Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1with the Agni who entered into this earth. 5 Apparently ‘vapour, welkin.’ The KAnva rec. reads, ‘ Mayest thou know Agni’s name Nabhas’ (Vider Agner, &c.). The Taitt. S., on the other hand, reads ‘vider Agnir nabho nfma,’ which Sayana explains by ‘the Agni of the vedi (!) is Nabhas by name.’ * Yat pradhanvams tad 4yur dadhati. Perhaps we ought to read with the Kanva text, Yat pradhanvat tad asminn 4yur dadhati tad enam samfrayati, ‘the life which passed away (?), that he bestows on him, therewith he re-animates him.’ 7 He throws it on the fore-part of the altar, close to the peg marking the middle of the front side, where the ‘high altar’ is to be raised on it. 111 KANDA, 5 ADHYAYA, I BRAHMANA, 34. ‘119 therewith I lay thee down!’ whereby he means to say, ‘whatever holy name, unviolated by the Rakshas, is thine, thereby I lay thee down!.—With ‘Thee, moreover, for the delight of the gods,’ he takes (earth) a fourth time?; whereby he means to say, ‘I take thee well-pleasing to the gods.’ He takes that (high altar) from a quadrangular pit, for there are four quarters: thus he takes it from all the four quarters. 33. Thereupon he shifts (the earth) asunder, with the text (V4g. S. V, 10), ‘ Thou art a lioness, overcoming the enemies; be thou meet for the gods!’ Inasmuch as, on that occasion, she became a lioness and roamed about unappeased, therefore he says to her, ‘ Thou art a lioness ;’ and by ‘overcoming the enemies’ he means to say, ‘ Through thee may we worst our enemies.’ ‘Be thou meet for the gods’ he says, because the high altar is a woman: her he thus renders meet for the gods. 34. He makes it on each side either of the size of the yoke, or ten feet of the sacrificer’s?; for the 1 He repeats the same ceremony a second and a third time with the same texts, except that, instead of ‘Thou who art in this earth,’ he says, ‘ Thou who art in the second (third) earth.’ * He takes with the spade as much as is required to make the high altar of the proper size. ? This statement seems to have greatly puzzled the later ritualists, as KAty. V, 3, 32-35 and the comments thereon show. In rule 32 it is laid down, in accordance with paragraph 26 above, that the Adhvaryu is to make the high altar of the size of the yoke-pin and the pit, ie. about two feet square. The next rule then leaves an option between four other measurements, viz. he may make it either one third of the area of the large altar, or of unlimited size, or of the size of the yoke (86 angulas=c. 5— 5} feet) or of ten of the sacrificer’s feet. This latter measurement is explained rather ingeniously by Harisvamin, as meaning that the high altar is to form 120 SATAPATHA-BRAHMANA. Virag consists of ten syllables, and the Virdg is speech, and the sacrifice is speech. In the middle! he makes, as it were, a navel, thinking, ‘Seated in one and the same place, I shall sprinkle (ghee) all round®.’
