Chapter 5 - The “gavam ayana” (The mahavrata, continued)

V. 1. 1. The vamadevya is to be taken for the mahavrata (laud)². 1 i.e. that part of the first prstha-laud, which is designated as the atman, the trunk,' ep. V. 2. 1. Jaim. br. II. 411: vamadevyam evartasyahnah prstham karyam iti.

2. The 'head' is nine-versed ¹. € 1 Literally thrice three fold.' The so-called 'head' of the mahavrata laud (i.e. always of the first prstha-laud of the midday service) is chanted in gayatra melody on three tristrichs, viz. SV. II. 146-148=RS. I. 7. 1. 2. 4; SV. II. 263- 265 RS I. 84. 13-15; SV. II. 800-802=RS. VIII. 93. 1-3. 3. For threefold is the head: hair, skin, bone ¹. 1 Cp. TBr. I. 2. 6. 2-3 : tridhavihitam hɩ siro loma chavir asthi. 4. Fivefold (or five-versed) is the other' trunk hair, skin, flesh. bone and mark. 1 itara used as allos, cp. § 7. ' 5. Having made once the him sound they chant the head' (i.e. the stotriya-tristichs composing this part of the vratasaman) right off¹ (without repeating any of the nine verses, in their order as given above). 1 Cp. TBr. 1. c. 6. Therefore when the limbs grow fat, the head does not also grow fat, (and) when they grow lean, it does not also grow lean ¹. 1 medyanti and krsyanti accus. plur. neutr. Cp. TBr. I. 2. 6. 3: tasmat tat sadrg eva na medyato 'numedyati, na krsyato 'nukrsyati and Jaim. br. II. 408 : tasmad idam siro na medyato 'numedyati, na krsyato 'nukrsyati. 1 7. Again and again returning they chant the (tristichs constituting the other trunk; therefore the other trunk (i.e. the parts except the head) grows fat and lean (but not so the head). 1 i.e. repeating (cp. note 1 on IV. 9. 8.): for the other parts of the vratasaman are the pancadasa, saptadasa, etc. stomas. the required number of verses for which is got by repetition after the rules laid down in Chapter 2 and 3. Cp. Jaim. br. II. 407 : ' he makes (by repetition) fifteen verses out of the three; therefore the arm grows fat and lean with the trunk. 8. The head' is (chanted) on gayatri-verses containing the word arka ¹. 1 SV. II. 146 (cp. § 2 note 1): indram id gathino brhad indram arkebhir arkinah ; according to the Jaim. br. (II. 9) on Jaim. Samh. IV. 5. 2-4=RS. VIII. 16. 9-11 : tam arkebhis tam samabhih. 9. Arka, forsooth, is food, the gayatri is spiritual lustre: food even and spiritual lustre he puts at the beginning (ready for them). 1 Or: 'he brings in (their) mouth.'

v. 1. 10.-v. 1. 15. 71 10. The 'wings' are fifteen-versed and seventeen-versed; by means of the wings the Sacrificer, having become a bird, goes to the world of heaven. 11. Regarding these two they say: 'they are to be made equal: either both fifteen-versed or both seventeen-versed for the sake of equilibrium.' 12. Regarding this, however, they (other theologians) say: 'if they are equal, then they are of equal strength.' They are to be made fifteen-versed (the one) and seventeen-versed (the other): the bird, forsooth, when holding his wings aslant 1, so to say, flies swifter. 1 saciva.. krtva, probably tmesis for sacikrtva (cp. pradaksini......... kurvate, Baudh. X. 2: 2. 10), otherwise'instead of saci a dual, masc. would be required ; but cp. RS. X. 142. 2. 13. On the right side (i.e. as right wing) the brhat (saman) is to be taken the right side of the trunk is the more powerful. 6 14. But they (i.e. others) say it is to be taken on the left side: at the side of the Brahmanacchamsin; tristubh-like is the brhat 2. tristubh-like is the Brahmanacchamsin³, tristubh-like is the fifteen-versed (chant)*. 1 Who has his seat in the sadas to the left side of the Hotr. 2 Being chanted on tristubh-verses: SV. II. 159 160=RS. VI. 46, 1-2. 3 The Brahmanacchamsin is the second of the Hotrakas, just as the tristubh is the second metre of the caturuttarani (Ind. Studien, Vol. VIII, page 16). 4 Cp. Vi. 1, 8. 15. At the right side the rathantara (saman) is to be taken (viz. for the right wing); at the side of the Maitra varuna¹; gayatri-like is the rathantara 2, gayatri-like is the Maitravaruna ³, gayatri-like is the seventeen-versed (chant)*. 1 Who has his seat to the right side of the Hotr. 2 Because the rathantara sprang from the mouth of Prajapati along with the gayatri. 3 Because the Maitravaruna is the first of the Hotrakas, just as the gayatri is the first metre of the caturuttarani. 4 The rathantara (chanted on SV. II. 30-31=RS. VII. 32. 22-23) is on jagati, and the jagati contains twice the number of syllables of the gayatri, thus Sayana.

16. The tail' is (a) twenty-one-versed (chant). 17. The twenty-one-versed (stoma) is the support of the stomas, therefore a bird, having supported itself on its tail, flies up, and, having supported itself on its tail, sits down ¹. 1 Cp. Ait. br. I. 4. 3: atho ekavimio vai stomanam pratistha, and: tasmat sarvani vayamsi pucchena pratitisthanti pucchenaiva pratisthayot patanti. 18. The yajnayajn¹ya (saman) is to be taken for the tail, for the yajnayajniya (saman) is the tail of the mahavrata ¹. 1 Probably because the last laud, the agnistomastotra, of the mahavrata-day is chanted on the yajnayajniya. 19. But they (i.e other theologians) say: 'excessive for twofooted (creatures) is the yajnayajniya¹; the bhadra (saman) 2 is to be taken, for the sake of prosperity 3. 1 Because the yajnayajniya on SV. II. 53, 54=RS. VI. 48. 1, 2 is on verses with four padas, but the bhadra ('good' 'auspicious') is on dvipa da tristubhs (SV. II. 460-462=RS. X. 157. 1-3.) 2 Aranyegeyagana III. 1. 21, composed on SV. I. 452. " 3 And so the Arseyakalpa prescribes the bhadra for the tail.' V. 2. (Themahavrata, continued.) 1. The vamadevya is to be taken for the mahavrata (laud); its head is the gayatra, its wings are the rathantara and the brhat, its tail is the yajnayajniya. 1 Probably here also (cp. V. I. 1) the atman-part is intended; to this assertion the prescript of V. 2. 6 is a vikalpa. 2. Who knows the thousand 1 that are hitched in the mahavrata, he obtains a thousand head of cattle. 1 According to Ait. ar. 11. 3. 4 the stotra has thousand verses, see the translation of Keith, page 219. 3. Its head is the eastern region, this is thousandfold through the metres; the one of its wings is yonder (world: the sky), this is thousandfold through the stars; its other wing is this (world: the earth), this is thousandfold through the plants and trees; its trunk is the intermediate region (the air), this is thousandfold through the birds; its tail is the western region, this is thousandfold through the

v. 2. 3. v. 2. 10. 73 fires and the rays (of the sun) 2. He who knows thus, obtains a thousand head of cattle. 1 Because, according to the Commentary, the garhapatya and other fires, as the salamukhiya are in the western part of the sacrifical ground. 2 Because the rays of the rising sun go all to the west (Comm.). 4. Regarding this they say (however): the vamadevya is unfitting for the prstha (laud) ¹, for it is devoid of finale 2. 1.e. for the pratha stotra of the hotr; the usual prsthasamans for the hotuh prstha are rathantara and brhat, which are nidhanavat, provided with a nidhana. 2 rco bahirbhutam nidhanam yato 'sya nasti, cp. C. H. § 204, page 315.- For the anidhana samans cp. below, VII. 3. 5. 5. Without support is the chant that is devoid of finale. 1 6. The rajana (chant) ¹ should be taken for the mahavrata (laud). 1 The melody of SV. I. 318 (aranyagana IV. 2. 19) chanted on S.V. II. 833-335 =RS. X. 120. 1-3. 7. The rajana (saman) is plainly (equal to) food: it is fivefold 1, for food is fivefold 2. 1 The rajana is fivefold either by the fact that all the five parts of it are to be repeated five times (Ait. ar. II. 3. 4.), or on account of the five times repeated stobha : hum hum hum hum hum, or on account of the five finales vag, ida, suvo, brhad, bha. 2 Eating (asyam), chewing (khadyam), sucking (cosyam), licking (lehyam), drinking (peyam). 8. It is provided with the him-sound: thereby there is (that) characteristic of the vamadevya ¹. 1 The vamadevya has also (as the rajana, cp. note 1 to § 7) humma in its pratihara. 9. It is provided with a finale: thereby there is (that) characteristic of the prstha (laud) 1. 1 Which should have a finale, cp. V. 2. 5. 10. The vamadevya¹ of five finales 2, (chanted) on (verses) of redundant metre ³, is to be taken as the (prstha) saman of the Brahman 1 The melody of kaya nas citra abhuvad: aranyagana II. 1. 30. 2 iha prajam iha rayim rarano; rayasposaya sukrtaya bhuyase; aganma vamam idam brhat, idam vamam idam brhat; caracaraya brhata idam vamam idam brhat. 3 SV. II 836-838=RS. II. 22. 1. 3. 2.

