Śatapatha Brāhmaṇa ("of a hundred paths") 1.1

He who is about to enter on the vow, touches water whilst standing between the Âhavanîya and Gârhapatya fires, with his face turned towards east. The reason why he touches water is, that man is (sacrificially) impure on account of his speaking untruth; and because by that act an internal purification (is effected),--for water is indeed (sacrificially) pure. 'After becoming sacrificially pure, I will enter on the vow,' thus (he thinks); for water is indeed purifying. 'Having become purified through the purifying one, I will enter on the vow,' thus (he thinks, and) this is the reason why he touches water.

Looking towards the (Âhavanîya) fire, he enters on the vow, with the text (Vâg. S. I, 5 a): 'O Agni, Lord of Vows! I will keep the vow! may I be equal to it, may I succeed in it!' For Agni is Lord of Vows to the gods, and it is to him therefore that he addresses these words. In the words, 'I will observe the vow; may I be equal to it; may I succeed in it,' there is nothing that requires explanation.

After the completion (of the sacrifice) he divests himself (of the vow), with the text (Vâg. S. II, 28 a), 'O Agni, Lord of Vows! I have kept the vow; I have been equal to it; I have succeeded in it;' for he who has attained the completion of the sacrifice, has indeed been equal to it; and he who has attained the completion of the sacrifice, has succeeded in it. It is in this way that most (sacrificers) will probably enter on the vow; but one may also enter on it in the following way.

Twofold, verily, is this, there is no third, viz. truth and untruth. And verily the gods are the truth, and man is the untruth. Therefore in saying (Vâg. S. I, 5 b), 'I now enter from untruth into truth,' he passes from the men to the gods.

Let him then only speak what is true; for this vow indeed the gods do keep, that they speak the truth; and for this reason they are glorious: glorious therefore is he who, knowing this, speaks the truth.

After the completion (of the sacrifice) he divests himself (of the vow), with the text (Vâg. S. II, 28 b): 'Now I am he who I really am.' For, in entering upon the vow, he becomes, as it were, nonhuman; and as it would not be becoming for him to say, 'I enter from truth into untruth;' and as, in fact, he now again becomes man, let him therefore divest himself (of the vow), with the text: 'Now I am he who I really am.'

Now then of the eating (or) fasting. And on this point Âshâdha Sâvayasa, on the one hand, was of opinion that the vow consisted in fasting. For assuredly, (he argued,) the gods see through the mind of man; they know that, when he enters on this vow, he means to sacrifice to them the next morning. Therefore all the gods betake themselves to his house, and abide by (him or the fires, upa-vas) in his house; whence this (day) is called upa-vasatha.

Now, as it would even be unbecoming for him to take food, before men (who are staying with him as his guests) have eaten; how much more would it be so, if he were to take food before the gods (who are staying with him) have eaten: let him therefore take no food at all.

Yâgñavalkya, on the other hand, said: 'If he does not eat, he thereby becomes a sacrificer to the Manes; and if he does eat, he eats before the gods have eaten: let him therefore eat what, when eaten, counts as not eaten.' For that of which no offering is made, even though it is eaten, is considered as not eaten. When he therefore eats, he does not become a sacrificer to the Manes; and by eating of that of which no offering is made, he does not eat before the gods have eaten.

Let him therefore eat only what grows in the forest, be it forest plants or the fruit of trees. And in regard to this point Barku Vârshna said: 'Cook ye beans for me, for no offering is made of them!' This, however, he should not do; for pulse serves as an addition to rice and barley; and hence he increases the rice and barley by means of it: let him therefore eat only what grows in the forest.

