Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1note on paragraph 8) ;—though possibly this latter clause (as Professor M. Miller seems to take it) may only be an argumentative one, giving the reason why the householders are to be instructed. Cf. M. Miller, Hist. of Anc. Sansk. Lit., Pp. 37 seqq. * ‘Householders should be brought thither ’ (i, e. should be made to join this performance) ; Asv.-sfitra. Sikh. has merely ‘ thereby he instructs householders.’ Grihamedhina/ are those who regularly perform the five great domestic sacrifices (mah4yaga). * Or, more closely, the Veda is the, or consists of, Ark (verses). Sankh. S. reads ‘riko vedah’ (the Veda of the Rrk, gen. sing.) instead of ‘rzkak’ (nom. pl.), and in the subsequent paragraph also, it repeats the word ‘veda’ (Yagurveda, Atharvaveda, Angiraso vedah). * That is, as would seem,—as if he were to recite it (or, as when he recites it) in the course of the ordinary sacrificial performance—as in Sastras, the Prataranuvaka, &c. The text would, however, also admit of the translation—‘ thus saying, let him go over (the legend) as if he were reciting a hymn of the Az,’ but it is not quite easy to see how a similar interpretation would suit subsequent paragraphs (1 I-14). Moreover, both Asv. and Sankh. omit ‘vyatakshfna iti, and read ‘nigadet, ‘let him recite (a hymn),’ xl KANDA, 4 ADHYAYA, 3 BRAHMANA, 4. 363 thither: these he calls upon, ‘Masters of luteplayers,’ he says, ‘sing ye of this Sacrificer along with righteous kings of yore?!’ and they accordingly sing of him; and in thus singing of him, they make him share the same world with the righteous kings of yore. 4. Having called (on the masters of lute-players), the Adhvaryu performs the Prakrama oblations %, either on the southern fire, or on a footprint of the horse, after drawing lines round it—whichever is the practice there; but the former® is the established rule. instead of ‘anudravet (let him run, or go, over=anup(irvam ufkarayet, Harisv.).’ Yet, the commentary on S4nkh. supplies the ‘iva,’ explaining as he does, ‘siktam kimkid dkakshina ivanuvadet ;’ from which (if it is not simply quoted from our Br&hmaza) it would almost seem as if he, too, thought of the legend rather than a hymn of the Rk. The verb ‘ vy4-Aaksh,’ as against ‘ni-gad,’ seems to imply a clear articulation—perhaps even with all the stops or pauses, at the end of every half-verse, or pada, as the case might be. Sdyana (on Taitt. Br. II, 2, 1, 4; 2, 6) explains ‘vyAéakshita’ by ‘vispashfam uéAfrayet (or, pa/fet),’ The available MS. of Harisvimin’s commentary on our text is, as usual, incorrect, but as far as it goes, it seems to favour the recitation of the legend at this place,—-‘ vyaéaksh4a iti vikyasas kidan (r. khindan) agais Aabhidad (?) ity artha4,’—which I take to mean that he is to pause after each sentence, as he would do when reciting a hymn.
2khindan) agais Aabhidad (?) ity artha4,’—which I take to mean that he is to pause after each sentence, as he would do when reciting a hymn. } That is, according to Harisvamin,—‘ Compare this Sacrificer in song with the old righteous kings.’ Katy. XX, 3, 8 refers to these latter as ‘ rigarshis,’ or royal sages—in which case the recitation of the legend itself would only come in here. * For the formulas used with this series of forty-nine oblations, see XIII, 1, 3, 5 with notes thereon. * Thatis to say, according to Harisvamin, the course of procedure laid down in XIII, 1, 3, 7, according to which these oblations are to be made on the Ahavanfya, and not either on the southern fire, or on a footprint of the horse. 364 SATAPATHA-BRAHMANA, 5. Prior to the (first) offering to Savityz he offers, once only, the (oblations relating to the) Forms? in the Ahavantya fire, whilst going rapidly over (the formulas). And in the evening, whilst the Dhrttis* (oblations for the safe keeping of the horse) are being offered, a Raganya lute-player, striking up the uttaramandré (tune) south (of the vedi), sings three stanzas composed by himself (on topics* such as), ‘Such war he waged,—Such battle he won:’ the meaning of this has been explained. 