5. a» «3 ; 3» 7- * See XIII, 3, 6, 3 seq.
Digitized by
XIII kAjvda, 3 adhyAya, i brAhmajva, 4. 329
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 Aatush/oma ^ is the form of chanting (on
^ The term A^atush/oma originally apparently means a sacrificial performance, or succession of chants, in which four different Stomas, or hymn-forms, are used. Hence, in Tdw^ya-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 (Trivn't, Pa^>hidaja, Saptada^, £kavi/«ja). 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, i, 1). In this sense, two different forms of iTatush/oma are in use, one being applicable to an Agnish- /oma, the other to a Shodzsin, sacrifice. Whilst this latter form requires only four different Stomas (of 4, 8, 12, ij6 verses resp.) and thus combines the original meaning of ' >(atush/oma ' with its special meaning, the Agnish/oma form, used on the first of the three days of the Arvamedha, requires six Stomas, ascending from the four-versed up to the twenty-four-versed one. In regard to this latter occasion, Sdyaiia on Tindyz-Br. XXI, 4, i, curiously enough, seems to take * iatush/oma ' in its original senses, since he speaks of this first day of the Arvamedha as an Agnish/oma with four Stomas, beginning with Trivrit ; whilst on ib. XIX, 5, i seq. he gives the correct explanation. As to the distribution of the six Stomas over the chants of the first day, see XIII, 5, i, i. The ksLiushfovnSL has, however, another peculiarity, which, in LS/y. S. VI, 8, I (or at least by the commentator Agnisvdmin 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, paryiyas or turns of verses (see part ii, p. 310 note). The Bahishpavam&na-stotra is to be performed on three anush/Ubh verses (consisting each of four octosyllabic p&das) which, however, by taking each time three p&das to make up a verse, are transformed into four verses, constituting at the same time the four pary&yas of the Stotra. As regards the exact
Digitized by
330 ^atapatha-brAhmajva. .
the first day) ; for a bee tore out * (a piece of) the
horse's thigh, and by means of the Aatush/oma
form of chanting the gods restored it : thus when
there is the A'atush/oma mode of chanting, it is
for the completeness of the horse. The last day
is an Atir&tra with all the Stomas^ — ^with a view
to his obtaining and securing everything, for an
Atirdtra with all the Stomas is everything, and the
A^vamedha is everything.
Second Brahmaya.
I. Now this (Sacrificer), having conquered by
means of the supreme Stoma — the A'atush/oma,
the Krtta, among dice *,— on the next day establishes
text to be used there seems to be some doubt, Sdmav. S. II, 366-8 (pavasva vS^sdtaye) being mentioned by Siya^a on Ta»/ya-Br. XXI, 4, 5 ; whilst on XIX, 5, 2 he gives S. V. II, 168-70 (ayam ptshSi rayir bhaga^) as the text to be used — ^but apparently only when the performance is that of an ek&ha (one day's sacrifice) proper, instead of one of the days of an ihtna sacrifice, as is the case in the three days' Ajvamedha. As regards the A^a-stotras to be chanted on the eight-versed Stoma, the text of each of them consists of three g&yatrt-verses : these are to be chanted in four turns (l>arydya) of two verses each, viz. either i and 2, 2 and 3, I and 2, 2 and 3 ; — or 1 and i, i and 2, 2 and 2, 3 and 3 ; — (or I and I, I and i, 2 and 2, 3 and 3 ; — or i and i, 2 and 2, 2 and 2, 3 and 3). £y similar manipulations the subsequent Stomas are formed.
* Or, wounded, as Saya»a takes * i bnliat,* on Ta«</ya-Br. XXI, 4, 4 {vTSMSjn iakdra).
* The Atiritra 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, 6, 3, lo.
^ For this and the other names of the dice, see part iii, p. 106, note I.
Digitized by
XIII kAjvda, 3 adhyAya, 2 brahmaya, 2. 331
himself on the Ekavi«wa\ as a firm foundation:
from the Ekavi*»ja, as a firm foundation, he sub-
sequently ascends to the next day, the seasons ; for
the Presh/Aa (-stotras) are the seasons, and the
seasons are the year: it is in the seasons, in the
year, he establishes himself.
2. The vSakvarP (verses) are the Pr/sh/Aa
(-stotra of the second day) : there is a different
metre for each (verse), for different kinds of
animals, both domestic and wild ones, are immo-
lated here on each (day). As to the ^akvarl
(verses) being tlie Pr/sh/^a, it is for the complete-
ness 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 A^vamedha).
* Though applying in the first place to the second day of the Ajvamedha, as an Ukthya sacrifice which is at the same time an Ekzvimsz, day, i. e. one the stotras of which are all chanted in the twenty-one-verscd hymn-form, Ekavim^ a, the twenty-first or twenty- one-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, 1 1). This solar name seems to be derived firom 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 twenty- one days' sacrificial performance — having one pri'shMya-shaafiiha, an Abhl^t (or Vijvs^git day resp.) and three svarasdman days before and after it; — see p. 139, note; and A. Hillebrandt, Die Sonnwendfeste in Ait-Indien, p. 6 seqq.
^ That is to say, the so-called Mahindmni verses (S£m. V. ed. Bibl. Ind* II, p* 371), chanted on the j&kvara-sdman (see part iii, of this transl., introd. p. xx^ note 2), are to be used for the Hotrt^s Pr/sh/^-stotra. For this purpose the Rathantara-s&man is ordinarily used in the Agnish/oma, and the Bnliat-s&man in the Ukthya, form of sacrifice.
