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Romanised transliteration as printed by the translator, not the original script. This is what we hold.
12 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 Aitar. Ar. IV), and Raivata! sAmans, These six sAmans are employed during the six days’ sacrificial period called Prishthya-shadaha, in such a way that one of them, in the order in which they are here enumerated, is used for the first, or Hotrs’s, Prish¢ha-stotra on the successive days of that period. In that case, however, these stotras are not performed in the proper ‘prish¢ka’ form ?, i.e. they have no other sAman inserted within them, but they are treated like any other triplet according to the particular stoma, or mode of composition, prescribed for them. But, on the other hand, in the Aptory4ma, when performed ‘ with all the Prishzhas,’ not only are a number of stotras chanted in the proper ‘prish¢ha’ form, but the ‘prishta’ element asserts itself in yet another way, viz. by the appearance of all the six ‘ Prish¢ka-samans’ in the course of the performance of the different stotras, in this way :—the Rathantara-tune forms the middlemost of the seven triplets of which the Madhyandina-pavamana is composed ; with that text, but with the Mahf&n&mnt verses (ed. Bibl. Ind. II, p. 371). The Tasdya Br. XIII, 4 (and comm.), gives minute directions as to the particular padas of the first three MahanAmnf triplets which are singled out as of a sakvara (potent) nature, and are supposed to form the three stotriy4 verses of the sikvara-siman, consisting of seven, six, and five padas respectively. The asakvara pAdas are, however, likewise chanted in their respective places, as is also the additional tenth verse, the five padas of which are treated as mere supplementary (or ‘ filling in’) matter. 1 That is, the Varavanttya-tune adapted to the ‘ Revatf’ verses. The Varavanttya-tune is named after its original text, Rig-veda I, 27, 1, ‘asvam.na tv varavantam’ (Sdma-veda, ed. Bibl. Ind. I, p. 121). When used as one of the Prishtha-simans it is not, however, this, its original text, that is chanted to it, but the verses Rig-veda I, 30, 13-15, ‘revattr na& sadhamada’ (Sdma-veda II, 434-6, ed. vol. iv, p. 56), whence the tune, as adapted to this triplet, is usually called Raivata. The Raivata-siman, thus, is a signal instance of the use of the term ‘siman’ in the sense of a chanted verse or triplet.
2vol. iv, p. 56), whence the tune, as adapted to this triplet, is usually called Raivata. The Raivata-siman, thus, is a signal instance of the use of the term ‘siman’ in the sense of a chanted verse or triplet. 2 The statement, in part ii, p. 403 note (and repeated in the present part, p. 6, note 2), that, while the Prish//a-stotras of the Abhiplava-shadaha are performed in the ordinary (Agnishtoma) way, the Prishtfya-shadaha requires their performance in the proper Présh¢ha form, is not correct. In both kinds of shadaha, the Prishtha-stotras are performed in the ordinary way (viz. in the Agnishfoma or Ukthya way, see p. 4 note); but whilst, in the Abhiplava, the Rathantara and Brshat-sdmans are used for the Hotr#’s Prishtha-stotra on alternate days, the Prish‘hya-shadaha requires a different Prishtha-siman on each of the six days. The two kinds of shadahas also differ entirely in regard to the sequence of stomas prescribed for the performance of the stotras, b3 XXil SATAPATHA-BRAHMANA. the Brzhat forms the ‘garbha,’ or enclosed sdman, of the Agnish¢oma-siman!; the Vairtpa the ‘garbha’ of the third, the Vair4ga that of the first, the SAkvara that of the second, and the Raivata that of the fourth, Prishthastotra. It is doubtless this feature which gives to certain Soma-days the name of ‘sarvaprishtha,’ or one performed with all the (six) Prishthas. Then, as regards the particular stotras that are chanted in the proper ‘ prishtha’ form, these include not only the four so-called Préshthastotras of the midday service, but also the four Agyastotras of the morning service, as well as the Agnishtomasdman and the three Uktha-stotras of the evening service,— in short, all the first fifteen stotras with the exception of the three Pavam4na-stotras. Of the stotras which succeed the Ukthas, on the other hand—viz. the Shodasin, the twelve chants of the three night-rounds, the Sandhi-stotra, and the four Atirikta-stotras—not one is performed in the ‘prishtha’ form. How often the several verses of the ‘prish¢ha-sdman,’ and those of the ‘garbha’ are to be chanted, of course depends, in each case, not only on the particular stoma which has to be performed, but.also on the particular mode (vish¢uti) prescribed, or selected, for the stoma. Thus, while all the four Agya-stotras are chanted in the paskadasa, or fifteen-versed-stoma; the four Prishtha-stotras are to be performed in the ekaviszsa (of twenty-one verses), the aturvimsa (of twenty-four verses), the Aatuskatvarimsa (of forty-four verses), and the ash/akatvarimsa (of forty-eight verses) respectively. Now whenever, as in the case of the pazzadasa and the ekavimsastomas, the number of verses is divisible by three, one third of the total number of verses is usually assigned to each of the three parts of the stotra, and distributed over the respective (three or sometimes four) verses of that sdman *.
