Preparation of the (Ahavantya) Fire-altar 325 Ploughing, Watering, and Sowing of Ground 326 Bricks of the First Layer . . . 355 Lotus-leaf . . 363 Gold Plate . 354 Gold Man . . 36° Svayam-4trinn4 Brick . 377 Dfrvé Plant 380 Dviyagus Bricks . 381 RetaAsié Bricks . 383 Visvagyotis Brick 384 Ritavya Bricks 386 Ash4dh4 Brick 387 Tortoise . 389 Mortar and Pestle 393 Fire-pan . . 396 Victims’ Heads . 400 Apasy4 Bricks 413 Xhandasy4 Bricks 414 Corrections 418 Plan of Fire-altar 419
Transliteration of Oriental Alphabets adopted for the Translations of the Sacred Books of the East
p. 421
INTRODUCTION.
THE first of the three KAzdas contained in the present volume continues the dogmatic discussion of the different forms of Soma-sacrifice, in connection with which two important ceremonies, the Vagapeya and Ragastya, are considered. From a ritualistic point of view, there is a radical difference between these two ceremonies. The RAagastya, or ‘inauguration of a king,’ strictly speaking, is not a Soma-sacrifice, but rather a complex religious ceremony which includes, amongst other rites, the performance of a number of Soma-sacrifices of different kinds. The Vagapeya, or ‘drink of strength’ (or, perhaps, ‘the racecup’), on the other hand, is recognised as one of the different forms (samsth4) which a single Soma-sacrifice may take. Asa matter of fact, however, this form hardly ever occurs, as most of the others constantly do, in connection with, and as a constituent element of, other ceremonies, but is almost exclusively performed as an independent sacrifice. The reason why this sacrifice has received a special treatment in the Brahmaza, between the Agnishfoma and the Ragastya, doubtless is that, unlike the other forms of Soma-sacrifice, it has some striking features of its own which stamp it, like the R4gasfya, as a political ceremony. According to certain ritualistic authorities’, indeed, the performance of the V4gapeya should be arranged in much the same way as that of the Ragasiya; that is, just as the central ceremony of the RAgas(ya, viz. the AbhisheZantya or consecration, is preceded and followed by certain other Soma-days, so the Vagapeya should be preceded and followed by exactly corresponding ceremonies.
1 See Katy. St. XIV, 1, 73 Laty. Sr. VIM, 11, 7-11.
Xil SATAPATHA-BRAHMANA.
the AbhisheZantya or consecration, is preceded and followed by certain other Soma-days, so the Vagapeya should be preceded and followed by exactly corresponding ceremonies.
1 See Katy. St. XIV, 1, 73 Laty. Sr. VIM, 11, 7-11.
Xil SATAPATHA-BRAHMANA.
The preceding K4zda was chiefly taken up with a detailed discussion of the simplest form of a complete Soma-sacrifice, the Agnishfoma, serving as the model for all other kinds of one-day (ekaha) Soma-sacrifices ; and it also adverted incidentally to some of the special features of such of the remaining fundamental forms of Soma-sacrifice as are required for the performance of sacrificial periods of from two to twelve pressing-days—the socalled ahina-sacrifices—as well as for the performance of the sacrificial sessions (sattra) lasting from twelve days upwards. As the discussion of the Vagapeya presupposes a knowledge of several of those fundamental forms of Soma-sacrifice, it may not be out of place here briefly to recapitulate their characteristic features.
The ekdha, or ‘one-day’ sacrifices, are those Somasacrifices which have a single pressing-day, consisting of three services (or pressings, savana)—the morning, midday, and third (or evening) services—at each of which certain cups of Soma-liquor are drawn, destined to be ultimately consumed by the priests and sacrificer, after libations to the respective deities have been duly made therefrom. At certain stated times during the performance, hymns (stotra) are chanted by the Udgatrés; each of which is followed by an appropriate recitation (sastra) of Vedic hymns or detached verses, by the Hotyr? priest or one of his assistants. An integral part of each Soma-sacrifice, moreover, is the animal sacrifice (pasubandhu); the number of victims varying according to the particular form of sacrifice adopted. In the exposition of the Agnishtoma, the animal offering actually described (part ii, p. 162 seq.) is that of a he-goat to Agni and Soma, intended to serve as the model for all other animal sacrifices. This description is inserted in the Brahmaza among the ceremonies of the day preceding the Soma-day; whilst, in the actual performance, the slaughtering of the victim, or victims, takes place during the morning service, and the meat-oblations are made during the evening service, of the pressing-day. The ritualistic works enumerate a considerable number of ‘ oneday’ sacrifices, all of them with special features of their
INTRODUCTION. Xili
own; most of these sacrifices are, however, merely modifications of one or other of the fundamental forms of ek4has. Of such forms or samsthds—literally, ‘completions,’ being so called because the final chants or ceremonies are their most characteristic features—the ritual system recognises seven, viz. the Agnishfoma, Atyagnishfoma, Ukthya, Shodasin, Vagapeya}, Atiratra, and Aptorydma.
Of such forms or samsthds—literally, ‘completions,’ being so called because the final chants or ceremonies are their most characteristic features—the ritual system recognises seven, viz. the Agnishfoma, Atyagnishfoma, Ukthya, Shodasin, Vagapeya}, Atiratra, and Aptorydma.
The Agnish/foma, the simplest and most common form of Soma-sacrifice, requires the immolation of a single victim, a he-goat to Agni; and the chanting of twelve stotras, viz. the Bahish-pavam4na and four Agya-stotras at the morning service; the MAdhyandina-pavamana and four Prish¢ha-stotras at the midday service; and the Tritiya (or Arbhava)-pavam4na and the Agnishfoma-s4man at the evening service. It is this last-named chant, then, that gives its name to this sacrifice which, indeed, is often explained as the ‘Agnishtoma-samsthak kratuk?, or the sacrifice concluding with ‘Agni’s praise.’ The term ‘s&man,’ in its narrow technical sense, means a choral melody, a hymntune, without reference to the words set thereto. Not unfrequently, however, it has to be taken in the wider sense of a chanted verse or hymn (triplet), a chorale; but, though the distinction is evidently of some importance for the ritual, it is not always easy to determine the particular sense in which the term is meant to be applied, viz. whether a specified sdman is intended to include the original text set to the respective tune, or whether some other verses to which that tune has been adapted are intended. In the case of the Agnish‘oma-sAman, however, the word ‘s4man’ cannot be taken in its narrow acceptation, but the term has to be understood in the sense of ‘a hymn chanted in praise of Agni.’ The words commonly used for this chant, are the first two verses of Rig-veda S. VI, 48, a hymn indeed
1 In this enumeration the Vagapeya is often placed between the Atiratra and Aptoryama ; e.g. Laty. V, 4, 24.
2 Thus on Sat. Br. V, 1, 3, 1 Agneyam agnishfoma Alabhate, S&yana remarks, ‘agnik stiyatexsminn ity agnishtomo nfma s&ma, tasmin vishayabhita Agneyam 4labhate, etena pasunfssmin vagapeyesgnish‘omasamstham kratum evanushshitavan bhavati.’ In IV, 2, 4, 9 seq., also, the term ‘ agnishfoma’ ‘would seem to apply to the final chant rather than to the whole sacrifice.
