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The Satapatha Brahmana: Fourth Kânda, Second Adhyâya
First Brâhmana
1. The Sukra and Manthin (grahas), forsooth, are his eyes. Now the Sukra, indeed, is he that burns yonder (the sun); and because it burns there1, therefore it is (called) Sukra ('bright'). And the Manthin, indeed, is the moon.
2. He mixes it with (barley) meal: thus he makes it to be gruel (mantha), whence it is (called) Manthin. Now those two (sun and moon); forsooth, are the eyes of these creatures; for were those two not to rise, these (creatures) could not distinguish even their own hands.
3. One of them is the eater, and the other the food2; to wit, the Sukra is the eater, and the Manthin the food.
4. To one of them corresponds the eater, and to the other the food; to wit, the eater corresponds to the Sukra, and the food to the Manthin. Now these two (cups) are drawn for one (person) and offered to another. There are two Asura-Rakshas, Sanda and Marka: for them they are drawn; and to deities they are offered. The reason for this is as follows.
5. Now when the gods drove away the Asura-Rakshas, they could not drive away these two; but whatever (sacrificial) work the gods performed, that these two disturbed, and then quickly fled.
6. The gods then said, 'Contrive ye how we shall drive away these two!' They said, 'Let us draw two cups (of Soma juice) for them: they will come down to us, and we shall seize them and drive them away.' They accordingly drew two cups (of Soma) for them, and they both came down, and, having seized them, they (the gods) drove them away3. This is why (the two cups) are drawn for Sanda and Marka, but are offered to deities.
7. Also Yâgñavalkya said, 'Should we not rather draw them for the deities, since that is, as it were, the sign of conquest4?' In this, however, he merely speculated, but he did not practise it.
8. Now some make this the puroruk formula of the Sukra, 'He, the longing, light-enveloped, urged the daughters of the dappled (cloud) along the measurer of the welkin,'--saying, 'We thus make it like him that burns yonder, in that he says "the light-enveloped."'
9. But let him make this one the puroruk formula of the Sukra (Vâg. S. VII, 12; Rig-veda V, 44, I), 'In the olden way, in the former way, in every way, in this way (drawest thou) supremacy from him, the barhis-seated, and the bliss-attaining,'--for the eater corresponds to this (Sukra cup), and the eater is supreme hence he says, 'Supremacy from him, the barhis-seated, bliss-attaining,'--and onward strength drawest thou from him, the roaring5, the swift, that winneth those6 through which thou waxest strong.--Thou art taken with a support: thee for Sanda!'--With 'This is thy womb: protect manhood!' he deposits (the cup); for to this one corresponds the eater, and the man (hero) is the eater: hence he says, 'This is thy womb: protect manhood!' He deposits it on the south part (of the mount), for it is in that direction that yonder (sun) moves.
10. Thereupon he draws the Manthin with (Vâg. S. VII, 16; Rig-veda X, 123, 1), 'He, the longing7, light-enveloped8, urged the daughters of the dappled9 on the measurer of the welkin10: him the bards kiss like a child with songs at the union of the waters and the sun.--Thou art taken with a support: thee to Marka!'
11. He mixes it with (barley) meal: the reason why he mixes it with meal is this. Varuna once struck king Soma right in the eye, and it swelled (asvayat): therefrom a horse (asva) sprung; and because it sprung from a swelling, therefore it is called asva. A tear of his fell down: therefrom the barley sprung; whence they say that the barley belongs to Varuna. Thus whatever part of his eye was injured on that occasion in (that part he now restores him and makes him whole by means of this (barley): therefore he mixes (the libation) with meal.
12. He mixes it with (Vâg. S. VII, 17; Rig-veda X, 61, 3), 'At whichever offerings ye two, rushing swiftly as thought, accept with favour the songs--he, the manly, who by the reeds of this (one) hath seasoned11 in the hand the (object of his) desire;'--with 'This is thy womb: protect the creatures!' he deposits it (on the north part of the mound); for to this (graha) corresponds the food, and these creatures, the people, are food: hence he says, 'This is thy womb: protect the creatures!'
13. There are two sprinkled and two unsprinkled chips of the sacrificial stake12: the Adhvaryu takes a sprinkled and an unsprinkled one; and in like manner the Pratiprasthâtri takes a sprinkled and an unsprinkled one. And the Adhvaryu takes the Sukra, the Pratiprasthâtri the Manthin.
14. The Adhvaryu cleanses (his cup) with the unsprinkled chip, with, Swept away is Sanda!' In like manner the Pratiprasthâtri with, 'Swept away is Marka!' Thus even while drawing (the cups), they drive away the two Asura-Rakshas. With 'May the Sukra-sipping gods lead thee forward!' the Adhvaryu walks out (of the cart-shed); with 'May the Manthin-sipping gods lead thee forward!' the Pratiprasthâtri: thus they lead forward those two (libations) to the deities.
15. Behind the Âhavanîya fire they put their (right) elbows together, and deposit (the cups) on the high altar: the Adhvaryu on the right hip, and the Pratiprasthâtri on the left--without quitting their hold of them--with 'Unassailable art thou!' whereby they make the high altar unassailable by evil spirits; for they are about, in walking round it, to pass by the fire: hereby, then, they propitiate it, and so the fire does not injure them, while they walk round it on different sides13.
16. The Adhvaryu walks round it (on the north side) with (Vâg. S. VII, 13), 'Abounding in heroes, producing heroes'--for to this (libation) corresponds the eater, and the hero is the eater: hence he says, 'Abounding in heroes, producing heroes!'--'encompass thou14 the sacrificer with growth of wealth!' By saying 'Encompass thou the sacrificer with growth of wealth!' he invokes a blessing upon the sacrificer.
17. And the Pratiprasthâtri walks round (on the south side) with (Vâg. S. VII, 18), 'Abounding in creatures, producing creatures'--for to this (libation) corresponds the food, and the creatures, the people, are the food: hence he says, 'Abounding in creatures, producing creatures,'--'encompass thou the sacrificer with growth of wealth!' By saying 'Encompass thou the sacrificer with growth of wealth!' he invokes a blessing on the sacrificer.
18. They step out (from the altar) after closing the two (cups with their hands): thereby they make them invisible; whence no one sees yonder sun and moon when they go forward (eastwards). Having gone round to the front (of the stake), they uncover (the cups), and offer them while standing in front: thereby they make them visible; whence every one sees yonder sun and moon when they go backwards. Hence also no one sees the seed which is cast forwards, but every one sees what is produced backwards.
19. They put their elbows together behind the sacrificial stake, unless the fire should blaze up15; but. if the fire blaze up, they may join their elbows in front of the stake,--the Adhvaryu with, 'The Sukra (bright), uniting with the sky, with the earth, with the brightly shining;' the Pratiprasthâtri with, 'The Manthin, uniting with the sky, with the earth, with the manthin-shining.' Thus they make these two (cups) the resting-places of the eyes, and join the two eyes together: whence these two eyes are joined together with bones all round16.
20. The Adhvaryu throws the unsprinkled stake-chip outside (the altar) with, 'Cast out is Sanda!' and in like manner the Pratiprasthâtri with, 'Cast out is Marka!' Thus they drive away the two Asura-Rakshas before the offerings.
21. Thereupon the Adhvaryu throws the sprinkled stake-chip on the Âhavanîya with, 'Thou art the abode of the Sukra!' and in like manner the Pratiprasthâtri with, 'Thou art the abode of the Manthin!' These two (chips), forsooth, are the kindlers of the eyes,--he kindles the eyes therewith; whence these eyes are kindled.
22. Thereon he mutters (Vâg. S. VII, 14), 'May we be the preservers of thine unbroken manhood and prosperity, O divine Soma!' This is the benediction of that performance: he thereby invokes a blessing.
23. He then calls (on the Agnîdh) for the Sraushat, and says, 'Urge thou for Indra the Soma-draughts brought forward, the pure, sweet-flowing, of the morrow's morning feast!' As the Vashat is uttered, the Adhvaryu offers; then the Pratiprasthâtri; then the cup-bearers (kamasâdhvaryu).
