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FOURTH CHAPTER.

(The Sarpāta hymns. The Vālakhilyas.

The Dürohanam.)

(See 6, 5.) When they make at Soma sacrifices, which require several days for their performance (ahinas) in order to make them continuous, at the morning libation, the singing verse (Stotriya) of the following day, the Anurūpa of the preceding day, it is just the same as with the performance of a Soma sacrifiice which lasts for one day only (ekdha.) For just as the (three) libations of the one day’s Soma sacrifice are connected with each other, in the same way are the days of a Soma sacrifice which lasts for several days connected with one another. The reason that they make at the morning libation, the singing verse (Stotriya) of the following day, the Anurapa of the preceding day, is to make the days during which the sacrifice lasts one continuous series. Thus they make the days of the Abina sacrifices one continuous whole.

The Gods and Riṣis considered. Let us make the sacrifice continu ous by equalising (its several days.) They then saw this equality (of the several parts) of the sacrifice, viz. the same Pragathas, the same Pratipads (beginning triplets), the same hymns. For Indra walks in the sacrifice on the first as well as on the following day, just as one who has occupied a house. (The Soma days are thus equalised) in order to bave (always) Indra (present.):

14 Sāy. says, “For seven nights after the coition the semen has the form of a bubble a fortnight after it is changed into a ball, which, if the change has been completed, assumes the proper (haman or animal) form." The Narasansan is the state of transition for the semen from the bubble into the ball form. Therefore in order not to disturb and stop the course of this change, no verses, referring to the imperfect state, can be repeated.

11 See on them 6, 32.

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18. On the Sampata hynn. The counter-Sampata hymns. On a peculiarity in the use of the hymn of the Achchhavāka.

Vibyāmitra saw for the first time (the so-called) (407] Sampāta hymns; but Vāmadeva made those seen by Viśvāmitra known to the public (aśrijata). These are the following : evd trām indra (4, 19); yanna indro (4, 22); kathā mahām avridhat (4, 23). He went at once after them (samapatat) and taught them his disciples. Thence they are called Sampátas.

Visvamitra then looked after them, saying, “The Sampāta bymns which I saw, have been made publics by Vāmadeva; I will counteract these Sampātas by the publication of other hymns which are like them. Thus he made known as counterparts the following bymns : sadyô ha játo vriṣabhaḥ (3, 48); indraḥ půrbhid ātirad (3, 34); imamu ṣu prabhrż tim (3, 36); ichhanti tvā somyasaḥ sakhāyaḥ (3, 30); śásad vahnir duhitur (3, 31); abhi taṣteva didhayô maniṣām (3, 38); (Other Sampāta hymns are), the hymn of Bharadvāja, ya eka id dhavyas (6, 22); those of Vasis tha, yas tigmasringo vriṣabho na bhima (7, 19), ud u brahmanairata (7, 23); and that of Nodhās asmā id u pratarase (1, 61).

These Hotri-priests (Maitrāvaruṇa, Brahmanāchhamsi, and Achchhā vāka) after having recited at the morning libation of the six days’ sacrifice the Stotriya verses, repeat at the midday libation the hymns or the several days’ sacrifices (ahina). These hymns are ê satyo yatu maghavan (4, 16); for the Maitrāvaruṇa (by whom it is to be repeated) is endowed with satya, i. e. truth. The Brahmanachhamsi repeats, asma id u pratavuse (1, 61); for in this hymn there occur the words indraya brahmānā rītatama (in the fourth pada of the first verse), and Indra brahmani Gotamāso ak rann (verse 16), 2. e. the Gotamas have made the prayers, Indra ! in which the word “brahma” is mentioned. T’he Achchhāvāka [408] repeats śāsad vahnir (3, 31), in which the words janayanta vahnim (verse 2) occur; for he is the Vahni (guide).