Xiv SATAPATHA-BRAHMANA,
Xiv SATAPATHA-BRAHMANA, admirably adapted for the purpose of singing Agni’s praises. For the first verse, beginning ‘ yag#4-yag#A vo agnaye,’ the chief tune-book, the Gramageya-gana, has preserved four different tunes, all of which are ascribed to the Rishi Bharadvaga: one of them has, however, come to be generally accepted as the Yag#d4yag#iya-tune xar’ éfoy7v, and has been made use of for this and numerous other triplets}; whilst the other tunes seem to have met with little favour, not one of them being represented in the triplets arranged for chanting in stotras, as given in the Uha and Uhya-ganas. Neither the Yag#4yag#iya-tune, nor its original text, is however a fixed item in the chanting of the Agnishfomasdman. Thus, for the first two verses of Rig-veda VI, 48, the Vagapeya-sacrifice? substitutes verses nine and ten of the same hymn, and these are chanted, not to the Yag#4yagviya, but to the Varavantiya-tune, originally composed for, and named after, Rig-veda I, 27,1 (S.V. I, 17; ed. Calc. I, p. 121) ‘asvam na tva varavantam.’
The Ukthya-sacrifice requires the slaughtering of a second victim, a he-goat to Indra and Agni; and to the twelve chants of the Agnish¢oma it adds three more, the so-called Uktha-stotras, each of which is again followed by an Uktha-sastra recited by one of the Hotrakas, or assistants of the Hotrz. As the evening service of the Agnishfoma had only two sastras, both recited by the Hotr?, the addition of the three sastras of the Hotrakas would, in this respect, equalize the evening to the morning and midday savanas, The word ‘uktha’ is explained by later lexicographers either as a synonym of ‘sAman,’ or as a kind of saman®; but it is not unlikely that that meaning of the word was directly derived from this, the most common, use of the word in the term ‘uktha-stotra.’ The etymology of the word 4, at all events, would point to the
' Each S&man-tune is usually chanted thrice, either each time on a special verse of its own, or so that, by certain repetitions of words, two verses are made to suffice for the thrice-repeated tune.
2 So also does the Agnishfut ekaha, cf. Tandya Br. XVII, 5, 7.
5 Sayama, to Sat. Br. IV, 3, 3, 2, explains it by ‘stotra;’ but see IV, 2, 3, 6-9 where it undoubtedly refers to the recited verses (772), not to the sdman.
* Viz. from root ‘vak’ to speak. I cannot see the necessity for taking
INTRODUCTION. XV
Tandya Br. XVII, 5, 7.
5 Sayama, to Sat. Br. IV, 3, 3, 2, explains it by ‘stotra;’ but see IV, 2, 3, 6-9 where it undoubtedly refers to the recited verses (772), not to the sdman.
* Viz. from root ‘vak’ to speak. I cannot see the necessity for taking
INTRODUCTION. XV
meaning ‘verse, hymn,’ rather than to that of ‘tune’ or ‘chant ;’ but, be that as it may, the word is certainly used in the former sense in the term ‘mahad-uktha,’ the name of the ‘great recitation’ of a thousand brzhati verses ', being the Hotrz’s sastra in response to the Mah4vrata-stotra at the last but one day of the Gavam-ayana. And, besides, at the Agnishfoma a special ‘ukthya’ cup of Soma-juice is drawn both at the morning and midday pressings, but not at the evening savana. This cup, which is eventually shared by the three principal Hotrakas between them, is evidently intended as their reward for the recitation of their ‘ukthas.’ At the Ukthya-sacrifice, as might have been expected, the same cup is likewise drawn at the evening service. Though it may be taken for granted, therefore, that ‘uktha’ was an older term for ‘sastra,’ it still seems somewhat strange that this term should have been applied specially to the additional sastras and stotras of the Ukthya-sacrifice. Could it be that the name of the additional Ukthya-cup, as a distinctive feature of this sacrifice, suggested the name for the sastras and stotras with which that cup was connected, or have we rather to look for some such reason as Ait. Br. VI, 13 might seem to indicate? This passage contains a discussion regarding the different status of the Hotrakas who have ukthas of their own, and those who have not; and it then proceeds to consider the difference that exists between the two first and the third savanas of the Agnish¢oma in respect of the Hotrakas’ ukthas. It is clear that here also, the term ‘uktha’ can hardly be taken otherwise than as referring to
‘ brthad vakas’ in Rig-veda VII, 96, 1 in the technical sense of Bréhat-tune, as is done by Prof. Hillebrandt, in his interesting essay, ‘Die Sonnwendfeste in Alt-Indien,’ p. 29, merely because it is used there in connection with Indra ; whilst he himself is doubtful as to whether it should be taken in the same sense in III, 10, 5 where it occurs in connection with Agni. Though the Brthatsaman is no doubt frequently referred to Indra, and the Rathantara to Agni, the couplets ordinarily chanted to them (Rig-veda VI, 46, 1-2 and VII, 32, 22, 23) are both of them addressed to Indra. Both tunes are, however, applied to verses addressed to all manner of deities.
1 See Catalogue of Sanskrit MSS. of the India Office, No. 434. In Kaush. Br. XI, 8, ‘sadasy ukthani sasyante,’ also, the word has undoubtedly the sense of sastra, or (recited) hymn. In part i, p. 346, note 3 of this translation read ‘great recitation or sastra,’ instead of ‘ great chant.’
Xvi SATAPATHA-BRAHMANA.
of the India Office, No. 434. In Kaush. Br. XI, 8, ‘sadasy ukthani sasyante,’ also, the word has undoubtedly the sense of sastra, or (recited) hymn. In part i, p. 346, note 3 of this translation read ‘great recitation or sastra,’ instead of ‘ great chant.’
Xvi SATAPATHA-BRAHMANA.
the sastras—though, no doubt, the stotra is sometimes said to belong to the priest who recites the sastra in response to it—and this paragraph of the Brahmana reads almost like the echo of an old discussion as to whether or not there should be recitations for the Hotrakas at the evening service of a complete Soma-sacrifice. If, in this way, the question of ‘uktha or no uktha’ had become a sort of catchword for ritualistic controversy, one could understand how the term came ultimately to be applied to the three additional stotras and sastras.
