Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1201, note. ® ‘Ukha,’ the pan, is feminine, and represents the womb from which Agni is born. : VII KANDA, I ADHYAYA, I BRAHMANA, 44. 311 the seed of Agni Vaisvanara: he thus pours (sic) Agni Vaisvanara as seed into it. It should be even with the brim: the significance of this has been explained. 42. He then unlooses it, to keep it from chafing ; for if that which is yoked is not unloosed it is chafed. Now when yoked there, it (the fire-pan) bore this Agni within it as seed, and him it has now brought forth. It now conceives a second time; for the ‘Ukh&’ is a female, and hence when a female has brought forth the seed the first time, it conceives a second time. 43. [He unlooses it from the netting, with Vag. S. XII, 61] ‘Even asa mother her son, so hath the Earth borne Agni Purtshya,—that is, Agni, favourable to cattle ;—‘ she, the Ukh4, in her own womb;’ that is, the Ukh4 has borne Agni in her own womb ;—‘' May Prag4pati, the all-former, release her, in concert with the All-gods, the seasons!’ the All-gods doubtless are the seasons: thus Prag4pati, the all-former, releases it, in concert with the All-gods, the seasons. He deposits it north of the fire, at a cubit’s distance: the significance of this has been explained '. 44. He then pours milk into it,—it first receives seed, and now it receives milk ; for the fire-pan is a female : hence when a female receives seed, then it receives milk. The sand is below, and the milk above, for the seed is below, and the milk above. He pours it into the middle, so that thereon he may place the human head *. 1 VI, 3, 1, 30. 2 See VII, 5, 2, 14. 312 SATAPATHA-BRAHMANA. Sreconp BRAHMAWA. 1. Pragdpati produced creatures. Having produced creatures, and run the whole race, he became relaxed', From him, when relaxed, the vital air went out from within: then his vigour went out of him. That having gone out, he fell down. From him, thus fallen, food flowed forth : it was from that eye on which he lay that his food flowed. And, verily, there was then no firm foundation whatever here. 2. The gods spake, ‘Verily, there is no other foundation than this: let us restore even him, our father PragApati; he shall be our foundation.’ 3. They said unto Agni, ‘Verily, there is no foundation other than this: in thee we will restore this our father Pragdpati; he shall be our foundation.’—‘ What will then be my reward ?’ said he. 4. They spake, ‘This Pragdpati is food : with thee for our mouth we will eat that food, and he (Pragapati) shall be the food of us, having thee for our mouth.’ He said, ‘So be it!’ Therefore the gods eat food with Agni as their mouth ; for to whatsoever deity men offer, it is into Agni that they offer, since it is with Agni for their mouth that the gods thus took in the food.
25. Now the vital air which went out from within him is no other than the wind that blows yonder; and the vigour which went out of him is yonder sun ; and the food which flowed from him is all the food which there is within the year. 6. The gods heated him in the fire ; and when the * Literally, fallen asunder, i.e. broken to pieces, or disjointed (‘ opened,’ Delbriick, Synt. F. V, p. 385). VII KANDA, I ADHYAYA, 2 BRAHMANA, 10. 313 fire rose over him thus heated, that same vital air which had gone out from within him came back to him, and they put it into him; and the vigour which had gone out of him they put into him; and the food which had flowed from him they put into him. Having made him up entire and complete, they raised him (so as to stand) upright; and inasmuch as they thus raised him upright he is these worlds. 7. This (terrestrial) world truly is his foundation ; and what fire there is in this world that is his (Pragapati’s) downward vital air. And the air is his body, and what wind there is in the air, that is that vital air of his in the body. And the sky is his head; the sun and the moon are his eyes. The eye on which he lay is the moon: whence that one is much closed up, for the food flowed therefrom. 8. Now that same foundation which the gods thus restored is the foundation here even to this day, and will be so even hereafter. . 