11. The (verse) of redundant metre exceeds the other metres: the mahavrata (day) thereby exceeds the other days. 12. By means of the Brahman's saman thereby it (viz. the mahavrata-day) makes the other days exceedingly thriving ¹. 1 Differently the commentary: atimedayati atmanam vardhayati svatovrddham api punah rajanena samna vardhata ity arthah. 13. It has five finales ¹, for food is fivefold 2. 1 Cp. note 1 on § 10. 2 Cp. note 2 on § 7. V. 3. (The mahavrata, continued.) 1. The ilanda¹ is to be taken as agnistomasaman. 1 The melody of ar. arcika III. 12 (agnir asmi janmana), registered in the aranyagana V. 1. 2 (Samav. ed. Calc. Vol. II, page 307), chanted on SV. II. 1166-1171 (cp. Laty. X. 9. 6)=RS. X. 140. 1-6; uhyagana II. 2. 14 (SV. ed. Calc. Vol. V, page 452). Cp. Sankh. XVIII. 23. 6, 7: yady u sarvasmin salrce stuviran etc. 2. The ilanda in a visible way is (equal to) food: it (the ilanda) is refreshing drink (ira) and food (anna ); in refreshing drink even and food they finally are supported. 1 Viz. at the end of the gavam ayana. 3 3. Its (viz. the ilanda's) metre is the sea ¹, waving and bristling 2; a sea, as it were ³, waving, as it were, bristling, as it were, becomes he who is successful 4. 1 The verses are compared with the ocean on account of their great number of syllables; two of them form a stotriya of 80 syllables. 2 Properly hairy', on account of the numberless hairs of man (?). On this passage cp. Weber in Indische Studien Vol. VIII, page 108 sqq. 3 Cp. Ait. br. II. 3. 3: sa era purusah samudrah sarvam lokam ati; the sea is typical of the endless. yo bhavati, cp. XXV. 4. 3. The Jaim. br. II. 413 has: samudra ivaksitas tusluvana asametr. 4. Therefore it is to be applied on these (verses), for the sake of prosperity. 5. The finale is vratam 1; thereby the characteristic mark of the mahavrata is brought about; it is svar¹, for reaching the world of

v. 3. 5.-v. 3. 12. 75 heaven; it is sakuna ('bird'); as a sakuna the Sacrificer, having become a bird, goes to the world of heaven. 1 Stobha II. 4, see SV. ed. Calc. Vol. II, page 536 and cp. uhagana II. 2. 14, ed. Calc. Vol. V, page 453. 6. The yajnayajniya is to be taken as agnistomasaman ¹. 1 And so does the Arseyakalpa 11. 10. a (end). Both cases are known to the Bahvrcas cyaveta ced yajnayajniyam, agne tava srayo vaya iti nat stotriyanurupau yad ilandam, Ait. ar. V. 3. 2, and Sankh. as cited under note 1 to § 1. 7. That (saman) is to be taken as agnistomasaman, which is not overreached ('overtuned') by another voice; the voice (of one person), surely, cannot overreach (overtune') the voice (itself); the yajnayajniya is the voice ¹, in the voice they finally find a firm support. 1 This saman has va(g) for its finale. 8. The varavantiya¹ is to be taken as agnistomasaman. 1 Varavantiyasamans are gramegeyagana I. 1. 30; VIII. 2. 17; XV. 2. 12, 13. Probably the first of these is meant, cp. notes on XVII. 5. 7 and XVIII, 6, 16. 9. Agni vaisvanara, forsooth, went burning this (world) 1; of him the Gods were afraid; they warded him off by means of a varana branch; because they warded him off (avarayanta), therefore it is called varavantiya 1 Cp. the well-known legend of Agni vaisvanara burning the land, Sat. br. I. 4. 1. 10 sqq. 10. Therefore the varana is endowed with healing power¹, for by it the gods defended themselves. 1 See e.g. Ath. S. VI. 86. 1. varano varayata ayam devo vanaspatih | yaksmo yo asminn avistas tam u deva avivaran || and cp the remark of Bloomfield in his commentary on this sukta, Sacred Books of the East, Vol. XLII, page 505. 11. Therefore a Brahmin should not use for drinking a vessel of varana (wood), lest he may extinguish Vaisvanara ¹. 1 If he drank from such a vessel, he would suffer from indigestion. Vaisvanara is the inner fire, whereby food is digested: ayam agnir vaisvanaro yo 'yami antah puruse yenedam annam pacyate yad idam adyate, Sat. br. XIV. 8. 10. 12. The varavantiya is cattle; cattle is a means of quenching 1; from the year that has been quieted 2 they thereby rise. 1 Cp. note 3 on IV. 5. 11. 2 Or: 'come to rest' (santad.)

V. 4. (The mahavrata, continued.) ka 1. With the prana (saman)¹ they 2 address 2 the ahavaniya (standing) to the east (of it, directed to the west); the prana (or outbreathing) they thereby gain. 1 The melody of aranyagana II. 2. 1, composed on SV, I. 318. 2 The Udgatr chants the saman, the two other Chanters join in the finale. 3 Of a cityagni, a high-altar built of bricks, because a gavam ayana sattra is always connected with the 'piling of agni.' The parigana mentioned Jaim. §rs. 4, Ap. XVII. 12. 10, 11, Baudh. X. 49: 15, 15, Laty. I. 5. 11 sqq., Drahy. II. 1. 8. sqq., seems to be different from the practice here described, but cp. Laty. III. 9. 4 sqq., Drahy. X. I. 4 sqq. 2. With the apana (saman) 1 they address the tail (of the bird-shaped high-altar), (standing) to the west (of it, with their face directed to the east); the apana (or in-breathing) they thereby gain. 1 The saman (composed on the same verses as the prana) recorded aranyagana II. 2. 2. 3. With the two vratapaksas ¹ (' wings of the [maha] vrata) they address the two wings 2 (of the bird-shaped high-altar); the regions they thereby gain. 1 The two samans ar, gana II. 2. 5, 6 (cp. Ed. Cale. Vol. II. page 438), composed on the same verse. 2 With the first the right wing, with the second the left one. 4. With the 'heart of Prajapati' they address the armpit 2 : excellence they thereby gain. 8 1 The saman aranyagana V. 2. 15 (cp. Ed. Calc. Vol. II, page 499) composed on stobhas. 2 The left one according to Drahy. X. 1. 10: the seat of the heart. 3 Because Prajapati is jyestha r 1 5. With the invoking of Vasistha' (vasisthasya nihava) ¹ they address the catvala; heaving reached thereby the world of heaven, they announce their welfare.2 1 Gramegeya VIII. 1. 36 composed on SV. I. 313, cp. also § 6. 2 sriyam vadante; they do this probably by the words of the verse (see next §), on which the saman is chanted, sumnesv id vo antama madema.

