Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1See 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. * According to Sayama, the difference between sur4 and parisrut would seem to be that the former beverage is prepared from mature shoots (of rice, &c.), and the latter from such as are not quite ripe. 10 SATAPATHA-BRAHMANA. earth-mounds !, the one in front of the axle, and the other behind the axle: ‘Lest we should deposit together the cups of Soma, and the cups of Sur4,’— this is why, on the preceding day, they prepare two mounds, one in front, and the other behind the axle. 16. Now, when they take the Vasativart water? (into the havirdhana shed) by the front door, the Neshé¢rz takes in the Parisrut-liquor by the back door. From the south they bring in the drinking vessels. The Adhvaryu, seated in front of the axle, with his face towards the west, draws the cups of Soma; and the Neshérz, seated behind the axle, with his face towards the east, draws the cups of Sur4. The Adhvaryu draws a cup of Soma, the Neshérvz a cup of Sura; the Adhvaryu draws a cup of Soma, the Nesh¢vz a cup of Sura: in this way they draw them alternately. 17. Neither does the Adhvaryu hold the Somacup beyond the axle towards the back, nor the Neshérz the Sura-cup beyond the axle towards the front, thinking, ‘Lest we should confound light and darkness !’ 18. The Adhvaryu holds the Soma-cup just over the axle, and the Neshérz the Sur4-cup just below 1 The mounds (khara) thrown up in the havirdh4na cart-shed, are used for placing the cups of Soma (and Sur4) after they are drawn, until they are used for the libations. See the plan of the sacrificial ground at the end of part ii; only that on the present occasion there is to be a second mound, for the placing of the Sur4cups, under or just behind the axle of the southern Soma-cart (in the place where the Narésamsa cups to the Fathers were temporarily deposited at the Agnishfoma; see III, 6, 2, 25 with note). On this occasion a small door is also made in the southern wall of the cart-shed, by breaking through the hurdle. ® Part ii, p. 322 seq. v KANDA, I ADHYAYA, 3 BRAHMANA, I. II the axle, with (V. S. 1X, 4), ‘United ye are: unite me with happiness!’ Thinking, ‘ Lest we should say “evil”, they withdraw them again, with, ‘Disunited ye are: disunite me from evil!’ Even as one might tear a single reed from a clump of reed-grass, so do they thereby tear him from out of all evil: there is not in him so much sin as the point of a grass-blade. They deposit the two (cups each time on the mounds).
2They deposit the two (cups each time on the mounds). 19. Thereupon the Adhvaryu draws the Madhugraha (honey-cup) in a golden vessel, and deposits it in the middle of the Soma-grahas. He then draws the Ukthya, then the Dhruva. And when, at the last chant (of the evening press feast’), he has poured those Soma-grahas one by one into the cups of the officiating priests, they make offering and drink them. At the midday-pressing it is told regarding the honey-cup, and the cups of Sura: thereof then . TuIRD BRAHMANA. 1. At the Agnish#oma (SAman’) he seizes a (victim) for Agni, for the Agnish¢oma (i. e. ‘Agni’s * The last chant (at the evening feast) of the Vagapeya sacrifice is the so-called Vagapeya-s4man, or Brehat-stotra (Sdmav. II, 975-7), chanted, to the Brshat tune, in the Saptadasa-stoma ; the three verses being, by repetitions, raised to the number of seventeen.—‘ When he has poured ... they offer it:’ this is apparently a case of the absolute construction of the gerund in ‘-ya,’ cf. Delbrtick, Altindische Syntax, p. 108. * On these cups, or libations, see V, 1, 5, 28. * Of the seven fundamental forms (samsth4) of Soma-sacrifice, each higher, or more complex, form is obtained by some additional ceremony, or ceremonies, being added on to one of the simpler forms of sacrifice. In the present paragraph, the author briefly teviews the lower forms of Soma-sacrifice, contained in the V4ga- 12 SATAPATHA-BRAHMANA. praise?’) is Agni: he thereby wins Agni. For the Ukthas® he seizes one for Indra and Agni; for the hymns (uktha) relate to Indra and Agni*: the hymns he thereby wins. For the Shodasin he seizes one for Indra; for the Shodasin is Indra : the Shodasin (Indra) he thereby wins. 2. For the seventeenth (or seventeenfold) stotra‘ he seizes one for Sarasvatt: thereby, while there is no over-night performance §, it is yet made like the night (performance) ; for he who offers the Vaga- peya, with the view of enumerating the victims to be slaughtered at its performance; viz. the Agnish/oma with twelve chants and one victim ; the Ukthya with fifteen stotras and two victims; and the Shodasin with sixteen chants and three victims. For further particulars, see part ii, p. 397, note 2. 