Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
14. The Sacrificer holds on to those five priests from behind‘, for as much as those five priests are, so much is the whole sacrifice, the sacrifice being fivefold: hence the Sacrificer thereby holds on to the sacrifice. 5. He (the Adhvaryu) then throws one of the two 1 «Grava-Ayuta’ seems to be taken by the author in the sense of ‘set in motion by the (pressing) stone.’ The Rig-veda reads ‘ bahu-Ayuta ;’ also ‘ dhishary4’ instead of ‘ dhishanayod.’ * That is, the Adhvaryu and his assistant, the Pratiprasthatr?. ° Ait. Br. II, 20 enumerates Adhvaryu, Prastotr?, Pratihartr7, Udgatr:, and Brahman (see also Asv. V, 2, 4-5); the Lasydy. Sftra I, 11, Adhvaryu, Prastotr?, Udgatr, Pratihartr7, Brahman, and Sacrificer. * That is, each holds on to the hem of the garment of the one who precedes him. Iv KAWDA, 2 ADHYAYA, 5 BRAHMANA, 7. 307 stalks of grass forward towards the pit’, with, ‘Thou art the ascent of the gods!’ for when the gods through the sacrifice attained to the heavenly world, it was from that pit that they went upwards to the heavenly world: he thus makes the sacrificer look along the road to heaven. 6. He then throws down the other stalk in front of the chanters, silently, for those chanters represent the hymn of praise (stotra), PragApati (the sacrifice),— he (Prag4pati) draws to himself everything here, and takes possession of everything here : it is to him that that stalk is offered, and thus he does not draw the Adhvaryu to himself, and take possession of him. And when they mutter?,—for the chanters mutter now §,— 7. Then he bespeaks the chant, saying, ‘Soma becometh pure!’ He bespeaks the chant right off‘, and they chant right off; for these chants, the Pavam4n4h®, are directed towards the gods, since 1 The Udgatr?s (chanters) also throw stalks of grass to the south with their left hands, with the text, Pazav. I, 3, 3 2 And when he thinks ‘they have muttered’ (atha yad4 manyate ‘gapishur iti)—for the chanters mutter now. K4nva text. ® For the mantras the Udgatris have to mutter on this occasion, previous to the chanting, see Taxdya Br. I, 3, 4-6. The recitation of the Agyasastra, by the Hotr#, succeeding the chanting of the Bahishpavam4na-stotra, is likewise preceded by a prayer muttered by that priest, for which see Ait. Br. II, 38; Asv. V, 9. ‘ That is, without repeating that formula, in the same way as the Pavamina chants are performed without repeating single verses. See p. 308, note 2. 5 The first stotra at each pressing is called pavam4na (purifying, i.e. during the chanting of which the Soma becomes clarified), viz. the Bahishpavam4na at the morning, the Madhyandina pavam4na at the midday, and the Arbhava (or trittya) pavam4na at the evening pressing. The other stotras are called Dhurya, ‘to be harnessed, belonging to or forming a team.’ For the correspondence between the stotra and sastra, see p. 325, note 2. X 2 308 SATAPATHA-BRAHMANA.
