०६

पान्त मा वो अन्धस इत्यन्धस्वत्या ऽनुष्टुभा रात्रीं प्रतिपद्यते ।

(The Sastras of Atirātra at the Three Paryāyas. Sandhi Stotra.)

The Hotar commences (the recitations at Atirātra) with an Anuṣṭubh verse containing the term andhas, i.e., darkness, viz., pāntam ā vo andhasaḥ (8, 81, 1.)

पान्त मा वो अन्धस इत्यन्धस्वत्या ऽनुष्टुभा रात्रीं प्रतिपद्यते ।

आनुष्टुभी वै रात्रिरेतद्रात्रिरूपम् ।

For night belongs to Anuṣṭubh; it has the nature of night.

आनुष्टुभी वै रात्रिरेतद्रात्रिरूपम् ।

अन्धस्वत्यः पीतवत्यो मद्वत्यस्त्रिष्टुभो याज्या भवन्त्यभिरूपा ।

As appropriate Yājyā verse (at the end of each turn of the three Paryāyas)[16] Triṣṭubhs containing the terms- andhas, darkness, pā, to drink, and mad, to be drunk, are used.

[16]There are four turns of the Soma cups passing the round in each Paryâya, or part of the night. At the end of each, a Yâjyâ is repeated, and the juice then sacrificed. There is at each turn (there are on the whole twelve) a Śastra repeated, to which a Yâjyâ belongs. The latter contains always the terms indicated. See, for instance, the four Yâjyās used at the first Paryâya (Āśv. Śr. S. 6, 4) adhvaryavo bhurata indriya, 2, 14, 1. (repeated by the Hotar). In the second pada, there are the words, madyam andhaḥ, “the inebriating darkness” (symbolical name of the Soma juice). The Yâjyâ of the Maitrâvaruṇa is, asya made puruvarpâṁsi (6, 44, 14). It contains the term made, “to get drunk,” and pâ, “to drink,” in the last pada. The Yâjyâ of the Brâhmaṇâchhaṁsî is âpsu dhûtasya harivaḥ piba (10, 104, 2). This verse contains both the terms pâ, “to drink” (in piba of the first pada), and mad, “to be drunk” (in the last pada). The Yâjyâ of the Achhâvâka is, indra piba tubhyam (6, 40, 1). It contains both the terms, pâ, and mad. The Yâjyâ of the Hotar in the second Paryâya is, apâyyasyândhaso madâya (2, 19, 1); it contains all three terms, “darkness, to drink, and to be drunk.”

अन्धस्वत्यः पीतवत्यो मद्वत्यस्त्रिष्टुभो याज्या भवन्त्यभिरूपा ।

यद्यज्ञे ऽभिरूपं तत्समृद्धम् ।

What is appropriate at the sacrifice, that is successful.

यद्यज्ञे ऽभिरूपं तत्समृद्धम् ।

प्रथमेन पर्यायेण स्तुवते प्रथमान्येव पदानि पुनराददते ।

The Sāma singers repeat when chanting at the first Paryāya twice the first padas only of the verses (which they chant).

प्रथमेन पर्यायेण स्तुवते प्रथमान्येव पदानि पुनराददते ।

यदेवैषामश्वा गाव आसंस्तदेवैषां तेना ऽऽददते ।

By doing so they take from them (the Asuras) all their horses and cows.

यदेवैषामश्वा गाव आसंस्तदेवैषां तेना ऽऽददते ।

मध्यमेन पर्यायेण स्तुवते मध्यमान्येव पदानि पुनराददते ।

At the middle Paryāya, they repeat twice the middle padas.

मध्यमेन पर्यायेण स्तुवते मध्यमान्येव पदानि पुनराददते ।

यदेवैषामनो रथा आसंस्तदेवैषां तेना ऽऽददते ।

By doing so they take from them (the Asuras) their carts and carriages.

यदेवैषामनो रथा आसंस्तदेवैषां तेना ऽऽददते ।

उत्तमेन पर्यायेण स्तुवत उत्तमान्येव पदानि पुनराददते ।

At the last Paryāya, they repeat twice when chanting the last padas (of the verses which they chant).

उत्तमेन पर्यायेण स्तुवत उत्तमान्येव पदानि पुनराददते ।

यदेवैषां वासो हिरण्यं मणिरध्यात्ममासीत्तदेवैषां तेना ऽऽददते ।

By doing so, they take from them (the Asuras) all things they wear on their own body, such as dresses, gold and jewels.

यदेवैषां वासो हिरण्यं मणिरध्यात्ममासीत्तदेवैषां तेना ऽऽददते ।

आ द्विषतो वसु दत्ते निरेनमेभ्यः सर्वेभ्यो लोकेभ्यो नुदते य एवं वेद ।

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).

आ द्विषतो वसु दत्ते निरेनमेभ्यः सर्वेभ्यो लोकेभ्यो नुदते य एवं वेद ।

पवमानवदहरित्याहुर्न रात्रिः पवमानवती ।

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?

[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-pavamâna, at midday, the Pavamâna, and in the evening, the Arbhava-pavamâna. At night, there being no squeezing of the Soma juice, there are, properly speaking, no Pavamâna Stotras required. But to make the performance of day and night alike, the Pavamâna Stotras for day and night are to be indicated in one way or other in the Stotras chanted at night. This is here shown.

पवमानवदहरित्याहुर्न रात्रिः पवमानवती ।

कथमुभे पवमानवती भवतः केन ते समावद्भाजौ भवत इति ।

In what way are they both made to consist of the same parts (to have the same number of Stotras and Śastras)?

