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FIRST CHAPTER. [158 ) (The Pra-uga Sastra. Pagatkāra, The Nivids.)

(The Pra-uga Śastra.) !

(The deities of the Pra-uga Śastra.) The Pra-uga Sastra is the recitation appropriate to the Soma offer 1 The Pra-aga sastra is the most peculiar of all the recitations by the Hotar on the day of the Soma feast; for it comprises a larger number of deities, divided into regular sections, than any other one, and has neither a proper Nivid, nor Pragathas, nor Dhāyyās, nor Soktas, as we constantly ind at the Sastras of the midday and evening libations. It consists only of the verses in seven sections, mentioned in the Rigveda Sambitá (1,2-3). Each section is preceded by a so-called Paroruk, along with the Ah&va. Before the Puroruk of the first section there are, besides, the Himkára and the three great words required. I here write these introductory words in the same order in which they are repeated by the Hotri-priests up to the present day: f yzia: Free sta preiz NETETT AS : AT THEET 4** Ifrat Farf: Ferarata a t (see 1, 2,1-3) i.e. May Vāyu who walks frst, be the enjoyer of the sacrificer, come with his mind to the sacrifice; (may he come) the happy with his happy crowd! Om! Come, 0 Vayı, &o.

The Paroruk of the second triplet (1. 2, 4-8), which is addressed to Indrayāya, is :

गोसावा ३ हिरण्यवतं नी नरा देवा पती अमिष्टये । बाथु श्चंद्रश्च सुमखोइ मिंद्रवायू इमे मुता. i. e., the two divine men who come of golden paths, the two masters (who are) for protes tion, Indra and Vaya, the happy ones, &c.

Puroruk of the third triplet, which is addressed to Mitra-Varuna (1, 2, 7-9):

STT UT ETT Bar Pere PTT I POSTCAT 467073 Find the two Kavyas (descendants of the Kavis), the two kings (who are distinguished) through skilful perform ance (of sacrifices) at home, and who destroy the enemies in the combat.

Puroruk of the fourth triplet, which is addressed to the Asyin, (1, 3, 1-3): .

शो३० देण्या अध्वयं प्रागतं रथेन सुषत्वचा । मध्वा यज्ञ समंजाधो३ माश्विना यज्वरी० Ye two divine Adhvaryus whose skin is sun-like, come up with (your) carriage ; may ye anoint the sacrifice with honey!

Puroruk before the fifth triplet, which is addressed to Indra (1, 3, 4-6):

शो३० इंद्र उपधेमिमंदिष्टो वाजानां च वाजपतिः।हरियां सुतामा सखोमिन्द्रायाहि. Indra who is most stimulated (to action) through the recitations (of the Motris), and is the lord of booty, he, with his two yellow horses, the friend of the Soma drops.

Puroruk before the sixth triplet, which is addressed to the viáve Daya) (1, 3, 7-9):

शॉ.विश्वान्देवान्हवामहेऽस्मिन्धज्ञ सुपेशसः। त इमं यज्ञमागमन् देवासो देख्या धिया । y qua To TRF ara: fasa at eratante #TATT. We call all the gods the well-adorned to this sacrifice; may these gods come to this sacrifice with divide thought, favourably accepting the seat (prepared for them) at the preparation (by cooking) of the self-making sacrifice (i.e., of the sacrificial personage whose body is always restorect by itself, when the sacrificial rites are performed) ; (may) all (come) to drink the soma i

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ings from the Grahas. Ninesuch Grahas are taken at the morning With nine (159] verses forming the Bahis-pavamāna chant, they are praised by singers. After the singers have finished [160] their chant, the Adhvaryu takes the tenth Graha (for the Asvips); the sound “him uttered by singers when chanting the other verses, counts as the tenth part. Thus, an equality of the Grahas and verses of the chant is obtained.

