SECOND CHAPTER. [177] (The Murutvatiya and Niṣkevalya Sastrus.)
12
(On the Ahava and Pratigara.) They (the theologians) say: the subjects of the gods are to be pro cured. (To achieve this end) one netre is to be put in another metre. (This is done when) the Hotar calls (the Adhvaryu) by sorn sávon, " Let us both repeat, yes !" which (formula) consists of thee syllables. At the morning libation, the Adhvaryu responds (prati-grihnáti) (to this formula of three syllables) with one consisting of five: samsamo daivớn. This makes eight on the whole. The Gāyatri has eight syllables (i, e, each of its three padas). Thus these two (formulas) make the Gāyatri at the com mencement of the recitation at the morning libation. After the Hotar has finished his recitation, he uses this (formula of) four syllables : ultham [178] vdchi, i.e., the recitation has been read, to which the Adhvaryu
28 Sāy, has, in his commentary on the Rigveda Samhita, the followiog remark : देवैः स्तोत्रिभिः ऋत्विग्भिविस्तारितो वर्तते. 29 Of GIEB Say. gives two different explanations in his commentaries on the Ait. Br. and in that on the Rigveda Sanhiti. In the first, he explains it by mean I call hither (from hve to call); in the other, he derives it from illi, to sacrifice. The latter expla nation is preferable.
! See 1, 9.
- See about the Pratigara, i.e., response by the Adhvaryu to the recitations of the Hotar, Åsv, br. S. 5, 9. The most common pratigaru repeated by the Adhvaryu is othāno daiva; but at the time of the andva (the call somscivom) it is : samsamo daiva. At the end of the Pratigara, the pranaya, (incorporation of the syllable om) required, is daivôni.
The formula utham vachi, with some additional words, always concludes a Sastra. In the Kauṣītaki Braumanam (14, 1), and in the Saukhay. Srauta Sātras (8, 16, 17-20), this formula is called achia viryan, In the šval, Sutras, no particular name is given to it. The Kauṣītaki and Sankbay. Sábbas differ here a little from that of švalāyana, According to the former, uktham vấchi is always preceded by a few sentences which are
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(responds) in four syllables : om ukthasá, 2.c., thou hast repeated the recita tion* (uktham, sastram). This makes eight syllables. The Gāyatıi consists of eight syllables. Thus the two (formulas) make at the morning libation [179] the Gāyatris at both ends (at the commencement and the end).
At the midday libation, the Hotar calls: adhoor’Yo sorsāvom, że * Adhvaryu, let us two l’epeat ! Om!” with six syllables ! to which the Adlivaryu responds with fire syllables, the sainsā mo daivom. This makes eleven syllables. The Triṣtubli has eleven syllables. Thus he makes the Tristubh at the beginning of the Sastra at the midday libation. After having repeated it, he says, uktham vachi indraya, t.e… the Sastra has been read for Indra, in seven syllables ; to which the Adhvaryu responds in four syllables : on ukthašā. This makes (also) eleven syllables. The Tristubh has eleven syllables. This the two
ay
he
not to be found in Äsval. Thus, we have, for instance tlore, at tho cud of the Maruta vatiya Sastra, the following formulas : EPFTET atasi mai proan 274arig In the Åsval. Sutras (3, 14), there is instond of it only: 2941 art19 syuar Al overy Sastra ropcated by tho Hotar, there is a little dilforence in the
mula The rules, as givon liere in this paragraph, rcfor only to tho conclusion of tho Sastras of tho muinor Hotri priests; they alono conduia
toost any other appendage (sco Ašval., 10). The concluding formulas for the Holar arc, according to šval, dr. S., as follows:
(a) For the Ajya Sastra i 35 anni giore at (U, 0). (0) For the Pra-uga sastra : 5e are pa1912 cai (3, 10). (c) For the Maratvatīya sastra (see above). (d) For the Niskovalya sastra: 57 a tatesuad a (3, 15). (e) For the Vaišvadeva sastra : 31 art1a *Simca tan (6, 18) (1) For the Agnimaruta saslra: 32 arira 2+1 12012 at (5,20).
All theso appendages express the idor, that the god to whom the recitation is addressed should hear it, and take notice of it. So głosuriyat turi moans that “it (the recitation) might be soundert to thee;” upuoranziato turi, " that it might be for thy hoaring." Tho active participle in tho proxont touse misū kero have somothing like the meaning of an abstract noun, corresponding with slukriya and (išrului. Litorally, semneriate appears to mean thatós the hearing of this recitation inight como) lo thec."
After the repetition of these formulas which conclude all nastras, the Yaivd verso belonging to the particular Kastra is recited.
A This alone can be the meaning of the obscure formula, ikihubir, which comes no doubů from the remotost antiquity. It is perhaps al corruption of ithain séis, tho neutral charac term being left out, Sāy, explains : a TETTI. “thou art the repeater ol lbe sastra.” But this meaning is not appropriate to the occasion at which the formula is used. This is done only when the rocitation is over. The only proper meaning of the formula therefore is either tho recitation is repeated," or “thou last repeated the recitation.”
3 The Gayatri is the characteristic metre of the morning libation; thenco its form (eight syllables) is to appear in some shape at the commencoment as well as at the end of the Sastrein
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(formulas) make the Triṣtubh at both ends of the Sastra at the middag libation.
At the evening libation, the Hotar calls : adhvaryo som-sonsārom, in seven syllables, to which the Avdharyu responds in five syllables : śarsā mo daivom. This makes twelve syllables. The Jagati has twelve syllables. Thus (with thess two formulas taken together) he makes the Jagatī at the beginning of the Sastra at the evening. libation. After having repeated the Sastra, he says, in eleven syllables: uktham vấchi indraya devebhyah, 1.C., “the Sastra has been repeated for Indra,” for the Devas, to which the Adhvaryu responds in one syllable: om! This makes twelve syllables. The Jagatī has twelve syllables. Thus the two (formulas) make the Jagati at both ends at the evening libation.
