Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1makes them to be put on the throneseat placed north of the Ahavanfya). 1 According to the comm. on Katy. XXVI, 7, 4, it is the Adhvaryu who—after ladling four times into the offering-spoon—distributes this ghee successively over the three bundles of sticks, —viz. pouring some upon the first two whilst they are held, at the specified height over the Ahavantya fire, by the Agnidh (who immediately after the offering throws them into the fire), and upon the third after it has been held knee-high by the Agnfdh, and then thrown into the fire by the Adhvaryu. According to Apastamba, who makes the Pratiprasth4tr:’ and Adhvaryu the two performers, the third portion of the ghee is offered on the bundle of sticks whilst it is still held knee-high over the fire. As noted by K&tydyana, the ceremony is analogous (though reversed as regards the order of height) to the offering on the three enclosing-stones at the Satarudriya ceremony, IX, 1, 1, 5 seqq. XIV KANDA, 3 ADHYAYA, 1 BRAHMANA, 9. 495 dh4na,’—just that which is in the GAyatrt (metre) and Havirdhana (shed);—‘may that (fire) of thine increase and become firm: to that (fire) of thine, hail!’ in this there is nothing hidden, so to speak. 5. Then, having kindled the second (bundle), he offers (thereon) whilst holding it navel-high ; for in the middle, as it were, is what is navelhigh, and in the middle, as it were, is the air-world : thus he thereby supplies and completes it with that heat which had entered the air-world. 6. ‘What fire of thine is in the air,—just the fire which is in the air;—‘what is in the Trish¢ubh and in the Agntdhra,—just that which is in the Trishfubh (metre) and Agntdhra (fire-shed) ;—‘ may that (fire) of thine increase and become firm: to that (fire) of thine, hail!’ in this there is nothing hidden, so to speak. 7. Then, having put the third (bundle) on the fire, he offers on it whilst sitting; for below, as it were, is he who is sitting; and below, as it were, is this (terrestrial) world: thus he thereby supplies and completes it with that heat which had entered this (terrestrial) world. 8. ‘What fire of thine is in the earth,— just that fire which is in the earth ;—‘what is in the Gagatit and in the Sadas,—just that which is in the Gagatt (metre) and the Sadas (shed) ;—‘ may that (fire) of thine increase and become firm: to that (fire) of thine, hail!’ in this there is nothing hidden, so to speak. 9. He (the Adhvaryu) then steps out, with } Viz. out of the s4l4, with the Sacrificer’s wife in front of him, 496 SATAPATHA-BRAHMANA.
29. He (the Adhvaryu) then steps out, with } Viz. out of the s4l4, with the Sacrificer’s wife in front of him, 496 SATAPATHA-BRAHMANA. (Vag. S. XXXVIII, 19), ‘Thee (we will follow) for the protection of the Kshatra,—for he who shines yonder? is indeed the divine ruler: ‘for the protection of this human ruler,’ he thereby means to say;—‘guard thou the Brahman’s body !’—that is to say, ‘preserve thou the Brahman’s person (4tman);’—‘ Thee (we will follow) as a stay for the Vis,’-—the Vis (people, clan) doubtless is the sacrifice: ‘for the safety of the sacrifice, he thus means to say ;—‘ we will follow to new prosperity, —it is for the safety and the stability of the sacrifice that he says this. 10. He then says (to the Prastotrz), ‘Sing the Saman!' or ‘Recite the SAman!’ but let him rather say, ‘Sing the Saman!’ for they indeed sing the SAman. When he sings the S4man it is in order that the fiends, the Rakshas, should not injure these and followed by the others. According to Apast. XV, 13, 4, the Pratiprasthatr7 now leads the Sacrificer’s wife within the enclosure ; and whilst attendants carry away the objects not immediately connected with the Pravargya ceremony (post, peg, strings, sand, &c.), the Adhvaryu places the throne-seat (with the chief vessels) so as to stand with two feet on the Vedi; and with the other two outside it, and calls on the Prastotrs to sing the Saman. This (as is usual in chanting) is done three times—the Adhvaryu, however, repeating his summons each time—and each time all of them (including the Patnf) sing or utter a special finale,—the first time in the sala, the second time midway between the sala and the Uttaravedi, and the third time when they have arrived behind the Uttaravedi; the finales corresponding to the formulas of this paragraph, viz—‘ For the protection (or protector) of heaven (we follow) thee !’—‘ For the protection of the Brahman—thee !’— ‘For the protection of the self—thee !” 1 It should be borne in mind that the Mahfvfra by which they are supposing themselves to be led now, is looked upon as a symbol of the sun. XIV KANDA, 3 ADHYAYA, I BRAHMANA, 14. 497 outside the sacrifice, the body; for the S4man is a repeller of the fiends, the Rakshas. 11. He sings it on a (verse) relating to Agni, for Agni is the repeller of the Rakshas. On an Ati#&handas (verse) he sings it, for that—to wit, the Atiéésandas (redundant metre) is all metres, therefore he sings it on an Atié#&/andas (verse). 12. He sings’, ‘Agni burneth, encountereth with flames, AhA4vo! AhA&vo!!’—it is thus he repels the fiends, the Rakshas, from here. 13. They walk out (from the sacrificial ground) northwards’, along the back of the pit and the front side of the Agntdhra (fire-house)—for this is the gate of the sacrifice—and proceed in whatever direction from there water is (to be found).
