Kauṣītaki (Śāṅkhāyana) Brāhmaṇa 23.11

23.11.1

abhi tyam devam savitāram oṇyoḥ kavi kratum ity aticchandasā vaiśvadevam pratipadyate /

"Unto that divine Savitṛ of the two worlds, wise in counsel"—with an Aticchandas verse he begins the Vaiśvadeva recitation.

xxiii. 8. 'To the god Savitṛ in the bowls, the sage', with this (verse) in a metre beyond the normal he begins the Vaiçvadeva; the sixth day is connected with a metre beyond the normal; the metre beyond the normal thus attains the third pressing. Moreover the sixth day is connected with Prajāpati; Prajāpati is beyond the normal metre; this is a symbol of Prajāpati. The antistrophe contains (the word) 'towards'; the explanation of this has been given. 'Up this god Savitṛ for instigation' is (the hymn)

23.11.2

āticchandasam vai ṣaṣṭham ahaḥ / (soma: pṛṣṭhya sadaha)

The sixth day indeed belongs to the Aticchandas metre.

xxiii. 8. 'To the god Savitṛ in the bowls, the sage', with this (verse) in a metre beyond the normal he begins the Vaiçvadeva; the sixth day is connected with a metre beyond the normal; the metre beyond the normal thus attains the third pressing. Moreover the sixth day is connected with Prajāpati; Prajāpati is beyond the normal metre; this is a symbol of Prajāpati. The antistrophe contains (the word) 'towards'; the explanation of this has been given. 'Up this god Savitṛ for instigation' is (the hymn)

23.11.3

tat tṛtīya savanam aticchandā abhyaśnute /

Thus the Aticchandas extends over the third pressing.

xxiii. 8. 'To the god Savitṛ in the bowls, the sage', with this (verse) in a metre beyond the normal he begins the Vaiçvadeva; the sixth day is connected with a metre beyond the normal; the metre beyond the normal thus attains the third pressing. Moreover the sixth day is connected with Prajāpati; Prajāpati is beyond the normal metre; this is a symbol of Prajāpati. The antistrophe contains (the word) 'towards'; the explanation of this has been given. 'Up this god Savitṛ for instigation' is (the hymn)

23.11.4

atho prājāpatyam vai ṣaṣṭham ahaḥ / (soma: pṛṣṭhya sadaha)

Moreover, the sixth day indeed belongs to Prajāpati.

xxiii. 8. 'To the god Savitṛ in the bowls, the sage', with this (verse) in a metre beyond the normal he begins the Vaiçvadeva; the sixth day is connected with a metre beyond the normal; the metre beyond the normal thus attains the third pressing. Moreover the sixth day is connected with Prajāpati; Prajāpati is beyond the normal metre; this is a symbol of Prajāpati. The antistrophe contains (the word) 'towards'; the explanation of this has been given. 'Up this god Savitṛ for instigation' is (the hymn)

23.11.5

aticchandā vai prajāpatiḥ /

Prajāpati is indeed the Aticchandas metre.

xxiii. 8. 'To the god Savitṛ in the bowls, the sage', with this (verse) in a metre beyond the normal he begins the Vaiçvadeva; the sixth day is connected with a metre beyond the normal; the metre beyond the normal thus attains the third pressing. Moreover the sixth day is connected with Prajāpati; Prajāpati is beyond the normal metre; this is a symbol of Prajāpati. The antistrophe contains (the word) 'towards'; the explanation of this has been given. 'Up this god Savitṛ for instigation' is (the hymn)

23.11.6

tat prājāpatyam rūpam /

That is a form relating to Prajāpati.

xxiii. 8. 'To the god Savitṛ in the bowls, the sage', with this (verse) in a metre beyond the normal he begins the Vaiçvadeva; the sixth day is connected with a metre beyond the normal; the metre beyond the normal thus attains the third pressing. Moreover the sixth day is connected with Prajāpati; Prajāpati is beyond the normal metre; this is a symbol of Prajāpati. The antistrophe contains (the word) 'towards'; the explanation of this has been given. 'Up this god Savitṛ for instigation' is (the hymn)

23.11.7

abhivān anuvaras tasya uktam brāhmaṇam /

It contains "unto"; it is a subsequent choice; the explanation of it has been stated.

xxiii. 8. 'To the god Savitṛ in the bowls, the sage', with this (verse) in a metre beyond the normal he begins the Vaiçvadeva; the sixth day is connected with a metre beyond the normal; the metre beyond the normal thus attains the third pressing. Moreover the sixth day is connected with Prajāpati; Prajāpati is beyond the normal metre; this is a symbol of Prajāpati. The antistrophe contains (the word) 'towards'; the explanation of this has been given. 'Up this god Savitṛ for instigation' is (the hymn)

23.11.8

ud u ṣya devaḥ savitā savāya iti sāvitram / (soma: pṛṣṭhya sadaha)

"Up that god Savitṛ, for impulsion" is the hymn to Savitṛ.

