11. The gold ornament which is attached to his (neck) he then gives to the Adhvaryu: in giving it to the Adhvaryu he secures to himself immortal life, for gold means immortal life.
12. For the object of (gaining) the road, and in order not to lose the mouth (mukha) of the sacrifice, he then prepares an ishéi-offering! to Agni. For, indeed, all the deities have Agni for their mouth, and in the Asvamedha are (contained) all objects of desire: ‘Having, at the outset (mukha/ad), gratified all the gods, may I obtain all my desires!’ so he thinks.
13. For this (offering) there are fifteen kindlingverses?; for fifteenfold is the thunderbolt, and the thunderbolt means vigour: with the thunderbolt (of) vigour the Sacrificer thus from the first repels evil. The two butter-portions relate to the slaying of Vrztra®, with a view to the repelling of evil, for
1 Viz. a cake (on eight kap4las) to Agni Pathikrit, ‘the pathmaker ’—or, according to Asv, Sr. X, 6, 3, to Agni M(drdhanvat (‘forming the head,’ so called from the formulas used containing the word ‘head).’ For a similar special offering to the same deity see XII, 4, 4, 1 (cf. XI, 1, 5, 5).
* See part i, p. 95 seqq. (especially I, 3, §, 5-7).
* The two Agyabhagas, or butter-portions to Agni and Soma, are said to be ‘ Vritra-slaying’ (vartraghna), or to relate to the slaying of Vritra, when their anuvaky4s, or invitatory formulas, are the two verses Aeg-veda VI, 16, 34 (agnir vritrini ganghanat, ‘May Agni slay the Vritras’), and I, 91, 5 (tvam somAsi satpatis tvam ragota vrétraha, ‘Thou, O Soma, art the true lord, thou art the king and the slayer of Vriira,’ &c.). This is the case at the Fullmoon sacrifice, whilst at the New-moon sacrifice the two butterx11 KANDA, 4 ADHYAYA, I BRAHMANA, 13. 351
Vritra is evil. [The verses, Vag. S. XIII, 14, 15,] ‘Agni, the head, the summit of the sky...}, and ‘Be thou the leader of the sacrifice and the realm of space (whither thou strivest with auspicious teams: thy light-winning head hast thou raised to the sky, and thy tongue, O Agni, hast thou made the bearer of the offering), pronounced in a low voice, are the anuvaky4 and yagy4 of the chief oblation. The one contains (the word) ‘head,’ the other (the verb) ‘to be,—for the head, assuredly, is he that shines yonder : thus it is in order to secure him (the Sun) ; and as to why (the other) contains (the verb) ‘to be,—he thereby secures that which is (the real, truly existent). The Samy4gy4s? are two viragverses*; for that—to wit, the Virag—is the metre
The Samy4gy4s? are two viragverses*; for that—to wit, the Virag—is the metre portions are said to be ‘vr#dhanvant,’ or ‘relating to growth,’ because the anuvakyés used on that occasion are two verses containing forms of the root vrrdh, ‘to grow,’ viz. VIII, 44, 12 (agni4 pratnena manmané ... kavir vipreza vavridhe, ‘Agni has grown strong by the old hymn,—as the wise one by the priest ’) and I, 91, 11 (Soma girbhish ‘v4 vayam vardhayamo vafovidah .. ., ‘O Soma, we magnify thee (make thee grow) by our songs, skilful in speech’). In the same way the one or the other form is used in different ishfis, At I, 6, 2, 12, the translation, ‘the two butterportions should be offered to the Vritra-slayer (Indra)’ should therefore be altered to ‘the two butter-portions relate to the slaying of Vritra’ (or, ‘are Vritra-slaying’).
1 See VII, 4, 1, 41.
* That is, the two formulas used with the oblation to Agni Svish/akrit.
® Whilst the normal performance of an ishA requires two trishfubh-verses (Aig-veda X, 2,1; VI, 15, 14; cf. part i, p. 202, notes 2 and 3) for the invitatory and offering formulas of the oblations to Agni Svishfakrit, two virig-verses are frequently prescribed, certain verses of the Virag-hymn Arg-veda VII, 1, being chiefly used for this purpose; e. g. v. 3 as the anuvaky4, and v. 18 as the y4gya for the Svish/akrit of the oblation to Aditi at thep. 352 belonging to all the gods, and all objects of desire are (contained) in the Asvamedha : ‘ Having gratified all the gods, may I obtain all my desires!’ so he thinks. The sacrificial fee is gold weighing a hundred (grains): the meaning of this has been explained.
14. He then prepares a (pap) for Pdshan, for Pashan is the overlord of roads: he thus secures successful progress to the horse. But Pfshan is also this (earth): he thus makes this (earth) its guardian, for neither injury nor failure befals him whom this (earth) guards on the way; and this (earth) he thus makes its guardian.
15. For this (offering) there are seventeen kindling-verses', for the obtainment of the Asvamedha, for Prag4pati is seventeenfold, and the Asvamedha is Pragapati. The two butter-portions are possessed of ‘growth’, even for the growth of the Sacrificer. [The verses, Vag. S. XXXIV, 41, 42,]‘ Pdshan, in thy sway we [shall never suffer harm, we (who) here are singers of thy praises], and ‘The hymn (?) lovingly composed by desire of praise hath reached
Adb&na (see part i, p. 307, note 3), and the DtkshastyeshA; and w. 14, 15 as yagya and anuvaky4 of the Svish/akr:t of the Prayantyeshfi. It is doubtless the two former verses, commonly employed at special ishéis (cf. part i, p. 164, note 3), which are to be used on the present occasion.
1 See part i, p. 112, note 1.
307, note 3), and the DtkshastyeshA; and w. 14, 15 as yagya and anuvaky4 of the Svish/akr:t of the Prayantyeshfi. It is doubtless the two former verses, commonly employed at special ishéis (cf. part i, p. 164, note 3), which are to be used on the present occasion.
1 See part i, p. 112, note 1.
* That is, they are performed with two invitatory formulas containing the verb ‘to grow,’ see p. 350, note 3. Whilst our Bréhmava thus prescribes the two invitatory formulas used for the butter-portions of the New-moon sacrifice, Asvalfyana (Sr. X, 6, 6) prescribes two verses containing the verb ‘as’ (or ‘bh4’), viz. Rig-veda V, 13, 4, tvam agne sapratha asi; and I, g1, 9, soma yas te mayobhuva fitaya# santi disushe tabhir nos vita bhava.
xu KAnpa, 4 ADHYAYA, 2 BRAHMANA, I. 353 the guardian of every path: (may he, Pdshan, grant unto us draughts of light (?), and fulfil our every prayer!’), pronounced in a low voice, are the anuvdky4 and y4gy4 of the chief oblation. The one contains (the word) ‘sway,’ the other (the word) ‘path’; for sway is vigour: (thus it is) in order to his gaining and securing vigour; and as to why (the other) contains (the word) ‘ path,’ he thereby secures successful progress to the horse. The invitatory and offering formulas of the Svish/akrzt are two anush¢ubh verses!; for the Anush/ubh is speech, and Pragdpati is speech, and the Asvamedha is Pragdpati: thus it is for the obtainment of the Asvamedha. The priests’ fee consists of a hundred garments, for that—to wit, the garment— is man’s outward appearance, whence people (on. seeing) any well-clad man, ask, ‘Who can this be ?’ for he is perfect in his outward appearance: with outward appearance he thus endows him. There are a hundred of them, for man has a life of a hundred (years), and a hundred energies: life, and energy, vigour, he thus gains for himself.
Srconp BrRAHMANA.
