Chapter 2 - The Vistutis

Introductory remarks. A stotra or "laud" is the chant of a certain number of stanzas (rk's), put to melody, i.e., chanted on or according to one of the numerous melodies or ways of chanting (saman's), which are recorded in the gramegeyagana or in the aranyegeyagana of the Samavedic texts. For instance, the yajnayajniyastotra is chanted on SV. II. 53, 54 according to the melody of gramegeyagana I. 2. 25, which is based on the verse SV. I. 35. A stoma, on the contrary, designates the number of the chanted verses either during a whole day of the Soma-sacrifice or during a part of it. The regular stomas are the trivrt, the pancadasa, the saptadasa, the ekavimsa, the pancavimsa, the trinava, the trayastrimsa, the catuscatvarimsa and the astacatvarimsa, i.e., the nine-versed, the fifteen-versed, the seventeen-versed stoma, etc. 1 Sometimes the word stoma denotes simply: yajna: a sacrifice of Soma, as e.g. Marutstoma, Sunaskarnastoma (elsewhere called sunaskarnayajna), see XIX, 3. 2, XIX. 12. 2 etc.; see note on IV. 5. 7.

II. II. 1. 1. 19 For the three pavamana-lauds (the out-of-doors-laud, the middaypavamana-laud and the arbhava pavamana-laud), which are the first ones of each savana (morning- midday- and afternoon-service) the Samavedic texts give each time the stanzas in full on which they are to be chanted, for instance the bahispavamana or out-of doors-laud of the normal catustoma agnistoma is chanted on SV. II. 1-9 (CalandHenry, l'Agnistoma, § 134. g), the midday-pavamana-laud on SV. II. 22-29 (C. H. § 178. b), the arbhavapavamana laud on SV. II. 39-52 (C H. §221. b). For all the other lauds only tycas (i.e. complexes of three stanzas) or pragathas (i.e., complexes of two stanzas) are recorded in the Samavedic texts. A pragatha is turned into a tristich in the manner described in C. H. § 199. b, page 307. By repetition of these three stanzas the required number of stotra-verses is obtained. In which manner this repetition is to be made (i.e., how a stoma is to be formed out of the three stanzas of a hymn) is explained in the two following Chapters of the Brahmana, which treat of the vistuti's the different modes of getting out of a trca the number of verses required for the laud. " A vistuti comprises always three rounds, three sections: paryaya's. each of which should contain each stanza in different or equal numbers; the first part (vistava) of a paryaya is called trcabhaga, the second avapa (sthana), the third paricara (sc. rk). In the second paryaya this order is changed and again in the third. Each of these rounds," is introduced by the syllable him (hum, in the chant). So, for example, of the first vistuti (the udyati, II. 1) the first paryaya consists of the thrice chanted first stanza introduced by the syllable him, the second paryaya consists of the thrice repeated second stanza equally introduced by him, and the third paryaya of the thrice chanted third stanza of the tristich, introduced by him So the schema is: hum 1. 1. 1; hum 2. 2. 2; hum 3. 3. 3. In which manner the Prastotr has to mark and control the stanzas chanted, is explained in C. H. § 155, page 237 and cp. § 142. o, page 195. II. 1. 1. For three (verses) he¹ makes him, he (chants) the first (verse of the tristich thrice); for three (verses) he makes him, he (chants) the middle (one thrice); for three (verses) he makes him, he (chants) the last (one thrice). This is the 'ascending' vistuti (or manner of getting

