Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1I think the commentator is wrong here, and that section should rather be recited as it is given in the text without any alteration; it forms a regular Sloka. AgneA instead of Agne is a conjecture of Prof. Stenzler, which I have adopted. 2. According to Naraya#a the hymn should be recited including the Khila, so that ten pieces of wood are offered. Now the hymn consists of nine verses; there can be, consequently, only one Khailika verse, which is, I suppose, the first verse of the Khila quoted above, p. 228. 3. Bya Madhuparka (N4rayana). Compare Sankhayana-Grihya III, 1, 14. 230 AsVALAYANA-GRIHYA-SOTRA. 4. When, after having finished his (task of) learning, he has offered something to the teacher, or has received his permission, he should take a bath (which signifies the end of his studentship). 5. He (i.e. the Snataka) has to keep the following observances : 6. He shall not bathe in the night-time; he shall not bathe naked; he shall not lie down naked; he shall not look at a naked woman, except during sexual intercourse; he shall not run during rain; he shall not climb up a tree; he shall not descend into a well; he shall not swim with his arms across a river; he shall not expose himself to danger. ‘A great being indeed is a Snataka’—thus it is understood (in the Sruti). Kawo1kA 10. 1. If (a student) wishes to be dismissed (by his teacher), he should pronounce before the teacher his (i.e. the teacher’s ?) name— 2. (And should say), ‘Here we will dwell, sir!’ 4. Nardyaza: He makes an offer to the teacher in the words, ‘What is it that I can do for you?’—and what the teacher tells him, that he does. 10, 1. Narayama refers this rule to a student who has performed the Sam4vartana and wishes to go away. But a comparison of Sankhayana-Grthya II, 18 seems to make it probable that the ceremony described here has nothing to do with the Samévartana. I take this chapter rather for a description of the way in which a student has to take leave of his teacher when setting out on a journey. ‘His name’ is the teacher’s name, according to Narayaaa. 2, Saénkhayana II, 18, 1. Sankh. has aham vatsydmi; Asvalayana, idam vatsyamah. The commentator says that instead of idam the Asrama is to be named which the student chooses to enter upon, forinstance, ‘Devadatta, we will dwellinthe state of a householder, sir!’ III ADHYAYA, [0 KANDIKA, II. 231 3. With a loud voice (the words) following after the name. 4. ‘Of inhalation and exhalation ’—(this he says) with a low voice, 5. And (the verse), ‘Come hither, Indra, with thy lovely-sounding, fallow-coloured (horses)’ (Rig-veda ITI, 45, 1). 6. The aged one then murmurs, ‘To inhalation and exhalation I, the wide-extended one, resort with thee. To the god Savitvz I give thee in charge’— and the verse. 7. When he has finished (that verse), and has muttered, ‘Om! Forwards! Blessing!’ and recited (over the student the hymn), ‘ The great bliss of the three’ (Rig-veda X, 185)—(he should dismiss him).
2To the god Savitvz I give thee in charge’— and the verse. 7. When he has finished (that verse), and has muttered, ‘Om! Forwards! Blessing!’ and recited (over the student the hymn), ‘ The great bliss of the three’ (Rig-veda X, 185)—(he should dismiss him). 8. On one who has been thus dismissed, danger comes from no side—thus it is understood (in the Sruti). 9. If he hears (on his way) disagreeable voices of birds, he should murmur the two hymns, ‘ Shrieking, manifesting his being’ (Rig-veda II, 42, 43), and (the verse), ‘The divine voice have the gods created’ (Rig-veda VIII, 100, 11). 10. ‘ Praise the renowned youth who sits on the war-chariot’ (Rig-veda II, 33, 11)—if (he hears disagreeable voices) of deer. 11. From the direction, or from the (being) from which he expects danger, towards that direction he should throw a fire-brand, burning on both sides, or having twirled about a churning-stick from the right to the left, with (the words), ‘Safety be to me, Mitra 6. I have translated, as Prof. Stenzler has also done, according to Sankhfyana’s reading, prandpana ... tvayad. The ‘aged one’ is the teacher, the verse that which is quoted in Sfttra 5. 232 AsVALAYANA-GRIHYA-SOTRA. and Varuza; encounter the foes and burn them up with your flame. May they find none who knows them and no support; divided by discord may they go to death '"— 12. He turns the churning-stick downwards with (the verse), ‘The combined wealth of both, heaped together’ (Rig-veda X, 84, 7). Kawo1kA 11. 