v. 4. 1.v. 4. 13. 77 6. It is (chanted) on a verse addressed to the All-gods 1; to possess all forms is the peculiar mark of cattle; cattle they thereby gain. 1 This melody (of gramegeyagana VIII, 1. 36) is adapted to the verse of ar. arcika III. 9, see Introduction, Chapter II (page XII.). 1. $ 1 With the success of the session (sattrasyarddhi) they address the agnidhra; in success even they are supported. 1 The saman ar. gana IV. I. 4 (SV. ed. Cale. Vol. II, page 465) on stobha : aganma jyotir | amrta abhuma | antariksam prthivya adhyaruhama | divam antarik- sad adhyaruhama | avidama devan | sam u devair aganmahi, cp. RS. VIII. 48. 3. 8. It has a four-syllabic finale¹: four-footed is cattle; in cattle even they are firmly supported. I suvar jyotih. 9. They repeat the finale until the breath fails them: the whole (normal time of) life they (by doing thus) reach. 10. 1 With the sloka ¹ and anusloka² they address the two havirdhana (carts) 33; glory 4 they thereby gain. 1 The saman gramegeya XII. 11. 1 (SV. ed. Calc. Vol. I, page 887) composed on SV. I. 439. 2 Grameg. XII. 11. 3 (ed. Cale. I. c. p. 889) composed on SV. I. 440. 3 The first they chant over the havirdhana carts standing in front of them, directed to the west, the second standing behind them, directed to the east. 4 Because they are sloka and anu sloka. 11. With the yama(saman)¹ they address the marfaliya; the world of the Fathers 2 even they thereby gain. 1 Ar. gana III. 2. 3 composed on SV. I. 320 (cp. ed. Calc. Vol. II, page 461). 2 Both, marjaliya and pitrloka are in the south. 12. With the ayus- and the navastobhasaman¹ they address the sadas; priesthood and nobility they thereby gain. 1 Ar. gana III. 1. 13 and 14, composed on SV. I. 437. 2 The first they chant over the sadas, standing in front of it, directed towards the west, the second standing behind it, directed towards the east, Drahy. X. 1. 17. 1 13. With the chant of Rsya¹ they address the garhapatya ². 1 Ar. gana V. 1. 22, composed on ar, arcika IV. 9 (ed. Calc. Vol. II, page 324).

2 This saman they chant over the old ahavaniya: the salamukhiya-fire, according to Dhanamjayya standing on the inside of the mahavedi with the face turned to the west; according to Sandilya behind it, outside the mahavedi with the face turned to the east, Drahy. X. 1. 18, 19. 1 14. All beings (once upon a time) praised Indra with a chant; Raya noted that one ¹ of his (viz. Indra's) members' had been omitted in (these) chants; that member of him he praised with this (chant), thereby he reached the place dear to Indra. Through this (chant) they reach the place dear to Indra. 1 anga, guhyarupa, Comm., probably 'secret part.' According to Sayana this bhogasadanam guhyarupam is indicated by the words of the stobha: rsyasa indra bhun, maghavann indra bhun, prabhur and indras tasaraputah (Stobhagrantha II. 6, SV. ed. Calc. Vol. II, page 538); the word bhun reminding us of the verb bhuj 'to enjoy.' Probably the membrum virile is meant. 15. If they undertook (i.e. chanted) the finale behind his back 1, they would fasten timidity upon themselves; they undertake (i.e. chant) the finale to his face¹: timidity even they (thereby) put aside. 1 paroksam: cryptically, here rather: behind the back (of the God), who is addressed in the verse: Indra; pratyaksam overtly, here rather to the face of the God addressed. The meaning is that nought is to be spoken a bo ut Indra but that the God himself is to be addressed. This is partly the case in the finale, which contains the vocative indra. Perhaps these vocatives only are intended by the author of the Brahmana If one does not address a God (in vocative), he speaks about him, and this can be a sign of timidity, of a want of confidence in the power of the God. According to Laty. III. 9. 22, Drahy. X. 1. 20 the pratyakravada is to commence after the word indra (because this is already a vocative), in this case only indra tasaraputah is to be changed into indra tasaraputa (voc.). The commentary of Dhanvin on sutra 10 is to be emended: tena indras tasaraputa iti prathamantam ('the case sign of the nominative') apohya indra tasaraputeti sambuddhyantam ('in the vocative') prayojyam yatha rsyasa, indra, maghavan indreti trini sambuddhyantani tadvad iti. And somewhat later, instead of Reuter's conjecture pragalbho hi bhrantam sambodhayitum ksamah, we ought to read pragalbho hrimantam s. k. In the following words, which give an example for pratyaksavada: 'thou art able, o King, to rule the world', paripalana is to be substituted for Reuter's paripalanam. As an example of paroksavada Dhanvin says: 'but the non-confident says in his own home this king is able (to rule the world).'-Finally I subjoin the passage of the Nidanasutra (VI. 7), which refers to our Brahmana, although I am not able to translate it: reyasya samni kim pratyaksam kim paroksam iti. hrasvam pratyaksam, draghitam paroksam; api vendreti pratyaknam indra iti paroksam; api va yatha grama etad angam acagte, tat pratyaknam, tasyaina stutih syat: tatsaram

v. 4. 14.-v. 4. 79 (sic) iva te payur rjur anaskandha iti; yathasamamnayam evopeyur, evam hi brahmanam bhavati. yad vai manusyanam pratyaksam tad devanam paroksam, atha yan manusyanum paroksam tad devanam pratyaknam iti. tat kusalam yad asminn ahani devapratyaksam kuryuh. Excursus on Pano. br. V. 4. The preceding khanda treats of the parimad's, i.e. the thirteen samans to be chanted over the different ports of the birdshaped highaltar and of the devayajana. According to the Sutrakaras (see Drahy. X. 1. 1, sqq.) these samans are chanted (by the Udgatr alone, the two assistant Chanters joining in the finale) immediately before the mahavrata laud i.e. the first prsthastotra at the midday-service of the mahavrataday. These chants, although being parisamans (Drahy. I. 5. 1), are to be considered as forming part of the mahavratastotra; this is apparent from the fact that Masaka in his Arseyakalpa mentions them as belonging to the vrata (vratam prstham: trayodasa parimado brahmanaklpta indram id gathino brhad etc. II 10. a); the Upagranthasutra (I. 2) confirms this surmise: vrate dvisastih sirahpaksapucchanam parimadbhis trayah pancavimsah, ie.: 'the vrata (=mahavratastotra) contains sixty-two verses from the head (9), the two wings (15+17) and the tail (21); together with the parimad's (13) this makes three twenty-fivefold (stomas) (62+13=75=3+25), cp. Varadaraja on Masaka 1 c.: etesam prsthangatvam prsthasya pancavimsasampatsiddhyartham uktam, the whole maha vrataday -being a pancavimsastoma, in which each laud consists of twenty-five stotriya verses. As to the parimads, it is only in the texts of the Jaiminiyas and the ritual of Sankhayana that they are also (as in PBr.) indicated by their name (TBr. I. 2. 6. 5 mentions the word only), viz. Sankh. ar. I. 4¹, srs. XVII. 12. 4, where it is prescribed that the Hotr should mutter (as he usually does before holding his sastra; equally do the chanters) the verses on which the samans (parimads) are built up. In Sankhayana as well as in the Taittiriyasamhita the chants differ from those given by the Pancavimsabrahmana; according to Sankh. (ar. 1. c.) they are 1. nidhanam angirasam. 2. bhutecchadam or bhutechandasam sama 2. The Jaimi- ' 1 The word parimada given in the Dictionary of St. Petersburgh does not exist; in stead of athaitan parimadan japah japati Sankh. ar. 1. c., srs. 1. c.) read parimadam j. j.: 'he mutters the texts of the parimads.' 2 I here observe that the words following in the sankh. ar. are to be read, not pratisthayaitad rupam, but pratisthayai tad rupam.

