Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
12 ? Or, it would be an act of neglect on his, the sacrificer’s, part : by (the Hotrz) reciting without fetching breath, that act, that neglect would be avoided. H 2 100 SATAPATHA-BRAHMANA. position without taking breath, that slight will be avoided. 15. If, however, he do not care to undertake this, he may also recite one (verse) at a time without drawing breath: he thereby spreads those worlds one by one, gains those worlds one by one. The reason why he takes breath, is that the g4yatrt is indeed breath ; and that by reciting a complete gayatrt verse, he accordingly bestows complete breathing (on the sacrificer): let him therefore recite one (verse) at a time without breathing. 16. He recites them ina continuous, uninterrupted way: thereby he makes the days and nights of the year continuous, and in a continuous, uninterrupted way revolve those days and nights of the year. And in this way he gives no access to the spiteful enemy; but access he.would indeed give, if he were to recite them discontinuously: he therefore recites in a continuous, uninterrupted way. Fourtu ApuyAya. First BRAHMANA. 1. He recites after uttering (the syllable) ‘Hin!’ Sacrifice, they say, is not (performed) without the S4man; and neither is the SAman chanted without ‘Hin’ having been uttered. By his uttering ‘Hin!’ the peculiar nature (rdpam) of the word ‘Hin’ is produced (in the sacrifice); and by the sacred syllable (om) it assumes the nature of the Sdman. By uttering ‘Om! Om!!’ this his entire sacrifice becomes endowed with the SAman. 1 That is, by uttering ‘Om!’ after each verse. The recitation of the first verse is preceded by the mystic words ‘Hin bhfr bhuva’ svar om!’ Asv.S.I, 2,3. Both syllables ‘hia’ and ‘om’ are essential elements in the recitation of Saman hymns, See II, 2, 4, 11 seq. I KANDA, 4 ADHYAYA, I BRAHMANA, 5. TO! 2. And (another reason) why he utters ‘ Hin!’ is this. The word ‘Hin’ means breath, for the word ‘Hin’ does indeed mean breath: he cannot therefore pronounce the word ‘Hin,’ when he closes his nostrils. The z& (verse) he recites with his voice. Now, voice and breath are a pair, so that a productive union of the sAmidhents is thereby effected at the outset: for this reason he recites, after uttering ‘ Hin!’ 3. He utters the word ‘Hin’ in a low voice. Were he, on the contrary, to pronounce ‘Hin’ aloud, he would make ‘voice’ of both the one and the other : for this reason he utters the word ‘Hin’ in a low voice. 4. He recites with ‘4 (hither)!’ and ‘pra (forth or thither)'!’ He thereby joins a gdyatrt verse directed hitherward to one directed away from here: the one which tends from hence carries the sacrifice to the gods, and the one which tends hitherward pleases the men. For this reason he recites with ‘A’ and ‘pra.’
2For this reason he recites with ‘A’ and ‘pra.’ 5. And (another reason) why he recites with ‘4’ and ‘pra,’ is this. ‘Pra (forth)’ clearly means outbreathing, and ‘4 (hither)’ means in-breathing: hence he thereby obtains out-breathing and in-breathing (for the sacrificer). For this reason he recites with ‘4’ and ‘pra.’ 1 The particles pra and 4 were apparently used in phrases wishing one a safe journey and return (cf. Ait. Br. 3, 26, with Haug’s note). The first simidhent begins, ‘ pr4 vo vag4 abhidyavahk’ (forth go your viands, heavenward) ; and the second, ‘4gna @ y&hi vit4ye’ (come hither, Agni, to the feast!). It is from these verses that the above symbolical explanation is derived. Cf. Taitt. S. Il, 5, 7, 3 [pra4inam reto dhiyate—pratisiA# pragd gayante]. 102 SATAPATHA-BRAHMANA. 