1. If unknown danger from all sides (menaces him), he should sacrifice eight Agya oblations with (the formulas), ‘ Pvithivi (the earth) is covered ; she is covered by Agni. By her, the covered one, the covering one, I ward off the danger of which I am in fear. Sv4ha! ‘Antariksha (the air) is covered; it is covered by Vayu. By it, the covered, the covering, I ward off the danger of which I am in fear. Sv4ha! ‘Dyaus (the heaven) is covered ; she is covered by Aditya (the sun). By her, &c. ‘The quarters (of the horizon) are covered; they are covered by Aandramas (the moon). By them, &c. ‘The waters are covered; they are covered by Varuza. By them, &c. ‘The creatures are covered; they are covered by Prama (the breath). By them, &c. ‘The Vedas are covered ; they are covered by the metres. By them, &c. ‘All is covered; it is covered by Brahman. By it, &c. Svaha!’ 11, 1. ‘Covered’ is vrzta; ‘I ward off’ is the causative of the same verb, varaye. III ADHYAYA, I2 KANDIKA, 10. 233 2. Then, stationing himself towards the northeast, he murmurs the Svasti-Atreya and, ‘Of what we are in fear, Indra’ (Rig-veda VIII, 61, 13 seqq.), down to the end of the hymn. KanpikA 12. 1. When a battle is beginning, (the royal Purohita) should cause the king to put on his armour (in the following way). 2. (The Purohita) stations himself to the west of (the king’s) chariot with (the hymn ?), ‘I have brought thee hither ; be here’ (Rig-veda X, 173).
3KanpikA 12. 1. When a battle is beginning, (the royal Purohita) should cause the king to put on his armour (in the following way). 2. (The Purohita) stations himself to the west of (the king’s) chariot with (the hymn ?), ‘I have brought thee hither ; be here’ (Rig-veda X, 173). 3. With (the verse), ‘Like a thunder-cloud is his countenance’ (Rig-veda VI, 75, 1), he should tender the coat of mail to him. 4. With the following (verse) the bow. 5. The following (verse) he should cause him to repeat. 6. He should murmur himself the fourth. 7. With the fifth he should tender the quiver to him. 8. When (the king) starts, the sixth. 9. The seventh (he recites) over the horses. 10. The eighth he should cause (the king) to repeat while looking at the arrows ; 2. The Svasti-Atreya is the part of the hymn V, 51, which very frequently contains the word svasti (vv. 11-15). There is a Khila appended to that hymn (Rig-veda, vol. iii, p. 30), which, according to Narayana, is also to be murmured on this occasion. 12, 2. According to N&rdyava the Pratika here signifies not the verse, but the whole hymn, though a whole PAda is given (comp. Srauta-sfitra I, 1, 17). 234 ASVALAYANA-GRIHYA-SOTRA. 11, (The verse), ‘Like a serpent it encircles the arm with its windings’ (Rig-veda VI, 75, 14), when he ties to his arm the leather (by which the arm is protected against the bow-string). 12. He then mounts up to (the king on his chariot), while he is driving, and causes him to repeat the Abhivarta hymn (Rig-veda X, 174) and the two verses, ‘He who, Mitra and Varuza’ (Rigveda VIII, ror, 3 seq.). 13. He then should look at him with the Apratiratha, Sasa, and Sauparva hymns. 14. The Sauparwza is (the hymn), ‘May the streams of honey and ghee flow forwards.’ 15. (The king) should drive (in his chariot successively) to all quarters (of the horizon). 16. He should commence the battle in the line of battle invented by Aditya or by Usanas. 17. He should touch the drum with the three verses, ‘ Fill earth and heaven with thy roar’ (Rigveda VI, 47, 29 seqq.). 18. With (the verse), ‘Shot off fall down’ (Rigveda VI, 75, 16), he should shoot off the arrows. 12. The Abhivarta hymn begins with the word abhivartena, and is ascribed to Abhivarta Angirasa. 13. The Apratiratha hymn is Rig-veda X, 103 (ascribed to Apratiratha Aindra); the Sdsa, X, 152 (ascribed to Sasa Bharadvaga). On the Sauparva, see the next Sftra. 14. This hymn is not found in any Vedic Samhita, as far as I know, nor does it occur in the Suparzddhydya. I have followed Prof. Stenzler’s conjecture pra dhard yantu instead of pradharayantu, which is confirmed by SAyaza’s note on Aitareya Brahmava VI, 25, 7; VIII, 10, 4 (pp. 365, 399, ed. Aufrecht). 17, 18. According to Narayana the subject is the king. III ADHYAYA, I2 KANDIKA, 20. 235 19. ‘ Where the arrows fly’ (I. 1. v. 17)—this (verse) he should murmur while they are fighting.
