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Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1thee 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. 3 Here the author again anticipates, important parts of the performance being not even referred to. On the present occasion only one Marutvatiya cup is drawn and deposited on the mound (khara). The Ukthya cup having then been drawn and deposited, the priests leave the Havirdhana in the same way as at the morning performance (see IV, 2, 5, 1, with note), and perform the Viprudhomas, or drop-offerings. Thereupon the priests ‘creep’ (sarp), with their upper bodies bent parallel to the ground, to the Sadas, where, near the Udumbara post, the chanting of the midday Pavam4na-stotra now takes place after the necessary preliminaries. If the Pravargya has been performed on the preceding day (see III, 4, 4, 1, with note), the Dadhi-gharma, or libation of hot milk mixed with sour milk, is now made. Then follow the oblations from the Savantya-purodisa (see IV, 2, 5, 15 seq., and p. 323, note 1). Thereupon filling of the cups of the ten Kamasins, and the libations from (and drinking of) the Sukra and Manthin cups. After the eating of the Ida of the purodasas, the Dakshiza-homas and distribution of the sacrificial fees take place, as set forth in the next Brahmaza. Thereupon the Adhvaryu calls on the Maitravaruza to pronounce the invitatory prayer to Indra Marutvat (viz. Rig-veda III, 51, 7), ‘O Indra, attended by the Maruts, here drink the Soma,’ &c., followed by the order (praisha), ‘Let the Hotr? pronounce the offering prayer to Indra Marutvat!’ Iv KANDA, 3 ADHYAYA, 3 BRAHMANA, 14. = 337 Rig-veda III, 47, 5], ‘The mighty bull, followed by the Maruts, the bountiful, divine ruler Indra,—him, the all-subduing, the terrible bestower of victory, do we now invoke for new favour.—T hou art taken with a support: thee to Indra Marutvat!—This is thy womb: thee to Indra Marutvat!’—with ‘Thou art The Pratiprasthatr? now draws a second Marutvatfya cup in the other Aitu-patra. The offering prayer (Rig-veda III, 47, 2, ‘United with the host of Maruts, O Indra, drink the Soma, O wise hero!’ &c.) having meanwhile been pronounced by the Hotrz, the Adhvaryu makes libations from the first cup at the Vashaf and Anuvasha/. Then pouring the remains of the juice into some other vessel, to be taken to the Sadas, he enters the Havirdhana and draws the third Marutvattya graha with the cup just emptied. Having deposited it, he betakes himself to the Sadas to drink with the Hotrz the remains of the first libation. Thereupon the Hotr? recites the Marutvatiya Sastra. The Marutvatiya Sastra consists of the following parts. After the summons (4h4va) to the Adhvaryu, and the response (pratigara) of the latter, the Hotz? intones the Pratipad (opening triplet), Rig-veda VIII, 57, 1-3, followed by the Anufara (sequel), VIII, 2, 1-3.
2recites the Marutvatiya Sastra. The Marutvatiya Sastra consists of the following parts. After the summons (4h4va) to the Adhvaryu, and the response (pratigara) of the latter, the Hotz? intones the Pratipad (opening triplet), Rig-veda VIII, 57, 1-3, followed by the Anufara (sequel), VIII, 2, 1-3. Then the Indranihava prag4tha (VIII, 53, 5) and the Brahmanaspatya pragatha (I, 40, 5). Then follow the three Dh&yy4s (complementary verses), III, 20,4; I, 91,2; I, 64,6; and the Marutvattya prag@tha, VIII, 8g, 3, succeeded by the hymn X, 73, the chief part of the Sastra, in the middle of which (after the sixth verse), the Nivid (‘Let us sing, Om! may Indra with the Maruts drink of the Soma,’ &c.) is inserted. Having recited the last verse (paridhantya or closing verse) of the hymn, he concludes the Sastra by the Ukthavirya, ‘ Praise has been sung to Indra who hears thee!’ Thereupon the offering prayer III, 47, 4 is pronounced, and libations are made, both at the Vashas and Anuvasha/, by the Adhvaryu from the third, and after him each time, by the Pratiprasthatr? from the second graha. The priests having drank in the Sadas the Soma remaining from the grahas and in the samasas, the M4hendra cup is drawn. [26] zZ 338 SATAPATHA-BRAHMANA, taken with a support: thee for the strength of the Maruts|!’ he draws the third cup. 15. Thereupon he draws the MAhendracup. For Indra was then bound up with evil, in the shape of the people, the Maruts; as one might, for the sake of victory, eat from the same vessel with the people’, so it was when they drew a cup for him in common with the Maruts. 16. When all was conquered and free from danger and injury, the gods plucked him from out of all evil—even as one might pluck out a reed from its sheath—when they drew the cup for the Great Indra. And even as the reed becomes leafless, so is he thereby freed from all evil, when one draws the Méhendra cup. 17. And again, why he draws the M4hendra cup. Before the slaughter of Vvztra, he was indeed Indra ; but when he had slain Vvztra, he became the Great Indra, even as one who has conquered all around, becomes a Great King (mahdrd4ga): therefore he draws the M4hendra cup. And, moreover, he forsooth makes him great for the slaughter of V7ztra : therefore also he draws the M4hendra cup. He draws it in the Sukra vessel, for bright (sukra) and great indeed is he (the sun) that burns yonder: therefore he draws it in the Sukra vessel. 18. He thus draws it from that (Droakalasa or Patabhzzt), with (Vag. S. VII, 39; Rig-veda VI, 19, 1), ‘Great is Indra and hero-like, gladdening the people, of double stature and unimpaired in power. For our sake he waxed strong for heroic deed,—great and broad was he, and 1 That is, as a chief, or lord, might do so with a clansman (vaisyena, K4zva text); or as the master of a house with his servants. IV KANDA, 3 ADHYAYA, 3 BRAHMANA, 19. 339
3For our sake he waxed strong for heroic deed,—great and broad was he, and 1 That is, as a chief, or lord, might do so with a clansman (vaisyena, K4zva text); or as the master of a house with his servants. IV KANDA, 3 ADHYAYA, 3 BRAHMANA, 19. 339 well-shapen by the shapers'—T hou art taken with a support: thee to Mahendra!’—with ‘This is thy womb: thee to Mahendra!’ he deposits it; for it is indeed for the Great Indra that he draws it. 19. And having bespoken (the chant*), he says this speech,—‘ Pressers, press ye! make the mortars 1 Or, according to Ludwig, ‘rendered favourable by the performers (priests).’ * That is, the (first) Pr?sh/ha-stotra, consisting of the Rathantara-sAman, Sémav. II, 30-31. For the way in which the two verses are manipulated (by repetition of the last pfda of the first, and of the second pda of the second verse), so as to yield a three-versed choral, see Haug, Ait. Br. II, p. 198; Weber, Ind. Stud. VIII, p. 25. These chants derive their name from the circumstance that the Samans employed in them are capable of being used as ‘prishéhas,’ that is, of being chanted twice with another Saman inserted between them,—or, to speak symbolically, to . serve as the womb for the reception of an embryo. For this purpose the Rathantara and Brzhat SAémans are chiefly used. See note on IV, 5, 4,13. Whenever the Prish/Aas are chanted in this way (which they are not at the ordinary Agnish/oma), it is chiefly at this very place in the Soma performance, at the midday libation. The chant is succeeded by the recitation, by the Hotr#, of the Nishkevalya Sastra, consisting of the following parts. The Ah4va (and pratigara) is followed by the Stotriya (Rig-veda VII, 332, 22-23, identical with the Rathantara) and Anur(pa (VIII, 3, 7-8) pragfthas; then a dh4yyd, X, 74,6; the Sdma-prag4tha, VIII, 3, 1, and the hymn (to Indra) I, 32, with the Nivid inserted in the middle (after the eighth verse). Finally the Hotr? pronounces the Ukthavirya, and the offering prayer, VII, 22, 1, after which the Mahendra libation is poured into the fire. Then follows the distribution of the Ukthya graha among the three assistants of the Hotr?#, and the recitation of their (nishkevalya) sastras—each preceded by a Prishéha-stotra [Samav. II, 32-34 (chanted to the Vamadevya-siman); 35-36 (Naudhasa); 37-38 (K4leya) respectively]—as at the conclusion of the morning performance; see p. 295, note 2, Thereupon he addresses the above summons to the respective priests, for the preparations necessary for the evening pressing. Z 2 340 SATAPATHA-BRAHMANA.