1 The Agnish/oma-s4man, the last (twelfth) and distinctive stotra of the Agnish/oma sacrifice, is in praise of Agni (see part ii, p. 368, note 2). At the VAgdpeya the ordinary (yag#ayagfiya) hymn is not chanted, but S.V. II, 973-4, sung to the Varavanttya tune (Calc. ed., vol. v, p. 144), takes its place. Pa#s, Br. 18, 6, 16. * The three Uktha stotras (chants) and sastras (recitations) constitute the distinctive element of the Ukthya sacrifice; as the Shodasi-stotra and sastra (part ii, p. 401, note 3; p. 402, note 1) constitute that of the Shodasin sacrifice. ® On the important place assigned to these two deities in the traditional arrangement of the Rigveda-samhit4, see the introduction to part i, p. xvi. ‘ That is the Vagapeya-s4man, see note 1, p. II.
3401, note 3; p. 402, note 1) constitute that of the Shodasin sacrifice. ® On the important place assigned to these two deities in the traditional arrangement of the Rigveda-samhit4, see the introduction to part i, p. xvi. ‘ That is the Vagapeya-s4man, see note 1, p. II. 5 The author here alludes to another form of Soma-sacrifice, not contained in the Vagapeya, viz. the Atirdtra, which is obtained by following up the Shodasin (with its sixteen chants) with the so-called rAtri-paryd4y4A, or night-rounds, consisting of three rounds of four chants each, or together twelve chants. These are succeeded, at day-break, by the Sandhi-stotra (or twilight chants), consisting of three chants. Although this night performance does not take place on the present occasion—the V4gapeya-siman taking its place—the author claims for this form of sacrifice also the moral benefits which would accrue to the sacrificer from the Atiratra, for the reason that the same victim (a he-goat for Sarasvatf) is offered on both occasions. v KANDA, I ADHYAYA, 3 BRAHMANA, 4. 13 peya wins Prag4pati, and Pragdpati is the year: by that (victim) for Sarasvatt he now wins the night: hence, while there is no night performance, it is made like the night. 3. Thereupon he seizes a spotted sterile cow for the Victorious Maruts; for the spotted sterile cow is this (earth): whatever food, rooted and rootless, is here established on her, thereby she is a spotted cow. Now, he who offers the VAgapeya wins food, for vaga-peya! doubtless means the same as anna-peya (food and drink); and the Maruts are the peasants, and the peasants are food (for the noble). ‘ To the Victorious (Maruts) !’ he says, even for the sake of victory. It is difficult to obtain an invitatory and offering prayer containing the word ‘ victorious :’ if he should be unable to obtain such as contain the word ‘victorious, any other two verses to the Maruts will do. Difficult to obtain also is a spotted sterile cow: if he cannot obtain a spotted sterile cow, any other sterile cow will do. 4. The course of procedure thereof (is as follows). When the Hotz? recites after the Mahendra libation, . then let them proceed with (the offering of) her omentum, for that, the M4hendra 2, is Indra’s special (nishkevalya) libation ; and his also are the Nishkevalya-stotra and Nishkevalya-sastra. Now the sacrificer is Indra: thus he thereby puts strength into the sacrificer in the very middle (of the sacri- ‘In Taitt. Br. I, 3, 2, 3, on the other hand, vagapeya (which doubtless means ‘drink of strength’) is explained first by vag4pya, ‘that through which the gods wished to obtain (aipsan) strength (vagam),’ and then by ‘drink of strength,’ i.e. Soma ‘by drinking (pitva) which one becomes strong (vagin).’ * For this libation, and the accompanying Nishkevalya-sastra, at the midday Soma-feast, see part ii, pp. 338, 339, note 2. 14 SATAPATHA-BRAHMANA. fice): that is why they should proceed with her omentum at that particular time.
