१९

स्वरसाम्न उपयन्ति ।

(The Svarasāmans. Abhijit. Visvajit. Viṣuvan.)[8]

They perform the ceremonies of the Svarasāman days.

[8]See the Âśval. Śr. S. 8, 5-7.

स्वरसाम्न उपयन्ति ।

इमे वै लोकाः स्वरसामानः ।

These (three) worlds are the Svarasāman days.

इमे वै लोकाः स्वरसामानः ।

इमान्वै लोकान्स्वरसामभिरस्पृण्वंस्तत्स्वरसाम्नां स्वरसामत्वम् ।

On account of the sacrificers pleasing these worlds by means of the Svarasāmans, they are called Svarasāman (from aspṛiṇvan,[9] they made pleased).

[9]This etymology is certainly fanciful; Svara cannot be traced to the root spriṇ, a modification of pri, to love. The name literally means, “The Sâmans of the tones.” This appears to refer to some peculiarities in their intonations. These Sâmans being required only for the great Sattras, which have been out of use for at least a thousand years, it is difficult now to ascertain the exact nature of the recital of these Sâmans.

इमान्वै लोकान्स्वरसामभिरस्पृण्वंस्तत्स्वरसाम्नां स्वरसामत्वम् ।

तद्यत्स्वरसाम्न उपयन्त्येष्वेवैनं तल्लोकेष्वाभजन्ति ।

By means of the performance of the Svarasāman days, they make him (the sun) participate in these worlds.

तद्यत्स्वरसाम्न उपयन्त्येष्वेवैनं तल्लोकेष्वाभजन्ति ।

तेषां वै देवाः सप्तदशानां प्रव्लयादबिभयुः ।

The gods were afraid lest these seventeen-fold Stomas (employed at the Svarasāman days) might, on account of their being all the same, and not protected by being covered (with other Stomas), break down.

तेषां वै देवाः सप्तदशानां प्रव्लयादबिभयुः ।

समा इव वै स्तोमा अविगूह्ळा इवेमे ह न प्रव्लियेरन्निति ।

Wishing that they should not slip down, they surrounded them, below with all the Stomas, and above with all the Pṛiṣṭhas.

समा इव वै स्तोमा अविगूह्ळा इवेमे ह न प्रव्लियेरन्निति ।

तान्सर्वैः स्तोमैरवस्तात्पर्यार्षन्सर्वैः पृष्ठैः परस्तात् ।

That is the reason that on the Abhijit day which precedes (the Svarasāman days) all Stomas are employed, and on the Viśvajit day which follows (the Svarasāman days after the Viṣuvan day is over) all Pṛiṣṭhas are used.

तान्सर्वैः स्तोमैरवस्तात्पर्यार्षन्सर्वैः पृष्ठैः परस्तात् ।

तद्यदभिजित्सर्वस्तोमो ऽवस्ताद्भवति विश्वजित्सर्वपृष्ठः परस्तात्तत्सप्तदशानुभयतः पर्यृषन्ति धृत्या अप्रव्लयाय ।

These (Stomas and Pṛiṣṭhas) surround the seventeen-fold Stomas (of the Svarasāman days), in order to keep them (in their proper place) and to prevent them from breaking down.

तद्यदभिजित्सर्वस्तोमो ऽवस्ताद्भवति विश्वजित्सर्वपृष्ठः परस्तात्तत्सप्तदशानुभयतः पर्यृषन्ति धृत्या अप्रव्लयाय ।

तस्य वै देवा आदित्यस्य स्वर्गाल्लोकादवपातादबिभयुः ।

(The Performance of the Viṣuvan Day.)[10]

The gods were (again) afraid of the sun falling from the sky.

[10]See the Âśval. Śr. S, 8, 6.

तस्य वै देवा आदित्यस्य स्वर्गाल्लोकादवपातादबिभयुः ।

तं पञ्चभी रश्मिभिरुदवयन् ।

They pulled him up and tied him with five ropes.[11]

[11]The term is raśmi, ray, which Sây. explains by parigraha.

तं पञ्चभी रश्मिभिरुदवयन् ।

रश्मयो वै दिवाकीर्त्यानि ।

The ropes are the Divākîrtya Sāmans,[12]

[12]Sây, explains the words by: दिवैव पटनियानि पंच नामानि i.e., the five Sâmans which are to be repeated only at day. This explanation may appear at first somewhat strange, but it is quite correct. For the employment of the different tunes is regulated by the different parts of the day. Up to this time, certain tunes (râga, the word sâman being only the older denomination for the same thing) are allowed to be chanted only at day, such as the Sâranga, Gaurasâranga, &c., others are confined to the early morning, others to the night.

रश्मयो वै दिवाकीर्त्यानि ।

महादिवाकीर्त्यं पृष्ठं भवति विकर्णं ब्रह्मसाम भासमग्निष्टोमसाम ।

among which there is the Mahādivākîrtya Pṛiṣṭha;[13] the others are, the Vikarṇa, the Brahma, the Bhāsa,[14] and the Agniṣṭoma[15] Sāma;

[13]This is the triplet vibhraḍ bṛihat pibatu (Sâm, Saṁh. 2, 802-804).

