| Philosophy and Religion / Satapatha Brahmana |
The Satapatha Brahmana: Thirteenth Kânda, Fourth Adhyâya
First Brâhmana
1. Pragâpati desired, 'Would that I obtained all my desires! would that I attained all attainments!' He beheld this three days’ Soma-sacrifice, the Asvamedha, and took possession of it, and sacrificed with it: by sacrificing therewith he obtained all his desires, and attained all attainments; and, verily, whosoever performs the Asvamedha sacrifice obtains all his desires, and attains all attainments.
2. Concerning this they say, 'In what season is the beginning (to be made)?'--'Let him begin it in summer,' say some, 'for summer is the Kshatriya's season, and truly this--to wit, the Asvamedha--is the Kshatriya's sacrifice.'
3. But let him rather begin it in spring; for spring is the Brâhmana's season, and truly whosoever sacrifices, sacrifices after becoming, as it were, a Brâhmana: let him therefore by all means begin it in spring.
4. And six days, or seven days, before that full-moon of Phâlguna, the officiating priests meet together--to wit, the Adhvaryu, the Hotri, the Brahman, and the Udgâtri; for under these1 the other priests are.
5. The Adhvaryu prepares for them a priest's mess of rice sufficient for four persons: the meaning of this has been explained2. Four bowlfuls, four double handfuls, four handfuls: twelvefold this is--twelve months are a year, and the year is everything, and the Asvamedha is everything--thus it is in order to his gaining and securing everything.
6. Those four priests eat it: the meaning of this has been explained. He (the Sacrificer) gives to them four thousand (cows) in order to his gaining and securing everything, for a thousand means everything, and the Asvamedha is everything. And (he gives them) four gold plates weighing a hundred (grains): the meaning of this has been explained3.
7. The Adhvaryu then, hanging a gold ornament (nishka) round him, makes him mutter (Vâg. S. XXII, 1), 'Fire thou art, light and immortality,'--for gold, indeed, is fire, light4, and immortality: fire (fiery mettle), light (brilliance), and immortality he thus bestows upon him;--'protector of life, protect my life!' he thereby bestows life (vital strength) upon him. With a view to commencing the sacrifice, he then says to him, 'Restrain thy speech!' for the sacrifice is speech.
8. Four (of the king's) wives are in attendance--the consecrated queen, the favourite wife, a discarded wife, and the Pâlâgalî5, all of them adorned and wearing gold ornaments (neck-plates)--with the view of the completeness of conjugal union. With them he enters the hall of the sacrificial fires--the Sacrificer by the eastern, the wives by the southern, door.
9. When the evening-offering6 has been performed, he lies down with his favourite wife behind the Gârhapatya hearth, with his head towards the north. At the same place7 the other (wives) also lie down. He lies in her lap without embracing her8, thinking, 'May I, by this self-restraint, reach successfully the end of the year!'
10. When the morning offering has been performed, the Adhvaryu performs a full-offering9 with a view to his (the Sacrificer's) gaining and securing everything, for the full means everything, and the Asvamedha is everything. At this (offering) he releases speech by (bestowing) a boon, saying, 'I grant a boon to the Brahman (priest):' (this he does) with a view to his gaining and securing everything, for a boon is everything, and the Asvamedha is everything.
11. The gold ornament which is attached to his (neck) he then gives to the Adhvaryu: in giving it to the Adhvaryu he secures to himself immortal life, for gold means immortal life.
12. For the object of (gaining) the road, and in order not to lose the mouth (mukha) of the sacrifice, he then prepares an ishti-offering10 to Agni. For, indeed, all the deities have Agni for their mouth, and in the Asvamedha are (contained) all objects of desire: 'Having, at the outset (mukhatah), gratified all the gods, may I obtain all my desires!' so he thinks.
13. For this (offering) there are fifteen kindling-verses11; for fifteenfold is the thunderbolt, and the thunderbolt means vigour: with the thunderbolt (of) vigour the Sacrificer thus from the first repels evil. The two butter-portions relate to the slaying of Vritra12, with a view to the repelling of evil, for Vritra is evil. [The verses, Vâg. S. XIII, 14, 15,] 'Agni, the head, the summit of the sky . . .13,' and 'Be thou the leader of the sacrifice and the realm of space (whither thou strivest with auspicious teams: thy light-winning head hast thou raised to the sky, and thy tongue, O Agni, hast thou made the bearer of the offering),' pronounced in a low voice, are the anuvâkyâ and yâgyâ of the chief oblation. The one contains (the word) 'head,' the other (the verb) 'to be,'--for the head, assuredly, is he that shines yonder: thus it is in order to secure him (the Sun); and as to why (the other) contains (the verb) 'to be,'--he thereby secures that which is (the real, truly existent). The Samyâgyâs14 are two virâg-verses15; for that--to wit, the Virâg--is the metre belonging to all the gods, and all objects of desire are (contained) in the Asvamedha: 'Having gratified all the gods, may I obtain all my desires!' so he thinks. The sacrificial fee is gold weighing a hundred (grains): the meaning of this has been explained.
14. He then prepares a (pap) for Pûshan, for Pûshan is the overlord of roads: he thus secures successful progress to the horse. But Pûshan is also this (earth): he thus makes this (earth) its guardian, for neither injury nor failure befals him whom this (earth) guards on the way; and this (earth) he thus makes its guardian.
15. For this (offering) there are seventeen kindling-verses16, for the obtainment of the Asvamedha, for Pragâpati is seventeenfold, and the Asvamedha is Pragâpati. The two butter-portions are possessed of 'growth17,' even for the growth of the Sacrificer. [The verses, Vâg. S. XXXIV, 41, 42,] 'Pûshan, in thy sway we [shall never suffer harm, we (who) here are singers of thy praises],' and 'The hymn (?) lovingly composed by desire of praise hath reached the guardian of every path: (may he, Pûshan, grant unto us draughts of light (?), and fulfil our every prayer!'), pronounced in a low voice, are the anuvâkyâ and yâgyâ of the chief oblation. The one contains (the word) 'sway,' the other (the word) 'path'; for sway is vigour: (thus it is) in order to his gaining and securing vigour; and as to why (the other) contains (the word) 'path,' he thereby secures successful progress to the horse. The invitatory and offering formulas of the Svishtakrit are two anushtubh verses18; for the Anushtubh is speech, and Pragâpati is speech, and the Asvamedha is Pragâpati: thus it is for the obtainment of the Asvamedha. The priests’ fee consists of a hundred garments, for that--to wit, the garment--is man's outward appearance, whence people (on seeing) Any well-clad man, ask, 'Who can this be? for he is perfect in his outward appearance: with outward appearance he thus endows him. There are a hundred of them, for man has a life of a hundred (years), and a hundred energies: life, and energy, vigour, he thus gains for himself.
