Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1329 side of the horse, and from the right side of other victims. 3. There is'a rattan mat, for the horse was produced from the womb of the waters, and the rattan springs from the water: he thus brings it in connection with its own (maternal) womb. 4. The Katush/oma’ is the form of chanting (on ' The term Xatush/oma originally apparently means a. sacrificial performance, or succession of chants, in which four different Stomas, or hymn-forms, are used. Hence, in Tandya-Br. VI, 3, 16, the name is applied to the ordinary Agnish/oma, for its twelve Stotras, or chants, require the first four normal Stomas (Trivrit, Pa#tkadasa, Saptadasa, Ekavimsa). The term has, however, assumed the special meaning of a hymnic performance, the different Stomas of which (begin with the four-versed one, and) successively increase by four verses (cf. XIII, 5, 1, 1). In this sense, two different forms of Xatush/oma are in use, one being applicable to an Agnishfoma, the other to a Shodasin, sacrifice. Whilst this latter form requires only four different Stomas (of 4, 8, 12, 16 verses resp.) and thus combines the original meaning of ‘ datush/oma’ with its special meaning, the Agnishfoma form, used on the first of the three days of the Asvamedha, requires six Stomas, ascending from the four-versed up to the twenty-four-versed one. In regard to this latter occasion, Sayasxa on Tandya-Br. XXI, 4,1, curiously enough, seems to take ‘ fatush/oma’ in its original senses, since he speaks of this first day of the Asvamedha as an Agnishfoma with four Stomas, beginning with Trivrit; whilst on ib. XIX, 5, 1 seq. he gives the correct explanation. As to the distribution of the six Stomas over the chants of the first day, see XIII, 5, 1, 1. The Aatushfoma has, however, another peculiarity, which, in Lasy. S. VI, 8, 1 (or at least by the commentator Agnisvamin thereon), is taken as that which has given its name to this form of chanting, viz. that each stotra performed in it is chanted in four, instead of the ordinary three, paryayas or turns of verses (see part ii, p- 310 note). The Bahishpavamfna-stotra is to be performed on three anush/ubh verses (consisting each of four octosyllabic padas) which, however, by taking each time three padas to make up a verse, are transformed into four verses, constituting at the same time the four pary4yas of the Stotra. As regards the exact 330 SATAPATHA-BRAHMANA. the first day); for a bee tore out! (a piece of) the horse’s thigh, and by means of the Xatush/oma form of chanting the gods restored it: thus when there is the Aatush‘oma mode of chanting, it is for the completeness of the horse. The last day is an Atiratra with all the Stomas *—with a view to his obtaining and securing everything, for an Atiratra with all the Stomas is everything, and the Asvamedha is everything. SEconp BRAHMANA. 1. Now this (Sacrificer), having conquered by means of the supreme Stoma—the atushfoma, the Krzta among dice *,—on the next day establishes
2SEconp BRAHMANA. 1. Now this (Sacrificer), having conquered by means of the supreme Stoma—the atushfoma, the Krzta among dice *,—on the next day establishes text to be used there seems to be some doubt, Samav. S. II, 366-8 (pavasva vagasAtaye) being mentioned by Sayama on Tandya-Br. XXI, 4, 5; whilst on XIX, 5, 2 he gives S. V. II, 168-70 (ayam pfisha rayir bhaga/’) as the text to be used—but apparently only when the performance is that of an ekaéha (one day’s sacrifice) proper, instead of one of the days of an 4hina sacrifice, as is the case in the three days’ Asvamedha. As regards the Agya-stotras to be chanted on the eight-versed Stoma, the text of each of them consists of three gayatrf-verses: these are to be chanted in four turns (parydya) of two verses each, viz. either 1 and 2, 2 and 3, 1 and 2, 2 and 3;—or1 and 1,1 and 2, 2 and 2, 3 and 3;—(or rand 1, 1 and 1, 2 and 2, 3 and 3 ;—or 1 and 1, 2 and 2, 2 and 2, 3 and 3). By similar manipulations the subsequent Stomas are formed. ' Or, wounded, as Sdyava takes ‘4 brihat,’ on Taadya-Br. XXI, 4, 4 (vranam kak4ra). * The Atiratra sarvastoma is arranged in such a way that the six principal Stomas are used successively first in the ascending, and then again in the descending, or reversed, order as is explained in XIII, 5, 3, 10. * For this and the other names of the dice, see part ili, p. 106, Note 1. x1 KANDA, 3 ADHYAYA, 2 BRAHMANA, 2. 