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FIRST CHAPTER (The Characteristics and Sastras of the Third and Fourth

Days of the Dvadasáha)

(The Characteristics of the Third-Day. The Sastras of the Morning

and Midday Libations) The leading deities of the third day are the Visvedevah; its (leading) Stoma is the so-called Saptadasa (seventeen-fold), its Sāman the Vairūpam, its metre the Jagati. He who knows what deity, what Stoma, what Saman, what metre (are required on the third day), becomes successful by it.

What hymn has a refrain, that is a characteristic of the third day, Other characteristics are: ašva horse, anta end, repetition, (punarduritti) consonance (in the ending vowels), cohabitation, the term “covered, close (paryasta), the term three, what has the form of anta (end), the mentioning of the deity in the last pada, an allusion to that world, the Vairūpam Sāman, the Jagatī metre, the past tense.

The Ajya Sastra is, yukṣvā hi devahůtamán (8,64). The gods went to heaven by means of the third day. The Asuras (and) Raksas prevented them (from entering it). They said (to the Asuras), “Become deformed, become deformed ” (virūpa); when the Asuras were becoming deformed, the Devas entered (heaven). This produced the Samnan called Vairūpam, thence it is called so (from virūpu deformed). He who has become deformed in consequence of his own guilt, destroys it (his deformity) by means of this knowledge.

(819) The Asuras persecuted the Devas again, and came into contact with them. The Devas turned horses (ašva) and kicked them with their feet. Thence the horses are called aśva (from as to reach). He who krows this obtains (ainute) all he desires. Thence the horse is the swiftest of animals, because of its kicking with the hind legs. He” who has such a knowledge destroys the consequences of guilt. This is the reason that the Ajya hymn on the third day contains the term esva horse, which is a characteristic of the third day.

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The Pra-uga Sastra consists of the following triplets : viyaviylihi vitaye (5, 51, 5-7) vayo yahi sivid (8, 26, 23-25), indras cha củyoo esim sutanam (5, 51, 6-8), & mitre varuine vayam (5, 72, 1-3), ašvindveha gachhatám (5, 75, 7-9), dyāhy adribhih (5, 40, 1-3), sajūr deveblir visuebhir (7, 34, 15-17), uta nah priya (6,61 10-12). They are in the Uṣnih metre, bave a refrain (samānodarkam), which is a characteristic of the third day. $

Tam tam id rādhase (8, 57, 7-9), traya indrasya Soma (8, 2, 7-9) are the beginning and the sequel of the Marutvatiya Sastra, which contain the terms, nytā, i.e., consonance (8, 57, 7) and traya, i e, three, which are characteristics of the third day. Indra nediya (Vál. 5, 5-6) is the constant (Indra-Nihava) pragathah.” Prantnam Brahmaraspatir (1, 40,5-6) is the Brahmanaspatya Pragatha which has a consonance (of vowels), is a charac teristic of the third day. Agnir netā (3, 20, 4), toar Soma kratubhik (1,91, 2), and pinvanty apô (1, 64, 6) are the immovable Dháyyas. Nakih Sudásô rathan (7, 32, 10) (820) is the Marutvatiga Pragatha, which contains the term prayasta, i.e., covered, closed. Tryaryama manuṣo devatātā (5, 29) is the (Nivid) hymn (for the Marutvatiya Shastra) ; it contains the term “ three." Yad dydra indra (8, 59, 5-6), yad indre ydratas (7, 32, 18-19) form the Vairūpam Pristham on the third day, which is a Rathantara day, which is a characteristic of the third day.

Yad vāváno (10, 74,6) is the constant Dhūyyi. By repeating (after this Dhayya) : abhi tuā sira nonumah (7, 32, 22-23) the Hotar turns back the womb of this day), because this (third) day is, as to its position, a Rathantara day which Sāman is, therefore, the womb of it. Indra tridhātu saranam (6, 46, 9-10) is the Sama Pragatha ; it contains the term “three” (in tridhata). Tyam ū ṣut vajinan (10, 178) is the constant Tarksya.

