h prithivyah sakAsdt sth4lt bhavati utpadyate ; Sdy. The Agrayana, Ukthya, and Dhruva grahas are drawn in a sth4li (pot or bowl).
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graha is all: hence he takes it by means of this (earth). 2. He draws it full; for the ‘full’ means all, and this graha is all: therefore he draws it full.
3. He draws it for the All-gods; for the All-gods are all, and this graha is all: therefore he draws it for the All-gods.
4. He draws it at all (three) Soma feasts; for the (three) feasts mean all, and this graha is all: therefore he draws it at all the feasts.
5. And if the king (Soma) become exhausted, they extend him from out of that (bowl), make him issue therefrom; for the Agrayama is the body, and from the body all these limbs issue. Therefrom they draw at the end the Hariyogana cup!: whereby the sacrifice is established at the end in this resting-place, the body (or its own self).
6. Thenas to why it is called Agrayana. His speech which he restrains, on taking up that press-stone 3, spoke out again first at this (libation); and because it spoke out first (agre) at this (libation), therefore this is called the Agrayawa®.
7. It was from fear of the evil spirits that (the gods) restrained their speech. Previously to this he draws six grahas, and this is the seventh: for there are six seasons in the year, and the year is all.
8. And all being conquered and free from danger and injury‘, the gods now first uttered speech; and
1 See IV, 4, 3, 2-
2 The UpAmsusavana, cf. III, 9, 4, 6. .
Previously to this he draws six grahas, and this is the seventh: for there are six seasons in the year, and the year is all.
8. And all being conquered and free from danger and injury‘, the gods now first uttered speech; and
1 See IV, 4, 3, 2-
2 The UpAmsusavana, cf. III, 9, 4, 6. .
’ The primary meaning seems to be ‘firstling.’ For the AgrayaneshAy, or offering of first-fruits, see part i, p. 369.
* Or perhaps, ‘and their entire conquest being free from danger and injury ;’ or, ‘security and peace (abhayam anash/ram) having
[26] Up. 290 in like manner does he first utter speech now that everything is conquered and free from danger and injury.
9. He now draws it from that (stream of Soma’) with (V4g. S. VII, 19; Rig-veda I, 139, 11), Ye Gods, who are eleven in heaven, who are eleven on earth, and who are eleven dwelling in glory in the (aerial) waters: do ye graciously accept this sacrifice!—Thou art taken with a support: thouart Agrayama, a good firstling (sv-Agrayaza)!’ Hereby he makes that speech of renewed vigour; whence he speaks therewith in a different way, while yet the same, in order to avoid sameness; for were he to take it with, ‘Thou art Agrayama, thou art Agrayama,’ he would commit (the fault of) sameness: therefore he says, ‘Thou art Agrayana, a good Agrayama.’
to. ‘Guard the sacrifice! guard the lord of the sacrifice!’ whereby he utters freed speech, meaning to say, ‘Protect the sacrifice! protect the sacrificer !’ for the lord of the sacrifice is the sacrificer. ‘May Vishzu guard thee with his might! guard thou Vishzu!’ whereby he utters freed speech—Vishzu being the sacrifice—‘ May the sacribeen completely gained.’ Cf. IV, 3, 3, 5; also III, 6, 3,11; 8,1, 9; 8, 2, 3.
1 The Agrayana is taken rather from two streams of Soma, viz. from that poured by the sacrificer from the Hotrz’s cup into the Dronakalasa, and from another poured out by the Unnetrz, and consisting either of Soma taken from the Adhavantya or, according to others, of the residue of the Up4msu libation, which had been temporarily kept in the Agrayana bowl (see p. 255, note 2), and has to be emptied by the Unnetr? into some other vessel, when that bowl is about to be used for the Agrayana libation. See KAty.IX, 6, 15 comm.
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fice protect thee with its power! protect thou the sacrifice !’—‘ Guard thou the Soma feasts all around!’ whereby he means this very graha, because that belongs to all (three) Soma feasts".
See KAty.IX, 6, 15 comm.
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fice protect thee with its power! protect thou the sacrifice !’—‘ Guard thou the Soma feasts all around!’ whereby he means this very graha, because that belongs to all (three) Soma feasts".
11. Having then wrapped up (the bowl in) a fringed filtering-cloth, he utters ‘Hin!’ Now that same speech (Vaé, fem.), being unsupported, lay exhausted. By means of the ‘ Hin’ the gods infused breath into that exhausted speech, for the ‘ Hin’ is breath, the ‘Hin’ is indeed breath: hence one cannot utter the sound ‘hin’ after closing his nostrils. By means of that breath she rose again, for when one who is exhausted takes breath, he rises again. And in like manner does he now infuse breath into the exhausted speech by means of the ‘Hin,’ and through that breath she rises again. -Thrice he utters the ‘ Hin,’ for threefold is the sacrifice.
12. He then says (Vag. S. VII, 21), ‘Soma becometh pure!’ For that (speech) which, for fear of the Asura-Rakshas, they (the gods) did not utter, he now utters and reveals when all is conquered and free from danger and injury: therefore he says, ‘Soma becometh pure.’
13. ‘For this priesthood, for this nobility’— whereby he means to say, ‘for the priesthood as well as for the nobility;—‘for the Soma-pressing sacrificer he becometh pure;’ whereby he means to say, ‘for the sacrificer.’
14. Here now they say, ‘Having said this much, let him deposit (the cup); for as much as the priesthood, and the nobility, and the people are, so much
2 The Agrayana libation is repeated at the midday as well as at the evening feast.
U 2
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means this All, since Indra and Agni are this All’: hence, having said this much, let him deposit (the cup).’
