Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1he inserts the Nivid in the (hymn, I, 111) of the one-day’s sacrifice. Having recited the (hymn, V, 41) to the All-gods, ‘Who is there righteous unto you, Mitra and Varuza?...,’ he inserts the Nivid in the (hymn, I, 89) of the one-day’s sacrifice. Thus as to the Vaisvadeva (-sastra). 12. Then as to the Agnimaruta’. Having recited the (hymn, VI, 7) to (Agni) Vaisvanara, ‘ The head of the sky, and the disposer of the earth..., he inserts the Nivid in the (hymn, III, 3) of the one-day’s sacrifice. Having recited the (hymn, V, 57) to the Maruts, ‘Hither, O Rudras, come ye united with Indra...,' he inserts the Nivid in the (hymn, I, 87) of the one-day’s sacrifice, Having recited the nine verses (VI, 15, 1-9) to Gatavedas, ‘This guest of yours, the earlywaking...,’ he inserts the Nivid in the (hymn, I, 143) of the one-day’s sacrifice. And as to why the (hymns) of the one-day’s sacrifice are used for inserting the Nivid, it is for the sake of his (the Sacrificer’s) not being deprived of a firm foundation, for the Gyotishfoma is a foundation. 13. For this (day) there are those sacrificial animals—‘ A horse, a hornless he-goat, and a Gomriga*,’ fifteen ‘paryangyas’: the mystic import of these has been explained. Then these wild ones— for spring he seizes (three) kapi#galas *, for summer sparrows, for the rainy season partridges: of these ? Viz. the final Sastra of the evening-service, preceded by the chanting of the Agnishfoma-siman ; see part ii, p. 369. * See p. 298, note 4; p. 338, note 1. * The ‘ Kapiagala’ is a kind of wildfowl, apparently of the quail or partridge species—a hazel-cock, or francoline partridge. Some of the later authorities, however, identify it with the ‘ 44taka’ x1 KANDA, 5 ADHYAYA, I BRAHMANA, 15. 383 (wild animals) also (the mystic import) has been told}, , 14. Then those (victims) for the twenty-one (stakes). He seizes twenty-one animals for each of the (eleven) deities of the Seasonal offerings *; for as many as there are gods of the Seasonal offerings so many are all the gods; and all objects of desire are in the Asvamedha: ‘by gratifying all the deities I shall gain all my desires,’ so he thinks. But let him not proceed in this way. 15. Let him seize seventeen victims for the central stake, in order that he may gain and secure every- (‘cuculus melanoleucus’). With regard to some of the wild animals referred to in the corresponding section of the Vag. S., the commentator Mahfdhara significantly remarks (V4g. S. XXIV, 20; cf. Katy. XX, 6, 6 scholl.) that the meaning of such names as are not understood must be made out with the help of quotations (nigama), Vedic vocabularies (nighan‘u) and their comments (nirukta), grammar (vyakarana), the UnAdivriti, and dictionaries,
2S. XXIV, 20; cf. Katy. XX, 6, 6 scholl.) that the meaning of such names as are not understood must be made out with the help of quotations (nigama), Vedic vocabularies (nighan‘u) and their comments (nirukta), grammar (vyakarana), the UnAdivriti, and dictionaries, ? Viz. XIII, 2, 4, 1 seqq. It is not easy to see why the text should break off abruptly with the birds representing the rainy season. For autumn there are to be (three) quails, for winter ‘kakara,’ and for the dewy season ‘vikakara.’ Then follow, to the end of the 260 wild animals, a long series of divinities to each of which (or sometimes to allied deities) three animals are consigned. Thirteen of these wild animals are placed on each of the twenty spaces between the twenty-one stakes. * Or, perhaps, for the (eleven) deities of the Seasonal offerings he seizes twenty-one animals for each (stake); which would certainly simplify the distribution of those animals. Regarding the victims actually consecrated to the deities of the KaturmAsya offerings, see P- 309, note 2. * This does not include the twelve ‘ paryahgyas’ tied to the horse’s limbs, but only the horse and two other victims sacred to Pragapati, and twelve of a long series of beasts, of which three are dedicated to each successive deity (or allied group of deities). To these are afterwards added Agni’s two victims belonging to the two sets of eleven victims (of the other twenty of which one is assigned to each of the other stakes). 