niyas give this name (in the last form) as another name for the rsyasya vratam (or rsyasya sama), cp. Jaim Samh., Einl. page 25. The arthavada following in Sankh. immediately after this saman: priyam indrasya dhamopajagameti must refer to this saman, not, as Keith in his translation of the text (the Sankhayana aranyaka with an appendix on the mahavrata, London 1908, page 4 note 2) deems more natural, to the next following one¹. A comparison of PBr. V. 4. 14 makes this clear. 3, 4. krosanukrose (these samans occur in the gramegeya). 5. payah (occurs in the aranyegeya). 6, 7. arka and arkapuspa (both occur ib.). The Taitt. Samh. (VII. 5. 8. 1-2) enumerates 1. krosa, 2. sattrasyarddhi (ep. PBr. V. 4. 7), 3 prajapater hrdaya (1. c. 4), 4, 5. sloka and anusloka (PBr. V. 4. 7). Both traditions differ considerably from the Panc. br.; the Taittiriyas stand nearer to the Kauthumas, whilst the tradition of Sankhayana stands nearer to that of the Jaiminiyas than to that of the Kauthumas. The Jaiminiyas (JBr. II. 398-403) enumerate: 1. visvesam devanam vratam, 2. 3. krosanukrosau, 4. sattrasyarddhi, 5. 6. vratapaksau, 7. 8. pranapanau, 9. 10. slokanuslokau, 11. 12. nihnavabhinihnavau, 13. angirasam sadvimsatyaksaranidhanam, 14. bhutecchandasam vratam; here we have one too many, as also appears from II. 404, where thirteen parimads are mentioned. 1 jagama is probably 3 rd ps., not 1 st. V. 5. 1. Having mounted a throne-seat the Udgatr chants (the rajana chant 1 of the vratalaud); under the eyes even of the Gods 2 he thereby gains a seat above (others) 3. 1 That only this part of the stotra is meant, appears from V. 6. 7. 2 devasaksya eva tad uparisadyam jayati, cp. Sat. br. V. 2. 1. 22: athasma asandim aharanty, uparisadyam va esa jayati yo jayaty antariksasadyam, tad enam upary asinam adhastad imah praja upasate; TBr. I. 2. 6. 5 : yasya talpasadyam anabhijitam syat sa devanam samyakse (op. note 2 on XII. 13. 26) talpasadyam abhijayaniti talpam (=asandim) aruhyodgayet, talpasadyam evabhijayati, and Kath. XXXIV. 5: 38. 23 (almost verbally agreeing with PBr.) atho devasaksya evoparinadyam jayanti. 8 Because he has been placed higher, nearer to the Gods.

v. 5. 1.-v. 5. 9. 81 2. It is (made) of udumbara (wood); the udumbara is food; food he thereby retains for himself. 3. Its measure¹ is a span that he may not leave this world 2. 1 The heighth of its feet, Drahy. X. 3. 4. 2 Therefore the feet are no more than a span high. 4. With the metres 1 he mounts: to the world of heaven even he mounts. 1 With the formulas vasavas tva gayatrena chandas a rohantu tan anv adhirohami etc., Drahy. X. 4. 9. 5. With the metres ¹ he descends on this world (the earth) he gains a firm support. 1 With the same formulas (changing arohantu and adhirohami in avarohantu and avarohami) but in reversed order, Drahy. X. 4. 9 (where aparuhya is to be corrected into avaruhya). 6. The whole trunk '¹ is to be chanted by the Udgatr after he has taken up (certain verses) from all (the other parts of the vratalaud) ², in order that he may not be disjoined in these worlds 8. 1 Here atman again designates the rajanasaman. 2 The explanation of the words is given below, V. 6. 2-5. 3 In order that the atman (i.e. his rajanasaman) may not be severed from its head, wings and tail; see V. 6. 5. 7. When one stotriya (verse) (viz. the last) is not (wholly) chanted, he brings down his feet (from the seat) 2. 1 Viz, whilst the prastava is being chanted. 2 And at the moment when the finale is chanted, he places them on the ground (Drahy. XI. 4. 7-8), as is implied in the next following §. 8. Simultaneously with the finale¹ they 2 reach a firm support ³ : on these worlds even they firmly stand. 1 Of the last verse. 2 All the Chanters; the Prastotr and Pratihartr have been sitting on kurcas, see § 12. 3 They put their feet on the ground. 1 9. The Hotr holds his recitation having mounted a swing ¹; thereby a characteristic mark of merriment 2 is brought about. 1 Cp. Ait. ar. I. 2. 4, Sankh. ar. I. 7, ars. XVII. 15. 10. sqq. 6

2 mahas according to Sayana means here tejas, which does not suit the context. Cp. TBr. I. 2. 6. 8: maho vai plenkho mahasa evannadyasyavaruddhyai. 10. When merriness seizes children, then they mount swings. 11. The Adhvaryu holds his responsorium having mounted a plank (of udumbara-wood)'. 1 Cp. e.g. Ap. XXI. 17. 14. 12. The others take their seat on bundles (of kusa-grass); they thereby keep ascending upwards 2. 1 The Hotrakas, the two other Chanters, the Brahman and the Grhapati. 2 Cp. Kath. XXXIV. 5: 38. 23 : svargam u lokum akramamana yanti. 13. There are the Abhigara ('praiser') 1 and the Apagara (reviler')¹; the one finds fault with them, the other eulogizes them. He who finds fault with them, drives away their evil lot, he who eulogizes them, praises what by them has been well-chanted and well-recited. 1 From abhigrnati and apagrnati: to praise,' 'to revile'. Outside the Samaveda literature these two performers are given by Katy. (XIII. 3. 4-5), who has taken them over from the Samavedic literature and in Kath. XXXIV. 5; 39. 1 (almost verbally agreeing with PBr.): abhigarupagarau bhavatah; pra va anyah sattrinah samsati, nindaty anyo; yah prasamsati yad evaisam surtutam susastam tat sa pracamsaty, atha yo nindati yad evaisam sustutam susastam tat so 'pahanti. The name of at least one of these officials occurs in Baudh. II. 3: 37. 1-2: abhigaro dhruvagopah samsrava iti sadasyasya (sc. purusah) In the texts of the Taittiriyakas (TBr. I. 2. 6. 7) the praising and reviling are combined with the ritual recorded in Panc. br. V. 5. 14-17. According to the Taittiriyakas namely the Brahmin gays: • these have succeeded, they have brought about welfare,' the sudra says: 'these are taking away ( ? udvasakarinah), these have brought about mishap'. 1 14. An Arya¹ and a Sudra fight for the hide 2; of these two they cause to win the (member of the) Arya-caste. 1 According to the Commentators on the sutras: a Vaisya.--It is impossiblə to decide whether the author of the Brahmana means arya or arya; the Kath. points to arya. According to the well-known rule of Panini (II. 2. 34) the compound sudraryau means: 'an Ariya and a Sudra.' 2 The Arya stands inside the mahavedi with his face directed to the south, south of the Marjaliya (how is this possible?), the Sudra stands outside the mahavedi with his face to the north; they tug at a round, white hide, striving to obtain it; first the Sudra pulls; the Arya must win, Drahy, XI. 3. 4-7; ep. Kath. 1. c. (39. 3): eudraryau carma vyayacehete...aryam varnam ujjapayati.....antarvedy aryah syad bahirvedi sudrah; svetam carma parimandalam syad adityasya rupam, ep. also TBr. l. c., Ap. XXI. 18. 4, 19. 9-12.

v. 5. 10. v. 5. 21. - 83 15. The Gods and the Asuras fought about the sun 1; the Gods got possession of it. Thereupon the Gods throve, the Asuras came to nought. He thrives himself, his rival comes to naught who knows this. 1 By tugging at it. Read vyayacchanta instead of "cchantas. Oertel defends the reading with participle (The disjunct use of cases,' page 39), but cp. Kath. 1. c. devas ca va asuras caditye vyayacchanta, tam deva abhyajayan and TBr. I. 2. 6. 6. 16. In that they cause the (member of the) Arya-caste to win, they thereby cause themselves ¹ even to win. 1 On the singular atmanam cp. Oertel, The disjunct use of cases, page 184. 17. It is a circular hide; thereby the characteristic mark of the sun is brought about 1. 1 Cp. Kath, as cited under § 14 (note 1). 18. At all the corners (of the mahavedi) the drums sound (i.e. are beaten); they thereby gain the voice that is in the trees 2. 1 Drahy. XI. 3. 20, TS. VII. 5. 9. 2-3, Kath. XXXIV. 5: 39. 6: sarvusu sraktisu dundubhayo vadanti ya diksu vak tam tenavarundhate; Ap. XXI. 18. 1, 19. 8. 2 Cp. below, VI. 5. 12, 13. The drums are made of wood. 19. There is the earth-drum 1; they thereby gain the voice that is in the earth 2. 1 Behind the agnidhra-shed a hole is made in the ground, half inside, half outside the mahavedi; over this hole an ox-hide with the hairy side above, is stretched, Drahy. X. 3. 1-3, cp TS. VII 5. 9. 3. Kath. I. c. (39. 7), Ap. XXI. 18. 2-3. 2 I am unable to trace a passage in the PBr. where it is said that vac entered the earth. Maitr. Samh. II. 5. 9; 60. 2; yasuri vag avadat semam pravisat. 20. All (manner of) voices (i.e. music) resound¹; they thereby gain that voice that is in these worlds. 1 TS. VII. 5. 9. 3: sarva vaco vadanti: sarvasam vacam avaruddhyai, Drahy. XI. 3. 21, 22, Sankh. srs. XVII. 14. 12: kurvanti ghosam ghosakrtah. Accoutred, clad in armour they¹ go around 2; thereby the characteristic mark of courage is brought about, and they also pay honour to the mahavrata. 1 The companions of the king, who, according to the Sutrakaras, also fulfil a role at the feast (Drahy. X. 2. 1. sqq).

