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Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1the Marutvatlya, has been explained. Now follow the verses which are new and peculiar to the Marutvatfya of the Mahévrata. 1 ARANYAKA, 2 ADHYAYA, 2 KHANDA, 8. 169 is truth, and as endowed with the word satya, truth, the form of this day is perfect 1. 2. That hymn is composed by Vasukra. Verily, Vasukra is Brahman, and that day is Brahman. Thus he obtains Brahman by means of Brahman *. 3. Here they say: ‘Why then is that Marutvatiya hymn completed by the hymn of Vasukra?’ Surely because no other Azshi but Vasukra brought out a Marutvattya hymn, or divided it properly’. There fore that Marutvattya hymn is completed by the hymn of Vasukra. 4. That hymn, asat su me, is not definitely addressed to any deity, and is therefore supposed to be addressed to Pragapati. Verily, Pragdpati is indefinite, and therefore the hymn serves to win PragApati. 5. Once in the hymn (Rv. X, 27, 22) he defines Indra (indraya sunvat); therefore it does not fall off from its form, as connected with Indra. 6. He recites the hymn (Rv. VI, 17, 1) piba somam abhi yam ugra tarda&. 7. In the verse frvam gavyam mahi g7vzmana indra the word mahi, great, occurs. Endowed with the word mahat, the form of this day is perfect. 8. That hymn is composed by Bharadvaga, and Bharadvaga was he who knew most, who lived longest, and performed the greatest austerities among the Azshis, and by this hymn he drove away evil. Therefore if he recites the hymn of Bharadvaga, 1 The commentator endeavours to make the meaning more natural by taking in the word prahant4, he who kills the destroyer of truth. But considering the general character of these remarks, this is hardly necessary. 2 Cf. I, 1, 3, 3. * By separating the first tr7ka from the second, and so forth. 170 AITAREYA-ARANYAKA. then, after having driven away evil, he becomes learned, long-lived, and full of austerities. . 9. He recites the hymn kay4 subha savayasah sanilaz (Rv. I, 165, 1). 10. In the verse 4 sdsate prati haryanty uktha (Rv. I, 165, 4) the word uktha occurs. Verily, that day (the mah4vrata) is uktha (hymn). Endowed with the word uktha, the form of this day becomes perfect. 11, That hymn is called Kay4subhtya'. Verily, that hymn, which is called Kaydsubhtya, is mutual understanding and it is lasting. By means of it Indra, Agastya, and the Maruts came to a mutual understanding. Therefore, if he recites the Kay4subhiya hymn, it serves for mutual understanding. 12. The same hymn is also long life. Therefore, if the sacrificer is dear to the Hotzz, let him recite the Kaydsubhiya hymn for him. 13. He recites the hymn marutvaz indra vvzshabo ranaya (Rv. III, 47, 1). 14. In it the words indra vrzshabha (powerful) occur. Verily, powerful is a form of Indra’, this day belongs to Indra, and this is the perfect form of that day. 15. That hymn is composed by Visvamitra. Verily, Visvamitra was the friend (mitra) of all (visva).
2III, 47, 1). 14. In it the words indra vrzshabha (powerful) occur. Verily, powerful is a form of Indra’, this day belongs to Indra, and this is the perfect form of that day. 15. That hymn is composed by Visvamitra. Verily, Visvamitra was the friend (mitra) of all (visva). 16. Everybody is the friend of him who knows this, and for whom a Hotz? priest who knows this, recites this hymn. 17. The next hymn, ganish/#4 ugra% sahase turaya (Rv. I, 73, 1), forms a Nividdh4na’, and, 1 Cf. Ait. Brahm. V, 16. 2 Cf. Ait. Ar. II, 2, 1, 8. ® The hymn consists of eleven verses. In the middle, after the sixth verse, nivids or invocations, such as indro marutv4n, are inserted, and therefore it is called a nividdhana hymn. 1 ARANYAKA, 2 ADHYAYA, 2 KHANDA, 18. 171 according to the one-day (ekaha) ceremonial, is perfect in form. On that day much is done now and then which has to be hidden, and has to be atoned for (by recitation of hymns). Atonement is rest, the one-day sacrifice. Therefore at the end of the year (on the last day but one of the sacrifice that lasts a whole year) the sacrificers rest on this atonement as their rest. He who knows this rests firm, and they also for whom a Hotvz priest who knows this, recites this hymn }. 