24. Those two offer while standing in front (of the fire); for these two (libations) are the eyes: thus they put those eyes in the front; and hence these eyes are in the front.
25. They offer while standing on both sides of the stake; for what the nose is, that is the sacrificial stake: hence these two eyes are on both sides of the nose.
26. Being consecrated by Vashat, these two (libations) are offered with a prayer. Now it is because the entire Savana is offered after these two (libations) that they attain to this (distinction)17; and the reason why the entire Savana is offered after them, is that they are most distinctly Pragâpati's own: for they are the eyes, and the eye is the truth, and Pragâpati is the truth;--this is why the entire Savana is offered after them.
27. He offers with,' This is the first consecration, assuring all boons: he is the first, Varuna, Mitra, Agni;--he is the first, Brihaspati, the wise: to that Indra offer ye the liquor, Hail18!'
28. Now when he offers with, 'This is the first--he is the first,' it is just as with cast seed; for the eyes doubtless are formed first19 hence he offers with, 'This is the first--he is the first'
29. He then gives directions:--'Let the Hotri's cup advance! let the Brahman's, the Chanters’, the Sacrificer's (cups) advance! Ye cup-bearers of the fire-priests20, approach and fill up (the cups) with pure Soma!'--this is a composite direction. Having gone round (to behind the high altar) the Pratiprasthâtri pours his residue (of Soma) into the Adhvaryu's (Sukra) vessel; whereby he makes the food pay tribute to the eater. The Adhvaryu pours it into the Hotri's cup for drinking; because the draught belongs to the utterer of the Vashat; for the Vashat is the breath, and that breath has, as it were, departed from him while uttering the Vashat. Now the draught is breath: thus he puts that breath back into him.
30. And the reason why they do not take those two (cups) behind21, but do so take the other cups, is that those two are the eyes. The residue (of Soma), then, he pours into the Hotri's cup.
31. They now fill up the cups of the fire-priests. For those residues22 are remains of oblations, insufficient for offering: he now fills them up again, and thus they become sufficient for offering: therefore they fill up the cups of the fire-priests.
32. Thereupon they make the fire-priests offer together23. Now the fire-priests combined convey the sacrifice to the gods,--it is them he thereby satisfies together, thinking, 'Satisfied and pleased they shall convey the sacrifice to the gods;' therefore they make the fire-priests offer together.
33. When (the libation of) the first, or last24 fire-priest has been offered, he addresses them (Vâg. S. VII, 15), 'Let the priests’ offices be satisfied, they that have obtained a good sacrifice of sweet drink; they that are well-pleased, when they have obtained good offering with Svâhâ!' for this is the satisfaction of the priests’ (offices). Thereupon he approaches (to the Hotri's hearth) and sits down with his face to the west, with 'The Agnîdh hath sacrificed!' for on this occasion the Agnîdh sacrifices last of those that sacrifice: hence he says, 'The Agnîdh hath sacrificed.'
Second Brâhmana
1. The Âgrayana graha, forsooth, is his self (body, trunk), and as such it is his all; for this self is one's all. Therefore he draws it by means of this (earth), for of her is the bowl25, and with a bowl he draws this (libation); and this (earth) is all, as this graha is all: hence he takes it by means of this (earth).
2. He draws it full; for the 'full' means all, and this graha is all: therefore he draws it full.
3: He draws it for the All-gods; for the All-gods are all, and this graha is all: therefore he draws it for the All-gods.
4. He draws it at all (three) Soma feasts; for the (three) feasts mean all, and this graha is all: therefore he draws it at all the feasts.
5. And if the king (Soma) become exhausted, they extend him from out of that (bowl), make him issue therefrom; for the Âgrayana is the body, and from the body all these limbs issue. Therefrom they draw at the end the Hâriyogana cup26: whereby the sacrifice is established at the end in this resting-place, the body (or its own self).
6. Then as to why it is called Âgrayana. His speech which he restrains, on taking up that press-stone27, spoke out again first at this (libation); and because it spoke out first (agre) at this (libation), therefore this is called the Âgrayana28.
7. It was from fear of the evil spirits that (the gods) restrained their speech. Previously to this he draws six grahas, and this is the seventh: for there are six seasons in the year, and the year is all.
8. And all being conquered and free from danger and injury29, the gods now first uttered speech; and in like manner does he first utter speech now that everything is conquered and free from danger and injury.
9. He now draws it from that (stream of Soma30) with (Vâg. S. VII, 19; Rig-veda I, 139, 11), 'Ye Gods, who are eleven in heaven, who are eleven on earth, and who are eleven dwelling in glory in the (aerial) waters: do ye graciously accept this sacrifice!--Thou art taken with a support: thou art Âgrayana, a good firstling (sv-âgrayana)!' Hereby he makes that speech of renewed vigour; whence he speaks therewith in a different way, while yet the same, in order to avoid sameness; for were he to take it with, 'Thou art Âgrayana, thou art Âgrayana,' he would commit (the fault of) sameness: therefore he says, 'Thou art Âgrayana, a good âgrayana.'
10. 'Guard the sacrifice! guard the lord of the sacrifice!' whereby he utters freed speech, meaning to say, 'Protect the sacrifice! protect the sacrificer!' for the lord of the sacrifice is the sacrificer. 'May Vishnu-guard thee with his might! guard thou Vishnu!' whereby he utters freed speech--Vishnu being the sacrifice--'May the sacrifice protect thee with its power! protect thou the sacrifice!'--'Guard thou the Soma feasts all around!' whereby he means this very graha, because that belongs to all (three) Soma feasts31.
11. Having then wrapped up (the bowl in) a fringed filtering-cloth, he utters 'Hiṅ!' Now that same speech (Vâk, fem.), being unsupported, lay exhausted. By means of the 'Hiṅ' the gods infused breath into that exhausted speech, for the 'Hiṅ' is breath, the 'Hiṅ' is indeed breath: hence one cannot utter the sound 'hiṅ' after closing his nostrils. By means of that breath she rose again, for when one who is exhausted takes breath, he rises again. And in like manner does he now infuse breath into the exhausted speech by means of the 'Hiṅ,' and through. that breath she rises again. Thrice he utters the 'Hiṅ,' for threefold is the sacrifice.
12. He then says (Vâg. S. VII, 21), 'Soma becometh pure!' For that (speech) which, for fear of the Asura-Rakshas, they (the gods) did not utter, he now utters and reveals when all is conquered and free from danger and injury: therefore he says, 'Soma becometh pure.'
13. 'For this priesthood, for this nobility'--whereby he means to say, 'for the priesthood as well as for the nobility for the Soma-pressing sacrificer he becometh pure;' whereby he means to say, 'for the sacrificer.'
14. Here now they say, 'Having said this much, let him deposit (the cup); for as much as the priesthood, and the nobility, and the people are, so much means this All, since Indra and Agni are this All32: hence, having said this much, let him deposit (the cup).'
15. Let him, nevertheless, say this more, 'For sap and pith he becometh pure,'--by saying 'for sap' he means to say 'for rain;' and 'for pith' he says with a view to that pith or juice which springs from rain;--'for the waters and plants he becometh pure,' this he says for the waters and plants;--'for heaven and earth he becometh pure,' this he says for those two, heaven and earth, whereon this All rests;--'for well-being he becometh pure,' whereby he means to say 'for good.'
16. Here now some say, 'for spiritual lustre he becometh pure;' but let him not say so, for in saying 'for this priesthood,' he says it with a view to spiritual lustre. With, 'Thee for the All-gods! this is thy womb: thee for the All-gods!' he deposits (the cup); for it is for the All-gods that he draws it. He deposits it in the middle (of the mound); for this is his trunk, and that trunk is, as it were, in the middle. On the right (south) side of it is the Ukthya bowl, and on the left side the Âditya bowl.
Third Brâhmana
1. That Ukthya (graha), forsooth, is his undefined breath (vital air)33, and as such it is that self of his; for the undefined breath is the self; it is his vital energy. Hence he draws it by means of this (earth), because of her is the bowl, and he draws it with a bowl;--for undecaying and immortal is this (earth), and undecaying and immortal is the vital energy; therefore he draws it by means of this (earth or bowl).
