Chapter 8 - The Jyotistoma, Ukthya and Atiratra (continued)

1. (Variations of the third prsthalaud.) ' 1. At (a sacrifice) fit for charming (or bewitching') he should apply as the Brahman's chant' the (saman) with (the word) vasat as finale and at the midday-pavamana (-laud) the (saman) with (the word) abhi (' on to ') as finale ². 1 As third prathalaud, corresponding with the sastra of the Brahman, i.e. the Brahmanacchamsin. 2 The printed text cannot be right; so as it stands it implies that the askara - nidhana kanva (gram. V 11. 1. 28 on SV. 1. 261=RS. VIII. 33. 1-3.=SV. II. 214- 216) is chanted as the Brahman's saman, changing its finale ag into vasat, and the same saman with abhi instead of us at the brhati part of the midday pavamana laud. But in the first place, for the brahmasaman a barhata pragatha is required, whilst SV. II. 214-216 are tristubhs, and, secondly, neither Sayana nor the 11

Ksudrasutra agree with the literal sense of the printed text of our Brahmana. Sa- `yana is silent about the words arkaranidhanam kanvam, and the Ksudrasutra (I, 4, No. 16) runs : 'for one who bewitches, the opening (tristich of the out-of-doorslaud) and the ajyalauds are those of the syena (see Arseyakalpa III. 7); on being clarified by the stream' are chanted the raurava, the abhinidhana kanva (gram. VII. 1. 30), and the dairghasravasa (or instead of tho last the udvat praja. patya), each on one verse, (and these three together replace here the raurava on all three of the normal agnistoma); then, on the three (same verses), the yau. dhajaya; the vasatkaranidhana (gram. VII. 1. 19, on SV. I. 256=RS. VIII. 3. 7-8=SV. II. 923-424) is the Brahman's chant; the kaleya (fourth prathalaud) on: ' this Brahman, the regular one' (SV. I. 438=SV. II. 1118-1120; this tristich is not found in the Rksamhita, but must once have belonged to it, as not only the Ait. br. but also the Ait. ar. quote it by its pratika, see Bloomfield's Concordance, in voce). The vistutis are the ones pertaining to abhicara (ep. Sadv. br. III. 2-6). The rest is similar (to the normal) jyotistoma).' For all these reasons it seems almost certain that the first two words askaranidhanam kanvam are interpolated, and the cause of the interpolation is apparent: the second khanda of Chapter VIII begins with precisely these same two words. - On the vasatkaranidhana cp. note 1 on IX. 6. 1. 2. The word vasat, forsooth, is the God-arrow, and with (the word) 'on' (i.e. 'on to him': abhi) Indra hurled his thunderbolt towards Vrtra; having hurled with (the word) 'on' a thunderbolt (i.e. a deadly weapon) towards him (towards his enemy whom he wishes to damage by charm), he shoots him with the God-arrow: the word vasat. 3. For one who is desirous of (obtaining) cattle he should perform on the verses: 'Verily thou shalt extol' the traikakubha² as Brahman's chant. 1 1 SV. I. 247=RS. I. 84, 19-20=SV. II. 1073-1074. 2 5 2 Gramegeya X. 2. 12-14 are recorded three traikakubha samans, of which the last two have '234 mdrah for nidhana (ep. § 7). From the hagana it appears that the last of the two is meant. ' 4. Indra gave the Yatis over to the hyaenas. Three of them were left over: Rayovaja, Brhadgiri and Prthurasmi. These said: Who will support (or 'bear') us (as his) sons?' 'I' answered Indra and he, the three-humped ¹, having put (them) on (his back), went along. He saw this chant. Because the three-humped (trikakubh), had seen it, therefore it is the traikakubha ². 1 Is Indra thought of here as a three-humped b u 1 1 ? 8 For this myth op. below XIII. 4. 17 and Jaim. br. I. 18. 5 in Journal of the

VIII. 1. 2.-Viii, 1. 10. 163 Amer. Or. Soc. Vol. XIX, page 125, where other references are given; add to these Maitr. Samh. III, 9. 3: 116. 15. 5. He again resorted to himself' with (the verse): 'Verily thou, a God, shalt extol the mortal, o most mighty! Than thee there is no other giver of joy, o Lord! Unto three, o Indra, do I speak this word.' By this pragatha and 2 this saman he created a thousand head of cattle and gave them over to them. They got a firm support. 1.e. he addressed himself' (?). 2 The word ca, in the text erroneously given in the words of the verse, should be put before samna. 6. He who is desirous of (obtaining) cattle, and he who is desirous of (finding) a firm support, should chant this saman on this pragatha; he gains a thousand head of cattle and gets a firm support 7. Of triple strength and triple courage, verily, is this chant: to Indra are addressed the verses, to Indra is addressed the saman, and (the word) 'indra' is its finale; he gets a firm support in strength and courage ¹. 1 To § 3-7 refers the Ksudrasutra (I. 4, No. 17) saying: 'The (ritual) for one who is desirous of (obtaining) cattle has been arranged'; the author refers to his own text I. 2, No. 14, see above, note 2 on VI. 10. 19. 1 8. He should take the traisoka ¹ as the Brahman's saman for one who is suffering from a lingering disease. . 1 Gramegoya IX. 2. 35 composed on SV. I. 370=RS. VIII. 97. 10, 1 1 1 2 =SV. II. 280, 282 281 (with various readings). . 9. These worlds (earth, intermediate region, sky) were (once) joined¹; they languished. Indra by means of this chant removed their languor; in that he removed (it) from the three (tri) languishing (socatam) (worlds), therefore it is the traisoka. 1 This is clearer in the Jaim. br., ep. note 1 on § 10. 10. The (languor) he removed from this world (from the earth), entered the harlot; that which (he removed) from the intermediate region, (entered) the impotent (the eunuch); that which (he removed) from yonder (world), (entered) the wicked (or 'sinful') man ¹. 1 From the Jaim. br. (III. 72) I cite, correcting the obvious blunders, the following passage; ime vai lokah saha santas tredha vyayams; te 'bocan yathaikas tredhavicchinnah soced evam; te deva abruvann: eteram trayanam lokanam tisrah

suco 'pahanameti; ta etat samapasyams, tenastuvata, tenaisam trayanam lokanam tisrah suco 'paghnan... tah klibe kitava pumscalyam nyavesayams; tasmad ete suca viddhah socante; na hasyaita (read: aita, sc. sucah) ajayante ya evam veda ; tasmad u haitesam nopabruvita, nec chuco 'pabhaja iti. 11. Therefore no thought of these ought to be cherished; to him who cherishes a thought of these he¹ assigns a part of the languor. 1 Either the guilty or the harlot or the eunuch, cp. the last words of the passage cited from Jaim. br. under note 1 on § 10. 12. Hurt by languor, verily, is he, who suffers from a lingering disease; in that the Brahman's chant is the traisoka, he removes from him the languor. 13. They undertake ('they chant') as finale (the word) diva; diva (by day'), forsooth, is the dawning; he makes it dawn upon him 1. 1 So that he will see the following dawnings or days -To § 8-13 refers the KHudrasutra (I. 4, No. 18): 'The (ritual) for one who suffers from a lingering disease has been arranged', viz. under No. 8 of this same text, see note 2 on VI. 10. 5. VIII. 2. (Variations of the third prstha-laud, continued.) 1. The kanva (saman) of which (the syllable) as is the finale ¹, he should take as the Brahman's chant for one who desires firm support. 1 Gramegeya VII. 1. 28 on SV. I. 261=RS. VIII. 33. 1-3=SV. II. 214-216. he 2. Kanva¹ saw this saman (as it was) without (any) finale; did not get (by its chanting) a firm support; he heard a cat 2 sneezing (and making the noise) as; he saw this as finale and thereupon (by chanting the chant with this finale) he got a firm support; (the reason) why this is the saman, is for getting a firm support ³. 1 In Jaim. br. III. 46 it is Kanva the son of Nrsad (narsada). 2 Jaim. br. has preadamoa (as against vrsadamsa of Panc. br.), which may be the better reading (gana utsadi). 3 To § 1-2 refers the Ksudrasutra (I. 4, No. 19). For one who is anxious to obtain a firm support, the Brahman's chant is the kanva (saman) with as as finale, (chanted) on the verses of the naudhasa (the saman gram. VII. 1. 28 chanted on the words of gram. VI. 1. 37, i.e. SV. I. 236=RS. VIII. 88. 1-2=SV. II. 35-36). The rest is similar to the (normal) jyotistoma '.

VIII. 1. 11.-VIII. 2. 8. 165 3. The janitra of Vasistha' he should take as the Brahman's chant for one who desires to obtain offspring. 1 Cp. note 1 on VI. 9. 5; the vague statement of the Brahmana (there are more than one samans of this name) is specified by the sutra. 4. Vasistha, whose son had been slain ¹, saw this saman; he got (by chanting it) children and his cattle was multiplied; (the reason) why it is this saman, is for procreation 2 1 Cp. note 1 on IV. 7. 3. 2 To § 3-4 refers the Ksudrasutra (I. 4, No. 20): The (ritual) for one who is desirous of offspring has been arranged', viz. in No. 2 of this toxt, cp. note 1 on VI. 9. 5. 5. The atharvana (saman) 1 he should take as the Brahman's chant for one who desires (to reach) the world 2. 1 Aranyegeya I. 1. 23 (on SV. I. 33) chanted on the naudhasa-verses. 2 From § 6 appears that the world of immortality is meant. 6. The Atharvans, forsooth, desiring to reach the world, saw this saman; they by means of it saw the world of immortality. (The reason) why it is this saman, is for getting to know (the way to) the world of heaven ¹. 1 To § 5 and 6 refers the Ksudrasutra (I. 4, No. 21): 'For one who is desirous of (roaching) the world, the Brahman's chant is the atharvana (-saman), chanted on the verses of the maudhasa; the vistutis are the ascending ones (see the Brahmana II. 1. 1); the rest is similar to the (normal) jyotistoma.-In this manner, if its prstha (i.e. the hotuh prstha, the first prsthalaud) is chanted on the rathantara, but if it is chanted on the brhat, the introductory (tristich) must contain (the word) 'foremost' (cp. note 1 on VI. 9. 10), the njya-(laud)s are barhata (cp. note 4 on page 33 of the edition of Argeyakalpa), the prstha is the brhat (saman); the aatharvana (saman), (chanted) on the verses of the syaita, is the Brahman's chant, and on the usnih (part) the srudhya is chanted (instead of the pauskala, see Anhang on Arseyakalpa, page 203). The vistutis are the ascending ones. The rest is similar to the jyotistoma'. 7. The abhivarta ¹ he should take as the Brahman's chant for one who has a rival. 1 Cp IV. 3. 1 and XV. 10. 3 and 11. 8. By means of the abhivarta the Gods turned themselves against (abhyavartanta) the Asuras. (The reason) why the Brahman's chant is the abhivarta, is for turning against the rival ¹.