Some one asks, Why does the Achchhāvāka repeat in both kinds of days’ (of the Gavām ayanam sacrifice) this Vahni hymn in those days which stand by themselves (parañchi) as well as those which form

• This is the meaning of the expression sama patat. 1 The term is sriy to emit

3 This refers to two classes of days of which a great Sattra consists, 2. e, single days, which only once occur in the course of the session, and regular periods of the same length which follow one another. Sce page 279,

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regular periods (of six days) one following the other (abhyāvarti)? The answer is, the Bahvřicha (Rigveda) priest (i.e one of the Hotris) is endowed with power, and the Vahni hymn leads (vahati); for the Vahni (guide horse) draws the beams to which he is yoked. Therefore the Achchhāvāka repeats the Vahni hymns in both classes of days.

These Ahīna* hymns are required during the five days in the Gavām ayanam), viz. on the Chaturvimša, Abhijit, Viṣuvat, Visvajit and Mahāyrata days; for these (five) days (though the performance of each lasts for one day only) are ahinas, for nothing is left out (na hiyate) in them; they (further) “stand aloof” and do not re-occur in the other turn (as is the case with the Salabas). Thence the Hotri. priests repeat on these (five) days the Ahīna Sūktas. When they repeat them, then thay think, " may we obtain the heaven-worlds undiminished, in their full forms and integrity.” When they repeat them, they call hither Indra by them, just as one calls a bullock to a cow. They repeat them for making uninterrupted the series of sacrificial days. Thus they make them uninterrupted.

[409] 19. (On that days, in what order, and by whom the Sampáta hymns are to be

repeated. The Avapana hymns.) Thereupon the Maitriāváruna repeats on every day (of the Salaba, but not on those five days mentioned) one of the three Sampatas, inverting their order (in the second three days performance of the Sa Jaha). On the first day he repeats evā tvam indra; on the second, yanna indro jujuṣe; and on the third, kathā mahôm avridhat.

The Brahmaṇāchchhamsi repeats three Sampā ta hymns, every day one, inverting their order (in the second three days performance), viz. pūrbhid ātirad on the first day ; eka id dhavyas on the second ; and yas tigmas gingo, on the third day.

In the same manner the Achchhāvāka repeat three Sampātas, every day one, viz. imam u ṣu prabhritim on the fisrt day, ichhanti tvā somyasal on the second day, and śāsad vahni on the third day.

These three (for there are every day three to be repeated) and nine (nine is the number of all taken together) hymns, to be recited day after day, make twelve in all. For the year consists of twelve months, Prajapati is

• The Sampatas which are mentioned here are meant.

• They are here called ahinas from a purely etymological reason. Strictly speaking, they are aikāhikus.

**This is the real meaning of the term viparyūsam. In the second Tryaha of the Salaba, the hymn which was the first in the first Tryaha is mado the last, and the last the barst

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the year, the sacrifice is Prajapati. They obtained thus this sacrifice, which is Irajāpati, who is the year, and they place thus every day’s performance in the sacrifice, in Prajapati, and in the year.

Between these hymns they ought to insert the Virāj verses by Vimada, to be recited without Nyünkha on the fourth, the Pañkti verses on the fifth, and the Paruchhepa verses on the sixth day. Then on the [410] days when the Mahāstomas are required (the Chhandomā days) the Maitrāvaruna inserts ko adya naryo devakāma (4, 25, 1), the Brahmaṇācbchhamsi, vanena váyo nyadhấyi (10, 29, 1), and the Achchhāvāka, āyāhy arvamg upą (3, 43, 1). These are the Avapana hymns (intercalary hymns), by means of which the Gods and Riṣis conquered the heaven-world, and by means of which the sacrificers conquer lieaven (also).

