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.
14. Let him therefore, at the Agnish¢oma, slay a (victim) sacred to Agni, for there is harmony when, at the Agnish¢oma, he slays a (victim) for Agni. If whereupon they betake themselves to the Agnidhrtya. During the chanting, the Unnetr pours the Soma-juice from the Adhavantya trough through the strainer into the P(tabhrit.
1 The Agnidh takes burning coals from the Agntdhriya fire, and puts them on the dhishaya hearths, in the order in which they were raised. See p. 148, note 4.
* He spreads a layer of (ulapa) grass along the ‘spine’ (the line from the middle of the back to the middle of the front side) of the altar.
5 Pasum hy 4lipsyam4no (!) bhavati. Kava MS.
* Having taken this cup of Soma or libation (with the formula, Vag. S. VII, 11) from the Drona-kalasa or the Pfitabhrit, he makes the sacrificer eye the several cups and Soma vessels, as set forth IV, 5,6,1Seq.; the Asvina being looked at sixth in order (or fourth of the grahas), not tenth (as was its order of drawing). See 1V, 1, 5, 16.
* See III, 7, 1, 19 seq.
p. 313
~ it be an Ukthya sacrifice, let him slay one to Indra and Agni in the second place, for songs of praise (uktha)* refer to Indra and Agni. If it be a Shodasin sacrifice, let him slay one to Indra in the third place, for the sixteenfold chant (shodasin)? means Indra. If it be an AtirAtra, let him slay one to Sarasvatt in the fourth place, for Sarasvatt is speech, and speech (vaé, fem.) is female, as the night (ratri, fem.) is female : he thus duly distinguishes the forms of sacrifice °.
1 Or, the (three) Uk tha-stotras (Sdmav. II, 55-62) and sastras, the characteristic feature of the Ukthya sacrifice. Cf. p. 325, note 2; and IV, 6, 3, 3.
* The Shodasi-stotra (Sdmav. II, 302-304) chanted in the ekavimsa stoma is the characteristic stotra of the Shodasin sacrifice. The term meaning ‘having a sixteenth’ (viz. stotra), it evidently refers originally to the sacrifice, and has then also been applied to the stotra and sastra. See also Haug, Ait. Br. Transl. p. 255, note 2.
The term meaning ‘having a sixteenth’ (viz. stotra), it evidently refers originally to the sacrifice, and has then also been applied to the stotra and sastra. See also Haug, Ait. Br. Transl. p. 255, note 2.
* On this occasion the same rites are performed as at the sacrifice of the Agnishomfya buck (III, 6, 4, 1 seq.), viz. from the girding of the stake (III, 7, 1, 19) to the election of the Hotrz (III, 7, 4, 9). Then the other priests are elected, viz. Adhvaryu (and Pratiprasthatr:), the Pras&str’ (Maitravaruna), the Brahmandkhamsin, the Potr?, the Nesh/rz, the Agnidhra, and finally the sacrificer himself ; after which each of them makes two election-oblations (pravritahoma) of ghee, the first with, ‘ May I be well-pleasing to Speech, well-pleasing to the Lord of speech: O divine Speech, what sweetest, most pleasing speech is thine, therewith endow me! Hail to Sarasvati!’ the second with, ‘May the holy Sarasvatf, of abundant powers, rich in devotion, accept favourably our sacrifice!’ Thereupon they proceed with the animal offering up to the offering of the omentum (vap4) and cleansing (III, 8, 2, 30); after which all the eighteen priests and the sacrificer perform the Sarpana (see p. 299, note 2), that is, they step up to the eight dhishzya hearths (with formulas Vag. S. V, 31 a-d; 32 a—d respectively), the Adhvaryu then pointing out the Ahavaniya, the Bahishpavamfna place, the Katvala, &c. (with Vag.S.V, 32 e seq.); and touching the Sadas and its door-posts, and addressing Sfrya (the sun), the A:tvigs (officiating priests) and dhishnya hearths (with V, 33-34). Katy. IX, 8, 8-25. For the duties of the Udgatris, see Lafy. Sr. II, 2, 10 seq.
p. 314
15. Thereupon he proceeds with (the offering of) the cakes of the Soma feast. Now Soma is a god, for Soma was in the heaven ;—‘ Soma, forsooth, was Vritra; the mountains and stones are his body: thereon grows that plant called Us4n4,’ said Svetaketu Auddalaki; ‘that they bring hither and press.’
16. Now when he slays the victim, he thereby puts flavour into it; and when he proceeds with (the offering of) the Soma feast cakes, he puts sap into it: thus it becomes Soma for him.
17. They all belong to Indra ; for Indra is the deity of the sacrifice: that is why they all belong to Indra.
18. And as to why there are a cake, parched barley-grain, a porridge, sour curds, and clotted curds,—it is that those who are the deities of the sacrifice shall be well-pleased.
19. For, when one has eaten cake here, he wishes, ‘T should like to take parched grains, I should like to eat porridge, I should like to eat sour curds, I should like to eat clotted curds!’ All these (are objects of one’s) wishes : it is in order that those who are the deities of the sacrifice shall be well-pleased. Now as to why that offering of clotted curds(payasy4) is prepared only at the morning libation, and not at the two other libations (Soma feasts).
Now as to why that offering of clotted curds(payasy4) is prepared only at the morning libation, and not at the two other libations (Soma feasts).
20. The GéAyatri, forsooth, bears the morning libation (to the gods), the Trish¢ubh the midday libation, and the Gagatt the evening libation,—but, then, the Trish¢ubh bears the midday libation, not alone, (but) with both the Gayatri and the Brzhatt'; and the Gagatt (bears) the evening libation, not alone,
1 For the metres of which the Madhyandina-pavamana stotra is composed, see p. 333, note I.
p. 315
(but) with the GAyatrt, the Kakubh, and Ushzih, and the Anush¢ubh }.
21. The GAyatrt alone bears singly the morning libation,—with those two sets of five (pankti) 2, the set of five chants, and the set of five oblations: there are four Agya (chants) * and the Bahishpavamana is the fifth,—the Pankti metre is five-footed— with that pankti of chants, not alone, the GAyatrt bears the morning libation.
22. To Indra belongs the cake, to the two bay steeds the parched grains (dh4na4) *, to Pdshan the porridge (karambha), to Sarasvatt the sour curds (dadhi), and to Mitra and Varuma the clotted curds (payasy4)§—the Pankti is five-footed—with that pankti of oblations, not alone, the GAyatri bears the
1 The Arbhava or Tritiya-pavam4na stotra, Samav. II, 39-52 (see note on IV, 3, 5, 24), is made up of five parts, composed chiefly in the Gayatri, Kakubh, Ush#ih, Anushfubh, and Gagatt metres respectively. It is chanted in the Saptadasa-stoma, the seventeen verses being obtained in the following way. The Gayatri triplet (II, 39-41) is chanted twice, in the Gayatra and Samhita tunes, making six verses. Then verses 42 and 44 once each, in the Sapha and Paushkala tunes respectively. Then the triplet II, 47-49 twice, in the SyAvasva and Andhigava tunes (six verses). And finally the triplet II, 50-52 once, in the KAva tune (three verses). This makes together seventeen verses. Verses 43, 45, and 46 of the Samhita are omitted in the chanting.
