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Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1ivavekshawaw/ ya^amanenaiva kartavyam iti kasmat kara^at jraddha ^ata, evam ta;« jraddham prahasya, Say. The Ka;/va text omits this derisive remark. 78 ^ATAPATHA-BRAHMAA^A. 27. He looks down on it. The eye assuredly is the truth, for the eye is indeed the truth. If, there- fore, two persons were to come disputing with each other and saying, ' I have seen it!' 'I have heard it!' we should believe him who ; aid, 'I have seen it!' and not the other: hence he thereby causes it (the butter) to increase by means of the truth. 28. He looks down on it, with the text (Va^. S. I, 31), 'Lustrous art thou! resplendent art thou! im- mortal (or, ambrosia) art thou !' That prayer is indeed true, for that (butter) is lustrous, it is resplendent, it is immortal: hence he thereby causes it to increase by that (prayer) which is true. Second BRAHMAiVA. 1. Now the sacrifice is the man. The sacrifice is the man for the reason that the man spreads (per- forms) it; and that in being spread it is made of exactly the same extent as the man^ : this is the reason why the sacrifice is the man. 2. The^uhu (spoon) further belongs to that (man- shaped sacrifice) and so does the upabhr/t ; and the dhruva^ represents its trunk. Now it is from the ^ The sacrifice is the representation of the sacrificer himself; and hence its dimensions are to be those of a man, viz. the altar (vedi) on its western side is to measure a fathom, or space between the extreme ends of the outstretched arms (? of the sacrificer), which is supposed to be equal to the size of a man ; see I, 2, 5, 14. Originally these measurements were no doubt relative to the size of the sacrificer ; but it is doubtful whether this was still the case at the time of our author. "^ For a description of these spoons, see p. 67, note 2. Thc^^uhQ is supposed to represent the right, and the upabhr/t the left arm, and the dhruva the trunk. I KANDA, 3 ADHYAYA, 2 BRAHMAiVA, 8. 79 trunk that all these limbs proceed, and for this rea- son the entire sacrifice proceeds from the dhruva. 3. The dipping-spoon (sruva, masc.) is no other than the breath. This breath passes through (or, goes to) all the limbs, and for that reason the dipping- spoon goes to all the offering-spoons (sru/&, fem.). 4. That ^uhti further is to him no other than yonder sky, and the upabhr/t this atmosphere, and the dhruva this same (earth). Now it is from this (earth) that all the worlds originate : and from the dhruva, therefore, the whole sacrifice proceeds. 5.
2fem.). 4. That ^uhti further is to him no other than yonder sky, and the upabhr/t this atmosphere, and the dhruva this same (earth). Now it is from this (earth) that all the worlds originate : and from the dhruva, therefore, the whole sacrifice proceeds. 5. The dipping-spoon then is no other than that blowing one (the wind) ; it is this that sweeps across all these worlds: and for that reason the sruva goes to all the offering-spoons. 6. Now when this sacrifice is being performed, it is performed for the gods, the seasons, and the metres (or sacred texts). To the gods belongs what sacrificial food there is, to wit, king Soma and the sacrificial cake : all this he takes, while announcing it with the formula, ' I take thee, agreeable to so and so !' for thus it becomes theirs. 7. And whatever oblations of butter are taken, they are taken for the seasons and the metres. Every one of them he takes in the form of butter without announcing it (to any particular deity). In the ^hul he takes of it four times (with the sruva from the pot), in the upabhr^t eight times \ . 8. Now when he takes of it four times (with the sruva) in the/uhu, he takes it for the seasons, since ^ He takes butter in the ^uhu and upabhr/t by four or eight ladlings with the dipping-spoon. As we learn further on, the quantity taken in the ^uhia, by ladUng four times, should exceed that in the upabhrz't, although the latter requires eight ladlings. Cf.Kdty. II, 7,13. 8o 5'ATAPATHA-BRAHMAiVA. he takes it for the fore-offerings \ and the fore-offer- ings are the seasons : all this he takes in the form of butter without making any announcement, in order to avoid sameness ; for if he were to take it with the formulas 'For Spring (I take) thee!' 'For Summer — thee!' he would commit (the fau't of) a repetition ^ : he therefore takes it in the form of butter without making any announcement. 9. When, on the other hand, he takes eight times (with the sruva) in the upabhm, he takes it for the metres^ since it is for the after-offerings^ that he takes it ; and the after-offerings are the metres : all this he takes in the form of butter without making any announcement, in order to avoid .'ameness; for were he to take it with the formulas 'For the Gaya- tri — thee!' 'For the Trish/ubh — thee!' he would commit a repetition : he therefore takes it in the form of butter without making any announcement. 10.
