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Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1mitted in certain ceremonies, a Kshatriya or Vai^ya officiates, he, as it were, becomes a Brahman (and is addressed as such) for the occasion, by means of the diksha, or rite of initiation. Cf. 6'at. Br. Ill, 2, I, 39; XIII' 4, I. 3- 26 S-ATAPATHA-BRAHMAiVA. or 'A broad-bottomed stone (gravan) art thou!' For, just as there (in the Soma-sacrifice) they press king Soma out with stones (grdvan), thus here also he prepares the oblation (havirya^/^a) by means of the mortar and pestle, and the large and small mill-stones \ Now 'stones (adraya/^)' is the common name of these, and therefore he says, ' a stone art thou.' And ' wooden,' he calls it, be- cause this one (the mortar) really is made of wood -. Or, he says, 'a broad-bottomed stone (gravan) art thou,' because it is both a stone and broad-bottomed. He adds : ' May Aditi's skin acknowledge (receive) thee ! ' whereby he establishes a mutual understand- ing between it (the mortar) and the black antelope skin, thinking: ' they will not injure each other.' 8. He then pours the (two portions of) rice (from the winnowing basket into the mortar), with the text (Va^. S. I, 15 a) : 'Thou art the body of Agni, thou the releaser of speech ! ' For it is (material for) sacrifice, and hence (by being offered in the fire) it becomes Agni's body. ' The releaser of speech,' he adds, because he now releases that speech which he restrained when he was about to take the rice (from the cart). The reason why he now releases his speech, is that the sacrifice has now obtained a firm footing in the mortar, that it has become diffused ; and for this reason he says, ' the releaser of speech ! ' * Here, as in I, 5, 2, 11 (havirya^we 'tha saumye 'dhvare), we have the simple division of the .Srauta-sacrifices into obla- tions (of ghee, milk, rice, barley, &c.) and libations (of Soma). More usually the pa^ubandhu, or animal-sacrifice, is added as a third division. See also I, 7, 2, lo. * The mortar (ulfikhala) and pestle (m us a la) are to be made of very hard wood, viz. both of vara«a wood (Cratcega Roxburghii), or the mortar of pala^-a wood (Butea Frondosa), and the pestle of I KANDA, I ADHYAVA, 4 BRAHMAiVA, II. 27 9. Should he, however (by some accident), utter any human sound before this time, let him in that case mutter some J^zk or Ya^is-text addressed to Vish;2u ^ ; for Vish;m is the sacrifice, so that he thereby again obtains a hold on the sacrifice, and penance is thereby done by him (for not keeping silent).
2any human sound before this time, let him in that case mutter some J^zk or Ya^is-text addressed to Vish;2u ^ ; for Vish;m is the sacrifice, so that he thereby again obtains a hold on the sacrifice, and penance is thereby done by him (for not keeping silent). He adds : ' For the pleasure of the gods I seize thee!' for the oblation is taken with the intention ' that it shall gladden the gods.' 10. He now takes the pestle, with the text (Va^. S. I, 14 b), * A large, wooden stone art thou!' for it is a large stone, and made of wood, too. He thrusts it down, with the text (Va^. S. I, 14 c), 'Do thou prepare this oblation for the gods - ! do thou prepare it thoroughly!' thereby saying, 'Get this oblation ready for the gods ! get it quite ready ! ' 11. He then calls the Havishkr/t^ (preparer of the sacrificial food), ' Havishkr/t, come hither ! Havishkm, come hither ! ' The Havishkm ^ no doubt is speech, so that he thereby frees speech from khadira wood (Acacia Catechu). The former is to be of the height of the knee, and the latter three aratnis (cubits) long. Schol. on Katy. I, 3, 36 ; M. Miiller, Die Todtenbestattung bci den Brah- manen, Zeitsch. der D. Morg. Ges. IX, p. xl. ' Katy. ^r. 11, 2, 6-7 lays down the general rule, that if the Brahman or Adhvaryu (and according to some, the sacrificer also) by some slip were to utter any sound during the time for which restraint of speech (vag-yama) is enjoined, they must atone for the transgression by muttering some mantra addressed to Vishwu, such as the couplet (Va^. S. V, 38, 41), ' Widely, O Vish;m, stride !' &c., or the formula (ib. I, 4), ' O Vish;m, preserve the sacrifice !' 2 Or ' for the god,' ' for the goddess,' as the case may be. ^ Or, he pronounces the havishkr/t formula, see next note. According to Katy. Sr. II, 4, 13 he calls out three separate times. * Havishkra denotes not only the person that prepares the oblation, but also this formula by which that person is called. 28 ^-ATAPATHA-BRAHMAiVA. restraint. And speech, moreover, represents sacrifices so that he thereby again calls the sacrifice to him. 12. Now there are four different forms of this call, viz. 'come hither (ehi)!' in the case of a Brahman; ' approach (agahi) !' and 'hasten hither (adrava) !' in the case of a Vai^^ya and a member of the military caste (ra^anyabandhu -) ; and 'run hither (adhava) !' in that of a .Stadra.