3» Either the Rathantara or the Brzhat also forms the ‘ préshrha,’ or enclosing sfman, of the first Prish¢ha-stotra. 2 Whenever the stotra is not performed in the ‘ prish¢ha’ form, but consists of a single siman or triplet, the repetitions required to make up the number of verses implied in the respective stoma, are distributed over the three verses of the saman in such a way that the whole siman is chanted thrice, each time with various repetitions of the single verses. The usual form in which the INTRODUCTION. XXili To illustrate this tripartite composition, the Hotrz’s Prishzka-stotra, performed in the twenty-one-versed stoma, may be taken as an example. For the ‘prish¢ha, the manuals give the Brzhat-sdman, on its original text (SAmaveda II, 159, 160, ‘tv4m id dhi havAmahe,’ arranged so as to form three verses), though the Rathantara may be used instead}. For the ‘garbha,’ or enclosed s4man, on the other hand, the Vairdga-sdman (with its original text, S. V. II, 277-9, ‘pib4 somam indra mandatu tv’) is to be used, a most elaborate tune’, with long sets of stobhas, or musical ejaculations, inserted in the text. Of the twenty-one verses, of which the stoma consists, seven verses would thus fall to the share of the ‘garbha,’ and seven verses to that of the ‘ prishtha,’ as chanted before and after the ‘garbha.’ Thus, in accordance with the formula set forth in p. xxii, note 2, the three verses (a, b, c) of the Brihat would be chanted in the form aaa—bbb-c; then the verses of the Vairaga-sdman (as ‘ garbha’) in the form a-bbb-ccc; and finally again the Brizhat in the form aaa-b-ccc. Stotras, the total number of verses of which is not divisible by three, of course require a slightly different distribution. Thus, of the third Prish¢ha-stotra, the stoma of which consists of forty-four verses, the two parts of the ‘ prish¢ka’ obtain fifteen verses each, whilst the ‘garbha’ has only fourteen verses for its share. The V4agapeya, the last of the seven forms of a complete Soma-sacrifice, occupies an independent position beside the Atiraétra and Aptorydma, whose special features it does not share. Like them, it starts from the Shodasin, to the characteristic (sixteenth) chant (and recitation) of which it adds one more stotra, the Vagapeya-sdman, chanted to the Brzhat-tune, in the Saptadasa (seventeen-versed) stoma, and followed by the recitation of the Vagapeyasastra. The Saptadasa-stoma, indeed, is so characteristic of this sacrifice that—as has been set forth at p. 8 note ekavimsa is performed may be represented by the formula aaa—bbb-c ; a-bbbecc ; aaa—b-ccc, making together twenty-one verses. 1 Asval. Sr. IX, 3, 4-5. ? It is given somewhat imperfectly in the ed. Bibl. Ind. V, p. 391. XXIV 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.
