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FIRST CHAPTER. (On the Solaśi and Atiratra Sacrifices.)

1. (On the Nature of the Solaśi, and the Origin of its Name. On the Anuṣçubh

Nature of the Solasi Sastra.) The gods prepared for Indra, by means of the Soma ceremony) of the first day, the thunderbolt; by means (of the Soma ceremony) of the second day, they cooled it (after having forged it, to increase its sharpness); by means (of the Soma ceremony) of the third day, they presented it (to him); by means of the Soma ceremony of the fourth day, he struck with it (his enemies).

Thence the Hotar repeats on the fourth day the Sołaśt* Sastra. The Solaši is the thunderbolt. [256] By reciting the Solasi on the fourth day, he strikes a blow at the enemy (and) adversary (of the sacrificer), in order to put down any one who is to be put down by him (the sacrificer),

The Soļast is the thunderbolt; the Sastras (Ukthas) are cattle He repeats it as a cover over the Sastras (of the evening libation). By doing so he surrounds cattle with a weapon in the form of) the Solasi (and tames them). Therefore cattle return to men if threatened round about with the weapon (in the form) of the Solasi.

The first, second day, &c. refer to the so-called sal-aħa or six days’ sacrifice, about which see the 3rd chapter of this Pañchika.

• The Solasi sacrifice is almost identical with the Ukthya The Samans and Sastras at all three libations are the same. The only distinctive features are the use of the Solasī graha, the chanting of the Gaurivītam or Nānadam Saman, and the recital of the Solasī sastra, after the Ukthāni (the Sāmans of the evening libation) have been chanted, and their respective sastras recited. The Solasī Sastra is of a peculiar composition. It is here minutely described, and also in the Âśv. śr. S. 6. 2. The namber sixteen prevails in the arrangement of this sastra, which is itself the six teenth on the day on which it is repeated. Thence the name. * The substantive to be supplied is, kratu. The whole term means, the sacrificial performance which contains the number sisteen," The Anustubh metre consisting of twice sixteen syllables, the whole sastra has the Anuṣtubh character. It commences with six verses in the Anustubh metrecalled by Âśv, though improperly, Stotriya and Anurópa (for the Stotriya verse of the Sastra is always chanted by the Sāma singers, but this is not the case with the verse in question). These are: asávi somā indra te (1, 84, 1-6).

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Thence a horse, or a man, or a cow, or an elephant, after having been (once) tamed, return by themselves to their owner), if they are only commanded (by the owner) with the voice (to return).

fle who sees the weapon (in the form of) the Solasi (Sastra), is sub dued by means of this weapon only. For voice is a weapon, and the Solasi is voice (being recited by means of the voice).

About this they ask, Whence comes the name “Solasi " (sixteen) ? (The answer is) There are sixteen Stotras, and sixteen Sastras. The Hotar stops after having repeated the first) sixteen syllables (of the Anustubb verse required for the Solasi Sastra), and pronounces the word oon after (having repeated the latter) sixteen syllables (of the Anuṣtubh). He puts in it (the hymn required at the Solasi Sastra) a Nivid of sixteen padas (small sentences). This is the reason that it is called Şoladi. But two syllables are in excess (for in the second-half there are eighteen, instead of sixteen) in the Anuṣtubh, [257] which forms a component part of the Şolasi Sastra. For Speech (represented by the Anuṣtubh) has (as a female deity) two breasts; these are truth and untruth. Truth protects him who has such a knowledge, and untruth does no harm to such one.

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(On the Way of Repeating the ṣolast Sastra. On the Application of the Gaurivíti or Nanada Sāman.)

He who desires beauty and the acquirement of sacred knowledge ought to use the Gaurivitamas (the proper) Sāman at the Solasi (ceremony). For the Gauri vitam is beauty and acquirement of sacred knowledge. He who having such a knowledge uses the Gaurivitam as (the proper Saman at the Şolasi ceremony) becomes beautiful and acquires sacred know ledge.

