Nidāna-shrauta-sūtra 2.11

Now, these are called 'pairs'.

Therefore all pairs become mixed in the pair.

Whichever two of these are prepared for a common purpose, those two become a pair.

The first is the sacrifice of one desiring sovereignty.

Of that, since there is such an application of the stoma, it turns out to be eight twenty-onefold [stomas].

He places the seventeenfold stoma in the pavamāna stotras.

This is the stoma of the people.

The king is desirous of subjects.

Moreover, these are like settlements of the soma-pressing day, because the pavamāna stotras are complete with metres,

[and] with sāmans.

There, he wished to make the seventeenfold the stoma of the people.

Regularly in the positions of repetition, [he places] the remaining stomas of the shares.

Thus it becomes a catuṣṭoma.

This rite is [subject to] apprehension of falling away;

'and by a fourfold [stoma] is the foundation.'

The equality of both chants in the abhiṣecanīya has been explained.

The sacrificial frame is that of the jyotiṣṭoma; that has been explained in the keśavapanīya.

The subsequent [rite] is the sacrifice of one desiring food. / There, he brings in a four-verse [strophe], / saying, 'This is for the praise of food.' / After the āmahīyava comes the ābhīka; / this is for the praise of rain, food produced from rain: the āndhīgava and the arkapuṣpa; / 'This is for the praise of food.' / The subsequent [rite] is the sacrifice of one desiring progeny. / There, he introduces a single verse; / this [verse] containing the word 'bull' (vṛṣaṇvatī) is suitable in the sacrifice of one desiring progeny, declaring the intermediate space, having the intermediate space as their seat: / the gandharvas and apsarases. / The modification of materials that takes place there occurs because of its being a sacrifice of one desiring progeny. / The subsequent [rite] is the sacrifice of one wishing to be cleansed. / Its midday pressing is twelvefold; on both sides are ninefold stomas. / There is a Brāhmaṇa passage to this effect: 'That which is eleventh, that which is twelfth.' / One should enumerate the eleventh [verses] at the morning pressing, the twelfth at the third pressing; / 'Thus the elimination of the poison is accomplished.' / The Adhvaryus also constantly cite this: / 'The stoma is indeed the ninefold, the stoma is the twelvefold; / because from the ninefold they go to the twelvefold, and again from the twelvefold to the ninefold, therefore with this stoma...' / thus he makes it end with the uktha stotras; / 'Thus the elimination of these stotra verses is accomplished.' / For the arrangement of the stoma, he introduces one sāman at midday; / that which is the maidhātitha. / Its origin-verse contains the word 'ariṣṭa', suitable for an expiatory rite. / The modification of materials that takes place here without fear occurs because of its being the sacrifice of one wishing to be cleansed.

The subsequent [rite] is the sacrifice of one desiring cattle.

There, he performs stomas of four rounds.

'Cattle are four-footed.'

There is also a Brāhmaṇa passage constantly [cited]: 'Because he utters the sound hiṅ in four sets of four...'

Then, indeed, he makes opening verses in the anuṣṭubh metre.

'The four-footed [verses] are suitable in the sacrifice of one desiring cattle.'

Being three, he makes them into four gāyatrī verses.

For the vāravantīya chant has the place of the gāyatrī in the fourth stotra verses of the uktha following the yajñāyajñīya.

There is a Brāhmaṇa passage to this effect: 'It is neither an uktha nor an agniṣṭoma.'

And because the vāravantīya is for the praise of cattle,

and also for holding together the stotra verses.

The subsequent [rite] is indeed the sacrifice of one desiring cattle.

There, he brings in a four-verse [strophe].

"This is the pathyā metre" [so saying], / he makes it rest on a sixteenfold [stoma]. / There is a Brāhmaṇa passage just like this: "Neither an ukthya nor an atirātra." / Because it is a sacrifice for one desiring cattle, the leading forth of the uktha is in the gāyatrī metre. / The following two are sacrifices for one desiring cattle. / Or rather, both should be adapted to the attainment of the dvirātra. / Because of the conjunction of both offerings, he employs the seventeenfold and seventeenfold stomas. / These two rest upon cattle. / He makes the bahiṣpavamāna of the subsequent [day] twenty-onefold. / The ājya [stotra] of the Hotṛ is threefold. / Desiring to turn away two single-day sacrifices that have a common course, stepping across upon that twenty-onefold [stoma], with the threefold / vajra he split open the stronghold (Vala)—so says Lāmakāyana. / And those two indeed correspond to the seventeenfold. / In different sacrificial frameworks and different pṛṣṭhas, following the rule of the dvirātra, he transfers and does not transfer. / The transfer of days is according to the rule of the single-day sacrifice. / The non-transfer is according to the rule of the dvirātra. / The two single verses by birth [are used] according to the rule of the dvirātra; the Niṣedha and Andhīgava [chants are used] according to the rule of the dvirātra; "They anoint..." [RV 9.86.43]— / the Kāva [chant] is the final one. / This common [verse] is the first of the triplet, mentioning cattle. / The Sattrāsāhīya and the Śrudhya [chants are used] according to the rule of the dvirātra; the Śyāvāśva and Krauñca [chants are used] according to the rule of the dvirātra. / "The king who goes first will also be praised..." / The Kāva [chant] is the final one. / "Going first..." / It is not to be abandoned, says Śāṇḍilyāyana. / But because of the mention of cows, the snātakas perform [it].