Let him sleep that night in the house of the Âhavanîya fire or in the house of the Gârhapatya fire. For he who enters on the vow approaches the gods; and he sleeps in the midst of those very gods whom he approaches. Let him sleep on the ground; for from below, as it were, one serves one's superior.
B. THE PREPARATION OF THE OFFERINGS.
After the morning's performance of the Agnihotra and the subsequent rising of the sun, the sacrificer chooses his Brahman, or superintending priest. [In the first place he gets six seats ready, covered with sacrificial grass: two of these, to be used by the Brahman and sacrificer during the ceremony of election, are placed somewhere on the north side of the sacrificial ground; another south of the Âhavanîya fire, to serve for the Brahman's permanent seat (brahmasâdanam), and west of the latter (placed so as to be quite close to the altar to be constructed hereafter, cf. Kâty. Sr. I, 8, 28), the sacrificer's permanent seat; finally a seat north of each of the two fires, the Gârhapatya and the Âhavanîya, to be used by the Adhvaryu on certain occasions. The sacrificer and future Brahman then having seated themselves on the two first-mentioned seats on the north side, the former with his face turned northward, and the latter looking toward east; the sacrificer, holding the wooden sword (sphya) in his left hand, touches the right knee of the Brahman with his right hand, in which he holds barley-corns and] chooses him for his Brahman with the formula: ['Thou, of such and such a family, N.N. Sarman! we are about to perform the Full-moon sacrifice,'] 'O Lord of the earth! Lord of the world! Lord of the great universe! we choose thee for our Brahman!' The chosen one then mutters (cf. Vâg. S. p. 57): 'I am the lord of the earth, I lord of the world, I lord of the great universe (mahâbhûta)! earth! ether! heaven! O God Savitri, thee they choose for their Brahman, their lord of prayer (Brihaspati)!' &c., 'Brihaspati is Brahman to the gods, I to the men!' He (or, according to some, the sacrificer) further says, 'O Lord of speech, protect the sacrifice!' after which he betakes himself to the Brahman's seat (south of the Âhavanîya), and whilst [standing north of it, with his face turned eastward and] looking on it, he mutters: 'Avaunt! unholy one (daidhishavya, lit. son of a re-married woman)! take thee away from here and seat thee on another's seat who is less exalted (pâkatara) than we!' He takes one blade of grass from the seat and flings it towards south-west (the region of the Rakshas or evil spirits) with the formula: 'Expelled is sin with him whom we detest!' and then sits down with the formula 'Here I sit on the seat of Brihaspati, at the command of the divine Savitri! This I proclaim to the fire, this to the wind, this to the earth!' Here he remains seated, with his face towards the Âhavanîya fire, to watch the progress of the ceremony and give directions, whenever he is appealed to. When the full or new-moon sacrifice is performed for the first time, it should be preceded by the Anvârambhanîyâ offering, performed in much the same way as the Paurnamâsî, except that the oblations themselves consist of a rice cake on eleven potsherds for Agni and Vishnu, a potful of boiled (rice) grains (karu) for Sarasvati; and a rice cake on twelve potsherds for Sarasvat; the priest's fee on this occasion consisting of a cow four years old, or a pair of cattle, instead of the Anvâhârya mess. Kâty. Sr. IV, 5, 22-23.

By way of his first act on the following morning he (the Adhvaryu priest) betakes himself to the water, and brings water forward: for water is (one of the means of) sacrifice. Hence by this his first act he approaches (engages in) the sacrifice; and by bringing (water) forward, he spreads out (prepares) the sacrifice.

He brings it forward with those mysterious words (Vâg. S. I, 6): 'Who (or Pragâpati) joins (or yokes) thee (to this fire)? He joins thee. For what (or, for Pragâpati) does he join thee? For that (or him) he joins thee!' For Pragâpati is undefined (mysterious); Pragâpati is the sacrifice: hence he thereby yokes (gets ready for the performance) Pragâpati, this sacrifice.

The reason why he brings forward water is, that all this (universe) is pervaded by water; hence by this his first act he pervades (or gains) all this (universe).

And whatever here in this (sacrifice) the Hotri, or the Adhvaryu, or the Brahman, or the Âgnîdhra, or the sacrificer himself, does not succeed in accomplishing, all that is thereby obtained (or made good).