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.
1thee 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. 3 Here the author again anticipates, important parts of the performance being not even referred to. On the present occasion only one Marutvatiya cup is drawn and deposited on the mound (khara). The Ukthya cup having then been drawn and deposited, the priests leave the Havirdhana in the same way as at the morning performance (see IV, 2, 5, 1, with note), and perform the Viprudhomas, or drop-offerings. Thereupon the priests ‘creep’ (sarp), with their upper bodies bent parallel to the ground, to the Sadas, where, near the Udumbara post, the chanting of the midday Pavam4na-stotra now takes place after the necessary preliminaries. If the Pravargya has been performed on the preceding day (see III, 4, 4, 1, with note), the Dadhi-gharma, or libation of hot milk mixed with sour milk, is now made. Then follow the oblations from the Savantya-purodisa (see IV, 2, 5, 15 seq., and p. 323, note 1). Thereupon filling of the cups of the ten Kamasins, and the libations from (and drinking of) the Sukra and Manthin cups. After the eating of the Ida of the purodasas, the Dakshiza-homas and distribution of the sacrificial fees take place, as set forth in the next Brahmaza. Thereupon the Adhvaryu calls on the Maitravaruza to pronounce the invitatory prayer to Indra Marutvat (viz. Rig-veda III, 51, 7), ‘O Indra, attended by the Maruts, here drink the Soma,’ &c., followed by the order (praisha), ‘Let the Hotr? pronounce the offering prayer to Indra Marutvat!’ Iv KANDA, 3 ADHYAYA, 3 BRAHMANA, 14. = 337 Rig-veda III, 47, 5], ‘The mighty bull, followed by the Maruts, the bountiful, divine ruler Indra,—him, the all-subduing, the terrible bestower of victory, do we now invoke for new favour.—T hou art taken with a support: thee to Indra Marutvat!—This is thy womb: thee to Indra Marutvat!’—with ‘Thou art The Pratiprasthatr? now draws a second Marutvatfya cup in the other Aitu-patra. The offering prayer (Rig-veda III, 47, 2, ‘United with the host of Maruts, O Indra, drink the Soma, O wise hero!’ &c.) having meanwhile been pronounced by the Hotrz, the Adhvaryu makes libations from the first cup at the Vashaf and Anuvasha/. Then pouring the remains of the juice into some other vessel, to be taken to the Sadas, he enters the Havirdhana and draws the third Marutvattya graha with the cup just emptied. Having deposited it, he betakes himself to the Sadas to drink with the Hotrz the remains of the first libation. Thereupon the Hotr? recites the Marutvatiya Sastra. The Marutvatiya Sastra consists of the following parts. After the summons (4h4va) to the Adhvaryu, and the response (pratigara) of the latter, the Hotz? intones the Pratipad (opening triplet), Rig-veda VIII, 57, 1-3, followed by the Anufara (sequel), VIII, 2, 1-3.
2recites the Marutvatiya Sastra. The Marutvatiya Sastra consists of the following parts. After the summons (4h4va) to the Adhvaryu, and the response (pratigara) of the latter, the Hotz? intones the Pratipad (opening triplet), Rig-veda VIII, 57, 1-3, followed by the Anufara (sequel), VIII, 2, 1-3. Then the Indranihava prag4tha (VIII, 53, 5) and the Brahmanaspatya pragatha (I, 40, 5). Then follow the three Dh&yy4s (complementary verses), III, 20,4; I, 91,2; I, 64,6; and the Marutvattya prag@tha, VIII, 8g, 3, succeeded by the hymn X, 73, the chief part of the Sastra, in the middle of which (after the sixth verse), the Nivid (‘Let us sing, Om! may Indra with the Maruts drink of the Soma,’ &c.) is inserted. Having recited the last verse (paridhantya or closing verse) of the hymn, he concludes the Sastra by the Ukthavirya, ‘ Praise has been sung to Indra who hears thee!’ Thereupon the offering prayer III, 47, 4 is pronounced, and libations are made, both at the Vashas and Anuvasha/, by the Adhvaryu from the third, and after him each time, by the Pratiprasthatr? from the second graha. The priests having drank in the Sadas the Soma remaining from the grahas and in the samasas, the M4hendra cup is drawn. [26] zZ 338 SATAPATHA-BRAHMANA, taken with a support: thee for the strength of the Maruts|!’ he draws the third cup. 15. Thereupon he draws the MAhendracup. For Indra was then bound up with evil, in the shape of the people, the Maruts; as one might, for the sake of victory, eat from the same vessel with the people’, so it was when they drew a cup for him in common with the Maruts. 16. When all was conquered and free from danger and injury, the gods plucked him from out of all evil—even as one might pluck out a reed from its sheath—when they drew the cup for the Great Indra. And even as the reed becomes leafless, so is he thereby freed from all evil, when one draws the Méhendra cup. 17. And again, why he draws the M4hendra cup. Before the slaughter of Vvztra, he was indeed Indra ; but when he had slain Vvztra, he became the Great Indra, even as one who has conquered all around, becomes a Great King (mahdrd4ga): therefore he draws the M4hendra cup. And, moreover, he forsooth makes him great for the slaughter of V7ztra : therefore also he draws the M4hendra cup. He draws it in the Sukra vessel, for bright (sukra) and great indeed is he (the sun) that burns yonder: therefore he draws it in the Sukra vessel. 18. He thus draws it from that (Droakalasa or Patabhzzt), with (Vag. S. VII, 39; Rig-veda VI, 19, 1), ‘Great is Indra and hero-like, gladdening the people, of double stature and unimpaired in power. For our sake he waxed strong for heroic deed,—great and broad was he, and 1 That is, as a chief, or lord, might do so with a clansman (vaisyena, K4zva text); or as the master of a house with his servants. IV KANDA, 3 ADHYAYA, 3 BRAHMANA, 19. 339
3For our sake he waxed strong for heroic deed,—great and broad was he, and 1 That is, as a chief, or lord, might do so with a clansman (vaisyena, K4zva text); or as the master of a house with his servants. IV KANDA, 3 ADHYAYA, 3 BRAHMANA, 19. 339 well-shapen by the shapers'—T hou art taken with a support: thee to Mahendra!’—with ‘This is thy womb: thee to Mahendra!’ he deposits it; for it is indeed for the Great Indra that he draws it. 19. And having bespoken (the chant*), he says this speech,—‘ Pressers, press ye! make the mortars 1 Or, according to Ludwig, ‘rendered favourable by the performers (priests).’ * That is, the (first) Pr?sh/ha-stotra, consisting of the Rathantara-sAman, Sémav. II, 30-31. For the way in which the two verses are manipulated (by repetition of the last pfda of the first, and of the second pda of the second verse), so as to yield a three-versed choral, see Haug, Ait. Br. II, p. 198; Weber, Ind. Stud. VIII, p. 25. These chants derive their name from the circumstance that the Samans employed in them are capable of being used as ‘prishéhas,’ that is, of being chanted twice with another Saman inserted between them,—or, to speak symbolically, to . serve as the womb for the reception of an embryo. For this purpose the Rathantara and Brzhat SAémans are chiefly used. See note on IV, 5, 4,13. Whenever the Prish/Aas are chanted in this way (which they are not at the ordinary Agnish/oma), it is chiefly at this very place in the Soma performance, at the midday libation. The chant is succeeded by the recitation, by the Hotr#, of the Nishkevalya Sastra, consisting of the following parts. The Ah4va (and pratigara) is followed by the Stotriya (Rig-veda VII, 332, 22-23, identical with the Rathantara) and Anur(pa (VIII, 3, 7-8) pragfthas; then a dh4yyd, X, 74,6; the Sdma-prag4tha, VIII, 3, 1, and the hymn (to Indra) I, 32, with the Nivid inserted in the middle (after the eighth verse). Finally the Hotr? pronounces the Ukthavirya, and the offering prayer, VII, 22, 1, after which the Mahendra libation is poured into the fire. Then follows the distribution of the Ukthya graha among the three assistants of the Hotr?#, and the recitation of their (nishkevalya) sastras—each preceded by a Prishéha-stotra [Samav. II, 32-34 (chanted to the Vamadevya-siman); 35-36 (Naudhasa); 37-38 (K4leya) respectively]—as at the conclusion of the morning performance; see p. 295, note 2, Thereupon he addresses the above summons to the respective priests, for the preparations necessary for the evening pressing. Z 2 340 SATAPATHA-BRAHMANA.
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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