3rent forms of this call, viz. 'come hither (ehi)!' in the case of a Brahman; ' approach (agahi) !' and 'hasten hither (adrava) !' in the case of a Vai^^ya and a member of the military caste (ra^anyabandhu -) ; and 'run hither (adhava) !' in that of a .Stadra. On this occasion he uses the call that belongrs to a Brah- man, because that one is best adapted for a sacrifice, and is besides the most gentle : let him therefore say, 'come hither (ehi) !' 13. Now in former times it was no other than the wife (of the sacrificer) who rose at this (call, to act) as Havishkrzt; therefore now also (she or) some one (priest)^ rises in answer to this call. And at the time when he (the Adhvaryu) calls the Havish- ]<.rit, one of the priests ^ beats the two mill-stones. ' Viz. in the shape of the sacrificial formulas. ^ This inversion of the order of the second (or Kshatriya) and third (or Vai^ya) castes is rather strange. The Sutras of Bharadv., Apast., and Hirawy. assign the same formulas to the several castes as here. Cf. Hillebrandt, Neu- und Vollmondsopfer, p. 29. ^ According to the Schol. on Katy. Sr. II, 4, 13, either the wife of the patron or the Agnidhra (the priest who kindles the fire) acts as Havishkr/t. Mahidh. on Va^. S. I, 15 includes the patron (sacrificer) himself, unless ya^^am an a// patni is a misprint for ya^amanapatni. According to Apastamba, 'either a maid- servant or the wife grinds ; or the wife threshes and the 6'udra woman grinds' (cf. Schol. on Kaly. Sr. II, 5, 7). Similarly Bharadv. and Hirawy. ; cf. Hillebrandt, p. 38, n. 2. Similar cases of dif- ferences between the ritualistic practices of the present time and those of former times are very frequently alluded to in the ritualistic books ; and are of especial interest, as they afford some insight into the gradual development of the sacrificial ceremonial. Cf. Weber, Ind. Stud. X, 156 seq. * Viz. the Agnidhra, whilst seated north of the expansion I KAiVDA, I ADHYAYA, 4 BRAHMAiVA, 1 6. 29 The reason why they produce this discordant noise, is this : 14. Manu was in possession of a bull K Into him had entered an Asura-killing, foe-killing voice ; and by his snorting and roaring the Asuras and Rakshas were continually being crushed. Thereupon the Asuras said to one another : ' Evil, alas ! this bull inflicts upon us ! how can we possibly destroy him ?' Now Kilata and Akuli were the two priests (brahman) of the Asuras. 15.
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.
1mitted in certain ceremonies, a Kshatriya or Vai^ya officiates, he, as it were, becomes a Brahman (and is addressed as such) for the occasion, by means of the diksha, or rite of initiation. Cf. 6'at. Br. Ill, 2, I, 39; XIII' 4, I. 3- 26 S-ATAPATHA-BRAHMAiVA. or 'A broad-bottomed stone (gravan) art thou!' For, just as there (in the Soma-sacrifice) they press king Soma out with stones (grdvan), thus here also he prepares the oblation (havirya^/^a) by means of the mortar and pestle, and the large and small mill-stones \ Now 'stones (adraya/^)' is the common name of these, and therefore he says, ' a stone art thou.' And ' wooden,' he calls it, be- cause this one (the mortar) really is made of wood -. Or, he says, 'a broad-bottomed stone (gravan) art thou,' because it is both a stone and broad-bottomed. He adds : ' May Aditi's skin acknowledge (receive) thee ! ' whereby he establishes a mutual understand- ing between it (the mortar) and the black antelope skin, thinking: ' they will not injure each other.' 8. He then pours the (two portions of) rice (from the winnowing basket into the mortar), with the text (Va^. S. I, 15 a) : 'Thou art the body of Agni, thou the releaser of speech ! ' For it is (material for) sacrifice, and hence (by being offered in the fire) it becomes Agni's body. ' The releaser of speech,' he adds, because he now releases that speech which he restrained when he was about to take the rice (from the cart). The reason why he now releases his speech, is that the sacrifice has now obtained a firm footing in the mortar, that it has become diffused ; and for this reason he says, ' the releaser of speech ! ' * Here, as in I, 5, 2, 11 (havirya^we 'tha saumye 'dhvare), we have the simple division of the .Srauta-sacrifices into obla- tions (of ghee, milk, rice, barley, &c.) and libations (of Soma). More usually the pa^ubandhu, or animal-sacrifice, is added as a third division. See also I, 7, 2, lo. * The mortar (ulfikhala) and pestle (m us a la) are to be made of very hard wood, viz. both of vara«a wood (Cratcega Roxburghii), or the mortar of pala^-a wood (Butea Frondosa), and the pestle of I KANDA, I ADHYAVA, 4 BRAHMAiVA, II. 27 9. Should he, however (by some accident), utter any human sound before this time, let him in that case mutter some J^zk or Ya^is-text addressed to Vish;2u ^ ; for Vish;m is the sacrifice, so that he thereby again obtains a hold on the sacrifice, and penance is thereby done by him (for not keeping silent).