? Pankti means both ‘a set of five,’ and the pankti metre, consisting of five octosyllabic feet.
S See p. 325, note 2.
‘ Taitt. Br. I, 5, 11 assigns them to the Asvins, for the reason that they performed cures therewith.
* These five sacrificial dishes, called savantyah (or aindr4A) purodasah, are placed together in one vessel (p4tri}—the purodasa proper, or rice-cake to Indra, being placed in the centre—and oblations are made from them to the respective deities at one and the same time, two pieces being cut from each dish into the guhd for the chief offering, and one piece from each into the upabhritp. 316 morning libation (to the gods): for the sake of completing that pankti, that oblation of clotted curds to Mitra and Varuza is prepared only at the morning libation, and not at the two other libations.
Tuirp ApiyAya. First BRAHMANA. 1. Having drunk (Soma)! and said, ‘We are
morning libation (to the gods): for the sake of completing that pankti, that oblation of clotted curds to Mitra and Varuza is prepared only at the morning libation, and not at the two other libations.
Tuirp ApiyAya. First BRAHMANA. 1. Having drunk (Soma)! and said, ‘We are
spoon, for the svish/akrit. While cutting the portion he calls on the Maitravaruma to ‘ Recite (the invitatory prayer) of the cakes of the morning feast for Indral’ The anuvaky4 (Rig-veda III, 52, 1) having been recited by the Maitravaruza, the Adhvaryu steps to the fire, calls on the Agnfdhra for the Srausha/ formula (see I, 5, 2, 16, with note), and thereupon on the Maitravaruaa to ‘Urge the cakes of the morning feast brought forward for Indra!’ That priest then urges, ‘Let the Hotr pronounce the offering prayer to Indra! May Indra with his bays eat the grain! [O Hotar, pronounce the offering prayer! ]’ Whereupon the Hotr? recites, ‘We who worship (part i, p. 142, note),—-May Indra with his bays eat the grains, with PQshan the porridge; with Sarasvati, with Bh&ratf, the sour curds, with Mitra and Varuaa the clotted curds! [cf. Ait. Br. II, 24; Taitt. Br. I, 5,11; Asv. V, 4, 3] Vaushat |’ when the Adhvaryu pours the oblation into the fire. For the oblation to Agni Svish/akrit the invitatory prayer is Rig-veda III, 28, 1, and the offering formula ‘ Havir agne vihi,’ ‘ graciously accept the offering, O Agni!’ The offerings completed, the dishes of sacrificial food are placed on the Hotrz’s hearth.
1 The Purodasa offerings, described in the preceding paragraphs, are followed by libations from the dvidevatya cups, viz. the Aindravayava, Maitravaruna, and Asvina. Each time the Adhvaryu is about to make a libation, the Pratiprasthatr? draws Soma-juice into the Aditya cup (patra) and makes libations therefrom immediately after the Adhvaryu on the north side of the fire. And each time he pours the remains from the Aditya cup into the Aditya sthlt with, ‘Thee to the Adityas!’ finally covering the latter with the former (see IV, 3, 5, 6). Then follows the filling of the cups of the Kamasins (see p. 287, note 2), and the libations from the Sukra and Manthin grahas (already anticipated in IV, 2, 1, 13- 31) and from the cups of the Kamasins. Thereupon the Adhvaryu goes to the Sadas and sits down opposite the Hotr/; and in alternate draughts and with mutual ‘invitations’ they empty the
Iv KANDA, 3 ADHYAYA, I BRAHMANA, 3. 317 invited together?, he (the Adhvaryu) rises. He takes a piece of the cake, and at the place where the A#fAvaka, being seated, is now (about to) recite, he puts the piece of cake in his hand and says, ‘O A&favaka, say what thou hast to say!’ Now, the A#sAvaka was excluded (from the Soma) *.
p. 317
invited together?, he (the Adhvaryu) rises. He takes a piece of the cake, and at the place where the A#fAvaka, being seated, is now (about to) recite, he puts the piece of cake in his hand and says, ‘O A&favaka, say what thou hast to say!’ Now, the A#sAvaka was excluded (from the Soma) *.
2. Indra and Agni preserved him for the production of creatures, whence the A#Aavaka priest belongs to Indra and Agni. But it is by means of that sacrificial food, the piece of cake which he now puts in his hand, and by means of that (saying) of the seers which he now recites, it is thereby they (Indra and Agni) preserve him.
3. When the Aé#Aavaka has (again) taken his seat dvidevatya cups. The remains are poured into the Hotrz’s cup, and portions of the puroda4sas having then been put into those cups, they are deposited in the left track of the southern cart. The Adhvaryu and Pratiprasthatr? then drink the remains of the Sukra and Manthin cups ; the other priests also drinking from their cups, without, however, quite emptying them, after which the cup-bearers deposit them in the Havirdhana, behind the axle of the southern cart. Henceforward, till the Vaisvadeva cup is drawn (IV, 3,1, 25), those cups are called nfrasamsa. The Adhvaryu then takes a piece of the sacrificial cake and rises, calling out, ‘We are invited together ;’ after which follows the rehabilitation of the A&avaka, referred to above. Being called upon by the Adhvaryu, he recites the verse Rig-veda V, 25, 1 (beginning with ‘ a4#4,’ whence perhaps his name), ‘ Hither will I sing Agni the god for your protection,’ &c., and then says, ‘Ye Brahmans, invite us Brahmans also!’ whereupon the Adhvaryu says, ‘This Brahman desires an invitation: invite him, Hotr/!’ Being then invited, he pronounces an anuvaky4, and his cup-bearer fills his cup, which henceforth ranks last but one, thus preceding that of the Agnidhra. He now drinks from his cup, and the latter is then deposited along with the other Kamasas; whereupon the priests, who have taken part in the offering of the purodasas, and the sacrificer eat the Ida in the Agnidhra fire-house. ? Or rather, we have been mutually invited, ® See III, 6, 2, 12.
p. 318
(behind his hearth), he (his Adhvaryu) proceeds with the libations of the seasons (Aztugraha). The reason why he proceeds with the libations of the seasons when the A&#avaka is seated, is that the A&havaka represents a sexual union, since the AZZavaka belongs to Indra and Agni, and Indra and Agni are two, and a productive union means a pair: from that same productive union he produces the seasons, the year.
4. And again why he proceeds with the libations of the seasons, when the A&favaka is seated. The seasons, the year, are everything; he thus produces everything: this is why he proceeds with the libations of the seasons when the A#Aavaka is seated.
4. And again why he proceeds with the libations of the seasons, when the A&favaka is seated. The seasons, the year, are everything; he thus produces everything: this is why he proceeds with the libations of the seasons when the A#Aavaka is seated.
5. Let him draw twelve of them,—twelve months there are in the year: therefore he should draw twelve (cups of Soma). But he may also draw thirteen, for, they say, there is a thirteenth month? Let him nevertheless draw twelve only, for such is completeness.
6. He draws them from the Dronakalasa (Soma trough), for the Drozakalasa is Pragdpati, and from out of that Pragdpati he produces the seasons, the year.
7. He draws them by means of double-mouthed cups ?;—for where is the end of those two (cups) that are double-mouthed ? Hence this year revolves without end. When he has drawn this (libation), he does not deposit it: whence this year is ceaseless.
