Chapter 7 - The Jyotistoma, Ukthya and Atiratra (continued)

1. (The gayatra-saman on which the out-of-doors-laud is chanted.) 1. The gayatra is (equal to) these (three) worlds (earth, intermediate region, sky) 1; the chant belonging to it is to be performed in three sections 2; for three in number are these worlds; by chanting (the gayatra) in three sections, he makes him ³ equal to these three worlds. 3 1 Usually the gayatri is identified with the earth, the trstubh with the intermediate region and the jagati with the sky. 2 avrt is a part of the udgitha; to this Brahmana refers Laty. VII 10. 21, according to which passage the udgitha, e.g. of S.V. II. 1, which runs in the arcika pavamanayendave | abhi devam iyakcate, is to be divided into three avrts in

the following manner: 1. pa②va 2 manayendava 2; 2. abhi devam iya 1212; 3. ksato. Cp. also Jaim. br. I. 111 and Jaim. up. brahm. III, 11, 5, III. 39. 2 (tad etat tryavrt tryudanam gayati. 3 The Sacrificer. 2. Twice he should stretch the tone, the third (time) he should make him ¹. 1 1 avanardati according to Sayana is equivalent to avasvarati and consists in a lowering of the musical tone by one interval; probably avanardana has the same value as the later term karsana, and especially the first kind of karsana designated e.g. by a 2, see R. Simon in his Introduction to the Puspasutra, page 519 (cp. also C. H page 466). Now, as the him sound is always chanted thus: him a 2, it appears that in the gayatra-chant this avanardana takes place three times. The ritualistic authorities have always been at variance about the question as to how the avanardana is to be practised the first two times: "the first two sections (avarga=avrt) are to be stretched', according to Dhanamjayya; in the middle section he should put in two stobhas, and these are to be 'stretched' accordng to Gautama, e.g. abhi devam iya 1212" (see Sayana on Ranc. br. VII. 1. 2), Laty. VII. 10. 22-24. It seems that the usual way of chanting the gayatra is the one recommended by Gautama, it is found in all the prayogas. The expression : *he should put in two stobhas' may be understood, if we consider that all the words of the udgitha are replaced by the syllable o, which can be considered as a stobha. 3. In that he stretches thrice ¹, he thereby makes the gayatra redundant. 1 Cp. note 1 on the preceding §. The purport of this § is far from clear to me. 4. He who chants an unresponded gayatra ¹, has no firm support; the response of the gayatra is the him-sound. 1 i.e. a gayatra without response, without pratihara. 5. It is to be thought mentally; he thus chants a responded gayatra and gains a firm support ³. 1 1 To this § refers Laty. VII. 11. 3-5: 'after the retasya (verse, i.e. the first verse of the out-of-doors-laud) he should, leaving over two syllables (i.e. before the last two syllables) utter the him-sound: hum a 2; this him-sound the Pratihartr should think mentally in the retasya, not in the other (verses), according to Gautama; in the other verses (only), not in the retasyu, according to Dhanamjayya and Sandilya,' op. also Laty. I. 12. 8, 9: 'the first verse, the retasya is devoid of him, the other verses are provided with it'. Latyayana, then, accepts the view of Gautama, the words of the Brahman a leaving it open to doubt; §adv. br. II. 1. 4 :

VII. 1. 2.-VII. 1. 10. 133 na himkuryud seems to refer equally to the retasya only, cp. also Jaim. br. I. 100; na himkuryad, yad dhimkuryad vajrena himkarena reto vicchindyat, and Jaim. srs. 11: 13. 9, 6. He who chants the gayatra in view of these worlds, is not severed from these worlds; for his sake these worlds clothe themselves with strength (or 'food')¹. 1 enam..abhi samvasate, Sayana: enam urjannena samacchadayanti, enam as governed by abhi; samvasate 3 rd pl. to samvaste. I take 7. He should begin softly, then (chant) louder, and then still more loudly; thereby he chants in view of these worlds. ' 1 mandram, tarataram, taratamam could equally well mean deep, higher, highest (pitch of the voice), as relating to the three octaves (gramas, sthanas), which are equally designated as mandra, madhyama, tara (Taitt. pratis. XXII.11), and said to reside successively in the chest, the throat and the head (ib. 10 and cp. Naradiya Siksa I. 7: urah kanthah siras caiva sthanani trini vammaye), each of these sthanas comprising seven tones.-The first third part (the first avrt, the adi, cp. adadita in this §) he should chant mandrena; the second avrt, tarataram; the third avrt, taratamam. Sometimes four sthanas are given: upamsu, mandra, madhyama, uttama (thus Sayana), with which compare Jaim. up. br. I. 51. 6 sqq.: mandram, ugram, valgu, krauncam, cp. TS. II. 5. 11. 1: krauncam, mandram. 8. The chant (of the gayatra) must be performed 'unexpressedly ". That which is expressed of the gayatra is terrible; by chanting ' unexpressedly' he avoids what is terrible in it. 1 Each syllable of the verse is replaced by o, cp. C. H. §§ 178, 180. 9. The gayatra is breath'; he should not take breath (whilst chanting the udgitha), to prevent the breath from being cut off. If he takes breath, he will die before (his time), if he does not take breath, he lives his whole life. 1 According to Sayana because there are nine stotriya-verses in the out-ofdoors-laud and there are nine 'breaths' (sapta sirsanya dvav avancau), but elsewhere the gayatri is identified directly with prana: below, XVI. 14. 5 and Sat. br. VI. 2. 1. 24, VI. 4. 2. 5 etc. 10. If (however) he should take breath, he should take breath in the middle of the verse: the gayatra, verily, is breath, the tone' is breath he thereby puts breath in the midst, into his body: he lives his whole life 2. 1 Possibly svara here also means circumflex, cp. XVII. 12. 2. Compare the passage, which to me is not clear, of the Jaim. br. I. 112: samno 'ntararanyam

navetyam,...,etad dha vai samno 'ntararanyam yat prastutam abhisvaritam (ms. abhiº) adiyate; svarenotpadyodgayet. 2 Cp. Jaim. up. br. I. 37. 7: tad anavanam geyam; tat samna eva pratiharad anavanam geyam, tat prano vai gayatram; tad vai pranam rdhnoti, tatha ha sarvam ayur eti, and Jaim. br. 1. 112: yadi sami tamyen, madhya rco 'vanyat. 11. As nidhana' he should take (the word) ida 2 for one who desires cattle; svah, 3 for one who desires (to reach) heaven; yasah, for one who desires spiritual lustre; ayuh 5, for one who suffers from disease; hamsi, for one who exercises magic (spell for malevolent purpose) 7. 1 Instead of the regular a. 2 ida is equal to cattle. 3 ° Heaven.' 4 Glory.' 5 'Long life.' 6 'Thou slayest'. 7 To this § refers Laty. VII. 11. 15. sqq. if he desires to use any of the finales, that are recommended for (the fulfilment of special) wishes, he should, according to Gautama, put them (i.e. the words, that express them) in the place of the last two syllables, or after finishing the whole verse, e.g. abhi devam iyaksata 1212 (instead of the syllable u); according to Dhanamjayya he should, without changing, chant the whole gayatra and put them in at the place of a, for they (the words ida, svah, etc) are intended as finales.' 12. These, forsooth, are the milkings 1 of the gayatra. 1 The instruments, as it were, to obtain from the gayatra, as a milch-cow, all one wishes. 13. Into the possession of spiritual lustre, of cattle ¹ comes he, who knows this. 1 And of heaven, long life, etc. cp. § 11. VII. 2. (The a jya-lauds.) 1. Prajapati, having changed himself into the sacrifice, gave himself over to the Gods. These did not agree together as to the precedence. He said to them: 'Run ye a race for it'. They ran a race (ajim ayan). Because they ran a race, therefore the afya (-lauds) are called ajyas (aj-ya).

