SECOND CHAPTER. (The Characteristics and Sastras of the Fifth and Sixth Days of the Dvádasdha)
6 The Characteristics of the Fifth day. The Sastras
of the Morning and Midday Libations) The leading deity of the fifth day is Gdus (the cow). Its Stoma is the Triṇata (twenty-seven-fold), the Saman is the Sakvaram, the metre is Pañkti. He who knows what deity, what Stoma, what Sāman, what metre (are required on this day), succeeds by it. What is not ā and not pra, what is fixed (stapding), that is a characteristic of the fifth day. Besides, the characteristics of the second day re-occur in the fifth, such as urdhva, prati, antar, vriṣan, vridhan: the mentioning of the deity in the middle pada, an allusion to the airy region. (In addition to these, there are the following peculiar characteristics), dugdha, (duh to milk) udha (udder), dhenu (cow) przśni (cloud, cow) mad (drunk), the animal form, an increase (adhyásah),’ for the animals differ in size, as it were, one being smaller or bigger than the other.’ This (fifth) day is jagatam, i.e., it refers to the movable jagat) things (or the Jagati metre), for [381] the animals are movable ; it is bárhatam, for the animals have reference to the Bșihatī metre; it is páriktam, for the animals refer to the Pañkti metre; it is vāman, i.e., left, because the animals are of this quality. It is haviṣmat, i.e., having offerings; because the animals
- The Pašu is considered to have five feet, the mouth being reckoned as the fifth. Say
2 The original viksudra iva hi pasaud cannot be literally translated. I therefore must content myself with a paraphrase, based chiefly on Sayapa ; kṣudra means small, low; and vi expresses " different, manifold."
Sāy. interprets the word váma here differently. He takes it to mean slovely, beautiful." This, he says, refers to the song (what song, he does not specify) which is pleasing to hear on account of its sweet tones and sounds, or to the beautiful view which animals, such
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are an offering (serve as an offering); it is rapuṣmal, 1.2., having a body ; for the animals Lave a body; it is sakvaram pānictam, and has the present tense, just as the second day.
Imam ū ṣuvo atithin (6, 15) is the Ajya Sastra. It is in the Jagati metre with additional other metres (such as Sakvari, Atis akvari, &c.); this is the animal characteristic of the fifth day.
The Pra-uga Sastra of the fifth day, which is in the Brihati metre, consists of the following verses : A no yajñam divisprisam (8, 90, 9-10), à no vāyo (8, 46, 25), rathena prithapd jasa (4, 46,5-7) bahavah sirachak ṣasā (7, 66, 10-12), imā u vam diriṣtayo (7, 74, 1-3), piba sutasya rasino (8, 3, 1-3), devam deram vo vase deram (8, 27, 13-15) brihail 24 giyiṣe vacha ( 7, 96, 1-3).
In the verse yat pañchajanyayarisi (8, 52, 7), which is the beginning of the Marutratiya Sastra, there is the word pāñchajanyayê (consisting of five families) which (five) is a characteristic of the fifth day (it being pankta, i. e., five-fold.)
Indra āt somapa ekah (8, 2, 4), Indra nediya edihi (Val. 5, 5), uttistha Brahmanaspate (1, 40, 1), Agnir netd (3, 20, 1), tram soma kratubhik (1, 91, 2), (882) pinvanty apô (1, 64, 6), brihad Indrayo gayata (8, 78, 1) is the extension (of the Marutvatiya Sastra) of the fifth day, which is identical with that of the second day.
Avitási sunvatô (8, 36) is a hymn which contains the word mad “to be drunk." There are (in the first verse) five padas, which is in the Pankti metre, all these are characteristics of the fifth day. Ittha hi soma in mada (1, 80) is another hymn in the Pankti metre, consisting of five padas which contains the word mad also.
The hymn Indra piba tibiiyam suto madaya (6, 40), composed in the Triṣtubh metre, contains the word mad also. By means of this pada which remained firm, the Hotar keeps the libation in its proper place, preventing it from slipping down. The triplet marutvam indra midhva (8, 65, 7-9) is the setting containing neither the word ā por pra which is a characteristic of the fifth day. These verses are in the Gyatri metre, which lead the midday libation of the three days’ sacrifice. The Nivid is placed in that metre which is the leading one. Therefore the Hotar places the Nivid in (these) Gāyatris.
as cows, horses, &c., represent to the eye of the spectator. But these explanations have no sense at all, and appear to be mere guesses. I think it beiter to take the word in the meaning ** left" according to which the animals are the “ left part" in creation, opposed to men and gods who represent the right.
