Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1The completed (cart-shed) he touches with, ‘Thou art Vishzu’s own,’ for the Soma-cart (and shed) belongs to Vishzu. cane-frame, above, with “Let Vishzu...” for that is for him (Vishau, the shed) what that skull-bone is up here. And when he says “they abide upon,” it is because that rest on the other skull-bones [? adhi hy etad anyeshu kap4leshu kshiyanti!]. Then what two reed-mats there are on the two carts, they indeed are for him what the two skull-bones are here on both sides. And that reed-mat, or caneframe, which he puts on there behind (or behind that one), that is for him what the skull-bone behind is.’ * Syf, explained by Sayama as ‘thread, cord,’ by Mahidhara as ‘needle.’ * ? Dhruvad, the ‘firm one,’ (? ‘pole-star.’) The St. Petersburg Dictionary gives the tentative meaning ‘knot.’ The Taitt. S. reads ‘dhruvam.’ ° Gr&ha, lit. ‘seizing.’ For Varuna, whose attribute the knot is (I, 3, I, 16), seizing upon men by means of disease ; see II, 5, 2, 2. Ill KANDA, 5 ADHYAYA, 4 BRAHMANA, 4. 135 Oe SE i a bn ae oy: Fourtu BrAHMANA. 1. It is for a twofold reason that the soundingholes are dug. The cart-shed, truly, is the head of the sacrificer; and what four holes there are here in the head—namely, these two and these two1— those he thereby makes: for this reason he digs the sounding-holes. 2. Now the gods and the Asuras, both of them sprung from Pragdpati,were contending. The Asuras then by way of witchcraft buried charms?* within these worlds, thinking, ‘ Peradventure we may thus overcome the gods.’ 3. The gods then prevailed. By means of these (sounding-holes) they dug up those magic charms. Now, when a charm is dug up, it becomes inoperative and useless. And in like manner, if any malicious enemy buries here charms by way of witchcraft for this (sacrificer), does he thereby dig them up: this is why he digs sounding-holes. He digs just beneath the fore-part of the shafts of the southern cart. 4. He takes up the spade?, with the text (Vag. S. 1 Viz. the ears and nostrils. * Krityam valagan nifakhnué, ‘they dug in, as a charm, secret (magic) objects.’ Valaga is explained as charms, consisting of bones, nails, hair, foot-dust, and similar objects, tied up in a piece of worn matting or cloth, or the like, and dug into the ground armdeep, for causing injury to enemies. See Taitt. S. VI, 2, 11, where Professor Weber refers to Wuttke, Der Deutsche Volksaberglaube, § 492 seq. ® The instrument used seems to be a kind of scoop or trowel, SP Pw we we = UNive.: 136 SATAPATHA-BRAHMANA. V, 22), ‘At the impulse of the divine Savitvz, I take thee with the arms of the Asvins, with the handsof Pishan: thou arta woman. The significance of this formula is the same (as before). That spade (abhri, fem.) is indeed a female: therefore he says ‘thou art a woman.’
2V, 22), ‘At the impulse of the divine Savitvz, I take thee with the arms of the Asvins, with the handsof Pishan: thou arta woman. The significance of this formula is the same (as before). That spade (abhri, fem.) is indeed a female: therefore he says ‘thou art a woman.’ 5. He draws their outlines, saving! the measure of a span, with, ‘Here do I cut off the necks of the Rakshas!’ For the spade is the thunderbolt : it is with the thunderbolt that he thus cuts off the necks of the Rakshas. 6. Let him first mark off the right (southern) one of the two that are in front; then the left one of the two behind; then the right one of those behind; then the left one of those in front. 7. But they say conversely, that he should mark off first the left one of the two behind ; then the right one of those in front; then the right one of those behind; and then the left one of those in front. Or he may also mark them off in one and the same direction?: but let him, in any case, mark off last of all the one which is on the left of those in front. 8. He digs them, in the very same order in which they have been marked off, with, ‘Thou art great, sharpened on one side. For a fuller description, see VI, 3, 1, 30 seq. 1 Vind, i.e. leaving that space between each two adjoining uparavas. They are themselves to be round, a span in diameter. Hence by connecting the four centres by lines, a square of two spans (of thumb and forefinger), or one cubit, is obtained. See Baudh. Sulvas. ror. * That is, successively the south-eastern, the south-western, the north-western, and last, the north-eastern hole. III KANDA, 5 ADHYAYA, 4 BRAHMANA, 13. 