(On the hymns repeated by the Maitrāvaruna, dc, which precede the

Sanpātas). Before the (Ahīna) hymns are repeated, the Maitrāvaruṇa repeats every day, sadyo ha jito vriṣabhah (3, 48). This hymn leads to heaven; for by means of this hymn the Gods conquered the heavenly world, and the Riṣis did the same ; by means of it the sacrificers also conquer the heavenly world. This is a Viśvāmitra hymn, for Vigvamitra (all friend) was the friend of all; therefore all will be friendly towards him who has this knowledge, if the Maitrāvaruṇa knowing this repeats (this hymn) every day before the Ahina Sūktas. This hymn (sadyo ha) contains the word “bull,” and is therefore apaśumat (having cattle), serving for obtaining cattle. It consists of five verses ; five-hood com prises five feet, and five-hood is food for obtaining (which this hymn is useful). The Brahmanāchhamsi repeats every day the Brahmā hymn, whice is complete, ud u brahmāny airata (7, 23).

This hymn leads to heaven; by means of it the Gods conquered the heavenly world, and the Riṣis did the same; by means of it the sacri ficers conquered the heavenly world. It is a Vasiṣtha hymn ; by means of it Vasiṣtha obtained Indra’s favour, and conquered the highest world. Io who has such a [411] knowledge, obtains Indra’s favour, and con quers the highest world. It consists of six verses; for there are six seasons; in order to gain the seasons (ritus), he repeats it after the Samapatas. For the sacrifiers have thus a firm footing in this world, in order to reach the heavenly world (after death).

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The Achchhāvāka repeats every day, abhi taṣļeva didhaya (3, 38). This hymn contains the characteristic abhi (towards) in order to establish a connection (with the other world). Its words " abhi priyani marmrišať parāni,’’ mean that the other days (those in the other world) are lovely, and that they are seizing them (securing them). Beyond (para) this world is the heaven-world, to which he thus alludes.

When repeating the words, kavimrichchhamni saṁdrise sumedha, i.e. “I wish to see the wise prophets,” he means by kavis the departed Riṣis. This hymn (abhi taṣteva) is a Vigvamitra hymn, for Viśvāmitra was friend to all ; every one will be friendly to him who has this knowledge.

He repeats this hymn which belongs to Prajapati, though his name is not expressly mentioned aniruktam only hinted at) in it. For Praja pati cannot be expressed in words. (This is done) in order to obtain (com munion with) him. In this hymn the name “Indra " is once mention ed? ; but this is only for the purpose of preserving the Indra form of the sacrifice (to Indra chiefly belongs the sacrifice). It consist of ten verses. For the Virāj consists of ten syllables, and the Virāj is food; it serves for obtaining food. As regards the number ten (of these) verses, it is to be remarked that there are ten vital airs. The sacrificers thus obtain the vital airs, and connect them with one another. [412] The Achchhāvāka repeats this hymn after the Sampatas in order to secure the heavenly world (for the sacrificers), whilst the sacrificers move in this world.

(The Kadvat hymns.’ The Triṣtubhs). The beginning Pragāthas of every day are the kadavntas (containing the interrogative pronoun kas who?) viz. kas tam Indra (7, 32, 14-15), kannvayo (8, 3, 13-14), kad Ú nu asya (8, 55, 9-10). By kas i.e., who? Pra jāpati is meant; these Kadvantah Pragathas are suitable for obtaining

In the last verse (3, 38, 10); but several times alluded to by the name " vriṣabha,” i. e. buil,

8 The Sastras of the minor Hotri-priests being at the Dvadasāba and Sattras rather complicated, I here give some hints as to the order of their several parts. At the midday libation, after the Hotar has finished his two Sastras, the Maitrāvaruna, Brah mapachhamsi, and Achchhāvāka repeat one after the other the several parts of their Sas tras in the following order : (1) Stotriya and Anūrupa. (2) One of the three Tristabh verses as introductory to the Ahīna bymns and the Kadvantah Pragathas. (3) The Ahina hymns, of which each has to repeat two, viz. the Maitrāvarupa sadyo ha játa, the Braun manichhansi aśma id ni pra tavase, and the Achchha paka sasad vunnit ; and further, the