The next is the sacrifice for one desiring reverence (apaciti).

There he makes the twenty-fourfold [stoma] the sixth.

There is a Brāhmaṇa passage just like this: "They pass beyond."

Or it becomes twenty-fourfold and twenty-sevenfold.

He places the twenty-fourfold [stoma] in the two pavamāna [lauds].

Displaced by that, he adopts the ninefold and seventeenfold [stomas] in the ājya and pṛṣṭha [stotras]. / The sacrificial framework is the jyotiṣṭoma; this is the more reverenced of the two frameworks. / The insertion is caused by the stoma. / The subsequent [rite] is indeed the sacrifice for one desiring reverence. / Its stomas have been stated. / Because its application of stomas is of such a kind, thus it attains the virāj. / He uses two-pāda verses (dvipadās). / According to the rule of the ten-day period, as these were seen at the conclusion of the ten-day period. / There the vāravantīya is the final sāman, in the final metre. / The verses containing "sūrya" [are employed] according to the rule of the ten-day period. / The subsequent [rite] is the Agnyabhiyajana. / There he employs both sāmans, / desiring to complete the sacrifice to Agni. / And so Agni is one who has both sāmans, / for he is sung around by both. / The sacrificial framework is the jyotiṣṭoma; this belongs to Agni. / The Svāra and Sauparṇa are bird-sāmans in the sacrifice to the bird; the Agnervrata is in the sacrifice to Agni. / The Svāśirā-arka is seen in the Agnyabhiyajana during the vrata. / The subsequent [rite] is indeed the Agnyabhiyajana. / There he brings forward the jyotiṣṭoma itself, saying "This belongs to Agni." / By virtue of correspondence we make the ninefold and fifteenfold [stomas] in the ājya and pṛṣṭha [stotras]. / The state of having both sāmans has been explained. / For this is only a modified form of the Jyotis. / There [he employs] the Audala [sāman] on an anuṣṭubh for the completion of the triplet. / That very [rite] is accompanied by the pṛṣṭha from the eighth [day].

The subsequent is the king's sacrifice (rājayajña).

There he introduces two stoma-verses, desiring to show the form of the hump (kakud).

Or else, when the sāman-ending is taken in ..., the two should cause seventeen [stoma-verses] to be made.

When the stoma is uneven, he employs a bṛhatī without an adhyāsa.

Its procedure for the sāman has been explained from the jyotiṣṭoma.

The state of having both sāmans has been explained in the agniṣṭut.

For this is only a modified form of the Jyotis.

There [he employs] the Gaurīvita [chant] on an anuṣṭubh; this is declared by Ṛṣabha.

The subsequent is the vaiśya's sacrifice. / They say it should be the sacrifice of a vaiśya who has the status of a king and desires autonomous rule (svārājya). / Śāṇḍilya says it should be the consecration-rite (sava) of a king who has indeed ceased from violence, who has become like a vaiśya, with the mindset of a gambler. / He resorts to the abhiṣecanīya. / Due to the similarity of the sava, because of the departure of thirty-two [syllables], they approach with an anuṣṭubh as the opening verse. / It is auspicious that [they use] one containing "upa"; this belongs to the rathantara; the vaiśya belongs to the rathantara. / By transposition he makes the regular bṛhatī; / for the stoma is equal. / The two subsequent [rites] have been explained. / The subsequent is the king's sacrifice. / He arranges it with the bṛhat as its pṛṣṭha, using [verses] that contain hidden mentions of Indra. / "The kṣatriya is devoted to this." / There, those verses which contain the name Indra are clear. / Furthermore, considering that he preserves the form of Indra through the mention of "slayer of Vṛtra" (vṛtrahan), through the mention of "bull" (vṛṣan), and through containing "sūrya". / They disagree regarding the sacrificial framework. / Some say it is the jyotiṣṭoma, / [arguing]: "We know it from the two gāyatrīs." / Another says it is the prayer-framework (āśīstantra): / "This is arranged with Indra-verses; these very verses contain Indra." / There, whatever modification of materials [occurs] due to the desire to make it belong to Indra, that takes place. / The subsequent is the sacrifice of the king and the purohita. / There [are] both sāmans, both characteristic marks, two sacrifices; the sacrificial framework is regular: the sacrifice stated for the brāhmaṇa is the jyotiṣṭoma, [and there is] the sacrifice of the kṣatriya.

