Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1manibandh4éd firdhvam) are forward-pointed (préamukha), but those below are backward-pointed (pratyamé).’ * That is to say, the heating of the spoons corresponds to the usual final rinsing of household vessels with water without touching them. Sayama. 1 KAWDA, 3 ADHYAYA, I BRAHMANA, 12. 71 g. The dipping-spoon (sruva, masc.) he brushes first, and then the other spoons (srué, fem.). The offering-spoon (sru&), namely, is female, and the dipping-spoon is male, so that, although in this way several women meet together, the one that is, as it were, the only male youth among them, goes there first, and the others after him. This is the reason why he brushes the dipping-spoon first, and afterwards the other (offering-)spoons. 10. Let him brush them so as not to spatter anything towards the fire, as he would thereby bespatter him, to whom he will be bringing food, with the slops of the vessels: therefore let him brush them so as not to spatter anything towards the fire, that is to say, after stepping outside (the Ahavantya fire-house) towards the east. 11. Here now some throw the grass-ends used for cleaning the spoons into the (Ahavantya) fire. ‘To the veda (grass-bunch) they assuredly belonged, and the spoons have been cleaned with them: hence it is something that belongs to the sacrifice, and (we throw it into the fire) in order that it should not become excluded from the sacrifice,’ thus (they argue). Let him, however, not do so, since he would thereby make him to whom he will offer food, drink the slops of the vessels’. Let him therefore throw them away (on the heap of rubbish). 12. He (the Agntdhra) then girds the wife (of the 1 The Black Yagus (Taitt. Br. III, 3, 2, 1) prescribes that the grass-ends, after the brushing, should be thrown into the fire, and not on the heap of rubbish, as some do; or at all events they should not be thrown on the utkara, without their having been previously washed with water, as they would otherwise bring ill-luck to the cattle. 72 SATAPATHA-BRAHMANA. sacrificer). She, the wife, truly is the hinder part of the sacrifice. ‘May the sacrifice go on increasing before me!’ thus (she thinks while) he girds her, thinking, ‘may she sit thus girt by my sacrifice !’ 13. He girds her with a cord (yoktra): for with a cord (yoktra) they yoke the draught-animal (yogya). Impure indeed is that part of woman which is below the navel; and therewith she will be facing the sacrificial butter: that part of her he thereby conceals with the cord, and only with the pure upper part of her body she then faces the sacrificial butter. This is the reason why he girds the wife *. 14. He girds her over the garment. Now the garment represents the plants, and (the cord represents) Varuza’s noose® (raggu): hence he thereby places the plants between (her and the noose), and
2This is the reason why he girds the wife *. 14. He girds her over the garment. Now the garment represents the plants, and (the cord represents) Varuza’s noose® (raggu): hence he thereby places the plants between (her and the noose), and 1 The mistress of the house is seated south-west of the Garhapatya fire [with bent (or raised) knees and her face turned towards north-east]. The Agntdhra then girds her round the waist, outside the garment, with a triple cord of reed-grass (muviga). Kéty. II, 4,1; and Sayama on our passage. * According to Taitt. Br. III, 3, 3, 2-3 the symbolical meaning of this act is, that it represents the vratopanayana, or initiation of the wife into the sacred rite, The girding of the wife would thus possess a significance similar to that of the ordinary upanayana, or investiture of the youth with the sacred cord. 5 The noose (pasa) is one of the chief attributes of God Varuna, the symbol of his supreme power and his abhorrence of sin. Thus we read in Atharva-veda IV, 16, 4 seq.: ‘And if one were to flee far beyond the sky, one would not escape from king Varuna. From heaven his spies issue forth to this (world), and with their thousand eyes survey the earth. King Varuza sees all that happens between heaven and earth and beyond them: the very twinklings of the eyes of men are numbered by him... . May all those baleful nooses of thine, O Varuma, that are thrown sevenfold and three- I KANDA, 3 ADHYAYA, I BRAHMANA, 17. 