15. Let him, nevertheless, say this more, ‘For sap and pith he becometh pure, —by saying ‘ for sap’ he means to say ‘for rain;’ and ‘for pith’ he says with a view to that pith or juice which springs from rain;—‘for the waters and plants he becometh pure, this he says for the waters and plants ;—‘for heaven and earth he becometh pure, this he says for those two, heaven and earth, whereon this All rests ;—‘for well-being he becometh pure, whereby he means to say ‘for good.’
16. Here now some say, ‘for spiritual lustre he becometh pure ;’ but let him not say so, for in saying ‘for this priesthood,’ he says it with a view to spiritual lustre. With, ‘Thee for the All-gods! this is thy womb: thee for the All-gods!’ he deposits (the cup); for it is for the All-gods that he draws it. He deposits it in the middle (of the mound); for this is his trunk, and that trunk is, as it were, in the middle. On the right (south) side of it is the Ukthya bowl, and on the left side the Aditya bowl.
Tuirp BRAHMANA.
1. That Ukthya (graha), forsooth, is his undefined breath (vital air)?, and as such it is that self of his; for the undefined breath is the self; it is his
On the right (south) side of it is the Ukthya bowl, and on the left side the Aditya bowl.
Tuirp BRAHMANA.
1. That Ukthya (graha), forsooth, is his undefined breath (vital air)?, and as such it is that self of his; for the undefined breath is the self; it is his
1 On Indra and Agni, as the divine representatives of the two privileged castes, see part i, Introd. p. xvi seq.
? We ought doubtless, with the Kava text, to read ‘ pranah’ instead of ‘atmA,’ ,p. 293 vital energy. Hence he draws it by means of this (earth), because of her is the bowl, and he draws it with a bowl ;—for undecaying and immortal is this (earth), and undecaying and immortal is the vital energy; therefore he draws it by means of this (earth or bowl).
2. He draws it full; for full means all, and the vital energy means all: therefore he draws it full.
3. That Dhruva (graha)', forsooth, (also) is his vital energy; by it his body is held together, and the joints are knit together. For (when) the last cup has not yet been drawn from that (Soma juice in the Ukthya vessel) for the A#AAvaka priest,
4. Then he takes the king (Soma) down (from the cart), and pours one third of the Vasattvaris (into the Adhavantya trough). Thus the joint unites ; for, indeed, he makes (the Ukthya cup) the first of the second pressing (Soma feast), and the last of the first: that which belongs to the second pressing he makes first, and that which belongs to the first he makes last. Thus he interlocks them; whence these joints are interlocked: this one overlapping thus, and this one thus.
5. In like manner at the midday pressing : (when)
1 See IV, 2, 4, 1 seq.
2 At the end of the morning feast the Soma in the Ukthya bowl (sthalf) is poured into the Ukthya cup (patra) in three portions ; and part of each having been offered, the remaining juice is drunk by the Hotr?’s assistants, viz. the Prasdstr?, Brahmandkhamsin, and Akhavaka. Each of these potations is preceded by the chanting of an 4gya-stotra, and the recitation of the 4gya-sastra (see next page, note 2). But before the portion of the last-named priest is poured into his cup (4amasa), fresh Soma-plants are taken down from the cart for the midday pressing ; one half of the remaining Vasativart water (or one third of the original quantity) being also poured into the Adhavaniya trough. See III, 9, 2, 3.
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the last cup has not yet been drawn therefrom for the A&#/Avaka priest, he pours (the remaining) onethird of the Vasativart (into the Adhavantya). Thus the joint unites; for, indeed, he makes it the first of the second pressing, and the last of the first pressing’: that which belongs to the second pressing he makes first, and that which belongs to the first he makes last. Thus he interlocks them; whence these joints are interlocked: this one overlapping thus, and this one thus. And because his body is thereby held together, therefore this (graha) is his vital energy.
Thus he interlocks them; whence these joints are interlocked: this one overlapping thus, and this one thus. And because his body is thereby held together, therefore this (graha) is his vital energy.
6. This (Ukthya graha) is the cow of plenty, Indra’s special portion. At the morning feast he (the Adhvaryu) divides it for three songs of praise ’, and at the midday feast for three,—this makes six times, for there are six seasons, and the seasons mature all wishes here on earth: for this reason, then, this (libation) is the cow of plenty, Indra’s special portion.
7. He draws it without (reciting) a purorué; for the purorué is a song of praise, since the purorué is a Ak, and the song of praise is Azé; and the libation is SAman; and what other (formula) he mutters, that is Yagus. Formerly these same (purorué verses) were apart® from the Azés, apart from the Yagus, and apart from the Sdmans.
* That is to say, the last (thing) of the first of the last two pressings, or of the midday pressing.
* Uktha, lit. ‘recitation,’ is the old term for ‘sastra’ (IV, 3, 2, 1 seq.). Regarding the three sastras of the Hotrakas, for the recitation of which the Ukthya graha is divided between those priests, see notes on IV, 3,1, 253 3, 3) 19-
®’ The Kanva text reads thrice ‘abhyardhe.’ Regarding the purorug& formulas see p. 268, note r.
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8. The gods said, ‘Come, let us place them among the Yagus: thus this science will be still more manifold.’ Accordingly they placed them among the Yagus, and thenceforward this science was still more manifold.
g. And the reason why he draws this (graha) without a purorué, is that the purorué is praise, (being) a Azé, and the song of praise is Azk; and in that he divides it for recitations, thereby indeed it becomes possessed of a purorué: hence he draws it without a purorué.
