Fetching
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Fetching
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Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1On these dice see part iii, p. 106, note 1. 1 Explained as a jocular expression for the habitual frequenter of the gambling-house. XIII KANDA, 7 ADHYAYA, I BRAHMANA, I. 417 gtowler—g. To the end (anta) a babbler—1o. To the endless a dumb one—11. To articulate sound (sabda) a drum-beater. XI. 1. To festive joy a lute-player—2z. To the cry a fluteplayer—3. To the confused (noise) a conch-blower—4. To the forest a forester—g. To broken woodlands one who watches woods on fire—6. To fun (narma I, 15) a harlot (I, 9}—7. To laughter an artizan (I, 16)}—8. To the sea-monster (?) a mottled woman ? (?) —9-11. To power a village-headman, an astrologer, and a herald (? abhikrosaka). XII. (Added to those at the second post) :—1-3. To dancing (J, §1) a lute-player (XI, 1), a hand-clapper, and a flute-player (XI, 2) —4. To pleasure (I, 17) a musician—gs. To fire a fat man— 6. To the earth a cripple—7. To the wind a K4ndala (outcast) —8. To the air a staff-dancer *—9. To the sky a bald-headed one—ro. To the sun a yellow-eyed one—11. To the stars one of variegated colour—12. To the moon a leprous one (kildsa, cf. IX, 2) —13. To the day a light-coloured one with yellow eyes—14. To the night a black one with yellow eyes.—He then seizes these eight misshapen ones—15. One who is too tall—16. One too short— 17. One too stout—r8. One too lean—19. One too light-coloured —z20. One too black—z21. One toa bald—22. One with too much hair :—these (are to be) neither Sidras nor Brahmanas, and are sacred to Pragdpati;—23. A minstrel (mAgadha, I, 10)}—24. A harlot (pumséalf, cf. I, 9)—25. A gambler (I, 37)—26. A eunuch (I, 7) :—these (also are to be) neither SQdras nor Brahmazas, and are sacred to Prag4pati. Seventy ApuyAya. First BRAHMAMNA. Tue SARVAMEDHA, OR ALL-SACRIFICE. 1. Brahman Svayambhu (the self-existent, n.) was performing austerities*. He said this much,— 1 St. Petersb. Dict. conjectures ‘To lust a sportive woman (? dancer or singer).’ * ‘Vamsanartin’ explained by Mahfdhara as one who practises dancing by means of a bamboo-staff (vamsena nartanasila); by S&y. as one who makes his living by dancing on the top of a bamboo-staff (vamsigranrittagtvin); hardly a ‘family-dancer,’ Monier- Williams. * Cf. J. Muir, Orig. Sanskrit Texts, vol. v, p. 372. [44] Ee errr es er 418 SATAPATHA-BRAHMANA. ‘Verily, there is no perpetuity in austerities; well, then, I will offer up mine own self in the creatures, and the creatures in mine own self.’ And, accordingly, by offering up his own self in the creatures, and the creatures in his own self, he compassed the supremacy, the sovereignty, and the lordship over all creatures; and in like manner does the Sacrificer, by thus offering all sacrificial essences? in the Sarvamedha, compass all beings, and supremacy, sovereignty, and lordship. -
2in the Sarvamedha, compass all beings, and supremacy, sovereignty, and lordship. - 2. Now this Sarvamedha is a ten-days’ (Soma-) sacrifice, for the sake of his gaining and winning every kind of food, for the Virag consists of ten syllables, and the Virag is all food. At this (sacrifice) he builds the greatest possible fire-altar, for this— to wit, the Sarvamedha— is supreme amongst all sacrificial performances: by means of the supreme (sacrifice) he thus causes him (the Sacrificer) to attain supremacy. 3. The first day thereof is an Agnishéut AgnishZoma’, for the sake of his gaining and winning all the gods, for the Agnish¢ut Agnish¢oma is Agni; and all the gods have Agni (the sacrificial fire) for their mouth. The cups of Soma thereat pertain to Agni, and so do the Purorué* formulas pertain to Agni, in order that everything should pertain to Agni. 1 Or, all kinds of victims (medha). * That is, a one-day’s Soma-sacrifice (ekaha) of the Agnishfoma order, arranged so as specially to promote the praise of Agni. In the same way the next three ek4has are intended to honour special deities. * That is, the formulas preceding the ‘upay4ma’ (‘ Thou art taken with a support, &c.,’ cf. part ii, p. 259, note 1) or formula with which the cup of Soma is drawn. xu KANDA, 7 ADHYAYA, I BRAHMANA, 9. 