The Hotar repeats a triplet addressed to Vāyu (1, 2, 1-3). By this the Vayu graha is celebrated. He repeats a triplet addressed to Indra Vāyu (1, 2, 4-6). By this the Indra-Vāyii graha is celebrated. He repeats a triplet addressed to Mitra, Varuṇa. By this the Mitra-Varuṇa graha is celebrated. He repeats a triplet addressed to the Aśvins (1, 3, 1-3). By this the Aśvin graha is celebrated. He repeats a triplet addressed to Indra (1, 3, 4-6). By this the Sukra and Manthi grahas are celebrated. He repeats a triplet addressed to the Vifve Devāh (1, 3, 7-9). By this the Agrayana graha is celebrated. He repeats a triplet addressed to Sarasvati (1, 3, 10-12), though there is no Sarasvati graha (no such vessel as in the other cases). Sarasvatī is Speech. Whatever grahas are taken by means of Speech (under recital of a mantra), all these are celebrated by means of Sastras. He who has such a knowledge gets (thus) cele brated (all his Grahas).

(On the Meaning of the Several Parts of the Pra-uga Śastra.)

By means of the Pra-uga Sastra one ob tains food. In (each part of) the Pra-uga Sastra, there is always another deity praised, and (thus) always another being celebrated. He who has such a knowledge (161), keeps different kinds of food in his Grahas. The Pra-uga Sastra is, as it were, most intimately connected with the sacrificer. Thence they say, the greatest attention is to be paid to it by the sacrificer, For by means of it the Hotar makes him (his new body) ready.

Puroruk before the seventh triplet, which is addressed to Sarasvati (1, 3, 10-12) :

uz artar dat a l -45 Etat net alatigar I (invoke) the goddess of Speech with my excellent speech at this sacrifice ; we invoke Sarasvati, &c. (Sapta hãntra). -

2 The nine Grahas here alluded to are the Upansu, Antary&ma, Vàyava, Aindravayava, Maitrāvaruna, Ašvina, Sukra, Manthis Agrayana. The libations from these nino Grahas belong to the Bahispavamina Stotra, and the Pra-uga sastra.

3 See page 120.

• The expression in the original is, 80 sa sammi, no doubt an idiomatical expression, implying “this and that is the same.”

• The whole Pra-uga is intended for providing the sacrificer with food. A variety in food is produced by changing the deities in every part of the Sastra.

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He repeats a triplet, addressed to Vāyu, because they say, life is Vayu, Beed is life. Seed is first produced in the body) before a man is produced (out of it). By repeating a triplet addressed to Vāyu, the Hotar makes the prāna (air inhaled) of the sacrificer.

He repeats a triplet, addressed to Indra and Vāyu. Where there is prāna (air inhaled), there is apana (air exhaled). By repeating a triplet, addressed to Indra and Vāyu, he thus makes the prāna and apána of the sacrificer.

He repeats a triplet, addressed to Mitra-Varuṇa. That is done, because they say, the eye is first produced when a human being is being called into existence. By repeating a triplet, addressed to Mitra-Varuna, he thus makes eyes to the sacrificer.

He repeats a triplet, addressed to the Aśvins. Because parents say, in their conversations about a child when it is born, “it has the desire of listening (to us); it is very attentive.” By repeating a triplet, addressed to the Aśvins, he makes to the sacrificer the sense of hearing.

He repeats a triplet, addressed to Indra. Because parents say, in their conversations about a child, when it is born, “it endeavours to raise its neck, then its head." By repeating a triplet, addressed to Indra, he makes to the sacrificer, strength.

He repeats a triplet, addressed to Viśve Devāh. Because a child when it is born, uses bands and feet (162) after (it has been able to use the eye, ear, and to raise its neck). The limbs (for they are many) belong to the Visve Devāb, i.e., All Gods. By repeating a triplet, addressed to the Visve Devāh, he thus makes the limbs to the sacrificer.