10. Now he draws it from that (stream of Soma’), with (V4g. S. VII, 22),‘Thou art taken with a support: thee for Indra, possessed of the great (chant), possessed of vigour,’—for Indra is the deity of the sacrifice; wherefore he says ‘thee for Indra;’ and by ‘possessed of the great (chant), possessed of vigour, he means to say ‘for him, the strong ;’—‘I take (thee) the songpleasing, for he indeed takes it for songs of praise ;—‘ what great vigour is thine, O Indra’ —whereby he means to say, ‘ what strength is thine, O Indra’—‘for that (I take) thee! for Vishzu— thee!’ for he takes it for the life of the sacrifice: hence he says, ‘for that—thee! for Vishvu—thee!’ With, ‘This is thy womb: thee forthe songs of praise!’ he deposits it; for he indeed takes it for songs of praise.
11. He distributes it? with, ‘Thee, the god-
1 See p. 256, note 1.
* That is, he pours, for each of the three assistant priests, his respective portion into the Ukthya-p4tra. This distribution does not however take place till the end of the morning performance ; see note to IV, 2, 2, 4; 3,1, 25.
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256, note 1.
* That is, he pours, for each of the three assistant priests, his respective portion into the Ukthya-p4tra. This distribution does not however take place till the end of the morning performance ; see note to IV, 2, 2, 4; 3,1, 25.
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pleasing', 1 take for the gods, for the life of the sacrifice. He who would perform it in this manner would assume the command?; but let him rather distribute it to the respective deities.
12, With,‘ Thee, the god- pleasing, I take for Mitra and Varuma, for the life of the sacrifice!’ (he takes the portion) for the Maitravaruza priest ;—for in verses to Mitra and Varuma they (the Udgatvzs) chant praises for this (libation) ; and he (the Hotzz) afterwards recites verses to Mitra and Varuza for the sastra, and offers with a verse to Mitra and Varuna.
13. With, ‘Thee, the god-pleasing, I take for Indra, for the life of the sacrifice!’ (he takes the portion) for the Brahmaz&khamsin; for in verses to Indra praises are chanted for this (libation); and verses to Indra are afterwards recited as a sastra, and offering is made with a verse to Indra.
14. With, ‘Thee, the god-pleasing, I take for Indra and Agni, for the life of the sacrifice!’ (he takes the portion) for the A&##avaka; for in verses to Indra and Agni praises are chanted for this (libation); and verses to Indra and Agni are afterwards recited as a sastra, and offering is made
1 Or, the god-prospering (i. e. the one prospering the gods), devavi.
® Prasisanam kuryat. The same phrase occurs I, 9, 1, 14, where I translated ‘ will ensure dominion, —probably wrongly, though I am by no means sure of the correct meaning. SAyamna there seems to take it in the sense of ‘he bids(the gods grant his request), thus having chiefly his own interest in view’—‘ prassyante ’to devah prarthyamana iti prasisanam parusham syat sAkshat svarthaparatvam kurydd ity artha#.’ The K4zva text reads, ‘let him not divide (the libation) with this (formula), for he who divides it thus—prasasanam kuryat’ Perhaps he means to say, that by using that formula one would put oneself above the gods. At I, 9,1, 14 ‘one would give orders (to the gods)’ is probably the right translation.
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with a verse to Indra and Agni. With,‘ Thee.... for Indra,’ he performs at the midday feast, for the midday feast is sacred to Indra.
15. Now the XarakAdhvaryus' divide (the Ukthya libation into three portions), with ‘Thou art taken with a support: thee, the god-pleasing, I take for the gods; (thee) the praise-pleasing, for praises,— agreeable to Mitra and Varuza !’—with ‘This is thy womb: thee to Mitra and Varuna!’ he (the Karakadhvaryu) deposits it; and with ‘Thou art a reoffering’ he touches the sthall.
16. ‘Thou art taken with a support: thee, the god-pleasing, I take for the gods; (thee) the praisepleasing, for praises,—agreeable to Indra!—This is thy womb: thee to Indra!’ thus he deposits it; and with ‘ Thou art a re-offering’ he touches the sthlt.
17. ‘Thou art taken with a support: thee, the god-pleasing, I take for the gods; (thee) the praisepleasing, for praises,—agreeable to Indra and Agni! —This is thy womb: thee for Indra and Agni!’ thus he deposits it. He does not at this (third portion) touch the sthali with ‘Thou art a re-offering.’ ‘.... Thee for Indra!’ he says each time at the midday feast, for the midday feast is sacred to Indra. Twice he touches the sthalt with ‘Thou art a reoffering ;’ and silently he puts it down the third time.
18. But, in order to avoid sameness (of performance), let him not take it out with the ‘support ;’ nor let him deposit it in the ‘womb ;’ for this (Ukthya
? “Such is the rule (sthiti); but the Aarakadhvaryus divide it in this way.’ Kava text. The formulas of the Taitt. S. I, 4, 12, and Maitray. S. I, 3, 14, differ from the above; perhaps the Kathaka is referred to; see v. Schroeder, M. S. I, p. 36, note 3.
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libation) has at first been taken with the ‘support,’ and it has at first been deposited in the womb ;—and were he now also to take it with the ‘support,’ and deposit it in the ‘womb,’ he would assuredly commit (the fault of) sameness. And as to his touching the sthali with ‘Thou art a re-offering, he will indeed again take a libation therefrom. Let him not heed this, but let him put down (the vessel) silently.
Fourtu BrAHMANA.