Another reason why he brings forward water is this: whilst the gods were engaged in performing sacrifice, the Asuras and Rakshas forbade (raksh) them, saying, 'Ye shall not sacrifice!' and because they forbade (raksh), they are called Rakshas.

The gods then perceived this thunderbolt, to wit, the water: the water is a thunderbolt, for the water is indeed a thunderbolt; hence wherever it goes, it produces a hollow (or depression of ground); and whatever it comes near, it destroys (lit. it burns up). Thereupon they took up that thunderbolt, and in its safe and foeless shelter they spread (performed) the sacrifice. And thus he (the Adhvaryu priest) likewise takes up this thunderbolt, and in its safe and foeless shelter spreads the sacrifice. This is the reason why he brings forward water.

After pouring out some of it (into the jug) he puts it down north of the Gârhapatya fire. For water (ap) is female and fire (agni) is male; and the Gârhapatya is a house: hence a copulation productive of offspring is thereby effected in this house. Now he who brings forward the water, takes up a thunderbolt; but when he takes up the thunderbolt, he cannot do so unless he is firmly placed; for otherwise it destroys him.

The reason then why he places it near the Gârhapatya fire is, that the Gârhapatya is a house, and a house is a safe resting-place; so that he thereby stands firmly in a house, and therefore in a safe resting-place: in this way that thunderbolt does not destroy him,--for this reason he places it near the Gârhapatya fire.

He then carries it north of the Âhavanîya fire. For water is female and fire is male: hence a copulation productive of offspring is thereby effected. And in this way alone a regular copulation can take place, since the woman lies on the left (or north) side of the man.

Let nobody pass between the water (and the fire), lest by passing between them he should disturb the copulation which is taking place. Let him set the water down without carrying it beyond (the north side of the fire, i.e. not on the eastern side); nor should he put it down before reaching (the north side, i.e. not on the western side). For, if he were to put the water down after carrying it beyond,--there being, as it were, a great rivalry between fire and water,--he would cause this rivalry to break forth on the part of the fire; and when they (the priests and the sacrificer) touch the water of this (vessel), he would, by carrying it and setting it down beyond (the northern side), cause the enemy to rise (spirt) in the fire. If, on the other hand, he were to put it down before gaining (the northern side), he would not gain by it the fulfilment of the wish for which it has been brought forward. Let him therefore put it down exactly north of the Âhavanîya fire.

He now strews sacrificial grass all round (the fires), and fetches the utensils, taking two at a time, viz. the winnowing basket and the Agnihotra ladle, the wooden sword and the potsherds, the wedge and the black antelope skin, the mortar and the pestle, the large and the small mill-stones. These are ten in number; for of ten syllables consists the Virâg (metre), and radiant (virâg) also is the sacrifice: so that he thereby makes the sacrifice resemble the Virâg. The reason why he takes two at a time is, because a pair means strength; for when two undertake anything, there is strength in it. Moreover, a pair represents a productive copulation, so that a productive copulation (of those respective objects) is thereby effected.

Thereupon he takes the winnowing basket and the Agnihotra ladle, with the text (Vâg. S. I, 6 b): 'For the work (I take) you, for pervasion (or accomplishment) you two!' For the sacrifice is a work: hence, in saying 'for the work you two,' he says, 'for the sacrifice.' And 'for pervasion you two,' he says, because he, as it were, pervades (goes through, accomplishes) the sacrifice.

He then restrains his speech; for (restrained) speech means undisturbed sacrifice; so that (in so doing) he thinks: 'May I accomplish the sacrifice!' He now heats (the two objects on the Gârhapatya), with the formula (Vâg. S. I, 7 a): 'Scorched is the Rakshas, scorched are the enemies!' or (Vâg. S. I, 7 b): 'Burnt out is the Rakshas, burnt out are the enemies!'

For the gods, when they were performing the sacrifice, were afraid of a disturbance on the part of the Asuras and Rakshas: hence by this means he expels from here, at the very opening of the sacrifice, the evil spirits, the Rakshas.