This (the mutual relation of the three chief metres to one another and to the sacrificer) saw a Riṣi, and expressed (his opinion) in the mantra: yad gayatre adhi (1, 164, 23), 3.6., “those who know that [180] the Gayatri is put over a Gāyatri, and that out of a Triṣtubh a (another) Trishţubh is formed, and a Jagat (Jagatí) is put in a Jagat, obtain immortality. 96
In this way, he who has such a knowledge puts metre in metre, and procures " the subjects of the gods."
- (On the Distribution of the Metres among the Gods. Å nuṣtubh
Prajāpati’s Metre.) Prajapati allotted to the deities their (different) parts in the sacrifice and metres. He allotted to Agni and the Vasus at the morning libation the Gayatri, to Indra and the Rudras the Tristubh at the mid day libation, and to the Viấve Devāh and Adityas the Jagati at the evening libation.
His (Prajapati’s) own metre yas Anuṣtubh. He pushed it to the end (of the Sastra), to the verse repeated by the Achhāvāka (which is the last). Anuṣtubh said to him: “Thou art the most wicked of all gods; for thou hast me, who am thy metre, pushed to the end (of the Sastra), to the verse repeated by the Achhāvā ka." He acknowledged (that he had wronged her). (In order to give redress) he took his own Soma (sacrifice) and put at the beginning, at the very mouth of it,
• The meaning is, that no pada of a metre, neither that of the Gāyatri nor Triştubh, nor Jagati can stand alone, but must be joined to another pada of the same metre. The anava and pratigara must, therefore, be at the beginning as well as at the end of the Sastra in the same metre, for each time they consist only of one pada, and that is not auspicious.122
Anustubh. Thence Anuştubh is joined (to the Sastras, as the first metre as the very mouth-piece at all libations.
He who has such a knowledge becomes the first, the very mouth (of the others), and attains to supremacy. Prajāpati having thus made (the beginning [181] of all libations) at his own Soma sacrifice (with Anuştubb), the sacrificer (who does the same) becomes master of the sacrifice, and the latter becomes (properly) performed. Wherever a sacrificer has a sacrifice performed, so that he remains master of it, it is performed for this (the whole) assemblage of men? (who miglit be with the sacrificer).
(How Agni, as Hotar of the Gods, Escaped the Meshes of Death.)
When Agni was the Hotar of the Gods, Death sitting in the Bahis pavamapa Stotra lurked for him. By commencing the Ajya Sastra! with the Anuştubh metre, he overcame Death. Death repaired to the Ajya Sastra lurking for Agui. By beginning (to repeat) the Pra-uga Sastra, he overcame Death (again).
At the midday libation, Deatlı sat in the Pavamāna Stotra? o lurking for Agni. By commencing the Marutvatiya Sastra with Anustubh, he overcame Death. Death could not sit, at that libation, in the Brihati verses (repeated by the Hotar at the commencement of the Nişkevalya Sastra). For the Brilatīs are life. Thus Death could not take away the life. This is the reason that the Hotar begins (the Nişkevalya Sastra) with the Stotriya triplet (corresponding to the Sāraan which is sung) in the Brihatī metre. The Bribatis are life. By commencing [182] his second Sastra (with Brihatis), he has the preservation of (his) life in view.
At the evening libation, Death sat in the Pavamāna Stotra lurking. for Agni. By commencing the Vaišvadeva Sastra with Anuştubh, Agni overcame Death. Death repaired to the Yajnza yajniya Sūman." By
? The sacrificer is to make the sacrifice, i.e., the sacrificial man, his own, i.e., he must subject it to his own will, just as Prajapati did. Thus he makes it beneficial to others. Just as Prajapati benefited gods and men by it.
See page 120.
See the hymn : pra vo devaya agnaye, 2, 35, which is ir the Anustubh metre and which is meant here.
10 Uchchā te jấtan andhaso. Samaveda Sainh. 2. 22-20.
AST y at Sāmaveda sanih, 2, 53-54,
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commencing the Agni-Maruta Sastra, with a hymn addressed to Vais vānara, he overcame Death. For the hymn addressed to Vaišvānara is a weapon; the Yajna yajniya Sāman is the place. By repeating the Vais vānara hymn, he thus turns Death out of his place.
Having escaped all the meshes of Death, and his clubs, Agni came off in safety. The Hotar who has such a knowledge, comes off in safety, preserving his life to its full extent, and attains to his full age (of a hun dred years).
- (Marutvatiya Sastra. Indra Conceals Eimself. How he was found.)
Indra, after having killed Vritra, thought, ‘I might perhaps not have subdued him (apprehending his revival), and went to very distant regions. He (ultimately) arrived at the most distant place. This place is Anus gubh, and Anustubh is Speech. He having entered Speech, lay down in her. All beings scattering themselves here and there went in search of him. Tbe Pitaras (manes) found him one day earlier than the gods. This is the reason that ceremonies are performed in honour of the Pitaras previous to the day on which they sacrifice for the gods. I* They (the gods) said, " Let us squeeze the [188] Soma juice ; (then) Indra will come to us very quickly." So they did. They squeezed the Soma juice. By repeating the verse, a tva ratham (8, 57, I), they made him (Indra) turn (towards the Soma jaice). By the mantra, idam vaso sutan (8, 2, 1), he became visible to the gods on account of the term (suta), i.eu, squeezed (contained in it). 18 By the mantra, indra nediya ed ihi (8, 53, 5),they made him (Indra) come into the middle (of the sacri ficial place).