Second Brâhmana
1. Whilst this (offering to Pûshan) is being performed, the horse, having been cleansed, is led up--being one which is marked with all colours, or which is perfect in speed, worth a thousand (cows), in its prime, and without its match under the right-side yoke19.
2. And as to its being one marked with all colours, it is for the sake of his (the Sacrificer's) obtaining and securing everything, for colour (outward appearance) is everything, and the Asvamedha is everything. And as to its being perfect in speed, it is for the sake of his obtaining and securing vigour, for speed is vigour. And as to its being worth a thousand (cows), it is for the sake of his obtaining and securing everything, for a thousand means everything, and the Asvamedha is everything. And as to its being in its prime, it is for the sake of his obtaining unlimited vigour, for such a one that is in the prime (of youth) increases to unlimited vigour. And as to its being without its match under the right-side yoke, it is for the sake of his obtaining yonder (sun), for that (horse) indeed is he that shines yonder, and assuredly there is no one to rival him.
3. As to this, Bhâllaveya, however, said, 'That horse should be of two colours, black-spotted20, for that (horse) was produced from Pragâpati's eye, and this eye is of two colours, white and black: he thus endows it with its own colour.'
4. But Sâtyayagñi said, 'That horse should be of three colours, its forepart black, its hindpart white, with a wain for its mark in front;--when its forepart is black it is the same as this black of the eye; and when its hindpart is white it is the same as this white of the eye; and when it has a wain for its mark in front, that is the pupil: such a one, indeed, is perfect in colour21.' Whichever of these, then, should be ready at hand, either a many-coloured one, or one of two colours, or one of three colours with a wain for its mark, let him slaughter it: but in speed it should certainly be perfect.
5. In front (of the sacrificial ground) there are those keepers of it ready at hand,--to wit, a hundred royal princes, clad in armour; a hundred warriors armed with swords; a hundred sons of heralds and headmen, bearing quivers filled with arrows22; and a hundred sons of attendants23 and charioteers, bearing staves;--and a hundred exhausted, worn out horses24 amongst which, having let loose that (sacrificial horse), they guard it.
6. He then prepares an (ishti) offering to Savitri25--a cake on twelve potsherds to Savitri Prasavitri--thinking, May Savitri impel this my sacrifice!' for Savitri (the sun), indeed, is the impeller (prasavitri).
7. For this (offering) there are fifteen kindling-verses; and the two butter-portions relate to the slaying of Vritra26. [The verses, Rig-veda V, 82, 9; VII, 45, 1], 'He who calleth forth all these beings (with his call, may he, Savitri, quicken us)!' and 'May the divine Savitri come hither, treasure-laden, (filling the air whilst driving with his steeds; holding in his hand many things meet for man; and laying to rest and awakening the world),' pronounced in a low voice, are the invitatory and offering formulas of the chief oblation. Those of the Svishtakrit are two virâg-verses27. The priests’ fee is gold weighing a hundred (grains): the meaning of this has been explained.
8. Whilst the fore-offerings of this (ishti) are being performed, a Brâhman lute-player, striking up the uttaramandrâ (tune28), sings three strophes composed by himself (on topics29 such as), 'Such a sacrifice he offered,--Such gifts he gave:' the meaning of this has been explained30.
9. He then prepares a second (offering)--a cake on twelve potsherds to Savitri Âsavitri--thinking, 'May Savitri propel this my sacrifice!' for Savitri, indeed, is the propeller (âsavitri).
10. For this (offering) there are seventeen kindling-verses; and the two butter-portions are possessed of that which is31: the (truly) existent he thereby obtains. [The verses, Rig-veda V, 82, 5; VII, 45, 31 'All troubles, O divine Savitri, (keep from us, do thou send us that which is good)!' and 'May that mighty god Savitri (the lord of treasure, send us treasure; shedding wide-spread lustre, may he bestow upon us the joys of mortal life)!' pronounced in a low voice, are the invitatory and offering formulas of the chief oblation. Those of the Svishtakrit are two anushtubh verses32. Silver is the priests’ fee,--for the sake of variety of colour, and also for the sake of (the horse's) going outside33 and not going away. It weighs a hundred (grains), for man has a life of a hundred (years), and a hundred energies: it is life, and energy, vigour, he thus secures for himself.
11. Whilst the fore-offerings of this (ishti) are being performed, a Brâhman lute-player, striking up the uttaramandrâ (tune), sings three strophes composed by himself (on topics such as), 'Such a sacrifice he offered,--Such gifts he gave:' the meaning of this has been explained.
12. He then prepares a third (offering)--a cake on twelve potsherds to Savitri Satyaprasava ('of true impulse'); for that, indeed, is the true impulse which is Savitri's: 'May he impel with true impulse this my sacrifice!' so he thinks.
13. For this (ishti) there are again seventeen kindling-verses. The two butter-portions are possessed of 'wealth34,' with a view to his obtaining and securing vigour, for wealth is vigour (strength). [The verses, Rig-veda V, 82, 7; IV, 54, 4,] 'The all-divine, true lord (we hope to gain this day by our hymns, Savitri of true impulsion),' and 'Indestructible is that (work) of the divine Savitri, (that he will ever sustain the whole world: whatever he, the fair-fingered, bringeth forth over the extent of the earth and the expanse of the sky, that is truly his own),' pronounced in a low voice, are the invitatory and offering formulas of the chief offering. Those of the Svishtakrit (he makes) the regular ones35, thinking, 'Lest I should depart from the path of sacrifice:' he thus finally establishes himself in the well-ordered sacrifice. Trishtubh-verses they are for the sake of his gaining and securing (Indra's) energy, vigour, for the Trishtubh is the vigour in Indra. The priests’ fee is gold weighing a hundred (grains): the meaning of this has been explained36.
14. Whilst the fore-offerings of this (ishti) are being performed, a Brâhman lute-player, striking up the uttaramandrâ (tune), sings three strophes composed by himself (on topics such as), 'Such a sacrifice he offered,--Such gifts he gave:' the meaning of this has been explained.