VII. 1. 11.-VII. 2. 5. 135 2. Indra understood: 'Agni, forsooth, will win in the first place.' He said (to Agni): Whichever of us both shall win in the first place, shall share with the other'. Agni was the first to win, thereon Mitra and Varuna, thereon Indra. Now, there was this ne Hotr-function (still) to be won. Indra said to Agni: According to our agreement this one must be shared by us two'. This is the Hotr-function consecrated to Indra-agni: one and a half (of the) laud belongs to Agni, one and a half to Indra ¹. ' 1 The four ajya-lauds are 1. agneyam (hotur ajyam), C. H. § 55; 2. maitravaru- nam (maitravarunasyajyam) C. H. § 160; 3. aindram (brahmanacchamsina ajyam) C. H. 164; 4. aindragnam (acchavakasyajyam) C. H. § 169. In the Jaim. br. this quasi-myth is more logically represented; here (I. 105) Agni, Mitra and Varuna, and Indra win first, and then Indra and Agni make the agreement about the fourth ajya that is left over: athaikam anujjitam asit, tad indro 'ved: agnir vavedam ujjesyatiti. so 'bravid: agne, yatara avayor idam ujjayat tan nau sahasad iti, etc. 3. Four in number are they (the ajya-lauds) with six deities ¹. 1 Agni, Mitra, Varuna, Indra and for the last stotra again Indra and Agni together. 4. In six ways disposed ¹ is the sacrifice; the whole of the sacrifice he thereby lays hold off. 1 saddhavihitah, cp. tridhavihitah ('tripartitus'). Probably we are to understand: the agnistoma-catustoma (comprising three services), the ukthya, the sodasin and the atiratra. 5. All the ajya-(lauds) are svara ; this is a sameness 2; they chant (verses) addressed to different deities ³: for the sake of taking away the sameness. 111 1 i.e. provided with svarita: having at the end, as all gayatra-chants have, a final ending on 345, cp. R. Simon, Puspasutra page 525, in voce svura. 2 Why the sameness, the jamitvam, is unfruitful, is made clear by the following passage of the Jaim. br. (I. 300): 'Devoid of pairing and offspring is the sameness, just as when two men or two women were lying together, neither the two men would bring forth any child, nor the two women, if they did not get a copulating partner. That, on the other side, which is devoid of sameness, is a copulation, a generation'. Moreover, the consequence of sameness is yatayamatvam ! 3 Cp. Jaim. br. I. 100 tad ahur: yad ajyani sarvani samananidhanani, kenajami kriyata iti.

136 THE BRAHMANa of twentY FIVE CHAPTERS. 6. In view of the domestic animals they chant the ajya (-lauds)¹. They chant (them) constantly returning 2; therefore they (the animals, the cattle) beget thitherward and are born hitherward; therefore also they (the cows), having started to the (meadows), return 5. 1 Cp. VI. 8. 12. 2 Cp. VI. 8. 9. 3 Cp. VI. 8. 9. 4 The young ones, being born, come 'hitherward' out of the womb. 5 Cp. VI. 8. 13. VII. 3. (The midday-pavamana-laud.) 1. The midday-service is purified 1 by the following: 1 This must mean: 'the midday-service is brought about' or 'the midday. pavamana laud is held.' 1 2. by three metres ¹ and five samans ². 1 Gayatri, brhati, tristubh, cp. Introduction to Arseyakalpa, page XXIV and Ait. br. III. 17. 4: satsu va atra gayatrisu stuvate gatsu brhatisu tisrsu tristupsu. 2 Gayatra, amahiyava, raurava, yaudhajaya and ausana. 3. By chanting the midday-pavamana (-laud) 1 they strain the midday-pressing. 1.e. the first laud (stotra) in the midday-service. 4. The (samans used) at the midday-pavamana (-laud) are (equal to) all the samans (of the whole midday-service). 5. (They are) the gayatra (saman), the saman with finale, the one de void of finale, the one with ida as finale ¹. 1 With finale (stause) is chanted the amahiyava (gramegeya XII, 2. 13); without finale proper the yaudhajaya (gram. XIV. 1. 36) and the ausana (gram. XV. 1. 32); with ida as finale the raurava (gram. XIV. 1. 35). In the same way the rathantara or hotuh prsthastotra (aranyegeya II. 1. 21) is chanted with finale (as); the vamadevya or maitravarunasya prsthastotra (gram. V. 1. 25) is chanted without finale (ep. V. 2. 4), likewise the naudhasa (gram. VI. 1. 37) or brahmanah prsthastotra is chanted without finale; the kaleya or acchavakasya prsthastotra (gram. VI. 2. 7) is chanted with ida as finale. 6. In chanting the midday-pavamana-(laud) they chant all the samans (of the midday-service)'. 1 See note 1 on the preceding paragraph.

VII. 2. 6. VII. 3. 15. 137 7. The pavamana (-laud) is the trunk of the service, the gayatri (metre) is its mouth; the gayatra (saman) is the breath; in chanting the gayatra on the gayatri (metre) they put the breath into the mouth (of the sacrifice). 8. These metres¹ are the out- and in-breathing 2: the gayatri is the out-breathing, the brhati is the through-breathing, the tristubh is the in-breathing; that they chant with these metres is for the continuity of the out- and in-breathing. 1 Cp. § 2. 2 Elliptic for out-, through- and in-breathing, as appears from what follows. 9. These metres are (equal to) these worlds: the gayatri is this world (the earth), the brhati is this middle (world), the tristubh is yonder highest (world). That they chant with these united metres is for the continuity of these worlds. 10. If another metre were to come in between them, he would disjoin these worlds ¹. 1 Read vyaveyad imanllokan. 11. Having chanted a gayatra, they chant a saman with finale. The gayatra is the earth; thereby an abode is made on the earth (for the Sacrificer) 1. 1 The amahiyava of the ordinary agnistoma, see note 1 on § 5.--Besides 'finale', nidhana means also residence, abode '. 12. Were they to chant at the beginning a (saman) without finale¹, the Sacrificer would be deprived of abode. 1 without finale" 'without abode'. 13. They chant a (saman) with finale; the gayatri is strength, the finale is strength; by strength he (thereby) augments his strength. 14 With a (saman) having (the word) ida (as finale) ¹ they com. mence the brhati (part) (of the laud). 1 The raurava of the ordinary agnistoma, cp. note 1 on § 5. 15. Ida is cattle', the brhati is cattle 2; in the cattle he thereby puts cattle. 1 ida is one of the names for cow, Panc. br. XX. 15. 5; Sat. br. IV. 5. 8. 10. 2 barhatah pasavah, Sat, br. XII. 7.2. 15.

16. (Moreover,) on the brhati most of the samans are (chanted). 17. On it¹ (is) also (chanted) a (saman) with three finales 2. 1 On the brhati part. 2 The yaudhajaya in the ordinary agnistoma; it has no finale in the proper sense, viz, no finale which is added to the words of the verse (such as ida, as, his, 3 5 5 etc.), but three parts of the verse itself are taken as nidhana (sa234 si; da234 si; 3 5 nya345 yah, etc.) see C. H. § 178 h, page 281. 18. The middle world, forsooth, is the least strong 1 (of the three), as it were; to it thereby an abode is procured. 1 The antariksa (being identified with the tristubh, see § 9) cannot stand of itself, but is supported on both sides by heaven and earth, and thereby the least Strong of the three! It now gets three nidhanas, three resting-places. 19. There is a (saman) with three finales; three rents there are in the services 1, these are covered by it. The 1 In the morning., midday- and afternoon-service of the Soma-feast. purport of these words (cp. Jaim. br. I. 304: atho trini yajnasya chidrani dve apidhattasya (?) ayatana ekam bhavati) was not certain to the ancients; they are discussed in the Nidanasutra (II. 11): atha khalv aha trini savananam chidrani tani tenapidhiyanta iti; katamani chidraniti? pavamana adevata stutayas, tani chidranity; athapy antarena pavamanams cuvartini ca havirbhih pracaranti, tani chidraniti. The text of the first explanation is doubtful (Sayana differs, as he reads: pavamanadevatastutayas) and to me unintelligible; probably the stotras beside the pava‍ manas are intended; the second explanation is clear: the author refers to the savaniyapurodasas which follow after each pavamanastotra (cp. C. H. §§ 143, 186, 344). 20. There is a (saman) with three finales; three are these worlds; in these he (thereby) obtains a firm support. 21. There is a (saman) with three finales; by means of the (saman) with three finales the midday-service becomes firmly established; if there were no (saman) with three finales, the midday-service would not be firmly established. 22. The finales are of two syllables¹, the Sacrificer is a biped; he (thereby) instals the Sacrificer in the sacrifice, in cattle. 1 Cp. note 2 on § 17. 23. A (saman) devoid of finale is at the end (i.e. is the last of the