9. And the Pragdpati who became relaxed is this same Agni who is now being built up. And when _ that fire-pan lies there empty before being heated, it is just like Pragapati, as he lay there with the vital air and the vigour gone out of him, and the food having flowed out. 10. He heats it on the fire, even as the gods then heated him (PragApati). And when the fire rises over it thus heated, then that same vital air which went out from within him comes back to him, and he puts it into him. And when, putting on the gold plate, he wears it, he puts into him that very vigour which had gone out of him. And when he puts on kindling-sticks, he puts into him that very food which had flowed from him. 314 SATAPATHA-BRAHMANA. 11. He puts them on in the evening and morning, for the food both of the day and the night was flowing out. These same (ceremonies) should be (performed) during a whole year, for that Pragdpati whence those (substances) went out is the year: into that whole (Pragapati) he thus puts all that (which belongs to him). And in whatever part of this (year) he should therefore? not do so, into that part of him (Pragdpati) he would not put that (which belongs therein). ‘One must not even be a looker-on at the (building up of a fire) not carried about for a year, Vamakakshdyaza was wont to say, ‘lest he should see this our father Pragdpati being torn to pieces *.’ He restores him so as to be whole and complete, and raises him to stand upright, even as the gods then raised him.
312. This (terrestrial) world in truth is his (Pragépati’s) Garhapatya (hearth); and what fire there is in this world that to him is the fire on the Garhapatya. And what space there is between the Ahavantya and the Garhapatya, that is the air*; and that wind in * Or, in whatever part of this (year) from henceforward he should not do so. * It is very doubtful whether this second clause of the oratio directa is really meant to belong to Vamakaksh4yana’s argument, or whether it is the author’s own, in which case it has to be taken with what follows. ‘Lest he should. . . pieces, he (first) restores him,’ &c. That is, he is not to place him (Pragapati) in an upright position, until he has been completely restored. The particular form of the participle qualifying Prag&pati (viésidyam4na) might seem to favour the former alternative ; see, however, paragraph 23, antayo samskriyamanayor, ‘after the two ends have been perfected.’ * In this and the following paragraphs the ordinary position of subject and predicate seems often reversed: in the present case one would expect—that air is to him the space between the two fires, Vil KANDA, I ADHYAYA, 2 BRAHMANA, 15. 315 the air is for him the fire on the Agnidhrtya. The sky is his Ahavantya (hearth), and those two, the sun and the moon, are the fire on the Ahavantya. This then is indeed his own self}. 13. The Ahavantya truly is his head; and the fire which is on the Ahavantya is that vital air of his in the head. And as to why it (the Ahavantya) has wings and tail, it is because that vital air in the head has wings and tail*;—the eye is its head, the right ear its right wing, the left ear its left wing, the vital air its central body °, and the voice is the tail (and) the foundation (the feet): inasmuch as the vital airs subsist by eating food with speech (voice)*, the voice is the tail, the foundation. 14. And what space there is between the Ahavaniya and G4arhapatya, that is the body (trunk); and the fire on the Agntdhrtya is to him that vital air inside the body. The G§rhapatya is his foundation ; and the fire on the Garhapatya is his downward vital air. 15. Now some build it (the Garhapatya) in three layers, saying, ‘ There are here three downward vital airs. Let him not do so: they who do so do what is excessive,—one amounting to twenty-one, one amounting to the Anush¢ubh, and one amounting to the Bvzhatt ; for this (altar) is of one single form—a 1 Viz. the sacrificial ground thus becomes identical with the universe, i.e. with Pragdpati. 2 That is, it is (like) a bird. The word ‘préina’ might almost be rendered here by ‘the living being.’ 3 In the text this is reversed, the head is the eye, the right wing the right ear, the left wing the left ear, the central body the vital air, which can scarcely be the construction intended by the author. ‘ Or, with the mouth. In VIII, 5, 4,1; X, 5, 2, 15, ‘vak’ is identified with the tongue. 316 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.
