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Romanised transliteration as printed by the translator, not the original script. This is what we hold.
119. He consecrates him prior to the Svish¢akvzt (offering), for the Svish¢akvzt is the Kshatra: he thus consecrates him by means of the Kshatra (or, by a Kshatriya). And he consecrates him between (the oblation to) the Lord of the Forest? and the * According to Katy. Sr. XIX, 4, 14-17, he sprinkles him up to the mouth, letting it flow down on all four sides; and with each sprinkling he pronounces one of the formulas, first, the Savitra one, Vag. S. XX, 3, ‘At the impulse of God Savitrz (1 consecrate) thee by the arms of the Asvins, and the heads of P@shan!’ followed by the Asvina one, ‘with the healing medicine of the Asvins I sprinkle thee for energy and holy lustre !’ and the Sfrasvata one, ‘with the healing medicine of Sarasvatf I sprinkle thee for vigour and food!’ Then a fourth time with a formula referring to all the deities (or with the three great utterances), or with the Aindra text, ‘With Indra’s power I sprinkle thee for strength, for excellence, and for fame!’ * For this oblation, see III, 8, 3, 33; 1V,5, 2, 11; in both cases it is followed immediately by the oblation to Agni Svish/akrit. - 254 SATAPATHA-BRAHMANA. Svishéakrzt, for the lord of the forest (or the tree) is Soma, and the Svish¢akzzt (maker of good offering) is Agni: he thus consecrates him after encompassing him by Agni and Soma; whence both those who know, and those who do not, say, ‘A Kshatriya is the consecrator of a Kshatriya!.’ 20. They then lift him up? knee-high, then navelhigh, then as high as the mouth; for the Vagapeya doubtless is the same as the consecration, and the Sautramazi is a consecration; and even as there, at the V4gapeya, he (the Sacrificer) mounts the sacrificial stake ’, like that is this rite. 21. As to this they say, ‘ But, surely, he who is consecrated by the Sautramawt moves away from this world.” Well, he descends again upon the black antelope skin, and, the black antelope skin being the sacrifice, he thus finally establishes himself on the sacrifice. 22. [He descends‘, with Vag. S. XX, 10,]‘Firmly® I establish myself in the Kshatra (lordship), in royal sway,—in lordship and royal sway he thus establishes himself so as not to lose lordship and royal sway ;—‘firmly in horses I establish ) Kshatriyo rag#osbhishekt4 bhavati, pArvam hi ragaiva vriddhah kuméram &abhishi#katfty arthak ; comm. * According to K&ty. Sr. XIX, 4, 19-21, the Adhvaryu first touches him, with (V4g. S. XX, 4), ‘Thou art Ka, thou art Katama, —to Ka thee!’ and the Sacrificer replies, ‘O thou of good fame ! O most propitious one! O true king!’ and touches his limbs one after another with XX, 5-9. 5 See part iii, p. 32 (V, 2, 1, 9 seqq.). ‘ That is, when the throne-seat has been lowered again, he rises from it and stands on the deer-skin. 5 The function of ‘prati’ here seems to be to strengthen the preposition in the verb ‘ prati-tish/2ami.’ xi1 KANDA, 8 ADHYAYA, 3 BRAHMANA, 24. 255
25 See part iii, p. 32 (V, 2, 1, 9 seqq.). ‘ That is, when the throne-seat has been lowered again, he rises from it and stands on the deer-skin. 5 The function of ‘prati’ here seems to be to strengthen the preposition in the verb ‘ prati-tish/2ami.’ xi1 KANDA, 8 ADHYAYA, 3 BRAHMANA, 24. 255 myself, and in kine,’—in the midst of horses and kine he thus establishes himself so as not to lose horses and kine ;—‘ firmly in the limbs I establish myself, and in the body,’—in the limbs. and in the body he thus establishes himself so as not to lose his limbs and his body ;—‘ firmly in the vital airs I establish myself, and in prosperity,—in the vital airs and in prosperity he thus establishes himself so as not to lose the vital airs and prosperity ;—‘ firmly in heaven and on earth I establish myself, and in the sacrifice,—he thus establishes himself in these two, heaven and earth, within which is all this (universe). 