6. Yet (other reasons) why he recites with ‘ hither (4)’ and ‘thither (pra),’ are these. ‘Thither’ the seed is cast, and ‘hither’ birth takes place. ‘ Thither’ the cattle disperse (for grazing), ‘hither’ they return. Indeed, everything here (moves) ‘hither’ and ‘thither:’ for this reason he recites with ‘4’ and ‘pra.’ 7. He recites?, ‘Forth go your viands, heaven- 1 The following is a connected translation (as literal as possible, if not elegant) of the eleven sAmidhents, or kindling verses, in the same octosyllabic metre as the original. The first and eleventh verses are recited three times; and when at the end of each verse the Hotr7 pronounces the syllable om, the Adhvaryu throws a stick (samidh) into the fire,—up to the eighth verse, at the end of which the tenth stick is thrown in. At the end of the ninth verse five of the remaining six sticks are thrown into the fire. The throwing of the first stick is accompanied by the sacrificer pronouncing the dedicatory formula (ty4ga), ‘For Agni this, not for me!’ 1. Forth go your viands, heavenward, In havis rich; with buttered (spoon) He nears the gods, wishful of bliss. 2. Come hither, Agni, to the feast; Invokéd for the offering-gift, As Hotr? on the barhis sit! 3. With samidhs thee, O Angiras, With butter we exhilarate: Shine forth, O youngest, brilliantly ! 4. Agni, do thou obtain for us That region wide and glorious, That great and mighty one, O God! 5. Praiseworthy he, adorable, Visjble through the veil of gloom, Agni, the mighty one, is lit. 6. The mighty Agni is lit up, Yea, as a horse that bears the gods: With offerings him they glorify. y. O mighty one! we mighty men Do kindle thee, the mighty one,— O Agni, thee that brightly shines, I KANDA, 4 ADHYAYA, I BRAHMANA, 9. 103 ward !’—hereby, then, the ‘thither’ is (realised). And (in the second verse), ‘Come hither, Agni, to expand?!’—by this, on the other hand, the ‘hither’ is (realised).
3we mighty men Do kindle thee, the mighty one,— O Agni, thee that brightly shines, I KANDA, 4 ADHYAYA, I BRAHMANA, 9. 103 ward !’—hereby, then, the ‘thither’ is (realised). And (in the second verse), ‘Come hither, Agni, to expand?!’—by this, on the other hand, the ‘hither’ is (realised). 8. Now, in reference to this point, some people say, ‘Both these (texts) surely result in a “thither *.”’ This, however, is beyond the ordinary understanding: the text, ‘forth go your viands, heavenward!’ is clearly (directed) away from (the sacrificer); and the text, ‘Come hither, Agni, to expand!’ is (directed) towards (him). 9. He recites (the first kindling verse), ‘Forth go your viands, heavenward!’ this, then, tends in a forward direction. ‘Viands’ (vaga)* he says, because viands mean food: hence food is obtained (for the sacrificer) by this recitation. ‘ Heavenward’ he says, because those that tend heavenward are the half- 8. Agni we choose as messenger, As Hotr? the all-knowing,—him, Performing well this sacrifice. 9. He who is kindled at the cult, Agni, the bright, the laudable, The flaming-locked, him we adore. to. O Agni, worshipped, thou art lit: Adore, good worshipper, the gods! Oblation-bearer, sure, art thou. 11. Make offerings! do reverence ! — Him, Agni, while the cult proceeds, For your oblation-bearer choose ! 1 See further on, par. 22 seq. * Inasmuch as Agni, whilst coming to the sacrifice, goes away from the gods. SAy. * In the Taitt. S. II, 5, 7, 3-4 also vaga is in the first place rendered by ‘food,’ while afterwards it is identified with the months (i.e. the coursers? gamanastla, Say.); as abhidyavah (in the sense of ‘ shining in both directions,’ i. e. in the form of the waxing and waning moon, S4y.) is referred to the half-moons. 104 SATAPATHA-BRAHMANA. moons: it is, therefore, the half-moons which he obtains by this recitation. ‘In havis rich’ he further says, because those that are rich in havis (milk, butter) are the cattle ; it is cattle, therefore, that he thereby obtains through the recitation. 10. ‘With buttered (spoon)—’ he adds. Now MAathava, the (king of) Videgha}, carried Agni Vaisvanara in his mouth. The Azshi Gotama Rahdgama was his family priest. When addressed (by the latter), he made no answer to him, fearing lest Agni might fall from his mouth. 11. He (the priest) began to invoke the latter with
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.