2The other stotras are called Dhurya, ‘to be harnessed, belonging to or forming a team.’ For the correspondence between the stotra and sastra, see p. 325, note 2. X 2 308 SATAPATHA-BRAHMANA. the gods thereby attained to the heavenly world right off (straightway): therefore he bespeaks the chant right off, and right off they chant. 8. With ‘ Turn ye back?!’ (he bespeaks) the other chants (viz. the Dhuryas), and turning back (or repeating) they chant the Dhuryas®, for the latter 1 This is Sayana’s interpretation of ‘up4vartadhvam,’ instead of ‘draw near,’ as translated by me at I, 5, 2,12. He is probably right in connecting it with the repetitions which certain verses have to undergo in the dhurya-stotras. 3 There are many different stomas, or forms of chanting stotras, named from the number of verses produced in each form (generally by repetitions of certain verses). Those required for the Shadaha and DvAdasaha (see IV, 5, 4, 1 seq.) are: trivrzt (9), paw sadasa (15), saptadasa (17), ekavimsa (21), trinava (27), trayastrimsa (33), katurvimsa (24), Aatuskatvarimsa (44), and ash/akatvarimsa (48). The first four of these are those most frequently used, and the only ones used at the Agnishfoma. All these stomas, with one exception (24), have two or more different varieties or arrangements, called vish/uti, differing from one another either in the order in which the several verses are to be chanted, or in regard to the number of repetitions which the corresponding verses have to undergo. Besides, stomas are generally performed in three turns or rounds, pary 4ya, consisting of a triplet of verses (some of which may have to be repeated more than once), and preceded by the sound ‘hum’ (Hinkara). Thus the first Agyastotra, Samav. II, ro-r2, (consisting of three verses, a, b, c,) is to be performed in the pankadasa-stoma; that is, the three verses have to be so treated, by repetitions, as to produce fifteen verses in three turns. Now, as there are three different varieties of performing the paféadasa- stoma, the stotra might be chanted in one or other of the following three arrangements :— 1. Hum aaa bc this form is called ‘ pazisa- Hum a bbb c ; pafsini,’ i.e. consisting Hum a b ccc of five in each row. Or 2. Hum aaa »b c Hum a b oc \ (‘apar4’ or ‘other, second’). Hum a bbb ccc IV KANDA, 2 ADHYAYA, 5 BRAHMANA, 9. 309 are directed towards these creatures: whence creatures are produced here repeatedly. 9. And as to why they chant the Bahishpavamana here (near the 24tvdla). In the beginning, . forsooth, yonder sun was here on earth’. The seasons embraced him and ascended from hence to the heavenly world: there he burns firmly established this form is called ‘udyatt,’ Hum a bbb or the ascending one. Hum aaa b ccc
3In the beginning, . forsooth, yonder sun was here on earth’. The seasons embraced him and ascended from hence to the heavenly world: there he burns firmly established this form is called ‘udyatt,’ Hum a bbb or the ascending one. Hum aaa b ccc The three paryayas of a stoma (or vish/uti) show each three . subdivisions (viz. aaa—b—c, being those of the first pary4ya above), called vish¢4va, When the Udgatris are about to commence a chant, the Prastotr? spreads in their midst a cloth, doubled up so that the unwoven fringe lies over the selvage, either towards the east or north, Thereon he marks the subdivisions of the rounds, by means of sticks (kus4), a span long, of some kind of wood suitable for sacrifice, split lengthways along the pith (the bark being left outside) and somewhat pointed at one end, then smeared over with some fragrant substance, and wrapped up singly in pieces of the same kind of cloth as that spread on the ground. The marking of the vish/ivas, or subdivisions, takes place at the end of the prast4va or prelude (see next page, note 1) in this way, that each vish/4va is marked by as many sticks as the corresponding verse has to be repeated; those of the first vish/4va being laid down _ with the point to the north, then behind or west of them those of the second turn with the point to the west, and behind them those of the third turn with the point to the north. Thereupon those of the other two rounds are laid down in the same way, each turn north of the preceding one. Hence the arrangement of sticks for the first of the above varieties of the pawadasa-stoma would be three straight, one across, one straight; one straight, three across, one straight; one straight, one across, three straight. With the exception of the Bahishpavamana, the chanting is performed in the Sadas by the side of the Udumbara post (see III, 6, 1, 2 seq.), the latter being likewise enclosed in a cloth of the above description, wrapt round it from left to right, with the unwoven fringe towards the top. 1 Cf. Taadya Br. VI, 7, 24. Or 3. Hum a b oc ! 310 SATAPATHA-BRAHMANA. in the seasons. And in like manner do the priests thereby embrace the sacrificer and ascend from hence to the heavenly world: this is why they chant the Bahishpavam4na here. 10. The Bahishpavaména? chant truly is a ship
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.
