Śatapatha Brāhmaṇa ("of a hundred paths") 1.3

He (the Âgnîdhra) now brushes the spoons (with the grass-ends). The reason why he brushes the spoons is that the course pursued among the gods is in accordance with that pursued among men. Now, when the serving up of food is at hand among men,--

They rinse the vessels, and having rinsed them, they serve up the food with them: in the same way is treated the sacrifice to the gods, that is to say, the cooked oblations and the prepared altar; and those vessels of theirs, the sacrificial spoons.

Now, when he brushes (the spoons), he in reality rinses them, thinking, 'with these rinsed ones I will proceed.' He thereby rinses them with two substances for the gods, and with one for men; viz. with water and the brahman (spirit of worship) for the gods,--for the water is (represented by) the sacrificial grass, and the brahman (by) the sacrificial formula;--and with one for men, that is with water alone: and thus this takes place separately.

He, in the first place, takes the dipping-spoon (sruva, masc.) and makes it hot (on the Gârhapatya fire), with either of the texts (Vâg. S. I, 29), 'Scorched is the Rakshas, scorched are the enemies!' or, 'Burnt out is the Rakshas, burnt out are the enemies!'

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

He brushes it thus inside with the (grass-)tops (cut off from the grass in tying the veda), with the text (Vâg. S. I, 29), 'Not sharp art thou, (but yet) a destroyer of the enemies!' he says this in order that it may unceasingly destroy the enemies of the sacrificer. Further, 'Thee, the food-abounding (masc.), I cleanse for the kindling of food!'--'thee that art suitable for the sacrifice, I cleanse for the sacrifice,' he thereby says. In the same way he brushes all the spoons, saying, 'Thee, the food-abounding (fem.)...,' in the case of the offering-spoon (sruk, fem.). The prâsitraharana (he brushes) silently.

Inside he brushes with the (grass-)tops thus (viz. from the handle to the top, or in a forward, eastward direction from himself); outside with the lower (grass-)ends thus (viz. in the opposite or backward direction, towards himself): for thus (viz. in the former way) goes the out-breathing, and thus (in the opposite way) the in-breathing. Thereby he obtains out-breathing and in-breathing (for the sacrificer): hence these hairs (on the upper side of the elbow) point that way, and these (on the lower side) point that way.

Each time he has brushed and heated (a spoon), he hands it (to the Adhvaryu). Just as, after having rinsed (the eating vessels) while touching them, one would finally rinse them without touching them, so here: for this reason he hands over each (spoon) after heating it.

The dipping-spoon (sruva, masc.) he brushes first, and then the other spoons (sruk, fem.). The offering-spoon (sruk), namely, is female, and the dipping-spoon is male, so that, although in this way several women meet together, the one that is, as it were, the only male youth among them, goes there first, and the others after him. This is the reason why he brushes the dipping-spoon first, and afterwards the other (offering-)spoons.

Let him brush, them so as not to spatter anything towards the fire, as he would thereby bespatter him, to whom he will be bringing food, with the slops of the vessels: therefore let him brush them so as not to spatter anything towards the fire, that is to say, after stepping outside (the Âhavanîya fire-house) towards the east.

Here now some throw the grass-ends used for cleaning the spoons into the (Âhavanîya) fire. 'To the veda (grass-bunch) they assuredly belonged, and the spoons have been cleaned with them: hence it is something that belongs to the sacrifice, and (we throw it into the fire) in order that it should not become excluded from the sacrifice,' thus (they argue). Let him, however, not do so, since he would thereby make him to whom he will offer food, drink the slops of the vessels. Let him therefore throw them away (on the heap of rubbish).

He (the Âgnîdhra) then girds the wife (of the sacrificer). She, the wife, truly is the hinder part of the sacrifice. 'May the sacrifice go on increasing before me!' thus (she thinks while) he girds her, thinking, 'may she sit thus girt by my sacrifice!'

He girds her with a cord (yoktra): for with a cord (yoktra) they yoke the draught-animal (yogya). Impure indeed is that part of woman which is below the navel; and therewith she will be facing the sacrificial butter: that part of her he thereby conceals with the cord, and only with the pure upper part of her body she then faces the sacrificial butter. This is the reason why he girds the wife.

