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Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1Tandya 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 meaning ‘verse, hymn,’ rather than to that of ‘tune’ or ‘chant ;’ but, be that as it may, the word is certainly used in the former sense in the term ‘mahad-uktha,’ the name of the ‘great recitation’ of a thousand brzhati verses ', being the Hotrz’s sastra in response to the Mah4vrata-stotra at the last but one day of the Gavam-ayana. And, besides, at the Agnishfoma a special ‘ukthya’ cup of Soma-juice is drawn both at the morning and midday pressings, but not at the evening savana. This cup, which is eventually shared by the three principal Hotrakas between them, is evidently intended as their reward for the recitation of their ‘ukthas.’ At the Ukthya-sacrifice, as might have been expected, the same cup is likewise drawn at the evening service. Though it may be taken for granted, therefore, that ‘uktha’ was an older term for ‘sastra,’ it still seems somewhat strange that this term should have been applied specially to the additional sastras and stotras of the Ukthya-sacrifice. Could it be that the name of the additional Ukthya-cup, as a distinctive feature of this sacrifice, suggested the name for the sastras and stotras with which that cup was connected, or have we rather to look for some such reason as Ait. Br. VI, 13 might seem to indicate? This passage contains a discussion regarding the different status of the Hotrakas who have ukthas of their own, and those who have not; and it then proceeds to consider the difference that exists between the two first and the third savanas of the Agnish¢oma in respect of the Hotrakas’ ukthas. It is clear that here also, the term ‘uktha’ can hardly be taken otherwise than as referring to ‘ brthad vakas’ in Rig-veda VII, 96, 1 in the technical sense of Bréhat-tune, as is done by Prof. Hillebrandt, in his interesting essay, ‘Die Sonnwendfeste in Alt-Indien,’ p. 29, merely because it is used there in connection with Indra ; whilst he himself is doubtful as to whether it should be taken in the same sense in III, 10, 5 where it occurs in connection with Agni. Though the Brthatsaman is no doubt frequently referred to Indra, and the Rathantara to Agni, the couplets ordinarily chanted to them (Rig-veda VI, 46, 1-2 and VII, 32, 22, 23) are both of them addressed to Indra. Both tunes are, however, applied to verses addressed to all manner of deities. 1 See Catalogue of Sanskrit MSS. of the India Office, No. 434. In Kaush. Br. XI, 8, ‘sadasy ukthani sasyante,’ also, the word has undoubtedly the sense of sastra, or (recited) hymn. In part i, p. 346, note 3 of this translation read ‘great recitation or sastra,’ instead of ‘ great chant.’ Xvi SATAPATHA-BRAHMANA.
2of the India Office, No. 434. In Kaush. Br. XI, 8, ‘sadasy ukthani sasyante,’ also, the word has undoubtedly the sense of sastra, or (recited) hymn. In part i, p. 346, note 3 of this translation read ‘great recitation or sastra,’ instead of ‘ great chant.’ Xvi SATAPATHA-BRAHMANA. the sastras—though, no doubt, the stotra is sometimes said to belong to the priest who recites the sastra in response to it—and this paragraph of the Brahmana reads almost like the echo of an old discussion as to whether or not there should be recitations for the Hotrakas at the evening service of a complete Soma-sacrifice. If, in this way, the question of ‘uktha or no uktha’ had become a sort of catchword for ritualistic controversy, one could understand how the term came ultimately to be applied to the three additional stotras and sastras. Not unfrequently, the Ukthya is treated merely as a redundant Agnish¢oma, as an ‘ Agnishfomaf’ soktha#,’ or AgnishZoma with the Ukthas'. Considering, however, that the term Agnishzoma, properly speaking, belongs only to a Soma-sacrifice which ends with the Agnishfoma (s4man), and that the addition of the Uktha-stotras also involves considerable modifications in the form of most of the preceding chants, a new term such as Ukthya, based on the completing and characteristic chants of this form of sacrifice, was decidedly more convenient. In regard to the composition of the preceding stotras, with the exception of the MAdhyandina-pavamana and the Agnishzoma-sAman, the Ukthya, indeed, may be said to constitute a parallel form of Sacrifice beside the Agnishfoma?, the succeeding samsthas following the model of either the one or the other of these two parallel forms. The Shodasin-sacrifice requires, as a third victim, the 1 See, for instance, Tawdya Br. XX, 1, 1. 