Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1Comp. below, chap. 22, 8, where the use of a porcupine’s quill is prescribed at the stmantonnayana ceremony; and see chap. 22, 10. (29) D 34 sANKHAYANA-GRIHYA-SOTRA. 10. At the wedding one cow, when the Argha ceremony has been performed; in the house one cow: these are the two Madhuparka cows. 11. (The bridegroom) makes the girl sit down behind the fire, and while she takes hold of him he makes three oblations with the Mahavy4hzttis. 1o. As to the meaning of arhayitv4 I differ from the opinion of NarAyama (see his note on p. 127 of the German edition), who takes gam as the object of this verb (gam arhayitva pfgayitva m4t& rudrazim ity rrkam gapitva [comp. Paraskara I, 3, 27]). The real meaning of arhayati is, to perform the Argha ceremony for a guest. Evidently in this Sftra two different occasions are stated on which the Argha reception, eventually with the killing of a cow, should be performed; firstly, the bridegroom should be so received in the house of the bride’s father; secondly, when the newlymarried people have arrived at their own house, an Argha reception should there be offered to them, perhaps, as the commentaries state, by the A4arya. 11. According to Narayana it is the A#drya who performs the rite prescribed in this Sfitra; RAmaéandra, on the contrary, refers it to the bridegroom, which seems to me right. Comp. Gobhila II, r. In Sankhayana’s description of the wedding ceremonies the point at which the bride passes over from the paternal power into that of her new husband is not expressly indicated. P&raskara (I, 4,15) clearly indicates it (pitra prattém Adaya), and in the Parisish/a of the Asvalayana-Grthya this act of handing over the girl is treated of in detail (I, 22). On this depends the description in the Prayogaratna, fol. 69; comp. also Colebrooke’s Miscell. Essays, I, 210. The Paddhati of Ramafandra does not fail to mention the kanydprad4na, but I do not think that the succession of the different rites is stated there correctly. According to the Paddhati the bridegroom goes to the house of the girl’s father, and there, after the madhuparka has been offered, the bride is given over to him; he then (labdhavadhfikaf) goes (chap. 12, 1), accompanied by young women, to the kautuk4g4ra, where the ceremonies described in chap. 12, 3 seq. take place. Pdraskara, on the contrary, describes the handing over of the garments, the anointing, &c., as preceding the giving over of the girl, and indeed it is scarcely possible to see in the acts of dressing, adorning the girl, &c., in which both the bridegroom and her relations -TADHYAYA, 13 KHANDA, 4. 35 12. A fourth (oblation) with (the three Mahavyéhrttis) together is to be understood from this rule. 13. In this way, where no express rule is stated, in all sacrifices that procure happiness, one is to sacrifice before and afterwards with these same (Mahavy4hr‘tis). Kuawpa 13.
235 12. A fourth (oblation) with (the three Mahavyéhrttis) together is to be understood from this rule. 13. In this way, where no express rule is stated, in all sacrifices that procure happiness, one is to sacrifice before and afterwards with these same (Mahavy4hr‘tis). Kuawpa 13. 1. ‘Be queen with thy father-in-law, with this verse (Rig-veda X, 85, 46) her father or brother sacrifices with a sword’s point on her head, or with the Sruva, standing while she is sitting, with his face turned to the west, while her face is turned to the east. 2. ‘I seize thy hand for the sake of happiness’ (Rig-veda X, 85, 36), with these words (the bridegroom) seizes with his right hand her right hand with the thumb, both hands being turned with the palms upwards, he standing while she is sitting, with his face turned to the west, while her face is turned to the east. 3- And when he has murmured the following five verses, 4. (He continues thus,) ‘This am I, that art thou; take part, anything but preparatory performances that precede the decisive moment. The sacrifice, on the contrary, which the bridegroom performs, according to chap. 12, 11, in common with his bride, seems to presuppose that he has already received her from her father; and the ceremonies described in chap. 13, the p4nigrahama, the pronouncing of the Mantra, chap. 13, 4, which reminds one of the Roman formula ubi tu Gaius, the seven steps—all that should be understood not as intended to establish the power of the husband over his wife, but as presupposing that power and showing an exercise of it. 13, 4. N4r&yaza states that here four Brahmanas should repeat D2 36 SANKHAYANA-GRIHYA-SOTRA. that art thou, this am I; the heaven I, the earth thou; the Azé art thou, the Saman I. So be thou devoted to me. ‘Well! Let us here marry. Let us beget offspring. Let us acquire many sons who may reach old age.’ 5. (The Af&rya) fills, with the words bhdr bhuvad sva&, a new water-pot, 6. Throws into it (branches) with milky sap and leaves, of a tree the name of which is masculine, together with Kusa grass, 7. And gold, according to some (teachers), 8. And hands it over to a student who observes silence. 9. They should walk round this Stheya water, (placed) to the north-east, so that they turn their right sides towards it. the Sfrya hymn (Rig-veda X, 85) to the bride. That, according to Sankhayana, that hymn is recited at the wedding, is clear from chap. 14, 12.