284 SATAPATHA-BRAHMANA. thing, for the seventeenfold is Pragdpati, and the seventeenfold (stoma) is everything, and the Asvamedha is everything ;—and sixteen at each of the other (stakes) in order that he may gain and secure everything, for everything here consists of sixteen parts, and the Asvamedha is everything. Thirteen wild (beasts) he seizes for each intermediate space, in order that he may gain and secure everything, for the year consists of thirteen months, and the Asvamedha is everything. 16. Now, prior to the (chanting of the) Bahishpavamana, they (the assistants of the Adhvaryu) bring up the horse, after cleansing it; and with it they glide along for the Pavamdna: the mystic import of this has been explained’. When the Bahishpavamdna has been chanted, they make the horse step on the place of chanting: if it sniffs, or turns away, let him know that his sacrifice is successful. Having led up that (horse), the Adhvaryu says, ‘Hotrz, sing praises!’ and the Hotz? sings its praises? with eleven (verses, Rig-veda I, 163, 1-11) — 17. ‘When, first born, thou didst neigh...’— thrice (he praises) with the first, and thrice with the last (verse), these amount to fifteen,—fifteenfold is the thunderbolt, and the thunderbolt means vigour: with that thunderbolt, vigour, the Sacrificer thus from the very first repels evil: thus’, indeed, it is to the Sacrificer that the thunderbolt is given in 1 XIII, 2, 3, 1.
3* The mode of recitation is similar to that of the kindlingverses (likewise eleven, brought up, by repetitions of the first and last, to fifteen), viz. by making a pause after each half-verse, but without adding the syllable ‘om ’ thereto. Asv. Sr. X, 8, 5. * Harisvamin explains ‘tad vai’ as standing for ‘ sa vai’ (lingavyatyayena)—viz, that fifteenfold thunderbolt. XIII KANDA, 5 ADHYAYA, I BRAHMANA, 18. 385 order to smite for him whoever is to be smitten.— [Azg-veda I, 163, 12. 13], ‘The swift racer hath gone forward to the slaying.. .—‘ The racer hath gone forward to the highest place...’— 18. Having omitted these two (verses), he inserts the hymn (I, 162), ‘ Never (shall forget us) Mitra, Varuza, Aryaman, Ayu...; in the Adhrigu? (litany). Some, however, insert this verse (I, 162, 18), ‘Thirty-four (ribs) of the steed, akin to the gods, (doth the knife hit)...,’ before the (passage,—‘ twenty-six are its) ribs,’ thinking lest they should place the holy syllable ‘om’ in the wrong place’, or lest they should suggest the plural by a singular*. Let him not proceed thus, but let him insert the hymn as a whole.—‘ The swift racer hath gone forward to the slaying...—The racer hath gone forward to the highest place. ..’— 1 On this recitation, consisting of a lengthy set of formulas, addressed to the slaughterers, see part ii, p. 188, note 2. The whole of the formulas are given Ait. Br. II, 6-7. The hymn, according to Asv. X, 8, 7, is to be inserted either before the last formula of the litany, or somewhat further back—viz. before the formula ‘ shadvimsatir asya vahkrayas,’ ‘ twenty-six are its ribs ’—whilst our Bréhmana rather allows the alternative of the eighteenth verse of I, 162 being inserted at the latter place,—unless, indeed, the insertion in that case is to be made immediately before the word ‘ vankrayah’ which is scarcely likely. * Harisvamin seems to take this to mean that as this verse is of the same nature as the formulas of the Adhrigu litany, he is to treat it as such, as otherwise, in reciting he would have to pronounce ‘om’ after that verse, which is not done after those formulas. * Or, the plurality by the individual. Owing to the corrupt state of the MS., the commentator’s explanation of this passage is not clear. He seems, however, at any rate, to take the ‘plural’ to refer to the formula ‘shadvimsatir asya vankrayas,’ where apparently ‘esham’ has to be substituted for ‘asya’ on this occasion, as many victims are immolated, and the ribs of a plurality of beasts are thus indicated, whilst in verse eighteen of the hymn, on (he (44) cc 386 SATAPATHA-BRAHMANA, Seconp BRAHMANA.