419 4. The second day is an Indrastut Ukthya, for the sake of his gaining and winning all the gods, for Indra is all the gods. The cups of Soma thereat pertain to Indra, and so do the Purorué formulas pertain to Indra, in order that everything should pertain to Indra. 5: The third day is a Sdryastut Ukthya, for the sake of his gaining and winning all the gods, for Sdrya is all the gods. The cups of Soma pertain to Sdrya, and so do the Purorué formulas pertain to Sfrya, in order that everything should pertain to Sfrya. 6. The fourth day is a Vaisvadeva, for the sake of his gaining and winning all the gods, for the All-gods (Visve Dev4s) are all the gods. The cups of Soma pertain to the All-gods, and so do the Purorué formulas pertain to the All-gods, in order that everything should pertain to the Allgods. 7. The fifth day is a central Asvamedhika! one: at this (sacrifice) he seizes a horse meet for sacrifice, for the sake of his gaining the sacrificial essence of the horse. 8. The sixth day is a central Paurushamedhika®? one: at this (sacrifice) he seizes men meet for sacrifice, for the sake of his gaining the sacrificial essence of man. 9. The seventh day is an Aptory4ma, for the sake of his gaining all kinds of Soma-sacrifices: at this (sacrifice) he seizes all kinds of (victims) meet for sacrifice, both what is animate and what is ? That is, an Ukthya sacrifice, cf. p. 259, note 2; XIII, 5, 1,5 seqq. * That is, an Atiratra, cf, XIII, 6, 1, 9. Ee€2 420.— SATAPATHA-BRAHMANA.
3That is, an Ukthya sacrifice, cf. p. 259, note 2; XIII, 5, 1,5 seqq. * That is, an Atiratra, cf, XIII, 6, 1, 9. Ee€2 420.— SATAPATHA-BRAHMANA. jnanimate. Of those with omenta he offers the omenta, and of those without omenta they throw down pieces cut out of the skin’, and of herbs and trees they do so after cutting them up,— every kind of food of both the dry and the fresh he offers, in order to gain every kind of food. Everything he offers, and to every one he offers in order to gain and to win everything. The omenta having been offered at the morning-service, and in the same way the oblations at the eveningservice,— 10. The eighth day is a Trizava one®, for the Trixava (stoma) is the thunderbolt, and by means of the thunderbolt, indeed, lordship (kshatra) is gained : by means of the thunderbolt he thus gains lordship. 11. The ninth day is a Trayastrimsa one, for the sake of his gaining a foothold, for the Trayastrimsa (stoma) is a foothold. 12. The tenth day isa Visvagit Atiratra with all the Przsh¢kas‘, for the sake of his gaining and winning everything, for the Visvagit Atiratra with all the Prtshéfas is everything, and the Sarvamedha is everything. . 13. Now as to the sacrificial fees: whatever there is towards the middle of the kingdom other than the property of the Brahmaza, but including land and ? Lit, ‘after cutting (pieces) out of the skin they throw down.’ * That is, one on which the Trinava (thrice-nine-versed) Stoma is used in chanting. 3 That is, one on which the thirty-three-versed hymn-form is used. ‘ For a Soma-sacrifice with all the Prish/a-simans, see part iii, imtrod. p. xx seqq. On the two kinds of Visvagit ek&has, the Agnish/oma and the Atirétra Visvagit, see part iv, p. 320, note 2. xm KAypA, 8 ADHYAYA, I BRAHMANA, I. 421 men, of that the eastern quarter belongs to the Hotvz, the southern to the Brahman, the western to the Adhvaryu, and the northern to the Udgats7; and the Hotvzkas share this along with them. 14. Visvakarman Bhauvana once performed this sacrifice, and having performed it he overpassed all beings, and became everything here; and verily he who, knowing this, performs the Sarvamedha, or who even knows this, overpasses all beings, and becomes everything here. 15. It was Kasyapa who officiated in his sacrifice, and it was concerning this that the Earth ' also sang the stanza ;—‘ No mortal must give me away ; thou wast foolish, Visvakarman Bhauvana: she (the earth) will sink into the midst of the water; vain is this thy promise unto Kasyapa.’ EicHTtH ApuyAya. First BrAHMAWA. Fungrat CEREMONIES. 1, They now? do what is auspicious for him. They now prepare a burial-place (smas4na *) for him, 1 Or, the ground, which Visvakarman Bhauvana gave away as sacrificial fee. On this legend cp. Ait. Br. VIII, 21; J. Muir, Orig. Sanskrit Texts, vol. i, p. 456; vol. iv, p. 369.