2Virag consists of ten syllables, and the Virdg is speech, and the sacrifice is speech. In the middle! he makes, as it were, a navel, thinking, ‘Seated in one and the same place, I shall sprinkle (ghee) all round®.’ 35. He sprinkles it with water: inasmuch as, on that occasion, she became a lioness and roamed about unappeased — water being (a means of) appeasement—he appeases her with water. And, the high altar being a woman, he thereby fits her for the gods: this is why he sprinkles it with water. 36. He sprinkles it with, ‘Thou art a lioness, overcoming the enemies: get thee pure for the gods!’ He then bestrews it with gravel. Now gravel certainly is an ornament, because gravel is rather shining. And that gravel being the ashes of Agni Vaisvanara, he is now about to place Agni thereon, and so Agni does not injure it: this is why he bestrews it with gravel. He bestrews it with, ‘Thou art a lioness, overcoming the enemies: array thee for the gods!’ He then covers it®, and thus covered it remains during that night. an oblong of three feet by one foot, when, in counting the number of sides of the three squares thus obtained, we obtain ten sides of one foot each. However, the repetition of ‘dasa’ in our text— which can only mean ‘ ten feet on each side ’—does not favour this explanation. The last two alternatives, according to rules 34-36, only apply to the Soma-sacrifice, because otherwise the altar (as in the case of the ‘ northern altar’ at the XAturmAsya, cf. part i, p. 392) would not be large enough to contain a ‘high altar’ of that size. 1 The Kanva text wants it to be made at the back (gaghanena). * When he makes the libation of ghee on the high altar (III, 5, 2,9-11), he pours it on the four corners of the ‘navel’ and thereby, as it were, on the whole ‘high altar.’ ® Viz. with branches of udumbara or plaksha (see III, 8, 3, 10), or with darbha grass. 111 KANDA, 5 ADHYAYA, 2 BRAHMANA, 2. I2I THE AGNI-PRAWAYANA, ork LEADING FORWARD OF THE FIRE’ TO THE HIGH ALTAR. SEconD BRAHMANA. 1. They put fire-wood on (the Ahavantya fire), and prepare the underlayer (of gravel*), He (the Adhvaryu) puts the butter on (the Garhapatya to melt), and cleans both the dipping-spoon and the offering-spoon. Having then clarified the ghee, he ladles five times thereof (into the offering-spoon). When the fire-wood is ablaze— 2. They lift the (burning) fire-wood, and place it on the underlayer*. Thereupon he says (to the Hotz), ‘ Recite for Agni as he is taken forward*!’ (and to the Pratiprasthatyz), ‘Come up after me with the single sword(-line)!’ The Pratiprasthatr goes up after him with the single sword(-line) as far
3They lift the (burning) fire-wood, and place it on the underlayer*. Thereupon he says (to the Hotz), ‘ Recite for Agni as he is taken forward*!’ (and to the Pratiprasthatyz), ‘Come up after me with the single sword(-line)!’ The Pratiprasthatr goes up after him with the single sword(-line) as far 1 The transferring of the Ahavantya fire to the high altar takes place in the forenoon of the last Upasad day (that is, on the day preceding the pressing day, and called upavasatha, or preparation day). It is preceded by the double or combined performance of the Upasad offerings (one of which took place in the afternoon on the two preceding days). * Some gravel is put in a pan for the burning wood to lie upon, when it is to be transferred from the Ahavantya to the new altar. The Taittirtyas mix with the gravel one-fourth part of the dust of the foot-print of the Soma-cow (III, 3, 1, 6), the other three parts being used respectively for anointing the axle of the Soma-cart (III, 5, 3, 13), for the underlayer of the Agnidhra fire (III, 6, 3, 4), and for scattering about behind the Garhapatya (III, 6, 3) 4-7). 5 Lit. they lift the underlayer underneath (the burning wood). ‘ For the eight verses (or twelve, the first and last being recited thrice each) which the Hotr# has to repeat while the fire is carried eastward and laid down on the high altar, see Ait. Br. I, 28; Asv. Sr.I],17. For the Brahman’s duties, see Katy. XI, 1, 9. 122 SATAPATHA-BRAHMANA. as that middle peg on the hind-part of the altar’: whatever part of the Gdrhapatya? is cut off from the altar by that intermediate (peg), that he thereby carries on to (connects with) it. 3. Now some walk up behind (and draw a line) as far as the high altar; but let him not do that: let him walk up only as far as that middle peg. They proceed and come up to the high altar®. 4. The Adhvaryu takes the sprinkling-water. He first sprinkles (the high altar) in front, while standing (south of it) facing the north, with the text (V4g. S. V, 11), ‘May Indra’s noise* shield thee in front with the Vasus!’ whereby he means to say, ‘May Indra’s noise protect thee in front with the Vasus.’ 5. He then sprinkles it behind with, ‘May the Wise® shield thee from behind with the Rudras!’ whereby he means to say, ‘May the Wise One protect thee from behind with the Rudras!’ 6. He then sprinkles on the right (south) side with, ‘May the Thought-swift shield thee with the Fathers on the right!’ whereby he means 1 See III, 5,1, 1. * The Ahavantya or offering fire being now transferred to the new altar, the old Ahavantya hearth is henceforward used as Garhapatya ; and a line is drawn from it up to the antafpata, marking the middle of the west side of the great altar. ° In ‘leading forwards’ the fire they proceed along the north side of the large altar.
