| Philosophy and Religion / Satapatha Brahmana |
The Satapatha Brahmana: Tenth Kânda, First Adhyâya
The mystery of Agni, the fire-altar.
First Brâhmana
1. In the first place that Agni (the Fire-altar), the year, is built1; thereafter the Great Litany (mahad uktham) is recited2. When Pragâpati became relaxed, the vital fluid flowed upwards3.
2. Now, that Pragâpati who became relaxed is the year; and those joints of his which became relaxed are the days and nights.
3. And that Pragâpati who became relaxed is this very Fire-altar which here is built; and those joints of his, the days and nights, which became relaxed are no other than the bricks;--thus, when he lays down these (in the layers of the altar), he thereby restores to him those joints of his, the days and nights, which had become relaxed: and thus it is even in this (building of the altar) that this Yagus is built up4 and secured (for Pragâpati).
4. And that vital fluid (essence) of his which flowed upwards (became) the Great Litany: it is in quest of that vital fluid that (the priests) go by means of the Rik and Sâman. And when the Yagus marches in front in this (quest)5, it is in order to fetch something that that (Veda) goes--even as (one might say), 'That one thing there is mine, I will fetch it,' so does that Yagus go in front (or forward). That (vital fluid) they obtain in the course of a year6.
5. The Adhvaryu takes (draws) it by means of the Graha (Soma-cup); and inasmuch as he thereby takes (grab) it, it is (called) Graha7. The Udgâtri puts the vital fluid into it by means of the (sâman of the) Great Rite (mahâvrata8); but, indeed, the (sâman of the) Great Rite is (equivalent to) all these (other) sâmans (hymn-tunes): it is thus by means of all the hymn-tunes that he puts the vital fluid therein. The Hotri puts the vital fluid therein by means of the Great Litany; but, indeed, the Great Litany is the same as all these rik (hymn-verses)9: it is thus by means of all the hymn-verses that he puts the vital fluid into it (the Soma-cup).
6. When those (Udgâtris) chant (the stotra), and when he (the Hotri) recites (the sastra) afterwards, then he (the Adhvaryu) offers that (vital fluid, in the form of Soma) unto him (Agni-Pragâpati) at the Vashat-call; and thus this vital fluid enters him. For, indeed, they do not see it to be the Great Rite that lies there being praised, nor the Great Litany, but it is Agni alone they see; for Agni is the self (body), and thus those two, the Rik and the Sâman, enter him in the form of the vital fluid; and thus they both enter (join) the Yagus.
7. Now, that Agni (fire-altar) consists of pairs--the first layer and the second, and the third and fourth; and of the fifth layer the fire which is placed on the built (altar) is the mate. And, indeed, this body consists of pairs.
8. The thumbs (and great toes, 'aṅgushtha,' m.) are males, and the fingers and toes ('aṅguli,' f.) females; the ears ('karna' m.) are males, and the eyebrows ('bhrû,' f.) females; the lips ('oshtha,' m.) are males, and the nostrils ('nâsikâ,' f.) females; the teeth ('danta,' m.) are males, and the tongue ('gihvâ,' f.) is a female: indeed the whole (body) consists of pairs, and with this body, consisting of pairs, that (vital fluid) enters this Agni (the fire-altar), consisting of pairs10.
9. This, then, is the entering therein;--even thus, indeed, he (Agni) consists of pairs11; but in this way also he consists of pairs:--the fire-altar here built up is no other than this speech, for with speech it is built up; and the fire which is placed on the built (altar) is the breath; and the breath ('prâna,' m.) is the male, the mate, of speech ('vâk,' f.). And, indeed, this body is speech; and the breath which is in the body is its mate: with this mated body that (vital fluid) thus enters into the mated Agni.
10. This also is the entering therein;--there is indeed no fear of him (Agni) being without offspring to whosoever thus knows these two, the body and Agni, to be a pair; but, indeed, this body is food, as is said by the Rishi (Rig-veda X, 107, 7), 'The Dakshinâ winneth food which is our own self (breath).'