He now steps forward (to the cart), with the text (Vâg. S. I, 7 c): 'I move along the wide aërial realm.' For the Rakshas roams about in the air, rootless and unfettered in both directions (below and above); and in order that this man (the Adhvaryu) may move about the air, rootless and unfettered in both directions, he by this very prayer renders the atmosphere free from danger and evil spirits.

It is from the cart that he should take (the rice required for the sacrifice). For at first the cart (is the receptacle of the rice) and afterwards this hall and because he thinks 'what was at first (in the cart, and hence still unimpaired by entering the householder's abode), that I will operate upon;' for that reason let him take (rice) from the cart.

Moreover, the cart represents an abundance; for the cart does indeed represent an abundance: hence, when there is much of anything, people say that there are 'cart-loads' of it. Thus he thereby approaches an abundance, and for this reason he should take from the cart.

The cart further is (one of the means of) the sacrifice; for the cart is indeed (one of the means of) sacrifice. To the cart, therefore, refer the (following) Yagus-texts, and not to a store-room, nor to a jar. The Rishis, it is true, once took (the rice) from a leathern bag, and hence, in the case of the Rishis, the Yagus-texts applied to a leathern bag. Here, however, they are taken in their natural application. Because he thinks 'from (or, by means of) the sacrifice I will perform the sacrifice,' let him, therefore, take (rice) from the cart.

Some do indeed take it from a (wooden) jar. In that case also he should mutter the Yagus-texts without omitting any; and let him in that case take (the rice) after inserting the wooden sword under (the jar). He does so, thinking 'where we want to yoke, there we unyoke;' for from the same place where they yoke, they also unyoke.

(Like) fire, verily, is the yoke of that very cart; for the yoke is indeed (like) fire: hence the shoulder of those (oxen) that draw this (cart) becomes as if burnt by fire. The middle part of the pole behind the prop represents, as it were, its (the cart's) altar; and the enclosed space of the cart (which contains the rice) constitutes its havirdhânam (receptacle of the sacrificial food).

He now touches the yoke, with the text (Vâg. S. I, 8 a): 'Thou art the yoke (dhur); injure (dhûrv) thou the injurer! injure him that injures us! injure him whom we injure!' For there being a fire in the yoke by which he will have to pass when he fetches the material for the oblation, he thereby propitiates it, and thus that fire in the yoke does not injure him when he passes by.

Here now Âruni said: 'Every half-moon I destroy the enemies.' This he said with reference to this point.

Thereupon, whilst touching the pole behind the prop, he mutters (Vâg. S. I, 8 b-9 a): 'To the gods thou belongest, thou the best carrying one, the most firmly joined, the most richly filled, the most agreeable (to the gods), the best caller of the gods!' 'Thou art unbent, the receptacle of oblations; be thou firm, waver not!' Thus he eulogises the cart, hoping that he may obtain the oblation from the one thus eulogised and pleased. He adds (Vâg. S. I, 9 b), 'May thy Lord of Sacrifice not waver!' for Lord of Sacrifice is the sacrificer, and it is for the sacrificer, therefore, that he thus prays for firmness.

He now ascends (the cart by the southern wheel), with the text (Vâg. S. I, 9 c): 'May Vishnu ascend thee!' For Vishnu is the sacrifice; by striding (vi-kram) he obtained for the gods this all-pervading power (vikrânti) which now belongs to them. By his first step he gained this very (earth), by the second the aërial expanse, and by the last step the sky. And this very same pervading power Vishnu, as sacrifice, by his strides obtains for him (the sacrificer).

He then looks (at the rice) and (addressing the cart) mutters (Vâg. S. I, 9 d): 'Wide open (be thou) to the wind!' For wind means breath; so that by this prayer he effects free scope for the air of the (sacrificer's) breath.

With the text (Vâg. S. I, 9 e), 'Repelled is the Rakshas!' he then throws away whatever (grass, &c.) may have fallen on it. But if nothing (have fallen on it), let him merely touch it. He thereby drives away from it the evil spirits, the Rakshas.