2 Perhaps the most characteristic point of difference between these two forms in which the fundamental stotras are chanted is the first (or Hots2’s) Préshthastotra at the midday service. Whilst the Agnishfoma here requires the Rathantara-tune chanted on the text, Sima-veda S. II, 30, 31; the Ukthya, on the other hand, requires the text, S. V. II, 159, 160, chanted to the Brshat-tune. Professor Hillebrandt, l.c., p. 22, has, indeed, tried to show that these two tunes play an important part in early India in connection with the celebration of the solstices. A similar alternation of simans to that of the Hotr’s Prishthastotra obtains at the third, or Brahman4kkhamsin’s Prish¢ha-stotra; the Naudhasa-siman (II, 35, 36) being used at the Agnishfoma, and the Syaita-siman at the Ukthya-sacrifice. As regards the second (or Maitravaruma’s) and fourth (or Ak&hfvaka’s) Prishtha-stotras, on the other hand, the same siman—viz. the V&madevya (II, 32-34) and Kfleya (II, 37, 38) respectively —is used both at the Agnishfoma and Ukthya. INTRODUCTION. Xvii
3As regards the second (or Maitravaruma’s) and fourth (or Ak&hfvaka’s) Prishtha-stotras, on the other hand, the same siman—viz. the V&madevya (II, 32-34) and Kfleya (II, 37, 38) respectively —is used both at the Agnishfoma and Ukthya. INTRODUCTION. Xvii immolation of a ram to Indra; and one additional chant, the shodasi-stotra, with its attendant sastra and Soma-cup. The most natural explanation of the name is the one supplied, in the first place, by Ait. Br. IV, 1 (as interpreted by Sayana)}—viz. the sacrifice which has sixteen, or a sixteenth, stotra’. But, as the name applies not only to the sacrifice but also to the stotra and sastra, the Brahmama further justifies the name by the peculiar composition of the shodasi-sastra in which the number sixteen prevails *. Very probably, however, the name may have belonged to the sacrifice long before the sastra, for symbolic reasons, had assumed the peculiar form it now presents. In this summary of the characteristic features of the forms of Soma-sacrifice presupposed by the Vagapeya, no mention has yet been made of the Atyagnish¢oma, or redundant Agnishfoma, which usually occupies the second place in the list of samsthdés. This form of sacrifice is indeed very little used, and there can be little doubt that it was introduced into the system, as Professor Weber suggests, merely for the sake of bringing up the Somasamsth4s to the sacred number of seven. This sacrifice is obtained by the addition of the shodasi-stotra to the twelve chants of the Agnish/oma, as well as of the special Somacup and sacrificial victim for Indra, connected with that chant. It may thus be considered as a short form of the Shodasin-sacrifice (though without the full complement of stotras implied in that name), which might have suited the views of such ritualists as held the sastras of the Hotrakas at the evening service to be superfluous *. The distinctive feature of the Atir4tra-sacrifice, as the name itself indicates, is an ‘overnight’ performance of chants and recitations, consisting of three rounds of four stotras and sastras each. At the end of each round 1 This is also the explanation of the term given by Sayama in his commentary on Tandya Br. XII, 13, 1. 2 See this translation, part ii, p. 402, note 1. > See part ii, p. 402, note 2, where it is stated that the tenth and last day of the Dasaratra is an Atyagnishfoma day, called Avivakya, i.e. one on which there should be no dispute or quarrel. [41] b Xvili SATAPATHA-~BRAHMANA.