18. These, if recited straight on, are ninety-seven verses*, The ninety are three Virag, each consisting of thirty, and then the seven verses which are over. Whatever is the praise of the seven, is the praise of ninety also. 1 With this hymn the Marutvatiya-sastra is finished. All the hymns from 4 tv4 ratham to asat su me garitar are simply taken over from the Xaturvimsa ceremonial, the rest are peculiar to the Mahfvrata day, the day preceding the Udayaniya or final day of the Gavamayana sattra, All this is more fully described in the fifth Aranyaka (V, 1, 1, 8), containing the Sfitras or rules of Saunaka, while the earlier Aranyakas are reckoned as Brahmamas, and are therefore mixed up with matters not actually required for the performance of the sacrifice. ? The first Stotriya and Anurfipa trikas= . . . 6 (1,2, 1, 1). The six Pragathas, each of 2 verses raised to 3 (but the text gives seven Pragfthas) = . . 18 (1,2,1,33 43 53 6; 11; 12313). Three Dhayy4s = . . - 3(,2,1,7; 8; 9). . Asatsu= . . . . . 24(I, 2, 2, 1). Piba somam= . . . 15 (I, 2, 2, 6). Kaya subha= . . . 15 (I, 2, 2, 9). Marutvas indra = . . . 5(I, 2, 2, 13). Ganish/hé ugrah =. . . ir (I, 2, 2,17). a 172 AITAREYA-ARANYAKA. 19. By repeating the first and last verses three times each, they become one hundred and one verses. 20. There are five fingers, of four joints each, two pits (in the elbow and the arm), the arm, the eye, the shoulder-blade ; this makes twenty-five. The other three parts have likewise twenty-five each’. That makes a hundred, and the trunk is the one hundred and first. 21. Hundred is life, health, strength, brightness. The sacrificer as the one hundred and first rests in life, health, strength, and brightness.
3The other three parts have likewise twenty-five each’. That makes a hundred, and the trunk is the one hundred and first. 21. Hundred is life, health, strength, brightness. The sacrificer as the one hundred and first rests in life, health, strength, and brightness. 22. These verses become Trishéubh?, for the noonday-libation consists of Trish¢ubh verses. Tuirp Kuanpa 8, 1. They say: ‘What is the meaning of prenkha, swing ?’ Verily, he is the swing, who blows (the wind). He indeed goes forward (pra+inkhate) in these worlds, and that is why the swing is called prenkha. 2. Some say, that there should be one plank, because the wind blows in one way, and it should be like the wind. 3. That is not to be regarded. 4. Some say, there should be three planks, because there are these three threefold worlds, and it should be like them. 1 The left side as well as the right, and then the left and right side of the lower body. Thus we have twenty joints of the five toes, a thigh, a leg, and three joints, making twenty-five on each side. ® Approach the Trish/ubh metre of the last hymn. Comm. * After having considered the Marutvatfya, he proceeds to consider the Nishkevalya. This has to. be recited by the Hotr? while sitting on a swing. 1 ARANYAKA, 2 ADHYAYA, 4 KHANDA, 3. 173 5. That is not to be regarded. -6. Let there be two, for these two worlds (the earth and heaven) are seen as if most real, while the ether (space) between the two is the sky (antariksha). Therefore let there be two planks. 7. Let them be made of Udumbara wood. Verily, the Udumbara tree is sap and eatable food, and thus it serves to obtain sap and eatable food. 8. Let them be elevated in the middle (between the earth and the cross-beam). Food, if placed in the middle, delights man, and thus he places the sacrificer in the middle of eatable food. g. There are two kinds of rope, twisted towards the right and twisted towards the left. The right ropes serve for some animals, the left ropes for others, If there are both kinds of rope, they serve for the attainment of both kinds of cattle. 10. Let them be made of Darbha (Kusa grass), for among plants Darbha is free from evil, therefore they should be made of Darbha grass. FourtuH KHawpa. 1. Some say: ‘Let the swing be one ell (aratni) above the ground, for by that measure verily the Svarga worlds are measured.’ That is not to be regarded. 2. Others say: ‘Let it be one span (prddesa), for by that measure verily the vital airs were measured.’ That is not to be regarded 1. . 3. Let it be one fist (mushd@i), for by that measure verily all eatable food is made, and by that measure 1 They rise one span above the heart, and they proceed one . span from out the mouth. Comm. 174 AITAREYA-ARANYAKA. all eatable food is taken; therefore let it be one fist above the ground. 4. They say: ‘Let him mount the swing from east to west, like he who shines; for the sun mounts these worlds from east to west.’ That is not to be regarded.