VII. 3. 16. VII. 3. 29. 139 midday-pavamana-laud) ¹, to prevent (him) from falling across the world of heaven. 1 The ausana in the ordinary agnistoma, cp. note I on § 5. 24. If it were one with finale, he would expel the Sacrificer from the world of heaven ¹. 1 A highly casuistical reasoning! We would expect that the last chant was one provided with nidhana, the nidhana being an abode, in order that the Sacrificer might abide in heaven! But the author of these Brahmanas had to reckon with the facts, and one of these was that the last saman is anidhana. He now apparently seeks to explain this difficulty by assuming an etymological (and therefore, for one of his time and views, real) connection of nidhana with nirhanti! Sayana's attempt to explain this passage is unacceptable; he thinks that, the nidhana being a firm footing (i.e. the earth, containing food and cattle), the Sacrificer having gone up to heaven, would be tempted to return to earth (read in the commentary svargad imam eva lokam instead of svargadikam eva lokam). But noto ati in anatipada of the preceding §. 25. It is circumflected'¹. 5 1 svara, i.e. at the end, provided with the padanusvara, ending: nta656 yi, ep. R. Simon, Puspasutra page 521 in voce. Sayana: 'a saman which ends with a svarita tone on the last vowel, is called svara; nowhere more than four endings of a saman are met with: the svara, the finale, (the word) ida, (the word) vag'. 26. By means of the tone (svara)' food is offered to the Gods towards the end; he thereby offers, by means of the tone. food to the Gods towards the end. 1 svarena a double entente: meaning here besides 'tone' also the (loud) voice, viz, such a word as svaha or vau³sat at the end of the offering verse, the yajya in which an oblation is consecrated to a deity. 27. The gayatra (saman) is at the beginning, the circumflected one at the end. 28. The gayatra is breath, the tone is breath; he thereby puts breath in at both sides; therefore animals have breath at both sides '. 1 The prana is exhalation, the apana inhalation, but also the wind in the belly. Or are we to think of the two ears, which equally are reckoned among the pranas? 29. Because the gayatra is at the beginning, the circumflected (saman) at the end, therefore he starts¹ by means of out-breathing and gains firm support through 2 in-breathing ³.

1 praiti i.e. he begins, cp. XVIII. 8. 16 and Sat. br. XII. 2. 4. 16: udanena hy udyanti. 2 Read apanena instead of apane (?). ' 3 The rules laid down in this khanda, especially in §§ 11 sqq., are of great importance for the identification of the samans in general. They seem to agree with the ample prescripts of Jaim. br. I. 299 sqq. Here four kinds of samans are distinguished regarding their ending, svarani, nidhanavanti, ailani and rksamani cp. Sayana on Panc. br. VII. 3. 25, where, instead of the last group ( the meaning of rksama is unknown to me; elsewhere, I. 307, the rksamam is declared identical with svara; cp. the St. Petersb. Diet. s.v. rksaman), are given the samans ending on the word vak. These rules intend, apparently, to prevent jamitva, 'sameness (cp. note 3 on VII. 2. 5). Further, we learn from the Jaim. br. (I. 311) the following important rule, which, as it seems, is also observed by the other Samavedists, that the places for inserting in, or taking out from, the prakrti (i.e. the schema of the normal jyotistoma) those samans which must be added or taken out in order to obtain the required number of stotriya-verses, are: the gayatri, the brhati, and the anustubh-part. In each sacrifice, therefore, only one saman i chanted on the tristubh, the kakubh, the usnih and the jagati. Jaim. br. I. 311 runs: 'three bellies, forsooth, has the sacrifice: the gayatri, the tristubh and the anustubh, here they insert, hence they take out, just as man is filled in the middle (the stomach) or hungers (in the middle), but the other stotras are not liable to alteration, just as the other members of man are not altered (by hunger)'. The Jaim. br. in the same book gives some more rules, the exact understanding of which would without doubt provide us with much more data to identify the samans that are to be applied; one of these rules (I. 307) is that, where three samans are applied, they should be taken in this order': first the ailam, secondly the svaram and thirdly the nidhanavat. VII. 4. (The metres used in the midday-pavamanalaud.) 1 The midday-service is that part of the sacrifice, which is conducive to heaven, the pavamana (-laud) (is that part) of the midday- (service), (which is conducive to heaven), the brhati (part) is that part. of the pavamana (-laud) (which is conducive to heaven); the sacrificial fees, being given at the chant of the brhati (-part) ¹, are thereby given on the place of the world of heaven. 1 This statement (ep. Ait. br. III. 25.3: tasman madhyandine daksina niyante tristubho loke, and cp. Kath. XXIII. 10: 86. 11, Maitr. Samh. III. 7. 3: 77-12, TS. VI 1. 6. 3) must not be taken too literally, for the daksinas are never given during the madhyandina pavamanastotra, but after its completion, cp. C. H. § 178 (pav.), § 191 (daks.).

VII. 4. 1.-VII. 4. 5. 141 2. The Gods said to the metres: 'Through you, let us reach the world of heaven'. They employed the gayatri, through it they did not reach it. They employed the tristubh, through it they did not reach it. They employed the jagati, through it they did not reach it. They employed the anustubh, through it they nearly¹ reached it. They now squeezed 2 out the essences of the quarters and added (these essences as) four syllables to the anustubh; that became the brhati, by means of it they reached these worlds ³. 1 Read tayalpakad iva and cp. Delbruck, Altind. Syntax, page 113. 2 prabrhya, pun on brhati. • 3 We expect rather the world of heaven' cp. XVI. 12. 7. -Cp. Sat br. III. 5. 1. 9: brhatya vai devah svargam lokam samasnuvata. $ 3. Verily, it is the brhati through which we have reached these worlds' (they said) and so the brhati ('great one') has its name. 1 marya(h) cp. note 3 on IV. 10. 1. 4. What they had added to it (i.e. to the anustubh, from which resulted the brhati) was the cattle; the brhati, forsooth, is cattle; in that the sacrificial fees (the cows) are given at the chant of the brhati (part), they are thereby given on their own place 2. ' 1 When the Gods squeezed out the quarters, § 2. 2 Cp. Sat. br. XII. 7. 2.15: barhatah pasavo, brhatyaivasmai pasun avarunddhe.- For §§ 2-4 cp. Jaim br. I. 120: Three metres convey the sacrifice: gayatri, tristubh and jagati; after these the anustubh is joined in; by means of it the Gods wished to reach the world of heaven; by it they did not reach it; they added to it (to the anustubh of 32 syllables) the four (kinds of) domestic animals: cow, horse, goat, sheep, and in this manner got to heaven. Having got there, they said: a great one (brhati), forsooth, has this one been, through which we have reached this'. Hence its name 'brhati '. 6 5. As to what they (the theologians) say: 'There are other metres which are larger, why is it called brrhati (the great one')'? (one could answer): This one, indeed, and none of the other metres, reached these worlds. The seven metres, which increase by four (syllables), each ¹ pass over into the brhati 2; therefore it is called brhati'. 1 1 The gayatri of 24, the usnih of 28, the anustubh of 32, the brhati of 36, the pankti of 40, the tristubh of 44 and the jagati of 48 syllables.

142 THE BRAHMANa of twenty FIVE CHAPTERS. 2 Taking together the gayatri and the jagati we obtain 72 syllables, the double of the brhati; the same is the fall with usnih and tristubh, with anustubh and pankti. To this passage Katyayana refers in his Upagranthasutra (I. 1) sapta caturuttaraniti, gayatrijagatyau dve brhatyav, usniktristubhau ca dve, panktyanustubhau (ca dve), saiva (the brhati itself) saptami. 6. As to what they say: The morning-service is gayatri-like, the midday-service is tristubh-like, the afternoon-service is Jagati-like, for what cause do they chant at midday the brhati (part)'? 7. By means of the out-of-doors-laud, forsooth, the Gods carried the sun to the world of heaven; but it (the sun) could not hold itself (there); they then fixed it at midday by means of the brhati; therefore they chant at the midday (-service) the brhati (part), for it is this (metre) that props up the sun at midday 1. 1 Cp. Sat. br. XII. 8. 3. 24: brhatyam va asav adityah sriyam pratisthayam pratisthitas tapati. 8. With whichever of the metres they chant at the middayservice, these all amount to the tristubh (or: 'pass into the tristubh', ' become equal to the tristubh ') 1; therefore they do not depart from the tristubh the midday-service. 1 This passage is treated by Katyayana in the Upagranthasutra (I. 1): yair u kais ca chandobhir iti; sastis tristubhas; tasam siddhis: trayovinsatir gayatryah, pancacatvarimsatam brhatyo, dvadasa kakubhas catasrbhir gayatribhis, ta brhatyas ; tah saptapancasatam; tavanty aksarani gayatryas; tais tas tristubhas; tisras causane, which means: ' as to (the words of the Brahmana) : 'with whichever of the metres (they chant)': there are sixty brhatis in the whole midday-service; these are attained (by the following reckoning); there are 23 gayatris (the gayatra and amahiyava yield 6, and the second prethastotra 17 gayatris, together 23); 45 brhatis (the raurava and yaudhajaya of the madhyandina pavamana, consisting each of 3 brhatis, yield together 6 brhatis; the first prsthastotra (contained in the first vistavas of each paryaya) yield 5 brhatis; the third prstha and the fourth pretha comprise each 17 brhatis: 6+5+17+17=45); the twelve kakubhs (left over from the first prstha in the two last paryayas, see C. H., page 308) together with 4 (of the) gayatris (mentioned first) yield (12*28=336+[4 432 36 *24=] 96=432; =12) (12) brhatis; (45+12=)57 brhatis (on the whole); by the fact that the (remaining 19) gayatris contain the same number (viz. 57) of padas (3 * 19), they are also equal to tristubhs, and lastly, the ausana (in the madhy, pavamana) has 3 trietubhs; that makes 60 tristubhs (for the whole midday-service)'.