1 Cp. IV. 3. 2.-To § 7 and 8 refers the Knudrasutra (I. 4, No. 22): 'For onewho has a rival, the Brahman's chant is the abhivarta, the vietutis are those that are used for abhicara (cp. Sadv. br. III. 2-6) The rest is similar to the (normal) jyotistoma'. 9. The srayantiya' he should take as the Brahman's chant for one who goes amiss² in a sacrifice. 1 Gramegeya VIII. 2. 5 on SV. I. 267=RS. VIII. 99. 3-4 (with varr.)=SV. II. 669-670. 2 Cp. XVII. 8. 2 as compared with ib. 4. 10. Prajapati longed to possess his own daughter Usas. He lost his seed; this was poured down on the earth; he strengthened 2 it, (thinking): 'may this of me not be spoiled'³; he set it right and made the cattle out of it. 1 For parallels cp. Levi, Le sacrifice dans les Brahmanas page 20, 21. 2 srinati is the counterpart of vibhrameate (see XVI. 12. 4). 3 Cp. Ait. br. III. 33. 6: te deva abruvan medam prajapate reto dusad iti; because they had said ma dusat, the madusa came into existence which cryptically is equal to manusa". The recension of the myth in our Brahmana is apparently abbreviated and by consequence only partly comprehensible. The fuller recension has been handed down in the Jaim. br. III. 261, 262, but the text is rather corrupt. I give the translation so far as I understand the passage 'The Gods, undertaking a sacrificial session, said: 'what of us is horrid, that we will produce, in order not to undertake the sacrifice with (that) horrid (part).' What was horrid of them that they produced, and cleansing it, put it down on (between) two earthen plates, thereupon they undertook the sacrificial session. Therefrom (from the two plates, the saravas) that akhala ('not-wicked', euphemistic as siva) God was born. Because he was born out of the plates, that is his name (probably the author has in mind the name Sarva-Rudra). It was Agni that here was born (Agni sometimes is identified with Rudra). He who knows this, is not hurt by this (God). He (Agni-Rudra) said to the Gods: For what have ye caused me to come into existence'? 'For carefully watching', they replied, ⚫ thou shalt kill him who may transgress'. Now, Prajapati had set his mind on his own daughter, the Dawn. He (Rudra) put an arrow on his bow and shot at him. Thereupon, he (Prajapati) put on the form of an antelope and went upward. This (arrow shot by Rudra) is (the constellation called) 'the three-knotted arrow"........ After he (Prajapati) was shot, his seed fell down and came down on the Himavat. It became manusa (probably a lake, the forerunner of the classical manasam saras). About this the Gods and the Seers, coming together, said: 'Let not this be spoiled'. Because they had said let it not be spoiled' (ma idam dusat), hence it was madunam, and madusam is called manusam ('man'). They set it to flames on all sides by Agni, the Maruts blew on it, by means of

VIII. 2. 9.-VIII. 3. 1. 167 the srayantiya they strengthened it (asrinan): hence the name srayantiya. Thereupon cattle was created (out of the strengthened seed of Prajapati); those (animals) that first came into existence are the red ones; those that came into existence out of the (seed) when it was being heated, are the reddish brown ones; those that came into existence out of the (seed) when it was heated, are the brown ones; those that came into existence out of the (seed), when it was being burned, are the mules and the black (animals), and therefore, this same fire burns the white as well as the black (animal); out of the sparks were created the goats and the antelopes; out of the coals (amjara) the Angirases, out of the ashes mixed with coals were created the three vasas: the one dedicated to Mitra and Varuna, the one dedicated to Brhaspati and the one dedicated to the All-Gods; out of the ashes the donkey was created; therefore he is (in colour) the counterpart of the ashes; therefore he lives being ridden'. The Sanskrit text may be consulted in: 'Das Jaiminiya brahmana in Auswahl' No. 207. 11. (The reason) why the Brahman's chant is the srayantIya, is that it (this saman) strengthens him and sets him right ¹. 1 1 To § 9-11 refers the Ksudrasutra (I. 4, No. 23): For one who is deprived of a sacrifice, the Brahman's chant is the srayantiya; the kaleya (gramegeya VI. 2. 7) is (chanted) on the verses (SV. I. 408=RS. VIII. 21. 1. 2=SV. II. 58-59) : 'We (call) thee, o incomparable one!' The rest is similar to the (normal) jyotistoma'. VIII. 3. (The fourth prstha-laud, the kaleya.) 1. The Gods and the Asuras contended for (the possession of) these worlds. The Gods resorted to Prajapati; he gave them this saman, (saying): 'By means of this saman ye will be able to drive them away. By it they drove them away from these worlds. Because they drove them away (akalayanta), therefore it is (called) the kaleya 2. 1 Read (kalayisyadhva iti instead of kalayispaddham iti. 2 See noto 1 on VIII. 2. 11.--Besides other myths to explain the name kaleya, the Jaim. br. (I. 154, 155) has the following interesting quasi-myth: 'Gods, Fathers and Men were on one side, Asuras, Ogres and Pisacas on the other side. These contended about (the possession of) these worlds. Now, the Kali-Gandharvas moved in the middle, not heeding either party. The Gods, the Fathers and the Men overcame the Asuras, Ogres and Pisacas, and they divided these worlds among themselves. The Gods took as their share the world of the Gods, the Fathers the world of the Fathers, the Men the world of the Men. Then arrived the Kali-Gandharvas and said, 'Grant us also subsequently a share in these worlds'. 'No', they said, 'ye, forsooth, have kept yourselves neutral, not heeding either party'. They answered: 'But in our mind we have attended on

ye, so give us a share'. 'No' they said, 'the worlds are well-divided by us, we cannot mix them up again'. They said: 'Then let that be ours what we our. selves see'. They granted them these Kalindas (the land of Kalinda ?), saying: • Among these practise ye austerities'. Because they granted the Kalindas to the Kalis, thence the Kalindas have this name.-This Kali, the son of Vitadanya, saw this saman, he practised it in chanting and saw by means of it this avantaradesam duryantam lokam; this he conquered. This saman is a world (or 'room') gaining one, he who has practised it in chanting finds room, but the status of a Gandharva he does not reach, he gains only the world of the Gandharvas. Because Kali, the son of Vitadanya, saw this saman, therefore it is (called) kaleya.' See the Sanskrit text in Jaim. br. in Auswahl, No. 47. 2. He who knows this, drives away his rival from these worlds. 3. The stoma, 'strength' (tara) by name, was with the Gods; the sacrifice. · finding treasure' by name, was with the Asuras. The Gods by means of this stoma: 'by strength your treasure finding one' took away the sacrifice of the Asuras 2. 1 The verses of the kaleya begin: tarobhir vo vidadvasum. 2 Similarly the Jaim. br. 4. He who knows this takes, by means of the stoma, the sacrifice of his rival away. 5. There were (once) (certain) Gods called Sadhya. These, having cut off the afternoon-service, went together with the midday-service to the world of heaven. This (cut off afternoon-service) the Gods connected by means of the kaleya¹. That there is the kaleya, is for connecting the afternoon-service (with the midday-service). 1 The kaleya is the last laud of the midday-service. 6. The afternoon-service, forsooth, is 'finding treasure' (vidadvasu) by taking as prastava (the verse quarter) by strength your treasure-finding one' he passes, in chanting, across ¹ to the afternoonservice. 1 abhyativadati (ep. V. 7. 4), abhilaksyativadati, atiti dhatvarthanuvadah, Sayana. 7. The kaleya is (equal to) all the characteristics: in that it has a (whole) verse-quarter as prastava, thereby it is rathantara-like³; in that it makes the same risings as the brhat 2, thereby it is brhat-like; in that its respond contains a stobha, thereby it is brhat-like 3; in that it has a 'running' ida 4, thereby it is rathantara-like 5. In all characteristics he is firmly established.

1 Cp. VII. 7. 1. VIII. 3. 2.-VIII. 4. 1. 169 2 Cp. VII. 7. 6. I am uncertain about the rohas in the kaleya, perhaps: 1 2 I 2 1 dram sa..(1); ba | dha (2); nta 234 h (3), cp. the musically figured chant in C. H. page 324. 3 In the brhat: auhova, in the kaleya: va ova. 4 4 dravadida ho 5 i | da (close of the kaleya), cp. also X. 11. 1 and X. 12. 4. 5 How in this respect the kaleya is rathantara-like, is not very clear. Sayana quotes a passage from the Nidanasutra, which I cannot find exactly so in our text (II. 11 beg.) The moaning seems to be that the prsthastotras on the uneven (3. 5) days of the sadaha (on which the rathantara is replaced by the vairupa- and sakvarasamans) are dravadida (as the kaloya), whilst the prsthastotras of the even (4, 6) days (on which the brhat is replaced by the vairaja and raivata-samans) are urdhveda (au 2345 | da). In this way we note at least a kind of correspondence between kaleya and rathantara. VIII 4. (Thearbhava-pavamana -laud, its metres and chants.) Together with 1. There were (once) (certain) Gods called Sadhya. the whole sacrifice they went to the world of heaven. The Gods said to the metres: Bring ye the soma hither.' They sent off the Jagati; she returned leaving behind three syllables and having become monosyllabic they sent off the Tristubh; she returned leaving behind one syllable and having become trisyllabic; they sent off the Gayatri-at that time, forsooth, the metres consisted of four syllables-she returned bringing with her not only those syllables (that had been left behind by the two others), becoming thus octosyllabic, but also the three pressings, two in her hands, the third (in her mouth). biting it with her teeth. Therefore two pressings are provided with shoots. but the third is sucked out¹, because she had fetched it beween her teeth, sucking it out 2. The shoots of it (of the soma), that fell down as it was being fetched, became the putikas ³; the blossoms that fell out, became the arjunas; what she shook off (praprothat), that became the praprothas 5. Therefore, at the afternoon-service (or the third pressing') they pour out the sour milk: the soma which is eaten by the cows; thereof they pour out the sap, in order that there may be soma in it. 5 "

