Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
116. ‘Thou art taken with a support: thee, the god-pleasing, I take for the gods; (thee) the praisepleasing, for praises,—agreeable to Indra!—This is thy womb: thee to Indra!’ thus he deposits it; and with ‘ Thou art a re-offering’ he touches the sthlt. 17. ‘Thou art taken with a support: thee, the god-pleasing, I take for the gods; (thee) the praisepleasing, for praises,—agreeable to Indra and Agni! —This is thy womb: thee for Indra and Agni!’ thus he deposits it. He does not at this (third portion) touch the sthali with ‘Thou art a re-offering.’ ‘.... Thee for Indra!’ he says each time at the midday feast, for the midday feast is sacred to Indra. Twice he touches the sthalt with ‘Thou art a reoffering ;’ and silently he puts it down the third time. 18. But, in order to avoid sameness (of performance), let him not take it out with the ‘support ;’ nor let him deposit it in the ‘womb ;’ for this (Ukthya ? “Such is the rule (sthiti); but the Aarakadhvaryus divide it in this way.’ Kava text. The formulas of the Taitt. S. I, 4, 12, and Maitray. S. I, 3, 14, differ from the above; perhaps the Kathaka is referred to; see v. Schroeder, M. S. I, p. 36, note 3. 298 SATAPATHA-BRAHMANA, libation) has at first been taken with the ‘support,’ and it has at first been deposited in the womb ;—and were he now also to take it with the ‘support,’ and deposit it in the ‘womb,’ he would assuredly commit (the fault of) sameness. And as to his touching the sthali with ‘Thou art a re-offering, he will indeed again take a libation therefrom. Let him not heed this, but let him put down (the vessel) silently. Fourtu BrAHMANA. 1. That (opening of) vital air of his which is in front, that, forsooth, is the Vaisv4nara (graha) ; and that which is behind is the Dhruva. Formerly, indeed, both these grahas, the Dhruva and Vaisvanara, were drawn; and even now one of them is still drawn, to wit, the Dhruva?. And if he acquire a knowledge of that (Vaisvanara graha) either from the Karakas, or from anywhere else, let him pour it into the sacrificer's cup; but this (Dhruva graha he pours) into the Hotvz’s cup®. 2. Now, what part of him there is below the navel, that part of his self, that vital energy of his, is this (Dhruva) : hence he draws it by means of this (earth), because of her is the bowl (sthalt)?, and with a bowl he draws it ;—for undecaying and immortal is this (earth), and undecaying and immortal is the vital energy: therefore he draws it by means of this (earth). 1 «Formerly they took these two separately, as Dhruva and Vaisvinara; but now they take them as one only.’ Kamva text. * Both these libations are reserved for the evening feast. 5 See p. 288, note 2. Iv KANDA, 2 ADHYAYA, 4 BRAHMANA, 7. 299 3. He draws it full; for full means all, and the vital energy means all; therefore he draws it full.
