Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1ther, for whomsoever, that thus knows the irregular ? aniyata, not regulated) way of recitation, they recite those twenty-one samidhenis, he becomes either worse or better. What is set forth in the words from "A householder who desires neither an improvement" &c. is mere speculation ; the recitation is not to be performed in this way.' The corresponding paragraph of the Ka/zva recension is much briefer and clearer: — Tad etad gatamr eva kurvita na ha ^■reyan na papiyan bhavati yasyaivam anvahu/^ saisha mima/;/saiva na tv anu^yante, 'only a gatai'ri, however, should do this; for neither better nor worse becomes he for whom they recite thus. This is indeed speculation, but they (the twenty-one samidhenis) are not recited.' ^ In the Taitt. S. II, 5, 10, the number of verses (effected by the repetition) is given as varying, according to the special object in view, between fifteen and forty-eight. ^ ? Or, it would be an act of neglect on his, the sacrificer's, part : by (the Hotn) reciting without fetching breath, that act, that neglect would be avoided. H 2 lOO 5'ATAPATHA-BRAHMAJVA. position without taking breath, that sHght will be avoided. 15. If, however, he do not care to undertake this, he may also recite one (verse) at a time without drawing breath : he thereby spreads those worlds one by one, gains those worlds one by one. The reason why he takes breath, is that the gayatri is in- deed breath ; and that by reciting a complete gayatri verse, he accordingly bestows complete breathing (on the sacrificer) : let him therefore recite one (verse) at a time without breathing. 16. He recites them in a continuous, uninterrupted way : thereby he makes the days and nights of the year continuous, and in a continuous, uninterrupted way revolve those days and nights of the year. And in this way he gives no access to the spiteful enemy; but access he would indeed give, if he were to recite them discontinuously : he therefore recites in a continuous, uninterrupted way. Fourth Adhyaya. First BRAHMAivA. I. He recites after uttering (the syllable) ' Hiii !' Sacrifice, they say, is not (performed) without the Saman; and neither is the Saman chanted without ' Hin ' having been uttered. By his uttering ' Hiii ! ' the peculiar nature (rilpam) of the word 'Hih' is produced (in the sacrifice) ; and by the sacred syl- lable (om) it assumes the nature of the Saman. By uttering 'Om ! Om ^ !' this his entire sacrifice becomes endowed with the Saman. ^ That is, by uttering ' Om !' after each verse.
2m) of the word 'Hih' is produced (in the sacrifice) ; and by the sacred syl- lable (om) it assumes the nature of the Saman. By uttering 'Om ! Om ^ !' this his entire sacrifice becomes endowed with the Saman. ^ That is, by uttering ' Om !' after each verse. The recitation of the first verse is preceded by the mystic words ' Hin bhCir bhuva^ svar om !' Asv. ^. I, 2, 3. Both syllables ' hih ' and ' om ' are essential elements in the recitation of Saman hymns. See II, 2, 4, 1 1 seq. I KANDA, 4 ADHYAYA, I BRAHMAA^A, 5. TO I 2. And (another reason) why he utters ' Hiii !' is this. The word 'Hiii' means breath, for the word 'Hin' does indeed mean breath: he cannot there- fore pronounce the word 'Hin,' when he closes his nostrils. The ri'/^ (verse) he recites with his voice. Now, voice and breath are a pair, so that a produc- tive union of the samidhenis is thereby effected at the outset : for this reason he recites, after utter- ing ' H iii ! ' 3. He utters the word 'Hiii' in a low voice. Were he, on the contrary, to pronounce 'Hiri' aloud, he would make 'voice' of both the one and the other : for this reason he utters the word 'Hin' in a low voice. 4. He recites with 'a (hither) ! ' and ' pra (forth or thither) M' He thereby joins a gayatri verse di- rected hitherward to one directed away from here : the one which tends from hence carries the sacri- fice to the gods, and the one which tends hitherward pleases the men. For this reason he recites with 'a' and 'pra.' 5. And (another reason) why he recites with 'a' and 'pra,' is this. 'Pra (forth)' clearly means out- breathing, and ' a (hither)' means in-breathing: hence he thereby obtains out-breathing and in-breathing (for the sacrificer). For this reason he recites with 'a' and 'pra.' ' The particles pra and a were apparently used in phrases wishing one a safe journey and return (cf. Ait. Br. 3, 26, with Haug's note). The first samidheni begins, 'pra vo va^a abhidya- V2l/i' (forth go your viands, heavenward); and the second, ' agna a yahi vitaye ' (come hither, Agni, to the feast!). It is from these verses that the above symbohcal explanation is derived. Cf. Taitt. S. II, 5, 7, 3 [pra-^inaw/ reto dliiyate - prati/(-i/z pra^a ^ayante]. I02 .yATAPATHA-BRAIIMAA'A. 6. Yet (other reasons) why he recites with ' hither (a)' and 'thither (pra),' are these. 'Thither' the seed is cast, and ' hither' birth takes place. ' Thither' the cattle disperse (for grazing), 'hither' they return. Indeed, everything here (moves) 'hither' and 'thither:' for this reason he recites with 'a' and 'pra.' 7.