8. He recites no invitatory prayer; since one
1 See part i, p. 321, note 6.
* The two Retu vessels are made of karshmarya or asvattha wood, of the shape of spoon-bowls, with spouts on both sides. Katy. IX, 2,13.
Iv KANDA, 3 ADHYAYA, I BRAHMANA, 10. 319 invites with an invitatory prayer, and the present season has already come, either by day or by night. Nor does he utter a second Vashaé, lest he should turn away the seasons. Simultaneously they (the Adhvaryu and Pratiprasthatyz) draw the two first and the two last libations: thus they embrace everything here by means of the year, and everything here is embraced within the year.
g. Out (of the Havirdhdna shed) walks the one, in steps the other, whence these months pass following one another. But were both to walk out together, or were both to enter together, these months would assuredly pass separated one from the other : therefore while out walks the one, in steps the other.
10. Six times they perform' with, ‘With the
But were both to walk out together, or were both to enter together, these months would assuredly pass separated one from the other : therefore while out walks the one, in steps the other.
10. Six times they perform' with, ‘With the
1 The twelve Retugrahas are drawn alternately by the Adhvaryu and Pratiprasthétr:—the first two and the last two simultaneously, the others singly, so that the one enters the cart-shed while the other leaves. Both in entering and leaving the Pratiprasthatr? passes by the Adhvaryu on the north side, and for a moment encircles him by passing his arms round him and holding his own vessel south of him. With the exception of the last two libations, the libations are offered up entire (holocausts). When either of them is about to offer one of the first six libations, he calls on the Maitravaruma to ‘Prompt (the Hotr?, &c.) by the season !’—and at the four succeeding ones (after turning round the vessels so as to put the other mouth in front) to ‘Prompt by the seasons!’ For the last two libations they again reverse the vessels to the previous position and call on him to ‘Prompt by the season!’ The Maitravaruaa’s formula runs thus: ‘ Let the Hotr? pronounce the offering prayer to Indral—From the Hotrz’s cup, from heaven to earth, may he drink Soma together with the season (or, seasons)! O Hotri, pronounce the offering prayer!’ Whereupon the Hotr? (Potr, &c.) recites—‘We who worship,—From the Hotr?’s cup, from heaven to earth, may he drink Soma together with the season (or, seasons)! Vausha/!’ These formulas are slightly varied according to the deity to whom the libation is offered, and the priest who pronounces the offering prayer and Vausha¢. Thep. 320 season ’—thereby the gods created the day; and four times with, ‘With the seasons’—thereby they created the night. And, assuredly, were only this much (used), there would be nothing but night: it would never pass away.
11. Over and above they perform twice with the formula ‘With the season ;’ thereby the gods subsequently gave the day (again), whence it is now day here, then it will be night, and to-morrow day.
12. By ‘ With the season’ the gods forsooth created the men, and by ‘ With the seasons’ the beasts ; and because they created the beasts in the middle of those (men), therefore these beasts (cattle), being shut in on both sides, have come into the power of men.
13. And having performed six times with, ‘ With the season,’ they both turn round their vessels to the other side; and having performed four times with, ‘With the seasons, they turn round their vessels to the other side: from the one side (or mouth) indeed the gods created the day, and from the other side the night; from the one side the gods created men, and from the other beasts.
14. Now he draws the cups (for the seasons)
14. Now he draws the cups (for the seasons)
deities and offering priests of the twelve libations are: 1. Indra— the Hotr7; 2. the Maruts—the Potr?; 3. Tvash/ri and the wives of the gods—the Nesh/r/; 4. Agni—the Agnidhra ; 5. Indra- Brahman—the Brahman4zhamsin; 6. Mitra-Varuza—the Maitr4varuza; 7-10. Deva Dravinodas—the Hotrz, Potr, Neshérz, and Akfavaka respectively; 11. the Asvins—the Hotr?; 12. Agni Grzhapati—the Hotr:. For this last libation, the Maitravaruma in the first place calls on the sacrificer with, ‘O lord of the house, pronounce the offering prayer!’ and the sacrificer then again on the Hotr? with, ‘O Hotr?, pronounce the offering prayer upon this!’ whereupon the Hotr7 pronounces the (sacrificer’s) offering prayer, Katy, IX, 13; S4nkh4yana Sr. VI, 8; Haug, Transl. Ait. Br.
p- 135.
Iv KANDA, 3 ADHYAYA, I BRAHMANA, 18. 321 therefrom’, with (Vag. S. VII, 30), ‘ Thou art taken with a support: thee for Madhu!’ the Adhvaryu takes (the first); with ‘Thou art taken with a support: thee for Madhava!’ the Pratiprasth4tz (the second). These two are the spring (months?): because in spring plants sprout and trees are brought to ripeness, therefore these two are Madhu (sweet) and Madhava.
15. With ‘Thou art taken with a support: thee for Sukra!’ the Adhvaryu draws (the third); with ‘Thou art taken with a support: thee for Sufi!’ the PratiprasthAtvz (the fourth). These two are the summer (months): because during them it burns fiercest, therefore these two are Sukra (clear) and Suéi (bright).
16. With ‘Thou art taken with a support: thee for Nabhas!’ the Adhvaryu draws (the fifth) ; with ‘Thou art taken with a support: thee for Nabhasya!’ the Pratiprasthtv? (the sixth). These two are (the months) of the rainy season: it rains from yonder sky, and hence these two are Nabhas (mist, cloud) and Nabhasya.
17, With ‘Thou art taken with a support: thee for Ish (sap)!’ the Adhvaryu draws (the seventh); with ‘Thou art. taken with a support: thee for Urg (food)!’ the Pratiprasthatrd (the eighth). These two are the autumn (months) : because in autumn food (arg) and juice, (namely) plants, ripen, therefore these two are Isha and Urga.
18, With ‘Thou art taken with a support: thee for Sahas!’ the Adhvaryu draws (the ninth) ; with ‘Thou art taken with a support: thee for
* Viz. from the Dronakalasa trough; see paragraph 6,
* The Kanva text adds rtf in each case. [26] Y
p. 322
Sahasya!’ the Pratiprasthatvz (the tenth). These two are the winter (months): because the winter by force (sahas) brings these creatures into his power, therefore these two are Saha.and Sahasya.
19. With ‘ Thouart taken with a support: thee for Tapas!’ the Adhvaryu draws (the eleventh) ; with ‘Thou art taken with a support: thee for Tapasya!’ the Pratiprasthatr? (the twelfth). These two are (the months) of the dewy season: because during them it freezes most severely, therefore these two are Tapas and Tapasya.
(the twelfth). These two are (the months) of the dewy season: because during them it freezes most severely, therefore these two are Tapas and Tapasya.
20. With ‘Thou art taken with a support: thee to Amhasaspati (lord of trouble)!’ he (the Adhvaryu) draws the thirteenth libation, if he draw a thirteenth. The Pratiprasthatr? then pours his residue into the Adhvaryu’s vessel, or the Adhvaryu pours his residue into the Pratiprasthatrz’s vessel. He (the Adhvaryu) takes it (to the Sadas) for the purpose of drinking it?.
