Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
114. And the reason why he takes sour milk is that those remains (of Soma) poured together are the leavings of offerings, and insufficient for an oblation : he now increases those (remains), and thus they * The Rig-veda reads ‘havanam’ (invocation) instead of ‘savanam.” * Or, cattle correspond, stand in relation, to the Adityas. SAyasa takes ‘anu’ in the sense of ‘behind, inferior to, dependent upon (hina).’ The cattle are inferior to, or dependent upon, the Adityas, inasmuch as the Adityas give the rain on which the cattle depend for their food. * Or, ‘put’ (hita) into them. (26] Aa 354 SATAPATHA-BRAHMANA. become sufficient for an oblation. This is why he takes sour milk. 15. He takes it with (V4g. S. VIII, 4; Rig-veda I, 107, 1), ‘The sacrifice draweth nigh to the glory of the gods: be ye merciful, O Adityas! Let your favour incline unto us, that it may set us free from all trouble!—Thee to the Adityas!’ 16. He mixes it by means of the Up4msusavana stone’. For, indeed, that Aditya Vivasvat (the sun) is really the same as the Up4msusavana, and this is the Aditya libation: thus he makes him delight in his own share. 17. He touches it neither with the fringe nor with (the woven part of) the straining-cloth; for those two pressings, the morning pressing and midday pressing, forsooth are rich in pure Soma, rich in juice, but this, the third pressing, is emptied of its pure Soma. Now, in that he does not touch it either with the fringe or the straining-cloth, thereby that third pressing of his also becomes rich in pure Soma and juice : therefore he touches it neither with the fringe nor with the straining-cloth. 18. He mixes it with (V4g. S. VIII, 5), ‘O Aditya Vivasvat, this is thy draught of Soma: feast thouuponit!’ Thereupon he hands the Upamsusavana to the Unnetvz. Then he says to the Unnetvz, ‘ Drop in the pressing-stones!’ He drops them either into the Adhavantya or into a cup?. 1 See p. 238, note 2. * «Into the Adhavantya trough or into a Aamasa cup containing Soma-juice,’ Katy. X, 4,10; ‘into the Adhavantya or the Sambharamf,’ Kanva text; ‘into the Adhavantya or into the graha,’ Weber, Ind. Stud. X, 386. Perhaps the next paragraph has to IV KANDA, 3 ADHYAYA, 5 BRAHMANA, 21. 355 19. After drawing the king (Soma)—the third press-feast belonging to the Adityas, and the pressing-stones being after (the manner of!) the Adityas, he thus makes them delight in their own share—they open the doors.
2Perhaps the next paragraph has to IV KANDA, 3 ADHYAYA, 5 BRAHMANA, 21. 355 19. After drawing the king (Soma)—the third press-feast belonging to the Adityas, and the pressing-stones being after (the manner of!) the Adityas, he thus makes them delight in their own share—they open the doors. 20. He now walks out, covering (the cup with his hand or the sthalt); for they (the Adityas) were afraid of the Rakshas. He then says (to the Maitravaruva), ‘Recite (the invitatory prayer) to the Adityas!’ If he likes, he may now enumerate (their qualities); but let him rather enumerate them, after he has called for the Srausha¢,—‘ Prompt (the Hot7z to recite the offering prayer) to the Adityas, the beloved, rite-loving, law-loving lords of the great abode, the rulers of the wide air.’ He offers, as the Vasha¢ is pronounced. He (the Hotvz) pronounces no Anuvasha/é, lest he should consign the cattle to the fire. The remains (of juice in the sthalt and graha) he (the Adhvaryu) hands to the Pratiprasthatrz. —_ 21. Thereupon he again enters (the Havirdh4na) and draws the Agrayawa graha*, They spread (over the Pdtabhzzt) a straining-cloth with the fringe towards the north. The Adhvaryu pours out (the be taken along with this: ‘Or into a Aamasa, after drawing Soma (into it).’ According to K4ty., the stones are taken out again immediately and laid down in their places on the pressing-skin. 1 See p. 353, note 2. Sdyava again takes ‘anu’ in the sense of ‘after, behind,’ apparently on the ground that, in the above formulas, the stones are mentioned after the Aditya. The text of my manuscript is, however, rather corrupt at this place. * The Agrayaza Soma was originally drawn into the Agrayana bowl (sthali) and deposited in its place in the centre of the khara. It is now poured from the bowl into some other vessel, and thence through a straining-cloth into the Pftabhrit. Aa2 356 SATAPATHA-BRAH MANA. juice) of the Agrayama; the Pratiprasth4tr7 holds out (and pours in) the two residues (of the Aditya graha’); the Unnetv? adds thereto (some juice from the Adhavantya) by means of a Zamasa cup or a dipping-vessel (udazi£ana). 22. Thus he draws the Agrayama graha from four streams; for the evening pressing belongs to the Adityas, and cows are after the manner of the Adityas; whence this milk of cows is of a fourfold nature: therefore he draws the Agrayama from four streams’. 23. And as to why the Pratiprasth4tvz holds out the two residues: this is (the remains of) the Aditya libation, and for the Aditya libation he pronounces no Anuvashaf; and from that (Agrayaza graha) he intends to draw the Savitra graha,—so that the Anuvasha¢ is performed for it by means of the SAvitra graha.