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(On the sakvara Sāman and the Mahāndninis.
The Niskevalya Sastra.) - On the fifth day, which is a Rathantara day, the Sama singers chant the Mahānāmni verses according to the Sākvara tune ; this is a charac teristic of the fifth day. Indra (having had once a desire of becoming great), made himself great by means of these verses; therefore they are called Mahānāmnī. These worlds (also) are Mahānāmnis, for they are great. [883] Prajapati had, when he created the universe, the power (of making all) this and everything. The power possessed by Prajāpati to make all this and everything when creating these worlds, became the Sakvari verses. Thence they are called Sakvaris (from saknoti, he has the power), He (Prajapatī) made them (these Mahānāmnis) to extend beyond the frontiers. All that he created as extending beyond the frontiers, turned cords (sima). Thence comes the word síman, from sima a cord.
The verses Svádor itthā viṣūvato (1, 84, 10), upa no haribhih sutam (8, 82, 31), indram visva avivridhann (1, 111, 1), are the Anurūpa (of the Niṣkevalya Sastra); they contain the words vriṣan, priśni, mad, oridhan, which are characteristics of the fifth day. Yad vāvána (10, 74, 6) is the immovable Dhāyyā. By repeating Abhi tvā śūra nonumo after the Dhāyya, the Hotar returns to the womb of the Rathantaram (as the receptacle of all ceremonies), this (fifth) day being a Rathantara day by its position. Mô $tu tu tāghatas chama (7, 32, 1-2) is the Sama Pragatha with an addi tional foot, having the animal form (five parts), which is a characteristic of the fifth day. Tyam ṣu vajinam is the immovable Tarkṣya,
- (The Remainder of the Niṣkevalya Sastra. The
Sastras of the Evening Libation.) The hymn, predam brahma (8, 37) is in the Pańkti metre, comprising five padas. The hymn, Indro madáya vāvridha (1, 81) is in the Pankti metre, consisting of five padas, and containing the term “mad.” By means of the hymon Satrū madásas tava (6, 36, 1) which contains the term “nad” also, and is in the Triṣtubh metre, the Hotar keeps through its padas which remain firm, the libation in its proper place, [334] thus preventing it from falling down. The triplet, tam Indram vajay amasi (8, 82, 7-9) is the setting (paryāsa). (Its third pada) sa vriṣā vriṣ abho bhuvat, contains the animal from there is the word vriṣan, i. e.,
- These are vidá maghavan, Bee 4, 4.
hy
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male, in it). It is in the Gāyarti metre, for the Gůyatris are the leading metres at the midday libation in this Tryaha (the three days from the fourth to the sixth). The Nivid is placed in that metre which is the leading. Therefore the Hotar places the Nivid in (these) Gayatris.
The verses, tat saritur rrinimahe (6, 82, 1-3) au ya no dera savitar (5, 82, 13-15), are the beginning and sequel of the Vaišvadera Sastra on the Rathantara day, of which the fifth is one. Udu sya derah sarita damuna (6, 71, 4-6) is the (Nivid) hymn for Savitar. In it there is the word vámam (in the last pada), 2.e., left, which is a characteristic of the animal form. In the Dyāvāprithivi hymn, mahi dyāróprithivi (4, 56) the words ruvad dhoksa (in the last pada) contain the animal form (be. cause the word dhokṣa, from the root duh, to milk, is in it).