1. That (opening of) vital air of his which is in front, that, forsooth, is the Vaisv4nara (graha) ; and that which is behind is the Dhruva. Formerly, indeed, both these grahas, the Dhruva and Vaisvanara, were drawn; and even now one of them is still drawn, to wit, the Dhruva?. And if he acquire a knowledge of that (Vaisvanara graha) either from the Karakas, or from anywhere else, let him pour it into the sacrificer's cup; but this (Dhruva graha he pours) into the Hotvz’s cup®.
2. Now, what part of him there is below the navel, that part of his self, that vital energy of his, is this (Dhruva) : hence he draws it by means of this (earth), because of her is the bowl (sthalt)?, and with a bowl he draws it ;—for undecaying and immortal is this (earth), and undecaying and immortal is the vital energy: therefore he draws it by means of this (earth).
1 «Formerly they took these two separately, as Dhruva and Vaisvinara; but now they take them as one only.’ Kamva text.
* Both these libations are reserved for the evening feast.
5 See p. 288, note 2.
Iv KANDA, 2 ADHYAYA, 4 BRAHMANA, 7. 299
3. He draws it full; for full means all, and the vital energy means all; therefore he draws it full.
* Both these libations are reserved for the evening feast.
5 See p. 288, note 2.
Iv KANDA, 2 ADHYAYA, 4 BRAHMANA, 7. 299
3. He draws it full; for full means all, and the vital energy means all; therefore he draws it full.
4. He draws it for (Agni) Vaisvanara; for Vaisvanara (‘he that belongs to all men’) is the year, and the vital energy (life) is the year: therefore he draws it for Vaisvanara.
5. Having been drawn at the morning pressing, it reposes apart from that time: thus he guides him (the sacrificer) safely through all the pressings.
6. Let him not pour it (into the Hotz?’s cup) during the chanting; for, verily, were he to pour it out during the chanting, the sacrificer would not live through the year.
7. He pours it out during the recitation of the sastra; whereby he guides him safely over the twelvefold chant of praise: thus he obtains ever continued life, and thus does the sacrificer live long. Therefore the Brahman should sit through the praise of Agni (Agnish/oma)'; till the offering of this (libation) he must not slip away?—nor must he
1 ?Tasmad brahmazo ’gnish/omasat syat. The obvious meaning of this sentence is, ‘hence the celebrator of the Agnish/oma should be a Brahman,’ or, perhaps, ‘hence a Brahman should celebrate the Agnish/oma ;’ but I do not see how it can have that meaning here, without at least a double-entendre in the term ‘agnish/omasad,’ Agnish/oma in that case (‘the praise of Agni’) referring both to the sacrifice generally and to the chanting (stoma or stotra). See next note. My MS. of Sdyana’s commentary (from the library of the Mahdraga of Bikaner) has unfortunately an omission here.
2 Viz. from the Sadas; ‘nifsarpet,’ Kava text. The verb sarp, ‘to glide or creep,’ is used technically of a peculiar noiseless mode of leaving (nifsarp) the Sadas and returning thither (prasarp or pratisarp, see paragraph ro), and respectfully approaching the dhishya fires. If it has to be taken here in that sense, the first prohibition would seem to refer to the Hotr? (cf. Ait. Br. II, 22, where the question is argued whether or not the Hotr? ought top. 300 discharge urine: thus he obtains the full life—for this (libation) is his life—thus he reaches the full (measure of) life.
8. For, what part of him there is below the navel, that part of his self is this (Dhruva libation). Hence were he to slip away or discharge urine before the offering of this (libation), he would discharge the Dhruva (the firm, constant one): hence, lest he should discharge the Dhruva, he sits through the praise of Agni. This, indeed, applies only to the sacrificer', for this (libation) is part of the sacrificer’s self.
This, indeed, applies only to the sacrificer', for this (libation) is part of the sacrificer’s self.
9. He sits through the praise of Agni*;— for Soma is glory: hence they both approach, he who partakes of the Soma and he who does not,—they approach, forsooth, to behold that glory. And thus indeed the Brahmans, having crept near together, take unto them that glory, when they drink (the Soma) ;—and verily whosoever, knowing this, drinks (Soma), becomes glorious? indeed.
10. Now, those same (priests) having, while gliding along‘, deposited that glory in him who sits through (celebrates) the praise of Agni, they glide along and turn away from that glory®: having thus encompassed it, he again takes that glory unto himproceed to the chanting-place with the other priests, and is decided in the negative); since the sacrificer, to whom the second prohibi- _ tion refers (Katy. LX, 6, 23), goes along with them, according to IV, 2, 5, 4. According to the commentary on Katy. IX, 6, 33, in performing the sarpaza the priests and sacrificer should move along sitting at the morning: feast; walking with bent bodies at the midday feast; and walking upright at the evening feast.
1 Tad u tad yagamanasyaiva. Kava text.
? Or, he indeed becomes a celebrator of the Agnish/oma. The K4nva text has ‘yasasvi.’ Sce p. 299, note 2. The Kanva MS. (W.) reads, ‘agnishéomasad etad y4sah sanni-
- & o
Iv KANDA, 2 ADHYAYA, 4 BRAHMANA, 14. 301 self ;—verily, whosoever, knowing this, sits through (celebrates) the praise of Agni, he passes away after becoming the most glorious of these (men).
11. Now, the gods and the Asuras, both of them sprung from Pragdpati, were contending for this sacrifice—their father Pragapati, the year,—saying, ‘Ours _ he shall be! ours he shall be!’
12. Then the gods went on singing praises and toiling. They devised this Agnishfoma feast, and by means of this Agnish/oma feast they appropriated the entire sacrifice and excluded the Asuras from the sacrifice. And in like manner does this (sacrificer), by means of this Agnish¢oma feast, now appropriate the entire sacrifice, and exclude his enemies from the sacrifice: therefore he celebrates the Agnishéoma.