2. He draws it full; for full means all, and the vital energy means all: therefore he draws it full.
3. That Dhruva (graha)34, forsooth, (also) is his vital energy; by it his body is held together, and the joints are knit together. For (when) the last cup has not yet been drawn from that (Soma juice in the Ukthya vessel) for the Akhâvâka priest,
4. Then he takes the king (Soma) down (from the cart)35, and pours one third of the Vasatîvarîs (into the Âdhavanîya trough). Thus the joint unites; for, indeed, he makes (the Ukthya cup) the first of the second pressing (Soma feast), and the last of the first: that which belongs to the second pressing he makes first, and that which belongs to the first he makes last. Thus he interlocks them; whence these joints are interlocked: this one overlapping thus, and this one thus.
5. In like manner at the midday pressing: (when) the last cup has not yet been drawn therefrom for the Akhâvâka priest, he pours (the remaining) one-third of the Vasatîvarî (into the Âdhavanîya). Thus the joint unites; for, indeed, he makes it the first of the second pressing, and the last of the first pressing36: that which belongs to the second pressing he makes first, and that which belongs to the first he makes last. Thus he interlocks them; whence these joints are interlocked: this one overlapping thus, and this one thus. And because his body is thereby held together, therefore this (graha) is his vital energy.
6. This (Ukthya graha) is the cow of plenty, Indra's special portion. At the morning feast he (the Adhvaryu) divides it for three songs of praise37, and at the midday feast for three,--this makes six times, for there are six seasons, and the seasons mature all wishes here on earth: for this reason, then, this (libation) is the cow of plenty, Indra's special portion.
7. He draws it without (reciting) a puroruk; for the puroruk is a song of praise, since the puroruk is a Rik, and the song of praise is Rik; and the libation is Sâman; and what other (formula) he mutters, that is Yagus. Formerly these same (puroruk verses) were apart38 from the Riks, apart from the Yagus, and apart from the Sâmans.
8. The gods said, 'Come, let us place them among the Yagus: thus this science will be still more manifold.' Accordingly they placed them among the Yagus, and thenceforward this science was still more manifold.
9. And the reason why he draws this (graha) without a puroruk, is that the puroruk is praise, (being) a Rik, and the song of praise is Rik; and in that he divides it for recitations, thereby indeed it becomes possessed of a puroruk: hence he draws it without a puroruk.
10. Now he draws it from that (stream of Soma39), with (Vâg. S. VII, 22), 'Thou art taken with a support: thee for Indra, possessed of the great (chant), possessed of vigour,'--for Indra is the deity of the sacrifice; wherefore he says 'thee for Indra;' and by 'possessed of the great (chant), possessed of vigour,' he means to say 'for him, the strong;'--'I take (thee) the song-pleasing,' for he indeed takes it for songs of praise;--'what great vigour is thine, O Indra'--whereby he means to say, 'what strength is thine, O Indra'--'for that (I take) thee! for Vishnu--thee!' for he takes it for the life of the sacrifice: hence he says, 'for that--thee! for Vishnu--thee!' With, 'This is thy womb: thee for the songs of praise!' he deposits it; for he indeed takes it for songs of praise.
11. He distributes it40 with, 'Thee, the god-pleasing41, I take for the gods, for the life of the sacrifice.' He who would perform it in this manner would assume the command42; but let him rather distribute it to the respective deities.
12. With, 'Thee, the god-pleasing, I take for Mitra and Varuna, for the life of the sacrifice!' (he takes the portion) for the Maitrâvaruna priest;--for in verses to Mitra and Varuna they (the Udgâtris) chant praises for this (libation); and he (the Hotri) afterwards recites verses to Mitra and Varuna for the sastra, and offers with a verse to Mitra and Varuna.
13. With, 'Thee, the god-pleasing, I take for Indra, for the life of the sacrifice!' (he takes the portion) for the Brâhmanâkhamsin; for in verses to Indra praises are chanted for this (libation); and verses to Indra are afterwards recited as a sastra, and offering is made with a verse to Indra.
14. With, 'Thee, the god-pleasing, I take for Indra and Agni, for the life of the sacrifice!' (he takes the portion) for the Akhâvâka; for in verses to Indra and Agni praises are chanted for this (libation); and verses to Indra and Agni are afterwards recited as a sastra, and offering is made with a verse to Indra and Agni. With, 'Thee . . . . for Indra,' he performs at the midday feast, for the midday feast is sacred to Indra.
15. Now the Karakâdhvaryus43 divide (the Ukthya libation into three portions), with 'Thou art taken with a support: thee, the god-pleasing, I take for the gods; (thee) the praise-pleasing, for praises, agreeable to Mitra and Varuna!'--with 'This is thy womb: thee to Mitra and Varuna!' he (the Karakâdhvaryu) deposits it; and with 'Thou art a re-offering' he touches the sthâlî.
16. 'Thou art taken with a support: thee, the god-pleasing. I take for the gods; (thee) the praise-pleasing, for praises,--agreeable to Indra!--This is thy womb: thee to Indra!' thus he deposits it; and with 'Thou art a re-offering' he touches the sthâlî.
17. 'Thou art taken with a support: thee, the god-pleasing, I take for the gods; (thee) the praise-pleasing, for praises,--agreeable to Indra and Agni!--This is thy womb: thee for Indra and Agni!' thus he deposits it. He does not at this (third portion) touch the sthâlî with 'Thou art a re-offering.' '. . . . Thee for Indra!' he says each time at the midday feast, for the midday feast is sacred to Indra.
Twice he touches the sthâlî with 'Thou art a re-offering;' and silently he puts it down the third time.
18. But, in order to avoid sameness (of performance), let him not take it out with the 'support;' nor let him deposit it in the 'womb;' for this (Ukthya libation) has at first been taken with the 'support,' and it has at first been deposited in the womb;--and were he now also to take it with the 'support,' and deposit it in the 'womb,' he would assuredly commit (the fault of) sameness. And as to his touching the sthâlî with 'Thou art a re-offering,' he will indeed again take a libation therefrom. Let him not heed this, but let him put down (the vessel) silently.
Fourth Brâhmana
1. That (opening of) vital air of his which is in front, that, forsooth, is the Vaisvânara (graha); and that which is behind is the Dhruva. Formerly, indeed, both these grahas, the Dhruva and Vaisvânara, were drawn; and even now one of them is still drawn, to wit, the Dhruva44. And if he acquire a knowledge of that (Vaisvânara graha) either from the Karakas, or from anywhere else, let him pour it into the sacrificer's cup; but this (Dhruva graha he pours) into the Hotri's cup45.
2. Now, what part of him there is below the navel, that part of his self, that vital energy of his, is this (Dhruva): hence he draws it by means of this (earth), because of her is the bowl (sthâlî)46, and with a bowl he draws it;--for undecaying and immortal is this (earth), and undecaying and immortal is the vital energy: therefore he draws it by means of this (earth).
3. He draws it full; for full means all, and the vital energy means all: therefore he draws it full.
4. He draws it for (Agni) Vaisvânara; for Vaisvânara ('he that belongs to all men') is the year, and the vital energy (life) is the year: therefore he draws it for Vaisvânara.
5. Having been drawn at the morning pressing, it reposes apart from that time: thus he guides him (the sacrificer) safely through all the pressings.
6. Let him not pour it (into the Hotri's cup) during the chanting; for, verily, were he to pour it out during the chanting, the sacrificer would not live through the year.
7. He pours it out during the recitation of the sastra; whereby he guides him safely over the twelvefold chant of praise: thus he obtains ever continued life, and thus does the sacrificer live long. Therefore the Brâhman should sit through the praise of Agni (Agnishtoma)47; till the offering of this (libation) he must not slip away48--nor must he discharge urine: thus he obtains the full life--for this (libation) is his life--thus he reaches the full (measure of) life.
