Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
135 the gods, when they were performing sacrifice, were in fear of a disturbance from the Asuras and Rakshas. They were afraid lest those evil spirits, the Rakshas, might rise from below them. Now Agni (fire) is the repeller of the Rakshas, and for this reason he thus places (the potsherd) on it. The reason why it is just this (coal) and no other (on which the potsherd is put) is, that this one, having been consecrated by the (above) sacrificial formula, is sacrificially pure: that is why he places the central potsherd on it. 7. He puts it on, with the text (Vag. S. I, 17d): ‘Thou art firm; make thou the earth firm!’ For under the form of the earth he renders this same (sacrifice) firm; by it he chases away the spiteful enemy. He adds: ‘Thee, devoted to the brahman, devoted to the kshatra, devoted to the (sacrificer’s) kinsmen, I put on for the destruction of the enemy!’ Manifold, indeed, are the prayers for blessing in the sacrificial texts (yagus): by this one he prays for the priestly and military orders, those two towers of strength (vtrye, energies)?. ‘Thee, devoted to the (sacrificer’s) kinsmen,’ he says, because kinsmen mean wealth, and wealth he thereby prays for. When he says, ‘I put thee on for the destruction of the enemy, whether or not he wishes to exorcise, let him say, ‘for the destruction of so though mostly irregular in shape, must always exactly fit one another, so as not to leave any space between. This is effected by rubbing the edges. The cake itself is to be of the shape of a tortoise; the convex shield, or carapace, of the latter consisting of plates arranged in a somewhat similar way as the potsherds of most cakes, viz. in a central (dorsal) and two lateral sets. 1 For special prayers for the two highest castes, in the Vagas. Samh., cf. Weber, Ind. Stud. X, 27. D2 36 SATAPATHA-BRAHMANA. and so!’ The moment it (the potsherd) has been put down (and while it is still being touched) with the (fore-)finger of his left hand,— 8. He seizes a (second) coal, lest the evil spirits, the Rakshas, should in the meantime rush in here. For the Brahman is the repeller of the Rakshas!: hence, the moment it (the potsherd) has been put down (and while it is still being touched) with the finger of his left hand,— 9. He pushes the coal on it, with the text (Vag. S. I, 18a): ‘Accept, O Agni, this holy work (brahman) # !? He says this, lest the evil spirits, the Rakshas, should rush in here before; for Agni is the repeller of the Rakshas: this is the reason why he pushes it on (the potsherd). 10. He then puts on that (potsherd) which is (to stand) behind (or west of the first or central one), with the text (V4g. S. I, 18 b): ‘A support art thou! make firm the aérial region!’ Under the form of the atmosphere he makes this (sacrifice) firm; by this he chases away the spiteful enemy. He adds : ‘Thee, devoted to the brahman, devoted to the kshatra, devoted to the (sacrificer’s) kinsmen, I put on for the destruction of the enemy !’
2make firm the aérial region!’ Under the form of the atmosphere he makes this (sacrifice) firm; by this he chases away the spiteful enemy. He adds : ‘Thee, devoted to the brahman, devoted to the kshatra, devoted to the (sacrificer’s) kinsmen, I put on for the destruction of the enemy !’ 11. He then puts on that one which is (to stand) before (i. e. east of the first potsherd), with the text (Vag. S. I, 18c): ‘A stay art thou! do thou make firm the sky!’ Under the form of the sky he makes this same (sacrifice) firm; by it he chases away the spiteful enemy. He adds: ‘ Thee, devoted to the brahman, devoted to the kshatra, devoted to the kinsmen, I put on for the destruction of the enemy!’ 1 Cf. I, 1, 4, 6. ® Mahfdhara admits the alternative interpretation, ‘Receive (me) the priest!’ I KANDA, 2 ADHYAYA, I BRAHMANA, 13. 37 ‘12. He now puts on the one that is (to stand) on the right (i.e. south of the first), with the text (Vag. S. I, 18d): ‘For all the regions I put thee on!’ What fourth (world) there is or is not beyond these (three) worlds, by that indeed he thereby chases away the spiteful enemy. Uncertain, no doubt, is what fourth (world) there is or is not beyond these (three) worlds, and uncertain also are all those regions ; for this reason he says, ‘For all the regions I put thee on!’ The remaining potsherds he puts on’ either silently, or with the text (Vag. S. I, 18 e): ‘ Layerforming are ye! heap-forming are ye!’ 13. He then covers them over with (hot) coals, whilst muttering the text (Vag. S. I, 18f): ‘May - ye be heated with the heat of the Bhvzgus and