21. Thereupon the Pratiprasth4tvz draws the Aindragna graha with the vessel not used for the drinking. The reason why he draws the Aindragna libation with the vessel not used for drinking is that
1 The Kamva text has ‘bhakshyam’ instead of ‘bhaksham.’ Each of the priests who have pronounced the offering prayer and Vaushaf partakes of this Soma in his respective order,—the Hotr? thus taking four draughts; and the Adhvaryu and Pratiprasthatr?’ (who, after drawing the Aindragna cup, join them in the Sadas) drinking alternately from the same vessel with those Hotr?' priests, who pronounced the Vasha/ at their libations. As at the drawing of the libations, the vessel is turned round after the sixth and tenth offering priests have drank. The vessel having been emptied, the Adhvaryu takes it outside the Sadas, and then sits down in front of the Hotr:’s hearth, with his face to the east, till the recitation of the. ‘Sastra (IV, 3, 2, 2).
Iv KANDA, 3 ADHYAYA, I BRAHMANA, 25. 323 no second Vashaé is pronounced on the Aztugrahas, and for them he is about to take the Aindragna graha: thus they become consecrated for him by a second Vasha¢ through the Aindragna.
22. And again, why he draws the Aindragna graha. By drawing the libations. to the seasons he has generated this All, and having generated this All, he now establishes it on the out-breathing and in-breathing : hence this All is established on the out-breathing and in-breathing, for Indra and Agni are the outbreathing and in-breathing, and these two, heaven and earth, are the out-breathing and in-breathing, and within these two this All is established.
23. And again, why he draws the Aindragna cup. By drawing the libations to the seasons he has gene- ~ rated this All, and having generated this. All, he lays the out-breathing and in-breathing into this All: hence these two, the out-breathing and in-breathing, are laid into (or beneficial, hita, in) this All.
24. He now draws it from that (dromakalasa trough) with (Vag. S. VII, 3,1; Rig-veda ITI, 12, 1), ‘O Indra and Agni, through our songs come ye hither to the Soma, to the agreeable fume: drink thereof, urged by our hymn!—Thou art taken with a support: thee to Indraand Agni!’ —with ‘This is thy womb: thee to Indraand Agni!’ he deposits it (on the mound), for it is for Indra and Agni that he draws it.
25. Thereupon he draws the Vaisvadeva cup!.
25. Thereupon he draws the Vaisvadeva cup!.
1 According to Katy. IX, 13, 33 seq. the order of performance is as follows. In the first place the first Agya-sastra is recited. Thereupon the Adhvaryu fetches the Aindragna cup from the Havirdhana (where it was deposited by the Pratiprasthatrr), makes a libation from it—after calling on the Hotr7, as at all libations accompanied
Y2
p. 324
For by drawing the Aztugrahas he has generated this All; but were there nothing but that, there would indeed be only as many creatures as were created in the beginning : no (more) would be generated.
26. Now, in that he draws the Vaisvadeva graha, thereby he sends forth this All, these creatures in due order: whence these creatures are generated again repeatedly. He draws it with the Suéra cup, for the Suéra (bright) is yonder burning (sun), and by a sastra, ‘Singer of praises, recite Soma’s offering prayer ;’ the nardsamsa cups being shaken by the cup-bearers at the same time —and then drinks the remaining Soma with the Hotrz. Thereupon he draws the Vaisvadeva cup from the Drozakalasa, pours the remaining juice from the latter into the Pfitabhr:t, and spreads the straining-cloth over the empty vessels for the midday pressing. He also prepares the Savaniya puroddsas (see p. 315, mote 4), for the midday feast, omitting however the dish of clotted curds (payasy4). Then follows the chanting of the first Agya stotra by the Udg4trs, and the recitation of the Pratiga-sastra by the Hotrs, after which takes place the Vaisvadeva libation (and emptying of the cup) in the same way as with the Aindragna—the amasas being also drained of their contents by the respective priests. Then follows the distribution—already referred to IV, 2, 3, 11 seq. —of the Soma in the Ukthya bowl into three parts for the three Hotrakas, now about to recite their sastras (preceded by their respective stotras). The Adhvaryu takes one portion of the Soma, calls on the Udgatr?s to chant the stotra, and afterwards on the Prasdstr (Maitrévaruza) to recite his sastra ; after which he makes a libation from the portion of Soma, and pours the remainder into the PrasAstrz’s cup, to be drunk by that priest. In the same way the Pratiprasthatr? then proceeds with the portions of the two other Hotrakas, viz. the Brahman4khamsin and Akhavaka. Each time also the ten Aamasas are filled, and after libations therefrom, are emptied by the Kamasins. See also p. 287, note 2. At the end of the performance the priests pass silently out (niksarp, see p. 299, note 1) of the Sadas by the back-door and out of the Vedi; the midday performance afterwards beginning with the pratisarpaza, or ‘creeping back’ to the Sadas, with homage to the dhishnya hearths, &c.
Iv KANDA, 3 ADHYAYA, 2 BRAHMAMNA, I. 325 what rays of his there are, they are the All-gods: therefore he draws it with the Sukra cup. —
Iv KANDA, 3 ADHYAYA, 2 BRAHMAMNA, I. 325 what rays of his there are, they are the All-gods: therefore he draws it with the Sukra cup. —
27. He draws it from that (Soma in the Dromzakalasa) with (Vag. S. VII, 33; Rig-veda I, 3, 7), ‘Ye protectors and supporters of men, O All-gods, come hither, ye givers, to the giver’s liquor!— Thou art taken with a support: thee to the All-gods!’ with ‘This is thy womb: thee to the All-gads!’ he deposits it', for it is for the Allgods that he draws it.
SEeconp BRAHMANA.
1. Now truly when the Hotz? praises (recites the sastra’), he sings, and to him thus singing the
! Viz. in the place of the Sukra cup, on the south-east corner of the khara or mound. ; * Every chant or hymn (stotra) of the Udgatr’s is followed by a “song of praise’ (sastra) recited by the Hotry or one of his three assistants (Maitravaruma, Brahman4zhamsin, and Adhfvaka); the first two sastras at each savana being recited by the Hotrz, and the three additional ones at the morning and midday feast by his assistants (Hotrakas). The exact correlation between the stotras and sastras at the three savanas will appear from the following table :—
12. Agnishfoma-siman (Yagha- | 12. Agniméruta-sastra (Hotr?). yagiilya). These are the twelve stotras and sastras of the Agnishfoma. At the Ukthya sacrifice, the performance of the evening feast is — completed by the addition of three uktha stotras and sastras, one for each Hotraka.
1 While the Adhvaryu sits before the Sadas, with his back to the Hotr?.(p. 322, note 1), the latter petforms the (tfshzim-) gapa— i.e. the muttering of the formula ‘May Father Matarisvan grant flawless (verse-) feet! may the bards sing flawless hymns!’ &c. Ait. Br. II, 38; Asv. Sr. V, 9, 1—after which he addresses to the Adhvaryu his call (ah4va), ‘sdms4vdm (let us two recite, Om)!’
the muttering of the formula ‘May Father Matarisvan grant flawless (verse-) feet! may the bards sing flawless hymns!’ &c. Ait. Br. II, 38; Asv. Sr. V, 9, 1—after which he addresses to the Adhvaryu his call (ah4va), ‘sdms4vdm (let us two recite, Om)!’
