^ That is, fashions him, or makes him slender. A fanciful derivation of jastra (jaws, to recite, praise, cf. carmen), from the root sa. (so), to sharpen (? or from jas, to cut, carve). ' Yathayam purovarti purushas tiksh«akr/ta//, avaya(va)vibhagena spash/ikr/'tas tatha jastrewaitad reta>^ syatl spash/aw karoti,' Say.
^ Upanimadati, 'cheers;' the Kawvatext (W.) has ' upanivadati.' ^ Or, intoxication, intoxicating drink. See paragraph 10, and p. 330, note I.
IV KANDAy 3 ADHYAYA, 2 BRAHMAiVA, lO. 329
7. Now, in the beginning the metres consisted
of four syllables. Then Cagati flew up for Soma
and came back, leaving behind three syllables. Then
Trish/ubh flew up for Soma and came back, leaving
behind one syllable. Then Gayatri flew up for
Soma, and she came back brino-inof with her those
syllables as well as Soma. Thus she came to consist
of eight syllables : wherefore they say, ' Gayatri is
octosyllabic'
8. With her they performed the morning feast of
the Soma-sacrifice, — whence the morning feast per-
tains to Gayatri. With her they performed the
midday feast. Trish/ubh then said to her, ' To thee
will I come with three syllables : invite me, and
exclude me not from the sacrifice ! ' — ' So be it ! ' she
said and invited her. Thus the Trish/ubh came to
consist of eleven syllables, and therefore they say,
* The midday Soma feast pertains to Trish/'ubh.'
9. With her (Gayatri) indeed they performed the
evening feast. 6^agati then said to her, ' To thee
will I come with one syllable : invite me, and exclude
me not from the sacrifice!' — ' So be it!' she said and
invited her. Thus the Ga.g3.ti came to consist of
twelve syllables ; and therefore they say, 'The even-
ing Soma feast pertains to G^agati.'
10. As to this they say, 'Surely all the Soma
feasts pertain to Gayatri, since Gayatri alone went
on increasing.' At the morning feast he should
therefore respond with a complete (formula), for
complete ^ Gayatri returned. At the midday feast
^ Or perhaps, successful, sawsiddha [svakiyany aksharawy apari- tya^avikr/ta (? avikn'tta), Say.]. The response (pratigara) here alluded to, is probably the one ordinarily used by the Adhvaryu, whenever the Hotn pauses in his recitation, at the end of half-
330 5'ATAPATHA-BRAHMAiVA.
(he responds with a formula) containing once (the
verb) ' to rejoice (mad) \' for she (Trish^ubh) came
back, leaving one syllable behind; and. with that
same (formula) he then completes her, makes her
whole, —
11. When trish/'ubh verses were recited. At the
evening Soma feast (the Adhvaryu responds with a
formula) containing thrice (the verb) 'to rejoice^,'
for she (G^agati) came back leaving three syllables
behind ; and with these (formulas) he then completes
her, makes her whole, —
12. When (the hymn) to Heaven and Earth is recited ^ Now these creatures subsist oa those two,
verses (or padas), nivids, &c., viz. 'Othamo daiva,' — or, Othavo daivom, whenever the Hot;-/ puts in the sacred syllable ' om.' ' Tasmat karawad gayatra-prata^savane sa»zsiddham avikr/ta/;z vi- dhasyamanam omantam prati-gr/hwiyat,' Say. For the Adhvaryu's response, ' j-awsamo daiva,' to the Hotr/''s summons (ahava), see p. 326, note I.
^ When the first verse of the trish/ubh hymn, Rig-veda X, 73, is recited by the Hotri in the JMarutvatiya 6'astra at the midday feast, the Adhvaryu's response is ' madamo daiva ' (we rejoice, O divine one). Katy. X, 3, 8 ; cf. Weber, Ind. Stud. X, p. 37.
^ According to Katy. X, 6, 6 ' madamo daiva ' is optionally the Adhvaryu's response at the recitation in the Agnimarutra »Sastra of three of the so-called Anupaniya(or Svadushkiliya) trish/ubh verses VI, 47, 1-4 (see note on IV, 4, 2, 18). Possibly the present paragraph may refer to those verses, in which case the words ' when trish/ubh verses are recited ' would begin a fresh paragraph. Sayawa, how- ever, seems to take it in the same way as above ; cf. also the Kawva reading in next note.
^ This is the (6ragati) hymn I, 159 recited in the Vaijvadeva ■S'astra. According to Katy. X, 6, 5, the response is to be thrice (after each of the three first verses) ' madamo daiva.' The Ka«va has for paragraphs 10-12, 'At the morning feast he responds by a complete (formula), for complete Gayatri returned. At the midday feast he responds once with one containing " mad/' when he
IV KAiVDA, 3 ADHYAYA, 3 BRAHMAiVA, I. 33I
the heaven and the earth — he thereby imbues those
two, heaven and earth, with vigour ; and upon those
two, thus vigorous and affording the means of sub-
sistence, these creatures subsist. Let him respond
with ' Om ! ' only, for that is truth, that the gods
know.