2 Having accoutred themselves with shields etc. to the east of the sacrificial ground, they go around to the south of it; Kath. XXXIV. 5: 39. 15: samnaddhakavacah pariyanti, mahavratam eva mahayanty atho sendrataya eva. V. 6. (The maha vrata, continued.) mahavrata 1. All the officiating priests together should chant the mahavrata (laud) ¹. 1 The head, wings, tail and trunk, cp. TBr. I. 2. 6. 4; sarvena saha stuvanti. < 2. The Adhvaryu should chant the head", the Maitravaruna 'the right wing, the Brahmanacchamsin 'the left wing's, the Grhapati 'the tail', the Udgatr the trunk' 5. < 1 The nine verses, see V. 1. 2 and Ap. XXI. 17. 3. 2 The rathantara. 3 The brhat. 4 The bhadra. 5 The rajana. 3. When they act in this way, they should each of them leave for the Udgatr¹ one of the stotriya verses (of the chant which he has to perform), after this (verse) has not (yet wholly) been chanted 2. 1 Literally: 'they should, all of them, go near the Udgatr with' etc., cp. TBr, I. 2. 6. 4 ekaikam ucchim santi. : 2 Cp. note 1 on V. 5. 7. 4. Having chanted three (verses) of the trunk', the Udgatr should put in the (last) stotriya (verse) of the head' (left over by the Adhvaryu); having chanted the next three (verses of 'the trunk'), he should put in the (last) stotriya (verse) of the right wing' (left over by the Maitravaruna); having chanted the next three (verses of 'the trunk'), he should put in the (last) stotriya (verse) of the left wing' (left over by the Brahmanacchamsin); when the last but three or the last but one stotriya (verse) (of 'the trunk') has been chanted, he should put in the (last) stotriya (verse) of 'the tail' (left over by the Grhapati)¹. ' 1 In the same way the Jaiminiyas (Jaim. br. II. 408): ta ekaikayastutayo- egataram upasamayanti; tabhir udgatodgayaty; atmann eva tad angani pratidadhati ; tasmad atmann angani pratihitany; atmanottamayodgayati ('he himself [=atmana] chants this last verse left over by each of the others'): tasmad idam atmana ud iva ¿ete.

v. 6. 1.v. 6. 7. 85 5. They thereby put the limbs on the trunk' 1, for the obtainment of the world of heaven 2. 1 Cp. JBr. (in note on § 4) and TBr. I. 2. 6. 4: atman hy angani baddhani. 2 The method here (in V. 6. 1. 5) set forth is one of the two (for the other see below, § 7) that may be practised in chanting the vrata laud. It has already been alluded to above (V. 5. 6). It is remarkable that of all the other vedic texts (besides the Jaim. br.) it is only the Taittiriya-samhita that accepts this order of things. The passage of TS. can only be understood in the light of our Brahmana; Sayana appears to have no notion of its purport. We read then (TS. VII 5. 8. 2) : navabhir adhvaryur udgayati...sarva aindriyo bhavanti...apratihrtabhir udgayati, whereupon follows the mention of the rathantara, brhat, bhadra and rajana; these nine verses have nothing to do with the anusloka saman (mentioned before), as Sayana believes, but they are the trivrt siras gayatram, all the verses of which are indeed addressed to Indra. That they should chant them without pratihara is new in the Taitt. Samh. Even Apastamba (XXI. 17. 3) seems to have misunderstood his own Samhita, as he joins the words navabhir aindribhir apratihrtabhir adhvaryur udgayati na va immediately after anuslokam stuvate. Besides, in TS. 1. c. 4, the two sentences ekarkayastutaya samayanti and tabhir udgatodyayati agree, one of them nearly verbatim, with Jaim. br. II. 408 (see note 1 on § 4) and, as to the matter, wholly with Panc. br. VI. 6. 3, but these words seem here (in TS.) to be out of the context, as they follow after pancadha vinisadya stuvanti, on which soe below, note 1 on VI 6. 7. 6. Now they say, however: 'how could an Adhvaryu or a Bahvrca (i.e. a Rgvedin) chant a saman'? No other than the Udgatr should chant the whole (mahavrata laud); that is (something) complete in completeness they gain a firm support. 1 As the Maitravaruna and, properly speaking, also the Brahmanacchamsin.This sentence alludes to V. 6. 2. 7. Having chanted in the havirdhanashed the head,' they should, taking hold of each other, go in a westerly direction; then, having gone round the dhisnyas, to the south of them, and having taken their seat behind the dhisnya of the Maitra varuna. they should chant the ra thantara (sa man ) of fifteenfold stoma; then they should go together in a northerly direction behind the dhisnya of the Hotr and, having seated themselves behind the dhisnya of the Brahmanacchamsin, they should chant the brhat of seventeenfold stoma; then, having again gone out (of the sadas) along the same way by which they had entered (it), they should go round the agnidhra, to the north of it, and, having taken their seat behind the

garhapatya (i.e. the salamukhiya), they should chant 'the tail' of twenty-one-fold stoma; then. having again entered (the sadas) along the same way, by which they had left it, they should seat them. selves each on his own place, and the Udgatr, having mounted the throne - seat, should chant 'the trunk'¹. 1 This, then, is the ritual recommended in contrast to the one formerly (V. 6. 1-5) described, by the author of the Brahmana. In this way there is still a connection between the samun and those of the rtvij's, by whom, according to the formerly described, but now rejected ritual, it should be chanted. The ritual of § 7 enjoins the chanting of the whole mahavrata to the Udgatr alone. The plural is due to the fact, that the Prastotr and Pratihartr also take part in the chanting. The words at the end: te... upavisya...udgatatmanodgayati contain an anacoluthon caused by the desire to indicate here the seat of the Udgatr. Strictly speaking, the text ought to run: te. .upavisya atmana stuviran, asandim aruhyodgata stuvita. To the ritual here described refers the author of Taitt. Samh VII. 5. 8. 4 : pancadha vinisadya stuvanti: having taken their seat on five different places." Which are these places, is now apparent from Panc. br. V. 6. 7. The commentary of Sayana here is utterly insufficient. Unknown to the Samagas is the prescription of TS. VII. 5. 8. 4 that the Chanters should perform the first five stotriyas standing, the following five sitting. Practically this seems impossible, since the vistuti is to be marked on the garment by means of the little wooden pegs. The expression of TS. I. c. 4 ekaikayastutaya samayanti (cp. note on V. 6. 5 s. f.) seems to be in contradiction to the preceding words. Here we have a mixing-up of the two possibilities proposed by the Panc. br.--We see from this § 7. that the essential part of the mahavrata laud is the atman, the trunk'; it is only for the chant of this piece that the Udgatr takes his seat on the asandi. $ 1 8. The wives (of the Sacrificers, i.e. of the partakers of the session) accompany the (chant of the rajana) by (playing on) apaghatilas ' ¹ the wives thereby fulfil the office of priests (whilst they think): let us go simultaneously to the world of heaven'. 1 Behind the Choristers (on them cp. C. H. § 134. d, page 173) the wives of the Yajamanas take their seat; each of them has two instruments, a kandavina and a picchora; on these they play all together alternately, first on the kandavina, then on the picchoru. The kandavina is a flute of bamboo, the picchora a guitar, which is beaten by means of a plectrum, Laty. IV. 2. 5-7, Drahy. X 1. 2. 6-8. The Jaim. br. (cp. Das Jaiminiyabrahmana in Auswahl' No. 165) enumerates the following instruments; karkari, alabu, vakra, kapisirsni aisiki, apaghatalika (cp. Ap., below), vina kasyapi (ep. Ath. S. IV. 37. 4: aghatah karkaryah · cymbels and lutes,' Whitney). Ap. XXI. 17. 6, 19 names three instruments: apaghatalika, tambalavina and picchola : the second is according to R. Garbe (see his Introduction to Ap. vol. III, page VIII) a tamil guitar. Baudh. XVI. 20: 266. 9-10; 267. 9-10 names also three instruments : aghati, picchola and karkarika, on whch ep. the Karmantasutra (Baudh. XXVI.