15. When this (offering) is completed, the Adhvaryu and the Sacrificer rise, and whisper in the horse's right ear (Vâg. S. XXII, 19), 'Plenteous by thy mother, strengthful by dry father . . .!' the meaning of this has been explained37. They then set it free towards the north-east, for that--to wit, the north-east--is the region of both gods and men: they thus consign it to its own region, in order to its suffering no injury, for one who is established in his own home suffers no injury.
16. He says, 'O ye gods, guardians of the regions, guard ye this horse, consecrated for offering unto the gods!' The (four kinds of) human guardians of the (four) regions have been told, and these now are the divine ones, to wit, the Âpyas, Sâdhyas, Anvâdhyas38 and Maruts; and both of these, gods and men, of one mind, guard it for a year without turning (driving) it back. The reason why they do not turn it back, is that it is he that shines yonder,--and who, forsooth, is able to turn him back? But were they to turn it back, everything here assuredly would go backward (go to ruin): therefore they guard it without turning it back.
17. He says, 'Ye guardians of the quarters, those who go on to the end of this (horse-sacrifice) will become (sharers of) the royal power, they will become kings worthy of being consecrated; but those who do not go on to the end of this (sacrifice) will be excluded from royal power, they will not become kings, but nobles and peasants, unworthy of being consecrated: do not ye therefore be heedless, and keep it (the horse) from water suitable for bathing and from mares! And whenever ye meet with any kind of Brâhmanas, ask ye them, "O Brâhmanas, how much know ye of the Asvamedha?" and those who know naught thereof ye may despoil; for the Asvamedha is everything, and he who, whilst being a Brâhmana, knows naught of the Asvamedha, knows naught of anything, he is not a Brâhmana, and as such liable to be despoiled. Ye shall give it drink, and throw down fodder for it; and whatever prepared food there is in the country all that shall be prepared for you. Your abode shall be in the house of a carpenter of these (sacrificers39), for there is the horse's resting-place.'
Third Brâhmana
1. Having set free the horse, he (the Adhvaryu) spreads a cushion wrought of gold (threads) south of the Vedi: thereon the Hotri seats himself. On the right (south) of the Hotri, the Sacrificer on a gold stool40; on the right of him, the Brahman and Udgâtri on cushions wrought of gold; in front of them, with his face to the west, the Adhvaryu on a gold stool, or a slab of gold.
2. When they are seated together, the Adhvaryu calls upon (the Hotri), saying, 'Hotri, recount the beings: raise thou this Sacrificer above the beings41!' Thus called upon, the Hotri, being about to tell the Pâriplava42 Legend, addresses (the Adhvaryu), 'Adhvaryu!'--'Havai43 hotar!' replies the Adhvaryu.
3. 'King Manu Vaivasvata,' he says;--'his people are Men, and they are staying here44;'-- householders, unlearned in the scriptures, have come thither45: it is these he instructs;--'The Rik (verses) are the Veda46: this it is;' thus saying, let him go over a hymn of the Rik, as if reciting it47. Masters of lute-players have come thither: these he calls upon, 'Masters of lute-players,' he says, 'sing ye of this Sacrificer along with righteous kings of yore48!' and they accordingly sing of him; and in thus singing of him, they make him share the same world with the righteous kings of yore.
4. Having called (on the masters of lute-players), the Adhvaryu performs the Prakrama oblations49, either on the southern fire, or on a footprint of the horse, after drawing lines round it--whichever is the practice there; but the former50 is the established rule.
5. Prior to the (first) offering to Savitri he offers, once only, the (oblations relating to the) Forms51 in the Âhavanîya fire, whilst going rapidly over (the formulas). And in the evening, whilst the Dhritis52 (oblations for the safe keeping of the horse) are being offered, a Râganya lute-player, striking up the uttaramandrâ (tune) south (of the vedi), sings three stanzas composed by himself (on topics53 such as), 'Such war he waged,--Such battle he won:' the meaning of this has been explained.
6. And on the morrow, the second day, after those (three) offerings to Savitri have been performed in the same way, there is that same course of procedure. 'Adhvaryu!' he (the Hotri) says.--'Havai hotar!' replies the Adhvaryu.--'King Yama Vaivasvata54,' he (the Hotri) says, 'his people are the Fathers, and they are staying here;'--old men have come thither: it is these he instructs;--'The Yagus-formulas are the Veda: this it is;' thus saying, let him go over a chapter (anuvâka) of the Yagus55, as if reciting it. The Adhvaryu calls in the same way (on the masters of lute-players), but does not perform the Prakrama oblations.
7. And on the third day, after those (three) offerings have been performed in the same way, there is that same course of procedure. 'Adhvaryu!' he (the Hotri) says.--'Havai hotar!' replies the Adhvaryu.--'King Varuna Âditya,' he says; 'his people are the Gandharvas, and they are staying here;'--handsome youths have come thither: it is these he instructs;--'The Atharvans are the Veda: this it is;' thus saying, let him go over one section (parvan) of the Atharvan56, as if reciting it. The Adhvaryu calls in the same way (on the masters of lute-players), but does not perform the Prakrama oblations.
8. And on the fourth day, after those (three) offerings have been performed in the same way, there is the same course of procedure. 'Adhvaryu!' he (the Hotri) says.--'Havai hotar!' replies the Adhvaryu.--'King Soma Vaishnava57,' he says; 'his people are the Apsaras, and they are staying here;'--handsome maidens have come thither: it is these he instructs58;--'The Aṅgiras are the Veda: this it is;' thus saying, let him go over one section of the Aṅgiras59, as if reciting it. The Adhvaryu calls in the same way (on the masters of lute-players), but does not perform the Prakrama oblations.
9. And on the fifth day, after those (three) offerings have been performed in the same way, there is the same course of procedure. 'Adhvaryu!' he (the Hotri) says.--'Havai hotar!' replies the Adhvaryu.--'King Arbuda Kâdraveya60,' he says; 'his people are the Snakes, and they are staying here;'--both snakes and snake-charmers61 have come thither: it is these he instructs--'The Sarpavidyâ (science of snakes) is the Veda: this it is;' thus saying, let him go over one section of the Sarpavidyâ62 as if reciting it. The Adhvaryu calls in the same way (on the masters of lute-players), but does not perform the Prakrama oblations.