at the required number of verses for the laud) belonging to the nine-versed (laud). ; 1 Properly the hinkara is chanted unisono by all the chanters, here the singular seems to be used to indicate only the section.-The Chanters must previously agree as to the vistuti they are going to use. The schema is hum 1. 1. 1 hum 2. 2. 2; hum 3. 3. 3. To the words sa prathamaya the verb stute or stuvita is to be supplied; on the construction, see introduction, Chapter III, § 8.b. 2. It should be practised in chanting by an oldest son born of the oldest wife 1. 1 Such a Yajamana should cause the Chanters to use this visttuti. 3. From the top he rises to the top¹: it is a stepping-on vistuti, used in order that he may step on (his younger brothers, i.e., gain the ascendency over them), for by that (form) of the sacrifice which is 'stepping on' he prospers. Therefore this (vistuti) is to be practised in chanting for prospering. 1 He rises higher than high, cp. the expression bahor bhuyah. 4. It (this vistuti) is a separation of good and bad (prosperity and adversity): with bad lot he parts who in chanting practises this (vistuti). No one (no friendly power) that has returned (after having been expelled) is held off (is expelled); no one (no hostile power) that has been expelled, returns (in his realm) No bad one attains ascendency over him, who is better (more prosperous). No (hostile) tribe. assails his tribe, they do not take the progeny (children or cattle) from each other; they content themselves with their own landed state. But Parjanya does not rain (on his lands), for the tristich is (equal to) these worlds (viz. earth, intermediate region, sky) and he separates these (worlds, being the tristich) by the him-sound. 5. This is the firmly supported vistuti belonging to the nineversed (laud); firm support gets he who in chanting practises this vistuti. II. 2. 1. For three (verses) he makes him, he chants them right off 1; for three (verses) he makes him, he chants them right off; for three (verses) he makes him, he chants them right off. This is the returning' vistuti belonging to the nine-versed laud. 6

II. 2. 1.-11. 3. 3. 21 1 i.e. all three after another; paracibhih means properly: 'moving thitherward, turning their back, going away, not returning.' The schema is hum 1. 2. 3; hum 1. 2. 3; hum 1. 2. 3. 2. A return¹ is reached by him who in chanting practises this (vistuti). It is the uninterrupted vistuti. The out-breathing, the inbreathing, the intermediate breathing are (equal to) the tristich², these (breathings, being the tristich) he makes continuous by the him-sound; he who practises this (vistuti) lives his whole term of life and finds no premature death. Parjanya rains (on his lands), for the tristich is (equal to) these worlds, by means of the him-sound he unites them. 1 parivarta must be a substantive, not a gerund as Sayana and Bohtl.-Roth take it, cp. § 4 intra; it is probably the same word as parivarta from which parivartini of § 1 is derived; its precise meaning here and § 4 is not clear to me. 3. But being, as it were, slippery, this (vistuti) could exterminate (his) cattle. This (vistuti) is going hither and away ¹. He will be either better off or (at least) the same as he was (before), but he will not decline in welfare. 1 acaparaca, I fail to see the precise meaning of this expression. 4. The Bhallavi's use to practise this (vistuti). Therefore, when accepting, they do not fall forth from return 1. 1 They obtain or retain 'return', whatever may be the meaning. II. 3. 1 For three (verses) he makes him he (chants) them right off; for three (verses) he makes him the middle one (comes) first, the last one (comes) second, the first one (comes) last; for three (verses) he makes him the last one (comes) first, the first one (comes) second, the middle one (comes) last¹. This is the nest-like vistuti belonging to the nineversed laud. 1 The schema is hum 1. 2. 3; hum 2. 3. 1; hum 3. 1. 2. 2. He who wishes for children or cattle should in chanting practise this (vistuti); a nest (means) children, a nest (means) cattle, a nest even (comes into being). 3. This same (vistuti) he should use for one born (long) after (his brothers), he comes at the head of these (other) children who come at the head (i.e. who by birth are the first).

