Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1Let him therefore put it down exactly north of the Ahavantya fire. 22. He now strews sacrificial grass all round (the fires)', and fetches the utensils, taking two at a ‘brought forward.’ On putting it down north of the Ahavantya, he covers the jug over with sacrificial grass. . 1 Katy. Sr. Il, 3, 6: ‘ Having strewn sacrificial grass around the fires, beginning on the east side,’ which the Comm. interprets: ‘He strews eastward and northward-pointed grass around first the Ahavantya, then the Garhapatya, and last the Dakshin4gni, beginning each time on the eastern side, and then moving around from left to right, and turning his right side towards the fire, so as to end on the north side’ (cf. Katy. IV, 13, 15). The Paddhati, on I KANDA, I ADHYAYA, 2 BRAHMANA, I. II time, viz. the winnowing basket and the Agnihotra ladle, the wooden sword and the potsherds, the wedge and the black antelope skin, the mortar and the pestle, the large and the small mill-stones. These are ten in number; for of ten syllables consists the Virdg (metre), and radiant (virdg)} also is the sacrifice : so that he thereby makes the sacrifice resemble the Vir4g. The reason why he takes two at a time is, because a pair means strength; for when two undertake anything, there is strength in it. Moreover, a pair represents a productive copulation, so that a productive copulation (of those respective objects) is thereby effected. SEconD BRAHMANA, 1. Thereupon he takes the winnowing basket and the Agnihotra ladle ?, with the text (Vag. S. I, 6b): ‘For the work (I take) you, for pervasion (or accomplishment) you two!’ For the sacrifice is a work : hence, in saying ‘for the work you two, he says, ‘for the sacrifice.’ And ‘for pervasion you two,’ he says, the other hand, following Apastamba, interprets it to the effect that on the eastern and western sides he strews the grass with its tops turned northward, and on the southern and northern sides with the tops turned eastward. 1 Or, ‘and the sacrifice also is Virag,’ as the scholiast interprets the passage on the ground that at the performance of the Gyotishfoma 190 stotriy4 verses are used, and that this number is dividable by ten, the number of syllables in the Vir4g metre; cf. Weber, Ind. Streifen I, 36, note 4. See also X, 4, 3, 21, where the fire is identified with the virdg on the ground that there are ten fires, viz. eight dhishzya fires and the Ahavantya and G&rhapatya. In VIII, 4, 5, § virag is explained as ‘that which rules.’ * For the Agnihotra-havaaf? or ladle used for making the morning and evening milk-oblations, see note on I, 3,1,1. For the winnowing basket (sfrpa), see I, 1, 4, 19 seq. 12 SATAPATHA-BRAHMANA, because he, as it were, pervades (goes through, accomplishes) the sacrifice.