v. 6. 8. v. 6. 11. 87 17. s.f.); Sankh. XVII. 3. 12 has: ghatakarkarir avaghatarikah kandavinah picchora iti, read perhaps aghatarir avaghata", etc.; but the following passage (sutra 15-17) is rather uncertain. 6 2 9. In every house (of all the Sacrificers) food is being prepared ¹. Now, if they should ask wherefore do they prepare this?'² they should answer: these Sacrificers will eat food.'³ 1 During the other days of the year Brahmins are to be fed in the house of the Grhapati (?), but on this day this should take place in the house of all the partakers of the session. 2 Or What are thoy doing there ? 3 Viz. in yonder world. 10. Who speaks evil of those that have been initiated ¹, takes a third part of their evil (on himself), who eats their food, a third part, the ants a third part 2. 1 Viz of those who have undergone the diksu-rite the partakers of the sattra. 2 The stress is to be laid evidently on the second third, as this § must be connected with the preceding one. 11. They perform with the parimads; the parimads are the skin and the hair of the mahavrata; having thereby gained the skin and the hair of the mahavrata, they retain it (viz. skin and hair) ¹. pu $ 1 The srut, quoted by Sayana: yad etan ha (read: yudrg aha) vai puruso devebhyah karoti tudrg asmai devah kurvanti is Jaim. br. 11. 386. On our passage cp. Jaim. br. II. 403: 'as man's hairs, nails, hairs on the body, beard, thus are they (viz. the parimads) of it' (viz. of the mahavrata) and TBr. I. 2 6. 4-5: sarvena saha stuvanti, survena hy atmanatmanvi, sahotpatanty; ekuikam ucchimounty atman hy argani baddhani; na va etena sarvah puruso; yad ita ito lomani dato nakhan parimadah kriyante, tany eva tenu pratyupyante, i e. they chant together the whole (mahavrata laud), for through the whole trunk' he becomes possessed of a trunk; together they fly (as birds) upward; they each leave over one (of his stotriya-verses, cp. supra V. 6. 4), for on the trunk the limbs are fastened. Man, however, is not complete thereby (i.e. by the possession of solely limbs and runk); that he gets here and here (i.e. on his limbs and trunk) hairs, teeth, nails thereby he now becomes complete); the parimads are practised, thereby these hairs, teeth, nails) are fixed on (his body)'. I suppose the text has not been handed down correctly, as the accusatives lomani dato nakhan hang in the air. Perhaps we should read kurvanti instead of kriyante: 'in that the parimads bring ɩbout here and here hair, teeth, nails,' etc. For the rest, the Jaiminiyabrahmana 'aises the surmise, that in this context the word parumadah may have a meaning lifferent from the usual one (op. excursus on V. 4) and that it indicates the music ccompanying the chant: after the description of the lute the Jaim. br. 11 46. has:

athaita anyah parimadah kriyante, and II. 404: athaita vacah pravadanti ksudrah parimadah, whereupon follows the description of the musical instruments. 12. They string the lute; the lute is the end ¹ and the mahavrata is the end 2; thereby they salute by its music³ the end by means of the end. 1 As it is the last or most perfect of all the instruments. 2 The end of the year, the last day (but one). ³ abhivadayanti 'they salute:' and also: 'they play, make resound.' It is provided with a hundred strings, man, forsooth, has a life of a hundred years, has a hundred powers 1. 1 Cp. Jaim. br. II. 45, 418, Kath. XXXIV. 5: 39. 10, TS. VII. 5. 9. 2.-The vana is an instrument of wood, according to sankh. consisting of a kind of crate and a handle (cross-bar?); it is covered with the skin of a red ox, hairs on the outside, it has ten holes at its back side, over each of which ten strings are fastened; these strings are manufactured of munja or darbha grass. The strings are touched by the Udgatr by means of a reed or a piece of bamboo (with its leaves), that is bent of itself (not by the hand of man): indrenataya (var. indrana) isikaya, Jaim. br., and from this text the word is taken over by Laty.-Drahy. (On this word cp. note 3 on XV. 5. 21). The Udgatr does not properly play on this instrument, having touched the strings (see § 14) with the plectrum he orders a Brahmin to play on it, Drahy XI. 1. 1-10, cp. Ap. XXI. 18. 9, Sankh. XVII. 3. 1-11. 14. He should grate on it¹ in upward direction muttering the formulas for out-breathing (I grate on thee); for in-breathing (I grate on) thee; for through-breathing (I grate on) thee.' Having obtained thereby the out-breathing, the in-breathing and the through-breathing they retain these. 1 He should touch the strings with the plectrum; probably this must be done thrice, each time with one of the formulas. The Jaim. br. prescribes the formulas : ma no jyotih, vak satyam, ma no bhadrah. 15. Females ¹, bearing water-jars go ² around the marjaliya³, (calling out) here is honey, here is honey. ' 4 Accompanied by loud noise they thereby, having become birds, go simultaneously to the world of heaven. 1 Female slaves, at least five, at highest fifty or twenty five. 2 · Dance,' according to Baudh. Ap. 3 Sunwise they go round according to Drahy.-Laty.; first thrice withershins (apradaksinam), afterwards silently sunwise, according to sankh. 4 According to Baudh. and Ap. this call: haimaha, idam madhu is the refrain of a longer chant, the text of which is given by the Sutrakaras of the Yajurveda.

v 6. 12.-v. 7. 4 V. 7. 89 (The gavam ayana, continued: the gaurivita ☐ and othersamans during the year.) 1. The Gods divided (distributed) the Voice, what pith of it was left over, that became the gaurivita (saman). This (pith, i.e. this saman) revolves along with the anustubh 2; the anustubh is Voice, the gaurivita is the pith of Voice. 1 Gramegeya V. 1. 22, composed on SV. I. 168=RS. VII. 69. 4. " The gaurivita occurs on each day of the whole year's session viz. in the anustubh part of the arbhavapavamana laud, cp. Arseyakalpa, Einl. page XXIV. 2. In that they chant day after day the gaurivita, they thereby bring into the Voice the pith of the Voice. 3. He who knows thus, speaks with a pith-full voice ¹. 1 With a voice that is rich in pith, not 'dry' or harsh. 4. It has two 'raisings '1; these are the two that look out for a stopping-place in the (journey to the) world of heaven; by means of the first (former) they finish the first (former) day, by means of the following (the second), they pass, in chanting, across 2 to the following day. 2 ' 1 dvyudasam, udasa utksepa: utksepo nama dirghavicesah; probably the notation satya'3123 is meant, which occurs twice in the gaurivita. Instead of avasanadesau read avasanadarsau op. XI. 5. 19 (which is identical with our §) and Jaim. br. II. 424: the gaurivita forsooth is (that part of the sacrifice) which has relation to the to-morrow; what has relation to the to-morrow, is: progeny, cattle and the world of heaven. Just as one who has good knowledge of fields comes up to a village, thinking: 'here is a good path, along it we will go; here is a good ford, by it we will set across; here is a good dwelling, here we will dwell,' in this same way these two raisings of the gaurivita wander (before the journeying troop) (as) the two (persons) that look out for a stopping-place;' the restored text runs: etad dha vai yajnasya svastanam yad gaurivitam, praja svastanam, pasavah svastanam, svargo lokah svastanam sa yatha ksetrajno gramam dhavayed: adah sugam, tena yasyamo, 'dah sutirtham, tena tarisyamo, 'dah suvasam, tad vatsyama ity, evam etau gaurivitasyodasav avasanudarsau caratah; that here also avasanadarsau (the ms. has dasau) is the correct reading, is proved by Jaim. br. III. 17: 'just as in ordinary life two (persons) looking out for a stopping-place find a stopping-place (avasana), so find these two raisings of the gaurivita the to-morrow for the Gods;.. one of these raisings is the person looking out for a stopping-place, avasaya itanyah.