Not unfrequently, the Ukthya is treated merely as a redundant Agnish¢oma, as an ‘ Agnishfomaf’ soktha#,’ or AgnishZoma with the Ukthas'. Considering, however, that the term Agnishzoma, properly speaking, belongs only to a Soma-sacrifice which ends with the Agnishfoma (s4man), and that the addition of the Uktha-stotras also involves considerable modifications in the form of most of the preceding chants, a new term such as Ukthya, based on the completing and characteristic chants of this form of sacrifice, was decidedly more convenient. In regard to the composition of the preceding stotras, with the exception of the MAdhyandina-pavamana and the Agnishzoma-sAman, the Ukthya, indeed, may be said to constitute a parallel form of Sacrifice beside the Agnishfoma?, the succeeding samsthas following the model of either the one or the other of these two parallel forms.
The Shodasin-sacrifice requires, as a third victim, the
1 See, for instance, Tawdya Br. XX, 1, 1.
2 Perhaps the most characteristic point of difference between these two forms in which the fundamental stotras are chanted is the first (or Hots2’s) Préshthastotra at the midday service. Whilst the Agnishfoma here requires the Rathantara-tune chanted on the text, Sima-veda S. II, 30, 31; the Ukthya, on the other hand, requires the text, S. V. II, 159, 160, chanted to the Brshat-tune. Professor Hillebrandt, l.c., p. 22, has, indeed, tried to show that these two tunes play an important part in early India in connection with the celebration of the solstices. A similar alternation of simans to that of the Hotr’s Prishthastotra obtains at the third, or Brahman4kkhamsin’s Prish¢ha-stotra; the Naudhasa-siman (II, 35, 36) being used at the Agnishfoma, and the Syaita-siman at the Ukthya-sacrifice. As regards the second (or Maitravaruma’s) and fourth (or Ak&hfvaka’s) Prishtha-stotras, on the other hand, the same siman—viz. the V&madevya (II, 32-34) and Kfleya (II, 37, 38) respectively —is used both at the Agnishfoma and Ukthya.
INTRODUCTION. Xvii
As regards the second (or Maitravaruma’s) and fourth (or Ak&hfvaka’s) Prishtha-stotras, on the other hand, the same siman—viz. the V&madevya (II, 32-34) and Kfleya (II, 37, 38) respectively —is used both at the Agnishfoma and Ukthya.
INTRODUCTION. Xvii
immolation of a ram to Indra; and one additional chant, the shodasi-stotra, with its attendant sastra and Soma-cup. The most natural explanation of the name is the one supplied, in the first place, by Ait. Br. IV, 1 (as interpreted by Sayana)}—viz. the sacrifice which has sixteen, or a sixteenth, stotra’. But, as the name applies not only to the sacrifice but also to the stotra and sastra, the Brahmama further justifies the name by the peculiar composition of the shodasi-sastra in which the number sixteen prevails *. Very probably, however, the name may have belonged to the sacrifice long before the sastra, for symbolic reasons, had assumed the peculiar form it now presents.
In this summary of the characteristic features of the forms of Soma-sacrifice presupposed by the Vagapeya, no mention has yet been made of the Atyagnish¢oma, or redundant Agnishfoma, which usually occupies the second place in the list of samsthdés. This form of sacrifice is indeed very little used, and there can be little doubt that it was introduced into the system, as Professor Weber suggests, merely for the sake of bringing up the Somasamsth4s to the sacred number of seven. This sacrifice is obtained by the addition of the shodasi-stotra to the twelve chants of the Agnish/oma, as well as of the special Somacup and sacrificial victim for Indra, connected with that chant. It may thus be considered as a short form of the Shodasin-sacrifice (though without the full complement of stotras implied in that name), which might have suited the views of such ritualists as held the sastras of the Hotrakas at the evening service to be superfluous *.
The distinctive feature of the Atir4tra-sacrifice, as the name itself indicates, is an ‘overnight’ performance of chants and recitations, consisting of three rounds of four stotras and sastras each. At the end of each round
1 This is also the explanation of the term given by Sayama in his commentary on Tandya Br. XII, 13, 1.
2 See this translation, part ii, p. 402, note 1.
> See part ii, p. 402, note 2, where it is stated that the tenth and last day of the Dasaratra is an Atyagnishfoma day, called Avivakya, i.e. one on which there should be no dispute or quarrel. [41] b
Xvili SATAPATHA-~BRAHMANA.
p. 1
2 See this translation, part ii, p. 402, note 1.
> See part ii, p. 402, note 2, where it is stated that the tenth and last day of the Dasaratra is an Atyagnishfoma day, called Avivakya, i.e. one on which there should be no dispute or quarrel. [41] b
Xvili SATAPATHA-~BRAHMANA.
(paryaya) libations are affered, followed by the inevitable potations of Soma-liquor. That the performance, indeed, partook largely of the character of a regular nocturnal carousal, may be gathered from the fact, specially mentioned in the Aitareya Brahmaaa, that each of the Hotrz’s offeringformulas is to contain the three words—‘andhas,’ Somaplant (or liquor), ‘pa,’ to drink, and ‘mada,’ intoxication. Accordingly, one of the formulas used is Rig-veda II, 19, 1 apdyy asy4zndhaso madaya, ‘there has been drunk (by Indra, or by us) of this juice for intoxication.’ The twelve stotras, each of which is chanted to a different tune, are followed up, at daybreak, by the Sandhi-stotra, or twilightchant, consisting of six verses (S4ma-veda S. II, 99-104) chanted to the Rathantara-tune. This chant is succeeded by the Hotr?'s recitation of the Asvina-sastra, a modification of the ordinary ‘pratar-anuvaka,’ or morning-litany, by which the pressing-day of a Soma-sacrifice is ushered in'. The Atiratra also requires a special victim, viz. a he-goat offered to Sarasvati, the goddess of speech. As regards the ceremonies preceding the night-performance, there is again a difference of opinion among ritualists as to whether the shodasi-stotra, with its attendant rites, is, or is not, a necessary element of the Atiratra?. Some authorities °, accordingly, distinctly recognise two different kinds of Atiratra,—one with, and the other without, the shodasin. In Katy4yana’s Satra, there is no allusion to any difference of opinion on this point, but, in specifying the victims required at the different Soma-sacrifices, he merely remarks (IX, 8, 5) that, ‘ At the Atiratra there is a fourth victim to Sarasvati.’ This would certainly seem to imply that there are also to be the three preceding victims, including the one to Indra peculiar to the Shodasin. Asvalayana (V, 11, 1) also refers incidentally to the shodasin as part of the
’ See part ii, p. 226 seq. On the present occasion the Pratur-anuvaka is, however, to consist of as many verses as, counting their syllables, would make up a thousand brshatt-verses (of thirty-six syllables each). The three sections of the ordinary morning-litany from the body of the Asvina-sastra which concludes, after sunrise, with verses addressed to S(irya, the sun.
The three sections of the ordinary morning-litany from the body of the Asvina-sastra which concludes, after sunrise, with verses addressed to S(irya, the sun.
