1 The libations (grahas) having been taken, and the remaining Nigrabhya water, mixed with Soma-juice, poured from the Hotr/'s cup into the Drowakalaja (p. 256, note i), the Adhvaryu, Pratipra- sthatr/, Prastotr/, Udgatr/, Pratihartr/, and Sacrificer walk out of the Havirdhana shed, each following one touching the hem of the garment of the one before him, and betake themselves to the altar.
2 The vipru^-homa, an expiatory oblation for the Soma spilt during the pressing, consists of a pra/^aram spoon full of ghee. According to Asv.Y, 2, 6, and La/y. 1, 1 1, 9, it would seem that each of those taking part in the Sarpawa (see p. 299, note 2) makes two oblations (called * pravr^tta-homa ' by La/y. St. and Pafi/^aviwi'a Br.).
:o6 i-ATAPATHA-BRAHMAiVA.
away, whatever stalk of thine,' — whatever par-
ticle (of Soma) is spilt, that is a drop, that indeed he
means ; and by ' whatever stalk of thine' he mentions
the stalk; — 'stone-pressed, from the lap of the
press-bowls;' for pressed by the stone^ it leaps
away from the two press-bowls; — 'be it from the
Adhvaryu or from the strainer,' — for it leaps
away either from the Adhvaryu's hands or from the
strainer, — 'that I offer unto thee in my mind
consecrated by Vasha/, Hail!' whereby it be-
comes for him as an offering consecrated by Vasha/.
3. Thereupon the Adhvaryu takes two stalks of
grass from the covered altar. The two Adhvaryus^
proceed first (to the chanting-place beside the pit),
as the out-breathing and in-breathing of the sacri-
fice ; then the Prastotr/, as the voice of the sacrifice ;
then the Udgatr/, as the self (or body), the Pra^apati,
of the sacrifice ; then the Pratihartr/, either as the
physician or the through-breathing I
4. The Sacrificer holds on to those five priests
from behind'', for as much as those five priests are,
so much is the whole sacrifice, the sacrifice being
fivefold : hence the Sacrificer thereby holds on to
the sacrifice.
5. He (the Adhvaryu) then throws one of the two
^ ' Grava-z^yuta ' seems to be taken by the author in the sense of ' set in motion by the (pressing) stone.' The Rig-veda reads ' bahu-/^yuta ; ' also ' dhishawaya// ' instead of ' dhisha^/ayo/^.'
2 That is, the Adhvaryu and his assistant, the Pratiprasthatr/,
^ Ait. Br. II, 20 enumerates Adhvaryu, Prastotr/, Pratihartr/, Udgatr/, and Brahman (see alsoAjv. V, 2, 4-5); the La/yay. Siitra I, II, Adhvaryu, Prastotr/, Udgat/-/, Pratihartr/, Brahman, and Sacrificer.
* That is, each holds on to the hem of the garment of the one who precedes him.
IV KAiVDA, 2 ADHYAYA, 5 BRAHMAiVA, 7. 307
Stalks of grass forward towards the pit\ with, 'Thou
art the ascent of the gods!' for when the gods
through the sacrifice attained to the heavenly world,
it was from that pit that they went upwards to the
heavenly world : he thus makes the sacrificer look
along the road to heaven.
6. He then throws down the other stalk in front
of the chanters, silently, for those chanters represent
the hymn of praise (stotra), Pra^apati (the sacrifice), —
he (Pra^apati) draws to himself everything here, and
takes possession of everything here : it is to him that
that stalk is offered, and thus he does not draw the
Adhvaryu to himself, and take possession of him. And
when they mutter-, — for the chanters mutter now^ —
7. Then he bespeaks the chant, saying, ' Soma
becometh pure!' He bespeaks the chant right off*,
and they chant right off; for these chants, the
Pavamana/^^, are directed towards the gods, since
^ The Udgatm (chanters) also throw stalks of grass to the south with their left hands, with the text, F^nkav. I, 3, 3.
^ And when he thinks ' they have muttered ' (atha yada manyate '^apishur iti) — for the chanters mutter now. Kawva text.