1 The Jaim. br. relates this in extenso (cp. Jaim. br. in Auswahl No. 102): further cp. Sat. br. IV. 3. 2. 7, Ait. br. III. 25-28, TS. VI. 1. 6. 1-5, Kath. XXIII. 10, Maitr Samh. III. 7. 3. 2 The first two pressings are obtained from the soma-shoots itself, the third, however, (cp. C. H. § 218) from the pressed-out soma-husks. 8 A kind of herb used as surrogate for the soma, see below, IX. 5. 4, and cp. Eggeling in Sacred books of the East, Vol. XLIV. page 451, note 1. 4 Equally a kind of grass used as substitute for soma, probably equivalent to phalguna, cp. Ap. XIV. 24. 12, Baudh. XIV. 29: 201. 25, TBr. I. 4. 7. 5. 5 Thus Sayana (adhunutangani); elsewhere the meaning is 'to snort'. The meaning of praprotha is unknown. It must also denote a kind of herb palatable to cows. • Viz, in the putabhrt to the pressed soma, cp. C. H. § 220 and Ait. br. III. 27. 2. 7 When they eat the herbs, mentioned above, which originated from the soma. 2. Tristubh and Jagati said to Gayatri Let us join thee '1. She answered: 'What will result therefrom for me'? • What thou wishest' they said. She replied: To me must belong the whole morning-service, and I must have the lead of the last two services'. Therefore, the ' whole morning-service belongs to the Gayatri and the last two services are introduced by it 2. 1 upa tvayava, usually this is the expression of one who wishes to become pupil to another. 2 The pratahsavana is chanted on verses in gayatri-metre only, whilst the first chant of the midday- and afternoon-lauds are likewise on verses in gayatri. 3. Tristubh joined her with (her) three syllables ¹, so that she (Gayatri) became of eleven syllables; Jagati joined her with (her) one syllable¹, so that she (Gayatri) became of twelve syllables. 1 Tristubh had become trisyllabic and jagati monosyllabic after their endeavour to fetch the soma; in this manner they were absorbed into the gayatri. 4. Therefore, it is said that the gayatri is (equal to) all the metres, for the gayatri went making those increases ¹. 1 i.e. increased so as to encompass the two other metres. 5. Indra, loathing the afternoon-service ¹, got away. The Gods by means of (the words): 'by the most sweet' 2 made it sweet; by means of (the words) by the most intoxicating' they made it intoxicating ('strong'); by means of (the words): 'by the stream become thou, : f

VIII. 4. 2.-VIII. 4. 11. 171 Soma, clarified' they clarified it, and on (the words): 'pressed out for Indra to drink' Indra returned to it. (The reason) why he makes the prastava with 'by the most sweet, most intoxicating' is that Indra may take a share in the afternoon service. 1 Because its soma was pressed only out of the husks and therefore not sufficiently strong and intoxicating. 2 The gayatra and the first saman (the samhita) are chanted on the gayatri. verses SV. I. 468=RS. IX. 1. 1-3=SV. II. 39-41: svadisthaya madisthaya pavasva soma dharaya | indraya patave sutah. 6. * The most sweet were the domestic animals among the Gods, "the most intoxicating' amongst the Asuras; by (the words) by the most sweet, most intoxicating' the Gods took away the animals of the Asuras. ☑☑ 7. He who knows this takes away the cattle of his rival. 8. On these (verses is chanted) the samhita ¹. 1 Gramegeyagana XII. 2. 19 on the verses quoted in note 2 on § 5. 9. There were (once) (certain) Gods called Sadhya. These, having cut off the afternoon-service, went, together with the midday-service, to the world of heaven. The Gods (however) united it (samadadhuh) by means of the samhita (saman); because they united it, therefore it is the samhita ('united'). 10. The kaleya goes before, the samhita comes afterwards; for by means of these two (samans) is the afternoon-service linked (with the midday-service) 1. 1 Cp. VIII. 3. 5. 11. The samhita is (equal to) all the characteristics: in that it has a (whole) verse-quarter as prastava, thereby it is rathantara-like; in that it makes the same risings as the brhat ¹, thereby it is brhat-like; in that is has after each verse-quarter a finale 2, thereby it is rathantaralike. In all characteristics he is firmly established. 1 I am not able to point out these rohas in the samhita-saman. On the whole, the chant as figured in the uhagana and the Prayogas differs considerably from the gramegeya; this is probably due to certain special rules for chanting on gayatrimetre. 2 padanidhana, op. X. 10. 1; perhaps in the samhita-saman the syllables pava, yapa and sutah (ep. C.H. page 340) are to be taken as finales.

VIII. 5. (The ar bhava pav a mana laud, its metres and chants, continued.) 1. There are the kakubh and the usnih ¹. 1 After the samhita saman two chants follow in the jyotistoma, the first on kakubh-metre (of 8+12+8 syllables): the sapha, the second on usnih-motre (of 8+8+12 syllables): the pauskala. The sapha is gramegeya XVII. 2. 5 on SV. I. 578=RS. IX. 108. 1(-2)=SV. II. 42(-43) (kakubh satobrhati). The pauskala is gramegeya XVII. 1. 5, on SV. I. 566=RS. IX. 106. 1(-3)==SV. II. 44(-46).- Although here only two verses are applied (viz. II. 42 and 44), the uttararcika gives, after 42, one verse more and after 44 two more, because these come in later on, at the 10 th day. 2. By means of the kakubh and the usnih, Indra hurled his thunderbolt on Vrtra; at the kakubh he made a stride onward, by means of the usnih he hurled it. Therefore, the middle versequarter of the kakubh has the highest number of syllables, for it is a striding-on. Thereupon, he drew together¹; therefore, the last verse-quarter of the usnih has the highest number of syllables, for in front the thunderbolt is, as it were, heavy 2. 1 tad abhi samauhat; for abhisamuhati the Dict. of Petersburgh in kurzorer Fassung gives the meaning 'zusammenhaufon'. I propose to take tad abhi together, and suggest that padau is to be understood as object to samauhat; being about to hurl the thunderbolt, Indra strides out; at the moment of hurling, he draws his feet together (he draws the left foot, which was behind the right one, forward). Sayana comments: abhitah ubhe pareve samauhat, astaksarau padau samyag avahat; he takes as subject kakubh. The Jaim. br. (III. 294) has: striding out he drew together its syllables (parakramamino hy asyaksarani ( read asya a°?) samauhat). 2 The parallel passage in the Jaim. br. (I. 158, 159) runs as follows: 'By means of the kakubh and the usnih Indra, standing on two gayatris (the metre of 24 syllables) (as his feet), hurled his thunderbolt on Vrtra. These two (gayatris) were not able to support him; he added to them the fourfooted animals: cow, horse, goat and sheep, and those (i e. the metres which arose in this way, the metros of 24+4=28 syllables, the kakubh and usnih) supported him. Standing on the kakubh and usnih, making the sabha and pauskala his two arms, he hurled (the thunderbolt) and slew him (viz. Vrtra). He who knows this slays his spiteful enemy. He (Indra) stepped with one foot forward, the other one coming after; the foot that was directed forward, became the kakubh; therefore of the kakubh the greatest number of syllables is in the fore part (8+12+8); the foot that came after, became the usnih; therefore of the usnih the greatest number of syllables is in the hind part (8+8+12). See Jaim. br. in Auswahl, No. 50.

VIII. 5. 1.-VIII. 5. 7. 173 3. A thunderbolt (i.e. a deadly weapon) he who knows this, hurls on his rival. 4. The kakubh and the usnih are the nostrils (the nose) of the sacrifice. Therefore, although being the same metre, they both convey in different ways the sacrifice; therefore from each of the nostrils, although they are similar, the two breaths issue in a different way¹. 1 As out- and inbreathing. 5. The kakubh and the usnih are the breaths (the vital airs); therefore they (the priests) do not make vasat with them. If they made vasat with them, they would put the vital airs into the fire. 1 They must not be used as yajyas, to accompany a burnt-offering; at the end of a yajya the word vasat is pronounced. 6. On these (verses)¹ the sapha (saman) is (chanted). Devoid of pha 2, forsooth, is the afternoon-service; (this saman is chant. ed) to make the afternoon-service provided with pha 2. As for the pauskala, by means of this (saman) Prajapati created the domestic animals in abundance (puskala); to them he brought form (or 'beauty'); (the reason) why it is this saman, is that he (thereby) brings beauty to his beasts 3. 1 Properly the sapha only on the first. What the meaning of pha is, according to our author, is unknown. Nor is the meaning of the name sabha, as this saman is called by the Jaiminiyas (Jaim. br. I. 160), very clear. "On these the sabha (is chanted), in order that the sacrifice may be sabha (possessed of bha, 'light' ?). All that is wrongly chanted or recited, or incomplete in the sacrifice, for clearing up (sabhatayai) (all) that (it is adhibited). They chant this saman, hoping that it may be shining, illuminated (?)-By means of the sabha, the Gods (possessed themselves) of the splendour, the power, the valour, the strength, the cattle and the food of the Asuras, by means of the sabha, they made themselves lighting (sabham atmanam adhy. akurvata).'-By means of the sabha, Prajapati makes the cattle remain with him; therefore, he said: 'I have become 'shining out' through cattle (sabho vai pasubhir abhuvam)' etc. See. Jaim. br. in Auswahl No. 51. 8 Cp. Jaim. br. I. 160 : 'He (Prajapati) did not know the domestic animals (the cows) from one another, as they were of one colour (ekarupa). He saw the pauskala and, thereby, distinguished their colours: they became of different colour: white, reddish, and black; formerly, forsooth, they had been of one colour, red even they were' (Auswahl No. 52). 7. (The three verses, beginning): By fore-conquest from your plant' are a verse-quarter-vira] ¹ and syllabic-viraj.¹ By means of the