" They say, the Nanadam + ought to be used as (the proper) Sāman at the Solasi (ceremony). Indra lifted his thunderbolt to strike Vritra; he struck him with it, and, hitting him with it, killed him. He, after having been struck dowri, made a fearful noise (vyanadat). Thence the Nānada Sāman took its origin, and therefore it is called so (from nad to scream). This Sāman is free from enemies; for it kills enemies. “He who having such a knowledge uses the Nānada Sāman at the Solasi (ceremony) gets rid of bis enemies, (and) kills them.

If they use the Nānadam (Sāman), the several padas of verses in two metres at the Solaśi Sastra are not to be taken out of their natural

This is Indra juṣasva pra vaha (San. Sanh. 2, 302-304). These verses are not to be found in the Rigveda Samhita, but in Asv. Sr. S. 6, 2.

« This is praty asmai pipishate (San. Samh, 2, 6, 3, 2, 1, 4).

te (Sama Asr. Soms 2, 802.80

connection to [2581 join one pada of the one metre to one of the other (avihrita). For the Sāma singers do the same, using verses which are not joined in the vihrita way for singing the Nānada Sāman.

If they use the Gauriritam, several padas of verses in tro metres used at the Solasi are to be taken out of their natural connection, to join one pada of the one metre to one of the other (vilpita). For the Sāma singers do the same with the verses which they use for singing.

The Way in which the Padas of Two Different letres are Vized in the

Solaśí Sastra is Shown.) Then (when they use the Gaurivīti Sāman) the Hotar changes the natural position of the several padas of two different metres, and mixes them (vyatiṣajatz). He mixes thus Gayatris and Parktis, & tvā vahantu (1, 16, 1-3), and upa ṣu śrinuhi (1, 82, 1-3-4). ? Man has the nature of the Gāyatri, [259] and cattle that of the Pankti. (By thus mixing together Gayatri ard Paukti verses) the Hotar mixes man among cattle, and givea him a firm footing among them in order to become possessed of them).

As regards the Gāyatri and Pankti, they both form two Anuṣtubhs (for they contain as many padas, viz., eight, as both Gāyatri and Parkti taken together). By this means, the sacrificer becomes neither separated from the nature of Speech which exists in form of the Anustubh, nor from the nature of a weapon (Speech being regarded as such a one).

He mixes verses in the Uṣṇih and Brihati metres, yad indra prita. ndjye (8, 12, 25-27) and ayam te astu haryata (3, 44, 1-3). Man has the nature of Uṣṇih, and cattle that of Bțihati. (By thus mixing together Uṣṇih and Brihati verses) he mixes man among cattle, and gives him a

firm footing among them.

• All the words from “the several padas” to “other” are only & translation of the term aviðrita, in order to make it better understood.

• The reason of this is, that the recitations of the Hotri-priest must correspond *with the performances of the Sāma singers.

“Say. shows the way in which the metres are mixed in the two verses : (Gayatrī) inici dhānd glaritasnuvo hari ihopa vakṣatah indram sukhutame rathe (1, 16, 2). (Pankti) susandrıśam tvā vayam maghavan vandiṣimahi.

pra nūnam pár napandhurah stuto yahi viśán anu yojanvindra to narz.

The Gayatri has three, the Panktī five feet (padas), each consisting of eight sylla bles. The two padas which the Panktī has in excess over the Gayatrī, follow at the end without any corresponding Gayatri pada. After the second pada of the Pankti, there is the pranuva made (i e., the syllable om is pronounced), and, likewise, after the fifth. The two verses, just mentioned, are now mixed as follows: ima dhana ghritasnuvah susaindrisan tvā vayan hart ihopa vaksato maghavan vandigimahom indram sukhatame rathe pro münan pāritavardhurall stuto yahi višan anu yojanvindra to karom.

