Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
118. Once he puts (butter with the sruva) into tht guhd with this formula, three times silently. With the same formula he puts (butter) once into the upabhzzt, seven times silently. With the same formula he puts once (butter) into the dhruvaA, three times silently. Now, as to this, they say, ‘Thrice he should take with the formula in each case, for threefold is the sacrifice.’ Nevertheless (it is done) only once with each (spoon), for it is just in this way that the taking thrice (with a formula) is accomplished. THIRD BRAHMANA. 1. The Adhvaryu takes the sprinkling-water, and sprinkles in the first place the fire-wood', with the 1 The fire-wood had been brought by the Agntdhra and laid down on the altar. The Adhvaryu now unties and sprinkles it. [Before doing so he has, as usual, to ask and obtain the permission of the Brahman. The same is the case in regard to the barhis, but not in regard to the altar.] Katy. II, 7, 19. G 2 84 . SATAPATHA-BRAHMANA, text (Vag. S. II, 1), ‘A black deer, living in the den, art thou!; I sprinkle thee, agreeable to Agni!’ He thereby makes it sacrificially pure for Agni. 2. He then sprinkles the altar, with the text (Vag. S. II, 1), ‘Thou art the altar; I sprinkle thee, agreeable to the barhis (sacrificial-grass covering)!’ He thereby makes it sacrificially pure for the grass covering. 3. He (the Agntdhra) then hands the sacrificial grass? to him (the Adhvaryu). The latter puts it down (on the altar) with the knot turned to the east, and sprinkles it, with the text (Vag. S. II, 1), ‘Barhis art thou! I sprinkle thee, agreeable to the spoons!’ He thereby makes Jt sacrificially pure for the spoons. 4. Thereupon he pours the sprinkling-water 1? Akhare-shéAa; it probably has a double meaning in this place, viz. ‘that which dwells in a den (4khara)’ and ‘that which has its place on the hearth (khara).’
24. Thereupon he pours the sprinkling-water 1? Akhare-shéAa; it probably has a double meaning in this place, viz. ‘that which dwells in a den (4khara)’ and ‘that which has its place on the hearth (khara).’ * At the beginning of the sacrifice the Adhvaryu makes of the load of Darbha or sacred grass, which has been brought to the sacrificial compound, seven mush/is or bunches, each of which is tied together with a stalk of grass, just as the Baresma (Barsom) of the Parsis. The several names of these seven bunches are, 1. Yagam4namushii, the bunch kept by the sacrificer himself in his hand as long as the sacrifice lasts. 2. Three bunches from the Barhis, or the covering of the Vedi on which the sacrificial vessels are put. These are unloosened and spread all over the Vedi. 3. Prastara. This bunch, which must remain tied, is put over the Darbha of the Vedi. 4. Paribhoganf. From this bunch the Adhvaryu takes a handful out for each priest, and the sacrificer and his wife, which they then use for their seat. 5. The Veda. This bunch is made double in its first part; the latter part is cut off and has to remain on the Vedi; it is called parivasana. The Veda itself is always wandering from one priest to the other, and is given to the sacrificer and his wife. It is handed over to the latter only when one of the priests makes her recite a mantra.’ Haug’s translation of the Ait. Br. p. 79. I KANDA, 3 ADHYAYA, 3 BRAHMANA, 7. 85 which is left on the roots of the (grass) plants, with the text (Vag. S. II, 2), ‘A moistening art thou for Aditi!’ Aditi, indeed, is this earth; hence it is for the latter that he thus moistens the roots of the plants: thereby these plants become root-moistened ; and even if their tops are dry, their roots at least remain moist. 5. Having thereupon untied the knot, he takes the prastara bunch from the front (of the barhis), with the text (V4g. S. II, 2), ‘Vishzu’s crest art thou!’ Vishzu, namely, is the sacrifice, and this (the prastara) is his top-knot or crest: this he thereby makes it at this sacrifice. From the front he takes it, because this top-knot also is (worn) on the front (of the head): for this reason he takes it from the front. , 6. He then undoes the band (of the barhis). ‘ His (the sacrificer’s) wife is sure to bring forth without difficulty?” thinking thus he undoes the band. He puts it down on the right hip (of the altar); for this represents his (the sacrificer’s) waist-band, and it is on the right side that the waist-band is (tied): this is the reason why he puts it down on the right hip. He again covers it over (with sacrificial grass) ; for the waist-band also is covered (by the upper garment): for this reason he again covers it. 7. He now spreads the barhis (on the altar). For the prastara is the top-knot; and this other