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Prajapati. Kam (old neuter form of kas) signifies food, the kadvantas there fore serve for obtaining food. For the sacrificers are every day joined to the Ahina hymns, which become (by containing the term kam i. e. happy) propitiated. They make by means of the kadvad Pragathas propitiation (for the sacrificers). When thus propitiated, these (Abina hymns) become (a source of) happiness for them (the sacrificers) and thus carry them up to the celestial world. [418] They ought to repeat the Triṣtubhs as the beginning of the (Ahina) hymns. Some repeat them before these Pragathas, calling them (these Trṣhtubhs) Dbāyyās. But in this way one should not proceed. For the Hotar is the ruler, and the performances of the minor Hotri-priests are the subjects. In this way (by repeating Dhāyyās which ought to be repeated by the Hotar alone) they would make the subject revolt against his ruler, wbich would be a breach of the oath of allegiance.”

(The repetition of these Triṣtubhs by the minor Hotpi-priests is, however, necessary). He ought to know," these Triṣtubhs are the helm (pratipad) of my hymns," just as (one requires a helm) if crossing the sea. For those who perform a session lasting for a year or the Dvadas āha, are floating like those who cross the sea. Just as those who wish to land on the shore enter a ship having plenty of provisions, ‘° in the same manner the sacrificers should enter (i.e., begin with these Triṣțubhe. For if this metre, which is the strongest, has made the sacrificer go to heaven, he does not return (to the earth). But he does not repeat at the beginning) of the several Triṣtubhs the call somsavoms; for the metre must run in one and the same strain (without any interruption, through the call somsavom, in order to be successful).

The Hotar further ought to think, I will not make the Dhāyyās, if they recite those (Triṣtubhs), and further, let us use as a conveyance the hymns with their well known introductory verses (the Triṣțubhs). If they then repeat these verses (Tristubbs), they [214] call hither by them Indra, just as a bullock is called to the cow. If they repeat them,

Maitrāvarana a satya yatu, the Brahmanāchhamsi, u du brahmani, and the Achchhāvāka abhi tasteva (see the reference in 6, 18) (4) The three Kadvantah Pragatha, of which each bas to repeat one. (5) The Sampata hymns, see 6, 19. The principal parts of the Sastras of the minor Hotri-priests are only the two latter, the hymns and verses which precede being regarded only as intercalary (āvapana); thence the Kadvantah Pragathas are here called arainbhaniya, i.e. beginning Pragathas. See on the whole Ašval. br. 8. 7, 4.

• This is the translation of papa vasya sam,

10 Thus Sāy. explains, Sairavati, tracing it to fra=annam. But I doubt the correct ness of this explanation ; very likely the front of the ship which might have had the form of a plough (stra) is to be undorstood.

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it is for making the sacrificial days continuous. Thus tbey make the sacrificial days continuous.

(The Triṣtubhs of the minor Hatris.)

· The Maitrāvaruṇa repeats every day before the hymns (the Triṣ tubhlapa průcha Indra (10, 131, 1), in which the idea of safety is expressed ; in the words, " Drive away from round about us all enemies : drive them away, O conqueror ! May they be in the south or north, prostrate (all) O hero! that we may enjoy thy far-extended shelter !" For he (the Main - trāvaruṇa) wishes to be in safety (thence he has to repeat this verse).

The Brahmanāchchhamsi repeats every day Bruhmāna te brahmayuja (3, 35, 4). By the word yunajmi, “I join,” the idea of " joining" is inti mated; for the sacrificial days are joined, which is the characteristic of (all) sacrifices which last for a series of days (the Ahinas).

