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Romanised transliteration as printed by the translator, not the original script. This is what we hold.
117. He then deposits (the sambhdras*) on the mound with, ‘For Makha thee! for Makha’s head thee!’ the import of this is the same as before. He then takes a lump of clay and makes the Mah4vira (pot) with, ‘For Makha thee! for Makha’s head thee,—the import of this is The place is to the north of the anta#patya peg, the black antelopeskin being spread to the south of it (and immediately north of the materials used in making the pot). * Thus Mahfdhara, on Vag. S. XXXIII, 89. 3 ‘Vira,’ apparently an allusion to ‘ Mah4-vira’ (great hero), the name of the pot used at the Pravargya. ® Viz. as placed on the black antelope-skin which is carried northwards to the enclosed place by the Adhvaryu and his assistants taking hold of it on all sides. 454 SATAPATHA-BRAHMANA. the same as before;—a span high', for the head is, as it were, a span high;—contracted in the middle 2, for the head is, as it were, contracted in the middle. At the top he then draws it out (so as to form) a spout® of three thumbs’ breadths (high): he thereby makes a nose to this (Mah4vira, or Pravargya). When it is complete, he touches it with (Vag. S. XXXVII, 8), ‘Makha’s head thou art,—for it indeed is the head of Makha Saumya (the Soma-sacrifice). In the same way (he makes) the other two (Mah4vtra pots‘); silently two milking-bowls (pinvana‘), and silently two Rauhiza-plates *. 18. Verily this sacrifice is PragApati, and Pragapati 1 That is, from bottom to top, a belt (mekhala) running round it at the distance of three thumbs’ breadths from the top (Mahfdhara, and comm. on Katy.). This top part above the belt—here simply called ‘mouth, whilst in the Apast. Sr. XV, 2, 14 it is called ‘back’ (sinu)—ends in a hole for pouring the liquid in and out. * That is, for taking hold of it (mush/igrahanayogyam, comm. on Katy.). * *Mukha,’ for which Katy. XXVI, 1, 16 has ‘ 4seéana ’ explained by the commentator as a hole (garta; comm. on Asv. Grshyas. IV, 3 bila), apparently serving as the mouth, or open part of the vessel which seems to be otherwise closed. The edge of the hole would seem to protract sufficiently from the surface to suggest a similarity to the nose. In making the vessel, it seems first to be left solid, the open part which is to hold the milk being then hollowed out by means of a reed from the top hole to the depth of less than the upper half, the remainder remaining solid. Cf. Asv. St. XV, 3, 4. “ Only the first of the three pots is, however, actually used; unless it gets broken by accident. 5 According to the comm. on Katy. Sr., these vessels are of the form of the (hand-shaped) bowl of an offering-ladle (srué, cf. part i, Pp. 67, note 2). * The Rauhisa-kapalas are two round, flat dishes for baking the Rauhiza cakes on. XIV KANDA, I ADHYAYA, 2 BRAHMANA, 20. 455
25 According to the comm. on Katy. Sr., these vessels are of the form of the (hand-shaped) bowl of an offering-ladle (srué, cf. part i, Pp. 67, note 2). * The Rauhisa-kapalas are two round, flat dishes for baking the Rauhiza cakes on. XIV KANDA, I ADHYAYA, 2 BRAHMANA, 20. 455 is both of this, defined and undefined, limited and unlimited’. Whatever one does with a Yagus formula, by that one makes up that form of him (Pragdpati) which is defined and limited; and whatever one does silently, by that one makes up that form of him which is undefined and unlimited: verily, then, whosoever, knowing this, does it on this wise, makes up that whole and complete Pragdpati. But he also leaves over a lump of spare (clay) for expiations. 19. He then smooths? it by means of Gavedhuk& grass (Coix barbata),—for when the sacrifice had its head cut off, its vital sap flowed away, and therefrom those plants grew up: with that vital sap he thus supplies and completes it ;—with, ‘For Makha thee! for Makha’s head thee!’ the import of this is the same as before. In the same way the other two (MahAvira pots); silently the two milking-bowls, silently the two Rauhiza-plates. 