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Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1Then the Marutvattya cup; then the Ukthya, for here also there are songs of praise (Uktha)*. 3. Now some draw the Marutvattya after they have drawn the Ukthya; but let him not do this,— _ let him rather draw the Ukthya after he has drawn the Marutvattya. the Pratazsavana (see p. 256, note 1). Meanwhile the GrAvastut takes the band, and winds it thrice round his head and face from left to right. And whenever Soma-stalks are taken out for pressing he extols the stones by chanting the Grava-stotra or ‘praise of the stones. According to Asv. Sr. V,12; Ait. Br. VI, 7, 2, this chant consists of the verses Rig-veda I, 24, 3; V, 81,1; VIII, 81,1; VIII, 1,1, followed by the hymn X, 94, ascribed to the serpent Rishi Arbuda. Before the last verse of this hymn he inserts the hymns X, 76 and X,175 (ascribed to the serpents Garatkarnza and Arbuda respectively) ; and either before, or between, or after these two hymns he throws in the p&vam4niA (Rig-veda IX) according to requirement, till the pressing is completed, or the libations are to be drawn, when having wound up with the last verse of the first Arbuda hymn, he makes over the band to the sacrificer. The five cups mentioned in paragraph 2 are filled from the stream of Soma flowing from the Hotrz’s cup into the Drozakalasa ; the Agrayana (p. 290, note 2) however being taken (in the Agrayana sthali or bowl) from that and two other streams, poured by the Unnetr? from the Adhavantya, and by the Pratiprasthatrz from some vessel containing the Soma previously kept in the Agrayana sthéli. ' Probably on account of the connection of the Brshat-s4man with Indra; see part i, p. 196, note 2. * See p. 294, note 2, Sayama here curiously explains the term by ‘stotrazi.’ IV KANDA, 3 ADHYAYA, 3 BRAHMANA, 5. 333 4. These, then, are five grahas he draws ; for that midday Pavamana chant is a thunderbolt : hence it is a fifteenfold five-hymned chant’, for the thunderbolt is fifteenfold?: He is so by means of these five grahas (cups of Soma’): for five are these fingers, and with the fingers he hurls (the thunderbolt). 5. Indra: hurled the thunderbolt at Vvztra; and having smitten Vrztra, the wicked, and safety and peace being secured‘, he led forth the dakshizds (gifts to priests). Wherefore now also, when they (the Udgatyzs) chant the midday Pavamana, and safety and peace are secured, the dakshizds are led forth. And so, forsooth, does he now by means of those five cups of Soma hurl the thunderbolt at the wicked, hateful enemy, and having smitten Vritra, the wicked, and safety and peace being
2And so, forsooth, does he now by means of those five cups of Soma hurl the thunderbolt at the wicked, hateful enemy, and having smitten Vritra, the wicked, and safety and peace being 1 The Madhyandina-pavam4na-stotra, Samav. II, 22-29, is made up of three hymns (sfkta), consisting of three gfyatrt (22-24), two brrhati (and satobrhati, 25, 26), and three trishfubh verses (27-29) respectively. These are chanted in such a way as to produce five SAman hymns (i.e. a hymn of three verses), viz. the gayatrf triplet is chanted twice, in the Gayatra and Amahiyava tunes ;—the brzhatf-satobrzhati couplet is likewise chanted twice, in the Raurava and Yaudhdgaya tunes, the two verses being as usual (by the repetition of certain padas) made into three. These, with the addition of the trishfubh hymn, chanted in the Ausana tune, make five Siman hymns of three verses each, or altogether fifteen verses (parikadasastoma). ? Or consists of the fifteenfold (chant), as Sayama takes it. Regarding the connection between the paviéadasa-stoma (the characteristic stoma of the midday pressing) and Indra (the deity of the midday pressing), see part i, introd. p. xviii. ’ Perhaps ‘graha’ has here a double meaning, viz. ‘that which is taken, a draught, cup of Soma,’ and ‘the taker, se'zer.’ * See p. 289, note 4. -334 SATAPATHA-BRAHMANA. secured, he leads forth the dakshiz4s. This is why he draws those five cups. 6. Then as to why he draws the Marutvattya cups. Now this, the midday pressing feast, is Indra’s special (nishkevalya) feast: thereby he strove to smite Vvrztra, thereby he strove to vanquish him. But the Maruts, having on that account! withdrawn, were standing on an Asvattha tree? (Ficus Religiosa). Now Indra is the nobility, and the Maruts are the people, and through the people the noble becomes strong: therefore the two Aztu cups (they say)* may be ef asvattha wood; but in reality they are of karshmarya wood. 7. Indra called on them, saying, ‘Do. ye join me that with you as my force I may smite Vvttra!’ They said, ‘What will be our (reward) then?’ He drew those two Marutvattya cups for them. 8. They said, ‘Having put aside this one (cup) for our vigour, we will join thee. Having accordingly put it aside for their vigour‘, they joined him. But Indra sought to obtain it, thinking, ‘ They have come to me after putting aside their vigour.’ ? Lit. ‘thus ;’ ‘itisabden4pakramazaprak4ro ’bhinayena pradarsyate,’ Say. * This passage would seem to be based on a mistaken interpretation of Rig-veda I, 135, 8, where the bard says that ‘ the victorious (gayavah) have come nigh to the asvattha,’ the ‘ g4yavahk’ here evidently referring (not to the Maruts, as in I, 119, 3), but to the _ powerful draughts of Soma flowing into the asvattha vessel. The Kaava text reads, S& (i.e. vis, the people or Maruts) hAsvatthe tish/hate. > The Kanva text inserts ‘ityahud.’
3The Kaava text reads, S& (i.e. vis, the people or Maruts) hAsvatthe tish/hate. > The Kanva text inserts ‘ityahud.’ * The context seems to be purposely ambiguous, as it may also be construed thus : They said, ‘ After putting aside this (cup), we will come (attain) to strength.’ Having accordingly put it aside, they came to strength. Iv KANDA, 3 ADHYAYA, 3 BRAHMANA, 12. 335 : d 9. He said, ‘Do ye join me with vigour!’— ‘Then draw a third cup for us, they said. He drew a third cup. for them, with, ‘Thou art taken with a support,—thee for the vigour of the Maruts!’ They then joined him with vigour,—and he conquered with them, and smote Vvztra with them ;— for Indra is the nobility, and the Maruts are the people, and through the people the noble becomes strong. Hence he now bestows that-strength on the nobility, and therefore he draws the Marutvattya cups. . 10. Let him draw them for Indra Marutvat (accompanied by the Maruts), and not for the Maruts likewise. For were he also to draw cups for the Maruts, he would make the people refractory to the nobility. He thus assigns to the Maruts a share therein. after Indra, whereby he makes the people subservient and obedient to. the nobility : therefore let him draw the cups for Indra. Marutvat, and not for the Maruts likewise. 11. But he was afraid of their desertion,—‘ Lest they should desert me, lest they should take to some other (party)’, so thinking, he by that (share in the libation) made them unwilling to desert him. This is why he should draw the grahas for Indra Marutvat. . 12. He draws them with the two vessels of the. seasons, for the year, the sacrifice, means the seasons. There, at the morning Soma feast, they are’ overtly attended to, in that he draws the grahas for the seasons?; and now they are covertly attended 1 For the construction, see p. 33, note 1. 2 See IV, 3, 1, 3 seq. 336 SATAPATHA-BRAHMANA. to, in that he draws the Marutvattya grahas with the two vessels of the seasons. 13. He draws (the first) from that (stream of Soma)!, with (Vag. S. VII, 35; Rig-veda ITI, 51, 7), ‘O Indra, leader of the Maruts, drink thou the Soma here, as thou drankest of the liquor at (the sacrifice of) the Son of Saryati: by thy guidance, in thy protection, O Lord, do the wise serve. thee with good offerings!—Thou art taken with a support: thee to Indra Marutvat!—This is thy womb: thee to Indra Marutvat!’, 14. [The second he draws? with Vag. S. VII, 36; 1 See p. 331, 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.