Atiratra, though it is not quite clear from the text of the sitra whether it is meant to be a necessary or only an optional feature of that sacrifice. The Aitareya Brahmanxa (IV, 6), on the other hand, in treating of the Atirdtra, enters on a discussion with the view of showing that the night-performance of that sacrifice is in every respect equal to the preceding day-performance ; and accordingly, as the three services of the day-performance include fifteen chants and recitations (viz. the twelve of the Agnish¢oma, and the three Ukthas), so, during the night, the three rounds of in all twelve stotras, together with the sandhi-stotra, here counted as three stotras (triplets), make up the requisite fifteen chants. This Brahmama, then, does not recognise the shodasin as part of the Atiratra, and, indeed, the manuals of the Atiratra chants which I have consulted make no mention of the shodasi-stotra, though it is distinctly mentioned there among the chants of the Vagapeya and the Aptoryama. The passage in the Aitareya, just referred to, also seems to raise the question as to whether the Atiratra is really an ekaha, or whether it is not rather an ahina-sacrifice. On this point also the authorities seem to differ; whilst most writers take the Atiratra, and the analogous Aptory4ma, to be ‘one-day’ sacrifices, the Tandya Brahmama (XX) and LAty. IX, 5, 6 class them along with the Ahinas!; and they may indeed be regarded as intermediate links between the two classes of Somasacrifice, inasmuch as, in a continued sacrificial performance, the final recitations of these sacrifices take the place of the opening ceremony of the next day’s performance. Such, for instance, is the case in the performance of the Atiratra as the opening day of the Dvddasdha, or twelve days’ period of sacrifice; whilst in the performance of the twelfth and concluding day, which is likewise an Atiratra, the concluding ceremonies of the latter might be considered in
! The Aitareya Brahmaza (VI, 18) in discussing the so-called samp4ta hymns inserted in continued performances, with the view of establishing a symbolic connection between the several days, curiously explains the term ‘ahfna,’ not from ‘ahas’ day, but as meaning ‘not defective, where nothing is left out’ (a-hina).
b2
XX SATAPATHA-BRAHMANA.
a manner superabundant. It is probably in this sense that Laty. (IX, 5, 4) calls the overnight performance of the last day of an ahina (e.g. the Dvadasdha) the yag#apukka, or tail of the sacrifice, which is to fall beyond the month for which, from the time of the initiation, the ahina is to last.
a manner superabundant. It is probably in this sense that Laty. (IX, 5, 4) calls the overnight performance of the last day of an ahina (e.g. the Dvadasdha) the yag#apukka, or tail of the sacrifice, which is to fall beyond the month for which, from the time of the initiation, the ahina is to last.
The Aptory4ma-sacrifice represents an amplified form of the Atiratra. It requires the shodasi-stotra and the ceremonies connected with it as a necessary element of its performance ; whilst its distinctive feature consists in four additional (atirikta-) stotras and sastras, chanted and recited after the Asvina-sastra, the concluding recitation of the Atiratra. These four chants are arranged in such a manner that each successive stotra is chanted to a different tune, and in a more advanced form of composition, from the trivrzt (nine-versed) up to the ekavismsa (twentyone-versed) stoma. In the liturgical manuals, the Aptoryama, moreover, performs the function of serving as the model for a sacrificial performance with all the ‘prishzkas!.’ Though this mode of chanting has been repeatedly referred to in the translation and notes, a few additional remarks on this subject may not be out of place here. When performed in its ‘prish¢ka’ form, the stotra is so arranged that a certain sdman (or chanted triplet) is enclosed, as the ‘garbha’ (embryo), within some other s4man which, as its ‘ prishtha’ (i.e. back, or flanks), is chanted a number of times before and after the verses of the central sAman. The tunes most commonly used for forming the enclosing smans of a Prish¢ka-stotra are the Rathantara and Brzhat; and along with these, four others are singled out to make up the six PrishtAa-sdmans kar’ éfoyyv, viz. the Vairdpa (with the text Sama-veda II, 212-13), Vairaga (II, 277-9), Sakvara? (chanted on the Mah4ndamni verses,
' From Asvalayana’s rule (IX, 11, 4), ‘If they chant in forming the garbha (i.e. in the ‘ prishtha ’ form), let him (the Hots? or Hotraka) recite in the same way the stotriyas and anuriipas,’ it seems, however, clear that the Aptoryama may also be performed without the Prish¢has.
2 The original text of the Sakvara-siman is stated (by Sayava on Aitar. Br. IV, 13; Mahfdhara on Vag. S. X, 14, &c.) to be Sama-veda IJ, 1151-3, ‘pro shv asmai puroratham,’ but the Sama-veda Gnas do not seem to give the tune
INTRODUCTION. Xx
2 The original text of the Sakvara-siman is stated (by Sayava on Aitar. Br. IV, 13; Mahfdhara on Vag. S. X, 14, &c.) to be Sama-veda IJ, 1151-3, ‘pro shv asmai puroratham,’ but the Sama-veda Gnas do not seem to give the tune
INTRODUCTION. Xx
Aitar. Ar. IV), and Raivata! sAmans, These six sAmans are employed during the six days’ sacrificial period called Prishthya-shadaha, in such a way that one of them, in the order in which they are here enumerated, is used for the first, or Hotrs’s, Prish¢ha-stotra on the successive days of that period. In that case, however, these stotras are not performed in the proper ‘prish¢ka’ form ?, i.e. they have no other sAman inserted within them, but they are treated like any other triplet according to the particular stoma, or mode of composition, prescribed for them. But, on the other hand, in the Aptory4ma, when performed ‘ with all the Prishzhas,’ not only are a number of stotras chanted in the proper ‘prish¢ha’ form, but the ‘prishta’ element asserts itself in yet another way, viz. by the appearance of all the six ‘ Prish¢ka-samans’ in the course of the performance of the different stotras, in this way :—the Rathantara-tune forms the middlemost of the seven triplets of which the Madhyandina-pavamana is composed ;
with that text, but with the Mahf&n&mnt verses (ed. Bibl. Ind. II, p. 371). The Tasdya Br. XIII, 4 (and comm.), gives minute directions as to the particular padas of the first three MahanAmnf triplets which are singled out as of a sakvara (potent) nature, and are supposed to form the three stotriy4 verses of the sikvara-siman, consisting of seven, six, and five padas respectively. The asakvara pAdas are, however, likewise chanted in their respective places, as is also the additional tenth verse, the five padas of which are treated as mere supplementary (or ‘ filling in’) matter.