3S. I, 18 e): ‘ Layerforming are ye! heap-forming are ye!’ 13. He then covers them over with (hot) coals, whilst muttering the text (Vag. S. I, 18f): ‘May - ye be heated with the heat of the Bhvzgus and 1 Viz. dividing them in the manner explained at p. 34, note 1, and beginning (south)-east, and moving around from left to right (i.e. following the course of the sun). Mr. Ralph Griffith (Translation of the Ramayan, I, p. 90) has compared this Hindu rite of pradakshiza or dakshinatkaranza with the Gaelic deasil, as described in the following passage of Sir W. Scott’s The Two Drovers : ‘“ But it is little I would care for the food that nourishes me, or the fire that warms me, or for God’s blessed sun itself, if aught but weel should happen to the grandson of my father. So let me walk the deasil round you, that you may go safe out into the far foreign land, and come safe home.” Robin Oig stopped, half embarrassed, half laughing, and signing to those near that he only complied with the old woman to soothe her humour. In the meantime she traced around him, with wavering steps, the propitiation, which some have thought has been derived from the Druidical mythology. It consists, as is well known, in the person, who makes the deasil, walking three times round the person who is the object of the ceremony, taking care to move according to the course of the sun.’ Cf. note at p.45. Note also the etymological connection between dakshiza and deiseil (Old Ir. dessel, from dess, Gael. deas, south or right side). For the corresponding rite (dextratio) at the Roman marriage ceremonies see Rossbach, Romische Ehe, pp. 315, 316; Weber, Ind. Stud. V, p. 221. 38 SATAPATHA-BRAHMANA. Angiras'! for it is indeed the brightest light, that of the Bhvzgus and Angiras. He covers them with the view that ‘they shall be well heated.’ 14. Now he? who puts the two mill-stones on (the black antelope skin), (in the first place) takes up the black antelope skin, with the text (Vag. S. I, 19): ‘ Bliss-bestowing art thou!’ He shakes it, with the text (ib.): ‘Shaken off is the Rakshas, shaken off are the enemies!’ the import and application of which is the same (as above, I, 1, 4, 4). He spreads it (on the ground) with the neck-part turned towards west, whilst muttering the text (ib.): ‘The skin of Aditi (the inviolate or boundless earth) art thou! May Aditi acknowledge (receive) thee!’ the import (of this formula) being the same (as before, I, 1, 4, 5). 15. He then puts the lower mill-stone on it, with the text (V4g. S. I, 19): ‘A rock-bowl art thou! May the skin of Aditi acknowledge thee!’ for it is a bowl (dhishav4) and a rock too; and by saying, ‘May the skin of Aditi acknowledge thee,’ he establishes an understanding between it and the black antelope skin, so that ‘they will not hurt each other.’ This one (the lower mill-stone) represents the earth. 16. He now puts upon (the west side of) it the wedge * with its point turned towards north, whilst
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.
135 the gods, when they were performing sacrifice, were in fear of a disturbance from the Asuras and Rakshas. They were afraid lest those evil spirits, the Rakshas, might rise from below them. Now Agni (fire) is the repeller of the Rakshas, and for this reason he thus places (the potsherd) on it. The reason why it is just this (coal) and no other (on which the potsherd is put) is, that this one, having been consecrated by the (above) sacrificial formula, is sacrificially pure: that is why he places the central potsherd on it. 7. He puts it on, with the text (Vag. S. I, 17d): ‘Thou art firm; make thou the earth firm!’ For under the form of the earth he renders this same (sacrifice) firm; by it he chases away the spiteful enemy. He adds: ‘Thee, devoted to the brahman, devoted to the kshatra, devoted to the (sacrificer’s) kinsmen, I put on for the destruction of the enemy!’ Manifold, indeed, are the prayers for blessing in the sacrificial texts (yagus): by this one he prays for the priestly and military orders, those two towers of strength (vtrye, energies)?. ‘Thee, devoted to the (sacrificer’s) kinsmen,’ he says, because kinsmen mean wealth, and wealth he thereby prays for. When he says, ‘I put thee on for the destruction of the enemy, whether or not he wishes to exorcise, let him say, ‘for the destruction of so though mostly irregular in shape, must always exactly fit one another, so as not to leave any space between. This is effected by rubbing the edges. The cake itself is to be of the shape of a tortoise; the convex shield, or carapace, of the latter consisting of plates arranged in a somewhat similar way as the potsherds of most cakes, viz. in a central (dorsal) and two lateral sets. 1 For special prayers for the two highest castes, in the Vagas. Samh., cf. Weber, Ind. Stud. X, 27. D2 36 SATAPATHA-BRAHMANA. and so!’ The moment it (the potsherd) has been put down (and while it is still being touched) with the (fore-)finger of his left hand,— 8. He seizes a (second) coal, lest the evil spirits, the Rakshas, should in the meantime rush in here. For the Brahman is the repeller of the Rakshas!: hence, the moment it (the potsherd) has been put down (and while it is still being touched) with the finger of his left hand,— 9. He pushes the coal on it, with the text (Vag. S. I, 18a): ‘Accept, O Agni, this holy work (brahman) # !? He says this, lest the evil spirits, the Rakshas, should rush in here before; for Agni is the repeller of the Rakshas: this is the reason why he pushes it on (the potsherd). 10. He then puts on that (potsherd) which is (to stand) behind (or west of the first or central one), with the text (V4g. S. I, 18 b): ‘A support art thou! make firm the aérial region!’ Under the form of the atmosphere he makes this (sacrifice) firm; by this he chases away the spiteful enemy. He adds : ‘Thee, devoted to the brahman, devoted to the kshatra, devoted to the (sacrificer’s) kinsmen, I put on for the destruction of the enemy !’