1Then the Marutvattya cup; then the Ukthya, for here also there are songs of praise (Uktha)*. 3. Now some draw the Marutvattya after they have drawn the Ukthya; but let him not do this,— _ let him rather draw the Ukthya after he has drawn the Marutvattya. the Pratazsavana (see p. 256, note 1). Meanwhile the GrAvastut takes the band, and winds it thrice round his head and face from left to right. And whenever Soma-stalks are taken out for pressing he extols the stones by chanting the Grava-stotra or ‘praise of the stones. According to Asv. Sr. V,12; Ait. Br. VI, 7, 2, this chant consists of the verses Rig-veda I, 24, 3; V, 81,1; VIII, 81,1; VIII, 1,1, followed by the hymn X, 94, ascribed to the serpent Rishi Arbuda. Before the last verse of this hymn he inserts the hymns X, 76 and X,175 (ascribed to the serpents Garatkarnza and Arbuda respectively) ; and either before, or between, or after these two hymns he throws in the p&vam4niA (Rig-veda IX) according to requirement, till the pressing is completed, or the libations are to be drawn, when having wound up with the last verse of the first Arbuda hymn, he makes over the band to the sacrificer. The five cups mentioned in paragraph 2 are filled from the stream of Soma flowing from the Hotrz’s cup into the Drozakalasa ; the Agrayana (p. 290, note 2) however being taken (in the Agrayana sthali or bowl) from that and two other streams, poured by the Unnetr? from the Adhavantya, and by the Pratiprasthatrz from some vessel containing the Soma previously kept in the Agrayana sthéli. ' Probably on account of the connection of the Brshat-s4man with Indra; see part i, p. 196, note 2. * See p. 294, note 2, Sayama here curiously explains the term by ‘stotrazi.’ IV KANDA, 3 ADHYAYA, 3 BRAHMANA, 5. 333 4. These, then, are five grahas he draws ; for that midday Pavamana chant is a thunderbolt : hence it is a fifteenfold five-hymned chant’, for the thunderbolt is fifteenfold?: He is so by means of these five grahas (cups of Soma’): for five are these fingers, and with the fingers he hurls (the thunderbolt). 5. Indra: hurled the thunderbolt at Vvztra; and having smitten Vrztra, the wicked, and safety and peace being secured‘, he led forth the dakshizds (gifts to priests). Wherefore now also, when they (the Udgatyzs) chant the midday Pavamana, and safety and peace are secured, the dakshizds are led forth. And so, forsooth, does he now by means of those five cups of Soma hurl the thunderbolt at the wicked, hateful enemy, and having smitten Vritra, the wicked, and safety and peace being
2And so, forsooth, does he now by means of those five cups of Soma hurl the thunderbolt at the wicked, hateful enemy, and having smitten Vritra, the wicked, and safety and peace being 1 The Madhyandina-pavam4na-stotra, Samav. II, 22-29, is made up of three hymns (sfkta), consisting of three gfyatrt (22-24), two brrhati (and satobrhati, 25, 26), and three trishfubh verses (27-29) respectively. These are chanted in such a way as to produce five SAman hymns (i.e. a hymn of three verses), viz. the gayatrf triplet is chanted twice, in the Gayatra and Amahiyava tunes ;—the brzhatf-satobrzhati couplet is likewise chanted twice, in the Raurava and Yaudhdgaya tunes, the two verses being as usual (by the repetition of certain padas) made into three. These, with the addition of the trishfubh hymn, chanted in the Ausana tune, make five Siman hymns of three verses each, or altogether fifteen verses (parikadasastoma). ? Or consists of the fifteenfold (chant), as Sayama takes it. Regarding the connection between the paviéadasa-stoma (the characteristic stoma of the midday pressing) and Indra (the deity of the midday pressing), see part i, introd. p. xviii. ’ Perhaps ‘graha’ has here a double meaning, viz. ‘that which is taken, a draught, cup of Soma,’ and ‘the taker, se'zer.’ * See p. 289, note 4. -334 SATAPATHA-BRAHMANA. secured, he leads forth the dakshiz4s. This is why he draws those five cups. 6. Then as to why he draws the Marutvattya cups. Now this, the midday pressing feast, is Indra’s special (nishkevalya) feast: thereby he strove to smite Vvrztra, thereby he strove to vanquish him. But the Maruts, having on that account! withdrawn, were standing on an Asvattha tree? (Ficus Religiosa). Now Indra is the nobility, and the Maruts are the people, and through the people the noble becomes strong: therefore the two Aztu cups (they say)* may be ef asvattha wood; but in reality they are of karshmarya wood. 7. Indra called on them, saying, ‘Do. ye join me that with you as my force I may smite Vvttra!’ They said, ‘What will be our (reward) then?’ He drew those two Marutvattya cups for them. 8. They said, ‘Having put aside this one (cup) for our vigour, we will join thee. Having accordingly put it aside for their vigour‘, they joined him. But Indra sought to obtain it, thinking, ‘ They have come to me after putting aside their vigour.’ ? Lit. ‘thus ;’ ‘itisabden4pakramazaprak4ro ’bhinayena pradarsyate,’ Say. * This passage would seem to be based on a mistaken interpretation of Rig-veda I, 135, 8, where the bard says that ‘ the victorious (gayavah) have come nigh to the asvattha,’ the ‘ g4yavahk’ here evidently referring (not to the Maruts, as in I, 119, 3), but to the _ powerful draughts of Soma flowing into the asvattha vessel. The Kaava text reads, S& (i.e. vis, the people or Maruts) hAsvatthe tish/hate. > The Kanva text inserts ‘ityahud.’
3The Kaava text reads, S& (i.e. vis, the people or Maruts) hAsvatthe tish/hate. > The Kanva text inserts ‘ityahud.’ * The context seems to be purposely ambiguous, as it may also be construed thus : They said, ‘ After putting aside this (cup), we will come (attain) to strength.’ Having accordingly put it aside, they came to strength. Iv KANDA, 3 ADHYAYA, 3 BRAHMANA, 12. 335 : d 9. He said, ‘Do ye join me with vigour!’— ‘Then draw a third cup for us, they said. He drew a third cup. for them, with, ‘Thou art taken with a support,—thee for the vigour of the Maruts!’ They then joined him with vigour,—and he conquered with them, and smote Vvztra with them ;— for Indra is the nobility, and the Maruts are the people, and through the people the noble becomes strong. Hence he now bestows that-strength on the nobility, and therefore he draws the Marutvattya cups. . 10. Let him draw them for Indra Marutvat (accompanied by the Maruts), and not for the Maruts likewise. For were he also to draw cups for the Maruts, he would make the people refractory to the nobility. He thus assigns to the Maruts a share therein. after Indra, whereby he makes the people subservient and obedient to. the nobility : therefore let him draw the cups for Indra. Marutvat, and not for the Maruts likewise. 11. But he was afraid of their desertion,—‘ Lest they should desert me, lest they should take to some other (party)’, so thinking, he by that (share in the libation) made them unwilling to desert him. This is why he should draw the grahas for Indra Marutvat. . 12. He draws them with the two vessels of the. seasons, for the year, the sacrifice, means the seasons. There, at the morning Soma feast, they are’ overtly attended to, in that he draws the grahas for the seasons?; and now they are covertly attended 1 For the construction, see p. 33, note 1. 2 See IV, 3, 1, 3 seq. 336 SATAPATHA-BRAHMANA. to, in that he draws the Marutvattya grahas with the two vessels of the seasons. 13. He draws (the first) from that (stream of Soma)!, with (Vag. S. VII, 35; Rig-veda ITI, 51, 7), ‘O Indra, leader of the Maruts, drink thou the Soma here, as thou drankest of the liquor at (the sacrifice of) the Son of Saryati: by thy guidance, in thy protection, O Lord, do the wise serve. thee with good offerings!—Thou art taken with a support: thee to Indra Marutvat!—This is thy womb: thee to Indra Marutvat!’, 14. [The second he draws? with Vag. S. VII, 36; 1 See p. 331, 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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