He touches (the rice), with the text (Vâ,. S. I, 9 f), 'Let the five take!' for five are these fingers, and fivefold also is the sacrifice; so that he thereby puts the sacrifice on it (the cart).

He then takes (the rice), with the text (Vâg. S. I, 10 a, b): 'At the impulse (prasavana) of the divine Savitri, I take thee with the arms of the Asvins, with the hands of Pûshan, thee, agreeable to Agni!' For Savitri is the impeller (prasavitri) of the gods: therefore he takes this as one impelled by Savitri. 'With the arms of the Asvins,' he says, because the two Asvins are the Adhvaryu priests (of the gods). 'With the hands of Pûshan,' he says, because Pûshan is distributer of portions (to the gods), who with his own hands places the food before them. The gods are the truth, and men are the untruth: thus he thereby takes (the rice) by means of the truth.

He now announces (the oblation) to the deity (for whom it is intended). For when the Adhvaryu is about to take the oblation, all the gods draw near to him, thinking, 'My name he will choose! my name he will choose!' and among them who are thus gathered together, he thereby establishes concord.

Another reason for which he announces (the oblation) to the deity, is this: whichever deities are chosen, they consider it as an obligation that they are bound to fulfil whatever wish he entertains whilst taking (the oblation); and for that reason also he announces it to the deity. After taking the oblations (to the other deities) in the same way as before,--

He touches (the rice that is left), with the text (Vâg. S. I, 11 a): 'For existence (or, abundance,--I leave) thee, not for non-offering!' He thereby causes it to increase again.

He now (whilst seated on the cart) looks towards east, with the text (Vâg. S. I, 11 b): 'May I perceive the light!' For that cart being covered up, its eye is thereby, as it were, affected with evil. Light, moreover, represents the sacrifice, the day, the gods, and the sun; so that he thereby perceives this same (fourfold) light.

He then descends (from the cart), with the text (Vâg. S. I, 11 c): 'May those provided with doors stand firm on the earth!' Those provided with doors are the houses: for the houses of the sacrificer might indeed be capable of breaking down behind the back of his Adhvaryu, when he walks forward (from the cart) with the sacrifice, and might crush his (the sacrificer's) family. By this (text), however, he causes them to stand firmly on this earth, so that they do not break down and crush (his family); for this reason he says: 'May those provided with doors stand firm on the earth!' He then walks forward (north of the Gârhapatya fire), with the text (Vâg. S. I, 11 d), 'I move along the wide aërial realm;' the application of which is the same (as before; see par. 4).

In the case of one (viz. householder) whose Gârhapatya fire they (the priests) use for coking oblations, they place the utensils in the Gârhapatya (house); and let him (the Adhvaryu) in that case put (the winnowing basket with the rice) down at the back (or west) side of the Gârhapatya. But in the case of one whose Âhavanîya they use for cooking oblations, they place the utensils together in the Âhavanîya; and let him in that case put it (the rice) down at the back of the Âhavanîya. He should (in either case) do so, with the text (Vâg. S. I, 11 e), 'On the navel of the earth I place thee!' for the navel means the centre, and the centre is safe from danger: for this reason he says, 'On the navel of the earth I place thee!' And further, 'In the lap of Aditi (the boundless or inviolable earth)!' for when people guard anything very carefully, they commonly say that 'they, as it were, carried it in their lap;' and this is the reason why he says, 'In the lap of Aditi!' And further, 'O Agni, do thou protect this offering!' whereby he makes this oblation over for protection both to Agni and to this earth: for this reason he says, 'O Agni, do thou protect this offering!'

He now prepares two strainers (pavitra), with the text (Vâg. S. I, 12 a): 'Purifiers (or strainers, pavitra) are ye, and belonging to Vishnu!' For Vishnu is the sacrifice; so that he thereby says, 'You belong to the sacrifice.'

Two there are of them: for means of cleansing (pavitra) is this (wind) which here ventilates (pavate); and this, it is true, ventilates as one only; but on entering into man, it becomes a forward and a backward one, and they are these two, to wit, the prâna (breathing out) and the udâna (breathing up or in). And as this (clarifying process) takes place in accordance with the measure of that (process of breathing), therefore there are two (strainers).

