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The Satapatha Brahmana: Fourth Kânda, Third Adhyâya
First Brâhmana
1. Having drunk (Soma)1 and said, 'We are invited together2,' he (the Adhvaryu) rises. He takes a piece of the cake, and at the place where the Akhâvâka, being seated, is now (about to) recite, he puts the piece of cake in his hand and says, 'O Akhâvâka, say what thou hast to say!' Now, the Akhâvâka was excluded (from the Soma)3.
2. Indra and Agni preserved him for the production of creatures, whence the Akhâvâka priest belongs to Indra and Agni. But it is by means of that sacrificial food, the piece of cake which he now puts in his hand, and by means of that (saying) of the seers which he now recites, it is thereby they (Indra and Agni) preserve him.
3. When the Akhâvâka has (again) taken his seat (behind his hearth), he (his Adhvaryu) proceeds with the libations of the seasons (Ritugraha). The reason why he proceeds with the libations of the seasons when the Akhâvâka is seated, is that the Akhâvâka represents a sexual union, since the Akhâvâka belongs to Indra and Agni, and Indra and Agni are two, and a productive union means a pair: from that same productive union he produces the seasons, the year.
4. And again why he proceeds with the libations of the seasons, when the Akhâvâka is seated. The seasons, the year, are everything; he thus produces everything: this is why he proceeds with the libations of the seasons when the Akhâvâka is seated.
5. Let him draw twelve of them,--twelve months there are. in the year: therefore he should draw twelve (cups of Soma). But he may also draw thirteen, for, they say, there is a thirteenth month4. Let him nevertheless draw twelve only, for such is completeness.
6. He draws them from the Dronakalasa (Soma trough), for the Dronakalasa is Pragâpati, and from out of that Pragâpati he produces the seasons, the year.
7. He draws them by means of double-mouthed cups5;--for where is the end of those two (cups) that are double-mouthed? Hence this year revolves without end. When he has drawn this (libation), he does not deposit it: whence this year is ceaseless.
8. He recites no invitatory prayer; since one invites with an invitatory prayer, and the present season has already come, either by day or by night. Nor does he utter a second Vashat, lest he should turn away the seasons. Simultaneously they (the Adhvaryu and Pratiprasthâtri) draw the two first and the two last libations: thus they embrace everything here by means of the year, and everything here is embraced within the year.
9. Out (of the Havirdhâna shed) walks the one, in steps the other, whence these months pass following one another. But were both to walk out together, or were both to enter together, these months would assuredly pass separated one from the other: therefore while out walks the one, in steps the other.
10. Six times they perform6 with, 'With the season'--thereby the gods created the day; and four times with, 'With the seasons'--thereby they created the night. And, assuredly, were only this much (used), there would be nothing but night: it would never pass away.
11. Over and above they perform twice with the formula 'With the season;' thereby the gods subsequently gave the day (again), whence it is now day there, then it will be night, and to-morrow day.
12. By 'With the season' the gods forsooth created the men, and by 'With the seasons' the beasts; and because they created the beasts in the middle of those (men), therefore these beasts (cattle), being shut in on both sides, have come into the power of men.
13. And having performed six times with, 'With the season,' they both turn round their vessels to the other side; and having performed four times with, 'With the seasons,' they turn round their vessels to the other side: from the one side (or mouth) indeed the gods created the day, and from the other side the night; from the one side the gods created men, and from the other beasts.
14. Now he draws the cups (for the seasons) therefrom7, with (Vâg. S. VII, 30), 'Thou art taken with a support: thee for Madhu!' the Adhvaryu takes (the first); with 'Thou art taken with a support: thee for Mâdhava!' the Pratiprasthâtri (the second). These two are the spring (months8): because in spring plants sprout and trees are brought to ripeness, therefore these two are Madhu (sweet) and Mâdhava.
15. With 'Thou art taken with a support: thee for Sukra!' the Adhvaryu draws (the third); with 'Thou art taken with a support: thee for Suki!' the Pratiprasthâtri (the fourth). These two are the summer (months): because during them it burns fiercest, therefore these two are Sukra (clear) and Suki (bright).
16. With 'Thou art taken with a support: thee for Nabhas!' the Adhvaryu draws (the fifth); with 'Thou art taken with a support: thee for Nabhasya!' the Pratiprasthâtri (the sixth). These two are (the months) of the rainy season: it rains from yonder sky, and hence these two are Nabhas (mist, cloud) and Nabhasya.
17. With 'Thou art taken with a support: thee for Ish (sap)!' the Adhvaryu draws (the seventh); with 'Thou art taken with a support: thee for Ûrg (food)!' the Pratiprasthâtri (the eighth). These two are the autumn (months): because in autumn food (ûrg) and juice, (namely) plants, ripen, therefore these two are Isha and Ûrga.
18. With 'Thou art taken with a support: thee for Sahas!' the Adhvaryu draws (the ninth); with 'Thou art taken with a support: thee for Sahasya!' the Pratiprasthâtri (the tenth). These two are the winter (months): because the winter by force (sahas) brings these creatures into his power, therefore these two are Saha and Sahasya.
19. With 'Thou art taken with a support: thee for Tapas!' the Adhvaryu draws (the eleventh); with 'Thou art taken with a support: thee for Tapasya!' the Pratiprasthâtri (the twelfth). These two are (the months) of the dewy season: because during them it freezes most severely, therefore these two are Tapas and Tapasya.
20. With 'Thou art taken with a support: thee to Amhasaspati (lord of trouble)!' he (the Adhvaryu) draws the thirteenth libation, if he draw a thirteenth. The Pratiprasthâtri then pours his residue into the Adhvaryu's vessel, or the Adhvaryu pours his residue into the Pratiprasthâtri's vessel. He (the Adhvaryu) takes it (to the Sadas) for the purpose of drinking it9.
21. Thereupon the Pratiprasthâtri draws the Aindrâgna graha with the vessel not used for the drinking. The reason why he draws the Aindrâgna libation with the vessel not used for drinking is that no second Vashat is pronounced on the Ritugrahas, and for them he is about to take the Aindrâgna graha: thus they become consecrated for him by a second Vashat through the Aindrâgna.
22. And again, why he draws the Aindrâgna graha. By drawing the libations to the seasons he has generated this All, and having generated this All, he now establishes it on the out-breathing and in-breathing: hence this All is established on the out-breathing and in-breathing, for Indra and Agni are the out-breathing and in-breathing, and these two, heaven and earth, are the out-breathing and in-breathing, and within these two this All is established.
23. And again, why he draws the Aindrâgna cup. By drawing the libations to the seasons he has generated this All, and having generated this All, he lays the out-breathing and in-breathing into this All: hence these two, the out-breathing anti in-breathing, are laid into (or beneficial, hita, in) this All.
24. He now draws it from that (dronakalasa trough) with (Vâg. S. VII, 3, 1; Rig-veda III, 12, 1), 'O Indra and Agni, through our songs come ye hither to the Soma, to the agreeable fume: drink thereof, urged by our hymn!--Thou art taken with a support: thee to Indra and Agni!'--with 'This is thy womb: thee to Indra and Agni!' he deposits it (on the mound), for it is for Indra and Agni that he draws it.
25. Thereupon he draws the Vaisvadeva cup10. For by drawing the Ritugrahas he has generated this All; but were there nothing but that, there would indeed be only as many, creatures as were created in the beginning: no (more) would be generated.
26. Now, in that he draws the Vaisvadeva graha, thereby he sends forth this All, these creatures in due order: whence these creatures are generated again repeatedly. He draws it with the Sukra cup, for the Sukra (bright) is yonder burning (sun), and what rays of his there are, they are the All-gods: therefore he draws it with the Sukra cup.
27. He draws it from that (Soma in the Dronakalasa) with (Vâg. S. VII, 33; Rig-veda I, 3, 7), 'Ye protectors and supporters of men, O All-gods, come hither, ye givers, to the giver's liquor!--Thou art taken with a support: thee to the All-gods!' with 'This is thy womb: thee to the All-gods!' he deposits it11, for it is for the All-gods that he draws it.
Second Brâhmana
1. Now truly when the Hotri praises (recites the sastra12), he sings, and to him thus singing the Adhvaryu responds (prati-â-gar), whence the name response (pratigara).
2. [The Hotri] calls upon that (Adhvaryu) seated (before him) with his face towards the east13. For all others except the Udgâtri perform their priestly duties while facing the east, and in this manner that priestly duty of his is performed towards the east.
3. Now the Udgâtri is Pragâpati, and the Hotri, (being) the Rik (fem.), is a female. And when he chants, then the Udgâtri, Pragâpati, implants seed in the female Hotri, the Rik; this the Hotri brings forth by means of the sastra (recitation), he sharpens it even as this man is sharpened14, and because he thereby sharpens (so) therefore it is called sastra.