2any human sound before this time, let him in that case mutter some J^zk or Ya^is-text addressed to Vish;2u ^ ; for Vish;m is the sacrifice, so that he thereby again obtains a hold on the sacrifice, and penance is thereby done by him (for not keeping silent). He adds : ' For the pleasure of the gods I seize thee!' for the oblation is taken with the intention ' that it shall gladden the gods.' 10. He now takes the pestle, with the text (Va^. S. I, 14 b), * A large, wooden stone art thou!' for it is a large stone, and made of wood, too. He thrusts it down, with the text (Va^. S. I, 14 c), 'Do thou prepare this oblation for the gods - ! do thou prepare it thoroughly!' thereby saying, 'Get this oblation ready for the gods ! get it quite ready ! ' 11. He then calls the Havishkr/t^ (preparer of the sacrificial food), ' Havishkr/t, come hither ! Havishkm, come hither ! ' The Havishkm ^ no doubt is speech, so that he thereby frees speech from khadira wood (Acacia Catechu). The former is to be of the height of the knee, and the latter three aratnis (cubits) long. Schol. on Katy. I, 3, 36 ; M. Miiller, Die Todtenbestattung bci den Brah- manen, Zeitsch. der D. Morg. Ges. IX, p. xl. ' Katy. ^r. 11, 2, 6-7 lays down the general rule, that if the Brahman or Adhvaryu (and according to some, the sacrificer also) by some slip were to utter any sound during the time for which restraint of speech (vag-yama) is enjoined, they must atone for the transgression by muttering some mantra addressed to Vishwu, such as the couplet (Va^. S. V, 38, 41), ' Widely, O Vish;m, stride !' &c., or the formula (ib. I, 4), ' O Vish;m, preserve the sacrifice !' 2 Or ' for the god,' ' for the goddess,' as the case may be. ^ Or, he pronounces the havishkr/t formula, see next note. According to Katy. Sr. II, 4, 13 he calls out three separate times. * Havishkra denotes not only the person that prepares the oblation, but also this formula by which that person is called. 28 ^-ATAPATHA-BRAHMAiVA. restraint. And speech, moreover, represents sacrifices so that he thereby again calls the sacrifice to him. 12. Now there are four different forms of this call, viz. 'come hither (ehi)!' in the case of a Brahman; ' approach (agahi) !' and 'hasten hither (adrava) !' in the case of a Vai^^ya and a member of the military caste (ra^anyabandhu -) ; and 'run hither (adhava) !' in that of a .Stadra.
3rent forms of this call, viz. 'come hither (ehi)!' in the case of a Brahman; ' approach (agahi) !' and 'hasten hither (adrava) !' in the case of a Vai^^ya and a member of the military caste (ra^anyabandhu -) ; and 'run hither (adhava) !' in that of a .Stadra. On this occasion he uses the call that belongrs to a Brah- man, because that one is best adapted for a sacrifice, and is besides the most gentle : let him therefore say, 'come hither (ehi) !' 13. Now in former times it was no other than the wife (of the sacrificer) who rose at this (call, to act) as Havishkrzt; therefore now also (she or) some one (priest)^ rises in answer to this call. And at the time when he (the Adhvaryu) calls the Havish- ]<.rit, one of the priests ^ beats the two mill-stones. ' Viz. in the shape of the sacrificial formulas. ^ This inversion of the order of the second (or Kshatriya) and third (or Vai^ya) castes is rather strange. The Sutras of Bharadv., Apast., and Hirawy. assign the same formulas to the several castes as here. Cf. Hillebrandt, Neu- und Vollmondsopfer, p. 29. ^ According to the Schol. on Katy. Sr. II, 4, 13, either the wife of the patron or the Agnidhra (the priest who kindles the fire) acts as Havishkr/t. Mahidh. on Va^. S. I, 15 includes the patron (sacrificer) himself, unless ya^^am an a// patni is a misprint for ya^amanapatni. According to Apastamba, 'either a maid- servant or the wife grinds ; or the wife threshes and the 6'udra woman grinds' (cf. Schol. on Kaly. Sr. II, 5, 7). Similarly Bharadv. and Hirawy. ; cf. Hillebrandt, p. 38, n. 2. Similar cases of dif- ferences between the ritualistic practices of the present time and those of former times are very frequently alluded to in the ritualistic books ; and are of especial interest, as they afford some insight into the gradual development of the sacrificial ceremonial. Cf. Weber, Ind. Stud. X, 156 seq. * Viz. the Agnidhra, whilst seated north of the expansion I KAiVDA, I ADHYAYA, 4 BRAHMAiVA, 1 6. 29 The reason why they produce this discordant noise, is this : 14. Manu was in possession of a bull K Into him had entered an Asura-killing, foe-killing voice ; and by his snorting and roaring the Asuras and Rakshas were continually being crushed. Thereupon the Asuras said to one another : ' Evil, alas ! this bull inflicts upon us ! how can we possibly destroy him ?' Now Kilata and Akuli were the two priests (brahman) of the Asuras. 15.
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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