1201, note. ® ‘Ukha,’ the pan, is feminine, and represents the womb from which Agni is born. : VII KANDA, I ADHYAYA, I BRAHMANA, 44. 311 the seed of Agni Vaisvanara: he thus pours (sic) Agni Vaisvanara as seed into it. It should be even with the brim: the significance of this has been explained. 42. He then unlooses it, to keep it from chafing ; for if that which is yoked is not unloosed it is chafed. Now when yoked there, it (the fire-pan) bore this Agni within it as seed, and him it has now brought forth. It now conceives a second time; for the ‘Ukh&’ is a female, and hence when a female has brought forth the seed the first time, it conceives a second time. 43. [He unlooses it from the netting, with Vag. S. XII, 61] ‘Even asa mother her son, so hath the Earth borne Agni Purtshya,—that is, Agni, favourable to cattle ;—‘ she, the Ukh4, in her own womb;’ that is, the Ukh4 has borne Agni in her own womb ;—‘' May Prag4pati, the all-former, release her, in concert with the All-gods, the seasons!’ the All-gods doubtless are the seasons: thus Prag4pati, the all-former, releases it, in concert with the All-gods, the seasons. He deposits it north of the fire, at a cubit’s distance: the significance of this has been explained '. 44. He then pours milk into it,—it first receives seed, and now it receives milk ; for the fire-pan is a female : hence when a female receives seed, then it receives milk. The sand is below, and the milk above, for the seed is below, and the milk above. He pours it into the middle, so that thereon he may place the human head *. 1 VI, 3, 1, 30. 2 See VII, 5, 2, 14. 312 SATAPATHA-BRAHMANA. Sreconp BRAHMAWA. 1. Pragdpati produced creatures. Having produced creatures, and run the whole race, he became relaxed', From him, when relaxed, the vital air went out from within: then his vigour went out of him. That having gone out, he fell down. From him, thus fallen, food flowed forth : it was from that eye on which he lay that his food flowed. And, verily, there was then no firm foundation whatever here. 2. The gods spake, ‘Verily, there is no other foundation than this: let us restore even him, our father PragApati; he shall be our foundation.’ 3. They said unto Agni, ‘Verily, there is no foundation other than this: in thee we will restore this our father Pragdpati; he shall be our foundation.’—‘ What will then be my reward ?’ said he. 4. They spake, ‘This Pragdpati is food : with thee for our mouth we will eat that food, and he (Pragapati) shall be the food of us, having thee for our mouth.’ He said, ‘So be it!’ Therefore the gods eat food with Agni as their mouth ; for to whatsoever deity men offer, it is into Agni that they offer, since it is with Agni for their mouth that the gods thus took in the food.
25. Now the vital air which went out from within him is no other than the wind that blows yonder; and the vigour which went out of him is yonder sun ; and the food which flowed from him is all the food which there is within the year. 6. The gods heated him in the fire ; and when the * Literally, fallen asunder, i.e. broken to pieces, or disjointed (‘ opened,’ Delbriick, Synt. F. V, p. 385). VII KANDA, I ADHYAYA, 2 BRAHMANA, 10. 313 fire rose over him thus heated, that same vital air which had gone out from within him came back to him, and they put it into him; and the vigour which had gone out of him they put into him; and the food which had flowed from him they put into him. Having made him up entire and complete, they raised him (so as to stand) upright; and inasmuch as they thus raised him upright he is these worlds. 7. This (terrestrial) world truly is his foundation ; and what fire there is in this world that is his (Pragapati’s) downward vital air. And the air is his body, and what wind there is in the air, that is that vital air of his in the body. And the sky is his head; the sun and the moon are his eyes. The eye on which he lay is the moon: whence that one is much closed up, for the food flowed therefrom. 8. Now that same foundation which the gods thus restored is the foundation here even to this day, and will be so even hereafter. . 