4. Having turned round (so as to face the Hotri, the Adhvaryu) then responds: thereby he quickens15 that implanted seed. On the other hand, were he to respond while standing with his face turned away (from the Hotri), that implanted seed would assuredly perish away, and would not be brought forth; but thus facing each other (the male and female) bring forth the implanted seed.
5. Now the strength of the metres was exhausted by the gods, for it was by the metres that the gods attained the world of heaven. And the response (song) is ecstasy (mada16)--what ecstasy there is in the rik and that which there is in the Sâman, that is sap: this sap he now lays into the metres, and thus makes the metres of restored strength; and with them of restored strength they perform the sacrifice.
6. Hence if (the Hotri) recites by half-verses, let (the Adhvaryu) respond at each half-verse; and if he recites by pâdas (hemistichs), let him respond at each pâda. For whenever, in reciting, he (the Hotri) draws breath, there the Asura-Rakshas rush into the sacrifice: there he (the Adhvaryu) closes it up by means of the response, so that the evil spirits, the Rakshas, cannot rush in; and thus he destroys the world of the sacrificer's enemies.
7. Now, in the beginning the metres consisted of four syllables. Then Gagatî flew up for Soma and came back, leaving behind three syllables. Then Trishtubh flew up for Soma and came back, leaving behind one syllable. Then Gâyatrî flew up for Soma, and she came back bringing with her those syllables as well as Soma. Thus she came to consist of eight syllables: wherefore they say, 'Gâyatrî is octosyllabic.'
8. With her they performed the morning feast of the Soma-sacrifice,--whence the morning feast pertains to Gâyatrî. With her they performed the midday feast. Trishtubh 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 Trishtubh came to consist of eleven syllables, and therefore they say, 'The midday Soma feast pertains to Trishtubh.'
9. With her (Gâyatrî) indeed they performed the evening feast. Gagatî 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 Gagatî came to consist of twelve syllables; and therefore they say, 'The evening Soma feast pertains to Gagatî.'
10. As to this they say, 'Surely all the Soma feasts pertain to Gâyatrî, since Gâyatrî alone went on increasing.' At the morning feast he should therefore respond with a complete (formula), for complete17 Gâyatrî returned. At the midday feast (he responds with a formula) containing once (the verb) 'to rejoice (mad)18,' for she (Trishtubh) came back, leaving one syllable behind; and with that same (formula) he then completes her, makes her whole,
11. When trishtubh verses were recited. At the evening Soma feast (the Adhvaryu responds with a formula) containing thrice (the verb) 'to rejoice19,' for she (Gagatî) 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 recited20. Now these creatures subsist on those two, 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 subsistence, these creatures subsist. Let him respond with 'Om!' only, for that is truth, that the gods know.
13. Now some respond with 'Othâmo daiva vâk,' saying, 'The response is speech (vâk): 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 'Om21!' only, for that is truth, that the gods know.
Third Brâhmana
C. The Mâdhyandina savana, or midday Soma feast.
1. He presses out (the Soma juice) with 'Ihā̃! Ihā̃22!' (hither), whereby he draws Indra nigh; and with 'Brihat! Brihat!' (great), whereby he draws Indra23 nigh.
2. The Sukra and Manthin grahas he draws first, for thereby the Soma feast comes to be supplied with pure Soma (sukra). Thereupon the Âgrayana, for that (cup) is drawn at all (three) feasts. Then the Marutvatîya cup; then the Ukthya, for here also there are songs of praise (Uktha)24.
3. Now some draw the Marutvatîya after they have drawn the Ukthya; but let him. not do this,--let him rather draw the Ukthya after he has drawn the Marutvatîya.
4. These, then, are five grahas he draws; for that midday Pavamâna chant is a thunderbolt: hence it is a fifteenfold five-hymned chant25, for the thunderbolt is fifteenfold26. He is so by means of these five grahas (cups of Soma27): for five are these fingers, and with the fingers he hurls (the thunderbolt).
5. Indra hurled the thunderbolt at Vritra; and having smitten Vritra, the wicked, and safety and peace being secured28, he led forth the dakshinâs (gifts to priests). Wherefore now also, when they (the Udgâtris) chant the midday Pavamâna, and safety and peace are secured, the dakshinâs 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 Vritra, the wicked, and safety and peace being secured, he leads forth the dakshinâs. This is why he draws those five cups.
6. Then as to why he draws the Marutvatîya cups. Now this, the midday pressing feast, is Indra's special (nishkevalya) feast: thereby he strove to smite Vritra, thereby he strove to vanquish him. But the Maruts, having on that account29 withdrawn, were standing on an Asvattha tree30 (Ficus Religiosa). Now Indra is the nobility, and the Maruts are the people, and through the people the noble becomes strong: therefore the two Ritu cups (they say)31 may be of asvattha wood; but in reality they are of kârshmarya wood.
7. Indra called on them, saying, 'Do ye join me that with you as my force I may smite Vritra!' They said, 'What will be our (reward) then?' He drew those two Marutvatîya cups for them.
8. They said, 'Having put aside this one (cup) for our vigour, we will join thee.' Having accordingly put it aside for their vigour32, they joined him. But Indra sought to obtain it, thinking, 'They have come to me after putting aside their vigour.'
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 conquered with them, and smote Vritra with them;--for Indra is the nobility, 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 Marutvatîya cups.
10. Let him draw them for Indra Marutvat (accompanied by the Maruts), and not for the Maruts likewise. For were he also to draw cups for the Maruts, he would make the people refractory 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)33,' 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 seasons. There, at the morning Soma feast, they are overtly attended to, in that he draws the grahas for the seasons34; and now they are covertly attended to, in that he draws the Marutvatîya grahas with the two vessels of the seasons.
13. He draws (the first) from that (stream of Soma)35, with (Vâg. S. VII, 35; Rig-veda III, 51, 7), 'O Indra, leader of the Maruts, drink thou the Soma here, as thou drankest of the liquor at (the sacrifice of) the Son of Saryâti: by thy guidance, in thy protection, O Lord, do the wise serve thee with good offerings!--Thou art taken with a support: thee to Indra Marutvat!--This is thy womb: thee to Indra Marutvat!'
14. [The second he draws36 with Vâg. S. VII, 36; Rig-veda III, 47, 5], 'The mighty bull, followed by the Maruts, the bountiful, divine ruler Indra,--him, the all-subduing, the terrible bestower of victory, do we now invoke for new favour.--Thou art taken with a support: thee to Indra Marutvat!--This is thy womb: thee to Indra Marutvat!'--with Thou art taken with a support: thee for the strength of the Maruts!' he draws the third cup.
15. Thereupon he draws the Mâhendra cup. For Indra was then bound up with evil, in the shape of the people, the Maruts; as one might, for the sake of victory, eat from the same vessel with the people37 so it was when they drew a cup for him in common with the Maruts.
16. When all was conquered and free from danger and injury, the gods plucked him from out of all evil--even as one might pluck out a reed from its sheath--when they drew the cup for the Great Indra. And even as the reed becomes leafless, so is he thereby freed from all evil, when one draws the Mâhendra cup.
17. And again, why he draws the Mâhendra cup. Before the slaughter of Vritra, he was indeed Indra; but when he had slain Vritra, he became the Great--Indra, even as one who has conquered all around, becomes a Great King (mahârâga): therefore he draws the Mâhendra cup. And, moreover, he forsooth make's him great for the slaughter of Vritra therefore also he draws the Mâhendra cup. He draws it in the Sukra vessel, for bright (sukra) and great indeed is he (the sun) that burns yonder: therefore he draws it in the Sukra vessel.
18. He thus draws it from that (Dronakalasa or Pûtabhrit), with (Vâg. S. VII, 39; Rig-veda VI, 19, 1), 'Great is Indra and hero-like, gladdening the people, of double stature and unimpaired in power. For our sake he waxed strong for heroic deed,--great and broad was he, and well-shapen by the shapers38.--Thou art taken with a support: thee to Mahendra!'--with 'This is thy womb: thee to Mahendra!' he deposits it; for it is indeed for the Great Indra that he draws it.
19. And having bespoken (the chant39), he says this speech,--'Pressers, press ye! make the mortars resound! Agnîdh, stir the sour milk! be thou mindful of Soma's (pap)!' It is for the evening's press-feast that those pressers press out (the Soma juice), for the evening feast they make the mortars resound, for the evening feast the Agnîdh stirs the sour milk, for the evening feast he boils the pap for Soma. For these two press-feasts, the morning feast and the midday feast, are indeed rich in pure Soma, are rich in juice; but that third press-feast is emptied of the pure Soma. Hence he forms it from out of this midday feast; and thus that third press-feast becomes for him rich in pure Soma, rich in juice: this is why he now speaks that speech.