11. Now, this food, when eaten, becomes of two kinds,--that part of it which is immortal (remains) above the navel: by the upward vital airs it moves upwards and enters the air; but that part of it which is mortal tends to move away: it passes beyond the navel, and, having become twofold, enters this (earth), as urine and faeces. Now that which enters this (earth) enters the fire-altar12 built here; and that which enters the air enters that fire which is placed on the built (altar). This also is the entering therein.
Second Brâhmana
1. Pragâpati was desirous of gaining these worlds. He saw this bird-like body, the Fire-altar: he fashioned it, and thereby gained this (terrestrial) world. He saw a second bird-like body, the (chant of the) Great Rite13: he fashioned it, and thereby gained the air. He saw a third bird-like body, the Great Litany14: he fashioned it, and thereby gained the sky.
2. This built Fire-altar, doubtless, is this (terrestrial) world, the Great Rite the air, and the Great Litany the sky: all these, the Fire-altar, the Great Rite, and the Great Litany, one ought therefore to undertake together, for these worlds were created together; and as to why the Fire-altar is built first, it is because of these worlds this (terrestrial) one was created first. Thus with regard to the deity.
3. Now with regard to the body. The Fire-altar is the mind, the (chant of the) Great Rite the breath, and the Great Litany speech: all these one ought therefore to undertake together, for mind, breath, and speech belong together; as to why the Fire-altar is built first, it is because the mind is prior to the breathings.
4. The Fire-altar, indeed, is the body (trunk), the Great Rite the breath, and the Great Litany speech: all these one ought therefore to undertake together, for body, breath, and speech belong together; and as to why the Fire-altar is built first, it is because of him who is produced the trunk is produced first.
5. The Fire-altar, indeed, is the head, the Great Rite the breath, and the Great Litany the body: one ought therefore to undertake all these together, for head, breath, and body belong together; and as to why the Fire-altar is built first, it is because of him who is born the head is born first; and hence, whenever all these are undertaken together the Great Litany, indeed, is accounted the highest (âtamâm)15, for the Great Litany is the body (or self, âtman).
6. As to this they say, 'If all these are difficult to obtain together, what (means of) obtaining them is there?'--In the Gyotishtoma (form of the) Agnishtoma16: let him perform offering with the Gyotishtoma Agnishtoma.
7. In this Gyotishtoma Agnishtoma the Bahishpavamâna (stotra) is (in) the Trivrit (stoma)--that is the head of the rite; the two other Pavamânas are (in) the Pañkadasa and Saptadasa (stomas)--they are the two wings; the Hotri's Âgya (stotra) is (in) the Pañkadasa, the Prishtha (stotra in) the Saptadasa, and the Yagñâyagñiya (stotra in) the Ekavimsa (stoma)--they are the tail.
8. Now these two, the Pañkadasa and Saptadasa, have thirty-two hymn-verses: twenty-five of these are the twenty-five-fold body17; and the seven which remain over are the Parimâd (sâmans), for these are the cattle (or animals), (for) cattle are sporting all around us (pari-mâd18)--thus much, then, is the Great Rite: thereby he obtains the Great Rite even in this (Agnishtoma).
9. And the Hotri recites seven metres--each subsequent one-versed (metre) increasing by four (syllables)--with the Virâg as an eighth: these (eight) consist of three eighties and forty-five syllables. Now by the eighties thereof the eighties (of the mahad uktham)19 are obtained, for the Great Litany is counted (or recited) by eighties (of triplets); and of the forty-five (syllables which remain) twenty-five are this twenty-five-fold body20; and where the body is there, indeed, are (included) the head, and the wings and tail; and the twenty (syllables which remain) are the insertion21;--thus much, then, is the Great Litany: thereby he obtains the Great Litany even in this (Agnishtoma). All these (three) are indeed obtained in the Gyotishtoma Agnishtoma: let him, therefore, perform offering with the Gyotishtoma Agnishtoma.
Third Brâhmana
1. Pragâpati created living beings. From the out- (and in-) breathings he created the gods, and from the downward breathings the mortal beings; and above the (mortal) beings he created Death as their consumer.