13. Now some respond with ' Othamo daiva vak,'
saying, ' The response is speech (vak) : thus we
obtain speech.' But let him not do this ; for surely,
in whichsoever way he may respond, speech is
obtained by him, since he responds by speech. Let
him therefore respond with '-Om^ ! ' only, for that is
truth, that the gods know.
Third BRAHMAiVA.
C. The Madhyandina Savana, or Midday Soma Feast.
I. He presses out (the Soma-juice) with 'Iha! Iha-!' (hither), whereby he draws Indra nigh; and
recites trish/ubh verses, for she (Trish/ubh) returned leaving one syl- lable behind : hereby now he completes her, makes her whole. At the evening feast with something containing thrice " mad," for she (Cagati) returned leaving three syllables behind : hereby now he completes her, makes her whole. At the (hymn) to Heaven and Earth he responds with one that contains "mad;" when he recites (the hymn) Heaven and Earth — these creatures subsisting on those two, Heaven and Earth^he thereby puts juice into them, and upon those two, thus rendered juiceful, these creatures subsist. He responds with " Om," for that is truth, that the gods know.'
^ That is, instead of 'vak,' hence 'Othamo daivom.' 'Om' pure and simple is the response at the end of the ^astra.
'^ 'Iha' (here, hither) with the last syllable protracted. The Hotn's cup with the Nigrabhya (vasativari) water having been handed to the sacrificer, and the fillet or band (ush/zisha) with which the Soma-plants are tied together, to the Gravastut, the pressing is performed in the same way as the ' great pressing,' at
332 5ATAPATHA-BRAHMAiVA.
with 'Brzhat! Br^'hat!' (great), whereby he draws Indra ^ nigh.
2. The 6'ukra and Manthin grahas he draws
first, for thereby the Soma feast comes to be suppHed
with pure Soma (^ukra). Thereupon the Agraya;2a,
for that (cup) is drawn at all (three) feasts. Then
the Marutvatiya cup; then the Ukthya, for here
also there are songs of praise (Uktha)-.
3. Now some draw the Marutvatiya after they
have drawn the Ukthya ; but let him not do this, —
let him rather draw the Ukthya after he has drawn
the Marutvatiya.
the Prata/^savana (see p. 256, note i). Meanwhile the Gravastut takes the band, and winds it thrice round his head and face from left to right. And whenever Soma-stalks are taken out for pressing he extols the stones by chanting the Grava-stotra or ' praise of the stones.' According to ksv. Sr.Y, 12 ; Ait. Br. VI, 7, 2, this chant consists of the verses Rig-veda I, 24, 3; V, 81, i; VIII, 81, i ; VIII, I, I, followed by the hymn X, 94, ascribed to the serpent J^i'shi Arbuda. Before the last verse of this hymn he inserts the hymns X, 76 and X, 175 (ascribed to the serpents Garatkarwa and Arbuda respectively) ; and either before, or between, or after these two hymns he throws in the pavamani-^ (Rig-veda IX) according to requirement, till the pressing is completed, or the libations are to be drawn, when having v/ound up with the last verse of the first Arbuda hymn, he makes over the band to the sacrificer. The five cups mentioned in paragraph 2 are filled from the stream of Soma flowing from the Hotrz"s cup into the Dro?zakalaja ; the Agrayawa (p. 290, note 2) however being taken (in the Agra- ya/za sthali or bowl) from that and two other streams, poured by the Unnetr/ from the Adhavaniya, and by the Pratipraslhatr/ from some vessel containing the Soma previously kept in the Agrayawa sthali.
^ Probably on account of the connection of the Br/hat-samah with Indra ; see part i, p. 196, note 2.
^ See p. 294, note 2. Sayawa here curiously explains the term by ' stotra/n.'
IV KANDA, 3 ADIIYAYA, 3 BRAHMAiVA, 5. 333
4. These, then, are five grahas he draws ; for that
midday Pavamana chant is a thunderbolt : hence it
is a fifteenfold five-hymned chant \ for the thunder-
bolt is fifteenfold^. He is so by means of these
five grahas (cups of Soma ^) : for five are these
fingers, and with the fingers he hurls (the thunder-
bolt).
