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# Kauṣītaki (Śāṅkhāyana) Brāhmaṇa 23.11

Kauṣītakibrāhmaṇa 23.11

- **Language:** Sanskrit

### [23.11.1](https://indike.org/pramana/in.veda.brahmana.kausitaki.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.  
> — English (machine translation) (machine translation)

> 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)  
> — Arthur Berriedale Keith 1920, Rigveda Brahmanas: The Aitareya and Kauṣītaki Brāhmaṇas of the Rigveda (HOS 25)

### [23.11.2](https://indike.org/pramana/in.veda.brahmana.kausitaki.23.11.2)

āticchandasam vai ṣaṣṭham ahaḥ / (soma: pṛṣṭhya sadaha)

> The sixth day indeed belongs to the Aticchandas metre.  
> — English (machine translation) (machine translation)

> 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)  
> — Arthur Berriedale Keith 1920, Rigveda Brahmanas: The Aitareya and Kauṣītaki Brāhmaṇas of the Rigveda (HOS 25)

### [23.11.3](https://indike.org/pramana/in.veda.brahmana.kausitaki.23.11.3)

tat tṛtīya savanam aticchandā abhyaśnute /

> Thus the Aticchandas extends over the third pressing.  
> — English (machine translation) (machine translation)

> 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)  
> — Arthur Berriedale Keith 1920, Rigveda Brahmanas: The Aitareya and Kauṣītaki Brāhmaṇas of the Rigveda (HOS 25)

### [23.11.4](https://indike.org/pramana/in.veda.brahmana.kausitaki.23.11.4)

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

> Moreover, the sixth day indeed belongs to Prajāpati.  
> — English (machine translation) (machine translation)

> 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)  
> — Arthur Berriedale Keith 1920, Rigveda Brahmanas: The Aitareya and Kauṣītaki Brāhmaṇas of the Rigveda (HOS 25)

### [23.11.5](https://indike.org/pramana/in.veda.brahmana.kausitaki.23.11.5)

aticchandā vai prajāpatiḥ /

> Prajāpati is indeed the Aticchandas metre.  
> — English (machine translation) (machine translation)

> 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)  
> — Arthur Berriedale Keith 1920, Rigveda Brahmanas: The Aitareya and Kauṣītaki Brāhmaṇas of the Rigveda (HOS 25)

### [23.11.6](https://indike.org/pramana/in.veda.brahmana.kausitaki.23.11.6)

tat prājāpatyam rūpam /

> That is a form relating to Prajāpati.  
> — English (machine translation) (machine translation)

> 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)  
> — Arthur Berriedale Keith 1920, Rigveda Brahmanas: The Aitareya and Kauṣītaki Brāhmaṇas of the Rigveda (HOS 25)

### [23.11.7](https://indike.org/pramana/in.veda.brahmana.kausitaki.23.11.7)

abhivān anuvaras tasya uktam brāhmaṇam /

> It contains "unto"; it is a subsequent choice; the explanation of it has been stated.  
> — English (machine translation) (machine translation)

> 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)  
> — Arthur Berriedale Keith 1920, Rigveda Brahmanas: The Aitareya and Kauṣītaki Brāhmaṇas of the Rigveda (HOS 25)

### [23.11.8](https://indike.org/pramana/in.veda.brahmana.kausitaki.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.  
> — English (machine translation) (machine translation)

> 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)  
> — Arthur Berriedale Keith 1920, Rigveda Brahmanas: The Aitareya and Kauṣītaki Brāhmaṇas of the Rigveda (HOS 25)

> 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.  
> — Arthur Berriedale Keith 1920, Rigveda Brahmanas: The Aitareya and Kauṣītaki Brāhmaṇas of the Rigveda (HOS 25)

### [23.11.9](https://indike.org/pramana/in.veda.brahmana.kausitaki.23.11.9)

savitā savāya iti ninartiḥ /

> "Savitṛ, for impulsion" is a dancing-off.  
> — English (machine translation) (machine translation)

> 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.  
> — Arthur Berriedale Keith 1920, Rigveda Brahmanas: The Aitareya and Kauṣītaki Brāhmaṇas of the Rigveda (HOS 25)

### [23.11.10](https://indike.org/pramana/in.veda.brahmana.kausitaki.23.11.10)

antaḥ ṣaṣṭham ahaḥ /

> The sixth day is the end.  
> — English (machine translation) (machine translation)

> 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.  
> — Arthur Berriedale Keith 1920, Rigveda Brahmanas: The Aitareya and Kauṣītaki Brāhmaṇas of the Rigveda (HOS 25)