2or ladle used for making the morning and evening milk-oblations, see note on I, 3,1,1. For the winnowing basket (sfrpa), see I, 1, 4, 19 seq. 12 SATAPATHA-BRAHMANA, because he, as it were, pervades (goes through, accomplishes) the sacrifice. 2. He then restrains his speech ; for (restrained) speech means undisturbed sacrifice; so that (in so doing) he thinks: ‘ May I accomplish the sacrifice!’ He now heats (the two objects on the Garhapatya), with the formula (V4g. S. I, 7a): ‘Scorched is the Rakshas, scorched are the enemies!’ or (Vag. S. I, 7b): ‘Burnt out is the Rakshas, burnt out are the enemies !’ 3. For the gods, when they were performing the sacrifice, were afraid of a disturbance on the part of the Asuras and Rakshas: hence by this means he expels from here, at the very opening?’ of the sacrifice, the evil spirits, the Rakshas. 4. He now steps forward (to the cart *), with the text (Vag. S. I, 7c): ‘I move along the wide aérial realm. For the Rakshas roams about in the air, rootless and unfettered in both directions (below and above); and in order that this man (the Adhvaryu) may move about the air, rootless and unfettered in both directions, he by this very prayer renders the atmosphere free from danger and evil spirits. 5. It is from the cart that he should take (the rice required for the sacrifice). For at first the cart (is the receptacle of the rice) and afterwards this hall ; 1 Literally, ‘from the very mouth, which refers both to the mouth or hollow part of the two vessels (from which the enemies are, as it were, burnt out), and to the opening of the sacrifice. The same symbolical explanation is met with on the occasion of the heating of the sacrificial spoon, I, 3, 1, 5. 2 The cart containing the rice or barley, or whatever material _ may be used instead, stands behind (i.e. west of) the GArhapatya, fitted with all its appliances (except the oxen). K4ty. Sr. II, 3, 12. Rice-grains, as the most common material, will be assumed to constitute the chief havis (sacrificial food) at the present sacrifice. 1 KANDA, I ADHYAYA, 2 BRAHMANA, 8. 13 and because he thinks ‘what was at first (in the cart, and hence still unimpaired by entering the householder’s abode), that I will operate upon ;’ for that reason let him take (rice) from the cart. 6. Moreover, the cart represents an abundance; for the cart does indeed represent an abundance : hence, when there is much of anything, people say that there are ‘cart-loads’ of it. Thus he thereby approaches an abundance, and for this reason he should take from the cart.
36. Moreover, the cart represents an abundance; for the cart does indeed represent an abundance : hence, when there is much of anything, people say that there are ‘cart-loads’ of it. Thus he thereby approaches an abundance, and for this reason he should take from the cart. 7. The cart further is (one of the means of) the sacrifice; for the cart is indeed (one of the means of) sacrifice. To the cart, therefore, refer the (following) Yagus-texts, and not to a store-room, nor to a jar. The Zshis, it is true, once took (the rice) from a leathern bag, and hence, in the case of the Rishis, the Yagus-texts applied to a leathern bag. Here, however, they are taken in their natural application. Because he thinks ‘from (or, by means of) the sacrifice I will perform the sacrifice,’ let him, therefore, take (rice) from the cart. 8. Some do indeed take it from a (wooden) jar. In that case also he should mutter the Yagus-texts without omitting any; and let him in that case take (the rice) after inserting the wooden sword! under 1 The sphya is a straight sword (khadga) or knife, a cubit long, carved out of khadira wood (Mimosa Catechu). KaAty. Sr. I, 3, 33; 39- It is used for various purposes calculated to symbolically insure the safe and undisturbed performance of the sacrifice. On the present occasion it represents the yoke, by touching which (par. 10) the cart is connected with the sacrifice. At the close of the sacrifice also the offering spoons are, as it were, unyoked (or relieved of their duties), by being placed on the yoke, if the rice was taken from the cart; or on the wooden sword lying on the jar, if it was taken from the latter. See I, 8, 3, 26. 14 SATAPATHA-BRAHMANA., (the jar). He does so, thinking ‘where we want to yoke, there we unyoke;’ for from the same place where they yoke, they also unyoke. g. (Like) fire, verily, is the yoke of that very cart; for the yoke is indeed (like) fire: hence the shoulder of those (oxen) that draw this (cart) becomes as if burnt by fire. The middle part of the pole behind the prop represents, as it were, its (the cart’s) altar’; and the enclosed space of the cart (which contains the rice) constitutes its havirdhA4nam (receptacle of the sacrificial food) 2. 10. He now touches the yoke, with the text (Vag. S. I, 8 a): ‘Thou art the yoke (dhur); injure (dharv) thou the injurer! injure him that injures us! injure him whom we injure!’ For there being a fire in the yoke by which he will have to pass when he fetches the material for the oblation, he thereby propitiates it, and thus that fire in the yoke does not injure him when he passes by. 11. Here now Arumi said: ‘Every half-moon ° I destroy the enemies.’ This he said with reference to this point.
