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Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1Thereupon he puts on (the fire) a samidh (kindling-stick). He first touches with it the middle enclosing-stick : thereby he first kindles those (three Agnis). After that he puts it on the fire: thereby he kindles the visible fire. 6. He puts it on’, with the gayatrt stanza (Vag. S. II, 4), ‘Thee, O Sage, who callest (the gods) to the feast, we will kindle so as to shine brilliantly; thee, O Agni, mighty at the sacrifice!’ He thereby kindles the gayatri?; the g4yatrt, when kindled, kindles the other metres; and the metres, when kindled, carry the sacrifice to the gods. 1 According to Sayama, the two sticks or pieces of wood are put on the fire in a manner similar to that in which the two 4gh4aras or sprinklings of clarified butter are made (see I, 4, 4-5); viz. the first in the direction north-west to south-east, and the second from south-west to north-east. * The gAyatrt is the first of the three principal metres, cf. p. 80, note 3. It consists of three octo-syllabic padas, of which Rig-veda I, 164, 25 says,—‘ The g4yatra, they say, has three flames (or firebrands, samidh): therefore it excelled in grandeur and power.’ 92 SATAPATHA-BRAHMANA. 7. By the second kindling-stick (samidh), which he now puts on, he kindles the spring; the spring, when kindled, kindles the other seasons; and the seasons, when kindled, cause living beings to be produced and the plants to ripen. He puts it on, with the formula (V4g. S. II, 5),‘A kindler (samidh) art thou!’ for the spring is indeed a kindler. 8. When he has put it on, he murmurs (ib.), ‘May the sun guard thee from the east against any imprecation!’ for the enclosing-sticks serve for protection on all (the other three) sides; and thereby he makes the sun the protector on the east side, fearing ‘lest the evil spirits, the Rakshas, should rush in from the east:’ for the sun is the repeller of the evil spirits, the Rakshas. 9. By that third kindling-stick, then, which he puts on at the after-offerings', he kindles the officiating priest (brahmaza); and he, the priest, when kindled, carries the sacrifice to the gods. 10. He now returns to the altar covered (with sacrificial grass). Having taken two stalks of grass, he lays them down across (the barhis or grass covering, with the tops to the north), with the formula (V4g. S. II, 5), ‘Savitvz’s arms? are yel’ The prastara bunch is indeed the top-knot (of the sacrifice); and he now lays down these two crosswise as its eye-brows: thereby these two (represent) the transverse eye-brows. The prastara, further, 1 See I, 8, 2, 3. * Baha, ‘the two arms,’ is apparently taken here by our author both in its natural sense and as the arms of the bow or arch, formed by the eye-brows. The barhis, or grass covering of the altar, was, as we saw (I, 3, 3, 7), identified with the beard and other hair of the body. I KANDA, 3 ADHYAYA, 4 BRAHMANA, 14. 93
2The barhis, or grass covering of the altar, was, as we saw (I, 3, 3, 7), identified with the beard and other hair of the body. I KANDA, 3 ADHYAYA, 4 BRAHMANA, 14. 93 (represents) the kshatra (or military class); and the other barhis the vis (or, the common Aryan people) ;—(and the two stalks he puts down between them) for the sake of separating (vidhvzti) the kshatra and the vis: for this reason he lays them down crosswise; and for this reason these two (stalks) are called vidhrcti. 11. On them he spreads the prastara, with the formula (Vag. S. II, 5), ‘I spread thee, soft as wool, pleasant to sit upon for the gods!’ When he says ‘thee, soft as wool, he means to say ‘agreeable to the gods ;’ and by ‘pleasant to sit upon for the gods’ he means to say ‘forming a good seat for the gods.’ 12, He presses it down (with his left hand), with the text (ib.), ‘May the Vasus, the Rudras, the Adityas sit on thee!’ These three, that is, the Vasus, the Rudras, and the Adityas, namely, are (classes of) gods; and these, he means to say, are to sit down on it. While it is still being held down with his left hand, — 13. He seizes the guhf with his right, fearing ‘lest the evil spirits, the Rakshas, should enter there in the meantime;’ for the officiating priest (brahmaza) is the repeller of the Rakshas: therefore, while it (the prastara) is still being held down with his left hand,— 14. He seizes the guhd, with the text (Vag. S. II, 6), ‘ Fond of butter art thou, Guhf by name!’ for fond of butter indeed it is, and Guha by name ;—‘ Sit down here with the favourite resort’ (or dainty) on the favourite seat!’ The upabhv7zt (he takes), with the formula (ib.), ‘Fond of butter art thou, Upabhvzt 1 Viz. the butter, which is the dear resort, or home, of the gods; see I, 3, 2,17. Possibly, however, dh&man may here mean ‘dainty.’ 94 SATAPATHA-BRAHMANA. by name!’ for fond of butter indeed it is, and Upabhvzt by name ;—‘ Sit down here with the favourite resort on the favourite seat!’ The dhruva (he takes) with ‘Fond of butter art thou, Dhruvé by name!’ for fond of butter indeed it is, and Dhruva by ‘name ;—‘ Sit down here with the favourite resort on the favourite seat!’ What other sacrificial food there is, (he puts down on the prastara), with the formula, ‘With the favourite resort sit down on the favourite seat!’ 15. He lays the guhf down on (the prastara), and the other spoons down below, (viz. on the barhis, north of the guhf, and so as not to touch it or one another); for the guhd assuredly is the kshatra, and the other spoons (srué&) are the vis: he thereby makes the kshatra superior to the vis. Hence the people here serve, from a lower position, the Kshatriya seated above them: for this reason he places the guhd upon (the prastara) and the other spoons down below it.
3Hence the people here serve, from a lower position, the Kshatriya seated above them: for this reason he places the guhd upon (the prastara) and the other spoons down below it. 16. He touches the offerings, with the text (Vag. S. II, 6), ‘Safely they have sat down,’ for safely indeed they sat down;—‘in the lap (yoni) of divine truth!’ for the sacrifice is indeed the lap of divine truth, and in the sacrifice they sat down ;—‘ Protect these, O Vishzu! protect the sacrifice! protect the lord of sacrifice!’ thereby he refers to the sacrificer ; —‘ Protect me, the leader of the sacrifice!’ thereby he does not exclude himself either from the sacrifice. Vishzu, assuredly, is the sacrifice: hence it is to the sacrifice that he makes all that over for protection. This is the reason why he says, ‘ Protect these, O Vishzu!’ I KANDA, 3 ADHYAYA, 5 BRAHMANA, 3. 95 Firty BrAuMAwWa, Tue Kinpiinc oF THE Fire, THE PRAVARA, AND THE Two Lipations (AcHARA) oF Burrer. 1, With the fire-wood (idhma, lighting material) the Adhvaryu lights (indh) the fire: hence it is called fire-wood. And with the kindling verses (samidhent) the Hotvz kindles (sam-indh, to make blaze): hence they are called kindling verses. 2. He (the Adhvaryu’) says (to the Hotr7): ‘ Recite to the fire as it is being kindled!’ for it is to the fire, when it is being kindled, that he recites. 3. Here now some people say, ‘O Hotar, recite to the fire as it is being kindled!’ But let him not say so; for that (priest) is not a Hotvz as yet; only when he (the sacrificer) elects him *, does he 1 The Adhvaryu, in the first place, prepares a seat for the Hotr#, either west of the altar or north of its left hip; and covers it with dry Kusa grass. [He then calls,‘O Hotrs, come!’] The Hotry, having rinsed his mouth north-east of the Ahavantya, with his face to the east, turns round from left to right and betakes himself to the sacrificial ground, always keeping his right foot before the left. He finally takes up his position so as to have the heel of the right foot in a line with the north hip of the altar, and the toes on the barhis; whilst he keeps the hands on a level with the heart, spread open and joined together, and looks towards the junction of the earth and sky. The Adhvaryu then takes a samidh (kindling-stick) and calls on him as above. The Hotr? now mutters the formulas ‘Adoration to the teacher! Adoration to the observer! Adoration to the promulgator!’ &c. (Asv. Srautas I, 2,1). The sacrificer then takes the wooden sword and says, ‘Recite for me, as it were, stretching along (i. e. continuously)!’ whereupon the Hotr:, having asked and received the permission of the Brahman, proceeds to recite the kindling verses. Katy. III, 1, 1 seq. ; Asv. I, 1, 4 seq. * This does not take place until the pravara or invitation addressed to Agni, the Hotr? of the gods, to assist in calling the 96 SATAPATHA-BRAHMANA. become a Hotvz. Let him therefore say, ‘ Recite to the fire as it is being kindled!’