1. Whilst this (offering to Pashan) is being performed, the horse, having been cleansed, is led up— being one which is marked with all colours, or which is perfect in speed, worth a thousand (cows), in its prime, and without its match under the right-side yoke 2.
1 Viz. according to Asv, Sr. X, 6, 4, —Rig-veda I, 45, 6 (tvam kitrasravastama) and V, 25, 7 (yad vasish‘ham yad agnaye). * Thus Harisvimin,—‘ anyebhyo dakshixadhuryebhya utkrish-
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1 Viz. according to Asv, Sr. X, 6, 4, —Rig-veda I, 45, 6 (tvam kitrasravastama) and V, 25, 7 (yad vasish‘ham yad agnaye). * Thus Harisvimin,—‘ anyebhyo dakshixadhuryebhya utkrish-
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2. And as to its being one marked with all colours, it is for the sake of his (the Sacrificer's) obtaining and securing everything, for colour (outward appearance) is everything, and the Asvamedha is everything. And as to its being perfect in speed, it is for the sake of his obtaining and securing vigour, for speed is‘vigour. And as to its being worth a thousand (cows), it is for the sake of his obtaining and securing everything, for a thousand means everything, and the Asvamedha is everything. And as to its being in its prime, it is for the sake of his obtaining unlimited vigour, for such a one that is in the prime (of youth) increases to unlimited vigour. And as to its being without its match under the right-side yoke, it is for the sake of his obtaining yonder (sun), for that (horse) indeed is he that shines yonder, and assuredly there is no one to rival him.
3. As to this, Bhallaveya, however, said, ‘ That horse should be of two colours, black-spotted', for that (horse) was produced from Prag4pati’s eye, and this eye is of two colours, white and black: he thus endows it with its own colour.’
4. But Satyayag Ai said, ‘That horse should be of three colours, its forepart black, its hindpart white, with a wain for its mark in front ;—when its forepart is black it is the same as this black of the eye; and when its hindpart is white it is the same as this white of the eye; and when it has a wain for its mark in front, that is the pupil: such
fah;’ hardly ‘ one which finds no (worthy) yoke-fellow’ (St. Petersb. Dict.). 1 Or, black with some other colour.
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a one, indeed, is perfect in colour'.’ Whichever of these, then, should be ready at hand, either a many-coloured one, or one of two colours, or one of three colours with a wain for its mark, let him slaughter it: but in speed it should certainly be perfect.
’ 5. In front (of the sacrificial ground) there are those keepers of it ready at hand,—to wit, a hundred royal princes, clad in armour; a hundred warriors armed with swords; a hundred sons of heralds and headmen, bearing quivers filled with arrows?; and a hundred sons of attendants® and charioteers, bearing staves;—and a hundred exhausted, worn out horses‘ amongst which, having let loose that (sacrificial horse), they guard it.
6. He then prepares an (ish/i) offering to Savitrz® —a cake on twelve potsherds to Savityz Prasavity¢—thinking, ‘May Savitrz impel this my sacrifice!’ for Savitvz (the sun), indeed, is the impeller (prasavitrz).
7. For this (offering) there are fifteen kindling-
1 One would expect an ‘iti’ here.
He then prepares an (ish/i) offering to Savitrz® —a cake on twelve potsherds to Savityz Prasavity¢—thinking, ‘May Savitrz impel this my sacrifice!’ for Savitvz (the sun), indeed, is the impeller (prasavitrz).
7. For this (offering) there are fifteen kindling-
1 One would expect an ‘iti’ here.
* Or, furnished with bundles of arrows,—ishuparshizah, for which Katy. XX, 2, 11, has ‘kalapinak’ (=saravapanabhastravantak schol.). Harisvamin explains it as if it were equivalent to ‘ishuvarshinah,’ ‘ showering arrows.’
* Harisvamin takes ‘kshttra’ as the body of revenue-officers (tax-gatherers, &c.), ‘dyavyayadhyakshasamfhad.’
‘ That is, according to Harisvamin, over twenty-four years old; his explanation being based on the etymology of ‘nirash‘am’ as ‘outside the eight’ (viz. characteristics of age in horses, each of which is supposed to hold good for three years).
* The three ishfis to Savitri, treated of in paragraphs 6-17, as well as the proceedings subsequent thereto, are repeated every day during the twelvemonth during which the sacred horse is allowed to roam about.
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verses; and the two butter-portions relate to the slaying of Vvztra’, [The verses, Xzg-veda V, 82,9; VII, 45, 1] ‘He who calleth forth all these beings (with his call, may he, Savitvz, quicken us)!’ and ‘ May the divine Savitz come hither, treasure-laden, (filling the air whilst driving with his steeds; holding in his hand many’ things meet for man; and laying to rest and awakening the world), pronounced in a low voice, are the invitatory and offering formulas of the chief oblation. Those of the Svishéakrzt are two virag-verses*. The priests’ fee is gold weighing a hundred (grains): the meaning of this has been explained.
8. Whilst the fore-offerings of this (ish¢i) are being performed, a Brahman lute-player, striking up the uttaramandra (tune’), sings three strophes composed by himself (on topics‘ such as), ‘Such a sacrifice he offered —Such gifts he gave:’ the meaning of this has been explained’.
9. He then prepares a second (offering)—a cake on twelve potsherds to Savitrz Asavitr¢—thinking, ‘May Savitrz propel this my sacrifice!’ for Savitrz, indeed, is the propeller (Asavitrz).
1 See p. 350, note 3. * See p. 351, note 3.
* Or, touching the uttaramandré lute,—literally, the ‘upper deep’ one, i.e. perhaps one the chords of which are pitched in the upper notes of the lower key. Cf. Scholl. on K&ty. XX, 2, 8 uttaramandra 4a giyanaprasiddha ; — uttaramandr4-samgftayan vindyam. Harisvamin does not explain the term.
* Taitt. Br. ITI, 9, 14, 3 mentions three topics—one for each stanza,—viz. ‘ ‘hus (such and such gifts) thou gavest, hus (by such and such sacrifices) thou didst sacrifice, ‘hus thou didst cook (i.e. with such and such food thou didst regale the priests).’
5 See XIII, 1, 5, 6.
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‘ ‘hus (such and such gifts) thou gavest, hus (by such and such sacrifices) thou didst sacrifice, ‘hus thou didst cook (i.e. with such and such food thou didst regale the priests).’
5 See XIII, 1, 5, 6.
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to. For this (offering) there are seventeen kindling-verses; and the two butter-portions are possessed of that which is?: the (truly) existent he thereby obtains. [The verses, Azg-veda V, 82, 5 ; VII, 45, 3,] ‘All troubles, O divine Savitvz, (keep from us, do thou send us that which is good)!’ and‘May that mighty god Savitri (the lord of treasure, send us treasure; shedding wide-spread lustre, may he bestow upon us the joys of mortal life)!’ pronounced in a low voice, are the invitatory and offering formulas of the chief oblation. Those of the Svish/akvzt are two anushfubh verses*. Silver is the priests’ fee,—for the sake of variety of colour, and also for the sake of (the horse’s) going outside? and not going away. It weighs a hundred (grains), for man has a life of a hundred (years), and a hundred energies: it is life, and energy, vigour, he thus secures for himself.
11. Whilst the fore-offerings of this (ish4i) are being performed, a Brahman lute-player, striking up the uttaramandra (tune), sings three strophes composed by himself (on topics such as), ‘Such a sacrifice he offered—Such gifts he gave:’ the meaning of this has been explained.