4. This same (vistuti) he should use for more Sacrificers 1; in that all (the verses) occupy the first place, all the middle, all the last, he makes them (viz. the Sacrificers) all of equal participation, they do not push away each other, all become of equal mental strength. 1 Probably at a sattra. 5. Parfanya will rain (on his lands), for the tristich is (equal) to these worlds (viz. earth, intermediate region, sky), these words (being the three verses of the tristich) he interlinks by means of the himsound. 6. There is, however, a confusion of things (a mixture of good and bad, for one who uses this vistuti). 7. There is a turning of things upside down: held off is the one who is returned (who seeks to return into his dominion from which he had been expelled), but he who has been held off, returns; the bad one obtains ascendancy over his better, a (hostile) tribe assails his tribe, they take away the offspring (the children, the cattle) from each other, they do not content themselves with their landed or state condition ¹. 1 Cp. II. 1. 4. II. 4. 1. For five (verses) he makes him he (chants) three (verses, i.e. thrice the first verse), then one (the second), then one (the third); for five (verses) he makes him he (chants) one (viz. the first), then three (i.e. thrice the second verse), then one (the third verse); for five (verses) he makes him he chants one (the first), then one (the second), then three (viz. thrice the third verse). This is the vistuti belonging to the fifteen-versed laud containing five (verses) in each turn ¹. : 1 The word panca immediately before pancadasasya must be cancelled. The schema is hum'1. 1. 1. 2. 3; hum 1.2.2.2. 3; hum 1. 2. 3. 3. 3. 2. Fivefold is man¹, fivefold is cattle 2; by means of this (vistuti, which in each round comprises five verses) he obtains man and cattle. The fifteen-versed chant is a thunderbolt 3. In that he divides (the verses) each in groups of five, he thereby divides (splits up, deranges) the thunderbolt: for the absence of evil result. This is the firmly supported vistuti belonging to the fifteen-versed chant; firm support gets he who in chanting practises it. 1 As consisting of hair, skin, flesh, bones and mark, Ait. br. II. 14.

II. 4. 2. II. 6. 1. 23 2 There are five pasus or animal victims: man, horse, bullock, ram, he-goat, Ath. S. XI. 2. 9. 3 According to the Commentary because the pancadasa stoma and Indra are sprung forth from the breast of Prajapati (see VI. 1. 8.) and the thunderbolt is connected with Indra. II. 5. 1. For five (verses) he makes him he (chants) three (i.e. the first verse thrice), then one (the second verse), then one (the third verse); for three (verses) he makes him he (chants) them (these three verses) right off (in their order, without repetition); for seven (verses) he makes him he (chants) one (the first), then three (i.e. thrice the second verse), then three (thrice the third verse) 1. 1 The schema is hum 1. 1. 1. 2. 3; hum 1. 2. 3; hum 1. 2. 2. 3. 3. 3. 2. (This is) the (vistuti) which is brought in accordance with three Stomas¹. One desirous of spiritual lustre should in chanting practise it. 1 Cp. II. 11. 2. 3. By the five (verses of the first round it is brought in accordance with) the fifteen-versed Stoma, by the three (verses of the second round, with) the nine-versed (Stoma), by the seven (verses of the third round, with) the seventeen-versed (Stoma). 4. The Stomas are strength, strength he thereby brings together (in bringing the three Stomas from different parts unto one point together), for the obtaining of spiritual lustre. In the possession of sharpness and spiritual lustre gets he who in chanting practises this (vistuti). II. 6. 1. For three (verses) he makes him: he (chants) the (verses of the whole tristich) right off (without any repetition); for five (verses) he makes him he (chants) one (the first verse), then three (viz. thrice the second verse), then one (the third verse); for seven (verses) he makes him: he (chants) three (verses, i.e. thrice the first), then one (the second verse), then three (i.e. thrice the third verse). This is the ascending vistuti belonging to the fifteenversed (chant)³. 1 The schema is hum 1. 2. 3; hum 1. 2. 2. 2. 3; hum 1. 1. 1. 2. 3. 3. 3.

