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SECOND ADHYÂYA.
1. The two trikas, Rv. VIII, 68, 1-3, â tvâ ratham yathotaye, and Rv. VIII, 2, 1-3, idam vaso sutam andhah, form the first (pratipad) and the second (anukara) of the Marutvatîya hymn.
2. Both, as belonging to the one-day ceremonial [^397], are perfect in form. On that day much is done now and then which has to be hidden, and has to be atoned for. Atonement is rest, the one-day sacrifice. Therefore at the end of the year the sacrificers rest on this atonement as their rest. He who knows this rests firm, and they also for whom a Hotri priest who knows this, recites this hymn [1].
3. In the second verse of (the Pragâtha [2]), indra nedîya ed ihi, pra sû tirâ sakîbhir ye ta ukthinah (Rv. VIII, 53, 5, 6), there occurs the word ukthinah, reciters of hymns [3]. Verily, this day (the mahâvrata) is an uktha (hymn), and as endowed with an uktha, the form of this day is perfect.
4. In the first verse (of another Pragâtha) the word vîra, strong, occurs (Rv. I, 40, 3), and as endowed with the word vîra, strong, the form of this day is perfect. [ p. 167 ] 5. In the second verse (of another Pragâtha) the word suvîryam, strength, occurs (Rv. I. 40, 1), and as endowed with the word suvîrya, strength, the form of this day is perfect.
6. In the first verse (of another Pragâtha) the word ukthyam, to be hymned, occurs (Rv. I, 40, 5). Verily, this day is an uktha, and as endowed with an uktha, the form of this day is perfect.
7. In the (Dhayyâ) verse agnir netâ (Rv. III, 2 0, 4) the word vritrahâ, killer of Vritra, occurs. The killing of Vritra is a form (character) of Indra, this day (the mahâvrata) belongs to Indra, and this is the (perfect) form of that day.
8. In the (Dhayyâ) verse tvam soma kratubhih sukratur bhûh (Rv. I, 91, 2) the word vrishâ [4], powerful, occurs. Powerful is a form (character) of Indra, this day belongs to Indra, and this is the (perfect) form of that day.
9. In the (Dhayyâ) verse pinvanty apah (Rv. I, 64, 6) the word vâginam, endowed with food, occurs. Endowed with food is a form (character) of Indra, this day belongs to Indra, and this is the (perfect) form of that day.
10. In the same verse the word stanayantam, thundering, occurs. Endowed with thundering is a form (character) of Indra, this day belongs to Indra, and this is the (perfect) form of that day.
11. In (the Pragâtha) pra va indrâya brihate (Rv. VIII, 89, 3) (the word brihat occurs). Verily, brihat is mahat (great), and as endowed with mahat, great, the form of this day (mahâvrata) is perfect.
12. In (the Pragâtha) brihad indrâya gâyata (Rv. VIII, 89, 1) [ p. 168 ] (the word brihat occurs). Verily, brihat is mahat (great), and as endowed with mahat, the form of this day is perfect.
13. In (the Pragâtha) nakih sudâso ratham pary âsa na rîramad (Rv. VII, 32, 10) the words paryâsa (he moved round) and na rîramad (he did not enjoy) occur, and as endowed with the words paryasta and rânti the form of this day is perfect [5].
He recites all (these) Pragâthas, in order to obtain all the days (of the sacrifice), all the Ukthas [6], all the Prishthas [7], all the Sastras [8], all the Pra-ugas [9], and all the Savanas (libations).
1. He recites the hymn, asat su me garitah sâbhivegah (Rv. X, 27, 1), (and in. it the word) satyadhvritam, the destroyer of truth. Verily, that day [ p. 169 ] is truth, and as endowed with the word satya, truth, the form of this day is perfect [11].
2. That hymn is composed by Vasukra. Verily, Vasukra is Brahman, and that day is Brahman. Thus he obtains Brahman by means of Brahman [12].
3. Here they say: ‘Why then is that Marutvatîya, hymn completed by the hymn of Vasukra?’ Surely because no other Rishi but Vasukra brought out a Marutvatîya hymn, or divided it properly [13]. Therefore that Marutvatîya hymn is completed by the hymn of Vasukra.