6. And on the morrow, the second day, after those (three) offerings to Savitvz have been performed in the same way, there is that same course ? That is to say, the Prakramas which are only performed on the first day of the year, whilst the three oblations to Savitr# are repeated each day. * See XIII, 1, 4, 3; 6,2. These oblations are made just prior to the evening performance of the Agnihotra, when the Ahavantya has been got ready for the latter. The Taittirtyakas seem to make these four oblations on the horse’s feet at the place where the keepers pass the night (viz. the carpenter’s house) during the greater part of the year; and only in the last month, when a stable of Asvattha wood has been put up for the horse near (or on) the offering-ground, these oblations take place on the Ahavantya. See comm. on Taitt. Br. III, 8, 12 (p. 609; cp. p. 700). , At III, 9, 14 (p- 703), on the other hand, it is stated that the RAganya’s singing is to take place in the evening at the time of the Dhrzti-homas. 5 Taitt. Br. Ill, 9, 14, 4, again mentions three topics, one for each stanza—viz. ‘thus (i.e. in the same way as Prithu, Bharata, Bhagtratha, Yudhish/Zira &c., comm.) didst thou overpower (the enemies), thus (i.e. surrounded by heroic warriors, fighting on elephants, steeds, chariots, and on foot, with bows and arrows, spears, swords, &c.) didst thou battle, thus didst thou fight such and such battle (i.e. like Yudhish/Aira, Dushyanta, &c., having engaged in a battle attended by thousands of great heroes, thou, armed only with thy sharp sword, didst slay the king of Kashmir, Magadha, Pundra, &c., comm.).’ XIII KANDA, 4 ADHYAYA, 3 BRAHMANA, 7. 365
3like Yudhish/Aira, Dushyanta, &c., having engaged in a battle attended by thousands of great heroes, thou, armed only with thy sharp sword, didst slay the king of Kashmir, Magadha, Pundra, &c., comm.).’ XIII KANDA, 4 ADHYAYA, 3 BRAHMANA, 7. 365 of procedure. ‘Adhvaryu!’ he (the Hotz) says.— ‘Havai hotar!’ replies the Adhvaryu.—‘ King Yama Vaivasvata', he (the Hotvz) says, ‘his people are the Fathers, and they are staying here ;’—old men have come thither: it is these he instructs ;—‘ The Yagus-formulas are the Veda: this it is;’ thus saying, let him go over a chapter (anuvaka) of the Yagus’, as if reciting it. The Adhvaryu calls in the same way (on the masters of lute-players), but does not perform the Prakrama oblations. 7. And on the third day, after those (three) offerings have been performed in the same way, there is that same course of procedure. ‘ Adhvaryu!’ he (the Hotz) says——‘ Havai hotar!’ replies the Adhvaryu.— King Varuza Aditya, he says; ‘his people are the Gandharvas, and they are staying here ;’—handsome youths have come thither: it is these he instructs;—‘ The Atharvans are the Veda: this it is;’ thus saying, let him go over one section (parvan) of the Atharvan 3, as if reciting 1 When the comm. on Sankh. S. remarks, ‘Yamo Vaivasvato ragety 4heti divitlya evahani Satapathe darsanat,’ this would seem to refer to the addition of either ‘ r4g4,’ or ‘ahani,’ but not to any legend of Y. V., since such a one does not occur in this work ; though various passages in the Rk might no doubt have sufficed to construct some such legend as would have served on this occasion. * The same commentator refers to the ‘ Asvamedhika’ as the section to be recited,—‘ prakaramft,’ because of the treatment (therein of this subject). * Instead of ‘atharvanfm ekam parva,’ the Sankh. S. has ‘bheshagam (medicine), which the commentator—against the opinion of those who take it to mean the hymn Rig-veda X, 97 (treating of the magic powers of herbs)—makes a special work of the Atharvaikas; whilst the Asv. S. reads‘ yad bheshagam nisantam 366 SATAPATHA-BRAHMANA. it. The Adhvaryu calls in the same way (on the masters of lute-players), but does not perform the Prakrama oblations. 8. And on the fourth day, after those (three) offerings have been performed in the same way, there is the same course of procedure. ‘ Adhvaryu!’ he (the Hotv2) says.—‘ Havai hotar!’ replies the Adhvaryu.—‘ King Soma Vaish#ava!,’ he says; ‘his people are the Apsaras, and they are staying here ;’—handsome maidens have come thither : it is these he instructs ?;—‘ The Angiras are the Veda: this it is;’ thus saying, let him go over one section of the Angiras’, as if reciting it. The Adhvaryu calls in the same way (on the masters of luteplayers), but does not perform the Prakrama oblations. 9. And on the fifth day, after those (three) offerings have been performed in the same way, there is the same course of procedure. ‘Adhvaryu!’ he (the Hotvz) says.—‘ Havai hotar!’ replies the
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.
