Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1p. 7, note 1), ‘O Brahman! shall I sprinkle the oblation?’ when the latter, after muttering the mantra, ‘Sprinkle the sacrifice! gladden the deities,’ &c., gives the permission by ‘Om! sprinkle!’ Paddh. on Katy. II, 3, 36. * According to some authorities the vessels are placed together 1 KANDA, I ADHYAYA, 4 BRAHMANA, I. 23 with the text (V4g. S. I, 13 g), ‘Be ye pure for the divine work, for the sacrifice to the gods!’ for it is for the divine work, the sacrifice to the gods, that he consecrates them. ‘Whatever, that belongs to you, the impure have defiled by touching, that I hereby purify for you!’ For whatever belonging to them some impure one—either a carpenter or some other impure person—has on this occasion desecrated by touching, that he thereby renders sacrificially pure for them by means of the water; and therefore’ he says, ‘Whatever, that belongs to you, the impure have defiled by touching, that I hereby purify for you!!’ Fourtu BrAHMANA. 1. He now takes the black antelope skin*, for completeness of the sacrifice. For once upon a time the sacrifice escaped the gods, and having become a black antelope roamed about. The gods having thereupon found it and stripped it of its skin, they brought it (the skin) away with them. on one heap, and are then consecrated together by one sprinkling. According to others, each vessel must be consecrated Separately Katy. Sr. II, 3, 39. 1 After he has done the sprinkling, he puts the remaining water away in some place where nobody is allowed to walk [as between the prait4s and the Ahavantya; or (according to Apastamba) before, or east of, the G&rhapatya, since nobody is allowed to pass between the Garhapatya and Ahavaniya. The two strainers also remain in the sprinkling water]. Katy. Sr. II, 3, 40. * The skin of the black antelope may be regarded as one of the symbols of Bréhmanical worship and civilisation. Thus it is said in Manu II, 22-23: ‘That which lies between these two mountain ranges (the Himalaya and the Vindhya), from the eastern to the western ocean, the wise know as Aryavarta (the land of the Aryas). Where the black antelope naturally roams about, that should be known as the land suitable for sacrifice; what lies beyond that is the country of the Mle&&Aas (barbarians).’ 24 SATAPATHA-BRAHMANA. 2. Its white and black hairs represent the Az£verses and the SAman-verses; to wit, the white the SAman and the black the Az£; or conversely, the black the SA4man and the white the Azé. The brown and the yellow ones, on the other hand, represent the Yagus-texts.
22. Its white and black hairs represent the Az£verses and the SAman-verses; to wit, the white the SAman and the black the Az£; or conversely, the black the SA4man and the white the Azé. The brown and the yellow ones, on the other hand, represent the Yagus-texts. 3. Now this same threefold science is the sacrifice; that manifold form, that (varying) colour of this (science) is what is (represented by) this black antelope skin. For the completeness of the sacrifice (he takes the skin): hence the rite of initiation (for the Soma-sacrifice) is likewise performed on the black antelope skin ;—for the completion of the sacrifice: hence it is also used for husking and bruising (the rice) on, in order that nothing of the oblation may get spilt; and that, if any grain or flour should now be spilt on it, the sacrifice would still remain securely established in the sacrifice. For this reason it is used for husking and bruising upon. 4. He thus takes the black antelope skin, with the text (Vag. S. I, 14a): ‘Bliss-bestowing (sarman) art thou!’ For £arman (‘hide’) is the name of that (skin of the) black deer used among men, but sarman (bliss) is (that used) among the gods; and for this reason he says, ‘ Bliss-bestowing art thou!’ He shakes it, with the text (Vag. S. I, 14 b), ‘Shaken off is the Rakshas, shaken off are the enemies!’ whereby he repels from it the evil spirits, the Rakshas. He shakes it whilst holding it apart from the vessels!; whereby he shakes off whatever impure matter there may have been on it. 1 According to some exegetes the Adhvaryu himself must step beyond (i.e. aside from) the vessels when he shakes the skin; according to others, he should not move, but only hold the skin I KANDA, I ADHYAYA, 4 BRAHMAMNA, 7. 25 5. He spreads it (on the ground with the hairy side upwards, and) with its neck-part turned to the west!, with the text (Vag. S. I, 14.c): ‘The skin of Aditi art thou! May Aditi acknowledge thee!’ For Aditi is this earth, and whatever is on her, that serves as a skin to her: for this reason he says, ‘The skin of Aditi art thou!’ And ‘may Aditi acknowledge thee!’ he says, because one who is related (to another) acknowledges (him). Thereby he establishes a mutual understanding between her and the black antelope skin, (thinking) ‘they will not hurt each other. While it is still being held down with his left hand,— 6. He at once takes the mortar with his right hand, fearing lest the evil spirits, the Rakshas, might rush in here in the meantime. For the priest (brahmama) ? is the repeller of the Rakshas: therefore, whilst it is still being held down with his left hand,— 7. He puts the mortar (on it), with the text (Vag. S. I, 14 d, e): ‘A wooden stone (adri) art thou!’ apart from the vessels, so that no impure matter should fall on them. Some also maintain that the skin should only be shaken once, whilst others think it should be done three times. Cf. Katy. Sr. II, 4, 2. Schol.
