Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1(See II, 1, 4, 8 seq.) After the sacrificer has chosen his four officiating priests—viz. the Brahman, Hotr, Adhvaryu, and Agnidhra (or Agntdh)—he proceeds, together with them, to erect the two sheds or ‘firehouses.’ In order to determine their exact sites, the Adhvaryu first draws from west to east the so-called ‘easterly’ line (cf. I, 2, 5, 14), and on it marks, at 8, 11, or 12 prakramas or steps from each other, the centres of the GArhapatya and Ahavantya fire-places, the outlines of which he then traces, making each a square aratni or cubit in area, the former circular, the latter square. The Dakshi- II KANDA, I ADHYAYA, I BRAHMANA. 275 nagni or Anvaharya-paana, if it is required at all, is of the same area, but of semicircular form, and lies south of the space between the altar and the Garhapatya fire. The G&rhapatya fire-house is constructed with its laths running either from west to east, or from south to north, and a door on the south side; and so as to enclose both the Garhapatya and Dakshiwa fires. The Ahavantya fire-house, on the other hand, with its laths necessarily running from west to east, and an entrance from the east, contains the Ahavaniya fire and the altar (vedi) adjoining it on the west, and partly enclosing it with its ‘shoulders’ on the north and south sides. The two houses are also open to each other on the inner side; and sufficient space is left on all sides for freely moving around the fires. The Adhvaryu then procures a temporary fire,—either producing it by friction, or obtaining it from certain specified sources in the village,—and after the usual fivefold lustration of the G4rhapatya fire-place (cf. p. 2), he lays down the fire thereon. Towards sunset the sacrificer [while seated east of the Ahavantya house] invokes the gods and manes with ‘ Gods, fathers ! fathers, gods! I sacrifice, being who Iam; neither will I exclude him whose I am: mine own shall be the offering, mine own the toiling, mine own the sacrifice!’ He then enters the Ahavantya house from the east, passes through it to the Garhapatya, and sits down behind (west of) the fire; his wife at the same time entering the Garhapatya house from the south and seating herself south of him,—both facing the east. Thereupon the Adhvaryu hands to the sacrificer two pieces of wood (arani),—if possible, of asvattha, grown out of a sam? tree,—to be used next morning for the production (or ‘churning’) of the sacred fire by one of them (the upper arazi) being rapidly drilled in a hole in the other (or lower arani). [The sacrificer and his wife then lay the upper and lower sticks respectively on their laps ; whereupon certain propitiatory ceremonies are performed by them, and honours are paid to the priests and the sticks ; and the latter are finally deposited on a seat.] In the house of the Garhapatya a he-goat may then be tied up for the night, which, if it belong to the sacrificer, is to be presented by him to the Agnidhra on the completion of the sacrifice.
2After sunset the Adhvaryu measures out four vessels of husked rice grains—each containing three handfuls, which quantity is considered sufficient to furnish a meal for one man—on an ox-hide died red [and spread out with the hairy side upwards and the neckpart to the east]. With this rice the (odana) A&tushprasya, or ‘(pap) to be eaten by the four (priests), is prepared on the provisional Garhapatya fire. When it is ready, the Adhvaryu makes a hollow in the pap and pours clarified butter into it. He then takes T 2 276 SATAPATHA-BRAH MANA. three kindling-sticks (samidh), anoints them with some of that ghee, and puts them on the fire one after another, with texts (cf. note on II, 1, 4, 5). Thereupon the sacrificer [having paid due honours to the priests by washing their feet and giving them perfumes and wreaths, &c., and assigned to each his share] bids them eat. During the night the sacrificer and his wife have to remain awake and keep up the fire. When the night clears up, the Adhvaryu extinguishes the fire, or, if there is to be a Dakshin4gni, he takes it southwards and keeps it in a safe place till that fire is made up. He then draws with the wooden sword three lines across the fire-place and proceeds with the preparation of the hearth-mounds