12 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 Aitar. Ar. IV), and Raivata! sAmans, These six sAmans are employed during the six days’ sacrificial period called Prishthya-shadaha, in such a way that one of them, in the order in which they are here enumerated, is used for the first, or Hotrs’s, Prish¢ha-stotra on the successive days of that period. In that case, however, these stotras are not performed in the proper ‘prish¢ka’ form ?, i.e. they have no other sAman inserted within them, but they are treated like any other triplet according to the particular stoma, or mode of composition, prescribed for them. But, on the other hand, in the Aptory4ma, when performed ‘ with all the Prishzhas,’ not only are a number of stotras chanted in the proper ‘prish¢ha’ form, but the ‘prishta’ element asserts itself in yet another way, viz. by the appearance of all the six ‘ Prish¢ka-samans’ in the course of the performance of the different stotras, in this way :—the Rathantara-tune forms the middlemost of the seven triplets of which the Madhyandina-pavamana is composed ; with that text, but with the Mahf&n&mnt verses (ed. Bibl. Ind. II, p. 371). The Tasdya Br. XIII, 4 (and comm.), gives minute directions as to the particular padas of the first three MahanAmnf triplets which are singled out as of a sakvara (potent) nature, and are supposed to form the three stotriy4 verses of the sikvara-siman, consisting of seven, six, and five padas respectively. The asakvara pAdas are, however, likewise chanted in their respective places, as is also the additional tenth verse, the five padas of which are treated as mere supplementary (or ‘ filling in’) matter. 1 That is, the Varavanttya-tune adapted to the ‘ Revatf’ verses. The Varavanttya-tune is named after its original text, Rig-veda I, 27, 1, ‘asvam.na tv varavantam’ (Sdma-veda, ed. Bibl. Ind. I, p. 121). When used as one of the Prishtha-simans it is not, however, this, its original text, that is chanted to it, but the verses Rig-veda I, 30, 13-15, ‘revattr na& sadhamada’ (Sdma-veda II, 434-6, ed. vol. iv, p. 56), whence the tune, as adapted to this triplet, is usually called Raivata. The Raivata-siman, thus, is a signal instance of the use of the term ‘siman’ in the sense of a chanted verse or triplet.
2vol. iv, p. 56), whence the tune, as adapted to this triplet, is usually called Raivata. The Raivata-siman, thus, is a signal instance of the use of the term ‘siman’ in the sense of a chanted verse or triplet. 2 The statement, in part ii, p. 403 note (and repeated in the present part, p. 6, note 2), that, while the Prish//a-stotras of the Abhiplava-shadaha are performed in the ordinary (Agnishtoma) way, the Prishtfya-shadaha requires their performance in the proper Présh¢ha form, is not correct. In both kinds of shadaha, the Prishtha-stotras are performed in the ordinary way (viz. in the Agnishfoma or Ukthya way, see p. 4 note); but whilst, in the Abhiplava, the Rathantara and Brshat-sdmans are used for the Hotr#’s Prishtha-stotra on alternate days, the Prish‘hya-shadaha requires a different Prishtha-siman on each of the six days. The two kinds of shadahas also differ entirely in regard to the sequence of stomas prescribed for the performance of the stotras, b3 XXil SATAPATHA-BRAHMANA. the Brzhat forms the ‘garbha,’ or enclosed sdman, of the Agnish¢oma-siman!; the Vairtpa the ‘garbha’ of the third, the Vair4ga that of the first, the SAkvara that of the second, and the Raivata that of the fourth, Prishthastotra. It is doubtless this feature which gives to certain Soma-days the name of ‘sarvaprishtha,’ or one performed with all the (six) Prishthas. Then, as regards the particular stotras that are chanted in the proper ‘ prishtha’ form, these include not only the four so-called Préshthastotras of the midday service, but also the four Agyastotras of the morning service, as well as the Agnishtomasdman and the three Uktha-stotras of the evening service,— in short, all the first fifteen stotras with the exception of the three Pavam4na-stotras. Of the stotras which succeed the Ukthas, on the other hand—viz. the Shodasin, the twelve chants of the three night-rounds, the Sandhi-stotra, and the four Atirikta-stotras—not one is performed in the ‘prishtha’ form. How often the several verses of the ‘prish¢ha-sdman,’ and those of the ‘garbha’ are to be chanted, of course depends, in each case, not only on the particular stoma which has to be performed, but.also on the particular mode (vish¢uti) prescribed, or selected, for the stoma. Thus, while all the four Agya-stotras are chanted in the paskadasa, or fifteen-versed-stoma; the four Prishtha-stotras are to be performed in the ekaviszsa (of twenty-one verses), the aturvimsa (of twenty-four verses), the Aatuskatvarimsa (of forty-four verses), and the ash/akatvarimsa (of forty-eight verses) respectively. Now whenever, as in the case of the pazzadasa and the ekavimsastomas, the number of verses is divisible by three, one third of the total number of verses is usually assigned to each of the three parts of the stotra, and distributed over the respective (three or sometimes four) verses of that sdman *.