The Achchhāvāka repeats every day, urum no lokam anuneshi (6, 47, 8). For the term anu" after," implies the idea of going (after), as it were, which is a characteristic of the Ahina sacrifices (for one day follows the other); whereas neṣi is a characteristic of a six monthly period of a sacrificial session,

These verses are recited every day, as well as the concludingil verses, which are every day the same,

Indra is the occupant of their (of the sacrificer’s) house, he is at their sacrifice. Just as the ball goes [415] to the cow, and the cow to her well-known stable, so does Indra go to the sacrifice. He ought not to conclude the Ahina with the verge sunam havema (3, 30, 22), for the king loses his kingdom if he calls him who becomes his enemy (rival).

How to join and disconnect the Ahênas. There is a joining as well as a disconnecting of the Ahina sacrifice. By the mantra oy antarikṣam atirad (8, 14, 7-9) the Brahmanāchchhamsi joins the Ahinas (at the morning libation); by eved Indra (7. 23, 6) he dissolves them (at the midday libation).

11 These are according to Say.. nu stuta indra (4, 16, 21) repeated by the Maitra varupa ; eved indran (7, 23, 6) repeated by the Brahmanachchhainsi ; and nūnam sc tc (, 11 22) repeated by the Achchhà vāka.

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By the mantra ā ham sarasvativator (8, 38, 10) the Achchhāráka joins them, and by nuram sa te (2, 11, 22) (he dissolves then).

By te syama deva Varuna (7, 66, 9) the MaitrāTaruna (joins them), and by nu ṣtuta (4, 16, 21) he dissolves them.a

He who knows how to join (at the morning libation) and to disconnecí (at the midday libation ) is enabled to spread the thread of the sacri ficial days (Ahinas). Their (general) junction consists in their being joined on the Chaturvinsa day; and their (general) disconnection in disconnecting them before the concluding Atirātra (on the labā vrata) day When the Hotri-priests would conclude on the Chaturviša day with verses appropriate to the Ekahas, then they would bring the sacrifice to a close, without performing the ceremonies referring to the Ahinas. When they would conclude with the concluding verses of the Ahina days, then the sacrificers [416] would be cut off, just as a bullock) who is tired must be cut off, (from the rope, for be does not move). They ought to conclude with both the Ekaha and Ahina verses, just as a man setting out on a long journey takes from station to station fresh animals. Thence their sacrifice becomes connected, and they themselves (the sacrificers) find relaxation.

He ought not to overpraise the stoma (i. e. not to repeat more verses than the singers chant) at the two (first) libations by (more than) one or two verses. When the Stoma is overpraised with many verses, (i. e. more than two) then they become for the Hotar like extensive forests (through which he has to pass without a resting place). At the third libation (he ought to overpraise the stoma) with an unlimited number of verses. For the heavenly world has no limits. (This serves) for obtaining the celes tial world. The Ahīna sarifice of him who with such a knowledge extends it, remains, if once commenced, undisturbed.

(The nature of the Valakhilya Sastra 13 How to repeat it.) 17 The verbs jimuti hati as well as yuikte are here used in an elliptical sense (ETCH . To the former, yuikte, and to the latter, vimuschati is to be supplied, each thus implying its contrariety.

19 The way of repeating the so called Válakbilya Sastra, the text of which consists of the Vālakhilya verses, now arranged in eight hymns, is very artificial, and considered as the most difficult task to be achieved by a Hotri-priest. It is repeated in a manper similar to the repetition of the Solasi Sastra (gee page 258). The most general term for the peculiar way of repeating both the Vālakbilya and Solaíí Sastras is vihara, that is, the dissecting of a verse by joining to each of its padas, ar pada taken from another verse, and reciting then both parts in such a way as if they were forming only one verse The way in which the Vālakbilyas are repeated is a modification of the vikāra. It is called vyatimarśa. This consists in a mutual transposition of the several pā das or half verses, or whole verses of the first and second Valakhiya hymns, which are repeated in sets, always two being taken together. The first two are to be repeated pāda by