12. He then prepares a third (offering)—a cake
1 That is, their anuvaky&s contain forms of the root ‘as’ (or ‘bhQ’), to be; cf. p. 352, note 2.
% See XIII, 4, 1, 15, Pp. 353, note 1.
* Viz. going outside the sacrificial ground, and yet not running away from its keepers,—this, according to the text, would be symbolically expressed by the gold (which was given as the priests’ fee for the first offering) giving place to silver at the second offering, but coming in again at the third,
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on twelve potsherds to Savityz Satyaprasava (‘of true impulse’); for that, indeed, is the true impulse which is Savitrz’s: ‘May he impel with true impulse this my sacrifice!’ so he thinks.
on twelve potsherds to Savityz Satyaprasava (‘of true impulse’); for that, indeed, is the true impulse which is Savitrz’s: ‘May he impel with true impulse this my sacrifice!’ so he thinks.
13. For this (ish¢i) there are again seventeen kindling-verses. The two butter-portions are possessed of ‘wealth,’ with a view to his obtaining and securing vigour, for wealth is vigour (strength). [The verses, Aig-veda V, 82,7; IV, 54, 4,) ‘The all-divine, true lord (we hope to gain this day by our hymns, Savitz of true impulsion),’ and ‘Indestructible is that (work) of the divine Savitz, (that he will ever sustain the whole world: whatever he, the fair-fingered, bringeth forth over the extent of the earth and the expanse of the sky, that is truly his own), pronounced in a low voice, are the invitatory and offering formulas of the chief offering. Those of the Svishtak7t (he makes) the regular ones *, thinking, ‘Lest I should depart from the path of sacrifice:’ he thus finally establishes himself in the well-ordered sacrifice. Trishfubhverses they are for the sake of his gaining and securing (Indra’s) energy, vigour, for the Trishéubh is the vigour in Indra. The priests’ fee is gold weighing a hundred (grains): the meaning of this has been explained *.
14. Whilst the fore-offerings of this (ishéi) are
1 That is, their invitatory formulas contain the word ‘rayi’ (wealth). What particular verses are intended here, I do not know. ;
* Viz. the trishfubh-verses Rig-veda X, 2,1; VI, 15, 14; see P. 351, note 3.
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being performed, a Brahman lute-player, striking up the uttaramandr4 (tune), sings three strophes composed by himself (on topics such as), ‘Such a sacrifice he offered,—Such gifts he gave:’ the meaning of this has been explained.
15. When this (offering) is completed, the Adhvaryu and the Sacrificer rise, and whisper in the horse’s right ear (V4g.S. XXII, 19), ‘ Plenteous by thy mother, strengthful by thy father...!’ the meaning of this has been explained’. They then set it free towards the north-east, for that— to wit, the north-east—is the region of both gods and men: they thus consign it to its own region, in order to its suffering no injury, for one who is established in his own home suffers no injury.
16. He says, ‘O ye gods, guardians of the regions, guard ye this horse, consecrated for offering unto the gods!’ The (four kinds of) human guardians of the (four) regions have been told, and these now are the divine ones, to wit, the Apyas, Sadhyas, Anvddhyas? and Maruts; and both of these, gods and men, of one mind, guard it for a year without turning (driving) it back. The reason why they do not turn it back, is that it is he that shines yonder,—and who, forsooth, is able to turn him back ? But were they to turn it back, everything here assuredly would go backward (go to ruin): therefore they guard it without turning it back.
The reason why they do not turn it back, is that it is he that shines yonder,—and who, forsooth, is able to turn him back ? But were they to turn it back, everything here assuredly would go backward (go to ruin): therefore they guard it without turning it back.
17. He says, ‘ Ye guardians of the quarters, those who go on to the end of this (horse-sacrifice) will
1 See XIII, 1, 6, 1 seqq., 3, 7. 1-2 seqq. ? On these divine beings see Weber, Ind. Stud. LX, p. 6, note.
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become (sharers of) the royal power, they will become kings worthy of being consecrated; but those who do not go on to the end of this (sacrifice) will be excluded from royal power, they will not become kings, but nobles and peasants, unworthy of being consecrated: do not ye therefore be heedless, and keep it (the horse) from water suitable for bathing and from mares! And whenever ye meet with any kind of Brahmamas, ask ye them, “ O Brahmazas, how much know ye of the Asvamedha?” and those who know naught thereof ye may despoil; for the Asvamedha is everything, and_he who, whilst being a Brahmaza, knows naught of the Asvamedha, knows naught of anything, he is not a Braéhmama, and as such liable to be despoiled. Ye shall give it drink, and throw down fodder for it; and whatever prepared food there is in the country all that shall be prepared for you. Your abode shall be in the house of a carpenter of these (sacrificers'), for there is the horse’s restingplace.’
TuirRp BRAHMANA.
1. Having set free the horse, he (the Adhvaryu) spreads a cushion wrought of gold (threads) south of the Vedi: thereon the Hotr? seats himself. On the right (south) of the Hotvz, the Sacrificer on a gold stool?; on the right of him, the Brahman
+ Thus Harisvamin,—tesh4m ka yagamfninfm madhye rathak4ro yas tasya grihe yushmfkam vasatat. The plural is probably meant as including the subjects of the king (cf. XI, 8, 4, 1), and the villages within reach of which the horse will roam.
2 At XI, 5, 3, 4; 7 ‘kGréa’ seems to mean a bunch or pad of grass, used as a seat. In the present instance it is explained as
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and Udgatrz on cushions wrought of gold; in front of them, with his face to the west, the Adhvaryu on a gold stool, or a slab of gold.
2. When they are seated together, the Adhvaryu calls upon (the Hot#2), saying, ‘ Hotrz, recount the beings: raise thou this Sacrificer above the beings *!’ Thus called upon, the Hotvz, being about to tell the Pariplava? Legend, addresses (the Adhvaryu), ‘ Adhvaryu !’—‘ Havai* hotar!’ replies the Adhvaryu. *
3. ‘King Manu Vaivasvata, he says ;—‘ his people are Men, and they are staying here‘ ;’— a seat with feet (sapadam dsanam, Schol.on Ké4ty. XX, 2, 19), or as a seat or stool which has the appearance of a pad (pi/ham kOrddkriti, ? i.e. with a pad on it). According to Asv. Sr. X, 6, 10 the king is surrounded by his sons and ministers.
XX, 2, 19), or as a seat or stool which has the appearance of a pad (pi/ham kOrddkriti, ? i.e. with a pad on it). According to Asv. Sr. X, 6, 10 the king is surrounded by his sons and ministers.
1 Or, perhaps, ‘raise this Sacrificer above (or, up to) the things of the past ;’ but see paragraph 15.
* That is, the ‘revolving, recurrent, or cyclic legend,’ so called because it is renewed every ten days during the year.
* Harisvamin explains this interjection, as if it were ‘hvayai’= pratihvayai, ‘1 will respond, I am ready to respond ;’ and, though this is probably a fanciful explanation, the arrangements made on this occasion are clearly such as to suggest a studied resemblance to the call and counter-call of the two priests on all occasions of a solemn utterance of sacrificial formulas, or the recitation of hymns, as at the Pritaranuvaka (part ii, p. 226 seqq.). Katy. XX, 3, 2, accordingly, calls it the Adhvaryu’s ‘pratigara,’ or response, Asv. St. X, 6, 1 3 makes the Adhvaryu’s answer ‘ho hotar’; and Saakh. Sr. XVI, 1 ‘ hoyi hotar.’