VII. 4. 6.-VII. 5. 6. VII. 5. 143 (The samans of the midday-pavamana-laud.) 6 1. Prajapati desired: May I be more than one), may I be reproduced'. He was in a languishing and unhappy (amahiyamanah) state; he saw this amahiyava' (melody); by means of it he created these creatures; these, being created, were happy (amahiyanta); because they were happy, therefore it is the amahiyava 2. 1 The first chant after the gayatra in the midday-pavamana-laud, viz. gramegeya XII. 2. 13 composed on SV. I, 467, i.e. S.V. II. 22, 23, 24=RS. IX. 61. 10, 12, 11; the Vaj. Samh. XXVI. 16-18 has the same sequence of the verses as SV. 2 A fanciful etymology, made 'pour le besoin de la cause'; the meaning of amahiyavam sama is: 'the chant of (the seer) Amahiyu '. f 2. These (creatures), being created (by him, or emanating from him' ) went away from him; (through the words): 'the earth to ok (it) that was in heaven' he took their vital airs and, their vital airs having been taken (by him), they returned to him; (through the words): a formidable protection, a great glory' he rendered them their vital airs. They struggled against him 2, but he broke their anger (through the words): 'I will laud's; thereupon they yielded him the supremacy. 1 divi sad SV. and Vaj. S. against divi sad of RS. 2 Reading (see Sayana) asma ud evayo° instea∙l of asmad ud evayo". 3 The final of this saman is stause, an expanded form of stuge. 3. The equals yield the supremacy to him who knows this. 4. The amahiyava is not only a creation of creatures 1 but also a separation of good and bad (prosperity and adversity). 1 i.e. a means to get children and young cattle, as Prajapati had practised it with this aim. 5. Separation of good and bad¹ comes unto him who knows this. 1 Cp. note 1 on VI. 1. 12. 6. The Gods Agni, Indra, Vayu and Makha, desirous of glory, performed a sacrificial session. They said: 'The glory that will come to (one of) us, must be in common to (all of) us'. Of them it was Makha to whom the glory came. He took it and stepped forth. They

tried to take it from him by force and hemmed him in ¹. He stood there, leaning on his bow 2, but the end of the bow, springing upwards ³, cut off his head. This (head) became the pravargya; Makha, forsooth, is the sacrifice; by holding the pravargya (ceremony), they put the head on the sacrifice 4. 1 paryayatanta, Sat. br. samantam parinyavisanta. 2 sa dhanuh pratistabhyatisthat, Sat. br. sa dhanurartnya sira upastabhya tagthau; dhanuh pratiskabhya, TA, 3 Because the ants had gnawed the bow-string. 4 This myth is known to us from several other Brahmanas: Sat. br. XIV. 1. 1, Maitr. Samh. IV. 5. 9, TA. V. 1. 1-5, and for the Kathas, Sitz. Ber. der. Kais. Akad. der, W. in Wien, phil.-hist. cl., Band CXXXVII. (No. IV.) page 114, line 3 from bottom. 7. The Gods divided that glory among themselves; of it Agni seized upon the raurava (saman). 8. By doing so he seized upon the strength of the cattle 1. 1 Because its finale is ida and ida is cattle. 9. Rich in cattle becomes he who knows this. 10. Agni, forsooth, is burning (rura), to him belongs this rauravai (saman) ¹. 1 This § is identical with XII. 4. 24 --The raurava, according to Jaim. br. I. 122, has its name either from agni ruru or from a certain sage rura vrddhra. 11. The Asuras hemmed the Gods in; thereupon Agni saw these two burning, all-divergent stobhas 2; through these he scorched them and, being scorched, they howled (aravanta), therefore (there is) the raurava 1 The text has ruro, the comm. rurau. 2 2 2 2 The stobhas of the raurava saman (gramegeya XIV. 1. 35 on SV. I. 5 11, i.e. 4 5 RS. IX. 107. 4, 5=SV. II. 25, 26) are in the gramegeya oha '32 va and au '3 hova Why are they called 'divergent' or 'dispersing'? 12. Then Indra seized upon the yaudhajaya 1; by doing so he seized upon the thunderbolt; the yaudhajaya, forsooth, is the thunderbolt. 1 Gramegeya XIV. 1. 36 composed on the same verses as the raurava. 13. A thunderbolt at his rival he hurls who knows this.

VII. 5. 7.-v 11. 6. 2. 145 14. Indra, forsooth, is the winner of battle 1; to him belongs that yaudhajaya. 1 yudhojit; in Jaim. br. I. 122 he is called indro yudhajivan (or °jivan). 15. 'In battle (yudha) verily ¹, we have won (ajaisma)' (thus Indra thought); therefore (there is) the yaudhajaya. 1 marya(h) cp. IV. 10. 1, VII. 4. 3. 16. But Vayu seized upon the ausana ¹. 1 Gramegeya XV. 1. 32 on SV. I. 523-RS. IX. 87. 1-2= SV. 27-28. There are on this tristubh (a tristubh is required, see above, VII. 3. 2) chanted five ausanas, three of which are svara (cp. VII. 3. 25 and 27), viz. gramegeya XV. 1. 28, 31 and 32. A comparison with the hagana proves that the last of the three is to be taken. 17. By doing so he seized upon the vital airs; the ausana, forsooth, is (equal to) the vital airs. 18. He who knows this, lives his whole (normal lease of) life. 19. Vayu is the willing one (usan), to him belongs that ausana. 20. Usanas Kavya, forsooth, was the chaplain of the Asuras; him by means of the wish-cows the Gods invited to come over to their side¹; they gave over to him those ausana(saman)s 2; the ausana(saman)s, forsooth, are the wish-cows. 1 Cp. Baudh. srs. XVIII. 46: 403. 2 sqq.: 'he (Indra) went to Usanas and cajoled him by (offering him) his daughter Jayanti and four wish-cows; he, (thus) directed, came over from the Asuras to the Gods'. In the Jaim. br. (I. 126, see Journal of the American Or. Society, Vol. XXVIII, page 83) Usanas is won over by the wish-cows of Virocana, the son of Prahlada. Oertel is wrong in not accepting the word kamadugha as a substantive. 2 Probably the five: gramegeya XV. 1. 28-32. VII 6. (The prstha-lauds: rathantara and brhat.) 1. Prajapati desired: May I be more (than one), may I be reproduced' He meditated silently in his mind; what was in his mind that became the brhat (saman). 1 tusnim is equal to vacamyamah, cp. § 3. 2. He bethought himself: This embryo of me is hidden; through the Voice I will bring it forth'. 10