xxiii. 8. 'To the god Savitṛ in the bowls, the sage', with this (verse) in a metre beyond the normal he begins the Vaiçvadeva; the sixth day is connected with a metre beyond the normal; the metre beyond the normal thus attains the third pressing. Moreover the sixth day is connected with Prajāpati; Prajāpati is beyond the normal metre; this is a symbol of Prajāpati. The antistrophe contains (the word) 'towards'; the explanation of this has been given. 'Up this god Savitṛ for instigation' is (the hymn)

to Savitṛ; there is repetition in ‘Savitṛ for instigation’; the sixth day is the end; having gone to the end, he repeats as it were; for hence whitherward should he go? ‘Which is the first, which the latter of these two?’ is (the hymn) to sky and earth; there is repetition in ‘first’ and ‘latter’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Why hath the best, why hath the youngest come to us?’ is (the hymn) to the Ṛbhus; there is repetition in ‘best’ and ‘youngest’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘This dread thing be of glad speech’ is (the hymn) to the All-gods, containing (the word) ‘stand’ in ‘When making his parents, standing firm on liberality’; this is a symbol of the end; the sixth day is the end; having gone to the end, he stands still as it were, for hence whitherward should he go? Having left over the last two (verses), he throws in (the hymn) to Narāśaṅsa, ‘Those who through the sacrifice are adorned with the fee.’ The hymn is the body, (the hymn) to Narāśaṅsa is offspring and cattle; verily thus in the middle in the body he places both sets, offspring and cattle. ‘The dark day and the bright day’ is (the hymn) to Vaiçvānara; there is repetition in ‘and the bright day’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Forward the Maruts, devoted, with gleaming lances’ is (the hymn) to the Maruts; in that it has the same endings it is a symbol of the end. ‘This praise to Jātavedas who doth deserve it’ is (the hymn) to Jātavedas; in that it has the same endings it is a symbol of the end. ‘Let us not be harmed; let us not be harmed’ at the end is a symbol of freedom from harm. The waters with the sixth day they obtain, the Atichandas metre, the Trayastriṅça Stoma, the Raivata Sāman, the zenith quarter, the cool of the seasons, the All-gods, Prajāpati, born of the gods, the overlord.

23.11.9

savitā savāya iti ninartiḥ /

"Savitṛ, for impulsion" is a dancing-off.

to Savitṛ; there is repetition in ‘Savitṛ for instigation’; the sixth day is the end; having gone to the end, he repeats as it were; for hence whitherward should he go? ‘Which is the first, which the latter of these two?’ is (the hymn) to sky and earth; there is repetition in ‘first’ and ‘latter’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Why hath the best, why hath the youngest come to us?’ is (the hymn) to the Ṛbhus; there is repetition in ‘best’ and ‘youngest’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘This dread thing be of glad speech’ is (the hymn) to the All-gods, containing (the word) ‘stand’ in ‘When making his parents, standing firm on liberality’; this is a symbol of the end; the sixth day is the end; having gone to the end, he stands still as it were, for hence whitherward should he go? Having left over the last two (verses), he throws in (the hymn) to Narāśaṅsa, ‘Those who through the sacrifice are adorned with the fee.’ The hymn is the body, (the hymn) to Narāśaṅsa is offspring and cattle; verily thus in the middle in the body he places both sets, offspring and cattle. ‘The dark day and the bright day’ is (the hymn) to Vaiçvānara; there is repetition in ‘and the bright day’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Forward the Maruts, devoted, with gleaming lances’ is (the hymn) to the Maruts; in that it has the same endings it is a symbol of the end. ‘This praise to Jātavedas who doth deserve it’ is (the hymn) to Jātavedas; in that it has the same endings it is a symbol of the end. ‘Let us not be harmed; let us not be harmed’ at the end is a symbol of freedom from harm. The waters with the sixth day they obtain, the Atichandas metre, the Trayastriṅça Stoma, the Raivata Sāman, the zenith quarter, the cool of the seasons, the All-gods, Prajāpati, born of the gods, the overlord.

23.11.10

antaḥ ṣaṣṭham ahaḥ /

The sixth day is the end.

to Savitṛ; there is repetition in ‘Savitṛ for instigation’; the sixth day is the end; having gone to the end, he repeats as it were; for hence whitherward should he go? ‘Which is the first, which the latter of these two?’ is (the hymn) to sky and earth; there is repetition in ‘first’ and ‘latter’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Why hath the best, why hath the youngest come to us?’ is (the hymn) to the Ṛbhus; there is repetition in ‘best’ and ‘youngest’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘This dread thing be of glad speech’ is (the hymn) to the All-gods, containing (the word) ‘stand’ in ‘When making his parents, standing firm on liberality’; this is a symbol of the end; the sixth day is the end; having gone to the end, he stands still as it were, for hence whitherward should he go? Having left over the last two (verses), he throws in (the hymn) to Narāśaṅsa, ‘Those who through the sacrifice are adorned with the fee.’ The hymn is the body, (the hymn) to Narāśaṅsa is offspring and cattle; verily thus in the middle in the body he places both sets, offspring and cattle. ‘The dark day and the bright day’ is (the hymn) to Vaiçvānara; there is repetition in ‘and the bright day’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Forward the Maruts, devoted, with gleaming lances’ is (the hymn) to the Maruts; in that it has the same endings it is a symbol of the end. ‘This praise to Jātavedas who doth deserve it’ is (the hymn) to Jātavedas; in that it has the same endings it is a symbol of the end. ‘Let us not be harmed; let us not be harmed’ at the end is a symbol of freedom from harm. The waters with the sixth day they obtain, the Atichandas metre, the Trayastriṅça Stoma, the Raivata Sāman, the zenith quarter, the cool of the seasons, the All-gods, Prajāpati, born of the gods, the overlord.