Ribhur vibhvū vája (4, 34) is the Ribhu bymn. Because the auimals are vājaħ, i. e., property, booty, which (rajah) is an animal form. Stuṣe janam suvratart navyasíbhir (6, 49, 1) is a bymn (in the Triṣtubh metre) with an additional pada (in the last verse, which is in the Sakvari, instead of in the Triṣtubh metre). This is the animal form (animals being supposed to have fire feet instead of four, the mouth being counted as the fifth) which is a characteristic of the fifth day. Haviṣ pintam ajaram (10, 88,1) is the beginning of the Agnimaruta Sastra. It contains the word haviṣ, i, e., offering, which is a characteristic of the fifth day. Vapur na tachchikituṣê (6, 66) is the (Nivid) hymn for the larutas, which con tains the word vapus, 2. e., from. Jatavedase sunarāma is the invariable Dhāyyā. Agnir hata (335) grihapatih (6, 15, 13) is the (Nivid) hymn for Jātavedās, with an additional pada (at the end); this is the animal form, which is a characteristic of the fifth day.
On the Rituyūjas of the Sixth Day.) The sixth day is deva kṣetra, i. e, the field of the gods. Those who enter on the sixth day, enter the field of the gods who do not live to gether, but each in his own house. They say, No Ritu (season) lives in the house of another Ritu. Therefore the priests perform the Ritu yājas (offerings to the Ritus), each for himself, without appointing another one to do it for them. Thus the priests prepare all the Ritus
5 This refers to the circumstance that at the common Soma sacrifices, such as ths Agnistoma, the Rituyaja mantra for the Adhvaryu and the sacrificer are repeated by the Hotar, and not by the Adhyaryu"and the sacrificer themselves. But at a Sattra, to which class of sacrifices the Drādasa ha belongs, this is not allowed; each must act for himself, each member of the body of priests who are performing a Sattra, being alternately priest and sacrificer. The Ritayaja mantras for the Adhvaryu and sacrificer are the eleventh and twelfth in order. See the note on page 135-36.
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without foregoing such or such one (and make them fit for their own use), that the whole assemblage enjoys happiness, each in his own place. They say, No order for making the Ritu offering is required, nor is the formula " vāuṣat” to be repeated. Because the order given (by the Maitra varuṇa), for the Ritu offerings are the Vāch, who is wearied on the sixth day. When they would give the order (for repeating the Yājyās) for the Ritu offerings, and call “vāuṣat,” then they would have Vāch wearied, tired, sinking under her load (the number of mantras recited on the previous days) and faltering in her (886) voice. But if the priests do not repeat the order for the Ritu offerings, nor repeat vāuṣat after the Yājyās, then they fall from the line of the sacrifice which should not be broken and consequently they fall) from the sacrifice, from the prāṇa (breath), Prajapati and cattle, and will (henceforth) walk crooked. Therefore the order (praiga) to repeat the mantras, as well as the Yajyā verse (at the end of which the Vaṣatkāra occurs) should be preceded by a Rik verse. S Thus they will not have the Vāch wearied, tried, sinking beneath her load, faltering in her voice, nor will they fall from the line of sacrifice which should not be broken, nor from the sacrifice, nor from the prāṇa, nor from Prajapati, nor from the cattle, nor walk crooked.
- (On the Nature and Meaning of the Paruchhepa Verses.) They place at the two first libations a Paruchhepa verse (one seen by the Riṣi Paruchhepa) before each of the Yājyās, which are repeated by the seven Hotars in their order (the so-called prasthitas). The name of their metre is Rohita. By means of it Indra ascended the seven heavens. Thus he who has this knowledge ascends the seven heavens. They say, Verses which consist of five padas (steps) are a characteristic of the fifth day, and such ones as consist of six padas are fit for the sixth day, why then are metres of seven padas (as the Rohita is) [387] recited on the sixth day? (The reason is) By six steps the sixth day is reached ; but by cutting off, as it were, the seventh day (by taking it single) they settle with the seventh step down (in heaven after baving reached it by six). Thus they regain the Vāch for the connection (of the whole). Those who are possessed of such a knowledge have the three days connected and un broken.
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• Riknavahi ; tikra=bhagna, broken, stands, as say. observes, instead of urrkna. * Fanarāvini. * The verse to be prefixed to the Praisa and Yájyā is tubhyam hinvaná (2, 30, 1).