* The Hotrs’s utterances on the ten days of the revolving period (as set forth in passages 2-14) occur also, with some variations of detail, in the manuals defining the Hotrz’s duties, viz. the Asvalayana (X, 7) and Saikh4yana (XVI, 2) Sfitras (whilst the works of the Taittirlyakas seem to have nothing corresponding to this performance). Both Sftras omit ‘régé’ each time. Asvalayana, moreover, omits also the ‘iti’ along with it, because he does not interrupt the formula by an insertion, as is done here (ity 4ha)
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householders, unlearned in the scriptures, have come thither’: it is these he instructs ;—‘ The Rik (verses) are the Veda*: this it is;’ thus saying, let him go over a hymn of the A’é, as if reciting it, Masters of lute-players have come and in the Sankh. S. (iti prathame, &c.). Gargya Narayana, on Asv. X, 7, 1, takes the opening words ‘prathame (&c.) shani’ to form part of the formulas :—‘on the first day Manu Vaivasvata (is king); but it is clear from the other two authorities that this cannot have been intended by the author of that Sftra.—The commentator on Sankh. S. XVI, 2 remarks, ‘ Manur Vaivasvato ragety-evam-Adikam 4khyfnam pariplavakhyam prathamahany akashée . . . tasya rag#o manushyé visak prag4s ta ima sate «dy4pi svadharm4n na falanti,’ thus apparently taking ‘rég4’ to form part of the formula, or rather of the topic of which the legend to be recited was to treat. This commentary thus apparently assumes that the legend begins with ‘Manur Vaivasvato rég&’; and that the subsequent clause leads on to the recitation of the Vedic text that is to follow (cf. note on paragraph 8) ;—though possibly this latter clause (as Professor M. Miller seems to take it) may only be an argumentative one, giving the reason why the householders are to be instructed. Cf. M. Miller, Hist. of Anc. Sansk. Lit., Pp. 37 seqq.
note on paragraph 8) ;—though possibly this latter clause (as Professor M. Miller seems to take it) may only be an argumentative one, giving the reason why the householders are to be instructed. Cf. M. Miller, Hist. of Anc. Sansk. Lit., Pp. 37 seqq.
* ‘Householders should be brought thither ’ (i, e. should be made to join this performance) ; Asv.-sfitra. Sikh. has merely ‘ thereby he instructs householders.’ Grihamedhina/ are those who regularly perform the five great domestic sacrifices (mah4yaga).
* Or, more closely, the Veda is the, or consists of, Ark (verses). Sankh. S. reads ‘riko vedah’ (the Veda of the Rrk, gen. sing.) instead of ‘rzkak’ (nom. pl.), and in the subsequent paragraph also, it repeats the word ‘veda’ (Yagurveda, Atharvaveda, Angiraso vedah).
* That is, as would seem,—as if he were to recite it (or, as when he recites it) in the course of the ordinary sacrificial performance—as in Sastras, the Prataranuvaka, &c. The text would, however, also admit of the translation—‘ thus saying, let him go over (the legend) as if he were reciting a hymn of the Az,’ but it is not quite easy to see how a similar interpretation would suit subsequent paragraphs (1 I-14). Moreover, both Asv. and Sankh. omit
‘vyatakshfna iti, and read ‘nigadet, ‘let him recite (a hymn),’
xl KANDA, 4 ADHYAYA, 3 BRAHMANA, 4. 363 thither: these he calls upon, ‘Masters of luteplayers,’ he says, ‘sing ye of this Sacrificer along with righteous kings of yore?!’ and they accordingly sing of him; and in thus singing of him, they make him share the same world with the righteous kings of yore.
4. Having called (on the masters of lute-players), the Adhvaryu performs the Prakrama oblations %, either on the southern fire, or on a footprint of the horse, after drawing lines round it—whichever is the practice there; but the former® is the established rule.
instead of ‘anudravet (let him run, or go, over=anup(irvam ufkarayet, Harisv.).’ Yet, the commentary on S4nkh. supplies the ‘iva,’ explaining as he does, ‘siktam kimkid dkakshina ivanuvadet ;’ from which (if it is not simply quoted from our Br&hmaza) it would almost seem as if he, too, thought of the legend rather than a hymn of the Rk. The verb ‘ vy4-Aaksh,’ as against ‘ni-gad,’ seems to imply a clear articulation—perhaps even with all the stops or pauses, at the end of every half-verse, or pada, as the case might be. Sdyana (on Taitt. Br. II, 2, 1, 4; 2, 6) explains ‘vyAéakshita’ by ‘vispashfam uéAfrayet (or, pa/fet),’ The available MS. of Harisvimin’s commentary on our text is, as usual, incorrect, but as far as it goes, it seems to favour the recitation of the legend at this place,—-‘ vyaéaksh4a iti vikyasas kidan (r. khindan) agais Aabhidad (?) ity artha4,’—which I take to mean that he is to pause after each sentence, as he would do when reciting a hymn.
khindan) agais Aabhidad (?) ity artha4,’—which I take to mean that he is to pause after each sentence, as he would do when reciting a hymn.
} That is, according to Harisvamin,—‘ Compare this Sacrificer in song with the old righteous kings.’ Katy. XX, 3, 8 refers to these latter as ‘ rigarshis,’ or royal sages—in which case the recitation of the legend itself would only come in here.
* For the formulas used with this series of forty-nine oblations, see XIII, 1, 3, 5 with notes thereon.
* Thatis to say, according to Harisvamin, the course of procedure laid down in XIII, 1, 3, 7, according to which these oblations are to be made on the Ahavanfya, and not either on the southern fire, or on a footprint of the horse.
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5. Prior to the (first) offering to Savityz he offers, once only, the (oblations relating to the) Forms? in the Ahavantya fire, whilst going rapidly over (the formulas). And in the evening, whilst the Dhrttis* (oblations for the safe keeping of the horse) are being offered, a Raganya lute-player, striking up the uttaramandré (tune) south (of the vedi), sings three stanzas composed by himself (on topics* such as), ‘Such war he waged,—Such battle he won:’ the meaning of this has been explained.
6. And on the morrow, the second day, after those (three) offerings to Savitvz have been performed in the same way, there is that same course
? That is to say, the Prakramas which are only performed on the first day of the year, whilst the three oblations to Savitr# are repeated each day.
* See XIII, 1, 4, 3; 6,2. These oblations are made just prior to the evening performance of the Agnihotra, when the Ahavantya has been got ready for the latter. The Taittirtyakas seem to make these four oblations on the horse’s feet at the place where the keepers pass the night (viz. the carpenter’s house) during the greater part of the year; and only in the last month, when a stable of Asvattha wood has been put up for the horse near (or on) the offering-ground, these oblations take place on the Ahavantya. See comm. on Taitt. Br. III, 8, 12 (p. 609; cp. p. 700). , At III, 9, 14 (p- 703), on the other hand, it is stated that the RAganya’s singing is to take place in the evening at the time of the Dhrzti-homas.
5 Taitt. Br. Ill, 9, 14, 4, again mentions three topics, one for each stanza—viz. ‘thus (i.e. in the same way as Prithu, Bharata, Bhagtratha, Yudhish/Zira &c., comm.) didst thou overpower (the enemies), thus (i.e. surrounded by heroic warriors, fighting on elephants, steeds, chariots, and on foot, with bows and arrows, spears, swords, &c.) didst thou battle, thus didst thou fight such and such battle (i.e. like Yudhish/Aira, Dushyanta, &c., having engaged in a battle attended by thousands of great heroes, thou, armed only with thy sharp sword, didst slay the king of Kashmir, Magadha, Pundra, &c., comm.).’