1 That is, the Varavanttya-tune adapted to the ‘ Revatf’ verses. The Varavanttya-tune is named after its original text, Rig-veda I, 27, 1, ‘asvam.na tv varavantam’ (Sdma-veda, ed. Bibl. Ind. I, p. 121). When used as one of the Prishtha-simans it is not, however, this, its original text, that is chanted to it, but the verses Rig-veda I, 30, 13-15, ‘revattr na& sadhamada’ (Sdma-veda II, 434-6, ed. vol. iv, p. 56), whence the tune, as adapted to this triplet, is usually called Raivata. The Raivata-siman, thus, is a signal instance of the use of the term ‘siman’ in the sense of a chanted verse or triplet.
vol. iv, p. 56), whence the tune, as adapted to this triplet, is usually called Raivata. The Raivata-siman, thus, is a signal instance of the use of the term ‘siman’ in the sense of a chanted verse or triplet.
2 The statement, in part ii, p. 403 note (and repeated in the present part, p. 6, note 2), that, while the Prish//a-stotras of the Abhiplava-shadaha are performed in the ordinary (Agnishtoma) way, the Prishtfya-shadaha requires their performance in the proper Présh¢ha form, is not correct. In both kinds of shadaha, the Prishtha-stotras are performed in the ordinary way (viz. in the Agnishfoma or Ukthya way, see p. 4 note); but whilst, in the Abhiplava, the Rathantara and Brshat-sdmans are used for the Hotr#’s Prishtha-stotra on alternate days, the Prish‘hya-shadaha requires a different Prishtha-siman on each of the six days. The two kinds of shadahas also differ entirely in regard to the sequence of stomas prescribed for the performance of the stotras, b3
XXil SATAPATHA-BRAHMANA.
the Brzhat forms the ‘garbha,’ or enclosed sdman, of the Agnish¢oma-siman!; the Vairtpa the ‘garbha’ of the third, the Vair4ga that of the first, the SAkvara that of the second, and the Raivata that of the fourth, Prishthastotra. It is doubtless this feature which gives to certain Soma-days the name of ‘sarvaprishtha,’ or one performed with all the (six) Prishthas. Then, as regards the particular stotras that are chanted in the proper ‘ prishtha’ form, these include not only the four so-called Préshthastotras of the midday service, but also the four Agyastotras of the morning service, as well as the Agnishtomasdman and the three Uktha-stotras of the evening service,— in short, all the first fifteen stotras with the exception of the three Pavam4na-stotras. Of the stotras which succeed the Ukthas, on the other hand—viz. the Shodasin, the twelve chants of the three night-rounds, the Sandhi-stotra, and the four Atirikta-stotras—not one is performed in the ‘prishtha’ form. How often the several verses of the ‘prish¢ha-sdman,’ and those of the ‘garbha’ are to be chanted, of course depends, in each case, not only on the particular stoma which has to be performed, but.also on the particular mode (vish¢uti) prescribed, or selected, for the stoma. Thus, while all the four Agya-stotras are chanted in the paskadasa, or fifteen-versed-stoma; the four Prishtha-stotras are to be performed in the ekaviszsa (of twenty-one verses), the aturvimsa (of twenty-four verses), the Aatuskatvarimsa (of forty-four verses), and the ash/akatvarimsa (of forty-eight verses) respectively. Now whenever, as in the case of the pazzadasa and the ekavimsastomas, the number of verses is divisible by three, one third of the total number of verses is usually assigned to each of the three parts of the stotra, and distributed over the respective (three or sometimes four) verses of that sdman *.
» Either the Rathantara or the Brzhat also forms the ‘ préshrha,’ or enclosing sfman, of the first Prish¢ha-stotra.
2 Whenever the stotra is not performed in the ‘ prish¢ha’ form, but consists of a single siman or triplet, the repetitions required to make up the number of verses implied in the respective stoma, are distributed over the three verses of the saman in such a way that the whole siman is chanted thrice, each time with various repetitions of the single verses. The usual form in which the
INTRODUCTION. XXili
To illustrate this tripartite composition, the Hotrz’s Prishzka-stotra, performed in the twenty-one-versed stoma, may be taken as an example. For the ‘prish¢ha, the manuals give the Brzhat-sdman, on its original text (SAmaveda II, 159, 160, ‘tv4m id dhi havAmahe,’ arranged so as to form three verses), though the Rathantara may be used instead}. For the ‘garbha,’ or enclosed s4man, on the other hand, the Vairdga-sdman (with its original text, S. V. II, 277-9, ‘pib4 somam indra mandatu tv’) is to be used, a most elaborate tune’, with long sets of stobhas, or musical ejaculations, inserted in the text. Of the twenty-one verses, of which the stoma consists, seven verses would thus fall to the share of the ‘garbha,’ and seven verses to that of the ‘ prishtha,’ as chanted before and after the ‘garbha.’ Thus, in accordance with the formula set forth in p. xxii, note 2, the three verses (a, b, c) of the Brihat would be chanted in the form aaa—bbb-c; then the verses of the Vairaga-sdman (as ‘ garbha’) in the form a-bbb-ccc; and finally again the Brizhat in the form aaa-b-ccc. Stotras, the total number of verses of which is not divisible by three, of course require a slightly different distribution. Thus, of the third Prish¢ha-stotra, the stoma of which consists of forty-four verses, the two parts of the ‘ prish¢ka’ obtain fifteen verses each, whilst the ‘garbha’ has only fourteen verses for its share.
The V4agapeya, the last of the seven forms of a complete Soma-sacrifice, occupies an independent position beside the Atiraétra and Aptorydma, whose special features it does not share. Like them, it starts from the Shodasin, to the characteristic (sixteenth) chant (and recitation) of which it adds one more stotra, the Vagapeya-sdman, chanted to the Brzhat-tune, in the Saptadasa (seventeen-versed) stoma, and followed by the recitation of the Vagapeyasastra. The Saptadasa-stoma, indeed, is so characteristic of this sacrifice that—as has been set forth at p. 8 note ekavimsa is performed may be represented by the formula aaa—bbb-c ; a-bbbecc ; aaa—b-ccc, making together twenty-one verses.
1 Asval. Sr. IX, 3, 4-5.
? It is given somewhat imperfectly in the ed. Bibl. Ind. V, p. 391.
XXIV SATAPATHA-BRAHMANA,
8 note ekavimsa is performed may be represented by the formula aaa—bbb-c ; a-bbbecc ; aaa—b-ccc, making together twenty-one verses.
1 Asval. Sr. IX, 3, 4-5.
? It is given somewhat imperfectly in the ed. Bibl. Ind. V, p. 391.
XXIV SATAPATHA-BRAHMANA,
below—all the preceding chants, from the Bahishpavam4ana onward, are remodelled in accordance with it. Besides, over and above the three victims of the Shodasin-sacrifice, the Vagapeya requires, not only a fourth one, sacred to Sarasvati, the goddess of speech, but also a set of seventeen victims for Prag4pati, the god of creatures and procreation. As regards other rites peculiar to the Vagapeya, the most interesting, doubtless, is the chariot-race in which the sacrificer, who must be either of the royal or of the priestly order, is allowed to carry off the palm, and from which this sacrifice perhaps derives its name. Professor Hillebrandt!, indeed, would claim for this feature of the sacrifice the character of a relic of an old national festival, a kind of Indian Olympic games; and though there is perhaps hardly sufficient evidence to bear out this conjecture, it cannot at least be denied that this feature has a certain popular look about it.