He who has such a knowledge, gets his sacrifice performed in the presence of Indra, and becomes (consequently successful by means of the sacrifice, having Indra (being honoured by his presence).
(Indra-Nihava Pragatha.) As Indra bad killed Vritra, all deities thinking that he bad not conquered him, left him. The Maruts alone, who are his own rela tions, 16 did not leave him. The “maruto svāpayah” (in the verse, Indra
12 The Pitaras are worshipped on the Amavasyā day (New Moon), and the Darsa pürpima isti takes place on the pratipada (first day after the New Moon).-.-Sāy.
10 These two first are called the pratipad and anuchara of the Marutvatīy Sastra, the beginning verse and the sequel,
** This mantra is called, indra-nihava pragcitia, i.e., pragātha for calling Indra near.
do Svàpi, which term occurs in the Indra-Nihava Pragatha (8, 58, 5), is explained by Sāy. gegara sf arat: But this interpretation, which is founded on Vedantic ideas strange to the poets of the Vedic hymns, is certainly wrong ; for, “being
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nediya) are the vital airs. The vital airs did not leave him (184] (Indra). Thence this Pragatha, which contains the term svāpi (in the pada) ā svāpe svāpibhir, is constantly repeated at the midday libation of all Soma sacrifices). When, after this (Pragathal, a mantra addressed to Indra is repeated, then all this is termed) Marutvatiya (Sastra). If this unchangeable Pragatha, containing the term svāpi, is repeated then always the Marutvatīya Sastra is made).
- . (Brāhmanaspati Pragatha. To achat Stotras the Indra-Nihava and
Brahmanaspati Pragatha belong. The Dháyyds )
He repeats the Pragāthale addressed to Brāhmanaspati. Led by Brihaspati as Purohita (spirirual guide), the gods conquered the celestial world, and were (also) victorious everywhere in this world. Thus the sacrificer who is led by Brihaspati as his Purohita, conquers the celestial world, and is (also) victorious everywhere in this world.
These two Pragathas, 1? not being accompanied by a chant, are recited with repetition 18 (of the last pada of each verse). They ask, “How is it that these two Pragathas, which are not accompanied by a chant, are re cited with repetition (of the last pada of each verse), the rule being that no Sastra verse can be recited with such a repetition, if it be not accompani ed by a chant ?” (The answer is) The Marutvatīya (Sastra) [185] is the recitation for the Pavamāna Stotra ;19 they perform this Stotra (in singing), with six verses in the Gāyatri, with six in the Brihatī, and with three in profound sleep," does not suit the sense of the passage at all. How could the Marutas assist Indra when they were in profound sleep" (susupti)? In order to countenance his interpretation, Sāy, refers to the meaning “prcina,” life, attributed to the word by the author of the Ait. Br. itself in this passage. The word is, however, to be traceable only to su-api or svampīpi. That api means “friend, associate," follows from several passages of the Samhita. See Boehtlingk and Roth’s Samskrit Dictionary, i., p. 660.
18 A Pragatha comprises two richas, according to šv. Sr. S. 5, 14; TET: E RT car g ai: i. e, the Pratipad (opening of the Marutvatīya Sastra) and its Anuchara (sequel) consist of three richas, the Pragathas of two richas.
17 The Indra-Nihava and Brahmanaspatyah Pragatha.
19 The two Pragatha verses are to be repeated, so as to form a triplet. This is achieved by repeating thrice the fourth pada of each verse, if it be in the Brihatī metre, In a similar way, the Sāna singers make of two verses three.
1: The Pavamāna Stotra or the performance of the Sama singers at the beginning of the midday libation, consists only of three verses in the Gayatri (uchchi te játo,Saunaveda,
2, 22-24), of two in the Brihatī (punánah Soma, 8. V, 2, 25, 28) and three in the Tris. tubh metre (pra tu drava pari kośam, S. V, 2, 27-29). The three Gayatris are sung twice, thus six are obtained, and the two Bribatis are twiee repeated in such a manner as to produce each time three verses (by repeating thrice the last pada of each verse), which makes also six. Sāma prayoya,
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in the Triştubh metres. Thus, the Pavamāna (Stoma) of the midday libation comprises three metres, and is fifteen-fold.20 They ask, " How becomes this Pavamāna Stoma celebrated (by a Sastra) ?" The two last verses of the Pratipad triplet (8, 57, 1-3, ā tvā ratham) (186] are in the Gayatri metre (the first being Anuştubh), and also the triplet which forms the sequel (of the Pratipad) is in the Gayatri metre. Thus the Gayatri verses (of the Pavamāna Stotra) become celebrated. By means of these two Pragathas (the Indra-Nihava and Brāhmaṇaspati Pragatha, which are in the Brihatī metre) the Brihatī verses (of the Pavamāna Stotra) become celebrated.
The Sāma singers perform this chant with these verses in the Brihati metre, by means of the Raurava and Yaudhaja Sāmans (tunesal), repeating thrice (the last pada of each verse). This is the reason that the two Pra gāthas, though they have no Stoma belonging to them, are recited with repeating thrice (the last pada of each verse). Thus the Stotra is in ac cordance with the Sastra.
