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Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1This same oblation he offers till the day before the Soma-feast, for thus that performance of his has been commenced; and he (Savitrz, the Sun) becomes serene during that sacrifice. SrconpD BRAHMANA. 1. He draws the Amsu! (graha), just for completeness’ sake, for it is therefore that he draws 1 Regarding this cup, vu. libation (consisting, it would seem, of imperfectly pressed Soma-plants in water), see part ii, p. 424, note 1. Here, and in the sequel, the author only refers to those points of ceremonial in which the performance differs from that of the ordinary Agnish/oma sacrifice, as described in part ii. 6 SATAPATHA-BRAHMANA. the Amsu. After that he draws those recognised Agnishéoma cups? up to the Agrayana. 2. He then draws the Przsh¢hyas?: and whatever the gods (Agni, Indra, and Sarya) won by them, even that he wins by them. 3. He then draws the Shodasin: and whatever Indra won thereby, even that he (the sacrificer) wins thereby. 4. He then draws those five Vagapeya cups (for Indra; the first) with the text (V. S. IX, 2), ‘ Thee, the firm-seated, the man-seated, the mindseated! Thou art taken with a support?: I take thee, agreeable to Indra! This is thy womb (i.e. thy home): thee, most agreeable to Indra!’ therewith he deposits it; for of these ? Viz. the UpAmsu and Antary4ma; the Aindravayava, Maitravaruma and Asvina; the Sukra and Manthin; and the Agrayana. Part ii, pp. 256 seq. * That is, the three Atigrihyas (part ii, p. 402, note 2), required for the Prish/ha-stotras at the midday feast, when performed in their proper ‘ prish/ha’ form, as they are at the Prish¢hya shadaha, and at a Visvagit-ekaéha with all the Prishthas. See IV, 5, 4, 14. The authorities of the Black Yagus adopt a somewhat different arrangement. The Vagapeya cups are likewise called by them Atigrahyas (Taitt. S. I, 7, 12; T. B. I, 3, 9), and these are apparently drawn by them immediately after the second of the ordinary three Atigrahyas, the one belonging to Indra (T. S. vol. i, Pp. 996,—but see ib. p. 1055, where it is stated that they are drawn immediately after the Agrayana,—that is, probably, if the ordinary Atigrahyas are not required). Then follows (the third ordinary Atigrahya?), then the Shodasin, and thereupon the seventeen cups for Pragfpati—Sayaza remarks on our passage,—tesham (atigrahy4z4m) prakritigata tritvasamkhyaiva s&khAntaravat samkhy4ntaranupadesat. MS. I. O. 657. ’ For an explanation of these notions, see part ii, p. 260, notes 1 and 2. v KANDA, I ADHYAYA, 2 BRAHMANA, 8. 7 worlds this one, to wit the earth, is the firm one: this same world he thereby wins. 5. [The second with,] ‘ Thee, the water-seated, the ghee-seated, the ether-seated! Thou art taken with a support: I take thee, agreeable to Indra! This is thy womb: thee most agreeable to Indra!’ therewith he deposits it; for among these worlds that ether (mentioned in the formula) is this air: he thereby wins this air-world.