14. The Sacrificer holds on to those five priests from behind‘, for as much as those five priests are, so much is the whole sacrifice, the sacrifice being fivefold: hence the Sacrificer thereby holds on to the sacrifice. 5. He (the Adhvaryu) then throws one of the two 1 «Grava-Ayuta’ seems to be taken by the author in the sense of ‘set in motion by the (pressing) stone.’ The Rig-veda reads ‘ bahu-Ayuta ;’ also ‘ dhishary4’ instead of ‘ dhishanayod.’ * That is, the Adhvaryu and his assistant, the Pratiprasthatr?. ° Ait. Br. II, 20 enumerates Adhvaryu, Prastotr?, Pratihartr7, Udgatr:, and Brahman (see also Asv. V, 2, 4-5); the Lasydy. Sftra I, 11, Adhvaryu, Prastotr?, Udgatr, Pratihartr7, Brahman, and Sacrificer. * That is, each holds on to the hem of the garment of the one who precedes him. Iv KAWDA, 2 ADHYAYA, 5 BRAHMANA, 7. 307 stalks of grass forward towards the pit’, with, ‘Thou art the ascent of the gods!’ for when the gods through the sacrifice attained to the heavenly world, it was from that pit that they went upwards to the heavenly world: he thus makes the sacrificer look along the road to heaven. 6. He then throws down the other stalk in front of the chanters, silently, for those chanters represent the hymn of praise (stotra), PragApati (the sacrifice),— he (Prag4pati) draws to himself everything here, and takes possession of everything here : it is to him that that stalk is offered, and thus he does not draw the Adhvaryu to himself, and take possession of him. And when they mutter?,—for the chanters mutter now §,— 7. Then he bespeaks the chant, saying, ‘Soma becometh pure!’ He bespeaks the chant right off‘, and they chant right off; for these chants, the Pavam4n4h®, are directed towards the gods, since 1 The Udgatr?s (chanters) also throw stalks of grass to the south with their left hands, with the text, Pazav. I, 3, 3 2 And when he thinks ‘they have muttered’ (atha yad4 manyate ‘gapishur iti)—for the chanters mutter now. K4nva text. ® For the mantras the Udgatris have to mutter on this occasion, previous to the chanting, see Taxdya Br. I, 3, 4-6. The recitation of the Agyasastra, by the Hotr#, succeeding the chanting of the Bahishpavam4na-stotra, is likewise preceded by a prayer muttered by that priest, for which see Ait. Br. II, 38; Asv. V, 9. ‘ That is, without repeating that formula, in the same way as the Pavamina chants are performed without repeating single verses. See p. 308, note 2. 5 The first stotra at each pressing is called pavam4na (purifying, i.e. during the chanting of which the Soma becomes clarified), viz. the Bahishpavam4na at the morning, the Madhyandina pavam4na at the midday, and the Arbhava (or trittya) pavam4na at the evening pressing. The other stotras are called Dhurya, ‘to be harnessed, belonging to or forming a team.’ For the correspondence between the stotra and sastra, see p. 325, note 2. X 2 308 SATAPATHA-BRAHMANA.
