२२

तदाहुः सर्पेन्न सर्पेदिति ।

(The Hotar has no share in the Bahiṣ-pavamâna Meal. The Soma Libation for Mitrâ-Varuṇa to be mixed with Milk).

(After the libations from the Upâṁśu and Antaryâma have been poured into the fire, the Soma squeezed, and poured into the different vessels-grahas-such as Aindavayava, &c., which are then kept in readiness for making the libations, five of the priests: Adhvaryu, Prastotar, Pratihartar, Udgâtar, and Brahmâ, one holding the hand of the other - samanvârabdhâ- walk in the direction of the Châtvâla, and ultimately take their seats for performing the ceremony of the Stotra, i.e., chanting a sacred verse- a Sâman. Now the question is, whether the Hotar is allowed to walk or not at the same time that the other priests just mentioned do so.)

At that (occasion, when the priests walk) they (the theologians) ask, whether he (the Hotar) ought to walk or not (together with the others).

तदाहुः सर्पेन्न सर्पेदिति ।

सर्पेदिति हैक आहुः ।

Some say, he ought to walk;

सर्पेदिति हैक आहुः ।

उभयेषां वा एष देवमनुष्याणाम्भक्षो यद्बहिष्पवमानस्तस्मादेनमभिसंगछन्त इति वदन्तः ।

for this meal[12] in honour of the Bahiṣ-pavamâna-stotra[13] (which is about to be performed by the Sâma singers) is enjoyed equally by both gods and men; hence (both gods and men) participate in it.

[12]Thus I translate bhakṣa. It refers to the eating of Charu or boiled rice by the Sâma singers before they chant. The Hotars are excluded from it.

[13]This stotra consists of nine ṛichas commencing with: upâsmâi gâyatâ naraḥ, which all are found together in the Sâmavedârchikam ii. 1-9. All nine ṛichas are solemnly chanted by the three Sâma singers, Prastotar, Udgâtar, and Pratihartar. Each of these verses is for the purpose of chanting, divided into four parts: Prastâva, i.e., prelude, the first being preceded by huṁ, to be sung by the Prastotar; Udgitha, the principal part of the Sâman, preceded by om, to be chanted by the Udgâtar; the Pratihâra, i.e., response introduced by huṁ, to be chanted by the Pratihartar, and the Nidhana, i.e., finale, to be sung by all three. To give the student an idea of this division, I here subjoin the second of these ṛichas in the Sâma form, distinguishing its four parts :-

Prastâva: अभि ते मधुना पर्यो ॥ Udgitha: ओमाथर्वाणो अशिश्रादेयुर्वंदेवायदा ॥ Pratihâra: हुं आवायो ॥ Nidhana: साम् ॥

The Nidhanas, ie., finals, are for the nine Pavamâna-stotra verses, the following ones: सात्, साम् सुवाः, इडा, वाक्, and आ (for the four last verses).

उभयेषां वा एष देवमनुष्याणाम्भक्षो यद्बहिष्पवमानस्तस्मादेनमभिसंगछन्त इति वदन्तः ।

तत्तन्नादृत्यम् ।

But those who say so are not to be attended to.

तत्तन्नादृत्यम् ।

यत्सर्पेदृचमेव तत्साम्नो ऽनुवर्त्मानं कुर्यात् ।

Should he walk (along with the Sâma singers), then he would make the Rik (which is repeated by the Hotar) follow the Sâman.

यत्सर्पेदृचमेव तत्साम्नो ऽनुवर्त्मानं कुर्यात् ।

य एनं तत्र ब्रूयादनुवर्त्मा न्वा अयं होता सामगस्याभूदुद्गातरि यशो ऽधादच्योष्टायतनाच्च्योष्यत आयतनादिति शश्वत्तथा स्यात् ।

(If any one should see him do so) he at that occasion should tell him : “The Hotar here has been behind the Sâma singers, and ceded his fame to the Udgâtar; he has fallen from his place and will (in future) also fall from it.” So it always happens to the Hotar (who walks after the Sâma singers).[14]

[14]The Rik is regarded as a solid foundation on which the Sâman is part. See the passage in the Chândogya-Upanisad (1, 6, 1), here quoted by Sâyana: “The Rik is the earth, the Sâman Agni; just as (the fire is put) on the earth, the Sâman is placed over the Rik (as its foundation); thence the Sâman is sung placed over the Rik.” This means, bofore the singers can sing the Sâman, the Rik which serves for this purpose, is first to be repeated in the form in which it is in Rigveda. This is generally done. See, besides, Ait. Br. 3, 28.