3. He released his voice ('speech') ' and this voice (i.e. this speech, the words uttered by him) became the rathantara 2. 1 i.e. he now became visrstavac, as he spoke the words mentioned in the next § (?). 2 sa vag rathantaram anvapadyata: litt, 'this voice fell to the share of the rathantara'. The author of our text seems to have chosen this expression in order to come to the etymology of the next §. The rathantara existed in reality before the brhat, cp. below, § 10 and TS. VII. 1. 1. 4, where it is said that firstly Prajapati created the trivrtstoma, Agni, the gayatri and the rathantara, and then the panicadasa stoma, Indra, the tristubh and the brhat. That vac is identical with rathantara appears also from § 17, and cp. Jaim. br. I. 128: 'when Prajapati created the rathantara and the brhat, he first saw the mind: the brhat, he spoke over it the voice: the rathantara'. 4. 'The chariot¹ (ratham), verily, it has swiftly 2 reached' (atarit) (said Prajapati ³) and for this cause it is called 'ratham-tara**. 1 With the chariot here perhaps is meant the vehicle of Prajapati's thought: his voice; the voice often is called a vehicle, e.g. Sat. br. I. 4. 4. 2. 2 Read ksepna instead of keepla) with the Leyden ms. and the Petersb. Dict. in kurzerer Fassung. 3 Indra, according to Sayana. ◆ A different but equally fanciful etymon of the name is given in the Jaim. br. (I. 135) by means of the rathantara the Gods went upwards to the world of heaven. These Asuras and ogres, nine nineties (in number), covered these worlds; they were Rathas by name; the Gods, having chanted the rathantara and ascended the rathantara (as vehicle), went to the world of heaven and said: "We have crossed (' overcome', atarisma) these Rathas '. Thence the name rathantara'. tence 5. Then, after it (after the rathantara) the brhat came into exis- 'This, verily, is the great (brhat) (thing): long time has it been concealed '¹ (said Prajapati) 2 and for this cause it is called. brhat. 1 Cp. § 1. 2 Indra, according to Sayana. 6. As an eldest son (to a human father) thus is the brhat to Praja pati. 7. Indeed, it has a prior brahmana ¹. 1 The brahmana-sentence in which the origin of the brhat is expounded (VII. 6. 1) is prior to that of the rathantara! Simply a pun, to come to following statement.

VII. 6. 3.-Vit. 6. 12. 8. To priority (amongst his equals) comes he who knows this. 9. 147 As to what they say: 'The brhat arose first in Prajapati, why is it, that the rathantara has come to be yoked ('applied') first' 1 ? 1 Everywhere, when these two samans are used simultaneously, it is the rathantara that takes the first place; for instance, in the dvadasaha, where the first day has the rathantara as it prathastotra, the second the brhat; in the abhiplava six-day-period (cp. Arseyakalpa I. 2, compared with I. 3). Perhaps this whole quasi-myth of the birth of the two chants is to be explained by the fact that a grammatical (dvandva) compound of the two words rathantara and brhat could not be otherwise than brhadrathantare (ep. note 1 on V. 5. 14); the precedence of the brhat is then only a precedence in appearance. 10. It is true that the brhat arose first, but the rathantara had been oreated actually prior to it ¹; therefore it comes to be yoked ('applied') first. 1 At the time when the brhat existed only in the mind of Prajapati as an embryo (§ 1), the rathantara had already come into existence (§ 3), cp. note 2 on § 3. 11. These two (brhat and rathantara) (originally) had the same finale; they did not agree to this¹ and ran a race (to decide the question as to which of them it should belong) 2. Of them the brhat by its finale has won the out-breathing, the rathantara by its finale as envelopped the in-breathing ³. 1 tasmin natisthetam, tisthate here with locative instead of the usual dative. 2 Differently the Jaim. br. (I. 298): te abrutam ajim anayor nidhanayor ayaveti. 3 The rathantara (aranyegeya II. 1. 21) on SV. I. 233=RS. VII. 32. 22, 23=S.V. II. 30, 31; nidhana: as; the brhat (aranyegeya I. 1. 27) on SV. I. 234=RS.VI. 46. 1, 2-SV. II. 159, 160; nidhana: has. Note (see note 1 end on § 9) that of the verses on which brhadrathantare are chanted, the purvarcika gives in the first place the verse for the rathantara, in the second place the verse for the brhat.-In the Nidanasutra (II. 9, beg.) the speculations of different authorities are recorded, as to what this original nidhana, in common to both samans, had been: has, or a, or sa (sakaram evaham anayoh samanam nidhanam manya iti dhanamjayyah, sa hy ubhayatra drsyata iti). 12. The brhat and rathantara, forsooth, are out- and in-breathing; for one who is suffering from a lingering disease, both should be applied ¹ ; gone forth, verily, are the out- and in-breathing of him, who suffers from a lingering disease; he (thereby) puts into him out- and in-breathing. 1 Viz. the rathantara in the midday-pavamana-laud in the brhati-part (pro. bably instead of the yaudhajaya) and the brhat as hotuh prethastotra.

148 13. THE BRAHMANA OF TWENTY FIVE CHAPTERS. As to what they say: 'Both the brhat and the rathantara have their finale outside the (verse), how is it that the brhat partakes of (chants) that have their finale outside¹, (but) the rathantara of (chants) that have their finale inside 2 (the verse)'? 1 As in the syaita (see second day of the dasaha, Arseyakalpa page 206). 2 As in the naudhasa (see first day of the dasaha, Ars. k. page 205). > 14. The brhat is the out-breathing, therefore it partakes of the (chants) that have their finale outside for outside is the outbreathing. The rathantara is the in-breathing, therefore it partakes of the (chants) that have their finale inside, for inside is the inbreathing. 15. Two big trees, forsooth, are the brhat and the rathantara; (their) nidhanas must not be put together 1. 1 nidhane na samarpye, means probably: 'their n. should be kept asunder, must not be the same '. 16. If two big trees come into collision, then there lies (on the ground) a great shattering, a great breaking down (of branches) 1. 1 And therefore the finales should be kept asunder. Similarly the Jaim. br. (I. 133): 'He should part ('differentiate') the brhat and the rathantara; if he did not part them, just as two big trees having come into collision, would break down their branches, so would these two break down the (young) children and cattle; ho va u ha is the (finale of the) brhat, o va ha (of) the rathantara; thus he differentiates the brhat from the rathantara; parted from bad lot is he who knows this.' According to the gana of the Jaiminiyas the rathantara ends: o va ha u va as, the brhat ho va ha u va has. 17. The brhat is ira-like, the rathantara ida-like; the brhat is mind, the rathantara voice; the brhat is the melody, the rathantara the verse; the brhat is the out-breathing, the rathantara the in-breathing; the brhat is yonder world (heaven, sky'), the rathantara this world ('earth'). Having meditated on these (equations) he should chant (either the brhat or the rathantara); then he chants them well equipped ¹. $ 6 1 To this brahmana refer Laty. II. 9. 7-10 and Drahy. VI. 1. 11-14 : when he is about to chant either the brhat or the rathantara, he should, before the 'yoking' of the stoma meditate upon the ten great words': 'the brhat is iralike' etc.; at the rathantara (he should recite) only the verse (Panc. br. VII. 7. 19.): ' with the greatness that is in the cows'; after the 'yoking' of the stoma he should perform this recitation of the 'great words' and the verse, according to

VII. 6. 13.-vii. 7. 5. 149 Sandilya and the verse before the 'great words'; the other view is that of Dhanamjayya VII. 7. (Rathantara and brhat, continued.) 1. The brhat and rathantara are cattle'; the (first) eight syllables of the first verse he (the Prastotr) takes as prastava²; he thereby gains the eight-hoofed cattle. 1 More especially are designated by the Jaiminiyas (Jaim. br. I. 128) the anyatodantah as belonging to the rathantara, the ubhayadantah as belonging to the brhat; from ib. I. 297 we learn that the rathantara animals, who go on bone (horn, hoof!), are adyas, but the barhata animals, who walk on flesh, are the eaters (attarah). I here remark that, although brhadrathantare should be translated: * rathantara and brhat,' I am not sure that for the author of our Brahmana this was the meaning; he rather takes it as: brhat and rathantara. ← 2 Cp. the chant of the rathantara in C. H., page 308. 2. The (first) two syllables of the last two verses he takes as prastava; the Sacrificer is a biped, he (thereby) firmly establishes the Sacrificer in the sacrifice 2, in the (possession of) cattle. 1 Cp. C. H., pages 308, 309. 2 More clear is the Jaim. br. 1. 135: 'he takes eight syllables of the first verse, two of each of the last two verses; that makes twelve syllables; of twelve months consists the year; Prajapati, sacrifice is the year, he thus reaches Prajapati : the sacrifice.' 3. Five syllables of the rathantara he (the Pratihartr) takes for his respond (pratihara); he thereby gains the fivefold cattle'. 1 Cp. note 2 on 11. 4. 2. 4. Four syllables of the brhat he takes for his respond; he thereby gains the quadruped cattle. 5. Neither the brhat nor the rathantara was sustained by one single metre; so they put two kakubhs after it; therefore the first (verse) is a brhati and the last two are kakubhs 1%; therefore they perform the brhat and the rathantara on one verse 2, for they were not sustained by one metre. on 1 For this see C. H. pages 307 and 308. 2 What is the exact meaning? one but on two verses. Both the samans being actually chanted not