Fourth Brâhmana
1. Now, they slay the sacrifice, when they spread (perform) it:--to wit, when they press out the king (Soma), they slay him; when they quiet the victim, they slay it; and with mortar and pestle, with the upper and nether millstone, they slay the havis offering.
2. When slain, that sacrifice was no longer vigorous. By means of dakshinâs (gifts to the priests) the gods invigorated it: hence the name dakshinâ, because thereby they invigorated (dakshay) it. Whatever, therefore, fails in this sacrifice, when slain, that he now invigorates by means of gifts to the priests; then the sacrifice becomes indeed successful: for this reason he makes gifts to the priests.
3. Now at the Haviryagña, indeed, they give as little as six or twelve (cows40), but no Soma-sacrifice should have dakshinâs of less than a hundred. For he, Pragâpati41, forsooth, is the visible sacrifice; and man is nearest to Pragâpati, and he has a life of a hundred years, a hundred powers, a hundred energies. Only by a hundred he invigorates him, and not by less than a hundred: wherefore no Soma-sacrifice should have dakshinâs of less than a hundred; nor should any one officiate as a priest for a sacrificer at a (Soma-sacrifice) where less than a hundred are given,--'lest he should be an eyewitness when they will but slay and not invigorate him (Soma).'
4. Now, truly, there are two kinds of gods; for the gods, forsooth, are the gods; and the learned Brâhmans versed in sacred lore are the human gods. And the sacrifice to them is twofold, oblations (being the sacrifice) to the gods, and gifts to the priests being that to the human gods, to the learned Brâhmans versed in sacred lore. With oblations, forsooth, one gratifies the gods, and with gifts to the priests the human gods, the learned Brâhmans versed in sacred lore. These two kinds of gods, when gratified, convey him to the heavenly world.
5. But it is to the officiating priests, forsooth, that these gifts of his belong, for they prepare him another self,--to wit, this sacrifice, consisting of Rik and Yagus and Sâman and oblations,--that becomes his self in yonder world: 'It is they that have generated me,' from this (consideration) he should give the gifts to officiating priests and not to non-officiating.
6. Having gone back to the Gârhapatya fire42, he offers the gift offerings. Having tied a piece of gold in a fringed cloth43, and laid it (into the spoon), he offers. 'May there be a place for me in the world of the gods!' With this hope he offers whoever offers: that same sacrifice of his goes to the world of the gods; and behind it goes the gift he gives to the priests, and holding on to the gift follows the sacrificer.
7. Now, there are four (kinds of) gifts to priests,--gold, the cow, cloth, and the horse. But it is not proper that he should lay a horse's foot or a cow's foot (into the spoon): hence he ties up a piece of gold in a fringed cloth, and having laid it (into the spoon) he offers.
8. He offers with two verses to the Sun. For yonder world is shut off by darkness; and dispelling the darkness by that light he reaches the heavenly world: therefore he offers with two verses to the Sun.
9. He offers with this gâyatrî verse (Vâg. S. VII, 41; Rig-veda I, 50, 1), 'The lights bear on high that divine knower of beings, Sûrya, that all may see him,--Hail!'--for the gâyatrî is this earth, and she is a safe resting-place hence he thereby stands firmly on this safe resting-place.
10. He then makes the second offering with this trishtubh verse (Vâg. S. VII, 42; Rig-veda I, 115, I), 'The brilliant front44 of the gods hath risen, the eye of Mitra, Varuna, and Agni: Sûrya, the soul of the movable and immovable, hath filled the heaven and the earth and the air,--Hail!' whereby he approaches the world (of the gods).
11. He then makes either one or two oblations on the Âgnîdhra (fire). The reason why he makes one or two oblations on the Âgnîdhra fire is that Agni rules over beasts (cattle)45, and they lie round about him on every side: it is him he pleases by this oblation, and thus pleased he is gracious unto this (sacrificer), and the latter offers (to the priests a cow) graciously given up by him (Agni).
12. He offers with (Vâg. S. VII, 43; Rig-veda I, 189, 1), 'O Agni, lead us on a good path unto wealth; thou, O god, that knowest all works! keep thou from us the sin that leadeth astray, and we will offer unto thee most ample adoration,'--'Hail!' Thereupon, if he intends to give away a horse, harnessed or unharnessed, let him make a second oblation; but if not, he need not attend to this.
13. He offers with (Vâg. S. VII, 44), 'May this Agni make wide room for us: may he march in front smiting the haters! May he gain riches in the winning of riches: may he, fiercely rushing, conquer the enemies! Hail!' for the horse is a winner of riches (spoils, prizes).
14. Thereupon, taking some gold, (the sacrificer) goes to the hall. South of the altar stand the Dakshinâ (cows). Standing in front of the hall, he respectfully addresses them46 with (Vâg. S. VII, 45), 'By your beauty have I come to beauty.' Now at first cattle did not submit to being given away. Laying aside their own beauteous forms47 they approached with their (bare) bodies. The gods then went up to them from the offering ground with their (the animals’) own forms; and they, knowing their own forms, resigned themselves and became well-disposed to being given away. And in like manner does he now go up to them from the offering ground with their own forms; and they, knowing their own forms, resign themselves and become well-disposed to being given away.
15. 'May the all-knowing Tutha distribute you!'--Now, Tutha is the Brahman: he thus distributes them by means of the Brahman. And the Brahman knows who is fit to receive a dakshinâ and who is unfit: thus these (cows) of his are given away only to him who is fit to receive a dakshinâ and not to him who is unfit.
16. 'Go ye forward in the way of truth,'--for whosoever walks in the way of the gods, walks in the way of truth;--'ye of shining (kandra) gifts!' whereby they walk with that light (kandra, the moon).
17. He then goes to the Sadas, saying, 'Behold thou the heaven, behold the air!' whereby he means to say, 'May I through thee, the dakshinâ, see the (heavenly) world.'
18. Thereupon he looks on the Sadas, with, 'Unite with the Sadas-priests!' whereby he means to say, 'May the Sadas-priests not go beyond thee!'
19. He then takes the gold and goes up to the Âgnîdhra (fire-house), saying (Vâg. S. VII, 46), 'May I this day obtain a Brâhman who has a father and forefathers!'--for he who is renowned and of renowned family, is one who has a father and forefathers; and by the gifts which he gives to a renowned (priest), though they be but few, he gains great things.--'A Rishi, the scion of Rishis,' for he who is renowned as learned in sacred lore, is a Rishi, the scion of Rishis;--'of well-bestowed gifts,' for he indeed is one on whom gifts are well-bestowed.
20. Having thus respectfully sat down by the Agnîdh, he gives him the gold, with 'Given (râta) by us, go ye to the gods!'--for whatever sacrificial gift he gives unhesitatingly, with a liberal (râta) mind, thereby he gains great things, 'Go ye to the gods,' he says, for he who sacrifices, sacrifices with the hope, 'May there be a place for me in the world of the gods;' and he thus makes him a sharer in the world of the gods.--'Enter ye to the Giver!' whereby he means to say, 'Enter ye into me!' and thus those (cows)48 do not get lost to him. And as to his giving a dakshinâ first to the Agnîdh, it was from thence (from the Âgnîdhra)49 that all the gods gained immortality: therefore he gives the dakshinâ first to the Agnîdh.
21. Then, approaching in the same way, he gives some gold to an Âtreya50. For, at the time51 when they recite the morning prayer, they were once upon a time singing praises here in front52. Now Atri was the Hotri of the Rishis. Then the darkness of the Asuras came rushing into the Sadas. The Rishis said to Atri, 'Come back here, and dispel this darkness!' He dispelled that darkness; and thinking, 'He indeed is the light who has dispelled this darkness,' they brought him this light, gold, for a sacrificial gift,--for gold is indeed light; and by that same splendour and energy the Rishi dispelled the darkness. And so does he now also dispel the darkness by that light: therefore he bestows gold on an Âtreya.
22. Then to the Brahman, for the Brahman watches over the sacrifice from the south. Then to the Udgâtri (chanter); then to the Hotri; then to the two Adhvaryus, seated in the cart-shed. Then, having returned (to the Sadas he presents gold) to the Prastotri; then to the Maitrâvaruna; then to the Brâhmanâkhamsin; then to the Potri; then to the Neshtri; then to the Akhâvâka; then to the Unnetri; then to the Grâvastut; then to the Subrahmanyâ. To the Pratihartri he presents it last, since he is the restrainer(pratihartri)53: he thus in the end restrains (the cows) for him, and so they do not become lost to him.
23. Thereupon he (the Adhvaryu) says (to the Maitrâvaruna), 'Recite (the invitatory prayer) to Indra, followed by the Maruts!' Now when, in the beginning, Pragâpati gave gifts, Indra thought within himself, 'Everything here, forsooth, he will give away, and not anything will he leave for us.' He then, to stop the giving, raised up that thunderbolt 'Recite to Indra Marutvat!' and thereafter he (Pragâpati) gave no more. And in like manner is that thunderbolt 'Recite to Indra Marutvat!' now raised up to stop the giving, and thereafter he (the sacrificer) gives no more.