23.11.11

nīva vā antam gatvā nṛtyati / (soma: pṛṣṭhya sadaha)

Having reached the end, one, as it were, dances down.

to Savitṛ; there is repetition in ‘Savitṛ for instigation’; the sixth day is the end; having gone to the end, he repeats as it were; for hence whitherward should he go? ‘Which is the first, which the latter of these two?’ is (the hymn) to sky and earth; there is repetition in ‘first’ and ‘latter’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Why hath the best, why hath the youngest come to us?’ is (the hymn) to the Ṛbhus; there is repetition in ‘best’ and ‘youngest’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘This dread thing be of glad speech’ is (the hymn) to the All-gods, containing (the word) ‘stand’ in ‘When making his parents, standing firm on liberality’; this is a symbol of the end; the sixth day is the end; having gone to the end, he stands still as it were, for hence whitherward should he go? Having left over the last two (verses), he throws in (the hymn) to Narāśaṅsa, ‘Those who through the sacrifice are adorned with the fee.’ The hymn is the body, (the hymn) to Narāśaṅsa is offspring and cattle; verily thus in the middle in the body he places both sets, offspring and cattle. ‘The dark day and the bright day’ is (the hymn) to Vaiçvānara; there is repetition in ‘and the bright day’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Forward the Maruts, devoted, with gleaming lances’ is (the hymn) to the Maruts; in that it has the same endings it is a symbol of the end. ‘This praise to Jātavedas who doth deserve it’ is (the hymn) to Jātavedas; in that it has the same endings it is a symbol of the end. ‘Let us not be harmed; let us not be harmed’ at the end is a symbol of freedom from harm. The waters with the sixth day they obtain, the Atichandas metre, the Trayastriṅça Stoma, the Raivata Sāman, the zenith quarter, the cool of the seasons, the All-gods, Prajāpati, born of the gods, the overlord.

23.11.12

kadryan hi tat iyāt /

For whither could one go from there?

to Savitṛ; there is repetition in ‘Savitṛ for instigation’; the sixth day is the end; having gone to the end, he repeats as it were; for hence whitherward should he go? ‘Which is the first, which the latter of these two?’ is (the hymn) to sky and earth; there is repetition in ‘first’ and ‘latter’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Why hath the best, why hath the youngest come to us?’ is (the hymn) to the Ṛbhus; there is repetition in ‘best’ and ‘youngest’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘This dread thing be of glad speech’ is (the hymn) to the All-gods, containing (the word) ‘stand’ in ‘When making his parents, standing firm on liberality’; this is a symbol of the end; the sixth day is the end; having gone to the end, he stands still as it were, for hence whitherward should he go? Having left over the last two (verses), he throws in (the hymn) to Narāśaṅsa, ‘Those who through the sacrifice are adorned with the fee.’ The hymn is the body, (the hymn) to Narāśaṅsa is offspring and cattle; verily thus in the middle in the body he places both sets, offspring and cattle. ‘The dark day and the bright day’ is (the hymn) to Vaiçvānara; there is repetition in ‘and the bright day’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Forward the Maruts, devoted, with gleaming lances’ is (the hymn) to the Maruts; in that it has the same endings it is a symbol of the end. ‘This praise to Jātavedas who doth deserve it’ is (the hymn) to Jātavedas; in that it has the same endings it is a symbol of the end. ‘Let us not be harmed; let us not be harmed’ at the end is a symbol of freedom from harm. The waters with the sixth day they obtain, the Atichandas metre, the Trayastriṅça Stoma, the Raivata Sāman, the zenith quarter, the cool of the seasons, the All-gods, Prajāpati, born of the gods, the overlord.

23.11.13

katarā pūrvā katarā aparāyor iti dyāvā pṛthivīyam /

"Which of the two is former, which of the two is latter?" is the hymn to Heaven and Earth.

to Savitṛ; there is repetition in ‘Savitṛ for instigation’; the sixth day is the end; having gone to the end, he repeats as it were; for hence whitherward should he go? ‘Which is the first, which the latter of these two?’ is (the hymn) to sky and earth; there is repetition in ‘first’ and ‘latter’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Why hath the best, why hath the youngest come to us?’ is (the hymn) to the Ṛbhus; there is repetition in ‘best’ and ‘youngest’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘This dread thing be of glad speech’ is (the hymn) to the All-gods, containing (the word) ‘stand’ in ‘When making his parents, standing firm on liberality’; this is a symbol of the end; the sixth day is the end; having gone to the end, he stands still as it were, for hence whitherward should he go? Having left over the last two (verses), he throws in (the hymn) to Narāśaṅsa, ‘Those who through the sacrifice are adorned with the fee.’ The hymn is the body, (the hymn) to Narāśaṅsa is offspring and cattle; verily thus in the middle in the body he places both sets, offspring and cattle. ‘The dark day and the bright day’ is (the hymn) to Vaiçvānara; there is repetition in ‘and the bright day’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Forward the Maruts, devoted, with gleaming lances’ is (the hymn) to the Maruts; in that it has the same endings it is a symbol of the end. ‘This praise to Jātavedas who doth deserve it’ is (the hymn) to Jātavedas; in that it has the same endings it is a symbol of the end. ‘Let us not be harmed; let us not be harmed’ at the end is a symbol of freedom from harm. The waters with the sixth day they obtain, the Atichandas metre, the Trayastriṅça Stoma, the Raivata Sāman, the zenith quarter, the cool of the seasons, the All-gods, Prajāpati, born of the gods, the overlord.

23.11.14

pūrva aparā iti ninartiḥ /

"Former, latter" is a dancing-off.

to Savitṛ; there is repetition in ‘Savitṛ for instigation’; the sixth day is the end; having gone to the end, he repeats as it were; for hence whitherward should he go? ‘Which is the first, which the latter of these two?’ is (the hymn) to sky and earth; there is repetition in ‘first’ and ‘latter’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Why hath the best, why hath the youngest come to us?’ is (the hymn) to the Ṛbhus; there is repetition in ‘best’ and ‘youngest’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘This dread thing be of glad speech’ is (the hymn) to the All-gods, containing (the word) ‘stand’ in ‘When making his parents, standing firm on liberality’; this is a symbol of the end; the sixth day is the end; having gone to the end, he stands still as it were, for hence whitherward should he go? Having left over the last two (verses), he throws in (the hymn) to Narāśaṅsa, ‘Those who through the sacrifice are adorned with the fee.’ The hymn is the body, (the hymn) to Narāśaṅsa is offspring and cattle; verily thus in the middle in the body he places both sets, offspring and cattle. ‘The dark day and the bright day’ is (the hymn) to Vaiçvānara; there is repetition in ‘and the bright day’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Forward the Maruts, devoted, with gleaming lances’ is (the hymn) to the Maruts; in that it has the same endings it is a symbol of the end. ‘This praise to Jātavedas who doth deserve it’ is (the hymn) to Jātavedas; in that it has the same endings it is a symbol of the end. ‘Let us not be harmed; let us not be harmed’ at the end is a symbol of freedom from harm. The waters with the sixth day they obtain, the Atichandas metre, the Trayastriṅça Stoma, the Raivata Sāman, the zenith quarter, the cool of the seasons, the All-gods, Prajāpati, born of the gods, the overlord.