3He again covers it over (with sacrificial grass) ; for the waist-band also is covered (by the upper garment): for this reason he again covers it. 7. He now spreads the barhis (on the altar). For the prastara is the top-knot; and this other 1 Because, according to Sdyana, it lies on the front, or eastern side of the altar, near the Ahavantya fire, and men also wear their topknot (in the form of a ball or lump) on the fore-part of their head. The prastara he hands to the Brahman-priest. Ka4ty. II, 7, 22. * Prak/:ptam; SAyawa takes it in the sense of ‘a completely formed (child).’ 86 SATAPATHA-BRAHMANA. sacrificial grass is for this (sacrifice) what other hair there is below that (top-knot, viz. the beard, &c.):— that (hair) he thereby puts on it, and for this reason he spreads the barhis. 8. Now the altar (vedi, fem.) is a woman, and around her sit the gods and those priests who have studied and teach revealed lore!; and as they thus sit around her, he makes her not naked: hence it is in order to avoid nudity (on her or the altar’s part) that he spreads the barhis. 9. As large as the altar is, so large is the earth ; and the plants (are represented by) the barhis; so that he thereby furnishes the earth with plants ; and those plants are firmly established in this earth : for this reason he spreads the barhis. 10. Here now they say, ‘Let him strew abundantly; for where the plants are most abundant on her, there the means of subsistence are most amply afforded by her: let him therefore strew abundantly!’ It is in favour of him (the sacrificer) who procures (the sacrificial grass), then, (that this is done.) He strews it threefold?, for threefold is the sacrifice. Or he may also spread it whilst lifting up (the tops)*; for 1 ‘Around her on the south sit the gods and those man-gods (manushyadev4A), the priests who have studied and teach revealed lore.’ Kanva recension. 2 Viz. in three layers, one beside the other, each consisting of one handful of grass. He first spreads a layer on the east side from the southern to the northern shoulder of the altar, with the tops of the blades turned towards the east ; then a second one west of it, so as to cover the roots of the first with the tops of the second layer; and in the same way a third one on the west side of the altar. If he thinks fit, he may make more than three layers, but their number should be uneven. Kéty. II, 7, 22-26 (schol.). 3 That is to say, he is to begin on the west side, and in laying down the successive layers, he is to lift up (with a stick or some I KANDA, 3 ADHYAYA, 3 BRAHMAMNA, 13. 87 it has been said by the seer (V4g.S. VII, 32), ‘They spread the barhis continuously.’ He spreads it with the roots below (the tops); for it is with their roots below that those plants are firmly established in this earth: for this reason he spreads it with the roots below.
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.
118. Once he puts (butter with the sruva) into tht guhd with this formula, three times silently. With the same formula he puts (butter) once into the upabhzzt, seven times silently. With the same formula he puts once (butter) into the dhruvaA, three times silently. Now, as to this, they say, ‘Thrice he should take with the formula in each case, for threefold is the sacrifice.’ Nevertheless (it is done) only once with each (spoon), for it is just in this way that the taking thrice (with a formula) is accomplished. THIRD BRAHMANA. 1. The Adhvaryu takes the sprinkling-water, and sprinkles in the first place the fire-wood', with the 1 The fire-wood had been brought by the Agntdhra and laid down on the altar. The Adhvaryu now unties and sprinkles it. [Before doing so he has, as usual, to ask and obtain the permission of the Brahman. The same is the case in regard to the barhis, but not in regard to the altar.] Katy. II, 7, 19. G 2 84 . SATAPATHA-BRAHMANA, text (Vag. S. II, 1), ‘A black deer, living in the den, art thou!; I sprinkle thee, agreeable to Agni!’ He thereby makes it sacrificially pure for Agni. 2. He then sprinkles the altar, with the text (Vag. S. II, 1), ‘Thou art the altar; I sprinkle thee, agreeable to the barhis (sacrificial-grass covering)!’ He thereby makes it sacrificially pure for the grass covering. 3. He (the Agntdhra) then hands the sacrificial grass? to him (the Adhvaryu). The latter puts it down (on the altar) with the knot turned to the east, and sprinkles it, with the text (Vag. S. II, 1), ‘Barhis art thou! I sprinkle thee, agreeable to the spoons!’ He thereby makes Jt sacrificially pure for the spoons. 4. Thereupon he pours the sprinkling-water 1? Akhare-shéAa; it probably has a double meaning in this place, viz. ‘that which dwells in a den (4khara)’ and ‘that which has its place on the hearth (khara).’