He repeats a triplet, addressed to Sarasvati. Because Speech enters the child, when it is born, last. Sarasvati is speech. By repeating a triplet, addressed to Sarasvati, he thus makes speech to the sacrificer.

The Hotar who has such a knowledge, as well as the sacrificer for whom the Hotri priests repeat the recitations (Sastras), are, though already born (from their mother), born again from all these deities, from all the recitations (Sastras), from all the metres, from all the triplets of the Pra-uga Sastra, from all the three) libations.

8. (The Hotar has it in his power to deprive the sacrificer of his life, &c., by not

repeating the several parts of the Pra-uga Sastra in the proper way.)

This Pra-uga Sastra represents the vital airs. The Hotar addresses this recitation to seven deities. For there are seven vital airs in the head. By doing so, the Hotar places the vital airs in the head of the sacrificer),

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There is the question asked, Whether the Hotar might be able to produce woe as well as happiness to the sacrificer? (The answer is) He who might be the Hotar of the sacrificer at that time when the Pra-aga Sastra is to be repeated) can do with him what he pleases. If he think, “I will separate him from his vital airs," he need only repeat the triplet addressed to Vāyu confusedly, or forego a pada, by which means the (several parts of the) triplet become con (183) fused. In this manner, he separates him (the sacrificer) whom he wishes 80 to separate, from his vital airs.

Should he think, “I will separate him from his prána and apāne," he need only repeat the triplet addressed to Indra-Vāyu confusedly. or forego a pada. In this way, the triplet becomes confused, and he thus separates the sacrificer, whom he wishes so to separate, from his prāna and apāna.

Should he think, “I will separate the sacrificer from his eye," he need only repeat the triplet addressed to Mitra-Varuṇa confusedly, or forego a pada. In this way the triplet becomes confused, and be thus separates the sacrificer, whom he wishes so to separate, from his eye.

Should be think, “1 will separate him from the sense of hearing,” he need only repeat the triplet addressed to the Abvins confusedly, or forego a pada. In this way, the triplet becomes confused, and he separates the sacrificer, whom he wishes so to separate, from the sense of hearing,

Should he think, “I will separate him from his strength," he need only repeat the triplet addressed to Indra confusedly, or forego a pada. In this way, the triplet becomes confused, and he separates him, whom he wishes so to separate, from his strength.

Should he think, “I will separate him from his limbs," he need only repeat the triplet addressed to the Višve Devāh confusedly, or forego a pada. In this way, the triplet becomes confused, and he separates the sacrificer, whom he wishes so to separate, from his limbs.

Should he think, “I will separate him from his speech,” he need only repeat the triplet addressed to Sarasvati confusedly, or forego a pada. In this way, the triplet becomes confused, and he separates the (184) sacrificer, whom he wishes so to separate, from his speech, .

Should he think, “I will keep him joined with all his limbs and his soul,” he ought to repeat the triplet, as it was first told (to him by his master) in the right way. Thus he keeps him joined with all his limbs and his whole soul. He who has such a knowledge remaing joined with all his limbs and the whole soul,

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(All the Deities of the Pra-uga Sastra are said to be forms of Agni.)

They ask, How can it be accounted for) that the verses addressed to Agni which the Sáma singers chants are celebrated by a recitation of the Hotar commencing with a verse addressed to Vāğu, (the rule being) that the Sastra exactly corresponds to the Stotra? (The answer is) Those deities are only the bodies of Agni. When Agni is blazing up, as it were, that is his Vayu (wind) form. Thus he celebrates by means of this (Vāyu form) that (Agni form).

Divided into two halves, the fire burns. Indra and Vāyu are two. That is his Indra-Váyu form. Thus he celebrates by means of this (Indra-Vayu form) that (Agni form).

It moves up and down (when being lighted or extinguished); this is bis Mitra-Varuṇa form. Thus be celebrates by means of this (Mitra Varuṇa form) that (Agni form). (165] The dangerous touch of Agui is his Varuna form. His Mitra form is (shown in the fact) that men who make friends with him may sit near him, though his touch be dangerous. Thus he celebrates by means of these (Mitra and Varuna forms) that (Agni form).