73 thus that noose of Varuaa does not injure her. This is the reason why he girds her over the garment. 15. He girds her, with the text (V4g. S. I, 30), ‘A zone art thou for Aditi!’ Aditi, indeed, is this earth. She is the wife of the gods, and that one is his (the sacrificer’s) wife. It is for the latter, accordingly, that he makes it a zone instead of a noose (or string). A zone means a girdle, and he thereby makes it this for her. 16. Let him not make a knot!, for the knot is Varuza’s (attribute); and Varuza would lay hold on the (sacrificer’s) wife, if he were to make a knot. For this reason he does not make a knot. 17. He twists it through upwards *, with the text (Vag. S. I, 30), ‘The pervader * of Vishzu art thou!’ Let her not sit to the west of the sacrifice, with her face towards the east. For Aditi is this earth‘, she is the wife of the gods, and she indeed sits on the west of the sacrifice of the gods, with her face turned fold, ensnare him who speaks untruth, and pass by him who speaks the truth !’ 1 Taitt. Br. IIT, 3, 3, 4, on the contrary, prescribes a knot (granthim grathn&ti), as the symbol which is to secure all blessings for her. ® He winds the cord round her waist from left to right (pradakshizam), and having fixed the southern end by twice twisting round the northern one, he draws the southern end through the encircling cord upwards (so as to hang down, uparish/4l lambayet, Sayama. Katy. II, 7, 1, &c., Scholl.).
3® He winds the cord round her waist from left to right (pradakshizam), and having fixed the southern end by twice twisting round the northern one, he draws the southern end through the encircling cord upwards (so as to hang down, uparish/4l lambayet, Sayama. Katy. II, 7, 1, &c., Scholl.). 5 Veshya=vy4paka, Mahfdh.; ‘perhaps a headband,’ St. Petersb. Dict. It is apparently an etymological play on the name of Vishau (? the all-pervading sun). The formula, according to Mahfdhara, is addressed to the southern end of the cord which is drawn through the girdle (? the pervading ray of Vishsm). * Aditi is the earth and therefore the altar, which represents the earth : hence Aditi, in the shape of the altar, looks towards the east. 74 SATAPATHA-BRAHMANA. towards the east: and this lady would, therefore, raise herself to her (Aditi), and would speedily go to yonder world. And thus (viz. by sitting in the prescribed way) she lives for a long time, thus she propitiates her (Aditi), and thus the latter harms her not. For this reason let her sit somewhat to the south. 18. She looks down upon the sacrificial butter’; for assuredly that wife is a woman, and the butter (represents) seed: hence a productive union is thereby brought about. For this reason she looks towards the butter. 19. She looks, with the text (Vg. S. I, 30), ‘With an unimpaired eye I look on thee;’ whereby she says, ‘with an uninjured eye I look on thee. — ‘Agni’s tongue art thou!’ for when they offer up that (butter) in the fire, then Agni’s tongues, as it were, issue forth: therefore she says, ‘Agni’s tongue art thou!’—‘A good caller? of the gods,’ whereby she says, ‘well for the gods ;’—‘be thou for every dainty (or, sacrificial site, dhAman), for every prayer of mine!’ whereby she says, ‘for every sacrifice of mine be thou (a good caller)!’ 20. Having then taken up the butter (from the 1 He takes the pot containing the clarified butter from the fire, with the text (Vag. S. I, 30): ‘For juice thee!’ [see I, 2, 2, 6,] puts it down on the ground before the sacrificer’s wife and bids her look down on it. Katy. II, 7, 4. * Suhf4. The K4ava recension and Taitt. S. I, 1, 10, 3 have subh4@&, ‘well-being, good,’ which reading seems also to be presupposed by our author’s explanation ‘well (or good) for the gods.’ The Black Yagus assigns this entire mantra to the Adhvaryu, when he has taken the butter from the Ahavantya, and puts it down north of the altar. In other respects also it differs considerably from the order followed by our author. I KANDA, 3 ADHYAYA, I BRAHMANA, 21. 75
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.