2. Now, one half of that Pragâpati was mortal, and the other half immortal: with that part of him which was mortal he was afraid of death; and, being afraid, he became twofold, clay and water, and entered this (earth).
3. Death spake unto the gods saying, 'What has become of him who has created us?'--'Being afraid of thee, he has entered this (earth),' they said. He spake, 'Let us search for him, let us gather him up for I shall not injure him.' The gods gathered him from out of this (earth): that part of him which was in the water, they gathered as water, and that which was in this (earth, they gathered) as clay. Having gathered together both clay and water, they made a brick, whence a brick consists of both clay and water.
4. And, indeed, these five forms (bodily parts) of him are mortal--the hair on the mouth, the skin, the flesh, the bone, and the marrow; and these are immortal--the mind, the voice, the vital air; the eye, and the ear.
5. Now, that Pragâpati is no other than the Fire-altar which is here built up, and what five mortal parts there were of him, they are these layers of earth; and those which were immortal they are these layers of bricks.
6. The gods spake, 'Let us make him immortal!' Having encompassed that mortal form by those immortal forms of his, they made it immortal--the layer of earth by means of two layers of bricks: in like manner the second, the third, and the fourth (layers of earth).
7. And having laid down the fifth layer (of bricks), he (the Adhvaryu) scatters earth on it; thereon he lays the Vikarnî and the Svayamâtrinnâ, scatters chips of gold, and places the fire: that is the seventh layer, and that (part) is immortal; and in this way, having encompassed that mortal form of his by those two immortal forms, they made it immortal,--the layer of earth by means of two layers of bricks. Thereby, then, Pragâpati became immortal; and in like manner does the Sacrificer become immortal by making that body (of the altar) immortal.
8. But the gods knew not whether they had made him complete, or not; whether they had made him too large, or left him defective. They saw this verse (Vâg. S. XVIII, 76), 'The seat-hiding Agni, Indra, god Brahman, Brihaspati, and the wise All-gods may speed our sacrifice unto bliss!'
9. Of this (verse) one part is Agni's, one part Indra's, and one part the All-gods’;--with that part thereof which is Agni's they made up that part of him (Pragâpati) which is Agni's, and with Indra's (part) that which is Indra's, and with the All-gods’ (part) that which is the All-gods’: in this very (fire-altar) they thus made him up wholly and completely.
10. And when he stands by (the altar, worshipping it) with this (verse), he thereby secures (makes good) all that part of him (Pragâpati) which, whether he knows it or not, he either does in excess or insufficiently in this (fire-altar),--whatever has not been secured for him. The 'seat-hiding' (verse) is an Anushtubh, for the Anushtubh is speech, and the seat-hider is speech: it is by speech that he secures for him what was not secured for him. 'Let him approach (the altar with this verse) when he has covered a layer with earth,' say some, 'for then that (layer) becomes whole and complete.'
Fourth Brâhmana
1. Now, at the beginning, Pragâpati was (composed of) both these, the mortal and the immortal--his vital airs alone were immortal, his body mortal: by this sacrificial performance, and by this order of proceeding, he made his body uniformly undecaying and immortal. And in like manner is the Sacrificer (composed of) both the mortal and the immortal--his vital airs alone are immortal, his body mortal: by this sacrificial performance, and by this order of proceeding, he makes his body uniformly undecaying and immortal.
2. He lays down the first layer,--this, doubtless, is his out- (and in-) breathing22, and it is an immortal (element), for the out-breathing is something immortal: this, then, is an immortal layer. He then scatters loose soil thereon,--this, doubtless, is his marrow, and it is a mortal (element), for the marrow is mortal: he establishes it on that immortal (element), and thereby this part of him becomes immortal.
3. He lays down the second layer,--this, doubtless, is his downward breathing, and it is an immortal (element), for the downward breathing is something immortal: this, then, is an immortal layer. He thus encompasses that mortal (element) on both sides by an immortal one, and thereby that part of him becomes immortal. He then scatters loose soil thereon,--this, doubtless, is his bones, and it is a mortal (element), for the bone is mortal: he establishes it on that immortal (element), and thereby this part of him becomes immortal.