. . (The Nivid Hymn of the Niṣkevalya Śastra, and the Sastras

of the Evening Libation of the Third Day) Yo jatô eva pratham manasud n (2, 12) is the (Nivid) hymn, overy verse of which ends in the same words (sa jardsa Indrah), which is a characteristic of the third day. It contains the words sa jana and Indra. If this be recited, then Indra becomes possessd of his Indra (peculiar) power. The Sāma singers, therefore, say, the Rigvedis (the Hotars) praise Indra’s peculiar nature (power, indrasya indriyam). This hymn is by the Riṣi Gritsamada. By means of it, this Riṣi obtained Indra’s favour 1 Bayaga explains-panarnirritam as follows: gan auregui, 99: 44 RECTI, This clearly expresses what we call consonance ; tha recurronce of the same vowel as the end is compared to the movements of a dancer (ninrittam),

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and conquered the highest world. He who has this knowledge obtains Indra’s favour and conquers the highest world.

Tat Savitur vrinimahe vayan (5, 82, 1-3) and adyā nô deva savitah (5, 82, 3-5), are the beginning and the (321) sequel of the Vaišvadeva Sastra on the third day, which is a Rathantara day.

Tad devasya Savitur vāryam mahad urinimahe (4, 53, 1) is the (Nivid) hymn for Savitar. Because the end (which is aimed at) is a great one (mahad); and the third day is also an end. Ghritena dyavá prithivi (6, 70) is the (Nivid) hymn for Dyāvāprithivi. It contains the words ghritasriyā, ghsita pricha, ghritavridhā, in which there is a repetition (because the word ghrita is three times repeated) and the consonance of the terminating vowels (because there is three times à at the end), which are characteristics of the third day.

Anaśvô jātô anabhišur (4, 36) is the (Nivid) bymn for the Ribhus. It contains, in the words rathas trichakrah, the term ’three" (tri), which is a characteristic of the third day.

Parávato ye didhiṣanta (10, 63) is the (Nivid) hymn for the Vidvedevāh. Because the word anta (the end) is to be found in the word paravató (atô in the strong form antó), and the third day is an end (an object). This is the Gayasūkta, by which Gaya, the son of Plata, obtained the favour of the Visvedevah and conquered the highest world. He who has this knowledge obtains the favour of the Visvedevah and conquers the bigbest world.

Vaisvanaraya dhisanám (3, 2) is the beginning of the Agnimāruta Sastra. The anta (end) is in diṣand (but the t is wanting). The third day is also an “end”(to a Tryaha or period of three days). .

Dhārádard maruto (2, 34) is the (Nivid) hymn for the Marutas. Here by anta is the plural (most of the nominatives of this verse are in the plural) to be understood, because the plural is the end (the last among the terminations, following the singular and dual). The third day is also the end of the Tryaha). [822) Jatavedase sunavama (1, 99, 1) is the constant verse for Jatavedās. Toam agne prathamo angird (1, 31) is the (Nivid) hymn for Jātavedās, where each verse begins by the same words (tvam agne), which is a characteristic of the third day. By repeating tvam tvam in every verse), the Hotar alludes to the following three days (from the fourth to the sixth) for connecting (both series of three days). Those who, with such a know ledge, repeat (at the end of the last Sastra of the third day a hymn every verse of which contains the term tvam) have both series of three days performed without interruption and breach.

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(On the Vyaikha)* (Sāy. These periods of three days form part of the Navaritra-uine nights included in the Dvadasaha. [828] The first Tryahah or period o€ three days is now explained, and the very same is the first part of the pristhyam, comprising six days. Now the middle part of the Navaratra (the second three days) are to be explained.

The Stomas and Ohhandas are at an end (i.e., all the Stoma conubi nations, and the metres are exhausted) on the third day ; that one only remains. This “that one” is the syllable vich, which consists of three sounds; vāch is one syllable, Cand (this) syllable consists of three sounds, which represent the latter thre days (out of the six), of whicb Vach (Speech) is one, and Gāus (Cow) is one, and Dyaas (Heaven) is one. Therefore, Vāch alone is the leading deity of the fourth day.

On just the fourth day, they make Nyāskha of this syllable by pronouncing it with a tremulous voice, increasing and decreasing (divid ing) the tone. It serves for rising the fourth day (to make it particularly important). Because the Nyūñkha is (produces) food, for the singers seeking a livelihood wander about, in order to make food grow (by their singing for rain).