1note on paragraph 8) ;—though possibly this latter clause (as Professor M. Miller seems to take it) may only be an argumentative one, giving the reason why the householders are to be instructed. Cf. M. Miller, Hist. of Anc. Sansk. Lit., Pp. 37 seqq. * ‘Householders should be brought thither ’ (i, e. should be made to join this performance) ; Asv.-sfitra. Sikh. has merely ‘ thereby he instructs householders.’ Grihamedhina/ are those who regularly perform the five great domestic sacrifices (mah4yaga). * Or, more closely, the Veda is the, or consists of, Ark (verses). Sankh. S. reads ‘riko vedah’ (the Veda of the Rrk, gen. sing.) instead of ‘rzkak’ (nom. pl.), and in the subsequent paragraph also, it repeats the word ‘veda’ (Yagurveda, Atharvaveda, Angiraso vedah). * That is, as would seem,—as if he were to recite it (or, as when he recites it) in the course of the ordinary sacrificial performance—as in Sastras, the Prataranuvaka, &c. The text would, however, also admit of the translation—‘ thus saying, let him go over (the legend) as if he were reciting a hymn of the Az,’ but it is not quite easy to see how a similar interpretation would suit subsequent paragraphs (1 I-14). Moreover, both Asv. and Sankh. omit ‘vyatakshfna iti, and read ‘nigadet, ‘let him recite (a hymn),’ xl KANDA, 4 ADHYAYA, 3 BRAHMANA, 4. 363 thither: these he calls upon, ‘Masters of luteplayers,’ he says, ‘sing ye of this Sacrificer along with righteous kings of yore?!’ and they accordingly sing of him; and in thus singing of him, they make him share the same world with the righteous kings of yore. 4. Having called (on the masters of lute-players), the Adhvaryu performs the Prakrama oblations %, either on the southern fire, or on a footprint of the horse, after drawing lines round it—whichever is the practice there; but the former® is the established rule. instead of ‘anudravet (let him run, or go, over=anup(irvam ufkarayet, Harisv.).’ Yet, the commentary on S4nkh. supplies the ‘iva,’ explaining as he does, ‘siktam kimkid dkakshina ivanuvadet ;’ from which (if it is not simply quoted from our Br&hmaza) it would almost seem as if he, too, thought of the legend rather than a hymn of the Rk. The verb ‘ vy4-Aaksh,’ as against ‘ni-gad,’ seems to imply a clear articulation—perhaps even with all the stops or pauses, at the end of every half-verse, or pada, as the case might be. Sdyana (on Taitt. Br. II, 2, 1, 4; 2, 6) explains ‘vyAéakshita’ by ‘vispashfam uéAfrayet (or, pa/fet),’ The available MS. of Harisvimin’s commentary on our text is, as usual, incorrect, but as far as it goes, it seems to favour the recitation of the legend at this place,—-‘ vyaéaksh4a iti vikyasas kidan (r. khindan) agais Aabhidad (?) ity artha4,’—which I take to mean that he is to pause after each sentence, as he would do when reciting a hymn.
2khindan) agais Aabhidad (?) ity artha4,’—which I take to mean that he is to pause after each sentence, as he would do when reciting a hymn. } That is, according to Harisvamin,—‘ Compare this Sacrificer in song with the old righteous kings.’ Katy. XX, 3, 8 refers to these latter as ‘ rigarshis,’ or royal sages—in which case the recitation of the legend itself would only come in here. * For the formulas used with this series of forty-nine oblations, see XIII, 1, 3, 5 with notes thereon. * Thatis to say, according to Harisvamin, the course of procedure laid down in XIII, 1, 3, 7, according to which these oblations are to be made on the Ahavanfya, and not either on the southern fire, or on a footprint of the horse. 364 SATAPATHA-BRAHMANA, 5. Prior to the (first) offering to Savityz he offers, once only, the (oblations relating to the) Forms? in the Ahavantya fire, whilst going rapidly over (the formulas). And in the evening, whilst the Dhrttis* (oblations for the safe keeping of the horse) are being offered, a Raganya lute-player, striking up the uttaramandré (tune) south (of the vedi), sings three stanzas composed by himself (on topics* such as), ‘Such war he waged,—Such battle he won:’ the meaning of this has been explained. 