Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1the AbhisheZantya or consecration, is preceded and followed by certain other Soma-days, so the Vagapeya should be preceded and followed by exactly corresponding ceremonies. 1 See Katy. St. XIV, 1, 73 Laty. Sr. VIM, 11, 7-11. Xil SATAPATHA-BRAHMANA. The preceding K4zda was chiefly taken up with a detailed discussion of the simplest form of a complete Soma-sacrifice, the Agnishfoma, serving as the model for all other kinds of one-day (ekaha) Soma-sacrifices ; and it also adverted incidentally to some of the special features of such of the remaining fundamental forms of Soma-sacrifice as are required for the performance of sacrificial periods of from two to twelve pressing-days—the socalled ahina-sacrifices—as well as for the performance of the sacrificial sessions (sattra) lasting from twelve days upwards. As the discussion of the Vagapeya presupposes a knowledge of several of those fundamental forms of Soma-sacrifice, it may not be out of place here briefly to recapitulate their characteristic features. The ekdha, or ‘one-day’ sacrifices, are those Somasacrifices which have a single pressing-day, consisting of three services (or pressings, savana)—the morning, midday, and third (or evening) services—at each of which certain cups of Soma-liquor are drawn, destined to be ultimately consumed by the priests and sacrificer, after libations to the respective deities have been duly made therefrom. At certain stated times during the performance, hymns (stotra) are chanted by the Udgatrés; each of which is followed by an appropriate recitation (sastra) of Vedic hymns or detached verses, by the Hotyr? priest or one of his assistants. An integral part of each Soma-sacrifice, moreover, is the animal sacrifice (pasubandhu); the number of victims varying according to the particular form of sacrifice adopted. In the exposition of the Agnishtoma, the animal offering actually described (part ii, p. 162 seq.) is that of a he-goat to Agni and Soma, intended to serve as the model for all other animal sacrifices. This description is inserted in the Brahmaza among the ceremonies of the day preceding the Soma-day; whilst, in the actual performance, the slaughtering of the victim, or victims, takes place during the morning service, and the meat-oblations are made during the evening service, of the pressing-day. The ritualistic works enumerate a considerable number of ‘ oneday’ sacrifices, all of them with special features of their INTRODUCTION. Xili own; most of these sacrifices are, however, merely modifications of one or other of the fundamental forms of ek4has. Of such forms or samsthds—literally, ‘completions,’ being so called because the final chants or ceremonies are their most characteristic features—the ritual system recognises seven, viz. the Agnishfoma, Atyagnishfoma, Ukthya, Shodasin, Vagapeya}, Atiratra, and Aptorydma.
2Of such forms or samsthds—literally, ‘completions,’ being so called because the final chants or ceremonies are their most characteristic features—the ritual system recognises seven, viz. the Agnishfoma, Atyagnishfoma, Ukthya, Shodasin, Vagapeya}, Atiratra, and Aptorydma. The Agnish/foma, the simplest and most common form of Soma-sacrifice, requires the immolation of a single victim, a he-goat to Agni; and the chanting of twelve stotras, viz. the Bahish-pavam4na and four Agya-stotras at the morning service; the MAdhyandina-pavamana and four Prish¢ha-stotras at the midday service; and the Tritiya (or Arbhava)-pavam4na and the Agnishfoma-s4man at the evening service. It is this last-named chant, then, that gives its name to this sacrifice which, indeed, is often explained as the ‘Agnishtoma-samsthak kratuk?, or the sacrifice concluding with ‘Agni’s praise.’ The term ‘s&man,’ in its narrow technical sense, means a choral melody, a hymntune, without reference to the words set thereto. Not unfrequently, however, it has to be taken in the wider sense of a chanted verse or hymn (triplet), a chorale; but, though the distinction is evidently of some importance for the ritual, it is not always easy to determine the particular sense in which the term is meant to be applied, viz. whether a specified sdman is intended to include the original text set to the respective tune, or whether some other verses to which that tune has been adapted are intended. In the case of the Agnish‘oma-sAman, however, the word ‘s4man’ cannot be taken in its narrow acceptation, but the term has to be understood in the sense of ‘a hymn chanted in praise of Agni.’ The words commonly used for this chant, are the first two verses of Rig-veda S. VI, 48, a hymn indeed 1 In this enumeration the Vagapeya is often placed between the Atiratra and Aptoryama ; e.g. Laty. V, 4, 24. 2 Thus on Sat. Br. V, 1, 3, 1 Agneyam agnishfoma Alabhate, S&yana remarks, ‘agnik stiyatexsminn ity agnishtomo nfma s&ma, tasmin vishayabhita Agneyam 4labhate, etena pasunfssmin vagapeyesgnish‘omasamstham kratum evanushshitavan bhavati.’ In IV, 2, 4, 9 seq., also, the term ‘ agnishfoma’ ‘would seem to apply to the final chant rather than to the whole sacrifice. Xiv SATAPATHA-BRAHMANA,