The subsequent is the sacrifice of one desiring to consume (vijighātsat). / There he employs both sāmans, / desiring to complete the sacrifice of one desiring to consume. / There, this Viśoviśīya [chant] is suitable in the sacrifice of one desiring to consume. / For one practicing sorcery, [there is] the Somasāman or the Ātharvaṇa. / This Somasāman has a cruel cadence. / They discuss regarding its cadence: "Like Indra, you crushed the Dasyus" [cf. RV 10.22.8],

"Like Sūrya, you crushed the Dasyus,"

"O wielder of the vajra!" / "Possessing a good vajra,"

or combining the first two of these, or the latter, or all of them, he should give a musical accent only to the last, just as there would be a sound from a bellows of wind being struck, or as two iron [pieces] would clash together, or as a gold coin struck by a cutting-tool would resound, or as the impact of a foot wearing an anklet. / And the Ātharvaṇa [chant has the cadence] "huṇ". / For one desiring cattle, this four-cadence [chant] is suitable in the sacrifice for one desiring cattle. / The subsequent [rite] has precisely this purpose. / Or rather, it is for the expiation of the unknown (anājñātaprāyaścitta), when an unknown danger should arise, as came upon Māṭava, as a broken jaw, a head, or a fall from a carriage. / There is also a Brāhmaṇa passage just like this: "Demonic illusions pursued Indra," says Śāṇḍilyāyana. / "Surely he knew it thus," said Dhānañjayya; / for which purpose he brought this forward: this combination is indeed as if unknown. / There the stomas are those very ones of the preceding [rite]. / But because he employs those limbs in this way, desiring to turn away two single-day sacrifices that have a common course. / They disagree regarding the sacrificial framework. / Some say it is the framework of both sāmans, / for these midday verses contain the word "pratna". / Another says it is the prayer-framework. / This is for the expiation of the unknown. / There, desiring an unknown combination of limbs, he places two bṛhatīs in the place of the gāyatrī. / Having transposed them, he makes three gāyatrīs, / for it is the place of the gāyatrī. / There, whatever modification of materials [occurs] for the expiation of the unknown, that takes place. / And also on account of the desire to consume.

The next two [rites] are indeed sorcery rites (abhicaraṇīya).
Their specification of materials is explained just by the Śyena sacrifice.
The stomas of the prior of the two preceding ones he removes for the prior of these two:
[namely] the seventeenfold and nineteenfold stomas, which are praises of procreation.
He makes the six remaining ones share two stotras each, wishing to show the form of connection.
He sings upon a kakubh metre with an iḍā-cadence, wishing to displace the tone from the human metre.
On this point there is this Kāśīta saying: 'With depleted tone and with an iḍā-cadence, one desires the destruction of enemies.'
He performs the sāman upon an anuṣṭubh metre, [thinking] 'these are cruel sāmans.'
Because [the text says]: 'That which is the first seat of the three...', [one employs] the earlier lesson in the earlier place of the sacrifice.
Moreover, this cruel cadence (nidhana) is appropriate for the purpose of slaying.
Moreover, he supports it with the bṛhat-cadence, [saying] 'this indeed is the sāman-thunderbolt (vajra).'
He speaks of both the bṛhat and rathantara chants.
For the arrangement of the stobha, he brings forward two triplets that are prescribed for the subsequent [rites].
There the Devasāman should be used, says Dhānañjayya,
for the two serve the same purpose.
'The second one,' says Gautama,
wishing to distinguish the two single-day rites (ekāha) that have a common course.
Moreover, this chant sung in a drawn-out/depressed manner is appropriate for the purpose of slaying.
The Prastādahiṣṭhīya is stated to be a thunderbolt; the Aupagava is declared to be a sacrifice.
Because the ṣoḍaśin-sāman has an iḍā-cadence, he does not perform the Nārmedha.
There is this Udvaṃśīya; by this the desire for the iḍā is achieved, and also the non-repetition form.

The Mahānāmnī verses are the ṣoḍaśin-sāman.
These are spoken of as a thunderbolt, suitable in a royal sacrifice, for the king is a thunderbolt.
How are their observances (dharma)?
They must be performed, say some,
for this is their observance in private recitation (svādhyāye);
moreover, they have attained the status of the primary subject (dharmin).
While performing the observances of the ṣoḍaśin, how could one not perform the observances of the Mahānāmnī verses?
Moreover, waters are spoken of as a thunderbolt.
Moreover, in case of doubt, non-omission is more correct than omission.
They are not to be performed, says another.
He speaks of those that have attained the status of a pṛṣṭha: 'when they chant placing waters close by.'
As for the argument that 'this is their observance in private recitation,' such a statement would also imply the observances of private recitation for other [texts].
As for the argument that 'they have attained the status of the primary subject,' that which has attained a more prominent status as the primary subject, being more firmly established, does not take on [subordinate] observances.
As for the argument that 'waters are spoken of as a thunderbolt,' waters are [in fact] spoken of as peace: 'the wives release waters behind; they thereby appease Vaiśvānara, for waters are peace,' so indeed it says.
As for the argument that 'in case of doubt, non-omission is more correct than omission,' whoever, having omitted the observances of the rathantara, thinks that the observances of the Mahānāmnī verses should be performed—that is an inconsistent contradiction.
Moreover, its observances are even more explicitly stated as a thunderbolt; so are the observances.