4. He lays down the third layer,--this, doubtless, is his through-breathing23, and it is an immortal (element), for the through-breathing is something immortal: this, then, is an immortal layer. He thus encompasses that mortal (element) on both sides by an immortal one, and thereby that part of him becomes immortal. He then scatters loose soil thereon,--this, doubtless, is his sinews, and it is a mortal (element), for the sinew is mortal: he establishes it on that immortal (element), and thereby this part of him becomes immortal.
5. He lays down the fourth layer,--this, doubtless, is his upward breathing24, and it is an immortal (element), for the upward breathing is something immortal: this, then, is an immortal layer. He thus encompasses that mortal (element) on both sides by an immortal one, and thereby that part of him becomes immortal. He then scatters loose soil thereon,--this, doubtless, is his flesh, and it is a mortal (element), for flesh is mortal: he establishes it on that immortal (element), and thereby this part of him becomes immortal.
6. He lays down the fifth layer,--this, doubtless, is his central (or pervading) breathing25, and it is an immortal (element), for the central breathing is something immortal: this, then, is an immortal layer. He thus encompasses that mortal (element) on both sides by an immortal one, and thereby that part of him becomes immortal. He then scatters loose soil thereon,--this, doubtless, is his fat, and it is a mortal (element), for the fat is mortal: he establishes it on that immortal (element), and thereby this part of him becomes immortal.
7. He lays down the sixth layer,--this, doubtless, is his voice, and it is an immortal (element), for the voice is something immortal: this, then, is an immortal layer. He thus encompasses that mortal (element) on both sides by an immortal one, and thereby that part of him becomes immortal. He then scatters loose soil thereon,--this, doubtless, is his blood and his skin, and it is a mortal (element), for blood is mortal, and skin is mortal: he establishes it on that immortal (element), and thereby this part of him becomes immortal.
8. These, then, are six layers of bricks, and six layers of earth, that makes twelve,--the year (consists of) twelve months, and Agni is the year: as great as Agni is, as great as is his measure, with so much did Pragâpati then make his body uniformly undecaying and immortal; and in like manner does the Sacrificer now make his body uniformly undecaying and immortal.
9. Having then laid down the Vikarnî and Svayamâtrinnâ, he scatters chips of gold, and places the fire thereon: Pragâpati then finally made a golden form for his body; and inasmuch as (he did so) finally, this was the final form of his body; whence people speak of 'the golden Pragâpati26.' And in like manner does the Sacrificer now finally make a golden form for his body; and inasmuch as (he does so) finally, this is the final form of his body; and hence, whether they know this or not, people say that the Agnikit (he who has built an altar) is born in yonder world as one made of gold27.
10. Now, on this point, Sândilya and Sâptarathavâhani, teacher and pupil, were once disputing with one another: 'This is his form,' said Sândilya; 'his hair,' said Sâptarathavâhani.
11. Sândilya said, 'Surely, there is a hairy form (as well as) a hairless form: his form it certainly is;' and this, indeed, is as Sândilya has said: when it (the altar) is completely built, Agni is led forward; and after he has been led forward, logs of wood28 are offered as 'oblations.'
12. By means of (the channel of) the out- (and in-) breathing the gods eat food, and Agni (the sacrificial fire) is the out-breathing of the gods; whence it is in front (of the sacrificial ground) that offering is made to the gods, for by means of the (channel of the) out-breathing the gods eat food. By means of the down-breathing men eat food, whence food is introduced into men (from the front) towards the back, for by their down-breathing men eat food.
13. Here, now, they say, 'He who has built an altar must not eat of any bird, for he who builds a fire-altar becomes of a bird's form; he would be apt to incur sickness: the Agnikit therefore must not eat of any bird.' Nevertheless, one who knows this may safely eat thereof; for he who builds an altar becomes of Agni's form, and, indeed, all food here belongs to Agni: whosoever knows this will know that all food belongs to him.