24; There are, then, four (kinds of) sacrificial gifts: Gold--thereby indeed he preserves his own life, for gold is life. That he (Pragâpati or Varuna) gave to Agni, performing the office of the Agnîdh (fire-kindler): wherefore now also gold is given to the Agnîdh.
25. Then the Cow--thereby he preserves his own breath, for the cow is breath, since the cow is food, and breath also is food: her he gave to Rudra, the Hotri.
26. Then Cloth--thereby he preserves his own skin, for the cloth is skin: this he gave to Brihaspati, who chanted.
27. Then the Horse--for the horse is a thunderbolt: he thereby makes the thunderbolt the leader. And, moreover, he who sacrifices, sacrifices with the hope 'May there be a place for me in Yama's world!' He thus makes him a sharer in Yama's world. This he gave to Yama, the Brahman.
28. The (proffered) gold he (the Adhvaryu) goes to meet (accepts) with (Vâg. S. VII, 47), 'Let Varuna give thee to me (who am) Agni!' for to Agni Varuna gave it. 'May I obtain immortality! be thou life to the giver, joy (mayas) to me, the receiver!'
29. And the cow he accepts with, 'Let Varuna give thee to me, Rudra!' for to Rudra Varuna gave her. 'May I obtain immortality! be thou breath to the giver, strength (vayas) to me, the receiver!'
30. And the cloth he accepts with, 'Let Varuna give thee to me, Brihaspati!' for to Brihaspati Varuna gave it. 'May I obtain immortality! be thou a skin to the giver, joy to me, the receiver!'
31. And the horse he accepts with, 'Let Varuna give thee to me, Yama!' for to Yama Varuna gave it. 'May I obtain immortality! be thou a steed (hayah) to the giver, strength (vayas) to me, the receiver!'
32. And whatever other gift he gives that he gives with the hope, 'May I also have this in yonder world!' That he accepts with (Vâg. S. VII, 48), 'Who hath given it? to whom hath he given it? Hope hath given it, for Hope hath he given it: Hope is the giver, Hope the receiver. This to thee, O Hope!' Thus he assigns it to a deity.
33. Here they say54,--Let him not assign it to any deity; for whatsoever deity he here kindles, that deity, being kindled, becomes ever more glorious from one day to the morrow; and to whatever fire he here adds fuel, that fire, being kindled, becomes ever more glorious from one day to the morrow; and ever more glorious does he become, whosoever, knowing this, accepts (a gift): even as one offers in kindled fire, so does he offer that (gift) which he gives to one learned in the scriptures. Therefore he who is learned in the scriptures need not assign (the gift to a deity).
Fifth Brâhmana
D. The Tritîya savana, or evening pressing.
1. Now there are three kinds of gods,--the Vasus, the Rudras, and the Âdityas. Between them the press-feasts are divided: the morning pressing belongs to the Vasus, the midday pressing to the Rudras, and the third pressing to the Âdityas. But the morning pressing belonged to the Vasus exclusively, and the midday pressing to the Rudras exclusively, and the third pressing to the Âdityas conjointly (with others).
2. The Âdityas then said, 'As that morning pressing belongs exclusively to the Vasus, and that midday pressing exclusively to the Rudras, so offer ye now to us a libation before the common (pressing).' The gods said, 'So be it!' After the completion of the midday pressing, they offered that (libation) previous to the third pressing55. And in like manner is that libation offered to this day after the completion of the midday pressing and previous to the third pressing.
3. The Âdityas said, 'Neither in the one pressing have we a share nor in the other: we fear lest the Rakshas might injure us!'
4. They said to the (cups) belonging to two deities (dvidevatya56), 'We are afraid of the Rakshas: pray, let us enter into you!'
5. The Dvidevatyas said, 'What will be our reward then?'--'By us ye shall be supplied with the Anuvashat57!', said the Âdityas.--'So be it!'--They entered into the dvidevatya cups.
6. Hence, when at the morning pressing he (the Adhvaryu) proceeds with the dvidevatya cups, the Pratiprasthâtri draws Soma juice from the Dronakalasa into the Âditya vessel, with this much (of the formula, Vâg. S. VIII, I), 'Thou art taken with a support!' The Adhvaryu calls for the (Agnîdh's) Sraushat, and after the Adhvaryu's libation the Pratiprasthâtri pours (his juice into the fire), and with this much 'Thee to the Âdityas!' he pours the remains (into the Âditya-sthâlî). In the same way at all (three dvidevatya libations).
7. Thus, the reason why the Pratiprasthâtri draws the Soma-juice, is that they entered into the dvidevatya cups. And the Âdityas then said, 'By us ye shall be supplied with the Anuvashat!' For, that second libation which he (the Pratiprasthâtri) makes, he makes to (Agni) Svishtakrit, and by means of the Svishtakrit these (dvidevatyas) are supplied with the Anuvashat; and thus those (libations) of his are supplied with the Anuvashat, having the (oblation to Agni) Svishtakrit performed for them. He offers on the north part (of the fire), for that is the region of that god58: hence he offers on the north part.
8. And again, why the Pratiprasthâtri draws the Soma. They entered into the Dvidevatyas; and from those which they entered he thereby draws them out. He then covers it59--for they were afraid of the Rakshas--with 'O Vishnu, Far-strider, here is thy Soma, protect it lest they should injure it!' For Vishnu is the sacrifice: to the sacrifice he thus makes it over for protection. Now, after the completion of the midday Soma feast and before the evening feast he says, 'Come hither, Sacrificer!'
9. They enter (the Havirdhâna) together,--the Adhvaryu, Sacrificer, Âgnîdhra, Pratiprasthâtri, Unnetri, and whatever other attendant (of the Adhvaryu) there is60. They close both doors,--for they (the Âdityas) were afraid of the Rakshas. He (the Adhvaryu) takes up the Âditya-sthâlî and Âditya-pâtra, and holds them close over the Pûtabhrit, 'lest (any Soma juice) should be spilt.'
10. He then draws (the juice from the sthâlî into the pâtra) with (Vâg. S. VIII, 2; Rig-veda VIII, 51, 7), 'At no time art thou barren, and never failest thou the worshipper, O Indra; but more and ever more is thy divine gift increased, O mighty lord!--Thee to the Âdityas!'
11. Let him not draw it with a 'support'--for it was originally drawn with a support--to avoid a repetition (of sacrificial performance); but were he now also to draw it with a support, he would certainly commit a repetition.
12. Having withdrawn (the cup for a moment from the flowing juice), he again pours it in with (Vâg. S. VIII, 3; Rig-veda VIII, 52, 7), 'At no time art thou heedless, but watchest over both generations; the Soma feast61 is thy strength, O fourth Âditya: the ambrosia is ready for thee in the heavens!--Thee to the Âdityas!'
13. Thereupon he takes sour milk; for the evening pressing belongs to the Âdityas, and cattle are after (the manner of) the Âdityas62: he thereby puts milk into the cattle, and thus that milk in cattle is beneficial63. 'He should put it right in the centre (of the Âditya cup),' they say, 'for that milk is right in the centre of cattle.' But let him rather put it in the back part (of the cup), for that milk is in the hind part of cattle.
14. And the reason why he takes sour milk is that those remains (of Soma) poured together are the leavings of offerings, and insufficient for an oblation: he now increases those (remains), and thus they become sufficient for an oblation. This is why he takes sour milk.
15. He takes it with (Vâg. S. VIII, 4; Rig-veda I, 107, I), 'The sacrifice draweth nigh to the glory of the gods: be ye merciful, O Âdityas! Let your favour incline unto us, that it may set us free from all trouble!--Thee to the Âdityas!'
16. He mixes it by means of the Upâmsusavana stone64. For, indeed, that Âditya Vivasvat (the sun) is really the same as the Upâmsusavana, and this is the Âditya libation: thus he makes him delight in his own share.
17. He touches it neither with the fringe nor with (the woven part of) the straining-cloth; for those two pressings, the morning pressing and midday pressing, forsooth are rich in pure Soma, rich in juice, but this, the third pressing, is emptied of its pure Soma. Now, in that he does not touch it either with the fringe or the straining-cloth, thereby that third pressing of his also becomes rich in pure Soma and juice: therefore he touches it neither with the fringe nor with the straining-cloth.
18. He mixes it with (Vâg. S. VIII, 5), 'O Âditya Vivasvat, this is thy draught of Soma: feast thou upon it!' Thereupon he hands the Upâmsusavana to the Unnetri. Then he says to the Unnetri, 'Drop in the pressing-stones!' He drops them either into the Âdhavanîya or into a cup65.