in the way set forth in the first Brahmavga of this Book. 1. Now when he equips (Agni, the fire) from this and that quarter, that is the equipping (of the fire) with its equipments!, In whatever (objects) some of (the nature of) Agni is inherent, therewith he equips (the fire); and in thus equipping it he supplies it partly with splendour, partly with cattle, partly with a mate. 2. In the first place he (the Adhvaryu) draws (three) lines (with the wooden sword on the Garhapatya fire-place*). Whatever part of this earth 1 The verb here translated by ‘to equip,’ is sam-bhri, ‘to carry, or bring, together, to collect;’ and then ‘to make the necessary preparations, to prepare ;’ hence sambhéra, ‘ the preparation, outfit,’ the technical term for the objects employed in the preparation of the fire-place, with the view of symbolically ensuring success to the fire. In paragraphs 3 seq. the primary meaning ‘to bring (together)’ has been used, except where it seemed desirable to preserve its technical sense. 2 The three lines drawn across the fire-place form a necessary part of its lustration; see p. 2. According to the Paddhati on Katy. IV, 8, the Adhvaryu first makes the fivefold lustration of the hearth, and thereupon again draws the mystic lines (? or draws the outline of the fire-place, cf. Katy. IV, 8, 16) and proceeds with the sambh4ras; viz. he sprinkles the lines with water, while the sacrificer takes hold of him from behind; then puts down a piece of gold, and on it throws salt soil and the mould of a molehill, with which he forms the hearth-mound (khara)—circular in ll KANDA, I ADHYAYA, I BRAHMANA, 5. 277
3he sprinkles the lines with water, while the sacrificer takes hold of him from behind; then puts down a piece of gold, and on it throws salt soil and the mould of a molehill, with which he forms the hearth-mound (khara)—circular in ll KANDA, I ADHYAYA, I BRAHMANA, 5. 277 is either trodden or spit upon, that he thereby removes from it; and he thus establishes his fire on earth that is entirely proper for the sacrifice: this is why he draws lines (across the fire-place). 3. He then sprinkles (the lines) with water. When he thus sprinkles (the fire-place) with water, that is the equipment (of the fire) with water. The reason why he brings water is that water is food; for water is indeed food: hence when water comes to this world, food is produced here. Thus he thereby supplies it (the fire) with food. 4. Water (ap, fem.), moreover, is female, and fire (agni, masc.) is male; so that he thereby supplies the latter with a productive mate. And since all this (universe) is pervaded (or obtained, 4pta) by water, he sets up the fire, after he has obtained it by means of water'. This is why he brings water. 5. He then brings (a piece of) gold. Now Agni at one time cast his eyes on the waters?: ‘May I pair with them,’ he thought. He came together with them; and his seed became gold*. For this reason the latter shines like fire, it being Agni’s the case of the Garhapatya, square the Ahavantya, and semicircular the Dakshiz4gni; but each equal in area to a square aratni or cubit. Along the edge of the mound he then lays pebbles close to each other [5° on the Garhapatya, 73 on the Ahavantya, and 22 on the Dakshinigni, according to the Schol. on Kfty. IV, 8, 16]. According to some authorities, the piece of gold is laid on the top of the mound. He thus prepares successively the Garhapatya, Ahavantya, and Dakshiva hearths; afterwards, if required, those of the Sabhya and Avasathya fires, which are, like the GArhapatya, of circular form. 1 An etymological play on the word ap, 4pa4, ‘ water,’ and the verb 4p, ‘to obtain, pervade.’ 2 In the version of this myth given Taitt. Br. I, 1, 3, 8, the waters courted by Agni are called Varuza’s wives. ’ Tah sambabhiiva tasu reta’ prasifizat tad hiranyam abhavat. 278 SATAPATHA-BRAHMANA. seed. Hence it (gold) is found in water, for he (Agni) poured it into the water. Hence also one does not cleanse oneself with it!, nor does one do anything else with it. Now there is splendour (for the fire): for he thereby makes it to be possessed of divine seed, bestows splendour on it; and sets up a fire completely endowed with seed. That is why he brings gold. ,
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.