9. And the Pragdpati who became relaxed is this same Agni who is now being built up. And when _ that fire-pan lies there empty before being heated, it is just like Pragapati, as he lay there with the vital air and the vigour gone out of him, and the food having flowed out. 10. He heats it on the fire, even as the gods then heated him (PragApati). And when the fire rises over it thus heated, then that same vital air which went out from within him comes back to him, and he puts it into him. And when, putting on the gold plate, he wears it, he puts into him that very vigour which had gone out of him. And when he puts on kindling-sticks, he puts into him that very food which had flowed from him. 314 SATAPATHA-BRAHMANA. 11. He puts them on in the evening and morning, for the food both of the day and the night was flowing out. These same (ceremonies) should be (performed) during a whole year, for that Pragdpati whence those (substances) went out is the year: into that whole (Pragapati) he thus puts all that (which belongs to him). And in whatever part of this (year) he should therefore? not do so, into that part of him (Pragdpati) he would not put that (which belongs therein). ‘One must not even be a looker-on at the (building up of a fire) not carried about for a year, Vamakakshdyaza was wont to say, ‘lest he should see this our father Pragdpati being torn to pieces *.’ He restores him so as to be whole and complete, and raises him to stand upright, even as the gods then raised him.
312. This (terrestrial) world in truth is his (Pragépati’s) Garhapatya (hearth); and what fire there is in this world that to him is the fire on the Garhapatya. And what space there is between the Ahavantya and the Garhapatya, that is the air*; and that wind in * Or, in whatever part of this (year) from henceforward he should not do so. * It is very doubtful whether this second clause of the oratio directa is really meant to belong to Vamakaksh4yana’s argument, or whether it is the author’s own, in which case it has to be taken with what follows. ‘Lest he should. . . pieces, he (first) restores him,’ &c. That is, he is not to place him (Pragapati) in an upright position, until he has been completely restored. The particular form of the participle qualifying Prag&pati (viésidyam4na) might seem to favour the former alternative ; see, however, paragraph 23, antayo samskriyamanayor, ‘after the two ends have been perfected.’ * In this and the following paragraphs the ordinary position of subject and predicate seems often reversed: in the present case one would expect—that air is to him the space between the two fires, Vil KANDA, I ADHYAYA, 2 BRAHMANA, 15. 315 the air is for him the fire on the Agnidhrtya. The sky is his Ahavantya (hearth), and those two, the sun and the moon, are the fire on the Ahavantya. This then is indeed his own self}. 13. The Ahavantya truly is his head; and the fire which is on the Ahavantya is that vital air of his in the head. And as to why it (the Ahavantya) has wings and tail, it is because that vital air in the head has wings and tail*;—the eye is its head, the right ear its right wing, the left ear its left wing, the vital air its central body °, and the voice is the tail (and) the foundation (the feet): inasmuch as the vital airs subsist by eating food with speech (voice)*, the voice is the tail, the foundation. 14. And what space there is between the Ahavaniya and G4arhapatya, that is the body (trunk); and the fire on the Agntdhrtya is to him that vital air inside the body. The G§rhapatya is his foundation ; and the fire on the Garhapatya is his downward vital air. 15. Now some build it (the Garhapatya) in three layers, saying, ‘ There are here three downward vital airs. Let him not do so: they who do so do what is excessive,—one amounting to twenty-one, one amounting to the Anush¢ubh, and one amounting to the Bvzhatt ; for this (altar) is of one single form—a 1 Viz. the sacrificial ground thus becomes identical with the universe, i.e. with Pragdpati. 2 That is, it is (like) a bird. The word ‘préina’ might almost be rendered here by ‘the living being.’ 3 In the text this is reversed, the head is the eye, the right wing the right ear, the left wing the left ear, the central body the vital air, which can scarcely be the construction intended by the author. ‘ Or, with the mouth. In VIII, 5, 4,1; X, 5, 2, 15, ‘vak’ is identified with the tongue. 316 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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