'—which formula is used at all sastras, except that, at the midday and evening libations, it is preceded by ‘ Adhvaryo’ (O Adhvaryu) ; while at the evening savana the first syllable of the verb is repeated, thus ‘ sosoms4vo.’—The Adhvaryu rises, turns round so as to face the Hotr?, and responds by ‘ soms&mo daiva _(we recite, O divine one)!’ According to Ait. Br. III, 12, the Ahava and Pratigara together are to consist of the number of syllables corresponding to the metre of the respective libation, viz. 8, 11, 12 respectively. Then follows the Hotr:’s Tfshnim-samsa or ‘silent praise ;’ viz. ‘Earth! Agni is the light, the light is Agni, Om!—Indra is the light, Ether! the light is Indra, Om! Sfrya is the light, the light, Heaven! is Sirya, Om1!’-—This is followed by a Purorué, or preliminary invocation of a deity, recited in a loud voice, and consisting of twelve short formulas resembling the Nivid (part i, p. 114, note 2; ib. I, 4, 2, 5 seq.), which, indeed, takes its place in the sastras of the midday and evening libations, being inserted in the middle or before the last verse of the hymn of the sastra; viz. ‘Agni kindled by the gods, Agni kindled by man, Agni the well-kindling, the Hotr: chosen by the gods, the Hotr? chosen by men, the carrier of offerings, the leader of sacrifices, the irresistible Hotr7, the swift carrier of oblations: may he, the god,p. 327 others except the Udg4tzz perform their priestly duties while facing the east, and in this manner that priestly duty of his is performed towards the east.
3. Now the Udgatr? is Pragdpati, and the Hotz, (being) the Azk (fem.), is a female. And when he chants, then the Udgat, PragApati, implants seed in the female Hotrz, the Rzk; this the Hotr? brings forth by means of the sastra (recitation), he sharpens
3. Now the Udgatr? is Pragdpati, and the Hotz, (being) the Azk (fem.), is a female. And when he chants, then the Udgat, PragApati, implants seed in the female Hotrz, the Rzk; this the Hotr? brings forth by means of the sastra (recitation), he sharpens bring hither the gods! may Agni, the god, worship the gods! may (Agni), the knower of beings, perform the sacrificial rites!’ (Ait. Br. II, 34.) Then follows the hymn, the Agya-skta, the chief part of the sastra, viz. Rig-veda III, 13, ‘To him, your god Agni, will I sing with loudest voice; may he come hither to us with the gods; may he, the best offerer, sit down on our sacred grass!’ &c.; the seven (anush/ubh) verses of which are recited.in the order 1, 5, 4, 6,.3, 2,7. The-first and last verses being, however, repeated thrice, the number is thus raised to eleven. The recitation of the hymn is followed by the so-called ukthavirya (‘the strength of the praise’), consisting of the formula uktham v44i, ‘ praise hath been sung,’ with some words added to it differing at different sastras,—at the present sastra ‘ghosh4ya tv,’ ‘thee (I have ‘recited) for sound (praise)!’ [for school-differences as to these formulas, see Haug, Transl. Ait. Br. p. 1'77],—to which the Adhvaryu responds, Om ukthas44, ‘yea, singer of praise!’ The Ukthavirya, together with the response, is again to consist of as many syllables as the characteristic metre of the respective libation. Then follows the recitation, by the Agnidhra (Ait. Br. VI, 14), of the y4gy4 or offering prayer, viz. Rig-veda III, 25, 4.—As regards the term ‘fgya,’ the Pag&. Br. VII, 2, 1, 2, derives it from Agi, a race, in accordance with the following legend: When Prag4pati offered himself as a sacrifice to the gods, the latter could not agree as to which of them should have the first share. PragApati then proposed that they should run a race for it. In this race Agni came off first, then Mitravaruna, then Indra. To each of these three divinities an Agya was thereupon assigned ; and, by a secret understanding between Indra and Agni, these two divided the fourth 4gya between them. Hence the 4gneya, maitravaruaa, aindra, and aindr4gna sastra (and stotra), belonging to the Hotrr, Maitravaruma, Brahmandzhamsin, and A#A4vaka priests respectively.
p. 328
it even as this man is sharpened’, and because he thereby sharpens (so) therefore it is called sastra.
4. Having turned round (so as to face the Hotvz, the Adhvaryu) then responds : thereby he quickens ? that implanted seed. On the other hand, were he to respond while standing with his face turned away (from the Hotvz), that implanted seed would assuredly perish away, and would not be brought forth; but thus facing each other (the male and female) bring forth the implanted seed.
that implanted seed. On the other hand, were he to respond while standing with his face turned away (from the Hotvz), that implanted seed would assuredly perish away, and would not be brought forth; but thus facing each other (the male and female) bring forth the implanted seed.
5. Now the strength of the metres was exhausted by the gods, for it was by the metres that the gods attained the world of heaven. And the response (song) is ecstasy (mada *)—what ecstasy there is in the 74 and that which there is in the SAman, that is sap: this sap he now lays into the metres, and thus makes the metres of restored strength; and with them of restored strength they perform the sacrifice.
6. Hence if (the Hotrz) recites by half-verses, let (the Adhvaryu) respond at each half-verse ; and if he recites by p&das (hemistichs), let him respond at each pada. For whenever, in reciting, he (the Hotrz) draws breath, there the Asura-Rakshas rush into the sacrifice: there he (the Adhvaryu) closes it up by means of the response, so that the evil spirits, the Rakshas, cannot rush in; and thus he destroys the world of the sacrificer’s enemies.
1 That is, fashions him, or makes him slender. A fanciful derivation of sastra (sams, to recite, praise, cf. carmen), from the root s4 (so), to sharpen (? or from sas, to cut, carve). ‘ Yathayam purovartf purushas tikshvakritak, avaya(va)vibhagena spash/ikr:tas tathA sastrezaitad retak syati spash/am karoti,’ Say.
* Upanimadati, ‘cheers ;’ the Kava text (W.) has ‘ upanivadati.’
5 Or, intoxication, intoxicating drink. See paragraph 10, and P- 330, note £.
p. 329
7. Now, in the beginning the metres consisted of four syllables. Then Gagatt flew up for Soma and came back, leaving behind three syllables. Then Trish¢ubh flew up for Soma and came back, leaving behind one syllable. Then GAyatri flew up for Soma, and she came back bringing with her those syllables as well as Soma. Thus she came to consist of eight syllables: wherefore they say, ‘ Gayatrt is octosyllabic.’
8. With her they performed the morning feast of the Soma-sacrifice,—whence the morning feast pertains to Gdyatrt. With her they performed the midday feast. Trish¢ubh then said to her, ‘To thee will I come with three syllables: invite me, and exclude me not from the sacrifice !’—‘ So be it!’ she said and invited her. Thus the Trish¢ubh came to consist of eleven syllables, and therefore they say, ‘The midday Soma feast pertains to Trish¢ubh.’
9. With her (G4yatrt) indeed they performed the evening feast. Gagati then said to her, ‘ To thee will I come with one syllable : invite me, and exclude me not from the sacrifice !—‘ So be it!’ she said and invited her. Thus the Gagatt came to consist of twelve syllables; and therefore they say, ‘The evening Soma feast pertains to Gagatt.’