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like Yudhish/Aira, Dushyanta, &c., having engaged in a battle attended by thousands of great heroes, thou, armed only with thy sharp sword, didst slay the king of Kashmir, Magadha, Pundra, &c., comm.).’
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of procedure. ‘Adhvaryu!’ he (the Hotz) says.— ‘Havai hotar!’ replies the Adhvaryu.—‘ King Yama Vaivasvata', he (the Hotvz) says, ‘his people are the Fathers, and they are staying here ;’—old men have come thither: it is these he instructs ;—‘ The Yagus-formulas are the Veda: this it is;’ thus saying, let him go over a chapter (anuvaka) of the Yagus’, as if reciting it. The Adhvaryu calls in the same way (on the masters of lute-players), but does not perform the Prakrama oblations.
7. And on the third day, after those (three) offerings have been performed in the same way, there is that same course of procedure. ‘ Adhvaryu!’ he (the Hotz) says——‘ Havai hotar!’ replies the Adhvaryu.— King Varuza Aditya, he says; ‘his people are the Gandharvas, and they are staying here ;’—handsome youths have come thither: it is these he instructs;—‘ The Atharvans are the Veda: this it is;’ thus saying, let him go over one section (parvan) of the Atharvan 3, as if reciting
1 When the comm. on Sankh. S. remarks, ‘Yamo Vaivasvato ragety 4heti divitlya evahani Satapathe darsanat,’ this would seem to refer to the addition of either ‘ r4g4,’ or ‘ahani,’ but not to any legend of Y. V., since such a one does not occur in this work ; though various passages in the Rk might no doubt have sufficed to construct some such legend as would have served on this occasion.
* The same commentator refers to the ‘ Asvamedhika’ as the section to be recited,—‘ prakaramft,’ because of the treatment (therein of this subject).
* Instead of ‘atharvanfm ekam parva,’ the Sankh. S. has ‘bheshagam (medicine), which the commentator—against the opinion of those who take it to mean the hymn Rig-veda X, 97 (treating of the magic powers of herbs)—makes a special work of the Atharvaikas; whilst the Asv. S. reads‘ yad bheshagam nisantamp. 366 it. The Adhvaryu calls in the same way (on the masters of lute-players), but does not perform the Prakrama oblations.
8. And on the fourth day, after those (three) offerings have been performed in the same way, there is the same course of procedure. ‘ Adhvaryu!’ he (the Hotv2) says.—‘ Havai hotar!’ replies the Adhvaryu.—‘ King Soma Vaish#ava!,’ he says; ‘his people are the Apsaras, and they are staying here ;’—handsome maidens have come thither : it is these he instructs ?;—‘ The Angiras are the Veda: this it is;’ thus saying, let him go over one section of the Angiras’, as if reciting it. The Adhvaryu calls in the same way (on the masters of luteplayers), but does not perform the Prakrama oblations.
9. And on the fifth day, after those (three) offerings have been performed in the same way, there is the same course of procedure. ‘Adhvaryu!’ he (the Hotvz) says.—‘ Havai hotar!’ replies the
9. And on the fifth day, after those (three) offerings have been performed in the same way, there is the same course of procedure. ‘Adhvaryu!’ he (the Hotvz) says.—‘ Havai hotar!’ replies the syat tan nigadet’—‘ let him tell some approved medicine (i.e. some specific, or charm against disease).’
1 The comm. on Saakh. S. remarks, ‘Somo Vaishzava iti katurthe; Somo Vaishnavo rAgeti Satapathasrutek; pratikagraham4ny et&ni.’ This seems to show clearly that he takes this as merely the opening words of the legend. Here, again, his words can hardly be taken to refer to a legend regarding Soma in the Satapatha-Brahmana.
2 ¢Yuvatiz sobhan4 upadisati, tasyaitah (? tasyaitabhyas) sabhayam anydsém apravesat,’ comm. on Sankh. S.,—? because no other (Apsaras) but these come to his court.
* The Sankh. S, has ‘let him recite the Ghora’—which the commentator again takes to be the title of a special work of the Atharvans—whilst the Asv. S, reads ‘let him recite some approved ghora (magic spell or operation).’
xml KANDA, 4 ADHYAYA, 3 BRAHMANA, 10. 367
Adhvaryu.—‘ King Arbuda KdA4draveya?, he says; ‘his people are the Snakes, and they are staying here;’—both snakes and snake-charmers? have come thither: it is these he instructs ;—‘ The Sarpavidya (science of snakes) is the Veda: this it is;’ thus saying, let him go over one section of the Sarpavidy4® as if reciting it. The Adhvaryu calls in the same way (on the masters of luteplayers), but does not perform the Prakrama oblations.
10. And on the sixth day, after those (three) offerings have been performed in the same way, there is the same course of procedure. ‘Adhvaryu!’ he (the Hotz) says.—‘ Havai hotar!’ replies the Adhvaryu.— King Kubera Vaisravaza,’ he says; ‘his people are the Rakshas, and they are staying here ; ’—evil-doers, robbers‘, have come thither: it
1 *«Arbudak KAdraveyo rfgety 4heti srute# (thus also on the name of the next king),’ comm. on Sankh. S.
* Lit. ‘(men) knowing about snakes’—which the comm. on Asv. S. explains by ‘ those knowing the K4syaptya and other treatises (tantra) on venoms.’ Instead of the conjunctive double ‘ 4a,’ the Sankh.S. hasa single ‘va’—the snakes, or (rather) snake-charmers— and Asv. S. an explanatory ‘ iti’—the snakes, i.e. snake-charmers.
* The S4nkh. S. has, ‘let him recite the Sarpavidy4’ (i. e. either the Garuda or Kankanty4 sarpavidy4, as the comm. explains); the Asv. S. ‘let him recite the Vishavidya (science of venoms). 4
4 The etymology and exact meaning of ‘ selaga’ is doubtful :— here, again, whilst ‘ papakritak’ is added either appositionally, or attributively (wicked selagas), the Sankh. S. adds it by means of ‘ vA,’ and the Asv. S, by ‘iti’—both apparently meant in an explanatory sense. The Ait. Br., on the other hand, has VII, 1, ‘selag4 va papakrito va ;’ and VIII, 11, ‘nishada va selaga va papakrito va.’ The comm. on Asv. S. explains ‘selaga’ by ‘maddened by a snake ;’ the comm. on Sankh. S. by ‘selagis senyagdyanyas (?) pipakrsto va mlekhas,’
The Ait. Br., on the other hand, has VII, 1, ‘selag4 va papakrito va ;’ and VIII, 11, ‘nishada va selaga va papakrito va.’ The comm. on Asv. S. explains ‘selaga’ by ‘maddened by a snake ;’ the comm. on Sankh. S. by ‘selagis senyagdyanyas (?) pipakrsto va mlekhas,’
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is these he instructs;—‘The Devaganavidya' (demonology) is the Veda: this it is;’ thus saying, let him go over one section of the Devaganavidyaé, as if he were reciting it. The Adhvaryu calls in the same way (on the masters of lute-players), but does not perform the Prakrama oblations.
11. And on the seventh day, after those (three) offerings have been performed in the same way, there is the same course of procedure. ‘Adhvaryu!’ he (the Hotv2) says.—‘ Havai hotar!’ replies the Adhvaryu.— King Asita Dhanva’,’ he says; ‘his people are the Asura; and they are staying here ;’—usurers have come thither: it is these he instructs ;—‘ Magic® is the Veda: this it is;’ thus saying, let him perform some magic trick. The Adhvaryu calls in the same way (on the masters of lute-players), but does not perform the Prakrama oblations.