3'thither (pra),' are these. 'Thither' the seed is cast, and ' hither' birth takes place. ' Thither' the cattle disperse (for grazing), 'hither' they return. Indeed, everything here (moves) 'hither' and 'thither:' for this reason he recites with 'a' and 'pra.' 7. He recites \ ' Forth go your viands, hcaven- ^ The following is a connected translation (as literal as possible, if not elegant) of the eleven samidhenis, or kindling verses, in the same octosyllabic metre as the original. The first and eleventh verses are recited three times ; and when at the end of each verse the Hotr/ pronounces the syllable om, the Adhvaryu throws a stick (samidh) into the fire, — up to the eighth verse, at the end of which the tenth stick is thrown in. At the end of the ninth verse five of the remaining six sticks are thrown into the fire. The th -owing of the first stick is accompanied by the sacrificer pronouncing the dedicatory formula (tyaga), 'For Agni this, not for me !' 1. Forth go your viands, heavenward. In havis rich ; with buttered (spoon) He nears the gods, wishful of bliss. 2. Come hither, Agni, to the feast; Invoked for the offering-gift, As Hot;7 on the barhis tit! 3. With samidhs thee, O Ahgiras, With butter we exhilarate : Shine forth, O youngest, brilliantly ! 4. Agni, do thou obtain for us That region wide and glorious, That great and mighty one, O God ! 5. Praiseworthy he, adorable. Visible through the veil of gloom, Agni, the mighty one, is lit. 6. The mighty Agni is lit up. Yea, as a horse that bears the gods : With offerings him they glorify. 7. O mighty one! we mighty men Do kindle thee, the mighty one, — O Agni, thee that brightly shines. I KANDA, 4 ADHYAYA, I BRAHMAiVA, 9. I03 ward !' — hereby, then, the ' thither' is (realised). And (in the second verse), ' Come hither, Agni, to ex- pand ^ ! ' — by this, on the other hand, the ' hither ' is (reahsed). 8. Now, in reference to this point, some people say, 'Both these (texts) surely result in a "thither 2."' This, however, is beyond the ordinary understand- ing: the text, ' forth go your viands, heavenward !' is clearly (directed) away from (the sacrificer); and the text, ' Come hither, Agni, to expand ! ' is (directed) towards (him). 9. He recites (the first kindling verse), 'Forth go your viands, heavenward ! ' this, then, tends in a for- ward direction. 'Viands' (va^a)^ he says, because viands mean food : hence food is obtained (for the sacrificer) by this recitation. ' Heavenward ' he says, because those that tend heavenward are the half- 8.
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.
1ther, for whomsoever, that thus knows the irregular ? aniyata, not regulated) way of recitation, they recite those twenty-one samidhenis, he becomes either worse or better. What is set forth in the words from "A householder who desires neither an improvement" &c. is mere speculation ; the recitation is not to be performed in this way.' The corresponding paragraph of the Ka/zva recension is much briefer and clearer: — Tad etad gatamr eva kurvita na ha ^■reyan na papiyan bhavati yasyaivam anvahu/^ saisha mima/;/saiva na tv anu^yante, 'only a gatai'ri, however, should do this; for neither better nor worse becomes he for whom they recite thus. This is indeed speculation, but they (the twenty-one samidhenis) are not recited.' ^ In the Taitt. S. II, 5, 10, the number of verses (effected by the repetition) is given as varying, according to the special object in view, between fifteen and forty-eight. ^ ? Or, it would be an act of neglect on his, the sacrificer's, part : by (the Hotn) reciting without fetching breath, that act, that neglect would be avoided. H 2 lOO 5'ATAPATHA-BRAHMAJVA. position without taking breath, that sHght will be avoided. 15. If, however, he do not care to undertake this, he may also recite one (verse) at a time without drawing breath : he thereby spreads those worlds one by one, gains those worlds one by one. The reason why he takes breath, is that the gayatri is in- deed breath ; and that by reciting a complete gayatri verse, he accordingly bestows complete breathing (on the sacrificer) : let him therefore recite one (verse) at a time without breathing. 16. He recites them in a continuous, uninterrupted way : thereby he makes the days and nights of the year continuous, and in a continuous, uninterrupted way revolve those days and nights of the year. And in this way he gives no access to the spiteful enemy; but access he would indeed give, if he were to recite them discontinuously : he therefore recites in a continuous, uninterrupted way. Fourth Adhyaya. First BRAHMAivA. I. He recites after uttering (the syllable) ' Hiii !' Sacrifice, they say, is not (performed) without the Saman; and neither is the Saman chanted without ' Hin ' having been uttered. By his uttering ' Hiii ! ' the peculiar nature (rilpam) of the word 'Hih' is produced (in the sacrifice) ; and by the sacred syl- lable (om) it assumes the nature of the Saman. By uttering 'Om ! Om ^ !' this his entire sacrifice becomes endowed with the Saman. ^ That is, by uttering ' Om !' after each verse.