13. Having drawn it (the Dhruva graha), he deposits it with the northern cart!, lest he should confound the vital airs, for the grahas are vital airs: now the other grahas he deposits on the raised (mound), but this one (he deposits) after pushing (the dust) aside without leaving as much as a blade of grass between’.
14. For those (other cups of Soma) are that part of his body from the navel upwards, and above, as it were, is what is from the navel upwards, and above, as it were, is what is raised: therefore he deposits dhayata etasmat pard#o yas4so (sic) bhavanti’ (‘they turn away from that glorious one’).
* The dhruva-sthali is placed just in front of the northern prop.
* The dhruva-sthali is placed just in front of the northern prop.
* Lit. not putting a blade of grass between (the sthalf and the ground on which it stands). Cf. Katy. IX, 2,18. Apparently he is to shift the sthalt along the ground from the khara to the place where it is to stand, all grass and other objects being thus removed between this vessel and those standing on the mound (‘vyuhyaitam na trinam kandntardhaya,’ Kanva text).
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(the others) on the raised (mound), and this one (he deposits) after pushing (the dust) aside without leaving as much as a blade of grass between.
15. For this (cup of Soma) is that part of his body from the navel downwards; and below, as it were, _ is what is from the navel downwards; and below, as it were, is what (one deposits) after pushing (the dust) aside and leaving not so much as a blade of grass between: therefore he deposits this (Dhruva graha) after pushing (the dust) aside, without leaving so much as a blade of grass between.
16. Now, that sacrifice which is being performed is Pragdpati, from whom these creatures on earth have been born,—and indeed even now they are born after this (sacrifice). The creatures that are born therefrom after those (libations) which he deposits on the raised (mound), stand on this (earth) with something different from their own self,—for those which stand on hoofs indeed stand on this (earth) with something different from their own self. And when he deposits this (Dhruva cup) after shifting aside (the dust), and not leaving so much as a blade of grass between,—the creatures that are born thereafter from this (sacrifice), stand on this (earth) with their own self, namely, men and wild beasts}.
17. Moreover, on the one hand, in throwing up (the mound) he puts upon this (earth) something different from it; and those creatures that are born from this (sacrifice) after those (libations) which he . deposits on the raised (mound), they stand on this (earth) with something different from their own self, namely, with hoofs.
1 Svapada, lit. ‘dog-footed’ beasts.
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18. And, on the other hand, they offer in the Ahavantya? a sacrificial cake, parched barley-grains, porridge, sour curds, and clotted curds,—this is like pouring (food) into one’s mouth. But this (Libation) remains apart, (being) of one form like water. Hence while he eats the multiform food with that mouth (the fire), he lets flow from that opening the uniform (libation) like water. Then as to why it is called Dhruva.
19. Now, once on a time, the gods, while performing sacrifice, were afraid of an attack from the Asura- Rakshas. The Asuta-Rakshas assailed them from the south, and overturned those southern cups of Soma,—even that southern Soma-cart they overturned ; but that other (cart) they could not overturn : the northern cart then kept the southern cart steady’. And because they could not overturn that (northern cup) therefore it is called Dhruva (firm).
And because they could not overturn that (northern cup) therefore it is called Dhruva (firm).
20. They indeed watch over it; for this (cup of Soma) is the head of Gayatri, Gayatri being the sacrifice,—there are twelve chants (stotra) and twelve recitations (sastra): that makes twenty-four, and of twenty-four syllables consists the Gayatri. This cup of Soma is her head; but the head means excellence, for the head indeed means excellence: hence people say of him who is the best man of a place, that ‘so and so is the head of such and such a place. And, indeed, the best man’ would come to harm, if this
1 See IV; 2, 5, 15 seq.
8 «They (the gods) then made the southern cart firm from (or by means of) the northern cart.’ Kazva text.
5 It is more probable that the Dhruva (firm, constant) derives its name from the fact that it remains intact till the very end of the Agnish/oma, as suggested in the Petersburg Dictionary.
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(cup) were to come to harm; and, the best man being the sacrificer, they watch (this cup) lest the sacrificer should come to harm.
21. Moreover, this (graha) is Gayatrti’s calf, GAyatri being the sacrifice,—there are twelve chants and twelve recitations: that makes twenty-four, and of twenty-four syllables consists the Gayatri. This is her calf ;—when they watch it, then they watch these calves for the sake of the milking: ‘as they yield this milk, even so may this Gayatri yield all the sacrificer’s wishes, —this is why they watch it.
22. And when both the Adhvaryu and the Pratiprasth4trz walk out (of the cart-shed) and (afterwards) enter (again)!, it is as if (a cow) were to come with the calf tied to her. They come to this cup of Soma, and he (the Adhvaryu) pours it out; whereby he lets loose the GAyatrt: ‘ Made over to the sacrificer, may this GAyatrt yield all his desires!’ for this reason he pours it out.
23. He pours it (into the Hotrvz’s cup") with (Vag. S. VII, 25), ‘The firm Soma I pour out—or, I take—with firm mind and speech: now may Indra make our people of one mind, free from enemies!’ whereby he means to say, ‘so that Indra may make these our creatures, the people, of one mind and free from enemies, for their happiness and glory and nourishment!’
24. Here now he draws it from that (stream of Soma)?, (V4g. S. VII, 24; Rig-veda VI, 7, 1), ‘Agni
1 Viz. at the evening feast, when the Adhvaryu pours the Soma from the Dhruva-sthali into the Hotr7’s cup (paragraph 23).
2 See p. 256, note 1. The preceding paragraphs anticipate the future rites regarding this libation, the original drawing of which is only now described.
