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Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1And in like manner he (the priest) also by the escape (of the enemies) gains first the sky, and then this aérial expanse ; and thereupon he drives his enemies away from this (earth), whence there is no escape. This earth indeed is a firm footing: hence he thereby stands firm on this firm footing. 12. And in this way also (he may stride)!: ‘In the sky Vishzu strode by means of the gagatt metre: excluded thereftom is he who hates us, and whom we hate!’ ‘Inthe air Vishzu strode by means of the trish¢ubh metre: excluded therefrom is he who hates us, and whom we hate!’ ‘On the earth Vishzu strode by means of the gdyatri metre: excluded therefrom is he who hates us, and whom we hate!’—With the texts (V4g. S. II, 25 d, e), ‘(Excluded) from this food! from this resort!’ (pratish¢#4, he looks down upon his portion and the altar respectively.) For on this (earth) all this food is safely established (pratish¢Zita): for this reason he says, ‘From this food! from this resort !’ 13. He then looks towards the east. The east, indeed, is the region of the gods: for this reason he looks towards the east. 14. He looks, with the text (Vag. S. II, 25 f), ‘We have gone to the realm of light (svar). The 1 The sacrificer in making the strides of Vishzu, may begin either with the stride on earth or with that in the sky (K4ty. III, 8, 11,12). He begins from the southern hip (or south-west corner) of the altar, and makes three strides eastward with his right foot in front, reciting one formula with each stride, along the south side of the altar up to the Ahavantya fire. I KANDA, 9 ADHYAYA, 3 BRAHMANA, 17. = 271 realm of light assuredly means the gods: hence he thereby says, ‘We have gone to the gods.’—With (ib. g), ‘We have united with splendour’ (he looks on the Ahavantya fire): he thereby says, ‘We have united with the gods.’ 15. He then looks up to the sun, for that is the final goal, that the safe resort. To that final goal, to that resort he thereby goes: for this reason he looks up to the sun. 16. He looks up, with the text (V4g.S. IT, 26a), ‘ Self-existent art thou, the best ray of light!’ The sun is indeed the best ray of light?, and therefore he says, ‘Self-existent art thou, the best ray of light.’ ‘“ Light-bestowing art thou: give me light (varéas)!” so say I, said Yag#avalkya, ‘for at this indeed the Brahmaza should strive, that he be brahmavarfasin (illumed by the brahma, or sacred writ),’ Aupoditeya’, on the other hand, said, ‘ He indeed will give me cows?: (therefore I say), “ Cow-giving art thou, give me cows!”’ Thus whatever wish he (the sacrificer) entertains (and expresses), that wish is granted to him. 17. He then turns (from left to right), with the text (V4g. S. II, 26b), ‘I move along the course of
217. He then turns (from left to right), with the text (V4g. S. II, 26b), ‘I move along the course of 1 Seven rays of the sun are mentioned, Rig-veda I, 105, 9; II, 5,2; Ath.-veda VII, 107,1. Mahidhara remarks that four of them lie in, or point to, the four quarters; one pointing upwards and another downwards ; and the seventh, and best, being the disc of the sun itself, called Hiranyagarbha. This apparently is the param bhAs, or most excellent light, which in par. 10 is identified with Pragapati, or the heavenly world. 2 That is, Tumifiga Aupoditeya Vaiy4ghrapadya, as the Kanva text reads; cf. Taitt. S.I, 7, 2, 1. ’ The heavenly rays of light are regarded as the heavenly cows, Naigh. I, 5; Nir. II, 6. 272 SATAPATHA-BRAHMANA. the sun;’ having reached that final goal, that safe resort, he now moves along the course of that (sun)?. 18. Thereupon he steps to (upa-stha) the Garhapatya fire. Twofold is the reason why he steps to the Garhapatya: the Garhapatya is a house, and a house is a safe resort, hence he thereby stays in a house, that is, in a safe resort. And, besides, what full measure of human life there is for him here, that he thereby attains (upa-sth4). This is why he steps to the Gérhapatya fire. ' 19. He steps to it, with the text (Vg. S. II, 27a), ‘O householder Agni, may I become a good householder through thee, O Agni, the householder! Mayest thou, O Agni, become a good householder through me, the householder!’ there is nothing in this requiring explanation.—‘ May our household matters be unlike a cart with only one bullock,’ he thereby says, ‘may our household matters be free from calamities ;'"—‘for a hundred winters!’ he thereby says, ‘may I live a hundred years.’ He need not, however, say this; for man lives even longer than a hundred years: hence he need not say this. 20. He then turns (from left to right), with the text (Vag. S. II, 27b), ‘I move along the course of the sun:’ having reached that final goal, that safe resort, he now moves along the course of that (sun). 21. Now (in pronouncing the following text) he ? When he has executed the pradakshiza movement, he has to repeat the movement in the opposite direction, in accordance with the general rule, Katy. I, 8, 24. The same applies to par. 20. Cn the sun-wise circumambulation, with and without fire, see p. 37 note, p. 45 note; also Martin, Western Isles, pp. 16-20, 85, 97, 116-119, 241, 277; Forbes Leslie, Early Races of Scotland, index, s. v. deisiol. I KANDA, 9 ADHYAYA, 3 BRAHMANA, 23. 273 inserts his son’s name: ‘ May this son (N, N.) carry on this manly deed of mine?!’ Should he have no son, let him insert his own name. 22. He then steps up to the Ahavantya fire. Silently he steps to it, thinking, ‘In the east my sacrifice shall be completed !’
3273 inserts his son’s name: ‘ May this son (N, N.) carry on this manly deed of mine?!’ Should he have no son, let him insert his own name. 22. He then steps up to the Ahavantya fire. Silently he steps to it, thinking, ‘In the east my sacrifice shall be completed !’ 23. Thereupon he divests himself of the vow, with the text (Vag. S. II, 28 b), ‘ Now am I he that I really am.’ For, in entering upon the vow, he becomes, as it were, non-human; and as it would not be becoming for him to say,‘I enter from truth into untruth;’ and as, in fact, he now again becomes man, let him therefore divest himself of the vow, with the text, ‘Now am I he that I really am2’ 1 The Médhyandina text of the Vag. S. does not give this formula. The K4amva text of the Samhita has the following (Weber’s edition, p. 59), ‘Woven art thou, a web art thou: weave me along (? extend my life) at this sacrifice, at this holy deed, in this food, in this world!’ ‘May my son weave on (continue) this work, this manly deed of mine!’ Thus also Katy. III, 8, 25. The K4nva text of the Brahmana, however, mentions only the formula given above. According to Laug4kshi he names his favourite son ; according to Sankhayana, his eldest son, or as many sons as he has. See comm. on Katy. IV, 12, 11. * See I,1,1,6. For another mode of divesting oneself of the vow, see I, 1, 1, 3. (ra) T 274 SATAPATHA-BRAHMANA. SECOND KANDA. THE AGNYADHANA, THE AGNIHOTRA, THE PINDAPITRIYAGNA, THE AGRAYANVESH7I, AND THE KATURMASYANI. Il. THE AGNYADHANA or ESTABLISHMENT OF THE SACRED FIRES. First ApuyAya. First BRAHMANA. Tue Agny-Adh4na (or Agny-4dheya), or ceremony of establishing a set of sacrificial fires, on the part of a young householder, is, as a rule, performed on the first day of the waxing moon. Some authorities also allow the performance to take place at full moon, probably in order to enable the newly-married couple to enter on their sacred duties with as little delay as possible. Moreover, special benefits are supposed to accrue to the performer of the ceremony from the conjunction of the new moon with certain lunar asterisms ; though the author of our work, at any rate, does not seem greatly to encourage this practice, but rather to urge the pious householder to set up fires of his own, whenever he feels a longing for the sacrifice. The normal performance of the Agny4dhana, as that of the full and new-moon offerings, requires two days; the first of which is taken up with preliminary rites, while the second—that is, the first day of the respective half-moon—is devoted to the chief ceremonies, beginning with the production of the sacred fire by friction. (See II, 1, 4, 8 seq.)