1manibandh4éd firdhvam) are forward-pointed (préamukha), but those below are backward-pointed (pratyamé).’ * That is to say, the heating of the spoons corresponds to the usual final rinsing of household vessels with water without touching them. Sayama. 1 KAWDA, 3 ADHYAYA, I BRAHMANA, 12. 71 g. The dipping-spoon (sruva, masc.) he brushes first, and then the other spoons (srué, fem.). The offering-spoon (sru&), namely, is female, and the dipping-spoon is male, so that, although in this way several women meet together, the one that is, as it were, the only male youth among them, goes there first, and the others after him. This is the reason why he brushes the dipping-spoon first, and afterwards the other (offering-)spoons. 10. Let him brush them so as not to spatter anything towards the fire, as he would thereby bespatter him, to whom he will be bringing food, with the slops of the vessels: therefore let him brush them so as not to spatter anything towards the fire, that is to say, after stepping outside (the Ahavantya fire-house) towards the east. 11. Here now some throw the grass-ends used for cleaning the spoons into the (Ahavantya) fire. ‘To the veda (grass-bunch) they assuredly belonged, and the spoons have been cleaned with them: hence it is something that belongs to the sacrifice, and (we throw it into the fire) in order that it should not become excluded from the sacrifice,’ thus (they argue). Let him, however, not do so, since he would thereby make him to whom he will offer food, drink the slops of the vessels’. Let him therefore throw them away (on the heap of rubbish). 12. He (the Agntdhra) then girds the wife (of the 1 The Black Yagus (Taitt. Br. III, 3, 2, 1) prescribes that the grass-ends, after the brushing, should be thrown into the fire, and not on the heap of rubbish, as some do; or at all events they should not be thrown on the utkara, without their having been previously washed with water, as they would otherwise bring ill-luck to the cattle. 72 SATAPATHA-BRAHMANA. sacrificer). She, the wife, truly is the hinder part of the sacrifice. ‘May the sacrifice go on increasing before me!’ thus (she thinks while) he girds her, thinking, ‘may she sit thus girt by my sacrifice !’ 13. He girds her with a cord (yoktra): for with a cord (yoktra) they yoke the draught-animal (yogya). Impure indeed is that part of woman which is below the navel; and therewith she will be facing the sacrificial butter: that part of her he thereby conceals with the cord, and only with the pure upper part of her body she then faces the sacrificial butter. This is the reason why he girds the wife *. 14. He girds her over the garment. Now the garment represents the plants, and (the cord represents) Varuza’s noose® (raggu): hence he thereby places the plants between (her and the noose), and
2This is the reason why he girds the wife *. 14. He girds her over the garment. Now the garment represents the plants, and (the cord represents) Varuza’s noose® (raggu): hence he thereby places the plants between (her and the noose), and 1 The mistress of the house is seated south-west of the Garhapatya fire [with bent (or raised) knees and her face turned towards north-east]. The Agntdhra then girds her round the waist, outside the garment, with a triple cord of reed-grass (muviga). Kéty. II, 4,1; and Sayama on our passage. * According to Taitt. Br. III, 3, 3, 2-3 the symbolical meaning of this act is, that it represents the vratopanayana, or initiation of the wife into the sacred rite, The girding of the wife would thus possess a significance similar to that of the ordinary upanayana, or investiture of the youth with the sacred cord. 5 The noose (pasa) is one of the chief attributes of God Varuna, the symbol of his supreme power and his abhorrence of sin. Thus we read in Atharva-veda IV, 16, 4 seq.: ‘And if one were to flee far beyond the sky, one would not escape from king Varuna. From heaven his spies issue forth to this (world), and with their thousand eyes survey the earth. King Varuza sees all that happens between heaven and earth and beyond them: the very twinklings of the eyes of men are numbered by him... . May all those baleful nooses of thine, O Varuma, that are thrown sevenfold and three- I KANDA, 3 ADHYAYA, I BRAHMANA, 17. 