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.
1See 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. * According to Sayama, the difference between sur4 and parisrut would seem to be that the former beverage is prepared from mature shoots (of rice, &c.), and the latter from such as are not quite ripe. 10 SATAPATHA-BRAHMANA. earth-mounds !, the one in front of the axle, and the other behind the axle: ‘Lest we should deposit together the cups of Soma, and the cups of Sur4,’— this is why, on the preceding day, they prepare two mounds, one in front, and the other behind the axle. 16. Now, when they take the Vasativart water? (into the havirdhana shed) by the front door, the Neshé¢rz takes in the Parisrut-liquor by the back door. From the south they bring in the drinking vessels. The Adhvaryu, seated in front of the axle, with his face towards the west, draws the cups of Soma; and the Neshérz, seated behind the axle, with his face towards the east, draws the cups of Sur4. The Adhvaryu draws a cup of Soma, the Neshérvz a cup of Sura; the Adhvaryu draws a cup of Soma, the Nesh¢vz a cup of Sura: in this way they draw them alternately. 17. Neither does the Adhvaryu hold the Somacup beyond the axle towards the back, nor the Neshérz the Sura-cup beyond the axle towards the front, thinking, ‘Lest we should confound light and darkness !’ 18. The Adhvaryu holds the Soma-cup just over the axle, and the Neshérz the Sur4-cup just below 1 The mounds (khara) thrown up in the havirdh4na cart-shed, are used for placing the cups of Soma (and Sur4) after they are drawn, until they are used for the libations. See the plan of the sacrificial ground at the end of part ii; only that on the present occasion there is to be a second mound, for the placing of the Sur4cups, under or just behind the axle of the southern Soma-cart (in the place where the Narésamsa cups to the Fathers were temporarily deposited at the Agnishfoma; see III, 6, 2, 25 with note). On this occasion a small door is also made in the southern wall of the cart-shed, by breaking through the hurdle. ® Part ii, p. 322 seq. v KANDA, I ADHYAYA, 3 BRAHMANA, I. II the axle, with (V. S. 1X, 4), ‘United ye are: unite me with happiness!’ Thinking, ‘ Lest we should say “evil”, they withdraw them again, with, ‘Disunited ye are: disunite me from evil!’ Even as one might tear a single reed from a clump of reed-grass, so do they thereby tear him from out of all evil: there is not in him so much sin as the point of a grass-blade. They deposit the two (cups each time on the mounds).
2They deposit the two (cups each time on the mounds). 19. Thereupon the Adhvaryu draws the Madhugraha (honey-cup) in a golden vessel, and deposits it in the middle of the Soma-grahas. He then draws the Ukthya, then the Dhruva. And when, at the last chant (of the evening press feast’), he has poured those Soma-grahas one by one into the cups of the officiating priests, they make offering and drink them. At the midday-pressing it is told regarding the honey-cup, and the cups of Sura: thereof then . TuIRD BRAHMANA. 1. At the Agnish#oma (SAman’) he seizes a (victim) for Agni, for the Agnish¢oma (i. e. ‘Agni’s * The last chant (at the evening feast) of the Vagapeya sacrifice is the so-called Vagapeya-s4man, or Brehat-stotra (Sdmav. II, 975-7), chanted, to the Brshat tune, in the Saptadasa-stoma ; the three verses being, by repetitions, raised to the number of seventeen.—‘ When he has poured ... they offer it:’ this is apparently a case of the absolute construction of the gerund in ‘-ya,’ cf. Delbrtick, Altindische Syntax, p. 108. * On these cups, or libations, see V, 1, 5, 28. * Of the seven fundamental forms (samsth4) of Soma-sacrifice, each higher, or more complex, form is obtained by some additional ceremony, or ceremonies, being added on to one of the simpler forms of sacrifice. In the present paragraph, the author briefly teviews the lower forms of Soma-sacrifice, contained in the V4ga- 12 SATAPATHA-BRAHMANA. praise?’) is Agni: he thereby wins Agni. For the Ukthas® he seizes one for Indra and Agni; for the hymns (uktha) relate to Indra and Agni*: the hymns he thereby wins. For the Shodasin he seizes one for Indra; for the Shodasin is Indra : the Shodasin (Indra) he thereby wins. 2. For the seventeenth (or seventeenfold) stotra‘ he seizes one for Sarasvatt: thereby, while there is no over-night performance §, it is yet made like the night (performance) ; for he who offers the Vaga- peya, with the view of enumerating the victims to be slaughtered at its performance; viz. the Agnish/oma with twelve chants and one victim ; the Ukthya with fifteen stotras and two victims; and the Shodasin with sixteen chants and three victims. For further particulars, see part ii, p. 397, note 2. 