^ For the mantras the Udgatr/s have to mutter on this occasion, previous to the chanting, see Ta.ndya. Br. I, 3, 4-6. The recita- tion of the A^ya^yastra, by the Hotr?', succeeding the chanting of the Bahishpavamana-stotra, is likewise preceded by a prayer mut- tered by that priest, for which see Ait. Br. II, 38 ; A^v. V, 9.
■* That is, without repeating that formula, in the same way as the Pavamana chants are performed without repeating single verses. See p. 308, note 2.
® The first stotra at each pressing is called pavamana (puri- fying, i. e. during the chanting of which the Soma becomes clari- fied), viz. the Bahishpavamana at the morning, the Madhyan- dina pavamana at the midday, and the Arbhava (or traiya) pavamana at the evening pressing. The other stotras are called Dhurya, 'to be harnessed, belonging to or forming a team.' For the correspondence between the stotra and ^astra, see p. 325, note 2.
3o8 ^ATAPATHA-BRAHMAiVA.
the gods thereby attained to the heavenly world
right off (straightway) : therefore he bespeaks the
chant right off, and right off they chant.
8. With ' Turn ye back M' (he bespeaks) the other
chants (viz. the Dhuryas), and turning back (or re-
peating) they chant the Dhuryas ^ for the latter
^ This is Sayawa's interpretation of ' upavartadhvam,' instead of ' draw near,' as translated by me at I, 5, 2, 12. He is probably right in connecting it with the repetitions which certain verses have to undergo in the dhurya-stotras.
"^ There are many different stomas, or forms of chanting stotras, named from the number of verses produced in each form (generally by repetitions of certain verses). Those required for the Sha^aha and Dvadajaha (see IV, 5, 4, i seq.) are: trivr/t (9), paw^adaja (15), saptadaja (17), ekavi7;;i'a (21), triwava (27), trayastri/«ja (33), X'aturviy^ja (24), /(•atuj/5'atvariw^a (44), and ash/a/^atvari/«ja (48). The first four of these are those most frequently used, and the only ones used at the Agnish/oma. All these stomas, with one exception (24), have two or more different varieties or arrange- ments, called vish/uti, differing from one another either in the order in which the several verses are to be chanted, or in regard to the number of repetitions which the corresponding verses have to undergo. Besides, stomas are generally performed in three turns or rounds, paryaya, consisting of a triplet of verses (some of which may have to be repeated more than once), and preceded by the sound 'huw^' (Hihkara). Thus the first Ao-yastotra, Samav. II, 10-12, (consisting of three verses, a, b, c,) is to be performed in the ^^^^nkz.- da^a-stoma; that is, the three verses have to be so treated, by repetitions, as to produce fifteen verses in three turns. Now, as there are three different varieties of performing the pan/^ada^a- stoma, the stotra might be chanted in one or other of the following three arrangements : —
I. Hu/;/ aaa b c ^ this form is called ' pafi/^a-
Hu;;z a b b b c > pa«>^ini,' i. e. consisting
Huw a b c c c ) of five in each row.
Or 2. Hu»/ aaa b c "|
Hu»z a b c > ('apara' or 'other, second ■).
Hxym a bbb cccJ
IV KANDA, 2 ADHYAYA, 5 BRAHMAiVA, 9. 309
are directed towards these creatures : whence crea- tures are produced here repeatedly.
9. And as to why they chant the Bahishpava-
mana here (near the Mtvala). In the beginning,
forsooth, yonder sun was here on earths The sea-
sons embraced him and ascended from hence to the
heavenly world : there he burns firmly established
Or 3. Huffi a b c "v ., . <• . n j , j .^.
^ ^^ , , , ( this form is called 'udyati,
Hum abbbcV ,, ,.