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24. The gods after having perceived the cows to be in the cavern, 14 wished to obtain them by means of a sacrifice. They obtained them by means of the sixth day.18 They bored at the morning liba tion the cavern with the bore mantra (nabháka). After having suc ceeded in making an opening, they loosened (the stones), and then, at the third libation, broke up the cavern by means of the Valakhilya verses, with the Ekapadà as váchah kata, which served as a weapon and drove the cows out. In this way the sacrificers bore the cavern at the morning libation by means of the Nabhaka, and make, by boring, its structure loose. Hence the Hotri-priests repeat at the morning libation the Nabhaka triplet. The Maitrāvaruṇa repeats, yah kakubho nidharaya (8, 41, 4-6); the Brābhmaṇāchchhamsi), pūrvīṣta indra (8, 40, 9-11); the Achchhāvāka, tà hi madhyam bharánām (8, 40, 3-5).

pāda: the third and fourth by half verses; the fifth and sixth by wholo verses (Asy. śr. S. 8. 2). The general rule for this transposition is expressed by Aśval E T AT मुत्तरस्य द्वितीयवोत्तरस्थ प्रथमा पूर्वस्थ द्वितीया i.e, he must join the first verse (or half verse or pāda, as the case may be) of the first hymn with the second verse of the following hymn, and then the first of the following hymn with the second of the first. Two such verses form then one Pragatha.

In order to better illustrate the way of transposition, I bero subjoin an instance The first verse of the first Valakhilya hymn is as follows:

Abhi pra vah suradhasam indram archa yatha vide Yo jaritrıbhyo maghavd purūvasuh sahasreneva śiksati The second verse of the second hymn is : Šatani ka hetaya asya duṣtará indrasyu samiṣo mahih, Girir na bhujmā maghavastu pinvate yadin sutā amandipuh.

If the several pādas of these two verses are to be mutually transposed, it is thon done in the following way :

(1) Abhi pra vah suradhasam indrasya samiṣo mahih.

satanika hetayo asya duṣtará indram archā yatha vidom. (2) Yojaritribhyo maghava purüvasar yadim suta amandiṣuh.

Girir na bhugmā maghavutsu pinvate sahasrena śiksatom.

At the end of the five first Pragatha verses an Ekapada or verse containing one pada only is added. Four of them belong to the performance of the tenth day. These are according to Asval, (8, 2): “(1) indra visvasya goputih ; (2) indra viśva sya bhüpatiḥ ; (3) indra viśvasya chetati ; (4) indra visvasya rajati. The fifth is from the Mahávrata day, sānvendro viśvam virajati. These āve Ekapadás are not joined to the Pragatha without a stop after the latter. (TTTTertag ara NITHY: Tea Ašv. 8,2.)

The Pragatha with the Ekapada belonging to it is the vāchah kūtah, i.e. the point of speech, according to Sāyapa. But this appears not to be quite correct. According to an unmistakable indication in Ait. Br. 6,24 (upāpto vāchah kūta ekapadáyam) it can mean only the Ekapadā which is added to the Pragatha,

** This story is frequently alluded to in the Samhita of the Rigveda. " See page 335.

At the third libation they break up the cavern with the Vālakhilya verses, and the one footed Váchah kūta which served as a weapon, and obtain the cows. There are six Vālakhilya hymns. He repeats them in three terms; for the first time be repeats them foot by foot, dissecting the verse by insertion; for the second time half verse by half verse; and for the third time verse by verse. When he repeats them foot by foot, dis secting the verse by insertion, then he ought to put in every Pragatha verse (of which each hyma is composed) one additional foot (ekapadđ ), which is the Vāchah kūlan, i.e. the point of the Vāch. There are five such Ekapadās, four of them being taken from the tenth day and one . from the Mahāvrata sacrifice.

He ought (if the two verses joined should fall short of a proper Pragatha by eight syllables) to supply the eight syllables from the Mahānāmnis16 as often as they might be wanting; for the other pādas (of the Mahānāmnis which he does not require for filling up the deficiency in the Pragatha) be ought not to care.