He girds her over the garment. Now the garment represents the plants, and (the cord represents) Varuna's noose (raggu): hence he thereby places the plants between (her and the noose), and thus that noose of Varuna does not injure her. This is the reason why he girds her over the garment.

He girds her, with the text (Vâg. S. I, 30), 'A zone art thou for Aditi!' Aditi, indeed, is this earth. She is the wife of the gods, and that one is his (the sacrificer's) wife. It is for the latter, accordingly, that he makes it a zone instead of a noose (or string). A zone means a girdle, and he thereby makes it this for her.

Let him not make a knot, for the knot is Varuna's (attribute); and Varuna would lay hold on the (sacrificer's) wife, if he were to make a knot. For this reason he does not make a knot.

He twists it through upwards, with the text (Vâg. S. I, 30), 'The pervader, of Vishnu art thou!' Let her not sit to the west of the sacrifice, with her face towards the east. For Aditi is this earth, she is the wife of the gods, and she indeed sits on the west of the sacrifice of the gods, with her face turned towards the east: and this lady would, therefore, raise herself to her (Aditi), and would speedily go to yonder world. And thus (viz. by sitting in the prescribed way) she lives for a long time, thus she propitiates her (Aditi), and thus the latter harms her not. For this reason let her sit somewhat to the south.

She looks down upon the sacrificial butter; for assuredly that wife is a woman, and the butter (represents) seed: hence a productive union is thereby brought about. For this reason she looks towards the butter.

She looks, with the text (Vâg. S. I, 30), 'With an unimpaired eye I look on thee;' whereby she says, with an uninjured eye I look on thee.'--'Agni's tongue art thou!' for when they offer up that (butter) in the fire, then Agni's tongues, as it were, issue forth: therefore she says, 'Agni's tongue art thou!'--'A good caller of the gods,' whereby she says, 'well for the gods;'--'be thou for every dainty (or, sacrificial site, dhâman), for every prayer of mine!' whereby she says, 'for every sacrifice of mine be thou (a good caller)!

Having then taken up the butter (from the ground), he (the Âgnîdhra) carries it eastwards. In the case of one whose Âhavanîya fire is used for the cooking, he (now in the first place) puts it on the Âhavanîya, thinking, 'My oblation shall be entirely cooked on the Âhavanîya!' The reason why he first puts it thereon (viz. on the Gârhapatya) is, because he will have to make the wife look at it: for it would not be proper, if he were to take it (from the Âhavanîya) to the west in the midst of the performance, for the purpose of making the wife look at it; and if he were not to let the wife look at it at all, he would thereby exclude her from the sacrifice. And in this way, then, he does not exclude the (sacrificer's) wife from the sacrifice: therefore he does not take it eastwards till after melting it close by the wife (on the Gârhapatya), and making her look at it. In the case of one who (through death or from other causes) has not his wife with him, he puts it from the very beginning on the Âhavanîya. He then takes it again from thence and puts it down within the altar.

Here now they say,--'He must not place it within the altar; for from that (butter) they make the oblation to the wives of the gods: he therefore excludes the wives of the gods from the company (of their husbands), and thereby his (the sacrificer's) wife becomes dissatisfied with her own husband.' Yâgñavalkya, however, said in reference to this point, 'Let it be so as it has been prescribed for the wife! who would care whether his wife may consort with other men?' 'As the altar is (part of the) sacrifice, and the butter is (part of the) sacrifice, I will build up the sacrifice from out of the sacrifice!' thus thinking, let him place it within the altar.

The two strainers are lying in the sprinkling water. He takes them from thence and purifies (ut-pû) the butter with them. Now one of them is related to the wind (that blows) upwards (utpavana), so that he thereby makes it (the butter) sacrificially pure.

He clarifies it, with the text (Vâg. S. 'By the impulse of Savitri I purify thee with a flawless purifier (strainer), with the rays of the sun!' The meaning (of this formula) is the same (as before).

He then purifies the sprinkling water with the strainers covered with butter, with the text (Vâg. S. I, 31), 'By the impulse of Savitri I purify you (O waters) with a flawless purifier, with the rays of the sun!' The meaning is the same (as before).

The reason why he purifies the sprinkling water with the strainers covered with butter is, that he thereby puts milk into the water, and that the milk thereby (becomes) beneficial in the water, for, when it rains, plants are thereby produced; and on eating the plants and drinking the water, vital fluid (serum) results therefrom: and thus (he does this) in order to supply the vital fluid (of the sacrificer).