The source text as printed, transcribed diplomatically. Where the source language uses a non-Latin script that reaches us only through a Victorian romanisation, this layer is labelled transliteration, because that is what we hold.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1the Marutvatlya, has been explained. Now follow the verses which are new and peculiar to the Marutvatfya of the Mahévrata. 1 ARANYAKA, 2 ADHYAYA, 2 KHANDA, 8. 169 is truth, and as endowed with the word satya, truth, the form of this day is perfect 1. 2. That hymn is composed by Vasukra. Verily, Vasukra is Brahman, and that day is Brahman. Thus he obtains Brahman by means of Brahman *. 3. Here they say: ‘Why then is that Marutvatiya hymn completed by the hymn of Vasukra?’ Surely because no other Azshi but Vasukra brought out a Marutvattya hymn, or divided it properly’. There fore that Marutvattya hymn is completed by the hymn of Vasukra. 4. That hymn, asat su me, is not definitely addressed to any deity, and is therefore supposed to be addressed to Pragapati. Verily, Pragdpati is indefinite, and therefore the hymn serves to win PragApati. 5. Once in the hymn (Rv. X, 27, 22) he defines Indra (indraya sunvat); therefore it does not fall off from its form, as connected with Indra. 6. He recites the hymn (Rv. VI, 17, 1) piba somam abhi yam ugra tarda&. 7. In the verse frvam gavyam mahi g7vzmana indra the word mahi, great, occurs. Endowed with the word mahat, the form of this day is perfect. 8. That hymn is composed by Bharadvaga, and Bharadvaga was he who knew most, who lived longest, and performed the greatest austerities among the Azshis, and by this hymn he drove away evil. Therefore if he recites the hymn of Bharadvaga, 1 The commentator endeavours to make the meaning more natural by taking in the word prahant4, he who kills the destroyer of truth. But considering the general character of these remarks, this is hardly necessary. 2 Cf. I, 1, 3, 3. * By separating the first tr7ka from the second, and so forth. 170 AITAREYA-ARANYAKA. then, after having driven away evil, he becomes learned, long-lived, and full of austerities. . 9. He recites the hymn kay4 subha savayasah sanilaz (Rv. I, 165, 1). 10. In the verse 4 sdsate prati haryanty uktha (Rv. I, 165, 4) the word uktha occurs. Verily, that day (the mah4vrata) is uktha (hymn). Endowed with the word uktha, the form of this day becomes perfect. 11, That hymn is called Kay4subhtya'. Verily, that hymn, which is called Kaydsubhtya, is mutual understanding and it is lasting. By means of it Indra, Agastya, and the Maruts came to a mutual understanding. Therefore, if he recites the Kay4subhiya hymn, it serves for mutual understanding. 12. The same hymn is also long life. Therefore, if the sacrificer is dear to the Hotzz, let him recite the Kaydsubhiya hymn for him. 13. He recites the hymn marutvaz indra vvzshabo ranaya (Rv. III, 47, 1). 14. In it the words indra vrzshabha (powerful) occur. Verily, powerful is a form of Indra’, this day belongs to Indra, and this is the perfect form of that day. 15. That hymn is composed by Visvamitra. Verily, Visvamitra was the friend (mitra) of all (visva).
2III, 47, 1). 14. In it the words indra vrzshabha (powerful) occur. Verily, powerful is a form of Indra’, this day belongs to Indra, and this is the perfect form of that day. 15. That hymn is composed by Visvamitra. Verily, Visvamitra was the friend (mitra) of all (visva). 16. Everybody is the friend of him who knows this, and for whom a Hotz? priest who knows this, recites this hymn. 17. The next hymn, ganish/#4 ugra% sahase turaya (Rv. I, 73, 1), forms a Nividdh4na’, and, 1 Cf. Ait. Brahm. V, 16. 2 Cf. Ait. Ar. II, 2, 1, 8. ® The hymn consists of eleven verses. In the middle, after the sixth verse, nivids or invocations, such as indro marutv4n, are inserted, and therefore it is called a nividdhana hymn. 1 ARANYAKA, 2 ADHYAYA, 2 KHANDA, 18. 171 according to the one-day (ekaha) ceremonial, is perfect in form. On that day much is done now and then which has to be hidden, and has to be atoned for (by recitation of hymns). Atonement is rest, the one-day sacrifice. Therefore at the end of the year (on the last day but one of the sacrifice that lasts a whole year) the sacrificers rest on this atonement as their rest. He who knows this rests firm, and they also for whom a Hotvz priest who knows this, recites this hymn }. 