6. He makes nine risings in the brhat'; nine in number are the vital airs 2; he thereby retains the vital airs. 2 r 1 r r 2 1 1 Cp. the commentary on Puspasutra VIII. 96, note 1 (satau vaja; vrtra isuv 1 14-1 a1; an ocean, forsooth, is the voice 2; he puts an ocean between, for security's sake. 1 adeyam (wrongly Sayana: manasy adhanam kartavyam dhyatavyam ity arthah) is the gerundive to adatte, cp. adi ' the first part of the udgitha' (Jaim. srs. 17 : 21. 12: rathantare prastute ho ity uktvadim adadita, brhati prastute a iti). Further cp. C H. pagos 308, 309, where the Prayogas insert this word in the place as indicated by the Brahmana. 2 samudravat sarvapadarthanam svantarnidhanad vak samudra ity ucyate, Sayana. 10. The chant must be performed (by the Udgatr) strongly; he (thereby) throws back the hurled thunderbolt. 1 11. The chant must be performed stammeringly ¹ (and) confoundedly, as it were; he (thereby) confounds the thunderbolt. 1 He must speak unintelligibly, cp, note on § 13. 2 abhilobhayata; for abhilobhayati the Petersburgh Dictionary gives the meaning anlocken', which is unsatisfactory here. 12. The chanting should be performed swiftly, for the attainment f the world of heaven ¹.

vII. 7. 6.-vii. 7. 15. 151 1 The Jaim. br. (I. 329) gives another reason for the swift chanting: Mind (* thought ') comes first, then Voice; the brhat is the mind, the rathantara is the voice. When brhat and rathantara ran their race, the brhat won the race and the rathantara was left behind. By chanting the rathantara swiftly, he makes thought and voice (or 'word') equal (i.e. coming together). Then the rathantara thinks: he who has made me equal (to the brhat), come, let the bad lot leave him swiftly' 13. The rathantara is the God-chariot; its chanting should be performed whilst he (the Udgatr) causes it to stand firmly on each syllable, for a chariot stands firmly on each wheelspoke (successively) 1. ' 1 Cp. Jaim. br. I. 135: aksarestham rathantaram karoti, tasmad arenarena rathah pratitisthann eti.-On § 11 and 13 cp. C. H. page 307 and Laty. II. 9. 12, Drahy. VI. 1. 16 : He should mentally join to each syllable loudly the stobhas (i.e. whilst thinking each syllable of the chant in its verse-form, according to the the text as handed down in the arcika, he should utter it audibly with stobhas), which are to begin with bh and to end on a (in so doing the Udgatr chants in accordance with the prescript given in the Brahmana, VII. 7. 11), in which no duplication of consonants is to take place (where, for instance, the arcika has maghavann wa, the chant should not be: bhabhabha b h bh a bha but bhabhabha b h abha, and hereby the Udgatr, according to Dhanvin, at least, executes the prescript of the Brahmana in § 13), of which stobhas the last has the dvitiya (the third ') musical tone, the others the second (prathama)'. These prescripts of the Sutra. karas do not agree entirely with the praxis, see the gana as figured in C. H. page 308, 309 according to the Prayoga's. 14. He, forsooth, who mounts the God-chariot without taking hold (of it), falls down from it: the God-chariot (viz. the rathantara) is the earth; he should perform the udgitha whilst taking hold of the earth, then he does not fall down from it ¹. 1 See note 1 on § 15. 15. The rathantara, forsooth, is liable to destroy the eye-sight of the Udgat; whilst its prastava is being chanted, he should shut his eyes and open them at (the words): 'seeing the light'; (in this manner) he is not deprived of his eye-sight. 1 On § 14 and 15 cp. C. H. 'page 307 and Laty. II. 9. 11, 14, Drahy. VI. 1. 15-16 (last words) and 17: 'Whilst the prastava of the rathantara is being performed, he (the Udgatr) should everywhere (i.e. at each stotriya-verse) shut his eyes and open them everywhere at the beginning of the last four syllables (of the udgitha) before the respond (the pratihara)'. The Sutrakaras add the word everywhere', because strictly speaking the Brahmana refers only to the first stotriya-verse.--The fact that the Prayogas, used in constituting the chanting of

the rathantara in C. H. I.c., allow the chanting of the syllables svar drsam etc. not with stobha (and cp. C. H. page XIV, note 4) rests on Drahyayana (VI. 1, 16), who takes the words prak pratiharac caturaksaram sietva to the prescript for the chanting on stobha, whereas Latyayana takes them to the following sentence, tat sarvatra prativikseta. Drahy. here agrees with the Jaiminiyas (br. I. 330, 331): 'sixteen syllables (of the udgitha) he chants with the stobha (chanting instead of adugdha iva dhenavah; abhubha bhibhabhebhava, cp. Jaim. br. I. 330), (the words) svar drsam he chants distinctly (as they are handed down, not replacing the consonants by bh). 16. The rathantara, forsooth, is the procreative force; if he says: of the still-standing 11, the voice of the Udgatr becomes standing still ('restrained') 2, and it (the rathantara) destroys his procreative force; (instead of it) of the not standing still' 3 is to be said, or, of the wellstanding; (then) the voice of the Udgatr becomes not still-standing (i.e. will not be restrained during the chanting) and it (the rathantara) does not destroy his procreative force. 1 The last word of the first verse: isanam indra ta s thugah. 2 The rathantara is also the voice (of Prajapati, VII. 6. 3). 3 asthurah, susthurah (!). 17. The pisthas were created; by means of them the Gods went to the world of heaven; of these (prsthas) the rathantara on account of its greatness could not fly upwards ¹. 1 nasaknod utpatat, saknoti with participle, an unknown construction. Sayana interprets: utpatad api svargam gantum nasaknot. 18. Vasistha having distributed its 'greatnesses' 1, chanted it and went to the world of heaven. He (the Udgatr) should chant (the rathantara) after putting together these ('greatnesses') 2 1 As indicated in the mantra in § 19. By doing so the greatness (heaviness) of the rathantara had got such a nature that it could go up and convey Vasistha to the world of heaven (?). 2 He should, before chanting, recite the mantra of § 19, see C. H. page 307 and the Sutrakaras as cited under VII. 6. 17 (note 1). 19. With thy greatness that is in the cows, that is in the water, or that is in the chariot, in the thunder, with thy greatness that is in the fire, therewith be thou united, o Rathantara; be full of riches for us ''! 1 Cp. Jaim. srs 17: 21. 3 sqq.

VII. 7. 16.-vii. 8. 3. VII. 8. 153 (The second prstha-laud, the vamadevya.) 1. Unto the Waters came the seasonal period (the period favourable for conception). Vayu (the Wind) moved over their back (*surface'). Therefrom came into existence a beautiful (thing). This was espied by Mitra and Varuna¹; they said: A beautiful (vamam) (thing), verily, has here been born in the Gods' (devesu) 2. Therefore there is the vamadevya (chant). 1 Litt. in this (part of the water) Mitra and Varuna saw themselves reflected'. The second prathastotra runs parallel with the sastra of the Maitravaruna-priest. 2 i.e. in the Waters', instead of devigu, etymologiae causa ! 2. Laying hold of it they said: 'We two have found this; do ye not dispute us it' 1. About it Prajapati said: 'Out of me, forsooth, it has been born 2, to me it belongs'. About it Agni said: ' After me. forsooth, it has been born ³, to me it belongs'. About it Indra said: • Belonging to the most excellent is this, I am the most excellent of you all, to me it belongs'. About it the All-gods said: 'Us for deity has that which has come into existence out of the Waters, to us it belongs '. Then Prajapati said about it: 'Let it belong to all of us, let us all live upon it. They deposited it in the prsthas. Pertaining to all the deities, forsooth, in the vamadevya. 1 mabhyartidhvam, according to Bohtlingk (in the Dict. of Petersburgh in kurzerer Fasung), is incorrect for mabhyarthidhvam (from abhyarthayati). But it may be the injunctive of the is-aorist to abhyrtiyate, Dutch: 'be - twisten'. 2 Sat. br. VI. 1. 3. 1 : tasmat (prajapateh)....... apo 'srjyanta, 3 Sayana quotes a sruti agner apah. 3. In that it is (chanted) on verses containing (the word) ka¹, thereby it belongs to Prajapati, for Prajapati is Ka; in that it is (chanted) on unexpressed' verses 2, thereby it belongs to Prajapati, for Prajapati is 'unexpressed' ³. 8 1 The vamadevya (gramegeya V. 1. 25) is composed on SV. I. 169 (beginning: kaya nas citra a bhuvat)=RS. IV. 31. 1-3-SV. II, 32-34. 2 Cp. VII. 1. 8. Prajapati is unexpressed or anirukta, because he is called not by his name, but designated as ka. ³§§ 3-7 give the quasi-facts, on which the quasi-myth of § 1 and 2 is based.

