Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
123. He then draws the head-band together, and conceals it (tucks it under) in front *, with, ‘Thou art the navel of knighthood!’ He thus places him in what is the navel of knighthood. 24. Now some wind it quite round about (the navel) saying, ‘that (band) is his navel, and this navel goes all round.’ But let him not do this, but let him merely tuck it under in front, for this navel is in front. And as to why he makes him put on the garments ;—he thereby causes him to be born’, ’ According to the commentators, figures of sacrificial spoons, cups, &c., are sewn in by means of a needle. * The commentators do not seem to be quite in accord in regard to this particular item of the ceremonial. The most natural explanation, however, seems to be this: the head-band (turban, ushaisha) is wound (? once) round the head and tied behind; the ends being then drawn over the shoulders so as to hang down from the neck in the manner of a brahmanical cord (or like the ribbon of an order); and being finally tucked in under the mantle somewhere near the navel. * Viz. inasmuch as the garments are intended to symbolically represent the vestures of the embryo and stages of birth. Vv KANDA, 3 ADHYAYA, 5 BRAHMANA, 27. 87 thinking, ‘I will anoint him when born:’ that is why he makes him put on the garments. 25. Now some put off those garments}, and make him put on again the garment of initiation. But let him not do this; for, the limbs? being his natural vestments, they deprive him of his limbs, of his native bodily form. The garment of initiation belongs to Varuza. Let him put on one of those same garments: he (the priest) thereby causes him to be furnished with his limbs, his native bodily form. The garment of initiation belongs to Varuaa : he thus saves him from the Varuzic garment of initiation. 26. And when he enters the bath® they throw it into (the water). This isa congruous‘ performance. After putting on one of those same garments he comes out (of the bath). Let him give away those (garments) either when the omentum of the barren cow has been offered, or at the completing oblation®. 27. He (the Adhvaryu) then strings the bow, with, ‘Thou art Indra’s Vrztra-killer;’ for the bow ' This change of garments takes place optionally when the M4hendra libation is about to be offered. KAty. XV, 5,16; 7, 23-26. * That is, according to Sayama, the skin, &c. 5 That is, at the end of the Ragasflya. In case of the change of garments before the M4hendra libation, the king keeps on the initiation garment in entering and coming out of the bath. This paragraph is of course put in here by anticipation, merely in order to state all that relates to the garments.
2In case of the change of garments before the M4hendra libation, the king keeps on the initiation garment in entering and coming out of the bath. This paragraph is of course put in here by anticipation, merely in order to state all that relates to the garments. ‘ Viz. inasmuch as it is in accordance with what is done at an ordinary Soma-sacrifice, at the end of which the Sacrificer and his wife enter the bath and come forth with fresh garments. See part ii, p. 385. In the present case the king is to enter the bath clothed in one of those three garments, and in coming out he is to put on another of them. * See part ii, pp. 391-2. * For the Udavasanty4-ishfi, see ib. p. 389. 88 SATAPATHA-BRAHMANA, is indeed a Vrttra-killer, and the Sacrificer is Indra, —he is Indra in a twofold way, both as a Kshatriya, and as Sacrificer: therefore he says, ‘Thou art Indra’s Vvetra-killer,’ 28. He then strokes the two arms? swith, ‘ Mitra’s thou art,—Varuza’s thou art;’ ‘for the bow is within the two arms, and by his two arms the Raganya pertains to Mitra and Varuza: therefore he says, ‘ Mitra’s thou art, Varuma’s thou art. He hands it to him, with, ‘May he slay Vvztra by thee!’ whereby he means to say, ‘ May he slay by thee his spiteful enemy!’ 29. He then hands him three arrows. That first one by which he pierces on shooting *, that is one, that one is this earth, that one is called ‘dvzbA.’ And the one by which (the enemy) being pierced lies either living or dead, that is the second, that is this air, that is called ‘rugd.’ And the one with which he misses (his aim) *, that is the third, that is yonder sky, that is called ‘kshuma.’ For these are the three (kinds of) arrows: therefore he hands him three arrows. 30. These he hands to him with, ‘Protect ye him in front*!—Protect ye him from behind! —-Protect ye him from the side!—Protect ye 1 Viz. the arms of the king, as it would seem, according to Sayama; but the arms (or ends) of the bow, according to Karka and Mahidhara. 3 Literally, on fixing (the arrow on the string); or perhaps, on hitting (the enemy). * Sdyana takes apa-r4dhnoti in the sense of ‘he hurts (or hits)’ the enemy. In the K4mva text (Grantha MS.) the three arrows are called rug4, driva, and kshupé resp. * Or perhaps,—whilst (he is) moving forward,—whilst moving backward,—whilst moving sideways. | i v KANDA, 3 ADHYAYA, 5 HMANS, 35. 89 him from (all) quarters!’ Thus he makes all the quarters safe from arrows for him. And as to why he hands the bow to him ;—this, the bow, truly is the nobleman’s strength: it is because he thinks, ‘I will consecrate him when endowed with strength !’ that he hands the weapon to him}. 31. Thereupon he makes him pronounce the 4vid formulas ? (Vag. S. X, 9), ‘In sight, ye mortals!’ This is mysterious, for mysterious is PragApati: he thus announces him to Pragdpati, and this one approves of his consecration ; and approved by him he is consecrated.
331. Thereupon he makes him pronounce the 4vid formulas ? (Vag. S. X, 9), ‘In sight, ye mortals!’ This is mysterious, for mysterious is PragApati: he thus announces him to Pragdpati, and this one approves of his consecration ; and approved by him he is consecrated. 32. ‘Present is Agni, the house-lord;’—Agni is the priesthood (brahman) ; he thus announces him to the priesthood; and it approves of his consecration, and approved by it he is consecrated. 33. ‘Present is Indra, the far-famed ;’—Indra is the nobility: he thus announces him to the nobility; and it approves of his consecration, and approved by it he is consecrated. 34. ‘Present are Mitra and Varuma, the upholders of the law;’—Mitra and Varuma are the out-breathing and in-breathing: he thus announces him to the out-breathing and in-breathing, and they approve of his consecration, and approved by them he is consecrated. 35. ‘ Present is Pdishan, the all-possessing ;’ 1 For a sham fight with arrows forming part of the ceremony in the Black Yagus ritual, see p. 100, note 1. * That is, as would seem, the formulas of information (or perhaps of announcement, introduction) ; the first of these formulas beginning with Avis (in sight), the others with the participle 4vitta, i.e. ‘obtained, present ;’ Sayama and Mahidhara, however, taking it in the sense of ‘informed,’—a meaning which, indeed, the word may perhaps have been intended to convey in these formulas. 90 SATAPATHA-BRAHMANA, Pashan is (the lord of) cattle: he thus announces him to the cattle, and they approve of his consecration ; and approved by them he is consecrated. 36. ‘Present are Heaven and Earth, the allpropitious;’—he thus announces him to those two, the heaven and the earth, and they approve of his consecration ; and approved by them he is consecrated. 37. ‘Present is Aditi, of wide shelter ;—Aditi is this earth: he thus announces him to this earth, and she approves of his consecration, and approved by her he is consecrated. Thus to whatever deities he announces him, they approve of his consecration, and approved by them he is consecrated. FourtuH ApDHYAYA. First BRAHMANA. 1. He puts a piece of copper! into the mouth of a long-haired man, with (Vag. S. X, 10), ‘Removed by sacrifice are the mordacious. For verily he who performs the R4gasfya escapes all kinds of death, all murderous blows, and old age alone is his death: hence whatever kind of death, whatever murderous blow there is, past that he now guides him, as past the mordacious ones. 2. And as to why it is of a long-haired man,—such a long-haired man is neither woman nor man; for being a male, he is not a woman, and being longhaired (a eunuch), he is not a man. And copper (or bronze) is neither iron nor gold; and those mordacious ones (snakes) are neither worms nor non-worms. And as to its being copper,—reddish Lohfyasa, literally, ‘ red metal,’ apparently either copper, or an alloy of copper and some other metal.—The eunuch is sitting in the Sadas.