12. And on the eighth day, after those (three) offerings have been performed in the same way, there is the same course of procedure. ‘Adhvaryu!’ he (the Hotvz) says.—‘ Havai hotar!’ replies the
1 That is, the science, or knowledge of the divine (or supernatural) beings. The S4nkh. S. has, ‘the Rakshovidya is the Veda, ... "Jet him recite the Rakshovidya’—on which the commentator remarks
‘ prasiddhaiva kuhukur(ipé rakshovidyeti.’ (?=‘kuhakar(p4,’ cheats, or deceitful imps). Asv. S. has ‘yat kiméit pisitasamyuktase nisantam,’ ‘ some approved (spell or operation ?) connected with the Pisizas, or demons.’ * Sankh. S. has ‘ Asita Dhanvana.’ $ The two Sfitras read ‘ Asuravidy4 ’—asuravidyendragaladinaé ‘tannirdesin m4yém api kaméit kury4d anguliny4sarip4m (‘a trick by sleight of hand,’ M. Maller), comm. on Saakh. S. On ‘indragalavidy4’ (‘magic art, trickery’), cf. Dasakum., p. 25, |. 12. The association of the black art with the usurer or money-lender (kusfdin) is rather curious.
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Adhvaryu.—‘ King Matsya SAmmada},’ he says; ‘his people are the water-dwellers, and they are staying here;’—both fish and fishermen? have come thither: it is these he instructs ;—‘the Itihasa*® is the Veda: this it is;’ thus saying, let him tell some Itihasa. The Adhvaryu calls in the same way (on the masters of lute-players), but does not perform the Prakrama oblations.
have come thither: it is these he instructs ;—‘the Itihasa*® is the Veda: this it is;’ thus saying, let him tell some Itihasa. The Adhvaryu calls in the same way (on the masters of lute-players), but does not perform the Prakrama oblations.
13. And on the ninth day, after those (three) offerings have been performed in the same way, there is the same course of procedure. ‘Adhvaryu!’ he (the Hotvz) says.—‘ Havai hotar!’ replies the Adhvaryu.u— King T4Arkshya Vaipasyata‘, he says; ‘his people are the Birds, and they are staying here ;’—both birds and bird-catchers ® have come thither: it is these he instructs;—‘ the Purdza® is the Veda: this it is;’ thus saying, let him tell some Pur4va*. The Adhvaryu calls
1 “Matsyak S4mmada ity ashfame, Matsyak Sammado régeti sruteh pratikagrahamam etat,’ comm. on Sankh. S.
* « G&tisambandhena matsyavido va, mainikin p&shinAdiviseshavikalp4n vidanti ye tan v4,’ comm. on Sankh. S.
* Regarding the Itih4sa (cosmogonic account) and Puraza (ancient legend), see p. 98, note 4.. The Asv. S. connects the Itih4sa with the ninth, and the Purfza with the eighth day. ‘ Itihdsam 4fakshita, itihasavedasya prithagbh4vena darsanft,’ comm. on S4nkh. S.
‘ Asv. S. has TArkshya Vaipastita——‘ Tarkshyo Vaipasyato ragety dheti pratika(m) sruted,’ comm. on Sankh. S.
5 Lit., men acquainted with the science of birds (vayovidyika). The two Sfittras, on the other hand, here identify the birds with ‘brahmaf4rizaf,’ or religious students.
* According to the comm. on Sankh. S.,it is the Vayupuraza (puranam vayuproktam) that is to be recited (from),and not the hymn Rigveda X, 130 (‘tasya vedaikadesatvat’). This hymn is probably Teferred to in this connection chiefly on account of the passage ‘yagile gate purfixe ’ in verse 6.
(44) Bbp. 370 in the same way (on the masters of lute-players), but does not perform the Prakrama oblations.
14. And on the tenth day, after those (three) offerings have been performed in the same way, there is the same course of procedure. ‘Adhvaryu!’ he (the Hotz) says.—‘ Havai hotar!’ replies the Adhvaryu. King Dharma Indra’, he says, ‘his people are the Gods, and they are staying here ;'— learned srotriyas (theologians), accepting no gifts °, have come thither: it is these he instructs; ‘the S4man (chant-texts) are the Veda: this it is;’ thus saying, let him repeat* a decade of the S4man. The Adhvaryu calls in the same way (on the masters of lute-players), but does not perform the Prakrama oblations.
The Adhvaryu calls in the same way (on the masters of lute-players), but does not perform the Prakrama oblations.
15. [In telling] this revolving (legend), he tells all royalties, all regions, all Vedas, all gods, all beings; and, verily, for whomsoever the Hotzr#, knowing this, tells this revolving legend, or whosoever even knows this, attains to fellowship and communion with these royalties, gains the sovereign rule and lordship over all people, secures for himself all the Vedas, and, by gratifying the gods, finally establishes himself on all beings. This very same legend revolves again and again for a year; and inasmuch as it revolves again and again, therefore
1 «Dharma Indra iti dasame, Dharma Indro ragety dheti Satapathe pratfkadarsanat,’ comm. on Sankh. S.
* The two Sfitras still further qualify them as ‘ young srotriyas who accept no gifts,’ ‘manu(shya)dev4 hi ta ity abhipray4t,’ comm. on Sankh.; cp. Sat. Br. II, 2, 2, 6, ‘ye brahmaz&h susruvamso snfifands te manushyadev4t.’
* The text has ‘ brfy4t,’ ‘let him say;’ whilst the two Sfitras read ‘sima gayat,’ ‘let him sing a Saman’ (‘yat kiméid anindyam evisvamedhikam v4 prakaran&t,’ comm. on Saakh. S.).
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it is (called) the revolving (legend), For thirty-six ten-days’ periods he tells it,—the Brzhatt (metre) consists of thirty-six syllables, and cattle are related to the Brzhatt metre: by means of the Brzhatt he thus secures cattle for him.
FourtH BRAHMANA.
1. When the year has expired', the Dtksha (initiation) takes place. After the slaughtering of the victim sacred to PragApati *, the (ish¢i) offerings * come to an end. Some, however, say, ‘Let him offer (them) on the fires of his Purohita (courtchaplain). But why should one who is initiated make offering ? There are twelve Dtksh4 (days), twelve Upasad (days) and three Suty4s (Soma-days), that amounts to the thrice-ninefold (stoma); but the thrice-ninefold, indeed, is a thunderbolt, and the horse is the nobility (kshatra), and the Raganya is the nobility; and political power (kshatra) is won by the thunderbolt: thus he wins‘ political power by means of the thunderbolt.
2. When the Initiation-offering has been completed, and Speech released in the evening, masters
1 Viz. from the day of the setting free the horse, not from that of the mess of rice cooked for the four priests.
3 That is, according to the comm., the he-goat offered to PragApati (along with one, or five, to Vayu) in connection with the building of the fire-altar (which is required for the Asvamedha), see part iii, pp. 165 seqq., 171 seqq. The building of the altar, generally occupying the space of a year, is apparently compressed on this occasion within the time of the Diksh4 and Upasads,
® Viz. the three ishsis to Savitrz’ performed daily throughout the year.
« One would expect here the middle (sprisute) instead of the active (sprinoti) ; cf. Delbrtick, Altind. Syntax, p. 259.
Bb2
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the three ishsis to Savitrz’ performed daily throughout the year.
« One would expect here the middle (sprisute) instead of the active (sprinoti) ; cf. Delbrtick, Altind. Syntax, p. 259.