23.11.15

antaḥ ṣaṣṭham ahaḥ / (soma: pṛṣṭhya sadaha)

The sixth day is the end.

to Savitṛ; there is repetition in ‘Savitṛ for instigation’; the sixth day is the end; having gone to the end, he repeats as it were; for hence whitherward should he go? ‘Which is the first, which the latter of these two?’ is (the hymn) to sky and earth; there is repetition in ‘first’ and ‘latter’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Why hath the best, why hath the youngest come to us?’ is (the hymn) to the Ṛbhus; there is repetition in ‘best’ and ‘youngest’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘This dread thing be of glad speech’ is (the hymn) to the All-gods, containing (the word) ‘stand’ in ‘When making his parents, standing firm on liberality’; this is a symbol of the end; the sixth day is the end; having gone to the end, he stands still as it were, for hence whitherward should he go? Having left over the last two (verses), he throws in (the hymn) to Narāśaṅsa, ‘Those who through the sacrifice are adorned with the fee.’ The hymn is the body, (the hymn) to Narāśaṅsa is offspring and cattle; verily thus in the middle in the body he places both sets, offspring and cattle. ‘The dark day and the bright day’ is (the hymn) to Vaiçvānara; there is repetition in ‘and the bright day’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Forward the Maruts, devoted, with gleaming lances’ is (the hymn) to the Maruts; in that it has the same endings it is a symbol of the end. ‘This praise to Jātavedas who doth deserve it’ is (the hymn) to Jātavedas; in that it has the same endings it is a symbol of the end. ‘Let us not be harmed; let us not be harmed’ at the end is a symbol of freedom from harm. The waters with the sixth day they obtain, the Atichandas metre, the Trayastriṅça Stoma, the Raivata Sāman, the zenith quarter, the cool of the seasons, the All-gods, Prajāpati, born of the gods, the overlord.

23.11.16

nīva vā antam gatvā nṛtyati /

Having reached the end, one, as it were, dances down.

to Savitṛ; there is repetition in ‘Savitṛ for instigation’; the sixth day is the end; having gone to the end, he repeats as it were; for hence whitherward should he go? ‘Which is the first, which the latter of these two?’ is (the hymn) to sky and earth; there is repetition in ‘first’ and ‘latter’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Why hath the best, why hath the youngest come to us?’ is (the hymn) to the Ṛbhus; there is repetition in ‘best’ and ‘youngest’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘This dread thing be of glad speech’ is (the hymn) to the All-gods, containing (the word) ‘stand’ in ‘When making his parents, standing firm on liberality’; this is a symbol of the end; the sixth day is the end; having gone to the end, he stands still as it were, for hence whitherward should he go? Having left over the last two (verses), he throws in (the hymn) to Narāśaṅsa, ‘Those who through the sacrifice are adorned with the fee.’ The hymn is the body, (the hymn) to Narāśaṅsa is offspring and cattle; verily thus in the middle in the body he places both sets, offspring and cattle. ‘The dark day and the bright day’ is (the hymn) to Vaiçvānara; there is repetition in ‘and the bright day’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Forward the Maruts, devoted, with gleaming lances’ is (the hymn) to the Maruts; in that it has the same endings it is a symbol of the end. ‘This praise to Jātavedas who doth deserve it’ is (the hymn) to Jātavedas; in that it has the same endings it is a symbol of the end. ‘Let us not be harmed; let us not be harmed’ at the end is a symbol of freedom from harm. The waters with the sixth day they obtain, the Atichandas metre, the Trayastriṅça Stoma, the Raivata Sāman, the zenith quarter, the cool of the seasons, the All-gods, Prajāpati, born of the gods, the overlord.

23.11.17

kadryan hi tata iyāt /

For whither could one go from there?

to Savitṛ; there is repetition in ‘Savitṛ for instigation’; the sixth day is the end; having gone to the end, he repeats as it were; for hence whitherward should he go? ‘Which is the first, which the latter of these two?’ is (the hymn) to sky and earth; there is repetition in ‘first’ and ‘latter’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Why hath the best, why hath the youngest come to us?’ is (the hymn) to the Ṛbhus; there is repetition in ‘best’ and ‘youngest’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘This dread thing be of glad speech’ is (the hymn) to the All-gods, containing (the word) ‘stand’ in ‘When making his parents, standing firm on liberality’; this is a symbol of the end; the sixth day is the end; having gone to the end, he stands still as it were, for hence whitherward should he go? Having left over the last two (verses), he throws in (the hymn) to Narāśaṅsa, ‘Those who through the sacrifice are adorned with the fee.’ The hymn is the body, (the hymn) to Narāśaṅsa is offspring and cattle; verily thus in the middle in the body he places both sets, offspring and cattle. ‘The dark day and the bright day’ is (the hymn) to Vaiçvānara; there is repetition in ‘and the bright day’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Forward the Maruts, devoted, with gleaming lances’ is (the hymn) to the Maruts; in that it has the same endings it is a symbol of the end. ‘This praise to Jātavedas who doth deserve it’ is (the hymn) to Jātavedas; in that it has the same endings it is a symbol of the end. ‘Let us not be harmed; let us not be harmed’ at the end is a symbol of freedom from harm. The waters with the sixth day they obtain, the Atichandas metre, the Trayastriṅça Stoma, the Raivata Sāman, the zenith quarter, the cool of the seasons, the All-gods, Prajāpati, born of the gods, the overlord.