10. And on the sixth day, after those (three) offerings have been performed in the same way, there is the same course of procedure. 'Adhvaryu!' he (the Hotri) says.--'Havai hotar!' replies the Adhvaryu.--'King Kubera Vaisravana,' he says; 'his people are the Rakshas, and they are staying here;'--evil-doers, robbers63, have come thither: it is these he instructs;--'The Devaganavidyâ64 (demonology) is the Veda: this it is;' thus saying, let him go over one section of the Devaganavidyâ, as if he were reciting it. The Adhvaryu calls in the same way (on the masters of lute-players), but does not perform the Prakrama oblations.
11. And on the seventh day, after those (three) offerings have been performed in the same way, there is the same course of procedure. 'Adhvaryu!' he (the Hotri) says.--'Havai hotar!' replies the Adhvaryu.--'King Asita Dhânva65,' he says; 'his people are the Asura; and they are staying here;'--usurers have come thither: it is these he instructs;--'Magic66 is the Veda: this it is;' thus saying, let him perform some magic trick. The Adhvaryu calls in the same way (on the masters of lute-players), but does not perform the Prakrama oblations.
12. And on the eighth day, after those (three) offerings have been performed in the same way, there is the same course of procedure. 'Adhvaryu!' he (the Hotri) says.--'Havai hotar!' replies the Adhvaryu.--'King Matsya Sâmmada67,' he says; 'his people are the water-dwellers, and they are staying here;'--both fish and fishermen68 have come thither: it is these he instructs;--'the Itihâsa69 is the Veda: this it is;' thus saying, let him tell some Itihâsa. The Adhvaryu calls in the same way (on the masters of lute-players), but does not perform the Prakrama oblations.
13. And on the ninth day, after those (three) offerings have been performed in the same way, there is the same course of procedure. 'Adhvaryu!' he (the Hotri) says.--'Havai hotar!' replies the Adhvaryu.--'King Târkshya Vaipasyata70,' he says; 'his people are the Birds, and they are staying here;'--both birds and bird-catchers71 have come thither: it is these he instructs;--'the Purâna72 is the Veda: this it is;' thus saying, let him tell some Purâna73. The Adhvaryu calls in the same way (on the masters of lute-players), but does not perform the Prakrama oblations.
14. And on the tenth day, after those (three) offerings have been performed in the same way, there is the same course of procedure. 'Adhvaryu!' he (the Hotri) says.--'Havai hotar!' replies the Adhvaryu.--'King Dharma Indra74,' he says, 'his people are the Gods, and they are staying here;'--learned srotriyas (theologians), accepting no gifts75, have come thither: it is these he instructs; 'the Sâman (chant-texts) are the Veda: this it is;' thus saying, let him repeat76 a decade of the Sâman. The Adhvaryu calls in the same way (on the masters of lute-players), but does not perform the Prakrama oblations.
15. [In telling] this revolving (legend), he tells all royalties, all regions, all Vedas, all gods, all beings; and, verily, for whomsoever the Hotri, knowing this, tells this revolving legend, or whosoever even knows this, attains to fellowship and communion with these royalties, gains the sovereign rule and lordship over all people, secures for himself all the Vedas, and, by gratifying the gods, finally establishes himself on all beings. This very same legend revolves again and again for a year; and. inasmuch as it revolves again and again, therefore it is (called) the revolving (legend). For thirty-six ten-days’ periods he tells it,--the Brihatî (metre) consists of thirty-six syllables, and cattle are related to the Brihatî metre: by means of the Brihatî he thus secures cattle for him.
Fourth Brâhmana
1. When the year has expired77, the Dîkshâ (initiation) takes place. After the slaughtering of the victim sacred to Pragâpati78, the (ishti) offerings79 come to an end. Some, however, say, ‘Let him offer (them) on the fires of his Purohita (court-chaplain). But why should one who is initiated make offering? There are twelve Dîkshâ (days), twelve Upasad (days) and three Sutyâs (Soma-days), that amounts to the thrice-ninefold (stoma); but the thrice-ninefold, indeed, is a thunderbolt, and the horse is the nobility (kshatra), and the Râganya is the nobility; and political power (kshatra) is won by the thunderbolt: thus he wins80 political power by means of the thunderbolt.
2. When the Initiation-offering has been completed, and Speech released in the evening, masters of lute-players have come thither: these the Adhvaryu calls upon, 'Masters of lute-players,' he says, 'sing ye of this Sacrificer along with the gods!' and they accordingly sing of him in that manner--
3. Day by day, after speech has been released, when, on the completion of the Agnîshomîya (animal sacrifices), the Vasatîvarî (water) has been carried round81 (the sacrificial ground). The reason why they thus sing of him along with the gods is that they thereby make him share the same world with the gods.
4. On the Sutyâ-days (they sing of him) along with Pragâpati in the same way day by day, after the Vasatîvarî (water) has been carried round82, and the Udavasânîyâ (offering) has been finally completed. The reason why they thus sing of him along with Pragâpati is that they thereby finally make him share the same world with Pragâpati.
5. There are twenty-one sacrificial stakes, all of them twenty-one cubits long. The central one83 is of raggudâla84 wood; on both sides thereof stand two85 pîtudâru (deodar) ones, six of bilva wood (Aegle Marmelos)--three on this side, and three on that,--six of khadira (Acacia Catechu) wood--three on this side, and three on that,--six of palâsa (Butea frondosa) wood--three on this side, and three on that.
6. Then as to why these stakes are suchlike. When Pragâpati's vital airs had gone out of him, his body began to swell; and what phlegm there was in it that flowed together and burst forth from inside through the nose, and it became this tree, the raggudâla, whence it is viscid, for it originated from phlegm: with that form (quality) he thus endows it (the stake). And as to why it is the (stake) standing by the fire, it is because that one is the centre of the stakes, and that nose is the centre of the (channels of the) vital airs: he thus puts it in its own place.
7. And what watery (liquid) fire, and what fragrance there was, that flowed together and burst forth from the eye, and became that tree, the pîtudâru; whence that (wood) is sweet-smelling, since it originated from fragrance, and whence it is inflammable, since it originated from fire: with that quality he thus endows it. And because these two (pîtudâru stakes) are on the two sides of the central one, therefore these two eyes are on the two sides of the nose: he thus puts those two in their own place.
8. And what 'kuntâpa86,' what marrow there was, that flowed together, and burst forth from the ear, and became that tree, the bilva; whence all the fruit of that (tree) is eatable87 inside, and whence it (the tree, or wood) is yellowish, for marrow is yellowish: with that quality he thus endows it. The two (sets of) pîtudâru (stakes) stand inside, and the bilva ones outside, for the eyes are inside, and the ears outside: he thus puts them in their own place.