By making Nyüõkba on the fourth day, they produce food; (because it is done) for producing food. Thence the fourth day is jātabat, Liens productive. Some say, one must make Nyūíkha with a word comprising four sounds; for the animals are fourfooted, in order to obtain cattle. Others say, one must make Nyünkha with three sounds. These three sounds are the three worlds. In order to conquer these worlds, they say,

• The rules for making the Nyd õkba are laid dwon in Asyal. Sr. S (7,11), They are प्रातरनुवाक प्रतिपद्यर्चा योयूखो द्वितीयस्वरमांकारं त्रिमात्रमुदात्तं त्रिस्तस्य तस्य चोपरिष्टादपरिमितान्पं

Tra

*, TIL LEHER CAR, , on the fourth day is the second sound (syllable) of each of the two first half verses in the beginning of tho Prātaranuvāke to be pronounced with Nylökha. (This Nydükha is made in the followiog manner). The ô (in ápô revatir and rāyo) is pronounced thrice with three moras, in the high tone (udatta); this (ô thus pronounced in the high tone with three moras is each time followed by an indeönite number of balf os (i.e, the vowel o pronouncod vory abruptly with half a mora only) or by five only, the last 6 (with three moras) being, however, followed by three half os only ; the first sound is pronounced with some impetus, when a syllable is spoken with Nyužkha.

This description which is quite exact, as I can assure the reader from my having heard the Nyūñka pronounced by a Srotriya, is iHastrated in Afv by several instances. It occurs twice in the first verse of the Prātaranuvāka (after the words yoj na rayas, the last syllable of both being changed into 6), and once in the Ajva Sukta (lignim na 10 21), after the ā of the word yajiliya, and in the Niṣkevalya Sastra. The Nygökha is always followed by a pratigara, pronounced by the Adhyarya, containing also the Nyūökha.

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one must make Nyūñkha with one sound only. Sangalayana, the son of Mudgala, a Brahman, said " The word ’ Vāch ‘comprises one syllable only; therefore he who makes Nyūñkha by one sound only, does it in the right way." They say, one must make Nyūõkha with two sounds for (324] obtaining a stand-point, for man has two legs, and the animals have four; thus he places the two-footed man among the four-footed animals. Therefore, the Hotar ought to make Nyūñkha with two sounds. At the beginning, he makes Nyūñkha in the morning prayer (Prātaranuvāka); because creatures first eat food with the mouth. In this way, the Hotar places the sacrificer with his mouth (ready for eating) towards food.

In the Ajya Sastra, the Nyūñkha is made in the middle ; for, in the middle, he makes the creatures fond of food, and he places thus the sacrificer in the midst of food. In the midday libation, the Hotar makes Nyūñkha at the beginning, because animals eat food with their mouth. Thus he places the sacrificer with his mouth towards food. Thus he makes Ngāñkha at both the libations (morning and midday) for obtaining food.

(The Characteristics of the Fourth Day. The Sastras of

the Morning and Midday Libations) The leading deity of the fourth day is the Vach. The Stoma is the twenty-one-fold, the Sāman is Vairaja, the metre is Anuṣtubh. He who knows what deity, what Stoma, what Sāman, what metre (are required) on the fourth day, succeeds through it (the fourth day). The terms & pra are the characteristics of the fourth day. The fourth day has all the characteristics of the first, viz., yukta ratha āśu pā (to drink); the mentioning of the deity in first pada, an allusion to this world. Other characteristics of the fourth day are the játa, hava, sukra what has the form of speech (the Nyūñkha), what is by Vimada viriphita, what has different metres (vichhandas), what is wanting in syllables,and [325] what has an excess of them ; what refers to Viraj and to Anuṣtubh ; the tense in future (kariṣyat).

Agnim na svavriktibhih (10, 21) is the Ajya hymn of the fourth day,

It is by the Risi Vimada, whose name is contained in an alliteration in it (in vivo made), and has alliterations, consonances, and assonances (viriphitam). Such a hymn is a characteristic of the fourth day. It con–

3 The word viriphitam has, it appears, been misunderstood by gāyaga, who explains it by “ nyūikhita," i. e,, in which the Nyankha’is made. It is true, the Nyaikha is made by the Hotar, when repeating the two Vimada hymns (agnim na svavriktibhir 10, 21, and kuha śruta indroh 10, 22) on the morning and midday (of the fourth day (See Asy.

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sists of eight verses, and is in the Pankti metre ; because the sacrifice is a Pankti (series of ceremonies); and cattle are of the Paokti nature (i, e., they consist of five parts);(it is done) for obtaining cattle.