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.
1he inserts the Nivid in the (hymn, I, 111) of the one-day’s sacrifice. Having recited the (hymn, V, 41) to the All-gods, ‘Who is there righteous unto you, Mitra and Varuza?...,’ he inserts the Nivid in the (hymn, I, 89) of the one-day’s sacrifice. Thus as to the Vaisvadeva (-sastra). 12. Then as to the Agnimaruta’. Having recited the (hymn, VI, 7) to (Agni) Vaisvanara, ‘ The head of the sky, and the disposer of the earth..., he inserts the Nivid in the (hymn, III, 3) of the one-day’s sacrifice. Having recited the (hymn, V, 57) to the Maruts, ‘Hither, O Rudras, come ye united with Indra...,' he inserts the Nivid in the (hymn, I, 87) of the one-day’s sacrifice, Having recited the nine verses (VI, 15, 1-9) to Gatavedas, ‘This guest of yours, the earlywaking...,’ he inserts the Nivid in the (hymn, I, 143) of the one-day’s sacrifice. And as to why the (hymns) of the one-day’s sacrifice are used for inserting the Nivid, it is for the sake of his (the Sacrificer’s) not being deprived of a firm foundation, for the Gyotishfoma is a foundation. 13. For this (day) there are those sacrificial animals—‘ A horse, a hornless he-goat, and a Gomriga*,’ fifteen ‘paryangyas’: the mystic import of these has been explained. Then these wild ones— for spring he seizes (three) kapi#galas *, for summer sparrows, for the rainy season partridges: of these ? Viz. the final Sastra of the evening-service, preceded by the chanting of the Agnishfoma-siman ; see part ii, p. 369. * See p. 298, note 4; p. 338, note 1. * The ‘ Kapiagala’ is a kind of wildfowl, apparently of the quail or partridge species—a hazel-cock, or francoline partridge. Some of the later authorities, however, identify it with the ‘ 44taka’ x1 KANDA, 5 ADHYAYA, I BRAHMANA, 15. 383 (wild animals) also (the mystic import) has been told}, , 14. Then those (victims) for the twenty-one (stakes). He seizes twenty-one animals for each of the (eleven) deities of the Seasonal offerings *; for as many as there are gods of the Seasonal offerings so many are all the gods; and all objects of desire are in the Asvamedha: ‘by gratifying all the deities I shall gain all my desires,’ so he thinks. But let him not proceed in this way. 15. Let him seize seventeen victims for the central stake, in order that he may gain and secure every- (‘cuculus melanoleucus’). With regard to some of the wild animals referred to in the corresponding section of the Vag. S., the commentator Mahfdhara significantly remarks (V4g. S. XXIV, 20; cf. Katy. XX, 6, 6 scholl.) that the meaning of such names as are not understood must be made out with the help of quotations (nigama), Vedic vocabularies (nighan‘u) and their comments (nirukta), grammar (vyakarana), the UnAdivriti, and dictionaries,
2S. XXIV, 20; cf. Katy. XX, 6, 6 scholl.) that the meaning of such names as are not understood must be made out with the help of quotations (nigama), Vedic vocabularies (nighan‘u) and their comments (nirukta), grammar (vyakarana), the UnAdivriti, and dictionaries, ? Viz. XIII, 2, 4, 1 seqq. It is not easy to see why the text should break off abruptly with the birds representing the rainy season. For autumn there are to be (three) quails, for winter ‘kakara,’ and for the dewy season ‘vikakara.’ Then follow, to the end of the 260 wild animals, a long series of divinities to each of which (or sometimes to allied deities) three animals are consigned. Thirteen of these wild animals are placed on each of the twenty spaces between the twenty-one stakes. * Or, perhaps, for the (eleven) deities of the Seasonal offerings he seizes twenty-one animals for each (stake); which would certainly simplify the distribution of those animals. Regarding the victims actually consecrated to the deities of the KaturmAsya offerings, see P- 309, note 2. * This does not include the twelve ‘ paryahgyas’ tied to the horse’s limbs, but only the horse and two other victims sacred to Pragapati, and twelve of a long series of beasts, of which three are dedicated to each successive deity (or allied group of deities). To these are afterwards added Agni’s two victims belonging to the two sets of eleven victims (of the other twenty of which one is assigned to each of the other stakes). 