He then looks down on the butter. Here now some make the sacrificer look down. Yâgñavalkya, however, said in reference to this point,--'Why do not (the sacrificers) themselves become (act as) Adhvaryu priests? and why do not they (the sacrificers) themselves recite when far higher blessings are prayed for? How can these (people) possibly have faith in this? Whatever blessing the officiating priests invoke during the sacrifice that is for the benefit of the sacrificer alone.' The Adhvaryu should accordingly look down on it.

He looks down on it. The eye assuredly is the truth, for the eye is indeed the truth. If, therefore, two persons were to come disputing with each other and saying, 'I have seen it!' 'I have heard it!' we should believe him who said, 'I have seen it!' and not the other: hence he thereby causes it (the butter) to increase by means of the truth.

Now the sacrifice is the man. The sacrifice is the man for the reason that the man spreads (performs) it; and that in being spread it is made of exactly the same extent as the man: this is the reason why the sacrifice is the man.

The guhû (spoon) further belongs to that (man-shaped sacrifice), and so does the upabhrit; and the dhruvâ represents its trunk. Now it is from the trunk that all these limbs proceed, and for this reason the entire sacrifice proceeds from the dhruvâ.

The dipping-spoon (sruva, masc.) is no other than the breath. This breath passes through (or, goes to) all the limbs, and for that reason the dipping-spoon goes to all the offering-spoons (sruk, fem.).

That guhû further is to him no other than yonder sky, and the upabhrit this atmosphere, and the dhruvâ this same (earth). Now it is from this (earth) that all the worlds originate: and from the dhruvâ, therefore, the whole sacrifice proceeds.

The dipping-spoon then is no other than that blowing one (the wind); it is this that sweeps across all these worlds: and for that reason the sruva goes to all the offering-spoons.

Now when this sacrifice is being performed, it is performed for the gods, the seasons, and the metres (or sacred texts). To the gods belongs what sacrificial food there is, to wit, king Soma and the sacrificial cake: all this he takes, while announcing it with the formula, 'I take thee, agreeable to so and so!' for thus it becomes theirs.

And whatever oblations of butter are taken, they are taken for the seasons and the metres. Every one of them he takes in the form of butter without announcing it (to any particular deity). In the guhû he takes of it four times (with the sruva from the pot), in the upabhrit eight times.

Now when he takes of it four times (with the sruva) in the guhû, he takes it for the seasons, since he takes it for the fore-offerings, and the fore-offerings are the seasons: all this he takes in the form of butter without making any announcement, in order to avoid sameness; for if he were to take it with the formulas 'For Spring (I take) thee!' 'For Summer--thee!' he would commit (the fault of) a repetition: he therefore takes it in the form of butter without making any announcement.

When, on the other hand, he takes eight times (with the sruva) in the upabhrit, he takes it for the metres, since it is for the after-offerings that he takes it; and the after-offerings are the metres: all this he takes in the form of butter without making any announcement, in order to avoid sameness; for were he to take it with the formulas 'For the Gâyatrî--thee!' 'For the Trishtubh--thee!' he would commit a repetition: he therefore takes it in the form of butter without making any announcement.

Again, when he takes four times (with the sruva) in the dhruvâ, he takes it for the whole sacrifice, and all this he takes in the form of butter without making any announcement. To whom indeed should he announce it, since he cuts it off for all the deities? He therefore takes it in the form of butter without making any announcement.

Now the sacrificer stands behind the guhû, and he who means evil to him stands behind the upabhrit. The eater stands behind the guhû, and what (or, he who) is to be eaten stands behind the upabhrit. And the guhû, indeed, is the eater, and the upabhrit is that which is to be eaten. In the guhû he takes four times (with the sruva), and in the upabhrit eight times.

Now when he takes four times (butter) in the guhû, he thereby makes the eater more limited, smaller; and when he takes eight times in the upabhrit, he makes that which is to be eaten more unlimited, more abundant: for a flourishing condition indeed exists where the eater is smaller and that which is to be eaten more abundant.

In taking four times in the guhû, he takes (altogether) more butter, and in taking eight times in the upabhrit he takes less butter.