1(See II, 1, 4, 8 seq.) After the sacrificer has chosen his four officiating priests—viz. the Brahman, Hotr, Adhvaryu, and Agnidhra (or Agntdh)—he proceeds, together with them, to erect the two sheds or ‘firehouses.’ In order to determine their exact sites, the Adhvaryu first draws from west to east the so-called ‘easterly’ line (cf. I, 2, 5, 14), and on it marks, at 8, 11, or 12 prakramas or steps from each other, the centres of the GArhapatya and Ahavantya fire-places, the outlines of which he then traces, making each a square aratni or cubit in area, the former circular, the latter square. The Dakshi- II KANDA, I ADHYAYA, I BRAHMANA. 275 nagni or Anvaharya-paana, if it is required at all, is of the same area, but of semicircular form, and lies south of the space between the altar and the Garhapatya fire. The G&rhapatya fire-house is constructed with its laths running either from west to east, or from south to north, and a door on the south side; and so as to enclose both the Garhapatya and Dakshiwa fires. The Ahavantya fire-house, on the other hand, with its laths necessarily running from west to east, and an entrance from the east, contains the Ahavaniya fire and the altar (vedi) adjoining it on the west, and partly enclosing it with its ‘shoulders’ on the north and south sides. The two houses are also open to each other on the inner side; and sufficient space is left on all sides for freely moving around the fires. The Adhvaryu then procures a temporary fire,—either producing it by friction, or obtaining it from certain specified sources in the village,—and after the usual fivefold lustration of the G4rhapatya fire-place (cf. p. 2), he lays down the fire thereon. Towards sunset the sacrificer [while seated east of the Ahavantya house] invokes the gods and manes with ‘ Gods, fathers ! fathers, gods! I sacrifice, being who Iam; neither will I exclude him whose I am: mine own shall be the offering, mine own the toiling, mine own the sacrifice!’ He then enters the Ahavantya house from the east, passes through it to the Garhapatya, and sits down behind (west of) the fire; his wife at the same time entering the Garhapatya house from the south and seating herself south of him,—both facing the east. Thereupon the Adhvaryu hands to the sacrificer two pieces of wood (arani),—if possible, of asvattha, grown out of a sam? tree,—to be used next morning for the production (or ‘churning’) of the sacred fire by one of them (the upper arazi) being rapidly drilled in a hole in the other (or lower arani). [The sacrificer and his wife then lay the upper and lower sticks respectively on their laps ; whereupon certain propitiatory ceremonies are performed by them, and honours are paid to the priests and the sticks ; and the latter are finally deposited on a seat.] In the house of the Garhapatya a he-goat may then be tied up for the night, which, if it belong to the sacrificer, is to be presented by him to the Agnidhra on the completion of the sacrifice.
2After sunset the Adhvaryu measures out four vessels of husked rice grains—each containing three handfuls, which quantity is considered sufficient to furnish a meal for one man—on an ox-hide died red [and spread out with the hairy side upwards and the neckpart to the east]. With this rice the (odana) A&tushprasya, or ‘(pap) to be eaten by the four (priests), is prepared on the provisional Garhapatya fire. When it is ready, the Adhvaryu makes a hollow in the pap and pours clarified butter into it. He then takes T 2 276 SATAPATHA-BRAH MANA. three kindling-sticks (samidh), anoints them with some of that ghee, and puts them on the fire one after another, with texts (cf. note on II, 1, 4, 5). Thereupon the sacrificer [having paid due honours to the priests by washing their feet and giving them perfumes and wreaths, &c., and assigned to each his share] bids them eat. During the night the sacrificer and his wife have to remain awake and keep up the fire. When the night clears up, the Adhvaryu extinguishes the fire, or, if there is to be a Dakshin4gni, he takes it southwards and keeps it in a safe place till that fire is made up. He then draws with the wooden sword three lines across the fire-place and proceeds with the preparation of the hearth-mounds in the way set forth in the first Brahmavga of