His Ašvina form is that they produce him by friction through two arins and two wooden sticks, the Aśvins being two. Thus he celebrates by means of this (Aśvina form) that (Agni form).

That he burns with a loud crackling voice, imitating the sound bababd, as it were, on account of which all beings flee trembling from him. This is his Indra form. Thus the Hotar celebrates by means of the (Indra form) that (Agni form).

That they divide him into many parts (when taking fire from the hearth), though he is only one. This is his Viśve Devāh form. Thus the Hotar celebrates by means of this (Visve Devāh form) that (Agni form).

That he burns with a roaring noise, uttering speech, as it were. This is his Saravatī form. Thus the Hotar celebrates by means of this (Saras vati form) that (Agni form).

In this way, the triplet of the Sāma singers* becomes celebrated, notwithstanding these (different) deities in the several triplets, for him who thus has commenced (the Sastra) with a verse addressed to Vayu.'

•The recitation of the Pra-uga Sastra is preceded by the singing of the so-called Ajya-stotru : agna dyahi vitaye (Sama-veda 2, 10-12). The deity of it-is Agni, whilst the deities of the Pra-uga Sastra, to which it is said to stand in connection, are different.

Glord-sams parśa. See the Kausitaki Brābmagan 1, 1, whers Agni saya : मह घोरसंस्पर्शतमो ऽस्मि. The Ajya Stotra, see note 1. It consists of three verses.112

Having repeated the Sastra addressed to all the gods (Pra-uga), he recites a Yájyū mantra addressed (166] to the Viśve Devāh (all gods) : višvebhiḥ somyan madhvagna (l, 14, 10). Thus he satisfies all deities, giving to each his due share.

5. (On the Vaṣatkāra and Anuvaṣatkāra.) The Vasatkara!! (the formula vauṣat!) is the drinking vessel of the gods. By making the Vaṣatkāra, the Hotar satisfies the deities with (presenting) a drinking vessel.

He makes the Anuvaṣatkāra (the formula “Agni, eat!"). In this way, he satisfies the deities by repeatedly placing before them the Vaṣat kāra’ (representing the dripking vessel), just as men place before their horses or cows repeatedly grass, water, &c."

• They ask, Why do they sacrifice in the same Agni (the Agni of the Uttarā Vedi) where they did it before, and make the Vaṣatkāra there, when sitting near the Dhişnya’fires (after having left the place near the Uttarā Vedi) ? (The answer is) By making the louvaştkāra, * Agni, taste the Soma!” he makes there the Vaşatkāra and pleases the Dhişnyas.

They ask, Which is the Sviştakrit portion of the Soma at those offerings, as of which the priest tastes without having finished them, and vrithout making the Anuvaşatkāra ? (The answer is) By repeating the Anuvaşatkāra (when repeating the Yasyās for the Sastras)," Agni, taste the Sonia !" they (complete the ceremony and) drink from the Soma juice after the completion (of the [167] ceremony.* This very (Anuvasat kāra) is the Sviştakrit portion of the Soma. (Thence) he makes the Vaşatkāra (and Anuvasatkāra),

• The Pra-uga sastra is here called vaisyadevam, i.e., belonging to all the gods, on account of the large number of deities, comprising the Visve Devāh containcd ip it.

10 The paragraphs from 5, 8, are found also with very little change and a few omis sions in the Gopatha Brāhmaṇam 3, 1–5. Both evidently come from one source only.

“I This is tho full meaning of this as explained by sa yapa. *s See above. in These are the dvidevatya yrasias, seo 2.

