Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1He offers at each opening of sacrifice‘, for the continuity and uninterrupted performance of the sacrifice. 8. Concerning this they say, ‘Were he to offer ' According to Katy. XX, 3, 3, the Prakramas are to be offered in the Dakshizégni; but our Br&éhmasa, whilst mentioning, at XIII, 4, 3, 4, both that fire, and the horse’s footprint as optional places of offering, there as well as here decides in favour of the Ahavantya; whence Harisvimin remarks:—anyatragner iti anvabaryapakane vasvapade v4 parilikhite vakshyamAvakalp4ntaranind4. ® See XIII, 1, 4, 2. * That is to say, without repeating them, when he has come to the end, as he did in the case of the ‘ oblations of drops.’ Nor are they to be repeated day after day throughout the year, as some of the other offerings and rites are. ‘ Viz., according to Harisvamin, at (the beginning of) the dikshavty4, prayantya, atithya, pravargya; the upasads, agnfshomiya, sutya, avabhritha, udayaniy4, and udavasdnty4 offerings (ish/). This view is, however, rejected by the author. 284 SATAPATHA-BRAHMANA, at each opening of sacrifice, he would be deprived of his cattle, and would become poorer. They should be performed once only: thus he is not deprived of his cattle, and does not become poorer. Forty-eight (oblations) he offers ;—the Gagatt consists of forty-eight syllables, and cattle are of GAagata (movable) nature: by means of the Gagatt he (the Adhvaryu) thus wins cattle for him (the Sacrificer). One additional (oblation) he offers, whence one man is apt to thrive amongst (many) creatures (or subjects). Fourtu BrRAHMANA. 1. Pragdpati poured forth the life-sap of the horse (asva-medha)?. When poured forth, it went straight away from him and spread itself over the regions. The gods went in quest of it. By means of offerings (ish¢i) they followed it up, by offerings they searched for it, and by offerings they found it. And when he performs ish¢is, the Sacrificer thereby searches for the horse (asva) meet for sacrifice? (medhya). 2. They (the ishis*) belong to Savitz; for Savitr2 is this (earth): if any one hides himself thereon, if any one goes elsewhere‘, it is on this 1 Or, as it might also be translated, Prag&pati produced (created) the Asvamedha. 2 Or, for the horse full of life-sap ; or, simply, the sacrificial horse. 5 Viz. three oblations of cakes on twelve kap4las to Savitrr Prasavitrr, Savitr’ Asavitr:, and Savitr: Satyaprasava respectively For particulars see XIII, 4, 2, 6 seqq. * Harisvamin seems to take this in the sense of ‘who moves about elsewhere (in another sphere),’ and mentions, as an instance, a bird which flies in (? up into) the air—pakshy&dir antarikshe gakkhati—but is ultimately caught on earth. XIII KANDA, I ADHYAYA, 5 BRAHMANA, I. 285 (earth) that they find him; for no one (creature), whether walking erect or horizontally (like an animal), is able to go beyond it. Their belonging to Savit7z thus is in order to find the horse.