Bb2
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of lute-players have come thither: these the Adhvaryu calls upon, ‘ Masters of lute-players,’ he says, ‘sing ye of this Sacrificer along with the gods!’ and they accordingly sing of him in that manner—
3. Day by day, after speech has been released, when, on the completion of the Agntshomtya (animal sacrifices), the Vasattvart (water) has been carried round? (the sacrificial ground). The reason why they thus sing of him along with the gods is that they thereby make him share the same world with the gods.
4. On the Sutyd-days (they sing of him) along with Pragdpati in the same way day by day, after the Vasativari (water) has been carried round *, and the Udavasaniy4 (offering) has been finally completed. The reason why they thus sing of him
? See part ii, p. 222 seqq. Whilst there the offering of a hegoat to Agni and Soma took place on the Upavasatha, or day before the Sutya or Soma-day, on the present occasion these preliminary animal sacrifices would also seem to be performed on each day from the completion of the Dtksh4 up to the Upavasatha day inclusive (? i.e.on the Upasad days, cf. Katy. Sr. XX. 3, 9; 4, 21). Moreover, though technically called Agnishomiya, the sacrifice—on the Upavasatha day, at all events (XIII, 4, 4, 11)—is not one of a single he-goat sacred to Agni and Soma, but a set of eleven victims distributed over the central eleven stakes (of which twenty-one are required on the Soma-days) in the manner explaiucd in ITI, 9, 1, 1 seqq.
* That is, at the end of each of the three Soma-sacrifices, see part ii, p.454. The Udavasiniy4 (completing offering) takes place before the carrying round of the sacred water (ib. p. 389 seqq.). According to Katy. XX, 3, ro—11, however, this singing of the Sacrificer’s praises along with those of Prag&pati is to take place not only at the juncture specified in the text, but also at the beginning of the animal sacrifice of the Soma-days, that is, as would seem, prior to the slaying of the victims, at the morning pressing. The wording of our text seems hardly to admit of this interpretation.
xl KANDA, 4 ADHYAYA, 4 BRAHMANA, 7. 373 along with Pragdpati is that they thereby finally make him share the same world with Pragdpati.
5. There are twenty-one sacrificial stakes, all of them twenty-one cubits long. The central one? is of raggud4la* wood; on both sides thereof stand two* pitud4ru (deodar) ones, six of bilva wood (Aegle Marmelos)—three on this side, and three on that,—six of khadira (Acacia Catechu) wood— three on this side, and three on that,—six of palasa (Butea frondosa) wood—three on this side, and three on that.
6. Then as to why these stakes are suchlike. When Pragdpati’s vital airs had gone out of him, his body began to swell; and what phlegm there was in it that flowed together and burst forth from inside through the nose, and it became this tree, the raggud4la, whence it is viscid, for it originated from phlegm: with that form (quality) he thus endows it (the stake). And as to why it is the (stake) standing by the fire, it is because that one is the centre of the stakes, and that nose is the centre of the (channels of the) vital airs: he thus puts it in its own place.
7. And what watery (liquid) fire, and what fragrance there was, that flowed together and
' That is, the so-called ‘agnishéfa,’ ‘ standing by (or opposite) the (Ahavantya) fire.’ Cp. p. 301, note 1.
2 The raggud4la (or raggudala, Say. on Taitt. Br. III, 8, 19, 1) or ‘ sleshmftaka’ is the Cordia Myxa or C. latifolia, from the bark of which (according to Stewart and Brandis, Forest Flora of N.W. and Centr. India) ropes (raggu) are made, whence doubtless the above, as well as its scientific name, is derived; whilst ‘ the adhesive viscid pulp is used as bird-lime.’
5 That is, one on each side, right and left.
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burst forth from the eye, and became that tree, the pttudaru ; whence that (wood) is sweet-smelling, since it originated from fragrance, and whence it is inflammable, since it originated from fire: with that quality he thus endows it. And because these two (pttuddru stakes) are on the two sides of the central one, therefore these two eyes are on the two sides of the nose: he thus puts those two in their own place.
8. And what ‘ kuntApa',’ what marrow there was, that flowed together, and burst forth from the ear, and became that tree, the bilva; whence all the fruit of that (tree) is eatable* inside, and whence it (the tree, or wood) is yellowish, for marrow is yellowish: with that quality he thus endows it. The two (sets of) pttud4ru (stakes) stand inside, and the bilva ones outside, for the eyes are inside, and the ears outside: he thus puts them in their own place.
9. From his (PragApati’s) bones the khadira was produced, whence that (tree) is hard and of great strength *, for hard, as it were, is bone: with that quality he thus endows it. The bilva (stakes) are
1 See p. 164, note 1. It would certainly seem to be something connected with the spinal cord.
* According to Stewart and Brandis, the Aegle Marmelos is cultivated throughout India, and valued for its fruit, which is ‘globose, oblong, or pyriform, 2 to 5 in. diam., with a smooth, grey or yellow rind, and a thick, orange-coloured, sweet aromatic pulp.’ The flowers are stated to be greenish white, and ‘the wood light-coloured, mottled with darker wavy lines and small lightcoloured dots.’
diam., with a smooth, grey or yellow rind, and a thick, orange-coloured, sweet aromatic pulp.’ The flowers are stated to be greenish white, and ‘the wood light-coloured, mottled with darker wavy lines and small lightcoloured dots.’
’ The wood of Acacia Catechu is described as dark red, and extremely hard and durable, and hence not liable to be attacked by white ants, and not touched by Teredo navalis; being much used for pestles, seed-crushers, cotton-rollers, wheel-wright’s work, ploughs, bows, spear and sword-handles.
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inside, and the khadira ones outside, for inside is the marrow, and outside the bones: he thus puts them in their own place.
10. From his flesh the palasa was produced, whence that (tree) has much juice, and (that) red juice}, for red, as it were, is flesh: with that quality he thus endows it. The khadira (stakes) are inside, and the paldsa ones outside, for inside are the bones, and outside is the flesh: he thus puts them in their own place.
11. And as to why there are twenty-one (stakes), twenty-one cubits long,—twenty-one-fold, indeed, is he that shines yonder *—there are twelve months, five seasons, these three worlds, and yonder sun is the twenty-first, and he is the Asvamedha, and this Pragdpati. Having thus completely restored this Pragapati, the sacrifice, he therein seizes twenty-one Agntshomtya victims: for these there is one and the same performance, and this is the performance of the day before (the first Suty4).
Firtuy ApuyAya. First BRAHMANA.
Tue StToTras AND SASTRAS OF THE SOMA-DAYS.
1. Then, on the morrow, there is (used) Gotama’s Stoma (form of chanting) successively increasing by four (verses)*?: the Bahishpavamdna thereof is on four, the Agya (stotras) on eight, the Madhyandina Pavamana on twelve, the Pvzsh¢ka (stotras) onp. 376 sixteen, the Arbhava Pavamana on twenty, and the Agnish¢éoma-sAman on twenty-four (verses).
1 ¢From natural fissures and incisions made in the bark (of Butea frondosa) issues during the hot season a red juice, which soon hardens into a ruby-coloured, brittle, astringent gum, similar to kino, and sold as Bengal kino.’ Stewart and Brandis.
* See p. 331, note 1.
* Regarding the Xatush/oma, see p. 329, note 1.
2. Now, some make its Agnish¢oma-sAman a SAman of four (verses), saying, ‘It is neither an Agnish¢oma, nor an Ukthya'.’ If they do so, let him (the Hotz),
329, note 1.
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sixteen, the Arbhava Pavamana on twenty, and the Agnish¢éoma-sAman on twenty-four (verses).