39. They should walk round this Stheya water, (placed) to the north-east, so that they turn their right sides towards it. the Sfrya hymn (Rig-veda X, 85) to the bride. That, according to Sankhayana, that hymn is recited at the wedding, is clear from chap. 14, 12. 6. Sakshfrant sapalas4nt sakusan. Nardyana’s commentary divides sa kusfn, and refers sa to the 44arya. But this sa would be superfluous, and the substantive to which sakshiran and sapalasdn are to be referred, is, as both the nature of the case and the corresponding passages show, sakhan and not kus4n. Comp. the Srauta-sfitra IV,17,5: palasasikham sapalasam nikhaya, and a passage concerning the very rite here described, Asvalayana-parisish/a I, 24: audumbaryarddhaya& (read, ardraya?) sdkhaya sapaldsaya sahirazyapavitray& sadfirvapavitrayad. The MS. of the Sdmbavya-sfitra has sakshfran palasan sakusan. 9. ‘The Stheya water has to be so placed that when the bride and the bridegroom walk (their seven steps, see chap. 14, 5 seq.), their right sides are turned towards it’ Ndrdyaxa. Comp., regarding the Sthey4 water and its bearer, the Grzhya-samgrahaparisish/a II, 26. 30. 35. I ADHYAYA, 14 KHANDA, 2. 37 10. And after (the Aéarya) has placed a stone towards the northern direction, 11. (The bridegroom) makes her rise with the words, ‘Come, thou joyful one,’ 12. And makes her tread with the tip of her right foot on the stone, with the words, ‘Come, tread on the stone; like a stone be firm. Tread the foes down; overcome the enemies.’ 13. He then leads her round the fire so that their right sides are turned to it, 14. And gives her a second garment with the same text (chap. 12, § 3). 15. Her father or brother pours out of a basket fried grain mixed with Sami leaves into her joined ‘hands. 16. The spreading under, the sprinkling over, and the second sprinkling over (are done) with Agya. 17. She sacrifices those (fried grains). Kuaypa 14, 1. ‘This woman, strewing grains, prays thus, “May I bring bliss to my relations; may my husband live long. Svaha!”’—while the husband murmurs (this) text, she sacrifices standing. 2. (All the ceremonies,) beginning from the tread- 14. I believe that the words forming this Sftra, tA% guhoti, are taken from the same lost old Grzhya text which Sankh4yana has followed word for word also in I, 5, 1-5 and elsewhere. This is made probable by the comparison of P&raskara I, 6, 2. The author of our text, while literally adopting the words of his original, has not quite succeeded in welding them together with his own statements; thus the sacrifice of grains is treated of in this Sftra and in the first Sfttra of the next chapter, as if there were two different acts, while indeed it is one and the same. 14, 2. The treading on the stone is prescribed in chap. 13, 12. 38 SANKHAYANA-GRIHYA-SOTRA. ing upon the stone, (are repeated) in the same way for a second time, 3. And in the same way a third time. 4. Silently, if they like, a fourth time.