2XIII KANDA, I ADHYAYA, 5 BRAHMANA, I. 285 (earth) that they find him; for no one (creature), whether walking erect or horizontally (like an animal), is able to go beyond it. Their belonging to Savit7z thus is in order to find the horse. 3. Concerning this they say, ‘Surely the horse disappears when it goes straight away; for they do not turn (drive) it back'.’ Now when he performs the Dhvrzti offerings* in the evening—dhvtti (keeping) meaning peaceful dwelling, and the night also meaning peaceful dwelling—it is by means of peaceful dwelling that he keeps it; whence both men and beasts rest peacefully at night. And when he performs offerings in the morning, he seeks that (horse); whence it is in daytime that one goes to seek for what is lost. And again when he offers the Dhv#tis in the evening, and the (Savitz) ish¢is in the morning, it is security of possession the Sacrificer thereby brings about, whence security of possession is brought about for the subjects where this sacrifice is performed. FirtH BRAHMANA. 1. But, indeed, distinction, royal sway, departs from him who performs the horse-sacrifice; and when a man attains to distinction, the lute is played to him. Two Brahmazical lute-players sing (and play) for a year; for that—to wit, the lute—is a form (attribute) of distinction: it is distinction they thus confer upon him. 1 See XIII, 4, 2, 16. * The four Dhrstis are performed on the Ahavantya after sunset on the first day; cf. XIII, 4, 3, 5. For the four formulas used with these oblations (‘here is joy,’ &c.), see XIII, 1, 6, 2. 286 SATAPATHA-BRAHMANA. 2. Concerning this they say, ‘Were both to be Brahmaazas who sing, noble rank (or political power) would depart from him; for he—to wit, a Brahmaa —is a form of the priestly office; and the nobility takes no delight in the priestly office (or priesthood). 3. ‘And were both to be R4ganyas (nobles), spiritual lustre would depart from him; for he—to wit, the Raganya—is a form of .noble rank, and spiritual lustre takes no delight in noble rank.’ One of those who sing is a Brahmama, and the other a Raganya; for the Brahmaaa means priestly office, and the Réganya noble rank: thus his distinction (social position) comes to be guarded on either side by the priesthood and the nobility. 4. Concerning this they say, ‘Were both to sing by day, his distinction would be apt to fall away from him: for that—to wit, the day—is a form of the priestly dignity ; and when the king chooses he may oppress (despoil) the Brahmaza, but he will fare the worse (or, become the poorer) for it. 5. ‘And if both (were to sing) at night, spiritual lustre would fall away from him; for that—to wit, the night—is a form of the nobility, and spiritual lustre takes no delight in the nobility. The Bréhmaza sings by day?, and the Raganya at night*; and thus, indeed, his distinction comes to be guarded on either side by the priesthood and the nobility *.
3The Bréhmaza sings by day?, and the Raganya at night*; and thus, indeed, his distinction comes to be guarded on either side by the priesthood and the nobility *. 6. ‘Such sacrifices he offered—such gifts he gave!’ such (are the topics about which) the 1 Viz. at the fore-offerings of the three cake-offerings (ishéis) to Savitrz, whilst staying in the south part of the sacrificial ground. * Viz. during the performance of the Dhritis after sunset. * The ‘iti’ at the end belongs to the following paragraph. xl KAwpDA, I ADHYAYA, 6 BRAHMANA, I. 287 Brahmama sings'; for to the Brahmaza_ belongs the fulfilment of wishes?: it is with the fulfilment of wishes he (the Brahmaza) thus endows him (the Sacrificer). ‘Such war he waged,—such battle he won!’ such (are the topics about which) the Raganya sings; for the battle is the Raganya’s strength: it is with strength he thus endows him. Three stanzas the one sings, and three stanzas the other, they amount to six,—six seasons make up a year: he thus establishes (the Sacrificer) in the seasons, in the year. To both of them he presents a hundred; for man has a life of a hundred (years), and a hundred energies: it is vitality and energy, vital power, he confers upon him. SixtHo BrRAHMANA. 1. [The Adhvaryu and Sacrificer whisper in the right ear of the horse, Vag. S. XXII, 19%] ‘Plenteous by the mother, strengthful by the father,—its mother, doubtless, is this (earth), and its father yonder (sky): it is to these two he commits it;—‘a horse thou art, a steed thou art, —he thereby instructs it, whence clever subjects (or children) are born to him ;—‘a courser (atya) thou art, a charger thou art,—he therewith leads it beyond (ati), whence the horse goes beyond (surpasses) other animals, and whence the horse attains to pre-eminence among animals ;—‘a runner thou art, a racer thou art, a prize-winner thou 1 Cf, XII, 4, 2, 8 * The author apparently takes ‘ishfdpfrta’ in the sense of either ‘sacrifice and fulfilment,’ or ‘the fulfilment of (the objects of) sacrifice. Cf, Weber, Ind. Stud. IX, p. 319; X, p. 96. ® See XIII, 4, 2, 15. 288 SATAPATHA-BRAHMANA. art, —in accordance with the text is (the meaning of) this;—‘a male thou art, well-disposed towards man thou art,—this is with a view to its (or, his) being supplied with a mate ;—‘ Speedy thou art called, Child thou art called,—this is the horse’s favourite name: by its favourite name he thus addresses it; whence even if two enemies ', on meeting together, address one another by name, they get on amicably together.