3S. I, 14 d, e): ‘A wooden stone (adri) art thou!’ apart from the vessels, so that no impure matter should fall on them. Some also maintain that the skin should only be shaken once, whilst others think it should be done three times. Cf. Katy. Sr. II, 4, 2. Schol. 1 Special mention is here made of this feature, since as a rule (Katy. I, 10, 4) the skin is spread with its neck-part turned eastwards. He lays it down on the north side of the sacrificial ground, either west of the utkara (the mound formed by the earth dug out in constructing the altar, and by other rubbish) or exactly north of the Garhapatya. Schol. on Katy. II, 4, 3. * Only a Brahman can perform sacrifice. If, as is permitted in certain ceremonies, a Kshatriya or Vaisya officiates, he, as it were, becomes a Brahman (and is addressed as such) for the occasion, by means of the diksh4, or rite of initiation. Cf. Sat. Br. III, 2, 1,39; XII, 4, Ty 3- 26 SATAPATHA-BRAHMANA. or ‘A broad-bottomed stone (grdvan) art thou!’ For, just as there (in the Soma-sacrifice) they press king Soma out with stones (gravan), thus here also he prepares the oblation (haviryag#a) by means of the mortar and pestle, and the large and small mill-stones'!. Now ‘stones (adrayah)’ is the common name of these, and therefore he says, ‘a stone art thou.’ And ‘wooden,’ he calls it, because this one (the mortar) really is made of wood ?. Or, he says, ‘a broad-bottomed stone (gr4van) art thou,’ because it is both a stone and broad-bottomed. He adds: ‘May Aditi’s skin acknowledge (receive) thee!’ whereby he establishes a mutual understanding between it (the mortar) and the black antelope skin, thinking: ‘they will not injure each other.’ 8. He then pours the (two portions of ) rice (from the winnowing basket into the mortar), with the text (Vag. S. I, 15 a): ‘Thou art the body of Agni, thou the releaser of speech!’ For it is (material for) sacrifice, and hence (by being offered in the fire) it becomes Agni’s body. ‘The releaser of speech,’ he adds, because he now releases that speech which he restrained when he was about to take the rice (from the cart). The reason why he now releases his speech, is that the sacrifice has now obtained a firm footing in the mortar, that it has become diffused ; and for this reason he says, ‘the releaser of speech!’ ’ Here, as in I, 5, 2, rr (haviryag#e ’tha saumye ‘dhvare), we have the simple division of the Srauta-sacrifices into oblations (of ghee, milk, rice, barley, &c.) and libations (of Soma). More usually the pasubandhu, or animal-sacrifice, is added as a third division. See also I, 7, 2, ro. * The mortar (ulfkhala) and pestle (musala) are to be made of very hard wood, viz. both of varaza wood (Cratega Roxburghii), or the mortar of palasa wood (Butea Frondoga), and the pestle of I KANDA, I ADHYAYA, 4 BRAHMAMA, II. 27
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.