324. And again why the Pratiprasthatrz holds out the two residues. Previous to that mixed (pressfeast), previous to the evening feast, they have offered that (unmixed or special) libation to those (Adityas); but this libation is taken for the evening feast: thereby the Adityas take part in the evening feast, and thus they are not excluded from the sacrifice. This is why the Pratiprasthatvz holds out the two residues’. 1 «Sampraskandayati pratiprasthatadityapatrayoh samsravam,’ KA4nva text. * In drawing the Agrayana cup he uses the same formula as at the morning pressing. See IV, 2, 2, 9 seq. * In the actual performance of the Agnish/oma the drawing of the Agrayana graha is followed by sour milk being poured to the Soma-juice left in the Patabhrzt, the compound being consecrated by the lady eying it with an appropriate mantra. Thereupon they leave the Havirdh4na shed in the same way as at the morning feast IV KANDA, 4 ADHYAYA, I BRAHMANA, 2. 357 Fourtu ApuyAya. First BRAHMANA. 1. Savitvz, forsooth, is his! mind: therefore he draws the SA4vitra cup. And, forsooth, Savitr7 is his breath (vital air);—when he draws the Upamsu cup, then he puts into him that vital air in front ; and when he draws the SAvitra cup, then he puts into him that vital air behind: thus those two vital airs on both sides are beneficial (or, put into him), both that which is above and that which is below. 2. And the sacrifice, forsooth, is the seasons, the year. There, at the morning feast, they are overtly attended to, in that he draws the cups for the seasons ; and at the midday feast they are covertly attended to, in that he takes the Marutvattya libations by means of the two Xitu vessels. Now here (at the evening feast) they neither draw any libation expressly for the seasons, nor is any libation taken with the two itu vessels. (see IV, 2, 5,1, with notes), and perform the Viprud-homas, fol~ lowed by the Sarpaza and chanting of the Arbhava, or Trittya, PavamA4na stotra (for an account of which, see p. 314, note 2). Then follow the oblations from the victim (which has been cooking since the morning, see IV, 2, 5,13), &c., up to the eating of the pasvida (see III, 8, 3, 4 seq.); and offering of the four Savanfyapurod4sas, likewise up to the eating of the ida. Previous to the eating, small pieces of rice-cake are thrown into the amasa cups, as an oblation to the sacrificer’s deceased ancestors, with naming of his father, grandfather, and great-grandfather (as at the Pindapitriyagiia, II, 4, 2,19 seq.); whereupon the pieces are eaten along with the ida. 1 Viz. that of Yagiia, the sacrificial man, representing the sacrificer himself, with a view to the preparation of a new body in a future existence. 2 See IV, 3, 3, 12. 358 SATAPATHA-BRAHMANA, 3. But Savitrz, forsooth, is he that burns yonder (the sun); and he indeed is all the seasons: thus the seasons, the year, are overtly attended to at the evening feast,—for this reason he draws the SAvitra cup.