Iv KANDA, 2 ADHYAYA, 5 BRAHMANA, 2. 305
2 See p. 256, note 1. The preceding paragraphs anticipate the future rites regarding this libation, the original drawing of which is only now described.
Iv KANDA, 2 ADHYAYA, 5 BRAHMANA, 2. 305
Vaisvanara, the crest of heaven, the disposer of the earth, bornin the sacred rite, the wise all-ruler, the guest of men,—him the gods have begotten as a vessel for their mouth. Thou art taken with a support: thou art firm (Dhruva), of firm abode, the firmest of the firm, the most solidly founded of the solid! This is thy womb—thee for VaisvAnara!’ therewith he deposits it after pushing (the dust) aside, and not leaving so much as a blade of grass between: for he indeed takes it for (Agni) Vaisvanara.
Firta BrRAHMANA,
1. Having drawn the cups of Soma, and gone out (of the cart-shed to the high altar)!, he offers the oblation of drops% The reason why he offers the oblation of drops is this. Whatever drops of that (Soma) are spilt here, to them he now wishes a safe journey to the Ahavantya, for the Ahavantya is the resting-place of offerings: this is why he offers the oblation of drops.
2. He offers with (V4g. S. VII, 26; Rig-veda X, 17, 12), ‘Whatever drop of thine leapeth
» The libations (grahas) having been taken, and the remaining Nigr&bhya water, mixed with Soma-juice, poured from the Hotr2’s cup into the Dronakalasa (p. 256, note 1), the Adhvaryu, Pratiprasthatr?, Prastotrz, Udgatr:, Pratihartr7, and Sacrificer walk out of the Havirdh4na shed, each following one touching the hem of the garment of the one before him, and betake themselves to the altar.
2 The viprud-homa, an expiatory oblation for the Soma spilt during the pressing, consists of a prakarant spoon full of ghee. According to Asv.V, 2, 6, and L&ty. I, 11, 9, it would seem that each of those taking part in the Sarpama (see p. 299, note 2) makes two oblations (called ‘ pravritta-homa’ by Lasy. Sr. and Pafidavimsa Br.),
(26) Xxp. 306 away, whatever stalk of thine,—whatever particle (of Soma) is spilt, that is a drop, that indeed he means ; and by ‘ whatever stalk of thine’ he mentions the stalk ;—‘stone-pressed, from the lap of the press-bowls;’ for pressed by the stone! it leaps away from the two press-bowls ;—‘ be it from the Adhvaryu or from the strainer,—for it leaps away either from the Adhvaryu’s hands or from the strainer,—‘that I offer unto thee in my mind consecrated by Vasha¢, Hail!’ whereby it becomes for him as an offering consecrated by Vashad.
3. Thereupon the Adhvaryu takes two stalks of grass from the covered altar. The two Adhvaryus? proceed first (to the chanting-place beside the pit), as the out-breathing and in-breathing of the sacrifice; then the Prastotvz,as the voice of the sacrifice ; then the Udgatvz, as the self (or body), the Pragdpati, of the sacrifice; then the Pratihartvz, either as the physician or the through-breathing®.
4. The Sacrificer holds on to those five priests from behind‘, for as much as those five priests are, so much is the whole sacrifice, the sacrifice being fivefold: hence the Sacrificer thereby holds on to the sacrifice.
5. He (the Adhvaryu) then throws one of the two
1 «Grava-Ayuta’ seems to be taken by the author in the sense of ‘set in motion by the (pressing) stone.’ The Rig-veda reads ‘ bahu-Ayuta ;’ also ‘ dhishary4’ instead of ‘ dhishanayod.’
* That is, the Adhvaryu and his assistant, the Pratiprasthatr?.
° Ait. Br. II, 20 enumerates Adhvaryu, Prastotr?, Pratihartr7, Udgatr:, and Brahman (see also Asv. V, 2, 4-5); the Lasydy. Sftra I, 11, Adhvaryu, Prastotr?, Udgatr, Pratihartr7, Brahman, and Sacrificer.
* That is, each holds on to the hem of the garment of the one who precedes him.
Iv KAWDA, 2 ADHYAYA, 5 BRAHMANA, 7. 307 stalks of grass forward towards the pit’, with, ‘Thou art the ascent of the gods!’ for when the gods through the sacrifice attained to the heavenly world, it was from that pit that they went upwards to the heavenly world: he thus makes the sacrificer look along the road to heaven.
6. He then throws down the other stalk in front of the chanters, silently, for those chanters represent the hymn of praise (stotra), PragApati (the sacrifice),— he (Prag4pati) draws to himself everything here, and takes possession of everything here : it is to him that that stalk is offered, and thus he does not draw the Adhvaryu to himself, and take possession of him. And when they mutter?,—for the chanters mutter now §,—
7. Then he bespeaks the chant, saying, ‘Soma becometh pure!’ He bespeaks the chant right off‘, and they chant right off; for these chants, the Pavam4n4h®, are directed towards the gods, since
1 The Udgatr?s (chanters) also throw stalks of grass to the south with their left hands, with the text, Pazav. I, 3, 3
2 And when he thinks ‘they have muttered’ (atha yad4 manyate ‘gapishur iti)—for the chanters mutter now. K4nva text.
® For the mantras the Udgatris have to mutter on this occasion, previous to the chanting, see Taxdya Br. I, 3, 4-6. The recitation of the Agyasastra, by the Hotr#, succeeding the chanting of the Bahishpavam4na-stotra, is likewise preceded by a prayer muttered by that priest, for which see Ait. Br. II, 38; Asv. V, 9.