3Xiv SATAPATHA-BRAHMANA, admirably adapted for the purpose of singing Agni’s praises. For the first verse, beginning ‘ yag#4-yag#A vo agnaye,’ the chief tune-book, the Gramageya-gana, has preserved four different tunes, all of which are ascribed to the Rishi Bharadvaga: one of them has, however, come to be generally accepted as the Yag#d4yag#iya-tune xar’ éfoy7v, and has been made use of for this and numerous other triplets}; whilst the other tunes seem to have met with little favour, not one of them being represented in the triplets arranged for chanting in stotras, as given in the Uha and Uhya-ganas. Neither the Yag#4yag#iya-tune, nor its original text, is however a fixed item in the chanting of the Agnishfomasdman. Thus, for the first two verses of Rig-veda VI, 48, the Vagapeya-sacrifice? substitutes verses nine and ten of the same hymn, and these are chanted, not to the Yag#4yagviya, but to the Varavantiya-tune, originally composed for, and named after, Rig-veda I, 27,1 (S.V. I, 17; ed. Calc. I, p. 121) ‘asvam na tva varavantam.’ The Ukthya-sacrifice requires the slaughtering of a second victim, a he-goat to Indra and Agni; and to the twelve chants of the Agnish¢oma it adds three more, the so-called Uktha-stotras, each of which is again followed by an Uktha-sastra recited by one of the Hotrakas, or assistants of the Hotrz. As the evening service of the Agnishfoma had only two sastras, both recited by the Hotr?, the addition of the three sastras of the Hotrakas would, in this respect, equalize the evening to the morning and midday savanas, The word ‘uktha’ is explained by later lexicographers either as a synonym of ‘sAman,’ or as a kind of saman®; but it is not unlikely that that meaning of the word was directly derived from this, the most common, use of the word in the term ‘uktha-stotra.’ The etymology of the word 4, at all events, would point to the ' Each S&man-tune is usually chanted thrice, either each time on a special verse of its own, or so that, by certain repetitions of words, two verses are made to suffice for the thrice-repeated tune. 2 So also does the Agnishfut ekaha, cf. Tandya Br. XVII, 5, 7. 5 Sayama, to Sat. Br. IV, 3, 3, 2, explains it by ‘stotra;’ but see IV, 2, 3, 6-9 where it undoubtedly refers to the recited verses (772), not to the sdman. * Viz. from root ‘vak’ to speak. I cannot see the necessity for taking INTRODUCTION. XV
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.
1the AbhisheZantya or consecration, is preceded and followed by certain other Soma-days, so the Vagapeya should be preceded and followed by exactly corresponding ceremonies. 1 See Katy. St. XIV, 1, 73 Laty. Sr. VIM, 11, 7-11. Xil SATAPATHA-BRAHMANA. The preceding K4zda was chiefly taken up with a detailed discussion of the simplest form of a complete Soma-sacrifice, the Agnishfoma, serving as the model for all other kinds of one-day (ekaha) Soma-sacrifices ; and it also adverted incidentally to some of the special features of such of the remaining fundamental forms of Soma-sacrifice as are required for the performance of sacrificial periods of from two to twelve pressing-days—the socalled ahina-sacrifices—as well as for the performance of the sacrificial sessions (sattra) lasting from twelve days upwards. As the discussion of the Vagapeya presupposes a knowledge of several of those fundamental forms of Soma-sacrifice, it may not be out of place here briefly to recapitulate their characteristic features. The ekdha, or ‘one-day’ sacrifices, are those Somasacrifices which have a single pressing-day, consisting of three services (or pressings, savana)—the morning, midday, and third (or evening) services—at each of which certain cups of Soma-liquor are drawn, destined to be ultimately consumed by the priests and sacrificer, after libations to the respective deities have been duly made therefrom. At certain stated times during the performance, hymns (stotra) are chanted by the Udgatrés; each of which is followed by an appropriate recitation (sastra) of Vedic hymns or detached verses, by the Hotyr? priest or one of his assistants. An integral part of each Soma-sacrifice, moreover, is the animal sacrifice (pasubandhu); the number of victims varying according to the particular form of sacrifice adopted. In the exposition of the Agnishtoma, the animal offering actually described (part ii, p. 162 seq.) is that of a he-goat to Agni and Soma, intended to serve as the model for all other animal sacrifices. This description is inserted in the Brahmaza among the ceremonies of the day preceding the Soma-day; whilst, in the actual performance, the slaughtering of the victim, or victims, takes place during the morning service, and the meat-oblations are made during the evening service, of the pressing-day. The ritualistic works enumerate a considerable number of ‘ oneday’ sacrifices, all of them with special features of their INTRODUCTION. Xili own; most of these sacrifices are, however, merely modifications of one or other of the fundamental forms of ek4has. Of such forms or samsthds—literally, ‘completions,’ being so called because the final chants or ceremonies are their most characteristic features—the ritual system recognises seven, viz. the Agnishfoma, Atyagnishfoma, Ukthya, Shodasin, Vagapeya}, Atiratra, and Aptorydma.