19. After drawing the king (Soma)--the third press-feast belonging to the Âdityas, and the pressing-stones being after (the manner of66) the Âdityas, he thus makes them delight in their own share--they open the doors.
20. He now walks out, covering (the cup with his hand or the sthâlî); for they (the Âdityas) were afraid of the Rakshas. He then says (to the Maitrâvaruna), 'Recite (the invitatory prayer) to the Âdityas!' If he likes, he may now enumerate (their qualities); but let him rather enumerate them, after he has called for the Sraushat,--'Prompt (the Hotri to recite the offering prayer) to the Âdityas, the beloved, rite-loving, law-loving lords of the great abode, the rulers of the wide air.' He offers, as the Vashat is pronounced. He (the Hotri) pronounces no Anuvashat, lest he should consign the cattle to the fire. The remains (of juice in the sthâlî and graha) he (the Adhvaryu) hands to the Pratiprasthâtri.
21. Thereupon he again enters (the Havirdhâna) and draws the Âgrayana graha67. They spread (over the Pûtabhrit) a straining-cloth with the fringe towards the north. The Adhvaryu pours out (the juice) of the Âgrayana; the Pratiprasthâtri holds out (and pours in) the two residues (of the Âditya graha68); the Unnetri adds thereto (some juice from the Âdhavanîya) by means of a kamasa cup or a dipping-vessel (udañkana).
22. Thus he draws the Âgrayana graha from four streams; for the evening pressing belongs to the .Âdityas, and cows are after the manner of the Âdityas; whence this milk of cows is of a fourfold nature: therefore he draws the Âgrayana from four streams69.
23. And as to why the Pratiprasthâtri holds out the two residues: this is (the remains of) the Âditya libation, and for the Âditya libation he pronounces no Anuvashat; and from that (Âgrayana graha) he intends to draw the Sâvitra graha,--so that the Anuvashat is performed for it by means of the Sâvitra graha.
24. And again why the Pratiprasthâtri holds out the two residues. Previous to that mixed (press-feast), previous to the evening feast, they have offered that (unmixed or special) libation to those (Âdityas); but this libation is taken for the evening feast: thereby the Âdityas take part in the evening feast, and thus they are not excluded from the sacrifice. This is why the Pratiprasthâtri holds out the two residues70.
Footnotes
1. The Purodâsa offerings, described in the preceding paragraphs, are followed by libations from the dvidevatya cups, viz. the Aindravâyava, Maitrâvaruna, and Asvina. Each time the Adhvaryu is about to make a libation, the Pratiprasthâtri draws Soma-juice into the Âditya cup (pâtra) and makes libations therefrom immediately after the Adhvaryu on the north side of the fire. And each time he pours the remains from the Âditya cup into the Âditya sthâlî with, 'Thee to the Âdityas!' finally covering the latter with the former (see IV, 3, 5, 6). Then follows the filling of the cups of the Kamasins (see p. 287, note 2), and the libations from the Sukra and Manthin grahas (already anticipated in IV, 2, 1, 13 -31) and from the cups of the Kamasins. Thereupon the Adhvaryu goes to the Sadas and sits down opposite the Hotri; and in alternate draughts and with mutual 'invitations' they empty the dvidevatya cups. The remains are poured into the Hotri's cup, and portions of the purodâsas having then been put into those cups, they are deposited in the left track of the southern cart. The Adhvaryu and Pratiprasthâtri then drink the remains of the Sukra and Manthin cups; the other priests also drinking from their cups, without, however, quite emptying them, after which the cup-bearers deposit them in the Havirdhâna, behind the axle of the southern cart. Henceforward, till the Vaisvadeva cup is drawn (IV, 3, 1, 25), those cups are called nârâsamsa. The Adhvaryu then takes a piece of the sacrificial cake and rises, calling out, 'We are invited together;' after which follows the rehabilitation of the Akhâvâka, referred to above. Being called upon by the Adhvaryu, he recites the verse Rig-veda V, 25, 1 (beginning with 'akhâ,' whence perhaps his name), 'Hither will I sing Agni the god for your protection,' &c., and then says, 'Ye Brâhmans, invite us Brâhmans also!' whereupon the Adhvaryu says, 'This Brâhman desires an invitation: invite him, Hotri!' Being then invited, he pronounces an anuvâkyâ, and his cup-bearer fills his cup, which henceforth ranks last but one, thus preceding that of the Âgnîdhra. He now drinks from his cup, and the latter is then deposited along with the other Kamasas; whereupon the priests, who have taken part in the offering of the purodâsas, and the sacrificer eat the Idâ in the Âgnîdhra fire-house.
2. Or rather, we have been mutually invited.
3. See III, 6, 2, 12.
4. See part i, p. 321, note 6.
5. The two Ritu vessels are made of kârshmarya or asvattha wood, of the shape of spoon-bowls, with spouts on both sides. Kâty. IX, 2, 13.
6. The twelve Ritugrahas are drawn alternately by the Adhvaryu and Pratiprasthâtri--the first two and the last two simultaneously, the others singly, so that the one enters the cart-shed while the other leaves. Both in entering and leaving the Pratiprasthâtri passes by the Adhvaryu on the north side, and for a moment encircles him by passing his arms round him and holding his own vessel south of him. With the exception of the last two libations, the libations are offered up entire (holocausts). When either of them is about to offer one of the first six libations, he calls on the Maitrâvaruna to 'Prompt (the Hotri, &c.) by the season!'--and at the four succeeding ones (after turning round the vessels so as to put the other mouth in front) to 'Prompt by the seasons!' For the last two libations they again reverse the vessels to the previous position and call on him to 'Prompt by the season!' The Maitrâvaruna's formula runs thus: 'Let the Hotri pronounce the offering prayer to Indra!--From the Hotri's cup, from heaven to earth, may he drink Soma together with the season (or, seasons)! O Hotri, pronounce the offering prayer!' Whereupon the Hotri (Potri, &c.) recites--'We who worship,--From the Hotri's cup, from heaven to earth, may he drink Soma together with the season (or, seasons)! Vaushat!' These formulas are slightly varied according to the deity to whom the libation is offered, and the priest who pronounces the offering prayer and Vaushat. The deities and offering priests of the twelve libations are: 1. Indra--the Hotri; 2. the Maruts--the Potri; 3. Tvashtri and the wives of the gods--the Neshtri; 4. Agni--the Âgnîdhra; 5. Indra-Brahman--the Brâhmanâkhamsin; 6. Mitra-Varuna--the Maitrâ-varuna; 7-10. Deva Dravinodas--the Hotri Potri; Neshtri, and Akhâvâka respectively; 11. the Asvins--the Hotri; 12. Agni Grihapati--the Hotri. For this last libation, the Maitrâvaruna in the first place calls on the sacrificer with, 'O lord of the house, pronounce the offering prayer!' and the sacrificer then again on the Hotri with, 'O Hotri; pronounce the offering prayer upon this!' whereupon the Hotri pronounces the (sacrificer's) offering prayer. Kâty. IX, 13; Sâṅkhâyana Sr. VII, 8; Haug, Transl. Ait. Br. p. 135.
7. Viz. from the Dronakalasa trough; see paragraph 6.
8. The Kânva text adds ritû in each case.
9. The Kânva text has 'bhakshyam' instead of 'bhaksham.' Each of the priests who have pronounced the offering prayer and Vaushat partakes of this Soma in his respective order,--the Hotri thus taking four draughts; and the Adhvaryu and Pratiprasthâtri (who, after drawing the Aindrâgna cup, join them in the Sadas) drinking alternately from the same vessel with those Hotri priests, who pronounced the Vashat at their libations. As at the drawing of the libations, the vessel is turned round after the sixth and tenth offering priests have drank. The vessel having been emptied, the Adhvaryu takes it outside the Sadas, and then sits down in front of the Hotri's hearth, with his face to the east, till the recitation of the Sastra (IV, 3, 2, 2).