9. From his (Pragâpati's) bones the khadira, was produced, whence that (tree) is hard and of great strength88, for hard, as it were, is bone: with that quality he thus endows it. The bilva (stakes) are inside, and the khadira ones outside, for inside is the marrow, and outside the bones: he thus puts them in their own place.
10. From his flesh the palâsa was produced, whence that (tree) has much juice, and (that) red juice89, for red, as it were, is flesh: with that quality he thus endows it. The khadira (stakes) are inside, and the palâsa ones outside, for inside are the bones, and outside is the flesh: he thus puts them in their own place.
11. And as to why there are twenty-one (stakes), twenty-one cubits long,--twenty-one-fold, indeed, is he that shines yonder90--there are twelve months, five seasons, these three worlds, and yonder sun is the twenty-first, and he is the Asvamedha, and this Pragâpati. Having thus completely restored this Pragâpati, the sacrifice, he therein seizes twenty-one Agnîshomîya victims: for these there is one and the same performance, and this is the performance of the day before (the first Sutyâ).
Footnotes
1. Or, along with these, included in them (are the assistant priests).
2. See XIII; 1, 1, 1; 4 (cf. II, 1, 4, 4).
3. XII, 7, 2, 13.
4. Perhaps Mahîdhara is right in taking 'sukram' here in the sense of 'seed' (Agner vîrvam); cf. II, 1, 1, 5; XIII, 1, 1, 4.
5. See p. 323, note 2.
6. That is the evening performance of the Agnihotra.
7. Tad eva tatraiva, comm.
8. Soऽntarorû asamvartamânah sete.
9. For particulars regarding the 'pûrnâhuti,' or oblation of a spoonful of ghee, see part i, p. 302, note 2.
10. Viz. a cake (on eight kapâlas) to Agni Pathikrit, 'the path-maker'--or, according to Âsv. Sr. X, 6, 3, to Agni Mûrdhanvat ('forming the head,' so called from the formulas used containing the word 'head).' For a similar special offering to the same deity see XII, 4, 4, 1 (cf. XI, 1, 5, 5).
11. See part i, p. 95 seqq. (especially I, 3, 5, 5-7).
12. The two Âgyabhâgas, or butter-portions to Agni and Soma, are said to be 'Vritra-slaying' (vârtraghna), or to relate to the slaying of Vritra, when their anuvâkyâs, or invitatory formulas, are the two verses Rig-veda VI, 16, 34 (agnir vritrâni gaṅghanat, 'May Agni slay the Vritras'), and I, 91, 5 (tvam somâsi satpatis tvam râgota vritrahâ, 'Thou, O Soma, art the true lord, thou art the king and the slayer of Vritra,' &c.). This is the case at the Full-moon sacrifice, whilst at the New-moon sacrifice the two butter-portions are said to be 'vridhanvant,' or 'relating to growth,' because the anuvâkyâs used on that occasion are two verses containing forms of the root vridh, 'to grow,' viz. VIII, 44, 12 (agnih pratnena manmanâ . . . kavir viprena vâvridhe, 'Agni has grown strong by the old hymn,--as the wise one by the priest') and I, 91, 11 (Soma gîrbhish tvâ vayam vardhayâmo vakovidah . . ., 'O Soma, we magnify thee (make thee grow) by our songs, skilful in speech'). In the same way the one or the other form is used in different ishtis. At I, 6, 2, 12, the translation, 'the two butter-portions should be offered to the Vritra-slayer (Indra)' should therefore be altered to 'the two butter-portions relate to the slaying of Vritra' (or, 'are Vritra-slaying').
13. See VII, 4, 1, 41.
14. That is, the two formulas used with the oblation to Agni Svishtakrit.
15. Whilst the normal performance of an ishti requires two trishtubh-verses (Rig-veda X, 2, I; VI, 15, 14; cf. part i, p. 202, notes 2 and 3) for the invitatory and offering formulas of the oblations to Agni Svishtakrit, two virâg-verses are frequently prescribed, certain verses of the Virâg-hymn Rig-veda VII, 1, being chiefly used for this purpose; e. g. v. 3 as the anuvâkyâ, and v. 18 as the yâgyâ for the Svishtakrit of the oblation to Aditi at the Âdhâna (see part i, p. 307, note 3). and the Dîkshanîyeshti; and vv. 14, 15 as yâgyâ and anuvâkyâ of the Svishtakrit of the Prâyanîyeshti. It is doubtless the two former verses, commonly employed at special ishtis (cf. part i, p. 164, note 3), which are to be used on the present occasion.
16. See part i, p. 112, note 1.
17. That is, they are performed with two invitatory formulas containing the verb 'to grow,' see p. 350, note 3. Whilst our Brâhmana thus prescribes the two invitatory formulas used for the butter-portions of the New-moon sacrifice, Âsvalâyana (Sr. X, 6, 6) prescribes two verses containing the verb 'as' (or 'bhû'), viz. Rig-veda V, 13, 4, tvam agne saprathâ asi; and I, 92, 9, soma yâs to mayobhuva ûtayah santi dâsushe tâbhir noऽvitâ bhava.
18. Viz. according to Âsv. Sr. X, 6, 7,--Rig-veda I, 45, 6 (tvâm kitrasravastama) and V, 25, 7 (yad vâsishtham yad agnaye).
19. Thus Harisvâmin,--'anyebhyo dakshinadhuryebhya utkrishtah;' hardly 'one which finds no (worthy) yoke-fellow' (St. Petersb. Dict.).
20. Or, black with some other colour.
21. One would expect an 'iti' here.
22. Or, furnished with bundles of arrows,--ishuparshinah, for which Kâty. XX, 2, 11, has 'kalâpinah' (=sarâvapanabhastrâvantah schol.). Harisvâmin explains it as if it were equivalent to 'ishuvarshinah,' 'showering arrows.'
23. Harisvâmin takes 'kshâttra' as the body of revenue-officers (tax-gatherers, &c.), 'âyavyayâdhyakshasamûhah.'
24. That is, according to Harisvâmin, over twenty-four years old; his explanation being based on the etymology of 'nirashtam' as 'outside the eight' (viz. characteristics of age in horses, each of which is supposed to hold good for three years).
25. The three ishtis to Savitri, treated of in paragraphs 6-17, as well as the proceedings subsequent thereto, are repeated every day during the twelvemonth during which the sacred horse is allowed to roam about.