Somewhat peculiar are the relations between the Vagapeya and the Ragasfya on the one hand, and between the Vagapeya and the Brthaspatisava on the other. In the first chapter of the fifth book, the author of this part of our Braéhmama is at some pains to impress the fact that the Vagapeya is a ceremony of superior value and import to the Ragasfya; and hence K4ty4yana (XV, 1, 1-2) has two rules to the effect that the Ragasiya may be performed by a king who has not yet performed the Vagapeya. These authorities would thus seem to consider the drinking of the Vagapeya-cup a more than sufficient equivalent for the Ragasdya, or inauguration of a king; they do not, however, say that the Ragasiya must be performed prior to the Vagapeya, but only maintain that the Vagapeya cannot be performed after the Ragashya. The Régasfya, according to the Brahmaza, confers on the sacrificer royal dignity (ragya), and the Vagapeya paramount sovereignty (simragya). It might almost seem as if the relatively loose positions here assigned to the Ragasdya were entirely owing to the fact that it is a purely Kshatriya ceremony to which the
1 Vedische Mythologie, p. 247.
INTRODUCTION. XXV
It might almost seem as if the relatively loose positions here assigned to the Ragasdya were entirely owing to the fact that it is a purely Kshatriya ceremony to which the
1 Vedische Mythologie, p. 247.
INTRODUCTION. XXV
Brahmamza has no right, whilst the Vagapeya may be performed by Brahmazas as well as Kshatriyas. But on whatever grounds this appreciation of the two ceremonies may be based, it certainly goes right in the face of the rule laid down by Asvalayana (IX, 9, 19) that, ‘after performing the Vagapeya, a king may perform the Ragasfya, and a Brahmaza the Brzhaspatisava.’ With this rule would seem to accord the relative value assigned to the two ceremonies in the Taittiriya Samhita (V, 6, 2, 1) and Brahmaza (II, 7, 6, 1), according to which the Vagapeya is a ‘ samrda¢sava,’ or consecration to the dignity of a paramount sovereign, while the Ragastya is called a ‘varuzasava,’ i.e., according to Sayaza, a consecration to the universal sway wielded by Varuma?. In much the same sense we have doubtless to understand the rule in which Laty4yana defines the object of the Vagapeya (VIII, 11, 1), viz. ‘Whomsoever the Brahmazas and kings (or nobles) may place at their head, let him perform the Vagapeya.’ All these authorities, with the exception of the Satapatha-Brahmaza and Katydyana, are thus agreed in making the V4gapeya a preliminary ceremony, performed by a Brahmaza who is raised to the dignity of a Purohita, or head-priest (so to speak, a minister of worship, and court-priest), or by a king who is elected paramount sovereign by a number of petty ragas; this sacrifice being in due time followed by the respective installation and consecration ceremony, viz. the Brzhaspatisava, in the case of the Purohita ; and the Régasfya, in that of the king. In regard to the Brzhaspatisava, which these authorities place on an equality with the Ragasdya, our Brahmamza finds itself in a somewhat awkward position, and it gets out of its difficulty (V, 2, 1,19) by simply identifying the Brthaspatisava with the V4gapeya, and making the Vagapeya itself to be ‘the consecration of Brzhaspati ;” and Katyayana (XIV, 1, 2) compromises matters by combining the two ceremonies in this way that he who performs the Vagapeya is to perform the Brzhaspatisava for a fortnight before and after the Vagapeya.
1 Cf. Sdakh. Sr. XV, 13, 4, ‘for it is Varussa whom they consecrate.’
XXVi SATAPATHA-BRAHMANA,
1 Cf. Sdakh. Sr. XV, 13, 4, ‘for it is Varussa whom they consecrate.’
XXVi SATAPATHA-BRAHMANA,
The Ragasfya, or inauguration of a king, is a complex ceremony which, according to the Srauta-sitras, consists of a long succession of sacrificial performances, spread over a period of upwards of two years. It includes seven distinct Soma-sacrifices, viz. 1, the Pavitra,an Agnish¢oma serving as the opening sacrifice, and followed, after an interval of a year (during which the seasonal sacrifices have to be performed), by 2, the Abhishe#antya, an Ukthya-sacrifice, being the consecration (or anointing)ceremony. Then follows 3, the Dasapeya, or ‘drink of ten, an Agnish¢oma, socalled because ten priests take part in drinking the Somaliquor contained in each of the ten cups. After another year’s interval?, during which monthly ‘offerings to the beams (i.e. the months)’ are made, takes place 4, the Kesavapaniya, or hair-cutting ceremony, an Atiratra-sacrifice ; followed, after a month or fortnight, by 5, and 6, the Vyushéi-dviratra, or two nights’ ceremony of the dawning, consisting of an Agnishfoma and an Atiratra ; and finally 7, the Kshatra-dhvriti, or ‘the wielding of the (royal) power,’ an Agnish¢oma performed a month later. The round of ceremonies concludes with the Sautramazi, an ish¢i the object of which is to make amends for any excess committed in the consumption of Soma-liquor.
The fifth book completes the dogmatic discussion of the ordinary circle of sacrifices, some less common, or altogether obsolete, ceremonies, such as the Asvamedha (horsesacrifice), Purushamedha (human sacrifice), Sarvamedha (sacrifice for universal rule), being dealt with, by way of supplement, in the thirteenth book.
With the sixth Kazda, we enter on the detailed explanation of the Agnif#ayana, or building of the fire-altar, a very solemn ceremony which would seem originally to have stood apart from, if not in actual opposition to, the ordinary sacrificial system, but which, in the end, apparently by some ecclesiastical compromise, was added
1 The Brihmana (V, 5, 2, 2), however, would rather seem to dispense with this interval by combining the twelve oblations so as to form two sets of six each.
INTRODUCTION. XXVIi
on to the Soma ritual as an important, though not indispensable, element of it. The avowed object of this ceremony is the super-exaltation of Agni, the Fire, who, in the elaborate cosmogenic legend with which this section begins, is identified with Pragdpati, the lord of Generation, and the source of life in the world. As the present volume contains, however, only a portion of the Agnikayana ritual, any further remarks on this subject may be reserved for a future occasion.
As the present volume contains, however, only a portion of the Agnikayana ritual, any further remarks on this subject may be reserved for a future occasion.
Since the time when this volume went to press, the literature of the Soma myth has been enriched by the appearance of an important book, the first volume of Professor A. Hillebrandt’s Vedische Mythologie, dealing with Soma and cognate gods. As it is impossible for me here to enter into a detailed discussion of the numerous points raised in the work, I must content myself for the present with the remark that I believe Professor Hillebrandt to have fully established the main point of his position, viz. the identity of Soma with the Moon in early Vedic mythology.