23.11.18

kim u śreṣṭhaḥ kim yaviṣṭho na ājagann ity ārbhavam / (soma: pṛṣṭhya sadaha)

"Has the eldest, has the youngest come to us?" is the hymn to the Ṛbhus.

to Savitṛ; there is repetition in ‘Savitṛ for instigation’; the sixth day is the end; having gone to the end, he repeats as it were; for hence whitherward should he go? ‘Which is the first, which the latter of these two?’ is (the hymn) to sky and earth; there is repetition in ‘first’ and ‘latter’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Why hath the best, why hath the youngest come to us?’ is (the hymn) to the Ṛbhus; there is repetition in ‘best’ and ‘youngest’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘This dread thing be of glad speech’ is (the hymn) to the All-gods, containing (the word) ‘stand’ in ‘When making his parents, standing firm on liberality’; this is a symbol of the end; the sixth day is the end; having gone to the end, he stands still as it were, for hence whitherward should he go? Having left over the last two (verses), he throws in (the hymn) to Narāśaṅsa, ‘Those who through the sacrifice are adorned with the fee.’ The hymn is the body, (the hymn) to Narāśaṅsa is offspring and cattle; verily thus in the middle in the body he places both sets, offspring and cattle. ‘The dark day and the bright day’ is (the hymn) to Vaiçvānara; there is repetition in ‘and the bright day’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Forward the Maruts, devoted, with gleaming lances’ is (the hymn) to the Maruts; in that it has the same endings it is a symbol of the end. ‘This praise to Jātavedas who doth deserve it’ is (the hymn) to Jātavedas; in that it has the same endings it is a symbol of the end. ‘Let us not be harmed; let us not be harmed’ at the end is a symbol of freedom from harm. The waters with the sixth day they obtain, the Atichandas metre, the Trayastriṅça Stoma, the Raivata Sāman, the zenith quarter, the cool of the seasons, the All-gods, Prajāpati, born of the gods, the overlord.

23.11.19

śreṣṭho yaviṣṭha iti ninartiḥ /

"Eldest, youngest" is a dancing-off.

to Savitṛ; there is repetition in ‘Savitṛ for instigation’; the sixth day is the end; having gone to the end, he repeats as it were; for hence whitherward should he go? ‘Which is the first, which the latter of these two?’ is (the hymn) to sky and earth; there is repetition in ‘first’ and ‘latter’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Why hath the best, why hath the youngest come to us?’ is (the hymn) to the Ṛbhus; there is repetition in ‘best’ and ‘youngest’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘This dread thing be of glad speech’ is (the hymn) to the All-gods, containing (the word) ‘stand’ in ‘When making his parents, standing firm on liberality’; this is a symbol of the end; the sixth day is the end; having gone to the end, he stands still as it were, for hence whitherward should he go? Having left over the last two (verses), he throws in (the hymn) to Narāśaṅsa, ‘Those who through the sacrifice are adorned with the fee.’ The hymn is the body, (the hymn) to Narāśaṅsa is offspring and cattle; verily thus in the middle in the body he places both sets, offspring and cattle. ‘The dark day and the bright day’ is (the hymn) to Vaiçvānara; there is repetition in ‘and the bright day’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Forward the Maruts, devoted, with gleaming lances’ is (the hymn) to the Maruts; in that it has the same endings it is a symbol of the end. ‘This praise to Jātavedas who doth deserve it’ is (the hymn) to Jātavedas; in that it has the same endings it is a symbol of the end. ‘Let us not be harmed; let us not be harmed’ at the end is a symbol of freedom from harm. The waters with the sixth day they obtain, the Atichandas metre, the Trayastriṅça Stoma, the Raivata Sāman, the zenith quarter, the cool of the seasons, the All-gods, Prajāpati, born of the gods, the overlord.

23.11.20

antaḥ ṣaṣṭham ahaḥ /

The sixth day is the end.

to Savitṛ; there is repetition in ‘Savitṛ for instigation’; the sixth day is the end; having gone to the end, he repeats as it were; for hence whitherward should he go? ‘Which is the first, which the latter of these two?’ is (the hymn) to sky and earth; there is repetition in ‘first’ and ‘latter’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Why hath the best, why hath the youngest come to us?’ is (the hymn) to the Ṛbhus; there is repetition in ‘best’ and ‘youngest’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘This dread thing be of glad speech’ is (the hymn) to the All-gods, containing (the word) ‘stand’ in ‘When making his parents, standing firm on liberality’; this is a symbol of the end; the sixth day is the end; having gone to the end, he stands still as it were, for hence whitherward should he go? Having left over the last two (verses), he throws in (the hymn) to Narāśaṅsa, ‘Those who through the sacrifice are adorned with the fee.’ The hymn is the body, (the hymn) to Narāśaṅsa is offspring and cattle; verily thus in the middle in the body he places both sets, offspring and cattle. ‘The dark day and the bright day’ is (the hymn) to Vaiçvānara; there is repetition in ‘and the bright day’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Forward the Maruts, devoted, with gleaming lances’ is (the hymn) to the Maruts; in that it has the same endings it is a symbol of the end. ‘This praise to Jātavedas who doth deserve it’ is (the hymn) to Jātavedas; in that it has the same endings it is a symbol of the end. ‘Let us not be harmed; let us not be harmed’ at the end is a symbol of freedom from harm. The waters with the sixth day they obtain, the Atichandas metre, the Trayastriṅça Stoma, the Raivata Sāman, the zenith quarter, the cool of the seasons, the All-gods, Prajāpati, born of the gods, the overlord.