-.- , I or the ascending one.
tium aaabcccj
The three paryayas of a stoma (or vish/uti) show each three subdivisions (viz. a a a — b — c, being those of the first paryaya above), called vish/ava. When the Udgatrz's are about to com- mence a chant, the Prastotr/ spreads in their midst a cloth, doubled up so that the unwoven fringe lies over the selvage, either towards the east or north. Thereon he marks the subdivisions of the rounds, by means of sticks (kuja), a span long, of some kind of wood suitable for sacrifice, split lengthways along the pith (the bark being left outside) and somewhat pointed at one end, then smeared over with some fragrant substance, and wrapped up singly in pieces of the same kind of cloth as that spread on the ground. The marking of the vish/avas, or subdivisions, takes place at the end of the prastava or prelude (see next page, note i) in this way, that each vish/ava is marked by as many sticks as the corresponding verse has to be repeated ; those of the first vish/ava being laid down with the point to the north, then behind or west of them those of the second turn with the point to the west, and behind them those of the third turn with the point to the north. Thereupon those of the other two rounds are laid down in the same way, each turn north of the preceding one. Hence the arrangement of sticks for the first of the above varieties of the pa^l/^adaj-a-stoma would be three straight, one across, one straight ; one straight, three across, one straight ; one straight, one across, three straight.
With the exception of the Bahishpavamana, the chanting is performed in the Sadas by the side of the Udumbara post (see III, 6, I, 2 seq.), the latter being likewise enclosed in a cloth of the above description, wrapt round it from left to right, with the unwoven fringe towards the top.
1 Cf. Tawfl'ya Br. VI, 7, 24.
lO DATAPATH A-BRAHMAiVA.
in the seasons. And in like manner do the priests
thereby embrace the sacrificer and ascend from hence
to the heavenly world : this is why they chant the
Bahishpavamana here.
lo. The Bahishpavamana 1 chant truly is a ship
^ The Bahishpavamana-(stotra), or ' outside-pavamana,' — so called because (on the first day of a Soma-sacrifice) it is performed outside the altar (commentary on Pa?l>^av. Br. VI, 8, lo-ii ; or out- side the Sadas, Say. on Samav.,S. p. 47),— is chanted in the Trivr/t, or threefold, stoma; consisting, as it does, of three gayatri triplets (Samav. II, 1-9 for the Agnish/oma), and none of its verses being chanted more than once. This stoma has three different varieties, viz. the udyati, or ascending mode, the first turn of which consists of the first verses of the three triplets, the second turn of the second verses, and the third turn of the last verses, hence a^ a^ a^ — b^ b'' \)3 — c^ c^ c^; the parivartini, or reverting mode, following the natural order, a^ b^ c^— a'^ b'' c^— a^ b' c' ; and the kulayini, or web-like mode, performed in the order a' b^ c' — b^ c^ a^— c^ a^ b^ Cf. Haug, Transl. Ait. Br. p. 237, where, however, these forms are described quite differently. The term used for the natural order of verses in the parivartini vish/uti is ' para^i,' i. e. thitherwards, straight off. From the statement in paragraph 7 above, that ' they chant straight off (parak),' one might therefore infer that that par- ticular mode of chanting ought to be used for the Bahishpavamana- stotra ; but the term ' parak ' may also be taken as referring to each of the several verses being chanted ' straight off,' without any repetition. Haug, Transl. Ait. Br. p. 120 note, remarks : 'Each of these verses is for the purpose of chanting divided into four parts : Prastdva, i.e. prelude, the first being preceded by hum, to be sung by the Prastotar ; Udgiiha, the principal part of the Saman, preceded by Om, to be chanted by the Udgatar ; the Pratthdra, i. e. response [ ? rather check, stop ; cf. IV, 3, 4, 22], introduced by hum, to be chanted by the Pratihartar ; and the Nidhana, i. e. finale, to be sung by all three. To give the student an idea of this division, I here subjoin the second of these rikz.?, in the Saman form, distinguishing its four parts : —
[The connected rik form is: Abhi te madhuna payo — athar- va«o ajijrayur — devawz devaya devayu.]
' Prastdva : abhi te madhuna payo;?/.
' Udgiiha : om atharvawo a^i^radeyurvaw devayada.
IV KAiVDA, 2 ADHYAYA, 5 BRAHMAiVA, II. 311
bound heavenwards : the priests are Its spars and
oars, the means of reaching the heavenly world. If
there be a blameworthy one, even that one (priest)
would make It sink : he makes it sink, even as one
who ascends a ship that is full would make it sink.
And, indeed, every sacrifice is a ship bound heaven-
wards : hence one should seek to keep a blameworthy
(priest) away from every sacrifice.
II. Thereupon, when the chanting is over\ he
' PraUhdra : \\^xm avayo.
* Nidhana : sam.