Gagati then said to her, ‘ To thee will I come with one syllable : invite me, and exclude me not from the sacrifice !—‘ So be it!’ she said and invited her. Thus the Gagatt came to consist of twelve syllables; and therefore they say, ‘The evening Soma feast pertains to Gagatt.’
10. As to this they say, ‘Surely all the Soma feasts pertain to GAyatrt, since Gayatri alone went on increasing.’ At the morning feast he should therefore respond with a complete (formula), for complete! G4yatri returned. At the midday feast
1 Or perhaps, successful, samsiddha [svaktyany aksharamy aparityagyavikrité (? avikritté), Say.]. The response (pratigara) here alluded to, is probably the one ordinarily used by the Adhvaryu, whenever the Hotr? pauses in his recitation, at the end of half-
p. 330
(he responds with a formula) containing once (the verb) ‘to rejoice (mad)?,’ for she (Trish¢ubh) came back, leaving one syllable behind; and with that same (formula) -he then completes her, makes her whole,—
11. When trish¢ubh verses were-recited. At the evening Soma feast (the Adhvaryu responds with a formula) containing thrice (the verb) ‘to rejoice?,’ for she (Gagatt) came back leaving three syllables behind ; and with these (formulas) he then completes her, makes her whole,—
12, When (the hymn) to Heaven and Earth is recited *, Now these creatures-subsist on those two, verses (or padas), nivids, &c., viz. ‘Othamo daiva,’—or, Othavo daivom, whenever the Hotr? puts in the sacred syllable ‘om,’ ‘Tasm&t karamfd gfyatra-pratahsavane samsiddham avikritam vidhasyam4nam omantam prati-grzhntyat,’ Sy. For the Adhvaryu’s response, ‘ sams&mo daiva,’ to the Hotrz’s summons (ah4va), see p- 326, note 1.
1 When the first verse of the trish‘ubh hymn, Rig-veda X, 73, is recited by the Hotr? in the Marutvatfya Sastra at the midday feast, the Adhvaryu’s response is ‘mad4mo daiva’ (we rejoice, O divine one). Katy. X, 3, 8; cf. Weber, Ind. Stud. X,-p. 37.
* According to Katy. X, 6, 6 ‘maddmo daiva’ is optionally the Adhvaryu’s response at the recitation in the Agnimérutra Sastra of three of the so-called Anupantya (or Svadushkiliya) trishfubh verses VI, 47, 1-4 (see note on IV, 4, 2, 18). Possibly the present paragraph may refer to those verses, in which case the words ‘ when trish/ubh verses are recited’ would begin a fresh paragraph. Sdyana, however, seems to take it in the same way as above; cf. also the Ké4ava reading in next:note.
5 This is the (Gagatt) hymn I, 189 recited in the Vaisvadeva Sastra. According to Katy. X, 6, 5, the response is to be thrice (after each of the three first verses) ‘mad4mo daiva.’ The Kaava has for paragraphs ro—12, ‘At the morning feast he responds by a complete (formula), for complete Géayatri returned. At the midday feast he responds once with one containing “mad,” when he
p. 331
At the midday feast he responds once with one containing “mad,” when hep. 331 the heaven and the earth—he thereby imbues those two, heaven and earth, with vigour; and upon those two, thus vigorous and affording the means of subsistence, these creatures subsist. Let him respond with ‘Om!’ only, for that is truth, that the gods know.
13. Now some respond with ‘ Oth4mo daiva vak,’ saying, ‘The response is speech (w4k): thus we obtain speech.’ But let him not do this; for surely, in whichsoever way he may respond, speech is obtained by him, since he responds by speech. Let him therefore respond with ‘Om?!’ only, for that is truth, that the gods know.
‘TuirD BRAHMANA. C. Tue MApnyanprna Savana, on Mippay Soma Fast.
1. He presses out (the Soma-juice) with ‘Iha! Tha?!’ (hither), whereby he draws Indra nigh; and
recites trish/ubh verses, for she (Trish/ubh) returned leaving one syllable behind: hereby now he completes her, makes her whole. .At the evening feast with something containing thrice ‘‘ mad,” for she (Gagatf) returned leaving three syllables behind: hereby now he completes her, makes her whole. At the (hymn) to Heaven and Earth he responds with one that contains “mad;” when he recites (the hymn) Heaven and Earth—these creatures subsisting on those two, Heaven and Earth—he thereby puts juice into them, and upon those two, thus rendered juiceful, these creatures subsist. He responds with “Om,” for that is truth, that the gods know.’
1 That is, instead of ‘ v4k,’ hence ‘Oth4mo daivom.’ ‘Om’ pure and simple is the response at the end of the sastra.
* ‘Tha’ (here, hither) with the last syllable protracted. The Hotri’s cup with the Nigrébhy4 (vasativari) water having been handed to the sacrificer, and the fillet or band (ushwisha) with which the Soma-plants are tied together, to the Gr4vastut, the pressing is performed in the same way as the ‘ great pressing,’ atp. 332 with ‘Brzhat! Brvzhat!’ (great), whereby he draws Indra? nigh.
2. The Sukra and Manthin grahas he draws first, for thereby the Soma feast comes to be supplied with pure Soma (sukra). Thereupon the Agrayaza, for that (cup) is drawn at all (three) feasts. Then the Marutvattya cup; then the Ukthya, for here also there are songs of praise (Uktha)*.
3. Now some draw the Marutvattya after they have drawn the Ukthya; but let him not do this,— _ let him rather draw the Ukthya after he has drawn the Marutvattya.
Then the Marutvattya cup; then the Ukthya, for here also there are songs of praise (Uktha)*.
3. Now some draw the Marutvattya after they have drawn the Ukthya; but let him not do this,— _ let him rather draw the Ukthya after he has drawn the Marutvattya.
the Pratazsavana (see p. 256, note 1). Meanwhile the GrAvastut takes the band, and winds it thrice round his head and face from left to right. And whenever Soma-stalks are taken out for pressing he extols the stones by chanting the Grava-stotra or ‘praise of the stones. According to Asv. Sr. V,12; Ait. Br. VI, 7, 2, this chant consists of the verses Rig-veda I, 24, 3; V, 81,1; VIII, 81,1; VIII, 1,1, followed by the hymn X, 94, ascribed to the serpent Rishi Arbuda. Before the last verse of this hymn he inserts the hymns X, 76 and X,175 (ascribed to the serpents Garatkarnza and Arbuda respectively) ; and either before, or between, or after these two hymns he throws in the p&vam4niA (Rig-veda IX) according to requirement, till the pressing is completed, or the libations are to be drawn, when having wound up with the last verse of the first Arbuda hymn, he makes over the band to the sacrificer. The five cups mentioned in paragraph 2 are filled from the stream of Soma flowing from the Hotrz’s cup into the Drozakalasa ; the Agrayana (p. 290, note 2) however being taken (in the Agrayana sthali or bowl) from that and two other streams, poured by the Unnetr? from the Adhavantya, and by the Pratiprasthatrz from some vessel containing the Soma previously kept in the Agrayana sthéli.
' Probably on account of the connection of the Brshat-s4man with Indra; see part i, p. 196, note 2.