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 offers at each opening of sacrifice‘, for the continuity and uninterrupted performance of the sacrifice. 8. Concerning this they say, ‘Were he to offer ' According to Katy. XX, 3, 3, the Prakramas are to be offered in the Dakshizégni; but our Br&éhmasa, whilst mentioning, at XIII, 4, 3, 4, both that fire, and the horse’s footprint as optional places of offering, there as well as here decides in favour of the Ahavantya; whence Harisvimin remarks:—anyatragner iti anvabaryapakane vasvapade v4 parilikhite vakshyamAvakalp4ntaranind4. ® See XIII, 1, 4, 2. * That is to say, without repeating them, when he has come to the end, as he did in the case of the ‘ oblations of drops.’ Nor are they to be repeated day after day throughout the year, as some of the other offerings and rites are. ‘ Viz., according to Harisvamin, at (the beginning of) the dikshavty4, prayantya, atithya, pravargya; the upasads, agnfshomiya, sutya, avabhritha, udayaniy4, and udavasdnty4 offerings (ish/). This view is, however, rejected by the author. 284 SATAPATHA-BRAHMANA, at each opening of sacrifice, he would be deprived of his cattle, and would become poorer. They should be performed once only: thus he is not deprived of his cattle, and does not become poorer. Forty-eight (oblations) he offers ;—the Gagatt consists of forty-eight syllables, and cattle are of GAagata (movable) nature: by means of the Gagatt he (the Adhvaryu) thus wins cattle for him (the Sacrificer). One additional (oblation) he offers, whence one man is apt to thrive amongst (many) creatures (or subjects). Fourtu BrRAHMANA. 1. Pragdpati poured forth the life-sap of the horse (asva-medha)?. When poured forth, it went straight away from him and spread itself over the regions. The gods went in quest of it. By means of offerings (ish¢i) they followed it up, by offerings they searched for it, and by offerings they found it. And when he performs ish¢is, the Sacrificer thereby searches for the horse (asva) meet for sacrifice? (medhya). 2. They (the ishis*) belong to Savitz; for Savitr2 is this (earth): if any one hides himself thereon, if any one goes elsewhere‘, it is on this 1 Or, as it might also be translated, Prag&pati produced (created) the Asvamedha. 2 Or, for the horse full of life-sap ; or, simply, the sacrificial horse. 5 Viz. three oblations of cakes on twelve kap4las to Savitrr Prasavitrr, Savitr’ Asavitr:, and Savitr: Satyaprasava respectively For particulars see XIII, 4, 2, 6 seqq. * Harisvamin seems to take this in the sense of ‘who moves about elsewhere (in another sphere),’ and mentions, as an instance, a bird which flies in (? up into) the air—pakshy&dir antarikshe gakkhati—but is ultimately caught on earth. XIII KANDA, I ADHYAYA, 5 BRAHMANA, I. 285 (earth) that they find him; for no one (creature), whether walking erect or horizontally (like an animal), is able to go beyond it. Their belonging to Savit7z thus is in order to find the horse.