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.
1On these dice see part iii, p. 106, note 1. 1 Explained as a jocular expression for the habitual frequenter of the gambling-house. XIII KANDA, 7 ADHYAYA, I BRAHMANA, I. 417 gtowler—g. To the end (anta) a babbler—1o. To the endless a dumb one—11. To articulate sound (sabda) a drum-beater. XI. 1. To festive joy a lute-player—2z. To the cry a fluteplayer—3. To the confused (noise) a conch-blower—4. To the forest a forester—g. To broken woodlands one who watches woods on fire—6. To fun (narma I, 15) a harlot (I, 9}—7. To laughter an artizan (I, 16)}—8. To the sea-monster (?) a mottled woman ? (?) —9-11. To power a village-headman, an astrologer, and a herald (? abhikrosaka). XII. (Added to those at the second post) :—1-3. To dancing (J, §1) a lute-player (XI, 1), a hand-clapper, and a flute-player (XI, 2) —4. To pleasure (I, 17) a musician—gs. To fire a fat man— 6. To the earth a cripple—7. To the wind a K4ndala (outcast) —8. To the air a staff-dancer *—9. To the sky a bald-headed one—ro. To the sun a yellow-eyed one—11. To the stars one of variegated colour—12. To the moon a leprous one (kildsa, cf. IX, 2) —13. To the day a light-coloured one with yellow eyes—14. To the night a black one with yellow eyes.—He then seizes these eight misshapen ones—15. One who is too tall—16. One too short— 17. One too stout—r8. One too lean—19. One too light-coloured —z20. One too black—z21. One toa bald—22. One with too much hair :—these (are to be) neither Sidras nor Brahmanas, and are sacred to Pragdpati;—23. A minstrel (mAgadha, I, 10)}—24. A harlot (pumséalf, cf. I, 9)—25. A gambler (I, 37)—26. A eunuch (I, 7) :—these (also are to be) neither SQdras nor Brahmazas, and are sacred to Prag4pati. Seventy ApuyAya. First BRAHMAMNA. Tue SARVAMEDHA, OR ALL-SACRIFICE. 1. Brahman Svayambhu (the self-existent, n.) was performing austerities*. He said this much,— 1 St. Petersb. Dict. conjectures ‘To lust a sportive woman (? dancer or singer).’ * ‘Vamsanartin’ explained by Mahfdhara as one who practises dancing by means of a bamboo-staff (vamsena nartanasila); by S&y. as one who makes his living by dancing on the top of a bamboo-staff (vamsigranrittagtvin); hardly a ‘family-dancer,’ Monier- Williams. * Cf. J. Muir, Orig. Sanskrit Texts, vol. v, p. 372. [44] Ee errr es er 418 SATAPATHA-BRAHMANA. ‘Verily, there is no perpetuity in austerities; well, then, I will offer up mine own self in the creatures, and the creatures in mine own self.’ And, accordingly, by offering up his own self in the creatures, and the creatures in his own self, he compassed the supremacy, the sovereignty, and the lordship over all creatures; and in like manner does the Sacrificer, by thus offering all sacrificial essences? in the Sarvamedha, compass all beings, and supremacy, sovereignty, and lordship. -
2in the Sarvamedha, compass all beings, and supremacy, sovereignty, and lordship. - 2. Now this Sarvamedha is a ten-days’ (Soma-) sacrifice, for the sake of his gaining and winning every kind of food, for the Virag consists of ten syllables, and the Virag is all food. At this (sacrifice) he builds the greatest possible fire-altar, for this— to wit, the Sarvamedha— is supreme amongst all sacrificial performances: by means of the supreme (sacrifice) he thus causes him (the Sacrificer) to attain supremacy. 3. The first day thereof is an Agnishéut AgnishZoma’, for the sake of his gaining and winning all the gods, for the Agnish¢ut Agnish¢oma is Agni; and all the gods have Agni (the sacrificial fire) for their mouth. The cups of Soma thereat pertain to Agni, and so do the Purorué* formulas pertain to Agni, in order that everything should pertain to Agni. 1 Or, all kinds of victims (medha). * That is, a one-day’s Soma-sacrifice (ekaha) of the Agnishfoma order, arranged so as specially to promote the praise of Agni. In the same way the next three ek4has are intended to honour special deities. * That is, the formulas preceding the ‘upay4ma’ (‘ Thou art taken with a support, &c.,’ cf. part ii, p. 259, note 1) or formula with which the cup of Soma is drawn. xu KANDA, 7 ADHYAYA, I BRAHMANA, 9. 419 4. The second day is an Indrastut Ukthya, for the sake of his gaining and winning all the gods, for Indra is all the gods. The cups of Soma thereat pertain to Indra, and so do the Purorué formulas pertain to Indra, in order that everything should pertain to Indra. 