2. By means of this (vistuti) the Gods went to the world of heaven; one who wishes for the world of heaven should practise it, for reaching the world of heaven. After having practised it he does not fall forth from the world of heaven. 3. It is the stepping-on' vistuti (used) in order that he may step on (his adversaries); by that (form) of the sacrifice which steps on, he prospers. Therefore this (vistuti) is to be practised in chanting for prospering. II. 7. 1. For five (verses) he makes him he (chants) three (verses, i.e. thrice the first verse), then one (the second), then one (the third); for five (verses) he makes him he (chants) one (the first verse), then three (i.e. thrice the second verse), then one (the third verse); for seven (verses) he makes him: he (chants) one (the first verse), then three (i.e. thrice the second), then three (i.e. thrice the third verse). This is the vistuti belonging to the seventeen-versed (chant), which contains ten (verses in the first two rounds taken together) and seven (in the last round)¹. 1 Schema hum 1. 1. 1. 2. 3; hum 1. 2. 2. 2. 3; hum 1. 2. 2. 2. 3. 3. 3. : 2. By means of this (vistuti) the Gods overcame the Asuras. who in chanting practises this (vistuti) overcomes his wicked rival. He 3. It is the stepping on (vistuti), (used) in order that he may step on (his adversaries); by means of that (form) of the sacrifice which steps on, he prospers; therefore this (vistuti) is to be practised in chanting: for prospering. 4. It is the pregnant vistuti; children and cattle will be born unto him, who in chanting practises this (vistuti). manner. 1 The pregnancy of this vistuti is declared by the Commentator in the following The first (read prathamesu instead of madhyamesu) vistavas (a vistava apparently is the designation of the verse of the tristich sung in different rounds) of this vistuti contain three verses (viz. the first and each following vistava contains, read ceti instead of veti) one verse; this makes five (111, 1, 1). The last vistavas contain each (the first and the second) one, and the last contains three verses (3, 3, 333): equally five together. Between these two sets of five are enclosed seven verses (in each round) of the second verse (2, 222, 222). In that a greater number (of seven) in this manner is enclosed, this vistuti is pregnant and, the middle of a pregnant woman being bigger, this vistuti is designated as pregnant. But the same observation might be made equally about many other vistutis.

II. 7. 5.-II. 8. 1. 25 5. The seventeen-versed (Stoma) is the peasantry 1, its embryo is the king; he thereby makes the king the embryo of the peasantry 2. 1 The Vaisya is connected with the saptadasa stoma, cp. VI. 1. 10. 2 By using this vistuti the king (or Ksatriya) will be surrounded by peasantry. 6. No one who has returned (into his realm) is expelled, no one who has been expelled, returns 1. 1 So this vistuti may conveniently be practised by a king who wishes to establish his reign and to keep away his rival, because he will be surrounded by his subjects. 7. The seventeen versed (Stoma) is food¹. In that seven verses (the seven second verses) are in the middle and five (of the two others) around, food (being equal to the seventeenversed Stoma) 2 is put into the middle (i.e. into the stomach). Neither the Sacrificer nor his children (or his subjects) will suffer from hunger. 1 Food is connected with the seventeenversed Stoma also SBr. VIII. 4. 4. 7 2 According to the Commentator the stress is to be laid on seven,' because there are seven kinds of domesticated and seven kinds of wild plants.-Food (=seven) is brought into the middle of man (who is fivefold, II. 4. 2.) by the arrangement of the vistava's, see note on II. 7. 4. 8 Man is viraj-like ¹, there are seven kinds of domestic animals 2. In that the first verses (in the first two rounds) are ten in number and the last are seven (viz. in the third round), he makes the Sacrificer obtain firm footing among cattle. 1 The viraj metre having verse-quarters of ten syllables (Ind. Studien Vol. VIII, pago 58) and man possessing ten pranas (SBr. XI. 6. 3. 7.) or, according to others (TBr. I. 3. 7. 4.) nine pranas, to which the contral one, the outlet of which is the navel, comes as tenth. 2 Cow, horse, goat, sheep, man, donkey and camel (Baudh.). 9. This is the firmly supported vistuti belonging to the seventeenversed (Stoma). Firm footing obtains he who in chanting practises this (vistuti). II. 8. 1. This same vistuti with transposition is the saptaikamadhya (vistuti) 1. 1 Viz. the (dasa)sapta vistuti, which has in its last round one single verse in the middle. The vistuti described in the preceding paragraph has in its last round