26. See p. 350, note 3.
27. See p. 351, note 3.
28. Or, touching the uttaramandrâ lute,--literally, the 'upper deep' one, i.e. perhaps one the chords of which are pitched in the upper notes of the lower key. Cf. Scholl. on Katy. XX, 2, 8 uttaramandrâ ka gâyanaprasiddhâ;--uttaramandrâ-samgñâyâm vînâyâm. Harisvâmin does not explain the term.
29. Taitt. Br. III, 9, 14, 3 mentions three topics--one for each stanza,--viz. 'thus (such and such gifts) thou gavest, thus (by such and such sacrifices) thou didst sacrifice, thus thou didst cook (i.e. with such and such food thou didst regale the priests).'
30. See XIII, 1, 5, 6.
31. That is, their anuvâkyâs contain forms of the root 'as' (or 'bhû'), to be; cf. p. 352, note 2.
32. See XIII, 4, 1, 15, p. 353, note 1.
33. Viz. going outside the sacrificial ground, and yet not running away from its keepers,--this, according to the text, would be symbolically expressed by the gold (which was given as the priests’ fee for the first offering) giving place to silver at the second offering, but coming in again at the third.
34. That is, their invitatory formulas contain the word 'rayi' (wealth). What particular verses are intended here, I do not know.
35. Viz. the trishtubh-verses Rig-veda X, 2, 1; VI, 15, 14; see p. 351, note .
36. XII, 7, 2, 13.
37. See XIII, 1, 6, 1 seqq., 3, 7. 1-2 seqq.
38. On these divine beings see Weber, Ind. Stud. IX, p. 6, note.
39. Thus Harisvâmin,--teshâm ka yagamânânâm madhye rathakâro yas tasya grihe yushmâkam vasatah. The plural is probably meant as including the subjects of the king (cf. XI, 8, 4, 1), and the villages within reach of which the horse will roam.
40. At XI, 5, 3, 4; 7 'kûrka' seems to mean a bunch or pad of grass, used as a seat. In the present instance it is explained as a seat with feet (sapâdam âsanam, Schol. on Kâty. XX, 2, 19), or as a seat or stool which has the appearance of a pad (pîtham kûrkâkriti,? i.e. with a pad on it). According to Âsv. Sr. X, 6, 19) the king is surrounded by his sons and ministers.
41. Or, perhaps, 'raise this Sacrificer above (or, up to) the things of the past;' but see paragraph 15.
42. That is, the 'revolving, recurrent, or cyclic legend,' so called because it is renewed every ten days during the year.
43. Harisvâmin explains this interjection, as if it were 'hvayai' = pratihvayai, 'I will respond, I am ready to respond;' and, though this is probably a fanciful explanation, the arrangements made on this occasion are clearly such as to suggest a studied resemblance to the call and counter-call of the two priests on all occasions of a solemn utterance of sacrificial formulas, or the recitation of hymns, as at the Prâtaranuvâka (part ii, p. 226 seqq.). Kâty. XX, 3, 2, accordingly, calls it the Adhvaryu's 'pratigara,' or response. Âsv. Sr. X, 6, 13 makes the Adhvaryu's answer 'ho hotar'; and Sâṅkh. Sr. XVI, 1 'hoyi hotar.'
44. The Hotri's utterances on the ten days of the revolving period (as set forth in passages 2-14) occur also, with some variations of detail, in the manuals defining the Hotri's duties, viz. the Âsvalâyana (X, 7) and Sâṅkhâyana (XVI, 2) Sûtras (whilst the works of the Taittirîyakas seem to have nothing corresponding to this performance). Both Sûtras omit 'râgâ' each time. Âsvalâyana, moreover, omits also the 'iti' along with it, because he does not interrupt the formula by an insertion, as is done here (ity âha) and in the Sâṅkh. S. (iti prathame, &c.). Gârgya Nârâyana, on Âsv. X, 7, 1, takes the opening words 'prathame (&c.) ऽhani' to form part of the formulas:--'on the first day Manu Vaivasvata (is king); but it is clear from the other two authorities that this cannot have been intended by the author of that Sûtra.--The commentator on Sâṅkh. S. XVI, 2 remarks, 'Manur Vaivasvato râgety-evam-âdikam âkhyânam pariplavâkhyam prathamâhany âkashte . . . tasya râgño manushyâ visah pragâs ta ima âsateऽdyâpi svadharmân na kalanti,' thus apparently taking 'râgâ' to form part of the formula, or rather of the topic of which the legend to be recited was to treat. This commentary thus apparently assumes that the legend begins with 'Manur Vaivasvato râgâ'; and that the subsequent clause leads on to the recitation of the Vedic text that is to follow (cf. note on paragraph 8);--though. possibly this latter clause (as Professor M. Müller seems to take it) may only be an argumentative one, giving the reason why the householders are to be instructed. Cf. M. Müller, Hist. of Anc. Sansk. Lit., p. 37 seqq.
45. 'Householders should be brought thither' (i.e. should be made to join this performance); Âsv.-sûtra. Sâṅkh. has merely 'thereby he instructs householders.' Grihamedhinah are those who regularly perform the five great domestic sacrifices (mahâyagña).
46. Or, more closely, the Veda is the, or consists of, Rik (verses). Sâṅkh. S. reads 'riko vedah' (the Veda of the Rik, gen. sing.) instead of 'rikah' (nom. pl.), and in the subsequent paragraph also, it repeats the word 'veda' (Yagurveda, Atharvaveda, Aṅgiraso vedah).
47. That is, as would seem,--as if he were to recite it (or, as when he recites it) in the course of the ordinary sacrificial performance--as in Sastras, the Prâtaranuvâka, &c. The text would, however, also admit of the translation--'thus saying, let him go over (the legend) as if he were reciting a hymn of the Rik,' but it is not quite easy to see how a similar interpretation would suit subsequent paragraphs (11-14). Moreover, both Âsv. and Sâṅkh. omit 'vyâkakshâna iti,' and read 'nigadet,' 'let him recite (a hymn),' instead of 'anudravet (let him run, or go, over = anupûrvam ukkârayet, Harisv.).' Yet, the commentary on Sâṅkh. supplies the 'iva,' explaining as he does, 'sûktam kimkid âkakshâna ivânuvadet;' from which (if it is not simply quoted from our Brâhmana) it would almost seem as if he, too, thought of the legend rather than a hymn of the Rik. The verb 'vyâ-kaksh,' as against 'ni-gad,' seems to imply a clear articulation--perhaps even with all the stops or pauses, at the end of every half-verse, or pâda, as the case might be. Sâyana (on Taitt. Br. II, 2, 1, 4; 2, 6) explains 'vyâkakshîta' by 'vispashtam ukkârayet (or, pathet).' The available MS. of Harisvâmin's commentary on our text is, as usual, incorrect, but as far as it goes, it seems to favour the recitation of the legend at this place,--'vyâkakshâna iti vâkyasas kidan (r. khindan) agais kâbhidad (?) ity arthah,'--which I take to mean that he is to pause after each sentence, as he would do when reciting a hymn.