* See p. 294, note 2, Sayama here curiously explains the term by ‘stotrazi.’
p. 333
4. These, then, are five grahas he draws ; for that midday Pavamana chant is a thunderbolt : hence it is a fifteenfold five-hymned chant’, for the thunderbolt is fifteenfold?: He is so by means of these five grahas (cups of Soma’): for five are these fingers, and with the fingers he hurls (the thunderbolt).
5. Indra: hurled the thunderbolt at Vvztra; and having smitten Vrztra, the wicked, and safety and peace being secured‘, he led forth the dakshizds (gifts to priests). Wherefore now also, when they (the Udgatyzs) chant the midday Pavamana, and safety and peace are secured, the dakshizds are led forth. And so, forsooth, does he now by means of those five cups of Soma hurl the thunderbolt at the wicked, hateful enemy, and having smitten Vritra, the wicked, and safety and peace being
And so, forsooth, does he now by means of those five cups of Soma hurl the thunderbolt at the wicked, hateful enemy, and having smitten Vritra, the wicked, and safety and peace being
1 The Madhyandina-pavam4na-stotra, Samav. II, 22-29, is made up of three hymns (sfkta), consisting of three gfyatrt (22-24), two brrhati (and satobrhati, 25, 26), and three trishfubh verses (27-29) respectively. These are chanted in such a way as to produce five SAman hymns (i.e. a hymn of three verses), viz. the gayatrf triplet is chanted twice, in the Gayatra and Amahiyava tunes ;—the brzhatf-satobrzhati couplet is likewise chanted twice, in the Raurava and Yaudhdgaya tunes, the two verses being as usual (by the repetition of certain padas) made into three. These, with the addition of the trishfubh hymn, chanted in the Ausana tune, make five Siman hymns of three verses each, or altogether fifteen verses (parikadasastoma).
? Or consists of the fifteenfold (chant), as Sayama takes it. Regarding the connection between the paviéadasa-stoma (the characteristic stoma of the midday pressing) and Indra (the deity of the midday pressing), see part i, introd. p. xviii.
’ Perhaps ‘graha’ has here a double meaning, viz. ‘that which is taken, a draught, cup of Soma,’ and ‘the taker, se'zer.’
* See p. 289, note 4.
-334 SATAPATHA-BRAHMANA.
secured, he leads forth the dakshiz4s. This is why he draws those five cups.
6. Then as to why he draws the Marutvattya cups. Now this, the midday pressing feast, is Indra’s special (nishkevalya) feast: thereby he strove to smite Vvrztra, thereby he strove to vanquish him. But the Maruts, having on that account! withdrawn, were standing on an Asvattha tree? (Ficus Religiosa). Now Indra is the nobility, and the Maruts are the people, and through the people the noble becomes strong: therefore the two Aztu cups (they say)* may be ef asvattha wood; but in reality they are of karshmarya wood.
7. Indra called on them, saying, ‘Do. ye join me that with you as my force I may smite Vvttra!’ They said, ‘What will be our (reward) then?’ He drew those two Marutvattya cups for them.
8. They said, ‘Having put aside this one (cup) for our vigour, we will join thee. Having accordingly put it aside for their vigour‘, they joined him. But Indra sought to obtain it, thinking, ‘ They have come to me after putting aside their vigour.’
* This passage would seem to be based on a mistaken interpretation of Rig-veda I, 135, 8, where the bard says that ‘ the victorious (gayavah) have come nigh to the asvattha,’ the ‘ g4yavahk’ here evidently referring (not to the Maruts, as in I, 119, 3), but to the
_ powerful draughts of Soma flowing into the asvattha vessel. The Kaava text reads, S& (i.e. vis, the people or Maruts) hAsvatthe tish/hate.
> The Kanva text inserts ‘ityahud.’
The Kaava text reads, S& (i.e. vis, the people or Maruts) hAsvatthe tish/hate.
> The Kanva text inserts ‘ityahud.’
* The context seems to be purposely ambiguous, as it may also be construed thus : They said, ‘ After putting aside this (cup), we will come (attain) to strength.’ Having accordingly put it aside, they came to strength.
Iv KANDA, 3 ADHYAYA, 3 BRAHMANA, 12. 335 : d
9. He said, ‘Do ye join me with vigour!’—
‘Then draw a third cup for us, they said. He drew a third cup. for them, with, ‘Thou art taken with a support,—thee for the vigour of the Maruts!’ They then joined him with vigour,—and he conquered with them, and smote Vvztra with them ;— for Indra is the nobility, and the Maruts are the people, and through the people the noble becomes strong. Hence he now bestows that-strength on the nobility, and therefore he draws the Marutvattya cups. . 10. Let him draw them for Indra Marutvat (accompanied by the Maruts), and not for the Maruts likewise. For were he also to draw cups for the Maruts, he would make the people refractory to the nobility. He thus assigns to the Maruts a share therein. after Indra, whereby he makes the people subservient and obedient to. the nobility : therefore let him draw the cups for Indra. Marutvat, and not for the Maruts likewise.
11. But he was afraid of their desertion,—‘ Lest they should desert me, lest they should take to some other (party)’, so thinking, he by that (share in the libation) made them unwilling to desert him. This is why he should draw the grahas for Indra Marutvat. .
12. He draws them with the two vessels of the. seasons, for the year, the sacrifice, means the seasons. There, at the morning Soma feast, they are’ overtly attended to, in that he draws the grahas for the seasons?; and now they are covertly attended
1 For the construction, see p. 33, note 1. 2 See IV, 3, 1, 3 seq.
p. 336
to, in that he draws the Marutvattya grahas with the two vessels of the seasons.
13. He draws (the first) from that (stream of Soma)!, with (Vag. S. VII, 35; Rig-veda ITI, 51, 7), ‘O Indra, leader of the Maruts, drink thou the Soma here, as thou drankest of the liquor at (the sacrifice of) the Son of Saryati: by thy guidance, in thy protection, O Lord, do the wise serve. thee with good offerings!—Thou art taken with a support: thee to Indra Marutvat!—This is thy womb: thee to Indra Marutvat!’,
14. [The second he draws? with Vag. S. VII, 36;
1 See p. 331, note 2.
thee with good offerings!—Thou art taken with a support: thee to Indra Marutvat!—This is thy womb: thee to Indra Marutvat!’,
14. [The second he draws? with Vag. S. VII, 36;
1 See p. 331, note 2.
3 Here the author again anticipates, important parts of the performance being not even referred to. On the present occasion only one Marutvatiya cup is drawn and deposited on the mound (khara). The Ukthya cup having then been drawn and deposited, the priests leave the Havirdhana in the same way as at the morning performance (see IV, 2, 5, 1, with note), and perform the Viprudhomas, or drop-offerings. Thereupon the priests ‘creep’ (sarp), with their upper bodies bent parallel to the ground, to the Sadas, where, near the Udumbara post, the chanting of the midday Pavam4na-stotra now takes place after the necessary preliminaries. If the Pravargya has been performed on the preceding day (see III, 4, 4, 1, with note), the Dadhi-gharma, or libation of hot milk mixed with sour milk, is now made. Then follow the oblations from the Savantya-purodisa (see IV, 2, 5, 15 seq., and p. 323, note 1). Thereupon filling of the cups of the ten Kamasins, and the libations from (and drinking of) the Sukra and Manthin cups. After the eating of the Ida of the purodasas, the Dakshiza-homas and distribution of the sacrificial fees take place, as set forth in the next Brahmaza. Thereupon the Adhvaryu calls on the Maitravaruza to pronounce the invitatory prayer to Indra Marutvat (viz. Rig-veda III, 51, 7), ‘O Indra, attended by the Maruts, here drink the Soma,’ &c., followed by the order (praisha), ‘Let the Hotr? pronounce the offering prayer to Indra Marutvat!’