14. Here, now, they say, 'What is done here in (the building of) the altar, whereby the Sacrificer conquers recurring death?' Well, he who builds an altar becomes the deity Agni; and Agni (the fire), indeed, is the immortal (element);--the gods are splendour: he enters splendour; the gods are glory: he becomes glorious whosoever knows this.
Fifth Brâhmana
1. This built fire-altar, in truth, (includes) all these sacrifices:--when he slaughters an animal victim, that is the Agnyâdheya (establishment of the sacred fires)29; when he collects (the materials for) the fire-pan, that constitutes the oblations of the Agnyâdheya; when he performs the initiation, that is the Agnihotra; and when the initiated puts two logs on (the fire)30, these are the two oblations of the Agnihotra.
2. He puts them on in the evening and in the morning, for in the evening and in the morning the Agnihotra oblations are offered;--with one and the same formula, for with one and the same formula the two Agnihotra oblations are offered31. Then the driving about (of the fire in the pan32), and the taking down (to the water) of the ashes, these two (constitute) the New and Full-moon offerings; and when he builds the Gârhapatya hearth33, that is the Kâturmâsya (seasonal offerings); and what takes place from (the building of) the Gârhapatya up to the (sowing of) all-herb (seed34, that constitutes) the ishtis35, and what takes place after the all-herb (sowing) and prior to (the building of) the layers, that is the animal sacrifices36; and the Vishnu-strides37 which are (performed) at these sacrifices are just these Vishnu-strides; and what muttering of formulas there is that is the Vâtsapra38.
3. The first layer is the Soma-sacrifice; the second the Râgasûya as prior to the consecrations39; the third the Vâgapeya; the fourth the Asvamedha (horse-sacrifice); and the fifth the Agnisava40. Then the sâmans he sings around the built (altar) are the Mahâvrata(-sâman); the Udgâtri's preliminary muttering (of the text of his chants) on that occasion is the Satarudriya; the 'shower of wealth' the Great Litany; and what takes place subsequent to (the singing of) the sâmans, and prior to the shower of wealth, that is the Hotri's preliminary muttering on that occasion; and what takes place after the shower of wealth is the Grihamedhas41 (house-sacrifices). Such are all the sacrifices: these he secures by (building) the fire-altar.
4. Now, then, as to the powers (conferred by the performance) of sacrifices. Verily, he who (regularly) performs the Agnihotra eats food in the evening and in the morning (when he comes to be) in yonder world, for so much sustenance is there in that sacrifice. And he who performs the New and Full-moon sacrifice (eats food) every half-month; and he who performs the Seasonal sacrifice (does so) every four months; and be who performs the animal sacrifice (twice a year, eats food) every six months; and the Soma-sacrificer once a year; and the builder of the fire-altar at his pleasure eats food every hundred years, or abstains therefrom42; for a hundred years is as much as immortality43, unending and everlasting: and, verily, for him who knows this, there shall thus be immortality, unending and everlasting; and whatever he as much as touches, as it were, with a reed, shall be for him immortal, unending and everlasting.
Footnotes
1. Or, possibly, 'that Agni is built in a year,' as paragraph 4 might seem to suggest. Sâyana, however, takes it in the above sense,--eshoऽgnih Samvatsarâtmakah purastât pûrvam kiyate. The Agnikayana, when properly performed, requires a full year, whence Agni-Pragâpati is constantly identified with the year and the seasons.
2. According to Sâyana, the intermediate Mahâvrata-sâman (see note 1, p. 283), chanted prior to the recitation of the Mahad uktham, is likewise implied here.
3. Thus--ûrdhvalokam agakkhat--Sâyana takes 'agram.'
4. Viz. inasmuch as yagus-formulas have to be used with the laying down of many of the bricks (the so-called 'yagushmatîs'). Whilst, in the case of the Rik and Sâman, other rites are necessary to secure them for the restored Pragâpati, the Yagus is secured for him in the very act of building up his body, the fire-altar.