1p. 7, note 1), ‘O Brahman! shall I sprinkle the oblation?’ when the latter, after muttering the mantra, ‘Sprinkle the sacrifice! gladden the deities,’ &c., gives the permission by ‘Om! sprinkle!’ Paddh. on Katy. II, 3, 36. * According to some authorities the vessels are placed together 1 KANDA, I ADHYAYA, 4 BRAHMANA, I. 23 with the text (V4g. S. I, 13 g), ‘Be ye pure for the divine work, for the sacrifice to the gods!’ for it is for the divine work, the sacrifice to the gods, that he consecrates them. ‘Whatever, that belongs to you, the impure have defiled by touching, that I hereby purify for you!’ For whatever belonging to them some impure one—either a carpenter or some other impure person—has on this occasion desecrated by touching, that he thereby renders sacrificially pure for them by means of the water; and therefore’ he says, ‘Whatever, that belongs to you, the impure have defiled by touching, that I hereby purify for you!!’ Fourtu BrAHMANA. 1. He now takes the black antelope skin*, for completeness of the sacrifice. For once upon a time the sacrifice escaped the gods, and having become a black antelope roamed about. The gods having thereupon found it and stripped it of its skin, they brought it (the skin) away with them. on one heap, and are then consecrated together by one sprinkling. According to others, each vessel must be consecrated Separately Katy. Sr. II, 3, 39. 1 After he has done the sprinkling, he puts the remaining water away in some place where nobody is allowed to walk [as between the prait4s and the Ahavantya; or (according to Apastamba) before, or east of, the G&rhapatya, since nobody is allowed to pass between the Garhapatya and Ahavaniya. The two strainers also remain in the sprinkling water]. Katy. Sr. II, 3, 40. * The skin of the black antelope may be regarded as one of the symbols of Bréhmanical worship and civilisation. Thus it is said in Manu II, 22-23: ‘That which lies between these two mountain ranges (the Himalaya and the Vindhya), from the eastern to the western ocean, the wise know as Aryavarta (the land of the Aryas). Where the black antelope naturally roams about, that should be known as the land suitable for sacrifice; what lies beyond that is the country of the Mle&&Aas (barbarians).’ 24 SATAPATHA-BRAHMANA. 2. Its white and black hairs represent the Az£verses and the SAman-verses; to wit, the white the SAman and the black the Az£; or conversely, the black the SA4man and the white the Azé. The brown and the yellow ones, on the other hand, represent the Yagus-texts.
22. Its white and black hairs represent the Az£verses and the SAman-verses; to wit, the white the SAman and the black the Az£; or conversely, the black the SA4man and the white the Azé. The brown and the yellow ones, on the other hand, represent the Yagus-texts. 3. Now this same threefold science is the sacrifice; that manifold form, that (varying) colour of this (science) is what is (represented by) this black antelope skin. For the completeness of the sacrifice (he takes the skin): hence the rite of initiation (for the Soma-sacrifice) is likewise performed on the black antelope skin ;—for the completion of the sacrifice: hence it is also used for husking and bruising (the rice) on, in order that nothing of the oblation may get spilt; and that, if any grain or flour should now be spilt on it, the sacrifice would still remain securely established in the sacrifice. For this reason it is used for husking and bruising upon. 4. He thus takes the black antelope skin, with the text (Vag. S. I, 14a): ‘Bliss-bestowing (sarman) art thou!’ For £arman (‘hide’) is the name of that (skin of the) black deer used among men, but sarman (bliss) is (that used) among the gods; and for this reason he says, ‘ Bliss-bestowing art thou!’ He shakes it, with the text (Vag. S. I, 14 b), ‘Shaken off is the Rakshas, shaken off are the enemies!’ whereby he repels from it the evil spirits, the Rakshas. He shakes it whilst holding it apart from the vessels!; whereby he shakes off whatever impure matter there may have been on it. 1 According to some exegetes the Adhvaryu himself must step beyond (i.e. aside from) the vessels when he shakes the skin; according to others, he should not move, but only hold the skin I KANDA, I ADHYAYA, 4 BRAHMAMNA, 7. 25 5. He spreads it (on the ground with the hairy side upwards, and) with its neck-part turned to the west!, with the text (Vag. S. I, 14.c): ‘The skin of Aditi art thou! May Aditi acknowledge thee!’ For Aditi is this earth, and whatever is on her, that serves as a skin to her: for this reason he says, ‘The skin of Aditi art thou!’ And ‘may Aditi acknowledge thee!’ he says, because one who is related (to another) acknowledges (him). Thereby he establishes a mutual understanding between her and the black antelope skin, (thinking) ‘they will not hurt each other. While it is still being held down with his left hand,— 6. He at once takes the mortar with his right hand, fearing lest the evil spirits, the Rakshas, might rush in here in the meantime. For the priest (brahmama) ? is the repeller of the Rakshas: therefore, whilst it is still being held down with his left hand,— 7. He puts the mortar (on it), with the text (Vag. S. I, 14 d, e): ‘A wooden stone (adri) art thou!’ apart from the vessels, so that no impure matter should fall on them. Some also maintain that the skin should only be shaken once, whilst others think it should be done three times. Cf. Katy. Sr. II, 4, 2. Schol.