(paryaya): 1. 2. 2. 2. 3. 3. 3, the variant now mentioned has only one in the middle 1. 1. 1. 2. 3. 3. 3, the first and second paryaya's are the same in both. 2. The first (verse) is the place of priesthood, the middle one that of nobility, the last one that of peasantry; in that he gives the largest share (of stotriya-verses) to the first (verse) 1, thereby he brings strength and might in the priesthood and makes the nobility and peasantry subject to priesthood. A shining-out among the nobility as it were, falls to the share of him 2, who in chanting practises this (vistuti). 1 The first verse is used thrice in the first, once in the second, thrice in the last round, together seven times, whereas the second and third verses, that represent the ksatra and the vie, are used in the three rounds only five times each. 2 The same expression III. 9. 2. 3. This (vistuti) is practised by the Trikharvas, therefore they, in contending for superiority, are not worsted. II. 9. 1. For seven (verses) he makes him: he (chants) three (verses, i.e. thrice the first), then three (thrice the second), then one (the third verse); for three (verses) he makes him he (chants) the (three verses) right off (i.e. without any repetition, in their regular order); for seven (verses) he makes him he (chants) one (the first), then three (i.e. thrice the second verse), then three (i.e. thrice the third). This is the vistuti that reposes on seven (viz. on the seven verses of the first round) ¹. 1 Schema hum 1. 1. 1. 2. 2. 2. 3; hum 1. 2. 3; hum 1. 2. 2. 2. 3. 3. 3. 2. One who has a rival (whom he wishes to destroy) should practise it just as one harrows with a harrow reposing on seven sharppointed (pins) 1, so he breaks to pieces his wicked rival. 1 · Or drawn by seven oxen' according to the Commentary. 3. This same (vistuti) he should apply for a plurality of Sacrificers ¹. The first him-making (regards) the first (verse); in that he makes him with regard to this one for seven (verses), thereby it (this first verse) obtains seven (stotriya-verses); in that seven (verses) again (i.e. seven times the second verse in the three rounds, counted together) occur in the middle, thereby this one equally obtains seven (stotriya-verses); the last him-making (regards) the last verse; in that he makes him

II. 9. 3.-II. 10. 4. 27 with regard to this one for seven (verses), thereby it (this last verse) obtains seven (stotriya-verses) 2. He makes them (the Sacrificers) equally participated, they do not push away each other, all become of equal strength. 1 In case of a sattra. 2 This paragraph, especially the accusative in tam saptabhyo hinkaroti, is obscure to me. 4. This vistuti is practised by the Abhipratarina's, therefore they are the mightiest of all their relations. II 10. I. The same vistuti with transposition is the middleless ubhayasaptaikamadhya vistuti ¹. The vistuti which in both, viz. in the first and last rounds has only one, single verse in the middle, in contrast to the vistuti described in II. 8, where only one round is saptaikamadhya. As each paryaya has the second verse only once, this vistuti is called 'middleless,' which means, according to the Commentator * with thin middle.' The schema is: hum 1. 1 1. 2. 3. 3. 3; hum 1. 2. 3; hum 1. 1. 1. 2. 3. 3. 3. 2. This (vistuti) should be practised by one born (long) after (his brothers). There is no room left for one born after; in that seven (verses) come first, seven last and three in the middle, man (viz. the word purusa) comprising three syllables, he thereby makes room for him in the middle and in this room he gets firm support. 3. This same (vistuti) he should apply for one who is desirous of offspring; kept away¹ from the middle 2 is he who does not obtain offspring, he thereby 3 makes room for him in the middle and in accordance with this room (now occupied by him) children and cattle will be born unto him. 1 If we are not justified in reading samruddho instead of samrudho, at least it is here used in this sense. 2 Because one who has praja is surrounded by it. 3 tam madhyatah must stand for tan (-tat) ma°. 4. This same (vistuti) he should apply for a noble, who is kept away by the people (his subjects, from his dominion). The seventeenversed (Stoma) is the peasantry ¹, its embryo is the king (=the noble) (he ought to be surrounded by his people); he thereby drives away the king