137 of great sound!’—he praises and extols them, when he says, ‘ Thou art great, of great sound ;'\—‘ Utter thou the great voice unto Indra!’—Indra, forsooth, is the deity of the sacrifice ; and the cart-shed belonging to Vishzu, he thereby makes it to be connected with Indra: therefore he says, ‘ Utter thou the great voice unto Indra!’ g. ‘The Rakshas-killing, charm-killing (voice),’ for it is indeed for the killing of the charms of the Rakshas that these (holes) are dug ;—‘ Of Vishzu;’ for that voice in the cart-shed is indeed Vishzu’s. 10. He throws out (the earth from) them in the order in which he has dug them, with (VAg. S. V, 23), ‘Here do I cast out the charm which the alien, which the inmate of my house has buried for me!’ Either an alien or an inmate of his house buries charms by way of witchcraft : these he thereby casts out. 11. ‘Here do I cast out the charm which my equal, which my unequal has buried for me!’ Either one equal, or one unequal, to him buries charms by way of witchcraft: these he thereby casts out. 12. ‘Here do I cast out the charm which the kinsman, which the stranger has buried for me!’ Either a kinsman or a stranger buries charms by way of witchcraft: these he thereby casts out.
312. ‘Here do I cast out the charm which the kinsman, which the stranger has buried for me!’ Either a kinsman or a stranger buries charms by way of witchcraft: these he thereby casts out. 13. ‘Here do I cast out the charm which the countryman, which the foreigner has buried for me!’ Either a countryman or a foreigner buries charms by way of witchcraft: these he thereby casts out. With ‘I cast out witchcraft!’ he finally 138 SATAPATHA-BRAHMANA. throws out (the earth remaining in the several holes), whereby he casts out witchcraft. 14. Let him dig them arm-deep; for that being the end (extreme limit to which he can reach) he thereby in the end brings witchcraft to naught. He connects them crossways by (underground) channels?; or, if he cannot crossways, he may do so in one and the same direction. This is why these (openings of the) vital airs are connected by channels farther (inside). 15. In the same order in which he has dug them he makes (the sacrificer) touch them, with the texts (Vag. S. V, 24), ‘Self-ruling thou art, a slayer of enemies! Ever-ruling thou art, a slayer of haters! Man-ruling thou art, a slayer of Rakshas! All-ruling thou art, a slayer of foemen!’ This is the blessing of that work: he thereby invokes a blessing. 16. The Adhvaryu and Sacrificer then touch one another (with their right hands through the holes), the Adhvaryu is at the right one of those in front, and the Sacrificer at the left one of those behind. The Adhvaryu asks, ‘Sacrificer, what is here ?’— ‘Happiness !’ he says.—‘ (Be) that ours in common!’ says the Adhvaryu in a low voice. 17. Thereupon the Adhvaryu is at the right one of those behind, and the Sacrificer at the left one of those in front. The Sacrificer asks, ‘ Adhvaryu, what is here ?’—‘ Happiness!’ he says.—‘ (Be) that mine!’ says the Sacrificer. Now in that they thus 1 That is, these words are to be pronounced at the end of each of the preceding four formulas, and the remaining loose soil is therewith to be removed from the respective hole. * Lit. he inter-perforates, inter-channels. III KANDA, 5 ADHYAYA, 4 BRAHMANA, 21. 139 touch one another, thereby they make the vital airs yoke-fellows: hence these vital airs meet together farther (inside). And in that, when asked, he replies, ‘Happiness (bhadram),’ thereby he utters the wish of ‘prosperity (kaly4zam)’ of ordinary speech : that is why, being asked, he replies, ‘Happiness.’ Thereupon he sprinkles (the holes with water): one and the same forsooth is the significance of sprinkling ; he thereby renders them pure. 18. He sprinkles, with the text (Vag. S. V, 25), ‘You, the Rakshas-killers, the charm-killers;’ for they are indeed Rakshas-killers as well as charmkillers; ‘Vishzu’s own, I sprinkle;’ for they indeed belong to Vishzu. 19. What remains of the sprinkling-water he then pours out into the pits ;—what moisture there is here in the vital airs’, that he thereby puts into them: hence that moisture in the vital airs.