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As regards the Uṣnih and Brihati, they both form two Anustubhs. By this means the sacrificer becomes neither separated, &c.

vipād (verse of two padas only) and a Tristubh, a Zhang asma (7, 34, 4), and brehman Uta (7, 29, 2). Man is depđdia 2.6., has two feet, and strength is Triṣtubh. (By thus mixing a Dvipad and Triṣtubh), he mixes man with Strength (provides him with it) and makes him a footing in it. That is the reason that man, as having pre pared for him a footing in Strength, is the strongest of all animals. The Dvipādv erse consisting of twenty syllables, and the Triṣtubh (of forty four), make two Anustubhs (sixty-four syllables). By this means, the sacrificer becomes neither separated, &c.

He mixes Dvipadas and Jagatis, viz., eṣa brahmarya hitvyam (Abv. Sr. S. 6, 2) and pra te mahe [260] 10, 96, 1-3). (Man is Dvipad, and animals have the nature of the Jagati. (By thus mixing Dvipād and Jagati Terses) he mixes man among cattle, and makes him a footing among them. That is the reason that man, having obtained a footing among cattle, eats (thern) and rules over them, for they are at his disposal.

As regards the Dvipād verse consisting of sixteen syllables and the Jagati (consisting of forty-eight), they both (taken together) contain two Anuṣtubhs. By this means, the sacrificer, &c.

He repeats verses in metres exceeding the number of padas of the principal metres, o viz., trikadrukeșu mah iṣo (2, 22, 1-3), and proṣvas mai puro ratham (10, 133, 1-3). The juice which was flowing from the metres, took its course to the atichhandas. Thence such metres are called atichhandas, (i, e., beyond the metre, what has gone beyond, is in excess).

This Solasi Sastra being formed out of all metres, he repeats verses in the Atichhandas metre.

Thus the Hotar makes (the spiritual body of) the sacrificer consist of all metres.

• These verses are not to be for nd in the Rigveda Samhita. I, therefore, write them out from my copies of the Âśval. Sutras :

एष ब्रह्मा य ऋत्विय | इन्द्रो नाम श्रुतो गृणे ॥

विस्त्र तयो यथा पथ । इन्द्र त्वद्यन्ति सतयः ।। , afhanga lara fara gua ||

• That atti” he eats,” put here without any object, refers to * pašavah,” animals, fol lows with certainty from the context. Say, supplies ksira, milk, &c., for ho abhorred the

idea that animal food should be thus explicitly allowed in a sacred text.

. Thus I have translated the term atichhandasan i.e., having excess in the metro, The verses mentioned contain seven padas or feet, which exceeds the number of feet of all other metres.

He who has such a knowledge prospers by means of the Solasi consisting of all metres.

[ 261] (The Upasargas iaken from the Mahānāmnis. The proper

Anuṣtubhs. Consequences of Repeating the Soļaśí Sastra in the Vihrita and Avihrita way. The Yajya of the Soļasī Sastro.)

He makes the additions" (upasarga), taking (certain parts) from the Mandnāmni verses - The first Malānāmni (verse) is this world (the earth), the second the zir, and the third that world (heaven). In this way, the Solasi is made to consist of all worlds.

By adding parts from the Vahānāmnis (to the Șolasi), the Hotar makes the sacrificer participate in all worlds. He who has such a knowledge, prospers by means of the Soļasī being made to consist of all the worlds.

• He repeats (now) Anustubhs of the proper form,12 viz., pra pra vas trīṣtubhan (8, 58, 1), archata prārckata (8, 58, 8-10), and yo vyatīār aphầnayat (8,58, 13-15).

. [ 262 ] That the Hotar repeats Anuṣtubhs of the proper form (after having obtained them only in an artificial way) is just as if a man, after having gone here and there astray, is led back to the (right) path.

He who thinks that he is possessed (of fortune) and is, as it were, sitting in fortune’s lap (gataśrar), should make his Hotar repeat the ṣolasi in the avihrita way, lest he fall into distress for the injury done to the metres (by repeating them in the viłrita way).