** The priests are not allowed to eat from the sacrificial food, or drink of the Soma, before all the ceremonies pertaining to the offerings to the gods are completed. The Sviptakpit ceremony is regarded as the completion of the principal rites attending any oblation given to the gods. At this ceremony, the Apuvasatkāra does not take place. After it is complcted, the priests are allowed to eat the remainder of the food or drink the remaining juice.

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(On the Veaning of the Vaşatkara and its Different Parts), -

Tho Vaşatkāra is a weapon. If one has an enemy (and wishes to destroy him), one has only to think of him when making the Vaşatkára, in order to strike him a blowy with a weapon (in the form of the Vaşatkāra).

The word şat (six) is contained in the formula vau-şațls (the so callod Vaşatkāra). There are six seasons. Thus he makes the seasons and establishes them. He who is established in the seasons becomes afterwards (also) established in all other things. He who has such a kuowledge, obtains a firm footing

Hiranyadar, the son of Beda, said about this (the Vaşatkāra) as follows: By this part şat (six) of the formula (cauşut), the Hotar estab lishes these six (things). The sky rests on the air; the air on the earth; the earth on the waters.; the waters [188] on the reality (satya); the reality on the Brahma; the Brahma on the concentrated heat of medi tation (tapas). If these places are established, then all things are con sequently established. He who has such a knowledge has a firm footing.

The part viu of the formula tauşat means the sis seasons. By repeating the Vaşatkára, the Hotar places the sacrificer in the seasons, gives him a footing in them. Just as he does unto the gods, the gods do unto him.

(The Three Kinds of the Vaşatkāra : Vajra, Damachhad, and Dikta.

In what Tone the Vasathara is to be Repeated. The Hotar can, by 7200 repeating it lopcrly, injure the Sacrificer.)

There are three (kinds of the) Vaşatkāra, xu yra iraupaal damachhari. (who covers beings), and rikta (empty, void).

It is a vajra (weapon), in consequence of its being pronounced with a loud and strong voice by the Hotar. With it be strikes, whenever be pleases, a blow to his enemy and adversary who is to be put down by him, in order to put him down. Thence is this weapon, in the form of the Vaşatkāra, to be used by the sacrificer who has enemies.

It is damachiad, i.e., protecting the beings, on account of its being pronounced as an integral part of the verse to which it belongs without

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“The etymology which is here given of the word vauçat is of course quite fanciful. It is only a very much lengthened pronunciation of a conjunctive form Loksul, of the root valt, to carry, meaning, may lie (Agni) carry it (the offering) up. Instead of the original ok, du was substituted.

✓

1

omitting any part of it. Children and cattle stand near (this part of (169) the Vaşatkāra) and follow it. Thence ought le, who desires children and cattle, to make this Vaşatkāra

It is rikta, i.e., void, the syallable şat being pronounced with a low accent. He thus makes void (rikta) the soul, and the sacrificer. He who makes such a Vaşatkāra becomes a great sinner, and also be for whom

such & Vaşatkāra is made. Thence he should not wish to make it.

As regards the question whether the Hotar unight make the sacrificer happy or unhappy, the answer is, that lie who might be the Hotar of any sacrificer can do so. At this (occasion, i.e., at the sacrifice), the Hotar inay just do with the sacrificer as he pleases.

Should he wish to deprive the sacrificer of the fruit of his sacrifice, he has only to repeat the (Yajya) verse, and the Vasatkāra in the same tonel? (i.e., monotonously). If he do so, he deprives the sacrificer of the fruit of his sacrifice.

Should he wish to make the sacrificer liable to the consequences of a great guilt, he has only to repeat the (Yajya) verse with a very loud voice, and the Vaşatkāra with a very low one. (If he do so) he makes the sacrificer liable to the consequences of a great guilt.

Should he wish to make the sacrificer very happy, he has to repeat the (Yajya) verse with a very low, and the Vasatkāra with a very loud, voice. (That is done) for obtaining fortune. By doing so, he puts the sacrificer in the possession of) fortune.