3making any announcement, in order to avoid .'ameness; for were he to take it with the formulas 'For the Gaya- tri — thee!' 'For the Trish/ubh — thee!' he would commit a repetition : he therefore takes it in the form of butter without making any announcement. 10. Again, when he takes four times (with the sruva) ^ On the prayao-as, or oblations of clarified butter introductory to, and the anuya^as, oblations of the same material made subse- quently to, the chief sacrifice, see I, 5, 3, i seq., and I, 8, 2, i seq. "^ Repetition of one and the same sacrificial act on the same day is to be avoided, as far as possible. The repetition in the present case would consist in his announcing the butter-oblations to the several deities in the same way as he has done in regard to the rice- portions. See I, I, 2, 17-18. ^ On the frequent symbolical employment of the metres in the ritual, as the embodiment of supreme harmony and the eflicacy of prayer, see Weber, Ind. Stud. VIII, 8 seq. The three principal Vedic metres are the gayatri (three times eight syllables), the trish/ubh (four times eleven syllables), and the ^agati (four times twelve syllables) ; and three anuya^as there are at these sacrifices, viz. to the barhis or sacrificial grass, to Narai-awsa and Agni Svish- /akrz't respectively. In the present instance (see par. 16) the trish- /ubh and ^agati metres are taken together as one, and as a fourth is added the anush/ubh (four times eight syllables). I KANDA, 3 ADHYAYA, 2 BRAHMAA^A, 1 4. 8 1 in the dhruva, he takes it for the whole sacrifice, and all this he takes in the form of butter without mak- ing any announcement. To whom indeed should he announce it, since he cuts it off for all the deities ? He therefore takes it in the form of butter without making any announcement. 11. Now the sacrificer stands behind the ^uhu, and he who means evil to him stands behind the upabhrz't. The eater stands behind the^uhii, and what (or, he who) is to be eaten stands behind the upabhrz't. And the^uhta, indeed, is the eater, and the upabh?^n is that which is to be eaten. In the ^^uhii he takes four times (with the sruva), and in the upabhr/t eight times. 12. Now when he takes four times (butter) in the ^uh<i, he thereby makes the eater more limited, smaller ; and when he takes eight times in the upabh;'/t, he makes that which is to be eaten more unlimited, more abundant : for a flourishing con- dition indeed exists where the eater is smaller and that which is to be eaten more abundant. 13.
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.
1ivavekshawaw/ ya^amanenaiva kartavyam iti kasmat kara^at jraddha ^ata, evam ta;« jraddham prahasya, Say. The Ka;/va text omits this derisive remark. 78 ^ATAPATHA-BRAHMAA^A. 27. He looks down on it. The eye assuredly is the truth, for the eye is indeed the truth. If, there- fore, two persons were to come disputing with each other and saying, ' I have seen it!' 'I have heard it!' we should believe him who ; aid, 'I have seen it!' and not the other: hence he thereby causes it (the butter) to increase by means of the truth. 28. He looks down on it, with the text (Va^. S. I, 31), 'Lustrous art thou! resplendent art thou! im- mortal (or, ambrosia) art thou !' That prayer is indeed true, for that (butter) is lustrous, it is resplendent, it is immortal: hence he thereby causes it to increase by that (prayer) which is true. Second BRAHMAiVA. 1. Now the sacrifice is the man. The sacrifice is the man for the reason that the man spreads (per- forms) it; and that in being spread it is made of exactly the same extent as the man^ : this is the reason why the sacrifice is the man. 2. The^uhu (spoon) further belongs to that (man- shaped sacrifice) and so does the upabhr/t ; and the dhruva^ represents its trunk. Now it is from the ^ The sacrifice is the representation of the sacrificer himself; and hence its dimensions are to be those of a man, viz. the altar (vedi) on its western side is to measure a fathom, or space between the extreme ends of the outstretched arms (? of the sacrificer), which is supposed to be equal to the size of a man ; see I, 2, 5, 14. Originally these measurements were no doubt relative to the size of the sacrificer ; but it is doubtful whether this was still the case at the time of our author. "^ For a description of these spoons, see p. 67, note 2. Thc^^uhQ is supposed to represent the right, and the upabhr/t the left arm, and the dhruva the trunk. I KANDA, 3 ADHYAYA, 2 BRAHMAiVA, 8. 79 trunk that all these limbs proceed, and for this rea- son the entire sacrifice proceeds from the dhruva. 3. The dipping-spoon (sruva, masc.) is no other than the breath. This breath passes through (or, goes to) all the limbs, and for that reason the dipping- spoon goes to all the offering-spoons (sru/&, fem.). 4. That ^uhti further is to him no other than yonder sky, and the upabhr/t this atmosphere, and the dhruva this same (earth). Now it is from this (earth) that all the worlds originate : and from the dhruva, therefore, the whole sacrifice proceeds. 5.