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.
1Let him therefore put it down exactly north of the Ahavantya fire. 22. He now strews sacrificial grass all round (the fires)', and fetches the utensils, taking two at a ‘brought forward.’ On putting it down north of the Ahavantya, he covers the jug over with sacrificial grass. . 1 Katy. Sr. Il, 3, 6: ‘ Having strewn sacrificial grass around the fires, beginning on the east side,’ which the Comm. interprets: ‘He strews eastward and northward-pointed grass around first the Ahavantya, then the Garhapatya, and last the Dakshin4gni, beginning each time on the eastern side, and then moving around from left to right, and turning his right side towards the fire, so as to end on the north side’ (cf. Katy. IV, 13, 15). The Paddhati, on I KANDA, I ADHYAYA, 2 BRAHMANA, I. II time, viz. the winnowing basket and the Agnihotra ladle, the wooden sword and the potsherds, the wedge and the black antelope skin, the mortar and the pestle, the large and the small mill-stones. These are ten in number; for of ten syllables consists the Virdg (metre), and radiant (virdg)} also is the sacrifice : so that he thereby makes the sacrifice resemble the Vir4g. The reason why he takes two at a time is, because a pair means strength; for when two undertake anything, there is strength in it. Moreover, a pair represents a productive copulation, so that a productive copulation (of those respective objects) is thereby effected. SEconD BRAHMANA, 1. Thereupon he takes the winnowing basket and the Agnihotra ladle ?, with the text (Vag. S. I, 6b): ‘For the work (I take) you, for pervasion (or accomplishment) you two!’ For the sacrifice is a work : hence, in saying ‘for the work you two, he says, ‘for the sacrifice.’ And ‘for pervasion you two,’ he says, the other hand, following Apastamba, interprets it to the effect that on the eastern and western sides he strews the grass with its tops turned northward, and on the southern and northern sides with the tops turned eastward. 1 Or, ‘and the sacrifice also is Virag,’ as the scholiast interprets the passage on the ground that at the performance of the Gyotishfoma 190 stotriy4 verses are used, and that this number is dividable by ten, the number of syllables in the Vir4g metre; cf. Weber, Ind. Streifen I, 36, note 4. See also X, 4, 3, 21, where the fire is identified with the virdg on the ground that there are ten fires, viz. eight dhishzya fires and the Ahavantya and G&rhapatya. In VIII, 4, 5, § virag is explained as ‘that which rules.’ * For the Agnihotra-havaaf? or ladle used for making the morning and evening milk-oblations, see note on I, 3,1,1. For the winnowing basket (sfrpa), see I, 1, 4, 19 seq. 12 SATAPATHA-BRAHMANA, because he, as it were, pervades (goes through, accomplishes) the sacrifice.