73 thus that noose of Varuaa does not injure her. This is the reason why he girds her over the garment. 15. He girds her, with the text (V4g. S. I, 30), ‘A zone art thou for Aditi!’ Aditi, indeed, is this earth. She is the wife of the gods, and that one is his (the sacrificer’s) wife. It is for the latter, accordingly, that he makes it a zone instead of a noose (or string). A zone means a girdle, and he thereby makes it this for her. 16. Let him not make a knot!, for the knot is Varuza’s (attribute); and Varuza would lay hold on the (sacrificer’s) wife, if he were to make a knot. For this reason he does not make a knot. 17. He twists it through upwards *, with the text (Vag. S. I, 30), ‘The pervader * of Vishzu art thou!’ Let her not sit to the west of the sacrifice, with her face towards the east. For Aditi is this earth‘, she is the wife of the gods, and she indeed sits on the west of the sacrifice of the gods, with her face turned fold, ensnare him who speaks untruth, and pass by him who speaks the truth !’ 1 Taitt. Br. IIT, 3, 3, 4, on the contrary, prescribes a knot (granthim grathn&ti), as the symbol which is to secure all blessings for her. ® He winds the cord round her waist from left to right (pradakshizam), and having fixed the southern end by twice twisting round the northern one, he draws the southern end through the encircling cord upwards (so as to hang down, uparish/4l lambayet, Sayama. Katy. II, 7, 1, &c., Scholl.).
3® He winds the cord round her waist from left to right (pradakshizam), and having fixed the southern end by twice twisting round the northern one, he draws the southern end through the encircling cord upwards (so as to hang down, uparish/4l lambayet, Sayama. Katy. II, 7, 1, &c., Scholl.). 5 Veshya=vy4paka, Mahfdh.; ‘perhaps a headband,’ St. Petersb. Dict. It is apparently an etymological play on the name of Vishau (? the all-pervading sun). The formula, according to Mahfdhara, is addressed to the southern end of the cord which is drawn through the girdle (? the pervading ray of Vishsm). * Aditi is the earth and therefore the altar, which represents the earth : hence Aditi, in the shape of the altar, looks towards the east. 74 SATAPATHA-BRAHMANA. towards the east: and this lady would, therefore, raise herself to her (Aditi), and would speedily go to yonder world. And thus (viz. by sitting in the prescribed way) she lives for a long time, thus she propitiates her (Aditi), and thus the latter harms her not. For this reason let her sit somewhat to the south. 18. She looks down upon the sacrificial butter’; for assuredly that wife is a woman, and the butter (represents) seed: hence a productive union is thereby brought about. For this reason she looks towards the butter. 19. She looks, with the text (Vg. S. I, 30), ‘With an unimpaired eye I look on thee;’ whereby she says, ‘with an uninjured eye I look on thee. — ‘Agni’s tongue art thou!’ for when they offer up that (butter) in the fire, then Agni’s tongues, as it were, issue forth: therefore she says, ‘Agni’s tongue art thou!’—‘A good caller? of the gods,’ whereby she says, ‘well for the gods ;’—‘be thou for every dainty (or, sacrificial site, dhAman), for every prayer of mine!’ whereby she says, ‘for every sacrifice of mine be thou (a good caller)!’ 20. Having then taken up the butter (from the 1 He takes the pot containing the clarified butter from the fire, with the text (Vag. S. I, 30): ‘For juice thee!’ [see I, 2, 2, 6,] puts it down on the ground before the sacrificer’s wife and bids her look down on it. Katy. II, 7, 4. * Suhf4. The K4ava recension and Taitt. S. I, 1, 10, 3 have subh4@&, ‘well-being, good,’ which reading seems also to be presupposed by our author’s explanation ‘well (or good) for the gods.’ The Black Yagus assigns this entire mantra to the Adhvaryu, when he has taken the butter from the Ahavantya, and puts it down north of the altar. In other respects also it differs considerably from the order followed by our author. I KANDA, 3 ADHYAYA, I BRAHMANA, 21. 75
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.
No commentary for this page.