Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
11 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 1 The Bahishpavam4na-(stotra), or ‘outside-pavamana,’—so called because (on the first day of a Soma-sacrifice) it is performed outside the altar (commentary on Payday. Br. VI, 8, 10-11 ; or outside the Sadas, Say.on Samay. S. p. 47),—is chanted in the Trivrit, or threefold, stoma; consisting, as it does, of three g4yatrf triplets (S4mav. II, 1-9 for the Agnish/oma), and none of its verses being chanted more than once. This stoma has three different varieties, viz. the udyatf, or ascending mode, the first turn of which consists of the first verses of the three triplets, the second turn of the second verses, and the third turn of the last verses, hence a' a* a8—b! b*® b’—c! c? c®; the parivartinf, or reverting mode, following the natural order, a? b! c\—a*® b* c?—a* b’ c*; and the kuldyini, or web-like mode, performed in the order a’ b! c'—b* c? a*—c° a® b®. Cf. Haug, Transl. Ait. Br. p. 237, where, however, these forms are described quite differently. The term used for the natural order of verses in the parivartint vishfuti is ‘ parafi,’ i.e. thitherwards, straight off. From the statement in paragraph 7 above, that ‘ they chant straight off (par4k),’ one might therefore infer that that particular mode of chanting ought to be used for the Bahishpavam4nastotra; but the term ‘parak’ may also be taken as referring to each of the several verses being chanted ‘straight off,’ without any repetition. Haug, Transl. Ait. Br. p. 120 note, remarks: ‘ Each of these verses is for the purpose of chanting divided into four parts : Prastdéva, i.e. prelude, the first being preceded by Aum, to be sung by the Prastotar ; Udgttha, the principal part of the Saman, preceded by Om, to be chanted by the Udgatar; the Prathéra, i. e. response [? rather check, stop ; cf. IV, 3, 4, 22], introduced by hum, to be chanted by the Pratihartar; and the Mrdhana, i.e. finale, to be sung by all three. To give the student an idea of this division, I here subjoin the second of these r7#as in the Saman form, distinguishing its four parts :— [The connected rk form is: Abhi te madhun4 payo—atharvano asisrayur—devam devaya devayu.] ‘ Prastéva : abhi te madhun4 payom. ‘ Udgttha: om 4tharvano asisradeyurvam devayada. IV KANDA, 2 ADHYAYA, 5 BRAHMANA, II. 311 bound heavenwards: the priests are its spars and oars, the means of reaching the heavenly world. If there be a blameworthy one, even that one (priest) would make it sink: he makes it sink, even as one who ascends a ship that is full would make it sink. And, indeed, every sacrifice is a ship bound heavenwards: hence one should seek to keep a blameworthy (priest) away from every sacrifice. 11. Thereupon, when the chanting is over’, he
2And, indeed, every sacrifice is a ship bound heavenwards: hence one should seek to keep a blameworthy (priest) away from every sacrifice. 11. Thereupon, when the chanting is over’, he ‘ Pratthéra: hum &vayo. ‘ Nidhana : sim. ‘The Nidhanas, i.e. finales, are for the nine Pavam4na-stotra verses the following ones: s&t, sim, suv44, id4, vak, and 4 (for the four last verses).’ See also Burnell, Arsheyabr. p. xlv seq. 1 Lavy. I,12; If,1; Taadya Br. V1, 7 seq. give the following details: The Prastotr: takes the prastara (bunch of grass, representing the Sacrificer) from the Adhvaryu and says, ‘ Brahman, we will chant, O Prasfstar!’ The Brahman and Maitrfvaruma having given their assent (Asv. V, 2, 12-14), the Prastotr#' hands the prastara to the Udgatr?, The latter touches his right thigh with it (or bends his right knee thereon) and ‘harnesses’ (introduces) the chant by the formula, ‘With Agni’s fire, with Indra’s might, with Sfirya’s brilliance, may Brzhaspati harness thee,’ &c. (TAndya Br. I, 3, 5); whereupon he mutters, ‘I will make food,’ &c. (ib. 6) ; and after looking towards the pit and a vessel of water and the sun, he commences the chant. The three chanters are seated west of the Adhvaryu and Pratiprasthatr? (who look towards them), viz. the Udgatr? facing the north, the Prastotr the west, and the Pratihartr? the south (or south-east). To the west of them are seated three, four, or six subordinate singers, or choristers (upagatr7), who accompany the chanting in a deep voice with the sound ‘ Ho.’ When the chant is completed, the Udg4tri says, ‘I have made food,’ and makes the sacrificer mutter the formula, ‘Thou art a falcon,’ &c. (Pak. Br. I, 3, 8); whereupon he takes a stalk of grass from the prastara, cuts off the top and bottom, so as to make it of the length of four thumbs’ breadths, and throws it into the pit with, ‘If it has been chanted,’ &c. (ib. II, 1, 8). They then pour out the vessel of water into the pit, with, ‘I send you to the sea,’ &c., and make 3, 5, 7 or 9 steps northwards outside the altar, 312 SATAPATHA-BRAHMANA. utters this speech,—‘ Agntdh, spread the fires! strew the barhis! Prepare the cakes! go on with the victim!’ The Agmidh spreads the fires, that is to say, kindles them’; he strews that barhis?, thinking, ‘When the barhis is strewn, I will offer to the gods on the kindled (fire).—‘ Prepare the cakes,’ he says, because he is about to proceed with the cakes; and, ‘Go on with the victim,’ because he is about to get ready the victim °. 12, Having again entered (the cart-shed) he draws the Asvina graha*, Having drawn the Asvina graha he goes out and girds the sacrificial stake®; and having girt the stake he gets ready the victim: he thereby puts flavour (juice) into him (Soma—the sacrificer). 13. Having been slain at the morning feast, it continues being cooked till the evening feast; whereby he puts flavour (juice) into the whole sacrifice, imbues it with flavour.
313. Having been slain at the morning feast, it continues being cooked till the evening feast; whereby he puts flavour (juice) into the whole sacrifice, imbues it with flavour. 14. Let him therefore, at the Agnish¢oma, slay a (victim) sacred to Agni, for there is harmony when, at the Agnish¢oma, he slays a (victim) for Agni. If whereupon they betake themselves to the Agnidhrtya. During the chanting, the Unnetr pours the Soma-juice from the Adhavantya trough through the strainer into the P(tabhrit. 1 The Agnidh takes burning coals from the Agntdhriya fire, and puts them on the dhishaya hearths, in the order in which they were raised. See p. 148, note 4. * He spreads a layer of (ulapa) grass along the ‘spine’ (the line from the middle of the back to the middle of the front side) of the altar. 5 Pasum hy 4lipsyam4no (!) bhavati. Kava MS. * Having taken this cup of Soma or libation (with the formula, Vag. S. VII, 11) from the Drona-kalasa or the Pfitabhrit, he makes the sacrificer eye the several cups and Soma vessels, as set forth IV, 5,6,1Seq.; the Asvina being looked at sixth in order (or fourth of the grahas), not tenth (as was its order of drawing). See 1V, 1, 5, 16. * See III, 7, 1, 19 seq. IV KANDA, 2 ADHYAYA, 5 BRAHMANA, 14. 313 ~ it be an Ukthya sacrifice, let him slay one to Indra and Agni in the second place, for songs of praise (uktha)* refer to Indra and Agni. If it be a Shodasin sacrifice, let him slay one to Indra in the third place, for the sixteenfold chant (shodasin)? means Indra. If it be an AtirAtra, let him slay one to Sarasvatt in the fourth place, for Sarasvatt is speech, and speech (vaé, fem.) is female, as the night (ratri, fem.) is female : he thus duly distinguishes the forms of sacrifice °. 1 Or, the (three) Uk tha-stotras (Sdmav. II, 55-62) and sastras, the characteristic feature of the Ukthya sacrifice. Cf. p. 325, note 2; and IV, 6, 3, 3. * The Shodasi-stotra (Sdmav. II, 302-304) chanted in the ekavimsa stoma is the characteristic stotra of the Shodasin sacrifice. The term meaning ‘having a sixteenth’ (viz. stotra), it evidently refers originally to the sacrifice, and has then also been applied to the stotra and sastra. See also Haug, Ait. Br. Transl. p. 255, note 2.