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.
114. And the reason why he takes sour milk is that those remains (of Soma) poured together are the leavings of offerings, and insufficient for an oblation : he now increases those (remains), and thus they * The Rig-veda reads ‘havanam’ (invocation) instead of ‘savanam.” * Or, cattle correspond, stand in relation, to the Adityas. SAyasa takes ‘anu’ in the sense of ‘behind, inferior to, dependent upon (hina).’ The cattle are inferior to, or dependent upon, the Adityas, inasmuch as the Adityas give the rain on which the cattle depend for their food. * Or, ‘put’ (hita) into them. (26] Aa 354 SATAPATHA-BRAHMANA. become sufficient for an oblation. This is why he takes sour milk. 15. He takes it with (V4g. S. VIII, 4; Rig-veda I, 107, 1), ‘The sacrifice draweth nigh to the glory of the gods: be ye merciful, O Adityas! Let your favour incline unto us, that it may set us free from all trouble!—Thee to the Adityas!’ 16. He mixes it by means of the Up4msusavana stone’. For, indeed, that Aditya Vivasvat (the sun) is really the same as the Up4msusavana, and this is the Aditya libation: thus he makes him delight in his own share. 17. He touches it neither with the fringe nor with (the woven part of) the straining-cloth; for those two pressings, the morning pressing and midday pressing, forsooth are rich in pure Soma, rich in juice, but this, the third pressing, is emptied of its pure Soma. Now, in that he does not touch it either with the fringe or the straining-cloth, thereby that third pressing of his also becomes rich in pure Soma and juice : therefore he touches it neither with the fringe nor with the straining-cloth. 18. He mixes it with (V4g. S. VIII, 5), ‘O Aditya Vivasvat, this is thy draught of Soma: feast thouuponit!’ Thereupon he hands the Upamsusavana to the Unnetvz. Then he says to the Unnetvz, ‘ Drop in the pressing-stones!’ He drops them either into the Adhavantya or into a cup?. 1 See p. 238, note 2. * «Into the Adhavantya trough or into a Aamasa cup containing Soma-juice,’ Katy. X, 4,10; ‘into the Adhavantya or the Sambharamf,’ Kanva text; ‘into the Adhavantya or into the graha,’ Weber, Ind. Stud. X, 386. Perhaps the next paragraph has to IV KANDA, 3 ADHYAYA, 5 BRAHMANA, 21. 355 19. After drawing the king (Soma)—the third press-feast belonging to the Adityas, and the pressing-stones being after (the manner of!) the Adityas, he thus makes them delight in their own share—they open the doors.
2Perhaps the next paragraph has to IV KANDA, 3 ADHYAYA, 5 BRAHMANA, 21. 355 19. After drawing the king (Soma)—the third press-feast belonging to the Adityas, and the pressing-stones being after (the manner of!) the Adityas, he thus makes them delight in their own share—they open the doors. 20. He now walks out, covering (the cup with his hand or the sthalt); for they (the Adityas) were afraid of the Rakshas. He then says (to the Maitravaruva), ‘Recite (the invitatory prayer) to the Adityas!’ If he likes, he may now enumerate (their qualities); but let him rather enumerate them, after he has called for the Srausha¢,—‘ Prompt (the Hot7z to recite the offering prayer) to the Adityas, the beloved, rite-loving, law-loving lords of the great abode, the rulers of the wide air.’ He offers, as the Vasha¢ is pronounced. He (the Hotvz) pronounces no Anuvasha/é, lest he should consign the cattle to the fire. The remains (of juice in the sthalt and graha) he (the Adhvaryu) hands to the Pratiprasthatrz. —_ 21. Thereupon he again enters (the Havirdh4na) and draws the Agrayawa graha*, They spread (over the Pdtabhzzt) a straining-cloth with the fringe towards the north. The Adhvaryu pours out (the be taken along with this: ‘Or into a Aamasa, after drawing Soma (into it).’ According to K4ty., the stones are taken out again immediately and laid down in their places on the pressing-skin. 1 See p. 353, note 2. Sdyava again takes ‘anu’ in the sense of ‘after, behind,’ apparently on the ground that, in the above formulas, the stones are mentioned after the Aditya. The text of my manuscript is, however, rather corrupt at this place. * The Agrayaza Soma was originally drawn into the Agrayana bowl (sthali) and deposited in its place in the centre of the khara. It is now poured from the bowl into some other vessel, and thence through a straining-cloth into the Pftabhrit. Aa2 356 SATAPATHA-BRAH MANA. juice) of the Agrayama; the Pratiprasth4tr7 holds out (and pours in) the two residues (of the Aditya graha’); the Unnetv? adds thereto (some juice from the Adhavantya) by means of a Zamasa cup or a dipping-vessel (udazi£ana). 22. Thus he draws the Agrayama graha from four streams; for the evening pressing belongs to the Adityas, and cows are after the manner of the Adityas; whence this milk of cows is of a fourfold nature: therefore he draws the Agrayama from four streams’. 23. And as to why the Pratiprasth4tvz holds out the two residues: this is (the remains of) the Aditya libation, and for the Aditya libation he pronounces no Anuvashaf; and from that (Agrayaza graha) he intends to draw the Savitra graha,—so that the Anuvasha¢ is performed for it by means of the SAvitra graha.