this Book. 1. Now when he equips (Agni, the fire) from this and that quarter, that is the equipping (of the fire) with its equipments!, In whatever (objects) some of (the nature of) Agni is inherent, therewith he equips (the fire); and in thus equipping it he supplies it partly with splendour, partly with cattle, partly with a mate. 2. In the first place he (the Adhvaryu) draws (three) lines (with the wooden sword on the Garhapatya fire-place*). Whatever part of this earth 1 The verb here translated by ‘to equip,’ is sam-bhri, ‘to carry, or bring, together, to collect;’ and then ‘to make the necessary preparations, to prepare ;’ hence sambhéra, ‘ the preparation, outfit,’ the technical term for the objects employed in the preparation of the fire-place, with the view of symbolically ensuring success to the fire. In paragraphs 3 seq. the primary meaning ‘to bring (together)’ has been used, except where it seemed desirable to preserve its technical sense. 2 The three lines drawn across the fire-place form a necessary part of its lustration; see p. 2. According to the Paddhati on Katy. IV, 8, the Adhvaryu first makes the fivefold lustration of the hearth, and thereupon again draws the mystic lines (? or draws the outline of the fire-place, cf. Katy. IV, 8, 16) and proceeds with the sambh4ras; viz. he sprinkles the lines with water, while the sacrificer takes hold of him from behind; then puts down a piece of gold, and on it throws salt soil and the mould of a molehill, with which he forms the hearth-mound (khara)—circular in ll KANDA, I ADHYAYA, I BRAHMANA, 5. 277
3he sprinkles the lines with water, while the sacrificer takes hold of him from behind; then puts down a piece of gold, and on it throws salt soil and the mould of a molehill, with which he forms the hearth-mound (khara)—circular in ll KANDA, I ADHYAYA, I BRAHMANA, 5. 277 is either trodden or spit upon, that he thereby removes from it; and he thus establishes his fire on earth that is entirely proper for the sacrifice: this is why he draws lines (across the fire-place). 3. He then sprinkles (the lines) with water. When he thus sprinkles (the fire-place) with water, that is the equipment (of the fire) with water. The reason why he brings water is that water is food; for water is indeed food: hence when water comes to this world, food is produced here. Thus he thereby supplies it (the fire) with food. 4. Water (ap, fem.), moreover, is female, and fire (agni, masc.) is male; so that he thereby supplies the latter with a productive mate. And since all this (universe) is pervaded (or obtained, 4pta) by water, he sets up the fire, after he has obtained it by means of water'. This is why he brings water. 5. He then brings (a piece of) gold. Now Agni at one time cast his eyes on the waters?: ‘May I pair with them,’ he thought. He came together with them; and his seed became gold*. For this reason the latter shines like fire, it being Agni’s the case of the Garhapatya, square the Ahavantya, and semicircular the Dakshiz4gni; but each equal in area to a square aratni or cubit. Along the edge of the mound he then lays pebbles close to each other [5° on the Garhapatya, 73 on the Ahavantya, and 22 on the Dakshinigni, according to the Schol. on Kfty. IV, 8, 16]. According to some authorities, the piece of gold is laid on the top of the mound. He thus prepares successively the Garhapatya, Ahavantya, and Dakshiva hearths; afterwards, if required, those of the Sabhya and Avasathya fires, which are, like the GArhapatya, of circular form. 1 An etymological play on the word ap, 4pa4, ‘ water,’ and the verb 4p, ‘to obtain, pervade.’ 2 In the version of this myth given Taitt. Br. I, 1, 3, 8, the waters courted by Agni are called Varuza’s wives. ’ Tah sambabhiiva tasu reta’ prasifizat tad hiranyam abhavat. 278 SATAPATHA-BRAHMANA. seed. Hence it (gold) is found in water, for he (Agni) poured it into the water. Hence also one does not cleanse oneself with it!, nor does one do anything else with it. Now there is splendour (for the fire): for he thereby makes it to be possessed of divine seed, bestows splendour on it; and sets up a fire completely endowed with seed. That is why he brings gold. ,
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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