20. He then fumigates these (vessels) with (Vag. S. XXXVII, 9), ‘With dung of the stallion, the impregnator, I fumigate thee,—for the 1 Cf. J. Muir, Orig. Sansk. Texts, vol. v, p. 393, where a passage is quoted from Prof. Cowell’s translation of the Maitri-Upanishad (VI, 3), ‘ There are two forms of Brahma, the embodied (mfrta) and the unembodied (amfirta): the former is unreal (asatya), the latter real (satya).’—Cf. Sat. Br. VI, 5, 3, 7- * The Sftras use the verbs ‘ slakshnayati, slakshnikurvanti’ (to make smooth, or soft), and this, I think, must indeed be the meaning of‘hinv.’ It would also suit very well the passage III, 5, 1, 35, where it is said that the Vedi is a woman, and that, by sprinkling the former with water, one ‘makes her smooth’ for the gods. The polishing of the vessels is done by rubbing them with Gavedhuk4 grass, whether with the spike, stem, or leaves is not specified. 456 SATAPATHA-BRAHMANA. stallion is an impregnator, and the impregnator means vigour: with vigour he thus supplies and completes it—‘on the Earth’s place of divine worship: for Makha thee, for Makha’s head thee!’ the import of this is the same as before. In the same way (he fumigates) the other two (Mahavira pots); silently the two milking-bowls, and silently the two Rauhiza-plates.
3In the same way (he fumigates) the other two (Mahavira pots); silently the two milking-bowls, and silently the two Rauhiza-plates. 21. He then bakes them, for what is baked belongs to the gods. He bakes them by means of bricks, for they it was that did so on that occasion!: just in accordance with the way in which the head of the sacrifice was there cut off, he now supplies and completes it with those (bricks). But, indeed, let him bake them with anything? whereby they may become properly baked. Having laid down the fuel for baking, he puts down the Mahavira (pot), with, ‘For Makha thee, for Makha’s head thee!’ the import of this is the same as before. In the same way the other two Mahavira (pots); silently the two milking-bowls, silently the two Rauhisaplates. By day he should bury them (in the hole), and by day he should take them out, for the day belongs to the gods. ? That is, when the Ukha was baked, cf. VI, 5, 4, 13; or, perhaps,—they it was that (the gods) made at this juncture. The former translation is more in accordance with what follows, though one would expect ‘etad’ to mean ‘at this time.’ * That is, without using bricks (?). * Viz. in a square hole dug for the purpose east of the Garhapatya; the pot being then placed bottom upwards on the burning material, dry berbs, wood, &c. According to Asv. St. XV, 3, 20 such materials are to be used as, whilst being burnt, dye red. XIV KANDA, I ADHYAYA, 2 BRAHMANA, 25. 457 22. He takes out (the first pot) with (Vag. S. XXXVII, 10), ‘For the righteous one (I take) thee,’—the righteous one, doubtless, is yonder world, for the righteous one means truth ; and he that shines yonder is the truth, and the first Pravargya is that (god): it is him he thus gratifies, and therefore he says, ‘ For the righteous one (I take) thee.’ 23. With, ‘For the efficient one thee’ (he takes out the second pot),—the efficient one (sAdhu), doubtless, is he (V4yu, the wind) that purifies here by blowing, for as a permanent one (siddha) he blows through these worlds; and the second Pravargya is that (god): it is him he thus gratifies, and therefore he says, ‘ For the efficient one (I take) thee.’ 24. With, ‘For a good abode thee!’ (he takes out the third pot),—the good abode, doubtless, is this (terrestrial) world, for it is in this world that all creatures abide; and the good abode also is Agni (fire), for Agni abides with all creatures! in this world; and the third Pravargya is that (god): it is him he thus gratifies, and therefore he says, ‘For a good abode thee.’ Silently (he takes out) the two milking-bowls, and silently the two Rauhiaaplates. 25. He then pours goat’s milk upon them ®? (the 1 The accusative with ‘ kshi’ (to inhabit) is rather peculiar here.