2Thou art taken with a support: I take thee, agreeable to Indra! This is thy womb: thee most agreeable to Indra!’ therewith he deposits it; for among these worlds that ether (mentioned in the formula) is this air: he thereby wins this air-world. 6. [The third with,] ‘Thee, the earth-seated, the air-seated, the sky-seated, the god-seated, the heaven-seated! Thou art taken with a support: I take thee, agreeable to Indra! This is thy womb: thee, most agreeable to Indra!’ therewith he deposits it; for god-seated, heaven-seated indeed is yonder world of the gods : the world of the gods he thereby wins. 7. [The fourth with V. S. 1X, 3,]‘ The waters’ invigorating essence, being contained in the sun,—that which is the essence of the waters’ essence, that, the most excellent, I take for you! Thou art taken with a support: I take thee, agreeable to Indra! This is thy womb: thee, most agreeable to Indra!’ therewith he deposits it; for the waters’ essence is he that blows (or purifies) yonder (the wind), and he is contained in the sun, he blows from the sun: that same essence he thereby wins. 8. [The fifth with IX, 4,]‘ Ye cups, of strengthening libations, inspiring the sage with thought,—I have gathered together the pith and sap of you, the handleless! Thou art taken witha support: thee, agreeable to Indra! This is thy womb: thee, most agreeable to 8 SATAPATHA-BRAHMANA. Indra!’ therewith he deposits it;—pith means essence : it is the essence he thereby wins. 9. These, then, are five Vagapeya cups he draws; for he who offers the Vagapeya wins Pragapati ; and Pragdpati is the year, and there are five seasons in the year,—he thus wins Pragdpati: therefore he draws five Vagapeya cups. 10. He (the Adhvaryu) then draws seventeen (other) cups of Soma, and (the Nesh¢7z) seventeen cups of Sura (spirituous liquor), for to Pragdpati belong these two (saps of) plants, to wit the Soma and the Sura ;—and of these two the Soma is truth, prosperity, light; and the Sura untruth, misery, darkness: both these (saps of) plants he thereby wins; for he who offers the Vagapeya wins everything here, since he wins Pragapati, and Pragdpati indeed is everything here. 11. Now as to why he draws seventeen cups of Soma ;—Pragapati is seventeenfold, Pragdpati is the sacrifice}: as great as the sacrifice is, as great as is
311. Now as to why he draws seventeen cups of Soma ;—Pragapati is seventeenfold, Pragdpati is the sacrifice}: as great as the sacrifice is, as great as is 1 See I, 5, 2, 17, where the principal formulas used in making oblations are computed as consisting together of seventeen syllables. Pash, Br. 18, 6 insists especially on the symbolic identity of Prag4pati and the Vagapeya on the double ground that the Vagapeya consists of seventeen stotras, and has for its characteristic mode of chanting the Saptadasa-stoma, or seventeen-versed hymn. That this is indeed so will appear from a glance at the chief chants. The Bahishpavamana-stotra, which in the ordinary Agnish/oma is chanted in the trivrit-stoma, consisting of three triplets, or nine verses (see part ii, p. 310), is at the Vagapeya made to consist of seventeen verses, by the insertion of eight verses (S.V. II, 180-82 ; 186-90) between the second and third triplets. Again, the M4dhyandina-pavam4na, ordinarily chanted in fifteen verses (part ii, p. 333), here consists of seventeen, viz. II, 105-7 (sung twice in two tunes=six verses); II, 663 (one verse); 11, 663-4 (sung as triplet, in two tunes=six verses); II, 665 (one verse); II, 821-23 v KANDA, I ADHYAYA, 2 BRAHMANA, 15. 9 its measure, with that much he thus wins its truth, its prosperity, its light. 12. And why he draws seventeen cups of Sura ;— Pragapati is seventeenfold, PragApati is the sacrifice : as great as the sacrifice is, as great as is its measure, with that much he thus wins its untruth, its misery, its darkness. 13. These two amount to thirty-four cups; for there are thirty-three gods, and Pragdpati is the thirty-fourth: he thus wins Prag&pati. 14. Now when he buys the king (Soma), he at the same time buys for a piece of lead the Parisrut (immature spirituous liquor) from a long-haired man near by towards the south. For a long-haired man is neither man nor woman ; for, being a male, he is not a woman ; and being long-haired (a eunuch), he is not a man. And that lead is neither iron nor gold; and the Parisrut-liquor is neither Soma nor Sura! : this is why he buys the Parisrut for a piece of lead from a long-haired man. 15. And on the preceding day they prepare two (three verses)—making together seventeen verses. Similarly, the Arbhava-pavam4na (chanted at the Agnish/oma also in the Saptadasa-stoma, cf. part ii, p. 315; but here with modifications) consists of II, 165-7 (sung twice in two tunes=six verses); II, 42, 44 (two verses); II, 47—9 (in two tunes=six verses); II, 720-23 (three verses}—making together seventeen verses. For the similarly constructed Vagapeya hymn see page 11, note 1. See also Lary. Sr. VIII, 11, 15 seq., where the number of officiating priests, as well as that of the various sacrificial fees, is fixed at seventeen. Similarly, Asv. Sr. IX, 9, 2-3 says that there are either to be seventeen diksh4s, or the whole ceremony is to be performed in seventeen days.