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.
1I think the commentator is wrong here, and that section should rather be recited as it is given in the text without any alteration; it forms a regular Sloka. AgneA instead of Agne is a conjecture of Prof. Stenzler, which I have adopted. 2. According to Naraya#a the hymn should be recited including the Khila, so that ten pieces of wood are offered. Now the hymn consists of nine verses; there can be, consequently, only one Khailika verse, which is, I suppose, the first verse of the Khila quoted above, p. 228. 3. Bya Madhuparka (N4rayana). Compare Sankhayana-Grihya III, 1, 14. 230 AsVALAYANA-GRIHYA-SOTRA. 4. When, after having finished his (task of) learning, he has offered something to the teacher, or has received his permission, he should take a bath (which signifies the end of his studentship). 5. He (i.e. the Snataka) has to keep the following observances : 6. He shall not bathe in the night-time; he shall not bathe naked; he shall not lie down naked; he shall not look at a naked woman, except during sexual intercourse; he shall not run during rain; he shall not climb up a tree; he shall not descend into a well; he shall not swim with his arms across a river; he shall not expose himself to danger. ‘A great being indeed is a Snataka’—thus it is understood (in the Sruti). Kawo1kA 10. 1. If (a student) wishes to be dismissed (by his teacher), he should pronounce before the teacher his (i.e. the teacher’s ?) name— 2. (And should say), ‘Here we will dwell, sir!’ 4. Nardyaza: He makes an offer to the teacher in the words, ‘What is it that I can do for you?’—and what the teacher tells him, that he does. 10, 1. Narayama refers this rule to a student who has performed the Sam4vartana and wishes to go away. But a comparison of Sankhayana-Grthya II, 18 seems to make it probable that the ceremony described here has nothing to do with the Samévartana. I take this chapter rather for a description of the way in which a student has to take leave of his teacher when setting out on a journey. ‘His name’ is the teacher’s name, according to Narayaaa. 2, Saénkhayana II, 18, 1. Sankh. has aham vatsydmi; Asvalayana, idam vatsyamah. The commentator says that instead of idam the Asrama is to be named which the student chooses to enter upon, forinstance, ‘Devadatta, we will dwellinthe state of a householder, sir!’ III ADHYAYA, [0 KANDIKA, II. 231 3. With a loud voice (the words) following after the name. 4. ‘Of inhalation and exhalation ’—(this he says) with a low voice, 5. And (the verse), ‘Come hither, Indra, with thy lovely-sounding, fallow-coloured (horses)’ (Rig-veda ITI, 45, 1). 6. The aged one then murmurs, ‘To inhalation and exhalation I, the wide-extended one, resort with thee. To the god Savitvz I give thee in charge’— and the verse. 7. When he has finished (that verse), and has muttered, ‘Om! Forwards! Blessing!’ and recited (over the student the hymn), ‘ The great bliss of the three’ (Rig-veda X, 185)—(he should dismiss him).
2To the god Savitvz I give thee in charge’— and the verse. 7. When he has finished (that verse), and has muttered, ‘Om! Forwards! Blessing!’ and recited (over the student the hymn), ‘ The great bliss of the three’ (Rig-veda X, 185)—(he should dismiss him). 8. On one who has been thus dismissed, danger comes from no side—thus it is understood (in the Sruti). 9. If he hears (on his way) disagreeable voices of birds, he should murmur the two hymns, ‘ Shrieking, manifesting his being’ (Rig-veda II, 42, 43), and (the verse), ‘The divine voice have the gods created’ (Rig-veda VIII, 100, 11). 10. ‘ Praise the renowned youth who sits on the war-chariot’ (Rig-veda II, 33, 11)—if (he hears disagreeable voices) of deer. 11. From the direction, or from the (being) from which he expects danger, towards that direction he should throw a fire-brand, burning on both sides, or having twirled about a churning-stick from the right to the left, with (the words), ‘Safety be to me, Mitra 6. I have translated, as Prof. Stenzler has also done, according to Sankhfyana’s reading, prandpana ... tvayad. The ‘aged one’ is the teacher, the verse that which is quoted in Sfttra 5. 232 AsVALAYANA-GRIHYA-SOTRA. and Varuza; encounter the foes and burn them up with your flame. May they find none who knows them and no support; divided by discord may they go to death '"— 12. He turns the churning-stick downwards with (the verse), ‘The combined wealth of both, heaped together’ (Rig-veda X, 84, 7). Kawo1kA 11. 