- Previons to the recital of every Yajyā, one of the Parucbhepa verses is to be repeated. These are, zrisaun indra vriṣa pānāsa indavan (1, 130, 6-11) and piba somam indra suvanam(1, 130, 2-10),
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- (On the Origin of the Paruchhepa Verees.) The Devās and Asuras waged war in these worlds. The Depas turned the Asuras by means of the sixth day’s ceremonies out of these worlds. The Asuras seized all things which they could grasp, took them and threw them into the sea. The Devas following them behind seized by means of this metre (of the Paruchhepa verses which have seven padas) all they (the Asuras) had grasped. Just this pada, viz., the additional pada (the seventh in the Paruchhepa verses) became a hook for the purpose of gathering the treasures (thrown into the sea by the Asuras). Therefore he who has this knowledge, deprives his enemy of his fortune and turns him out of all these worlds.
12 (The Characteristics of the Sixth Day. The Sastras of the Morning and
Midday Libations.) Heaven (Dydus) is the leading deity of the sixth day. The Stoma is the thirty-three-fold, the Sāman is Raivatam, Atichhandās the metre. What has the same end (refrain) is a characteristic of the sixth day. [838] The sixth day has the same characteristics as the third, viz. the words, aśra, anta, end, repetition, consonance, cohabitation, paryasta (set), three, what has the form of anta; the mentioning of the deity in the last pada, an allusion to that world (heaven). The peculiar characteristics of the sixth day are, the Paruchhepa hymns comprising seven padas, the Narasamsam, the Nabhānediṣtham, the Raivatam the Atichhandah, and the past tense.
Ayam jayata manuṣo dharimani (1, 128) is the Ajya Sastra, which is a Paruchhepa hymn, an Atichhandah (a metre exceeding the normal measure) comprising seven padas, which is a characteristic of the sixth day.
The Pra-uga Sastra consists of the following verses, which all are Paruchbepa, and Atichhandah, comprising seven padas : stirnam barhir up no yahi vitaye (1, 135, 1-3), ā vám ratho niyutvān (1, 135, 4-6); suṣuma yatam adribhir (1, 137, 1-3); yuvám stomebhir devayanto (1, 139, 4-6); avar maha (1, 133, 6-7); astu śrāuṣa? (1, 139, 1); O $u no agne śrinuhi tvam ilitô (1, 139, 7); ye devāso divy ekādasa (1, 139, 11); iyam adadād rabhasam (6, 61, 1-3).
Sa pūrryô mahānám (8, 52, 1-3) is the beginning of the Marutvatiya Sastra, because mahan is a word in anta (acc. mahántan), and anta, i. e.,
10 Anuhdyq=przṣthato gatvá S.
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end, is a characteristic of the sixth day, being the end (the last of the second series of three days). The verses, Traya indrasya Soma (8, 2, 7-9); Indra nediya edihi (Vāl. 5, 5-6); pra nūnam Brahmanaspatir (1, 40, 5-6); Agnir netā (3, 20, 4); tvam Soma kratubhiḥ (1, 91,2), pirvanty apô (1, 64, 6); and nakih sudasô ratham are the extension (ātanaḥ of the Marutvatīya Sastra) and identical with those of the third day.
Yan tvam ratham indra medha sātaye (1, 129) is a Paruchhepa hymn in the Atichhandāh metre, consisting [389] of seven padas. Sa yo vrıṣd vrisnyebhiḥ (1, 100) is the hymn whose verses have the same refrain?? (sama nodarka). Indra Marutvā iha pāhi (3, 51, 7) is the hymn," which contains an anta, (a participle of present tense form in ant, or its equiva lent) in the words (verse 9), tebhiḥ sākam pibatu vritrakhādah ; because vritrakhádô (adó being taken as equivalent to anta) is the anta, and the sixth day is the end (anta). By means of this hymn, which is in the Triṣtubh metre, the Hotar keeps through its padas which remain firm, the libation in its proper place, preventing it from falling. Ayam ha yena (10, 65, 4-6) is the triplet which serves as a setting, for in its words, svar marutvatā jitam, there is an anta, jita is an anta.1: These verses are in the Gāyātri metre; the Gāyatris are the leading metres at the midday libation during these three days. The Nivid is put in the leading metre; thence the Hotar puts the Nivid in the Gāyā tri metre.