8. For, what part of him there is below the navel, that part of his self is this (Dhruva libation). Hence were he to slip away or discharge urine before the offering of this (libation), he would discharge the Dhruva (the firm, constant one): hence, lest he should discharge the Dhruva, he sits through the praise of Agni. This, indeed, applies only to the sacrificer49, for this (libation) is part of the sacrificer's self.
9. He sits through the praise of Agni50;--for Soma is glory: hence they both approach, he who partakes of the Soma and he who does not,--they approach, forsooth, to behold that glory. And thus indeed the Brahmans, having crept near together, take unto them that glory, when they drink (the Soma);--and verily whosoever, knowing this, drinks (Soma), becomes glorious51 indeed.
10. Now, those same (priests) having, while gliding along52, deposited that glory in him who sits through (celebrates) the praise of Agni, they glide along and turn away from that glory53: having thus encompassed it, he again takes that glory unto himself;-- verily, whosoever, knowing this, sits through (celebrates) the praise of Agni, he passes away after becoming the most glorious of these (men).
11. Now, the gods and the Asuras, both of them sprung from Pragâpati, were contending for this sacrifice--their father Pragâpati, the year,--saying, 'Ours he shall be! ours he shall be!'
12. Then the gods went on singing praises and toiling. They devised this Agnishtoma feast, and by means of this Agnishtoma feast they appropriated the entire sacrifice and excluded the Asuras from the sacrifice. And in like manner does this (sacrificer), by means of this Agnishtoma feast, now appropriate the entire sacrifice, and exclude his enemies from the sacrifice: therefore he celebrates the Agnishtoma.
13. Having drawn it (the Dhruva graha), he deposits it with the northern cart54, lest he should confound the vital airs, for the grahas are vital airs: now the other grahas he deposits on the raised (mound), but this one (he deposits) after pushing (the dust) aside without leaving as much as a blade of grass between55.
14. For those (other cups of Soma) are that part of his body from the navel upwards, and above, as it were, is what is from the navel upwards, and above, as it were, is what is raised: therefore he deposits (the others) on the raised (mound), and this one (he deposits) after pushing (the dust) aside without leaving as much as a blade of grass between.
15. For this (cup of Soma) is that part of his body from the navel downwards; and below, as it were, is what is from the navel downwards; and below, as it were, is what (one deposits) after pushing (the dust) aside and leaving not so much as a blade of grass between: therefore he deposits this (Dhruva graha) after pushing (the dust) aside, without leaving so much as a blade of grass between.
16. Now, that sacrifice which is being performed is Pragâpati, from whom these creatures on earth have been born,--and indeed even now they are born after this (sacrifice). The creatures that are born therefrom after those (libations) which he deposits on the raised (mound), stand on this (earth) with something different from their own self,--for those which stand on hoofs indeed stand on this (earth) with something different from their own self. And when he deposits this (Dhruva cup) after shifting aside (the dust), and not leaving so much as a blade of grass between,--the creatures that are born thereafter from this (sacrifice), stand on this (earth) with their own self, namely, men and wild beasts56
17. Moreover, on the one hand, in throwing up (the mound) he puts upon this (earth) something different from it; and those creatures that are born from this (sacrifice) after those (libations) which he deposits on the raised (mound), they stand on this (earth) with something different from their own self, namely, with hoofs.
18. And, on the other hand, they offer in the Âhavanîya57 a sacrificial cake, parched barley-grains, porridge, sour curds, and clotted curds,--this is like pouring (food) into one's mouth. But this (libation) remains apart, (being) of one form like water. Hence while he eats the multiform food with that mouth (the fire), he lets flow from that opening the uniform (libation) like water. Then as to why it is called Dhruva.
19. Now, once on a time, the gods, while performing sacrifice, were afraid of an attack from the Asura-Rakshas. The Asura-Rakshas assailed them from the south, and overturned those southern cups of Soma,--even that southern Soma-cart they overturned; but that other (cart) they could not overturn: the northern cart then kept the southern cart steady58. And because they could not overturn that (northern cup) therefore it is called Dhruva (firm)59.
20. They indeed watch over it; for this (cup of Soma) is the head of Gâyatrî, Gâyatrî being the sacrifice,--there are twelve chants (stotra) and twelve recitations (sastra): that makes twenty-four, and of twenty-four syllables consists the Gâyatrî. This cup of Soma is her head; but the head means excellence, for the head indeed means excellence: hence people say of him who is the best man of a place, that 'so and so is the head of such and such a place.' And, indeed, the best man would come to harm, if this (cup) were to come to harm; and, the best man being the sacrificer, they watch (this cup) lest the sacrificer should come to harm.
21. Moreover, this (graha) is Gâyatrî's calf, Gâyatrî being the sacrifice,--there are twelve chants and twelve recitations: that makes twenty-four, and of twenty-four syllables consists the Gâyatrî. This is her calf;--when they watch it, then they watch these calves for the sake of the milking: 'as they yield this milk, even so may this Gâyatrî yield all the sacrificer's wishes,'--this is why they watch it.
22. And when both the Adhvaryu and the Pratiprasthâtri walk out (of the cart-shed) and (afterwards) enter (again)60, it is as if (a cow) were to come with the calf tied to her. They come to this cup of Soma, and he (the Adhvaryu) pours it out; whereby he lets loose the Gâyatrî: 'Made over to the sacrificer, may this Gâyatrî yield all his desires!' for this reason he pours it out.
23. He pours it (into the Hotri's cup61) with (Vâg. S. VII, 25), 'The firm Soma I pour out--or, I take--with firm mind and speech: now may Indra make our people of one mind, free from enemies!' whereby he means to say, 'so that Indra may make these our creatures, the people, of one mind and free from enemies, for their happiness and glory and nourishment!'
24. Here now he draws it from that (stream of Soma)62, (Vâg. S. VII, 24; Rig-veda VI, 7, 1), 'Agni Vaisvânara, the crest of heaven, the disposer of the earth, born in the sacred rite, the wise all-ruler, the guest of men,--him the gods have begotten as a vessel for their mouth. Thou art taken with a support: thou art firm (Dhruva), of firm abode, the firmest of the firm, the most solidly founded of the solid! This is thy womb--thee for Vaisvânara!' therewith he deposits it after pushing (the dust) aside, and not leaving so much as a blade of grass between: for he indeed takes it for (Agni) Vaisvânara.
Fifth Brâhmana
1. Having drawn the cups of Soma, and gone out (of the cart-shed to the high altar)63, he offers the oblation of drops64. The reason why he offers the oblation of drops is this. Whatever drops of that (Soma) are spilt here, to them he now wishes a safe journey to the Âhavanîya, for the Âhavanîya is the resting-place of offerings: this is why he offers the oblation of drops.
2. He offers with (Vâg. S. VII, 26; Rig-veda X, 17, 12), 'Whatever drop of thine leapeth away, whatever stalk of thine,'--whatever particle (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 stone65 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 Vashat, Hail!' whereby it becomes for him as an offering consecrated by Vashat.
3. Thereupon the Adhvaryu takes two stalks of grass from the covered altar. The two Adhvaryus66 proceed first (to the chanting-place beside the pit), as the out-breathing and in-breathing of the sacrifice; then the Prastotri, as the voice of the sacrifice; then the Udgâtri, as the self (or body), the Pragâpati, of the sacrifice; then the Pratihartri, either as the physician or the through-breathing67.
4. The Sacrificer holds on to those five priests from behind68, 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 stalks of grass forward towards the pit69, 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), Pragâpati (the sacrifice),--he (Pragâpati) 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 mutter70,--for the chanters mutter now71,--
7. Then he bespeaks the chant, saying, 'Soma becometh pure!' He bespeaks the chant right off72, and they chant right off; for these chants, the Pavamânâh73, are directed towards the gods, since 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 back74!' (he bespeaks) the other chants (viz. the Dhuryas), and turning back (or repeating) they chant the Dhuryas75, for the latter are directed towards these creatures: whence creatures are produced here repeatedly.
9. And as to why they chant the Bahishpavamâna here (near the kâtvâla). In the beginning, forsooth, yonder sun was here on earth76. The seasons embraced him and ascended from hence to the heavenly world: there he burns firmly established 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 Bahishpavamâna h ere.