from his people 2; kept off is the one who is returned (viz. who seeks to return to his dominion), but he who has been held off, returns. 1 Cp. note 1 on II. 7. 5. 2 We expect rather the contrary: he thereby forces the king amid his subjects (the king, a purusa, being tryaksara and the middle round comprising three verses). 5. This same (vistuti) he should apply for one against whom witchcraft is being exercised. The seventeenversed (Stoma) is Prajapati he enters into the middle of Prajapati, in order not to be struck down. 1 For Prajapati is seventeenfold; according to Ait. br. I. 1. 14 Prajapati is the year, which is seventeenfold as consisting of twelve months and five seasons; T. S. 1. 6. 11. 1 has a different explanation. II. 11. 1. For five (verses) he makes him he (chants) three verses (i.e. thrice the first verse), then one (the second), then one (the third); for three (verses) he makes him he (chants) them right off; for nine (verses). he makes him: he (chants) three (verses: thrice the first), then three (thrice the second), then three (thrice the third) 1. 1 Schema hum 1. 1. 1. 2. 3; hum 1. 2. 3; hum 1. 1. 1. 2. 2. 2. 3. 3. 3. 2. (This is) the (vistuti) which is brought in accordance with four Stomas. One desirous of spiritual lustre should practise it in chanting; by the five verses (of the first round it is brought in accordance with) the fifteeenversed (chant), by the three (of the second round it is brought in accordance with) the nineversed (chant), by the nine (of the third round it is brought in accordance with) the thrice-nineversed (chant), by itself it is the seventeenversed (chant). The chants are strength, strength he thereby brings together from different sides into one point, in order that he may obtain spiritual lustre; in the possession of sharpness and spiritual lustre gets he who in chanting practises this (vistuti). 1 Cp. II. 5. 2. II. 12. 1. For three (verses) he makes him he (chants) them right off; for five (verses) he makes him he (chants) one (i.e. the first verse), then three (thrice the second verse), then one (the third verse); for nine (verses) he makes him: he (chants) three (verses, viz. thrice the first

II. 12. 1.-II. 14. 1. 29 29 verse), then three (thrice the second verse), then three (thrice the third verse). This is the ascending vistuti belonging to the seventeen-versed (chant) ¹. 1 Schema hum 1. 2. 3; hum 1. 2. 2. 2. 3; hum 1. I. 1. 2. 2. 2. 3. 3. 3. 2. By means of this (vistuti) the Gods went to the world of heaven; one who is desirous of getting to the world of heaven should in chanting practise it, so as to reach the world of heaven. He who has practised it in chanting falls not from the world of heaven. It is the getting-higher vistuti, (used) in order that he may get higher. that (form) of the sacrifice which gets higher he prospers. Therefore this (vistuti) is, in chanting, to be practised, in order that he may prosper. II. 13. For by 1. For seven (verses) makes him he (chants) three (verses : thrice the first), then three (thrice the second), then one (the third); for five (verses) he makes him: he (chants) one (the first), then three (thrice the second), then one (the third); for five (verses) he makes him: he (chants) one (the first verse), then one (the second), then three (thrice the third)¹. (This is the vistuti called :) the pair of bellows with its mouth directed downward.' 1 Schema hum 1. 1. 1. 2. 2. 2. 3; hum 1. 2. 2. 2. 3; hum 1. 2. 3. 3. 3. 2. He should apply this (vistuti) (in the soma-sacrifice) of one whom he hates. Just as he (the blacksmith) would blow away with a pair of bellows, whose mouth is directed downward, so he blows away the cattle of the Sacrificer. (It is) the stepping-away vistuti, by means of it the cattle of the Sacrificer steps away; he who in chanting practises this (vistuti), fares worse. II. 14. 1. For seven (verses) he makes him: he (chants) three (verses: thrice the first), then three (thrice the second), then one (the third); for seven (verse) he makes him he (chants) one (the first verse), then three (thrice the second verse), then three (thrice the third verse); for seven (verses) he makes him he (chants) three (verses: thrice the first verse), then one (the second), then three (thrice the third verse). (This is the vistuti) belonging to the twenty-one-versed (chant), containing seven verses in each (turn)¹.