Two Dhāyydsās are in the Triştubb metre, and also the hymnos in which the Nivid is inserted. By these verses in the Triştubh metre), are the Triştubhs of the Stotra celebrated. In this way, the Pavamāna
30 For the explanation of this and similar terms, Sayapa refers always to the Brāhma. nas of the Sāmaveda. Tha explanatory phrase of the panchadas’ah stoma of the Samaveda theologians is constantly the following : farar esta a: fagf: E91 E ETI 17
यो हिं करोति स एकया । सतिसृभिः स एकया पंचभ्यो हि करोति स एकया स एकया स तिमृभिः These enigmatical words are utterly unintelligible without oral information, which I was happy enough to obtain. They refer to the number of verses obtained by repetition of the triplet which forms the text of a Saman, The Sā man consists of two verses only : it is first to be made to consist of three, by repetition of some feet of the two principal verses, before it can be used as a chant at the Soma sacrifices. After a triplet of verses has been thus obtained, it is to be chanted in three turas, each turn containing in three subdivi sions a certain number of repetitions. This number of repetitions is indicated by three rows of wooden sticks of the Udumbara tree, called lcuści, each row comprising five (if the Stoma is the panchadasa, the fifteen-fold), which the three Sama singers must arrange according to a certain order before they can chant the Saman. Each row is called at puryāya. The several sticks in each row are placed in the following order : 1st row in a straight, I across, 1 in a straight, line ; 2nd row~1 in a straight, 3 across, 1 in a straight, line; 3rd row-1 in a straight, 1 across, 5 in a straight, line. As often as the sticks of one row are laid, the Sama singer atters the sound him. This apparatus is regarded as quite essential for the successful chanting of the Saman. See more on this subject in the notes to 8, 42.
22 These are the names of the two peculiar tunes in which the verses, princinah some and duhana ūdhar (Sā maveda S, %, 25-26) are sung.
22 See 3, 18 : the two first, agnir netā, and toam Soma fratubhih are in the Triştubh metre,
1: The Nivid hymn is janiştha ugra , see 3, 19; it is in the Tristabh metre
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Stoma, comprising three metres, being fifteen-fold, becomes celebrated for him who has such a knowledge.
18 (On the Origin of the Dhāyyās, their Nature and Meaning.)
He recites the Dhāyyās. Prajāpati had (once) sucked up from these worlds everything he desired (187) by means of the Dhảyyās (from dhe, to suck). Thus the sacrificer who has such a knowledge sucks up from these worlds everything he desires. The nature of the Dhāyyās is. that the gods at a sacrifice, wherever they discovered a breach, covered it with a Dhāyyā; thence they are so called (from dhli, to put). The sacrifice of him, who has such a knowledge, becomes performed without any breach in it.
As to the Dhāyyās, we sew up with them (every rent in the) sacrifice, just as we sew up (a rent in) a cloth with a pin that it might become mended. A breach in the sacrifice of him who has such a knowledge becomes thus mended.
As to the Dhāyyās, they are the recitations for the Upasads.24 The verse, Agnir netd (3, 20, 4), which is addressed to Agni, is the recitation for the first Upasad ; the verse, toum Soma kratubhik, which is addressed to Soma (1, 91, 2), is the recitation for the second Upasad; the verse pinvanty apo (1, 64, 6), which is addressed to Vişnu, is the recitation for the third Upasad. Whatever place one may conquer by means of the Soma sacrifice, he who, having such a knowledge, recites the Dhāyyās, conquers (it only) by the several Upasads.
About this last Dhīyyā, some say, the Hotar ought (instead of pinvanty apo) to repeat lān ro maho (2, 34, 11), asserting, “we distinctly know that this verse is repeated as the third Dhūyya) among the Bharatas.” But this advice is not to be cared for. Should the Hotar repeat that verse (tản vo maho), he would prevent the rain from coming, for Parjanya has power over the rain (but there is no allusion to him in that verse). But if he repeat the verse pinvanty apo, where there is a pada referring to rain (the third atyam na mihe), and one referring to the Marutas [188] (the storms accompanying the rain, in the first pada), and the word viniyanti, “they carry off," which refers to Vişnu, whose characteristic feature is said to be vichakrame, 2.c., he strode (thrice through the universe), which meaning is (also) implied in the term vinayanti, and (where is further in it) the word, vajie," being laden with booty,” referring to Indra (then the rain would come). This vese has four padas, and (as we have seen) refers to raio, the Marutas, Vişnu,
24 See Ait. Br. 1, 23-25,
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and Indra, and, though (on account of these allusions just mentioned, and its being in the Jagatī metre) properly belonging to the evening libation, it is repeated at the midday libation. Therefore the cattle of the Bharatas which are at their stables at evening (for being milked) repair at noon to a shed erected for giving all the cows shelter (against heat). That verse (pinranty apo) is in the Jagatī metre; cattle are of the Jagatī nature; the soul of the sacrificer is the midday. Thus the priest provides cattle for the sacrificer (when he recites this verse as a Dhāyyā at the midday libation).
- (The Marutvatiya Pragatha. The Nivid hymn of the Marutvatiya Sastra. How the Hotar can injure the sacrificer by misplacing the Nirid.)
He repeats the Marutvatīya Pragatha (pra va indraya brihate, 8, 78, 3). The Marutas are cattle, cattle are the Pargatha (that is to say, the Pragātha is used) for obtaining cattle.
He repeats the hymu janiştha ugrah (10, 73). This hymn serves for producing the sacrificer. For, by means of it, the Hotar brings forth the sacrificer from the sacrifice as the womb of the gods. By this (hymn) victory is obtained; with it the sacrificer remains victor, without it he is defeated.
[189] This bynu was (seen) by (the Rişi) Gauriviti. Gauri viti, the son of Sakti, having come very near the celestial world, saw this hymn (i.e., had it revealed); by means of il, he gained heaven. Thus the sacrificer gains by this (byma) the celestial vorld.
