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Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1diam., with a smooth, grey or yellow rind, and a thick, orange-coloured, sweet aromatic pulp.’ The flowers are stated to be greenish white, and ‘the wood light-coloured, mottled with darker wavy lines and small lightcoloured dots.’ ’ The wood of Acacia Catechu is described as dark red, and extremely hard and durable, and hence not liable to be attacked by white ants, and not touched by Teredo navalis; being much used for pestles, seed-crushers, cotton-rollers, wheel-wright’s work, ploughs, bows, spear and sword-handles. XIII KANDA, 5 ADHYAYA, I BRAHMANA, I. 375 inside, and the khadira ones outside, for inside is the marrow, and outside the bones: he thus puts them in their own place. 10. From his flesh the palasa was produced, whence that (tree) has much juice, and (that) red juice}, for red, as it were, is flesh: with that quality he thus endows it. The khadira (stakes) are inside, and the paldsa ones outside, for inside are the bones, and outside is the flesh: he thus puts them in their own place. 11. And as to why there are twenty-one (stakes), twenty-one cubits long,—twenty-one-fold, indeed, is he that shines yonder *—there are twelve months, five seasons, these three worlds, and yonder sun is the twenty-first, and he is the Asvamedha, and this Pragdpati. Having thus completely restored this Pragapati, the sacrifice, he therein seizes twenty-one Agntshomtya victims: for these there is one and the same performance, and this is the performance of the day before (the first Suty4). Firtuy ApuyAya. First BRAHMANA. Tue StToTras AND SASTRAS OF THE SOMA-DAYS. 1. Then, on the morrow, there is (used) Gotama’s Stoma (form of chanting) successively increasing by four (verses)*?: the Bahishpavamdna thereof is on four, the Agya (stotras) on eight, the Madhyandina Pavamana on twelve, the Pvzsh¢ka (stotras) on 1 ¢From natural fissures and incisions made in the bark (of Butea frondosa) issues during the hot season a red juice, which soon hardens into a ruby-coloured, brittle, astringent gum, similar to kino, and sold as Bengal kino.’ Stewart and Brandis. * See p. 331, note 1. * Regarding the Xatush/oma, see p. 329, note 1. 376 SATAPATHA-BRAHMANA. sixteen, the Arbhava Pavamana on twenty, and the Agnish¢éoma-sAman on twenty-four (verses). 2. Now, some make its Agnish¢oma-sAman a SAman of four (verses), saying, ‘It is neither an Agnish¢oma, nor an Ukthya'.’ If they do so, let him (the Hotz),
2329, note 1. 376 SATAPATHA-BRAHMANA. sixteen, the Arbhava Pavamana on twenty, and the Agnish¢éoma-sAman on twenty-four (verses). 2. Now, some make its Agnish¢oma-sAman a SAman of four (verses), saying, ‘It is neither an Agnish¢oma, nor an Ukthya'.’ If they do so, let him (the Hotz), " According to the practice here referred to, the Agnishfomasiman would not consist merely of the one triplet (usually Samay. II, 53-4, i.e. the so-called yag#4yagaiya triplet) ordinarily used for it, but of four different SAmans, inasmuch as three of the triplets which may be used for the Uktha-stotras (of the Ukthya and other sacrifices) are added to that yag#4yagfiya triplet. In that case, however, the latter is not chanted to its own ‘yag#ayag#iya’ tune, but the V4ravantiya tune is used for all the four triplets. This practice is somewhat vaguely referred to in TAndya-Br. XIX, 5, 10-11. ‘One Séman (tune), many metres (texts): therefore one (man) feeds many creatures. Verily, the Agnishfoma (sdman) is the self, and the metres (hymn-texts) are cattle: he thus secures cattle for his own self. It is neither an Ukthya nor an Agnishfoma (sacrifice), for cattle are neither (entirely) domestic nor wild (viz. because though kept “in the village,” they also freely graze “in the forest ”).’ Here the passage ‘One Saman, many metres,’ according to the commentary, refers to the Véravantiya tune as being employed, on this occasion, for the texts of the Yag#ayagftya, the Sakamasva (II, 55-57, here the Calc. ed., by mistake, calls the second tune figured for chanting, like the first, Sakamasva, instead of V4ravantfya), the Saubhara (II, 230-2, where the Calc. ed., by mistake, omits the name Varavantiya), and the Tairaséa (II, 233-5 ; curiously enough, the Tairaska is not mentioned, in Laty. Sr. VIII, 9-10, amongst the SAmans that may be used for the third—or the AAkAavaka’s—Uktha, but Sdyasa, on SAmav. II, 233, states distinctly, ‘tairaskam trittyam uktham’). Whilst, as Uktha-stotras, the last three texts would usually be chanted in the ekavimsa, or twentyone-versed form, in the present instance, as part of the 4atush/oma, they would be chanted (along with the Yag#4yag@tya) in the twentyfour-versed form. Thus, though an Agnishfoma sacrifice, inasmuch __ as it has twelve stotras, yet it is not a regular one; neither is it an Ukthya, because the Ukthas are not chanted as so many Stotras, followed by the recitation of separate Sastras. In the Asv. Sr. X, 6, different alternatives are proposed for the chanting of the Agnish- XIII KANDA, 5 ADHYAYA, I BRAHMANA, 4. 377 after reciting the Stotriya! (strophe) together, recite the Anurdpa (strophe) together: the Rathantara’ Présh¢ha-siman ?, the Sastra containing the Rathantara (text), and the Agnishéoma sacrifice—thereby he makes sure of this world.
3377 after reciting the Stotriya! (strophe) together, recite the Anurdpa (strophe) together: the Rathantara’ Présh¢ha-siman ?, the Sastra containing the Rathantara (text), and the Agnishéoma sacrifice—thereby he makes sure of this world. 3. ‘There are twenty-one Savantya ® victims, all of them sacred to Agni: for these there is one and the same performance,’ so say some; but, indeed, he should immolate two sets of eleven (victims), with the view of his obtainment of whatever desired object there may be in (victims) belonging to a set of eleven. 4. When the Agnishfoma is completed, and the Vasativart water carried round, the Adhvaryu performs the Annahomas‘ (oblations of food): the import of these has been explained. With twelve foma-séman in the ‘Gotamastoma (i.e. Xatush/oma) antarukthya’ and the corresponding Sastra, including apparently the employment of the Yag#ayagf#iya-sfman either for all the four triplets, or for the Yag#ayagatya triplet alone with the respective Samans used for the other triplets; different modes of recitation being thereby implied with regard to the Stotriya and Anurfpa pragathas. 1 For the Agnimé4ruta-sastra, recited by the Hotri after the chanting of the Agnishfoma-sdman, and containing, amongst various hymns and detached verses, the triplet which forms the text of the Stotra, i. e. the ‘ Stotriya pragftha,’ as well as a corresponding antistrophe, the ‘Anurftpa prag4tha,’ see part ii, p. 369 note. On the present occasion, however, this constituent element of the Sastra would have to include the triplets of all the four Sémans, as well as four ‘antistrophes’ which are thus ‘ recited together.’ * Or, Prishéha-stotra, viz. the first stotra of that name at the midday-service, for which that Séman is used in the Agnishfoma sacrifice (part ii, p. 339, note 2). ° That is, victims sacrificed on the Suty4s, or Soma-days. Two complete sets of eleven such victims are, however, required on each of the three days, see p. 309, note a. * See XIII, 2, 1, 1 seqq., and p. 297, note 1. 378 SATAPATHA-BRAHMANA. Anuvakas (V4g. S. XXII, 23-34), ‘To the inbreathing hail! To the off-breathing hail!’ ... (he offers)—twelve months are a year, and the year is everything, and the Asvamedha is everything: thus it is for his obtaining and securing everything. 5. The central day is an ekavimsa day'; for the twenty-one-fold is yonder sun, and he is the Asvamedha: by means of his own Stoma he thus establishes him in his own deity,—therefore it is an ekavimsa day. 6. And, again, as to why it is an ekavimsa day ;— man is twenty-one-fold—ten fingers, ten toes, and the body (self) as the twenty-first: by means of that twenty-one-fold self he thus establishes him in the twenty-one-fold (day) as on a firm foundation, —therefore it is an ekavimsa day.