12 ? Or, it would be an act of neglect on his, the sacrificer’s, part : by (the Hotrz) reciting without fetching breath, that act, that neglect would be avoided. H 2 100 SATAPATHA-BRAHMANA. position without taking breath, that slight will be avoided. 15. If, however, he do not care to undertake this, he may also recite one (verse) at a time without drawing breath: he thereby spreads those worlds one by one, gains those worlds one by one. The reason why he takes breath, is that the g4yatrt is indeed breath ; and that by reciting a complete gayatrt verse, he accordingly bestows complete breathing (on the sacrificer): let him therefore recite one (verse) at a time without breathing. 16. He recites them ina continuous, uninterrupted way: thereby he makes the days and nights of the year continuous, and in a continuous, uninterrupted way revolve those days and nights of the year. And in this way he gives no access to the spiteful enemy; but access he.would indeed give, if he were to recite them discontinuously: he therefore recites in a continuous, uninterrupted way. Fourtu ApuyAya. First BRAHMANA. 1. He recites after uttering (the syllable) ‘Hin!’ Sacrifice, they say, is not (performed) without the S4man; and neither is the SAman chanted without ‘Hin’ having been uttered. By his uttering ‘Hin!’ the peculiar nature (rdpam) of the word ‘Hin’ is produced (in the sacrifice); and by the sacred syllable (om) it assumes the nature of the Sdman. By uttering ‘Om! Om!!’ this his entire sacrifice becomes endowed with the SAman. 1 That is, by uttering ‘Om!’ after each verse. The recitation of the first verse is preceded by the mystic words ‘Hin bhfr bhuva’ svar om!’ Asv.S.I, 2,3. Both syllables ‘hia’ and ‘om’ are essential elements in the recitation of Saman hymns, See II, 2, 4, 11 seq. I KANDA, 4 ADHYAYA, I BRAHMANA, 5. TO! 2. And (another reason) why he utters ‘ Hin!’ is this. The word ‘Hin’ means breath, for the word ‘Hin’ does indeed mean breath: he cannot therefore pronounce the word ‘Hin,’ when he closes his nostrils. The z& (verse) he recites with his voice. Now, voice and breath are a pair, so that a productive union of the sAmidhents is thereby effected at the outset: for this reason he recites, after uttering ‘ Hin!’ 3. He utters the word ‘Hin’ in a low voice. Were he, on the contrary, to pronounce ‘Hin’ aloud, he would make ‘voice’ of both the one and the other : for this reason he utters the word ‘Hin’ in a low voice. 4. He recites with ‘4 (hither)!’ and ‘pra (forth or thither)'!’ He thereby joins a gdyatrt verse directed hitherward to one directed away from here: the one which tends from hence carries the sacrifice to the gods, and the one which tends hitherward pleases the men. For this reason he recites with ‘A’ and ‘pra.’
2For this reason he recites with ‘A’ and ‘pra.’ 5. And (another reason) why he recites with ‘4’ and ‘pra,’ is this. ‘Pra (forth)’ clearly means outbreathing, and ‘4 (hither)’ means in-breathing: hence he thereby obtains out-breathing and in-breathing (for the sacrificer). For this reason he recites with ‘4’ and ‘pra.’ 1 The particles pra and 4 were apparently used in phrases wishing one a safe journey and return (cf. Ait. Br. 3, 26, with Haug’s note). The first simidhent begins, ‘ pr4 vo vag4 abhidyavahk’ (forth go your viands, heavenward) ; and the second, ‘4gna @ y&hi vit4ye’ (come hither, Agni, to the feast!). It is from these verses that the above symbolical explanation is derived. Cf. Taitt. S. Il, 5, 7, 3 [pra4inam reto dhiyate—pratisiA# pragd gayante]. 102 SATAPATHA-BRAHMANA. 