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Śatapatha Brāhmaṇa ("of a hundred paths") 13.1.5

Śatapathabrāhmaṇa 13.1.5

Language
Sanskrit

13.1.5.1

apa vā etasmāt śrī rāṣṭraṃ krāmati yo'śvamedhena yajate yadā vai puruṣaḥ śriyaṃ gacati vīṇāsmai vādyate brāhmaṇau vīṇāgāthinau saṃvatsaraṃ gāyataḥ śriyai vā etadrūpaṃ yadvīṇā śriyamevāsmiṃstaddhattaḥ

But, indeed, distinction, royal sway, departs from him who performs the horse-sacrifice; and when a man attains to distinction, the lute is played to him. Two Brâhmanical lute-players sing (and play) for a year; for that--to wit, the lute--is a form (attribute) of distinction: it is distinction they thus confer upon him.

Julius Eggeling 1882, The Satapatha-Brahmana according to the Text of the Mâdhyandina School (SBE 12, 26, 41, 43, 44)

13.1.5.2

tadāhuḥ yadubhau brāhmaṇau gāyetāmapāsmātkṣatraṃ krāmedbrahmaṇo vā etadrūpaṃ yadbrāhmaṇo na vai brahmaṇi kṣatraṃ ramata iti

Concerning this they say, ‘Were both to be Brâhmanas who sing, noble rank (or political power) would depart from him; for he--to wit, a Brâhmana--is a form of the priestly office; and the nobility takes no delight in the priestly office (or priesthood).

Julius Eggeling 1882, The Satapatha-Brahmana according to the Text of the Mâdhyandina School (SBE 12, 26, 41, 43, 44)

13.1.5.3

yadubhau rājanyau apāsmādbrahmavarcasaṃ krāmetkṣatrasya vā etadrūpaṃ yadrājanyo na vai kṣatre brahmavarcasaṃ ramata iti brāhmaṇo'nyo gāyati rājanyo'nyo brahma vai brāhmaṇaḥ kṣatraṃ rājanyastadasya brahmaṇā ca kṣatreṇa cobhayataḥ śrīḥ parigṛhītā bhavati

‘And were both to be Râganyas (nobles), spiritual lustre would depart from him; for he--to wit, the Râganya--is a form of noble rank, and spiritual lustre takes no delight in noble rank.' One of those who sing is a Brâhmana, and the other a Râganya; for the Brâhmana means priestly office, and the Râganya noble rank: thus his distinction (social position) comes to be guarded on either side by the priesthood and the nobility.

Julius Eggeling 1882, The Satapatha-Brahmana according to the Text of the Mâdhyandina School (SBE 12, 26, 41, 43, 44)

13.1.5.4

tadāhuḥ yadubhau divā gāyetām prabhraṃśukāsmācrīḥ syādbrahmaṇo vā etadrūpaṃ yadaharyadā vai rājā kāmayate'tha brāhmaṇaṃ jināti pāpīyāṃstu bhavati

Concerning this they say, ‘Were both to sing by day, his distinction would be apt to fall away from him: for that--to wit, the day--is a form of the priestly dignity; and when the king chooses he may oppress (despoil) the Brâhmana, but he will fare the worse (or, become the poorer) for it.

Julius Eggeling 1882, The Satapatha-Brahmana according to the Text of the Mâdhyandina School (SBE 12, 26, 41, 43, 44)

13.1.5.5

yadubhau naktam apāsmādbrahmavarcasaṃ krāmetkṣatrasya vā etadrūpaṃ yadrātrirna vai kṣatre brahmavarcasaṃ ramata iti divā brāhmaṇo gāyati naktaṃ rājanyastatho hāsya brahmaṇā ca kṣatreṇa cobhayataḥ śrīḥ parigṛhītā bhavatīti

'And if both (were to sing) at night, spiritual lustre would fall away from him; for that--to wit, the night--is a form of the nobility, and spiritual lustre takes no delight in the nobility.' The Brâhmana sings by day, and the Râganya at night; and thus, indeed, his distinction comes to be guarded on either side by the priesthood and the nobility.

Julius Eggeling 1882, The Satapatha-Brahmana according to the Text of the Mâdhyandina School (SBE 12, 26, 41, 43, 44)

13.1.5.6

ayajatetyadadāditi brāhmaṇo gāyatīṣṭāpūrtaṃ vai brāhmaṇasyeṣṭāpūrtenaivainaṃ sa samardhayatītyayudhyatetyamuṃ saṃgrāmamajayaditi rājanyo yuddhaṃ vai rājanyasya vīryaṃ vīryeṇaivainaṃ sa samardhayati tisro'nyo gāthā gāyati tisro'nyaḥ ṣaṭ sampadyante ṣaḍṛtavaḥ saṃvatsara ṛtuṣveva saṃvatsare pratitiṣṭhati tābhyāṃ śataṃ dadāti śatāyurvai puruṣaḥ śatendriya āyurevendriyaṃ vīryamātmandhatte

'Such sacrifices he offered,--such gifts he gave!' such (are the topics about which) the Brâhmana sings; for to the Brâhmana belongs the fulfilment of wishes: it is with the fulfilment of wishes he (the Brâhmana) thus endows him (the Sacrificer). 'Such war he waged,--such battle he won!' such (are the topics about which) the Râganya sings; for the battle is the Râganya's strength: it is with strength he thus endows him. Three stanzas the one sings, and three stanzas the other, they amount to six,--six seasons make up a year: he thus establishes (the Sacrificer) in the seasons, in the year. To both of them he presents a hundred; for man has a life of a hundred (years), and a hundred energies: it is vitality and energy, vital power, he confers upon him.

Julius Eggeling 1882, The Satapatha-Brahmana according to the Text of the Mâdhyandina School (SBE 12, 26, 41, 43, 44)

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