### [23.11.11](https://indike.org/pramana/in.veda.brahmana.kausitaki.23.11.11)

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

> Having reached the end, one, as it were, dances down.  
> — English (machine translation) (machine translation)

> 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.  
> — Arthur Berriedale Keith 1920, Rigveda Brahmanas: The Aitareya and Kauṣītaki Brāhmaṇas of the Rigveda (HOS 25)

### [23.11.12](https://indike.org/pramana/in.veda.brahmana.kausitaki.23.11.12)

kadryan hi tat iyāt /

> For whither could one go from there?  
> — English (machine translation) (machine translation)

> 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.  
> — Arthur Berriedale Keith 1920, Rigveda Brahmanas: The Aitareya and Kauṣītaki Brāhmaṇas of the Rigveda (HOS 25)

### [23.11.13](https://indike.org/pramana/in.veda.brahmana.kausitaki.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.  
> — English (machine translation) (machine translation)

> 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.  
> — Arthur Berriedale Keith 1920, Rigveda Brahmanas: The Aitareya and Kauṣītaki Brāhmaṇas of the Rigveda (HOS 25)

### [23.11.14](https://indike.org/pramana/in.veda.brahmana.kausitaki.23.11.14)

pūrva aparā iti ninartiḥ /

> "Former, latter" is a dancing-off.  
> — English (machine translation) (machine translation)

> 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.  
> — Arthur Berriedale Keith 1920, Rigveda Brahmanas: The Aitareya and Kauṣītaki Brāhmaṇas of the Rigveda (HOS 25)

### [23.11.15](https://indike.org/pramana/in.veda.brahmana.kausitaki.23.11.15)

antaḥ ṣaṣṭham ahaḥ / (soma: pṛṣṭhya sadaha)

> The sixth day is the end.  
> — English (machine translation) (machine translation)

> 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.  
> — Arthur Berriedale Keith 1920, Rigveda Brahmanas: The Aitareya and Kauṣītaki Brāhmaṇas of the Rigveda (HOS 25)

### [23.11.16](https://indike.org/pramana/in.veda.brahmana.kausitaki.23.11.16)

nīva vā antam gatvā nṛtyati /

> Having reached the end, one, as it were, dances down.  
> — English (machine translation) (machine translation)

> 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.  
> — Arthur Berriedale Keith 1920, Rigveda Brahmanas: The Aitareya and Kauṣītaki Brāhmaṇas of the Rigveda (HOS 25)

### [23.11.17](https://indike.org/pramana/in.veda.brahmana.kausitaki.23.11.17)

kadryan hi tata iyāt /

> For whither could one go from there?  
> — English (machine translation) (machine translation)

> 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.  
> — Arthur Berriedale Keith 1920, Rigveda Brahmanas: The Aitareya and Kauṣītaki Brāhmaṇas of the Rigveda (HOS 25)

### [23.11.18](https://indike.org/pramana/in.veda.brahmana.kausitaki.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.  
> — English (machine translation) (machine translation)

> 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.  
> — Arthur Berriedale Keith 1920, Rigveda Brahmanas: The Aitareya and Kauṣītaki Brāhmaṇas of the Rigveda (HOS 25)

### [23.11.19](https://indike.org/pramana/in.veda.brahmana.kausitaki.23.11.19)

śreṣṭho yaviṣṭha iti ninartiḥ /

> "Eldest, youngest" is a dancing-off.  
> — English (machine translation) (machine translation)

> 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.  
> — Arthur Berriedale Keith 1920, Rigveda Brahmanas: The Aitareya and Kauṣītaki Brāhmaṇas of the Rigveda (HOS 25)

### [23.11.20](https://indike.org/pramana/in.veda.brahmana.kausitaki.23.11.20)

antaḥ ṣaṣṭham ahaḥ /

> The sixth day is the end.  
> — English (machine translation) (machine translation)

> 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.  
> — Arthur Berriedale Keith 1920, Rigveda Brahmanas: The Aitareya and Kauṣītaki Brāhmaṇas of the Rigveda (HOS 25)

### [23.11.21](https://indike.org/pramana/in.veda.brahmana.kausitaki.23.11.21)

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

> Having reached the end, one, as it were, dances down.  
> — English (machine translation) (machine translation)

> 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.  
> — Arthur Berriedale Keith 1920, Rigveda Brahmanas: The Aitareya and Kauṣītaki Brāhmaṇas of the Rigveda (HOS 25)

### [23.11.22](https://indike.org/pramana/in.veda.brahmana.kausitaki.23.11.22)

kadryan hi tata iyāt /

> For whither could one go from there?  
> — English (machine translation) (machine translation)