10. According to Kâty. IX, 13, 33 seq. the order of performance is as follows. In the first place the first Âgya-sastra is recited. Thereupon the Adhvaryu fetches the Aindrâgna cup from the Havirdhâna (where it was deposited by the Pratiprasthâtri), makes a libation from it--after calling on the Hotri, as at all libations accompanied by a sastra, 'Singer of praises, recite Soma's offering prayer;' the nârâsamsa cups being shaken by the cup-bearers at the same time--and then drinks the remaining Soma with the Hotri. Thereupon he draws the Vaisvadeva cup from the Dronakalasa, pours the remaining juice from the latter into the Pûtabhrit, and spreads the straining-cloth over the empty vessels for the midday pressing. He also prepares the Savanîya purodâsas (see p. 315, note 4), for the midday feast, omitting however the dish of clotted curds (payasyâ). Then follows the chanting of the first Âgya stotra by the Udgâtris, and the recitation of the Praüga-sastra by the Hotri, after which takes place the Vaisvadeva libation (and emptying of the cup) in the same way as with the Aindrâgna--the kamasas being also drained of their contents by the respective priests. Then follows the distribution--already referred to IV, 2, 3, 11 seq.--of the Soma in the Ukthya bowl into three parts for the three Hotrakas, now about to recite their sastras (preceded by their respective stotras). The Adhvaryu takes one portion of the Soma, calls on the Udgâtris to chant the stotra, and afterwards on the Prasâstri (Maitrâvaruna) to recite his sastra; after which he makes a libation from the portion of Soma, and pours the remainder into the Prasâstri's cup, to be drunk by that priest. In the same way the Pratiprasthâtri then proceeds with the portions of the two other Hotrakas, viz. the Brâhmanâkhamsin and Akhâvâka. Each time also the ten kamasas are filled, and after libations therefrom, are emptied by the Kamasins. See also p. 287, note 2. At the end of the performance the priests pass silently out (nihsarp, see p. 299, note 1) of the Sadas by the back-door and out of the Vedi; the midday performance afterwards beginning with the pratisarpana, or 'creeping back' to the Sadas, with homage to the dhishnya hearths, &c.
11. Viz. in the place of the Sukra cup, on the south-east corner of the khara or mound.
12. Every chant or hymn (stotra) of the Udgâtris is followed by a 'song of praise' (sastra) recited by the Hotri or one of his three assistants (Maitrâvaruna, Brâhmanâkhamsin, and Akhâvâka); the first two sastras at each savana being recited by the Hotri, and the three additional ones at the morning and midday feast by his assistants (Hotrakas). The exact correlation between the stotras and sastras at the three savanas will appear from the following table:--
I. Prâtah-savana.
1. Bahish-pavamâna-stotra. 1. Âgya-sastra (Hotri).
2. Âgya-stotra dhuryas. 2. Praüga-sastra (Hotri).
3. Âgya-stotra dhuryas. 3. Âgya-sastras (Hotrakas).
4. Âgya-stotra dhuryas. 4. Âgya-sastras (Hotrakas).
5. Âgya-stotra dhuryas. 5. Âgya-sastras (Hotrakas).
II. Mâdhyandina-savana.
6. Mâdhyandina-pavamâna-stotra. 6. Marutvatîya-sastra (Hotri).
7. Prishtha-stotra dhuryas. 7. Nishkevalya-sastra (Hotri).
8. Prishtha-stotra dhuryas. 8. Nishkevalya-sastra (Hotrakas).
9. Prishtha-stotra dhuryas. 9. Nishkevalya-sastra (Hotrakas).
10. Prishtha-stotra dhuryas. 10. Nishkevalya-sastra (Hotrakas).
III. Tritîya-savana.
11. Ârbhava (or Tritîya)-pavamâna. 11. Vaisvadeva-sastra (Hotri).
12. Agnishtoma-sâman (Yagñâ-yagñîya). 12. Âgnimâruta-sastra (Hotri).
These are the twelve stotras and sastras of the Agnishtoma. At the Ukthya sacrifice, the performance of the evening feast is completed by the addition of three uktha stotras and sastras, one for each Hotraka.
13. While the Adhvaryu sits before the Sadas, with his back to the Hotri (p. 322, note 1), the latter performs the (tûshnîm-) gapa--i.e. the muttering of the formula 'May Father Mâtarisvan grant flawless (verse-) feet! may the bards sing flawless hymns!' &c. Ait. Br. II, 38; Âsv. Sr. V, 9, 1--after which he addresses to the Adhvaryu his call (âhâva), 'sõmsâvõm (let us two recite, Om)!'--which formula is used at all sastras, except that, at the midday and evening libations, it is preceded by 'Adhvaryo' (O Adhvaryu); while at the evening savana the first syllable of the verb is repeated, thus 'sosomsâvo.'--The Adhvaryu rises, turns round so as to face the Hotri, and responds by 'somsâmo daiva (we recite, O divine one)!' According to Ait. Br. III, 12, the Âhâva and Pratigara together are to consist of the number of syllables corresponding to the metre of the respective libation, viz. 8, 11, 12 respectively. Then follows the Hotris Tûshnîm-samsa or 'silent praise;' viz. 'Earth! Agni is the light, the light is Agni, Om!--Indra is the light, Ether! the light is Indra, Om! Sûrya is the light, the light, Heaven! is Sûrya, Om!'--This is followed by a Puroruk, or preliminary invocation of a deity, recited in a loud voice, (and consisting of twelve short formulas resembling the Nivid part i, p. 114, note 2; ib. I, 4, 2, 5 seq.), which, indeed, takes its place in the sastras of the midday and evening libations, being inserted in the middle or before the last verse of the hymn of the sastra; viz. Agni kindled by the gods, Agni kindled by man, Agni the well-kindling, the Hotri chosen by the gods, the Hotri chosen by men, the carrier of offerings, the leader of sacrifices, the irresistible Hotri, the swift carrier of oblations: may he, the god, bring hither the gods! may Agni, the god, worship the gods! may (Agni), the knower of beings, perform the sacrificial rites!' (Ait. Br. II, 34.) Then follows the hymn, the Âgya-sûkta, the chief part of the sastra, viz. Rig-veda III, 13, 'To him, your god Agni, will I sing with loudest voice; may he come hither to us with the gods; may he, the best offerer, sit down on our sacred grass!' &c.; the seven (anushtubh) verses of which are recited in the order 1, 5, 4, 6, 3, 2, 7. The first and last verses being, however, repeated thrice, the number is thus raised to eleven. The recitation of the hymn is followed by the so-called ukthavîrya ('the strength of the praise'), consisting of the formula uktham vâki, 'praise hath been sung,' with some words added to it differing at different sastras,--at the present sastra 'ghoshâya tvâ,' 'thee (I have recited) for sound (praise)!' [for school-differences as to these formulas, see Haug, Transl. Ait. Br. p. 177],--to which the Adhvaryu responds, 'Om ukthasâh,' 'yea, singer of praise!' The Ukthavîrya, together with the response, is again to consist of as many syllables as the characteristic metre of the respective libation. Then follows the recitation, by the Âgnîdhra (Ait. Br. VI, 14), of the yâgyâ or offering prayer, viz. Rig-veda III, 25, 4.--As regards the term 'âgya,' the Pañk. Br. VII, 2, 1, 2, derives it from âgi, a race, in accordance with the following legend: When Pragâpati offered himself as a sacrifice to the gods, the latter could not agree as to which of them should have the first share. Pragâpati then proposed that they should run a race for it. In this race Agni came off first, then Mitravaruna, then Indra. To each of these three divinities an âgya was thereupon assigned; and, by a secret understanding between Indra and Agni, these two divided the fourth âgya between them. Hence the âgneya, maitrâvaruna, aindra, and aindrâgna sastra (and stotra), belonging to the Hotri, Maitrâvaruna, Brâhmanâkhamsin, and Akhâvâka priests respectively.
14. That is, fashions him, or makes him slender. A fanciful derivation of sastra (sams, to recite, praise, cf. carmen), from the root sâ (so), to sharpen (? or from sas, to cut, carve). 'Yathâyam purovartî purushas tîkshnakritah, avaya(va)vibhâgena spashtîkritas tathâ sastrenaitad retah syati spashtam karoti,' Sây.
15. Upanimadati, 'cheers;' the Kânva text (W.) has 'upanivadati.'
16. Or, intoxication, intoxicating drink. See paragraph 10, and p. 330, note 1
17. Or perhaps, successful, samsiddhâ [svakîyâny aksharâny aparityagyâvikritâ (? avikrittâ), Sây.]. The response (pratigara) here alluded to, is probably the one ordinarily used by the Adhvaryu, whenever the Hotri pauses in his recitation, at the end of half-verses (or pâdas), nivids, &c., viz. 'Othamo daiva,'--or, Othâvo daivom, whenever the Hotri puts in the sacred syllable 'om.' 'Tasmât kâranâd gâyatra-prâtahsavane samsiddham avikritam vidhâsyamânam omantam prati-grihnîyât,' Sây. For the Adhvaryu's response, 'samsâmo daiva,' to the Hotri's summons (âhâva), see p. 326, note 1.
18. When the first verse of the trishtubh hymn, Rig-veda X, 73, is recited by the Hotri in the Marutvatîya Sastra at the midday feast, the Adhvaryu's response is 'madâmo daiva' (we rejoice, O divine one). Kâty. X, 3, 8; cf. Weber, Ind. Stud. X, p. 37.
19. According to Kâty. X, 6, 6 'madâmo daiva' is optionally the Adhvaryu's response at the recitation in the Âgnimârutra Sastra of three of the so-called Anupânîya (or Svâdushkilîya) trishtubh 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 trishtubh verses are recited' would begin a fresh paragraph. Sâyana, however, seems to take it in the same way as above; cf. also the Kânva reading in next note.