154 THE BRAHMANa of twenTY FIVE CHAPTERS. 4. In that it is (chanted) on verses in gayatri metre, thereby it belongs to Agni; for Agni has the gayatri as his metre.¹ 1 Cp. Sat. br. V. 2. 1. 5: gayatram agnes chandah. 1 5. In that they deposited it in the prsthas 1, thereby it belongs to Indra, for all the prsthas belong exclusively to Indra 2. 1 Cp. § 2, end. 2 The four niskevalyasastras run parallel to the prathastotras, op. Sacred Books of the East, Vol XXVI, page 325, note 2. 6. In that the Maitravaruna recites his sastra after (the vamadevya-stotra)¹, thereby it belongs to Mitra-Varuna. 1 Cp. C. H. § 204 with § 203. 7. In that the last quarter (of the last verse) has a plurality of deities ¹, thereby it belongs to the All-gods. In all forms 2 he (thereby) gains a firm support. 1 Because of the word satam in the untranslatable satam bhavasy utaye. 2 'In all forms' (rupesu), kinds of domestic animals (?). 8. Prajapati forsooth, saw this womb, the gayatri (metre)¹ He thought Out of this womb I will create the prsthas'. 1 The vamadevya is chanted on gayatri-verses. 9. He created the rat hantara; after it the chariot's noise was created ¹. 1 And for this cause (Laty. III. 5. 1, Drahy. IX. 1. 1) at the prothya-sadaha (i.e. the first six days of the dasaratra, see Arseyakalpa, Anhang (page 205) 4. a- 4.f) during the chanting of the rathantara a chariot should ride along. Jaim. br. I. 143: tasmad rathantarasya stotre rathaghosam kurvanti. 10 a. He created the brhat; after it the noise of the thunder was created ¹. 1 And for this cause at the prsthyasadaha during the chanting of the brhat a drum should be beaten, Laty. 1.c. 2, Drahy. 1.c. 2, Jaim. br. I. 143 and III. 118: tasmad brhata stotre dundubhim udvadayanti. 10 b. He created the vairu pa; after it the noise of the wind was created 1. 1 And for this cause at the prsthyasadaha, during the chanting of the vairupa, wind should be made by the Chanters by shaking their garments, Laty. 1.c. 3, Drahy. 1.c. 3. Jaim. br. I. 143 and 118; tasmad vairupasya stotre gramaghosam kurvanti.

VII. 8. 4.-VII. 9. 3. 155 11. He created the vairaja; after it the noise of fire created 1. was 1 And for this cause at the prsthyasadaha, during the chanting of the vairaja, fire should be churned with the churning sticks, Laty. 1.c. 5, Drahy. 1.c. 5; op. XII. 10. 12-19. Jaim. br. 1.c. tasmad vairajasya stotre 'gnim manthanti. 12. He created the s a kvari-verses ; after it the noise of the waters was created 2. 1 Or mahanamni-verses. 2 And for this cause at the prsthyasadaha, during this chant, water is put near and has to be shaken, Laty. l.c. 13 sqq., Drahy. I.c. 14 sqq.; cp. XIII. 4. 8. Jaim. br. 1.c.: tasmac chukvarasya stotre 'pa upanidhaya stuvanti. verses; after it the noise of the 13. He created the revati revati -verses cows was created ¹. 1 And for this cause at the prsthyasadaha, during the chant of the varavantiya-saman, some cows and calves, having been separated from each other, should be caused to bellow, Laty. III. 6. 1 sqq., Drahy. IX. 2. 1 sqq. Jaim. br. 1.c. tasmad raivatasya stotre pasughonam kurvanti: vatsan matrbhih samvasayanti; op. note 1 on XIII. 10. 9. 14. Together with these noises, forsooth, these (the prsthas) were created. 1 15. In him forsooth, who knows this, all noises, all auspicious voices sound. sons. 1 This means 'in his neighbourhood'. VII. 9. (The vam adevya, continued.) 1. The vamadevya, forsooth, is the father, the prsthas are the 2. Out of this womb, verily, they were created 1. 1 Cp. VII. 8.8. 3. Therefore, they chant the vamadevya after the laud of the prsthas¹, for appeasement 2. 1 1 When the vamadevya is not used for the prathastotra, then it must be applied later; for instance, on the tenth day, cp. Arseyakalpa, page 217. 2 Probably an appeasement is required, because of the prathasamans five, at east, belong to the aranyegeyagana: the collection of chants that, because of

their greater sacredness or tabu-quality, are studied in the forest, outside the community. For the unauspicious (or unappeased') (deeds) achieved by the sons are appeased by the father ¹. 1 Cp. § 1. 5. The vamadevya, forsooth, is this middle world (the antariksa), out of it these two worlds, viz. the brhat and the rathantara, were created apart ¹. 1 The brhat is heaven or sky, the vamadevya is the intermediate region, the atmosphere, the rathantara is the earth: a very common equation e.g. in the in vocation of the ida (see for instance Sat. br. I. 8. 1. 19). Here, heaven and earth are said to have been created out of the intermediate region, whilst elsewhere it is set forth that at one time heaven and earth were together. 6. By the chanting of the rathantara those domestic animals, which belong to the rathantara¹, lean on the intermediate region 2; by the chanting of the brhat those animals, which belong to the brhat, lean on the intermediate region. These animals are gained by the chanting of the vamadevya ³. 1 Read rathantarah instead of rathantarah. -On rathantara and barhata animals cp. note 1 on VII. 7. 1, and below, X. 2. 5 (goat, horse) and 6 (cow, sheep); see also IV. 8. 13 and Laty. II. 10. 1, Drahy. VI. 2. 1, where it is ordained that before the chanting of the vamadevya the Udgatr should think on cows and horses, goat and sheep, rice and barley', cp. Jaim. srs. 17: 22. 1. ' 2 upasrayanti 'lean on', 'dwell in '. antariksayatana hi prajah, IV. 8. 13. 3 Which is equal to antariksa. 7. He should sit without moving whilst chanting the vamadevya, in order that the domestic animals may turn to him ¹. 1 Read upavrttyai.-Cp. Jaim. br. I. 138: he should chant it without moving (anejan), in order that the cattle may not get lost'. In the Jaim. br. the vaman vasu is directly the cattle, 8. To him turn the domestic animals, who knows this. 9. The vamadevya is the intermediate region, he must chant (is) without shaking (his limbs), for unshaken is the intermediate region. The vamadevya is cattle; he must chant (it) without hurting ¹, in order not to hurt the cattle. 1 See § 11 first half.

VII. 9. 4.-VII. 9. 18. 10. How (then) is the vamadevya to be chanted' they ask. 157 11. In the same manner as a she-cat¹ takes her young ones between her teeth without hurting them by biting, (or) in the same manner as the wind blows gently over the water. 1 ankuli according to Sayana is marjari. It could equally well be some other animal belonging to the feles. 12. Independently¹ the vamadevya must be chanted. 1 Properly, having a yoke of its own'; cp. § 15. 13. He who chants the vamadevya independently, becomes independent. 14. Another goes his way¹, but he does not go another's way. 1 'follows him, is dependent on him '.--For § 12 and 14 cp Jaim. br. 144: tat svadhur geyam, noccair iva na nicair iva; yad uccair gayec, chreyaso bhratrvyasya niyanena yayad; yan nicair gayet, papiyaso bhratrvyasya niyanena yayat; and ib. 1. 333: no hanyasyanuvartma geyam; isvaro hopajivi bhavitor yo 'nyasyanuvartma gayati : svadhur eva geyam. 15. It must not be chanted conformably to the brhat and the rathantara¹; on its own support it must be chanted; he (thereby) comes into the possession of a support. 1 This means probably that the special prescripts for the chant of the brhat and rathantara (such as are given VII. 7. 1) must not be applied at the chanting of the vamadevya. 16. The Gods divided the domestic animals among themselves; they excluded Rudra¹; he fixed his looks on them during the laud of the vamadevya ². 1 Whilst in the Sat. br. (e.g. XII. 7. 3. 20: rudrah pasunam iste) Rudra is ruler of the cattle, he gains, according to other texts (e.g. Kath. XXV. 1: 102. 16) this reign only for a few days in the year. 2 The vamadevya is cattle (IV. 8. 15); at the moment of its chanting Rudra hopes to obtain it, as he was excluded by the Gods from obtaining a share in them. 17. It must be chanted unexpressedly ' 1. 1 Or 'unuttered,' cp. VII. 1. 8, note 1. But the praxis takes no heed of this. ፡ 18. By uttering' he delivers the cattle to Rudra. Rudra during this year is apt to slay the cattle ¹.