Having repeated half the number of verses of this hynn), he leaves out the other half, and inserts the Nivid *in the midst of both
22 This is not strictly in accordance with the rules laid down by Ásvalāyana, who in his Srauta Sutras, 5, 14: frer SETTET: Tear Acaciat fara ZenF EY
ATENTE i.e., the Nivid sakta is, janiştha ugrah, After having repeated one verse more than half the pumber of verses (the whole has eleven verses) of which it consists, he ought to insert the Nivid. That ought always to be done at the bidday libation, where the number of verses of the Nivid Sakta is uneven. The sakta janiştha ugra consists of eleven verses. The number being uneven, the Marutyatīya Nivid is put in the hymn janiştha ugra after the sixth verse, which concludes with you. The text of this Nivid (see the Sankhāyāna Sātras, 8, 18) is (according to Sapta Hantra) as follows: शोसावो३ मिन्द्रो महत्वान्तसोमस्य पिबतु । मरुस्तोत्रो मरुद्रयः। मरुत्सखा मरुधः । धुन्वृत्रा सृजदपः। मरुतामोजसा सह । य ईमेनं देवा अन्वमदन् । असूर्ये वृत्रतूर्य । शंबरहत्ये गविष्ठौ । अर्चतं गुह्या पदा । परमस्या परावति । श्रादी ब्रह्माणि बंधयन् । अनाधष्ठान्योजसा । कृण्वं देवेभ्यो दुवः । मरुद्भिः सखि भिः सह । इन्द्रो मरुत्वा इह श्रवदिह सोमस्य पिबतु । प्रेमा देवो देवहूतिमवतु देव्या धिया । प्रेदं ब्रह्म प्रेदं चन्नम् । प्रदं सुन्वन्तं यजमान अवतु । चित्रश्चित्राभिरूतिभिः । श्रवद् ब्रह्माण्यावसागमत् । 16., May Indra with the Marutas drink of the Soma. He has the praise of the Marutas ; he has (with him) the assemblage of the Marutas. He is the friend of
wth
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parts). The Nivid is (190) the ascent to heaven; it is the ladder for climbing up to heaven. Therefore) he ought to recite it (stopping at regular intervals) as if he were climbing up (a height) by means of a : ladder. Thus he can take along with him (up to the celestial world) that sacrificer to whom he is friendly. Now, he who desires heaven, avails himself of this opportunity of going thither.
Should the Hotar intend to do any harm (to the sacrificer) thinking, “may I slay the Vis through the Ksatra,” he need only repeat the Nivid in three different places of the hymn in the commencement, middle. and end). For the Nivid is the Kşatram (commanding power), and the hymn the Vis (prototype of the Vaisyas); thus he slays the Vis of any one whom he wishes through his Kşatra." Thus he slays the Vis through the Kşatram.
Should he think, “may I slay the Kşatram through the Vis," he need only thrice dissect the Nivid through the hymn (by repeating the hymn at the commencement, in the iniddle, and at the end of the Nivid). The Nivid is the Kşatram, and the [191) hymn is Vis. He thus slays whosoever Kşatra he wishes by means of the Vig.
Should he think, “I will cut off from the sacrificer the Vis (relation, subject, offspring) on both sides,” he need only dissect (at the beginning and end) the Nivid by the call somsarom. Thus he cuts the sacrificer off from his Vis on both sides (from father and mother, as well as from his children). Thus he should do who has sinister designs towards the
the Marutas, he is their help. He slew the enemies, he released tho watera (kept back by the demons of the air) by means of the strength of the Marutas. The gods lol lowing him rejoiced at the defeat of tho) Asuras, the conquest of Vritra, at the killing of Sambara, at the battle (for conquering cows). Him (Indra) when he was repeating the secret verses, in the highest region, in a remote placo, made the sacred rites and hymns (brahmani) grow (increase in strength); these (sacred ritos) are througbe their power inviolable. He makes presents to the gods, ho who is with the Marutas his friends, May Indra with the Marutas here hear (our prayor), and drink of the Soma. May the god come to his oblation offered to the gods with (our) thoughts being directed to the gods. May he protect this Bralca (spiritual power), may he protect this Kmatram (worldly power), may he protect the sacrificer who prepares this (the Soma juice), (may he come) with his manifold helps. diay lie (Indra) hear the sacred hymns (Brahm ani), may be come with (his) aid!
96 These sentences can be only understood when one bears in mind, that men of the higher caste are supposed to have a share in a certain prototype, Keatra represents the commanding power. A Brahman, deprived of his Kvatra, loses all influence and becomes quite insignificant in worldly things; it deprived of his Vis, he loses his means of subsistence. A Ksatriya loses his power, if deprived of his kyatram, and his subjects, it deprived of his Viš.
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sacrificer. But otherwise (in the manner first described) he should do to him who desires for heaven (if he be friendly to him).
He concludes with the verse, vayah suparna upasedur (10, 73, 11), j.e., “the poets with good thoughts have approached Indra, begging like birds with beautiful wings ; uncover him who is enshrouded in darkness; fill the eye (with light); release us who are bound (by darkness), as it were, with a rope (nidhā).” When he repeats the words “uncover him,” &c., then he should think that the darkness in which he is enshrouded, might go by means of his mind. Thus he rids himself of darkness. By repeating the words, “ fill the eye,” he should repeatedly rub both his eyes. He who has such a knowledge, keeps the use of his eyes up to his old age. In the words, “release us,” &c., the word nidha means rope, The meaning is, release us who are tied with a rope, as it were.
20.: (Why the Marutas ore Honoured with a separate Sastra.)
Indra, when he was about to kill Všitra, said to all the gods, ** Stand near me, help me." So they did. They rushed upon Vritra to kill him. He perceived they were rushing upon him for the purpose of (192) killing him. He thought, “ I will frighten them.” He breathed at them, upon which all the gods were flung away and took to flight; only the Marutas did not leave him (Indra); they exhorted him by saying, “Strike, O Bhagavan ! kill (Vritra)! show thy prowess !” This saw a Rişi, and recorded it in the verse vritrasya tra svasathad (8, 85, 7), i.e., “all the gods who were associated with Indra) left him when flung away by the breathing of Vritra. If thou keepest friendship with the Marutas, thou wilt conquer in all these battles (with Vritra).”