3» Either the Rathantara or the Brzhat also forms the ‘ préshrha,’ or enclosing sfman, of the first Prish¢ha-stotra. 2 Whenever the stotra is not performed in the ‘ prish¢ha’ form, but consists of a single siman or triplet, the repetitions required to make up the number of verses implied in the respective stoma, are distributed over the three verses of the saman in such a way that the whole siman is chanted thrice, each time with various repetitions of the single verses. The usual form in which the INTRODUCTION. XXili To illustrate this tripartite composition, the Hotrz’s Prishzka-stotra, performed in the twenty-one-versed stoma, may be taken as an example. For the ‘prish¢ha, the manuals give the Brzhat-sdman, on its original text (SAmaveda II, 159, 160, ‘tv4m id dhi havAmahe,’ arranged so as to form three verses), though the Rathantara may be used instead}. For the ‘garbha,’ or enclosed s4man, on the other hand, the Vairdga-sdman (with its original text, S. V. II, 277-9, ‘pib4 somam indra mandatu tv’) is to be used, a most elaborate tune’, with long sets of stobhas, or musical ejaculations, inserted in the text. Of the twenty-one verses, of which the stoma consists, seven verses would thus fall to the share of the ‘garbha,’ and seven verses to that of the ‘ prishtha,’ as chanted before and after the ‘garbha.’ Thus, in accordance with the formula set forth in p. xxii, note 2, the three verses (a, b, c) of the Brihat would be chanted in the form aaa—bbb-c; then the verses of the Vairaga-sdman (as ‘ garbha’) in the form a-bbb-ccc; and finally again the Brizhat in the form aaa-b-ccc. Stotras, the total number of verses of which is not divisible by three, of course require a slightly different distribution. Thus, of the third Prish¢ha-stotra, the stoma of which consists of forty-four verses, the two parts of the ‘ prish¢ka’ obtain fifteen verses each, whilst the ‘garbha’ has only fourteen verses for its share. The V4agapeya, the last of the seven forms of a complete Soma-sacrifice, occupies an independent position beside the Atiraétra and Aptorydma, whose special features it does not share. Like them, it starts from the Shodasin, to the characteristic (sixteenth) chant (and recitation) of which it adds one more stotra, the Vagapeya-sdman, chanted to the Brzhat-tune, in the Saptadasa (seventeen-versed) stoma, and followed by the recitation of the Vagapeyasastra. The Saptadasa-stoma, indeed, is so characteristic of this sacrifice that—as has been set forth at p. 8 note ekavimsa is performed may be represented by the formula aaa—bbb-c ; a-bbbecc ; aaa—b-ccc, making together twenty-one verses. 1 Asval. Sr. IX, 3, 4-5. ? It is given somewhat imperfectly in the ed. Bibl. Ind. V, p. 391. XXIV 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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