2m) of the word 'Hih' is produced (in the sacrifice) ; and by the sacred syl- lable (om) it assumes the nature of the Saman. By uttering 'Om ! Om ^ !' this his entire sacrifice becomes endowed with the Saman. ^ That is, by uttering ' Om !' after each verse. The recitation of the first verse is preceded by the mystic words ' Hin bhCir bhuva^ svar om !' Asv. ^. I, 2, 3. Both syllables ' hih ' and ' om ' are essential elements in the recitation of Saman hymns. See II, 2, 4, 1 1 seq. I KANDA, 4 ADHYAYA, I BRAHMAA^A, 5. TO I 2. And (another reason) why he utters ' Hiii !' is this. The word 'Hiii' means breath, for the word 'Hin' does indeed mean breath: he cannot there- fore pronounce the word 'Hin,' when he closes his nostrils. The ri'/^ (verse) he recites with his voice. Now, voice and breath are a pair, so that a produc- tive union of the samidhenis is thereby effected at the outset : for this reason he recites, after utter- ing ' H iii ! ' 3. He utters the word 'Hiii' in a low voice. Were he, on the contrary, to pronounce 'Hiri' aloud, he would make 'voice' of both the one and the other : for this reason he utters the word 'Hin' in a low voice. 4. He recites with 'a (hither) ! ' and ' pra (forth or thither) M' He thereby joins a gayatri verse di- rected hitherward to one directed away from here : the one which tends from hence carries the sacri- fice to the gods, and the one which tends hitherward pleases the men. For this reason he recites with 'a' and 'pra.' 5. And (another reason) why he recites with 'a' and 'pra,' is this. 'Pra (forth)' clearly means out- breathing, and ' a (hither)' means in-breathing: hence he thereby obtains out-breathing and in-breathing (for the sacrificer). For this reason he recites with 'a' and 'pra.' ' The particles pra and a were apparently used in phrases wishing one a safe journey and return (cf. Ait. Br. 3, 26, with Haug's note). The first samidheni begins, 'pra vo va^a abhidya- V2l/i' (forth go your viands, heavenward); and the second, ' agna a yahi vitaye ' (come hither, Agni, to the feast!). It is from these verses that the above symbohcal explanation is derived. Cf. Taitt. S. II, 5, 7, 3 [pra-^inaw/ reto dliiyate - prati/(-i/z pra^a ^ayante]. I02 .yATAPATHA-BRAIIMAA'A. 6. Yet (other reasons) why he recites with ' hither (a)' and 'thither (pra),' are these. 'Thither' the seed is cast, and ' hither' birth takes place. ' Thither' the cattle disperse (for grazing), 'hither' they return. Indeed, everything here (moves) 'hither' and 'thither:' for this reason he recites with 'a' and 'pra.' 7.
3'thither (pra),' are these. 'Thither' the seed is cast, and ' hither' birth takes place. ' Thither' the cattle disperse (for grazing), 'hither' they return. Indeed, everything here (moves) 'hither' and 'thither:' for this reason he recites with 'a' and 'pra.' 7. He recites \ ' Forth go your viands, hcaven- ^ The following is a connected translation (as literal as possible, if not elegant) of the eleven samidhenis, or kindling verses, in the same octosyllabic metre as the original. The first and eleventh verses are recited three times ; and when at the end of each verse the Hotr/ pronounces the syllable om, the Adhvaryu throws a stick (samidh) into the fire, — up to the eighth verse, at the end of which the tenth stick is thrown in. At the end of the ninth verse five of the remaining six sticks are thrown into the fire. The th -owing of the first stick is accompanied by the sacrificer pronouncing the dedicatory formula (tyaga), 'For Agni this, not for me !' 1. Forth go your viands, heavenward. In havis rich ; with buttered (spoon) He nears the gods, wishful of bliss. 2. Come hither, Agni, to the feast; Invoked for the offering-gift, As Hot;7 on the barhis tit! 3. With samidhs thee, O Ahgiras, With butter we exhilarate : Shine forth, O youngest, brilliantly ! 4. Agni, do thou obtain for us That region wide and glorious, That great and mighty one, O God ! 5. Praiseworthy he, adorable. Visible through the veil of gloom, Agni, the mighty one, is lit. 6. The mighty Agni is lit up. Yea, as a horse that bears the gods : With offerings him they glorify. 7. O mighty one! we mighty men Do kindle thee, the mighty one, — O Agni, thee that brightly shines. I KANDA, 4 ADHYAYA, I BRAHMAiVA, 9. I03 ward !' — hereby, then, the ' thither' is (realised). And (in the second verse), ' Come hither, Agni, to ex- pand ^ ! ' — by this, on the other hand, the ' hither ' is (reahsed). 8. Now, in reference to this point, some people say, 'Both these (texts) surely result in a "thither 2."' This, however, is beyond the ordinary understand- ing: the text, ' forth go your viands, heavenward !' is clearly (directed) away from (the sacrificer); and the text, ' Come hither, Agni, to expand ! ' is (directed) towards (him). 9. He recites (the first kindling verse), 'Forth go your viands, heavenward ! ' this, then, tends in a for- ward direction. 'Viands' (va^a)^ he says, because viands mean food : hence food is obtained (for the sacrificer) by this recitation. ' Heavenward ' he says, because those that tend heavenward are the half- 8.
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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