10. The Bahishpavamâna77 chant truly is a ship 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 heavenwards: hence one should seek to keep a blameworthy (priest) away from every sacrifice.
11. Thereupon, when the chanting is over78, he utters this speech,--'Agnîdh, spread the fires! strew the barhis! Prepare the cakes! go on with the victim!' The Agnîdh spreads the fires, that is to say, kindles them79; he strews that barhis80, thinking, 'When the barhis is strewn, I will offer to the gods on the kindled (fire).'--'Prepare the cakes,' he says, because he is about to proceed with the cakes; and, 'Go on with the victim,' because he is about to get ready the victim81.
12. Having again entered (the cart-shed) he draws the Âsvina graha82. Having drawn the Âsvina graha he goes out and girds the sacrificial stake83; and having girt the stake he gets ready the victim: he thereby puts flavour (juice) into him (Soma--the sacrificer).
13. Having been slain at the morning feast, it continues being cooked till the evening feast; whereby he puts flavour (juice) into the whole sacrifice, imbues it with flavour.
14. Let him therefore, at the Agnishtoma, slay a (victim) sacred to Agni, for there is harmony when, at the Agnishtoma, he slays a (victim) for Agni. If it be an Ukthya sacrifice, let him slay one to Indra and Agni in the second place, for songs of praise (uktha)84 refer to Indra and Agni. If it be a Shodasin sacrifice, let him slay one to Indra in the third place, for the sixteenfold chant (shodasin)85 means Indra. If it be an Atirâtra, let him slay one to Sarasvatî in the fourth place, for Sarasvatî is speech, and speech (vâk, fem.) is female, as the night (râtri, fem.) is female: he thus duly distinguishes the forms of sacrifice86.
15. Thereupon he proceeds with (the offering of) the cakes of the Soma feast. Now Soma is a god, for Soma was in the heaven;--'Soma, forsooth, was Vritra; the mountains and stones are his body: thereon grows that plant called Usânâ,' said Svetaketu Auddâlaki; that they bring hither and press.'
16. Now when he slays the victim, he thereby puts flavour into it; and when he proceeds with (the offering of) the Soma feast cakes, he puts sap into it: thus it becomes Soma for him.
17. They all belong to Indra; for Indra is the deity of the sacrifice: that is why they all belong to Indra.
18. And as to why there are a cake, parched barley-grain, a porridge, sour curds, and clotted curds,--it is that those who are the deities of the sacrifice shall be well-pleased.
19. For, when one has eaten cake here, he wishes, 'I should like to take parched grains, I should like to eat porridge, I should like to eat sour curds, I should like to eat clotted curds!' All these (are Objects of one's) wishes: it is in order that those who are the deities of the sacrifice shall be well-pleased. Now as to why that offering of clotted curds (payasyâ) is prepared only at the morning libation, and not at the two other libations (Soma feasts).
20. The Gâyatrî, forsooth, bears the morning libation (to the gods), the Trishtubh the midday libation, and the Gagatî the evening libation,--but, then, the Trishtubh bears the midday libation, not alone, (but) with both the Gâyatrî and the Brihatî87; and the Gagatî (bears) the evening libation, not alone, (but) with the Gâyatrî, the Kakubh, and Ushnih, and the Anushtubh88.
21. The Gâyatrî alone bears singly the morning libation,--with those two sets of five (paṅkti)89, the set of five chants, and the set of five oblations: there are four Âgya (chants)90 and the Bahishpavamâna is the fifth,--the Paṅkti metre is five-footed with that paṅkti of chants, not alone, the Gâyatrî bears the morning libation.
22. To Indra belongs the cake, to the two bay steeds the parched grains (dhânâh)91, to Pûshan the porridge (karambha), to Sarasvatî the sour curds (dadhi), and to Mitra and Varuna the clotted curds (payasyâ)92,--the Paṅkti is five-footed--with that paṅkti of oblations, not alone, the Gâyatrî bears the morning libation (to the gods): for the sake of completing that paṅkti, that oblation of clotted curds to Mitra and Varuna is prepared only at the morning libation, and not at the two other libations.
Footnotes
1. This is how Sâyana takes the passage: sukragrahas tapati sokati dîpyata iti tasya sukranâmadheyam. It is doubtless the correct interpretation, though the pronouns 'esha' and 'etad' might lead one to refer them to the sun.
2. The one that is to be eaten (âdyah).
3. Muir, O. S. T. ii, p. 386, translates apa-han by 'to smite,' which would seem to suit this passage much better than the ordinary meaning 'to beat off, repulse, eject;' but see paragraph 20. The corresponding version of the legend in Taitt. S. VI, 4, 10 has 'apa-nud (to drive away).'
4. Thus this passage is interpreted by Sâyana, who refers to Pân. III, 3, 161 (samprasne liṅ) and VIII, 2, 97 (vikâryamânânâm p. 280 plutah). Possibly, however, 'no svid' many have to be separated from what follows: 'by no means! for deities we should draw them,' &c. The Kânva text reads, 'no svit khalu devatâbhya eva grihniyâmeti viditam hîdam iti, tad u tan mîmâmsâm eva kakre nety u tak kakâra.'
5. The Rig-veda reads 'girâ (through song)' instead of 'dhunim.'
6. Viz. waters, juice, sap. Professor Ludwig supplies 'plants.' This verse is extremely obscure.
7. Vena, according to Roth and Grassmann, refers to the Gandharva, as the representative of the rainbow. This view is, however, rejected by Ludwig. The entire hymn is extremely and purposely obscure.
8. Gyotir-garâyu, lit. 'having light for his chorion, or placenta.'
9. Prisnigarbhâh, lit. 'those who have the dappled (cloud) for their womb (or, are contained therein);' apparently the rain-drops.
10. Ludwig identifies the measurer of the welkin with the moon (Soma). Grassmann takes it in the sense of 'in measuring through the air.'
11. The verse is manifestly corrupt. Professor Ludwig omits the accent in 'asrînîta,' thus taking it out of the relative clause; but even thus, no satisfactory sense, it seems to me, can be extracted from this line. When the Soma is mixed with milk or some other substance (as meal) two stalks of (kusa) reed-grass are laid on the cup, the accessory substance being then poured through them. Kâty. IX, 6, 9-10.
12. In paragraphs 13-31 the libations from the Sukra and Manthin cups are anticipated. For their proper place in the actual performance, see note to IV, 3, 1, 1.
13. The Petersburg Dictionary takes 'vi-pari-i' in the sense of to turn round.' Cf. Kâty. IX, 10, 8; 'vividham dakshina uttaratas ka paribhogam ishyantau (!),' Sâyana.
14. Or, 'walk round to the sacrificer.'
15. The sacrificial stake stands immediately in front of the high altar and fire. 'Yadi tato ’gnir nodbâdheta,' Kânva text.
16. That is, the cups represent the sockets of the eyes, and the libations the eyes themselves. Perhaps, however, we ought to translate, 'whence these eyes are joined together (so as to be) on both sides of the bone,' the sacrificial stake representing the bone or bridge of the nose. See paragraph 25.
17. 'And because these two (libations), having been consecrated by Vashat, are offered with a mantra, therefore they attain this (distinction) that the entire Savana is offered after them; and the reason why the entire Savana is offered after them, is that these two are its eyes,' &c.
18. Or, according to Mahîdhara, 'To that Indra offer ye the liquor with Svâhâ!' The Pratiprasthâtri makes his libation after the Adhvaryu. The Kânva texts read, 'When the Vashat has been uttered, the Adhvaryu offers, then the Pratiprasthâtri; then the others offer;' and, according to Kâty. IX, II, 2, the Kamasâdhvaryus make libations from the cups of the nine Kamasins (see note 2, next page) with, 'This to Indra' at the Vashat, and This to Agni' at the Anu-vashat. These libations are evidently referred to in paragraph 31.
19. ? Sasvad dha vai retasah siktasya sambhavatas kakshushî eva prathame sambhavatas tasmâd v evam gapati; Kânva rec.