The Vaşatkāra is to form an integral part of the (Yajya) verse (no stopping between the end of the (170] verse and vauşat being allowed), in order to have an uninterrupted whole. He who has such a knowledge becomes possessed of children and cattle.

8. (The Danger which might be imminent upon the llotar and Sacrificer’, in con

sequence of the Vaşatkāra weapon, is to be averted by certain Formulas.)

The Hotar ought to think of the deity to whom the oblation is given

10 The term in the original is nirlanarcha, i.e., without losing any part of the Rich. This means, that no vowel is to be dropped at the end of the Yajya verse when Vaugat is joined to it as an integral part. The remark is made on account of the way in which the syllable on (when pravnava is nade) is joined to the last syllablo of a verse In that case, the last vowel disappears and 6 is substituted in its stead If, for instance, the last syllable of the Rich be ya, theu in the Pranava yon is pronounceil. See the rules for making the Pranava in the Samidheni verses, Ašv. br. S. 1, 2.

1? The Yajya is repeated monotonously, and, at the morning libation, in a low tone, whilst the Vaşatkāra is pronouncod with a lond voice.

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when he is about to repeat the Vaşatkāra. Thus be pleases the deity personally, and addresses the Yājyā mantra direct to it.

The Vasatkāra is a weapon.18 The weapon is like a flash when one strikes with it without having conjured its evil effects. 1° Not every one knows how to conjure it, nor its (proper) place. Therefore the mantra, vag ojah (Asv. Sr. S. 1,5) is at such öccasions, when even many are killed (as is the case in a battle), the propitiation, and the assignation of the proper place after the Vaşatkāra). For this reason, the Hotar has, after every Vaşatkāra, to repeat the Anumantranazo formula, vág ojah. If thus propitiated, the Vaşatkāra does not hurt the sacrificer,* 1

[ 171] The sacrificer ought to repeat this Anumantrana formula : “0 “Vaşatkāra, do not sweep me away, I will not sweep thee away. I call

hither (thy) mind with great effort, thou art a shelter baring joined “thy) body with the air circulating (in my body). Go to (thy, place, let “me go to (my) place.”

Some one (a theologian) has said : this (just mentioned anumantranan) is too long and has no effect (Instead of it) the sacrificer ought to repeat after the Vaşatkāra the words, ojah saha ojah. Ojaħ (vigour) and sahal (strength) are the two most beloved bodies (forms) of the Vaşatkāra. By making him repeat this Anumantraṇa formula, he thus makes the sacrificer prosper through (the Vaşatkāras) own nature. He, who has such a knowledge, prospers through (the Vaşatkāra’s) own nature.

The Vaşatkāra is speech, and prāna (air inhaled) and apána (air , exhaled). These (three) leave as often as a Vaşatkāra is repeated. (But that ought to be prevented; thence) he ought to include them (their names) in the Anumantrana formula. (This is done by repeating the following formula) vág ojaḥ saha ojo mayi pranāpānāu, i,e., May speech, vigour, strength (and) the prāṇa and apāna (be) in me! Thus the Hotar puts speech, prāna and apāna in himself (he prevents them from going), and reaches his full age. He who has such a knowledge reaches his full age.

15 This idea is clearly expressed in an Anumantrapa formula ; a &tu ar Sear

a

#; i.e., I slay, with the Vasatkāra as a weapon, him who hates us as well as him whom we hate (āsv. Dr. S. 1, 3).

to For the mischief done by a weapon, he who strikes with it, is aaswerable. To guard himself against the evil consequences of such an act, propitiation (śāntz) is required.

20 This is the technical name of those formulas which are to be repeated by the Hotar and the sacrificer after the proper mantra has been recited. They follow the mantra. Thence the name, anumantrala. They must be always uttered with a low voice.