य एनं तत्र ब्रूयादनुवर्त्मा न्वा अयं होता सामगस्याभूदुद्गातरि यशो ऽधादच्योष्टायतनाच्च्योष्यत आयतनादिति शश्वत्तथा स्यात् ।

तस्मात्तत्रैवासीनो ऽनुमन्त्रयेत यो देवानामिह सोमपीथो यज्ञे बर्हिषि वेद्याम् तस्यापि भक्षयामसीति ।

Therefore he ought to remain where he is sitting, and repeat the following Anumantraṇa verse[15] : “which Soma draught here at the sacrifice, placed on the sacred grass, on the altar, belongs to the gods, of this we also enjoy a share.”

[15]This is the repetition, with a low voice, of a verse or formula, by the Hotar, after a ceremony is over.

तस्मात्तत्रैवासीनो ऽनुमन्त्रयेत यो देवानामिह सोमपीथो यज्ञे बर्हिषि वेद्याम् तस्यापि भक्षयामसीति ।

एवमु हास्यात्मा सोमपीथादनन्तरितो भवति ।

Thus the soul of the Hotar is not excluded from that Soma draught (which is drunk by the Sâma singers after the Bahiṣ-pavamâna Sâman is over).

एवमु हास्यात्मा सोमपीथादनन्तरितो भवति ।

अथो ब्रूयान् मुखमसि मुखम्भूयासामिति ।

Then (after having repeated the mantra mentioned) he ought to repeat : “Thou art the mouth (of the sacrifice); might I become the mouth (first among my people) also!”

अथो ब्रूयान् मुखमसि मुखम्भूयासामिति ।

मुखं वा एतद्यज्ञस्य यद्बहिष्पवमानः ।

For the Bahiṣ-pavamâna draught is the very mouth of the sacrifice (sacrificial personage).”

मुखं वा एतद्यज्ञस्य यद्बहिष्पवमानः ।

मुखं स्वेषु भवति श्रेष्ठः स्वानाम्भवति य एवं वेद ।

He who has such a knowledge, becomes the mouth of his own people, the chief among his own people.

मुखं स्वेषु भवति श्रेष्ठः स्वानाम्भवति य एवं वेद ।

असुरी वै दिर्घजिह्वी देवानाम्प्रातःसवनमवालेट्तद्व्यमाद्यत् ।

An Asura woman, Dîrghajîhvî (long-tongued), licked the morning libation of the gods. It (consequently) became inebriating everywhere.

असुरी वै दिर्घजिह्वी देवानाम्प्रातःसवनमवालेट्तद्व्यमाद्यत् ।

ते देवाः प्राजिज्ञासन्त ते मित्रावरुणावब्रुवन्युवमिदं निष्कुरुतमिति ।

The gods wished to remedy this, and said to Mitra and Varuṇa : “Ye two ought to take off this (the inebriating quality from the Soma).”

ते देवाः प्राजिज्ञासन्त ते मित्रावरुणावब्रुवन्युवमिदं निष्कुरुतमिति ।

तौ तथेत्यब्रूताम् ।

They said: “Yes,

तौ तथेत्यब्रूताम् ।

तौ वै वो वरं वृणावहा इति ।

but let us choose a boon from you.”

तौ वै वो वरं वृणावहा इति ।

वृणाथामिति ।

The god said: Choose!

वृणाथामिति ।

तावेतमेव वरमवृणाताम्प्रातःसवने पयस्याम् ।

They chose at the morning libation curd of milk whey (payasyâ) in milk.

तावेतमेव वरमवृणाताम्प्रातःसवने पयस्याम् ।

सैनयोरेषाच्युता वरवृता ह्येनायोः ।

This is their everlasting share; that is, the boon chosen by them.

सैनयोरेषाच्युता वरवृता ह्येनायोः ।

तद्यदस्यै विमत्तमिव तदस्यै समृद्धम् ।

What had been made by her (the Asura woman) inebriating, that was made good (again) by the curd;

तद्यदस्यै विमत्तमिव तदस्यै समृद्धम् ।

विमत्तमिव हि तौ तया निरकुरुताम् ।

for both Mitra and Varuṇa removed, through this curd, the inebriating quality, as it were (from the Soma juice).[16]

[16]The translation of this sentence offers some difficulty. I follow here Sâyaṇa, who refers the one asyâi to Dirghajihvi, the other to payasyâ. We have here an allusion to mixing the Soma with sour milk (dadhyâśih), in order to make it less inebriating. The curds put in it, are Mitra’s and Varuṇa’s everlasting share. By the story which is here told, the author tries to account for the fact, that the libation for Mitra-Varuṇa is mixed with curds of milk whey. At present, the Soma is not generally mixed with sour milk. A large quantity of water is taken, in order to weaken its strength.

विमत्तमिव हि तौ तया निरकुरुताम् ।