20. 'Sadasyânam hotrânam.' The subordinate priests to whom the dhishnyas (except that of the Hotri) belong, both those in the Sadas and the Âgnîdhra. See page 148, note 4.
21. That is, to the Sadas, for the priests to drink from.
22. Viz. the residues in the kamasas of the Hotrakas. The filling (by the Unnetri) of the cups of the Kamasins--Hotri, Brahman, Udgâtri, (and Sacrificer); Prasâstri, Brâhmanâkhamsin, Potri, Neshtri, and Âgnîdhra; that of the Akhâvâka remains empty for the present--takes place before the libations from the Sukra and Manthin grahas. Their cups are filled by the Unnetri with Soma-juice from the Pûtabhrit, with an 'underlayer' and final 'sprinkling' or 'basting' of 'pure' Soma from the Dronakalasa. Previous to the filling, the Adhvaryu calls on the Maitrâvaruna to 'recite to (those cups) being drawn,' the latter then reciting the hymn, Rig-veda I, 36, while the cups are filled. When the Sraushat is about to be pronounced by the Agnîdh for the Sukra and Manthin libations, the cup-bearers lift (udyam) the cups, and, after the Pratiprasthâtri has made his libation, they also pour some Soma-juice into the fire. The cup-bearers of the first four Kamasins do so twice (and then take their cups back to the Sadas), the others only once. Thereupon the cup-bearers of these last five--the so-called Hotrakas, or subordinate Hotris--are summoned again, and their cups having been filled up with 'pure' Soma, the Adhvaryu makes, after the Sraushat, two more libations from each at the Vashat and Anuvashat respectively. For the offering-formulas and Anuvashatkâras, see Âsv. V, 5, 18-19. Holding the Agnîdh's cup in his hand, he then goes to the Sadas and sits down facing the Hotri, whereupon they drink together the Soma in the dvidevatya cups.
23. The phrase 'hotrâh (fem.) samyâgayanti' is apparently analogous to the 'patnîh samyâgayanti' [they perform the Patnîsamyâgas, or, make the wives (of the gods) participate in the sacrifice] of the Haviryagña. See part i, p. 256. Indeed Mahîdhara identifies the hotrâs with the metres of the offering-formulas, thus treating them as a kind of deities.
24. The order of the dhishnya-priests is (1. Hotri), 2. Prasâstri (Maitrâvaruna), 3. Brâhmanâkhamsin, 4. Potri; 5. Neshtri, 6. Akhâvâka--the fires of all of whom are in the Sadas--and 7. the Agnîdh (in the Âgnîdhra fire-house). The Akhâvaka, however, is for the present excluded from offering.
25. Viz. inasmuch as the bowl is made of clay,--asyâh prithivyâh sakâsât sthâlî bhavati utpadyate; Sây. The Âgrayana, Ukthya, and Dhruva grahas are drawn in a sthâlî (pot or bowl).
26. See IV, 4, 3, 2.
27. The Upâmsusavana, cf. III, 9, 4, 6.
28. The primary meaning seems to be 'firstling.' For the Âgrayaneshti, or offering of first-fruits, see part i, p. 369.
29. Or perhaps, 'and their entire conquest being free from danger and injury;' or, 'security and peace (abhayam anâshtram) having been completely gained.' Cf. IV, 3, 3, 5; also III, 6, 3, 11; 8, 1, 9; 8, 2, 3.
30. The Âgrayana is taken rather from two streams of Soma, viz. from that poured by the sacrificer from the Hotri's cup into the Dronakalasa, and from another poured out by the Unnetri, and consisting either of Soma taken from the Âdhavanîya or, according to others, of the residue of the Upâmsu libation, which had been temporarily kept in the Âgrayana bowl (see p. 255, note 2), and has to be emptied by the Unnetri into some other vessel, when that bowl is about to be used for the Âgrayana libation. See Kâty. IX, 6, 15 comm.
31. The Âgrayana libation is repeated at the midday as well as at the evening feast.
32. On Indra and Agni, as the divine representatives of the two privileged castes, see part i, Introd. p. xvi seq.
33. We ought doubtless, with the Kânva text, to read 'prânah' instead of 'âtmâ.'
34. See IV, 2, 4, 1 seq.
35. At the end of the morning feast the Soma in the Ukthya bowl (sthâlî) is poured into the Ukthya cup (pâtra) in three portions; and part of each having been offered, the remaining juice is drunk by the Hotri's assistants, viz. the Prasâstri, Brâhmanâkhamsin, and Akhâvaka. Each of these potations is preceded by the chanting of an âgya-stotra, and the recitation of the âgya-sastra (see next page, note 2). But before the portion of the last-named priest is poured into his cup (kamasa), fresh Soma-plants are taken down from the cart for the midday pressing; one half of the remaining Vasatîvarî water (or one third of the original quantity) being also poured into the Âdhavanîya trough. See III, 9, 2, 3.
36. That is to say, the last (thing) of the first of the last two pressings, or of the midday pressing.
37. Uktha, lit. 'recitation,' is the old term for 'sastra' (IV, 3, 2, 1 seq.). Regarding the three sastras of the Hotrakas, for the recitation of which the Ukthya graha is divided between those priests, see notes on IV, 3, 1, 25; 3, 3, 19.
38. The Kânva text reads thrice 'abhyardhe.' Regarding the puroruk formulas see p. 268, note 1.
39. See p. 256, note 1.
40. That is, he pours, for each of the three assistant priests, his respective portion into the Ukthya-pâtra. This distribution does not however take place till the end of the morning performance; see note to IV, 2, 2, 4; 3, 1, 25.
41. Or, the god-prospering (i.e. the one prospering the gods), devâvî.
42. Prasâsanam kuryât. The same phrase occurs I, 9, I, 24, where I translated 'will ensure dominion,'--probably wrongly, though I am by no means sure of the correct meaning. Sâyana there seems to take it in the sense of 'he bids (the gods grant his request), thus having chiefly his own interest in view'--'prasâsyante ’to devâh prârthyamânâ iti prasâsanam parusham syât sâkshât svârthaparatvam kuryâd ity arthah.' The Kânva text reads, 'let him not divide (the libation) with this (formula), for he who divides it thus--prasâsanam kuryât.' Perhaps he means to say, that by using that formula one would put oneself above the gods. At I, 9, 1, 14 'one would give orders (to the gods)' is probably the right translation.
43. Such is the rule (sthiti); but the Karakâdhvaryus divide it in this way.' Kânva text. The formulas of the Taitt. S. I, 4, 12, and Maitrây. S. I, 3, 14, differ from the above; perhaps the Kâthaka is referred to; see v. Schroeder, M. S. I, p. 36, note 3.
44. 'Formerly they took these two separately, as Dhruva and Vaisvânara; but now they take them as one only.' Kânva text.
45. Both these libations are reserved for the evening feast.
46. See p. 288, note 2.
47. ? Tasmâd brâhmano ’gnishtomasat syât. The obvious meaning of this sentence is, 'hence the celebrator of the Agnishtoma should be a Brahman,' or, perhaps, 'hence a Brâhman should celebrate the Agnishtoma;' but I do not see how it can have that meaning here, without at least a double-entendre in the term 'agnishtomasad,' Agnishtoma in that case ('the praise of Agni') referring both to the sacrifice generally and to the chanting (stoma or stotra). See next note. My MS. of Sâyana's commentary (from the library of the Mahârâga of Bikaner) has unfortunately an omission here.
48. Viz. from the Sadas; 'nihsarpet,' Kânva text. The verb sarp, 'to glide or creep,' is used technically of a peculiar noiseless mode of leaving (nihsarp) the Sadas and returning thither (prasarp or pratisarp, see paragraph 10), and respectfully approaching the dhishnya fires. If it has to be taken here in that sense, the first prohibition would seem to refer to the Hotri (cf. Ait. Br. II, 21, where the question is argued whether or not the Hotri ought to proceed to the chanting-place with the other priests, and is decided in the negative); since the sacrificer, to whom the second prohibition refers (Kâty. IX, 6, 23), goes along with them, according to IV, 2, 5, 4. According to the commentary on Kâty. IX, 6, 33, in performing the sarpana the priests and sacrificer should move along sitting at the morning feast; walking with bent bodies at the midday feast; and walking upright at the evening feast.