5: The third day is a Sdryastut Ukthya, for the sake of his gaining and winning all the gods, for Sdrya is all the gods. The cups of Soma pertain to Sdrya, and so do the Purorué formulas pertain to Sfrya, in order that everything should pertain to Sfrya. 6. The fourth day is a Vaisvadeva, for the sake of his gaining and winning all the gods, for the All-gods (Visve Dev4s) are all the gods. The cups of Soma pertain to the All-gods, and so do the Purorué formulas pertain to the All-gods, in order that everything should pertain to the Allgods. 7. The fifth day is a central Asvamedhika! one: at this (sacrifice) he seizes a horse meet for sacrifice, for the sake of his gaining the sacrificial essence of the horse. 8. The sixth day is a central Paurushamedhika®? one: at this (sacrifice) he seizes men meet for sacrifice, for the sake of his gaining the sacrificial essence of man. 9. The seventh day is an Aptory4ma, for the sake of his gaining all kinds of Soma-sacrifices: at this (sacrifice) he seizes all kinds of (victims) meet for sacrifice, both what is animate and what is ? That is, an Ukthya sacrifice, cf. p. 259, note 2; XIII, 5, 1,5 seqq. * That is, an Atiratra, cf, XIII, 6, 1, 9. Ee€2 420.— SATAPATHA-BRAHMANA.
3That is, an Ukthya sacrifice, cf. p. 259, note 2; XIII, 5, 1,5 seqq. * That is, an Atiratra, cf, XIII, 6, 1, 9. Ee€2 420.— SATAPATHA-BRAHMANA. jnanimate. Of those with omenta he offers the omenta, and of those without omenta they throw down pieces cut out of the skin’, and of herbs and trees they do so after cutting them up,— every kind of food of both the dry and the fresh he offers, in order to gain every kind of food. Everything he offers, and to every one he offers in order to gain and to win everything. The omenta having been offered at the morning-service, and in the same way the oblations at the eveningservice,— 10. The eighth day is a Trizava one®, for the Trixava (stoma) is the thunderbolt, and by means of the thunderbolt, indeed, lordship (kshatra) is gained : by means of the thunderbolt he thus gains lordship. 11. The ninth day is a Trayastrimsa one, for the sake of his gaining a foothold, for the Trayastrimsa (stoma) is a foothold. 12. The tenth day isa Visvagit Atiratra with all the Przsh¢kas‘, for the sake of his gaining and winning everything, for the Visvagit Atiratra with all the Prtshéfas is everything, and the Sarvamedha is everything. . 13. Now as to the sacrificial fees: whatever there is towards the middle of the kingdom other than the property of the Brahmaza, but including land and ? Lit, ‘after cutting (pieces) out of the skin they throw down.’ * That is, one on which the Trinava (thrice-nine-versed) Stoma is used in chanting. 3 That is, one on which the thirty-three-versed hymn-form is used. ‘ For a Soma-sacrifice with all the Prish/a-simans, see part iii, imtrod. p. xx seqq. On the two kinds of Visvagit ek&has, the Agnish/oma and the Atirétra Visvagit, see part iv, p. 320, note 2. xm KAypA, 8 ADHYAYA, I BRAHMANA, I. 421 men, of that the eastern quarter belongs to the Hotvz, the southern to the Brahman, the western to the Adhvaryu, and the northern to the Udgats7; and the Hotvzkas share this along with them. 14. Visvakarman Bhauvana once performed this sacrifice, and having performed it he overpassed all beings, and became everything here; and verily he who, knowing this, performs the Sarvamedha, or who even knows this, overpasses all beings, and becomes everything here. 15. It was Kasyapa who officiated in his sacrifice, and it was concerning this that the Earth ' also sang the stanza ;—‘ No mortal must give me away ; thou wast foolish, Visvakarman Bhauvana: she (the earth) will sink into the midst of the water; vain is this thy promise unto Kasyapa.’ EicHTtH ApuyAya. First BrAHMAWA. Fungrat CEREMONIES. 1, They now? do what is auspicious for him. They now prepare a burial-place (smas4na *) for him, 1 Or, the ground, which Visvakarman Bhauvana gave away as sacrificial fee. On this legend cp. Ait. Br. VIII, 21; J. Muir, Orig. Sanskrit Texts, vol. i, p. 456; vol. iv, p. 369.
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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