verse-quarter-viraj, the Gods went to the world of heaven, by means of the syllabic viraj, the seers after (them) came to know the way to it That there are those verse-quarter-viraj and syllabic viraj (verses), is for knowing the way to the world of heaven. 1 After the sapha and pauskala follow in the arbhavapavamana-laud the syavasva and the andhigava samans on three verses, the first of which is an anustubh, the second and third gayatris. These three verses together comprehend 10 verse-quarters (the anustubh: 4, each gayatri : 3) and, the viraj being of 10 syllables, they form together a padya viraj. They contain together 80 syllables (the anustubh: 32, each gayatri: 24), together, they form an aksarya viraj; 80 being a plurality of 10.-The three verses are SV. I. 545=RS. IX. 101. 1-3=SV. II. 47-49. The syavasva (on SV. I. 545) is gramegeya XVI. 1. 11, the andhigava (on the same verse) is gram. XVI. 1. 12. 8. On these (verses) the syavasva (is chanted). 9. Syavasva, the son of Arcananas, who was taking part in a sacrificial session, was brought (by his fellow-sattrins who wished to kill him) to a desert (* dry soil'). He saw this saman and by means of it created rain. Thereupon, he became all right and found salvation This saman, forsooth, is a means to get salvation ¹. 1 In the Jaim. br. (I. 163, 164) this legend is somewhat differently told Syavasva, the son of Arcananas, had absented himself to collect fuel for the sacrifice, the sattra. He was left behind by his fellow-sattrins, who by themselves went to the world of heaven. He desired: May I reach after them the world of heaven, may I be united with my fellow-sattrins'. He saw this saman and practised it in chanting. By the verso: 'By fore-conquest of your plant' the Maruts called him to the world of heaven, the thrice repeated stobha of the saman being ehya ('come'). Thereupon, he was united with his fellow-sattrins. And so Syavasva is united with the Maruts (sa haisa marudbhir eva saha syavasvah). See the text in Jaim. br. in Auswahl, No. 54. 10. He who has chanted this (saman) finds salvation and becomes all right. 11. Indra, loathing the afternoon-service, got away ¹. The Gods by means of the syavasva (and especially by its stobha): 'come, come '2 called him back. (Thereupon) he returned. The reason why there is this saman, is that Indra may have a share in the after-noonservice 3. 1 Cp. note 1 on VIII. 4. 5. 2 The stobha is aihayi, ehiya which are the chanting forms of ehi: • come hither'.

VIII. 5. 8.-VIII. 5. 16. 175 3 Similarly the Jaim. br. I. 164. In the text of Panic. br. read ehiyety anvahvayant, sa etc. 12. Then the andhigava. Andhigu, desiring (to obtain) cattle, saw this saman; by means of it he created a thousand head of cattle ¹. (The reason) why it is this saman, is that the cattle may flourish. It has a finale in the middle 2 (and) has (the word) ida (as closing finale) 2. Thereby the afternoon-service becomes all right³. If it were not provided with a finale in the middle and if it had not ida (as closing finale), the afternoon-service would not be all right. 1 Cp. Jaim. br. I. 165: 'The descendants of Sakti (the saktyas), being desirous of obtaining food, were consecrated (i.e. they undertook a sacrifice of soma). Thon Andhigu, the Saktya, saw this saman and practised it in chanting; he applied the docasyllabic viraj in the middle; the viraj is decasyllabic, the viraj is food; thereupon they obtained tho viraj, viz. the food', cp. Auswahl No. 56. 2 Cp. C.H. page 342. 3 This is more clearly expressed in the Jaim. br. (I. 165, Auswahl No. 55) : • It has a nidhana in the middle for obtaining a firm support. They who undertake the arbhava-laud, go crossing a soa without hold (?); that it (the saman) has a nidhana in the middle, is for obtaining a firm support. Just as in daily life one, who has descended with his ship into a sea, comes across an island, and having gone on land, takes a rest, in the same manner they, having undertaken (litt. * come unto ') the nidhana, might tako a rest'. 13. They make ('chant') in the middle a finale of ten syllables; the viraj is of ten syllables; he (the Sacrificer) gets a firm support in the viraj ¹. 1 Cp. the Jaim. br. as cited in note 1 under § 12. 14. (On the verses beginning :) 'Unto the dear ones he is clarified "¹ is chanted the kava(saman)¹; it is the chant of Prajapati. 1 Gramegeyagana XVI. 2. 6 on SV. I. 554=RS. IX. 75. 1-3=SV. II. 50-52 (jagati-metre).--According to the Jaim. br. (I. 166) this saman was seen by Kavi Bhargava who desired amidst the Gods the immortal world of the Gandharvas. This Kavi Bhargava is, according to the Sarvanukramana, the Seer of RS IX. 75. " 15. The 'dear ones' are the children, the 'dear ones are the domestic animals; he gets a firm support in children and domestic animals. 16. The ausana and the kava are the strings of the sacrifice¹; this God-case, forsooth, is closed up with regard to the sacrifice.

176 THE BRAHMANa of twentY FIVE CHAPTERS. (The reason) why these two (samans) are the last, is, that the sacrifice may be uninjured (or 'well kept'). 1 The sacrifice is, so to say, kept in a case which is closed up or pressed together by means of two strings: the ausana, the last of the midday laud (cp. VII. 5. 16) and the kava, the last of the arbhava-laud. 2 Cp. Ath. S. X. 2. 27. tad va atharvanah siro devakosah sam ub. itah. VIII. 6. ☐(The agnistoma-laud.) 1. The Gods divided among themselves the sacred lore; what pith of it was left over, that became the yajnayajniya (saman) ¹. 1 Gramegeyagana I. 2. 25 on SV. I. 35=RS. VI. 48. 1-2=SV. II. 53-54. 2. The yafnnuajniya, forsooth, is the pith of the sacred lore. By chanting the yajnayajniya they establish the sacrifice in the pith of the sacred lore. 3. The yijnayajniya is a womb out of this womb Prajapati created (emitted, brought forth) the sacrifice; in that he created sacrifice after sacrifice (yajnam yajnam), therefore it is (called) yajnayajniya ¹. 1 The word yajnayajniya, containing twice the word yajna, induces our author to speak of 'sacrifice after sacrifice', 'sacrifice' alone being sufficient. 4. Therefore, formerly the Brahmins used to hold¹ the out-of doors-laud with this (saman) 2, (thinking): Beginning at its womb let us go on to extend the sacrifice'. But, by chanting it at the end ³, they establish the sacrifice in its womb. 286. 1 On the aorist with pura (also VIII. 9.7) cp. Delbruck, Altind. Syntax, page 2 Similarly the Jaim. br. (I. 173): 'Formerly they used to hold all the lauds with this (saman)': etena ha sma vai pura sarvani stotrani stuvanti. * Read yad v antatah instead of yajnantatah, 5. With the Asuras (once) was the whole sacrifice. The Gods saw the yajnayajniya. By means of (the words): 'by sacrifice on sacrifice in honour of Agni' they took from them the agnihotra; (by the words) 'and by hymn on hymn in honour of the skilful', the full- and new-moon sacrifices; by (the words): 'continually we (will extol) the

VIII. 6. 1.-VIJI. 6. 10. 177 immortal Jatavedas', the seasonal sacrifices, and by (the words) 'as a dear friend I will extol', the sacrifice of soma. 6. At that time the metres (the verse-quarters of it) were: 'By sacrifice in honour of Agni; by hymn in honour of the skilful; we (will extol) the immortal Jatavedas; as a dear friend I will extol'. Now, the Gods by means of the verses, repeating each time the beginning, (the first word of each verse quarter), took the sacrifice away from the Asuras ¹. 1 Because the verses of the Gods in this manner had grown bigger and stronger than those of the Asuras! The verse runs: yajnayajna vo agnaye giragira ca daksase | prap ra vayam amrtam jatavedasam priyam mitram na eamsisam. 7. He who knows this takes, through the verses, the sacrifice of his rival away. ' 8. A brahman, Kusamba, the son of Svayu, a Latavya (by gotra), used to say about this (chant): Who, forsooth, will to day be swallowed by the dolphin' that has been thrown on sacrifice's path?' 2 1 A female dolphin or porpoise; perhaps a crocodile is meant. 2 · Sacrifice's path' is the way prescribed for going hither and thither on the sacrificial ground.-The text should run at the end: garisyatiti. 9. Now, the dolphin thrown on sacrifice's path is the yajnayajnlya (saman). By saying: 'by hymn on hymn' (giragira)¹, thereby the Udgatr swallows himself, 1 A pun on the word gira, which is in appearance inauspicious, because it can be connected, as 2 nd pers. imperative, with girati ('to swallow '), (instead of grnati ' to extol'). 10. He should (therefore) perform his part of the chant, making (the) ira (-sound) 1; the Udgatr (thereby) establishes the sacrifice in food (ira) and will not die prematurely. 1 Instead of by giragira he introduces the Udgitha by ira ira, see C.H. page 370. Read in the text yad yajnayajniyam. 2 On these §§ op Jaim. br. I. 174, 175: (He should chant the Udgitha in the following manner :) ** o(y)ira (y)ira ca daksasa ' (instead of o ga ira gira ca daksasa of the gana). If he were to say: gira gira ca, Agni vaisvanara would swallow up (gired) the Sacrificer, but by saying: o(y)-ira (y) ira ca daksasa, ira being food, he puts food into the mouth of Agni vaisvanara (=as he brings the word ira at the beginning [mukha meaning 'mouth' as well as 'beginning'] of the yajnayajniya, which is identified with Agni vaisvanara). However, he is apt to become parched 12