331 himself on the Ekavimsa', as a firm foundation: from the Ekavimsa, as a firm foundation, he subsequently ascends to the next day, the seasons; for the Przshéka (-stotras) are the seasons, and the seasons are the year: it is in the seasons, in the year, he establishes himself. 2. The Sakvart? (verses) are the Préeshtha (-stotra of the second day): there is a different metre for each (verse), for different kinds of animals, both domestic and wild ones, are immolated here on each (day). As to the Sakvart (verses) being the Prsh¢fa, it is for the completeness of the horse (sacrifice)*; and different kinds of animals are immolated on different (days), because different stomas are performed on the different (days of the Asvamedha). 1 Though applying in the first place to the second day of the Asvamedha, as an Ukthya sacrifice which is at the same time an Ekavimsa day, i.e. one the stotras of which are all chanted in the twenty-one-versed hymn-form, Ekavimsa, the twenty-first or twentyone-fold, as is clear from XIII, 3, 3, 3, here also refers to the sun, of which it is a common epithet (cf. part iii, p. 265, note 2, also XIII, 4, 4, 11). This solar name seems to be derived from the fact that the sun is also identified with the central day of the year, the Vishuvant day, which is considered the central day of a twentyone days’ sacrificial performance—having one prish/hya-shadaha, an Abhigit (or Visvagit day resp.) and three svarasiman days before and after it;—see p. 139, note; and A. Hillebrandt, Die Sonnwendfeste in Alt-Indien, p. 6 seqq.
3139, note; and A. Hillebrandt, Die Sonnwendfeste in Alt-Indien, p. 6 seqq. * That is to say, the so-called Mah4nAmnt verses (Sam. V. ed. Bibl. Ind. II, p. 371), chanted on the sikvara-siman (see part iii, of this transl., introd. p. xx, note 2), are to be used for the Hotrz’s Prishéha-stotra. For this- purpose the Rathantara-siman is ordinarily used in the Agnishfoma, and the Brzhat-siman in the Ukthya, form of sacrifice. * The commentator takes this as an allusion to the ‘potent’ (sakvara=sakta) nature of the verses. 332 SATAPATHA-BRAHMANA. 3. As to this they say, ‘ These—to wit, goats and sheep and the wild (beasts)—are not all animals’; but those—to wit, the bovine (victims)—are indeed all animals.’ On the last day he immolates bovine (victims), for they—to wit, bovine (victims)—are all animals: he thus immolates all animals. They are sacred to the All-gods *, for the completeness of the horse, for the horse is sacred to the All-gods. They are many-formed (or, many-coloured), whence animals are many-formed; and they are of distinct forms (or colours), whence animals are of distinct forms. Tuirp BRAHMANA. 1. Inasmuch as there are three Anush/ubh verses * (on the first day), therefore the horse, when standing, stands on three (feet); and inasmuch as (they are made into) four Gdyatri verses, therefore the horse, when stepping out, scampers off on all (four) feet. For that Anushéubh, doubtless, is the highest metre, and the horse is the highest of animals; and the Katush/oma is the highest of Stomas: by means of what is highest he thus causes him (the Sacrificer) to reach the highest position. 2. The Sakvart verses are the (Hotr2’s) Prishtha (of the second day): there is a different metre for 1 That is to say, they do not fitly represent all kinds of animals, as the highest kind of animals, the bovine cattle, may be said to do. The argument as to the ‘ sarve pasavah’ is, of course, suggested by the ‘asvasya sarvatvaya’ of the preceding paragraph ; and to bring out the parallelism, one might translate,—these .... are not complete animals. 2 See XIII, 5, 3, 11. $ That is, for the Bahishpavam4na-stotra of the Xatush/oma, see P. 329, note. xl KANDA, 3 ADHYAYA, 3 BRAHMANA, 6. 333 each (verse), for different Stomas are performed on each (day). And as to the Sakvart verse being the Prish¢ka (-stotra), it is for the completeness of the horse (sacrifice). 3. The central day is an Ekavimsa one, for the Ekavimsa is yonder sun, and so is the Asvamedha: by means of its own Stoma he thus establishes it in its own deity. 4. The Vamadevya is the Maitravaruza’s SAman'; for the Vamadevya is Pragapati, and the horse is of Pragdpati’s nature: he thus supplies it with its own deity.