23. He! then sings a SAman (hymn-tune), for the Séman means lordship (kshatra) : with lordship he thus consecrates him; or the Sdman means imperial sway: by means of imperial sway he thus causes him to attain imperial sway. And, indeed, the Sdman is the essence of all the Vedas: he thus consecrates him with the essence of all the Vedas. 24. He sings it on a brzhatt verse?, for established on the Bvzhatt, as his excellence and foundation, 1 According to the commentator on Katy. X1X, 5, 1, the Brahman sings, whilst Laty. V, 4, 16-19 gives directions from which the Udgatrs would seem to be expected to perform this duty. When the Sacrificer is being anointed, the Udgitr;' is to step between the (northern and southern) fires and, as soon as he is called upon by the Adhvaryu, he is to commence the Sdman. It would probably depend on the Brahman’s previous studies, whether or not he was sufficiently conversant with the complicated details of the hymnology. * Viz. Vag. S. XX, 30 (Azks. VII, 89, 1), ‘To Indra, O Maruts, sing ye the great (hymn), most destructive to Vrztra, whereby the promoters of sacred rites produced the light, the wakeful god for the god.’ 256 SATAPATHA-BRAHMANA. that sun shines': he thus establishes him on the Brzhatt, as his excellence and foundation. 25. He sings it on a brzhatf verse relating to Indra, for this sacrifice, the Sautramazt, belongs to Indra, and even now he who sacrifices has Indra for his support: he thus consecrates him on his own support (or resting-place). 26. And as to why (these hymns) are called ‘bracers *;’ it is because by means of these SAmans the gods braced Indra up to energy, or vital power : in like manner do the officiating priests, by means of these Samans, brace the Sacrificer up to energy, or vital power. ‘Samsravase, visravase, satyasravase, sravase®’—these are the SAmans: they proclaim
3‘Samsravase, visravase, satyasravase, sravase®’—these are the SAmans: they proclaim * Professor Weber, Ind. Stud. VIII, p. 42, refers to a parallel passage in Tandya-Br. VII, 4, 7—‘ By means of the Bahishpavamina (of the morning service) the gods carried off Aditya, the sun, to heaven; but he did not stop there. At midday they then fixed him by means of the Brzhatf, and for this reason the Brzhatf metre is used for the Pavam4na-stotra at the midday service.’ ® Literally, sharpeners or sharpenings (samsdna). * These words—apparently meaning ‘for fame all round, for fame far and wide, for true fame, for fame’ (or, perhaps, ‘for hearing, or, rather, being heard of all round,’ &c.)—are used to form the finales (nidhana) in which all the priests are to join; cf. Samay., Calc. ed., I, pp. 533-4, where the figured text is given. According to Katy. XIX, 5, 4-5; Laty. V, 4, 19, the words, ‘samgityai, vigityai, satyagityai, gityai’ (for complete victory, victory far and wide, &c.), and ‘sampush/fyai, vipushfyai,’ &c. (for complete prosperity, &c.), are to be used instead, in the case of a Kshatriya and Vaisya respectively, either optionally or necessarily. ‘Though these four words are here, and elsewhere, spoken of as so many different Samans, only the last of them (‘ sravase’) forms the jizale of a Saman in the ordinary sense of the word; the others being merely combined with certain musical ejaculations, or expletives (stobhas). All the four ‘Sdémans’ begin with the same phrase (varying only in the verb)—‘sam tv4 hinvanti (risanti, xu KANDA, 8 ADHYAYA, 3 BRAHMANA, 29. 257 him in these worlds. There are four finales, for there are four quarters: they thus establish him in all the quarters. All (the priests) join in the finale: with one mind they thus bestow excellence upon him. 27. As to this they say, ‘ Seeing that this Saman is sung, wherein then does the recitation (uktha) of this SAman consist, and what is its foundation ; for unsuccessful is what is chanted unless it be followed by a recitation ?’ 28. ‘Thrice eleven are the gods;’ this, indeed, is the recitation! belonging to that S4man, this its foundation. 29. Or he (the Adhvaryu) takes a thirty-third cupful (of gravy), with (Vag. S. XX, 11-121), ‘ Thrice
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.