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.
1The completed (cart-shed) he touches with, ‘Thou art Vishzu’s own,’ for the Soma-cart (and shed) belongs to Vishzu. cane-frame, above, with “Let Vishzu...” for that is for him (Vishau, the shed) what that skull-bone is up here. And when he says “they abide upon,” it is because that rest on the other skull-bones [? adhi hy etad anyeshu kap4leshu kshiyanti!]. Then what two reed-mats there are on the two carts, they indeed are for him what the two skull-bones are here on both sides. And that reed-mat, or caneframe, which he puts on there behind (or behind that one), that is for him what the skull-bone behind is.’ * Syf, explained by Sayama as ‘thread, cord,’ by Mahidhara as ‘needle.’ * ? Dhruvad, the ‘firm one,’ (? ‘pole-star.’) The St. Petersburg Dictionary gives the tentative meaning ‘knot.’ The Taitt. S. reads ‘dhruvam.’ ° Gr&ha, lit. ‘seizing.’ For Varuna, whose attribute the knot is (I, 3, I, 16), seizing upon men by means of disease ; see II, 5, 2, 2. Ill KANDA, 5 ADHYAYA, 4 BRAHMANA, 4. 135 Oe SE i a bn ae oy: Fourtu BrAHMANA. 1. It is for a twofold reason that the soundingholes are dug. The cart-shed, truly, is the head of the sacrificer; and what four holes there are here in the head—namely, these two and these two1— those he thereby makes: for this reason he digs the sounding-holes. 2. Now the gods and the Asuras, both of them sprung from Pragdpati,were contending. The Asuras then by way of witchcraft buried charms?* within these worlds, thinking, ‘ Peradventure we may thus overcome the gods.’ 3. The gods then prevailed. By means of these (sounding-holes) they dug up those magic charms. Now, when a charm is dug up, it becomes inoperative and useless. And in like manner, if any malicious enemy buries here charms by way of witchcraft for this (sacrificer), does he thereby dig them up: this is why he digs sounding-holes. He digs just beneath the fore-part of the shafts of the southern cart. 4. He takes up the spade?, with the text (Vag. S. 1 Viz. the ears and nostrils. * Krityam valagan nifakhnué, ‘they dug in, as a charm, secret (magic) objects.’ Valaga is explained as charms, consisting of bones, nails, hair, foot-dust, and similar objects, tied up in a piece of worn matting or cloth, or the like, and dug into the ground armdeep, for causing injury to enemies. See Taitt. S. VI, 2, 11, where Professor Weber refers to Wuttke, Der Deutsche Volksaberglaube, § 492 seq. ® The instrument used seems to be a kind of scoop or trowel, SP Pw we we = UNive.: 136 SATAPATHA-BRAHMANA. V, 22), ‘At the impulse of the divine Savitvz, I take thee with the arms of the Asvins, with the handsof Pishan: thou arta woman. The significance of this formula is the same (as before). That spade (abhri, fem.) is indeed a female: therefore he says ‘thou art a woman.’
2V, 22), ‘At the impulse of the divine Savitvz, I take thee with the arms of the Asvins, with the handsof Pishan: thou arta woman. The significance of this formula is the same (as before). That spade (abhri, fem.) is indeed a female: therefore he says ‘thou art a woman.’ 5. He draws their outlines, saving! the measure of a span, with, ‘Here do I cut off the necks of the Rakshas!’ For the spade is the thunderbolt : it is with the thunderbolt that he thus cuts off the necks of the Rakshas. 6. Let him first mark off the right (southern) one of the two that are in front; then the left one of the two behind; then the right one of those behind; then the left one of those in front. 7. But they say conversely, that he should mark off first the left one of the two behind ; then the right one of those in front; then the right one of those behind; and then the left one of those in front. Or he may also mark them off in one and the same direction?: but let him, in any case, mark off last of all the one which is on the left of those in front. 8. He digs them, in the very same order in which they have been marked off, with, ‘Thou art great, sharpened on one side. For a fuller description, see VI, 3, 1, 30 seq. 1 Vind, i.e. leaving that space between each two adjoining uparavas. They are themselves to be round, a span in diameter. Hence by connecting the four centres by lines, a square of two spans (of thumb and forefinger), or one cubit, is obtained. See Baudh. Sulvas. ror. * That is, successively the south-eastern, the south-western, the north-western, and last, the north-eastern hole. III KANDA, 5 ADHYAYA, 4 BRAHMANA, 13. 