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.
11 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 1 The Bahishpavam4na-(stotra), or ‘outside-pavamana,’—so called because (on the first day of a Soma-sacrifice) it is performed outside the altar (commentary on Payday. Br. VI, 8, 10-11 ; or outside the Sadas, Say.on Samay. S. p. 47),—is chanted in the Trivrit, or threefold, stoma; consisting, as it does, of three g4yatrf triplets (S4mav. II, 1-9 for the Agnish/oma), and none of its verses being chanted more than once. This stoma has three different varieties, viz. the udyatf, or ascending mode, the first turn of which consists of the first verses of the three triplets, the second turn of the second verses, and the third turn of the last verses, hence a' a* a8—b! b*® b’—c! c? c®; the parivartinf, or reverting mode, following the natural order, a? b! c\—a*® b* c?—a* b’ c*; and the kuldyini, or web-like mode, performed in the order a’ b! c'—b* c? a*—c° a® b®. Cf. Haug, Transl. Ait. Br. p. 237, where, however, these forms are described quite differently. The term used for the natural order of verses in the parivartint vishfuti is ‘ parafi,’ i.e. thitherwards, straight off. From the statement in paragraph 7 above, that ‘ they chant straight off (par4k),’ one might therefore infer that that particular mode of chanting ought to be used for the Bahishpavam4nastotra; but the term ‘parak’ may also be taken as referring to each of the several verses being chanted ‘straight off,’ without any repetition. Haug, Transl. Ait. Br. p. 120 note, remarks: ‘ Each of these verses is for the purpose of chanting divided into four parts : Prastdéva, i.e. prelude, the first being preceded by Aum, to be sung by the Prastotar ; Udgttha, the principal part of the Saman, preceded by Om, to be chanted by the Udgatar; the Prathéra, i. e. response [? rather check, stop ; cf. IV, 3, 4, 22], introduced by hum, to be chanted by the Pratihartar; and the Mrdhana, i.e. finale, to be sung by all three. To give the student an idea of this division, I here subjoin the second of these r7#as in the Saman form, distinguishing its four parts :— [The connected rk form is: Abhi te madhun4 payo—atharvano asisrayur—devam devaya devayu.] ‘ Prastéva : abhi te madhun4 payom. ‘ Udgttha: om 4tharvano asisradeyurvam devayada. IV KANDA, 2 ADHYAYA, 5 BRAHMANA, II. 311 bound heavenwards: the priests are its spars and oars, the means of reaching the heavenly world. If there be a blameworthy one, even that one (priest) would make it sink: he makes it sink, even as one who ascends a ship that is full would make it sink. And, indeed, every sacrifice is a ship bound heavenwards: hence one should seek to keep a blameworthy (priest) away from every sacrifice. 11. Thereupon, when the chanting is over’, he
2And, indeed, every sacrifice is a ship bound heavenwards: hence one should seek to keep a blameworthy (priest) away from every sacrifice. 11. Thereupon, when the chanting is over’, he ‘ Pratthéra: hum &vayo. ‘ Nidhana : sim. ‘The Nidhanas, i.e. finales, are for the nine Pavam4na-stotra verses the following ones: s&t, sim, suv44, id4, vak, and 4 (for the four last verses).’ See also Burnell, Arsheyabr. p. xlv seq. 1 Lavy. I,12; If,1; Taadya Br. V1, 7 seq. give the following details: The Prastotr: takes the prastara (bunch of grass, representing the Sacrificer) from the Adhvaryu and says, ‘ Brahman, we will chant, O Prasfstar!’ The Brahman and Maitrfvaruma having given their assent (Asv. V, 2, 12-14), the Prastotr#' hands the prastara to the Udgatr?, The latter touches his right thigh with it (or bends his right knee thereon) and ‘harnesses’ (introduces) the chant by the formula, ‘With Agni’s fire, with Indra’s might, with Sfirya’s brilliance, may Brzhaspati harness thee,’ &c. (TAndya Br. I, 3, 5); whereupon he mutters, ‘I will make food,’ &c. (ib. 6) ; and after looking towards the pit and a vessel of water and the sun, he commences the chant. The three chanters are seated west of the Adhvaryu and Pratiprasthatr? (who look towards them), viz. the Udgatr? facing the north, the Prastotr the west, and the Pratihartr? the south (or south-east). To the west of them are seated three, four, or six subordinate singers, or choristers (upagatr7), who accompany the chanting in a deep voice with the sound ‘ Ho.’ When the chant is completed, the Udg4tri says, ‘I have made food,’ and makes the sacrificer mutter the formula, ‘Thou art a falcon,’ &c. (Pak. Br. I, 3, 8); whereupon he takes a stalk of grass from the prastara, cuts off the top and bottom, so as to make it of the length of four thumbs’ breadths, and throws it into the pit with, ‘If it has been chanted,’ &c. (ib. II, 1, 8). They then pour out the vessel of water into the pit, with, ‘I send you to the sea,’ &c., and make 3, 5, 7 or 9 steps northwards outside the altar, 312 SATAPATHA-BRAHMANA. utters this speech,—‘ Agntdh, spread the fires! strew the barhis! Prepare the cakes! go on with the victim!’ The Agmidh spreads the fires, that is to say, kindles them’; he strews that barhis?, thinking, ‘When the barhis is strewn, I will offer to the gods on the kindled (fire).—‘ Prepare the cakes,’ he says, because he is about to proceed with the cakes; and, ‘Go on with the victim,’ because he is about to get ready the victim °. 12, Having again entered (the cart-shed) he draws the Asvina graha*, Having drawn the Asvina graha he goes out and girds the sacrificial stake®; and having girt the stake he gets ready the victim: he thereby puts flavour (juice) into him (Soma—the sacrificer). 13. Having been slain at the morning feast, it continues being cooked till the evening feast; whereby he puts flavour (juice) into the whole sacrifice, imbues it with flavour.
313. Having been slain at the morning feast, it continues being cooked till the evening feast; whereby he puts flavour (juice) into the whole sacrifice, imbues it with flavour. 14. Let him therefore, at the Agnish¢oma, slay a (victim) sacred to Agni, for there is harmony when, at the Agnish¢oma, he slays a (victim) for Agni. If whereupon they betake themselves to the Agnidhrtya. During the chanting, the Unnetr pours the Soma-juice from the Adhavantya trough through the strainer into the P(tabhrit. 1 The Agnidh takes burning coals from the Agntdhriya fire, and puts them on the dhishaya hearths, in the order in which they were raised. See p. 148, note 4. * He spreads a layer of (ulapa) grass along the ‘spine’ (the line from the middle of the back to the middle of the front side) of the altar. 5 Pasum hy 4lipsyam4no (!) bhavati. Kava MS. * Having taken this cup of Soma or libation (with the formula, Vag. S. VII, 11) from the Drona-kalasa or the Pfitabhrit, he makes the sacrificer eye the several cups and Soma vessels, as set forth IV, 5,6,1Seq.; the Asvina being looked at sixth in order (or fourth of the grahas), not tenth (as was its order of drawing). See 1V, 1, 5, 16. * See III, 7, 1, 19 seq. IV KANDA, 2 ADHYAYA, 5 BRAHMANA, 14. 313 ~ it be an Ukthya sacrifice, let him slay one to Indra and Agni in the second place, for songs of praise (uktha)* refer to Indra and Agni. If it be a Shodasin sacrifice, let him slay one to Indra in the third place, for the sixteenfold chant (shodasin)? means Indra. If it be an AtirAtra, let him slay one to Sarasvatt in the fourth place, for Sarasvatt is speech, and speech (vaé, fem.) is female, as the night (ratri, fem.) is female : he thus duly distinguishes the forms of sacrifice °. 1 Or, the (three) Uk tha-stotras (Sdmav. II, 55-62) and sastras, the characteristic feature of the Ukthya sacrifice. Cf. p. 325, note 2; and IV, 6, 3, 3. * The Shodasi-stotra (Sdmav. II, 302-304) chanted in the ekavimsa stoma is the characteristic stotra of the Shodasin sacrifice. The term meaning ‘having a sixteenth’ (viz. stotra), it evidently refers originally to the sacrifice, and has then also been applied to the stotra and sastra. See also Haug, Ait. Br. Transl. p. 255, note 2.
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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