He (Indra) perceived, “the Marutas are certainly my friends; these (men) love me! well, I shall give them a share in this (my own) celebra tion (Sastra).” He gave them a share in this celebration. Formerly both (Indra as well as the Marutas) had a place in the Niskevalya, “7 Sastra. (But to reward their great services he granted them more, viz., a separate Marutvatiya Sastra, &c.). The share of the Marutas (in the midday libation) is, that the Adhvaryu takes the Marutvatiya Graha, and the Hotar repeats the Maratvatīya Pragatha, the Marutvatiya hymn, and the Marutvatiya Nivid. After having repeated the Marutvatiya Sastra, he ‘recites the Marutvatiya Yājyā. Thus he satisfies the deities by giving them their shares. (The Marutvatiya Yājyà is) ye tvāhihatye maghavan (3, 47, 4), i.e., “drink Indra, the Sona juice, surrounded by thy host, the
3The second Sastra to be repeated by the Hotar at the midday libation.
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Marutas who assisted thee, O Maghavan, in the battles with the huge serpent (Ahi),” &c. Wherever Indra remained victor in his various engagements, through their assistance, wherever be displayed his prowess. there (in the feast given in his honour) be announced them (the Marutas) as bis associates, and made them share in the Soma juice along with him.
(193) 21. (Indre wishes for Prujā puti’s rank. Wley Prajapati is called Kah.
Indra’s share in the Sacrifice.) Indra, after having slain Vritra and remained victor in various battles. said to Prajapati, “] will have thy rank, that of the supreme deity ; [ will be great !” Prajāpati said, “Who am I” (ko ahan)? Indra answered, “Just, what thou hast told( i.e., kart, who?)” Thence Prajāpati received the name kah, who ? Prajapati is (the god) kan, who? Indra is called mahendra, 2.e., the great Indra, because he had become great (greater than all the other gods).
He, after having become great, said to the gods, “Give me a dis tinguished reception !“38 just as one here (in this world) who is (great) wishes for (honourable) distinction, and lie who attains to an eminent position, is great. The gods said to him, “Tell it yourself what shall be yours (as a mark of distinction).” He answered, “ This Mahendra Soma jar (Graha, among the libations that of the midday, among the Sastras the Nişkevalya, among the metres the Triştubh, and among the Sámans the Priştha:“a9 They thus gave him these marks of distinc tion. They give them also to him who has such a knowledge. [194] The gods said to him, “Thou hast chosen for thyself all; let some of these things (just mentioned) be our also.” He said, “No, why should anything belong to you?” They answered, “Let it belong to us, Magha van.” He only looked at them (as if conniving).
2Of the words Hara Sayā na gives the following explanation : 5: GREET विशेषो हियते संपाद्यते सोऽयं सत्कार उद्वारस्तं सस्कारभाग में मदर्थ उद्धरत पृथक कुरुतेति
29 Prişlha is a combination of two Sima triplets for singing. Here the principal chant of the Niskevalya Sastra, which is the centre of the whole Soma feast, is to be understood. At the Agniştoma, this chant is the Rathantaram. The four Stotras at the midday libation, which follow the Pavamāna Stotra, are called Printha Stotras. For they are capable of entering into the combination, called Pţiştha, by putting in the midst of them another Saunan. At the Agnistoma, the actual Pristha is, however, not required. The four Pșiştha Stotras of the midday libation are, the Rathantaran, Vámadevyam Naudhasam, and Kaleyam.
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(Story of Prusaha, the wife of Indra. On the Origin of the Dhayya verse of the Nişkevalyı Śastra. Huwa King can defeat a hostile army. All gods have a share in the Yājya in the Virat metre. On the Importance of the Virat metre at this occasion.)
The gods said, “There is a beloved wife of Indra, of the Vāvāta so order, Prāsahā by name. Let us inquire of her (what Indra’s intention is).” So they did. They inquired of her (what Indra’s intention was). She said to them, “I shall give you the anster to-inorrow.” For vomen ask their husbands; they do so during the night. On the morning the gods went to her (to inquire). She addressed the following (verses) to thein : yad vāvāna purutamain? (10, 74, 6), i.e, what Indra, the slayer of Vritra, the con [195] queror in many battles of old has gained, filling (the world) with his name (fame), by what he showed himself as master in conquering (prāsahaspati), as a powerful (hero), that is what we beseech him to do (now); may he do it.” Indra is the mighty husband of Prāsaha.** (The last pada) “ that is what ive beseech him,” &c., means, he will do what we have told him.’s
Thus she (Prāsahā) told them. The gods said, “ Let her have a share here (in this Nişkevalya Sastra) who has not yet obtained one in it (na vā vidat). * So they did. They gave her (a share) in it; thence this verse, yad vdvāna, &c., forms part of the (Nişkevalya) Sastra.8
The army (send) is Indra’s beloved wife, Vāvāta, Prāsaha by name. Prajapati is by the name of kah (who?) his father-in-law. If one wish
30 The wives of a king are divided into three classes, the first is called mahişi, the second vāvāta, the third or last pariurikti. Sāy. Vàváta is in the Rigveda Samhita, 8, 84, 14, a name of Indra’s two horses. Sayana in his cominentary on the passage, proposes tio etymologies, from the root var to obtain, and vā to go. The latter is the most probable.
al That part of the Samhita where it.occurs, not being printed yet, I put this verse here in full :
यद्वावान पुरुतम पुरापालावृत्रहेन्द्रो नामान्यप्राः।
अचेति प्रासहस्पति स्तविष्मान्यदीमुश्मसि कतवे करत्तत् ।। is taken by Sayaṇa in both his commentaries on the Aitareya Brāhmanan, and the Rigveda Samhita in the sense of a present tense of But it is here conjunctive, which word alone gives a good sense. Besides, the present tense is never formed ia this way.