1. If unknown danger from all sides (menaces him), he should sacrifice eight Agya oblations with (the formulas), ‘ Pvithivi (the earth) is covered ; she is covered by Agni. By her, the covered one, the covering one, I ward off the danger of which I am in fear. Sv4ha! ‘Antariksha (the air) is covered; it is covered by Vayu. By it, the covered, the covering, I ward off the danger of which I am in fear. Sv4ha! ‘Dyaus (the heaven) is covered ; she is covered by Aditya (the sun). By her, &c. ‘The quarters (of the horizon) are covered; they are covered by Aandramas (the moon). By them, &c. ‘The waters are covered; they are covered by Varuza. By them, &c. ‘The creatures are covered; they are covered by Prama (the breath). By them, &c. ‘The Vedas are covered ; they are covered by the metres. By them, &c. ‘All is covered; it is covered by Brahman. By it, &c. Svaha!’ 11, 1. ‘Covered’ is vrzta; ‘I ward off’ is the causative of the same verb, varaye. III ADHYAYA, I2 KANDIKA, 10. 233 2. Then, stationing himself towards the northeast, he murmurs the Svasti-Atreya and, ‘Of what we are in fear, Indra’ (Rig-veda VIII, 61, 13 seqq.), down to the end of the hymn. KanpikA 12. 1. When a battle is beginning, (the royal Purohita) should cause the king to put on his armour (in the following way). 2. (The Purohita) stations himself to the west of (the king’s) chariot with (the hymn ?), ‘I have brought thee hither ; be here’ (Rig-veda X, 173).
3KanpikA 12. 1. When a battle is beginning, (the royal Purohita) should cause the king to put on his armour (in the following way). 2. (The Purohita) stations himself to the west of (the king’s) chariot with (the hymn ?), ‘I have brought thee hither ; be here’ (Rig-veda X, 173). 3. With (the verse), ‘Like a thunder-cloud is his countenance’ (Rig-veda VI, 75, 1), he should tender the coat of mail to him. 4. With the following (verse) the bow. 5. The following (verse) he should cause him to repeat. 6. He should murmur himself the fourth. 7. With the fifth he should tender the quiver to him. 8. When (the king) starts, the sixth. 9. The seventh (he recites) over the horses. 10. The eighth he should cause (the king) to repeat while looking at the arrows ; 2. The Svasti-Atreya is the part of the hymn V, 51, which very frequently contains the word svasti (vv. 11-15). There is a Khila appended to that hymn (Rig-veda, vol. iii, p. 30), which, according to Narayana, is also to be murmured on this occasion. 12, 2. According to N&rdyava the Pratika here signifies not the verse, but the whole hymn, though a whole PAda is given (comp. Srauta-sfitra I, 1, 17). 234 ASVALAYANA-GRIHYA-SOTRA. 11, (The verse), ‘Like a serpent it encircles the arm with its windings’ (Rig-veda VI, 75, 14), when he ties to his arm the leather (by which the arm is protected against the bow-string). 12. He then mounts up to (the king on his chariot), while he is driving, and causes him to repeat the Abhivarta hymn (Rig-veda X, 174) and the two verses, ‘He who, Mitra and Varuza’ (Rigveda VIII, ror, 3 seq.). 13. He then should look at him with the Apratiratha, Sasa, and Sauparva hymns. 14. The Sauparwza is (the hymn), ‘May the streams of honey and ghee flow forwards.’ 15. (The king) should drive (in his chariot successively) to all quarters (of the horizon). 16. He should commence the battle in the line of battle invented by Aditya or by Usanas. 17. He should touch the drum with the three verses, ‘ Fill earth and heaven with thy roar’ (Rigveda VI, 47, 29 seqq.). 18. With (the verse), ‘Shot off fall down’ (Rigveda VI, 75, 16), he should shoot off the arrows. 12. The Abhivarta hymn begins with the word abhivartena, and is ascribed to Abhivarta Angirasa. 13. The Apratiratha hymn is Rig-veda X, 103 (ascribed to Apratiratha Aindra); the Sdsa, X, 152 (ascribed to Sasa Bharadvaga). On the Sauparva, see the next Sftra. 14. This hymn is not found in any Vedic Samhita, as far as I know, nor does it occur in the Suparzddhydya. I have followed Prof. Stenzler’s conjecture pra dhard yantu instead of pradharayantu, which is confirmed by SAyaza’s note on Aitareya Brahmava VI, 25, 7; VIII, 10, 4 (pp. 365, 399, ed. Aufrecht). 17, 18. According to Narayana the subject is the king. III ADHYAYA, I2 KANDIKA, 20. 235 19. ‘ Where the arrows fly’ (I. 1. v. 17)—this (verse) he should murmur while they are fighting.
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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