It is herewith just as if one were to settle down after reaching grass and water that been looked for.' 2 The translation of abhyativadati (which occurs again VIII. 3. 6) would be in German sie reden hinuber sum nachsten Tage.' 5. The gaurivita is (that part) of the sacrifice which has relation to the to-morrow; if they were to let loose (i.e. not to practise during the whole year) the gaurivita, there would be for them neither tomorrow nor progeny. 6. The other 1 (part of the) sacrifice,' they say, ' comes to an end, but the Voice has no finish.' In that there is day by day the gauri vita, they thereby again bring into action the Voice for themselves 2. 1 Is 'other' used here as allos, or, with Sayana to be taken in the sense of vayrakitayajna ? 2. The¿. orivita being the pith of the Voice, see § 1. 7. bay by lay there is, the (samany that 'ine, the word: svar ('heaven ') for its finale ¹. 1 The sujnanasaman, Gramegeya XVII. 1. 26, composed on SV. J. 572=RS. IX. 106.10, chanted on different verses: the finale (e) upu of the Gramegeya is to be changed into (e) suvar, cp. Laty. VII. 10. 1 and 7. t 8. To the region of the Gods ascend they who undertake (i.e. practise) the saman with the word svar as finale. He verily, causes the participants of a sattra to undertake a sacrificial session,' they say, who makes them ascend to the region of the Gods.' No one sitting¹ in the region of the Gods comes to distress. In that there is day by day the saman with the word svar as finale, they suffer no distress whatever. 1 asinah is used because of the idea implied in sattra 'session.' 9. They verily swerve from this world,' they say, who practise the saman with the word svar as finale. (But this objection is of no value. for) in that they by means of a verse¹ undertake (i.e, chant) (the word) svar 2, they get a firm support in this world. in that (there is) the e-sound, they get a firm support in the intermediate region, in that they by means of a sa man (chant the word svar), they get a firm support in y o'n der world. In all the worlds they get a firm support in chanting the svarnidhana (saman). 1 rc is equal to earth, saman to heaven or sky; cp. the well-known mantra: amo 'ham asmi sa tvam etc.

v. 7. 5.--v. 8. 5. 91 2 I propose to read: svar upayanti instead of svarupam yanti. The expression svar upayanti used a double entente, meaning also they get to heaven.' 3 The nidhana being e suvar, cp. note 1 on § 7. 10. It is the sujnana (saman)¹. 1 Cp. note 1 (on § 8). 11. The Gods, in going to the world of heaven, were afraid of ignorance¹; they saw this sujnana (saman) ('knowledge giving saman'), and thereby attained knowledge. In that there is day by day the sujnana (saman), they attain knowledge. 1 Probably: 'were afraid lest they should not find their way heavenward.' V. 8. (The samans that must be chanted during the year ' continued.) 1. They who feed the Voice with food. become eaters of food, they who let it (the Voice) be parched, get parched up. 2. The gaurivita, the syavasva (and) the nihava, these samans are the food of the Voice, of these the Voice is the food; in that these samans do not fall off¹ (i.e. are used day by day during the whole year), they thereby feed the Voice with food and so they all become eaters of food. 1 According to this Brahmana the three samans here designated, should day by day be chanted in the anustubh-part (=vac, cp. V. 7. 1). For the gaurivita (and the sujnana) this rule holds in the ritual of the Arseyakalpa, not for the syavasva and the nihava. How is this incongruency to be explained? 3. Stepping on and stepping off they are stepping on and stepping off verily is a characteristic feature of the Voice 1. 1 The meaning of this sentence is obscure to me. 4. There is day by day the plava (saman)¹. 1 According to Sayana day by day in the brhati part of the midday service. I do not find it in the Arseyakalpa. 5. A sea they cross, who enter upon the (sacrifice of a) year; he, verily, who without a boat (plava) crosses the sea, does not come out of it; that there is the plava (saman), is for reaching the world of heaven ¹. 1 Cp. XIV. 5. 17,

6. By (the words of the finale of the saman): 'may we overcome all difficulties , 1 they overcome what by them is wrongly chanted or recited (in stotra or sastra). 1 These words are the nidhana of the plava, Gramegeyagana XIV. 1. 34, see the edition of Calcutta Vol. II, page 75.-The § is identical with XIV. 5. 18. 7. There is the (saman) with the finale okah ('house'), at the head (i e. beginning) of the six-day-period ¹. 1 See Arseyakalpa I 2 end: pra sunvanayandhasa (SV. II. 736-738) iti..ausniham okonidhanam ekasyam (on II 737). The okonidhana, Gramegeya X. 1. 29, is composed on SV. I. 382; it has the word okah as finale. 8. To the farthest distance get they who go to the end of the sixday-period; that there is the saman with the word 'house' (okah) as finale, is for knowing (the way)¹. f 1 okonidhana meaning also, having a house for (i.e. at) the end.' 9. When one arrives at his own house, he then knows the way in every direction, all is (as clear as) day ¹ for him. 1 diva cp. VIII. 1. 13. and Chand. up. III. 11. 3. V. 9. (The time for the consecration: diksa.) 1. On the astaka par excellence they should undergo the consecration. 1 ekastaka. After each full-moon the eighth day is an astaka; the astaka par excellence is that astaka which falls after the Maghi paurnamasi, i.e. one week before the beginning of the new year, as it seems, cp. Ap. grhs. XXI. 10 etc.-This whole ninth khanda (on which see Weber, die vedischen Nachrichten uber die Naksatra' page 341 sqq.) agrees almost verbatim with TS. VII. 4. 8. 2. The astaka par excellence is the spouse of the year¹, during this ² night (=day), verily, it (the year) dwells with her (with its spouse the Ekastaka); having thereby obviously taken hold of the year, they undergo the consecration. tava. 1 Ath. S. III. 10. 2: samvatsarasya yu patni, ib. 8: samvatsarah patir ekastake 2 Read etam instead of gatam. 3. Of this (term) this is a defective feature that they descend into the water ¹ without delight *.

v. 8. 6 -v. 9. 11. 93 1 Viz. at the avabhrtha, the lustral bath which would then fall after a year, in winter-time. 2 Cp. Jaim, br. II. 373: seva tu paricaksa yad apo 'nabhinandantah sisire vabhrtham adhyavayanti and Kaus. br. XIX 3: samvepamana avabhrthad udayanti. 4. In regard to (a part) of the year that has been torn asunder they undergo the consecration, who undergo the consecration at the astaka par excellence ¹. 1 Because the diksa would fall partly in the old, partly in the new year, 'the diksa-days being twelve in number. 5. They are the two seasons that are calle) the last (of the year)'; in regard to (a part) of the year that is unhappy 2 they undergo the consecration, who undergo the consecration with regard to the two seasons that are called the last of the year. 1 I combine the last words of § 4: antanamanav rtu bhavatah (so is to be read instead of bhavate) with § 5. The diksa, undertaken on the ekastaka, falls in the last two seasons of the year, which are to be regarded as one whole. 2 Being the last : anta. 6. Therefore the consecration is not to be undertaken on the astaka par excellence. 7. In Phalguna (month) ¹ they should undergo the consecration. 1 On Phalguna full-moon-day. 8. The Phalguna (full-moon-day) is the head (i.e. the beginning) of the year; at the head (the beginning of the year) having thereby taken hold of the year they are consecrated. 9. Of this (term) this is a defective feature, that the visuvat (day) then falls in with the cloudy (season)¹. 1 Which would be of bad augurium, because the visuvat is the sun. The middle day of the year would thus fall on the sarad month isvayuja, cp. Weber, op. cit page 343. 10. On Citra-full-moon they should undergo the consecration. 11. The Citra-full-moon, verily, is the eye of the year; in the head (=at the beginning) is the eye; at the head (=in the beginning of the year) having thereby taken hold of the year they are consecrated. This term has no defective feature.