up by saying o(y)ira o(y)ira ca daknasa; he should (rather) say o(y)ira iha ca da. ksasa, and so he does not become parched up. About this (chant) the Brahmins of former times used to speculate: 'Who, forsooth, will to day come safely across the opened mouth of the crocodile (eimsumari) ? ' The yajnayajniya, forsooth, is the crocodile that stands with opened mouth waiting at the small path; it is in his mouth that he puts food, whereupon he passes safely by him'. See the text in Jaim. br. Auswahl No. 62. 11. Unto (Agni) vaisvanara the Udgatr surrenders himself 1 by saying: prapra ('forth! forth') vayam; he should say praprim² vayam. In this manner he will pass over Vaisvanara. 1 Is Agni vaisvanara here a reminiscence of the Jaim. br. ? op. note 2 on § 10. According to the Jaim. br. (I. 169, 170) it is also Agni vaisvanara out of whose haras the yajnayajniya is sprung forth. 2 Suggesting the idea of prinati (?). 1 12. He, forsooth, who recites a declining verse, will, after the performing of the chant, fare worse. Now, the (part of the yajnayajniya which contains the words) na samsisam ('I will not extol') ¹ is a declining verse; he should (rather) say nu samsisam or susamsisam ('I will extol'; 'I will extol allright'). He then recites no declining verse, and after the chanting will fare better. 1 As if na were the negation, whilst it is equal to iva. Similarly the Jaim. br. (I. 176) prescribes the change nu samsisam. 13. The sacrifices that have (the word) vac ('voice') at the end, leak through the cleft of the voice. Now, the sacrifices that end with the yajnayajniya³, have (the word) vac at the end. Untruth is the cleft of the voice; after the untruth that is spoken by one who performs the agnistoma, the sacrifice leaks; on a syllable 2 it must finally be established; by the syllable forsooth, he covers up the cleft of the sacrifice ³. 1 As does the normal agnistoma, of which the yajnayajniyastotra is the last. 2 Cp. note 3 on § 14. ³ With §§ 12, 13 cp. Jaim. br. I. 178: 'They (the theologians) remark: 'The verses of the yajnayajniya are one syllable too short (this refers to the last pada : uta trata tanunam). This is a gap in the yajnayajniya; after the gap in the yajnayajniua the sacrifice leaks; after the sacrifice, the Sacrificer; after the Sacrificer, his children. In this (gap) he should put the (the word) 'voice'; the voice, forsooth, is the sacred lore', etc.

VIII. 6. 11.-VIII. 7. 2. 179 14. The syllable ¹, forsooth, is Viraj's form¹: in Viraj 2 he is finally established 8. 1 aksara syllable' means also 'imperishable'. 2 And viraj is food: annam virat (e.g. Sat. br. VIII. 3. 2. 13). ⚫ 3 The ritualistic authorities are at variance regarding the meaning of the Brahmana. Nidanasutra (II. 10) cites our passage and adds the remark: 'What is the untruth, which the syllable ?' va is the syllable, i e., a syllable beginning with ' va' and ending on 'a'. (This remark is added because from the words vety etad aksaram one might otherwise infer that va, and not va, was meant). Ending on g', say some. Considering that the Brahmana condemns the dropping of the g, they should recite with it; in this way he covers by means of a whole syllable the cleft of the sacrifice. Another meaning is that the last syllable of the verse (and not the stobha) is intended by the author of the Brahmana, and this is the meaning of the Sutrakara (Laty. II. 10. 18), who expressly states that the syllable nam (not va=vag) must be the nidhana of the last stotriya, cp. note 1 on VIII. 7. 2. VIII. 7. (The agnistoma-laud, continued.) 1. At the morning, verily, the metres are applied from hence upwards, from thence downwards 2 they are applied at the laud of the yajnayajniya; yajna vo agnaye gira ca daksase is (the metre) of twelve syllables; pra vayam amrtam jatavedasam is (the one) of eleven syllables, priyam mitram na samsisam is (the one) of eight syllables 3. 1 i.e. increasing in number of syllables: the gayatri (3*8) at the morning. service, the tristubh at midday (4*11), the jagati at the evening-service (4 * 12 syllables). 2 In reversed order. 3 By this reasoning we understand, that the Sacrificer, after he has reached temporarily and spiritually the world of heaven, will again descend on earth (cp the next following §), to live his whole life. 2. He transforms the last (verse of the yajnayajnlya-stotra) into an anustubh¹. The anustubh in the earth on the earth he (the Sacrificer) (thereby) gains a firm support. 1 How this is brought about, is explained by the Sutrakaras (Laty. II. 10. 18-19, Drahy. VI. 2. 18-19). ' At the last stotra-verse he should repeat (the syllables bhuvadvaje in this manner:) bhuvadvajayi, bhuvadvajesu; and its nidhana is (the syllable) nam; for he (the author of the Brahmana) says: 'the last (he transforms) into an anustubh' and 'on a syllable it must finally be established' (VIII. 6. 13).

(It is known that out of the pragatha, on which the yajnayajniya is chanted, are made three verses: a brhati of 36, and two kakubhs each of 28 syllables; by adding the four syllables bhuvadvaje [for bhuvadvajayi is only the saman form of these four syllables], the last kakubh becomes an anustubh, of 32 syllables) - But the teachers (are of opinion) that no repetition is to be made (according to Dhanvin, because we have already an anustubh, if the last time the first verse is read, as is done in the Brahmana in VIII. 7. 1, omitting the syllables yajna, gira, and pra; in this manner the tristubh of 36 becomes an anustubh of 31 syllables; reasoning with Ait. br. I. 6. 2: na va ekenaknarena chandamsi viyanti na dvabhyam, this can be taken as an anustubh of 32 syllables, or we are to take the finale of one syllable va, to the 31 syllables) and the finale should be as handed down in the sacred text, according to Sandilya'. 3. (Moreover) the anustubh is the voice 1; in the voice he is firmly established; the anustubh is pre-eminence; in pre-eminence he is firmly established. 1 Cp. v. 7. 1. 4. How, now, must the yajnauajn¡ya be chanted?' they ask. * Like an ox discharging urine, thus indeed and thus indeed'. 1 With 'thus' the person who recites the Brahmana must have made a gesture, indicating the precise manner. ' s 5. The Udgatr is continually nearing himself unto (Agni) vai- svanara'¹ they say, if he speaks the verse of the yajnayajniya manifestly'. It should be chanted by him while he passes over³, as it were; he (thereby) passes over (Agni) vaisvanara. 1 To whom this chant is attributed in the anukramanika of the gramegeya; cpVIII. 6. 11. 2 Or'rightly' rjuna, i.e. without changing anything in the words of the chant. 3 i.e. deviates from the text in the manner as indicated VIII. 6. 10-12. Unto (Agni) vaisvanara the Adhvaryu gives over (abhisrjati) 1 the persons.seated in the sadas, by causing them to return to 2 the laud. of the yajnayajniya. It should be chanted whilst he covers himself completely up (with his garment) ³, in order to prevent their being burned by (Agni) vaisvanara. I The Adhvaryu summons the priests before the chant of those stotras that are formed by repetition out of three verses, by the words; asarjy asarji vag asarji...upavartadhvam, Ap. XII. 17. 9; Sat. br. IV. 2. 5. 8, upavartadhvam ity anyani stotrani (sc. upakaroti).-The persons seated inside the sadas are the Hotrakas and the Chanters, the Brahman and the Yajamana.

VIII. 7. 3.-VIII. 7. 10. 181 2 i.e. to repeat', cp. note 1. 3 Cp. C. H. § 241 c. 1 7. The Fathers, however, do not know ¹ one who has completely covered himself (by his garment) and at the laud of the yajnayajniya the Fathers want to know (him) properly up to the ears (only) the covering must be made. Thereby he is covered and (at the same time) not covered; so the Fathers know (him) and (Agni) vaisvanara does not hurt (him). 1 The reason why at this particular moment the Fathers must be able to know their descendants is perhaps to be sought in the fact, that at the afternoonservice, immediately before the yajnayajniya-stotra two chips from a saumya caru are offered to Soma accompanied by the Fathers, cp. C. H. § 237 a. II. The Jaiminiyas disapprove of this practice; we read in their Brahmana (I. 174) : 'Now' they say: He should chant (the yajnayajniya-stotra) having covered himself completely up. The yajnayajniya, forsooth, is Agni vaisvanara: for appeasing it and for not being burned by it.' He is, however, apt to get the Fathers for his deity, if he should chant (it), being completely covered (probably because at a sacrifice destined for the souls of the Dead the performer covers himself). They say also: 'As far as his ears are (i.e. up to his ears), so far having covered himself, he should chant.' They (others), however, say: 'By means of the ears he hears, by means of the eyes he sees; of this (eyesight and hearing) he would deprive him. self, if he should chant (it), being covered.... Being uncovered he should (therefore) chant it.' 1 8. Behind (the garhapatya) ¹ the wives 2 pour down water; they thereby extinguish (or 'appease') (Agni) vaisvanara; for water is a means of extinguishing (or appeasing '). 1 Or: 'afterwards'. According to the Adhvaryusutras (see C. H. § 241. d) this action takes place inside the sadas. 2 The plural, in case it is a sattra. 9. Besides, they (the partakers of the sattra) thereby emit semen 1, for the semen is a fluid. 1 And thus are sure to obtain progeny. 10. They (the wives) pour it (the water) along their right thighs; for from the right side the semen is emitted ¹. 1 Cp. Sat. br. II. 5. 2. 17: daksinato vai vrna yosam upasete and the other passages collected by Oertel in Journal of the Amer. Or. Soc., vol. XXVI, page 188.

