Satapatha-brahmana
by Julius Eggeling | 1882 | 730,838 words | ISBN-13: 9788120801134
This is Satapatha Brahmana XIII.1.5 English translation of the Sanskrit text, including a glossary of technical terms. This book defines instructions on Vedic rituals and explains the legends behind them. The four Vedas are the highest authortity of the Hindu lifestyle revolving around four castes (viz., Brahmana, Ksatriya, Vaishya and Shudra). Satapatha (also, Śatapatha, shatapatha) translates to “hundred paths”. This page contains the text of the 5th brahmana of kanda XIII, adhyaya 1.
Kanda XIII, adhyaya 1, brahmana 5
[Sanskrit text for this chapter is available]
1. But, indeed, distinction, royal sway, departs from him who performs the horse-sacrifice; and when a man attains to distinction, the lute is played to him. Two Brāhmaṇical lute-players sing (and play) for a year; for that--to wit, the lute--is a form (attribute) of distinction: it is distinction they thus confer upon him.
2. Concerning this they say, ‘Were both to be Brāhmaṇas who sing, noble rank (or political power) would depart from him; for he--to wit, a Brāhmaṇa--is a form of the priestly office; and the nobility takes no delight in the priestly office (or priesthood).
3. ‘And were both to be Rājanyas (nobles), spiritual lustre would depart from him; for he--to wit, the Rājanya--is a form of noble rank, and spiritual lustre takes no delight in noble rank.' One of those who sing is a Brāhmaṇa, and the other a Rājanya; for the Brāhmaṇa means priestly office, and the Rājanya noble rank: thus his distinction (social position) comes to be guarded on either side by the priesthood and the nobility.
4. Concerning this they say, ‘Were both to sing by day, his distinction would be apt to fall away from him: for that--to wit, the day--is a form of the priestly dignity; and when the king chooses he may oppress (despoil) the Brāhmaṇa, but he will fare the worse (or, become the poorer) for it.
5. 'And if both (were to sing) at night, spiritual lustre would fall away from him; for that--to wit, the night--is a form of the nobility, and spiritual lustre takes no delight in the nobility.' The Brāhmaṇa sings by day[1], and the Rājanya at night[2]; and thus, indeed, his distinction comes to be guarded on either side by the priesthood and the nobility[3].
6. 'Such sacrifices he offered,--such gifts he gave!' such (are the topics about which) the
Brāhmaṇa sings[4]; for to the Brāhmaṇa belongs the fulfilment of wishes[5]: it is with the fulfilment of wishes he (the Brāhmaṇa) thus endows him (the Sacrificer). 'Such war he waged,--such battle he won!' such (are the topics about which) the Rājanya sings; for the battle is the Rājanya's strength: it is with strength he thus endows him. Three stanzas the one sings, and three stanzas the other, they amount to six,--six seasons make up a year: he thus establishes (the Sacrificer) in the seasons, in the year. To both of them he presents a hundred; for man has a life of a hundred (years), and a hundred energies: it is vitality and energy, vital power, he confers upon him.
Footnotes and references:
[1]:
Viz. at the fore-offerings of the three cake-offerings (iṣṭis) to Savitṛ; whilst staying in the south part of the sacrificial ground.
[2]:
Viz. during the performance of the Dhṛtis after sunset.
[3]:
The 'iti' at the end belongs to the following paragraph.
[4]:
Cf. XIII, 4, 2, 8.
[5]:
The author apparently takes 'iṣṭāpūrta' in the sense of either 'sacrifice and fulfilment,' or 'the fulfilment of (the objects of) sacrifice.' Cf. Weber, Ind. Stud. IX, p. 319; X, p. 96.