These eight verses make ten Jagatis, * because (326) this morning libation of the middle three days (from the fourth to the sixth) belongs to the Jagat (i, e., Jagatí). This (the connection of the Jagati with the morning libation) is a characteristic of the fourth day.

These eight verses comprise ten Apustubhs; for this is the Anuß gubh day, in the application of which metre one of the characteristics of the fourth day consists.

These eight verses contain twenty Gāyatris; for this day is, again, a day of commencement (like the first, where Gāyatri is the metre). In this consists a characteristic of the fourth day.

Although this hymn is neither accompanied by the chants of the Sama singers, nor by the recitations of the Hotri priests, the sacrifice does not lose its essence by it, but the sacrificial personage is even actually present in it); thence it serves as the Ajya Sastra of the fourth day. They thus develop (stretch) out (of the form of) the sacrifice (contained in this hymn), the sacrifice (i. e., this hymn is the external shape, in the boundary of which the sacrifice-conceived as a being extends and thrives), and obtain (through the medium of this hymn) the Vāch again. (This is done) for establihshing a connection (between the several periods of three days. Those who have such a knowledge move continually within the closely connected and uninterrupted periods of three days (required for having success in the sacrifice).

Sr. S. 7, 11). Bat the term nyūňkha being perfectly known to the author of our Brahmanam, and its application even being accurately described by him (in 5, 3), it is surprising only why he should call this peculiar way of lengthening the syllable ô (m) in the midst of a verse, here viriphita, Besides, the Nyünkha does not take place in the Vimada hymn only, but in the beginning verses, the Prātaranavāka of which verse is by the sadra Riṣi Kavaṣa Ailūṣa. Viriphita must refer to some peculiarities which lie in the two hymns alladed to. On reference to them, every one will observe that in the first of them, each verse concludes with the word vivakṣase, and contains the words vi vo made, which are an allusion to the name of the Risi Vimada, who is therefore also called zririphita ; in the second, there occurs in the two first verses in the same place in the commencement of the second pada) the term adya, and at the end of several padas in the following verses, the word vajrivaḥ. These repetitions of the same words, generally commencing with va, vi, vo is, no doubt, the proper meaning of the term “ viriphitam," as understood by the author of our Brahmanam.

4. This is brought about by repeating thrice the first and last verses. The pankti con sists of 41 syllables. In this way of computation, one obtains 480 syllables, just as many as 10 Jagatīs comprise (Bay.) If they are divided by 32 (the number of syllables for the Apuṣtubh metre), then we obtain 15 Agustubhs, and if divided by 24, 20 Gayatris.مست بسته به

The Pra-uga Sastra, which is in the Anuṣtubh metre, is composed of the following verses : Vāyô śukro (4, 47, 1), vihi hotrà avità (4, 48, 1). vāyô śatan harinām (4, 48,5), indras cha vāyav eṣám (4, 48 2-1), a chikitāna sukrutų (5, 66, 1-3), ā no visvabhir ūtibhiḥ (7, 24, 4-6), tyam u vo aprah. anam (6, 44, 4-6), apa tyam vrijinam ripum (6,51, 13-15) ambitamo naditame (2, 41, 1-3), In them, there occur the words, [327] à pra, and śukra, which are characteristics of the fourth day.

Tam tvā yajñebhir imahe (8, 57. 10) is the beginning (pratipad) of the Marutvatīya Sastra. The word imahe “ we ask for " in this verse, means that this day’s work is to be made long (in consequence of the multitude of rites) as it were (just as one has to wait long before a request is acceded to). This is a characteristic of the fourth day (for it indicates the multitude of its rites).

The verses, Idam vaso sutam andhah (8, 2, 1-2), Indra nediya (Val 5.5-6), prditu Brahmanaspatir (1,4, 34), Agnir netá (3, 20, 4), tvan Soma kratubhiḥ (1, 91, 2), pinvanty apô (1, 64, 6), pra va indraya brihate (8, 78, 3), which form part of the Marutvatiya Sastra of the first day, are also re quired for the fourth day, and are a characteristic of it. Śrudhi havam ma piṣanya (2, 11, 1) is the hymn which contains the word hava (call), being a characteristic of the fourth day. In the hyma Marutvam Indra vris aðhô (3, 47), there is, in its last quarter (47,5), in the word huvema, the root hu perceptible, which is a characteristic of the fourth day. This hymn is in the Triṣtubh metre.