20. This is the (Gagatî) hymn I, 159 recited in the Vaisvadeva Sastra. According to Kâty. X, 6, 5, the response is to be thrice (after each of the three first verses) 'madâmo daiva.' The Kânva has for paragraphs 10-12, 'At the morning feast he responds by a complete (formula), for complete Gâyatrî returned. At the midday feast he responds once with one containing "mad," when he recites trishtubh verses, for she (Trishtubh) returned leaving one syllable behind: hereby now he completes her, makes her whole. At the evening feast with something containing thrice "mad," for she (Gagatî) 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.'
21. That is, instead of 'vâk,' hence 'Othâmo daivom.' 'Om' pure and simple is the response at the end of the sastra.
22. 'Iha' (here, hither) with the last syllable protracted. The Hotri's cup with the Nigrâbhyâ (vasatîvarî) water having been handed to the sacrificer, and the fillet or band (ushnîsha) with which the Soma-plants are tied together, to the Grâvastut, the pressing is performed in the same way as the 'great pressing,' at the Prâtahsavana (see p. 256, note 1). Meanwhile the Grâvastut 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 Grâva-stotra or 'praise of the stones.' According to Âsv. Sr. V, 12; Ait. Br. VI, 7, 2, this chant consists of the verses Rig-veda I, 24, 3; V, 81, 1; VIII, 81, 1; VIII, 1, 1, followed by the hymn X, 94, ascribed to the serpent Rishi Arbuda. Before the last verse of this hymn he inserts the hymns X, 76 and X, 175, (ascribed to the serpents Garatkarna and Arbuda respectively); and either before, or between, or after these two hymns he throws in the pâvamânîh (Rig-veda IX) according to requirement, till the pressing is completed, or the libations are to be drawn, when having wound 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 Hotri's cup into the Dronakalasa; the Âgrayana (p. 294, note 2) however being taken (in the Âgrayana sthâlî or bowl) from that and two other streams, poured by the Unnetri from the Âdhavanîya, and by the Pratiprasthâtri from some vessel containing the Soma previously kept in the Âgrayana sthâlî.
23. Probably on account of the connection of the Brihat-sâman with Indra; see part i, p.196, note 2.
24. See p. 294, note 2. Sâyana here curiously explains the term by 'stotrâni.'
25. The Mâdhyandina-pavamâna-stotra, Sâmav. II, 22-29, is made up of three hymns (sûkta), consisting of three gâyatrî (22-24), two brihatî (and satobrihatî, 25, 26), and three trishtubh verses (27-29) respectively. These are chanted in such a way as to produce five Sâman hymns (i.e. a hymn of three verses), viz. the gâyatrî triplet is chanted twice, in the Gâyatra and Âmahîyava tunes;--the brihatî-satobrihatî couplet is likewise chanted twice, in the Raurava and Yaudhâgaya tunes, the two verses being as usual (by the repetition of certain pâdas) made into three. These, with the addition of the trishtubh hymn, chanted in the Ausana tune, make five Sâman hymns of three verses each, or altogether fifteen verses (pañkadasastoma).
26. Or consists of the fifteenfold (chant), as Sâyana takes it. Regarding the connection between the pañkadasa-stoma (the characteristic stoma of the midday pressing) and Indra (the deity of the midday pressing), see part i, introd. p. xviii.
27. Perhaps graha' has here a double meaning, viz. 'that which is taken, a draught, cup of Soma,' and 'the taker, seizer.'
28. See p. 289, note 4.
29. Lit. 'thus;' 'itisabdenâpakramanaprakâro ’bhinayena pradarsyate,' Sây.
30. This passage would seem to be based on a mistaken interpretation of Rig-veda I, 13 5, 8, where the bard says that 'the victorious (gâyavah) have come nigh to the asvattha,' the 'gâyavah' here evidently referring (not to the Maruts, as in I, 1 19, 3), but to the powerful draughts of Soma flowing into the asvattha vessel. The Kânva text reads, Sâ (i.e. vis, the people or Maruts) hâsvatthe tishthate.
31. The Kânva text inserts 'ity âhuh.'
32. 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.
33. For the construction, see p. 33, note 1.
34. See IV, 3, 1, 3 seq.
35. See p. 331, note 2.
36. Here the author again anticipates, important parts of the performance being not even referred to. On the present occasion only one Marutvatîya cup is drawn and deposited on the mound (khara). The Ukthya cup having then been drawn and deposited, the priests leave the Havirdhâna in the same way as at the morning performance (see IV, 2, 5, 1, with note), and perform the Viprud-homas, or drop-offerings. Thereupon the priests 'creep' (sarp), with their upper bodies bent parallel to the ground, to the Sadas, where, near the Udumbara post, the chanting of the midday Pavamâna-stotra now takes place after the necessary preliminaries. If the Pravargya has been performed on the preceding day (see III, 4, 4, 1, with note), the Dadhi-gharma, or libation of hot milk mixed with sour milk, is now made. Then follow the oblations from the Savanîya-purodâsa (see IV, 2, 5, 15 seq., and p. 323, note ). Thereupon filling of the cups of the ten Kamasins, and the libations from (and drinking of) the Sukra and Manthin cups. After the eating of the Idâ of the purodâsas, the Dâkshina-homas and distribution of the sacrificial fees take place, as set forth in the next Brâhmana. Thereupon the Adhvaryu calls on the Maitrâvaruna to pronounce the invitatory prayer to Indra Marutvat (viz. Rig-veda III, 51, 7), 'O Indra, attended by the Maruts, here drink the Soma,' &c., followed by the order (praisha), 'Let the Hotri pronounce the offering prayer to Indra Marutvat!' The Pratiprasthâtri now draws a second Marutvatîya cup in the other Ritu-pâtra. The offering prayer (Rig-veda III, 47, 2, 'United with the host of Maruts, O Indra, drink the Soma, O wise hero!' &c.) having meanwhile been pronounced by the Hotri, the Adhvaryu makes libations from the first cup at the Vashat and Anuvashat. Then pouring the remains of the juice into some other vessel, to be taken to the Sadas, he enters the Havirdhâna and draws the third Marutvatîya graha with the cup just emptied. Having deposited it, he betakes himself to. the Sadas to drink with the Hotri the remains of the first libation. Thereupon the Hotri recites the Marutvatîya Sastra.
The Marutvatîya Sastra consists of the following parts. After the summons (âhâva) to the Adhvaryu, and the response (pratigara) of the latter, the Hotri intones the Pratipad (opening triplet), Rig-veda VIII, 57, 1-3, followed by the Anukara (sequel), VIII, 2, 1-3.
Then the Indranihava pragâtha (VIII, 53, 5) and the Brâhmanaspatya pragâtha (I, 40, 5).
Then follow the three Dhâyyâs (complementary verses), III, 20, 4; I, 91, 2; I, 64, 6; and the Marutvatîya pragâtha, VIII, 89, 3, succeeded by the hymn X, 73, the chief part of the Sastra, in the middle of which (after the sixth verse), the Nivid ('Let us sing, Om! may Indra with the Maruts drink of the Soma,' &c.) is inserted.
Having recited the last verse (paridhânîyâ or closing verse) of the hymn, he concludes the Sastra by the Ukthavîrya, 'Praise has been sung to Indra who hears thee!' Thereupon the offering prayer III, 47, 4 is pronounced, and libations are made, both at the Vashat and Anuvashat, by the Adhvaryu from the third, and after him each time, by the Pratiprasthâtri from the second graha.
The priests having drank in the Sadas the Soma remaining from the grahas and in the kamasas, the Mâhendra cup is drawn.
37. That is, as a chief, or lord, might do so with a clansman (vaisyena, Kânva text); or as the master of a house with his servants.
38. Or, according to Ludwig, 'rendered favourable by the performers (priests).'
39. That is, the (first) Prishtha-stotra, consisting of the Rathantara-sâm an, Sâmav. II, 30-31. For the way in which the two verses are manipulated (by repetition of the last pâda of the first, and of the second pâda of the second verse), so as to yield a three-versed choral, see Haug, Ait. Br. II, p. 198; Weber, Ind. Stud. VIII, p. 25. These chants derive their name from the circumstance that the Sâmans employed in them are capable of being used as 'prishthas,' that is, of being chanted twice with another Sâman inserted between them,--or, to speak symbolically, to serve as the womb for the reception of an embryo. For this purpose the Rathantara and Brihat Sâmans are chiefly used. See note on IV, 5, 4, 13. Whenever the Prishthas are chanted in this way (which they are not at the ordinary Agnishtoma), it is chiefly at this very place in the Soma performance, at the midday libation. The chant is succeeded by the recitation, by the Hotri, of the Nishkevalya Sastra, consisting of the following parts. The Âhâva (and pratigara) is followed by the Stotriya (Rig-veda VII, 32, 22-23, identical with the Rathantara) and Anurûpa (VIII, 3, 7-8) pragâthas; then a dhâyyâ, X, 74,.6; the Sâma-pragâtha, VIII, 3, 1, and the hymn (to Indra) I, 32, with the Nivid inserted in the middle (after the eighth verse). Finally the Hotri pronounces the Ukthavîrya, and the offering prayer, VII, 22, 1, after which the Mâhendra libation is poured into the fire.