SATAPATHA-BRAH MAMA.
FIFTH KANDA.
A. THE VAGAPE
First ApuyAya. First BRAHMANWA.
1. Once upon a time the gods and the Asuras, both of them sprung from PragApati, strove together. And the Asuras, even through arrogance, thinking, ‘Unto whom, forsooth, should we make offering ?’ went on offering into their own mouths. They came to naught, even through arrogance: wherefore let no one be arrogant, for verily arrogance is the cause? of ruin.
2. But the gods went on making offerings unto one another. Pragdpati gave himself up to them: thus the sacrifice? became theirs; and indeed the sacrifice is the food of the gods *.
3. They then spake, ‘To which of us shall this belong?’ They did not agree together, saying,
1 Lit. ‘the mouth,’ i.e. the opening or beginning, of ruin. The St. Petersburg Dict. compares Prov. xvi. 18: ‘Pride goeth before destruction, and an haughty spirit before a fall.’
* Pragapati (the lord of creatures or generation) is both the sacrifice and the year (time); see III, 2, 2, 4.
® See II, 4, 2, 1. To them (the gods) he (Pragapati) said, ‘The sacrifice (shall be) your food, immortality your sustenance (Qrg), and the sun your light!’
‘ For the neuter idam—hardly here ‘this universe,’ or ‘ va-
>a (Lat) B
p. 2
‘To me! to me!’ Not being agreed, they said, ‘Let us run a race for it: whichever of us shall win, to him it shall belong !’—‘ So be it!’ so they ran a race for it.
4. Then Brzhaspati hasted up to Savityz for his impulsion '\—Savitv¢ being the impeller (prasavitrz) among the gods—saying, ‘Impel this for me, (so that) impelled by thee, I may win this!’ Then Savityz, as the impeller, impelled it for him, and impelled by Savitvz, he won: he became everything here, he won everything here ; for he won Pragapati, and Pragapati (the lord of creatures and procreation) indeed is everything here. By offering therewith he (Bvzhaspati) ascended to that upper region. Therefore who so knoweth, and who so knoweth not,—they say, ‘That upper region belongeth to Brzhaspati.’
5. Thus they who of old used to offer the Vagapeya, ascended to that upper region. From there AupAvi GAnasruteya descended again: thenceforward (all men) descend again.
Therefore who so knoweth, and who so knoweth not,—they say, ‘That upper region belongeth to Brzhaspati.’
5. Thus they who of old used to offer the Vagapeya, ascended to that upper region. From there AupAvi GAnasruteya descended again: thenceforward (all men) descend again.
gapeyam,’ but rather ‘this thing, it’—the Kava text reads ayam the,’ i.e. PragApati, or the sacrifice (yag#a, masc.); cf. note on V, I, 4; 15-
1 For want of a simpler and more homely set of terms for the derivatives of the verb si ‘to animate’ here used, those used in the preceding volumes are here generally adhered to, though, as there, somewhat reluctantly. The simple ‘to bless, blessing, &c.’ might sometimes fit quite well, though no doubt they imply an idea altogether foreign to the etymological meaning of this verb, and could not possibly be used, as is the case here, of the animating influence of the sun. Sometimes ‘to speed’ has been chosen, where the etymological connection with Savitrz is not insisted upon; while in other passages ‘to consecrate, consecration, &c.’ might probably come nearer to the meaning of the original. Cp. Delbrtick, Altindische Syntax, p. 256.
v KANDA, I ADHYAYA, I BRAHMAMA, II. 3
6. Indra offered that (Vagapeya),—he became everything here, he won everything here; for he won Pragapati, and Pragdpati is everything here: by offering therewith he ascended to that upper region.
7. Thus they who of old used to offer the V4gapeya, ascended to that upper region. From there Aup4vi G4Anasruteya descended again : thenceforward (all men) descend again.
8. And whosoever offers the V4gapeya, he becomes everything here, he wins everything here; for he wins Pragdpati, and Pragdpati indeed is everything here.
g. Here now they say, ‘One must not offer the VAgapeya; for he who offers the Vagapeya wins everything here,—for he wins Pragdpati, and Pragapati is everything here,—he leaves nothing remaining here: his people (or offspring) is like to become worse (off).’
10. Let him none the less sacrifice: whatever (priests) thus know that sacrifice properly, in respect of the Azé, the Yagus, and the Saman, and such as are proficient, let them assist him in offering it; for verily this is the perfection of that sacrifice, when wise (priests) assist him in offering it : let him therefore sacrifice by all means,
11. Now truly this (the Vagapeya) is the Brahmaza’s own sacrifice, inasmuch as Brzhaspati (the lord of prayer and devotion) performed it ; for Brzhaspati is the Brahman (priesthood, or priestly dignity), and the Brahmama is the Brahman. And it is also that of the RAganya, inasmuch as Indra performed it; for Indra is the Kshatra (nobility, or ruling power), and the Raganya is the Kshatra.
B2
p. 4
12. To the king (rAgan) doubtless belongs the Ragasfya ; for by offering the Ragastya he becomes king; and unsuited for kingship is the Brahmaza. And, moreover, the R4gasflya is the lower, and the Vagapeya the higher (sacrifice).
B2
p. 4
12. To the king (rAgan) doubtless belongs the Ragasfya ; for by offering the Ragastya he becomes king; and unsuited for kingship is the Brahmaza. And, moreover, the R4gasflya is the lower, and the Vagapeya the higher (sacrifice).
13. For by offering the Ragastya! he becomes king, and by the Vagapeya (he becomes) emperor (samrag); and the office of king is the lower, and that of emperor the higher: a king might indeed wish to become emperor, for the office of king is the lower, and that of emperor the higher; but the emperor would not wish to become king, for the office of king is the lower, and that of emperor the higher.
14. Thus that (king) who, by performing the Vagapeya, becomes emperor, possesses himself of everything here. Previously to each performance (of an ish¢i*) he offers that oblation to Savitrz (the sun), with the text, ‘O divine Savitrz, impel (prosper) the sacrifice, impel Pragdpati for his portion !’
Katy. Sr. XV, 1, 1-2, lays down the ruie that the Ragasfiya is to be performed by a king who has not yet performed the Vagapeya. Asval. Sr. IX, 9, Tg, on the other hand, rules: ‘After performing it (the Vagapeya) let a king perform the R&gasfya, a Brahmama the Brthaspati-sava’ (cf. V, 2, 1, 19). See also Katy. XIV, 1, 2 seq. Cf. Laty. Sr. VIII, 11, 1 seq.