2The other stotras are called Dhurya, ‘to be harnessed, belonging to or forming a team.’ For the correspondence between the stotra and sastra, see p. 325, note 2. X 2 308 SATAPATHA-BRAHMANA. the gods thereby attained to the heavenly world right off (straightway): therefore he bespeaks the chant right off, and right off they chant. 8. With ‘ Turn ye back?!’ (he bespeaks) the other chants (viz. the Dhuryas), and turning back (or repeating) they chant the Dhuryas®, for the latter 1 This is Sayana’s interpretation of ‘up4vartadhvam,’ instead of ‘draw near,’ as translated by me at I, 5, 2,12. He is probably right in connecting it with the repetitions which certain verses have to undergo in the dhurya-stotras. 3 There are many different stomas, or forms of chanting stotras, named from the number of verses produced in each form (generally by repetitions of certain verses). Those required for the Shadaha and DvAdasaha (see IV, 5, 4, 1 seq.) are: trivrzt (9), paw sadasa (15), saptadasa (17), ekavimsa (21), trinava (27), trayastrimsa (33), katurvimsa (24), Aatuskatvarimsa (44), and ash/akatvarimsa (48). The first four of these are those most frequently used, and the only ones used at the Agnishfoma. All these stomas, with one exception (24), have two or more different varieties or arrangements, called vish/uti, differing from one another either in the order in which the several verses are to be chanted, or in regard to the number of repetitions which the corresponding verses have to undergo. Besides, stomas are generally performed in three turns or rounds, pary 4ya, consisting of a triplet of verses (some of which may have to be repeated more than once), and preceded by the sound ‘hum’ (Hinkara). Thus the first Agyastotra, Samav. II, ro-r2, (consisting of three verses, a, b, c,) is to be performed in the pankadasa-stoma; that is, the three verses have to be so treated, by repetitions, as to produce fifteen verses in three turns. Now, as there are three different varieties of performing the paféadasa- stoma, the stotra might be chanted in one or other of the following three arrangements :— 1. Hum aaa bc this form is called ‘ pazisa- Hum a bbb c ; pafsini,’ i.e. consisting Hum a b ccc of five in each row. Or 2. Hum aaa »b c Hum a b oc \ (‘apar4’ or ‘other, second’). Hum a bbb ccc IV KANDA, 2 ADHYAYA, 5 BRAHMANA, 9. 309 are directed towards these creatures: whence creatures are produced here repeatedly. 9. And as to why they chant the Bahishpavamana here (near the 24tvdla). In the beginning, . forsooth, yonder sun was here on earth’. The seasons embraced him and ascended from hence to the heavenly world: there he burns firmly established this form is called ‘udyatt,’ Hum a bbb or the ascending one. Hum aaa b ccc
3In the beginning, . forsooth, yonder sun was here on earth’. The seasons embraced him and ascended from hence to the heavenly world: there he burns firmly established this form is called ‘udyatt,’ Hum a bbb or the ascending one. Hum aaa b ccc The three paryayas of a stoma (or vish/uti) show each three . subdivisions (viz. aaa—b—c, being those of the first pary4ya above), called vish¢4va, When the Udgatris are about to commence a chant, the Prastotr? spreads in their midst a cloth, doubled up so that the unwoven fringe lies over the selvage, either towards the east or north, Thereon he marks the subdivisions of the rounds, by means of sticks (kus4), a span long, of some kind of wood suitable for sacrifice, split lengthways along the pith (the bark being left outside) and somewhat pointed at one end, then smeared over with some fragrant substance, and wrapped up singly in pieces of the same kind of cloth as that spread on the ground. The marking of the vish/ivas, or subdivisions, takes place at the end of the prast4va or prelude (see next page, note 1) in this way, that each vish/4va is marked by as many sticks as the corresponding verse has to be repeated; those of the first vish/4va being laid down _ with the point to the north, then behind or west of them those of the second turn with the point to the west, and behind them those of the third turn with the point to the north. Thereupon those of the other two rounds are laid down in the same way, each turn north of the preceding one. Hence the arrangement of sticks for the first of the above varieties of the pawadasa-stoma would be three straight, one across, one straight; one straight, three across, one straight; one straight, one across, three straight. With the exception of the Bahishpavamana, the chanting is performed in the Sadas by the side of the Udumbara post (see III, 6, 1, 2 seq.), the latter being likewise enclosed in a cloth of the above description, wrapt round it from left to right, with the unwoven fringe towards the top. 1 Cf. Taadya Br. VI, 7, 24. Or 3. Hum a b oc ! 310 SATAPATHA-BRAHMANA. in the seasons. And in like manner do the priests thereby embrace the sacrificer and ascend from hence to the heavenly world: this is why they chant the Bahishpavam4na here. 10. The Bahishpavaména? chant truly is a ship
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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