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.
1with the Agni who entered into this earth. 5 Apparently ‘vapour, welkin.’ The KAnva rec. reads, ‘ Mayest thou know Agni’s name Nabhas’ (Vider Agner, &c.). The Taitt. S., on the other hand, reads ‘vider Agnir nabho nfma,’ which Sayana explains by ‘the Agni of the vedi (!) is Nabhas by name.’ * Yat pradhanvams tad 4yur dadhati. Perhaps we ought to read with the Kanva text, Yat pradhanvat tad asminn 4yur dadhati tad enam samfrayati, ‘the life which passed away (?), that he bestows on him, therewith he re-animates him.’ 7 He throws it on the fore-part of the altar, close to the peg marking the middle of the front side, where the ‘high altar’ is to be raised on it. 111 KANDA, 5 ADHYAYA, I BRAHMANA, 34. ‘119 therewith I lay thee down!’ whereby he means to say, ‘whatever holy name, unviolated by the Rakshas, is thine, thereby I lay thee down!.—With ‘Thee, moreover, for the delight of the gods,’ he takes (earth) a fourth time?; whereby he means to say, ‘I take thee well-pleasing to the gods.’ He takes that (high altar) from a quadrangular pit, for there are four quarters: thus he takes it from all the four quarters. 33. Thereupon he shifts (the earth) asunder, with the text (V4g. S. V, 10), ‘ Thou art a lioness, overcoming the enemies; be thou meet for the gods!’ Inasmuch as, on that occasion, she became a lioness and roamed about unappeased, therefore he says to her, ‘ Thou art a lioness ;’ and by ‘overcoming the enemies’ he means to say, ‘ Through thee may we worst our enemies.’ ‘Be thou meet for the gods’ he says, because the high altar is a woman: her he thus renders meet for the gods. 34. He makes it on each side either of the size of the yoke, or ten feet of the sacrificer’s?; for the 1 He repeats the same ceremony a second and a third time with the same texts, except that, instead of ‘Thou who art in this earth,’ he says, ‘ Thou who art in the second (third) earth.’ * He takes with the spade as much as is required to make the high altar of the proper size. ? This statement seems to have greatly puzzled the later ritualists, as KAty. V, 3, 32-35 and the comments thereon show. In rule 32 it is laid down, in accordance with paragraph 26 above, that the Adhvaryu is to make the high altar of the size of the yoke-pin and the pit, ie. about two feet square. The next rule then leaves an option between four other measurements, viz. he may make it either one third of the area of the large altar, or of unlimited size, or of the size of the yoke (86 angulas=c. 5— 5} feet) or of ten of the sacrificer’s feet. This latter measurement is explained rather ingeniously by Harisvamin, as meaning that the high altar is to form 120 SATAPATHA-BRAHMANA. Virag consists of ten syllables, and the Virdg is speech, and the sacrifice is speech. In the middle! he makes, as it were, a navel, thinking, ‘Seated in one and the same place, I shall sprinkle (ghee) all round®.’