There may also be three: for the vyâna (or pervading vital air) is a third (kind of breathing); but in reality there are only two. Having then strained the sprinkling water with these two (strainers), he sprinkles with it. The reason why he strains it with the two (strainers) is this:

Vritra in truth lay covering all this (space) which here extends between heaven and earth, And because he lay covering (vri) all this, therefore his name is Vritra.

He strains it, with the text (Vâg. S. I, 12 b) 'By the impulse of Savitri I purify thee with this flawless purifier (or ventilator, pavitra), with the rays of the sun!' For Savitri is the impeller (prasavitri) of the gods, so that he strains this (water) as one impelled by Savitri. 'With this flawless purifier (ventilator, pavitra),' he says, because this (wind) which here ventilates (or purifies, pavate) is a flawless purifier. 'With the rays of the sun,' he says, because they, the rays of the sun, are certainly purifying; and for this reason he says, 'With the rays of the sun.'

Having taken it (the water with the ladle) in his left hand, he makes it spirt upwards with his right hand, and eulogises and glorifies it, with the text (Vâg. S. I, 12 c): 'Shining (or divine) waters! ye the first-going, the first-drinking ones!' For the waters are shining; and for this reason he says, 'Shining waters!' 'First-going,' he calls them, because they flow towards the sea and are therefore going in front (or forwards). 'First-drinking,' he calls them, because they are the first that drink of king Soma and are therefore 'drinking first.' And further: 'Forward now lead this sacrifice, forward the Lord of Sacrifice, the liberal, god-loving Lord of Sacrifice!' whereby he says, 'Well (lead) the sacrifice, well the sacrificer!'

And further (Vâg. S. I, 13 a): 'You Indra chose (for his companions) in the battle against Vritra!' For Indra, when he was battling with Vritra, did choose them (the waters) and with their help he killed him; and for this reason he says, 'You Indra chose in the battle against Vritra!'

'You chose Indra in the battle against Vritra!' for they, too, chose Indra when he was battling with Vritra, and with them he killed him: therefore he says, 'You chose Indra in the battle against Vritra!'

And further (Vâg. S. I, 13 d): 'Consecrated by sprinkling are ye!' With these words he makes amends to them. He then sprinkles the (first) oblation. One and the same meaning applies to the (whole process of) sprinkling, viz. he thereby makes sacrificially pure that (which he sprinkles).

He then sprinkles the sacrificial vessels, with the text (Vâg. S. I, 13 g), 'Be ye pure for the divine work, for the sacrifice to the gods!' for it is for the divine work, the sacrifice to the gods, that he consecrates them. 'Whatever, that belongs to you, the impure have defiled by touching, that I hereby purify for you!' For whatever belonging to them some impure one--either a carpenter or some other impure person--has on this occasion desecrated by touching, that he thereby renders sacrificially pure for them by means of the water; and therefore he says, 'Whatever, that belongs to you, the impure have defiled by touching, that I hereby purify for you!'

He now takes the black antelope skin, for completeness of the sacrifice. For once upon a time the sacrifice escaped the gods, and having become a black antelope roamed about. The gods having thereupon found it and stripped it of its skin, they brought it (the skin) away with them.

Its white and black hairs represent the Rik-verses and the Sâman-verses; to wit, the white the Sâman and the black the Rik; or conversely, the black the Sâman and the white the Rik. The brown and the yellow ones, on the other hand, represent the Yagus-texts.

Now this same threefold science is the sacrifice; that manifold form, that (varying) colour of this (science) is what is (represented by) this black antelope skin. For the completeness of the sacrifice (he takes the skin): hence the rite of initiation (for the Soma-sacrifice) is likewise performed on the black antelope skin;--for the completion of the sacrifice: hence it is also used for husking and bruising (the rice) on, in order that nothing of the oblation may get spilt; and that, if any grain or flour should now be spilt on it, the sacrifice would still remain securely established in the sacrifice. For this reason it is used for husking and bruising upon.