Then follows the distribution of the Ukthya graha among the three assistants of the Hotri and the recitation of their (nishkevalya) sastras--each preceded by a Prishtha-stotra [Sâmav. II, 32-34 (chanted to the Vâmadevya-sâman); 35-36 (Naudhasa); 37-38 (Kâleya) respectively]--as at the conclusion of the morning performance; see p. 295, note 2. Thereupon he addresses the above summons to the respective priests, for the preparations necessary for the evening pressing.
40. See II, 2, 2, 3-5.
41. 'For he, Soma, doubtless is the visible Pragâpati (pratyaksham pragâpatih).' Kânva text.
42. That is, the fire at the front door of the hall (the old Âhavanîya fire). Each priest has to perform two such dâkshina-homas of ghee. For the Hotri's formulas, see Âsv. Sr. V, 13, 14. For the proper place of these offerings in the performance, see p. 336, note 2.
43. Or rather, in a cloth such as is used at a dasâhoma, or oblation at which the fringe (or unwoven end) of a cloth is used (dasâhomîya).
44. That is, either 'face' or 'van-guard,' anîka.
45. For this usurpation, on the part of Agni, of one of Rudra's functions, Sâyana refers to a legend in the Taittirîyaka (Taitt. S. I, 5, 1), where Agni is identified with Rudra, Agni being so called because he roared (rud). See also Sat. Br, I, 7, 3, 8.
46. The cows are driven past him along the back of the altar, between the hall and Sadas, and then along the north side of the altar, south of the Âgnîdhra and between the pit (kâtvâla) and heap of rubbish (utkara), the sacrificer following them as far as the Âgnîdhra. At the same time the Subrahmanyâ litany (see III, 3, 4, 17 seq.) may be recited.
47. Sâyana explains 'rûpâni' by 'sâmarthyâni,' capabilities, powers.
48. The cows (and other gifts) are presented at the same time. viz. either a hundred to each officiating priest, or to each his proportionate share of an aggregate of a hundred cows, viz. twelve cows to each of the first four priests, six to each of the second four (Brâhmanâkhamsin, &c., see § 22), four to each of the third four, and three cows to each of the remaining four priests.
49. See III, 6, 1, 27-28.
50. That is, one of Âtreya descent, who does not officiate as a priest, and who is seated in front of the Sadas. According to the Kânva text (and Kâty. X, 2, 21) the Adhvaryu approaches him with 'Ka Âtreyam'--who (? sees) the Âtreya?--thrice repeated. Kâtyâyana specifies some subdivision of the (female line of) the Âtreya race--also mentioned in the same order in the Pravarâdhyâya--as excluded from this privilege. On this legend cf. V, 3, 2, 2; Taitt. S. II, i, 2, 2; Tândya Br. VI, 6, 8; Ind. Stud. III, p. 464.
51. Viz. early in the morning of the sutyâ day, when the Prâtar-anuvâka is recited. See p. 229, note 2.
52. I take 'purâ' in the sense of 'in front' (cf. III, 9, 1, 12), that in the havirdhâna shed, and not in that of 'formerly' (Ind. Stud. X, 558). The Kânva text brings out the meaning still more clearly: Sa yad âtreyâya hiranyam dadâty, atrir hi vâ rishînâm hotâ sa yatro ha vâ ada âsînah prâtaranuvâkam anvâha tad dha smaitat purâsîno hotâ samsaty atha paskât tamah sado ’bhipupluve. Te hokus tamo vâ idam sado ’bhyaproshteti pratyaṅ prehîti pratyaṅ prehîti sa pratyaṅ prait sa tat tamo ’pâhan, &c. Sâyana also interprets it by 'pûrvasmin pradese âhavanîyasya samîpe.'
53. For the part taken by the Pratihartri in the chanting of stotras, see p. 310, note 1.
54. The Kânva text of this paragraph seems more correct: Thus he assigns it to deities; for when he bestows (abhyâdhâ) anything on a deity, that deity thereby shines ever more brilliantly; and whatever (fuel) he adds to the fire, thereby it shines ever more brilliantly: and more glorious does he become from day to day whosoever, knowing it, accepts it thus. Here now Âsuri said, 'But he who is learned in the scriptures need not regard this; for as one puts fuel on kindled fire, and offers on kindled fire, thus he gives who gives gifts to one learned in the scriptures.'
55. The Âditya-graha, with which the succeeding paragraphs deal, is considered as not belonging to the Tritîya Savana proper, but as a preliminary ceremony.
56. For the three dvidevatya grahas (Aindravâyava, Maitrâvaruna, and Âsvina), see Brâhmanas IV, 1, 3-5.
57. At the three dvidevatya libations no Anuvashatkâra is permitted; that is to say, the Hotri is not to pronounce the words, 'O Agni, accept of the Soma!' after the Vashat, with which the offering prayer (yâgyâ) concludes. But as the libation, ordinarily made at the Anuvashat, corresponds to the oblation to Agni Svishtakrit made after each chief oblation at the haviryagña (see I, 7,3; Ait. Br. III, 5), there is apparently no such Svishtakrit oblation at the dvidevatya libations. Now, as each of these chief libations, made by the Adhvaryu, is followed by one made by the Pratiprasthâtri from the Âditya vessel (see p. 316, note 1), these latter libations are here, as it were, identified with the Svishtakrit and the Anuvashatkâra.
58. See I, 7, 3, 20.
59. The remains of Soma-juice he pours after each libation from the Âditya-pâtra into the Âditya-sthâlî, and finally puts the former on the latter by way of a lid. See p. 326, note 1.
60. While they enter by the front door, the mistress of the house enters by the back (west) door. Kâty. X, 4, 2.
61. The Rig-veda reads 'havanam' (invocation) instead of 'savanam.'
62. Or, cattle correspond, stand in relation, to the Âdityas. Sâyana takes 'anu' in the sense of 'behind, inferior to, dependent upon (hîna).' The cattle are inferior to, or dependent upon, the Âdityas, inasmuch as the Âdityas give the rain on which the cattle depend for their food.
63. Or, 'put' (hita) into them.
64. See p. 238, note 2.
65. 'Into the Âdhavanîya trough or into a kamasa cup containing Soma-juice,' Kâty. X, 4, 10; 'into the Âdhavanîya or the Sambharanî,' Kânva text; 'into the Âdhavanîya or into the graha,' Weber, Ind. Stud. X, 386. Perhaps the next paragraph has to be taken along with this: 'Or into a kamasa, after drawing Soma (into it).' According to Kâty., the stones are taken out again immediately and laid down in their places on the pressing-skin.
66. See p. 353, note 2. Sâyana again takes 'anu' in the sense of 'after, behind,' apparently on the ground that, in the above formulas, the stones are mentioned after the Âditya. The text of my manuscript is, however, rather corrupt at this place.
67. The Âgrayana Soma was originally drawn into the Âgrayana bowl (sthâlî) and deposited in its place in the centre of the khara. It is now poured from the bowl into some other vessel, and thence through a straining-cloth into the Pûtabhrit.
68. 'Sampraskandayati pratiprasthâtâdityapâtrayoh samsravam,' Kânva text.
69. In drawing the Âgrayana cup he uses the same formula as at the morning pressing. See IV, 2, 2, 9 seq.
70. In the actual performance of the Agnishtoma the drawing of the Âgrayana graha is followed by sour milk being poured to the Soma-juice left in the Pûtabhrit, the compound being consecrated by the lady eying it with an appropriate mantra. Thereupon they leave the Havirdhâna shed in the same way as at the morning feast (see IV, 2, 5, 1, with notes), and perform the Viprud-homas, followed by the Sarpana and chanting of the Ârbhava, or Tritîya Pavamâna stotra (for an account of which, see p. 315, note 2). Then follow the oblations from the victim (which has been cooking since the morning, see IV, 2, 5, 13), &c., up to the eating of the pasvidâ (see III, 8, 3, 4 seq.); and offering of the four Savanîya-purodâsas, likewise up to the eating of the idâ. Previous to the eating, small pieces of rice-cake are thrown into the kamasa cups, as an oblation to the sacrificer's deceased ancestors, with naming of his father, grandfather, and great-grandfather (as at the Pindapitriyagña, II, 4, 2, 19 seq.); whereupon the pieces are eaten along with the idâ.
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