48. That is, according to Harisvâmin,--'Compare this Sacrificer in song with the old righteous kings.' Katy. XX, 3, 8 refers to these latter as 'râgarshis,' or royal sages--in which case the recitation of the legend itself would only come in here.
49. For the formulas used with this series of forty-nine oblations, see XIII, 1, 3, 5 with notes thereon.
50. That is to say, according to Harisvâmin, the course of procedure laid down in XIII, 1, 3, 7, according to which these oblations are to be made on the Âhavanîya, and not either on the southern fire, or on a footprint of the horse.
51. That is to say, the Prakramas which are only performed on the first day of the year, whilst the three oblations to Savitri are repeated each day.
52. See XIII, 1, 4, 3; 6, 2. These oblations are made just prior to the evening performance of the Agnihotra, when the Âhavanîya has been got ready for the latter. The Taittirîyakas seem to make these four oblations on the horse's feet at the place where the keepers pass the night (viz. the carpenter's house) during the greater part of the year; and only in the last month, when a stable of Asvattha wood has been put up for the horse near (or on) the offering-ground, these oblations take place on the Âhavanîya. See comm. on Taitt. Br. III, 8, 12 (p. 609; cp. p. 700). At III, 9, 14 (p. 703), on the other hand, it is stated that the Râganya's singing is to take place in the evening at the time of the Dhriti-homas.
53. Taitt. Br. III, 9, 54, 4, again mentions three topics, one for each stanza--viz. 'thus (i.e. in the same way as Prithu, Bharata, Bhagîratha, Yudhishthira &c., comm.) didst thou overpower (the enemies), thus (i.e. surrounded by heroic warriors, fighting on elephants, steeds, chariots, and on foot, with bows and arrows, spears, swords, &c.) didst thou battle, thus didst thou fight such and such battle (i.e. like Yudhishthira, Dushyanta, &c., having engaged in a battle attended by thousands of great heroes, thou, armed only with thy sharp sword, didst slay the king of Kashmir, Magadha, Pundra, &c., comm.).'
54. When the comm. on Sâṅkh. S. remarks, 'Yamo Vaivasvato râgety âheti divitîya evâhani Satapathe darsanât,' this would seem to refer to the addition of either 'râgâ,' or 'ahani,' but not to any legend of Y. V., since such a one does not occur in this work; though various passages in the Rik might no doubt have sufficed to construct some such legend as would have served on this occasion.
55. The same commentator refers to the 'Âsvamedhika' as the section to be recited,--'prakaranât,' because of the treatment (therein of this subject).
56. Instead of 'atharvanâm ekam parva,' the Sâṅkh. S. has 'bheshagam (medicine),' which the commentator--against the opinion of those who take it to mean the hymn Rig-veda X, 97 (treating of the magic powers of herbs)--makes a special work of the Âtharvanikas; whilst the Âsv. S. reads 'yad bheshagam nisântam syât tan nigadet'--'let him tell some approved medicine (i. e: some specific, or charm against disease).'
57. The comm. on Sâṅkh. S. remarks, 'Somo Vaishnava iti katurthe; Somo Vaishnavo râgeti Satapathasruteh; pratîkagrahanâny etâni.' This seems to show clearly that he takes this as merely the opening words of the legend. Here, again, his words can hardly be taken to refer to a legend regarding Soma in the Satapatha-Brâhmana.
58. 'Yuvatîh sobhanâ upadisati, tasyaitâh (? tasyaitâbhyah) sabhâyâm anyâsâm apravesât,' comm. on Sâṅkh. S., --? because no other (Apsaras) but these come to his court.
59. The Sâṅkh. S. has 'let him recite the Ghora'--which the commentator again takes to be the title of a special work of the Atharvans--whilst the Âsv. S. reads 'let him recite some approved ghora (magic spell or operation).'
60. 'Arbudah Kâdraveyo râgety âheti sruteh (thus also on the name of the next king),' comm. on Sâṅkh. S.
61. Lit. '(men) knowing about snakes'--which the comm. on Âsv. S. explains by 'those knowing the Kâsyapîya and other treatises (tantra) on venoms.' Instead of the conjunctive double 'ka,' the Sâṅkh. S. has a single 'vâ'--the snakes, or (rather) snake-charmers--and Âsv. S. an explanatory 'iti'--the snakes, i.e. snake-charmers.
62. The Sâṅkh. S. has, 'let hire recite the Sarpavidyâ' (i.e. either the Gârudâ or Kaṅkaniyâ sarpavidyâ, as the comm. explains); the Âsv. S. 'let him recite the Vishavidyâ (science of venoms).'
63. The etymology and exact meaning of 'selaga' is doubtful:--here, again, whilst 'pâpakritah' is added either appositionally, or attributively (wicked selagas), the Sâṅkh. S. adds it by means of 'vâ,' and the Âsv. S. by 'iti'--both apparently meant in an explanatory sense. The Ait. Br., on the other hand, has VII, 1, 'selagâ vâ pâpakrito vâ;' and VIII, 11, 'nishâdâ vâ selagâ vâ pâpakrito vâ.' The comm. on Âsv. S. explains 'selaga' by 'maddened by a snake;' the comm. on Sâṅkh. S. by 'selagâh senyâgâyanyah (?) pâpakrito vâ mlekhâh.'
64. That is, the science, or knowledge of the divine (or supernatural) beings. The Sâṅkh. S. has, 'the Rakshovidyâ is the Veda, . . . let him recite the Rakshovidyâ'--on which the commentator remarks 'prasiddhaiva kuhukurûpâ rakshovidyeti.' (? = 'kuhakarûpâ,' cheats, or deceitful imps). Âsv. S. has 'yat kimkit pisâkasamyuktam nisântam,' 'some approved (spell or operation?) connected with the Pisâkas, or demons.'