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.
1Tandya 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 meaning ‘verse, hymn,’ rather than to that of ‘tune’ or ‘chant ;’ but, be that as it may, the word is certainly used in the former sense in the term ‘mahad-uktha,’ the name of the ‘great recitation’ of a thousand brzhati verses ', being the Hotrz’s sastra in response to the Mah4vrata-stotra at the last but one day of the Gavam-ayana. And, besides, at the Agnishfoma a special ‘ukthya’ cup of Soma-juice is drawn both at the morning and midday pressings, but not at the evening savana. This cup, which is eventually shared by the three principal Hotrakas between them, is evidently intended as their reward for the recitation of their ‘ukthas.’ At the Ukthya-sacrifice, as might have been expected, the same cup is likewise drawn at the evening service. Though it may be taken for granted, therefore, that ‘uktha’ was an older term for ‘sastra,’ it still seems somewhat strange that this term should have been applied specially to the additional sastras and stotras of the Ukthya-sacrifice. Could it be that the name of the additional Ukthya-cup, as a distinctive feature of this sacrifice, suggested the name for the sastras and stotras with which that cup was connected, or have we rather to look for some such reason as Ait. Br. VI, 13 might seem to indicate? This passage contains a discussion regarding the different status of the Hotrakas who have ukthas of their own, and those who have not; and it then proceeds to consider the difference that exists between the two first and the third savanas of the Agnish¢oma in respect of the Hotrakas’ ukthas. It is clear that here also, the term ‘uktha’ can hardly be taken otherwise than as referring to ‘ brthad vakas’ in Rig-veda VII, 96, 1 in the technical sense of Bréhat-tune, as is done by Prof. Hillebrandt, in his interesting essay, ‘Die Sonnwendfeste in Alt-Indien,’ p. 29, merely because it is used there in connection with Indra ; whilst he himself is doubtful as to whether it should be taken in the same sense in III, 10, 5 where it occurs in connection with Agni. Though the Brthatsaman is no doubt frequently referred to Indra, and the Rathantara to Agni, the couplets ordinarily chanted to them (Rig-veda VI, 46, 1-2 and VII, 32, 22, 23) are both of them addressed to Indra. Both tunes are, however, applied to verses addressed to all manner of deities. 1 See Catalogue of Sanskrit MSS. of the India Office, No. 434. In Kaush. Br. XI, 8, ‘sadasy ukthani sasyante,’ also, the word has undoubtedly the sense of sastra, or (recited) hymn. In part i, p. 346, note 3 of this translation read ‘great recitation or sastra,’ instead of ‘ great chant.’ Xvi SATAPATHA-BRAHMANA.
2of the India Office, No. 434. In Kaush. Br. XI, 8, ‘sadasy ukthani sasyante,’ also, the word has undoubtedly the sense of sastra, or (recited) hymn. In part i, p. 346, note 3 of this translation read ‘great recitation or sastra,’ instead of ‘ great chant.’ Xvi SATAPATHA-BRAHMANA. the sastras—though, no doubt, the stotra is sometimes said to belong to the priest who recites the sastra in response to it—and this paragraph of the Brahmana reads almost like the echo of an old discussion as to whether or not there should be recitations for the Hotrakas at the evening service of a complete Soma-sacrifice. If, in this way, the question of ‘uktha or no uktha’ had become a sort of catchword for ritualistic controversy, one could understand how the term came ultimately to be applied to the three additional stotras and sastras. Not unfrequently, the Ukthya is treated merely as a redundant Agnish¢oma, as an ‘ Agnishfomaf’ soktha#,’ or AgnishZoma with the Ukthas'. Considering, however, that the term Agnishzoma, properly speaking, belongs only to a Soma-sacrifice which ends with the Agnishfoma (s4man), and that the addition of the Uktha-stotras also involves considerable modifications in the form of most of the preceding chants, a new term such as Ukthya, based on the completing and characteristic chants of this form of sacrifice, was decidedly more convenient. In regard to the composition of the preceding stotras, with the exception of the MAdhyandina-pavamana and the Agnishzoma-sAman, the Ukthya, indeed, may be said to constitute a parallel form of Sacrifice beside the Agnishfoma?, the succeeding samsthas following the model of either the one or the other of these two parallel forms. The Shodasin-sacrifice requires, as a third victim, the 1 See, for instance, Tawdya Br. XX, 1, 1. 