2Virag consists of ten syllables, and the Virdg is speech, and the sacrifice is speech. In the middle! he makes, as it were, a navel, thinking, ‘Seated in one and the same place, I shall sprinkle (ghee) all round®.’ 35. He sprinkles it with water: inasmuch as, on that occasion, she became a lioness and roamed about unappeased — water being (a means of) appeasement—he appeases her with water. And, the high altar being a woman, he thereby fits her for the gods: this is why he sprinkles it with water. 36. He sprinkles it with, ‘Thou art a lioness, overcoming the enemies: get thee pure for the gods!’ He then bestrews it with gravel. Now gravel certainly is an ornament, because gravel is rather shining. And that gravel being the ashes of Agni Vaisvanara, he is now about to place Agni thereon, and so Agni does not injure it: this is why he bestrews it with gravel. He bestrews it with, ‘Thou art a lioness, overcoming the enemies: array thee for the gods!’ He then covers it®, and thus covered it remains during that night. an oblong of three feet by one foot, when, in counting the number of sides of the three squares thus obtained, we obtain ten sides of one foot each. However, the repetition of ‘dasa’ in our text— which can only mean ‘ ten feet on each side ’—does not favour this explanation. The last two alternatives, according to rules 34-36, only apply to the Soma-sacrifice, because otherwise the altar (as in the case of the ‘ northern altar’ at the XAturmAsya, cf. part i, p. 392) would not be large enough to contain a ‘high altar’ of that size. 1 The Kanva text wants it to be made at the back (gaghanena). * When he makes the libation of ghee on the high altar (III, 5, 2,9-11), he pours it on the four corners of the ‘navel’ and thereby, as it were, on the whole ‘high altar.’ ® Viz. with branches of udumbara or plaksha (see III, 8, 3, 10), or with darbha grass. 111 KANDA, 5 ADHYAYA, 2 BRAHMANA, 2. I2I THE AGNI-PRAWAYANA, ork LEADING FORWARD OF THE FIRE’ TO THE HIGH ALTAR. SEconD BRAHMANA. 1. They put fire-wood on (the Ahavantya fire), and prepare the underlayer (of gravel*), He (the Adhvaryu) puts the butter on (the Garhapatya to melt), and cleans both the dipping-spoon and the offering-spoon. Having then clarified the ghee, he ladles five times thereof (into the offering-spoon). When the fire-wood is ablaze— 2. They lift the (burning) fire-wood, and place it on the underlayer*. Thereupon he says (to the Hotz), ‘ Recite for Agni as he is taken forward*!’ (and to the Pratiprasthatyz), ‘Come up after me with the single sword(-line)!’ The Pratiprasthatr goes up after him with the single sword(-line) as far
3They lift the (burning) fire-wood, and place it on the underlayer*. Thereupon he says (to the Hotz), ‘ Recite for Agni as he is taken forward*!’ (and to the Pratiprasthatyz), ‘Come up after me with the single sword(-line)!’ The Pratiprasthatr goes up after him with the single sword(-line) as far 1 The transferring of the Ahavantya fire to the high altar takes place in the forenoon of the last Upasad day (that is, on the day preceding the pressing day, and called upavasatha, or preparation day). It is preceded by the double or combined performance of the Upasad offerings (one of which took place in the afternoon on the two preceding days). * Some gravel is put in a pan for the burning wood to lie upon, when it is to be transferred from the Ahavantya to the new altar. The Taittirtyas mix with the gravel one-fourth part of the dust of the foot-print of the Soma-cow (III, 3, 1, 6), the other three parts being used respectively for anointing the axle of the Soma-cart (III, 5, 3, 13), for the underlayer of the Agnidhra fire (III, 6, 3, 4), and for scattering about behind the Garhapatya (III, 6, 3) 4-7). 5 Lit. they lift the underlayer underneath (the burning wood). ‘ For the eight verses (or twelve, the first and last being recited thrice each) which the Hotr# has to repeat while the fire is carried eastward and laid down on the high altar, see Ait. Br. I, 28; Asv. Sr.I],17. For the Brahman’s duties, see Katy. XI, 1, 9. 122 SATAPATHA-BRAHMANA. as that middle peg on the hind-part of the altar’: whatever part of the Gdrhapatya? is cut off from the altar by that intermediate (peg), that he thereby carries on to (connects with) it. 3. Now some walk up behind (and draw a line) as far as the high altar; but let him not do that: let him walk up only as far as that middle peg. They proceed and come up to the high altar®. 4. The Adhvaryu takes the sprinkling-water. He first sprinkles (the high altar) in front, while standing (south of it) facing the north, with the text (V4g. S. V, 11), ‘May Indra’s noise* shield thee in front with the Vasus!’ whereby he means to say, ‘May Indra’s noise protect thee in front with the Vasus.’ 5. He then sprinkles it behind with, ‘May the Wise® shield thee from behind with the Rudras!’ whereby he means to say, ‘May the Wise One protect thee from behind with the Rudras!’ 6. He then sprinkles on the right (south) side with, ‘May the Thought-swift shield thee with the Fathers on the right!’ whereby he means 1 See III, 5,1, 1. * The Ahavantya or offering fire being now transferred to the new altar, the old Ahavantya hearth is henceforward used as Garhapatya ; and a line is drawn from it up to the antafpata, marking the middle of the west side of the great altar. ° In ‘leading forwards’ the fire they proceed along the north side of the large altar.
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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