2* Both these libations are reserved for the evening feast. 5 See p. 288, note 2. Iv KANDA, 2 ADHYAYA, 4 BRAHMANA, 7. 299 3. He draws it full; for full means all, and the vital energy means all; therefore he draws it full. 4. He draws it for (Agni) Vaisvanara; for Vaisvanara (‘he that belongs to all men’) is the year, and the vital energy (life) is the year: therefore he draws it for Vaisvanara. 5. Having been drawn at the morning pressing, it reposes apart from that time: thus he guides him (the sacrificer) safely through all the pressings. 6. Let him not pour it (into the Hotz?’s cup) during the chanting; for, verily, were he to pour it out during the chanting, the sacrificer would not live through the year. 7. He pours it out during the recitation of the sastra; whereby he guides him safely over the twelvefold chant of praise: thus he obtains ever continued life, and thus does the sacrificer live long. Therefore the Brahman should sit through the praise of Agni (Agnish/oma)'; till the offering of this (libation) he must not slip away?—nor must he 1 ?Tasmad brahmazo ’gnish/omasat syat. The obvious meaning of this sentence is, ‘hence the celebrator of the Agnish/oma should be a Brahman,’ or, perhaps, ‘hence a Brahman should celebrate the Agnish/oma ;’ but I do not see how it can have that meaning here, without at least a double-entendre in the term ‘agnish/omasad,’ Agnish/oma in that case (‘the praise of Agni’) referring both to the sacrifice generally and to the chanting (stoma or stotra). See next note. My MS. of Sdyana’s commentary (from the library of the Mahdraga of Bikaner) has unfortunately an omission here. 2 Viz. from the Sadas; ‘nifsarpet,’ Kava text. The verb sarp, ‘to glide or creep,’ is used technically of a peculiar noiseless mode of leaving (nifsarp) the Sadas and returning thither (prasarp or pratisarp, see paragraph ro), and respectfully approaching the dhishya fires. If it has to be taken here in that sense, the first prohibition would seem to refer to the Hotr? (cf. Ait. Br. II, 22, where the question is argued whether or not the Hotr? ought to 300 SATAPATHA-BRAHMANA. discharge urine: thus he obtains the full life—for this (libation) is his life—thus he reaches the full (measure of) life. 8. For, what part of him there is below the navel, that part of his self is this (Dhruva libation). Hence were he to slip away or discharge urine before the offering of this (libation), he would discharge the Dhruva (the firm, constant one): hence, lest he should discharge the Dhruva, he sits through the praise of Agni. This, indeed, applies only to the sacrificer', for this (libation) is part of the sacrificer’s self.
3This, indeed, applies only to the sacrificer', for this (libation) is part of the sacrificer’s self. 9. He sits through the praise of Agni*;— for Soma is glory: hence they both approach, he who partakes of the Soma and he who does not,—they approach, forsooth, to behold that glory. And thus indeed the Brahmans, having crept near together, take unto them that glory, when they drink (the Soma) ;—and verily whosoever, knowing this, drinks (Soma), becomes glorious? indeed. 10. Now, those same (priests) having, while gliding along‘, deposited that glory in him who sits through (celebrates) the praise of Agni, they glide along and turn away from that glory®: having thus encompassed it, he again takes that glory unto him- proceed to the chanting-place with the other priests, and is decided in the negative); since the sacrificer, to whom the second prohibi- _ tion refers (Katy. LX, 6, 23), goes along with them, according to IV, 2, 5, 4. According to the commentary on Katy. IX, 6, 33, in performing the sarpaza the priests and sacrificer should move along sitting at the morning: feast; walking with bent bodies at the midday feast; and walking upright at the evening feast. 1 Tad u tad yagamanasyaiva. Kava text. ? Or, he indeed becomes a celebrator of the Agnish/oma. The K4nva text has ‘yasasvi.’ Sce p. 299, note 2. The Kanva MS. (W.) reads, ‘agnishéomasad etad y4sah sanni- - & o Iv KANDA, 2 ADHYAYA, 4 BRAHMANA, 14. 301 self ;—verily, whosoever, knowing this, sits through (celebrates) the praise of Agni, he passes away after becoming the most glorious of these (men). 11. Now, the gods and the Asuras, both of them sprung from Pragdpati, were contending for this sacrifice—their father Pragapati, the year,—saying, ‘Ours _ he shall be! ours he shall be!’ 12. Then the gods went on singing praises and toiling. They devised this Agnishfoma feast, and by means of this Agnish/oma feast they appropriated the entire sacrifice and excluded the Asuras from the sacrifice. And in like manner does this (sacrificer), by means of this Agnish¢oma feast, now appropriate the entire sacrifice, and exclude his enemies from the sacrifice: therefore he celebrates the Agnishéoma. 13. Having drawn it (the Dhruva graha), he deposits it with the northern cart!, lest he should confound the vital airs, for the grahas are vital airs: now the other grahas he deposits on the raised (mound), but this one (he deposits) after pushing (the dust) aside without leaving as much as a blade of grass between’. 14. For those (other cups of Soma) are that part of his body from the navel upwards, and above, as it were, is what is from the navel upwards, and above, as it were, is what is raised: therefore he deposits dhayata etasmat pard#o yas4so (sic) bhavanti’ (‘they turn away from that glorious one’). * The dhruva-sthali is placed just in front of the northern prop.