2Of such forms or samsthds—literally, ‘completions,’ being so called because the final chants or ceremonies are their most characteristic features—the ritual system recognises seven, viz. the Agnishfoma, Atyagnishfoma, Ukthya, Shodasin, Vagapeya}, Atiratra, and Aptorydma. The Agnish/foma, the simplest and most common form of Soma-sacrifice, requires the immolation of a single victim, a he-goat to Agni; and the chanting of twelve stotras, viz. the Bahish-pavam4na and four Agya-stotras at the morning service; the MAdhyandina-pavamana and four Prish¢ha-stotras at the midday service; and the Tritiya (or Arbhava)-pavam4na and the Agnishfoma-s4man at the evening service. It is this last-named chant, then, that gives its name to this sacrifice which, indeed, is often explained as the ‘Agnishtoma-samsthak kratuk?, or the sacrifice concluding with ‘Agni’s praise.’ The term ‘s&man,’ in its narrow technical sense, means a choral melody, a hymntune, without reference to the words set thereto. Not unfrequently, however, it has to be taken in the wider sense of a chanted verse or hymn (triplet), a chorale; but, though the distinction is evidently of some importance for the ritual, it is not always easy to determine the particular sense in which the term is meant to be applied, viz. whether a specified sdman is intended to include the original text set to the respective tune, or whether some other verses to which that tune has been adapted are intended. In the case of the Agnish‘oma-sAman, however, the word ‘s4man’ cannot be taken in its narrow acceptation, but the term has to be understood in the sense of ‘a hymn chanted in praise of Agni.’ The words commonly used for this chant, are the first two verses of Rig-veda S. VI, 48, a hymn indeed 1 In this enumeration the Vagapeya is often placed between the Atiratra and Aptoryama ; e.g. Laty. V, 4, 24. 2 Thus on Sat. Br. V, 1, 3, 1 Agneyam agnishfoma Alabhate, S&yana remarks, ‘agnik stiyatexsminn ity agnishtomo nfma s&ma, tasmin vishayabhita Agneyam 4labhate, etena pasunfssmin vagapeyesgnish‘omasamstham kratum evanushshitavan bhavati.’ In IV, 2, 4, 9 seq., also, the term ‘ agnishfoma’ ‘would seem to apply to the final chant rather than to the whole sacrifice. Xiv SATAPATHA-BRAHMANA,
3Xiv SATAPATHA-BRAHMANA, admirably adapted for the purpose of singing Agni’s praises. For the first verse, beginning ‘ yag#4-yag#A vo agnaye,’ the chief tune-book, the Gramageya-gana, has preserved four different tunes, all of which are ascribed to the Rishi Bharadvaga: one of them has, however, come to be generally accepted as the Yag#d4yag#iya-tune xar’ éfoy7v, and has been made use of for this and numerous other triplets}; whilst the other tunes seem to have met with little favour, not one of them being represented in the triplets arranged for chanting in stotras, as given in the Uha and Uhya-ganas. Neither the Yag#4yag#iya-tune, nor its original text, is however a fixed item in the chanting of the Agnishfomasdman. Thus, for the first two verses of Rig-veda VI, 48, the Vagapeya-sacrifice? substitutes verses nine and ten of the same hymn, and these are chanted, not to the Yag#4yagviya, but to the Varavantiya-tune, originally composed for, and named after, Rig-veda I, 27,1 (S.V. I, 17; ed. Calc. I, p. 121) ‘asvam na tva varavantam.’ The Ukthya-sacrifice requires the slaughtering of a second victim, a he-goat to Indra and Agni; and to the twelve chants of the Agnish¢oma it adds three more, the so-called Uktha-stotras, each of which is again followed by an Uktha-sastra recited by one of the Hotrakas, or assistants of the Hotrz. As the evening service of the Agnishfoma had only two sastras, both recited by the Hotr?, the addition of the three sastras of the Hotrakas would, in this respect, equalize the evening to the morning and midday savanas, The word ‘uktha’ is explained by later lexicographers either as a synonym of ‘sAman,’ or as a kind of saman®; but it is not unlikely that that meaning of the word was directly derived from this, the most common, use of the word in the term ‘uktha-stotra.’ The etymology of the word 4, at all events, would point to the ' Each S&man-tune is usually chanted thrice, either each time on a special verse of its own, or so that, by certain repetitions of words, two verses are made to suffice for the thrice-repeated tune. 2 So also does the Agnishfut ekaha, cf. Tandya Br. XVII, 5, 7. 5 Sayama, to Sat. Br. IV, 3, 3, 2, explains it by ‘stotra;’ but see IV, 2, 3, 6-9 where it undoubtedly refers to the recited verses (772), not to the sdman. * Viz. from root ‘vak’ to speak. I cannot see the necessity for taking INTRODUCTION. XV
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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