23.11.21

nīva vā antam gatvā nṛtyati / (soma: pṛṣṭhya sadaha)

Having reached the end, one, as it were, dances down.

to Savitṛ; there is repetition in ‘Savitṛ for instigation’; the sixth day is the end; having gone to the end, he repeats as it were; for hence whitherward should he go? ‘Which is the first, which the latter of these two?’ is (the hymn) to sky and earth; there is repetition in ‘first’ and ‘latter’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Why hath the best, why hath the youngest come to us?’ is (the hymn) to the Ṛbhus; there is repetition in ‘best’ and ‘youngest’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘This dread thing be of glad speech’ is (the hymn) to the All-gods, containing (the word) ‘stand’ in ‘When making his parents, standing firm on liberality’; this is a symbol of the end; the sixth day is the end; having gone to the end, he stands still as it were, for hence whitherward should he go? Having left over the last two (verses), he throws in (the hymn) to Narāśaṅsa, ‘Those who through the sacrifice are adorned with the fee.’ The hymn is the body, (the hymn) to Narāśaṅsa is offspring and cattle; verily thus in the middle in the body he places both sets, offspring and cattle. ‘The dark day and the bright day’ is (the hymn) to Vaiçvānara; there is repetition in ‘and the bright day’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Forward the Maruts, devoted, with gleaming lances’ is (the hymn) to the Maruts; in that it has the same endings it is a symbol of the end. ‘This praise to Jātavedas who doth deserve it’ is (the hymn) to Jātavedas; in that it has the same endings it is a symbol of the end. ‘Let us not be harmed; let us not be harmed’ at the end is a symbol of freedom from harm. The waters with the sixth day they obtain, the Atichandas metre, the Trayastriṅça Stoma, the Raivata Sāman, the zenith quarter, the cool of the seasons, the All-gods, Prajāpati, born of the gods, the overlord.

23.11.22

kadryan hi tata iyāt /

For whither could one go from there?

to Savitṛ; there is repetition in ‘Savitṛ for instigation’; the sixth day is the end; having gone to the end, he repeats as it were; for hence whitherward should he go? ‘Which is the first, which the latter of these two?’ is (the hymn) to sky and earth; there is repetition in ‘first’ and ‘latter’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Why hath the best, why hath the youngest come to us?’ is (the hymn) to the Ṛbhus; there is repetition in ‘best’ and ‘youngest’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘This dread thing be of glad speech’ is (the hymn) to the All-gods, containing (the word) ‘stand’ in ‘When making his parents, standing firm on liberality’; this is a symbol of the end; the sixth day is the end; having gone to the end, he stands still as it were, for hence whitherward should he go? Having left over the last two (verses), he throws in (the hymn) to Narāśaṅsa, ‘Those who through the sacrifice are adorned with the fee.’ The hymn is the body, (the hymn) to Narāśaṅsa is offspring and cattle; verily thus in the middle in the body he places both sets, offspring and cattle. ‘The dark day and the bright day’ is (the hymn) to Vaiçvānara; there is repetition in ‘and the bright day’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Forward the Maruts, devoted, with gleaming lances’ is (the hymn) to the Maruts; in that it has the same endings it is a symbol of the end. ‘This praise to Jātavedas who doth deserve it’ is (the hymn) to Jātavedas; in that it has the same endings it is a symbol of the end. ‘Let us not be harmed; let us not be harmed’ at the end is a symbol of freedom from harm. The waters with the sixth day they obtain, the Atichandas metre, the Trayastriṅça Stoma, the Raivata Sāman, the zenith quarter, the cool of the seasons, the All-gods, Prajāpati, born of the gods, the overlord.

23.11.23

idam itthā raudram gūrta vacā iti vaiśvadevam /

"Thus this Rudra-like [hymn], with esteemed speech" is the hymn to the All-Gods.

to Savitṛ; there is repetition in ‘Savitṛ for instigation’; the sixth day is the end; having gone to the end, he repeats as it were; for hence whitherward should he go? ‘Which is the first, which the latter of these two?’ is (the hymn) to sky and earth; there is repetition in ‘first’ and ‘latter’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Why hath the best, why hath the youngest come to us?’ is (the hymn) to the Ṛbhus; there is repetition in ‘best’ and ‘youngest’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘This dread thing be of glad speech’ is (the hymn) to the All-gods, containing (the word) ‘stand’ in ‘When making his parents, standing firm on liberality’; this is a symbol of the end; the sixth day is the end; having gone to the end, he stands still as it were, for hence whitherward should he go? Having left over the last two (verses), he throws in (the hymn) to Narāśaṅsa, ‘Those who through the sacrifice are adorned with the fee.’ The hymn is the body, (the hymn) to Narāśaṅsa is offspring and cattle; verily thus in the middle in the body he places both sets, offspring and cattle. ‘The dark day and the bright day’ is (the hymn) to Vaiçvānara; there is repetition in ‘and the bright day’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Forward the Maruts, devoted, with gleaming lances’ is (the hymn) to the Maruts; in that it has the same endings it is a symbol of the end. ‘This praise to Jātavedas who doth deserve it’ is (the hymn) to Jātavedas; in that it has the same endings it is a symbol of the end. ‘Let us not be harmed; let us not be harmed’ at the end is a symbol of freedom from harm. The waters with the sixth day they obtain, the Atichandas metre, the Trayastriṅça Stoma, the Raivata Sāman, the zenith quarter, the cool of the seasons, the All-gods, Prajāpati, born of the gods, the overlord.