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.
1This same oblation he offers till the day before the Soma-feast, for thus that performance of his has been commenced; and he (Savitrz, the Sun) becomes serene during that sacrifice. SrconpD BRAHMANA. 1. He draws the Amsu! (graha), just for completeness’ sake, for it is therefore that he draws 1 Regarding this cup, vu. libation (consisting, it would seem, of imperfectly pressed Soma-plants in water), see part ii, p. 424, note 1. Here, and in the sequel, the author only refers to those points of ceremonial in which the performance differs from that of the ordinary Agnish/oma sacrifice, as described in part ii. 6 SATAPATHA-BRAHMANA. the Amsu. After that he draws those recognised Agnishéoma cups? up to the Agrayana. 2. He then draws the Przsh¢hyas?: and whatever the gods (Agni, Indra, and Sarya) won by them, even that he wins by them. 3. He then draws the Shodasin: and whatever Indra won thereby, even that he (the sacrificer) wins thereby. 4. He then draws those five Vagapeya cups (for Indra; the first) with the text (V. S. IX, 2), ‘ Thee, the firm-seated, the man-seated, the mindseated! Thou art taken with a support?: I take thee, agreeable to Indra! This is thy womb (i.e. thy home): thee, most agreeable to Indra!’ therewith he deposits it; for of these ? Viz. the UpAmsu and Antary4ma; the Aindravayava, Maitravaruma and Asvina; the Sukra and Manthin; and the Agrayana. Part ii, pp. 256 seq. * That is, the three Atigrihyas (part ii, p. 402, note 2), required for the Prish/ha-stotras at the midday feast, when performed in their proper ‘ prish/ha’ form, as they are at the Prish¢hya shadaha, and at a Visvagit-ekaéha with all the Prishthas. See IV, 5, 4, 14. The authorities of the Black Yagus adopt a somewhat different arrangement. The Vagapeya cups are likewise called by them Atigrahyas (Taitt. S. I, 7, 12; T. B. I, 3, 9), and these are apparently drawn by them immediately after the second of the ordinary three Atigrahyas, the one belonging to Indra (T. S. vol. i, Pp. 996,—but see ib. p. 1055, where it is stated that they are drawn immediately after the Agrayana,—that is, probably, if the ordinary Atigrahyas are not required). Then follows (the third ordinary Atigrahya?), then the Shodasin, and thereupon the seventeen cups for Pragfpati—Sayaza remarks on our passage,—tesham (atigrahy4z4m) prakritigata tritvasamkhyaiva s&khAntaravat samkhy4ntaranupadesat. MS. I. O. 657. ’ For an explanation of these notions, see part ii, p. 260, notes 1 and 2. v KANDA, I ADHYAYA, 2 BRAHMANA, 8. 7 worlds this one, to wit the earth, is the firm one: this same world he thereby wins. 5. [The second with,] ‘ Thee, the water-seated, the ghee-seated, the ether-seated! Thou art taken with a support: I take thee, agreeable to Indra! This is thy womb: thee most agreeable to Indra!’ therewith he deposits it; for among these worlds that ether (mentioned in the formula) is this air: he thereby wins this air-world.