4. That hymn, asat su me, is not definitely addressed to any deity, and is therefore supposed to be addressed to Pragâpati. Verily, Pragâpati is indefinite, and therefore the hymn serves to win Pragâpati.
5. Once in the hymn (Rv. X, 27, 22) he defines Indra (indrâya sunvat); therefore it does not fall off from its form, as connected with Indra.
6. He recites the hymn (Rv. VI, 17, 1) pibâ somam abhi yam ugra tardah.
7. In the verse ûrvam gavyam mahi grinâna indra the word mahi, great, occurs. Endowed with the word mahat, the form of this day is perfect.
8. That hymn is composed by Bharadvâga, and Bharadvâga was he who knew most, who lived longest, and performed the greatest austerities among the Rishis, and by this hymn he drove away evil. Therefore if he recites the hymn of Bharadvâga, [ p. 170 ] then, after having driven away evil, he becomes learned, long-lived, and full of austerities.
9. He recites the hymn kayâ subhâ savayasah sanîlâh (Rv. I, 165, 1).
10. In the verse â sâsate prati haryanty ukthâ (Rv. I, 165, 4) the word uktha occurs. Verily, that day (the mahâvrata) is uktha (hymn). Endowed with the word uktha, the form of this day becomes perfect.
11. That hymn is called Kayâsubhîya [14]. Verily, that hymn, which is called Kayâsubhîya, is mutual understanding and it is lasting. By means of it Indra, Agastya, and the Maruts came to a mutual understanding. Therefore, if he recites the Kayâsubhîya hymn, it serves for mutual understanding.
12. The same hymn is also long life. Therefore, if the sacrificer is dear to the Hotri, let him recite the Kayâsubhîya hymn for him.
13. He recites the hymn marutvân indra vrishabo ranâya (Rv. III, 47, 1).
14. In it the words indra vrishabha (powerful) occur. Verily, powerful is a form of Indra [15], this day belongs to Indra, and this is the perfect form of that day.
15. That hymn is composed by Visvâmitra. Verily, Visvâmitra was the friend (mitra) of all (visva).
16. Everybody is the friend of him who knows this, and for whom a Hotri priest who knows this, recites this hymn.
17. The next hymn, ganishthâ ugrah sahase turâya (Rv. I, 73, 1), forms a Nividdhâna [16], and, [ p. 171 ] according to the one-day (ekâha) ceremonial, is perfect in form. On that day much is done now and then which has to be hidden, and has to be atoned for (by recitation of hymns). Atonement is rest, the one-day sacrifice. Therefore at the end of the year (on the last day but one of the sacrifice that lasts a whole year) the sacrificers rest on this atonement as their rest.
He who knows this rests firm, and they also for whom a Hotri priest who knows this, recites this hymn [17].
18. These, if recited straight on, are ninety-seven verses [18]. The ninety are three Virâg, each consisting of thirty, and then the seven verses which are over. Whatever is the praise of the seven, is the praise of ninety also. [ p. 172 ] 19. By repeating the first and last verses three times each, they become one hundred and one verses.
20. There are five fingers, of four joints each, two pits (in the elbow and the arm), the arm, the eye, the shoulder-blade; this makes twenty-five. The other three parts have likewise twenty-five each [19]. That makes a hundred, and the trunk is the one hundred and first.
21. Hundred is life, health, strength, brightness. The sacrificer as the one hundred and first rests in life, health, strength, and brightness.
22. These verses become Trishtubh [20], for the noonday-libation consists of Trishtubh verses.
1. They say: ‘What is the meaning of preṅkha, swing?’ Verily, he is the swing, who blows (the wind). He indeed goes forward (pra + iṅkhate) in these worlds, and that is why the swing is called preṅkha.
2. Some say, that there should be one plank, because the wind blows in one way, and it should be like the wind.
3. That is not to be regarded.
4. Some say, there should be three planks, because there are these three threefold worlds, and it should be like them. [ p. 173 ] 5. That is not to be regarded.
6. Let there be two, for these two worlds (the earth and heaven) are seen as if most real, while the ether (space) between the two is the sky (antariksha). Therefore let there be two planks.