65. Sâṅkh. S. has 'Asita Dhânvana.'
66. The two Sûtras read 'Asuravidyâ'--asuravidyendragâlâdinâ tannirdesân mâyâm api kâmkit kuryâd aṅgulinyâsarûpâm ('a trick by sleight of hand,' M. Müller), comm. on Sâṅkh. S. On 'indragâlavidyâ' ('magic art, trickery'), cf. Dasakum., p. 25, 1. 12. The association of the black art with the usurer or money-lender (kusîdin) is rather curious.
67. 'Matsyah Sâmmada ity ashtame, Matsyah Sâmmado râgeti sruteh pratîkagrahanam etat,' comm. on Sâṅkh. S.
68. 'Gâtisambandhena matsyavido vâ, mainikân pâthînâdiviseshavikalpân vidanti ye tan vâ,' comm. on Sâṅkh. S.
69. Regarding the Itihâsa (cosmogonic account) and Purâna (ancient legend), see p. 98, note 4. The Âsv. S. connects the Itihâsa with the ninth, and the Purâna with the eighth day. 'Itihâsam âkakshîta, itihâsavedasya prithagbhâvena darsanât,' comm. on Sâṅkh. S.
70. Âsv. S. has Târkshya Vaipaskita.--'Târkshyo Vaipasyato râgety âheti pratîka(m) sruteh,' comm. on Sâṅkh. S.
71. Lit., men acquainted with the science of birds (vâyovidyika). The two Sûtras, on the other hand, here identify the birds with 'brahmakârinah,' or religious students.
72. Regarding the Itihâsa (cosmogonic account) and Purâna (ancient legend), see p. 98, note 4. The Âsv. S. connects the Itihâsa with the ninth, and the Purâna with the eighth day. 'Itihâsam âkakshîta, itihâsavedasya prithagbhâvena darsanât,' comm. on Sâṅkh. S.
73. According to the comm. on Sâṅkh. S., it is the Vâyupurâna (purânam vâyuproktam) that is to be recited (from), and not the hymn Rig-veda X, 130 ('tasya vedaikadesatvât'). This hymn is probably referred to in this connection chiefly on account of the passage 'yagñe gâte purâne' in verse 6.
74. 'Dharma Indra iti dasame, Dharma Indro râgety âheti Satapathe pratikadarsanât,' comm. on Sâṅkh. S.
75. The two Sûtras still further qualify them as 'young srotriyas who accept no gifts,' 'manu(shya)devâ hi ta ity abhiprâyât,' comm. on Saab.; cp. Sat. Br. II, 2, 2, 6, 'ye brâhmanâh susruvâmsoऽnûkânâs te manushyadevâh.'
76. The text has 'brûyât,' 'let him say;' whilst the two Sûtras read 'sâma gâyât,' 'let him sing a Sâman' ('yat kimkid anindyam evâsvâmedhikam vâ prakaranât,' comm. on Sâṅkh. S.).
77. Viz. from the day of the setting free the horse, not from that of the mess of rice cooked for the four priests.
78. That is, according to the comm., the he-goat offered to Pragâpati (along with one, or five, to Vâyu) in connection with the building of the fire-altar (which is required for the Asvamedha), see part iii, pp. 165 seqq., 171 seqq. The building of the altar, generally occupying the space of a year, is apparently compressed on this occasion within the time of the Dîkshâ and Upasads.
79. Viz. the three ishtis to Savitri performed daily throughout the year.
80. One would expect here the middle (sprinute) instead of the active (sprinoti); cf. Delbrück, Altind. Syntax, p. 259.
81. See part ii, p. 222 seqq. Whilst there the offering of a he-goat to Agni and Soma took place on the Upavasatha, or day before the Sutyâ or Soma-day, on the present occasion these preliminary animal sacrifices would also seem to be performed on each day from the completion of the Dîkshâ up to the Upavasatha day inclusive (? i.e. on the Upasad days, cf. Kâty. Sr. XX. 3, 9; 4, 21). Moreover, though technically called Agnîshomîya, the sacrifice--on the Upavasatha day, at all events (XIII, 4, 4, 11)--is not one of a single he-goat sacred to Agni and Soma, but a set of eleven victims distributed over the central eleven stakes (of which twenty-one are required on the Soma-days) in the manner explained in III, 9, 1, 1 seqq.
82. That is, at the end of each of the three Soma-sacrifices, see part ii, p. 454. The Udavasânîyâ (completing offering) takes place before the carrying round of the sacred water (ib. p. 389 seqq.). According to Kâty. XX, 3, 10-11, however, this singing of the Sacrificer's praises along with those of Pragâpati is to take place not only at the juncture specified in the text, but also at the beginning of the animal sacrifice of the Soma-days, that is, as would seem, prior to the slaying of the victims, at the morning pressing. The wording of our text seems hardly to admit of this interpretation.
83. That is, the so-called 'agnishtha,' 'standing by (or opposite) the (Âhavanîya) fire.' Cp. p. 301, note 1.
84. The raggudâla (or râggudâla, Sây. on Taitt. Br. III, 8, 19, 1) or 'sleshmâtaka' is the Cordia Myxa or C. latifolia, from the bark of which (according to Stewart and Brandis, Forest Flora of N.W. and Centr. India) ropes (raggu) are made, whence doubtless the above, as well as its scientific name, is derived; whilst 'the adhesive viscid pulp is used as bird-lime.'
85. That is, one on each side, right and left.
86. See p. 264, note 1. It would certainly seem to be something connected with the spinal cord.
87. According to Stewart and Brandis, the Aegle Marmelos is cultivated throughout India, and valued for its fruit, which is 'globose, oblong, or pyriform, 2 to 5 in. diam., with a smooth, grey or yellow rind, and a thick, orange-coloured, sweet aromatic pulp.' The flowers are stated to be greenish white, and 'the wood light-coloured, mottled with darker wavy lines and small light-coloured dots.'
88. The wood of Acacia Catechu is described as dark red, and extremely hard and durable, and hence not liable to be attacked by white ants, and not touched by Teredo navalis; being much used for pestles, seed-crushers, cotton-rollers, wheel-wright's work, ploughs, bows, spear and sword-handles.
89. 'From natural fissures and incisions made in the bark (of Butea frondosa) issues during the hot season a red juice, which soon hardens into a ruby-coloured, brittle, astringent gum, similar to kino, and sold as Bengal kino.' Stewart and Brandis.
90. See p. 331, note 1.
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