When reciting the Valakhilyas half verse by half verse, he ought to repeat those Ekapadās; and the [419] pādas from the Mahānāmnis which consist of eight syllables. When repeating the Valakbilyas verse by verse, he ought (also) to repeat those Ekapadās, and the padas of eight syllables which are taken from the Mahānāmnis. When he repeats, for the first time, the six Vālakhilya hymns, then he mixes (viharata) breath and speech by it. When he repeats them for the second time, then he mixes the eye and mind by it. When he repeats them for the third time, then he mixes the ear and the soul by it. Thus “every desire regarding the mixing (of the verses) becomes fulfilled, and all desires regarding the Vālakhilyas, which serve as a weapon, the Váchah kūţa in the form of an Ekapadà and the forma tion of life will be fulfilled (also).

He repeats the (Vālakhilya) Pragathas for the fourth time without mixing the verses of two hymns. For the Pragathas are cattle. (It serves) for obtaining cattle. He ought not to insert (this time) an Ekapada in it Were he to do so, then he would cut off cattle from the sacrificer by slaying them. (If one should observe a Hotri-priest doing so) one ought to tell him at this occasion, thou hast cut off cattle from the sacrificer by slaying them with the point of speech (váchah kůta) thou hast deprived him of cattle (altogether). And thus it always happens. Thence one ought never to insert the Ekapadās at this occasion.

20 See page 281.

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The two last Valakhilya hymns (the seventh and eighth 17) he adds as a setting (cover). Both are mixed. In such a way, Sarpe, the son of Vatsa, repeated them for a sacrificer, Subala by name. He said, “I have now grasped for the sacrificer the largest number of cattle, the best ones (as a reward for my skill) will come to me.” He then gave (420) him (Sarpi) as much Dakṣiṇā, 18 as to the great priests (Hotar, Adhvaryu, Udgātar, Brahma). This Sastra procures cattle and heaven. Thence one repeats it

25. (What kind of hymn ought to be chosen for the Dürohanam.) He recites a hymn in the Darohaṇa way, about which a Brāhmaṇam has been already told (4, 20). If the sacrificer aspires to cattle, then an Indra hymn is required for this purpose. For cattle belong to Indra ; it should be in the Jagati metre, for cattle have the nature of Jagati, they are (movable); it should be a great hymn (a mahasukta) ;19 for then he places, by it, the sacrificer among the largest number of cattle. He may choose for making Dūrohaṇam the Baru hymn (seen by the Riṣi Baru), which is a large hymn and in the Jagati metre.20

For one who aspires after a firm footing, an Indra-Varuṇa hymn is required; for this performance of the Maitravaruṇa (his hotrd) belongs to this deity ; (and) the Indra-Varuṇa21 (Yājyà) is the conclusion of it. It is the Daksiṇā of the great priests.

(421) This (Dūrohaṇa repetition) puts (the reciter) finally in his own place (keeps him in his position). As regards the Indra-Varuṇa hymn, it is at this occasion (when performing the Dürohanam) a Nivid (i.e like it). By means of the Nivid all desires become gratified. When he should use an Indra-Varuṇa hymn for the Dūrohanam, then he ought to choose a hymn by Suparṇa. Thus a desire regarding Indra-Varuna and one regarding Suparṇa 22 become gratified (at the same time).

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• w . 17 The order of both is only inverted, the eighth Sukta is first to be repeated, and thon follows the seventh.