7. Let them be made of Udumbara wood. Verily, the Udumbara tree is sap and eatable food, and thus it serves to obtain sap and eatable food.
8. Let them be elevated in the middle (between the earth and the cross-beam). Food, if placed in the middle, delights man, and thus he places the sacrificer in the middle of eatable food.
9. There are two kinds of rope, twisted towards the right and twisted towards the left. The right ropes serve for some animals, the left ropes for others. If there are both kinds of rope, they serve for the attainment of both kinds of cattle.
10. Let them be made of Darbha (Kusa grass), for among plants Darbha is free from evil, therefore they should be made of Darbha grass.
1. Some say: ‘Let the swing be one ell (aratni) above the ground, for by that measure verily the Svarga worlds are measured.’ That is not to be regarded.
2. Others say: ‘Let it be one span (prâdesa), for by that measure verily the vital airs were measured.’ That is not to be regarded [22].
3. Let it be one fist (mushti), for by that measure verily all eatable food is made, and by that measure [ p. 174 ] all eatable food is taken; therefore let it be one fist above the ground.
4. They say: ‘Let him mount the swing from east to west, like he who shines; for the sun mounts these worlds from east to west.’ That is not to be regarded.
5. Others say: ‘Let him mount the swing sideways, for people mount a horse sideways [23], thinking that thus they will obtain all desires.’ That is not to be regarded.
6. They say: ‘Let him mount the swing [24] from behind, for people mount a ship from behind, and this swing is a ship in which to go to heaven.’ Therefore let him mount it from behind.
7. Let him touch the swing with his chin (khubuka). The parrot (suka) thus mounts a tree, and he is of all birds the one who eats most food. Therefore let him touch it with his chin.
8. Let him mount the swing with his arms [25]. The hawk swoops thus on birds and on trees, and he is of all birds the strongest. Therefore let him mount with his arms.
9. Let him not withdraw one foot (the right or left) from the earth, for fear that he may lose his hold.
10. The Hotri mounts the swing, the Udgâtri the seat made of Udumbara wood. The swing is masculine, the seat feminine, and they form a union. Thus he makes a union at the beginning of the uktha in order to get offspring.
[ p. 175 ]
He who knows this, gets offspring and cattle.
12. Next the swing is food, the seat fortune. Thus he mounts and obtains food and fortune.
13. The Hotrakas (the Prasâstri, Brâhmanâk_kham_sin, Potri, Neshtri, Agnâdhra, and Akkhâvâka) together with the Brahman sit down on cushions made of grass, reeds, leaves, &c.
14. Plants and trees, after they have grown up, bear fruit. Thus if the priests mount on that day altogether (on their seats), they mount on solid and fluid as their proper food. Therefore this serves for the attainment of solid as proper food [26].
15. Some say: 'Let him descend after saying vashat [27]. 'That is not to be regarded. For, verily, that respect is not shown which is shown to one who does not see it [28].
16. Others say: ‘Let him descend after he has taken the food in his hand.’ That is not to be regarded. For, verily, that respect is not shown which is shown to one after he has approached quite close.
17. Let him descend after he has seen the food. For, verily, that is real respect which is shown to one when he sees it. Only after having actually [ p. 176 ] seen the food (that is brought to the sacrifice), let him descend from the swing.
18. Let him descend turning towards the east, for in the east the seed of the gods springs up [29]. Therefore let him rise turning towards the east, yea, turning towards the east.