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.
1329 side of the horse, and from the right side of other victims. 3. There is'a rattan mat, for the horse was produced from the womb of the waters, and the rattan springs from the water: he thus brings it in connection with its own (maternal) womb. 4. The Katush/oma’ is the form of chanting (on ' The term Xatush/oma originally apparently means a. sacrificial performance, or succession of chants, in which four different Stomas, or hymn-forms, are used. Hence, in Tandya-Br. VI, 3, 16, the name is applied to the ordinary Agnish/oma, for its twelve Stotras, or chants, require the first four normal Stomas (Trivrit, Pa#tkadasa, Saptadasa, Ekavimsa). The term has, however, assumed the special meaning of a hymnic performance, the different Stomas of which (begin with the four-versed one, and) successively increase by four verses (cf. XIII, 5, 1, 1). In this sense, two different forms of Xatush/oma are in use, one being applicable to an Agnishfoma, the other to a Shodasin, sacrifice. Whilst this latter form requires only four different Stomas (of 4, 8, 12, 16 verses resp.) and thus combines the original meaning of ‘ datush/oma’ with its special meaning, the Agnishfoma form, used on the first of the three days of the Asvamedha, requires six Stomas, ascending from the four-versed up to the twenty-four-versed one. In regard to this latter occasion, Sayasxa on Tandya-Br. XXI, 4,1, curiously enough, seems to take ‘ fatush/oma’ in its original senses, since he speaks of this first day of the Asvamedha as an Agnishfoma with four Stomas, beginning with Trivrit; whilst on ib. XIX, 5, 1 seq. he gives the correct explanation. As to the distribution of the six Stomas over the chants of the first day, see XIII, 5, 1, 1. The Aatushfoma has, however, another peculiarity, which, in Lasy. S. VI, 8, 1 (or at least by the commentator Agnisvamin thereon), is taken as that which has given its name to this form of chanting, viz. that each stotra performed in it is chanted in four, instead of the ordinary three, paryayas or turns of verses (see part ii, p- 310 note). The Bahishpavamfna-stotra is to be performed on three anush/ubh verses (consisting each of four octosyllabic padas) which, however, by taking each time three padas to make up a verse, are transformed into four verses, constituting at the same time the four pary4yas of the Stotra. As regards the exact 330 SATAPATHA-BRAHMANA. the first day); for a bee tore out! (a piece of) the horse’s thigh, and by means of the Xatush/oma form of chanting the gods restored it: thus when there is the Aatush‘oma mode of chanting, it is for the completeness of the horse. The last day is an Atiratra with all the Stomas *—with a view to his obtaining and securing everything, for an Atiratra with all the Stomas is everything, and the Asvamedha is everything. SEconp BRAHMANA. 1. Now this (Sacrificer), having conquered by means of the supreme Stoma—the atushfoma, the Krzta among dice *,—on the next day establishes
2SEconp BRAHMANA. 1. Now this (Sacrificer), having conquered by means of the supreme Stoma—the atushfoma, the Krzta among dice *,—on the next day establishes text to be used there seems to be some doubt, Samav. S. II, 366-8 (pavasva vagasAtaye) being mentioned by Sayama on Tandya-Br. XXI, 4, 5; whilst on XIX, 5, 2 he gives S. V. II, 168-70 (ayam pfisha rayir bhaga/’) as the text to be used—but apparently only when the performance is that of an ekaéha (one day’s sacrifice) proper, instead of one of the days of an 4hina sacrifice, as is the case in the three days’ Asvamedha. As regards the Agya-stotras to be chanted on the eight-versed Stoma, the text of each of them consists of three gayatrf-verses: these are to be chanted in four turns (parydya) of two verses each, viz. either 1 and 2, 2 and 3, 1 and 2, 2 and 3;—or1 and 1,1 and 2, 2 and 2, 3 and 3;—(or rand 1, 1 and 1, 2 and 2, 3 and 3 ;—or 1 and 1, 2 and 2, 2 and 2, 3 and 3). By similar manipulations the subsequent Stomas are formed. ' Or, wounded, as Sdyava takes ‘4 brihat,’ on Taadya-Br. XXI, 4, 4 (vranam kak4ra). * The Atiratra sarvastoma is arranged in such a way that the six principal Stomas are used successively first in the ascending, and then again in the descending, or reversed, order as is explained in XIII, 5, 3, 10. * For this and the other names of the dice, see part ili, p. 106, Note 1. x1 KANDA, 3 ADHYAYA, 2 BRAHMANA, 2. 