49. Tad u tad ya; amânasyaiva. Kânva text.
50. Or, he indeed becomes a celebrator of the Agnishtoma.
51. The Kânva text has 'yasasvî.'
52. See p. 99, note 2.
53. The Kânva MS. (W.) reads, 'agnishtomasad etad yásah sannidhâyata etasmât parâñko yasáso (sic) bhavanti' ('they turn away from that glorious one').
54. The dhruva-sthâlî is placed just in front of the northern prop.
55. Lit. not putting a blade of grass between (the sthâlî and the ground on which it stands). Cf. Kâty. IX, 2, 18. Apparently he is to shift the sthâlî along the ground from the khara to the place where it is to stand, all grass and other objects being thus removed between this vessel and those standing on the mound ('vyuhyaitam na trinam kanântardhâya,' Kânva text).
56. Svâpada, lit. 'dog-footed' beasts.
57. See IV, 2, 5, 15 seq.
58. 'They (the gods) then made the southern cart firm from (or by means of) the northern cart.' Kânva text.
59. It is more probable that the Dhruva (firm, constant) derives its name from the fact that it remains intact till the very end of the Agnishtoma, as suggested in the Petersburg Dictionary.
60. Viz. at the evening feast, when the Adhvaryu pours the Soma from the Dhruva-sthâlî into the Hotri's cup (paragraph 23).
61. Viz. at the evening feast, when the Adhvaryu pours the Soma from the Dhruva-sthâlî into the Hotri's cup (paragraph 23).
62. See p. 256, note 1. The preceding paragraphs anticipate the future rites regarding this libation, the original drawing of which is only now described.
63. The libations (grahas) having been taken, and the remaining Nigrâbhyâ water, mixed with Soma-juice, poured from the Hotri's cup into the Dronakalasa (p. 256, note 1), the Adhvaryu, Pratiprasthâtri; Prastotri, Udgâtri, Pratihartri, and Sacrificer walk out of the Havirdhâna shed, each following one touching the hem of the garment of the one before him, and betake themselves to the altar.
64. The viprud-homa, an expiatory oblation for the Soma spilt during the pressing, consists of a prakaranî spoon full of ghee. According to Âsv. V, 2, 6, and Lâty. I, 11, 9, it would seem that each of those taking part in the Sarpana (see p. 299, note 2) makes two oblations (called 'pravritta-homa' by Lâty. Sr. and Pañkavimsa Br.).
65. 'Grâva-kyuta' seems to be taken by the author in the sense of set in motion by the (pressing) stone.' The Rig-veda reads 'bâhu-kyuta;' also 'dhishanâyâh' instead of 'dhishanayoh.'
66. That is, the Adhvaryu and his assistant, the Pratiprasthâtri.
67. Ait. Br. II, 20 enumerates Adhvaryu, Prastotri; Pratihartri; Udgâtri, and Brahman (see also Âsv. V, 2, 4-5); the Lâtyây. Sûtra I, 11, Adhvaryu, Prastotri, Udgâtri; Pratihartri, Brahman, and Sacrificer.
68. That is, each holds on to the hem of the garment of the one who precedes him.
69. The Udgâtris (chanters) also throw stalks of grass to the south with their left hands, with the text, Pañkav. I, 3, 3.
70. And when he thinks 'they have muttered' (atha yadâ manyate ’gâpishur iti)--for the chanters mutter now. Kânva text.
71. For the mantras the Udgâtris have to mutter on this occasion, previous to the chanting, see Tândya Br. I, 3, 4-6. The recitation of the Âgyasastra, by the Hotri, succeeding the chanting of the Bahishpavamâna-stotra, is likewise preceded by a prayer muttered by that priest, for which see Ait. Br. II, 38; Âsv. V, 9.
72. That is, without repeating that formula, in the same way as the Pavamâna chants are performed without repeating single verses. See p. 308, note 2.
73. The first stotra at each pressing is called pavamâna (purifying, i.e. during the chanting of which the Soma becomes clarified), viz. the Bahishpavamâna at the morning, the Mâdhyandina pavamâna at the midday, and the Ârbhava (or tritîya) pavamâna 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 sastra, see p. 325, note 2.
74. This is Sâyana's interpretation of 'upâvartadhvam,' 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.
75. 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 Shadaha and Dvâdasâha (see IV, 5, 4, 1 seq.) are: trivrit (9), pañkadasa (15), saptadasa 07), ekavimsa (21), trinava (27), trayastrimsa (33), katurvimsa (24), katuskatvârimsa (44), and ashtakatvârimsa (48). The first four of these are those most frequently used, and the only ones used at the Agnishtoma. All these stomas, with one exception (24), have two or more different varieties or arrangements, called vishtuti, 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, paryâya, consisting of a triplet of verses (some of which may have to be repeated more than once), and preceded by the sound 'hum' (Hiṅkâra). Thus the first Âgyastotra, Sâmav. II, 10-12, (consisting of three verses, a, b, c,) is to be performed in the pañkadasa-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 pañkadasa-stoma, the stotra might be chanted in one or other of the following three arrangements:--
1. Hum a a a b c this form is called 'pañka-pañkinî,' i.e. consisting of five in each row.
Hum a b b b c
Hum a b c c c
Or 2. Hum a a a b c ('apârâ' or 'other, second').
Hum a b c
Hum a b b b c c c
Or 3. Hum a b c this form is called 'udyatî,' or the ascending one.
Hum a b b b c
Hum a a a b c c c
The three paryâyas of a stoma (or vishtuti) show each three subdivisions (viz. a a a--b--c. being those of the first paryâya above), called vishtâva. When the Udgâtris are about to commence a chant, the Prastotri 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 (kusâ), 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 vishtâvas, or subdivisions, takes place at the end of the prastâva or prelude (see next page, note 1) in this way, that each vishtâva is marked by as many sticks as the corresponding verse has to be repeated; those of the first vishtâva 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 pañkadasa-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 Bahishpavamâna, the chanting is performed in the Sadas by the side of the Udumbara post (see III, 6, 1, 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.
76. Cf. Tândya Br. VI, 7, 24.
77. The Bahishpavamâna-(stotra), or 'outside-pavamâna,'--so called because (on the first day of a Soma-sacrifice) it is performed outside the altar (commentary on Pañkav. Br. VI, 8, 10-11; or outside the Sadas, Sây. on Sâmav. S. p. 47),--is chanted in the Trivrit, or threefold, stoma; consisting, as it does, of three gâyatrî triplets (Sâmav. II, 1-9 for the Agnishtoma), and none of its verses being chanted more than once. This stoma has three different varieties, viz. the udyatî, 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 a1 a2 a3--b1 b2 b3--c1 c2 c3; the parivartinî, or reverting mode, following the natural order, a1 b1 c1--a2 b2 c2--a3 b3 c3; and the kulâyinî, or web-like mode, performed in the order a1 b1 c1-b2 c2 a2--c3 a3 b3. 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 parivartinî vishtuti is 'parâkî,' i.e. thitherwards, straight off. From the statement in paragraph 7 above, that 'they chant straight off (parâk),' one might therefore infer that that particular mode of chanting ought to be used for the Bahishpavamâna-stotra; but the term 'parâk' 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: Prastâva, i, e. prelude, the first being preceded by hum̃, to be sung by the Prastotar; Udgîtha, the principal part of the Sâman, preceded by Om, to be chanted by the Udgâtar; the Pratihâra, i.e. response [? rather check, stop; cf. IV, 3, 4, 22], introduced by hum̃, 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 rikas in the Sâman form, distinguishing its four parts:--
[The connected rik form is: Abhi te madhunâ payo--atharvâno asisrayur--devam devâya devayu.]
'Prastâva: abhi te madhunâ payom.