1 The Agnish/oma-s4man, the last (twelfth) and distinctive stotra of the Agnish/oma sacrifice, is in praise of Agni (see part ii, p. 368, note 2). At the VAgdpeya the ordinary (yag#ayagfiya) hymn is not chanted, but S.V. II, 973-4, sung to the Varavanttya tune (Calc. ed., vol. v, p. 144), takes its place. Pa#s, Br. 18, 6, 16. * The three Uktha stotras (chants) and sastras (recitations) constitute the distinctive element of the Ukthya sacrifice; as the Shodasi-stotra and sastra (part ii, p. 401, note 3; p. 402, note 1) constitute that of the Shodasin sacrifice. ® On the important place assigned to these two deities in the traditional arrangement of the Rigveda-samhit4, see the introduction to part i, p. xvi. ‘ That is the Vagapeya-s4man, see note 1, p. II.
3401, note 3; p. 402, note 1) constitute that of the Shodasin sacrifice. ® On the important place assigned to these two deities in the traditional arrangement of the Rigveda-samhit4, see the introduction to part i, p. xvi. ‘ That is the Vagapeya-s4man, see note 1, p. II. 5 The author here alludes to another form of Soma-sacrifice, not contained in the Vagapeya, viz. the Atirdtra, which is obtained by following up the Shodasin (with its sixteen chants) with the so-called rAtri-paryd4y4A, or night-rounds, consisting of three rounds of four chants each, or together twelve chants. These are succeeded, at day-break, by the Sandhi-stotra (or twilight chants), consisting of three chants. Although this night performance does not take place on the present occasion—the V4gapeya-siman taking its place—the author claims for this form of sacrifice also the moral benefits which would accrue to the sacrificer from the Atiratra, for the reason that the same victim (a he-goat for Sarasvatf) is offered on both occasions. v KANDA, I ADHYAYA, 3 BRAHMANA, 4. 13 peya wins Prag4pati, and Pragdpati is the year: by that (victim) for Sarasvatt he now wins the night: hence, while there is no night performance, it is made like the night. 3. Thereupon he seizes a spotted sterile cow for the Victorious Maruts; for the spotted sterile cow is this (earth): whatever food, rooted and rootless, is here established on her, thereby she is a spotted cow. Now, he who offers the VAgapeya wins food, for vaga-peya! doubtless means the same as anna-peya (food and drink); and the Maruts are the peasants, and the peasants are food (for the noble). ‘ To the Victorious (Maruts) !’ he says, even for the sake of victory. It is difficult to obtain an invitatory and offering prayer containing the word ‘ victorious :’ if he should be unable to obtain such as contain the word ‘victorious, any other two verses to the Maruts will do. Difficult to obtain also is a spotted sterile cow: if he cannot obtain a spotted sterile cow, any other sterile cow will do. 4. The course of procedure thereof (is as follows). When the Hotz? recites after the Mahendra libation, . then let them proceed with (the offering of) her omentum, for that, the M4hendra 2, is Indra’s special (nishkevalya) libation ; and his also are the Nishkevalya-stotra and Nishkevalya-sastra. Now the sacrificer is Indra: thus he thereby puts strength into the sacrificer in the very middle (of the sacri- ‘In Taitt. Br. I, 3, 2, 3, on the other hand, vagapeya (which doubtless means ‘drink of strength’) is explained first by vag4pya, ‘that through which the gods wished to obtain (aipsan) strength (vagam),’ and then by ‘drink of strength,’ i.e. Soma ‘by drinking (pitva) which one becomes strong (vagin).’ * For this libation, and the accompanying Nishkevalya-sastra, at the midday Soma-feast, see part ii, pp. 338, 339, note 2. 14 SATAPATHA-BRAHMANA. fice): that is why they should proceed with her omentum at that particular time.
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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