| Aitareya-Âranyaka — First Âranyaka — First Adhyâya. | Title page | Aitareya-Âranyaka — First Âranyaka — Third Adhyâya. |
166:1 In the first adhyâya the two hymns to be recited by the Hotri priest at the morning-libation (the âgya and pra-uga sastra) have been considered. Now follows the Marutvatîya hymn, to be recited by the Hotri priest at the noon-libation. ↩︎
166:2 Taken from the Agnishtoma. ↩︎
166:3 Cf. I, 1, 3, 7-8. ↩︎
166:4 All these Pragâthas consist of two verses expanded into a trika. ↩︎
166:5 Hotrâdaya ukthinah sastrinah. ↩︎
167:1 Cf. I, 2, 2, 14. ↩︎
168:1 Because the performance of the Mahâvrata sacrifice moves the worshipper round to another world and gives him enjoyment. Comm. It is difficult to surpass the absurdity of these explanations. Na rîramat means no one stopped the chariot of Sudâs. But even if it meant that no one rejoiced through the chariot of Sudâs, it would be difficult to see how the negative of enjoyment, mentioned in the hymn, could contribute to the perfection of a sacrifice which is to confer positive enjoyment on the worshipper. ↩︎
168:2 The stotras following after the Yagñâyagñîya Sâman, serving for the ukthya-kratus. ↩︎
168:3 The stotras of the noon-libation, to be performed with the Rathantara, Brihat, and other Sâmans. ↩︎
168:4 The sastras, recitations, accompanying the oblations of âgya. ↩︎
168:5 The pra-ugas, a division of sastras, described above. ↩︎
168:6 The type after which the Marutvatîya-sastra is to be performed is the Katurvimsa day. Hitherto (from â tvâ ratham to nakih sudâsah), all that is taken over from the type to the modification, i. e. the Marutvatîya, has been explained. Now follow the verses which are new and peculiar to the Marutvatîya of the Mahâvrata. ↩︎
169:1 The commentator endeavours to make the meaning more natural by taking in the word prahantâ, he who kills the destroyer of truth. But considering the general character of these remarks, this is hardly necessary. ↩︎
169:2 Cf. I, 1, 3, 3. ↩︎
169:3 By separating the first trika from the second, and so forth. ↩︎
170:1 Cf. Ait. Brâhm. V, 16. ↩︎
170:2 Cf. Ait. Âr. II, 2, 1, 8. ↩︎
170:3 The hymn consists of eleven verses. In the middle, after the sixth verse, nivids or invocations, such as indro marutvân, are inserted, and therefore it is called a nividdhâna hymn. ↩︎
171:1 With this hymn the Marutvatîya-sastra is finished. All the hymns from â tvâ ratham to asat su me garitar are simply taken over from the Katurvimsa ceremonial, the rest are peculiar to the Mahâvrata day, the day preceding the Udayanîya or final day of the Gavâmayana sattra. All this is more fully described in the fifth Âranyaka (V, 1, 1, 8), containing the Sûtras or rules of Saunaka, while the earlier Âranyakas are reckoned as Brâhmanas, and are therefore mixed up with matters not actually required for the performance of the sacrifice. ↩︎
171:2 The first Stotriya and Ânurûpa trikas = 6 (I, 2, 1, 1).
The six Pragâthas, each of 2 verses raised to 3 (but the text gives seven Pragâthas) = 18 (I, 2, 1, 3; 4; 5; 6; 11; 12; 13).
Three Dhâyyâs = 3 (I, 2, 1, 7; 8; 9).
Asat su = 24 (I, 2, 2, 1).
Pibâ somam = 15 (I,2,2,6).
Kayâ subhâ = 15 (I, 2,2,9).
Marutvân indra = 5 (I, 2, 2, 13).
Ganishthâ ugrah = 11 (1, 2, 2, 17).
(TOTAL) 97 ↩︎
172:1 The left side as well as the right, and then the left and right side of the lower body. Thus we have twenty joints of the five toes, a thigh, a leg, and three joints, making twenty-five on each side. ↩︎
172:2 Approach the Trishtubh metre of the last hymn. Comm. ↩︎
172:3 After having considered the Marutvatîya, he proceeds to consider the Nishkevalya. This has to be recited by the Hotri while sitting on a swing. ↩︎
173:1 They rise one span above the heart, and they proceed one span from out the mouth. Comm. ↩︎
174:1 Here we have clearly riding on horseback. ↩︎
174:2 While the swing points to the east, let him stand west, and thus mount. ↩︎
174:3 The fore-arms, from the elbow to the end, the aratnî. Comm. ↩︎
175:1 One expects ishah before ûrgah, but it is wanting in both text and commentary, and in other MSS. also. ↩︎
175:2 The word by which the Hotri invites the Adhvaryu to offer the oblation to the gods. The descending from the swing belongs, of course, to a later part of the sacrifice. ↩︎