119. He consecrates him prior to the Svish¢akvzt (offering), for the Svish¢akvzt is the Kshatra: he thus consecrates him by means of the Kshatra (or, by a Kshatriya). And he consecrates him between (the oblation to) the Lord of the Forest? and the * According to Katy. Sr. XIX, 4, 14-17, he sprinkles him up to the mouth, letting it flow down on all four sides; and with each sprinkling he pronounces one of the formulas, first, the Savitra one, Vag. S. XX, 3, ‘At the impulse of God Savitrz (1 consecrate) thee by the arms of the Asvins, and the heads of P@shan!’ followed by the Asvina one, ‘with the healing medicine of the Asvins I sprinkle thee for energy and holy lustre !’ and the Sfrasvata one, ‘with the healing medicine of Sarasvatf I sprinkle thee for vigour and food!’ Then a fourth time with a formula referring to all the deities (or with the three great utterances), or with the Aindra text, ‘With Indra’s power I sprinkle thee for strength, for excellence, and for fame!’ * For this oblation, see III, 8, 3, 33; 1V,5, 2, 11; in both cases it is followed immediately by the oblation to Agni Svish/akrit. - 254 SATAPATHA-BRAHMANA. Svishéakrzt, for the lord of the forest (or the tree) is Soma, and the Svish¢akzzt (maker of good offering) is Agni: he thus consecrates him after encompassing him by Agni and Soma; whence both those who know, and those who do not, say, ‘A Kshatriya is the consecrator of a Kshatriya!.’ 20. They then lift him up? knee-high, then navelhigh, then as high as the mouth; for the Vagapeya doubtless is the same as the consecration, and the Sautramazi is a consecration; and even as there, at the V4gapeya, he (the Sacrificer) mounts the sacrificial stake ’, like that is this rite. 21. As to this they say, ‘ But, surely, he who is consecrated by the Sautramawt moves away from this world.” Well, he descends again upon the black antelope skin, and, the black antelope skin being the sacrifice, he thus finally establishes himself on the sacrifice. 22. [He descends‘, with Vag. S. XX, 10,]‘Firmly® I establish myself in the Kshatra (lordship), in royal sway,—in lordship and royal sway he thus establishes himself so as not to lose lordship and royal sway ;—‘firmly in horses I establish ) Kshatriyo rag#osbhishekt4 bhavati, pArvam hi ragaiva vriddhah kuméram &abhishi#katfty arthak ; comm. * According to K&ty. Sr. XIX, 4, 19-21, the Adhvaryu first touches him, with (V4g. S. XX, 4), ‘Thou art Ka, thou art Katama, —to Ka thee!’ and the Sacrificer replies, ‘O thou of good fame ! O most propitious one! O true king!’ and touches his limbs one after another with XX, 5-9. 5 See part iii, p. 32 (V, 2, 1, 9 seqq.). ‘ That is, when the throne-seat has been lowered again, he rises from it and stands on the deer-skin. 5 The function of ‘prati’ here seems to be to strengthen the preposition in the verb ‘ prati-tish/2ami.’ xi1 KANDA, 8 ADHYAYA, 3 BRAHMANA, 24. 255
25 See part iii, p. 32 (V, 2, 1, 9 seqq.). ‘ That is, when the throne-seat has been lowered again, he rises from it and stands on the deer-skin. 5 The function of ‘prati’ here seems to be to strengthen the preposition in the verb ‘ prati-tish/2ami.’ xi1 KANDA, 8 ADHYAYA, 3 BRAHMANA, 24. 255 myself, and in kine,’—in the midst of horses and kine he thus establishes himself so as not to lose horses and kine ;—‘ firmly in the limbs I establish myself, and in the body,’—in the limbs. and in the body he thus establishes himself so as not to lose his limbs and his body ;—‘ firmly in the vital airs I establish myself, and in prosperity,—in the vital airs and in prosperity he thus establishes himself so as not to lose the vital airs and prosperity ;—‘ firmly in heaven and on earth I establish myself, and in the sacrifice,—he thus establishes himself in these two, heaven and earth, within which is all this (universe). 23. He! then sings a SAman (hymn-tune), for the Séman means lordship (kshatra) : with lordship he thus consecrates him; or the Sdman means imperial sway: by means of imperial sway he thus causes him to attain imperial sway. And, indeed, the Sdman is the essence of all the Vedas: he thus consecrates him with the essence of all the Vedas. 