331 himself on the Ekavimsa', as a firm foundation: from the Ekavimsa, as a firm foundation, he subsequently ascends to the next day, the seasons; for the Przshéka (-stotras) are the seasons, and the seasons are the year: it is in the seasons, in the year, he establishes himself. 2. The Sakvart? (verses) are the Préeshtha (-stotra of the second day): there is a different metre for each (verse), for different kinds of animals, both domestic and wild ones, are immolated here on each (day). As to the Sakvart (verses) being the Prsh¢fa, it is for the completeness of the horse (sacrifice)*; and different kinds of animals are immolated on different (days), because different stomas are performed on the different (days of the Asvamedha). 1 Though applying in the first place to the second day of the Asvamedha, as an Ukthya sacrifice which is at the same time an Ekavimsa day, i.e. one the stotras of which are all chanted in the twenty-one-versed hymn-form, Ekavimsa, the twenty-first or twentyone-fold, as is clear from XIII, 3, 3, 3, here also refers to the sun, of which it is a common epithet (cf. part iii, p. 265, note 2, also XIII, 4, 4, 11). This solar name seems to be derived from the fact that the sun is also identified with the central day of the year, the Vishuvant day, which is considered the central day of a twentyone days’ sacrificial performance—having one prish/hya-shadaha, an Abhigit (or Visvagit day resp.) and three svarasiman days before and after it;—see p. 139, note; and A. Hillebrandt, Die Sonnwendfeste in Alt-Indien, p. 6 seqq.
3139, note; and A. Hillebrandt, Die Sonnwendfeste in Alt-Indien, p. 6 seqq. * That is to say, the so-called Mah4nAmnt verses (Sam. V. ed. Bibl. Ind. II, p. 371), chanted on the sikvara-siman (see part iii, of this transl., introd. p. xx, note 2), are to be used for the Hotrz’s Prishéha-stotra. For this- purpose the Rathantara-siman is ordinarily used in the Agnishfoma, and the Brzhat-siman in the Ukthya, form of sacrifice. * The commentator takes this as an allusion to the ‘potent’ (sakvara=sakta) nature of the verses. 332 SATAPATHA-BRAHMANA. 3. As to this they say, ‘ These—to wit, goats and sheep and the wild (beasts)—are not all animals’; but those—to wit, the bovine (victims)—are indeed all animals.’ On the last day he immolates bovine (victims), for they—to wit, bovine (victims)—are all animals: he thus immolates all animals. They are sacred to the All-gods *, for the completeness of the horse, for the horse is sacred to the All-gods. They are many-formed (or, many-coloured), whence animals are many-formed; and they are of distinct forms (or colours), whence animals are of distinct forms. Tuirp BRAHMANA. 1. Inasmuch as there are three Anush/ubh verses * (on the first day), therefore the horse, when standing, stands on three (feet); and inasmuch as (they are made into) four Gdyatri verses, therefore the horse, when stepping out, scampers off on all (four) feet. For that Anushéubh, doubtless, is the highest metre, and the horse is the highest of animals; and the Katush/oma is the highest of Stomas: by means of what is highest he thus causes him (the Sacrificer) to reach the highest position. 2. The Sakvart verses are the (Hotr2’s) Prishtha (of the second day): there is a different metre for 1 That is to say, they do not fitly represent all kinds of animals, as the highest kind of animals, the bovine cattle, may be said to do. The argument as to the ‘ sarve pasavah’ is, of course, suggested by the ‘asvasya sarvatvaya’ of the preceding paragraph ; and to bring out the parallelism, one might translate,—these .... are not complete animals. 2 See XIII, 5, 3, 11. $ That is, for the Bahishpavam4na-stotra of the Xatush/oma, see P. 329, note. xl KANDA, 3 ADHYAYA, 3 BRAHMANA, 6. 333 each (verse), for different Stomas are performed on each (day). And as to the Sakvart verse being the Prish¢ka (-stotra), it is for the completeness of the horse (sacrifice). 3. The central day is an Ekavimsa one, for the Ekavimsa is yonder sun, and so is the Asvamedha: by means of its own Stoma he thus establishes it in its own deity. 4. The Vamadevya is the Maitravaruza’s SAman'; for the Vamadevya is Pragapati, and the horse is of Pragdpati’s nature: he thus supplies it with its own deity.
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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