He thus takes the black antelope skin, with the text (Vâg. S: I, 14 a): 'Bliss-bestowing (sarman) art thou!' For karman ('hide') is the name of that (skin of the) black deer used among men, but sarman (bliss) is (that used) among the gods; and for this reason he says, 'Bliss-bestowing art thou!' He shakes it, with the text (Vâg. S. I, 14 b), 'Shaken off is the Rakshas, shaken off are the enemies!' whereby he repels from it the evil spirits, the Rakshas. He shakes it whilst holding it apart from the vessels; whereby he shakes off whatever impure matter there may have been on it.

He spreads it (on the ground with the hairy side upwards, and) with its neck-part turned to the west, with the text (Vâg. S. I, 14 c): 'The skin of Aditi art thou! May Aditi acknowledge thee!' For Aditi is this earth, and whatever is on her, that serves as a skin to her: for this reason he says, 'The skin of Aditi art thou!' And 'may Aditi acknowledge thee!' he says, because one who is related (to another) acknowledges (him). Thereby he establishes a mutual understanding between her and the black antelope skin, (thinking) 'they will not hurt each other.' While it is still being held down with his left hand,--

He at once takes the mortar with his right hand, fearing lest the evil spirits, the Rakshas, might rush in here in the meantime. For the priest (brâhmana) is the repeller of the Rakshas: therefore, whilst it is still being held down with his left hand,--

He puts the mortar (on it), with the text (Vâg. S. I, 14 d, e): 'A wooden stone (adri) art thou!' or 'A broad-bottomed stone (grâvan) art thou!' For, just as there (in the Soma-sacrifice) they press king Soma out with stones (grâvan), thus here also he prepares the oblation (haviryagña) by means of the mortar and pestle, and the large and small mill-stones. Now 'stones (adrayah)' is the common name of these, and therefore he says, 'a stone art thou.' And 'wooden,' he calls it, because this one (the mortar) really is made of wood. Or, he says, 'a broad-bottomed stone (grâvan) art thou,' because it is both a stone and broad-bottomed. He adds: 'May Aditi's skin acknowledge (receive) thee!' whereby he establishes a mutual understanding between it (the mortar) and the black antelope skin, thinking: 'they will not injure each other.'

He then pours the (two portions of) rice (from the winnowing basket into the mortar), with the text (Vâg. S. I, 15 a): 'Thou art the body of Agni, thou the releaser of speech!' For it is (material for) sacrifice, and hence (by being offered in the fire) it becomes Agni's body. 'The releaser of speech,' he adds, because he now releases that speech which he restrained when he was about to take the rice (from the cart). The reason why he now releases his speech, is that the sacrifice has now obtained a firm footing in the mortar, that it has become diffused; and for this reason he says, 'the releaser of speech!'

Should he, however (by some accident), utter any human sound before this time, let him in that case mutter some Rik or Yagus-text addressed to Vishnu; for Vishnu is the sacrifice, so that he thereby again obtains a hold on the sacrifice, and penance is thereby done by him (for not keeping silent). He adds: 'For the pleasure of the gods I seize thee!' for the oblation is taken with the intention 'that it shall gladden the gods.'

He now takes the pestle, with the text (Vâg. S. I, 14 b), 'A large, wooden stone art thou!' for it is a large stone, and made of wood, too. He thrusts it down, with the text (Vâg. S. I, 14 c), 'Do thou prepare this oblation for the gods! do thou prepare it thoroughly!' thereby saying, 'Get this oblation ready for the gods! get it quite ready!'

He then calls the Havishkrit (preparer of the sacrificial food), 'Havishkrit, come hither! Havishkrit, come hither!' The Havishkrit no doubt is speech, so that he thereby frees speech from restraint. And speech, moreover, represents sacrifice, so that he thereby again calls the sacrifice to him.