For when, in taking four times (butter with the sruva) in the guhû, he takes more butter, he thereby, in making the eater more limited, smaller, imparts vigour and strength to him. And when, in taking eight times in the upabhrit, he takes less butter, he thereby, in making that which (or, him who) is to be eaten more unlimited, more abundant, makes it (or, him) vigourless and weaker. And thus a king who has established himself among a numberless people, subdues them even from a single dwelling, and takes possession of whatever he likes: with that very same energy (the Adhvaryu acts) when he takes a greater quantity of butter in the guhû. Now what he takes in the guhû, that he offers with the guhû; and what he takes in the upabhrit, that also he offers with the guhû.

And in reference to this point they say: 'Wherefore then is he to take it in the upabhrit, if he does not offer it with the upabhrit?' Now, if he were to offer it with the upabhrit, those subjects (of the king) would assuredly become separated from him, nor would there be either an eater or what is to be eaten. When, on the other hand, he pours (the butter) together and thus offers it with the guhû, thereby the people pay tribute to the Kshatriya. Hence by what he takes in the upabhrit, the Vaisya (man of the people), under the rule of the Kshatriya, becomes possessed of cattle; and when he pours (the butter) together and offers it with the guhû, thereby the Kshatriya, whenever he likes, says, 'Hallo Vaisya, just bring to me what thou hast stored away!' Thus he both subdues him and obtains possession of anything he wishes by dint of this very energy.

These butter-portions, then, are taken for the metres. Now what he takes in the guhû (by ladling) four times (with the sruva), that he takes for the gâyatrî; and what he takes in the upabhrit (by ladling) eight times, that he takes for the trishtubh and gagatî; and what he takes in the dhruvâ (by ladling) four times, that he takes for the anushtubh. For the anushtubh is speech, and from speech all this (universe) springs: hence it is from the dhruvâ that the whole sacrifice originates. The anushtubh also is this (earth), and from it all this (universe) originates: hence it is from the dhruvâ that the whole sacrifice originates.

He takes (butter with the sruva), with the text (Vâg. S. I, 31), 'Verily, thou art the favourite resort (or, dainty) of the gods!' He thereby makes that butter the most favourite resort of the gods: for this reason he says, 'verily, thou art the favourite resort of the gods!'--'An unassailable means of worship!' the butter is indeed a thunderbolt: therefore he says, 'an unassailable means of worship!'

Once he puts (butter with the sruva) into the guhû with this formula, three times silently. With the same formula he puts (butter) once into the upabhrit, seven times silently. With the same formula he puts once (butter) into the dhruvâ, three times silently. Now, as to this, they say, 'Thrice he should take with the formula in each case, for threefold is the sacrifice.' Nevertheless (it is done) only once with each (spoon), for it is just in this way that the taking thrice (with a formula) is accomplished.

3:3:

He then sprinkles he altar, with the text (Vâg. S. II, 1), 'Thou art the altar; I sprinkle thee, agreeable to the barhis (sacrificial-grass covering)!' He thereby makes it sacrificially pure for the grass covering.

He (the Âgnîdhra) then hands the sacrificial grass to him (the Adhvaryu). The latter puts it down (on the altar) with the knot turned to the east, and sprinkles it, with the text (Vâg. S. II, I), 'Barhis art thou! I sprinkle thee, agreeable to the spoons!' He thereby makes it sacrificially pure for the spoons.

Thereupon he pours the sprinkling-water which is left on the roots of the (grass) plants, with the text (Vâg. S. II, 2), 'A moistening art thou for Aditi!' Aditi, indeed, is this earth; hence it is for the latter that he thus moistens the roots of the plants: thereby these plants become root-moistened; and even if their tops are dry, their roots at least remain moist.

Having thereupon untied the knot, he takes the prastara bunch from the front (of the barhis), with the text (Vâg. S. II, 2), 'Vishnu's crest art thou!' Vishnu, namely, is the sacrifice, and this (the prastara) is his top-knot or crest: this he thereby makes it at this sacrifice. From the front he takes it, because this top-knot also is (worn) on the front (of the head): for this reason he takes it from the front.