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.
1Thereupon he puts on (the fire) a samidh (kindling-stick). He first touches with it the middle enclosing-stick : thereby he first kindles those (three Agnis). After that he puts it on the fire: thereby he kindles the visible fire. 6. He puts it on’, with the gayatrt stanza (Vag. S. II, 4), ‘Thee, O Sage, who callest (the gods) to the feast, we will kindle so as to shine brilliantly; thee, O Agni, mighty at the sacrifice!’ He thereby kindles the gayatri?; the g4yatrt, when kindled, kindles the other metres; and the metres, when kindled, carry the sacrifice to the gods. 1 According to Sayama, the two sticks or pieces of wood are put on the fire in a manner similar to that in which the two 4gh4aras or sprinklings of clarified butter are made (see I, 4, 4-5); viz. the first in the direction north-west to south-east, and the second from south-west to north-east. * The gAyatrt is the first of the three principal metres, cf. p. 80, note 3. It consists of three octo-syllabic padas, of which Rig-veda I, 164, 25 says,—‘ The g4yatra, they say, has three flames (or firebrands, samidh): therefore it excelled in grandeur and power.’ 92 SATAPATHA-BRAHMANA. 7. By the second kindling-stick (samidh), which he now puts on, he kindles the spring; the spring, when kindled, kindles the other seasons; and the seasons, when kindled, cause living beings to be produced and the plants to ripen. He puts it on, with the formula (V4g. S. II, 5),‘A kindler (samidh) art thou!’ for the spring is indeed a kindler. 8. When he has put it on, he murmurs (ib.), ‘May the sun guard thee from the east against any imprecation!’ for the enclosing-sticks serve for protection on all (the other three) sides; and thereby he makes the sun the protector on the east side, fearing ‘lest the evil spirits, the Rakshas, should rush in from the east:’ for the sun is the repeller of the evil spirits, the Rakshas. 9. By that third kindling-stick, then, which he puts on at the after-offerings', he kindles the officiating priest (brahmaza); and he, the priest, when kindled, carries the sacrifice to the gods. 10. He now returns to the altar covered (with sacrificial grass). Having taken two stalks of grass, he lays them down across (the barhis or grass covering, with the tops to the north), with the formula (V4g. S. II, 5), ‘Savitvz’s arms? are yel’ The prastara bunch is indeed the top-knot (of the sacrifice); and he now lays down these two crosswise as its eye-brows: thereby these two (represent) the transverse eye-brows. The prastara, further, 1 See I, 8, 2, 3. * Baha, ‘the two arms,’ is apparently taken here by our author both in its natural sense and as the arms of the bow or arch, formed by the eye-brows. The barhis, or grass covering of the altar, was, as we saw (I, 3, 3, 7), identified with the beard and other hair of the body. I KANDA, 3 ADHYAYA, 4 BRAHMANA, 14. 93
2The barhis, or grass covering of the altar, was, as we saw (I, 3, 3, 7), identified with the beard and other hair of the body. I KANDA, 3 ADHYAYA, 4 BRAHMANA, 14. 93 (represents) the kshatra (or military class); and the other barhis the vis (or, the common Aryan people) ;—(and the two stalks he puts down between them) for the sake of separating (vidhvzti) the kshatra and the vis: for this reason he lays them down crosswise; and for this reason these two (stalks) are called vidhrcti. 11. On them he spreads the prastara, with the formula (Vag. S. II, 5), ‘I spread thee, soft as wool, pleasant to sit upon for the gods!’ When he says ‘thee, soft as wool, he means to say ‘agreeable to the gods ;’ and by ‘pleasant to sit upon for the gods’ he means to say ‘forming a good seat for the gods.’ 12, He presses it down (with his left hand), with the text (ib.), ‘May the Vasus, the Rudras, the Adityas sit on thee!’ These three, that is, the Vasus, the Rudras, and the Adityas, namely, are (classes of) gods; and these, he means to say, are to sit down on it. While it is still being held down with his left hand, — 13. He seizes the guhf with his right, fearing ‘lest the evil spirits, the Rakshas, should enter there in the meantime;’ for the officiating priest (brahmaza) is the repeller of the Rakshas: therefore, while it (the prastara) is still being held down with his left hand,— 14. He seizes the guhd, with the text (Vag. S. II, 6), ‘ Fond of butter art thou, Guhf by name!’ for fond of butter indeed it is, and Guha by name ;—‘ Sit down here with the favourite resort’ (or dainty) on the favourite seat!’ The upabhv7zt (he takes), with the formula (ib.), ‘Fond of butter art thou, Upabhvzt 1 Viz. the butter, which is the dear resort, or home, of the gods; see I, 3, 2,17. Possibly, however, dh&man may here mean ‘dainty.’ 94 SATAPATHA-BRAHMANA. by name!’ for fond of butter indeed it is, and Upabhvzt by name ;—‘ Sit down here with the favourite resort on the favourite seat!’ The dhruva (he takes) with ‘Fond of butter art thou, Dhruvé by name!’ for fond of butter indeed it is, and Dhruva by ‘name ;—‘ Sit down here with the favourite resort on the favourite seat!’ What other sacrificial food there is, (he puts down on the prastara), with the formula, ‘With the favourite resort sit down on the favourite seat!’ 15. He lays the guhf down on (the prastara), and the other spoons down below, (viz. on the barhis, north of the guhf, and so as not to touch it or one another); for the guhd assuredly is the kshatra, and the other spoons (srué&) are the vis: he thereby makes the kshatra superior to the vis. Hence the people here serve, from a lower position, the Kshatriya seated above them: for this reason he places the guhd upon (the prastara) and the other spoons down below it.
3Hence the people here serve, from a lower position, the Kshatriya seated above them: for this reason he places the guhd upon (the prastara) and the other spoons down below it. 16. He touches the offerings, with the text (Vag. S. II, 6), ‘Safely they have sat down,’ for safely indeed they sat down;—‘in the lap (yoni) of divine truth!’ for the sacrifice is indeed the lap of divine truth, and in the sacrifice they sat down ;—‘ Protect these, O Vishzu! protect the sacrifice! protect the lord of sacrifice!’ thereby he refers to the sacrificer ; —‘ Protect me, the leader of the sacrifice!’ thereby he does not exclude himself either from the sacrifice. Vishzu, assuredly, is the sacrifice: hence it is to the sacrifice that he makes all that over for protection. This is the reason why he says, ‘ Protect these, O Vishzu!’ I KANDA, 3 ADHYAYA, 5 BRAHMANA, 3. 95 Firty BrAuMAwWa, Tue Kinpiinc oF THE Fire, THE PRAVARA, AND THE Two Lipations (AcHARA) oF Burrer. 1, With the fire-wood (idhma, lighting material) the Adhvaryu lights (indh) the fire: hence it is called fire-wood. And with the kindling verses (samidhent) the Hotvz kindles (sam-indh, to make blaze): hence they are called kindling verses. 2. He (the Adhvaryu’) says (to the Hotr7): ‘ Recite to the fire as it is being kindled!’ for it is to the fire, when it is being kindled, that he recites. 3. Here now some people say, ‘O Hotar, recite to the fire as it is being kindled!’ But let him not say so; for that (priest) is not a Hotvz as yet; only when he (the sacrificer) elects him *, does he 1 The Adhvaryu, in the first place, prepares a seat for the Hotr#, either west of the altar or north of its left hip; and covers it with dry Kusa grass. [He then calls,‘O Hotrs, come!’] The Hotry, having rinsed his mouth north-east of the Ahavantya, with his face to the east, turns round from left to right and betakes himself to the sacrificial ground, always keeping his right foot before the left. He finally takes up his position so as to have the heel of the right foot in a line with the north hip of the altar, and the toes on the barhis; whilst he keeps the hands on a level with the heart, spread open and joined together, and looks towards the junction of the earth and sky. The Adhvaryu then takes a samidh (kindling-stick) and calls on him as above. The Hotr? now mutters the formulas ‘Adoration to the teacher! Adoration to the observer! Adoration to the promulgator!’ &c. (Asv. Srautas I, 2,1). The sacrificer then takes the wooden sword and says, ‘Recite for me, as it were, stretching along (i. e. continuously)!’ whereupon the Hotr:, having asked and received the permission of the Brahman, proceeds to recite the kindling verses. Katy. III, 1, 1 seq. ; Asv. I, 1, 4 seq. * This does not take place until the pravara or invitation addressed to Agni, the Hotr? of the gods, to assist in calling the 96 SATAPATHA-BRAHMANA. become a Hotvz. Let him therefore say, ‘ Recite to the fire as it is being kindled!’
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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