कथमुभे पवमानवती भवतः केन ते समावद्भाजौ भवत इति ।

यदेवेन्द्राय मद्वने सुतमिदं वसो सुतमन्ध इदं ह्यन्वोजसा सुतमिति स्तुवन्ति च शंसन्ति च तेन रात्रिः पवमानवती ।

The answer is, (They are provided for) by the following verses, which form part of the Stotras as well as of the Śāstras (at the Atirātra): indrāya madvane sutam (8, 81, 19. Sāmaveda Samh. 2, 72), idam vsao sutam andhaḥ (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 Pavamānas for the verses mentioned contain the term suta, i.e., squeezed, referring to the squeezing of the Soma juice, which term is proper to the Pavamāna Stotra);

यदेवेन्द्राय मद्वने सुतमिदं वसो सुतमन्ध इदं ह्यन्वोजसा सुतमिति स्तुवन्ति च शंसन्ति च तेन रात्रिः पवमानवती ।

तेनोभे पवमानवती भवतस्तेन ते समावद्भाजौ भवतः ।

in this way, both (day and night) are provided with Pavamānas, and made to consist of the same (number of) parts.

तेनोभे पवमानवती भवतस्तेन ते समावद्भाजौ भवतः ।

पञ्चदशस्तोत्रमहरित्याहुर्न रात्रिः पञ्चदशस्तोत्रा ।

They ask, As there are fifteen Stotras for the day only, but not for the night, how are there fifteen Stotras for both (for day as well as for night)?

पञ्चदशस्तोत्रमहरित्याहुर्न रात्रिः पञ्चदशस्तोत्रा ।

कथमुभे पञ्चदशस्तोत्रे भवतः केन ते समावद्भाजौ भवत इति ।

In what way are they made to consist of the same (number of) parts?

कथमुभे पञ्चदशस्तोत्रे भवतः केन ते समावद्भाजौ भवत इति ।

द्वादश स्तोत्राण्यपिशर्वराणि तिसृभिर्देवताभिः संधिना राथंतरेण स्तुवते ।

The answer is, The Apiśarvaras[18] form twelve Stotras. (Besides) they chant, according to the Rathantara tune, the Sandhi[19] Stotra which contains (three sets of) verses addressed to three deities.

[18]See 4, 5. They are the metres used for Śastras and Stotras during the night of Atirâtra.

[19]This Stotra which is chanted after the latter part of the night is over, when the dawn is commencing (thence it is called saṁdhî, i.e., the joining of night and day), consists of six verses in the Bṛihatî metre, with the exception of the two last which are kakubha (a variety of the Bṛihatî). They are put together in the Sâmav. Saṁh. 2, 99-104. The two first of them, ena vo âgním (2, 99-100) are addressed to Agni, the third and fourth, pratyu adarśy âyatyû (101-102) to Uṣâs, and the fifth and sixth, imâ u váṁ divistaya (103-104) to the Aśvins. The Stoma required for singing it, is the trivṛit parivarttinî (see page 237). Two verses are made three by means of the repetition of the latter padas. This Sâman 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 crescendos, and decrescendos, the stobhas, i. e., musical flourishes, and the finales (nidhana) are the same. Both are for the purpose of chanting equally divided into five parts, viz., Prastâva, Udgîtha, Pratihâra, Upadrava, and Nidhana (see page 198). For instance, the Prastâva or prelude commences in both in the low tone, and rises only at the last syllable (at mo in the nonumo of the Rathantaram, and at the so in the namaso of the first Sandhi Stotra); at the end of the Prastâva of both there is the Stobha, i.e., flourish va. At the end of the Upadrava both have the Stobhas vâ hâ uvâ. The finale is in both throughout, as, in the rising tone.- (Sâma prayoga and Oral information.)

द्वादश स्तोत्राण्यपिशर्वराणि तिसृभिर्देवताभिः संधिना राथंतरेण स्तुवते ।

तेन रात्रिः पञ्चदशस्तोत्रा तेनोभे पञ्चदशस्तोत्रे भवतस्तेन ते समावद्भाजौ भवतः ।

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.

तेन रात्रिः पञ्चदशस्तोत्रा तेनोभे पञ्चदशस्तोत्रे भवतस्तेन ते समावद्भाजौ भवतः ।

परिमितं स्तुवन्त्यपरिमितमनुशंसति ।

The number of verses for making the Stotras is limited, but the number of recitations which follow the Stotras) is unlimited.

परिमितं स्तुवन्त्यपरिमितमनुशंसति ।

परिमितं वै भूतमपरिमितं भव्यमपरिमितस्यावरुद्ध्या इति ।

The past is, as it were, limited, defined; the future is, as it were, unlimited (not defined).

परिमितं वै भूतमपरिमितं भव्यमपरिमितस्यावरुद्ध्या इति ।

अति शंसति स्तोत्रम् ।

In order to secure the future (wealth, &c.,), the Hotar repeats more verses (than the Sāma singers chant).

अति शंसति स्तोत्रम् ।

स्तोत्रमति वै प्रजा ऽऽत्मानमति पशवः ।

What goes beyond the Stotra is offspring, what goes beyond one’s self (represented by the Stotra), is cattle.

स्तोत्रमति वै प्रजा ऽऽत्मानमति पशवः ।

तद्यत्स्तोत्रमति शंसति यदेवास्यात्यात्मानं तदेवास्यैतेनावरुन्धे ऽवरुन्धे ।

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.)

तद्यत्स्तोत्रमति शंसति यदेवास्यात्यात्मानं तदेवास्यैतेनावरुन्धे ऽवरुन्धे ।