He then undoes the band (of the barhis). 'His (the sacrificer's) wife is sure to bring forth without difficulty,' thinking thus he undoes the band. He puts it down on the right hip (of the altar); for this represents his (the sacrificer's) waist-band, and it is on the right side that the waist-band is (tied): this is the reason why he puts it down on the right hip. He again covers it over (with sacrificial grass); for the waist-band also is covered (by the upper garment): for this reason he again covers it.

He now spreads the barhis (on the altar). For the prastara is the top-knot; and this other sacrificial grass is for this (sacrifice) what other hair there is below that (top-knot, viz. the beard, &c.):--that (hair) he thereby puts on it, and for this reason he spreads the barhis.

Now the altar (vedi, fem.) is a woman, and around her sit the gods and those priests who have studied and teach revealed lore; and as they thus sit around her, he makes her not naked: hence it is in order to avoid nudity (on her or the altar's part) that he spreads the barhis.

As large as the altar is, so large is the earth; and the plants (are represented by) the barhis; so that he thereby furnishes the earth with plants; and those plants are firmly established in this earth: for this reason he spreads the barhis.

Here now they say, 'Let him strew abundantly; for where the plants are most abundant on her, there the means of subsistence are most amply afforded by her: let him therefore strew abundantly!' It is in favour of him (the sacrificer) who procures (the sacrificial grass), then, (that this is done.) He strews it threefold, for threefold is the sacrifice. Or he may also spread it whilst lifting up (the tops); for it has been said by the seer (Vâg. S. VII, 32), 'They spread the barhis continuously.' He spreads it with the roots below (the tops); for it is with their roots below that those plants are firmly established in this earth: for this reason he spreads it with the roots below.

He spreads it, with the text (Vâg. S. II, 2), 'I spread thee, soft as wool, pleasant to sit upon for the gods!'--when he says 'thee, soft as wool,' he thereby means to say 'agreeable to the gods;' and by 'pleasant to sit upon for the gods,' he means to say 'forming a good seat for the gods.'

He now trims the fire. The Âhavanîya, doubtless, is the head of the sacrifice, for the head is the fore-part: that fore-part of the sacrifice he thereby trims. He trims it while holding the prastara (which he has received back from the Brahman) close over it; for the prastara is the top-knot, and it is this which he thereby puts on it: for this reason he trims (the fire) while holding the prastara close over it.

He then lays the (three) enclosing-sticks (paridhi) around (the fire). The reason why he lays the enclosing-sticks around (is this). When at first the gods chose Agni for the office of Hotri, he said: 'Verily, I am not equal to this, that I should be your Hotri, and that I should carry your oblation. Already you have chosen three before, and they have passed away. Restore them to me: then I shall be equal to this, that I should be your Hotri and that I should carry your oblation!' They said, 'So be it!' and they restored to him those (three former Agnis): they are these enclosing-sticks.

He then said, 'The thunderbolt, (in the shape of) the vashat-call, has struck these down: I am afraid of that thunderbolt, the vashat-call. Lest that thunderbolt, the vashat-call, should strike me down, enclose me by those (three Agnis, or paridhis); and thus that thunderbolt, the vashat-call, will not strike me down.' They said, 'So be it!' and they enclosed him with those (three sticks), and that thunderbolt, the vashat call, did not strike him down. When he encloses Agni with those (sticks) he buckles armour on him.

They (the other three Agnis) then said, 'If you join us with the sacrifice in this wise, then let us also have a share in the sacrifice!'

The gods said: 'So be it! What shall fall outside the enclosure, that is offered unto you; and what they shall offer just upon you, that will sate you; and what they shall offer up in the fire that will sate you!' Thus what they offer up in the fire, that satisfies them (the Agnis); and what they offer up just upon them (the enclosing-sticks, or Agnis), that satisfies them; and what is spilled outside the enclosure, that is offered to them: hence no sin attaches to what (butter) is spilt; for into this earth they entered (when they, the Agnis, passed away), and whatever is spilt here,--all that remains indeed in her.

That which is spilt he touches, with the formulas (Vâg. S. II, 2), 'To the Lord of the Earth--svâhâ!' 'To the Lord of the World--svâhâ!' 'To the Lord of Beings--svâhâ!' These, indeed, are the names of those Agnis,--to wit, Lord of the Earth, Lord of the World, and Lord of Beings. Thus in like manner as that (oblation) which is accompanied by 'Vashat' is offered up (to the particular deity to which it is announced), so is this (offered up) on his (the sacrificer's) part to those Agnis.