' The commentator takes this as an allusion to the 'potent' (xakvara= jakta) nature of the verses.
Digitized by
332 fi-ATAPATHA-BRAHMA-YA.
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.
Third BRAnMAiVA.
1. Inasmuch as there are three Anush/ubh verses ^
(on the first day), therefore the horse, when stand-
ing, stands on three (feet) ; and inasmuch as (they
are made into) four G&yatri verses, therefore the
horse, when stepping out, scampers off on all (four)
feet. For that Anush/ubh, doubdess, is the highest
metre, and the horse is the highest of animals ; and
the A^atush/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 .Sakvarl verses are the (Hotrf s) FrishiAs. (of the second day) : there is a different metre for
^ 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 paxava^ ' is, of course, suggested by the ' arvasya sarvatvSya ' of the preceding paragraph j and to bring out the parallelism, one might translate, — these .... are not complete animals.
• See XIII, 5,3, II.
' That is, for the BahishpavamSna-stotra of the Aatush/oma, see p. 329, note.
Digitized by
XIII kAjvda, 3 adhyAya, 3 brAhmaya, 6. 333
each (verse), for different Stomas are performed on
each (day). And as to the 5akvart verse being
the FrtshiAB, (-stotra), it is for ihe completeness
of the horse (sacrifice).
3. The central day is an Kkavimsa one, for the
Ekavi;»^a is yonder sun, and so is the A^vamedha :
by means of its own Stoma he thus establishes it
in its own deity.
4. The V&madevya is the Maitr&varu^a's S&man ' ;
for the VAmadevya is Pra^pati, and the horse is
of Pra^pati's nature: he thus supplies it with its
own deity.
5. The P4rthuranna is the Brahma-s&man'; for the
horse is restrained by means of reins ^ (ra^mi), but
when unrestrained, unchecked, and unsteadied, it
would be liable to go to the furthest distance : thus
when the P&rthura^ma is the Brahma-s4man, it is for
the safe keeping of the horse.
6. The S2imkrtti^ is the A^MvAka's SAman; —
^ That is, the h3m[in-tune of the second PrtshMa-stotta chanted for the Maitrdvanma (who responds thereto by the recitation of the second Nishkevaljra-jastra) : the Mahi-Vimadevya on the text ^ kayd naj iiitrad bhuvat ' (S. V. II, 32-34 ; figured for chanting in Bibl. Ind. ed. Ill, p. 89) is ordinarily used for this stotra both in the Agnish/oma, and in the Ukthya, form of sacrifice.
* That is, the tune of the third, or Brdhmanai^msin's, Prr'shMa- stotra. For the s&mans commonly used for this stotra see part ii, p. 434, note I. The Pirthuraxma-siman may be chanted on either of the texts SSmav. II, 352-4 (figured ed, Bibl. Ind. vol. V, p. 395) or II. 355-7 (figured vol. V, p. 483). It is the latter text which is lo be used on the present occasion. On the legendary origin of this s&man (which is said to represent ' strength/ and therefore to be appropriate to a RS^nya) see Thtdyz-Bv. XIII, 4, 17.
"" Or, is fastened by means of a rope.
* The Saisskrtti-sdman is used with the texts S&mav. II, 663-4 (figured ed. Bibl. Ind. V, p. 407), II, 669-70 (ib. p. 48a, wrongly.
Digitized by
334 DATAPATH A-BRAhMAJVA.
that A^vamedha, indeed, is, as it were, a disused
sacrifice, for what is performed thereof, and what
is not ^ ? When the Sa*»knti is the Ait^vdka s
Siman, it is for (bringing about) the completeness
of the horse (sacrifice). The last day is an Atiritra
with all the (six) Stomas, in order to his (the Sacri*
ficer's) obtaining everything, for an Atiritra with all
the Stomas is everything, and the A^vamedha is
everything.
7. The fire-altar is the twenty-one-fold one ^, the
Stoma the twenty-one-fold one, and there are twenty-
one sacrificial stakes; even as bulls or stallions^
would clash together, so do these Stomas*, the
called Sa/wgati), and II, 679-81 (ib. p. 515). It is probably the second of these texts that is to be used here, as it is also used for the same stotra on the second day of the Garga-trir&tra.
^ Cp. the corresponding passage, Tattt. S. V, 4, 12, 3, 'that Axvamedha, indeed, is a disused sacrifice, for, say they, who knows if the whole of it is performed or not?' Perhaps, however, ' utsanna-ya^^a ' rather means * a decayed sacrifice,' i. e. one which has lost (or in the usual performance is apt to lose) some of its original elements ; whence the ' Samkrni ' tune is to be used for the purpose of ' making up ' the lost parts. Part of the commentary in this passage is not clear to me : — u^^aiAkaldpagrimidau sid- dhasthine satrasthito granthato^rthatar kz, yat ya^a utsannaya^^ esha ya^ ajvamedha^i katham utsanna ity ata &ha, kim v& hid, yasya dharmd^ pArvayonau (? pftrvayuge) prayi^gyante teshim )dmAii kalau kriyate kimkin na kriyate, tataf ihi sainkritir ai^A&v&kasima bhavati.
' That is, an altar measuring twenty-one man's lengths on each of the four sides of its body,
' The commentary seems to take both * rishabha ' and * vrishan ' here in the sense of * bulls,' but cp. Taitt. Br. Ill, 8, 21, i, ' yathi vd axvd varshabhi vd vr/shdna^ ssjn sphurerajs' — ' even as if male horses or bulls were to clash together.'