2Thou art taken with a support: I take thee, agreeable to Indra! This is thy womb: thee most agreeable to Indra!’ therewith he deposits it; for among these worlds that ether (mentioned in the formula) is this air: he thereby wins this air-world. 6. [The third with,] ‘Thee, the earth-seated, the air-seated, the sky-seated, the god-seated, the heaven-seated! Thou art taken with a support: I take thee, agreeable to Indra! This is thy womb: thee, most agreeable to Indra!’ therewith he deposits it; for god-seated, heaven-seated indeed is yonder world of the gods : the world of the gods he thereby wins. 7. [The fourth with V. S. 1X, 3,]‘ The waters’ invigorating essence, being contained in the sun,—that which is the essence of the waters’ essence, that, the most excellent, I take for you! Thou art taken with a support: I take thee, agreeable to Indra! This is thy womb: thee, most agreeable to Indra!’ therewith he deposits it; for the waters’ essence is he that blows (or purifies) yonder (the wind), and he is contained in the sun, he blows from the sun: that same essence he thereby wins. 8. [The fifth with IX, 4,]‘ Ye cups, of strengthening libations, inspiring the sage with thought,—I have gathered together the pith and sap of you, the handleless! Thou art taken witha support: thee, agreeable to Indra! This is thy womb: thee, most agreeable to 8 SATAPATHA-BRAHMANA. Indra!’ therewith he deposits it;—pith means essence : it is the essence he thereby wins. 9. These, then, are five Vagapeya cups he draws; for he who offers the Vagapeya wins Pragapati ; and Pragdpati is the year, and there are five seasons in the year,—he thus wins Pragdpati: therefore he draws five Vagapeya cups. 10. He (the Adhvaryu) then draws seventeen (other) cups of Soma, and (the Nesh¢7z) seventeen cups of Sura (spirituous liquor), for to Pragdpati belong these two (saps of) plants, to wit the Soma and the Sura ;—and of these two the Soma is truth, prosperity, light; and the Sura untruth, misery, darkness: both these (saps of) plants he thereby wins; for he who offers the Vagapeya wins everything here, since he wins Pragapati, and Pragdpati indeed is everything here. 11. Now as to why he draws seventeen cups of Soma ;—Pragapati is seventeenfold, Pragdpati is the sacrifice}: as great as the sacrifice is, as great as is
311. Now as to why he draws seventeen cups of Soma ;—Pragapati is seventeenfold, Pragdpati is the sacrifice}: as great as the sacrifice is, as great as is 1 See I, 5, 2, 17, where the principal formulas used in making oblations are computed as consisting together of seventeen syllables. Pash, Br. 18, 6 insists especially on the symbolic identity of Prag4pati and the Vagapeya on the double ground that the Vagapeya consists of seventeen stotras, and has for its characteristic mode of chanting the Saptadasa-stoma, or seventeen-versed hymn. That this is indeed so will appear from a glance at the chief chants. The Bahishpavamana-stotra, which in the ordinary Agnish/oma is chanted in the trivrit-stoma, consisting of three triplets, or nine verses (see part ii, p. 310), is at the Vagapeya made to consist of seventeen verses, by the insertion of eight verses (S.V. II, 180-82 ; 186-90) between the second and third triplets. Again, the M4dhyandina-pavam4na, ordinarily chanted in fifteen verses (part ii, p. 333), here consists of seventeen, viz. II, 105-7 (sung twice in two tunes=six verses); II, 663 (one verse); 11, 663-4 (sung as triplet, in two tunes=six verses); II, 665 (one verse); II, 821-23 v KANDA, I ADHYAYA, 2 BRAHMANA, 15. 9 its measure, with that much he thus wins its truth, its prosperity, its light. 12. And why he draws seventeen cups of Sura ;— Pragapati is seventeenfold, PragApati is the sacrifice : as great as the sacrifice is, as great as is its measure, with that much he thus wins its untruth, its misery, its darkness. 13. These two amount to thirty-four cups; for there are thirty-three gods, and Pragdpati is the thirty-fourth: he thus wins Prag&pati. 14. Now when he buys the king (Soma), he at the same time buys for a piece of lead the Parisrut (immature spirituous liquor) from a long-haired man near by towards the south. For a long-haired man is neither man nor woman ; for, being a male, he is not a woman ; and being long-haired (a eunuch), he is not a man. And that lead is neither iron nor gold; and the Parisrut-liquor is neither Soma nor Sura! : this is why he buys the Parisrut for a piece of lead from a long-haired man. 15. And on the preceding day they prepare two (three verses)—making together seventeen verses. Similarly, the Arbhava-pavam4na (chanted at the Agnish/oma also in the Saptadasa-stoma, cf. part ii, p. 315; but here with modifications) consists of II, 165-7 (sung twice in two tunes=six verses); II, 42, 44 (two verses); II, 47—9 (in two tunes=six verses); II, 720-23 (three verses}—making together seventeen verses. For the similarly constructed Vagapeya hymn see page 11, note 1. See also Lary. Sr. VIII, 11, 15 seq., where the number of officiating priests, as well as that of the various sacrificial fees, is fixed at seventeen. Similarly, Asv. Sr. IX, 9, 2-3 says that there are either to be seventeen diksh4s, or the whole ceremony is to be performed in seventeen days.
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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