Here now some people take the sticks they lay around from the fire-wood; but let him not do so, for unsuitable for laying around are those which they take from the fire-wood, since the fire-wood is prepared for the purpose of being put upon (the fire); but what other (kind of sticks) they bring to him, called 'enclosing-sticks (paridhis),' they are indeed suitable for his purpose: let them therefore bring others.

Indeed, they should be of Palâsa wood (Butea Frondosa); for the Palâsa tree, doubtless, is the Brahman, and Agni also is the Brahman: for this reason the Agnis should be of Palâsa wood.

Should he be unable to procure them of Palâsa wood, they may be of Vikankata wood (Flacourtia Sapida); and if he be unable to procure any of Vikankata, they may be of Kârshmarya wood (Gmelina Arborea); and if he be unable to procure any of Kârshmarya wood, they may be of Vilva (Aegle Marmelos), or of Khadira (Acacia Catechu), or of Udumbara wood (Ficus Glomerata). These, doubtless, are the trees that are suitable for sacrificial purposes, and from these trees they (the enclosing-sticks) are therefore (taken).

They should be green (fresh); for that is (what constitutes) their living element, by that they are vigorous, by that possessed of strength: for this reason they should be green.

The middle stick he lays down first (on the west side of the fire), with the text (Vâg. S. II, 3), 'May the Gandharva Visvâvasu lay thee around for the security of the All! Thou art a fence to the sacrificer, thou (art) Agni, invoked and worthy of invocation!'

He then lays down the southern one, with the text (ib.), 'Thou art Indra's arm for the security of the All! Thou art a fence to the sacrificer; thou Agni, invoked and worthy of invocation!'

He then lays down the northern one, with the text (ib.), 'May Mitra-Varuna lay thee around in the north with firm law for the security of the All! Thou art a fence to the sacrificer, thou Agni, invoked and worthy of invocation!' They are indeed Agnis, and for that reason he says, 'Agni, invoked and worthy of invocation!'

Thereupon he puts on (the fire) a samidh (kindling-stick). He first touches with it the middle enclosing-stick: thereby he first kindles those (three Agnis). After that he puts it on the fire: thereby he kindles the visible fire.

He puts it on, with the gâyatrî stanza (Vâg. S. II, 4), 'Thee, O Sage, who callest (the gods) to the feast, we will kindle so as to shine brilliantly; thee, O Agni, mighty at the sacrifice!' He thereby kindles the gâyatrî; the gâyatrî, when kindled, kindles the other metres; and the metres, when kindled, carry the sacrifice to the gods.

By the second kindling-stick (samidh), which he now puts on, he kindles the spring; the spring, when kindled, kindles the other seasons; and the seasons, when kindled, cause living beings to be produced and the plants to ripen. He puts it on, with the formula (Vâg. S. II, 5), 'A kindler (samidh) art thou!' for the spring is indeed a kindler.

When he has put it on, he murmurs (ib.), 'May the sun guard thee from the east against any imprecation!' for the enclosing-sticks serve for protection on all (the other three) sides; and thereby he makes the sun the protector on the east side, fearing 'lest the evil spirits, the Rakshas, should rush in from the east:' for the sun is the repeller of the evil spirits, the Rakshas.

By that third kindling-stick, then, which he puts on at the after-offerings, he kindles the officiating priest (brâhmana); and he, the priest, when kindled, carries the sacrifice to the gods.

He now returns to the altar covered (with sacrificial grass). Having taken two stalks of grass, he lays them down across (the barhis or grass covering, with the tops to the north), with the formula (Vâg. S. II, 5), 'Savitri's arms are ye!' The prastara bunch is indeed the top-knot (of the sacrifice); and he now lays down these two crosswise as its eye-brows: thereby these two (represent) the transverse eye-brows. The prastara, further, (represents) the kshatra (or military class); and the other barhis the vis (or, the common Âryan people);--(and the two stalks he puts down between them) for the sake of separating (vidhriti) the kshatra and the vis: for this reason he lays them down crosswise; and for this reason these two (stalks) are called vidhriti.

On them he spreads the prastara, with the formula (Vâg. S. II, 5), 'I spread thee, soft as wool, pleasant to sit upon for the gods!' When he says 'thee, soft as wool,' he means to say 'agreeable to the gods;' and by 'pleasant to sit upon for the gods' he means to say 'forming a good seat for the gods.'