Now there are four different forms of this call, viz. 'come hither (ehi)!' in the case of a Brâhman; 'approach (âgahi)!' and 'hasten hither (âdrava)!' in the case of a Vaisya and a member of the military caste (râganyabandhu); and 'run hither (âdhâva)!' in that of a Sûdra. On this occasion he uses the call that belongs to a Brâhman, because that one is best adapted for a sacrifice, and is besides the most gentle:. let him therefore say, 'come hither (ehi)!'

Now in former times it was no other than the wife (of the sacrificer) who rose at this (call, to act) as Havishkrit; therefore now also (she or) some one (priest) rises in answer to this call. And at the time when he (the Adhvaryu) calls the Havishkrit, one of the priests beats the two mill-stones. The reason why they produce this discordant noise, is this:

Manu was in possession of a bull. Into him had entered an Asura-killing, foe-killing voice; and by his snorting and roaring the Asuras and Rakshas were continually being crushed. Thereupon the Asuras said to one another: 'Evil, alas! this bull inflicts upon us! how can we possibly destroy him?' Now Kilâta and Âkuli were the two priests (brahman) of the Asuras.

These two said, 'God-fearing, they say, is Manu: let us two then ascertain!' They then went to him and said: 'Manu! we will sacrifice for thee!' He said: 'Wherewith?' They said: 'With this bull!' He said: 'So be it!' On his (the bull's) being killed the voice went from him.

It entered into Manâvî, the wife of Manu; and when they heard her speak, the Asuras and Rakshas were continually being crushed. Thereupon the Asuras said to one another: 'Hereby even greater evil is inflicted on us, for the human voice speaks more!' Kilâta and Âkuli then said: 'God-fearing, they say, is Manu: let us then ascertain!' They went to him and said: 'Manu! we will sacrifice for thee!' He said: 'Wherewith?' They said: 'With this thy wife!' He said: 'So be it!' And on her being killed that voice went from her.

It entered into the sacrifice itself, into the sacrificial vessels; and thence those two (Asura priests) were unable to expel it. This same Asura-killing, foe-killing voice sounds forth (from the millstones when they are beaten with the wedge). And for whomsoever that knows this, they produce this discordant noise on the present occasion, his enemies are rendered very miserable.

He beats the mill-stones with the wedge, with the text (Vâg. S. I, 16 a): 'A honey-tongued cock (kukkuta) art thou (O wedge)!' For honey-tongued indeed was he (the bull) for the gods, and poison-tongued for the Asuras: hence he thereby says: 'What thou wert for the gods, that be thou for us!' He adds: 'Sap and strength do thou call hither! with thy help may we conquer in every battle!' In these words there is nothing that is obscure.

Thereupon he (the Adhvaryu) takes the winnowing basket, with the text (Vâg. S. I, 14 b): 'Rain-grown art thou!' For rain-grown it is indeed, whether it be made of reeds or of cane or of rushes, since it is the rain that makes these grow.

He then pours out the (threshed) rice (from the mortar into the winnowing basket), with the text (Vâg. S. I, 16 c): 'May the rain-grown acknowledge (receive) thee!' For rain-grown also are these (grains), whether they be rice or barley, since it is the rain that makes them grow. By these words he establishes an understanding between them and the winnowing basket, in the hope 'that they will not injure each other.'

He now winnows (the rice), with the text (Vâg. S. I, 16 d): 'Cleared off is the Rakshas! cleared off are the evil-doers!' The husks (which have fallen on the ground) he throws away, with the text (Vâg. S. I, 16 e), 'Expelled is the Rakshas!' for those evil spirits, the Rakshas, he thereby expels.

He then separates (the husked grains from the unhusked), with the text (Vâg. S. I, 16 f): 'May the wind separate you!' For it is that wind (which is produced by the winnowing) which here purifies (or blows, pavate); and it is the wind that separates everything here (on earth) that undergoes separation: therefore it also separates here those (two kinds of grain) from each other. Now when they are undergoing this process, and whilst he is separating (the husked, so as to drop them into a pot),--