21 Up to the present day, the Srotriyas or sacrifical priests never dare to pronounce this formula save at the time of sacrificing. They say that, if they would do po at any other time, they would be cursed by the gods,

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(Etymology of the worlls Praişa, P7:47'0?puk, Vedi, Nivid, Graha. i

The sacrifice went away from the gods They wished it (to l’eturn by means of the Praişas “i (172] That is the reason that the Praisas (orders to repeat a mantra given by the Adhvaryu or Mitra Varuna to the Hotar) are called so (from prato iş, “to wish”). They made it shine forth (prārochayanti) by means of the Puroruks. Thence the Puroruk is called so (from prārochayanti). They found it on the Vedi. Thence this place is called Vedi (from vid, to find). After having found it, they caught it with the Grahns; thence they are called so (from grill, 10 catch, seize). Having found it, they announced it to the gods by means of the Nivids.

Thence they are called Nivids (from nivedayati, he announces).

A person who wishes to recover something lost, wants either much (of it) or little. Among two, the elder (most experienced) wislies for the best (portion). He who knows that the Praisas are exceedingly strong (give most power), knows (at the same time) that they are the best portion. The Praişas being the desire to l’ecover something lost, he (the Mitra Varuna) repeats them with his head lowered (777071.vas) (just as suppli cants do).

10. (On the Proper Place of the Nivids in the Three Litali0175.) The Nivids are the embryos of the Sastras (217thas). At the morning libation, they are put before the Sastras (ukihas), because the embryos are lying in the womb trith their heads turned downtyard, and thus they are born (the head coming first out of the womb). At the midday libation, the Nivids are put in the midst of the Sastras). This is done because the embryos have their hold in the middle of the womb. At the evening libation, the Nivids are repeated at the end of the Sastras), because the embryos are coming down from thence (the womb) [173] when they are brought forth. He who has such a knowledge is blessed with children and cattle

The Nivids are the decorations of the Sastras. They are put, ai. the morning libation, before the Sastras, just as a weaver weaves deco rations in the beginning of a cloth.

At the midday libation, they are put in the midst of the Sastras), just as a weaver weaves decorations in the midst (of a cloth).

At the evening libation, they are put at the end of the Sastras), just as the weaver weaves decorations in the end of a cloth (avaprajjana).

MAN

22 The Praisas here alluded to are those used at the animal sacrifice. They corres pond to the Prayája (Aprí) mantras. See the White Yajurveda 21. 29-40,

He who has such a knowledge is ornamented on all parts with the decora tion of the sacrifice.

(How the Nivids should be Repeated. How to Correct Mistakes

Arising from Confusion.) The Nivids are deities connected with the sun. When they are put at the morning libation at the beginning of the Sastras), at the midday libation in the midst, and at the evening libation at the end, then they follow the regular course of the sun.

The gods bad obtained (once) one portion of the sacrifice after the Other (pach-chhas). Thence the Nivids are repeated pada by pada. When the gods had obtained the (wbole of the) sacrifice, a horse came out of it. Thence they say, the sacrificar ought to give a horse to the reciter of the Nivids. By doing so (presenting a horse), they present really the most exquisite gift (to the reciter).

The reciter (of the Nivid) ought not to forego any of its padas. Shoulde he do so, he would make a rupture in the sacrifice; if this (rupture) increases, the sacrificer then becomes guilty of the consequences (174) of a great sin. Thence the reciter ought not to forego any of the padas of the Nivid,

He ought not to insert the order of tro padas of the Nivid. Should he do so, he would confound the sacrifice, and the sacrificer rould be come confounded. Thence he ought not to insert the order of tiro padas.

He ought not to take together tito padas of the Nirid. Should he do so, he would confound the sacrifice, which would prore fatal to the sacrificer. Thence he ought not to take together tiro padas of the Nivid mien repeating it.

He ought to take together only the two padas, predam bralna and predam kşatran.28 If he do so, it is (done) for joining together the Brahma and the Kşatra. Thence the Brahma and Kşatra become joined.