3S. I, 14 d, e): ‘A wooden stone (adri) art thou!’ apart from the vessels, so that no impure matter should fall on them. Some also maintain that the skin should only be shaken once, whilst others think it should be done three times. Cf. Katy. Sr. II, 4, 2. Schol. 1 Special mention is here made of this feature, since as a rule (Katy. I, 10, 4) the skin is spread with its neck-part turned eastwards. He lays it down on the north side of the sacrificial ground, either west of the utkara (the mound formed by the earth dug out in constructing the altar, and by other rubbish) or exactly north of the Garhapatya. Schol. on Katy. II, 4, 3. * Only a Brahman can perform sacrifice. If, as is permitted in certain ceremonies, a Kshatriya or Vaisya officiates, he, as it were, becomes a Brahman (and is addressed as such) for the occasion, by means of the diksh4, or rite of initiation. Cf. Sat. Br. III, 2, 1,39; XII, 4, Ty 3- 26 SATAPATHA-BRAHMANA. or ‘A broad-bottomed stone (grdvan) art thou!’ For, just as there (in the Soma-sacrifice) they press king Soma out with stones (gravan), thus here also he prepares the oblation (haviryag#a) by means of the mortar and pestle, and the large and small mill-stones'!. Now ‘stones (adrayah)’ is the common name of these, and therefore he says, ‘a stone art thou.’ And ‘wooden,’ he calls it, because this one (the mortar) really is made of wood ?. Or, he says, ‘a broad-bottomed stone (gr4van) art thou,’ because it is both a stone and broad-bottomed. He adds: ‘May Aditi’s skin acknowledge (receive) thee!’ whereby he establishes a mutual understanding between it (the mortar) and the black antelope skin, thinking: ‘they will not injure each other.’ 8. He then pours the (two portions of ) rice (from the winnowing basket into the mortar), with the text (Vag. S. I, 15 a): ‘Thou art the body of Agni, thou the releaser of speech!’ For it is (material for) sacrifice, and hence (by being offered in the fire) it becomes Agni’s body. ‘The releaser of speech,’ he adds, because he now releases that speech which he restrained when he was about to take the rice (from the cart). The reason why he now releases his speech, is that the sacrifice has now obtained a firm footing in the mortar, that it has become diffused ; and for this reason he says, ‘the releaser of speech!’ ’ Here, as in I, 5, 2, rr (haviryag#e ’tha saumye ‘dhvare), we have the simple division of the Srauta-sacrifices into oblations (of ghee, milk, rice, barley, &c.) and libations (of Soma). More usually the pasubandhu, or animal-sacrifice, is added as a third division. See also I, 7, 2, ro. * The mortar (ulfkhala) and pestle (musala) are to be made of very hard wood, viz. both of varaza wood (Cratega Roxburghii), or the mortar of palasa wood (Butea Frondoga), and the pestle of I KANDA, I ADHYAYA, 4 BRAHMAMA, II. 27
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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