11. Rather a great (part of the garment) must be pushed back' (by the wives); they thereby engender spirit for him 2. 1 Cp. TS. VI. 5. 8. 6 : 'she pours down water; thereby semen is poured out; along the thigh she pours it down; for along the thigh the semen is poured out; having bared her thigh she pours it out; for after the thigh is bared, cohabitation takes place, semen is emitted, children are born. 2 For the son, as appears from Kath. XXVI. 1: 122.7 : duram upary uduhetahri. tamukhy asya jayate ' he will get an ahritamukhin (son).'-For §§ 8-11 cp. Jaim. br. I. 173 They hold the laud, having put (a vessel filled with) water near. The yajnauajniya, forsooth, is Agni vaisvanara: for extinguishing it and for not being burned (by it); along the thigh the wife (of the Sacrificer) pours it out; it is Agni vaisvanara she thereby extinguishes; having bared her thigh she pours it out, for, after the thigh is bared, the wife viryam karoti' ('takes the seed of the male up'?). 1 12. They ¹ cause her to be looked at by the Udgatr, for impregnation's sake. 1 The Adhvaryus, ep. TS. l.c.: he causes her to be looked at by the Udgatr; the Udgatr, forsooth, is Prajapati in order that she may bring forth progeny '. 13. At the him-making¹ they cause her to be looked at; for after the him-making the seed is implanted (the pregnancy follows) 2. 1 At the beginning of each turn of the chant the Chanters make him (hum). 2 Sayana here quotes Ap. V. 25. 11, see also the references given in the German translation of Apastamba. 1 14. Unto the third verse of the laud ¹ they cause her to be looked at, for threefold 2 is the semen ³. 1 This implies that the Udgatr should look at the wife (or the wives) only during the first three stotra-verses, beginning with the first hum. 2 I compare TS. V. 6. 8. 4 : trini vava retamsi pita putrah pautrah. 3 To § 8 sqq. refer Laty. II. 10. 15-17 and Drahy. VI. 2. 15-17 At the him. making of the yajnayajniya the Udgatr should look at the wife (of the Sacrificer); at the finale (of the first three verses of the laud) the wife should pour down water upon her right thigh; when the prastava of the third verse of the laud has been chanted, she should pour down all this water '. VIII. 8. (Thethree uktha-lauds.) 1. The Gods, forsooth, having acquired by conquest the agnistoma, could not conquer the ukthas. They said to Agni: 'Let us

VIII. 7. 11. VIII. 8. 4. 183 gain the conquest by thee as leader'. He answered: 'What will therefrom result for me?' • What thou wishest' they said. He replied: On verses addressed to me may they introduce the ukthas'. 2. Therefore, they introduce the ukthas on verses addressed to Agni 1. 2 Cp. Kaus. br. XVI. 11: agneyisu maitravarunaya pranayanty, aindrisv itarayoh. 3. And therefore, on gayatri-verses, for Agni has the gayatri as his metre. 1 4. Having made Agni their leader, they strode on, together with the horse because together with the horse (sakam asvena) they strode on, therefore there is the sakamasva (saman)². 1 With Agni who had taken the form of a horse, cp. Ait. br. III. 49. 7: tan agnir asvo bhutvabhyatyadravat. 2 An ukthya-sacrifice consists of 15 stotras and sastras; to the ordinary twelve lauds of the normal agnistoma three more are added, thereby the afternoon service comes to comprise, as each of the other services, five lauds. The three new ones are 1. the uktha-stotra (running parallel to the sastra) of the Maitra varuna addressed to Indra and Varuna; 2. the uktha-stotra (running parallel to the Sastra) of the Brahmanac chamsin, addressed to Indra Brahmanacchamsin and Brhaspati; 3. the uktha-stotra (running parallel to the sastra) of the A cchavaka, addressed to Indra and Visnu (see e.g. Ap. XIV. 1. 9). " I. The maitravarunas yokthastotra is the sakamasva: gramegeya I. 1. 14 on SV. I. 7=RS. V I. 16. 16-18=SV. [I. 55-57 (gayatriverses); the sastra of the Maitravaruna consists (cp. Asv. VI. 1. 2, Sankh. IX. 5. 2) of RS. V I. 1 6. 16-18 (stotriya trca); VI. 16. 19-21 (anurupa trca); III. 51. 1-3 (Indra) and VIII. 42. 1-3 (Varuna) (the ukthamukha); VI. 82 (samsamsika); VII. 84 (paryasa) both addressed to Indra and Varuna together; VI. 68. 11. (yajya). 11. The u kthastotra of the Brahmanac chamsin is the saubhara: gramegeya XI. 1. 14 (but cp. note 1 on VIII. 8. 13) on SV. 1. 408=RS. VIII. 21, 1-2=SV. II. 58-59 (kakubh and satobrhati); the sastra of the Brahmanacchamsin (Asv. 1.c., cp. Sankh. IX. 3, Vaitanasutra XXV. 3. 11) consists of RS. VIII. 21 1 2 (stotriya); VIII. 21. 9-10 (anurupa); I. 57 (ukthamukha, addressed to Indra); X. 68 (samsamsika, addressed to Brhaspati); X. 43. 1-11 (paryasa addressed to Indra); VII. 97. 10 (yajya). • III. The ukthastotra of the Accha vaka is the narmedha : gramegeya I. 2. 27 (but cp. note 2 on VIII. 8. 22) on SV. I. 406=RS. VIII. 98. 7-9=SV. II. 60-62 (brhati and satobrhati); the sastra of the Acchavaka consists

of RS. VII I. 98. 7. 9 (stotriya); VIII. 13. 4-6 (anurupa); II. 13 (ukthamukha, addressed to Indra), VII. 100 (Visnu), I. 156 (Visnu); VI. 69 sarsamsika (Indra and Visnu); VI 69. 3 (yajya). 5. Therefore, they lead on (introduce) the uktha (-laud)s with the sakamasva; for by it at the beginning they conquered them. 6. Now, Indra said: 'Who is going to follow together with me?' I' said Varuna. Varuna stood behind him and Indra fetched (the uktha). Therefore a (hymn) addressed to Indra and Varuna is recited (by the Hotraka) after (the laud) ¹. 1 See note 2 on § 4 (I). 7(a). The same (God) said: 'Who is going to follow together with >me?' 'I' said Brhaspati. Brhaspati stood behind him and Indra fetched (the uktha). Therefore a (hymn) addressed to Indra and Brhaspati is recited after (the laud) ¹. 1 · Cp. note 2 on § 4 (II). 7(V). The same (God) said: 'Who is going to follow together with me?' 'I' said Visnu. Visnu stood behind him and Indra fetched (the uktha). Therefore a (hymn) addressed to Indra and Visnu is recited after (the laud)¹. 1 Cp. note 2 on § 4 (III).-With § 6 and cp. Ait. br. III. 50. 8. What he had fetched for them was the cattle'; the ukthas forsooth, are the cattle. He who desires (to obtain) cattle should perform an ukthya (sacrifice) 2. 1 According to Jaim. br. I. 181 they were the six wish-cows: cow, horse, goat, sheep, rice and barley. 2 A jyotistoma followed by the three ukthastotras and corresponding sastras. Here, as so often in the printed text, the words uktha and ukthya are interchanged (misprint!) 9. By means of the brhat, forsooth, Indra hurled his thunderbolt on Vrtra; the sharpness (or lustre', 'splendour') of it fell down and became the saubhara (-saman). 1 10. 'A sameness is brought about in the sacrifice' they say, ' if the prstha(-laud) and the twilight(-laud) 2 are both the rathantara (-saman) and no chant of the brhat comes between (these two)'. By

VIII. 8. 5.-VIII. 8. 14. 185 chanting (however) the saubhara, the chant of the brhat is brought about between (these two), for the saubhara is the sharpness of the brhat ³. 1 The hotuh prsthastotra. 2 The sandhistotra, which also is chanted on the rathantara-melody (Arseyakalpa, page 204 s.f.) 8 Cp. § 9. 11. If the over-night-rite (the atiratra) is chanted on the brhat (saman) ¹, then the saubhara must be taken as the Brahman's chant in the uktha (laud)s 2. He thereby furnishes the brhat fully with (its own) splendour. 1 If the hotuh prathastotra is the brhat. 2 Then equally the uktha-laud of the Brahmanacchamsin (the second uktha) must be the saubhara: for in this case there is no 'sameness of performance '. 12. (But) if it (the over-night rite) is (chanted) on the rathantara, he should take the saubhara (as the Brahman's chant) 1, for avoiding sameness. 1 The text runs yadi rathantarasamna saubharam kuryat. This gives no good sense. I guess yadi rathantarasama (sc. atiratrah syat). But even so the purport is not wholly clear. When the Gods went to the world of heaven, the quarters collapsed. By means of the saubhara (and more especially by its finale) ¹, they propped them up (u d astabhnuvan). Thereupon, they (i.e. the quarters) became fixed (or 'fastened') and got a firm support. Then the Gods knew the (way to the) world of heaven. He who desires (to reach) the world of heaven and to get a firm support, should chant the saubhara; he gets knowledge of the way to the world of heaven and gets a firm support. 1 The saubharasaman in the gramageya (on Sv. I. 408, cp. note 2 on § 4 [II]). has no u for nidhana; the saubhara as given uhagana I. 1. 16 points to the saubhara of gramageya III. 1. 31 (on SV. I. 109), where the nidhana u is given. To this saman also the Jaim. br. points. However, the nidhana u may be facultative, cp. the next following §§, especially § 19. 14. Prajapati created the creatures; these, having come into existence, suffered from hunger; by means of the saubhara (and more

, especially by the finale) urj ('food') he gave them food. they throve. Thereupon 15. The creatures (i.e. children and young domestic animals) thrive in that year when he, knowing this, chants the saubhara. ៩ 16. They (i.e. the creatures nourished by Prajapati) said: Well reared hast thou us'¹; hence (the name) saubhara. 1 subhrtam no 'bharsih. On § 4-16 cp. Jaim. br. I. 187 (Auswahl No. 71): • Prajapati created the creatures: these being created by him, perished; they became the reptiles other than the snakes. He created a second kind; these perished also; they became the fishes. He created a third kind; these also perished they became the birds. He thought: How might these creatures not perish?' He saw this saman; by means of it (and especially of its nidhana) urj, he touched them and they throve, being anointed by him with urj (' food '). He said: Well-reared have I these creatures' (subhrtam...abharsam). Thence the name saubhara'. N.B. the first saubhara, on SV. I. 109, has urk as nidhana. • 17. The food, verily, that he gave them, was the rain. 18. He who wishes for rain, for food, and for the world of heaven, should chant the saubhara. 19. As finale for one who wishes for rain, he should take (the sound) his; for one who wishes to obtain food, (the word) urj; for one who wishes to reach the world of heaven, (the syllable) z. 20. The saubhara (represents the fulfilment of) all wishes; in all that he wishes he comes to be established. 21. Now, as to the narmedha(-saman). 22. As Nrmedhas of the Angiras-clan was taking part in a saorificial session, they (i.e. his fellow-Sacrificers) set dogs on him ¹. He resorted to Agni with (the verse): 'Protect us, o Agni, by one' 2. (Agni) vaisvanara came and encircled him. Thereupon he got a firm support and found a refuge ³. 1 Delbruck, Altind. Syntax, page 261, suggests abhyudravan for abhyahvayan. 2 The narmedha-melody gramegeyagana I. 1. 27 (see SV. ed. of Calcutta, Vol. I, page 152) composed on SV. I. 36=RS. VIII. 60. 9-10=SV. II. 894-895, is chanted on SV. I. 406=RS. VIII. 98. 7-9=SV. II. 60-62 (see ed. Cale. vol. III, page 192), cp. below, §§ 24-26 and Puspasutra X. 70 with Simon's remark. This manner of indicating a saman seems to be irregular.

