Kauṣītaki (Śāṅkhāyana) Brāhmaṇa 23.11
English (machine translation) 23.11
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23.11.1
"Unto that divine Savitṛ of the two worlds, wise in counsel"—with an Aticchandas verse he begins the Vaiśvadeva recitation.
23.11.2
The sixth day indeed belongs to the Aticchandas metre.
23.11.3
Thus the Aticchandas extends over the third pressing.
23.11.4
Moreover, the sixth day indeed belongs to Prajāpati.
23.11.5
Prajāpati is indeed the Aticchandas metre.
23.11.6
That is a form relating to Prajāpati.
23.11.7
It contains "unto"; it is a subsequent choice; the explanation of it has been stated.
23.11.8
"Up that god Savitṛ, for impulsion" is the hymn to Savitṛ.
23.11.9
"Savitṛ, for impulsion" is a dancing-off.
23.11.10
The sixth day is the end.
23.11.11
Having reached the end, one, as it were, dances down.
23.11.12
For whither could one go from there?
23.11.13
"Which of the two is former, which of the two is latter?" is the hymn to Heaven and Earth.
23.11.14
"Former, latter" is a dancing-off.
23.11.15
The sixth day is the end.
23.11.16
Having reached the end, one, as it were, dances down.
23.11.17
For whither could one go from there?
23.11.18
"Has the eldest, has the youngest come to us?" is the hymn to the Ṛbhus.
23.11.19
"Eldest, youngest" is a dancing-off.
23.11.20
The sixth day is the end.
23.11.21
Having reached the end, one, as it were, dances down.
23.11.22
For whither could one go from there?
23.11.23
"Thus this Rudra-like [hymn], with esteemed speech" is the hymn to the All-Gods.
23.11.24
"When the two parents were fashioned, standing in generosity" contains [a form of the root] sthā-.
23.11.25
That is a characteristic of the end.
23.11.26
The end is the sixth day.
23.11.27
For having reached the end, one stands still, as it were;
23.11.28
for whither would one go from there?
23.11.26_2
The end is the sixth day.
23.11.27_2
For having reached the end, one stands still, as it were;
23.11.28_2
for whither would one go from there?
23.11.29
Leaving aside two [verses] of it, he inserts this Nārāśaṃsa [hymn], "They who are anointed through sacrifice and fee..."
23.11.30
The hymn is the self; offspring and cattle are the Nārāśaṃsa [hymn].
23.11.31
Thus he places both offspring and cattle in the middle of the self.
23.11.32
"The day is dark and the day is bright..." is the hymn to Vaiśvānara.
23.11.33
"And the day is bright..." is dance.
23.11.34
The end is the sixth day.
23.11.35
For having reached the end, one dances down, as it were;
23.11.16_2
for whither would it go?
23.11.37
"The Maruts eager to advance, shining with spears..." is the hymn to the Maruts.
23.11.38
Its having a conclusion, that is itself a characteristic of the end.
23.11.39
"This praise for the worthy Jātavedas..." is the hymn to Jātavedas.
23.11.40
Its having a conclusion, that is itself a characteristic of the end:
23.11.41
"May we not come to harm! May we not come to harm!"
23.11.42
That is a characteristic of harmlessness at the end.
23.11.43
With the sixth day they attain the waters,
23.11.44
the Aticchandas metre, the thirty-threefold stoma, the Raivata sāman,
23.11.45
the downward direction, the cool season among the seasons,
23.11.46
the All-gods, the god-born,
23.11.47
[and] Prajāpati the overlord, Prajāpati the overlord.
Translations (1)
- Rigveda Brahmanas: The Aitareya and Kauṣītaki Brāhmaṇas of the Rigveda (HOS 25) — Arthur Berriedale Keith 1920, English
Linked texts (1)
- Kauṣītakibrāhmaṇa — Kauṣītaki, Sanskrit