32 The author takes prásahaspati in the sense of husband of a wife, Prisahá, above mentioned.
** I take here akarat in the sense of a future tense. Let, the Vedic conjunctive. has often this meaning. Sāy, takes it in the sense of up.
- This is nothing but an attempt at an etymology of the name vāvdītu. That it is per fectly childish, every one may see at a glance.
55 This verse, frequently used at various sacrifices, is the so-called Dhiyycê of the Niskevalya Sastra at the midday libation,132
that his army might be victorious, then he should go beyond the battle line (occupied by his own army), cut a stalk of grass at the top and end, and throw it against the other (hostile) army by the words, prasahe kas tvá paśyati ? i.e., “O Prāsaha, who sees thee ?" If one who has such a knowledge cuts a stalk of grass at the top and end, and throws (the parts cut) against the other (hostile) army, saying prasahe kas tvā paśyati ? it becomes split and dissolved, just as a daughter-in-law becomes abashed and faints, when seeing her father-in-law (for the first time).
(198) Indra said to them (the gods), “You also shall have a share) in this (Sastra).” The gods, said, “Let it be the Yājyā verse, * * in the Virāt. metre of the Niskevalya Sastra” The Virāt has thirty three syllables. There are thirty-three gods, vikr, eight Vasus, eleven Rudras, twelve Adityas, (one) Prajapati, and (one) Vaşatkāra. He (thus) makes the deities participate in the syllables; and according to the order of the syllables they drink, and become thus satisfied by (this) divine dish.
Should the Hotar wish to deprive the sacrificer of his house and estate, he ought to use for his Yājyā along with the Vaşatkāra a verse which is not in the Virā ç metre, but in the Gayatri or Triştubl, or any other metre (save the Virat); thus be deprives him of his house and estate.
Should he wish to procure a house and estate for the sacrificer, he ought to repeat his Yājyā in the Virāț metre : piba somam indra mandatu, (7,-22, 1). By this verse, he procures for the sacrificer a house and estate.
- (On the Close Relationship between Saman and Rik. Why the Sama Singers require three pichas. The five-fold division of both. Both are contained in the Virát. The five parts of the Nişkevalya Sastra.)
First there existed the Rik and the Sāman (separate from one an other); sê was the Rik, and the name amah was the Sāman. Sa, which was Rik, said to the Saman,“ Let us copulate for begetting children." The Sāman answered, “No; for my greatness exceeds (yours!.” (Thereupon) the Rik became two; both spoke (to the Saman to the same effect); but [ 197 ) it did not comply with their request. The Rik became three (divided into three); all three spoke (to the Sāman to the same effect). Thus the Sā man joined the three Richas. Thence the Sāina singers use for their chant three Richas, (that is) they perform their work of chanting
** This is piba somam indra (7, 221).
- The Sáman, to which the Nişkevalya Sastra of the Hotar refers, is the Rathan taram. It consists only of two richas (verses), viz., ablli tva süra and na tvavan (Samaveda Samh. 2, 30, 31), but by the repetition of certain parts of these two verses, three are produced. See about this process, called punaradayam, above,
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with three Richas. (This is so also in worldly affairs.) For one man has many wives (represented by the Richas), but one wife has not many husbands at the same tine. From sô and amaḥ having joined, sāma was produced. Thence it is called sā man. He who has such a knowledge becomes saman, z.e., equal, equitous. He who exists and attains to the highest rank, is a saman, whilst they use the word asāmanya, i.e.g. inequitous, partial, as a term of reproach.
Both, the Rik as well as the Sāmap, were prepared (for sacrificial use) by dividing either into five ( 198 ) separate parts: (1) ahava (the call somşávom at the commencement of the Sastras, and himkára (the sound hum, commencing every Sāman); (2) the prastara (prelude, first part of the text of the Saman) and the first rich out of the three, required for the Sāman of the Nişkevalya Sastrasl; (3) the udgétha (principal part of the Saman), and the second rich; (4) the pratihara (response of the Sāman), and the last rich (out of the three); (5) nidhanam (the finale of the Saman) and the call vouşat (at the end of the Yajyā verses). Thence they say, the sacrifice is
38 The same etymology is given in the Chhāndogya Upanişad, 3, 6, 1-6, p. 58 in the Calcutta edition of the Bibliotheca Indica): # AT TAFaceTa i.e., the earth is sa, and fire ama, whence comes Sāma. The author of this Upanişad also supposes that the Sama rests on the Rik, the latter being compared to the earth, the first to the fire burning on her. This etymology is wholly untenable from a philological point of view. The crude form is not sima, but saman; thence the derivation of the second part of the word from ama (a noun ending in a, not an) falls to the ground. The first part sê is regarded as the feminine of the demonstrative pronoun, and said to mean Rik, for Rik is a feminine. But such monstrous formations of words are utterly strange to the Sanskrit language and sanctioned by no rules of the grammariaus, In all probability we have to trace the word semar to the root so, “ to bind," whence the word avasāni, i.e., pause, is derived. It thus means to what is bound, strung together," referring to the peculiar way of chanting the Samans. All sounds and syllables of one of the parts of a Sāman are so chanted, that they appear to be strung together, and to form only one long sound.
** Many Sabans are divided into four or five parts. See the note to 2, 22. If five parts are mentioned, then either the hirkara, which precedes the prastáva, is counted as a separate part, or the pratihara part divided into two, pratihāra and upadrava, the latter generally only comprising a few syllables.