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.
123. He then draws the head-band together, and conceals it (tucks it under) in front *, with, ‘Thou art the navel of knighthood!’ He thus places him in what is the navel of knighthood. 24. Now some wind it quite round about (the navel) saying, ‘that (band) is his navel, and this navel goes all round.’ But let him not do this, but let him merely tuck it under in front, for this navel is in front. And as to why he makes him put on the garments ;—he thereby causes him to be born’, ’ According to the commentators, figures of sacrificial spoons, cups, &c., are sewn in by means of a needle. * The commentators do not seem to be quite in accord in regard to this particular item of the ceremonial. The most natural explanation, however, seems to be this: the head-band (turban, ushaisha) is wound (? once) round the head and tied behind; the ends being then drawn over the shoulders so as to hang down from the neck in the manner of a brahmanical cord (or like the ribbon of an order); and being finally tucked in under the mantle somewhere near the navel. * Viz. inasmuch as the garments are intended to symbolically represent the vestures of the embryo and stages of birth. Vv KANDA, 3 ADHYAYA, 5 BRAHMANA, 27. 87 thinking, ‘I will anoint him when born:’ that is why he makes him put on the garments. 25. Now some put off those garments}, and make him put on again the garment of initiation. But let him not do this; for, the limbs? being his natural vestments, they deprive him of his limbs, of his native bodily form. The garment of initiation belongs to Varuza. Let him put on one of those same garments: he (the priest) thereby causes him to be furnished with his limbs, his native bodily form. The garment of initiation belongs to Varuaa : he thus saves him from the Varuzic garment of initiation. 26. And when he enters the bath® they throw it into (the water). This isa congruous‘ performance. After putting on one of those same garments he comes out (of the bath). Let him give away those (garments) either when the omentum of the barren cow has been offered, or at the completing oblation®. 27. He (the Adhvaryu) then strings the bow, with, ‘Thou art Indra’s Vrztra-killer;’ for the bow ' This change of garments takes place optionally when the M4hendra libation is about to be offered. KAty. XV, 5,16; 7, 23-26. * That is, according to Sayama, the skin, &c. 5 That is, at the end of the Ragasflya. In case of the change of garments before the M4hendra libation, the king keeps on the initiation garment in entering and coming out of the bath. This paragraph is of course put in here by anticipation, merely in order to state all that relates to the garments.
2In case of the change of garments before the M4hendra libation, the king keeps on the initiation garment in entering and coming out of the bath. This paragraph is of course put in here by anticipation, merely in order to state all that relates to the garments. ‘ Viz. inasmuch as it is in accordance with what is done at an ordinary Soma-sacrifice, at the end of which the Sacrificer and his wife enter the bath and come forth with fresh garments. See part ii, p. 385. In the present case the king is to enter the bath clothed in one of those three garments, and in coming out he is to put on another of them. * See part ii, pp. 391-2. * For the Udavasanty4-ishfi, see ib. p. 389. 88 SATAPATHA-BRAHMANA, is indeed a Vrttra-killer, and the Sacrificer is Indra, —he is Indra in a twofold way, both as a Kshatriya, and as Sacrificer: therefore he says, ‘Thou art Indra’s Vvetra-killer,’ 28. He then strokes the two arms? swith, ‘ Mitra’s thou art,—Varuza’s thou art;’ ‘for the bow is within the two arms, and by his two arms the Raganya pertains to Mitra and Varuza: therefore he says, ‘ Mitra’s thou art, Varuma’s thou art. He hands it to him, with, ‘May he slay Vvztra by thee!’ whereby he means to say, ‘ May he slay by thee his spiteful enemy!’ 29. He then hands him three arrows. That first one by which he pierces on shooting *, that is one, that one is this earth, that one is called ‘dvzbA.’ And the one by which (the enemy) being pierced lies either living or dead, that is the second, that is this air, that is called ‘rugd.’ And the one with which he misses (his aim) *, that is the third, that is yonder sky, that is called ‘kshuma.’ For these are the three (kinds of) arrows: therefore he hands him three arrows. 30. These he hands to him with, ‘Protect ye him in front*!—Protect ye him from behind! —-Protect ye him from the side!—Protect ye 1 Viz. the arms of the king, as it would seem, according to Sayama; but the arms (or ends) of the bow, according to Karka and Mahidhara. 3 Literally, on fixing (the arrow on the string); or perhaps, on hitting (the enemy). * Sdyana takes apa-r4dhnoti in the sense of ‘he hurts (or hits)’ the enemy. In the K4mva text (Grantha MS.) the three arrows are called rug4, driva, and kshupé resp. * Or perhaps,—whilst (he is) moving forward,—whilst moving backward,—whilst moving sideways. | i v KANDA, 3 ADHYAYA, 5 HMANS, 35. 89 him from (all) quarters!’ Thus he makes all the quarters safe from arrows for him. And as to why he hands the bow to him ;—this, the bow, truly is the nobleman’s strength: it is because he thinks, ‘I will consecrate him when endowed with strength !’ that he hands the weapon to him}. 31. Thereupon he makes him pronounce the 4vid formulas ? (Vag. S. X, 9), ‘In sight, ye mortals!’ This is mysterious, for mysterious is PragApati: he thus announces him to Pragdpati, and this one approves of his consecration ; and approved by him he is consecrated.
331. Thereupon he makes him pronounce the 4vid formulas ? (Vag. S. X, 9), ‘In sight, ye mortals!’ This is mysterious, for mysterious is PragApati: he thus announces him to Pragdpati, and this one approves of his consecration ; and approved by him he is consecrated. 32. ‘Present is Agni, the house-lord;’—Agni is the priesthood (brahman) ; he thus announces him to the priesthood; and it approves of his consecration, and approved by it he is consecrated. 33. ‘Present is Indra, the far-famed ;’—Indra is the nobility: he thus announces him to the nobility; and it approves of his consecration, and approved by it he is consecrated. 34. ‘Present are Mitra and Varuma, the upholders of the law;’—Mitra and Varuma are the out-breathing and in-breathing: he thus announces him to the out-breathing and in-breathing, and they approve of his consecration, and approved by them he is consecrated. 35. ‘ Present is Pdishan, the all-possessing ;’ 1 For a sham fight with arrows forming part of the ceremony in the Black Yagus ritual, see p. 100, note 1. * That is, as would seem, the formulas of information (or perhaps of announcement, introduction) ; the first of these formulas beginning with Avis (in sight), the others with the participle 4vitta, i.e. ‘obtained, present ;’ Sayama and Mahidhara, however, taking it in the sense of ‘informed,’—a meaning which, indeed, the word may perhaps have been intended to convey in these formulas. 90 SATAPATHA-BRAHMANA, Pashan is (the lord of) cattle: he thus announces him to the cattle, and they approve of his consecration ; and approved by them he is consecrated. 36. ‘Present are Heaven and Earth, the allpropitious;’—he thus announces him to those two, the heaven and the earth, and they approve of his consecration ; and approved by them he is consecrated. 37. ‘Present is Aditi, of wide shelter ;—Aditi is this earth: he thus announces him to this earth, and she approves of his consecration, and approved by her he is consecrated. Thus to whatever deities he announces him, they approve of his consecration, and approved by them he is consecrated. FourtuH ApDHYAYA. First BRAHMANA. 1. He puts a piece of copper! into the mouth of a long-haired man, with (Vag. S. X, 10), ‘Removed by sacrifice are the mordacious. For verily he who performs the R4gasfya escapes all kinds of death, all murderous blows, and old age alone is his death: hence whatever kind of death, whatever murderous blow there is, past that he now guides him, as past the mordacious ones. 2. And as to why it is of a long-haired man,—such a long-haired man is neither woman nor man; for being a male, he is not a woman, and being longhaired (a eunuch), he is not a man. And copper (or bronze) is neither iron nor gold; and those mordacious ones (snakes) are neither worms nor non-worms. And as to its being copper,—reddish Lohfyasa, literally, ‘ red metal,’ apparently either copper, or an alloy of copper and some other metal.—The eunuch is sitting in the Sadas.
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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