2. Now, some make its Agnish¢oma-sAman a SAman of four (verses), saying, ‘It is neither an Agnish¢oma, nor an Ukthya'.’ If they do so, let him (the Hotz),
" According to the practice here referred to, the Agnishfomasiman would not consist merely of the one triplet (usually Samay. II, 53-4, i.e. the so-called yag#4yagaiya triplet) ordinarily used for it, but of four different SAmans, inasmuch as three of the triplets which may be used for the Uktha-stotras (of the Ukthya and other sacrifices) are added to that yag#4yagfiya triplet. In that case, however, the latter is not chanted to its own ‘yag#ayag#iya’ tune, but the V4ravantiya tune is used for all the four triplets. This practice is somewhat vaguely referred to in TAndya-Br. XIX, 5, 10-11. ‘One Séman (tune), many metres (texts): therefore one (man) feeds many creatures. Verily, the Agnishfoma (sdman) is the self, and the metres (hymn-texts) are cattle: he thus secures cattle for his own self. It is neither an Ukthya nor an Agnishfoma (sacrifice), for cattle are neither (entirely) domestic nor wild (viz. because though kept “in the village,” they also freely graze “in the forest ”).’ Here the passage ‘One Saman, many metres,’ according to the commentary, refers to the Véravantiya tune as being employed, on this occasion, for the texts of the Yag#ayagftya, the Sakamasva (II, 55-57, here the Calc. ed., by mistake, calls the second tune figured for chanting, like the first, Sakamasva, instead of V4ravantfya), the Saubhara (II, 230-2, where the Calc. ed., by mistake, omits the name Varavantiya), and the Tairaséa (II, 233-5 ; curiously enough, the Tairaska is not mentioned, in Laty. Sr. VIII, 9-10, amongst the SAmans that may be used for the third—or the AAkAavaka’s—Uktha, but Sdyasa, on SAmav. II, 233, states distinctly, ‘tairaskam trittyam uktham’). Whilst, as Uktha-stotras, the last three texts would usually be chanted in the ekavimsa, or twentyone-versed form, in the present instance, as part of the 4atush/oma, they would be chanted (along with the Yag#4yag@tya) in the twentyfour-versed form. Thus, though an Agnishfoma sacrifice, inasmuch __ as it has twelve stotras, yet it is not a regular one; neither is it an
Ukthya, because the Ukthas are not chanted as so many Stotras, followed by the recitation of separate Sastras. In the Asv. Sr. X, 6, different alternatives are proposed for the chanting of the Agnishp. 377after reciting the Stotriya! (strophe) together, recite the Anurdpa (strophe) together: the Rathantara’ Présh¢ha-siman ?, the Sastra containing the Rathantara (text), and the Agnishéoma sacrifice—thereby he makes sure of this world.
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after reciting the Stotriya! (strophe) together, recite the Anurdpa (strophe) together: the Rathantara’ Présh¢ha-siman ?, the Sastra containing the Rathantara (text), and the Agnishéoma sacrifice—thereby he makes sure of this world.
3. ‘There are twenty-one Savantya ® victims, all of them sacred to Agni: for these there is one and the same performance,’ so say some; but, indeed, he should immolate two sets of eleven (victims), with the view of his obtainment of whatever desired object there may be in (victims) belonging to a set of eleven.
4. When the Agnishfoma is completed, and the Vasativart water carried round, the Adhvaryu performs the Annahomas‘ (oblations of food): the import of these has been explained. With twelve foma-séman in the ‘Gotamastoma (i.e. Xatush/oma) antarukthya’ and the corresponding Sastra, including apparently the employment of the Yag#ayagf#iya-sfman either for all the four triplets, or for the Yag#ayagatya triplet alone with the respective Samans used for the other triplets; different modes of recitation being thereby implied with regard to the Stotriya and Anurfpa pragathas.
1 For the Agnimé4ruta-sastra, recited by the Hotri after the chanting of the Agnishfoma-sdman, and containing, amongst various hymns and detached verses, the triplet which forms the text of the Stotra, i. e. the ‘ Stotriya pragftha,’ as well as a corresponding antistrophe, the ‘Anurftpa prag4tha,’ see part ii, p. 369 note. On the present occasion, however, this constituent element of the Sastra would have to include the triplets of all the four Sémans, as well as four ‘antistrophes’ which are thus ‘ recited together.’
* Or, Prishéha-stotra, viz. the first stotra of that name at the midday-service, for which that Séman is used in the Agnishfoma sacrifice (part ii, p. 339, note 2).
° That is, victims sacrificed on the Suty4s, or Soma-days. Two complete sets of eleven such victims are, however, required on each of the three days, see p. 309, note a.
* See XIII, 2, 1, 1 seqq., and p. 297, note 1.
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Anuvakas (V4g. S. XXII, 23-34), ‘To the inbreathing hail! To the off-breathing hail!’ ... (he offers)—twelve months are a year, and the year is everything, and the Asvamedha is everything: thus it is for his obtaining and securing everything.
5. The central day is an ekavimsa day'; for the twenty-one-fold is yonder sun, and he is the Asvamedha: by means of his own Stoma he thus establishes him in his own deity,—therefore it is an ekavimsa day.
6. And, again, as to why it is an ekavimsa day ;— man is twenty-one-fold—ten fingers, ten toes, and the body (self) as the twenty-first: by means of that twenty-one-fold self he thus establishes him in the twenty-one-fold (day) as on a firm foundation, —therefore it is an ekavimsa day.
6. And, again, as to why it is an ekavimsa day ;— man is twenty-one-fold—ten fingers, ten toes, and the body (self) as the twenty-first: by means of that twenty-one-fold self he thus establishes him in the twenty-one-fold (day) as on a firm foundation, —therefore it is an ekavimsa day.
7. And, again, as to why it is an ekavimesa day ;— the ekavimsa, assuredly, is the foundation of Stomas, and manifold is that ever-varying performance which takes place on this day,—and it is because he thinks that that manifold and ever-varying performance which takes place on this day, shall take place so as to be established on the ekavimsa as a firm foundation, that this is an ekavimsa day.
8. Now, as to the morning-service of this day. The Hotr?, having recited as the Agya (hymn?) in the Pankti (metre) ‘Agni I think on, who is good...,' recites thereto the one of a one-day’s
1 That is one on which all Stotras are chanted in the ‘ ekavisesa’ Stoma, or twenty-one-versed hymn-form. .
2 Viz. Rig-veda V, 6, forming the special feature of the Agyasastra at the Asvamedha.
xitl KANDA, 5 ADHYAYA, I BRAHMANA, 6. 379
Soma-sacrifice!. And the Barhata Praiiga and the MadhuéZandasa one he recites both together® in triplets—(this being done) for the obtainment of the objects of desire which (may be contained) both in the Barhata and the Madhué/andasa Pratiga. The morning-service is (thus) set right.
9. Then as to the midday-service. For the obtainment of the Asvamedha, the atié/andas (verse, II, 22, 1), ‘In the three troughs the buffalo drank the barley-draught, is the opening verse of the Marutvattya (sastra); for outstanding, indeed, is this atiésandas (hypercatalectic verse) amongst metres, and outstanding is the Asvamedha amongst sacrifices. This (verse), being recited thrice, amounts to a triplet, and thereby he obtains the object of desire which (may be contained) in the triplet. ‘Here, O good one, is the pressed plant’ (Aig-veda VIII, 2, 1-3) is the ‘anuéfara’ (sequent triplet): this same (triplet) is the constant
1 Viz. the Agya-sikta, Rig-veda III, 13, forming the chief part of the Hotr:’s Agya-sastra, or first Sastra of the Agnishfoma, for which see part ii, p. 327 note.