6. And on the morrow, the second day, after those (three) offerings to Savitvz have been performed in the same way, there is that same course ? That is to say, the Prakramas which are only performed on the first day of the year, whilst the three oblations to Savitr# are repeated each day. * See XIII, 1, 4, 3; 6,2. These oblations are made just prior to the evening performance of the Agnihotra, when the Ahavantya has been got ready for the latter. The Taittirtyakas seem to make these four oblations on the horse’s feet at the place where the keepers pass the night (viz. the carpenter’s house) during the greater part of the year; and only in the last month, when a stable of Asvattha wood has been put up for the horse near (or on) the offering-ground, these oblations take place on the Ahavantya. See comm. on Taitt. Br. III, 8, 12 (p. 609; cp. p. 700). , At III, 9, 14 (p- 703), on the other hand, it is stated that the RAganya’s singing is to take place in the evening at the time of the Dhrzti-homas. 5 Taitt. Br. Ill, 9, 14, 4, again mentions three topics, one for each stanza—viz. ‘thus (i.e. in the same way as Prithu, Bharata, Bhagtratha, Yudhish/Zira &c., comm.) didst thou overpower (the enemies), thus (i.e. surrounded by heroic warriors, fighting on elephants, steeds, chariots, and on foot, with bows and arrows, spears, swords, &c.) didst thou battle, thus didst thou fight such and such battle (i.e. like Yudhish/Aira, Dushyanta, &c., having engaged in a battle attended by thousands of great heroes, thou, armed only with thy sharp sword, didst slay the king of Kashmir, Magadha, Pundra, &c., comm.).’ XIII KANDA, 4 ADHYAYA, 3 BRAHMANA, 7. 365
3like Yudhish/Aira, Dushyanta, &c., having engaged in a battle attended by thousands of great heroes, thou, armed only with thy sharp sword, didst slay the king of Kashmir, Magadha, Pundra, &c., comm.).’ XIII KANDA, 4 ADHYAYA, 3 BRAHMANA, 7. 365 of procedure. ‘Adhvaryu!’ he (the Hotz) says.— ‘Havai hotar!’ replies the Adhvaryu.—‘ King Yama Vaivasvata', he (the Hotvz) says, ‘his people are the Fathers, and they are staying here ;’—old men have come thither: it is these he instructs ;—‘ The Yagus-formulas are the Veda: this it is;’ thus saying, let him go over a chapter (anuvaka) of the Yagus’, as if reciting it. The Adhvaryu calls in the same way (on the masters of lute-players), but does not perform the Prakrama oblations. 7. And on the third day, after those (three) offerings have been performed in the same way, there is that same course of procedure. ‘ Adhvaryu!’ he (the Hotz) says——‘ Havai hotar!’ replies the Adhvaryu.— King Varuza Aditya, he says; ‘his people are the Gandharvas, and they are staying here ;’—handsome youths have come thither: it is these he instructs;—‘ The Atharvans are the Veda: this it is;’ thus saying, let him go over one section (parvan) of the Atharvan 3, as if reciting 1 When the comm. on Sankh. S. remarks, ‘Yamo Vaivasvato ragety 4heti divitlya evahani Satapathe darsanat,’ this would seem to refer to the addition of either ‘ r4g4,’ or ‘ahani,’ but not to any legend of Y. V., since such a one does not occur in this work ; though various passages in the Rk might no doubt have sufficed to construct some such legend as would have served on this occasion. * The same commentator refers to the ‘ Asvamedhika’ as the section to be recited,—‘ prakaramft,’ because of the treatment (therein of this subject). * Instead of ‘atharvanfm ekam parva,’ the Sankh. S. has ‘bheshagam (medicine), which the commentator—against the opinion of those who take it to mean the hymn Rig-veda X, 97 (treating of the magic powers of herbs)—makes a special work of the Atharvaikas; whilst the Asv. S. reads‘ yad bheshagam nisantam 366 SATAPATHA-BRAHMANA. it. The Adhvaryu calls in the same way (on the masters of lute-players), but does not perform the Prakrama oblations. 8. And on the fourth day, after those (three) offerings have been performed in the same way, there is the same course of procedure. ‘ Adhvaryu!’ he (the Hotv2) says.—‘ Havai hotar!’ replies the Adhvaryu.—‘ King Soma Vaish#ava!,’ he says; ‘his people are the Apsaras, and they are staying here ;’—handsome maidens have come thither : it is these he instructs ?;—‘ The Angiras are the Veda: this it is;’ thus saying, let him go over one section of the Angiras’, as if reciting it. The Adhvaryu calls in the same way (on the masters of luteplayers), but does not perform the Prakrama oblations. 9. And on the fifth day, after those (three) offerings have been performed in the same way, there is the same course of procedure. ‘Adhvaryu!’ he (the Hotvz) says.—‘ Havai hotar!’ replies the
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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