By means of the padas of this hymn which stand firm, the Hotar keeps the libation lest it fall from its proper place (it should be kept in its proper place, like a piece in machinery). Imam nu māyinam huva (8, 65, 13) is the setting (paryasa), containing the word huva, which is a characteristic of the fourth day. The verses (of this hymn) are in the Gayatri metre, for the Gayatri verses are the leaders of the midday libation in these latter three days. That metre is the leading one in which the Nivid is placed ; therefore one puts in (these) Gāyatri verses the Nivid.

Piba Somam Indra mandatu (7, 22, 1-2) and śrudhi havam vipipa nasyādrer (7, 22, 4-5) is the Vairāja Pristham of the Brihat days, to which the fourth day belongs. [828] This (reference to the Brihat) is a characteristic of the fourth day.

Yad vdvāna (10, 74, 6) is the immovable Dhāyyā.

Tvām iddhi havámahe (6, 46, 1) forms the womb (central verse) to which the Hotar brings (all) back, after the Dbāyyā has been recited ;

for this is a Bțihat Sāma day, according to its position (thence the * Pragātha, constituting the text of the Biihat Saman, is its womb),

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Tuan Indra pratitrtiṣu 18, 88, 5) is the Sama Pragatha ; (the third pada) asastihā janitā contains the term " jāta,” which is a characteristic of the fourth day. Tyam su rajinam (10, 178) is the immovable Tārkṣya.

(The Remainder of the Niṣkeralya Sastry, and the

Sastras of the Evening Libation) Kuha śruta indraḥ (10, 22) is the Vimada hymn, with alliterations, assonances, and consonances, by the Riṣi whose (name, is contained in an alliteration (vi vo made in 10, 21 being taken as equal to rimada), This is one of the characteristics of the fourth day. The hymn yudhmasia te vriṣabhasya (3, 46) contains (in the fourth verse) the word januṣa (from the root jan " to be born"), which is a characteristic of the fourth day. It is in the Triṣtubh metre. By means of the padas of this hymn which stand firm, the Hotar keeps the libation, lest it fall from its proper place.

Tyam uvah satrásaham (8,81) is the setting. Its words, visvasu girṣu āyatam, indicate that this day’s work is to be made long, as it were, which is one of the characteristics of the fourth day. They are in the Gayatri metre ; the Gāyatris are the leaders of the midday libation in these three

(latter) days. [829] The Nivid is to be put in that metre which leads (the day); therefore they put the Nivid in the Gayatris. Diścô devasya netus (5, 50, 1), tat savitur varenyam (3, 62, 10-18), a visvadevam saptatim (5, 82, 7-9), are the beginning and sequel of the Vaišvadeva Sastra on the furth day, which is a Brihat day, being one of the characteristics of the fourth day. A devô yatu (7, 45) is the (Nivid) hymn for Savitar; it contains the term a, which is a characteristic of the fourth day. .

Pra dydvd yajñāih prithiot (7, 53) is the (Nivid) hymn for Dyávê prithivi; it contains the term pra, which is a characteristic of the fourth day. Pra ribhubhyô dutam iva vācham iṣya (4, 33) is the (Nivid) hymn for the Ribhus; it contains the words pra and vacham isya, which are characteristics of the fourth day. Pra śukraitu devimanīṣa (7, 34) is the (Nivid) hymn for the Visvedevāb ; it contains the terms pra and śukra, which are characteristics of the fourth day. It has different metres, such as consist of two padas, and such as consist of four padas. This is a characteristic of the fourth day.

Vaisvānarasya sumatāu syama (1, 98) is the beginning of the Agni māruta Sastra; it contains the term jāta, which is a characteristic of the fourth day. Ka in vyakta (7,56) is the (Nivid) hymn for the Marutas.

(In the third pada of its first verse) there are the words, nakir hy eṣám janiinṣi veda, which contain the root jan to be born (in jantnṣi), which is a characteristic of the fourth day. The verses of this bymn are in unequal metres; some have two padas, some four. This constitutes a characteristic of the fourth day.

Jatavedase sunaváma somam (1, 99, 1) is the immovable Jātavedās verse. Agnim narô didhitibir (7, 1) is the (Nivid) hymn for Jātavedās ; it contains the term janayanta, which is a characteristic of the fourth [880] day. Its meters are unequal; there are in it Virajas and Tris tubhs. This constitutes a characteristic of the fourth day.