284 SATAPATHA-BRAHMANA. thing, for the seventeenfold is Pragdpati, and the seventeenfold (stoma) is everything, and the Asvamedha is everything ;—and sixteen at each of the other (stakes) in order that he may gain and secure everything, for everything here consists of sixteen parts, and the Asvamedha is everything. Thirteen wild (beasts) he seizes for each intermediate space, in order that he may gain and secure everything, for the year consists of thirteen months, and the Asvamedha is everything. 16. Now, prior to the (chanting of the) Bahishpavamana, they (the assistants of the Adhvaryu) bring up the horse, after cleansing it; and with it they glide along for the Pavamdna: the mystic import of this has been explained’. When the Bahishpavamdna has been chanted, they make the horse step on the place of chanting: if it sniffs, or turns away, let him know that his sacrifice is successful. Having led up that (horse), the Adhvaryu says, ‘Hotrz, sing praises!’ and the Hotz? sings its praises? with eleven (verses, Rig-veda I, 163, 1-11) — 17. ‘When, first born, thou didst neigh...’— thrice (he praises) with the first, and thrice with the last (verse), these amount to fifteen,—fifteenfold is the thunderbolt, and the thunderbolt means vigour: with that thunderbolt, vigour, the Sacrificer thus from the very first repels evil: thus’, indeed, it is to the Sacrificer that the thunderbolt is given in 1 XIII, 2, 3, 1.
3* The mode of recitation is similar to that of the kindlingverses (likewise eleven, brought up, by repetitions of the first and last, to fifteen), viz. by making a pause after each half-verse, but without adding the syllable ‘om ’ thereto. Asv. Sr. X, 8, 5. * Harisvamin explains ‘tad vai’ as standing for ‘ sa vai’ (lingavyatyayena)—viz, that fifteenfold thunderbolt. XIII KANDA, 5 ADHYAYA, I BRAHMANA, 18. 385 order to smite for him whoever is to be smitten.— [Azg-veda I, 163, 12. 13], ‘The swift racer hath gone forward to the slaying.. .—‘ The racer hath gone forward to the highest place...’— 18. Having omitted these two (verses), he inserts the hymn (I, 162), ‘ Never (shall forget us) Mitra, Varuza, Aryaman, Ayu...; in the Adhrigu? (litany). Some, however, insert this verse (I, 162, 18), ‘Thirty-four (ribs) of the steed, akin to the gods, (doth the knife hit)...,’ before the (passage,—‘ twenty-six are its) ribs,’ thinking lest they should place the holy syllable ‘om’ in the wrong place’, or lest they should suggest the plural by a singular*. Let him not proceed thus, but let him insert the hymn as a whole.—‘ The swift racer hath gone forward to the slaying...—The racer hath gone forward to the highest place. ..’— 1 On this recitation, consisting of a lengthy set of formulas, addressed to the slaughterers, see part ii, p. 188, note 2. The whole of the formulas are given Ait. Br. II, 6-7. The hymn, according to Asv. X, 8, 7, is to be inserted either before the last formula of the litany, or somewhat further back—viz. before the formula ‘ shadvimsatir asya vahkrayas,’ ‘ twenty-six are its ribs ’—whilst our Bréhmana rather allows the alternative of the eighteenth verse of I, 162 being inserted at the latter place,—unless, indeed, the insertion in that case is to be made immediately before the word ‘ vankrayah’ which is scarcely likely. * Harisvamin seems to take this to mean that as this verse is of the same nature as the formulas of the Adhrigu litany, he is to treat it as such, as otherwise, in reciting he would have to pronounce ‘om’ after that verse, which is not done after those formulas. * Or, the plurality by the individual. Owing to the corrupt state of the MS., the commentator’s explanation of this passage is not clear. He seems, however, at any rate, to take the ‘plural’ to refer to the formula ‘shadvimsatir asya vankrayas,’ where apparently ‘esham’ has to be substituted for ‘asya’ on this occasion, as many victims are immolated, and the ribs of a plurality of beasts are thus indicated, whilst in verse eighteen of the hymn, on (he (44) cc 386 SATAPATHA-BRAHMANA, Seconp BRAHMANA.
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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