24. Thereupon he pours the sprinkling-water 1? Akhare-shéAa; it probably has a double meaning in this place, viz. ‘that which dwells in a den (4khara)’ and ‘that which has its place on the hearth (khara).’ * At the beginning of the sacrifice the Adhvaryu makes of the load of Darbha or sacred grass, which has been brought to the sacrificial compound, seven mush/is or bunches, each of which is tied together with a stalk of grass, just as the Baresma (Barsom) of the Parsis. The several names of these seven bunches are, 1. Yagam4namushii, the bunch kept by the sacrificer himself in his hand as long as the sacrifice lasts. 2. Three bunches from the Barhis, or the covering of the Vedi on which the sacrificial vessels are put. These are unloosened and spread all over the Vedi. 3. Prastara. This bunch, which must remain tied, is put over the Darbha of the Vedi. 4. Paribhoganf. From this bunch the Adhvaryu takes a handful out for each priest, and the sacrificer and his wife, which they then use for their seat. 5. The Veda. This bunch is made double in its first part; the latter part is cut off and has to remain on the Vedi; it is called parivasana. The Veda itself is always wandering from one priest to the other, and is given to the sacrificer and his wife. It is handed over to the latter only when one of the priests makes her recite a mantra.’ Haug’s translation of the Ait. Br. p. 79. I KANDA, 3 ADHYAYA, 3 BRAHMANA, 7. 85 which is left on the roots of the (grass) plants, with the text (Vag. S. II, 2), ‘A moistening art thou for Aditi!’ Aditi, indeed, is this earth; hence it is for the latter that he thus moistens the roots of the plants: thereby these plants become root-moistened ; and even if their tops are dry, their roots at least remain moist. 5. Having thereupon untied the knot, he takes the prastara bunch from the front (of the barhis), with the text (V4g. S. II, 2), ‘Vishzu’s crest art thou!’ Vishzu, namely, is the sacrifice, and this (the prastara) is his top-knot or crest: this he thereby makes it at this sacrifice. From the front he takes it, because this top-knot also is (worn) on the front (of the head): for this reason he takes it from the front. , 6. He then undoes the band (of the barhis). ‘ His (the sacrificer’s) wife is sure to bring forth without difficulty?” thinking thus he undoes the band. He puts it down on the right hip (of the altar); for this represents his (the sacrificer’s) waist-band, and it is on the right side that the waist-band is (tied): this is the reason why he puts it down on the right hip. He again covers it over (with sacrificial grass) ; for the waist-band also is covered (by the upper garment): for this reason he again covers it. 7. He now spreads the barhis (on the altar). For the prastara is the top-knot; and this other
3He again covers it over (with sacrificial grass) ; for the waist-band also is covered (by the upper garment): for this reason he again covers it. 7. He now spreads the barhis (on the altar). For the prastara is the top-knot; and this other 1 Because, according to Sdyana, it lies on the front, or eastern side of the altar, near the Ahavantya fire, and men also wear their topknot (in the form of a ball or lump) on the fore-part of their head. The prastara he hands to the Brahman-priest. Ka4ty. II, 7, 22. * Prak/:ptam; SAyawa takes it in the sense of ‘a completely formed (child).’ 86 SATAPATHA-BRAHMANA. sacrificial grass is for this (sacrifice) what other hair there is below that (top-knot, viz. the beard, &c.):— that (hair) he thereby puts on it, and for this reason he spreads the barhis. 8. Now the altar (vedi, fem.) is a woman, and around her sit the gods and those priests who have studied and teach revealed lore!; and as they thus sit around her, he makes her not naked: hence it is in order to avoid nudity (on her or the altar’s part) that he spreads the barhis. 9. As large as the altar is, so large is the earth ; and the plants (are represented by) the barhis; so that he thereby furnishes the earth with plants ; and those plants are firmly established in this earth : for this reason he spreads the barhis. 10. Here now they say, ‘Let him strew abundantly; for where the plants are most abundant on her, there the means of subsistence are most amply afforded by her: let him therefore strew abundantly!’ It is in favour of him (the sacrificer) who procures (the sacrificial grass), then, (that this is done.) He strews it threefold?, for threefold is the sacrifice. Or he may also spread it whilst lifting up (the tops)*; for 1 ‘Around her on the south sit the gods and those man-gods (manushyadev4A), the priests who have studied and teach revealed lore.’ Kanva recension. 2 Viz. in three layers, one beside the other, each consisting of one handful of grass. He first spreads a layer on the east side from the southern to the northern shoulder of the altar, with the tops of the blades turned towards the east ; then a second one west of it, so as to cover the roots of the first with the tops of the second layer; and in the same way a third one on the west side of the altar. If he thinks fit, he may make more than three layers, but their number should be uneven. Kéty. II, 7, 22-26 (schol.). 3 That is to say, he is to begin on the west side, and in laying down the successive layers, he is to lift up (with a stick or some I KANDA, 3 ADHYAYA, 3 BRAHMAMNA, 13. 87 it has been said by the seer (V4g.S. VII, 32), ‘They spread the barhis continuously.’ He spreads it with the roots below (the tops); for it is with their roots below that those plants are firmly established in this earth: for this reason he spreads it with the roots below.
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.