Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1XII, 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. (paryaya) libations are affered, followed by the inevitable potations of Soma-liquor. That the performance, indeed, partook largely of the character of a regular nocturnal carousal, may be gathered from the fact, specially mentioned in the Aitareya Brahmaaa, that each of the Hotrz’s offeringformulas is to contain the three words—‘andhas,’ Somaplant (or liquor), ‘pa,’ to drink, and ‘mada,’ intoxication. Accordingly, one of the formulas used is Rig-veda II, 19, 1 apdyy asy4zndhaso madaya, ‘there has been drunk (by Indra, or by us) of this juice for intoxication.’ The twelve stotras, each of which is chanted to a different tune, are followed up, at daybreak, by the Sandhi-stotra, or twilightchant, consisting of six verses (S4ma-veda S. II, 99-104) chanted to the Rathantara-tune. This chant is succeeded by the Hotr?'s recitation of the Asvina-sastra, a modification of the ordinary ‘pratar-anuvaka,’ or morning-litany, by which the pressing-day of a Soma-sacrifice is ushered in'. The Atiratra also requires a special victim, viz. a he-goat offered to Sarasvati, the goddess of speech. As regards the ceremonies preceding the night-performance, there is again a difference of opinion among ritualists as to whether the shodasi-stotra, with its attendant rites, is, or is not, a necessary element of the Atiratra?. Some authorities °, accordingly, distinctly recognise two different kinds of Atiratra,—one with, and the other without, the shodasin. In Katy4yana’s Satra, there is no allusion to any difference of opinion on this point, but, in specifying the victims required at the different Soma-sacrifices, he merely remarks (IX, 8, 5) that, ‘ At the Atiratra there is a fourth victim to Sarasvati.’ This would certainly seem to imply that there are also to be the three preceding victims, including the one to Indra peculiar to the Shodasin. Asvalayana (V, 11, 1) also refers incidentally to the shodasin as part of the ’ See part ii, p. 226 seq. On the present occasion the Pratur-anuvaka is, however, to consist of as many verses as, counting their syllables, would make up a thousand brshatt-verses (of thirty-six syllables each). The three sections of the ordinary morning-litany from the body of the Asvina-sastra which concludes, after sunrise, with verses addressed to S(irya, the sun. 2 Cf. Lary. Sr. VIII, 1, 16; IX, §, 33 with commentary. 3 Notably Tasdya Br. XX, 1, I seq. INTRODUCTION. xix
2The three sections of the ordinary morning-litany from the body of the Asvina-sastra which concludes, after sunrise, with verses addressed to S(irya, the sun. 2 Cf. Lary. Sr. VIII, 1, 16; IX, §, 33 with commentary. 3 Notably Tasdya Br. XX, 1, I seq. INTRODUCTION. xix Atiratra, though it is not quite clear from the text of the sitra whether it is meant to be a necessary or only an optional feature of that sacrifice. The Aitareya Brahmanxa (IV, 6), on the other hand, in treating of the Atirdtra, enters on a discussion with the view of showing that the night-performance of that sacrifice is in every respect equal to the preceding day-performance ; and accordingly, as the three services of the day-performance include fifteen chants and recitations (viz. the twelve of the Agnish¢oma, and the three Ukthas), so, during the night, the three rounds of in all twelve stotras, together with the sandhi-stotra, here counted as three stotras (triplets), make up the requisite fifteen chants. This Brahmama, then, does not recognise the shodasin as part of the Atiratra, and, indeed, the manuals of the Atiratra chants which I have consulted make no mention of the shodasi-stotra, though it is distinctly mentioned there among the chants of the Vagapeya and the Aptoryama. The passage in the Aitareya, just referred to, also seems to raise the question as to whether the Atiratra is really an ekaha, or whether it is not rather an ahina-sacrifice. On this point also the authorities seem to differ; whilst most writers take the Atiratra, and the analogous Aptory4ma, to be ‘one-day’ sacrifices, the Tandya Brahmama (XX) and LAty. IX, 5, 6 class them along with the Ahinas!; and they may indeed be regarded as intermediate links between the two classes of Somasacrifice, inasmuch as, in a continued sacrificial performance, the final recitations of these sacrifices take the place of the opening ceremony of the next day’s performance. Such, for instance, is the case in the performance of the Atiratra as the opening day of the Dvddasdha, or twelve days’ period of sacrifice; whilst in the performance of the twelfth and concluding day, which is likewise an Atiratra, the concluding ceremonies of the latter might be considered in ! The Aitareya Brahmaza (VI, 18) in discussing the so-called samp4ta hymns inserted in continued performances, with the view of establishing a symbolic connection between the several days, curiously explains the term ‘ahfna,’ not from ‘ahas’ day, but as meaning ‘not defective, where nothing is left out’ (a-hina). b2 XX SATAPATHA-BRAHMANA. a manner superabundant. It is probably in this sense that Laty. (IX, 5, 4) calls the overnight performance of the last day of an ahina (e.g. the Dvadasdha) the yag#apukka, or tail of the sacrifice, which is to fall beyond the month for which, from the time of the initiation, the ahina is to last.