The verses, revatir na sadhamāde (1, 30, 13-15), and revān id (8, 2, 13-15), form the Raivata Priṣtha (the Raivaita Sāma), which is used on a Bribat day, to which the sixth day belongs. The verse yad vávána is the invariable Dhāyyā. By “ tvān iddhi havámahê” (6, 46, 1-2) which follows the Dhāyyā, the Hotar returns all to the womb of the Bțihat Sāma ; for this is a Brihat day according to its position. Indram id devatātaya (8, 3,5-6) is the Sāma Pragātha which has the characteristic of ninrila (has a consonance),24 Tyam ū ṣu vājinam is the invariable Tārkṣya.
13 [840] (The Remainder of the Niṣkevalya Sastra and the Sastras of the
Evening Libation.) Endra yahy upa naḥ (1, 130) is the Paruchhepa hymn, in the Aticbhan dāh metre, comprising seven padas. Pra gha nvasya (2, 15) is the hyma whose several verses have the same refrain. 18 In the hymn abhur eko
1 This is Marutván ro bhavatv indra ūti. 1* In the present state of the Samhità it is incorporated with another one. 15 This appears to be an error, the form ant is to be sought in marutvata.
34 Because in every pada there is the word Indra, the ropetition of which resein bles the sounding of a bell metal instrument.– Sāy.
15 This is mada indra chakara.
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rayipate (6, 31), the words occur (verse 5) artham stisthira twvintima bhimam ; in it the word stha " to stand, ” marks an end (standing being the end of going) which is a characteristic of the sixth day. By means of this hymn, which is in the Triṣtubh metre, the Hotar keeps, through its padas which remain firm, the libation in its proper place, preventing it from falling. Upa no harilnih stutam (8, 82, 31-33) is the setting which has the same refrain. It is in the Gayatri metre, which is the leading one of the midday libation of the three (latter) days. Therefore the Nivid is to be placed in it. Abhi taym deram Savitāran (Vaj. Samb. 4, 25) is the beginning of the Vaišvadeva Sastra, in the Atichhanda metre. Tat Savitur varenyam (3, 62, 10-11) and doṣô agāt from the sequel, because gata, i.e., gone, signifies an end, which is a characteristic of the sixth day.
Uduṣya devah savitā savaya (2, 38) is the (Nivid) hymn for Savitar; the words therein, sasvattamam tadapa vannir asthát, contain an anta, for sthita, i.e., standing is an anta.
Katarā phrva (1, 185, 1) is the (Nirid) bymn for Dyāvāprithivi, whose verses have the same refrain.18
Kim u śreṣthah kirin yariṣthô (1, 161) and upo no rāja adhvaran ribhukṣa (4, 37) form the Arbhavam [341] Narasamgam hymns, in which the term " three” occurs, being a characteristic of the third day.
The two hymns Idam itthā raudram (10, 61), and ye yajñena dakṣż nayā samakta (10, 62) form the Vaišvadeva (Nábhānediṣtha) hymns.
- (The Story of Nabhānediṣtha, the son of Manu.) He recites the Nābhānediṣtham. Nābhānediṣtha was a son of Manu; who was given to the sacred study (after his investiture in the house of his Guru); 17 his brothers deprived him of his share in the paternal pro perty. He went (to them) and said, " What portion is left to me?" They answered, " Go to the adjudicator 1s and arbitrator." By “adjudicator and arbitrator " they meant their father. He went to his father and said, * They have divided the property including my share among themselves.” The father answered, “My dear son, do not mind that. There are the Angirasah just engaged in holding their sacrificial session (Sattra) for going to heaven. As often as they commence the ceremonies of the sixth day, they are puzzled (frustrated in their design). Let them recite on the sixth day those two hymns (abovementioned, Rigveda 10, 61-62), then they will give thee the sum of a thousand which is contributed by all the.