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.
117. He then deposits (the sambhdras*) on the mound with, ‘For Makha thee! for Makha’s head thee!’ the import of this is the same as before. He then takes a lump of clay and makes the Mah4vira (pot) with, ‘For Makha thee! for Makha’s head thee,—the import of this is The place is to the north of the anta#patya peg, the black antelopeskin being spread to the south of it (and immediately north of the materials used in making the pot). * Thus Mahfdhara, on Vag. S. XXXIII, 89. 3 ‘Vira,’ apparently an allusion to ‘ Mah4-vira’ (great hero), the name of the pot used at the Pravargya. ® Viz. as placed on the black antelope-skin which is carried northwards to the enclosed place by the Adhvaryu and his assistants taking hold of it on all sides. 454 SATAPATHA-BRAHMANA. the same as before;—a span high', for the head is, as it were, a span high;—contracted in the middle 2, for the head is, as it were, contracted in the middle. At the top he then draws it out (so as to form) a spout® of three thumbs’ breadths (high): he thereby makes a nose to this (Mah4vira, or Pravargya). When it is complete, he touches it with (Vag. S. XXXVII, 8), ‘Makha’s head thou art,—for it indeed is the head of Makha Saumya (the Soma-sacrifice). In the same way (he makes) the other two (Mah4vtra pots‘); silently two milking-bowls (pinvana‘), and silently two Rauhiza-plates *. 18. Verily this sacrifice is PragApati, and Pragapati 1 That is, from bottom to top, a belt (mekhala) running round it at the distance of three thumbs’ breadths from the top (Mahfdhara, and comm. on Katy.). This top part above the belt—here simply called ‘mouth, whilst in the Apast. Sr. XV, 2, 14 it is called ‘back’ (sinu)—ends in a hole for pouring the liquid in and out. * That is, for taking hold of it (mush/igrahanayogyam, comm. on Katy.). * *Mukha,’ for which Katy. XXVI, 1, 16 has ‘ 4seéana ’ explained by the commentator as a hole (garta; comm. on Asv. Grshyas. IV, 3 bila), apparently serving as the mouth, or open part of the vessel which seems to be otherwise closed. The edge of the hole would seem to protract sufficiently from the surface to suggest a similarity to the nose. In making the vessel, it seems first to be left solid, the open part which is to hold the milk being then hollowed out by means of a reed from the top hole to the depth of less than the upper half, the remainder remaining solid. Cf. Asv. St. XV, 3, 4. “ Only the first of the three pots is, however, actually used; unless it gets broken by accident. 5 According to the comm. on Katy. Sr., these vessels are of the form of the (hand-shaped) bowl of an offering-ladle (srué, cf. part i, Pp. 67, note 2). * The Rauhisa-kapalas are two round, flat dishes for baking the Rauhiza cakes on. XIV KANDA, I ADHYAYA, 2 BRAHMANA, 20. 455
25 According to the comm. on Katy. Sr., these vessels are of the form of the (hand-shaped) bowl of an offering-ladle (srué, cf. part i, Pp. 67, note 2). * The Rauhisa-kapalas are two round, flat dishes for baking the Rauhiza cakes on. XIV KANDA, I ADHYAYA, 2 BRAHMANA, 20. 455 is both of this, defined and undefined, limited and unlimited’. Whatever one does with a Yagus formula, by that one makes up that form of him (Pragdpati) which is defined and limited; and whatever one does silently, by that one makes up that form of him which is undefined and unlimited: verily, then, whosoever, knowing this, does it on this wise, makes up that whole and complete Pragdpati. But he also leaves over a lump of spare (clay) for expiations. 19. He then smooths? it by means of Gavedhuk& grass (Coix barbata),—for when the sacrifice had its head cut off, its vital sap flowed away, and therefrom those plants grew up: with that vital sap he thus supplies and completes it ;—with, ‘For Makha thee! for Makha’s head thee!’ the import of this is the same as before. In the same way the other two (MahAvira pots); silently the two milking-bowls, silently the two Rauhiza-plates. 