23.11.24

krāṇā yad asya pitarā maṃhaneṣṭhā iti sthitavat / (soma: pṛṣṭhya sadaha)

"When the two parents were fashioned, standing in generosity" contains [a form of the root] sthā-.

to Savitṛ; there is repetition in ‘Savitṛ for instigation’; the sixth day is the end; having gone to the end, he repeats as it were; for hence whitherward should he go? ‘Which is the first, which the latter of these two?’ is (the hymn) to sky and earth; there is repetition in ‘first’ and ‘latter’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Why hath the best, why hath the youngest come to us?’ is (the hymn) to the Ṛbhus; there is repetition in ‘best’ and ‘youngest’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘This dread thing be of glad speech’ is (the hymn) to the All-gods, containing (the word) ‘stand’ in ‘When making his parents, standing firm on liberality’; this is a symbol of the end; the sixth day is the end; having gone to the end, he stands still as it were, for hence whitherward should he go? Having left over the last two (verses), he throws in (the hymn) to Narāśaṅsa, ‘Those who through the sacrifice are adorned with the fee.’ The hymn is the body, (the hymn) to Narāśaṅsa is offspring and cattle; verily thus in the middle in the body he places both sets, offspring and cattle. ‘The dark day and the bright day’ is (the hymn) to Vaiçvānara; there is repetition in ‘and the bright day’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Forward the Maruts, devoted, with gleaming lances’ is (the hymn) to the Maruts; in that it has the same endings it is a symbol of the end. ‘This praise to Jātavedas who doth deserve it’ is (the hymn) to Jātavedas; in that it has the same endings it is a symbol of the end. ‘Let us not be harmed; let us not be harmed’ at the end is a symbol of freedom from harm. The waters with the sixth day they obtain, the Atichandas metre, the Trayastriṅça Stoma, the Raivata Sāman, the zenith quarter, the cool of the seasons, the All-gods, Prajāpati, born of the gods, the overlord.

23.11.25

tad anta rūpam /

That is a characteristic of the end.

to Savitṛ; there is repetition in ‘Savitṛ for instigation’; the sixth day is the end; having gone to the end, he repeats as it were; for hence whitherward should he go? ‘Which is the first, which the latter of these two?’ is (the hymn) to sky and earth; there is repetition in ‘first’ and ‘latter’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Why hath the best, why hath the youngest come to us?’ is (the hymn) to the Ṛbhus; there is repetition in ‘best’ and ‘youngest’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘This dread thing be of glad speech’ is (the hymn) to the All-gods, containing (the word) ‘stand’ in ‘When making his parents, standing firm on liberality’; this is a symbol of the end; the sixth day is the end; having gone to the end, he stands still as it were, for hence whitherward should he go? Having left over the last two (verses), he throws in (the hymn) to Narāśaṅsa, ‘Those who through the sacrifice are adorned with the fee.’ The hymn is the body, (the hymn) to Narāśaṅsa is offspring and cattle; verily thus in the middle in the body he places both sets, offspring and cattle. ‘The dark day and the bright day’ is (the hymn) to Vaiçvānara; there is repetition in ‘and the bright day’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Forward the Maruts, devoted, with gleaming lances’ is (the hymn) to the Maruts; in that it has the same endings it is a symbol of the end. ‘This praise to Jātavedas who doth deserve it’ is (the hymn) to Jātavedas; in that it has the same endings it is a symbol of the end. ‘Let us not be harmed; let us not be harmed’ at the end is a symbol of freedom from harm. The waters with the sixth day they obtain, the Atichandas metre, the Trayastriṅça Stoma, the Raivata Sāman, the zenith quarter, the cool of the seasons, the All-gods, Prajāpati, born of the gods, the overlord.

23.11.26

antaḥ ṣaṣṭham ahaḥ /

The end is the sixth day.

to Savitṛ; there is repetition in ‘Savitṛ for instigation’; the sixth day is the end; having gone to the end, he repeats as it were; for hence whitherward should he go? ‘Which is the first, which the latter of these two?’ is (the hymn) to sky and earth; there is repetition in ‘first’ and ‘latter’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Why hath the best, why hath the youngest come to us?’ is (the hymn) to the Ṛbhus; there is repetition in ‘best’ and ‘youngest’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘This dread thing be of glad speech’ is (the hymn) to the All-gods, containing (the word) ‘stand’ in ‘When making his parents, standing firm on liberality’; this is a symbol of the end; the sixth day is the end; having gone to the end, he stands still as it were, for hence whitherward should he go? Having left over the last two (verses), he throws in (the hymn) to Narāśaṅsa, ‘Those who through the sacrifice are adorned with the fee.’ The hymn is the body, (the hymn) to Narāśaṅsa is offspring and cattle; verily thus in the middle in the body he places both sets, offspring and cattle. ‘The dark day and the bright day’ is (the hymn) to Vaiçvānara; there is repetition in ‘and the bright day’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Forward the Maruts, devoted, with gleaming lances’ is (the hymn) to the Maruts; in that it has the same endings it is a symbol of the end. ‘This praise to Jātavedas who doth deserve it’ is (the hymn) to Jātavedas; in that it has the same endings it is a symbol of the end. ‘Let us not be harmed; let us not be harmed’ at the end is a symbol of freedom from harm. The waters with the sixth day they obtain, the Atichandas metre, the Trayastriṅça Stoma, the Raivata Sāman, the zenith quarter, the cool of the seasons, the All-gods, Prajāpati, born of the gods, the overlord.