1 Schema; hum 1. 1. 1. 2. 2. 2. 3; hum 1. 2. 2. 2. 3. 3. 3; hum 1. 1. 1. 2. 3. 3. 3. 2. There are seven kinds of domestic animals 1, these he gains by this (vistuti), there are seven breaths' in the head 2, the organs of sense are the breaths, these he obtains by this (vistuti). 1 Cp. note 2 on II. 7. 8. 2 Mouth, nose (dual), eyes, ears. 3. This is the firmly supported vistuti belonging to the twentyone-versed (stoma); he who in chanting practises it, gains a firm support. II. 15. 1. For five (verses) he makes him: he (chants) three (verses: thrice the first verse), then one (the second), then one (the third); for seven (verses) he makes him: he (chants) one (the first), then three (thrice the second), then three (thrice the third); for nine (verses) he makes him he (chants) three (verses: thrice the first verse), then three (thrice the second), then three (thrice the third verse). This is the ascending vistuti belonging to the twenty-one-versed chant¹. 1 Schema : hum 1. 1. 1. 2. 3; hum 1. 2. 2. 2. 3. 3. 3; hum 1. 1. 1. 2. 2. 2. 3. 3. 3. 2. By means of this (vistuti) the Gods went to the world of heaven; one who is desirous of the world of heaven, should in chanting practise it, in order to obtain the world of heaven; he who in chanting has practised this (vistuti) falls not from the world of heaven. It is the onstepping vistuti, (used) in order to step on; by that (form) of the sacrifice which steps on, he prospers; therefore this (vistuti) should in chanting he practised, for prospering. 3. This (vistuti) is of ninefold beginning (and) of ninefold termination, in that, (regarding the first point) the out-of-doors laud is ninefold (i.e. nine-versed) and (regarding the second point) these nine (stotriya verses) are the last ones of the twenty-one-versed (chant) 2. Ninefold are the vital airs (the pranas), it is the vital airs he thereby lays on both sides 3; therefore that downward directed vital air has half the share of the upper vital airs. The whole (normal) term of life he reaches, he dies not before the (full term of) life, who in chanting practises this (vistuti). 1 According to the Commentary this vistuti is usually applied on the last (yajnayajniya) laud of the regular agnistoma sacrifice, which begins with the trivrt or nine-versed out-of-doors laud (of 3*3 verses).