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.
116. ‘Thou art taken with a support: thee, the god-pleasing, I take for the gods; (thee) the praisepleasing, for praises,—agreeable to Indra!—This is thy womb: thee to Indra!’ thus he deposits it; and with ‘ Thou art a re-offering’ he touches the sthlt. 17. ‘Thou art taken with a support: thee, the god-pleasing, I take for the gods; (thee) the praisepleasing, for praises,—agreeable to Indra and Agni! —This is thy womb: thee for Indra and Agni!’ thus he deposits it. He does not at this (third portion) touch the sthali with ‘Thou art a re-offering.’ ‘.... Thee for Indra!’ he says each time at the midday feast, for the midday feast is sacred to Indra. Twice he touches the sthalt with ‘Thou art a reoffering ;’ and silently he puts it down the third time. 18. But, in order to avoid sameness (of performance), let him not take it out with the ‘support ;’ nor let him deposit it in the ‘womb ;’ for this (Ukthya ? “Such is the rule (sthiti); but the Aarakadhvaryus divide it in this way.’ Kava text. The formulas of the Taitt. S. I, 4, 12, and Maitray. S. I, 3, 14, differ from the above; perhaps the Kathaka is referred to; see v. Schroeder, M. S. I, p. 36, note 3. 298 SATAPATHA-BRAHMANA, libation) has at first been taken with the ‘support,’ and it has at first been deposited in the womb ;—and were he now also to take it with the ‘support,’ and deposit it in the ‘womb,’ he would assuredly commit (the fault of) sameness. And as to his touching the sthali with ‘Thou art a re-offering, he will indeed again take a libation therefrom. Let him not heed this, but let him put down (the vessel) silently. Fourtu BrAHMANA. 1. That (opening of) vital air of his which is in front, that, forsooth, is the Vaisv4nara (graha) ; and that which is behind is the Dhruva. Formerly, indeed, both these grahas, the Dhruva and Vaisvanara, were drawn; and even now one of them is still drawn, to wit, the Dhruva?. And if he acquire a knowledge of that (Vaisvanara graha) either from the Karakas, or from anywhere else, let him pour it into the sacrificer's cup; but this (Dhruva graha he pours) into the Hotvz’s cup®. 2. Now, what part of him there is below the navel, that part of his self, that vital energy of his, is this (Dhruva) : hence he draws it by means of this (earth), because of her is the bowl (sthalt)?, and with a bowl he draws it ;—for undecaying and immortal is this (earth), and undecaying and immortal is the vital energy: therefore he draws it by means of this (earth). 1 «Formerly they took these two separately, as Dhruva and Vaisvinara; but now they take them as one only.’ Kamva text. * Both these libations are reserved for the evening feast. 5 See p. 288, note 2. Iv KANDA, 2 ADHYAYA, 4 BRAHMANA, 7. 299 3. He draws it full; for full means all, and the vital energy means all; therefore he draws it full.