VIII. 8. 15.-VIII. 8. 26. 187 3 The very interesting recension of the legend of Nrmedha in the Jaim. br. (I. 171, see the text in Jaim. br. in Auswahl, No. 61)is only partly intelligible to me. What I can make of it is the following: 'Nrmedha and Suvrata (were) brothers these... %; now, : Nrmedha acted as Udgatr for Suvrata. When the laud of the yajnayajniya was not (yet wholly) finished, they came running to him (to Suvrata), saying: The son of thee, who art the yajamana (for whom Nrmedha is the Udgatr) has been murdered by the two sons of thine Udgatr: Antakadhrti, the son of Suvrata by Nakira and Sakaputa'. Seizing him (viz. Nrmedha) by the arms, he (Suvrata) said: 'Ye brahmins, this is your sacrifice, perform it for whom ye wish; I, forsooth, by means of this one will punish this'. Having bound him (Nrmedha) to the pillar of fig-wood he (Suvrata) set fire on him by means of hempen-chips. He (Nrmedha) desired: May I get out of this; may I find a way out, a deliverer; may not this fire burn me'. He saw this saman and lauded with it. Thereupon, he found a way out, a deliverer, and the fire did not burn him; it even burned down the bond with which he was fastened (to the pillar)'. Note that in the Sarvanukramani Sakaputa is called the son of Nrmedha; Nakira may find his explanation in the words nakir asya of RS. X. 132. 3; for Antakadhrti op. RS. 1.c. 4 antakadhruk. 23. This saman is a refuge procuring one; he who has used it in chanting finds a refuge and gets a firm support. 24. The verses (of the narmedha) are of different metres: the characteristic of day and night. 25. For the characteristic of the ukthas is neither that of day nor that of night 1. 1 They are something between, as they fall on the afternoon. By a different reasoning the Jaim. br. (I. 188) arrives at the same result: 'This saman has the features of day and night to Indra belong the verses, to Agni belongs the saman (the narmedha forms part of the agneya-section in the gana), to Indra belongs the day, to Agni the night. He who at an atiratra deviates from this saman (does not apply it), would be removed from the features of day and night. If one were to say about him: 'he (viz. the Udgatr) has removed him from the features of day and night', it would be in truth thus. Therefore, at an atiratra this saman must not be deviated from '. 26. The first (verse) ' is a kakubh; then (comes) an usnih 2, then a pura usnih anustubh ³. They thereby do not deviate from the anustubh : (the metre of) the Acchavaka's chant.* 1 RS. VIII. 98. 7=SV. II. 60. 2 RS. VIII. 98. 8=SV. II. 61. 3 RS. VIII. 98. 9 (pura-usnih), whilst SV. II. 62 at the end has four syllables more.

4 This refers, according to Sayana, to the fact that the Acchavaka, before par taking of the soma, has to recite certain anustubh-verses (RS. V. 25. 1-3, VI. 42, cp. C.H. § 148), cp. Ait. br. III. 13. 2: athasya yat svam chanda asid anustup tam udantam abhyauhad acchavakiyam abhi.-To our Brahmana refers a remarkable passage in the Nidanasutra (II. 11): atha narmedhastotriye vadati: kakup prathamathosnig atha pura-usnig-anustub iti; kakub eva prathamosnig dvitiya purausnik trtiya, dasatayenadhyayena tam bahvrca adhiyate (namely in RS. VIII. 98. 9) : yunjanti hari isirasya gathayorau ratha uruyuge | indravaha vacoyujeti, tatra vayam catvary aksarany upaharamah: svarvideti (i.e. suvarvida iti), sanustub bhavaty uparistajjyotih'. The uttararcika, indeed reads: yunjanti hari isirasya gathayorau ratha uruyuge vacoyuja | indravaha svarvida (12+12+8 syllables). This addition of the four syllables must be very old, as the Jaiminiyas also have it already in their uttararcika. Must we infer from this fact, that the author of our Brahmana was acquainted with the uttararcika ? See on this question the Introduction, Chapter II, page XVI. I subjoin the parallel passage of the Jaim. br. (I. 188) : * They argue: from the anustubh, forsooth, they, who perform the acchavaka's chant on usnih-verses, deviate'. One of these (usnih-verses, which are the same as utta. racika II. 60-62 of the Kauthuma-Ranayaniyas RS. VIII. 98. 7-9) is an arvag usnih, one a madhya-usnih, one a pura-usnih, anavadhrtam chando 'navadhrtam vag vadati, and the anustubh is the voice. Thereby, they do not deviate from the - anustubh. (Moreover) the last of these (verses) is a visible anustubh. Thereby, also, they do not deviate from the anustubh'. The Jaim. br., then, seems to recognise also the Samavedic recension of SV. II. 62 (as an anustubh). VIII. 9. (The variations of the uktha-lauds.) 1. There is the harivarna (-chant) ¹. How 1 Gramegeyagana X. 1. 34 (that the last of the four harivarnas is meant, appears from XII. 6. 9) on SV. I. 383=RRS. VIII. 15. 4-6=SV. II 230-232. it is to be applied, is explained in § 5. 2. The Asuras were in these worlds. The Gods expelled them, by means of (the words): 'of golden splendour'¹, from this world; by thou shinest" from the intermediate region; by 'for day and day' (dive dive) ¹ from yonder world (the sky, div). $ 1 The last word of each of the three verses, being used as their finale, op. XII. 6. 9. 3. So, he who knows this, expels his rival from these worlds and ascends (himself) these worlds.

VIII. 9. 1.-VIII. 9. 10. - 189 4. Harivarna¹, who desired to possess cattle, saw this saman; by it he created a thousand head of cattle; that it is this saman, is for the thriving of the cattle. 1 An angirasa, according to the Jaim. br. (I. 183), see § 5. 5. When the Angirases went to the world of heaven, they were pursued by the ogres; by means of this (saman) Harivarna repelled them. That it is this saman, is for repelling the ogres ¹. 1 To §§ 1-5 refers the Ksudrasutra (I. 5, No. 25): 'Now (the arrangement) of the (jyotistoma) which ends with the uktha(-laud)s, and in which the antadam- stra is the Acchavaka's saman (cp. below § 20). On 'thou hast made merry, the fullness has been drunk' (SV. II. 782-784=RS. I. 175. 1-3; the verses do not occur in the purvarcika) the kaleya (gram. 2. 7. VI, in stead of the normal one on SV. II. 37-38); on 'on all sides run forth' (SV I. 427=RS. IX. 109. 1=SV. II. 717) the sapha; the sakamasva, the harivarna and the astadamstra are the ukthas (resp. of Maitravaruna, Brahmanacchamsin, and Acchavaka). The rest is similar to the (normal) jyotistoma", 6. The prsthas¹ were created; their redundant lustre, their pith was collected (brought together, united) by the Gods, and that became the udvamsiya(-chant) 2. 1 The prsthasamans. 2 Gramegeyagana IX. 1. 16 on SV. I. 342=RS. I. 10. 1-3=SV. II. 694-696. 7. The udvamsiya is the lustre of all the prsthas; therefore they formerly did not apply it for a tribesman ¹, in order to hold apart the good and the bad 2. 1 A tribesman, sajata, who seeks equal or greater influence than the Sacrificer ; sajata with hostile meaning is common, cp. e.g. TS. II. 2. 1. 2, where it is equal to bhratrvya ' rival'.-On the aorist with pura cp. note 1 on VIII. 6. 4. 2 If he were to apply for a rival the udvamsiya, which means lustre, the good (prosperity) would fall to the share of the rival. 8. For he who chants the udvamsiya, has chanted' the prsthas. 1 Note the participle used as verbum finitum. 9. The udvamsiya is (equal to) all the characteristic features 1. 1 This saman contains all the features of the prethas. 10. The (syllable) a (after the first verse-quarter of the udvamslya) : 'thee celebrate the seers' is the characteristic of the rathantara; for a is the rathantara ².

4 r 5 r r 4 5 4 1 The saman begins: gayanti tva gayatrina a. 2 r 2 Which begins: a bhi tva (aranyegeyagana II. 1. 21). 1 11. The beginning ¹ is (that) of the brhat, for the brhat is, as it were, upwards². 1 The sound u of the name udvamsiya. 2 Being the sky, the heaven. 2 12. The presence of manifold stobhas¹ is (that) of the vairupa ²; for provided with manifold stobhas³ is the vairupa. 1 The exact meaning of parisfubh is not certain. The expression seems to mean: $ to include the ida before and behind by a stobha' (cp. X. 11. 1). 2 Aranyegeyagana I. 1.3. The udvamsiya has the following stobhas only: ho,li, 2 2 up, ha i. 8 Read paristubdham. 13. The repeated push is (that) of the vairaja¹; for the vairaja is (chanted) with repeated push. • 1 The expression repeated push' is an effort to translate the Dutch ' naslag'. · The vairaja (gramegeya X. 2. 32, on SV. I. 398, or ar. ga. II. 1. 31 (?) on the same 1 2 1 datu tva verse, XII. 10.6-11) has: ma-datu tva '3-datu tva (original text: mandatu tva); 2 22 5 1 B the udvamsiya has: udvamsam iva ya' 1 imi'3 re | udvamsa '234 mi | va ya '82 u va 12 2 2 2 3 5 3 2 1 2 '3.up-ma' li-mi '3 re | udvamsa '234 mi | va ya '32 uva '3-up-ma 2 iro '35 | ha i (original text: ud vameam iva yemire). -On anutud cp. X. 6. 4, XII. 9. 17, XII. 10. 11. 14. The ardheda ('half-ida) is (that) of the sakvari(-verses)¹, the atisvara (that) of the revati(-verses) 2. 1 The ardheda, as up, is found in the udvamaiya, as it in the mahanamnis (cp. the Calcutta edition of the SV. Vol. II, pages 372, 377, 380). On the term cp. also Simon, Puspasutra page 517, bottom, 2 On atisvara cp. note 1 on XIII. 12. 11. The raivatasaman (aranyegeya I. 2 2. 19) has twice ha31, the udvameiya iro '35. 15. The Gods, by means of the half-ida having repelled the Asuras, ascended, by means of the 'overtuning' (atisvara) the world of heaven. 16. He who knows this, having by the half-ida repelled his rival, ascends the world of heaven by the 'overtuning