2fem.). 4. That ^uhti further is to him no other than yonder sky, and the upabhr/t this atmosphere, and the dhruva this same (earth). Now it is from this (earth) that all the worlds originate : and from the dhruva, therefore, the whole sacrifice proceeds. 5. The dipping-spoon then is no other than that blowing one (the wind) ; it is this that sweeps across all these worlds: and for that reason the sruva goes to all the offering-spoons. 6. Now when this sacrifice is being performed, it is performed for the gods, the seasons, and the metres (or sacred texts). To the gods belongs what sacrificial food there is, to wit, king Soma and the sacrificial cake : all this he takes, while announcing it with the formula, ' I take thee, agreeable to so and so !' for thus it becomes theirs. 7. And whatever oblations of butter are taken, they are taken for the seasons and the metres. Every one of them he takes in the form of butter without announcing it (to any particular deity). In the ^hul he takes of it four times (with the sruva from the pot), in the upabhr^t eight times \ . 8. Now when he takes of it four times (with the sruva) in the/uhu, he takes it for the seasons, since ^ He takes butter in the ^uhu and upabhr/t by four or eight ladlings with the dipping-spoon. As we learn further on, the quantity taken in the ^uhia, by ladUng four times, should exceed that in the upabhrz't, although the latter requires eight ladlings. Cf.Kdty. II, 7,13. 8o 5'ATAPATHA-BRAHMAiVA. he takes it for the fore-offerings \ and the fore-offer- ings are the seasons : all this he takes in the form of butter without making any announcement, in order to avoid sameness ; for if he were to take it with the formulas 'For Spring (I take) thee!' 'For Summer — thee!' he would commit (the fau't of) a repetition ^ : he therefore takes it in the form of butter without making any announcement. 9. When, on the other hand, he takes eight times (with the sruva) in the upabhm, he takes it for the metres^ since it is for the after-offerings^ that he takes it ; and the after-offerings are the metres : all this he takes in the form of butter without making any announcement, in order to avoid .'ameness; for were he to take it with the formulas 'For the Gaya- tri — thee!' 'For the Trish/ubh — thee!' he would commit a repetition : he therefore takes it in the form of butter without making any announcement. 10.
3making any announcement, in order to avoid .'ameness; for were he to take it with the formulas 'For the Gaya- tri — thee!' 'For the Trish/ubh — thee!' he would commit a repetition : he therefore takes it in the form of butter without making any announcement. 10. Again, when he takes four times (with the sruva) ^ On the prayao-as, or oblations of clarified butter introductory to, and the anuya^as, oblations of the same material made subse- quently to, the chief sacrifice, see I, 5, 3, i seq., and I, 8, 2, i seq. "^ Repetition of one and the same sacrificial act on the same day is to be avoided, as far as possible. The repetition in the present case would consist in his announcing the butter-oblations to the several deities in the same way as he has done in regard to the rice- portions. See I, I, 2, 17-18. ^ On the frequent symbolical employment of the metres in the ritual, as the embodiment of supreme harmony and the eflicacy of prayer, see Weber, Ind. Stud. VIII, 8 seq. The three principal Vedic metres are the gayatri (three times eight syllables), the trish/ubh (four times eleven syllables), and the ^agati (four times twelve syllables) ; and three anuya^as there are at these sacrifices, viz. to the barhis or sacrificial grass, to Narai-awsa and Agni Svish- /akrz't respectively. In the present instance (see par. 16) the trish- /ubh and ^agati metres are taken together as one, and as a fourth is added the anush/ubh (four times eight syllables). I KANDA, 3 ADHYAYA, 2 BRAHMAA^A, 1 4. 8 1 in the dhruva, he takes it for the whole sacrifice, and all this he takes in the form of butter without mak- ing any announcement. To whom indeed should he announce it, since he cuts it off for all the deities ? He therefore takes it in the form of butter without making any announcement. 11. Now the sacrificer stands behind the ^uhu, and he who means evil to him stands behind the upabhrz't. The eater stands behind the^uhii, and what (or, he who) is to be eaten stands behind the upabhrz't. And the^uhta, indeed, is the eater, and the upabh?^n is that which is to be eaten. In the ^^uhii he takes four times (with the sruva), and in the upabhr/t eight times. 12. Now when he takes four times (butter) in the ^uh<i, he thereby makes the eater more limited, smaller ; and when he takes eight times in the upabh;'/t, he makes that which is to be eaten more unlimited, more abundant : for a flourishing con- dition indeed exists where the eater is smaller and that which is to be eaten more abundant. 13.
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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