. But if one wishes to do away with the consequences of guilt (to get out of distress and poverty), one should make the Hotar repeat the Solasi in the vihrita way.

11 These additions are called upasargas, They are five in namber, and mentioned by Âsv. 6, 2. They are all taken from different verses of the so-called Mahānāmnis, com mencing with faci faatan TIT which make up the fourth Aranyaka of the Aitareya Brāhm. These five upasargas make together one Anuṣtubh. They are: (1) staaa (2) taaa 3) Frane fa #ta. (4) Acre za e (5) agraf a ater. Their application is different according to the avihrita or vihrita way of repeating the Solasi Sastra. If the Sastra is to be repeated in the former way, they are simply repeated in the form of one perse, after the recital of the Atichhandas verses. But if it be repeated in the vihrita way, the several upacargas are distributed among the five latter of the six Atichhandasa verses, in order to bring the bamber of syllables of each such verse to sixty-four, to obtain the two Anastubbs for each

12 As yet the Apustubhs were only artificially obtained by the combination of the padas of different other metres.

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For (in such cases) man is, as it were, intermixed with the conse quences of guilt (with the papman). By thus repeating the Soladi in the vihrita way, the Hotar takes from the sacrificer all sin and guilt. He who has such a knowledge becomes free from (the consequences of) guilt.

With the verse ud yad bradhnasya vistapam (8, 58, 7) he concludes. For the celestial world is the “bradhnasya vistapam.” Thus he makes the sacrificer go to the celestial world,

As Yājyā verse he repeats apah purveṣam harivaḥ (10, 96, 13).13 By repeating this verse as Yajyê (of the Solasī Sastra) he makes the Solaši to consist of all libations (savanani). The term apāh, thou hast drunk (used in this verse) signifies the Morning Libation. Thus he makes the Solasi to consist of [ 268 ) the Morning Libation. The words atho idam saranan kevalam te, i.e., this libation here is entirely thy own, signifies the Midday Libation. Thus he makes the Solasi to consist of the Midday Libation. The words, manaddhi somam, i.e., enjoy the Soma, signify the Evening Libation, which bas its characteristic the term mad, to enjoy, to be drunk. Thus be makes the Solasi to consist of the Evening Libation. The word vriṣan, i.e., bull (contained in the last pada), is the characteristic of the Solasi.

By repeating as Yājyà (for the ṣolasi); the verse just mentioned, the Solasi is made to consist of all Libations. Thus he makes it to consist of all Libations. He who has such a knowledge prospers through the Solace, which consists of all Libations,

(When repeating the Yajya) he prefixes to each of the four) pada, 14 consisting of eleven syllables, an upasarga of five syllables (taken) from the Mahāvāmnīs. Thus he makes the Şolasī to consist of all metres. He who has such a knowledge prospers by means of the Solasi, which is made to consist of all metres.

13 The whole of the verse is as follows:

अपाः पूर्वेषां हरिवः सुतानामथो इदं सवनं केवलं ते ।

ममद्धि सामं मधुमन्तमिन्द्र सत्रा वृषन् जठर आवृषस्व ॥ ie, “ Thou bast drunk, 0 waster of the two yellow horses (Indra)! of the Soma drops formerly prepared for thee. This libation here is entirely thy own (thou hast not to share it with any other god). Enjoy, 0 Indra! the honey-like Soma. O bull! increase thy strength by (receiving) all this (quantity of Soma) in (thy) belly.

14 These four upasargas are : a) gaya b) qaret C) gab d) ART FT.

They are thus prefixed : एवा ह्य वापा: पूर्वेषां एवहोन्द्राथो इदं० &c These T’pasargas a e preixed to the Yajya, in order to obtain two Anuṣtubhs (sixty-four syllables).