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.
1diam., with a smooth, grey or yellow rind, and a thick, orange-coloured, sweet aromatic pulp.’ The flowers are stated to be greenish white, and ‘the wood light-coloured, mottled with darker wavy lines and small lightcoloured dots.’ ’ The wood of Acacia Catechu is described as dark red, and extremely hard and durable, and hence not liable to be attacked by white ants, and not touched by Teredo navalis; being much used for pestles, seed-crushers, cotton-rollers, wheel-wright’s work, ploughs, bows, spear and sword-handles. XIII KANDA, 5 ADHYAYA, I BRAHMANA, I. 375 inside, and the khadira ones outside, for inside is the marrow, and outside the bones: he thus puts them in their own place. 10. From his flesh the palasa was produced, whence that (tree) has much juice, and (that) red juice}, for red, as it were, is flesh: with that quality he thus endows it. The khadira (stakes) are inside, and the paldsa ones outside, for inside are the bones, and outside is the flesh: he thus puts them in their own place. 11. And as to why there are twenty-one (stakes), twenty-one cubits long,—twenty-one-fold, indeed, is he that shines yonder *—there are twelve months, five seasons, these three worlds, and yonder sun is the twenty-first, and he is the Asvamedha, and this Pragdpati. Having thus completely restored this Pragapati, the sacrifice, he therein seizes twenty-one Agntshomtya victims: for these there is one and the same performance, and this is the performance of the day before (the first Suty4). Firtuy ApuyAya. First BRAHMANA. Tue StToTras AND SASTRAS OF THE SOMA-DAYS. 1. Then, on the morrow, there is (used) Gotama’s Stoma (form of chanting) successively increasing by four (verses)*?: the Bahishpavamdna thereof is on four, the Agya (stotras) on eight, the Madhyandina Pavamana on twelve, the Pvzsh¢ka (stotras) on 1 ¢From natural fissures and incisions made in the bark (of Butea frondosa) issues during the hot season a red juice, which soon hardens into a ruby-coloured, brittle, astringent gum, similar to kino, and sold as Bengal kino.’ Stewart and Brandis. * See p. 331, note 1. * Regarding the Xatush/oma, see p. 329, note 1. 376 SATAPATHA-BRAHMANA. sixteen, the Arbhava Pavamana on twenty, and the Agnish¢éoma-sAman on twenty-four (verses). 2. Now, some make its Agnish¢oma-sAman a SAman of four (verses), saying, ‘It is neither an Agnish¢oma, nor an Ukthya'.’ If they do so, let him (the Hotz),
2329, note 1. 376 SATAPATHA-BRAHMANA. sixteen, the Arbhava Pavamana on twenty, and the Agnish¢éoma-sAman on twenty-four (verses). 2. Now, some make its Agnish¢oma-sAman a SAman of four (verses), saying, ‘It is neither an Agnish¢oma, nor an Ukthya'.’ If they do so, let him (the Hotz), " According to the practice here referred to, the Agnishfomasiman would not consist merely of the one triplet (usually Samay. II, 53-4, i.e. the so-called yag#4yagaiya triplet) ordinarily used for it, but of four different SAmans, inasmuch as three of the triplets which may be used for the Uktha-stotras (of the Ukthya and other sacrifices) are added to that yag#4yagfiya triplet. In that case, however, the latter is not chanted to its own ‘yag#ayag#iya’ tune, but the V4ravantiya tune is used for all the four triplets. This practice is somewhat vaguely referred to in TAndya-Br. XIX, 5, 10-11. ‘One Séman (tune), many metres (texts): therefore one (man) feeds many creatures. Verily, the Agnishfoma (sdman) is the self, and the metres (hymn-texts) are cattle: he thus secures cattle for his own self. It is neither an Ukthya nor an Agnishfoma (sacrifice), for cattle are neither (entirely) domestic nor wild (viz. because though kept “in the village,” they also freely graze “in the forest ”).’ Here the passage ‘One Saman, many metres,’ according to the commentary, refers to the Véravantiya tune as being employed, on this occasion, for the texts of the Yag#ayagftya, the Sakamasva (II, 55-57, here the Calc. ed., by mistake, calls the second tune figured for chanting, like the first, Sakamasva, instead of V4ravantfya), the Saubhara (II, 230-2, where the Calc. ed., by mistake, omits the name Varavantiya), and the Tairaséa (II, 233-5 ; curiously enough, the Tairaska is not mentioned, in Laty. Sr. VIII, 9-10, amongst the SAmans that may be used for the third—or the AAkAavaka’s—Uktha, but Sdyasa, on SAmav. II, 233, states distinctly, ‘tairaskam trittyam uktham’). Whilst, as Uktha-stotras, the last three texts would usually be chanted in the ekavimsa, or twentyone-versed form, in the present instance, as part of the 4atush/oma, they would be chanted (along with the Yag#4yag@tya) in the twentyfour-versed form. Thus, though an Agnishfoma sacrifice, inasmuch __ as it has twelve stotras, yet it is not a regular one; neither is it an Ukthya, because the Ukthas are not chanted as so many Stotras, followed by the recitation of separate Sastras. In the Asv. Sr. X, 6, different alternatives are proposed for the chanting of the Agnish- XIII KANDA, 5 ADHYAYA, I BRAHMANA, 4. 377 after reciting the Stotriya! (strophe) together, recite the Anurdpa (strophe) together: the Rathantara’ Présh¢ha-siman ?, the Sastra containing the Rathantara (text), and the Agnishéoma sacrifice—thereby he makes sure of this world.
3377 after reciting the Stotriya! (strophe) together, recite the Anurdpa (strophe) together: the Rathantara’ Présh¢ha-siman ?, the Sastra containing the Rathantara (text), and the Agnishéoma sacrifice—thereby he makes sure of this world. 3. ‘There are twenty-one Savantya ® victims, all of them sacred to Agni: for these there is one and the same performance,’ so say some; but, indeed, he should immolate two sets of eleven (victims), with the view of his obtainment of whatever desired object there may be in (victims) belonging to a set of eleven. 4. When the Agnishfoma is completed, and the Vasativart water carried round, the Adhvaryu performs the Annahomas‘ (oblations of food): the import of these has been explained. With twelve foma-séman in the ‘Gotamastoma (i.e. Xatush/oma) antarukthya’ and the corresponding Sastra, including apparently the employment of the Yag#ayagf#iya-sfman either for all the four triplets, or for the Yag#ayagatya triplet alone with the respective Samans used for the other triplets; different modes of recitation being thereby implied with regard to the Stotriya and Anurfpa pragathas. 1 For the Agnimé4ruta-sastra, recited by the Hotri after the chanting of the Agnishfoma-sdman, and containing, amongst various hymns and detached verses, the triplet which forms the text of the Stotra, i. e. the ‘ Stotriya pragftha,’ as well as a corresponding antistrophe, the ‘Anurftpa prag4tha,’ see part ii, p. 369 note. On the present occasion, however, this constituent element of the Sastra would have to include the triplets of all the four Sémans, as well as four ‘antistrophes’ which are thus ‘ recited together.’ * Or, Prishéha-stotra, viz. the first stotra of that name at the midday-service, for which that Séman is used in the Agnishfoma sacrifice (part ii, p. 339, note 2). ° That is, victims sacrificed on the Suty4s, or Soma-days. Two complete sets of eleven such victims are, however, required on each of the three days, see p. 309, note a. * See XIII, 2, 1, 1 seqq., and p. 297, note 1. 378 SATAPATHA-BRAHMANA. Anuvakas (V4g. S. XXII, 23-34), ‘To the inbreathing hail! To the off-breathing hail!’ ... (he offers)—twelve months are a year, and the year is everything, and the Asvamedha is everything: thus it is for his obtaining and securing everything. 5. The central day is an ekavimsa day'; for the twenty-one-fold is yonder sun, and he is the Asvamedha: by means of his own Stoma he thus establishes him in his own deity,—therefore it is an ekavimsa day. 6. And, again, as to why it is an ekavimsa day ;— man is twenty-one-fold—ten fingers, ten toes, and the body (self) as the twenty-first: by means of that twenty-one-fold self he thus establishes him in the twenty-one-fold (day) as on a firm foundation, —therefore it is an ekavimsa day.
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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