18. These, if recited straight on, are ninety-seven verses*, The ninety are three Virag, each consisting of thirty, and then the seven verses which are over. Whatever is the praise of the seven, is the praise of ninety also. 1 With this hymn the Marutvatiya-sastra is finished. All the hymns from 4 tv4 ratham to asat su me garitar are simply taken over from the Xaturvimsa ceremonial, the rest are peculiar to the Mahfvrata day, the day preceding the Udayaniya or final day of the Gavamayana sattra, All this is more fully described in the fifth Aranyaka (V, 1, 1, 8), containing the Sfitras or rules of Saunaka, while the earlier Aranyakas are reckoned as Brahmamas, and are therefore mixed up with matters not actually required for the performance of the sacrifice. ? The first Stotriya and Anurfipa trikas= . . . 6 (1,2, 1, 1). The six Pragathas, each of 2 verses raised to 3 (but the text gives seven Pragfthas) = . . 18 (1,2,1,33 43 53 6; 11; 12313). Three Dhayy4s = . . - 3(,2,1,7; 8; 9). . Asatsu= . . . . . 24(I, 2, 2, 1). Piba somam= . . . 15 (I, 2, 2, 6). Kaya subha= . . . 15 (I, 2, 2, 9). Marutvas indra = . . . 5(I, 2, 2, 13). Ganish/hé ugrah =. . . ir (I, 2, 2,17). a 172 AITAREYA-ARANYAKA. 19. By repeating the first and last verses three times each, they become one hundred and one verses. 20. There are five fingers, of four joints each, two pits (in the elbow and the arm), the arm, the eye, the shoulder-blade ; this makes twenty-five. The other three parts have likewise twenty-five each’. That makes a hundred, and the trunk is the one hundred and first. 21. Hundred is life, health, strength, brightness. The sacrificer as the one hundred and first rests in life, health, strength, and brightness.
3The other three parts have likewise twenty-five each’. That makes a hundred, and the trunk is the one hundred and first. 21. Hundred is life, health, strength, brightness. The sacrificer as the one hundred and first rests in life, health, strength, and brightness. 22. These verses become Trishéubh?, for the noonday-libation consists of Trish¢ubh verses. Tuirp Kuanpa 8, 1. They say: ‘What is the meaning of prenkha, swing ?’ Verily, he is the swing, who blows (the wind). He indeed goes forward (pra+inkhate) in these worlds, and that is why the swing is called prenkha. 2. Some say, that there should be one plank, because the wind blows in one way, and it should be like the wind. 3. That is not to be regarded. 4. Some say, there should be three planks, because there are these three threefold worlds, and it should be like them. 1 The left side as well as the right, and then the left and right side of the lower body. Thus we have twenty joints of the five toes, a thigh, a leg, and three joints, making twenty-five on each side. ® Approach the Trish/ubh metre of the last hymn. Comm. * After having considered the Marutvatfya, he proceeds to consider the Nishkevalya. This has to. be recited by the Hotr? while sitting on a swing. 1 ARANYAKA, 2 ADHYAYA, 4 KHANDA, 3. 173 5. That is not to be regarded. -6. Let there be two, for these two worlds (the earth and heaven) are seen as if most real, while the ether (space) between the two is the sky (antariksha). Therefore let there be two planks. 7. Let them be made of Udumbara wood. Verily, the Udumbara tree is sap and eatable food, and thus it serves to obtain sap and eatable food. 8. Let them be elevated in the middle (between the earth and the cross-beam). Food, if placed in the middle, delights man, and thus he places the sacrificer in the middle of eatable food. g. There are two kinds of rope, twisted towards the right and twisted towards the left. The right ropes serve for some animals, the left ropes for others, If there are both kinds of rope, they serve for the attainment of both kinds of cattle. 10. Let them be made of Darbha (Kusa grass), for among plants Darbha is free from evil, therefore they should be made of Darbha grass. FourtuH KHawpa. 1. Some say: ‘Let the swing be one ell (aratni) above the ground, for by that measure verily the Svarga worlds are measured.’ That is not to be regarded. 2. Others say: ‘Let it be one span (prddesa), for by that measure verily the vital airs were measured.’ That is not to be regarded 1. . 3. Let it be one fist (mushd@i), for by that measure verily all eatable food is made, and by that measure 1 They rise one span above the heart, and they proceed one . span from out the mouth. Comm. 174 AITAREYA-ARANYAKA. all eatable food is taken; therefore let it be one fist above the ground. 4. They say: ‘Let him mount the swing from east to west, like he who shines; for the sun mounts these worlds from east to west.’ That is not to be regarded.
The source text as printed, transcribed diplomatically. Where the source language uses a non-Latin script that reaches us only through a Victorian romanisation, this layer is labelled transliteration, because that is what we hold.
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