Iv KANDA, 3 ADHYAYA, 3 BRAHMANA, 14. = 337
Rig-veda III, 47, 5], ‘The mighty bull, followed by the Maruts, the bountiful, divine ruler Indra,—him, the all-subduing, the terrible bestower of victory, do we now invoke for new favour.—T hou art taken with a support: thee to Indra Marutvat!—This is thy womb: thee to Indra Marutvat!’—with ‘Thou art
The Pratiprasthatr? now draws a second Marutvatfya cup in the other Aitu-patra. The offering prayer (Rig-veda III, 47, 2, ‘United with the host of Maruts, O Indra, drink the Soma, O wise hero!’ &c.) having meanwhile been pronounced by the Hotrz, the Adhvaryu makes libations from the first cup at the Vashaf and Anuvasha/. Then pouring the remains of the juice into some other vessel, to be taken to the Sadas, he enters the Havirdhana and draws the third Marutvattya graha with the cup just emptied. Having deposited it, he betakes himself to the Sadas to drink with the Hotrz the remains of the first libation. Thereupon the Hotr? recites the Marutvatiya Sastra.
The Marutvatiya Sastra consists of the following parts. After the summons (4h4va) to the Adhvaryu, and the response (pratigara) of the latter, the Hotz? intones the
Pratipad (opening triplet), Rig-veda VIII, 57, 1-3, followed by the Anufara (sequel), VIII, 2, 1-3.
recites the Marutvatiya Sastra.
The Marutvatiya Sastra consists of the following parts. After the summons (4h4va) to the Adhvaryu, and the response (pratigara) of the latter, the Hotz? intones the
Pratipad (opening triplet), Rig-veda VIII, 57, 1-3, followed by the Anufara (sequel), VIII, 2, 1-3.
Then the Indranihava prag4tha (VIII, 53, 5) and the Brahmanaspatya pragatha (I, 40, 5).
Then follow the three Dh&yy4s (complementary verses), III, 20,4; I, 91,2; I, 64,6; and the Marutvattya prag@tha, VIII, 8g, 3, succeeded by the hymn X, 73, the chief part of the Sastra, in the middle of which (after the sixth verse), the Nivid (‘Let us sing, Om! may Indra with the Maruts drink of the Soma,’ &c.) is inserted.
Having recited the last verse (paridhantya or closing verse) of the hymn, he concludes the Sastra by the Ukthavirya, ‘ Praise has been sung to Indra who hears thee!’ Thereupon the offering prayer III, 47, 4 is pronounced, and libations are made, both at the Vashas and Anuvasha/, by the Adhvaryu from the third, and after him each time, by the Pratiprasthatr? from the second graha.
The priests having drank in the Sadas the Soma remaining from the grahas and in the samasas, the M4hendra cup is drawn.
[26] zZp. 338 taken with a support: thee for the strength of the Maruts|!’ he draws the third cup.
15. Thereupon he draws the MAhendracup. For Indra was then bound up with evil, in the shape of the people, the Maruts; as one might, for the sake of victory, eat from the same vessel with the people’, so it was when they drew a cup for him in common with the Maruts.
16. When all was conquered and free from danger and injury, the gods plucked him from out of all evil—even as one might pluck out a reed from its sheath—when they drew the cup for the Great Indra. And even as the reed becomes leafless, so is he thereby freed from all evil, when one draws the Méhendra cup.
17. And again, why he draws the M4hendra cup. Before the slaughter of Vvztra, he was indeed Indra ; but when he had slain Vvztra, he became the Great Indra, even as one who has conquered all around, becomes a Great King (mahdrd4ga): therefore he draws the M4hendra cup. And, moreover, he forsooth makes him great for the slaughter of V7ztra : therefore also he draws the M4hendra cup. He draws it in the Sukra vessel, for bright (sukra) and great indeed is he (the sun) that burns yonder: therefore he draws it in the Sukra vessel.
18. He thus draws it from that (Droakalasa or Patabhzzt), with (Vag. S. VII, 39; Rig-veda VI, 19, 1), ‘Great is Indra and hero-like, gladdening the people, of double stature and unimpaired in power. For our sake he waxed strong for heroic deed,—great and broad was he, and
1 That is, as a chief, or lord, might do so with a clansman (vaisyena, K4zva text); or as the master of a house with his servants.
p. 339
For our sake he waxed strong for heroic deed,—great and broad was he, and
1 That is, as a chief, or lord, might do so with a clansman (vaisyena, K4zva text); or as the master of a house with his servants.
p. 339
well-shapen by the shapers'—T hou art taken with a support: thee to Mahendra!’—with ‘This is thy womb: thee to Mahendra!’ he deposits it; for it is indeed for the Great Indra that he draws it.
19. And having bespoken (the chant*), he says this speech,—‘ Pressers, press ye! make the mortars
1 Or, according to Ludwig, ‘rendered favourable by the performers (priests).’
* That is, the (first) Pr?sh/ha-stotra, consisting of the Rathantara-sAman, Sémav. II, 30-31. For the way in which the two verses are manipulated (by repetition of the last pfda of the first, and of the second pda of the second verse), so as to yield a three-versed choral, see Haug, Ait. Br. II, p. 198; Weber, Ind. Stud. VIII, p. 25. These chants derive their name from the circumstance that the Samans employed in them are capable of being used as ‘prishéhas,’ that is, of being chanted twice with another Saman inserted between them,—or, to speak symbolically, to
. serve as the womb for the reception of an embryo. For this purpose the Rathantara and Brzhat SAémans are chiefly used. See note on IV, 5, 4,13. Whenever the Prish/Aas are chanted in this way (which they are not at the ordinary Agnish/oma), it is chiefly at this very place in the Soma performance, at the midday libation. The chant is succeeded by the recitation, by the Hotr#, of the Nishkevalya Sastra, consisting of the following parts. The Ah4va (and pratigara) is followed by the Stotriya (Rig-veda VII, 332, 22-23, identical with the Rathantara) and Anur(pa (VIII, 3, 7-8) pragfthas; then a dh4yyd, X, 74,6; the Sdma-prag4tha, VIII, 3, 1, and the hymn (to Indra) I, 32, with the Nivid inserted in the middle (after the eighth verse). Finally the Hotr? pronounces the Ukthavirya, and the offering prayer, VII, 22, 1, after which the Mahendra libation is poured into the fire.
Then follows the distribution of the Ukthya graha among the three assistants of the Hotr?#, and the recitation of their (nishkevalya) sastras—each preceded by a Prishéha-stotra [Samav. II, 32-34 (chanted to the Vamadevya-siman); 35-36 (Naudhasa); 37-38 (K4leya) respectively]—as at the conclusion of the morning performance; see p. 295, note 2, Thereupon he addresses the above summons to the respective priests, for the preparations necessary for the evening pressing.