2* Both these libations are reserved for the evening feast. 5 See p. 288, note 2. Iv KANDA, 2 ADHYAYA, 4 BRAHMANA, 7. 299 3. He draws it full; for full means all, and the vital energy means all; therefore he draws it full. 4. He draws it for (Agni) Vaisvanara; for Vaisvanara (‘he that belongs to all men’) is the year, and the vital energy (life) is the year: therefore he draws it for Vaisvanara. 5. Having been drawn at the morning pressing, it reposes apart from that time: thus he guides him (the sacrificer) safely through all the pressings. 6. Let him not pour it (into the Hotz?’s cup) during the chanting; for, verily, were he to pour it out during the chanting, the sacrificer would not live through the year. 7. He pours it out during the recitation of the sastra; whereby he guides him safely over the twelvefold chant of praise: thus he obtains ever continued life, and thus does the sacrificer live long. Therefore the Brahman should sit through the praise of Agni (Agnish/oma)'; till the offering of this (libation) he must not slip away?—nor must he 1 ?Tasmad brahmazo ’gnish/omasat syat. The obvious meaning of this sentence is, ‘hence the celebrator of the Agnish/oma should be a Brahman,’ or, perhaps, ‘hence a Brahman should celebrate the Agnish/oma ;’ but I do not see how it can have that meaning here, without at least a double-entendre in the term ‘agnish/omasad,’ Agnish/oma in that case (‘the praise of Agni’) referring both to the sacrifice generally and to the chanting (stoma or stotra). See next note. My MS. of Sdyana’s commentary (from the library of the Mahdraga of Bikaner) has unfortunately an omission here. 2 Viz. from the Sadas; ‘nifsarpet,’ Kava text. The verb sarp, ‘to glide or creep,’ is used technically of a peculiar noiseless mode of leaving (nifsarp) the Sadas and returning thither (prasarp or pratisarp, see paragraph ro), and respectfully approaching the dhishya fires. If it has to be taken here in that sense, the first prohibition would seem to refer to the Hotr? (cf. Ait. Br. II, 22, where the question is argued whether or not the Hotr? ought to 300 SATAPATHA-BRAHMANA. discharge urine: thus he obtains the full life—for this (libation) is his life—thus he reaches the full (measure of) life. 8. For, what part of him there is below the navel, that part of his self is this (Dhruva libation). Hence were he to slip away or discharge urine before the offering of this (libation), he would discharge the Dhruva (the firm, constant one): hence, lest he should discharge the Dhruva, he sits through the praise of Agni. This, indeed, applies only to the sacrificer', for this (libation) is part of the sacrificer’s self.
3This, indeed, applies only to the sacrificer', for this (libation) is part of the sacrificer’s self. 9. He sits through the praise of Agni*;— for Soma is glory: hence they both approach, he who partakes of the Soma and he who does not,—they approach, forsooth, to behold that glory. And thus indeed the Brahmans, having crept near together, take unto them that glory, when they drink (the Soma) ;—and verily whosoever, knowing this, drinks (Soma), becomes glorious? indeed. 10. Now, those same (priests) having, while gliding along‘, deposited that glory in him who sits through (celebrates) the praise of Agni, they glide along and turn away from that glory®: having thus encompassed it, he again takes that glory unto him- proceed to the chanting-place with the other priests, and is decided in the negative); since the sacrificer, to whom the second prohibi- _ tion refers (Katy. LX, 6, 23), goes along with them, according to IV, 2, 5, 4. According to the commentary on Katy. IX, 6, 33, in performing the sarpaza the priests and sacrificer should move along sitting at the morning: feast; walking with bent bodies at the midday feast; and walking upright at the evening feast. 1 Tad u tad yagamanasyaiva. Kava text. ? Or, he indeed becomes a celebrator of the Agnish/oma. The K4nva text has ‘yasasvi.’ Sce p. 299, note 2. The Kanva MS. (W.) reads, ‘agnishéomasad etad y4sah sanni- - & o Iv KANDA, 2 ADHYAYA, 4 BRAHMANA, 14. 301 self ;—verily, whosoever, knowing this, sits through (celebrates) the praise of Agni, he passes away after becoming the most glorious of these (men). 11. Now, the gods and the Asuras, both of them sprung from Pragdpati, were contending for this sacrifice—their father Pragapati, the year,—saying, ‘Ours _ he shall be! ours he shall be!’ 12. Then the gods went on singing praises and toiling. They devised this Agnishfoma feast, and by means of this Agnish/oma feast they appropriated the entire sacrifice and excluded the Asuras from the sacrifice. And in like manner does this (sacrificer), by means of this Agnish¢oma feast, now appropriate the entire sacrifice, and exclude his enemies from the sacrifice: therefore he celebrates the Agnishéoma. 13. Having drawn it (the Dhruva graha), he deposits it with the northern cart!, lest he should confound the vital airs, for the grahas are vital airs: now the other grahas he deposits on the raised (mound), but this one (he deposits) after pushing (the dust) aside without leaving as much as a blade of grass between’. 14. For those (other cups of Soma) are that part of his body from the navel upwards, and above, as it were, is what is from the navel upwards, and above, as it were, is what is raised: therefore he deposits dhayata etasmat pard#o yas4so (sic) bhavanti’ (‘they turn away from that glorious one’). * The dhruva-sthali is placed just in front of the northern prop.
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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