313. They walk out (from the sacrificial ground) northwards’, along the back of the pit and the front side of the Agntdhra (fire-house)—for this is the gate of the sacrifice—and proceed in whatever direction from there water is (to be found). 14. Let him ‘set out’ that (Pravargya) on an island ; for, when heated, it becomes burning-hot °; and were he to set it out on this (earth), its heat would enter this (earth); and were he to set it out on water, its heat would enter the water; but when he sets it out on an island—thus, indeed, it does not injure either the water or this (earth), for inasmuch as he does not throw it into the water, it does not injure the water; and inasmuch as the water flows all round it—water being a means 1 The same Saman is sung when they betake themselves to the expiatory bath at the end of the Soma-sacrifice, cf. IV, 4, 5, 8 where the stobha had better be altered to ‘ah4vo’ (though the Sandhi in the text is the same as of ‘ah4vas’). As on that former occasion, all the priests, as well as the Sacrificer, join in the finale. . * In doing so, they take the Pravargya-vessels and implements along with them. * Hardly ‘is suffering pain,’ as it was taken at IX, 2, 1, 19; though ‘susuéina’ and ‘suk’ evidently refer to internal heat, or passion, cf. p. 464, note 4, p. 468, note 1. (44) Kk 498 SATAPATHA-BRAHMANA. of soothing—it does not injure this (earth) : let him therefore set it out on an island. 15. But let him rather set it out on the Uttaravedi!; for the Uttara-vedi is the sacrifice, and the Pravargya is its head: he thus restores to the sacrifice its head. 16. The first Pravargya (pot) he sets out so as to be close to (the front side of) the navel (of the Uttara-vedi), for the northern (upper) navel is the voice, and the Pravargya is the head: he thus places the voice in the head. 17. [He does so, with Vag. S. XX XVIII, 20] ‘The four-cornered,—four-cornered, indeed, is he who shines yonder, for the quarters are his corners: therefore he says, ‘ Four-cornered’ ;— 18. —‘Mighty navel of the divine order,— the divine order being the truth, he thereby means to say, ‘The mighty navel of the truth ;’—‘that mighty one (be) unto us of all life,—*‘that mighty one (be) unto us (a bestower) of the complete (term of) life,’ he thereby means to say ?;
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.
1makes them to be put on the throneseat placed north of the Ahavanfya). 1 According to the comm. on Katy. XXVI, 7, 4, it is the Adhvaryu who—after ladling four times into the offering-spoon—distributes this ghee successively over the three bundles of sticks, —viz. pouring some upon the first two whilst they are held, at the specified height over the Ahavantya fire, by the Agnidh (who immediately after the offering throws them into the fire), and upon the third after it has been held knee-high by the Agnfdh, and then thrown into the fire by the Adhvaryu. According to Apastamba, who makes the Pratiprasth4tr:’ and Adhvaryu the two performers, the third portion of the ghee is offered on the bundle of sticks whilst it is still held knee-high over the fire. As noted by K&tydyana, the ceremony is analogous (though reversed as regards the order of height) to the offering on the three enclosing-stones at the Satarudriya ceremony, IX, 1, 1, 5 seqq. XIV KANDA, 3 ADHYAYA, 1 BRAHMANA, 9. 495 dh4na,’—just that which is in the GAyatrt (metre) and Havirdhana (shed);—‘may that (fire) of thine increase and become firm: to that (fire) of thine, hail!’ in this there is nothing hidden, so to speak. 5. Then, having kindled the second (bundle), he offers (thereon) whilst holding it navel-high ; for in the middle, as it were, is what is navelhigh, and in the middle, as it were, is the air-world : thus he thereby supplies and completes it with that heat which had entered the air-world. 6. ‘What fire of thine is in the air,—just the fire which is in the air;—‘what is in the Trish¢ubh and in the Agntdhra,—just that which is in the Trishfubh (metre) and Agntdhra (fire-shed) ;—‘ may that (fire) of thine increase and become firm: to that (fire) of thine, hail!’ in this there is nothing hidden, so to speak. 7. Then, having put the third (bundle) on the fire, he offers on it whilst sitting; for below, as it were, is he who is sitting; and below, as it were, is this (terrestrial) world: thus he thereby supplies and completes it with that heat which had entered this (terrestrial) world. 8. ‘What fire of thine is in the earth,— just that fire which is in the earth ;—‘what is in the Gagatit and in the Sadas,—just that which is in the Gagatt (metre) and the Sadas (shed) ;—‘ may that (fire) of thine increase and become firm: to that (fire) of thine, hail!’ in this there is nothing hidden, so to speak. 9. He (the Adhvaryu) then steps out, with } Viz. out of the s4l4, with the Sacrificer’s wife in front of him, 496 SATAPATHA-BRAHMANA.