137 of great sound!’—he praises and extols them, when he says, ‘ Thou art great, of great sound ;'\—‘ Utter thou the great voice unto Indra!’—Indra, forsooth, is the deity of the sacrifice ; and the cart-shed belonging to Vishzu, he thereby makes it to be connected with Indra: therefore he says, ‘ Utter thou the great voice unto Indra!’ g. ‘The Rakshas-killing, charm-killing (voice),’ for it is indeed for the killing of the charms of the Rakshas that these (holes) are dug ;—‘ Of Vishzu;’ for that voice in the cart-shed is indeed Vishzu’s. 10. He throws out (the earth from) them in the order in which he has dug them, with (VAg. S. V, 23), ‘Here do I cast out the charm which the alien, which the inmate of my house has buried for me!’ Either an alien or an inmate of his house buries charms by way of witchcraft : these he thereby casts out. 11. ‘Here do I cast out the charm which my equal, which my unequal has buried for me!’ Either one equal, or one unequal, to him buries charms by way of witchcraft: these he thereby casts out. 12. ‘Here do I cast out the charm which the kinsman, which the stranger has buried for me!’ Either a kinsman or a stranger buries charms by way of witchcraft: these he thereby casts out.
312. ‘Here do I cast out the charm which the kinsman, which the stranger has buried for me!’ Either a kinsman or a stranger buries charms by way of witchcraft: these he thereby casts out. 13. ‘Here do I cast out the charm which the countryman, which the foreigner has buried for me!’ Either a countryman or a foreigner buries charms by way of witchcraft: these he thereby casts out. With ‘I cast out witchcraft!’ he finally 138 SATAPATHA-BRAHMANA. throws out (the earth remaining in the several holes), whereby he casts out witchcraft. 14. Let him dig them arm-deep; for that being the end (extreme limit to which he can reach) he thereby in the end brings witchcraft to naught. He connects them crossways by (underground) channels?; or, if he cannot crossways, he may do so in one and the same direction. This is why these (openings of the) vital airs are connected by channels farther (inside). 15. In the same order in which he has dug them he makes (the sacrificer) touch them, with the texts (Vag. S. V, 24), ‘Self-ruling thou art, a slayer of enemies! Ever-ruling thou art, a slayer of haters! Man-ruling thou art, a slayer of Rakshas! All-ruling thou art, a slayer of foemen!’ This is the blessing of that work: he thereby invokes a blessing. 16. The Adhvaryu and Sacrificer then touch one another (with their right hands through the holes), the Adhvaryu is at the right one of those in front, and the Sacrificer at the left one of those behind. The Adhvaryu asks, ‘Sacrificer, what is here ?’— ‘Happiness !’ he says.—‘ (Be) that ours in common!’ says the Adhvaryu in a low voice. 17. Thereupon the Adhvaryu is at the right one of those behind, and the Sacrificer at the left one of those in front. The Sacrificer asks, ‘ Adhvaryu, what is here ?’—‘ Happiness!’ he says.—‘ (Be) that mine!’ says the Sacrificer. Now in that they thus 1 That is, these words are to be pronounced at the end of each of the preceding four formulas, and the remaining loose soil is therewith to be removed from the respective hole. * Lit. he inter-perforates, inter-channels. III KANDA, 5 ADHYAYA, 4 BRAHMANA, 21. 139 touch one another, thereby they make the vital airs yoke-fellows: hence these vital airs meet together farther (inside). And in that, when asked, he replies, ‘Happiness (bhadram),’ thereby he utters the wish of ‘prosperity (kaly4zam)’ of ordinary speech : that is why, being asked, he replies, ‘Happiness.’ Thereupon he sprinkles (the holes with water): one and the same forsooth is the significance of sprinkling ; he thereby renders them pure. 18. He sprinkles, with the text (Vag. S. V, 25), ‘You, the Rakshas-killers, the charm-killers;’ for they are indeed Rakshas-killers as well as charmkillers; ‘Vishzu’s own, I sprinkle;’ for they indeed belong to Vishzu. 19. What remains of the sprinkling-water he then pours out into the pits ;—what moisture there is here in the vital airs’, that he thereby puts into them: hence that moisture in the vital airs.
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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