In order to better illastrate the division of Saurians into five parts, I give here the Rathantaram, according to these divisions :
First sich-(1), prastáva :- 11 7 a IT agat a
(2) udgitha. HITTIT a da TAATET Fra: gar eru (3) pratihira : ATESTAT GTI (4) apadrava FA tar et sari
(5) nidhanam : 1 Becond rich–(1) prastáva : surat
ME
(199) five-fold (is a pentad). Animals are five-fold (consist of five parts, four feet and a mouth).
(Both, the Rik and the Sāman, either of which is divided into five parts, are contained in the Virāt, which consists of ten syllables). 4° Thence they say, the sacrifice is put in the Virāt, which consists of ten parts.
(The whole Nişkevalya Sastra also consists of five parts, analogous to the five parts of the Sāman and the Rik at this Sastra.) The stotriya is the soul ; the anuripa is offspring, the dhāyynt is the wife, animals are the pragatha, the suktam is the house. 41
He who has such a knowledge, lives in his premises in this world, and in the other, with children and cattle.
- (The Stotriya, Anuripa, Dhāyyā, Sama-Pragatha and Nivid Sukta of the Nişkevalya Sastra.)
He repeats the Stotriya. He recites it with a half loud voice. By doing so, he makes his own soul (the Stotriya representing the soul).
(2) udgítha : Wat er aan ar partefaent a arat: (3) pratihára: Fiat *
(9) upadrava : Trear ar ei ga!
(5) nidhanam il Third rich : (1) prastáva ar i
(2) udgītha: wat a afaced searüat waarganfrar: 11 (3) pratihára: N a CIĘTI (4) upadrava : @TRICT97 U 3911
(5) nidhanam: a Agnistoma Sám Prayaga,
Hrom this specimen the reader will easily learn in what way they make of two richas three, and how they divide each into five parts. The prastava is chanted by the Prastotar, the udgitha by the Udgātar (the chief of the Sama singers), the pratihůra by the pratihartar, the upadrava by the Udgā tar, and tho nidhanam by all three.
4 This statement is not very accurate. In other passages it is said, that it consists of thirty-three syllables, see 3, 22. The metre is divided into three padas, each consisting of nine, ten, or eleven syllables.
- Here are the five parts of the Nixkevalya Sastra - severally enumerated. The stotriya are the two verses of which tho Rathantara consists, but so repeated by the Hotar as to make three of them, just as the dama singers do. The sabstantive to be supplied to stotriya is pragátha, i.e., that pragátha, which contains the same text as the stotram or performance of the Sama singers. The anurípa pragatha, follows the form of the Stotriya ; it consists of two verses which are made three. It must have the same commencing words as the Stotriya. The anurūpa is : abhi tud pitrvapitaye (8, 3, 7-8). The Dhayyê is already mentioned (3, 22).’ The Sama pragatha is : pibi sutasya (8, 8, 1%). The sūkta or hymn is mentioned in the following (24) paragraph.
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He repeats the Anurūpa. The Anurūpa is offspring. It is to be repeated with a very loud voice. [200] By doing so, he makes his children more happy than he himself is (for the Stotriya representing his own self, was repeated by him with a half loud voice only.)
He repeats the Dhảyya. The Dhāyyā is the wife It is to be repeated with a very low voice. When he who has such a knowledge repeats the Dhāyyā with a rery low voice, then his wife does not quarrel with him in his house.
He repeats the (Sāma) Pragatha. It is to be repeated with the proper modulation of the voice (i.e., with the pronunciation of the four accents). **
The accents are the animals, the Pragatha are the animals. This is done) for obtaining cattle.
. He repeats the Sūkta ** (hymu) : jndrasya nu tiryani ( 201 ) (1, 32). This is the hymn liked by Indra, belonging to the Niş kevalya Sastra, and (seen) by Hiranyastápa. By means of this hymu, Hiranyastūpa, the son of Angiras, obtained the favour of Indra (and) gained the highest world. He who has such a knowledge, obtains the favour of India (and) gains the highest paild. The bymn is the house as a firm footing. Thence it is to be repeated with the greatest slowness. (For a firm footing as a resting place is required for every one.) If, for instance, one bappens to have cattle grazing in a distant quarter, he wishes to bring them in the evening) under a shelter. The stables are the firm footing (the place where to put up) for cattle. That is the reason
« The mantras which form part of the Sastras are nearly throughout monotonously (ekasrutya) repeated. Only in the recital of the Sama pragātha an exception takes place It is to be repeated with all the four accents: unudatto, arudattatara, udatta, and svaritaijust as is always done when the Rigveda is repeated in the temple, or in private houses, without any religious ceremony being performed.
4In this hymo, the Nirid of the Nişkevalya Sastra is to be inserted after its eighth verse. The Nivid is as follows:
Fail : era foar i parlat atant i forat ama#: 1 : mar i ett stort ama #mf i gi Tiga TA TI ati at arar i granit star ifalariner: I STHIP कृसनावान् । इहोशं देवो बभूवान् । इन्द्रो देव इह अवदिह सोमस्य पिबतु । प्रेमां देवो देवहूतिमवतु OR AT ICO (the conclusion being the same as in the Marutyutiya Nivid, see page 189) i.e., May the god Indra drink of the Soma juice, he who is the strongest among those who are born only once; he who is the mightiest among those who are rich; he who is the master of the two yellow horses, he the lover of Prišni, he the bearer of the thunderbolt who cleaves the castles, who destroys the castles, who makes flow the water, who carries the waters, who carries the spoil from his enemies, who kills, who is far-famed, who appears in different forms upanátikrit, lit., making similes), who is busy, he who has been here a willing god (to listen to our prayers). May the god Indra hear, &c. Sapta hāutra. Instead of grai, the sankhayana atras, 7, 17, read harat: which is less correct, and appears to be a mistake.
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that this hymn, which represents a firm footing, or shelter for cattle, which was represented by the Pragatha, is to be repeated very slowly, so as to represent a firm footing.