2 Perhaps the most characteristic point of difference between these two forms in which the fundamental stotras are chanted is the first (or Hots2’s) Préshthastotra at the midday service. Whilst the Agnishfoma here requires the Rathantara-tune chanted on the text, Sima-veda S. II, 30, 31; the Ukthya, on the other hand, requires the text, S. V. II, 159, 160, chanted to the Brshat-tune. Professor Hillebrandt, l.c., p. 22, has, indeed, tried to show that these two tunes play an important part in early India in connection with the celebration of the solstices. A similar alternation of simans to that of the Hotr’s Prishthastotra obtains at the third, or Brahman4kkhamsin’s Prish¢ha-stotra; the Naudhasa-siman (II, 35, 36) being used at the Agnishfoma, and the Syaita-siman at the Ukthya-sacrifice. As regards the second (or Maitravaruma’s) and fourth (or Ak&hfvaka’s) Prishtha-stotras, on the other hand, the same siman—viz. the V&madevya (II, 32-34) and Kfleya (II, 37, 38) respectively —is used both at the Agnishfoma and Ukthya. INTRODUCTION. Xvii
3As regards the second (or Maitravaruma’s) and fourth (or Ak&hfvaka’s) Prishtha-stotras, on the other hand, the same siman—viz. the V&madevya (II, 32-34) and Kfleya (II, 37, 38) respectively —is used both at the Agnishfoma and Ukthya. INTRODUCTION. Xvii immolation of a ram to Indra; and one additional chant, the shodasi-stotra, with its attendant sastra and Soma-cup. The most natural explanation of the name is the one supplied, in the first place, by Ait. Br. IV, 1 (as interpreted by Sayana)}—viz. the sacrifice which has sixteen, or a sixteenth, stotra’. But, as the name applies not only to the sacrifice but also to the stotra and sastra, the Brahmama further justifies the name by the peculiar composition of the shodasi-sastra in which the number sixteen prevails *. Very probably, however, the name may have belonged to the sacrifice long before the sastra, for symbolic reasons, had assumed the peculiar form it now presents. In this summary of the characteristic features of the forms of Soma-sacrifice presupposed by the Vagapeya, no mention has yet been made of the Atyagnish¢oma, or redundant Agnishfoma, which usually occupies the second place in the list of samsthdés. This form of sacrifice is indeed very little used, and there can be little doubt that it was introduced into the system, as Professor Weber suggests, merely for the sake of bringing up the Somasamsth4s to the sacred number of seven. This sacrifice is obtained by the addition of the shodasi-stotra to the twelve chants of the Agnish/oma, as well as of the special Somacup and sacrificial victim for Indra, connected with that chant. It may thus be considered as a short form of the Shodasin-sacrifice (though without the full complement of stotras implied in that name), which might have suited the views of such ritualists as held the sastras of the Hotrakas at the evening service to be superfluous *. The distinctive feature of the Atir4tra-sacrifice, as the name itself indicates, is an ‘overnight’ performance of chants and recitations, consisting of three rounds of four stotras and sastras each. At the end of each round 1 This is also the explanation of the term given by Sayama in his commentary on Tandya Br. XII, 13, 1. 2 See this translation, part ii, p. 402, note 1. > See part ii, p. 402, note 2, where it is stated that the tenth and last day of the Dasaratra is an Atyagnishfoma day, called Avivakya, i.e. one on which there should be no dispute or quarrel. [41] b Xvili SATAPATHA-~BRAHMANA.
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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