3a manner superabundant. It is probably in this sense that Laty. (IX, 5, 4) calls the overnight performance of the last day of an ahina (e.g. the Dvadasdha) the yag#apukka, or tail of the sacrifice, which is to fall beyond the month for which, from the time of the initiation, the ahina is to last. The Aptory4ma-sacrifice represents an amplified form of the Atiratra. It requires the shodasi-stotra and the ceremonies connected with it as a necessary element of its performance ; whilst its distinctive feature consists in four additional (atirikta-) stotras and sastras, chanted and recited after the Asvina-sastra, the concluding recitation of the Atiratra. These four chants are arranged in such a manner that each successive stotra is chanted to a different tune, and in a more advanced form of composition, from the trivrzt (nine-versed) up to the ekavismsa (twentyone-versed) stoma. In the liturgical manuals, the Aptoryama, moreover, performs the function of serving as the model for a sacrificial performance with all the ‘prishzkas!.’ Though this mode of chanting has been repeatedly referred to in the translation and notes, a few additional remarks on this subject may not be out of place here. When performed in its ‘prish¢ka’ form, the stotra is so arranged that a certain sdman (or chanted triplet) is enclosed, as the ‘garbha’ (embryo), within some other s4man which, as its ‘ prishtha’ (i.e. back, or flanks), is chanted a number of times before and after the verses of the central sAman. The tunes most commonly used for forming the enclosing smans of a Prish¢ka-stotra are the Rathantara and Brzhat; and along with these, four others are singled out to make up the six PrishtAa-sdmans kar’ éfoyyv, viz. the Vairdpa (with the text Sama-veda II, 212-13), Vairaga (II, 277-9), Sakvara? (chanted on the Mah4ndamni verses, ' From Asvalayana’s rule (IX, 11, 4), ‘If they chant in forming the garbha (i.e. in the ‘ prishtha ’ form), let him (the Hots? or Hotraka) recite in the same way the stotriyas and anuriipas,’ it seems, however, clear that the Aptoryama may also be performed without the Prish¢has. 2 The original text of the Sakvara-siman is stated (by Sayava on Aitar. Br. IV, 13; Mahfdhara on Vag. S. X, 14, &c.) to be Sama-veda IJ, 1151-3, ‘pro shv asmai puroratham,’ but the Sama-veda Gnas do not seem to give the tune INTRODUCTION. Xx
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.
1XII, 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. (paryaya) libations are affered, followed by the inevitable potations of Soma-liquor. That the performance, indeed, partook largely of the character of a regular nocturnal carousal, may be gathered from the fact, specially mentioned in the Aitareya Brahmaaa, that each of the Hotrz’s offeringformulas is to contain the three words—‘andhas,’ Somaplant (or liquor), ‘pa,’ to drink, and ‘mada,’ intoxication. Accordingly, one of the formulas used is Rig-veda II, 19, 1 apdyy asy4zndhaso madaya, ‘there has been drunk (by Indra, or by us) of this juice for intoxication.’ The twelve stotras, each of which is chanted to a different tune, are followed up, at daybreak, by the Sandhi-stotra, or twilightchant, consisting of six verses (S4ma-veda S. II, 99-104) chanted to the Rathantara-tune. This chant is succeeded by the Hotr?'s recitation of the Asvina-sastra, a modification of the ordinary ‘pratar-anuvaka,’ or morning-litany, by which the pressing-day of a Soma-sacrifice is ushered in'. The Atiratra also requires a special victim, viz. a he-goat offered to Sarasvati, the goddess of speech. As regards the ceremonies preceding the night-performance, there is again a difference of opinion among ritualists as to whether the shodasi-stotra, with its attendant rites, is, or is not, a necessary element of the Atiratra?. Some authorities °, accordingly, distinctly recognise two different kinds of Atiratra,—one with, and the other without, the shodasin. In Katy4yana’s Satra, there is no allusion to any difference of opinion on this point, but, in specifying the victims required at the different Soma-sacrifices, he merely remarks (IX, 8, 5) that, ‘ At the Atiratra there is a fourth victim to Sarasvati.’ This would certainly seem to imply that there are also to be the three preceding victims, including the one to Indra peculiar to the Shodasin. Asvalayana (V, 11, 1) also refers incidentally to the shodasin as part of the ’ See part ii, p. 226 seq. On the present occasion the Pratur-anuvaka is, however, to consist of as many verses as, counting their syllables, would make up a thousand brshatt-verses (of thirty-six syllables each). The three sections of the ordinary morning-litany from the body of the Asvina-sastra which concludes, after sunrise, with verses addressed to S(irya, the sun. 2 Cf. Lary. Sr. VIII, 1, 16; IX, §, 33 with commentary. 3 Notably Tasdya Br. XX, 1, I seq. INTRODUCTION. xix