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5. (Atirátra. Its origin. The three Paryayas.) The Devasis took shelter with Day, the Asuras with Night. They were thus of equal strength, and [ 264 ) none yielded to the other. Indra said, “Who, besides me, will enter Night to turn the Asnras out of it?" But he did not find any one among the Devas ready to accept (his offer), (for) they were afraid of Night, on account of its darkness being (like that of) Death. This is the reason that even now one is afraid of going at night even to a spot which is quite close. For Night is, as it were, Darkness, and is Death, as it were. The metres (alone) followed him. This is the reason that Indra and the metres are the leading deities of the Night (of the nightly festival of Atirātra). No Nivid is repeated, nor a Puroruk, nor a Dhāyyā; nor is there any other deity save Indra and the metres who are the leading (deities). They turned them out by going round (paryāyam) with the Paryayas (the different turns of passing the Soma cups). This is the reason that they are called paryāycz (from í to go, and pari around).

By means of the first Paryāya they turned them out of the first part of the night; by means of the middle Paryāya out of midnight, and by means of the third Paryaya out of the latter part of the night. The metres said to Indra, “Even we (alone) are following (thee, to turn the Asuras) out of the Dark one (sarvard, night).” He (the sage Aitareya) therefore called them (the metres) apiśarvarāni, for they had Indra, who was afraid of the darkness of night (as) of death, safely carried beyond it.

That is the reason that they are called upisarucāni,

6. (The Sastras of Atiratra at the Three Paryayas. Sandhi Stotra.}

The Hotar commences (the recitations at Atirātra) with an Axüstubb verse containing the term andhas, i.e., darkness, viz., pántán a ro andhasara (8, 81, L.) [ 265 ] For night belongs to Anuṣtube; it has the nature of night.

As appropriate Yājyā verse at the end of each turn of the three Paryayas) 16 Triṣtubhs containing the terms-andhas, darkness, pd to, drink,

30 The same story with some trifing deviations in the wording only is reeorded in. the Gopatha Brahmaṇam of the Atharvaveda, 10, 1.

16 There are four turns of the Soma cups passing the round in each Paryaya, or pair of the night, At the end of each, a Yajya is repeated, and the juice then sacrifieed. There is at each turn (there are on the whole twelve) a sastra repeated, to whica a Yajya De longs. The latter contains always the terms indicated. See, tor instance, the four Yájyās nged at the first Paryaya (āsv. śr. $, 0,4)iadłzvaryavo bhurata indriya, Lig 14, I. (repeated by the Hotar), In the second pada, there are the words, madyam andhalı, " the inebriating

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and mad, to be drunk, are used. What is appropriate at the sacrifice, that is successful.

The Sāma singers repeat when chanting at the first Paryāya twice the first padas only of the verses (which they chant). By doing so they take from them (the Asuras) all their horses and cows.

At the middle Paryāya, they repeat twice the middle padas. By doing so, they take from them (the Asuras) their carts and carriages.

At the last Paryāya, they repeat twice when chanting the last padas, (of the verses which they chant). By doing so, they take from them (the Asuras) all things they wear on their own body, such as dresses, gold and jewels.

He who has such a knowledge deprives his enemy of his property, (and) turns him out of all these worlds (depriving him of every firm footing).

[286] They ask, How are the Pavamāna Stotras 17 provided for the night, whereas such Stotras refer only to the day, but not to the night ? In what way are they both made to consist of the same parts (to have the same number of Stotras and Sastras) ?

The answer is, (They are provided for) by the following verses, which form part of the Stotras as well of the Sastras (at the Atirātra): indraya madvane sutam (8, 81, 19. Sāmaveda Samh. 2, 72), idam sao sutam andhah (8, 2, 1, Sām. S. 2, 84), idam hyanvojasā sutam (3, 51, 10. Sām, S. 2, 87). In this way, the night becomes also provided with Pavamanas (for the verges mentioned contain the term suta, i.e., squeezed, referring to the squeezing of the Soma juice, which term is proper to the Pavamāna Stotra); in this way, both (day and night) are provided with Pavamānas, and made to consist of the same (number of) parts.