5. Indra hurled the thunderbolt at Vr/tra ; and
having smitten Vrz'tra, the wicked, and safety and
peace being secured ^, he led forth the dakshi;zas
(gifts to priests). Wherefore now also, when they
(the Udgatr/s) chant the midday Pavamana, and
safety and peace are secured, the dakshi;^as are
led forth. And so, forsooth, does he now by means
of those five cups of Soma hurl the thunderbolt
at the wicked, hateful enemy, and having smitten
Vr/tra, the wicked, and safety and peace being
^ The IMadhyandina-pavamana-stotra, Samav. II, 22-29, is made up of three hymns (sukta), consisting of three gayatri (22-24), '^wo br/hati (and satobnliati, 25, 26), and three trish/ubh verses (27-29) respectively. These are chanted in such a way as to produce five Saman hymns (i. e. a hymn of three verses), viz. the gayatri triplet is chanted twice, in the Gayatra and Amahiyava tunes ; — the br/hati-satobr/hati couplet is likewise chanted twice, in the Raurava and Yaudha^aya tunes, the two verses being as usual (by the repetition of certain padas) made into three. These, with the addition of the trish/ubh hymn, chanted in the Au^ana tune, make five Saman hymns of three verses each, or altogether fifteen verses (paf«>^adajastoma).
^ Or consists of the fifteenfold (chant), as Sayawa takes it. Regarding the connection between the pafiX'ada^a-stoma (the characteristic stoma of the midday pressing) and Indra (the deity of the midday pressing), see part i, introd. p. xviii.
^ Perhaps ' graha ' has here a double meaning, viz. ' that which is taken, a draught, cup of Soma,' and ' the laker, se'zer.'
* See p. 289, note 4.
334 S-ATAPATHA-BRAHMAiVA.
secured, he leads forth the dakshl/zas. This is why he draws those five cups.
6. Then as to why he draws the Marutvatiya
cups. Now this, the midday pressing feast, is
Indra's special (nishkevalya) feast: thereby he
strove to smite Vmra, thereby he strove to van-
quish him. But the Maruts, having on that
account ^ withdrawn, were standing on an Aj"vattha
tree 2 (Ficus Religiosa). Now Indra is the nobility,
and the Maruts are the people, and through the people
the noble becomes strong : therefore the two Ritw
cups (they say) ^ may be of ai'vattha wood ; but in
reality they are of karshmarya wood.
7. Indra called on them, saying, ' Do ye join me
that with you as my force I may smite Vr/tra!'
They said, 'What will be our (reward) then ?' He
drew those two Marutvatiya cups for them.
8. They said,.' Having put aside this one (cup)
for our vigour, we will join thee.' Having accord-
ingly put it aside for their vigour *, they joined him.
But Indra sought to obtain it, thinking, ' They have
come to me after putting aside their vigour.'
^ Lit. 'thus;' 'itij-abdenapakrama?zaprakaro 'bhinayena pradar- jyate,' Say.
^ This passage would seem to be based on a mistaken interpre- tation of Rig-veda 1, 135, 8, where the bard says that ' the victorious (^ayava//) have come nigh to the ajvattha,' the '^ayava/^' here evi- dently referring (not to the Maruts, as in I, 119, 3), but to the powerful draughts of Soma flowing into the ajvattha vessel. The Ka«va text reads, Sa (i.e. vi^-, the people or Maruts) ha^-vatthe tish//zate.
^ The Kawva text inserts ' ityahu^.'
* The context seems to be purposely ambiguous, as it may also be construed thus : They said, ' After putting aside this (cup), we will come (attain) to strength.' Having accordingly put it aside, they came to strength.
IV KANDA, 3 ADHYAYA, 3 BRAHMAiVA, 12. 335
9. He said, 'Do ye join me with vigour!' —
* Then draw a third cup for us,' they said. He
drew a third cup for them, with, ' Thou art taken
with a support, — thee for the vigour of the Maruts !'
They then joined him with vigour, — and he con-
quered with them, and smote Vmra with them ; —
for Indra is the nobiHty, and the Maruts are the
people, and through the people the noble becomes
strong-. Hence he now bestows that strength on
the nobility, and therefore he draws the Marutvatiya
cups.
10. Let him draw them for Indra Marutvat
(accompanied by the Maruts), and not for the
Maruts likewise. For M^ere he also to draw cups
for the Maruts, he would make the people re-
fractory to the nobility. He thus assigns to the
Maruts a share therein after Indra, whereby he
makes the people subservient and obedient to the
nobility : therefore let him draw the cups for Indra
Marutvat, and not for the Maruts likewise.
11. But he was afraid of their desertion, — 'Lest
they should desert me, lest they should take to
some other (party) \' so thinking, he by that (share
in the libation) made them unwilling to desert him.
This is why he should draw the grahas for Indra
Marutvat.
12. He draws them with the two vessels of the
seasons, for the year, the sacrifice, means the sea-
sons. There, at the morning Soma feast, they are
overtly attended to, in that he draws the grahas for
the seasons ^ ; and now they are covertly attended