2XIII KANDA, I ADHYAYA, 5 BRAHMANA, I. 285 (earth) that they find him; for no one (creature), whether walking erect or horizontally (like an animal), is able to go beyond it. Their belonging to Savit7z thus is in order to find the horse. 3. Concerning this they say, ‘Surely the horse disappears when it goes straight away; for they do not turn (drive) it back'.’ Now when he performs the Dhvrzti offerings* in the evening—dhvtti (keeping) meaning peaceful dwelling, and the night also meaning peaceful dwelling—it is by means of peaceful dwelling that he keeps it; whence both men and beasts rest peacefully at night. And when he performs offerings in the morning, he seeks that (horse); whence it is in daytime that one goes to seek for what is lost. And again when he offers the Dhv#tis in the evening, and the (Savitz) ish¢is in the morning, it is security of possession the Sacrificer thereby brings about, whence security of possession is brought about for the subjects where this sacrifice is performed. FirtH BRAHMANA. 1. But, indeed, distinction, royal sway, departs from him who performs the horse-sacrifice; and when a man attains to distinction, the lute is played to him. Two Brahmazical lute-players sing (and play) for a year; for that—to wit, the lute—is a form (attribute) of distinction: it is distinction they thus confer upon him. 1 See XIII, 4, 2, 16. * The four Dhrstis are performed on the Ahavantya after sunset on the first day; cf. XIII, 4, 3, 5. For the four formulas used with these oblations (‘here is joy,’ &c.), see XIII, 1, 6, 2. 286 SATAPATHA-BRAHMANA. 2. Concerning this they say, ‘Were both to be Brahmaazas who sing, noble rank (or political power) would depart from him; for he—to wit, a Brahmaa —is a form of the priestly office; and the nobility takes no delight in the priestly office (or priesthood). 3. ‘And were both to be R4ganyas (nobles), spiritual lustre would depart from him; for he—to wit, the Raganya—is a form of .noble rank, and spiritual lustre takes no delight in noble rank.’ One of those who sing is a Brahmama, and the other a Raganya; for the Brahmaaa means priestly office, and the Réganya noble rank: thus his distinction (social position) comes to be guarded on either side by the priesthood and the nobility. 4. Concerning this they say, ‘Were both to sing by day, his distinction would be apt to fall away from him: for that—to wit, the day—is a form of the priestly dignity ; and when the king chooses he may oppress (despoil) the Brahmaza, but he will fare the worse (or, become the poorer) for it. 5. ‘And if both (were to sing) at night, spiritual lustre would fall away from him; for that—to wit, the night—is a form of the nobility, and spiritual lustre takes no delight in the nobility. The Bréhmaza sings by day?, and the Raganya at night*; and thus, indeed, his distinction comes to be guarded on either side by the priesthood and the nobility *.
3The Bréhmaza sings by day?, and the Raganya at night*; and thus, indeed, his distinction comes to be guarded on either side by the priesthood and the nobility *. 6. ‘Such sacrifices he offered—such gifts he gave!’ such (are the topics about which) the 1 Viz. at the fore-offerings of the three cake-offerings (ishéis) to Savitrz, whilst staying in the south part of the sacrificial ground. * Viz. during the performance of the Dhritis after sunset. * The ‘iti’ at the end belongs to the following paragraph. xl KAwpDA, I ADHYAYA, 6 BRAHMANA, I. 287 Brahmama sings'; for to the Brahmaza_ belongs the fulfilment of wishes?: it is with the fulfilment of wishes he (the Brahmaza) thus endows him (the Sacrificer). ‘Such war he waged,—such battle he won!’ such (are the topics about which) the Raganya sings; for the battle is the Raganya’s strength: it is with strength he thus endows him. Three stanzas the one sings, and three stanzas the other, they amount to six,—six seasons make up a year: he thus establishes (the Sacrificer) in the seasons, in the year. To both of them he presents a hundred; for man has a life of a hundred (years), and a hundred energies: it is vitality and energy, vital power, he confers upon him. SixtHo BrRAHMANA. 1. [The Adhvaryu and Sacrificer whisper in the right ear of the horse, Vag. S. XXII, 19%] ‘Plenteous by the mother, strengthful by the father,—its mother, doubtless, is this (earth), and its father yonder (sky): it is to these two he commits it;—‘a horse thou art, a steed thou art, —he thereby instructs it, whence clever subjects (or children) are born to him ;—‘a courser (atya) thou art, a charger thou art,—he therewith leads it beyond (ati), whence the horse goes beyond (surpasses) other animals, and whence the horse attains to pre-eminence among animals ;—‘a runner thou art, a racer thou art, a prize-winner thou 1 Cf, XII, 4, 2, 8 * The author apparently takes ‘ishfdpfrta’ in the sense of either ‘sacrifice and fulfilment,’ or ‘the fulfilment of (the objects of) sacrifice. Cf, Weber, Ind. Stud. IX, p. 319; X, p. 96. ® See XIII, 4, 2, 15. 288 SATAPATHA-BRAHMANA. art, —in accordance with the text is (the meaning of) this;—‘a male thou art, well-disposed towards man thou art,—this is with a view to its (or, his) being supplied with a mate ;—‘ Speedy thou art called, Child thou art called,—this is the horse’s favourite name: by its favourite name he thus addresses it; whence even if two enemies ', on meeting together, address one another by name, they get on amicably together.
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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