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.
1Comp. below, chap. 22, 8, where the use of a porcupine’s quill is prescribed at the stmantonnayana ceremony; and see chap. 22, 10. (29) D 34 sANKHAYANA-GRIHYA-SOTRA. 10. At the wedding one cow, when the Argha ceremony has been performed; in the house one cow: these are the two Madhuparka cows. 11. (The bridegroom) makes the girl sit down behind the fire, and while she takes hold of him he makes three oblations with the Mahavy4hzttis. 1o. As to the meaning of arhayitv4 I differ from the opinion of NarAyama (see his note on p. 127 of the German edition), who takes gam as the object of this verb (gam arhayitva pfgayitva m4t& rudrazim ity rrkam gapitva [comp. Paraskara I, 3, 27]). The real meaning of arhayati is, to perform the Argha ceremony for a guest. Evidently in this Sftra two different occasions are stated on which the Argha reception, eventually with the killing of a cow, should be performed; firstly, the bridegroom should be so received in the house of the bride’s father; secondly, when the newlymarried people have arrived at their own house, an Argha reception should there be offered to them, perhaps, as the commentaries state, by the A4arya. 11. According to Narayana it is the A#drya who performs the rite prescribed in this Sfitra; RAmaéandra, on the contrary, refers it to the bridegroom, which seems to me right. Comp. Gobhila II, r. In Sankhayana’s description of the wedding ceremonies the point at which the bride passes over from the paternal power into that of her new husband is not expressly indicated. P&raskara (I, 4,15) clearly indicates it (pitra prattém Adaya), and in the Parisish/a of the Asvalayana-Grthya this act of handing over the girl is treated of in detail (I, 22). On this depends the description in the Prayogaratna, fol. 69; comp. also Colebrooke’s Miscell. Essays, I, 210. The Paddhati of Ramafandra does not fail to mention the kanydprad4na, but I do not think that the succession of the different rites is stated there correctly. According to the Paddhati the bridegroom goes to the house of the girl’s father, and there, after the madhuparka has been offered, the bride is given over to him; he then (labdhavadhfikaf) goes (chap. 12, 1), accompanied by young women, to the kautuk4g4ra, where the ceremonies described in chap. 12, 3 seq. take place. Pdraskara, on the contrary, describes the handing over of the garments, the anointing, &c., as preceding the giving over of the girl, and indeed it is scarcely possible to see in the acts of dressing, adorning the girl, &c., in which both the bridegroom and her relations -TADHYAYA, 13 KHANDA, 4. 35 12. A fourth (oblation) with (the three Mahavyéhrttis) together is to be understood from this rule. 13. In this way, where no express rule is stated, in all sacrifices that procure happiness, one is to sacrifice before and afterwards with these same (Mahavy4hr‘tis). Kuawpa 13.
235 12. A fourth (oblation) with (the three Mahavyéhrttis) together is to be understood from this rule. 13. In this way, where no express rule is stated, in all sacrifices that procure happiness, one is to sacrifice before and afterwards with these same (Mahavy4hr‘tis). Kuawpa 13. 1. ‘Be queen with thy father-in-law, with this verse (Rig-veda X, 85, 46) her father or brother sacrifices with a sword’s point on her head, or with the Sruva, standing while she is sitting, with his face turned to the west, while her face is turned to the east. 2. ‘I seize thy hand for the sake of happiness’ (Rig-veda X, 85, 36), with these words (the bridegroom) seizes with his right hand her right hand with the thumb, both hands being turned with the palms upwards, he standing while she is sitting, with his face turned to the west, while her face is turned to the east. 3- And when he has murmured the following five verses, 4. (He continues thus,) ‘This am I, that art thou; take part, anything but preparatory performances that precede the decisive moment. The sacrifice, on the contrary, which the bridegroom performs, according to chap. 12, 11, in common with his bride, seems to presuppose that he has already received her from her father; and the ceremonies described in chap. 13, the p4nigrahama, the pronouncing of the Mantra, chap. 13, 4, which reminds one of the Roman formula ubi tu Gaius, the seven steps—all that should be understood not as intended to establish the power of the husband over his wife, but as presupposing that power and showing an exercise of it. 13, 4. N4r&yaza states that here four Brahmanas should repeat D2 36 SANKHAYANA-GRIHYA-SOTRA. that art thou, this am I; the heaven I, the earth thou; the Azé art thou, the Saman I. So be thou devoted to me. ‘Well! Let us here marry. Let us beget offspring. Let us acquire many sons who may reach old age.’ 5. (The Af&rya) fills, with the words bhdr bhuvad sva&, a new water-pot, 6. Throws into it (branches) with milky sap and leaves, of a tree the name of which is masculine, together with Kusa grass, 7. And gold, according to some (teachers), 8. And hands it over to a student who observes silence. 9. They should walk round this Stheya water, (placed) to the north-east, so that they turn their right sides towards it. the Sfrya hymn (Rig-veda X, 85) to the bride. That, according to Sankhayana, that hymn is recited at the wedding, is clear from chap. 14, 12.