They ask, As there are fifteen Stotras for the day only, but not for

darkness" (symbolical name of the Soma juice). The Yajya of the Maitrāvarupa is, asya made puruvarpaisi 8, 44, 14). It contains the term made, “to get drunk," and pā, “to drink,” in the last pada The Yajyā of the Brābmandchhansī is āpsu dhūtasya harivah piba (10, 104, 2). This verse contains both the terms pá, “ to drink" (in piba of the first pada), and mad,“ to be drunk" (in the last pada). The Yájyā of the Achha vāka is, indra piba tubhyam (6, 40, 1). It contains both the terms, pa, and mad. The Yajya of the Hotar in the second Paryaya is, apāyyasyāndhaso madaya (2, 10, 1) ; it contains all three terms, * darkness, to drink, and to be drunk."

17 This question refers to the Stotras to be chanted for the purification of the Soma juice, which are, at the morning libation, the Bahis-pavamāna, at midday, the Pavamana, and in the evening, the Arbhava-payamana. At night, there being no squeezing of the Soma, juice, there are, properly speaking, no Pavamāna Stotras required. But to make the per formance of day and night alike, the Pavamāna Stotras for day and night are to be indi cated in one way or other in the Stotras chanted at night. This is here shown.

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the night, how are there fifteen Stotras for both (for day as well as for night) ? In what way are they made to consist of the same (number of)

parts ?

The answer is, The Apiśarvaras 18 form twelve Stotras. Besides) they chant, according to the Rathantara tune, the Sandhi 19 Stotra which contains [ 267 ] (three sets of) verses addressed to three deities. In this way, night comprises (also) fifteen Stotras. Thus both day and night) comprise each fifteen Stotras. Thus both are made to consist of the same (number of) parts.

The number of verses for making the Stotras is limited, but the number of recitations which follow the Stotras) is unlimited. The past is, as it were, limited, defined ; the future is, as it were, unlimited (not defined). In order to secure the future (wealth, &c.,) the Hotar repeats more verses (than the Sāma singers chant). What goes beyond the Stotra is offspring, what goes beyond one’s self (represented by the Stotra), is cattle. By repeating, when making his recitation, more verses (than the Sāma singers chant) the Hotar acquires all that he (the sacrificer) has beyond his own self on this earth (i.e., all his cattle, children, fortune, &c.)

18 See 4, 5. They are the metres used for Sastras and Stotras during the night of Atiratra.

19 This Stotra which is chanted after the latter part of the night is over, when the dawn is commencing (thence it is called samdhi, i.e., the joining of night and day), consists of six verses in the Brihati metre, with the exception of the two last which are kalubha (a variety of the Brihatī). They are put together in the Samay, Samh. 2, 99-104. The two frst of them, ena vo āgnim (2, 99-100) are addressed to Agni, the third and fourth, pratyu adarśy ayatyū (101-102) to Usās, and the fifth and sixth, imā u vám divistaya (103-104) to the Aśvins. The Stoma required for singing it, is the triurit parivarttini (see page 237). Two verses are made three by means of the repetition of the latter padas. This Sāman is chanted just like the verses of the Rathantaram, which are in the same metre It follows throughout the musical arrangement of the Rathantaram. The musical accents, the cres cendos, and decrescendos, the stobhas, l. 2., musical flourishes, and the finales (nidhana) are the same. Both are for the purpose of chanting equally divided into five parts, vien, - Prastáva, Udgitha, Pratihara, Upad rava, and Nidhana (see page 198). For instance, the Prastáva or prelude commences in both in the low tone, and rises only at the last syl lable (at mo in the nonumo of the Rathantaram, and at the so in the namaso of the first Bandhi Stotra); at the end of the Prastáva of both there is the Stobha, i.e., flourish va. At the end of the Upadrava both have the Stobhas va háziva. The finale is in both through out, as, in the rising tone.–(8áma prayoga and Oral information.)182

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