2The three sections of the ordinary morning-litany from the body of the Asvina-sastra which concludes, after sunrise, with verses addressed to S(irya, the sun. 2 Cf. Lary. Sr. VIII, 1, 16; IX, §, 33 with commentary. 3 Notably Tasdya Br. XX, 1, I seq. INTRODUCTION. xix Atiratra, though it is not quite clear from the text of the sitra whether it is meant to be a necessary or only an optional feature of that sacrifice. The Aitareya Brahmanxa (IV, 6), on the other hand, in treating of the Atirdtra, enters on a discussion with the view of showing that the night-performance of that sacrifice is in every respect equal to the preceding day-performance ; and accordingly, as the three services of the day-performance include fifteen chants and recitations (viz. the twelve of the Agnish¢oma, and the three Ukthas), so, during the night, the three rounds of in all twelve stotras, together with the sandhi-stotra, here counted as three stotras (triplets), make up the requisite fifteen chants. This Brahmama, then, does not recognise the shodasin as part of the Atiratra, and, indeed, the manuals of the Atiratra chants which I have consulted make no mention of the shodasi-stotra, though it is distinctly mentioned there among the chants of the Vagapeya and the Aptoryama. The passage in the Aitareya, just referred to, also seems to raise the question as to whether the Atiratra is really an ekaha, or whether it is not rather an ahina-sacrifice. On this point also the authorities seem to differ; whilst most writers take the Atiratra, and the analogous Aptory4ma, to be ‘one-day’ sacrifices, the Tandya Brahmama (XX) and LAty. IX, 5, 6 class them along with the Ahinas!; and they may indeed be regarded as intermediate links between the two classes of Somasacrifice, inasmuch as, in a continued sacrificial performance, the final recitations of these sacrifices take the place of the opening ceremony of the next day’s performance. Such, for instance, is the case in the performance of the Atiratra as the opening day of the Dvddasdha, or twelve days’ period of sacrifice; whilst in the performance of the twelfth and concluding day, which is likewise an Atiratra, the concluding ceremonies of the latter might be considered in ! The Aitareya Brahmaza (VI, 18) in discussing the so-called samp4ta hymns inserted in continued performances, with the view of establishing a symbolic connection between the several days, curiously explains the term ‘ahfna,’ not from ‘ahas’ day, but as meaning ‘not defective, where nothing is left out’ (a-hina). b2 XX SATAPATHA-BRAHMANA. a manner superabundant. It is probably in this sense that Laty. (IX, 5, 4) calls the overnight performance of the last day of an ahina (e.g. the Dvadasdha) the yag#apukka, or tail of the sacrifice, which is to fall beyond the month for which, from the time of the initiation, the ahina is to last.
3a manner superabundant. It is probably in this sense that Laty. (IX, 5, 4) calls the overnight performance of the last day of an ahina (e.g. the Dvadasdha) the yag#apukka, or tail of the sacrifice, which is to fall beyond the month for which, from the time of the initiation, the ahina is to last. The Aptory4ma-sacrifice represents an amplified form of the Atiratra. It requires the shodasi-stotra and the ceremonies connected with it as a necessary element of its performance ; whilst its distinctive feature consists in four additional (atirikta-) stotras and sastras, chanted and recited after the Asvina-sastra, the concluding recitation of the Atiratra. These four chants are arranged in such a manner that each successive stotra is chanted to a different tune, and in a more advanced form of composition, from the trivrzt (nine-versed) up to the ekavismsa (twentyone-versed) stoma. In the liturgical manuals, the Aptoryama, moreover, performs the function of serving as the model for a sacrificial performance with all the ‘prishzkas!.’ Though this mode of chanting has been repeatedly referred to in the translation and notes, a few additional remarks on this subject may not be out of place here. When performed in its ‘prish¢ka’ form, the stotra is so arranged that a certain sdman (or chanted triplet) is enclosed, as the ‘garbha’ (embryo), within some other s4man which, as its ‘ prishtha’ (i.e. back, or flanks), is chanted a number of times before and after the verses of the central sAman. The tunes most commonly used for forming the enclosing smans of a Prish¢ka-stotra are the Rathantara and Brzhat; and along with these, four others are singled out to make up the six PrishtAa-sdmans kar’ éfoyyv, viz. the Vairdpa (with the text Sama-veda II, 212-13), Vairaga (II, 277-9), Sakvara? (chanted on the Mah4ndamni verses, ' From Asvalayana’s rule (IX, 11, 4), ‘If they chant in forming the garbha (i.e. in the ‘ prishtha ’ form), let him (the Hots? or Hotraka) recite in the same way the stotriyas and anuriipas,’ it seems, however, clear that the Aptoryama may also be performed without the Prish¢has. 2 The original text of the Sakvara-siman is stated (by Sayava on Aitar. Br. IV, 13; Mahfdhara on Vag. S. X, 14, &c.) to be Sama-veda IJ, 1151-3, ‘pro shv asmai puroratham,’ but the Sama-veda Gnas do not seem to give the tune INTRODUCTION. Xx
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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