5. The Adhvaryu priest has to do all the practical work connected with the sacrificial performance, the building of the altar, &c.; and inasmuch as it is with yagus-formulas he does so throughout, the Yagus is said here to take the lead; cf. X, 3, 5, 3.
6. Viz. by means of the sacrificial session of sacrificing, chanting, and reciting, called 'Gavâm ayanam' (procession of the cows), lasting for one year, on the last day but one of which the Mahâvrata, or Great Rite, is performed.
7. The particular cup of Soma here referred to is the Mahâvratîya-graha, the special cup of the Great Rite; cf. X, 4, 1, 12 seq.
8. The central feature of the Mahâvrata consists in the chanting, at the mid-day service--as the Hotri's Prishtha-stotra--of the so-called Mahâvrata-sâman. It consists of five different parts which,--like those of which the Mahad uktham, recited after it, is composed,--are considered as representing different parts of Agni-Pragâpati's body, viz.: I. Gâyatra-sâman, representing the head; it is chanted in the trivrit-stoma (nine-versed hymn-form) and consists of the triplets, Sâma-v. II, 146-8 (= Rig-veda I, 7, 1-3: indram id gâthino brihat), II, 263-5 (indro dadhîko asthabhir), and II, 800-2 (ud ghed abhi srutâmagham); though, according to others, the Sâma-triplets corresponding to Rig-veda I, 7, I-9 may be chanted instead. 2. Rathantara-sâman (Sâma-v. II, 30-I), representing the right wing, chanted in the Pañkadasa-stoma, or fifteen-versed form. 3. Brihat-sâman (II, 159-60), the left wing, in the Saptadasa-stoma, or seventeen-versed form. 4. Bhadra-sâman (on II, 460-2; Of. Calc. ed., vol. v, p. 402), the tail, in the Ekavimsa, or twenty-one-versed form. 5. Râgana- sâman (on II, 833-5; cf. Calc. ed., vol. v, p. 449), the body (âtman), in the Pañkavimsa-stoma, or twenty-five-versed form; instead of this the Vâmadevya-sâman (on II, 32-4) may be chanted in the pañkanidhana form (Calc. ed., vol. v, p. 45I).--The chanting of this Stotra is preceded by the singing of thirteen sâmans, called parimâdah (see X, 1, 2, 8), followed by certain ceremonies--buckling armour on a nobleman, driving in a sunwise direction round the sacrificial ground, shooting arrows at two ox-hides, beating of drums, &c.--apparently symbolising the driving off of evil spirits from the sacrifice, or a combat for the possession of (the light of) the sun. The chanting itself is, according to some authorities, performed by the Udgâtris, whilst, according to others, all the priests (except the Hotri, for whom the Maitrâvaruna acts), as well as the Grihapati, or Sacrificer, take part in turn in the singing of the sâmans; the Prastotri and Pratihartri; assistants of the Udgâtri; joining in with the successive performers in the Nidhanas, or finales.
9. See p. 110, note 3; p. 112, note 1. During his recitation of the Great Litany, the Hotri is seated on a swing, the Adhvaryu making his responses whilst standing on a plank, and the Hotri's assistants being seated on bundles of grass.
10. Or, with this body as a mate it thus enters this Agni, its mate; literally, with this body forming one of a (productive) pair, it thus enters this Agni, forming one (i. e. the other) of a pair.
11. That is, he has in him the generative energy. Apparently 'mithuna,' m. has also the sense of paired,' 'mated,' i.e. 'one who has his complement or mate,' and so perhaps here.
12. Viz. inasmuch as the altar is built on the earth, and the latter forms its foundation. Comm.
13. The Mahâvrata-sâman and the Mahad uktham, as we have seen (p. 282, note 5; p. 111, note 1), are constructed so as to correspond to the different parts of the bird-like Agni-Pragâpati.
14. The Mahâvrata-sâman and the Mahad uktham, as we have seen (p. 282, note 5; p. 111, note 1), are constructed so as to correspond to the different parts of the bird-like Agni-Pragâpati.