39. They should walk round this Stheya water, (placed) to the north-east, so that they turn their right sides towards it. the Sfrya hymn (Rig-veda X, 85) to the bride. That, according to Sankhayana, that hymn is recited at the wedding, is clear from chap. 14, 12. 6. Sakshfrant sapalas4nt sakusan. Nardyana’s commentary divides sa kusfn, and refers sa to the 44arya. But this sa would be superfluous, and the substantive to which sakshiran and sapalasdn are to be referred, is, as both the nature of the case and the corresponding passages show, sakhan and not kus4n. Comp. the Srauta-sfitra IV,17,5: palasasikham sapalasam nikhaya, and a passage concerning the very rite here described, Asvalayana-parisish/a I, 24: audumbaryarddhaya& (read, ardraya?) sdkhaya sapaldsaya sahirazyapavitray& sadfirvapavitrayad. The MS. of the Sdmbavya-sfitra has sakshfran palasan sakusan. 9. ‘The Stheya water has to be so placed that when the bride and the bridegroom walk (their seven steps, see chap. 14, 5 seq.), their right sides are turned towards it’ Ndrdyaxa. Comp., regarding the Sthey4 water and its bearer, the Grzhya-samgrahaparisish/a II, 26. 30. 35. I ADHYAYA, 14 KHANDA, 2. 37 10. And after (the Aéarya) has placed a stone towards the northern direction, 11. (The bridegroom) makes her rise with the words, ‘Come, thou joyful one,’ 12. And makes her tread with the tip of her right foot on the stone, with the words, ‘Come, tread on the stone; like a stone be firm. Tread the foes down; overcome the enemies.’ 13. He then leads her round the fire so that their right sides are turned to it, 14. And gives her a second garment with the same text (chap. 12, § 3). 15. Her father or brother pours out of a basket fried grain mixed with Sami leaves into her joined ‘hands. 16. The spreading under, the sprinkling over, and the second sprinkling over (are done) with Agya. 17. She sacrifices those (fried grains). Kuaypa 14, 1. ‘This woman, strewing grains, prays thus, “May I bring bliss to my relations; may my husband live long. Svaha!”’—while the husband murmurs (this) text, she sacrifices standing. 2. (All the ceremonies,) beginning from the tread- 14. I believe that the words forming this Sftra, tA% guhoti, are taken from the same lost old Grzhya text which Sankh4yana has followed word for word also in I, 5, 1-5 and elsewhere. This is made probable by the comparison of P&raskara I, 6, 2. The author of our text, while literally adopting the words of his original, has not quite succeeded in welding them together with his own statements; thus the sacrifice of grains is treated of in this Sftra and in the first Sfttra of the next chapter, as if there were two different acts, while indeed it is one and the same. 14, 2. The treading on the stone is prescribed in chap. 13, 12. 38 SANKHAYANA-GRIHYA-SOTRA. ing upon the stone, (are repeated) in the same way for a second time, 3. And in the same way a third time. 4. Silently, if they like, a fourth time.
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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