24. He sings it on a brzhatt verse?, for established on the Bvzhatt, as his excellence and foundation, 1 According to the commentator on Katy. X1X, 5, 1, the Brahman sings, whilst Laty. V, 4, 16-19 gives directions from which the Udgatrs would seem to be expected to perform this duty. When the Sacrificer is being anointed, the Udgitr;' is to step between the (northern and southern) fires and, as soon as he is called upon by the Adhvaryu, he is to commence the Sdman. It would probably depend on the Brahman’s previous studies, whether or not he was sufficiently conversant with the complicated details of the hymnology. * Viz. Vag. S. XX, 30 (Azks. VII, 89, 1), ‘To Indra, O Maruts, sing ye the great (hymn), most destructive to Vrztra, whereby the promoters of sacred rites produced the light, the wakeful god for the god.’ 256 SATAPATHA-BRAHMANA. that sun shines': he thus establishes him on the Brzhatt, as his excellence and foundation. 25. He sings it on a brzhatf verse relating to Indra, for this sacrifice, the Sautramazt, belongs to Indra, and even now he who sacrifices has Indra for his support: he thus consecrates him on his own support (or resting-place). 26. And as to why (these hymns) are called ‘bracers *;’ it is because by means of these SAmans the gods braced Indra up to energy, or vital power : in like manner do the officiating priests, by means of these Samans, brace the Sacrificer up to energy, or vital power. ‘Samsravase, visravase, satyasravase, sravase®’—these are the SAmans: they proclaim
3‘Samsravase, visravase, satyasravase, sravase®’—these are the SAmans: they proclaim * Professor Weber, Ind. Stud. VIII, p. 42, refers to a parallel passage in Tandya-Br. VII, 4, 7—‘ By means of the Bahishpavamina (of the morning service) the gods carried off Aditya, the sun, to heaven; but he did not stop there. At midday they then fixed him by means of the Brzhatf, and for this reason the Brzhatf metre is used for the Pavam4na-stotra at the midday service.’ ® Literally, sharpeners or sharpenings (samsdna). * These words—apparently meaning ‘for fame all round, for fame far and wide, for true fame, for fame’ (or, perhaps, ‘for hearing, or, rather, being heard of all round,’ &c.)—are used to form the finales (nidhana) in which all the priests are to join; cf. Samay., Calc. ed., I, pp. 533-4, where the figured text is given. According to Katy. XIX, 5, 4-5; Laty. V, 4, 19, the words, ‘samgityai, vigityai, satyagityai, gityai’ (for complete victory, victory far and wide, &c.), and ‘sampush/fyai, vipushfyai,’ &c. (for complete prosperity, &c.), are to be used instead, in the case of a Kshatriya and Vaisya respectively, either optionally or necessarily. ‘Though these four words are here, and elsewhere, spoken of as so many different Samans, only the last of them (‘ sravase’) forms the jizale of a Saman in the ordinary sense of the word; the others being merely combined with certain musical ejaculations, or expletives (stobhas). All the four ‘Sdémans’ begin with the same phrase (varying only in the verb)—‘sam tv4 hinvanti (risanti, xu KANDA, 8 ADHYAYA, 3 BRAHMANA, 29. 257 him in these worlds. There are four finales, for there are four quarters: they thus establish him in all the quarters. All (the priests) join in the finale: with one mind they thus bestow excellence upon him. 27. As to this they say, ‘ Seeing that this Saman is sung, wherein then does the recitation (uktha) of this SAman consist, and what is its foundation ; for unsuccessful is what is chanted unless it be followed by a recitation ?’ 28. ‘Thrice eleven are the gods;’ this, indeed, is the recitation! belonging to that S4man, this its foundation. 29. Or he (the Adhvaryu) takes a thirty-third cupful (of gravy), with (Vag. S. XX, 11-121), ‘ Thrice
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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