15. The combination 'âtamâm khyâyate' is, as it were, the superlative of 'â-khyâyate;' cf. anutamâm gopâyati, X, 5, 2, 10; and Delbrück, Altind. Syntax, p. 194.
16. The Agnishtoma may be performed in three different modes, according to the variation of stomas (or hymn-forms) employed for the stotras (or chants). In the Gyotishtoma the order of stomas is that set forth in paragraph 7, viz.: a. Bahishpavamâna-stotra in the Trivrit (nine-versed); b. Âgya-stotras, and c. Mâdhyandina-pavamâna-stotra, in the Pañkadasa (fifteen-versed); d. Prishtha-stotras, and e. Ârbhava-pavamâna-stotra, in the Saptadasa (seventeen-versed); and f. Agnishtoma-sâman (Yagñâyagñiya) in the Ekavimsa (twenty-one-versed) stoma, or hymn-form. In the Goshtoma, on the other hand, the succession of stomas is a. Pañkadasa, b. Trivrit, c. d. Saptadasa, e. f. Ekavimsa; and in the Âyushtoma: a. Trivrit, b. Pañkadasa, (c. d.) Saptadasa, (e. f.) Ekavimsa. Cf. part ii, p. 402, note 4; for the scheme of Stotras (and Sastras), ib. p. 325, note 2. The Agnishtoma is singled out here for the reason that the Mahâvrata-day takes the form of an Agnishtoma sacrifice.
17. See p. 168, note 3.
18. Sâyana takes 'parimâd' here in the sense of 'a source of pleasure all around'--parito harshahetavah.--The Parimâdah are thirteen Sâmans sung (not chanted, in the proper sense of the word) by the Udgâtri, his two assistants joining merely in the Nidhanas or chorus-like passages. They are given, figured for chanting, in the Aranyagâna of the Sâma-veda (Calc. ed., ii, p. 387 seq.). This performance takes place immediately after the Adhvaryu has given the sign for, and the Udgâtri 'yoked,' the Mahâvrata-stotra or sâman (i. e. the Hotri's Prishthastotra of the Great Rite),--or, according to some authorities, before either the 'yoking,' or the Adhvaryu's summons,--and thus serves as an introduction to the central and chief element of the Great Rite, the Mahâvrata-sâman. According to the ritual symbolism, these preliminary sâmans are intended to supply the newly completed Pragâpati with hair (feathers) and nails; but the performance would rather seem to he a solemn mode of doing homage (upasthânam) to the different parts of the bird-like altar and the sacrificial ground; thus corresponding to a similar, though simpler, ceremony performed on the completion of the fire-altar in its simplest form, as described at IX, 1, 2, 35-43. On the present occasion the ceremony is performed in the following order: 1. near the head of the altar (the Âhavanîya fire) he sings the Prâna ('breath;' Sâma-v., vol. ii, p. 436); 2. near the tail the Apâna (downward-breathing, ii, p. 437); 3. 4. near the right and left wing the two Vratapakshau (ii, p. 438); 5. near the left armpit the Pragâpati-hridaya ('heart of Prag.,' ii, p. 499); 6. near the Kâtvâla or pit, the Vasishthasya Nihava (Sâma-v., vol. v, p. 602); 7. near the Âgnîdhra hearth the Satrasyarddhi ('success of the sacrificial session,' ii, p. 465); 8. 9. in front and behind the Havirdhâna carts, the Sloka and Anusloka (i, pp. 887-9); 10. towards the Mârgâlîya the Yâma (ii, p. 461); 11. 12. in front and behind the Sadas, the Âyus, and Navastobha (ii, pp. 450-51); 13. in front of the Gârhapatya the Risyasya sâman (ii, p. 324).
19. See p. 112, note 1.
20. Viz. the body, as consisting of the ten fingers, the ten toes, the arms and legs, and the trunk.
21. Towards the end of the Mahad Uktham, in the portion representing the thighs, nine trishtubh verses (Rig-veda III, 43, 1-8, and X, 55, 5) are inserted as an 'âvapanam..'