[14]The Vikarṇam Sâma is, pṛikṣasya vṛiṣṇo (6, 8, 1). The same verse is used, according to Sây., for the Brahma, as well as for the Bhâsa, Sâmans.

[15]The Agniṣṭoma Sâma is not especially mentioned by Sây. He simply says in the same manner in which the Pandits up to this day explain such things : येन साम्नाग्निष्टोमसंस्था समाप्यते तदग्निष्टोमसाम Now the Sâman with which the Agniṣṭoma becomes completed, i.e., the last of the twelve Stotras is the so-called Yajñâ Yajñîya Sâman; yajñā yajñā vo agnaye (Sâm. Saṁ. 2, 53-54). This one is expressly called (in the Sâma prayogas) the Agniṣṭoma-sâma, being the characteristic Sâman of the Agniṣṭoma.

महादिवाकीर्त्यं पृष्ठं भवति विकर्णं ब्रह्मसाम भासमग्निष्टोमसाम ।

उभे बृहद्रथंतरे पवमानयोर्भवतः ।

the Bṛihat and Rathantara Sāmans are required for the two Pavamāna Stotras (the Pavamāna at the midday, and the Arbhava-pavamāna at the evening, libations).

उभे बृहद्रथंतरे पवमानयोर्भवतः ।

तदादित्यं पञ्चभी रश्मिभिरुद्वयन्ति धृत्या अनवपाताय ।

Thus they pulled up the sun, tying him with five cords,[16] in order to keep him and to prevent him from falling.

[16]The five tunes or Sâmans representing the five cords are, the Mahâdivâkîrtyam, the Vikarṇa, Brahma, and Bhâsa tunes, being regarded only as one on account of their containing the same verse; the Agniṣṭoma Sâma, and the Bṛihat, and Rathantaram.

तदादित्यं पञ्चभी रश्मिभिरुद्वयन्ति धृत्या अनवपाताय ।

उदित आदित्ये प्रातरनुवाकमनुब्रूयात् ।

(On this day, the Viṣuvan) he ought to repeat the Prātaranuvāka after the sun has risen;

उदित आदित्ये प्रातरनुवाकमनुब्रूयात् ।

सर्वं ह्येवैतदहर्दिवाकीर्त्यं भवति ।

for only thus all prayers and recitations belonging to this particular day become repeated during the day-time (the day thus becomes divākîrtyam).

सर्वं ह्येवैतदहर्दिवाकीर्त्यं भवति ।

सौर्यं पशुमन्यङ्गश्वेतं सवनीयस्योपालम्भ्यमालभेरन् ।

As the sacrificial animal belonging to the Soma libation (of that day) and being dedicated to the sun, they ought to kill such an one as might be found to be quite white (without any speck of another colour).

सौर्यं पशुमन्यङ्गश्वेतं सवनीयस्योपालम्भ्यमालभेरन् ।

सूर्यदेवत्यं ह्येतदहः ।

For this day is (a festival) for the sun.

सूर्यदेवत्यं ह्येतदहः ।

एकविंशतिं सामिधेनीरनुब्रूयात् ।

He ought to repeat twenty-one Sāmidhenî verses (instead of fifteen or seventeen, as is the case at other occasions);

एकविंशतिं सामिधेनीरनुब्रूयात् ।

प्रत्यक्षाद्ध्येतदहरेकविंशम् ।

for this day is actually the twenty-first (being provided with the twenty-one-fold Stoma).

प्रत्यक्षाद्ध्येतदहरेकविंशम् ।

एकपञ्चाशतं द्विपञ्चाशतं वा शस्त्वा मध्ये निविदं दधाति ।

After having repeated fifty-one or fifty-two verses[17] of the Śastra (of this day), he puts the Nivid (addressed to Indra) in the midst (of the hymn indrasya nu vîryâṇi, 1, 32).

[17]The number fifty-one or fifty-two depends on the circumstance that of the Nivid hymn, indrasya nu vîryāṇí, either eight or nine verses might be recited before the insertion of the Nivid. The rule is that at the midday libation the Nivid should be inserted after the first half of the hymn has been exceeded by about one verse. The song in question has fifteen verses. The insertion can, therefore, not take place before the eighth, and not after the ninth.

एकपञ्चाशतं द्विपञ्चाशतं वा शस्त्वा मध्ये निविदं दधाति ।

तावतीरुत्तराः शंसति ।

After this (the repetition of the Nivid) he recites as many verses (as he had recited before putting the Nivid, i. e., fifty-one or fifty-two).

तावतीरुत्तराः शंसति ।

शतायुर्वै पुरुषः शतवीर्यः शतेन्द्रियः ।

(In this way the total number of verses is brought to above a hundred.) The full life of man is a hundred years; he has (also) a hundred powers and a hundred senses.

शतायुर्वै पुरुषः शतवीर्यः शतेन्द्रियः ।

आयुष्येवैनं तद्वीर्य इन्द्रिये दधाति ।

(By thus repeating above a hundred verses) the Hotar thus puts the sacrificer in (the possession of his full) life, strength, and senses.

आयुष्येवैनं तद्वीर्य इन्द्रिये दधाति ।