‘ That is, without repeating that formula, in the same way as the Pavamina chants are performed without repeating single verses. See p. 308, note 2.
5 The first stotra at each pressing is called pavam4na (purifying, i.e. during the chanting of which the Soma becomes clarified), viz. the Bahishpavam4na at the morning, the Madhyandina pavam4na at the midday, and the Arbhava (or trittya) pavam4na at the evening pressing. The other stotras are called Dhurya, ‘to be harnessed, belonging to or forming a team.’ For the correspondence between the stotra and sastra, see p. 325, note 2.
X 2
p. 308
The other stotras are called Dhurya, ‘to be harnessed, belonging to or forming a team.’ For the correspondence between the stotra and sastra, see p. 325, note 2.
X 2
p. 308
the gods thereby attained to the heavenly world right off (straightway): therefore he bespeaks the chant right off, and right off they chant.
8. With ‘ Turn ye back?!’ (he bespeaks) the other chants (viz. the Dhuryas), and turning back (or repeating) they chant the Dhuryas®, for the latter
1 This is Sayana’s interpretation of ‘up4vartadhvam,’ instead of ‘draw near,’ as translated by me at I, 5, 2,12. He is probably right in connecting it with the repetitions which certain verses have to undergo in the dhurya-stotras.
3 There are many different stomas, or forms of chanting stotras, named from the number of verses produced in each form (generally by repetitions of certain verses). Those required for the Shadaha and DvAdasaha (see IV, 5, 4, 1 seq.) are: trivrzt (9), paw sadasa (15), saptadasa (17), ekavimsa (21), trinava (27), trayastrimsa (33), katurvimsa (24), Aatuskatvarimsa (44), and ash/akatvarimsa (48). The first four of these are those most frequently used, and the only ones used at the Agnishfoma. All these stomas, with one exception (24), have two or more different varieties or arrangements, called vish/uti, differing from one another either in the order in which the several verses are to be chanted, or in regard to the number of repetitions which the corresponding verses have to undergo. Besides, stomas are generally performed in three turns or rounds, pary 4ya, consisting of a triplet of verses (some of which may have to be repeated more than once), and preceded by the sound ‘hum’ (Hinkara). Thus the first Agyastotra, Samav. II, ro-r2, (consisting of three verses, a, b, c,) is to be performed in the pankadasa-stoma; that is, the three verses have to be so treated, by repetitions, as to produce fifteen verses in three turns. Now, as there are three different varieties of performing the paféadasastoma, the stotra might be chanted in one or other of the following three arrangements :—
1. Hum aaa bc this form is called ‘ pazisa- Hum a bbb c ; pafsini,’ i.e. consisting Hum a b ccc of five in each row.
Or 2. Hum aaa »b c
Hum a b oc \ (‘apar4’ or ‘other, second’). Hum a bbb ccc
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are directed towards these creatures: whence creatures are produced here repeatedly.
9. And as to why they chant the Bahishpavamana here (near the 24tvdla). In the beginning, . forsooth, yonder sun was here on earth’. The seasons embraced him and ascended from hence to the heavenly world: there he burns firmly established this form is called ‘udyatt,’
Hum a bbb or the ascending one.
Hum aaa b ccc
In the beginning, . forsooth, yonder sun was here on earth’. The seasons embraced him and ascended from hence to the heavenly world: there he burns firmly established this form is called ‘udyatt,’
Hum a bbb or the ascending one.
Hum aaa b ccc
The three paryayas of a stoma (or vish/uti) show each three . subdivisions (viz. aaa—b—c, being those of the first pary4ya above), called vish¢4va, When the Udgatris are about to commence a chant, the Prastotr? spreads in their midst a cloth, doubled up so that the unwoven fringe lies over the selvage, either towards the east or north, Thereon he marks the subdivisions of the rounds, by means of sticks (kus4), a span long, of some kind of wood suitable for sacrifice, split lengthways along the pith (the bark being left outside) and somewhat pointed at one end, then smeared over with some fragrant substance, and wrapped up singly in pieces of the same kind of cloth as that spread on the ground. The marking of the vish/ivas, or subdivisions, takes place at the end of the prast4va or prelude (see next page, note 1) in this way, that each vish/4va is marked by as many sticks as the corresponding verse has to be repeated; those of the first vish/4va being laid down _ with the point to the north, then behind or west of them those of the second turn with the point to the west, and behind them those of the third turn with the point to the north. Thereupon those of the other two rounds are laid down in the same way, each turn north of the preceding one. Hence the arrangement of sticks for the first of the above varieties of the pawadasa-stoma would be three straight, one across, one straight; one straight, three across, one straight; one straight, one across, three straight.
With the exception of the Bahishpavamana, the chanting is performed in the Sadas by the side of the Udumbara post (see III, 6, 1, 2 seq.), the latter being likewise enclosed in a cloth of the above description, wrapt round it from left to right, with the unwoven fringe towards the top.
1 Cf. Taadya Br. VI, 7, 24.
Or 3. Hum a b oc !
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in the seasons. And in like manner do the priests thereby embrace the sacrificer and ascend from hence to the heavenly world: this is why they chant the Bahishpavam4na here.
10. The Bahishpavaména? chant truly is a ship
1 Cf. Taadya Br. VI, 7, 24.
Or 3. Hum a b oc !
p. 310
in the seasons. And in like manner do the priests thereby embrace the sacrificer and ascend from hence to the heavenly world: this is why they chant the Bahishpavam4na here.