He ought, for the insertion of the Nirid, to select hymns consisting of more than a triplet, or stanza of four verses ;for the several padas of the Nivid ought to correspond, each to the several verses in the hymn.”

23 These two sentences form part of every Nipid, used at the midday or evening libation. They occur in the following connections: Aiga qaslaag en aan zu s 15 gaara 451ATTHAT I

96 This refers to the siikta or hymn wbichi stands in connection with the Nivid.

85 The expression richan sūktam prati is evidently a Hendiadpoin; for the distria butive meaning of pratı can only refer to rich, but not to sarkta ; because there are not as maly saktas as there are padas of the Niyid. The sentence,

pamet

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Thence he ought, for the insertion of the [175] Nivid, to select hymns consisting of more than of stanzas with three or four verses. Through the Nivid the celebration of the Sāman is made excessive. 36

At the evening libation, he ought to put the Nivid when only one verse (of the Sastra) remains (to be recited). Should he recite the Nivid when two verses (of the Sastra) are still remaining, he would thus destroy the faculty of generation, and deprive the Offspring of their embryos. Thence he ought to repeat the Nivid at the evening libation when only one verse of the Sastra) remains (to be recited).

He ought not to let fall the Nivid beyond the hymn to which it be longs).*? Should be, however, do it, he ought not to revert to it again (not to use the hymn), the place (where the Nivid is to be put) being de stroyed. He ought in such a case) to select another bymn which is addres sed to the same deity and in the same metre, to put the Nivid into it.

(In such a case ) he ought, before (repeating the new) Nivid bymn, to recite the hymn : mā pragūna (1761 patho vayan (10, 57), i.e., let us not go astray. For he loses his way wlio gets confounded at a sacri fice. (By repeating the second pada) ma yajned indra saminah (10, 57, 1) i.e., (let us not lose) O Indra, the Sona sacrifice, he prevents the sacrificer from falling out of the sacrifice. (By repeating the third pada) ma antal sthur no arātayah, i.e., “May no wicked men stand among 118 !” he turns away all who have wicked designs, and defeats them,

In the second verse of this hymn) yo ya jñasyja prasadhanas tantur, j.e., " Let us recover the saine threarl which serves for the performance

fezii, can easily be misunderstood. At the first glance it appears to mcan “he ought not to think of selecting any other hymn for inserting the Nivid, save such ones as consist of three or four verses.” Say. followed this explanation which most naturally sur gests itself to every reader. But, in consideration that all the Nitid hymns, actually in use, and mentioned in the Aitareya Br. exceed in number four vorses (some contain eleven, others even fifteen verses), that explanation cannot be correct. The passage can only have the sense given to it in my translation.

3* The Sastra thus obtains more verses than are properly required.

27 The meaning is: he should not repeat the Nivid, after he might have repeater the whole of the hymn in which it ought to have been inserted. Should he, however, have committed such a mistake, then he must select another hymn, and put the Nivici in its proper place, i.e., before the last verse of the hymn. The Hotar is more liable to commit such a mistake at the evening libation than at the two preceding ones. For, at the evening libation, there are seven Nivids (to Savitar, Dyāvāprithivi, Ribhus, Vais vānara, Visvedevāh, Maratas, and Jātavedas) required, whilst we find at the inorning libation only one (which is rather # Puroruk than i Nivia), and at the middar libation two (to the Marutas and Indra),

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of sacrifice, and is spread among the gods** by means of which was ((hitherto) sacrificed (by us),” the expression tantu (thread) means off spring. By repeating it, the Hotar spreads (santanoti) offspring for the sacrificer.

(The words of the third verse are) mano nu di Puvāmahe rārā samsena somena, i.e., “Now we bring an offering** to the mind (manas) by pouring water in the Soma cups (deroting them thus to Naras amsa).” By means of the mind, the sacrifice is spread ; by means of the mind, it is performed. This is verily the atonement at that occasion (for the mistake pointed out above).