22. That is, the breath-proper, of the mouth and nose, passing upward into the air from the middle of the body.
23. The Vyâna, through-breathing, or circulating air, is the vital air which serves the upward air (or out- and in-breathing, prâna) and downward air (apana). Maitryup. II, 6 (Cowell).
24. Or, outward breathing,--'That which belches forth or keeps downwards the food eaten or drunken, this is the udâna;' Cowell, ib.
25. 'The Samâna (equalizing air) distributes the digested pieces through the limbs.' Maitryup. II, 6 (Cowell).
26. Apparently an allusion to Hiranyagarbha, the golden germ, or the golden egg (XI, I, 6, I), from which the Purusha, creator of the universe, arose. Cf. also Aitareyâr. II, I, 3, with Sâyana's commentary.
27. Sâyana assigns to 'hiranmaya' the meaning 'of a colour resembling gold' (hiranyasamânavarnah).
28. See IX, 2, 3, 36 seq.
29. Though no animal sacrifice takes place at the Agnyâdhâna, the latter, as the fundamental ceremony pre-supposed by all subsequent sacrificial performances, is here compared with the immolation of five victims (VI, 2, 1, 15 seq.) which, taking place as it does on the Upasavatha, or day of preparation, i.e. the day before the Soma-sacrifice on the newly built fire-altar, is, as it were, a preliminary ceremony.
30. This refers to the two samidhs (kindling-sticks) put on the Ukhya Agni,--one in the evening, and one in the morning,--after the ashes had been cleared out of the fire-pan (ukhâ); see VI, 6, 4, 1 seq.
31. Both in the evening and in the morning two libations of milk are offered (the pûrvâhuti and the uttarâhuti), but only the first is offered with a formula, the evening formula being, 'Agni is the light, the light is Agni, hail!' whilst the morning formula is, 'Sûrya is the light, the light is Sûrya, hail!' See II, 3, 1, 30. For alternative formulas--'With the divine Savitri, with the Night (or Dawn, respectively) wedded to Indra, may Agni (or Indra, respectively) graciously accept, hail!' see II, 3, 1, 37. 38.
32. See VI, 8, 1, 1 seq. Sâyana takes it to refer to the Agnipranayana, or leading forward of the fire to the fire-altar; but that would not fit in well with the ceremony next referred to, viz. the removal of the fishes of the Ukhyâgni, or fire in the pan; for which see VI, 8, 2, 1 seq.
33. VII, 1, 1, 1 seq.
34. Viz. on the newly ploughed altar-site, see VII, 2, 4, 13 seq.
35. That is, offerings for the fulfilment of some special wishes.
36. That is, animal sacrifices performed independently of other ceremonies.
37. See VI, 7, 2, 12 seq.
38. See VI, 7, 4, 1 seq.
39. That is, the ceremonies connected with the Vâgaprasavîya oblations, V, 2, 2, 4 seq.; and the devasû-havîmshi, or oblations to the Divine Quickeners (by whom the king is supposed to be first consecrated), V, 3, 3, 1 seq.
40. See IX, 3, 4, 7. 9. It is strange that the Agnisava should be mentioned here, as it is said to be confined to the Agnikayana. It would seem that some independent ceremony, such as the Brihaspatisava (consecration of Brihaspati, cf. V, 2, 1, 19; and part iii, introd. p. xxiv seq.), may he referred to.
41. Sâyana identifies these with the offerings of sacrificial sessions (sattra), during which the Sacrificer is indeed called the Grihapati, or master of the house; see IV, 6, 3, 5 seq.; and part ii, p. 97, note 1.
42. That is to say, the food eaten the first time will sustain him for a hundred years, after which time he may, or may not, take food, being sure of everlasting life and a godlike nature.
43. Or, perhaps, for so long lasts the Amrita (the food of the immortals);--agnim kitavân purushas tu satasamkhyâkeshu samvatsareshu teshu kâmam aparimitam asnâti yato yâvantah satam samvatsarâs tâvad amritam devatvaprâpakam anantam aparimitam annum bhavati. Sây.
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