29. He (the Adhvaryu) then steps out, with } Viz. out of the s4l4, with the Sacrificer’s wife in front of him, 496 SATAPATHA-BRAHMANA. (Vag. S. XXXVIII, 19), ‘Thee (we will follow) for the protection of the Kshatra,—for he who shines yonder? is indeed the divine ruler: ‘for the protection of this human ruler,’ he thereby means to say;—‘guard thou the Brahman’s body !’—that is to say, ‘preserve thou the Brahman’s person (4tman);’—‘ Thee (we will follow) as a stay for the Vis,’-—the Vis (people, clan) doubtless is the sacrifice: ‘for the safety of the sacrifice, he thus means to say ;—‘ we will follow to new prosperity, —it is for the safety and the stability of the sacrifice that he says this. 10. He then says (to the Prastotrz), ‘Sing the Saman!' or ‘Recite the SAman!’ but let him rather say, ‘Sing the Saman!’ for they indeed sing the SAman. When he sings the S4man it is in order that the fiends, the Rakshas, should not injure these and followed by the others. According to Apast. XV, 13, 4, the Pratiprasthatr7 now leads the Sacrificer’s wife within the enclosure ; and whilst attendants carry away the objects not immediately connected with the Pravargya ceremony (post, peg, strings, sand, &c.), the Adhvaryu places the throne-seat (with the chief vessels) so as to stand with two feet on the Vedi; and with the other two outside it, and calls on the Prastotrs to sing the Saman. This (as is usual in chanting) is done three times—the Adhvaryu, however, repeating his summons each time—and each time all of them (including the Patnf) sing or utter a special finale,—the first time in the sala, the second time midway between the sala and the Uttaravedi, and the third time when they have arrived behind the Uttaravedi; the finales corresponding to the formulas of this paragraph, viz—‘ For the protection (or protector) of heaven (we follow) thee !’—‘ For the protection of the Brahman—thee !’— ‘For the protection of the self—thee !” 1 It should be borne in mind that the Mahfvfra by which they are supposing themselves to be led now, is looked upon as a symbol of the sun. XIV KANDA, 3 ADHYAYA, I BRAHMANA, 14. 497 outside the sacrifice, the body; for the S4man is a repeller of the fiends, the Rakshas. 11. He sings it on a (verse) relating to Agni, for Agni is the repeller of the Rakshas. On an Ati#&handas (verse) he sings it, for that—to wit, the Atiéésandas (redundant metre) is all metres, therefore he sings it on an Atié#&/andas (verse). 12. He sings’, ‘Agni burneth, encountereth with flames, AhA4vo! AhA&vo!!’—it is thus he repels the fiends, the Rakshas, from here. 13. They walk out (from the sacrificial ground) northwards’, along the back of the pit and the front side of the Agntdhra (fire-house)—for this is the gate of the sacrifice—and proceed in whatever direction from there water is (to be found).
313. They walk out (from the sacrificial ground) northwards’, along the back of the pit and the front side of the Agntdhra (fire-house)—for this is the gate of the sacrifice—and proceed in whatever direction from there water is (to be found). 14. Let him ‘set out’ that (Pravargya) on an island ; for, when heated, it becomes burning-hot °; and were he to set it out on this (earth), its heat would enter this (earth); and were he to set it out on water, its heat would enter the water; but when he sets it out on an island—thus, indeed, it does not injure either the water or this (earth), for inasmuch as he does not throw it into the water, it does not injure the water; and inasmuch as the water flows all round it—water being a means 1 The same Saman is sung when they betake themselves to the expiatory bath at the end of the Soma-sacrifice, cf. IV, 4, 5, 8 where the stobha had better be altered to ‘ah4vo’ (though the Sandhi in the text is the same as of ‘ah4vas’). As on that former occasion, all the priests, as well as the Sacrificer, join in the finale. . * In doing so, they take the Pravargya-vessels and implements along with them. * Hardly ‘is suffering pain,’ as it was taken at IX, 2, 1, 19; though ‘susuéina’ and ‘suk’ evidently refer to internal heat, or passion, cf. p. 464, note 4, p. 468, note 1. (44) Kk 498 SATAPATHA-BRAHMANA. of soothing—it does not injure this (earth) : let him therefore set it out on an island. 15. But let him rather set it out on the Uttaravedi!; for the Uttara-vedi is the sacrifice, and the Pravargya is its head: he thus restores to the sacrifice its head. 16. The first Pravargya (pot) he sets out so as to be close to (the front side of) the navel (of the Uttara-vedi), for the northern (upper) navel is the voice, and the Pravargya is the head: he thus places the voice in the head. 17. [He does so, with Vag. S. XX XVIII, 20] ‘The four-cornered,—four-cornered, indeed, is he who shines yonder, for the quarters are his corners: therefore he says, ‘ Four-cornered’ ;— 18. —‘Mighty navel of the divine order,— the divine order being the truth, he thereby means to say, ‘The mighty navel of the truth ;’—‘that mighty one (be) unto us of all life,—*‘that mighty one (be) unto us (a bestower) of the complete (term of) life,’ he thereby means to say ?;
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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