2or ladle used for making the morning and evening milk-oblations, see note on I, 3,1,1. For the winnowing basket (sfrpa), see I, 1, 4, 19 seq. 12 SATAPATHA-BRAHMANA, because he, as it were, pervades (goes through, accomplishes) the sacrifice. 2. He then restrains his speech ; for (restrained) speech means undisturbed sacrifice; so that (in so doing) he thinks: ‘ May I accomplish the sacrifice!’ He now heats (the two objects on the Garhapatya), with the formula (V4g. S. I, 7a): ‘Scorched is the Rakshas, scorched are the enemies!’ or (Vag. S. I, 7b): ‘Burnt out is the Rakshas, burnt out are the enemies !’ 3. For the gods, when they were performing the sacrifice, were afraid of a disturbance on the part of the Asuras and Rakshas: hence by this means he expels from here, at the very opening?’ of the sacrifice, the evil spirits, the Rakshas. 4. He now steps forward (to the cart *), with the text (Vag. S. I, 7c): ‘I move along the wide aérial realm. For the Rakshas roams about in the air, rootless and unfettered in both directions (below and above); and in order that this man (the Adhvaryu) may move about the air, rootless and unfettered in both directions, he by this very prayer renders the atmosphere free from danger and evil spirits. 5. It is from the cart that he should take (the rice required for the sacrifice). For at first the cart (is the receptacle of the rice) and afterwards this hall ; 1 Literally, ‘from the very mouth, which refers both to the mouth or hollow part of the two vessels (from which the enemies are, as it were, burnt out), and to the opening of the sacrifice. The same symbolical explanation is met with on the occasion of the heating of the sacrificial spoon, I, 3, 1, 5. 2 The cart containing the rice or barley, or whatever material _ may be used instead, stands behind (i.e. west of) the GArhapatya, fitted with all its appliances (except the oxen). K4ty. Sr. II, 3, 12. Rice-grains, as the most common material, will be assumed to constitute the chief havis (sacrificial food) at the present sacrifice. 1 KANDA, I ADHYAYA, 2 BRAHMANA, 8. 13 and because he thinks ‘what was at first (in the cart, and hence still unimpaired by entering the householder’s abode), that I will operate upon ;’ for that reason let him take (rice) from the cart. 6. Moreover, the cart represents an abundance; for the cart does indeed represent an abundance : hence, when there is much of anything, people say that there are ‘cart-loads’ of it. Thus he thereby approaches an abundance, and for this reason he should take from the cart.
36. Moreover, the cart represents an abundance; for the cart does indeed represent an abundance : hence, when there is much of anything, people say that there are ‘cart-loads’ of it. Thus he thereby approaches an abundance, and for this reason he should take from the cart. 7. The cart further is (one of the means of) the sacrifice; for the cart is indeed (one of the means of) sacrifice. To the cart, therefore, refer the (following) Yagus-texts, and not to a store-room, nor to a jar. The Zshis, it is true, once took (the rice) from a leathern bag, and hence, in the case of the Rishis, the Yagus-texts applied to a leathern bag. Here, however, they are taken in their natural application. Because he thinks ‘from (or, by means of) the sacrifice I will perform the sacrifice,’ let him, therefore, take (rice) from the cart. 8. Some do indeed take it from a (wooden) jar. In that case also he should mutter the Yagus-texts without omitting any; and let him in that case take (the rice) after inserting the wooden sword! under 1 The sphya is a straight sword (khadga) or knife, a cubit long, carved out of khadira wood (Mimosa Catechu). KaAty. Sr. I, 3, 33; 39- It is used for various purposes calculated to symbolically insure the safe and undisturbed performance of the sacrifice. On the present occasion it represents the yoke, by touching which (par. 10) the cart is connected with the sacrifice. At the close of the sacrifice also the offering spoons are, as it were, unyoked (or relieved of their duties), by being placed on the yoke, if the rice was taken from the cart; or on the wooden sword lying on the jar, if it was taken from the latter. See I, 8, 3, 26. 14 SATAPATHA-BRAHMANA., (the jar). He does so, thinking ‘where we want to yoke, there we unyoke;’ for from the same place where they yoke, they also unyoke. g. (Like) fire, verily, is the yoke of that very cart; for the yoke is indeed (like) fire: hence the shoulder of those (oxen) that draw this (cart) becomes as if burnt by fire. The middle part of the pole behind the prop represents, as it were, its (the cart’s) altar’; and the enclosed space of the cart (which contains the rice) constitutes its havirdhA4nam (receptacle of the sacrificial food) 2. 10. He now touches the yoke, with the text (Vag. S. I, 8 a): ‘Thou art the yoke (dhur); injure (dharv) thou the injurer! injure him that injures us! injure him whom we injure!’ For there being a fire in the yoke by which he will have to pass when he fetches the material for the oblation, he thereby propitiates it, and thus that fire in the yoke does not injure him when he passes by. 11. Here now Arumi said: ‘Every half-moon ° I destroy the enemies.’ This he said with reference to this point.
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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