'Udgîtha: om âtharvâno asisrâdeyurvam devâyadâ.
'Pratihâra: hum âvâyo.
'Nidhana: sâm.
The Nidhanas, i.e. finales, are for the nine Pavamâna-stotra verses the following ones: sât, sâm, suvâh, idâ, vâk, and â (for the four last verses).' See also Burnell, Ârsheyabr. p. xlv seq.
78. Lâty. I, 12; II, 1; Tândya Br. VI, 7 seq. give the following details: The Prastotri takes the prastara (bunch of grass, representing the Sacrificer) from the Adhvaryu and says, 'Brahman, we will chant, O Prasâstar!' The Brahman and Maitrâvaruna having given their assent (Âsv. V, 2, 12-14). the Prastotri hands the prastara to the Udgâtri. The latter touches his right thigh with it (or bends his right knee thereon) and 'harnesses' (introduces) the chant by the formula, 'with Agni's fire, with Indra's might, with Sûrya's brilliance, may Brihaspati harness thee,' &c. (Tândya Br. I, 3, 5); whereupon he mutters, 'I will make food,' &c. (ib. 6); and after looking towards the pit and a vessel of water and the sun. he commences the chant. The three chanters are seated west of the Adhvaryu and Pratiprasthâtri (who look towards them), viz. the Udgâtri facing the north, the Prastotri the west, and the Pratihartri the south (or south-east). To the west of them are seated three, four, or six subordinate singers, or choristers (upagâtri), who accompany the chanting in a deep voice with the sound 'Ho.' When the chant is completed, the Udgâtri says, 'I have made food,' and makes the sacrificer mutter the formula, 'Thou art a falcon,' &c. (Pañk. Br. I, 3, 8); whereupon he takes a stalk of grass from the prastara, cuts off the top and bottom, so as to make it of the length of four thumbs’ breadths, and throws it into the pit with, 'If it has been chanted,' &c. (ib. II, 1, 8). They then pour out the vessel of water into the pit, with, 'I send you to the sea,' &c., and make 3, 5, 7 or 9 steps northwards outside the altar, whereupon they betake themselves to the Âgnîdhrîya. During the chanting, the Unnetri pours the Soma-juice from the Âdhavanîya trough through the strainer into the Pûtabhrit.
79. The Agnîdh takes burning coals from the Âgnîdhrîya fire, and puts them on the dhishnya hearths, in the order in which they were raised. See p. 148, note 4.
80. He spreads a layer of (ulapa) grass along the 'spine' (the line from the middle of the back to the middle of the front side) of the altar.
81. Pasum hy âlipsyamâno (!) bhavati. Kânva MS.
82. Having taken this cup of Soma or libation (with the formula, Vâg. S. VII, 11) from the Drona-kalasa or the Pûtabhrit, he makes the sacrificer eye the several cups and Soma vessels, as set forth IV, 5, 6, 1 seq.; the Âsvina being looked at sixth in order (or fourth of the grahas), not tenth (as was its order of drawing). See IV, 1, 5, 16.
83. See III, 7, 1, 19 seq.
84. Or, the (three) Uktha-stotras (Sâmav. II, 55-62) and sastras, the characteristic feature of the Ukthya sacrifice. Cf. p. 325, note ; and IV, 6, 3, 3.
85. The Shodasi-stotra (Sâmav. II, 302-304) chanted in the ekavimsa stoma is the characteristic stotra of the Shodasin sacrifice. The term meaning 'having a sixteenth' (viz. stotra), it evidently refers originally to the sacrifice, and has then also been applied to the stotra and sastra. See also Haug, Ait. Br. Transl. p. 255, note 2.
86. On this occasion the same rites are performed as at the sacrifice of the Agnîshomîya buck (III, 6, 4, 1 seq.), viz. from the girding of the stake (III, 7, 1, 19) to the election of the Hotri (III, 7, 4, 9). Then the other priests are elected, viz. Adhvaryu (and Pratiprasthâtri), the Prasâstri (Maitrâvaruna), the Brâhmanâkhamsin, the Potri, the Neshtri, the Âgnîdhra, and finally the sacrificer himself; after which each of them makes two election oblations (pravritahoma) of ghee, the first with, 'May I be well-pleasing to Speech, well-pleasing to the Lord of speech: O divine Speech, what sweetest, most pleasing speech is thine, therewith endow me! Hail to Sarasvatî!' the second with, 'May the holy Sarasvatî, of abundant powers, rich in devotion, accept favourably our sacrifice!' Thereupon they proceed with the animal offering up to the offering of the omentum (vapâ) and cleansing (III, 8, 2, 30); after which all the eighteen priests and the sacrificer perform the Sarpana (see p. 299, note 2), that is, they step up to the eight dhishnya hearths (with formulas Vâg. S. V, 31 a-d; 32 a-d respectively), the Adhvaryu then pointing out the Âhavanîya, the Bahishpavamâna place, the Kâtvâla, &c. (with Vâg. S. V, 32 e seq.); and touching the Sadas and its door-posts, and addressing Sûrya (the sun), the Ritvigs (officiating priests) and dhishnya hearths (with V, 33-34). Kâty. IX, 8, 8-25. For the duties of the Udgâtris, see Lâty. Sr. II, 2, 10 seq.
87. For the metres of which the Mâdhyandina-pavamâna stotra is composed, see p. 333, note 1.
88. The Ârbhava or Tritîya-pavamâna stotra, Sâmav. II, 39-52 (see note on IV, 3, 5, 24), is made up of five parts, composed chiefly in the Gâyatrî, Kakubh, Ushnih, Anushtubh, and Gagatî metres respectively. It is chanted in the Saptadasa-stoma, the seventeen verses being obtained in the following way. The Gâyatrî triplet (II, 39-41) is chanted twice, in the Gâyatra and Samhita tunes, making six verses. Then verses 42 and 44 once each, in the Sapha and Paushkala tunes respectively. Then the triplet II, 47-49 twice, in the Syâvâsva and Ândhîgava tunes (six verses). And finally the triplet II, 50-52 once, in the Kâva tune (three verses). This makes together seventeen verses. Verses 43, 45, and 46 of the Samhita are omitted in the chanting.
89. Paṅkti means both 'a set of five,' and the paṅkti metre, consisting of five octosyllabic feet.
90. See p. 325, note 2.
91. Taitt. Br. I, 5, 11 assigns them to the Asvins, for the reason that they performed cures therewith.
92. These five sacrificial dishes, called savanîyâh (or aindrâh) purodâsâh, are placed together in one vessel (pâtrî)--the purodâsa proper, or rice-cake to Indra, being placed in the centre--and oblations are made from them to the respective deities at one and the same time, two pieces being cut from each dish into the guhû for the chief offering, and one piece from each into the upabhrit spoon, for the svishtakrit. While cutting the portion he calls on the Maitrâvaruna to 'Recite (the invitatory prayer) of the cakes of the morning feast for Indra!' The anuvâkyâ (Rig-veda III, 52, 1) having been recited by the Maitrâvaruna, the Adhvaryu steps to the fire, calls on the Âgnîdhra for the Sraushat formula (see I, 5, 2, 16, with note), and thereupon on the Maitrâvaruna to Urge the cakes of the morning feast brought forward for Indra!' That priest then urges, 'Let the Hotri pronounce the offering prayer to Indra! May Indra with his bays eat the grain! [O Hotar, pronounce the offering prayer!]' Whereupon the Hotri recites, We who worship (part i, p. 142, note),--May Indra with his bays eat the grains, with Pûshan the porridge; with Sarasvatî, with Bhâratî, the sour curds, with Mitra and Varuna the clotted curds! [cf. Ait. Br. II, 24; Taitt. Br. I, 5, 11; Âsv. V, 4, 3] Vaushat!' when the Adhvaryu pours the oblation into the fire. For the oblation to Agni Svishtakrit the invitatory prayer is Rig-Veda III, 28, 1, and the offering formula 'Havir agne vîhi,' 'graciously accept the offering, O Agni!' The offerings completed, the dishes of sacrificial food. are placed on the Hotri's hearth.
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