2make firm the aérial region!’ Under the form of the atmosphere he makes this (sacrifice) firm; by this he chases away the spiteful enemy. He adds : ‘Thee, devoted to the brahman, devoted to the kshatra, devoted to the (sacrificer’s) kinsmen, I put on for the destruction of the enemy !’ 11. He then puts on that one which is (to stand) before (i. e. east of the first potsherd), with the text (Vag. S. I, 18c): ‘A stay art thou! do thou make firm the sky!’ Under the form of the sky he makes this same (sacrifice) firm; by it he chases away the spiteful enemy. He adds: ‘ Thee, devoted to the brahman, devoted to the kshatra, devoted to the kinsmen, I put on for the destruction of the enemy!’ 1 Cf. I, 1, 4, 6. ® Mahfdhara admits the alternative interpretation, ‘Receive (me) the priest!’ I KANDA, 2 ADHYAYA, I BRAHMANA, 13. 37 ‘12. He now puts on the one that is (to stand) on the right (i.e. south of the first), with the text (Vag. S. I, 18d): ‘For all the regions I put thee on!’ What fourth (world) there is or is not beyond these (three) worlds, by that indeed he thereby chases away the spiteful enemy. Uncertain, no doubt, is what fourth (world) there is or is not beyond these (three) worlds, and uncertain also are all those regions ; for this reason he says, ‘For all the regions I put thee on!’ The remaining potsherds he puts on’ either silently, or with the text (Vag. S. I, 18 e): ‘ Layerforming are ye! heap-forming are ye!’ 13. He then covers them over with (hot) coals, whilst muttering the text (Vag. S. I, 18f): ‘May - ye be heated with the heat of the Bhvzgus and
3S. I, 18 e): ‘ Layerforming are ye! heap-forming are ye!’ 13. He then covers them over with (hot) coals, whilst muttering the text (Vag. S. I, 18f): ‘May - ye be heated with the heat of the Bhvzgus and 1 Viz. dividing them in the manner explained at p. 34, note 1, and beginning (south)-east, and moving around from left to right (i.e. following the course of the sun). Mr. Ralph Griffith (Translation of the Ramayan, I, p. 90) has compared this Hindu rite of pradakshiza or dakshinatkaranza with the Gaelic deasil, as described in the following passage of Sir W. Scott’s The Two Drovers : ‘“ But it is little I would care for the food that nourishes me, or the fire that warms me, or for God’s blessed sun itself, if aught but weel should happen to the grandson of my father. So let me walk the deasil round you, that you may go safe out into the far foreign land, and come safe home.” Robin Oig stopped, half embarrassed, half laughing, and signing to those near that he only complied with the old woman to soothe her humour. In the meantime she traced around him, with wavering steps, the propitiation, which some have thought has been derived from the Druidical mythology. It consists, as is well known, in the person, who makes the deasil, walking three times round the person who is the object of the ceremony, taking care to move according to the course of the sun.’ Cf. note at p.45. Note also the etymological connection between dakshiza and deiseil (Old Ir. dessel, from dess, Gael. deas, south or right side). For the corresponding rite (dextratio) at the Roman marriage ceremonies see Rossbach, Romische Ehe, pp. 315, 316; Weber, Ind. Stud. V, p. 221. 38 SATAPATHA-BRAHMANA. Angiras'! for it is indeed the brightest light, that of the Bhvzgus and Angiras. He covers them with the view that ‘they shall be well heated.’ 14. Now he? who puts the two mill-stones on (the black antelope skin), (in the first place) takes up the black antelope skin, with the text (Vag. S. I, 19): ‘ Bliss-bestowing art thou!’ He shakes it, with the text (ib.): ‘Shaken off is the Rakshas, shaken off are the enemies!’ the import and application of which is the same (as above, I, 1, 4, 4). He spreads it (on the ground) with the neck-part turned towards west, whilst muttering the text (ib.): ‘The skin of Aditi (the inviolate or boundless earth) art thou! May Aditi acknowledge (receive) thee!’ the import (of this formula) being the same (as before, I, 1, 4, 5). 15. He then puts the lower mill-stone on it, with the text (V4g. S. I, 19): ‘A rock-bowl art thou! May the skin of Aditi acknowledge thee!’ for it is a bowl (dhishav4) and a rock too; and by saying, ‘May the skin of Aditi acknowledge thee,’ he establishes an understanding between it and the black antelope skin, so that ‘they will not hurt each other.’ This one (the lower mill-stone) represents the earth. 16. He now puts upon (the west side of) it the wedge * with its point turned towards north, whilst
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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