10. The Bahishpavaména? chant truly is a ship
1 The Bahishpavam4na-(stotra), or ‘outside-pavamana,’—so called because (on the first day of a Soma-sacrifice) it is performed outside the altar (commentary on Payday. Br. VI, 8, 10-11 ; or outside the Sadas, Say.on Samay. S. p. 47),—is chanted in the Trivrit, or threefold, stoma; consisting, as it does, of three g4yatrf triplets (S4mav. II, 1-9 for the Agnish/oma), and none of its verses being chanted more than once. This stoma has three different varieties, viz. the udyatf, or ascending mode, the first turn of which consists of the first verses of the three triplets, the second turn of the second verses, and the third turn of the last verses, hence a' a* a8—b! b*® b’—c! c? c®; the parivartinf, or reverting mode, following the natural order, a? b! c\—a*® b* c?—a* b’ c*; and the kuldyini, or web-like mode, performed in the order a’ b! c'—b* c? a*—c° a® b®. Cf. Haug, Transl. Ait. Br. p. 237, where, however, these forms are described quite differently. The term used for the natural order of verses in the parivartint vishfuti is ‘ parafi,’ i.e. thitherwards, straight off. From the statement in paragraph 7 above, that ‘ they chant straight off (par4k),’ one might therefore infer that that particular mode of chanting ought to be used for the Bahishpavam4nastotra; but the term ‘parak’ may also be taken as referring to each of the several verses being chanted ‘straight off,’ without any repetition. Haug, Transl. Ait. Br. p. 120 note, remarks: ‘ Each of these verses is for the purpose of chanting divided into four parts : Prastdéva, i.e. prelude, the first being preceded by Aum, to be sung by the Prastotar ; Udgttha, the principal part of the Saman, preceded by Om, to be chanted by the Udgatar; the Prathéra, i. e. response [? rather check, stop ; cf. IV, 3, 4, 22], introduced by hum, to be chanted by the Pratihartar; and the Mrdhana, i.e. finale, to be sung by all three. To give the student an idea of this division, I here subjoin the second of these r7#as in the Saman form, distinguishing its four parts :—
[The connected rk form is: Abhi te madhun4 payo—atharvano asisrayur—devam devaya devayu.]
‘ Prastéva : abhi te madhun4 payom.
‘ Udgttha: om 4tharvano asisradeyurvam devayada.
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bound heavenwards: the priests are its spars and oars, the means of reaching the heavenly world. If there be a blameworthy one, even that one (priest) would make it sink: he makes it sink, even as one who ascends a ship that is full would make it sink. And, indeed, every sacrifice is a ship bound heavenwards: hence one should seek to keep a blameworthy (priest) away from every sacrifice.
11. Thereupon, when the chanting is over’, he
And, indeed, every sacrifice is a ship bound heavenwards: hence one should seek to keep a blameworthy (priest) away from every sacrifice.
11. Thereupon, when the chanting is over’, he
‘ Pratthéra: hum &vayo.
‘ Nidhana : sim.
‘The Nidhanas, i.e. finales, are for the nine Pavam4na-stotra verses the following ones: s&t, sim, suv44, id4, vak, and 4 (for the four last verses).’ See also Burnell, Arsheyabr. p. xlv seq.
1 Lavy. I,12; If,1; Taadya Br. V1, 7 seq. give the following details: The Prastotr: takes the prastara (bunch of grass, representing the Sacrificer) from the Adhvaryu and says, ‘ Brahman, we will chant, O Prasfstar!’ The Brahman and Maitrfvaruma having given their assent (Asv. V, 2, 12-14), the Prastotr#' hands the prastara to the Udgatr?, The latter touches his right thigh with it (or bends his right knee thereon) and ‘harnesses’ (introduces) the chant by the formula, ‘With Agni’s fire, with Indra’s might, with Sfirya’s brilliance, may Brzhaspati harness thee,’ &c. (TAndya Br. I, 3, 5); whereupon he mutters, ‘I will make food,’ &c. (ib. 6) ; and after looking towards the pit and a vessel of water and the sun, he commences the chant. The three chanters are seated west of the Adhvaryu and Pratiprasthatr? (who look towards them), viz. the Udgatr? facing the north, the Prastotr the west, and the Pratihartr? the south (or south-east). To the west of them are seated three, four, or six subordinate singers, or choristers (upagatr7), who accompany the chanting in a deep voice with the sound ‘ Ho.’ When the chant is completed, the Udg4tri says, ‘I have made food,’ and makes the sacrificer mutter the formula, ‘Thou art a falcon,’ &c. (Pak. Br. I, 3, 8); whereupon he takes a stalk of grass from the prastara, cuts off the top and bottom, so as to make it of the length of four thumbs’ breadths, and throws it into the pit with, ‘If it has been chanted,’ &c. (ib. II, 1, 8). They then pour out the vessel of water into the pit, with, ‘I send you to the sea,’ &c., and make 3, 5, 7 or 9 steps northwards outside the altar,p. 312 utters this speech,—‘ Agntdh, spread the fires! strew the barhis! Prepare the cakes! go on with the victim!’ The Agmidh spreads the fires, that is to say, kindles them’; he strews that barhis?, thinking, ‘When the barhis is strewn, I will offer to the gods on the kindled (fire).—‘ Prepare the cakes,’ he says, because he is about to proceed with the cakes; and, ‘Go on with the victim,’ because he is about to get ready the victim °.
12, Having again entered (the cart-shed) he draws the Asvina graha*, Having drawn the Asvina graha he goes out and girds the sacrificial stake®; and having girt the stake he gets ready the victim: he thereby puts flavour (juice) into him (Soma—the sacrificer).
13. Having been slain at the morning feast, it continues being cooked till the evening feast; whereby he puts flavour (juice) into the whole sacrifice, imbues it with flavour.