20. He then fumigates these (vessels) with (Vag. S. XXXVII, 9), ‘With dung of the stallion, the impregnator, I fumigate thee,—for the 1 Cf. J. Muir, Orig. Sansk. Texts, vol. v, p. 393, where a passage is quoted from Prof. Cowell’s translation of the Maitri-Upanishad (VI, 3), ‘ There are two forms of Brahma, the embodied (mfrta) and the unembodied (amfirta): the former is unreal (asatya), the latter real (satya).’—Cf. Sat. Br. VI, 5, 3, 7- * The Sftras use the verbs ‘ slakshnayati, slakshnikurvanti’ (to make smooth, or soft), and this, I think, must indeed be the meaning of‘hinv.’ It would also suit very well the passage III, 5, 1, 35, where it is said that the Vedi is a woman, and that, by sprinkling the former with water, one ‘makes her smooth’ for the gods. The polishing of the vessels is done by rubbing them with Gavedhuk4 grass, whether with the spike, stem, or leaves is not specified. 456 SATAPATHA-BRAHMANA. stallion is an impregnator, and the impregnator means vigour: with vigour he thus supplies and completes it—‘on the Earth’s place of divine worship: for Makha thee, for Makha’s head thee!’ the import of this is the same as before. In the same way (he fumigates) the other two (Mahavira pots); silently the two milking-bowls, and silently the two Rauhiza-plates.
3In the same way (he fumigates) the other two (Mahavira pots); silently the two milking-bowls, and silently the two Rauhiza-plates. 21. He then bakes them, for what is baked belongs to the gods. He bakes them by means of bricks, for they it was that did so on that occasion!: just in accordance with the way in which the head of the sacrifice was there cut off, he now supplies and completes it with those (bricks). But, indeed, let him bake them with anything? whereby they may become properly baked. Having laid down the fuel for baking, he puts down the Mahavira (pot), with, ‘For Makha thee, for Makha’s head thee!’ the import of this is the same as before. In the same way the other two Mahavira (pots); silently the two milking-bowls, silently the two Rauhisaplates. By day he should bury them (in the hole), and by day he should take them out, for the day belongs to the gods. ? That is, when the Ukha was baked, cf. VI, 5, 4, 13; or, perhaps,—they it was that (the gods) made at this juncture. The former translation is more in accordance with what follows, though one would expect ‘etad’ to mean ‘at this time.’ * That is, without using bricks (?). * Viz. in a square hole dug for the purpose east of the Garhapatya; the pot being then placed bottom upwards on the burning material, dry berbs, wood, &c. According to Asv. St. XV, 3, 20 such materials are to be used as, whilst being burnt, dye red. XIV KANDA, I ADHYAYA, 2 BRAHMANA, 25. 457 22. He takes out (the first pot) with (Vag. S. XXXVII, 10), ‘For the righteous one (I take) thee,’—the righteous one, doubtless, is yonder world, for the righteous one means truth ; and he that shines yonder is the truth, and the first Pravargya is that (god): it is him he thus gratifies, and therefore he says, ‘ For the righteous one (I take) thee.’ 23. With, ‘For the efficient one thee’ (he takes out the second pot),—the efficient one (sAdhu), doubtless, is he (V4yu, the wind) that purifies here by blowing, for as a permanent one (siddha) he blows through these worlds; and the second Pravargya is that (god): it is him he thus gratifies, and therefore he says, ‘ For the efficient one (I take) thee.’ 24. With, ‘For a good abode thee!’ (he takes out the third pot),—the good abode, doubtless, is this (terrestrial) world, for it is in this world that all creatures abide; and the good abode also is Agni (fire), for Agni abides with all creatures! in this world; and the third Pravargya is that (god): it is him he thus gratifies, and therefore he says, ‘For a good abode thee.’ Silently (he takes out) the two milking-bowls, and silently the two Rauhiaaplates. 25. He then pours goat’s milk upon them ®? (the 1 The accusative with ‘ kshi’ (to inhabit) is rather peculiar here.
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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