23.11.27

tiṣṭhati iva vā antam gatvā / (soma: pṛṣṭhya sadaha)

For having reached the end, one stands still, as it were;

to Savitṛ; there is repetition in ‘Savitṛ for instigation’; the sixth day is the end; having gone to the end, he repeats as it were; for hence whitherward should he go? ‘Which is the first, which the latter of these two?’ is (the hymn) to sky and earth; there is repetition in ‘first’ and ‘latter’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Why hath the best, why hath the youngest come to us?’ is (the hymn) to the Ṛbhus; there is repetition in ‘best’ and ‘youngest’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘This dread thing be of glad speech’ is (the hymn) to the All-gods, containing (the word) ‘stand’ in ‘When making his parents, standing firm on liberality’; this is a symbol of the end; the sixth day is the end; having gone to the end, he stands still as it were, for hence whitherward should he go? Having left over the last two (verses), he throws in (the hymn) to Narāśaṅsa, ‘Those who through the sacrifice are adorned with the fee.’ The hymn is the body, (the hymn) to Narāśaṅsa is offspring and cattle; verily thus in the middle in the body he places both sets, offspring and cattle. ‘The dark day and the bright day’ is (the hymn) to Vaiçvānara; there is repetition in ‘and the bright day’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Forward the Maruts, devoted, with gleaming lances’ is (the hymn) to the Maruts; in that it has the same endings it is a symbol of the end. ‘This praise to Jātavedas who doth deserve it’ is (the hymn) to Jātavedas; in that it has the same endings it is a symbol of the end. ‘Let us not be harmed; let us not be harmed’ at the end is a symbol of freedom from harm. The waters with the sixth day they obtain, the Atichandas metre, the Trayastriṅça Stoma, the Raivata Sāman, the zenith quarter, the cool of the seasons, the All-gods, Prajāpati, born of the gods, the overlord.

23.11.28

kadryan hi tata iyāt /

for whither would one go from there?

to Savitṛ; there is repetition in ‘Savitṛ for instigation’; the sixth day is the end; having gone to the end, he repeats as it were; for hence whitherward should he go? ‘Which is the first, which the latter of these two?’ is (the hymn) to sky and earth; there is repetition in ‘first’ and ‘latter’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Why hath the best, why hath the youngest come to us?’ is (the hymn) to the Ṛbhus; there is repetition in ‘best’ and ‘youngest’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘This dread thing be of glad speech’ is (the hymn) to the All-gods, containing (the word) ‘stand’ in ‘When making his parents, standing firm on liberality’; this is a symbol of the end; the sixth day is the end; having gone to the end, he stands still as it were, for hence whitherward should he go? Having left over the last two (verses), he throws in (the hymn) to Narāśaṅsa, ‘Those who through the sacrifice are adorned with the fee.’ The hymn is the body, (the hymn) to Narāśaṅsa is offspring and cattle; verily thus in the middle in the body he places both sets, offspring and cattle. ‘The dark day and the bright day’ is (the hymn) to Vaiçvānara; there is repetition in ‘and the bright day’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Forward the Maruts, devoted, with gleaming lances’ is (the hymn) to the Maruts; in that it has the same endings it is a symbol of the end. ‘This praise to Jātavedas who doth deserve it’ is (the hymn) to Jātavedas; in that it has the same endings it is a symbol of the end. ‘Let us not be harmed; let us not be harmed’ at the end is a symbol of freedom from harm. The waters with the sixth day they obtain, the Atichandas metre, the Trayastriṅça Stoma, the Raivata Sāman, the zenith quarter, the cool of the seasons, the All-gods, Prajāpati, born of the gods, the overlord.

23.11.26_2

antaḥ ṣaṣṭham ahaḥ /

The end is the sixth day.

23.11.27_2

tiṣṭhati iva vā antam gatvā /

For having reached the end, one stands still, as it were;

23.11.28_2

kadryan hi tata iyāt / (soma: pṛṣṭhya sadaha)

for whither would one go from there?

23.11.29

tasya dve pariśiṣya ye yajñena dakṣiṇayā samaktā ity etam nārāśaṃsam āvapati / (soma: pṛṣṭhya sadaha)

Leaving aside two [verses] of it, he inserts this Nārāśaṃsa [hymn], "They who are anointed through sacrifice and fee..."

to Savitṛ; there is repetition in ‘Savitṛ for instigation’; the sixth day is the end; having gone to the end, he repeats as it were; for hence whitherward should he go? ‘Which is the first, which the latter of these two?’ is (the hymn) to sky and earth; there is repetition in ‘first’ and ‘latter’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Why hath the best, why hath the youngest come to us?’ is (the hymn) to the Ṛbhus; there is repetition in ‘best’ and ‘youngest’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘This dread thing be of glad speech’ is (the hymn) to the All-gods, containing (the word) ‘stand’ in ‘When making his parents, standing firm on liberality’; this is a symbol of the end; the sixth day is the end; having gone to the end, he stands still as it were, for hence whitherward should he go? Having left over the last two (verses), he throws in (the hymn) to Narāśaṅsa, ‘Those who through the sacrifice are adorned with the fee.’ The hymn is the body, (the hymn) to Narāśaṅsa is offspring and cattle; verily thus in the middle in the body he places both sets, offspring and cattle. ‘The dark day and the bright day’ is (the hymn) to Vaiçvānara; there is repetition in ‘and the bright day’; the sixth day is the end; having gone to the end, he repeats as it were, for hence whitherward should he go? ‘Forward the Maruts, devoted, with gleaming lances’ is (the hymn) to the Maruts; in that it has the same endings it is a symbol of the end. ‘This praise to Jātavedas who doth deserve it’ is (the hymn) to Jātavedas; in that it has the same endings it is a symbol of the end. ‘Let us not be harmed; let us not be harmed’ at the end is a symbol of freedom from harm. The waters with the sixth day they obtain, the Atichandas metre, the Trayastriṅça Stoma, the Raivata Sāman, the zenith quarter, the cool of the seasons, the All-gods, Prajāpati, born of the gods, the overlord.