He presses it down (with his left hand), with the text (ib.), 'May the Vasus, the Rudras, the Âdityas sit on thee!' These three, that is, the Vasus, the Rudras, and the Âdityas, namely, are (classes of) gods; and these, he means to say, are to sit down on it. While it is still being held down with his left hand,--

He seizes the guhû with his right, fearing 'lest the evil spirits, the Rakshas, should enter there in the meantime;' for the officiating priest (brâhmana) is the repeller of the Rakshas: therefore, while it (the prastara) is still being held down with his left hand,--

He seizes the guhû, with the text (Vâg. S. II, 6), 'Fond of butter art thou, Guhû by name!' for fond of butter indeed it is, and Guhû by name;--'Sit down here with the favourite resort (or dainty) on the favourite seat!' The upabhrit (he takes), with the formula (ib.), 'Fond of butter art thou, Upabhrit by name!' for fond of butter indeed it is, and Upabhrit by name;--'Sit down here with the favourite resort on the favourite seat!' The dhruvâ (he takes) with 'Fond of butter art thou, Dhruvâ by name!' for fond of butter indeed it is, and Dhruvâ by name;--'Sit down here with the favourite resort on the favourite seat!' What other sacrificial food there is, (he puts down on the prastara), with the formula, 'With the favourite resort sit down on the favourite seat!'

He lays the guhû down on (the prastara), and the other spoons down below, (viz. on the barhis, north of the guhû, and so as not to touch it or one another); for the guhû assuredly is the kshatra, and the other spoons (sruk) are the vis: he thereby makes the kshatra superior to the vis. Hence the people here serve, from a lower position, the Kshatriya seated above them: for this reason he places the guhû upon (the prastara) and the other spoons down below it.

He touches the offerings, with the text (Vâg. S. II, 6), 'Safely they have sat down,' for safely indeed they sat down;--'in the lap (yoni) of divine truth!' for the sacrifice is indeed the lap of divine truth, and in the sacrifice they sat down;--'Protect these, O Vishnu! protect the sacrifice! protect the lord of sacrifice!' thereby he refers to the sacrificer;--'Protect me, the leader of the sacrifice!' thereby he does not exclude himself either from the sacrifice. Vishnu, assuredly, is the sacrifice: hence it is to the sacrifice that he makes all that over for protection. This is the reason why he says, 'Protect these, O Vishnu!'

With the fire-wood (idhma, lighting material) the Adhvaryu lights (indh) the fire: hence it is called fire-wood. And with the kindling verses (sâmidhenî) the Hotri kindles (sam-indh, to make blaze): hence they are called kindling verses.

He (the Adhvaryu) says (to the Hotri): 'Recite to the fire as it is being kindled!' for it is to the fire, when it is being kindled, that he recites.

Here now some people say, 'O Hotar, recite to the fire as it is being kindled!' But let him not say so; for that (priest) is not a Hotri as yet; only when he (the sacrificer) elects him, does he become a Hotri. Let him therefore say, 'Recite to the fire as it is being kindled!'

He recites (verses) addressed to Agni: he accordingly kindles it (the fire) with the aid of its own deity. In the gâyatrî metre (are the verses which) he recites; for the gâyatrî is Agni's metre: by means of its own metre he thereby kindles it. The gâyatrî is vigour, the gâyatrî is the brahman (the priestly order): with vigour he thereby kindles it.

Eleven (verses) he recites; for of eleven syllables consists the trishtubh metre. The gâyatrî is the brahman and the trishtubh is the kshatra (or military order). With the aid of these two energies he thus kindles it: for this reason he recites eleven (verses).

Thrice he recites the first verse, and thrice the last one; for of threefold beginning are sacrifices, and of threefold termination: therefore he recites thrice the first and the last (verses).

Fifteen sâmidhenî verses result (from this repetition of the first and last of the eleven verses). The fifteen-versed chant, doubtless, is the thunderbolt, and the thunderbolt means strength; so that he thereby converts the sâmidhenîs into strength: hence, if he should hate any one, he may crush him with his great toes at the time when those (verses) are recited. By saying, 'I here crush so and so!' he crushes him with that thunderbolt.