10 This is dydva raksatan prithivi no abhvát. ** This is the meaning of the term brahmacharyam vasantam. 18 Nistava.232
sacrificers who participate in the sacrificial session, 29 when they go to heaven.” He said, “Well, let it be so.” He then went to them, saying, “Receive me, the son of Manu, among you, O ye wise !!! They said, “What dost thou wish, that thou speakest thus ?” He answered, (342] " I will show you how to perform the sixth day, then give me the reward for the sacrificial session of a thousand (cows or other valuables), when you go up to heaven." They said, “ Well, let it be so." He made them recite on the sixth day those two hymns; then they became aware of the Yajña (the sacrifice regarded as a person, leading to heaven), and of the heaven-world. Therefore the Hotar recites those two hymns on the sixth day, in order that the sacrificer might become aware of the sacrifice, and to have subsequently pointed out the heaven-world. When: they were going up, they said, “This thousand, 0 Brāhmaṇa, belongs to thee." When he was putting all together (the thousand pieces), a man clothed in a blackish (dirty) dress ao alighted and approaching him, said, " This is mide ; I have left it here.” He answered, " The Angirasah have given it to me," The man said " Then it belongs to either of us, thy father may decide." He went to his father. He asked him, “Have they not, my dear son, given you (the reward) ?” He said, “They have given me; but a man clothed in a blackish dress alighted, and approaching me said, “This is mine, I have left it here. So saying, he took it.” The father said, “It is his, my dear son ! but he will give it to thee.” He went back to him, and said, " Sir, this belongs only to you ; so says my father.” He said, “I give it to thee, because you have spoken the truth, (i.eu, acknowledged that it is my property).” Therefore a man who is learned must speak only the truth. This is the mantra of “the thousand gifts,” the Nabhānediṣtha hymn. Upon that man who has this knowledge, a thousand gifts shower, and he gets a glimpse of heaven by means of the sixth day.
(343) On the auxiliary Sastras at the Evening Libation, Nábhānediṣtha, Valakhilya, the Sukirti Hymn, Vriṣů kapi, and Evayámarut. The Agna mdruta Sastra of the Sixth Day. (See 6, 27-30.)
The Hotar ought to repeat those Sastras which are called the accompaniments (of the others on the sixth day), viz., the Nabhanediş tham, Valakbilyā, Vripākapi and Evayāmaruta only as auxiliaries (to the Vaišvadeva-Sastra). If the Hotar foregoes only one of them,
Is This is the translation of sattra-pariveşanan. ** Siy, says that according to another Sakbà, this man is Rudra, the master of cattle.
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(these additional Sastras, the sacrificer will lose somethiug. If he foregoes the Nábbānediştham, then the sacrificer will lose his semen ; if he foregoes the Vālakhilgās, then the sacrificer will lose his breath; if he foregoes the Vrişá kapi, the sacrificer will lose his soul; and if he foregoes the Evayáinarutam, then he will turn the sacrificer out of his divine and human position. By means of the Nabhanediş tham, he (the priest) poured the semen into the sacrificer ; by means of the Vālakbilyā verses, he transformed them to make an embryo). By means of the hymn *1 by Sukirti, the son of Kaksivat, he made the Tomb set forth the child, because therein in the first verse is said), “Let us rejoice in thy shelter, Indra ! (just as people find pleasure in a large commodious roon)." Thence the child (garbha), though being larger, does not damage the womb which is (much) smaller. If the Tomb is pre pared by (this) sacred hymn (Brahma, the Sukirti hymn), then the Hotar imparts to the sarcificer the faculty of walking by means of the Evayāmaruta hymn (6, 87). If he has done all required for making the sacrificer walk, then be walks (he has obtained the faculty of walking).
Ahaścha krişnam anar arjunam (6, 9, 1-33) is the beginning of the Agnimāruta Sastra, because ahas (344) is a repetition, and a consonance, which is a characteristic of the sixth day. Madhto ko nama marutam yajatra (7, 57) is the Maruta bymp. Here is the plural (because the Marutas are many) to be urged ; because the plural is an anta, and this is a characteristic of the sixth day.
Jātavedase sunavana (1, 99, 1), is the invariable Jātavedās verse. Sa pratnatha sahasa (1, 96, 1) is the (Nivid) hymn for Jātavedas, whose verses have the same refrain, which is a characteristic of the sixth day.
The priest, apprehending the anta, i. e., ends of the sacrifice, might fall down, keeps them up by repeating twice the word dharayan,22 i. e, they may hold, just as one ties and unties successively the ends of a cord, 38 or just as one (a tanner) is driving in the end of a (wetted) skin a peg, in order to keep it (expanded). It is done to keep the sacrifice uninterrupted Those who have such a knowledge have the three days continuous and unbroken (undisturbed).
21 Apa pracha Indra (10, 131). 22 It is in the last pada of all verses of this hrinn, 23 In order to make of them a large ring.
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