18 The term is only ninaya, to which dakṣinā“on the right side” is to be supplied. Cows horses, &c., which are given as a sacrificial reward, are actually carried to tho right side of the recipient. The word daksinā itself is only an abbreviation of dakṣin á nita, " what has been carried to the right side” Very soon the word was used as a feminine substan tive. The noun to be suppliedis diś, direction, The repeater of the Valakhilya Sastra is the Maitrāvaruña, who as one of the minor Hotri-priests, obtaios generally only half the Dakṣina of the great priests,

1’. Hymns which exceed the number of ten verses are called by this name Those which fall short of this number, are the Ashudra sūktas (small hymns), say,

20 It commences pra te mahe (10, 96), 21 This is, indravaruna niadha mattamasya(6, 68, 11). * The hymn is, imani vān bhéiyadheyāni (Valak. 11). It is addrosed to Indra Vorṇus.

26,

(Whether or not the Maitrāvaruna should repeat the Ahina and Ekdhe hymns along with the Dūrohanam.)

Thoy (the interpreters of Brahma) ask, Shall he recite together (with these Durghanas the Ahīna hymns which are required on the sixth day) or shall he not do so ? To this question they answer, he shall recite them; for why should he recite them on all other days, and not do so on this day ? But (others) say he ought not to recite them together with these hymns; % for the sixth day represents the heavenly world; the heaven-world is not accessible to every one (asamāyi); for only a certain one (by performing properly the sacrifices) meets there (tbe previous occupants). Therefore, when the other hymns are repeated together with the Dūrohaṇas, then he (the priest) would make all equal (make all those who sacrifice and those who do not sacrifice go to heaven). Not to repeat these other hymus along with the Darohaṇas is a characteristic of the heaven-world (the celestial world being accessible to but few). Therefore, one ought not to repeat them. . [422] That is the reason that he does not repeat them. (Should be do so, he would destroy the sacrificer); for the singing verse (Stotriya) is his soul, and the Valakhilyas are his breath. When he repeats (the Ahīna hymns) along (with the Darohana) then he takes away the life of the sacrificer through those two deities (Indra-Varuṇa, to whom the Dū robana belongs.) (If one should observe a Hotri-priest doing so), one ought to tell the priest that he has deprived the sacrificer of his vital airs through those two deities (who get angry at it), and that he will lose his life. And thus it always happens. Thence he ought not to repeat (them).

If the Maitrāvaruṇa should think, “I have repeated the Vālakhilyas (which was a very arduous task), well, I will now repeat before the Důra hana the Ekāha hymns,“24 he should not entertain such a thought (for it is useless). But, however, should be pride himself too much of his skill, that he would be able to repeat after the Dürohana (the repetition of which is very difficult) is over, many hundred mantras, he may do so for gratifying that desire alone which is (to be gratified by repeating many mantras). He then obtains what he was wishing to obtain by repeating many man tras. He would, however, do better not to recite them. For the Valakhilyas

3Sastram of the Maitrāvarupa is to be understood. ** Theso are, charsanidhritam (3, 51), and ā vin rájānāu (7, 84).

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belong to Indra; in them there are pādas of twelve feet25 and every wish to be gratified by an Indra hymn in the Jagatī metre, is contained therein (therefore no other Indra hymn is required). (428) (Another reason that he had better not recite them) is the Indra Varuṇa hymn (of the Dūrobana), and the Indra-Varuna (Yajya) which con cludes (for these represent a firm footing, of which the sacrificer might be deprived, when repeating hymns which serve for connecting the several days).

They say, The Sastra must always correspond with the Stotra. Now the Vālakhilyas being repeated by mixing verses of two hymns (vihrita) are then the Stotras to be treated in the same way or not? The answer is, There is such a mixing in the Stotra), a pāda of twelve syllables being joined to one of eight.89

They say, The Yājys must correspond with the Sastra. If in (the Sastra) there are three deities, viz. Agni, Indra, and Varuṇa mentioned, how does he make the Yājyā with a verse addressed to Indra-Varuṇa alone, and omit Agni ? (The answer is) Agni and Varuna are one and the same being. So said a Riṣi in the mantra, “Thou Agni! art born as Varuṇa” (5, 3, 1). If he therefore makes his Yājyā with an Indra Varuṇa mantra, then Agni is not left out.