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.
1And in like manner he (the priest) also by the escape (of the enemies) gains first the sky, and then this aérial expanse ; and thereupon he drives his enemies away from this (earth), whence there is no escape. This earth indeed is a firm footing: hence he thereby stands firm on this firm footing. 12. And in this way also (he may stride)!: ‘In the sky Vishzu strode by means of the gagatt metre: excluded thereftom is he who hates us, and whom we hate!’ ‘Inthe air Vishzu strode by means of the trish¢ubh metre: excluded therefrom is he who hates us, and whom we hate!’ ‘On the earth Vishzu strode by means of the gdyatri metre: excluded therefrom is he who hates us, and whom we hate!’—With the texts (V4g. S. II, 25 d, e), ‘(Excluded) from this food! from this resort!’ (pratish¢#4, he looks down upon his portion and the altar respectively.) For on this (earth) all this food is safely established (pratish¢Zita): for this reason he says, ‘From this food! from this resort !’ 13. He then looks towards the east. The east, indeed, is the region of the gods: for this reason he looks towards the east. 14. He looks, with the text (Vag. S. II, 25 f), ‘We have gone to the realm of light (svar). The 1 The sacrificer in making the strides of Vishzu, may begin either with the stride on earth or with that in the sky (K4ty. III, 8, 11,12). He begins from the southern hip (or south-west corner) of the altar, and makes three strides eastward with his right foot in front, reciting one formula with each stride, along the south side of the altar up to the Ahavantya fire. I KANDA, 9 ADHYAYA, 3 BRAHMANA, 17. = 271 realm of light assuredly means the gods: hence he thereby says, ‘We have gone to the gods.’—With (ib. g), ‘We have united with splendour’ (he looks on the Ahavantya fire): he thereby says, ‘We have united with the gods.’ 15. He then looks up to the sun, for that is the final goal, that the safe resort. To that final goal, to that resort he thereby goes: for this reason he looks up to the sun. 16. He looks up, with the text (V4g.S. IT, 26a), ‘ Self-existent art thou, the best ray of light!’ The sun is indeed the best ray of light?, and therefore he says, ‘Self-existent art thou, the best ray of light.’ ‘“ Light-bestowing art thou: give me light (varéas)!” so say I, said Yag#avalkya, ‘for at this indeed the Brahmaza should strive, that he be brahmavarfasin (illumed by the brahma, or sacred writ),’ Aupoditeya’, on the other hand, said, ‘ He indeed will give me cows?: (therefore I say), “ Cow-giving art thou, give me cows!”’ Thus whatever wish he (the sacrificer) entertains (and expresses), that wish is granted to him. 17. He then turns (from left to right), with the text (V4g. S. II, 26b), ‘I move along the course of
217. He then turns (from left to right), with the text (V4g. S. II, 26b), ‘I move along the course of 1 Seven rays of the sun are mentioned, Rig-veda I, 105, 9; II, 5,2; Ath.-veda VII, 107,1. Mahidhara remarks that four of them lie in, or point to, the four quarters; one pointing upwards and another downwards ; and the seventh, and best, being the disc of the sun itself, called Hiranyagarbha. This apparently is the param bhAs, or most excellent light, which in par. 10 is identified with Pragapati, or the heavenly world. 2 That is, Tumifiga Aupoditeya Vaiy4ghrapadya, as the Kanva text reads; cf. Taitt. S.I, 7, 2, 1. ’ The heavenly rays of light are regarded as the heavenly cows, Naigh. I, 5; Nir. II, 6. 272 SATAPATHA-BRAHMANA. the sun;’ having reached that final goal, that safe resort, he now moves along the course of that (sun)?. 18. Thereupon he steps to (upa-stha) the Garhapatya fire. Twofold is the reason why he steps to the Garhapatya: the Garhapatya is a house, and a house is a safe resort, hence he thereby stays in a house, that is, in a safe resort. And, besides, what full measure of human life there is for him here, that he thereby attains (upa-sth4). This is why he steps to the Gérhapatya fire. ' 19. He steps to it, with the text (Vg. S. II, 27a), ‘O householder Agni, may I become a good householder through thee, O Agni, the householder! Mayest thou, O Agni, become a good householder through me, the householder!’ there is nothing in this requiring explanation.—‘ May our household matters be unlike a cart with only one bullock,’ he thereby says, ‘may our household matters be free from calamities ;'"—‘for a hundred winters!’ he thereby says, ‘may I live a hundred years.’ He need not, however, say this; for man lives even longer than a hundred years: hence he need not say this. 20. He then turns (from left to right), with the text (Vag. S. II, 27b), ‘I move along the course of the sun:’ having reached that final goal, that safe resort, he now moves along the course of that (sun). 21. Now (in pronouncing the following text) he ? When he has executed the pradakshiza movement, he has to repeat the movement in the opposite direction, in accordance with the general rule, Katy. I, 8, 24. The same applies to par. 20. Cn the sun-wise circumambulation, with and without fire, see p. 37 note, p. 45 note; also Martin, Western Isles, pp. 16-20, 85, 97, 116-119, 241, 277; Forbes Leslie, Early Races of Scotland, index, s. v. deisiol. I KANDA, 9 ADHYAYA, 3 BRAHMANA, 23. 273 inserts his son’s name: ‘ May this son (N, N.) carry on this manly deed of mine?!’ Should he have no son, let him insert his own name. 22. He then steps up to the Ahavantya fire. Silently he steps to it, thinking, ‘In the east my sacrifice shall be completed !’
3273 inserts his son’s name: ‘ May this son (N, N.) carry on this manly deed of mine?!’ Should he have no son, let him insert his own name. 22. He then steps up to the Ahavantya fire. Silently he steps to it, thinking, ‘In the east my sacrifice shall be completed !’ 23. Thereupon he divests himself of the vow, with the text (Vag. S. II, 28 b), ‘ Now am I he that I really am.’ For, in entering upon the vow, he becomes, as it were, non-human; and as it would not be becoming for him to say,‘I enter from truth into untruth;’ and as, in fact, he now again becomes man, let him therefore divest himself of the vow, with the text, ‘Now am I he that I really am2’ 1 The Médhyandina text of the Vag. S. does not give this formula. The K4amva text of the Samhita has the following (Weber’s edition, p. 59), ‘Woven art thou, a web art thou: weave me along (? extend my life) at this sacrifice, at this holy deed, in this food, in this world!’ ‘May my son weave on (continue) this work, this manly deed of mine!’ Thus also Katy. III, 8, 25. The K4nva text of the Brahmana, however, mentions only the formula given above. According to Laug4kshi he names his favourite son ; according to Sankhayana, his eldest son, or as many sons as he has. See comm. on Katy. IV, 12, 11. * See I,1,1,6. For another mode of divesting oneself of the vow, see I, 1, 1, 3. (ra) T 274 SATAPATHA-BRAHMANA. SECOND KANDA. THE AGNYADHANA, THE AGNIHOTRA, THE PINDAPITRIYAGNA, THE AGRAYANVESH7I, AND THE KATURMASYANI. Il. THE AGNYADHANA or ESTABLISHMENT OF THE SACRED FIRES. First ApuyAya. First BRAHMANA. Tue Agny-Adh4na (or Agny-4dheya), or ceremony of establishing a set of sacrificial fires, on the part of a young householder, is, as a rule, performed on the first day of the waxing moon. Some authorities also allow the performance to take place at full moon, probably in order to enable the newly-married couple to enter on their sacred duties with as little delay as possible. Moreover, special benefits are supposed to accrue to the performer of the ceremony from the conjunction of the new moon with certain lunar asterisms ; though the author of our work, at any rate, does not seem greatly to encourage this practice, but rather to urge the pious householder to set up fires of his own, whenever he feels a longing for the sacrifice. The normal performance of the Agny4dhana, as that of the full and new-moon offerings, requires two days; the first of which is taken up with preliminary rites, while the second—that is, the first day of the respective half-moon—is devoted to the chief ceremonies, beginning with the production of the sacred fire by friction. (See II, 1, 4, 8 seq.)
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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