12. Four days before the day of full-moon they should undergo the consecration. 13. Their buying of the soma (then) falls together with the astaka par excellence; thereby they do not lose the astaka par excellence 1. 1 The diksa lasting twelve days and the somakrayana following immediately after the dikra, this last ceremony would, if the diksa were to begin four days before Citra-full-moon, fall not on the ekastaka, but on the astaka after Citrafull. moon, the ekastaka being the eighth day after Magha-full-moon (see on V. 9. 1). I guess that §§ 12 and 13 had to follow originally immediately after § 2. Of the ritualistic Sutras Apastamba is somewhat uncertain about the question which paurnamasi is meant in TS.; his text (XXI. 15. 5, 6) runs: caturahe purastat paurnamasyai dikseran | maghya ity asmarathyah | caitrya ity alekhanah. More explicit is Baudh. XVI. 13: 260. 5. sqq.: te caturahe purastan maghyai paurnamasyai diksante, tesam ekastakayam krayah sampadyata, iti nu yadi samum avijnaya diksante; yady u va etasyam evaikastakayam samam vijijnasante (according to the ritual of XIV. 13: 176. 6-16), caturaha eva purastat phalgunyai va caitryai va paurnamasyai diksante, tesam aparapaksasyastamyam krayah sampadyate, tenaikastakam na chambatkurvanti. Baudhayana, then, speaks strongly in favour of my surmise. For the rest the Jaim. br. (II. 373), disapproving of the ekastaka for the same reason as the Panc. br. (see note 2 on § 3), recommends for the diksa the term of five or six days after new-moon in the month Phalguna. 1 14. For them the sutya (i.e. the Soma pressing, the beginning of the Soma feast days) falls on the first half (of the month, i.e. in the half of the waxing moon). The months are one after another finished in the first half (of the month), they rise in the first half; after them, having risen, cattle and herbs rise and lucky words are spoken (spread) about them: 'these partakers of the session have succeeded ". They do succeed. 1 Viz. if they undertake the diksa four days before full-moon (either phalguni or caitri). V. 10. (The years rite utsar 9 am ayana m . ¹) with dismissed day - rites: i 1 Compare TS. VII, 5, 6 and 7, Kath. XIII. 7, Laty. IV. 8. 8-23, Drahy. VIII. 4. 4. 8-28, Baudh. XVII. 22, Ap. XXI. 24, Sankh. XIII. 20. 1. They who practise dismission ", make swell (or 'strengthen ') the year. 1 They who dismiss (remove, abandon) the ritual of certain days out of the year-rite, cp. note on V. 10. 4 and the text of V. 10. 5.

v. 9. 12.-v. 10. 5. 95 95 2. If no dismission out of it is made, the year is like an inflated leathern bag (i.e. like a leathern bag filled with air); if they did not practise dismission, they would die of strangurine. 1 Cp. TS. VII. 5. 6. 2: yad ahar notsrjeyur yatha drtir upanaddho vipataty evam samvatsaro vipatet and Jaim. br. II. 393: yo vai purna (i.e. purne) avapati vi va vai tat patati pra va siryate. ; 3. The year is out-breathing, the months are in-breathing 1 in that they practise dismission they put their in-breathing into their out-breathing 2. The consecrated one who dies before the normal time. of life, is afflicted by the distress of the year out of which no dismission has been made. 1 prana as the counterpart of udana (usually this is apana), as for instance Sat. br. XI. 2. 4. 5. The months are compared with in-breathing, because they make, as it were, holes in the year for the mouth. 2 Elsewhere it seems to be considered as a bad occurrence when the udana passes into the prana (Sat. br. XI. 5. 3. 9: when the garhapatya-fire is extinguished......udanah pranam apyagat). The thought of § 3 is more clearly expressed in the Jaim. br. II. 393: from a vacuum (the lungs) the out-breathing starts forth. Prajapati is the year, his out-breathings are the full-moon-days; by dismissing the full-moon days, they make for Prajapati's out-breathing a way to pass out (prajapater eva tat pranan utorjante). 4. Regarding this they say: 'must dismission¹ take place or not?' 1 According to Baudh. and Apastamba five days are to be disinissed in the first half of the year (before the visuvat-day), and five days in the second half (after the visuvat-day), viz. five jyotis-days: the first day of each first abhiplava-sadaha in the 2 nd, 3 rd, 4 th, 5 th and 6 th month, and after the visuvat the last day of each first prsthya-sadaha in the 8 th, 9 th, 10 th, 11 th, and, in the 12 th month, the last day of the last (3 rd) abhiplava-sadaha (a jyotis-day). In the first and seventh month there is no utsarga. The ritual thus falling out is replaced by the offering of a he-goat to Prajapati and different purodasas, Baudh. XVII. 22: 301. 7-302. 7, Ap. XXI. 24. 1-25. 4. 5. In case they should prefer to practise dismission, they should dismiss the ukthas¹; thereby dismission takes place and (at the same. time) does not take place 2. ' 1 Cp. Ap. XXI. 25. 6: ukthani va (viz. utsrjeyuh). The uktha-stotras and corresponding sastras and grahas of the uktha-days should be dismissed. The statement given here finds, as it seems, its explanation in the Sutra of Drahy.-Laty. 1. c., and cp. Varadaraja on Arseyakalpa I. 7. s.f. (page 12, note 3 of the edition), where it is set forth that the dismission should take place in this way, that in each

month the 6 th day of the three opening abhiplava-sadahas should be ukthyas, but the 6 th day of the last sadaha an agnistoma. Now, as the ukthastotras at the end of the 6 th day are optional (cp. Arseyakalpa l.c.), it can be said that by doing so, on the one hand; utsarga is made, and, on the other hand, is not made. 2 Cp. Ap. 1. c. 7. 6 • 6. But they say also: 'it is to be made a one-and-three' stoma ¹. Thereby (on the one side) dismission has been obviously brought about, but on the other side, they press out the soma' (i.e. they perform sacrifices of soma).² 1 The day, on which they agree to practise dismission, should be made an ekatrika stoma (cp. below, XVI. 16), consisting of stomas alternately of one stotriya and of three stotriyas. This is another way to obtain utsretam and at the same time anutsrstam, cp. Drahy. VIII. 4. 11-14. (Dhanvin is to be read: 80 yam stotriyalopo numotsarga iti), and Ap. XXI. 21. 5, sankh. XIII. 20. 4. ' 2 The printed text has abhyutgunvanti; although this reading is repeated in the Commentary, it cannot be right, the g and n are not accounted for, and, moreover, a compound abhyutsunoti does not exist. Now, the Commentary on Laty. IV. 8. 13 cites this passage with abhyurusunvanti; that an u must be read is proved by the Leyden MS., which rightly, as it seems to me, presents: abhy u tu sunvanti (u ' but', tu 'nevertheless'). The ekatrika soma is a pressing, is a sacrifice of soma. 7. 'There are, forsooth, holes in the year of those,' they say, ' who dismiss a stoma" ¹. 1 Viz, who shorten a stoma in the manner described above, §§ 5. 6. 8. They take hold of (i.e. they immolate) a victim; of the stoma even they thereby take hold, for the victim is a stoma¹. 1 Because both are destined to offer homage to the Gods; probably the hegoat destined for Prajapati is meant, cp. note 1 (end) on V. 10. 2, and TS. VII. 5. 7. 4, sankh. XIII. 20. 8. 9. On the day immediately before that day on which they intend to practise dismission, they drive away the calves from (the mothercows). On the (following) morning they immolate the victim; they proceed with its omentum 2, then witht he savana-purodasa, prepared on eight kapalas 8, for Agni, then with the coagulated sour milk destined for Indra, then with a mess of boiled rice (a caru) destined for the All-gods. Thereby the morning service comes about 4. 1 To obtain the milk for the samnayya offering to Indra, cp. C. H. § 110.-Instead of eva utsrstah sma iti read eva utsrastasma iti.

2 Cp. C. H. § 141. c. v. 10. 6.-VI. 1. 2. 97 ³ Cp. C. H. § 143 and cp. § 121. ♦ Cp. TS. VII. 5. 7. 2-3, Baudh. XVII. 22: 301. 3-12, Ap. XXI. 24. 3-7. 10. They then proceed with the pasupurodasa prepared on eleven kapalas, then with the savana-purodasa on eleven kapalas 2, then with a purodasa prepared on eleven kapalas destined for (Indra) accompanied by the Maruts, then with a mess of boiled rice destined for Indra. Thereby the midday-service comes about ³. 1 Cp. C. H. § 185. 2 Cp. C. H. § 186. 3 Cp. TS. l. c. 3, Baudh. 1. c. 301. 12-15, Ap. l. c. 8. 11. They (then) proceed with the offering of the victim, then with the savana-purodasa prepared on twelve kapalas, then with a purodasa prepared on twelve kapalas destined for the All-gods, then with a mess of boiled rice destined for Agni and the Maruts. Thereby the third service comes about ¹. 1 Cp. TS. 1. c. 3, Baudh. 1. c. 301. 15-302. 1, Ap. 1. c. 9. 12. Having proceeded with the prsadajya they perform the patnisamyajas¹. 1 Cp. C. H. §§ 246, 252, Baudh. 1. e. 302. 1-2, Ap. l. c. 12.