VIII. 9. 11.-VIII. 9. 22. 191 17. By the half-ida, forsooth, they finish the preceding sacrifice¹, by the 'overtuning' they begin the subsequent one *. 1 The ukthya, according to Sayana. 2 The sodasin, according to Sayana. I must confess that the purport of this § is not clear to me. 18. A subsequent sacrifice falls to the share of him, who knows this. 19. Fivefold, verily, is this saman¹; the sacrifice is fivefold * and cattle is fivefold 8; in sacrifice and cattle he becomes firmly established *. 1 The saman is chanted on an anustubh of four verse-quarters, but by the repetition (op. VIII. 9. 13) comes to have five. 2 Cp. VI. 7. 12, note 2. 8 Consisting of hair, skin, flesh, bone, mark (Sayana). 4 He is sure to be asked as an rtvij for a sacrifice and will possess cattle. 20. (One of) the two astadamstra(saman)s he should take (for the uktha-laud of the Acchavaka) for one who desires prosperity. 1 Gramegeya IX. 1. 20 and 21 on SV. I. 343=RS. I. 11. 1-3=SV. II. 177-179 (anustubhs). 21. Astadamstra, the son of Virupa, grew old without sons, without progeny. He thought he had torn asunder these worlds ¹. In his old age he saw these two samans 2, but feared lest they should not be taken into practice. He said: 'He shall thrive, who will chant these two samans of mine'³. 1 Because he had no progeny, no continuity of race (santatyabhava) and consequently the continuity of the three worlds would be destroyed (!). 2 · And got children by them' must according to Sayana be supplied, which to me does not seem certain. 3 Because he was too aged to teach them to others (?). The Jaim. br. (I. 191) gives no light. 22. This ¹ is the product of the seer's fervent wish. (The reason) why they are the astadamstra (samans, that are to be applied), is for thriving. 1 This pair of samans. 2 To VIII. 9. 6-22 refers the Ksudrasutra (I. 5, No. 26): 'Now (the arrange ment) of the (jyotistoma) which ends equally with the uktha (laud)s, and in which the udvarsiya is the Acchavaka's chant; of the naudhasa (gram. VI. 1. 37) the six kakubhs (the meaning is not quite clear to me); on (the verses): thee like a car

to aid us' (SV. I. 354=RS. VIII. 68. 1-3=SV. II. 1121-1123), the kaleya; on (the ¨verse): 'he is pressed, who of goods' (SV. I. 582=RS. IX. 108. 13=SV. II, 446), the sapha and on (the verse) : ' run about for Indra' (SV. I. 427=RS. IX. 109. 1= SV. II. 717), the pauskala. The sakamasva, harivarna and udvamsiya are the uktha(laud)s. The rest is similar to the (normal) jyotistoma". VIII. 10. (The variations of the uktha lauds, conti nu ed.) 1. On gayatri (verses) they should lead on the uktha(laud)s for one who desires spiritual lustre; on gayatri (metre), the Brahman's saman; on anustubh (metre), the Acchavaka's saman; this (last thereby) becomes gayatri ¹. 1 As the ukthastotras are twenty-one-versed, there are in the Acchavaka's laud (which is based on anustubh-verses of 32 syllables) 32 * 21=672 syllables ; this number is divisable by 24 (the number of syllables contained in the gayatri); by this reckoning the 21 anustubhs are equal to 28 gayatris. The sakamedha of itself being already chanted on gayatri, all the ukthas are (cryptically) chanted on gayatri. 2. Spiritual lustre is splendour; splendour also is the gayatri¹; he obtains (by chanting gayatris) spiritual lustre 2. 1 So also Sat. br. XIII. 2. 6. 4 (as the gayatri is agneyi, cp. VI. 1. 6).. 2 To § 1-2 refers the Ksudrasutra (I. 5, No. 27): 'For one who desires spiritual lustre, on (the verses): 'by thy most sweet, most intoxicating' (SV. II. 39-41) is chanted the gayatra, the samhita and the satrasahiya, each on one verse consecutively; the aida kautsa (gram. V. 1. 4, probably) on all three; on (the verses): 'by fore-conquest from your plant' (SV. II. 47-49), the syavasva on the first (on SV. II. 47); on the second (verse, 48) the second kraunca (of those three krauncas which are composed) on this Pusan' (SV. 1. 546; gram XVI. 1. 14), the audala on the third (verse, SV. II. 49), and the andhigava on all three (SV. II. 47-49); (the ukthastotras are :) the sakamasva, the saubhara chanted on (the verses) for thus art thou a hero' (gram. XI. 1. 14 or III. 1. 31 ? on SV. I. 232= RS. VIII. 92. 28-30=SV. II. 174-176); on (the verses): 'all (songs) have caused Indra to grow' (SV. I. 343=RS. I. 11. 1-3=SV. II. 177-179) the narmedha. There are ten not-chanted gayatris, seventy chanted ones. The rest is similar to the (normal) jyotistoma'. Here the seventy chanted gayatris are 21 (Maitr. uktha), 28 (Brahman's uktha, out of the 21 anustubhs, op. note 1 on § 1) and 21 (of the Acchavaka's uktha). I do not see what is meant by the ten gayatris that are not chanted. - 3. On gayatris they should lead on the uktha (laud)s for one who desires (to obtain) cattle; on usnih (metre) the Brahman's saman, on

VIII. 10. 1.-VIII. 10. 7. 193 anustubh (metre) the Acchavaka's saman; this (last thereby) becomes usnih ¹. 1 Seven gayatris are in number of syllables equal to six usnihs; in the ukthastotra, which comprises 21 verses, the 21 gayatris of the first one thus amount to 18 usnihs; in the third ukthastotra, which consists of 21 anustubhs, each seven anu- stubhs being equal to eight usnihs, are comprised 24 usnihs. 4. The usnih is cattle; he (thereby) obtains cattle ¹. 1 To this passage refers the Ksudrasutra (L. 6, No. 28), 'for one who desires (to obtain) cattle, the kaleya is (chanted) on (the verses) 'he has made merry; the strong (draught) has been drunk by thee'; on run about for Indra' the sapha; (the ukthas are :) the sakamasva, the saubhara (chanted) on this intoxicating draught we announce to thee', (and) the narmedha (chanted) on 'all (songs) have caused Indra to grow'. There are nine not-chanted usnihs, 63 chanted ones (viz. 18 out of the 21 gayatras, 21 ipso facto of the second uktha and 24 out of the 21 anustubhs). The rest is similar to the (normal) jyotistoma". On gayatris they should lead on the uktha (-laud)s for one who desires men¹; on kakubh(-metre) the Brahman's saman; on anustubh (-metre) the Acchavaka's saman; this (last thereby) becomes kakubh ². 1 Probably slaves. 2 As the number of syllables of the kakubh is the same as that of the usnih the reckoning is similar to note 1 on § 3. 1 6. The kakubh is man ¹; he (thereby) obtains men 2. 1 The middle part of man is broader and bigger than the upper and lower parts and the kakubh likewise is bigger in the middle: 8+12+8 syllables. 2 Ksudrasutra (I. 6, No. 29): 'for one who desires men the kaleya (must be chanted) on: 'he made merry, the strong (draught) has been drunk by thee'; the sapha on: 'run about for Indra'; (the ukthalauds are) the sakamasva, the saubhara, and the narmedha (chanted) on: 'all (songs) have caused Indra to grow. There are 9 not-chanted kakubhs, 63 chanted ones. The rest is similar to the (normal) jyotistoma '. 1 7. On viraj they should lead on the uktha (laud)s for one who is desirous of obtaining food; on usnih (metre) the Brahman's saman; on anustubh (metre) the Acchavaka's saman; this (last thereby) becomes viraj ². 1 On verses of 30 syllables, although, in fact, here is applied a viraj of 3 * 11 syllables, (Ait. br. I. 6. 2) cp. note 1 on § 8. 2 The 21 virajs of the first uktha comprise 630, the 21 usnihs of the second comprise 588, the 21 anustubhs of the third comprise 672 syllables, together 1890 syllables, which number, being divided by 30 (the number of syllables of the viraj) yields 63 virajs. 13

8. The viraj is food; he (thereby) obtains food ¹. 1 Ksudrasutra (I. 6, No. 30): ' for one who desires food, the kaleya (must be chanted) on the tristich (RS. I. 3. 4-6: SV. II. 496-498) of which the middle (verse): 'Indra, impelled by prayer, come hither' is to be taken as the first (i.e. on SV. II. 497, 496, 498); the sakamasva (is chanted) on: 'he who illuminates the strong fortress' (RS. I. 149. 3-5=SV. II. 1124-1126, not in the purvar cika; viraj); on (the usnih verses): 'this intoxicating (draught) we announce to Indra', the saubhara; on 'all (songs) have caused Indra to grow', the narmedha. There are 9 not chanted virajs; 63 chanted ones (ep. note 2 on § 7). The rest is similar to the (normal) jyotistoma ³. 9. On aksarapanktis they should lead on the uktha (laud)s for one who desires precedence; on usnih(-metre) the Brahman's saman; on anustubh (metre) the Acchavaka's saman; this (last thereby) becomes anustubh ¹. 1 The reckoning is too intricate to be undertaken here; from the Ksudrasutra we gather that the three ukthas together must be equal to 56 aksarapanktis. 10. The anustubh is precedence; he (thereby) obtains precedence¹ 1 To §§ 9 and 10 refers the Ksudrasutra (I. 6, No. 31): 'for one who desires precedence, the kaleya (must be chanted) on: 'the singers chant unto thee'; on: ' he is pressed out who of goods' the sapha; (the ukthas are) the sakamasva on: 10 Agni, this (sacrifice) to day with hymns as a steed' (aksarapankti); the saubhara on: 'this intoxicating (draught) we announce to thee'; the narmedha on: 'all (songs) have caused Indra to grow'. There are 8 not-chanted anustubhs, 56 chanted ones. The rest is similar to the (normal) jyotistoma '.