II. 15. 3. II. 16. 4. 2 The last round (paryaya) of this vistuti contains nine verses. 31 3 Viz. on both sides, above and below the navel, cp. Sat. Br. IX. 4. 3. 6: nava vai pranah sapta sirsann avancau dvau and above, note 1 on II. 7. 8. The function of the two downward directed prana's (elsewhere taken as one single: apana as opposed to prana) is, to discharge the urine and the faeces; therefore, when this prana is deficient, one dies of stangurine or constipation (udavartakhyena rogena). 4. This (vistuti) is practised in chanting by the Karadvis's, therefore these attain the full term of life. II. 16. 1. For nine (verse) he makes him: he (chants) three (verses: thrice the first verse), then three (thrice the second), then three (thrice the third); for five (verses) he makes him he (chants) one (verse, the first), then three (thrice the second), then one (the third); for seven (verses) he makes him he (chants) three (verses: thrice the first), then one (the second), then three (thrice the third verse) 1. (This vistuti is called) 'the matching chant '2. : 1 Schema hum 1. 1. 1. 2. 2. 2. 3. 3. 3; hum 1. 2. 2. 2. 3; hum 1. 1. 1. 2. 3. 3. 3. 2 pratistuti, because, as it is set forth in the next §, it matches the other stomas. 2. By chanting the nine (verses of the first round) he matches the nine-versed (chant), by the five (of the second round he matches) the fifteen-versed (chant), by the seven of the third round he matches the seventeen-versed (chant); the twenty-one-versed chant is by itself present. 1 3. The chants that convey the sacrifice ¹ are gratified by him in the last (agnistoma) laud; just as he would gratify (i.e. quench the thirst of) the oxen or horses or mules that have carried (their burden), so he thereby gratifies in the last laud the chants. He who in chanting practises this (vistuti) is gratified by (i.e. comes in possession of abundant) children and cattle. 1 Viz. the normal c a tu stoma agnistoma, commonly designated after its last stotra simply as agnistoma. The four manners of chanting (stomas), mentioned in § 1, are used in this simplest form of Soma-feast, cp. C. H. page 503, last two lines. 4. This same (vistuti) he should apply for one who is desirous of (obtaining) an office of house-chaplain (to a king or noble). The

nine-versed (chant) is priesthood', the twenty-one-versed one is nobility in that the twenty-one-versed (chant) begins with the nine-versed he sets down the priest hood before the nobility, he gets an office as chaplain and falls not from this office, who in chanting practises this (vistuti). 1 Because (see VI. 1. 6.) the trivrt stoma and priesthood are both sprung from the mouth of Prajapati. 2 Why? According to VI. 1. 8 the knatra is equal to the pancadasa stoma. 3 The out-of-doors laud is trivrt. 5. This (vistuti) is practised in chanting by the Pravahani's ; therefore they remain in the possession of the office of chaplain. II. 17. 1. For nine (verses) he makes him he (chants) three (verses: thrice the first verse), then three (thrice the second), then three (thrice the third); for three (verses) he makes him: he (chants) them right off; for nine (verses) he makes him: he (chants) three (verses: thrice the first verse), then three (thrice the second verse), then three (thrice the third verse)¹. (This vistuti is called) 'the lamp lighted on both sides ³ 2. 1 Schema hum 1. 1. 1. 2. 2. 2. 3. 3. 3; hum 1. 2. 3; hum 1. 1. 1. 2. 2. 2. 3. 3. 3. ◉ 2 surmi ' a metal tube (?)' jvalanti lohamayi sthuna; on both sides of the lamp (the middle round) lights (the first and third rounds) are supplied. These surrounding paryayas are trivrt and Agni is often called trivrt, e.g. T.S. V. 4. 7. 3 ; on surmi c.p. also note 4 on XV. 5. 20. 2. One desirous of spiritual lustre should in chanting practise it; the nine versed (trivrt, thrice-threefold chant) is gleaming splendour¹, man (i.e. the word purusa) is trisyllabic; in that two nine-versed chants (i.e. two rounds, each of nine verses) are on both sides (i.e. before and after) and three (verses) are in the middle, the two ninefold ones heat him, just as he would heat gold, for (obtaining) gleaming splendour and spiritual lustre. 1 Or 'fire,' Agni being equated with trivrt and called trivrt, cp. note 2 on preceding §. 3. Not conducive to cattle, however (is this vistuti): it could burn up his cattle, and there is fear of leprosy, for, too much these two (nine fold rounds, which are equated to brightness) heat (or 'burn ').

II. 17. 4. III. 1. 3. 33 4. This same (vistuti) he should apply for one who is calumniated; suffering from blemish (stain) is he who, suffers from ugly report; this ugly report, now, which is spread about him, is burnt up by the two ninefold (stomas): he who in chanting practises this (vistuti) becomes of gleaming splendour.