> 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.  
> — Arthur Berriedale Keith 1920, Rigveda Brahmanas: The Aitareya and Kauṣītaki Brāhmaṇas of the Rigveda (HOS 25)

### [23.11.23](https://indike.org/pramana/in.veda.brahmana.kausitaki.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.  
> — English (machine translation) (machine translation)

> 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.  
> — Arthur Berriedale Keith 1920, Rigveda Brahmanas: The Aitareya and Kauṣītaki Brāhmaṇas of the Rigveda (HOS 25)

### [23.11.24](https://indike.org/pramana/in.veda.brahmana.kausitaki.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-.  
> — English (machine translation) (machine translation)

> 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.  
> — Arthur Berriedale Keith 1920, Rigveda Brahmanas: The Aitareya and Kauṣītaki Brāhmaṇas of the Rigveda (HOS 25)

### [23.11.25](https://indike.org/pramana/in.veda.brahmana.kausitaki.23.11.25)

tad anta rūpam /

> That is a characteristic of the end.  
> — English (machine translation) (machine translation)

> 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.  
> — Arthur Berriedale Keith 1920, Rigveda Brahmanas: The Aitareya and Kauṣītaki Brāhmaṇas of the Rigveda (HOS 25)

### [23.11.26](https://indike.org/pramana/in.veda.brahmana.kausitaki.23.11.26)

antaḥ ṣaṣṭham ahaḥ /

> The end is the sixth day.  
> — English (machine translation) (machine translation)

> 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.  
> — Arthur Berriedale Keith 1920, Rigveda Brahmanas: The Aitareya and Kauṣītaki Brāhmaṇas of the Rigveda (HOS 25)

### [23.11.27](https://indike.org/pramana/in.veda.brahmana.kausitaki.23.11.27)

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

> For having reached the end, one stands still, as it were;  
> — English (machine translation) (machine translation)

> 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.  
> — Arthur Berriedale Keith 1920, Rigveda Brahmanas: The Aitareya and Kauṣītaki Brāhmaṇas of the Rigveda (HOS 25)

### [23.11.28](https://indike.org/pramana/in.veda.brahmana.kausitaki.23.11.28)

kadryan hi tata iyāt /

> for whither would one go from there?  
> — English (machine translation) (machine translation)

> 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.  
> — Arthur Berriedale Keith 1920, Rigveda Brahmanas: The Aitareya and Kauṣītaki Brāhmaṇas of the Rigveda (HOS 25)

### [23.11.26\_2](https://indike.org/pramana/in.veda.brahmana.kausitaki.23.11.26_2)

antaḥ ṣaṣṭham ahaḥ /

> The end is the sixth day.  
> — English (machine translation) (machine translation)

### [23.11.27\_2](https://indike.org/pramana/in.veda.brahmana.kausitaki.23.11.27_2)

tiṣṭhati iva vā antam gatvā /

> For having reached the end, one stands still, as it were;  
> — English (machine translation) (machine translation)

### [23.11.28\_2](https://indike.org/pramana/in.veda.brahmana.kausitaki.23.11.28_2)

kadryan hi tata iyāt / (soma: pṛṣṭhya sadaha)

> for whither would one go from there?  
> — English (machine translation) (machine translation)

### [23.11.29](https://indike.org/pramana/in.veda.brahmana.kausitaki.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..."  
> — English (machine translation) (machine translation)

> 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.  
> — Arthur Berriedale Keith 1920, Rigveda Brahmanas: The Aitareya and Kauṣītaki Brāhmaṇas of the Rigveda (HOS 25)

_First 32 of 51 passages. [Read on](https://indike.org/pramana/in.veda.brahmana.kausitaki.23.11)_

## Translations (2)

- [Rigveda Brahmanas: The Aitareya and Kauṣītaki Brāhmaṇas of the Rigveda (HOS 25)](https://indike.org/pramana/in.veda.brahmana.kausitaki~en-keith.23.p15) — Arthur Berriedale Keith 1920, English
- [English (machine translation)](https://indike.org/pramana/in.veda.brahmana.kausitaki~en-mt.23.11.1) — English, machine translation

## Linked texts (1)

- [Aitareyabrāhmaṇa](https://indike.org/pramana/in.veda.brahmana.aitreya.5.13) — Mahidāsa Aitareya, Sanskrit

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Source: [https://indike.org/pramana/in.veda.brahmana.kausitaki.23.11](https://indike.org/pramana/in.veda.brahmana.kausitaki.23.11) · Pramāṇa