1 But if one does not utter the words of the chant, Rudra will be prevented from hearing it and he will not know that here was an occasion to obtain the cattle! 19. One who is desirous of (obtaining) cattle should chant the vamadevya on the verses' containing (the words) 'ye prosperous ones'. 1 SV. I. 163 (revatir na sadhamade)=RS. I. 30. 13-15=SV. II. 434-436. 20. The prosperous ones are the Waters; the vamadevya is cattle; out of the Waters he (thereby) produces cattle for him. 21. The contrary of ruin in cattle (it is true, thereby) falls to his share, but his young ones shrink, as it were ¹. 1 militeva (also XVIII. 4. 4), cp. Sat. br. VII. 1. 2. 7: yac caksur adhyaseta sa candramas, tasmat sa militataro, 'nnam hi tasmad asravat. According to Sayana, because in a country where abundance of water is found, the young ones cannot thrive (!). The Jaim. br. I. 140 has simply: pasuman bhavatisvaro ha tv aprajatir phavitoh, kavatibhyo hy eti prajapatyabhyah, but Bharadvaja saw a way out of this dilemma: he chanted the saman on three verses, the first and the last kavati, the middle revati: SV. II. 32, 434, 34. 22. For he deviates from the verses containing (the word) ka¹ (i.e.) from Prajapati ². 1 Cp. VII. 8. 3. 2 And this is another reason why he should not chant the saman on the revati-verses. Sayana seems to misunderstand this passage. VII. 10. (The third prstha-laud, the naudhasa and s y a ita. ) 1. These two words (sky and earth) (once upon a time) were together (i.e. not separated by the intermediate region); when they went asunder they said: 'Let us contract a marriage on equal terms' 1. 1 Cp. Ait. br. IV. 27. 5: imau vai lokau sahastam.. tau samyantav etam devavivaham vyavahetam. 2. Of these (worlds) this (world) (i.e. the earth) gave the syaita ¹ to yonder (world) (i.e. to heaven), yonder (world) to this (world) the naudhasa 2.

VII. 9. 19.-VII. 10. 6. 159 1 Gramegeyagana VI. 1. 62 on SV. I. 235=RS. VIII. 49. 1-2=SV. II. 161-162. 2 Gramegeya VI I. 37 on SV. I. 236=RS. VIII. 88. 1-2=SV. II. 35-36. 3. Thereupon the finales of both of them changed places¹; the naudhasa and syaita, forsooth, are a God-marriage. 1 viparikramati means, according to the Dict. of Petersburgh, 'rings herum schreiten'. That the meaning is to change places', is apparent from Ap. ars. VIII. 15. 1 (see Rudradatta a. h. 1.) and Baudh. ars. V. 13 : 147, 3. 2 On § 1-3 cp. Jaim. br. I. 145: These worlds, being together, went asunder (in discordance ?); nothing whatever reached them (i.e. nothing from earth reached heaven and vice versa): Gods and men suffered hunger, for the Gods live upon what is given from here (i.e. the offerings) and men upon what is given from there (rain, and in consequence: food). Then rathantara and brhat (i.e. earth and heaven) said: 'Let us interchange those of our manifestations' (lit. 'let us contract a marriage with those of our m.) that are dear to us.' Now, originally, the syaita was the manifestation dear to the rathantara, the naudhasa to the brhat. These they interchanged (lit. 'with these they contracted a marriage '). Yonder world from thence gave the usas to this world as marriage gift, and this world from here, the fog to yonder world; yonder world from thence gave the rain to this world as marriage gift, and this world from here, the divine service to yonder world.... These manifestations (eyaita and naudhasa) said: 'Let us then interchange our nidhanas' (litt. : ⚫ let us contract a marriage with our n.'). Now, originally, the syaita had a verse-quarter as nidhana, the naudhasa (the word) vasu". These they interchanged. Since then they dwell in each other's house, formerly they had dwelled each in his own house.' So far the Jaim. br. We note that the nidhana of the syaita consists of the word vasu and of the naudhasa mahe (of the last pada of SV. I. 236 ?). Cp. also C. H. § 207. " 4. He who knows this, lights on a better marriage. 5. These worlds keep arranging themselves from hence upwards and (on the other side) from above downwards ¹. 1 The regular succession is either earth or rathantara, intermediate region or vamadevya, sky or naudhasa, or: sky or brhat, intermediate region or vamadevya, earth or eyaita. 6. In that they chant the rathantara (earth), he yokes by means of it this world (the earth); by means of the vamadevya, the intermediate region; by means of the naudhasa ¹, yonder world (heaven). In that they chant the brhat, he yokes by means of it yonder world; by means of the vamadevya, the intermediate region; by means of the syaita², this (world). 1 Which, according to § 2 belongs to the earth. 2 Which (l.c.) belongs to the heaven.

7. He sits by (well-) arranged worlds, who knows this ¹. 1 For one who knows this, the worlds are well arranged. 8. The naudhasa and the syaita are (the same as) the rathantara and the brhat. In that they use the naudhasa correspondingly to the rathantara, they thereby use the brhat correspondingly to it, for the brhat cryptically is the naudhasa. In that they use the syaita correspondingly to the brhat, they thereby use the rathantara correspondingly to it, for the syaita cryptically is the rathnatara ¹. 1 The naudhasa originally belonged to the heaven (brhat), the Syaita to the earth (rathantara), cp. § 2. 9. He who knows this, chants both the rathantara and the brhat ¹. 1 Although chanting the rathantara alone, he chants, in applying at the third prathalaud the naudhasa, the brhat also, and although chanting the brhat only at the first prsthalaud, he chants, in applying at the third prsthalaud the syaita, the rathantara also. 10. The Gods divided amongst themselves the sacred lore (the brahman); unto them came Nodhas, the son of Kaksivat; they said: 'A seer has come unto us; let us give him the sacred lore.' They granted him this saman; in that they granted (it) to Nodhas, therefore it is called the naudhasa ('the saman of Nodhas'). 11. The naudhasa is sacred lore. One who is desirous of spiritual lustre should in chanting use this (saman): he comes in the possession of spiritual lustre ¹. 1 On § 10 and 11 cp. Jaim. br. I. 147: 'Now the naudhasa. Nodhas, the son of Kaksivat, went about a long time finding no firm support. He desired: 'May I find a firm support'. He came unto the Gods, who were dividing the sacred lore, and said: 'I am a seer, a maker of mantras; a long time I have gone about find. ing no firm support. Give ye to me that by which I may get a firm support'. To him they gavo the essence of sacred lore: that became the naudhasa. He used it in chanting and then he got a firm support '. 12. Now (as to) the syaita. 13. Prajapati created the domestic animals; these, being created, went forth from him; he uttered over them this saman, they gave way to him and submitted (eyetya abhavan) 1; because they submitted, therefore it is the syaita.

VII. 10. 7.-VIII. 1. 1. 161 1 It appears from TS. V. 5. 8. 1-2 and TBr. I. 1. 8. 3 (eyeti kurute, syeti akurvata) that instead of syetya abhavan must be restored either syetyabhavan or syeti abhavan. The Jaim. br. (I. 148) has correctly: 80 'bravic chyeti va iman pasun akrsiti and syetikrta enam pasava upatisthante. Sayana on our passage is worthless. 14. The syaita is cattle; one who is desirous of (obtaining) cattle should in chanting use this (saman); he comes into the possession of cattle. 15. Prajapati created the creatures; these, being created, languished; he sniffed at them by means of the syaita with humma¹; thereupon they throve. The young ones thrive during that year, in which he chants, knowing this, the syaita. 1 The last words of the udgitha of this saman. 16. The Udgatr, forsooth, is the Sacrificer's creator (Prajapati). In that he makes him (i.e. hum) by means of the syaita, he becomes Prajapati and sniffs at the young ones (thus causing them to thrive). 17. It has (the word) 'good' (vasu) for its finale¹; cattle is a good (thing); he finds a firm support amongst cattle. 3 h 1 va '234 su, cp. Calcutta ed. of SV., Vol. I, pago 484.