The Maitrāvaruṇa recites the Saukīrti hymn [containing the verse] 'Drive away, O Indra, all our enemies...', which contains the word 'thrust away', to drive away evil.

29.4.14

The two opening verses of the recitation for the other two [hotraka priests] belong to the same ṛṣi as their hymns.

29.4.15

[The verses] 'With prayer, yoked to prayer, I yoke for you' and 'Wise one, guide us to a wide realm' are endowed with 'brahman' and 'wide' (uru).

29.4.16

Thus day after day they go on establishing a firm foundation in the brahman and in wide roaming.

29.5.1

Then these ornate compositions (śilpas) are recited in the middle three-day period.

29.5.2

For this middle three-day period is ornate (śilpavant).

29.5.3

Virāj verses and Vaimadya verses [are recited] on the fourth day.

29.5.4

For the fourth day is related to the Virāj.

29.5.5

Paṅkti verses and Mahāpaṅkti verses [are recited] on the fifth day.

29.5.6

For the fifth day is related to the Paṅkti.

29.5.7

Hypermetric verses (aticchandas) [are recited] on the sixth day.

29.5.9

Moreover, that which is performed elsewhere than on the Bṛhatī is without a pṛṣṭha-stotra.

29.5.10

And here the pṛṣṭha-sāmans deviate from the Bṛhatī.

29.5.11

Thus day after day they go on establishing a firm foundation in the ornate compositions.

29.5.12

Moreover, this middle three-day period is the intermediate space (antarikṣa).

29.5.13

This intermediate space is without support, without a firm foundation.

29.5.14

Thus day after day they go on establishing a firm foundation in the ornate compositions.

29.5.16

Art indeed is threefold: dance, song, and instrumental music.

29.5.17

Day after day, they proceed establishing themselves firmly in them.

29.5.18

On the tenth day, the Medhātithi hymn on Bṛhatī verses, [beginning] "Do not recite anything else" [and] "Let us not fear, let us not grow weary," is the pṛṣṭha-stotra of the Maitrāvaruṇa.

29.5.19

For prior to the tenth day, his pṛṣṭha-stotra is not on Bṛhatī verses.

29.5.22

Thereby, at the end, they proceed establishing themselves in prosperity.

29.6.1

Having recited two-verse strophes, they recite the [hymns] belonging to the one-day rites.

29.6.2

The one-day rite is a firm support; the tenth day is a firm support.

29.6.3

The two-verse meter provides a firm support, purely for firm support.

29.6.4

The Naudhasa [sāman belongs] to the Brāhmaṇācchaṃsin; the explanation of it has been stated.

29.6.5

On the fifth day, they bring forward [the chants] in Paṅkti verses for the Brāhmaṇācchaṃsin and for the Acchāvāka.

29.6.6

For the fifth day is connected with the Paṅkti meter.

29.6.7

On the sixth day, they bring forward [the chants] in Gāyatrī verses for the Brāhmaṇācchaṃsin,

29.6.8

according to the characteristic form of the Raivata day.

29.6.9

On the sixth day, they recite the Ahīna hymns,

29.6.10

for the continuity of the Ahīna [sacrifice], for the realization of the Ahīna form,

29.6.11

[thinking,] "May we obtain all desires unabated."

29.6.13

The conclusion day after day is [the hymn beginning,] "Upwards have the prayers risen, seeking renown."

29.6.14

The hymn beginning with "ud u brahmāṇi" is indeed the seasons.

29.6.15

Day after day, they proceed establishing themselves firmly in the seasons.

29.6.18

Day after day, they proceed establishing themselves firmly in the seasons.

29.7.1

The Kāleya [sāman belongs] to the Acchāvāka; the explanation of it has been stated.

29.7.2

On the sixth day, they bring forward [the chants] in six-footed verses for the Acchāvāka,

29.7.3

according to the characteristic form of the sixth day.

29.7.4

The conclusion day after day is [the hymn beginning,] "Like a carpenter, I meditate on the poem."

29.7.5

The hymn beginning with "abhi taṣṭeva" is indeed Prajāpati.

29.7.6

Day after day, they proceed establishing themselves firmly in Prajāpati.

29.7.9

That is the form belonging to Prajāpati.

29.7.10

Here indeed only one [verse] is expressed.

29.7.12

That is the form belonging to Prajāpati.

29.7.15

Thereby he places the vital breaths in the sacrifices and in the sacrificers.

29.7.16

The midday [recitations] of the hotrās are declared in pairs of hymns,

29.7.17

in order to match the hotṛ who has two hymns.

29.7.20

As to why the seasons are named in combined pairs: "summer, the rains, winter",

29.7.21

Therefore the midday [recitations] of the hotrakas are recited in pairs.

29.7.25

therefore the midday [recitations] of the hotrakas are recited in pairs.

Having recited beyond the stoma at the morning pressings, they recite ahīna hymns at the midday [pressings] on the twenty-fourth [day], the Abhijit, the Viṣuvant, the Bṛhat-pṛṣṭha, the Viśvajit, and the Mahāvrata day.