324. And again why the Pratiprasthatrz holds out the two residues. Previous to that mixed (pressfeast), previous to the evening feast, they have offered that (unmixed or special) libation to those (Adityas); but this libation is taken for the evening feast: thereby the Adityas take part in the evening feast, and thus they are not excluded from the sacrifice. This is why the Pratiprasthatvz holds out the two residues’. 1 «Sampraskandayati pratiprasthatadityapatrayoh samsravam,’ KA4nva text. * In drawing the Agrayana cup he uses the same formula as at the morning pressing. See IV, 2, 2, 9 seq. * In the actual performance of the Agnish/oma the drawing of the Agrayana graha is followed by sour milk being poured to the Soma-juice left in the Patabhrzt, the compound being consecrated by the lady eying it with an appropriate mantra. Thereupon they leave the Havirdh4na shed in the same way as at the morning feast IV KANDA, 4 ADHYAYA, I BRAHMANA, 2. 357 Fourtu ApuyAya. First BRAHMANA. 1. Savitvz, forsooth, is his! mind: therefore he draws the SA4vitra cup. And, forsooth, Savitr7 is his breath (vital air);—when he draws the Upamsu cup, then he puts into him that vital air in front ; and when he draws the SAvitra cup, then he puts into him that vital air behind: thus those two vital airs on both sides are beneficial (or, put into him), both that which is above and that which is below. 2. And the sacrifice, forsooth, is the seasons, the year. There, at the morning feast, they are overtly attended to, in that he draws the cups for the seasons ; and at the midday feast they are covertly attended to, in that he takes the Marutvattya libations by means of the two Xitu vessels. Now here (at the evening feast) they neither draw any libation expressly for the seasons, nor is any libation taken with the two itu vessels. (see IV, 2, 5,1, with notes), and perform the Viprud-homas, fol~ lowed by the Sarpaza and chanting of the Arbhava, or Trittya, PavamA4na stotra (for an account of which, see p. 314, note 2). Then follow the oblations from the victim (which has been cooking since the morning, see IV, 2, 5,13), &c., up to the eating of the pasvida (see III, 8, 3, 4 seq.); and offering of the four Savanfyapurod4sas, likewise up to the eating of the ida. Previous to the eating, small pieces of rice-cake are thrown into the amasa cups, as an oblation to the sacrificer’s deceased ancestors, with naming of his father, grandfather, and great-grandfather (as at the Pindapitriyagiia, II, 4, 2,19 seq.); whereupon the pieces are eaten along with the ida. 1 Viz. that of Yagiia, the sacrificial man, representing the sacrificer himself, with a view to the preparation of a new body in a future existence. 2 See IV, 3, 3, 12. 358 SATAPATHA-BRAHMANA, 3. But Savitrz, forsooth, is he that burns yonder (the sun); and he indeed is all the seasons: thus the seasons, the year, are overtly attended to at the evening feast,—for this reason he draws the SAvitra cup.
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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