6. Yet (other reasons) why he recites with ‘ hither (4)’ and ‘thither (pra),’ are these. ‘Thither’ the seed is cast, and ‘hither’ birth takes place. ‘ Thither’ the cattle disperse (for grazing), ‘hither’ they return. Indeed, everything here (moves) ‘hither’ and ‘thither:’ for this reason he recites with ‘4’ and ‘pra.’ 7. He recites?, ‘Forth go your viands, heaven- 1 The following is a connected translation (as literal as possible, if not elegant) of the eleven sAmidhents, or kindling verses, in the same octosyllabic metre as the original. The first and eleventh verses are recited three times; and when at the end of each verse the Hotr7 pronounces the syllable om, the Adhvaryu throws a stick (samidh) into the fire,—up to the eighth verse, at the end of which the tenth stick is thrown in. At the end of the ninth verse five of the remaining six sticks are thrown into the fire. The throwing of the first stick is accompanied by the sacrificer pronouncing the dedicatory formula (ty4ga), ‘For Agni this, not for me!’ 1. Forth go your viands, heavenward, In havis rich; with buttered (spoon) He nears the gods, wishful of bliss. 2. Come hither, Agni, to the feast; Invokéd for the offering-gift, As Hotr? on the barhis sit! 3. With samidhs thee, O Angiras, With butter we exhilarate: Shine forth, O youngest, brilliantly ! 4. Agni, do thou obtain for us That region wide and glorious, That great and mighty one, O God! 5. Praiseworthy he, adorable, Visjble through the veil of gloom, Agni, the mighty one, is lit. 6. The mighty Agni is lit up, Yea, as a horse that bears the gods: With offerings him they glorify. y. O mighty one! we mighty men Do kindle thee, the mighty one,— O Agni, thee that brightly shines, I KANDA, 4 ADHYAYA, I BRAHMANA, 9. 103 ward !’—hereby, then, the ‘thither’ is (realised). And (in the second verse), ‘Come hither, Agni, to expand?!’—by this, on the other hand, the ‘hither’ is (realised).
3we mighty men Do kindle thee, the mighty one,— O Agni, thee that brightly shines, I KANDA, 4 ADHYAYA, I BRAHMANA, 9. 103 ward !’—hereby, then, the ‘thither’ is (realised). And (in the second verse), ‘Come hither, Agni, to expand?!’—by this, on the other hand, the ‘hither’ is (realised). 8. Now, in reference to this point, some people say, ‘Both these (texts) surely result in a “thither *.”’ This, however, is beyond the ordinary understanding: the text, ‘forth go your viands, heavenward!’ is clearly (directed) away from (the sacrificer); and the text, ‘Come hither, Agni, to expand!’ is (directed) towards (him). 9. He recites (the first kindling verse), ‘Forth go your viands, heavenward!’ this, then, tends in a forward direction. ‘Viands’ (vaga)* he says, because viands mean food: hence food is obtained (for the sacrificer) by this recitation. ‘ Heavenward’ he says, because those that tend heavenward are the half- 8. Agni we choose as messenger, As Hotr? the all-knowing,—him, Performing well this sacrifice. 9. He who is kindled at the cult, Agni, the bright, the laudable, The flaming-locked, him we adore. to. O Agni, worshipped, thou art lit: Adore, good worshipper, the gods! Oblation-bearer, sure, art thou. 11. Make offerings! do reverence ! — Him, Agni, while the cult proceeds, For your oblation-bearer choose ! 1 See further on, par. 22 seq. * Inasmuch as Agni, whilst coming to the sacrifice, goes away from the gods. SAy. * In the Taitt. S. II, 5, 7, 3-4 also vaga is in the first place rendered by ‘food,’ while afterwards it is identified with the months (i.e. the coursers? gamanastla, Say.); as abhidyavah (in the sense of ‘ shining in both directions,’ i. e. in the form of the waxing and waning moon, S4y.) is referred to the half-moons. 104 SATAPATHA-BRAHMANA. moons: it is, therefore, the half-moons which he obtains by this recitation. ‘In havis rich’ he further says, because those that are rich in havis (milk, butter) are the cattle ; it is cattle, therefore, that he thereby obtains through the recitation. 10. ‘With buttered (spoon)—’ he adds. Now MAathava, the (king of) Videgha}, carried Agni Vaisvanara in his mouth. The Azshi Gotama Rahdgama was his family priest. When addressed (by the latter), he made no answer to him, fearing lest Agni might fall from his mouth. 11. He (the priest) began to invoke the latter with
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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