* During the bright fortnights (of the waxing moon) preceding and following the Vagapeya ceremony proper, the sacrificer has to perform a number of so-called pariyagé#a (‘surrounding or enclosing sacrifices’) consisting of one-day Soma-sacrifices of different kinds, each of which is preceded by a special diksh4, or initiation ceremony (cf. III, 1, 2,1 seq.; LAty. Sr. VIII, 11, 2). It is to the ishfis (dikshanfyeshéi, prayamiyeshsi) of these pariyag#ias that the above injunction regarding the performance of the SAvitrf ahuti refers.
v KANDA, I ADHYAYA, 2 BRAHMANA, I. 5
15. And even as then Brzhaspati hasted up to Savitzz for his impulsion—Savitr2 being the impeller among the gods—saying, ‘ Impel this for me, (so that) impelled by thee I may win it!’ and Savitvz, as the impeller, impelled it for him; and impelled by Savitrz he won it ; even so does this (sacrificing king) now haste up to Savitvz for his impulsion— Savit7z being the impeller among the gods—saying, ‘Impel this for me: may I win it, impelled by thee !’ and Savitrz, as the impeller, impels it for him, and he wins it impelled by Savitrz.
16. Wherefore he says (Vag. S. IX, 1), ‘God Savitvz, speed the sacrifice, speed the lord of sacrifice unto his portion! May the heavenly, thought-cleansing Gandharva cleanse our thought! May the Lord of Speech render our meat palatable, hail!’ For the Lord of Speech is Pragdpati, and meat means food: ‘May Pragapati this day make palatable this our food!’ thus he thereby says. This same oblation he offers till the day before the Soma-feast, for thus that performance of his has been commenced; and he (Savitrz, the Sun) becomes serene during that sacrifice.
This same oblation he offers till the day before the Soma-feast, for thus that performance of his has been commenced; and he (Savitrz, the Sun) becomes serene during that sacrifice.
SrconpD BRAHMANA.
1. He draws the Amsu! (graha), just for completeness’ sake, for it is therefore that he draws
1 Regarding this cup, vu. libation (consisting, it would seem, of imperfectly pressed Soma-plants in water), see part ii, p. 424, note 1. Here, and in the sequel, the author only refers to those points of ceremonial in which the performance differs from that of the ordinary Agnish/oma sacrifice, as described in part ii.
p. 6
the Amsu. After that he draws those recognised Agnishéoma cups? up to the Agrayana.
2. He then draws the Przsh¢hyas?: and whatever the gods (Agni, Indra, and Sarya) won by them, even that he wins by them.
3. He then draws the Shodasin: and whatever Indra won thereby, even that he (the sacrificer) wins thereby.
4. He then draws those five Vagapeya cups (for Indra; the first) with the text (V. S. IX, 2), ‘ Thee, the firm-seated, the man-seated, the mindseated! Thou art taken with a support?: I take thee, agreeable to Indra! This is thy womb (i.e. thy home): thee, most agreeable to Indra!’ therewith he deposits it; for of these
? Viz. the UpAmsu and Antary4ma; the Aindravayava, Maitravaruma and Asvina; the Sukra and Manthin; and the Agrayana. Part ii, pp. 256 seq.
* That is, the three Atigrihyas (part ii, p. 402, note 2), required for the Prish/ha-stotras at the midday feast, when performed in their proper ‘ prish/ha’ form, as they are at the Prish¢hya shadaha, and at a Visvagit-ekaéha with all the Prishthas. See IV, 5, 4, 14. The authorities of the Black Yagus adopt a somewhat different arrangement. The Vagapeya cups are likewise called by them Atigrahyas (Taitt. S. I, 7, 12; T. B. I, 3, 9), and these are apparently drawn by them immediately after the second of the ordinary three Atigrahyas, the one belonging to Indra (T. S. vol. i, Pp. 996,—but see ib. p. 1055, where it is stated that they are drawn immediately after the Agrayana,—that is, probably, if the ordinary Atigrahyas are not required). Then follows (the third ordinary Atigrahya?), then the Shodasin, and thereupon the seventeen cups for Pragfpati—Sayaza remarks on our passage,—tesham (atigrahy4z4m) prakritigata tritvasamkhyaiva s&khAntaravat samkhy4ntaranupadesat. MS. I. O. 657.
’ For an explanation of these notions, see part ii, p. 260, notes 1 and 2.
v KANDA, I ADHYAYA, 2 BRAHMANA, 8. 7 worlds this one, to wit the earth, is the firm one: this same world he thereby wins.
5. [The second with,] ‘ Thee, the water-seated, the ghee-seated, the ether-seated! Thou art taken with a support: I take thee, agreeable to Indra! This is thy womb: thee most agreeable to Indra!’ therewith he deposits it; for among these worlds that ether (mentioned in the formula) is this air: he thereby wins this air-world.
Thou art taken with a support: I take thee, agreeable to Indra! This is thy womb: thee most agreeable to Indra!’ therewith he deposits it; for among these worlds that ether (mentioned in the formula) is this air: he thereby wins this air-world.
6. [The third with,] ‘Thee, the earth-seated, the air-seated, the sky-seated, the god-seated, the heaven-seated! Thou art taken with a support: I take thee, agreeable to Indra! This is thy womb: thee, most agreeable to Indra!’ therewith he deposits it; for god-seated, heaven-seated indeed is yonder world of the gods : the world of the gods he thereby wins.
7. [The fourth with V. S. 1X, 3,]‘ The waters’ invigorating essence, being contained in the sun,—that which is the essence of the waters’ essence, that, the most excellent, I take for you! Thou art taken with a support: I take thee, agreeable to Indra! This is thy womb: thee, most agreeable to Indra!’ therewith he deposits it; for the waters’ essence is he that blows (or purifies) yonder (the wind), and he is contained in the sun, he blows from the sun: that same essence he thereby wins.
8. [The fifth with IX, 4,]‘ Ye cups, of strengthening libations, inspiring the sage with thought,—I have gathered together the pith and sap of you, the handleless! Thou art taken witha support: thee, agreeable to Indra! This is thy womb: thee, most agreeable to
p. 8
Indra!’ therewith he deposits it;—pith means essence : it is the essence he thereby wins.
9. These, then, are five Vagapeya cups he draws; for he who offers the Vagapeya wins Pragapati ; and Pragdpati is the year, and there are five seasons in the year,—he thus wins Pragdpati: therefore he draws five Vagapeya cups.
10. He (the Adhvaryu) then draws seventeen (other) cups of Soma, and (the Nesh¢7z) seventeen cups of Sura (spirituous liquor), for to Pragdpati belong these two (saps of) plants, to wit the Soma and the Sura ;—and of these two the Soma is truth, prosperity, light; and the Sura untruth, misery, darkness: both these (saps of) plants he thereby wins; for he who offers the Vagapeya wins everything here, since he wins Pragapati, and Pragdpati indeed is everything here.
11. Now as to why he draws seventeen cups of Soma ;—Pragapati is seventeenfold, Pragdpati is the sacrifice}: as great as the sacrifice is, as great as is